2
E
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To ensure long, trouble-free operation, please read
this manual carefully.
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to Part 15 of the FCC
Rules. These limits are designed to provide reasonable protec-
tion against harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the
instructions, may cause harmful interference to radio communi-
cations. However, there is no guarantee that interference will not
occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be
determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of
the following measures:
Precautions
Location
Using the unit in the following locations can result in a malfunc-
tion.
• In direct sunlight
• Locations of extreme temperature or humidity
• Excessively dusty or dirty locations
• Locations of excessive vibration
Power supply
Please connect the designated AC adaptor to an AC outlet of the
correct voltage. Do not connect it to an AC outlet of voltage other
than that for which your unit is intended.
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
Interference with other electrical devices
This product contains a microcomputer. Radios and televisions
placed nearby may experience reception interference. Operate
this unit at a suitable distance from radios and televisions.
Unauthorized changes or modification to this system can void the
user’s authority to operate this equipment.
Handling
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of AC
mains operated apparatus until December 31, 1996 means it
conforms to EMC Directive (89/336/EEC) and CE mark Directive
(93/68/EEC). And, CE mark which is attached after January 1,
1997 means it conforms to EMC Directive (89/336/EEC), CE
mark Directive (93/68/EEC) and Low Voltage Directive (73/23/
EEC).
To avoid breakage, do not apply excessive force to the switches
or controls.
Care
If the exterior becomes dirty, wipe it with a clean, dry cloth. Do
not use liquid cleaners such as benzene or thinner, or cleaning
compounds or flammable polishes.
Keep this manual
After reading this manual, please keep it for later reference.
Also, CE mark which is attached to our company’s products of
Battery operated apparatus means it conforms to EMC Directive
(89/336/EEC) and CE mark Directive (93/68/EEC).
Keeping foreign matter out of your equipment
• Never set any container with liquid in it near this equipment.
If liquid gets into the equipment, it could cause a breakdown,
fire, or electrical shock.
• Be careful not to let metal objects get into the equipment. If
something does slip into the equipment, unplug the AC
adaptor from the wall outlet.Then contact your nearest Korg
dealer or the store where the equipment was purchased.
Data handling
Unexpected malfunctions can result in the loss of memory
contents. Please be sure to save important data on an exter-
nal data filer (storage device). Korg cannot accept any
responsibility for any loss or damage which you may incur
as a result of data loss.
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ii
Thank you for purchasing the Korg MS2000/MS2000R analog modeling synthesizer. To ensure
trouble-free enjoyment, please read this manual carefully and use the product correctly.
About this manual
How this manual is organized
Printing conventions in this manual
The MS2000/MS2000R owner’s manual is organized as fol-
lows.
Knobs and keys [ ]
Knobs and keys on the panel of the MS2000/MS2000R are
enclosed in square brackets [ ].
Basic Guide
First read the Basic Guide to learn essential points of opera-
tion and basic procedures.
Parameters shown in the LCD screen “ “
Parameters that appear in the LCD screen are enclosed in
double quotation marks “ “.
“Introduction” explains the features of the MS2000/
MS2000R, and how its modes and programs are organized.
“Front and rear panel” explains the knobs and keys of the
front panel, and the input/output jacks and switches of the
rear panel.
Bold type
Parameter values are printed in bold type.
The names of parts of the MS2000/MS2000R and operating
procedures are also printed in bold type.
“Connections” explains how to connect the MS2000/
MS2000R to external audio devices, external MIDI devices,
computers, pedals, and pedal switches.
Procedure steps ●, 1, 2, 3. . .
Steps in a procedure are printed as ● or 1, 2, 3. . .
“Playing” explains basics for playing the MS2000/MS2000R
(listening to the demos, selecting sounds, using the arpeggia-
tor, etc.).
☞p.■
This indicates a page to which you can refer.
“Editing” explains the basic procedures for editing sound
parameters and global parameters, and describes how the
main parameters are edited.
Symbols
,
These symbols respectively indicate points of caution and
words of advice.
Parameter Guide
This section explains the operation of all MS2000/MS2000R
parameters and discusses points of which you should be
aware for various settings. The explanations are organized
by page for each mode.
Display screen
The values of parameters appearing in the display screens
printed in this manual are only explanatory examples. They
will not necessarily match the values shown in the LCD
screen of your instrument.
Refer to this section when an unfamiliar parameter appears,
or when you would like to learn more about the functions.
MIDI-related explanations
Appendices
CC# is used as an abbreviation for Control Change Number.
In MIDI-related explanations, numbers enclosed in square
brackets [ ] are in hexadecimal notation.
This section provides explanations of MIDI-related topics
such as the MIDI messages that the MS2000/MS2000R can
use (control changes etc.), as well as a Voice Name List and
other information.
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iii
2. Use the SELECT [1]–[16] keys to play the
Table of Contents
Basic Guide................................1
Playing arpeggios.........................................................15
1. Play a program in which the arpeggiator is
1. Playing a program in which MOD SEQUENCE
Program Play mode............................................................. 2
1. UsingtheMS2000/MS2000Rasatonegeneratormodule
10
3. Setting the MIDI channel (preparations for
2. Connecting the MS2000R to a computer/
Turning the power on/off and adjusting the
Playing a program.................................................13
Editing parameters .......................................................30
2. Changing the pitch sounded by the keyboard in
one-octave steps........................................................... 13
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iv
Table of Contents
1. PROGRAM COMMON Parameters......................34
3. SYNTH Parameters.............................................35
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v
MIDImessagestransmittedandreceivedbytheMS2000/MS2000R
58
How “Resolution” and “Sync Note” values correspond
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vi
Introduction
Main features
The structure of the
MS2000/MS2000R
1. Analog modeling system
The MS2000/MS2000R provides eight types of oscillator
algorithms, including waveforms of analog synthesizers,
and places the most important sound parameters on the
front panel so that you can modify sounds as you play or
perform a variety of realtime editing, with the same ease of
operation as on an analog synthesizer.
Modes
The MS2000/MS2000R has the following three modes.
Program Play mode
2. 128 programs
The MS2000/MS2000R contains a total of 128 programs,
A01:MS2000/R
Single
=120
with 16 each in banks A–H.
In this mode you can select and play a program (sound).
As you play, you can use the front panel knobs and keys to
modify the sound and change the parameter values.
You can also use the arpeggiator and MOD SEQUENCE for
additional performance possibilities.
3. Virtual Patch function
Not only EG and LFO, but also velocity and keyboard track-
ing can be used as modulation sources, and assigned to
parameters that make up the sound, giving you even more
freedom to create sounds.
LCD Edit mode
4. MOD SEQUENCE
MOD SEQUENCE is a step sequencer that lets you apply
time-varying change to sound parameters in a way similar to
analog synthesizers of the past.
01A COMMON
Mode:
Split
In this mode you can view parameter values in the LCD
screen and edit them.
Access this mode when you wish to edit parameters that do
not correspond to any knob or key on the front panel, or
when you wish to make detailed adjustments to a parameter
value.
5. External input waveforms can be pro-
cessed
A waveform input from the AUDIO IN 1, 2 jacks can be pro-
cessed in the same way as the internal waveforms.
Global mode
6. Vocoder function
1A GLOBAL
If a mic is connected to the AUDIO IN 2 jack, the MS2000/
MS2000R can be used as a four voice vocoder.
Mst.Tune:440.0Hz
In addition to using two 16-bank filter sets to simulate the
vocoder sounds of classic equipment, you can create original
vocoder sounds by shifting the filter frequency, or adjusting
the level and pan of individual frequency bands.
In Global mode you can make the following settings.
• Adjust the tuning and edit user scale data
• Specify the functions of the assignable pedal and assign-
able switch
• Transmit a MIDI exclusive data dump
• Set MIDI and other parameters for the entire the
MS2000/MS2000R
7. Arpeggiator
The MS2000/MS2000R provides an arpeggiator that allows
you to produce arpeggios simply by holding down a chord.
You can choose from six arpeggio types, and also specify the
duration and spacing of the arpeggiated notes.
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2
Basic Guide
How a program is structured
The programs of the MS2000/MS2000R can be classified in one of two categories depending on the Voice mode setting (LCD
Edit mode Page 01A: COMMON “Mode”): synth programs whose “Mode” is Single/Dual/Split, and vocoder programs
whose “Mode” is Vocoder.
Synth programs
As shown in the diagram below, a synth program consists of timbres, effects, and an arpeggiator.
(in the case of Dual/Split)
Free Assign
KBD Track
Velocity
Free Assign
AMP
TIMBRE 1/2
This consists of AMP (Amplifier), DIST (Distortion), and
PAN (Panpot).
A timbre consists of OSC1/OSC2/NOISE, MIXER, FILTER,
AMP, EG, LFO, VIRTUAL PATCH, and MOD SEQUENCE. If
the voice mode is Single, only TIMBRE 1 will sound. If the
voice mode is Dual or Split, both timbres TIMBRE 1 and
TIMBRE 2 will sound.
AMP sets the volume, and PAN sets the stereo location.
Use EG2 to create time-variant changes in volume.
You can produce hard\harsh tones by turning DIST on. By
adjusting the filter cutoff and resonance, strong effects can
be produced.
OSC1/OSC2/NOISE
OSC1 (Oscillator 1) allows you to select from eight different
oscillator algorithms, including basic analog synthesizer
waveforms such as SAW and PWM, Cross Modulation,
and the DWGS (Digital Waveform Generator System)
used on the Korg DW-8000 synthesizer.
EG1/2
An EG (Envelope Generator) applies a time-variant change
to a sound parameter.
A waveform input from the AUDIO IN 1/2 jacks can also
be processed.
On the MS2000/MS2000R, there are two EG’s for each tim-
bre. Each EG consists of four parameters: ATTACK (attack
time), DECAY (decay time), SUSTAIN (sustain level), and
RELEASE (release time).
OSC2 (Oscillator 2) allows you to select from three types:
SAW, SQU, and TRI. It can also be used as a modulator
oscillator for the Sync or Ring modulation characteristic of
analog synthesizers.
EG1 is assigned as the envelope source that produces time-
variant change in the FILTER cutoff frequency.
NOISE (Noise Generator) produces white noise. This can
be used for sound effects, etc.
EG2 is assigned as the envelope source that produces time-
variant change in the AMP volume.
MIXER
If you wish to assign EG1 and EG2 to other parameters,
you can make VIRTUAL PATCH settings to do so.
Here you can adjust the levels of OSC1, OSC2 and NOISE,
and send the combined signal to the FILTER.
LFO 1/2
FILTER
The LFO (Low Frequency Oscillator) applies cyclic change
to sound parameters.
The FILTER cuts or emphasizes frequency components of
the signal from the oscillator, thus adjusting the tone
(brightness, etc.). These filter settings will significantly
affect the sound.
You can select from four types of filter: –12 or –24 dB/oct
LPF (Low Pass Filter), –12 dB/oct BPF (Band Pass Filter), or
–12 dB/oct HPF (High Pass Filter).
The MS2000/MS2000R provides two LFO’s for each tim-
bre, each with four waveforms.
LFO1 is assigned as the modulation source for OSC1.
LFO2 is assigned as the modulation source for the pitch
modulation controlled by the modulation wheel.
Use EG1 to create time-variant changes in cutoff frequency.
If you wish to assign LFO1 and LFO2 to other parameters,
you can make VIRTUAL PATCH settings to do so.
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3
VIRTUAL PATCH
EFFECTS
VIRTUAL PATCH allows you to use not only EG or LFO,
but even velocity (keyboard playing dynamics) or key-
board tracking (the area of the keyboard you play) as mod-
ulation sources which can be assigned to sound parameters
for greater freedom in creating sounds. Four routings (com-
binations) can be specified for each timbre.
Each program has a modulation effect, delay, and equalizer.
For a modulation-type effect, you can select from three
effects such as chorus.
For a delay effect, you can select from three types of delay,
including a stereo delay.
MOD SEQUENCE
ARPEGGIATOR
MOD SEQUENCE is a step sequencer that lets you apply
time-variant change to various sound parameters in a way
similar to analog synthesizers of the past.
This is an arpeggiator with six types of arpeggio type.
For a program whose voice mode is Dual/Split, arpeggios
can be played on one or both timbres.
Use the sixteen knobs on the front panel to set the value of
each step, and playback to make the sound change.
Since arpeggiator settings can be made for each program,
you can create and save an arpeggio type that is suitable for
the sound of that program.
You can also operate the knobs in realtime, and record their
movements (parameter values) in each step (Motion Rec
function).
Since each timbre can have up to three sequences, you can
obtain very complex tonal changes.
Vocoder programs
Vocoder programs consist of OSC1/NOISE, MIXER, VOCODER SEC., EFFECT, and ARPEGGIATOR. The vocoder takes a
signal from the internal tone generator (OSC1/NOISE) or the AUDIO IN 1 jack, applies to it the characteristics of the signal
that is input from the AUDIO IN 2 jack, and outputs the result. The most popular use for this is to input a voice from a mic
connected to the AUDIO IN 2 jack, in order to create the effect of an instrument speaking.
OSC1/NOISE/AUDIO IN 1 jack (carrier)
VOCODER SEC.
The OSC1/NOISE signal will be the carrier to which the
vocoder effect is applied. Waveforms that contain large
numbers of overtones such as SAW and VOX WAVE are
ideal for the carrier waveform.
This consists of two sets of 16 band-pass filters (ANALYSIS
FILTER and SYNTHESIS FILTER) and the ENVELOPE
FOLLOWER.
The audio signal from the AUDIO IN 2 jack (modulator) is
input to sixteen bandpass filters (ANALYSIS FILTER), and
the ENVELOPE FOLLOWER detects the volume envelope
(time-variant change) of each frequency band.
It is also possible to apply the vocoder effect to a waveform
that is input to the AUDIO IN 1 jack together with OSC1/
NOISE.
The volumes of OSC1/NOISE/AUDIO IN are adjusted by
the MIXER, and the combined signal is output to the
VOCODER SEC.
Then, the signal from the internal tone generator or the
AUDIO IN 1 jack (carrier) is input to the other set of 16
band-pass filters (SYNTHESIS FILTER), and processed by
the envelopes detected by the ENVELOPE FOLLOWER to
modulate the carrier with the features of the voice, produc-
ing the impression that the instrument or sound is talking
(vocoder effect).
AUDIO IN 2 jack (modulator)
The signal that is input to the AUDIO IN 2 jack will be the
modulator. In general, it is most common for a voice to be
input to the modulator, but you can create unique effects by
inputting rhythm sounds or other waveforms.
It is also possible to use the FORMANT SHIFT or CUTOFF
parameters to change each frequency of the carrier band-
pass filter. This will cause the frequency response curve to
be raised or lowered while preserving the character of the
modulator, and will dramatically affect the tone.
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4
Front and rear panel
Front panel
The characters printed inverse white on the front panel are vocoder program parameters (LCD Edit mode Page 01A: COM-
MON “Mode” = Vocoder).
MS2000
2
4 5 6 7
8
9
3
1
B
G
H
A
F E
D
0
C
I
J
MS2000R
8
2
4 5 6 7
9
3
1
K
G
H
B
A
F
E
D
0
C
I
J
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5
1 POWER/VOLUME
6 FILTER
[POWER/VOLUME] knob
This turns the power on/off and adjusts the volume.
[FILTER TYPE•
] key
For synth programs, this selects the filter type.
The LED for the selected filter type will light.
For vocoder programs, this selects the formant shift.
The LED for the selected formant shift will light.
2 AUDIO IN
[1/
] knob
[CUTOFF•
] knob
This adjusts the input level of the AUDIO IN 1 jack.
For synth programs, this sets the filter cutoff frequency.
For vocoder programs, this sets the cutoff frequency of
the synthesis filter.
[2/ ] knob
This adjusts the input level of the AUDIO IN 2 jack.
[RESONANCE•
] knob
For synth programs, this sets the amount of filter reso-
nance.
For vocoder programs, this sets the amount of resonance
for the synthesis filter.
3 OSCILLATOR 1
[WAVE•
] key
This selects the waveform for oscillator 1.
The LED for the selected waveform will light.
[EG1 INT•
] knob
For synth programs, this adjusts how much the filter
cutoff frequency will be affected by the time-variant
change produced by EG1.
For vocoder programs, this adjusts the depth of the
modulation that is applied to the cutoff frequency of the
synthesis filter. The modulation source can be selected
[CONTROL 1•
This adjusts a waveform parameter.
The parameter will depend on the selected waveform.
] knob
[CONTROL 2•
This adjusts a waveform parameter.
The parameter will depend on the selected waveform.
] knob
by
.
[KBD TRACK•
] knob
For synth programs, this adjusts the filter keyboard
tracking (change in cutoff frequency that will occur
according to the keyboard location you play).
For vocoder programs, this adjusts the sensitivity of the
ENVELOPE FOLLOWER for the vocoder sec.
4 OSCILLATOR 2
[WAVE] key
This selects the waveform for oscillator 2.
The LED for the selected waveform will light.
[OSC MOD] key
This selects how the oscillator 2 will modulate by oscilla-
tor 1. The modulated waveform will be output from
oscillator 2.
7 AMP
[LEVEL•
] knob
For synth programs, this adjusts the volume of each tim-
bre.
For vocoder programs, this adjusts the volume of the
internal tone generator carrier (OSC1/NOISE).
[SEMITONE•
] knob
For synth programs, this sets the pitch of oscillator 2 in
semitone steps.
For vocoder programs, this sets the output level of the
HPF (high pass filter) that is applied to the signal
received at the AUDIO IN 2 jack.
[PAN•
] knob
For synth programs, this sets the output panning for
each timbre.
For vocoder programs, this sets the level at which the
signal from the AUDIO IN 2 jack will be output directly.
[TUNE•
]knob
For synth programs, this is a fine adjustment for the
pitch of oscillator 2.
For vocoder programs, this sets the threshold level at
which the signal input from the AUDIO IN 2 jack will be
cut.
[EG 2/GATE] key
This selects the envelope source for the volume.
[DISTORTION•
] key
This switches distortion on/off.
5 MIXER
8 ARPEGGIATOR
[OSC1•
] knob
This adjusts the volume of oscillator 1.
[TEMPO] knob
This sets the tempo of the arpeggio performance.
This setting will also determine the MOD SEQUENCE
playback speed, and is used when synchronizing the
LFO frequency to the tempo.
[OSC2• ] knob
For synth programs, this adjusts the volume of oscillator
2.
For vocoder programs, this adjusts the volume of the
signal that is input from the AUDIO IN 1 jack.
[GATE] knob
This adjusts the length of the notes sounded by the
arpeggiator.
[NOISE•
] knob
This adjusts the volume of the noise generator.
[ON/OFF] key
This turns the arpeggiator on/off.
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6
Basic Guide
[LATCH] key
A EFFECTS
If this is on, the arpeggiator will continue playing even if
you release your hand from the keyboard.
[MOD/DELAY•
This selects the effect that will be edited.
] key
[RANGE] key
[SPEED/TIME• ] knob
This adjusts the modulation speed of the modulation
effect or the delay time of the delay effect.
This sets the range in which the arpeggio will be played.
[TYPE] key
This selects the arpeggio type.
[DEPTH/FEEDBACK•
] knob
This adjusts the effect depth and the amount of feed-
back.
9 KEY & DISPLAY
ORIGINAL VALUE LED
When editing, this will light when the value currently
selected by the knob or key matches the written value.
B LFO1/LFO2
[SELECT•
] key
LCD
This selects the LFO waveform.
In Program Play mode, this will display information
such as the program number and program name.
In LCD Edit and Global modes, this will display
parameters.
[FREQUENCY•
This sets the LFO frequency.
] knob
CURSOR [√][®] keys
In LCD Edit and Global modes, these are used to select
the parameter that you wish to edit.
C EG1/EG2
[ATTACK•
This sets the attack time (rise time).
] knob
[+/YES] [–/NO] keys
In Program Play mode, these are used to select pro-
grams.
In LCD Edit and Global modes, these are used to set
values, and to write or copy data.
[DECAY• ] knob
This sets the decay time (the time from when the attack
time is completed until the sustain level is reached).
[SUSTAIN•
] knob
This adjusts the sustain level (the level that will be held
while the note is sustained).
PAGE [+][–] keys
These are used to switch pages.
[RELEASE•
] knob
[EDIT] key
This key enters LCD Edit mode.
While you are editing a program, you can hold down
this key and press the [EXIT] key to return to the origi-
nal written settings (the Compare function).
This sets the release time (the time from when you
release the note until it decays).
D PORTAMENTO
[GLOBAL] key
This key enters Global mode
By holding down the [EXIT] key and then holding down
this key, you can enter Demo mode.
[TIME•
] knob
This determines how portamento will be applied.
[WRITE] key
Use this key to save the settings you edit.
E MOD SEQUENCE
[ON/OFF] key
[EXIT] key
This switches the sequence on/off.
From any mode, this key lets you return to Program
Play mode.
It is also used to cancel a write or copy operation.
[REC] key
Use this when you wish to record realtime knob move-
ments as a sequence.
0 VIRTUAL PATCH
F TIMBRE SELECT
[SELECT] key
This selects the patch.
[SELECT] key
When editing a Dual/Split program, this switches
between the two timbres for editing.
[SOURCE•
] key
For synth programs, this selects the modulation source.
For vocoder programs, this selects the modulation
source that is applied to the synthesis filter cutoff fre-
quency.
[DESTINATION] key
This selects the parameter to which modulation will be
applied.
[PATCH1], [PATCH2], [PATCH3], [PATCH4] knobs
These adjust the depth of modulation.
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7
G OCTAVE (MS2000), KEYBOARD (MS2000R)
I BANK (MS2000), BANK/OCTAVE (MS2000R)
MS2000
MS2000
OCTAVE [UP], [DOWN] keys
These shift the pitch range of the keyboard in one-octave
steps.
[UP], [DOWN] keys
Select the program bank.
MS2000R
MS2000R
[UP], [DOWN] keys
[KEYBOARD] key
If this key is pressed to make the LED light, you can use
the SELECT [1]–[16] keys to play the program.
If the [KEYBOARD] key is off (LED dark), these select
the program bank.
If the [KEYBOARD] key is on (LED lit), these change the
pitches assigned to the SELECT [1]–[16] keys in one-
octave steps.
H SEQ EDIT/
[SELECT•
] key
J SELECT [1]–[16] keys
For synth programs, this selects a sequence when creat-
ing or editing sequence data. When a sequence is
selected, use the sixteen knobs at the right to create the
sequence data.
For a vocoder program, this is used to set the synthesis
filter levels and panpot. In this case, the sixteen knobs at
the right are used to set the various parameter values.
In Program Play mode, use these to select programs.
In LCD Edit mode, use these to select pages.
On the MS2000R, turning the [KEYBOARD] key on
(LED lit) will cause these keys to function as a conve-
nience MIDI keyboard, which you can use to play the
program.
K PHONES jack (MS2000R)
Connect a set of headphones to this jack.
Rear panel
2
1
3
6 5
4
1 OUTPUT
3 ASSIGNABLE
L/MONO, R jacks
SWITCH jack
Connect a switch pedal here.
Connect these to your powered monitor speakers, stereo
amp, mixer, or multitrack recorder. If you are playing in
mono, make connections to the L/MONO jack.
PEDAL jack
Connect a volume pedal (expression pedal) here.
2 AUDIO IN
4 MIDI
AUDIO IN 1 jack
MIDI IN connector
MIDI data is received at this connector. Connect it to an
external MIDI device.
For synth programs, connect a synthesizer or audio
device here. The input signal can be used as the oscilla-
tor 1 waveform.
For vocoder programs, this will be the input jack for the
external carrier of the vocoder.
MIDI OUT connector
MIDI data is transmitted from this connector. Connect it
to an external MIDI device.
AUDIO IN 2 jack
For synth programs, connect a synthesizer or audio
device here. This can be used together with the AUDIO
IN 1 jack as the oscillator 1 waveform.
For vocoder programs, connect a mic to this jack, and
input the modulator audio signal.
MIDI THRU connector
MIDI data received at MIDI IN is re-transmitted without
change from this connector. Use it when you wish to
connect three or more MIDI devices.
[AUDIO IN 2 Level] switch
5 DC 9V
Set this according to the input source that is connected
to the AUDIO IN 2 jack. If a mic is connected, set this to
MIC. If a synthesizer or audio device is connected, set
this to LINE.
Connect the included AC adapter here.
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8
Basic Guide
6 Cable hook
Wrap the AC adapter power cable around this to pre-
vent accidental disconnection.
When unwrapping the cable from the hook, do not
apply excessive force to the cable.
Control panel (MS2000)
1
2
3
1 PITCH BEND wheel
This controls the pitch.
2 MODULATION wheel
This controls the modulation depth.
With the factory settings, it will control the depth of the
modulation applied by the LFO2 to the oscillator pitch.
3 PHONES jack
A set of headphones can be connected here.
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9
Connections
AC adapter (included)
Connect to
an AC outlet
MIDI OUT
MIDI IN
MIDI keyboard, tone generator module, sampler etc.
Monitor speakers
(amplified)
Be sure to turn off the power of all devices before mak-
ing connections. Failing to take this precaution may
cause your speaker system to be damaged, or may
cause malfunctions.
b. ASSIGNABLE SWITCH jack
If you wish to use a pedal switch to change programs, to
change the octave up/down, or to turn portamento or the
arpeggiator on/off, connect a PS-1 switch pedal (sold sepa-
rately) or DS-1H damper pedal (sold separately). The func-
tion that will be controlled is determined by the
“A.SwFunc” setting in Global mode Page 6B: PEDAL&SW
set to Damper.
