Roland Video Game Keyboard F 120R User Guide

MIDI Implementation  
* Some other GS devices do not recognize the Bank Select LSB (Controller number  
32).  
Model: F-120R, RP301R  
Date: Jun. 28, 2012  
Version: 1.00  
Modulation (Controller Number 1)  
Status  
BnH  
2nd byte  
01H  
3rd byte  
vvH  
1. Receive Data  
Channel Voice Messages  
Note off  
n = MIDI channel number:  
vv = Modulation depth:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
* Not received when Rx. MODULATION = OFF. (Initial value is ON)  
* The resulting effect is determined by System Exclusive messages. With the initial  
settings, this is Pitch Modulation Depth.  
Status  
8nH  
2nd byte  
kkH  
3rd byte  
vvH  
9nH  
kkH  
00H  
Portamento Time (Controller Number 5)  
n = MIDI channel number:  
kk = note number:  
vv = note off velocity:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
00H-7FH (0-127)  
Status  
BnH  
2nd byte  
05H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Portamento Time:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127), Initial value = 00H (0)  
Note on  
Status  
9nH  
2nd byte  
kkH  
3rd byte  
vvH  
* This adjusts the rate of pitch change when Portamento is ON or when using the  
Portamento Control. A value of 0 results in the fastest change.  
n = MIDI channel number:  
kk = note number:  
vv = note on velocity:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
01H-7FH (1-127)  
Data Entry (Controller Number 6, 38)  
Status  
BnH  
2nd byte  
06H  
3rd byte  
mmH  
llH  
BnH  
26H  
* Not received when Rx. NOTE MESSAGE = OFF. (Initial value is ON)  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
mm, ll = the value of the parameter specified by RPN/NRPN  
mm = MSB, ll = LSB  
Polyphonic Key Pressure  
Status  
AnH  
2nd byte  
kkH  
3rd byte  
vvH  
Volume (Controller Number 7)  
Status  
BnH  
2nd byte  
07H  
3rd byte  
vvH  
n = MIDI channel number:  
kk = note number:  
vv = key pressure:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
00H-7FH (0-127)  
n = MIDI channel number:  
vv = Volume:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127), Initial Value = 64H (100)  
* Not received when Rx. POLY PRESSURE (PAf) = OFF. (Initial value is ON)  
* The resulting effect is determined by System Exclusive messages. With the initial  
settings, there will be no effect.  
* Volume messages are used to adjust the volume balance of each Part.  
* Not received when Rx. VOLUME = OFF. (Initial value is ON)  
Control Change  
Pan (Controller Number 10)  
* When Rx. CONTROL CHANGE = OFF, all control change messages except for  
Channel Mode messages will be ignored.  
Status  
BnH  
2nd byte  
0AH  
3rd byte  
vvH  
* The value specified by a Control Change message will not be reset even by a  
Program Change, etc.  
n = MIDI channel number:  
vv = pan:  
0H-FH (ch.1-ch.16)  
00H-40H-7FH (Left-Center-Right),  
Initial Value = 40H (Center)  
Bank Select (Controller Number 0, 32)  
Status  
BnH  
BnH  
2nd byte  
00H  
20H  
3rd byte  
mmH  
llH  
* Some Tones are not capable of being panned all the way to the left or right.  
* Not received when Rx. PANPOT = OFF. (Initial value is ON)  
n = MIDI channel number:  
mm, ll = Bank number:  
0H-FH (ch.1-ch.16)  
00H, 00H-7FH, 7FH (bank.1-bank.16384),  
Initial Value = 00 00H (bank.1)  
Expression (Controller Number 11)  
Status  
BnH  
2nd byte  
0BH  
3rd byte  
vvH  
* Not received when Rx. BANK SELECT = OFF.  
* “Rx. BANK SELECTis set to OFF by “GM1 System On,and Bank Select message will  
be ignored.  
n = MIDI channel number:  
vv = Expression:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127), Initial Value = 7FH (127)  
* “Rx. BANK SELECTis set to ON by “GM2 System On.”  
* “Rx. BANK SELECTis set to ON by power-on Reset or by receiving “GS RESET.”  
* When Rx. BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H  
regardless of the received value. However, when sending Bank Select messages,  
you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)  
together.  
* This adjusts the volume of a Part. It can be used independently from Volume  
messages. Expression messages are used for musical expression within a  
performance; e.g., expression pedal movements, crescendo and decrescendo.  
* Not received when Rx. EXPRESSION = OFF. (Initial value is ON)  
* Bank Select processing will be suspended until a Program Change message is  
received.  
* The GS format “Variation numberis the value of the Bank Select MSB (Controller  
number 0) expressed in decimal.  
Copyright © 2012 ROLAND EUROPE  
1PS  
1
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND EUROPE.  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
parameter. Refer to Section 4. Supplementary material “Examples of actual MIDI  
messages<Example 4>. On the GS devices, Data entry LSB (llH) of NRPN (contrpller  
number 38) is ignored, so it is no problem to send Data entry MSB (mmH) only  
without Data entry LSB (controller number 6).  
Portamento Control (Controller Number 84)  
Status  
BnH  
2nd byte  
54H  
3rd byte  
kkH  
n = MIDI channel number:  
kk = source note number:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
On this instrument, NRPN can be used to modify the following parameters.  
NRPN  
MSB LSB  
01H 08H  
Data entry  
MSB  
mmH  
* A Note-on received immediately after a Portamento Control message will change  
continuously in pitch, starting from the pitch of the Source Note Number.  
* If a voice is already sounding for a note number identical to the Source Note  
Number, this voice will continue sounding (i.e., legato) and will, when the next  
Note-on is received, smoothly change to the pitch of that Note-on.  
* The rate of the pitch change caused by Portamento Control is determined by the  
Portamento Time value.  
Description  
Vibrato Rate (relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
Vibrato Depth (relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
Vibrato Delay (relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
TVF Cutoff Frequency (relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
TVF Resonance (relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
TVF & TVA Envelope Attack Time  
(relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
TVF & TVA Envelope Decay Time  
(relative change)  
mm: 0EH-40H-72H (-50 - 0 - +50)  
TVF & TVA Envelope Release Time  
(relative change)  
01H 09H  
01H 0AH  
01H 20H  
01H 21H  
01H 63H  
mmH  
mmH  
mmH  
mmH  
mmH  
Example 1.  
On MIDI  
90 3C 40  
B0 54 3C  
Description  
Note on C4  
Portamento  
Control from C4  
Note on E4  
Note off C4  
Note off E4  
Result  
C4 on  
no change (C4 voice still sounding)  
90 40 40  
80 3C 40  
80 40 40  
glide from C4 to E4  
no change  
E4 off  
01H 64H  
01H 66H  
mmH  
mmH  
Example 2.  
On MIDI  
B0 54 3C  
Description  
Portamento  
Control from C4  
Note on E4  
Result  
no change  
mm: 0EH-40H-72H (-50 - 0 - +50)  
90 40 40  
80 40 40  
E4 is played with glide from C4 to E4  
E4 off  
* Parameters marked “relative changewill change relatively to the preset value(40H).  
Even among different GS devices, “relative changeparameters may sometimes  
differ in the way the sound changes or in the range of change.  
* Parameters marked “absolute changewill be set to the absolute value of the  
parameter, regardless of the preset value.  
Note off E4  
Effect 1 (Reverb Send Level) (Controller Number 91)  
Status  
BnH  
2nd bytes  
5BH  
3rd byte  
vvH  
* Data entry LSB (llH) is ignored.  
n = MIDI channel number:  
vv = Control value :  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127), Initial Value = 28H (40)  
* This message adjusts the Reverb Send Level of each Part.  
Effect 3 (Chorus Send Level) (Controller Number 93)  
Status  
BnH  
2nd byte  
5DH  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127), Initial Value = 00H (0)  
* This message adjusts the Chorus Send Level of each Part.  
NRPN MSB/LSB (Controller Number 98, 99)  
Status  
BnH  
BnH  
2nd byte  
63H  
62H  
3rd byte  
mmH  
llH  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
mm = upper byte (MSB) of the parameter number specified by NRPN  
ll = lower byte (LSB) of the parameter number specified by NRPN  
* Rx. NRPN is set to OFF by power-on reset or by receiving “GM1 System Onor “GM2  
System On,and NRPN message will be ignored. NRPN message will be received  
when Rx. NRPN = ON, or by receiving “GS RESET.”  
* The value set by NRPN will not be reset even if Program Change or Reset All  
Controllers is received.  
**NRPN**  
The NRPN (Non Registered Parameter Number) message allows an extended range of  
control changes to be used.  
To use these messages, you must first use NRPN MSB and NRPN LSB messages  
to specify the parameter to be controlled, and then use Data Entry messages to  
specify the value of the specified parameter. Once an NRPN parameter has been  
specified, all Data Entry messages received on that channel will modify the value  
of that parameter. To prevent accidents, it is recommended that you set RPN Null  
(RPN Number = 7FH/7FH) when you have finished setting the value of the desired  
3
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
RPN MSB/LSB (Controller Number 100, 101)  
Channel Pressure  
Status  
BnH  
2nd byte  
65H  
3rd byte  
mmH  
llH  
Status  
DnH  
2nd byte  
vvH  
BnH  
64H  
n = MIDI channel number:  
vv = Channel Pressure :  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
n = MIDI channel number:  
mm = upper byte (MSB) of parameter number specified by RPN  
ll = lower byte (LSB) of parameter number specified by RPN  
0H-FH (ch.1-ch.16)  
* Not received when Rx. CH PRESSURE (CAf) = OFF. (Initial value is ON)  
* The resulting effect is determined by System Exclusive messages. With the initial  
settings there will be no effect.  
* Not received when Rx. RPN = OFF. (Initial value is ON)  
* The value specified by RPN will not be reset even by messages such as Program  
Change or Reset All Controller.  
Pitch Bend Change  
**RPN**  
Status  
EnH  
2nd byte  
llH  
3rd byte  
mmH  
The RPN (Registered Parameter Number) messages are expanded control changes,  
and each function of an RPN is described by the MIDI Standard.  
To use these messages, you must first use RPN MSB and RPN LSB messages to specify  
the parameter to be controlled, and then use Data Entry messages to specify the  
value of the specified parameter. Once an RPN parameter has been specified, all Data  
Entry messages received on that channel will modify the value of that parameter. To  
prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH)  
when you have finished setting the value of the desired parameter. Refer to Section 4.  
“Examples of actual MIDI messages<Example 4>  
n = MIDI channel number:  
mm, ll = Pitch Bend value:  
0H-FH (ch.1-ch.16)  
00 00H - 40 00H - 7F 7FH  
(-8192 - 0 - +8191)  
* Not received when Rx. PITCH BEND = OFF. (Initial value is ON)  
* The resulting effect is determined by System Exclusive messages. With the initial  
settings the effect is Pitch Bend.  
On this instrument, RPN can be used to modify the following parameters.  
Channel Mode Messages  
RPN  
MSB LSB  
00H 00H  
Data entry  
MSB LSB  
mmH ---  
Explanation  
Pitch Bend Sensitivity  
All Sounds Off (Controller number 120)  
Status  
BnH  
2nd byte  
78H  
3rd byte  
00H  
mm: 00H-18H (0-24 semitones),  
Initial Value = 02H (2 semitones)  
ll: ignored (processed as 00h)  
specify up to 2 octaves in semitone steps  
Master Fine Tuning  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
00H 01H  
mmH llH  
* When this message is received, all currently-sounding notes on the corresponding  
channel will be turned off immediately.  
mm, ll: 00 00H - 40 00H - 7F 7FH  
(-100 - 0 - +99.99 cents),  
Initial Value = 40 00H (0 cent)  
ll: ignored (processed as 00h)  
specify up to 2 octaves in semitone steps  
Refer to 4. Supplementary Material,  
“About Tuning”  
Reset All Controllers (Controller Number 121)  
Status  
BnH  
2nd byte  
79H  
3rd byte  
00H  
00H 02H  
mmH ---  
Master Coarse Tuning  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
mm: 28H - 40H - 58H  
(-24 - 0 - +24 semitones),  
* When this message is received, the following controllers will be set to their reset  
values.  
Initial Value = 40H (0 cent)  
ll: ignored (processed as 00h)  
Modulation Depth Range  
mm: 00H - 04H (0 - 4 semitones)  
ll: 00H - 7FH (0 - 100 cents)  
100/128 Cent/Value  
00H 05H  
7FH 7FH  
mmH llH  
--- ---  
Controller  
Reset value  
Pitch Bend Change  
Polyphonic Key Pressure  
Channel Pressure  
Modulation  
Expression  
Hold 1  
0 (Center)  
0 (o)  
0 (o)  
0 (o)  
127 (max)  
0 (o)  
RPN null  
Set condition where RPN and NRPN are  
unspecified. The data entry messages  
after set RPN null will be ignored.  
(No Data entry messages are required  
after RPN null).  
Portamento  
Sostenuto  
0 (o)  
0 (o)  
Soft  
0 (o)  
Settings already made will not change.  
mm, ll: ignored  
RPN  
NRPN  
unset; previously set data will not change  
unset; previously set data will not change  
Program Change  
Local Control (Controller Number 122)  
Status  
CnH  
2nd byte  
ppH  
Status  
BnH  
2nd byte  
7AH  
3rd byte  
vvH  
n = MIDI channel number:  
pp = Program number:  
0H-FH (ch.1-ch.16)  
00H-7FH (prog.1-prog.128)  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H, 7FH (0,127)  
00H: Local Off  
* Not received when Rx. PROGRAM CHANGE = OFF. (Initial value is ON)  
* After a Program Change message is received, the sound will change beginning with  
the next Note-on. Voices already sounding when the Program Change message  
was received will not be affected.  
7FH: Local On  
4
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
All Notes Off (Controller Number 123)  
System Exclusive Message  
Status  
BnH  
2nd byte  
7BH  
3rd byte  
00H  
Status  
F0H  
Data byte  
Status  
F7H  
iiH, ddH, ......, eeH  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
F0H:  
System Exclusive Message status  
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).  
* 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.  
dd,...,ee = data:  
F7H:  
00H-7FH (0-127)  
EOX (End Of Exclusive)  
OMNI OFF (Controller Number 124)  
Status  
BnH  
2nd byte  
7CH  
3rd byte  
00H  
The System Exclusive Messages received by this instrument are; messages related to  
mode settings, Universal Realtime System Exclusive messages, Universal Non-  
realtime System Exclusive messages and Data Set (DT1).  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
* The same processing will be carried out as when All Notes Off is received.  
System Exclusive Messages Related to Mode Settings  
These messages are used to initialize a device to GS or General MIDI mode, or change  
the operating mode.  
When creating performance data, a “GM1 System Onmessage should be inserted  
at the beginning of a General MIDI 1 score, a “GM2 System Onmessage at the  
beginning of a General MIDI 2 score, and a “GS Resetmessage at the beginning of a  
GS music data. Each song should contain only one mode message as appropriate for  
the type of data. (Do not insert two or more mode setting messages in a single song.)  
“GM System Onuses Universal Non-realtime Message format. “GS Resetuses Roland  
system Exclusive format “Data Set 1 (DT1).”  
OMNI ON (Controller Number 125)  
Status  
BnH  
2nd byte  
7DH  
3rd byte  
00H  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
* OMNI ON is only recognized as “All notes off”; the Mode doesn’t change (OMNI OFF  
remains).  
GM1 System On  
MONO (Controller Number 126)  
This is a command message that resets the internal settings of the unit to the General  
MIDI initial state (General MIDI System-Level 1).  
Status  
BnH  
2nd byte  
7EH  
3rd byte  
mmH  
Status  
F0H  
Data byte  
7EH, 7FH, 09H, 01H  
Status  
F7H  
n = MIDI channel number:  
mm = mono number :  
0H-FH (ch.1-ch.16)  
00H-10H (0-16)  
Byte  
F0H  
7EH  
7FH  
09H  
01H  
F7H  
Explanation  
Exclusive status  
* The same processing will be carried out as when All Sounds Off and All Notes Off is  
received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of  
the value of “mono number.”  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 1 On)  
EOX (End Of Exclusive)  
POLY (Controller Number 127)  
Status  
BnH  
2nd byte  
7FH  
3rd byte  
00H  
* When this message is received, Rx. BANK SELECT will be OFF and Rx. NRPN will be  
OFF.  
* There must be an interval of at least 50 ms between this message and the next.  
n = MIDI channel number:  
0H-FH (ch.1-ch.16)  
* The same processing will be carried out as when All Sounds Off and All Notes Off is  
received, and the corresponding channel will be set to Mode 3.  
GM2 System On  
This is a command message that resets the internal settings of the unit to the General  
MIDI initial state (General MIDI System-Level 2).  
Status  
F0H  
Data byte  
7EH 7FH 09H 03H  
Status  
F7H  
System Realtime Message  
Active Sensing  
Byte  
F0H  
7EH  
7FH  
09H  
03H  
F7H  
Explanation  
Exclusive status  
Status  
FEH  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (General MIDI Message)  
Sub ID#2 (General MIDI 2 On)  
EOX (End Of Exclusive)  
* 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.  
* When this message is received, this instrument will be able to receive the messages  
specified by General MIDI 2, and use the General MIDI 2 soundmap.  
* There must be an interval of at least 50 ms between this message and the next.  
5
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
GM System Off  
Master Fine Tuning  
“GM System Offis a command message that resets the internal state of this  
instrument from the GM state to its native condition. This instrument will reset to the  
GS default state.  
