Roland Musical Instrument SC 88 Pro User Guide

OWNER'S MANUAL

M ID I S O U N D G EN ERA TO R

POWER

VOLUME

PART

LEVEL

INSTRUMENT

PAN

PART

INSTRUMENT

ALL

ALL - SOUND Canvas -

LEVEL

P A N

MUTE

127

REVERB

C H O RU S

REVERB

KEY SHIFT

CHORUS

MIDI CH

(PUSH)

PREVIEW

H IFT

ID I C H

SC 55

MAP

0 A--

10 11 12 13 14 15 16

SC 88

MAP

DELAY

PART

DELAY

MIDI IN B

PHONES

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ATTACK

EFX

ON/OFF

EFX TYPE

EFX PARAM

EFX VALUE

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The

symbol alerts the user to important instructions

Used for instructions intended to alert

the user to the risk of death or severe

injury should the unit be used

improperly.

or warnings.The specific meaning of the symbol is

determined by the design contained within the

triangle. In the case of the symbol at left, it is used for

general cautions, warnings, or alerts to danger.

Used for instructions intended to alert

the user to the risk of injury or material

damage should the unit be used

improperly.

The

symbol alerts the user to items that must never

be carried out (are forbidden). The specific thing that

must not be done is indicated by the design contained

within the circle. In the case of the symbol at left, it

means that the unit must never be disassembled.

* Material damage refers to damage or

other adverse effects caused with

respect to the home and all its

furnishings, as well to domestic

animals or pets.

The symbol alerts the user to things that must be

carried out. The specific thing that must be done is

indicated by the design contained within the circle. In

the case of the symbol at left, it means that the power-

cord plug must be unplugged from the outlet.

W ARN IN G

CAUTIO N

• Before u sing this u nit, m ake su re to read the

instructions below, and the Owner's Manual.

.........................................................................................................

• Always grasp only the plug on the power-supply

cord when plugging into, or unplugging from an

outlet.

.........................................................................................................

• Do not open or perform any internal modifications

on the unit.

.........................................................................................................

• 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.

• Make sure you always have the unit placed so it is

level and sure to remain stable. Never place it on

stands that could wobble, or on inclined surfaces.

.........................................................................................................

• Never climb on top of, nor place heavy objects on

the unit.

.........................................................................................................

• Avoid damaging the power cord. Do not bend it

excessively, step on it, place heavy objects on it, etc.

A damaged cord can easily become a shock or fire

hazard. Never use a power cord after it has been

damaged.

• Never handle the power cord or its plug with wet

hands when plugging into, or unplugging from, an

outlet.

.........................................................................................................

• Before moving the unit, disconnect the power plug

from the outlet, and pull out all cords from external

devices.

• In households with small children, an adult should

provide supervision until the child is capable of fol-

lowing all the rules essential for the safe operation

of the unit.

.........................................................................................................

• Before cleaning the unit, turn off the power and

unplug the power cord from the outlet.

.........................................................................................................

• Protect the unit from strong impact.

(Do not drop it!)

.........................................................................................................

• Whenever you suspect the possibility of lightning

in your area, pull the plug on the power cord out of

the outlet.

• 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 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.

.........................................................................................................

Before using this unit, carefully read the sections entitled:

“USING THE UNIT SAFELY” and “IMPORTANT NOTES”

(p.3). These sections provide important information con-

cerning the proper operation of the unit. Additionally, in

order to feel assured that you have gained a good grasp of

every feature provid ed by your new unit, this manual

should be read in its entirety. The manual should be saved

and kept on hand as a convenient reference.

.........................................................................................................

• Before using the unit in a foreign country, consult

with your dealer, or qualified Roland service per-

sonnel.

.........................................................................................................

PORATION.

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Introduction

Main features of this unit

This unit is a sound module compatible with the General MIDI system. It can be used to play-

back any song data (General MIDI scores) bearing the General MIDI logo. This unit is also

compatible with the Roland GS format. It can be used to playback any song data bearing the

GS logo.

This unit is a 32 part 64 voice multi-timbral sound module. A single this unit can produce the

sounds of a large ensemble. It is an ideal sound module for use with sequencers or personal

computers. (p.120)

This unit contains 1117 high quality sounds and 42 types of drum sound set (including 3

sound effects sets). These sound include the same sounds as the SC-55/55mkII and SC-88,

allowing SC-55/55mkII and SC-88 song data to be played back correctly. (p.10)

A wide variety of effects are provided: 64 types of insertion effect, eight types each of reverb

and chorus effects, 10 types of delay, and 2-band equalizer. In addition, the values of rele-

vant parameters can be set for each effect, allowing professional-level manipulation of

sound. (p.46, 56)

There are 256 user sounds and 2 user drum sets, allowing you to create your own sounds

and drum sets. (p.96, 102)

By editing sound parameters such as vibrato, filter and envelope, you can modify sounds to

your taste. (p.31)

The computer connector allows this unit to be directly connected to an Apple or IBM personal

computer. (p.120)

The large display screen graphically provides easy visual confirmation of settings such as

volume for each part, and pictures and character data can also be displayed in the dot matrix

(ten screens). (p.110)

A wide variety of sound parameters can be edited directly and easily by pressing dedicated

buttons. (p.11, 31)

Audio input jacks with input level adjustment allow you to connect another sound source, and

output it from the audio output jacks mixed with this unit's own sound. Two sets of audio out-

put jacks are also provided. (p.15)

General MIDI system

The General MIDI system 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 data that meets the General MIDI

standard bears the General MIDI logo (

). Music data bearing the General MIDI logo can

be played back using any General MIDI sound generating unit to produce essentially the same

musical performance.

GS format

The (

) Format is Roland's set of specifications for standardizing the performance of

sound generating devices. In addition to including support for everything defined by the General

MIDI System, the highly-compatible GS Format additionally offers an expanded number of

sounds, provides for the editing of sounds, and spells out many details for a wide range of extra

features, including effects such as reverb and chorus.

Designed with the future in mind, the GS Format can readily include new sounds and support

new hardware features when they arrive. Since it is upwardly compatible with the General MIDI

System, Roland's GS Format is capable of reliably playing back GM Scores equally as well as it

performs GS Music Data (music data that has been created with the GS Format in mind).

Apple is a registered trademark of Apple Computer, Inc.

Macintosh is a registered trademark of Apple Computer, Inc.

MacOS is a trademark of Apple Computer, Inc.

IBM is a registered trademark of International Business Machines Corporation.

IBM PC is a registered trademark of International Business Machines Corporation.

GS (

) is a registered trademark of Roland Corporation.

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IMPORTANT NOTES

In addition to the items listed under "IMPORTANT

SAFETY INSTRUCTIONS" and "USING THE UNIT

SAFELY", please read and observe the following:

Additional Precautions

Please be aware that the contents of memory can be

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 recom-

mend 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).

Power Supply

Do not use this unit on the same power circuit with

any device that will generate line noise (such as an

electric motor or variable lighting system).

Before connecting this unit to other devices, turn off

the power to all units. This will help prevent malfunc-

tions and/or damage to speakers or other devices.

Unfortunately, it may be impossible to restore the con-

tents 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

Using the unit near power amplifiers (or other equip-

ment containing large power transformers) may

induce hum. To alleviate the problem, change the ori-

entation of this unit; or move it farther away from the

source of interference.

Use a reasonable amount of care when using the

unit's buttons, sliders, or other controls; and when

using its jacks and connectors. Rough handling can

lead to malfunctions.

Never strike or apply strong pressure to the display.

This device may interfere with radio and television

reception. Do not use this device in the vicinity of

such receivers.

When connecting / disconnecting all cables, grasp the

connector itself—never pull on the cable. This way

you will avoid causing shorts, or damage to the

cable's internal elements.

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.

A small amount of heat will radiate from the unit dur-

ing normal operation.

To avoid disturbing your neighbors, try to keep the

unit's 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).

Maintenance

For everyday cleaning wipe the unit with a soft, dry

cloth or one that has been slightly dampened with

water. To remove stubborn dirt, use a cloth impreg-

nated with a mild, non-abrasive detergent. Afterwards,

be sure to wipe the unit thoroughly with a soft, dry

cloth.

When you need to transport the unit, package it in the

box (including padding) that it came in, if possible.

Otherwise, you will need to use equivalent packaging

materials.

Never use benzene, thinners, alcohol or solvents of

any kind, to avoid the possibility of discoloration

and/or deformation.

About this owner's manual

Parameter names are often abbreviated in this unit’s

display. For example, Chorus Rate is abbreviate as

‘Cho Rate’, The full name of the parameter will be used

in the manual to avoid any confusion.

If a parameter’s value is continuously variable, it will

be shown as being a number from 0 — 127. If, on the

other hand, a parameter value is selectable in discrete

steps, those steps will be shown as 200/400Hz (for

example).

Repairs and Data

Please be aware that all data contained in the unit's

memory may be lost when the unit is sent for repairs.

Important data should always be backed up in anoth-

er MIDI device (e.g., a sequencer), or written down on

paper (when possible). During repairs, due care is

taken to avoid the loss of data. However, in certain

cases (such as when circuitry related to memory itself

is out of order), we regret that it may not be possible

to restore the data, and Roland assumes no liability

concerning such loss of data.

Panel buttons are indicated within square brackets

[r ], such as [CHORUS].

Regarding Screen Displays

Memory Backup

Where possible, we will use the actual screen dis-

plays for explanations. Keep in mind, however, that the

displays of your unit may vary slightly depending on

your instrument’s settings.

This unit contains a battery which powers the unit's

memory circuits while the main power is off. When

this battery becomes weak, the message shown

below will appear in the display. Once you see this

message, have the battery replaced with a fresh one

as soon as possible to avoid the loss of all data in

memory. To have the battery replaced, consult with

your dealer, or qualified Roland service personnel.

“Battery Low”

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CONTENTS

USING THE UNIT SAFELY .................................1

Introduction ..........................................................2

IMPORTANT NOTES ..........................................3

CONTENTS .........................................................4

Front and rear panel ............................................6

Chapter 1. Try out the unit

(Quick start)

Connect a MIDI keyboard and play the sounds.......8

Making connections.............................................8

Turning the power on or off .................................9

Is there sound?....................................................9

System parameter settings.............................36

Procedure..........................................................36

How each System parameter works..................37

Using Patches ................................................39

Loading a Patch ................................................40

Using MIDI messages to select Patches...........41

Try out the various sounds.............................10

Try out the buttons of the unit.........................11

Apply effects to the sound..............................13

Tuning to other instruments (Tuning) .............14

Headphones...................................................15

Audio input jacks / Audio input volume...........15

Creating a Drum Set (Drum Edit).......................42

Drum editing procedure.....................................42

Using Chorus and Delay ...................................44

About Assign Group ..........................................44

Chapter 3. System Effects

Chapter 2. Parts and parameters

How the effect section of the unit

is organized ....................................46

Parts and sounds ...........................................18

Assigning a sound to a Part ..............................18

Selecting Variation sounds................................20

System Effect settings....................................48

Equalizer setting procedure...............................48

Equalizer parameter functions...........................49

Reading the Instrument numbers

and Variation numbers.........................21

When you want to adjust the system effect

for all Parts...........................................50

Part Channels....................................................22

When you want to adjust the system effect

Which MIDI IN will be used by each Part? ........23

for each Part.........................................50

How simultaneous note numbers

Setting Reverb/Chorus/Delay parameters.........51

Reverb parameter function................................52

Chorus parameter function................................53

Delay parameter function ..................................54

and Voices are related. ........................24

Concerning legato-enabled sounds...................24

Part parameters for performance ...................25

[1] Parameters that can be set directly using the buttons .......25

[2] Parameters that must be selected from the menu........26

What each parameter does...............................27

Chapter 4. Insertion Effects

Part parameters for sound editing..................31

Procedure..........................................................31

What each parameter does...............................32

Insertion effect settings ..................................56

Making Insertion effect settings.........................56

Different effect types .........................................57

Setting parameters common to all Parts ........34

Procedure..........................................................34

How each parameter works...............................35

Using controllers to modify effect

parameters ....................................92

Setting procedure..............................................92

How each parameter works...............................93

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Chapter 5. Convenient functions

Chapter 7. MIDI and the unit

Create and save a sound (User Instrument) ..96

About MIDI ...................................................130

How MIDI messages are transmitted and received.....130

MIDI channels and multi-timbral sound modules........130

Creating and saving an Instrument effect

(User Effect) ..................................99

MIDI messages that can be received by the unit.........131

Creating and saving a Patch(User Patch)....100

Device ID number settings ...........................134

Saving a Drum Set you created (User Drum)...102

MIDI message routing settings and switches......135

[1] Switches which apply to all Parts (A) .............135

[2] Switches which apply to all Parts (B) .............139

Copying or Exchanging settings between

Parts / Initializing Part settings.....106

Recording all settings on a sequencer .........107

Bulk Dump procedure......................................107

Transmitting Individual Data............................108

[3] Switches which can be set individually

for each Part.......................................141

Draw pictures or characters

Chapter 8. Appendix

in the display (Frame Draw) .............110

Creating compatible data for

Troubleshooting............................................146

If a message appears...................................148

Computer cable wiring diagrams..................149

Parameter list and operations ......................150

Instrument list...............................................154

Drum set list .................................................163

Effect list.......................................................176

Effect data table ...........................................183

Preset Patch list ...........................................186

MIDI implementation ....................................188

MIDI Implementation Chart ..........................209

INDEX ..........................................................210

Information ...................................................212

the unit / SC-88............................112

Selecting the CM-64 sound map..................114

Differences between the CM-64

and the unit ........................................115

Using the unit as two sound modules...........116

Selecting Double Module Mode ......................116

Initialize ........................................................118

Initialize all Parts to the factory settings ..........118

Initialize for GM/GS .........................................118

Chapter 6. Using the unit with

a personal computer

Connections with your Computer .....................120

Connections with computer connector ............120

Connections with MIDI connectors..................122

MIDI data transfer with the computer ..............123

Connecting another MIDI sound source

to the unit ...........................................125

Using MIDI messages to select sounds................126

Using MIDI messages to select Drum Sets.....128

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Front and rear panel

Front panel

All button (p.34)

Mute button (p.25, 34)

SC-55 Map button (p.25, 34)

SC-88 Map button (p.25, 34)

MIDI IN B connector (front) (p.135)

When IN B Select is set to Rear (the factory setting), the front MIDI IN

B connector cannot be used.

Part buttons (p.18)

Level buttons (p.25, 34)

Reverb buttons (p.50)

Key Shift buttons (p.25, 34)

Delay buttons (p.50)

Instrument buttons (p.18)

Pan buttons (p.25, 34)

Chorus buttons (p.50)

Power switch (p.9)

Volume knob (p.9)

Preview switch (p.11)

Headphone jack (p.15)

Display screen (p.37)

Bar display (p.23, 37)

MIDI Channel buttons (p.22)

* While holding down the [l ] button,

you can press the [r ] button to

make the value change faster.

POWER

VOLUME

PART

LEVEL

INSTRUMENT

PAN

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

K SHIFT

CHORUS

MIDI CH

REVERB

KEY SHIFT

CHORUS

MIDI CH

(

)

PREVIEW PUSH

SC 55

MAP

SC 88

10 11 12 13 14 15 16

MAP

DELAY

PART

DELAY

MIDI IN B

PHONES

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

Effect (orange) (p.56)/User Edit(red) indicator (p.97)

Effect type buttons (p.56)

Vibrato Rate buttons (p.31)

Envelope Attack buttons (p.31)

User Inst button(p.97)/Effect button(p.56)

Select button(p.56)/Effect ON/OFF button(p.56)

Select (p.31)/Effect ON/OFF indicator(p.56)

Effect parameter buttons (p.56)

Vibrato Depth buttons (p.31)

Rear panel

Filter Cutoff Frequency buttons (p.31)

Envelope Decay buttons (p.31)

MIDI OUT/THRU connector

This connector functions either as MIDI OUT or MIDI THRU,

depending on the setting of OUT/THRU Select (p.136). When the

unit is shipped, this is set to MIDI OUT.

Effect value buttons (p.56)

Vibrato Delay buttons (p.31)

Filter Resonance buttons (p.31)

Envelope Release buttons (p.31)

MIDI IN A connector (p.130)

MIDI IN B connector (rear) (p.135)

Computer connector

A special computer cable (sold separately) can be

connected here. The type of cable required will

depend on your computer. When the Computer

switch located at the left is set to MIDI, the comput-

er connector cannot be used (p.120).

MIDI

IN A

COMPUTER

OUT/THRU

IN B

MIDI

Mac

PC 2

PC 1

Computer switch

Set this switch depending on the type of computer

connected to the Computer connector, or the soft-

ware you are using. Turn the power off before chang-

ing the setting of this switch. If you wish to use the

MIDI connectors, set this switch to MIDI. (p.120)

INPUT

VOLUME

INPUT

OUTPUT 1

OUTPUT 2

Audio output 1 jacks (p.8)

Audio input jacks (p.15)

Audio input volume knob (p.15)

Audio output 2 jacks

At the factory settings, no sound will be sent from output2

jacks.(p.29)

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Chapter 1

Try out the unit

(Quick start)

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Connect a MIDI keyboard and play the sounds

Making connections

This section explains how to connect this unit to a MIDI keyboard and play the sounds. If you

wish to connect a sequencer or personal computer to this unit, refer to p.120.

To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

Set the Computer select switch located on the back of this unit to MIDI.

MIDI OUT

MIDI keyboard

COMPUTER

MIDI

IN A

OUT/THRU

IN B

MIDI

PC-2

Mac

PC-1

Computer Switch : MIDI

INPUT

VOLUME

INPUT

OUTPUT1

OUTPUT2

This unit

Left

INPUT

Right

LINE IN

Stereo set

Powered Speaker

At the factory settings, no sound will be sent from output2 jacks.(p.29)

Chapter 1. Try out the unit

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Turning the power on or 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 mal-

function and/or damage to speakers and other devices.

Turning the power on

1. Before you turn the power on, check the following points.

Make sure that the power cables of each device are correctly plugged into an AC outlet.

Make sure that this unit is correctly connected to any peripheral devices you are using (p.8).

Make sure that the volume of your amp/speaker system and this unit is turned down.

2. Turn on the power of this unit and your MIDI equipment.

3. Turn on the power of your audio system.

Set your amplifier to an appropriate volume.

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.

Excessive volumes can damage your speaker system. Please be aware that speakers used in

conventional stereo systems are more vulnerable to being damaged by high volume levels than

are speakers designed for musical instruments.

Is this unit is placed at an angle where the display is difficult to read, adjust the LCD Contrast (p.38).

To restore the factory settings, refer to p.118.

Turning the power off

1. Before you turn the power off, check the following points.

Make sure that the volume of your amp/speaker system and this unit is turned down.

2. Turn off each device in the following order.

Audio devices this unit and MIDI devices

Is there sound?

After making connections as explained in “Making connections”, turn the power on,

and gradually raise the volume while playing the keyboard. Does the bar indicator of this

unit move? If it does, this unit is receiving MIDI messages correctly.

VOLUME

If this moves, MIDI messages

Press this to

are being received.

sound a note.

(

)

PREVIEW PUSH

10 11 12 13 14 15 16

Part Number

This unit will sound a note when the Volume knob is pressed (the Preview function). If

playing your keyboard produces no sound, you can use this function to see whether the

amp volume and speaker connections are correct.

If this unit bar indicator does not move, MIDI messages are not being received from

your MIDI keyboard. Check your MIDI keyboard settings and MIDI cable connections.

With the factory settings, this unit will produce sound in response to any channel 1 — 16,

regardless of the transmit channel your keyboard is set to (p.130). This is because each Part is

assigned to the correspondingly numbered MIDI channel. The number below the bar indicator is

the Part number.

If you hear sound but the bar indicator does not move, press the [ALL] button to make the [ALL]

indicator light. Now the volume levels of all the Parts of this unit will be indicated in the display

(p.23).

Chapter 1. Try out the unit

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Try out the various sounds

This unit contains a wide variety of sounds, including not only musical instruments

such as piano, organ and guitar, but also sound effects such as birds and telephone

rings. In this unit, each of these sounds is called an “Instrument”. A group of Instruments

is called a “Map.”

This unit has three maps; a Native map which contains original sounds, an SC-55

map which contains almost the same sounds as the SC-55/SC-55mkII, and an SC-88

map which contain the same sounds as the SC-88. (p.21, 154)

Here's how to select instruments or maps to try out the sounds.

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use INSTRUMENT [ ] [ ] to select sounds. Play and listen the sounds of

the Native map.

Pressing INSTRUMENT [l ] will move to a lower-numbered sound, and pressing

INSTRUMENT [r ] will move to a higher-numbered sound.

While holding down the [r ] ( [l ] ) button, press the [l ] ( [r ] ) button, the value will

change faster.

3. To select the SC-55 map, or SC-88 map press the [SC-55MAP] button or

[SC-88 MAP] button to make the indicator light.

Use the INSTRUMENT [l ] [r ] buttons to select instruments, and listen the sound of the

SC-55 map or SC-88 map.

When SC-55 map sounds are selected, a “"” mark will be displayed at the left of the

instrument name.

IN S TRU M EN T

P A RT

A01 001 "Piano 1

LEVEL

P A N

100 0

When SC-88 map sounds are selected, a “'” mark will be displayed at the left of the

instrument name.

IN S TRU M EN T

P A RT

A01 001 'Piano 1

LEVEL

P A N

100 0

If the indicator is dark, the Native map will be selected.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

If you press a sound select button on your MIDI keyboard, this unit's sound will change.

MIDI keyboard

Chapter 1. Try out the unit

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Try out the buttons of the unit

Preview the sound (Preview)

When you press the Volume knob, the currently selected instrument will sound. You

can specify the pitch and volume at which this preview note will be sounded (p.37). This

preview function is convenient when you wish to check sounds or adjust the tuning when

a keyboard is not connected.

POWER

VOLUME

PART

LEVEL

REVERB

K SHIFT

(

)

PREVIEW PUSH

The following procedures must be performed with the [ALL] button indicator dark. If it

is lit, press the [ALL] button to turn it off.

Volume adjustments

Volume adjusts the loudness of the sound. Press LEVEL [r ] to increase the volume,

and press LEVEL [l ] to decrease the volume.

Pan adjustments (stereo position)

Pan sets the stereo position of the sound when a stereo playback system is used.

Use the PAN [l ] [r ] buttons to set the pan. For example, the drum set and bass might

be placed in the center, the guitar at right, and the keyboard at left. To place a sound in

the center, set the Pan value to 0. As the L-value increases the sound will be placed fur-

ther left, and as the R-value increases the sound will be placed further right. If you con-

tinue pressing PAN [l ], “Rnd” (random) will be selected, and each note will be placed

at a random stereo position.

For some instruments, small amounts of leakage may he heard from the opposite speaker even

when pan has been set fully left or right.

If you are listening in mono, pan settings will have no effect.

Bass

Guitar

Keyboard

Drum Set

L63

Left Speaker

R63

Right Speaker

Center

Chapter 1. Try out the unit

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Transpose the pitch

You can transpose the pitch of the sound in semitone steps. Pressing KEY SHIFT [l ]

will lower the key (pitch), and pressing KEY SHIFT [r ] will raise the key (pitch).

The area of the screen where the Key Shift setting is displayed is shared with the Delay display.

When while holding down the [SC-88 MAP] button, press [DELAY] buttons, the delay setting will

be displayed, and when you press the [KEY SHIFT] buttons the key shift setting will be dis-

played. If the display indicates a +/- (plus or minus) value, the key shift setting is being dis-

played. (p.13)

Pan adjustments

Volume adjustments

VOLUME

PART

LEVEL

INSTRUMENT

PAN

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

K SHIFT

CHORUS

MIDI CH

REVERB

KEY SHIFT

CHORUS

MIDI CH

(

)

EVIEW PUSH

SC 55

MAP

SC 88

10 11 12 13 14 15 16

MAP

DELAY

PART

DELAY

PHONES

Key shift adjustments

Key Shift field and Delay field

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Apply effects to the sound

Effects are used to electrically process the sound in various ways to add a different

character to the sound. The effects of this unit can be classified either as System effects

(p.48) or as Insertion effects (p.56). System effects include 8 types each of reverb and

chorus, 10 types of delay, and 2-band equalizer. Insertion effects include 64 effect

types. In addition, you can make appropriate parameter settings for each effect, provid-

ing varied and detailed control over the sound.

Now let's apply a System effect.

Adjust the amount of reverb

Reverb is an effect that adds spacious reverberance to the sound, simulating a per-

formance in an acoustically live concert hall. Pressing REVERB [l ] decreases the

reverb depth, and pressing REVERB [r ] increases the reverb depth.

Adjust the amount of chorus

Chorus is an effect that adds depth and richness to the sound. Pressing CHORUS

[l ] decreases the chorus depth, and pressing CHORUS [r ] increases the chorus

depth.

Adjust the amount of delay

Delay is an effect that delays the sound to create echoes. Also, you can add a short

delay to the original sound to give depth and space to the sound. While holding down

the [SC-88 MAP] button, press DELAY [l ], decreases the volume of the delayed sound,

and while holding down the [SC-88 MAP] button, press DELAY [r ], increases the vol-

ume of the delayed sound.

The area of the screen where the Delay setting is displayed is shared with the Key Shift display.

When while holding down the [SC-88 MAP] button, press [DELAY] buttons, the delay setting will

be displayed, and when the [KEY SHIFT] buttons are pressed the key shift setting will be dis-

played. If the display indicates a +/- (plus or minus) value, the key shift setting is being dis-

played. (p.12)

When the EFX indicator is dark, you can also set the delay by pressing EFX TYPE [l ][r ].

Adjust the amount of reverb

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

Adjust the amount

of chorus

SC 55

MAP

SC 88

MAP

DELAY

Adjust the amount of delay

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Tuning to other instruments (Tuning)

M. Tune (Master Tune) 415.3 — 466.2 Hz

When you are playing in an ensemble with other instruments or need to set this unit

to match the pitch of another instrument, adjust the Master Tune setting. The displayed

value (e.g., 440.0 Hz) indicates the frequency of the A4 note's pitch (note number 69).

Tuning procedure

1. Press [ALL] to make the button indicator light.

2. Simultaneously press both the PART [ ] [ ] buttons.

3. Press [ ] or [ ] to select “M.Tune”

IN S TRU M EN T

P A RT

ALL >M. Tune: 440.0

LEVEL

P A N

100 0

4. As you listen to the sound, use INSTRUMENT [ ] [ ] to adjust the pitch

of this unit to match the pitch of the other instrument.

Pressing [l ] will lower the pitch, and pressing [r ] will raise the pitch. The display will

show the frequency of the pitch, so if you are tuning to a specific frequency you can

visually check the desired value.

5. When you have made the desired setting, simultaneously press both the

PART [ ] [ ] buttons.

It is also possible to set the tuning independently for each Part (p.28).

PART

INSTRUMENT

PAN

ALL

LEVEL

REVERB

KEY SHIFT

MUTE

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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Headphones

Use headphones of 8 — 150 ohms impedance. Sound will be output from the audio

output jacks even when headphones are connected.

POWER

VOLUME

Stereo Headphones

(

)

PREVIEW PUSH

MIDI IN B

PHONES

The headphone jack will output the sound of OUTPUT1.This means that the sound of Parts

assigned to OUTPUT2 will not be heard from the headphone jack.

Audio input jacks / Audio input volume

You can connect the output jacks of other MIDI sound sources to these jacks. The

audio signal that is input here will be mixed with this unit's sound and output from the

audio output1 jacks.

If the signal input to this unit is too large or too small, use the audio input volume

knob to adjust it. If the input signal is too large, rotate the knob to the left to reduce the

volume.

COMPUTER

MIDI

IN A

OUT/THRU

IN B

MIDI

PC-2

Mac

PC-1

Audio Input Volume Knob

INPUT

OUTPUT1

OUTPUT2

VOLUME

This unit

Left

Right

OUT PUT

Sound Module

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Chapter 2

Parts and parameters

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Parts and sounds

This unit is able to produce 32 different types of sound at once. An instrument such

as this unit, which can simultaneously produce many sounds from a single unit's is

called a multi-timbral sound generator. A Timbre is an instrumental sound. Being able to

simultaneously play 32 sounds means that you can use 32 different instruments at once.

In other words, you can create an orchestra-like ensemble of 32 musical parts. In this

unit, the sound selected for each Part is called an Instrument. (Instrument chart, p.154)

You can assign the sounds you want to each of 32 Parts to create your own ensemble.

There are two types of Parts: Normal Parts and Drum Parts. We refer to this differ-

ence as the Part mode (p.27). Normal Parts are used for playing melody or bass lines.

Drum Parts are used for playing percussion instruments.

This unit has three maps; a Native map which contains original sounds, an SC-55

map which contains almost the same sounds as the SC-55/SC-55mkII, and an SC-88

map which contain the same sounds as the SC-88. (p.21, 154)

Here's how to select instruments or maps to try out the sounds.

For details about Part Mode, refer to p.27.

Assigning a sound to a Part

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [ ] [ ] buttons to select the Part for which you want to

specify a sound.

As you press the PART [l ] [r ] buttons, the screen display indicating the Part numbers

will change “A01..A16 B01..B16”. If you select the Drum Part, an “*” will be displayed

in front of the Drum Set name.

To switch between the group A and B, simultaneously press both [ALL] and PART [l ].

IN S TRU M EN T

P A RT

A01 026*TR-808

LEVEL

P A N

100 0

3. Use the INSTRUMENT [ ] [ ] buttons to select the sound (Instrument)

for each Part.

For the Drum Part, a Drum Set will be selected.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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To select the same sounds as the SC-55/SC-55mk II

4-1.Press [SC-55 MAP], and the sound for that Part will be almost the same as

the SC-55/55mk II.

At this time “"” will be displayed in front of that Instrument name.

IN S TRU M EN T

P A RT

A01 001 "Piano 1

LEVEL

P A N

100 0

It is also possible to select the CM-64 Instrument layout. (p.114)

To select the same sounds as the SC-88

4-2.Press [SC-88 MAP], and the sound for that Part will be the same as the

SC-88.

At this time “'” will be displayed in front of that Instrument name.

IN S TRU M EN T

P A RT

A01 001 'Piano 1

LEVEL

P A N

100 0

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

4-1

4-2

MAP

SC 88

MAP

DELAY

To select Part sounds or Drum Sets from another MIDI device, refer to p.126.

Some of the sounds in this unit cannot be played above (or below) a certain pitch. This is

because the sounds have been created with the pitch ranges of actual instruments in mind.

You can edit sounds to suit your taste and store them as User sounds. (p.96)

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Selecting Variation sounds

Each of the three sound maps of this unit contains Capital sounds (basic sounds) and

Variation sounds (sounds with different nuances). The procedure explained on the pre-

vious page selects Capital sounds (128 sounds; Instrument list, p.154). Here's how

to select Variation sounds.

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [ ] [ ] buttons to select the Part for which you want to

choose a Variation sound.

3. Simultaneously press both INSTRUMENT [ ] [ ] buttons to enter

Variation select mode.

The Variation number and a “/” symbol will be displayed in front of the Instrument

name.

Insturument name(Capital)

Variation number

IN S TRU M EN T

P A RT

A01 000/Piano 1

LEVEL

P A N

100 0

4. Press INSTRUMENT [ ] or [ ] to change the Variation number.

Instrument name(Variaton)

Variation number

IN S TRU M EN T

P A RT

A01 008/Piano 1w

LEVEL

P A N

100 0

5. To exit Variation select mode, simultaneously press both the INSTRU-

MENT [ ] [ ] buttons. You will return to normal mode (the Instrument

number is displayed).

In this condition, pressing INSTRUMENT [l ] or [r ] will change the instrument number.

Instrument name(Variation)

Instrument number

IN S TRU M EN T

P A RT

A01 001+Piano 1w

LEVEL

P A N

100 0

3 4

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

Some Variation numbers are not consecutive.

If the Part is set to a Drum Part (p.18, 27), the Variation number will not change. This is because

Drum Sets do not have Variations.

Sounds compatible with the CM-64 are Variation sounds in the SC-55 map. Original sounds you

create (p.96) are Variation sounds in the Native map and SC-88 map.

If the indicator of EFX is dark, you can also use EFX PARAM[l ][r ] to select the Instrument

sound, and EFX VALUE[l ][r ] to select the Variation sound.

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A symbol will be displayed in front of the sound name to indicate the type of sounds

you are selecting.

blank Capital sounds (Variation number 000)

“+”

“ ’”

“"”

“#”

Variation sounds (Variation number 001 — 125)

SC-88 sounds (SC-88 map)

SC-55/55mk II sounds (SC-55 map)

CM-64 compatible sounds (Variation number 126, 127 in the SC-55 map)

IN S TRU M EN T

P A RT

A01 001 Piano 1

Capital sounds

LEVEL

P A N

100 0

IN S TRU M EN T

P A RT

A01 001+Piano 1w

Variation sounds

LEVEL

P A N

(Instrument number is displayed)

100 0

P A RT

IN S TRU M EN T

A01 008/Piano 1w

Variation sounds

LEVEL

P A N

(Variation number is displayed)

100 0

P A RT

IN S TRU M EN T

A01 001 'Piano 1

SC-88 sounds

LEVEL

P A N

100 0

P A RT

IN S TRU M EN T

A01 001 "Piano 1

SC-55/55mkll sounds

LEVEL

P A N

100 0

P A RT

IN S TRU M EN T

A01 001#"Piano 1

CM-64compatible sounds

LEVEL

P A N

100 0

Reading the Instrument numbers and Variation numbers

Each sound (Instrument) of this unit has two numbers; an Instrument number and a

Variation number. Sounds with Variation number 000 are Capitals, and the sounds with

numbers other than 000 are Variations.

In normal displays, the Instrument numbers will be displayed. The display screen on

this unit can show either the Instrument number or the Variation number, not both.

Native map

SC-88 sound map

SC-55 sound map

127 ^{Acou Piano 1}

Elec Piano 3 Elec Piano 4 Honkytonk

Jungle Tune

065 User Tone

User Tone

064

User Tone

065

064

Syn Harpsi

032

Piano + Str.

024

Hard FM EP

St.FM EP

Harpsi.o

Harpsi.w

Explosion

Lasergun

003

002

001

000

Hard FM EP

St.FM EP

Harpsi.o

Harpsi.w

Explosion

Lasergun

Machine Gun

Gun Shot

128

024

016 Piano 1d

008

000

Harpsi.o

Harpsi.w

Detuned EP 1 Couple Hps.

003 Explosion

002 Lasergun

Machine Gun

001

024

016

008

000

003

002

001

000

016 European Pf

Piano 1d

Piano 1w

Piano 1

001

E.Piano 2v

Piano 1w

008

Detuned EP 2 Couple Hps.

Machine Gun

Gun Shot

Detuned EP 2 Couple Hps.

Piano 1w

Piano 1

001

000

Piano 1

E.Piano 2

Harpsichord

Clav.

008

E.Piano 2

Harpsichord

Clav.

008

E.Piano 2

Harpsichord

Clav.

008

000 Gun Shot

001

006

007

128

006

007

006

007

128

Instrument number

Capital sounds

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Part Channels

To each of this unit's 32 Parts, there is assigned an instrument and also a Channel.

Channels are a concept used in MIDI to distinguish notes that should be played by dif-

ferent instruments in an ensemble. Normally, there is no need to change the channel of

a Part when using this unit. However it may sometimes be interesting to set two Parts to

the same channel so that two sounds will simultaneously play the same musical line. To

change the MIDI channel of a Part, use the following procedure.

For detail about MIDI, refer to p.130.

MIDI IN

MIDI channel 1

Sound 1

MIDI channel 2

Sound 2

MIDI channel 15

Sound 15

MIDI channel 16

Sound 16

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

If you operate the MIDI CH [l ] [r ] buttons while the [ALL] indicator is lit, the MIDI channel of a

Patch (p.41) will be changed. Be careful.

2. Use the PART [ ] [ ] buttons to select the Part whose channel you wish

to change.

When you press the PART [l ] [r ] buttons, the Part number will change as “A01..A16

B01..B16”. If you select a Drum Part, a “*” mark will appear in front of the Drum Set

name.

3. Use the MIDI CH [ ] [ ] buttons to set the MIDI channel of the Part.

When you press the MIDI CH [l ] [r ] buttons, the MIDI channel will change as

“A01..A16 A-- B01..B16 B--”. Select the desired MIDI channel. Parts for which

you select “A--, B--” will ignore all MIDI messages except Exclusive messages.

To switch between the A and B, simultaneously press both KEY SHIFT [r ] and MIDI CH [l ]

REVERB

C H O RU S

40 64

M ID I C H

K S H IFT

0 A01

10 11 12 13 1

MIDI Channel

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

CHORUS

MIDI CH

SC 55

MAP

KEY SHIFT

DELAY

SC 88

MAP

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Which MIDI IN will be used by each Part?

MIDI IN A

MIDI IN B

Part group A

Part group B

Part A01

Part A02

Part A15

Part A16

Part B01

Part B02

Part B15

Part B16

OUTPUT

This unit has two MIDI IN jacks. This is because since there are only 16 MIDI chan-

nels, it is necessary to have two MIDI jacks in order to play 32 Parts.

Parts are classified into Group A (A01 — A16) and Group B (B01 — B16), with six-

teen in each group. The MIDI channel assigned to each Part is also displayed in two

groups as A01 — A16 or B01 — B16. With the factory settings, groups A and B corre-

spond to this unit's two MIDI IN jacks A and B. In other words, MIDI messages received

at MIDI IN A are sent to the group A Parts, and MIDI messages received at MIDI IN B

are sent to the group B Parts. For example, a MIDI message on channel 5 received at

MIDI IN B will sound Part 5 of Group B (B05) (with the factory settings).

Be aware that the way in which the data is sent from the two MIDI IN jacks to the various Parts

will depend on the setting of the System parameter Receive Connection (Input Modes p.137).

Also, Exclusive messages received at MIDI IN A can be passed on to Parts of group B, depend-

ing on the specified address. (p.128, 193)

If the [ALL] button has been pressed to turn on the [ALL] indicator, the volume levels

of the 32 Parts will be graphically displayed as shown below when this unit is played.

This graphic display allows you to monitor the reception for each Part.

IN S TRU M EN T

P A RT

ALL - SOUND Canvas -

LEVEL

P A N

Part group B

Part group A

127 0

REVERB

C H O RU S

64 64

M ID I C H

K S H IFT

0 A--

10 11 12 13 14 15 16

D ELAY

P A RT

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How simultaneous note numbers and Voices are related

The sounds of this unit consist of units called “Voices”. There is a limit to how many

of these “Voices” can sound at once, and in the case of this unit, up to 64 simultaneous

voices can be used. Some sounds (Instruments) use 1 voice and others use 2 voices

(Instrument list, p.154). The main reason that some sounds use 2 voices is to allow dif-

ferent timbres to be produced by different velocity values.

If more than 64 voices are used at once, later-sounded notes will be given priority,

and notes sounded previously will be turned off starting from the oldest. If you use only

single-voice instruments, you will be able to play 64 notes simultaneously, but if some of

the instruments are 2-voice, you will be able to play less than 64 simultaneous notes.

Even if a MIDI Note Off message (p.131) is received, voices will be used for as long as

the sound is heard. Be aware of this especially in the case of sound with a long release

(p.33).

If song data created with 64 voice playback in mind is played back on a sound source with fewer

voices, some notes will drop out, and the musical result will not be as it should. The SC-55 has

24 voices, and the SC-55mkII has 28 voices.

Concerning legato-enabled sounds

This unit provides legato-enabled sounds that are ideally suited to legato playing, and

which can realistically simulate this instrumental performance technique.

To understand this feature, consider how most string instruments produce sound.

Usually, a brief attack-like sound will be heard only at the very instant the string is made

to vibrate. After that a much mellower, attack-free sound continues to emanate during

the string’s vibration. The legato-enabled sounds simulates such variable attack-portion

characteristics of string sounds by switching on or off certain special voices within an

Instrument according to the way the keyboard is played.

Instrument which has a “ :” at the end of its name (such as “Violin:”) is the lega-

to-enabled sound.

Try out one of these Patches to hear how it works. If you are using a keyboard, play a

note and keep your finger on that key while playing another note.

You should hear a distinct attack portion with the first note you play, while the second

one contains almost no attack components, and sounds much smoother.

At this time, “ L” will be displayed following “ :” of the instrument name.

If you want to sound the attack portion each time, simply release your finger from a

key before playing the next note.

At this time, “ L” will not be displayed following “ :” of the instrument name.

Legato Control cannot be switched on and off on an Instrument basis. You should choose and

edit an Instrument that meets your intended usage.

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Part parameters for performance

These parameters determine how each Part behaves when it receives MIDI mes-

sages. The way in which the sound changes in response to messages such as velocity,

pitch bend, modulation and aftertouch will be determined by the settings of these para-

meters.

[1] Parameters that can be set directly using the buttons

LEVEL [l ] [r ]

PAN [l ] [r ]

KEY SHIFT [l ] [r ] : transpose each Part

: set the volume of each Part

: set the pan of each Part

[MUTE]

: mute each Part (Part Mute)

[ALL] [MUTE]

: monitor each Part (Part Monitor)

[SC-55 MAP]

[SC-88 MAP]

: set each Part to almost the same sounds as the SC-55/55mk II

: set each Part to the same sounds as the SC-88.

indicates that both buttons must be pressed simultaneously.

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

If you wish to change the volume (for example) of all Parts simultaneously, press the [ALL] but-

ton to make the indicator light, and continue the following procedure. (p.34)

2. Use the PART [ ] [ ] buttons to select the Part whose setting you wish

to change.

3. Use the parameter buttons on the front panel to change the setting. The

setting will be displayed in the appropriate part of the screen.

4. When you press the LEVEL, PAN and KEY SHIFT [ ] [ ] buttons simulta-

neously, the current setting will be shown graphically on the screen.

Set the Volume of each Part

PART

LEVEL

INSTRUMENT

PAN

ALL

Monitor each Part

MUTE

Set the pan of each Part

REVERB

KEY SHIFT

CHORUS

MIDI CH

Set each Part to the

same sounds as the

SC-55/55mkll

SC 55

MAP

SC 88

MAP

DELAY

Set each Part to the

same sounds as the

SC-88

Mute each Part

Transpose each Part

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[2] Parameters that must be selected from the menu

The following parameters can be selected.

Part EQ

(Part Equalizer)

(Part Mode)

(Mono/Poly Mode)

(Fine Tune)

(Bank Select Receive Switch)

(NRPN Receive switch)

Bnd Range

Bnd Cutoff

Bnd Amp

(Bend Range)

(Bend Cutoff)

(Bend Amplitude)

Part Mode

M/P Mode

Fine Tune

Rx Bank Sel

Rx NRPN

Bnd LFO Rate (Bend LFO Rate)

Bnd LFO Pch

Bnd LFO TVF

Bnd LFO TVA

(Bend LFO Pitch)

(Bend LFO TVF)

(Bend LFO TVA)

Velo Depth

Velo Offset

K.Range L

K.Range H

CC1 C.Number (CC1 Controller Number)

OUT Asgn

(Velocity Sens Depth)

(Velocity Sens Offset)

(Keyboard Range Low)

(Keyboard Range High)

CAf Range

CAf Cutoff

CAf Amp

CAf LFO Rate

CAf LFO Pch

CAf LFO TVF

CAf LFO TVA

(Channel Aftertouch Range)

(Channel Aftertouch Cutoff)

(Channel Aftertouch Amplitude)

(Channel Aftertouch LFO Rate)

(Channel Aftertouch LFO Pitch)

(Channel Aftertouch LFO TVF)

(Channel Aftertouch LFO TVA)

(Output Assign)

S.Tune C - B

(Scale Tuning C-B)

Mod Range

Mod Cutoff

Mod Amp

(Modulation Range)

(Modulation Cutoff)

(Modulation Amplitude)

CC1 Range

CC1 Cutoff

CC1 Amp

(CC1 Range)

(CC1 Cutoff)

(CC1 Amplitude)

Mod LFO Rate (Modulation LFO Rate)

CC1 LFO Rate (CC1 LFO Rate)

CC1 LFO Pch (CC1 LFO Pitch)

CC1 LFO TVF (CC1 LFO TVF)

CC1 LFO TVA (CC1 LFO TVA)

Mod LFO Pch

Mod LFO TVF

(Modulation LFO Pitch)

(Modulation LFO TVF)

Mod LFO TVA (Modulation LFO TVA)

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Simultaneously press both the PART [ ] [ ] buttons.

3. Use the PART [ ] [ ] buttons to select the Part whose settings you wish

to modify.

4. Press [ ] or [ ] to select the parameter you wish to modify.

While holding [SELECT], you can press [u ][d ] to jump to the Part EQ, S.Tune C, Mod

Range, Bnd Range, CAf Range, CC1Range, and CC1 LFO TVA parameters.

IN S TRU M EN T

P A RT

A01 >Part Mode: Norm

LEVEL

P A N

100 0

5. Use the INSTRUMENT [ ] [ ] buttons to set the value.

6. When you finish making settings, simultaneously press both the PART

[

] [ ] buttons to end the procedure.

PART

LEVEL

INSTRUMENT

ALL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

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SC-88 MAP(Part SC-88 MAP):On/Off

What each parameter does

When the [SC-88 MAP] button is pressed to turn on

the indicator, the sound of the currently selected Part

will change to be the same as the SC-88.

LEVEL (Volume level): 0 — 127

This parameter adjusts the volume of each Part.

Higher values result in a louder sound.

At this time, “ ” will be displayed in front of that

Instrument name.

PAN (Panning): Rnd, L63 — 0 — R63

Part Monitor: On/Off

Pan refers to the position in the stereo field. For exam-

ple, you might place the drum set and bass in the cen-

ter, the guitar at the right, and the keyboard at the left.

To place the sound in the center, set this value to 0.

As the L-number increases the sound will move further

to the left, and as the R-number increases the sound

will move further to the right. With a setting of “Rnd”

(random), each note will be placed at an unpredictable

location.

Part Monitor can be turned on when you want to listen

to only one or more Parts that you select. This feature

conveniently allows you to listen to only the instru-

ments you want to hear during sequenced playback.

To turn it ON, simultaneously press both [ALL] and

[MUTE]. The indicator on MUTE will blink on and off

while the feature is on.

* While you have the Part Monitor on, you can press EFX

PARAM [r ] (in the panel’s bottom row) to listen to

some other Part you want to hear. The volume ratio of

some other parts is displayed in the MIDI CH column.

* In the case of a Drum Set, the pan position has been

fixed for each percussion instrument. Adjusting the Pan

of a Drum Set will shift the overall set to left or right.

* For some instruments, some sound may be heard from

the opposite speaker even if Pan has been set fully left

or right.

* With Part Monitor on, you can add extra Parts that you

want to monitor by using PART [l ] [r ] to select Parts,

then pressing EFX VALUE [r ]. Press EFX VALUE [l ]

to cancel whatever choices you have made.

* If your amp/speaker system is mono, Pan will have no

effect.

VIB RATE

AT TACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

Bass

Guitar

Keyboard

SELECT

ON/OFF

Drum Set

EFX TYPE

EFX PARAM

EFX VALUE

L63

Left Speaker

R63

Right Speaker

Center

Part EQ: On/Off

KEY SHIFT: -24 — ± 0 — +24: semitone

Equalizer on/off can be set for individual Parts. Part

equalizer will be on, and the equalizer will be applied

to the sounds of parts. Part equalizer will be off, and

the equalizer will not be applied to the sounds of parts.

steps, 2 octaves

This parameter transposes the Part. As the value

increases (decreases) the pitch will rise (fall) in steps

of a semitone. 12 steps make a difference of 1 octave.

With a setting of 0 the pitch will not be affected.

* For the procedure of making Equalizer settings, refer to

p.48.

MUTE (Part Mute): On/Off

* With the factory settings, equalizer gain is set at 0.This

means that the equalizer will have no effect even if the

Part EQ is on.

This function allows you to mute the sound of a specif-

ic Part so that it will not be heard. When the [MUTE]

button is pressed to turn on the indicator, Part Mute

will be turned on. When playing back a recorded

ensemble from a sequencer etc., it is sometimes con-

venient to mute one of the Parts and play the missing

part yourself. The lowest dot on the bar display indi-

cates the mute on/off status of each Part. The dot will

be off for Parts whose Part Mute is turned on.

Part Mode: Norm/Drum1/Drum2

For Parts which are playing conventional instrument

sounds, select Norm (Normal mode). For Parts which

are playing percussion or drums, select Drum1 or

Drum2. Drum Parts play a different sound (Instrument)

for each different MIDI note number (p.131). In other

words, a single Part can play many different percus-

sion instrument sounds (Drum set list p.163).

* If All Mute (p.35) is on, the lowest dot in the bar display

will be off for all Parts, regardless of their Part Mute

on/off setting.

* When a GM System On or GS Reset message (p.133)

is received, muting will be canceled. If you do not wish

mute to be canceled, turn on Mute Lock (p.139).

SC-55 Map (Part SC-55 MAP): On / Off

When the [SC-55 MAP] button is pressed to turn on

the indicator, the sound of the currently selected Part

will change to be almost the same as the SC-55/55mk

II.

At this time, “"” will be displayed in front of that

Instrument name.

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The Drum1 and Drum2 Parts allow you to simultane-

ously use two drum sets. For example if Drum Parts

are set as shown below, when you change the STAN-

DARD1 drum set of Part A10 to the TR-808, the selec-

tion for Part A12 will also change to TR-808. For

details on how to assign a drum set to a Part, refer to

p.18.

If Velo Offset is set higher than 64, even softly played

notes (i.e., notes with a low velocity) will be sounded

loudly (Fig.5). If Velo Offset is set lower than 64, even

strongly played notes (i.e., notes with a high velocity)

will be sounded softly (Fig.4).

* For some settings, there may be no sound. If so,

increase Velo Depth or Velo Offset.

Part name

Part A10

Part A11

Part A12

(Part Mode) Name of drum set

(Drum1) :

(Drum2) :

(Drum1) :

STANDARD 1

JAZZ

STANDARD 1

Velo Depth = 64, Velo Offset = 64

Velo Depth = 32, Velo Offset = 64

M/P Mode (Mono/Poly Mode): Mono/Poly

If a Part is set to Mono (Mono Mode), that Part will

play only one note at a time. It is effective to select

Mono Mode for parts that are playing a naturally

monophonic instrument such as a trumpet or sax.

Select Poly Mode for Parts that are playing chords.

Fig. 1

MIDI Velocity

Fig. 2

MIDI Velocity

Velo Depth = 127, Velo Offset = 64

Velo Depth = 64, Velo Offset = 32

* For a Drum part, changing the Mono/Poly Mode setting

will not affect the sound.

Fine Tune: -100.0 — +100.0 cent

Use this parameter when you wish to make fine adjust-

ments to the tuning of a Part. Positive (+) settings will

raise the pitch, and negative (-) settings will lower the

pitch. If two or more Parts are set to the same MIDI

channel and the same sound, you can spread their

Fine Tuning settings apart to add rich depth and

breath to the sound.

Fig. 3

MIDI Velocity

Fig. 4

MIDI Velocity

Velo Depth = 64, Velo Offset = 96

Velo Depth = 64, Velo Offset = 127

* To adjust the pitch of all Parts, use the Master Tune

parameter (p.14).

* To transposes the Part, use the KEY SHIFT parameter

(p.25).

Rx Bank Sel (Bank Select Receive Switch):

On/Off

Fig. 5

MIDI Velocity

Fig. 6

MIDI Velocity

Rx NRPN (NRPN Receive Switch): On/Off

For details of these two parameters, refer to p.141.

K. Range L (Keyboard Range Low): C-1 — G9

Velo Depth (Velocity Sensitivity Depth):

0 — 127

K. Range H (Keyboard Range High): C-1 — G9

The Key Range parameters determine the pitch range

over which the instrument will be sounded. Keyboard

Range Low (the lowest note) and Keyboard Range

High (the highest note) will determine the range of

notes that will sound. These values are displayed as

key names. You can specify a value between C-1 and

G9 (0 — 127), and middle C is C4 (60).

Velo Offset (Velocity Sensitivity Offset):

0 — 127

The force with which you play a note on MIDI key-

board is transmitted as MIDI Velocity data. Strongly

played notes will have a higher velocity value. The

Velo Depth and Velo Offset parameters determine the

relation between the force of your keyboard playing

and the loudness of the sound that results.

Note name

If Velo Depth is increased, small differences in your

playing dynamics will make a large difference in the

loudness of the sound (Fig.3). If Velo Depth is

decreased, even large differences in your playing

dynamics will make only a small difference in the loud-

ness of the sound (Fig.2).

C-1

A0 C1

21 24

108

MIDI note number

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S.Tune C - B (Scale Tuning C - B):

For example, if you assign two Parts to the same MIDI

channel and set the Keyboard Range of one to C-1 —

B3 and the other to C4 — G9. Then you could assign

different sounds to each Part, and play two different

sounds on either side of C4. Or, you could set the key-

board ranges of two Parts to overlap, and layer the two

sounds.

-64 — +63

Scale Tuning is a parameter which makes fine adjust-

ments to the pitch of each note in the octave. These

settings are for one octave of notes, and will simulta-

neously adjust the pitch of that note in all octaves. By

using Scale Tuning, you can perform using a variety of

temperaments other than equal temperament. Here

we will give three settings as examples.

* Be aware that if Keyboard Range High is set to a note

name lower than Keyboard Range Low, there will be no

sound.

< Equal temperament >

This tuning divides the octave into 12 equal parts, and

is the most widely used method of temperament used

in western music. The default setting of this unit's

Scale Tune function is Equal Temperament.

< Just intonation (tonic of C) >

B3 C4

Compared with equal temperament, the principle triads

sound pure in this tuning. However this effect is

achieved only in one key, and the triads will turn

muddy if you transpose. Here is an example of the set-

tings for a tonic of C.

Instrument 1

Instrument 2

CC1 C.Number (CC1 Controller Number):

1 — 95

Set the controller number which will control the CC1

parameter (p.30) via MIDI. For example if you set CC1

C.Number to 16, the value of an incoming MIDI con-

troller number 16 message will affect the sound as

specified by the setting of the CC1 parameter.

< Arabian-style scale >

A variety of ethnic tunings can be achieved by using

the Scale Tuning function. Here are settings for a tun-

ing representative of Arabian-style scales

Example settings (values are in units of cents)

OUT Asgn (Output Assign): OUT-1/2/2L/2R

Specify the output jack from which the sound of each

part will be output.

Note name Equal temperament

Just intonation

(tonic of C)

Arabian-style scale

-6

+45

-2

-12

-51

-8

+43

-4

+47

-8

+16

-14

-2

-10

+14

-16

+14

-12

OUT-1

OUT-2

The sound together with the effect

sound will be output in stereo from the

OUTPUT 1 jacks.

The direct sound without the effect

sound will be output in stereo from the

OUTPUT 2 jacks.

OUT-2L The direct sound without effects will be

output from the OUTPUT 2L jack. (The

Pan setting will have no effect.)

OUT-2R The direct sound without effects will be

output from the OUTPUT 2R jack. (The

Pan setting will have no effect.)

-10

-49

Mod ~/Bnd ~/CAf ~/CC1 ~

Mod ~ (Modulation ~ )

* The headphone jack will output the sound of OUTPUT

1. This means that the sound of Parts assigned to OUT-

PUT 2 will not be heard from the headphone jack.

When you move the modulation lever or modulation

wheel of a MIDI keyboard, modulation messages are

transmitted, modifying the sound. The Mod ~ parame-

ters specify the way in which the sound will change

when these messages are received. With the factory

settings of these parameters, vibrato will be applied to

the sound.

* This is valid only when Sys. OUT Mode (p.38) is set to

Sel. Be aware that if it is set to Fix, the above settings

will be ignored.

* With the factory settings, all Parts are set to OUT-1.

* The sound from OUTPUT 2 is output at a fixed volume,

unaffected by the position of the volume knob.

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Bnd ~ (Bend ~ )

~ LFO Pch (~ LFO Pitch)

0 — 127

When you move the pitch bend lever or pitch wheel of

a MIDI keyboard, pitch bend messages are transmit-

ted, modifying the sound. The Bnd ~ parameters spec-

ify the way in which the sound will change when these

messages are received. With the factory settings of

these parameters, the pitch will be modified.

These parameters specify the way in which the depth

of the vibrato effect (cyclic modulation of pitch) will

change when the corresponding message is received.

Higher values allow the modulation effect to be

increased.

~ LFO TVF (~ LFO TVF)

0 — 127

CAf ~ (Channel aftertouch ~ )

These parameters specify the way in which the depth

of the growl effect (cyclic modulation of tone) will

change when the corresponding message is received.

Higher values allow the growl effect to be increased.

On some MIDI keyboards, pressing down on the key

after a note is played will cause aftertouch messages

to be transmitted. (Channel Aftertouch is sometimes

called Channel Pressure.) This unit is able to receive

these messages and modify the sound in response.

The CAf ~ parameters specify the way in which the

sound will change when these messages are received.

With the factory settings of these parameters, no effect

will occur.

~ LFO TVA (~ LFO TVA)

0 — 127

These parameters specify the way in which the depth

of the tremolo effect (cyclic modulation of volume) will

change when the corresponding message is received.

Higher values allow the tremolo effect to be increased.

* Check whether your MIDI keyboard is able to transmit

aftertouch messages.

* When these settings are at 0, there will be no effect.

CC1 ~ (CC1 ~ )

Some MIDI keyboards allow controller numbers to be

assigned to the sliders. When these sliders are moved,

messages of the specified controller number are trans-

mitted, causing the sound to be modified. The CC1

parameters specify how the sound will change when

messages of the corresponding control number are

received.

First use the CC1 C.Number parameter (previous

page) to select the controller number that you are

assigning.

~ Range -24 — +24 (Bend Range is ±0 — +24)

These parameters specify the maximum pitch change

that will occur when the corresponding message is

received. A setting of 12 allows 1 octave of change,

and a setting of 24 allows 2 octaves of change. With a

setting of 0, there will be no pitch change.

* For some sounds, the pitch may not rise as high as

specified by the Range setting.

~ Cutoff (~ Cutoff frequency)

-64 — +63

These parameters specify how the cutoff frequency

will change when the corresponding message is

received. Higher values will cause the cutoff frequency

to rise. Positive (+) settings allow the sound to be

made brighter, and negative (-) settings allow the

sound to be made more mellow.

~ Amp (~ Amplitude)

-64 — +63

These parameters specify the way in which the sound

will change when the corresponding message is

received. Higher values allow a greater increase in vol-

ume.

~ LFO Rate (~ LFO Rate)

-64 — +63

These parameters specify the way in which the LFO

frequency will change when the corresponding mes-

sage is received, adjusting the speed at which the

sound is modulated or varied. Higher values allow the

modulation or variation to be speeded up.

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Part parameters for sound editing

On this unit, you can modify the values of a variety of parameters in order to create

the sound most suitable for your playing. A “parameter” is something that affects the

sound. The process of modifying parameter values is called “editing.” Sound parameters

affect the volume, timbre and pitch of the sound.

You can set the following parameters.

Vibrato

Filter

Envelope

: Rate

: Attack Time

Depth

Cutoff Frequency

Decay Time

Delay

Resonance

Release Time

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [ ] [ ] buttons to select a Part.

3. Press the [SELECT] button to select the parameter (vibrato, filter, enve-

lope) you wish to edit, and use the corresponding set of [ ] [ ] buttons

to modify the value.

4. Simultaneously pressing both [ ] [ ] buttons used to set Vibrato, Filter

or Envelope will cause the setting status of that parameter to appear

graphically in the display.

Simultaneously press both buttons again, and the previous display will reappear.

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

Vibrato

Rate

Vibrato

Depth

Vibrato

Delay

Filter

Resonance

Filter

Cutooff

Frequency

Envelope

Release Time

Attack Time

Decay Time

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(Example) Vibrato editing display

IN S TRU M EN T

P A RT

A01 Vib. |+20| 0| 0|

LEVEL

P A N

100 0

Depth

Delay

Rate

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

select a parameter

Set the value

What each parameter does

On this unit, parameter settings are made for each Part. In other words, parameter

values belong to Parts, and not to sounds (Instruments). For example if you set Vibrato

Rate to +20 and then select a different sound for that Part, the Vibrato Rate of +20 will

apply to the newly selected sound (not the initial value of ±0). In this way, parameters

belonging to Parts are called Part Parameters.

Parameters such as Vibrato, Filter and Envelope can be set not only for Parts, but also for

sounds (Instruments). Sounds you create by modifying these parameters are called User

sounds, and can be stored in Native map memory area (p.97).

Vibrato

Vibrato is an effect created by modulating the pitch. Applying vibrato makes the sound more expressive.

Vibrato Rate: -64 — +63

Filter

By modifying the filter settings, you can control the tim-

bre (tone) of the sound. The type of filters in this unit

are called Low Pass Filters, and allow only frequencies

lower than a specified frequency to pass. This frequen-

cy is called the Cutoff Frequency. By modifying the

setting of the Cutoff Frequency you can make the

sound brighter or darker. The Cutoff Frequency can

change over time, controlled by the “envelope”. By

adjusting the filter and envelope settings, you can cre-

ate sounds that have movement and expression.

This parameter adjusts the speed (frequency) of the

pitch modulation. Positive (+) settings make the pitch

modulation faster, and negative (-) settings make it

slower.

Vibrato Depth: -64 — +63

This parameter adjusts the depth of the pitch modula-

tion. Positive (+) settings make the pitch modulation

deeper, and negative (-) settings make it shallower.

Vibrato Delay: -64 — +63

Higher frequencies

This parameter adjusts the time required for the vibra-

to effect to begin. Positive (+) settings increase the

time before vibrato will begin, and negative settings

shorten the time.

Low

Pass

Filter

Cutoff

frequency

Delay

Depth

Lower frequencies

Note-on

Rate

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Cutoff Freq (Cutoff Frequency): -64 — +63

Positive settings of Cutoff Freq will raise the cutoff fre-

quency. Negative settings will lower the cutoff frequen-

cy. As you set this value higher in the positive direc-

tion, more overtones will be allowed to pass, and the

sound will become harder (brighter). The further this

value is set in the negative direction, the fewer over-

tones will be allowed to pass, and the sound will

become softer (darker).

A : Attack time

D : Decay time

R : Release time

Cutoff frequency

Envelope

Sound ends

Time

Level

Note-on

Note-off

* For some sounds, positive (+) settings of Cutoff Freq

will cause no noticeable change in the sound.

Attack Time: -64 — +63

This parameter adjusts the sharpness of the beginning

of the sound.

Low pass filter characteristics

Level

Decay Time: -64 — +63

This parameter adjusts the time over which the sound

will fall from the highest point of the attack down to the

sustain level (Fig.1).

Frequency

Cutoff frequency

* Some sounds have a sustain level of 0 (Fig.2). Piano

and guitar sounds are in this category.

Resonance: -64 — +63

When the Resonance value is increased, the over-

tones in the area of the cutoff frequency will be

emphasized, creating a sound with a strong character.

Release Time: -64 — +63

This parameter adjusts the time over which the sound

will decay after the note is released until it is no longer

heard. The cutoff frequency will also fall according to

this.

* For some sounds, negative (-) settings of Resonance

will cause no noticeable change in the sound.

Level

* For some sound, modifying the various Time settings of

the envelope will cause no noticeable change in the

sound.

Frequency

Cutoff frequency

Low

High

Resonance

Fig.1

Volume

Envelope

Sounds ends

The volume of an instrument changes with time, from

the moment the note begins to sound to when it disap-

pears. This change can be indicated on a graph as

shown in the following diagram. This shape is unique

to each instrument, and is an important element in how

we distinguish sounds we hear. This shape is called

the “envelope.” The envelopes of musical instrument

sounds can change depending on how the instrument

is played. For example if a trumpet is played sharply

and strongly, the attack will be quick and the sound will

be sharp. But if a trumpet is played lightly and softly,

the attack will be softer. In order to adjust the attack of

a sound, we can modify the Attack Time of the enve-

lope. By modifying the values of the envelope we can

simulate the characteristics of many different instru-

ments.

Sustain Level

Time

Note-off

Note-on

Fig.2

A : Attack time

D : Decay time

R : Release time

Volume

Sounds ends

Time

The envelope shape that we create in this way will

also affect the way in which the cutoff frequency

changes. If the cutoff frequency had been lowered, it

will rise as the envelope rises, and will fall as the enve-

lope falls.

Note-off

Note-on

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Setting parameters common to all Parts

Here's how to make settings for parameters that are common to all Parts.

This procedure allows you to set the following parameters.

LEVEL [l ] [r ]

: set the volume of all Parts

: set the pan of all Parts

PAN [l ] [r ]

KEY SHIFT [l ] [r ] : transpose all Parts

[MUTE]

: mute all Parts (All Mute)

[SC-55 MAP]

[SC-88 MAP]

: Set all Parts to the SC-55 map.

: Set all Parts to the same sound map structure as the SC-88.

Procedure

1. Make sure that the [ALL] indicator is lit.

If it is dark, press the [ALL] button to turn it on.

If you wish to make settings independently for each Part, press the [ALL] button to turn off the

indicator, and use the following procedure. (p.25)

2. Use the front panel parameter buttons to make settings.

3. With the LEVEL, PAN and KEY SHIFT buttons, you can simultaneously

press both [ ] [ ] buttons to graphically display the current setting on

the screen. If you simultaneously press them once again, the previous

screen will reappear.

Set the volume of all Parts

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

Set the pan of all Parts

REVERB

KEY SHIFT

CHORUS

MIDI CH

Set all Parts to

the SC-55 map.

SC 55

MAP

SC 88

MAP

DELAY

Set all Parts to

the same sound

map structure

as the SC-88.

Transpose all Parts

Mute all Parts

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How each parameter works

The settings made here apply to all Parts (when the [ALL] indicator is lit). If you wish to make

settings independently for each Part, use the procedure of p.25.

LEVEL (Master level): 0 — 127

SC-55 MAP (ALL SC-55 MAP): On/Off

If you press the [SC-55 MAP] button to make the indi-

cator light, the sounds of all Parts will be set to the

same sounds as the SC-55 map.

The [SC-55 MAP] button provides one-touch prepara-

tion for playing back SC-55/55mkII performance data.

This parameter adjusts the volume of all the Parts. As

the displayed value increases, the volume will

increase. The basic volume level of this entire unit is

adjusted by the Volume knob. If the volume knob is at

minimum position, there will be no sound even if you

increase this parameter.

* It is also possible to turn the SC-55 map on/off for indi-

vidual Parts (p.25).

PAN (Master Pan): L63 — 0 — R63

* All the sounds for all Parts can be arranged so they use

the Native map by holding down [SELECT] while you

press [SC-55 MAP] ( when the [ALL] indicator is lit ). At

this time, [SC-55 MAP] indicator blinks.

This parameter sets the Pan (stereo position) for all

the Parts. As the displayed L value increases the

sound will move further left, and as the R value

increases the sound will move further right.

SC-88 MAP (ALL SC-88 MAP): On/Off

If you press the [SC-88 MAP] button to make the indi-

cator light, all Parts will have the same sound map

structure as the SC-88.

Parts for which the SC-55 MAP is selected will be

played using the sounds of the SC-55 map.

* For some instruments, a bit of sound may be heard

from the opposite speaker even if Pan has been set

fully left or right.

* If you are listening to this unit in mono, Pan settings will

have no effect.

KEY SHIFT (Master Key Shift): -24 — ± 0 —

* It is also possible to turn the SC-88 map on/off for indi-

vidual Parts.(p.25)

+24 semitone steps, 2 octaves

Key Shift adjusts the pitch of the sound in semitone

steps. For example if you were playing back song data

from a sequencer, you could use the Key Shift para-

meter to change the key of the song without changing

the sequencer settings. Or, if you are singing along

with sequence data, you can adjust Key Shift to move

the song to the key most comfortable for your voice.

As the displayed value rises (falls) one step, the pitch

will rise (fall) one semitone. This means that 12 steps

equal one octave.

* When the [ALL] indicator is lit, you can hold down the

[SELECT] button and press the [SC-88MAP] button to

set all Parts to the SC-88 map. At this time, the [SC-

88MAP] indicator will blink.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

Set the sounds of

Native map

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

* Even if you adjust Key Shift for all Parts, the pitch of the

Drum Part will not be affected.

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ATTACK

MUTE (All Mute): On/Off

If you press the [MUTE] button to turn the indicator on,

All Mute will be on, and the sound of all Parts will be

muted.

EFX

ON/OFF

EFX TYPE

EFX PARAM

EFX VALUE

Set the sounds of SC-88 Map

* Mute can also be set independently for each Part

(p.25).

* When All Mute is turned on, each of the lowest dots in

the bar display will be turned off.

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

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System parameter settings

This section explains how to make settings for parameters that affect this entire unit.

These parameters are called System parameters.

System parameters are as follows.

Prevw Note

Prevw Velo

Display

(Preview Note Name)

(Preview Velocity)

(Display Types)

Peak Hold

LCD Contrast

Backup

(Peak Hold)

(LCD Contrast)

(Backup Switch)

IN B Sel.

(IN B Select)

OUT/THRU

In Mode

(OUT/THRU Select)

(Input Mode)

Rx Sys. Mode

Sys.OUT Mode

Assign Lock

P.Load Init

(System Mode Set receive switch)

(System Output Mode)

(Output Assign Lock)

(Patch Load Initialize switch)

Procedure

1. Simultaneously press [ ] and [ ].

2. Press either [ ] or [ ] to select the parameter you wish to set.

IN S TRU M EN T

P A RT

A01 %Prevw Note: A4

LEVEL

P A N

100 0

“%” indicates a parameter that affects this entire unit (a System parameter).

3. Use the INSTRUMENT [ ] [ ] buttons to set the value.

4. When you finish making settings, simultaneously press the [ ] and [

buttons to exit the procedure.

]

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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How each System parameter works

Type 1 : Bar display (factory preset)

Type 5 : Reverse 1

Prevw Note (Preview Note Name): C-1 — G9

When you press the PREVIEW knob, the instrument

shown in the display will sound. The Prevw Note para-

meter determines the note that will be sounded at this

time. The A note in the center of the keyboard is A4.

10 11 12 13 14 15 16

Type 2 : Single segment display

Type 6 : Reverse 2

* If you have set Key Shift, the pitch will be shifted (p.25,

34).

10 11 12 13 14 15 16

Type 7 : Reverse 3

Type 3 : Top to bottom bar display

POWER

VOLUME

PART

INSTRUMENT

LEVEL

PAN

10 11 12 13 14 15 16

REVERB

K SHIFT

CHORUS

MIDI CH

Type 8 : Reverse 4

Type 4 : Top to bottom single segment display

(

)

PREVIEW PUSH

DELAY

10 11 12 13 14 15 16

MIDI IN B

PHONES

Peak Hold: Off/Type1 — Type3

Note name

IN S TRU M EN T

P A RT

A01 %Peak Hold:Type1

LEVEL

P A N

C-1

A0 C1

21 24

100 0

108

MIDI note number

In this unit display, the highest dot in the bar level dis-

play will be held on for a short time after the volume

falls below it. You can select one of the following four

ways in which this Peak Hold function will work.

For Type 1 and Type 3, the dots of the peak level indi-

cator will move downward if the Display parameter

explained above is set to Type 3, 4, 7 or 8.

Prevw Velo (Preview Velocity): 0 — 127

This sets the velocity of the note that sounds when you

press the PREVIEW knob. Normally, higher velocities

result in louder sound. (p.28 Velocity Sensitivity, etc.)

Display (Display Type): Type1 — Type8

This parameter allows you to select one of the follow-

ing 8 types of volume level display.

Off

: The peak level will not be held

Type1 : After holding the peak level, the peak level

dot will move downward

Type2 : After holding the peak level, the peak level

dot will disappear

Type3 : After holding the peak level, the peak level

dot will move upward

* In Double Module mode (p.116), the Type 1 — 4 display

and Type 5 — 8 display will be exchanged.

IN S TRU M EN T

P A RT

A01 %Display: Type1

LEVEL

P A N

100 0

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LCD Contrast: 1 — 16

Sys.OUTMode (System Output Mode) :

Depending on the angle at which this unit is placed,

the display can sometimes be difficult to read. If so,

adjust the contrast of the display. Higher values will

make the characters darker.

Sel/Fix

This determines whether the OUT Asgn (Output

Assign) setting (p.29) will be valid or not.

Sel :

IN S TRU M EN T

P A RT

The sound of each Part will be output as specified by

the OUT Asgn settings.

A01 %LCD Contrast: 8

LEVEL

P A N

100 0

Fix :

The output of each Part will be fixed as follows,

regardless of the OUT Asgn settings.

Backup (Backup Switch): On/Off

When the power is turned off, this unit preserves

(backs up) the settings which were made, and when

the power is turned on again, these settings will reap-

pear in the display. If the Backup Switch is turned off,

the data will not be preserved.

For Single Module Mode:

Both Part Group A and B will be output in stereo with

the effect sound from the Output 1 jacks.

Part Group A

* Even if the Backup Switch if off, the System parameter

settings (p.36) will be preserved.

(Include effects)

OUTPUT 1

Part Group B

IN B Sel. (IN B Select): Front/Rear

This setting determines which of the two MIDI IN B

connectors will be used. (p.135)

For Double Module Mode:

The Parts of group A will be output in stereo with the

effect sound from the Output 1 jacks, and the Parts of

group B similarly from the Output 2 jacks.