Connecting the AC adapter
Connect the included AC adapter.
After you have connected the AC adapter to the MS2000/
MS2000R, plug it into an AC outlet.
Connecting MIDI devices
If you wish to connect the MS2000/MS2000R to an external
MIDI device, use a MIDI cable to make connections.
Connecting external devices
Connect the OUTPUT jacks (L/MONO, R) of the MS2000/
MS2000R to your audio system (mixer, powered monitor
system etc.).
1. Using the MS2000/MS2000R as a tone
generator module
To use the MS2000/MS2000R as a tone generator module,
use a MIDI cable to connect the MS2000/MS2000R’s MIDI
IN connector to the MIDI OUT of the external MIDI device.
In order to take full advantage of the potential of the
MS2000/MS2000R, we recommend that you use stereo out-
put.
If you are making monaural connections, use the L/MONO
jack.
MIDI IN
MIDI OUT
External MIDI device
MS2000/MS2000R
Connecting pedals and switches
By connecting a volume pedal and a switch pedal you can
expand your performance possibilities.
Connect a pedal and/or switch pedal as necessary. You can
set the polarity of the pedal in Global mode Page 6:
PEDAL&SW. (☞Parameter guide p.56)
2. Playing an external MIDI device
If you wish to play an external MIDI device from the key-
board of the MS2000 or from the SELECT [1]–[16] keys of
the MS2000R, use a MIDI cable to connect the MIDI OUT
connector of the MS2000/MS2000R to the MIDI IN connec-
tor of the external MIDI device.
a. ASSIGNABLE PEDAL jack
If you wish to use a pedal to control breath control, volume,
pan, or expression, connect an EXP-2 expression pedal
(sold separately) or an XVP-10 EXP/VOL pedal (sold sepa-
rately) etc.
MIDI IN
External MIDI device
MIDI OUT
MS2000/MS2000R
The function that will be controlled is determined by the
“A.Pedal” setting in Global mode Page 6A: PEDAL&SW
set to Exp Pdl.
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10
Basic Guide
3. Setting the MIDI channel (preparations
for playing)
If you are using the MS2000/MS2000R as a tone generator
module, or if you are using the MS2000 as a master key-
board to play an external MIDI device, you must set the
MIDI channel of the MS2000/MS2000R to match the MIDI
channel of the external MIDI device before you can begin
playing.
Connections to a computer/
sequencer
1. Connecting the MS2000 to a computer/
sequencer
If you wish to perform on the MS2000 keyboard, record
your performance on a computer or sequencer, and then
play back the performance on the MS2000 (i.e., using the
MS2000 as both a MIDI keyboard for input and as a MIDI
tone generator), connect the MS2000 to your computer/
sequencer using a MIDI interface as shown below.
Use the following procedure to set the MIDI channel.
a. Check the connections
● Make sure that the MS2000/MS2000R is correctly con-
nected to the external MIDI device (☞p.10).
b. Set the MIDI channel of the MS2000/MS2000R
The Global MIDI channel of the MS2000/MS2000R is set in
Global mode Page 3A: MIDI “MIDI Ch.”
MIDI interface
1Press the [GLOBAL] key.
MIDI IN
MIDI OUT
MIDI OUT
Computer
MIDI IN
You will enter Global mode.
2Press the SELECT [5] key.
Page 3A: MIDI “MIDI Ch” will appear in the LCD
screen.
MS2000
3A MIDI
If the echo back setting of the sequencer is turned on,
duplicate notes will be sounded when you play the
MS2000 keyboard. To prevent this, turn the Global
mode Page 3B: MIDI “Local” setting OFF to break the
connection inside the MS2000.
MIDI Ch:01
With the factory settings, the global MIDI channel is set
to 1.
3Use the [+/YES] [–/NO] keys to set the MIDI channel.
However, be aware that if “Local” is OFF, it will not be
possible to play the MS2000 by itself.
4Press the [EXIT] key to return to Program Play mode.
c. Set the MIDI channel of the connected device
Set the MIDI channel of the connected external MIDI
device to match the MIDI channel you set for the MS2000/
MS2000R.
2. Connecting the MS2000R to a com-
puter/sequencer
If you wish to connect the MS2000R to a computer/
sequencer, use a MIDI interface to connect the MS2000R,
master keyboard, and computer as shown below.
For the procedure, refer to the owner’s manual of the con-
nected device.
Global parameters that you edit will return to their
unedited setting if you turn off the power without sav-
ing. To save your edits, you must perform the Write
operation. (☞p.30)
MIDI interface
MIDI IN
MIDI OUT
MIDI keyboard
MIDI OUT
Computer
MIDI IN
MS2000R
Connections to the AUDIO IN jacks
If you wish to modify the sound of an external synthesizer,
sampler or other audio source or want use the MS2000/
MS2000R as a vocoder, connect your equipment to the
AUDIO IN jack(s).
For details on connections and settings, refer to the Basic
In order to connect to your computer, you will need a
MIDI interface. Please purchase an interface suitable
for your computer. For details on connections between
your computer and MIDI interface, and on MIDI port
settings, refer to the owner’s manual for your MIDI
interface.
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11
Playing
Turning the power on/off Listen to the demo perfor-
and adjusting the volume mance
The MS2000/MS2000R contains several demo songs. Listen
to the demo songs to hear the rich sounds and their expres-
Before turning on the power of the MS2000/MS2000R, turn
sive potential.
a. Turn on the power
off the power of the connected devices.
1Rotate the [POWER/VOLUME] knob to turn on the
a. Play back the demo songs
power.
● Hold down the [EXIT] key and the [GLOBAL] key for
approximately one second.
Hold down the [EXIT] key, and then press and hold the
[GLOBAL] key.
The demo songs will begin playing consecutively, start-
ing with the first song.
The LCD screen will show the song name.
The Program Play mode screen will appear.
When the power is first turned on, you will always be in
Program Play mode.
The upper line of the LCD will show the bank, number,
and name of the program. The lower line will show the
voice mode of the program, and the tempo.
= DEMO SONG #1 =
Demo Song No.1
b. Select a demo song
Program bank and number
● During playback, use the [+/YES] [–/NO] keys.
Program
name
The demo song will change.
The LCD screen will indicate the name of the selected
demo song.
A01:MS2000/R
Single
=120
Voice mode
Tempo
c. Exit the demo performance
2Turn on the power of the connected devices.
● Press the [EXIT] key.
You will return to Program Play mode.
b. Adjust the volume
● Rotate the [POWER/VOLUME] knob to an appropriate
All demo songs: © 2000 korg Inc. — all rights reserved.
level.
The headphone volume is also adjusted by this knob.
c. Turn off the power
1Turn off the power of the connected devices.
2Rotate the [POWER/VOLUME] knob all the way to the
left.
Rotate it until it clicks off.
The power of the MS2000/MS2000R will be off.
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12
Basic Guide
Playing a program
Here’s how to select and play a program.
The MS2000/MS2000R contain a total of 128 programs, with 16 programs in each of eight banks (A–H).
You can select programs in Program Play mode. If the LCD screen shows that you are in LCD Edit mode or Global mode,
press the [EXIT] key.
The method of changing the program or pitch differs between the MS2000 and the MS2000R. Also, the SELECT [1]–[16] keys
can be used to play a program only on the MS2000R.
MS2000
A01:MS2000
Single
=120
1
2
1. Select a program
There are two ways to select a program.
2. Changing the pitch sounded by the key-
board in one-octave steps
The pitch assigned to the keyboard can be changed over a
range of ±2 octaves.
a. Using the BANK [UP] [DOWN] keys and the SELECT
[1]–[16] keys
This method lets you directly select the desired program.
a. Raising the pitch
1Use the BANK [UP] [DOWN] keys to select the desired
● Press the OCTAVE [UP] key.
program bank.
Pressing the key once will make the key LED light green,
and the pitch will be one octave higher.
Pressing the key twice will make the key LED light red,
and the pitch will be two octaves higher.
Pressing these keys will switch between banks A–H. The
selected bank will be shown in the LCD screen.
2Use the SELECT [1]–[16] keys to select the desired pro-
gram number.
To return to the original pitch, press the [DOWN] key.
The numbers above each key correspond to the program
number.
b. Lowering the pitch
● Press the OCTAVE [DOWN] key.
b. Using the [+/YES] [–/NO] keys
Pressing the key once will make the key LED light green,
and the pitch will be one octave lower.
● Press the [+/YES] key.
Pressing the key twice will make the key LED light red,
and the pitch will be two octaves lower.
To return to the original pitch, press the [UP] key.
Each time you press the key, the program number will
increase by one.
● Press the [–/NO] key.
The setting of the BANK/OCTAVE [UP][DOWN] keys
cannot be saved for individual programs. If you wish to
change the pitch for a specific program, use the LCD
Edit mode Page 04A: PITCH “Transpose” parameter.
pose”)
Each time you press the key, the program number will
decrease by one.
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13
MS2000R
1, 2
A01:MS2000R
Single
=120
3
A
A#
B
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
C
the SELECT [1]–[16] keys and their pitches is shown in
the illustration above.
1. Selecting a program
There are two ways to select a program.
a. Using the BANK/OCTAVE [UP] [DOWN] keys and
the SELECT [1]–[16] keys
This method lets you directly select the desired program.
3. Changing the pitch sounded by the keys
in one-octave steps
The pitch assigned to the SELECT [1]–[16] keys can be
changed over a range of ±2 octaves.
1Press the [KEYBOARD] key to make the key LED go
dark.
This setting has no effect on the pitches that will be
generated by a MIDI keyboard or other external MIDI
devices that are connected to the MS2000R.
2Use the BANK/OCTAVE [UP] [DOWN] keys to select
the desired program bank.
Pressing these keys will switch between banks A–H. The
selected bank will be shown in the LCD screen.
● Before you begin, press the [KEYBOARD] key to make
the key LED light.
3Use the SELECT [1]–[16] keys to select the desired pro-
gram number.
a. Raising the pitch
The numbers above each key correspond to the program
number.
● Press the BANK/OCTAVE [UP] key.
Pressing the key once will make the key LED light green,
and the pitch will be one octave higher.
b. Using the [+/YES] [–/NO] keys
Pressing the key twice will make the key LED light red,
and the pitch will be two octaves higher.
To return to the original pitch, press the [DOWN] key.
● Press the [+/YES] key.
Each time you press the key, the program number will
increase by one.
● Press the [–/NO] key.
b. Lowering the pitch
Each time you press the key, the program number will
decrease by one.
● Press the BANK/OCTAVE [DOWN] key.
Pressing the key once will make the key LED light green,
and the pitch will be one octave lower.
Pressing the key twice will make the key LED light red,
and the pitch will be two octaves lower.
To return to the original pitch, press the [UP] key.
2. Use the SELECT [1]–[16] keys to play the
program
On the MS2000R, you can use the SELECT [1]–[16] keys to
play the program.
The setting of the BANK/OCTAVE [UP][DOWN] keys
cannot be saved for individual programs. If you wish to
change the pitch for a specific program, use the LCD
Edit mode Page 04A: PITCH “Transpose” parameter.
pose”)
1Press the [KEYBOARD] key to make the key LED
light.
2Press the SELECT [1]–[16] keys.
The program will sound. The correspondence between
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14
Basic Guide
Each time you press the key, the setting will alternate
between on and off.
Playing arpeggios
The MS2000/MS2000R contain a built-in arpeggiator that
sounds an arpeggiated (broken) chord when you hold down
a chord on the keyboard.
c. Setting the pitch range of the arpeggio
1Press the [RANGE] key.
The pitch range will be displayed in the lower line of the
LCD screen.
Each time you press the key, the pitch range will change
between 1–4 octaves.
When you hold down a chord on the keyboard, it will be sounded
as shown at right (Arpeggio Type: Up)
A01:MS2000/R
Range: 1 Octave
2Press the [EXIT] key.
1. Play a program in which the arpeggia-
tor is turned on
Some of the factory preset programs have the arpeggiator
turned on. Here’s how to select and play one of these pro-
grams.
The previous LCD screen will reappear.
d. Selecting the arpeggio type
1Press the [TYPE] key.
The lower line of the LCD screen will show the arpeggio
type.
1Select a program for which the ARPEGGIATOR [ON/
Each time you press the key, the arpeggio type will
change.
OFF] key is lit.
Programs for which the [ON/OFF] key is lit have the
arpeggiator turned on. The arpeggio type and other set-
tings will be appropriate for the sound of the program.
A01:MS2000/R
Type:
Up
2Hold down a chord on the keyboard.
An arpeggio will begin playing.
2Press the [EXIT] key.
The previous LCD screen will reappear.
On the MS2000R if you press the [KEYBOARD] key to
make the key LED light, you will be able to use the
SELECT [1]–[16] keys to play arpeggios (☞p.14 “2. Use
Rotating the knob toward the right will lengthen the
notes, and rotating it toward the left will shorten them.
2. Using the knobs and keys to modify the
settings
You can use the front panel knobs and keys to modify the
arpeggiator settings.
f. Adjusting the arpeggiator playback speed
● Rotate the [TEMPO] knob.
Rotating the knob toward the right will speed up the
playback speed, and rotating it toward the left will slow
down the playback speed.
The selected speed will be shown in the lower left of the
LCD screen.
e
f
A01:MS2000/R
Single
=120
The LED located above the [TEMPO] knob will blink at
quarter note intervals of the MS2000/MS2000R’s inter-
nal clock.
a
b
c
d
The playback speed of the arpeggiator can be synchro-
nized to an external MIDI device. (☞Parameter Guide
a. Turning the arpeggiator on (off)
● Press the ARPEGGIATOR [ON/OFF] key.
When the [ON/OFF] key is lit, the arpeggiator is on.
When it is dark, the arpeggiator is off.
Each time you press the key, the setting will alternate
between on and off.
g. Other arpeggiator-related settings
The arpeggiator also allows you to set the “Key Sync,”
“Resolution,” and “Swing.” For details on these parame-
Program parameters “■ARPEGGIATOR.”
b. Maintaining the arpeggiator after you release your
hand from the keyboard
● Press the [LATCH] key to make the key LED light
(LATCH is on).
When LATCH is on, the arpeggiator will continue play-
ing even after you release your hand from the keyboard.
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3. Checking the value recorded for each
step
Here’s you to use the sixteen knobs to check the value that
is recorded for each step.
Using MOD SEQUENCE to modify
the sound
1. Playing a program in which MOD
SEQUENCE is on
1Press the SEQ EDIT [SELECT] key to select a sequence
(SEQ 1–3).
Some of the factory preset programs contain sequence data.
Here’s how to select and play these programs.
1Select a program whose MOD SEQUENCE [ON/OFF]
key is lit.
2Rotate the sixteen knobs located beside the SEQ EDIT
LED so that the ORIGINAL VALUE LED is lit.
The number shown below each knob corresponds to the
sequence step.
As you rotate each knob, the position where the ORIGI-
NAL VALUE LED lights will be the value that was
recorded at that step of the sequence.
Programs whose MOD SEQUENCE [ON/OFF] key is lit
contain sequence data.
For some programs, both the sequence and the arpeg-
giator will be on, but for this example we recommend
that you select a program in which only the sequence is
on.
2Play the keyboard.
The program will sound, and the sequence will begin
playing to modify the sound.
The SELECT [1]–[16] keys will light consecutively to
indicate the step that is currently playing.
The value of each step represents the change from the
written or currently-set value of the parameter.
If the SEQ EDIT [SELECT] key has selected a sequence
(SEQ 1–3), you can use the sixteen knobs located beside
the SEQ EDIT LED to edit the data of each step.
3Rotate the [TEMPO] knob.
The speed at which the sound is modified will change.
2. Checking the parameter that is assigned
to each sequence
Here’s how to check the parameter that is assigned to each
sequence.
● Press the SEQ EDIT [SELECT] key to select a sequence
(SEQ 1–3).
The LED of the selected sequence will light, and the
assigned parameter will be displayed in the LCD screen.
If “Cutoff” is assigned to SEQ1
A01:MS2000/R
SEQ1:Cutoff
If all LED’s are dark, no sequence is selected (sequence
select is off). In this case, the voice mode and tempo of
the program will be displayed.
In Program Play mode, you can only check the assigned
parameters. To assign a parameter, use LCD Edit mode
data for each step”).
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16
Basic Guide
2. Using the vocoder function
Here’s how to select a vocoder program (a program whose
Using external input
voice mode is Vocoder), and try out the vocoder function.
1. Modifying an external waveform
A waveform from an external device connected to the
AUDIO IN jack can be modified in the same way as an
internal waveform.
a. Using an internal waveform as the carrier
Before you connect a mic, turn off the power, and set the
MS2000/MS2000R’s AUDIO IN [2/
] knob to 0.
1Connect a mic to the AUDIO IN 2 jack.
Before you connect an external device, turn off the power
of both devices, and set the MS2000/MS2000R’s AUDIO IN
[1/
] knob to 0.
1Connect the external device.
Mic
2Set the rear panel [AUDIO IN 2 Level] switch to the
MIC position.
3Turn on the power of the MS2000/MS2000R.
4Select a vocoder program.
IN
MIDI
OUT
OUTPUT
Programs for which the lower left of the LCD screen
indicates Vocoder are vocoder programs.
Synthesizer, sampler etc.
2Turn on the power of both devices.
5Input a voice from the mic, and adjust AUDIO IN [2/
] so that the LED does not light red.
3Set the MIDI channel of the MS2000/MS2000R and the
MIDI channel of the connected MIDI device to the
same channel.
By rotating the [
] knob you can directly
output the voice that was input. Make adjustments
while listening to the voice that is input.
For details on setting the MS2000/MS2000R’s MIDI
channel, refer to Basic Guide p.11, Connections “3. Set-
The sound with the vocoder effect will be output.
If you are unable to hear the effect, try adjusting the
4Press the OSCILLATOR 1 [WAVE] key to make the
AMP [
] knob or the MIXER [
] knob.
AUDIO IN LED light.
For details on vocoder editing, refer to Basic Guide p.28,
Editing section “Editing vocoder program.”
b. Using an external waveform as the carrier
If you wish to use a waveform that is input from an exter-
nal device as the carrier, make settings as described in both
5Input a waveform from the connected external device,
and adjust the AUDIO IN [1/
LED does not light red.
] knob so that the
Make connections as shown below.
6Operate the knobs and keys of the FILTER, AMP, EG,
and LFO to modify the input waveform.
For details on parameter settings, refer to Basic Guide
Pitch-related parameters will not apply to the wave-
form from the AUDIO IN jack.
Mic
IN
MIDI
OUT
OUTPUT
Synthesizer, sampler etc.
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17
Editing
b. Select a page
Editing program parameters
LCD Edit mode consists of multiple pages. Use the PAGE
[+][–] keys and the SELECT [1]–[16] keys to select pages.
Programs consist of a large number of parameters. In order
to create a program from scratch, you will need to under-
stand all of these parameters. Instead of this, we suggest that
you select a factory preset program, and try editing it in
order to understand each parameter.
● Press the PAGE [+] or [–] key.
Each time you press the key, the next or previous page
will appear.
01A COMMON
Mode:
Single
02A NAME
MS2000/R
Basic editing procedures
The basic procedures for editing are explained below.
You can edit a program in Program Play mode or in LCD
Edit mode.
03A VOICE
Assign:
Poly
● Press a SELECT [1]–[16] key
You will move directly to the page of the desired param-
eter.
1. Editing in Program Play mode
The SELECT [1]–[16] keys correspond to pages as shown
below.
In Program Play mode, you can not only select and play a
program, but also use the front panel knobs and keys to
edit the sound of the program as you play, for example by
adjusting the filter cutoff or slightly slowing the attack.
Key
Page
Page01A: COMMON “Mode”
SELECT [1]
SELECT [2]
SELECT [3]
SELECT [4]
The parameters that correspond to each key will change
value or be switched on/off each time you press the key,
and their status will be shown by the LED or in the LCD
screen.
Page03A: VOICE “Assign”
Page04A: PITCH “Transpose”
Page05A: OSC 1 “Wave”
Page06A: OSC 2 “Wave” (Single/Dual/Split)
Page06A: AUDIO IN 2 “Gate Sense” (Vocoder)
The parameters that correspond to each knob can be
adjusted in “analog” fashion as indicated by the markings
around the knob.
SELECT [5]
SELECT [6]
Page08A: FILTER “Type” (Single/Dual/Split)
Page08A: FILTER “Formant Shift” (Vocoder)
SELECT [7]
SELECT [8]
SELECT [9]
Page09A: AMP “Level”
Page10A: EG 1 “Attack”
Page12A: LFO 1 “Wave”
For both knobs and keys, the ORIGINAL VALUE LED will
light when their setting matches the original written value.
Page14A: PATCH 1 “Source: Dest” (Single/Dual/Split)
Page14A: CH LEVEL “CH: Level” (Vocoder)
SELECT [10]
SELECT [11]
SELECT [12]
SELECT [13]
SELECT [14]
SELECT [15]
SELECT [16]
2. Editing in LCD Edit mode
Use LCD Edit mode to edit parameters for which there is
no knob or key, or to edit while checking the parameter
value in the LCD screen.
Page18A: SEQ COMMON “Last STEP” (Single/Dual/Split)
Page15A: CH PAN “CH: Pan” (Vocoder)
Page22A: MOD FX “Type” (Single/Dual/Split)
Page16A: MOD FX “Type” (Vocoder)
Page23A: DELAY FX “Type” (Single/Dual/Split)
Page17A: DELAY FX “Type” (Vocoder)
a. Enter LCD Edit mode
Page24A: EQ “LowEQFreq” (Single/Dual/Split)
Page18A: EQ “LowEQFreq” (Vocoder)
● Press the [EDIT] key.
You will enter LCD Edit mode. The upper line of the
LCD screen will show the page number and the page
name. The lower line will show the parameter name and
value.
Page25A: ARPEGGIO “Type” (Single/Dual/Split)
Page19A: ARPEGGIO “Type” (Vocoder)
Page26A: UTILITY “InitProgram” (Single/Dual/Split)
Page20A: UTILITY “InitProgram” (Vocoder)
Page number
Page name
There are some pages to which the SELECT [1]–[16]
keys do not correspond. To access such a page, use the
SELECT [1]–[16] keys in conjunction with the PAGE
[+][–] keys. For example if you wish to access Page
11A: EG 2 “Attack” in the LCD screen, press the
SELECT [8] key and then press the PAGE [+] key.
01A COMMON
Mode:
Split
Parameter name
Parameter value
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18
Basic Guide
c. Select a parameter
3. Switching timbres
For a program whose voice mode is Dual/Split, you can
select the timbre that you wish to edit.
If Global mode Page 2C: Memory “Page Jump” is turned
ON, operating a front panel knob in LCD Edit mode will
cause the LCD screen to jump automatically to that param-
eter. (With the factory settings, this is ON.)
● Press the TIMBRE SELECT [SELECT] key.
The LED of the selected timbre will light. Each time you
press the key, the timbre will change.
The front panel knobs and keys and the parameters
shown in the LCD screen will apply to the selected tim-
bre.
● Press the CURSOR [√] or [®] key.
When you press the key, the parameter will change. The
cursor will blink at the beginning of the parameter
value.
If the parameter no longer changes when you press the
CURSOR [®] key, you have reached the last parameter
in that page.
01A COMMON
Mode: Single
01B COMMON
Scale:Equal Temp
4. Returning to the state before editing
(Compare)
01C COMMON
While editing a program, you can temporarily return to the
settings that were written before you edited them.
Scale Key:
C
If there are two parameters in a single screen, use the
CURSOR[√][®] keys to move the cursor to the parame-
ter that you wish to modify.
1While holding down the [EDIT] key, press the [EXIT]
key.
The lower line of the LCD screen will indicate “COM-
PARE” and you will return to the state of the settings
before they were edited. The upper line of the display
will indicate the program number and program name.
14A PATCH1
EG 1 >Pitch
14A PATCH1
EG 1 >Pitch
In some cases, the setting of one parameter may cause
the number of parameters in the page to change.
For example if the Page 01A: COMMON “Mode”
parameter is set to Split instead of Single, there will be
two additional parameters: “Timbre Voice” and “Split
Point.” In conjunction with this, the alphabetical charac-
ter following the page number will also change. (In the
case of Single, Page 01B: COMMON will be “Scale.” In
the case of Split, Page 01B: COMMON will be “Timbre
Voice.”)
A01:MS2000/R
== COMPARE ==
2Press the [EXIT] key.
You will return to Program Play mode.
5. Writing (saving) an edited program
If you turn off the power or change to a different program
without saving your edited program or arpeggiator set-
tings, they will be lost. To save a program, you must per-
form the Write operation.
01A COMMON
01B COMMON
Mode:
Single
Scale:Equal Temp
Before you begin the Write process, turn the Global mode
Page 2A: Memory “Protect” setting OFF (with the factory
01A COMMON
01B COMMON
Mode:
Split
Timbre Voice:2+2
1In Program Play mode or LCD Edit mode, press the
d. Input the value
[WRITE] key.
● Use the front panel knobs or keys, or the [+/YES]
The upper line of the LCD will continue to show what
had been displayed when you pressed [WRITE] key. (In
the figure below, the [WRITE] key was pressed in LCD
Edit mode Page 01A: COMMON.)
The lower line of the LCD will indicate the writing desti-
nation program number (the number of the program
that you edited).
[–/NO] keys to input the value.