Status  
F0H  
Data byte  
Status  
F7H  
7FH, 7FH, 04H, 03H, llH, mmH  
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)  
Status  
F0H  
Data byte  
7EH, 7FH, 09H, 02H  
Status  
F7H  
Byte  
F0H  
7EH  
7FH  
09H  
02H  
F7H  
Explanation  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub-ID#1 (General MIDI message)  
Sub-ID#2 (General MIDI O)  
EOX (End of exclusive)  
mmH  
F7H  
llH, mmH:  
00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])  
* There must be an interval of at least 50 ms between this message and the next.  
Master Coarse Tuning  
Status  
F0H  
Data byte  
Status  
F7H  
GS reset  
7FH, 7FH, 04H, 04H, llH, mmH  
GS Reset is a command message that resets the internal settings of a device to the GS  
initial state.  
Byte  
F0H  
7FH  
7FH  
04H  
04H  
llH  
Explanation  
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)  
Status  
F0H  
Data byte  
41H, 10H, 42H, 12H, 40H,  
00H - 7FH, 00H, 41H  
Status  
F7H  
Byte  
F0H  
41H  
10H  
Explanation  
Exclusive status  
ID number (Roland)  
Device ID  
mmH  
F7H  
(dev: 00H-1FH (1-32), Initial value is 10H (17))  
Model ID (GS)  
Command ID (DT1)  
Address MSB  
Address  
Address LSB  
Data (GS reset)  
Checksum  
EOX (End Of Exclusive)  
llH:  
mmH:  
ignored (processed as 00H)  
28H - 40H - 58H (-24 - 0 - +24 [semitones])  
42H  
12H  
40H  
00H  
7FH  
00H  
41H  
F7H  
Global Parameter Control  
Parameters of the Global Parameter Control are newly provided for the General MIDI  
2.  
Reverb Parameters  
Status  
F0H  
Data byte  
7FH, 7FH, 04H, 05H, 01H, 01H,  
01H, 01H, 01H, ppH, vvH  
Status  
F7H  
* When this message is received, Rx. NRPN will be ON.  
* There must be an interval of at least 50 ms between this message and the next.  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
01H  
01H  
01H  
01H  
ppH  
vvH  
F7H  
Explanation  
Exclusive status  
Universal Realtime System Exclusive Messages  
Master volume  
ID number (Universal Realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
Parameter ID width  
Value width  
Slot path MSB  
Slot path LSB (Effect 0101: Reverb)  
Parameter to be controlled.  
Value for the parameter.  
EOX (End Of Exclusive)  
Status  
F0H  
Data byte  
7FH, 7FH, 04H, 01H, llH, mmH  
Status  
F7H  
Byte  
F0H  
7FH  
7FH  
04H  
01H  
llH  
Explanation  
Exclusive status  
ID number (universal realtime message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control messages)  
Sub ID#2 (Master Volume)  
Master volume lower byte  
Master volume upper byte  
EOX (End Of Exclusive)  
mmH  
F7H  
pp=0  
Reverb Type  
llH:  
mmH:  
ignored (processed as 00H)  
vv = 00H  
vv = 01H  
vv = 02H  
vv = 03H  
vv = 04H  
vv = 08H  
Small Room (Room1)  
00H - 7FH  
0 - 127  
Medium Room (Room2)  
Large Room (Room3)  
Medium Hall (Hall1)  
Large Hall (Hall2)  
* The lower byte (llH) of Master Volume will be handled as 00H.  
Plate (Plate)  
pp=1  
Reverb Time  
vv = 00H - 7FH  
0 - 127  
6
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Chorus Parameters  
Controller  
Status  
F0H  
Data byte  
Status  
F7H  
Status  
F0H  
Data byte  
7FH, 7FH, 09H, 03H, 0nH, ccH,  
ppH, rrH  
Status  
F7H  
7FH, 7FH, 04H, 05H, 01H, 01H,  
01H, 01H, 02H, ppH, vvH  
Byte  
F0H  
7FH  
7FH  
04H  
05H  
01H  
01H  
01H  
01H  
02H  
ppH  
vvH  
F7H  
Explanation  
Exclusive status  
Byte  
F0H  
7FH  
7FH  
09H  
03H  
0nH  
ccH  
ppH  
rrH  
Explanation  
Exclusive status  
ID number (Universal Realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (Device Control)  
Sub ID#2 (Global Parameter Control)  
Slot path length  
Parameter ID width  
Value width  
Slot path MSB  
Slot path LSB (Effect 0102: Chorus)  
Parameter to be controlled.  
Value for the parameter.  
EOX (End Of Exclusive)  
ID number (Universal Realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Control Change)  
MIDI Channel (00 - 0F)  
Controller number (01 - 1F, 40 - 5F)  
Controlled parameter  
Controlled range  
F7H  
EOX (End Of Exclusive)  
pp=0  
pp=1  
pp=2  
pp=3  
pp=4  
pp=5  
Pitch Control  
rr = 28H - 58H  
Filter Cutoff Control  
rr = 00H - 7FH  
Amplitude Control  
rr = 00H - 7FH  
LFO Pitch Depth  
rr = 00H - 7FH  
LFO Filter Depth  
rr = 00H - 7FH  
LFO Amplitude Depth  
rr = 00H - 7FH  
-24 - +24 [semitones]  
-9600 - +9450 [cents]  
0 - 200 [%]  
pp=0  
Chorus Type  
vv=0  
vv=1  
vv=2  
vv=3  
vv=4  
vv=5  
Chorus1  
Chorus2  
Chorus3  
Chorus4  
FB Chorus  
Flanger  
0 - 600 [cents]  
0 - 2400 [cents]  
0 - 100 [%]  
pp=1  
pp=2  
pp=3  
pp=4  
Mod Rate  
vv= 00H - 7FH  
Mod Depth  
vv = 00H - 7FH  
Feedback  
vv = 00H - 7FH  
Send To Reverb  
vv = 00H - 7FH  
0 - 127  
0 - 127  
0 - 127  
0 - 127  
Scale/Octave Tuning Adjust  
Status  
F0H  
Data byte  
7EH, 7FH, 08H, 08H, ffH, ggH,  
hhH, ssH...  
Status  
F7H  
Byte  
F0H  
7EH  
7FH  
08H  
08H  
ffH  
Explanation  
Exclusive status  
Channel Pressure  
ID number (Universal Non-realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (MIDI Tuning Standard)  
Sub ID#2 (scale/octave tuning 1-byte form)  
Channel/Option byte1  
bits 0 to 1 = channel 15 to 16  
bit 2 to 6 = Undefined  
Channel byte2  
bits 0 to 6 = channel 8 to 14  
Channel byte3  
bits 0 to 6 = channel 1 to 7  
12 byte tuning offset of 12 semitones from C to B  
00H = -64 [cents]  
Status  
F0H  
Data byte  
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH  
Status  
F7H  
Byte  
F0H  
7FH  
7FH  
09H  
01H  
0nH  
ppH  
rrH  
Explanation  
Exclusive status  
ID number (Universal Realtime Message)  
Device ID (Broadcast)  
Sub ID#1 (Controller Destination Setting)  
Sub ID#2 (Channel Pressure)  
MIDI Channel (00 - 0F)  
Controlled parameter  
ggH  
hhH  
ssH  
Controlled range  
F7H  
EOX (End Of Exclusive)  
40H = 0 [cents] (equal temperament)  
7FH = +63 [cents]  
pp=0  
pp=1  
pp=2  
pp=3  
pp=4  
pp=5  
Pitch Control  
rr = 28H - 58H  
Filter Cutoff Control  
rr = 00H - 7FH  
Amplitude Control  
rr = 00H - 7FH  
LFO Pitch Depth  
rr = 00H - 7FH  
LFO Filter Depth  
rr = 00H - 7FH  
LFO Amplitude Depth  
rr = 00H - 7FH  
F7H  
EOX (End Of Exclusive)  
-24 - +24 [semitones]  
-9600 - +9450 [cents]  
0 - 200 [%]  
Universal Non-realtime System Exclusive Messages  
Identity Request Message  
Status  
F0H  
Data byte  
7EH, 10H, 06H, 01H  
Status  
F7H  
0 - 600 [cents]  
Byte  
F0H  
7EH  
10H  
06H  
01H  
F7H  
Explanation  
Exclusive status  
0 - 2400 [cents]  
0 - 100 [%]  
ID number (Universal Non-realtime Message)  
Device ID  
Sub ID#1 (General Information)  
Sub ID#2 (Identity Request)  
EOX (End Of Exclusive)  
* Device ID = 10H or 7FH  
7
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Data Transmission  
2. Transmit Data  
Channel Voice Messages  
Note Off  
This instrument can receive the various parameters using System Exclusive messages.  
The exclusive message of GS format data has a model ID of 42H and a device ID of  
10H (17), and it is common to all the GS devices.  
Data Set 1 (DT1)  
Status  
8nH  
2nd byte  
kkH  
3rd byte  
vvH  
This is the message that actually performs data transmission, and is used when you  
wish to transmit the data.  
n = MIDI channel number:  
kk = note number:  
vv = note off velocity:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
00H-7FH (0-127)  
Status  
F0H  
Data byte  
41H, 10H, 42H, 12H, aaH, bbH,  
ccH, ddH, ... eeH, sum  
Status  
F7H  
Byte  
F0H  
41H  
10H  
42H  
12H  
aaH  
Explanation  
Note On  
Exclusive status  
ID number (Roland)  
Device ID  
Model ID (GS)  
Command ID (DT1)  
Status  
9nH  
2nd byte  
kkH  
3rd byte  
vvH  
n = MIDI channel number:  
kk = note number:  
vv = note on velocity:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
01H-7FH (1-127)  
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  
Data: the actual data to be transmitted. Multiple  
bytes of data are transmitted starting from the  
address.  
Control Change  
Bank Select (Controller Number 0, 32)  
Status  
BnH  
2nd byte  
00H  
3rd byte  
mmH  
llH  
ddH  
BnH  
20H  
:
:
n = MIDI channel number:  
mm, ll = Bank number:  
0H-FH (ch.1-ch.16)  
00H, 00H-7FH, 7FH (bank.1-bank.16384)  
eeH  
sum  
F7H  
Data  
Checksum  
EOX (End Of Exclusive)  
Expression (Controller number 11)  
Status  
BnH  
2nd byte  
0BH  
3rd byte  
vvH  
* The amount of data that can be transmitted at one time depends on the type of  
data, and data can be received only from the specified starting address and size.  
Refer to the Address and Size given in Section 3.  
* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If  
“Data Set 1is transmitted successively, there must be an interval of at least 40 ms  
between packets.  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
Hold 1 (Controller Number 64)  
* Regarding the checksum, please refer to section 4 .  
Status  
BnH  
2nd byte  
40H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
Sostenuto (Controller Number 66)  
Status  
BnH  
2nd byte  
42H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H, 7FH (0, 127) 0 = OFF, 127 = ON  
Soft (Controller Number 67)  
Status  
BnH  
2nd byte  
43H  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
Effect 1 (Reverb Send Level) (Controller Number 91)  
Status  
BnH  
2nd byte  
5BH  
3rd byte  
vvH  
n = MIDI channel number:  
vv = Control value:  
0H-FH (ch.1-ch.16)  
00H-7FH (0-127)  
Program Change  
Status  
CnH  
2nd byte  
ppH  
8
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
n = MIDI channel number:  
pp = Program number:  
0H-FH (ch.1-ch.16)  
00H-7FH (prog.1-prog.128)  
System Realtime Message  
Realtime Clock  
Status  
F8H  
Start  
Status  
FAH  
Continue  
Status  
FBH  
Stop  
Status  
FCH  
Active Sensing  
Status  
FEH  
* This will be transmitted constantly at intervals of approximately 250 ms.  
System Exclusive Messages  
Identity Reply  
Status  
F0H  
Data byte  
Status  
7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, F7H  
1DH, 00H, 01H, 00H, 00H  
Byte  
F0H  
7EH  
10H  
Explanation  
Exclusive status  
ID number (Universal Non-realtime Message)  
Device ID  
(use the same as the device ID of Roland)  
Sub ID#1 (General Information)  
Sub ID#2 (Identity Reply)  
ID number (Roland)  
Device family code (LSB)  
Device family code (MSB)  
Device family number code (LSB)  
Device family number code (MSB)  
Software revision level  
Software revision level  
Software revision level  
Software revision level  
EOX (End of Exclusive)  
06H  
02H  
41H  
42H  
00H  
00H  
1DH  
00H  
01H  
00H  
00H  
F7H  
9
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
3. Parameter Address Map (Model ID = 42H)  
This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).”  
All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.  
Address Block Map  
An outlined address map of the Exclusive Communication is as follows;  
+------------+------------------------------------+  
| Address (H)| Block  
|
+------------+------------------------------------+  
| 40 00 00 |  
|
|
| SYSTEM PARAMETERS  
| Individual  
|
| 40 01 3F |  
+------------+------------------------------------+  
+------------+------------------------------------+  
| 40 1x 00 |  
|
|
| PART PARAMETERS (x = 0-F)  
| Individual  
|
| 40 2x 5A |  
+------------+------------------------------------+  
+------------+------------------------------------+  
| 48 00 00 |  
|
|
|
| SYSTEM PARAMETERS  
| Bulk  
|
|
+------------+------------------------------------+  
| 48 01 10 |  
|
|
| PART PARAMETERS  
| Bulk  
|
| 48 1D 0F |  
+------------+------------------------------------+  
There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in  
which a large amount of data is transmitted at once.  
Individual Parameters  
Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of “F0 ..... F7”).  
In Individual Parameter Transmission, you must use the Address and Size listed in the following “Parameter Address Map.Addresses marked at “#cannot be used as starting  
addresses.  
System Parameters  
Parameters related to the system of the device are called System Parameters.  
Address (H)  
40 00 00  
40 00 01#  
40 00 02#  
40 00 03#  
Size (H)  
00 00 04  
Data (H)  
0018-07E8  
Parameter  
MASTER TUNE  
Description  
-100.0 - +100.0 [cent]  
Use nibblized data.  
Default Value (H)  
00 04 00 00  
Description  
0 [cent]  
*Refer to section 4. Supplementary material, “About Tuning.”  
40 00 04  
00 00 01  
00-7F  
MASTER VOLUME  
(= F0 7F 7F 04 01 00 vv F7)  
MASTER KEY-SHIFT  
MASTER PAN  
0-127  
7F  
127  
40 00 05  
40 00 06  
40 00 7F  
00 00 01  
00 00 01  
00 00 01  
28-58  
01-7F  
00  
-24 - +24 [semitones]  
-63 (LEFT) - +63 (RIGHT)  
00 = GS Reset,  
40  
40  
0 [semitones]  
0 (CENTER)  
MODE SET  
127 = Exit GS mode  
(Rx. only)  
* Refer to “System exclusive messages related to mode settings.  
40 01 10  
00 00 10  
00-40  
VOICE RESERVE  
Part 10  
Part 1  
Part 2  
Part 3  
Part 4  
Part 5  
Part 6  
Part 7  
Part 8  
Part 9  
Part 11  
:
02  
06  
02  
02  
02  
02  
02  
02  
02  
02  
00  
:
2
6
2
2
2
2
2
2
2
2
0
:
40 01 11#  
40 01 12#  
40 01 13#  
40 01 14#  
40 01 15#  
40 01 16#  
40 01 17#  
40 01 18#  
40 01 19#  
40 01 1A#  
40 01 :#  
40 01 1F#  
Part 16  
00  
0
* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128.  
For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.  
40 01 30  
00 00 01  
00-07  
REVERB MACRO  
00: Room 1  
01: Room 2  
04  
Hall 2  
10  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
02: Room 3  
03: Hall 1  
04: Hall 2  
05: Plate  
06: Delay  
07: Panning Delay  
0-7  
0-7  
0-127  
0-127  
0-127  
40 01 31  
40 01 32  
40 01 33  
40 01 34  
40 01 35  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00-07  
00-07  
00-7F  
00-7F  
00-7F  
REVERB CHARACTER  
REVERB PRE-LPF  
REVERB LEVEL  
REVERB TIME  
REVERB DELAY FEEDBACK  
04  
00  
40  
40  
00  
4
0
64  
64  
0
* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to  
the most suitable value.  
* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.  
40 01 38  
00 00 01  
00-07  
CHORUS MACRO  
00: Chorus 1  
01: Chorus 2  
02: Chorus 3  
03: Chorus 4  
04: Feedback Chorus  
05: Flanger  
06: Short Delay  
07: Short Delay (FB)  
0-7  
0-12  
0-127  
0-127  
0-127  
02  
Chorus 3  
40 01 39  
40 01 3A  
40 01 3B  
40 01 3C  
40 01 3D  
40 01 3E  
40 01 3F  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00-07  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
CHORUS PRE-LPF  
CHORUS LEVEL  
CHORUS FEEDBACK  
CHORUS DELAY  
CHORUS RATE  
CHORUS DEPTH  
00  
40  
08  
50  
03  
13  
00  
0
64  
8
80  
3
19  
0
0-127  
0-127  
CHORUS SEND LEVEL TO REVERB  
* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter will be  
set to the most suitable value.  
40 03 00  
00 00 02  
00-7F  
EFX TYPE (MSB, LSB)  
00 00 - 7F 7F  
00 01  
Thru  
* Refer to EFX Type Table  
* This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.  
40 03 03  
40 03 04  
40 03 05  
40 03 06  
40 03 07  
40 03 08  
40 03 09  
40 03 0A  
40 03 0B  
40 03 0C  
40 03 0D  
40 03 0E  
40 03 0F  
40 03 10  
40 03 11  
40 03 12  
40 03 13  
40 03 14  
40 03 15  
40 03 16  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
EFX Parameter 1  
EFX Parameter 2  
EFX Parameter 3  
EFX Parameter 4  
EFX Parameter 5  
EFX Parameter 6  
EFX Parameter 7  
EFX Parameter 8  
EFX Parameter 9  
EFX Parameter 10  
EFX Parameter 11  
EFX Parameter 12  
EFX Parameter 13  
EFX Parameter 14  
EFX Parameter 15  
EFX Parameter 16  
EFX Parameter 17  
EFX Parameter 18  
EFX Parameter 19  
EFX Parameter 20  
* Each parameter will be changed by EFX type. Refer to EFX Parameter Map.  