* After the setting of this switch is changed, the power

must be turned on once again for the new setting to

take effect.

(Includes effects)

Part Group A

OUTPUT 1

Part Group B

(Includes effects)

OUTPUT 2

OUT/THRU (MIDI OUT/THRU Select):

OUT/THRU

This setting determines whether the rear panel MIDI

OUT/THRU connector will function as OUT or as

THRU. (p.136)

In this case only, the Output 2 jacks will output sound

that includes the effect sound.

* The headphone jack will output the sound that is sent to

Output 1. This means that the sound of the Parts

assigned to Output 2 will not be heard in the head-

phones.

* After the setting of this switch is changed, the power

must be turned on once again for the new setting to

take effect.

* At the factory settings, this parameter is set to Sel.

In Mode (Input modes): Standard, X-con-

nect, Merge A, Merge B, A only

This setting determines how data received at MIDI IN

Assign Lock (Output Assign Lock): On/Off

The setting of OUT Asgn (Output Assign) (p.29) will

return to the factory settings when GS Reset or GM

System On are received. However if Assign Lock is

turned On, these settings will not change.

A and B will be passed on to the Part Groups. (p.137)

* After the setting of this switch is changed, the power

must be turned on once again for the new setting to

take effect.

P.Load Init (Patch Load Initialize switch):

On/Off

Rx Sys. Mode (System Mode Set Receive

This specifies whether or not the settings of Parts A03

— B16 will be initialized when a Patch (p.39) is loaded.

With a setting of On, the settings of Part A03 and fol-

lowing will be initialized. With a setting of Off, the set-

tings of Part A03 and following will not be initialized.

The factory setting is On.

Switch): On/Off

The selection of Single Module Mode or Double

Module Mode (p.116) is called the System Mode. The

Rx Sys. Mode setting is the receive switch for MIDI

messages (System Mode Set p.194) that select the

System Mode. If Rx Sys. Mode is turned Off, the mode

will not change even if System Mode Set messages

are received. If Rx Sys. Mode is turned On, the mode

will change. (p.137)

* In Double Module mode, the settings of Part group B

will not be initialized.

Chapter 2. Parts and paramters

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Using Patches

On this unit, the instrument and effect parameters are collectively referred to as a

Patch. This unit provides 128 Preset Patches in which these parameters are already set

to ideal settings. (p.186)

Patch numbers 001 — 128:

Preset Patches

The Preset Patches contain high-quality sounds together with optimal settings for

other parameters such as effects, making this unit immediately useful as an expansion

sound module for your keyboard, etc.

Patches contain parameter settings for Part A01 and Part A02 (see following dia-

gram). The initialized values are set for the other Parts.

Patch 128 Patch Name :EPILOGUE

Parameters common to all Parts

PartB16

Load

Patch 001 Patch Name :RB STRAT

Part B16

Default Setting

Part A03

Part A02

Part A01

Patch

Patch Name : -SOUND Canvas-

Default

Value

Part A03

Parameters common to all Parts

Part B16

Instrument

Effect

Part Parameter etc.

Default

Value

Default

Part A01

Value

Default

Value

Patches contain all the Patch parameters (p.194). Of these, the main parameters

which can be set from the front panel are the following.

Parameters common to all Parts (p.34)

System Effects (p.48)

Insertion Effects (p.56)

Part parameters for Parts A01 and A02 (p.25, 26, 31)

In Double Module mode, you can select Patches only for the Part Group A, and the

parameters will be fixed for Part A01 and Part A02. By playing song data on the Part

Group B while you play the Part Group A Patches from a keyboard etc., you can enjoy

solo playing while adding unique effects.

Some sequencer software is unable to transmit data from the computer connector to

play the Part Group B. In this case, set the In Mode to “Xconnect” so that the Part Group

B will be played (p.137).

Patch

001-128

U01-U16

ALL-A

Part group A

Macintosh IIci

Insertion

Part A1 - A16

Effect

(EFX)

COMPUTER

MIDI IN B

GM/GS

Computer

Sound generator

ALL-B

Part group B

Part B1 - B16

OUTPUT

GM/GS

MIDI Keyboard

Sound generator

In Mode : X-connect

If you select a Patch in Double Module mode, the equalizer and delay settings will be ignored.

Also, Patches cannot be selected for the Part Group B.

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Loading a Patch

1. Press the [ALL] button to make the button indicator light.

2. Use INSTRUMENT [ ] [ ] to select the Patch that you wish to load.

The Patch name will appear, and the [ALL] button and [MUTE] button will blink.

IN S TRU M EN T

P A RT

ALL 001 RB START

LEVEL

P A N

100 0

3. Press the [ALL] button to load the Patch.

To cancel without loading, press the [MUTE] button.

IN S TRU M EN T

P A RT

ALL 001 RB START

LEVEL

P A N

100 0

It takes awhile until the sound can be heard after you change the Patch.

Be aware that with the factory settings, the settings of Part A03 and following will be initialized

when you load a Patch. If you do not want the settings of Part A03 and following to be initialized

when a Patch is loaded, turn “ P.Load Init” Off (p.38). Also, in Double Module mode, the

settings of Part group B will not be initialized.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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Using MIDI messages to select Patches

Normally when a MIDI program change message is received, the Instrument of a Part

will change. However if you set the MIDI channel for the Patch, the Patch will change

when a program change message is received (p.131).

With the Patch MIDI CH settings of “A--” or “ B--”, incoming program changes will

select the Instrument of the corresponding Part.

With the factory settings, the Patch MIDI CH is set to A--.

1. Press the [ALL] button to make the button indicator light.

2. Use MIDI CH [ ] [ ] to set the MIDI channel.

LEVEL

P A N

127 0

REVERB

C H O RU S

64 64

M ID I C H

K S H IFT

A--

Patch Channels

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

For example, suppose that the MIDI channels of the Patch and Part were set to the

same value. In this case, an incoming program change on channel 1 [C0H 01H] will

select Patch 02 MILD OD, but the Instrument of Part A01 the instrument (TC Front

Pick) specified for the Patch will be used.

Patch MIDI CH:

“A01”

Part A01 MIDI CH: “A01”

If you want program changes to once again select the Instrument of Part A01, set the

Patch MIDI CH to “ A--”.

It takes awhile until the sound can be heard after you change the Patch.

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Creating a Drum Set (Drum Edit)

A Drum Part has assigned to it a group of various percussion instrument sounds

which are called a Drum Set. Unlike a Normal Part, a Drum Part sounds a different

instrument for each note number. Since a Drum Part needs to simultaneously produce a

wide variety of sounds such as bass drum, snare, tom and cymbal, this is very conve-

nient. A collection of such sounds each assigned to their own note number is called a

Drum Set. Each sound within a Drum Set is called an Drum Instrument. (Drum Set list

p.163)

On this unit, you can modify various drum instrument parameters to get the drum

sounds most suitable for your musical needs. A “parameter” is something that affects

the sound. The process of modifying parameter values is called “editing.”

For each instrument (Drum Instrument) of the currently selected Drum Set, you can

modify the values for the following parameters. These parameter values are set inde-

pendently for each Drum Instrument assigned to a note number.

Volume, Pan (stereo position), Pitch, Reverb send level, Chorus send level, Delay

send level, Assign group.

Drum Sets you create can be stored in internal memory. (p.102)

Settings between the Normal Part and the Drum Part are made in Part mode. (p.27)

Drum editing procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [ ] [ ] buttons to select the Drum Part.

Drum Parts are indicated by an “*” mark at the left of the sound name.

Drum set name

Drum set number

IN S TRU M EN T

P A RT

A10 026*TR-808

LEVEL

P A N

100 0

3. Use the INSTRUMENT [ ] [ ] buttons to select a Drum Set.

If you press the [SC-55 MAP] button to make the indicator light, you can select the same

Drum Sets as in the SC-55/55mkII. SC-55/55mkII drum sets are indicated by a “"” mark

at the left of the Drum Set name. If you press the [SC-88 MAP] button to make the indi-

cator light, you can select the same Drum Sets as in the SC-88. SC-88 drum sets are

indicated by a “'” mark at the left of the Drum Set name. Your editing will apply to the

Drum Set you select here.

IN S TRU M EN T

P A RT

A01 026*"TR-808

LEVEL

P A N

100 0

4. Simultaneously press both the [SELECT] and EFX TYPE [ ] button.

The display will show the Part Group (p.23), the Part Mode (p.27), Drum Set number,

note name, and Drum Instrument name.

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Part Group

Part Mode

Drum set number

IN S TRU M EN T

P A RT

AD1 001 C#3 CrshCym1

LEVEL

P A N

100 0

Note Name

Drum Instrument name

Note name

C-1

A0 C1

21 24

108

127

MIDI note number

The Note name is the name of each note (key) on the keyboard, and corresponds to the MIDI

Note Number. The Drum instrument is assigned to note number.

5. Use the INSTRUMENT [ ] [ ] buttons select the Drum Instrument you

wish to edit.

Here you can also select Drum Sets. Since in both cases you use the INSTRUMENT

[l ] [r ] buttons to specify the number. You will need to switch between Drum Set select

mode and Drum Instrument select mode, simultaneously press both the INSTRUMENT

[l ] [r ] buttons. When you are selecting Drum Sets, the Drum Set number will blink.

Be aware that if you select a different Drum Set, the parameter Value will be initialized.

6. Use the front panel parameter buttons to modify the parameter values.

The values you set will appear in the appropriate location (field) of the display.

LEVEL [l ] [r ]

PAN [l ] [r ]

: set the volume of each instrument

: set the pan of each instrument

REVERB [l ] [r ]

CHORUS [l ] [r ]

: set the reverb send level of each instrument

: set the chorus send level of each instrument

EFX TYPE[l ] [r ] : set the delay send level of each instrument

KEY SHIFT [l ] [r ] : pitch coarse (adjust the pitch of each instrument in semitone steps)

MIDI CH [l ] [r ]

: assign group (p.44)

7. To return to the previous display, simultaneously press both the

[SELECT] and EFX TYPE [ ] button once again.

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

4 7

SC 88

MAP

DELAY

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

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Using Chorus and Delay

In the case of a Drum Instrument, it is not possible to simultaneously use both chorus

and delay. Chorus will not be applied to a Drum Instrument for which “d” and “D” is dis-

played in the CHORUS column (Fig.2). In this case, you can apply chorus by using the

CHORUS [l ] [r ] buttons to set the chorus send level.

Delay will not be applied to a Drum Instrument for which a number is displayed in the

CHORUS column (Fig.1). In this case, you can apply delay by press the EFX TYPE [l ]

[r ] buttons to set the delay send level. In other words, in the case of chorus and delay,

only the one you specify last will be valid.

Drum edit screen

IN S TRU M EN T

P A RT

Fig.1

AD1 001 C3 Hi.Tom 2

LEVEL

P A N

116 R18

REVERB

CHORUS

/DELAY column

C H O RU S

127 20

M ID I C H

S H IFT

62 Non

10 11 12 13 14 15 16

D ELAY

P A RT

IN S TRU M EN T

P A RT

Fig.2

AD1 001 C3 Hi.Tom 2

LEVEL

P A N

116 R18

REVERB

C H O RU S

127 d20

M ID I C H

S H IFT

62 Non

10 11 12 13 14 15 16

D ELAY

P A RT

The Delay setting will be displayed as “d00” — “d99” for values of 0 to 99, and as “D00” —

“D27” for values of 100 to 127.

About the Assign Group

Each instrument can be given a number, and instruments with the identical number

are treated as an Assign Group. No two instruments of the same Assign Group will

sound together. If while one instrument is sounding, a MIDI message is received to play

another instrument in the same Assign Group, the first instrument will be turned off first.

This is a useful way to prevent two instruments from sounding simultaneously that would

not normally do so. For example since it is obviously impossible for a hi-hat to simulta-

neously produce both an open hi-hat sound and a closed hi-hat sound, these two

sounds could be set to the same Assign Group (the same number) so that they would

not sound together.

Numbers from Non, 1 to 127 can be selected, but instruments for which Non is

selected will not be turned off by other instruments. In other words, instruments with a

setting of Non will not be treated as an Assign Group.

Be aware that if you select a different Drum Set, the parameter values will be initialized.

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Chapter 3

System Effects

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How the effect section of the unit is organized

The effects of this unit can be categorized into System effects (p.48) and Insertion

effects (p.56).

System effects include 8 types of reverb and chorus, 10 types of delay, and 2-band

equalizer. Insertion effects include a variety of 64 different effect types.

Of the System effects, the reverb/chorus/delay effects take part of the sound from

each Part to create a new effected sound (reverberance, etc.), and then add this to the

original sound.

For these effects, you can specify the amount of the sound for each Part sent to the

effect unit (Send Level). Higher settings will increase the level of the signal that is sent to

the effect unit, causing the effect sound that is produced to be louder. The result is that

the effect becomes deeper.

For the equalizer of System effects, on the other hand, you can select whether the

sound of the Part will pass through the equalizer or not; i.e., make an on/off setting to

modify the sound.

Insertion effects is the type of effect that modifies the sound itself, and is able to give

it a completely different character. You can specify for each Part whether or not it will

pass through the effect.

Since only one type of Insertion effect can be applied at a time, turning it on for two or

more Parts will cause the sound of these Parts to be mixed. If a System effect is applied

to a Part for which the Insertion effect is turned on, the Insertion effect Send Level will

be used instead of the Send Level of the Part itself.

Also, the type of effects that are available here will depend on the System mode set-

ting.

In Single Module mode (mode 1), each will have one set of effects.

In Double Module mode (mode 2), equalizer and delay are unavailable, but there are

two sets each for Reverb and Chorus settings, and these can be used simultaneously.

This is especially valuable when you wish to have different effect types or settings for

each Part. Also, the Insertion effect can be used only for the Part group A. This is every

effective when you wish to apply a special effect to the solo part that you play.

For details on Single Module mode and Double Module mode, refer to p.116.

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Single Module Mode

Reverb Send Level

x32

Reverb Level

Chorus Level

Reverb

Chorus

Reverb Send Level

Chorus Send Level

x32

Chorus Send Level To Reverb

Delay Send Level To Reverb

Chorus Send Level To Delay

Delay Level

Delay Send Level

x32

Delay

Delay Send Level

Equalizer

Insertion effect

Part group A

Part A1 - A16

(EFX)

ON/OFF

Equalizer On/Off

Level

x32

Part group B

Part B1 - B16

x32

Equalizer On/Off

OUTPUT

Insertion

Effect(EFX)

Double Module Mode

Reverb Send Level

x16

Reverb Level

Reverb

Chorus Send Level To Reverb

Reverb Send Level

Chorus Send Level

x16

Insertion effect

(EFX)

Chorus Level

Chorus

Level

ON/OFF

Part group A

Part A1 - A16

x16

Insertion

Effect(EFX)

Reverb Send Level

Reverb Level

Reverb

x16

Chorus Send Level To Reverb

OUTPUT

Chorus Send Level

x16

Chorus Level

Chorus

Part group B

Part B1 - B16

Level

x16

* You can apply the Insertion effect to the Part in Group B, if the Part's MIDI Channel is set to A01 - A16.

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System Effect settings

The System effects of this unit include 8 types of reverb and chorus, and 10 types of

delay. In addition, for each of these effects you can specify parameter values such as

character, depth, rate and time. Reverb is an effect that adds reverberation to a sound,

as you would hear in a concert hall. Chorus broadens the spatial image of the sound,

adding depth and richness. Delay creates echoes. It is also possible to give depth and

width to a sound by adding a short delay to the original sound. For these effects, you

can set the overall level for all Parts and also individual levels for each Part.

This unit has a two-band equalizer (high range, low range). An equalizer lets you

boost or cut specified frequency ranges of a sound to adjust the tone. For each range,

high and low, you can specify the frequency and the amount of boost or cut (gain).

Equalizer setting procedure

The equalizer cannot be used when Double Module Mode (p.116) is selected.

The equalizer can be turned on/off for individual Parts. (p.27)

1. Press [ALL] to make the button indicator light.

2. Press [SELECT] to display the equalizer setting.

IN S TRU M EN T

P A RT

ALL EQ Gain |+ 5|+ 9

LEVEL

P A N

127

REVERB

C H O RU S

64 64

M ID I C H

S H IFT

0 A--

10 11 12 13 14 15 16

D ELAY

P A RT

3. Press the EFX TYPE [ ] [ ] buttons to select gain or frequency setting

display.

IN S TRU M EN T

P A RT

ALL EQ Gain |+ 5|+ 9

LEVEL

P A N

100 0

IN S TRU M EN T

P A RT

ALL EQ Freq |200| 3k

LEVEL

P A N

100 0

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4. Use the EFX PARAM [ ] [ ] buttons to adjust the EQ Gain(Low) or the

Low Frequency. Use the EFX VALUE [ ] [ ] buttons to adjust the EQ

Gain(High) or the High Frequency.

The equalizer settings you make here are common to all Parts. They cannot be set indepen-

dently for individual Parts.

5. When you finish making settings, press [SELECT] once again to end the

procedure.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

2 5

Equalizer parameter functions

EQ Gain (Low): -12 — 0 — +12dB

EQ Gain (High): -12 — 0 — +12dB

Specify the amount of boost or cut (gain) for the high frequency range (high) and the

low frequency range (low). Positive (+) settings will boost, and negative (-) settings will

cut.

With a Gain setting of 0, the equalizer will have no effect.

EQ Low Freq (Equalizer Low Frequency): 200/400 Hz

EQ High Freq (Equalizer High Frequency): 3/6 kHz

These parameters set the cutoff frequencies of the ranges boosted or cut by the

equalizer.

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When you want to adjust the system effect for all Parts

1. Press [ALL] to make the button indicator light.

2. Press the button of the effect you wish to adjust.

REVERB [l ] [r ] : reverb level of all Parts

CHORUS [l ] [r ] : chorus level of all Parts

DELAY [l ] [r ] (while holding down the [SC-88 MAP])

: delay level of all Parts

3. When you perform the following operation, the current parameter value

will be displayed graphically.

Simultaneously press both [ ][ ] buttons of REVERB or CHORUS.

While holding the [SC-88MAP] button, press both [ ][ ] buttons of

DELAY.

Simultaneously press both buttons once again and the previous display will reappear.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

If the indicator of EFX is dark, you can also use EFX TYPE [l ][r ] to adjust delay level.

Simultaneously press both EFX TYPE [l ][r ], and the delay parameter values will be displayed

graphically.

When you want to adjust the system effect for each Part

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [ ] [ ] buttons to select the Part you wish to modify.

3. Press the button of the effect you wish to adjust.

REVERB [l ] [r ] : reverb level of each Part

CHORUS [l ] [r ] : chorus level of each Parts

DELAY [l ] [r ] (while holding down the [SC-88 MAP])

: delay level of each Parts

You can not select the System effect parameters individually for the Part with Insertion effect

“on”.(p.46)

4. When you perform the following operation, the current parameter value

will be displayed graphically.

Simultaneously press both [ ][ ] buttons of REVERB or CHORUS.

While holding the [SC-88MAP] button, press both [ ][ ] buttons of

DELAY.

Simultaneously press both buttons once again and the previous display will reappear.

If the indicator of EFX is dark, you can also use EFX TYPE [l ][r ] to adjust delay level.

Simultaneously press both EFX TYPE [l ][r ], and the delay parameter values will be displayed

graphically.

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Setting Reverb/Chorus/Delay parameters

1. Press [ALL] to make the button indicator light.

2. Simultaneously press both the PART [ ] [ ] buttons.

3. Use [ ] [ ] to select the parameter you wish to modify.

While holding the [SELECT] button, press[u ][d ] to skip parameters.

IN S TRU M EN T

P A RT

ALL >Reverb: Hall2

LEVEL

P A N

100 0

4. Use INSTRUMENT [ ] [ ] to set the value.

IN S TRU M EN T

P A RT

ALL >Reverb: Plate

LEVEL

P A N

100 0

5. When you finish making settings, simultaneously press both PART [

]

[

] buttons to end the procedure.

2 5

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

Delay cannot be used when Double Module Mode (p.116) is selected.

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Reverb parameter function

About Reverb Type

When you change the Reverb Type, the above-

listed six reverb parameters (including Reverb

Character) will be automatically adjusted to the

optimal values. Rather than individually adjust-

ing each reverb parameter, it is easier to first

set the Reverb Type (listed in the MIDI imple-

mentation as “REVERB MACRO” → p.194),

and then modify only those parameters that you

wish to modify. In particular when using MIDI

exclusive messages, this method of making

settings will minimize the amount of data.

Chorus Type (CHORUS MACRO) and Delay

Type (DELAY MACRO) can be used in the

same way.

Reverb (Reverb Type)

You can choose from 8 types of reverb.

Room1

Room2

Room3

These reverbs simulate the reverberation of a room.

They provide a well-defined spacious reverberation.

Hall1

Hall2

These reverbs simulate the reverberation of a concert

hall. They provide a deeper reverberation than the

Room reverbs.

Plate

This simulates a plate reverb (a studio device using a

metal plate).

Delay

This is a conventional delay that produces echo

effects.

Panning Delay

This is a special delay in which the delayed sounds

move left and right. It is effective when you are listen-

ing in stereo.

When you change the Reverb Type, the following

parameter values will automatically change. This is so

that the parameter values will have the settings most

appropriate for the selected Reverb Type. You can

select these parameters (p.51) and modify the values

to adjust the effect to your taste.

Rev Charac. (Reverb Character) 0 — 7

This parameter selects only the type of reverb. 0 — 5

are reverb effects, and 6 and 7 are delay effects.

Rev Pre-LPF (Reverb Pre Low Pass Filter) 0 — 7

A low pass filter can be applied to the sound coming

into the reverb to cut the high frequency range. Higher

values will cut more of the high frequencies, resulting

in a more mellow reverberation.

Rev Level (Reverb Level) 0 — 127

This parameter sets the amount of the reverberant

sound. Higher values result in louder reverberation.

Rev Time (Reverb Time) 0 — 127

This parameter sets the time over which the reverbera-

tion will continue. Higher values result in longer rever-

beration.

Rev Delay Fb (Reverb Delay Feedback) 0 —

127

This parameter is used when the Reverb Charac. is

set to 6 or 7, Reverb Type is set to Delay or Panning

Delay. It sets the way in which delays repeat. Higher

values result in more delay repeats.

RevPreDlyT (Reverb Pre-Delay Time) 0ms

— 127ms

This parameter sets the delay time until the reverber-

ant sound is heard. Higher values result in a longer

pre-delay time, simulating a larger reverberant space.

* Reverb Pro-Delay Time cannot be used when Double

Module Mode (p.116) is selected.

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Cho Rev (Chorus Send Level To Reverb)

Chorus parameter function

0 — 127

This parameter sets the amount of chorus sound that

will be sent to the reverb. Higher values result in more

sound being sent.

Chorus (Chorus Type)

You can choose from 8 types of chorus.

Chorus1

Chorus2

Chorus3

Chorus4

These are conventional chorus effects that add spa-

ciousness and depth to the sound.

Cho Dly (Chorus Send Level To Delay) 0

— 127

Feedback Chorus

This is a chorus with a flanger-like effect and a soft

sound.

This parameter sets the amount of chorus sound that

will be sent to the delay. Higher values result in more

sound being sent.

Flanger

* Chorus Send Level To Delay cannot be used when

Double Module Mode (p.116) is selected.

This is an effect sounding somewhat like a jet airplane

taking off and landing.

Short Delay

This is a delay with a short delay time.

Short Delay (FB)

This is a short delay with many repeats.

When you change the Chorus Type, the following

parameter values will automatically change. This is so

that the parameter values will have the settings most

appropriate for the selected Chorus Type. You can

select these parameters(p.51) and modify the values

to adjust the effect to your taste.

Cho Pre-LPF (Chorus Pre Low Pass Filter)

0 — 7

A low pass filter can be applied to the sound coming

into the chorus to cut the high frequency range. Higher

values will cut more of the high frequencies, resulting

in a more mellow chorus sound.

Cho Level (Chorus Level) 0 — 127

This parameter sets the amount of the chorus sound.

Higher values will cause the chorus sound to be loud-

er.

ChoFeedback (Chorus Feedback Level) 0

— 127

This parameter sets the level at which the chorus

sound is returned (fed back) into the chorus. By using

feedback, a denser chorus sound can be created.

Higher values result in a greater feedback level.

Cho Delay (Chorus Delay Time) 0 — 127

This parameter sets the delay time of the chorus

effect. Higher values will cause greater deviation in

pitch of the chorus sound.

Cho Rate (Chorus Rate) 0 — 127

This parameter sets the speed (frequency) at which

the chorus sound is modulated. Higher values result in

faster modulation.

Cho Depth (Chorus Depth) 0 — 127

This parameter sets the depth at which the chorus

sound is modulated. Higher values result in deeper

modulation.

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Dly Level C (Delay Level Center) 0 — 127

This parameter sets the volume of the central delay.

Higher values result in a louder center delay.

Delay parameter function

* Delay cannot be used when Double Module Mode

(p.116) is selected.

Dly Level L (Delay Level Left) 0 — 127

This parameter sets the volume of the left delay.

Higher values result in a louder left delay.

Delay (Delay Type)

You can choose from 10 types of delay.

Delay1

Delay2

Delay3

Dly Level R (Delay Level Right) 0 — 127

This parameter sets the volume of the right delay.

Higher values result in a louder right delay.

These are conventional delays. 1, 2 and 3 have pro-

gressively longer delay times.

Delay4

This is a delay with a rather short delay time.

Dly Level (Delay Level) 0 — 127

This parameter sets the overall volume of the three

delays (center, left and right). Higher values result in a

louder overall delay.

Pan Delay1 Pan Delay2 Pan Delay3

The delay sound moves between left and right. This is

effective when listening in stereo. 1, 2 and 3 have pro-

gressively longer delay times.

Pan Delay4

Dly Fback (Delay Feedback) -64 — 0 — +63

This parameter affects the number of times the delay

will repeat. With a value of 0, the delay will not repeat.

With higher values there will be more repeats. With

negative (-) values, the center delay will be fed back

with inverted phase. Negative values are effective with

short delay times.

This is a rather short delay with the delayed sound

moving between left and right. It is effective when lis-

tening in stereo.

Delay to Reverb

Reverb is added to the delay sound which moves

between left and right. It is effective when listening in

stereo.

Panning Repeat

Dly Rev (Delay Send Level To Reverb) 0

The delay sound moves between left and right, but the

pan positioning is different than the effects listed

above. It is effective when listening in stereo.

— 127

This parameter sets the amount of delay sound that is

sent to the reverb. Higher values result in more sound

being sent.

When you change the Delay Type, the following para-

meter values will automatically change. This is so that

the parameter values will have the settings most

appropriate for the selected Delay Type. You can

select these parameters (p.51) and modify the values

to adjust the effect to your taste.

Dly Pre-LPF (Delay Pre Low Pass Filter)

0 — 7

A low pass filter can be applied to the sound coming

into the delay to cut the high frequency range. Higher

values will cut more of the high frequencies, resulting

in a more mellow delay sound.

Dly Time C (Delay Time Center) 0.1ms —

1.0s

The delay effect of this unit allows you to set three

delay times; center, left and right (when listening in

stereo). Delay Time Center sets the delay time of the

delay located at the center.

DlyTRatioL (Delay Time Ratio Left) 4% —

500%

This parameter sets the delay time of the delay located

at the left as a percentage of the Delay Time Center.

(up to a max. of 1.0s)

DlyTRatioR (Delay Time Ratio Right) 4% —

500%

This parameter sets the delay time of the delay located

at the right as a percentage of the Delay Time Center.

(up to a max. of 1.0s)

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Chapter 4

Insertion Effects

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Insertion effect settings

This unit has two types of effects: System effects and Insertion effects.

Insertion effects provide 64 effect types. Since appropriate parameters are provided for

each effects, you can make fine adjustments to the sound for professional-level control.

For details on System effects and Insertion effects, and on the effect structure of this unit, refer

to p.46.

Insertion effects can be applied independently to an individual Part.

Making Insertion effect settings

1. Use PART [ ][ ] to select the Part, and INSTRUMENT [ ][ ] to select

the Instrument to which the effect will be applied.

2. Press the [EFX] button to make the indicator light orange.

3. Press the [ON/OFF] button to make the Effect ON/OFF indicator light, and

the Insertion effect will be turned on.

To turn it off, press the [ON/OFF] button again.

4. Use EFX TYPE [ ][ ] to select the Effect Type.

5. Use EFX PARAM [ ][ ] to select parameters.

6. Use EFX VALUE [ ][ ] to set the value of the effect parameter.

7. While the [ALL] indicator is lit, press the [ON/OFF] button to turn off the

Effect ON/OFF indicator, and effects will be turned off for all Parts.

8. Press the [EFX] button to end the procedure.

Be aware that when you change the Effect Type, the effect parameters will be initialized.

If you wish to save your parameter values, it is convenient to use a User Effect. (p.99)

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

VIB DELAY

CUTOFF

DECAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

It takes awhile until the sound can be heard after you change the Patch.

If a monaural insertion effect is turned on, the settings for Part Pan (p. 25) and Master Pan (p.

34) will be ignored. Monaural insertion effects are those such as 2: Spectrum and 35: OD->

Chorus.

In the case of stereo insertion effects, however, the settings for Part Pan (p.25) and Master Pan

(p. 34) will be effective when the insertion effect is on. Stereo insertion effects are those that

maintain discrete L/R channels all the way to the output stage such as 1: Stereo-EQ and 16:

Hexa Chorus.

If the Insertion effect is turned on for two or more Parts, the sound of each Part will be mixed.

It will not be possible to set reverb / chorus / delay / equalizer independently for these Parts. (p.46)

For example if the Insertion effect is turned on for Part1 and Part2, and you modify the Reverb

value for Part1, the Reverb for Part2 wil automatically be modified to the same value.

For Parts for which the Insertion effect is Off, settings can be made independently for each Part.

When 00 Thru is selected, the Insertion effect will not be applied.

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Effects that modify the tone color (filter

Different effect types

type)

Effect types can be broadly grouped into the following

categories.

1: Stereo-EQ (Stereo equalizer)

[01H, 00H]

Effects that modify the tone color (filter type) (1

- 4)

This is a four-band stereo equalizer (low, mid x 2,

high).

Effects that distort the sound (distortion type) (5

- 6)

Effects that modulate the sound (modulation

type) (7 - 13)

Effects that affect the level (compressor type)

(14 - 15)

Low Freq (Low frequency)

200/400 [1]

Effects that broaden the sound (chorus type)

(16 - 20)

Select the frequency of the low range (200 Hz/400

Hz).

Effects that reverberate the sound (delay/reverb

type) (21 - 28)

Low Gain

-12 - +12 [2]

4k/8k [3]

Adjust the gain of the low frequency.

Effects that modify the pitch (pitch shift type)

(29 - 30)

Hi Freq (High frequency)

Others (31 - 34)

Select the frequency of the high range (4kHz/8kHz).

Effects that connect two types of effect in series

(series 2) (35 - 46)

Hi Gain

-12 - +12 [4]

200 - 6.3k [5]

Adjust the gain of the high frequency.

Effects that connect three or more types of

effect in series (series 3 / series 4 / series 5) (47

- 55)

M1 Freq (Mid 1 frequency)

Adjust the frequency of Mid 1 (mid range1).

Effects that connect two types of effect in paral-

lel (parallel 2) (56 - 64)

M1 Q (Mid 1 Q)

0.5/1.0/2.0/4.0/9.0 [6]

This parameter adjusts the width of the area around

the M1 Freq parameter that will be affected by the

Gain setting. Higher values of Q will result in a nar-

rower area being affected.

In the explanations that follow, the hexadecimal values

used when making settings via exclusive messages

are given at the end of the effect type line. The para-

meter number is given in decimal form at the end of

the Effect Parameter line. Use these values when you

use MIDI messages to set parameters. For details on

using exclusive messages, refer to p.191.

M1 Gain (Mid 1 gain)

-12 - +12 [7]

Adjust the gain for the area specified by the M1

Freq parameter and M1 Q parameter settings.

M2 Freq (Mid 2 frequency)

200 - 6.3k [8]

Adjust the frequency of Mid 2 (mid range2).

< Example >

M2 Q (Mid 2 Q)

0.5/1.0/2.0/4.0/9.0 [9]

1: Stereo-EQ

This means that the value for Address 40H 03H 00H is

MSB:01H, LSB:00H.

[01H, 00H]

This parameter adjusts the width of the area around

the M2 Freq parameter that will be affected by the

Gain setting. Higher values of Q will result in a nar-

rower area being affected.

For example, if you wish to set the effect type to 1: Stereo-

EQ, use an exclusive message such as the following:

M2 Gain (Mid 2 gain)

-12 - +12 [10]

F0 41 10 42 12 40 03 00 01 00 3C F7

Adjust the gain for the area specified by the M2

address

value

Freq parameter and M2 Q parameter settings.

Low Freq

200/400 [1]

+Level (Output level)

Adjust the output level.

0 - 127 [20]

“[1]” describes that it's the first parameter.

Parameters with “+” or “#” symbols allow you to modify

their value using specified controller, such as pitch

bend lever and sliders, or with control change mes-

sages. (p.92)

2: Spectrum

[01H, 01H]

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.

0: Thru

[00H, 00H]

No Effect will be applied. When a GM System On or

GS Reset messages(p.133) is received, 0:Thru will be

selected for Insertion Effect.

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Level (Output level)

Adjust the output level.

0 - 127 [20]

[01H, 03H]

Pan

Spectrum

4: Humanizer

This adds a vowel character to the sound, making it

similar to a human voice.

Band 1 (Band 1 gain)

Adjust the 250 Hz level.

-12 - +12 [1]

Band 2 (Band 2 gain)

Adjust the 500 Hz level.

-12 - +12 [2]

-12 - +12 [3]

-12 - +12 [4]

-12 - +12 [5]

-12 - +12 [6]

-12 - +12 [7]

-12 - +12 [8]

Humanizer

Pan

Band 3 (Band 3 gain)

Adjust the 1000 Hz (1 kHz) level.

Drive

0 - 127 [1]

Off/On [2]

a/i/u/e/o [3]

0 - 15 [4]

Band 4 (Band 4 gain)

Adjust the 1250 Hz level.

Adjust the depth of distortion.

Drive Sw

Band 5 (Band 5 gain)

Adjust the 2000 Hz level.

Turn Drive on/off.

+Vowel

Band 6 (Band 6 gain)

Adjust the 3150 Hz level.

Select the vowel.

Accel

Band 7 (Band 7 gain)

Adjust the 4000 Hz level.

Adjust the time over which the sound will move to

the specified Vowel. Smaller values will require

more time.

Band 8 (Band 8 gain)

Adjust the 8000 Hz level.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the low frequency gain.

Width (Band width)

0.5/1.0/2.0/4.0/9.0 [9]

Adjust the width of the frequency bands whose gain

is being modified (common to all bands). Higher

settings will make the frequency band narrower.

Hi Gain (High gain)

Adjust the high frequency gain.

Pan (Output Pan)

L63 - 0 - R63 [19]

+Pan (Output pan)

L63 - 0 - R63 [19]

Adjust the stereo position of the output sound. L63

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

#Level (Output level)

0 - 127 [20]

#Level (Output level)

Adjust the output level.

0 - 127 [20]

Adjust the output volume.

Effects that distort the sound (distortion

3: Enhancer

[01H, 02H]

type)

The Enhancer controls the overtone structure of the

high frequencies, adding sparkle and tightness to the

sound.

5: Overdrive

[01H, 10H]

This effect creates a soft distortion similar to that pro-

duced by tube amplifiers.

Enhancer

Mix

Amp

Simulator

Over

drive

Pan

+Sens (Sensitivity)

0 - 127 [1]

0 - 127 [2]

+Drive

0 - 127 [1]

Adjust the sensitivity of the enhancer.

Adjust the degree of distortion.

#Mix (Mix level)

Amp Type (Amp simulator type)

Adjust the ratio with which the overtones generated

by the enhancer are combined with the direct

sound.

Small/BltIn/2-Stk/3-Stk [2]

Select the type of guitar amp.

Small

BltIn

: small amp

Low Gain

-12 - +12 [17]

: single-unit type amp

: large double stack amp

: large triple stack amp

Adjust the gain of the low frequency range.

2-Stk

3-Stk

Hi Gain

-12 - +12 [18]

Adjust the gain of the high frequency range.

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Amp Sw (Amp switch)

Turn the Amp Type on/off.

Off/On [3]

Phaser

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

+Manual

100 - 8.0k [1]

Adjust the gain of the high frequency range.

Adjust the basic frequency from which the sound

will be modulated.

#Pan (Output pan)

L63 - 0 - R63 [19]

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

#Rate

0.05 - 10.0 [2]

Adjust the frequency (period) of modulation.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Depth

0 - 127 [3]

Adjust the depth of modulation.

Reso (Resonance)

0 - 127 [4]

Adjust the amount of emphasis added to the fre-

quency range surrounding the basic frequency

determined by the Manual parameter setting.

6: Distortion

[01H, 11H]

This effect produces a more intense distortion than

Overdrive.

Mix (Mix level)

0 - 127 [5]

Adjust the ratio with which the phase-shifted sound

is combined with the direct sound.

Amp

Simulator

Distortion

Pan

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

+Drive

0 - 127 [1]

Adjust the degree of distortion.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Amp Type (Amp simulator type)

Small/BltIn/2-Stk/3-Stk [2]

Select the type of guitar amp.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

8: Auto Wah

The Auto Wah cyclically controls a filter to create cyclic

change in timbre.

[01H, 21H]

Amp Sw (Amp switch)

Turn the Amp Type on/off.

Off/On [3]

Low Gain

-12 - +12 [17]

Wah

Pan

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

Fil Type (Filter Type)

Select the type of filter.

LPF/BPF [1]

Adjust the gain of the high frequency range.

#Pan (Output pan)

L63 - 0 - R63 [19]

LPF

: The wah effect will be applied over a

wide frequency range.

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

BPF

: The wah effect will be applied over a

narrow frequency range.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Sens (Sensitivity)

0 - 127 [2]

Adjust the sensitivity with which the filter is con-

trolled. If this value is increased, the filter frequency

will change more readily in response to the input

level.

Effects that modulate the sound (modula-

tion type)

7: Phaser

[01H, 20H]

+Manual

0 - 127 [3]

Adjust the center frequency from which the effect is

applied.

A phaser adds a phase-shifted sound to the original

sound, producing a twisting modulation that creates

spaciousness and depth.

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Peak

0 - 127 [4]

Low Level (Low frequency level)

0 - 127 [4]

Adjust the amount of the wah effect that will occur

in the area of the center frequency. Lower settings

will cause the effect to be applied in a broad area

around the center frequency. Higher settings will

cause the effect to be applied in a more narrow

range. In the case of LPF, decreasing the value will

cause the wah effect to change less.

Adjust the volume of the low frequency rotor.

Hi Slow (High frequency slow rate)

0.05 - 10.0 [5]

Adjust the slow speed (Slow) of the high frequency

rotor.

Hi Fast (High frequency fast rate) 0.05 - 10.0 [6]

Adjust the fast speed (Fast) of the high frequency

rotor.

#Rate

0.05 - 10.0 [5]

0 - 127 [6]

Adjust the speed of the modulation.

Hi Accl (High frequency acceleration) 0 - 15 [7]

Adjust the time it takes for the high frequency rotor

to reach the newly selected speed when switching

from fast to slow (or slow to fast) speed. Lower val-

ues will require longer times.

Depth

Adjust the depth of the modulation.

Polarity

Down/Up [7]

Set the direction in which the frequency will change

when the filter is modulated. With a setting of Up,

the filter will change toward a higher frequency.

With a setting of Down it will change toward a lower

frequency.

Hi Level (High frequency level)

0 - 127 [8]

Adjust the volume of the high frequency rotor.

Separate (Separation)

0 - 127 [9]

Adjust the spatial dispersion of the sound.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range for EQ.

+Speed

Slow/Fast [11]

Simultaneously switch the rotational speed of the

low frequency rotor and high frequency rotor.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range for EQ.

Slow

Fast

: Slow down the rotation to the speci-

fied speed (the Low Slow parameter /

Hi Slow parameter values).

Pan (Output pan)

L63 - 0 - R63 [19]

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

: Speed up the rotation to the specified

speed (the Low Fast parameter / Hi

Fast parameter values).

Level (Output level)

Adjust the output level.

0 - 127 [20]

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range for EQ.

9: Rotary

[01H, 22H]

Hi Gain (High gain)

-12 - +12 [18]

The Rotary effect simulates the sound of a classic

rotary speakers. 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.

Adjust the gain of the high frequency range for EQ.

#Level (Output level)

Adjust the output level.

0 - 127 [20]

10: Stereo Flanger

[01H, 23H]

This is a stereo flanger. It produces a metallic reso-

nance 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.

Rotary

Low Slow (Low frequency slow rate)

0.05 - 10.0 [1]

Adjust the slow speed (Slow) of the low frequency

rotor.

Flanger

Balance

Low Fast (Low frequency fast rate)

0.05 - 10.0 [2]

Adjust the fast speed (Fast) of the low frequency

rotor.

Low Accl (Low frequency acceleration) 0 - 15 [3]

Adjust the time it takes for the low frequency rotor

to reach the newly selected speed when switching

from fast to slow (or slow to fast) speed. Lower val-

ues will require longer times.

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Pre Filter (Pre filter type)

Select the type of filter.

Off/LPF/HPF [1]

Depth

0 - 127 [3]

Adjust the depth of modulation.

Off

: a filter will not be used

+Feedback (Feedback level)

-98% - +98% [4]

LPF

: cut the frequency range above the

Cutoff parameter

Adjust the amount (%) of the processed sound that

is returned (fed back) into the input. Negative (-)

settings will invert the phase.

HPF

: cut the frequency range below the

Cutoff parameter

Phase

0 - 180 [5]

Adjust the spatial spread of the sound.

Cutoff (Cutoff frequency)

250 - 8k [2]

Adjust the basic frequency of the filter.

#Step Rate

0.05 - 10.0 [6]

Adjust the rate (period) of pitch change.

Pre Dly (Pre delay time)

0 - 100m [3]

Adjust the time delay from when the direct sound

begins until the processed sound is heard.

Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

+Rate

0.05 - 10.0 [4]

0 - 127 [5]

Adjust the rate of modulation.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Depth

Adjust the depth of modulation.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

#Feedback (Feedback level)

-98% - +98% [6]

Adjust the amount (%) of the processed sound that

is returned (fed back) into the input. Negative (-)

settings will invert the phase.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Phase

0 - 180 [7]

Adjust the spatial spread of the sound.

Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

12: Tremolo

[01H, 25H]

Tremolo cyclically modulates the volume to add tremo-

lo effect to the sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Tremolo

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Tremolo

Hi Gain (High Gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Mod Wave (Modulation wave)

Tri/Sqr/Sin/Saw1/Saw2 [1]

Level (Output level)

Adjust the output level.

0 - 127 [20]

Select the type of modulation.

Tri

: The sound will be modulated like a

triangle wave.

Sqr

Sin

: The sound will be modulated like a

square wave.

11: Step Flanger

The Step Flanger is an effect in which the flanger pitch

changes in steps.

[01H, 24H]

: 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 direc-

tions.

Flanger

Balance

Saw1

Saw2

Pre Dly (Pre delay time)

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the processed sound is heard.

Rate

0.05 - 10.0 [2]

+Mod Rate (Modulation rate)

0.05 - 10.0 [2]

0 - 127 [3]

Adjust the rate of modulation.

Adjust the speed of modulation.

#Mod Depth (Modulation depth)

Adjust the depth of modulation.

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Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the gain of the low frequency range.

Compressor

Pan

Hi Gain (High gain)

Adjust the gain of the high frequency range.

Attack

0 - 127 [1]

0 - 127 [2]

Level (Output level)

Adjust the output level.

0 - 127 [20]

Adjust the attack time of an input sound.

Sustain

Adjust the time over which low level sounds are

boosted until they reach the specified volume.

13: Auto Pan

[01H, 26H]

Increasing the value will shorten the time. When the

value is modified, the level will also change.

The Auto Pan effect cyclically modulates the stereo

location of the sound.

Auto Pan

Post Gain

0/+6/+12/+18 [3]

-12 - +12 [17]

Adjust the output gain.

Low Gain

Auto Pan

Adjust the low frequency gain.

Hi Gain (High gain)

-12 - +12 [18]

Mod Wave (Modulation wave)

Tri/Sqr/Sin/Saw1/Saw2 [1]

Adjust the high frequency gain.

Select the type of modulation.

+Pan (Output pan)

L63 - 0 - R63 [19]

Tri

: The sound will be modulated like a

triangle wave.

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

Sqr

Sin

: The sound will be modulated like a

square wave.

#Level (Output level)

Adjust the output level.

0 - 127 [20]

: 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 direction.

15: Limiter

[01H, 31H]

The Limiter compresses signals that exceed a speci-

fied volume level, preventing distortion from occurring.

Saw1

Saw2

Limiter

Pan

+Mod Rate (Modulation rate)

0.05 - 10.0 [2]

0 - 127 [3]

Adjust the frequency of modulation.

Threshold (Threshold level)

0 - 127 [1]

Adjust the volume at which compression will begin.

#Mod Depth (Modulation depth)

Adjust the depth of modulation.

Ratio (Compression ratio) 1/1.5,1/2,1/4,1/100 [2]

This adjusts the compression ratio for signals that

are louder than the Threshold Level. 1/100 is the

highest compression ratio, and the output level will

decrease.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Release (Release time)

0 - 127 [3]

Adjust the time from when the volume falls below

the Threshold Level until compression is no longer

applied.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Post Gain

0/+6/+12/+18 [4]

-12 - +12 [17]

-12 - +12 [18]

Adjust the output gain.

Effects that affect the level (compressor

type)

Low Gain

Adjust the low frequency gain.

14: Compressor

[01H, 30H]

Hi Gain (High gain)

The Compressor flattens out high levels and boosts

low levels, smoothing out unevenness in volume.

Adjust the high frequency gain.

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+Pan (Output pan)

L63 - 0 - R63 [19]

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

17: Tremolo Chorus

Tremolo Chorus is a chorus effect with added Tremolo

(cyclic modulation of volume).

[01H, 41H]

#Level (Output level)

Adjust the output level.

0 - 127 [20]

Tremolo

Chorus

Balance

Effects that broaden the sound (chorus

type)

Pre Dly (Pre delay time)

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

16: Hexa Chorus

[01H, 40H]

Hexa-chorus uses a six-phase chorus (six layers of

chorused sound) to give richness and spatial spread to

the sound.

Cho Rate (Chorus rate)

0.05 - 10.0 [2]

Adjust the modulation speed of the chorus effect.

Cho Depth (Chorus depth)

0 - 127 [3]

Adjust the modulation depth of the chorus effect.

Hexa

Balance

Chorus

Trem Phase (Tremolo phase)

0 - 180 [4]

0.05 - 10.0 [5]

Adjust the width of the tremolo sound.

Pre Dly (Pre delay time)

0 - 100m [1]

+Trem Rate (Tremolo rate)

Adjust the time delay from when the direct sound

Adjust the modulation speed of the tremolo effect.

begins until the processed sound is heard.

Trem Sep (Tremolo separation)

0 - 127 [6]

+Rate

0.05 - 10.0 [2]

0 - 127 [3]

0 - 20 [4]

Adjust the spatial spread of the tremolo effect.

Adjust the rate of modulation.

#Balance (Effect balance)

D> 0E - D 0<E [16]

Depth

Adjust the volume balance between the direct and

the processed sound.

Adjust the depth of modulation.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Pre Dly Dev (Pre delay deviation)

The Pre Delay is the time from when the original

sound begins until when the chorus sound is heard.

This adjusts the difference in Pre Delay between

each of the six phases of chorus sound.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the low frequency gain.

Hi Gain (High gain)

Depth Dev (Depth deviation)

-20 - +20 [5]

Adjust the high frequency gain.

Adjust the difference in modulation depth between

each of the six phases of chorus sound.

Level (Output level)

Adjust the output level.

Pan Dev (Pan deviation)

0 - 20 [6]

Adjust the difference in stereo position between

each of the six phases of chorus sound. With a set-

ting of 0, all the chorus sound will be located in the

center. With a setting of 20, each chorus sound will

be placed in 30 degree intervals relative to the cen-

ter position.

18: Stereo Chorus

This is a stereo chorus. A filter is provided so that you

can adjust the timbre of the chorus sound.

[01H, 42H]

#Balance (Effect balance)

D> 0E - D 0<E [16]

Chorus

Balance

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Pre Filter (Pre filter type)

Select the type of filter.

Off/LPF/HPF [1]

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Off

: a filter will not be used

Adjust the low frequency gain.

LPF

: cut the frequency range above the

cutoff

Hi Gain (High gain)

Adjust the high frequency gain.

HPF

: cut the frequency range below the

cutoff

Level (Output level)

Adjust the output level.

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Cutoff (Cutoff frequency)

250 - 8k [2]

Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the center frequency of the filter for the cho-

rus sound for the chorus sound.

Adjust the gain of the low frequency range.

Hi Gain (High gain)

Pre Dly (Pre delay time)

0 - 100m [3]

Adjust the gain of the high frequency range.

Adjust the time delay from when the direct sound

begins until the processed sound is heard.

Level (Output level)

Adjust the output level.

0 - 127 [20]

+Rate

0.05 - 10.0 [4]

0 - 127 [5]

Adjust the rate of modulation.

Depth

20: 3D Chorus

[01H, 44H]

Adjust the depth of modulation.

This applies a 3D effect to the chorus sound. The cho-

rus sound will be positioned 90 degrees left and 90

degrees right.

Phase

0 - 180 [7]

Adjust the spatial spread of the sound.

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

Balance

3D Chorus

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Pre Dly (Pre delay time)

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the processed sound is heard.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

+Cho Rate (Chorus Rate)

0.05 - 10.0 [2]

Hi Gain (High gain)

-12 - +12 [18]

Adjust the modulation speed of the chorus sound.

Adjust the gain of the high frequency range.

Cho Depth (Chorus Depth)

0 - 127 [3]

Level (Output level)

Adjust the output level.

0 - 127 [20]

Adjust the modulation depth of the chorus sound.

Out (Output Mode)

Speaker/Phones [15]

Specify the method that will be used to hear the

sound which is output to the OUTPUT jacks. The

optimal 3D effect will be achieved if you select

Speaker when using speakers, or Phones when

using headphones (p.91).

19: Space D

[01H, 43H]

Space-D is a multiple chorus that applies two-phase

modulation in stereo. It gives no impression of modula-

tion, but produces a transparent chorus effect.

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

Space D

Balance

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Pre Dly (Pre delay time)

0 - 100m [1]

Low Gain

-12 - +12 [17]

Adjust the time delay from when the direct sound

begins until the processed sound is heard.

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

+Rate

0.05 - 10.0 [2]

0 - 127 [3]

Adjust the gain of the high frequency range.

Adjust the rate of modulation.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Depth

Adjust the depth of modulation.

Phase

0 - 180 [4]

Adjust the spatial spread of the sound.

Effects that reverberate the sound

(delay/reverb type)

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

21: Stereo Delay

[01H, 50H]

“D” or “E” on the display respectively means

This is a stereo delay.

D(direct sound) or E(effect sound) values of 100.

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Fb Mode is Norm:

Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the gain of the low frequency range.

Balance

Delay

Hi Gain (High gain)

Adjust the gain of the high frequency range.

Balance

Delay

Level (Output level)

Adjust the output level.

0 - 127 [20]

Fb Mode is Cross:

22: Mod Delay (Modulation Delay)

This effect adds modulation to the delayed sound, pro-

ducing an effect similar to a flanger.

[01H, 51H]

Balance

Delay

Fb Mode is Norm:

Balance

Delay

Balance

Delay

Dly Tm L (Delay time left)

0 - 500m [1]

Adjust the time from the original sound until when

the left delay sound is heard.

Balance

Dly Tm R (Delay time right)

0 - 500m [2]

Adjust the time from the original sound until when

the right delay sound is heard.

Fb Mode is Cross:

Balance

+Feedback (Feedback level)

-98% - +98% [3]

Delay

Adjust the proportion (%) of the processed sound

that is fed back into the effect. Negative (-) settings

will invert the phase.

Balance

Delay

Fb Mode (Feedback mode)

Norm/Cross [4]

Select the way in which processed sound is fed

back into the effect.

Dly Tm L (Delay time left)

0 - 500m [1]

Adjust the time from the original sound until when

the left delay sound is heard.

Norm

: The left delay sound will be fed back

into the left delay, and the right delay

sound into the right delay.

Dly Tm R (Delay time right)

0 - 500m [2]

Cross : The left delay sound will be fed back

into the right delay, and the right

delay sound into the left delay.

Adjust the time from the original sound until when

the right delay sound is heard.

Feedback (Feedback level)

-98% - +98% [3]

Phase L (Phase left)

Norm/Invert [5]

Adjust the proportion (%) of the processed sound

that is fed back into the effect. Negative (-) settings

will invert the phase.

Select the phase of the left delay sound.

Norm

Invert

: Phase will not be changed.

: Phase will be inverted.

Fb Mode (Feedback mode)

Norm/Cross [4]

Select the way in which processed sound is fed

back into the effect.

Phase R (Phase right)

Norm/Invert [6]

Select the phase of the right delay sound.

Norm

: The left delay sound will be fed back

into the left delay, and the right delay

sound into the right delay.

Norm

Invert

: Phase will not be changed.

: Phase will be inverted.

Cross : The left delay sound will be fed back

into the right delay, and the right

delay sound into the left delay.

HF Damp

315 - 8k/Bypass [8]

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.

+Mod Rate (Modulation rate)

0.05 - 10.0 [5]

0 - 127 [6]

Adjust the speed of the modulation.

#Balance (Effect balance)

D> 0E - D 0<E [16]

Mod Depth (Modulation depth)

Adjust the depth of the modulation.

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Mod Phase (Modulation phase)

0 - 180 [7]

Adjust the spatial spread of the sound.

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HF Damp

315 - 8k/Bypass [8]

HF Damp

315 - 8k/Bypass [8]

Adjust the frequency above which sound fed back

to the effect will be cut. If you do not wish to cut the

high frequencies of the feedback, set this parameter

to Bypass.

This adjusts the frequency at which the high range

is cut when the Center Delay sound is returned to

the input. If you do not wish to cut the high range,

set this to Bypass.

#Balance (Effect balance)

D> 0E - D 0<E [16]

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Level (Output level)

Adjust the output level.

0 - 127 [20]

23: 3 Tap Delay (Triple tap delay)

The Triple Tap Delay produces three delay sounds;

center, left and right.

[01H, 52H]

24: 4 Tap Delay (Quadruple tap delay)

The Quadruple Tap Delay has four delays.

[01H, 53H]

Level

Balance

Delay 4

Delay 3

Balance

Delay Left

Delay Center

Delay 2

Delay 1

Delay Right

Balance

Dly Tm C (Delay time center)

Dly Tm 1 (Delay time 1)

200m - 990m/1sec [1]

Adjust the time delay from the direct sound until

when the center delay sound is heard.

Adjust the time delay from the direct sound until

when delay 1 sound is heard.

Dly Tm 2 (Delay time 2)

200m - 990m/1sec [2]

Dly Tm L (Delay time left) 200m - 990m/1sec [2]

Adjust the time delay from the direct sound until

when the left delay sound is heard.

Adjust the time delay from the direct sound until

when delay 2 sound is heard.

Dly Tm 3 (Delay time 3)

200m - 990m/1sec [3]

Dly Tm R (Delay time right)

Adjust the time delay from the direct sound until

when delay 3 sound is heard.

200m - 990m/1sec [3]

Adjust the time delay from the direct sound until

when the right delay sound is heard.

Dly Tm 4 (Delay time 4)

200m - 990m/1sec [4]

Adjust the time delay from the direct sound until

when delay 4 sound is heard.

+Feedback (Feedback level)

-98% - +98% [4]

Adjust the proportion (%) of the Center Delay sound

that is fed back into the effect. Negative (-) settings

will invert the phase.

Dly Lev 1 (Delay level 1)

0 - 127 [5]

0 - 127 [6]

0 - 127 [7]

0 - 127 [8]

Adjust the volume of delay 1 sound.

Dly Lev C (Delay level center)

0 - 127 [5]

0 - 127 [6]

0 - 127 [7]

Dly Lev 2 (Delay level 2)

Adjust the volume of center delay sound.

Adjust the volume of delay 2 sound.

Dly Lev L (Delay level left)

Dly Lev 3 (Delay level 3)

Adjust the volume of left delay sound.

Adjust the volume of delay 3 sound.

Dly Lev R (Delay level right)

Dly Lev 4 (Delay level 4)

Adjust the volume of right delay sound.

Adjust the volume of delay 4 sound.

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+Feedback (Feedback level)

-98% - +98% [9]

EFX Pan (Effect output pan)

L63 - 0 - R63 [5]

Adjust the proportion (%) of the Dlay 1 sound that is

fed back into the effect. Negative (-) settings will

invert the phase.

Adjust the stereo location of the processed sound.

L63 is far left, 0 is center, and R63 is far right.

Balance (Effect balance)

D> 0E - D 0<E [16]

HF Damp

315 - 8k/Bypass [10]

This adjusts the frequency at which the high range

is cut when the Delay 1 sound is returned to the

input. If you do not wish to cut the high range, set

this to Bypass.

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the gain of the low frequency range.

Adjust the volume balance between the direct and

the processed sound.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

26: Reverb

[01H, 55H]

Adjust the gain of the high frequency range.

The Reverb effect adds reverberation to the sound,

simulating an acoustic space.

Level (Output level)

Adjust the output level.

0 - 127 [20]

Balance

Reverb

25: Tm Ctrl Delay (Time control delay) [01H, 54H]

This effect allows you to use a specified controller (the

controller selected in EFX C.Src display (p.92) to con-

trol the delay time and pitch in realtime. Lengthening

the delay time will lower the pitch, and shortening it will

raise the pitch.

Type (Reverb type)

Room1/2/Stage1/2/Hall1/2 [1]

Select the type of Reverb effect.

Room1 : dense reverb with short decay

Room2 : sparse reverb with short decay

Stage1 : reverb with greater late reverberation

Stage2 : reverb with strong early reflections

Delay

Pan Balance

Hall1

Hall2

: reverb with clear reverberance

: reverb with rich reverberance

+Dly Time (Delay time)

200m - 990m/1sec [1]

Adjust the time delay from the direct sound until

when each delay sound is heard.

Pre Dly (Pre delay time)

0 - 100m [2]

Adjust the time delay from when the direct sound

begins until the reverb sound is heard.

Accel (Acceleration)

0 - 15 [2]

This parameter adjusts the speed 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.

+Time (Reverb time)

0 - 127 [3]

Adjust the time length of reverberation.

HF Damp

315 - 8k/Bypass [4]

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.

#Feedback (Feedback level)

-98% - +98% [3]

Adjust the proportion (%) of the processed sound

that is fed back into the effect. Negative (-) settings

will invert the phase.

HF Damp

315 - 8k/Bypass [4]

Adjust the frequency above which sound fed back

to the effect will be cut. If you do not wish to cut the

high frequencies of the feedback, set this parameter

to Bypass.

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

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Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the gain of the low frequency range.

Level

3D Delay L

Hi Gain (High gain)

3D Delay C

Adjust the gain of the high frequency range.

3D Delay R

Level (Output level)

Adjust the output level.

0 - 127 [20]

Dly Tm C (Delay Time Center)

0m - 500m [1]

Adjust the time from the original sound until when

27: Gate Reverb

Gate Reverb is a special type of reverb in which the

reverberant sound is cut off before its natural length.

[01H, 56H]

the center delay sound begins.

Dly Tm L (Delay Time Left)

0m - 500m [2]

Balance

Adjust the time from the original sound until when

the left delay sound begins.

Reverb

Dly Tm R (Delay Time Right)

0m - 500m [3]

Adjust the time from the original sound until when

the right delay sound begins.

Type (Gate reverb type)

Norm/Reverse/Sweep1/2 [1]

Select the type of reverb.

+Feedback (Delay Feedback)

-98% - +98% [4]

Norm : conventional gate reverb

Adjust the amount (%) of the center delay sound

that will be returned to the input. With negative (-)

settings, the phase will be inverted.

Reverse : backwards reverb

Sweep1 : the reverberant sound moves from

right to left

Dly Lev C (Delay Level Center)

0 - 127 [5]

Sweep2 : the reverberant sound moves from

Adjust the volume of the center delay sound.

left to right

Dly Lev L (Delay Level Left)

0 - 127 [6]

Pre Dly (Pre delay time)

0 - 100m [2]

Adjust the volume of the left delay sound.

Adjust the time delay from when the direct sound

begins until the reverb sound is heard.

Dly Lev R (Dely Level Right)

0 - 127 [7]

Adjust the volume of the right delay sound.

Gate Time

5 - 500m [3]

HF Damp

315 - 8k/Bypass [8]

Adjust the time from when the reverb is heard until

This adjusts the frequency at which the high range

is cut when the Center Delay sound is returned to

the input. If you do not wish to cut the high range,

set this to Bypass.

when it disappears.

+Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the volume balance between the direct and

the processed sound.

Out (Output Mode)

Speaker/Phones [15]

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Specify the method that will be used to hear the

sound which is output to the OUTPUT jacks. The

optimal 3D effect will be achieved if you select

Speaker when using speakers, or Phones when

using headphones (p.91).

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

#Balance (Effect balance)

D> 0E - D 0<E [16]

Adjust the gain of the high frequency range.

Adjust the volume balance between the direct and

#Level (Output level)

Adjust the output level.

0 - 127 [20]

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

28: 3D Delay

[01H, 57H]

Adjust the gain of the low frequency range.

This applies a 3D effect to the delay sound. The

delay sound will be positioned 90 degrees left and

90 degrees right.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Level (Output level)

Adjust the output level.

0 - 127 [20]

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Effects that modify the pitch (pitch shift

Low Gain

-12 - +12 [17]

-12 - +12 [18]

Adjust the gain of the low frequency range.

type)

Hi Gain (High gain )

29: 2 Pitch Shifter ( 2-voice pitch shifter)

[01H, 60H]

A Pitch Shifter shifts the pitch of the original sound.

This 2-voice pitch shifter has two pitch shifters, and

can add two pitch shifted sounds to the original sound.

Adjust the gain of the high frequency range.

Level (Output level )

Adjust the output level.

0 - 127 [20]

Pan

30: Fb P.Shifter (Feedback pitch shifter)

Pitch 1

Pitch 2

Balance

[01H, 61H]

This pitch shifter allows the pitch shifted sound to be

returned into the effect.

+Coarse 1 (Coarse pitch 1)

-24 - 0 - +12 [1]

Adjust the pitch of Pitch Shift 1 in semitone steps (-

Balance

2 - +1 octaves).

Pan

Pitch

Fine 1 (Fine pitch 1)

-100 - 0 - +100 [2]

Make fine adjustments to the pitch of Pitch Shift 1 in

2-cent steps (-100 - +100 cents).

+P.Coarse (Coarse pitch )

-24 - 0 - +12 [1]

Adjust the pitch of the pitch shifted sound in semi-

tone steps (-2 - +1 octaves).

Pre Dly 1 (Pre delay time 1)

0 - 100m [3]

Adjust the time delay from when the direct sound

begins until the Pitch Shift 1 sound is heard.

P.Fine (Fine pitch )

-100 - 0 - +100 [2]

Make fine adjustments to the pitch of the pitch shift-

ed sound in 2-cent steps (-100 - +100 cents).

EFX Pan 1 (Effect output pan 1) L63 - 0 - R63 [4]

Adjust the stereo location of the Pitch Shift 1 sound.

L63 is far left, 0 is center, and R63 is far right.

#Feedback (Feedback level )

-98% - +98% [3]

Adjust the proportion (%) of the processed sound

that is fed back into the effect. Negative (-) settings

will invert the phase.

#Coarse 2 (Coarse pitch 2)

-24 - 0 - +12 [5]

Adjust the pitch of Pitch Shift 2 in semitone steps (-

2 - +1 octaves).

Pre Dly (Pre delay time )

0 - 100m [4]

Fine 2 (Fine pitch 2)

-100 - 0 - +100 [6]

Adjust the time delay from when the direct sound

begins until the pitch shifted sound is heard.

Make fine adjustments to the pitch of Pitch Shift 2 in

2-cent steps (-100 - +100 cents).

Mode (Pitch shifter mode )

1 - 5 [5]

Pre Dly 2 (Pre delay time 2)

0 - 100m [7]

Higher settings of this parameter will result in slow-

er response, but steadier pitch.

Adjust the time delay from when the direct sound

begins until the Pitch Shift 2 sound is heard.

EFX Pan (Effect output pan )

L63 - 0 - R63 [6]

EFX Pan 2 (Effect output pan 2) L63 - 0 - R63 [8]

Adjust the stereo location of the Pitch Shift 2 sound.

L63 is far left, 0 is center, and R63 is far right.

Adjust the stereo location of the pitch shifted sound.

L63 is far left, 0 is center, and R63 is far right.

Balance (Effect balance )

D> 0E - D 0<E [16]

Shift Mode (Pitch shifter mode)

1 - 5 [9]

Adjust the volume balance between the direct and

the processed sound.

Higher settings of this parameter will result in slow-

er response, but steadier pitch.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

L.Bal (Level balance )

A> 0B - A 0<B [10]

Adjust the volume balance between the Pitch Shift

1 and Pitch Shift 2 sounds.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Balance (Effect balance )

D> 0E - D 0<E [16]

Hi Gain (High gain )

-12 - +12 [18]

Adjust the volume balance between the direct and

the processed sound.

Adjust the gain of the high frequency range.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Level (Output level )

Adjust the output level.

0 - 127 [20]

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Others

33: Lo-Fi 1

[01H, 72H]

Lo-Fi 1 is an effect that intentionally degrades the

sound quality.

31: 3D Auto

The 3D Auto effect rotates the location of the sound.

[01H, 70H]

Lo-Fi

Pan

3D Auto

Pre Filter (Pre Filter Type)

1 - 6 [1]

Azimuth

180/L168 - 0 - R168 [1]

Specify the type of filter that will be applied before

the sound passes through the Lo-Fi effect.

Set the location at which the sound will stop when

rotation is stopped.

A setting of 0 positions the sound in the center.

Lo-Fi Type

1 - 9 [2]

Degrade the sound quality. The sound quality will

become poorer as this value is increased.

+Speed

0.05 - 10.0 [2]

Set the speed of rotation.

Post Filter (Post Filter Type)

1 - 6 [3]

Clockwise

-/+ [3]

Specify the type of filter that will be applied after the

sound passes through the Lo-Fi effect.

Set the direction of rotation. A setting of “-” is

counter-clockwise, and “+” is clockwise.

+Balance (Effect Balance)

D > 0E - D 0<E [16]

#Turn

Off/On [4]

This stops or starts the rotation. When this is turned

On, the sound will rotate. When turned Off, rotation

will stop at the location specified by Azimuth.

Adjust the volume balance between the direct and

the processed sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Out (Output mode)

Speaker/Phones [15]

Low Gain

-12 - +12 [17]

Specify the method that will be used to hear the

sound which is output to the OUTPUT jacks. The

optimal 3D effect will be achieved if you select

Speaker when using speakers, or Phones when

using headphones (p.91).

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

#Pan (Output pan)

L63 - 0 - R63 [19]

Level (Output level )

Adjust the output level.

0 - 127 [20]

Adjust the stereo location of the output sound. L63

is far left, 0 is center, and R63 is far right.

Level (Output level)

Adjust the output level.

0 - 127 [20]

[01H, 73H]

32: 3D Manual

This places the 3D effect at a desired location.

[01H, 71H]

34: Lo-Fi 2

Lo-Fi 2 is an effect that intentionally degrades the

sound quality and allows a variety of noise to be

added

3D Locate

* If the R.Detune (Radio Detune), W/P Level (White/Pink

Noise Level), Disc Nz Lev (Disc Noise Level), or Hum

Level settings are raised, there will be noise even when

the input sound is silent.

+Azimuth

180/L168 - 0 - R168 [1]

Specify the location.

A setting of 0 positions the sound in the center.

Radio

Out (Output mode)

Speaker/Phones [15]

Specify the method that will be used to hear the

sound which is output to the OUTPUT jacks. The

optimal 3D effect will be achieved if you select

Speaker when using speakers, or Phones when

using headphones (p.91).

Lo-Fi

Balance

Noise

Generator

#Level (Output level )

Adjust the output level.

0 - 127 [20]

Lo-Fi Type

1 - 6 [1]

Degrade the sound quality. The sound quality will

become poorer as this value is increased.

Fil Type (Filter Type)

Off/LPF/HPF [2]

Specify the type of filter that is applied after the

sound passes through the Lo-Fi effect.

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Cutoff (Cutoff Frequency)

250 - 8 k [3]

Level (Output level)

Adjust the output level.

0 - 127 [20]

Specify the cutoff frequency of the filter that is

applied after the sound passes through the Lo-Fi

effect.

+R.Detune (Radio Detune)

0 - 127 [4]

Effects that connect two types of effect in

This simulates the tuning noise of a radio. As this

value is raised, the tuning will drift further.

series (series 2)

35: OD → Chorus (Overdrive → Chorus)

R.Nz Lev (Radio Noise Level)

0 - 127 [5]

Adjust the volume of the radio noise.

[02H, 00H]

This effect connects an overdrive and a chorus in

series.

W/P Sel (White/Pink Noise Select) White/Pink [6]

Select either white noise or pink noise.

Balance

W/P LPF (White/Pink Noise LPF)

250 - 6.3 k/Bypass [7]

Overdrive

Chorus

Specify the cutoff frequency of the low pass filter

that is applied to the white noise or pink noise.

W/P Level (White/Pink Noise Level)

0 - 127 [8]

OD Drive (Overdrive drive )

0 - 127 [1]

Specify the volume of the white noise or pink noise.

Adjust the degree of overdrive distortion. The vol-

ume will change together with the degree of distor-

tion.

Disc Type (Disc Noise Type) LP/EP/SP/RND [9]

Select the type of record noise. The frequency at

which the noise is heard will depend on the select-

ed type.

+OD Pan (Overdrive drive output pan )

L63 - 0 - R63 [2]

Adjust the stereo location of the overdrive sound.

L63 is far left, 0 is center, and R63 is far right.

Disc LPF (Disc Noise LPF)

250 - 6.3 k/Bypass [10]

Specify the cutoff frequency of the low pass filter

that is applied to the record noise.

OD Amp (Overdrive Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp.

Disc Nz Lev (Disc Noise Level)

0 - 127 [11]

Small

BltIn

: small amp

Specify the volume of the record noise.

: single-unit type amp

: large double stack amp

: large triple stack amp

Hum Type (Hum Noise Type)

Select the type of hum noise.

50/60 Hz [12]

2-Stk

3-Stk

Hum LPF (Hum Noise LPF)

OD Amp Sw (Overdrive Amp switch) Off/On [4]

Turn OD Amp on/off.

250 - 6.3 k/Bypass [13]

Specify the cutoff frequency of the low pass filter

that is applied to the hum noise.

Cho Dly (Chorus pre delay )

0 - 100m [6]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

Hum Level (Hum Noise Level)

0 - 127 [14]

Specify the volume of the hum noise.

Cho Rate (Chorus rate )

0.05 - 10.0 [7]

M/S (Mono/Stereo Switch)

Mono/Stereo [15]

Adjust the modulation speed of the chorus effect.

Select whether the effect sound will be monaural or

stereo.

Cho Depth (Chorus depth )

0 - 127 [8]

Adjust the modulation depth of the chorus effect.

#Balance (Effect Balance) D> 0E - D 0 - 0<E [16]

Adjust the volume balance between the direct and

the effect sound.

#Cho Bal (Chorus balance ) D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the chorus and the sound

which does not. With a setting of D>0E, only the

overdrive sound will be output, and with a setting of

D 0<E, the overdrive sound which passes through

the chorus will be output. “D” and “E” respectively

indicate D (dry sound) and E (effect sound) values

of 100.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

Adjust the gain of the low frequency range.

Hi Gain (High gain)

-12 - +12 [18]

Adjust the gain of the high frequency range.

Low Gain

-12 - +12 [17]

Pan (Mono) (Output Pan (Mono))

Adjust the low frequency gain.

L63 - 0 - R63 [19]

When Mono mode is used, adjust the stereo loca-

tion of the output sound. L63 is far left, 0 is center,

and R63 is far right.

Hi Gain (High gain )

-12 - +12 [18]

Adjust the high frequency gain.

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Level (Output level )

Adjust the output level.

0 - 127 [20]

Hi Gain (High gain )

-12 - +12 [18]

0 - 127 [20]

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

36: OD → Flanger (Overdrive → Flanger)

[02H, 01H]

This effect connects an overdrive and a flanger in

series.

37: OD → Delay (Overdrive → Delay) [02H, 02H]

This effect connects an overdrive and a delay in

series.

Balance

Overdrive

Balance

Flanger

Overdrive

Delay

OD Drive (Overdrive drive )

0 - 127 [1]

Adjust the degree of overdrive distortion. The vol-

ume will change together with the degree of distor-

tion.

OD Drive (Overdrive drive )

0 - 127 [1]

Adjust the degree of overdrive distortion. The vol-

ume will change together with the degree of distor-

tion.