Normally you will use the front panel knobs and keys.
If the parameter has no corresponding knob or key, or if
you wish to edit the setting in detail, you can use the [+/
YES] [–/NO] keys.
Each time you press the [+/YES] [–/NO] keys, the value
will increase or decrease in steps of one.
If you hold down the [+/YES] key and press the [–/NO]
key, the value will increase in steps of ten.
01A COMMON
WR Prog:A01 OK?
If you hold down the [–/NO] key and press the [+/YES]
key, the value will decrease in steps of ten.
If you decide to cancel the Write operation, press the
[EXIT] key.
e. Return to Program Play mode
2Use the [+/YES] [–/NO] keys to select the writing desti-
nation program number.
● Press the [EXIT] key.
If you do not need to change the writing destination,
proceed to step 3.
You will return to Program Play mode.
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19
3Press the [WRITE] key.
b. Set waveform parameters
The display will ask you for confirmation.
1Rotate the [CONTROL 1] knob.
4Press the [WRITE] key once again.
The LCD screen will show Page 05B: OSC 1 “Control 1.”
The parameter will depend on the selected waveform.
When the LCD screen indicates “Completed,” the data
has been written.
05B OSC 1
Never turn off the power during the Write operation.
This can damage the data.
Control 1:
000
The waveforms and parameters correspond as follows.
5Press the [EXIT] key.
You will return to the screen where you started.
WAVE
CONTROL1
Modify waveform
Modify waveform
Modify waveform
Editing a synth program
Here is the procedure for editing a synth program.
Unless otherwise specified, this is the procedure for editing a
program whose voice mode is Single.
Cross modulation amount
VOX WAVE
DWGS
Modify waveform
––––––––––––––––––––––––––––––––––––
Cutoff of the LPF inside the oscillator
Volume balance of AUDIO IN 1 and AUDIO IN 2
The explanation assumes that you are already in LCD Edit
mode.
NOISE
AUDIO IN
For details on the parameters, refer to the parameter
guide.
1. Specify how notes will be sounded
In Page 03A: VOICE “Assign,” specify how the timbre will
sound the notes.
2Rotate the [CONTROL 2] knob.
The LCD screen will show Page 05C: OSC 1 “Control 2.”
The parameter will depend on the waveform selected
for “Wave.”
● Press the SELECT [2] key.
The LCD screen will show Page 03A: VOICE “Assign.”
03A VOICE
05C OSC 1
Assign:
Mono
Control 2:
060
Use the [+/YES] [–/NO] keys to change the setting.
If you wish to play chords, select Poly. If you wish to
play single notes, select Mono or Unison.
The waveforms and parameters correspond as follows.
WAVE
CONTROL2
Depth of LFO1 modulation
Depth of LFO1 modulation
2. Make oscillator settings
Depth of LFO1 modulation
Make settings for oscillator 1 and 2, which will be the basis
of the sound.
Depth of LFO1 modulation
VOX WAVE
DWGS
Depth of LFO1 modulation
Select DWGS waveform (64 types)
Resonance of LPF inside the oscillator
Depth of LFO1 modulation
NOISE
AUDIO IN
For details on the parameters, refer to the parameter
guide.
a
d
c
c. Select the oscillator 2 waveform
● Press the OSCILLATOR 2 [WAVE] key
The waveform will change each time you press the key,
and the LED of the selected waveform will light. For
oscillator 2, you can select from three waveforms.
The most common way to use this is to select the same
waveform as for oscillator 1, and change the pitch to add
depth to the sound.
e
b
f
a. Select the waveform for oscillator 1
● Press the OSCILLATOR 1 [WAVE] key.
d. Select the modulation type for the oscillator
Each time you press the key, the waveform will change,
and the LED for the selected waveform will light. For
oscillator 1 you can choose from eight waveforms
including the external output waveform.
● Press the [OSC MOD] key.
Each time you press the key, the modulation type will
change, and the LED for the selected modulation type
will light. Including a setting of “off,” you can select
from four modulation types.
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20
Basic Guide
e. Adjust the pitch of oscillator 2 in semitone units
4. Make filter settings
● Rotate the [SEMITONE] knob.
The LCD screen will show Page 06C: OSC 2 “Semitone.”
The most common way to use this is to set oscillator 2
one or two octaves lower than the pitch of oscillator 1.
b
c
d
06C OSC 2
Semitone:
-12
f. Adjust the pitch of oscillator 2
● Rotate the [TUNE] knob.
The LCD screen will show Page 06D: OSC 2 “Tune.”
By slightly skewing the pitch to create a detuning effect,
you can give the sound more depth.
a
06D OSC 2
a. Select the filter type
Tune:
+06
● Press the [FILTER TYPE] key.
Each time you press the key, the filter type will change,
and the LED of the selected filter type will light.
The filter type will have a major impact on the character
of the sound.
3. Set the volume of each oscillator
b. Adjust the brightness of the sound
a
b
● Rotate the FILTER [CUTOFF] knob.
The LCD screen will show Page 08B: FILTER “Cutoff.”
Rotating the knob toward the right (increasing the
value) will brighten the sound.
08B FILTER
Cutoff:
060
c. Adding character to the sound
● Rotate the FILTER [RESONANCE] knob.
a. Adjust the volume of oscillator 1
The LCD screen will show Page 08C: FILTER “Reso-
nance.”
Rotating the knob toward the right (increasing the
value) will dramatically change the character of the
sound.
● Rotate the MIXER [OSC1] knob.
The LCD screen will show Page 07A: MIXER “OSC 1
Level.”
The resonance effect will also be significantly affected by
the filter type and cutoff settings.
07A MIXER
OSC 1 Level: 127
08C FILTER
Resonance:
045
b. Adjust the volume of oscillator 2
● Rotate the MIXER [OSC2] knob.
d. Adjusting the depth of the effect from EG1
EG1 changes the filter cutoff over time. “EG 1 Int” adjusts
the depth of this effect.
The LCD screen will show Page 07B: MIXER “OSC 2
Level.”
07B MIXER
● Rotate the FILTER [EG 1 INT] knob.
OSC 2 Level: 100
The LCD screen will show Page 08D: FILTER “EG 1 Int.”
Rotating the knob to the right of center (+ values) will
cause the effect to be applied to the cutoff in the positive
(+) direction.
Rotating the knob to the left of center (– values) will
cause the effect to be applied to the cutoff in the negative
(–) direction.
08D FILTER
EG 1 Int:
+40
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21
d. Adjust the speed at which the tone will change after
the note is released
5. Specify time-varying change in the tone
Use EG 1 to create time-varying change in the cutoff fre-
quency (FILTER “Cutoff”).
● Rotate the EG 1 [RELEASE] knob.
The LCD screen will show Page 10D: EG 1 “Release.”
Rotating the knob toward the right will make the sound
change more slowly, and rotating it toward the left will
make it change instantly.
If you wish to use the front panel knobs to adjust the
EG 1 parameters, use the SEQ EDIT [SELECT] key to
make the SEQ 1–3 LED’s go off.
Note off
Note on
10D EG1
Release:
000
c
6. Adjust the output of the timbre
b
a
d
Time
a: Attack Time
b: Decay Time
c: Sustain Level
d: Release Time
a
b
c
a
b
c
d
a. Adjust the speed at which the tone will change dur-
ing the attack
● Rotate the EG 1 [ATTACK] knob.
The LCD screen will show Page 10A: EG 1 “Attack.”
Rotating the knob toward the right will cause the tone to
change more slowly, and rotating it toward the left will
cause the tone to change instantly.
d
10A EG 1
a. Adjust the volume of the timbre
Attack:
000
● Rotate the [LEVEL] knob.
The LCD screen will show Page 09A: AMP “Level.”
If the volume changes over time, this level will be the
maximum level that occurs during the change in vol-
ume.
If rotating the knob does not produce an effect, try
adjusting the FILTER [EG 1 INT] knob, or make sure
that the SEQ EDIT SEQ 1–3 LED’s are dark. If these
LED’s are lit, it is not possible to edit the EG or LFO.
The knobs will function to edit the sequence data.
09A AMP
Level:
127
b. Adjust the speed at which the tone will change dur-
ing the decay
b. Adjust the output panpot (stereo position)
● Rotate the EG 1 [DECAY] knob.
● Rotate the [PAN] knob.
The LCD screen will show Page 10B: EG 1 “Decay.”
Rotating the knob toward the right (increasing the
value) will cause a longer decay time until the sustain
level is reached.
The LCD screen will show Page 09B: AMP “Panpot.”
When the knob is in the center (CNT), the output will be
centered.
10B EG 1
09B AMP
Decay:
030
Panpot:
CNT
c. Adjust the brightness of the sustained sound
c. Select the envelope source for the volume
● Rotate the EG 1 [SUSTAIN] knob.
● Press the [EG 2 /GATE] key.
The LCD screen will show Page 10C: EG 1 “Sustain.”
The change in brightness produced by the [SUSTAIN]
knob will depend on the setting of the [EG 1 INT] knob.
Each time you press the key, the envelope source will
change.
If you want the volume change over time, select EG 2
([EG 2/GATE] key LED dark).
If you want the volume to sound at a fixed level, as on
an organ, select GATE ([EG 2/GATE] key LED lit).
10C EG 1
Sustain:
060
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22
Basic Guide
d. Apply distortion to the output
7. Specify time-variant changes in volume
EG 2 produces time-variant changes in the AMP “Level.”
● Press the [DISTORTION] key.
Each time you press the key, distortion will be turned
on/off.
When this is on ([DISTORTION] key LED lit), distortion
will be applied. This is effective when you wish to pro-
duce a hard\ harsh tone.
If you wish to use the front panel knobs to adjust the
EG 2 parameters, you must first use the SEQ EDIT
[SELECT] key to make the SEQ 1–3 LED’s go dark.
Level
Note off
Note on
If distortion is turned on, use the MIXER knobs to adjust
the degree of distortion.
If you adjust FILTER “Cutoff” or “Resonance,” the char-
acter of the distortion will change.
c
time
b
a
d
e. Use keyboard playing dynamics to vary the volume
a: Attack Time
b: Decay Time
c: Sustain Level
d: Release Time
● Press the SELECT [7] key, and then press the CURSOR
[®] key four times.
The LCD screen will show Page 09E: AMP “Vel Sense.”
Use the [+/YES] [–/NO] keys to set the value.
Positive (+) values will cause the volume to increase as
you play more strongly.
Negative (–) values will cause the volume to decrease as
you play more strongly.
a
b
c
d
a. Adjust the speed at which the sound will attack\
trigger
09E AMP
Vel Sense:
+30
● Rotate the EG 2 [ATTACK] knob.
The LCD screen will show Page 11A: EG 2 “Attack.”
Rotating the knob toward the right (increasing the
value) will cause the sound to attack/ trigger more
slowly, and rotating it toward the left (decreasing the
value) will cause the sound to attack/ trigger instantly.
f. Vary the volume by the keyboard location you play
● From the “Vel Sense” screen, press the CURSOR[®]
key.
The LCD screen will show Page 09F: AMP “KBD Track.”
Use the [+/YES] [–/NO] keys to set the value.
Positive (+) values will cause the volume to increase as
you play upward on the keyboard, and decrease as you
play downward on the keyboard.
Negative (–) values will cause the volume to increase as
you play downward on the keyboard, and decrease as
you play upward on the keyboard.
11A EG 2
Attack:
000
If rotating the knob does not produce an effect, make
sure that the AMP [EG 2/GATE] key LED is dark.
b. Adjust the speed at which the volume will decay
● Rotate the EG 2 [DECAY] knob.
09F AMP
KBD Track:
+25
The LCD screen will show Page 11B: EG 2 “Decay.”
Rotating the knob toward the right (increasing the
value) will cause a longer decay time until the sustain is
reached.
11B EG 2
Decay:
021
c. Adjust the volume of the sustained sound
● Rotate the EG 2 [SUSTAIN] knob.
The LCD screen will show Page 11C: EG 2 “Sustain.”
Rotating the knob toward the right (increasing the
value) will produce a louder volume during the sustain.
11C EG 2
Sustain:
090
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23
d. Adjust the speed at which the volume will decay
after the note is released
9. Apply modulation to parameters (Virtual
Patch)
Virtual Patch allows eight modulation sources to be
assigned to various parameters that make up the sound, in
order to modulate the corresponding parameters.
● Rotate the EG 2 [RELEASE] knob.
The LCD screen will show Page 11D: EG 2 “Release.”
Rotating the knob toward the right (increasing the
value) will make the volume decay more slowly, and
rotating it toward the left (decreasing the value) will
shorten the decay.
If you wish to use the front panel knobs to set or adjust
the Virtual Patch parameters, you must first use the
SEQ EDIT [SELECT] key to turn off the SEQ 1–3 LED’s.
For sounds such as pads, strings or organs use a higher
value.
b
11D EG 2
Release:
000
a
c
8. Make LFO settings
The LFO (Low Frequency Oscillator) applies cyclic change
to a parameter. If it is applied to the pitch of the oscillator,
the result is vibrato. If applied to the filter cutoff, the result
is wah. If applied to the amp level, the result is a tremolo
effect.
d
a. Select a patch
If you wish to use the front panel knobs to adjust the
LFO parameters, you must first use the SEQ EDIT
[SELECT] key to turn off the SEQ 1–3 LED’s.
● Press the [SELECT] key to select a patch.
Each time you press the key, you will cycle through
PATCH 1–4, and the LED of the selected patch will light.
b. Select a modulation source
● Press the [SOURCE] key.
Each time you press the key, the modulation source will
change and the LED of the selected modulation source
will light.
a
For details on the parameters, refer to the Parameter
Guide, Program parameters p.42.
b
c. Select the parameter to which modulation will be
applied
a. Select the LFO waveform
● Press the [DESTINATION] key.
● Press the [SELECT] key.
Each time you press the key, the parameter will change
and the LED of the selected parameter will light.
For details on the parameters, refer to the Parameter
Guide, Program parameters p.42.
Each time you press the key, the waveform will change
and the LED of the selected waveform will light.
The type of change will depend on the waveform you
select.
d. Set the depth of modulation.
b. Set the frequency of the LFO
● Use the [PATCH 1–4] knobs to set the depth of modu-
● Rotate the [FREQUENCY] knob.
lation.
Rotating the knob toward the right (increasing the
value) will speed up the frequency of change.
Rotate the knob for the patch that is selected by the
[SELECT] key.
Rotating the knob toward the right of center (+ values)
will apply the effect in the positive (+) direction.
Rotating the knob toward the left of center (– values)
will apply the effect in the negative (–) direction.
You can synchronize the LFO frequency to the tempo
specified by the [TEMPO] knob. Refer to the Parameter
Guide, Program parameters p.41.
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24
Basic Guide
b. Specify sequence data for each step
10. Make MOD SEQUENCE settings
Here’s how to select a program for which sequence is
turned on, and record sequence data for each step.
a. Set SEQ COMMON parameters
As preparation before creating the actual sequence data,
the SEQ COMMON parameters are used to specify things
such as the maximum number of steps in the sequence and
the playback method. Use the [+/YES] [–/NO] keys to set
the values.
1In Program Play mode, select a program for which
sequence is turned on.
2Press the [EDIT] key.
You will enter LCD Edit mode.
3Press the SEQ EDIT/CH PARAM [SELECT] key to
1Press the SELECT [11] key.
make the SEQ 1 LED light.
The LCD screen will show Page 18A: SEQ COMMON
“Last Step.”
Specify the length (maximum number of steps) of the
sequence that you wish to record, in the range of 1–16.
18A SEQ COMMON
The LCD screen will show Page 19A: SEQ 1 “Knob.”
For this example, we will assign FILTER “Cutoff” to
SEQ1.
Last Step:
16
2Press the CURSOR [®] key.
The LCD screen will show Page 18B: SEQ COMMON
“Seq Type.”
Specify the direction in which the steps will play back.
19A SEQ 1
Knob:None
4Press the [+/YES] key to set “Knob” to Cutoff.
18B SEQ COMMON
Seq Type:Forward
19A SEQ 1
Knob:Cutoff
3Press the CURSOR [®] key.
The LCD screen will show Page 18C: SEQ COMMON
“Run Mode.”
Specify the loop setting for sequence playback.
If you wish to assign a parameter to SEQ 2 or SEQ 3, use
the [SELECT] key to select SEQ 2 or SEQ 3.
5Press the MOD SEQUENCE [ON/OFF] key.
18C SEQ COMMON
Run Mode:Loop
The [ON/OFF] key LED will light, and the sequence
will be turned on.
4Press the CURSOR [®] key.
The LCD screen will show Page 18D: SEQ COMMON
“Key Sync.”
Specify how the sequence will be reset when a note-on
occurs.
6Press and hold a note on the keyboard.
The program will sound, and the SELECT [1]–[16] keys
will light consecutively.
18D SEQ COMMON
Key Sync:Timbre
7While listening to the sound, use the sixteen knobs
located beside the SEQ EDIT LED to specify the
sequence data for each step.
5Press the CURSOR [®] key.
The LCD screen will show Page 18E: SEQ COMMON
“Resolution.”
Specify the playback speed of the sequence relative to
the internal clock.
The sixteen knobs are normally used to edit program
sounds (EG or LFO etc.), but when the [SELECT] key
has selected a sequence, they are used to set and edit
sequence data.
The numbers shown below each knob correspond to the
sequence steps. Rotate the knob for the step you wish to
set.
18E SEQ COMMON
Resolution: 1/48
When you rotate a knob, the LCD screen will show 19C:
SEQ 1 “Step Value.”
19C SEQ 1
Step[01]:
+10
Value
Step Number
The value of each step is the amount of change relative
to the parameter value that is currently written or set.
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25
If you wish to set the value in more detail, use the [+/
YES] [–/NO] keys.
Editing effect parameters
The MS2000/MS2000R contains modulation, delay, and
equalizer effects. Here we will explain how to make settings
for the modulation effect and the delay.
If you specify a value for a step number that is beyond
the Page 18A: SEQ COMMON “Last Step” setting, it
will be ignored.
If you wish to use the front panel knobs to adjust the
parameters of the modulation effect and delay, you
must first use the SEQ EDIT [SELECT] key to turn off
the SEQ 1–3 LED’s.
You can use the above procedure to edit sequence data
that was created previously or that was recorded in real-
time.
c. Record sequence data in realtime (Motion Rec)
Motion Rec allows realtime knob movements to be
recorded in the steps of a sequence.
Here we will explain how to record movements of the FIL-
TER [CUTOFF] knob in a program for which sequence data
has not yet been recorded.
1In Program Play mode, select a program for which
sequence is turned off.
Select a program for which changes in tone can be heard
clearly.
2Press the MOD SEQUENCE [ON/OFF] key to turn on
1. Modulation effect settings
the sequence.
If you wish to use the front panel knobs to make mod-
ulation effect settings, you must first turn off the
[MOD/DELAY] key LED.
3Press the SEQ EDIT/CH PARAM [SELECT] key to
select a sequence (SEQ 1–3).
For this example, select SEQ 1.
a. Select the effect type
4Press the MOD SEQUENCE [REC] key.
● Press the SELECT [12] key.
You are ready to record. The [REC] key LED will blink,
and the SELECT [1]–[16] keys will light consecutively.
The LCD screen will show Page 22A: MOD FX “Type.”
Use the [+/YES] [–/NO] keys to select the effect type.
There are three types of modulation effect.
It is not possible to enter record-ready mode unless a
sequence has been selected.
5Rotate the ARPEGGIATOR [TEMPO] knob to adjust
22A MOD FX
the speed of the sequence.
Type:
Cho/Flg
Watch the speed at which the SELECT [1]–[16] keys
light, and adjust the speed so that you will be able to
record comfortably.
b. Adjust the modulation frequency
● Rotate the [SPEED/TIME] knob.
6While playing the keyboard, rotate the FILTER [CUT-
The LCD screen will show Page 22B: MOD FX “LFO
Speed.”
OFF] knob.
As you rotate the knob toward the right (increasing the
value), the modulation frequency will become faster.
22B MOD FX
Recording will begin from the step at which you rotated
the knob.
LFO Speed:
033
When recording begins, the [REC] key LED will change
from blinking to lit.
When you record to the step that was specified by “Last
Step,” the [REC] key LED will go dark, and recording
will end.
While playing the keyboard, listen to the tonal change. If
you are not satisfied, you can either press the [REC] key
once again and re-record, or use the sixteen knobs to edit
individual steps.
If you wish to keep the recorded settings, perform the
program”)
c. Adjust the effect depth and the amount of feedback
● Rotate the [DEPTH/FEEDBACK] knob.
The LCD screen will show Page 22C: MOD FX “Depth.”
Increasing the value will cause modulation to be deeper,
increasing the amount of feedback.
22C MOD FX
Depth:
025
If two or more knobs are rotated, the knob that was
rotated first will be recorded.
It is not possible to record the ARPEGGIATOR or
EFFECTS knobs.
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26
Basic Guide
2. Delay settings
Editing arpeggio parameters
If you wish to use the front panel knobs to set the
delay, you must first turn on the [MOD/DELAY] key
LED.
Here we will explain the parameters that can be set only in
LCD Edit mode.
Use the [+/YES] [–/NO] keys to set the values.
For details on the parameters that can be set in Program Play
mode, refer to the section of the Basic Guide entitled Playing,
ify the settings” (☞p.15).
a. Select the delay type
● Press the SELECT [13] key.
The LCD screen will show Page 23A: DELAY FX “Type.”
Use the [+/YES] [–/NO] keys to select the delay type.
There are three types of delay.
a. Select the timbre that will be used to play the arpeg-
gio (Dual/Split only)
23A DELAY FX
● Press the SELECT [15] key, and then press the CUR-
Type:StereoDelay
SOR[®] key four times.
The LCD screen will show Page 25E: ARPEGGIO “Tar-
get.”
Select the timbre that will be used to play the arpeggio
when the voice mode is Dual or Split. (This will be dis-
played only for Dual or Split.)
b. Adjust the delay time
● Rotate the [SPEED/TIME] knob.
The LCD screen will show Page 23C: DELAY FX “Delay
Time.”
Rotating the knob toward the right (increasing the
value) will lengthen the delay time.
25E ARPEGGIO
Target: Timbre 1
23C DELAY FX
b. Specify the keyboard synchronization
Delay Time: 000
● Press the CURSOR [®] key.
You can synchronize the delay time to the tempo speci-
fied by the [TEMPO] knob. ☞Parameter guide p.44,
Page 23B: DELAY FX “Tempo Sync.”
The LCD screen will show Page 25F: ARPEGGIO “Key
Sync.”
If this is turned ON, the arpeggio pattern will begin
playing from the beginning whenever a note-on occurs.
c. Adjust the effect depth and the amount of feedback
25F ARPEGGIO
● Rotate the [DEPTH/FEEDBACK] knob.
Key Sync:
OFF
The LCD screen will show Page 23E: DELAY FX
“Depth.”
Rotating the knob toward the right (increasing the
value) will deepen the delay sound, increasing the
amount of feedback.
c. Set the resolution
● Press the CURSOR [®] key.
The LCD screen will show Page 25G: ARPEGGIO “Reso-
lution.”
23E DELAY FX
Set the resolution (timing interval between notes) rela-
tive to the tempo of the arpeggio playback.
Depth:
000
25G ARPEGGIO
Resolution: 1/4
d. Make the rhythm swing
● Press the CURSOR [®] key.
The LCD screen will show Page 25H: ARPEGGIO
“Swing.”
This setting skews the timing so that the arpeggiator
will offset the even-numbered notes, giving you a swing
feel.
25H ARPEGGIO
Swing:
+050[%]
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27
2. Set the filter
Editing vocoder program
Here’s the procedure for editing a program when in the
Vocoder mode.
For details on parameters that are the same as the synth pro-
gram, please refer to the explanation for synth programs.
Here we will explain the parameters that can be set only for
a vocoder program.
c
a
1. Adjust the mic input audio
b
a. Adjust the sensitivity of the ENVELOPE FOLLOWER
for the modulator
● Rotate the [
] knob.
The LCD screen will show Page 08F: FILTER
“E.F.Sense.” Rotating the knob toward the right (increas-
ing the value) will smooth the attack of the vocoder out-
put, and lengthen the release.
b
a
08F FILTER
E.F.Sense:
050
a. Cut the noise when there is no input
1Rotate the [
] knob.
b. Shift the cutoff frequency of the carrier filters
The LCD screen will show Page 06B: AUDIO IN 2
“Threshold.”
● Press the [
] key.
Rotating the knob toward the right will make it more
likely that the audio will be cut.
Adjust this so that noise is not obtrusive when you are
not speaking into the mic.
When you press the key, the formant shift amount will
change, and the LED for the selected shift amount will
light.
By shifting the filters, you can dramatically change the
character of the vocoder output.
06B AUDIO IN 2
Threshold:
069
c. Adjust the cutoff frequency of the carrier filters
● Rotate the FILTER [
] knob.
2Press the SELECT [5] key.
The LCD screen will show Page 08B: FILTER “Cutoff.”
The LCD screen will show Page 06A: AUDIO IN 2 “Gate
Sense.”
08A FILTER
Adjust this so that the vocoder sound that is output is
not interrupted unnaturally. Use the [+/YES] [–/NO]
keys to adjust the value.
Cutoff:
+00
Use the [
] knob to adjust the filter shift amount
in a range of ±2 steps.
By using this in conjunction with the [
the cutoff frequency can be shifted in a range of ±4 steps.
