O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland V-Synth.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s
Manual p. 3), and “IMPORTANT NOTES” (Owner’s Manual p. 4). These sections
provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every
feature provided by your new unit, the Quick Start, Owner’s Manual, and Sound
List should be read in their entirety. These manuals should be saved and kept on
hand as a convenient reference.
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
* Windows® is known officially as: “Microsoft® Windows® operating system.”
* Macintosh are registered trademark of Apple Computer, Inc.
* MacOS is a trademark of Apple Computer, Inc.
* All product names mentioned in this document are trademarks or registered trade-
marks of their respective owners.
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
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USIN G THE UN IT SAFELY
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.
001
008e
•
Before using this unit, make sure to read the instructions
•
Use only the attached power-supply cord.
below, and the Owner’s Manual.
........................................................................................................................
........................................................................................................................
002a
009
•
Do not open or perform any internal modifications on the
•
Do not excessively twist or bend the power cord, nor place
heavy objects on it. Doing so can damage the cord,
producing severed elements and short circuits. Damaged
cords are fire and shock hazards!
unit.
........................................................................................................................
003
•
Do not attempt to repair the unit, or replace parts within it
(except when this manual provides specific instructions
directing you to do so). Refer all servicing to your retailer,
the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page.
........................................................................................................................
010
•
This unit, either alone or in combination with an amplifier
and headphones or speakers, may be capable of
producing sound levels that could cause permanent
hearing loss. Do not operate for a long period of time at a
high volume level, or at a level that is uncomfortable. If
you experience any hearing loss or ringing in the ears, you
should immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
004
•
Never use or store the unit in places that are:
•
Subject to temperature extremes (e.g., direct sunlight
in an enclosed vehicle, near a heating duct, on top of
heat-generating equipment); or are
........................................................................................................................
011
•
•
•
•
•
Damp (e.g., baths, washrooms, on wet floors); or are
Humid; or are
•
Do not allow any objects (e.g., flammable material, coins,
pins); or liquids of any kind (water, soft drinks, etc.) to
penetrate the unit.
Exposed to rain; or are
Dusty; or are
Subject to high levels of vibration.
........................................................................................................................
........................................................................................................................
005
013
•
This unit should be used only with a rack or stand that is
•
In households with small children, an adult should
provide supervision until the child is capable of following
all the rules essential for the safe operation of the unit.
recommended by Roland.
........................................................................................................................
006
........................................................................................................................
•
When using the unit with a rack or stand recommended
by Roland, the rack or stand must be carefully placed so it
is level and sure to remain stable. If not using a rack or
stand, you still need to make sure that any location you
choose for placing the unit provides a level surface that
will properly support the unit, and keep it from wobbling.
014
•
Protect the unit from strong impact.
(Do not drop it!)
........................................................................................................................
015
•
Do not force the unit’s power-supply cord to share an
outlet with an unreasonable number of other devices. Be
especially careful when using 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.
........................................................................................................................
008a
•
The unit should be connected to a power supply only of
the type described in the operating instructions, or as
marked on the unit.
........................................................................................................................
........................................................................................................................
3
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USIN G THE UN IT SAFELY
016
104
•
Before using the unit in a foreign country, consult with
your retailer, the nearest Roland Service Center, or an
authorized Roland distributor, as listed on the “Infor-
mation” page.
•
Try to prevent cords and cables from becoming entangled.
Also, all cords and cables should be placed so they are out
of the reach of children.
........................................................................................................................
106
........................................................................................................................
023
•
Never climb on top of, nor place heavy objects on the unit.
•
DO NOT play a CD-ROM disc on a conventional audio
CD player. The resulting sound may be of a level that
could cause permanent hearing loss. Damage to speakers
or other system components may result.
........................................................................................................................
107b
•
Never handle the power cord or its plugs with wet hands
when plugging into, or unplugging from, an outlet or this
unit.
........................................................................................................................
........................................................................................................................
101a
108a
•
The unit should be located so that its location or position
•
Before moving the unit, disconnect the power plug from
does not interfere with its proper ventilation.
the outlet, and pull out all cords from external devices.
........................................................................................................................
........................................................................................................................
101c
109a
•
This unit for use only with Roland keyboard stand KS-12.
Use with other stands is capable of resulting in instability
causing possible injury.
•
Before cleaning the unit, turn off the power and unplug
the power cord from the outlet (Quick Start; p. 31).
........................................................................................................................
........................................................................................................................
110a
102b
•
Whenever you suspect the possibility of lightning in your
•
Always grasp only the plug on the power-supply cord
when plugging into, or unplugging from, an outlet or this
unit.
area, pull the plug on the power cord out of the outlet.
........................................................................................................................
118
........................................................................................................................
•
Should you remove screws, make sure to put them in a
safe place out of children’s reach, so there is no chance of
them being swallowed accidentally.
........................................................................................................................
IMPO RTAN T N O TES
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2–4, please read
and observe the following:
352b
Po w e r Su p p ly
•
Noise may be produced if wireless communications devices, such
as cell phones, are operated in the vicinity of this unit. Such noise
could occur when receiving or initiating a call, or while
conversing. Should you experience such problems, you should
relocate such wireless devices so they are at a greater distance
from this unit, or switch them off.
301
•
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).
307
•
Before connecting this unit to other devices, turn off the power to
354a
all units. This will help prevent malfunctions and/ or damage to
speakers or other devices.
•
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.
Pla ce m e n t
355b
351
•
When moved from one location to another where the temperature
•
Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit; or move
it farther away from the source of interference.
and/ or humidity is very different, water droplets (condensation)
may form inside the unit. Damage or malfunction may result if
you attempt to use the unit in this condition. Therefore, before
using the unit, you must allow it to stand for several hours, until
the condensation has completely evaporated.
352a
•
This device may interfere with radio and television reception. Do
358
not use this device in the vicinity of such receivers.
•
Do not allow objects to remain on top of the keyboard. This can be
the cause of malfunction, such as keys ceasing to produce sound.
4
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IMPO RTAN T N O TES
Ma in te n a n ce
401a
Be fo re Usin g Ca rd s
•
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 impregnated with a mild, non-abrasive detergent.
Afterwards, be sure to wipe the unit thoroughly with a soft, dry
cloth.
Usin g DATA Ca rd s
704
•
Carefully insert the DATA card all the way in—until it is firmly in
place.
402
•
Never use benzine, thinners, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/ or deformation.
Ad d itio n a l Pre ca u tio n s
551
•
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 recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory on a PC
card.
the terminals dirty.
552
•
Unfortunately, it may be impossible to restore the contents of data
Ha n d lin g CD-RO Ms
that was stored on a PC card once it has been lost. Roland Corpo-
ration assumes no liability concerning such loss of data.
801
•
Avoid touching or scratching the shiny underside (encoded
surface) of the disc. Damaged or dirty CD-ROM discs may not be
read properly. Keep your discs clean using a commercially
available CD cleaner.
553
•
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.
554
•
Never strike or apply strong pressure to the display.
Co p y rig h t
851
•
Unauthorized recording, distribution, sale, lending, public perfor-
mance, broadcasting, or the like, in whole or in part, of a work
(musical composition, video, broadcast, public performance, or
the like) whose copyright is held by a third party is prohibited by
law.
558a
852b
•
To avoid disturbing your neighbors, try to keep the unit’s volume
•
When exchanging audio signals through a digital connection with
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).
an external instrument, this unit can perform recording without
being subjected to some of the restrictions of the Serial Copy
Management System (SCMS). This is because the unit is intended
solely for musical production, and is designed not to be subject to
restrictions as long as it is used to record works (such as your own
compositions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and later
copying through a digital connection. It is built into MD recorders
and other consumer digital-audio equipment as a copyright-
protection feature.)
559a
•
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.
561
•
Use only the specified expression pedal (EV-**; sold separately).
By connecting any other expression pedals, you risk causing
malfunction and/ or damage to the unit.
853
•
Do not use this unit for purposes that could infringe on a
562
copyright held by a third party. We assume no responsibility
whatsoever with regard to any infringements of third-party
copyrights arising through your use of this unit.
•
Use a cable from Roland to make the connection. If using some
other make of connection cable, please note the following precau-
tions.
•
Some connection cables contain resistors. Do not use cables
that incorporate resistors for connecting to this unit. The use
of such cables can cause the sound level to be extremely low,
or impossible to hear. For information on cable specifications,
contact the manufacturer of the cable.
5
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Ho w To Use Th is Ma n u a l
This owner’s manual is organized as follows. Before you start
N o ta tio n Use d in Th is O w n e r’s
Ma n u a l
reading it, we’d like to suggest going through the Quick Start
manual. For details on all the patches and waves that the V-Synth
contains, refer to the separate “Sound List.”
To make operation procedures easy to understand, the following
notation system is adopted:
Characters and graphics in square brackets [ ] indicate buttons and
knobs on the front panel. For example, [MODE] indicates the MODE
O ve rvie w o f th e V-Sy n th
This explains the structure of the V-Synth, and basic operation.
Reading it is essential for understanding V-Synth operational
procedures.
button, and [
buttons.
], [
], [
], and [
] indicates the cursor
Text or graphics enclosed in < > indicate objects in the screen (touch
screen) that can be touched using your finger. The manual will
instruct you to “touch” the object shown in the touch screen.
(p. **) refers to pages within the manual.
Pla y in g in Pa tch Mo d e
This explains how to play the V-Synth in Patch mode. Reading it is
essential for understanding V-Synth operational procedures.
Below are the meanings of the symbols preceding certain sentences
in the text.
Cre a tin g a Pa tch
These are notes. Be sure to read them.
This chapter explains how to create patches, and describes what the
patch parameters do and how they are composed. Read this chapter
when you wish to create patches.
These are reference memos. Read it as necessary.
Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le
Mo d e )
These are hints for operating the V-Synth. Read it as necessary.
This explains how to sample, and how to edit and encode samples.
Read this when you want to sample sounds.
These provide information from related reference pages. Read it
as necessary.
Se ttin g s Co m m o n to All Mo d e s (Sy ste m
Mo d e )
The display screens printed in this owner’s manual are based on
the factory settings. However, please be aware that in some cases
they may differ from the actual factory settings.
This chapter describes how the System parameters that determine
the V-Synth’s operation environment work and how these
parameters are organized. Read it as necessary.
Disk -Re la te d Fu n ctio n s (Disk Mo d e )
This chapter covers disk-related operations such as saving data to
disk and loading data from disk. Read it as necessary.
Tra n sfe rrin g Da ta (USB Mo d e )
This explains how to connect the V-Synth to your computer, and
transfer data such as patches and waves. Read this as necessary.
O th e r Fu n ctio n s
This explains how to transmit data to an external MIDI device (Data
Transfer), and how to restore all data of the V-Synth to the factory
settings (Factory Reset). Read it as necessary.
Ap p e n d ice s
This chapter contains a troubleshooting section for use when the V-
Synth is not functioning as expected. There is also a list of messages
that you can refer to if an message appears on the display. A list of
parameters and a MIDI implementation chart are also provided.
6
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Co n te n ts
Notation Used in This Owner’s Manual...................................................................................... 6
Panel Descriptions................................................................................12
Front Panel................................................................................................................................................. 12
Rear Panel.................................................................................................................................................. 15
How the V-Synth Is Organized .............................................................................................................. 16
Basic Structure ............................................................................................................................... 16
Memory Structure ......................................................................................................................... 17
Basic Operation of the V-Synth .............................................................................................................. 18
Basic Touch Screen Operation..................................................................................................... 19
Moving the Cursor........................................................................................................................ 20
Editing a Value .............................................................................................................................. 20
Displaying PATCH PLAY Screen............................................................................................... 21
Selecting Patches from the List.................................................................................................... 22
Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 22
Transposing the Keyboard in Octave Units (Octave Shift) ................................................................ 23
Playing Arpeggios (Arpeggiator)........................................................................................................... 24
Holding an Arpeggio.................................................................................................................... 24
Creating an Original Arpeggio Pattern (Pattern Edit)............................................................. 25
Synchronizing Music and Video While You Play the V-Synth (V-LINK) ....................................... 30
How to Make the Patch Settings ............................................................................................................ 32
Initializing Patch Settings (PATCH Init) ................................................................................... 33
Copying Patch Settings (PATCH Copy).................................................................................... 33
Naming a Patch (PATCH Name)........................................................................................................... 34
Saving Patches (PATCH Write).............................................................................................................. 34
Registering a Favorite Patch (Patch Palette) ............................................................................. 35
7
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Co n te n ts
Functions of Patch Parameters ............................................................................................................... 36
Modifying Waveforms (OSC1/ OSC2)....................................................................................... 42
Adjusting the Volume and Pan (TVA)....................................................................................... 47
Setting Effects for a Patch (Effect)............................................................................................... 50
Zone Settings (Zone)................................................................................................................................ 52
Splitting the Keyboard to Play Different Sounds (Split) ......................................................... 52
Creating a Drum Patch (Drum)................................................................................................... 53
Sampling .................................................................................................................................................... 55
Settings Before You Sample (What Is a Template?)................................................................. 55
Sampling Procedure ..................................................................................................................... 56
Setup Settings ................................................................................................................................ 60
Metronome Settings...................................................................................................................... 62
Checking Sample Information................................................................................................................ 63
Importing a Sample.................................................................................................................................. 64
Editing a Sample....................................................................................................................................... 64
Common Procedure for Editing.................................................................................................. 64
Editing the Specified Region of the Sample .............................................................................. 66
Loop Region Settings.................................................................................................................... 68
Converting the Sample to V-Synth Data (Encode).............................................................................. 69
Saving a Sample........................................................................................................................................ 72
How to Make the System Function Settings......................................................................................... 73
Saving the System Settings (Write)............................................................................................. 73
Initializing the System Settings (Init) ......................................................................................... 73
Functions of System Parameters ............................................................................................................ 74
V-LINK Settings (V-LINK) .......................................................................................................... 80
Basic Disk Utility Operations.................................................................................................................. 83
Sorting the Files Displayed in the File List................................................................................ 84
Loading a Project from Disk into the V-Synth (Load Project) ........................................................... 84
Saving Project on Disk (Save Project).................................................................................................... 85
Delete Unneeded Files (Clean Project).................................................................................................. 85
Importing Individual Patch or Wave Files (Import Files).................................................................. 85
Initializing a Disk (Format)..................................................................................................................... 86
Functions Related to Files and Folders (Tools) .................................................................................... 87
Moving Files/ Folders (Move)..................................................................................................... 87
Deleting Files/ Folders (Delete)................................................................................................... 88
8
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Co n te n ts
Renaming a Files/ Folders (Rename)..................................................................................................... 89
About USB Functions............................................................................................................................... 90
Transferring Files to or from Your Computer (Storage Mode) ......................................................... 90
Windows Me/ 2000/ XP Users..................................................................................................... 91
Macintosh Users ............................................................................................................................ 93
Exchanging MIDI Messages with Your Computer (MIDI Mode)..................................................... 96
Driver Installation and Settings .................................................................................................. 96
Reset to Default Factory Settings (Factory Reset)................................................................................ 98
Viewing Various Information (Info)...................................................................................................... 98
Adjusting the Sensitivity of the Touch Screen/ Time Trip Pad/ D Beam Controller
(Calibration Mode)................................................................................................................................... 99
Adjusting the Sensitivity of the Touch Screen .......................................................................... 99
Adjusting the Sensitivity of the Time Trip Pad ...................................................................... 100
Adjusting the Sensitivity of the D Beam Controller............................................................... 100
Parameter List.....................................................................................102
Troubleshooting..................................................................................145
Problems Related to the V-Synth ......................................................................................................... 145
Message Boxes ........................................................................................................................................ 151
About MIDI...........................................................................................152
9
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Ma in Fe a tu re s
W ith th is sy n th e size r, e ve ry co m p o n e n t in vo lve d in so u n d
cre a tio n h a s b e e n ta k e n to th e n e x t sta g e o f e vo lu tio n
The V-Synth brings together the ideal combination of sound generators, together with an interface that dynamically links your sensitivities with
the sound. It’s a powerful synthesizer that only Roland could have produced. The sounds of the V-Synth have a living character that goes beyond
the limits of previous synthesizers.
■ Th e id e a l co m b in a tio n o f so u n d
■ An in te rfa ce th a t g ive s life to th e
g e n e ra to rs
so u n d
■ Fle x ib le so u n d g e n e ra to r stru ctu re
■ In tu itive u se r in te rfa ce
The sound generator section consists of OSC, MOD, COSM, and
TVA blocks, and allows you to flexibly change the way in which
these blocks are connected. Sections other than the TVA provide
multiple types, and can be combined freely.
The V-Synth provides a rich variety of controllers for hands-on
operation, which puts you in direct and intuitive control of the
sound: a touch-operated display, the Time Trip pad, twin D Beam
controllers that detect not only up/ down but also left/ right
movement, and highly sensitive knobs.
Since each section can be switched on/ off in real time from the
panel, it’s always easy to understand how the sound is structured.
Most of the sound generator parameters can be assigned to these
controllers for direct control.
■ Ve rsa tile o scilla to rs u sin g
■ Po w e rfu l tim e -co n tro l fu n ctio n s
Va riPh ra se te ch n o lo g y
The VariPhrase sound generator of the V-Synth provides a Time Trip
function that can bring the waveform playback to a stop in real time,
and trace backward or forward from that point.
Since the oscillators have independent envelopes and LFOs, they
themselves have the functionality of synthesizers. You can choose
from three types: analog, PCM, and external input.
In addition, VariPhrase waveforms, LFO, envelope, arpeggiator, and
effects can all be made to operate in synchronization at the same
tempo. For example, a waveform with movement such as a rhythm
loop can easily be synthesized in units of individual notes. Of course
you can also synchronize to MIDI Clock messages from an external
device.
For example, since the PCM oscillators provide VariPhrase
functionality, you can change the waveform playback speed in the
forward or reverse directions.
Approximately 300 different preset waveforms are built-in. In
addition, you can use waveforms that you sampled from the analog
or digital input.
The arpeggiator lets you program a pattern for each sound, and also
supports control changes.
The powerful analog modeling sound generator creates a waveform
by internal calculation, and is great for creating unique tonal
changes, such as adding fatness or more of an edge to your sound.
■ N e w sp e cia lly o p tim ize d p re se t
so u n d s
■ CO SM p ro ce ssin g fo r cre a tin g
u n iq u e so u n d s
The new built-in sounds created specifically for the V-Synth give
you a wide range of expression simply when played from the
keyboard, and are also optimized for performance from the Time
Trip pad and D Beam controllers.
The COSM section uses a rich variety of processing in addition to the
usual TVF to vary the sound in extreme ways. For example, you can
use a sideband filter to give a metallic resonance to simple white
noise. You can use a resonator to add the body resonances of a
musical instrument. Processes such as wave shaper and guitar amp
modeling are also provided.
From the day you start playing the V-Synth, you can start taking
advantage of the performance potential offered by its Time Trip pad
and D Beam controllers.
Since these effects are independent for each voice, you can play
chords while preserving the sense of pitch.
■ Ca re fu lly se le cte d e ffe cts
Three types of carefully selected effects are built-in: MFX (multi-
effects), chorus, and reverb.
Also included is a newly developed Pseudo Stereo effect that adds a
sense of stereo to monaural sample data, allowing you to create a
variety of sound fields.
1 0
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Ma in Fe a tu re s
■ Use w ith o th e r d e vice s fo r e ve n
g re a te r p o ssib ilitie s
W h a t is Va riPh ra se ?
VariPhrase has the following advantages:
■ O p e n sy ste m a rch ite ctu re
The V-Synth lets you customize all patches and wave data. By
connecting your computer via USB, you can easily back up all of
your data.
1
Capable of changing the pitch, rate of time expansion/
compression and voice characteristics (formant) on a real-
time basis.
2
3
Allows easy synchronization to tempo and pitch.
A single sample covers an extended range of keys compared
to conventional digital samplers.
In addition to being able to sample using the V-Synth itself, you can
also import WAV or AIFF format files, so audio data created on
other devices can easily be loaded into the V-Synth and used.
Furthermore, you can store data on PC cards for easy exchange of
sound data.
4
Retains sound quality, while implementing the above three
advantages.
VariPhrase overcomes many problems that conventional
samplers and digital recorders have with audio phrases.
Typical issues with Digital Samplers and Digital recorders
■ A fu ll co m p le m e n t o f e x te rn a l
in te rfa ce s
•
•
Changing tempo affects Pitch.
Changing the pitch of phrases affects tempo and formant of
the sound.
The digital audio interface supports both optical and coaxial
connections, and sampling rates of 44.1 kHz, 48 kHz, and 96 kHz,
making the V-Synth ideal for any digital music production
environment.
•
•
•
Limited control of audio phrases. You cannot adjust a
partial section of a sound in real-time.
Most samplers require multiple samples over limited key
ranges for realistic playback of a sound.
Samples of the same tempo must be available for
performing chords, otherwise the notes of the chord will be
out of sync.
The USB connector supports file transfer or MIDI communication,
and you can select its function depending on your needs.
The PC card slot makes it easy to store large amounts of data on
commercially available media such as Compact Flash or SmartMedia
via a PC card adaptor.
•
Pitch or tempo changes on Digital samplers tends to
degrade audio quality.
■ V-LIN K fu n ctio n
VariPhrase solves all of these problems.
is a function that links music and video
performance. By using a video device that supports V-LINK, you can
easily link various video effects with your performances.
If the V-Synth is connected to an Edirol DV-7PR, you can use the V-
Synth’s controllers to adjust the brightness or color of the image,
vary the playback speed, or switch between images.
1 1
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Pa n e l De scrip tio n s
Fro n t Pa n e l
1
1 2
3
Vo lu m e Slid e r
Adjusts the overall volume that is output from the rear panel MAIN
OUT jacks and PHONES jack.→ (Quick Start; p. 4)
5
8
9
10
4
2
IN PUT
[PEAK] (Pe a k In d ica to r)
6
7
This will light when the input volume is too high.
[LEVEL]
Adjusts the volume of the signal input through the INPUT jacks on
17
3
D BEAM
You can apply a variety of effects to sounds simply by moving your
5
V-LIN K
In d ica to rs (L, R)
If the D Beam controller is on, these will light when you move your
hand over the controller.
Enables or disables control of an externally connected V-LINK
device.
[O N / O FF] (TIME TRIP, TIME, PITCH,
ASSIGN ABLE)
6
ASSIGN ABLE CO N TRO L
Switches the D Beam controller on/ off. The effect to be controlled
can be selected by pressing the relevant button.
TIME TRIP: Apply the Time Trip effect.
You can assign a variety of parameters and functions to the two
knobs ([C1], [C2]), and use them to modify the sound in realtime.
TIME: Apply the Time Control effect.
PITCH: Apply the Pitch Control effect.
7
ARPEGGIO
ASSIGNABLE: Apply the effect that is specified for each sound.
Here you can control the arpeggiator.
4
TIME TRIP PAD
[TEMPO ]
By touching the pad surface with your finger you can apply a variety
of effects to the sound.
Adjusts the tempo of the arpeggios.
[O N / O FF]
In d ica to r
Switches the Arpeggiator on/ off.
This will light when you touch the Time Trip Pad.
[HO LD]
[TIME TRIP]
Switches the Arpeggiator hold on/ off.
Switches to the Time Trip effect.
[ASSIGN ABLE]
Switches to the effect that is specified for each patch.
[HO LD]
Switches hold on/ off for the effect controlled by the Time Trip pad.
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Pa n e l De scrip tio n s
10
Disp la y
12
13
This displays information regarding the operation you are
performing.
11
11
VALUE Dia l
14
15
16
This is used to modify values. If you hold down [SHIFT] as you turn
the VALUE dial, the value will change in greater increments.
[DEC/ -], [IN C/ +]
This is used to modify values. If you keep on holding down one
button while pressing the other, the value change accelerates. If you
press one of these buttons while holding down [SHIFT], the value
[
], [ ], [ ], [ ] (Cu rso r Bu tto n s)
8
KEYBO ARD
[MO DE]
Here you can change the pitch range of the keyboard.
Opens the Mode Menu window.
[TRAN SPO SE]
[SHIFT]
Pressing this button while holding down [-OCT] or [+OCT] allows
you to set the desired amount of transposition.
This button is used in conjunction with other buttons to execute
various functions.
[-O CT], [+O CT]
[EXIT]
These buttons adjust the pitch of the keyboard in octave steps.
Return to the PLAY screen, or close the currently open window. In
some screens, this causes the currently executing function to be
aborted.
9
PATCH PALETTE
12
STRUCTURE
Here you can register and recall your favorite patches.
Here you can turn each sound-producing element (section) on or off.
[N UMBER] (1 –8 )
[1 ], [2 ], [3 ]
These buttons let you select/ register your favorite patches.
Switches the structure type (the way in which the sections are
connected).
[BAN K]
You can change the Patch Palette bank by holding down this button
and pressing [NUMBER] (1–8)
[O SC1 ], [O SC2 ], [MO D], [CO SM1 ], [CO SM2 ],
[TVA]
[PATCH ASSIGN ]
These buttons switch the corresponding section on/ off.
Only the buttons of the structure type selected by [1], [2], or [3] are
active.
You can register the currently selected patch as a favorite patch by
holding down this button and pressing [NUMBER] (1–8).
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Pa n e l De scrip tio n s
13
15
CO SM1 , CO SM2
EFFECTS
Here you can switch the onboard effects (multi-effects, chorus,
reverb) on/ off. When an effect is on, the indicator for its button will
light.
Here you can adjust the COSM sections.
These knobs are active when COSM is on (indicator lit). The result of
adjusting these knobs will depend on the COSM type that is selected.
[MFX]
[W IDTH]/ [CUTO FF]/ [P1 ]
Switches multi-effects on and off.
WIDTH: Adjusts the width when SBF (Side Band Filter) is selected.
CUTOFF: Adjusts the cutoff frequency when TVF is selected.
P1: Adjusts the parameter specified for the type when other types
are selected.
[CHO RUS]
Switches chorus on and off.
[REVERB]
[DETUN E]/ [RESO ]/ [P2 ]
Switches reverb on and off.
DETUNE: Adjusts the detune when SBF (Side Band Filter) is
selected.
RESO: Adjusts the resonance when TVF is selected.
P2: Adjusts the parameter specified for the type when other types
are selected.
14
O SC1 , O SC2
Here you can adjust the oscillator section.
These knobs are active if the oscillator is on (indicator lit). The result
of adjusting these knob will depend on the oscillator type that is
selected.
16
TVA
Here you can adjust the TVA section.
[PITCH]
These sliders are active when the TVA is on (indicator lit).
This modifies the pitch.
[A]
[TIME]/ [PW ]
This modifies the Attack Time.
TIME: This modifies the time.
[D]
PW: This modifies the pulse width.
This modifies the Decay Time.
[FO RMAN T]/ [FAT]
[S]
FORMANT: This modifies the formant.
FAT: Adjusts the fatness of the sound when using an analog
oscillator.
This modifies the Sustain Level.
[R]
[LFO DP1 ], [LFO DP2 ], [LFO DP3 ]
This modifies the Release Time.
These knobs adjust the depth of the LFO that is applied to the
parameters of the knobs located above each knob.
You can also use these sliders to make envelope settings in the
envelope setting screens of other sections.
[LFO RATE]
This modifies the LFO rate.
17
Pitch Be n d / Mo d u la tio n Le ve r
[LEVEL]
This allows you to control pitch bend or apply vibrato.
This modifies the volume.
→ (Quick Start; p. 17)
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Pa n e l De scrip tio n s
Re a r Pa n e l
fig.00-02
fig.00-03
fig.00-07
MIDI Co n n e cto rs (IN , O UT, THRU)
These connectors can be connected to other MIDI devices to receive
and transmit MIDI messages.
PO W ER Sw itch
Press to turn the power on/ off. → (Quick Start; p. 4)
AC In le t
fig.00-08
Connect the included power cord to this inlet. → (Quick Start; p. 3)
fig.00-04
CTRL 1 , CTLR 2 PEDAL Ja ck
You can connect optional expression pedals (EV-5, etc.) to these
jacks. By assigning a desired function to a pedal, you can use it to
select or modify sound or perform various other control.
PC CARD Slo t
A PC card can be inserted here.
HO LD PEDAL Ja ck
An optional pedal switch (DP series) can be connected to this jack for
For details on installing the included PC card protector, refer to
use as a hold pedal. → (Quick Start; p. 18)
fig.00-09
fig.00-05
IN PUT Ja ck s (L, R)
An external audio source such as a CD player can be connected to
USB Co n n e cto r
these jacks for sampling or external input.
This is a USB connector. You can connect it to your personal
GAIN Sw itch
computer to send or receive files and MIDI messages.
This selects the input gain of the INPUT jacks.
Set this to the “MIC” position if connecting a mic, or to the “LINE”
position if connecting any other type of device.
DIGITAL AUDIO IN TERFACE Co n n e cto r (O PTICAL
IN / O UT, CO AXIAL IN / O UT)
(conforming to S/ P DIF).
fig.00-10
These connectors input/ output a digital audio signal (stereo). The
output signal is identical to the signal that is output from the MAIN
OUT jacks.
DIRECT O UT Ja ck s (L, R)
S/ P DIF is a digital interface format used for consumer digital
audio devices.
This jack is a stereo output of the sound unprocessed by onboard
effects. An external effects processor or other devices can be
connected to these jacks.
fig.00-06
MAIN O UT Ja ck s (L (MO N O ), R)
These jacks output the audio signal to the connected mixer/ amplifier
system in stereo. For mono output, use the L jack.
→ (Quick Start; p. 3)
LCD CO N TRAST Kn o b
Adjusts the display contrast. → (Quick Start; p. 5)
PHO N ES Ja ck
This is the jack for connecting headphones (sold separately).
→ (Quick Start; p. 3)
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O ve rvie w o f th e V-Sy n th
Ho w th e V-Sy n th Is O rg a n ize d
Section name
Function
OSC1, OSC2
This section generates the sound on which
a patch is based. The sound is produced ei-
ther by built-in preset waves or sampled
waves, or by calculating an analog model-
ing waveform. An external audio input
source can also be used.
Ba sic Stru ctu re
Broadly speaking, the V-Synth consists of a controller section and a
sound generator section.
fig.01-01.e
MOD
This section mixes and modulates the two
audio signals.
COSM1, COSM2
This section applies a wide variety of pro-
cessing including filtering. This differs
from the effects in that effects are applied to
the final mix of the sound, COSM is applied
to each individual note.
Sound
Generator
Section
TVA
This section creates time-variant changes in
volume, and sets the pan position.
Play
Effects
function
Controller Section (controllers such as
MFX
The multi-effects are multi-purpose effects
that can completely change the nature of
the patch’s sound. There are 41 different ef-
fects types; select and use the type that suits
your aims.
keyboard, pitch bend lever, etc.)
The right side of the V-Synth’s front panel is where the controls for
the Sound Generator section are located. The controls on the left side
CHORUS
Applies a chorus effect to give the sound
depth and spaciousness.
are mainly those of the Controller section.
REVERB
Applies a reverb effect to add ambience to
the sound.
So u n d Ge n e ra to r Se ctio n
The sounds you play on the V-Synth are called patches. Each patch
Co n tro lle r Se ctio n
consists of a structure (an arrangement of its six sections), zones
(which allow for sixteen individual setups for sixteen key ranges),
The controller section consists of the keyboard, pitch bend/
modulation lever, time trip pad, D Beam controller, C1/ C2 knobs,
arpeggiator, and pedals connected to the rear panel. When you
manipulate these controllers, they send performance data to the
sound generator section, causing the V-Synth to create sound.
and three effects.
fig.01-02.e
Zone 16
Zone 15
Patch
Zone 2
Zone 1
Po ly p h o n y
The maximum polyphony of the V-Synth depends on the OSC and
COSM types used by the patch.
Changing the effect type or switching effects on/ off does not
affect the available polyphony.
Ab o u t Mu ltitim b ra l Pe rfo rm a n ce
The V-Synth allows up to 16-part multitimbral operation, and can be
played multitimbrally by performance data sent from an external
device. You can use the V-Synth to play the sounds of a song you
created on your sequencer, or as part of an ensemble. From the
keyboard you can play only the patch that is assigned to part 1. The
PATCH Information window shows you the patch that is assigned
A sound module that allows you to control multiple sounds
independently in this way is called a multitimbral sound module.
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O ve rvie w o f th e V-Sy n th
W o rk Are a / Te m p o ra ry Are a
Me m o ry
When you turn on the power of the V-Synth, or when you load a
project in Disk mode, the project data is placed in temporary
memory called the work area.
Me m o ry Stru ctu re
fig.01-03.e
Sampling and sample editing operations modify the data that is in
the work area.
V-Synth
The currently playable patch data is then further placed (from the
work area) into a location called the temporary area. This means
that even after editing a patch, you can return to the unedited
condition by once again recalling that patch.
Internal Memory
Project
Patch
512
Since sample data and patch data that you edit will disappear if you
simply turn off the power, you must save (SAVE/ WRITE) it if you
want to keep your changes.
Wave
999
PC Ca rd s
System
Internal memory can hold only one project, but you can use
commercially available PC cards to store additional projects.
Sa m p lin g Me m o ry
Preset Memory
The amount of memory you can use for sampling will depend on the
state of the project that is currently loaded into the work area. With
the factory-set project, there is approximately 115 seconds (stereo) /
230 seconds (monaural) of sampling memory. If you delete the
factory-set waves, you will be able to use a maximum of
Select
Save
Work Area
Temporary Area
approximately 280 seconds (stereo) / 560 seconds (monaural) of
sampling memory. However since a maximum of approximately 56
seconds (stereo) / 113 seconds (monaural) can be saved in internal
memory, you will need to use a commercially available PC card if
you want to store more samples than this.
USB
PC Card
* The above values are for when the sample is encoded using the “LITE”
type.
Project
Load
Save
Patch
512
Wave
999
The factory-set waves can be restored using the Factory Reset
System
Computer
Pre se t Me m o ry
Preset memory contains the state of the internal memory when the
unit is shipped from the factory. If, after erasing the internal
memory, you once again want to use the factory-set patches or
waves, you can either perform the Factory Reset operation or use
Disk mode to import the factory data from preset memory.
Pro je ct
The largest unit of memory used by the V-Synth is the project. A
project contains up to 512 patches, up to 999 waves, and various
system settings.
The V-Synth uses one project at a time.
USB
In te rn a l Me m o ry
If you connect the V-Synth to your computer via a USB cable,
projects, patches, and wave data in the V-Synth’s internal memory or
on a PC card can be saved (backed up) to the hard disk or other
media on your computer.
The V-Synth has internal memory that stores a project. When the V-
Synth is shipped from the factory, this memory already contains
patch and wave data, but you are free to overwrite any of this. You
can always restore the memory to the factory-set contents (Factory
Reset).
In addition, wave data created on the V-Synth can also be used by
software running on your computer, or wave data created by your
computer software can be used on the V-Synth.
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O ve rvie w o f th e V-Sy n th
Sa m p le Mo d e
Ba sic O p e ra tio n o f th e V-Sy n th
fig.SAMPLE_50
Ch a n g in g O p e ra tin g Mo d e s
([MO DE])
The V-Synth has eight operating modes: Patch mode, Sample mode,
System mode, Disk mode, USB mode, Calibration mode, Factory
reset mode and Demo play mode. To access the desired V-Synth
feature, you must select the appropriate mode.
Here’s how to change modes.
1 . Press [MODE].
The V-SYNTH MODE MENU window appears.
fig.MODE_50
In this mode, you can sample the waves that form the basis of the
sounds you create, and edit the sampled waves.
Sy ste m Mo d e
fig.SYSTEM_50
2 . Touch the touch screen to select the desired mode.
When you select a mode, the screen for that mode appears. The
currently selected mode is shown in the upper left of each
In this mode, you can set the overall behavior of the V-Synth, such as
its tuning and how it handles received MIDI messages.
screen.
fig.01-04
Disk Mo d e
fig.DISK_50
Pa tch Mo d e
fig.PATCH_50
In this mode, you can perform operations related to disks, such as
saving data on a disk or loading data from a disk.
In this mode you can play a single patch from the keyboard, and edit
patch settings.
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O ve rvie w o f th e V-Sy n th
USB Mo d e
Ba sic To u ch Scre e n O p e ra tio n
fig.USB_50
The V-Synth features a touch screen. The touch screen lets you
perform a variety of operations by lightly touching the screen.
The touch screen responds to a light touch. Pressing the touch
screen with too much force, or with a hard object, may damage
it. Be careful not to apply excessive force, and touch it only with
your finger.
En a b lin g / Disa b lin g th e Be e p To n e
You can specify whether or not a beep tone will be heard when you
touch a valid point on the touch screen.
In this mode, you can connect the V-Synth to your computer and
exchange patch or wave data.
Ca lib ra tio n Mo d e
At the factory setting, the beep tone will be sounded.
fig.CALIBRATION_50
1 . In the upper right of the screen, touch <■>.
A pulldown menu appears.
fig.01-05_50
In this mode you can adjust the response of the touch screen and D
Beam controller.
2 . In the pulldown menu, touch <Beep> to add a check mark
(■).
Fa cto ry Re se t Mo d e
fig.FACTORY_50
With this setting, the beep tone will be heard. If you perform the
same procedure once again, the check mark will be cleared and
the beep tone will no longer be heard.
If you have turned off the beep tone, a “∇” appears in the title
area at the top of the screen when you touch a valid point on the
touch screen.
fig.01-06
In this mode, you can reset to default factory settings.
De m o Pla y Mo d e
fig.DEMO_50
In this mode, you can play the built-in demo songs.
Demo Song: New Toys
Amin Bhatia © 2002 Roland Corporation
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O ve rvie w o f th e V-Sy n th
Mo vin g th e Cu rso r
Ed itin g a Va lu e
A single screen or window displays multiple parameters or items for
selection. To edit a parameter’s value, move the cursor to the value.
To select an item, move the cursor to the item. The cursor is a black
rectangle, and the parameter value or item you select with the cursor
To edit a value, you can use the VALUE dial, [INC/ +] [DEC/ -], or
drag on the touch screen.
In each V-Synth screen, you can select a value using the cursor as
described earlier, and modify its value.
is highlighted (displayed in inverted colors).
fig.01-07.e
Cursor
Each parameter has its own range of possible values. You cannot
set any value smaller than the minimum value or greater than
the maximum value.
VALUE Dia l
Turning the VALUE dial clockwise increases the value, and turning
it counterclockwise decreases its value. Hold down [SHIFT] as you
move the VALUE dial to increase value increments to make large
value changes more quickly.
fig.01-10
Cu rso r Bu tto n s
Press [
], [
], [
], or [
] (the cursor buttons) to move the
cursor.
fig.01-08
[IN C/ +] a n d [DEC/ -]
Press [INC/ +] to increase the selected value, and [DEC/ -] to
decrease it. Keep the button pressed for continuous adjustment. For
faster value increases, keep [INC/ +] pressed down and press [DEC/
-]. To decrease values quickly, keep [DEC/ -] pressed down and
[
[
[
[
]: moves the cursor up.
]: moves the cursor down.
]: moves the cursor to the left.
]: moves the cursor to the right.
press [INC/ +].
fig.01-11
To u ch Scre e n
Directly touch a parameter value to move the cursor.
fig.01-09
To u ch Scre e n
Touch a parameter value, and drag your finger up/ down or left/
right. Dragging upward or to the right increases the value, and
dragging downward or to the left decreases the value.
fig.01-12
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Pla y in g in Pa tch Mo d e
Patch mode is the mode in which you can play the keyboard using a
Fu n ctio n s in th e PATCH PLAY Scre e n
fig.02-01.e
single sound (patch or rhythm set).
Indicates a list of patches.
Indicates the current mode.
Ab o u t th e PATCH PLAY Scre e n
Indicates the MIDI transmit channel (Tx) and receive channel (Rx).
Indicates/sets the tempo.
Disp la y in g PATCH PLAY Scre e n
To access the PATCH PLAY screen, use the following procedure.
1 . Press [MODE].
Sets the Transpose and the Octave Shift.
Indicates the name and zone
of the selected patch.
Indicates/sets the zone
The V-SYNTH Mode MENU window appears.
Opens the pulldown menu.
fig.MODE_50
Indicates/selects the
number and name
of the selected patch.
Graphically displays
the parameter settings
of the selected patch.
2 . Touch <PATCH>.
Displays the various patch setting screens.
You will enter Patch mode, and the PATCH PLAY screen
appears.
fig.PATCH_50
Se le ctin g a Pa tch
V-Synth contains 512 patches for you to select and use.
All of these patches can be overwritten.
fig.02-02.e
Patch number
2 . Move the cursor to the patch number, either by using the
cursor buttons or by touching the patch number display.
3 . Turn the VALUE dial, or press [INC/+][DEC/-] to select a
patch number. You can also do this by dragging on the
touch screen.
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Pla y in g in Pa tch Mo d e
4 . To view other patches, touch <017-032>–<241-256>, located
at either side of the screen. To view higher-numbered
patches, touch <257-512>, located at the bottom of the
screen.
Se le ctin g Fa vo rite Pa tch e s (Pa tch
Pa le tte )
You can bring together your favorite and most frequently used
patches in one place by registering them into the patch palette. By
using this function, you can rapidly select favorite patches from
internal memory or a Wave Expansion Board.
5 . Touch <OK>.
The patch is selected and the PATCH List window closes.
For details on how to register a patch in the patch palette, refer
Tra n sp o sin g th e Ke y b o a rd in
Se m ito n e Ste p s (Tra n sp o se )
Transpose changes keyboard pitch in units of semitones.
This function is useful when you play transposed instruments such
as trumpet or clarinet following a printed score.
2 . Press NUMBER [1]–[8] to select a patch.
fig.02-03
1 . Press [TRANSPOSE] to light indicator.
This turns Transpose on.
2 . While holding down [TRANSPOSE], press [+OCT] or [-OCT]
to transpose the keyboard.
3 . To switch the patch palette bank, hold down [BANK] and
press NUMBER [1]–[8].
Pressing [+OCT] once while holding down [TRANSPOSE] will
raise the keyboard one semitone.
When you press [BANK], the indicator of the currently selected
bank button (NUMBER [1]–[8]) will blink.
Pressing [-OCT] once while holding down [TRANSPOSE] will
lower the keyboard one semitone.
If you continue pressing [PATCH ASSIGN] or [BANK], the
PATCH PALETTE window will appear. In this window you can
view the patches that are registered in the currently selected
bank.
The specified Transpose setting will be shown in the “Trans”
indication of PATCH PLAY screen.
fig.02-06
Se le ctin g Pa tch e s fro m th e List
You can display a list of patches and select a patch from that list.
2 . Touch <List> in the upper left area of the display.
The PATCH List window appears.
fig.02-04_50
Alternatively, you can move the cursor to “Trans” in the PATCH
PLAY screen and turn the VALUE dial or use [INC/ +] [DEC/ -]
to make the setting. You can also do this by dragging on the
touch screen.
3 . To turn off Transpose, press [TRANSPOSE] once again so
that its indicator goes off.
The Transpose setting you make will be maintained.
3 . Select a patch from the list.
There is a single Transpose setting (Setup parameter) for the
entire V-Synth. The changed setting will be remembered even if
you switch patches.
Either turn the VALUE dial or use [INC/ +][DEC/ -] to select a
patch. You can also select a patch by touching it on the display.
If you select a patch in the list and play the keyboard, the
selected patch will sound. This is a useful way to audition the
sound of a patch.
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Pla y in g in Pa tch Mo d e
Tra n sp o sin g th e Ke y b o a rd in
O cta ve Un its (O cta ve Sh ift)
Pla y in g Sin g le N o te s (Mo n o )
When using a patch for a naturally monophonic instrument such as
sax or flute, it is effective to play in mono.
The Octave Shift function transposes the pitch of the keyboard in 1
octave units (-3– +3 octaves).
For playing a bass part more easily using your right hand, transpose
the keyboard down by 1 or 2 octaves.
2 . At the bottom of the screen, touch <Common>.
3 . In the left side of the screen, touch the <General> tab.
1 . Press [+OCT] or [-OCT] and its indicator will light.
Pressing [+OCT] once will raise the keyboard 1 octave.
Pressing [-OCT] once will lower the keyboard 1 octave.
The specified Octave Shift setting will be shown in the “Oct”
The Patch Edit Com General screen appears.
fig.02-07_50
indication of PATCH PLAY screen.
fig.02-05
4 . In the “Mono/Poly” field, touch <
>.
Now you can play in mono mode.
Cre a tin g Sm o o th Pitch Ch a n g e s
(Po rta m e n to )
Alternatively, you can move the cursor to “Oct” in the PATCH
PLAY screen and turn the VALUE dial or use [INC/ +] [DEC/ -]
to make the setting. You can also do this by dragging on the
touch screen.
Portamento is an effect which smoothly changes the pitch from the
first-played key to the next-played key. By applying portamento
when Mono mode is selected (see the preceding item), you can
simulate performance effects such as slurring on a violin.
There is a single Octave Shift setting (Setup parameter) for the
entire V-Synth. The changed setting will be remembered even if
you switch patches.
fig.02-07_50
2 . To turn off the Octave Shift function, press the other button
[+OCT] or [-OCT] of that pressed in step 1. The indicator will
go off.
2 . In the “Portamento” field, touch the on/off switch to turn it
“ON.”
You’re ready to play portamento.
3 . When you want to change the portamento setting, edit the
following parameters in the screen of step 2.
Mode (Portamento Mode), Type (Portamento Type), Time
(Portamento Time), Time Velo Sens (Portamento Time Velocity
Sens)
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Pla y in g in Pa tch Mo d e
Usin g a n Ex te rn a l MIDI Ke y b o a rd
to Pla y Arp e g g io s
Pla y in g Arp e g g io s
(Arp e g g ia to r)
You can also use the keyboard of an external MIDI instrument to
The V-Synth comes with an arpeggiator that can play arpeggios
automatically. Once you turn on the arpeggiator, the keys you press
will automatically be played as an arpeggio.
play arpeggios.
1 . Use a MIDI cable to connect the V-Synth’s MIDI IN connector
to the MIDI OUT connector of your external MIDI keyboard.
2 . Press ARPEGGIO [ON/OFF] to make the indicator light.
3 . Touch <■> in the upper right of the screen.
The arpeggiator is turned on.
A pulldown menu appears.
fig.01-05_50
3 . Play the keyboard.
The V-Synth arpeggiates what you’ve played.
4 . To adjust the tempo of the arpeggio, turn ARPEGGIO
[TEMPO].
Turning the knob toward the right will speed up the tempo, and
turning it toward the left will slow down the tempo.
5 . To finish playing arpeggios, press ARPEGGIO [ON/OFF]
again so the indicator turns off.
Ho ld in g a n Arp e g g io
By using the following procedure, you can produce arpeggios even
4 . In the pulldown menu, touch <System>.
without continuing to press the keyboard.
5 . At the bottom of the screen, touch <Controller>.
6 . In the left side of the screen, touch the <KBD> tab.
1 . Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.
2 . Press ARPEGGIO [HOLD] to make the indicator light.
3 . Play the keyboard.
The SYSTEM Ctrl KBD screen appears.
fig.02-08_50
4 . If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
5 . To cancel Arpeggio Hold, press ARPEGGIO [HOLD] again.
W h e n Usin g a Ho ld Pe d a l
If you play an arpeggio while pressing the hold pedal, the arpeggio
will continue to be played even if you release the keyboard.
1 . Connect an optional pedal switch (DP series) to the HOLD
PEDAL jack.
7 . In the “Remote KBD Sw” field, touch the on/off switch to
2 . Press ARPEGGIO [ON/OFF] to turn the Arpeggiator on.
turn it “ON.”
3 . Play the keyboard while pressing the hold pedal.
8 . Play your external MIDI keyboard.
4 . To play another chord, release the pedal, press it again as
you play the next chord.
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Pla y in g in Pa tch Mo d e
Ma k in g Arp e g g ia to r Se ttin g s
Cre a tin g a n O rig in a l Arp e g g io
Pa tte rn (Pa tte rn Ed it)
2 . At the bottom of the screen, touch <Common>.
3 . In the left side of the screen, touch the Arpeggio> tab.
You can create your own arpeggio pattern that specifies how an
arpeggio will be sounded. This gives you even more interesting
ways to use arpeggios.
The PATCH Edit Com Arpeggio screen appears.
fig.02-09_50
An arpeggio pattern is a set of data that can be up to 32 steps
(horizontally) x 16 lines (vertically).
An arpeggio pattern can be saved for an individual patch as part
of the patch settings. This means that you can create a patch
designed specifically for that arpeggio pattern (or vice versa).
Ab o u t th e Pa tte rn Ed it W in d o w
2 . Touch <Pattern Edit>.
In this screen you can set the following arpeggiator parameters.
Arpeggio Switch: Switches the Arpeggiator on/ off.
Hold: Switch between Hold On/ Hold Off for the Arpeggiator
performance.
The Pattern Edit window will appear.
fig.02-09a.e
Pattern input area
Patch Tempo: Specify the tempo of an arpeggio.
Octave Range: Specify the range of the arpeggio performance,
in octave units.
KBD Velo: Specify the note strength of the keys you play.
Accent Rate: Vary the strength and note length of the accents to
modify the rhythmic feel (groove) of the performance.
Motif: Specifies how the arpeggio will be sounded.
Shuffle Duration: Create shuffle rhythms by modifying the
timing at which notes are sounded.
Shuffle Resolution: Specify the timing of the notes in terms of
note value.
Cursor
Sta te
Specifies the status of each line.
NOTE: Note pitch
CTRL: Control change
Arpeggiator settings can be saved with each patch as part of the
patch settings. This means that you can create patches that
contain the most effective settings.
N o te / CC (N o te / Co n tro l Ch a n g e )
Specifies the note number or control change number assigned to
each line. If Status is “NOTE,” this will be a note number (C-1–G9). If
Status is “CTRL,” this will be a control change number (0–127).
Pa tte rn In p u t Are a
This area is where you input or edit notes or control changes. The
symbols have the following meaning:
●: Note
=: Tie
●: Control change
Va lu e
Shows the velocity of the note or the value of the control change
selected in the pattern input area.
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Pla y in g in Pa tch Mo d e
0 , 3 2 , 6 4 , 9 6 , 1 2 7 , Tie / Clr
Cre a tin g a Pa tte rn b y Pla y in g in Re a l
Tim e (Re a l Re c)
When inputting notes: When you touch one of these buttons, a note
with the velocity shown on that button will be input at the cursor
location within the pattern input area. When you touch <Tie>, a tie
will be input at the cursor location.
This method lets you create a pattern in a way similar to realtime
recording on a sequencer. Your playing on the V-Synth’s keyboard
and your controller operations will be recorded “as is.”
When inputting control changes: A control change with the value
shown on that button will be input at the cursor location within the
pattern input area. When you touch <Clr>, the selected control
change will be erased.
1 . Specify the Grid and End Point of the arpeggio pattern that
you will be creating.
Move the cursor to each value box and set the value.
When you are editing, these buttons modify the velocity of the note
that is selected in the pattern input area, or the value of the control
change.
2 . Touch <Real Rec>.
The V-Synth will be in realtime-input standby mode, and the
metronome will sound a guide rhythm.
fig.02-09c_50
You can also input the note velocity or control change value by
using the VALUE dial or [INC/ +][DEC/ -].
Co n tro lle r
When you operate the Time Trip pad (TTPadX/ Y), D Beam
controller (DBeamL/ R), or assignable controllers (Ctrl_1/ 2), the
value is shown here.
Grid
Specifies the note value that will correspond to “one step” of the
3 . If you want to adjust the tempo, turn ARPEGGIO [TEMPO].
Turn the knob toward the right to make the tempo faster, or
toward the left to make it slower.
arpeggio pattern.
fig.02-09b.e
(Quarter note),
(Eighth note),
(Dotted eighth note),
(Thirty-second note)
(Sixteenth note),
(Dotted sixteenth note),
4 . In time with the guide rhythm sounded by the metronome,
play the V-Synth’s keyboard and operate the controllers.
You can repeatedly record over the pattern length (number of
steps) you specified in step 1. On each pass, you can add new
notes and control changes to build up the pattern.
En d Po in t
Specifies the pattern length as a number of steps (1–32).
Cle a r
The notes (specified pitches) and control changes in a single
pattern cannot exceed a total of 16. All further (seventeenth and
later) notes having a new pitch or control changes will not be
recorded.
Re a l Re c (Re a ltim e Re co rd in g )
Ste p Re c (Ste p Re co rd in g )
5 . When you are finished with realtime input, touch <Stop>.
The metronome guide will stop sounding.
6 . Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and
play the keyboard to hear your realtime-recorded pattern.
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Pla y in g in Pa tch Mo d e
Cre a tin g a Pa tte rn b y In p u ttin g O n e
Ste p a t a Tim e (Ste p Re c)
Era sin g a Pa tte rn (Cle a r)
Here’s how to erase data from the pattern. You can erase a specific
line or the entire pattern.
This method lets you create a pattern in a way similar to step-
recording on a sequencer. You can record notes and control changes
by inputting them one by one.
1 . To specify a line that you want to erase, move the cursor to
that line.
1 . Specify the End Point of the arpeggio pattern that you want
2 . Touch <Clear>.
to create.
A window like the following will appear.
Move the cursor to the End Point value box and make the
setting.
fig.02-09e_50
2 . Touch <Step Rec>.
The V-Synth will be in step-input standby mode.
fig.02-09d_50
3 . To erase a line of data, touch <LINE CLEAR>. To erase the
entire pattern, touch <ALL CLEAR>. If you decide you don’t
want to clear anything, touch <CANCEL>.
3 . Play the V-Synth’s keyboard or operate a controller to input
the first step.
You can repeatedly record over the pattern length (number of
steps) you specified in step 1. On each pass, you can add new
notes and control changes to build up the pattern.
•
•
•
To input a tie, hold down the key of the note that you want to tie
and press [ ]. You will advance as many steps as the number
of times you press [ ].
Step input records the strength (velocity) with which you press
the key, and this will be reflected in the level or dynamics of the
arpeggiated notes.
Control changes will be input with the value that was in effect
when you pressed [
].
•
•
The notes (specified pitches) and control changes in a single
pattern cannot exceed a total maximum of 16. A newly pitched
note or a control change that would exceed this total will not be
recorded.