+OD Pan (Overdrive output pan )

L63 - 0 - R63 [2]

+OD Pan (Overdrive output pan )

L63 - 0 - R63 [2]

Adjust the stereo location of the overdrive sound.

L6 is far left, 0 is center, and R63 is far right.

Adjust the stereo location of the overdrive sound.

L63 is far left, 0 is center, and R63 is far right.

OD Amp (Overdrive Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

OD Amp (Overdrive Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp.

Small

BltIn

: small amp

Select the type of guitar amp.

: single-unit type amp

: large double stack amp

: large triple stack amp

Small

BltIn

: small amp

2-Stk

3-Stk

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

OD Amp Sw (Overdrive Amp Switch) Off/On [4]

Turn OD Amp on/off.

OD Amp Sw (Overdrive Amp Switch) Off/On [4]

Turn OD Amp on/off.

FL Dly (Flanger pre delay )

0 - 100m [6]

Adjust the time delay from when the direct sound

begins until the flanger sound is heard.

Dly Time (Delay time )

0 - 500m [6]

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

FL Rate (Flanger rate )

0.05 - 10.0 [7]

Adjust the modulation speed of the flanger effect.

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the effect. Negative (-) settings will

invert the phase.

FL Depth (Flanger depth )

0 - 127 [8]

Adjust the modulation depth of the flanger effect.

FL Fb (Flanger feedback level ) -98% - +98% [9]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Adjust the frequency above which delayed sound

fed back to the effect will be cut. If you do not wish

to cut the high frequencies of the feedback, set this

parameter to Bypass.

#FL Bal (Flanger balance)

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the flanger and the sound

which does not. With a setting of D>0E, only the

overdrive sound will be output, and with a setting of

D 0<E, the overdrive sound which passes through

the flanger will be output. “D” and “E” respectively

indicate D (dry sound) and E (effect sound) values

of 100.

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the delay and the sound

which does not. With a setting of D>0E, only the

overdrive sound will be output, and with a setting of

D 0<E, the overdrive sound which passes through

the delay will be output.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

Adjust the low frequency gain.

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Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the low frequency gain.

Hi Gain (High gain )

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

Level (Output level )

Adjust the output level.

38: DS → Chorus (Distortion → Chorus)

[02H, 03H]

39: DS → Flanger (Distortion → Flanger)

[02H, 04H]

This effect connects a distortion and a chorus in

series.

This effect connects a distortion and a flanger in

series.

Balance

Distortion

Chorus

Flanger

DS Drive (Distortion drive )

0 - 127 [1]

DS Drive (Distortion drive )

0 - 127 [1]

Adjust the degree of distortion. The volume will

change together with the degree of distortion.

+DS Pan (Distortion output pan )

L63 - 0 - R63 [2]

+DS Pan (Distortion output pan )

L63 - 0 - R63 [2]

Adjust the stereo location of the distortion sound.

L63 is far left, 0 is center, and R63 is far right.

DS Amp (Distortion Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

DS Amp (Distortion Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp.

Small

BltIn

: small amp

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

2-Stk

3-Stk

DS Amp Sw (Distortion Amp Switch) Off/On [4]

Turn DS Amp on/off.

DS Amp Sw (Distortion Amp Switch) Off/On [4]

Turn DS Amp on/off.

Cho Dly (Chorus pre delay )

0 - 100m [6]

FL Dly (Flanger pre delay )

0 - 100m [6]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

begins until the flanger sound is heard.

Cho Rate (Chorus rate )

0.05 - 10.0 [7]

FL Rate (Flanger rate )

0.05 - 10.0 [7]

Adjust the modulation speed of the chorus effect.

Adjust the modulation speed of the flanger effect.

Cho Depth (Chorus depth )

0 - 127 [8]

FL Depth (Flanger depth )

0 - 127 [8]

Adjust the modulation depth of the chorus effect.

Adjust the modulation depth of the flanger effect.

#Cho Bal (Chorus balance ) D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the chorus and the sound

which does not. With a setting of D>0E, only the

distortion sound will be output, and with a setting of

D 0<E, the distortion sound which passes through

the chorus will be output.

FL Fb (Flanger feedback level ) -98% - +98% [9]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

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#FL Bal (Flanger balance)

D> 0E - D 0<E [10]

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the flanger and the sound

which does not. With a setting of D>0E, only the

distortion sound will be output, and with a setting of

D 0<E, the distortion sound which passes through

the flanger will be output.

Adjust the volume balance between the sound

which passes through the delay and the sound

which does not. With a setting of D>0E, only the

distortion sound will be output, and with a setting of

D 0<E, the distortion sound which passes through

the delay will be output. “D” and “E” respectively

indicate D (dry sound) and E (effect sound) values

of 100.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the low frequency gain.

Hi Gain (High gain )

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

Level (Output level )

Adjust the output level.

41: EH → Chorus (Enhancer → Chorus)

[02H, 06H]

40: DS → Delay (Distortion → Delay ) [02H, 05H]

This effect connects a distortion and a delay in series.

This effect connects an enhancer and a chorus in

series.

Balance

Distortion

Delay

Enhancer

Balance

Chorus

Enhancer

DS Drive (Distortion drive )

0 - 127 [1]

Adjust the degree of distortion. The volume will

change together with the degree of distortion.

+EH Sens (Enhancer Sensitivity )

Adjust the sensitivity of the enhancer.

0 - 127 [1]

+DS Pan (Distortion output pan )

L63 - 0 - R63 [2]

EH Mix (Enhancer Mix level )

0 - 127 [2]

Adjust the ratio with which the overtones generated

by the enhancer are combined with the direct

sound.

Adjust the stereo location of the distortion sound.

L63 is far left, 0 is center, and R63 is far right.

DS Amp (Distortion Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Cho Dly (Chorus pre delay )

0 - 100m [6]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

Select the type of guitar amp.

Small

BltIn

: small amp

Cho Rate (Chorus rate )

0.05 - 10.0 [7]

: single-unit type amp

: large double stack amp

: large triple stack amp

Adjust the modulation speed of the chorus effect.

2-Stk

3-Stk

Cho Depth (Chorus depth )

0 - 127 [8]

Adjust the modulation depth of the chorus effect.

DS Amp Sw (Distortion Amp Switch) Off/On [4]

Turn DS Amp on/off.

#Cho Bal (Chorus balance ) D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the chorus and the sound

which does not. With a setting of D>0E, only the

enhancer sound will be output, and with a setting of

D 0<E, the enhancer sound which passes through

the chorus will be output.

Dly Time (Delay time )

0 - 500m [6]

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the effect. Negative (-) settings will

invert the phase.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Adjust the low frequency gain.

Adjust the frequency above which delayed sound

fed back to the effect will be cut. If you do not wish

to cut the high frequencies of the feedback, set this

parameter to Bypass.

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Hi Gain (High gain )

-12 - +12 [18]

0 - 127 [20]

Enhancer

Balance

Adjust the high frequency gain.

Delay

Level (Output level )

Adjust the output level.

+EH Sens (Enhancer Sensitivity )

Adjust the sensitivity of the enhancer.

0 - 127 [1]

0 - 127 [2]

42: EH → Flanger (Enhancer → Flanger)

[02H, 07H]

EH Mix (Enhancer Mix level )

This effect connects an enhancer and a flanger in

series.

Adjust the ratio with which the overtones generated

by the enhancer are combined with the direct

sound.

Enhancer

Balance

Dly Time (Delay time )

0 - 500m [6]

Flanger

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

Enhancer

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the delay input. Negative (-) settings

will invert the phase.

+EH Sens (Enhancer Sensitivity )

Adjust the sensitivity of the enhancer.

0 - 127 [1]

EH Mix (Enhancer Mix level )

0 - 127 [2]

Adjust the ratio with which the overtones generated

by the enhancer are combined with the direct

sound.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Adjust the frequency above which delayed sound

fed back to the delay input will be cut. If you do not

wish to cut the high frequencies of the delay feed-

back, set this parameter to Bypass.

FL Dly (Flanger pre delay )

0 - 100m [6]

Adjust the time delay from when the direct sound

begins until the flanger sound is heard.

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the delay and the sound

which does not. With a setting of D>0E, only the

enhancer sound will be output, and with a setting of

D 0<E, the enhancer sound which passes through

the delay will be output.

FL Rate (Flanger rate )

0.05 - 10.0 [7]

Adjust the modulation speed of the flanger effect.

FL Depth (Flanger depth )

0 - 127 [8]

Adjust the modulation depth of the flanger effect.

FL Fb (Flanger Feedback level ) -98% - +98% [9]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the low frequency gain.

#FL Bal (Flanger balance)

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the flanger and the sound

which does not. With a setting of D>0E, only the

enhancer sound will be output, and with a setting of

D 0<E, the enhancer sound which passes through

the flanger will be output. “D” and “E” respectively

indicate D (dry sound) and E (effect sound) values

of 100.

Hi Gain (High gain )

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

44: Cho → Delay (Chorus → Delay) [02H, 09H]

This effect connects a chorus and a delay unit in

series.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the low frequency gain.

Hi Gain (High gain )

Adjust the high frequency gain.

Delay

Chorus

Level (Output level )

Adjust the output level.

Cho Dly (Chorus pre delay )

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

43: EH → Delay (Enhancer → Delay) [02H, 08H]

This effect connects an enhancer and a delay in

series.

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Cho Rate (Chorus rate )

0.05 - 10.0 [2]

FL Depth (Flanger depth )

0 - 127 [3]

Adjust the modulation speed of the chorus effect.

Adjust the modulation depth of the flanger effect.

Cho Depth (Chorus depth )

0 - 127 [3]

+FL Fb (Flanger feedback level )

-98% - +98% [4]

Adjust the modulation depth of the chorus effect.

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

+Cho Bal (Chorus balance )

D> 0E - D 0<E [5]

Adjust the volume balance between the direct

sound and the chorus sound. With a setting of “D>

0E,” only the direct sound will be output. With a set-

ting of “D 0<E,” only the chorus sound will be out-

put.

FL Bal (Flanger balance )

D> 0E - D 0<E [5]

Adjust the volume balance between the direct

sound and the flanger sound. With a setting of “D>

0E,” only the direct sound will be output. With a set-

ting of “D 0<E,” only the flanger sound will be out-

put.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Dly Time (Delay time )

0 - 500m [6]

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

Dly Time (Delay time )

0 - 500m [6]

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the delay input. Negative (-) settings

will invert the phase.

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the delay input. Negative (-) settings

will invert the phase.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Adjust the frequency above which delayed sound

fed back to the delay input will be cut. If you do not

wish to cut the high frequencies of the feedback, set

this parameter to Bypass.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Adjust the frequency above which delayed sound

fed back to the delay input will be cut. If you do not

wish to cut the high frequencies of the delay feed-

back, set this parameter to Bypass.

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the delay and the sound

which does not. With a setting of D>0E, only the

chorus sound will be output, and with a setting of D

0<E, the chorus sound which passes through the

delay will be output.

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the delay and the sound

which does not. With a setting of D>0E, only the

flanger sound will be output, and with a setting of D

0<E, the flanger sound which passes through the

delay will be output.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Adjust the low frequency gain.

Hi Gain (High gain )

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

Adjust the high frequency gain.

Adjust the low frequency gain.

Level (Output level )

Adjust the output level.

Hi Gain (High gain )

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

45: FL → Delay (Flanger → Delay) [02H, 0AH]

This effect connects a flanger and a delay in series.

46: Cho → Flanger (Chorus → Flanger)

[02H, 0BH]

Delay

Flanger

This effect connects a chorus and a flanger in series.

FL Dly (Flanger pre delay )

0 - 100m [1]

Flanger

Chorus

Adjust the time delay from when the direct sound

begins until the flanger sound is heard.

FL Rate (Flanger rate )

0.05 - 10.0 [2]

Adjust the modulation speed of the flanger effect.

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Cho Dly (Chorus pre delay )

0 - 100m [1]

Adjust the time delay from when the direct sound

Over

drive

Rotary

begins until the chorus sound is heard.

Cho Rate (Chorus rate )

0.05 - 10.0 [2]

Adjust the modulation speed of the chorus effect.

+OD Drive

0 - 127 [1]

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

Cho Depth (Chorus depth )

0 - 127 [3]

Adjust the modulation depth of the chorus effect.

OD Sw (Overdrive Switch)

Turn the Overdrive effect on/off.

Off/On [2]

+Cho Bal (Chorus balance )

D> 0E - D 0<E [5]

Adjust the volume balance between the direct

sound and the chorus sound. With a setting of “D>

0E,” only the direct sound will be output. With a set-

ting of “D 0<E,” only the chorus sound will be out-

put.

EQ L Gain (EQ Low Gain)

-12 - +12 [3]

Adjust the low range gain of the equalizer.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [4]

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

FL Dly (Flanger pre delay time )

0 - 100m [6]

EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [5]

Adjust the time delay from when the direct sound

begins until the flanger sound is heard.

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

FL Rate (Flanger rate )

0.05 - 10.0 [7]

Adjust the modulation speed of the flanger effect.

EQ M Gain (EQ Mid Gain)

-12 - +12 [6]

FL Depth (Flanger depth )

0 - 127 [8]

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

Adjust the modulation depth of the flanger effect.

FL Fb (Flanger feedback level ) -98% - +98% [9]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

EQ H Gain (EQ High Gain)

-12 - +12 [7]

Adjust the high-range gain of the equalizer.

#FL Bal (Flanger balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the sound

which passes through the flanger and the sound

which does not. With a setting of D>0E, only the

chorus sound will be output, and with a setting of D

0<E, the chorus sound which passes through the

flanger will be output.

RT L Slow (RT Low Frequency Slow Rate)

0.05 - 10.0 [8]

Adjust the speed of the low-range rotor for the low-

speed (Slow) setting.

RT L Fast (RT Low Frequency Fast Rate)

0.05 - 10.0 [9]

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Adjust the speed of the low-range rotor for the high-

speed (Fast) setting.

Low Gain

-12 - +12 [17]

-12 - +12 [18]

0 - 127 [20]

RT Lo Accl (RT Low Frequency Accelaration)

0 - 15 [10]

Adjust the low frequency gain.

Hi Gain (High gain )

Adjust the time over which the rotation speed of the

low-range rotor will change from low-speed to high-

speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

Adjust the high frequency gain.

Level (Output level )

Adjust the output level.

RT Lo Lev (RT Low Frequency Level)0 - 127 [11]

Adjust the volume of the low-range rotor.

Effects that connect three or more types of

RT H Slow (RT High Frequency Slow Rate)

0.05 - 10.0 [12]

effect in series (series 3 / series 4 / series

Adjust the speed of the high-range rotor for the low-

speed (Slow) setting.

47: Rotary Multi

[03H, 00H]

This connects Overdrive (OD), 3-band equalizer (EQ),

and Rotary (RT) effects in series.

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RT H Fast (RTRT High Frequency Fast Rate)

0.05 - 10.0 [13]

OD Sel (OD Select)

Odrv/Dist [5]

0 - 127 [6]

Adjust the speed of the high-range rotor for the

high-speed (Fast) setting.

Select either Overdrive or Distortion.

+OD Drive

RT Hi Accl (RT High Frequency Accelaration)

0 - 15 [14]

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

Adjust the time over which the rotation speed of the

high-range rotor will change from low-speed to

high-speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [7]

Select the type of guitar amp.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

RT Hi Lev (RT High Frequency Level)

0 - 127 [15]

2-Stk

3-Stk

Adjust the volume of the high-range rotor.

RT Sept (RT Separation)

0 - 127 [16]

OD Amp Sw (OD Amp Switch)

Turn OD Amp on/off.

Off/On [8]

-12 - +12 [9]

-12 - +12 [10]

Off/On [11]

Adjust the spatial spread of the rotary sound.

#RT Speed

Slow/Fast [17]

OD L Gain (OD Low Gain)

Adjust the low-range gain.

Simultaneously switch the rotational speed of both

the low-range and the high-range rotors.

OD H Gain (OD High Gain)

Adjust the high-range gain.

Slow

Fast

: Slow down the rotation to the speci-

fied speeds (RT L Slow parameter /

RT H Slow parameter values).

OD Sw (OD Switch)

: Speed up the rotation to the specified

speeds (RT L Fast parameter / RT H

Fast parameter values).

Turn Overdrive or Distortion on/off.

Level (Output level )

Adjust the output level.

0 - 127 [20]

CF Sel (CF Select)

Chorus/Flangr [12]

0.05 - 6.40 [13]

0 - 127 [14]

Select either Chorus or Flanger.

CF Rate

Adjust the speed of modulation

48: GTR Multi 1 (Guitar Multi1)

[04H, 00H]

Guitar Multi 1 connects Compressor (Cmp), Overdrive

or Distortion (OD), Chorus or Flanger (CF), and Delay

(Dly) effects in series.

CF Depth

Adjust the depth of modulation.

CF Fb (CF Feedback)

-98% - +98% [15]

Adjust the amount (%) of the flanger sound that is

returned to the input. Negative (-) values will invert

the phase.

Cmp

Delay

In the case of Chorus, this will have no effect.

Cmp Atck (Compressor Attack)

CF Mix

0 - 127 [16]

0 - 127 [1]

Adjust the volume of the chorus or flanger sound.

Adjust the time over which the sound will rise after

input.

<Dly(Delay)>

Cmp Sus (Compressor Sustain)

0 - 127 [2]

Adjust the time over which low-level sounds are

boosted until they reach a specified volume.

Dly Time (Delay Time)

0m - 635m [17]

Adjust the time from the original sound until when

the delay sound is heard.

Increasing the value will shorten the time. When the

value is modified, the level will also change.

Dly Fb (Delay Feedback Level)

0 - 127 [18]

Adjust the amount of the delay sound that is

returned to the input.

Cmp Level (Compressor Level)

0 - 127 [3]

Adjust the volume of the compressor sound.

#Dly Mix (Delay Mix)

0 - 127 [19]

0 - 127 [20]

Cmp Sw (Compressor Switch)

Turn the compressor on/off.

Off/On [4]

Adjust the volume of the delay sound.

Level (Output level )

Adjust the output level.

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EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [12]

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

49: GTR Multi 2 (Guitar Multi2)

[04H, 01H]

Guitar Multi 2 provides Compressor (Cmp), Overdrive

or Distortion (OD), Equalizer (EQ), and Chorus or

Flanger (CF) effects connected in series.

EQ M Gain (EQ Mid Gain)

-12 - +12 [13]

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

Cmp

EQ H Gain (EQ High Gain)

-12 - +12 [14]

Adjust the high-range gain of the equalizer.

Cmp Atck (Compressor Attack)

0 - 127 [1]

Adjust the time over which the sound will rise after it

is input.

CF Sel (CF Select)

Chorus/Flangr [15]

Select either Chorus or Flanger.

Cmp Sus (Compressor Sustain)

0 - 127 [2]

Adjust the time over which low-level sounds are

boosted until they reach a specified volume.

CF Rate

0.05 - 6.40 [16]

Adjust the speed of modulation for the chorus or

flanger.

Increasing the value will shorten the time. When the

value is modified, the level will also change.

CF Depth

0 - 127 [17]

Adjust the depth of modulation for the chorus or

flanger.

Cmp Level (Compressor Level)

0 - 127 [3]

Adjust the volume of the compressor sound.

Cmp Sw (Compressor Switch)

Turn the compressor on/off.

Off/On [4]

CF Fb (CF Feedback)

-98% - +98% [18]

Adjust the amount (%) of the flanger sound that will

be returned to the input. Negative (-) values will

invert the phase.

In the case of Chorus, this will have no effect.

OD Sel (OD Select)

Odrv/Dist [5]

0 - 127 [6]

#CF Mix (CF Mix)

0 - 127 [19]

Select either Overdrive or Distortion.

Adjust the volume of the chorus or flanger sound.

+OD Drive (OD Drive)

Level (Output level )

Adjust the output level.

0 - 127 [20]

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [7]

50: GTR Multi 3 (Guitar Multi3)

[04H, 02H]

Select the type of guitar amp

Guitar Multi 3 connects Wah (Wah), Overdrive or

Distortion (OD), Chorus or Flanger (CF), and Delay

(Dly) effects in series.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

Wah

Delay

OD Amp Sw (OD Amp Switch)

Turn OD Amp on/off.

Off/On [8]

Off/On [9]

<Wah>

OD Sw (OD Switch)

Turn Overdrive or Distortion on/off.

Wah Fil (Wah Filter Type)

Select the type of filter.

LPF/BPF [1]

LPF

: The wah effect will be produced over

a broad frequency range.

EQ L Gain (EQ Low Gain)

-12 - +12 [10]

BPF

: The wah effect will be produced in a

narrow frequency range.

Adjust the low-range gain of the equalizer.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [11]

+Wah Man (Wah Manual)

0 - 127 [2]

Set the center frequency at which the effect will be

produced.

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Wah Peak

0 - 127 [3]

Adjust the way in which the wah effect will be

applied to the region of the center frequency. Lower

settings will produce a wah effect in a broad area

around the center frequency, and higher settings

will produce a wah effect in a narrower area around

the center frequency.

Dly Time (Delay Time)

0m - 635m [17]

Adjust the time from the original sound until when

the delay sound is heard.

Dly Fb (Delay Feedback Level)

0 - 127 [18]

Adjust the amount of the delay sound that is

returned to the input.

Wah Sw (Wah Switch)

Turn Wah on/off.

Off/On [4]

Dly Mix (Delay Mix)

0 - 127 [19]

0 - 127 [20]

Adjust the volume of the delay sound.

Level (Output level )

Adjust the output level.

OD Sel (OD Select)

Odrv/Dist [5]

0 - 127 [6]

Select either Overdrive or Distortion.

#OD Drive

51: Clean Gt Multi1 (Clean Guitar Multi1)

[04H, 03H]

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

Clean Guitar Multi 1 connects Compressor (Cmp),

Equalizer (EQ), Chorus or Flanger (CF), and Delay

(Dly) effects in series.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [7]

Select the type of guitar amp

Small

BltIn

: small amp

Cmp

Delay

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

Cmp Atck (Compressor Attack)

OD Amp Sw (OD Amp Switch)

Turn OD Amp on/off.

Off/On [8]

0 - 127 [1]

Adjust the time over which the sound will rise after it

is input.

OD L Gain (OD Low Gain)

-12 - +12 [9]

Adjust the low-range gain for the overdrive (or dis-

tortion) sound.

Cmp Sus (Compressor Sustain)

0 - 127 [2]

Adjust the time over which low-level sounds are

boosted until they reach a specified volume.

OD H Gain (OD High Gain)

-12 - +12 [10]

Increasing the value will shorten the time. When the

value is modified, the level will also change.

Adjust the high-range gain for the overdrive (or dis-

tortion) sound.

Cmp Level (Compressor Level)

0 - 127 [3]

OD Sw (OD Switch)

Off/On [11]

Adjust the volume of the compressor sound.

Turn overdrive or distortion on/off.

Cmp Sw (Compressor Switch)

Turn the compressor on/off.

Off/On [4]

CF Sel (CF Select)

Chorus/Flangr [12]

0.05 - 6.40 [13]

Select either Chorus or Flanger.

EQ L Gain (EQ Low Gain)

-12 - +12 [5]

CF Rate

Adjust the low-range gain of the equalizer.

Adjust the modulation speed for the chorus or

flanger.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [6]

CF Depth

0 - 127 [14]

Adjust the modulation depth for the chorus or

flanger.

EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [7]

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

CF Fb (CF Feedback)

-98% - +98% [15]

Adjust the amount (%) of the flanger sound that is

returned to the input. Negative (-) values will invert

the phase.

In the case of Chorus, this will have no effect.

CF Mix

0 - 127 [16]

Adjust the volume of the chorus or flanger sound.

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EQ M Gain (EQ Mid Gain)

-12 - +12 [8]

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

AW Filter (Auto-wah Filter Type)

LPF/BPF [1]

Select the type of filter for the auto-wah.

EQ H Gain (EQ High Gain)

-12 - +12 [9]

LPF

BPF

: The wah effect will be produced over

a broad frequency range.

Adjust the high-range gain of the equalizer.

: The wah effect will be produced over

a narrow frequency range.

+AW Man (Auto-wah Manual)

0 - 127 [2]

CF Sel (CF Select)

Chorus/Flangr [10]

Set the center frequency at which the auto-wah

effect will be produced.

Select either Chorus or Flanger.

CF Rate

0.05 - 6.40 [11]

AW Peak (Auto-wah Peak)

0 - 127 [3]

Adjust the speed of modulation for the chorus or

flanger.

Adjust the way in which the wah effect will be

applied to the region of the center frequency. Lower

settings will produce a wah effect in a broad area

around the center frequency, and higher settings

will produce a wah effect in a narrower area around

the center frequency.

CF Depth

0 - 127 [12]

Adjust the depth of modulation for the chorus or

flanger.

CF Fb (CF Feedback)

-98% - +98% [13]

AW Rate (Auto-wah Rate)

0.05 - 6.40 [4]

Adjust the amount (%) of the flanger sound that will

be returned to the input. Negative (-) values will

invert the phase.

Adjust the modulation speed of the auto-wah.

AW Depth (Auto-wah Depth)

0 - 127 [5]

In the case of Chorus, this will have no effect.

Adjust the modulation depth of the auto-wah.

+CF Mix (CF Mix)

0 - 127 [14]

AW Sw (Auto-wah Switch)

Turn Auto-way on/off.

Off/On [6]

Adjust the volume of the chorus or flanger sound.

Dly Time (Delay Time)

0m - 635m [15]

EQ L Gain (EQ Low Gain)

-12 - +12 [7]

Adjust the time from the original sound until when

the delay sound is heard.

Adjust the low-range gain of the equalizer.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [8]

Dly Fb (Delay Feedback Level)

0 - 127 [16]

Adjust the amount of the delay sound that is

returned to the input.

EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [9]

Dly HF (Delay HF Dump)

315-8k/Bypass[17]

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

Adjust the frequency at which the high range will be

cut from the delay sound that is returned to the

input. If you do not wish to cut the high range of the

returned sound, select Bypass.

EQ M Gain (EQ Mid Gain)

-12 - +12 [10]

#Dly Mix (Delay Mix)

0 - 127 [18]

0 - 127 [20]

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

Adjust the volume of the delay sound.

Level (Output level )

Adjust the output level.

EQ H Gain (EQ High Gain)

-12 - +12 [11]

Adjust the high-range gain of the equalizer.

52: Clean Gt Multi2 (Clean Guitar Multi2)

[04H, 04H]

Clean Guitar Multi 2 provides Auto-wah (AW),

Equalizer (EQ), Chorus or Flanger (CF), and Delay

(Dly) effects connected in series.

CF Sel (CF Select)

Chorus/Flangr [12]

Select either Chorus or Flanger.

CF Rate

0.05 - 6.40 [13]

Adjust the speed of modulation for the chorus or

flanger.

Delay

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CF Depth

0 - 127 [14]

OD Sel (ODSelect)

Adjust the depth of modulation for the chorus or

flanger.

Odrv/Dist [5]

Select either bass guitar Overdrive or Distortion.

CF Fb (CF Feedback)

-98% - +98% [15]

+OD Drive (OD Drive)

0 - 127 [6]

Adjust the amount (%) of the flanger sound that will

be returned to the input. Negative (-) values will

invert the phase.

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

OD Amp (OD Amp Simlation Type)

Small/BltIn/2-Stk [7]

In the case of Chorus, this will have no effect.

CF Mix

0 - 127 [16]

Select the type of guitar amp

Adjust the volume of the chorus or flanger sound.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

2-Stk

Dly Time (Delay Time)

0m - 635m [17]

OD Amp Sw (OD Amp Switch)

Turn OD Amp on/off.

Off/On [8]

Off/On [9]

Adjust the time from the original sound until when

the delay sound is heard.

OD Sw (OD Switch)

Dly Fb (Delay Feedback Level)

0 - 127 [18]

Turn Overdrive/Distortion on/off.

Adjust the amount of the delay sound that is

returned to the input.

#Dly Mix (Delay Mix)

0 - 127 [19]

0 - 127 [20]

Adjust the volume of the delay sound.

EQ L Gain (EQ Low Gain)

-12 - +12 [10]

Adjust the low-range gain of the equalizer.

Level (Output level )

Adjust the output level.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [11]

EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [12]

53: Bass Multi

[04H, 05H]

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

Bass Multi provides Compressor (Cmp), Overdrive or

Distortion (OD), Equalizer (EQ), and Chorus or

Flanger (CF) effects connected in series.

EQ M Gain (EQ Mid Gain)

-12 - +12 [13]

Cmp

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

EQ H Gain (EQ High Gain)

-12 - +12 [14]

Cmp Atck (Compressor Attack)

Adjust the high-range gain of the equalizer.

0 - 127 [1]

Adjust the time over which the sound will rise after it

is input.

<CF(Chorus/Flanger)>

Cmp Sus (Compressor Sustain)

0 - 127 [2]

CF Sel (CF Select)

Chorus/Flangr [15]

Adjust the time over which low-level sounds are

boosted until they reach a specified volume.

Select either Chorus or Flanger.

CF Rate

0.05 - 6.40 [16]

Increasing the value will shorten the time. When the

value is modified, the level will also change.

Adjust the speed of modulation for the chorus or

flanger.

Cmp Level (Compressor Level)

0 - 127 [3]

CF Depth

0 - 127 [17]

Adjust the depth of modulation for the chorus or

flanger.

Adjust the volume of the compressor sound.

Cmp Sw (Compressor Switch)

Turn the compressor on/off.

Off/On [4]

CF Fb (CF Feedback level)

-98% - +98% [18]

Adjust the amount (%) of the flanger sound that will

be returned to the input. Negative (-) values will

invert the phase.

In the case of Chorus, this will have no effect.

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#CF Mix

0 - 127 [19]

CF Depth

0 - 127 [12]

Adjust the volume of the chorus or flanger sound.

Adjust the modulation depth.

Level (Output level )

Adjust the output level.

0 - 127 [20]

CF Fb (CF Feedback Level)

-98% - +98% [13]

Adjust the amount (%) of the flanger sound that will

be returned to the input. Negative (-) values will

invert the phase.

In the case of Chorus, this will have no effect.

54: Rhodes Multi

[04H, 06H]

Rhodes Multi provides Enhancer (EH), Phaser (PH),

Chorus or Flanger (CF), and Tremolo or Pan (TP)

effects connected in series.

CF Mix

0 - 127 [14]

Adjust the volume of the effect sound.

TP Sel (TP Select)

Trem/Pan [15]

Select either Tremolo or Pan.

TP Mod WV (TP Modulation Wave)

Tri/Sqr/Sin/Saw1/Saw2 [16]

Select the way in which tremolo or pan will be mod-

ulated.

EH Sens (Enhancer Sensitivity)

Adjust the depth of the enhancer.

0 - 127 [1]

0 - 127 [2]

Tri

: The sound will be modulated like a

triangle wave.

EH Mix (Enhancer Mix Level)

Adjust the level at which the overtones generated

by the enhancer will be mixed with the direct sound.

Sqr

Sin

: The sound will be modulated like a

square wave.

: The sound will be modulated like a

sine wave.

PH Man (Phaser Manual)

100 - 8.0k [3]

Saw1,2 : The sound will be modulated like a

sawtooth wave. The “teeth” in Saw1

and Saw2 point in opposite direc-

tions.

Adjust the center frequency at which the sound will

be modulated.

PH Rate (Phaser Rate)

0.05 - 6.40 [4]

0 - 127 [5]

Adjust the modulation speed.

Saw1

Saw2

PH Depth (Phaser Depth)

Adjust the modulation depth.

PH Reso (Phaser Resonance)

0 - 127 [6]

Adjust the emphasis for the region around the cen-

ter frequency specified by the PH Man parameter.

+TP Mod RT (TP Modulation Rate)

Adjust the modulation speed.

0.05 - 6.40 [17]

PH Mix (Phaser Mix)

0 - 127 [7]

Adjust the proportion of the phase-shifted sound

that will be mixed with the direct sound.

#TP Mod Dep (TP Modulation Depth) 0 - 127 [18]

Adjust the modulation depth.

TP Sw (TP Switch)

Off/On [19]

Turn tremolo or pan on/off.

CF Sel (CF Select)

Chorus/Flangr [8]

Level (Output Level)

Adjust the output level.

0 - 127 [20]

Select either Chorus or Flanger.

CF LPF (CF Low Pass Filter)

250 - 6.3k/Bypass [9]

Cut the high frequency range of the chorus or

flanger sound.

55: Keyboard Multi

[05H, 00H]

Keyboard Multi provides Ring Modulator (RM),

Equalizer (EQ), Pitch Shifter (PS), Phaser (PH) and

Delay (Dly) effects connected in series.

CF Dly (CF Pre Dealy)

0 - 100m [10]

Adjust the time from the direct sound until when the

chorus or flanger sound is heard.

Ring Modulator is an effect which applies amplitude

modulation (AM) to the input signal, producing bell-like

sounds.

CF Rate

0.05 - 6.40 [11]

Adjust the modulation speed.

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PH Man (Phaser Manual)

100 - 8.0k [12]

Dly

Set the center frequency at which the phaser sound

will be modulated.

PH Rate (Phaser Rate)

0.05 - 6.40 [13]

+RM Mod Freq (RM Modulation Frequency)

0 - 127 [1]

Adjust the modulation speed of the phaser.

PH Depth (Phaser Depth)

0 - 127 [14]

Set the frequency at which modulation will be

Adjust the modulation depth of the phaser.

applied.

PH Reso (Phaser Resonance)

Adjust the emphasis for the region in the area of the

center frequency specified by the PH Man parame-

ter.

0 - 127 [15]

#RM Bal (RM Balance)

D> 0E - D 0<E [2]

Adjust the balance between the direct and the ring

modulated sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

PH Mix (Phaser Mix)

0 - 127 [16]

Adjust the proportion at which the phase-shifted

sound will be mixed with the original sound.

EQ L Gain (EQ Low Gain)

-12 - +12 [3]

Adjust the low range gain of the equalizer.

Dly Time (Delay Time)

0m - 635m [17]

Adjust the time from the original sound until when

the delay sound is heard.

EQ M Fq (EQ Mid Frequency)

Set the center frequency for the equalizer mid-

range.

200 - 6.3k [4]

Dly Fb (Delay Feedback Level)

0 - 127 [18]

Adjust the amount of the delay sound that is

returned to the input.

EQ M Q (EQ Mid Q)

0.5/1.0/2.0/4.0/9.0 [5]

Adjust the width of the area centered at the EQ M

Fq setting in which the gain will be affected. The

area affected will become narrower as this value is

increased.

Dly Mix (Delay Mix Level)

0 - 127 [19]

Adjust the proportion at which the delay sound is

mixed with the direct sound.

EQ M Gain (EQ Mid Gain)

-12 - +12 [6]

Level (Output level )

Adjust the output level.

0 - 127 [20]

Adjust the gain of the area specified by the EQ M

Fq parameter and the EQ M Q parameter.

EQ H Gain (EQ High Gain)

-12 - +12 [7]

Adjust the high-range gain of the equalizer.

Effects that connect two types of effect in

parallel (parallel 2)

Effect types in which two different effects are con-

nected in parallel allow you to apply different effects

to L and R independently. By using parallel effects

for the sound of two Parts, you can achieve a result

as if two separate effect units were used.

PS Coarse (PS Coarse Pitch)

Adjust the amount of pitch shift in semitone steps (-

2 to +1 octaves).

-24 - 0 - +12 [8]

PS Fine (PS Fine Pitch)

-100 - 0 - +100 [9]

Make fine adjustments to the pitch shift in 2-cent

steps (-100 to +100 cents).

For example you might select a guitar sound for

Part 1 and an organ sound for Part 2. Then set the

pan setting to L63 (far left) for Part 1, and to R63

(far right) for Part 2. Apply the effect “59:

OD/Rotary” to both Parts 1 and 2. By then making

appropriate settings for the “OD Pan” and “RT Pan”

effect parameters, you can apply Overdrive to the

guitar sound and Rotary to the organ sound, effec-

tively allowing you to use two separate effects at

once.

PS Mode (PS Shifter Mode)

1 - 5 [10]

As this value is increased, the response will

become slower but the sound will be more stable.

PS Bal (PS Balance)

D> 0E - D 0<E [11]

Adjust the volume balance between the direct and

the pitch shifted sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

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Dly Pan (Delay Output Pan)

L63 - 0 - R63 [18]

60 OD/Rotary

Adjust the stereo position of the delay sound. L63 is

far left, 0 is center, and R63 is far right.

Part 01 L63

028 Clean Gt.

Pan

Overdrive/

Distortion

Dly Level (Delay level )

0 - 127 [19]

0 - 127 [20]

Part 02 R63

017 Organ 1

Adjust the volume of the delay sound.

Rotary

Pan

Level (Output level )

Adjust the output level.

56: Cho / Delay (Chorus / Delay)

This effect connects a chorus and a delay in parallel.

[11H, 00H]

57: FL / Delay (Flanger / Delay)

This effect connects a flanger and a delay in parallel.

[11H, 01H]

Pan

Chorus

Flanger

Balance

Delay

Pan

Cho Dly (Chorus pre delay )

0 - 100m [1]

FL Dly (Flanger pre delay )

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

Adjust the time delay from when the direct sound

begins until the flanger sound is heard.

Cho Rate (Chorus rate )

0.05 - 10.0 [2]

FL Rate (Flanger rate )

0.05 - 10.0 [2]

Adjust the modulation speed of the chorus effect.

Adjust the modulation speed of the flanger effect.

Cho Depth (Chorus depth )

0 - 127 [3]

FL Depth (Flanger depth )

0 - 127 [3]

Adjust the modulation depth of the chorus effect.

Adjust the modulation depth of the flanger effect.

+Cho Bal (Chorus balance )

D> 0E - D 0<E [5]

FL Fb (Flanger feedback level ) -98% - +98% [4]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

Adjust the volume balance between the direct and

the chorus sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

+FL Bal (Flanger balance )

D> 0E - D 0<E [5]

Cho Pan (Chorus Output Pan) L63 - 0 - R63 [16]

Adjust the stereo position of the chorus sound. L63

is far left, 0 is center, and R63 is far right.

Adjust the volume balance between the direct and

the flanger sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Cho Level (Chorus Level)

0 - 127 [17]

Adjust the volume of the chorus sound.

FL Pan (Flanger Output Pan) L63 - 0 - R63 [16]

Adjust the stereo position of the flanger sound. L63

is far left, 0 is center, and R63 is far right.

Dly Time (Delay time )

0 - 500m [6]

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

FL Level (Flanger level )

0 - 127 [17]

Adjust the volume of the flanger sound.

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the delay input. Negative (-) settings

will invert the phase.

Dly Time (Delay time )

0 - 500m [6]

Adjust the time delay from when the direct sound

begins until the delay sound is heard.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

Dly Fb (Delay feedback level ) -98% - +98% [7]

Adjust the proportion (%) of the delay sound that is

fed back into the delay input. Negative (-) settings

will invert the phase.

Adjust the frequency above which delayed sound

fed back to the delay input will be cut. If you do not

wish to cut the high frequencies of the feedback, set

this parameter to Bypass.

Dly HF (Delay HF damp )

315 - 8k/Bypass [8]

#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

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 feed-

back, set this parameter to Bypass.

Adjust the volume balance between the direct and

the delay sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

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#Dly Bal (Delay balance )

D> 0E - D 0<E [10]

FL Dly (Flanger pre delay )

0 - 100m [6]

Adjust the volume balance between the direct and

Adjust the time delay from when the direct sound

the delay sound.

begins until the flanger sound is heard.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

FL Rate (Flanger rate )

0.05 - 10.0 [7]

Adjust the modulation speed of the flanger effect.

Dly Pan (Delay Output Pan)

L63 - 0 - R63 [18]

FL Depth (Flanger depth )

0 - 127 [8]

Adjust the stereo position of the delay sound. L63 is

far left, 0 is center, and R63 is far right.

Adjust the modulation depth of the flanger effect.

FL Fb (Flanger feedback level ) -98% - +98% [9]

Adjust the proportion (%) of the flanger sound that

is fed back into the effect. Negative (-) settings will

invert the phase.

Dly Level (Delay Level)

0 - 127 [19]

0 - 127 [20]

Adjust the volume of the delay sound.

Level (Output level )

Adjust the output level.

#FL Bal (Flanger balance )

D> 0E - D 0<E [10]

Adjust the volume balance between the direct and

the flanger sound.

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

58: Cho / Flanger (Chorus / Flanger) [11H, 02H]

This effect connects a chorus and a flanger in parallel.

Pan

FL Pan (Flanger Output Pan) L63 - 0 - R63 [18]

Adjust the stereo position of the flanger sound. L63

is far left, 0 is center, and R63 is far right.

Chorus

Balance

Flanger

FL Level (Flanger Level)

0 - 127 [19]

Adjust the volume of the flanger sound.

Pan

Level (Output level )

Adjust the output level.

0 - 127 [20]

Cho Dly (Chorus pre delay )

0 - 100m [1]

Adjust the time delay from when the direct sound

begins until the chorus sound is heard.

Cho Rate (Chorus rate )

0.05 - 10.0 [2]

59: OD1 / OD2 (Overdrive / Distortion1,2)|

[11H, 03H]

Adjust the modulation speed of the chorus effect.

Cho Depth (Chorus depth )

0 - 127 [3]

This connects two effect units in parallel, each of

which allows you to select Overdrive or Distortion.

Adjust the modulation depth of the chorus effect.

Pan

+Cho Bal (Chorus balance )

D> 0E - D 0<E [5]

Overdrive/

Adjust the volume balance between the direct and

Distortion 1

the chorus sound.

Overdrive/

“D” or “E” on the display respectively means

D(direct sound) or E(effect sound) values of 100.

Distortion 2

Pan

Cho Pan (Chorus Output Pan) L63 - 0 - R63 [16]

Adjust the stereo position of the chorus sound. L63

is far left, 0 is center, and R63 is far right.

OD1 Sel (OD1 Select)

Odrv/Dist [1]

Select either Overdrive or Distortion for set 1.

Cho Level (Chorus Level)

0 - 127 [17]

+OD1 Drive (OD1 Drive)

0 - 127 [2]

Adjust the volume of the chorus sound.

Adjust the depth of distortion for set 1. The volume

will change together with the depth of distortion.

OD1 Amp (OD1 Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp for set 1.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

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OD1 Amp Sw (OD1 Amp Switch)

Off/On [4]

L63 - 0 - R63 [16]

Turn OD1 Amp on/off.

OD Sel (OD Select)

Odrv/Dist [1]

0 - 127 [2]

Adjust the depth of overdrive or distortion. The vol-

ume will change together with the depth of distor-

tion.

Select either Overdrive or Distortion.

OD1 Pan (OD1 Output Pan)

Set the stereo location of the overdrive or distortion

sound for set 1. L63 is far left, 0 is center, and R63

is far right.

+OD Drive (OD Drive)

OD1 Level

0 - 127 [17]

Adjust the overdrive or distortion volume for set 1.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp for overdrive or distor-

tion.

OD2 Sel (OD2 Select)

Odrv/Dist [6]

Small

BltIn

: small amp

Select either Overdrive or Distortion for set 2.

: single-unit type amp

: large double stack amp

: large triple stack amp

#OD2 Drive (OD2 Drive)

0 - 127 [7]

2-Stk

3-Stk

Adjust the depth of distortion for set 2. The volume

will change together with the depth of distortion.

OD Amp Sw (OD Amp Switch)

Turn the OD Amp parameter on/off.

Off/On [4]

OD2 Amp (OD2 Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [8]

Select the type of guitar amp for set 2.

OD Pan (OD Output Pan)

L63 - 0 - R63 [16]

Set the stereo location of the overdrive or distortion

sound. L63 is far left, 0 is center, and R63 is far

right.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

OD Level

0 - 127 [17]

Adjust the volume of the overdrive or distortion

sound.

OD2 Amp Sw (OD2 Amp Switch)

Off/On [9]

Turn OD2 Amp on/off.

OD2 Pan (OD2 Output Pan)

L63 - 0 - R63 [18]

Set the stereo location of the overdrive or distortion

sound for set 2. L63 is far left, 0 is center, and R63

is far right.

RT L Slow (RT Low Frequency Slow Rate)

0.05 - 10.0 [6]

Adjust the speed of the low-range rotor for the low-

OD2 Level

0 - 127 [19]

speed (Slow) setting.

Adjust the overdrive or distortion volume for set 2.

RT L Fast (RT Low Frequency Fast Rate)

0.05 - 10.0 [7]

Level (Output level )

Adjust the output level.

0 - 127 [20]

Adjust the speed of the low-range rotor for the high-

speed (Fast) setting.

RT Lo Accl (RT Low Frequency Acceleration)

0 - 15 [8]

60: OD / Rotary (Overdrive/Distortion, Rotary)

[11H, 04H]

This connects Overdrive or Distortion in parallel with

Rotary.

Adjust the time over which the rotation speed of the

low-range rotor will change from low-speed to high-

speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

Pan

Overdrive/

Distortion

RT Lo Lev (RT Low Frequency Level) 0 - 127 [9]

Adjust the volume of the low-range rotor.

Rotary

Pan

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RT H Slow (RT High Frequency Slow Rate)

0.05 - 10.0 [10]

+OD Drive (OD Drive)

0 - 127 [2]

Adjust the depth of distortion. The volume will

change together with the depth of distortion.

Adjust the speed of the high-range rotor for the low-

speed (Slow) setting.

OD Amp (OD Amp Simulator Type)

Smal/BltIn/ 2-Stk/3-Stk [3]

RT H Fast (RT High Frequency Fast Rate)

0.05 - 10.0 [11]

Select the type of guitar amp.

Adjust the speed of the high-range rotor for the

high-speed (Fast) setting.

Small

BltIn

: small amp

: single-unit type amp

: large double stack amp

: large triple stack amp

2-Stk

3-Stk

RT Hi Accl (RT High Frequency Acceleration)

0 - 15 [12]

Adjust the time over which the rotation speed of the

high-range rotor will change from low-speed to

high-speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

OD Amp Sw (OD Amp Switch)

Turn the OD Amp parameter on/off.

Off/On [4]

OD Pan (OD Output Pan)

L63 - 0 - R63 [16]

Set the stereo location of the overdrive or distortion

sound. L63 is far left, 0 is center, and R63 is far

right.

RT Hi Lev (RT High Frequency Level)

0 - 127 [13]

Adjust the volume of the high-range rotor.

OD Level

0 - 127 [17]

Adjust the overdrive or distortion volume.

RT Sept (RT Separation)

0 - 127 [14]

Adjust the spatial spread of the rotary sound.

#RT Speed

Slow/Fast [15]

Simultaneously switch the rotational speed of both

the low-range and the high-range rotors.

PH Man (Phaser Manual)

100 - 8.0k [6]

Adjust the center frequency at which the sound will

be modulated.

Slow

Fast

: Slow down the rotation to the speci-

fied speeds (RT L Slow parameter /

RT H Slow parameter values).

#PH Rate (Phaser Rate)

Adjust the modulation speed.

0.05 - 10.0 [7]

0 - 127 [8]

: Speed up the rotation to the specified

speeds (RT L Fast parameter / RT H

Fast parameter values).

PH Depth (Phaser Depth)

Adjust the modulation depth.

RT Pan (RT Output Pan)

L63 - 0 - R63 [18]

PH Reso (Phaser Resonance)

0 - 127 [9]

Adjust the stereo position of the rotary sound. L63

is far left, 0 is center, and R63 is far right.

Adjust the emphasis for the region around the cen-

ter frequency specified by the PH Man parameter.

RT Level

0 - 127 [19]

0 - 127 [20]

PH Mix (Phaser Mix Level)

0 - 127 [10]

Adjust the volume of the rotary sound.

Adjust the proportion of the phase-shifted sound

that will be mixed with the direct sound.

Level (Output level )

Adjust the output level.

PH Pan (Phaser Output Pan) L63 - 0 - R63 [18]

Set the stereo location of the phaser sound. L63 is

far left, 0 is center, and R63 is far right.

61: OD / Phaser(Overdrive/Distortion, Phaser)

[11H, 05H]

PH Level

0 - 127 [19]

Adjust the volume of the phaser sound.

This connects an overdrive or distortion in parallel with

a phaser.

Level (Output level )

Adjust the output level.

0 - 127 [20]

Pan

Overdrive/

Distortion

62: OD / AutoWah (Overdrive/Distortion, Auto-wah)

[11H, 06H]

Phaser

Pan

This connects an Overdrive or Distortion in parallel

with an Auto-wah.

OD Sel (OD Select)

Odrv/Dist [1]

Pan

Overdrive/

Select either Overdrive or Distortion.

Distortion

Auto Wah

Pan

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AW Depth (Auto-wah Depth)

0 - 127 [11]

Adjust the modulation depth of the auto-wah.

OD Sel (OD Select)

Odrv/Dist [1]

0 - 127 [2]

Select either Overdrive or Distortion.

AW Pol (Auto-wah Polarity)

Down/Up [12]

Set the direction in which the frequency will change

when the auto-wah filter is modulated. With a set-

ting of Up, the filter will change toward a higher fre-

quency. With a setting of Down, it will change

toward a lower frequency.

+OD Drive (OD Drive)

Adjust the depth of overdrive or distortion. The vol-

ume will change together with the depth of distor-

tion.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]

Select the type of guitar amp for overdrive or distor-

tion.

AW Pan (Auto-wah Output Pan)

L63 - 0 - R63 [18]

Adjust the stereo position of the auto-wah sound.

L63 is far left, 0 is center, and R63 is far right.

Small

BltIn

: small amp

AW Level (Auto-wah Level)

0 - 127 [19]

: single-unit type amp

: large double stack amp

: large triple stack amp

Adjust the volume of the auto-wah sound.

2-Stk

3-Stk

Level (Output level )

Adjust the output level.

0 - 127 [20]

OD Amp Sw (OD Amp Switch)

Turn the OD Amp parameter on/off.

Off/On [4]

OD Pan (OD Output Pan)

L63 - 0 - R63 [16]

63: PH / Rotary (Phaser, Rotary)

This connects a Phaser effect in parallel with a Rotary

effect.

[11H, 07H]

Set the stereo location of the overdrive or distortion

sound. L63 is far left, 0 is center, and R63 is far

right.

Pan

OD Level (OD Level)

0 - 127 [17]

Phaser

Rotary

Adjust the volume of the overdrive or distortion

sound.

Pan

AW Filter (Auto-wah Filter Type)

LPF/BPF [6]

PH Man (Phaser Manual)

100 - 8.0k [1]

Select the type of filter for the auto-wah.

Adjust the center frequency at which the sound will

be modulated.

LPF

BPF

: The wah effect will be produced over

a broad frequency range.

+PH Rate (Phaser Rate)

0.05 - 10.0 [2]

: The wah effect will be produced over

a narrow frequency range.

Adjust the modulation speed of the phaser.

PH Depth (Phaser Depth)

0 - 127 [3]

AW Sens (Auto-wah Sensitivity)

0 - 127 [7]

Adjust the modulation depth of the phaser.

Adjust the sensitivity with which the auto-wah filter

will be controlled.

PH Reso (Phaser Resonance)

0 - 127 [4]

Adjust the emphasis for the region around the cen-

ter frequency specified by the PH Man parameter.

#AW Man (Auto-wah Manual)

0 - 127 [8]

Set the center frequency at which the auto-wah

effect will be produced.

PH Mix (Phaser Mix Level)

0 - 127 [5]

Adjust the proportion of the phase-shifted sound

that will be mixed with the direct sound.

AW Peak (Auto-wah Peak)

0 - 127 [9]

Adjust the way in which the wah effect will be

applied to the region of the center frequency. Lower

settings will produce a wah effect in a broad area

around the center frequency, and higher settings

will produce a wah effect in a narrower area around

the center frequency.

PH Pan (Phaser Output Pan) L63 - 0 - R63 [16]

Set the stereo location of the phaser sound. L63 is

far left, 0 is center, and R63 is far right.

PH Level (Phaser Level)

0 - 127 [17]

Adjust the volume of the phaser sound.

AW Rate (Auto-wah Rate)

0.05 - 10.0 [10]

Adjust the modulation speed of the auto-wah.

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RT Pan (RT Output Pan)

L63 - 0 - R63 [18]

Adjust the stereo position of the rotary sound. L63

is far left, 0 is center, and R63 is far right.

RT L Slow (RT Low Frequency Slow Rate)

0.05 - 10.0 [6]

Adjust the speed of the low-range rotor for the low-

speed (Slow) setting.

RT Level

0 - 127 [19]

0 - 127 [20]

Adjust the volume of the rotary sound.

RT L Fast (RT Low Frequency Fast Rate)

0.05 - 10.0 [7]

Level (Output level )

Adjust the output level.

Adjust the speed of the low-range rotor for the high-

speed (Fast) setting.

RT Lo Accl (RT Low Frequency Acceleration)

0 - 15 [8]

64: PH / AutoWah (Phaser, Auto-wah)

[11H, 08H]

Adjust the time over which the rotation speed of the

low-range rotor will change from low-speed to high-

speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

This connects a Phaser effect and an Auto-wah effect

in parallel.

Pan

Phaser

RT Lo Lev (RT Low Frequency Level) 0 - 127 [9]

Adjust the volume of the low-range rotor.

Auto Wah

Pan

RT H Slow (RT High Frequency Slow Rate)

0.05 - 10.0 [10]

PH Man (Phaser Manual)

100 - 8.0k [1]

Adjust the speed of the high-range rotor for the low-

Adjust the center frequency at which the phaser

speed (Slow) setting.

sound will be modulated.

RT H Fast (RT High Frequency Fast Rate)

0.05 - 10.0 [11]

+PH Rate (Phaser Rate)

0.05 - 10.0 [2]

Adjust the modulation speed of the phaser.

Adjust the speed of the high-range rotor for the

high-speed (Fast) setting.

PH Depth (Phaser Depth)

0 - 127 [3]

Adjust the modulation depth of the phaser.

RT Hi Accl (RT High Frequency Acceleration)

0 - 15 [12]

PH Reso (Phaser Resonance)

0 - 127 [4]

Adjust the time over which the rotation speed of the

high-range rotor will change from low-speed to

high-speed (or high-speed to low-speed) rotation.

Smaller values will require greater time to reach the

new rotational speed.

Adjust the emphasis for the region around the cen-

ter frequency specified by the PH Man parameter.

PH Mix (Phaser Mix Level)

0 - 127 [5]

Adjust the proportion of the phase-shifted sound

that will be mixed with the direct sound.

RT Hi Lev (RT High Frequency Level)

0 - 127 [13]

PH Pan (Phaser Output Pan) L63 - 0 - R63 [16]

Set the stereo location of the phaser sound. L63 is

far left, 0 is center, and R63 is far right.

Adjust the volume of the high-range rotor.

RT Sept (RT Separation)

0 - 127 [14]

Adjust the spread of the rotary sound.

PH Level (Phaser Level)

0 - 127 [17]

Adjust the volume of the phaser sound.

#RT Speed

Slow/Fast [15]

Simultaneously switch the rotational speed of both

the low-range and the high-range rotors.

Slow

Fast

: Slow down the rotation to the speci-

fied speeds (RT L Slow parameter /

RT H Slow parameter values).

AW Filter (Auto-wah Filter Type)

LPF/BPF [6]

Select the type of filter for the auto-wah.

LPF

BPF

: The wah effect will be produced over

a broad frequency range.

: Speed up the rotation to the specified

speeds (RT L Fast parameter / RT H

Fast parameter values).

: The wah effect will be produced over

a narrow frequency range.

AW Sens (Auto-wah Sensitivity)

0 - 127 [7]

Adjust the sensitivity with which the auto-wah filter

will be modulated.

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#AW Man (Auto-wah Manual)

0 - 127 [8]

Set the center frequency at which the auto-wah

effect will be produced.

<< When using 3D effects >>

The following four 3D effects utilize RSS (Roland

Sound Space) technology to create a spacious-

ness that cannot be produced by delay, reverb,

or chorus etc.

AW Peak (Auto-wah Peak)

0 - 127 [9]

Adjust the way in which the wah effect will be

applied to the region of the center frequency. Lower

settings will produce a wah effect in a broad area

around the center frequency, and higher settings

will produce a wah effect in a narrower area around

the center frequency.

20: 3D Chorus

28: 3D Delay

31: 3D Auto

32: 3D Manual

AW Rate (Auto-wah Rate)

0.05 - 10.0 [10]

When using these effects, we recommend that

you place your speakers as follows. Also, make

sure that the speakers are at a sufficient dis-

tance from the walls on either side.

Adjust the modulation speed of the auto-wah.

AW Depth (Auto-wah Depth)

0 - 127 [11]

Adjust the modulation depth of the auto-wah.

AW Pol (Auto-wah Polarity)

Down/Up [12]

Set the direction in which the frequency will change

when the auto-wah filter is modulated. With a set-

ting of Up, the filter will change toward a higher fre-

quency. With a setting of Down it will change

toward a lower frequency.

30˚ 30˚

AW Pan (Auto-wah Output Pan)

L63 - 0 - R63 [18]

Adjust the stereo position of the auto-wah sound.

L63 is far left, 0 is center, and R63 is far right.

AW Level (Auto-wah Level)

0 - 127 [19]

Adjust the volume of the auto-wah sound.

If the left and right speakers are too far apart, or

if there is too much reverberation, the full 3D

effect may not appear.

Level (Output level )

Adjust the output level.

0 - 127 [20]

Each of these effects has an “Out (Output

Mode)” parameter. If the sound from the OUT-

PUT jacks will be heard through speakers, set

this parameter to Speaker. If the sound will 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.

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Using controllers to modify effect parameters

Controllers can be used to modify the values of Insertion effect parameters.

Using MIDI messages to modify effect parameters during a song would require a large

amount of data if you were to use only Exclusive messages. Thus, this unit allows you to

use controllers to set the main effect parameters. Since you can use Control Change

messages to modify parameter values, the amount of data will not be excessively large,

even if you modify parameter values during a song.

Also, if you are using a keyboard etc. to play, you can use controllers to modify the val-

ues in realtime.

EFX C.Src1, 2 (Effect Control Source 1, 2)

EFX C.Dep1, 2 (Effect Control Depth 1, 2)

Setting procedure

1. Press [ALL] to make the button indicator light.

2. Simultaneously press PART [ ] and [ ].

3. Press either [ ] or [ ] to select the parameter whose setting you wish to

change.

You can skip parameters by pressing [u ][d ], while holding [SELECT].

4. Use INSTRUMENT [ ][ ] to set the value.

IN S TRU M EN T

P A RT

ALL >EFX C.Src1: Off

LEVEL

P A N

100 0

5. When you finish making settings, simultaneously press PART [ ] and

[

] to end the procedure.

2 5

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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How each parameter works

Examples of using effect controllers

EFX C.Src1, 2 (Effect Control Source)

Here are some examples of how effect controllers can

be used.

Off/CC1 - 95/CAf/Bend

Specify the controllers that you wish to use. EFX

C.Src1 will control the parameter marked with a “+”

at the left of the parameter name. EFX C.Src2 will

control the parameter marked with a “#” at the left of

the parameter name.

In these examples MIDI messages are used to modify

the settings, but these settings can also be controlled

from the front panel (p.56, p.92).

Hexadecimal values in the < Settings > sections denote

exclusive messages, and hexadecimal values in the <

Modifying the value > sections denote control change

messages. The exclusive messages are given with

device ID 17 (10H) (the factory setting). After the set-

tings in < Settings > have been made, the control

change messages described in < Modifying the value >

can be transmitted to modify the parameters to the

desired value.

CC1 - 95 : Controller numbers 1 - 95

CAf

: Channel aftertouch

: Pitch bend

Bend

* For CC1 - 95, make sure that the setting matches the

controller number of the device that is transmitting the

MIDI messages.

For details on exclusive messages, refer to p.191 and

following.

Using Control Change 16 to modify

EFX C.Depth 1, 2 (Effect Control Depth)

the Drive value of 6: Distortion

-100 - +100 (%)

This specifies the percentage of the full parameter

range in which change will actually occur when a

controller is used. Higher values will allow a greater

range of change. If this value is set to 0, the con-

troller will not affect the effect parameter. With neg-

ative (-) settings, the change will be inverted. The

controller will increase/decrease the value of the

effect parameter relative to the value that was set

from the panel. At this time, the value displayed on

the panel will not change.

< Settings >

1. Turn EFX on for Part 1.

F0 41 10 42 12 40 41 22 01 5C F7

2. Set the effect type to 6: Distortion (value: 01H 11H)

F0 41 10 42 12 40 03 00 01 11 2B F7

3. Set Drive (address: 40H 03H 03H) to 0.

F0 41 10 42 12 40 03 03 00 3A F7

4. Set Effect Control Source 1 (address: 40H 03H 1BH)

to CC16 (10H).

F0 41 10 42 12 40 03 1B 10 12 F7

5. Set Effect Control Depth 1 (address: 40H 03H 1CH)

to +100% (7FH).

F0 41 10 42 12 40 03 1C 7F 22 F7

When Depth has a positive (+) setting

Panel setting value + value from controller × depth (%) / 100

When Depth has a negative (-) setting

< Modifying the value >

B0 10 00

B0 10 01

Drive → 0

Drive → 1

Panel setting value - value from controller × depth (%) / 100

< Example >

B0 10 7F

Drive → 126

Drive → 127

The Drive parameter of 5: Overdrive normally

changes in the range of 0 - 127.

When this parameter is modified by a controller, it

will change in the range of 0 - 127 if the Effect

Control Depth value is +100. With a value of +50, it

will change in the range of 0 - 64 (i.e., 50% of 127).

Using Control Change 16 to modify

the Speed value of 9: Rotary

< Settings >

1. Turn EFX on for Part 1.

F0 41 10 42 12 40 41 22 01 5C F7

Normally

Depth = +100% → 0 - 127

Depth = +50% → 0 - 64

Depth = -100% → 127 - 0

→ 0 - 127

2. Set the effect type to 9: Rotary (value: 01H 22H)

F0 41 10 42 12 40 03 00 01 22 1A F7

3. Set Speed (address: 40H 03H 0DH) to Slow.

F0 41 10 42 12 40 03 0D 00 30 F7

4. Set Effect Control Source 1 (address: 40H 03H 1BH)

to CC16 (10H).

F0 41 10 42 12 40 03 1B 10 12 F7

5. Set Effect Control Depth 1 (address: 40H 03H 1CH)

to +100% (7FH).

F0 41 10 42 12 40 03 1C 7F 22 F7

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< Modifying values >

< Modifying the value >

Since the Speed parameter has only two values, Slow

and Fast, the lower half of the range (00H -- 3FH) will

select Slow, and the upper half (40H--7FH) will select

Fast.

The Feedback parameter changes in 2% steps, with 40H

as the center. (For the correspondence between hexa-

decimal values and parameter values, refer to the table

on p.183.)

B0 10 00

Speed → Slow

B0 11 00

Feedback

→ -98%

B0 10 3F

B0 10 40

Speed → Slow

Speed → Fast

B0 11 0F

B0 11 10

Feedback

→ -98%

→ -96%

B0 10 7F

Speed → Fast

B0 11 3E

B0 11 3F

B0 11 40

B0 11 41

B0 11 42

Feedback

→ -4%

→ -2%

→ +/-0%

→ +2%

→ +4%

Using Control Change 16 to modify the

Wah Man value of 50:GTR Multi3

< Settings >

1. Turn EFX on for Part 1.

B0 11 70

B0 11 71

Feedback

→ +96%

→ +98%

F0 41 10 42 12 40 41 22 01 5C F7

2. Set the effect type to 50: GTR Multi 3 (value: 04H

02H)

B0 11 7F

Feedback

→ +98%

F0 41 10 42 12 40 03 00 04 02 37 F7

3. Set Wah Man (address: 40H 03H 04H) to 0.

F0 41 10 42 12 40 03 04 00 39 F7

Using Control Change 17 to modify the

Feedback value of 10: Stereo Flanger

4. Set Effect Control Source 1 (address: 40H 03H 1BH)

to CC16 (10H).

F0 41 10 42 12 40 03 1B 10 12 F7

Example 2: When Effect Control Depth is set to -

100

5. Set Effect Control Depth 1 (address: 40H 03H 1CH)

to +100% (7FH).

< Settings >

1. Turn EFX on for Part 1.

F0 41 10 42 12 40 03 1C 7F 22 F7

F0 41 10 42 12 40 41 22 01 5C F7

< Modifying the value >

2. Set the effect type to 10: Stereo Flanger (value: 01H

23H)

B0 10 00

B0 10 01

Wah Man

→ 0

→ 1

F0 41 10 42 12 40 03 00 01 23 19 F7

3. Set Feedback (address: 40H 03H 08H) to +98% (7FH).

F0 41 10 42 12 40 03 08 7F 36 F7

B0 10 7E

B0 10 7F

Wah Man

→ 126

→ 127

4. Set Effect Control Source 2 (address: 40H 03H 1DH)

to CC17 (11H).

F0 41 10 42 12 40 03 1D 11 0F F7

* For the correspondence between the hexadecimal val-

ues and the parameter values, refer to p.183.

5. Set Effect Control Depth 2 (address: 40H 03H 1EH)

to -100% (00H).

F0 41 10 42 12 40 03 1E 00 1F F7

Using Control Change 17 to modify the

Feedback value of 10: Stereo Flanger

< Modifying the value >

The Feedback parameter changes in 2% steps, with 40H

as the center. (For the correspondence between hexa-

decimal values and parameter values, refer to the table

on p.183.) Since Effect Control Depth is set to -100%,

increasing control change values will cause the value of

the Feedback parameter to decrease.

Example 1: When Effect Control Depth is set to

+100

< Settings >

1. Turn EFX on for Part 1.

B0 11 00

Feedback

→ +98%

F0 41 10 42 12 40 41 22 01 5C F7

2. Set the effect type to 10: Stereo Flanger (value: 01H

23H)

B0 11 0F

B0 11 10

Feedback

→ +98%

→ +96%

F0 41 10 42 12 40 03 00 01 23 19 F7

3. Set Feedback (address: 40H 03H 08H) to -98%.

F0 41 10 42 12 40 03 08 00 35 F7

B0 11 3E

B0 11 3F

B0 11 40

B0 11 41

B0 11 42

Feedback

→ +4%

→ +2%

→ +/-0%

→ -2%

→ -4%

4. Set Effect Control Source 2 (address: 40H 03H 1DH)

to CC17 (11H).

F0 41 10 42 12 40 03 1D 11 0F F7

5. Set Effect Control Depth 2 (address: 40H 03H 1EH)

to +100% (7FH).

F0 41 10 42 12 40 03 1E 7F 20 F7

B0 11 70

B0 11 71

Feedback

→ -96%

→ -98%

B0 11 7F

Feedback

→ -98%

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Chapter 5

Convenient functions

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Create and save a sound (User Instrument)

You can modify the parameters of this unit sound to your taste, and save your new

settings in Variation numbers 64 or 65 of the Native map / SC-88 map (p.98). A sound

saved in this way is called a User Instrument, and this procedure is called User Editing.

You can save 256 different sounds in this way.

The following parameters can be set

Vibrato

Filter

Envelope

These parameters are called User Instrument Parameters.

For the function of each parameter, refer to p.31.

The User Instrument sound that is actually heard will reflect the combination of the

Part parameter settings and the User Instrument parameter settings. For example if the

Vibrato Rate is set to +20 by the Part parameters and to -5 by the User Instrument para-

meters, the vibrato rate of the sound that is actually heard will be +15 (20-5=15).

Also, if the vibrato, filter, and envelope values are modified by MIDI messages, the

values of the Part parameters (p.32) will be modified. In this case, the values of the User

Instrument parameters will not change.

The same contents are stored in both the SC-88 and Native maps.

For an explanation of messages that modify the sound, such as System Exclusive messages

and NRPN messages, refer to p.132, 133.

User Instrument

User Instrument Parameter

settings

Part parameter settings

(P.31)

Sound assigned

to a Part

(P.97)

Vibrato Rate

+20

- 5

+15

MIDI message

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Procedure for creating and storing a sound

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use PART [ ] [ ] to select a normal Part, then use the INSTRUMENT [

]

[

] buttons to select the sound you wish to start from.

Your edits will apply to this sound.

IN S TRU M EN T

P A RT

A16 032 Gt.Harmonics

LEVEL

P A N

100 0

3. Press [USER INST] and [SELECT] simultaneously, the indicator light red.

Be aware that if this indicator is not lit, you will be editing not User Instrument parame-

ters but Part parameters (p.31).

4. Press the [SELECT] button and select the parameter you wish to modify.

Use the appropriate parameter edit buttons [ ] [ ] to modify the value.

For an explanation of parameters and the procedure for modifying them, refer to p.31.

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

(Example) Vibrato editing display

IN S TRU M EN T

P A RT

A01 Vib. |+20| 0| 0|

LEVEL

P A N

100 0

Depth

Delay

Rate

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

Select the sound parameter

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5. Simultaneously press [USER INST] and [SELECT].

The display will ask “Write UI 64/001?”. Simultaneously pressing both INSTRU-

MENT [l ] and [r ] will move between the two numbers. Use INSTRUMENT [l ] [r ] to

select instrument number (001-128) and the variation number (64 or 65) in which an

original sound stored.

Instrument number in which to store

IN S TRU M EN T

P A RT

A16 Write UI 64/032?

LEVEL

P A N

100 0

Variation number in which to store

6. When you press [ALL] the sound will be stored.

If you decide not to store, press [MUTE].

7. Press the [USER INST] button to turn off the indicator and complete the

procedure.

User Instrument parameter values can be transmitted as MIDI Exclusive messages (p.107).

Data that is transmitted in this way can be saved using a sequencer or computer, and re-trans-

mitted back to this unit to save and restore User Instrument data.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

Native map

Storing Locations

for User Insutruments

065 User Tone

User Tone

064

User Tone

Syn Harpsi

032

Piano + Str.

024

Hard FM EP

St.FM EP

Harpsi.o

Harpsi.w

Explosion

Lasergun

003

002

001

000

016 European Pf

Piano 1w

008

Detuned EP 2 Couple Hps.

Machine Gun

Gun Shot

000

Piano 1

E.Piano 2

Harpsichord

Clav.

008

001

006

007

128

Instrument number

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Creating and saving an Insertion effect (User Effect)

Insertion effect parameter settings that you make can be saved in memory. An

Insertion effect that you save in this way is referred to as a User Effect. 64 User Effects

can be stored.

For the function of each parameter, refer to the applicable page. (p.57)

Saving a User Effect

1. Set the Insertion effect parameters.

(“Insertion effect settings,” p.56)

2. Press the [EFX] button to make the indicator light orange.

Caution is required at this point-- if you happen to change the effect type, all the effect

parameters will revert to their defaults.

3. Simultaneously press [EFX] and [ON/OFF].

The display will ask “Write U.EFX 01?” Use INSTRUMENT [l ][r ] to select the

number (01 to 64) where you wish to store the data.

4. To store the data, press [ALL].

To cancel without storing, press [MUTE].

5. Press [EFX] to turn off the indicator and complete the procedure.

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

2 5

To load the User Effect that was stored, use the following procedure.

1. Press the [ALL] button to make the indicator light orange.

2. Press EFX TYPE [r ] to display 64 PH/Auto Wah.

3. Then press EFX TYPE [r ], and the User effect will be selected.

The “X” symbol of the effect number indicates that this is a User effect.

IN S TRU M EN T

P A RT

A01 01^xStereo-EQ

LEVEL

P A N

100 0

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Creating and saving a Patch (User Patch)

You can modify the parameter values of Parts A01 and A02 as desired, assign a Patch

name, and save it. A Patch saved in this way is referred to as a User Patch. 16 Patches

can be saved in the Patch number locations U01 - U16.

Patch U16 Patch Name : -USER PATCH16-

Write

Part B16

Patch Name :-USER PATCH01-

Patch U01

Patch 128 Patch Name :EPILOGUE

Parameters common to all Parts

PartB16

Load

Patch Name : RB STRAT

Patch 001

Part B16

Default Setting

Part A03

Part A02

Part A01

Instrument

Effect

Part Parameter etc.

Patch

Patch Name : -SOUND Canvas-

Default

Value

Part A03

Parameters common to all Parts

Part B16

Default

Value

Default

Part A01

Value

Default

Value

All Patch parameters (p.194) are stored. (List of parameters and procedures, p.150)

However, a distinction between GroupA and B of MIDI channels will not be stored. The MIDI

channel will be saved as channel “A**” of Group A

Drum set parameters are not stored in a Patch.

Naming a User Patch

1. Press the [ALL] button to make the button indicator light, and use

INSTRUMENT [ ][ ] to select the Patch whose name you wish to modify.

2. Press [ALL] to load Patch.

To cancel without loading, press [MUTE].

3. Simultaneously press PAN [ ] and CHORUS [ ].

The specified character location will blink.

IN S TRU M EN T

P A RT

ALL ˇ1 RB STRAT

LEVEL

P A N

100 0

4. Use PART [ ][ ] to move the selected character location.

The blinking area will move.

5. Press INSTRUMENT [ ][ ] and the displayed character will change.

Select the desired character, and return to step 4.

Each time you press [ALL], the character will change case as A→ a→ A→ a.

Pressing [MUTE] will select a space.

Pressing [SC-55MAP] will select 0.

Each time you press [SC-88MAP], the symbol will alternate &→ (→ &→ (.