40 03 17  
* Set to 0 when EFX type is changed.  
40 03 18 00 00 01  
* Set to 0 when EFX type is changed.  
40 03 1A 00 00 01  
00 00 01  
00 - 7F  
00 - 7F  
00 - 7F  
EFX Send Level to Reverb  
EFX Send Level to Chorus  
EFX Depth  
Dry 100% - EFX 100%  
7F  
11  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Part Parameters  
This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters.  
If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block  
number can be specified as one of 16 blocks, from 0 (H) to F (H).  
The relation between Part number and Block number is as follows.  
x...BLOCK NUMBER (0-F),  
Part 1 (MIDI ch = 1) x = 1  
Part 2 (MIDI ch = 2) x = 2  
:
:
:
Part 9 (MIDI ch = 9) x = 9  
Part10 (MIDI ch = 10) x = 0  
Part11 (MIDI ch = 11) x = A  
Part12 (MIDI ch = 12) x = B  
:
:
:
Part16 (MIDI ch = 16) x = F  
Address (H)  
40 1x 00  
40 1x 01#  
40 1x 02  
40 1x 03  
40 1x 04  
40 1x 05  
40 1x 06  
40 1x 07  
40 1x 08  
40 1x 09  
40 1x 0A  
Size (H)  
00 00 02  
Data (H)  
00-7F  
00-7F  
00-10  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
Parameter  
TONE NUMBER  
P.C. VALUE  
Description  
CC#00 VALUE 0-127  
1-128  
1-16, OFF  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
Default Value (H)  
00  
00  
Same as the Part Number  
01  
01  
01  
01  
01  
01  
01  
Description  
0
1
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
Rx. CHANNEL  
Rx. PITCH BEND  
Rx. CH PRESSURE (CAf)  
Rx. PROGRAM CHANGE  
Rx. CONTROL CHANGE  
Rx. POLY PRESSURE (PAf)  
Rx. NOTE MESSAGE  
Rx. RPN  
ON  
ON  
ON  
ON  
ON  
ON  
ON  
OFF (ON*)  
OFF/ON  
OFF/ON  
OFF/ON  
Rx. NRPN  
00 (01*)  
* When “GM1 System Onand “GM2 System Onare received, Rx. NRPN will be set OFF. When “GS Resetis received, it will be set ON.  
40 1x 0B  
40 1x 0C  
40 1x 0D  
40 1x 0E  
40 1x 0F  
40 1x 10  
40 1x 11  
40 1x 12  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
00-01  
Rx. MODULATION  
Rx. VOLUME  
Rx. PANPOT  
Rx. EXPRESSION  
Rx. HOLD1  
Rx. PORTAMENTO  
Rx. SOSTENUTO  
Rx. SOFT  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
OFF/ON  
01  
01  
01  
01  
01  
01  
01  
01  
ON  
ON  
ON  
ON  
ON  
ON  
ON  
ON  
40 1x 13  
00 00 01  
00-01  
MONO/POLY MODE  
Mono/Poly  
01  
Poly  
(= CC# 126 01 / CC# 127 00)  
40 1x 16  
40 1x 17  
40 1x 18#  
00 00 01  
00 00 02  
28-58  
00 08-0F 08  
(08-F8)  
PITCH KEY SHIFT  
PITCH OFFSET FINE  
-24 - +24 [semitones]  
-12.0 - +12.0 [Hz]  
Use nibblized data.  
40  
08 00 (80)  
0 [semitones]  
0 [Hz]  
* PITCH OFFSET FINE allows you to alter, by a specified frequency amount, the pitch at which notes will sound. This parameter differs from the conventional Fine Tuning (RPN #1)  
parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given  
a different setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.  
40 1x 19  
00 00 01  
00-7F  
PART LEVEL  
0-127  
64  
100  
(= CC# 7)  
40 1x 1A  
40 1x 1B  
40 1x 1C  
00 00 01  
00 00 01  
00 00 01  
00-7F  
00-7F  
00-7F  
VELOCITY SENSE DEPTH  
VELOCITY SENSE OFFSET  
PART PANPOT  
0-127  
0-127  
40  
40  
40  
64  
64  
-64 (RANDOM)  
-63 (LEFT) - +63 (RIGHT)  
0 (CENTER)  
(= CC# 10, except RANDOM)  
KEY RANGE LOW  
KEY RANGE HIGH  
CC1 CONTROLLER NUMBER  
CC2 CONTROLLER NUMBER  
CHORUS SEND LEVEL  
(= CC# 93)  
40 1x 1D  
40 1x 1E  
40 1x 1F  
40 1x 20  
40 1x 21  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00-7F  
00-7F  
00-5F  
00-5F  
00-7F  
(C-1) - (G9)  
(C-1) - (G9)  
0-95  
0-95  
0-127  
00  
7F  
10  
11  
00  
C-1  
G 9  
16  
17  
0
40 1x 22  
40 1x 23  
00 00 01  
00 00 01  
00-7F  
00-01  
REVERB SEND LEVEL  
(= CC# 91)  
Rx. BANK SELECT  
0-127  
28  
40  
OFF/ON  
01 (00*)  
ON (OFF*)  
* “Rx. BANK SELECTis set to OFF by “GM1 System On,and Bank Select message will be ignored.  
* “Rx. BANK SELECTis set to ON by “GM2 System On.”  
* “Rx. BANK SELECTis set to ON by power-on Reset or by receiving “GS RESET.”  
12  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
40 1x 24  
00 00 01  
00-01  
Rx. BANK SELECT LSB  
OFF/ON  
00  
OFF  
* This instrument can be recognized Bank Select LSB (40H-43H) even if this message is OFF.  
40 1x 25  
40 1x 28  
40 1x 29#  
00 00 01  
00 00 03  
00-01  
00-7F  
TONE REMAIN  
Bank Select LSB Range  
OFF/ON  
LSB (from)  
LSB (to)  
01  
40  
43  
ON  
40H  
43H  
40 1x 30  
40 1x 31  
40 1x 32  
40 1x 33  
40 1x 34  
40 1x 35  
40 1x 36  
40 1x 37  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
0E-72  
0E-72  
0E-72  
0E-72  
0E-72  
0E-72  
0E-72  
0E-72  
TONE MODIFY 1  
Vibrato rate (= NRPN# 8)  
TONE MODIFY 2  
Vibrato depth (= NRPN# 9)  
TONE MODIFY 3  
TVF cutoff frequency (= NRPN# 32)  
TONE MODIFY 4  
TVF resonance (= NRPN# 33)  
TONE MODIFY 5  
TVF&TVA Env.attack (= NRPN# 99)  
TONE MODIFY 6  
TVF&TVA Env.decay (= NRPN# 100)  
TONE MODIFY 7  
TVF&TVA Env.release (= NRPN# 102)  
TONE MODIFY 8  
-50 - +50  
-50 - +50  
-50 - +50  
-50 - +50  
-50 - +50  
-50 - +50  
-50 - +50  
-50 - +50  
40  
40  
40  
40  
40  
40  
40  
40  
0
0
0
0
0
0
0
0
Vibrato delay (= NRPN# 10)  
40 1x 40  
00 00 0C  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
SCALE TUNING C  
SCALE TUNING C#  
SCALE TUNING D  
SCALE TUNING D#  
SCALE TUNING E  
SCALE TUNING F  
SCALE TUNING F#  
SCALE TUNING G  
SCALE TUNING G#  
SCALE TUNING A  
SCALE TUNING A#  
SCALE TUNING B  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
-64 - +63 [cent]  
40  
40  
40  
40  
40  
40  
40  
40  
40  
40  
40  
40  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
0 [cent]  
40 1x 41#  
40 1x 42#  
40 1x 43#  
40 1x 44#  
40 1x 45#  
40 1x 46#  
40 1x 47#  
40 1x 48#  
40 1x 49#  
40 1x 4A#  
40 1x 4B#  
* SCALE TUNING is a function that allows fine adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change  
simultaneously. A setting of +/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary material, “The Scale Tune Feature.”  
40 2x 00  
40 2x 01  
40 2x 02  
40 2x 03  
40 2x 04  
40 2x 05  
40 2x 06  
40 2x 07  
40 2x 08  
40 2x 09  
40 2x 0A  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
28-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
MOD PITCH CONTROL  
-24 - +24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
40  
40  
40  
40  
0A  
00  
0
40  
00  
00  
00  
0 [semitones]  
0 [cent]  
0 [%]  
MOD TVF CUTOFF CONTROL  
MOD AMPLITUDE CONTROL  
MOD LFO1 RATE CONTROL  
MOD LFO1 PITCH DEPTH  
MOD LFO1 TVF DEPTH  
MOD LFO1 TVA DEPTH  
MOD LFO2 RATE CONTROL  
MOD LFO2 PITCH DEPTH  
MOD LFO2 TVF DEPTH  
MOD LFO2 TVA DEPTH  
0 [Hz]  
47 [cent]  
0 [cent]  
000 [%]  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0-100.0 [%]  
40 2x 10  
40 2x 11  
40 2x 12  
40 2x 13  
40 2x 14  
40 2x 15  
40 2x 16  
40 2x 17  
40 2x 18  
40 2x 19  
40 2x 1A  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
40-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
BEND PITCH CONTROL  
0-24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
42  
40  
40  
40  
00  
00  
00  
40  
00  
00  
00  
2 [semitones]  
0 [cent]  
0 [%]  
BEND TVF CUTOFF CONTROL  
BEND AMPLITUDE CONTROL  
BEND LFO1 RATE CONTROL  
BEND LFO1 PITCH DEPTH  
BEND LFO1 TVF DEPTH  
BEND LFO1 TVA DEPTH  
BEND LFO2 RATE CONTROL  
BEND LFO2 PITCH DEPTH  
BEND LFO2 TVF DEPTH  
BEND LFO2 TVA DEPTH  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0-100.0 [%]  
40 2x 20  
40 2x 21  
40 2x 22  
40 2x 23  
40 2x 24  
40 2x 25  
40 2x 26  
40 2x 27  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
28-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
CAf PITCH CONTROL  
-24 - +24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
-10.0 - +10.0 [Hz]  
40  
40  
40  
40  
00  
00  
00  
40  
0 [semitones]  
0 [cent]  
0 [%]  
CAf TVF CUTOFF CONTROL  
CAf AMPLITUDE CONTROL  
CAf LFO1 RATE CONTROL  
CAf LFO1 PITCH DEPTH  
CAf LFO1 TVF DEPTH  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
CAf LFO1 TVA DEPTH  
CAf LFO2 RATE CONTROL  
0 [Hz]  
13  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
40 2x 28  
40 2x 29  
40 2x 2A  
00 00 01  
00 00 01  
00 00 01  
00-7F  
00-7F  
00-7F  
CAf LFO2 PITCH DEPTH  
CAf LFO2 TVF DEPTH  
CAf LFO2 TVA DEPTH  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
00  
00  
00  
0 [cent]  
0 [cent]  
0 [%]  
40 2x 30  
40 2x 31  
40 2x 32  
40 2x 33  
40 2x 34  
40 2x 35  
40 2x 36  
40 2x 37  
40 2x 38  
40 2x 39  
40 2x 3A  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
28-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
PAf PITCH CONTROL  
-24 - +24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
-10.0-+10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
40  
40  
40  
40  
00  
00  
00  
40  
00  
00  
00  
0 [semitones]  
0 [cent]  
0 [%]  
PAf TVF CUTOFF CONTROL  
PAf AMPLITUDE CONTROL  
PAf LFO1 RATE CONTROL  
PAf LFO1 PITCH DEPTH  
PAf LFO1 TVF DEPTH  
PAf LFO1 TVA DEPTH  
PAf LFO2 RATE CONTROL  
PAf LFO2 PITCH DEPTH  
PAf LFO2 TVF DEPTH  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
PAf LFO2 TVA DEPTH  
0-100.0 [%]  
40 2x 40  
40 2x 41  
40 2x 42  
40 2x 43  
40 2x 44  
40 2x 45  
40 2x 46  
40 2x 47  
40 2x 48  
40 2x 49  
40 2x 4A  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
28-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
CC1 PITCH CONTROL  
-24 - +24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
40  
40  
40  
40  
00  
00  
00  
40  
00  
00  
00  
0 [semitones]  
0 [cent]  
0 [%]  
CC1 TVF CUTOFF CONTROL  
CC1 AMPLITUDE CONTROL  
CC1 LFO1 RATE CONTROL  
CC1 LFO1 PITCH DEPTH  
CC1 LFO1 TVF DEPTH  
CC1 LFO1 TVA DEPTH  
CC1 LFO2 RATE CONTROL  
CC1 LFO2 PITCH DEPTH  
CC1 LFO2 TVF DEPTH  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
CC1 LFO2 TVA DEPTH  
0-100.0 [%]  
40 2x 50  
40 2x 51  
40 2x 52  
40 2x 53  
40 2x 54  
40 2x 55  
40 2x 56  
40 2x 57  
40 2x 58  
40 2x 59  
40 2x 5A  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
00 00 01  
28-58  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
00-7F  
CC2 PITCH CONTROL  
-24 - +24 [semitone]  
-9600 - +9600 [cent]  
-100.0 - +100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
0-100.0 [%]  
-10.0 - +10.0 [Hz]  
0-600 [cent]  
0-2400 [cent]  
40  
40  
40  
40  
00  
00  
00  
40  
00  
00  
00  
0 [semitones]  
0 [cent]  
0 [%]  
CC2 TVF CUTOFF CONTROL  
CC2 AMPLITUDE CONTROL  
CC2 LFO1 RATE CONTROL  
CC2 LFO1 PITCH DEPTH  
CC2 LFO1 TVF DEPTH  
CC2 LFO1 TVA DEPTH  
CC2 LFO2 RATE CONTROL  
CC2 LFO2 PITCH DEPTH  
CC2 LFO2 TVF DEPTH  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
0 [Hz]  
0 [cent]  
0 [cent]  
0 [%]  
CC2 LFO2 TVA DEPTH  
0-100.0 [%]  
40 4x 23  
00 00 06  
00-7F  
PART EFX TYPE (MSB, LSB)  
00 00 - 7F 7F  
00 00  
0
40 4x 24#  
* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter, the part connect to EFX.  
40 4x 25#  
40 4x 26#  
40 4x 27#  
40 4x 28#  
00-7F  
00-7F  
00-7F  
00-7F  
PART EFX MACRO  
PART EFX DEPTH  
PART EFX CONTROL1  
PART EFX CONTROL2  
00-7F  
00-7F  
00-7F  
00-7F  
00 00  
00 00  
00 00  
00 00  
0
0
0
0
14  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Examples of Actual MIDI Messages  
4. Supplementary Material  
<Example1> 92 3E 5F  
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62,  
and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note  
name is D4), and velocity 95.  
Decimal and Hexadecimal Table  
In MIDI documentation, data values and addresses/sizes of exclusive messages etc.  
are expressed as hexadecimal values for each 7 bits.  
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 (Flute in GS).  
| D | H || D | H || D | H || D | H  
|
+------+------++------+------++------+------++------+------+  
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |  
1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |  
2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |  
3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |  
4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |  
5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |  
6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |  
7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |  
8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |  
9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |  
10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |  
11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |  
12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |  
13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |  
14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |  
15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |  
16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |  
17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |  
18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |  
19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |  
20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |  
21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |  
22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |  
23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |  
24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |  
25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |  
26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |  
27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |  
28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |  
29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |  
30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |  
31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |  
<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 128 + 0 = 8192) is 0, so this Pitch Bend Value  
is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072  
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch  
to change 200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is  
being applied to MIDI channel 11.  
<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 statuswhich allows the status byte of the second  
and following messages to be omitted. Thus, the above messages have the following  
meaning.  
B3  
64 00  
65 00  
06 0C  
26 00  
64 7F  
65 7F  
MIDI ch.4, lower byte of RPN parameter number: 00H  
(MIDI ch.4) upper byte of RPN parameter number: 00H  
(MIDI ch.4) upper byte of parameter value: 0CH  
(MIDI ch.4) lower byte of parameter value: 00H  
(B3)  
(B3)  
(B3)  
(B3)  
(B3)  
+------+------++------+------++------+------++------+------+  
D: decimal  
H: hexadecimal  
(MIDI ch.4) lower byte of RPN parameter number: 7FH  
(MIDI ch.4) upper byte of RPN parameter number: 7FH  
* Decimal values such as MIDI channel, bank select, and program change are listed as  
one (1) greater than the values given in the above table.  
* A 7-bit byte can express data in the range of 128 steps. For data where greater  
precision is required, we must use two or more bytes. For example, two  
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.  
In other words, the above messages specify a value of 0C 00H for RPN parameter  
number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F  
7FH.  
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value  
indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range  
to 12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity  
is ignored, but the LSB should be transmitted anyway (with a value of 0) so that  
operation will be correct on any device.)  
* Data marked “nibbledis 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.  
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.  
<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 source 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) 78... 10  
16)  
4... 14  
0... 4  
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is  
00 04 0E 0AH.  
15  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Example of an Exclusive Message and Calculating a  
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.  
Checksum  
Roland Exclusive messages 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.  
How to Calculate the Checksum (Hexadecimal  
Equal Temperament  
Numbers are Indicated by ‘H’)  
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 this instrument, the  
default settings for the Scale Tune feature produce equal temperament.  
The checksum is a value derived by adding the address, size and checksum itself and  
inverting the lower 7 bits.  