Be aware that if you input another note while still holding down
the key for the previously input note, these notes will be input as
a chord located at the same step.
4 . When you are finished with step input, touch <Stop>.
5 . Press ARPEGGIO [ON/OFF] to turn on the arpeggiator, and
play the keyboard to hear your step-recorded pattern.
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Pla y in g in Pa tch Mo d e
[TIME TRIP]: Apply the Time Trip effect.
Ap p ly in g Va rio u s Effe cts to th e
So u n d
[ASSIGNABLE]: Apply the effect that is specified by each patch.
If [ASSIGNABLE] is on, the effect is applied via matrix control.
This means that matrix control settings must be made separately.
Set the matrix control Source to “PAD-X” or “PAD-Y,” and
specify the parameter to be controlled in Destination. For details
The V-Synth provides numerous ways in which you can make your
performance more expressive, such as the Time Trip pad, D Beam
controller, and assignable controllers.
By setting matrix control Source to “TRIP-R,” you can apply the
Time Trip effect and the matrix control effect simultaneously. In
this case, turn [TIME TRIP] on.
Ap p ly in g a n Effe ct b y To u ch in g
Yo u r Fin g e r to th e Pa d (Tim e Trip
Pa d )
3 . While you play the keyboard to produce sound, place your
fingertip on the Time Trip pad and move your finger in the
following way.
You can apply a variety of effects by touching your fingertip to the
Time Trip pad located at the left side of the V-Synth’s panel.
If [TIME TRIP] is on
The effect will be applied when you move your finger in a circle
W h a t is th e Tim e Trip fu n ctio n ?
on the Time Trip pad.
fig.02-11
One of the advantages of VariPhrase is that the playback
location and speed of the wave can be changed in real time. The
Time Trip function takes advantage of this ability to manually
control the playback location and speed of the wave. In patches
that use VariPhrase, switch the Time Trip Pad function to
“TIME TRIP” to use this function. While playing the keyboard,
touch the Time Trip pad and the currently sounding wave will
stop at the current playback location. Then as you move your
finger from that point in a circle, the wave playback will
advance in the direction of conventional playback (clockwise),
or the reverse (counterclockwise). Unlike “scratching” on a
turntable, this lets you control the playback without affecting
the pitch, so you can play the sound at the pitch you specify
from the keyboard.
You can use the D Beam controller to produce similar results.
If you are using matrix control as well, the effect will be applied
when you move your finger from the circumference of the Time
Trip pad toward the center.
fig.02-12
2 . Choose the function that you want to control from the Time
Trip pad, and press the TIME TRIP PAD button for that
function.
fig.02-10
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Pla y in g in Pa tch Mo d e
If [ASSIGNABLE] is on
[TIME TRIP]: Apply the Time Trip effect.
The effect will be applied when you move your finger up/
down/ left/ right on the Time Trip pad.
[TIME]: Apply the time control effect.
[PITCH]: Apply the pitch control effect.
fig.02-13
[ASSIGNABLE]: Apply the effect that is specified by each patch.
By turning [ASSIGNABLE] on, you can apply the effect that is
specified by each patch. In this case, however, unlike the other
three functions, simply pressing the button to turn it on will not
apply an effect. You will also need to make matrix control
settings. Set the matrix control Source to “BEAM-L” or “BEAM-
R,” and specify the parameter to be controlled in Destination.
3 . While playing the keyboard to produce sound, place your
hand over the D Beam, and slowly move it up and down.
Effects will be applied to the sound according to the button you
pressed in step 2.
4 . To turn off the D Beam controller, once again press the
button that you pressed in step 2, so its indicator goes out.
•
•
By pressing TIME TRIP PAD [HOLD], you can cause the effect to
be held even after you take your finger off the Time Trip pad.
The Time Trip Pad settings are saved with each patch. This
means that you can create patches that contain Time Trip Pad
settings you like.
•
•
The D Beam controller settings are saved with each patch. This
means that you can create patches that contain D Beam settings
you like.
By assigning a MIDI controller number to the D Beam controller,
you can use the D Beam to control an external MIDI device that
Ap p ly in g a n Effe ct b y Pa ssin g Yo u r
Ha n d O ve r th e D Be a m (D Be a m
Co n tro lle r)
Th e u sa b le ra n g e o f th e D Be a m co n tro lle r
The D Beam controller can be used simply by waving your hand
over it. It can be used to apply various effects, depending on the
function that is assigned to it. You can also create effects in which the
sound changes instantaneously, in a way that would not be possible
by operating a knob or the bender lever.
The following diagram shows the
usable range of the D Beam controller.
Waving your hand outside this range
will produce no effect.
The D BEAM indicator will light when
the D Beam controller is responding.
The D BEAM indicator will not light if
you are outside the valid range of the
D Beam controller.
2 . Choose the function that you want to control from the D
Beam controller, and press the D BEAM button for that
function to turn on the D Beam controller.
fig.02-14
The usable range of the D Beam controller will become
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
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Pla y in g in Pa tch Mo d e
Ap p ly in g a n Effe ct b y Tu rn in g a
Kn o b (Assig n a b le Co n tro lle r)
Sy n ch ro n izin g Mu sic a n d
Vid e o W h ile Yo u Pla y th e V-
Sy n th (V-LIN K)
You can turn the ASSIGNABLE CONTROL knobs to modify the
sound in real time.
The V-Synth lets you use the pitch bend/ modulation lever, Time
Trip pad, D Beam controller, and C1/ C2 knobs to control an
externally connected video device that supports V-LINK. This means
that your performance on the V-Synth can control not only sound
but also images, producing sound and video effects that are linked to
The assignable controllers use matrix control to apply effects to the
sound. This means that you will need to make matrix control settings
separately. Set the matrix control Source to “KNOB1” or “KNOB2,”
and specify the parameter to be controlled in Destination. For
your playing.
fig.02-17.e
2 . While playing the keyboard to produce sound, turn the
ASSIGNABLE CONTROL knobs ([C1], [C2]).
The sound will change according to the function assigned to
each knob.
fig.02-16
•
•
The assignable controller settings are saved with each patch.
This means that you can create patches that contain assignable
controller settings you like.
V-Synth Controller Section
By assigning MIDI controller numbers to the assignable
controllers, you can turn [C1] or [C2] to control an external MIDI
Video
Sound
Generator
Generator
V-LINK (
) is a function that provides for the
play of music and visual material. By using V-LINK function,
visual effects can be easily linked to, and made part of the
expressive elements of a performance.
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Pla y in g in Pa tch Mo d e
Ex a m p le Co n n e ctio n s
fig.02-18.e
V-LIN K Fu n ctio n s th a t th e V-Sy n th
Ca n Co n tro l a n d MIDI Me ssa g e s
Edirol DV-7PR
You can assign the following functions to the V-Synth’s controllers
to control a V-LINK compatible video device.
Projector
V-LINK function
Transmitted MIDI message
REMOTE
Playback Speed
CC 10 (Panpot)
Dissolve Time (amount time the CC 5 (Portamento Time)
video clips overlap)
Audio (Volume of audio play-
back)
CC 7 (Volume)
Color Cb (color-difference sig-
nal)
CC 72 (Release)
Edirol UM-1
Display
Color Cr (color-difference signal) CC 71 (Resonance)
Brightness
CC 74 (Cutoff)
CC 1 (Modulation)
CC 91 (Reverb)
CC 94 (Celeste)
CC 95 (Phaser)
CC 73 (Attack)
CC 11 (Expression)
CC 64 (Hold 1)
VFX1 (Visual Effects 1)
VFX2 (Visual Effects 2)
VFX3 (Visual Effects 3)
VFX4 (Visual Effects 4)
Output Fade
MIDI OUT
T Bar
Dual Stream
Time Trip
CC 92 (Tremolo)
CC 93 (Chorus)
Palette1–8 (Selecting a palette)
Clip1–8 (Selecting a video clip)
CC 0 (Bank Select): 00H–07H
Program Change: 00H–07H
V-Synth
En te r V-LIN K Mo d e
1 . Press [V-LINK] so the indicator lights.
A PATCH PLAY screen like the one shown below appears, and
the V-Synth will enter V-LINK mode.
fig.02-19_50
In this screen you can view the V-LINK functions that are
assigned to the various controllers.
For details on how to assign V-LINK functions to the controllers,
2 . To exit V-LINK mode, press [V-LINK] once again so the
indicator goes out.
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Cre a tin g a Pa tch
With the V-Synth, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
patches, and the functions of the patch parameters.
1 . Access the PATCH PLAY screen, and select the patch
If you want to create all your patches from the ground up, rather
than the patches that have already been prepared, carry out the
Initialize operation (p. 33).
2 . The parameters are organized into several editing groups.
Touch one of the buttons at the bottom of the screen to
select the edit group containing the parameters you want to
set.
Ho w to Ma k e th e Pa tch
Se ttin g s
Start with an existing patch and edit it to create a new patch. The
sound of a patch is created by six sections of parameters. When
editing a patch, you need to be aware of how each section affects the
overall sound.
In the PATCH PLAY screen, you can touch the display area for
each section to jump to the setting screen for that section.
3 . Touch one of the tabs in the left of the screen to select the
Fo u r Tip s fo r Ed itin g Pa tch e s
desired editing screen.
■ Select a patch that is similar to the sound you wish to
create.
For details on how the parameters are grouped, refer to “Patch
It’s hard to create a new sound that’s exactly what you want if
you just select a patch and modify its parameters at random. It
makes sense to start with a patch whose sound is related to
what you have in mind.
4 . In each editing screen, touch the touch screen to set the
parameters.
■ Check the Structure setting.
For details on how to use the touch screen, refer to “Basic
The structure type is an important parameter which determines
how the six sections are combined. Before you actually begin
editing, you should understand how the sections are related to
each other.
5 . When editing a parameter that requires you to specify a
value, move the cursor to the value box of that parameter.
Then modify the value by either turning the VALUE dial or
pressing [INC/+] or [DEC/-]. You can also modify a value by
dragging over the touch screen.
■ Decide which section(s) you will use.
When creating a patch, it is very important to decide which
section(s) you will use. In the Edit screen of each section, use the
on/ off switch to specify whether that section will be used (on)
or not used (off). You can also use the on/ off buttons located in
the STRUCTURE section of the V-Synth’s panel.
■ Turn Effects off.
6 . Repeat steps 2–5 to complete a patch.
7 . If you wish to save the changes you’ve made, perform the
press [EXIT] to return to the PATCH PLAY screen.
If you return to the PATCH PLAY screen without saving, the
display will indicate “EDITED,” reminding you that the patch
settings have been modified.
Since the V-Synth effects have such a profound impact on its
sounds, turn them off to listen to the sound itself so you can
better evaluate the changes you’re making. Since you will hear
the original sound of the patch itself when the effects are turned
off, the results of your modifications will be easier to hear.
Actually, sometimes just changing effects settings can give you
the sound you want.
If you turn off the power or select a different patch while the
display indicates “EDITED,” your edited patch will be lost.
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Cre a tin g a Pa tch
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
In itia lizin g Pa tch Se ttin g s (PATCH
In it)
fig.01-05_50
“Initialize” means to return the settings of the currently selected
patch to a standard set of values.
The Initialize operation will affect only the currently selected
patch in temporary area; the patches that are stored in internal
memory and work area will not be affected. If you wish to
restore all of the V-Synth’s settings to their factory values,
1 . Access the PATCH PLAY screen, and select the patch that
3 . In the pulldown menu, touch <PATCH Copy>.
2 . Touch <■> in the upper right of the screen.
The PATCH Copy window appears.
fig.03-02_50
A pulldown menu appears.
fig.01-05_50
4 . Touch a button in the left side of the screen to select the
object you want to copy.
3 . In the pulldown menu, touch <PATCH Init>.
A window like the following appears.
fig.03-01_50
<NAME>: Copy only the patch name.
<ZONE>: Copy patch settings for one zone.
<OSC>: Copy oscillator parameter settings. Specify the copy-
source (Source) and copy-destination (Destination) oscillator
(OSC1/ OSC2).
<COSM>: Copy COSM parameter settings. Specify the copy-
source (Source) and copy-destination (Destination) COSM
section (COSM1/ COSM2).
<TVA>: Copy TVA parameter settings.
<MFX>: Copy MFX settings.
<CHO>: Copy chorus settings.
<REV>: Copy reverb settings.
4 . Touch <EXECUTE>.
<ARP>: Copy arpeggiator settings.
The initialization will be carried out, and you’ll be returned to
the Patch Edit screen.
5 . Specify the zone (Zone 01–Zone 16) for the copy source
(Source) and copy destination (Destination). Move the
cursor to “Zone**” and make your selection.
Co p y in g Pa tch Se ttin g s (PATCH
Co p y )
6 . Move the cursor to “Src Patch” and select the copy-source
patch number.
This operation copies the settings of any desired patch to the
currently selected patch. You can use this feature to make the editing
process faster and easier.
For the Zone Copy, Oscillator Copy, COSM Copy, and TVA
Copy operations, you can specify the currently selected patch as
the copy source by setting “SrcPatch” to “TEMP.”
1 . Access the PATCH PLAY screen, and select the copy-
7 . Touch <Execute> to execute the copy operation.
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Cre a tin g a Pa tch
N a m in g a Pa tch (PATCH
N a m e )
Sa vin g Pa tch e s (PATCH W rite )
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal (internal
memory).
Before you save the patch, here’s how to give it a new name.
1 . Make sure that the patch that you want to name is selected.
2 . Touch <■> in the upper right of the screen.
When you modify the settings of a patch, the PATCH PLAY screen
will indicate “EDITED.” Once you save the patch into internal
memory, the “EDITED” indication goes away.
A pulldown menu appears.
fig.03-02a_50
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Factory Reset
1 . Make sure that the patch you wish to save is selected.
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
fig.03-03a_50
3 . In the pulldown menu, touch <PATCH Name>.
The PATCH Name window appears.
fig.03-03_50
3 . In the pulldown menu, touch <PATCH Write>.
The PATCH Write window appears.
fig.03-04_50
4 . Touch the on-screen alphabetic or numeric keys to enter the
new name in the text box.
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired input
location.
<SHIFT>: Turn this on when you want to input uppercase letters
or symbols.
<Insert>: Turn this on when you want to insert a character at the
cursor location.
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor location.
4 . Turn the VALUE dial to specify the save-destination patch.
You can also move the input location cursor by pressing the
[
][
] cursor buttons. Pressing [
] will change the
character at the cursor location to uppercase, and pressing [
will change it to lowercase.
]
5 . When you have finished inputting, touch <OK> to finalize the
patch name.
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Cre a tin g a Pa tch
Re g iste rin g a Fa vo rite Pa tch (Pa tch
Pa le tte )
You can bring together your favorite and most frequently used
patches in one place by registering them into the patch palette. By
using this function you can rapidly select favorite patches from
internal memory. You can register a total of 64 sounds (8 sounds x 8
banks) as favorite sounds.
•
•
By touching <Compare> you can check the save-destination
patch (Compare function).
When you touch <List>, the PATCH List window will appear,
allowing you to select the save-destination patch from the list.
fig.03-05_50
For details on how to select patches that are registered in the
patch palette, refer to “Selecting Favorite Patches (Patch
1 . Access the PATCH PLAY screen, and select the patch that
2 . Hold down [BANK] and press a NUMBER [1]–[8] to select the
bank in which you wish to register the sound.
When you press [BANK], the indicator of the currently selected
bank button (NUMBER [1]–[8]) will blink.
5 . Touch <Execute> to execute the Save operation.
Au d itio n in g th e Sa ve -De stin a tio n
Pa tch (Co m p a re )
Before you save a patch, you can audition the patch which currently
occupies the save destination to make sure that it is one you don’t
mind overwriting. This can help prevent important patches from
being accidentally overwritten and lost.
If you continue pressing [PATCH ASSIGN] or [BANK], the
PATCH PALETTE window will appear. In this window you can
view the patches that are registered in the currently selected
bank.
3 . Hold down [PATCH ASSIGN] and press a NUMBER [1]–[8] to
select the button at which you wish to register the sound.
When the display indicates “Completed!,” registration has been
completed.
1 . Follow the procedure in “Saving Patches (PATCH Write)”
through step 4 to select the save destination.
2 . Touch <Compare> to turn it on.
Now you can play the patch that is in the currently selected save
destination.
fig.03-06_50
3 . Play the keyboard to sound the save destination patch, then
check whether you really want to overwrite it.
The patch auditioned using the Compare function may sound
slightly different than when it is played normally.
4 . If you wish to change the save destination, re-specify the
save-destination patch by using the VALUE dial.
5 . Touch <Execute> to execute the Save operation.
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Cre a tin g a Pa tch
De le tin g Pa tch e s (PATCH
De le te )
Fu n ctio n s o f Pa tch Pa ra m e te rs
This section explains the functions the different patch parameters
have, as well as the composition of these parameters.
Delete unneeded patches from the internal memory.
1 . Touch <▼> in the upper right of the screen.
Parameters marked by “▼” can be controlled by specific MIDI
messages (Matrix Control). In the PATCH Edit Com Matrix Ctrl
buttons or knobs.
A pulldown menu appears.
fig.01-05_50
Se ttin g s Co m m o n to th e En tire Pa tch
(Co m m o n )
Ge n e ra l
fig.03-07_50
2 . In the pulldown menu, touch <PATCH Delete>.
The PATCH Delete List window appears.
fig.03-06a_50
Stru ctu re Ty p e ▼
Specifies how the various sound-creating elements will be combined.
Value
3 . From the list, select the patch that you want to delete.
Either turn the VALUE dial or use [INC/ +][DEC/ -] to select a
patch. You can also select a patch by touching it on the display.
TYPE1: This is the most conventional structure. Different sounds
from OSC1 and OSC2 are mixed by MOD, processed by COSM1 to
create the tonal character (e.g., using SBF (Side Band Filter)), and
then processed by COSM2 to adjust the tone (e.g., using TVF).
TYPE2: This structure connects OSC1 and OSC2 asymmetrically.
This is effective when using a modulation that has the modulator set
to anything other than “MIX.” Typically, you will use OSC1 and
COSM1 to create the basic sound, then select the OSC2 sound and
MOD settings to add variation, and finally select TVF in COSM2 to
adjust the tone.
Each screen in the PATCH Delete List window shows a group of
16 patches. To view other patches, touch <017-032>–<241-256>,
located at either side of the screen. To view higher-numbered
patches, touch <257-512>, located at the bottom of the screen.
4 . Touch <Execute>.
TYPE3: In this structure, OSC1 is paired with COSM1, and OSC2 is
paired with COSM2. You can use a controller such as the Time Trip
Pad to morph between the sound created by OSC1 and COSM1 and
the sound created by OSC2 and COSM2.
The selected patch will be deleted.
5 . If you want to continue deleting other patches, repeat steps
3 and 4.
6 . Press [EXIT].
Po rta m e n to (Po rta m e n to Sw itch )
The PATCH Delete List window closes.
Specifies whether the portamento effect will be applied (ON) or not
(OFF).
Value: OFF, ON
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Cre a tin g a Pa tch
Le g a to (Le g a to Sw itch )
Legato is valid when the Mono/ Poly parameter is set to
monophonic. This setting specifies whether the Legato function will
be used (ON) or not (OFF).
Po rta m e n to
Portamento is an effect which smoothly changes the pitch from
the first-played key to the next-played key. By applying
portamento when the Mono/ Poly parameter is monophonic,
you can simulate slide performance techniques on a violin or
similar instrument.
Value: OFF, ON
With the Legato Switch parameter “ON,” pressing a key while
continuing to press a previous key causes the note to change
pitch to the pitch of the most recently pressed key, sounding all
the while. This creates a smooth transition between notes, which
is effective when you wish to simulate the hammering-on and
pulling-off techniques used by a guitarist.
Mo d e (Po rta m e n to Mo d e )
Specifies the performance conditions for which portamento will be
applied.
Value
D Be a m / Be n d e r
fig.03-08_50
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato
(i.e., when you press the next key before releasing the previous key).
Ty p e (Po rta m e n to Ty p e )
Specifies the type of portamento effect.
Value
RATE: The time it takes will depend on the distance between the
two pitches.
TIME: The time it takes will be constant, regardless of how far apart
in pitch the notes are.
Tim e (Po rta m e n to Tim e )
O cta ve Sh ift
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time.
Adjusts the pitch of the patch’s sound up or down in units of an
octave (+/ -3 octaves).
Value: -3– +3
Value: 0–127
D Be a m (D Be a m Ty p e ) ▼
Tim e Ve lo Se n s (Po rta m e n to Tim e Ve lo city
Se n sitivity )
Specifies the effect that will be controlled by the D Beam controller.
Value
This allows keyboard dynamics to affect the portamento Time. If you
want portamento Time to be speeded up for strongly played notes,
set this parameter to a positive (+) value. If you want it to be slowed
down, set this to a negative (-) value.
OFF: The D Beam controller will not be used.
Time Trip: The D Beam controller will control the Time Trip effect.
Time: The D Beam controller will control the Time Control effect.
Pitch: The D Beam controller will control the Pitch Control effect.
Assignable: The D Beam controller will control the effect specified
for each patch.
Value: -63– +63
Mo n o / Po ly
Specifies whether the patch will play monophonically or
polyphonically. The monophonic setting is effective when playing a
solo instrument patch such as sax or flute.
Value
For details on how to specify the effect that will be controlled
: Only the last-played note will sound.
The level meters at both sides of “D Beam” in the screen show
the state of response as you move your hand closer to the D
Beam controller.
: Two or more notes can be played simultaneously.
Be n d Ra n g e Up (Pitch Be n d Ra n g e Up )
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way right. For example, if this parameter is set to
“12,” the pitch will rise one octave when the pitch bend lever is
moved to the right-most position.
Value: 0–48
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Cre a tin g a Pa tch
Be n d Ra n g e Do w n (Pitch Be n d Ra n g e Do w n )
Ma trix Ctrl
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way left. For example if this is set to “-48” and
you move the pitch bend lever all the way to the left, the pitch will
fall 4 octaves.
fig.03-10_50
Value: 0–48
TT Pa d
fig.03-09_50
Ma trix Co n tro l
Ordinarily, if you wanted to change tone parameters using an
external MIDI device, you would need to send System
Exclusive messages—MIDI messages designed exclusively for
the V-Synth. However, System Exclusive messages tend to be
complicated, and the amount of data that needs to be
transmitted can get quite large.
Mo d e (Tim e Trip Pa d Mo d e )
For that reason, a number of the more typical of the V-Synth’s
patch parameters have been designed so they accept the use of
Control Change (or other) MIDI messages for the purpose of
making changes in their values. This provides you with a
variety of means of changing the way patches are played. For
example, you can use the Pitch Bend lever to change the LFO
cycle rate, or use the keyboard’s touch to open and close a filter.
The function which allows you use MIDI messages to make
these changes in realtime to the tone parameters is called the
Matrix Control.
Specifies the operating mode of the Time Trip pad.
Value
: XY mode. The effect will be applied when you move your
finger up/ down/ left/ right on the Time Trip pad.
: Time Trip mode. The effect will be applied when you move
your finger in a circle over the Time Trip pad.
Ho ld (Tim e Trip Pa d Ho ld Sw itch ) ■
To use the Matrix Control, specify which MIDI message (Source
parameter) will be used to control which parameter
(Destination parameter), and how greatly (Sns parameter).
Specifies whether the current value will be maintained (ON) when
you remove your finger from the Time Trip pad, or not maintained
(OFF).
Value: OFF, ON
Up to eight Matrix Controls can be used in a single patch. In the right
side of the screen, touch the “Control 1/ 2”–”Control 7/ 8” tabs to
select the matrix control that you want to use.
For details on settings for the Time Trip effect, refer to “Matrix
So u rce (Ma trix Co n tro l So u rce )
In the screen, “X-Y” and “Time Trip” indicate the effect that is
assigned and the location of the pad that your finger touched.
Sets the MIDI message used to change the patch parameter with the
Matrix Control.
Value
OFF: Matrix control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
BEND: Pitch Bend
AFT: Aftertouch
+PAD-X: Time Trip pad (horizontal direction from the center)
+PAD-Y: Time Trip pad (vertical direction from the center)
PAD-X: Time Trip pad (horizontal direction)
PAD-Y: Time Trip pad (vertical direction)
TRIP-R: Time Trip pad (center from the circumference)
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Cre a tin g a Pa tch
BEAM-L: D Beam controller (left)
BEAM-R: D Beam controller (right)
KNOB1: Assignable Controller ([C1])
KNOB2: Assignable Controller ([C2])
VELO: Velocity (pressure you press a key with)
KEYF: Note Number
CSM1/2-ENV1-ATK: COSM Envelope Attack Time (p. 48)
CSM1/2-ENV1-DCY: COSM Envelope Decay Time (p. 48)
CSM1/2-ENV1-REL: COSM Envelope Release Time (p. 48)
CSM1/2-ENV2-ATK: COSM Envelope Attack Time (p. 48)
CSM1/2-ENV2-DCY: COSM Envelope Decay Time (p. 48)
CSM1/2-ENV2-REL: COSM Envelope Release Time (p. 48)
CSM1/2-LFO-RATE: COSM LFO Rate (p. 49)
Se n s (Ma trix Co n tro l Se n s)
Sets the amount of the Matrix Control’s effect that is applied. If you
wish to modify the selected parameter in a positive (+) direction –
i.e., a higher value, toward the right, or faster etc. – from its current
setting, select a positive (+) value. If you wish to modify the selected
parameter in a negative (-) direction – i.e., a lower value, toward the
left, or slower etc. – from its current setting, select a negative (-)
value. When both positive and negative are selected, the changes are
greater as the value increases. Set it to “0” if you don’t want this
effect.
TVA-LVL: Level (p. 47)
TVA-ENV-ATK: TVA Envelope Attack Time (p. 48)
TVA-ENV-DCY: TVA Envelope Decay Time (p. 48)
TVA-ENV-REL: TVA Envelope Release Time (p. 48)
TVA-LFO-RATE: TVA LFO Rate (p. 49)
TVA-LFO-LVL: Level LFO Depth (p. 47)
TVA-LFO-PAN: Pan LFO Depth (p. 47)
Value: -63– +63
REV-SEND: Reverb Send Level (p. 50)
De stin a tio n 1 , 2 (Ma trix Co n tro l De stin a tio n 1 ,
2 )
Specifies the parameters that will be controlled by the matrix
controllers. When not controlling parameters with the Matrix
Control, set this to “OFF.” Up to two parameters can be specified for
each Matrix Control, and controlled simultaneously.
Value
TVA-PAN: Pan (p. 47)
When you touch <List>, the Destination List window will
appear, allowing you to select the Matrix Control Destination
from the list.
You can control the following parameters. For details on each
parameter, refer to the corresponding reference page.
In this manual, Parameters that can be controlled using the
Matrix Control are marked with a “H.”
OSC1/2-PITCH: Oscillator Pitch (p. 43)
OSC1/2-FORMA/FAT: Formant/ Fat (p. 44, p. 45)
OSC1/2-LVL: Level (p. 45)
OSC1/2-PENV-ATK: Pitch Envelope Attack Time (p. 48)
OSC1/2-PENV-DCY: Pitch Envelope Decay Time (p. 48)
OSC1/2-PENV-REL: Pitch Envelope Release Time (p. 48)
OSC1/2-FENV-ATK: Formant Envelope Attack Time (p. 48)
OSC1/2-FENV-DCY: Formant Envelope Decay Time (p. 48)
OSC1/2-FENV-REL: Formant Envelope Release Time (p. 48)
OSC1/2-AENV-ATK: Oscillator TVA Envelope Attack Time (p. 48)
OSC1/2-AENV-DCY: Oscillator TVA Envelope Decay Time (p. 48)
OSC1/2-AENV-REL: Oscillator TVA Envelope Release Time (p. 48)
OSC1/2-LFO-RATE: Oscillator LFO Rate (p. 49)
OSC1/2-LFO-PCH: Oscillator Pitch LFO Depth (p. 43)
OSC1/2-LFO-FR/FT: Formant/ Fat LFO Depth (p. 44, p. 45)
OSC1/2-LFO-LVL: Oscillator Level LFO Depth (p. 45)
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Cre a tin g a Pa tch
Mo tif (Arp e g g io Mo tif)
Arp e g g io
fig.03-11_50
Sets the order in which notes of the chord will sound.
Value
UP: Notes you press will be sounded, beginning from low to high.
DOWN: Notes you press will be sounded, from high to low.
UP&DOWN: Notes you press will be sounded, from low to high, and
then back down from high to low.
RANDOM: Notes you press will be sounded, in random order.
NOTE ORDER: Notes you press will be sounded in the order in
which you pressed them. By pressing the notes in the appropriate
order you can produce melody lines. Up to 128 notes will be
remembered.
RHYTHM: Unlike a conventional arpeggio, the notes that you
specified when inputting the pattern will always sound. The keys
that you press while performing will not affect the result; the
specified pattern will play regardless of the pitch of the keys you
PHRASE: Pressing a single key will sound the phrase based on the
pitch of that key. If multiple keys are pressed, the last-pressed key
will be valid.
Arp e g g io Sw itch ◆
Switches the Arpeggiator on/ off.
Value: OFF, ON
Pa tch Te m p o ◆
Value: 20.0–250.0
AUTO: The timing at which the keys are sounded is assigned
automatically, starting at the lowest key that you pressed.
Ho ld (Arp e g g io Ho ld Sw itch ) ◆
Sh u ffle Ra te (Arp e g g io Sh u ffle Ra te )
Switch between Hold On/ Hold Off for the Arpeggiator
performance.
This setting lets you modify the note timing to create shuffle
Value: OFF, ON
rhythms.
With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.
O cta ve Ra n g e (Arp e g g io O cta ve Ra n g e )
Sets the key range in octaves over which arpeggio will take place. If
you want the arpeggio to sound using only the notes that you
actually play, set this parameter to “0.” To have the arpeggio sound
using the notes you play and notes 1 octave higher, set this
parameter to “+1.” A setting of “-1” will make the arpeggio sound
using the notes you play and notes 1 octave lower.
Value: -3– +3
Value: 0–100%
fig.Shuffle Rate
Shuffle Rate = 50%
Shuffle Rate = 90%
50
50
50
50
90
10
90
10
Sh u ffle Re so lu tio n (Arp e g g io Sh u ffle
Re so lu tio n )
Pa tte rn Ed it
Press this when you want to create an original arpeggio pattern.
Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.
Value:
,
KBD Ve lo (Arp e g g io Ke y b o a rd Ve lo city )
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
strongly you play the keyboard, set this parameter to “REAL.” If you
want each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired value (1–
127).
Value: REAL, 1–127
Du ra tio n (Arp e g g io Du ra tio n )
Modifies the length of the notes to adjust the “groove” feel of the
arpeggio. A setting of “100%” will produce the most pronounced
groove feel.
Value: 0–100%
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Cre a tin g a Pa tch
Tu n e
fig.03-12_50
Eq u a l Te m p e ra m e n t
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The V-Synth employs equal temperament when the
Scale Tune Switch is set to “OFF.”
Ju st Te m p e ra m e n t (To n ic o f C)
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 become ambiguous if you transpose.
Ara b ia n Sca le
Pa tch Co a rse Tu n e
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the V-Synth, you can use Arabian
temperament in the three keys of G, C and F.
Adjusts the pitch of the patch’s sound up or down in semitone steps
(+/ -4 octaves).
Value: -48– +48
Pa tch Fin e Tu n e
Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/
-50 cents).
<Example>
Value: -50– +50
Note
name
Equal tem-
perament
Just Tempera- Arabian Scale
ment (tonic C)
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
One cent is 1/ 100th of a semitone.
-8
+4
Sca le Tu n e (Sca le Tu n e Sw itch )
Eb
E
+16
-14
-2
-12
-51
-8
Turn this on when you wish to use a tuning scale other than equal
temperament.
F
Value: OFF, ON
F#
G
-10
+2
+43
-4
The V-Synth allows you to play the keyboard using temperaments
other than equal temperament. The pitch is specified in one-cent
units relative to the equal tempered pitch.
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
•
•
One-cent is 1/ 100th of a semitone.
The selected scale applies to MIDI messages received from an
external MIDI device.
Sca le Tu n e C–B
Make scale tune settings.
Value: -100– +100
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Cre a tin g a Pa tch
W a ve fo rm (An a lo g O scilla to r W a ve fo rm )
Mo d ify in g W a ve fo rm s (O SC1 /
O SC2 )
Selects the wave upon which the sound is to be based when using an
analog oscillator.
O scilla to r Sw itch ■
Value
Switches the oscillator on/ off.
Waveform
Value: OFF, ON
SAW: Sawtooth wave
O
O
O
O
O
O
X
O
O
O
O
O
O
O
O
X
X
X
SQR: Square wave
O SC Ty p e
TRI: Triangle wave
Analog Oscillator
SINE: Sine wave
RAMP: Ramp wave
JUNO: Modulated sawtooth wave
HQ-SAW: High quality sawtooth wave
HQ-SQR: High quality square wave
NOISE: Noise wave
O: effective X: ineffective
Im p a ct (An a lo g O scilla to r Im p a ct)
Specifies the sharpness of the attack of the analog oscillator. Higher
settings will produce a sharper attack.
Value: 0.0–4.0
PCM Oscillator
Tim e Trip Sw (Tim e Trip Sw itch )
Selects whether Time Trip will operate (ON) or not (OFF).
Value: OFF, ON
Be a t Ke e p (Tim e Trip Be a t Ke e p )
After Time Trip is operated, this selects whether you will “chase” to
the beat location where you otherwise would have been if Time Trip
had not been operated (ON), or whether this “chase” will not occur
(OFF).
Value: OFF, ON
O scilla to r Ty p e
W a ve fo rm (PCM O scilla to r W a ve fo rm )
Selects the type of oscillator.
Selects the wave upon which the sound is to be based when using a
PCM oscillator.
By selecting “EXT IN,” the signal that is input through the rear panel
INPUT jack can be used as an oscillator. This lets you play the
externally input signal from the keyboard.
Value
Value: 1–999 (wave number)
When you touch <List>, the Wave List window will appear,
allowing you to select the wave from the list.
ANALOG: Analog Oscillator
PCM: PCM Oscillator
EXT IN: External Input Oscillator
When you select a wave, the wave name, encoding type, and
stereo/ mono will also be displayed.
W a ve Ga in
Sets the gain (amplification) of the waveform.
Va ri Sw (PCM O scilla to r Va ri Sw itch )
Value: -12– +12 dB
Switches whether the sound will be produced using Vari Phrase
(ON) or linearly (OFF).
Value: OFF, ON
Sta rt O ffse t (PCM O scilla to r Sta rt O ffse t)
Specifies the starting address of the wave.
Value: 0–**
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Cre a tin g a Pa tch
Pla y b a ck Mo d e (PCM O scilla to r Pla y b a ck
Mo d e )
Pitch KF (O scilla to r Pitch Ke y Fo llo w )
This specifies the amount of pitch change that will occur when you
play a key one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional
keyboard, set this to “+100.” If you want the pitch to rise two
octaves, set this to “+200.” Conversely, set this to a negative value if
you want the pitch to fall. With a setting of “0,” all keys will produce
the same pitch.
Specifies how the wave will be assigned to each key.
Value
RETRIGGER: The sample will play back from the beginning each
time you play a key.
LEGATO: When you play legato, the playback point will be
synchronized with the currently playing sound.
STEP: Each time you play a key, the sample will play back to the
Value: -200– +200
fig.Pitch KF.e
Pitch
EVENT: The sample will be divided at each event and assigned to
separate keys. Each time you press a key, the sample will play from
the beginning of the corresponding event.
+200
+100
+50
0
Lo o p (PCM O scilla to r Lo o p Sw itch )
Specifies whether the wave will be played as a loop (ON) or not
(OFF).
-50
Value: OFF, ON
Ro b o t Vo ice (PCM O scilla to r Ro b o t Vo ice
Sw itch )
-200
C6
-100
C7
Key
C1
C2
C3
C4
C5
Specifies whether the pitch of the wave will be held steady (ON) or
not (OFF).
Co a rse (O scilla to r Co a rse Tu n e )
Value: OFF, ON
Adjusts the pitch of the oscillator up or down in semitone steps (+/ -4
Te m p o Sy n c (PCM O scilla to r Te m p o Sy n c
Sw itch )
octaves).
Value: -48– +48
Specifies whether the wave will be sounded in sync with the tempo
clock (ON) or not (OFF).
Fin e (O scilla to r Fin e Tu n e )
Value: OFF, ON
Adjusts the pitch of the oscillator up or down in 1-cent steps (+/ -50
cents).
Value: -50– +50
Pitch
fig.03-14_50
One cent is 1/ 100th of a semitone.
Ra n d o m (O scilla to r Ra n d o m Pitch De p th )
This specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to change
randomly, set this to “0.” These values are in units of cents (1/ 100th
of a semitone).
Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200,
300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
Pit LFO Dp (O scilla to r Pitch LFO De p th ) ■■
Pitch (O scilla to r Pitch ) ■■
Specifies how deeply the LFO will affect pitch.
Adjusts the pitch of the oscillator.
Value: -63– +63
Value: -63– +63
In this screen you can make settings for the envelope that affects
the pitch. For details on envelope settings, refer to “Making
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Cre a tin g a Pa tch
Fa t LFO De p th ■■
Pu lse W id th (AN ALO G)
fig.03-15_50
Specifies how deeply the LFO will affect fat.
Value: -63– +63
In this screen you can make settings for the envelope that affects
the fat. For details on envelope settings, refer to “Making
Tim e (PCM)
fig.03-17_50
Pu lse W id th ■■
Specifies the amount by which the wave shape will be modified.
Value: -63– +63
PW KF (Pu lse W id th Ke y Fo llo w )
Specifies the amount by which the pulse width value will be affected
by the key you play.
Value: -200– +200
Tim e ■■
PW LFO De p th (Pu lse W id th LFO De p th ) ■■
This sets the range of change in playback speed (time).
Value: -63– +63
Specifies how deeply the LFO will affect pulse width.
Value: -63– +63
<How the Time parameter is related to playback speed>
Time
-40
-20
0
20
40
In this screen you can make settings for the envelope that affects
the pulse width. For details on envelope settings, refer to
FWD
Reverse
playback
Stop
Normal
speed
2x speed 4x speed
ZERO
BWD
-2x speed Reverse
playback
Stop
Normal
speed
2x speed
4x speed -2x speed Reverse
playback
Stop
Normal
speed
Fa t (AN ALO G)
fig.03-16_50
Tim e KF (Tim e Ke y Fo llo w )
Specifies the amount by which the time value will be affected by the
key you play.
Value: -200– +200
Tim e O ffse t
Specifies the basic speed for a time value of “0”.
Value
BWD: Specifies a backward direction.
ZERO: Specifies a pause.
FWD: Specifies a forward direction.
Fa t ■■
Emphasizes the low-frequency region of the sound.
Tim e LFO De p th ■■
Value: 0–127
Specifies how deeply the LFO will affect time.
Value: -63– +63
Fa t KF (Fa t Ke y Fo llo w )
Specifies the amount by which the fat value will be affected by the
In this screen you can make settings for the envelope that affects
the time. For details on envelope settings, refer to “Making
key you play.
Value: -200– +200
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Cre a tin g a Pa tch
Fo rm a n t (PCM)
O SC TVA
fig.03-18_50
fig.03-19_50
Le ve l ■■
The parameters of this screen are ignored when the Vari switch
“ENSEMBLE.”
Specifies the volume of the oscillator.
Value: 0–127
Le ve l KF (Le ve l Ke y Fo llo w )
Fo rm a n t ■■
Use this parameter if you want the volume of the oscillator to change
according to the key that is pressed. Relative to the volume at the C4
key (center C), positive (+) settings will cause the volume to rise for
notes higher than C4, and negative (-) settings will cause the volume
to fall for notes higher than C4. Larger settings will produce greater
change.
This sets the range of change in vocal quality (formant).
Value: -63– +63
Fo rm a n t KF (Fo rm a n t Ke y Fo llo w )
Specifies the amount by which the formant value will be affected by
the key you play.
Value: -200– +200
Value: -200– +200
Le ve l LFO Dp (Le ve l LFO De p th ) ■
En e rg y
Specifies how deeply the LFO will affect the volume of the oscillator.
Specifies how much the fundamental pitch will be emphasized in
order to make the sound more well-defined. Set this to “OFF” if you
do not want to use the Energy parameter.
Value: -63– +63
In this screen you can make settings for the envelope that affects
the sub TVA. For details on envelope settings, refer to “Making
Value: OFF, 1–127
Fm t LFO De p th (Fo rm a n t LFO De p th ) ■■
Specifies how deeply the LFO will affect formant.
LFO
Value: -63– +63
fig.03-20_50
In this screen you can make settings for the envelope that affects
the formant. For details on envelope settings, refer to “Making
In this screen you can make settings for the LFO that affects the
oscillator. For details on LFO settings, refer to “Making LFO
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Cre a tin g a Pa tch
Mix in g / Mo d u la tin g Tw o So u n d s
(Mo d )
Ap p ly in g Va rio u s Effe cts to Ea ch
N o te Yo u Pla y (CO SM1 / CO SM2 )
Mo d u la to r Sw itch ■
CO SM Sw itch ■
Switches the modulator on/ off.
Switches the COSM on/ off.
Value: OFF, ON
Value: OFF, ON
Mo d Ty p e
CO SM Ty p e
fig.03-21_50
fig.03-22_50
Mo d u la to r Ty p e
CO SM Ty p e
Selects the type of modulator.
Use this parameter to select from among the 15 available COSMs.
Value
MIX: Add OSC1 and OSC2.
Value: THRU, OD/ DS, W-SHAPE, AMP, SPEAKER, RESONATOR,
SBF1/ 2, COMB, DUAL, TVF, DYN-TVF, COMP, LIMITER, F-SHIFT,
LO-FI
RING: Use OSC2 to apply ring modulation to OSC1.
FM: Use OSC2 to apply FM (frequency modulation) to OSC1.
ENV RING: Use the envelope of OSC2 to control the volume of
OSC1.
LFO
fig.03-23_50
OSC SYNC: Synchronize the output waveform of OSC1 to the
output waveform of OSC2.
OSC SYNC is valid only when OSC2 is an analog oscillator.
O rig in a l Le ve l (Mo d u la to r O rig in a l Le ve l)
Specifies the volume for the original sound of OSC1.
Value: 0–127
This can be set if Modulator Type is set to “RING” or “FM.”
Atta ck (Mo d u la to r Atta ck Tim e )
Specifies the attack time of the OSC2 envelope.
For some COSM selections that you choose in COSM Type, you
can make LFO settings. For details on LFO settings, refer to
Value: 0–127
This can be set if Modulator Type is set to “ENV RING.”
Re le a se (Mo d u la to r Re le a se Tim e )
Specifies the release time of the OSC2 envelope.
Value: 0–127
This can be set if Modulator Type is set to “ENV RING.”
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Cre a tin g a Pa tch
Pa n KF (Pa n Ke y Fo llo w )
Ad ju stin g th e Vo lu m e a n d Pa n
(TVA)
Use this parameter if you want key position to affect panning.
Positive (+) settings will cause notes higher than C4 key (center C) to
be panned increasingly further toward the right, and negative (-)
settings will cause notes higher than C4 key (center C) to be panned
toward the left. Larger settings will produce greater change.
TVA Sw itch ■
Switches the TVA on/ off.
Value: OFF, ON
Value: -200– +200
fig.Pan KF.e
TVA
Pan
fig.03-24_50
+100
+50
0
R
o
-50
-100
C7
L
Key
C1
C2
C3
C4
C5
C6
Le ve l ■
Pa n LFO Dp (Pa n LFO De p th ) ■
Specifies the volume of the patch.
Specifies how deeply the LFO will affect the pan.
Value: 0–127
Value: -63– +63
Le ve l KF (Le ve l Ke y Fo llo w )
Use this parameter if you want the volume of the patch to change
according to the key that is pressed. Relative to the volume at the C4
key (center C), positive (+) settings will cause the volume to rise for
notes higher than C4, and negative (-) settings will cause the volume
to fall for notes higher than C4. Larger settings will produce greater
change.
In this screen you can make settings for the envelope that affects
the TVA. For details on envelope settings, refer to “Making
LFO
fig.03-25_50
Value: -200– +200
Lvl LFO Dp (Le ve l LFO De p th ) ■
Specifies how deeply the LFO will affect the volume of the patch.
Value: -63– +63
Pa n
Specifies the pan of the patch. “L64” is far left, “0” is center, and
“63R” is far right.
Value: L64–0–63R
In this screen you can make settings for the LFO that affects the
TVA. For details on LFO settings, refer to “Making LFO
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Cre a tin g a Pa tch
ADSR Atta ck (En ve lo p e Atta ck Tim e ) ★★
Ma k in g En ve lo p e Se ttin g s
Specifies the attack time of the envelope (the time from when you
press a key until the envelope level reaches the maximum value).
Value: 0–127, Note
This section explains the envelope setting screens.
fig.03-26_50
ADSR De ca y (En ve lo p e De ca y Tim e ) ★★
Specifies the decay time of the envelope (the time from when the
envelope level reaches the maximum value until it falls to a constant
value).
Ve lo city Cu rve (En ve lo p e Ve lo city Cu rve )
Value: 0–127, Note
Choose from the following seven curves to specify how your
keyboard playing strength will affect the envelope depth. If you
don’t want your keyboard playing strength to affect the envelope
depth, set this to “0”.
ADSR Su sta in (En ve lo p e Su sta in Le ve l) ★
Specifies the sustain level of the envelope (the level at which the
envelope remains constant).
Value: 0–127
Value: 0–7
fig.Curve-7
ADSR Re le a se (En ve lo p e Re le a se Tim e ) ★★
Specifies the release time of the envelope (the time from when you
release a key until the envelope level reaches 0).
Value: 0–127, Note
0
4
1
5
2
6
3
7
“ENVELOPE” in the lower right of the screen shows a graphical
representation of the envelope produced by the current settings.
Ve lo city Se n s (En ve lo p e Ve lo city Se n sitivity )
En v De p th (En ve lo p e De p th )
Keyboard playing dynamics can be used to control the depth of the
envelope. If you want the envelope to have more effect for strongly
played notes, set this parameter to a positive (+) value. If you want
the pitch envelope to have less effect for strongly played notes, set
this to a negative (-) value.
Specifies the depth of the envelope. Higher settings will cause the
envelope to produce greater change. Negative (-) settings will invert
the shape of the envelope.
Value: -63– +63
Value: -63– +63
En v Tim e KF (En ve lo p e Tim e Ke y Fo llo w )
Ve lo city A-Se n s (En ve lo p e Atta ck Tim e Ve lo city
Se n sitivity )
Make this setting when you want the decay time and subsequent
times of the envelope to be affected by the location of the key you
play. Based on the envelope times for the C4 key (center C), positive
(+) settings will cause notes higher than C4 to have increasingly
shorter times, and negative (-) settings will cause them to have
increasingly longer times. Larger settings will produce greater
change.
This allows keyboard dynamics to affect the attack time of the
envelope. If you want attack time to be speeded up for strongly
played notes, set this parameter to a positive (+) value. If you want it
to be slowed down, set this to a negative (-) value.
Value: -63– +63
Value: -200– +200
fig.Time KF.e
Ve lo city D-Se n s (En ve lo p e De ca y Tim e Ve lo city
Se n sitivity )
Time
+100
This allows keyboard dynamics to affect the decay time of the
envelope. If you want decay time to be speeded up for strongly
played notes, set this parameter to a positive (+) value. If you want it
to be slowed down, set this to a negative (-) value.
Value: -63– +63
+50
0
Ve lo city R-Se n s (En ve lo p e Re le a se Tim e
Ve lo city Se n sitivity )
-50
The parameter to use when you want key release speed to control
the release time value of the envelope. If you want release time to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
-100
Key
C7
C1
C2
C3
C4
C5
C6
Value: -63– +63
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Cre a tin g a Pa tch
Ra te (LFO Ra te ) ■■
Ma k in g LFO Se ttin g s
Adjusts the modulation rate, or speed, of the LFO.
Value: 0–127, Note
This section explains the LFO setting screens.
fig.03-27_50
LFO Rate sets the beat length for the synchronized tempo when the
tempo that specifies the LFO cycle (Patch Tempo) is synchronized
with the tempo set in a external sequencer.
(Example)
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
Setting
(half note)
Delay time
1 second (60 / 60 =1 (second))
0.5 seconds (60 / 120= 0.5 (seconds))
0.25 seconds (60 / 240= 0.25 (seconds))
(quarter note)
(eighth note)
W a ve fo rm (LFO W a ve fo rm )
Selects the waveform of the LFO.
Value
SIN: Sine wave
This setting will be ignored if the Waveform parameter is set to
“CHAOS.”
TRI: Triangle wave
SAW: Sawtooth wave
SQR: Square wave
“LFO” in the lower right of the screen shows a diagram of the
wave cycle that corresponds to the current settings.
RND: Random wave
TRP: Trapezoidal wave
S&H: Sample & Hold wave (one time per cycle, LFO value is
changed)
Fa d e Mo d e (LFO Fa d e Mo d e )
Specifies how the LFO will be applied.
CHAOS: Chaos wave
Value: ON <<, ON >>, OFF <<, OFF >>
“LFO” in the lower right of the screen shows a wave graphic that
corresponds to the current settings.
setting until the desired effect is achieved.
O ffse t (LFO O ffse t)
Fa d e Tim e (LFO Fa d e Tim e )
Raises or lowers the LFO waveform relative to the central value.
Positive (+) settings will move the waveform so that modulation will
occur from the central value upward. Negative (-) settings will move
the waveform so that modulation will occur from the central value
downward.
Specifies the time over which the LFO amplitude will reach the
maximum (minimum).
Value: 0–127
Value: -100, -50, 0, +50, +100
setting until the desired effect is achieved.
Ke y Sy n c (LFO Ke y Sy n c Sw itch )
Ho w to Ap p ly th e LFO
This specifies whether the LFO cycle will be synchronized to begin
when the key is pressed (ON) or not (OFF).
Value: OFF, ON
■ Ap p ly th e LFO g ra d u a lly a fte r th e k e y is
p re sse d
fig.LFO-1.e
De la y Tim e (LFO De la y Tim e )
Delay
Time
high (more)
Fade Time
Delay Time (LFO Delay Time) specifies the time elapsed before the
Pitch
Cutoff Frequency
Level
LFO effect is applied (the effect continues) after the key is pressed (or
Depth
released).
Pan
Note on
Value: 0–127
low (less)
Fade Mode: ON <
setting until the desired effect is achieved.
Fade Time: The time over which the LFO amplitude will reach the
maximum after the Delay Time has elapsed.
Delay Time: The time from when the keyboard is played until the
LFO begins to be applied.
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Cre a tin g a Pa tch
■ Ap p ly th e LFO im m e d ia te ly w h e n th e k e y is
p re sse d , a n d th e n g ra d u a lly b e g in to
d e cre a se th e e ffe ct
Se ttin g Effe cts fo r a Pa tch (Effe ct)
Ro u tin g
fig.03-28_50
fig.LFO-2.e
high (more)
Delay Time
Fade Time
Pitch
Cutoff Frequency
Level
Depth
Pan
Note on
low (less)
Fade Mode: ON >>
Fade Time: The time over which the LFO amplitude will reach the
minimum after the Delay Time has elapsed.
Delay Time: The time that the LFO will continue after the keyboard
is played.
MFX Se n d (MFX Se n d Le ve l) ■
■ Ap p ly th e LFO g ra d u a lly a fte r th e k e y is
Sets the level of the signal sent to tMFX.
re le a se d
Value: 0–127
fig.LFO-3.e
Delay
Time
high (more)
Fade Time
CHO Se n d (Ch o ru s Se n d Le ve l) ■
Pitch
Cutoff Frequency
Sets the level of the signal sent to chorus.
Depth
Level
Pan
Value: 0–127
Note
on
Note
off
REV Se n d (Re ve rb Se n d Le ve l) ■
low (less)
Sets the level of the signal sent to reverb.
Fade Mode: OFF <<
Value: 0–127
Fade Time: The time over which the LFO amplitude will reach the
maximum after the Delay Time has elapsed.
O u tp u t Assig n
Delay Time: The time from when the keyboard is released until the
LFO begins to be applied.
Sets the direct sound’s output method.
Value
■ Ap p ly th e LFO fro m w h e n th e k e y is p re sse d
u n til it is re le a se d , a n d g ra d u a lly b e g in to
d e cre a se th e e ffe ct w h e n th e k e y is re le a se d
MULTI: Output in stereo through MFX. You can also apply chorus or
reverb to the sound that passes through MFX.
MAIN: Output to the MAIN OUT jacks in stereo without passing
through MFX.
fig.LFO-4.e
Delay
Time
DIR: Output to the DIRECT OUTjacks in stereo without passing
through MFX. Make this setting when you want to use external
effects.
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Depth
Pan
MFX (MFX O n / O ff Sw itch ) ■
low (less)
Note on
Note off
Switches MFX on and off.
Fade Mode: OFF >>
Value:
(OFF),
(ON)
Fade Time: The time over which the LFO amplitude will reach the
minimum after the Delay Time has elapsed.
Delay Time: The time that the LFO will continue after the keyboard
is released.
MFX Ty p e
Use this parameter to select from among the 41 available MFX. For
Value: 00 (Thru)–41
MFX Ma ste r Le ve l
Adjusts the volume of the sound that has passed through the MFX.
Value: 0–127
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Cre a tin g a Pa tch
MFX To CHO (MFX Ch o ru s Se n d Le ve l)
MFX
Adjusts the amount of chorus for the sound that passes through
MFX. If you don’t want to add the Chorus effect, set it to “0.”
Value: 0–127
fig.03-29_50
MFX To REV (MFX Re ve rb Se n d Le ve l)
Adjusts the amount of reverb for the sound that passes through
MFX. If you don’t want to add the Reverb effect, set it to “0.”
Value: 0–127
CHO (Ch o ru s O n / O ff Sw itch ) ■
Switches chorus on and off.