06A AUDIO IN 2
] key,
Gate Sense: 100
d. Adjust the output level of the carrier filters
b. Adjust the consonants of the vocoder sound
1Press the
LED light.
[
] key to make the
● Rotate the [
] knob.
The LCD screen will show Page 06C: AUDIO IN 2 “HPF
Level.”
Rotating the knob toward the right (increasing the
value) will emphasize the consonants of the input
sound.
06C AUDIO IN 2
HPF Level:
100
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28
Basic Guide
2Use the sixteen knobs located beside
to
● While pressing the [EDIT] key, rotate knobs 1–12.
adjust the output level of each filter.
The corresponding character (1–12) of the name will
change.
Rotating the knob far left is a setting of 0, and rotating it
far right is a setting of 127 (max).
● While pressing the [EDIT] key, rotate knob 13.
Uppercase alphabetical characters can be selected for the
character at the cursor location.
● While pressing the [EDIT] key, rotate knob 14.
Lowercase alphabetical characters can be selected for the
character at the cursor location.
f. Adjust the panpot (stereo location) of the carrier fil-
ters
● While pressing the [EDIT] key, rotate knob 15.
Numerals can be selected for the character at the cursor
location.
1Press the
[
] key to make the
LED light.
● While pressing the [EDIT] key, rotate knob 16.
Symbols (including a space) can be selected for the char-
acter at the cursor location.
c. Deleting a character
1Use the CURSOR[√][®] keys to move the cursor to
2Use the sixteen knobs located beside
to
the character that you wish to delete.
adjust the panpot of each filter.
2Hold down the [EDIT] key, and press the CURSOR
When the knob is in the center (CNT), the output will be
in the center. When rotated far left, the output will be
only in the L channel. When rotated far right, the output
will be only in the R channel.
[√] key.
The character at the cursor will be deleted.
d. Inserting a character
A character can be inserted if no more than eleven charac-
ters have already been specified, and if there is a space at
the end of the character string.
1Use the CURSOR[√][®] keys to move the cursor to
the location where you wish to insert a character.
2Hold down the [EDIT] key, and press the CURSOR
[®].
Changing the program name
A character will be inserted at the cursor location. The
inserted character will be the last-deleted character. If
you are inserting a character for the first time, it will be a
space.
a. Using the CURSOR [√] [®] keys and the [+/YES]
[–/NO] keys
1Press the SELECT [1] key, and then press the PAGE [+]
key.
The LCD screen will show Page 02A: NAME.
02A NAME
MS2000/R
2Use the CURSOR[√][®] keys to move the cursor to
the character that you wish to change.
3Use the [+/YES] [–/NO] keys to select the desired char-
acter.
4Repeat steps 2and 3to specify the desired program
name.
You can specify a program name of up to 12 characters.
b. Using the [EDIT] key and the sixteen knobs
When the LCD screen shows Page 02A: NAME, you can
use the [EDIT] key and the sixteen knobs (used for
sequence and vocoder settings) to change the program
name as explained below.
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29
e. Write (save) the Global parameters
Global parameters that you edit will revert to their
unedited state if you turn off the power without saving. If
you wish to save your settings, you must perform the Write
operation.
Editing Global parameters
In Global mode you can make settings that affect the entire
MS2000/MS2000R, and also create user scales.
To write Global parameters, press the [WRITE] key in Glo-
bal mode.
Basic editing procedure
The LCD screen will ask you for confirmation. If you wish
to write the data, press the [WRITE] key once again. To can-
cel the Write operation, press the [EXIT] key in the confir-
mation screen.
a. Enter Global mode
● Press the [GLOBAL] key.
You will enter Global mode. The upper line of the LCD
screen will show the page number and page name, and
the lower line will show the parameter name and
parameter value.
Global parameters can be saved regardless of the mem-
ory protect setting (Global mode Page 2A: MEMORY
“Protect”).
Never turn off the power during the Write operation.
This can damage the data.
Page name
Page number
1A GLOBAL
Mst.Tune:440.0Hz
Editing parameters
Parameter name
Parameter value
1. Defeat memory protect
b. Select a page
To prevent data from being rewritten accidentally, the
MS2000/MS2000R provides a memory protect function
that disables writing to memory. In order to write edited
data, you must first turn memory protect OFF (so that writ-
ing will not be disabled).
In the same way as in LCD Edit mode, use the PAGE [+][–]
keys and SELECT [1]–[16] keys to select the desired page.
The SELECT [1]–[16] keys correspond to pages as shown
below.
1Press the [GLOBAL] key.
Key
Page
Page1A: GLOBAL “Mst.Tune”
You will enter Global mode.
SELECT [1]
SELECT [2]
SELECT [3]
SELECT [4]
SELECT [5]
SELECT [6]
SELECT [7]
SELECT [8]
SELECT [9]
2Press the SELECT [4] key.
Page1D: GLOBAL “Vel.Curve”
Page1F: GLOBAL “AudioInThru”
Page2A: MEMORY “Protect”
Page3A: MIDI “MIDI Ch”
The LCD screen will show Page 2A: MEMORY “Pro-
tect.”
2A MEMORY
Page3C: MIDI “Clock”
Protect:ON
Page3D: MIDI “MIDI1”
Page3F: MIDI “MIDI Dump”
Page4A: MIDI FILTER “ProgChg”
3Press the [–/NO] to turn “Protect” OFF.
2A MEMORY
SELECT [10] Page4B: MIDI FILTER “CtrlChg”
SELECT [11] Page4C: MIDI FILTER “P.Bend”
SELECT [12] Page4D: MIDI FILTER “SystemEx”
SELECT [13] Page6A: PEDAL&SW “A.Pedal”
SELECT [14] Page6B: PEDAL&SW “A.SwFunc”
SELECT [15] Page7A: USERSCALE “Key: Detune”
SELECT [16] Page8A: CALIB (AS)
Protect:OFF
Now it will be possible to execute the write operation.
2. Restoring settings to their factory state
The factory settings are called the “preloaded data.” You can
load this preloaded data to restore the MS2000/MS2000R’s
programs and global settings to the factory state.
c. Select a parameter
As in LCD Edit mode, use the CURSOR[√][®] keys to
select the desired parameter. (☞p.19)
When you load this data, all data in the MS2000/
MS2000R will be rewritten to the factory settings.
Before you perform this operation, make sure that it is
OK to overwrite the data.
d. Input the value
● Use the [+/YES] [–/NO] keys to input the value.
If Global mode Page 2A: MEMORY “Protect” is ON,
the preload data cannot be loaded. If you wish to load
the preload data, you must first turn “Protect” OFF.
When you press the [+/YES] [–/NO] keys, the value
will increase or decrease in steps of one.
If you hold down the [+/YES] key and press the [–/NO]
key, the value will increase in steps of ten.
1Press the [GLOBAL] key.
If you hold down the [–/NO] key and press the [+/YES]
key, the value will decrease in steps of ten.
You will enter Global mode.
2Press the SELECT [4] key, and then press the CURSOR
[®] key three times.
The LCD screen will show Page 2D: MEMORY “Preload.”
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30
Basic Guide
5Make settings so that the external MIDI device will
receive MIDI Clock messages from another device
(i.e., so that the external MIDI device will function as a
slave device).
2D MEMORY
Preload
OK?
3Press the [+/YES] key.
The external MIDI device (sequencer or rhythm
machine) will operate according to the tempo set by the
[TEMPO] knob.
A screen will appear in which you can select the data to
be loaded.
b. Synchronizing the MS2000/MS2000R to an exter-
nal MIDI device
2D MEMORY
1PRG A01”A01 OK?
1Use a MIDI cable to connect the MS2000/MS2000R’s
MIDI IN connector to the external MIDI device’s
MIDI OUT connector (☞p.10).
4Use the [+/YES] [–/NO] keys to select the data that you
wish to load.
If 1PROG is selected, only a single program will be
loaded. In this case, use the [+/YES] [–/NO] keys to
select the program number to be loaded, and the loading
destination (use the CURSOR [®] key to move).
2Press the [GLOBAL] key to enter Global mode.
3Press the SELECT [6] key.
The LCD screen will show Page 3C: MIDI “Clock.”
If PROG is selected, 128 programs will be loaded.
4Use the [+/YES] [–/NO] keys to select External.
If GLOBAL is selected, Global data (the settings of Glo-
bal mode) will be loaded.
3C MIDI
Clock:External
5Use the CURSOR [®] key to move the cursor to OK?,
and press the [+/YES] key.
5Make settings so that the external MIDI device will
transmit MIDI Clock messages (i.e., so that the exter-
nal MIDI device will function as a master device).
The screen will ask for confirmation.
2D MEMORY
The sequence or arpeggiator will operate according to
the tempo of the external MIDI device.
Are You Sure OK?
For details on synchronization settings for your exter-
nal MIDI device, refer to the owner’s manual for your
device.
6Press the [+/YES] key once again.
The data will be loaded.
When the screen indicates “Completed,” loading has
been completed.
7Press the [EXIT] key.
4. Saving data on an external device (Data
Dump)
You will return to the screen where you begin the “Pre-
load” process.
Various types of data from the MS2000/MS2000R’s internal
memory can be transmitted as MIDI exclusive data, and
saved on another connected MIDI device such as a data
filer.
3. Synchronization with external MIDI
devices
Settings for synchronization with a connected external
MIDI device are made in Page 3C: MIDI “Clock.”
Before you begin, connect a device that is able to receive a
MIDI data dump (a data filer, computer, or another
MS2000/MS2000R unit), and set the global MIDI channels
of both devices to match.
a. Synchronizing an external MIDI device to the
MS2000/MS2000R
You can synchronize an external MIDI device such as a
sequencer or rhythm machine to the tempo of the MS2000/
MS2000R arpeggiator.
1Press the [GLOBAL] key.
You will enter Global mode.
2Press the SELECT [8] key.
The LCD screen will show Page 3F: MIDI “MIDI
Dump.”
1Use a MIDI cable to connect the MS2000/MS2000R’s
MIDI OUT connector to the external MIDI device’s
MIDI IN connector (☞p.10).
3F MIDI
MIDI Dump
OK?
2Press the [GLOBAL] key to enter Global mode.
3Press the SELECT [6] key.
3Press the [+/YES] key.
The LCD screen will show Page 3C: MIDI “Clock.”
The display will indicate the type of data dump to be
transmitted.
3C MIDI
Clock:Internal
3F MIDI
1PROG
OK?
4Use the [+/YES] [–/NO] keys to select Internal.
With a setting of Internal, MIDI Clock messages will be
transmitted from the MS2000/MS2000R at the tempo
specified by the ARPEGGIATOR [TEMPO] knob.
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31
4Use the [+/YES] [–/NO] keys to specify the data that
will be transmitted.
3F MIDI
ALL
OK?
If 1PROG is selected, only the data of the currently
selected program will be transmitted.
If PROG is selected, all program data will be transmit-
ted.
If GLOBAL is selected, Global data will be transmitted.
If ALL is selected, all programs and Global data will be
transmitted.
5Press the CURSOR [®] key to move the cursor to OK?
6Press the [+/YES] key.
The screen will ask you to confirm the data transmis-
sion.
3F MIDI
Are You Sure OK?
7Press the [+/YES] key.
The data will be transmitted.
ALL DATA
Processing...
When the transmission is completed, the display will
indicate “Completed...”
Please do not touch the knobs, keys, keyboard, or
wheels etc. of the MS2000/MS2000R while the data is
being transmitted.
If you wish to receive a data dump on the MS2000/
MS2000R, you must first turn Global mode Page 2A:
MEMORY “Protect” OFF. If “Protect” is ON, data
dumps cannot be received.
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32
Program parameters
These are the parameters that make up the sound of a pro-
gram.
If you wish to save a sound, you must perform the Write
ing) an edited program”).
B: Timbre Voice ...................................[1+3, 2+2, 3+1]
This specifies the maximum number of notes that can be
played by each timbre.
“Mode” is Dual or Split.
Uppercase parameter names enclosed in parentheses ( )
are parameters for which there is a front panel knob or key.
1+3
Timbre 1 will play one voice, and timbre 2 will play three
voices.
2+2
Each timbre will play two voices.
1. PROGRAM COMMON
3+1
Parameters
Timbre 1 will play three voices, and timbre 2 will play one
voice.
These are parameters that apply to the entire program.
If the Page 03A VOICE “Assign” setting is Mono, this
setting will be ignored.
Page01: COMMON
C: Split Point................................................. [C-1...G9]
Specify the keyboard location (split point) at which timbres 1
and 2 will be divided.
A: Mode........................................... [Single...Vocoder]
This selects the voice mode of the program.
You can also change this by holding down the [EDIT] key
and playing a note on the keyboard where you want the tim-
bres to be split.
This parameter will be displayed and can be set only when
“Mode” is Split.
Single
When you play the keyboard, a single timbre will sound.
The program can be played with up to four voices (four
notes).
Timbre1
D: Scale .................................[Equal Temp...User Scale]
This selects the scale type of the program. You can select
from ten scale types.
Equal Temp
Split
This is the equal temperament that is used for most music.
Each semitone is spaced an equal pitch distance apart.
Two timbres can be played on different areas of the key-
board. The number of notes that can be played on each
timbre is specified by “Timbre Voice.”
Pure Major
This is a pure major temperament. Major chords played in
the key specified by “Scale Key” will be perfectly in tune.
Timbre1
Timbre2
Pure Minor
This is a pure minor temperament. Minor chords played in
the key specified by “Scale Key” will be perfectly in tune.
Split Point
Arabic
This is a scale used in Arabic music. It includes the quar-
ter-tone scale used in Arabic music.
Dual
Two timbres will sound simultaneously when you play the
keyboard. The number of notes that can be played on each
timbre is specified by “Timbre Voice.”
By using Page 03B: VOICE “MIDI ch” to specify a different
MIDI channel for each of the two timbres, you can use the
MS2000/MS2000R as a multi-timbral MIDI tone generator.
Pythagorea
This is the Pythagorean scale, which is based on ancient
Greek musical theory and is especially effective for play-
ing melodies.
Werckmeist
This is the Werckmeister temperament, an equal-tempered
scale used in the later Baroque period.
Timbre2
Timbre1
Kirnberger
This is the Kirnberger temperament, created in the 18th
century and used mainly for tuning harpsichords.
Vocoder
Slendro
By inputting an audio signal to the AUDIO IN 2 connector,
you can use the MS2000/MS2000R as a four-voice
vocoder.
For details on the vocoder parameters, refer to p.49 “4.
Vocoder Parameters.”
This is the Slendro scale, an Indonesian gamelan scale that
divides the octave into five notes. If the “Scale Key” is C,
use the C, D, F, G, and A notes.
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34
Parameter Guide
Pelog
Unison
This is the Pelog scale, an Indonesian gamelan scale that
divides the octave into seven notes. If the “Scale Key” is C,
use the C, D, E, F, G, A, and B notes
The timbre will sound in unison.
If “Mode” is Dual/Split, each timbre will apply a unison
effect with the number of voices specified by “Timbre
Voice.”
User Scale
This will be the scale that was specified in Global mode
Page 7A: User Scale.
If “Mode” is Dual/Split and the maximum polyphony
of the timbre (“Timbre Voice”) has been set to 1 (note),
the timbre will sound monophonically regardless of
this setting.
E: Scale Key........................................................[C...B]
Specify the key (tonic) that will be the basis of the scale
selected by “Scale.”
B: MIDI ch ..............................................[GLB, 01...16]
Specify the MIDI transmit/receive channel of each timbre.
GLB
The global MIDI channel (set in Global mode Page 3A:
MIDI “MIDI Ch”) will be used as the MIDI transmit/
receive channel of the timbre. Select GLB if you are play-
ing the MS2000/MS2000R from its own keyboard or from
a connected MIDI keyboard.
2. NAME (Program Name)
Page02: NAME
01...16
The specified channel will be used as the MIDI transmit/
receive channel of the timbre.
A: Name .......................................................... [!...’]
Specify the name of the program.
Use the CURSOR[√][®] keys, the [+/YES] [–/NO] keys, the
[EDIT] key, and the sixteen knobs to specify the name.
For the procedure, refer to p.29 Basic Guide, Edit section
“Changing the program name.”
When using the MS2000/MS2000R with a connected
external MIDI sequencer, set the MIDI transmit/receive
channel of each timbre to match the MIDI channel of the
appropriate track of your MIDI sequencer.
If the channel you select is the same as the global MIDI
channel, a “G” will be displayed beside the setting.
Available characters
!"#$%&'()*+,-./0123456789:;<=>?@
ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_“
abcdefghijklmnopqrstuvwxyz{|}”’
C: Priority........................................... [Last, Low, High]
Specify which note on the keyboard will be sounded when
you simultaneously play more notes than the number of
voices specified for this timbre.
Last
The last-played note will be given priority.
3. SYNTH Parameters
Low
The lowest note on the keyboard will be given priority.
These are the parameters for synth programs (i.e., programs
whose Page 01A: COMMON “Mode” is Single/Dual/Split).
In the case of Dual/Split, use the front panel TMIBRE
SELECT [SELECT] key to switch between the timbres for
editing.
High
The highest note on the keyboard will be given priority.
D: Trigger............................................... [Single, Multi]
Select the trigger mode.
This specifies whether retriggering will occur if you continue
holding the first-pressed note and play another note.
This parameter will be displayed and can be set only if Page
03A: VOICE “Assign” is set to Mono/Unison.
■VOICE
These parameters specify how the timbre will be sounded,
and set the MIDI channel.
Single
The second and subsequent notes will not retrigger the EG
or LFO.
Page03: VOICE
Use this setting when you wish to play legato.
Multi
The EG and LFO will be retriggered each time a note is
played.
A: Assign .....................................[Mono, Poly, Unison]
Specify how the timbre will be sounded
Note on
Note on
Mono
The timbre will sound monophonically (single notes).
EG
Poly
Single
The timbre will sound polyphonically. A maximum of four
voices (notes) can be played simultaneously.
If “Mode” is Dual/Split, each timbre will sound the num-
ber of voices specified by “Timbre Voice.”
Trigger
EG
Multi
Trigger
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E: Detune............................................[00cent...99cent]
■OSCILLATOR
These are the parameters that affect the waveform of the
oscillator.
Specify the amount of detuning (difference in pitch) that will
be applied to notes sounded simultaneously by the Unison
function.
This parameter will be displayed and can be set only if
“Assign” is set to Unison.
If the “Mode” is Dual/Split and the maximum polyph-
ony (“Timbre Voice”) of the timbre is 1, this setting will
have no effect.
Page05: OSC 1
A: Wave WAVE ..............................[Saw...Audio In]
B: Control1 CONTROL1 .........................[000...127]
C: Control2 CONTROL2 .........................[000...127]
“Wave” selects the waveform for OSC1 (oscillator 1).
“Control1” and “Control2” set parameters for the selected
waveform. The parameters that you set will depend on the
selected waveform.
■PITCH
These are the pitch-related parameters.
Page04: PITCH
Saw
This is a sawtooth wave, suitable for creating typical ana-
log synthesizer sounds such as synth bass and synth brass.
A: Transpose...............................................[–24...+24]
• Control1
Adjust the pitch of the oscillator in semitone (100 cent) steps.
The range is two octaves upward or downward.
Adjusting this value will modify the waveform.
A setting of 0 will produce a conventional sawtooth
wave, and a setting of 127 will produce a sawtooth wave
one octave higher.
Changes made by the front panel OCTAVE (or BANK/
OCTAVE) buttons actually shift the pitches assigned to
the keyboard (or keys) in one-octave steps, and do not
affect the pitch of the oscillator that is sounding. Nor are
such settings saved by the Write operation. If you wish
to change the pitch of the oscillator itself, you must use
this “Transpose” setting to specify the pitch.
• Control2
LFO1 is used to apply WFM (wave form modulation) to
the waveform specified by “Control 1.” The “Control 2”
setting specifies the depth of the modulation produced
by LFO1.
By setting the Page 12A: LFO1 “Wave” parameter to
(Tri) and adjusting “Frequency,” you can create the
effect of detuning.
B: Tune ...........................................[–50cent...+50cent]
Adjust the pitch of the oscillator in one-cent steps.
The range is –50 – +50 cents.
C: Vibrato Int..............................................[–63...+63]
0
63
127
Specify the depth of the vibrato effect that is applied when
the modulation wheel (or for the MS2000R, the modulation
wheel of a connected external MIDI device) is moved to the
maximum position.
The LFO2 will apply a vibrato effect to the pitch of the oscil-
lator.
Pulse
This is a pulse wave, suitable for electronic sounds or
wind instruments.
• Control1
This adjusts the pulse width.
A setting of 0 will produce a square wave, with a tone
reminiscent of woodwind instruments such as clarinet.
At a setting of 127 the pulse width will be 0, and no
sound will be heard.
By adjusting the pulse width you can produce sounds
similar to clavinet or sax.
D: Bend Range............................................[–12...+12]
Specify the amount of pitch change in semitones that will
occur when the pitch wheel is operated. This setting specifies
the amount of pitch change that will occur when the pitch
bender is moved to the maximum positive (+) position.
• Control2
E: Portamento TIME ...............................[000...127]
LFO1 is used to apply PWM (pulse width modulation)
to the pulse width specified by “Control1.” The
“Control2” setting specifies the depth of the modulation
produced by LFO1.
By setting the Page 12A: LFO1 “Wave” parameter to
(Tri) and adjusting “Frequency,” you can make the
sound distort.
This specifies the speed of the portamento effect (a smooth
change in pitch from one note to the next note of a different
pitch).
With a setting of 000, there will be no portamento effect.
Increasing this setting from 001 will cause the pitch to
change correspondingly slower.
If Page 03: VOICE “Assign” is set to Mono or Unison,
and if “Trigger” is set to Single, portamento will not
apply to the first-sounded note.
0
63
127
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36
Parameter Guide
Tri
DWGS
This is a triangle, which has weaker overtones and a stron-
ger fundamental than a sawtooth wave or square wave. It
is suitable for mellow bass sounds.
This is waveform data created by harmonic additive syn-
thesis. 64 types of waveform are provided.
• Control1
• Control1
This has no effect.
You can modify the waveform by adjusting this value.
A setting of 0 will produce a triangle wave, and a setting
of 127 will produce a waveform with a pitch that is one
octave and a fifth higher.
• Control2
This selects the waveform.
You can select one of the following waveforms.
DWGS List
• Control2
LFO1 is used to apply WFM (wave form modulation) to
the waveform specified by “Control1.” The “Control2”
setting specifies the depth of the modulation produced
by LFO1.
No
Name
No
Name
No
Name
Clav1
1
2
3
4
5
6
7
8
9
SynSine1
SynSine2
SynSine3
SynSine4
SynSine5
SynSine6
SynSine7
SynBass1
SynBass2
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
5thWave1
5thWave2
5thWave3
Digi1
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
Clav2
Guitar1
Guitar2
Guitar3
Bass1
Bass2
Bass3
Bass4
Bass5
Bell1
Digi2
Digi3
0
63
127
Digi4
Digi5
Sin (Cross)
Digi6
This is basically a sine wave, but oscillator 2 is used to
apply cross modulation.
By using oscillator 2 to modulate the frequency of oscilla-
tor 1, cross modulation produces a complex overtone
structure.
10 SynBass3
11 SynBass4
12 SynBass5
13 SynBass6
14 SynBass7
15 SynWave1
16 SynWave2
17 SynWave3
18 SynWave4
19 SynWave5
20 SynWave6
21 SynWave7
22 SynWave8
23 SynWave9
Digi7
Digi8
Endless*
E.Piano1
E.Piano2
E.Piano3
E.Piano4
Organ1
Organ2
Organ3
Organ4
Organ5
Organ6
Organ7
Bell2
Bell3
Bell4
• Control1
Voice1
Voice2
Voice3
Voice4
Specify the depth of cross modulation.
At a setting of 0 a sine wave will be produced.
• Control2
LFO1 is used to apply further modulation to the depth
of cross modulation that was specified by “Control1.”
“Control2” specifies the depth of modulation produced
by LFO1.
X-mod Depth + X-mod Depth Mod
*: The 35 Endless waveform simulates an endless scale, in which notes one octave
apart have the identical pitch.You can play an ascending or descending scale as far
as you wish, producing the sensation that a scale of the same pitch is continuing
infinitely.
OSC2
OSC1
Noise
This generates white noise. Within the oscillator, a LPF
(Low Pass Filter) is provided to process the noise.
OSC1 Output
Vox Wave
Resonance
This simulates a waveform similar to human vocal cords.
Even if the oscillator pitch is changed, the frequency spec-
trum will be maintained, which makes this effective when
used for vocal-type sounds or as a vocoder oscillator.
Select HPF or BPF as the filter, and adjust “Cutoff” to cre-
ate a vocal-type sound.
LPF
Noise
Genarator
Cutoff
• Control1
This sets the cutoff frequency of the LPF.
Adjusting this will affect the noise waveform.
• Control1
• Control2
Adjusting this value will modify the waveform.
This controls the resonance of the LPF.
If you raise this enough to produce an identifiable pitch,
the cutoff frequency will move according to the key-
board location you play, and the change will be heard as
a pitch.
• Control2
LFO1 is used to apply modulation to the waveform
specified by “Control1.” Control2 sets the depth of the
modulation applied by LFO1.
If you want the oscillation produced by resonance to
match the reference pitch, set “Control1” to 24.
0
63
127
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37
Audio In
Sync
If this is selected, the waveform input from the AUDIO IN
1 or AUDIO IN 2 jack will be used.