6. Simultaneously press PAN [ ] and CHORUS [ ] to end the procedure.

To save the User Patch name, perform the procedure of “Saving a User Patch.”

Chapter 5. Convenient functions

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PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

3 6

SC 55

MAP

SC 88

MAP

DELAY

Saving a User Patch

1. Make the desired settings for the parameters of Parts A01 and A02.

2. Press the [ALL] button to make the button indicator light.

3. Simultaneously press [USER INST] and [SELECT].

The display will ask “Write U.Patch01?”. Press INSTRUMENT [l ][r ] to select the

number (01 - 16) where you wish to store the settings.

If you select a number in which a User Patch has already been stored, a “*” symbol will

appear, such as “Write*U.Patch01?”

4. If you wish to store the settings, press [ALL].

To cancel without storing, press [MUTE].

2 4

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ATTACK

EFX

ON/OFF

EFX TYPE

EFX PARAM

EFX VALUE

To load the User Patch that was stored, use the following procedure.

1. Press the [ALL] button to make the indicator light.

2. Press INSTRUMENT [r ] to select 128 EPILOGUE.

3. Once again press INSTRUMENT [r ], and the User Patches will be displayed. Select

the User Patch that you wish to load.

4. Press the [ALL] button to load the User Patch.

IN S TRU M EN T

P A RT

U01 -USER PATCH01-

LEVEL

P A N

100 0

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Saving a Drum Set you created (User Drum)

You can modify drum instrument parameters to your liking, and save this data as a

Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to

two Drum Sets, and since each set contains 128 instrumental sounds, this provides a

total of 256 instrumental sounds (Drum Instruments). You can also give each User Drum

Set a name of your choice. User Drum Sets are stored in Drum Set numbers 65 and 66

of the Native map / SC-88 map (p.104).

The same contents are stored in both the SC-88 and Native maps.

Naming a User Drum Set

1. Make sure that the [ALL] indicator is dark.

If it is lit, press [ALL] to turn it off.

2. Use PART [ ] [ ] to select a Drum Part, simultaneously press PAN [

]

and CHORUS [ ].

The character at the cursor location will blink.

IN S TRU M EN T

P A RT

SET 065*ˇSER DRUM1

LEVEL

P A N

100 0

3. Use PART [ ] [ ] to move the cursor where you wish to input a character.

The blinking area will move.

4. Use INSTRUMENT [ ] [ ] to select the desired character.

Then repeat from step 3.

Each time you press [ALL], the character will change A→ a→ A→ a.

Pressing [MUTE] will enter a space.

Pressing [SC-55 MAP] will select 0.

Each time you press [SC-88 MAP], the symbol will change &→ (→ &→ (.

If you wish to change the User Drum Set number, simultaneously press both INSTRU-

MENT [l ] and[r ] buttons, and then use INSTRUMENT [l ] [r ] to select the number.

However, be aware that if you change the number, the parameter settings will also

change.

IN S TRU M EN T

P A RT

SET 066*ˇSER DRUM2

LEVEL

P A N

100 0

[

5. Simultaneously press PAN

]

and CHORUS

]

to end the procedure.

To store the name of the User Drum Set in memory, follow the steps explained in “Storing an

entire Drum Set (procedure 2)” on p.103, 105.

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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Storing a Drum instrument

1. Select a Drum Part and Drum Set, and create a drum instrument (“Drum edit-

ing procedure” p.42).

IN S TRU M EN T

P A RT

AD1 001 C#3 CrshCym1

LEVEL

P A N

100 0

If the above screen is displayed after you create a drum instrument, you can use the follow-

the one shown above, use following procedure

^{ing procedure to save your data as a User Drum}3^{Set. If the screen display is different than}

2. Make sure that the [ALL] indicator is dark.

If it is lit, press [ALL] to turn it off.

3. Simultaneously press [SELECT] and EFX TYPE [ ].

The display will show the Part Group (p.23), Part Mode (p.27), Drum Set number, Note

name, and Drum Instrument name (p.43).

Part Group

Part Mode

Drum set number

IN S TRU M EN T

P A RT

AD1 001 C#3 CrshCym1

LEVEL

P A N

100 0

Note Name

Drum Instrument name

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

EFX

ON/OFF

EFX TYPE

EFX PARAM

EFX VALUE

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There are two ways to store an edited drum instrument. The first is to store each Drum

Instrument individually (procedure 1). The second is to store an entire set of Drum

Instruments as a Drum Set (procedure 2).

Storing an individual Drum Instrument (procedure 1)

The following procedure will store an individual Drum Instrument into the Note Name

you specify.

4-1.To store an individual Drum Instrument, simultaneously press the [USER

INST] and [SELECT] buttons.

Note name

User Drum Set number

IN S TRU M EN T

P A RT

AD1 Write UD D#3/65?

LEVEL

P A N

100 0

Use the INSTRUMENT [l ] [r ] buttons to specify the Note Name and the User Drum

Set number (65/66) into which the data will be stored. When you simultaneously press

the INSTRUMENT [l ] [r ] buttons, the cursor will move between the Note Name and

the Drum Set number.

5. To store the data, press [ALL].

To quit without storing, press [MUTE].

Procedure 1

Procedure 2

Native/SC-88 Map

C3 48

C4 60

B4 71

65 66

User Drun Set number

65 66

User Drun Set number

Note name

Note number

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Storing an entire Drum Set (procedure 2)

The following procedure will store all the Drum Instruments for the entire currently

selected Drum Set.

4-2.To store the entire Drum Set, simultaneously press EFX VALUE [ ] [

]

buttons.

The User Drum set number into which the data will be stored

IN S TRU M EN T

P A RT

AD1 Write U.DRUM 65?

LEVEL

P A N

100 0

Use the INSTRUMENT [l ] [r ] buttons to specify the User Drum Set number (65/66)

into which the data will be stored.

5. To store the data, press [ALL].

To quit without storing, press [MUTE].

4-1, 4-2

PART

LEVEL

INSTRUMENT

PAN

ALL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

4-1

4-2

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Copying or Exchanging settings between Parts / Initializing Part settings

The settings of the selected Part can be copied to another Part or initialized, and you

can exchange settings between parts. By using these functions, you can create sounds

more efficiently.

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to make it go dark.

2. Use PART [ ][ ] to select the source Part.

3. Use the following procedure.

(A) Copy: While pressing [SELECT], press LEVEL [l ].

The display will ask “Copy A01ÈA02?”

Use INSTRUMENT [l ][r ] to select the copy destination Part.

(B) Initialize: While pressing [SELECT], press LEVEL [r ].

The display will ask “Clear A01?”

The display will ask “Exchg A01ÍÈA02?”

Use INSTRUMENT [l ][r ] to select the Part to be exchanged.

4. To execute the specified operation, press the [ALL] button.

To cancel without executing, press the [MUTE] button.

1 4

PART

LEVEL

INSTRUMENT

PAN

ALL

3-A Copy

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

3-C Exchange

3-B Clear Part

It is not possible to copy or exchange Drum Parts.

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Recording all settings on a sequencer

This unit can transmit the contents of its sound source memory as MIDI data. The

data can be transmitted in two ways: Bulk Dump which transmits multiple parameters as

a group, and Individual Data which allows parameters to be transmitted individually. All

data is transmitted as System Exclusive messages.

Use Bulk Dump when you wish to save settings of this unit on a sequencer or person-

al computer. By transmitting a Bulk Dump, you can also set all parameters of two unit to

identical settings.

By transmitting Individual Data, you can create data without having to look up individ-

ual System Exclusive messages, letting you create data more efficiently.

Bulk Dump procedure

1. Set the MIDI OUT/THRU (p.135) select switch to OUT.

2. Use a MIDI cable to connect this unit MIDI OUT/THRU connector to the

sequencer's MIDI IN connector.

3. Press [ALL] to make the button indicator light.

4. Simultaneously press both the INSTRUMENT [ ] [ ] buttons.

The display will ask “Dump ALL,Sure?”, and the data is now ready to be transmitted.

5. Use INSTRUMENT [ ] [ ] to select the type of data you wish to transmit.

All

All-U

: all parameters of this unit (Including User parameters)

: all parameters except User Parameter (User Instrument, User

Drum Set, User Effect and User Patch) settings

: User Instrument settings

: User Drum settings

: User Patch settings

: User Effect settings

: GS parameters for Part group A

: GS parameters for Part group B

U.INST

U.DRUM

U.Patch

U.EFX

GS A

GS B

6. Start the sequencer recording.

7. Press [ALL] and data transmission will begin.

The “Transmitting” display will appear while this unit transmits data.

To cancel data transmission, press [MUTE].

8. When data transmission is complete, stop recording on the sequencer.

PART

LEVEL

INSTRUMENT

ALL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

Since this operation transmits a large amount of data, make sure that the receiving MIDI device

has sufficient memory. If the receiving device has insufficient memory, recording will not be

completed. If you transmit data for all Parts, the bulk data transmitted by this unit is about 40

Kbytes.

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Transmitting Individual Data

This data can be transmitted in one of three ways: Part parameters can be selected

from a menu and transmitted, parameters common to all Parts can be selected from a

menu and transmitted, or Insertion Effect parameters can be transmitted.

For the types of parameters which can be transmitted as Individual Data, refer to

p.150 “Parameter list and operations.”

When selecting parameters common to all Parts from the menu, the following parameters can-

not be transmitted.

Device ID

MUTE Lock

EQ Lock

Rx GM On

Rx GS Reset

Transmission procedure for Part parameters

Transmission procedure for parameters common to all parts

1. Part parameters:

Press the [ALL] button to make the indicator dark.

Parameters common to all parts:

Press the [ALL] button to light the indicator.

2. Simultaneously press the PART [ ] and [ ] buttons.

3. Use [ ][ ] to select the parameter you wish to transmit.

While holding [SELECT], you can press [u ][d ] to jump parameters.

4. Part parameters:

Use PART[ ][ ] to select the Part which will transmit the parameter,

and use INSTRUMENT [ ][ ] to set the value.

Parameters common to all parts:

Use INSTRUMENT [ ][ ] to set the value.

5. Simultaneously press INSTRUMENT [ ] and [ ], and the data will be

transmitted.

A display of “Transmitting” will appear while the data is being transmitted.

Be aware that the screen data will not be transmitted from MIDI OUT connector if MIDI

OUT/THRU Select (p.136) is set to THRU.

6. Simultaneously press PART [ ] and [ ] to end the procedure.

Part Parameters

Parameters common to all Parts

2 6

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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Transmission procedure for Insertion Effect parameters

1. Press the [EFX] button to make the indicator light orange.

2. Use the EFX TYPE and EFX PARAM buttons to select the parameter you

wish to transmit, and use EFX VALUE to set the value.

3. Press EFX TYPE [ ] or [ ], and the Effect Type will be displayed. At this

time, simultaneously press EFX VALUE [ ] and [ ], and the Effect Type

data will be transmitted.

4. Press EFX PARAM [ ] or [ ], and the effect parameters will be displayed.

At this time, simultaneously press EFX VALUE [ ] and [ ], and the effect

parameter data will be transmitted.

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

Data Transmission

COMPUTER

MIDI

IN A

OUT/THRU

IN B

MIDI IN

MIDI

PC-2

Mac

PC-1

MIDI OUT

INPUT

OUTPUT2

INPUT

OUTPUT1

VOLUME

MC-50mkII

The data will not be transmitted when MIDI OUT/THRU Select (p.136) is set to

THRU.

MIDI

COMPUTER

OUT/THRU

MIDI OUT/THRU Select : OUT

COMPUTER switch : MIDI

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

It is also possible to transfer data to a computer via the computer connector without

using the MIDI connectors. (p.120)

MIDI

OUT/THRU

COMPUTER

MIDI OUT/THRU Select : OUT

COMPUTER switch : MAC, PC-1, PC-2

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

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Draw pictures or characters in the display (Frame Draw)

You can use the square dots of this unit display to draw pictures or characters. This is

called the Frame Draw function. Ten picture screens can be stored. Each of the ten

screens is called a “Page.” You can transmit the picture data as a MIDI System

Exclusive message and save it to a sequencer or computer, and then re-transmit it to

this unit to make pictures or characters be displayed in time with the music.

Creating the picture or character data

1. Simultaneously press the EFX TYPE [ ] and EFX PARAM [ ] buttons.

The display will show “FrameDraw:Page 1”.

2. Use INSTRUMENT [ ] [ ] to select the page you wish to use.

3. Move the cursor, and use the button operations listed below to turn each

dot on or off to create a picture or characters.

The dot will blink at the cursor location.

[u ] [

]

: move the cursor up/down

: move the cursor left/right

PART [l ] [r ]

[ALL]

: turn the dot on (lit)

[MUTE]

: turn the dot off (dark)

CHORUS [l ] [r ]

LEVEL [l ] [r ]

PAN [l ] [r ]

: shrink dots/expand dots

: move the displayed picture down/picture up

: move the displayed picture left/right

INSTRUMENT [l ]*[r ] : to transmit the screen data to an external device

* indicates that both buttons must be pressed simultaneously.

Be aware that the screen data will not be transmitted from MIDI OUT connector if MIDI

OUT/THRU Select (p.136) is set to THRU.

4. To invert / erase / copy the screen data, use the following procedures.

(A)

(B)

(C)

To invert the screen, press REVERB [l ] or [r ].

A message will ask “Invert Page *?” Use INSTRUMENT [l ] [r ] to specify

the page to be inverted.

To erase the screen, press MIDI CH [l ] or [r ].

A message will ask “Clear Page *?”. Use INSTRUMENT [l ] [r ] to specify

the page to be cleared.

To copy the screen, press KEY SHIFT [l ] or [r ].

A message will ask “Copy to Page *?”. Use INSTRUMENT [l ] [r ] to spec-

ify the copy destination page.

In the messages given above, “*” indicates the screen page number.

5. For each operation, press [ALL] to execute.

To cancel without executing, press [MUTE].

6. When you finish, simultaneously press EFX TYPE [ ] and EFX PARAM

[

] to end the procedure.

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3 4

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

If you wish to display animated pictures

(1) Use the LEVEL and PAN buttons in step 3 to move the picture and copy it to the

next page to create each frame of the animation.

^{(2) Then in step}3. (INSTRUMENT [l ]*[r ]) transmit the data for each frame and

save it in a sequencer (p.107).

(3) Then, before you start to playback the song, transmit this display data to this unit.

(4) Use the display select command (exclusive data p.193) to playback the anima-

tion.

This allows you to make moving pictures or characters appear in synchronization with

the music.

When screen data is received as a MIDI Exclusive message, the screen data in this unit will be

overwritten and lost.

For this procedure, you will need a sequencer (such as the Roland MC-50mkII) that is

able to edit, receive and transmit System Exclusive data. Some sequencing software for

personal computers is also able to do this. Check the manual for your software.

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Creating compatible data for the unit / SC-88

This unit has a SC-88-compatibility mode which is convenient when you wish to cre-

ate data that will be compatible with both this unit and the SC-88.

This unit provides numerous additional sounds. The additional sounds include

sounds which replace Capitals and Variation contained in the SC-88 map, and sounds

located in new Variation. Of these, the sounds which replace SC-88 map contain the

same type of sounds as in the SC-88, and are musically interchangeable with each

other. By using these sounds, you can create songs that will playback on either instru-

ment with the generally same musical result. Thus, the SC-88-compatibility mode pro-

vides an SC-88-compatible sound map. In the SC-88-compatible sound map, this unit's

high-quality sounds are arranged in the same arrangement as the SC-88 map.

The initial settings of this unit, SC-88-compatibility mode-on, and the SC-88 map

structure are as shown in the following illustration.

SC-88Pro Default setting

Native MAP

SC-88Pro, SC-88-compatibility mode=ON

SC-88(reference)

LSB3

SC-88MAP

SC-55MAP

Selected

LSB2

SC-55MAP

LSB1

Selected

Default=Native MAP

Default=SC-88-compatible map

Default=SC-88MAP

LSB0

Sounds located in new Variations

Sounds which replace Capitals and Variations contained in the SC-88 map

The LSB is the lower byte of the Bank Select message. When the LSB is specified by a MIDI

message, the condition will be as specified by the front panel [SC-88MAP] and [SC-55MAP] but-

tons. (p.127)

When compared with SC-88, the map structure in SC-88-compatibility mode differs

only in that the SC-88-compatible map can be used, and the structure is identical in all

other respects.

In SC-88-compatibility mode, specifying a sound with a MIDI message of LSB 0 will

normally select the SC-88-compatability map, but if you press the [SC-88 MAP] button,

the SC-88 MAP will be selected. And if you press the [SC-55 MAP] button, the SC-55

MAP will be selected. With the SC-88-compatible map, sounds for this unit will be

played, but with SC-88 MAP the same sounds as the SC-88 will be played.

When creating data that must be playable on both this unit and the SC-88, you

should usually turn SC-88-compatibility mode on, and use LSB 0 to specify sounds. If

you wish to specify SC-55 MAP (or SC-88 MAP), use LSB 1 (or LSB 2) to specify

sounds.

If you use Insertion effects, the SC-88 may not be able to produce the same playback.

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Setting procedure

1. Hold down [SELECT], and press [ALL].

The [ALL] button will blink, and the SC-88-compatibility mode will be turned on.

At this time if you press the [SC-88 MAP] button, the [SC-88 MAP] button will light and

the SC-88 map will be selected. Alternatively, if you press the [SC-55 MAP] button, the

[SC-55 MAP] button will light and the SC-55 map will be selected.

2. To turn off SC-88-compatibility mode, hold down [SELECT] and press

[ALL].

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

To maintain compatibility with various types of song data such as GM/GS, this

unit has three sound maps. These can be accessed as follows.

Type of data

GM/GS data

Map for playback

Native map

SC-55 map

SC-88 map

Native map

SC-88 map

Map setting

Default setting

[SC-55MAP]: ON

[SC-88MAP]: ON

Default setting

[SC-88MAP]: ON

Default setting

”

Data for SC-88 (LSB0)

”

(LSB0)

Data for both this unit/SC-88 (LSB0) SC-88 map

Data for this unit Native map

For example if you wish to playback GM/GS data using Native map, select the

default map setting.

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Selecting the CM-64 sound map

This unit can be set to the sound map of the Roland CM-64 (Multi-timbre Sound

Module). When you wish to play song data that was created for the CM-64, use the fol-

lowing procedure.

Be aware that if you select the CM-64 sound map, all previous settings will be lost.

If you wish to use the same sounds as the SC-55/55mk II, press [SC-55 MAP] button.

1. While holding down [SELECT], press INSTRUMENT [ ].

The display will ask “Init CM-64, Sure?”.

2. Press [ALL] and the CM-64 sound map will be selected.

To safely cancel the operation press [MUTE].

PART

LEVEL

INSTRUMENT

ALL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

ATTACK

EFX

EFX TYPE

EFX PARAM

EFX VALUE

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When the CM-64 sound map is selected, the settings of each Part (group A, B) will be

as follows.

Part settings

Tone

Part name Rx.Channel

LEVEL

PAN

REVERB CHORUS KEY SHIFT

(VARIATION/INSTRUMENT NO)

Acou Piano 1

Slap Bass 1

Str Sect 1

Brs Sect 1

Sax 1

(127/001)

100

(127/069)

(127/049)

(127/096)

(127/079)

(127/042)

(127/004)

(127/111)

(127/123)

L10

L46

R27

L63

R63

R17

R35

L37

L19

Ice Rain

Elec Piano 1

Bottleblow

Orche Hit

CM-64/32L Set (128)

FRETLESS 1

CHOIR 1

A.PIANO 1

E.ORGAN 2

E.GUITAR 1

SOFT TP 1

(126/028)

(126/030)

(126/001)

(126/038)

(126/014)

(126/047)

Bnd Range: +12,

Mod LFO Pch: +4

The names of these sounds are identical to the names on the CM-64, so they differ from what

they are called on this unit.

Settings for all Parts

LEVEL

PAN

REVERB

CHORUS

KEY SHIFT

127

–

Differences between the CM-64 and the unit

When the CM-64 sound map is selected, the playback result will be the same as if a

CM-64 were used. However since the internal structure of the sound source is different,

the result is not absolutely identical. Please be aware of the following main differences.

1. How the sounds change

When velocity, modulation and aftertouch etc. are used to add expression, the

sounds will change in a way slightly different than the CM-64.

2. Exclusive data

This unit is not compatible with CM-64's Exclusive data. If CM-64's Exclusive data is

received, this unit's settings will not change. This means that if the song data contains

CM-64's sound data (Exclusive data), playing back that song data will not have the

same result as it would have on the CM-64.

3. Pan

This unit's pan settings are opposite to those of the CM-64. Please reverse the

left/right (L/R) connections of the audio output jacks.

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Using the unit as two sound modules

This unit has two system modes: Single Module Mode (Mode 1) and Double Module

Mode (Mode 2). When Double Module Mode is selected, two types of system effect can

be used simultaneously. For example, you could use different types of reverb on Drum

Parts than on Normal Parts. Other parameters can also be set separately in two groups.

Insertion effects can be used only for part A.

Normally this unit is in Single Module Mode.

Single Module Mode

Double Module Mode

(Mode 2)

(Mode 1)

MIDI IN B

MIDI IN A

GM/GS

sound module

Part A1 - A16

Part B1 - B16

REV+CHO

Insertion Effects

System Effects: REV+CHO+DLY+EQ

Insertion Effects

REV+CHO

Selecting Double Module Mode

1. While holding down the [SELECT] button, press KEY SHIFT [ ].

The display will ask “Set Mode2, Sure?”

2. Press [ALL] button, and this unit will be in Double Module Mode.

To cancel the operation, press [MUTE].

At the left of the parameter names, there will be an indication of either A or B. This indi-

cates whether you are setting parameters for Part Group A or B. The parameters indi-

cated as either A or B can be set independently for Part Groups A or B. Use the PART

[l ] [r ] buttons to move between groups A and B.

IN S TRU M EN T

P A RT

A >M. Tune: 440.0

LEVEL

P A N

100 0

3. To return to Single Module Mode, while holding down the [SELECT] but-

ton, press KEY SHIFT [ ]. And press [ALL] button.

To cancel the operation, press [MUTE].

The selection of Single or Double Module Mode is remembered when the power is turned off.

The system mode will not change even if the power is turned off and then on again.

Be aware that if you change the operating system mode, the settings of each Part will be initial-

ized (GS Reset).

In Double Module mode, the screen display will be inverted. To avoid this, select an appropriate

Type setting for Display Type. (p.37)

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In both Single Module Mode and Double Module Mode, MIDI messages received at

MIDI IN A are sent to Group A Parts, and MIDI messages received at MIDI IN B are sent

to Group B Parts (p.23). Be aware that the route by which data is passed between the

two MIDI IN connectors and each Part is determined by the System parameter In Mode.

(p.137) It is possible to specify the address for Exclusive messages so that an Exclusive

message received at MIDI A will be passed to Group B Parts. (p.128)

In Double Module Mode, two groups are provided for the following parameters.

Master Level...............................................................................................(p.35)

Master Pan.................................................................................................(p.35)

Master KEY SHIFT.....................................................................................(p.35)

Master Tune ...............................................................................................(p.14)

Reverb Type...............................................................................................(p.52)

Reverb Character.......................................................................................(p.52)

Reverb Pre-LPF (Reverb Pre Lowpass Filter)............................................(p.52)

Reverb Level ..............................................................................................(p.52)

Reverb Time...............................................................................................(p.52)

Reverb Delay Feedback.............................................................................(p.52)

Chorus Type...............................................................................................(p.53)

Chorus Pre-LPF (Chorus Pre-Lowpass Filter) ................................................(p.53)

Chorus Level ..............................................................................................(p.53)

Chorus Feedback (Chorus Feedback Level)..............................................(p.53)

Chorus Delay (Chorus Delay Time) ...........................................................(p.53)

Chorus Rate ...............................................................................................(p.53)

Chorus Depth .............................................................................................(p.53)

Chorus Send Level To Reverb...................................................................(p.53)

Mute Lock...................................................................................................(p.140)

Rx GM On (General MIDI System On Receive Switch) ............................(p.140)

Rx GS Reset (GS Reset Receive Switch)..................................................(p.140)

Device ID number.......................................................................................(p.134)

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Initialize

Initialize all Parts to the factory settings

This procedure will initialize all the settings of this unit to the factory settings. This will

also initialize System parameters (p.36) and User parameters (p.96).

1. While holding down [SELECT], simultaneously press both the INSTRU-

MENT [ ] [ ] buttons.

The display will ask “Init All, Sure?”.

2. To initialize, press [ALL].

To quit without initializing, press [MUTE].

After the initialization has been performed, the indications in the display for the parameters listed

below will show the factory default settings. In fact, however, the settings will not yet at that point

be at the defaults. They will be placed at the defaults after you turn power on, then off again.

In Mode, OUT/THRU, IN B Sel. ( p.135)

Initialize for GM/GS

When you wish to playback song data carrying the GM/GS logo, you need to initialize

this unit for GM/GS settings. When this is done, this unit will be set to the basic GM/GS

settings appropriate for playing back song data carrying the GM/GS logo.

The beginning of song data carrying the GM/GS logo contains data which requests

the sound source to initialize itself (General MIDI System On, GS Reset p.133). This

means that if you are playing back the song data from the beginning, initialization will be

done automatically, and there is no need for you to do it using the front panel buttons.

Even if this unit is initialized for GS/GM, the System parameter settings (p.36) will not be affected.

Even if the Backup Switch ( p.37) is on, the following procedure will rewrite it to the factory setting.

1. (For GM) While holding down [SELECT], press PART [ ].

(For GS) While holding down [SELECT], press INSTRUMENT [ ].

The display will ask “Init GM, Sure?” or “Init GS, Sure?”

If you perform this operation in Double Module mode (p.116), the display will ask “Init

GS A, Sure?”. Use INSTRUMENT [l ] [r ] to specify which module A or B will be ini-

tialized.

2. To initialize, press [ALL].

To quit without initializing, press [MUTE].

ALL

1_GM

PART

INSTRUMENT

PAN

ALL

LEVEL

REVERB

KEY SHIFT

MUTE

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

VIB RATE

ATTACK

VIB DEPTH

CUTOFF

DECAY

VIB DELAY

RESONANCE

RELEASE

USER

INST

SELECT

ON/OFF

EFX

EFX TYPE

EFX PARAM

EFX VALUE

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Chapter 6

Using the unit

with a personal computer

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Connections with your computer

This unit can be controlled by music software running on a personal computer. This

will allow you to create your own songs, and also to select sounds or edit sounds from

the computer display. This type of system is known as a Desk Top Music System

(DTMS). The functions provided by a DTMS differ widely depending on the software, so

it is important that you choose software suited to your needs.

There are two ways to connect this unit to your computer; using the MIDI connectors

or the computer connector. If you use the MIDI connectors, you will need to obtain a

computer interface board (adapter) that has MIDI connectors (such as the Roland Super

MPU, etc.). If you use this unit's computer connector, you can use a special cable to

connect it directly with the computer, but your software must be able to correspond to

the serial port.

If you wish to connect your computer via the MIDI connectors, refer to p.122

(Connecting a computer via the MIDI connectors) for how to make connections. The fol-

lowing explanation will show how to make connections using this unit computer connec-

tor.

Connections with computer connector

Apple Macintosh

IBM PC/AT

NEC PC-9800

MIDI

PC-2

Mac

PC-1

MIDI

PC-2

Mac

PC-1

MIDI

PC-2

Mac MIDI

PC-1 PC-2

Mac

PC-1

Modem Port

COMPUTER

MIDI

IN A

OUT/THRU

IN B

MIDI

PC-2

Mac

PC-1

Macintosh IIci

INPUT

VOLUME

INPUT

OUTPUT1

OUTPUT2

IBM PC/AT

Optional computer cable

RSC-15APL

RS-232C

Optional computer cable

RSC-15AT

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1. Turn power of this unit off, and set the COMPUTER switch located on the

back of this unit.

Note

The Computer switch will be validated when the power is turned off and then on after the

setting has been made.

The setting will depend on the type of computer you have and the software you use.

The PC-1 baud rate is 31.25K (bit/sec), and the PC-2 baud rate is 38.4K (bit/sec). Set

the computer switch to the baud rate required by your MIDI application (software).

Carefully read the manual for your software regarding the switch setting.

In general, set the switch to Mac for Macintosh series computers, and to PC-2 for

IBM PC/AT series computers.

Apple Macintosh

IBM PC/AT

NEC PC-9800

MIDI

PC-2

Mac

PC-1

MIDI

PC-2

Mac

PC-1

MIDI

PC-2

Mac MIDI

PC-1 PC-2

Mac

PC-1

2. Connect the computer cable to the RS232C connector or modem port

located on the back of your computer.

Types of computer cable

Macintosh series

RSC-15APL

IBM PC/AT series

RSC-15AT (This is a 9 pin cable. If you need a 25 pin cable, refer

to the wiring diagram on p.149 and purchase an appropriate

cable.)

3. Connect the other end of the computer cable to this unit's computer con-

nector (COMPUTER).

4. Turn power of this unit on.

Caution when using this unit with the IBM PC/AT series

Even if this unit computer connector is connected to your personal computer, it will

not operate correctly if the software (MIDI application) is incompatible. Be sure to use

software that is compatible with the serial port of the personal computer.

In some cases, other computer settings will be necessary, so read the owner's manu-

al for your software careful, and make the appropriate settings before use.

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Connections with MIDI connectors

Set the Computer select switch located on the back of this unit to MIDI.

Apple Macintosh

Printer Port

Modem Port

COMPUTER

MIDI

IN A

OUT/THRU

IN B

MIDI

PC-2

Mac

PC-1

Macintosh IIci

The setting

is MIDI

INPUT

VOLUME

INPUT

OUTPUT1

MIDI interface adapter

This unit

MIDI

interface

board

Roland

Super

IBM PC/AT

INT

ADDRESS

MPU/AT

PORT

OUT

COMPUTER

MIDI

IN A

OUT/THRU

IN B

Spuer

MIDI

PC-2

Mac

PC-1

SMPTE

INPUT

OUTPUT2

OUTPUT1

VOLUME

This unit

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MIDI data transfer with the computer

Depending on the setting of the computer switch, MIDI data flow will be different as

follows (with the factory settings).

When the computer switch is set to PC-1, PC-2 or Mac

THRU function : ON

Macintosh IIci

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

In order for data received at MIDI IN A to be sent to the sound generator section, the Thru func-

tion of the computer software must be turned on. When thru function is turned on, the data

received at MIDI IN A will pass through the computer and be played by the sound generator sec-

tion. When transmitting MIDI Exclusive data from the sound generator section via this unit's

MIDI OUT/THRU connector, it is also necessary for thru function to be on.

Data received at MIDI IN B will not be sent to the computer connector, but will be passed directly

to the sound generator section.

The number of sound generator Parts that can be controlled using the computer connector will

depend on the software you are using. This means that if you are using the computer connector,

you will not necessarily be able to play 32 Parts. Carefully read the operating manual for your

software. Also be aware that although this unit allows two connectors MIDI IN A and B to be

used for 32 Part performance, this may impossible to achieve depending on your software.

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When the computer switch is set to MIDI

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

Be aware that when the computer switch located on the back of this unit is set to MIDI, data will

not be exchanged via the computer connector.

If you wish to use the MIDI IN B located on the front panel, you must make the appropriate set-

tings for IN B Select (p.135).

With the factory settings, MIDI OUT/THRU is set to function as MIDI OUT. If you wish to use it

as MIDI THRU, set the MIDI OUT/THRU select switch (p.136) to THRU.

Exclusive data address settings are explained on p.128, 193.

With the factory settings, MIDI messages received at MIDI IN A are passed to Group A Parts,

and MIDI messages received at MIDI IN B are passed to Group B Parts. In most situations there

is no need to change this, but it is possible to change the MIDI signal flow as shown below

(p.137, 138).

MIDI

COMPUTER

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI IN B

(Front)

MIDI

COMPUTER

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI IN B

(Front)

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

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Connecting another MIDI sound source to the unit

If you wish to connect another MIDI sound source to this unit's MIDI OUT/THRU con-

nector, be aware of the following points.

When using another sound source to play data received at the computer connector

In this situation, set MIDI OUT/THRU Select (p.136) to OUT. Computer data received

at the computer connector will be transmitted from this unit MIDI OUT/THRU connector.

MIDI OUT/THRU selection : OUT

COMPUTER

MIDI

OUT/THRU

MIDI IN

MIDI Sound

Module

Part group A

Part A1 - A16

MIDI OUT

GM/GS

Sound generator

MIDI IN A

Part group B

MIDI keyboard

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

This unit

When using another sound source to play data received at MIDI IN A

In this situation, set MIDI OUT/THRU Select (p.136) to THRU. Data received at MIDI

IN A will be transmitted just as it is from MIDI OUT/THRU.

Data received at MIDI IN B will not be passed THRU even if THRU is selected. Regardless of

the Input Mode setting (In mode p.137), data from MIDI IN B will not be THRUed.

MIDI OUT/THRU selection : THRU

MIDI

OUT/THRU

COMPUTER

MIDI IN

MIDI Sound

Module

Part group A

Part A1 - A16

MIDI OUT

GM/GS

Sound generator

MIDI IN A

Part group B

MIDI keyboard

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

This unit

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Using MIDI messages to select sounds

By sending MIDI messages from a MIDI keyboard or sequencer, you can remotely

select the sound (Instrument) for each Part. When you press a sound select button on a

MIDI keyboard, a MIDI message selecting a sound will be transmitted

You can also use your personal computer to select this unit sounds. You can specify

sounds by inputting the Variation number and the Instrument number (p.21) into your

computer program, but depending on your software the way in which numbers are dis-

played may differ, so be aware of this. On this unit, Variation numbers begin with 0, and

Instrument numbers begin with 1.

Variation numbers correspond to MIDI Bank numbers, and Instrument numbers cor-

respond to MIDI Program numbers.

MIDI Bank numbers have an upper (MSB) and lower (LSB) part. Each can specify a number 0 -

127, allowing you to specify 128 x 128 = 16384 banks. The upper part of the Bank number cor-

responds to this unit Variation number. The lower part switches between SC-55 map, SC-88

map and Native map. (MIDI Implementation, p.188).

For the relation between the sound names and program numbers of your MIDI keyboard, refer

to the manual for your MIDI keyboard.

If you specify a sound number that this unit does not have, a sound will not change. Refer to the

instrument table on p.154 when selecting sounds.

Native map

065 User Tone

User Tone

064

User Tone

Variation

032

Syn Harpsi

Harpsi.o

Instruments

Piano + Str.

024

European Pf

016

Piano 1w

008

000

Hard FM EP

St.FM EP

Explosion

Lasergun

003

002

001

000

Harpsi.w

Detuned EP 2 Couple Hps.

Machine Gun

Gun Shot

Piano 1

E.Piano 2

Harpsichord

Clav.

008

Capital

Instruments

001

006

007

128

Instrument number

When creating MIDI messages on a sequencer or personal computer and transmit-

ting them, use the following procedure.

1. The value of Control Change 0

: MIDI Bank Number (upper) (this unit's

Variation number)

2. The value of Control Change 32 : MIDI Bank Number (lower)

3. Program Change value : MIDI Program Number (this unit's instru-

ment number)

1. and 2. are the Bank Select message. Bank Select messages are a type of Control

Change message (p.131).

For example if you wish to select the Instrument (Piano3w) with Variation number 8,

Instrument number 3, you would transmit the following data to this unit.

(Expressed in decimal notation.)

1. The value of Control Change 0

2. The value of Control Change 32 : 0

3. Program Change value

8 (Bank number (upper) 8; Variation number 8)

2 (Program number 3 : Instrument number 3)

Note that the data actually transmitted as the Program number will be one less than the

Program number.

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The example above can be expressed in hexadecimal as follows.

1. BnH 00H 08H

2. BnH 20H 00H

3. CnH 02H

H indicates that the value is expressed as a hexadecimal number. Decimal 32 is written as

hexadecimal 20H.

n indicates the MIDI channel.

Note that for MIDI channels and Instrument numbers, the number is one less than the channel

or Instrument number. For example if you wish to select a sound on the Part receiving MIDI

channel 4, n would be 3. If you wish to select Instrument 3, the value in step 3 would be 2.

This unit processes the lower part of the bank select message (LSB) as follows (p.188).

Least significant byte (LSB)

00H The setting of the [SC-55 MAP] or [SC-88 MAP] button is followed. If the front

panel [SC-55 MAP] button is lit, SC-55 map will be selected.If the front panel

[SC-88 MAP] button is lit, SC-88 map will be selected. If the button is dark,

Native map will be selected.

01H SC-55 map will be selected, and [SC-55 MAP] is lit.

02H SC-88 map will be selected, and [SC-88 MAP] is lit.

03H Native map will be selected, and [SC-55 MAP][SC-88 MAP] is dark.

If we use the previous example of selecting the Piano3w sound, we would transmit

1. BnH 00H 08H

2. BnH 20H 03H

3. CnH 02H

to this unit, and Piano3w of Native map will be selected. If we transmit BnH 20H 01H in

step 2, the SC-55 map Piano3w will be selected. If we transmit BnH 20H 02H in step 2,

the SC-88 map Piano3w will be selected.

When SC-55 map is selected, “ "” symbol will be displayed at the left of the insturument name.

When SC-88 map is selected, “ '” symbol will be displayed at the left of the insturument name.

IN S TRU M EN T

P A RT

A01 001 "Piano 1

LEVEL

P A N

100 0

IN S TRU M EN T

P A RT

A01 001 'Piano 1

LEVEL

P A N

100 0

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Using MIDI messages to select Drum Sets

You can select Drum Sets by transmitting MIDI messages from a MIDI keyboard or

sequencer, in the same way as you can select Instruments. When a Program Change

message is received, the Drum Set will change. Transmit a Program Change message

on the channel being received by the Drum Part. With the factory settings, Part 10 is the

Drum Part (MIDI receive channel:10). On this unit, Drum Set numbers correspond to

program numbers (p.163).

Set the note numbers of the rhythm data being played back to match the note numbers of this

unit Drum Set you are using (p.164).

Drum Set name and Drum Set number ( Program number )

STANDARD 1

001

ROOM

009

TR-808

026

User Set

065

User Set

066

Exclusive data addresses

Receiving exclusive data

As listed in “MIDI Implementation” (p.193), the address of MIDI exclusive data (GS format) is

defined in units of 16 Parts. In other words, starting from address 40 00 00 are the parameters

for 16 Parts. This unit has data for another 16 Parts, making a total of 32 Parts. For this reason,

this unit's MIDI exclusive data format expands the addressing, and places the remaining 16

Parts at starting address 50 00 00.

In the same way as with channel messages, exclusive data received at MIDI IN A is passed

to Group A Parts, and exclusive data received at MIDI IN B is passed to Group B Parts. In other

words, exclusive data for the 32 Parts is received using two MIDI IN connectors. If this is done,

each MIDI IN receives exclusive data for 16 Parts, so it is not necessary to split up the data into

addresses 40 00 00 and 50 00 00.

However it is also possible for this unit to receive exclusive data for all 32 Parts at a single

MIDI IN. In this case it is necessary to use address 50 00 00. For example, the data at starting

address 40 00 00 will be passed to Group A Parts, and the data at starting address 50 00 00

received at the same MIDI IN will be passed to Group B Parts. In other words, using starting

address 50 00 00 means that the data will be passed to the Parts of the other Group than the

MIDI IN that the data was received at.

COMPUTER

MIDI

COMPUTER

MIDI

OUT/THRU

Starting address

40 00 00

Starting address

40 00 00

Part group A

Part A1 - A16

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Starting address

40 00 00

Part group B

Part B1 - B16

Part group B

Part B1 - B16

Starting address

50 00 00

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI IN B

(Front)

Only in the case of Exclusive data, the System parameter Input Mode (p.137) has no effect

on the way in which data is passed from the two MIDI IN connectors to the Parts.

Transmitting exclusive data

Since this unit has only one MIDI OUT, the exclusive data transmitted is sent using the two

address areas of 40 00 00 and 50 00 00. User sound data is located at starting areas of 20 00

00.

Be aware that exclusive data will be not transmitted from MIDI OUT connector if the MIDI

OUT/THRU select (p.137) is set to THRU.

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Chapter 7

MIDI and the unit

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About MIDI

MIDI stands for Musical Instrument Digital Interface.

MIDI devices can transmit musically related data

such as performance data or data to select sounds.

Since MIDI is a world-wide standard, musical data

can be sent and received between devices even if

they are of different types and were made by differ-

ent manufacturers. In the MIDI standard, data

describing a musical performance such as “play a

note” or “press the pedal” are transmitted as MIDI

messages.

As long as you are using this unit to simply play

commercially available music data or to provide

sound for game software, it is not necessary to

know about MIDI. Simply follow the instructions in

the manual for your music data playback device

(MIDI player) or your software.

MIDI channels and multi-timbral

sound modules

MIDI transmits a wide variety of performance data

over a single MIDI cable. This is made possible by

MIDI channels. MIDI channels allow specific data to

be selected out of a large amount of data. The con-

cept is similar to the idea of TV channels. By chang-

ing the channel of a TV receiver you can view the

programs of different stations. By setting the chan-

nel of the receiver to match the channel of the

transmitter, you can receive only the program you

wish to watch. In the same way, MIDI allows you to

receive data only when the channel of the receiver

matches the channel of the transmitter.

The explanation that follows will help you use MIDI

to control this unit in greater detail.

The cable from the antenna carries the TV signals from many broadcast stations.

Station A

Station B

How MIDI messages are transmitted

Station C

and received

The TV is set to the channel of the station you wish to watch.

First we will briefly explain how MIDI messages are

transmitted and received.

MIDI uses sixteen channels, numbered 1 — 16.

Music data is received when the transmit channel of

the transmitting device matches the receive channel

of the receiving device. If you make MIDI channel

settings as Fig.1, only sound source B will sound

when you play the keyboard, and sound source A

will not sound. This is because sound source B

matches the transmit channel of the keyboard, but

sound source A's channel does not match.

MIDI connectors

MIDI messages are transmitted and received using

three types of connector. Connect MIDI cables to

these connectors as appropriate for your setup.

MIDI

Conversely, if you set the transmit channel of the

keyboard to match sound source A, sound source A

will sound (Fig.2).

THRU

OUT

MIDI OUT

MIDI IN

MIDI THRU

Receive

Transmit channel : 1

channel : 2

Sound

Module A

from another MIDI device

Fig.1

Receive

to another MIDI device

channel : 1

MIDI keyboard

MIDI OUT

MIDI IN

Sound

Module B

MIDI IN

: This connector receives messages

from another MIDI device.

: This connector transmits messages

from this unit.

: This connector retransmits the mes-

sages received at MIDI IN.

MIDI IN

MIDI THRU

Receive

Transmit channel : 2

channel : 2

Sound

Module A

MIDI OUT

MIDI THRU

Fig.2

Receive

channel : 1

MIDI keyboard

MIDI IN

Sound

Module B

* It is possible to use MIDI THRU to connect two or more

MIDI devices, but in practice the limit is 5 units. This is

because as the signal path becomes longer, the signal

deteriorates and the messages can no longer be

received correctly.

Since this unit has two MIDI IN connectors, it can

receive a total of 32 channels simultaneously. By

using 32 channels you can play ensembles of 32

Parts (p.23). Sound sources such as this unit which

are able to simultaneously play many parts are

called multi-timbral sound modules. Timbre is a

word meaning sound.

This unit has two types of Parts: Normal Parts and

Drum Parts (p.27). Normal Parts are used to play

melody or bass lines. On GM/GS sound sources,

the Drum Part uses channel 10.

* On this unit, MIDI THRU and MIDI OUT share the same

connector. The MIDI OUT/THRU Select switch (p.136)

determines which function the connector will have.

MIDI

IN A

OUT/THRU

IN B

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MIDI messages that can be received by the unit

MIDI uses many different types of message to

transmit musical performance data, and there are

many types of MIDI message. For example, infor-

mation indicating “which key was played how

strongly” is transmitted as a Note message.

The way that a device responds when it receives

each type of MIDI message (i.e., how it produces

sound, etc.) will depend on the specifications of that

device. This means that if the receiving device is

not able to perform the function requested by the

incoming message, the musical result will not be

what you expected.

These messages can also be used to select

Patches (p.41). However if settings have been

made to allow Patches to be selected, the program

change message for each Part will be ignored.

Control Change

These messages control parameters such as mod-

ulation and pan. The function of the message is

determined by its Control Change number.

Modulation (control change number 1)

This message controls vibrato.

The main types of MIDI message received by this

unit are as follows.

Volume (control change number 7)

* MIDI messages for which reception capability is

required by the GM system (level 1) are marked by a

sign.

This message controls the volume of a Part. When

this message is received the volume of a Part will

change.

Expression (control change number 11)

Note messages

This message conveys volume changes. It can be

used to add expression during a song.

These messages convey notes played on the key-

board. They include the following information.

* The volume of a Part will be affected both by Volume

messages (control change 7) and by Expression mes-

sages (control change 11). If a value of 0 is received for

either of these messages, the Part volume will be 0 and

will not rise even if the other message is sent with a

higher value. Be aware of this.

Note number

: a number indicating the note

(key) that was pressed or

released

: data indicating that the note (key)

was pressed

: data indicating that the note (key)

was released

: a number indicating how strongly

the note (key) was pressed

Note on

Note off

Velocity

Using Volume and Expression

It is convenient to use Volume and Expression in

distinct ways, as follows.

Note numbers are a number from 0 — 127 which

indicate the keyboard key position, with middle C

(C4) as note number 60.

Volume

: Adjust the volume balance

between Parts.

Expression : Create volume changes during a

song (crescendo, decrescendo,

etc.).

Correspondence between note numbers and note names

Note name

The reason for this differentiation is that if you use

only Volume messages to create volume changes

during the song, you will have to modify all of the

Volume data in the song if you later decide to

adjust the volume balance between the Parts.

However if you use only Volume at the beginning

of the song, and use only Expression during the

song, it will be easy to adjust the volume balance

between Parts for the entire song simply by modi-

fying the Volume data at the beginning of the

song, and the data for changes in dynamics during

the song can remain as it was. This is very conve-

nient when, for example, you decide to make a

slight change in the balance between the piano

and bass when the song is nearly completed.

C-1

A0 C1

21 24

108

MIDI note number

Pitch bend

This message conveys the position of the bender

lever (or pitch bend wheel). The pitch will change

when this message is received.

Bank Select (Control Change num-

ber 0 and 32)

Program Change

These messages are used to select sounds.

Sounds are selected by a Program numbers 1 —

128. On this unit, these messages will select

sounds (Instruments). By using Bank Select mes-

sages (which are a type of Control Change mes-

sage), an even wider variety of sounds can be

selected (p.126).

Pan (control change number 10)

This message controls the stereo position of a Part.

(p.27, 35)

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Hold (1) (control change number 64)

RPN LSB, MSB (control change number

100/101)

Data Entry (control change number 6/38)

This message conveys the up/down movements of

the damper pedal, causing the currently sounding

notes to be sustained. When a message of Hold On

is received, notes will be sustained. In the case of

decay-type instruments such as a piano, the sound

will decay gradually until a Hold Off message is

received. In the case of sustain-type instruments

such as an organ, the sound will continue sustain-

ing until a Hold Off message is received.

Since the function of the RPN (Registered

Parameter Number) is defined in the MIDI specifica-

tion, this message can be used between devices of

different types. The RPN MSB and LSB messages

specify the parameter which is to be modified, and

then Data Entry messages can be used to modify

the value of that parameter. RPN can be used to

adjust Pitch Bend Sensitivity, Master Coarse Tune,

and Master Fine Tune.

Sostenuto (control change number 66)

The sostenuto pedal on a piano sustains only the

notes which were already sounding at the moment

the pedal was pressed. The Sostenuto message

conveys the movement of this pedal. When

Sostenuto On is received, only the notes which

were already on at that moment will be sustained.

In the case of decay-type instruments such as a

piano, the sound will decay gradually until a

Sostenuto Off message is received. In the case of

sustain-type instruments such as an organ, the

sound will continue sustaining until a Sostenuto Off

message is received.

* The values modified using RPN messages will not be

initialized even if Program Change messages etc. are

received to select other sounds.

NRPN LSB, MSB (control change number

98/99)

Data Entry (control change number 6/38)

NRPN (Non-registered Parameter Number) mes-

sages can be used to modify the values of sound

parameters unique to a particular device. The

NRPN MSB and LSB messages specify the para-

meter which is to be modified, and then Data Entry

messages can be used to modify the value of that

parameter.

Since the GS format defines the function of several

NRPN messages, GS compatible application pro-

grams can use NRPN messages to modify sound

data parameters for Vibrato, Cutoff Frequency,

Resonance, and Envelope values.

Soft (control change number 67)

The soft pedal on a piano softens the tone during

the time the pedal is pressed. The Soft message

conveys the movement of this pedal. When Soft On

is received, the cutoff frequency will be lowered,

causing a softer sound. When Soft Off is received,

the previous sound will return.

Reverb Send Level (control change number 91)

* The values modified using NRPN messages will not be

initialized even if Program Change messages etc. are

received to select other sounds.

This message adds a reverb effect to the Part

(Reverb Level p.52).

* With the factory settings, this unit will ignore NRPN

messages. After a GS Reset message is received,

NRPN messages will be received. You can also turn

Rx.NRPN on (NRPN Receive Switch, p.141) either from

the front panel or by using exclusive messages, so that

NRPN messages will be received.

Chorus Send Level (control change number 93)

This message adds a chorus effect to the Part

(Chorus Level p.53).

Delay Send Level (control change number 93)

This message adds a delay effect to the Part (Delay

Level p.54).

Aftertouch (Channel Pressure only )

Aftertouch is a message which conveys the pres-

sure applied to the keyboard after playing a note, so

that this information can be used to control various

aspects of the sound. There are two types of after-

touch message; Polyphonic Key Pressure which is

transmitted separately for each note, and Channel

Key Pressure which is transmitted as one value that

affects all notes on the specified MIDI channel.

Portamento (control change number 65)

Portamento Time (control change number 5)

Portamento Control (control change number 84)

Portamento is an effect that creates a smooth

change in pitch between the previously played note

and the newly played note. When a Portamento

message is received, the portamento effect will be

turned on or off. Portamento Time controls the

speed of the pitch change. Portamento Control

specifies the Source Note number (the previously

played note).

* With the factory settings, Aftertouch messages will have

no effect when received by this unit. In order for

Aftertouch messages to do something, you need to set

Aftertouch-related parameters. (p.30).

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In order to recognize the device for which the data

is intended, Roland exclusive messages contain a

manufacturer ID, device ID and model ID.

This unit exclusive messages use two model IDs;

42H for GS format, and 45H for SC-55 (88). The

two numbers are used depending on the parameter

you wish to modify. Be aware that if the appropriate

ID number is not used, data will not be transferred.

(p.134)

All Sounds Off

This message completely turns off the sound of all

currently-sounding notes. The sound of the speci-

fied channel will be forcibly turned off.

All Notes Off

This message causes a Note Off to be sent to each

note of the specified channel that is currently on.

However if Hold 1 or Sostenuto are on, the sound

will continue until these are turned off.

GM System On (Universal System Exclusive)

When GM System On is received, the unit will be

set to the basic GM settings. Also, NRPN Bank

Select messages will no longer be received after

GM System On is received. The beginning of song

data bearing the GM logo contains a GM System

On message. This means that if you playback the

data from the beginning, the sound generator

device will be automatically initialized to the basic

settings.

Reset All Controllers

This message returns controller values to their ini-

tial settings. The following controller values for the

specified channel will be reset to their initial values.

Controller

Pitch Bend

Polyphonic Key Pressure

Channel Pressure

Modulation

Expression

Hold

Portamento

Soft

Sostenuto

RPN

Initial value

0 (center)

0 (minimum)

127 (maximum)

0 (off)

number unset

GS Reset (GS Format System Exclusive)

When GS Reset is received, the unit will be set to

the basic GS settings. Also, NRPN messages spec-

ified in the GS format can be received after GS

Reset is received. The beginning of song data bear-

ing the GS logo contains a GS System Reset mes-

sage. This means that if you playback the data from

the beginning, the sound generator device will be

automatically initialized to the basic settings.

NRPN

Master Volume (Universal System Exclusive)

* Parameter values that were modified using RPN or

NRPN will not change even when a Reset All Controller

message is received.

This is an exclusive message common to all MIDI

devices that controls the master volume of all Parts.

Other exclusive messages

Active Sensing

This unit can receive GS format exclusive mes-

sages (model ID 42H) that are common to all GS

sound generators. This unit can also use exclusive

messages (model ID 45H) that are especially for

the SC-55 (88). Exclusive messages can be used to

store this unit settings or to make fine adjustments

to parameters.

This message is used to check for broken MIDI

connections, such as MIDI connectors that have

been pulled out or MIDI cables that have been bro-

ken. This unit transmits Active Sensing messages

from MIDI OUT at specific intervals. Once an Active

Sensing message is received at MIDI IN, Active

Sensing monitoring will begin, and if an Active

Sensing message fails to arrive for more than 420

msec, it is assumed that the cable has been discon-

nected. If this happens, all currently sounding notes

will be turned off, the same procedure will be exe-

cuted as if a Reset All Controllers message was

received, and Active Sensing monitoring will stop.

For details of the exclusive message transmitted

and received by this unit, refer to the explanation on

p.191 and following.

System Exclusive messages

Exclusive messages are used to control functions

which are unique to specific devices. Although

Universal System Exclusive messages can be used

even between devices of different manufacturers,

most exclusive messages cannot be used between

devices of different types or different manufactur-

ers.

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Device ID number settings

The Device ID number is an identification number used when transmitting and receiv-

ing exclusive messages (p.133). This unit receives exclusive messages only if its own

device ID number matches the device ID number of the message. This means that if you

wish to transmit exclusive messages between devices, you must make sure that their

device ID numbers match.

The device ID number is a number from 1 — 32. With the factory settings the number

is 17.

If you wish to playback Roland SMF music data, be sure that the device ID number is set to 17.

If it is not, playback will not be correct.

It is not possible to specify the device ID number separately for individual Parts.

How to make settings

1. Press [ALL] to make the button indicator light.

2. Simultaneously press both the PART[ ][ ] buttons.

3. Use [ ][ ] to select “Device ID”.

IN S TRU M EN T

P A RT

ALL >Device ID: 17

LEVEL

P A N

100 0

4. Use INSTRUMENT[ ][ ] to modify the device ID number.

5. When you finish making settings, simultaneously press both PART[ ][

buttons to end the procedure.

]

PART

INSTRUMENT

PAN

ALL

LEVEL

REVERB

KEY SHIFT

MUTE

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

About MIDI implementation charts

MIDI allows many different types of device to be connected, but in some cases

there will be types of message which cannot be conveyed meaningfully. For example if

you wish to use keyboard aftertouch to control the sound but the sound generator con-

nected to the keyboard does not receive aftertouch messages, you will not get the

musical result you intend. In this way, only messages that are used by both devices will

actually be conveyed.

The MIDI specification requires that the owner's manual for each MIDI device

include a “MIDI Implementation Chart” (p.209) that shows the types of MIDI message

which are actually transmitted and received by a device. Place the transmit column of

the transmitting device's implementation chart side by side with the receive column of

the receiving device's implementation chart. Messages which are marked as “O” in

both charts can be conveyed successfully. If either chart shows a “X” for a certain type

of message, that message cannot be conveyed.

For your reference, the data format for exclusive messages and other details of this

unit MIDI implementation are given on p.188 and following.

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MIDI message routing settings and switches

This unit provides various parameters that determine how incoming MIDI messages

are passed to the Parts. For some types of MIDI message, a switch is provided to turn

reception on or off. These parameters can be classified as “Switches which apply to all

Parts” or “Switches which can be set individually for each Part.”

[1] Switches which apply to all Parts (A)

IN B Sel.

(IN B Select) Front/Rear

OUT/THRU

In Mode

(MIDI OUT/THRU Select) OUT/THRU

(Input Modes) Standard, X-connect, Merge A, Merge B, A only

Rx Sys. Mode

(System Mode Set Receive switch) On, Off

After modifying the setting of the IN B Sel., OUT/THRU, or In Mode parameters, you must turn

the power on once again. New settings of these parameters become valid when the power is

turned on.

Procedure

1. Simultaneously press [ ] and [ ].

2. Use [ ] [ ] to select the parameters you wish to set.

IN S TRU M EN T

P A RT

A01 %IN B Sel.:Rear

LEVEL

P A N

100 0

3. Use INSTRUMENT [ ] [ ] to set the value.

4. When you have set the value, simultaneously press [ ] and [ ] to end

the procedure.

5. Turn on the power again. (Except when you have selected Rx Sys. Mode.)

PART

INSTRUMENT

ALL

LEVEL

PAN

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

How each parameter works

IN B Sel. (IN B Select) Front/Rear

This unit has two MIDI IN B connectors, one on the front panel and another on the

rear panel. If the IN B Sel. parameter is set to Front, the front panel MIDI IN B can be

used. If the IN B Sel. parameter is set to Rear, the rear panel MIDI IN B can be used. It

is not possible to use both the front and the rear MIDI IN B connectors simultaneously.

MIDI

COMPUTER

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI IN B

(Front)

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OUT/THRU (MIDI OUT/THRU Select) OUT/THRU

The MIDI OUT/THRU connector on the rear panel of this unit can function either as a

MIDI OUT or a MIDI THRU. When the OUT/THRU sellect is set to OUT the connector

will function as MIDI OUT, and when set to THRU it will function as MIDI THRU.

MIDI

IN A

OUT/THRU

IN B

If THRU is selected, data received at MIDI IN A will be retransmitted from the MIDI

OUT/THRU connector. Data received at MIDI IN B will never be “thru-ed”, regardless of

the THRU setting, and regardless of the setting for In Mode.

If OUT is selected, exclusive data or data received at the computer connector can be

transmitted from the MIDI OUT/THRU connector. (p.107, 123)

When the COMPUTER switch is set to MIDI

MIDI OUT/THRU Select : OUT

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI OUT/THRU Select : THRU

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

When the COMPUTER switch is set to PC-1, PC-2 or Mac

MIDI OUT/THRU Select : OUT

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI OUT/THRU Select : THRU

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

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In Mode (Input Modes)

Standard, X-connect, Merge A, Merge B, A only

With the factory settings, MIDI messages received at MIDI IN A are passed to Group

A Parts, and MIDI messages received at MIDI IN B are passed to Group B Parts. In nor-

mal circumstances, there is no need to change the standard setting, but it is also possi-

ble to change the MIDI signal in the following. (diagram on the following page)

Standard

MIDI messages received at MIDI IN A are passed to Group A Parts, and MIDI mes-

sages received at MIDI IN B are passed to Group B Parts. Standard is the factory set-

ting.

X-connect (Cross connect)

This reverses the handling of Standard. MIDI messages received at MIDI IN A are

passed to Group B Parts, and MIDI messages received at MIDI IN B are passed to

Group A Parts.

Merge A

MIDI messages received at either MIDI IN A or MIDI IN B are sent to Group A Parts.

MIDI messages are not sent to Group B Parts, so they will not sound. For example, you

might use this setting when you wish to play Group A Parts simultaneously from a MIDI

keyboard and from a MIDI sequencer.

Merge B

This reverses the handling of Merge A. MIDI messages received at either MIDI IN

A or MIDI IN B are sent to Group B Parts. MIDI messages are not sent to Group A Parts,

so they will not sound.

A only

When using the Roland Super MPU (MIDI Processing Unit: two MIDI OUTs), some

software will transmit the same data to both of this unit's MIDI IN connectors. This will

cause two Parts to sound in unison, causing an unnatural effect. In such a case, do not

use both MIDI INs. Either disconnect one of the MIDI cables, or use the preceding pro-

cedure to set to A only. When A only, data received at MIDI IN B will be ignored.

Be aware that if the computer switch on the rear panel of this unit is set to either PC-1, PC-2 or

Mac, MIDI data received at MIDI IN A will not be sent to the Parts (the sound generator), but will

be sent through the computer connector to the computer (p.123).

The data sent from the computer through the computer connector will be treated as received

from MIDI IN A, and will be passed to the various Parts according to the Input Modes setting.

Rx Sys. Mode (System Mode Set Receive Switch): On/Off

The selection of Single Module Mode or Double Module Mode (p.116) is called the

System Mode. The Rx Sys. Mode setting is the receive switch for MIDI messages

(System Mode Set p.194) that select the System Mode. If Rx Sys Mode is turned Off,

the mode will not change even if System Mode Set messages are received. If Rx Sys

Mode is turned On, the mode will change.

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MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Standard

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

X-connect

(Cross connect)

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI

COMPUTER

OUT/THRU

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Merge ->A

Merge ->B

A only

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI

OUT/THRU

COMPUTER

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

MIDI

OUT/THRU

COMPUTER

Part group A

Part A1 - A16

GM/GS

Sound generator

MIDI IN A

Part group B

Part B1 - B16

GM/GS

Sound generator

MIDI IN B

(Rear)

MIDI IN B

(Front)

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[2] Switches which apply to all Parts (B)

MUTE Lock (Mute Lock) On/Off

EQ Lock

(Equalizer Lock) On/Off

Rx GM On

Rx GS On

(GM System On Receive Switch) On/Off

(GS Reset Receive Switch) On/Off

Procedure

1. Press [ALL] to make the button indicator light.

2. Simultaneously press both the PART [ ] [ ] buttons.

3. Press either [ ] or [ ] to select the parameter you wish to set.

IN S TRU M EN T

P A RT

ALL >Rx GS Reset: On

LEVEL

P A N

100 0

4. Use the INSTRUMENT [ ] [ ] buttons to set the value.

IN S TRU M EN T

P A RT

ALL >Rx GS Reset: Off

LEVEL

P A N

100 0

5. When you finish making settings, simultaneously press both the PART

[

] [ ] buttons to exit the procedure.

2 5

PART

INSTRUMENT

PAN

ALL

LEVEL

MUTE

REVERB

KEY SHIFT

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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How each switches works

MUTE Lock (Mute Lock) On/Off

When you once again playback a song that was previously played back, Part Mute

settings (p.27) are sometimes defeated. This is because the beginning of the song data

contains a message that causes this unit to reset to initial values (GM System On / GS

Reset p.133). If MUTE Lock is turned on, muting will not be turned off even when GS

Reset or GM System On is received, so there will be no need for you to remake mute

settings. This is convenient when, for example, you are repeatedly playing back a song

with a certain Part muted so that you can play that Part yourself.

Regardless of the MUTE Lock setting, All Mute (p.35) will not be defeated when GS Reset or

GM System On are received.

EQ Lock (Equalizer Lock) On/Off

When a GS Reset or GM System On message is received, the equalizer settings will

be restored to the factory settings (initialized). If EQ Lock is turned on, this will not occur.

Rx GM On (GM System On Receive Switch) On/Off

Rx GS On (GS Reset Receive Switch) On/Off

GM System On and GS Reset (p.133) are MIDI exclusive messages that are included

in the beginning of song data bearing the GM or GS logo. When song data is played

back from the beginning, these messages cause the sound generator parameters to be

reset to basic values so that playback will be correct. Thus, when playing back song

data bearing the GM or GS logo, you should leave these parameters on. If these para-

meters are turned off, GM System On and GS Reset messages will be ignored.

When you play the General MIDI Score data, be sure to set the General MIDI System

On Switch to ON and the Exclusive Receiving Switch to ON .

When you play Roland SMF Music data, be sure to set the Device ID number (p.134)

to 17, the GS Reset Receiving Switch to ON .

The default settings are as above.

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[3] Switches which can be set individually for each Part

Rx Bank Sel (Bank Select Receive Switch) On/Off

To remotely select this unit sounds from another MIDI device, you can send Bank

Select messages and Program Change messages to this unit. If Rx Bank Sel is turned

on, these MIDI messages can select Variation sounds (p.20) and User sounds (p.96). If

this parameter is turned off, bank select messages will be ignored, meaning that MIDI

messages cannot select Variation sounds or User sounds (they will select Capital

sounds). If this parameter is turned off, a “_” will be displayed between the instrument

number and the Instrument name.

For details on using MIDI messages to select sounds, refer to p.126.

IN S TRU M EN T

P A RT

A01 001_Piano 1

LEVEL

P A N

100 0

Rx NRPN (NRPN Receive Switch) On/Off

NRPN (Non-registered Parameter Number p.132) messages allow you to modify vibrato,

filter and envelope values (p.32) via MIDI. If Rx NRPN is on, these sound parameters can

be modified by MIDI messages. If Rx NRPN is off, this will not be possible.

When GM System On is received, Bank Select Receive Switch and NRPN Receive Switch will

be turned off.

When GS Reset is received, Bank Select Receive Switch and NRPN Receive Switch will be

turned on.

Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Simultaneously press both the PART [ ] [ ] buttons.

3. Use PART [ ] [ ] to select the Part whose setting you wish to modify.

4. Press [ ] or [ ] to select the parameters you wish to set.

IN S TRU M EN T

P A RT

A01 >Rx Bank Sel: On

LEVEL

P A N

100 0

5. Use INSTRUMENT [ ] [ ] to turn on or off.

6. When you finish making settings, simultaneously press both the PART

[

] [ ] buttons to end the procedure.

2 3

PART

INSTRUMENT

PAN

ALL

LEVEL

REVERB

KEY SHIFT

MUTE

CHORUS

MIDI CH

SC 55

MAP

SC 88

MAP

DELAY

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The value for Controller No. 99 is the NRPN MSB, and that

for Controller No. 98 is the NRPN LSB.

Using NRPNs with GS Sound Modules

So, you would transmit these values:

Controller No. 99: 1

Controller No. 98: 32

Included within the various types of Control Changes (often

abbreviated as “CC”) is an extended range known as NRPNs

(non-registered parameter numbers). The NRPNs can be used

with GS sound modules to alter various sound parameters,

such as those for the vibrato, filters, and envelopes. There are

distinct advantages to using Control Changes rather than

Exclusive messages when wishing to modify sounds. They are

not as complicated, they are easier to handle, and they do not

require a large amount of data (p.132, 189). Such Control

Change messages include a number (the Control Number)

which specifies the type of function that is to be controlled.

The MIDI specifications do not define any specific functions

which can be set using NRPNs. This is because the NRPNs

are intended to serve as a flexible range of controls which can

be assigned whatever parameters are required for a specific

device in order to achieve the desired changes in its sounds,

or enhance its expressive capabilities. In contrast, there is

another type of extended form of control known as an RPN

(registered parameter number). As their name suggests, RPN

functions are all defined (registered) within the MIDI specifica-

tions (p.189).

When using an NRPN, the function (sound parameter)

being dealt with needs to be specified by means of the numeric

values that are supplied for the NRPN MSB (Controller No. 99)

and NRPN LSB (Controller No. 98). By then sending the

appropriate value for Data Entry (Controller No. 6), the change

in the specified sound parameter is accomplished.

Note that instead of the hexadecimal notation that is used

within the “MIDI Implementation” (p.189), the numbers for the

combinations of values for NRPNs that appear in the chart

below have all been converted to decimal. (Note also that

these NRPNs are specific only to GS sound modules.)

The unit has thus been made aware that it is the TVF Cutoff

Frequency that you are going to change. To go ahead and

make the actual change, you would then use the Data Entry

Control Change message to supply the new value (xx) for the

TVF Cutoff Frequency.

Thus, you would send:

Controller No. 6: xx

As a result of transmitting the above three controller values,

the TVF Cutoff Frequency will have been altered, and the tim-

bre of the instrument selected for that Part should sound differ-

ently.

After altering sound parameters using an NRPN, we recom-

mend that you make a habit of asserting a “null” by sending the

RPN values shown below. This will tell the unit that you are fin-

ished working with the parameter that has been specified, and

that it should stop waiting for any further new values for that

parameter. (It cancels the standing request for change in a

particular NRPN or RPN.) This way you can avoid having

unexpected changes made if any unintended Data Entry val-

ues get sent afterwards.

Controller No. 101: 127

Controller No. 100: 127

For the “NRPN LSB rr” value, you need to supply the value

which corresponds to the note number of the particular percus-

sion instrument that you want to address (these numbers can

be found in the Drum Set Chart at the rear of the manual →

p.164).

For example, let’s say that you want to set the High Bongo

so that no reverb will be applied to it. This instrument is

assigned note number 60 (middle C), and is contained in the

Standard Set 1 Drum Set.

NRPN NRPN Range

MSB LSB

Function

To accomplish this you would transmit these values:

Controller No. 99: 29

Controller No. 98: 60

8 0-64-127 Vibrato Rate *1 (p.32)

9 0-64-127 Vibrato Depth *1 (p.32)

Controller No. 6: 0

10 0-64-127 Vibrato Delay *1 (p.32)

Note that these MIDI messages need to be sent in the

order listed above.

32 0-64-127 TVF Cutoff Frequency *1 (p.33)

33 0-64-127 TVF Resonance *1 (p.33)

Parameters marked with *1 in the chart at left can be

altered in a relative manner, with a value of “0” being the

default value. Depending on the particular sound you are work-

ing with, the type of change available will be different (in some

cases you may not even notice any change). Also, the range of

change will vary.

You may need to consult the manual that came with your

equipment or software for details on how to properly input and

transmit Control Change messages. Note, though, that some

devices may only allow you to work with a limited range of con-

troller numbers.

Make sure that you always follow the order shown above

when transmitting RPN, NRPN, and Data Entry data. Be care-

ful, since if you insert a multiple number of MIDI messages at

the same point in time (or in very close range of each other)

when using some types of music software, the messages can

sometimes be sent out in an order different than originally

intended. To avoid problems, always allow sufficient space

between adjacent messages (at least 1 tick at 96 TPQN, and 5

ticks at 480 TPQN).

99 0-64-127 TVF&TVA Envelope Attack Time *1 (p.33)

100 0-64-127 TVF&TVA Envelope Decay Time *1 (p.33)

102 0-64-127 TVF&TVA Envelope Release Time *1 (p.33)

rr 0-64-127 Drum Instrument Pitch Coarse *1

Alters the pitch of individual percussion

instruments in the drum Part.

rr 0-127

Drum Instrument TVA Level

Alters the volume of individual percussion

instruments in the drum Part.

rr 0,1-64-127 Drum Instrument Pan

Alters the panning for individual percus-

sion instruments in the Drum Part. A set-

ting of “0” provides random panning, while

“1” selects the leftmost position, “64” the

center, and “127” places it at the right-

most position.

rr 0-127

Drum Instrument Reverb Send Level

Sets the reverb depth for individual per-

cussion instruments in the Drum Part.

Drum Instrument Chorus Send Level

Sets the chorus depth for individual per-

cussion instruments in the Drum Part.

Drum Instrument Delay Send Level

Determines the amount of delay for indi-

vidual percussion instruments in the Drum

Part (SC-88/this unit only)

* TPQN: Ticks Per Quarter Note

* Any value which has been imposed by means of an NRPN will not be

initialized even when a different sound is changed to in compliance with

a received Program Change. Settings which have been made using

NRPNs can only be initialized by sending a GS Reset, or by performing

a GS Initialization (p.118).

* At the factory default settings, this unit will not respond to NRPN mes-

sages. However, after a GS Reset has been received it will recognize

NRPNs. Alternately, you can enable recognition of NRPNs by turning on

“Rx.NRPN” (NRPN reception switch p.141), either by using the panel

buttons, or through Exclusive messages.

For example, let’s say that you want to alter the TVF Cutoff

Frequency. First, you need to assert that it is the TVF Cutoff

Frequency that you wish to control by sending the appropriate

NRPN MSB and NRPN LSB combination.

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Frame Draw function (p.110)

When song data plays back with the wrong

sounds

The SC-88/Pro has a Frame Draw function. This function

allows you to create display data for each page using the front

panel buttons, and to transmit the data you create as an exclu-

sive message. By using this to create data in the appropriate

sequence and timing, you can create display data with move-

ment.

When song data created using the SC-55 or the SC-155 is

played back by this unit, the sounds that were intended may

not be selected. This can occur for one of the following two

reasons.

How to use a Part other than Part 10 as a

Drum Part, so that two Drum Sets can be

used simultaneously

1. The wrong Variation number was selected

When a Variation number for which sounds do not exist is

selected on this unit, the display will show a message of No

INSTRUMENT (or for the Drum Part, No DRUM SET). Even if

the relevant Part is not displayed, this message will be dis-

played briefly when any Part receives such data.

About the Part mode

Each Part 1--16 can be used either for normal sounds (Normal

Part) or for a drum set (Drum Part). This selection is made by

the Part Mode setting. (p.27)

The mode of a Drum Part can be either Drum1 or Drum2.

Since the same Drum Set will automatically be selected for

Parts that have the same Part Mode, this means that up to 2

types of drum set can be used simultaneously.

For example if you set the Part Mode of Part 10 and Part 11

respectively to Drum1 and Drum2, you could select STAN-

DARD1 Set for Part 10 and JAZZ Set for Part 11. If the Part

Mode of both Parts 10 and 11 were set to Drum1, selecting

STANDARD1 Set for Part 10 would automatically select

STANDARD1 Set for Part 11 as well.

The data which specifies sounds is usually placed in the begin-

ning of the song data, so check whether this message appears

when the song data starts. If this message appears, it is possi-

ble that a control change Bank Select message (or for the

Drum Part, a program change) within the song is incorrect.

(p.126) Refer to the instrument list (p.154), and modify the data

value so that an existing sound is selected.