Here’s an example of how the checksum is calculated. We will assume that in the  
exclusive message we are transmitting, the address is aa bb ccH and the data or size  
is dd ee ffH.  
Just Temperament (Keytone C)  
The three main chords resound much more beautifully than with equal tempera-  
ment, but this benefit can only be obtained in one key. If transposed, the chords tend  
to become ambiguous.  
aa + bb + cc + dd + ee + ff = sum  
sum / 128 = quotient ... remainder  
128 - remainder = checksum  
The example given involves settings for a key in which C is the keynote.  
(However, the checksum will be 0 if the remainder is 0.)  
Arabian Scale  
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited  
for ethnic music. For example, the settings introduced below will set the unit to use  
the Arabian Scale.  
<Example> Setting REVERB MACRO to ROOM 3  
According to the “Parameter Address Map,the REVERB MACRO Address is 40 01 30H,  
and ROOM  
3 is a value of 02H. Thus,  
Example Settings  
F0  
(1)  
41  
(2)  
10  
(3)  
42  
(4)  
12  
(5)  
40 01 30  
Address  
02  
??  
F7  
(6)  
Note name  
Equal Temperament Just Temperament Arabian Scale  
(Keytone C)  
data Checksum  
C
C#  
D
D#  
E
F
F#  
G
G#  
A
A#  
B
0
0
0
0
0
0
0
0
0
0
0
0
0
-8  
-6  
+45  
-2  
-12  
-51  
-8  
+43  
-4  
+47  
0
-10  
-49  
(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17),  
(4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive  
+4  
+16  
-14  
-2  
-10  
+2  
+14  
-16  
+14  
-12  
Next we calculate the checksum.  
40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum)  
115 (sum) / 128 = 0 (quotient) ... 115 (remainder)  
checksum = 128 - 115 (remainder) = 13 = 0DH  
This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.  
About Tuning  
The values in the table are given in cents. Refer to the explanation of Scale Tuning to  
convert these values to hexadecimal, and transmit them as exclusive data.  
For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows:  
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7  
In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the  
appropriate MIDI channel.  
In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being  
used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H).  
RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be  
precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of  
0.1 cent. One cent is 1/100th of a semitone.  
The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are  
added together to determine the actual pitch sounded by each Part.  
+----------+--------+---------------+--------------------+  
| Hz in A4 | cent |  
RPN #1  
| Sys.Ex. 40 00 00 |  
+----------+--------+---------------+--------------------+  
|
|
|
|
|
|
|
|
445.0 | +19.56 | 4C 43 (+1603) | 00 04 0C 04 (+196) |  
444.0 | +15.67 | 4A 03 (+1283) | 00 04 09 0D (+157) |  
443.0 | +11.76 | 47 44 (+ 964) | 00 04 07 06 (+118) |  
442.0 | +7.85 | 45 03 (+ 643) | 00 04 04 0F (+ 79) |  
441.0 | +3.93 | 42 42 (+ 322) | 00 04 02 07 (+ 39) |  
440.0 | 0.00 | 40 00 (  
0) | 00 04 00 00 ( 0) |  
439.0 | -3.94 | 3D 3D (- 323) | 00 03 0D 09 (- 39) |  
438.0 | -7.89 | 3A 7A (- 646) | 00 03 0B 01 (- 79) |  
+----------+--------+---------------+--------------------+  
Frequently used tuning values are given in the following table for your reference.  
Values are in hexadecimal (decimal in parentheses).  
<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz  
Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.  
B2  
64 00  
65 01  
06 45  
26 03  
64 7F  
65 7F  
MIDI ch.3, lower byte of RPN parameter number: 00H  
(MIDI ch.3) upper byte of RPN parameter number: 01H  
(MIDI ch.3) upper byte of parameter value: 45H  
(MIDI ch.3) lower byte of parameter value: 03H  
(B2)  
(B2)  
(B2)  
(B2)  
(B2)  
(MIDI ch.3) lower byte of RPN parameter number: 7FH  
(MIDI ch.3) upper byte of RPN parameter number: 7FH  
16  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
EFX Parameter Map  
5. Effect List  
The parameters with”#1or “#2at the end of parameter name can be controlled with  
each exclusive message”Part EFX CONTROL 1and “Part EFX CONTROL 2.”  
0100: Equalizer  
0101: Spectrum  
0102: Enhancer  
0104: Isolator  
0105: Low Boost  
0106: High Pass Filter  
0110: Overdrive  
0111: Distortion  
0100: Equalizer  
This is a four-band stereo equalizer (low, mid x 2, high).  
No Parameter  
Value  
Description  
1
2
Low Freq  
0–1  
200, 400 Hz  
-15–+15 dB  
Frequency of the low range  
Gain of the low range  
0112: Overdrive2  
0113: Distortion2  
Low Gain #1 0–30  
Frequency of the middle  
range 1  
0107: Speaker Simulator  
0114: Guitar Amp Simulator  
0120: Phaser  
3
4
Mid1 Freq  
Mid1 Gain  
0–16  
0–30  
200–8000 Hz  
-15–+15 dB  
Gain of the middle range 1  
0129: Multi Stage Phaser  
012a: Infinite Phaser  
0123: Stereo Flanger  
0127: 3D Flanger  
Width of the middle range 1  
Set a higher value for Q  
to narrow the range to be  
affected.  
0.5, 1.0, 2.0,  
4.0, 8.0  
5
Mid1 Q  
0–4  
Frequency of the middle  
range 2  
0128: 2Band Flanger  
0121: Auto Wah  
0103: Humanizer  
6
7
Mid2 Freq  
Mid2 Gain  
0–16  
0–30  
200–8000 Hz  
-15–+15 dB  
Gain of the middle range 2  
012b: Ring Modulator  
0125: Tremolo  
0126: Auto Pan  
Width of the middle range 2  
Set a higher value for Q  
to narrow the range to be  
affected.  
0.5, 1.0, 2.0,  
4.0, 8.0  
8
Mid2 Q  
0–4  
012c: Slicer  
0130: Compressor  
0131: Limiter  
2000, 4000,  
8000 Hz  
9
High Freq  
0–2  
Frequency of the high range  
0142: Stereo Chorus  
0140: Hexa Chorus  
0141: Tremolo Chorus  
0143: Space D  
10 High Gain #2 0–30  
11 Level 0–127  
-15–-+15 dB Gain of the high range  
0–127 Output Level  
0144: 3D Chorus  
0101: Spectrum  
0145: 2Band Chorus  
0122: Rotary  
012d: Rotary2  
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by  
boosting or cutting the level at specific frequencies.  
0300: Rotary Multi  
015b: Stereo Delay1  
015c: Stereo Delay2  
015d: Stereo Delay3  
015e: Stereo Delay4  
015f: Stereo Delay5  
0150: Monaural Delay  
0151: Modulation Delay  
0152: Triple Tap Delay  
0157: 3D Delay  
No Parameter  
Value  
Description  
Band1  
1
0–30  
(250Hz)  
Band2  
2
0–30  
0–30  
0–30  
0–30  
0–30  
0–30  
0–30  
(500Hz) #1  
Band3  
3
(1000Hz)  
Band4  
4
(1250Hz) #2  
0159: Tape Echo  
015a: Reverse Delay  
0172: Lo-Fi  
-15–+15 dB  
Gain of each frequency band  
Band5  
5
(2000Hz)  
0175: Telephone  
Band6  
6
0156: Gate Reverb  
0200: Overdrive->Chorus  
0201: Overdrive->Flanger  
0202: Overdrive->Delay  
0203: Distortion->Chorus  
0204: Distortion->Flanger  
0205: Distortion->Delay  
0206: Enhancer->Chorus  
0207: Enhancer->Flanger  
0208: Enhancer->Delay  
0209: Chorus->Delay  
020a: Flanger-> Delay  
020b: Chorus-> Flanger  
(3150Hz)  
Band7  
7
(4000Hz)  
Band8  
8
(8000Hz)  
Simultaneously adjusts the  
width of the adjusted ranges  
for all the frequency bands.  
0.5, 1.0, 2.0,  
4.0, 8.0  
9
Q
0–4  
10 Level  
0–127  
0-127  
Output Level  
17  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
0102: Enhancer  
0105: Low Boost  
Boosts the volume of the lower range, creating powerful lows.  
Controls the overtone structure of the high frequencies, adding sparkle and tightness  
to the sound.  
No Parameter  
Value  
Description  
No Parameter  
Value  
Description  
Boost  
1
Center frequency at which the  
lower range will be boosted  
0–8  
50–125 Hz  
0–+12 dB  
Frequency #1  
1
Sens #1  
0–127  
0–127  
0–127  
Sensitivity of the enhancer  
Boost Gain  
#2  
Amount by which the lower  
range will be boosted  
Level of the overtones  
generated by the enhancer  
2
0–12  
0–30  
2
Mix #2  
0–127  
Wide, Mid,  
Narrow  
Width of the lower range that  
will be boosted  
3
4
5
Low Gain  
High Gain  
Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
3
4
Boost Width 0–2  
Gain of the low frequency  
range  
Low Gain  
-15–+15 dB  
Gain of the high frequency  
range  
5
6
High Gain  
Level  
0–30  
-15–+15 dB  
0–127  
0104: Isolator  
0–127  
Output level  
This 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.  
No Parameter  
Value  
Description  
0106: High Pass Filter  
This is a filter with an extremely sharp slope. The cutoff frequency can be varied  
cyclically.  
Boost/Cut  
Low  
These boost and cut each of  
the High, Middle, and Low  
frequency ranges.  
At -60 dB, the sound becomes  
inaudible. 0 dB is equivalent  
to the input level of the sound.  
1
Boost/Cut  
Mid #1  
2
0–64  
-60–+4 dB  
No Parameter  
Value  
Description  
Filter type  
Boost/Cut  
High #2  
3
Frequency range that will pass  
through each filter  
Lpf: Frequencies below the  
cutoff  
Bpf: Frequencies in the region  
of the cutoff  
Turns the Anti-Phase function  
on and off for the Low  
frequency ranges.  
When turned on, the  
counter-channel of stereo  
sound is inverted and added  
to the signal.  
Lpf, Bpf, Hpf,  
Notch  
1
Filter Type  
0–3  
Anti Phase  
Low Sw  
4
0–1  
Off, On  
Hpf: Frequencies above the  
cutoff  
Notch: Frequencies other than  
the region of the cutoff  
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.)  
Amount of attenuation per  
octave  
-36 dB: Extremely steep  
-24 dB: Steep  
Anti Phase  
Low Level  
-12, -24, -36  
dB  
5
0–127  
0–127  
2
Filter Slope  
0–2  
-12 dB: Gentle  
Cutoff frequency of the filter  
Increasing this value will raise  
the cutoff frequency.  
Filter Cutoff  
#1  
Anti Phase  
Mid Sw  
Settings of the Anti-Phase  
function for the Middle  
frequency ranges  
The parameters are the same  
as for the Low frequency  
ranges.  
3
4
0–127  
0–100  
0–127  
0–100  
6
0–1  
Off, On  
0–127  
Filter resonance level  
Filter  
Resonance  
#2  
Anti Phase  
Mid Level  
Increasing this value will  
emphasize the region near the  
cutoff frequency.  
7
0–127  
Turns Low Booster on/off.  
This emphasizes the bottom  
to create a heavy bass sound.  
Low Boost  
Sw  
Amount of boost for the filter  
output  
8
0–1  
Off, On  
5
6
Filter Gain  
0–12  
0–1  
0–+12 dB  
Off, On  
Modulation  
Sw  
On/off switch for cyclic  
change  
Increasing this value gives you  
a heavier low end.  
Depending on the Isolator and  
filter settings this effect may  
be hard to distinguish.  
Low Boost  
Level  
How the cutoff frequency will  
be modulated  
9
0–127  
0–127  
0–127  
0–127  
Tri: Triangle wave  
Sqr: Square wave  
Sin: Sine wave  
Saw1: Sawtooth wave  
(upward)  
10 Level  
Output Level  
Modulation  
Wave  
Tri, Sqr, Sin,  
Saw1, Saw2  
7
0–4  
Saw2: Sawtooth wave  
(downward)  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
8
9
Rate Mode  
Rate  
0–1  
Hz, note  
0.05–10.00  
Hz  
1–127  
Rate of modulation (Hz)  
10 Rate  
0–21  
note  
Rate of modulation (note)  
Depth of modulation  
11 Depth  
0–127  
0–127  
Speed at which the cutoff  
frequency will change  
This is effective if Modulation  
Wave is SQR, SAW1, or SAW2.  
12 Attack  
0–127  
0–127  
0–127  
0–127  
13 Level  
Output level  
18  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Specifications of each Speaker Type  
0110: Overdrive  
The speaker column indicates the diameter of each speaker unit (in inches) and the  
number of units.  
Creates a soft distortion similar to that produced by vacuum tube amplifiers.  
No Parameter  
Value  
Description  
Degree of distortion  
Also changes the volume.  
1
2
Drive  
0–127  
0–127  
Type  
Cabinet  
Speaker  
10  
Microphone  
Dynamic  
Small 1  
Small open-back enclosure  
Small open-back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Sealed enclosure  
Type of guitar amp  
Small: small amp  
Built-In: single-unit type amp  
2-Stack: large double stack  
amp  
Small 2  
10  
Dynamic  
Small,  
Built-In,  
2-Stack,  
3-Stack  
Middle  
12 x 1  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
Dynamic  
Amp Type #1 0–3  
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  
Metal Stack  
2-Stack  
Dynamic  
3-Stack: large triple stack amp  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
3
4
Low Gain  
High Gain  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
0–30  
Stereo location of the output  
sound  
5
6
Pan  
0–127  
0–127  
L64–63R  
0–127  
Level #2  
Output Level  
Large sealed enclosure  
Large sealed enclosure  
Large sealed enclosure  
Large double stack  
Large double stack  
Large triple stack  
0111: Distortion  
Produces a more intense distortion than Overdrive. The parameters are the same as  
for “Overdrive.”  
3-Stack  
0112: Overdrive2  
This is an overdrive that provides heavy distortion.  
No Parameter  
Value  
Description  
Degree of distortion  
Also changes the volume.  
1
2
3
Drive  
0–127  
0–127  
0–127  
Off, On  
Sound quality of the Overdrive  
effect  
Tone  
0–127  
0–1  
Turns the Amp Simulator  
on/off.  
Amp Sw  
Type of guitar amp  
Small: small amp  
Small, Built-  
In, 2-Stack,  
3-Stack  
Built-In: single-unit type amp  
2-Stack: large double stack  
amp  
4
Amp Type #1 0–3  
3-Stack: large triple stack amp  
5
6
Low Gain  
High Gain  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
0–30  
Stereo location of the output  
sound  
7
8
Pan  
0–127  
0–127  
L64–63R  
0–127  
Level #2  
Output Level  
0113: Distortion2  
This is a distortion effect that provides heavy distortion. The parameters are the same  
as for “Overdrive2.”  
0107: Speaker Simulator  
Simulates the speaker type and mic settings used to record the speaker sound.  
No Parameter  
Value  
Description  
Speaker Type  
#1  
(See the  
table.)  
1
0–15  
Type of speaker  
Adjusts the location of the mic  
that is recording the sound of  
the speaker.  
2
Mic Setting  
0–2  
1, 2, 3  
This can be adjusted in three  
steps, with the mic becoming  
more distant in the order of 1,  
2, and 3.  
3
4
5
Mic Level  
Direct Level  
Level #2  
0–127  
0–127  
0–127  
0–127  
0–127  
0–127  
Volume of the microphone  
Volume of the direct sound  
Output Level  
19  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
Type  
Cabinet  
Speaker  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
Microphone  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
0114: Guitar Amp Simulator  
This is an effect that simulates the sound of a guitar amplifier.  
BG Stack 2  
MS Stack 1  
MS Stack 2  
Metal Stack  
2-Stack  
Large sealed enclosure  
Large sealed enclosure  
Large sealed enclosure  
Large double stack  
Large double stack  
Large triple stack  
No Parameter  
Value  
Description  
1
Pre Amp Sw 0–1  
Off, On  
Turns the amp switch on/off.  
JC-120,  
Clean Twin,  
MATCH Drive,  
BG Lead,  
3-Stack  
MS1959I,  
MS1959II,  
MS1959I+II,  
SLDN Lead,  
Metal 5150,  
Metal Lead,  
OD-1,  
OD-2 Turbo,  
Distortion,  
Fuzz  
Pre Amp  
Type #1  
0120: Phaser  
2
0–13  
Type of guitar amp  
This is a stereo phaser. A phase-shifted sound is added to the original sound and  
modulated.  
No Parameter  
Value  
Description  
4-Stage,  
8-Stage,  
12-Stage  
Number of stages in the  
phaser  
1
2
Mode  
0–2  
Pre Amp  
Volume  
Volume and amount of  
distortion of the amp  
3
4
0–127  
0–127  
0–2  
0–127  
0–127  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
Manual #2  
0–127  
0–127  
Pre Amp  
Master  
Volume of the entire pre-amp  
Amount of pre-amp distortion  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Pre Amp  
Gain  
Low, Middle,  
High  
3
4
Rate Mode  
Rate #1  
0–1  
Hz, note  
5
6
7
Pre Amp Bass 0–127  
Tone of the bass/mid/treble  
frequency range  
Middle cannot be set if  
“MATCH Driveis selected as  
the Pre Amp Type.  
0.05–10.00  
Hz  
1–127  
Frequency of modulation (Hz)  
Pre Amp  
0–127  
Middle  
0–127  
Frequency of modulation  
(note)  
5
6
Rate  
0–21  
note  
Pre Amp  
0–127  
8
9
Treble  
Depth  
0–127  
0–127  
Depth of modulation  
0–127  
(MATCH  
Drive:  
Selects whether the left and  
right phase of the modulation  
will be the same or the  
opposite.  