This allows the MS2000/MS2000R to be used as an effect
processor.
This modulation forcibly synchronizes oscillator 2 to the
phase of oscillator 1, forcibly resetting the phase of oscilla-
tor 2.
This is effective on synth lead sounds. Use “Semitone” and
“Tune” to adjust the overtones.
• Control1
This adjusts the volume balance between AUDIO IN 1
and AUDIO IN 2. With a setting of 0 only AUDIO IN 1
will be output. With a setting of 127, only AUDIO IN 2
will be output.
OSC2 Output
OSC2 Wave
Sync
OSC1 Wave
OSC1 Output
• Control2
LFO1 is used to apply modulation to the volume balance
between AUDIO IN 1 and AUDIO IN 2 that you set by
“Control1.” The “Control2” setting sets the depth of this
modulation produced by LFO1.
RingSync
This simultaneously applies Ring and Sync modulation.
OSC2 Output
OSC2 Wave
Sync
Page06: OSC 2
OSC1 Output
OSC1 Wave
A: Wave WAVE ................................ [Saw, Squ, Tri]
Select the waveform for oscillator 2.
C: Semitone SEMITONE ......................... [–24...+24]
Specify the amount of detune for OSC2 relative to OSC1, in
semitone steps.
With a value of 0, the pitch of OSC2 will be the same as
OSC1.
Saw
A sawtooth wave, suitable for creating typical analog syn-
thesizer sounds such as synth bass and synth brass.
Squ
A square wave, suitable for creating electronic sounds or
simulating woodwinds such as clarinet.
A setting of ±12 produces a pitch difference of one octave,
and ±24 produces a pitch difference of two octaves.
Tri
D: Tune TUNE ........................................ [–63...+63]
A triangle wave, with weaker overtones and stronger fun-
damental than a sawtooth wave or square wave.
Specify the amount of detune for OSC2 relative to OSC1.
A setting of ±63 produces a pitch difference of ±2 octaves,
and ±48 produces a pitch difference of ±1 octave. A value
near 0 will make fine adjustments in the pitch.
B: OSC Mod OSC MOD ...................[OFF...RingSync]
Select the modulation type for the oscillator.
If “OSC Mod” is set to Sync, adjustments in “Semitone”
or “Tune” will change the pitch of the overtones. The
pitch of the fundamental will not change.
OFF
Output without applying modulation. By adjusting “Semi-
tone” and “Tune,” you can produce a spacious detuning
effect. For synth bass sounds, set the pitch of oscillators 1
and 2 one octave apart.
■MIXER
These parameters affect the output level of each oscillator.
These settings will be the input level to the filter.
Ring
This modulation generates frequency components that are
the sum and difference of the oscillator 1 and 2 wave-
forms. By adjusting “Semitone” and “Tune” you can create
metallic sounds with little sense of pitch. This is effective
for sound effects.
Page07: MIXER
OSC2 Wave
OSC2 Output
A: OSC 1 Level OSC1 ............................[000...127]
Set the output level of oscillator 1.
OSC1 Wave
OSC1 Output
B: OSC 2 Level OSC2 ............................[000...127]
Set the output level of oscillator 2.
C: Noise Level NOISE ............................[000...127]
Set the output level of the noise generator.
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38
Parameter Guide
C: Resonance RESONANCE ....................[000...127]
Set the resonance of the filter.
This will emphasize the overtones near the cutoff frequency
specified by “Cutoff,” adding a distinctive character to the
sound. Increasing this value will increase the effect.
■FILTER
Here are the filter-related parameters.
The effect of resonance
Page08: FILTER
LPF
A: Type FILTER TYPE ........................ [24LPF...12HPF]
Select the filter type.
HPF
BPF
12LPF (–12dB/oct), 24LPF (–24dB/oct)
LPF (Low Pass Filter) is the most commonly used type of
file, which allows the frequencies lower than the cutoff fre-
quency to pass and cuts the higher frequencies.
Raising the cutoff frequency (“Cutoff” value) will produce
a brighter sound.
Low resonance value
High resonance value
LPF (Low Pass Filter)
D: EG 1 Int EG 1 INT .............................. [–63...+63]
This sets the depth at which EG1 will modulate the cutoff
frequency to produce time-varying changes in cutoff fre-
–12dB/oct
–24dB/oct
quency.
Frequency
Positive (+) values will produce a correspondingly greater
Cutoff
change.
12BPF (–12dB/oct)
Cutoff
Int=+63
Note on
Int=+32
Note on
BPF (Band Pass Filter) allows a frequency band in the
region of the cutoff frequency to pass, and cuts the remain-
ing frequencies. It is used when you wish to emphasize
only a specific portion of the frequency range.
Note off
Note off
Cutoff frequency
specified by
“Cutoff”
Int=0
Time
BPF (Band Pass Filter)
Negative (–) values will produce a correspondingly greater
change in the opposite direction.
Cutoff
Frequency
Cutoff
Int=–63
Int=–32
Cutoff frequency
specified by
“Cutoff”
Int=0
12HPF (–12dB/oct)
Note off
HPF (High Pass Filter) allows frequencies above the cutoff
frequency to pass, and cuts the lower frequencies. Use this
when you wish to make the sound thinner. However if the
cutoff frequency is raised excessively, the volume will
decrease significantly.
Note off
Note on
Note on
Time
E: Vel Sense................................................ [–63...+63]
This specifies how velocity (keyboard playing dynamics)
will affect the cutoff frequency.
HPF (High Pass Filter)
With positive (+) settings, the cutoff frequency will rise as
you play more strongly.
With negative (–) settings, the cutoff frequency will fall as
you play more strongly.
Frequency
Cutoff
F: KBD Track KBD TRACK ....................... [–63...+63]
This specifies how keyboard tracking (the keyboard location
that you play) will affect the cutoff frequency.
With positive (+) settings, the cutoff frequency will rise as
you play upward from the C4 note, and fall as you play
downward. With a setting of +48, the change in cutoff fre-
quency will be proportionate to the change in pitch.
With negative (–) settings, the cutoff frequency will fall as
you play upward from the C4 note, and rise as you play
downward.
B: Cutoff CUTOFF ...................................[000...127]
Set the cutoff frequency.
Increasing this value will raise the cutoff frequency.
“Cutoff” can be varied by time-variant change produced
by EG1, by keyboard playing dynamics (velocity), and
by note location (keyboard tracking). The depth of each
of these effects is set by Page 08D: FILTER “EG 1 Int,”
Page 08E: FILTER “Vel Sense,” and Page 08F: FILTER
“KBD Track” respectively.
With a setting of 0, keyboard tracking will not affect the cut-
off frequency.
If the “Cutoff” value is lowered, the volume may be
extremely low, or you may hear no sound at all.
Keyboard Track operates according to the pitch that is
controlled by pitch bend, transpose, and Mod Sequence.
It is not affected by pitch changes produced by vibrato
or Virtual Patch.
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39
F: KBD Track............................................... [–63...+63]
■AMP (Amplifier)
These are the volume-related parameters.
Specify how keyboard tracking will affect the volume.
With positive (+) settings, the volume will increase as you
play above the C4 note on the keyboard, and will decrease as
you play below C4.
With negative (–) settings, the volume will decrease as you
play above the C4 note on the keyboard, and will increase as
you play below C4.
Page09: AMP
With a setting of 0, keyboard tracking will not affect the vol-
ume.
A: Level LEVEL .......................................[000...127]
Adjust the volume of the timbre.
If the “Mode” is Split/Dual, this setting will adjust the vol-
ume balance between timbre 1 and timbre 2.
Keyboard Track operates according to the pitch that is
controlled by pitch bend, transpose, and Mod Sequence.
It is not affected by pitch changes produced by vibrato
or Virtual Patch.
B: Panpot PAN ............................. [L63...CNT...R63]
Adjust the sounds (stereo location).
C: Amp Sw EG 2/GATE ........................ [EG 2, Gate]
Select the envelope source that will produce time-variant
change in the volume.
■EG (Envelope Generator)
These are the parameters for the EG (Envelope Generator),
which creates time-varying changes in the sound.
EG1 is internally connected as the envelope source for FIL-
TER “Cutoff.”
EG 2
If you select EG2 ([EG 2/GATE] key LED is off), the vol-
ume will change according to the envelope specified for
EG2.
EG2 is internally connected as the envelope source for AMP
“Level.”
Note on
Note off
Page10: EG 1
Page11: EG 2
Adjusting “LEVEL”
will change this
amplitude.
Level
Sustain level
Note off
Note on
Gate
Attack level
0
If you select Gate ([EG 2/GATE] key LED is lit), the vol-
ume will remain constant.
Time
Note on
Note off
Attack time
Release time
Decay time
A: Attack ATTACK ..................................[000...127]
Specify the time from note-on (when the key is pressed) until
the attack level (maximum value of the envelope) is reached.
Adjusting “LEVEL”
will change this
amplitude.
B: Decay DECAY ....................................[000...127]
Specify the time from when the attack level is reached until
the sustain level (Sustain) is reached.
D: Distortion DISTORTION ....................... [ON, OFF]
If this is ON, distortion will be applied to the output of the
timbre.
C: Sustain SUSTAIN ...............................[000...127]
Specify the sustain level.
The depth of distortion can be adjusted by the output level
of each oscillator in Page 07: Mixer.
D: Release RELEASE ...................................[0...127]
Specify the time from note-off (when the key is released)
until the level reaches 0.
E: Vel Sense................................................[–63...+63]
This specifies how velocity (keyboard playing dynamics)
will affect the volume.
With positive (+) settings, the volume will increase as you
play the keyboard harder.
With negative (–) settings, the volume will decrease as you
play the keyboard harder.
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40
Parameter Guide
E: EG Reset .................................................. [ON, OFF] B: Key Sync................................... [OFF, Timbre, Voice]
Specify whether or not the EG will be reset for the second
and subsequent note-on.
Specify how the LFO will be applied to a voice when note-on
occurs.
If this is ON, the second note-on will start from a level of 0.
If this is OFF, the note will start from the current EG level.
OFF
The LFO phase will not be reset when note-on occurs.
Note off
Note on
Note on (Retrigger)
Note on
ON
Timbre
The LFO phase will be reset at the first note-on that occurs
from a state of no keys pressed. Subsequently, modulation
will continue to be applied at the same LFO phase even for
subsequent note-on’s.
OFF
“EG Reset” is valid in the following cases.
•When Page 03A: VOICE “Assign” is Poly.
Note on
Note on
•When Page 03A: VOICE “Assign” is Mono or Unison
and Page 03D: VOICE “Trigger” is Multi.
Note all off
■LFO (Low Frequency Oscillator)
Voice
The LFO phase will be reset at each note-on, and modula-
tion of differing phases will apply to each voice.
Note on
These are the LFO (Low Frequency Oscillator) parameters
used to create cyclic change.
LFO1 is internally connected as the modulation source for
Page 05B: OSC1 “Control 1.”
LFO2 is internally connected as the modulation source for
oscillator pitch via the modulation wheel (on the MS2000R,
the modulation wheel of a connected external MIDI device).
1VOICE
Note on
2VOICE
If you have difficulty hearing the effect of the LFO,
increase the depth or intensity values of the modula-
tion destination.
C: Tempo Sync..............................................[ON, OFF]
If this is ON, the LFO frequency will synchronize to the
tempo or to MIDI clock.
Page12: LFO 1
If the Global mode Page 3C: MIDI “Clock” setting is Inter-
nal, the LFO will synchronize to the tempo specified by the
[TEMPO] knob. If the setting is External, the LFO will syn-
chronize to the MIDI clock received from an external MIDI
device.
Page13: LFO 2
A: Wave SELECT ................................... [Saw...S/H]
If “Tempo Sync” is ON, setting Page 14A–17A:
PATCH1–4 “Destination” to LFO2Freq will have no
effect.
Select the LFO waveform.
For LFO1 you can select from Saw, Squ, Tri, and S/H.
For LFO2 you can select from Saw, Squ (+), Sin, and S/H.
D: Frequency FREQUENCY .....................[000...127]
Specify the frequency of the LFO. Increasing this value will
result in a faster frequency.
This parameter will be displayed and can be set if “Tempo
Sync” is OFF.
If “Tempo Sync” is ON, this will indicate “Sync Note.”
Saw
Squ
Tri
Squ (+)
Sin
S/H
E: Sync Note............................................. [1/32...1/1]
Specify the LFO frequency as a proportion of the tempo set
Note” values correspond to note values”)
Amplitude changes irregularly
(sample & hold)
This parameter will be displayed and can be set if “Tempo
Sync” is ON.
At a setting of 1/1, there will be one cycle every four beats.
At a setting of 1/2, there will be two cycles every four beats.
At a setting of 1/4, there will be one cycle every beat.
At a setting of 1/8, there will be two cycles every beat.
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41
Pan
■VIRTUAL PATCH
Modulation will apply to the Page 09B: AMP “Panpot”
parameter.
Virtual Patch allows you to assign modulation sources such
as EG and LFO to various parameters.
LFO2 Freq
Four such combinations can be made for each timbre.
Modulation will apply to the Page 13D: LFO2 “Frequency”
parameter.
If LFO “Tempo Sync” is ON, selecting LFO2Freq will
Page14: PATCH1
Page15: PATCH2
Page16: PATCH3
Page17: PATCH4
have no effect.
C: Intensity PATCH ................................. [–63...+63]
Specify the depth of the effect produced by the modulation
source.
With a setting of 0, there will be no modulation.
■MOD SEQUENCE
These are the sequence-related parameters.
A: Source SOURCE ...........................[EG 1...MIDI 2]
Select a modulation source.
EG 1/EG 2
EG1 or EG2 will be the modulation source.
Page18: SEQ COMMON
LFO 1/LFO 2
LFO1 or LFO2 will be the modulation source.
A: Last Step....................................................[01...16]
Specify the sequence length (maximum number of steps).
Velocity
Keyboard playing dynamics will be the modulation
source.
B: Seq Type ........................................ [Forward...Alt 2]
Specify the sequence type (sequence playback direction)
KBD Trk
Keyboard location (keyboard tracking) will be the modu-
lation source.
Forward
Play back from the first step (Step 01).
Forward (Last Step=16)
Keyboard Track operates according to the pitch that is
controlled by pitch bend, transpose, and Mod Sequence.
It is not affected by pitch changes produced by vibrato
or Virtual Patch.
Step Step Step
01 02 03
Step Step Step
14 15 16
Run Mode=Loop
MIDI 1/MIDI 2
Reverse
The function specified in Global mode Page 3D: MIDI
“MIDI 1” or Page 3E: MIDI “MIDI 2” will be the modula-
tion source.
Play back in reverse, from the last step (the value specified
by “Last Step”).
Reverse (Last Step=16)
Step Step Step
Step Step Step
03 02 01
16
15
14
B: Destination DESTINATION ........ [Pitch...LFO2Freq]
Select the parameter (destination) that will be controlled by
the modulation.
Run Mode=Loop
Pitch
Alt 1/Alt 2
Modulation will apply to the pitch of the entire timbre.
Alternately play back in Forward and Reverse.
OSC2Ptch
Alt1 (Last Step=16)
Step Step
01 02
Step Step
Modulation will apply to the Page 06D: OSC2 “Tune”
parameter.
15
16
OSC1Ctr1
Run Mode
=Loop
Step Step
01 02
Step
15
Modulation will apply to the Page 05B: OSC1 “Control 1”
parameter.
Alt2 (Last Step=16)
Step Step
NoiseLvl
Step Step
15 16
01
02
Modulation will apply to the Page 07C: MIXER
“NoiseLevel” parameter.
Run Mode
=Loop
Step Step
01 02
Step Step
15 16
Cutoff
Modulation will apply to the Page 08B: FILTER “Cutoff”
parameter.
During Motion Rec, the sequence will always play in
Forward mode.
Amp
Modulation will apply to the Page 09A: AMP “Level”
parameter.
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42
Parameter Guide
C: Run Mode............................................[1Shot, Loop]
Specify whether the sequence will be looped for playback.
Page19: SEQ1
1 Shot
The sequence will play back for only one cycle, and will
hold the value of the last step.
Page20: SEQ2
Page21: SEQ3
Loop
The sequence will play back as a loop, using the sequence
type specified by “Seq Type.”
A: Knob .................................[None, Pitch...Patch4 Int]
Select the parameter that will be recorded in the sequence.
During Motion Rec, the sequence will always play back
in Loop mode.
None
D: Key Sync................................... [OFF, Timbre, Voice]
The sequence will have no effect on anything.
Specify how the sequence will be reset when note-on occurs
(when a key is played).
Pitch
The sequence will modify the overall pitch of the oscillator
in a range of ±24 semitones.
OFF
The sequence will not be reset when note-on occurs.
Step Length
The sequence will modify the length of each step as speci-
fied by SEQ COMMON “Resolution” in a range of ±6.
Timbre
At the first note-on that occurs from a condition of all
notes off, the sequence will be reset for the timbre that is
sounding.
In the case of a Split program, the timbre that is assigned
to the key for which the note-on occurred will be reset.
Other
The sequence will modify the value of the corresponding
parameter assigned to a panel knob, in a range of ±63 (or
±24 in the case of OSC2 Semi).
Voice
If the same parameter is specified for two or more
sequences, an “*” will be displayed in the upper right of
the LCD screen, and the assignment to the higher-num-
bered sequence (SEQ3 > SEQ2 > SEQ1) will take priority.
Reset will occur for each voice for which there is a note-on.
If the sequence and the arpeggiator are both on, you
should set this parameter to either OFF or Timbre. If
you select Voice, the sequence will be reset each time the
arpeggiator sounds. If you select Timbre, the sequence
will be reset at each chord change.
B: Motion .............................................. [Smooth, Step]
Select how change will occur when the sequence is played
back.
E: Resolution.............................................[1/48...1/1]
Specify the sequence playback speed as a proportion of the
tempo set by the [TEMPO] knob (or MIDI clock). (☞P.66
Smooth
The value recorded at each step will change in a smooth
Smooth
note values”)
At a setting of 1/1, the sequence will advance one step every
four beats.
1
2
3
4
5
6
7
8
9
10 11 12
13 14 15 16
At a setting of 1/2, the sequence will advance one step every
Step
two beats.
At a setting of 1/4, the sequence will advance one step every
beat.
Step
The recorded value will be held until the next step is
played.
At a setting of 1/8, the sequence will advance two steps every
beat.
At a setting of 1/16, the sequence will advance four steps
Step
every beat.
At a setting of 1/32, the sequence will advance eight steps
1
2
3
4
5
6
7
8
9
10 11 12
13 14 15 16
every beat.
Step
C: Step Value
Here you can modify the sequence data that is recorded in
each step.
To modify the data you can use the SEQ EDIT [SELECT] key
and the sixteen knobs, or the CURSOR[√][®] keys and the
[+/YES] [–/NO] keys.
19C SEQ 1
Step[01]:
+10
Value
Step Number
Step Number..................................................[01...16]
Specify the step.
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43
CrossDelay
Value ....................... [–06...+06, –24...+24, –63...+63]
This is a stereo delay where the left and right channels of
feedback are interchanged. On Dual programs, it is effec-
tive to set the panpot of the two timbres to left and right
respectively.
Modify the value that is recorded at each step.
These values are the amount of change that will be applied
to the value of the parameter that is assigned to the
sequence.
Cross Delay
–06...+06
FEEDBACK
DELAY
This is the range when “Knob” is set to Step Length.
–24...+24
DELAY
This is the range when “Knob” is set to Pitch or OSC2
Semi.
FEEDBACK
–63...+63
L/R Delay
This is the range for settings other than the above.
This is a delay where the delay sound is output to left and
right alternately.
L/R Delay
FEEDBACK
DELAY
■EFFECTS
These are the effect-related parameters.
DELAY
FEEDBACK
Page22: MOD FX
B: Tempo Sync..............................................[ON, OFF]
A: Type............................. [Cho/Flg, Ensemble, Phaser]
Select the effect type.
If this is ON, the delay time will synchronize to the tempo.
If the Global mode Page 3C: MIDI “Clock” setting is Inter-
nal, the delay time will synchronize to the tempo set by the
[TEMPO] knob. If it is External, the delay time will synchro-
nize to the MIDI clock received from an external MIDI
device.
Cho/Flg
This effect modulates the delay time of the input signal to
add depth and warmth to the sound. Increasing the
“Depth” value will produce a flanger effect.
Ensemble
C: Delay Time TIME ...............................[000...127]
Set the delay time.
This parameter will be displayed and can be set only if
“Tempo Sync” is OFF.
This effect uses multiple chorus units to add three-dimen-
sional depth and spaciousness to the sound.
Phaser
This effect modulates the phase of the sound to create a
twisting sensation.
C: Sync Note ............................................ [1/32...1/1]
Specify the delay time as a proportion of the tempo set by
Note” values correspond to note values”)
B: LFO Speed SPEED ..............................[000...127]
Specify the speed of the LFO inside the modulation effect.
This parameter will be displayed and can be set only if
“Tempo Sync” is ON.
C: Depth DEPTH/FEEDBACK ...................[000...127]
Specify the modulation depth and amount of feedback.
Increasing this value will deepen the modulation effect and
also increase the amount of feedback. If you do not wish to
apply the effect, set this to 000.
D: Depth DEPTH/FEEDBACK ...................[000...127]
Specify the delay depth and feedback amount. Increasing
this value will make the delay louder and will also increase
the amount of feedback.
Excessively high settings of this parameter may cause
the output to be distorted.
If you do not wish to apply a delay, set this to 000.
Excessively high settings of this parameter may cause
the output to be distorted.
Page23: DELAY FX
Page24: EQ
A: Type.................................. [StereoDelay...L/R Delay]
Select the delay type.
A: LowEQFreq ....................................[40Hz...1000Hz]
Set the frequency of the low-range equalizer.
StereoDelay
This is a stereo delay.
Stereo Delay
B: LowEQGain...................................... [–12.0...+12.0]
Set the gain of the low-range equalizer.
FEEDBACK
DELAY
DELAY
C: HiEQFreq ................................. [1.00kHz...18.0kHz]
FEEDBACK
Set the frequency of the high-range equalizer.
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44
Parameter Guide
Random
Notes will be played randomly.
D: HiEQGain.........................................[–12.0...+12.0]
Set the gain of the high-range equalizer.
Excessively raising the equalizer gain parameters may
cause the output to be distorted.
Trigger
■ARPEGGIATOR
These are the arpeggiator-related parameters.
The notes that you are actually pressing will be sounded at
intervals of the trigger. The trigger timing is determined
by the “Tempo” setting.
The “Range” setting will be ignored.
Page25: ARPEGGIO
ON/OFF...................................................... [ON, OFF]
Turn the arpeggiator on/off.
This parameter can be set only by the front panel key. When
this is ON, the key LED will light.
If a greater number of keys are played than the number
of timbres specified in Page 01B: COMMON “Timbre
Voice” or Page 03A: VOICE “Assign,” notes will be
played starting at the lowest-pitched note and continu-
ing upward for the maximum number of allowable
notes.
LATCH ......................................................... [ON, OFF]
Specify how the arpeggiator will operate when you take
your hand off of the keyboard.
This parameter can be set only by the front panel key.
If this is ON (the key LED will light), the arpeggiator will
continue playing even if you take your hand off of the key-
board.
If this is OFF (the key LED will go dark), the arpeggiator will
stop playing when you take your hand off of the keyboard.
B: Range RANGE ....................[1 Octave...4 Octave]
Specify the octave range in which the arpeggio will be
played.
With a setting of 1 Octave, the arpeggio will be played in a
range of 1 octave.
With a setting of 2 Octave, the arpeggio will be played in a
range of 2 octaves.
With a setting of 3 Octave, the arpeggio will be played in a
range of 3 octaves.
With a setting of 4 Octave, the arpeggio will be played in a
range of 4 octaves.
A: Type TYPE ......................................[Up...Trigger]
Select the arpeggio type.
Up
Notes will be played consecutively from low to high
pitches.
C: Tempo TEMPO .....................................[20...300]
Specify the tempo of the arpeggio.
Increasing this value will speed up the arpeggio tempo.
If the Global mode Page 3C: MIDI “Clock” setting is
External, this setting will be ignored.
Down
This setting will also be the sequence playback speed.
Notes will be played consecutively from high to low
pitches.
D: Gate Time GATE ...........................[000%...100%]
Specify the note length (gate time) of the arpeggiated notes.
With a setting of 000, each note will be extremely short.
With set to 100, each note will continue playing until the next
note is triggerd.
Alt 1
Up and Down will be alternated. (The highest and lowest
notes will be sounded once.)
E: Target............................................. [Both...Timbre 2]
Select the timbre(s) that will be played by the arpeggiator.
This parameter will be displayed and can be set only if Page
01A: COMMON “Mode” is set to Dual/Split.
Both
Both timbres will be sounded by the arpeggiator.
Alt 2
Timbre 1
Up and Down will be alternated. (The highest and lowest
notes will be sounded twice.)
Only timbre 1 will be sounded by the arpeggiator.
Timbre 2
Only timbre 2 will be sounded by the arpeggiator.
The MIDI channel of the timbre(s) to be sounded by
the arpeggiator must be set to the Global MIDI chan-
nel. If the timbre is set to other than the Global MIDI
channel, it cannot be sounded by the arpeggiator.
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45
You will be asked to confirm the initialize operation.
F: Key Sync.................................................. [ON, OFF]
Specify whether the arpeggiator will be synchronized to the
keyboard.
26A UTILITY
Are You Sure OK?