Value:
(OFF),
(ON)
MFX Ty p e
Use this parameter to select from among the 41 available MFX. For
Value: 00 (Thru)–41
CHO Ty p e (Ch o ru s Ty p e )
Use this parameter to select from among the 8 available chorus. For
In this setting screen, you can edit the parameters of the MFX that is
selected by the MFX Type setting. For details on the parameters that
Value: 00 (Off)–08
CHO Ma ste r Le ve l (Ch o ru s Ma ste r Le ve l)
When you touch <List>, the MFX List window will appear,
allowing you to select the MFX from the list.
Adjusts the volume of the sound that has passed through chorus.
Value: 0–127
CHO To REV (Ch o ru s Re ve rb Se n d Le ve l)
CHO
Adjusts the amount of reverb for the sound that passes through
chorus. If you don’t want to add the Reverb effect, set it to “0.”
Value: 0–127
fig.03-30_50
REV (Re ve rb O n / O ff Sw itch ) ■
Switches reverb on and off.
Value:
(OFF),
(ON)
REV Ty p e (Re ve rb Ty p e )
Use this parameter to select from among the 10 available reverb. For
Value: 00 (Off)–10
CHO Ty p e (Ch o ru s Ty p e )
Use this parameter to select from among the 8 available chorus. For
REV Ma ste r Le ve l (Re ve rb Ma ste r Le ve l)
Adjusts the volume of the sound that has passed through reverb.
Value: 0–127
Value: 00 (Off)–08
In this setting screen, you can edit the parameters of the chorus that
is selected by the CHO Type setting. For details on the parameters
When you touch <List>, the Chorus List window will appear,
allowing you to select the chorus from the list.
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Cre a tin g a Pa tch
REV
fig.03-31_50
Zo n e Se ttin g s (Zo n e )
V-Synth lets you divide the keyboard into as many as sixteen zones,
with each zone playing a different sound.
The following patch settings are applied in common to each of
the individual sounds that are divided by zone.
•
•
Common group settings (except for Structure Type)
Effect group settings for MFX, Chorus, and Reverb type, and
effect settings
Sp littin g th e Ke y b o a rd to Pla y
Diffe re n t So u n d s (Sp lit)
REV Ty p e (Re ve rb Ty p e )
A patch that contains settings to play different patches in each
keyboard zone is called a split patch. Here’s how to create a split
patch.
Use this parameter to select from among the 10 available reverb. For
Value: 00 (Off)–10
In this setting screen, you can edit the parameters of the reverb that
is selected by the REV Type setting. For details on the parameters
1 . Access the PATCH PLAY screen, and select the patch
If you want to create all your patches from the ground up, rather
than the patches that have already been prepared, carry out the
Initialize operation (p. 33).
When you touch <List>, the Reverb List window will appear,
allowing you to select the reverb from the list.
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
fig.01-05_50
3 . In the pulldown menu, touch <Zone>.
The PATCH Zone window appears.
fig.03-32_50
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Cre a tin g a Pa tch
4 . In the lower part of the screen, touch <Split>.
Cre a tin g a Dru m Pa tch (Dru m )
A window like the following appears.
By dividing the keyboard into sixteen zones and assigning a
percussion instrument sound to each zone, you can create a patch
that lets you play drums. Such a patch is called a drum patch.
You can think of a drum patch as a group containing various
percussion instrument sounds. Since percussion instrument sounds
are not usually used to play melodies, you do not need to be able to
use the keyboard to play a scale.
fig.03-33_50
1 . Access the PATCH PLAY screen, and select the patch
If you want to create all your patches from the ground up, rather
than the patches that have already been prepared, carry out the
Initialize operation (p. 33).
5 . Touch <01>.
Zone 01 will be selected, and the top note number of zone 01 will
be displayed in the upper right of the screen.
2 . Touch <■> in the upper right of the screen.
6 . Specify the split point between zones 01 and 02. Either turn
the VALUE dial or use [INC/+][DEC/-] to specify the note
number. You can also specify the note number by dragging
to left or right on the keyboard graphic in the touch screen.
A pulldown menu appears.
fig.01-05_50
If you want to divide the keyboard into three zones, lower the
top note of zone 02, and specify the split point between zones 02
and 03. By lowering the top note of the highest zone in this way,
you can add more zones. You can specify a maximum of sixteen
zones.
7 . Touch <OK>.
The zones will be established, and you will return to the PATCH
PLAY screen.
3 . In the pulldown menu, touch <Zone>.
The PATCH Zone window appears.
8 . In this state, zone 01 is selected. Specify the sound that you
fig.03-32_50
want to play in zone 01.
9 . After you have specified the sound that you want to play in
zone 01, next specify the sound for zone 02. Perform steps 2
and 3 once again to access the PATCH Zone window.
1 0 . Touch <02>, and then touch <OK>.
Zone 02 will be selected, and you will return to the PATCH
PLAY screen.
1 1 . Since zone 02 is now selected, specify the sound that you
want to play in zone 02.
In this way you can create a patch that plays different sounds on
either side of the split point you specified in step 6.
1 2 . To save the patch you created, perform the Write operation
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Cre a tin g a Pa tch
4 . In the lower part of the screen, touch <Drum>.
A window like the following appears.
fig.03-34_50
5 . To change the split point of each zone, refer to the
procedure described in the preceding section, “Splitting the
Keyboard to Play Different Sounds (Split).”
6 . Specify the sounds (percussion instrument sounds) that
you want to play in each zone. For the procedure, refer to the
procedure described in the preceding section, “Splitting the
Keyboard to Play Different Sounds (Split).”
In this way you can create a patch that plays various percussion
instrument sounds when you press different notes of the
keyboard.
7 . To save the patch you created, perform the Write operation
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
In this chapter, we will explain the procedures for:
Ap p lica tio n s o f Ea ch Te m p la te
•
•
•
The preset templates cover different input settings and pre-effect
types.
Converting samples so the VariPhrase function can be used
Mic
Sample in mono from a mic. Connect a mic to the rear
panel INPUT jack, and set GAIN switch to “MIC.”
Line
Sample in stereo from a CD. Connect your CD player to
the rear panel INPUT jacks, and set GAIN switch to
“LINE.”
Optical
Sample a digital signal. Connect your audio device to
the rear panel OPTICAL IN connector.
Sa m p lin g
Resampl Play a sample on the V-Synth and sample the result.
This is called “resampling.” For details on resampling,
Se ttin g s Be fo re Yo u Sa m p le (W h a t
Is a Te m p la te ? )
A sampling template is something that holds a collection of settings
for sampling (the setup settings, pre-effect settings, and metronome
settings described below).
Comp
Use the compressor pre-effect. The sample will be re-
corded from the rear panel INPUT jacks.
Limiter
Use the limiter pre-effect. The sample will be recorded
from the rear panel INPUT jacks.
Noise-
Sup
Use the noise suppressor pre-effect. The sample will be
recorded from the rear panel INPUT jacks.
You can store eight different sampling templates. When you sample,
you will always select one of these eight templates.
MIDI
Start sampling when a sequencer start (system realtime
message: FA) is received. The sample will be recorded
from the rear panel INPUT jacks.
With the factory settings, eight sampling templates are preset.
For details on modifying the settings, refer to “Sampling
Fa cto ry Se ttin g s o f Ea ch Te m p la te
Setup
Mic
Line
Optical
Resampl
Sampling templates are system settings (with the exception of
some metronome parameters). They are remembered even when
you turn off the power. If you wish to restore all eight sampling
templates to the factory settings, perform the Factory Reset
SamplingType 1 (MIX)
0 (Stereo)
0 (Stereo)
0 (Stereo)
InputSource
0 (Analog) 0 (Analog) 1 (Optical) 3 (Resam-
pling)
TriggerMode
TriggerLevel
PreTrigger
0 (Manual) 2 (Level)
2 (Level)
3 (Note)
-12 (dB)
-12 (dB)
-24 (dB)
-12 (dB)
0 (0msec)
0 (0msec)
0 (0msec)
0 (0msec)
PreGain
0 (0dB)
0 (0dB)
0 (0dB)
0 (0dB)
PreFxType
0 (off)
0 (off)
0 (off)
0 (off)
PreFxCS-Sus
PreFxCS-Atk
PreFxCS-Tone
PreFxCS-Lvl
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
PreFxLM-Thr -48
-48
-48
-48
PreFxLM-Rel
PreFxLM-Rati
PreFxLM-Tone
PreFxLM-Lvl
PreFxNS-Thr
PreFxNS-Rel
CountIN
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
-60
-60
-60
-60
0
0
0
0
1 (1MES)
1 (REC)
0 (0MES)
1 (REC)
0 (0MES)
1 (REC)
1 (1MES)
1 (REC)
MetroType
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
When sampling, you must make sure that the following two items
are set correctly. If these two settings are incorrect, the sample will
not be recorded as you intend.
Setup
Comp
Limiter
NoiseSup MIDI
0 (Stereo) 0 (Stereo)
SamplingType 0 (Stereo)
0 (Stereo)
InputSource
TriggerMode
TriggerLevel
PreTrigger
0 (Analog) 0 (Analog) 0 (Analog) 0 (Analog)
0 (Manual) 0 (Manual) 0 (Manual) 1 (MIDI)
•
What type of sample are you recording? (stereo or mono)
→ In the SAMPLING General screen, set Sampling Type.
Which input are you sampling from? (select the input jack)
→ In the SAMPLING General screen, set Input Source.
-12 (dB)
0 (0msec)
0 (0dB)
-12 (dB)
0 (0msec)
0 (0dB)
-12 (dB)
0 (0msec)
0 (0dB)
-12 (dB)
•
0 (0msec)
PreGain
0 (0dB)
PreFxType
1 (COMP) 2 (LIMIT) 3 (NS)
0 (off)
PreFxCS-Sus
PreFxCS-Atk
PreFxCS-Tone
PreFxCS-Lvl
64
12
0
0
0
0
be output from the DIRECT OUT jack during sampling.
0
0
0
0
0
0
0
0
0
0
PreFxLM-Thr -48
-36
-48
-48
1 . Press [MODE].
PreFxLM-Rel
PreFxLM-Rati
PreFxLM-Tone
PreFxLM-Lvl
PreFxNS-Thr
PreFxNS-Rel
CountIN
0
80
0
0
The V-SYNTH MODE MENU window appears.
fig.MODE_50
0
2
0
0
0
0
0
0
0
0
0
0
-60
-60
-30
-60
0
0
22
0
1 (1MES)
1 (REC)
1 (1MES)
1 (REC)
1 (1MES)
1 (REC)
0 (0MES)
1 (REC)
MetroType
Sa m p lin g Pro ce d u re
Here’s how to input a sound from the input jacks and sample it. For
resampling, refer to the following section.
The V-Synth has the following input jacks.
2 . Touch <SAMPLE>.
•
•
INPUT L, R (GAIN: MIC/ LINE)
DIGITAL AUDIO INTERFACE
OPTICAL IN
The SAMPLE Top screen appears.
fig.04-01_50
COAXIAL IN
Use the input jack that is appropriate for your situation.
•
•
•
Monaural sampling from a mic → INPUT L, R (GAIN: MIC)
Sampling from an analog source → INPUT L, R (GAIN: LINE)
Sampling from a digital source → OPTICAL IN or COAXIAL IN
Howling could be produced depending on the location of
microphones relative to speakers. This can be remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from speakers.
3. Lowering volume levels.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
3 . Select the location (sample number) that you wish to
sample.
8 . To set the value of a parameter, move the cursor to the value
box of the parameter that you want to edit. Then adjust the
value by turning the VALUE dial or by using [INC/+] [DEC/-].
You can also adjust the value by dragging on the touch
screen.
Move the cursor to the desired sample. Normally, you will select
a sample that has no wave; i.e., a sample number whose name is
“NO SAMPLE.”
In this screen you can use the following functions.
9 . Adjust the sampling level.
•
•
•
Select a sample by directly touching it.
Adjust the volume of the device that is producing the sound.
When sampling from the INPUT jacks, adjust the level by
turning the front panel INPUT knob or setting the rear panel
GAIN switch.
Change the number in steps of eight by pressing [
][
].
Change the number in steps of one by touching <■><■>
located beside the sample list, by pressing [
+][DEC/ -], or by turning the VALUE dial.
][
][INC/
If you are sampling from the DIGITAL AUDIO INTERFACE IN
•
Scroll the sample list by dragging the scroll bar located beside
the sample list up or down.
•
•
•
Move to the number 001 sample by touching <Top>.
Move to the number 999 sample by touching <End>.
Display information on the currently selected sample by
displayed for the factory-set waves.
1 0 . Touch <START> to start sampling.
The way in which sampling will start depends on the Trigger
Mode setting in the SAMPLING General screen, as follows.
If “MANUAL” is selected, sampling will start after a count of the
number of measures specified by the metronome Count-In
setting.
•
•
Audition the currently selected sample by touching <Prevw>.
When you touch <Search Empty>, you will jump to the “NO
SAMPLE” sample number that follows the current sample
number.
If “MIDI” is selected, sampling will wait for the sequencer to
start (system realtime message: FA). Sampling will begin when
the sequencer start message is received.
4 . Touch <Sampling>.
If “LEVEL” is selected, sampling will wait for an input signal.
Sampling will begin when the input signal exceeds the level
The SAMPLING Template screen appears.
fig.04-02_50
If “NOTE” is selected, Sampling will begin when you play the
keyboard or note message is received.
If you have selected “MIDI” or “LEVEL,” you can touch
<START> once again to begin sampling without waiting for the
sequencer to start or the input signal to be received.
In the SAMPLING window, “Remain Time” indicates the
remaining time (in seconds) available for sampling.
5 . Touch <TMPL 1>–<TMPL 8> to select a sampling template.
If you want to modify the settings of the selected sampling
template, perform the following steps 6–8.
If memory becomes full, sampling will be halted. If this occurs,
6 . Touch one of the tabs displayed at the bottom of the screen
to access the corresponding setting screen.
1 1 . When you are finished sampling, touch <STOP>.
The display will indicate “COMPLETED!” Touch <PREVIEW>
to hear the sound that you sampled, and check whether the
sample was recorded as you wish.
1 2 . Operations from this point will depend on what you want to
do.
For details on each parameter, refer to the page references given.
<Cancel>: Discard the sample that you just recorded, and return
to the SAMPLING Template screen.
7 . In each setting screen, touch the touch panel to set the
parameters.
<Decide>: Finalize the sample that you just recorded, and
register it in the sample list.
<RETRY>: Discard the sample that you just recorded, and
sample once again.
For details on operations in the touch panel, refer to “Basic
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
N a m in g a Sa m p le (SAMPLE N a m e )
Co p y in g a Sa m p le (SAMPLE Co p y )
Assign a new name to the sample. You can assign a name consisting
of up to twelve characters.
2 . Touch <■> in the upper right of the screen.
1 . Access the SAMPLE Top screen, and select the sample that
A pulldown menu appears.
fig.04-03_50
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
fig.04-03_50
3 . In the pulldown menu, touch <SAMPLE Copy>.
The SAMPLE Copy window appears.
fig.04-04a_50
3 . In the pulldown menu, touch <SAMPLE Name>.
The SAMPLE Name window appears.
fig.04-04_50
4 . Move the cursor to “Source” and select the copy-source
sample.
5 . Move the cursor to “Destination” and select the copy-
4 . Touch the on-screen alphabetic or numeric keys to enter the
new name in the text box.
destination sample.
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired input
location.
When you touch <List>, the Sample List window will appear,
allowing you to select the sample from the list.
6 . Touch <Execute> to execute the copy operation.
<SHIFT>: Turn this on when you want to input uppercase letters
or symbols.
7 . Press [EXIT].
<Insert>: Turn this on when you want to insert a character at the
cursor location.
The SAMPLE Copy window closes.
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor location.
You can also move the input location cursor by pressing the
[
][
] cursor buttons. Pressing [
] will change the
character at the cursor location to uppercase, and pressing [
will change it to lowercase.
]
5 . When you have finished inputting, touch <OK> to finalize the
sample name.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Mo vin g a Sa m p le (SAMPLE Mo ve )
Ex ch a n g in g a Sa m p le (SAMPLE
Ex ch a n g e )
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
2 . Touch <■> in the upper right of the screen.
fig.04-03_50
A pulldown menu appears.
fig.04-03_50
3 . In the pulldown menu, touch <SAMPLE Move>.
The SAMPLE Move window appears.
3 . In the pulldown menu, touch <SAMPLE Exchange>.
fig.04-04b_50
The SAMPLE Exchange window appears.
fig.04-04c_50
4 . Move the cursor to “Source” and select the move-source
sample.
4 . Move the cursor to “Source” and select the exchange-
source sample.
5 . Move the cursor to “Destination” and select the move-
destination sample.
5 . Move the cursor to “Destination” and select the exchange-
destination sample.
When you touch <List>, the Sample List window will appear,
allowing you to select the sample from the list.
When you touch <List>, the Sample List window will appear,
allowing you to select the sample from the list.
6 . Touch <Execute> to execute the move operation.
6 . Touch <Execute> to execute the exchange operation.
7 . Press [EXIT].
The SAMPLE Move window closes.
7 . Press [EXIT].
The SAMPLE Exchange window closes.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
De le tin g a Sa m p le (SAMPLE De le te )
Re sa m p lin g
The V-Synth is able to resample samples from its internal memory.
This is called resampling. In actuality, the sounds that are output
from the rear panel MAIN OUT L(MONO), R jacks are sampled.
For example, you could sample multiple samples played
2 . Touch <■> in the upper right of the screen.
A pulldown menu appears.
fig.04-03_50
simultaneously, and record them as a single sample. You can
conserve voices in this way.
fig.04-05.e
Pre Gain
INPUT
Sampling
OUTPUT
Pre-FX
Sound
Effect
Generator
Before you enter Resampling mode, make settings so that you can
play the sample(s) you wish to resample.
3 . In the pulldown menu, touch <SAMPLE Delete>.
The resampling procedure is essentially the same as the “Sampling
Procedure” described in the preceding section. However, please be
aware of the following points.
The SAMPLE Delete List window appears.
fig.04-04d_50
•
You must set the Input Source in the SAMPLING General screen
to “RESAMPL.”
•
Se tu p Se ttin g s
SAMPLIN G Ge n e ra l
fig.04-06_50
4 . From the list, select the sample that you want to delete.
Either turn the VALUE dial or use [INC/ +][DEC/ -] to select a
patch. You can also select a patch by touching it on the display.
Each screen in the SAMPLE Delete List window shows a group
of 16 samples. To view other samples, touch <017-032>–<241-
256>, located at either side of the screen. To view higher-
numbered samples, touch <257-512>–<769-999>, located at the
bottom of the screen.
5 . Touch <Execute>.
The selected sample will be deleted.
Sa m p lin g Ty p e
Select the type of sampling.
6 . If you want to continue deleting other samples, repeat steps
Value
4 and 5.
STEREO L R: Sample in stereo.
7 . Press [EXIT].
MONORAL MIX: Mix the signals input to L and R, and sample in
monaural.
The SAMPLE Delete List window closes.
MONORAL L: Sample the L input signal in monaural.
MONORAL R: Sample the R input signal in monaural.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
In p u t So u rce
Pre -Effe ct Se ttin g s
Select the input from which the sound will be sampled.
Value
SAMPLIN G Pre -Effe ct
ANALOG: INPUT jacks
fig.04-07_50
OPTICAL: OPTICAL IN connector
COAXIAL: COAXIAL IN connector
RESAMPL: Select this when you wish to resample. The sound that is
output to MAIN OUT L(MONO) and R will be sampled.
Trig g e r Mo d e
Specifies how sampling will be started.
Value
MANUAL: Sampling will begin when you touch <START>.
MIDI: Sampling will begin when an external sequencer start message
(system realtime message: FA) is received.
LEVEL: Sampling will start when the input signal exceeds the level
specified by the Trigger Level setting.
There are three pre-effects: compressor, limiter, and noise
suppressor. By using these you can adjust the level of the sound
being sampled.
NOTE: Sampling will begin when you play the keyboard or note
message is received.
Compressor:
By reducing high levels and raising low levels, this effect smoothes
out unevenness in volume.
Trig g e r Le ve l
Limiter:
Specifies the input level at which sampling will begin when the
Trigger Mode is set to “LEVEL.” The trigger level is shown by the
By compressing sounds that exceed a specified volume level, this
effect prevents the sound from distorting.
Noise suppressor:
“
” and “ ” in the level meter located at the right of the screen.
Value: -∞–00 dB
This effect leaves the original sound untouched, but mutes the noise
that is heard during periods of silence.
If Trigger Mode is set to other than “LEVEL,” this parameter has
no effect.
Ty p e (Pre -Effe ct Ty p e )
Value
Pre Trig g e r
OFF: No pre-effect will be used.
COMP+NS: Compressor and noise suppressor settings can be made.
LMT+NS: Limiter and noise suppressor settings can be made.
NS: Noise suppressor settings can be made.
After the selected trigger to start sampling has been received,
previously received data for the length of time specified here will be
included in the sampled data. When the Trigger Mode is set to
“LEVEL” and the early portion of the sample is being lost, you can
use this setting to include the early portion.
■ Co m p re sso r
Value: 0–1000 msec
Su sta in
Specifies the time over which a low-level signal is raised until it
Pre Ga in
reaches a fixed volume.
Adjusts the input gain. This will apply to the sound that is received
from all input jacks. It will also be applied to the sound being
resampled. With positive (+) values, the gain will be higher than
originally, and with negative (-) values the gain will be lower than
originally.
Value: 0–127
Atta ck (Atta ck Tim e )
Specifies the attack time of the input sound.
Value: 0–127
Value: -12– +36 dB
To n e
Adjusts the tone quality of the compressor.
Value: -50– +50
Le ve l (O u tp u t Le ve l)
Adjusts the output volume.
Value: 0– +24 dB
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
■ Lim ite r
Me tro n o m e Se ttin g s
Th re s (Th re sh o ld Le ve l)
Me tro n o m e
fig.04-08_50
Specifies the level (threshold level) at which the limiter will begin to
function.
Value: -60–0 dB
Re le a se (Re le a se Tim e )
Specifies the time from when the input level drops below the
threshold level until the limiter turns off.
Value: 0–127
To n e
Adjusts the tonal quality of the limiter.
Value: -50– +50
Me tro Ty p e (Me tro n o m e Ty p e )
Le ve l (O u tp u t Le ve l)
Specifies when you want the metronome to sound.
Value
Adjusts the output volume.
Value: 0– +24 dB
OFF: The metronome will not sound.
REC: The metronome will sound only during sampling.
ALWAYS: The metronome will sound whenever you sample
(including while you are making settings in preparation for
sampling).
Ra tio
Specifies the compression ratio.
Value: 1.5:1, 2:1, 4:1, 100:1
■ N o ise Su p p re sso r
Le ve l (Me tro n o m e Le ve l)
Th re sh o ld (Th re sh o ld Le ve l)
Specifies the volume of the metronome.
Specifies the level at which the noise suppressor will begin to
Value: 0–127
operate. When the signal falls below the specified level, it will be
Co u n t In
muted.
Value: -60–0 dB
Specifies the number of measures for the count-in that will occur
before sampling.
Re le a se (Re le a se Tim e )
Value
Specifies the time from when the noise suppressor begins to operate
until the volume reaches 0.
OFF: A count will not be sounded.
1MEASURE: A one-measure count will be sounded.
2MEASURE: A two-measure count will be sounded.
Value: 0–127
If Trigger Mode is set to other than “MANUAL,” this parameter
has no effect.
Te m p o
Specifies the tempo of the metronome.
Value: 20.0–250.0
Be a t
Specifies the time signature of the metronome.
Value
Numerator: 1–31
Denominator: 2, 4, 8, 16, 32
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
N a m in g a Te m p la te (Te m p la te N a m e )
Ch e ck in g Sa m p le In fo rm a tio n
A template can be given a name of up to eight characters.
1 . Access the SAMPLE Top screen, and select the sample that
2 . Touch <Info>.
The SAMPLE Information screen appears.
2 . Touch <■> in the upper right of the screen.
fig.04-10a_50
A pulldown menu appears.
fig.04-09_50
In the SAMPLE Information screen you can check the following
information for the sample.
3 . In the pulldown menu, touch <Template Name>.
•
•
•
•
•
•
•
The SAMPLING Template Name window appears.
fig.04-10_50
Original pitch
Original fine tune
Original Tempo, Original Pitch, and Original Fine Tune can be
modified in this screen.
If you want to set an accurate original tempo, make settings in
4 . Touch the on-screen alphabetic or numeric keys to enter the
new name in the text box.
O rig in a l Pitch
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired input
location.
Specifies the key that will play the sample at the pitch at which it
was sampled.
<SHIFT>: Turn this on when you want to input uppercase letters
or symbols.
Value: C-1 (0)-G9 (127)
O rig in a l Fin e Tu n e
<Insert>: Turn this on when you want to insert a character at the
cursor location.
Adjusts the current pitch in one-cent steps (1/ 100 of a semitone) over
a range of 1/ 2 semitone upward or downward.
Value: -50-+50
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor location.
3 . When you have finished viewing the information, touch
<OK> to close the window.
You can also move the input location cursor by pressing the
LO O P MO DE
[
][
] cursor buttons. Pressing [
] will change the
One Shot: The sample will not loop, regardless of the Loop Switch
character at the cursor location to uppercase, and pressing [
will change it to lowercase.
]
will loop in the forward direction between “LOOP START” and
“LOOP END.”
5 . When you have finished inputting, touch <OK> to finalize the
template name.
will loop alternately backward and forward between the “LOOP
START” and “LOOP END.”
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Im p o rtin g a Sa m p le
Ed itin g a Sa m p le
To import samples you will use the Disk Save Project screen of Disk
mode.
When you have finished sampling, you can edit the sample data.
When editing a sample, touching <PREVIEW> will play the sample
so you can check whether it was edited as you expect.
2 . Touch<Import>.
Jump to the DISK Import Files screen in the Disk mode.
fig.06-09_50
•
When the editing screens are displayed, playing the keyboard
will not produce sound.
•
•
It is not possible to edit two or more samples simultaneously.
With some exceptions, editing a sample that has been encoded
will cause the encoding data to be discarded. In this case, you
•
The factory-set waves (preset waves) cannot be edited.
Co m m o n Pro ce d u re fo r Ed itin g
Disp la y in g th e Sa m p le Ed it Scre e n
1 . Press [MODE].
For details on operations in this screen, refer to “Importing
The V-SYNTH MODE MENU window appears.
fig.MODE_50
2 . Touch <SAMPLE>.
The SAMPLE Top screen appears.
fig.04-01_50
3 . Select the sample that you wish to edit.
For details on making this selection, refer to “Sampling
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
4 . Touch <Edit>.
(LEN GTH LO CK)
The SAMPLE Loop FWD screen appears.
fig.04-11_50
This locks the length of the region between the start point (Start) and
end point (End) of the sample. It is convenient to use this when you
already know the length of the sample that you need, and want to
find the right region to use.
After the length has been locked, you can turn the VALUE dial, use
[INC/ +] [DEC/ -], or drag your finger over the sample in the screen
to adjust the Start and End locations while maintaining the distance
between these two points.
the length of the sample is locked.
5 . Touch one of the tabs in the left side of the screen to access
the desired editing screen.
(LO O P)
This switches loop playback on/ off. Turn this on if you want the
loop region specified in the Loop FWD/ BWD screen to play
repeatedly.
(PREVIEW )
For details on each editing operation, refer to the corresponding
page.
This plays the sample. During playback, you can touch this once
again to stop playback.
6 . When you have finished making settings, press [EXIT] to
return to the SAMPLE Top screen.
(Ad ju st)
In the Loop FWD/ BWD screen, the Adjust function moves the Loop
Start, Loop End, or Current locations to the nearest of the following
locations 1–5.
Fu n ctio n s Co m m o n to All Ed itin g
Scre e n s
In edit screens, the Adjust function moves the Edit Start, Edit End, or
Current locations to the nearest of the following locations 1–7.
“ Sta rt,” “ En d ,” a n d “ Cu rre n t” Se ttin g s
The V-Synth uses seven terms to indicate locations within a sample.
Sample Start: Beginning of the sample
1
2
3
4
5
6
7
Sample Start location
Sample End location
Loop Start location
Loop End location
Current location
Sample End: End of the sample
Loop Start, Loop End: When the Loop Play is ON, the region
between these two points will be played repeatedly.
Edit Start, Edit End: Editing will affect the region between these
two points.
Edit Start location
Edit End location
Current: This is the currently selected location of the sample.
Move the cursor to “Start,” “End,” or “Current” to select the point
that you want to specify. Then specify the location by turning the
VALUE dial, by using [INC/ +][DEC/ -], or by dragging your finger
over the sample in the screen.
Move the cursor to the point that you want to adjust (“Start,” “End,”
or “Current”), and touch or
Touching will move the point toward the left, and touching
will move it toward the right.
.
location to the closest event.
•
•
The region of the sample between Edit Start and Edit End is
displayed with the color inverted.
When Current = Loop/ Edit Start, moving Loop/ Edit Start will
cause Current to change as well.
For example, if you wish to touch <PREVIEW> to check whether
the results of your editing were satisfactory, you can jump the
current location.
It is not possible to move Loop/ Edit Start to the right of Loop/
Edit End.
In some cases nothing may happen, due to the relation between
points or the Length Lock setting.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Ed itin g th e Sp e cifie d Re g io n o f th e
Sa m p le
(Ze ro Cro ss Se a rch )
This function searches for locations where the sample has a value of
zero. When setting loop points or when cutting the sample, you
should search for locations where the sample value is zero so that
noise is not heard when you play the sample.
You can specify a region of the sample, and edit the region by
cutting or copying.
Ba sic O p e ra tio n
Move the cursor to the point (“Start,” “End,” or “Current”) for which
you want to find a zero-cross point, and then touch
Touching will search toward the left, and touching
search toward the right.
or
.
will
2 . Specify the region that you want to edit (Edit Start–Edit End),
3 . Touch <■> in the upper right of the screen.
(Zo o m )
A pulldown menu appears.
This expands or shrinks the displayed sample.
fig.04-16_50
In any screen that displays the sample, you can touch the following
buttons to expand or shrink the displayed sample.
: Shrink vertically
: Expand vertically
: Shrink horizontally
: Expand horizontally
fig.04-12.e
Zoom bar
4 . In the pulldown menu, touch the editing function that you
want to execute.
A window appears, asking you to confirm the operation.
fig.04-17_50
Zoom bar
Actual length of wave
The vertical zoom bar indicates the magnification of the sample in
the vertical direction. The horizontal zoom bar indicates the
magnification of the sample in the horizontal direction, and shows
the current location. As the display is magnified, the zoom bar will
become narrower.
Some editing functions require you to input a numerical value.
For details, refer to the following explanations of each editing
function.
5 . Touch <OK> to execute the editing function.
•
•
If you want to cancel without executing, touch <Cancel>.
By touching “Undo” in the pulldown menu, you can return to
the state prior to executing the operation (Undo). Depending on
the type of edit function you execute, or on the state of the work
area, there may be cases in which the Undo function cannot be
executed. In such cases, you will not be able to select <Undo>.
6 . If you want to save the edited result, perform the Save
6 6
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Ze ro In se rt
Sa m p le Ed itin g Fu n ctio n s
fig.04-18
This operation inserts silent space at the current location. It can also
be used to lengthen a sample to a precise number of measures and
beats.
In the SAMPLE Edit Zero Insert window, specify the length of the
silent region that you want to insert. This setting is made in terms of
a number of samples. Data in the V-Synth is handled as 44.1 kHz
data, meaning that one second contains 44,100 data samples.
For example, if you wish to insert one second of silence, you
would specify “44100” and execute Zero Insert.
If the amount of remaining memory is small, it may not be
possible to execute Copy, Paste, Insert, or Zero Insert. In such
LR-Mix
The stereo sample will be mixed to L, converting it into a monaural
sample. If this is set to monaural, less wave memory will be used.
This will also decrease the number of voices.
Cu t
The region of the sample between Edit Start and Edit End will be cut.
Trim (Trim m in g )
If the beginning and end of the sample are values other than zero,
noise will be heard when you play the sample. Trim sets the values
at the beginning and end of the sample to zero.
Tru n ca te
The region of the sample between Edit Start and Edit End will be
kept, and the remainder of the sample will be deleted.
In the SAMPLE Edit Trim window, specify the length that you want
to trim. This setting is made in terms of a number of samples. Data in
the V-Synth is handled as 44.1 kHz data, meaning that one second
contains 44,100 data samples.
Co p y
The sample between Edit Start and Edit End will be copied.
Cle a r
The sample between Edit Start and Edit End will be set to values of
zero.
For example, trimming at 100 samples. This will connect the first
data sample and the one hundredth data sample by a smooth
line of one hundred points. Similarly, the last data sample and
the data sample one hundred samples before it will be connected
by a smooth line of one hundred points.
Pa ste
The copied data will be overwritten, beginning at the current
location.
N o rm a lize
The Normalize operation is used to uniformly increase or decrease
the level of the entire sample without allowing it to distort. This is
used when you wish to make the volume consistent with other
samples.
If there is any sample data following the current location, it will
be lost as far as the pasted portion extends.
In se rt
In the SAMPLE Edit Normalize window, specify the degree of
normalization that you want to use. The value is specified in terms of
a percentage.
The copied data will be inserted at the current location.
You can cut, paste, and insert between different samples. After
copying, press [EXIT] to return to the SAMPLE Top screen.
Select a different sample, access the SAMPLE Edit screen, and
then paste or insert.
For example, let’s suppose that 100 is the maximum volume at
which the volume does not distort. Executing the Normal
operation at a setting of 90% will make the maximum value of
the sample be 90.
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Lo o p Re g io n Se ttin g s
will be played back as a loop. The region of the sample between
Loop Start and Loop End will be played back repeatedly.
If you normalize at a low setting and then normalize at a high
setting, the audio quality will deteriorate. This means that if you
intend to normalize several times, you should start from the
higher value and work downward.
In the SAMPLE Loop FWD screen that appears when you touch
<Loop FWD>, specify the loop region for forward playback. In the
SAMPLE Loop BWD screen that appears when you touch <Loop
Re ve rse
The sample will be reversed between Edit Start and Edit End. If you
want the sample to play backwards, execute Reverse to reverse the
sample from the beginning.
BWD>, specify the loop region for backward playback.
fig.04-13_50
Re g io n
The region of the sample between Edit Start and Edit End can be
stored in internal memory as a separate sample. The original sample
will remain unchanged.
Perform the following procedure.
1 . Select the region that you want to extract as a separate
sample, and execute Region.
2 . In the SAMPLE Edit Region window, select the sample
number to which you want to paste the extracted region of
the sample, and touch <OK>.
Immediately after sampling or loading a sample, Loop Start will be
set to the beginning of the sample and Loop End to the end of the
sample.
3 . Assign a name to the new sample, and touch <OK>.
If you set Loop Start and Loop End to locations within the sample,
the sample will play back from the beginning, and then the region
between Loop Start and Loop End will play back repeatedly.
fig.04-14.e
If in step 2 you select a sample number that already has a
sample, the sample data between Edit Start and Edit End will be
added to the end of the selected sample.
Wave
Start
Loop
Start
Loop
End
Wave
End
The data in the V-Synth is handled as 44.1 kHz data, which
means there are 44,100 data samples per second. The shortest
possible loop that can be set is 16 data samples.
is set to “STEP” or “EVENT.”
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
O rig in a l Te m p o Se ttin g
The Original Tempo is the reference tempo of the sample used when
Co n ve rtin g th e Sa m p le to V-
Sy n th Da ta (En co d e )
synchronizing it to the master tempo.
After you have finished editing the sample, you should encode it. By
using the encoding that is appropriate for the sample, you’ll be able
to maintain a higher quality of audio while controlling the pitch,
time, and formant.
Example: A sample whose original tempo is 100
If the master tempo is set to 200 and the sample is synchronized, the
sample will play back at double the speed at which it was recorded.
If you set the master tempo to 50 and synchronize the sample, it will
play back at half the speed at which it was
fig.04-15_50
The factory-set waves (preset waves) cannot be encoded.
Disp la y in g th e En co d e Scre e n
The exact original tempo can be calculated from the time signature,
number of measures, and number of beats for the sample length
between Loop Start and Loop End. This means that you must first
specify the loop region, and then set the original tempo.
Samples whose wave is too short (0.1 sec or less) cannot be
encoded, and the SAMPLE Encode screen cannot be accessed for
such samples.
If you wish to play back a loop while simultaneously
synchronizing another sample, you must specify the correct
original tempo. If you fail to do this, the sounds will drift out of
synchronization.
1 . Press [MODE].
The V-SYNTH MODE MENU window appears.
fig.MODE_50
1 . Move the cursor to the item that you wish to set.
2 . Either turn the VALUE dial or press [INC/+][DEC/-] to set the
“Sign” (time signature), “Meas” (measure), and Beat values.
3 . Touch
.
The precise tempo will be displayed at the right of the “->.” The
tempo displayed here is the original tempo.
You can also move the cursor to the original tempo, and set it by
rotating the VALUE dial or by using [INC/ +][DEC/ -].
2 . Touch <SAMPLE>.
The SAMPLE Top screen appears.
fig.04-01_50
3 . Select the sample number that you wish to encode.
For details on how to select a sample, refer to “Sampling
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
4 . Touch <Encode>.
Se le ctin g th e En co d in g Ty p e
You can choose from the following four types of encoding. Touch the
The SAMPLE Encode screen appears.
fig.04-20_50
appropriate button to select a type.
fig.04-21
LITE
This is the simplest encoding type. When you sample on the V-
Synth, this type is selected by default. This type can be used with a
variety of sounds, but to obtain the highest quality we recommend
that you encode using one of the other types.
SO LO
This is suitable for monophonic vocals or monophonic wind
instruments (such as sax, trumpet, or flute). If you encode the sample
you can still play the sample polyphonically.
To Ex e cu te th e En co d e O p e ra tio n
In the SAMPLE Encode screen, select the encode type, set the encode
depth, and delete or add events. Then touch <Execute>.
If you wish to stop the encode during the operation, touch <Abort>.
When encoding is completed, you will return to the SAMPLE Top
screen.
BACKIN G
This is suitable for decay-type instruments. It is particularly suitable
for phrases that include instruments with a clear attack (such as
drums, percussion, and guitar chords).
For details on these settings, refer to the following sections.
The amount of time required by the encoding process will
depend on the sample. You may need to wait a certain amount
of time for encoding to be completed.
EN SEMBLE
This is suitable for sustain-type instruments. It is particularly
suitable when there are smooth changes in tone (such as choir or
strings).
•
•
If the data is encoded using “BACKING” or “ENSEMBLE,” it
will not be possible to use the formant control or robot voice
functions.
Once a sample has been encoded, editing that sample (except for
some operations) will cause the encoded data to be discarded. If
you then access the SAMPLE Encode screen in this state, “LITE”
will always be selected as the encoding type. Select the
appropriate encoding type, and then re-encode the sample.
Depending on the sample, encoding with “SOLO” may cause the
sound to be different than you expect, such as changes in pitch
being incorrect by one octave. If this occurs, re-encode the
sample using “BACKING” or “ENSEMBLE.”
•
•
If a sample that contains large amounts of reverb or delay is
encoded using “SOLO,” it may not sound as you expect. If this
occurs, re-encode the sample using “BACKING” or
“ENSEMBLE.”
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Cre a tin g a n d Ed itin g Sa m p le s (Sa m p le Mo d e )
Au to m a tica lly De te ctin g Eve n ts
De le tin g a n d Ad d in g Eve n ts
By specifying the Depth, you can automatically detect and “■”mark
Setting the Encode Depth and automatically detecting events does
not guarantee that the events will be added at the locations that you
expect. If necessary, you can delete or add events as you like.
In the SAMPLE Encode screen, you can touch <PREVIEW> to play
the sample from the current location until the next event. By
touching <PREVIEW>, you can play the sample to see whether
events have been assigned to the locations that you expect.
locations where there is a strong attack (i.e., locations where the
volume changes abruptly). Such marked locations are called events.
fig.04-22
•
•
Be aware that if you change the encode depth after deleting or
adding events, the events that were modified manually will be
discarded, and the events that were detected by depth will be
displayed.
If you modify the location of events after encoding, you must re-
encode. The modified location of the events will take effect when
you encode.
De p th (En co d e De p th )
In the SAMPLE Encode screen, move the cursor to “Depth” and set
the value. The higher the value you set, the more events will be
De le tin g a n Eve n t
assigned.
fig.04-23_50
1 . Move the cursor to “Current.”
2 . By turning the VALUE dial, pressing [INC/+][DEC/-], or
dragging your finger over the sample in the screen, set
Current to the location of the event that you want to delete.
Value: 0–127
3 . Touch either
or
.
The Current location will move to the location of the next event
toward the left or right.
the next event, and then stop each time you play the key. When
the Playback Mode is set to “EVENT,” the sample will be
divided at event locations, and assigned to each key.
4 . Repeat step 3 to move Current to the location of the event
that you wish to delete.
5 . Touch
to delete the event.
•
•
If you set Depth to a high value, a large number of events may
be detected. If you encode in such a state, the interval between
events will be too short, and the expected result will not be
obtained when you play back in event units.
The events at the beginning and end of a sample cannot be
deleted.
If you change the location of an event after encoding, you must
re-encode the sample. When you encode, the newly detected
event locations will take effect.
Ad d in g a n Eve n t
1 . Move the cursor to “Current.”
2 . By turning the VALUE dial, pressing [INC/+][DEC/-], or
dragging your finger over the sample in the screen, move
Current to the location at which you want to add the event.
3 . Touch
to add the event.
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Sa vin g a Sa m p le
Samples that you sample or encode will be lost when you turn off
the power. If you want to keep these samples, use the Disk Save
Project screen in the Disk mode.
2 . Touch <Save>.
Jump to the DISK Save Project screen in the Disk mode.
fig.06-06_50
For details on operations in this screen, refer to “Saving Project
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
Settings that affect the entire operating environment of the V-Synth,
such as tuning and MIDI message reception, are referred to as
system functions. This section explains how to make settings for
the System functions and describes the functions of the different
System parameters.
6 . When editing a parameter that requires you to specify a
value, move the cursor to the value box of that parameter.
Then modify the value by either turning the VALUE dial or
pressing [INC/+] or [DEC/-]. You can also modify a value by
dragging over the touch screen.
7 . Repeat steps 3–6 to make the settings for the System
function.
Ho w to Ma k e th e Sy ste m
Fu n ctio n Se ttin g s
Sa vin g th e Sy ste m Se ttin g s (W rite )
1 . Press [MODE].
Changes you make to the System function settings are only
temporary—they will be discarded as soon as the power is turned
off. If you want to keep any changes you’ve made in the system
settings, you must save them in internal memory.
The V-SYNTH MODE MENU window appears.
fig.MODE_50
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure.
1 . After you have edited the settings of the System function,
touch <Write>, located in the lower right of the screen.
2 . Touch <SYSTEM>.
In itia lizin g th e Sy ste m Se ttin g s (In it)
The current settings of the system functions can be restored to a set
The SYSTEM Com Master screen appears.
fig.05-01_50
of standard settings, or to the factory settings.
2 . Touch <Init>, located in the lower right of the screen.
If you want the factory settings to be in effect the next time the
V-Synth is powered up, touch <Write> to save the settings.
3 . The parameters are organized into several editing groups.
Touch one of the buttons at the bottom of the screen to
select the edit group containing the parameters you want to
set.
4 . Touch one of the tabs in the left of the screen to select the
desired editing screen.
5 . In each editing screen, touch the touch screen to set the
parameters.
For details on how to use the touch screen, refer to “Basic
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
Po w e ru p Mo d e
Fu n ctio n s o f Sy ste m
Pa ra m e te rs
Specifies the condition that the V-Synth will be in when the power is
turned on.
This section explains what the different System parameters do, and
also how these parameters are organized.
Value
LAST SET: Reinstates the patch selected at the time the V-Synth was
last turned off.
DEFAULT: The V-Synth will be ready to play Patch “001.”
Se ttin g s Co m m o n to th e En tire
Sy ste m (Co m m o n )
IO
fig.05-01a_50
Ma ste r
fig.05-01_50
Ex te rn a l In p u t Ty p e
set to “EXT IN.”
Ma ste r Tu n e
Adjusts the overall tuning of the V-Synth. The display shows the
frequency of the A4 note (center A).
Value
STEREO L R: Input in stereo.
Value: 415.3–466.2 Hz
MONORAL MIX: Mix the L and R input signals and input in
monaural.
Ma ste r Ke y Sh ift
MONORAL L: Input the L signal in monaural.
MONORAL R: Input the R signal in monaural.
Shifts the overall pitch of the V-Synth in semitone steps.
Value: -24– +24
Mix / Pa ra lle l
Ma ste r Le ve l
Specifies how the sound of the entire V-Synth will be output.
Value
Adjusts the volume of the entire V-Synth.
Value: 0–127
MIX: Set this to have the collective output of all sounds output from
the OUTPUT A (MIX) jacks. When you want to check the final
overall sound being output, set to MIX.
Pa tch Re m a in (Pa tch Re m a in Sw itch )
Specifies whether currently sounding notes will continue sounding
when another patch is selected (ON), or not (OFF).
Also, when this is “ON,” changes produced by incoming MIDI
messages such as Volume (CC 7) or Pan (CC 10), as well as tonal
quality and volume changes produced by the various controllers will
be inherited.
Sounds output from the PHONES jack are the same as those
output from the MIX OUT jacks. Therefore, any sounds set with
Output Assign to be output from the DIRECT OUT jacks is not
output from the PHONES jack. Be sure to have any sound you
want to hear through the headphones set to “MIX.”
Value: OFF, ON
PARALLEL: Output according to each Output Assign settings.
Effects settings change as soon as you switch to a new patch,
without being influenced by the Patch Remain setting. Because
of this, certain effects settings can cause notes that were until
then sounding to no longer be heard, even though Patch Remain
has been set to on.
O u tp u t Ga in
This adjusts the output gain from the V-Synth’s Analog Out and
Digital Out. When, for example, there are relatively few voices being
sounded, boosting the output gain can let you attain the most
suitable output level for recording and other purposes.
Value: -12–+12 dB
Dig ita l O u tp u t Fre q (Dig ita l O u tp u t Fre q u e n cy )
Sets the sampling frequency of the digital output.
Value: 44.1, 48, 96 KHz
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MID 2 Ga in
EQ
fig.05-02_50
Adjusts the gain of the middle range 1. Positive (+) settings will
emphasize the middle range 2.
Value: -15–+15 dB
Hig h Fre q (Hig h Fre q u e n cy )
Selects the frequency of the high range.
Value: 2000, 4000, 5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz
HIGH Ga in
Adjusts the gain of the high frequency. Positive (+) settings will
emphasize the high-frequency range.
Value: -15– +15 dB
4 Ba n d EQ (4 -Ba n d Eq u a lize r Sw itch )
TO TAL Ga in
Switch the 4-Band equalizer on/ off.
Adjusts the total gain.
Value: OFF, ON
Value: -15– +15 dB
LO W Fre q (Lo w Fre q u e n cy )
Selects the frequency of the low range.
MIDI/ USB
fig.05-03_50
Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000 Hz
LO W Ga in
Adjusts the gain of the low frequency. Positive (+) settings will
emphasize the low-frequency range.
Value: -15– +15 dB
MID 1 Q
Adjusts the width of the middle range 1. Set a higher value for Q to
narrow the range to be affected.
Value: 0.5, 0.7, 1.0, 2.0, 4.0, 8.0
De vice ID (De vice ID N u m b e r)
MID 1 Fre q (Mid 1 Fre q u e n cy )
When you want to transmit or receive System Exclusive messages,
Selects the frequency of the middle range 1.
Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500,
16000, 20000 Hz
set this parameter to match the Device ID number of the other MIDI
device.
Value: 17–32
Clo ck So u rce
MID 1 Ga in
The LFO cycle or multi-effects changes can be synchronized to a
clock (tempo). When this is used by the patch, this Clock Source
setting determines the clock which will be used.
Value
Adjusts the gain of the middle range 1. Positive (+) settings will
emphasize the middle range 1.
Value: -15–+15 dB
INTERNAL: The Patch Tempo will be used.
MID 2 Q
EXTERNAL: Synchronize to the clock of an external sequencer.
Adjusts the width of the middle range 2. Set a higher value for Q to
narrow the range to be affected.
Rx PC (Re ce ive Pro g ra m Ch a n g e Sw itch )
Value: 0.5, 0.7, 1.0, 2.0, 4.0, 8.0
Specifies whether Program Change messages will be received (ON)
or not (OFF).
MID 2 Fre q (Mid 2 Fre q u e n cy )
Value: OFF, ON
Selects the frequency of the middle range 2.
Value: 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500,
16000, 20000 Hz
Rx Ba n k (Re ce ive Ba n k Se le ct Sw itch )
Specifies whether Bank Select messages will be received (ON) or not
(OFF).
Value: OFF, ON
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Rx Sy s-Ex (Re ce ive Sy ste m Ex clu sive Sw itch )
USB-MIDI Th ru Sw (USB-MIDI Th ru Sw itch )
Specifies whether System Exclusive messages will be received (ON)
When USB Mode is set to “MIDI,” this switch specifies whether
MIDI messages received at the MIDI connector will be re-
transmitted from the MIDI OUT connector (ON) or not (OFF).
or not (OFF).
Value: OFF, ON
Value: OFF, ON
Tx Ed it (Tra n sm it Ed it Da ta Sw itch )
fig.05-03b.e
Specify whether changes you make in the settings of a patch will be
MIDI OUT
MIDI IN
USB OUT
USB IN
transmitted as system exclusive messages (ON), or will not be
transmitted (OFF).
Value: OFF, ON
Clo ck O u t
Specifies whether MIDI clock will be transmitted (ON) or not (OFF).
Sound
Generator
Section
Value: OFF, ON
USB Se tu p
Touch <USB Setup>, and a window like the following will appear.
Controller Section
fig.05-03a_50
Local Switch
V-Synth
USB-MIDI Thru Sw=OFF
MIDI OUT
MIDI IN
USB OUT
USB IN
Touch <OK> to apply the settings of this window, or touch <Cancel>
to cancel and close the window.
Sound
Generator
Section
USB Mo d e
Selects the mode in which the USB connector will be used.
Available Settings
Storage: Storage mode. Select this if you want to transfer files.
MIDI: MIDI mode. Select this if you want to exchange MIDI
messages with a sequencer or other program.
Controller Section
Local Switch
V-Synth
You must switch the USB Mode before you connect the V-Synth
to your computer via the USB cable. If you change this setting
while the V-Synth is connected, the computer may fail to
recognize it correctly.
USB-MIDI Thru Sw=ON
For details on connections to your computer in each USB Mode,
refer to “Connecting Your Computer Via USB (USB Mode).”
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
Pa rt MIDI
fig.05-04_50
Co n tro lle r Se ttin g s (Co n tro lle r)
Tx
fig.05-05_50
Pa rt1 –1 6 Rx Sw (Pa rt 1 –1 6 Re ce ive Sw itch )
For each part, specify whether MIDI messages will be received (ON),
Pa tch Tx Ch (Pa tch Tra n sm it Ch a n n e l)
or not (OFF).
If this is “ON,” you can play that part from an external MIDI device.
Normally, you will select “ON” only for part 1 which you play from
the keyboard.
Specifies the transmit channel of MIDI messages in Patch mode. If
you do not want to transmit MIDI messages to external MIDI
devices, turn this parameter “OFF.” If you want the transmit channel
to always match the Patch Receive Channel, set this parameter to
“RX CH.”
Value: OFF, ON
Pa rt 1 –1 6 Rx Ch (Pa rt 1 –1 6 Re ce ive Ch a n n e l)
Value: 1–16, RX CH, OFF
Specifies the MIDI receive channel for each part.
Tx PC (Tra n sm it Pro g ra m Ch a n g e Sw itch )
Value: 1–16
Specifies whether Program Change messages will be transmitted
(ON) or not (OFF).
Performance data directed to the V-Synth itself will be
transmitted on the channel you specified for part 1.
Value: OFF, ON
Tx Ba n k (Tra n sm it Ba n k Se le ct Sw itch )
Specifies whether Bank Select messages will be transmitted (ON) or
not (OFF).
Value: OFF, ON
Tx Active Se n s (Tra n sm it Active Se n sin g
Sw itch )
Specifies whether Active Sensing messages will be transmitted (ON)
or not (OFF).
Value: OFF, ON
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
KBD
TT Pa d / Kn o b
fig.05-06_50
fig.05-07_50
KBD Se n s (Ke y b o a rd Se n sitivity )
X Assig n -XY
Adjusts the keyboard’s touch.
Value
Specifies the MIDI controller number that will be transmitted by
movements in the ‘X’ (horizontal) direction when the Time Trip pad
is in XY mode.
LIGHT: Light weight synthesizer keyboard like
MEDIUM: Standard
Value
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
HEAVY: Acoustic piano simulation
KBD Ve lo city (Ke y b o a rd Ve lo city )
Y Assig n -XY
Specifies the velocity value that will be transmitted when you play
the keyboard. If you want actual keyboard velocity to be
transmitted, set this to “REAL.” If you want a fixed velocity value to
be transmitted regardless of how you play, specify the desired value
(1–127).
Specifies the MIDI controller number that will be transmitted by
movements in the ‘Y’ (vertical) direction when the Time Trip pad is
in XY mode.
Value
Value: REAL, 1–127
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Afte r Se n s (Afte rto u ch Se n sitivity )
X Assig n -TT (X Assig n -Tim e Trip )
Specifies the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you will leave this at
Specifies the MIDI controller number that will be transmitted by
movements in the ‘X’ (horizontal) direction when the Time Trip pad
is in Time Trip mode.
“100.”
Value: 0–200
Value
Lo ca l Sw (Lo ca l Sw itch )
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
The Local Switch determines whether the internal sound generator is
disconnected (OFF) from the controller section (keyboard, pitch
bend/ modulation lever, knobs, buttons, Time Trip Pad, D Beam
controller, pedal, and so on); or not disconnected (ON). Normally
this is left “ON,” but if you wish to use the V-Synth’s keyboard and
controllers to control only external sound modules, set it to “OFF.”
Value: OFF, ON
Y Assig n -TT (Y Assig n -Tim e Trip )
Specifies the MIDI controller number that will be transmitted by
movements in the ‘Y’ (vertical) direction when the Time Trip pad is
in Time Trip mode.