Pre Amp  
0–127  
Tone for the ultra-high  
frequency range  
Presence  
-127–0)  
Turning this “Onproduces a  
sharper and brighter sound.  
This parameter applies to the  
“JC-120,“Clean Twin,and “BG  
LeadPre Amp Types.  
Inverse: The left and right  
phase will be opposite. When  
using a mono source, this  
spreads the sound.  
Synchro: The left and right  
phase will be the same. Select  
this when inputting a stereo  
source.  
Inverse,  
Synchro  
Pre Amp  
0–1  
7
Polarity  
0–1  
10  
Off, On  
Bright  
Determines whether the  
signal passes through the  
speaker (ON), or not (OFF).  
11 Speaker Sw  
0–1  
Off, On  
8
9
Resonance  
0–127  
0–98  
0-127  
Amount of feedback  
Speaker Type  
#2  
(See the  
table.)  
12  
0–15  
Type of speaker  
Adjusts the proportion of the  
phaser sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Cross  
Feedback  
Adjusts the location of the mic  
that’s capturing the sound of  
the speaker.  
-98–+98%  
13 Mic Setting  
0–2  
1, 2, 3  
This can be adjusted in three  
steps, from 1 to 3, with the mic  
becoming more distant as the  
value increases.  
Level of the phase-shifted  
sound  
10 Mix  
0–127  
0–127  
11 Low Gain  
12 High Gain  
13 Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
14 Mic Level  
15 Direct Level  
16 Pan  
0–127  
0–127  
0–127  
0–127  
0–127  
0–127  
L64–63R  
0–127  
Volume of the microphone  
Volume of the direct sound  
Stereo location of the output  
Output level  
17 Level  
Specifications of each Speaker Type  
The speaker column indicates the diameter of each speaker unit (in inches) and the  
number of units.  
Type  
Cabinet  
Speaker  
10  
Microphone  
Dynamic  
Small 1  
Small open-back enclosure  
Small open-back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Open back enclosure  
Sealed enclosure  
Small 2  
10  
Dynamic  
Middle  
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  
Dynamic  
Condenser  
Condenser  
Condenser  
Condenser  
Condenser  
20  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0129: Multi Stage Phaser  
Extremely high settings of the phase difference produce a deep phaser effect.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
4
Rate Mode  
0–1  
Hz, note  
No Parameter  
Value  
Description  
4-Stage,  
8-Stage,  
12-Stage,  
16-Stage,  
20-Stage,  
24-Stage  
0.05–10.00  
Hz  
5
6
Rate #1  
Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
Frequency of modulation  
(note)  
1
Mode  
0–5  
Number of phaser stages  
note  
7
8
Depth #2  
Phase  
0–127  
0–90  
0–127  
Depth of modulation  
0–180 deg  
Spatial spread of the sound  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
2
3
Manual #2  
Rate Mode  
0–127  
0–1  
0–127  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
9
Feedback  
0–98  
-98–+98%  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Hz, note  
10 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
0.05–10.00  
Hz  
11 High Gain  
4
5
Rate #1  
Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
Volume balance between  
the direct sound (D) and the  
flanger sound (W)  
D100:0W–  
D0:100W  
Frequency of modulation  
(note)  
12 Balance  
0–100  
0–127  
note  
6
7
Depth  
0–127  
0–127  
0–127  
0–127  
Depth of modulation  
Amount of feedback  
13 Level  
0–127  
Output Level  
Resonance  
Level of the phase-shifted  
sound  
8
9
Mix  
Pan  
0–127  
0–127  
0–127  
0127: 3D Flanger  
Stereo location of the output  
sound  
This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90  
degrees left and 90 degrees right.  
L64–63R  
10 Low Gain  
11 High Gain  
12 Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
No Parameter  
Value  
Description  
Type of filter  
Off: No filter is used  
Lpf: Cuts the frequency range  
above the Cutoff Freq  
Hpf: Cuts the frequency range  
below the Cutoff Freq  
1
Filter Type  
0–2  
Off, Lpf, Hpf  
012a: Infinite Phaser  
A phaser that continues raising/lowering the frequency at which the sound is  
modulated.  
2
3
Cutoff Freq  
Pre Delay  
0–16  
200–8000 Hz Basic frequency of the filter  
Adjusts the delay time from  
No Parameter  
Value  
Description  
when the direct sound begins  
until the flanger sound is  
heard.  
0–125  
0.0–100.0 ms  
Higher values will produce a  
deeper phaser effect.  
1
2
3
Mode  
0–3  
1, 2, 3, 4  
-100–+100  
0–127  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Speed at which to raise or  
lower the frequency at which  
the sound is modulated  
4
Rate Mode  
0–1  
Hz, note  
Speed #1  
0–127  
0–127  
(+: upward / -: downward)  
0.05–10.00  
Hz  
5
6
Rate #1  
Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
Resonance  
#2  
Amount of feedback  
Frequency of modulation  
(note)  
note  
Volume of the phase-shifted  
sound  
4
5
6
Mix  
0–127  
0–127  
0–30  
0–127  
7
8
Depth #2  
Phase  
0–127  
0–90  
0–127  
Depth of modulation  
Pan  
L64–63R  
-15–+15 dB  
Panning of the output sound  
0–180 deg  
Spatial spread of the sound  
Amount of boost/cut for the  
low-frequency range  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Low Gain  
9
Feedback  
0–98  
-98–+98%  
Amount of boost/cut for the  
high-frequency range  
7
8
High Gain  
Level  
0–30  
-15–+15 dB  
0–127  
Adjusts the method that will  
be used to hear the sound  
that is output to the OUTPUT  
jacks. The optimal 3D effect  
will be achieved if you select  
Speaker when using speakers,  
or Phones when using  
0–127  
Output volume  
Speaker,  
Phones  
10 Output Mode 0–1  
0123: Stereo Flanger  
This is a stereo flanger. (The LFO has the same phase for left and right.)  
It produces a metallic resonance that rises and falls like a jet airplane taking off or  
landing. A filter is provided so that you can adjust the timbre of the flanged sound.  
headphones.  
11 Low Gain  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
12 High Gain  
0–30  
No Parameter  
Value  
Description  
Volume balance between  
the direct sound (D) and the  
flanger sound (W)  
Type of filter  
Off: No filter is used  
Lpf: Cuts the frequency range  
above the Cutoff Freq  
Hpf: Cuts the frequency range  
below the Cutoff Freq  
D100:0W–  
D0:100W  
13 Balance  
0–100  
0–127  
1
Filter Type  
0–2  
Off, Lpf, Hpf  
14 Level  
0–127  
Output Level  
2
3
Cutoff Freq  
Pre Delay  
0–16  
200–8000 Hz Basic frequency of the filter  
Adjusts the delay time from  
when the direct sound begins  
0–125  
0.0–100.0 ms  
until the flanger sound is  
heard.  
21  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0128: 2Band Flanger  
A flanger that lets you apply an effect independently to the low-frequency and  
high-frequency ranges.  
Adjusts the amount of the  
wah effect that will occur  
in the range of the center  
frequency.  
Set a higher value for Q  
to narrow the range to be  
affected.  
No Parameter  
Value  
Description  
3
4
Peak  
Sens  
0–127  
0–127  
0–127  
Frequency at which the  
200–8000 Hz low and high ranges will be  
divided  
1
Split Freq  
0–16  
Adjusts the sensitivity with  
which the filter is controlled.  
Delay time from when the  
0–127  
0–1  
Low Pre  
Delay  
original sound is heard to  
when the low-range flanger  
2
0–125  
0–1  
0.0–100.0 ms  
Sets the direction in which  
the frequency will change  
when the auto-wah filter is  
modulated.  
Up: The filter will change  
toward a higher frequency.  
Down: The filter will change  
toward a lower frequency.  
sound is heard  
When this is set to “note,the  
Low Rate  
Mode  
3
4
5
Hz, note  
effect is synchronized with the  
tempo.  
5
Polarity  
Up, Down  
Hz, note  
Rate at which the low-range  
flanger sound is modulated  
(Hz)  
0.05–10.00  
Hz  
Low Rate #1 1–127  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Rate at which the low-range  
flanger sound is modulated  
(note)  
6
7
Rate Mode  
Rate #1  
0–1  
Low Rate  
0–21  
note  
0.05–10.00  
Hz  
1–127  
Frequency of modulation (Hz)  
Modulation depth for the  
low-range flanger sound  
6
7
Low Depth  
Low Phase  
0–127  
0–90  
0–127  
Frequency of modulation  
(note)  
8
9
Rate  
0–21  
note  
Spaciousness of the low-range  
flanger sound  
0–180 deg  
Depth  
0–127  
0–127  
Depth of modulation  
Proportion of the low-range  
flanger sound that is to  
be returned to the input  
(negative values invert the  
phase)  
Adjusts the degree of phase  
shift of the left and right  
sounds when the wah effect  
is applied.  
Low  
Feedback  
8
0–98  
-98–+98%  
10 Phase  
0–90  
0–180 deg  
11 Low Gain  
12 High Gain  
13 Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
Delay time from when the  
original sound is heard to  
when the high-range flanger  
sound is heard  
High Pre  
Delay  
9
0–125  
0–1  
0.0–100.0 ms  
Hz, note  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
High Rate  
Mode  
10  
0103: Humanizer  
Rate at which the high-range  
flanger sound is modulated  
(Hz)  
Adds a vowel character to the sound, making it similar to a human voice.  
0.05–10.00  
Hz  
11 High Rate #2 1–127  
No Parameter  
Value  
Description  
Rate at which the high-range  
flanger sound is modulated  
(note)  
1
Drive Sw  
0–1  
Off, On  
0–127  
Turns Drive on/off.  
12 High Rate  
0–21  
note  
Degree of distortion  
Also changes the volume.  
2
Drive #2  
0–127  
Modulation depth for the  
high-range flanger sound  
3
4
Vowel1  
Vowel2  
0–4  
0–4  
a, e, i, o, u  
a, e, i, o, u  
13 High Depth  
0–127  
0–90  
0–127  
Selects the vowel.  
Spaciousness of the high-  
range flanger sound  
14 High Phase  
0–180 deg  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
5
6
Rate Mode  
Rate  
0–1  
Hz, note  
Proportion of the high-range  
flanger sound that is to  
be returned to the input  
(negative values invert the  
phase)  
High  
15  
0.05–10.00  
Hz  
Frequency at which the two  
vowels switch (Hz)  
0–98  
-98–+98%  
1–127  
Feedback  
Frequency at which the two  
vowels switch (note)  
7
8
Rate #1  
Depth  
0–21  
note  
Volume balance of the original  
sound (D) and flanger sound  
(W)  
D100:0W–  
D0:100W  
0–127  
0–127  
Effect depth  
16 Balance  
0–100  
0–127  
Determines whether the LFO  
for switching the vowels is  
reset by the input signal (ON)  
or not (OFF).  
Input Sync  
Sw  
17 Level  
0–127  
Output volume  
9
0–1  
Off, On  
0–127  
Input Sync  
Threshold  
Volume level at which reset is  
applied  
10  
0–127  
0121: Auto Wah  
Cyclically controls a filter to create cyclic change in timbre.  
Point at which Vowel 1/2  
switch  
49 or less: Vowel 1 will have a  
longer duration.  
50: Vowel 1 and 2 will be of  
equal duration.  
51 or more: Vowel 2 will have a  
longer duration.  
No Parameter  
Value  
Description  
Type of filter  
11 Manual  
0–100  
0–100  
Lpf: The wah effect will be  
applied over a wide frequency  
range.  
Bpf: The wah effect will  
be applied over a narrow  
frequency range.  
1
2
Filter Type  
Manual #2  
0–1  
Lpf, Bpf  
0–127  
Gain of the low frequency  
range  
12 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Adjusts the center frequency  
at which the effect is applied.  
Gain of the high frequency  
range  
0–127  
13 High Gain  
14 Pan  
0–127  
0–127  
L64–63R  
0–127  
Stereo location of the output  
Output level  
15 Level  
22  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
012b: Ring Modulator  
012c: Slicer  
This is an effect that applies amplitude modulation (AM) to the input signal,  
producing bell-like sounds. You can also change the modulation frequency in  
response to changes in the volume of the sound sent into the effect.  
By applying successive cuts to the sound, this effect turns a conventional sound into  
a sound that appears to be played as a backing phrase. This is especially effective  
when applied to sustain-type sounds.  
No Parameter  
Value  
Description  
No Parameter  
Value  
Description  
Adjusts the frequency at  
which modulation is applied.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
1
Frequency #1 0–127  
0–127  
0–127  
1
Rate Mode  
0–1  
Hz, note  
Adjusts the amount of  
frequency modulation  
applied.  
2
Sens  
0–127  
0–1  
Rate at which the 16-step  
sequence will cycle (Hz)  
2
3
4
Rate  
1–127  
12–21  
0–127  
0.05-10.00 Hz  
note  
Determines whether the  
frequency modulation moves  
towards higher frequencies  
(Up) or lower frequencies  
(Down).  
Rate at which the 16-step  
sequence will cycle (note)  
Rate #1  
Attack  
3
Polarity  
Up, Down  
Speed at which the level  
changes between steps  
0–127  
Specifies whether an input  
note will cause the sequence  
to resume from the first step  
of the sequence (ON) or not  
(OFF)  
Gain of the low frequency  
range  
4
5
Low Gain  
High Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Input Sync  
Sw  
5
6
0–1  
Off, On  
0–27  
Gain of the high frequency  
range  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
Input Sync  
Threshold  
Volume at which an input  
note will be detected  
D100:0W–  
D0:100W  
0–127  
6
7
Balance #2  
Level  
0–100  
0–127  
Sets the manner in which the  
volume changes as one step  
progresses to the next.  
0–127  
Output level  
Legato: The change in volume  
from one step’s level to the  
next remains unaltered. If the  
level of a following step is the  
same as the one preceding it,  
there is no change in volume.  
Slash: The level is momentarily  
set to 0 before progressing to  
the level of the next step. This  
change in volume occurs even  
if the level of the following  
step is the same as the preced-  
ing step.  
0125: Tremolo  
Cyclically modulates the volume to add tremolo effect to the sound.  
7
Mode  
0–1  
Legato, Slash  
No Parameter  
Value  
Description  
Modulation Wave  
Tri: Triangle wave  
Sqr: Square wave  
Sin: Sine wave  
Tri, Sqr, Sin,  
Saw1, Saw2  
1
Mod Wave  
0–4  
Saw1/2: Sawtooth wave  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
2
Rate Mode  
0–1  
Hz, note  
Timing of volume changes for  
even-numbered steps (step 2,  
step 4, step 6...).  
The higher the value, the later  
the beat progresses.  
3
4
Rate #1  
Rate  
1–127  
0–21  
0.05-10.00 Hz Frequency of the change (Hz)  
8
9
Shuffle #2  
Level  
0–127  
0–127  
0–127  
0–127  
Frequency of the change  
(note)  
note  
Output level  
Depth to which the effect is  
applied  
5
Depth #2  
0–127  
0–127  
6
7
8
Low Gain  
High Gain  
Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
0130: Compressor  
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.  
No Parameter  
Value  
Description  
Sets the speed at which  
compression starts  
1
Attack #2  
0–127  
0–127  
0126: Auto Pan  
Cyclically modulates the stereo location of the sound.  
Adjusts the volume at which  
compression begins  
2
3
4
Threshold #1 0–127  
0–127  
No Parameter  
Value  
Description  
Post Gain  
Low Gain  
0–18  
0–30  
0–+18 dB  
-15–+15 dB  
Adjusts the output gain.  
Modulation Wave  
Tri: triangle wave  
Sqr: square wave  
Sin: sine wave  
Gain of the low frequency  
range  
Tri, Sqr, Sin,  
Saw1, Saw2  
1
2
Mod Wave  
Rate Mode  
0–4  
Gain of the high frequency  
range  
5
6
High Gain  
Level  
0–30  
-15–+15 dB  
0–127  
Saw1/2: sawtooth wave  
When this is set to “note,”  
the effect is synchronized  
with the tempo.  
0–127  
Output level  
0–1  
Hz, note  
Frequency of the change  
(Hz)  
3
4
5
Rate #1  
Rate  
1–127  
0–21  
0.05–10.00 Hz  
note  
Frequency of the change  
(note)  
Depth to which the effect  
is applied  
Depth #2  
0–127  
0–127  
6
7
8
Low Gain  
High Gain  
Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
23  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0131: Limiter  
Compresses signals that exceed a specified volume level, preventing distortion from  
occurring.  
Adjusts the differences in Pre  
Delay between each chorus  
sound.  
Pre Delay  
6
0–20  
0–20  
Deviation  
No Parameter  
Value  
Description  
Adjusts the difference in  
modulation depth between  
each chorus sound.  
Depth  
7
Adjusts the time after the  
signal volume falls below the  
Threshold Level until compres-  
sion is no longer applied.  
0–40  
0–20  
-20–+20  
Deviation  
1
2
Release  
0–127  
0–127  
0–127  
Adjusts the difference in  
stereo location between each  
chorus sound.  
0: All chorus sounds will be in  
the center.  
20: Each chorus sound will be  
spaced at 60 degree intervals  
relative to the center.  
Adjusts the volume at which  
compression begins  
Threshold #1 0–127  
Pan  
8
0–20  
Deviation  
1.5:1, 2:1, 4:1,  
100:1  
3
4
5
Ratio #2  
0–3  
Compression ratio  
Post Gain  
Low Gain  
0–18  
0–30  
0–+18 dB  
Adjusts the output gain.  