If this is ON, the arpeggiator will always start from the
beginning of the arpeggio pattern when you play the key-
board. If you are performing together with other instru-
ments, you can use this function to ensure that the arpeggio
pattern is aligned with the beginning of the measure.
3Press the [+/YES] key once again.
The program will be initialized, and the display will
indicate “Completed.”
4Press the [EXIT] key.
You will return to the first screen of the “InitProgram”
function.
G: Resolution............................................[1/24...1/4]
Specify the resolution (spacing of the notes) relative to the
With a setting of 1/4, the arpeggio will be played as quarter
notes of the specified tempo.
This function initializes the settings of the currently selected
timbre.
With a setting of 1/6, the arpeggio will be played as quarter
note triplets of the specified tempo.
With a setting of 1/8, the arpeggio will be played as eighth
notes of the specified tempo.
Procedure
1In LCD Edit mode, press the SELECT [16] key, and
then press the CURSOR [®] key once.
With a setting of 1/12, the arpeggio will be played as eighth
note triplets of the specified tempo.
The LCD screen will show Page 26B: UTILITY “InitTim-
bre.”
With a setting of 1/16, the arpeggio will be played as six-
teenth notes of the specified tempo.
With a setting of 1/24, the arpeggio will be played as six-
teenth note triplets of the specified tempo.
26B UTILITY
InitTimbre
OK?
2Press the [+/YES] key.
You will be asked to confirm the initialize operation.
H: Swing ...........................................[–100%...+100%]
26B UTILITY
This skews the timing of the even-numbered notes (counting
from the first note) of the arpeggio.
Are You Sure OK?
When Resolution = 1/8
3Press the [+/YES] key once again.
1
2
3
4
5
6
7
8
9
The timbre will be initialized, and the display will indi-
cate “Completed.”
4Press the [EXIT] key.
You will return to the first screen of the “InitTimbre”
function.
Swing
–50
–25
+25
+50
C: CopyTimbre
This function copies the setting of another timbre to the cur-
rently selected timbre.
■UTILITY
Here you can use various utility functions such as copy, ini-
tialize, and swap (exchange) to help you edit more effi-
ciently.
Source Program ........................................ [A01...H16]
Select the copy source program.
Source Timbre .....................................................[1, 2]
Select the copy source timbre.
Page26: UTILITY
Procedure
A: InitProgram
1In LCD Edit mode, press the SELECT [16] key, and
This function initializes the settings of the currently selected
program (timbre, effect, arpeggiator).
When you initialize a program, its voice mode will be Sin-
gle.
then press the CURSOR [®] key twice.
The LCD screen will show Page 26C: UTILITY “Copy-
Timbre.”
Procedure
26C UTILITY
CopyTimbre
OK?
1In LCD Edit mode, press the SELECT [16] key.
The LCD screen will show Page 26A: UTILITY “InitPro-
gram.”
2Press the [+/YES] key.
The LCD screen will show the copy source program
(Source Program) and timbre (Source Timbre).
26A UTILITY
InitProgram OK?
26C UTILITY
2Press the [+/YES] key.
A01 T:1
OK?
Source Timbre
Source Program
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46
Parameter Guide
3Use the [+/YES] [–/NO] keys to select the copy source
The LCD screen will show Page 26E: UTILITY “InitSeq.”
program.
26E UTILITY
4Use CURSOR[®] to move the cursor to the copy
InitSeq
OK?
source timbre.
2Press the [+/YES] key.
5Use the [+/YES] [–/NO] keys to select the copy source
The LCD screen will show the sequence to be initialized
(InitSeq).
timbre.
If the copy source program is Single, it will not be possi-
ble to select the copy source timbre (only timbre 1 is
available).
26E UTILITY
SEQ1
OK?
6Use the CURSOR [®] key to move the cursor to “OK,”
3Use the [+/YES] [–/NO] keys to select the sequence that
and press the [+/YES] key.
you wish to initialize.
You will be asked to confirm the copy function.
If you select ALL, all sequences (SEQ 1–3) of the timbre
will be initialized.
26C UTILITY
Are You Sure OK?
4Use CURSOR [®] to move the cursor to “OK,” and
press the [+/YES] key.
7Press the [+/YES] key once again.
You will be asked to confirm the initialize function.
The copy operation will be completed, and the display
will indicate “Completed.”
26E UTILITY
Are You Sure OK?
8Press the [EXIT] key.
You will return to the first screen of the “CopyTimbre”
function.
5Press the [+/YES] key once again.
The sequence(s) will be initialized, and the display will
indicate “Completed.”
D: SwapTimbre
6Press the [EXIT] key.
This function swaps (exchanges) the settings of timbres 1
and 2 in the currently selected program.
The swap function cannot be performed for Single pro-
grams.
You will return to the first screen of the “InitSeq” func-
tion.
F: CopySeq
Procedure
This function copies sequence data from another timbre to
the currently selected timbre.
1In LCD Edit mode press the SELECT [16] key, and then
press the CURSOR [®] key three times.
Source Program......................................... [A01...H16]
Select the copy source program.
The LCD screen will show Page 26D: UTILITY “Swap-
Timbre.”
26D UTILITY
Source Timbre .....................................................[1, 2]
SwapTimbre
OK?
Select the copy source timbre.
2Press the [+/YES] key.
You will be asked to confirm the swap function.
Source Seq..................................................... [S1...S3]
Select the copy source sequence.
26D UTILITY
Are You Sure OK?
Destination Seq ..................................................[1...3]
Select the copy destination sequence.
3Press the [+/YES] key once again.
The timbres will be swapped, and the display will indi-
cate “Completed.”
Procedure
1In LCD Edit mode, press the SELECT [16] key and then
4Press the [EXIT] key
press the CURSOR [®] key five times.
You will return to the first screen of the “SwapTimbre”
function.
The LCD screen will show Page 26F: UTILITY “Copy-
Seq.”
26F UTILITY
E: InitSeq
CopySeq
OK?
This function initializes one or all sequences of the currently
selected timbre.
2Press the [+/YES] key.
The LCD screen will indicate the copy source program
(Source Program), timbre (Source Timbre), sequence
(Source Seq), and copy destination sequence (Destina-
tion Seq).
InitSeq...................................................... [SEQ1...ALL]
Select the sequence(s) that you wish to initialize.
When you initialize a sequence, the data recorded in that
sequence will be erased.
26F UTILITY
Procedure
A01 T:1 S1”1 OK?
1In LCD Edit mode press the SELECT [16] key, and then
Destination Seq
Source Program
press the CURSOR [®] key four times.
Source Timbre Source Seq
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47
3Use the [+/YES] [–/NO] keys to select the copy source 5Use the [+/YES] [–/NO] keys to select the copy source
program.
timbre.
If you selected a Single program as the copy source, it is
not possible to select the copy source timbre (only tim-
bre 1 is available).
4Use the CURSOR [®] key to move the cursor to the
copy source timbre.
5Use the [+/YES] [–/NO] keys to select the copy source
6Use the CURSOR [®] key to move the cursor to “OK,”
timbre.
and press the [+/YES] key.
If the copy source program is Single, it is not possible to
select the copy source timbre (only timbre 1 is available).
You will be asked to confirm the copy function.
6Use the CURSOR [®] key to move the cursor to the
26G UTILITY
copy source sequence.
Are You Sure OK?
7Use the [+/YES] [–/NO] keys to select the copy source
7Press the [+/YES] key once again.
sequence.
The copy will be completed, and the display will indi-
cate “Completed.”
8Use the CURSOR [®] to move the cursor to the copy
destination sequence.
8Press the [EXIT] key.
9Use the [+/YES] [–/NO] keys to select the copy destina-
You will return to the first screen of the “CopySeqAll”
function.
tion sequence.
0Use the CURSOR [®] key to move the cursor to “OK,”
and press the [+/YES] key.
H: SwapSeq
You will be asked to confirm the copy function.
This function swaps the sequences of the currently selected
timbre.
26F UTILITY
Are You Sure OK?
Swap Seq ..........................................................[1...3]
Select the sequence that you wish to swap.
APress the [+/YES] key once again.
The copy will be completed, and the display will indi-
cate “Completed.”
Procedure
1In LCD Edit mode, press the SELECT [16] key and then
BPress the [EXIT] key.
press the CURSOR [®] key seven times.
You will return to the first screen of the “CopySeq” func-
tion.
The LCD screen will show Page 26H: UTILITY
“SwapSeq.”
G: CopySeqAll
This function copies all sequence data and settings from
another timbre to the currently selected timbre.
26H UTILITY
SwapSeq
OK?
2Press the [+/YES] key.
The LCD screen will show the sequences that will be
swapped (SwapSeq).
Source Program.........................................[A01...H16]
Select the copy source program.
26H UTILITY
Source Timbre......................................................[1, 2]
S:1 <> S:2 OK?
Select the copy source timbre.
SwapSeq
Procedure
3Use the [+/YES] [–/NO] keys and the CURSOR [®] key
1In LCD Edit mode, press the SELECT [16] key and then
to specify the sequences that will be swapped.
press the CURSOR [®] key six times.
4Use the CURSOR [®] key to move the cursor to “OK,”
The LCD screen will show Page 26G: UTILITY “CopySe-
qAll.”
and press the [+/YES] key.
You will be asked to confirm the swap function.
26G UTILITY
26H UTILITY
CopySeqAll OK?
Are You Sure OK?
2Press the [+/YES] key.
5Press the [+/YES] key once again.
The LCD screen will indicate the copy source program
(Source Program) and timbre (Source Timbre).
The copy will be completed, and the display will indi-
cate “Completed.”
26G UTILITY
6Press the [EXIT] key.
A01 T:1
OK?
You will return to the first screen of the “SwapSeq” func-
tion.
Source Program
Source Timbre
3Use the [+/YES] [–/NO] keys to select the copy source
program.
4Use CURSOR [®] to move the cursor to the copy
source timbre.
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48
Parameter Guide
■AUDIO IN 2
These are the parameters for the input from the AUDIO IN 2
jack.
4. Vocoder Parameters
These are the parameters for a vocoder program (Page 01A:
COMMON “Mode” = Vocoder).
■VOICE
Page06: AUDIO IN 2
A: Gate Sense ............................................[000...127]
Page03: VOICE
Specify the speed of the gate that will be applied to the audio
signal input from the AUDIO IN 2 jack according to the
“Threshold” setting.
Lower values for this setting will make the gate operate
more quickly, causing the vocoder sound to decay more
quickly.
These parameters are the same as for Single synth programs.
Higher values for this setting will make the gate operate
more gradually, causing the vocoder sound to have a longer
decay.
■PITCH
If the “Threshold” value is high, this effect will apply
more readily. If the value is 0, there will be no effect.
Page04: PITCH
These parameters are the same as for synth programs.
B: Threshold
Specify the level at which the audio signal from the AUDIO
IN 2 jack will be silenced.
......................[000...127]
Increasing this value will cause the audio signal to be
silenced. This lets you eliminate any noise that might be
heard when no input signal is present.
■OSCILLATOR
If this setting is set excessively high, the audio signal
will also be cut, and it will be difficult for the vocoder
effect to apply.
Page05: OSC 1
A: Wave
............................[Saw...Audio In]
.........................[000...127]
.........................[000...127]
C: HPF Level
........................[000...127]
B: Control1
C: Control2
Adjust the amount of the high-frequency portion of the
audio signal input from the AUDIO IN 2 jack that will be
mixed into the output of the vocoder.
Increasing this value will emphasize the portion that corre-
sponds to the consonants of speech or singing.
Select the waveform of the carrier.
Saw, Pulse, Tri, VoxWave, DWGS, Noise, Audio In
D: HPF Gate ................................................ [ENA, DIS]
Sin
A sine wave will be used. No cross modulation will be
applied.
When mixing the high-frequency portion of the audio signal
input from the AUDIO IN 2 jack into the output of the
vocoder, this setting specifies whether this high-frequency
portion will be output only while the internal tone generator
is sounding, or whether it will always be output whenever
there is an input to the AUDIO IN 2 jack.
• Control1
Adjusting the value will modify the waveform.
• Control2
LFO1 will apply WFM (wave form modulation) to the
waveform specified by “Control1.” The depth of the
LFO1 modulation is adjusted by “Control2.”
ENA
Use this setting when you wish to apply the vocoder effect
only to the internal tone generator, or when you wish to
use the MS2000/MS2000R as a tone generator and connect
the output of another synthesizer to the AUDIO IN 1 jack.
DIS
This setting is effective when you have connected a guitar
via an effects unit etc. to the AUDIO IN 1 jack.
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49
D: Mod Src
Select the modulation source that will be applied to “Cut-
.................[EG 1...MIDI 2]
■MIXER
off.”
The selectable modulation sources are the same as for the
Virtual Patch modulation sources (Source) for synth parame-
ters.
Page07: MIXER
This sets the output level of the carrier. The level you specify
here will be the input level to the band-pass filter of the car-
rier.
E: Mod Int
......................... [–63...+63]
Specify the depth of the modulation that will be applied to
“Cutoff.”
A: OSC 1 Level
..........................[000...127]
Specify the output level of OSC1 (carrier).
F: E.F.Sense
Specify the sensitivity of the envelope follower of the modu-
lator.
With low settings of this parameter, the rise and fall of the
signal from the AUDIO IN 2 jack will be detected rapidly.
With high settings of this parameter, the change will become
slower, producing a sound with no attack and a long release.
With a setting of 127, the response of the signal being input
at that time will be maintained. Subsequently, the sound will
be produced with the response that is being held, regardless
of whether or not there is any input.
.........................[000...127]
B: Inst Level
Specify the output level of the signal that is input from the
AUDIO IN 1 jack.
.................................[000...127]
C: Noise Level
Specify the output level of the noise generator.
...........................[000...127]
■FILTER
If you set this to 127 when there is no input signal
present there will be no output even if an audio signal
is subsequently input.
These are the parameters for the band-pass filter of the car-
rier.
Page08: FILTER
■AMP
A: Formant Shift
...................[–2...+2]
This shifts the cutoff frequency of each band-pass filter of the
carrier, allowing you to dramatically modify the character of
the vocoder output.
Page09: AMP
A: Level
....................................[000...127]
B: Cutoff
.................................[–63...+63]
Specify the volume level of the internal tone generator
(OSC1/NOISE) for the carrier.
This continuously shifts the cutoff frequency of each band-
pass filter of the carrier.
How “Formant Shift” and “Cutoff” are related
When “Formant Shift” = 0 and “Cutoff” = 0, the frequency
response will be as specified by the cutoff frequencies of
each band-pass filter of the modulator.
B: Direct Level
Specify the volume level of the audio that is output directly
from the AUDIO IN 2 jack.
.................[000...127]
Adjustments to “Cutoff” will smoothly shift the frequency
response
The shift in frequency response caused by “Formant Shift”
is smoothly varied by “Cutoff” in two stages above and
two stages below (four stages above and below when used
in conjunction with “Formant Shift”).
C: Distortion
If this is ON, distortion will be applied to the OSC1/NOISE/
AUDIO IN 1 signal.
........................[ON, OFF]
D: Vel Sense ............................................... [–63...+63]
Specify how velocity (keyboard playing dynamics) will
affect the volume.
With positive (+) settings, the volume will increase as you
play harder.
With negative (–) settings, the volume will decrease as you
play harder.
BPF
7
BPF BPF
8
9
Frequency
-63
0
+63
Cutoff (range in which BPF 8 will change)
Formant Shift:+2
E: KBD Track............................................... [–63...+63]
BPF
7
BPF BPF
8
9
Frequency
Specify how keyboard tracking will affect the volume.
With positive (+) settings, the volume will increase as you
play above the C4 note on the keyboard, and will decrease as
you play below C4.
With negative (–) settings, the volume will decrease as you
play above the C4 note on the keyboard, and will increase as
you play below C4.
+63
-63
0
Cutoff (range in which BPF 8 will change)
C: Resonance
....................[000...127]
Specify the amount of resonance for each band-pass filter.
Increasing this value will emphasize the regions near each
cutoff frequency.
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50
Parameter Guide
With a setting of 0, keyboard tracking will not affect the vol-
ume.
Page15: CH PAN
Keyboard Track operates according to the pitch that is
controlled by pitch bend, transpose, and Mod Sequence.
It is not affected by pitch changes produced by vibrato
or Virtual Patch.
A: Ch Pan
Specify the panpot for each filter of the carrier.
15A CH PAN
CH[01]:
CNT
■EG (Envelope Generator)
Channel
Pan
Channel .........................................................[01...16]
Page10: EG 1
Page11: EG 2
Select the filter for which you wish to make settings.
Pan....................................................[L63...CNT...R63]
Specify the panning of each filter.
These parameters are the same as for a synth program.
■EFFECTS
■LFO (Low Frequency Oscillator)
Page16: MOD FX
Page17: DELAY FX
Page18: EQ
Page12: LFO 1
Page13: LFO 2
These parameters are the same as for a synth program.
These parameters are the same as for a synth program.
■CH PARAM
These set the output level and panning (panpot) for each of
the sixteen filters of the carrier (synth).
■ARPEGGIATOR
To make settings, use the CH PARAM [SELECT] key and the
sixteen knobs, or the CURSOR[√][®] keys and the [+/YES]
[–/NO] keys.
Page19: ARPEGGIO
These parameters are the same as for a synth program.
Page14: CH LEVEL
■UTILITY
A: Ch Level
Specify the output level for each filter of the carrier.
Page20: UTILITY
14A CH LEVEL
CH[01]:
060
A: InitProgram
Channel
Level
This function initializes the settings of the currently selected
vocoder program (program common, timbre, effect, arpeg-
giator).
When a vocoder program is initialized, its voice mode will
remain at Vocoder.
Channel..........................................................[01...16]
Select the filter for which you wish to make settings.
Level ..........................................................[000...127]
Specify the output level of the filter.
For the procedure refer to “3. SYNTH Parameters.”
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51
B: InitTimbre
C: Init ch Lvl
This function initializes the output level for each filter of the
carrier.
When the levels are initialized, the output level value will be
127.
Procedure
1Press the SELECT [16] key, and then press the CUR-
SOR [®] key twice.
The LCD screen will show Page 20C: UTILITY “Init ch
Lvl.”
20C UTILITY
Init ch Lvl OK?
2Press the [+/YES] key.
You will be asked to confirm the initialize operation.
20C UTILITY
Are You Sure OK?
3Press the [+/YES] key once again.
The output levels will be initialized, and the display will
indicate “Completed.”
4Press the [EXIT] key.
You will return to the first screen of the “Init ch Lvl”
function.
D: Init ch Pan
This function initializes the panpot for each filter of the car-
rier.
When this is done, the panpot of each filter will be at CNT
(center output).
Procedure
1Press the SELECT [16] key, and then press the CUR-
SOR [®] key three times.
The LCD screen will show Page 20D: UTILITY “Init ch
Pan.”
20D UTILITY
Init ch Pan OK?
2Press the [+/YES] key.
You will be asked to confirm the initialize operation.
20D UTILITY
Are You Sure OK?
3Press the [+/YES] key once again.
The output levels will be initialized, and the display will
indicate “Completed.”
4Press the [EXIT] key.
You will return to the first screen of the “Init ch Pan”
function.
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52
Global parameters
These parameters affect the entire MS2000/MS2000R.
MIDI IN
To set these parameters, press the [GLOBAL] key. If you
wish to save the settings you make, you must perform the
Write operation (Basic Guide, Edit section p.30).
GLOBAL: Transpose
GLOBAL: Velocity Curve
Keyboad
FRONT PANEL: Octave
MIDI OUT
Timbre 2
Arpeggiator
SEQ1/2Timbre 1
SEQ1/2/3
Page1: GLOBAL
D: Vel.Curve.......................................... [1...8, CONST]
Select how velocity (keyboard playing dynamics) will affect
volume and tone. The results of this setting are affected by
the “Position” setting.
A: Mst.Tune...................................[430.0Hz...450.0Hz]
This adjusts the overall pitch of the entire MS2000/MS2000R
in 0.1 Hz steps, relative to the reference pitch of A4 (middle
A).
MAX
(127)
Use this when you need to tune the pitch of the MS2000/
MS2000R to other instruments.
5
4
3
2
8
7
1
Velocity
MIN (1)
6
B: Transpose ...............................................[–12...+12]
This adjusts the overall pitch of the entire MS2000/MS2000R
in semitone steps (100 cents).
Use this when you wish to transpose to suit the song you are
playing.
The range covers one octave upward or downward.
ppp
Strength
(MIDI Velocity)
fff
(127)
(1)
1: This curve produces change for strongly played notes.
2, 3:
|
4: The normal curve.
5:
6: This curve produces change even if notes are not played
very strongly.
7: This curve produces little change for medium-strength
notes, and a fairly consistent effect.
C: Position ........................................ [PostKBD, Pre TG]
This specifies the MIDI IN/OUT routing inside the MS2000/
MS2000R.
This setting will affect how MIDI data is transmitted and
received, and how arpeggiator data is handled.
|
PostKBD
8: This curve produces little change for medium-strength
notes, and a fairly consistent effect (flatter than curve 7).
Data received at the MIDI IN connector will be sent to the
timbre(s) without being affected by the MS2000/
MS2000R’s internal settings or the arpeggiator.
The data outputed by the keyboard of the MS2000 or the
SELECT [1]–[16] keys of the MS2000R will be converted
by the internal settings, routed through the arpeggiator,
and sent to the timbre(s) and to the MIDI OUT connector.
MIDI IN
Curves 7 and 8 produce little change for medium-
strength notes, and are thus suitable when you do not
need velocity sensitivity or when you want the sound to
be more consistent; however, these curves are difficult to
control because they produce significant change for
softly-played notes.
Select a curve that is appropriate for your playing style
and the effect that you wish to obtain.
Timbre 2
GLOBAL: Transpose
FRONT PANEL: Octave
GLOBAL: Velocity Curve
Keyboad
Arpeggiator
Timbre12/3
SEQ1/2/3
CONST
MIDI OUT
All notes will sound at the velocity value specified by
“Vel.Value.”
If you have selected the PostKBD setting, and played
the keyboard (or the SELECT [1]–[16] keys) with both
the arpeggiator and sequence turned on and used an
external sequencer to record the MIDI data that was
produced, the sequence reset method will change
when this data is played back. If you wish to use this
type of application, use the Pre TG setting.
E: Vel.Value................................................[001...127]
This will be displayed and can be set if “Vel.Curve” is
CONST.
All notes will be sounded at the velocity value you specify.
Variations in playing dynamics will have no effect on vol-
ume or tone.
Pre TG
Data received at the MIDI IN connector will be converted
according to the internal settings, routed through the
arpeggiator, and then sent to the timbre(s).
The data that is output by the keyboard of the MS2000 or
the SELECT [1]–[16] keys of the MS2000R will be sent to
the MIDI OUT connector without being affected by the
arpeggiator or by internal settings other than Octave. Data
sent to the timbre(s) will be converted according to the
internal settings, and routed through the arpeggiator
before being sent.
F: AudioInThru..............................................[ON, OFF]
If this is ON, the signal that is input from AUDIO IN 1/2 will
be output without change. This lets you check that the input
to the AUDIO IN 1/2 jacks is correct.
This setting is not memorized by the Write operation.
When the power is turned on, it will always be turned
OFF.
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53
Page2: MEMORY
Page3: MIDI
A: Protect .................................................... [ON, OFF] A: MIDI Ch .....................................................[01...16]
Specify whether or not the internal memory will be pro-
tected.
Specify the global MIDI channel.
When you wish to transmit program changes or system
exclusive messages via MIDI, set the global MIDI channel to
match the MIDI channel of the connected MIDI device.
ON
The following writing operations will be prohibited.
• Writing a program
• Loading the factory data
• Receiving a data dump
If you wish to receive performance data on the global
MIDI channel, set the MIDI channel of the timbre to
match the global MIDI channel. (Set the LCD Edit mode
Page 03B: VOICE “MIDI ch” parameter to GLB.)
OFF
Data can be written to internal memory.
B: Local........................................................[ON, OFF]
Switch the local on/off setting.
B: PageMemory........................................... [ON, OFF]
Make settings for the page memory function.
ON
Select this setting when you are using the MS2000/
MS2000R by itself.
ON
When you exit LCD Edit mode or Global mode to return to
Program Play mode, and then re-enter the previous mode,
the page that had been selected when you exited the mode
will appear in the LCD screen.
OFF
With this setting, controllers such as the keyboard (or for
the MS200R, the SELECT [1]–[16] keys) and modulation
wheel will be internally disconnected from the tone gener-
ator section.
This setting prevents notes from being sounded in dupli-
cate when an external sequencer is connected and the per-
formance data is echoed back from the external sequencer.
(Echo back is a when the performance data transmitted by
playing the MS2000/MS2000R is re-transmitted back to
the MS2000/MS2000R from the sequencer.)
OFF
When you enter LCD Edit mode or Global mode, the LCD
screen will show the first page of the mode.
In LCD Edit mode, Page 01A: COMMON “Mode” will be
displayed. In Global mode, Page 1A: GLOBAL “Mst.Tune”
will be displayed.
C: PageJump ............................................... [ON, OFF]
If this is ON, operating the front panel knobs in LCD Edit
mode will cause the LCD screen to switch to that parameter.
C: Clock ...............................................[Internal...Auto]
Make settings for synchronization with a connected external
MIDI device.
D: Preload
This operation loads the factory settings.