2. The wrong sound map was selected

On this unit, the lower byte (LSB) of a control change Bank

Select message (control change 32) can be used to switch

sound maps (p.126).

Control Change 32 values

00: The map selected by the panel buttons will be used.

01: The SC-55 map will be selected.

02: The SC-88 map will be selected.

Settings via MIDI

To set the Part Mode using MIDI messages, you need to use

system exclusive messages.

For example if you wish to set the Part Mode of Part 11 to

Drum2, transmit the following message. (p.197)

F0 41 10 42 12 40 1A 15 02 0F F7

03: The Native map will be selected.

If values other than these are transmitted to this unit, a map for

which this unit has no sounds will be selected, so a message

of No INSTRUMENT will appear. In the case of the SC-

55/155/55mkII, the LSB of this Bank Select message is

ignored, so sound selection will not be affected regardless of

the value that is transmitted. However since Bank Select mes-

sages are used as a pair of upper and lower values (MSB and

LSB), it is best to input 00 as the lower value (LSB) in your

song data.

40 1A 15 : Address (USE FOR RHYTHM PART of Part 11)

02 : Data (Part Mode Drum2)

: Device ID (17)

To select a Drum Set after setting the Part Mode, transmit a

program change to Part 11.

Using Aftertouch

First connect a device that is able to transmit aftertouch mes-

sages to this unit. Be aware that some MIDI keyboards are not

able to transmit aftertouch messages.

Using screen display data for the SC-55

series

When this unit receives aftertouch messages, the way in which

it responds will depend on its settings. With the factory settings

or immediately after this unit has been initialized by a GS

Reset etc., aftertouch messages will have no effect, so you will

need to change the settings if you want aftertouch to do some-

thing.

About screen display data

The level indicator area in the center of the SC-55/55mkII/SC-

88/VL/Pro display (bar display) is able to display 16 x 16 dot

graphics that are transmitted to it as exclusive messages. By

transmitting this data together with the song data, you can

make the display change as the song progresses.

The SC-88/VL/Pro can hold 10 pages of display data.

Exclusive messages can be used to display a specific page,

and to adjust the duration for which each page will be dis-

played (p.193).

Aftertouch parameters are divided into the following two

groups.

• Channel aftertouch (CAf):

These messages apply an effect to the entire Part of a

given channel. For example if you hold down a "C-E-

G" chord and then press strongly on just the "C" note,

the effect will apply to all notes "C-E-G."

Also, text can be displayed in the INSTRUMENT display area,

allowing song titles or lyrics to be displayed.

Even display data for the SC-55/55mkII can be used without

change to produce the same display. In this case, the data will

be displayed as the first page of the 10 pages.

• Polyphonic aftertouch (PAf):

These messages apply an effect independently for

each note number. For example if you hold down a "C-

E-G" chord and then press strongly on just the "C"

note, the effect will apply only to the "C" note.

Of the Channel Aftertouch parameters, the following seven can

be set from the panel (p.30).

Chapter 7. MIDI and the unit

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CAf Range / CAf Cutoff / CAf Amp / CAf LFO Rate / CAf

LFO Pitch / CAf LFO TVF / CAf LFO TVA

The other parameters (CAf: 7 types / PAf: 11 types) can be set

by transmitting exclusive messages from a sequencer or com-

puter. For details on the messages for these parameters, refer

to MIDI Implementation p.198.

Using MIDI to control the depth of a System

Effect

Reverb / Chorus / Delay

The depth of the System effects Reverb / Chorus / Delay can

be adjusted for each Part using control change messages

(p.132)

Reverb Send Level (Controller number 91)

Chorus Send Level (Controller number 93)

Delay Send Level

(Controller number 94)

The Reverb / Chorus / Delay effects use a portion of the sound

from each Part to create a new effect sound (reverberance,

etc.) which can then be added to the original sound.

The above three parameters control the amount of the sound

(signal) of each Part that will be sent to the effect unit. Higher

settings will increase the amount of the signal that is sent to the

effect unit, causing more effect sound to be produced. The

result is that the effect will be deeper.

Equalizer

The equalizer modifies the tonal character of the sound. You

can specify whether or not the sound of a Part will be passed

through the equalizer; i.e., turn the equalizer on/off. Settings

are made using exclusive messages, not control change mes-

sages.

< Setting example >

Turning the equalizer on for Part 1:

F0 41 10 42 12 40 41 20 01 5E F7

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Chapter 8

Appendix

Troubleshooting............................................146

If a message appears...................................148

Computer cable wiring diagrams..................149

Parameter list and operations ......................150

Instrument list...............................................154

Drum set list .................................................163

Effect list.......................................................176

Effect data table ...........................................183

Preset Patch list ...........................................186

MIDI implementation ....................................188

MIDI Implementation Chart ..........................209

INDEX ..........................................................210

Specifications ...............................................212

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Troubleshooting

If the this unit 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 (listed at the end of this manual).

If a message appears during operation, consult the following section "If a message appears."

If performance is incorrect when playing back song data carrying the GM/GS logo, check the fol-

lowing points.

• That the Device ID is set to 17 (p.134)

• That the GM System On / GS Reset Receive Switch (p.140) is turned on

The above settings are made when this unit is shipped from the factory.

Cannot turn the power on

• Is the power cable correctly plugged into an outlet?

No sound

• Is the power turned on for the other devices connected to the this unit?

• Is the volume knob turned all the way down?

• Have you incorrectly connected the MIDI IN and OUT connectors? (p.8)

• Can you hear sound through headphones? (Preview the sound p.11) If you can hear

sound through headphones, the problem may be that the audio cable transmitting the

sound to the other devices is broken or incorrectly connected, or that there is a prob-

lem with your mixer/amp/speaker system.

• Do the bar indicators in the display move?

(1) If the bar indicators are moving

This unit is receiving MIDI data correctly. Check the volume knob position and the

cable connections once again.

(2) If the bar indicators are not moving

Is the lowest dot in the bar display turned off?

Turn on the [ALL] button indicator. If all dots are off, the All Mute function is on. Turn

off the All Mute function. (p.34)

Turn off the [ALL] button indicator. If some of the dots are off, the Part Mute function

is on. Turn off the Part Mute function. (p.25)

• Is the overall volume for all parts turned down? (p.34)

• Has the Expression pedal etc. on a connected MIDI device turned the volume down?

• Are the settings for the OUTPUT1,2 jacks correct? (p.29, 38)

• Is the rear panel Computer switch set to the correct position for the software you are

using? (p.120) After changing the position of the Computer switch you must turn power

of this unit on.

A specific Part does not sound

• Is the lowest dot in the bar display off? Parts for which this dot is off have been muted.

Turn Part Mute off. (p.25)

• Is the volume level of the Part turned down? (p.25)

• Does the MIDI Receive channel of the Part match the MIDI Transmit channel of the

connected MIDI device? (p.22)

A specific keyboard area does not sound

• Has the Keyboard Range been set? (p.28)

Sound is heard but the bar indicator does not move

• Are you receiving MIDI messages at MIDI IN B and viewing Part information for Group

A? If so, press the PART [l ] [r ] buttons to display the Parts of Group B. If you press

the [ALL] button to make the indicator light, Part information for both Groups A and B

will be displayed.

Cannot select the desired sound

• Are you sending an incorrect Program number? (p.126)

• Have you specified the MIDI receive channel of a Patch? (p.41)

• Are you selecting All SC-55 MAP or All SC-88 MAP? (p.35)

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Sound is distorted

• Is an effect which distorts the sound being applied? (p.56)

• If a specific sound or Part is distorted, lower the volume level of that Part. (p.25)

• If all sounds are distorted, lower the overall volume level of all Parts (p.34), or use the

Volume knob to lower the volume level.

Pitch is incorrect

• Is the pitch of a specific Part incorrect? (p.28)

• Is the pitch of all Parts incorrect by a semitone or more? (p.34)

• Is the pitch of a specific Part incorrect by a semitone or more? (p.25)

• Has a MIDI Pitch Bend message been received to change the pitch? Return the pitch

bend lever or wheel to the central position. Or, transmit a Pitch Bend message with the

central value (40 00H).

Sound is wrong

• Have you selected another sound after modifying sound parameter settings (filter,

etc.)? Restore all sound parameter settings to a value of 0. (p.31)

Sounds are interrupted

• If you attempt to play more than 64 voices at once, sounds will be interrupted. (p.24)

• Is the same data being sent simultaneously to MIDI IN A and MIDI IN B? (p.137)

Able to play only from either MIDI IN A or MIDI IN B

• Make sure that the In Mode is set to Standard. (p.137)

• Is the In Mode set to A Only? (p.137)

Exclusive messages are not received

• Does the Device ID number of the transmitted exclusive message match the Device ID

number of this unit? (p.134)

This unit does not transmit MIDI data

• If you wish to transmit this unit data via the Computer connector, set the Computer

switch to PC-1, PC-2 or Mac, depending on the software you are using. (p.120)

• When the rear panel Computer switch is set to MIDI, this unit will not transmit data

from the Computer connector. In this case, data will be transmitted from the MIDI

OUT/THRU connector.

• When the MIDI OUT/THRU select switch is set to THRU, data received at MIDI IN A

will be transmitted from MIDI OUT/THRU. (p.136)

MIDI sound sources connected to this unit are not played from a comput-

er or sequencer

• Music data received at this unit Computer connector is transmitted from the MIDI

OUT/THRU connector, but you need to make the following settings. (p.120, 136)

* Set the Computer switch to PC-1, PC-2 or Mac depending on your software

* Set MIDI OUT/THRU Select switch to OUT

• MIDI data received at MIDI IN A is transmitted from the MIDI OUT/THRU connector,

but you need to make the following settings (p.120, 136)

* Set the Computer switch to MIDI

* Set the MIDI OUT/THRU Select switch to THRU

After changing the setting for IN B Sel., OUT/THRU, or In Mode, the power must be turned on

again. These settings will take effect the next time the power is turned on.

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If a message appears

If operation is incorrect or if the data cannot be processed correctly, an error mes-

sage will appear in the display.

Consult the following list and take the appropriate action.

Battery Low

Cause

: The memory backup battery inside this unit has run down.

Action

: Consult a nearby Roland Service Station.

Check Sum Error

Cause

: The check sum of the received exclusive message is incorrect.

Action

: Check the data which was transmitted to this unit, and transmit it once

again. Also make sure that the MIDI cable is not broken.

MIDI Buff. Full

Cause

: A large amount of MIDI data was received by this unit in a time too short for

correct processing to be done.

Action

: Check whether a large amount of MIDI data is not being transmitted in a

short time.

MIDI Off Line

Cause 1 : It is possible that the power has been turned off for the MIDI device connect-

ed to MIDI IN.

Action 1 : The problem is not with this unit. Check the power of the connected MIDI

device.

Cause 2 : It is possible that a MIDI cable has been pulled out or broken.

Action 2 : Check the MIDI cables.

No INSTRUMENT

-------------

Cause

Action

: A sound (Instrument) which this unit does not have has been selected.

: The previously selected sound name will be displayed, and that sound will

be heard. Carefully refer to the tables on p.154 to 162, and specify the cor-

rect bank number and program number.

No DRUM SET

Cause

: A Drum Set which this unit does not have has been selected.

Action

: The previously selected Drum Set name will be displayed, and that set will

sound.

No PATCH

Cause

: A Patch which this unit does not have has been selected.

Actcion : The previously selected Patch name will be displayed, and that Patch will

sound.

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Computer cable wiring diagrams

For Apple Macintosh (Sold separately: RSC-15APL)

mini DIN, 8-pin, male

6 7 8

mini DIN, 8-pin, male

1 HSKo

mini DIN, 8-pin, male

HSKo 1

6 7 8

HSKi

TXD- 3

GND

HSKi

3 TXD-

4 GND

RXD- 5

TXD+ 6

5 RXD-

6 TXD+

3 4 5

1 2

3 4 5

1 2

GPi

RXD+ 8

8 RXD+

For IBM PC/AT (9-pin) (Sold separately: RSC-15AT)

mini DIN, 8-pin, male

6 7 8

D-sub, 9-pin, female

mini DIN, 8-pin, male

HSKo 1

RTS

CTS

TXD

GND

RXD

D-sub, 9-pin, female

HSKi

TXD- 3

GND

3 4 5

1 2

RXD- 5

For IBM PC/AT (25-pin)

mini DIN, 8-pin, male

6 7 8

D-sub, 25-pin, female

mini DIN, 8-pin, male

HSKo 1

RTS

CTS

TXD

GND

RXD

D-sub, 25-pin, female

HSKi

TXD- 3

GND

3 4 5

1 2

RXD- 5

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Parameter list and operations

Switching between the ALL display and PART display

ALL/PART Select

ALL/PART

[ALL]:lit/dark

Overall Part settings([ALL]lit )

Level

0 - 127

LEVEL[l ][r ]

P.34

P.50

Pan

L63 - 0 - R63

-24 - 0 - +24

Off, On

PAN[l ][r ]

Key Shift

KEY SHIFT[l ][r ]

Mute

[MUTE]

ALL SC-55 Map

ALL SC-88 Map

Reverb Level

Chorus Level

Delay Level

Insertion Effect

Select a Patch

Off, On

[SC-55 MAP]

Off, On

[SC-88 MAP]

0 - 64 - 127

Off, On

REVERB[l ][r ]

CHORUS[l ][r ]

[SC-88 MAP]+DELAY[l ][r ] or [EFX]: OFF...EFX TYPE [l ][r ]

[EFX]:the indicator light orange...[ON/OFF]

[ALL]lit...INSTRUMENT[l ][r ]...

[ALL]:execute, [MUTE]:cancel

P.56

P.40

1 - 128,U01 - U16

M. Tune

415.3 - 440.0 - 466.2Hz PART[l ]*[r ]...[u ][d ]...INSTRUMENT[l ][r ]

P.14

MUTE Lock

EQ Lock

Off, On

[SELECT]+[u ][d ]: Parameter jump

P.139

Off, On

Individual Part settings([ALL]dark...PART[ ][ ]:Select a Part)

Select a Part

Select an Instrument sound

Select a Variation sound

Select a Drum Set

Level

A01 - B16

1 - 128

PART[l ][r ],[ALL]*[PART][l ] : A, B select

INSTRUMENT[l ][r ]

P.18

P.20

P.18

P.25

0 - 127

INSTRUMENT[l ]*[r ]...INSTRUMENT[l ][r ]

INSTRUMENT[l ][r ]

1 - 128

0 - 100 - 127

Rnd, L63 - 0 - R63

-24 - 0 - +24

Off, On

LEVEL[l ][r ]

Pan

PAN[l ][r ]

Key Shift

KEY SHIFT[l ][r ]

Mute

[MUTE]

SC-55 Map

SC-88 Map

Part Monitor

Reverb Level

Chorus Level

Delay Level

Insertion Effect

Part EQ

Off, On

[SC-55 MAP]

Off, On

[SC-88 MAP]

Off, On

[ALL]*[MUTE]

0 - 40 - 127

0 - 127

REVERB[l ][r ]

P.50

CHORUS[l ][r ]

0 - 127

[SC-88 MAP]+DELAY[l ][r ] or [EFX]: OFF...EFX TYPE [l ][r ]

[EFX]:the indicator light orange...[ON/OFF]

PART[l ]*[r ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

[SELECT]+[u ][d ]: Parameter jump

Off, On

P.56

P.26

Off, On

Part Mode

Norm, Drum1, 2

Mono, Poly

-100- 0.0 - +100

0 - 64 - 127

C-1 - G9

M/P Mode

Fine Tune

Velo Depth

Velo Offset

K.Range L

K.Range H

C-1 - G9

CC1 C.Number

OUT Asgn

0 - 16 - 95

OUT-1/2/2L/2R

-64 - 0 - +63

-24 - 0 - +24

-64 - 0 - +63

0 - 10 - 127

0 - 127

S.Tune C-B

Mod Range

Mod Cutoff

Mod Amp

Mod LFO Rate

Mod LFO Pch

Mod LFO TVF

Mod LFO TVA

Bnd Range

Bnd Cutoff

0 - 127

0 - +2 - +24

-64 - 0 - +63

0 - 127

Bnd Amp

Bnd LFO Rate

Bnd LFO Pch

Bnd LFO TVF

Bnd LFO TVA

0 - 127

(Notes)...: continue to the next step

[A]*[B]: simultaneously press both buttons [A] and [B]

[A]+[B]: while holding button [A], press button [B]

Boldface indicates the factory setting value.

*: Parameters which can be set in a Patch (p.108)

+: Parameters which can be transmitted as Individual data (p.39)

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CAf Range

-24 - 0 - +24

-64 - 0 - +63

0 - 127

P.26

CAf Cutoff

CAf Amp

CAf LFO Rate

CAf LFO Pch

CAf LFO TVF

CAf LFO TVA

CC1 Range

CC1 Cutoff

0 - 127

-24 - 0 - +24

-64 - 0 - +63

0 - 127

CC1 Amp

CC1 LFO Rate

CC1 LFO Pch

CC1 LFO TVF

CC1 LFO TVA

Vibrato Rate

Vibrato Depth

Vibrato Delay

Cutoff Frequency

Resonance

0 - 127

-64 - 0 - +63

[SELECT]... EFX TYPE [l ][r ]:set value

[SELECT]... EFX PARAM [l ][r ]:set value

[SELECT]... EFX VALUE [l ][r ]:set value

[SELECT]... EFX PARAM [l ][r ]:set value

[SELECT]... EFX VALUE [l ][r ]:set value

[SELECT]... EFX TYPE [l ][r ]:set value

[SELECT]... EFX PARAM [l ][r ]:set value

[SELECT]... EFX VALUE [l ][r ]:set value

P.31

Attack Time

Decay Time

Release Time

Effects

System Effects

Reverb Type

Room1, 2, 3,

Hall1, 2, Plate,

Delay, Panning Delay

0 - 4 - 7

[ALL]lit...PART[l ]*[r ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

P.51

[SELECT]+[u ][d ]: Parameter jump

Rev Charac.

Rev Pre-LPF

Rev Level

0 - 7

0 - 64 - 127

0 - 127

Rev Time

Rev Delay Fb

Rev Pre Delay T

Chorus Type

0 - 127(ms)

Chorus1, 2, 3, 4,

Feedback Chorus, Flanger,

Short Delay, Short Delay(FB)

0 - 7

Cho Pre-LPF

Cho Level

Cho Feedback

Cho Delay

Cho Rate

0 - 64 - 127

0 - 8 - 127

0 - 80 - 127

0 - 3 - 127

Cho Depth

Cho→Rev

Cho→Dly

0 - 19 - 127

0 - 127

Delay Type

Delay1, 2, 3, 4,

Pan Delay1, 2, 3, 4,

Delay To Reverb, Pan Repeat

0 - 7

Dly Pre-LPF

Dly Time C

Dly T Ratio L

Dly T Ratio R

Dly Level C

Dly Level L

Dly Level R

Dly Level

0.1 - 340 - 1000(ms)

4 - 500(%)

0 - 127

0 - 64 - 127

-64 - +16 - +63

0 - 127

Dly Fback

Dly→Rev

Equalizer

Low Freq

200, 400

[ALL]lit...[SELECT]...

P.48

High Freq

Low Gain

3K, 6K

EFX TYPE[l ][r ]:select Gain/Frequency...

EFX PARAM[l ][r ],EFX VALUE[l ][r ]:set value...[SELECT]:end

-12 - 0 - +12

0 - 64,1^x- 64^x

---

High Gain

Type

Insertion Effects

[EFX]...EFX TYPE[l ][r ]

P.56

P.92

Parameter

EFX C.Src1/2

EFX C.Dep1/2

[EFX]...EFX PARAM[l ][r ]... EFX VALUE[l ][r ]:set value

[ALL]lit...PART[l ]*[r ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

[SELECT]+[u ][d ]: Parameter jump

Off,CC1 - 95,CAf,Bend

-100 - 0 - +100

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Drum edit

PART[l ][r ]:select a Drum Part...INSTRUMENT[l ][r ]:select a Drum Set...

P.42

[SELECT]*EFX TYPE[l ]...INSTRUMENT[l ][r ]:select a Drum Instrument...

Level

0 - 127

LEVEL[l ][r ]

Pan

Rnd, L63 - R63

0 - 127

PAN[l ][r ]

Reverb

Chorus

Key Shift

Delay

REVERB[l ][r ]

CHORUS[l ][r ]

KEY SHIFT[l ][r ]

EFX TYPE[l ][r ]

MIDI CH[l ][r ]

0 - 127

Assign Group

Non, 1 - 127

User edit

User Instrument

Edit

[ALL]dark...INSTRUMENT[l ][r ]:select an Instrument

P.96

P.98

[USER INST]*[SELECT]:the indicator light red...[SELECT]...

EFX TYPE[l ][r ], EFX PARAM[l ][r ], EFX VALUE[l ][r ]:set value

[USER INST]*[SELECT]...INSTRUMENT[l ][r ]:set Instrument number...

INSTRUMENT[l ]*[r ]...INSTRUMENT[l ][r ]:set Variation number...

[ALL]:execute, [MUTE]:cancel...[USER INST]:end

Store

User Patch

Change the Patch name

Store

[ALL]lit...PAN[r ]*CHORUS[r ]...PART[l ][r ]:move cursor, INSTRUMENT[l ][r ]:select character and symbols,

[ALL]:A→a→A , [MUTE]:Space, [u ]:0, [d ]:&→(→&...PAN[r ]*CHORUS[r ]:end

[ALL]lit...[USER INST]*[SELECT]...INSTRUMENT[l ][r ]:set Patch number...

[ALL]:execute, [MUTE]:cancel

P.100

P.101

P.99

User Effect

User Drum

Store

[EFX]:the indicator light orange...[EFX]*[ON/OFF]...INSTRUMENT[l ][r ]:set Effect number

[ALL]:execute, [MUTE]:cancel

Change the Set name

[ALL]dark...[SELECT]*EFX TYPE[l ]...PAN[r ]*CHORUS[r ]...

PART[l ][r ]:move cursor, INSTRUMENT[l ][r ]:select character and symbols,

[ALL]:A→a→A , [MUTE]:Space, [u ]:0, [d ]:&→(→&...PAN[r ]*CHORUS[r ]:end

[SELECT]*EFX TYPE[l ]...[USER INST]*[SELECT]...

P.102

Store an Instrument

Store a Set

P.104

P.105

INSTRUMENT[l ][r ]:set Drum Set number...

INSTRUMENT[l ]*[r ]...INSTRUMENT[l ][r ]:set key name...

[ALL]:execute, [MUTE]:cancel

[SELECT]*EFX TYPE[l ]...EFX VALUE[l ]*[r ]...INSTRUMENT[l ][r ]:set Drum Set number...

[ALL]:execute, [MUTE]:cancel

MIDI-related

MIDI CH

A01 - A16, A--

B01 - B16, B--

Rear, Front

PART[l ][r ]...MIDI CH[l ][r ]

P.22

KEY SHIFT[r ]*MIDI CH[l ]: A, B select

[u ]*[d ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

* Setting becomes valid when the power is turned on

IN B Sel.

OUT/THRU

In Mode

P.135

OUT, THRU

Standard, Xconnect

Merge→A, Merge→B, A only

Off, On

Rx Sys Mode

Device ID

1 - 17 - 32

[ALL]lit...PART[l ]*[r ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

P.134

P.139

Rx GM On

Off, On

[SELECT]+[u ][d ]: Parameter jump

Rx GS Reset

Rx Bank Sel

Rx NRPN

Off, On

[ALL]dark...PART[l ]*[r ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

[SELECT]+[u ][d ]: Parameter jump

P.141

P.107

P.108

Off, On

Send a Bulk dump

All,All-U,U.INST,U.DRUM

U.EFX,U.Patch,GS A,GS B

[ALL]lit...INSTRUMENT[l ]*[r ]...INSTRUMENT[l ][r ]

[ALL]: execute, [MUTE]: cancel

Send an Individual data

View Parameter...INSTRUMENT[l ]*[r ]

View Parameter of Insertion Effect...EFX VALUE[l ]*[r ]

System functions

Preview Note

Preview Velocity

Display Type

Peak Hold

C-1 - A4 - G9

0 - 100 - 127

Type1 - 8

Off, Type1 - 3

1 - 8 - 16

Off, On

[u ]*[d ]...[u ][d ]... INSTRUMENT[l ][r ]:set value

P.36

LCD Contrast

Backup

Sys OUT Mode

Assign Lock

P.Load Init

Sel/Fix

Off, On

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Other functions

SC-88-compatibity mode

Off, On

[SELECT]+[ALL]

P.112

P.106

Part

Copy

[ALL]dark...PART[l ][r ]:select copying source Part...[SELECT]+LEVEL[l ]...

INSTRUMENT[l ][r ]:select copying destination Part...[ALL]:execute, [MUTE]:cancel

[ALL]dark...[SELECT]+LEVEL[r ]...

Initialize

Exchange

INSTRUMENT[l ][r ]:select Part...[ALL]:execute, [MUTE]:cancel

[ALL]dark...PART[l ][r ]:select exchanging source Part...[SELECT]+PAN[l ]...

INSTRUMENT[l ][r ]:select exchanging destination Part...[ALL]:execute, [MUTE]:cancel

View settings for 32 Parts in the Part display

Single Module Mode

EFX PARAM[r ]*EFX VALUE[l

]

P.23

[SELECT]+K SHIFT[l ]...[ALL]:execute, [MUTE]:cancel

P.116

Double Module Mode

Reset to factory settings

GM Initialize

[SELECT]+K SHIFT[r ]...[ALL]:execute, [MUTE]:cancel

[SELECT]+INSTRUMENT[l ]*[r ]...[ALL]:execute, [MUTE]:cancel

[SELECT]+PART[r ]...[ALL]:execute, [MUTE]:cancel

P.118

GS Initialize

[SELECT]+INSTRUMENT[r ]...[ALL]:execute, [MUTE]:cancel

CM-64 Sounds

[SELECT]+INSTRUMENT[l ]...[ALL]:execute, [MUTE]:cancel

P.114

P.110

Draw pictures or characters on the screen

(Frame Draw)

EFX TYPE[r ]*EFX PARAM[l ]...[ALL]:dot on,[MUTE]:dot off

[u ][d ]:move cursor vertically, PART[l ][r ]:move cursor horizontally

INSTRUMENT[l ][r ]:set page, LEVEL[l ][r ]:move graphic vertically

PAN[l ][r ]:move graphic horizontally, INSTRUMENT[l ]*[r ]:transmit screen data to external device

REVERB[l ][r ] ...INSTRUMENT[l ][r ]:select page...[ALL]:execute, [MUTE]:cancel

K.SHIFT[l ][r ]...INSTRUMENT[l ][r ]:select page...[ALL]:execute, [MUTE]:cancel

MIDI CH[l ][r ]...INSTRUMENT[l ][r ]:select page...[ALL]:execute, [MUTE]:cancel

Invert

Copy

Delete

(Notes)...: continue to the next step

[A]*[B]: simultaneously press both buttons [A] and [B]

Boldface indicates the factory setting value.

*: Parameters which can be set in a Patch (p.108)

[A]+[B]: while holding button [A], press button [B]

+: Parameters which can be transmitted as Individual data (p.39)

*1: A distinction between Group A and B of MIDI channels will not be stored in a Patch. The MIDI channel will be saved as channel

“A**” of Group A.

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Instrument list

Piano

PC CC00 Native Map

001 000 Piano 1

008 Piano 1w

PC CC00 Native Map

016 Barafon

Voices SC88 Map

Voices SC55 Map

Voices

Voices SC88 Map

Voices SC55 Map

Voices

1 #

2 #

Barafon

Barafon 2

Log drum

Xylophone

Tubularbell

Church Bell

Carillon

Santur

-----

Piano 1

Piano 1w

Piano 1d

-----

017 Barafon 2

024 Log drum

014 000 Xylophone

015 000 Tubular-bell

008 Church Bell

009 Carillon

-----

Piano 1w

Piano 1d

-----

016 European Pf

024 Piano + Str.

002 000 Piano 2

008 Piano 2w

Xylophone

Tubularbell

Church Bell

Carillon

Santur

-----

1 *

Piano 2

Piano 2w

-----

Piano 2w

-----

016 Dance Piano

003 000 Piano 3

001 EG+Rhodes 1

016 000 Santur

001 Santur 2

Piano 3

-----

Santur 2

Cimbalom

-----

EG+Rhodes 1

EG+Rhodes 2

Piano 3w

Honky-tonk

Old Upright

E.Piano 1

St.Soft EP

-----

008 Cimbalom

016 Zither 1

-----

002 EG+Rhodes 2 2 #

-----

008 Piano 3w

004 000 Honky-tonk

008 Honky-tonk 2

005 000 E.Piano 1

008 St.Soft EP

Piano 3w

Honky-tonk

HonkyTonk w

E.Piano 1

Detuned EP1

-----

017 Zither 2

-----

024 Dulcimer

-----

Organ

017 000 Organ 1

001 Organ 101

008 Trem. Organ

009 Organ.o

Organ 1

Organ 101

DetunedOr.1

Organ 109

60'sOrgan 1

60'sOrgan 2

60'sOrgan 3

-----

Organ 1

-----

2 #

009 Cho.E.Piano

010 SilentRhodes

016 FM+SA EP

017 Dist E.Piano

024 Wurly

Detuned Or1

-----

2 #

FM+SA EP

-----

E.Piano 1v

-----

016 60's Organ 1

017 60's Organ 2

018 60's Organ 3

019 Farf Organ

60's Organ1

-----

60'sE.Piano

Hard Rhodes

MellwRhodes

E.Piano 2

Detuned EP2

St.FM EP

Hard FM EP

Harpsichord

-----

60s E.Piano

-----

025 Hard Rhodes

2 #

-----

026 MellowRhodes 2 #

006 000 E.Piano 2 2 #

008 Detuned EP 2 2 #

-----

024 Cheese Organ 1 #

CheeseOrgan

-----

E.Piano 2

Detuned EP2

E.Piano 2v

-----

025 D-50 Organ

026 JUNO Organ

027 Hybrid Organ

028 VS Organ

-----

016 St.FM EP

024 Hard FM EP

007 000 Harpsichord

001 Harpsichord2

008 Coupled Hps.

016 Harpsi.w

2 #

1 #

-----

Harpsichord

-----

029 Digi Church

032 70's E.Organ

033 Even Bar

-----

Organ 4

Even Bar

Organ Bass

-----

Organ 4

-----

2 #

1 #

2 #

Coupled Hps 2 *

Coupled Hps

Harpsi.w

Harpsi.o

-----

2 #

1 #

Harpsi.w

Harpsi.o

-----

040 Organ Bass

048 5th Organ

-----

024 Harpsi.o

-----

032 Synth Harpsi

008 000 Clav.

008 Comp Clav.

016 Reso Clav.

024 Clav.o

018 000 Organ 2

Organ 2

Organ 201

-----

Organ 2

-----

1 #

Clav.

-----

Clav.

001 Jazz Organ

002 E.Organ 16+2

008 Chorus Or.2

009 Octave Organ

032 Perc.Organ

-----

DetunedOr.2

-----

Detuned Or2

-----

032 Analog Clav.

033 JP8 Clav. 1

035 JP8 Clav. 2

-----

Organ 5

Organ 3

Rotary Org.

RotaryOrg.S

-----

Organ 5

Organ 3

-----

019 000 Organ 3

2 #

1 #

2 *

-----

008 Rotary Org.

016 Rotary Org.S

017 Rock Organ 1

018 Rock Organ 2

024 Rotary Org.F

Chromatic percussion

009 000 Celesta

-----

1 #

Celesta

1 *

Celesta

-----

001 Pop Celesta

-----

010 000 Glockenspiel 1 #

Glocknspiel

Music Box

Vibraphone

Hard Vibe

Vib.w

Glockenspl

Music Box

Vibraphone

-----

1 #

RotaryOrg.F

ChurchOrg.1

ChurchOrg.2

ChurchOrg.3

Organ Flute

Trem.Flute

-----

011 000 Music Box

012 000 Vibraphone

001 Pop Vibe.

1 #

020 000 Church Org.1 1 #

Church Org1

Church Org2

Church Org3

-----

008 Church Org.2

016 Church Org.3

024 Organ Flute

032 Trem.Flute

033 Theater Org.

2 #

1 #

2 #

008 Vibraphone w

009 Vibraphones

013 000 Marimba

008 Marimba w

1 *

Vib.w

-----

1 #

Marimba

Marimba w

Marimba

Marimba w

-----

: program number(Instrument number)

CC00

: value of controller number 0 (Bank number, Variation number)

: legato-enabled sounds

Voices

Remark #

Remark *

Remark +

: number of voices used by the Instrument

: same sounds as SC-88 map

: same sound as SC-55 map

: a percussive sound which cannot be played melodically. Use near C4

(note number 60).

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PC CC00 Native Map

021 000 Reed Organ

008 Wind Organ

Voices SC88 Map

Voices SC55 Map

Voices

PC CC00 Native Map

Voices SC88 Map

Voices SC55 Map

Voices

1 #

Reed Organ

-----

1 *

Reed Organ

-----

009 Feedback Gt2 2 #

FeedbackGt2

PowerGuitar

Power Gt.2

5th Dist.

-----

016 Power Guitar

017 Power Gt.2

018 5th Dist.

2 #

-----

022 000 Accordion Fr

008 Accordion It

AccordionFr

AccordionIt

-----

Accordion F

Accordion I

-----

2 #

-----

009 Dist. Accord

024 Rock Rhythm

Rock Rhythm

RockRhythm2

-----

016 Cho. Accord

024 Hard Accord

025 Soft Accord

-----

025 Rock Rhythm2 2 #

-----

032 000 Gt.Harmonics 1 #

Gt.Harmonix 1 *

Gt.Feedback 1 *

-----

Gt.Harmonix

Gt.Feedback

-----

008 Gt. Feedback

009 Gt.Feedback2

1 #

023 000 Harmonica

001 Harmonica 2

024 000 Bandoneon

008 Bandoneon 2

016 Bandoneon 3

Harmonica

Harmonica 2

Bandoneon

-----

Harmonica

-----

016 Ac.Gt.Harmnx 1 #

Ac.Gt.Harm.

-----

Bandoneon

-----

024 E.Bass Harm.

-----

Bass

033 000 Acoustic Bs.

-----

AcousticBs.

-----

Acoustic Bs

-----

Guitar

025 000 Nylon-str.Gt

001 Rockabilly

Nylonstr.Gt

Ukulele

Nylon Gt.o

VeloHarmnix

Nylon Gt.2

Lequint Gt.

Steelstr.Gt

12-str.Gt

Nylon+Steel

Mandolin

-----

Nylon Gt.

Ukulele

Nylon Gt.o

-----

008 Wild A.Bass

016 Bass + OHH

-----

008 Ukulele

1 #

-----

016 Nylon Gt.o

024 Velo Harmnix

032 Nylon Gt 2

040 Lequint Gt.

026 000 Steel-str.Gt

008 12-str.Gt

034 000 Fingered Bs.

001 Fingered Bs2

002 Jazz Bass

FingeredBs.

FingeredBs2

Jazz Bass

-----

Fingered Bs

-----

1 #

Nylon Gt.2

-----

1 #

-----

1 #

003 Jazz Bass 2

004 Rock Bass

-----

Steel Gt.

12-str.Gt

-----

008 ChorusJazzBs

016 F.Bass/Harm.

035 000 Picked Bass

001 Picked Bass2

002 Picked Bass3

003 Picked Bass4

008 Muted PickBs

016 P.Bass/Harm.

036 000 Fretless Bs.

001 Fretless Bs2

002 Fretless Bs3

003 Fretless Bs4

004 Syn Fretless

005 Mr.Smooth

-----

009 Nylon+Steel

016 Mandolin

-----

2 #

Mandolin

-----

Picked Bass

-----

Picked Bass

-----

017 Mandolin 2

018 MandolinTrem

032 Steel Gt.2

-----

1 #

Steel Gt.2

Jazz Gt.

Mellow Gt.

Pedal Steel

Clean Gt.

-----

027 000 Jazz Gt.

001 Mellow Gt.

008 Pedal Steel

028 000 Clean Gt.

001 Clean Half

1 *

Jazz Gt.

-----

MutePickBs.

-----

2 #

1 #

-----

Hawaiian Gt

Clean Gt.

-----

1 #

FretlessBs.

FretlessBs2

FretlessBs3

FretlessBs4

SynFretless

Mr.Smooth

-----

Fretless Bs

-----

2 #

-----

002 Open Hard 1

003 Open Hard 2

004 JC Clean Gt.

008 Chorus Gt.

009 JC Chorus Gt

016 TC FrontPick

017 TC Rear Pick

018 TC Clean ff

019 TC Clean 2:

029 000 Muted Gt.

001 Muted Dis.Gt

002 TC Muted Gt.

008 Funk Pop

-----

Chorus Gt.

-----

Chorus Gt.

-----

008 Wood+FlessBs

037 000 Slap Bass 1

001 Slap Pop

-----

1 #

Slap Bass 1

-----

Slap Bass 1

-----

008 Reso Slap

1 #

Reso Slap

-----

009 Unison Slap

038 000 Slap Bass 2

008 FM Slap

-----

2 #

Slap Bass 2

-----

Slap Bass 2

-----

Muted Gt.

MutedDis.Gt

-----

Muted Gt.

-----

1 #

039 000 Synth Bass 1 2 #

SynthBass 1

Syn.Bass 1

Syn.Bass101

-----

001 SynthBass101 1 #

Syn.Bass101 1 *

1 #

Funk Pop

Funk Gt.2

OverdriveGt

-----

Funk Gt.

Funk Gt.2

OverdriveGt

-----

002 CS Bass

-----

016 Funk Gt.2

003 JP-4 Bass

004 JP-8 Bass

005 P5 Bass

-----

030 000 OverdriveGt

001 Overdrive 2

002 Overdrive 3

003 More Drive

008 LP OverDrvGt

009 LP OverDrv:

031 000 DistortionGt

001 Dist. Gt2 :

-----

006 JPMG Bass

008 Acid Bass

-----

1 #

2 #

Acid Bass

TB303 Bass

Tekno Bass

-----

Syn.Bass 3

-----

009 TB303 Bass

010 Tekno Bass

011 TB303 Bass 2

012 Kicked TB303

013 TB303 Saw Bs

014 Rubber303 Bs

015 Reso 303 Bs

-----

DistortionGt

Dist. Gt2

DazedGuitar

-----

Dist.Gt.

-----

002 Dazed Guitar

003 Distortion:

2 #

-----

004 Dist.Fast :

-----

008 Feedback Gt.

2 #

FeedbackGt.

Feedback Gt

016 Reso SH Bass 1 #

Reso SHBass

-----

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PC CC00 Native Map

017 303 Sqr Bs

Voices SC88 Map

Voices SC55 Map

Voices

PC CC00 Native Map

Voices SC88 Map

Voices SC55 Map

Voices

-----

048 000 Timpani

1 #

Timpani

018 TB303 DistBs

024 Arpeggio Bs

-----

Ensemble

049 000 Strings

-----

Strings

Strings 2

-----

Strings

-----

040 000 Synth Bass 2 2 #

SynthBass 2

Syn.Bass201

ModularBass

Seq Bass

-----

Syn.Bass 2

-----

001 Bright Str:

002 ChamberStr:

003 Cello sect.

001 SynthBass201 2 #

-----

002 Modular Bass

003 Seq Bass

2 #

-----

008 Orchestra

Orchestra

Orchestra 2

TremoloOrch

Choir Str.

-----

Orchestra

-----

004 MG Bass

-----

009 Orchestra 2

010 Tremolo Orch

011 Choir Str.

005 Mg Oct Bass 1

006 MG Oct Bass2

007 MG Blip Bs:

-----

2 #

-----

012 Strings+Horn

016 St. Strings

-----

008 Beef FM Bass 2 #

Beef FMBass

X Wire Bass

-----

Syn.Bass 4

-----

St.Strings

VeloStrings

-----

009 Dly Bass

024 Velo Strings

032 Oct Strings1

033 Oct Strings2

050 000 SlowStrings

001 SlowStrings2

008 Legato Str.

2 #

-----

010 X Wire Bass

011 WireStr Bss

012 Blip Bass :

013 RubberBass 1

016 RubberBass 2

2 #

-----

SlowStrings

Slow Str. 2

Legato Str.

WarmStrings

St.SlowStr.

SynStrings1

OB Strings

-----

SlowStrings

-----

Rubber Bass 2 *

Rubber Bass

-----

2 #

-----

017 SH101 Bass 1 1 #

018 SH101 Bass 2 1 #

SH101Bass 1

009 Warm Strings

010 St.Slow Str.

051 000 Syn.Strings1

001 OB Strings

-----

SH101Bass 2

-----

019 Smooth Bass

020 SH101 Bass 3

021 Spike Bass

022 House Bass:

023 KG Bass

2 #

Smooth Bass

-----

SynStrings1

-----

002 StackStrings

003 JP Strings

-----

008 Syn.Strings3

009 Syn.Strings4

016 High Strings

017 Hybrid Str.

2 #

SynStrings3

-----

2 *

SynStrings3

-----

024 Sync Bass

025 MG 5th Bass

026 RND Bass

-----

027 WowMG Bass

028 Bubble Bass

-----

024 Tron Strings

025 Noiz Strings

052 000 Syn.Strings2

001 Syn.Strings5

002 JUNO Strings

008 Air Strings

-----

Strings/orchestra

2 #

SynStrings2 2 *

SynStrings2

-----

041 000 Violin

Violin

-----

Violin

-----

001 Violin Atk:

008 Slow Violin

-----

Slow Violin

Viola

Slow Violin

Viola

-----

042 000 Viola

053 000 Choir Aahs

008 St.ChoirAahs

009 Melted Choir

010 Church Choir

016 Choir Hahs

024 Chorus Lahs

032 Chorus Aahs

033 Male Aah+Str

054 000 Voice Oohs

008 Voice Dahs

055 000 SynVox

008 Syn.Voice

Choir Aahs

St.Choir

Mello Choir

-----

Choir Aahs

-----

001 Viola Atk.:

-----

043 000 Cello

Cello

-----

001 Cello Atk.:

-----

044 000 Contrabass

045 000 Tremolo Str

008 Slow Tremolo

009 Suspense Str

046 000 PizzicatoStr

001 Vcs&Cbs Pizz

002 Chamber Pizz

003 St.Pizzicato

008 Solo Pizz.

Contrabass

Tremolo Str

SlowTremolo

SuspenseStr

Pizz. Str.

-----

Contrabass

Tremolo Str

-----

1 #

2 #

1 #

-----

ChoirAahs 2

-----

1 *

Choir Aahs2

-----

Pizzicato

-----

1 #

Voice Oohs

-----

1 *

Voice Oohs

-----

1 #

2 #

SynVox

Syn.Voice

-----

1 *

SynVox

-----

009 Silent Night

016 VP330 Choir

017 Vinyl Choir

-----

016 Solo Spic.

-----

047 000 Harp

1 #

Harp

-----

016 Synth Harp

-----

056 000 OrchestraHit

008 Impact Hit

2 #

Orch. Hit

Impact Hit

Orchest.Hit

-----

: program number(Instrument number)

CC00

: value of controller number 0 (Bank number, Variation number)

: legato-enabled sounds

Voices

Remark #

Remark *

Remark +

: number of voices used by the Instrument

: same sounds as SC-88 map

: same sound as SC-55 map

: a percussive sound which cannot be played melodically. Use near C4

(note number 60).

Chapter 8. Appendix

156

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PC CC00 Native Map

009 Philly Hit

010 Double Hit

011 Perc.Hit

Voices SC88 Map

Voices SC55 Map

Voices

PC CC00 Native Map

064 000 SynthBrass 2

001 Soft Brass

Voices SC88 Map

Voices SC55 Map

Voices

2 #

Philly Hit

Double Hit

-----

Syn.Brass 2 2 *

Syn.Brass 2

Soft Brass

-----

002 Warm Brass

008 SynBrass sfz

009 OB Brass

-----

012 Shock Wave

016 Lo Fi Rave

017 Techno Hit

018 Dist.Hit

-----

Syn.Brass 4

-----

1 *

Syn.Brass 4

-----

2 #

Lo Fi Rave

-----

010 Reso Brass

016 Velo Brass 1

017 Transbrass

-----

2 #

VeloBrass 1

VeloBrass 2

Analog Brs2

-----

019 Bam Hit

-----

020 Bit Hit

-----

Reed

021 Bim Hit

-----

065 000 Soprano Sax

008 SopranoExp.

066 000 Alto Sax

008 AltoSax Exp.

009 Grow Sax

Soprano Sax

-----

Soprano Sax

-----

022 Technorg Hit

023 Rave Hit

024 Strings Hit

025 Stack Hit

-----

Alto Sax

Hyper Alto

-----

Alto Sax

-----

Brass

057 000 Trumpet

016 AltoSax + Tp

067 000 Tenor Sax

001 Tenor Sax :

008 BreathyTn.:

009 St.Tenor Sax

068 000 Baritone Sax

001 Bari. Sax :

-----

Trumpet

Trumpet 2

-----

Trumpet

-----

Tenor Sax

-----

Tenor Sax

-----

001 Trumpet 2

1 #

002 Trumpet

-----

BreathyTnr.

-----

008 Flugel Horn

016 4th Trumpets

024 Bright Tp.

1 #

Flugel Horn

-----

BaritoneSax

-----

BaritoneSax

-----

Bright Tp.

Warm Tp.

-----

025 Warm Tp.

2 #

-----

069 000 Oboe

008 Oboe Exp.

Oboe

032 Syn. Trumpet

058 000 Trombone

001 Trombone 2

002 Twin bones

008 Bs. Trombone

059 000 Tuba

-----

Trombone

Trombone 2

-----

Trombone

Trombone 2

-----

016 Multi Reed

-----

2 *

070 000 English Horn 1 #

EnglishHorn

Bassoon

Clarinet

Bs Clarinet

-----

EnglishHorn

Bassoon

Clarinet

-----

071 000 Bassoon

072 000 Clarinet

008 Bs Clarinet

016 Multi Wind

1 #

-----

1 #

Tuba

-----

1 #

001 Tuba 2

Tuba 2

Muted Tp.

-----

060 000 MutedTrumpet 1 #

008 Muted Horns

061 000 French Horns 1 #

MuteTrumpet

-----

Pipe

073 000 Piccolo

1 #

Piccolo

-----

Piccolo

-----

FrenchHorns

Fr.Horn 2

-----

French Horn

Fr.Horn 2

-----

001 Piccolo

008 Nay

001 Fr.Horn 2

2 #

2 *

-----

002 Horn + Orche

003 Wide FreHrns

008 F.Hrn Slow:

009 Dual Horns

016 Synth Horn

024 F.Horn Rip

009 Nay Tremolo

016 Di

-----

Fr.HornSolo

-----

074 000 Flute

001 Flute 2

1 #

Flute

-----

Horn Orch

-----

002 Flute Exp.

003 Flt Travelso

008 Flute + Vln

-----

062 000 Brass 1

Brass 1

-----

1 *

Brass 1

-----

001 Brass ff

002 Bones Sect.

008 Brass 2

016 Tron Flute

-----

075 000 Recorder

076 000 Pan Flute

008 Kawala

1 #

2 #

Recorder

Pan Flute

Kawala

-----

1 *

Recorder

Pan Flute

-----

Brass 2

-----

Brass 2

-----

009 Brass 3

010 Brass sfz

-----

016 Zampona

-----

016 Brass Fall

1 #

Brass Fall

-----

017 Zampona Atk

077 000 Bottle Blow

078 000 Shakuhachi

001 Shakuhachi:

079 000 Whistle

001 Whistle 2

-----

017 Trumpet Fall

024 Octave Brass

025 Brass + Reed

063 000 SynthBrass1

001 JUNO Brass

002 StackBrass

003 SH-5 Brass

004 MKS Brass

008 Pro Brass

-----

2 #

Bottle Blow

Shakuhachi

-----

Bottle Blow

Shakuhachi

-----

2 *

-----

SynthBrass1

Poly Brass

-----

Syn.Brass 1

-----

1 #

Whistle

-----

1 *

Whistle

-----

080 000 Ocarina

1 #

Ocarina

-----

Synth lead

081 000 Square Wave

001 MG Square

-----

Square Wave 2 *

Square Wave

Square

-----

Syn.Brass 3

Quack Brass

OctaveBrass

-----

2 *

Syn.Brass 3

-----

Square

1 *

009 P5 Brass

002 Hollow Mini

1 #

2 #

Hollow Mini

Mellow FM

016 Oct SynBrass

017 Hybrid Brass

Analog Brs1

-----

003 Mellow FM

-----

Chapter 8. Appendix

157

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PC CC00 Native Map

004 CC Solo

Voices SC88 Map

Voices SC55 Map

Voices

PC CC00 Native Map

085 000 Charang

008 Dist.Lead

Voices SC88 Map

Voices SC55 Map

Voices

2 #

CC Solo

Shmoog

LM Square

Sine Wave

-----

2 #

Charang

Dist.Lead

-----

2 *

Charang

-----

005 Shmoog

-----

006 LM Square

008 2600 Sine

-----

009 Acid Guitar1

010 Acid Guitar2

016 P5 Sync Lead

017 Fat Sync Lead

018 Rock Lead

-----

1 *

Sine Wave

-----

009 Sine Lead

-----

010 KG Lead

-----

016 P5 Square

017 OB Square

018 JP-8 Square

024 Pulse Lead

025 JP8 PulseLd1

026 JP8 PulseLd2

027 MG Reso. Pls

082 000 Saw Wave

001 OB2 Saw

-----

019 5th DecaSync

020 Dirty Sync

-----

024 JUNO Sub Osc

086 000 Solo Vox

008 Vox Lead

-----

2 #

Solo Vox

-----

2 *

Solo Vox

-----

009 LFO Vox

-----

Saw Wave

Saw

2 *

1 *

Saw Wave

Saw

-----

087 000 5th Saw Wave 2 #

5th Saw

Big Fives

-----

2 *

5th Saw

-----

001 Big Fives

002 5th Lead

2 #

002 Pulse Saw

003 Feline GR

2 #

1 #

2 #

Pulse Saw

Feline GR

Big Lead

Velo Lead

GR-300

LA Saw

Doctor Solo

-----

003 5th Ana.Clav

008 4th Lead

-----

004 Big Lead

-----

005 Velo Lead

-----

088 000 Bass & Lead

001 Big & Raw

2 #

Bass & Lead 2 *

Bass & Lead

-----

006 GR-300

-----

Big & Raw

Fat & Perky

-----

007 LA Saw

-----

002 Fat & Perky

003 JUNO Rave

004 JP8 BsLead 1

005 JP8 BsLead 2

006 SH-5 Bs.Lead

-----

008 Doctor Solo

009 Fat Saw Lead

011 D-50 Fat Saw

016 Waspy Synth

017 PM Lead

2 *

Doctor Solo

-----

2 #

Waspy Synth

-----

Synth pad, etc

089 000 Fantasia

018 CS Saw Lead

024 MG Saw 1

025 MG Saw 2

026 OB Saw 1

-----

2 #

Fantasia

Fantasia 2

-----

2 *

Fantasia

-----

001 Fantasia 2

2 #

-----

002 New Age Pad

003 Bell Heaven

090 000 Warm Pad

001 Thick Matrix

002 Horn Pad

-----

027 OB Saw 2

-----

1 #

Warm Pad

Thick Pad

Horn Pad

RotaryStrng

Soft Pad

-----

1 *

Warm Pad

-----

028 D-50 Saw

-----

029 SH-101 Saw

030 CS Saw

-----

2 #

-----

003 Rotary Strng

004 OB Soft Pad

008 Octave Pad

009 Stack Pad

-----

031 MG Saw Lead

032 OB Saw Lead

033 P5 Saw Lead

034 MG unison

035 Oct Saw Lead

040 SequenceSaw1

041 SequenceSaw2

042 Reso Saw

043 Cheese Saw 1

044 Cheese Saw 2

045 Rhythmic Saw

083 000 Syn.Calliope

001 Vent Synth

-----

091 000 Polysynth

001 80's PolySyn

002 Polysynth 2

003 Poly King

2 #

Polysynth

80'sPolySyn

-----

2 *

Polysynth

-----

008 Power Stack

009 Octave Stack

010 Reso Stack

011 Techno Stack

092 000 Space Voice

001 Heaven II

-----

2 #

SynCalliope 2 *

SynCalliope

-----

1 #

2 #

Space Voice 1 *

Space Voice

-----

Vent Synth

PurePanLead

ChifferLead

-----

Heaven II

-----

002 Pure PanLead 2 #

-----

002 SC Heaven

008 Cosmic Voice

009 Auh Vox

-----

084 000 Chiffer Lead

001 TB Lead

2 #

2 *

ChifferLead

-----

008 Mad Lead

-----

010 AuhAuh

-----

: program number(Instrument number)

CC00

: value of controller number 0 (Bank number, Variation number)

: legato-enabled sounds

Voices

Remark #

Remark *

Remark +

: number of voices used by the Instrument

: same sounds as SC-88 map

: same sound as SC-55 map

: a percussive sound which cannot be played melodically. Use near C4

(note number 60).

Chapter 8. Appendix

158

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PC CC00 Native Map

011 Vocorderman

Voices SC88 Map

-----

Voices SC55 Map

-----

Voices

PC CC00 Native Map

101 000 Brightness

001 Shining Star

002 OB Stab

Voices SC88 Map

Voices SC55 Map

Voices

2 #

Brightness

-----

2 *

Brightness

-----

093 000 Bowed Glass 2 #

Bowed Glass 2 *

Bowed Glass

-----

001 SoftBellPad

002 JP8 Sqr Pad

003 7thBelPad

-----

008 Org Bell

-----

102 000 Goblin

001 Goblinson

002 50's Sci-Fi

003 Abduction

2 #

Goblin

Goblinson

50's Sci-Fi

-----

2 *

Goblin

-----

094 000 Metal Pad

001 Tine Pad

2 #

Metal Pad

Tine Pad

Panner Pad

Halo Pad

-----

2 *

Metal Pad

-----

002 Panner Pad

095 000 Halo Pad

001 Vox Pad

-----

2 *

Halo Pad

-----

004 Auhbient

-----

005 LFO Pad

-----

002 Vox Sweep

008 Horror Pad

096 000 Sweep Pad

001 Polar Pad

-----

006 Random Str

007 Random Pad

008 LowBirds Pad

009 Falling Down

010 LFO RAVE

011 LFO Horror

012 LFO Techno

013 Alternative

014 UFO FX

-----

1 #

2 #

Sweep Pad

Polar Pad

Converge

Shwimmer

CelestialPd

-----

1 *

Sweep Pad

-----

008 Converge

-----

009 Shwimmer

010 Celestial Pd

011 Bag Sweep

-----

Synth SFX

097 000 Ice Rain

001 Harmo Rain

002 African wood

003 Anklung Pad

004 Rattle Pad

008 Clavi Pad

015 Gargle Man

016 Sweep FX

103 000 Echo Drops

001 Echo Bell

-----

2 #

Ice Rain

Harmo Rain

AfricanWood

-----

2 *

Ice Rain

-----

1 #

2 #

Echo Drops

Echo Bell

Echo Pan

Echo Pan 2

Big Panner

Reso Panner

Water Piano

-----

1 *

2 *

Echo Drops

Echo Bell

Echo Pan

-----

002 Echo Pan

-----

003 Echo Pan 2

004 Big Panner

005 Reso Panner

006 Water Piano

008 Pan Sequence

009 Aqua

2 #

Clavi Pad

Soundtrack

Ancestral

Prologue

-----

098 000 Soundtrack

001 Ancestral

2 *

Soundtrack

-----

002 Prologue

-----

003 Prologue 2

004 Hols Strings

008 Rave

-----

104 000 Star Theme

001 Star Theme 2

008 Dream Pad

009 Silky Pad

2 #

Star Theme

StarTheme 2

-----

2 *

Star Theme

-----

2 #

1 #

2 #

Rave

-----

099 000 Crystal

001 Syn Mallet

002 Soft Crystal

003 Round Glock

004 Loud Glock

Crystal

2 *

1 *

Crystal

Syn Mallet

-----

Syn Mallet

SoftCrystal

Round Glock

Loud Glock

GlocknChime

Clear Bells

X'mas Bell

Vibra Bells

Digi Bells

-----

016 New Century

017 7th Atmos.

018 Galaxy Way

-----

005 GlockenChime 2 #

-----

006 Clear Bells

007 ChristmasBel

008 Vibra Bells

009 Digi Bells

2 #

-----

Ethnic, etc

105 000 Sitar

001 Sitar 2

-----

1 #

2 #

Sitar

1 *

2 *

Sitar

Sitar 2

-----

Sitar 2

DetuneSitar

-----

002 Detune Sitar

003 Sitar 3

010 Music Bell

011 Analog Bell

016 Choral Bells

017 Air Bells

-----

008 Tambra

1 #

2 #

1 #

2 #

Tambra

Tamboura

Banjo

-----

2 #

ChoralBells

Air Bells

Bell Harp

Gamelimba

-----

016 Tamboura

106 000 Banjo

001 Muted Banjo

008 Rabab

-----

Banjo

-----

018 Bell Harp

-----

Muted Banjo

Rabab

-----

019 Gamelimba

020 JUNO Bell

100 000 Atmosphere

001 Warm Atmos

002 Nylon Harp

003 Harpvox

-----

009 San Xian

016 Gopichant

024 Oud

-----

2 #

Atmosphere 2 *

Atmosphere

-----

2 #

Gopichant

Oud

-----

Warm Atmos

Nylon Harp

Harpvox

HollowRels.

NylonRhodes

Ambient Pad

-----

028 Oud+Strings

032 Pi Pa

-----

004 HollowReleas

-----

107 000 Shamisen

001 Tsugaru

1 #

2 #

Shamisen

Tsugaru

-----

1 *

Shamisen

-----

005 Nylon+Rhodes 2 #

-----

006 Ambient Pad

007 Invisible

2 #

-----

008 Syn Shamisen

108 000 Koto

001 Gu Zheng

008 Taisho Koto

-----

Koto

1 *

Koto

-----

008 Pulsey Key

009 Noise Piano

-----

1 #

Taisho Koto

Chapter 8. Appendix

159

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PC CC00 Native Map

016 Kanoon

Voices SC88 Map

Voices SC55 Map

Voices

PC CC00 Native Map

119 000 Synth Drum

008 808 Tom

Voices SC88 Map

1 # + Synth Drum

2 # + 808 Tom

1 # + Elec Perc

Voices SC55 Map

Voices

1 +

2 #

Kanoon

-----

1 * + Synth Drum

019 Kanoon+Choir

024 Oct Harp

109 000 Kalimba

008 Sanza

-----

808 Tom

1 +

-----

009 Elec Perc

1 * + Elec Perc

1 +

Kalimba

-----

Kalimba

-----

010 Sine Perc.

011 606 Tom

-----

110 000 Bagpipe

008 Didgeridoo

111 000 Fiddle

008 Er Hu

1 #

Bagpipe

-----

Bagpipe

-----

012 909 Tom

120 000 Reverse Cym. 1 # + Reverse Cym 1 * + Reverse Cym 1 +

1 #

Fiddle

-----

1 *

Fiddle

-----

001 Reverse Cym2 1 # + ReverseCym2

-----

002 Reverse Cym3

008 Rev.Snare 1

009 Rev.Snare 2

016 Rev.Kick 1

017 Rev.ConBD

024 Rev.Tom 1

025 Rev.Tom 2

-----

009 Gao Hu

-----

1 # + Rev.Snare 1

1 # + Rev.Snare 2

1 # + Rev.Kick 1

1 # + Rev.ConBD

1 # + Rev.Tom 1

1 # + Rev.Tom 2

112 000 Shanai

001 Shanai 2

008 Pungi

1 #

2 #

Shanai

Shanai 2

Pungi

Hichiriki

-----

1 *

Shanai

-----

016 Hichiriki

-----

024 Mizmar

-----

032 Suona 1

033 Suona 2

-----

SFX

121 000 Gt.FretNoise

001 Gt.Cut Noise

002 String Slap

-----

1 #

Gt.FretNoiz

1 *

Gt.FretNoiz

Percussive

113 000 Tinkle Bell

008 Bonang

1 # + Gt.CutNoise

1 # + String Slap

1 # + Gt.CutNz. 2

1 # + Dist.CutNz.

1 # + Bass Slide

1 # + Pick Scrape

1 * + Gt.CutNoise

1 * + String Slap

1 +

1 #

Tinkle Bell

Bonang

1 *

Tinkle Bell

-----

003 Gt.CutNoise2

004 Dist.CutNoiz

005 Bass Slide

-----

009 Gender

Gender

-----

010 Gamelan Gong 1 #

GamelanGong

St.Gamelan

-----

011 St.Gamelan

012 Jang-Gu

2 #

-----

006 Pick Scrape

008 Gt. FX Menu

009 Bartok Pizz.

010 Guitar Slap

011 Chord Stroke

012 Biwa Stroke

013 Biwa Tremolo

-----

016 RAMA Cymbal 1 #

RAMA Cymbal

Agogo

-----

114 000 Agogo

1 #

Agogo

-----

008 Atarigane

016 Tambourine

115 000 Steel Drums

001 Island Mlt

Atarigane

-----

1 #

Steel Drums 1 *

Steel Drums

-----

122 000 Breath Noise 1 #

BreathNoise 1 *

BreathNoise

116 000 Woodblock

008 Castanets

1 # + Woodblock

1 * + Woodblock

1 +

001 Fl.Key Click

123 000 Seashore

001 Rain

1 # + Fl.KeyClick

1 # + Seashore

1 # + Rain

1 * + Fl.KeyClick

1 * + Seashore

1 * + Rain

1 * + Thunder

1 * + Wind

2 * + Stream

2 * + Bubble

-----

1 +

2 +

1 # + Castanets

1 * + Castanets

1 +

016 Angklung

-----

017 Angkl Rhythm

024 Finger Snaps

032 909 HandClap

117 000 Taiko

001 Small Taiko

008 Concert BD

016 Jungle BD

017 Techno BD

018 Bounce

-----

002 Thunder

003 Wind

1 # + Thunder

1 # + Wind

-----

004 Stream

2 # + Stream

2 # + Bubble

1 # + Taiko

-----

1 # + Concert BD

1 * + Taiko

1 +

005 Bubble

-----

006 Wind 2

-----

1 * + Concert BD

1 +

016 Pink Noise

017 White Noise

124 000 Bird

001 Dog

-----

2 # + Bird

2 * + Bird

1 * + Dog

1 * + HorseGallop

1 * + Bird 2

2 +

1 +

1 # + Dog

118 000 Melo. Tom 1

001 Real Tom

1 # + Melo. Tom 1 1 * + Melo. Tom 1 1 +

002 Horse-Gallop

003 Bird 2

1 # + HorseGallop

1 # + Bird 2

1 # + Kitty

2 # + Real Tom

1 # + Melo. Tom 2

2 # + Rock Tom

-----

008 Melo. Tom 2

009 Rock Tom

016 Rash SD

1 * + Melo. Tom 2

1 +

004 Kitty

-----

005 Growl

1 # + Growl

-----

125 000 Telephone 1

001 Telephone 2

1 # + Telephone 1 1 * + Telephone 1 1 +

017 House SD

018 Jungle SD

019 909 SD

1 # + Telephone 2

1 * + Telephone 2

1 * + Creaking

1 * + Door

1 +

002 DoorCreaking 1 # + Creaking

003 Door

1 # + Door

004 Scratch

1 # + Scratch

1 * + Scratch

: program number(Instrument number)

CC00

: value of controller number 0 (Bank number, Variation number)

: legato-enabled sounds

Voices

Remark #

Remark *

Remark +

: number of voices used by the Instrument

: same sounds as SC-88 map

: same sound as SC-55 map

: a percussive sound which cannot be played melodically. Use near C4

(note number 60).

Chapter 8. Appendix

160

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PC CC00 Native Map

005 Wind Chimes

007 Scratch 2

008 ScratchKey

009 TapeRewind

010 Phono Noise

011 MC-500 Beep

126 000 Helicopter

001 Car-Engine

002 Car-Stop

Voices SC88 Map

Voices SC55 Map

Voices

2 # + Wind Chimes 2 * + Wind Chimes 2 +

1 # + Scratch 2

-----

1 # + Helicopter

1 # + Car-Engine

1 # + Car-Stop

1 # + Car-Pass

2 # + Car-Crash

1 # + Siren

1 * + Helicopter

1 * + Car-Engine

1 * + Car-Stop

1 * + Car-Pass

2 * + Car-Crash

1 * + Siren

1 +

2 +

1 +

2 +

003 Car-Pass

004 Car-Crash

005 Siren

006 Train

1 # + Train

1 * + Train

007 Jetplane

2 # + Jetplane

2 # + Starship

2 # + Burst Noise

2 * + Jetplane

2 * + Starship

2 * + Burst Noise

-----

008 Starship

009 Burst Noise

010 Calculating

011 Perc. Bang

127 000 Applause

001 Laughing

-----

2 # + Applause

1 # + Laughing

1 # + Screaming

1 # + Punch

2 * + Applause

1 * + Laughing

1 * + Screaming

1 * + Punch

2 +

1 +

002 Screaming

003 Punch

004 Heart Beat

005 Footsteps

006 Applause 2

007 Small Club

008 ApplauseWave

016 Voice One

017 Voice Two

018 Voice Three

019 Voice Tah

020 Voice Whey

128 000 Gun Shot

001 Machine Gun

002 Lasergun

1 #

Heart Beat

1 *

Heart Beat

1 # + Footsteps

2 # + Applause 2

1 * + Footsteps

1 +

-----

1 # + Gun Shot

1 * + Gun Shot

1 +

1 # + Machine Gun 1 * + Machine Gun 1 +

1 # + Lasergun

2 # + Explosion

1 * + Lasergun

2 * + Explosion

-----

1 +

2 +

003 Explosion

004 Eruption

-----

005 Big Shot

-----

Chapter 8. Appendix

161

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SC-55 MAP (CM-64 Sound Map)

CM-64

PC CC00 Instrument

No. of voices

PC CC00 Instrument

No. of voices

PC CC00 Instrument

No. of voices

001 126

002 126

003 126

004 126

005 126

006 126

007 126

008 126

009 126

010 126

011 126

012 126

013 126

014 126

015 126

016 126

017 126

018 126

019 126

020 126

021 126

022 126

023 126

024 126

025 126

026 126

027 126

028 126

029 126

030 126

031 126

032 126

033 126

034 126

035 126

036 126

037 126

038 126

039 126

040 126

041 126

042 126

043 126

044 126

045 126

046 126

047 126

048 126

049 126

050 126

051 126

052 126

053 126

054 126

055 126

056 126

057 126

058 126

059 126

060 126

061 126

062 126

063 126

064 126

Piano 2

Honky-tonk

Piano 1

Piano 2

E.Piano 1

Detuned EP1

E.Piano 2

Steel Gt.

001 127

002 127

003 127

004 127

005 127

006 127

007 127

008 127

009 127

010 127

011 127

012 127

013 127

014 127

015 127

016 127

017 127

018 127

019 127

020 127

021 127

022 127

023 127

024 127

025 127

026 127

027 127

028 127

029 127

030 127

031 127

032 127

033 127

034 127

035 127

036 127

037 127

038 127

039 127

040 127

041 127

042 127

043 127

044 127

045 127

046 127

047 127

048 127

049 127

050 127

051 127

052 127

053 127

054 127

055 127

056 127

057 127

058 127

059 127

060 127

061 127

062 127

063 127

064 127

Acou Piano1

Acou Piano2

Acou Piano3

Elec Piano1

Elec Piano2

Elec Piano3

Elec Piano4

Honkytonk

Elec Org 1

Elec Org 2

Elec Org 3

Elec Org 4

Pipe Org 1

Pipe Org 2

Pipe Org 3

Accordion

Harpsi 1

065 127

066 127

067 127

068 127

069 127

070 127

071 127

072 127

073 127

074 127

075 127

076 127

077 127

078 127

079 127

080 127

081 127

082 127

083 127

084 127

085 127

086 127

087 127

088 127

089 127

090 127

091 127

092 127

093 127

094 127

095 127

096 127

097 127

098 127

099 127

100 127

101 127

102 127

103 127

104 127

105 127

106 127

107 127

108 127

109 127

110 127

111 127

112 127

113 127

114 127

115 127

116 127

117 127

118 127

119 127

120 127

121 127

122 127

123 127

124 127

125 127

126 127

127 127

128 127

Acou Bass 1

Acou Bass 2

Elec Bass 1

Elec Bass 2

Slap Bass 1

Slap Bass 2

Fretless 1

Fretless 2

Flute 1

Flute 2

Piccolo 1

Piccolo 2

Recorder

Pan Pipes

Sax 1

Sax 2

Sax 3

Sax 4

Steel Gt.

12-str.Gt

Funk Gt.

Muted Gt.

Slap Bass 1

Slap Bass 2

Fingered Bs

Picked Bass

Fretless Bs

Acoustic Bs

Choir Aahs

SlowStrings

Strings

SynStrings3

Organ 1

Organ 2

Organ 1

Organ 2

Harpsi 2

Harpsi 3

Clavi 1

Clavi 2

Clarinet 1

Clarinet 2

Oboe

Clavi 3

Engl Horn

Bassoon

Harmonica

Trumpet 1

Trumpet 2

Trombone 1

Trombone 2

Fr Horn 1

Fr Horn 2

Tuba

Celesta 1

Celesta 2

Syn Brass 1

Syn Brass 2

Syn Brass 3

Syn Brass 4

Syn Bass 1

Syn Bass 2

Syn Bass 3

Syn Bass 4

Fantasy

Brs Sect 1

Brs Sect 2

Vibe 1

Harmo Pan

Chorale

Glasses

Vibe 2

Syn Mallet

Windbell

Glock

Tube Bell

Xylophone

Marimba

Koto

Soundtrack

Atmosphere

Warm Bell

Funny Vox

Echo Bell

Ice Rain

Oboe 2001

Echo Pan

Doctor Solo

School Daze

Bellsinger

Square Wave

Str Sect 1

Str Sect 2

Str Sect 3

Pizzicato

Violin 1

Violin 2

Cello 1

Cello 2

Contrabass

Harp 1

Harp 2

Guitar 1

Guitar 2

Sho

Shakuhachi

Whistle 1

Whistle 2

Bottleblow

Breathpipe

Timpani

Melodic Tom

Deep Snare

Elec Perc 1

Elec Perc 2

Taiko

Taiko Rim

Cymbal

Castanets

Triangle

Orche Hit

Telephone

Bird Tweet

OneNote Jam

Water Bell

Jungle Tune

Organ 2

Trumpet

Trombone

Alto Sax

Tenor Sax

BaritoneSax

Alto Sax

Brass 1

Brass 2

Brass 1

Orchest.Hit

Elec Gtr 1

Elec Gtr 2

Sitar

Chapter 8. Appendix

162

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Drum set list

The drum sets of this unit are organized as follows.

The Native map has 25 types, the SC-88 map has 14 types, and the SC-55 map has 10 types.

Native Map

STANDARD 1

STANDARD 2

STANDARD 3

ROOM

HIP HOP

JUNGLE

TECHNO

POWER

ELECTRONIC

TR-808

DANCE

CR-78

TR-606

TR-707

TR-909

JAZZ

BRUSH

ORCHESTRA

ETHNIC

KICK & SNARE

ASIA

CYMBAL&CLAPS

SFX

RHYTHM FX

RHYTHM FX 2

---

SC-88Map

STANDARD 1

STANDARD 2

---

ROOM

---

POWER

ELECTRONIC

TR-808/909

DANCE

---

JAZZ

BRUSH

ORCHESTRA

ETHNIC

KICK & SNARE

---

SFX

SC-55Map

STANDARD

---

ROOM

---

POWER

ELECTRONIC

TR-808

---

JAZZ

BRUSH

ORCHESTRA

---

SFX

001

002

003

009

010

011

012

017

025

026

027

028

029

030

031

033

041

049

050

051

053

054

057

058

059

128

RHYTHM FX

---

CM-64/32L

: Same as the SC-88 map drum sets

: Sounds in the STANDARD 3 drum set that have "RND" appended to their

name (such as Kick, Snare, and Hi-Hat) in the list on the next page are

sounds which will change randomly with each note played (these changes

affect the timbre and timing). The purpose of this is to create a more natural

sounding performance--even if all note messages for percussive instru-

ments are sent with absolute precision, subtle fluctuations will be applied so

the performance sounds less mechanical.

Note, however, that you may not always be able to obtain the desired effect,

depending on the circumstances.