Value
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Re m o te KBD Sw (Re m o te Ke y b o a rd Sw itch )
Set this parameter “ON” when you want to use an external MIDI
keyboard instead of the V-Synth’s keyboard. In this case, the MIDI
transmit channel of the external MIDI keyboard can be set to any
channel. Normally you will leave this parameter “OFF.”
For details on control change messages, refer to “MIDI
Turn this “ON” when you want to control the V-Synth from an
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
Kn o b 1 , 2 Assig n
Pe d a l
Specifies the MIDI controller number that will be transmitted by
movements in the ASSIGNABLE CONTROL knob.
Value
fig.05-09_50
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
Be a m
fig.05-08_50
Ho ld Po la rity (Ho ld Pe d a l Po la rity )
Select the polarity of the Hold pedal. On some pedals, the electrical
signal output by the pedal when it is pressed or released is the
opposite of other pedals. If your pedal has an effect opposite of what
you expect, set this parameter to “REVERSE.” If you are using a
Roland pedal (that has no polarity switch), set this parameter to
“STANDARD.”
Value: STANDARD, REVERSE
Pe d a l 1 , 2 Assig n
This specifies the function of each pedal connected to the CTRL 1,
CTLR 2 PEDAL jacks.
D Be a m Se n s L, R (D Be a m Se n sitivity L, R)
This sets the D Beam Controller’s sensitivity. Sens L is the left side.
The higher the value set, the more readily the D Beam Controller
goes into effect. Normally you will leave this at “100.”
Value: 0–200
Value
OFF: The control pedal will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
BEND UP: Pitch bend (positive direction)
BEND DOWN: Pitch bend (negative direction)
AFT: Aftertouch
D Be a m 1 –4 Assig n L, R
Specifies the MIDI controller number that will be transmitted by
movements in the D Beam Controller. Assign L is the left side, and
Assign R is the right side.
Value
OFF: No message will be transmitted.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Pe d a l 1 , 2 Po la rity
Selects the polarity of the pedal. On some pedals, the electrical signal
output by the pedal when it is pressed or released is the opposite of
other pedals. If your pedal has an effect opposite of what you expect,
set this parameter to “REVERSE.” If you are using a Roland pedal
(that has no polarity switch), set this parameter to “STANDARD.”
Value: STANDARD, REVERSE
For more information about Control Change messages, please
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
X Assig n -XY (V-LIN K X Assig n -XY)
V-LIN K Se ttin g s (V-LIN K)
Specify the V-Link function that will be controlled when you operate
the Time Trip pad in the X (horizontal) direction in XY mode.
Value
Tx
fig.05-10_50
OFF: The time trip pad will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
VFX1: Visual effects 1
VFX2: Visual effects 2
VFX3: Visual effects 3
MIDI Ch a n n e l (V-LIN K MIDI Ch a n n e l)
VFX4: Visual effects 4
Specifies the channel used to transmit MIDI messages for V-LINK
OUTPUT-FADE: Output fade
control.
T-BAR: T bar
Value: 1–16
Y Assig n -XY (Lin k Y Assig n -XY)
Au d io (V-LIN K Au d io Sw itch )
Specify the V-Link function that will be controlled when you operate
the Time Trip pad in the Y (vertical) direction in XY mode.
Value
Specifies whether sound from the externally connected video device
will be played (ON) or not played (OFF).
Value: OFF, ON
OFF: The time trip pad will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
KBD O u tp u t (V-LIN K Ke y b o a rd O u tp u t Fa d e
Sw itch )
Specifies whether the video output from the video device will be
stopped (ON) or will not be stopped (OFF) when you are not
holding down a key.
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
Value: OFF, ON
Pa le tte Lo ca l Sw (V-LIN K Pa tch Pa le tte Lo ca l
Sw itch )
VFX1: Visual effects 1
VFX2: Visual effects 2
Specify whether you will press PATCH PALETTE NUMBER [1]–[8]
in V-Link mode to switch patches (ON) or not (OFF)
Value: OFF, ON
VFX3: Visual effects 3
VFX4: Visual effects 4
OUTPUT-FADE: Output fade
T-BAR: T bar
TT Pa d / Kn o b
Assig n -TT (V-LIN K Assig n -Tim e Trip )
fig.05-11_50
Specify the V-Link function that will be controlled when you operate
the Time Trip pad in Time Trip mode.
Value
OFF: The time trip pad will not be used.
TIME-TRIP: Time trip
Kn o b 1 , 2 Lo ca l Sw (V-LIN K Kn o b 1 , 2 Lo ca l
Sw itch )
Specify whether the assignable controller knobs 1 or 2 will be
disconnected from the internal sound generator in V-Link mode
(OFF) or not disconnected (ON).
TT Pa d Lo ca l Sw (V-LIN K Tim e Trip Pa d Lo ca l
Sw itch )
Value: OFF, ON
Specify whether the Time Trip pad and the internal sound generator
will be disconnected in V-Link mode (OFF) or not disconnected (ON).
Value: OFF, ON
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
VFX4: Visual effects 4
Kn o b 1 , 2 Assig n (V-LIN K Kn o b 1 , 2 Assig n )
OUTPUT-FADE: Output fade
Specify the V-Link function that will be controlled when you turn
the ASSIGNABLE CONTROL knob.
Value
Le ve r
OFF: The assignable controller will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
fig.05-13_50
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
VFX1: Visual effects 1
VFX2: Visual effects 2
VFX3: Visual effects 3
VFX4: Visual effects 4
Mo d Lo ca l Sw (V-LIN K Mo d u la tio n Lo ca l
Sw itch )
OUTPUT-FADE: Output fade
Specify whether the modulation lever will be disconnected from the
Be a m
internal sound generator in V-Link mode (OFF) or not disconnected
fig.05-12_50
(ON).
Value: OFF, ON
Mo d Assig n (V-LIN K Mo d u la tio n Assig n )
Specify the V-Link function that will be controlled when you operate
the modulation lever.
Value
OFF: The modulation lever will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
Be a m Lo ca l Sw (V-LIN K D Be a m Lo ca l Sw itch )
Specify whether the D Beam controller will be disconnected from the
internal sound generator in V-Link mode (OFF) or not disconnected
(ON).
VFX1: Visual effects 1
Value: OFF, ON
VFX2: Visual effects 2
VFX3: Visual effects 3
D Be a m 1 –4 Assig n L, R (V-LIN K D Be a m 1 –4
Assig n L, R)
VFX4: Visual effects 4
OUTPUT-FADE: Output fade
Specify the V-Link function that will be controlled when you operate
the D Beam controller. Assign L is the left side, and Assign R is the
right side.
Be n d Lo ca l Sw (V-LIN K Pitch Be n d Lo ca l
Sw itch )
Value
Specify whether the pitch bend lever will be disconnected from the
OFF: The D Beam controller will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
internal sound generator in V-Link mode (OFF) or not disconnected
(ON).
Value: OFF, ON
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
VFX1: Visual effects 1
VFX2: Visual effects 2
VFX3: Visual effects 3
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Mo d e )
Be n d Assig n (V-LIN K Pitch Be n d Assig n )
Specify the V-Link function that will be controlled when you operate
the pitch bend lever.
Value
OFF: The pitch bend lever will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
VFX1: Visual effects 1
VFX2: Visual effects 2
VFX3: Visual effects 3
VFX4: Visual effects 4
OUTPUT-FADE: Output fade
Afte r Lo ca l Sw (V-LIN K Afte rto u ch Lo ca l
Sw itch )
Specify whether keyboard aftertouch will be disconnected from the
internal sound generator in V-Link Mode (OFF) or will not be
disconnected (ON).
Value: OFF, ON
Afte r Assig n (V-LIN K Afte rto u ch Assig n )
Specify the V-Link function that will be controlled by keyboard
aftertouch.
Value
OFF: The aftertouch will not be used.
PLAYBACK-SPEED: Playback speed
DISSOLVE-TIME: Dissolve time (time over which the image
switches)
AUDIO LEVEL: Volume during audio playback
COLOR-CB: Color Cb (color-difference signal)
COLOR-CR: Color Cr (color-difference signal)
BRIGHTNESS: Brightness
VFX1: Visual effects 1
VFX2: Visual effects 2
VFX3: Visual effects 3
VFX4: Visual effects 4
OUTPUT-FADE: Output fade
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
Here you can load a project from disk into the internal work area
Ba sic Disk Utility O p e ra tio n s
(Load), or save the project that is in the work area (Save). You can
also format a disk, or copy files and folders.
1 . If you are using a PC card, insert the appropriate PC card
into the PC CARD slot.
In this chapter, we will collectively refer to internal memory and
PC cards as “disks.”
2 . Press [MODE] to access the V-SYNTH MODE MENU window.
3 . Touch <Disk>.
The DISK UTILITY MENU screen appears.
fig.06-01_50
Ab o u t Disk Utility
Disk Utility contains the following functions. In the DISK UTILITY
MENU screen, you can select the desired function and execute it.
Lo a d Pro je ct
This function loads project data from disk into the V-Synth’s work
Sa ve Pro je ct
4 . Touch the button for the function that you want to execute.
Cle a n Pro je ct
The screen for the function you intend to execute appears.
fig.06-02.e
Path of the selected file/folder
Disk free space
Im p o rt File s
Fo rm a t
To o ls
List of files stored
on the disk
Path of the current project
Disk to which the function to be executed will apply
For details on operations in the Disk Utility screens, refer to the
explanations on the following pages.
5 . Verify the contents of the screen, and touch <OK> to
execute.
When the operation is completed, the display will briefly
indicate “COMPLETED!.”
To cancel the operation, touch <Cancel>.
6 . Press [EXIT] to exit Disk mode.
Never turn off the power of the V-Synth while performing an
operation in Disk mode. Doing so may destroy the files.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
So rtin g th e File s Disp la y e d in th e
File List
Lo a d in g a Pro je ct fro m Disk
in to th e V-Sy n th (Lo a d Pro je ct)
In each Disk Utility screen, you can change the order of the files
This function loads a project on disk into the V-Synth’s work area.
displayed in the file list.
1 . In the upper right of the disk utility screen, touch <■>.
When a project is loaded, work area will be rewritten. If work
area contains important data, you must save it to disk before you
load other data.
A pulldown menu like the following appears.
fig.06-03_50
2 . Touch <Load Project>.
The Disk Load Project screen appears.
fig.06-04_50
2 . Choose the desired sorting order from the pull-down menu.
<Sort By Name ■>: Sort in alphabetical order of file name.
<Sort By Name ■>: Sort in reverse alphabetical order of file
name.
<Sort By Size ■>: Sort in ascending order of file size.
<Sort By Size ■: Sort in descending order of file size.
3 . To load from internal memory, touch <Int>. To load from a
PC card, touch <Card>. Then select the project that you want
to load.
4 . Touch <OK>.
A WARNING window like the following appears.
fig.06-05_50
If you want to cancel the procedure at this point, touch
<CANCEL>.
5 . Touch <EXECUTE> to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
Sa vin g Pro je ct o n Disk (Sa ve
Pro je ct)
De le te Un n e e d e d File s (Cle a n
Pro je ct)
Save the project in the work area to disk.
2 . Touch <Save Project>.
This lets you clean up the contents of the disk by deleting files that
cannot be used by the V-Synth or waves that are not used by
patches. Executing this operation can increase the free space
available on the disk. If there are any unused patch/ wave numbers,
subsequent patches/ waves will be automatically renumbered
forward.
The Disk Save Project screen appears.
fig.06-06_50
2 . Touch <Clean Project>.
The DISK Clean Project screen appears.
fig.06-08_50
3 . To save to internal memory, touch <Int>. To save to PC card,
touch <Card>. Then select the save-destination project.
If you want to save the data as a new project, touch <New
Project>. The PROJECT Name window will appear. Assign a
name to the new project.
If you want to cancel the procedure at this point, touch
<CANCEL>.
4 . Touch <OK>.
A WARNING window like the following appears.
fig.06-07_50
3 . Touch <EXECUTE> to execute the operation.
Im p o rtin g In d ivid u a l Pa tch o r
W a ve File s (Im p o rt File s)
You can import individual patch or wave files or folders into the
work area of the V-Synth.
The data will be imported into unused patch/ wave numbers.
Importing is not possible if there are no empty patches or waves.
If you want to cancel the procedure at this point, touch
<CANCEL>.
2 . Touch <Import Files>.
The Disk Import Files screen appears.
fig.06-09_50
5 . Touch <EXECUTE> to execute the operation.
3 . Touch <Patch> if you want to import a patch, or touch
<Wave> if you want to import a wave.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
4 . Touch <Preset> if you want to import from preset memory,
touch <Int> if you want to import from internal memory, or
touch <Card> if you want to import from a PC card.
In itia lizin g a Disk (Fo rm a t)
You can initialize (format) a disk, erasing all data from it.
2 . Touch <Format>.
5 . From the file list, select the file/folder that you want to
import.
Here you can use the following functions. Touch the appropriate
button to execute.
The Disk Format screen appears.
fig.06-11_50
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Mark All: Mark all files/ folders in the file list.
Mark: Mark the selected file/ folder in the file list.
Open: Open the selected folder.
Close: Move to the next higher folder.
If you have selected a patch whose oscillator type is “PCM,” the
wave used by that patch will also be imported.
6 . Touch <OK>.
3 . If you want to format the internal memory, touch <Int>. If you
want to format a PC card, touch <Card>.
Here you can use the following functions. Touch the appropriate
button to execute.
A WARNING window like the following appears.
fig.06-10_50
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Mark All: Mark all files/ folders in the file list.
Mark: Mark the selected file/ folder in the file list.
Open: Open the selected folder.
Close: Move to the next higher folder.
4 . When you format a PC card, the VOLUME Name window will
appear, allowing you to assign a new volume name.
5 . Touch <OK>.
If you want to cancel the procedure at this point, touch
<CANCEL>.
A WARNING window like the following appears.
fig.06-12_50
7 . Touch <EXECUTE> to execute the operation.
If you want to cancel the procedure at this point, touch
<CANCEL>.
6 . Touch <EXECUTE> to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
8 . In the file list, select the copy-destination file or folder.
Here you can use the following functions. Touch the appropriate
button to execute.
Fu n ctio n s Re la te d to File s a n d
Fo ld e rs (To o ls)
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Open: Open the selected folder.
You can manage files or folders by copying or moving them.
Co p y in g File s/ Fo ld e rs (Co p y )
2 . Touch <Tools>.
Close: Move to the next higher folder.
9 . Touch <OK>.
A WARNING window like the following appears.
fig.06-15_50
The Disk Tools screen appears.
fig.06-13_50
3 . Touch <Copy>.
If you want to cancel the procedure at this point, touch
<CANCEL>.
4 . If you want to copy from internal memory, touch <Int>. If you
want to copy from a PC card, touch <Card>.
1 0 . Touch <EXECUTE> to execute the operation.
5 . In the file list, select the file or folder that you want to copy.
Here you can use the following functions. Touch the appropriate
button to execute.
Mo vin g File s/ Fo ld e rs (Mo ve )
2 . Touch <Tools>.
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Mark All: Mark all files/ folders in the file list.
Mark: Mark the selected file/ folder in the file list.
Open: Open the selected folder.
The Disk Tools screen appears.
fig.06-13_50
Close: Move to the next higher folder.
6 . Touch <OK>.
The Disk Tools Copy Destination screen appears.
fig.06-14_50
3 . Touch <Move>.
4 . If you want to move a file or folder from internal memory,
touch <Int>. If you want to move it to a PC card, touch
<Card>.
7 . If you want to copy to internal memory, touch <Int>. If you
want to copy to a PC card, touch <Card>.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
5 . In the file list, select the file or folder that you want to move.
Here you can use the following functions. Touch the appropriate
button to execute.
De le tin g File s/ Fo ld e rs (De le te )
2 . Touch <Tools>.
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Mark All: Mark all files/ folders in the file list.
Mark: Mark the selected file/ folder in the file list.
Open: Open the selected folder.
The Disk Tools screen appears.
fig.06-13_50
Close: Move to the next higher folder.
6 . Touch <OK>.
The Disk Tools Move Destination screen appears.
fig.06-16_50
3 . Touch <Delete>.
4 . If you want to delete a file or folder from internal memory,
touch <Int>. If you want to delete it from a PC card, touch
<Card>.
5 . In the file list, select the file or folder that you want to delete.
Here you can use the following functions. Touch the appropriate
button to execute.
7 . If you want to move the file or folder to internal memory,
touch <Int>. If you want to move it to a PC card, touch
<Card>.
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Mark All: Mark all files/ folders in the file list.
Mark: Mark the selected file/ folder in the file list.
Open: Open the selected folder.
8 . In the file list, select the move-destination file or folder.
Here you can use the following functions. Touch the appropriate
button to execute.
Close: Move to the next higher folder.
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Open: Open the selected folder.
6 . Touch <OK>.
A WARNING window like the following appears.
fig.06-18_50
Close: Move to the next higher folder.
9 . Touch <OK>.
A WARNING window like the following appears.
fig.06-17_50
If you want to cancel the procedure at this point, touch
<CANCEL>.
7 . Touch <EXECUTE> to execute the operation.
If you want to cancel the procedure at this point, touch
<CANCEL>.
1 0 . Touch <EXECUTE> to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Mo d e )
7 . Touch the on-screen alphabetic or numeric keys to enter the
new name in the text box.
Re n a m in g a File s/ Fo ld e rs
(Re n a m e )
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired input
location.
2 . Touch <Tools>.
<SHIFT>: Turn this on when you want to input uppercase letters
or symbols.
The Disk Tools screen appears.
fig.06-13_50
<Insert>: Turn this on when you want to insert a character at the
cursor location.
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor location.
You can also move the input location cursor by pressing the
[
][
] cursor buttons. Pressing [
] will change the
character at the cursor location to uppercase, and pressing [
will change it to lowercase.
]
3 . Touch <Rename>.
8 . When you have finished inputting, touch <OK> to execute
the operation.
4 . If you want to rename a file or folder in internal memory,
touch <Int>. If you want to rename a file or folder in a PC
card, touch <Card>.
5 . In the file list, select the file or folder that you want to
rename.
Here you can use the following functions. Touch the appropriate
button to execute.
Prevw: Preview (audition) the selected file (.w00/ .wav/ .aif).
Info: View information for the selected file.
Open: Open the selected folder.
Close: Move to the next higher folder.
6 . Touch <OK>.
The Rename window appears.
fig.06-19_50
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
Se le ctin g USB Sto ra g e Mo d e
Ab o u t USB Fu n ctio n s
You must switch the V-Synth to USB Storage mode before you
The V-Synth has two modes of USB functionality: storage mode for
connect the V-Synth and your computer with a USB cable.
transferring files, and MIDI mode for sending and receiving MIDI
messages. You must switch between these two modes on the V-
With the factory settings, the V-Synth is set to USB Storage
mode.
Synth; they cannot be used simultaneously.
1 . Press [MODE] to access the V-SYNTH MODE MENU window.
Each mode can be used with the following operating systems.
•
•
Windows 98 or later
Mac OS 9.04 or later
2 . Touch <SYSTEM>.
The SYSTEM Com Master screen appears.
fig.05-01_50
The USB mode (file transfer/ MIDI communication) must be
switched before you connect the V-Synth with your computer.
For the procedure, refer to “USB Setup” (p. 76).
Yo u r Co m p u te r (Sto ra g e Mo d e )
By connecting the V-Synth with your computer via a USB cable, you
can transfer files such as projects, patches, and wave data from
internal memory or a PC card to and from the hard disk or other
media of your computer, in order to back up your data.
You can use software on your computer to edit wave data you’ve
created on the V-Synth. Conversely, wave data that you’ve created
on your computer can be used on the V-Synth.
3 . In the left side of the screen, touch the <MIDI USB> tab.
The SYSTEM Com MIDI/ USB screen appears.
fig.05-03_50
In this way, USB Storage mode lets you transfer files such as patch
and waves to or from a connected computer.
Never connect or disconnect the USB cable or turn off the power
while in USB mode or while data is being transferred.
4 . Touch <USB Setup>.
The SYSTEM Com USB Setting window appears.
fig.05-03a_50
5 . Touch USB Mode <Storage>.
USB Storage mode will be selected.
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
6 . Touch <OK>.
Co n n e ctin g th e V-Sy n th to Yo u r
Co m p u te r
7 . If a WARNING window like the following appears, touch
<ACCEPT> to close the window.
fig.07-01_50
1 . Make sure that the power of the V-Synth is turned off.
2 . Start up your computer.
3 . Connect the V-Synth and your computer using a USB cable.
fig.07-02.e
USB Connector
8 . In the lower right of the SYSTEM Com MIDI/USB screen,
Computer
USB cable
touch <Write> to save the system settings.
For the rest of the procedure, read either “Windows Me/ 2000/
XP users” or “Macintosh users” as appropriate.
Windows users: Continue reading from this page.
Macintosh users: Read from page 93.
USB
W in d o w s Use rs
● W in d o w s 9 8 / 9 8 SE Use rs
V-Synth
You must install the driver from the included CD-ROM into your
computer. Be sure to read the Readme file on the CD-ROM before
installation.
4 . Turn on the power of V-Synth.
5 . If you are using a PC card, insert that PC card into the PC
→ \Storage\Wn98\Readme_e.htm
CARD slot.
6 . Press [MODE] to access the V-SYNTH MODE MENU window.
● W in d o w s XP/ 2 0 0 0 / Me o r la te r Use rs
7 . Touch <USB>.
Installation is completely automatic.
The USB Storage screen appears.
fig.07-03_50
If the USB Mode (p. 76) is set to “MIDI,” you will be unable to
select <USB> in the V-SYNTH MODE MENU window. Set the
USB Mode to “Storage.”
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
8 . Touch <Internal> or <PC Card> to establish the connection
with your computer.
Clo sin g th e USB Sto ra g e Scre e n
1 . In the V-Synth’s USB Storage screen, make sure that
<Internal>: Mounts the internal memory as an external drive on
your computer.
“Access” (the access indicator) is not blinking.
2 . In My Computer, right-click the “Removable Disk” icon and
<PC Card>: Mounts the PC card as an external drive on your
computer.
execute “Eject.”
3 . Press [EXIT].
The USB Storage screen will close.
You cannot select “PC Card” unless a PC card is inserted in the
PC CARD slot.
If you press [EXIT] without performing the “Eject” operation on
your computer, a WARNING window like the following will
9 . When the USB connection is established, the driver
installation will begin. A dialog box of “Found new
hardware” will appear near the Windows task tray.
Installation is completely automatic. Please wait for it to be
completed.
appear.
fig.07-04_50
1 0 . When installation is completed, open My Computer and you
will see a new drive icon.
In Windows Me/ 2000/ 98/ 98SE, a drive icon named
“Removable Disk” will appear. In Windows XP, the drive icon
will be named “V-SYNTH” if you selected “Internal.” If you
selected “PC Card,” it will show the volume label that you
assigned when formatting the card. If you formatted the card on
the V-Synth, the volume label will be “PC CARD.”
1 1 . Once the V-Synth is connected, you can transfer files by
Touch <EXECUTE> to close this window only if you are unable to
perform the “Eject” operation on your computer.
operating your computer.
Do not perform the following actions while “Access” (the access
indicator) in the USB Storage screen is blinking. Doing so may
cause your computer to freeze, and may also damage the files in
the drive.
Ca n ce lin g th e USB Co n n e ctio n
Once you have connected the V-Synth and your computer in Storage
mode, you must cancel the USB connection on your computer before
you do either of the following actions:
•
•
•
Do not disconnect the USB cable
•
•
Disconnect the USB cable
Do not remove the PC card while it is being accessed
Do not suspend (standby), hibernate, restart, or shut down
your computer
Turn off the V-Synth’s power while the USB cable is connected
1 . Use “Eject hardware” (displayed in the task bar in the lower
right of the screen) to cancel the connection with the V-
Synth.
•
Do not turn off the power of V-Synth.
The “Removable Disk” drive icon will disappear from My
Computer, and the USB connection will be cancelled.
Sw itch in g th e Co n n e cte d Drive
When USB-connected, here’s how to switch between “Internal” (the
V-Synth’s internal memory) and “PC Card” (the PC card inserted in
the V-Synth).
1 . In the V-Synth’s USB Storage screen, make sure that
“Access” (the access indicator) is not blinking.
2 . In My Computer, right-click the “Removable Disk” icon and
execute “Eject.”
3 . In the V-Synth’s USB Storage screen, touch <Internal> or
<PC Card> to change drives.
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
8 . Touch <Internal> or <PC Card> to establish the connection
with your computer.
Ma cin to sh Use rs
<Internal>: Mounts the internal memory as an external drive on
your computer.
Co n n e ctin g th e V-Sy n th to Yo u r
Co m p u te r
<PC Card>: Mounts the PC card as an external drive on your
computer.
1 . Make sure that the power of the V-Synth is turned off.
2 . Start up your computer.
You cannot select “PC Card” unless a PC card is inserted in the
PC CARD slot.
3 . Connect the V-Synth and your computer using a USB cable.
fig.07-05.e
9 . When the USB connection is established, a new drive icon
will appear on your desktop.
If you have selected “Internal,” a drive icon named “V-SYNTH”
will appear. If you selected “PC Card,” it will show the volume
label that you assigned when formatting the card. If you
formatted the card on the V-Synth, the volume label will be “PC
CARD.”
USB port
Computer
USB cable
1 0 . Once the V-Synth is connected, you can transfer files by
operating your computer.
Do not perform the following actions while “Access” (the access
indicator) in the USB Storage screen is blinking. Doing so may
cause your computer to freeze, and may also damage the files in
the drive.
USB
•
•
•
•
Do not disconnect the USB cable
Do not remove the PC card while it is being accessed
Do not sleep, restart, or shut down your computer
Do not turn off the power of V-Synth.
V-Synth
Sw itch in g th e Co n n e cte d Drive
4 . Turn on the power of V-Synth.
When USB-connected, here’s how to switch between “Internal” (the
V-Synth’s internal memory) and “PC Card” (the PC card inserted in
the V-Synth).
5 . If you are using a PC card, insert that PC card into the PC
CARD slot.
6 . Press [MODE] to access the V-SYNTH MODE MENU window.
1 . In the V-Synth’s USB Storage screen, make sure that
7 . Touch <USB>.
“Access” (the access indicator) is not blinking.
The USB Storage screen appears.
fig.07-03_50
2 . Select the V-Synth drive icon on your desktop, and either
choose “Eject” from the “Special” menu, or drag the icon
into the trash.
3 . In the V-Synth’s USB Storage screen, touch <Internal> or
<PC Card> to change drives.
select <USB> in the V-SYNTH MODE MENU window. Set the
USB Mode to “Storage.”
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
Clo sin g th e USB Sto ra g e Scre e n
Ex a m p le s o f Usin g Sto ra g e Mo d e
1 . In the V-Synth’s USB Storage screen, make sure that
Ba ck in g Up Pa tch a n d W a ve Da ta
(Pro je ct) fro m th e V-Sy n th
“Access” (the access indicator) is not blinking.
2 . Select the V-Synth drive icon on your desktop, and either
choose “Eject” from the “Special” menu, or drag the icon
into the trash.
When using USB in Storage mode, the data within the V-Synth may
be damaged if you operate your computer incorrectly or if your
computer crashes. As a precaution against such occurrences, we
recommend that you create a backup as described below.
3 . Press [EXIT].
The USB Storage screen will close.
Ba ck in g Up th e V-Sy n th ’s In te rn a l Da ta o n to
Yo u r Co m p u te r
If you press [EXIT] without performing the “Eject” operation on
your computer, a WARNING window like the following will
1 . Use a USB cable to connect the V-Synth to your computer as
appear.
fig.07-04_50
2 . Using your computer, copy the V-Synth’s *****.prj folder onto
a drive (e.g., hard disk) of your computer.
Lo a d in g Ba ck u p Da ta fro m Yo u r Co m p u te r
in to th e V-Sy n th
1 . Use a USB cable to connect the V-Synth to your computer as
2 . Using your computer, copy the *****.prj folder that you
previously saved on your computer to the *****.prj folder
(overwriting it) within the V-Synth.
Touch <EXECUTE> to close this window only if you are unable to
perform the “Eject” operation on your computer.
Ca n ce lin g th e USB Co n n e ctio n
Once you have connected the V-Synth and your computer in Storage
mode, you must cancel the USB connection on your computer before
you do either of the following actions:
•
•
Disconnect the USB cable
Turn off the V-Synth’s power while the USB cable is connected
1 . Select the V-Synth drive icon on your desktop, and either
choose “Eject” from the “Special” menu, or drag the icon
into the trash.
The V-Synth drive icon will disappear from the desktop, and the
USB connection will be cancelled.
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
Lo a d in g a n Au d io File (W AV/ AIFF
fo rm a t) fro m Yo u r Co m p u te r in to th e
V-Sy n th (Im p o rt)
Th e V-Sy n th ’s File Stru ctu re
As seen from your computer, the V-Synth’s file structure is as
follows.
Do not perform operations on your computer to erase (format) or
rename these folders or files.
WAV/ AIFF format audio files created by another device can be
loaded into the V-Synth and used in the same way as data you’ve
sampled on the V-Synth.
If the V-Synth stops operating correctly, break the USB connection
1 . Use a USB cable to connect the V-Synth to your computer as
This will erase all the data that has been saved on the V-Synth. As a
precaution against such occurrences, we recommend that you
2 . From your computer, copy (drag & drop) the audio file saved
on your computer into the *****.prj folder within the V-Synth.
In te rn a l Me m o ry
fig.07-06
[V-SYNTH]
Disk mode to import the file you copied in step 2.
[Internal.prj]
that the imported data will sound correctly.
V-Synth System.s00
V-Synth Template.s00
V-Synth Palette.s00
6 . Use the Sample mode’s Save command (or the Disk mode’s
Save Project command) to save the project.
[PATCH]
data you copied in step 2.
001 xxxxxxxxxxxx.p00
002 xxxxxxxxxxxx.p00
:
512 xxxxxxxxxxxx.p00
[WAVE]
001 xxxxxxxxxxxx.wav
002 xxxxxxxxxxxx.w00
:
999 xxxxxxxxxxxx.wav
PC Ca rd
fig.07-07
[PC CARD]
[Project1.prj]
V-Synth System.s00
V-Synth Template.s00
V-Synth Palette.s00
[PATCH]
001 xxxxxxxxxxxx.p00
002 xxxxxxxxxxxx.p00
:
512 xxxxxxxxxxxx.p00
[WAVE]
001 xxxxxxxxxxxx.wav
002 xxxxxxxxxxxx.w00
:
999 xxxxxxxxxxxx.wav
[Project2.prj]
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Co n n e ctin g to Yo u r Co m p u te r via USB (USB Mo d e )
In order to use USB in MIDI mode, you must install the driver from
the included CD-ROM into your computer.
Ex ch a n g in g MIDI Me ssa g e s
w ith Yo u r Co m p u te r (MIDI
Mo d e )
The correct driver and the installation procedure will depend on
your system and on the other programs you are using. Be sure to
read the Readme file on the CD-ROM before installation.
Windows XP/ 2000
Drive r In sta lla tio n a n d Se ttin g s
→ \Midi\Usb_xp2k\Readme_e.htm
In order to use the V-Synth as a USB MIDI device from your
computer, you must first install the USB MIDI driver. The USB MIDI
driver is on the included “V-Synth Driver CD-ROM.”
Windows Me/ 98/ 98SE
→ \Midi\Usb_me98\Readme_e.htm
Mac OS 9 (9.04 or later)
→ \OS_9\English\Readme_OMS-E.HTM
→ \OS_9\English\Readme_FM-E.HTM
W h a t is th e USB MIDI Drive r?
Mac OS X
The USB MIDI Driver is a software which passes data between
the V-Synth and the application (sequencer software, etc.) that
is running on the USB-connected computer.
→ \OS_X\Readme-E.HTM
The USB MIDI Driver sends data from the application to the V-
Synth, and passes data from the V-Synth to the application.
fig.07-08.e
Application
USB connector
USB
Driver
USB cable
Computer
USB connector
V-Synth
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O th e r Fu n ctio n s
2 . In the pulldown menu, touch <Data Transfer>.
Tra n sm ittin g Da ta to a n
Ex te rn a l MIDI De vice (Da ta
Tra n sfe r)
The Data Transfer window appears.
fig.08-02_50
Patch, setup and system settings will be transmitted to an external
MIDI device. This operation is called bulk dump. Use this operation
when you want to connect another V-Synth and play it using the
same settings, or to save your data on an external MIDI device as a
precaution against possible loss of sound data or system settings.
To transmit data to an external MIDI device, connect the external
MIDI device and V-Synth as shown in the diagram.
fig.08-01.e
3 . In “Source,” select the type of data that you want to
transmit.
MIDI IN
<ALL>: Patch, setup, system
<SETUP>: Setup
<SYSTEM>: System
<PATCH>: Patch
If you selected <PATCH>, specify the patch that is to be sent.
<WORK>: Transmit patches from the work area. Use the
“FROM” - “TO” fields to specify the range of patch numbers
(001–512) that will be transmit.
MIDI Sequencer
MIDI OUT
<TEMP>: Transmit patch from the temporary area.
4 . Set the external MIDI device so that it will be ready to receive
data, and touch <Execute> to execute data transmission.
While the data is being transmitted, the display will indicate
“Transmitting...” When “COMPLETED!” is displayed, the
transmission has been completed.
V-Synth
1 . Touch <■> in the upper right of the screen.
To halt during transmission, touch <ABORT>.
A pulldown menu appears.
fig.01-05_50
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O th e r Fu n ctio n s
Re se t to De fa u lt Fa cto ry
Se ttin g s (Fa cto ry Re se t)
Vie w in g Va rio u s In fo rm a tio n
(In fo )
This restores all data in the V-Synth to the factory-set condition
(Factory Reset).
1 . In the upper right of the screen, touch <▼>.
A pulldown menu appears.
fig.01-05_50
If there is important data you’ve created that’s stored in the V-
Synth’s internal memory, all such data is discarded when a
Factory Reset is performed. If you want to keep the existing data,
1 . Press [MODE].
The V-SYNTH MODE MENU window appears.
fig.MODE_50
2 . In the pulldown menu, touch <Info>.
The PATCH Information window appears.
fig.08-04_50
2 . Touch <FACTORY RESET>.
The Factory Reset screen appears.
fig.08-03_50
This window shows the following information.
Version: The V-Synth’s program version
Part: The number and name of the patch assigned to each part
3 . When you have finished viewing the information, touch
<OK> to close the window.
3 . Touch <Execute> to execute the Factory Reset.
When the display indicates “COMPLETED!,” the factory reset
operation has been completed.
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O th e r Fu n ctio n s
Ad ju stin g th e Se n sitivity o f th e
To u ch Scre e n
Ad ju stin g th e Se n sitivity o f th e
To u ch Scre e n / Tim e Trip Pa d / D
Be a m Co n tro lle r (Ca lib ra tio n
Mo d e )
Perform this adjustment if the touch panel no longer responds as
you expect.
1 . In the CALIBRATION MENU screen, touch <TOUCH
SCREEN>.
Disp la y in g th e CALIBRATIO N MEN U
Scre e n
The T SCREEN CALIBRATION screen appears.
fig.08-06_50
1 . Press [MODE].
The V-SYNTH MODE MENU window appears.
fig.MODE_50
2 . Touch the center of “+” symbol indicated by the square
symbol in the screen, in the following order: left → top →
right → bottom.
When you have touched all four points, the screen will close, and
the sensitivity of the touch screen will be calibrated.
2 . Touch <CALIBRATION>.
The CALIBRATION MENU screen appears.
fig.08-05_50
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O th e r Fu n ctio n s
Ad ju stin g th e Se n sitivity o f th e Tim e
Trip Pa d
Ad ju stin g th e Se n sitivity o f th e D
Be a m Co n tro lle r
Perform this adjustment if the Time Trip pad no longer responds as
Perform this adjustment if the D Beam controller is functioning
you expect.
incorrectly, such as responding even though you have not operated
it.
1 . In the CALIBRATION MENU screen, touch <TIME TRIP PAD>.
1 . In the CALIBRATION MENU screen, touch <D BEAM>.
The TT PAD CALIBRATION screen appears.
fig.08-07_50
The D Beam CALIBRATION screen appears.
fig.08-08_50
2 . On the Time Trip pad, touch the points indicated by the
square symbol in the screen, in the following order: left →
top → right → bottom.
When you place your hand over the D Beam controller, the “L”
or “R” level meter in the screen will move upward or
downward.
When you have touched all four points, the screen will close, and
the sensitivity of the Time Trip pad will be calibrated.
2 . First specify the location at which the D Beam controller will
begin responding (i.e., the minimum value).
Move your hand toward the D Beam controller, and touch
<Min> at the point where you want the controller to begin
responding.
3 . Next specify the location at which the D Beam controller will
reach the peak (i.e., the maximum value).
Continue moving your hand toward the D Beam controller, and
touch <Max> at the point where you want the peak response to
occur.
4 . While watching the level meter in the screen, raise and lower
your hand to check the response of the D Beam controller.
5 . If you are satisfied with the response, touch <OK>.
The sensitivity of the D Beam controller will be calibrated.
1 0 0
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Pa ra m e te r List
Pa tch Pa ra m e te rs
Parameter
General
Value
Structure Type
TYPE1, TYPE2, TYPE3
OFF, ON
Portamento
Mode
Portamento Switch
Portamento Mode
NORMAL, LEGATO
RATE, TIME
0–127
Type
Portamento Type
Time
Portamento Time
Time Velo Sens
Mono/ Poly
Legato
Portamento Time Velocity Sensitivity
-63– +63
Mono, Poly
OFF, ON
Legato Switch
D Beam/Bender
Octave Shift
D Beam
-3– +3
D Beam Type
OFF, Time Trip, Time, Pitch, Assignable
Bend Range Up
Bend Range Down
TT Pad
Pitch Bend Range Up
Pitch Bend Range Down
0–48
0–48
Mode
Time Trip Pad Mode
XY, TT
Hold
Time Trip Pad Hold Switch
OFF, ON
Matrix Ctrl
Source
Matrix Control Source
OFF, CC01–31, CC33–95, BEND, AFT, +PAD-X/
Y, PAD-X/ Y, TRIP-R, BEAM-L/ R, KNOB1/ 2,
VELO, KEYF
-63– +63
(*)
Sens
Matrix Control Sens
Destination 1, 2
Arpeggio
Arpeggio Switch
Patch Tempo
Hold
Matrix Control Destination 1, 2
OFF, ON
20.0–250.0
Arpeggio Hold Switch
Arpeggio Octave Range
Arpeggio Keyboard Velocity
Arpeggio Duration
OFF, ON
Octave Range
KBD Velo
Duration
-3– +3
REAL, 1–127
0–100 %
Motif
Arpeggio Motif
UP, DOWN, UP&DOWN, RANDOM, NOTE
ORDER, RHYTHM, PHRASE, AUTO
0–100 %
Shuffle Rate
Arpeggio Shuffle Rate
Shuffle Resolution
Arpeggio Shuffle Resolution
(Sixteenth note),
(Eighth note)
Tune
Patch Coarse Tune
Patch Fine Tune
Scale Tune
-48– +48
-50– +50
Scale Tune Switch
OFF, ON
-100– +100
Scale Tune C–B
Zone
Current Zone
Zone 01–16 Range Hi
Zone 01–16
C-1–G9
* OSC1/ 2-PITCH, OSC1/ 2-TIME/ PW, OSC1/ 2-FORMA/ FAT, OSC1/ 2-LVL, OSC1/ 2-PENV-ATK, OSC1/ 2-PENV-DCY, OSC1/ 2-PENV-REL,
OSC1/ 2-TENV-ATK, OSC1/ 2-TENV-DCY, OSC1/ 2-TENV-REL, OSC1/ 2-FENV-ATK, OSC1/ 2-FENV-DCY, OSC1/ 2-FENV-REL, OSC1/ 2-
AENV-ATK, OSC1/ 2-AENV-DCY, OSC1/ 2-AENV-REL, OSC1/ 2-LFO-RATE, OSC1/ 2-LFO-PCH, OSC1/ 2-LFO-TM/ PW, OSC1/ 2-LFO-FR/
FT, OSC1/ 2-LFO-LVL, CSM1/ 2-PRM1, CSM1/ 2-PRM2, CSM1/ 2-ENV1-ATK, CSM1/ 2-ENV1-DCY, CSM1/ 2-ENV1-REL, CSM1/ 2-ENV2-
ATK, CSM1/ 2-ENV2-DCY, CSM1/ 2-ENV2-REL, CSM1/ 2-LFO-RATE, CSM1/ 2-LFO-PRM1, CSM1/ 2-LFO-PRM2, TVA-LVL, TVA-ENV-
ATK, TVA-ENV-DCY, TVA-ENV-REL, TVA-LFO-RATE, TVA-LFO-LVL, TVA-LFO-PAN, MFX-SEND, CHO-SEND, REV-SEND, MFX-
PRM1–3, TVA-PAN
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Pa ra m e te r List
Parameter
Value
Oscillator Switch
OSC Type
OFF, ON
Oscillator Type
Wave Gain
ANALOG, PCM, EXT IN
-12– +12 dB
Waveform
Analog Oscillator Waveform
SAW, SQR, TRI, SINE, RAMP, JUNO, HQ-SAW,
HQ-SQR, NOISE
0.0–4.0
Impact
Analog Oscillator Impact
Time Trip Switch
Time Trip Sw
Beat Keep
Waveform
Vari Sw
OFF, ON
Time Trip Beat Keep
OFF, ON
PCM Oscillator Waveform
PCM Oscillator Vari Switch
PCM Oscillator Start Offset
PCM Oscillator Playback Mode
PCM Oscillator Loop Switch
PCM Oscillator Robot Voice Switch
PCM Oscillator Tempo Sync Switch
OFF, ON
Start Offset
Playback Mode
Loop
0–**
RETRIGGER, LEGATO, STEP, EVENT
OFF, ON
OFF, ON
OFF, ON
Robot Voice
Tempo Sync
Pitch
Pitch
Oscillator Pitch
-63 – +63
Pitch KF
Coarse
Oscillator Pitch Key Follow
Oscillator Coarse Tune
Oscillator Fine Tune
-200– +200
-48– +48
Fine
-50– +50
Random
Oscillator Random Pitch Depth
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80,
90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000,
1100, 1200
-63– +63
Pit LFO Dp
Oscillator Pitch LFO Depth
Envelope Velocity Curve
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Depth
0–7
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-63– +63
Envelope Depth
Env Time KF
Pulse Width (ANALOG)
Pulse Width
Envelope Time Key Follow
-200– +200
-63– +63
-200– +200
-63– +63
0–7
PW KF
Pulse Width Key Follow
PW LFO Depth
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Depth
Pulse Width LFO Depth
Envelope Velocity Curve
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127
Envelope Decay Time
0–127
Envelope Sustain Level
0–127
Envelope Release Time
0–127
Envelope Depth
-63– +63
-200– +200
Env Time KF
Envelope Time Key Follow
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Pa ra m e te r List
Parameter
Value
Fat (ANALOG)
Fat
0–127
Fat KF
Fat Key Follow
-200– +200
-63– +63
0–7
Fat LFO Depth
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Depth
Envelope Velocity Curve
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-63– +63
-200– +200
Envelope Depth
Env Time KF
Time (PCM)
Time
Envelope Time Key Follow
-63– +63
Time KF
Time Key Follow
-200– +200
BWD, ZERO, FWD
-63– +63
Time Offset
Time LFO Depth
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Depth
Envelope Velocity Curve
0–7
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-63– +63
Envelope Depth
Env Time KF
Formant (PCM)
Formant
Envelope Time Key Follow
-200– +200
-63– +63
-200– +200
0–127
Formant KF
Energy
Formant Key Follow
Fmt LFO Depth
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Depth
Formant LFO Depth
-63– +63
0–7
Envelope Velocity Curve
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-63– +63
-200– +200
Envelope Depth
Env Time KF
OSC TVA
Envelope Time Key Follow
Level
0–127
Level KF
Level Key Follow
-200– +200
-63– +63
Level LFO Dp
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Time KF
Level LFO Depth
Envelope Velocity Curve
0–7
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-200– +200
Envelope Time Key Follow
1 0 4
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Pa ra m e te r List
Parameter
LFO
Value
Waveform
Offset
LFO Waveform
LFO Offset
SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS
-100, -50, 0, +50, +100
Key Sync
Delay Time
Rate
LFO Key Sync Switch
LFO Delay Time
LFO Rate
OFF, ON
0–127
0–127, note (*)
Fade Mode
Fade Time
*
LFO Fade Mode
LFO Fade Time
ON <<, ON >>, OFF <<, OFF >>
0–127
(Sixteenth note),
(Eighth-note triplet),
(Dotted sixteenth note),
(Eighth note),
(Thirty-second note),
(Quarter-note triplet),
(Dotted eighth note),
(Dotted half note),
(Quarter note),
(Whole note),
(Half-note triplet),
(Dotted quarter note),
(Dotted whole note),
(Half note),
(Double note)
(Whole-note triplet),
(Double-note triplet),
Parameter
Modulator Switch
Mod Type
Value
OFF, ON
Modulator Type
Original Level
Attack
MIX, RING, FM, ENV RING, OSC SYNC
Modulator Original Level
Modulator Attack Time
Modulator Release Time
0–127
0–127
0–127
Release
Parameter
Value
COSM Switch
COSM Type
COSM Type
OFF, ON
THRU, OD/ DS, W-SHAPE, AMP, SPEAKER,
RESONATOR, SBF1/ 2, COMB, DUAL, TVF,
DYN-TVF, COMP, LIMITER, F-SHIFT, LO-FI
LFO
Waveform
Offset
LFO Waveform
LFO Offset
SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS
-100, -50, 0, +50, +100
Key Sync
Delay Time
Rate
LFO Key Sync Switch
LFO Delay Time
LFO Rate
OFF, ON
0–127
0–127, note (*)
Fade Mode
Fade Time
LFO Fade Mode
LFO Fade Time
ON <<, ON >>, OFF <<, OFF >>
0–127
*
(Sixteenth note),
(Eighth-note triplet),
(Dotted sixteenth note),
(Eighth note),
(Thirty-second note),
(Quarter-note triplet),
(Dotted eighth note),
(Dotted half note),
(Quarter note),
(Whole note),
(Half-note triplet),
(Dotted quarter note),
(Dotted whole note),
(Half note),
(Whole-note triplet),
(Double-note triplet),
(Double note)
1 0 5
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Pa ra m e te r List
Parameter
TVA Switch
TVA
Value
OFF, ON
Level
0–127
Level KF
Level Key Follow
Level LFO Depth
-200– +200
-63– +63
Lvl LFO Dp
Pan
L64–0–63R
-200– +200
-63– +63
Pan KF
Pan Key Follow
Pan LFO Dp
Velocity Curve
Velocity Sens
Velocity A-Sens
Velocity D-Sens
Velocity R-Sens
ADSR Attack
ADSR Decay
ADSR Sustain
ADSR Release
Env Time KF
LFO
Pan LFO Depth
Envelope Velocity Curve
0–7
Envelope Velocity Sensitivity
Envelope Attack Time Velocity Sensitivity
Envelope Decay Time Velocity Sensitivity
Envelope Release Time Velocity Sensitivity
Envelope Attack Time
-63– +63
-63– +63
-63– +63
-63– +63
0–127, note (*)
0–127, note (*)
0–127
Envelope Decay Time
Envelope Sustain Level
Envelope Release Time
0–127, note (*)
-200– +200
Envelope Time Key Follow
Waveform
Offset
LFO Waveform
LFO Offset
SIN, TRI, SAW, SQR, RND, TRP, S&H, CHAOS
-100, -50, 0, +50, +100
Key Sync
LFO Key Sync Switch
LFO Delay Time
LFO Rate
OFF, ON
Delay Time
Rate
0–127
0–127, note (*)
Fade Mode
Fade Time
LFO Fade Mode
LFO Fade Time
ON <<, ON >>, OFF <<, OFF >>
0–127
*
(Sixteenth note),
(Quarter note),
(Eighth-note triplet),
(Half-note triplet),
(Dotted sixteenth note),
(Eighth note),
(Thirty-second note),
(Quarter-note triplet),
(Dotted eighth note),
(Dotted half note),
(Dotted quarter note),
(Dotted whole note),
(Half note),
(Double note)
(Whole-note triplet),
(Whole note),
(Double-note triplet),
1 0 6
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Pa ra m e te r List
Parameter
Routing
Value
MFX Send
CHO Send
REV Send
Output Assign
MFX
MFX Send Level
0–127
Chorus Send Level
Reverb Send Level
0–127
0–127
MULTI, MAIN, DIR
OFF, ON
00 (Thru)–41
0–127
MFX On/ Off Switch
MFX Type
MFX Master Level
MFX To CHO
MFX To REV
CHO
MFX Chorus Send Level
MFX Reverb Send Level
Chorus On/ Off Switch
0–127
0–127
OFF, ON
00 (Off)–08
0–127
CHO Type
CHO Master Level
CHO To REV
REV
Chorus Master Level
Chorus Reverb Send Level
Reverb On/ Off Switch
0–127
OFF, ON
00 (Off)–10
0–127
REV Type
REV Master Level
MFX
Reverb Master Level
MFX Type
CHO
00 (Thru)–41
00 (Off)–08
00 (Off)–10
CHO Type
REV
Chorus Type
Reverb Type
REV Type
•
•
•
1 0 7
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Pa ra m e te r List
Sy ste m Pa ra m e te rs
Parameter
Master
Value
Master Tune
Master Key Shift
Master Level
415.3–466.2 Hz
-24– +24
0–127
Patch Remain
Powerup Mode
IO
Patch Remain Switch
OFF, ON
Last Set, Default
External Input Type
STEREO L R, MONORAL MIX, MONORAL L,
MONORAL R
Mix/ Parallel
Output Gain
Digital Output Freq
EQ
MIX, PARALLEL
-12– +12 dB
Digital Output Frequency
44.1, 48, 96 KHz
4 Band EQ
4-Band Equalizer Switch
Low Frequency
OFF, ON
LOW Freq
50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000
Hz
LOW Gain
MID 1 Q
-15– +15 dB
0.5, 0.7, 1.0, 2.0, 4.0, 8.0
MID 1 Freq
Mid 1 Frequency
50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,
5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz
-15– +15 dB
MID 1 Gain
MID 2 Q
0.5, 0.7, 1.0, 2.0, 4.0, 8.0
MID 2 Freq
Mid 2 Frequency
High Frequency
50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500,
630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000,
5000, 6300, 8000, 10000, 12500, 16000, 20000 Hz
-15– +15 dB
MID 2 Gain
HIGH Freq
2000, 4000, 5000, 6300, 8000, 10000, 12500, 16000,
20000 Hz
HIGH Gain
TOTAL Gain
MIDI/USB
Device ID
Clock Source
Rx PC
-15– +15 dB
-15– +15 dB
Device ID Number
17–32
INTERNAL, EXTERNAL
OFF, ON
Receive Program Change Switch
Receive Bank Select Switch
Rx Bank
OFF, ON
Rx Sys-Ex
Tx Edit
Receive System Exclusive Switch
Transmit Edit Data Switch
OFF, ON
OFF, ON
Clock Out
Part MIDI
OFF, ON
Part 1–16 Rx Sw
Part 1–16 Rx Ch
Part 1–16 Receive Switch
Part 1–16 Receive Channel
OFF, ON
1–16
1 0 8
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Pa ra m e te r List
Parameter
Tx
Value
Patch Tx Ch
Tx PC
Patch Transmit Channel
1–16, RX CH, OFF
OFF, ON
Transmit Program Change Switch
Transmit Bank Select Switch
Tx Bank
OFF, ON
Tx Active Sens
KBD
Transmit Active Sensing Switch
OFF, ON
KBD Sens
Keyboard Sensitivity
Keyboard Velocity
Aftertouch Sensitivity
Local Switch
LIGHT, MEDIUM, HEAVY
REAL, 1–127
0–200
KBD Velocity
After Sens
Local Sw
OFF, ON
Remote KBD Sw
TT Pad/Knob
X Assign-XY
Y Assign-XY
X Assign-TT
Y Assign-TT
Knob 1, 2 Assign
Beam
Remote Keyboard Switch
OFF, ON
OFF, CC01–31, CC33–95
OFF, CC01–31, CC33–95
OFF, CC01–31, CC33–95
OFF, CC01–31, CC33–95
OFF, CC01–31, CC33–95
X Assign-Time Trip
Y Assign-Time Trip
D Beam Sens L, R
D Beam 1–4 Assign L, R
Pedal
D Beam Sensitivity L, R
Hold Pedal Polarity
0–200
OFF, CC01–31, CC33–95
Hold Polarity
Pedal 1, 2 Assign
STANDARD, REVERSE
OFF, CC01–31, CC33–95, BEND UP, BEND
DOWN, AFTERTOUCH
1 0 9
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Pa ra m e te r List
Parameter
Tx
Value
Channel
V-LINK MIDI Channel
1–16
Audio
V-LINK Audio Switch
OFF, ON
OFF, ON
OFF, ON
Output
V-LINK Keyboard Output Fade Switch
V-LINK Patch Palette Local Switch
Local Sw
TT Pad/Knob
Local Sw
X Assign-XY
V-LINK Time Trip Pad Local Switch
V-LINK X Assign-XY
OFF, ON
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
Y Assign-XY
V-LINK X Assign-XY
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
Assign-TT
Local Sw
V-LINK Assign-Time Trip
V-LINK Knob1, 2 Local Switch
V-LINK Knob1, 2 Assign
OFF, TIME-TRIP
OFF, ON
1, 2 Assign
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
Beam
Local Sw
V-LINK D Beam Local Switch
V-LINK D Beam1–4 Assign L, R
OFF, ON
1–4 Assign L, R
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
Lever
Mod Local Sw
Mod Assign
V-LINK Modulation Local Switch
V-LINK Modulation Assign
OFF, ON
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
Bend Local Sw
Bend Assign
V-LINK Pitch Bend Local Switch
V-LINK Pitch Bend Assign
OFF, ON
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
After Local Sw
After Assign
V-LINK Aftertouch Local Switch
V-LINK Aftertouch Assign
OFF, ON
OFF, PLAYBACK-SPEED, DISSOLVE-TIME,
AUDIO-LEVEL, COLOR-CB, COLOR-CR,
BRIGHTNESS, VFX1, VFX2, VFX3, VFX4, OUT-
PUT-FADE, T-BAR
1 1 0
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CO SM List
O ve rd rive / Disto rtio n
CO SM Pa ra m e te rs
Overdrive produces a natural-sounding distortion
similar to that produced by a vacuum tube amplifier.