For the loading procedure, refer to p.30 Basic Guide, Edit
Internal
The MS2000/MS2000R will be the master (the controlling
device). A connected external MIDI device (e.g.,
sequencer) will synchronize to the sequence or arpeggiator
of the MS2000/MS2000R.
2D MEMORY
1PRG A01”A01 OK?
If “Tempo Sync” is turned ON for LFO1 and LFO2, the
LFO frequency will synchronize to the tempo specified by
the [TEMPO] knob.
Load Data
Dest Program
Source Program
External
Load data..........................................[1PRG...GLOBAL]
The MS2000/MS2000R will be the slave (the controlled
device). The MS2000/MS2000R’s sequences and arpeggia-
tor will synchronize to the MIDI clock from a connected
external MIDI device.
If “Tempo Sync” is turned ON for LFO1 and LFO2, the
LFO frequency will synchronize to the MIDI clock from
the external MIDI device.
1PRG
Load only data for one program.
PROG
Load data for all programs (128 programs).
GLOBAL
Load global data.
Auto
When MIDI clock data is input from a connected external
MIDI device, the MS2000/MS2000R will automatically
operate with the External setting. Normally, it will operate
with the Internal setting.
Source Program.........................................[A01...H16]
Select the number of the program that you wish to load.
This will be displayed and can be set only if 1PRG is selected
for “Load Data.”
When making settings for synchronizing external
MIDI devices, refer to the owner’s manuals for the
devices you are using.
Dest Program ............................................[A01...H16]
Specify the loading destination for the program selected by
“Source Program.”
This will be displayed and can be set only if 1PRG is selected
for “Load Data.”
D: MIDI1 ............................................[P.Bend...CC#95]
Select the function that will be assigned to modulation
source MIDI 1 of the virtual patch. (With the factory settings,
this is P.Bend.)
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54
Parameter Guide
ENA
E: MIDI2 .............................................[P.Bend...CC#95]
Pitch bend messages will be transmitted and received.
Select the function that will be assigned to modulation
source MIDI 2 of the virtual patch. (With the factory settings,
this is CC#01.)
DIS
Pitch bend messages will not be transmitted or received.
If the specified setting is assigned to another parameter,
an “*” will be shown in the right of the upper line of the
LCD screen.
D: SystemEx ................................................ [DIS, ENA]
Select whether or not MIDI system exclusive messages will
be transmitted and received.
F: MIDI Dump......................................... [1PROG...ALL]
ENA
Select the data that you wish to dump.
MIDI system exclusive messages will be transmitted and
received.
This function transmits the MS2000/MS2000R’s programs
and global settings to a MIDI data filer or computer con-
nected to the MIDI OUT connector. The same data can also
be transmitted to another MS2000/MS2000R.
For the dump procedure, refer to p.31 Basic Guide, Edit sec-
To receive this data, set Global mode Page 4D: MIDI FILTER
“SystemEx” to ENA, and you will be able to receive a data
dump at any time.
DIS
MIDI system exclusive messages will not be transmitted or
received.
When note data is received, specify the note numbers (even
numbered notes, odd numbered notes, all notes) that will be
sounded by the MS2000/MS2000R.
Data is transmitted and received on the global MIDI channel.
ALL
1PROG
All note numbers will be received. Normally you will
leave this set at ALL. If you have connected an MS2000 or
an addition MS2000R to an MS2000R to increase the
polyphony, set one unit to EVN and the other to ODD so
that either one or the other will sound.
Data for the currently selected program will be transmit-
ted.
PROG
Data for all programs will be transmitted.
GLOBAL
Global data will be transmitted.
EVN or ODD are valid only if the program has an
“Assign” setting (LCD Edit mode Page 03A: VOICE) of
Poly.
ALL
All programs and global data will be transmitted.
The following times are required in order to perform the
various types of data dump.
MS2000
MIDI OUT
MIDI IN
MS2000R
EVN
Data to dump
Data size (Bytes)
291
Time required (seconds)
ODD
1PROG
PROG
GLOBAL
ALL
Less than one second
approximately 15
37,157
227
MIDI OUT
Less than one second
approximately 15
MIDI IN
MS2000R#1
EVN
MIDI THRU
MIDI IN
MS2000R#2
ODD
37,383
MIDI keyboard, etc.
There is no effect on the MIDI data that is received.
EVN
Page4: MIDI FILTER
Even-numbered notes (C, D, E, F#, G#, A#) will be
sounded.
A: ProgChg..................................................[DIS, ENA]
Select whether or not program changes will be transmitted
and received.
ODD
Odd-numbered notes (C#, D#, F, G, A, B) will be sounded.
ENA
Program changes will be transmitted and received.
F: P.Chg
DIS
Here you can freely specify the correspondence between the
MS2000/MS2000R’s program numbers and the incoming
MIDI program change numbers.
Program changes will not be transmitted or received.
B: CtrlChg....................................................[DIS, ENA]
Select whether or not MIDI control changes will be transmit-
ted and received.
4F MIDI FILTER
P.Chg[000]:A01
Internal
External
ENA
MIDI control changes will be transmitted and received.
External .....................................................[000...127]
Select the incoming MIDI program change number.
DIS
MIDI control changes will not be transmitted or received.
C: P.Bend.....................................................[DIS, ENA]
Internal ..................................................... [A00...H16]
Select whether or not pitch bend messages will be transmit-
ted and received.
Select the MS2000/MS2000R program number.
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55
Exp Pdl
G: SyncCtrl .................................[OFF, CC#00...CC#95]
MIDI control change MIDI Expression (CC#11) will be
assigned.
You can use a pedal to control the volume level. This is
used mainly to add dynamic performance expression to
the level. Pedal operations will also transmit [Bn, 0B, vv]
(CC#11) messages from the MIDI IN connector.
Select the MIDI control change number that will be transmit-
ted from the MIDI OUT connector when the arpeggiator
sends a note-on. (With the factory settings, this is CC#90.)
If the specified number has been specified for another
key or knob, an “*” will be displayed in the LCD screen
beside “MIDI FILTER.”
Panpot
MIDI control change MIDI Panpot (CC#10) will be
assigned.
You can use a pedal to control the panpot of the program.
Pedal operations will also transmit [Bn, 0A, vv] (CC#10)
messages from the MIDI IN connector.
H: TimbreSelect...........................[OFF, CC#00...CC#95]
Here you can select the control change number that will be
output from the MIDI OUT connector when a timbre is
selected in Program Play mode or LCD Edit mode. (With the
factory settings, this is CC#95.)
For a vocoder program, this controls the volume level of
the audio that is output directly from the AUDIO IN 2
jack (Direct Level).
If the specified number has been specified for another
key or knob, an “*” will be displayed in the LCD screen
beside “MIDI FILTER.”
If the control change map (Page 5: CTRL CHANGE)
Panpot has been set to CC#10, this will control panpot
(or Direct Level).
Page5: CTRL CHANGE
A.Touch
After Touch will be assigned. Operating the pedal will
transmit Channel Pressure [Dn, vv] messages from the
MIDI OUT connector. If the Global mode parameters Page
3D: MIDI “MIDI 1” or Page 3E: MIDI “MIDI 2” are set to
A.Touch, this can be used as a modulation source.
A: Ctrl Change
Here you can assign a MIDI control change number (CC#) to
each front panel knob.
When you operate a knob or key in Program Play mode or
LCD Edit mode, the assigned control change will be trans-
mitted or received.
BreathC
MIDI control change MIDI Breath Control (CC#02) will be
assigned.
Operating the pedal will transmit [Bn, 02, vv] messages
from the MIDI OUT connector.
5A CTRL CHANGE
Portament :CC#05
If the Global mode parameters Page 3D: MIDI “MIDI 1” or
Page 3E: MIDI “MIDI 2” are set to CC#02, this can be used
as a modulation source.
knob
Ctrl#
Knob....................................[Portamento...Mod Depth]
Select the knob or key.
FootPdl
MIDI control change Foot Pedal (CC#04) will be assigned.
Operating the pedal will transmit [Bn, 04, vv] messages
from the MIDI OUT connector.
If the Global mode parameters Page 3D: MIDI “MIDI 1” or
Page 3E: MIDI “MIDI 2” are set to CC#04, this can be used
as a modulation source.
Ctrl#...........................................[OFF, CC#00...CC#95]
Select the MIDI control change number (CC#).
If the specified number has been specified for another
key or knob, an “*” will be displayed in the LCD screen
beside “CTRL CHANGE.”
B: A.SwFunc................................... [Damper...Arpegio]
Select the function of the pedal switch connected to the
ASSIGNABLE SWITCH jack. (With the factory settings, this
is Damper.)
Page6: PEDAL&SW
Damper
A: A.Pedal........................................[Volume...FootPdl]
The pedal switch will function as a damper pedal.
Select the function of the pedal that is connected to the
ASSIGNABLE PEDAL jack. (With the factory settings, this is
Exp Pdl.)
Prog +/–
The pedal switch will select programs consecutively.
Oct +/–
Volume
The pedal switch will switch octaves.
This lets you use the pedal to perform the functions of the
front panel OCTAVE (or BANK/OCTAVE) [UP], [DOWN]
keys.
MIDI control change MIDI Volume (CC#07) will be
assigned.
You can use a pedal to control the volume level of the pro-
gram. This is used mainly as a fader-style level control.
Pedal operations will also transmit [Bn, 07, vv] (CC#07)
messages from the MIDI OUT connector.
On the MS2000R, this is effective only for a perfor-
mance using the SELECT [1]–[16] keys.
Portmnt
For a vocoder program, this controls the volume level of
the internal tone generator of the carrier.
The pedal switch will function as a portamento on/off
switch.
If the control change map (Page 5: CTRL CHANGE)
Amp Level has been set to CC#07, this will control the
volume level.
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56
Parameter Guide
Arpegio
Move the connected pedal through its maximum range of
movement, and then press the [+/YES] key.
The pedal switch will function as an arpeggiator on/off
switch.
C: BW (MS2000 only)
Set the active range of the MS2000’s pitch bender.
C: A.Switch..........................................................[–, +]
Select the polarity of the pedal switch that is connected.
Set this to “–” if you are using a Korg PS-1 pedal switch or if
you are not using a pedal switch.
Move the pitch bender through its maximum range of move-
ment, return it to the center, and then press the [+/YES] key.
D: MW (MS2000 only)
D: A.SwMode ...................................... [UnLatch, Latch]
Specify how a connected pedal switch will turn on/off.
(With the factory settings, this is Unlatch.)
Set the active range of the MS2000’s modulation wheel.
Move the modulation wheel through its maximum range of
movement, and then press the [+/YES] key.
UnLatch
If you do not perform these settings correctly, the dis-
play will indicate “Invalid Data” when you press the
[+/YES] key. If this occurs, make the setting once
again.
The switch will be on only while it is being pressed.
Latch
The switch will alternate between on and off each time it is
pressed.
You must perform the Write operation for CALIB set-
tings just as for other Global parameters. If you fail to
perform the Write operation, the settings will revert to
their previous values (☞p.30).
Page7: USER SCALE
A: User Scale
Specify the user scale.
For each pitch in the octave (C–B), you can adjust the pitch in
a range of –100 — +100 cents.
The entire keyboard will use this scale if you set LCD Edit
mode Page 01: COMMON “Scale” to User Scale.
7A USER SCALE
KEY[C ]:+000
Key
Detune
Key ....................................................................[C...B]
Select the note whose pitch you wish to adjust.
Detune ...................................................[–100...+100]
Adjust the pitch in one-cent units, relative to the equal tem-
perament as 0.
A setting of +100 raises the pitch a semitone (+100 cents)
above standard pitch.
A setting of –100 lowers the pitch a semitone (–100 cents)
below standard pitch.
Page8: CALIB
Here you can set the active range of the MS2000/MS2000R’s
controllers or a connected pedal switch or pedal. Make these
settings if operating a controller or pedal does not produce
the desired result.
A: AS
Make settings for a switch connected to the MS2000/
MS2000R.
Turn the connected switch on/off, and then press the [+/
YES] key.
B: AP
Set the active range of a pedal connected to the MS2000/
MS2000R.
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57
Appendices
Program change
About MIDI
Program change [Cn, pp]
(n: channel, pp: program number)
By using a MIDI cable to connect MIDI devices, midi data
can be exchanged between devices even if they are different
models or were made by different manufacturers. For exam-
ple you can use the MS2000/MS2000R to control an external
MIDI device, or conversely use an external MIDI device to
control the MS2000/MS2000R to make it produce sound.
When you select a program in Program Play mode, a pro-
gram change message is transmitted with the number cor-
responding to the 128 programs (A01–H16) stored in the
MS2000’s eight banks (A–H).
When the MS2000/MS2000R receives a program change
message, it will select a program according to the settings
of Global mode Page 4F: MIDI FILTER “P.Chg” (program
change map).
If you wish to receive program changes, set Global mode
Page 4A: MIDI FILTER “ProgChg” to ENA. If this is set to
DIS, program changes will not be received.
MIDI messages transmitted and
received by the MS2000/MS2000R
MIDI channels
The MS2000/MS2000R does not transmit or receive
bank select messages ([Bn, 00, mm], [Bn, 20, bb]).
MIDI uses sixteen channels (1–16). MIDI messages can be
transmitted and received when the channel of the receiving
device matches the channel of the transmitting device. The
MS2000/MS2000R normally transmits and receives MIDI
messages on its Global MIDI channel.
Aftertouch
Channel aftertouch [Dn, vv]
(n: channel, vv: value)
The global MIDI channel is set in Global mode Page 3: MIDI
“MIDI Ch.”
Performance data such as note-on/off and pitch bend from
the MS2000/MS2000R is transmitted on the global MIDI
channel.
If Global mode Page 3D, E: MIDI “MIDI 1” or “MIDI 2” are
set to A.Touch, aftertouch can be used as a modulation
source for a virtual patch of a synth program or for the FC
MOD of a vocoder program. (These messages will be
received on the timbre channel.)
If Global mode Page 6A: PEDAL & SW “A.Pedal” is set to
A.Touch, pedal movements will transmit channel after
messages on the global MIDI channel.
If you wish to transmit and receive channel aftertouch, set
Global mode Page 4B: MIDI FILTER “CtrlChg” to ENA. If
this is set to DIS, channel aftertouch messages will not be
transmitted or received.
Timbre channel
The number of timbres used will depend on the voice
mode of the program: a Single program uses one, a Split/
Dual program uses two, and a Vocoder program uses one.
A separate MIDI channel can be assigned to each timbre.
The MIDI channel for each timbre is set in LCD Edit mode
Page 03B: VOICE “MIDI ch.”
If you are playing the MS2000/MS2000R by itself, or using
an external MIDI keyboard to play it, set the MIDI channel
of each timbre to be the global MIDI channel (GLB).
If you are connecting an external MIDI sequencer to the
MS2000/MS2000R to play each timbre independently, set
the channel of each timbre to the same channel as the corre-
sponding track on your MIDI sequencer.
Pitch bend
Pitch bend change [En, bb, mm]
(n: channel, bb: lower digits of value, mm: upper digits of
value)
Even if the timbre channel is not set to GLB, control
changes assigned to effect parameters, Sync Control,
and Timbre Select will be transmitted and received on
the global MIDI channel.
When pitch bend change messages are received, a pitch
bend effect will be applied according to the value set for
LCD Edit mode Page 4D: PITCH “Bend Range.” If Global
mode Page 2D or E: MIDI “MIDI1” or “MIDI 2” are set to
P.Bend, pitch bend can be used as an FC MOD modulation
source for the virtual patch of a synth program or vocoder
program. In this case, the message will act as a modulation
source where mm=64, bb=00 will be 0 (center value) for the
range of –127 – +127. (This message is received on the tim-
bre channel.)
When you move the PITCH BEND wheel on the MS2000,
pitch bend change messages are transmitted on the global
MIDI channel.
If you want pitch bend change messages to be received and
transmitted, set Global mode Page 4C: MIDI FILTER
“P.Bend” to ENA. If this is set to DIS, pitch bend change
messages will not be received or transmitted.
Note-on/off
Note-on [9n, kk, vv], Note-off [8n, kk, vv]
(n: channel, kk: note number, vv: velocity)
When you play the keyboard of the MS2000, note-on/off
messages are transmitted. (On the MS2000R, note-on/off
messages are transmitted when you turn the [KEYBOARD]
key on and press the SELECT [1]–[16] keys.) The note-off
velocity is transmitted at a fixed 64, but is not received.
If the Global mode Page 1C: GLOBAL “Position” is Post-
KBD, note-on/off messages will be transmitted by the
arpeggiator if it is running.
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58
Appendices
Using control changes as a modulation source for
Control changes
a virtual patch
By setting Global mode Page 3D, 3: MIDI “MIDI 1” or
“MIDI 2” to CC#cc (cc=00–95), you can use control changes
as the modulation source of the virtual patch of a synth
program or the FC MOD modulation source of a vocoder
program. The value 0–127 of the modulation source will be
used without change, and no distinction will be made
between upper byte (MSB)/lower byte (LSB) or between
continuous type/switch type.
Control changes [Bn, cc, vv]
(n: channel, cc: control change no., vv: value)
Movements of the MODULATION wheel or a modulation
source (MIDI 1, MIDI 2) can be transmitted and received as
various controllers according to their control change num-
ber.
If you wish to transmit and receive control change mes-
sages, set Global mode Page 4B: MIDI FILTER “CtrlChg” to
ENA. If this is set to DIS, control change messages will not
be transmitted or received.
Assigning control changes to a parameter con-
troller (knob, key)
You can make settings in Global mode Page 5A: CTRL
CHANGE to assign principal parameter controllers of the
front panel (knobs, keys) to control changes CC#00–CC#95.
By doing so, you can use these controllers to transmit the
corresponding control change message, and when the con-
trol change messages are received the result will be the
same as if the controller were operated. (☞p.65 “Front
panel knob/key control change assignments”)
• Modulation depth (CC#01) [Bn, 01, vv]
When modulation depth is received, it will adjust the depth
of the vibrato produced by LFO2 according to the setting of
LCD Edit mode Page 4C: PITCH “Vibrato Int.” If the maxi-
mum value (127) is received, vibrato will be applied over
the full pitch range specified by “Vibrato Int.” If a value of
0 is received, no vibrato will be applied.
When you move the MODULATION wheel of the MS2000,
modulation depth messages will be transmitted on the glo-
bal MIDI channel.
Sound parameter controllers will transmit and receive on
the timbre channel, and effect parameter controllers will
transmit and receive on the global MIDI channel.
• Volume (CC#07) [Bn, 07, vv]
If the voice mode of the program is Split or Dual and if
both timbre channels are set to the global MIDI channel
(GLB), control change messages will be transmitted only
for the timbre chosen by the front panel TIMBRE SELECT
[SELECT] key.
If you set Global mode Page 6A: PEDAL & SW “A.Pedal”
to Volume, pedal movements will transmit volume mes-
sages on the global MIDI channel. By setting the AMP
“Level” control change assignment to volume (CC#07), you
can receive volume messages to control the volume.
By using the front panel TIMBRE SELECT [SELECT] key to
switch timbres, you can transmit a message (Timbre Select)
that specifies the timbre to which the messages will apply.
When the MS2000/MS2000R receives a Timbre Select mes-
sage, the timbre will switch according to the received
value. A control change message is used for this Timbre
Select message as specified by Global mode Page 4H: MIDI
FILTER “TimbSelect” (0: Timbre 1, 1–127: Timbre 2).
• Panpot (CC#10) [Bn, 0A, vv]
If you set Global mode Page 6A: PEDAL & SW “A.Pedal”
to Panpot, pedal movements will transmit panpot mes-
sages on the global MIDI channel. By setting the AMP
“Panpot” control change assignment to panpot (CC#10),
you can receive panpot messages to move the stereo loca-
tion of the sound.
• Expression (CC#11) [Bn, 0B, vv]
When expression messages are received, the timbre volume
will be controlled. If the maximum value (127) is received
the volume will be maximum, and if a value of 0 is received
the volume will be 0.
If you set Global mode Page 6A: PEDAL & SW “A.Pedal”
to Exp Pdl, pedal movements will transmit expression mes-
sages on the global MIDI channel.
• Damper pedal (CC#64) [Bn, 40, vv]
Damper pedal messages can be received to turn the
damper (hold) effect on/off for a timbre.
If you set Global mode Page 6B: PEDAL & SW “A.SwFunc”
to Damper, movements of the assignable switch will trans-
mit damper pedal messages on the global MIDI channel (0:
OFF, 7F: ON).
• Portamento (CC#65) [Bn, 41, vv]
When portamento messages are received, the portamento
effect of the timbre will be turned on/off. (If portamento
time is 0, there will be no portamento effect.)
If you set Global mode Page 6B: PEDAL & SW “A.SwFunc”
to Portmnt, movements of the assignable switch will trans-
mit portamento messages on the global MIDI channel (0:
OFF, 7F: ON).
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59
Parameters transmitted and received via NRPN
Front panel knobs and keys other than the controls listed above are assigned NRPN (Non Registered Parameter No.). NRPN
messages can be used freely by any musical instrument manufacturer or model.
NRPN editing is performed using the following procedure.
1Use NRPN MSB (CC#99) [Bn, 63, mm] and NRPN LSB (CC#98) [Bn, 62, rr] (n: channel, mm, rr: parameter no. upper
and lower bytes) to select the parameter.
2Use data entry MSB (CC#6) [Bn, 06, mm] (n: channel, mm: parameter value) to specify the value.
On the MS2000/MS2000R, only data entry MSB is used.
Controlling the arpeggiator
When arpeggiator settings are modified by the front panel keys or knobs, the following NRPN messages are transmitted.
When these NRPN messages are received, the corresponding arpeggiator settings will change accordingly. These messages
are transmitted and received on the global MIDI channel. For the correspondence between the values of the message and the
values of the MS2000/MS2000R parameter, refer to the table.
• ON/OFF: [Bn, 63, 00, Bn, 62, 02, Bn, 06, mm] (n: channel, mm: parameter value)
• RANGE: [Bn, 63, 00, Bn, 62, 03, Bn, 06, mm] (n: channel, mm: parameter value)
• LATCH: [Bn, 63, 00, Bn, 62, 04, Bn, 06, mm] (n: channel, mm: parameter value)
• TYPE: [Bn, 63, 00, Bn, 62, 07, Bn, 06, mm] (n: channel, mm: parameter value)
• GATE: [Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm] (n: channel, mm: parameter value)
MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
0...63: OFF, 64...127: ON
ON/OFF
RANGE
LATCH
TYPE
00
00
00
00
00
02
03
04
07
0A
0: OFF, 127: ON
0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3: 4 Octave
0: 1 Octave, 1: 2 Octave, 2: 3 Octave, 3...127: 4 Octave
0: OFF, 127: ON
0...63: OFF, 64...127: ON
0: Up, 26: Down, 51: Alt1, 71: Alt2, 102: Random, 127: Trigger 0...21: Up, 22...42: Down, 43...63: Alt1, 64...85: Alt2, 86...106: Random, 107...127: Trigger
GATE
Refer to separate table (GATE values)
Refer to separate table (GATE values)
GATE values
Value (transmitted, received) Gate Time [%] Value (transmitted, received)
Value (transmitted, received) Gate Time [%] Value (transmitted, received)
Value (transmitted, received)
107
108
109, 110
111
112
113, 114
115
116
117
118, 119
120
121
122
123, 124
125
126
Gate Time [%]
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
Gate Time [%]
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
Gate Time [%]
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
0, 1
2
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
54
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
27
28, 29
30
80, 81
82
55
3
56, 57
58
83
84
4, 5
6
31
32
59
60
85, 86
87
7
8
33, 34
35
61, 62
63
88
89
9, 10
11
12
36
37, 38
39
64
65
90, 91
92
13
66, 67
68
69
40
93
94, 95
96
14, 15
16
17
41
42, 43
44
70
97
18, 19
20
71, 72
73
74
75, 76
77
78
45
46
98
99, 100
101
102
103
104, 105
106
21
22
127
100
47, 48
49
23, 24
25
50
51
26
79
52, 53
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60
Appendices
Other controls
Panel knobs and keys other than the arpeggiator transmit and receive the following NRPN messages. These are transmitted
and received on the MIDI channel of the timbre. If the voice mode is Split or Dual and the timbre channel (LCD Edit mode
Page 03B: VOICE “MIDI ch”) of both timbres is set to the global MIDI channel (GLB), NRPN messages will be transmitted/
received only for the timbre that is selected by the front panel TIMBRE SELECT [SELECT] key. For the correspondence
between the values of the message and the values of the MS2000/MS2000R parameter, refer to the table.