Chapter 8. Appendix

163

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Native Drum set (1)

#: Same Drum Set as SC-88 map

PC1

PC2

PC3

PC9

PC10

STANDARD 1

MC-500 Beep 1

MC-500 Beep 2

Concert SD

STANDARD 2 #

STANDARD 3

ROOM #

Hip-Hop

←

C124

25 Snare Roll

Finger Snap 2

Finger Snap

High Q

←

Slap

Scratch Push

Scratch Pull

[EXC7]

Scratch Push 2

[EXC7]

Scratch Pull 2

Sticks

←

Square Click

Metronome Click

Metronome Bell

Standard 1 Kick 2

Standard 1 Kick 1

Side Stick

Standard 2 Kick 2

Standard 2 Kick 1

←

Standard 3 Kick 2

[RND] Kick

←

[RND] Snare

[RND] Hand Clap

Standard 3 Snare 2

←

Room Kick 2

Room Kick 1

←

Room Snare 1

Hand Clap

Room Snare 2

Room Low Tom 2

Hip-Hop Kick 2

Hip-Hop Kick 1

TR-808 Rim Shot

Rap Snare

←

Standard 1 Snare 1

TR-909 Hand Clap

Standard 1 Snare 2

Low Tom 2

Standard 2 Snare 1

Hand Clap

Standard 2 Snare 2

←

Hip-Hop Snare 2

TR-909 Low Tom 2

42 Closed Hi-Hat

Low Tom 1

[EXC1] Closed Hi-Hat

[EXC1] [RND] Closed Hi-Hat [EXC1] Closed Hi-Hat 3

[EXC1] Room Closed Hi-Hat [EXC1]

TR-909 Low Tom 1

←

Room Low Tom 1

[EXC1] Pedal Hi-Hat

Pedal Hi-Hat

Mid Tom 2

[EXC1] Pedal Hi-Hat

[EXC1] [RND] Pedal Hi-Hat

[EXC1] Pedal Hi-Hat

TR-909 Mid Tom 2

[EXC1]

←

Room Mid Tom 2

Open Hi-Hat

Mid Tom 1

[EXC1] Open Hi-Hat

[EXC1] [RND] Open Hi-Hat

[EXC1] Open Hi-Hat 3

[EXC1] Room Open Hi-Hat

[EXC1]

←

Room Mid Tom 1

TR-909 Mid Tom 1

High Tom 2

Crash Cymbal1

High Tom 1

Ride Cymbal 1

Chinese Cymbal

Ride Bell

Room High Tom 2

TR-909 High Tom 2

C3 48

[RND] Crash Cymbal

←

TR-909 Crash Cymbal

←

Room High Tom 1

TR-909 High Tom 1

[RND] Ride Cymbal 1

←

---

←

Reverse Cymbal

[RND] Ride Bell 1

←

54 Tambourine

Splash Cymbal

←

Shake Tambourine

←

Cowbell

TR-808 Cowbell

Crash Cymbal 2

Vibra-slap

←

Ride Cymbal 2

High Bongo

Low Bongo

[RND] Ride Cymbal 2

←

---

C4 60

Mute High Conga

63 Open High Conga

Low Conga

High Timbale

66 Low Timbale

High Agogo

Low Agogo

Cabasa

←

Maracas

TR-808 Maracas

Short High Whistle

Long Low Whistle

Short Guiro

Long Guiro

[EXC2]

[EXC3]

←

C5 72

CR-78 Guiro

[EXC3]

75 Claves

High Wood Block

TR-808 Claves

←

Low Wood Block

Mute Cuica

Open Cuica

Mute Triangle

Open Triangle

Shaker

[EXC4]

[EXC5]

High Hoo

[EXC4]

Low Hoo

Mute Triangle

Open Triangle

TR-626 Shaker

Jingle Bell

←

Bell Tree

Bar Chimes

C6 84

Castanets

←

---

Mute Surdo

[EXC6]

87 Open Surdo

Applause 2

---

Small Club 1

---

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[EXC] : Percussion sound of the same number will not be heard at the

same time.

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

Note Number

Chapter 8. Appendix

164

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Native Drum set (2)

#: Same Drum Set as SC-88 map

PC 11

PC 12

PC 17

PC 25

PC 26

JUNGLE

TECHNO

POWER

ELECTRONIC #

TR-808

←

C124

Finger Snap 2

←

Scratch Push 2

[EXC7] Scratch Push 2

[EXC7] Scratch Pull 2

←

[EXC7]

←

[EXC7] Scratch Push 2

[EXC7]

Scratch Pull 2

[EXC7] Scratch Pull 2

←

Jungle Kick 2

Jungle Kick 1

←

Jungle Snare 1

Hand Clap 2

Jungle Snare 2

TR-909 Low Tom 2

Techno Kick 2

Techno Kick 1

TR-808 Rim Shot

Techno Snare 1

TR-707 Hand Clap

Techno Snare 2

TR-808 Low Tom 2

Power Kick 2

Electric Kick 2

TR-808 Kick 2

TR-808 Kick 1

TR-808 Rim Shot

TR-808 Snare 1

Hand Clap

TR-808 Snare 2

TR-808 Low Tom 2

Power Kick 1

Electric Kick 1

←

Power Snare 1

Electric Snare 1

Hand Clap

Power Snare 2

Electric Snare 2

Power Low Tom 2

Electric Low Tom 2

42 TR-606 Closed Hi-Hat [EXC1] TR-707 Closed Hi-Hat [EXC1]

←

Closed Hi-Hat 2

[EXC1] TR-808 Closed Hi-Hat 2 [EXC1]

TR-909 Low Tom 1

Jungle Hi-Hat

TR-808 Low Tom 1

[EXC1] CR-78 Closed Hi-Hat [EXC1]

TR-808 Mid Tom 2

Power Low Tom 1

Electric Low Tom 1

TR-808 Low Tom 1

[EXC1] TR-808 Closed Hi-Hat

TR-808 Mid Tom 2

←

Pedal Hi-Hat

[EXC1]

TR-909 Mid Tom 2

Power Mid Tom 2

Electric Mid Tom 2

TR-606 Open Hi-Hat [EXC1] TR-909 Open Hi-Hat [EXC1]

←

Open Hi-Hat 2

[EXC1] TR-808 Open Hi-Hat [EXC1]

TR-909 Mid Tom 1

TR-909 High Tom 2

TR-808 Crash Cymbal

TR-909 High Tom 1

←

TR-808 Mid Tom 1

TR-808 High Tom 2

Power Mid Tom 1

Electric Mid Tom 1

TR-808 Mid Tom 1

TR-808 High Tom 2

Power High Tom 2

Electric High Tom 2

C3 48

TR-909 Crash Cymbal

←

TR-808 Crash Cymbal

TR-808 High Tom 1

Power High Tom 1

Electric High Tom 1

TR-808 High Tom 1

←

---

←

TR-606 Ride Cymbal

Reverse Cymbal

←

54 Shake Tambourine

Shake Tambourine

CR-78 Tambourine

←

TR-808 Cowbell

←

TR-909 Crash Cymbal

←

Ride Cymbal 2

CR-78 High Bongo

C4 60

CR-78 Low Bongo

TR-808 High Conga

TR-808 Mute Conga

TR-808 Low Conga

←

TR-808 Maracas

←

C5 72

CR-78 Guiro

[EXC3] CR-78 Guiro

[EXC3]

CR-78 Guiro

[EXC3]

75 TR-808 Claves

TR-808 Claves

←

High Hoo

[EXC4] High Hoo

[EXC4] Low Hoo

Mute Triangle

[EXC4]

High Hoo

[EXC4]

Low Hoo

Mute Triangle

Open Triangle

TR-626 Shaker

←

---

←

C6 84

←

Small Club 1

---

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[EXC] : Percussion sound of the same number will not be heard at the

same time.

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

Note Number

Chapter 8. Appendix

165

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Native Drum set (3)

#: Same Drum Set as SC-88 map

PC 30

PC 27

PC 28

CR-78

←

PC 29

DANCE

TR-606

TR-707

←

C124

Finger Snap 2

←

Scratch Push 2

[EXC7]

Scratch Push 2

[EXC7]

Scratch Push 2

[EXC7]

Scratch Push 2

[EXC7]

Scratch Pull 2

←

TR-909 Comp Kick

Electric Kick 2

←

CR-78 Kick 2

TR-707 Kick 2

CR-78 Kick 1

TR-606 Kick 1

TR-707 Kick 1

CR-78 Rim Shot

TR-707 Rim Shot

House Snare

CR-78 Snare 1

TR-606 Snare 1

TR-707 Snare 1

←

TR-707 Hand Clap

Dance Snare 2

Electric Low Tom 2

CR-78 Snare 2

TR-606 Snare 2

TR-707 Snare 2

CR-78 Low Tom 2

TR-606 Low Tom 2

TR-707 Low Tom 2

42 CR-78 Closed Hi-Hat

Electric Low Tom 1

[EXC1]

CR-78 Closed Hi-Hat

[EXC1]

TR-606 Closed Hi-Hat

[EXC1]

TR-707 Closed Hi-Hat

[EXC1]

CR-78 Low Tom 1

TR-606 Low Tom 1

TR-707 Low Tom 1

TR-808 Closed Hi-Hat 2

Electric Mid Tom 2

CR-78 Open Hi-Hat

Electric Mid Tom 1

Electric High Tom 2

TR-808 Crash Cymbal

Electric High Tom 1

TR-606 Ride Cymbal

Reverse Cymbal

←

TR-606 Closed Hi-Hat

TR-707 Closed Hi-Hat

CR-78 Mid Tom 2

TR-606 Mid Tom 2

TR-707 Mid Tom 2

CR-78 Open Hi-Hat

TR-606 Open Hi-Hat

TR-707 Open Hi-Hat

CR-78 Mid Tom 1

TR-606 Mid Tom 1

TR-707 Mid Tom 1

CR-78 High Tom 2

TR-606 High Tom 2

TR-707 High Tom 2

C3 48

TR-808 Crash Cymbal

TR-909 Crash Cymbal

CR-78 High Tom 1

TR-606 High Tom 1

TR-707 High Tom 1

TR-606 Ride Cymbal

TR-909 Ride Cymbal

←

54 Shake Tambourine

CR-78 Tambourine

Tambourine 2

←

TR-808 Cowbell

CR-78 Cowbell

TR-808 Cowbell

←

TR-909 Crash Cymbal

←

Ride Cymbal Edge

←

CR-78 High Bongo

←

C4 60

CR-78 Low Bongo

TR-808 High Conga

TR-808 Mute Conga

←

TR-808 Low Conga

←

CR-78 Maracas

TR-808 Maracas

←

C5 72

CR-78 Guiro

[EXC3]

CR-78 Guiro

[EXC3]

CR-78 Claves

←

High Hoo

[EXC4]

High Hoo

[EXC4]

[EXC5]

High Hoo

[EXC4]

[EXC5]

High Hoo

[EXC4]

Low Hoo

Mute Triangle

CR-78 Metalic Beat 1

Mute Triangle

Open Triangle

CR-78 Metalic Beat 2

Open Triangle

TR-626 Shaker

←

C6 84

Small Club 1

---

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[EXC] : Percussion sound of the same number will not be heard at the

same time.

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

Note Number

Chapter 8. Appendix

166

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Native Drum set (4)

#: Same Drum Set as SC-88 map

PC 49

PC 31

PC 33

JAZZ

←

PC 41

TR-909

BRUSH

ORCHESTRA #

←

C124

←

Finger Snap 2

Finger Snap

←

Closed Hi-Hat 2

[EXC1]

Pedal Hi-Hat

Scratch Push 2

[EXC7]

←

Open Hi-Hat 2

Scratch Pull 2

Ride Cymbal 1

←

TR-909 Kick 2

TR-909 Kick 1

TR-909 Rim

TR-909 Snare 1

←

Jazz Kick 2

Jazz Kick 1

Concert BD 1

←

Jazz Snare 1

Brush Tap 1

Concert SD

Hand Clap 2

Brush Slap 1

Castanets

TR-909 Snare2

Jazz Snare 2

Brush Swirl 1

Concert SD

TR-909 Low Tom 2

←

Brush Low Tom 2

Timpani F

42 TR-707 Closed Hi-Hat

TR-909 Low Tom 1

[EXC1]

Closed Hi-Hat 2

[EXC1]

Brush Closed Hi-Hat

[EXC1]

Timpani F#

←

Brush Low Tom 1

Timpani G

TR-707 Closed Hi-Hat

TR-909 Mid Tom 2

TR-909 Open Hi-Hat

TR-909 Mid Tom 1

TR-909 High Tom 2

TR-909 Crash Cymbal

TR-909 High Tom 1

TR-909 Ride Cymbal

←

Pedal Hi-Hat

Timpani G#

←

Brush Mid Tom 2

Timpani A

Open Hi-Hat 2

Brush Open Hi-Hat

Timpani A#

←

Brush Mid Tom 1

Timpani B

Brush High Tom 2

Timpani c

C3 48

Brush Crash Cymbal

Timpani c#

Brush High Tom 1

Timpani d

Ride Cymbal Inner

Timpani d#

←

Timpani e

←

Brush Ride Bell

Timpani f

54 Tambourine 2

←

TR-808 Cowbell

←

Concert Cymbal 2

←

Ride Cymbal Edge

Concert Cymbal 1

←

C4 60

←

TR-808 Maracas

←

C5 72

CR-78 Guiro

[EXC3]

75 TR-808 Claves

←

High Hoo

[EXC4]

Low Hoo

Mute Triangle

Open Triangle

TR-626 Shaker

←

---

C6 84

←

Applause

---

Applause

---

Applause

---

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[EXC] : Percussion sound of the same number will not be heard at the

same time.

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

Note Number

Chapter 8. Appendix

167

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Native Drum set (5)

#: Same Drum Set as SC-88 map

PC 54

PC 50

PC 51

PC 53

ETHNIC #

KICK & SNARE #

CR-78 Kick 1

ASIA

CYMBAL&CLAPS

Finger Snap

Tambourine

Castanets

Gamelan Gong 1

Gamelan Gong 2

Gamelan Gong 3

Gamelan Gong 4

Gamelan Gong 5

Gamelan Gong 6

Gamelan Gong 7

Gamelan Gong 8

Gamelan Gong 9

Gamelan Gong 10

Gender 1

---

CR-78 Kick 2

---

TR-606 Kick

---

Crash Cymbal 1

Snare Roll

Concert SD

Concert Cymbal

Concert BD 1

Jingle Bell

TR-707 Kick

---

TR-808 Kick 1

---

TR-909 Kick 1

---

TR-909 Kick 2

---

Hip-Hop Kick 2

Reverse Open Hi-Hat

Reverse Closed Hi-Hat 1

Reverse Closed Hi-Hat 2

Jungle Hi-Hat

[55] Closed Hi-Hat

[88] Closed Hi-Hat 2

[88] Closed Hi-Hat 3

Closed Hi-Hat 4

Closed Hi-Hat

TR-707 Closed Hi-Hat

TR-606 Closed Hi-Hat

Hip-Hop Kick 1

Bell Tree

Jungle Kick 2

Bar Chimes

Wadaiko

Jungle Kick 1

[EXC1]

Techno Kick 2

Gender 2

37 Wadaiko Rim

Shime Taiko

Techno KicK 1

Gender 3

Standard 1 Kick 2

Standard 1 Kick 1

[88] Standard 1 Kick 1

[88] Standard 1 Kick 2

[88] Standard 2 Kick 1

[88] Standard 2 Kick 2

[55] Kick Drum1

[55] Kick Drum 2

[88] Soft Kick

Gender 4

Atarigane

Gender 5

Hyoushigi

Bonang 1

Ohkawa

Bonang 2

High Kotsuzumi

Low Kotsuzumi

Ban Gu

Bonang 3

Bonang 4

[88] TR-808 Closed Hi-Hat [EXC1]

Bonang 5

TR-808 Closed Hi-Hat

CR-78 Closed Hi-Hat

[55] Pedal Hi-Hat

[EXC1]

[EXC3]

[EXC4]

Big Gong

Rama Cymbal Low

Rama Cymbal High

Sagat Open

Sagat Closed

Jaws Harp

Wadaiko

Small Gong

Bend Gong

Thai Gong

[88] Jazz Kick 1

[EXC7]

[88] Pedal Hi-Hat

[88] Jazz Kick 2

Pedal Hi-Hat

C3 48

49 Rama Cymbal

Gamelan Gong

[55] Concert BD 1

[88] Room Kick 1

[88] Room Kick 2

[88] Power Kick1

[88] Power Kick2

[88] Electric Kick 2

[88] Electric Kick 1

[55] Electric Kick

[88] TR-808 Kick

[88] TR-909 Kick

[88] Dance Kick

Half-Open Hi-Hat 1

Half-Open Hi-Hat 2

[55] Open Hi Hat

Udo Short

Udo Long

Udo Slap

Bendir

[EXC1]

Wadaiko Rim

Small Taiko

Shimedaiko

Atarigane

[88] Open Hi-Hat 2

[88] Open Hi-Hat 3

Open Hi-Hat 2

Req Dum

Req Tik

Hyoushigi

Ohkawa

TR-909 Open Hi-Hat

TR-707 Open Hi-Hat

TR-606 Open Hi-Hat

[88] TR-808 Open Hi-Hat

TR-808 Open Hi-Hat

CR-78 Open Hi-Hat

Crash Cymbal 1

Tabla Te

Tabla Na

Tabla Tun

Tabla Ge

High Kotsuzumi

Low Kotsuzumi

Yyoo Dude

Buk

[88] Standard 1 Snare 1

[88] Standard 1 Snare 2

[88] Standard 2 Snare 1

[88] Standard 2 Snare 2

[55] Tight Snare

[55] Concert Snare

[88] Jazz Snare 1

[88] Jazz Snare 2

[88] Room Snare 1

[88] Room Snare 2

[88] Power Snare 1

[88] Power Snare 2

[55] Gated Snare

[88] Dance Snare 1

[88] Dance Snare 2

[88] Disco Snare

[88] Electric Snare 2

[88] House Snare

[55] Electric Snare 1

[88] Electric Snare 3

[88] TR-808 Snare 1

[88] TR-808 Snare 2

[88] TR-909 Snare 1

[88] TR-909 Snare 2

[88] Brush Tap 1

[88] Brush Tap 2

[88] Brush Slap 1

[88] Brush Slap 2

[88] Brush Slap 3

[88] Brush Swirl 1

[88] Brush Swirl 2

[88] Brush Long Swirl

Standard 1 Snare 1

Standard 1 Snare 2

Standard 1 Snare 3

Rap Snare

C4 60

61 Tabla Ge Hi

Talking Drum

Buk Rim

Gengari p

Gengari Mute Low

Gengari f

[EXC1]

[EXC2]

Crash Cymbal 2

Bend Talking Drum

Caxixi

Crash Cymbal 3

Brush Crash Cymbal

Hard Crash Cymbal

TR-909 Crash Cymbal

TR-808 Crash Cymbal

Mute Crash Cymbal 1

Mute Crash Cymbal 2

Reverse Crash Cymbal 1

Reverse Crash Cymbal 2

Reverse Crash Cymbal 3

Djembe

Gengari Mute High

Gengari Samll

Jang-Gu Che

Jang-Gu Kun

Jang-Gu Rim

Jing p

Djembe Rim

Timbales Low

Timbales Paila

Timbales High

Cowbell

[EXC3]

[EXC4]

[EXC3]

High Bongo

Low Bongo

Jing f

* [EXC3]

[EXC3]

Jing Mute

C5 72

Mute High Conga

Open High Conga

Mute Low Conga

Conga Slap

Open Low Conga

Conga Slide

Mute Pandiero

Open Pandiero

Open Surdo

Mute Surdo

Tamborim

Asian Gong

Big Gong

Reverse TR-909 Crash Cymbal

[55] Splash Cymbal

Splash Cymbal

Small Gong

Pai Ban

[88] Ride Bell

Ban Gu

[88] Brush Ride Bell

[88] Ride Cymbal 1

[88] Ride Cymbal 2

[88] Brush Ride Cymbal

Ride Cymbal Low Inner

Ride Cymbal Mid Inner

Ride Cymbal High Inner

Ride Cymbal Low Edge

Ride Cymbal Mid Edge

Ride Cymbal High Edge

TR-606 Ride Cymbal

TR-808 Ride Cymbal

Chinese Cymbal

Chinese Cymbal 2

[55] Hand Clap

Tang Gu

[EXC4]

Tang Gu Mute

Shou Luo

[EXC2]

Bend Gong

Hu Yin Luo Low

Hu Yin Luo Mid

Hu Yin Luo Mid 2

Hu Yin Luo High

Hu Yin Luo High 2

Nao Bo

[EXC5]

[EXC6]

High Agogo

Low Agogo

C6 84

Shaker

High Whistle

Low Whistle

Mute Cuica

[EXC3]

[EXC4]

[EXC5]

[EXC6]

Xiao Bo

---

90 Open Cuica

Mute Triangle

---

Open Triangle

Short Guiro

---

[88] Hand Clap 2

[88] Hand Clap

---

Long Guiro

---

Hand Clap

Cabasa Up

---

Hand Clap 2

Cabasa Down

Claves

Hip-Hop Snare 2

Jungle Snare 1

---

TR-707 Hand Clap

---

C7 96

---

High Wood Block

Low Wood Block

Jungle Snare 2

---

Techno Snare 1

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

168

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Native Drum set (6)

#: Same Drum Set as SC-88 map

PC 57

PC 58

PC 59

SFX

RHYTHM FX #

RHYTHM FX 2

MC-500 Beep 1

MC-500 Beep 2

Guitar Slide

Guitar Wah

Guitar Slap

Chord Stroke Down

Chord Stroke Up

Biwa FX

---

C124

Phonograph Noise

Tape Rewind

Scratch Push 2

Scratch Pull 2

Cutting Noise 2 Up

Cutting Noise 2 Down

Distortion Guitar Cutting Noise Up

Distortion Guitar Cutting Noise Down

Bass Slide

[EXC1]

---

Reverse Kick 1

Reverse Concert Bass Drum

Reverse Power Kick1

Reverse Electric Kick 1

Reverse Snare 1

Reverse Snare 2

Reverse Standard 1 Snare 1

Reverse Tight Snare

Reverse Dance Snare

Reverse 808 Snare

Reverse Tom 1

Reverse Tom 2

Reverse Sticks

Reverse Slap

Reverse Cymbal 1

Reverse Cymbal 2

Reverse Open Hi-Hat

Reverse Ride Cymbal

Reverse CR-78 Open Hi-Hat

Reverse Closed Hi-Hat

Reverse Gong

Reverse Bell Tree

Reverse Guiro

Reverse Bendir

Reverse Gun Shot

Reverse Scratch

Reverse Laser Gun

Key Click

Reverse TR-707 Kick 1

Reverse TR-909 Kick 1

Reverse Hip-Hop Kick 1

Reverse Jungle Kick 2

Reverse Techno Kick 2

Reverse TR-606 Snare 2

Reverse CR-78 Snare 1

Reverse CR-78 Snare 2

Reverse Jungle Snare 2

Reverse Techno Snare 2

Reverse TR-707 Snare

Reverse TR-606 Snare 1

Reverse TR-909 Snare 1

Reverse Hip-Hop Snare 2

Reverse Jungle Snare 1

Reverse House Snare

Reverse Closed Hi-Hat

Reverse TR-606 Closed Hi-Hat

Reverse TR-707 Closed Hi-Hat

Reverse TR-808 Closed Hi-Hat

Reverse Jungle Hi-Hat

Reverse Tambourine 2

Reverse Shake Tambourine

Reverse TR-808 Open Hi-Hat

Reverse TR-707 Open Hi-Hat

Reverse Open Hi-Hat

Reverse TR-606 Open Hi-Hat

Reverse Hu Yin Luo

Reverse TR-707 Crash Cymbal

Voice One

Pick Scrape

High Q

Slap

Scratch Push

Scratch Pull

Sticks

[EXC7]

Square Click

Metronome Click

Metronome Bell

Guitar Fret Noise

Guitar Cutting Noise Up

Guitar Cutting Noise Down

String Slap of Double Bass

Flute Key Click Noise

Laughing

C3 48

Screaming

Punch

Heart Beat

Footsteps 1

Footsteps 2

Applause

Door Creaking

Door

C4 60

Scratch

Wind Chimes

Car - Engine

Car - Stop

Techno Thip

Pop Drop

Car - Passing

Car - Crash

Siren

Woody Slap

Distortion Kick

Syn. Drops

Reverse Voice One

Voice Two

Train

Reverse Voice Two

Voice Three

Jetplane

Reverse Hi Q

Pipe

Helicopter

Reverse Voice Three

Voice Tah

Starship

Ice Block

Gun Shot

Digital Tambourine

Alias

Reverse Voice Tah

Voice Ou

C5 72

Machine Gun

Laser Gun

Modulated Bell

Spark

Voice Au

Explosion

Voice Whey

Dog

Metallic Percussion

Velocity Noise FX

Stereo Noise Clap

Swish

Frog Vpoce

Horse-Gallop

Birds

Reverse Yyoo Dude

Douby

Rain

Reverse Douby

Thunder

Slappy

Baert High

Wind

Voice Ou

Baert Low

Seashore

Voice Au

Bounce

Stream

Hoo

Reverse bounce

Bubble

Tape Stop 1

Tape Stop 2

Missile

Distortion Knock

C6 84

Kitty

Guitar Slide

Bird 2

Sub Marine

Growl

Space Birds

Flying Monster

---

Noise Attack

←

Space Worms

Telephone 1

Telephone 2

Small Club 1

Small Club 2

Applause Wave

Eruption

Emergency !

---

Calculating...

---

Saw LFO Saw

---

Big Shot

---

Percussion Bang

---

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

169

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Native Drum set (7)

Notes 0-19 and 97-127 are as follows.

PC10 Hip-Hop

PC 11 JUNGLE

PC 12 TECHNO

PC 25 ELECTRONIC

PC 26 TR-808

PC 27 DANCE

PC 28 CR-78

PC 29 TR-606

PC 30 TR-707

PC 31 TR-909

[88] Electric Kick 2

[88] Electric Kick 1

CR-78 Kick 1

CR-78 Kick 2

TR-606 Kick1

TR-707 Kick 1

[55] TR-808 Kick

[88] TR-808 Kick

TR-808 Kick 2

[88] TR-909 Kick

[88] Dance Kick

Hip-Hop Kick 2

TR-909 Kick 1

Hip-Hop Kick 3

Jungle Kick 1

Techno Kick 1

Bounce Kick

PC1 STANDARD 1

PC2 STANDARD 2

PC3 STANDARD 3

PC9 ROOM

PC 33 JAZZ

PC 17 POWER

[88] Standard 1 Kick 1

[88] Standard 1 Kick 2

[88] Standard 2 Kick 1

[88] Standard 2 Kick 2

[55] Kick Drum 1

[55] Kick Drum 2

[88] Jazz Kick 1

[88] Jazz Kick 2

[88] Room Kick 1

[88] Room Kick 2

[88] Power Kick 1

[88] Power Kick 2

[88] Electric Kick 2

[88] Electric Kick 1

[88] TR-808 Kick

[88] TR-909 Kick

[88] Dance Kick

Voice One

PC 41 BRUSH

PC 49 ORCHESTRA

PC 51 KICK & SNARE

←

---

C-1

---

←

---

←

---

Voice Two

---

Voice Three

---

[88] Standard 1 Snare1

Techno Hit

---

Applause 2

Jungle Snare 1

[88] Standard 1 Snare 2

[88] Standard 2 Snare 1

[88] Standard 2 Snare 2

[55] Snare Drum 2

Standard 1 Snare 1

Standard 1 Snare 2

Standard 1 Snare 3

[88] Jazz Snare 1

Philly Hit

---

Small Club 1

Jungle Snare 2

Impact Hit

---

[55] Timpani D#

Techno Snare 1

100

101

Lo-Fi Rave

[88] Brush Tap 1

[88] Brush Tap 2

[88] Brush Slap 1

[88] Brush Slap 2

[88] Brush Slap 3

[88] Brush Swirl 1

[88] Brush Swirl 2

[88] Brush Long Swirl

[88] Jazz Snare 1

[88] Jazz Snare 2

[88] Standard 1 Snare1

[88] Standard 1 Snare2

[88] Standard 2 Snare1

[88] Standard 2 Snare2

[55] Snare Drum 2

Standard 1 Snare 1

Standard 1 Snare 2

Standard 1 Snare 3

[88] Room Snare 1

[88] Room Snare 2

[88] Power Snare 1

[88] Power Snare 2

[88] Gated Snare

[88] Dance Snare 1

[88] Dance Snare 2

[88] Disco Snare

[88] Electric Snare 2

[88] Electric Snare 3

[55] Timpani E

Techno Snare 2

Bam Hit

[55] Timpani F

House Snare 2

Bim Hit

[55] Timpani F#

CR-78 Snare 1

102

104

106

Tape Rewind

Phonograph Noise

[88] Power Snare 1

[88] Dance Snare 1

[88] Dance Snare 2

[88] Disco Snare

[88] Electric Snare 2

[55] Electric Snare

[88] Electric Snare 3

TR-606 Snare 2

TR-707 Snare 1

[88] TR-808 Snare 2

[88] TR-808 Snare 1

TR-808 Snare 2

[88] TR-909 Snare 1

[88] TR-909 Snare 2

TR-909 Snare 1

TR-909 Snare 2

Rap Snare

[55] Timpani G

CR-78 Snare 2

103

105

107

[55] Timpani G#

TR-606 Snare 1

[55] Timpani A

TR-606 Snare 2

[88] Jazz Snare 2

[55] Timpani A#

TR-707 Snare 1

[88] Room Snare 1

[88] Room Snare 2

[88] Power Snare 1

[88] Power Snare 2

[55] Gated Snare

[55] Timpani B

TR-707 Snare 2

[55] Timpani c

Standard 3 Snare 2

C8 108

[55] Timpani c#

TR-808 Snare 2

109

111

110

[55] Timpani d

TR-909 Snare 1

[55] Timpani d#

TR-909 Snare 2

112

113

[88] Dance Snare 1

[88] Dance Snare 2

[55] Timpani e

---

[55] Timpani f

114 [88] Disco Snare

[88] Electric Snare 2

---

115

117

116

[55] Electric Snare

[88] Electric Snare 3

TR-707 Snare 1

118

119

[88] TR-808 Snare 1

[88] TR-808 Snare 2

[88] TR-909 Snare 1

[88] TR-909 Snare 2

Rap Snare

120

121

123

Jungle Snare

House Snare 1

[88] House Snare

House Snare 2

Voice Tah

122

124

125

Jungle Snare 1

House Snare 1

126 [88] House Snare

House Snare 2

127

[88] Slappy

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD1"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

170

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SC-88 Drum set (1)

PC 1

PC 2

PC 9

ROOM

←

PC 17

PC 25

STANDARD 1

Snare Roll

STANDARD 2

POWER

ELECTRONIC

←

Finger Snap

High Q

Slap

Scratch Push

Scratch Pull

Sticks

[EXC7]

Scratch Push2

[EXC7]

Scratch Pull2

←

Square Click

Metronome Click

Metronome Bell

Standard 1 Kick 2

Standard 1 Kick 1

Side Stick

←

Standard 2 Kick 2

Room Kick 2

Power Kick 2

Electric Kick 2

Electric Kick 1

←

Standard 2 Kick 1

Room Kick 1

Power Kick 1

←

Standard 1 Snare 1

Hand Clap

Standard 2 Snare 1

Room Snare 1

Power Snare 1

Electric Snare 1

←

Standard 1 Snare 2

Low Tom2

Standard 2 Snare 2

Room Snare 2

PowerSnare 2

Electric Snare 2

Electric Low Tom2

←

Room Low Tom2

Power Low Tom2

Closed Hi-hat1

Low Tom1

[EXC1]

Closed Hi-hat2 [EXC1]

Closed Hi-hat3

[EXC1]

Closed Hi-hat3

[EXC1] Closed Hi-hat2

[EXC1]

←

Room Low Tom1

Power Low Tom1

Electric Low Tom1

←

Pedal Hi-hat

Mid Tom2

[EXC1]

←

Room Mid Tom2

Power Mid Tom2

Electric Mid Tom2

Open Hi-hat1

Mid Tom1

[EXC1]

Open Hi-hat2

[EXC1]

Open Hi-hat3

[EXC1]

Open Hi-hat3

[EXC1] Open Hi-hat2

[EXC1]

←

Room Mid Tom1

Power Mid Tom1

Electric Mid Tom1

High Tom2

Room Hi Tom2

Power Hi Tom2

Electric Hi Tom2

C3 48

Crash Cymbal1

High Tom1

←

Room Hi Tom1

Power Hi Tom1

Electric Hi Tom1

Ride Cymbal1

Chinese Cymbal

Ride Bell

←

Reverse Cymbal

←

Tambourine

Splash Cymbal

Cowbell

Crash Cymbal2

Vibra-slap

Ride Cymbal2

High Bongo

Low Bongo

C4 60

Mute High Conga

Open High Conga

Low Conga

High Timbale

Low Timbale

High Agogo

Low Agogo

←

Cabasa

←

Maracas

Short Hi Whistle

[EXC2]

←

Long Low Whistle [EXC2]

←

----

←

----

←

----

C5 72

Short Guiro

Long Guiro

Claves

[EXC3]

High Wood Block

Low Wood Block

Mute Cuica

Open Cuica

Mute Triangle

Open Triangle

Shaker

Jingle Bell

Bell Tree

Castanets

Mute Surdo

Open Surdo

----

[EXC4]

[EXC5]

Bar Chimes

C6 84

←

[EXC6]

----

C7 96

----

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

171

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SC-88 Drum set (2)

PC 26

PC 27

PC 33

JAZZ

←

PC 41

PC 49

TR-808/909

DANCE

BRUSH

ORCHESTRA

←

Closed Hi-hat2 [EXC1]

Pedal Hi-hat

[EXC1]

Scratch Push2

[EXC7]

Scratch Push2

[EXC7]

Open Hi-hat2 [EXC1]

Scratch Pull2

Ride Cymbal1

←

Jazz Kick 1

Concert BD1

←

Concert SD

Castanets

Concert SD

Timpani F

←

909 Bass Drum

Dance Kick

Jazz Kick 2

808 Bass Drum

Electric Kick 2

Jazz Kick 1

808 Rim Shot

←

808 Snare 1

Dance Snare 1

Jazz Snare 1

Brush Tap1

←

Hand Clap2

Brush Slap1

909 Snare 1

Dance Snare 2

Jazz Snare 2

Brush Swirl1

808 Low Tom2

Electric Low Tom2

←

Brush Low Tom2

808 CHH

[EXC1]

CR-78 CHH

[EXC1]

Closed Hi-hat2 [EXC1]

Brush Closed Hi-hat

[EXC1] Timpani F#

808 Low Tom1

Electric Low Tom1

←

Brush Low Tom1

Timpani G

Timpani G#

Timpani A

808 CHH

[EXC1]

808 CHH

[EXC1]

←

808 Mid Tom2

Electric Mid Tom2

Brush Mid Tom2

808 OHH

[EXC1]

CR-78 OHH

[EXC1]

Open Hi-hat2

[EXC1]

Brush Open Hi-hat

[EXC1] Timpani A#

808 Mid Tom1

Electric Mid Tom1

←

Brush Mid Tom1

Timpani B

808 Hi Tom2

Electric High Tom2

Brush Hi Tom2

Timpani c

C3 48

808 Cymbal

←

Brush Crash Cymbal

Timpani c#

808 Hi Tom1

Electric High Tom1

Brush Hi Tom1

Timpani d

←

Brush Ride Cymbal

Timpani d#

Reverse Cymbal

←

Timpani e

←

Brush Ride Bell

Timpani f

←

808 Cowbell

←

Concert Cymbal2

←

Concert Cymbal1

←

C4 60

808 High Conga

808 Mid Conga

808 Low Conga

←

808 Maracas

←

C5 72

808 Claves

←

High Hoo

[EXC4]

Low Hoo

Electric Mute Triangle [EXC5]

Electric Open Triangle [EXC5]

←

C6 84

----

Applause

----

C7 96

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

172

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SC-88 Drum set (3)

PC 50

PC 51

PC 57

PC 58

ETHNIC

KICK&SNARE

----

SFX

RHYTHM FX

----

Finger Snap

Tambourine

Castanets

----

Crash Cymbal1

Snare Roll

----

Concert Snare Drum

Concert Cymbal

Concert BD1

Jingle Bell

----

Scratch Push2

Scratch Pull2

Cutting Noise 2 Up

Cutting Noise 2 Down

[EXC1]

----

Bell Tree

----

Bar Chimes

Wadaiko

----

Distortion Guitar Cutting Noise Up

----

Distortion Guitar Cutting Noise Down

Reverse Kick 1

Reverse Concert BD 1

Reverse Power Kick 1

Reverse Electric Kick 1

Reverse Snare 1

Reverse Snare 2

Reverse Standard set1 Snare 1

Reverse Tight Snare

Reverse Dance Snare

Reverse 808 Snare

Reverse Tom1

Reverse Tom2

Reverse Sticks

Reverse Slap

Reverse Cymbal1

Reverse Cymbal2

Reverse Open Hi-hat

Reverse Ride Cymbal

Reverse CR-78 OHH

Reverse Closed Hi-hat

Reverse Gong

Reverse Bell Tree

Reverse Guiro

Reverse Bendir

Reverse Gun Shot

Reverse Scratch

Reverse Laser

Key Click

Wadaiko Rim

Shime Taiko

Atarigane

----

Bass Slide

Pick Scrape

High Q

----

Hyoushigi

Standard 1 Kick 1

Standard 1 Kick 2

Standard 2 Kick 1

Standard 2 Kick 2

Kick 1

Slap

Ohkawa

Scratch Push

Scratch Pull

[EXC7]

High Kotsuzumi

Low Kotsuzumi

Ban Gu

Sticks

Square Click

Big Gong

Kick 2

Metronome Click

Metronome Bell

Guitar Fret Noise

Guitar Cutting Noise Up

Small Gong

Bend Gong

Thai Gong

Soft Kick

Jazz Kick 1

Jazz Kick 2

Concert BD

Room Kick 1

Room Kick 2

Power Kick 1

Power Kick 2

Electric Kick 2

Electric Kick 1

Electric Kick

808 Bass Drum

909 Bass Drum

Dance Kick

Standard 1 Snare 1

Standard 1 Snare 2

Standard 2 Snare 1

Standard 2 Snare 2

Tight Snare

Concert Snare

Jazz Snare 1

Jazz Snare 2

Room Snare 1

Room Snare 2

Power Snare 1

Power Snare 2

Gated Snare

Dance Snare 1

Dance Snare 2

Disco Snare

Electric Snare2

House Snare

Electric Snare 1

Electric Snare 3

808 Snare 1

808 Snare 2

909 Snare 1

909 Snare 2

Brush Tap1

Brush Tap2

Brush Slap1

Brush Slap2

Brush Slap3

Brush Swirl1

Brush Swirl2

Brush Long Swirl

----

C3 48

Rama Cymbal

Gamelan Gong

GuitarCutting Noise Down

String Slap of Double Bass

Fl.Key Click

Udo Short

[EXC1]

Udo Long

Laughing

Udo Slap

Scream

Bendir

Punch

Req Dum

Heart Beat

Req Tik

Footsteps1

Tabla Te

Footsteps2

Tabla Na

Applause

Door Creaking

Door

Tabla Tun

Tabla Ge

C4 60

Tabla Ge Hi

Talking Drum

Bend Talking Drum

Caxixi

Scratch

Wind Chimes

Car-Engine

Car-Stop

Car-Pass

Car-Crash

Siren

Tekno Thip

Djembe

Pop Drop

Djembe Rim

Timbales Low

Timbales Paila

Timbales High

Cowbell

Woody Slap

Distortion Kick

Train

Syn.Drop

Jetplane

Helicopter

Starship

Gun Shot

Machine Gun

Lasergun

Explosion

Dog

Reverse High Q

Pipe

Hi Bongo

Ice Block

Low Bongo

Mute Hi Conga

Open Hi Conga

Mute Low Conga

Conga Slap

Open Low Conga

Conga Slide

Mute Pandiero

Open Pandiero

Open Surdo

Mute Surdo

Tamborim

Digital Tambourine

C5 72

Alias

Modulated Bell

Spark

Metalic Percussion

Horse-Gallop

Birds

Velocity Noise FX

Stereo Noise Clap

Rain

Swish

Slappy

Voice Ou

Voice Au

Hoo

Thunder

Wind

[EXC2]

Seashore

Stream

Bubble

Kitty

High Agogo

Low Agogo

Shaker

Tape Stop1

Tape Stop2

Missile

Space Bird

Flying Monster

----

C6 84

Bird2

High Whistle

Low Whistle

Mute Cuica

Open Cuica

Mute Triangle

Open Triangle

Short Guiro

Long Guiro

Cabasa Up

Cabasa Down

Claves

[EXC3]

[EXC4]

[EXC5]

[EXC6]

Growl

Applause2

Telephone1

Telephone2

----

C7 96

----

High Wood Block

Low Wood Block

----

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

173

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SC-55 Drum set

PC 1 / PC 33

STANDARD / JAZZ

---

PC 9

PC 17

PC 25

PC 26

PC 41

PC 49

ROOM

POWER

ELECTRONIC

TR-808

BRUSH

ORCHESTRA

----

High Q

←

Closed Hi-hat [EXC1]

Slap

←

Pedal Hi-hat [EXC1]

Scratch Push

Scratch Pull

Sticks

Open Hi-hat [EXC1]

Ride Cymbal1

←

Square Click

Metronome Click

Metronome Bell

Kick Drum2 / Jazz BD2

Kick Drum1 / Jazz BD1

Side Stick

Jazz BD2

Concert BD2

MONDO Kick

Elec BD

808 Bass Drum

Jazz BD1

Concert BD1

←

808 Rim Shot

←

Snare Drum1

Hand Clap

Gated SD

Elec SD

808 Snare Drum

Brush Tap

Concert SD

←

Brush Slap

Castanets

Snare Drum2

Low Tom2

←

Gated SD

Brash Swirl

←

Concert SD

Room Low Tom2

Elec Low Tom2

808 Low Tom2

Timpani F

Closed Hi-hat

Low Tom1

[EXC1]

←

808 CHH [EXC1]

Timpani F#

Room Low Tom1

Elec Low Tom1

808 Low Tom1

Timpani G

Pedal Hi-hat

Mid Tom2

[EXC1]

←

808 CHH [EXC1]

Timpani G#

Room Mid Tom2

Elec Mid Tom2

808 Mid Tom2

Timpani A

Open Hi-hat

Mid Tom1

←

808 OHH [EXC1]

Timpani A#

Room Mid Tom1

Elec Mid Tom1

808 Mid Tom1

Timpani B

High Tom2

Room Hi Tom2

Elec Hi Tom2

808 Hi Tom2

←

----

Timpani c

C3 48

Crash Cymbal1

High Tom1

←

808 Cymbal

Timpani c#

Room Hi Tom1

Elec Hi Tom1

808 Hi Tom1

Timpani d

Ride Cymbal1

Chinese Cymbal

Ride Bell

←

Timpani d#

Reverse Cymbal

Timpani e

←

Timpani f

Tambourine

Splash Cymbal

Cowbell

←

808 Cowbell

Crash Cymbal2

Vibra-slap

←

Concert Cymbal2

←

Ride Cymbal2

High Bongo

Low Bongo

Mute High Conga

Open High Conga

Low Conga

High Timbale

Low Timbale

High Agogo

Low Agogo

Cabasa

Concert Cymbal1

←

C4 60

←

808 High Conga

808 Mid Conga

808 Low Conga

←

Maracas

808 Maracas

Short Hi Whistle [EXC2]

Long Low Whistle [EXC2]

Short Guiro

←

C5 72

Long Guiro

Claves

808 Claves

High Wood Block

Low Wood Block

←

----

Mute Cuica

Open Cuica

Mute Triangle

Open Triangle

Shaker

Jingle Bell

Bell Tree

Castanets

Mute Surdo

Open Surdo

----

[EXC4]

[EXC5]

←

C6 84

←

[EXC6]

←

----

Applause

----

C7 96

----

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

174

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SFX set , CM-64 / 32L Drum set

PC 57

PC 128

SFX

CM-64/32L

----

CM Kick Drum

CM Rim Shot

----

CM Snare Drum

CM Hand Clap

CM Electronic Snare Drum

CM Acoustic Low Tom

High Q

Slap

Scratch Push

Scratch Pull

Sticks

[EXC7]

CM Closed High Hat

CM Acoustic Low Tom

CM Open Hi-Hat2

[EXC1]

Square Click

Metronome Click

Metronome Bell

Guitar Fret Noise

Guitar cuttingnoise/up

CM Acoustic Middle Tom

CM Open Hi-Hat1

CM M.TomAcoustic Middle Tom

CM Acoustic High Tom

CM Crash Cymbal

CM Acoustic High Tom

CM Ride Cymbal

----

C3 48

Guitar cutting noise/down

String slap of double bass

Fl.Key Click

Laughing

Scream

----

Punch

CM Tambourine

----

Heart Beat

Footsteps1

CM Cowbell

----

Footsteps2

Applause

Door Creaking

Door

----

CM High Bongo

CM Low Bongo

CM Mute High Conga

CM High Conga

CM Low Conga

CM High Timbale

CM Low Timbale

CM High Agogo

CM Low Agogo

CM Cabasa

CM Maracas

CM Short Whistle

CM Long Whistle

CM Vibrato Slap

----

C4 60

Scratch

Wind Chimes

Car-Engine

Car-Stop

Car-Pass

Car-Crash

Siren

Train

Jetplane

Helicopter

Starship

Gun Shot

Machine Gun

Lasergun

Explosion

Dog

C5 72

CM Claves

Laughing

Horse-Gallop

Birds

Scream

Punch

Rain

Heart Beat

Thunder

Wind

Footsteps1

Footsteps2

Seashore

Stream

Bubble

----

Applause

Creaking

Door

C6 84

Scratch

----

Wind Chimes

Car-Engine

Car-Stop

Car-Pass

Car-Crash

Siren

----

Train

----

Jetplane

Helicopter

Starship

Gun Shot

Machine Gun

Lasergun

Explosion

Dog

----

C7 96

Switching between Native map and either

SC-88map or SC-55 map

----

Press the front panel button [SC-88MAP] to make the

indicator light, and the SC-88map will be selected. (p.25)

Press the front panel button [SC-55MAP] to make the

indicator light, and the SC-55map will be selected. (p.25)

100

----

Horse-Gallop

Birds

101

103

105

102

104

106

----

Rain

----

Thunder

Wind

You can also use MIDI Bank Select messages to select

one of the Native map, SC-88 map and SC-55 map.

(p.126)

----

SeaShore

Stream

107

----

C8 108

----

Bubble

---

Program Number (Drum Set Number)

No sound

Tones which are created using two voices

←

Same as the percussion sound of "STANDARD"(PC1).

[88]

[55]

Same as the percussion sound of SC-88

Same as the percussion sound of SC-55

[EXC] : Percussion sound of the same number will not be heard at the

same time.

Note Number

Chapter 8. Appendix

175

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Effect list

Parameter

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Effects that modulate the sound (modulation type)

0 : Thru

00 00

Parameter

7 : Phaser

+ Manual

# Rate

Depth

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

01 20

100 - 620 - 8k

0.05 - 0.85 - 10.0

0 - 64 - 127

0 - 16 - 127

0 - 127

*12

Effects that modify the tone color (filter type)

1 : Stereo-EQ

Low Freq

Low Gain

Hi Freq

01 00

00 - 7F

34 - 4C

00 - 7F

200/400

00/01

Reso

-12 - +5 - +12

4k/8k

34 - 4C

00/01

Mix

Low Gain

Hi Gain

Level

-12 - 0 - +12

0 - 104 - 127

Hi Gain

M1 Freq

M1 Q

-12 - +12

34 - 4C

*10

200 - 1.6k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - +8 - +12

200 - 1k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - -8 - +12

0 - 127

00/01/02/03/04

34 - 4C

*10

8 : Auto Wah

Fil Type

Sens

01 21

M1 Gain

M2 Freq

M2 Q

LPF/BPF

00/01

0 - 127

00 - 7F

00/01/02/03/04

34 - 4C

00 - 7F

+ Manual

Peak

0 - 68 - 127

0 - 62 - 127

0.05 - 2.05 - 10.0

0 - 72 - 127

Down/Up

M2 Gain

+ Level

2 : Spectrum

Band 1

# Rate

Depth

01 01

00 - 7F

00/01

-12 - -4 - +12

-12 - +1 - +12

-12 - +3 - +12

-12 - +6 - +12

-12 - +2 - +12

-12 - -1 - +12

-12 - -4 - +12

-12 - -5 - +12

0.5/1.0/2.0/4.0/9.0

L63 - 0 - R63

0 - 127

34 - 4C

00/01/02/03/04

00 - 7F

Polarity

Low Gain

Hi Gain

Pan

Band 2

-12 - 0 - +12

L63 - 0 - R63

0 - 96 - 127

34 - 4C

00 - 7F

Band 3

Band 4

Band 5

Level

Band 6

9 : Rotary

Low Slow

Low Fast

Low Accl

Low Level

Hi Slow

Hi Fast

01 22

Band 7

0.05 - 0.35 - 10.0

0.05 - 6.40 - 10.0

0 - 3 - 15

Band 8

Width

*14

+ Pan

0 - 127

00 - 7F

# Level

3 : Enhancer

+ Sens

# Mix

00 - 7F

0.05 - 0.90 - 10.0

0.05 - 7.50 - 10.0

0 - 11 - 15

01 02

0 - 64 - 127

0 - 127

00 - 7F

34 - 4C

00 - 7F

Hi Accl

*14

Hi Level

Separate

+ Speed

Low Gain

Hi Gain

# Level

0 - 64 - 127

0 - 96 - 127

Slow/Fast

00 - 7F

00/7F

34 - 4C

00 - 7F

Low Gain

Hi Gain

Level

-12 - +3 - +12

-12 - 0 - +12

0 - 127

-12 - 0 - +12

0 - 127

4 : Humanizer

Drive

01 03

0 - 48 - 127

Off/On

00 - 7F

00/01

Drive Sw

+ Vowel

Accel

10 : Stereo Flanger

01 23

a/i/u/e/o

00/01/02/03/04

*14

Pre Filter

Cutoff

Off/LPF/HPF

00/01/02

0 - 15

250 - 8k

Low Gain

Hi Gain

Pan

-12 - 0 - +12

L63 - 0 - R63

0 - 127

34 - 4C

00 - 7F

Pre Dly

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

+ Rate

Depth

# Feedback

Phase

00 - 7F

0F - 71

00 - 5A

00 - 7F

34 - 4C

00 - 7F

# Level

-98% - +80% - +98%

0 - 180

Effects that distort the sound (distortion type)

5 : Overdrive

01 10

Balance

Low Gain

Hi Gain

D> 0E - D=E - D 0<E

-12 - 0 - +12

+ Drive

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

Amp Type

Amp Sw

Low Gain

Hi Gain

Small/BltIn/2-Stk/3-Stk

Off/On

-12 - 0 - +12

Level

0 - 104 - 127

-12 - 0 - +12

L63 - 0 - R63

0 - 96 - 127

34 - 4C

00 - 7F

11 : Step Flanger

Pre Dly

01 24

0 - 1.0m - 100m

0.05 - 0.30 - 10.0

0 - 95 - 127

# Pan

Rate

Level

Depth

00 - 7F

0F - 71

00 - 5A

6 : Distortion

+ Drive

01 11

+ Feedback

Phase

-98% - +30% - +98%

0 - 180

0 - 76 - 127

00 - 7F

00/01/02/03

00/01

Amp Type

Amp Sw

Low Gain

Hi Gain

Small/BltIn/2-Stk/3-Stk

Off/On

# Step Rate

Balance

Low Gain

Hi Gain

0.05 - 2.75 - 10.0

D> 0E - D=E - D 0<E

-12 - 0 - +12

00 - 7F

34 - 4C

00 - 7F

-12 - 0 - +12

-12 - -8 - +12

L63 - 0 - R63

0 - 84 - 127

34 - 4C

00 - 7F

-12 - 0 - +12

# Pan

Level

0 - 96 - 127

Level

The correspondence between setting values and hexadeci-

mal values for items in the Value column indicated with "*" is

shown in the "Effect Data Table" (p. 183).

+: Effect control 1 can be used to modify the value (p.92)

#: Effect control 2 can be used to modify the value (p.92)

MSB/LSB: Indicates the ** portion of the following exclusive mes-

sages. (p.196) (hexadecimal notation)

Pre Delay Time

Delay Time 1

Delay Time 2

Delay Time 3

Delay Time 4

Rate 1

HF Damp

Cutoff Freq

For Effect Type (data section)

F0 41 dev 42 12 40 03 00 ** ** sum F7

For Effect Parameters (LSB part of address)

F0 41 dev 42 12 40 03 ** data sum F7

(dev: device ID, sum: checksum)

*10 EQ Freq

*11 LPF

*12 Manual

*13 Azimuth

*14 Accl

Rate 2

Chapter 8. Appendix

176

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Parameter

12 : Tremolo

Mod Wave

+ Mod Rate

# Mod Depth

Low Gain

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Parameter

19 : Space D

Pre Dly

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

01 25

01 43

Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04

0 - 3.2m - 100m

0.05 - 0.45 - 10.0

0 - 127

0.05 - 3.05 - 10.0

0 - 96 - 127

-12 - 0 - +12

0 - 127

+ Rate

00 - 7F

34 - 4C

00 - 7F

Depth

00 - 7F

00 - 5A

00 - 7F

34 - 4C

00 - 7F

Phase

0 - 180

Hi Gain

# Balance

Low Gain

Hi Gain

D> 0E - D=E - D 0<E

-12 - 0 - +12

0 - 96 - 127

Level

13 : Auto Pan

Mod Wave

+ Mod Rate

# Mod Depth

Low Gain

01 26

Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04

Level

0.05 - 3.05 - 10.0

0 - 96 - 127

-12 - 0 - +12

0 - 127

20 : 3D Chorus

Pre Dly

01 44

00 - 7F

34 - 4C

00 - 7F

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 72 - 127

+ Cho Rate

Cho Depth

Out

Hi Gain

00 - 7F

00/01

00 - 7F

34 - 4C

00 - 7F

Level

Speaker/Phones

D> 0E - D=E - D 0<E

-12 - 0 - +12

# Balance

Low Gain

Hi Gain

Effects that affect the level (compressor type)

14 : Compressor

01 30

-12 - 0 - +12

Attack

0 - 72 - 127

0 - 100 - 127

0/+6/+12/+18

-12 - 0 - +12

L63 - 0 - R63

0 - 104 - 127

00 - 7F

Level

0 - 80 - 127

Sustain

00 - 7F

Effects that reverberate the sound (delay/reverb

Post Gain

Low Gain

Hi Gain

00/01/02/03

34 - 4C

00 - 7F

type)

21 : Stereo Delay

Dly Tm L

01 50

+ Pan

0 - 150m - 500m

0 - 300m - 500m

-98% - +48% - +98%

Norm/Cross

# Level

15 : Limiter

Threshold

Ratio

00 - 7F

Dly Tm R

+ Feedback

Fb Mode

01 31

0F - 71

00/01

0 - 85 - 127

1/1.5,1/2,1/4,1/100

0 - 16 - 127

0/+6/+12/+18

-12 - 0 - +12

L63 - 0 - R63

0 - 127

00 - 7F

00/01/02/03

00 - 7F

Phase L

Norm/Invert

Release

Post Gain

Low Gain

Hi Gain

Phase R

Norm/Invert

00/01/02/03

34 - 4C

HF Damp

# Balance

Low Gain

Hi Gain

315 - 8k/Bypass

D> 0E - D>74E - D 0<E 00 - 7F

34 - 4C

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

+ Pan

00 - 7F

# Level

00 - 7F

Level

22 : Mod Delay

Dly Tm L

01 51

Effects that broaden the sound (chorus type)

0 - 40m - 500m

0 - 220m - 500m

-98% - +48% - +98%

Norm/Cross

16 : Hexa Chorus

01 40

Dly Tm R

Feedback

Fb Mode

Pre Dly

0 - 2.4m - 100m

0.05 - 0.45 - 10.0

0 - 127

0F - 71

00/01

+ Rate

Depth

00 - 7F

00 - 14

2C - 54

00 - 14

00 - 7F

34 - 4C

00 - 7F

+ Mod Rate

Mod Depth

Mod Phase

HF Damp

# Balance

Low Gain

Hi Gain

0.05 - 0.65 - 10.0

0 - 21 - 127

Pre Dly Dev

Depth Dev

Pan Dev

# Balance

Low Gain

Hi Gain

0 - 5 - 20

00 - 7F

00 - 5A

-20 - +2 - +20

0 - 16 - 20

0 - 180

315 - 8k/Bypass

D> 0E - D=E - D 0<E

-12 - 0 - +12

0 - 112 - 127

D> 0E - D>61E - D 0<E 00 - 7F

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

Level

17 : Tremolo Chorus

01 41

23 : 3 Tap Delay

Dly Tm C

Dly Tm L

01 52

Pre Dly

Cho Rate

Cho Depth

Trem Phase

+ Trem Rate

Trem Sep

# Balance

Low Gain

Hi Gain

0 - 1.6m - 100m

200m - 300m - 990m/1sec*2

200m - 200m - 990m/1sec*2

200m - 235m - 990m/1sec*2

0.05 - 0.45 - 10.0

0 - 40 - 127

00 - 7F

00 - 5A

Dly Tm R

+ Feedback

Dly Lev C

Dly Lev L

Dly Lev R

HF Damp

# Balance

Low Gain

Hi Gain

0 - 80 - 180

-98% - +32% - +98%

0 - 127

0F - 71

0.05 - 3.05 - 10.0

0 - 96 - 127

00 - 7F

34 - 4C

00 - 7F

0 - 127

D> 0E - D 0<E

-12 - 0 - +12

0 - 127

315 - 8k/Bypass

D> 0E - D>74E - D 0<E 00 - 7F

Level

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

18 : Stereo Chorus

01 42

Pre Filter

Cutoff

Off/LPF/HPF

00/01/02

Level

250 - 8k

24 : 4 Tap Delay

Dly Tm 1

01 53

Pre Dly

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 111 - 127

0 - 180

200m - 500m - 990m/1sec*2

200m - 300m - 990m/1sec*2

200m - 400m - 990m/1sec*2

200m - 200m - 990m/1sec*2

+ Rate

Dly Tm 2

Depth

Phase

00 - 7F

00 - 5A

00 - 7F

34 - 4C

00 - 7F

Dly Tm 3

Dly Tm 4

# Balance

Low Gain

Hi Gain

Level

D> 0E - D=E - D 0<E

-12 - 0 - +12

0 - 104 - 127

Dly Lev 1

Dly Lev 2

Dly Lev 3

Dly Lev 4

+ Feedback

HF Damp

0 - 127

00 - 7F

0 - 127

00 - 7F

0F - 71

0 - 127

-98% - +32% - +98%

315 - 8k/Bypass

Chapter 8. Appendix

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Parameter

# Balance

Low Gain

Hi Gain

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Parameter

30 : Fb P.Shifter

+ P.Coarse

P.Fine

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

D> 0E - D>74E - D 0<E 00 - 7F

01 61

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

-24 - +7 - +12

-100 - 0 - +100

-98% - +40% - +98%

0 - 45m - 100m

1 - 3 - 5

28 - 4C

0E - 72

0F - 71

Level

# Feedback

Pre Dly

25 : Tm Ctrl Delay

+ Dly Time

Accel

01 54

200m - 500m - 990m/1sec*3

Mode

00 - 04

00 - 7F

34 - 4C

00 - 7F

0 - 10 - 15

*14

EFX Pan

Balance

L63 - 0 - R63

D> 0E - D=E - D 0<E

-12 - 0 - +12

# Feedback

HF Damp

EFX Pan

Balance

-98% - +32% - +98%

315 - 8k/Bypass

L63 - 0 - R63

0F - 71

Low Gain

Hi Gain

00 - 7F

-12 - -6 - +12

0 - 127

D> 0E - D>74E - D 0<E 00 - 7F

Level

Low Gain

Hi Gain

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

Others

31 : 3D Auto

01 70

Level

Azimuth

180/L168 - 0 - R168

0.05 - 1.30 - 10.0

-/+

*13

26 : Reverb

Type

01 55

+ Speed

Clockwise

# Turn

Room1/2/Stage1/2/Hall1/2 00/01/02/03/04/05

00/01

00 - 7F

Pre Dly

0 - 74m - 100m

0 - 120 - 127

Off/On

+ Time

00 - 7F

Out

Speaker/Phones

0 - 127

HF Damp

# Balance

Low Gain

Hi Gain

315 - 6.3k - 8k/Bypass

D> 0E - D=E - D 0<E

-12 - 0 - +12

Level

00 - 7F

34 - 4C

00 - 7F

32 : 3D Manual

+ Azimuth

Out

01 71

180/L168 - 0 - R168

Speaker/Phones

0 - 127

*13

-12 - 0 - +12

00/01

00 - 7F

Level

0 - 127

# Level

27 : Gate Reverb

Type

01 56

33 : Lo-Fi 1

Pre Filter

Lo-Fi Type

Post Filter

+ Balance

Low Gain

Hi Gain

01 72

Norm/Reverse/Sweep1/2 00/01/02/03

1 - 2 - 6

00 - 05

00 - 08

00 - 05

00 - 7F

34 - 4C

00 - 7F

Pre Dly

0 - 0.5m - 100m

1 - 6 - 9

Gate Time

+ Balance

Low Gain

Hi Gain

0 - 65m - 500m

00 - 63

1 - 2 - 6

D> 0E - D>65E - D 0<E 00 - 7F

D> 0E - D 0<E

-12 - 0 - +12

L63 - 0 - R63

0 - 127

-12 - 0 - +12

-12 - -3 - +12

0 - 112 - 127

34 - 4C

00 - 7F

# Level

# Pan

28 : 3D Delay

Dly Tm C

Dly Tm L

Dly Tm R

+ Feedback

Dly Lev C

Dly Lev L

Dly Lev R

HF Damp

Out

01 57

Level

0m - 300m - 500m

0m - 200m - 500m

0m - 240m - 500m

-98% - +32% - +98%

0 - 40 - 127

34 : Lo-Fi 2

Lo-Fi Type

Fil Type

01 73

1 - 2 - 6

00 - 05

00/01/02

Off/LPF/HPF

250 - 630 - 8k

0 - 127

0F - 71

00 - 7F

Cutoff

+ R.Detune

R.Nz Lev

W/P Sel

00 - 7F

00/01

0 - 64 - 127

White/Pink

250 - 6.3k/Bypass

0 - 127

0 - 64 - 127

315 - 8k/Bypass

Speaker/Phones

W/P LPF

W/P Level

Disc Type

Disc LPF

Disc Nz Lev

Hum Type

Hum LPF

Hum Level

M/S

*11

00/01

00 - 7F

00/01/02/03

*11

# Balance

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

LP/EP/SP/RND

250 - 6.3k/Bypass

0 - 127

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

00/01

Level

50Hz/60Hz

250 - 6.3k/Bypass

0 - 127

Effects that modify the pitch (pitch/shift type)

*11

29 : 2 Pitch Shifter

+ Coarse 1

Fine 1

01 60

00 - 7F

00 - 01

00 - 7F

34 - 4C

00 - 7F

-24 - +7 - +12

-100 - -4 - +100

0 - 100m

28 - 4C

0E - 72

Mono/Stereo

D> 0E - D 0<E

-12 - 0 - +12

L63 - 0 - R63

0 - 127

# Balance

Low Gain

Hi Gain

Pre Dly 1

EFX Pan 1

# Coarse 2

Fine 2

L63 - 0 - R63

-24 - -5 - +12

-100 - +4 - +100

0 - 100m

00 - 7F

28 - 4C

0E - 72

Pan(Mono)

Level

Pre Dly 2

EFX Pan 2

Shift Mode

L.Bal

L63 - 0 - R63

1 - 3 - 5

00 - 7F

00 - 04

00 - 7F

A> 0B - A=B - A 0<B

Balance

D> 0E - D>74E - D 0<E 00 - 7F

Low Gain

Hi Gain

-12 - 0 - +12

0 - 95 - 127

34 - 4C

00 - 7F

Level

The correspondence between setting values and hexadeci-

mal values for items in the Value column indicated with "*" is

shown in the "Effect Data Table" (p. 183).

+: Effect control 1 can be used to modify the value (p.92)

#: Effect control 2 can be used to modify the value (p.92)

MSB/LSB: Indicates the ** portion of the following exclusive mes-

sages. (p.196) (hexadecimal notation)

For Effect Type (data section)

Pre Delay Time

Delay Time 1

Delay Time 2

Delay Time 3

Delay Time 4

Rate 1

HF Damp

Cutoff Freq

*10 EQ Freq

*11 LPF

*12 Manual

*13 Azimuth

*14 Accl

F0 41 dev 42 12 40 03 00 ** ** sum F7

For Effect Parameters (LSB part of address)

F0 41 dev 42 12 40 03 ** data sum F7

(dev: device ID, sum: checksum)

Rate 2

Chapter 8. Appendix

178

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Parameter

40 : DS → Delay

DS Drive

+ DS Pan

DS Amp

DS Amp Sw

Dly Time

Dly Fb

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Effects that connect two types of effect in series

02 05

(series 2)

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

Parameter

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

L63 - 0 - R63

35 : OD → Chorus

OD Drive

+ OD Pan

OD Amp

02 00

Small/BltIn/2-Stk/3-Stk

Off/On

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

L63 - 0 - R63

Small/BltIn/2-Stk/3-Stk

Off/On

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

0F - 71

OD Amp Sw

Cho Dly

Dly HF

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 72 - 127

# Dly Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

Cho Rate

Cho Depth

# Cho Bal

Low Gain

Hi Gain

-12 - 0 - +12

0 - 72 - 127

34 - 4C

00 - 7F

34 - 4C

00 - 7F

D> 0E - D=E - D 0<E

-12 - 0 - +12

Level

41 : EH → Chorus

+ EH Sens

EH Mix

02 06

-12 - 0 - +12

0 - 64 - 127

00 - 7F

Level

0 - 80 - 127

0 - 127

36 : OD → Flanger

OD Drive

+ OD Pan

OD Amp

02 01

Cho Dly

0 - 14m - 100m

0.05 - 0.45 - 10.0

0 - 101 - 127

D> 0E - D=E - D 0<E

-12 - 0 - +12

0 - 80 - 127

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

Cho Rate

Cho Depth

# Cho Bal

Low Gain

Hi Gain

L63 - 0 - R63

00 - 7F

34 - 4C

00 - 7F

Small/BltIn/2-Stk/3-Stk

Off/On

OD Amp Sw

FL Dly

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 40 - 127

FL Rate

Level

FL Depth

FL Fb

00 - 7F

0F - 71

42 : EH → Flanger

+ EH Sens

EH Mix

02 07

-98% - +80% - +98%

0 - 64 - 127

00 - 7F

# FL Bal

Low Gain

Hi Gain

D> 0E - D>49E - D 0<E 00 - 7F

0 - 127

-12 - 0 - +12

0 - 80 - 127

34 - 4C

00 - 7F

FL Dly

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

FL Rate

Level

FL Depth

FL Fb

00 - 7F

0F - 71

37 : OD → Delay

OD Drive

+ OD Pan

OD Amp

02 02

-98% - +80% - +98%

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

# FL Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

L63 - 0 - R63

-12 - 0 - +12

0 - 96 - 127

34 - 4C

00 - 7F

Small/BltIn/2-Stk/3-Stk

Off/On

OD Amp Sw

Dly Time

Dly Fb

Level

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

43 : EH → Delay

+ EH Sens

EH Mix

02 08

0F - 71

0 - 64 - 127

00 - 7F

Dly HF

0 - 127

# Dly Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

Dly Time

Dly Fb

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

-12 - 0 - +12

0 - 80 - 127

34 - 4C

00 - 7F

0F - 71

Dly HF

Level

# Dly Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

38 : DS → Chorus

DS Drive

+ DS Pan

DS Amp

02 03

-12 - 0 - +12

0 - 88 - 127

34 - 4C

00 - 7F

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

L63 - 0 - R63

Small/BltIn/2-Stk/3-Stk

Off/On

Level

44 : Cho → Delay

Cho Dly

02 09

DS Amp Sw

Cho Dly

0 - 1.0m - 100m

0.05 - 0.50 - 10.0

0 - 120 - 127

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 72 - 127

Cho Rate

Cho Depth

+ Cho Bal

Dly Time

Dly Fb

Cho Rate

Cho Depth

# Cho Bal

Low Gain

Hi Gain

00 - 7F

34 - 4C

00 - 7F

D> 0E - D=E - D 0<E

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

D> 0E - D=E - D 0<E

-12 - 0 - +12

0F - 71

-12 - 0 - +12

Dly HF

Level

0 - 72 - 127

# Dly Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

39 : DS → Flanger

DS Drive

+ DS Pan

DS Amp

02 04

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

L63 - 0 - R63

Level

Small/BltIn/2-Stk/3-Stk

Off/On

45 : FL → Delay

FL Dly

02 0A

DS Amp Sw

FL Dly

0 - 1.6m - 100m

0 - 1.1m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

FL Rate

0.05 - 0.60 - 10.0

0 - 24 - 127

FL Rate

FL Depth

+ FL Fb

FL Bal

00 - 7F

0F - 71

00 - 7F

FL Depth

FL Fb

00 - 7F

0F - 71

-98% - +80% - +98%

D> 0E - D=E - D 0<E

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

-98% - +80% - +98%

# FL Bal

Low Gain

Hi Gain

D> 0E - D>49E - D 0<E 00 - 7F

Dly Time

Dly Fb

-12 - 0 - +12

0 - 72 - 127

34 - 4C

00 - 7F

0F - 71

Dly HF

Level

# Dly Bal

Low Gain

Hi Gain

D> 0E - D>74E - D 0<E 00 - 7F

-12 - 0 - +12

0 - 127

34 - 4C

00 - 7F

Level

Chapter 8. Appendix

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Parameter

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Parameter

OD Sel

Value (Dec.)

Odrv/Dist

Value (Hex.) min - max MSB/LSB(H)

46 : Cho→ Flanger

Cho Dly

02 0B

00/01

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 120 - 127

+ OD Drive

OD Amp

OD Amp Sw

OD Sw

0 - 80 - 127

00 - 7F

00/01/02/03

00/01

Cho Rate

Cho Depth

+ Cho Bal

FL Dly

Small/BltIn/2-Stk/3-Stk

Off/On

00 - 7F

D> 0E - D=E - D 0<E

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

Off/On

00/01

EQ L Gain

EQ M Fq

EQ M Q

-12 - +12

34 - 4C

*10

FL Rate

200 - 1k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - +5 - +12

-12 - -10 - +12

Chorus/Flangr

0.05 - 0.45 - 6.40

0 - 96 - 127

FL Depth

FL Fb

00 - 7F

0F - 71

00 - 7F

34 - 4C

00 - 7F

00/01/02/03/04

34 - 4C

00/01

-98% - +80% - +98%

D> 0E - D=E - D 0<E

-12 - 0 - +12

EQ M Gain

EQ H Gain

CF Sel

# FL Bal

Low Gain

Hi Gain

-12 - 0 - +12

CF Rate

CF Depth

CF Fb

Level

0 - 112 - 127

00 - 7F

0F - 71

00 - 7F

-98% - +76% - +98%

0 - 127

Effects that connect three or more types of

# CF Mix

Level

effect in series (series 3 / series 4 / series 5)

0 - 80 - 127

47 : Rotary Multi

+ OD Drive

OD Sw

02 0C

50 : GTR Multi 3

Wah Fil

04 02

0 - 13 - 127

00 - 7F

00/01

34 - 4C

*10

LPF/BPF

00/01

Off/On

+ Wah Man

Wah Peak

Wah Sw

OD Sel

0 - 60 - 127

0 - 10 - 127

Off/On

00 - 7F

00/01

EQ L Gain

EQ M Fq

EQ M Q

-12 - 0 - +12

200 - 1.6k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - 0 - +12

0.05 - 0.35 - 10.0

0.05 - 6.40 - 10.0

0 - 3 - 15

00/01/02/03/04

34 - 4C

Odrv/Dist

00/01

EQ M Gain

EQ H Gain

RT L Slow

RT L Fast

RT Lo Accl

RT Lo Lev

RT H Slow

RT H Fast

RT Hi Accl

RT Hi Lev

RT Sept

# OD Drive

OD Amp

OD Amp Sw

OD L Gain

OD H Gain

OD Sw

0 - 80 - 127

Small/BltIn/2-Stk/3-Stk

Off/On

00 - 7F

00/01/02/03

00/01

-12 - 0 - +12

Off/On

34 - 4C

00/01

*14

0 - 127

00 - 7F

0.05 - 0.90 - 10.0

0.05 - 7.50 - 10.0

0 - 11 - 15

CF Sel

Chorus/Flangr

0.05 - 0.45 - 6.40

0 - 127

00/01

CF Rate

CF Depth

CF Fb

*14

00 - 7F

0F - 71

00 - 7F

0 - 64 - 127

00 - 7F

00/7F

00 - 7F

-98% - +50% - +98%

0 - 50 - 127

0m - 160m - 635m

0 - 64 - 127

0 - 30 - 127

0 - 88 - 127

0 - 96 - 127

CF Mix

# RT Speed

Level

Slow/Fast

Dly Time

Dly Fb

0 - 96 - 127

00 - 7F

48 : GTR Multi 1

Cmp Atck

Cmp Sus

Cmp Level

Cmp Sw

04 00

Dly Mix

0 - 100 - 127

0 - 80 - 127

00 - 7F

00/01

Level

51 : Clean Gt Multi1

04 03

0 - 100 - 127

Off/On

Cmp Atck

Cmp Sus

Cmp Level

Cmp Sw

EQ L Gain

EQ M Fq

EQ M Q

0 - 50 - 127

00 - 7F

00/01

0 - 127

OD Sel

Odrv/Dist

00/01

0 - 75 - 127

+ OD Drive

OD Amp

0 - 80 - 127

00 - 7F

00/01/02/03

00/01

Off/On

Small/BltIn/2-Stk/3-Stk

Off/On

-12 - +12

34 - 4C

*10

OD Amp Sw

OD L Gain

OD H Gain

OD Sw

200 - 6.3k

-12 - +5 - +12

-12 - +10 - +12

Off/On

34 - 4C

00/01

0.5/1.0/2.0/4.0/9.0

-12 - +5 - +12

-12 - +12

00/01/02/03/04

34 - 4C

00/01

EQ M Gain

EQ H Gain

CF Sel

Chorus/Flangr

0.05 - 0.45 - 6.40

0 - 30 - 127

00/01

Chorus/Flangr

0.05 - 0.45 - 6.40

0 - 40 - 127

CF Rate

CF Depth

CF Fb

CF Depth

CF Fb

00 - 7F

0F - 71

00 - 7F

0F - 71

00 - 7F

-98% - +76% - +98%

0 - 40 - 127

-98% - +30% - +98%

0 - 100 - 127

0m - 120m - 635m

0 - 40 - 127

CF Mix

+ CF Mix

Dly Time

0m - 300m - 635m

0 - 34 - 127

Dly Time

Dly Fb

00 - 7F

# Dly Mix

Level

0 - 15 - 127

Dly HF

315 - 8k/Bypass

0 - 30 - 127

0 - 110 - 127

# Dly Mix

Level

00 - 7F

49 : GTR Multi 2

Cmp Atck

Cmp Sus

Cmp Level

Cmp Sw

04 01

0 - 95 - 127

0 - 70 - 127

0 - 127

00 - 7F

00/01

0 - 90 - 127

Off/On

The correspondence between setting values and hexadeci-

mal values for items in the Value column indicated with "*" is

shown in the "Effect Data Table" (p. 183).