Gain of the low frequency  
range  
Volume balance between  
the direct sound (D) and the  
chorus sound (W)  
-15–+15 dB  
D100:0W–  
D0:100W  
9
Balance  
0–100  
0–127  
Gain of the high frequency  
range  
6
7
High Gain  
Level  
0–30  
-15–+15 dB  
0–127  
10 Level  
0–127  
Output Level  
0–127  
Output level  
0141: Tremolo Chorus  
0142: Stereo Chorus  
This is a chorus effect with added Tremolo (cyclic modulation of volume).  
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the  
chorus sound.  
No Parameter  
Value  
Description  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
No Parameter  
Value  
Description  
1
2
Pre Delay  
0–125  
Type of filter  
Off: No filter is used  
Lpf: Cuts the frequency range  
above the Cutoff Freq  
Hpf: Cuts the frequency range  
below the Cutoff Freq  
When this is set to “note,the  
Chorus Rate  
Mode  
0–1  
Hz, note  
effect is synchronized with the  
tempo.  
1
Filter Type  
0–2  
Off, Lpf, Hpf  
0.05–10.00  
Hz  
Modulation frequency of the  
chorus effect (Hz)  
3
4
5
Chorus Rate 1–127  
Chorus Rate 0–21  
2
3
Cutoff Freq  
Pre Delay  
0–16  
200–8000 Hz Basic frequency of the filter  
Modulation frequency of the  
chorus effect (note)  
note  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
0–125  
Chorus  
0–127  
Modulation depth of the  
chorus effect  
0–127  
Depth #1  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
4
Rate Mode  
0–1  
Hz, note  
Tremolo Rate  
0–1  
6
Hz, note  
Mode  
0.05–10.00  
Hz  
5
6
Rate #1  
Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
Tremolo  
1–127  
0.05–10.00  
Hz  
Modulation frequency of the  
tremolo effect (Hz)  
7
Rate #2  
Frequency of modulation  
(note)  
note  
Modulation frequency of the  
tremolo effect (note)  
8
Tremolo Rate 0–21  
note  
7
8
9
Depth #2  
Phase  
0–127  
0–90  
0–30  
0–30  
0–127  
Depth of modulation  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Tremolo  
0–127  
9
0–127  
Spread of the tremolo effect  
Spread of the tremolo effect  
0–180 deg  
-15–+15 dB  
-15–+15 dB  
Separation  
Low Gain  
Tremolo  
0–90  
10  
0–180 deg  
10 High Gain  
11 Balance  
12 Level  
Phase  
Volume balance between  
the direct sound (D) and the  
chorus sound (W)  
Volume balance between  
the direct sound (D) and the  
tremolo chorus sound (W)  
D100:0W–  
D0:100W  
D100:0W–  
D0:100W  
0–100  
0–127  
11 Balance  
0–100  
0–127  
0–127  
Output Level  
12 Level  
0–127  
Output Level  
0140: Hexa Chorus  
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial  
spread to the sound.  
No Parameter  
Value  
Description  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
1
Pre Delay  
0–125  
When this is set to “note,the  
2
3
Rate Mode  
Rate #1  
0–1  
Hz, note  
effect is synchronized with the  
tempo.  
0.05–10.00  
Hz  
1–127  
Frequency of modulation (Hz)  
Frequency of modulation  
(note)  
4
5
Rate  
0–21  
note  
Depth #2  
0–127  
0–127  
Depth of modulation  
24  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
0143: Space D  
0145: 2Band Chorus  
This is a multiple chorus that applies two-phase modulation in stereo. It gives no  
impression of modulation, but produces a transparent chorus effect.  
A chorus effect that lets you apply an effect independently to the low-frequency and  
high-frequency ranges.  
No Parameter  
Value  
Description  
No Parameter  
Value  
Description  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
Frequency at which the  
200–8000 Hz low and high ranges will be  
divided  
0.0–100.0  
ms  
1
Pre Delay  
0–125  
1
Split Freq  
0–16  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay time from when the  
original sound is heard to  
when the low-range chorus  
sound is heard  
2
3
Rate Mode  
Rate #1  
0–1  
Hz, note  
Low Pre  
Delay  
2
0–125  
0.0–100.0 ms  
0.05–10.00  
Hz  
1–127  
Frequency of modulation (Hz)  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Low Rate  
Mode  
3
4
5
0–1  
Hz, note  
4
5
6
7
8
Rate  
0–21  
0–127  
0–90  
0–30  
0–30  
note  
Frequency of modulation (note)  
Depth of modulation  
Depth #2  
Phase  
0–127  
Rate at which the low-range  
chorus sound is modulated  
(Hz)  
0.05–10.00  
Hz  
0–180 deg  
Spatial spread of the sound  
Low Rate  
Low Rate  
1–127  
0–21  
Low Gain  
High Gain  
-15–+15 dB Gain of the low range  
-15–+15 dB Gain of the high range  
Rate at which the low-range  
chorus sound is modulated  
(note)  
note  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
D100:0W–  
D0:100W  
9
Balance  
0–100  
0–127  
Low Depth  
#1  
Modulation depth for the  
low-range chorus sound  
6
7
0–127  
0–90  
0–127  
10 Level  
0–127  
Output Level  
Spaciousness of the low-range  
chorus sound  
Low Phase  
0–180 deg  
Delay time from when the  
original sound is heard to  
when the high-range chorus  
sound is heard  
0144: 3D Chorus  
High Pre  
Delay  
8
9
0–125  
0.0–100.0 ms  
Hz, note  
This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90  
degrees left and 90 degrees right.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
High Rate  
Mode  
No Parameter  
Value  
Description  
0–1  
Type of filter  
Off: No filter is used  
Rate at which the low-range  
chorus sound is modulated  
(Hz)  
0.05–10.00  
Hz  
Lpf: Cuts the frequency range  
above the Cutoff Freq  
Hpf: Cuts the frequency range  
below the Cutoff Freq  
10 High Rate  
1–127  
0–21  
1
Filter Type  
0–2  
Off, Lpf, Hpf  
Rate at which the low-range  
chorus sound is modulated  
(note)  
11 High Rate  
note  
2
3
Cutoff Freq  
Pre Delay  
0–16  
200–8000 Hz Basic frequency of the filter  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
High Depth  
#2  
Modulation depth for the  
high-range chorus sound  
12  
0–127  
0–90  
0–127  
0–125  
Spaciousness of the high-  
range chorus sound  
13 High Phase  
0–180 deg  
When this is set to “note,the  
4
Rate Mode  
0–1  
Hz, note  
effect is synchronized with the  
tempo.  
Volume balance of the original  
sound (D) and chorus sound  
(W)  
D100:0W–  
D0:100W  
14 Balance  
0–100  
0–127  
0.05–10.00  
Hz  
5
6
Rate #1  
Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
15 Level  
0–127  
Output volume  
Frequency of modulation  
(note)  
note  
Modulation depth of the  
chorus effect  
7
8
Depth #2  
Phase  
0–127  
0–90  
0–127  
0–180 deg  
Spatial spread of the sound  
Adjusts the method that will  
be used to hear the sound  
that is output to the OUTPUT  
jacks.  
The optimal 3D effect will  
be achieved if you select  
Speaker when using speakers,  
or Phones when using  
headphones.  
Speaker,  
Phones  
9
Output Mode 0–1  
10 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
11 High Gain  
Volume balance between  
the direct sound (D) and the  
chorus sound (W)  
D100:0W–  
D0:100W  
12 Balance  
0–100  
0–127  
13 Level  
0–127  
Output Level  
25  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0122: Rotary  
The Rotary effect simulates the sound of the rotary speakers often used with the  
electric organs of the past.  
Tweeter Slow  
0.05–10.00  
Hz  
8
1–127  
Speed  
Since the movement of the high range and low range rotors can be set indepen-  
dently, the unique type of modulation characteristic of these speakers can be  
simulated quite closely. This effect is most suitable for electric organ tones.  
Tweeter Fast  
Speed  
0.05–10.00  
Hz  
9
1–127  
0–127  
0–127  
0–127  
Settings of the tweeter  
The parameters are the same  
as for the woofer.  
Tweeter  
10  
0–127  
0–127  
0–127  
Trans Up  
No Parameter  
Value  
Description  
Tweeter  
11  
Simultaneously switch the  
rotational speed of the low  
frequency rotor and high  
frequency rotor.  
Slow: Slows down the rotation  
to the Slow Rate.  
Trans Down  
Tweeter  
Level  
12  
1
Speed #1  
0–1  
Slow, Fast  
Sets the rotary speaker stereo  
image. The higher the value  
set, the wider the sound is  
spread out.  
13 Spread  
0–10  
0–10  
Fast: Speeds up the rotation to  
the Fast Rate.  
14 Low Gain  
15 High Gain  
16 Level  
0–30  
0–30  
0–127  
-15–+15 dB  
-15–+15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
Woofer Slow  
Speed  
0.05–10.00  
Hz  
Slow speed (Slow) of the low  
frequency rotor  
2
3
1–127  
1–127  
Woofer Fast  
Speed  
0.05–10.00  
Hz  
Fast speed (Fast) of the low  
frequency rotor  
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.  
Lower values will require  
longer times.  
0300: Rotary Multi  
Woofer  
Acceleration  
4
0–15  
0–15  
This is an effect combining the VK series internal effect with an organ effect with the  
same features.  
It comprises vibrato/chorus, overdrive, and rotary effects.  
Volume of the low frequency  
rotor  
No Parameter  
Value  
Description  
5
Woofer Level 0–127  
0–127  
Vib/Cho  
Switch  
Switches the vibrato and  
chorus effects  
1
0–1  
Off, On  
Tweeter Slow  
1–127  
0.05–10.00  
Hz  
6
Speed  
Vibrato and chorus effect  
types  
Tweeter Fast  
1–127  
0.05–10.00  
Hz  
Settings of the high frequency  
rotor  
The parameters are the same  
as for the low frequency rotor  
7
Speed  
V-1, V-2, V-3: Adds a wavering  
(vibrato) that is created by  
changes in the pitch.The  
effect deepens as the value is  
increased  
C-1, C-2, C-3: Adds a fullness  
and breadth (chorus) to the  
sound.The effect deepens as  
the value is increased.  
Tweeter  
0–15  
8
0–15  
Acceleration  
V-1, V-2, V-3,  
C-1, C-2, C-3  
2
Vib/Cho Type 0–5  
Tweeter  
0–127  
Level  
9
0–127  
Separation  
0–127  
#2  
Spatial dispersion of the  
sound  
10  
0–127  
0–127  
11 Level  
0–127  
Output Level  
This reproduces the subtle  
differences in the vibrato and  
chorus effects in organs built  
in different years.  
Vib/Cho  
Vintage  
3
4
0–2  
`50, `60, `70  
0–127  
012d: Rotary2  
This type provides modified response for the rotary speaker, with the low end  
boosted further.  
Vib/Cho  
Level  
0–127  
0–1  
Vibrato/chorus effect volume  
This effect is a descendant of the Roland VK Seriesbuilt-in rotary speaker.  
5
6
7
OD Switch  
Off, On  
0–127  
0–127  
Switches the overdrive effect  
Amount of distortion  
OD Drive #2 0–127  
No Parameter  
Value  
Description  
OD Level  
0–127  
Overdrive effect volume  
Rotational speed of the  
rotating speaker  
1
2
Speed #1  
Brake #2  
0–1  
Slow, Fast  
Off, On  
Rotary  
Switch  
8
0–1  
Off, On  
Switches the rotary effect  
Switches the rotation of the  
rotary speaker.  
When this is turned on, the  
rotation will gradually stop.  
When it is turned off, the  
rotation will gradually resume.  
Low- and high-frequency  
rotation speeds (Rate)  
Slow: (Slow Rate)  
Rotary Speed  
#1  
9
0–1  
Slow, Fast  
0–1  
Fast: (Fast Rate)  
0.05–10.00  
Hz  
Rate with low-frequency rotor  
set to Slow rate  
10 R-Wf Slow Sp 1–127  
Woofer Slow  
Speed  
0.05–10.00  
Hz  
Low-speed rotation speed of  
the woofer  
3
4
1–127  
1–127  
0.05–10.00  
Hz  
Rate with low-frequency rotor  
set to Fast rate  
11 R-Wf Fast Sp 1–127  
Woofer Fast  
Speed  
0.05–10.00  
Hz  
High-speed rotation speed of  
the woofer  
Speed at which the low-  
frequency rotor’s rotation rate  
changes when the rotation  
speed is switched  
Adjusts the rate at which the  
woofer rotation speeds up  
when the rotation is switched  
from Slow to Fast.  
12 R-Wf Accel  
0–15  
0–15  
Woofer Trans  
Up  
5
0–127  
0–127  
0–127  
13 R-Wf Level  
0–127  
0–127  
Low-frequency rotor volume  
Adjusts the rate at which the  
woofer rotation speeds up  
when the rotation is switched  
from Fast to Slow.  
0.05–10.00  
Hz  
14 R-Tw Slow Sp 1–127  
Woofer Trans  
Down  
6
7
0–127  
0–127  
High-frequency rotor setting  
This parameter is the same  
as that for the low-frequency  
rotor.  
0.05–10.00  
Hz  
15 R-Tw Fast Sp 1–127  
Woofer Level 0–127  
Volume of the woofer  
16 R-Tw Accel  
0–15  
0–15  
17 R-Tw Level  
0–127  
0–127  
Rotary  
18  
Amount of breadth in the  
sound  
0–127  
0–127  
0–127  
Separat  
19 Rotary Level 0–127  
Output volume  
26  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
015b: Stereo Delay1  
This is a stereo delay.  
Gain of the high frequency  
range  
13 High Gain  
0–30  
-15–+15 dB  
No Parameter  
Value  
Description  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
14 Balance #2  
0–100  
0–127  
Delay Left  
Mode  
1
0–1  
ms, note  
15 Level  
0-–27  
Output level  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Adjusts the time until the  
delay sound is heard. (note)  
015d: Stereo Delay3  
This is a stereo delay.  
Delay Right  
Mode  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
No Parameter  
Value  
Description  
5
6
7
8
Delay Right  
Delay Right  
Phase Left  
Phase Right  
0–127  
0–21  
0–1  
1–1270 ms  
note  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Left  
Mode  
1
0–1  
ms, note  
Normal,  
Inverse  
Phase of the delay sound  
0–1  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Selects the way in which delay  
sound is fed back into the  
effect. (See the figures above.)  
Feedback  
Mode  
Normal,  
Cross  
9
0–1  
Adjusts the time until the  
delay sound is heard. (note)  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
Delay Right  
Mode  
ms, note  
10 Feedback #1 49–89  
0–+80%  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
5
6
7
8
Delay Right  
Delay Right  
Phase Left  
Phase Right  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
Normal,  
Inverse  
Phase of the delay sound  
11 HF Damp  
0–17  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
0–1  
Selects the way in which delay  
sound is fed back into the  
effect. (See the figures above.)  
Feedback  
Mode  
Normal,  
Cross  
9
0–1  
Gain of the low frequency  
range  
12 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
Gain of the high frequency  
range  
10 Feedback #1 49–89  
0–+80%  
13 High Gain  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
D100:0W–  
D0:100W  
14 Balance #2  
0–100  
0–127  
11 HF Damp  
0–17  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
15 Level  
0–127  
Output level  
Gain of the low frequency  
range  
12 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
015c: Stereo Delay2  
This is a stereo delay.  
Gain of the high frequency  
range  
13 High Gain  
No Parameter  
Value  
Description  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
14 Balance #2  
0–100  
0–127  
Delay Left  
Mode  
1
0–1  
ms, note  
15 Level  
0–127  
Output level  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Adjusts the time until the  
delay sound is heard. (note)  
Delay Right  
Mode  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
5
6
7
8
Delay Right  
Delay Right  
Phase Left  
Phase Right  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Normal,  
Inverse  
Phase of the delay sound  
0–1  
Selects the way in which delay  
sound is fed back into the  
effect. (See the figures above.)  
Feedback  
Mode  
Normal,  
Cross  
9
0–1  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
10 Feedback #1 49–89  
0–+80%  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
11 HF Damp  
0–17  
0–30  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
Gain of the low frequency  
range  
12 Low Gain  
-15–+15 dB  
27  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
015e: Stereo Delay4  
This is a stereo delay.  
Gain of the high frequency  
range  
13 High Gain  
0–30  
-15–+15 dB  
No Parameter  
Value  
Description  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
14 Balance #2  
0–100  
0–127  
Delay Left  
Mode  
1
0–1  
ms, note  
15 Level  
0–127  
Output level  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Adjusts the time until the  
delay sound is heard. (note)  
0150: Monaural Delay  
A delay that provides a long delay time.  
Delay Right  
Mode  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
No Parameter  
Value  
Description  
5
6
7
8
Delay Right  
Delay Right  
Phase Left  
Phase Right  
0–127  
0–21  
0–1  
1–1270 ms  
note  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
1
2
Delay Mode 0–1  
ms, note  
Normal,  
Inverse  
Phase of the delay sound  
0–1  
Delay time from when the  
original sound is heard to  
when the delay sound is heard  
(Hz)  
Selects the way in which delay  
sound is fed back into the  
effect. (See the figures above.)  
Feedback  
Mode  
Normal,  
Cross  
Delay Time  
0–127  
0–21  
1–2540 ms  
9
0–1  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
Delay time from when the  
original sound is heard to  
when the delay sound is heard  
(note)  
10 Feedback #1 49–89  
0–+80%  
Delay Time  
#1  
3
note  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
Phase of the delay (NORMAL:  
non-inverted, INVERSE:  
inverted)  
NORMAL,  
INVERSE  
4
5
Phase  
0–1  
11 HF Damp  
0–17  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
Proportion of the delay sound  
that is to be returned to the  
input  
Feedback  
49–89  
0–+80%  
Gain of the low frequency  
range  
12 Low Gain  
0-30  
0-30  
-15–+15 dB  
-15–+15 dB  
Frequency at which the  
200–8000 Hz, high-frequency content of  
Gain of the high frequency  
range  
13 High Gain  
6
HF Damp  
0–17  
Bypass  
the delayed sound will be cut  
(Bypass: no cut)  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
14 Balance #2  
0-100  
0-127  
7
8
Pan  
0–127  
0–30  
L64–63R  
Panning of the delay sound  
Amount of boost/cut for the  
high-frequency range  
Low Gain  
-15–+15 dB  
15 Level  
0–127  
Output level  
Amount of boost/cut for the  
high-frequency range  
9
High Gain  
0–30  
-15–+15 dB  
Volume balance of the original  
sound (D) and the delay sound  
(W)  
D100:0W–  
D0:100W  
015f: Stereo Delay5  
10 Balance #2  
0–100  
0–127  
This is a stereo delay.  