Distortion produces a more intense distortion than the
overdrive effect.
COSM provides 15 types. This section explains the features of each
COSM, and the functions of the parameters.
Explanations for each COSM Type are given on the following
pages.
Parameter
COSM Type
Drive Type
Value
Description
Overdrive / Distortion
Wave Shape
OD/ DS
W-SHAPE
AMP
OD, DS
Selects whether to use over-
drive (OD) or distortion
(DS).
Amp Simulator
Speaker Simulator
Resonator
SPEAKER
RESONATOR
SBF1
Output Level
Drive
0–127
0–127
Output Level
Drive #1
Degree of distortion
Amount of LFO applied to
distortion
1st order SideBandFilter
2nd order SideBandFilter
Comb Filter
Drive LFO Depth -63– +63
#3
SBF2
COMB
Dual Filter
DUAL
Tone
Tone #2
TVF
TVF
0–127
Tonal character
Dynamic TVF
DYN-TVF
COMP
Tone KF
Tone LFO Depth
#4
-200– +200
-63– +63
Key follow setting for tone
Amount of LFO applied to
tone
Polyphonic Compressor
Polyphonic Limiter
Frequency Shifter
Lo-Fi Processor
LIMITER
F-SHIFT
LO-FI
LFO
Parameters marked by “#1”–“#4” can be selected as a destination
parameter for matrix control (Destination). These correspond as
follows.
W a ve Sh a p e
#1: Destination CSM1/ 2-PRM1
You can use a variety of waveforms to create and
#2: Destination CSM1/ 2-PRM2
distort the sound.
#3: Destination CSM1/ 2-LFO-PRM1
#4: Destination CSM1/ 2-LFO-PRM2
Parameter
COSM Type
Shape Type
Output Level
Drive
Value
Description
1–6
Type of waveform
Output Level
0–127
Drive #1
0–127
Degree of distortion
Amount of LFO applied to
distortion
Drive LFO Depth -63– +63
#3
Tone
Tone #2
0–127
Tonal character
Tone KF
Tone LFO Depth
#4
-200– +200
-63– +63
Key follow setting for tone
Amount of LFO applied to
tone
LFO
1 1 1
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CO SM List
Am p Sim u la to r
1 st o rd e r Sid e Ba n d Filte r
Simulates an amp.
By boosting the fundamental and overtones, you can
apply a pitch to unpitched input sounds such as a
noise or a drum phrase.
Parameter
COSM Type
Amp Type
Bass
Value
Description
Parameter
COSM Type
HPF
Value
Description
1–3
Type of guitar amp
Tone of the bass/ mid/ tre-
ble range
0–127
0–127
Cutoff frequency of the
high pass filter
Middle
Treble
LPF
0–127
Cutoff frequency of the low
pass filter
Output Level
Gain
0–127
0–127
Output Level
LPF KF
-200– +200
Key follow setting for cut-
off frequency of low-pass
filter
Gain #1
Degree of distortion
Amount of LFO applied to
distortion
Gain LFO Depth
#3
-63– +63
Sub
-100– +100
-2, -1, 0
Sub detune
Octave
Width
Octave setting
LFO
Width #1
Width KF
0–127
Bandwidth
-200– +200
Key follow setting for
bandwidth
Dyn Env
-63– +63
Envelope depth for the in-
put sound
Sp e a k e r Sim u la to r
Simulates the speaker type.
Width LFO Depth -63– +63
#3
Amount of LFO applied to
bandwidth
Parameter
Value
Description
Detune
COSM Type
Speaker Type
Detune #2
Dyn Env
0–127
Detune
1–12
-63– +63
Envelope depth for the in-
put sound
Detune LFO
Depth #4
-63– +63
Amount of LFO applied to
detune
Re so n a to r
Simulates the resonance of a guitar body.
LFO
Parameter
COSM Type
Filter Type
Value
Description
BANJO, AC.GTR, Type of filter (guitar)
RE.GTR
Size
Size #1
Size KF
0–127
Body size
-200– +200
Key follow setting for gui-
tar body
Size LFO Depth #3 -63– +63
Amount of LFO applied to
guitar body
Balance
Balance #2
0–127
Volume balance between
the direct sound and the ef-
fect sound
Balance LFO
Depth #4
-63– +63
Amount of LFO applied to
the volume balance
LFO
1 1 2
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CO SM List
2 n d o rd e r Sid e Ba n d Filte r
Co m b Filte r
By boosting the fundamental and overtones, you can
apply a pitch to unpitched input sounds such as noise
or a drum phrase. This lets you create a stronger effect
than the first-order sideband filter.
A comb filter can be used to boost or cut the
fundamental or overtones.
Parameter
COSM Type
Octave
Value
Description
-2, -1, 0, +1, +2
Octave setting
Parameter
COSM Type
Q
Value
Description
Tone
Tone #1
0–127
Tonal character
Amount of LFO applied to
tone
0–127
0–127
Frequency bandwidth
Cutoff frequency of the low
pass filter
Tone LFO Depth
#3
-63– +63
LPF
LPF KF
-200– +200
-2, -1, 0
Key follow setting for cut-
off frequency of low-pass
filter
Detune
Detune #2
Detune LFO
Depth #4
0–127
Detune
Octave
Octave setting
-63– +63
Amount of LFO applied to
detune
Width
Width #1
Width KF
0–127
Bandwidth
-200– +200
Key follow setting for
bandwidth
LFO
Dyn Env
-63– +63
Envelope depth for the in-
put sound
Width LFO Depth -63– +63
#3
Amount of LFO applied to
bandwidth
Du a l Filte r
Two filters can be connected in series or parallel.
Detune
Detune #2
Dyn Env
0–127
Detune
-63– +63
Envelope depth for the in-
put sound
Parameter
COSM Type
Filter Type
Value
Description
Detune LFO
Depth #4
-63– +63
Amount of LFO applied to
detune
LPF/ HPF, LPF-
>HPF, BPF/ BPF
Type of filter
Filter1/2
LFO
Freq #1/ #2
0–127
Cutoff frequency of the fil-
ter
Freq KF
-200– +200
Key follow setting for filter
cutoff frequency
Reso
0–127
Resonance
Freq LFO Depth
#3/ #4
-63– +63
Amount of LFO applied to
filter cutoff frequency
LFO
1 1 3
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CO SM List
TVF
Dy n a m ic TVF
Cuts off a specific frequency band to change a sounds
Cuts off a specific frequency band to change a sounds
brightness, thickness, and other qualities. A wah effect
can be applied by using the volume of the input sound
to vary the center frequency.
brightness, thickness, and other qualities.
Parameter
COSM Type
Filter Type
Value
Description
LPF, BPF, HPF,
NOTCH, PEAK
Type of filter
Parameter
COSM Type
Filter Type
Value
Description
db/ Octave
-24dB/ oct, -12dB/ Amount of attenuation per
LPF, BPF, HPF,
NOTCH, PEAK
Type of filter
oct, -6dB/ oct
0–127
octave
Cutoff
db/ Octave
-24dB/ oct, -12dB/ Amount of attenuation per
Freq #1
Cutoff frequency of the fil-
ter
oct, -6dB/ oct
0–127
octave
Cutoff
Freq KF
-200– +200
-63– +63
Key follow setting for filter
cutoff frequency
Freq #1
Cutoff frequency of the fil-
ter
LFO Dp #3
Amount of LFO applied to
filter cutoff frequency
Freq KF
Dyn
-200– +200
-63– +63
Key follow setting for filter
cutoff frequency
Envelope depth for the in-
put sound
Resonance
LFO Dp #4
-63– +63
Amount of LFO applied to
filter cutoff frequency
Reso #2
0–127
Resonance
R LFO Depth #4
-63– +63
Amount of LFO applied to
resonance
Resonance
Reso #2
0–127
Resonance
LFO
Dyn Env
-63– +63
Envelope depth for the in-
put sound
R LFO Dp #4
-63– +63
Amount of LFO applied to
resonance
LFO
Po ly p h o n ic Co m p re sso r
Flattens out high levels and boosts low levels,
smoothing out unevenness in volume.
Parameter
COSM Type
Attack #1
Value
Description
0–127
0–127
0–127
Attack time
Sustain level
Output Level
Sustain #2
Output Level
1 1 4
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CO SM List
Po ly p h o n ic Lim ite r
Lo -Fi Pro ce sso r
Compresses signals that exceed a specified volume
By changing the bit count and sample rate, this effect
recreates the Lo-Fi (Low-Fidelity) sounds of the early
digital samplers and similar machines. After the Lo-Fi
processor, a filter to change the tone is arranged in
series.
level, preventing distortion from occurring.
Parameter
COSM Type
Thres
Value
Description
0–127
Sets the volume level at
which the compression be-
gins.
Parameter
COSM Type
Bit Down
Value
Description
Ratio
2:1, 4:1, 16:1, 100:1 Compression ratio
0–15
This setting is for reducing
the bit count.
Attack #1
Release #2
Output
0–127
0–127
0–127
Attack time
Release time
Output Level
Sample Rate
Down
Normal, 1/ 2, 1/ 4, Sets the fraction of current
1/ 8, 1/ 16, 1/ 32
sampling rates to be used
for processing.
Filter
Fre q u e n cy Sh ifte r
Filter #1
0–127
Cutoff frequency of the fil-
ter
By shifting the frequency relationship of the
fundamental and overtones, a human voice can be
given a “groaning” character.
Filter KF
-200– +200
Key follow setting for filter
cutoff frequency
Filter LFO Depth -63– +63
#3
Amount of LFO applied to
filter cutoff frequency
Parameter
Effect
Value
Description
Balance
Effect #1
Effect KF
0–127
Effect depth
Balance #2
0–127
Volume balance between
the direct sound and the ef-
fect sound
-200– +200
Key follow setting for the
effect volume
Effect LFO Depth -63– +63
#3
Amount of LFO applied to
the effect volume
Balance LFO
Depth
-63– +63
Amount of LFO applied to
the volume balance
LFO
Balance
Balance #2
0–127
Volume balance between
the direct sound and the ef-
fect sound
Balance LFO
Depth
-63– +63
Amount of LFO applied to
the volume balance
LFO
1 1 5
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Effe cts List
MFX Pa ra m e te rs
Explanations for each MFX Type are given on the following
pages.
MFX (Multi-Effects) provides 41 types of effect. This section explains
the features of each MFX, and the functions of the parameters.
01: Parametric EQ
02: Graphic EQ
Para EQ
Graph EQ
ResoFilt
03: Resonant Filter
04: Isolator and Filter
05: Distortion / OD
06: Amp Simulator
07: Auto Wah
Parameters marked by “#1”–“#3” can be selected as a destination
parameter for matrix control (Destination MFX1–MFX3). These
correspond as follows.
Isolator
DS / OD
Gtr Amp
Auto Wah
Humanizer
Dynamic
TapeEcho
St Delay
TapDelay
RvsDelay
VocalEcho
BP Delay
AD->Cho
DigiCho
SpaceCho
Hex Cho
Ana Flgr
BOSSFlgr
StepFlgr
Ana Phsr
DigiPhsr
Rotary
#1: Destination MFX1
#2: Destination MFX2
#3: Destination MFX3
08: Humanizer
09: Dynamic Processor
10: Tape Echo Simulator
11: Stereo Delay
12: Multi Tap Delay
13: Reverse Delay
14: Vocal Echo
15: Band Pass Delay
16: Analog Delay→Chorus
17: Digital Chorus
18: Space Chorus
19: Hexa Chorus
20: Analog Flanger
21: BOSS Flanger
22: Step Flanger
23: Analog Phaser
24: Digital Phaser
25: Rotary
26: Tremolo/ Auto Pan
27: Stereo Pitch Shifter
28: OD/ DS→Cho/ Flg
29: OD/ DS→Delay
30: Cho/ Flg→Delay
31: Enh→Cho/ Flg
32: Enh→Delay
Trem/ Pan
PitchSft
OD->Cho
OD->Dly
Cho->Dly
Enh->Cho
Enh->Dly
VocalMt
GuitarMt
BASS Mt
RhodesMt
Kbd Mt
33: Vocal Multi
34: Guitar Multi
35: Bass Multi
36: Rhodes Multi
37: Keyboard Multi
38: Phonograph
Phonogrp
Radio
39: Radio Tuning
40: Bit Rate Converter
41: Pseudo Stereo
Bit Conv
PseudoSt
1 1 6
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Effe cts List
0 1 : Pa ra m e tric EQ
0 3 : Re so n a n t Filte r
(Pa ra m e tric Eq u a lize r)
This is a 4 band (low range, midrange x 2, high range) stereo
It allows for cyclical control of the cutoff frequency using an LFO. It
allows you to make drastic changes in the frequency response of the
input signal by the cutoff frequency and feedback, making the sound
parametric equalizer.
fig.MFX-01
brighter or darker, or giving it a distinctive character.
fig.MFX-03
L
4-Band EQ
R
L
Resonant
Filter
R
Parameter
Low Freq
Low Gain
Mid 1 Freq
Mid 1 Q
Value
Description
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range 1
Parameter
Value
Description
0.5, 0.7, 1.0, 2.0, Width of the middle range 1
4.0, 8.0
Cutoff Freq
50–20000 Hz
Basic frequency of the filter
The LFO will control the cutoff
frequency with this value as its
maximum level.
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range 1
Mid 1 Gain
Mid 2 Freq
Mid 2 Q
-15– +15 dB
50–20000 Hz
Frequency of the middle range 2
Resonance
0–127
Filter’s resonance level
Raising the setting increases res-
onance near the cutoff frequen-
cy, producing a uniquely
characteristic sound.
0.5, 0.7, 1.0, 2.0, Width of the middle range 2
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range 2
Mid 2 Gain
Hi Freq
-15– +15 dB
2000–20000 Hz Frequency of the high range
Band Mode
LOW, MID,
HIGH,
LOW+MID,
MID+HIGH,
ALL
Frequency range to which the
filter will be applied
Hi Gain
-15– +15 dB
-15– +15 dB
Gain of the high range
Output Level
Total Gain
LOW: low frequency band
MID: mid-range frequency
HIGH: high frequency
LOW+MID: low and middle
range frequency
0 2 : Gra p h ic EQ (Gra p h ic Eq u a lize r)
This simulates a 12-band stereo graphic equalizer.
MID+HIGH: middle and high
range frequency
fig.MFX-02
L
ALL: all ranges
12-Band
Sweep Wave-
form
TRI, SAWUP,
LFO waveform
Graphic EQ
R
SAWDN, SQR TRI: Triangle wave
SAWUP: Sawtooth Wave
SAWDN: Sawtooth Wave
SQR: Square wave
Parameter
Value
Description
180Hz Gain
250Hz Gain
355Hz Gain
500Hz Gain
710Hz Gain
1000Hz Gain
1400Hz Gain
2000Hz Gain
2800Hz Gain
4000Hz Gain
5600Hz Gain
8000Hz Gain
Total Gain #1
-15– +15 dB
Gain of each frequency band
SAWUP
SAWDN
Sweep Rate
0.05–10.0 Hz,
note
Frequency of the LFO modula-
tion
Sweep Depth
Balance
0–127
Modulation depth of the LFO
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
-15– +15 dB
Output Level
1 1 7
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Parameter
Value
Description
0 4 : Iso la to r a n d Filte r
A 3-band isolator, filter, and low booster are connected in stereo in
Filter Slope
-12, -24 dB/ O
Filter’s attenuation slope
-24 dB per octave: steep
-12 dB per octave: gentle
Cutoff frequency of the filter
The closer to zero it is set, the
lower the cutoff frequency be-
comes; set it closer to 127, and
the cutoff frequency becomes
higher.
series.
Isolator is an equalizer which cuts the volume greatly, allowing you
to add a special effect to the sound by cutting the volume in varying
ranges.
Filter Cutoff
0–127
The filters allow you to modify the frequency response of the input
sound widely and give sound a character.
Filter Reso-
nance
0–127
Resonance level of the filter
Raising the setting increases res-
onance near the cutoff frequen-
cy, giving the sound a special
characteristic.
The low booster emphasizes the bottom to create a heavy bass
sound.
fig.MFX-04
L
3-Band
Isolator
Low
Booster
Filter
Filter Gain
0– +24 dB
Compensates for the volume
dropped in the cut frequency
range with some filters.
The level of compensation in-
creases as the value is increased,
and raise the volume.
R
Parameter
Value
Description
Low Band Level -60– +4 dB
#1
These specify each level of the
Low, Mid, and High frequency
ranges.
LowBoost Level -15– +15 dB
Increasing this value gives you a
heavier low end.
* Depending on the Isolator and
filter settings this effect may be
hard to distinguish.
Mid Band Level
At -60 dB, the sound becomes in-
audible. 0 dB is equivalent to the
input level of the sound.
#2
Hi Band Level
#3
AP Low Sw
OFF, ON
Turns the Anti-Phase function
on and off for the Low frequency
ranges.
0 5 : Disto rtio n / O D
(Disto rtio n / O ve rd rive )
When turned on, the counter-
channel of stereo sound is in-
verted and added to the signal.
Adjusts the level settings for the
Low frequency ranges.
Adjusting this level for certain
frequencies allows you to lend
emphasis to specific parts. (This
is effective only for stereo
source.)
Overdrive produces a natural-sounding distortion similar to that
AP Low Level
0–127
produced by a vacuum tube amplifier. Distortion produces a more
intense distortion than the overdrive effect.
fig.MFX-05
L
Overdrive/
Distortion
Amp
2-Band
EQ
Simulator
R
AP Mid Sw
OFF, ON
0–127
Settings of the Anti-Phase func-
tion for the Middle frequency
ranges
AP Mid Level
Parameter
Value
Description
The parameters are the same as
for the Low frequency ranges.
Type of filter
THRU: no filter is used
LPF: Passes frequencies below
the Cutoff.
BPF: Passes frequencies near the
Cutoff.
HPF: Passes frequencies above
the Cutoff.
Input Mode
MONO, STE-
REO
Selects whether to input in ste-
reo or in monaural.
If MONO is selected, the left and
right sound will be mixed, and
input as monaural.
Filter Type
THRU, LPF,
BPF, HPF,
NOTCH
Distortion
Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Degree of distortion
Drive #1
Amp Sim Sw
0–127
OFF, ON
Turns the Amp Simulator on/
off.
NOTCH: Passes frequencies
other than those near the Cutoff.
Amp Type
SMALL,
Type of guitar amp
SMALL: small amp
BUILT-IN, 2-
STACK, 3-
STACK
Level
Level
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack amp
Output Level
Freq.
Freq.
Output Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
LPF
HPF
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
Level
Level
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
Freq.
Freq.
BPF
NOTCH
1 1 8
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Parameter
Value
Description
0 6 : Am p Sim u la to r
(Gu ita r Am p Sim u la to r)
Volume
0–127
Volume and degree of distortion
of the amp
This is an effect that simulates an guitar amp.
fig.MFX-06
Bass
0–127
Tone of the bass/ mid/ treble
range
* Middle cannot be set if
MATCH DRIVE is selected
for the Amp Type.
Middle
Treble
L
Noise
Amp
Speaker
Suppressor
Simulator
Simulator
Presence
0–127
Tone for the ultra high frequen-
cy range
R
Master Volume 0–127
Volume of the entire amp
Turning this On will produce a
sharper and brighter sound.
This parameter can be set if the
Amp Type is set to JC-120,
CLEAN TWIN, or BG LEAD.
Degree of amp distortion
Parameter
Value
Description
Brightness Sw
OFF, ON
NS Sw
OFF, ON
Turns the noise suppressor on/
off.
The noise suppressor leaves the
original sound unmodified, but
mutes only the noise during the
silent intervals.
Gain Sw
LOW, MID,
HIGH
NS Threshold
0–127
0–127
Adjusts the level at which the
noise suppressor will begin to
take effect.
* When the signal drops below
the specified level, it will be
muted.
Sp Sim Sw
OFF, ON
Turns the Speaker Simulator
on/ off.
Sp Type
(see below)
1–10
Type of speaker
Mic Setting
Adjusts the location of the mic
that is recording the sound of
the speaker.
Increasing this value will pro-
duce the effect of the mic being
further away from the center of
the speaker cone.
NS Release
Amp Type
Sets the transition time from
when the noise suppression
starts to the point where the vol-
ume reaches 0.
JC-120, CLEAN Type of guitar amp
TWIN,MATCH
DRIVE, BG
Mic Level
Direct Level
Level
0–127
0–127
0–127
Volume of the microphone
Volume of the direct sound
Output Level
LEAD,
MS1959I,
MS1959II,
MS1959I+II,
SLDN LEAD,
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
METAL 5150,
METAL LEAD,
OD-1, OD-2
TURBO, DIS-
TORTION,
FUZZ
Type
Cabinet
Speaker Microphone
SMALL
small open-back en-
closure
10
dynamic
MIDDLE
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
dynamic
JC-120
dynamic
BUILT IN 1
BUILT IN 2
BUILT IN 3
BUILT IN 4
BUILT IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
dynamic
JC-120: The sound of a Roland JC-120.
CLEAN TWIN: The sound of a standard built-in
type vacuum tube amp.
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
MATCH DRIVE: The sound of a recent vacuum
tube amp widely used in blues, rock, and fusion.
BG LEAD: The sound of a vacuum tube amp repre-
sentative of the late 70’s and the 80’s.
MS1959 I: The sound of the large vacuum tube amp
stack that was indispensable to the British hard
rock of the 70’s, with input I connected.
MS1959 II: The same amp as MS1959 I, but with in-
put II connected.
large sealed enclosure 12 x 2
large sealed enclosure 12 x 4
large sealed enclosure 12 x 4
METAL STACK large double stack
12 x 4
Recommended combination of pre-amp and speaker
MS1959 I+II: The same amp as MS1959 I, but with
inputs I and II connected in parallel.
SLDN LEAD: The sound of a vacuum tube amp us-
able in a wide variety of styles.
METAL 5150: The sound of a large vacuum tube
amp suitable for heavy metal.
METAL LEAD: A metal lead sound with a distinc-
tive mid-range.
OD-1: The sound of the BOSS OD-1 compact effects
processor.
OD-2 TURBO: The sound of the BOSS OD-2 com-
pact effects processor with the Turbo switch on.
DISTORTION: Distortion sound.
FUZZ: Fuzz sound.
Amp type
Speaker type
BG LEAD
BG STACK 1, BG STACK 2, MIDDLE
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BUILT IN 1–4
MS1959 II
MS1959 I+II
SLDN LEAD
METAL 5150
METAL LEAD
OD-2 TURBO
DISTORTION
FUZZ
BUILT IN 1–4
BUILT IN 1–4
1 1 9
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Effe cts List
0 7 : Au to W a h
0 8 : Hu m a n ize r
Wah is an effect that modifies the frequency characteristics of a filter
This adds a vowel character to the sound, making it similar to a
over time, producing a unique tone. The wah effect can change in
human voice.
fig.MFX-08
relation to the volume of the input signal, and/ or cyclically.
fig.MFX-07
L
2-Band
L
Humanizer
EQ
Auto
Wah
2-Band
EQ
R
R
Parameter
Filter Type
Value
Description
Parameter
Overdrive Sw
Drive
Value
Description
LPF, BPF
Type of filter
OFF, ON
0–127
Turns Drive on/ off.
LPF: The wah effect will be ap-
plied over a wide frequency
range.
BPF: The wah effect will be ap-
plied over a narrow frequency
range
Degree of distortion
Vowel 1
Vowel 2
Rate #1
a, e, i, o, u
a, e, i, o, u
0.05–10.0 Hz,
note
First vowel
Second vowel
Frequency at which the two
vowels will be switched
Effect depth
With a setting of 0, it will be
fixed at Vowel 1.
Depth
0–127
Polarity
DOWN, UP
When using the volume of the
input signal to control the wah
effect, this setting determines
whether the frequency of the fil-
ter will be moved upward (UP)
or downward (DOWN).
Adjusts the frequency at which
the wah effect will apply.
Adjusts the amount of the wah
effect that will occur in the range
of the center frequency.
Set a higher value for Q to nar-
row the range to be affected.
Adjusts the sensitivity with
which the wah effect is con-
trolled.
Trigger Sens #2 -60–0 dB, LFO
Level at which the two vowels
will be switched
-60–0 dB: When the specified
level is exceeded, the sound will
change to the other vowel at the
frequency (speed) specified by
Rate.
LFO: The two vowel sounds will
alternate at the frequency speci-
fied by Rate, regardless of the
level.
Frequency #1
Peak
0–127
0–127
Trigger Sens #2 0–127
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Rate
0.05–10.0 Hz,
note
Frequency of modulation
Ps Hi Gain
Depth
0–127
Depth of modulation
Ps Low Freq
Ps Low Gain
Ps Hi Freq
Ps Hi Gain
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
1 2 0
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Parameter
Value
Description
0 9 : Dy n a m ic Pro ce sso r
(Ste re o Dy n a m ic Pro ce sso r)
NS Release
0–127
Sets the transition time from
when the noise suppression
starts to the point where the vol-
ume reaches 0.
A comp/ limiter, enhancer, 3-band equalizer, and noise suppressor
are connected in series.
Comp/ Limiter is able to use as a compressor, which controls
inconsistencies in sound levels by suppressing high sound levels
while lifting weaker signals, or as a limiter that prevents the signal
from reaching exceedingly high levels.
1 0 : Ta p e Ech o Sim u la to r
This virtual tape echo gives you real tape delay sound. This
simulates the tape echo part of Roland’s RE-201 Space Echo.
Enhancer regulates the high-end overtones, clarifying the sound and
the sound contour.
fig.MFX-10
3-Band Equalizer works in three frequency ranges: Low, Mid, and
High. You can set the frequencies and boost or cut the level.
Noise Suppressor leaves the original sound unmodified, but mutes
L
Tape Echo
R
only the noise during the silent intervals.
fig.MFX-09
L
Parameter
Value
Description
3-Band
EQ
Noise
Suppressor
Comp/
Limiter
Enhancer
Mode
S, M, L, S+M,
S+L, M+L,
S+M+L
Sets the combination of play-
back heads to be used.
R
The RE-201 had three playback
heads to make different delay
times (Short, Medium, and Long
delay) at once. For example, to
use the short and middle heads,
select S+M.
Parameter
Comp Sw
Value
OFF, ON
Description
Turns the comp/ limiter on/ off.
Sets the volume level at which
the compression begins.
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
Comp Thresh- -60–0 dB
old #1
Comp Attack
Comp Release
Comp Ratio
0–127
Repeat Rate #1 0–127
Sets the tape speed.
This corresponds to the delay
time in a contemporary delay ef-
fect.
0–127
Specifies the time from when the
volume drops below the com-
pressor threshold until com-
pression is no longer applied.
Sets the “source sound:output
sound” compression ratio.
Output gain
Intensity #2
0–127
Sets the repeat times of the de-
layed sound.
This is analogous to a contempo-
rary delay’s feedback setting.
These are the echo sound’s bass
and treble adjustments.
When set to 0, they make no
change to the sound.
1.5:1, 2:1, 4:1,
100:1
Bass
-100– +100
L63–63R
Treble
Comp Gain
Enhan Sw
-60– +12 dB
OFF, ON
0–127
Turns the enhancer on/ off.
Sensitivity of the enhancer
Sets the lower limit of the fre-
quencies to which the enhance-
ment effect is added.
Enhan Sens
Head S Pan
Head M Pan
Head L Pan
These are the pan (left-right) set-
tings for each of the heads for
Short, Medium, and Long delay
time.
* This parameter does not
appear on the original RE-201.
Adds the distortion characteris-
tic of tape.
The distortion gets more intense
as the value is increased.
Frequency of the wow and flut-
ter modulation
The wavering of multiple pitch-
es that appears from tape wear
and irregularities in rotation is
called wow and flutter.
Modulation depth of the wow
and flutter
Enhan Frequen- 0–127
cy
Enhan Mix Lev- 0–127
el
Level of the overtones generated
by the enhancer
Enhan Level
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Q
0–127
Volume of the enhancer sound
Frequency of the low range
Gain of the low range
Tape Distortion 0–5
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Gain of the middle range
W/ F Rate
0–127
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range
EQ Mid Gain
EQ Hi Freq
EQ Hi Gain
NS Sw
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB
OFF, ON
Gain of the high range
Turns the noise suppressor on/
off.
W/ F Depth
Echo Level
0–127
0–127
Volume of the echo sound.
NS Threshold
#2
0–127
Adjusts the level at which the
noise suppressor will begin to
take effect.
* When the signal drops below
the specified level, it will be
muted.
1 2 1
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Effe cts List
Parameter
Value
Description
1 1 : Ste re o De la y
This is a stereo delay. Depending on the length of the delay you set,
Feedback
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
you can get long echoes, thick sounds, or spatial sounds.
fig.MFX-11.e
Low Damp Freq 50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
L
2-Band
Delay
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
EQ
R
When Mode parameter is STEREO:
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
L
2-Band
Delay
EQ
High Damp, by attenuating the
higher frequencies first, makes
R
the delay sound more natural.
Hi Damp Gain -36–0 dB
Degree of High Damp
When Mode parameter is MONO or ALTERNATE:
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the delay
sound (WET)
Parameter
Value
Description
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
Mode
MONO, STE-
REO, ALTER-
NATE
Switches stereo, monaural, or al-
ternate.
MONO: This is a single-input,
dual-output delay. Stereo sound
(left and right) are mixed before
being input.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
STEREO: This is a dual-input,
dual-output delay. The delay
sound output features the same
stereo placement as that of the
input.
ALTERNATE: The left and right
delay sound output alternately.
(Alternate delay)
Delay Time
L-R Shift
0–1300 ms
Adjusts the delay time from the
(MONO), 0–650 direct sound until the delay
ms (STEREO,
ALTERNATE),
note
sound is heard.
0–650 ms, note Of the left and right delay
sounds, the delay time will be
increased for only one side.
If the L-R order is L→R, the R
sound will be later. In the case of
R→L, the L sound will be later.
* When the mode is set to
MONO or ALTERNATE, this
setting will be ignored.
L-R Order
L→R, R→L
In STEREO or ALTERNATE
mode, this setting determines
which of the left or right sides
has the delay sound before the
other
L→R: The left side is expressed
first
R→L: The right side is expressed
first
* In MONO mode, this setting
will be ignored.
1 2 2
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1 2 : Mu lti Ta p De la y
1 3 : Re ve rse De la y
The effect has five delays. Each of the Delay Time parameters can be
Adds the reverse of the input sound as the delay sound.
fig.MFX-13
specified as a note length of the selected tempo. You can also set the
panning and level of each delay sound.
fig.MFX-12
L
Reverse
Delay
2-Band
EQ
Delay 1
L
R
Delay 2
2-Band
EQ
Multi Tap Delay
Delay 3
Delay 4
Delay 5
R
Parameter
Value
0–127
Description
Threshold
pecify the input level at which
the delay will begin to apply.
Parameter
Value
Description
Rvs Dly Time
0–650 ms, note Specifies the delay time from the
original sound until the delay
sound is heard.
Delay 1–5
0–1300 ms, note Specifies the delay time from the
original sound until each delay
sound (Delay 1/ 2/ 3/ 4/ 5) is
heard.
Rvs Feedback
-98– +98 %
Adjusts the proportion of the re-
verse delay sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
Fbk Dly Time
Feedback #1
0–1300 ms, note Adjusts the delay time for the
feedback sound
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Low Damp Freq 50–4000 Hz
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
Delay 1–5 Level 0–127
Adjusts the volume of each de-
lay sound (Delay 1/ 2/ 3/ 4/ 5)
Adjusts the pan of each delay
sound (Delay 1/ 2/ 3/ 4/ 5)
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
Delay 1–5 Pan
L63–63R
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Low Damp Freq 50–4000 Hz
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Gain -36–0 dB
Degree of High Damp
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
Hi Damp Gain -36–0 dB
Degree of High Damp
Frequency of the low range
Gain of the low range
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 2 3
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Effe cts List
1 4 : Vo ca l Ech o
This effect simulates a karaoke echo.
Parameter
Value
Description
Phaser Manual 0–127
Specifies the center frequency at
which the sound is modulated.
Specifies the frequency of mod-
ulation.
fig.MFX-14
L
Phaser Rate
0.05–10.0 Hz,
note
2-Band
EQ
LPF
ECHO
Phaser Depth
0–127
Specifies the depth of modula-
tion.
R
Phaser Reso-
nance
0–127
Specifies the amount of feed-
back for the phaser.
Parameter
Value
Description
Higher settings will give the
sound a stronger character.
Specifies the volume of the
phase-shifted sound, relative to
the direct sound.
Delay Time #1 0–650 ms, note Adjusts the delay time from the
direct sound until the delay
Phaser Mix Lev- 0–127
el
sound is heard.
Pre LPF Freq
Mod Rate
500–15000 Hz, Sets the filter’s cutoff frequency
THRU
(THRU: no filter is used)
Specifies the modulation speed
of the modulation effect.
Specifies the modulation depth
of the modulation effect.
Specifies the spaciousness of the
delay sound.
Delay Time
0–1300 ms, note Adjusts the delay time from the
direct sound until the each delay
sound is heard.
0.05–10.0 Hz,
note
Mod Depth
Diffusion
0–127
Fbk Dly Time
Dly Time Dev
0–1300 ms, note Adjusts the delay time for the
feedback sound.
0–100
0–1300 ms, note Specifies the differences in delay
time for each of the delay
Feedback #2
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
sounds.
Delay Level
0–127
Adjusts the volume of each de-
lay sound.
Delay Feedback -98– +98 %
#1
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Hi Damp Freq 500–15000 Hz, Adjusts the frequency above
THRU
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Volume of the echo sound
Frequency of the low range
Gain of the low range
Delay Pan Type 1–10
Specifies the pan of each delay
sound.
Ten settings are provided as var-
ious panning combinations of
the delay sounds (see below).
Sets the center frequency for
each band pass filter (1–5).
Specify the output bandwidth
for each band pass filter (1-5).
Echo Level #3
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
50–4000 Hz
-15– +15 dB
BPF 1–5 Freq
50–20000 Hz
0.3–24.0
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
BPF 1/ 2 Q
BPF 3/ 4/ 5 Q
Balance #2
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the delay
sound (WET)
1 5 : Ba n d Pa ss De la y
This is a delay with a band pass filter (a filter that outputs only a
specified frequency range) on each of five delays. A phaser is
included before the delay. Phaser is an effect that adds a phase-
shifted sound to the original sound to create time-varying change,
Delay Pan Type
Values
Dly 1
L63
L63
L63
32R
63R
L32
0
Dly 2
L32
32R
63R
L32
0
Dly 3
0
Dly 4
32R
63R
32R
0
Dly 5
63R
0
1
2
3
4
5
6
7
8
9
10
modulating the sound.
fig.MFX-15
L32
L32
L63
L63
L63
L63
L32
L32
0
0
63R
32R
0
1
L32
63R
32R
32R
63R
L32
2
L
32R
63R
63R
32R
32R
3
4
5
Phaser
Delay
L32
L63
L63
L63
R
0
0
63R
1
2
3
4
5
BPF 1
BPF 2
BPF 3
BPF 4
BPF 5
1 2 4
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Effe cts List
1 6 : An a lo g De la y →Ch o ru s
This effect reproduces the sound of the BOSS CE-1 Chorus
1 7 : Dig ita l Ch o ru s
This is a stereo chorus or flanger. Equalizers are provided before
Ensemble. To reproduce the sound of the unit at the time, a
(Pre) and after (Post) the chorus (or flanger).
fig.MFX-17
monaural analog-type delay is first inserted in series.
fig.MFX-16
L
2-Band
EQ
Chorus/
Flanger
2-Band
EQ
L
Analog
Delay
Analog
Chorus
R
R
Parameter
Value
Description
Parameter
Dly Sw
Value
Description
Mode
Rate #1
Depth
Phase
CHORUS,
FLANGER
0.05–10.0 Hz,
note
Selects either chorus or flanger.
OFF, ON
Turns the delay on/ off.
Corresponds to the delay time in
a delay effects.
Dly Repeat Rate 0–127
#1
Sets the cycle for the chorus or
flanger sound undulations.
Adjusts the depth of modulation
for the chorus or flanger.
Dly Intensity #2 0–127
Corresponds to the feedback set-
ting in a delay effects.
0–127
Dly Level
0–127
Sets the volume of the delay
sound.
0–180 deg
Specifies the spaciousness of the
chorus or flanger sound.
Chorus Sw
OFF, ON
Turns chorus or vibrato on/ off.
Switches the sound between
chorus and vibrato modes.
When Chorus Mode is CHO-
RUS, this sets the pitch vibrato
speed.
Pre Low Freq
Pre Low Gain
Pre Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range (Pre)
Gain of the low range (Pre)
Chorus Mode
CHORUS, VI-
BRATO
2000–20000 Hz Frequency of the high range
(Pre)
Chorus Intensi- 0–127
ty #3
Pre Hi Gain
-15– +15 dB
0–50.0 ms
Gain of the high range (Pre)
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Pre Dly Time
Vibrato Depth
Vibrato Rate
0–127
0–127
When Chorus Mode is VIBRA-
TO, this sets the pitch vibrato
depth.
Feedback
-98– +98 %
Adjusts the proportion of the
chorus or flanger sound that is
fed back into the effect. Negative
(-) settings will invert the phase.
Attenuates the effect in the
range below the specified fre-
quency.
When Chorus Mode is VIBRA-
TO, this sets the pitch vibrato
speed.
Chorus Out
Mode
MONO, ST-1,
ST-2
Switches the output format
(mono/ stereo).
Xover LowFreq 50–4000 Hz
Xover Low Gain -36–0 dB
MONO: Output is monaural.
ST-1: Chorus sound of the pitch
vibration which phase is invert-
ed between left and right is
mixed with the source sound.
This is a broader chorus, with a
weaker feeling of placement.
ST-2: The left output contains
the source sound, and the right
side has the wavering chorus
sound.
Specifies how greatly the low
range will be attenuated.
Xover HiFreq
2000–20000 Hz Attenuates the effect in the
range above the specified fre-
quency.
Xover Hi Gain -36–0 dB
Specifies how greatly the high
range will be attenuated.
Volume of the chorus or flanger
sound.
Modulation
Level
0–127
Ps Low Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
(Post)
Ps Low Gain
Ps Hi Freq
Gain of the low range (Post)
2000–20000 Hz Frequency of the high range
(Post)
Ps Hi Gain
-15– +15 dB
Gain of the high range (Post)
1 2 5
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Effe cts List
Parameter
Value
Description
1 8 : Sp a ce Ch o ru s
This effect reproduces the sound of Roland’s SDD-320 spatial
Pan Deviation
L63–63R
Specifies the difference in stereo
position between each of the
chorus sounds.
0: All of the chorus sounds will
be panned to the center.
L20/ R20: each chorus sound
will be placed in 30 degree inter-
vals relative to the center posi-
tion.
expression effects. Greater breadth is added.
fig.MFX-18
L
Space
2-Band
EQ
Chorus
R
Chorus Level #2 0–127
Volume level of the chorus
sound
Pre Low Freq
Pre Low Gain
Pre Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range (Pre)
Gain of the low range (Pre)
Parameter
Mode
Value
Description
1, 2, 3, 4, 1+4,
2+4, 3+4
Selects the way in the chorus
will change.
2000–20000 Hz Frequency of the high range
(Pre)
The SDD-320 features four
mode buttons for changing the
effect. This setting determines
which buttons are to be pressed.
(“1+4” represents the condition
when Buttons 1 and 4 are
pressed simultaneously.)
Volume level of the chorus
sound
Pre Hi Gain
Ps Low Freq
Ps Low Gain
Ps Hi Freq
-15– +15 dB
50–4000 Hz
-15– +15 dB
Gain of the high range (Pre)
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
Chorus Level #1 0–127
2 0 : An a lo g Fla n g e r
This effect reproduces the sound of Roland’s SBF-325 analog flanger.
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
You can get three different types of flanger sounds (adding a
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
metallic swelling sound to the source sound) and chorus like effect.
fig.MFX-20
Ps Hi Gain
L
Analog
Flanger
R
1 9 : He x a Ch o ru s
Hexa-chorus is a six-stage chorus which adds depth and
spaciousness to the sound. (Six chorus sounds with different delay
times are overlaid.) An equalizer is provided before (Pre) and after
Parameter
Value
Description
Mode
FL1, FL2, FL3,
CHO
Sets the effect type.
FL1: A general monaural flanger
FL2: A stereo flanger that utiliz-
es the stereo placement of the
source sound
(Post) the hexa chorus.
fig.MFX-19
FL3: A cross mix flanger that
providing a more intense effect
CHO: Chorus effect
L
2-Band
EQ
Hexa
Chorus
2-Band
EQ
R
Rate #1
0.02–5.00 Hz,
note
Sets the rate of the swelling of
the flanger sound.
Depth #2
Manual
0–127
Specifies the modulation depth
of the flanger sound.
Parameter
Value
Description
0–127
0–127
Adjusts the center frequency to
which the flanger effect is ap-
plied.
Pre Dly Time
0–50.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Feedback #3
Sets the intensity of the flanger’s
effect.
* When the mode is set to CHO,
this setting will be ignored.
Sets the phase of the right chan-
nel.
This is usually set to Normal
(NORM). Setting this to Invert
(INV) inverts the phase of the
modulation (rise and fall) in the
right channel.
Pre Dly Dev
0–50.0 ms
Specifies the differences in Pre
Delay time for each of the chorus
sounds
Rate #1
Depth
0.05–10.0 Hz,
note
Specifies the modulation fre-
quency of the chorus sound.
Specifies the modulation depth
of the chorus sound.
CH-R Mod
Phase
NORM, INV
0–127
Depth Devia-
tion
0–127
Specifies the difference in mod-
ulation depth between each of
the chorus sounds.
CH-L Phase
CH-R Phase
NORM, INV
Sets the phase of the left and
right channels when the source
sound is mixed with the flang-
ing sound.
NORM: Positive phase (+)
INV: negative phase (-)
1 2 6
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Effe cts List
2 1 : BO SS Fla n g e r
2 2 : Ste p Fla n g e r
This effect features a pair of the same flanger circuits used in the
This is a flanger in which the flanger pitch changes in steps. The
BOSS compact flangers, connected in parallel for stereo input. This
speed at which the pitch changes can also be specified in terms of a
adds a particular metallic-sounding modulation to the source sound.
note-value of a specified tempo.
fig.MFX-21
fig.MFX-22
L
2-Band
Flanger
EQ
L
R
Step
Flanger
2-Band
EQ
R
Parameter
Value
Description
Type
NORMAL, HI- Selects the model of flanger sim-
BAND
ulated.
Parameter
Value
Description
NORMAL: Normal type (BOSS
BF-2)
Pre Dly Time
0–50.0 ms
Specifies the time delay from the
original sound until the flanger
sound is heard.
HI-BAND: High-Band type
(BOSS HF-2). Setting HI-B raise
the flanging sound one octave
above that at the NORM.
Sets the center frequency for the
effect.
Rate #1
Depth
0.05–10.0 Hz,
note
Specifies the modulation fre-
quency of the flanger sound.
Specifies the modulation depth
of the flanger sound.
Manual
0–127
0–127
0–127
Depth #1
Rate #2
Sets the depth of the swelling of
the flanger sound.
Feedback
-98– +98 %
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Specifies the spaciousness of the
flanger sound.
0.05–10.0 Hz,
note
Adjusts the modulation speed of
the flanger effect.
Phase
0–180 deg
Resonance
0–127
Sets the intensity of the flanger’s
effect.
* If the Feedback Mode is
CROSS, this setting is
Step Rate #2
0.05–10.0 Hz,
note
Specifies the frequency of pitch
change.
ignored.
Flanger Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Volume of the flanger sound
Frequency of the low range
Gain of the low range
Phase
0–180 deg
Specifies the spaciousness of the
flanger sound.
50–4000 Hz
-15– +15 dB
Feedback Mode NORMAL,
CROSS
Specifies the input destination to
which the flanger sound will be
returned.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
NORMAL: The left flanger
sound will be returned to the left
input, and the right flanger
sound to the right input.
CROSS: The left flanger sound
will be returned to the right in-
put, and the right flanger sound
to the left input.
Feedback
-98– +98 %
This setting makes the flanging
sound of each of right and left
channels return to the input of
the opposite channel. Negative
(-) settings will invert the phase.
* When the Feedback Mode is set
to NORMAL, this setting will
be ignored.
Cross Mix Level -100– +100
This setting makes the flanging
sound from each of the right and
left channels mix it with the
flanging sound of the opposite
channel. Negative (-) settings
will invert the phase.
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 2 7
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Effe cts List
2 3 : An a lo g Ph a se r
2 4 : Dig ita l Ph a se r
This effect features two analog-type phasers arranged in parallel,
making it stereo compatible. The sound as it cyclically drifts in and
out of phase is added to the source sound, creating the modulation
Phaser is an effect that adds a phase-shifted sound to the original
sound to create time-varying change, modulating the sound.
fig.MFX-24
with the characteristic of phasers.
fig.MFX-23
L
2-Band
Phaser
L
EQ
Analog
R
Phaser
R
Parameter
Value
Description
Parameter
Value
Description
Shift Mode
4STAGE,
8STAGE
Sets the number of stages in the
phase shift circuit (four (4STAG)
or eight (8STAGE)).
Setting this to eight stages
(8STAGE) increases the number
of the frequency points that
sound is canceled, giving a
sharper effect.
Shift Mode
4STAGE,
8STAGE
Sets the number of stages in the
phase shift circuit (four (4STAG)
or eight (8STAGE)).
Setting this to eight stages
(8STAGE) increases the number
of the frequency points that
sound is canceled, giving a
sharper effect.
Level
Level
Level
4 stage
4 stage
Freq.
Freq.
Level
8 stage
8 stage
Freq.
Freq.
Center Freq #1 0–127
Sets the center frequency to
which the phaser effect is ap-
plied.
Increasing this value moves the
effect point of the phaser into
higher frequency ranges.
Amount of feedback
Increasing this value gives a
more distinctive sound to the ef-
fect.
Manual
Rate #1
Depth #2
Phase
0–127
Specifies the center frequency at
which the sound is modulated.
Specifies the frequency of mod-
ulation.
0.05–10.0 Hz,
note
0–127
Specifies the depth of modula-
tion.
Resonance
0–127
NORM, INV
Sets the phase of both left and
right swelling.
NORM: The left and right phase
will be the same.
INV: The left and right phase
will be opposite.
LFO 1/ 2 Rate
0.02–5.00 Hz,
note
Sets the rate of the swelling
sound.
LFO 1/ 2 Depth 0–127
Specifies the depth of modula-
tion.
Resonance
Mix Level
0–127
0–127
Specifies the amount of feed-
back for the phaser.
LFO 1/ 2 Phase NORM, INV
Sets the phase of both left and
right swelling.
NORM: The left and right phase
will be the same.
INV: The left and right phase
will be opposite.
Higher settings will give the
sound a stronger character.
Volume of the phase-shifted
sound, relative to the direct
sound
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 2 8
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Effe cts List
2 5 : Ro ta ry
2 6 : Tre m o lo / Au to Pa n
The Rotary effect simulates the sound of the rotary speakers often
used with the electric organs of the past. Since the movement of the
high range and low range rotors can be set independently, the
unique type of modulation characteristic of these speakers can be
simulated quite closely. This effect is most suitable for electric organ
This is a stereo tremolo or auto-pan effect. Tremolo cyclically
modulates the volume to add tremolo effect to the sound. The Auto
Pan effect cyclically modulates the stereo location of the sound.
fig.MFX-26
Patches.
fig.MFX-25
L
Tremolo/
Auto Pan
2-Band
EQ
L
R
2-Band
Rotary
EQ
R
Parameter
Value
Description
Mode
TREMOLO,
AUTO PAN
Selects whether to use tremolo
or auto pan.
Parameter
Value
Description
Speed
SLOW, FAST
Simultaneously switch the rota-
tional speed of the low frequen-
cy rotor and high frequency
rotor
Waveform
TRI, SAWUP,
SAWDN, SQR, TRI: Triangle wave
SIN SAWUP/ SAWDN: Sawtooth
Selects the type of modulation.
Wave
SQR: Square wave
SIN: Sine wave
SLOW: Slows down the rotation
to the Slow Rate.
FAST: Speeds up the rotation to
the Fast Rate.
SAWUP
SAWDN
Low Slow Rate 0.05–10.0 Hz,
note
Slow speed (SLOW) of the low
frequency rotor
Low Fast Rate
0.05–10.0 Hz,
note
Fast speed (FAST) of the low fre-
quency rotor
Rate #1
0.05–10.0 Hz,
note
Frequency of modulation
Depth of modulation
Low Accelera- 0–15
tion
Adjusts the time it takes the low
frequency rotor to reach the
newly selected speed when
switching from fast to slow (or
slow to fast) speed.
Depth #2
Balance
0–127
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
Low Level
0–127
Volume of the low frequency ro-
tor
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Hi Slow Rate
Hi Fast Rate
0.05–10.0 Hz,
note
Slow speed (SLOW) of the high
frequency rotor
Ps Hi Gain
0.05–10.0 Hz,
note
Fast speed (FAST) of the high
frequency rotor
Hi Acceleration 0–15
Adjusts the time it takes the high
frequency rotor to reach the
newly selected speed when
switching from fast to slow (or
slow to fast) speed.
Hi Level
0–127
Volume of the high frequency
rotor
Separation #1
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Spatial dispersion of the sound
Frequency of the low range
Gain of the low range
50–4000 Hz
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 2 9
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Effe cts List
2 7 : Ste re o Pitch Sh ifte r
This effect features two pitch shifters arranged in parallel, making it
2 8 : O D/ DS→Ch o / Flg (O ve rd rive /
Disto rtio n →Ch o ru s/ Fla n g e r)
stereo compatible. It can shift the pitch of the input signal up to one
This effect connects either Overdrive or Distortion and either Chorus
octave up or down.
fig.MFX-27
or Flanger.
fig.MFX-28
L
L
Overdrive/
Distortion
Chorus/
Flanger
2-Band
EQ
A
2-Band
Stereo Pitch Shifter
EQ
R
B
R
Parameter
Value
Description
Distortion
Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Degree of distortion
Parameter
Value
Description
Drive #1
0–127
Input Mode
MONO, STE-
REO
Selects either stereo input or
monaural input.
Amp Sim Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN, 2-
STACK, 3-
STACK
Turns the amp simulator on/ off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack amp
Volume of the overdrive or dis-
tortion sound.
Grade
1–5
Sets the grade of the effect
sound.
The higher the value is set, the
more natural-sounding can be
obtained; however, this increas-
es the delay from the source
sound as well.
Distortion Level 0–127
Coarse Pitch A/ -12– +12 semi- Specifies the pitch shift amount
B #1/ #2
tone
in semitones for pitch shift A or
B.
Mod Mode
Mod Rate #2
Mod Depth
Mod Phase
CHORUS,
Selects whether to use chorus or
flanger.
FLANGER
0.05–10.0 Hz,
note
Fine Pitch A/ B -100– +100 cent Adjusts the pitch shift amount in
2-cent units (1 cent = 1/ 100 of a
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
semitone) for pitch shift A or B.
0–127
Pre Delay A/ B 0–500 ms
Adjusts the delay time from the
direct sound until the pitch shift
A or B sound is heard.
0–180 deg
Level A/ B
Pan A/ B
0–127
Volume of the pitch shift A or B
sound.
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
L63–63R
Pan of the pitch shift A or B
sound.
Direct Level
Feedback #3
0–127
Volume of the direct sound.
Adjusts the proportion of the
pitch shift sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
-98– +98 %
Xover LowFreq 50–4000 Hz
Xover Low Gain -36–0 dB
Attenuates the effect in the
range below the specified fre-
quency.
Low Damp Freq 50–4000 Hz
Specifies how greatly the low
range will be attenuated.
The Low Damp function damps
the low frequency band of the
pitch shift sound quicker than
other bands.
Xover HiFreq
2000–20000 Hz Attenuates the effect in the
range above the specified fre-
quency.
Xover Hi Gain -36–0 dB
Specifies how greatly the high
range will be attenuated.
Volume of the chorus or flanger
sound.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Mod Level
0–127
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
High Damp, by attenuating the
higher frequencies first.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
Hi Damp Gain -36–0 dB
Degree of High Damp
Frequency of the low range
Gain of the low range
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 3 0
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Effe cts List
2 9 : O D/ DS→De la y
Parameter
Value
Description
(O ve rd rive / Disto rtio n →De la y )
Mod Mode
CHORUS,
FLANGER
0.05–10.0 Hz,
note
Selects whether to use chorus or
flanger.
This effect connects either Overdrive or Distortion and Delay in series.
fig.MFX-29
Mod Rate #1
Mod Depth
Mod Phase
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
L
0–127
Overdrive/
Distortion
2-Band
EQ
Delay
0–180 deg
R
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Parameter
Value
Description
Distortion
Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Degree of distortion
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Drive #1
0–127
Amp Sim Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN, 2-
STACK, 3-
STACK
Turns the amp simulator on/ off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack amp
Volume of the overdrive or dis-
tortion sound.
Xover LowFreq 50–4000 Hz
Xover Low Gain -36–0 dB
Attenuates the effect in the
range below the specified fre-
quency.
Specifies how greatly the low
range will be attenuated.
Xover HiFreq
2000–20000 Hz Attenuates the effect in the
range above the specified fre-
quency.
Distortion Level 0–127
Delay Time
0–1300 ms, note Adjusts the delay time from the
direct sound until the delay
Xover Hi Gain -36–0 dB
Specifies how greatly the high
range will be attenuated.
Volume of the chorus or flanger
sound.
sound is heard.
Mod Level
Delay Time
0–127
Delay Feedback -98– +98 %
#2
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
0–1300 ms, note Adjusts the delay time from the
direct sound until the delay
sound is heard.
Low Damp Freq 50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
Delay Feedback -98– +98 %
Low Damp Freq 50–4000 Hz
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
High Damp, by attenuating the
higher frequencies first, makes
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
the delay sound more natural.