+: Effect control 1 can be used to modify the value (p.92)

#: Effect control 2 can be used to modify the value (p.92)

MSB/LSB: Indicates the ** portion of the following exclusive

messages. (p.196) (hexadecimal notation)

For Effect Type (data section)

Pre Delay Time

Delay Time 1

Delay Time 2

Delay Time 3

Delay Time 4

Rate 1

HF Damp

Cutoff Freq

*10 EQ Freq

*11 LPF

*12 Manual

*13 Azimuth

*14 Accl

F0 41 dev 42 12 40 03 00 ** ** sum F7

For Effect Parameters (LSB part of address)

F0 41 dev 42 12 40 03 ** data sum F7

Rate 2

(dev: device ID, sum: checksum)

Chapter 8. Appendix

180

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Parameter

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Parameter

EQ M Gain

Value (Dec.)

-12 - +5 - +12

-12 - -3 - +12

-24 - +7 - +12

-100 - 0 - +100

1 - 5

Value (Hex.) min - max MSB/LSB(H)

52 : Clean Gt Multi2

04 04

34 - 4C

28 - 4C

0E - 72

00 - 04

AW Filter

+ AW Man

AW Peak

AW Rate

AW Depth

AW Sw

LPF/BPF

00/01

EQ H Gain

PS Coarse

PS Fine

PS Mode

PS Bal

0 - 55 - 127

00 - 7F

0 - 40 - 127

0.05 - 1.50 - 6.40

0 - 80 - 127

00 - 7F

00/01

D> 0E - D>60E - D 0<E 00 - 7F

Off/On

PH Man

PH Rate

PH Depth

PH Reso

PH Mix

100 - 620 - 8k

0.05 - 0.45 - 6.40

0 - 90 - 127

*12

EQ L Gain

EQ M Fq

EQ M Q

-12 - +12

34 - 4C

*10

200 - 1.6k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - 0 - +12

Chorus/Flangr

0.05 - 0.45 - 6.40

0 - 20 - 127

00 - 7F

00/01/02/03/04

34 - 4C

00/01

0 - 80 - 127

EQ M Gain

EQ H Gain

CF Sel

0 - 75 - 127

Dly Time

Dly Fb

0m - 100m - 635m

0 - 64 - 127

00 - 7F

CF Rate

CF Depth

CF Fb

Dly Mix

0 - 40 - 127

00 - 7F

0F - 71

00 - 7F

Level

0 - 96 - 127

-98% - +76% - +98%

0 - 100 - 127

0m - 30m - 635m

0 - 15 - 127

Effects that connect two types of effect in paral-

CF Mix

lel (parallel 2)

56 : Cho / Delay

Cho Dly

Dly Time

Dly Fb

11 00

00 - 7F

0 - 1.0m - 100m

0.05 - 0.45 - 10.0

0 - 120 - 127

# Dly Mix

Level

0 - 80 - 127

Cho Rate

Cho Depth

+ Cho Bal

Cho Pan

Cho Level

Dly Time

Dly Fb

0 - 76 - 127

00 - 7F

53 : Bass Multi

Cmp Atck

Cmp Sus

Cmp Level

Cmp Sw

OD Sel

04 05

D> 0E - D=E - D 0<E

L63 - 0 - R63

0 - 72 - 127

00 - 7F

00/01

0 - 100 - 127

0 - 75 - 127

0 - 127

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

Off/On

0F - 71

Odrv/Dist

00/01

Dly HF

+ OD Drive

OD Amp

OD Amp Sw

OD Sw

0 - 48 - 127

00 - 7F

00/01/02

00/01

# Dly Bal

Dly Pan

D> 0E - D>61E - D 0<E 00 - 7F

Small/BltIn/2-Stk

Off/On

L63 - 0 - R63

0 - 127

00 - 7F

Dly Level

Level

Off/On

00/01

0 - 96 - 127

EQ L Gain

EQ M Fq

EQ M Q

-12 - +2 - +12

200 - 1.6k - 6.3k

0.5/1.0/2.0/4.0/9.0

-12 - +4 - +12

-12 - 0 - +12

Chorus/Flangr

0.05 - 0.30 - 6.40

0 - 20 - 127

34 - 4C

*10

57 : FL / Delay

FL Dly

11 01

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

00/01/02/03/04

34 - 4C

00/01

FL Rate

EQ M Gain

EQ H Gain

CF Sel

FL Depth

FL Fb

00 - 7F

0F - 71

00 - 7F

-98% - +80% - +98%

D> 0E - D=E - D 0<E

L63 - 0 - R63

+ FL Bal

FL Pan

CF Rate

CF Depth

CF Fb

00 - 7F

0F - 71

00 - 7F

FL Level

Dly Time

Dly Fb

0 - 127

-98% - +76% - +98%

0 - 64 - 127

0 - 250m - 500m

-98% - +32% - +98%

315 - 8k/Bypass

# CF Mix

Level

0F - 71

0 - 76 - 127

Dly HF

54 : Rhodes Multi

EH Sens

EH Mix

04 06

# Dly Bal

Dly Pan

D> 0E - D>74E - D 0<E 00 - 7F

0 - 64 - 127

00 - 7F

*12

L63 - 0 - R63

0 - 127

00 - 7F

0 - 64 - 127

Dly Level

Level

PH Man

100 - 620 - 8k

0.05 - 0.85 - 6.40

0 - 32 - 127

0 - 96 - 127

PH Rate

PH Depth

PH Reso

PH Mix

58 : Cho / Flanger

Cho Dly

11 02

00 - 7F

00/01

*11

0 - 1.6m - 100m

0.05 - 0.45 - 10.0

0 - 120 - 127

0 - 16 - 127

Cho Rate

Cho Depth

+ Cho Bal

Cho Pan

Cho Level

FL Dly

0 - 64 - 127

00 - 7F

CF Sel

Chorus/Flangr

250 - 6.3k/Bypass

0 - 1.0m - 100m

0.05 - 0.45 - 6.40

0 - 64 - 127

D> 0E - D=E - D 0<E

L63 - 0 - R63

CF LPF

CF Dly

0 - 127

CF Rate

CF Depth

CF Fb

0 - 1.6m - 100m

0.05 - 0.60 - 10.0

0 - 24 - 127

00 - 7F

0F - 71

00 - 7F

00/01

FL Rate

-98% - +80% - +98%

0 - 127

FL Depth

FL Fb

00 - 7F

0F - 71

00 - 7F

CF Mix

-98% - +80% - +98%

D> 0E - D=E - D 0<E

L63 - 0 - R63

TP Sel

Trem/Pan

# FL Bal

FL Pan

TP Mod WV

+ TP Mod RT

# TP Mod Dep

TP Sw

Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04

0.05 - 3.05 - 6.40

0 - 64 - 127

Off/On

FL Level

Level

0 - 127

00 - 7F

00/01

00 - 7F

0 - 88 -127

59 : OD1 / OD2

OD1 Sel

+ OD1 Drive

OD1 Amp

11 03

Level

0 - 127

Odrv/Dist

00/01

55 : Keyboard Multi

05 00

0 - 48 - 127

00 - 7F

00/01/02/03

00/01

+ RM Mod Freq 0 - 50 - 127

00 - 7F

Small/BltIn/2-Stk/3-Stk

# RM Bal

EQ L Gain

D> 0E - D>30E - D 0<E 00 - 7F

OD1 Amp Sw Off/On

-12 - +3 - +12

200 - 6.3k

34 - 4C

OD1 Pan

OD1 Level

OD2 Sel

L63 - 0 - R63

00 - 7F

00/01

EQ M Fq

EQ M Q

*10

0 - 96 - 127

0.5/1.0/2.0/4.0/9.0

00/01/02/03/04

Odrv/Dist

Chapter 8. Appendix

181

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Parameter

# OD2 Drive

OD2 Amp

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

Parameter

63 : PH / Rotary

PH Man

Value (Dec.)

Value (Hex.) min - max MSB/LSB(H)

0 - 76 - 127

00 - 7F

00/01/02/03

00/01

11 07

Small/BltIn/2-Stk/3-Stk

100 - 620 - 8k

0.05 - 0.85 - 10.0

0 - 64 - 127

0 - 16 - 127

0 - 127

*12

OD2 Amp Sw Off/On

+ PH Rate

PH Depth

PH Reso

PH Mix

OD2 Pan

OD2 Level

Level

L63 - 0 - R63

00 - 7F

0 - 84 - 127

0 - 127

60 : OD / Rotary

OD Sel

11 04

PH Pan

L63 - 0 - R63

0 - 127

Odrv/Dist

00/01

00 - 7F

00/01/02/03

00/01

00 - 7F

PH Level

RT L Slow

RT L Fast

RT Lo Accl

RT Lo Lev

RT H Slow

RT H Fast

RT Hi Accl

RT Hi Lev

RT Sept

+ OD Drive

OD Amp

0 - 48 - 127

Small/BltIn/2-Stk/3-Stk

Off/On

0.05 - 0.35 - 10.0

0.05 - 6.40 - 10.0

0 - 3 - 15

OD Amp Sw

OD Pan

*14

L63 - 0 - R63

0 - 96 - 127

0.05 - 0.35 - 10.0

0.05 - 6.40 -10.0

0 - 3 - 15

0 - 127

00 - 7F

OD Level

RT L Slow

RT L Fast

RT Lo Accl

RT Lo Lev

RT H Slow

RT H Fast

RT Hi Accl

RT Hi Lev

RT Sept

0.05 - 0.90 - 10.0

0.05 - 7.50 - 10.0

0 - 11 - 15

*14

0 - 64 - 127

0 - 96 - 127

Slow/Fast

00 - 7F

00/7F

00 - 7F

0 - 127

00 - 7F

0.05 - 0.90 - 10.0

0.05 - 7.50 - 10.0

0 - 11 - 15

# RT Speed

RT Pan

L63 - 0 - R63

0 - 127

*14

RT Level

Level

0 - 64 - 127

0 - 96 - 127

Slow/Fast

00 - 7F

00/7F

00 - 7F

0 - 127

64 : PH / AutoWah

PH Man

11 08

# RT Speed

RT Pan

100 - 620 - 8k

0.05 - 0.85 - 10.0

0 - 64 - 127

0 - 16 - 127

0 - 127

*12

L63 - 0 - R63

0 - 127

+ PH Rate

PH Depth

PH Reso

PH Mix

RT Level

Level

00 - 7F

00/01

00 - 7F

0 - 127

61 : OD / Phaser

OD Sel

11 05

Odrv/Dist

00/01

PH Pan

L63 - 0 - R63

0 - 127

+ OD Drive

OD Amp

0 - 48 - 127

00 - 7F

PH Level

AW Filter

AW Sens

# AW Man

AW Peak

AW Rate

AW Depth

AW Pol

Smal/BltIn/ 2-Stk/3-Stk 00/01/02/03

LPF/BPF

OD Amp Sw

OD Pan

Off/On

00/01

0 - 127

L63 - 0 - R63

0 - 96 - 127

100 - 620 - 8k

0.05 - 0.85 - 10.0

0 - 64 - 127

0 - 16 - 127

0 - 127

00 - 7F

*12

0 - 68 - 127

0 - 62 - 127

0.05 - 2.05 - 10.0

0 - 72 - 127

Down/Up

OD Level

PH Man

# PH Rate

PH Depth

PH Reso

PH Mix

00 - 7F

00/01

00 - 7F

AW Pan

L63 - 0 - R63

0 - 127

AW Level

Level

PH Pan

L63 - 0 - R63

0 - 127

PH Level

Level

0 - 127

62 : OD / AutoWah

OD Sel

11 06

Odrv/Dist

00/01

+ OD Drive

OD Amp

0 - 48 - 127

Small/BltIn/2-Stk/3-Stk

Off/On

00 - 7F

00/01/002/03

00/01

OD Amp Sw

OD Pan

L63 - 0 - R63

0 - 96 - 127

LPF/BPF

00 - 7F

00/01

OD Level

AW Filter

AW Sens

# AW Man

AW Peak

AW Rate

AW Depth

AW Pol

0 - 127

00 - 7F

0 - 68 - 127

0 - 62 - 127

0.05 - 2.05 - 10.0

0 - 72 - 127

Down/Up

00 - 7F

00/01

AW Pan

L63 - 0 - R63

0 - 127

00 - 7F

AW Level

Level

0 - 127

The correspondence between setting values and hexadeci-

mal values for items in the Value column indicated with "*" is

shown in the "Effect Data Table" (p. 183).

+: Effect control 1 can be used to modify the value (p.92)

#: Effect control 2 can be used to modify the value (p.92)

MSB/LSB: Indicates the ** portion of the following exclusive

messages. (p.196) (hexadecimal notation)

For Effect Type (data section)

Pre Delay Time

Delay Time 1

Delay Time 2

Delay Time 3

Delay Time 4

Rate 1

HF Damp

Cutoff Freq

*10 EQ Freq

*11 LPF

*12 Manual

*13 Azimuth

*14 Accl

F0 41 dev 42 12 40 03 00 ** ** sum F7

For Effect Parameters (LSB part of address)

F0 41 dev 42 12 40 03 ** data sum F7

(dev: device ID, sum: checksum)

Rate 2

Chapter 8. Appendix

182

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Effect data table

Pre Delay Delay Delay Delay Delay

Cutoff

Value(H)

Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq

Freq

LPF Manual

Azimuth

(deg)

Accl

(ms)

0.0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1.0

1.1

1.2

1.3

1.4

1.5

1.6

1.7

1.8

1.9

2.0

2.1

2.2

2.3

2.4

2.5

2.6

2.7

2.8

2.9

3.0

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

4.0

4.1

4.2

4.3

4.4

4.5

4.6

4.7

4.8

4.9

5.0

5.5

6.0

6.5

7.0

7.5

8.0

8.5

9.0

9.5

(ms)

200

205

210

215

220

225

230

235

240

245

250

255

260

265

270

275

280

285

290

295

300

305

310

315

320

325

330

335

340

345

350

355

360

365

370

375

380

385

390

395

400

405

410

415

420

425

430

435

440

445

450

455

460

465

470

475

480

485

490

495

500

505

510

515

(ms)

200

205

210

215

220

225

230

235

240

245

250

255

260

265

270

275

280

285

290

295

300

305

310

315

320

325

330

335

340

345

350

355

360

365

370

375

380

385

390

395

400

405

410

415

420

425

430

435

440

445

450

455

460

465

470

475

480

485

490

495

500

505

510

515

(ms)

0.0

0.1

0.2

0.3

0.4

0.5

0.6

0.7

0.8

0.9

1.0

1.1

1.2

1.3

1.4

1.5

1.6

1.7

1.8

1.9

2.0

2.1

2.2

2.3

2.4

2.5

2.6

2.7

2.8

2.9

3.0

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

4.0

4.1

4.2

4.3

4.4

4.5

4.6

4.7

4.8

4.9

5.0

5.5

6.0

6.5

7.0

7.5

8.0

8.5

9.0

9.5

(ms)

(Hz)

0.05

0.10

0.15

0.20

0.25

0.30

0.35

0.40

0.45

0.50

0.55

0.60

0.65

0.70

0.75

0.80

0.85

0.90

0.95

1.00

1.05

1.10

1.15

1.20

1.25

1.30

1.35

1.40

1.45

1.50

1.55

1.60

1.65

1.70

1.75

1.80

1.85

1.90

1.95

2.00

2.05

2.10

2.15

2.20

2.25

2.30

2.35

2.40

2.45

2.50

2.55

2.60

2.65

2.70

2.75

2.80

2.85

2.90

2.95

3.00

3.05

3.10

3.15

3.20

(Hz)

0.05

0.10

0.15

0.20

0.25

0.30

0.35

0.40

0.45

0.50

0.55

0.60

0.65

0.70

0.75

0.80

0.85

0.90

0.95

1.00

1.05

1.10

1.15

1.20

1.25

1.30

1.35

1.40

1.45

1.50

1.55

1.60

1.65

1.70

1.75

1.80

1.85

1.90

1.95

2.00

2.05

2.10

2.15

2.20

2.25

2.30

2.35

2.40

2.45

2.50

2.55

2.60

2.65

2.70

2.75

2.80

2.85

2.90

2.95

3.00

3.05

3.10

3.15

3.20

(Hz)

315

250

200

250

100 L180(=R180)

110

120

130

140

150

160

170

180

190

200

210

220

230

240

250

260

270

280

290

300

320

340

360

380

400

420

440

460

480

500

520

540

560

580

600

620

640

660

680

700

720

740

760

780

800

820

840

860

880

900

920

940

960

980

1000

1100

1200

1300

1400

1500

1600

1700

1800

L168

400

315

250

315

L156

L144

500

400

315

400

L132

100

105

110

115

120

125

130

135

140

145

150

155

160

165

170

175

180

185

190

195

200

205

210

215

220

225

230

235

240

245

250

255

260

265

270

275

280

285

290

295

300

305

310

315

L120

630

500

400

500

L108

L96

800

630

500

630

L84

L72

1000

800

630

800

L60

L48

1250

1000

800

1000

L36

L24

1600

1250

1000

1250

L12

Chapter 8. Appendix

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Pre Delay Delay Delay Delay Delay

Cutoff

Value(H)

Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq

Freq

LPF Manual

Azimuth

Accl

(ms)

100

(ms)

520

525

530

535

540

545

550

560

570

580

590

600

610

620

630

640

650

660

670

680

690

700

710

720

730

740

750

760

770

780

790

800

810

820

830

840

850

860

870

880

890

900

910

920

930

940

950

960

970

980

990

1000

(ms)

520

525

530

535

540

545

550

555

560

565

570

575

580

585

590

595

600

610

620

630

640

650

660

670

680

690

700

710

720

730

740

750

760

770

780

790

800

810

820

830

840

850

860

870

880

890

900

910

920

930

940

950

960

970

980

990

1000

(ms)

320

325

330

335

340

345

350

355

360

365

370

375

380

385

390

395

400

405

410

415

420

425

430

435

440

445

450

455

460

465

470

475

480

485

490

495

500

505

510

515

520

525

530

535

540

545

550

555

560

565

570

575

580

585

590

595

600

605

610

615

620

625

630

635

(Hz)

3.25

3.30

3.35

3.40

3.45

3.50

3.55

3.60

3.65

3.70

3.75

3.80

3.85

3.90

3.95

4.00

4.05

4.10

4.15

4.20

4.25

4.30

4.35

4.40

4.45

4.50

4.55

4.60

4.65

4.70

4.75

4.80

4.85

4.90

4.95

5.00

5.10

5.20

5.30

5.40

5.50

5.60

5.70

5.80

5.90

6.00

6.10

6.20

6.30

6.40

6.50

6.60

6.70

6.80

6.90

7.00

7.50

8.00

8.50

9.00

9.50

10.00

(Hz)

3.25

3.30

3.35

3.40

3.45

3.50

3.55

3.60

3.65

3.70

3.75

3.80

3.85

3.90

3.95

4.00

4.05

4.10

4.15

4.20

4.25

4.30

4.35

4.40

4.45

4.50

4.55

4.60

4.65

4.70

4.75

4.80

4.85

4.90

4.95

5.00

5.05

5.10

5.15

5.20

5.25

5.30

5.35

5.40

5.45

5.50

5.55

5.60

5.65

5.70

5.75

5.80

5.85

5.90

5.95

6.00

(Hz)

1900

2000

2100

2200

2300

2400

2500

2600

2700

2800

2900

3000

3100

3200

3300

3400

3500

3600

3700

3800

3900

4000

4100

4200

4300

4400

4500

4600

4700

4800

4900

5000

5100

5200

5300

5400

5500

5600

5700

5800

5900

6000

6100

6200

6300

6400

6500

6600

6700

6800

6900

7000

7100

7200

7300

7400

7500

7600

(deg)

2000

1600

1250

1600

R12

R24

2500

2000

1600

2000

R36

R48

3150

2500

2000

2500

R60

R72

4000

3150

2500

3150

R84

R96

100

110

120

130

140

150

160

170

180

190

200

210

220

230

240

250

260

270

280

290

300

320

340

360

380

400

420

440

460

480

500

5000

4000

3150

4000

R108

R120

6300

5000

4000

5000

R132

R144

8000

6300

5000

6300

R156

R168

6.05 Bypass

8000

6300 Bypass

6.10

6.15

6.20

6.25

6.30

6.35

6.40

7700 R180(=L180)

7800

7900

8000

Chapter 8. Appendix

184

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The following effect types are used in the table on the preceding page.

Pre Delay Time

10: Stereo Flanger

35: OD → Chorus

36: OD → Flanger

38: DS → Chorus

39: DS → Flanger

41: EH → Chorus

42: EH → Flanger

44: Cho → Delay

45: FL → Delay

46: Cho → Flanger

47: Rotary Multi

56: Cho / Delay

57: FL / Delay

11: Step Flanger

16: Hexa Chorus

17: Tremolo Chorus

18: Stereo Chorus

19: Space-D

20: 3D Chorus

26: Reverb

27: Gate Reverb

29: 2 Pitch Shifter

30: Fb P.Shifter

35: OD → Chorus

36: OD → Flanger

38: DS → Chorus

39: DS → Flanger

41: EH → Chorus

42: EH → Flanger

44: Cho → Delay

45: FL → Delay

46: Cho → Flanger

54: Rhodes Multi

56: Cho / Delay

57: FL / Delay

58: Cho / Flanger

60: OD / Rotary

61: OD / Phaser

62: OD / Auto Wah

63: PH / Rotary

64: PH / Auto Wah

Rate2

48: GTR Multi 1

49: GTR Multi 2

50: GTR Multi 3

51: Clean Gt Multi 1

52: Clean Gt Multi 2

53: Bass Multi

58: Cho / Flanger

Delay Time1

54: Rhodes Multi

55: Keyboard Multi

23: 3 Tap Delay

24: 4 Tap Delay

HF Damp

Delay Time2

25: Tm Ctrl Delay

21: Stereo Delay

22: Mod Delay

23: 3 Tap Delay

24: 4 Tap Delay

25: Tm Ctrl Delay

26: Reverb

Delay Time3

21: Stereo Delay

22: Mod Delay

28: 3D Delay

37: OD → Delay

40: DS → Delay

43: EH → Delay

44: Cho → Delay

45: FL → Delay

56: Cho / Delay

57: FL / Delay

37: OD → Delay

40: DS → Delay

43: EH → Delay

44: Cho → Delay

45: FL → Delay

51: Clean Gt Multi 1

56: Cho / Delay

57: FL / Delay

Delay Time4

48: GTR Multi 1

Cutoff Freq

50: GTR Multi 3

10: Stereo Flanger

18: Stereo Chorus

34: Lo-Fi 2

51: Clean Gt Multi 1

52: Clean Gt Multi 2

55: Keyboard Multi

LPF

Rate1

34: Lo-Fi 2

7: Phaser

54: Rhodes Multi

8: Auto Wah

9: Rotary

Manual

7: Phaser

10: Stereo Flanger

11: Step Flanger

12: Tremolo

54: Rhodes Multi

55: Keyboard Multi

61: OD / Phaser

63: PH / Rotary

13: Auto Pan

16: Hexa Chorus

17: Tremolo Chorus

18: Stereo Chorus

19: Space-D

64: PH / Auto Wah

Azimuth

20: 3D Chorus

22: Mod Delay

31: 3D Auto

32: 3D Locate

Chapter 8. Appendix

185

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Preset Patch list

No.

001

002

003

004

005

006

007

008

009

010

011

012

013

Patch Name

RB STRAT

MILD OD

WAH! PEDAL

WARM OD

EC STRAT

Map

PC/CC00

028/000

028/016

028/017

028/016

028/001

028/019

028/017

028/019

028/017

029/000

035/001

028/003

028/002

028/003

028/016

028/001

029/002

027/000

025/032

025/000

026/032

035/000

036/001

039/001

037/009

039/013

040/000

040/024

039/009

005/000

005/024

006/016

005/000

005/008

003/000

008/000

017/000

017/008

017/048

018/000

017/000

020/033

017/028

101/008

049/016

049/002

050/009

051/009

049/012

046/016

053/009

053/008

053/032

062/000

066/016

067/009

068/000

062/010

091/003

063/001

063/009

063/016

063/002

058/000

067/000

082/017

084/008

Instrument

Clean Gt.

Effect type

[Native]

[55]

48:GTR Multi 1

50:GTR Multi 3

49:GTR Multi 2

48:GTR Multi 1

05:Overdrive

49:GTR Multi 2

40:DS -> Delay

50:GTR Multi 3

49:GTR Multi 2

59: OD1 / OD2

51:CleanGtMulti1

52:CleanGtMulti2

08:Auto Wah

07:Phaser

51:CleanGtMulti1

26:Reverb

43:EH -> Delay

41:EH -> Chorus

53:Bass Multi

62:OD / AutoWah

07:Phaser

04:Humanizer

07:Phaser

17:Tremolo Chorus

54:Rhodes Multi

17:TremoloChorus

54:Rhodes Multi

22:Mod Delay

14:Compressor

51:CleanGtMulti1

09:Rotary

47:Rotary Multi

26:Reverb

TC FrontPick

TC Rear Pick

TC FrontPick

Clean Half

TC Clean 2:

TC Rear Pick

TC Clean 2:

TC Rear Pick

"Muted Gt.

Picked Bass2

Open Hard 2

Open Hard 1

Open Hard 2

TC FrontPick

Clean Half

TC Muted Gt.

Jazz Gt.

BLUES OD

HEAVY & WILD

FLANGER GTR

SLOW GEAR

MID-BOOST

POWER RHYTHM

HEAVY RHYTHM

NOISY RHYTHM

[Native]

[88]

[Native]

[88]

[Native]

[88]

014

015

016

017

018

019

020

021

022

023

024

025

026

027

028

CLEAN RHYTHM

WAH RHYTHM

T-WAH GUITAR

FUNK PHASE

MELLOW&CLEAN

COOL ARP.

SURF GUITAR

JAZZ GUITAR

NYLON BOSSA

ENH. NYLON

Nylon Gt.2

Nylon-str.Gt

Steel Gt.2

ENH. STEEL

COMP PK BASS

DRIVE PK BS.

JP FRETLESS

HYPER BASS

Picked Bass

Fretless Bs2

SynthBass101

Unison Slap

TB303 Saw Bs

Synth Bass 2

Sync Bass

TB303 Bass

E.Piano 1

Wurly

ST. FM EP

E.Piano 1

'St.Soft EP

Piano 3

Clav.

Organ 1

Trem. Organ

5th Organ

'Organ 2

Organ 1

Theater Org.

VS Organ

029

030

031

032

033

034

035

036

037

038

039

040

041

042

043

044

045

046

047

048

049

050

051

052

053

054

055

056

303 SAW BASS

FAT S.BASS

SYNC BASS

HUMAN BASS

PH RHODES

TREM RHODES

TREM WURLY

TREM FM EP

SC RHODES

SOFT E.PIANO

COMP PIANO

COMP CLAV.

THE E.ORGAN

TREM ORGAN

5TH ORGAN

PERC. ORGAN

OD-ROT ORGAN

THEARTER ORG

DIGI ORGAN

ORGAN BELL

CHO STRINGS

WIDE STRINGS

WIDE SYN STR

WARM STRINGS

FAT STRINGS

SPIC WALTZ

22:Mod Delay

09:Rotary

18:Stereo Chorus

28:3D Delay

20:3D Chorus

22:Mod Delay

23:3 Tap Delay

28:3D Delay

21:Stereo Delay

03:Enhancer

---

Org Bell

St. Strings

ChamberStr:

Warm Strings

Syn.Strings4

Strings+Horn

Solo Spic.

Melted Choir

St.ChoirAahs

'ChoirAahs 2

Brass 1

AltoSax + Tp

St.Tenor Sax

Baritone Sax

Brass sfz

Poly King

JUNO Brass

P5 Brass

WIDE CHOIR

DUAL CHOIR

057

058

NYMAN BRASS

SAX LIVE

[Native]

[55]

30:Fb P.Shifter

---

059

060

061

SFORZANDO

TS WIND

ANALOG BRS

03:Enhancer

29:2PitchShifter

03:Enhancer

02:Spectrum

35:OD -> Chorus

22:Mod Delay

16:Hexa Chorus

062

OCT BRASS

Oct SynBrass

Stack Brass

"Trombone

Tenor Sax

PM Lead

063

064

065

066

M.TROMBONE

DRIVE TENOR

PM SYN LEAD

MAD CHO LEAD

[Native]

Mad Lead

Chapter 8. Appendix

186

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No.

067

068

069

070

071

072

073

074

075

076

077

078

079

080

081

082

083

084

085

086

087

088

089

090

Patch Name

Map

PC/CC00

082/031

082/032

081/009

066/000

082/000

017/032

085/017

096/011

052/008

098/003

096/011

092/002

098/008

031/009

093/000

052/002

090/002

090/004

097/004

095/001

093/002

090/004

103/008

108/001

089/000

111/008

016/016

032/016

105/003

121/013

112/024

123/005

017/000

110/008

096/011

102/014

015/008

056/012

127/006

102/004

102/013

017/024

093/002

086/008

RHY/033

004/008

033/000

030/003

085/016

039/024

001/000

033/000

017/000

028/016

041/000

043/000

074/001

062/008

082/018

063/001

001/000

012/000

033/000

RHY/033

085/009

102/010

123/016

121/011

127/007

056/017

056/016

121/006

055/016

Instrument

MG Saw Lead

OB Saw Lead

Sine Lead

Alto Sax

Saw Wave

70's E.Organ

Fat SyncLead

Bag Sweep

Air Strings

Prologue 2

Bag Sweep

SC Heaven

Rave

Feedback Gt2

Bowed Glass

JUNO Strings

Horn Pad

'Soft Pad

Rattle Pad

Vox Pad

JP8 Sqr Pad

OB Soft Pad

Pan Sequence

Gu Zheng

Fantasia

Er Hu

Zither 1

Ac.Gt.Harmnx

Sitar 3

Biwa Tremolo

Mizmar

Effect type

23:3 Tap Delay

50:GTR Multi 3

55:KeyboardMulti

11:Step Flanger

07:Phaser

MG SAW LEAD

OB SAW LEAD

SINE LEAD

BND WAH LEAD

SUPER SAW

SILKY LEAD

[Native]

[88]

STEP SYNC

PHASER HPF

PHASER STR

PROLOGUE

MOD SWEEP

MOD HEAVEN

RAVE SHIFT

07:Phaser

22:Mod Delay

29:2PitchShifter

25:Tm Ctrl Delay

11:Step Flanger

22:Mod Delay

19:Space D

23:3 Tap Delay

24:4 Tap Delay

---

24:4 Tap Delay

21:Stereo Delay

55:KeyboardMulti

31:3D Auto

23:3 Tap Delay

31:3D Auto

20:3D Chorus

28:3D Delay

33:Lo-Fi 1

FB FAR OUT!

STEP BELL

STEP STRINGS

SEQ HORN PAD

THE SOFT PAD

RATTLE PAD

WARM VOX PAD

JP8 SQR PAD

OB SOFT PAD

PAN SEQENCE

ASIAN DREAM

[Native]

[88]

091

092

093

094

095

096

097

098

099

100

101

102

103

104

105

106

107

108

109

110

111

ER HU LEAD

ZITHER

PSY. TABLA

SITAR DANCE

SPIN BIWA

ARABIC LEAD

3D BUBBLE

3D ROTARY

3D DIDGERIDO

3D BAG SWEEP

3D UFO......

3D CHURCH

3D IMPCT HIT

3D EXCITE !!

LO-FI AUH

Bubble

Organ 1

Didgeridoo

Bag Sweep

UFO FX

Church Bell

Shock Wave

Applause 2

Auhbient

Alternative

Cheese Organ

JP8 Sqr Pad

Vox Lead

JAZZ SET

Honky-tonk 2

Acoustic Bs.

More Drive

P5 Sync Lead

Arpeggio Bs

Piano 1

LO-FI TECHNO

LO-FI ORGAN

LO-FI SQUARE

LO-FI VOX

LO-FI JAZZ

LO-FI DUO

33:Lo-Fi 1

34:Lo-Fi 2

112

113

LO-FI GND NZ

LEAD & SEQ

19:Space D

---

114

115

116

117

118

119

120

PIANO & BASS

GTR & ORGAN

VIOLIN&CELLO

BRS. & FLUTE

SYNTH SPLIT

PIANO & VIBE

JAZZ RHYTHM

Acoustic Bs.

Organ 1

TC FrontPick

---

60:OD / Rotary

43:EH -> Delay

---

30:Fb P.Shifter

---

26:Reverb

---

13:Auto Pan

19:Space D

10:StereoFlanger

24:4 Tap Delay

34:Lo-Fi 2

Violin

Cello

Flute 2

Brass 2

CS Saw Lead

JUNO Brass

Piano 1

Vibraphone

'AcousticBs.

JAZZ SET

Acid Guitar1

LFO RAVE

Pink Noise

Chord Stroke

Small Club

Techno Hit

Lo Fi Rave

Pick Scrape

VP330 Choir

[Native]

121

122

123

124

125

126

ACID PANNER

LFO RAVE

FLANGER NZ

1 KEY STROKE

INET LIVE:-)

DOUBLE HIT

---

33:Lo-Fi 1

30:Fb P.Shifter

127

128

SCRAPE SHIFT

EPILOGUE

Chapter 8. Appendix

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MIDI implementation

Model SC-88 Pro

Version 1.00 '96.9

This unit implements additional functionality and parameters over and above the

SC-88, which itself was an expansion of the GS sound source format. These func-

tions and parameters are marked by a [Pro] symbol. If MIDI messages marked by a

[Pro] symbol are transmitted to another GS format sound source or to the SC-88,

those messages may not be recognized. Also, functions and parameters which were

added to the SC-88 over and above previous GS format sound sources are marked

by an [88] symbol.

Modulation (Controller number 1)

Status

BnH

2nd byte

01H

3rd byte

vvH

n = MIDI channel number

vv = Modulation depth

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

* Not received when Rx.MODULATION = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial

settings, this is Pitch Modulation Depth.

Section 1. Receive data

Portamento Time (Controller number 5)

Channel Voice Messages

Status

BnH

2nd byte

05H

3rd byte

vvH

Note off

Status

8nH

9nH

2nd byte

kkH

3rd byte

vvH

00H

n = MIDI channel number

vv = Portamento Time

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial value = 00H (0)

* This adjusts the rate of pitch change when Portamento is ON or when using the

Portamento Control. A value of 0 results in the fastest change.

n = MIDI channel number

kk = note number

vv = note off velocity

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

Data Entry (Controller number 6, 38)

Status

BnH

2nd byte

06H

26H

3rd byte

mmH

llH

* For Drum Parts, these messages are received when Rx.NOTE OFF = ON for each

Instrument.

* The velocity values of Note Off messages are ignored.

n = MIDI channel number

mm, ll = the value of the parameter specified by RPN/NRPN

mm = MSB, ll = LSB

0H-FH (ch.1-ch.16)

Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

Volume (Controller number 7)

n = MIDI channel number

kk = note number

vv = note on velocity

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

01H-7FH (1-127)

Status

BnH

2nd byte

07H

3rd byte

vvH

n = MIDI channel number

vv = Volume

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 64H (100)

* Not received when Rx.NOTE MESSAGE = OFF. (Initial value is ON)

* For Drum Parts, not received when Rx.NOTE ON = OFF for each Instrument.

* Volume messages are used to adjust the volume balance of each Part.

* Not received when Rx.VOLUME = OFF. (Initial value is ON)

Polyphonic Key Pressure

Status

AnH

2nd byte

kkH

3rd byte

vvH

Pan (Controller number 10)

Status

BnH

2nd byte

0AH

3rd byte

vvH

n = MIDI channel number

kk = note number

vv = key pressure

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

n = MIDI channel number

vv = pan

0H-FH (ch.1-ch.16)

00H-40H-7FH (Left-Center-Right), Initial Value

= 40H (Center)

* Not received when Rx.POLY PRESSURE (PAf) = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial

settings, there will be no effect.

* For Rhythm Parts, this is a relative adjustment of each Instrument's pan setting.

* Not received when Rx.PANPOT = OFF. (Initial value is ON)

Control Change

* When Rx.CONTROL CHANGE = OFF, all control change messages except for

Channel Mode messages will be ignored.

* The value specified by a Control Change message will not be reset even by a

Program Change, etc.

Expression (Controller number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

n = MIDI channel number

vv = Expression

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 7FH (127)

Bank Select (Controller number 0, 32)

[88]

Status

BnH

2nd byte

00H

20H

3rd byte

mmH

llH

* This adjusts the volume of a Part. It can be used independently from Volume mes-

sages. Expression messages are used for musical expression within a performance;

e.g., expression pedal movements, crescendo and decrescendo.

n = MIDI channel number

mm = Bank number MSB

0H-FH (ch.1-ch.16)

00H-7FH (GS Variation number 0 - 127), Initial

Value = 00H

* Not received when Rx.EXPRESSION = OFF. (Initial value is ON)

Hold 1 (Controller number 64)

ll = Bank number LSB

00H - 03H (MAP), Initial Value = 00H

Status

BnH

2nd byte

40H

3rd byte

vvH

* Not received when Rx.BANK SELECT = OFF. "Rx.BANK SELECT" is set to OFF

by "Turn General MIDI System On," and set to ON by "GS RESET." (Power-on

default value is ON.)

n = MIDI channel number

vv = Control value

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

* When Rx.BANK SELECT LSB = OFF, Bank number LSB will be handled as 00H

regardless of the received value. However, when sending Bank Select messages,

you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)

together.

* Bank Select processing will be suspended until a Program Change message is

received.

* Not received when Rx.HOLD1 = OFF. (Initial value is ON)

Portamento (Controller number 65)

Status

BnH

2nd byte

41H

3rd byte

vvH

* The GS format "Variation number" is the value of the Bank Select MSB (Controller

number 0) expressed in decimal.

n = MIDI channel number

vv = Control value

0H-FH (ch.1-ch.16)

00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

* This unit recognizes the Bank Select LSB (Controller number 32) as a flag for

switching between the Native MAP,SC-88MAP and the SC-55MAP. With a Bank

Select LSB of 00H, the map selected by the front panel SC-88MAP or SC-55MAP

button will be selected. With a LSB of 01H, the SC-55MAP will be selected. With a

LSB of 02H, the SC-88MAP will be selected.

* Not received when Rx.PORTAMENTO = OFF. (Initial value is ON)

With a LSB of 03H, the Native MAP will be selected.

* Some other GS devices do not recognize the Bank Select LSB (Controller number

32).

Chapter 8. Appendix

188

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Sostenuto (Controller number 66)

NRPN MSB/LSB (Controller number 98, 99)

Status

BnH

2nd byte

42H

3rd byte

vvH

Status

BnH

2nd byte

63H

62H

3rd byte

mmH

llH

n = MIDI channel number

vv = Control value

0H-FH (ch.1-ch.16)

00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

n = MIDI channel number

0H-FH (ch.1-ch.16)

mm = upper byte of the parameter number specified by NRPN

ll = lower byte of the parameter number specified by NRPN

* Not received when Rx.SOSTENUTO = OFF. (Initial value is ON)

Soft (Controller number 67)

* NRPN can be received when Rx.NRPN = ON. "Rx.NRPN" is set to OFF by power-

on reset or by receiving "Turn General MIDI System On," and it is set to ON by "GS

RESET."

Status

BnH

2nd byte

43H

3rd byte

vvH

* The value set by NRPN will not be reset even if Program Change or Reset All

Controllers is received.

n = MIDI channel number

vv = Control value

0H-FH (ch.1-ch.16)

00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

**NRPN**

The NRPN (Non Registered Parameter Number) message allows an extended

range of control changes to be used. On this unit, NRPN messages can be used to

modify sound parameters etc.

* Not received when Rx.SOFT = OFF. (Initial value is ON)

Portamento control (Controller number 84)

To use these messages, you must first use NRPN messages (Controller number 98

and 99, their order does not matter) to specify the parameter to be controlled, and

then use Data Entry messages to specify the value of the specified parameter. Once

an NRPN parameter has been specified, all Data Entry messages received on that

channel will modify the value of that parameter. To prevent accidents, it is recom-

mended that you set RPN Null (RPN Number = 7FH/7FH) when you have finished

setting the value of the desired parameter. Refer to Section 5. Supplementary mate-

rial "Examples of actual MIDI messages" <Example 4> (page 207). On this unit,

Data entry LSB (Controller number 38) of NRPN is ignored, so it is no problem to

send Data entry MSB (Controller number 6) only (without Data entry LSB).

Status

BnH

2nd byte

54H

3rd byte

kkH

n = MIDI channel number

kk = source note number

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

* A Note-on received immediately after a Portamento Control message will change

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.

* The rate of the pitch change caused by Portamento Control is determined by the

Portamento Time value.

On this unit, NRPN can be used to modify the following parameters.

NRPN

MSB LSB MSB

01H 08H mmH

Data entry

Example 1.

Function and range

Vibrato Rate (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

Vibrato Depth (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

Vibrato Delay (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

TVF Cutoff Frequency (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

TVF Resonance (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

TVF&TVA Envelope Attack Time (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

TVF&TVA Envelope Decay Time (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

TVF&TVA Envelope Release Time (relative change)

mm: 00H - 40H - 7FH (-64 - 0 - +63)

Drum Instrument Pitch Coarse (relative change)

rr: Drum Instrument note number

On MIDI

90 3C 40

B0 54 3C

90 40 40

80 3C 40

80 40 40

Description

Note on C4

Portamento Control from C4

Note on E4

Note off C4

Result

C4 on

no change

glide from C4 to E4

no change

E4 off

01H 09H mmH

01H 0AH mmH

01H 20H mmH

01H 21H mmH

01H 63H mmH

01H 64H mmH

01H 66H mmH

18H rrH mmH

Note off E4

Example 2.

On MIDI

B0 54 3C

90 40 40

80 40 40

Description

Portamento Control from C4

Note on E4

Result

no change

E4 is played with glide from C4 to E4

E4 off

Note off E4

Effect 1 (Reverb Send Level) (Controller number 91)

Status

BnH

2nd byte

5BH

3rd byte

vvH

n = MIDI channel number

vv = Reverb Send Level

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 28H (40)

mm: 00H - 40H - 7FH (-64 - 0 - +63 semitone)

Drum Instrument TVA Level (absolute change)

rr: Drum Instrument note number

mm: 00H - 7FH (0 - max)

Drum Instrument Panpot (absolute change)

rr: Drum Instrument note number

mm: 00H, 01H - 40H - 7FH (random, left-center-right)

Drum Instrument Reverb Send Level (absolute change)

rr: Drum Instrument note number

mm: 00H - 7FH (0 - max)

Drum Instrument Chorus Send Level (absolute change)

rr: Drum Instrument note number

1AH rrH mmH

1CH rrH mmH

1DH rrH mmH

1EH rrH mmH

1FH rrH mmH

* This message adjusts the Reverb Send Level of each Part.

Effect 3 (Chorus Send Level) (Controller number 93)

Status

BnH

2nd byte

5DH

3rd byte

vvH

n = MIDI channel number

vv = Chorus Send Level

0H-FH (ch.1-ch.16)

00H-7FH (0-127), Initial Value = 00H (0)

* This message adjusts the Chorus Send Level of each Part.

mm: 00H - 7FH (0 - max)

Drum Instrument Delay Send Level (absolute change) [88]

rr: Drum Instrument note number

Effect 4 (Delay Send Level) (Controller number 94)

[88]

Status

BnH

2nd byte

5EH

3rd byte

vvH

mm: 00H - 7FH (0 - max)

n=MIDI channel number

vv=Delay Send Level

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127), Initial value = 00H (0)

* Data entry LSB (llH) is ignored.

* Parameters marked "relative change" will change relative to the preset value(40H).

Even among different GS devices, "relative change" parameters may sometimes dif-

fer in the way the sound changes or in the range of change.

* Parameters marked "absolute change" will be set to the absolute value of the para-

meter, regardless of the preset value.

* This message adjusts the Delay Send Level of each Part.

* Some other GS devices may not recognize this message.

* Delay cannot be used in MODE-2 (Double Module mode).

* It is not possible to simultaneously use both Chorus Send Level and Delay Send

Level on a single Drum Instrument.

Chapter 8. Appendix

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RPN MSB/LSB (Controller number 100, 101)

Channel Mode Messages

Status

BnH

2nd byte

65H

64H

3rd byte

mmH

llH

All Sounds Off (Controller number 120)

Status

BnH

2nd byte

78H

3rd byte

00H

n = MIDI channel number

0H-FH (ch.1-ch.16)

mm = upper byte of parameter number specified by RPN

ll = lower byte of parameter number specified by RPN

n = MIDI channel number

0H-FH (ch.1-ch.16)

* When this message is received, all currently-sounding notes on the corresponding

channel will be turned off immediately.

* Not received when Rx.RPN = OFF. (Initial value is ON)

* The value specified by RPN will not be reset even by messages such as Program

Change or Reset All Controller.

Reset All Controllers (Controller number 121)

Status

BnH

2nd byte

79H

3rd byte

00H

**RPN**

The RPN (Registered Parameter Number) messages are expanded control

changes, and each function of an RPN is described by the MIDI Standard.

To use these messages, you must first use RPN (Controller number 100 and 110,

their order does not matter) to specify the parameter to be controlled, and then use

Data Entry messages (Controller number 6, 38) to specify the value of the specified

parameter. Once an RPN parameter has been specified, all Data Entry messages

received on that channel will modify the value of that parameter. To prevent acci-

dents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH) when

you have finished setting the value of the desired parameter.Refer to Section 5.

"Examples of actual MIDI messages" <Example 4> (page 207).

n = MIDI channel number

0H-FH (ch.1-ch.16)

* When this message is received, the following controllers will be set to their reset

values.

Controller

Reset value

±0 (center)

0 (off)

127 (max)

0 (off)

Pitch Bend Change

Polyphonic Key Pressure

Channel Pressure

Modulation

Expression

Hold 1

Portamento

Sostenuto

Soft

On this unit, RPN can be used to modify the following parameters.

RPN

Data entry

MSB LSB MSB LSB Explanation

00H 00H mmH ---

Pitch Bend Sensitivity

mm: 00H-18H (0-24 semitones),

Initial Value = 02H (2 semitones)

ll: ignored (processed as 00H)

RPN

NRPN

unset; previously set data will not change

specify up to 2 octaves in semitone steps

Master Fine Tuning

mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents),

Initial Value = 40 00H (± 0 cent)

Refer to 5. Supplementary material, "About tuning" (page 208).

Master Coarse Tuning

All Notes Off (Controller number 123)

00H 01H mmH llH

00H 02H mmH ---

Status

BnH

2nd byte

7BH

3rd byte

00H

n = MIDI channel number

0H-FH (ch.1-ch.16)

mm: 28H-40H-58H (-24 - 0 - +24 semitones),

Initial Value = 40H (±0 semitone)

* 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.

ll: ignored (processed as 00H)

7FH 7FH ---

---

RPN null

Set condition where RPN and NRPN are unspecified. The

data entry messages after set RPN null will be ignored. (No

Data entry messages are required after RPN null).

Settings already made will not change.

mm, ll: ignored

OMNI OFF (Controller number 124)

Status

BnH

2nd byte

7CH

3rd byte

00H

n = MIDI channel number

0H-FH (ch.1-ch.16)

Program Change

* The same processing will be carried out as when All Notes Off is received.

Status

CnH

2nd byte

ppH

OMNI ON (Controller number 125)

n = MIDI channel number

pp = Program number

0H-FH (ch.1-ch.16)

00H-7FH (prog.1-prog.128)

Status

BnH

2nd byte

7DH

3rd byte

00H

* Not received when Rx.PROGRAM CHANGE = OFF. (Initial value is ON)

* After a Program Change message is received, the sound will change beginning

with the next Note-on. Voices already sounding when the Program Change mes-

sage was received will not be affected.

n = MIDI channel number

0H-FH (ch.1-ch.16)

* The same processing will be carried out as when All Note Off is received.OMNI ON

will not be turned on.

* For Drum Parts, Program Change message will not be received on lower byte of

the bank numbers (the value of Control Number 0 is other than 0 (00H)).

MONO (Controller number 126)

Status

BnH

2nd byte

7EH

3rd byte

mmH

Channel Pressure

Status

DnH

2nd byte

vvH

n = MIDI channel number

mm = mono number

0H-FH (ch.1-ch.16)

00H-10H (0-16)

n = MIDI channel number

vv = Channel Pressure

0H-FH (ch.1-ch.16)

00H-7FH (0-127)

* The same processing will be carried out as when All Sounds Off and All Notes Off

is received, and the corresponding channel will be set to Mode 4 (M = 1) regardless

of the value of "mono number."

* Not received when Rx.CH PRESSURE (CAf) = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial

settings there will be no effect.

POLY (Controller number 127)

Status

BnH

2nd byte

7FH

3rd byte

00H

Pitch Bend Change

Status

EnH

2nd byte

llH

3rd byte

mmH

n = MIDI channel number

0H-FH (ch.1-ch.16)

n = MIDI channel number

mm, ll = Pitch Bend value

0H-FH (ch.1-ch.16)

00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* The same processing will be carried out as when All Sounds Off and All Notes Off

is received, and the corresponding channel will be set to Mode 3.

* Not received when Rx.PITCH BEND = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial

settings the effect is Pitch Bend.

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* When this message is received, Rx.NRPN will be ON.

* This message will not be received if "Rx.GS Reset = OFF"(page 139).

* There must be an interval of at least 50 ms between this message and the next.

System Realtime Message

Active Sensing

Status

FEH

System Mode Set [88]

System Mode Set is a message that sets this unit operating mode to MODE-1 (sin-

gle module mode) or MODE-2 (double module mode). When this message is

received, the operating mode will be set, and at the same time all internal parame-

ters (except for the map settings of each Part) will be reset to the initial state.

* 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 halt-

ed.

Status

F0H

Data byte

Status

F7H

41H, dev, 42H, 12H, 00H, 00H, 7FH, ddH, sumH

Byte

F0H

41H

dev

42H

12H

00H

7FH

ddH

sumH

F7H

Explanation

Exclusive status

System Exclusive Message

ID number

Device ID

Model ID

Command ID

Address MSB

Address

Address LSB

Data

Checksum

EOX

(Roland)

Status

F0H

Data byte

iiH, ddH, ......,eeH

Status

F7H

(dev: 00H - 1FH (1 - 32) Initial value is 10H(17))

(GS)

(DT1)

F0H

ii = ID number

System Exclusive Message status

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).

00H (MODE-1), 01H (MODE-2)

01H (MODE-1), 00H (MODE-2)

(End Of Exclusive)

* When this message is received, Rx.NRPN will be set ON.

* This message will not be received when Rx.GS Reset = OFF (page 139) or Rx.Sys

Mode = OFF (page 135).

dd,...,ee = data

F7H

00H-7FH (0-127)

EOX (End Of Exclusive)

* There must be an interval of at least 50 ms between this message and the next.

The System Exclusive Messages received by this unit are; messages related to

mode settings, Universal Realtime System Exclusive messages, Data Requests

(RQ1), and Data Set (DT1).

Universal Realtime System Exclusive Messages

Master volume

System exclusive messages related to mode settings

Status

F0H

Data byte

7FH, 7FH, 04H, 01H, llH, mmH

Status

F7H

These messages are used to initialize a device to GS or General MIDI mode, or

change the operating mode. When creating performance data, a "Turn General MIDI

System On" message should be inserted at the beginning of a General MIDI score,

and a "GS Reset" message at the beginning of a GS music data. In the case of data

for the SC-88 and for this unit, we recommend that "System Mode Set" be placed at

the beginning of the song data. Each song should contain only one mode message

as appropriate for the type of data. (Do not insert two or more mode setting mes-

sages in a single song.)

Byte

F0H

7FH

04H

01H

llH

Explanation

Exclusive status

ID number (universal realtime message)

Device ID (Broadcast)

Sub ID#1 (Device Control messages)

Sub ID#2 (Master Volume)

Master volume lower byte

Master volume upper byte

EOX (End Of Exclusive)

"Turn General MIDI System On" use Universal Non-realtime Message format.

"System Mode Set" and "GS Reset" use Roland system exclusive format "Data Set

1 (DT1)."

mmH

F7H

Turn General MIDI System On

* The lower byte (llH) of Master Volume will be handled as 00H.

Universal Non-realtime System Exclusive Messages

Identity Request Message

This is a command message that resets the internal settings of the unit to the

General MIDI initial state (General MIDI System-Level 1). After receiving this mes-

sage this unit, will automatically be set to the proper condition for correctly playing a

General MIDI score.

[Pro]

Status

F0H

Data byte

7EH, dev, 06H, 01H

Status

F7H

Status

F0H

Data byte

7EH, 7FH, 09H, 01H

Status

F7H

Byte

FOH

7EH

dev

06H

01H

F7H

Explanation

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)

Byte

F0H

7EH

7FH

09H

01H

F7H

Explanation

Exclusive status

ID number (Universal Non-realtime Message)

Device ID (Broadcast)

Sub ID#1 (General MIDI Message)

Sub ID#2 (General MIDI On)

EOX (End Of Exclusive)

Sub ID#2 (Identity Request)

EOX (End Of Exclusive)

* The "dev" is own device number or 7FH (Broadcast)

* When this message is received, Rx.BANK SELECT will be OFF and Rx.NRPN will

be OFF.

Data transmission

* This message will not be received when Rx.GM On = OFF (page 139).

* There must be an interval of at least 50 ms between this message and the next

message.

This unit can use Exclusive messages to transmit internal settings to other devices.

There are two types of Exclusive data transmission; Individual Parameter

Transmission (page 193) in which single parameters are transmitted one by one,

and Bulk Dump Transmission (page 205) in which a large amount of data is trans-

mitted at once.

GS reset

GS Reset is a command message that resets the internal settings of a device to the

GS initial state. This message appears at the beginning of GS music data, and a GS

device that receives this message will automatically be set to the proper state to cor-

rectly playback GS music data. If this unit is in MODE-1 (single module mode) all 32

Parts will be initialized. If in MODE-2 (double module mode), only the corresponding

16 Parts will be initialized. In MODE-2 if the receiving MIDI connector for each Part

has been changed, this may affect playback from the other MIDI connector. In this

case, first perform initialization (page 118) before using this command.

The exclusive message used when transmitting GS format data has a model ID of

42H and a device ID of 10H. (This unit allows you to change the Device ID setting.)

Request data 1

RQ1 (11H)

This message requests the other device to send data. The Address and Size deter-

mine the type and amount of data to be sent. There are two types of request;

Individual Parameter Request which requests data for an individual parameter, and

Bulk Dump Request which requests a large amount of data at once. In either case,

the "Data Request 1 (RQ1)" message format is used, and the Address and Size

included in the message determine the type and amount of data that is desired.

For Individual Parameter Request, refer to "3. Individual Parameter Transmission"

(page 193).

Status

F0H

Data byte

Status

F7H

41H, dev, 42H, 12H, 40H, 00H, 7FH, 00H, 41H

Byte

F0H

41H

dev

42H

12H

40H

00H

7FH

00H

41H

F7H

Explanation

Exclusive status

ID number (Roland)

For Bulk Dump Request, refer to "4. Bulk Dump" (page 205).

When a Data Request message is received, if the device is ready to transmit data

and if the address and size are appropriate, the requested data will be transmitted

as a "Data Set 1 (DT1)" message. If not, nothing will be transmitted.

Device ID (dev: 00H-1FH (1-32), Initial value is 10H (17))

Model ID (GS)

Command ID (DT1)

Address MSB

Address

Address LSB

Data (GS reset)

Checksum

Status

F0H

Data byte

Status

F7H

41H, dev, 42H, 11H, aaH, bbH, ccH, ssH, ttH, uuH, sum

EOX (End Of Exclusive)

Chapter 8. Appendix

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Byte

F0H

41H

dev

Explanation

Exclusive status

ID number

Section 2. Transmit data

(Roland)

System Realtime Message

Device ID

(dev: 00H - 1FH Initial value is 10H(17))

42H

11H

aaH

Model ID

Command ID

Address MSB

(GS)

(RQ1)

Active sensing

Status

FEH

upper byte of the starting address of the requested

data

middle byte of the starting address of the requested

data

lower byte of the starting address of the requested

data

bbH

ccH

Address

* This will be transmitted constantly at intervals of approximately 250 ms.

Address LSB

ssH

ttH

Size MSB

Size

System exclusive messages

uuH

sum

F7H

Size LSB

Checksum

EOX

"Identity Reply" and "Data Set 1 (DT1)" are the only System Exclusive messages

transmitted by this unit.

When an appropriate "Identity Request Message" and "Data Request 1 (RQ1)" mes-

sage are received, the requested internal data will be transmitted.

(End Of Exclusive)

* The amount of data that can be transmitted at once time will depend on the type of

data, and data must be requested using a specific starting address and size. Refer

to the Address and Size listed in Section 3 (page 193).

Identity Reply

[Pro]

Status

F7H

Status

F0H

Data byte

* Regarding the checksum please refer to Section 5 (page 207).

7EH, dev, 06H, 02H, 41H, 42H, 00H, ddH, ddH, ssH, ssH, ssH, ssH

Data set 1

DT1(12H)

Byte

FOH

7EH

dev

Explanation

Exclusive status

This is the message that actually performs data transmission, and is used when you

wish to transmit the data.

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)

ID number (Roland)

Device family code (LSB)

Device family code (MSB)

Device family number code (LSB)

Device family number code (MSB)

Software revision level

Status

F0H

Data byte

Status

F7H

06H

02H

41H

42H

00H

ddH

ssH

F7H

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum

Byte

F0H

41H

dev

Explanation

Exclusive status

ID number (Roland)

Device ID (dev: 00H - 1FH Initial value is 10H(17))

42H

12H

aaH

Model ID

Command ID

Address MSB

(GS), 45H

(DT1)

Software revision level

EOX (End of Exclusive)

upper byte of the starting address of the transmitted

data

middle byte of the starting address of the transmit-

ted data

lower byte of the starting address of the transmitted

data

the actual data to be transmitted. Multiple bytes of

data are transmitted starting from the address.

bbH

ccH

ddH

Address

Address LSB

Data

* Reply the message by the unique device ID (dev) when the device has received

the "Identity Request Message" in the Broadcast.

Data set 1

Status

F0H

DT1 (12H)

Status

F7H

Data byte

eeH

sum

F7H

Data

Checksum

EOX

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum

(End Of Exclusive)

Byte

F0H

41H

dev

42H

12H

aaH

bbH

ccH

ddH

Explanation

Exclusive status

ID number (Roland)

Device ID (dev: 00H-1FH, Initial value is 10H)

Model ID (GS)

* The amount of data that can be transmitted at one time depends on the type of

data, and data can be received only from the specified starting address and size.

Refer to the Address and Size given in Section 3 (page 193).

* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If

"Data Set 1" is transmitted successively, there must be an interval of at least 40 ms

between packets.

Command ID (DT1)

Address MSB: upper byte of the starting address of the data to be sent

Address: middle byte of the starting address of the data to be sent

Address LSB: lower byte of the starting address of the data to be sent.

Data: the actual data to be sent. Multiple bytes of data are transmitted in

* Regarding the checksum please refer to section 5 (page 207).

order starting from the address.

eeH

sum

F7H

Data

Checksum

EOX (End Of Exclusive)

* 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 Section 3 (page 193).

* Data larger than 128 bytes will be divided into packets of 128 bytes or less, and

each packet will be sent at an interval of about 40 ms.

* Regarding the checksum please refer to section 4 (page 207).

There are two ways in which GS data is transmitted: Individual Parameter

Transmission (Section 3 page 193) in which individual parameters are transmitted

one by one, and Bulk Dump Transmission (Section 4 page 205) in which a large

amount of data is transmitted at once.

Chapter 8. Appendix

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Parameter address map

Section 3. Individual Parameter Transmission

(Model ID=45H or 42H)

Individual Parameter Transmission transmits data (or requests data) for one para-

meter as one exclusive message (one packet of "F0 ..... F7").

In Individual Parameter Transmission, you must use the Address and Size listed in

the following "Parameter Address Map". Addresses marked at "#" cannot be used as

starting addresses.

This map indicates address, size, Data (range), Parameter, Description, and Default

Value of parameters which can be transferred using "Request data 1 (RQ1)" and

"Data set 1 (DT1)".All the numbers of address, size, Data, and Default Value are

indicated in 7-bit Hexadecimal-form. Numbers in the explanatory column are given

in decimal notation. The MODEL ID = 45H parameters are related to LCD display.

The MODEL ID = 42H parameters at address 5* ** ** are not given in this map. The

parameters for address 5* ** ** are the same format as those at at address 4* ** **.

< MODEL ID = 45H >

Display data

Address Block map

An outlined address map of the Exclusive Communication is as follows;

Address(H) Size(H)

Data(H) Parameter

Description

Default Value(H)

10 00 00

10 00 01#

10 00 02#

00 00 20 20-7F Displayed Letter 32-127(ASCII) ---

Address(H)

10 00 00

Block

10 00 1F#

Display Data

* When this message is received, a character string specified by the data will be

temporarily displayed in the INSTRUMENT display area. A character string of 1 to

32 characters can be received. If more than 16 characters are received, the display

will automatically be scrolled.

Port-A

Address(H)

Block

Address(H)

Block

Address(H) Size(H)

Data(H) Parameter

Description

00-31

Default Value(H)

00 00 00

SYSTEM

10 0p 00

00 00 40 00-1F Displayed

Dot Data d00

Dot Data d01

Dot Data d02

20 00 00

10 0p 01#

10 0p 02#

USER TONE BANK

USER DRUM SET

USER EFX

21 00 00

22 00 00

23 00 00

24 00 00

25 00 00

26 00 00

27 00 00

40 00 00

40 10 00

41 00 00

10 0p

Dot Data

Dot Data d63

p=1:Page1, p=2:Page3, p=3:Page5, p=4:Page7, p=5:Page9)

10 0p 3F#

(p:Page#

10 0p 40

00 00 40 00-1F

Displayed

USER PATCH COMMON

Dot Data d00

Dot Data d01

Dot Data d02

00-31

10 0p 41#

10 0p 42#

USER PATCH PART

(BLOCK 01)

10 0p

Dot Data

Dot Data d63

p=1:Page2, p=2:Page4, p=3:Page6, p=4:Page8, p=5:Page10)

USER PATCH PART

(BLOCK 01)

10 0p 7F#

(p:Page#

USER PATCH PART

(BLOCK 02)

* When this message is displayed, screen data (16 x 16 dot)corresponding to the bit

pattern of the Displayed Dot Data will be stored in this unit internal memory. The

correspondence between data and dots is given below. The screen data which is

stored can be displayed by transmitting a message for address 10 20 00.

* Only in the case of Page 1, the screen data will be temporarily displayed immedi-

ately after this message is received.

USER PATCH PART

(BLOCK 02)

50 00 00

50 10 00

51 00 00

PATCH COMMON

PATCH PART

(BLOCK 00-0F)

PATCH PART

(BLOCK 10-1F)

bit

DRUM SETUP

[ * * d00 * * ] [ * * d16 * * ] [ * * d32 * * ] [d48]

[ * * d01 * * ] [ * * d17 * * ] [ * * d33 * * ] [d49]

[ * * d02 * * ] [ * * d18 * * ] [ * * d34 * * ] [d50]

[ * * d03 * * ] [ * * d19 * * ] [ * * d35 * * ] [d51]

[ * * d04 * * ] [ * * d20 * * ] [ * * d36 * * ] [d52]

[ * * d05 * * ] [ * * d21 * * ] [ * * d37 * * ] [d53]

[ * * d06 * * ] [ * * d22 * * ] [ * * d38 * * ] [d54]

[ * * d07 * * ] [ * * d23 * * ] [ * * d39 * * ] [d55]

[ * * d08 * * ] [ * * d24 * * ] [ * * d40 * * ] [d56]

[ * * d09 * * ] [ * * d25 * * ] [ * * d41 * * ] [d57]

[ * * d10 * * ] [ * * d26 * * ] [ * * d42 * * ] [d58]

[ * * d11 * * ] [ * * d27 * * ] [ * * d43 * * ] [d59]

[ * * d12 * * ] [ * * d28 * * ] [ * * d44 * * ] [d60]

[ * * d13 * * ] [ * * d29 * * ] [ * * d45 * * ] [d61]

[ * * d14 * * ] [ * * d30 * * ] [ * * d46 * * ] [d62]

[ * * d15 * * ] [ * * d31 * * ] [ * * d47 * * ] [d63]

* The blocks displayed in gray cannot be accessed in Mode-1 (Single Module

mode).

* Blocks listed as "#A" are parameter blocks which are common to the entire device

in Mode-1, and valid only for Parts A01 - A16 in Mode-2 (Double Module mode).

Port-B

Address(H)

00 00 00

Block

Address(H)

Block

SYSTEM

20 00 00

21 00 00

22 00 00

23 00 00

24 00 00

25 00 00

26 00 00

27 00 00

50 00 00

50 10 00

51 00 00

USER TONE BANK

USER DRUM SET

USER EFX

9 10

11 12 13 14 15

* For example, [ * * d00 * * ] indicates the five dots in the upper left of the display.

* The bit pattern of bits 4 - 0 (lower 5 bits) of the data byte turns the dots on/off.

However in the case of d48 - d63, only bit 4 turns the dot on/off.

USER PATCH COMMON

USER PATCH PART

(BLOCK01)

d00: 0--*****

d01: 0--*****

d47: 0--*****

d48: 0--*----

USER PATCH PART

(BLOCK01)

USER PATCH PART

(BLOCK02)

*: dot is unlit for 0, lit for 1

USER PATCH PART

(BLOCK02)

d63: 0--*----

-: dot display is not affected whether this is 0 or 1

40 00 00

40 10 00

41 00 00

Address(H) Size(H)

10 20 00 00 00 01 00-0A

Data(H) Parameter

Display Page

Description

00:Bar Display --

01:Page1

Default Value(H)

PATCH COMMON

PATCH PART

(BLOCK 00-0F)

PATCH PART

(BLOCK 10-1F)

0A:Page10

DRUM SETUP

* When this message is received, the display (page) specified by Display Page

(address 10 20 00) will be displayed for the duration of the time specified by the fol-

lowing Display Time (address 10 20 01).

* The blocks displayed in gray cannot be accessed in Mode-1 (Single Module

mode).

* Blocks listed as "#B" are parameter blocks which are common to the entire device

in Mode-1, and valid only for Parts B01 - B16 in Mode-2 (Double Module mode).

10 20 01

00 00 01 00-0F

Display Time

0-7.2 [sec]

06 (2.88 [sec])

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System Parameters [88]

Parameters affecting the entire unit, such as how the two MIDI IN connectors will function, are called System Parameters.

Address(H)

00 00 7F

Size(H)

00 00 01

Data(H)

00 - 01

Parameter

SYSTEM MODE SET

Description

Default(H)

Description

MODE1

[88]

00: MODE-1 (Single module mode)

01: MODE-2 (Double module mode)

(Rx. only)

* Refer to "System exclusive messages related to Mode settings" (page 191).

CHANNEL MSG RX PORT

BLOCK00

BLOCK0F

BLOCK10

00 01 00

00 01 0F

00 01 10

00 00 01

00 - 01

PORT A - B

PORT A

PORT A - B

PORT A

PORT B

00 01 1F

00 00 01

00 - 01

BLOCK1F

PORT A - B

PORT B

* You can modify the receiving MIDI port at which channel messages will be received for each BLOCK. We suggest that normally you use PORT A for BLOCK01-0F, and

PORT B for BLOCK10-1F. (In this case there is no need to change the setting.)

* Refer to page 196 for details of each BLOCK.

Patch parameters

Patch common parameters

In MODE-1 (Single module mode) this unit functions as a single sound source module with 32 Parts. In MODE-2 (Double module mode) it functions as two sound source mod-

ules with 16 Parts each. The parameters common to all Parts in each module are called Patch Common parameters.

Address(H)

40 00 00

40 00 01#

40 00 02#

40 00 03#

Size(H)

00 00 04

Data(H)

0018 - 07E8

Parameter

MASTER TUNE

Description

-100.0 - +100.0 [cent]

Use nibblized data.

Default Value (H)

00 04 00 00

Descrip-tion

0 [cent]

* Refer to section 5. Supplementary material, "About tuning" (page 208).

40 00 04

00 00 01

00 - 7F

MASTER VOLUME

0 - 127

127

(= F0 7F 7F 04 01 00 vv F7 )

-24 - +24 [semitones]

-63 (LEFT) - +63 (RIGHT)

00 = GS Reset

40 00 05

40 00 06

40 00 7F

00 00 01

28 - 58

01 - 7F

MASTER KEY-SHIFT

MASTER PAN

MODE SET

0[semitones]

0 (CENTER)

(Rx. only)

* Refer to "System exclusive messages related to Mode settings" (page 191).

40 01 00

40 01 : #

40 01 0F#

40 01 30

00 00 10

00 00 01

20 - 7F

00 - 07

PATCH NAME

16 ASCII Characters

REVERB MACRO

00: Room 1

01: Room 2

02: Room 3

03: Hall 1

04: Hall 2

05: Plate

06: Delay

07: Panning Delay

0 - 7

0 - 127

Hall 2

40 01 31

40 01 32

40 01 33

40 01 34

40 01 35

40 01 37

00 00 01

00 - 07

00 - 7F

REVERB CHARACTER

REVERB PRE-LPF

REVERB LEVEL

REVERB TIME

REVERB DELAY FEEDBACK

REVERB PREDELAY TIME

[88] 0 - 127[ms]

* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will

be set to the most suitable value.

* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.

* In MODE-2 (Double module mode), REVERB PREDELAY TIME cannot be used.

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Address(H)

40 01 38

Size(H)

00 00 01

Data(H)

00 - 07

Parameter

CHORUS MACRO

Description

00: Chorus 1

01: Chorus 2

02: Chorus 3

03: Chorus 4

04: Feedback Chorus

05: Flanger

06: Short Delay

07: Short Delay(FB)

0-7

0-127

Default Value (H)

Description

Chorus 3

40 01 39

40 01 3A

40 01 3B

40 01 3C

40 01 3D

40 01 3E

40 01 3F

40 01 40

00 00 01

00 - 07

00 - 7F

CHORUS PRE-LPF

CHORUS LEVEL

CHORUS FEEDBACK

CHORUS DELAY

CHORUS RATE

CHORUS DEPTH

CHORUS SEND LEVEL TO REVERB

CHORUS SEND LEVEL TO DELAY[88] 0-127

* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter

will be set to the most suitable value.

* In MODE-2 (Double module mode), CHORUS SEND LEVEL TO DELAY cannot be used.

40 01 50

00 00 01

00 - 09

DELAY MACRO

[88] 00: Delay 1

01: Delay 2

Delay1

02: Delay 3

03: Delay 4

04: Pan Delay 1

05: Pan Delay 2

06: Pan Delay 3

07: Pan Delay 4

08: Delay to Reverb

09: Pan Repeat

40 01 51

40 01 52

40 01 53

40 01 54

40 01 55

40 01 56

40 01 57

40 01 58

40 01 59

40 01 5A

00 00 01

00 - 07

01 - 73

01 - 78

00 - 7F

DELAY PRE-LPF

[88] 0 - 7

340

127

DELAY TIME CENTER

DELAY TIME RATIO LEFT

DELAY TIME RATIO RIGHT

DELAY LEVEL CENTER

DELAY LEVEL LEFT

DELAY LEVEL RIGHT

DELAY LEVEL

[88] 0.1ms - 1sec

[88] 4 - 500%

[88] 0 - 127

[88] -64 - +63

+16

DELAY FEEDBACK

DELAY SENDLEVEL TO REVERB [88] 0 - 127

* DELAY MACRO is a macro parameter that allows global setting of delay parameters. When you use DELAY MACRO to select the delay type, each delay parameter will be

set to the most suitable value.