11 Level  
0–127  
Output volume  
No Parameter  
Value  
Description  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Left  
Mode  
1
0–1  
ms, note  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Adjusts the time until the  
delay sound is heard. (note)  
Delay Right  
Mode  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
5
6
7
8
Delay Right  
Delay Right  
Phase Left  
Phase Right  
0–127  
0–21  
0–1  
1–1270 ms  
note  
Normal,  
Inverse  
Phase of the delay sound  
0–1  
Selects the way in which delay  
sound is fed back into the  
effect. (See the figures above.)  
Feedback  
Mode  
Normal,  
Cross  
9
0–1  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
10 Feedback #1 49–89  
0–+80%  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
11 HF Damp  
0–17  
0–30  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
Gain of the low frequency  
range  
12 Low Gain  
-15–+15 dB  
28  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0151: Modulation Delay  
Adds modulation to the delayed sound.  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you do  
No Parameter  
Value  
Description  
11 HF Damp  
0–17  
Bypass  
not want to filter out any high  
frequencies, set this parameter  
to Bypass.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Left  
Mode  
1
0–1  
ms, note  
12 Left Level  
0–127  
0–127  
0–127  
0–127  
0–127  
Volume of each delay  
Volume of each delay  
Volume of each delay  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–1270 ms  
note  
13 Right Level  
Adjusts the time until the  
delay sound is heard. (note)  
14 Center Level 0–127  
Gain of the low frequency  
range  
15 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Delay Right  
Mode  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
Gain of the high frequency  
range  
16 High Gain  
5
6
Delay Right  
Delay Right  
0–127  
0–21  
1–1270 ms  
note  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
17 Balance #2  
0–100  
0–127  
Selects the way in which delay  
sound is fed back into the  
effect.  
Feedback  
Mode  
Normal,  
Cross  
7
8
0–1  
18 Level  
0–127  
Output level  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
Feedback  
49–89  
0–+80%  
0157: 3D Delay  
Adjusts the frequency above  
which sound fed back to the  
200–8000 Hz, effect is filtered out. If you  
This applies a 3D effect to the delay sound. The delay sound will be positioned 90  
degrees left and 90 degrees right.  
9
HF Damp  
0–17  
0–1  
Bypass  
don’t want to filter out any  
high frequencies, set this  
parameter to Bypass.  
No Parameter  
Value  
Description  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Left  
Mode  
1
0–1  
ms, note  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
10 Rate Mode  
Hz, note  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (Hz)  
2
Delay Left  
Delay Left  
0–127  
1–2540 ms  
0.05–10.00  
Hz  
11 Rate  
1–127  
0–21  
Frequency of modulation (Hz)  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (note)  
Frequency of modulation  
(note)  
12 Rate  
note  
3
4
0–21  
0–1  
note  
13 Depth #1  
0–127  
0–90  
0–127  
Depth of modulation  
Delay Right  
Mode  
14 Phase  
0–180 deg  
Spatial spread of the sound  
ms, note  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
Gain of the low frequency  
range  
15 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
5
6
Delay Right  
Delay Right  
0–127  
0–21  
1–2540 ms  
note  
Gain of the high frequency  
range  
16 High Gain  
Delay Center  
Mode  
7
0–1  
ms, note  
Settings of the Delay Center  
The parameters are the same  
as for the Delay Left.  
Volume balance between the  
direct sound (D) and the delay  
sound (W)  
D100:0W–  
D0:100W  
8
9
Delay Center 0–127  
Delay Center 0–21  
1–2540 ms  
note  
17 Balance #2  
0–100  
0–127  
18 Level  
0–127  
Output level  
Adjusts the proportion of the  
delay sound that is fed back  
into the effect.  
Center  
Feedback #1  
10  
49–89  
0–+80%  
Adjusts the frequency above  
which sound fed back to  
200–8000 Hz, the effect will be cut. If you  
0152: Triple Tap Delay  
Produces three delay sounds; center, left and right.  
11 HF Damp  
0–17  
Bypass  
do not want to cut the high  
frequencies, set this parameter  
to Bypass.  
No Parameter  
Value  
Description  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Left  
Mode  
1
0–1  
ms, note  
12 Left Level  
0–127  
0–127  
Output level of the delay  
sound  
13 Right Level  
0–127  
Adjusts the time until the  
delay sound is heard. (Hz)  
2
3
4
Delay Left  
Delay Left  
0–127  
0–21  
0–1  
1–2540 ms  
note  
14 Center Level 0–127  
Adjusts the method that will  
be used to hear the sound  
that is output to the OUTPUT  
jacks. The optimal 3D effect  
will be achieved if you select  
Speaker when using speakers,  
or Phones when using  
Adjusts the time until the  
delay sound is heard. (note)  
Delay Right  
Mode  
Speaker,  
Phones  
ms, note  
15 Output Mode 0–1  
Settings of the Delay Right  
The parameters are the same  
as for the Delay Left.  
5
6
Delay Right  
Delay Right  
0–127  
0–21  
1–2540 ms  
note  
headphones.  
Delay Center  
Mode  
7
0–1  
ms, note  
16 Low Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Settings of the Delay Center  
The parameters are the same  
as for the Delay Left.  
17 High Gain  
8
9
Delay Center 0–127  
Delay Center 0–21  
1–2540 ms  
note  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
D100:0W–  
D0:100W  
18 Balance #2  
0–100  
0–127  
Adjusts the amount of the  
delay sound that’s fed back  
into the effect.  
Center  
Feedback #1  
10  
49–89  
0–+80%  
19 Level  
0–127  
Output Level  
29  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Low Gain  
Value  
Description  
0159: Tape Echo  
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape  
echo section of a Roland RE-201 Space Echo.  
Amount of boost/cut for the  
low-frequency range  
9
0–30  
-15–+15 dB  
-15–+15 dB  
Amount of boost/cut for the  
high-frequency range  
10 High Gain  
0–30  
No Parameter  
Value  
Description  
Combination of playback  
heads to use  
Select from three different  
heads with different delay  
times.  
Volume balance of the original  
sound (D) and the delay sound  
(W)  
D100:0W–  
D0:100W  
11 Balance #2  
0–100  
0–127  
S, M, L, S+M,  
S+L, M+L,  
S+M+L  
1
Mode  
0–6  
12 Level  
0–127  
Output volume  
S: short  
M: middle  
L: long  
0172: Lo-Fi  
Tape speed  
This is an effect that intentionally degrades the sound quality for creative purposes.  
Repeat Rate  
#1  
Increasing this value will  
shorten the spacing of the  
delayed sounds.  
2
0–127  
0–127  
No Parameter  
Value  
Description  
Selects the type of filter  
applied to the sound before  
it passes through the Lo-Fi  
effect.  
3
4
Intensity  
Bass  
0–127  
0–30  
0–127  
Amount of delay repeats  
Pre Filter  
Type  
1
0–5  
1–6  
1–9  
Boost/cut for the lower range  
of the echo sound  
-15–+15 dB  
Boost/cut for the upper range  
of the echo sound  
Degrades the sound  
quality. The sound quality  
grows poorer as this value is  
increased.  
5
Treble  
0–30  
-15–+15 dB  
L64–63R  
2
LoFi Type #1 0–8  
6
7
8
Head S Pan  
Head M Pan  
Head L Pan  
0–127  
0–127  
0–127  
Independent panning for  
the short, middle, and long  
playback heads  
Type of filter  
Off: no filter is used  
Lpf: cuts the frequency range  
above the Cutoff  
Hpf: cuts the frequency range  
below the Cutoff  
Amount of tape-dependent  
distortion to be added  
Post Filter  
Type  
3
4
0–2  
Off, Lpf, Hpf  
200–8000 Hz  
This simulates the slight tonal  
changes that can be detected  
by signal-analysis equipment.  
Increasing this value will  
increase the distortion.  
Tape  
Distortion  
9
0–5  
0–5  
Post Filter  
Cutoff  
Basic frequency of the Post  
Filter  
0–16  
5
6
Low Gain  
High Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
Speed of wow/flutter  
Wow/Flutter  
Rate  
(complex variation in pitch  
caused by tape wear and  
rotational irregularity)  
10  
11  
0–127  
0–127  
0–127  
0–127  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
D100:0W–  
D0:100W  
7
8
Balance #2  
Level  
0–100  
0–127  
Wow/Flutter  
Depth  
Depth of wow/flutter  
0–127  
Output level  
12 Echo Level #2 0–127  
0–127  
0–127  
0–127  
Volume of the echo sound  
Volume of the original sound  
Output level  
13 Direct Level  
0–127  
0–127  
14 Level  
0175: Telephone  
No Parameter  
Value  
Description  
Voice Quality  
#1  
Audio quality of the telephone  
voice  
015a: Reverse Delay  
1
0–15  
0–15  
This is a reverse delay that adds a reversed and delayed sound to the input sound. A  
tap delay is connected immediately after the reverse delay.  
Bandwidth of the telephone  
voice  
2
Treble  
0–30  
–15–+15 dB  
No Parameter  
Value  
Description  
Volume balance between the  
direct sound (D) and the effect  
sound (W)  
D100:0–  
D0:100W  
3
4
Balance #2  
Level  
0–100  
0–127  
Volume at which the reverse  
delay will begin to be applied  
1
Threshold  
0–127  
0–127  
0–127  
Output level  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Rev Delay  
Mode  
2
0–1  
ms, note  
Delay time from when sound  
is input into the reverse delay  
until the delay sound is heard  
(Hz)  
Rev Delay  
Time #1  
3
0–127  
1–1270 ms  
Delay time from when sound  
is input into the reverse delay  
until the delay sound is heard  
(note)  
Rev Delay  
Time  
4
5
6
0–21  
49–89  
0–17  
note  
Proportion of the delay sound  
that is to be returned to the  
input of the reverse delay  
Rev Delay  
Feedback  
0–+80%  
Frequency at which the  
200–8000 Hz, high-frequency content of the  
Rev Delay HF  
Damp  
Bypass  
reverse-delayed sound will be  
cut (Bypass: no cut)  
Rev Delay  
Pan  
Panning of the reverse delay  
sound  
7
8
0–127  
0–127  
L64–63R  
0–127  
Rev Delay  
Level  
Volume of the reverse delay  
sound  
30  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0156: Gate Reverb  
This is a special type of reverb in which the reverberant sound is cut off before its  
natural length.  
Frequency of modulation  
(note)  
6
7
Flanger Rate 0–21  
note  
Flanger  
0–127  
Depth  
0–127  
Depth of modulation  
No Parameter  
Value  
Description  
Type of reverb  
Normal: conventional gated  
reverb  
Reverse: backwards reverb  
Sweep1: the reverberant  
sound moves from right to left  
Sweep2: the reverberant  
sound moves from left to right  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Flanger  
0–98  
8
9
-98–+98%  
Normal,  
Reverse,  
Sweep1,  
Sweep2  
Feedback  
1
Type #1  
0–3  
Adjusts the volume balance  
between the sound that is  
sent through the flanger (W)  
and the sound that is not sent  
through the flanger (D).  
Flanger  
0–100  
D100:0W–  
D0:100W  
Balance #2  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
reverb sound is heard.  
2
3
Pre Delay  
Gate Time  
0–125  
0–99  
10 Level  
0–127  
0–127  
Output Level  
Adjusts the time from when  
the reverb is heard until it  
disappears.  
5–500 ms  
0202: Overdrive Delay  
4
5
Low Gain  
High Gain  
0–30  
0–30  
-15–+15 dB  
-15–+15 dB  
Gain of the low range  
Gain of the high range  
This effect connects an overdrive and a delay in series.  
No Parameter  
Value  
Description  
Volume balance between  
the direct sound (D) and the  
reverb sound (W)  
D100:0W–  
D0:100W  
6
7
Balance #2  
Level  
0–100  
0–127  
Overdrive  
Degree of distortion  
Also changes the volume.  
1
0–127  
0–127  
Drive #1  
0–127  
Output Level  
Overdrive  
Pan  
Stereo location of the  
overdrive sound  
2
0–127  
L64–63R  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
3
4
5
6
Delay Mode 0–1  
ms, note  
1–2540 ms  
note  
0200: Overdrive Chorus  
This effect connects an overdrive and a chorus in series.  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (ms)  
Delay Time  
Delay Time  
0–127  
0–21  
No Parameter  
Value  
Description  
Overdrive  
Drive  
Degree of distortion  
Also changes the volume.  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (note)  
1
0–127  
0–127  
Overdrive  
Pan  
Stereo location of the  
overdrive sound  
2
0–127  
0–125  
L64–63R  
Adjusts the proportion of the  
delay sound that is fed back  
into the effect.  
Delay  
Feedback  
Adjusts the delay time from  
49–89  
0–+80%  
Chorus Pre  
Delay  
3
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
Adjusts the frequency above  
which sound fed back to  
200–8000 Hz, the effect will be cut. If you  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Chorus Rate  
Mode  
4
0–1  
Hz, note  
Delay HF  
Damp  
7
0–17  
Bypass  
do not want to cut the high  
frequencies, set this parameter  
to Bypass.  
Chorus Rate  
#1  
0.05–10.00  
Hz  
5
1–127  
Frequency of modulation (Hz)  
Adjusts the volume balance  
between the sound that is  
sent through the delay (W)  
and the sound that is not sent  
through the delay (D).  
Frequency of modulation  
(note)  
6
7
Chorus Rate 0–21  
note  
Delay  
Balance #2  
D100:0W–  
D0:100W  
8
9
0–100  
0–127  
Chorus  
0–127  
Depth  
0–127  
Depth of modulation  
Adjusts the volume balance  
between the sound that is  
sent through the chorus (W)  
and the sound that is not sent  
through the chorus (D).  
Level  
0–127  
Output Level  
Chorus  
Balance #2  
D100:0W–  
D0:100W  
8
9
0–100  
0203: Distortion Chorus  
Level  
0–127  
0–127  
Output Level  
The parameters are essentially the same as in “Overdrive Chorus,with the  
exception of the following two.  
Overdrive Drive Distortion Drive  
Overdrive Pan Distortion Pan  
0201: Overdrive Flanger  
This effect connects an overdrive and a flanger in series.  
0204: Distortion Flanger  
The parameters are essentially the same as in “Overdrive Flanger,with the  
exception of the following two.  
Overdrive Drive Distortion Drive  
Overdrive Pan Distortion Pan  
No Parameter  
Value  
Description  
Overdrive  
Drive  
Degree of distortion  
Also changes the volume.  
1
0–127  
0–127  
Overdrive  
Pan  
Stereo location of the  
overdrive sound  
2
0–127  
0–125  
L64–63R  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is  
heard.  
Flanger Pre  
Delay  
3
0.0–100.0 ms  
0205: Distortion Delay  
The parameters are essentially the same as in “Overdrive Delay,with the exception  
of the following two.  
Overdrive Drive Distortion Drive  
Overdrive Pan Distortion Pan  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Flanger Rate  
Mode  
4
0–1  
Hz, note  
Flanger Rate  
#1  
0.05–10.00  
Hz  
5
1–127  
Frequency of modulation (Hz)  
31  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
0206: Enhancer Chorus  
This effect connects an enhancer and a chorus in series.  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (ms)  
4
5
6
Delay Time  
Delay Time  
0–127  
1–2540 ms  
note  
No Parameter  
Value  
Description  
Enhancer  
Sens  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (note)  
1
0–127  
0–127  
0–127  
Sensitivity of the enhancer  
0–21  
Level of the overtones  
generated by the enhancer  
2
3
Enhancer Mix 0–127  
Adjusts the proportion of the  
delay sound that is fed back  
into the effect.  
Delay  
Feedback  
49–89  
0–+80%  
Adjusts the delay time from  
Chorus Pre  
0–125  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
Delay  
Adjusts the frequency above  
which sound fed back to  
200–8000 Hz, the effect will be cut. If you  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Chorus Rate  
0–1  
Delay HF  
Damp  
4
Hz, note  
7
0–17  
Mode  
Bypass  
do not want to cut the high  
frequencies, set this parameter  
to Bypass.  
Chorus Rate  
1–127  
0.05–10.00  
Hz  
5
6
7
Frequency of modulation (Hz)  
#1  
Adjusts the volume balance  
between the sound that is  
sent through the delay (W)  
and the sound that is not sent  
through the delay (D).  
Frequency of modulation  
(note)  
Chorus Rate 0–21  
note  
Delay  
Balance #2  
D100:0W–  
D0:100W  
8
9
0–100  
0–127  
Chorus  
0–127  
Depth  
0–127  
Depth of modulation  
Adjusts the volume balance  
between the sound that is  
sent through the chorus (W)  
and the sound that is not sent  
through the chorus (D).  
Level  
0–127  
Output Level  
Chorus  
Balance #2  
D100:0W–  
D0:100W  
8
9
0–100  
0209: Chorus Delay  
Level  
0–127  
0–127  
Output Level  
This effect connects a chorus and a delay in series.  