Hi Damp Gain -36–0 dB
Degree of High Damp
Delay Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Volume of the delay sound.
Frequency of the low range
Gain of the low range
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
50–4000 Hz
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Hi Damp Gain -36–0 dB
Degree of High Damp
Ps Hi Gain
Delay Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Volume of the delay sound.
Frequency of the low range
Gain of the low range
50–4000 Hz
-15– +15 dB
3 0 : Ch o / Flg →De la y
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
(Ch o ru s/ Fla n g e r→De la y )
Ps Hi Gain
This effect connects either Chorus or Flanger and Delay in series.
fig.MFX-30
L
Chorus/
Flanger
2-Band
EQ
Delay
R
1 3 1
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Effe cts List
3 1 : En h →Ch o / Flg
3 2 : En h →De la y (En h a n ce r→De la y )
(En h a n ce r→Ch o ru s/ Fla n g e r)
This effect connects an Enhancer and a Delay in series.
fig.MFX-32
This effect connects Enhancer and either Chorus or Flanger in series.
fig.MFX-31
L
2-Band
EQ
Enhancer
Delay
L
R
Chorus/
Flanger
2-Band
EQ
Enhancer
R
Parameter
Value
Description
Enhan Sens #1 0–127
Enhan Frequen- 0–127
cy
Sensitivity of the enhancer
Sets the lower limit of the fre-
quencies to which the enhance-
ment effect is added.
Parameter
Value
Description
Enhan Sens #1 0–127
Enhan Frequen- 0–127
cy
Sensitivity of the enhancer
Sets the lower limit of the fre-
quencies to which the enhance-
ment effect is added.
Enhan Mix Lev- 0–127
el
Level of the overtones generated
by the enhancer
Enhan Mix Lev- 0–127
el
Level of the overtones generated
by the enhancer
Enhan Level
Delay Time
0–127
Volume of the enhancer sound
0–1300 ms, note Adjusts the delay time from the
direct sound until the delay
Enhan Level
Mod Mode
0–127
Volume of the enhancer sound
Selects whether to use chorus or
flanger.
CHORUS,
FLANGER
0.05–10.0 Hz,
note
sound is heard.
Delay Feedback -98– +98 %
#2
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Mod Rate #2
Mod Depth
Mod Phase
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
0–127
Low Damp Freq 50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
0–180 deg
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Xover LowFreq 50–4000 Hz
Xover Low Gain -36–0 dB
Attenuates the effect in the
range below the specified fre-
quency.
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Specifies how greatly the low
range will be attenuated.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Xover HiFreq
2000–20000 Hz Attenuates the effect in the
range above the specified fre-
quency.
Hi Damp Gain -36–0 dB
Degree of High Damp
Delay Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Volume of the delay sound.
Frequency of the low range
Gain of the low range
Xover Hi Gain -36–0 dB
Specifies how greatly the high
range will be attenuated.
Volume of the chorus or flanger
sound.
50–4000 Hz
-15– +15 dB
Mod Level
0–127
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
1 3 2
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Effe cts List
Parameter
Value
Description
3 3 : Vo ca l Mu lti
A limiter/ de-esser, enhancer, 3-band equalizer, and delay are
Low Damp Freq 50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
connected in series.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
A limiter holds down high signal levels to prevent distortion.
A de-esser cuts the sibilant sounds of a voice, producing a gentler
tone.
fig.MFX-33
L
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Limiter/
De-esser
3-Band
EQ
Enhancer
Delay
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
R
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Parameter
Value
Description
Limtr Mode
LIMITER, DE- Selects whether the effect will
ESSER
function as a limiter or as a de-
esser.
Hi Damp Gain -36–0 dB
Delay Level 0–127
Degree of High Damp
Volume of the delay sound.
* When the limiter mode is DE-
ESSER, the setting for Limtr
xxxxx will be ignored. When
the mode is LIMITER, the
setting for DE xxxxx will be
ignored.
3 4 : Gu ita r Mu lti
Guitar Multi provides Comp/ Limiter, Overdrive or Distortion,
Chorus or Flanger, and Delay effects connected in series.
fig.MFX-34
Limtr Thresh-
old
-60–0 dB
0–127
Adjusts the level (Threshold
Level) at which the limiter will
begin to operate.
L
Comp/
Limiter
Overdrive/
Distortion
Chorus/
Flanger
Limtr Release
#1
Adjusts the time until when the
limiter will turn off after the in-
put level falls below the thresh-
old level.
R
Limtr Gain
DE Sens
-60– +12 dB
0–127
Adjusts the gain of the sound
that passes through the limiter.
Adjusts the sensitivity relative
to the input volume, which con-
trols how the effect is applied.
Delay
DE Frequency
Enhan Sens
1000–10000 Hz Adjusts the frequency at which
the de-esser effect will apply.
Parameter
Comp Sw
Value
OFF, ON
Description
0–127
Sensitivity of the enhancer
Sets the lower limit of the fre-
quencies to which the enhance-
ment effect is added.
Turns the comp/ limiter on/ off.
Sets the volume level at which
the compression begins.
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
Enhan Frequen- 0–127
cy
Comp Thresh- -60–0 dB
old
Comp Attack
Comp Release
Comp Ratio
0–127
Enhan Mix Lev- 0–127
el
Level of the overtones generated
by the enhancer
Enhan Level
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Q
0–127
Volume of the enhancer sound
Frequency of the low range
Gain of the low range
50–4000 Hz
-15– +15 dB
50–20000 Hz
0–127
Specifies the time from when the
volume drops below the com-
pressor threshold until com-
pression is no longer applied.
Sets the “source sound:output
sound” compression ratio.
Adjusts the output gain.
Selects whether to use overdrive
or distortion.
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range
1.5:1, 2:1, 4:1,
100:1
EQ Mid Gain
EQ Hi Freq
EQ Hi Gain
Delay Time
-15– +15 dB
Comp Gain
-60– +12 dB
OFF, ON
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Distortion Sw
Distortion
Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Degree of distortion
0–1300 ms, note Adjusts the delay time from the
direct sound until the delay
sound is heard.
Drive
0–127
Delay Feedback -98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Amp Sim Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN, 2-
STACK, 3-
STACK
Turns the amp simulator on/ off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack amp
Volume of the overdrive or dis-
tortion sound.
Distortion Level 0–127
1 3 3
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Effe cts List
Parameter
Value
Description
Parameter
Value
Description
Mod Mode
CHORUS,
FLANGER
0.05–10.0 Hz,
note
Selects whether to use chorus or
flanger.
Distortion Sw
OFF, ON
Selects whether to use overdrive
or distortion.
Mod Rate
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
Distortion
Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Degree of distortion
Mod Depth
Mod Phase
0–127
Drive
0–127
Amp Sim Sw
Amp Type
OFF, ON
SMALL,
BUILT-IN, 2-
STACK, 3-
STACK
Turns the amp simulator on/ off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack amp
Volume of the overdrive or dis-
tortion sound.
0–180 deg
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Distortion Level 0–127
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Q
50–4000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Mod XoverLPF 500–15000 Hz, Adjusts the cutoff frequency of
-15– +15 dB
50–20000 Hz
THRU
the low pass filter. (THRU: no
filter is used)
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0
Mod XoverHPF THRU, 50–800 Adjusts the cutoff frequency of
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range
Hz
the high pass filter. (THRU: no
filter is used)
EQ Mid Gain
EQ Hi Freq
EQ Hi Gain
Mod Mode
-15– +15 dB
Mod Level
Delay Time
0–127
Volume of the chorus or flanger
sound.
2000–20000 Hz Frequency of the high range
-15– +15 dB
CHORUS,
FLANGER
0.05–10.0 Hz,
note
Gain of the high range
0–1300 ms, note Adjusts the delay time from the
direct sound until the delay
Selects whether to use chorus or
flanger.
sound is heard.
Mod Rate
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
Delay Feedback -98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Mod Depth
Mod Phase
0–127
0–180 deg
Hi Damp Freq 500–15000 Hz, Adjusts the frequency above
THRU
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Volume of the delay sound.
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Delay Level
0–127
Mod XoverLPF 500–15000 Hz, Adjusts the cutoff frequency of
3 5 : Ba ss Mu lti
Bass Multi provides Comp/ Limiter, Overdrive or Distortion, 3-band
THRU
the low pass filter. (THRU: no
filter is used)
equalizer, and Chorus or Flanger effects connected in series. This
Mod XoverHPF THRU, 50–800 Adjusts the cutoff frequency of
algorithm is a multi-effects for bass.
fig.MFX-35
Hz
the high pass filter. (THRU: no
filter is used)
Mod Level
0–127
Volume of the chorus or flanger
sound.
L
Comp/
Limiter
Overdrive/
Distortion
3-Band
EQ
Chorus/
Flanger
R
Parameter
Comp Sw
Value
OFF, ON
Description
Turns the comp/ limiter on/ off.
Sets the volume level at which
the compression begins.
Comp Thresh- -60–0 dB
old #1
Comp Attack
0–127
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
Comp Release
0–127
Specifies the time from when the
volume drops below the com-
pressor threshold until com-
pression is no longer applied.
Sets the “source sound:output
sound” compression ratio.
Adjusts the output gain.
Comp Ratio
Comp Gain
1.5:1, 2:1, 4:1,
100:1
-60– +12 dB
1 3 4
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Effe cts List
Parameter
Value
Description
3 6 : Rh o d e s Mu lti
Enhancer, Phaser, Chorus or Flanger, and Tremolo or Auto-pan are
Trem/ Pan Sw
OFF, ON
Turns the tremolo/ auto pan ef-
fect on/ off.
connected in series. This effect is used for electric piano.
fig.MFX-36
Trem Mode
TREMOLO,
AUTO PAN
TRI, SAWUP,
SAWDN, SQR, TRI: Triangle wave
SIN SAWUP/ SAWDN: Sawtooth
Selects whether to use tremolo
or auto pan.
L
Trem Wave-
form
Selects the type of modulation.
Enhancer
Phaser
Wave
SQR: Square wave
SIN: Sine wave
R
SAWUP
SAWDN
Tremolo/
Auto Pan
Trem Rate
0.05–10.0 Hz,
note
Frequency of modulation
Depth of modulation
Chorus/
Flanger
Trem Depth
0–127
3 7 : Ke y b o a rd Mu lti
Parameter
Value
Description
A ring modulator, 3-band equalizer, pitch shifter, phaser, and delay
Enhan Sw
OFF, ON
Turns the enhancer effect on/
off.
are connected in series.
Enhan Sens
0–127
Sensitivity of the enhancer
Sets the lower limit of the fre-
quencies to which the enhance-
ment effect is added.
Ring Modulator is an effect which applies ring modulation using an
Enhan Frequen- 0–127
cy
internal oscillator to the input signal, producing bell-like sounds.
fig.MFX-37
Enhan Mix Lev- 0–127
el
Level of the overtones generated
by the enhancer
L
Enhan Level
0–127
Volume of the enhancer sound
Specifies the center frequency at
which the sound is modulated.
Specifies the frequency of mod-
ulation.
Ring
Modulator
3-Band
EQ
Pitch
Shifter
Phaser Manual 0–127
R
Phaser Rate
0.05–10.0 Hz,
note
Phaser Depth
0–127
Specifies the depth of modula-
tion.
Phaser Reso-
nance
0–127
Specifies the amount of feed-
back for the phaser.
Phaser
Delay
Higher settings will give the
sound a stronger character.
Specifies the volume of the
phase-shifted sound, relative to
the direct sound.
Phaser Mix Lev- 0–127
el
Parameter
Ring Freq
Value
Description
Mod Mode
Mod Rate
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
0–127
Frequency at which modulation
will be applied
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
Adjusts the depth of modulation
for the chorus or flanger.
Sets how the chorus or flanger
sound is spread.
Ring Balance #1 DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the ring
modulated sound (WET)
Mod Depth
Mod Phase
0–127
EQ Low Freq
EQ Low Gain
EQ Mid Freq
EQ Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
0–180 deg
Frequency of the middle range
Mod Pre Delay 0–50.0 ms
Mod Feedback -98– +98 %
Adjusts the delay time from the
direct sound until the chorus or
flanger sound is heard.
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Gain of the middle range
EQ Mid Gain
EQ Hi Freq
EQ Hi Gain
PS Grade
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB
1–5
Gain of the high range
Sets the grade of the effect
sound.
The higher the value is set, the
more natural-sounding can be
obtained; however, this increas-
es the delay from the source
sound as well.
Mod XoverLPF 500–15000 Hz, Adjusts the cutoff frequency of
THRU
the low pass filter. (THRU: no
filter is used)
Mod XoverHPF THRU, 50–800 Adjusts the cutoff frequency of
Hz
the high pass filter. (THRU: no
filter is used)
Mod Level
0–127
Volume of the chorus or flanger
sound.
1 3 5
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Effe cts List
Parameter
Value
Description
PS Coarse
-12– +12 semi- Specifies the pitch shift amount
Parameter
Value
Description
tone
in semitone steps.
Input Mode
MONO, STE-
REO
Use this setting to select either a
stereo or monaural record play-
er for the effect.
PS Fine
-100– +100 cent Adjusts the pitch shift amount in
2-cent steps (1 cent = 1/ 100 of a
semitone).
Signal Dist
Frequency
Range
0–127
0–127
Degree of distortion
Sets the frequency response of
the record player.
Lowering the value degrades
the frequency characteristics,
making the sound resemble that
from an older system.
Sets the turntable rotation
speed.
PS Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
Phaser Manual 0–127
Specifies the center frequency at
which the sound is modulated.
Specifies the frequency of mod-
ulation.
Phaser Rate
0.05–10.0 Hz,
note
Disk Type
LP, EP, SP
Phaser Depth
0–127
Specifies the depth of modula-
tion.
LP: 33 1/ 3 r.p.m.
EP: 45 r.p.m.
SP: 78 r.p.m.
Phaser Reso-
nance
0–127
Specifies the amount of feed-
back for the phaser.
Total Noise #1 0–127
Total noise level.
Higher settings will give the
sound a stronger character.
Specifies the volume of the
phase-shifted sound, relative to
the direct sound.
Scratch
Dust
0–127
0–127
0–127
Scratches on the record.
Dust on the record.
Phaser Mix Lev- 0–127
el
Hiss
Continuous hissing noise.
* These settings add the typical record’s noise. The noises increase as
the values are raised. Set each of the Scratch, Dust, and Hiss noise
levels to get a balance, the adjust the overall amount of noise with the
Total Noise Level control.
Delay Time
0–650 ms, note Adjusts the delay time from the
direct sound until the delay
sound is heard.
Delay Feedback -98– +98 %
Low Damp Freq 50–4000 Hz
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
Total Wow/
Flutter #2
Wow
0–127
0–127
0–127
0–127
Total wow and flutter.
Wow, long cycle rotational ir-
regularity.
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
Flutter
Flutter, short cycle rotational ir-
regularity.
Random
Random rotational irregularity.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
These settings determine the rotational irregularities of the record
player. Set each of the Wow, Flutter, and Random levels to get a bal-
ance, the adjust the overall depth of the effect with the Total Wow/
Flutter control.
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
3 9 : Ra d io Tu n in g
This effect reproduces the sound of an AM radio playing.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
fig.MFX-39
Hi Damp Gain -36–0 dB
Delay Level 0–127
Degree of High Damp
Volume of the delay sound.
L
Radio
Tuning
3 8 : Ph o n o g ra p h
R
This effect reproduces the sound of an analog record played on a
record player. This includes the various noises with the characteristic
of records and the uneven rotation of older turntables.
fig.MFX-38
Parameter
Value
Description
Tuning #1
-50– +50
Adjusts the degree of noise that
occurs when tuning a radio.
Sets the noise level.
Noise Level #2 0–127
L
Frequency
Range #3
0–127
Sets the frequency response of
the radio.
Phonograph
R
Lowering the value worsens the
frequency characteristics, mak-
ing the sound appear to be com-
ing from a tiny radio speaker.
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
1 3 6
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Effe cts List
Parameter
Value
Description
4 0 : Bit Ra te Co n ve rte r
By changing the bit count and sample rate, this effect recreates the
Lo-Fi (Low-Fidelity) sounds of the early digital samplers and similar
machines. After the Lo-Fi processor, a filter to change the tone is
Filter Gain
0– +24 dB
Compensates for the volume
dropped in the cut frequency
range with some filters.
The level of compensation in-
creases as the value is increased,
and raise the volume.
arranged in series.
fig.MFX-40
4 1 : Pse u d o Ste re o
Spreads the components of the monaural input sound to left and
L
Lo-Fi
Processor
Filter
R
right, creating an artificial sense of stereo output.
fig.MFX-41
L
Pseudo
Stereo
Parameter
Value
Description
Pre Filter Sw
OFF, ON
This is the switch of the filter
placed before the Lo-Fi process-
ing
R
Sample Rate
1/ 1, 1/ 2, 1/ 4,
1/ 8, 1/ 16, 1/ 32 pling rates to be used for pro-
cessing.
Sets the fraction of current sam-
Parameter
Value
Description
Depth #1
0–15
Spaciousness of the sound field
Bit Down
0–15
This setting is for reducing the
bit count.
Post Filter Sw
OFF, ON
This is the switch of the filter
placed after the Lo-Fi process-
ing.
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the effect
sound (WET)
Filter Type
THRU, LPF,
BPF, HPF,
NOTCH
Type of filter
THRU: no filter is used
LPF: Passes frequencies below
the Cutoff.
BPF: Passes frequencies near the
Cutoff.
HPF: Passes frequencies above
the Cutoff.
NOTCH: Passes frequencies
other than those near the Cutoff.
Level
Level
Freq.
Freq.
LPF
HPF
Level
Level
Freq.
Freq.
BPF
NOTCH
Filter Slope
Filter Cutoff
-12, -24 dB/ O
Filter’s attenuation slope
-24 dB per octave: steep
-12 dB per octave: gentle
Cutoff frequency of the filter
The closer to zero it is set, the
lower the cutoff frequency be-
comes; set it closer to 127, and
the cutoff frequency becomes
higher.
0–127
Filter Reso-
nance
0–127
Resonance level of the filter
Raising the setting increases res-
onance near the cutoff frequen-
cy, giving the sound a special
characteristic.
1 3 7
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Effe cts List
Ch o ru s Pa ra m e te rs
Ch o ru s Pa ra m e te rs
The functions of Chorus parameters are explained.
Parameter
Value
Description
Pre Low Freq
500–15000 Hz,
THRU
Frequency of the low range
(THRU: no filter is used)
Ch o ru s Ty p e
0 1 : Ch o ru s 1
Pre Hi Freq
Pre Dly Time
Co LPF Freq
THRU, 50–800 Hz Frequency of the high
range (THRU: no filter is
used)
0–50.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
Adjusts the cutoff frequen-
cy of the low pass filter.
(THRU: no filter is used)
The effect will be applied to
the frequency range below
the cutoff frequency.
This conventional chorus effect adds spaciousness and depth to the
sound. Slow modulation frequency with less depth.
500–15000 Hz,
THRU
0 2 :Ch o ru s 2
This conventional chorus effect adds spaciousness and depth to the
sound. Rapid modulation frequency with less depth.
Co HPF Freq
THRU, 50–800 Hz Adjusts the cutoff frequen-
cy of the high pass filter.
0 3 : Ch o ru s 3
(THRU: no filter is used)
This conventional chorus effect adds spaciousness and depth to the
sound. Slow modulation frequency with more depth.
The effect will be applied to
the frequency range above
the cutoff frequency.
Rate
0.05–10.0 Hz, note Sets the cycle for the chorus
or flanger sound undula-
tions.
0 4 : Ch o ru s 4
This conventional chorus effect adds spaciousness and depth to the
sound. Rapid modulation frequency with more depth.
Depth
Feedback
0–127
Adjusts the depth of modu-
lation for the chorus or
flanger.
0 5 : Fe e d b a ck Ch o ru s
-98– +98 %
Adjusts the proportion of
the effect sound that is fed
back into the effect. Nega-
tive (-) settings will invert
the phase.
This chorus offers a flanger-like effect, creating a soft sound.
0 6 : Fla n g e r
Cho/ Flg Sw
CHORUS,
FLANGER
Selects either chorus or
flanger.
This effect sounds somewhat like a jet airplane taking off and
landing.
0 7 : Sh o rt De la y
Re ve rb Pa ra m e te rs
This is a delay with a short delay time.
The functions of Reverb parameters are explained.
0 8 : Fb k Sh o rt De la y
Explanations for each Reverb Type are given on the following
pages.
This is a short delay with many repeats.
01: Room 1
02: Room 2
03: Room 3
04: Hall 1
05: Hall 2
06: Hall 3
07: Garage
08: Plate
09: Non-Linear
10: Delay
1 3 8
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Effe cts List
0 1 : Ro o m 1
0 2 : Ro o m 2
Reverb which simulates the reverberation within a room. It is
This simulates the reverberation of a room. It is suitable for
standard room reverb.
simulating a fairly small room, and produces a clear reverberation.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
2000–20000 Hz
Pre Hi Gain
-15– +15 dB
0.06–32.0 sec
Gain of the high range
Duration (time) of the re-
verb for the low frequency
band
Pre Hi Gain
Reverb Time
-15– +15 dB
0.06–32.0 sec
Gain of the high range
Duration (time) of the re-
verb
Low Rev Time
Pre Dly Time
0–200.0 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Hi Rev Time
Xover Freq
0.06–32.0 sec
Duration (time) of the re-
verb for the high frequency
band
Density
0–99
1–10
160–15000 Hz,
THRU
The reverberation specified
by the Low Rev Time will
be applied to the range be-
low this frequency, and by
the Hi Rev Time to the
range above this frequency.
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Room Size
Early Ref Level
Low Damp Freq
0–99
Volume level of the initial
reflected sound
50–4000 Hz
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Pre Dly Time
0–200.0 ms
Density
0–99
Room Size
5.6–32.6 m
Low Damp Gain
Hi Damp Freq
-36–0 dB
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
2000–20000 Hz
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
Low Damp Freq
50–4000 Hz
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
1 3 9
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0 3 : Ro o m 3
0 4 : Ha ll 1
Reverb which simulates the reverberation within a room. This is
suitable for simulating a fairly large room, and produces
reverberation with a strong mid and low range.
This simulates the reverberation of a concert hall. It is a conventional
hall reverb. You can also apply a chorus effect to the reverberation to
adjust the sense of spaciousness or to create a special effect.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
2000–20000 Hz
Pre Hi Gain
Reverb Time
-15– +15 dB
0.06–32.0 sec
Gain of the high range
Duration (time) of the re-
verb
Pre Hi Gain
-15– +15 dB
0.06–64.0 sec
Gain of the high range
Duration (time) of the re-
verb for the low frequency
band.
Low Rev Time
Pre Dly Time
0–200.0 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Hi Rev Time
Xover Freq
0.06–64.0 sec
Duration (time) of the re-
verb for the high frequency
band
Density
0–99
1–8
160–15000 Hz,
THRU
The reverberation specified
by the Low Rev Time will
be applied to the range be-
low this frequency, and by
the Hi Rev Time to the
range above this frequency.
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Room Size
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Pre Dly Time
0–200.0 ms
Low Damp Freq
50–4000 Hz
Density
0–99
Room Size
5.6–32.6 m
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
Low Damp Gain
Hi Damp Freq
-36–0 dB
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
2000–20000 Hz
Low Damp Freq
50–4000 Hz
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
Chorus Rate
0–127
0–127
Rate of modulation for the
reverb
Chorus Depth
Depth of modulation for
the reverb
1 4 0
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Effe cts List
0 5 : Ha ll 2
0 6 : Ha ll 3
Simulates the reverberation in a concert hall. This is suitable for
Simulates the reverberation in a concert hall. This is suitable for
simulating a fairly large room, and produces reverberation with a
strong mid and low range.
simulating a smaller room, and produces a clear reverberation.
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
Pre Hi Gain
Reverb Time
-15– +15 dB
0.06–64.0 sec
Gain of the high range
Duration (time) of the re-
verb
Pre Hi Gain
Reverb Time
-15– +15 dB
0.06–64.0 sec
Gain of the high range
Duration (time) of the re-
verb
Pre Dly Time
0–200.0 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Pre Dly Time
0–200.0 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Density
0–99
1–10
Room Size
Density
0–99
1–8
Room Size
Early Ref Level
Low Damp Freq
0–99
Volume level of the initial
reflected sound
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
50–4000 Hz
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Low Damp Freq
50–4000 Hz
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
1 4 1
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Effe cts List
0 7 : Ga ra g e
0 8 : PLATE
This simulates the reverberation of a garage. It produces the
reverberation of a room surrounded by hard-surfaced walls with
many reflections.
Simulates plate reverberation (a reverb unit that uses the vibration of
a metallic plate).
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
Pre Hi Gain
-15– +15 dB
0.06–32.0 sec
Gain of the high range
Duration (time) of the re-
verb for the low frequency
band.
Low Rev Time
Pre Hi Gain
Reverb Time
-15– +15 dB
0.06–32.0 sec
Gain of the high range
Duration (time) of the re-
verb
Hi Rev Time
Xover Freq
0.06–32.0 sec
Duration (time) of the re-
verb for the high frequency
band
Pre Dly Time
0–200.0 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
160–15000 Hz,
THRU
The reverberation specified
by the Low Rev Time will
be applied to the range be-
low this frequency, and by
the Hi Rev Time to the
range above this frequency.
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Size of the room which is
simulated
Density
0–99
1–8
Room Size
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Pre Dly Time
0–200.0 ms
Low Damp Freq
50–4000 Hz
Density
0–99
Room Size
5.6–34.7 m
Early Ref Level
Release Density
0–99
0–99
Volume level of the initial
reflected sound
Density of the sound that
reaches the listener after
many repeated reflections
Adjusts the frequency be-
low which sound fed back
to the effect will be cut.
The Low Damp function
damps the low frequency
band of the reverb sound
quicker than other bands.
Degree of Low Damp
Adjusts the frequency
above which sound fed
back to the effect will be
cut.
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
Low Damp Freq
50–4000 Hz
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
Low Damp Gain
Hi Damp Freq
-36–0 dB
2000–20000 Hz
High Damp, by attenuating
the higher frequencies first.
Degree of High Damp
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
Hi Damp Gain
Post HC Freq
-36–0 dB
160–15000 Hz,
THRU
1 4 2
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Effe cts List
0 9 : N o n -Lin e a r
1 0 : De la y
This uses digital processing to create an artificial reverberation that
This is a stereo delay. Depending on the length of the delay you set,
is quite different than naturally occurring reverberation.
you can get long echoes, thick sounds, or spatial sounds.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle
range
Mode
MONO, STE-
REO, ALTER-
NATE
Switches stereo, monaural, or al-
ternate.
MONO: This is a single-input,
dual-output delay. Stereo sound
(left and right) are mixed before
being input.
STEREO: This is a dual-input,
dual-output delay. The delay
sound output features the same
stereo placement as that of the
input.
ALTERNATE: The left and right
delay sound output alternately.
(Alternate delay)
Pre Mid Q
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to
narrow the range to be af-
fected.
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
Frequency of the high
range
2000–20000 Hz
Pre Hi Gain
-15– +15 dB
0–200.0 ms
Gain of the high range
Adjusts the delay time from
the direct sound until the
delay sound is heard.
Density of the reverb
Volume level of the initial
reflected sound
Pre Dly Time
Delay Time
L-R Shift
0–1300 ms
Adjusts the delay time from the
(MONO), 0–650 direct sound until the delay
Density
0–99
0–99
ms (STEREO,
ALTERNATE),
note
sound is heard.
Early Ref Level
NLR Type
L→R, NORMAL, Method of output panning
L←R
0–650 ms, note Of the left and right delay
sounds, the delay time will be
increased for only one side.
If the L-R order is L→R, the R
sound will be later. In the case of
R→L, the L sound will be later.
* When the mode is set to
L→R: Pan from the L chan-
nel to the R channel
NORMAL: Output without
panning
L←R: Pan from the R chan-
nel to the L channel
The overall time will be ex-
panded or contracted while
preserving the time ratios
of the various envelope
times.
Env Time Ratio
10–120 %
MONO or ALTERNATE, this
setting will be ignored.
L-R Order
L→R, R→L
In STEREO or ALTERNATE
mode, this setting determines
which of the left or right sides
has the delay sound before the
other
Envelope T1–T4
Envelope L1–L3
0.1–1000 ms
0–100
Time until each point (T1–
T4) is reached
Output level for each point
(L1–L3)
L→R: The left side is expressed
first
* If the total length of
Envelope times
R→L: The right side is expressed
first
(T1+T2+T3+T4) exceeds
1000 ms, the sound of the
portion that extends
* In MONO mode, this setting
will be ignored.
Feedback
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
beyond this will be cut.
Level
Low Damp Freq 50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
L1
L3
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
L2
Time
Low Damp
Gain
-36–0 dB
Degree of Low Damp
T1
T2
T3
T4
Feedback Time
0.1–1000 ms
Delay time for the feedback
sound
Hi Damp Freq 2000–20000 Hz Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Feedback Level
Post HC Freq
0–99 %
Amount of feedback
Frequency at which the
high cut filter will begin to
take effect (THRU: no filter
is used)
160–15000 Hz,
THRU
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Hi Damp Gain -36–0 dB
Degree of High Damp
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Effe cts List
Parameter
Value
Description
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET rect sound (DRY) and the delay
sound (WET)
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
Ps Hi Gain
-15– +15 dB
Gain of the high range
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Tro u b le sh o o tin g
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.
Pro b le m s Re la te d to th e V-Sy n th
Problem
Cause
Action
Power does not turn on
Is the AC cord connected correctly to the V-Synth and Check the AC cord connections.
to an AC outlet?
No Sound/Volume is low
Is the power of the connected devices turned on?
Make sure that the power of your amp or mixer system
is turned on.
Is the volume turned down?
Check the volume of the V-Synth and of the connected
amp or mixer.
Is there sound in the headphones?
If there is sound in the headphones, it is possible that
the connection cables are broken, or that the amp or
mixer is malfunctioning. Check the connection cables
and your other equipment once again.
Is the Demo Song playback selected?
Press [EXIT] to exit Demo Song playback mode (Quick
Start; p. 8).
Is the Local Switch turned OFF?
Is the Patch level set too low?
Are the Effect settings correct?
Check the Effect settings ON or OFF, in the Effect Bal-
Are the settings for the output destination correct?
Have volume messages been received from an external Check the volume.
MIDI device to lower the volume?
Could the oscillator be off?
Press [OSC1] or [OSC2] to turn on the oscillator.
Could the V-Synth be set to USB communication in
Storage mode?
The volume level of the instru- Could you be using a connection cable that contains a Use a connection cable that does not contain a resistor.
ment connected to INPUT
Jacks is too low.
resistor?
Pitch is wrong
Are the Pitch settings of the Oscillator section correct? Check the Coarse Tune/ Fine Tune parameter settings
Is the Master Tune setting correct?
Has a Pitch Bend message been received from an exter- Try moving the pitch bend lever of the connected MIDI
nal device, leaving the pitch “hanging?”
keyboard.
When you play the keyboard, Is the pedal polarity of the Hold Pedal reversed?
notes do not stop
Sound is distorted
Effects do not apply
Is an effect which distorts the sound being applied?
Has the Patch level been turned up?
[MFX], [CHO], or [REV] effect switches may have been Turn them on.
turned off.
Are the various effect settings correct?
If the send level of each effect is set to 0, the effect will
Even with send levels to each effect set at 0, effects are
not applied if the MFX Master Level, the Chorus Mas-
ter Level, or the Reverb Master Level is set to 0. Check
If Output Assign is set to other than “MULTI,” the
Oscillator Type has been to
“EXT IN,” but no sound is
heard when audio is input
through the INPUT jacks
If the oscillator is set to external input (EXT IN), you
will not hear sound unless you play the keyboard.
Try playing the keyboard.
No sound from connected
MIDI device
Is the instrument set to transmit MIDI messages?
Does the MIDI transmit channel for the V-Synth match Check the Patch Tx Ch parameter setting (p. 77).
the MIDI receive channel for the connected MIDI de-
vice?
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Tro u b le sh o o tin g
Problem
Cause
Action
Exclusive messages are not
received
Is the instrument set to receive Exclusive messages?
match the Device ID number of the V-Synth?
Noise is heard while sampling During sampling, the output frequency of the digital
audio interface is fixed at 44.1 kHz, regardless of the
System mode setting. Noise may be heard from con-
nected devices at this time.
This is not a malfunction.
Can’t edit or encode a wave
Could you have selected a preset wave?
The V-Synth’s factory-loaded preset waves cannot be
edited or encoded. Select a sample that you’ve sampled
or imported.
Beep tone was turned off, but The Power-up Mode is set to “Default.”
it continues to sound the next
time power is turned on
Pro b le m s Re la te d to th e USB Drive r (W in d o w s)
Problem
Cause
Action
When I start (or restart) my
computer with the V-Synth
It has been found that on some computers, starting (or Switch off the V-Synth and then restart your computer.
restarting) the computer while the V-Synth is powered
connected via USB, it freezes up and USB is connected will cause the computer to
at the startup screen and fails freeze at the startup screen and fail to work.
to work
When I turned off the power of When using Windows Me, powering down the V-
the V-Synth, an error oc-
curred in Windows
Synth without unmounting the drive may cause an er- turn off the power of the V-Synth.
ror to occur in Windows.
When I attempt to exit Win-
dows while leaving the V-
On some Windows computers, it has been reported
that the computer cannot be powered down if you exit turn off the power of the V-Synth before you exit Win-
Synth powered up, the com- Windows when the V-Synth is still powered up (with- dows.
puter does not turn off
out unmounting the drive). (The shutdown process
halts before the computer’s power is switched off.)
When I connect the V-Synth
On some computers, waking up the computer from the Before you Suspend your computer, power down the
via USB and wake up my com- Suspend state while a powered-up V-Synth is connect- V-Synth using the procedure described on p. 92.
puter from Suspend, it stops ed via USB will cause the computer to freeze.
functioning
V-Synth driver is not mounted If a network drive is mounted in Windows XP, that
Change the assignment of the network drive.
in Windows XP
drive number may conflict with the V-Synth drive,
causing the V-Synth drive to not be recognized.
“Find new hardware wizard” Is the USB cable connected correctly?
does not execute automati-
Make sure that the V-Synth and your computer are cor-
rectly connected via a USB cable.
cally
Is USB enabled on your computer?
Refer to the operation manual for your computer, and
make sure that USB is enabled.
The “Insert Disk” dialog box
does not appear
“Find new hardware wizard”
ends before the process is
completed
Does your computer meet the USB specifications?
If you are using a computer that does not fulfill the
electrical requirements of the USB specifications, oper-
ation may be unstable. In this case, you may be able to
solve the problem by connecting a USB hub.
* It may take about 15 seconds
(or more) after the USB cable
is connected for the V-Synth
to be detected.
If the above actions do not solve the problem, it is pos-
sible that the V-Synth has been incorrectly detected by
information, then re-install the driver.
“Found unknown device” ap- If your computer or USB hub has two or more USB con- Refer to Readme file on the included CD-ROM, and in-
pears even though you in-
stalled the driver
nectors, and you connect the V-Synth to a USB connec- stall the driver once again. This is not a malfunction.
tor to which the V-Synth has never been connected If the “Found unknown device” dialog box appears
before, the “Unknown device” dialog box may appear even though the V-Synth is connected to the same USB
even on a computer onto which you have already in- connector as before, it is possible that the computer has
stalled the driver.
detected the V-Synth incorrectly. As described in “De-
the incorrect device information, then re-install the
driver.
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Tro u b le sh o o tin g
Problem
Cause
Action
An “Unknown driver found”
It is possible that the computer has detected the V-
As described in “Deleting Incorrect Device Informa-
then re-install the driver.
dialog box appears, and you Synth incorrectly.
are unable to install the driver
Device Manager shows “?”,
“!”, or “USB Composite De-
vice”
Driver is not installed correct-
ly
Can’t install/delete/use the
driver in Windows XP/2000
Did you log on to Windows as a user with administra- In order to install/ delete/ re-install the driver in Win-
tive privileges?
dows XP/ 2000, you must be logged into Windows as a
user with administrative privileges, such as Adminis-
trator. For details, please contact the system adminis-
trator for your computer system.
Did you make “Driver Signing Options”?
In order to install/ re-install the driver, you must make
“Driver Signing Options.”
Windows XP/2000 displays a Did you make “Driver Signing Options”?
“Hardware Installation” or
In order to install/ re-install the driver, you must make
the settings described in “Driver Signing Options.”
“Digital Signature Not Found”
dialog box
De le tin g In co rre ct De vice In fo rm a tio n
Use the following procedure to re-install the driver.
1 . Turn off the power of your computer, and start up Windows with all USB cables disconnected (except for
keyboard and mouse).
2 . After Windows restarts, use a USB cable to connect the V-Synth to your computer.
3 . Turn on the power of V-Synth.
4 . Click the Windows Start button, and from the menu that appears, choose Settings | Control Panel.
5 . Double-click the System icon. The System Properties dialog box will appear.
6 . Click the Device Manager tab.
In Windows XP, select the System Properties Hardware tab, and click Device Manager.
7 . Check whether “Roland V-Synth” with an “!” or “?” symbol is displayed below “Other Devices,” “Sound,
Video, and Game Controllers,” or “Universal Serial Bus Controller.” If you find any such indication, select it
and click [Delete].
8 . A dialog box will ask you to confirm deletion of the device. Verify the contents of the dialog box, and then click
[OK]. In the same way, delete all occurrences of “Roland V-Synth” that have an “!” or “?” symbol.
9 . Check whether “Composite USB Device,” “USB Device,” or “USB Composite Device” with an “!” or “?”
symbol is displayed below “Other Devices,” “Sound, Video, and Game Controllers,” or “Universal Serial Bus
Controller.” If you find any such indication, you need to determine whether it has appeared because the V-
Synth has been detected incorrectly, or because there is a problem with some other device. To determine this,
switch off the power of the V-Synth.
* If the “Composite USB Device” (or other) indication disappears when you turn off the power of the V-Synth, then it is the V-
Synth that has been incorrectly detected. Return to step 2 and continue the procedure, and when you reach step 8, delete the
information that was detected incorrectly. If the indication does not disappear when you turn off the power of the V-Synth, then
this indication refers to a different device. Do not delete it.
“Composite USB Device,” “USB Device,” or “USB Compatible Device” may sometimes indicate a device other than the V-
Synth. Be careful not to accidentally delete the registration for another device. If you delete the registration for another device, you
will have to reinstall the driver for that device.
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Tro u b le sh o o tin g
1 0 . A dialog box will ask you to confirm deletion of the device. Verify the contents of the dialog box, and click
[OK]. Delete each unwanted occurrence of “Composite USB Device,” “USB Device,” or “USB composite
device” indications with an “!” or “?” symbol.
1 1 . Turn off the power of the V-Synth, then delete the driver.
1 2 . Restart Windows. Then install the driver once again.
* If the problem still occurs after you have taken the above measures, please refer also to the Readme file for the USB driver. The
Readme file is on the CD-ROM.
Pro b le m s Re la te d to th e USB Drive r (Ma cin to sh )
Problem
Cause
Action
A message of “Drivers need- It is possible that the V-Synth’s USB MIDI driver has
Correctly install the USB MIDI driver as described in
Readme file on the included CD-ROM.
ed for the USB device “V-
Synth” are not available.
Would you like to look for
these drivers over the inter-
net?” is displayed
not been correctly installed in your computer.
It is possible that there is a conflict with the driver
(function extension) of another USB device.
We are aware of a problem that causes the V-Synth to
not be recognized correctly if a driver for I-O Data Cor-
poration’s USB CD-R drive is installed. In this case, dis-
able “ISD 200 BOTBridge” or other driver file by
moving it out of the Extensions folder, located within
the system folder.
When the computer returns
The V-Synth’s USB MIDI driver does not support the Do not use the Sleep functionality of Mac OS. When
from the Sleep state, an indi- Sleep functionality of Mac OS.
cation of “MIDI off line!” ap-
pears
you use the V-Synth, open the “Energy Saver” control
panel and specify “Never” as the period of inactivity
before the system goes to sleep.
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Me ssa g e List
The V-Synth displays a variety of messages. There are three types of message screen.
ERROR screen:
WARNING screen:
Message box:
This will appear if you attempt to perform an incorrect operation, or if an operation could not be executed correctly.
This will appear when caution is necessary.
This informs you of the current status. It will also appear if you attempt to perform an incorrect operation, or if an
operation could not be executed correctly.
Messages are listed here alphabetically for each type of message screen.
ERRO R Scre e n s
If an ERROR screen appears, touch <ACCEPT> to erase the message.
Message
Meaning
Action
DISK
Disk Full!
The media is full, and no further writing is possible. Delete unneeded files from the media (p. 88). Alter-
natively, provide other media that has free space.
DISK
There is an identically named file or folder.
please write to a folder that does not contain an
identically-named file or folder.
File/Folder Name Duplicate!
DISK
File Not Found!
A patch or sample used by the project or patch was Re-create the project or patch, and save it.
not found on disk.
DISK
The data is damaged, and cannot be loaded.
Do not use this file.
File Read Error!
DISK
File Write Error!
The media is of a format to which the V-Synth can- Prepare a media that is of a format to which the V-
not write. Synth is able to write.
DISK
Illegal Format!
Since the format of this file is incorrect, it cannot be Do not use this file.
loaded.
DISK
This file uses a type of compression that the V-
Synth is unable to read.
Use the device that created the file to convert the
data into an 8 bit or 16 bit wave.
Illegal PCM Wave!
Cannot Load This Wave.
DISK
Since the wave memory has become full, the opera- Delete unneeded samples from the V-Synth. Alter-
Memory Full!
tion was halted.
natively, individually import the patches or sam-
ples that you want to use.
DISK
Path Duplicate!
You are attempting to write to the same hierarchical Change the writing destination.
level.
DISK
The path name is too long.
Path Name Too Long!
tively, move the entire folder to a shallower level of
* The “path” indicates the hierarchical level at
which the file is located. It is given together with the
folder name.
DISK
The PC card is not ready.
Insert another PC card.
PC Card Not Ready!
DISK
This file contains waves for three or more channels, Do not use this file.
and cannot be loaded into the V-Synth.
Too Many Channels!
Cannot Load This Wave.
DISK
This disk cannot be used by the V-Synth.
Format the disk on the V-Synth.
Unformatted Disk!
DISK
A disk error of unknown causes has occurred.
Contact your dealer or a nearby Roland service cen-
ter for service.
Unknown Disk Error!
DISK
The operation you attempted to execute does not
support this media.
Do not select this media for this operation.
You Cannot Use This Device!
ENCODE
For some reason, encoding is not possible.
Change the encoding type and try again.
Encoding Error!
ENCODE
Memory Full!
possible.
IMPORT
There are no vacant patches.
No Room for Patches!
IMPORT
There are no vacant samples.
No Room for Samples!
SAMPLE EDIT
Copy Buffer Not Allocated!
There is not enough wave memory to execute the
Copy.
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Me ssa g e List
Message
Meaning
Action
SAMPLE EDIT
Memory Full!
There is not enough wave memory to execute the
wave editing operation (Insert, Zero Insert, Region,
Paste).
SAMPLING
Memory Full!
tion was halted.
W ARN IN G Scre e n s
If a WARNING screen appears, follow the procedure described in the corresponding “Action.”
Message
Meaning
Action
CHANGE USB MODE
USB Mode Will Be Changed.
USB mode will be changed.
Exit any USB MIDI-related applications on your
computer.
COPY FILE/FOLDER
Are You Sure?
The file(s) or folder(s) will be copied from the disk. To cancel the operation, touch <CANCEL>. To exe-
Is it OK to execute? cute the operation, touch <EXECUTE>.
The file(s) or folder(s) will be deleted from the disk. To cancel the operation, touch <CANCEL>. To exe-
DELETE FILE/FOLDER
This Will Clear the File(s)/Folder(s). Is it OK to execute?
cute the operation, touch <EXECUTE>.
Are You Sure?
DISCONNECT USB
Disconnection Will Be Done Before
Ejecting.
Will disconnect before ejecting. Is it OK to execute? Perform the Eject operation on your computer.
Are You Sure?
EDITED DATA EXISTS
If You Need This Data, Save Immedi-
ately.
The V-Synth contains an unsaved patch or sample. If you need the patch or sample, save it now. Touch
<ACCEPT> to erase the message.
FILE/FOLDER EXISTS
Overwrite Existing File/Folder?
There is an identically named file or folder at the
copy- or move-destination.
To cancel the operation, touch <CANCEL>. To exe-
cute the copying or moving operation, touch <EXE-
CUTE>.
FORMAT
All Data on the Disk Will Be Lost.
Are You Sure?
When you format, all data on the disk will be lost. Is To cancel the operation, touch <CANCEL>. To exe-
it OK to execute? cute the formatting operation, touch <EXECUTE>.
IMPORT FILE
Are You Sure?
The file(s) will be imported from the disk. Is it OK To cancel the operation, touch <CANCEL>. To exe-
to execute?
cute the importing operation, touch <EXECUTE>.
INITIALIZE PATCH
Are You Sure?
The patch will be initialized. Is it OK to execute?
To cancel the operation, touch <CANCEL>. To exe-
cute the operation, touch <EXECUTE>.
LOAD DEMO
When you load the demo data, all data in the VP-
To cancel the operation, touch <CANCEL>. If you
Replace All Data.
Are You Sure?
9000 will be lost. Is it OK to execute the operation? wish to load the demo data, touch <EXECUTE>.
LOAD PROJECT
Are You Sure?
Project will be loaded. Is it OK to execute the oper- To cancel the operation, touch <CANCEL>. If you
ation?
wish to load the project, touch <EXECUTE>.
MOVE FILE/FOLDER
Are You Sure?
The file(s) or folder(s) will be moved from the disk. To cancel the operation, touch <CANCEL>. To exe-
Is it OK to execute?
cute the operation, touch <EXECUTE>.
OTHER SAMPLE EXISTS
Number ‘****’ Already Contains a
Sample.
A different sample already exists in the selected
sample number ‘*****’.
To cancel the operation, touch <CANCEL>. If you
wish to overwrite the sample of the selected num-
ber, touch <EXECUTE>.
Clear Existing Sample?
PROJECT NOT FOUND
Internal Project Was Loaded.
Cannot find the project specified as the current
project. The internal project was loaded.
Touch <ACCEPT> to erase the message.
SAMPLE EDIT
When you perform the Cut or Clear sample editing To cancel the operation, touch <CANCEL>. If you
Copy Buffer Not Avail.
Are You Sure?
operation, the data is simultaneously copied as
well. However, this message indicates that in this
case, there is insufficient memory remaining to
also want to Copy the data, shorten the range being
copy the data. Do you still want to execute the Cut Clear operation, touch <EXECUTE>.
or Clear? (Since a copy will not be made, you will be
unable to restore the data simply by pasting it back.
The Cut or Clear operation can still be carried out,
though.)
SAMPLE EXISTS
Sample exists in the copy- or move-destination.
To cancel the operation, touch <CANCEL>. To exe-
Overwrite Existing Sample?
cute the copying or moving operation, touch <EXE-
CUTE>.
SAVE PROJECT
Are You Sure?
Project will be saved. Is it OK to execute the opera- To cancel the operation, touch <CANCEL>. To exe-
tion? cute the operation, touch <EXECUTE>.
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Me ssa g e List
Me ssa g e Bo x e s
Message boxes are displayed briefly, and then disappear automatically.
Message
Meaning
Action
Canceled!
The operation is canceled.
Cannot Delete This Event!
The events at the beginning and end of a wave can-
not be deleted.
Checksum Error!
The received system exclusive message has an in- Correct the checksum value.
correct checksum value.
Completed!
The operation has been completed.
Now establishing a connection.
Now breaking the connection.
Connecting...
Disconnecting...
Event Doesn’t Exist Here!
Event Interval Too Narrow!
There is no event at the specified location.
Specify a location where there is an event.
The event interval is too narrow for events to be
placed in it.
Move the interval further from the nearest event.
Improper Name!
MIDI Buffer Full!
The folder name or volume label is blank.
An excessive amount of MIDI data was received all
at once, and could not be processed properly.
MIDI Communication Error!
MIDI Offline!
A MIDI hardware error has occurred.
If the same message appears repeatedly, please con-
tact your dealer or a nearby Roland service center
for service.
The MIDI IN connection has been broken.
Check whether there is a problem with the MIDI ca-
ble connected to the V-Synth’s MIDI IN, or whether
the MIDI cable has been disconnected.
Please Wait a Minute.
Processing...
Please wait a short time.
The operation is being executed.
The data is being transmitted.
Transmitting...
Error Receiving Data!
MIDI message could not be received correctly.
If the same message appears repeatedly, there is a
problem with the content of the MIDI messages.
USB Offline!
Writing...
USB cable is not connected.
Data is being written.
Check whether there is a problem with the USB ca-
ble connected to the V-Synth’s USB connector, or
whether the USB cable has been disconnected.
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Ab o u t MIDI
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged between
electronic musical instruments and computers. MIDI With a MIDI
cable connecting MIDI devices that are equipped with MIDI
connectors, you can play multiple instruments with a single
keyboard, have multiple MIDI instruments perform in ensemble,
program the settings to change automatically to match the
performance as the song progresses, and more.
MIDI Ch a n n e ls a n d Mu lti-tim b ra l
So u n d Ge n e ra to rs
MIDI transmits many types of data over a single MIDI cable. This is
made possible by the concept of MIDI channels. MIDI channels
allow messages intended for a given instrument to be distinguished
from messages intended for another instrument. In some ways,
MIDI channels are similar to television channels. By changing the
channel on a television set, you can view the programs that are being
broadcast by different stations. In the same way, MIDI also allows a
device to select the information intended for that device out of the
If you mainly use the V-Synth as a standalone keyboard instrument,
you may really not need to know much at all about MIDI.
However, the following MIDI-related information is provided so
you can play the V-Synth using an external MIDI device, or master
other advanced techniques.
variety of information that is being transmitted to it.
fig.midi-01.e
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
Ab o u t MIDI Co n n e cto rs
The V-Synth is equipped with the three types of MIDI connectors,
each which works differently.
fig.midi-con
The TV is set to the channel of the station
you wish to watch.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so
that it will receive only the channel that it needs to receive.
MIDI IN Co n n e cto r
Example:
This connector receives MIDI messages that are transmitted from
external MIDI devices. The V-Synth can receive these messages to
play notes or select sounds, etc.
Set the V-Synth to send Channel 1 and Channel 2, then set sound
module A to receive only Channel 1 and sound module B only
Channel 2. With this setup, you can get an ensemble performance,
with, for example, a guitar sound from sound module A and bass
from sound module B.
fig.midi-02.e
MIDI O UT Co n n e cto r
This connector transmits MIDI messages to external MIDI devices.
The V-Synth’s MIDI OUT connector is used for sending the
performance data of the keyboard controller section as well as data
used for saving various settings and patterns.
MIDI OUT
MIDI IN
MIDI THRU
Transmit channel: 1, 2
Receive channel: 1
Sound
Module
A
Receive channel: 2
MIDI IN
MIDI keyboard
Sound
Module
B
MIDI THRU Co n n e cto r
MIDI messages received at MIDI IN are re-transmitted without
change from this connector to an external MIDI device. Use this in
situations such as when you use multiple MIDI devices
simultaneously.
When used as a sound module, the V-Synth can receive on up to
sixteen MIDI channels. Sound modules like the V-Synth which can
receive multiple MIDI channels simultaneously to play different
sounds on each channel are called multi-timbral sound modules.
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Mo d e l: V-Sy n th
Da te : N o v. 2 0 , 2 0 0 2
Ve rsio n : 1 .0 0
MIDI Im p le m e n ta tio n
■Panpot (Controller number 10)
1. Receive Data
Status
BnH
2nd byte
0AH
3rd byte
vvH
■Channel Voice Messages
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
*
Not received in Multitimbre mode or Performance mode when the Receive Switch
parameter (MULTITIMBRE/ MIDI or PERFORM/ MIDI) is OFF.
■Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte
vvH
■Note Off
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
kkH
3rd byte
vvH
8nH
9nH
kkH
00H
■Hold 1 (Controller number 64)
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Status
BnH
2nd byte
40H
3rd byte
vv = note off velocity:
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
■Note On
Status
2nd byte
kkH
3rd byte
vvH
■Portamento (Controller number 65)
9nH
Status
BnH
2nd byte
41H
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
vv = note on velocity:
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
■Polyphonic Key Pressure
■Sostenuto (Controller number 66)
Status
2nd byte
3rd byte
Status
BnH
2nd byte
42H
3rd byte
AnH
kkH
vvH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
vv = Polyphonic Key Pressure:
■Effect 1 (Reverb Send Level) (Controller number 91)
■Control Change
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3, 4,
5, 6, 7 or 8 parameter (PATCH Edit Com Matrix Ctrl), the corresponding effect will
occur.
Status
BnH
2nd byte
5BH
3rd byte
vvH
*
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Bank Select (Controller number 0, 32)
■Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
00H
3rd byte
Status
BnH
2nd byte
5DH
3rd byte
vvH
mmH
BnH
20H
llH
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
■RPN MSB/LSB (Controller number 100, 101)
*
*
Not received when the Receive Bank Select (SYSTEM Com MIDI/ USB) is OFF.
The Patches corresponding to each Bank Select are as follows.
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
BnH
64H
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| PATCH
| NUMBER
n = MIDI channel number: 0H - FH (ch.1 - 16)
-----+-----------+-----------+-----------
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
087 | 000
| 001
| 001 - 128 | 001 - 128
| 001 - 128 | 129 - 256
| 001 - 128 | 257 - 384
| 001 - 128 | 385 - 512
| 002
| 003
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
■Portamento Time (Controller number 5)
Status
BnH
2nd byte
05H
3rd byte
vvH
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
■Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
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MIDI Im p le m e n ta tio n
This device receives the following RPNs.
■Channel Mode Messages
RPN
Data entry
MSB, LSB
mmH, llH
*
Not received in when the Receive Switch parameter (SYSTEM Com Part MIDI) is OFF.