* The relation between the DELAY TIME CENTER value and the actual delay time is as follows.

DELAY TIME

01 - 14

14 - 23

23 - 2D

2D - 37

Time Range[ms]

0.1 - 2.0

2.0 - 5.0

5.0 - 10.0

10.0 - 20.0

20.0 - 50.0

Resolution[ms]

DELAY TIME

46 - 50

50 - 5A

5A - 69

69 - 73

Time Range[ms]

50.0 - 100.0

100.0 - 200.0

200.0 - 500.0

500.0 - 1000.0

Resolution[ms]

0.1

0.2

0.5

1.0

2.0

5.0

10.0

20.0

50.0

37 - 46

* DELAY TIME RATIO LEFT and DELAY TIME RATIO RIGHT specify the ratio in relation to DELAY TIME CENTER. The resolution is 100/24(%).

* In MODE-2 (Double module mode), Delay cannot be used.

40 02 00

40 02 01

40 02 02

40 02 03

00 00 01

00 - 01

34 - 4C

00 - 01

34 - 4C

EQ LOW FREQ.

EQ LOW GAIN

EQ HIGH FREQ.

EQ HIGH GAIN

[88] 200Hz, 400Hz

[88] -12 - +12dB

[88] 3kHz, 6kHz

[88] -12 - +12dB

200Hz

3kHz

* In MODE-2 (Double module mode), EQ (equalizer) cannot be used.

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Address(H)

40 03 00

Size(H)

00 00 02

Data(H)

00 - 7F

Parameter

EFX TYPE

Default Value (H)

00 00

Description

00: Thru

[Pro]

40 03 01#

40 03 03

40 03 04

40 03 05

40 03 06

40 03 07

40 03 08

40 03 09

40 03 0A

40 03 0B

40 03 0C

40 03 0D

40 03 0E

40 03 0F

40 03 10

40 03 11

40 03 12

40 03 13

40 03 14

40 03 15

40 03 16

00 00 01

00 - 7F

EFX PARAMETER 1

EFX PARAMETER 2

EFX PARAMETER 3

EFX PARAMETER 4

EFX PARAMETER 5

EFX PARAMETER 6

EFX PARAMETER 7

EFX PARAMETER 8

EFX PARAMETER 9

EFX PARAMETER 10

EFX PARAMETER 11

EFX PARAMETER 12

EFX PARAMETER 13

EFX PARAMETER 14

EFX PARAMETER 15

EFX PARAMETER 16

EFX PARAMETER 17

EFX PARAMETER 18

EFX PARAMETER 19

EFX PARAMETER 20

[Pro]

* Reading EFX TYPE and EFX PARAMETER please refer to page 56, 176

Address(H)

40 03 17

40 03 18

40 03 19

40 03 1B

40 03 1C

40 03 1D

40 03 1E

40 03 1F

Size(H)

Data(H)

00 - 7F

Parameter

Description

Default Value (H)

Description

Off

0 (%)

Off

0 (%)

00 00 01

EFX SEND LEVEL TO REVERB [Pro] 0-127

EFX SEND LEVEL TO CHORUS [Pro] 0-127

EFX SEND LEVEL TO DELAY

EFX CONTROL SOURCE1

EFX CONTROL DEPTH1

EFX CONTROL SOURCE2

EFX CONTROL DEPTH2

EFX SEND EQ SWITCH

[Pro] 0-127

[Pro] Off, CC1-95, CAf, Bend

[Pro] -100 - 0 - +100 [%]

[Pro] Off, CC1 - 95, CAf, Bend

[Pro] -100 - 0 - +100 [%]

[Pro] OFF/ON

* EFX TYPE is a macro parameter which sets various Insertion Effect parameters as a group. When you use EFX TYPE to select an Insertion Effect type, the various effect

parameters will be set to appropriate values.

* In MODE-2 (Double module mode), EFX SEND TO DELAY and EFX SEND EQ SWITCH cannot be used.

* In the case of Mode 2 (Double Module mode), the Insertion effect cannot be used for Parts with a CHANNEL MSG RX PORT (page 194) setting of PORT B.

Patch Part parameters

This unit has 16 Parts in Group A and 16 Parts in Group B. Parameters that can be set individually for each Part are called Patch Part parameters.

If you use exclusive messages to set Patch Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel).

The Block number can be specified as one of 16 blocks, from 0(H) to F(H).

To specify a Part of group A, use the Block number corresponding to the Part and specify an address of 40 ** ** via PORT A (normally MIDI IN A).

To specify a Part of group B, use the Block number corresponding to the Part and specify an address of 40 ** ** via PORT B (normally MIDI IN B).

To specify a Part of either group A or B from a single PORT, specify an address of 40 ** ** for group A Parts or an address of 50 ** ** for group B Parts when using PORT A.

Conversely, to specify a Part of either group A or B from PORT B, specify an address of 50 ** ** for group A Parts or an address of 40 ** ** for group B Parts. In other words,

when specifying Parts of the opposite side as the PORT being used, use addresses 50 ** **.

The relation between Part number and Block number is as follows.

x...BLOCK NUMBER (0 - F),

Part 1

Part 2

(default MIDIch = 1)

(default MIDIch = 2)

x=1

x=2

Part 9

Part10

Part11

Part12

(default MIDIch = 9)

(default MIDIch =10)

(default MIDIch =11)

(default MIDIch =12)

x=9

x=0

x=A

x=B

Part16

(default MIDIch =16)

x=F

n... MIDI channel number (0 - F) of the BLOCK.

In the following map, the control numbers of the control changes are indicated as CC#.

Address(H)

40 1x 00

40 1x 01#

40 1x 02

40 1x 03

40 1x 04

40 1x 05

40 1x 06

40 1x 07

40 1x 08

40 1x 09

40 1x 0A

Size(H)

00 00 02

Data(H)

00 - 7F

00 - 10

00 - 01

Parameter

TONE NUMBER

Description

CC#00 VALUE 0 - 127

P.C. VALUE 1 - 128

1 - 16, OFF

OFF / ON

Default Value (H)

Description

Same as the Part Number

00 00 01

Rx. CHANNEL

Rx. PITCH BEND

00(01*)

Rx. CH PRESSURE(CAf)

Rx. PROGRAM CHANGE

Rx. CONTROL CHANGE

Rx. POLY PRESSURE(PAf)

Rx. NOTE MESSAGE

Rx. RPN

OFF / ON

Rx. NRPN

OFF(ON*)

* When "General MIDI System On" is received, Rx. NRPN will be set OFF. When "GS Reset" is received, it will be set ON.

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40 1x 0B

40 1x 0C

40 1x 0D

40 1x 0E

40 1x 0F

40 1x 10

40 1x 11

40 1x 12

00 00 01

00 - 01

Rx. MODULATION

Rx. VOLUME

Rx. PANPOT

Rx. EXPRESSION

Rx. HOLD1

Rx. PORTAMENTO

Rx. SOSTENUTO

Rx. SOFT

OFF / ON

40 1x 13

40 1x 14

00 00 01

00 - 01

00 - 02

MONO/POLY MODE

ASSIGN MODE

Mono / Poly

(=CC# 126 01 / CC# 127 00)

Poly

0 = SINGLE

1 = LIMITED-MULTI

2 = FULL-MULTI

SC-88/Native MAP

SC-55 MAP

00 at x=0

01 at x≠0

LIMITED-MULTI

SINGLE (Drum Part)

LIMITED-MULTI (Normal Part)

* ASSIGN MODE is the parameter that determines how voice assignment will be handled when sounds overlap on identical note numbers in the same channel (i.e., repeatedly

struck notes). This is initialized to a mode suitable for each Part, so for general purposes there is no need to change this.

40 1x 15

00 00 01

00 - 02

USE FOR RHYTHM PART

0 = OFF

1 = MAP1

2 = MAP2

00 at x≠0

01 at x=0

OFF (Normal Part)

MAP1 (Drum Part)

* This parameter sets the Drum Map of the Part used as the Drum Part. This unit can simultaneously (in different Parts) use up to two Drum Maps (MAP1, MAP2). With the ini-

tial settings, Part10 (MIDI CH=10, x=0) is set to MAP1 (1), and other Parts are set to normal instrumental Parts (OFF(0)).

Address(H)

40 1x 16

40 1x 17

Size(H)

00 00 01

00 00 02

Data(H)

28 - 58

08 - F8

Parameter

PITCH KEY SHIFT

PITCH OFFSET FINE

Description

Default Value (H)

08 00

Description

0 [semitones]

0 [Hz]

-24 - +24 [semitones]

-12.0 - +12.0 [Hz]

Use nibblized data.

40 1x 18#

* PITCH OFFSET FINE allows you to alter, by a specified frequency amount, the pitch at which notes will sound. This parameter differs from the conventional Fine Tuning

(RPN #1) parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has

been given a different setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.

40 1x 19

00 00 01

00 - 7F

PART LEVEL

0 - 127

100

(=CC# 7)

40 1x 1A

40 1x 1B

40 1x 1C

00 00 01

00 - 7F

VELOCITY SENSE DEPTH

VELOCITY SENSE OFFSET

PART PANPOT

0 - 127

-64(RANDOM),

-63(LEFT) - +63(RIGHT)

(=CC# 10, except RANDOM)

(C-1) - (G9)

0 - 95

0 (CENTER)

40 1x 1D

40 1x 1E

40 1x 1F

40 1x 20

40 1x 21

00 00 01

00 - 7F

00 - 5F

00 - 7F

KEYBOARD RANGE LOW

KEYBOARD RANGE HIGH

CC1 CONTROLLER NUMBER

CC2 CONTROLLER NUMBER

CHORUS SEND LEVEL

C-1

G 9

0 - 95

0 - 127

(=CC# 93)

0 - 127

(=CC# 91)

40 1x 22

40 1x 23

00 00 01

00 - 7F

00 - 01

REVERB SEND LEVEL

Rx.BANK SELECT

OFF / ON

01(00*)

ON(OFF*)

* When "General MIDI System On" is received, Rx.BANK SELECT will be set OFF. When "GS Reset" or "System Mode Set" is received, it will be set ON.

40 1x 24

00 00 01

00 - 01

RX BANK SELECT LSB

[88] OFF / ON

* When RX BANK SELECT LSB = OFF, Bank Select LSB (Bn 20 11) will be treated as 00H regardless of its value.

40 1x 2A

40 1x 2B#

40 1x 2C

00 00 02

00 00 01

00 00 - 40 00 - 7F 7F

00 - 7F

PITCH FINE TUNE

[88] -100 - 0 - +100 [cent]

40 00

(= RPN#1)

DELAY SEND LEVEL

[88] 0-127

(=CC# 94)

* In MODE-2 (Double module mode), DELAY SEND LEVEL cannot be used.

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40 1x 30

40 1x 31

40 1x 32

40 1x 33

40 1x 34

40 1x 35

40 1x 36

40 1x 37

00 00 01

00 00 0C

00 - 7F

TONE MODIFY1

Vibrato Rate

TONE MODIFY2

Vibrato Depth

[88] -64 - +63

(=NRPN# 8)

[88] -64 - +63

(=NRPN# 9)

[88] -64 - +63

(=NRPN# 32)

[88] -64 - +63

(=NRPN# 33)

[88] -64 - +63

(=NRPN# 99)

[88] -64 - +63

(=NRPN# 100)

[88] -64 - +63

(=NRPN# 102)

[88] -64 - +63

(=NRPN# 10)

TONE MODIFY3

TVF Cutoff Freq.

TONE MODIFY4

TVF Resonance

TONE MODIFY5

TVF&TVA Env.attack

TONE MODIFY6

TVF&TVA Env.decay

TONE MODIFY7

TVF&TVA Env.release

TONE MODIFY8

Vibrato Delay

SCALE TUNING C

SCALE TUNING C#

SCALE TUNING D

SCALE TUNING D#

SCALE TUNING E

SCALE TUNING F

SCALE TUNING F#

SCALE TUNING G

SCALE TUNING G#

SCALE TUNING A

SCALE TUNING A#

SCALE TUNING B

40 1x 40

00 - 7F

-64 - +63 [cent]

0 [cent]

40 1x 41#

40 1x 42#

40 1x 43#

40 1x 44#

40 1x 45#

40 1x 46#

40 1x 47#

40 1x 48#

40 1x 49#

40 1x 4A#

40 1x 4B#

* SCALE TUNING is a function that allows fine adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change simultane-

ously. A setting of ± 0 cent (40H) is equal temperament (page 208).

40 2x 00

40 2x 01

40 2x 02

40 2x 03

40 2x 04

40 2x 05

40 2x 06

40 2x 07

40 2x 08

40 2x 09

40 2x 0A

00 00 01

28 - 58

00 - 7F

MOD PITCH CONTROL

-24 - +24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 [semitones]

0 [cent]

0 [%]

MOD TVF CUTOFF CONTROL

MOD AMPLITUDE CONTROL

MOD LFO1 RATE CONTROL

MOD LFO1 PITCH DEPTH

MOD LFO1 TVF DEPTH

MOD LFO1 TVA DEPTH

MOD LFO2 RATE CONTROL

MOD LFO2 PITCH DEPTH

MOD LFO2 TVF DEPTH

0 [Hz]

10 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

MOD LFO2 TVA DEPTH

0 - 100.0 [%]

40 2x 10

40 2x 11

40 2x 12

40 2x 13

40 2x 14

40 2x 15

40 2x 16

40 2x 17

40 2x 18

40 2x 19

40 2x 1A

00 00 01

40 - 58

00 - 7F

BEND PITCH CONTROL

0 - 24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

2 [semitones]

0 [cent]

0 [%]

BEND TVF CUTOFF CONTROL

BEND AMPLITUDE CONTROL

BEND LFO1 RATE CONTROL

BEND LFO1 PITCH DEPTH

BEND LFO1 TVF DEPTH

BEND LFO1 TVA DEPTH

BEND LFO2 RATE CONTROL

BEND LFO2 PITCH DEPTH

BEND LFO2 TVF DEPTH

BEND LFO2 TVA DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

0 - 2400 [cent]

0 - 100.0 [%]

40 2x 20

40 2x 21

40 2x 22

40 2x 23

40 2x 24

40 2x 25

40 2x 26

40 2x 27

40 2x 28

40 2x 29

40 2x 2A

00 00 01

28 - 58

00 - 7F

CAf PITCH CONTROL

-24 - +24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 [semitones]

0 [cent]

0 [%]

CAf TVF CUTOFF CONTROL

CAf AMPLITUDE CONTROL

CAf LFO1 RATE CONTROL

CAf LFO1 PITCH DEPTH

CAf LFO1 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

CAf LFO1 TVA DEPTH

CAf LFO2 RATE CONTROL

CAf LFO2 PITCH DEPTH

CAf LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

CAf LFO2 TVA DEPTH

0 - 100.0 [%]

40 2x 30

40 2x 31

40 2x 32

40 2x 33

40 2x 34

40 2x 35

40 2x 36

40 2x 37

40 2x 38

40 2x 39

40 2x 3A

00 00 01

28 - 58

00 - 7F

PAf PITCH CONTROL

-24 - +24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 [semitones]

0 [cent]

0 [%]

PAf TVF CUTOFF CONTROL

PAf AMPLITUDE CONTROL

PAf LFO1 RATE CONTROL

PAf LFO1 PITCH DEPTH

PAf LFO1 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

PAf LFO1 TVA DEPTH

PAf LFO2 RATE CONTROL

PAf LFO2 PITCH DEPTH

PAf LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

PAf LFO2 TVA DEPTH

0 - 100.0 [%]

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40 2x 40

40 2x 41

40 2x 42

40 2x 43

40 2x 44

40 2x 45

40 2x 46

40 2x 47

40 2x 48

40 2x 49

40 2x 4A

00 00 01

28 - 58

00 - 7F

CC1 PITCH CONTROL

-24 - +24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 [semitones]

0 [cent]

0 [%]

CC1 TVF CUTOFF CONTROL

CC1 AMPLITUDE CONTROL

CC1 LFO1 RATE CONTROL

CC1 LFO1 PITCH DEPTH

CC1 LFO1 TVF DEPTH

CC1 LFO1 TVA DEPTH

CC1 LFO2 RATE CONTROL

CC1 LFO2 PITCH DEPTH

CC1 LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

CC1 LFO2 TVA DEPTH

0 - 100.0 [%]

40 2x 50

40 2x 51

40 2x 52

40 2x 53

40 2x 54

40 2x 55

40 2x 56

40 2x 57

40 2x 58

40 2x 59

40 2x 5A

00 00 01

28 - 58

00 - 7F

CC2 PITCH CONTROL

-24 - +24 [semitones]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 [semitones]

0 [cent]

0 [%]

CC2 TVF CUTOFF CONTROL

CC2 AMPLITUDE CONTROL

CC2 LFO1 RATE CONTROL

CC2 LFO1 PITCH DEPTH

CC2 LFO1 TVF DEPTH

CC2 LFO1 TVA DEPTH

CC2 LFO2 RATE CONTROL

CC2 LFO2 PITCH DEPTH

CC2 LFO2 TVF DEPTH

0 [Hz]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [%]

CC2 LFO2 TVA DEPTH

0 - 100.0 [%]

* You may not always be able to obtain the desired effect by modifying the LFO 1 and LFO 2 parameters.

40 4x 00

00 00 01

00 - 03

TONE MAP NUMBER

(= CC#32 : Bank number LSB)

[Pro] MAP 0 - 3

00 : SELECTED

01 : SC-55 MAP

02 : SC-88 MAP

03 : Native MAP

*When "GS Reset" is received, this will be 00: SELECTED.

40 4x 01 00 00 01 01 - 03

TONE MAP-0 NUMBER

[Pro] 01 : SC-55 MAP

02 : SC-88 MAP

(03)

03 : Native MAP

* When TONE MAP NUMBER is 00, this specifies the MAP. This setting will not be reset when the power is turned on or when "GS Reset", "General MIDI System On" or

"System Mode Set" is received.

40 4x 20

00 00 01

00 - 01

EQ ON/OFF

[88] OFF / ON

* This turns the EQ (equalizer) on/off. In MODE-2 (Double module mode) it cannot be used.

40 4x 21

40 4x 22

00 00 01

00 - 03

00 - 01

OUTPUT ASSIGN

PART EFX ASSIGN

[Pro] 00:OUTPUT-1

01:OUTPUT-2

02:OUTPUT-2L

03:OUTPUT-2R

[Pro] 00:BYPASS

01:EFX

OUTPUT-1

BYPASS

Drum setup parameters

m: Map number (0 = MAP1, 1 = MAP2)

rr: drum part note number (00H - 7FH: 0 - 127)

Address(H)

41 m0 00

| #

Size(H)

00 00 0C

Data(H)

20 - 7F

Parameter

DRUM MAP NAME

Description

ASCII Character

41 m0 0B#

41 m1 rr

41 m2 rr

00 00 01

00 - 7F

PLAY NOTE NUMBER

LEVEL

Pitch coarse

TVA level

(=NRPN# 26)

Non, 1 - 127

-64(RANDOM),

41 m3 rr

41 m4 rr

00 00 01

00 - 7F

ASSIGN GROUP NUMBER

PANPOT

-63(LEFT) - +63(RIGHT)

(=NRPN# 28, except RANDOM)

0.0 - 1.0

Multiplicand of the part reverb level

(=NRPN# 29)

41 m5 rr

41 m6 rr

00 00 01

00 - 7F

REVERB SEND LEVEL

CHORUS SEND LEVEL

0.0 - 1.0

Multiplicand of the part chorus level

(=NRPN# 30)

41 m7 rr

41 m8 rr

41 m9 rr

00 00 01

00 - 01

00 - 7F

Rx. NOTE OFF

Rx. NOTE ON

DELAY SEND LEVEL

OFF / ON

[88] 0.0 - 1.0

Multiplicand of the part delay level

(=NRPN# 31)

* When the Drum Set is changed, DRUM SETUP PARAMETER values will all be initialized.

* It is not possible to simultaneously use both Chorus Send Level and Delay Send Level for a single Drum Instrument.

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User instrument

You can modify the parameters of this unit sound to your taste, and save your new settings in Variation numbers 64 or 65 of the Native map / SC-88 map (page 98). A sound

saved in this way is called a User Instrument. You can save 256 different sounds in this way.

The parameters you can set are Vibrato, Filter and Envelope.

b: bank number (0H = GS Variation number 64, 1H = GS Variation number 65)

pp: program number (00 - 7F: 1 - 128)

Address(H)

20 b0 pp

20 b1 pp

20 b2 pp

20 b3 pp

Size(H)

Data(H)

01 - 03

00 - 7F

Parameter

Description

[88] --

[88] -64 - +63

Default Value (H)

Description

00 00 01

SOURCE TONE# (MAP)

(CC#00 : Bank number MSB)

(PG# : Program number)

USER INST MODIFY1-2

Vibrato Rate

USER INST MODIFY2-2

Vibrato Depth

USER INST MODIFY3-2

TVF Cutoff Freq

20 b4 pp

20 b5 pp

20 b6 pp

20 b7 pp

20 b8 pp

20 b9 pp

20 bA pp

00 00 01

00 - 7F

[88] -64 - +63

USER INST MODIFY4-2

TVF Resonance

USER INST MODIFY5-2

TVF&TVA Env.attack

USER INST MODIFY6-2

TVF&TVA Env.decay

USER INST MODIFY7-2

TVF&TVA Env.release

USER INST MODIFY8-2

Vibrato Delay

User Drum Set

You can modify drum instrument parameters to your liking, and save this data as a Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to two

Drum Sets, and since each set contains 128 instrumental sounds, this provides a total of 256 instrumental sounds (Drum Instruments). You can also give each User Drum Set

a name of your choice. User Drum Sets are stored in Drum Set numbers 65 and 66 of the Native map / SC-88 map.

d: drum set number (0H = User drum set number 65, 1H = User Drum Set number 66)

rr: drum part note number (00 - 7F)

Address(H)

21 d0 00

Size(H)

00 00 0C

Data(H)

20 - 7F

Parameter

USER DRUM SET NAME

Description

[88] 32 - 127

(ASCII 12 characters)

21 d0 0B#

21 d1 rr

21 d2 rr

21 d3 rr

21 d4 rr

21 d5 rr

21 d6 rr

21 d7 rr

21 d8 rr

21 d9 rr

21 dA rr

21 dB rr

21 dC rr

00 00 01

00 - 7F

00 - 01

00 - 7F

01 - 03

00 - 7F

PLAY NOTE

LEVEL

[88] 0 - 127

[88] OFF / ON

[88] 0 - 127

[88] 1 - 3

ASSIGN GROUP

PAN

REVERB SEND LEVEL

CHORUS SEND LEVEL

RX NOTE OFF

RX NOTE ON

DELAY SEND LEVEL

SOURCE DRUM SET# (MAP)

(PG#: Program number)

SOURCE NOTE NUMBER

[88] 0 - 127

User Effect

You can modify the Insertion Effect parameters as desired and store them as an Effect Type. Effect Types that are stored in this way are referred to as User Effects. 64 differ-

ent Effect Types can be stored. These are stored in Effect Type numbers 40 00H through 40 3FH.

pp: LSB number of EFX TYPE (00 - 3F : 0-64)

Address(H)

22 00 pp

22 01 pp#

22 03 pp

22 04 pp

22 05 pp

22 06 pp

22 07 pp

22 08 pp

22 09 pp

22 0A pp

22 0B pp

22 0C pp

22 0D pp

22 0E pp

22 0F pp

22 10 pp

22 11 pp

22 12 pp

22 13 pp

22 14 pp

22 15 pp

22 16 pp

Size(H)

00 00 02

Data(H)

Parameter

SOURCE EFX TYPE

[Pro]

00 00 01

00 - 7F

EFX PARAMETER 1

EFX PARAMETER 2

EFX PARAMETER 3

EFX PARAMETER 4

EFX PARAMETER 5

EFX PARAMETER 6

EFX PARAMETER 7

EFX PARAMETER 8

EFX PARAMETER 9

EFX PARAMETER 10

EFX PARAMETER 11

EFX PARAMETER 12

EFX PARAMETER 13

EFX PARAMETER 14

EFX PARAMETER 15

EFX PARAMETER 16

EFX PARAMETER 17

EFX PARAMETER 18

EFX PARAMETER 19

EFX PARAMETER 20

[Pro]

User Patch

All Patch Common and Patch Part parameters (limited to Part 1 and Part 2) can be adjusted as desired, and saved as a Patch.

Patches saved in this way are referred to as User Patches. 16 different User Patches can be saved.

User Patch Common

pp : Patch number (00 - 0F : 1-16)

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Address(H)

23 pp 00

23 pp 01#

23 pp 02#

23 pp 03#

23 pp 04

23 pp 05

23 pp 06

Size(H)

00 00 04

Data(H)

0018 - 07E8

Parameter

MASTER TUNE

[Pro] -100.0 - +100.0 [cent]

00 00 01

00 - 7F

28 - 58

01 - 7F

MASTER VOLUME

MASTER KEY-SHIFT

MASTER PAN

[Pro] 0 - 127

[Pro] -24 - +24 [semitones]

[Pro] -63 - +63

23 pp 08

23 pp : #

23 pp 17#

23 pp 18

23 pp 19

23 pp 1A

23 pp 1B

23 pp 1C

23 pp 1D

00 00 10

20 - 7F

PATCH NAME

[Pro] 16 ASCII Characters

00 00 01

00 - 07

00 - 7F

REVERB MACRO

[Pro] Room 1 - PDelay

[Pro] 0 - 7

[Pro] 0 - 127

REVERB CHARACTER

REVERB PRE-LPF

REVERB LEVEL

REVERB TIME

REVERB DELAY FEEDBACK

23 pp 1F

00 00 01

00 - 7F

REVERB PREDELAY TIME

[Pro] 0 - 127[ms]

* In MODE-2 (Double module mode), REVERB PREDELAY TIME cannot be used.

23 pp 20

23 pp 21

23 pp 22

23 pp 23

23 pp 24

23 pp 25

23 pp 26

23 pp 27

23 pp 28

00 00 01

00 - 07

00 - 7F

CHORUS MACRO

CHORUS PRE-LPF

CHORUS LEVEL

CHORUS FEEDBACK

CHORUS DELAY

CHORUS RATE

CHORUS DEPTH

CHORUS SEND LEVEL TO REVERB

CHORUS SEND LEVEL TO DELAY

[Pro] Chorus 1 - SDelay(FB)

[Pro] 0-7

[Pro] 0-127

* In MODE-2 (Double module mode), CHORUS SEND LEVEL TO DELAY cannot be used.

23 pp 29

23 pp 2A

23 pp 2B

23 pp 2C

23 pp 2D

23 pp 2E

23 pp 2F

23 pp 30

23 pp 31

23 pp 32

23 pp 33

00 00 01

00 - 09

00 - 07

01 - 73

01 - 78

00 - 7F

DELAY MACRO

DELAY PRE-LPF

[Pro] Delay 1 - Pan Repeat

[Pro] 0 - 7

[Pro] 0.1ms - 1sec

[Pro] 4 - 500%

[Pro] 0 - 127

[Pro] -64 - +63

[Pro] 0 - 127

DELAY TIME CENTER

DELAY TIME RATIO LEFT

DELAY TIME RATIO RIGHT

DELAY LEVEL CENTER

DELAY LEVEL LEFT

DELAY LEVEL RIGHT

DELAY LEVEL

DELAY FEEDBACK

DELAY SENDLEVEL TO REVERB

* In MODE-2 (Double module mode), DELAY cannot be used.

23 pp 34

23 pp 35

23 pp 36

23 pp 37

00 00 01

00 - 01

34 - 4C

00 - 01

34 - 4C

EQ LOW FREQ

EQ LOW GAIN

EQ HIGH FREQ

EQ HIGH GAIN

[Pro] 200Hz, 400Hz

[Pro] -12 - +12dB

[Pro] 3kHz, 6kHz

[Pro] -12 - +12dB

* In MODE-2 (Double module mode), EQ cannot be used.

Chapter 8. Appendix

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23 pp 40

23 pp 41#

23 pp 43

23 pp 44

23 pp 45

23 pp 46

23 pp 47

23 pp 48

23 pp 49

23 pp 4A

23 pp 4B

23 pp 4C

23 pp 4D

23 pp 4E

23 pp 4F

23 pp 50

23 pp 51

23 pp 52

23 pp 53

23 pp 54

23 pp 55

23 pp 56

23 pp 57

23 pp 58

23 pp 59

23 pp 5B

23 pp 5C

23 pp 5D

23 pp 5E

23 pp 5F

00 00 02

00 - 7F

EFX TYPE

[Pro]

00 00 01

00 - 7F

EFX PARAMETER 1

EFX PARAMETER 2

EFX PARAMETER 3

EFX PARAMETER 4

EFX PARAMETER 5

EFX PARAMETER 6

EFX PARAMETER 7

EFX PARAMETER 8

[Pro]

EFX PARAMETER 9

EFX PARAMETER 10

EFX PARAMETER 11

EFX PARAMETER 12

EFX PARAMETER 13

EFX PARAMETER 14

EFX PARAMETER 15

EFX PARAMETER 16

EFX PARAMETER 17

EFX PARAMETER 18

EFX PARAMETER 19

EFX PARAMETER 20

EFX SEND LEVEL TO REVERB

EFX SEND LEVEL TO CHORUS

EFX SEND LEVEL TO DELAY

EFX CONTROL SOURCE1

EFX CONTROL DEPTH1

EFX CONTROL SOURCE

EFX CONTROL DEPTH2

EFX SEND EQ SWITCH

* In the case of Mode 2 (Double Module mode), the Insertion effect cannot be used for Parts with a CHANNEL MSG RX PORT (page 194) setting of PORT B.

User Patch Part

2a : Patch part number (Part1: a=4, Part2: a=6)

2b : Patch part number (Part1: b=5, Part2: b=7)

pp : Patch number(00 - 0F : 1-16)

Address(H)

2a pp 00

Size(H)

00 00 02

Data(H)

00 - 7F

Parameter

TONE NUMBER

[Pro] CC#00 VALUE: 0 - 127

P.C. VALUE: 1 - 128

2a pp 01#

2a pp 02

2a pp 03

2a pp 04

2a pp 05

2a pp 06

2a pp 07

2a pp 08

2a pp 09

2a pp 0A

2a pp 0B

2a pp 0C

2a pp 0D

2a pp 0E

2a pp 0F

2a pp 10

2a pp 11

2a pp 12

2a pp 13

2a pp 14

2a pp 15

2a pp 16

2a pp 17

2a pp 19

2a pp 1A

2a pp 1B

2a pp 1C

2a pp 1D

2a pp 1E

2a pp 1F

2a pp 20

2a pp 21

2a pp 22

2a pp 23

2a pp 24

00 - 7F

00 - 10

00 - 01

00 - 02

28 - 58

08 - F8

00 - 7F

00 - 5F

00 - 7F

00 - 01

00 00 01

00 00 02

00 00 01

Rx. CHANNEL

Rx. PITCH BEND

[Pro] 1 - 16, OFF

[Pro] OFF / ON

[Pro] Mono / Poly

[Pro] SINGLE - FULL MULTI

[Pro] OFF - MAP2

[Pro] -24 - +24 [semitones]

[Pro] -12.0 - +12.0 [Hz]

[Pro] 0 - 127

Rx. CH PRESSURE (CAf)

Rx. PROGRAM CHANGE

Rx. CONTROL CHANGE

Rx. POLY PRESSURE (PAf)

Rx. NOTE MESSAGE

Rx. RPN

Rx. NRPN

Rx. MODULATION

Rx. VOLUME

Rx. PANPOT

Rx. EXPRESSION

Rx. HOLD1

Rx. PORTAMENTO

Rx. SOSTENUTO

Rx. SOFT

MONO/POLY MODE

ASSIGN MODE

USE FOR RHYTHM PART

PITCH KEY SHIFT

PITCH OFFSET FINE

PART LEVEL

VELOCITY SENSE DEPTH

VELOCITY SENSE OFFSET

PART PANPOT

KEYBOARD RANGE LOW

KEYBOARD RANGE HIGH

CC1 CONTROLLER NUMBER

CC2 CONTROLLER NUMBER

CHORUS SEND LEVEL

REVERB SEND LEVEL

Rx.BANK SELECT

RX BANK SELECT LSB

[Pro] 0 - 127

[Pro] Random,L63 - R63

[Pro] 0 - 127

[Pro] 0 - 95

[Pro] 0 - 127

[Pro] OFF / ON

2a pp 2A

2a pp 2B#

2a pp 2C

00 00 02

00 00 01

00 00 - 7F 7F

00 - 7F

PITCH FINE TUNE

[Pro] -100 - 0 - +100[cent]

[Pro] 0 - 127

DELAY SEND LEVEL

* In MODE-2 (Double module mode), DELAY SEND LEVEL cannot be used.

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2a pp 30

2a pp 31

2a pp 32

2a pp 33

2a pp 34

2a pp 35

2a pp 36

2a pp 37

00 00 01

00 - 7F

TONE MODIFY1

TONE MODIFY2

TONE MODIFY3

TONE MODIFY4

TONE MODIFY5

TONE MODIFY6

TONE MODIFY7

TONE MODIFY8

[Pro] -64 - +63

Vibrato Rate

[Pro] -64 - +63

Vibrato Depth

[Pro] -64 - +63

TVF Cutoff Freq

[Pro] -64 - +63

TVF Resonance

[Pro] -64 - +63

TVF&TVA Env.attack

[Pro] -64 - +63

TVF&TVA Env.decay

[Pro] -64 - +63

TVF&TVA Env.release

[Pro] -64 - +63

Vibrato Delay

2a pp 40

2a pp : #

2a pp 4B#

00 00 0C

00 - 7F

SCALE TUNING C

SCALE TUNING B

[Pro] -64 - +63 [cent]

2a pp 50

2a pp 51

2a pp 52

2a pp 53

2a pp 54

2a pp 55

2a pp 56

2a pp 57

2a pp 58

2a pp 59

2a pp 5A

00 00 01

28 - 58

00 - 7F

MOD PITCH CONTROL

[Pro] -24 - +24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

MOD TVF CUTOFF CONTROL

MOD AMPLITUDE CONTROL

MOD LFO1 RATE CONTROL

MOD LFO1 PITCH DEPTH

MOD LFO1 TVF DEPTH

MOD LFO1 TVA DEPTH

MOD LFO2 RATE CONTROL

MOD LFO2 PITCH DEPTH

MOD LFO2 TVF DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

MOD LFO2 TVA DEPTH

2a pp 60

2a pp 61

2a pp 62

2a pp 63

2a pp 64

2a pp 65

2a pp 66

2a pp 67

2a pp 68

2a pp 69

2a pp 6A

00 00 01

40 - 58

00 - 7F

BEND PITCH CONTROL

[Pro] 0 - 24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

BEND TVF CUTOFF CONTROL

BEND AMPLITUDE CONTROL

BEND LFO1 RATE CONTROL

BEND LFO1 PITCH DEPTH

BEND LFO1 TVF DEPTH

BEND LFO1 TVA DEPTH

BEND LFO2 RATE CONTROL

BEND LFO2 PITCH DEPTH

BEND LFO2 TVF DEPTH

BEND LFO2 TVA DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

2a pp 70

2a pp 71

2a pp 72

2a pp 73

2a pp 74

2a pp 75

2a pp 76

2a pp 77

2a pp 78

2a pp 79

2a pp 7A

00 00 01

28 - 58

00 - 7F

CAf PITCH CONTROL

[Pro] -24 - +24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

CAf TVF CUTOFF CONTROL

CAf AMPLITUDE CONTROL

CAf LFO1 RATE CONTROL

CAf LFO1 PITCH DEPTH

CAf LFO1 TVF DEPTH

CAf LFO1 TVA DEPTH

CAf LFO2 RATE CONTROL

CAf LFO2 PITCH DEPTH

CAf LFO2 TVF DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

CAf LFO2 TVA DEPTH

2b pp 00

2b pp 01

2b pp 02

2b pp 03

2b pp 04

2b pp 05

2b pp 06

2b pp 07

2b pp 08

2b pp 09

2b pp 0A

00 00 01

28 - 58

00 - 7F

PAf PITCH CONTROL

[Pro] -24 - +24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

PAf TVF CUTOFF CONTROL

PAf AMPLITUDE CONTROL

PAf LFO1 RATE CONTROL

PAf LFO1 PITCH DEPTH

PAf LFO1 TVF DEPTH

PAf LFO1 TVA DEPTH

PAf LFO2 RATE CONTROL

PAf LFO2 PITCH DEPTH

PAf LFO2 TVF DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

PAf LFO2 TVA DEPTH

2b pp 10

2b pp 11

2b pp 12

2b pp 13

2b pp 14

2b pp 15

2b pp 16

2b pp 17

2b pp 18

2b pp 19

2b pp 1A

00 00 01

28 - 58

00 - 7F

CC1 PITCH CONTROL

[Pro] -24 - +24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

CC1 TVF CUTOFF CONTROL

CC1 AMPLITUDE CONTROL

CC1 LFO1 RATE CONTROL

CC1 LFO1 PITCH DEPTH

CC1 LFO1 TVF DEPTH

CC1 LFO1 TVA DEPTH

CC1 LFO2 RATE CONTROL

CC1 LFO2 PITCH DEPTH

CC1 LFO2 TVF DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

CC1 LFO2 TVA DEPTH

Chapter 8. Appendix

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2b pp 20

2b pp 21

2b pp 22

2b pp 23

2b pp 24

2b pp 25

2b pp 26

2b pp 27

2b pp 28

2b pp 29

2b pp 2A

00 00 01

28 - 58

00 - 7F

CC2 PITCH CONTROL

[Pro] -24 - +24 [semitones]

[Pro] -9600 - +9600 [cent]

[Pro] -100.0 - +100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

[Pro] -10.0 - +10.0 [Hz]

[Pro] 0 - 600 [cent]

CC2 TVF CUTOFF CONTROL

CC2 AMPLITUDE CONTROL

CC2 LFO1 RATE CONTROL

CC2 LFO1 PITCH DEPTH

CC2 LFO1 TVF DEPTH

CC2 LFO1 TVA DEPTH

CC2 LFO2 RATE CONTROL

CC2 LFO2 PITCH DEPTH

CC2 LFO2 TVF DEPTH

[Pro] 0 - 2400 [cent]

[Pro] 0 - 100.0 [%]

CC2 LFO2 TVA DEPTH

2b pp 30

2b pp 31

2b pp 33

2b pp 34

2b pp 35

00 00 01

00 - 03

01 - 03

00 - 01

00 - 03

00 - 01

TONE MAP NUMBER

TONE MAP-0 NUMBER

EQ ON/OFF

OUTPUT ASSIGN

PART EFX ASSIGN

[Pro] MAP 0 - 3

[Pro] SC-55 MAP - Native MAP

[Pro] OFF / ON

[Pro] OUTPUT-1 - OUTPUT-2R

[Pro] BYPASS - EFX

Chapter 8. Appendix

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Section 4. Bulk Dump

Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer.

To make this unit perform a Bulk Dump transmission, send it a "Bulk Dump Request" message. Bulk Dump Request uses the Data Request 1 (RQ1) format, but unlike when

transmitting individual parameters, the "Size" specified by the request message refers not to size of the data but rather specifies the contents of the data. For the data contents

corresponding to each Size, refer to "Parameter Dump."

When this unit receives a Bulk Dump Request, it will transmit a Bulk Dump in the format given below.

This unit is also able to transmit a list of its internal sounds. This function can be used to display a list of sounds on a computer.

Parameter dump

Parameter dump request

(receive only) [Pro]

This is a command that requests a set of parameter data, and uses "Data Request 1 (RQ1)" format. The Size specifies the requested data contents.

Address: 0C 00 00

Size:

00 00 00 : ALL

request a dump of all parameters

00 00 01 : ALL 1

00 00 02 : ALL 2

00 00 10 : 16-part GS 1

00 00 11 : 16-part GS 2

use this when not using USER TONE BANK or USER DRUM SET

use this when USER TONE BANK, USER DRUM SET and DRUM SETUP settings have not been modified

use this when using only 16 Parts

use this when using only 16 Parts, and DRUM SETUP settings have not been modified

00 01 00 : USER TONE BANK (ALL) request a dump of all USER TONE BANK data

00 01 40 : USER TONE BANK #64

00 01 41 : USER TONE BANK #65

request a dump of USER TONE BANK #64 data (128 sounds)

request a dump of USER TONE BANK #65 data (128 sounds)

00 02 00 : USER DRUM SET (ALL) request a dump of all USER DRUM SET data

00 02 40 : USER DRUM SET #65

00 02 41 : USER DRUM SET #66

00 03 00 : USER EFX

request a dump of USER DRUM SET #64 data

request a dump of USER DRUM SET #65 data

request a dump of USER EFX data

00 04 00 : USER PATCH

request a dump of USER PATCH data

Example) Dump request for all parameters:

F0 41 DEV 42 11 0C 00 00 00 00 00 74 F7

Normally, using ALL (00 00 00) provides the greatest predictability, but the amount of data is very large, and transmission requires approximately 25 seconds. In order to

reduce transmission time and data volume, we suggest that you request a dump only of the necessary data. Panel button operations allow you to transmit dumps of ALL, ALL

1, 16-part GS 1, 16-part GS 2, USER TONE BANK (ALL), USER DRUM SET (ALL), USER EFX, USER PATCH.

Parameter dump [Pro]

When a Parameter Dump Request is received, or when panel operations initiate a dump transmission, the following data will be transmitted in "Data Set 1 (DT1)" format.

Number of

packets

16-part USER TONE BANK USER DRUM SET --USER--

Address

2A 00 00 - 2A 0F 7F

Description

USER EFX #1-64

ALL ALL1 ALL2 GS1 GS2 ALL #64 #65 ALL #65 #66

EFX PATCH

2B 00 00 - 2B 5F 7F

08 00 00 - 08 00 7F

28 00 00 - 28 0A 7F

28 10 00 - 28 1A 7F

29 00 00 - 29 0B 0F

29 10 00 - 29 1B 0F

48 1D 10 - 48 26 0F

48 00 00 - 48 1D 0F

49 00 00 - 49 1F 7F

58 1D 10 - 58 26 0F

58 00 00 - 58 1D 0F

59 00 00 - 59 1F 7F

USER PATCH #1-16

SETUP

USER TONE BANK #64

USER TONE BANK #65

USER DRUM SET #65

USER DRUM SET #66

PATCH EXTENSION A

SYSTEM/PATCH A

DRUM SETUP A

PATCH EXTENSION B

SYSTEM/PATCH B

DRUM SETUP B

This table lists the data contents that will be transmitted when panel buttons are used to request a dump, or when a Parameter Dump Request is received at MIDI IN A. When a

Parameter Dump Request is received at MIDI IN B, A and B will be reversed for PATCH EXTENSION, SYSTEM/PATCH and DRUM SETUP.

* When data dumped by this unit is reloaded into this unit, be aware that the data may not be set correctly if the transmission order of the packets is changed, if the time interval

between packets is changed, or if other messages are inserted between packets.

* The Parameter Dump data of this unit includes data for GS format compatible devices, and this data is compatible in both directions. However, depending on the settings of

parameters which are newly extended on this unit, the musical result may differ.

* If this unit does not operate correctly with Bulk Dump data from another GS format compatible device, first initialize this unit (page 118) before retransmitting the data.

* When another GS format compatible device receives Parameter Dump data that was transmitted by this unit, it may display a message such as "Address Error", but this is

because the parameter addresses newly extended on this unit were not recognized by the other device. Parameters which could be recognized by that device have been cor-

rectly set.

Chapter 8. Appendix

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Insertion effect list dump

Dumping a list of internal sounds

Instrument list dump

Insertion effect list dump request (receive only) [Pro]

This command requests a bulk dump transmission of the Insertion effect list of an

internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the

desired data contents.

Instrument list dump request (request only) [Pro]

This command requests a bulk dump of a list of the preset sounds (Instruments) in

internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the

contents of the requested data.

Address: 0C 00 04

Size:

00 00 00 : ALL

Address: 0C 00 01

Size:

00 00 00 : ALL

00 00 01 : SC-55 MAP

00 00 02 : SC-88 MAP

00 00 03 : Native MAP

Insertion effect list dump (transmit only) [Pro]

When a Insertion Effect List Dump Request is received, the specified Insertion Effect

names will be transmitted in the following format where 20 bytes are used for each

Effect name. The address of the transmitted data will be 0C 00 04 for each packet.

00 mm bb mm = MAP# 01 - 03 ( 01 = SC-55 MAP, 02 = SC-88 MAP,

03 = Native MAP)

bb = BANK# 00 - 7F

DUMP FORMAT :

10 11

MSB LSB 00 00

EFFECT NAME(ASCII 16 Characters)

Instrument list dump (transmit only) [Pro]

When Instrument List Dump Request is received, the sound names of the specified

map will be transmitted continuously in the format given below, where 16 bytes are

used for each sound name. The Address of the transmitted data is 0C 00 01 for all

packets.User bank sound names are not transmitted.

MSB : Category

LSB : Type

Preset patch list dump

DUMP FORMAT:

Preset patch list dump request (receive only) [Pro]

CC0 MAP PC 00

TONE NAME(ASCII 12 Characters)

This command requests a bulk dump transmission of the Preset patch list of an

internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the

desired data contents.

CC0 : Variation number

MAP : MAP number

PC : Program number

01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP

Address: 0C 00 05

Size:

00 00 00 : ALL

Drum set list dump

Preset patch list dump (transmit only) [Pro]

When a Preset Patch List Dump Request is received, the specified Preset patch

names will be transmitted in the following format where 20 bytes are used for each

Patch name. The address of the transmitted data will be 0C 00 05 for each packet.

Drum set list dump request (receive only) [Pro]

This command requests a bulk dump transmission of a list of Preset Drum Sets in

internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the

desired data contents.

DUMP FORMAT :

10 11

Address: 0C 00 02

00 00 PC 00

PATCH NAME(ASCII 16 Characters)

Size:

00 00 00 : ALL

00 00 01 : SC-55 MAP

00 00 02 : SC-88 MAP

00 00 03 : Native MAP

PC : Program number

Drum set list dump (transmit only) [Pro]

When a Drum Set List Dump Request is received, the Drum Set names of the speci-

fied MAP will be transmitted successively in the format given below, where 16 bytes

are used for each sound. The Address of the transmitted data will be 0C 00 02 for

each packet.

DUMP FORMAT:

00 MAP PC 00

DRUM TONE NAME(ASCII 12 Characters)

MAP : MAP number

01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP

PC : Program number

Drum instrument list dump

Drum instrument list dump request (receive only) [Pro]

This command requests a bulk dump transmission of the Instrument list of an inter-

nal Preset Drum Sets, and uses "Data Request 1 (RQ1)" format. The Size specifies

the desired data contents.

Address: 0C 00 03

Size:

00 mm pp mm = MAP# 01 - 03 ( 01 = SC-55 MAP, 02 = SC-88 MAP,

03 = Native MAP)

pp = Drum set# 00 - 7F (same as PC#)

Drum instrument list dump (transmit only) [Pro]

When a Drum Instrument List Dump Request is received, the Drum Instrument

names of the specified Drum Set will be transmitted in the following format where 16

bytes are used for each Drum Instrument name. The address of the transmitted data

will be 0C 00 03 for each packet.

DUMP FORMAT:

00 MAP PC KEY

DRUM TONE NAME(ASCII 12 Characters)

MAP : MAP number

PC : Program number

KEY : Note number

01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP

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Examples of actual MIDI messages

<Example 1> 92 3E 5F

Section 5. Supplementary material

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.

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.

<Example 2> CE 49

The following table shows how these correspond to decimal numbers.

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).

+-------+-------++-------+-------++-------+-------++-------+-------+

Dec.|

Hex.||

Dec.|

Hex.||

Dec.|

Hex.||

Dec.|

Hex.|

+-------+-------++-------+-------++-------+-------++-------+-------+

<Example 3> EA 00 28

0 |

1 |

2 |

3 |

4 |

5 |

6 |

7 |

8 |

00H ||

01H ||

02H ||

03H ||

04H ||

05H ||

06H ||

07H ||

08H ||

09H ||

0AH ||

0BH ||

0CH ||

0DH ||

0EH ||

0FH ||

10H ||

11H ||

12H ||

13H ||

14H ||

15H ||

16H ||

17H ||

18H ||

19H ||

1AH ||

1BH ||

1CH ||

1DH ||

1EH ||

1FH ||

32 |

33 |

34 |

35 |

36 |

37 |

38 |

39 |

40 |

41 |

42 |

43 |

44 |

45 |

46 |

47 |

48 |

49 |

50 |

51 |

52 |

53 |

54 |

55 |

56 |

57 |

58 |

59 |

60 |

61 |

62 |

63 |

20H ||

21H ||

22H ||

23H ||

24H ||

25H ||

26H ||

27H ||

28H ||

29H ||

2AH ||

2BH ||

2CH ||

2DH ||

2EH ||

2FH ||

30H ||

31H ||

32H ||

33H ||

34H ||

35H ||

36H ||

37H ||

38H ||

39H ||

3AH ||

3BH ||

3CH ||

3DH ||

3EH ||

3FH ||

64 |

65 |

66 |

67 |

68 |

69 |

70 |

71 |

72 |

73 |

74 |

75 |

76 |

77 |

78 |

79 |

80 |

81 |

82 |

83 |

84 |

85 |

86 |

87 |

88 |

89 |

90 |

91 |

92 |

93 |

94 |

95 |

40H ||

41H ||

42H ||

43H ||

44H ||

45H ||

46H ||

47H ||

48H ||

49H ||

4AH ||

4BH ||

4CH ||

4DH ||

4EH ||

4FH ||

50H ||

51H ||

52H ||

53H ||

54H ||

55H ||

56H ||

57H ||

58H ||

59H ||

5AH ||

5BH ||

5CH ||

5DH ||

5EH ||

5FH ||

96 |

97 |

98 |

60H |

61H |

62H |

63H |

64H |

65H |

66H |

67H |

68H |

69H |

6AH |

6BH |

6CH |

6DH |

6EH |

6FH |

70H |

71H |

72H |

73H |

74H |

75H |

76H |

77H |

78H |

79H |

7AH |

7BH |

7CH |

7DH |

7EH |

7FH |

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

99 |

100 |

101 |

102 |

103 |

104 |

105 |

106 |

107 |

108 |

109 |

110 |

111 |

112 |

113 |

114 |

115 |

116 |

117 |

118 |

119 |

120 |

121 |

122 |

123 |

124 |

125 |

126 |

127 |

28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072

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.

9 |

10 |

11 |

12 |

13 |

14 |

15 |

16 |

17 |

18 |

19 |

20 |

21 |

22 |

23 |

24 |

25 |

26 |

27 |

28 |

29 |

30 |

31 |

<Example 4> 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 sec-

ond and following messages to be omitted. Thus, the above messages have the fol-

lowing meaning.

64 00

65 00

06 0C

26 00

64 7F

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

(MIDI ch.4) lower byte of parameter value

(MIDI ch.4) lower byte of RPN parameter number

(MIDI ch.4) upper byte of RPN parameter number

: 00H

: 0CH

: 00H

: 7FH

(B3)

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.

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 sources 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.)

+-------+-------++-------+-------++-------+-------++-------+-------+

* Decimal values such as MIDI channel, bank select, and program change are listed

as one greater than the values given in the above table.

* 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 hexadeci-

mal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x

128+bb.

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.

* 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.

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 play-

back 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 source will then misin-

terpret the data. Take care to give each event its own status.

* 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.

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).

<Example 1> What is the decimal expression of 5AH ?

From the preceding table, 5AH = 90

<Example 2> What is the decimal expression of the value 12 34H given as hexa-

decimal for each 7 bits?

* TPQN: Ticks Per Quarter Note

From the preceding table, since 12H = 18 and 34H = 52

18 x 128+52 = 2356

Example of an Exclusive message and calculating a 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 exclu-

sive message.

<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D ?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH =

((10 x 16+3) x 16+9) x 16+13 = 41885

<Example 4> What is the nibbled expression of the decimal value 1258?

16) 1258

16) 78 ... 10

16) 4 ... 14

0 ... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =

0AH, the answer is 00 04 0E 0AH.

Chapter 8. Appendix

207

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The Scale Tune Feature (address: 40 1x 40)

How to calculate the checksum (hexadecimal numbers are indicated by 'H')

The checksum is a value derived by adding the address, size and checksum itself

and inverting the lower 7 bits.

Here's an example of how the checksum is calculated. We will assume that in the

exclusive message we are transmitting, the address is aa bb ccH and the data or

size is dd ee ffH.

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 set-

tings, you can obtain a complete variety of tuning methods other than equal tem-

perament. As examples, three possible types of scale setting are explained below.

Equal Temperament

aa+bb+cc+dd+ee+ff = sum

This method of tuning divides the octave into 12 equal parts. It is currently the most

widely used form of tuning,

sum ÷ 128 = quotient ... remainder

128 - remainder = checksum

especially in occidental music. On this unit, the default settings for the Scale Tune

feature produce equal temperament.

<Example 1> Setting REVERB MACRO to ROOM 3

According to the "Parameter Address Map," the REVERB MACRO Address is 40 01

30H, and ROOM 3 is a value of 02H. Thus,

Just Temperament (Keytone C)

The three main chords resound much more beautifully than with equal tempera-

ment, 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.

F0 41

(1) (2)

(3)

(4)

(5)

40 01 30

address

data

(6)

checksum

(1) Exclusive Status, (2) ID (Roland),

(3) Device ID (17),

(6) End of Exclusive

(4) Model ID (GS),

(5) Command ID (DT1),

Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suit-

ed for ethnic music. For example, the settings introduced below will set the unit to

use the Arabian Scale.

Next we calculate the checksum.

40H+01H+30H+02H = 64+1+48+2 = 115 (sum)

115 (sum) ÷ 128 = 0 (quotient) ... 115 (remainder)

checksum = 128 - 115 (remainder) = 13 = 0DH

Example Settings

Note name Equal Temperament Just Temperament (Keytone C) Arabian Scale

-8

-6

+45

-2

-12

-51

-8

+43

-4

+47

This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.

<Example 2> Requesting transmission of the LEVEL for DRUM MAP 1 NOTE NUM-

BER 75 (D#5; Claves)

NOTE NUMBER 75 (D#5) is 4BH in hexadecimal.

According to the "Parameter Address Map," LEVEL of NOTE NUMBER 75 (D#5;

Claves) in DRUM MAP 1 has an Address of 41 02 4BH and a Size of 00 00 01H.

Thus,

+16

-14

-2

-10

+14

-16

+14

-12

F0 41

(1) (2)

(3)

(4)

(5)

41 02 4B 00 00 01

address size

(6)

-10

-49

checksum

(1) Exclusive Status, (2) ID (Roland),

(3) Device ID (17),

(6) End of Exclusive

The values in the table are given in cents. Refer to the explanation of Scale Tuning

on page 198 to convert these values to hexadecimal, and transmit them as exclu-

sive data.

(4) Model ID (GS),

(5) Command ID(RQ1),

Next we calculate the checksum.

For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as fol-

lows:

41H+02H+4BH+00H+00H+01H = 65+2+75+0+0+1 = 143 (sum)

143 (sum) ÷ 128 = 1 (quotient) ... 15 (remainder)

checksum = 128 - 15 (remainder) = 113 = 71H

F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7

This means that F0 41 10 42 11 41 02 4B 00 00 01 71 F7 is the message we trans-

mit.

About tuning

In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the

appropriate MIDI channel.

In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels

being used, or by sending a System Exclusive MASTER TUNE (address 40 00

00H).

RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be

precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in

steps of 0.1 cent. One cent is 1/100th of a semitone.

The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE

are added together to determine the actual pitch sounded by each Part.

Frequently used tuning values are given in the following table for your reference.

Values are in hexadecimal (decimal in parentheses).

+--------+--------+--------------+-------------------+

|Hz at A4| cent | RPN #1

| Sys.Ex. 40 00 00 |

+--------+--------+--------------+-------------------+

| 445.0 | +19.56 | 4C 43 (+1603)| 00 04 0C 04 (+196)|

| 444.0 | +15.67 | 4A 03 (+1283)| 00 04 09 0D (+157)|

| 443.0 | +11.76 | 47 44 (+ 964)| 00 04 07 06 (+118)|

| 442.0 | + 7.85 | 45 03 (+ 643)| 00 04 04 0F (+ 79)|

| 441.0 | + 3.93 | 42 42 (+ 322)| 00 04 02 07 (+ 39)|

| 440.0 |

| 40 00 ( 0 )| 00 04 00 00 (

0)|

| 439.0 | - 3.94 | 3D 3D (- 323)| 00 03 0D 09 (- 39)|

| 438.0 | - 7.89 | 3A 7A (- 646)| 00 03 0B 01 (- 79)|

+--------+--------+--------------+-------------------+

<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz

Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.

64 00

65 01

06 45

26 03

64 7F

65 7F

MIDI ch.3, lower byte of RPN parameter number

(MIDI ch.3) upper byte of RPN parameter number

(MIDI ch.3) upper byte of parameter value

(MIDI ch.3) lower byte of parameter value

(MIDI ch.3) lower byte of RPN parameter number

(MIDI ch.3) upper byte of RPN parameter number

: 00H

: 01H

: 45H

: 03H

: 7FH

(B2)

Chapter 8. Appendix

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MIDI SOUND GENERATOR

Model SC-88Pro

Date : '96.9.

MIDI Implementation Chart

Version : 1.00

Function...

Transmitted

Recognized

Remarks

Basic

Channel Changed

Default

1-16

Memorized

Default

Message

Altered

Mode 3

Mode 3, 4(M=1)

Mode

Note

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

0-127

Number : True Voice

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

Velocity

Note ON

Note OFF

After

Touch

Key's

Ch's

Pitch Bend

0, 32

6, 38

98, 99

100, 101

Bank select

Modulation

Portamento time

Data entr

Volume

Pan

Expression

Hold 1

Portamento

Control

Change

Sostenuto

Soft

Portamento control

Effect 1 (Reverb Send Level)

Effect 3 (Chorus Send Level)

Effect 4 (Delay Send Level)

NRPN LSB,MSB

RPN LSB,MSB

Program

Change

0-127

: True #

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

Program Number: 1-128

System Exclusive

System

Common : Song Sel

: Tune

: Song Pos

System

Real Time : Commands

: Clock

: All Sounds OFF

: Reset All Controllers

: Local ON/OFF

(120,126,127)

(123-125)

Aux

Messages : All Notes OFF

: Active Sensing

: Reset

Notes

*1 is selectable.

*2 Recognize as M=-1 even if M =/ 1

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

: Yes

: No

Chapter 8. Appendix

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INDEX

[A—K]

Data Entry .................................................................132

Decay Time .................................................................33

Delay

Active Sensing...........................................................133

Aftertouch............................................................33, 132

All Note Off................................................................133

All Sound Off .............................................................133

Apple Macintosh .......................................................120

Assign Group...............................................................44

Assign Lock.................................................................38

Attack Time .................................................................33

Audio Input ..................................................................15

Back Up Switch ...........................................................37

Bank Select ...............................................................126

Bar Indicator..................................................................9

Battery...........................................................................3

Bend

Range ....................................................................30

Cutoff .....................................................................30

Amp .......................................................................30

LFO Rate ...............................................................30

LFO Pitch...............................................................30

LFO TVF................................................................30

LFO TVA................................................................30

Bulk Dump.................................................................107

Bulk Dump Data ........................................................107

CAf

Range ....................................................................30

Cutoff .....................................................................30

Amp .......................................................................30

LFO Rate ...............................................................30

LFO Pitch...............................................................30

LFO TVF................................................................30

LFO TVA................................................................30

Capital .........................................................................20

CC1

Range ....................................................................30

Cutoff .....................................................................30

Amp .......................................................................30

LFO Rate ...............................................................30

LFO Pitch...............................................................30

LFO TVF................................................................30

LFO TVA................................................................30

CC1 Controller Number...............................................29

Channel.........................................................22, 41, 130

Channel Aftertouch......................................................30

Channel Pressure........................................................30

Chorus

All Delay.................................................................50

Part Delay........................................................13, 50

Delay Feedback ..........................................................54

Delay Level..................................................................54

Delay Level Center......................................................54

Delay Level Left...........................................................54

Delay Level Right ........................................................54

Delay Pre-LPF.............................................................54

Delay Send Level ......................................................132

Delay Send Level To Reverb ......................................54

Delay Time Center ......................................................54

Delay Time Ratio Left..................................................54

Delay Time Ratio Right ...............................................54

Delay Type ..................................................................54

Device ID...................................................................134

Display.........................................................................37

Double Module Mode ................................................116

Drum Edit ....................................................................42

Drum Part....................................................................27

Drum Set .............................................................18, 128

Dump.........................................................................107

Dump Data ................................................................107

Effect

Insertion Effect.......................................................56

System Effect.........................................................48

EFX Control Depth ......................................................92

EFX Control Source ....................................................92

EFX Param..................................................................56

EFX Type ....................................................................56

EFX Value ...................................................................56

EQ Lock.....................................................................140

Error Message...........................................................148

Exclusive Message....................................................133

Expression.................................................................131

Factory Preset...........................................................118

Fine Tune ....................................................................28

Frame Draw...............................................................110

GM Initialize...............................................................118

GM System............................................................2, 118

GM System On..........................................................140

GS Initialize ...............................................................118

GS Format.....................................................................2

GS Reset...................................................................140

Headphone..................................................................15

High Frequency...........................................................49

High Gain ....................................................................49

Hold1.........................................................................132

IBM PC/AT ...............................................................120

In B Select.................................................................135

Individual Data...........................................................108

Initialize .....................................................................118

Input Modes...............................................................137

Instrument .............................................................10, 18

Keyboard Range H......................................................28

Keyboard Range L ......................................................28

Key Shift

All Chorus ..............................................................50

Part Chorus.....................................................13, 50

Chorus Delay...............................................................53

Chorus Depth ..............................................................53

Chorus Feedback........................................................53

Chorus Level ...............................................................53

Chorus Pre-LPF ..........................................................53

Chorus Rate ................................................................53

Chorus Send Level....................................................132

Chorus Send Level To Delay ......................................53

Chorus Send Level To Reverb....................................53

Chorus Type................................................................53

CM-64........................................................................114

Computer Cable ........................................................120

Computer Switch.......................................................120

Contrast (Display)........................................................38

Control Change .........................................................131

Cutoff Frequency.........................................................33

Master Key Shift ....................................................35

Part Key Shift...................................................12, 25

[L—P]

LCD Contrast...............................................................38

Chapter 8. Appendix

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Legato-enable sound...................................................24

Level

Resonance ..................................................................33

Reverb

Master Level ..........................................................35

Part Level.........................................................11, 25

Low Frequency............................................................49

Low Gain .....................................................................49

Master Tune ................................................................14

Maximum Polyphony...................................................24

MIDI...........................................................................130

MIDI Channel ................................................22, 41, 130

MIDI Connector .........................................................135

MIDI Implementation .................................................188

MIDI Implementation chart ........................................209

MIDI IN B...................................................................135

Modulation

Range ....................................................................30

Cutoff .....................................................................30

Amp .......................................................................30

LFO Rate ...............................................................30

LFO Pitch...............................................................30

LFO TVF................................................................30

LFO TVA................................................................30

Mono/Poly Mode .........................................................27

Multi-Timbral Sound Module .......................................18

Mute

All Mute..................................................................34

Part Mute ...............................................................25

Mute Lock..................................................................140

Normal Part .................................................................27

Note Message ...........................................................131

Note Number.............................................................131

NRPN ................................................................132, 142

Output Assign..............................................................29

OUT/THRU Select.....................................................136

Pan

Master Pan ............................................................35

Part Pan...........................................................11, 25

Part..............................................................................18

Part Copy ..................................................................106

Part EQ........................................................................27

Part Exchange...........................................................106

Part Initialize..............................................................106

Part Mode....................................................................27

Part Monitor.................................................................27

Part Parameter......................................................25, 31

Patch

All Reverb ..............................................................50

Part Reverb......................................................13, 50

Reverb Character........................................................52

Reverb Delay Feedback..............................................52

Reverb Level ...............................................................52

Reverb Pre Delay Time...............................................52

Reverb Pre-LPF ..........................................................52

Reverb Send Level....................................................132

Reverb Time................................................................52

Reverb Type................................................................52

RPN...................................................................132, 142

Rx.Bank sel ...............................................................141

Rx.GM On .................................................................140

Rx.GS Reset .............................................................140

Rx.NRPN...................................................................141

Rx Sys Mode.............................................................137

SC-88 compatible mode............................................112

SC-55 MAP

All SC-55MAP........................................................34

Part SC-55MAP .....................................................25

SC-88 MAP

All SC-88MAP........................................................34

Part SC-88MAP .....................................................25

Scale Tuning ...............................................................29

SFX ...........................................................160, 169, 175

Single Module Mode..................................................116

Soft............................................................................132

Sostenuto ..................................................................132

System Effect ..............................................................48

System Exclusive Message.......................................133

System Mode Set receive switch ..............................137

System Output Mode...................................................38

THRU ........................................................................136

THRU Function..........................................................123

Tuning .........................................................................14

User Drum Edit..........................................................102

User Effect...................................................................99

User Instrument Edit....................................................96

User Patch.................................................................101

User Patch Name......................................................100

Variation ......................................................................20

Velocity Sens Depth....................................................28

Velocity Sens Offset....................................................28

Vibrato Delay...............................................................32

Vibrato Depth ..............................................................32

Vibrato Rate ................................................................32

Voice ...........................................................................24

Volume ................................................................11, 131

Preset Patch ..........................................................39

User Patch...........................................................101

Patch Load Initialize Switch.........................................38

Peak Hold....................................................................37

Pitch Bend Change ...................................................131

Pitch Coarse................................................................43

Polyphonic Key Pressure ..........................................132

Portamento................................................................132

Portamento Control ...................................................132

Portamento Time.......................................................132

Power ............................................................................9

Preview Note Name ....................................................37

Preview Velocity..........................................................37

Program Change...............................................126, 131

[R—V]

Release Time ..............................................................33

Reset All controllers ..................................................133

Chapter 8. Appendix

211

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Information

When you need repair service, call your nearest EDIROL/Roland Service Center or authorized

EDIROL/Roland distributor in your country as shown below.

IRELAND

HONG KONG

BARBADOS

PERU

CYPRUS

Roland Ireland

Parsons Music Ltd.

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

Audionet

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

Lima - Peru

TEL: (511) 4461388

EUROPE

EDIROL (Europe) Ltd.

Studio 3.4 114 Power Road

London W4 5PY

TEL: (022) 66-9426

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

U. K.

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

TEL: +44 (0)20 8747 5949

FAX:+44 (0)20 8747 5948

http://www.edirol.com/europe

TRINIDAD

AMR Ltd

Ground Floor

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868)638 6385

TEL: (021) 285-4169

Deutschland

TEL: 0700 33 47 65 20

France

TEL: 0810 000 371

Italia

TEL: 02 93778329

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha’aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

TEL: 2273 0074

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

COLOMBIA

Centro Musical Ltda.

POLAND

MX MUSIC SP.Z.O.O.

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

KOREA

Cra 43 B No 25 A 41 Bododega 9 VENEZUELA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

Medellin, Colombia

TEL: (574)3812529

Instrumentos Musicales

Allegro,C.A.

Av.las industrias edf.Guitar

import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

NORTH AMERICA

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

CANADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way Richmond

B. C., V6V 2M4 CANADA

TEL: (604) 270 6626

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

MALAYSIA/

SINGAPORE

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

Roland Canada Music Ltd.

(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

EUROPE

LEBANON

Chahine S.A.L.

Gerge Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

AUSTRIA

PHILIPPINES

Roland Elektronische

Musikinstrumente HmbH.

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (905) 362 9707

TEL: (266) 364 609

Austrian Office

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

U. S. A.

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (02) 899 9801

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

TAIWAN

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL:(593-4)2302364

ROLAND TAIWAN

TEL: (323) 890 3700

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

GUATEMALA

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

QATAR

Badie Studio & Stores

P.O. Box 62,

Doha, QATAR

TEL: 423554

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany

Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

TEL: (02) 2561 3339

TEL: (014) 575811

TEL:(502) 599-2888

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

CZECH REP.

K-AUDIO

Kardasovska 626.

CZ-198 00 Praha 9,

CZECH REP.

SWEDEN

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona

3 Ave.11 Calle S.O

San Pedro Sula, Honduras

TEL: (504) 553-2029

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SAUDI ARABIA

aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

SAUDI ARABIA

TEL: (2) 666 10529

VIETNAM

SAIGON MUSIC

DISTRIBUTOR

(TAN DINH MUSIC)

138 Tran Quang Khai Street

Dist. 1, Ho Chi Minh City

VIETNAM

REUNION

DENMARK

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

MARTINIQUE

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

REUNION ISLAND

TEL: (0262) 218-429

TEL: 3916 6200

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

TEL: (08) 848-4068

FINLAND

Roland Scandinavia As, Filial

Finland

Elannontie 5

FIN-01510 Vantaa, FINLAND

TEL: (0)9 68 24 020

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo,

UKRAINE

TEL: (03131) 414-40

SOUTH AFRICA

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

Gigamusic SARL

10 Rte De La Folie

97200 Fort De France

Martinique F.W.I.

TEL: 596 596 715222

AUSTRALIA/

NEW ZEALAND

TEL: (011) 223-5384

TEL: (021) 799 4900

MEXICO

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

AUSTRALIA/

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar

de los Padres 01780 Mexico

D.F. MEXICO

UNITED KINGDOM

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

ASIA

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

CHINA

TEL: (55) 5668-6699

Roland Shanghai Electronics

Co.,Ltd.

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai,

U.A.E.

UNITED KINGDOM

TEL: (01792) 702701

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal

de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

For Australia

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

Roland Shanghai Electronics

Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

MIDDLE EAST

TEL: (04) 3360715

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

TEL: (505)277-2557

HUNGARY

CENTRAL/LATIN

AMERICA

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

TEL: (010) 6426-5050

TEL: 17 211 005

Roland Shanghai Electronics

Co.,Ltd.

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

TEL: (23) 511011

(GUANGZHOU OFFICE)

2/F., No.30 Si You Nan Er Jie

Yi Xiang, Wu Yang Xin Cheng,

Guangzhou 510600, CHINA

TEL: (020) 8736-0428

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

As of December 10, 2005 (EDIROL-1)

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For Nordic Countries

Apparatus containing Lithium batteries

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved

fejlagtig håndtering.

Udskiftning må kun ske med batteri af

samme fabrikat og type.

VARNING!

Explosionsfara vid felaktigt batteribyte.

Använd samma batterityp eller en

ekvivalent typ som rekommenderas av

apparattillverkaren.

Levér det brugte batteri tilbage til

leverandøren.

Kassera använt batteri enligt

fabrikantens instruktion.

ADVARSEL!

Lithiumbatteri - Eksplosjonsfare.

Ved utskifting benyttes kun batteri som

anbefalt av apparatfabrikanten.

Brukt batteri returneres

VAROITUS!

Paristo voi räjähtää, jos se on

virheellisesti asennettu.

Vaihda paristo ainoastaan

laitevalmistajan suosittelemaan

tyyppiin. Hävitä käytetty paristo

valmistajan ohjeiden mukaisesti.

apparatleverandøren.

For Europe

For the USA

This product complies with the requirements of European Directive 89/336/EEC.

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.

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

CLASS B

This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference

Regulations of the Canadian Department of Communications.

AVIS

CLASSE B

Cet appareil numérique ne dépasse pas les limites de la classe B au niveau des émissions de bruits radioélectriques

fixés dans le Règlement des signaux parasites par le ministère canadien des Communications.

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Specifications

Model :Sound Canvas SC-88 Pro

(General MIDI System

/GS format

)

G Number of parts

G Accessories

Owner's manual

G Maximum Polyphony

64 (voices)

G Options

Computer cable

RSC-15AT (For IBM PC/AT series)

RSC-15APL (For Apple Macintosh series)

G Internal Memory

Sound map

3 (SC-55, SC-88, Native map)

In the interest of product improvement, the specifications

and/or appearance of this unit are subject to change without

prior notice.

Preset sounds

Drum sound set

User sounds

: 1117

: 42 (include 3 SFX Set)

: 256

User drum sound set : 2

User Effect

: 64

Preset Patch

User Patch

: 128(with Effect)

: 16

G Effects

Reverb (8type)

Chorus (8type)

Delay (10type)

2 band equalizer

Insertion Effect (64type)

G Display

70.6 x 24.5mm (backlit LCD)

G Connectors

MIDI connectors

(IN A, IN B Front/Rear, OUT/THRU)

Audio Input jack x 2 (L,R)

Input Volume Knob

Audio Output jack x 4 (OUTPUT-1L,1R,2L,2R)

Headphones jack

Computer terminal

Computer Switch

G Power Supply

AC117V, AC230V or 240V

G Power Consumption

16W (AC117V),16W (230V/240V)

G Dimensions

218 (W) x 250 (D) x 72 (H) mm

8-5/8 (W) x 9-7/8 (D) x 2-7/8 (H) inches

G Weight

2.6 kg

5 lbs 12 oz

01127234

'97-11-B2-61D

Ro la n d C o rp o ra t io n

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