No Parameter  
Value  
Description  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
Chorus Pre  
Delay  
0207: Enhancer Flanger  
1
0–125  
This effect connects an enhancer and a flanger in series.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
No Parameter  
Value  
Description  
Chorus Rate  
Mode  
2
0–1  
Hz, note  
Enhancer  
Sens  
1
0–127  
0–127  
0–127  
Sensitivity of the enhancer  
0.05–10.00  
Hz  
3
4
5
Chorus Rate 1–127  
Chorus Rate 0–21  
Frequency of modulation (Hz)  
Level of the overtones  
generated by the enhancer  
2
3
Enhancer Mix 0–127  
Frequency of modulation  
(note)  
note  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is  
heard.  
Flanger Pre  
0–125  
0.0–100.0 ms  
Chorus  
0–127  
Depth  
Delay  
0–127  
Depth of modulation  
Volume balance between  
the direct sound (D) and the  
chorus sound (W)  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Chorus  
Balance #1  
D100:0W–  
D0:100W  
Flanger Rate  
0–1  
6
0–100  
4
Hz, note  
Mode  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Flanger Rate  
1–127  
0.05–10.00  
Hz  
Delay Time  
0–1  
5
6
7
Frequency of modulation (Hz)  
7
ms, note  
1–2540 ms  
note  
#1  
Mode  
Frequency of modulation  
(note)  
Flanger Rate 0–21  
note  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (ms)  
8
Delay Time  
Delay Time  
0–127  
0–21  
Flanger  
0–127  
Depth  
0–127  
Depth of modulation  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (note)  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
9
Flanger  
0–98  
8
9
-98–+98%  
Feedback  
Adjusts the proportion of the  
delay sound that is fed back  
into the effect.  
Delay  
Feedback  
10  
49–89  
0–+80%  
Adjusts the volume balance  
between the sound that is  
sent through the flanger (W)  
and the sound that is not sent  
through the flanger (D).  
Flanger  
0–100  
D100:0W–  
D0:100W  
Adjusts the frequency above  
which sound fed back to  
200–8000 Hz, the effect will be cut. If you  
Balance #2  
Delay HF  
Damp  
11  
0–17  
Bypass  
do not want to cut the high  
frequencies, set this parameter  
to Bypass.  
10 Level  
0–127  
0–127  
Output Level  
Adjusts the volume balance  
between the sound that is  
sent through the delay (W)  
and the sound that is not sent  
through the delay (D).  
Delay  
Balance #2  
D100:0W–  
D0:100W  
0208: Enhancer Delay  
12  
0–100  
0–127  
This effect connects an enhancer and a delay in series.  
No Parameter  
Value  
Description  
13 Level  
0–127  
Output Level  
Enhancer  
Sens #1  
1
0–127  
0–127  
0–127  
Sensitivity of the enhancer  
Level of the overtones  
generated by the enhancer  
2
3
Enhancer Mix 0–127  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Time  
0–1  
ms, note  
Mode  
32  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
No Parameter  
Value  
Description  
020a: Flanger Delay  
This effect connects a flanger and a delay in series.  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Flanger Rate  
8
0–1  
Hz, note  
Mode  
No Parameter  
Value  
Description  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is  
heard.  
0.05–10.00  
Hz  
Modulation frequency of the  
flanger effect (Hz)  
9
Flanger Rate 1–127  
Flanger Pre  
Delay  
1
0–125  
0.0–100.0 ms  
Hz, note  
Modulation frequency of the  
flanger effect (note)  
10 Flanger Rate 0–21  
note  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Flanger  
Depth  
Modulation depth of the  
flanger effect  
Flanger Rate  
Mode  
11  
12  
0–127  
0–98  
0–127  
2
0–1  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
0.05–10.00  
Hz  
Flanger  
Feedback  
3
4
5
Flanger Rate 1–127  
Flanger Rate 0–21  
Frequency of modulation (Hz)  
-98–+98%  
Frequency of modulation  
(note)  
note  
Adjusts the volume balance  
between the sound that is  
sent through the flanger (W)  
and the sound that is not sent  
through the flanger (D).  
Flanger  
0–127  
Depth  
0–127  
Depth of modulation  
Flanger  
Balance #2  
D100:0W–  
D0:100W  
13  
0–100  
0–127  
Adjusts the proportion of the  
flanger sound that is fed back  
into the effect. Negative (-)  
settings will invert the phase.  
Flanger  
0–98  
6
-98–+98%  
Feedback  
14 Level  
0–127  
Output Level  
Volume balance between  
the direct sound (D) and the  
flanger sound (W)  
Flanger  
0–100  
D100:0W–  
D0:100W  
7
8
9
Balance #1  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Delay Time  
0–1  
ms, note  
1–2540 ms  
note  
Mode  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (ms)  
Delay Time  
0–127  
0–21  
Adjusts the delay time from  
the direct sound until the  
delay sound is heard. (note)  
10 Delay Time  
Adjusts the proportion of the  
delay sound that is fed back  
into the effect.  
Delay  
11  
49–89  
0–+80%  
Feedback  
Adjusts the frequency above  
which sound fed back to  
Delay HF  
Damp  
200–8000 Hz, the effect will be cut. If you  
12  
0–17  
Bypass  
do not want to cut the high  
frequencies, set this parameter  
to Bypass.  
Adjusts the volume balance  
between the sound that is  
sent through the delay (W)  
and the sound that is not sent  
through the delay (D).  
Delay  
13  
D100:0W–  
D0:100W  
0–100  
0–127  
Balance #2  
14 Level  
0–127  
Output Level  
020b: Chorus Flanger  
This effect connects a chorus and a flanger in series.  
No Parameter  
Value  
Description  
Adjusts the delay time from  
0.0–100.0 ms the direct sound until the  
chorus sound is heard.  
Chorus Pre  
Delay  
1
0–125  
When this is set to “note,the  
effect is synchronized with the  
tempo.  
Chorus Rate  
Mode  
2
0–1  
Hz, note  
0.05–10.00  
Hz  
Modulation frequency of the  
chorus effect (Hz)  
3
4
5
Chorus Rate 1–127  
Chorus Rate 0–21  
Modulation frequency of the  
chorus effect (note)  
note  
Chorus  
0–127  
Depth  
Modulation depth of the  
chorus effect  
0–127  
Volume balance between  
the direct sound (D) and the  
chorus sound (W)  
Chorus  
Balance #1  
D100:0W–  
D0:100W  
6
7
0–100  
Adjusts the delay time from  
when the direct sound begins  
until the flanger sound is  
heard.  
Flanger Pre  
0–125  
0.0–100.0 ms  
Delay  
33  
Download from Www.Somanuals.com. All Manuals Search And Download.  
MIDI Implementation  
6. Tone List  
[Piano] button  
Upper  
Layer  
No.  
Name  
MSB  
0
LSB  
68  
67  
66  
64  
68  
68  
68  
PC  
1
MSB  
LSB  
-
PC  
-
1
2
3
4
5
6
7
G.Piano1  
G.Piano2  
G.Piano3  
HonkyTon  
P+ String  
P+Choir  
P+Bell  
-
16  
8
1
-
-
-
2
-
-
-
0
4
-
-
-
0
1
1
1
0
65  
64  
68  
50  
53  
99  
0
1
0
1
[Other] button  
No  
1
Name  
MSB  
81  
82  
16  
16  
0
LSB  
4
PC  
5
No  
Name  
MSB  
0
LSB  
71  
64  
64  
66  
68  
65  
4
PC  
50  
49  
53  
53  
53  
55  
69  
72  
74  
74  
65  
66  
67  
57  
60  
58  
62  
62  
90  
99  
6
VintgEP1  
VintgEP2  
PopElPno  
St FM EP  
FM ElPno  
Hrpchrd1  
Hrpchrd2  
Vibrphon  
Celesta  
25  
26  
27  
28  
29  
30  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
41  
42  
43  
44  
45  
46  
47  
Strings1  
Strings2  
Choir 1  
2
4
5
0
3
67  
4
5
8
4
5
Choir 2  
8
5
70  
66  
66  
0
6
Choir 3  
8
6
0
7
JazzScat  
Oboe  
0
7
8
7
8
8
0
12  
9
Clarinet  
FluteTrv  
FlVibAtk  
SoprnExp  
BlowAlto  
StTenSax  
Trumpet  
MutTrump  
Trombone  
Tbs+Tb  
52  
50  
52  
8
4
9
0
0
4
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
Harp  
0
68  
66  
69  
4
47  
20  
20  
18  
19  
20  
19  
22  
22  
23  
25  
25  
26  
27  
30  
4
ChOrgan1  
ChOrgan2  
AllSkate  
DynoRtry  
FltOrgan  
JzOrgan  
AcMaster  
Accordn  
HandHarm  
NylonGt  
NylstrGt  
StlstrGT  
0
4
8
50  
9
4
82  
82  
16  
0
4
4
0
4
66  
70  
4
2
4
0
4
50  
0
43  
80  
0
4
68  
4
Ac.Brass  
SynthPad  
SynthBel  
Standard  
Electric  
4
51  
0
64  
68  
4
4
0
0
0
111  
111  
111  
0
0
0
25  
46  
JzGuitar  
WarmDrv  
80  
65  
4
Brush  
4
4
34  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Digital Piano  
Date: Jun. 28, 2012  
Version: 1.00  
MIDI Implementation Chart  
Model F-120R, RP301R  
Function...  
Transmitted  
Recognized  
Remarks  
*2  
Basic  
Channel  
Default  
Changed  
1
1–16  
1–16  
1–16  
Default  
Mode 3  
Mode 3  
Mode  
Messages  
Altered  
X
Mode 3, 4 (M = 1)  
**************  
Note  
Number :  
15–113  
*************  
0–127  
0–127  
True Voice  
Note On  
Note Off  
O
O
O
O
Velocity  
After  
Touch  
Key’s  
Channel’s  
X
X
O
O
*1  
*1  
Pitch Bend  
X
O
*1  
*1  
*1  
*1  
*1  
*1  
*1  
*1  
*1  
*1  
*1  
*1  
0, 32  
O
X
X
X
X
X
O
O
X
O
O
X
O
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
Bank select  
Modulation  
Portamento time  
Data entry  
Volume  
Panpot  
Expression  
Hold 1  
Portamento  
Sostenuto  
Soft  
Portamento control  
Effect1 depth  
Effect3 depth  
NRPN LSB, MSB  
RPN LSB, MSB  
1
5
6, 38  
7
10  
11  
64  
65  
66  
67  
Control  
Change  
84  
91  
93  
O (Reverb)  
O (Chorus)  
O
O
*1  
*1  
98, 99  
100, 101  
Program  
Change  
0–127  
**************  
O
0–127  
: 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  
Real Time  
: Clock  
: Commands  
O
O
X
X
: All Sound Off  
: Reset All Controllers  
: Local On/Off  
: All Notes Off  
: Active Sensing  
: System Reset  
X
X
X
X
O
X
O (120, 126, 127)  
O
O
O (123–125)  
O
X
Aux  
Messages  
*1 O X is selectable by Sys Ex.  
*2 Recognized as M = 1 even if M 1.  
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  
35  
Download from Www.Somanuals.com. All Manuals Search And Download.  
Contents  
MIDI Implementation  
1
Master Coarse Tuning  
6
0113: Distortion2  
19  
1. Receive Data  
1
Global Parameter Control  
6
0107: Speaker Simulator 19  
Channel Voice Messages 1  
Reverb Parameters  
Chorus Parameters  
Channel Pressure  
6
Specifications of each Speaker Type  
19  
Note off  
Note on  
1
1
7
7
0114: Guitar Amp Simulator  
20  
Polyphonic Key Pressure 1  
Control Change  
Controller  
7
Specifications of each Speaker Type  
20  
1
Scale/Octave Tuning Adjust  
7
7
Bank Select (Controller Number 0, 32)  
1
Universal Non-realtime System  
Exclusive Messages  
0120: Phaser  
20  
7
0129: Multi Stage Phaser21  
Modulation (Controller Number 1)  
1
Identity Request Message  
012a: Infinite Phaser  
0123: Stereo Flanger  
0127: 3D Flanger  
0128: 2Band Flanger  
0121: Auto Wah  
21  
21  
21  
22  
22  
22  
Portamento Time (Controller Number  
Data Transmission  
Data Set 1 (DT1)  
2. Transmit Data  
8
8
8
5)  
1
Data Entry (Controller Number 6, 38) 1  
Volume (Controller Number 7)  
Pan (Controller Number 10)  
1
1
1
2
2
2
2
Channel Voice Messages 8  
Note Off  
Note On  
8
8
0103: Humanizer  
Expression (Controller Number 11)  
Hold 1 (Controller Number 64)  
Portamento (Controller Number 65)  
Sostenuto (Controller Number 66)  
Soft (Controller Number 67)  
012b: Ring Modulator 23  
Control Change  
8
0125: Tremolo  
23  
23  
Bank Select (Controller Number 0, 32)  
8
0126: Auto Pan  
012c: Slicer 23  
0130: Compressor  
0131: Limiter  
Hold 1 (Controller Number 64)  
Sostenuto (Controller Number 66)  
Soft (Controller Number 67)  
8
23  
24  
24  
24  
Filter Resonance (Controller Number  
8
8
71)  
2
Release Time (Controller Number 72) 2  
0142: Stereo Chorus  
0140: Hexa Chorus  
Effect 1 (Reverb Send Level) (Controller  
Number 91) 8  
Attack Time (Controller Number 73)  
Cutoff (Controller Number 74)  
2
2
2
Program Change  
8
0141: Tremolo Chorus 24  
Decay Time (Controller Number 75)  
System Realtime Message  
9
0143: Space D  
25  
25  
25  
26  
26  
26  
27  
27  
27  
28  
28  
Vibrato Rate (Controller Number 76) 2  
Realtime Clock  
9
0144: 3D Chorus  
0145: 2Band Chorus  
0122: Rotary  
Vibrato Depth (Controller Number 77)  
2
Start  
9
9
9
Continue  
Stop  
Vibrato Delay (Controller Number 78)2  
012d: Rotary2  
Portamento Control (Controller  
Number 84) 3  
Active Sensing  
9
0300: Rotary Multi  
015b: Stereo Delay1  
015c: Stereo Delay2  
015d: Stereo Delay3  
015e: Stereo Delay4  
015f: Stereo Delay5  
System Exclusive Messages  
Identity Reply  
3. Parameter Address Map (Model ID =  
42H) 10  
Address Block Map  
Individual Parameters 10  
9
Effect 1 (Reverb Send Level) (Controller  
Number 91) 3  
9
Effect 3 (Chorus Send Level) (Control-  
ler Number 93)  
NRPN MSB/LSB (Controller Number 98,  
99)  
RPN MSB/LSB (Controller Number 100,  
101)  
3
10  
3
0150: Monaural Delay 28  
0151: Modulation Delay 29  
0152: Triple Tap Delay 29  
System Parameters  
Part Parameters  
10  
12  
4
Program Change  
Channel Pressure  
Pitch Bend Change  
4
4
4
4. Supplementary Material  
15  
0157: 3D Delay  
29  
30  
30  
0159: Tape Echo  
015a: Reverse Delay  
0172: Lo-Fi 30  
Decimal and Hexadecimal Table  
15  
Channel Mode Messages  
4
Examples of Actual MIDI Messages  
15  
All Sounds Off (Controller number  
0175: Telephone  
0156: Gate Reverb  
30  
31  
120)  
Reset All Controllers (Controller  
Number 121)  
4
Example of an Exclusive Message and  
Calculating a Checksum 16  
4
0200: Overdrive Chorus  
How to Calculate the Checksum  
(Hexadecimal  
Numbers are Indicated by ‘H’)  
16  
31  
Local Control (Controller Number 122)  
4
0201: Overdrive Flanger  
31  
All Notes Off (Controller Number 123)  
5
0202: Overdrive Delay31  
About Tuning  
The Scale Tune Feature (Address: 40 1x  
40) 16  
Equal Temperament  
16  
OMNI OFF (Controller Number 124)  
OMNI ON (Controller Number 125)  
MONO (Controller Number 126)  
POLY (Controller Number 127)  
System Realtime Message  
5
5
5
5
5
0203: Distortion Chorus  
31  
0204: Distortion Flanger  
31  
16  
Just Temperament (Keytone C)  
16  
0205: Distortion Delay  
31  
Active Sensing  
5
Arabian Scale  
16  
0206: Enhancer Chorus  
System Exclusive Message  
5
5. Effect List 17  
EFX Parameter Map  
0100: Equalizer  
0101: Spectrum  
0102: Enhancer  
0104: Isolator  
32  
System Exclusive Messages Related to  
17  
17  
17  
18  
18  
18  
18  
19  
19  
19  
0207: Enhancer Flanger  
32  
Mode Settings  
GM1 System On  
GM2 System On  
GM System Off  
5
5
5
6
0208: Enhancer Delay 32  
0209: Chorus Delay 32  
020a: Flanger Delay 33  
020b: Chorus Flanger 33  
6. Tone List 34  
GS reset  
Universal Realtime System Exclusive  
Messages  
6
0105: Low Boost  
0106: High Pass Filter  
0110: Overdrive  
0111: Distortion  
0112: Overdrive2  
6
Master volume  
6
6
Master Fine Tuning  
36  
Download from Www.Somanuals.com. All Manuals Search And Download.  

Quadra Fire Electric Heater Isle Royale User Guide
RCA MP3 Player M200 User Guide
Runco Home Theater Screen CX 40HD User Guide
Samsung Flat Panel Television WS32A11 User Guide
Samsung Laptop M60 User Guide
Sanyo Air Conditioner TM SH80UG User Guide
Sanyo Microwave Oven EM S355A User Guide
Sceptre Technologies Flat Panel Television E420BV F120 User Guide
Sea Frost Refrigerator DC 5000 User Guide
Sennheiser Headphones HDA 280 User Guide