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
■All Sounds Off (Controller number 120)
Status
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
2nd byte
3rd byte
BnH
78H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
00H, 01H
00H, 02H
7FH, 7FH
mmH, llH
mmH, llH
---, ---
Channel Fine Tuning
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
Channel Coarse Tuning
■Reset All Controllers (Controller number 121)
Status
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
2nd byte
3rd byte
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
RPN null
RPN and NRPN will be set as “unspecified”.
Once this setting has been made, subsequent
Data Entry messages will be ignored. (It is not
necessary to transmit Data Entry for RPN Null
settings.) Parameter values that were previously
set will not change.
*
Controller
Reset value
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
+/ -0 (center)
0 (off)
0 (off)
mm, ll: ignored
0 (off)
Breath Type MSB
Breath Type LSB
Expression
0 (min)
0 (min)
■Program Change
127 (max)
Status
2nd byte
However the controller will be at minimum.
CnH
ppH
Hold 1
0 (off)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
Sostenuto
0 (off)
Soft
0 (off)
Hold 2
0 (off)
*
Not received when the Receive Program Change parameter (SYSTEM Com MIDI/ USB)
is OFF.
General Purpose Controller 1 MSB
General Purpose Controller 2 MSB
General Purpose Controller 3 MSB
General Purpose Controller 4 MSB
General Purpose Controller 1 LSB
General Purpose Controller 2 LSB
General Purpose Controller 3 LSB
General Purpose Controller 4 LSB
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
RPN
0 (min)
0 (min)
0 (min)
■Channel Pressure
Status
0 (min)
2nd byte
0 (min)
DnH
vvH
0 (min)
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
0 (min)
0 (min)
0 (min)
■Pitch Bend Change
Status
0 (min)
2nd byte
3rd byte
0 (min)
EnH
llH
mmH
0 (min)
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
unset; previously set data will not change
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
■All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
■OMNI OFF (Controller number 124)
Status
2nd byte
3rd byte
BnH
7CH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
*
■OMNI ON (Controller number 125)
Status
2nd byte
3rd byte
BnH
7DH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
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MIDI Im p le m e n ta tio n
■MONO (Controller number 126)
■Universal Realtime System Exclusive Messages
■Master Volume
Status
2nd byte
3rd byte
BnH
7EH
mmH
Status
F0H
Data byte
Status
F7H
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
*
The same processing will be carried out as when All Notes Off is received.
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
■POLY (Controller number 127)
Status
Sub ID#1 (Device Control)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
mmH
F7H
*
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM Com Master) will change.
■System Realtime Message
■Active Sensing
■Master Fine Tuning
Status
Status
F0H
Data byte
Status
F7H
FEH
7FH, 7FH, 04H, 03H, llH, mmH
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
Byte
F0H
7FH
7FH
04H
03H
llH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
■System Exclusive Message
Status
Data byte
Status
mmH
F7H
F0H
iiH, ddH, ......,eeH
F7H
F0H:
System Exclusive Message status
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
The Master Tune parameter (SYSTEM Com Master) will change.
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
*
■Master Coarse Tuning
Status
F0H
Data byte
Status
F7
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
7FH, 7FH, 04H, 04H, llH, mmH
EOX (End Of Exclusive)
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
■Universal Non-realtime System Exclusive Messages
■Identity Request Message
mmH
F7H
Status
F0H
Data byte
Status
7EH, dev, 06H, 01H F7H
llH:
ignored (processed as 00H)
Byte
F0H
7EH
dev
Explanation
mmH:
28H - 40H - 58H (-24 - 0 - +24 [semitones])
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
*
The Master Key Shift parameter (SYSTEM Com Master) will change.
06H
01H
F7H
*
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MIDI Im p le m e n ta tio n
■Data Set 1
Status
DT1 (12H)
■Global Parameter Control
Data byte
Status
F7H
F0H
41H, dev, 00H, 53H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
■Scale/Octave Tuning Adjust
Status
F0H
Data byte
Status
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7
Byte
F0H
41H
dev
Explanation
Exclusive status
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (V-Synth)
Model ID #2 (V-Synth)
Command ID (DT1)
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
00H
53H
12H
aaH
bbH
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/ octave tuning 1-byte form)
Channel/ Option byte 1
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be
sent
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
ccH
sent
ddH
eeH
Address: lower middle byte of the starting address of the data to be
ggH
hhH
ssH
Channel byte 2
bits 0 to 6 = channel 8 to 14
Channel byte 3
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
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
in order starting from the address.
:
:
ffH
sum
F7H
Data
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
Checksum
EOX (End Of Exclusive)
F7H
EOX (End Of Exclusive)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
■Data Transmission
data will be transmitted from the specified starting address and size. Refer to the address
This instrument can use exclusive messages to exchange many varieties of internal settings
with other devices.
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
The model ID of the exclusive messages used by this instrument is 00H 53H.
*
*
■Data Request 1RQ1 (11H)
Not received when the Receive Exclusive parameter (SYSTEM Com MIDI/ USB) is OFF.
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
Status
F0H
Data byte
Status
F7H
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
Byte
F0H
41H
dev
42H
12H
aaH
Explanation
Status
F0H
data byte
status
Exclusive status
41H, dev, 00H, 53H, 11H, aaH, bbH, ccH, F7H
ddH, ssH, ttH, uuH, vvH, sum
ID number (Roland)
Device ID (dev: 10H - 1FH, 7FH)
Model ID (GS)
Byte
F0H
41H
dev
00H
53H
11H
aaH
bbH
ccH
ddH
ssH
Remarks
Command ID (DT1)
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH, 7FH)
model ID #1 (V-Synth)
model ID #2 (V-Synth)
command ID (RQ1)
address MSB
address
Address MSB: upper byte of the starting address of the transmitted
data
bbH
ccH
Address:
middle byte of the starting address of the transmitted
data
Address LSB: lower byte of the starting address of the transmitted
data
ddH
Data:
the actual data to be transmitted. Multiple bytes of
data are transmitted starting from the address.
address
:
:
address LSB
eeH
sum
F7H
Data
size MSB
Checksum
ttH
size
EOX (End Of Exclusive)
uuH
vvH
sum
F7H
size
size LSB
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
checksum
EOX (End Of Exclusive)
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
*
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
*
*
Not received when the Receive Exclusive parameter (SYSTEM Com MIDI/ USB) is OFF.
*
*
Not received when the Receive Exclusive parameter (SYSTEM Com MIDI/ USB) is OFF.
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MIDI Im p le m e n ta tio n
■General Purpose Controller 3 MSB (Controller number 18)
2. Data Transmission
■Channel Voice Messages
■Note Off
Status
BnH
2nd byte
12H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■General Purpose Controller 4 MSB (Controller number 19)
Status
2nd byte
3rd byte
Status
BnH
2nd byte
13H
3rd byte
vvH
8nH
kkH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = note off velocity:
■Breath Type LSB (Controller number 34)
■Note On
Status
BnH
2nd byte
22H
3rd byte
vvH
Status
2nd byte
kkH
3rd byte
vvH
9nH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
vv = note on velocity:
■General Purpose Controller 1 LSB (Controller number 48)
Status
BnH
2nd byte
30H
3rd byte
vvH
■Control Change
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
By selecting
a
controller number that corresponds to the setting of parameters of
controllers (Time Trip Pad, D Beam, Knob, and so on), the V-Synth can transmit any
control change message.
■General Purpose Controller 2 LSB (Controller number 49)
Status
BnH
2nd byte
31H
3rd byte
vvH
■Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
mmH
BnH
20H
llH
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
■General Purpose Controller 3 LSB (Controller number 50)
00 00H - 7F 7FH (bank.1 - bank.16384)
Status
BnH
2nd byte
32H
3rd byte
vvH
*
*
These messages are transmitted when Patch is selected. But not transmitted when
Transmit Program Change or Transmit Bank Select parameter (SYSTEM Com MIDI/
USB) is OFF.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Although with the V-Synth you can select the Bank Select messages to be transmitted, be
■General Purpose Controller 4 LSB (Controller number 51)
Status
BnH
2nd byte
33H
3rd byte
vvH
transmitted when the V-Synth is select
Performance.
a
Patch, Rhythm Set, Multitimbre or
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Modulation (Controller number 1)
Status
BnH
2nd byte
01H
3rd byte
vvH
■Hold 1 (Controller number 64)
Status
BnH
2nd byte
40H
3rd byte
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
■Breath Type MSB (Controller number 2)
Status
BnH
2nd byte
02H
3rd byte
vvH
■General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
50H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
vvH
■General Purpose Controller 6 (Controller number 81)
Status
BnH
2nd byte
51H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte
vvH
■General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■General Purpose Controller 1 MSB (Controller number 16)
Status
BnH
2nd byte
10H
3rd byte
vvH
■General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
■General Purpose Controller 2 MSB (Controller number 17)
Status
BnH
2nd byte
11H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
1 5 7
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MIDI Im p le m e n ta tio n
■Program Change
■Data Transmission
Status
2nd byte
CnH
ppH
■Data Set 1
Status
DT1 (12H)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
Data byte
Status
F7H
00H - 7FH (prog.1 - prog.128)
F0H
41H, dev, 00H, 53H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
*
These messages are transmitted when Patch is selected. But not transmitted when
Transmit Program Change parameter (SYSTEM Com MIDI/ USB) is OFF.
Byte
F0H
41H
dev
00H
53H
12H
aaH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (V-Synth)
Model ID #2 (V-Synth)
Command ID (DT1)
■Channel Pressure
Status
2nd byte
DnH
vvH
n = MIDI channel number:
vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Address MSB: upper byte of the starting address of the data to be
sent
■Pitch Bend Change
bbH
ccH
ddH
eeH
Address:
upper middle byte of the starting address of the data
Status
2nd byte
3rd byte
to be sent
EnH
llH
mmH
Address:
lower middle byte of the starting address of the data
to be sent
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Address LSB: lower byte of the starting address of the data to be
sent.
■System Realtime Messages
Data:
the actual data to be sent. Multiple bytes of data are
transmitted in order starting from the address.
:
:
■Active Sensing
ffH
sum
F7H
Data
Status
Checksum
FEH
EOX (End Of Exclusive)
*
*
This message is transmitted at intervals of approximately 250 msec.
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
This message is not sent when Transmit Active Sensing parameter (SYSTEM Ctrl Tx) is
OFF.
data will be transmitted from the specified starting address and size. Refer to the address
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
■System Exclusive Messages
Universal Non-realtime System Exclusive Message and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the V-Synth.
■Universal Non-realtime System Exclusive Message
■Identity Reply Message
Receiving Identity Request Message, the V-Synth send this message.
Status
F0H
Data byte
Status
F7H
7EH, dev, 06H, 02H, 41H, 53H, 01H,
00H, 00H, 00H, 01H, 00H, 00H
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
dev
06H
02H
41H
ID number (Roland)
53H 01H
00H 00H
Device family code
Device family number code
00H 01H 00H 00H Software revision level
F7H
EOX (End of Exclusive)
1 5 8
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MIDI Im p le m e n ta tio n
|
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00 29 | 0aaa aaaa | Part 14 Program Number (PC)
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
3. Parameter Address Map
00 2A | 0aaa aaaa | Part 15 Bank Select MSB (CC# 0)
00 2B | 0aaa aaaa | Part 15 Bank Select LSB (CC# 32)
00 2C | 0aaa aaaa | Part 15 Program Number (PC)
00 2D | 0aaa aaaa | Part 16 Bank Select MSB (CC# 0)
00 2E | 0aaa aaaa | Part 16 Bank Select LSB (CC# 32)
00 2F | 0aaa aaaa | Part 16 Program Number (PC)
*
Transmission of “#” marked address is divided to some packets. For example, ABH in
hexadecimal notation will be divided to 0AH and 0BH, and is sent/ received in this
order.
|—————————————+———————————+————————————————————————————————————————————————————|
|
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00 30 | 0000 000a | Transpose Switch
(0 — 1) |
OFF, ON
(59 — 70) |
—5 — +6
(61 — 67) |
—3 — +3 |
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00 31 | 0000 aaaa | Transpose Value
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00 32 | 0000 0aaa | Octave Shift
1. V-Synth (ModelID = 00H 53H)
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 33 | 0000 000a | Beep Switch
(0 — 1) |
OFF, ON
(1 — 8) |
|
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+——————————————————————————————————————————————————————————————————————————————+
00 34 | 0000 aaaa | Sampling Template
| Start
|
|
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|—————————————+———————————+————————————————————————————————————————————————————|
|
Address |
Description
|
|
00 35 | 0000 0aaa | Patch Palette Bank
00 36 | 0000 0aaa | Patch Palette Number
(0 — 7) |
(0 — 7) |
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup
|—————————————+————————————————————————————————————————————————————————————————|
| 02 00 00 00 | System
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Patch (Part 1)
| 10 01 00 00 | Temporary Patch (Part 2)
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 37 | Total Size
|
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+——————————————————————————————————————————————————————————————————————————————+
|
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■System Common
|
:
|
| 10 0F 00 00 | Temporary Patch (Part 16)
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+————————————————————————————————————————————————————————————————|
| Offset
|
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| 20 00 00 00 | User Patch (001)
| 20 01 00 00 | User Patch (002)
|
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Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
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:
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|#
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00 00 | 0000 aaaa |
| 0000 bbbb |
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| 23 7F 00 00 | User Patch (512)
+——————————————————————————————————————————————————————————————————————————————+
| 0000 cccc |
| 0000 dddd | Master Tune
(24 — 2024) |
|
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—100.0 — +100.0 [cent]
|
■System
00 04 | 00aa aaaa | Master Key Shift
(40 — 88) |
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—24 — +24
|
+——————————————————————————————————————————————————————————————————————————————+
00 05 | 0aaa aaaa | Master Level
00 06 | 0000 000a | Patch Remain
(0 — 127) |
(0 — 1) |
| Offset
|
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|
Address |
Description
|
|
OFF, ON
|
|—————————————+————————————————————————————————————————————————————————————————|
00 07 | 0000 000a | Mix/Parallel
(0 — 1) |
MIX, PARALLEL |
|
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00 00 00 | System Common
|
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00 40 00 | System Controller
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
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00 08 | 0000 000a | Clock Source
(0 — 1) |
|
|
INT, MIDI
|
00 09 | 0000 000a | Clock Out
(0 — 1) |
■Patch
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
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|
|
00 0A | 0000 000a | Receive Program Change
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
| Offset
|
|
|
|
|
|
|
Address |
Description
00 0B | 0000 000a | Receive Bank Select
|—————————————+————————————————————————————————————————————————————————————————|
|
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|
00 00 00 | Patch Common
00 02 00 | Patch MFX
00 04 00 | Patch Chorus
00 06 00 | Patch Reverb
00 08 00 | Patch Controller
|
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|—————————————+———————————+————————————————————————————————————————————————————|
00 0C | 0000 000a | Part 1 Receive Switch (0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
(0 — 1) |
OFF, ON
(0 — 15) |
1 — 16
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00 0D | 0000 aaaa | Part 1 Receive Channel
|
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|—————————————+————————————————————————————————————————————————————————————————|
00 0E | 0000 000a | Part 2 Receive Switch
|
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|
|
00 10 00 | Patch Oscillator (Zone 1)
00 11 00 | Patch Oscillator (Zone 2)
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00 0F | 0000 aaaa | Part 2 Receive Channel
:
|
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00 1F 00 | Patch Oscillator (Zone 16)
00 10 | 0000 000a | Part 3 Receive Switch
|—————————————+————————————————————————————————————————————————————————————————|
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00 20 00 | Patch Envelope (Zone 1)
00 22 00 | Patch Envelope (Zone 2)
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00 11 | 0000 aaaa | Part 3 Receive Channel
|
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:
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00 12 | 0000 000a | Part 4 Receive Switch
00 3E 00 | Patch Envelope (Zone 16)
|
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|—————————————+————————————————————————————————————————————————————————————————|
00 13 | 0000 aaaa | Part 4 Receive Channel
|
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00 40 00 | Patch LFO (Zone 1)
00 41 00 | Patch LFO (Zone 2)
|
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00 14 | 0000 000a | Part 5 Receive Switch
:
|
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00 4F 00 | Patch LFO (Zone 16)
00 15 | 0000 aaaa | Part 5 Receive Channel
|—————————————+————————————————————————————————————————————————————————————————|
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00 50 00 | Patch COSM1 (Zone 1)
00 51 00 | Patch COSM1 (Zone 2)
|
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00 16 | 0000 000a | Part 6 Receive Switch
|
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:
|
00 17 | 0000 aaaa | Part 6 Receive Channel
00 5F 00 | Patch COSM1 (Zone 16)
|
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|—————————————+————————————————————————————————————————————————————————————————|
00 18 | 0000 000a | Part 7 Receive Switch
|
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00 60 00 | Patch COSM2 (Zone 1)
00 61 00 | Patch COSM2 (Zone 2)
|
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00 19 | 0000 aaaa | Part 7 Receive Channel
:
|
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00 6F 00 | Patch COSM2 (Zone 16)
00 1A | 0000 000a | Part 8 Receive Switch
|—————————————+————————————————————————————————————————————————————————————————|
|
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00 70 00 | Patch Arpeggio (Note 1)
00 71 00 | Patch Arpeggio (Note 2)
|
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00 1B | 0000 aaaa | Part 8 Receive Channel
|
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|
:
|
00 1C | 0000 000a | Part 9 Receive Switch
00 7F 00 | Patch Arpeggio (Note 16)
|
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|
+——————————————————————————————————————————————————————————————————————————————+
00 1D | 0000 aaaa | Part 9 Receive Channel
|
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|
00 1E | 0000 000a | Part 10 Receive Switch
■Setup
|
|
|
00 1F | 0000 aaaa | Part 10 Receive Channel
+——————————————————————————————————————————————————————————————————————————————+
|
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| Offset
|
|
|
00 20 | 0000 000a | Part 11 Receive Switch
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 21 | 0000 aaaa | Part 11 Receive Channel
|
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00 00 | 0aaa aaaa | Part 1 Bank Select MSB (CC# 0)
00 01 | 0aaa aaaa | Part 1 Bank Select LSB (CC# 32)
00 02 | 0aaa aaaa | Part 1 Program Number (PC)
00 03 | 0aaa aaaa | Part 2 Bank Select MSB (CC# 0)
00 04 | 0aaa aaaa | Part 2 Bank Select LSB (CC# 32)
00 05 | 0aaa aaaa | Part 2 Program Number (PC)
00 06 | 0aaa aaaa | Part 3 Bank Select MSB (CC# 0)
00 07 | 0aaa aaaa | Part 3 Bank Select LSB (CC# 32)
00 08 | 0aaa aaaa | Part 3 Program Number (PC)
00 09 | 0aaa aaaa | Part 4 Bank Select MSB (CC# 0)
00 0A | 0aaa aaaa | Part 4 Bank Select LSB (CC# 32)
00 0B | 0aaa aaaa | Part 4 Program Number (PC)
00 0C | 0aaa aaaa | Part 5 Bank Select MSB (CC# 0)
00 0D | 0aaa aaaa | Part 5 Bank Select LSB (CC# 32)
00 0E | 0aaa aaaa | Part 5 Program Number (PC)
00 0F | 0aaa aaaa | Part 6 Bank Select MSB (CC# 0)
00 10 | 0aaa aaaa | Part 6 Bank Select LSB (CC# 32)
00 11 | 0aaa aaaa | Part 6 Program Number (PC)
00 12 | 0aaa aaaa | Part 7 Bank Select MSB (CC# 0)
00 13 | 0aaa aaaa | Part 7 Bank Select LSB (CC# 32)
00 14 | 0aaa aaaa | Part 7 Program Number (PC)
00 15 | 0aaa aaaa | Part 8 Bank Select MSB (CC# 0)
00 16 | 0aaa aaaa | Part 8 Bank Select LSB (CC# 32)
00 17 | 0aaa aaaa | Part 8 Program Number (PC)
00 18 | 0aaa aaaa | Part 9 Bank Select MSB (CC# 0)
00 19 | 0aaa aaaa | Part 9 Bank Select LSB (CC# 32)
00 1A | 0aaa aaaa | Part 9 Program Number (PC)
00 1B | 0aaa aaaa | Part 10 Bank Select MSB (CC# 0)
00 1C | 0aaa aaaa | Part 10 Bank Select LSB (CC# 32)
00 1D | 0aaa aaaa | Part 10 Program Number (PC)
00 1E | 0aaa aaaa | Part 11 Bank Select MSB (CC# 0)
00 1F | 0aaa aaaa | Part 11 Bank Select LSB (CC# 32)
00 20 | 0aaa aaaa | Part 11 Program Number (PC)
00 21 | 0aaa aaaa | Part 12 Bank Select MSB (CC# 0)
00 22 | 0aaa aaaa | Part 12 Bank Select LSB (CC# 32)
00 23 | 0aaa aaaa | Part 12 Program Number (PC)
00 24 | 0aaa aaaa | Part 13 Bank Select MSB (CC# 0)
00 25 | 0aaa aaaa | Part 13 Bank Select LSB (CC# 32)
00 26 | 0aaa aaaa | Part 13 Program Number (PC)
00 27 | 0aaa aaaa | Part 14 Bank Select MSB (CC# 0)
00 28 | 0aaa aaaa | Part 14 Bank Select LSB (CC# 32)
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
|
|
|
00 22 | 0000 000a | Part 12 Receive Switch
|
|
|
00 23 | 0000 aaaa | Part 12 Receive Channel
|
|
|
00 24 | 0000 000a | Part 13 Receive Switch
|
|
|
00 25 | 0000 aaaa | Part 13 Receive Channel
|
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|
00 26 | 0000 000a | Part 14 Receive Switch
|
|
|
00 27 | 0000 aaaa | Part 14 Receive Channel
|
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|
00 28 | 0000 000a | Part 15 Receive Switch
|
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|
00 29 | 0000 aaaa | Part 15 Receive Channel
|
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|
00 2A | 0000 000a | Part 16 Receive Switch
|
|
|
00 2B | 0000 aaaa | Part 16 Receive Channel
|
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|
00 2C | 000a aaaa | EQ Low Freq
(0 — 19) |
|
|
50 — 4000 [Hz]
|
00 2D | 000a aaaa | EQ Low Gain
(0 — 30) |
|
|
—15 — +15 [dB]
|
00 2E | 000a aaaa | EQ Mid 1 Freq
(0 — 26) |
|
|
50 — 20000 [Hz]
|
00 2F | 0000 0aaa | EQ Mid 1 Q
(0 — 5) |
|
|
0.5 — 8.0
|
00 30 | 000a aaaa | EQ Mid 1 Gain
(0 — 30) |
|
|
—15 — +15 [dB]
|
00 31 | 000a aaaa | EQ Mid 2 Freq
(0 — 26) |
|
|
50 — 20000 [Hz]
|
00 32 | 0000 0aaa | EQ Mid 2 Q
(0 — 5) |
|
|
0.5 — 8.0
|
00 33 | 000a aaaa | EQ Mid 2 Gain
(0 — 30) |
|
|
—15 — +15 [dB]
|
00 34 | 0000 aaaa | EQ Hi Freq
(0 — 8) |
|
|
2000 — 20000 [Hz]
|
00 35 | 000a aaaa | EQ Hi Gain
(0 — 30) |
1 5 9
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MIDI Im p le m e n ta tio n
|
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—15 — +15 [dB]
|
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|
20.0 — 250.0
|
00 36 | 000a aaaa | EQ Total Gain
(0 — 30) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—15 — +15 [dB]
|
|
|
00 1B | 00aa aaaa | Pitch Bend Range Up
00 1C | 00aa aaaa | Pitch Bend Range Down
(0 — 48) |
(0 — 48) |
00 37 | 0000 000a | EQ Switch
(0 — 1) |
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 1D | 0000 000a | MFX Switch
(0 — 1) |
| 00 00 00 38 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
BYPASS, ON
|
00 1E | 0000 000a | Chorus Switch
(0 — 1) |
|
|
OFF, ON
|
00 1F | 0000 000a | Reverb Switch
(0 — 1) |
OFF, ON |
|
|
■System Controller
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
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00 20 | 0000 aaaa | Current Zone
(0 — 15) |
| Offset
|
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|
|
|
ZONE1 — ZONE16
|
|
Address |
Description
00 21 | 0aaa aaaa | Zone 1 Range Upper
(0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
C—1 — G9
|
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|
|
00 00 | 0000 000a | Transmit Program Change
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
00 22 | 0aaa aaaa | Zone 2 Range Upper
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
(0 — 127) |
C—1 — G9
|
|
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|
|
00 01 | 0000 000a | Transmit Bank Select
00 23 | 0aaa aaaa | Zone 3 Range Upper
|
|
|
|
|
00 02 | 0aaa aaaa | Keyboard Velocity
(0 — 127) |
00 24 | 0aaa aaaa | Zone 4 Range Upper
|
|
REAL, 1 — 127
|
|
|
|
00 03 | 0000 00aa | Keyboard Sens
(0 — 2) |
00 25 | 0aaa aaaa | Zone 5 Range Upper
|
|
LIGHT, MEDIUM, HEAVY
|
|
|
|
00 04 | 000a aaaa | Aftertouch Sens
(0 — 20) |
0 — 200
00 26 | 0aaa aaaa | Zone 6 Range Upper
|
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|—————————————+———————————+————————————————————————————————————————————————————|
00 27 | 0aaa aaaa | Zone 7 Range Upper
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00 05 | 000a aaaa | Patch Transmit Channel
(0 — 17) |
1 — 16, RX—CH, OFF |
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00 28 | 0aaa aaaa | Zone 8 Range Upper
|—————————————+———————————+————————————————————————————————————————————————————|
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00 06 | 000a aaaa | Beam Sens L
(0 — 20) |
0 — 200
(0 — 20) |
0 — 200 |
00 29 | 0aaa aaaa | Zone 9 Range Upper
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00 07 | 000a aaaa | Beam Sens R
00 2A | 0aaa aaaa | Zone 10 Range Upper
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00 08 | 0aaa aaaa | Beam 1 Assign L
(0 — 95) |
00 2B | 0aaa aaaa | Zone 11 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 09 | 0aaa aaaa | Beam 1 Assign R
(0 — 95) |
00 2C | 0aaa aaaa | Zone 12 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 0A | 0aaa aaaa | Beam 2 Assign L
(0 — 95) |
00 2D | 0aaa aaaa | Zone 13 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 0B | 0aaa aaaa | Beam 2 Assign R
(0 — 95) |
00 2E | 0aaa aaaa | Zone 14 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 0C | 0aaa aaaa | Beam 3 Assign L
(0 — 95) |
00 2F | 0aaa aaaa | Zone 15 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 0D | 0aaa aaaa | Beam 3 Assign R
(0 — 95) |
00 30 | 0aaa aaaa | Zone 16 Range Upper
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OFF, CC01 — CC31, CC33 — CC95
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00 0E | 0aaa aaaa | Beam 4 Assign L
(0 — 95) |
|—————————————+———————————+————————————————————————————————————————————————————|
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OFF, CC01 — CC31, CC33 — CC95
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00 31 | 0000 000a | Scale Tune Switch
(0 — 1) |
OFF, ON
00 0F | 0aaa aaaa | Beam 4 Assign R
(0 — 95) |
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OFF, CC01 — CC31, CC33 — CC95
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|#
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00 32 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for C
|—————————————+———————————+————————————————————————————————————————————————————|
(28 — 228) |
—100 — +100
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00 10 | 0aaa aaaa | Pad Assign X
(0 — 95) |
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OFF, CC01 — CC31, CC33 — CC95
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|#
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00 34 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for C#
00 11 | 0aaa aaaa | Pad Assign Y
(0 — 95) |
(28 — 228) |
—100 — +100
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OFF, CC01 — CC31, CC33 — CC95
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00 12 | 0aaa aaaa | Time Trip Assign X
(0 — 95) |
|#
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00 36 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for D
|
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OFF, CC01 — CC31, CC33 — CC95
|
(28 — 228) |
—100 — +100
00 13 | 0aaa aaaa | Time Trip Assign Y
(0 — 95) |
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OFF, CC01 — CC31, CC33 — CC95
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|#
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00 38 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for D#
|—————————————+———————————+————————————————————————————————————————————————————|
(28 — 228) |
—100 — +100
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00 14 | 0aaa aaaa | Knob 1 Assign
(0 — 95) |
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OFF, CC01 — CC31, CC33 — CC95
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|#
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00 3A | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for E
00 15 | 0aaa aaaa | Knob 2 Assign
(0 — 95) |
(28 — 228) |
—100 — +100
|
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OFF, CC01 — CC31, CC33 — CC95
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|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for F
|
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00 16 | 0000 0aaa | Hold Pedal Polarity
(0 — 1) |
STANDARD, REVERSE |
(28 — 228) |
—100 — +100
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|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for F#
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00 17 | 0aaa aaaa | Pedal 1 Assign
(0 — 98) |
(28 — 228) |
—100 — +100
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OFF, CC01 — CC31, CC33 — CC95, |
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BEND—UP, BEND—DOWN, AFT
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|#
|
00 40 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for G
00 18 | 0000 0aaa | Pedal 1 Polarity
(0 — 1) |
(28 — 228) |
—100 — +100
|
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STANDARD, REVERSE
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00 19 | 0aaa aaaa | Pedal 2 Assign
(0 — 98) |
|#
|
00 42 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for G#
|
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OFF, CC01 — CC31, CC33 — CC95, |
(28 — 228) |
—100 — +100
BEND—UP, BEND—DOWN, AFT
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00 1A | 0000 0aaa | Pedal 2 Polarity
(0 — 1) |
STANDARD, REVERSE |
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for A
|
|
(28 — 228) |
—100 — +100
|—————————————+————————————————————————————————————————————————————————————————|
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| 00 00 00 1B | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
00 46 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for A#
(28 — 228) |
—100 — +100
|
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|#
|
00 48 | 0000 aaaa |
| 0000 bbbb | Patch Scale Tune for B
■Patch Common
(28 — 228) |
—100 — +100
|
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+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
| Offset
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00 4A | 0aaa aaaa | Matrix Control 1 Source
(0 — 108) |
|
Address |
Description
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OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
|—————————————+————————————————————————————————————————————————————————————————|
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00 00 | 0aaa aaaa | Patch Name 1
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
|—————————————+———————————+————————————————————————————————————————————————————|
00 0C | 0aaa aaaa | (reserved) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 0D | 0aaa aaaa | Patch Coarse Tune (16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
(61 — 67) |
—3 — +3
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
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00 4B | 0aaa aaaa | Matrix Control 1 Dest 1
(0 — 77) |
00 01 | 0aaa aaaa | Patch Name 2
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OFF, |
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
00 02 | 0aaa aaaa | Patch Name 3
|
|
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 03 | 0aaa aaaa | Patch Name 4
|
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00 04 | 0aaa aaaa | Patch Name 5
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00 05 | 0aaa aaaa | Patch Name 6
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OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
00 06 | 0aaa aaaa | Patch Name 7
|
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|
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
00 07 | 0aaa aaaa | Patch Name 8
|
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00 08 | 0aaa aaaa | Patch Name 9
|
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00 09 | 0aaa aaaa | Patch Name 10
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CSM1—PRM1, CSM1—PRM2, |
00 0A | 0aaa aaaa | Patch Name 11
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
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00 0B | 0aaa aaaa | Patch Name 12
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CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
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|#
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TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
00 0E | 0aaa aaaa | Patch Fine Tune
|
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00 0F | 0000 0aaa | Octave Shift
MFX—PRM1, MFX—PRM2, MFX—PRM3
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00 4C | 0aaa aaaa | Matrix Control 1 Sens 1
(1 — 127) |
00 10 | 0000 000a | Mono/Poly
(0 — 1) |
|
|
—63 — +63
|
|
|
MONO, POLY
|
00 4D | 0aaa aaaa | Matrix Control 1 Dest 2
(0 — 77) |
OFF, |
00 11 | 0000 000a | Legato Switch
(0 — 1) |
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OFF, ON
|
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
00 12 | 0000 000a | Portamento Switch
(0 — 1) |
OFF, ON |
|
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 13 | 0000 000a | Portamento Mode
(0 — 1) |
|
|
NORMAL, LEGATO
|
00 14 | 0000 000a | Portamento Type
(0 — 1) |
|
|
RATE, TIME
|
(0 — 127) |
(1 — 127) |
00 15 | 0aaa aaaa | Portamento Time
00 16 | 0aaa aaaa | Portamento Time Velocity Sens
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
|
|
—63 — +63
|
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|
00 17 | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | Patch Tempo
(200 — 2500) |
1 6 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
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OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
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OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 4E | 0aaa aaaa | Matrix Control 1 Sens 2
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
|
|
—63 — +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
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00 4F | 0aaa aaaa | Matrix Control 2 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
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|
00 58 | 0aaa aaaa | Matrix Control 3 Sens 2
(1 — 127) |
|
|
—63 — +63
|
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 50 | 0aaa aaaa | Matrix Control 2 Dest 1
(0 — 77) |
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00 59 | 0aaa aaaa | Matrix Control 4 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
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OFF, |
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 5A | 0aaa aaaa | Matrix Control 4 Dest 1
(0 — 77) |
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OFF, |
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 51 | 0aaa aaaa | Matrix Control 2 Sens 1
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
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—63 — +63
(0 — 77) |
OFF, |
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00 52 | 0aaa aaaa | Matrix Control 2 Dest 2
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MFX—PRM1, MFX—PRM2, MFX—PRM3
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
00 5B | 0aaa aaaa | Matrix Control 4 Sens 1
(1 — 127) |
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—63 — +63
(0 — 77) |
OFF, |
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OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 5C | 0aaa aaaa | Matrix Control 4 Dest 2
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 53 | 0aaa aaaa | Matrix Control 2 Sens 2
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
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—63 — +63
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 54 | 0aaa aaaa | Matrix Control 3 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
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00 5D | 0aaa aaaa | Matrix Control 4 Sens 2
(1 — 127) |
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—63 — +63
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BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
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|—————————————+———————————+————————————————————————————————————————————————————|
00 55 | 0aaa aaaa | Matrix Control 3 Dest 1
(0 — 77) |
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00 5E | 0aaa aaaa | Matrix Control 5 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
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OFF, |
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 5F | 0aaa aaaa | Matrix Control 5 Dest 1
(0 — 77) |
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OFF, |
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 56 | 0aaa aaaa | Matrix Control 3 Sens 1
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
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—63 — +63
(0 — 77) |
OFF, |
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00 57 | 0aaa aaaa | Matrix Control 3 Dest 2
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MFX—PRM1, MFX—PRM2, MFX—PRM3
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
00 60 | 0aaa aaaa | Matrix Control 5 Sens 1
(1 — 127) |
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—63 — +63
(0 — 77) |
OFF, |
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OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 61 | 0aaa aaaa | Matrix Control 5 Dest 2
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
1 6 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
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OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
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OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 62 | 0aaa aaaa | Matrix Control 5 Sens 2
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
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—63 — +63
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 63 | 0aaa aaaa | Matrix Control 6 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
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00 6C | 0aaa aaaa | Matrix Control 7 Sens 2
(1 — 127) |
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—63 — +63
|
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 64 | 0aaa aaaa | Matrix Control 6 Dest 1
(0 — 77) |
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00 6D | 0aaa aaaa | Matrix Control 8 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
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OFF, |
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 6E | 0aaa aaaa | Matrix Control 8 Dest 1
(0 — 77) |
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OFF, |
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 65 | 0aaa aaaa | Matrix Control 6 Sens 1
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
|
|
—63 — +63
(0 — 77) |
OFF, |
|
00 66 | 0aaa aaaa | Matrix Control 6 Dest 2
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MFX—PRM1, MFX—PRM2, MFX—PRM3
|
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
00 6F | 0aaa aaaa | Matrix Control 8 Sens 1
(1 — 127) |
|
|
—63 — +63
(0 — 77) |
OFF, |
|
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
00 70 | 0aaa aaaa | Matrix Control 8 Dest 2
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OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
CSM1—PRM1, CSM1—PRM2, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
CSM1—PRM1, CSM1—PRM2, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
00 67 | 0aaa aaaa | Matrix Control 6 Sens 2
(1 — 127) |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
|
|
—63 — +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
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00 68 | 0aaa aaaa | Matrix Control 7 Source
(0 — 108) |
OFF, CC01 — CC31, CC33 — CC95, BEND, AFT, |
+PAD—X, +PAD—Y, PAD—X, PAD—Y, TRIP—R, |
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
|
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|
00 71 | 0aaa aaaa | Matrix Control 8 Sens 2
(1 — 127) |
|
|
—63 — +63
|
BEAM—L, BEAM—R, KNOB1, KNOB2, VELO, KEYF
|
|—————————————+————————————————————————————————————————————————————————————————|
00 69 | 0aaa aaaa | Matrix Control 7 Dest 1
(0 — 77) |
| 00 00 00 72 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
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OFF, |
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
OSC1—LVL, |
OSC1—PENV—ATK, OSC1—PENV—DCY, OSC1—PENV—REL, |
OSC1—TENV—ATK, OSC1—TENV—DCY, OSC1—TENV—REL, |
OSC1—FENV—ATK, OSC1—FENV—DCY, OSC1—FENV—REL, |
OSC1—AENV—ATK, OSC1—AENV—DCY, OSC1—AENV—REL, |
OSC1—LFO—RATE, OSC1—LFO—PCH, OSC1—LFO—TM/PW, |
OSC1—LFO—FR/FT, OSC1—LFO—LVL, |
■Patch MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
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|
|
00 00 | 0aaa aaaa | MFX Type
(0 — 41) |
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
OSC2—PITCH, OSC2—TIME/PW, OSC2—FORMA/FAT, |
OSC2—LVL, |
|
|
00 01 | 0aaa aaaa | MFX Master Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
OSC2—PENV—ATK, OSC2—PENV—DCY, OSC2—PENV—REL, |
OSC2—TENV—ATK, OSC2—TENV—DCY, OSC2—TENV—REL, |
OSC2—FENV—ATK, OSC2—FENV—DCY, OSC2—FENV—REL, |
OSC2—AENV—ATK, OSC2—AENV—DCY, OSC2—AENV—REL, |
OSC2—LFO—RATE, OSC2—LFO—PCH, OSC2—LFO—TM/PW, |
OSC2—LFO—FR/FT, OSC2—LFO—LVL, |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
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|
|
| 0000 cccc |
CSM1—PRM1, CSM1—PRM2, |
|
| 0000 dddd | MFX Parameter 1
(12768 — 52768) |
CSM1—ENV1—ATK, CSM1—ENV1—DCY, CSM1—ENV1—REL, |
CSM1—ENV2—ATK, CSM1—ENV2—DCY, CSM1—ENV2—REL, |
CSM1—LFO—RATE, CSM1—LFO—PRM1, CSM1—LFO—PRM2, |
CSM2—PRM1, CSM2—PRM2, |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
CSM2—ENV1—ATK, CSM2—ENV1—DCY, CSM2—ENV1—REL, |
CSM2—ENV2—ATK, CSM2—ENV2—DCY, CSM2—ENV2—REL, |
CSM2—LFO—RATE, CSM2—LFO—PRM1, CSM2—LFO—PRM2, |
TVA—LVL, |
|
| 0000 dddd | MFX Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
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|
|
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
TVA—ENV—ATK, TVA—ENV—DCY, TVA—ENV—REL, |
TVA—LFO—RATE, TVA—LFO—LVL, TVA—LFO—PAN, |
MFX—SEND, CHO—SEND, REV—SEND, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
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|
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|
|
MFX—PRM1, MFX—PRM2, MFX—PRM3
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
00 6A | 0aaa aaaa | Matrix Control 7 Sens 1
(1 — 127) |
|
|
—63 — +63
(0 — 77) |
OFF, |
|
|
| 0000 cccc |
00 6B | 0aaa aaaa | Matrix Control 7 Dest 2
|
| 0000 dddd | MFX Parameter 4
(12768 — 52768) |
—20000 — +20000 |
|
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|
|
|
OSC1—PITCH, OSC1—TIME/PW, OSC1—FORMA/FAT, |
1 6 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 dddd | MFX Parameter 32
(12768 — 52768) |
—20000 — +20000 |
|
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|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
| 0000 dddd | MFX Parameter 5
(12768 — 52768) |
| 00 00 01 04 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
■Patch Chorus
|
| 0000 dddd | MFX Parameter 6
(12768 — 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
—20000 — +20000
|
|
|
|
| Offset
|
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 — 8) |
|
(0 — 127) |
(0 — 127) |
|
| 0000 dddd | MFX Parameter 7
(12768 — 52768) |
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 01 | 0aaa aaaa | Chorus Master Level
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
00 02 | 0aaa aaaa | Chorus Reverb Send Level
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | MFX Parameter 8
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 1
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 9
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 10
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 11
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 12
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 13
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 14
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 15
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 40 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 16
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 44 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 9
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 17
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 18
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 4C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 19
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | Chorus Parameter 12
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 20
(12768 — 52768) |
| 00 00 00 33 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 54 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
■Patch Reverb
|
| 0000 dddd | MFX Parameter 21
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 58 | 0000 aaaa |
| 0000 bbbb |
| Offset
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 22
(12768 — 52768) |
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 — 10) |
|
(0 — 127) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 5C | 0000 aaaa |
| 0000 bbbb |
00 01 | 0aaa aaaa | Reverb Master Level
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | MFX Parameter 23
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 60 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 1
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 06 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 24
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 64 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 2
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 25
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 68 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 26
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 6C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 12 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 27
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 70 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 28
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 74 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1A | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 29
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 78 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 7
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 1E | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 7C | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Reverb Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 22 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 9
|#
|
01 00 | 0000 aaaa |
| 0000 bbbb |
|
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
| 0000 cccc |
|#
00 26 | 0000 aaaa |
1 6 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 10
(12768 — 52768) |
1200
|
|
|
—20000 — +20000
|
|
|
|
00 1B | 0aaa aaaa | OSC 1 Level
(0 — 127) |
(44 — 84) |
|#
|
00 2A | 0000 aaaa |
| 0000 bbbb |
00 1C | 00aa aaaa | OSC 1 Level Keyfollow
|
|
—200 — +200
|
|
| 0000 cccc |
00 1D | 0aaa aaaa | OSC 1 Level LFO Depth
(1 — 127) |
|
| 0000 dddd | Reverb Parameter 11
(12768 — 52768) |
|
|
—63 — +63
|
|
|
|
—20000 — +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 2E | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 1E | 0000 aaaa | OSC 1 Analog Waveform
(0 — 8) |
SAW, SQUARE, TRIANGLE, SINE, RAMP, JUNO, |
HQ—SAW, HQ—SQUARE, NOISE
(0 — 40) |
0.0 — 4.0
(1 — 127) |
—63 — +63 |
|
|
|
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 12
(12768 — 52768) |
00 1F | 00aa aaaa | OSC 1 Impact
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 32 | 0000 aaaa |
| 0000 bbbb |
00 20 | 0aaa aaaa | OSC 1 Pulse Width
|
|
|
| 0000 cccc |
00 21 | 00aa aaaa | OSC 1 Pulse Width Keyfollow
(44 — 84) |
|
| 0000 dddd | Reverb Parameter 13
(12768 — 52768) |
|
|
—200 — +200
|
|
|
|
—20000 — +20000
|
|
|
|
00 22 | 0aaa aaaa | OSC 1 Pulse Width LFO Depth
(1 — 127) |
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb |
|
|
—63 — +63
|
00 23 | 0aaa aaaa | OSC 1 Pulse Width Envelope Depth
(1 — 127) |
|
| 0000 cccc |
|
|
—63 — +63
|
|
| 0000 dddd | Reverb Parameter 14
(12768 — 52768) |
00 24 | 0aaa aaaa | OSC 1 Fat
(0 — 127) |
(44 — 84) |
|
|
|
—20000 — +20000
|
|
|
|
00 25 | 00aa aaaa | OSC 1 Fat Keyfollow
|#
|
00 3A | 0000 aaaa |
| 0000 bbbb |
|
|
—200 — +200
|
00 26 | 0aaa aaaa | OSC 1 Fat LFO Depth
(1 — 127) |
|
| 0000 cccc |
|
|
—63 — +63
|
|
| 0000 dddd | Reverb Parameter 15
(12768 — 52768) |
00 27 | 0aaa aaaa | OSC 1 Fat Envelope Depth
(1 — 127) |
—63 — +63 |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 16
(12768 — 52768) |
| 0000 cccc |
|
|
|
—20000 — +20000
|
|
|
|
| 0000 dddd | OSC 1 Wave Number
(0 — 999) |
|#
|
00 42 | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, 1 — 999
|
|
|
|
|
|
|
|
|
|
00 2C | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd |
| 0000 eeee |
| 0000 ffff |
| 0000 gggg |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 17
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 46 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 18
(12768 — 52768) |
| 0000 hhhh | OSC 1 Start Offset
|
|
|
—20000 — +20000
|
|
|
|
|
|
0000000h - FFFFFFFh
|#
|
00 4A | 0000 aaaa |
| 0000 bbbb |
00 34 | 0aaa aaaa | OSC 1 Time
(1 — 127) |
—63 — +63 |
|
|
|
| 0000 cccc |
00 35 | 00aa aaaa | OSC 1 Time Keyfollow
(44 — 84) |
|
| 0000 dddd | Reverb Parameter 19
(12768 — 52768) |
|
|
—200 — +200
|
|
|
|
—20000 — +20000
|
|
|
|
00 36 | 0aaa aaaa | OSC 1 Time LFO Depth
(1 — 127) |
|#
|
00 4E | 0000 aaaa |
| 0000 bbbb |
|
|
—63 — +63
|
00 37 | 0aaa aaaa | OSC 1 Time Envelope Depth
(1 — 127) |
—63 — +63 |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 — 52768) |
00 38 | 0000 00aa | OSC 1 Time Offset
(0 — 2) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
BWD, ZERO, FWD
|
|#
|
00 52 | 0000 aaaa |
| 0000 bbbb |
00 39 | 0aaa aaaa | OSC 1 Formant
(1 — 127) |
|
|
—63 — +63
|
|
| 0000 cccc |
00 3A | 00aa aaaa | OSC 1 Formant Keyfollow
(44 — 84) |
|
| 0000 dddd | Reverb Parameter 21
(12768 — 52768) |
|
|
—200 — +200
|
|
|
|
—20000 — +20000
|
|
|
|
00 3B | 0aaa aaaa | OSC 1 Formant LFO Depth
(1 — 127) |
|#
|
00 56 | 0000 aaaa |
| 0000 bbbb |
|
|
—63 — +63
|
00 3C | 0aaa aaaa | OSC 1 Formant Envelope Depth
(1 — 127) |
—63 — +63
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 22
(12768 — 52768) |
00 3D | 0000 000a | OSC 1 Tempo Sync Sw
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 5A | 0000 aaaa |
| 0000 bbbb |
00 3E | 0000 000a | OSC 1 Robot Voice Sw
|
|
|
| 0000 cccc |
00 3F | 0000 00aa | OSC 1 Playback Mode
(0 — 3) |
|
| 0000 dddd | Reverb Parameter 23
(12768 — 52768) |
|
|
RETRIGGER, LEGATO, STEP, EVENT
|
|
|
|
—20000 — +20000
|
|
|
|
00 40 | 0000 000a | OSC 1 Loop Sw
(0 — 1) |
|#
|
00 5E | 0000 aaaa |
| 0000 bbbb |
|
|
OFF, ON
|
00 41 | 0000 000a | OSC 1 Vari Sw
(0 — 1) |
OFF, ON |
|
|
| 0000 cccc |
|
|
| 0000 dddd | Reverb Parameter 24
(12768 — 52768) |
—20000 — +20000
00 42 | 0aaa aaaa | OSC 1 Energy
(0 — 127) |
|
|
|
|
|
|
OFF, 1 - 127
|
|—————————————+————————————————————————————————————————————————————————————————|
00 43 | 0000 000a | OSC 1 Time Trip Sw
(0 — 1) |
| 00 00 00 62 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
OFF, ON
|
00 44 | 0000 000a | OSC 1 Time Trip Beat Keep
(0 — 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
00 45 | 0000 000a | OSC 2 Switch (0 — 1) |
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
❍Patch Oscillator
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 46 | 0000 00aa | OSC 2 Type
(0 — 2) |
|
|
|
|
|
ANALOG, PCM, EXTIN
|
|
Address |
Description
00 47 | 000a aaaa | OSC 2 Wave Gain
(52 — 76) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
—12 — +12 [dB]
|
|
|
00 00 | 0000 00aa | Structure Type
(0 — 2) |
1 — 3 |
00 48 | 0aaa aaaa | OSC 2 Pitch
(1 — 127) |
|
|
|
|
—63 — +63
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 49 | 00aa aaaa | OSC 2 Pitch Keyfollow
(44 — 84) |
|
|
|
|
|
|
|
|
00 01 | 0000 000a | MOD Switch
(0 — 1) |
|
|
—200 — +200
|
|
|
OFF, ON
|
00 4A | 0aaa aaaa | OSC 2 Pitch LFO Depth
(1 — 127) |
00 02 | 0000 0aaa | MOD Type
(0 — 4) |
|
|
—63 — +63
|
|
|
|
|
MIX, RING(AM), FM, ENV RING, |
00 4B | 0aaa aaaa | OSC 2 Pitch Envelope Depth
(1 — 127) |
—63 — +63
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50 [cent]
(0 — 30) |
OSC SYNC
|
|
|
|
00 03 | 0aaa aaaa | MOD Original Level
00 04 | 0aaa aaaa | MOD Attack Time
00 05 | 0aaa aaaa | MOD Release Time
(0 — 127) |
(0 — 127) |
(0 — 127) |
00 4C | 0aaa aaaa | OSC 2 Coarse Tune
|
|
|
00 4D | 0aaa aaaa | OSC 2 Fine Tune
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 06 | 0000 000a | TVA Switch
(0 — 1) |
00 4E | 000a aaaa | OSC 2 Random Pitch Depth
|
|
OFF, ON
|
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
00 07 | 0aaa aaaa | TVA Level
(0 — 127) |
(44 — 84) |
00 08 | 00aa aaaa | TVA Level Keyfollow
|
|
—200 — +200
|
00 09 | 0aaa aaaa | TVA Level LFO Depth
(1 — 127) |
1200
|
|
|
—63 — +63
|
00 4F | 0aaa aaaa | OSC 2 Level
(0 — 127) |
(44 — 84) |
00 0A | 0aaa aaaa | TVA Pan
(0 — 127) |
L64 — 63R |
00 50 | 00aa aaaa | OSC 2 Level Keyfollow
|
|
|
|
—200 — +200
|
00 0B | 00aa aaaa | TVA Pan Keyfollow
(44 — 84) |
00 51 | 0aaa aaaa | OSC 2 Level LFO Depth
(1 — 127) |
|
|
—200 — +200
|
|
|
—63 — +63
|
00 0C | 0aaa aaaa | TVA Pan LFO Depth
(1 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—63 — +63
|
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|
|
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|
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|
|
00 52 | 0000 aaaa | OSC 2 Analog Waveform
(0 — 8) |
SAW, SQUARE, TRIANGLE, SINE, RAMP, JUNO, |
HQ—SAW, HQ—SQUARE, NOISE
(0 — 40) |
0.0 — 4.0
(1 — 127) |
—63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 0D | 0aaa aaaa | MFX Send Level
00 0E | 0aaa aaaa | Chorus Send Level
00 0F | 0aaa aaaa | Reverb Send Level
00 10 | 0000 00aa | Output Assign
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 2) |
|
00 53 | 00aa aaaa | OSC 2 Impact
|
|
|
00 54 | 0aaa aaaa | OSC 2 Pulse Width
|
|
MULTI, MAIN, DIR
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 55 | 00aa aaaa | OSC 2 Pulse Width Keyfollow
(44 — 84) |
|
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|
|
|
|
|
|
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|
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|
|
00 11 | 0000 000a | OSC 1 Switch
(0 — 1) |
OFF, ON |
|
|
—200 — +200
|
|
|
00 56 | 0aaa aaaa | OSC 2 Pulse Width LFO Depth
(1 — 127) |
00 12 | 0000 00aa | OSC 1 Type
(0 — 2) |
|
|
—63 — +63
|
|
|
ANALOG, PCM, EXTIN
|
00 57 | 0aaa aaaa | OSC 2 Pulse Width Envelope Depth
(1 — 127) |
00 13 | 000a aaaa | OSC 1 Wave Gain
(52 — 76) |
|
|
—63 — +63
|
|
|
—12 — +12 [dB]
|
00 58 | 0aaa aaaa | OSC 2 Fat
(0 — 127) |
(44 — 84) |
00 14 | 0aaa aaaa | OSC 1 Pitch
(1 — 127) |
00 59 | 00aa aaaa | OSC 2 Fat Keyfollow
|
|
—63 — +63
|
|
|
—200 — +200
|
00 15 | 00aa aaaa | OSC 1 Pitch Keyfollow
(44 — 84) |
00 5A | 0aaa aaaa | OSC 2 Fat LFO Depth
(1 — 127) |
|
|
—200 — +200
|
|
|
—63 — +63
|
00 16 | 0aaa aaaa | OSC 1 Pitch LFO Depth
(1 — 127) |
00 5B | 0aaa aaaa | OSC 2 Fat Envelope Depth
(1 — 127) |
—63 — +63 |
|
|
—63 — +63
|
|
|
00 17 | 0aaa aaaa | OSC 1 Pitch Envelope Depth
(1 — 127) |
—63 — +63
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50 [cent]
(0 — 30) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|#
|
00 5C | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 18 | 0aaa aaaa | OSC 1 Coarse Tune
|
|
|
|
| 0000 cccc |
00 19 | 0aaa aaaa | OSC 1 Fine Tune
|
| 0000 dddd | OSC 2 Wave Number
(0 — 999) |
|
|
|
|
|
|
OFF, 1 — 999
|
|
|
|
00 1A | 000a aaaa | OSC 1 Random Pitch Depth
|#
|
00 60 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
|
| 0000 cccc |
1 6 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
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|
|
|
|
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|
|
|
|
|
|
|
|
| 0000 dddd |
|
|
|
|
|
|
|
|
|
|
|
—63 — +63
|
| 0000 eeee |
00 33 | 00aa aaaa | Env 4 Time Keyfollow
(44 — 84) |
| 0000 ffff |
| 0000 gggg |
| 0000 hhhh | OSC 2 Start Offset
|
|
—200 — +200
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb | Env 5 Attack Time
|
|
|
0000000h - FFFFFFFh
(0 — 144) |
0 — 127, MUSICAL—NOTES
00 68 | 0aaa aaaa | OSC 2 Time
(1 — 127) |
—63 — +63
|
|
|
|
|
|
|
|
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb | Env 5 Decay Time
00 69 | 00aa aaaa | OSC 2 Time Keyfollow
(44 — 84) |
(0 — 144) |
|
|
—200 — +200
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
00 6A | 0aaa aaaa | OSC 2 Time LFO Depth
(1 — 127) |
00 38 | 0aaa aaaa | Env 5 Sustine
00 39 | 0000 aaaa |
|
|
—63 — +63
|
|#
|
00 6B | 0aaa aaaa | OSC 2 Time Envelope Depth
(1 — 127) |
—63 — +63
| 0000 bbbb | Env 5 Release Time
(0 — 144) |
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
00 6C | 0000 00aa | OSC 2 Time Offset
(0 — 2) |
|
00 3B | 0000 0aaa | Env 5 Velocity Curve
(0 — 7) |
|
|
BWD, ZERO, FWD
|
|
|
|
FIXED, 1 — 7
|
00 6D | 0aaa aaaa | OSC 2 Formant
(1 — 127) |
|
00 3C | 0aaa aaaa | Env 5 Velocity Sens
(1 — 127) |
|
|
—63 — +63
|
|
|
|
—63 — +63
|
00 6E | 00aa aaaa | OSC 2 Formant Keyfollow
(44 — 84) |
|
00 3D | 0aaa aaaa | Env 5 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
—200 — +200
|
|
|
|
|
00 6F | 0aaa aaaa | OSC 2 Formant LFO Depth
(1 — 127) |
|
00 3E | 0aaa aaaa | Env 5 Decay Velocity Sens
|
|
—63 — +63
|
|
|
|
|
00 70 | 0aaa aaaa | OSC 2 Formant Envelope Depth
(1 — 127) |
—63 — +63
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
00 3F | 0aaa aaaa | Env 5 Release Velocity Sens
|
|
|
|
|
|
|
00 71 | 0000 000a | OSC 2 Tempo Sync Sw
|
00 40 | 00aa aaaa | Env 5 Time Keyfollow
|
|
|
|
|
|
00 72 | 0000 000a | OSC 2 Robot Voice Sw
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb | Env 6 Attack Time
|
00 73 | 0000 00aa | OSC 2 Playback Mode
(0 — 3) |
(0 — 144) |
0 — 127, MUSICAL—NOTES
|
|
RETRIGGER, LEGATO, STEP, EVENT
|
|
|
|
|
|
00 74 | 0000 000a | OSC 2 Loop Sw
(0 — 1) |
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb | Env 6 Decay Time
|
|
OFF, ON
|
(0 — 144) |
00 75 | 0000 000a | OSC 2 Vari Sw
(0 — 1) |
OFF, ON
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
|
00 45 | 0aaa aaaa | Env 6 Sustine
00 46 | 0000 aaaa |
00 76 | 0aaa aaaa | OSC 2 Energy
(0 — 127) |
|#
|
|
|
OFF, 1 - 127
|
| 0000 bbbb | Env 6 Release Time
(0 — 144) |
00 77 | 0000 000a | OSC 2 Time Trip Sw
(0 — 1) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
OFF, ON
|
|
00 48 | 0000 0aaa | Env 6 Velocity Curve
(0 — 7) |
00 78 | 0000 000a | OSC 2 Time Trip Beat Keep
(0 — 1) |
OFF, ON
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
FIXED, 1 — 7
|
|
|
|
|
00 49 | 0aaa aaaa | Env 6 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
| 00 00 00 79 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
00 4A | 0aaa aaaa | Env 6 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
|
|
|
00 4B | 0aaa aaaa | Env 6 Decay Velocity Sens
|
|
|
|
■Patch Envelope
|
00 4C | 0aaa aaaa | Env 6 Release Velocity Sens
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
00 4D | 00aa aaaa | Env 6 Time Keyfollow
|
|
|
|
|
|
|
Address |
Description
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 4E | 0000 aaaa |
| 0000 bbbb | Env 7 Attack Time
|
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb | Env 1 Attack Time
|
(0 — 144) |
0 — 127, MUSICAL—NOTES
(0 — 144) |
|
|
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|#
|
00 50 | 0000 aaaa |
| 0000 bbbb | Env 7 Decay Time
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb | Env 1 Decay Time
(0 — 144) |
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
00 52 | 0aaa aaaa | Env 7 Sustine
00 53 | 0000 aaaa |
00 04 | 0aaa aaaa | Env 1 Sustine
00 05 | 0000 aaaa |
|#
|
|#
|
| 0000 bbbb | Env 7 Release Time
(0 — 144) |
| 0000 bbbb | Env 1 Release Time
(0 — 144) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
00 55 | 0000 0aaa | Env 7 Velocity Curve
(0 — 7) |
|
00 07 | 0000 0aaa | Env 1 Velocity Curve
(0 — 7) |
|
|
|
FIXED, 1 — 7
|
|
|
|
FIXED, 1 — 7
|
|
00 56 | 0aaa aaaa | Env 7 Velocity Sens
(1 — 127) |
|
00 08 | 0aaa aaaa | Env 1 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
|
|
|
—63 — +63
|
|
00 57 | 0aaa aaaa | Env 7 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
00 09 | 0aaa aaaa | Env 1 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
|
|
|
|
|
|
|
00 58 | 0aaa aaaa | Env 7 Decay Velocity Sens
|
00 0A | 0aaa aaaa | Env 1 Decay Velocity Sens
|
|
|
|
|
|
|
|
|
00 59 | 0aaa aaaa | Env 7 Release Velocity Sens
|
00 0B | 0aaa aaaa | Env 1 Release Velocity Sens
|
|
|
|
|
|
|
|
|
00 5A | 00aa aaaa | Env 7 Time Keyfollow
|
00 0C | 00aa aaaa | Env 1 Time Keyfollow
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 5B | 0000 aaaa |
| 0000 bbbb | Env 8 Attack Time
|
|#
|
00 0D | 0000 aaaa |
| 0000 bbbb | Env 2 Attack Time
|
(0 — 144) |
0 — 127, MUSICAL—NOTES
(0 — 144) |
|
|
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb | Env 8 Decay Time
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb | Env 2 Decay Time
(0 — 144) |
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
00 5F | 0aaa aaaa | Env 8 Sustine
00 60 | 0000 aaaa |
00 11 | 0aaa aaaa | Env 2 Sustine
00 12 | 0000 aaaa |
|#
|
|#
|
| 0000 bbbb | Env 8 Release Time
(0 — 144) |
| 0000 bbbb | Env 2 Release Time
(0 — 144) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
00 62 | 0000 0aaa | Env 8 Velocity Curve
(0 — 7) |
|
00 14 | 0000 0aaa | Env 2 Velocity Curve
(0 — 7) |
|
|
|
FIXED, 1 — 7
|
|
|
|
FIXED, 1 — 7
|
|
00 63 | 0aaa aaaa | Env 8 Velocity Sens
(1 — 127) |
|
00 15 | 0aaa aaaa | Env 2 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
|
|
|
—63 — +63
|
|
00 64 | 0aaa aaaa | Env 8 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
00 16 | 0aaa aaaa | Env 2 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
|
|
|
|
|
|
|
00 65 | 0aaa aaaa | Env 8 Decay Velocity Sens
|
00 17 | 0aaa aaaa | Env 2 Decay Velocity Sens
|
|
|
|
|
|
|
|
|
00 66 | 0aaa aaaa | Env 8 Release Velocity Sens
|
00 18 | 0aaa aaaa | Env 2 Release Velocity Sens
|
|
|
|
|
|
|
|
|
00 67 | 00aa aaaa | Env 8 Time Keyfollow
|
00 19 | 00aa aaaa | Env 2 Time Keyfollow
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 68 | 0000 aaaa |
| 0000 bbbb | Env 9 Attack Time
|
|#
|
00 1A | 0000 aaaa |
| 0000 bbbb | Env 3 Attack Time
|
(0 — 144) |
0 — 127, MUSICAL—NOTES
(0 — 144) |
|
|
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|#
|
00 6A | 0000 aaaa |
| 0000 bbbb | Env 9 Decay Time
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb | Env 3 Decay Time
(0 — 144) |
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
00 6C | 0aaa aaaa | Env 9 Sustine
00 6D | 0000 aaaa |
00 1E | 0aaa aaaa | Env 3 Sustine
00 1F | 0000 aaaa |
|#
|
|#
|
| 0000 bbbb | Env 9 Release Time
(0 — 144) |
| 0000 bbbb | Env 3 Release Time
(0 — 144) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
00 6F | 0000 0aaa | Env 9 Velocity Curve
(0 — 7) |
|
00 21 | 0000 0aaa | Env 3 Velocity Curve
(0 — 7) |
|
|
|
FIXED, 1 — 7
|
|
|
|
FIXED, 1 — 7
|
|
00 70 | 0aaa aaaa | Env 9 Velocity Sens
(1 — 127) |
|
00 22 | 0aaa aaaa | Env 3 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
|
|
|
—63 — +63
|
|
00 71 | 0aaa aaaa | Env 9 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
00 23 | 0aaa aaaa | Env 3 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
|
|
|
|
|
|
|
00 72 | 0aaa aaaa | Env 9 Decay Velocity Sens
|
00 24 | 0aaa aaaa | Env 3 Decay Velocity Sens
|
|
|
|
|
|
|
|
|
00 73 | 0aaa aaaa | Env 9 Release Velocity Sens
|
00 25 | 0aaa aaaa | Env 3 Release Velocity Sens
|
|
|
|
|
|
|
|
|
00 74 | 00aa aaaa | Env 9 Time Keyfollow
|
00 26 | 00aa aaaa | Env 3 Time Keyfollow
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb | Env 10 Attack Time
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb | Env 4 Attack Time
|
(0 — 144) |
0 — 127, MUSICAL—NOTES
(0 — 144) |
|
|
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|#
|
00 77 | 0000 aaaa |
| 0000 bbbb | Env 10 Decay Time
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb | Env 4 Decay Time
(0 — 144) |
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
00 79 | 0aaa aaaa | Env 10 Sustine
00 7A | 0000 aaaa |
00 2B | 0aaa aaaa | Env 4 Sustine
00 2C | 0000 aaaa |
|#
|
|#
|
| 0000 bbbb | Env 10 Release Time
(0 — 144) |
| 0000 bbbb | Env 4 Release Time
(0 — 144) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
00 7C | 0000 0aaa | Env 10 Velocity Curve
(0 — 7) |
|
00 2E | 0000 0aaa | Env 4 Velocity Curve
(0 — 7) |
|
|
|
FIXED, 1 — 7
|
|
|
|
FIXED, 1 — 7
|
|
00 7D | 0aaa aaaa | Env 10 Velocity Sens
(1 — 127) |
|
00 2F | 0aaa aaaa | Env 4 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
|
|
|
—63 — +63
|
|
00 7E | 0aaa aaaa | Env 10 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
|
00 30 | 0aaa aaaa | Env 4 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
|
|
|
|
|
|
|
|
|
00 7F | 0aaa aaaa | Env 10 Decay Velocity Sens
|
00 31 | 0aaa aaaa | Env 4 Decay Velocity Sens
|
|
|
—63 — +63
(1 — 127) |
|
|
|
|
|
|
01 00 | 0aaa aaaa | Env 10 Release Velocity Sens
|
00 32 | 0aaa aaaa | Env 4 Release Velocity Sens
1 6 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
|
|
|
—63 — +63
(44 — 84) |
—200 — +200
|
|
|
|
00 16 | 0aaa aaaa | LFO 3 Fade Time
00 17 | 0000 000a | LFO 3 Key Sync
(0 — 127) |
(0 — 1) |
01 01 | 00aa aaaa | Env 10 Time Keyfollow
|
|
|
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
01 02 | 0000 aaaa |
| 0000 bbbb | Env 11 Attack Time
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 18 | 0000 0aaa | LFO 4 Waveform
(0 — 7) |
SIN, TRI, SAW, SQR, RND, TRP, |
(0 — 144) |
|
|
|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
S&H, CHS
|
|
|#
|
01 04 | 0000 aaaa |
| 0000 bbbb | Env 11 Decay Time
00 19 | 0000 aaaa |
(0 — 144) |
| 0000 bbbb | LFO 4 Rate
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
0 — 127, MUSICAL—NOTES
|
01 06 | 0aaa aaaa | Env 11 Sustine
01 07 | 0000 aaaa |
00 1B | 0000 0aaa | LFO 4 Offset
(0 — 4) |
|#
|
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 3) |
| 0000 bbbb | Env 11 Release Time
(0 — 144) |
00 1C | 0aaa aaaa | LFO 4 Delay Time
00 1D | 0000 00aa | LFO 4 Fade Mode
|
|
|
0 — 127, MUSICAL—NOTES
|
|
01 09 | 0000 0aaa | Env 11 Velocity Curve
(0 — 7) |
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
|
|
|
FIXED, 1 — 7
|
00 1E | 0aaa aaaa | LFO 4 Fade Time
00 1F | 0000 000a | LFO 4 Key Sync
|
01 0A | 0aaa aaaa | Env 11 Velocity Sens
(1 — 127) |
|
|
|
—63 — +63
|
|
|
OFF, ON
|
|
01 0B | 0aaa aaaa | Env 11 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 0aaa | LFO 5 Waveform
(0 — 7) |
SIN, TRI, SAW, SQR, RND, TRP, |
|
01 0C | 0aaa aaaa | Env 11 Decay Velocity Sens
|
|
|
|
|
|
|
|
S&H, CHS
|
|
|
01 0D | 0aaa aaaa | Env 11 Release Velocity Sens
00 21 | 0000 aaaa |
|
|
|
|
| 0000 bbbb | LFO 5 Rate
(0 — 144) |
|
01 0E | 00aa aaaa | Env 11 Time Keyfollow
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
|
00 23 | 0000 0aaa | LFO 5 Offset
(0 — 4) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 3) |
|#
|
01 0F | 0000 aaaa |
| 0000 bbbb | Env 12 Attack Time
|
00 24 | 0aaa aaaa | LFO 5 Delay Time
00 25 | 0000 00aa | LFO 5 Fade Mode
(0 — 144) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
|#
|
01 11 | 0000 aaaa |
| 0000 bbbb | Env 12 Decay Time
00 26 | 0aaa aaaa | LFO 5 Fade Time
00 27 | 0000 000a | LFO 5 Key Sync
(0 — 144) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|
|
OFF, ON
|
01 13 | 0aaa aaaa | Env 12 Sustine
01 14 | 0000 aaaa |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 28 | Total Size
|#
|
|
| 0000 bbbb | Env 12 Release Time
(0 — 144) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
0 — 127, MUSICAL—NOTES
|
+---------------+
|
01 16 | 0000 0aaa | Env 12 Velocity Curve
(0 — 7) |
| LFO 1 | OSC1
| LFO 2 | OSC2
|
|
|
|
|
FIXED, 1 — 7
|
|
01 17 | 0aaa aaaa | Env 12 Velocity Sens
(1 — 127) |
| LFO 3 | COSM1 |
| LFO 4 | COMS2 |
|
|
|
—63 — +63
|
|
01 18 | 0aaa aaaa | Env 12 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
| LFO 5 | TVA
+---------------+
|
|
|
|
|
|
01 19 | 0aaa aaaa | Env 12 Decay Velocity Sens
|
|
|
|
■Patch COSM
|
01 1A | 0aaa aaaa | Env 12 Release Velocity Sens
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|
01 1B | 00aa aaaa | Env 12 Time Keyfollow
| Offset
|
|
|
|
|
|
|
Address |
Description
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
01 1C | 0000 aaaa |
| 0000 bbbb | Env 13 Attack Time
|
|
|
|
|
00 00 | 0000 000a | COSM Switch
(0 — 1) |
(0 — 144) |
|
|
BYPASS, ON
|
(0 — 15) |
|
|
|
|
0 — 127, MUSICAL—NOTES
|
|
00 01 | 0000 aaaa | COSM Type
|#
|
01 1E | 0000 aaaa |
| 0000 bbbb | Env 13 Decay Time
|
|
(0 — 144) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
0 — 127, MUSICAL—NOTES
|
(0 — 127) |
|
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 20 | 0aaa aaaa | Env 13 Sustine
01 21 | 0000 aaaa |
|#
|
|
| 0000 cccc |
| 0000 bbbb | Env 13 Release Time
(0 — 144) |
|
| 0000 dddd | COSM Parameter 1
(12768 — 52768) |
|
|
|
0 — 127, MUSICAL—NOTES
|
|
|
|
—20000 — +20000
|
|
|
|
|
01 23 | 0000 0aaa | Env 13 Velocity Curve
(0 — 7) |
|#
|
00 06 | 0000 aaaa |
| 0000 bbbb |
|
|
|
FIXED, 1 — 7
|
|
01 24 | 0aaa aaaa | Env 13 Velocity Sens
(1 — 127) |
|
| 0000 cccc |
|
|
|
—63 — +63
|
|
| 0000 dddd | COSM Parameter 2
(12768 — 52768) |
—20000 — +20000
|
01 25 | 0aaa aaaa | Env 13 Attack Velocity Sens
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(44 — 84) |
—200 — +200 |
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb |
|
01 26 | 0aaa aaaa | Env 13 Decay Velocity Sens
|
|
|
|
|
| 0000 cccc |
|
01 27 | 0aaa aaaa | Env 13 Release Velocity Sens
|
| 0000 dddd | COSM Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|
|
01 28 | 00aa aaaa | Env 13 Time Keyfollow
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 01 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | COSM Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
+--------------------------------+
|#
|
00 12 | 0000 aaaa |
| 0000 bbbb |
| ENV 1 | OSC1 Pitch
|
| ENV 2 | OSC1 Time/Pulse Width |
|
| 0000 cccc |
| ENV 3 | OSC1 Formant/Fat
| ENV 4 | OSC1 Level
| ENV 5 | OSC2 Pitch
|
|
|
|
| 0000 dddd | COSM Parameter 5
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb |
| ENV 6 | OSC2 Time/Pulse Width |
| ENV 7 | OSC2 Formant/Fat
| ENV 8 | OSC2 Level
|
|
|
|
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | COSM Parameter 6
(12768 — 52768) |
—20000 — +20000
| ENV 9 | COSM1 Parameter 1
| ENV 10 | COSM1 Parameter 2
| ENV 11 | COSM2 Parameter 1
| ENV 12 | COSM2 Parameter 2
| ENV 13 | TVA Level
|
|
|
|
|
|
|
|#
|
00 1A | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | COSM Parameter 7
(12768 — 52768) |
—20000 — +20000
+--------------------------------+
|
|
|
|
|
|
|
|#
|
00 1E | 0000 aaaa |
| 0000 bbbb |
■Patch LFO
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | COSM Parameter 8
(12768 — 52768) |
—20000 — +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 22 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 0aaa | LFO 1 Waveform
(0 — 7) |
SIN, TRI, SAW, SQR, RND, TRP, |
|
| 0000 cccc |
|
|
|
|
|
| 0000 dddd | COSM Parameter 9
(12768 — 52768) |
—20000 — +20000
S&H, CHS
|
|
|
|
|
|
|
|
|
00 01 | 0000 aaaa |
|#
|
00 26 | 0000 aaaa |
| 0000 bbbb |
| 0000 bbbb | LFO 1 Rate
(0 — 144) |
|
|
0 — 127, MUSICAL—NOTES
|
|
| 0000 cccc |
00 03 | 0000 0aaa | LFO 1 Offset
(0 — 4) |
|
| 0000 dddd | COSM Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 3) |
|
|
|
|
|
|
|
00 04 | 0aaa aaaa | LFO 1 Delay Time
00 05 | 0000 00aa | LFO 1 Fade Mode
|#
|
00 2A | 0000 aaaa |
| 0000 bbbb |
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
|
| 0000 cccc |
00 06 | 0aaa aaaa | LFO 1 Fade Time
00 07 | 0000 000a | LFO 1 Key Sync
|
| 0000 dddd | COSM Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
OFF, ON
|
|#
|
00 2E | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
00 08 | 0000 0aaa | LFO 2 Waveform
(0 — 7) |
SIN, TRI, SAW, SQR, RND, TRP, |
|
| 0000 cccc |
|
|
|
|
|
| 0000 dddd | COSM Parameter 12
(12768 — 52768) |
—20000 — +20000
S&H, CHS
|
|
|
|
|
|
|
|
|
00 09 | 0000 aaaa |
|#
|
00 32 | 0000 aaaa |
| 0000 bbbb |
| 0000 bbbb | LFO 2 Rate
(0 — 144) |
|
|
0 — 127, MUSICAL—NOTES
|
|
| 0000 cccc |
00 0B | 0000 0aaa | LFO 2 Offset
(0 — 4) |
|
| 0000 dddd | COSM Parameter 13
(12768 — 52768) |
—20000 — +20000
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 3) |
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | LFO 2 Delay Time
00 0D | 0000 00aa | LFO 2 Fade Mode
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb |
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
(0 — 127) |
(0 — 1) |
|
| 0000 cccc |
00 0E | 0aaa aaaa | LFO 2 Fade Time
00 0F | 0000 000a | LFO 2 Key Sync
|
| 0000 dddd | COSM Parameter 14
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
OFF, ON
|
|#
|
00 3A | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|#
|
|
|
|
|
|
|
00 10 | 0000 0aaa | LFO 3 Waveform
(0 — 7) |
SIN, TRI, SAW, SQR, RND, TRP, |
|
| 0000 cccc |
|
|
|
|
|
| 0000 dddd | COSM Parameter 15
(12768 — 52768) |
—20000 — +20000
S&H, CHS
|
|
|
|
|
|
|
|
|
00 11 | 0000 aaaa |
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb |
| 0000 bbbb | LFO 3 Rate
(0 — 144) |
|
|
0 — 127, MUSICAL—NOTES
|
|
|
| 0000 cccc |
00 13 | 0000 0aaa | LFO 3 Offset
(0 — 4) |
| 0000 dddd | COSM Parameter 16
(12768 — 52768) |
—20000 — +20000 |
|
|
—100, —50, 0, +50, +100
|
(0 — 127) |
(0 — 3) |
|
|
|
00 14 | 0aaa aaaa | LFO 3 Delay Time
00 15 | 0000 00aa | LFO 3 Fade Mode
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 42 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
ON—IN, ON—OUT, OFF—IN, OFF—OUT
|
1 6 6
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MIDI Im p le m e n ta tio n
|
|
|
REST, 1 — 127, TIE
|
|
■Patch Controller
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb | Step 31 Velocity
(0 — 128) |
REST, 1 — 127, TIE
+——————————————————————————————————————————————————————————————————————————————+
|
|#
|
|
|
|
|
| Offset
|
|
|
00 40 | 0000 aaaa |
| 0000 bbbb | Step 32 Velocity
|
Address |
Description
(0 — 128) |
REST, 1 — 127, TIE
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0000 0aaa | Beam Type
(0 — 4) |
OFF, 1 — 4 |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
| 00 00 00 42 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 01 | 0000 000a | Pad Mode
(0 — 1) |
|
|
X—Y, TIME—TRIP
|
00 02 | 0000 000a | Pad Hold
(0 — 1) |
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 03 | 0000 000a | Arpeggio Switch
(0 — 1) |
OFF, ON
(0 — 1) |
|
|
|
00 04 | 0000 000a | Arpeggio Hold
|
|
OFF, ON
|
00 05 | 0aaa aaaa | Arpeggio Motif
(0 — 7) |
|
|
|
|
UP, DOWN, UP&DOWN, RANDOM, |
NOTE—ORDER, RHYTHM, PHRASE, AUTO
|
00 06 | 0aaa aaaa | Arpeggio Duration
(0 — 100) |
(0 — 100) |
(0 — 1) |
00 07 | 0aaa aaaa | Arpeggio Shuffle Rate
00 08 | 0000 000a | Arpeggio Shuffle Resolution
|
|
16TH, 8TH
|
00 09 | 0aaa aaaa | Arpeggio Keyboard Velocity
(0 — 127) |
|
|
REAL, 1 — 127
|
00 0A | 0000 0aaa | Arpeggio Octave Range
(61 — 67) |
|
|
—3 — +3
|
00 0B | 0000 0aaa | Arpeggio Grid
(0 — 5) |
|
|
|
|
QUARTER, 8TH, 8TH—T, 16TH, |
16TH—T, 32TH
|
00 0C | 000a aaaa | Arpeggio End Point
(0 — 31) |
1 — 32 |
|
|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0D | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
■Patch Arpeggio
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
00 00 | 0000 000a | Control Switch
(0 — 1) |
|
|
NOTE, CTRL
|
00 01 | 0aaa aaaa | Control Number
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb | Step 1 Velocity
|
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb | Step 2 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 06 | 0000 aaaa |
| 0000 bbbb | Step 3 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb | Step 4 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb | Step 5 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb | Step 6 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb | Step 7 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb | Step 8 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 12 | 0000 aaaa |
| 0000 bbbb | Step 9 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb | Step 10 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb | Step 11 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb | Step 12 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 1A | 0000 aaaa |
| 0000 bbbb | Step 13 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb | Step 14 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 1E | 0000 aaaa |
| 0000 bbbb | Step 15 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb | Step 16 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 22 | 0000 aaaa |
| 0000 bbbb | Step 17 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb | Step 18 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 26 | 0000 aaaa |
| 0000 bbbb | Step 19 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb | Step 20 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 2A | 0000 aaaa |
| 0000 bbbb | Step 21 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb | Step 22 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 2E | 0000 aaaa |
| 0000 bbbb | Step 23 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb | Step 24 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 32 | 0000 aaaa |
| 0000 bbbb | Step 25 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 34 | 0000 aaaa |
| 0000 bbbb | Step 26 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb | Step 27 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 38 | 0000 aaaa |
| 0000 bbbb | Step 28 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 3A | 0000 aaaa |
| 0000 bbbb | Step 29 Velocity
(0 — 128) |
|
|
|
REST, 1 — 127, TIE
|
|
|#
|
00 3C | 0000 aaaa |
| 0000 bbbb | Step 30 Velocity
(0 — 128) |
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MIDI Im p le m e n ta tio n
■Examples of Actual MIDI Messages
4. Supplementary Material
<Example1> 92 3E 5F
■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.
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.
The following table shows how these correspond to decimal numbers.
<Example2> CE 49
+——————+——————++——————+——————++——————+——————++——————+——————+
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.
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
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|
0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
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.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
00H
00H
0CH
00H
7FH
7FH
+——————+——————++——————+——————++——————+——————++——————+——————+
(MIDI ch.4) lower byte of parameter value:
D: decimal
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
H: hexadecimal
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
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.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
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.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so
a
value of 0CH = 12 sets the maximum pitch bend range to +/ -12
*
*
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
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.
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.
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
<Example2> What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
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).
<Example3> 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 = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
*
TPQN: Ticks Per Quarter Note
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
16 )
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
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MIDI Im p le m e n ta tio n
<Example3> Getting Temporary Patch (Part 1) data (RQ1)
■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 Exclusive message.
cf.) This operation is the same as Data Transfer function in Utility mode with “PATCH:
TEMP” (Source parameter) options.
(Part 1) is assigned as following:
■How to Calculate the Checksum
(hexadecimal numbers are indicated by “H”)
10 00 00 00
Temporary Patch (Part 1)
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
The offset address of Patch is also assigned as follows:
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 cc ddH and the data or size is ee ffH.
00 00 00
Patch Common
:
00 10 00
Patch Oscillator (Zone 1)
Patch Envelope (Zone 1)
Patch LFO (Zone 1)
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
:
00 20 00
:
00 40 00
<Example1> Setting CHORUS TYPE of PATCH to CHORUS 1 (DT1)
:
00 50 00
Patch COSM1 (Zone 1)
Patch COSM2 (Zone 1)
Patch Arpeggio (Note 1)
Patch Arpeggio (Note 16)
is 10 00 00 00H, the offset address of PATCH CHORUS at PATCH is 04 00H, and the
address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS TYPE of PATCH
CHORUS is;
:
00 60 00
:
00 70 00
:
10 00 00 00H
04 00H
00 7F 00
+)
00 00H
10 00 04 00H
As the data size of Patch Arpeggio is 00 00 00 42H, summation of the size and the start
address of Temporary Patch Arpeggio (Note 16) will be;
CHORUS 1 has the value of 01H.
So the system exclusive message should be sent is;
10 00 00 00H
00 00 7F 00H
+) 00 00 00 42H
10 00 7F 42H
F0
41
10
00 53
(4)
12
10 00 04 00
address
01
??
F7
(1)
(2)
(3)
(5)
data
checksum
(6)
And the size that have to be got should be;
(1) Exclusive Status
(2) ID (Roland)
(5) Command ID (DT1)
(3) Device ID (17)
(4) Model ID (V-Synth)
(6) End of Exclusive
10 00 7F 42H
-) 10 00 00 00H
00 00 7F 42H
Then calculate the checksum.
Therefore the system exclusive message should be sent is;
10H + 00H + 04H + 00H + 01H = 16 + 0 + 4 + 0 + 1 = 21 (sum)
21 (sum) ÷ 128 = 0 (quotient) ... 21 (remainder)
checksum = 128 - 21 (remainder) = 107 = 6BH
F0
41
10
00 53
(4)
11
10 00 00 00
address
00 00 7F 42
data
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
This means that F0 41 10 00 53 12 10 00 04 00 01 6B F7 is the message should be sent.
(1) Exclusive Status
(2) ID (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(4) Model ID (V-Synth)
(6) End of Exclusive
<Example2> Getting the data (RQ1) of PATCH MFX in PATCH:003
02 00 00H, and the offset address of PATCH MFX is 00 02 00H.
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 53 11
10 00 00 00 00 00 7F 42 2F F7 to be transmitted.
Therefore the start address of PATCH MFX in PATCH:003 is;
20 02 00 00H
+)
00 02 00H
20 02 02 00H
As the size of PATCH MFX is 00 00 01 04H, the system exclusive message should be sent is;
F0
41
10
00 53
(4)
11
20 02 02 00
address
00 00 01 04
data
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
(1) Exclusive Status
(2) ID (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(4) Model ID (V-Synth)
(6) End of Exclusive
Then calculate the checksum.
20H + 02H + 02H + 00H + 00H + 00H + 01H + 04H = 32 + 2 + 2 + 0 + 0 + 0 + 1 + 4
= 41 (sum)
117 (sum) ÷ 128 = 0 (quotient) ... 41 (remainder)
checksum = 128 - 41 (remainder) = 87 = 57H
This means that F0 41 10 00 53 11 20 02 02 00 00 00 01 04 57 F7 is the message should be sent.
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MIDI Im p le m e n ta tio n
<Example4> Getting Temporary Patch data of whiole part (RQ1) at once;
■The Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
of whole part is assigned as following:
10 00 00 00
10 01 00 00
:
Temporary Patch (Part 1)
Temporary Patch (Part 2)
■Equal Temperament
10 0F 00 00
Temporary Patch (Part 16)
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the V-Synth, the default settings for
the Scale Tune feature produce equal temperament.
The offset address of Patch is also assigned as follows:
00 00 00
Patch Common
■Just Temperament (Tonic of C)
:
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
00 10 00
Patch Oscillator (Zone 1)
Patch Envelope (Zone 1)
Patch LFO (Zone 1)
:
00 20 00
:
■Arabian Scale
00 40 00
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
:
00 50 00
Patch COSM1 (Zone 1)
Patch COSM2 (Zone 1)
Patch Arpeggio (Note 1)
Patch Arpeggio (Note 16)
:
00 60 00
Example Settings
:
Note name
Equal Temperament Just Temperament (Key-tone C)
Arabian Scale
00 70 00
:
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
-8
00 7F 00
+4
Eb
E
+16
-14
-2
-12
-51
-8
As the data size of Patch Arpeggio is 00 00 00 42H, summation of the size and the start
address of Temporary Patch (Port 16) Arpeggio (Note 16) will be;
F
F#
G
-10
+2
+43
-4
10 0F 00 00H
00 00 7F 00H
+) 00 00 00 42H
10 0F 7F 42H
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
And the size that have to be got should be;
10 0F 7F 42H
-) 10 00 00 00H
00 0F 7F 42H
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
Therefore the system exclusive message should be sent is;
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
F0
41
10
00 53
(4)
11
10 00 00 00
address
00 0F 7F 42
data
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
■ASCII Code Table
(1) Exclusive Status
(2) ID (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
Patch Name and Performance Name, etc., of MIDI data are described the ASCII
(4) Model ID (V-Synth)
(6) End of Exclusive
code in the table below.
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 53 11
10 00 00 00 00 0F 7F 42 20 F7 to be transmitted.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D
| H
| Char || D
| H
| Char || D
| H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
|
|
|
|
|
|
|
|
|
|
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|
32 | 20H | SP ||
64 | 40H |
65 | 41H |
66 | 42H |
67 | 43H |
68 | 44H |
69 | 45H |
70 | 46H |
71 | 47H |
72 | 48H |
73 | 49H |
74 | 4AH |
75 | 4BH |
76 | 4CH |
77 | 4DH |
78 | 4EH |
79 | 4FH |
80 | 50H |
81 | 51H |
82 | 52H |
83 | 53H |
84 | 54H |
85 | 55H |
86 | 56H |
87 | 57H |
88 | 58H |
89 | 59H |
90 | 5AH |
91 | 5BH |
92 | 5CH |
93 | 5DH |
94 | 5EH |
95 | 5FH |
@ ||
A ||
B ||
C ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
` |
a |
b |
c |
d |
e |
f |
g |
h |
i |
j |
k |
l |
m |
n |
o |
p |
q |
r |
s |
t |
u |
v |
w |
x |
y |
z |
{ |
| |
} |
33 | 21H |
34 | 22H |
35 | 23H |
36 | 24H |
37 | 25H |
38 | 26H |
39 | 27H |
40 | 28H |
41 | 29H |
42 | 2AH |
43 | 2BH |
44 | 2CH |
45 | 2DH |
46 | 2EH |
47 | 2FH |
48 | 30H |
49 | 31H |
50 | 32H |
51 | 33H |
52 | 34H |
53 | 35H |
54 | 36H |
55 | 37H |
56 | 38H |
57 | 39H |
58 | 3AH |
59 | 3BH |
60 | 3CH |
61 | 3DH |
62 | 3EH |
63 | 3FH |
! ||
" ||
# ||
$ ||
% ||
& ||
` ||
( ||
) ||
* ||
+ ||
, ||
— ||
. ||
/ ||
0 ||
1 ||
2 ||
3 ||
4 ||
5 ||
6 ||
7 ||
8 ||
9 ||
: ||
; ||
< ||
= ||
> ||
? ||
D || 100 | 64H |
E || 101 | 65H |
F || 102 | 66H |
G || 103 | 67H |
H || 104 | 68H |
I || 105 | 69H |
J || 106 | 6AH |
K || 107 | 6BH |
L || 108 | 6CH |
M || 109 | 6DH |
N || 110 | 6EH |
O || 111 | 6FH |
P || 112 | 70H |
Q || 113 | 71H |
R || 114 | 72H |
S || 115 | 73H |
T || 116 | 74H |
U || 117 | 75H |
V || 118 | 76H |
W || 119 | 77H |
X || 120 | 78H |
Y || 121 | 79H |
Z || 122 | 7AH |
[ || 123 | 7BH |
\ || 124 | 7CH |
] || 125 | 7DH |
^ ||——————+——————+——————+
_ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
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Synthesizer Keyboard
Model V-Synth
Date: Nov. 20, 2002
Version: 1.00
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
1–16
1–16
1–16
1–16
Memorized
Default
Mode 3
Mode 3
* 2
Mode
Messages
Altered
Mono, Poly
Mode 3, 4 (M = 1)
**************
Note
Number :
0–127
**************
0–127
0–127
True Voice
Note On
Note Off
O
O
O
O
Velocity
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
Pitch Bend
O
O
*1
0, 32
1
2
5
6, 38
7
O
*1
O
X
X
O
O
O
O
O
X
X
X
X
X
X
X
X
X
O
O
O
X
X
X
X
*1
*1
*1
Bank select
Modulation
Breath type
Portamento time
Data entry
Volume
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Breath type
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
O (Modulation)
O (Knob 1)
X
*1
*1
*1
*1
X
O (Pedal 1)
X
10
11
16
17
18
19
34
48
49
50
51
64
65
66
80
81
82
83
91
93
O (Pedal 2)
O (D Beam1-L)
O (D Beam2-L)
O (D Beam3-L)
O (D Beam4-L)
O (Knob 2)
O (D Beam1-R)
O (D Beam2-R)
O (D Beam3-R)
O (D Beam4-R)
O (Hold)
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Control
Change
*1
*1
*1
*1
*1
*1
*1
*1
*1
X
X
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Portamento
Sostenuto
O (TT Pad XY-X)
O (TT Pad XY-Y)
O (TT Pad TT-X)
O (TT Pad TT-Y)
X
X
O
*1
*1
*1
*1
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
General purpose effects 1
General purpose effects 3
Pedal, Knob, D Beam, TT Pad
RPN LSB, MSB
O (Reverb)
O (Chorus)
X
O
1–31, 64–95
100, 101
*1
X
Program
Change
O
*1
*3
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Realtime : Commands
: Clock
X
X
*1
*1
X
X
*1
X
X
X
X
O
X
O
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O
Aux
Messages
X
O (123–127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Transmits when Data Transfer is executed or RQ1 received.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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Sp e cifica tio n s
V-Synth: Synthesizer Keyboard
■ Nominal Input Level
INPUT (LINE): -20 dBu
INPUT (MIC): -46 dBu
■ Keyboard
61 keys (with velocity and channel aftertouch)
■ Arpeggiator
■ Sound Generator Configuration
Oscillator (envelope x 4 + LFO x 1) x 2
Modulator x 1
Patterns: User programmable (support use of control change messages)
Motifs: 8 types
Tempo: 20 to 250 BPM
OSM (envelope x 2 + LFO x 1) x 2
TVA (envelope x 1 + LFO x 1) x 1
■ Display
Graphic 320 x 240 dot backlit LCD with touch screen
■ Methods by Which Oscillators Produce Sound
Analog Modeling, PCM / VariPhrase (Preset waveforms + Sampling
waveforms), External Input
■ Controllers
Pitch Bend/ Modulation Lever
■ Modulator
Time Trip Pad
4 types + MIX
D Beam Controller (Twin beam)
Assignable Control Knobs (C1, C2)
■ COSM
15 types + THRU
■ Connectors
Headphones Jack
■ Zones (Splits)
Main Output Jacks (L/ MONO, R) (1/ 4 inch phone type)
Direct Output Jacks (L, R) (1/ 4 inch phone type)
Input Jacks (L, R) (1/ 4 inch phone type, Equipped with line/ mic
gain switch)
16
■ Parts
16
■ Maximum Polyphony
Hold Pedal Jack
24 voices
Control Pedal Jacks (1, 2) (assignable)
MIDI Connectors (IN, OUT, THRU)
USB Connector
(Varies depending on the load placed on the sound generator.)
■ Internal Memory
Project: 1
Digital Audio Interface (24 bits, S/ P DIF)
COAXIAL (IN, OUT)
Patches: 512
Waves: 999
OPTICAL (IN, OUT)
Wave memory (RAM): 50 M bytes
(When the unit ships from the factory, 30 M bytes of this is taken up
by the preset waves.)
AC Inlet
■ Power Supply
AC 117 V, AC 230 V, AC 240 V
Sample storage memory (FLASH): 10 M bytes
■ Power Consumption
■ External Storage Device
16 W
PC CARD slot
■ Dimensions
(Can be used Microdrive, SmartMedia or CompactFlash with PC
card adapter.)
1,056 (W) x 398 (D) x 111 (H) mm
41-5/ 8 (W) x 15-11/ 16 (D) x 4-3/ 8 (H) inches
■ Effects
■ Weight
MFX (Multi-effects): 41 sets
Chorus: 8 sets
13.1 kg / 28 lbs 15 oz
■ Accessories
Quick Start
Reverb: 10 sets
■ System EQ
Owner’s Manual
Sound List
4 bands
■ Sampling Frequency
CD-ROM (Driver)
PC CARD Protector
Power Cable
Internal: 44.1 kHz
Digital Audio IN/ OUT: 96, 48, 44.1 kHz
■ Signal Processing
■ Options
Internal processing
Keyboard Stand: KS-12
Pedal Switch: DP-2/ 6/ 8
Foot Switch: BOSS FS-5U, BOSS FV-300L
Expression Pedal: EV-5
Microphone: DR-20
Sound generating section: 32 bits (floating point)
Effects section: 24 bits (fixed point)
DA Conversion: 24 bits
AD Conversion: 24 bits
■ Nominal Output Level
MAIN OUT: +4 dBu
(0 dBu = 0.775 V rms)
DIRECT OUT: +4 dBu
* In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
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In d e x
CHO Type .............................................................................................. 51
Chorus master level .............................................................................. 51
Chorus on/ off switch ........................................................................... 51
Clean Project .......................................................................................... 85
Common
Patch ................................................................................................. 36
System .............................................................................................. 74
Compare ................................................................................................. 35
Compare function ................................................................................. 35
Controller section .................................................................................. 16
Copy ........................................................................................................ 87
Files/ Folders ................................................................................... 87
Patch ................................................................................................. 33
COSM switch ......................................................................................... 46
[COSM1] ................................................................................................. 13
COSM1/ COSM2 .................................................................................... 46
[COSM2] ................................................................................................. 13
Count In .................................................................................................. 62
Cursor ..................................................................................................... 20
Symbols
[-OCT] ............................................................................................... 13, 23
Numerics
[1]–[8] ................................................................................................ 13, 22
4 Band EQ ............................................................................................... 75
A
Addjust ................................................................................................... 65
ADSR Attack .......................................................................................... 48
ADSR Release ........................................................................................ 48
ADSR Sustain ......................................................................................... 48
After Assign ........................................................................................... 82
After Local Sw ....................................................................................... 82
After Sens ............................................................................................... 78
Aftertouch sensitivity ........................................................................... 78
Arpeggiator ............................................................................................ 24
Arpeggio duration ................................................................................ 40
Arpeggio motif ...................................................................................... 40
Arpeggio switch .................................................................................... 40
[ASSIGNABLE]
D
D Beam ....................................................................................... 12, 29
Assignable controller ............................................................................ 30
Assigning a name
Files/ Folders ................................................................................... 89
Sample ............................................................................................. 58
Assign-TT ............................................................................................... 80
Audio ...................................................................................................... 80
D Beam .................................................................................................... 37
D Beam controller .................................................................................. 29
D Beam Sens L, R ................................................................................... 79
D beam sensitivity L, R ......................................................................... 79
D Beam type ........................................................................................... 37
D Beam/ Bender ..................................................................................... 37
Data Transfer ......................................................................................... 97
Delay Time ............................................................................................. 49
Delete ...................................................................................................... 88
Files/ Folders ................................................................................... 88
Destination 1, 2 ...................................................................................... 39
[DETUNE] .............................................................................................. 14
Device ID ................................................................................................ 75
Device ID number ................................................................................. 75
DIRECT OUT jack ................................................................................. 15
Disk Load Project .................................................................................. 84
Disk mode ........................................................................................ 18, 83
Drum ....................................................................................................... 53
Drum patch ............................................................................................ 53
B
[BANK] ................................................................................................... 13
Beam .................................................................................................. 79, 81
Beam Local Sw ....................................................................................... 81
Beat .......................................................................................................... 62
Beat Keep ................................................................................................ 42
Beep tone ................................................................................................ 19
Bend Assign ........................................................................................... 82
Bend Local Sw ........................................................................................ 81
Bend Range Up ...................................................................................... 37
C
CHO ........................................................................................................ 51
CHO Master Level ................................................................................ 51
CHO Send ............................................................................................... 50
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In d e x
System .............................................................................................. 73
INPUT jack ............................................................................................. 15
Input source ........................................................................................... 61
IO ............................................................................................................. 74
E
Encode depth ......................................................................................... 71
Env Time KF .......................................................................................... 48
Envelope decay time ............................................................................. 48
Envelope release time ........................................................................... 48
Envelope settings .................................................................................. 48
Envelope sustain level .......................................................................... 48
EQ ............................................................................................................ 75
Equal temperament ............................................................................... 41
Event ....................................................................................................... 71
Delete ............................................................................................... 71
External Input Type .............................................................................. 74
J
Just temperament .................................................................................. 41
K
KBD ......................................................................................................... 78
KBD Sens ................................................................................................ 78
KBD Velo ................................................................................................ 40
Key Follow
Patch level ....................................................................................... 47
Key follow
Fat ..................................................................................................... 44
Oscillator level ................................................................................ 45
Oscillator pitch ................................................................................ 43
Pan .................................................................................................... 47
Pulse width ..................................................................................... 44
Time .................................................................................................. 44
Keyboard velocity ................................................................................. 78
Knob 1, 2 Assign .............................................................................. 79, 81
Knob 1, 2 Local Sw ................................................................................ 80
F
[FAT] ....................................................................................................... 14
Fat ............................................................................................................ 44
Fmt LFO Depth ...................................................................................... 45
[FORMANT] .......................................................................................... 14
Formant KF ............................................................................................ 45
L
LCD contrast .......................................................................................... 15
Legato switch ......................................................................................... 37
[LEVEL] ............................................................................................ 12, 14
oscillator .......................................................................................... 45
Patch ................................................................................................. 47
LFO
G
GAIN switch .......................................................................................... 15
Oscillator ......................................................................................... 45
TVA .................................................................................................. 47
LFO delay time ...................................................................................... 49
LFO depth
H
High Freq ................................................................................................ 75
High frequency ...................................................................................... 75
HIGH Gain ............................................................................................. 75
[HOLD]
Fat ..................................................................................................... 44
Oscillator level ................................................................................ 45
Oscillator pitch ................................................................................ 43
Pan .................................................................................................... 47
Patch level ....................................................................................... 47
Pulse width ..................................................................................... 44
Time .................................................................................................. 44
LFO fade mode ...................................................................................... 49
LFO fade time ........................................................................................ 49
LFO key sync switch ............................................................................. 49
LFO offset ............................................................................................... 49
LFO settings ........................................................................................... 49
Link Y assign-XY ................................................................................... 80
I
Impact ..................................................................................................... 42
Import Files ............................................................................................ 85
[INC/ +] ............................................................................................. 13, 20
Info .......................................................................................................... 98
Initialize
Disk .................................................................................................. 86
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In d e x
Load Project ........................................................................................... 84
LOCK ...................................................................................................... 65
Loop ........................................................................................................ 43
LOW Freq ............................................................................................... 75
N
[NUMBER] ....................................................................................... 13, 22
O
Octave Range ......................................................................................... 40
Octave Shift ............................................................................................ 37
Offset ....................................................................................................... 49
[ON/ OFF]
D Beam ............................................................................................. 12
Original Level ........................................................................................ 46
OSC TVA ................................................................................................ 45
OSC1/ OSC2 ........................................................................................... 42
Oscillator coarse tune ........................................................................... 43
Output Gain ........................................................................................... 74
Output level ..................................................................................... 61–62
M
MAIN OUT jack .................................................................................... 15
Master ..................................................................................................... 74
Master Tune ........................................................................................... 74
Matrix control ........................................................................................ 38
Memory .................................................................................................. 17
Metronome type .................................................................................... 62
[MFX] ...................................................................................................... 14
MFX Send ............................................................................................... 50
MFX send level ...................................................................................... 50
MFX To CHO ......................................................................................... 51
MFX To REV .......................................................................................... 51
MFX Type ......................................................................................... 50–51
MID 1 Freq ............................................................................................. 75
MID 1 Gain ............................................................................................. 75
MID 1 Q .................................................................................................. 75
MID 2 Freq ............................................................................................. 75
MID 2 Gain ............................................................................................. 75
MID 2 Q .................................................................................................. 75
MIDI Channel ........................................................................................ 80
MIDI mode ............................................................................................. 96
Mod ......................................................................................................... 46
Mod Local Sw ........................................................................................ 81
Mode ........................................................................................... 18, 37–38
Modulator switch .................................................................................. 46
Mono ....................................................................................................... 23
Files/ Folders ................................................................................... 87
P
Pan ........................................................................................................... 47
Part1–16 Rx Sw ...................................................................................... 77
Patch
Patch settings .................................................................................. 32
PATCH Init ............................................................................................ 33
Patch Mode
Patch Remain ......................................................................................... 74
Patch Tempo .......................................................................................... 40
Patch Tx Ch ............................................................................................ 77
PC card protector ................................................................................ 178
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In d e x
PC CARD slot ........................................................................................ 15
PHONES jack ......................................................................................... 15
Pit LFO Dp ............................................................................................. 43
Playback Mode ...................................................................................... 43
Polyphony .............................................................................................. 16
Portamento switch ................................................................................ 36
POWER switch ...................................................................................... 15
Pre gain ................................................................................................... 61
Limiter ............................................................................................. 62
PREVIEW ............................................................................................... 65
Project ...................................................................................................... 17
PW LFO Depth ...................................................................................... 44
Reverb type ...................................................................................... 51–52
Robot Voice ............................................................................................ 43
Routing ................................................................................................... 50
Rx Bank ................................................................................................... 75
Rx Sys-Ex ................................................................................................ 76
S
Sample ..................................................................................................... 55
Edit ................................................................................................... 64
Import .............................................................................................. 64
Sample edit
Clear ................................................................................................. 67
Copy ................................................................................................. 67
Cut .................................................................................................... 67
Insert ................................................................................................ 67
LR-Mix ............................................................................................. 67
Paste ................................................................................................. 67
Region .............................................................................................. 68
Trim .................................................................................................. 67
Zero Insert ....................................................................................... 67
SAMPLE Encode ................................................................................... 70
Sample mode .................................................................................... 18, 55
SAMPLE Top ......................................................................................... 56
Sampling ................................................................................................. 55
Sampling memory ................................................................................. 17
Sampling template ................................................................................ 55
Sampling type ........................................................................................ 60
Save
Patch ................................................................................................. 34
Project ............................................................................................... 85
Sample .............................................................................................. 72
System .............................................................................................. 73
Save Project ............................................................................................ 85
Scale Tune ............................................................................................... 41
Scale Tune C–B ...................................................................................... 41
Scale tune switch ................................................................................... 41
[SHIFT] .................................................................................................... 13
Shuffle Rate ............................................................................................ 40
Shuffle Resolution ................................................................................. 40
Source ...................................................................................................... 38
Split .......................................................................................................... 52
Storage mode ......................................................................................... 90
Structure Type ....................................................................................... 36
Sustain ..................................................................................................... 61
R
[R] ............................................................................................................ 14
Ratio ........................................................................................................ 62
Release .............................................................................................. 46, 62
Release time ........................................................................................... 62
Remote KBD Sw .................................................................................... 78
Rename ................................................................................................... 89
REV Send ................................................................................................ 50
[REVERB] ............................................................................................... 14
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In d e x
T
V
Template Name ..................................................................................... 63
Tempo ..................................................................................................... 62
Tempo Sync ............................................................................................ 43
Temporary area ..................................................................................... 17
Time ................................................................................................... 37, 44
Time KF .................................................................................................. 44
Time Offset ............................................................................................. 44
[TIME TRIP]
VariPhrase .............................................................................................. 11
[V-LINK] ........................................................................................... 12, 31
V-LINK .............................................................................................. 30, 80
V-LINK mode ........................................................................................ 31
D Beam ....................................................................................... 12, 29
Time Trip Beat Keep ............................................................................. 42
TIME TRIP PAD .................................................................................... 12
Time trip pad ......................................................................................... 28
Time trip pad mode .............................................................................. 38
Time Trip Sw .......................................................................................... 42
Time trip switch ..................................................................................... 42
Time Velo Sens ...................................................................................... 37
Touch screen .......................................................................................... 19
[TRANSPOSE] ................................................................................. 13, 22
Transpose ............................................................................................... 22
Trigger mode ......................................................................................... 61
TT Pad ..................................................................................................... 38
TT Pad Local Sw .................................................................................... 80
Tune ......................................................................................................... 41
TVA ......................................................................................................... 47
TVA switch ............................................................................................. 47
Tx Bank ................................................................................................... 77
Tx Edit ..................................................................................................... 76
W
Wave Gain .............................................................................................. 42
Waveform ............................................................................................... 42
Work area ............................................................................................... 17
X
X assign-time trip .................................................................................. 78
X Assign-XY ..................................................................................... 78, 80
Y
Y assign-time trip .................................................................................. 78
Y Assign-XY ..................................................................................... 78, 80
Z
Zero cross search ................................................................................... 66
Zoom ....................................................................................................... 66
Zoom bar ................................................................................................ 66
U
USB connector ........................................................................................ 15
USB mode ......................................................................................... 19, 90
USB Setup ............................................................................................... 76
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In sta llin g th e PC Ca rd Pro te cto r
The V-Synth provides a PC card protector to prevent theft of the PC card. To install the PC card protector, use the
following procedure.
1 . Use a screwdriver to remove both of the screws from the bottom side of the PC CARD slot.
2 . Insert the PC card into the PC CARD card slot.
3 . Use the screws to fasten the PC card protector as shown below.
PC card
-Synth rear panel
V
PC card protector
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For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 6846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 2273 0074
KUW AIT
Easa Husain Al Yousifi Est.
Abdullah Salem Street,
Safat, KUWAIT
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
PO RTUGAL
THAILAN D
VEN EZUELA
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VENEZUELA
TEL: (212) 285-8586
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
EURO PE
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
TEL: (0512) 26 44 260
ASIA
AUSTRALIA
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CHIN A
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai, CHINA
TEL: (021) 5580-0800
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
TEL: (93) 308 1000
TEL: (02) 9982 8266
Center
DEN MARK
SW EDEN
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing,
CHINA
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
N EW ZEALAN D
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
TEL: 3916 6200
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
TEL: (010) 6426-5050
FRAN CE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
FIN LAN D
Roland Scandinavia As,
Filial Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 2493 9051
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
TEL: (040) 52 60090
UNITED KINGDOM
TEL: (01792) 702701
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
HUN GARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
TEL: (905) 362 9707
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
75 Avenida Norte y Final
Alameda Juan Pablo
,
PHILIPPIN ES
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (022) 66-9426
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of April 1, 2003 (Roland)
TEL: (55) 5668-6699
03126812
’03-6-4N
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