Controlling the VIRTUAL PATCH 1–4 SOURCE
• PATCH 1•SOURCE: [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH 2•SOURCE: [Bn, 63, 04, Bn, 62, 01, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH 3•SOURCE: [Bn, 63, 04, Bn, 62, 02, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH 4•SOURCE: [Bn, 63, 04, Bn, 62, 03, Bn, 06, mm] (n: channel, mm: parameter value)
Controlling the VIRTUAL PATCH 1–4 DESTINATION
• PATCH1•DESTINATION: [Bn, 63, 04, Bn, 62, 08, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH2•DESTINATION: [Bn, 63, 04, Bn, 62, 09, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH 3•DESTINATION: [Bn, 63, 04, Bn, 62, 0A, Bn, 06, mm] (n: channel, mm: parameter value)
• PATCH4•DESTINATION: [Bn, 63, 04, Bn, 62, 0B, Bn, 06, mm] (n: channel, mm: parameter value)
Controlling the FC MOD source of a vocoder program FILTER
• FC MOD SOURCE: [Bn, 63, 04, Bn, 62, 00, Bn, 06, mm] (n: channel, mm: parameter value)
Synth Parameter
PATCH 1 SOURCE
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
FC MOD SOURCE
04
04
04
04
04
04
04
04
00
01
02
03
08
09
0A
0B
0...15: EG1, 16...31: EG2, 32...47: LFO1
48...63: LFO2, 64...79: VELOCITY
80...95: KBD TRACK, 96...111: MIDI 1
112...127: MIDI 2
0: EG1, 18: EG2, 36: LFO1, 54: LFO2
72: VELOCITY, 90: KBD TRACK
108: MIDI 1, 126: MIDI 2
PATCH 2 SOURCE
PATCH 3 SOURCE
PATCH 4 SOURCE
PATCH 1 DESTINATION
PATCH 2 DESTINATION
PATCH 3 DESTINATION
PATCH 4 DESTINATION
0...15: PITCH, 16...31: OSC2 PITCH
32...47: OSC1 CTRL1
48...63: NOISE LEVEL, 64...79: CUTOFF
80...95:AMP, 96...111: PAN
0: PITCH, 18: OSC2 PITCH
36: OSC1 CTRL1, 54: NOISE LEVEL
72: CUTOFF, 90: AMP, 108: PAN
126: LFO2 FREQ
112...127: LFO2 FREQ
Controlling SEQ EDIT/CH PARAM
If the program is a synth program, the SEQ Step Value can be controlled. If the program is a vocoder program, the CH
PARAM (CH LEVEL and CH PAN) of the synthesis filter can be controlled.
• SEQ1 Step Value 1...16/Channel Level 1...16ch: [Bn, 63, 04, Bn, 62, 10...1F, Bn, 06, mm] (n: channel, mm: parameter
value)
Synth Parameter
SEQ1/CH LEVEL STEP [01]
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
CH [01]
CH [02]
CH [03]
CH [04]
CH [05]
CH [06]
CH [07]
CH [08]
CH [09]
CH [10]
CH [11]
CH [12]
CH [13]
CH [14]
CH [15]
CH [16]
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
10
11
SEQ1/CH LEVEL STEP [02]
SEQ1/CH LEVEL STEP [03]
SEQ1/CH LEVEL STEP [04]
SEQ1/CH LEVEL STEP [05]
SEQ1/CH LEVEL STEP [06]
SEQ1/CH LEVEL STEP [07]
SEQ1/CH LEVEL STEP [08]
SEQ1/CH LEVEL STEP [09]
SEQ1/CH LEVEL STEP [10]
SEQ1/CH LEVEL STEP [11]
SEQ1/CH LEVEL STEP [12]
SEQ1/CH LEVEL STEP [13]
SEQ1/CH LEVEL STEP [14]
SEQ1/CH LEVEL STEP [15]
SEQ1/CH LEVEL STEP [16]
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
SEQ1: *1
CH LEVEL: 0...127
SEQ1: *1
CH LEVEL: 0...127
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61
*1:
• When “Knob” = Step Length, data correspondences for both transmission and reception will be:
0...9: –6, 10...19: –5, 20..29: –4, 30...39: –3, 40...49: –2, 50...59: –1, 60...68: 0, 69...78: +1, 79...88: +2, 89...98: +3, 99...108: +4,
109...118: +5, 119...127: +6
• When “Knob=” other values, both transmission and reception will be:
0/1: –63, 2: –62...64: 0...127: +63
• SEQ2 Step Value 1...16/Channel Pan 1...16ch: [Bn, 63, 04, Bn, 62, 20...2F, Bn, 06, mm] (n: channel, mm: parameter value)
Synth Parameter
STEP [01]
STEP [02]
STEP [03]
STEP [04]
STEP [05]
STEP [06]
STEP [07]
STEP [08]
STEP [09]
STEP [10]
STEP [11]
STEP [12]
STEP [13]
STEP [14]
STEP [15]
STEP [16]
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
SEQ2/CH PAN
CH [01]
CH [02]
CH [03]
CH [04]
CH [05]
CH [06]
CH [07]
CH [08]
CH [09]
CH [10]
CH [11]
CH [12]
CH [13]
CH [14]
CH [15]
CH [16]
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
SEQ2: *1
CH PAN:
0/1: L63, 2: L62...63: L01
64: CNT, 65: R01...127: R63
SEQ2: *1
CH PAN:
0/1: L63, 2: L62...63: L01
64: CNT, 65: R01...127: R63
*1:
0...9: –6, 10...19: –5, 20..29: –4, 30...39: –3, 40...49: –2, 50...59: –1, 60...68: 0, 69...78: +1, 79...88: +2, 89...98: +3, 99...108: +4,
109...118: +5, 119...127: +6
0/1: –63, 2: –62...64: 0...127: +63
• SEQ3 Step Value 1...16: [Bn, 63, 04, Bn, 62, 30...3F, Bn, 06, mm] (n: channel, mm: parameter value)
Synth Parameter
STEP [01]
STEP [02]
STEP [03]
STEP [04]
STEP [05]
STEP [06]
STEP [07]
STEP [08]
STEP [09]
STEP [10]
STEP [11]
STEP [12]
STEP [13]
STEP [14]
STEP [15]
STEP [16]
Vocoder Parameter MSB (Hex) LSB (Hex)
Value (transmitted)
Value (received)
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
SEQ3
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
04
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
*1
*1
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62
Appendices
*1:
Arpeggiator
to a connected external MIDI device, system realtime mes-
sages Start and Stop will control the arpeggiator.
0...9: –6, 10...19: –5, 20..29: –4, 30...39: –3, 40...49: –2,
50...59: –1, 60...68: 0, 69...78: +1, 79...88: +2, 89...98: +3,
99...108: +4, 109...118: +5, 119...127: +6
Start [FA]
2 Semitone values.”
When a Start [FA] message is received, the arpeggiator will
start from the pitch of the first played note.
reception will be:
When a Stop [FC] message is received, the arpeggiator will
stop. (It will not be turned off; the arpeggiator will start
again when additional notes are played.)
0/1: –63, 2: –62...64: 0...127: +63
If you are using two MS2000/MS2000R units to trans-
mit and receive these parameters, you must set the
transmitting and receiving programs to the same set-
tings.
System exclusive messages
Sync control
MS2000/MS2000R format
F0: exclusive status
The first-played note-on will sync a Mod Sequence or LFO
whose “KeySync” = Timbre. However in order to distin-
guish manually played note-on/off’s from those that are
repeated automatically by the arpeggiator, the MS2000/
MS2000R’s arpeggiator will transmit a Sync Control mes-
sage at the time of note-on (when Global mode Page 1C:
GLOBAL “Position” is PostKBD).
42: Korg ID
3n: [n=0–F] global MIDI channel
58: MS2000/MS2000R model ID
ff: function ID (type of message)
–
F7: end of exclusive
A control change message is used for this Sync Control
message as specified by Global mode Page 4G: MIDI FIL-
TER “SyncCtrl.”
By using Sync Control to apply sync to a Mod Sequence or
LFO, you can cause each arpeggiated note to advance the
Mod Sequence or random LFO by one step.
Universal system exclusive
System exclusive messages include a special category of
messages whose purpose is officially defined. These are
called universal system exclusive messages.
Of these universal system exclusive messages, the MS2000/
MS2000R supports Master Volume and Master Fine Tun-
ing.
Silencing all notes of a given channel
• All note off (CC#123) [Bn, 7B, 00]
Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]
(vv: lower byte of value, mm: upper byte of value, [mm,
vv=7F, 7F] is Max, [mm, vv=00, 00] is 0)
(value is 00)
When an All Note Off message is received, all currently-
sounding notes of that channel will be turned off. Some
sound may linger due to the envelope settings.
When a Master Volume message is received, the MS2000/
MS2000R will adjust its overall volume.
• All sound off (CC#120) [Bn, 78, 00]
If Global mode Page 1E: GLOBAL “AudioInThru” is
ON, the input signal of AUDIO IN 1/2 will not be
affected by Master Volume.
(value is 00)
When an All Sound Off message is received, all notes cur-
rently sounding on that channel will be silenced. While All
Note Off allows the decay of a note to continue, the All
Sound Off will silence the sound immediately.
However, this message is intended for use in emergencies,
and is not for use during a performance.
Master fine tuning [F0, 7F, nn, 04, 03, vv, mm, F7]
(A value of 8192 [mm, vv=40, 00] is center (0 cent,
A4=440.0Hz), 4096 [mm, vv=20, 00] is –50 cents, and 12288
[mm, vv=60, 00] is +50 cents.)
When master fine tuning is received, the value specified for
the MS2000/MS2000R’s Global mode Page 1A: GLOBAL
“Mst.Tune” will be ignored, and the overall pitch will be
specified by the data that was received.
Resetting all controllers of a given channel
• Reset all controllers (CC#121) [Bn, 79, 00]
(value is 00)
When a Reset All Controllers message is received, all con-
troller values currently operating on that channel will be
reset.
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63
Transmitting sound settings etc. (Data Dump)
Program data and global data can be transmitted as a MIDI
exclusive data. The action of transmitting MIDI exclusive
data to an external MIDI device is called a data dump.
By performing a data dump, you can store various types of
data on an external MIDI device, or rewrite the sounds or
settings of a second MS2000/MS2000R.
Data dumps can be performed on the MS2000/MS2000R as
follows.
• In Global mode Page 3F: MIDI Dump, select the type of
data to be transmitted (1PROG, PROG, GLOBAL, ALL),
and transmit the data dump.
1PROG will dump only the data for the program select-
ing in Program Play mode. When the MS2000/MS2000R
receives such a data dump, the settings of the currently
selected program will be rewritten by the data that was
received.
In this case, the data will not be saved unless you per-
form the Write operation.
PROG will dump the data for all programs saved in
memory.
GLOBAL will dump global data (Global mode settings).
ALL will dump all programs as well as global data.
If PROG, GLOBAL, or ALL dumps are received by the
MS2000/MS2000R, the data will be written directly into
internal memory; you do not need to perform the Write
operation.
• When a dump request is received from an external
device, the MS2000/MS2000R will transmit the data
dump that was requested.
• When you switch to LCD Edit mode, the data of only the
selected program will be dumped.
If you wish to receive a data dump, set Global mode Page
4D: MIDI FILTER “SystemEx” to ENA. If this is set to DIS,
data dumps will not be received.
If you wish to obtain the “MIDI Implementation” which
includes details of the MIDI exclusive format, please
contact a Korg dealer.
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64
Appendices
Front panel knob/key control change assignments
Control changes can be assigned to each front panel knob/key of the MS2000/MS2000R so that the changes in sound as con-
trolled by knob/key operations can be transmitted as performance data.
Synth Parameter
Vocoder Parameter Initial
Value (transmitted)
Value (received)
PITCH
OSC 1
Portamento
Portamento
Wave
CC#05 0...127
0...127
0: Saw, 18: Pulse, 36: Tri, 54: Sin, 72: Vox Wave
90: DWGS, 108: Noise, 126: Audio In
0...15: Saw, 16...31: Pulse, 32...47: Tri, 48...63: Sin, 64...79: Vox
Wave, 80...95: DWGS, 96...111: Noise, 112...127: Audio In
Wave
CC#77
0...127
0...127
Control1
Control2
Wave
Control1
Control2
CC#14
CC#15
0...127 * OSC 1 Wave=DWGS; see p.66
0...127 * OSC 1 Wave=DWGS; see p.66
0...42: Saw, 43...85: Squ, 86...127: Tri
0...31: OFF, 32...63: Ring, 64...95: Sync, 96...127: RingSync
– – – – – – – – – – – CC#78 0: Saw, 64: Squ, 127: Tri
– – – – – – – – – – – CC#82 0: OFF, 43: Ring, 85: Sync, 127: RingSync
Synth; see p.66
OSC Mod
Synth; see p.66
Vocoder; 0... 127
OSC 2
Audio in
CC#18
Semitone
Tune
HPF Level
Vocoder; 0... 127
2
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127:
+63
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127:
+63
Threshold
CC#19
OSC 1 Level
OSC 2 Level
Noise Level
OSC 1 Level
Inst Level
CC#20 0...127
CC#21 0...127
CC#22 0...127
0...127
0...127
0...127
MIXER
FILTER
Noise Level
Synth; 0: 24LPF, 43: 12LPF, 85: 12BPF, 127: 12HPF
Vocoder; 0: 0, 32: +1, 63: +2, 95: –1, 127: –2
Synth; 0...31: 24LPF, 32...63: 12LPF, 64...95: 12BPF, 96...127: 12HPF
Type
Formant Shift
Cutoff
CC#83
CC#74
Vocoder; 0...25: 0, 26...51: +1, 52...76: +2, 77..102: –1, 103...127: –2
Synth; 0...127
Synth; 0...127
Cutoff
Vocoder; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63 Vocoder; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Resonance
EG 1 Int
Resonance
Mod Int
CC#71 0...127
0...127
CC#79 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127:
+63
Synth; 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
Vocoder; 0...127
KBD Track
Level
E.F.Sense
Level
CC#85
CC#07 0...127
0...127
Synth; 0 / 1: L63, 2: L62...63: L01, 64: CNT, 65: R01...127: R63 Synth; 0 / 1: L63, 2: L62...63: L01, 64: CNT, 65: R01...127: R63
Panpot
Direct Level
CC#10
AMP
Vocoder; 0...127
Vocoder; 0...127
EG2/GATE
Distortion
Attack
– – – – – – – – – – – CC#86 0: EG2, 127: GATE
0...63: EG2, 64...127: GATE
Distortion
Attack
CC#92 0: OFF, 127: ON
CC#23 0...127
0...63: OFF, 64...127: ON
0...127
Decay
Decay
CC#24 0...127
0...127
EG 1
EG 2
Sustain
Release
Sustain
Release
CC#25 0...127
0...127
CC#26 0...127
0...127
Attack
Attack
CC#73 0...127
0...127
Decay
Decay
CC#75 0...127
0...127
Sustain
Release
Wave
Sustain
Release
Wave
CC#70 0...127
0...127
CC#72 0...127
0...127
CC#87 0: Saw, 43: Squ, 85: Tri, 127: S/H
CC#27 0...127, Tempo Sync=ON; see p.66
CC#88 0: Saw, 43: Squ(+), 85: Sin, 127: S/H
CC#76 0...127
0...31: Saw, 32...63: Squ, 64...95: Tri, 96...127: S/H
0...127, Tempo Sync=ON; see p.66
0...31: Saw, 32...63: Squ(+), 64...95: Sin, 96...127: S/H
0...127
LFO 1
LFO 2
Frequency
Wave
Frequency
Wave
Frequency
Frequency
PATCH 1 Intensity
PATCH 2 Intensity
PATCH 3 Intensity
PATCH 4 Intensity
– – – – – – – – – – – CC#28 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
– – – – – – – – – – – CC#29 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
– – – – – – – – – – – CC#30 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
– – – – – – – – – – – CC#31 0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
– – – – – – – – – – – CC#89 0: OFF, 127: ON
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0 / 1: –63, 2: –62...63: –1, 64: 0, 65: +1...127: +63
0...63: OFF, 64...127: ON
SEQ
ON/OFF
LFO Speed
Depth
LFO Speed
Depth
CC#12 0...127
0...127
MOD FX
CC#93 0...127
0...127
Delay Time
Depth
Delay Time
Depth
CC#13 0...127, Tempo Sync=ON; see p.66
0...127, Tempo Sync=ON; see p.66
DELAY FX
CC#94 0...127
0...127
Different parameters are assigned to synth parameters and vocoder parameters.
For programs whose voice mode is Split/Dual, this will apply only to the timbre selected by the TIMBRE SELECT
[SELECT] key if the timbre MIDI channel (LCD Edit mode Page 03B: VOICE “MIDI ch”) is GLB.
Effect parameters are transmitted and received on the global MIDI channel, regardless of the timbre MIDI channel.
If you are using two MS2000/MS2000R units to transmit and receive these parameters, you must set the transmitting
and receiving programs to the same settings.
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65
Control 2 values when OSC 1 Wave = DWGS
When the synth parameter OSC 1 “Wave” is set to DWGS,
the [CONTROL 2] knob will select the DWGS waveform.
The value of the control change transmitted/received by
operating the [CONTROL 2] knob corresponds to the
parameter value as follows.
“Sync Note” values when LFO 1/2 “Tempo Sync”
= ON or when DELAY FX “Tempo Sync” = ON
When “Tempo Sync” is ON for LFO 1/2 or DELAY FX, the
parameter adjusted by the LFO [FREQUENCY] or
EFFECTS [SPEED/TIME] knobs will change to “Sync
Note.” In conjunction with this, the control change values
transmitted/received by operating the knob will corre-
spond to the parameter values as follows.
Value
(transmitted, received)
Value
(transmitted, received)
DWGS Wave
DWGS Wave
0, 1
1
64, 65
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
Value (transmitted, received) LFO Sync Note DELAY Sync Note
2, 3
4, 5
6, 7
8, 9
2
3
4
5
6
7
8
9
66, 67
68, 69
70, 71
72, 73
74, 75
76, 77
78, 79
80, 81
82, 83
84, 85
86, 87
88, 89
90, 91
92, 93
94, 95
96, 97
0...8
9...17
1/1
3/4
2/3
1/2
3/8
1/3
1/4
3/16
1/6
1/32
1/24
1/16
1/12
3/32
1/8
1/6
3/16
1/4
1/3
3/8
1/2
2/3
18...25
26...34
35...42
43...51
52...59
60...68
69...76
77...85
86...93
94...102
103...110
111...119
120...127
10, 11
12, 13
14, 15
16, 17
18, 19
20, 21
22, 23
24, 25
26, 27
28, 29
30, 31
32, 33
34, 35
36, 37
38, 39
40, 41
42, 43
44, 45
46, 47
48, 49
50, 51
52, 53
54, 55
56, 57
58, 59
60, 61
62, 63
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
1/8
3/32
1/12
1/16
1/24
1/32
3/4
1/1
98, 99
100, 101
102, 103
104, 105
106, 107
108, 109
110, 111
112, 113
114, 115
116, 117
118, 119
120, 121
122, 123
124, 125
126, 127
How “Resolution” and
“Sync Note” values corre-
spond to note values
The values of SEQ COMMON or ARPEGGIO “Resolution”
and LFO or DELAY “Sync Note” (when “Tempo Sync” =
ON) correspond to the following note values.
Each parameter will function according to the tempo speci-
fied by the [TEMPO] knob and the note value corresponding
to its parameter value.
OSC 2 Semitone values
The value of the control change transmitted/received by
operating the OSC 2 [SEMITONE] knob of a synth program
corresponds to the parameter value as follows.
Note
Value
LFO, Delay “Sync Note” Arpeggio “Resolution”
SEQ COMMON “Resolution”
1/48
1/32
Value (transmitted, received) OSC 2 Semitone Value (transmitted, received) OSC 2 Semitone
1/32
0...2
3...5
6, 7
8...10
–24
–23
–22
–21
–20
–19
–18
–17
–16
–15
–14
–13
–12
–11
–10
–9
–8
–7
–6
–5
–4
–3
–2
–1
66, 67
68...70
71...73
74, 75
76...78
79, 80
81...83
84...86
87, 88
89...91
92...94
95, 96
+1
+2
+3
+4
+5
+6
+7
+8
1/24
1/16
1/24
1/16
1/24
1/16
1/12
3/32
1/12
3/32
1/12
11...13
14, 15
16...18
19, 20
21...23
24...26
27, 28
29...31
32, 33
34...36
37...39
40, 41
42...44
45...47
48, 49
50...52
53, 54
55...57
58...60
61, 62
63...65
1/8
1/6
1/8
1/6
1/8
1/6
+9
+10
+11
+12
+13
+14
+15
+16
+17
+18
+19
+20
+21
+22
+23
+24
3/16
1/4
3/16
1/4
1/4
97...99
100, 101
102...104
105...107
108, 109
110...112
113, 114
115...117
118...120
121, 122
123...125
126, 127
1/3
1/3
3/8
1/2
2/3
3/4
1/1
3/8
1/2
2/3
3/4
1/1
0
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66
Appendices
Voice Name List
No.
Name
Category
Synth Hard
Mode
Single
SEQ 1
SEQ 2
SEQ 3
ARPEGGIATOR
A01 Stab Saw
A02 Synth Lana
A03 Evolution
A04 Boost Bass
A05 Dirty Sync
OFF
Arpeggio
Single
Single
Single
Single
Panpot
Pitch
Step Length
Up
Synth Pad
Synth Bass
Synth Lead
LFO1 Freq
Patch 4 Int
EG2 Release
OFF
OFF
OFF
T1 Patch 4 Int
EG2 Decay
OSC1 Ctrl1
Pitch
A06 Zoop Mania
Sequence
Dual
Down
T2 OSC2 Level
Amp Level
A07 Ice Field
Bell
Single
Single
Single
Single
Single
Single
Single
Single
Single
Single
Single
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
A08 Lounge Organ
A09 MG Bass
Keyboard
Synth Bass
Sequence
Strings
A10 GatesOfHell
A11 PWM Strings
A12 Turn Wheel
A13 Synth Tp
Amp Level
None
None
Synth Lead
Synth Brass
A14 DWGS WaveSeq Wave Seq
OSC1 Ctrl2
LFO1 Freq
Panpot
None
None
None
A15 Drive Bass
A16 Surrounded
Synth Bass
S.E.
B01
Lazy Pitch
Synth Hard
T1 Panpot
EG1 Int
None
Step Length
None
B02
Stairs Pad
Arpeggio
Dual
Alt1
T2 None
B03
B04
Silk Pad
Zap Bass
Synth Pad
Synth Bass
Single
Single
OFF
OFF
T1
B05
B06
Uni Synth
Synth Lead
Sequence
Dual
Dual
OFF
OFF
T2
T1 Amp Level
T2 Amp Level
Patch1 Int
Pitch
OSC2 Semi
None
PsycheTrance
Noise Level
None
B07
B08
B09
Deep Bell
Synth Clav
Line Bass
Bell
Single
Single
Single
None
OFF
OFF
OFF
Keyboard
Synth Bass
T1 Step Length
None
None
B10
B11
B12
SearchEngine
Voice /A/
Sequence
Choir
Dual
Single
Dual
Trigger
OFF
T2 EG1 Decay
Noise Level
Cutoff
T1
T2
Far Horizon
Synth Lead
OFF
B13
B14
B15
B16
C01
C02
C03
C04
C05
Glass
Synth Soft
Sequence
Synth Bass
S.E.
Single
Single
Single
Single
Single
Single
Single
Single
Single
OFF
Random
Jami Bass
Loomy
Pitch
OSC1 Ctrl1
Cutoff
OFF
OFF
OFF
Poly Line
Krazy Arpy 1
Synth Hard
Arpeggio
OFF
Random
OFF
Mod3&4 Squad Synth Pad
What D' Time
Healing
Synth Bass
Synth Lead
OFF
OFF
T1
T2
C06
Auto Disco
Sequence
Dual
Up
C07
C08
C09
Candy Box
Vintage EP
Mini Bass
Bell
Single
Single
Single
OFF
OFF
OFF
Keyboard
Synth Bass
T1 Cutoff
OSC2 Semi
Cutoff
None
None
C10
Tap Lead
Sequence
Dual
Up
T2 Pitch
C11
C12
Royal Pad
Freq Lead
Synth Pad
Single
Single
OFF
OFF
Synth Lead
T1
C13
Solemn Brass
Synth Brass
Dual
OFF
T2
C14
C15
C16
IZDISA-WS
House Bass
Invaders
Wave Seq
Synth Bass
S.E.
Single
Single
Single
OSC1 Ctrl2
None
None
None
OFF
OFF
EG1 Attack
Resonance
Random
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67
No.
Name
Ana Fuzz
Category
Synth Hard
Mode
Single
SEQ 1
SEQ 2
SEQ 3
ARPEGGIATOR
OFF
D01
T1 Noise Level
T2 Pitch
None
None
None
None
D02
Water Edge
Arpeggio
Dual
Alt2
OSC2 Level
Panpot
D03
D04
D05
Reactor Pad
MS-101 Sqr
Edge Lead
Synth Pad
Synth Bass
Synth Lead
Single
Single
Single
Step Length
OFF
OFF
OFF
T1 Amp Level
Step Length
Pitch
Pitch
None
D06
D07
Goa Trax
Sequence
Dual
Split
OFF
OFF
T2 Amp Level
T1
T2
Retro BD/SD
Synth Drum
D08
D09
D10
D11
D12
D13
D14
Wet Reed
Keyboard
Single
Single
Single
Single
Single
Single
Single
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Fat Bass
Synth Bass
Synth Motion
Strings
Flashlight
Stream Pad
EP Fusion Ld
TremoloSynth
Motion Pad
Synth Lead
Synth Soft
Synth Motion
T1
T2
D15
Banana Bass
Synth Bass
Dual
OFF
D16
E01
E02
E03
E04
Bad Dream
S.E.
Single
Single
Single
Single
Single
OFF
Century Stab
Simple Arpg
Tin Memoreez
Organ Bass
Synth Hard
Arpeggio
Synth Pad
Synth Bass
OFF
EG2 Decay
Panpot
EG1 Decay
Step Length
Noise Level
None
Random
OFF
OFF
T1
E05
E06
High Voltage
Trip Planet
Synth Lead
Sequence
Dual
Dual
OFF
Up
T2
T1 Amp Level
T2 EG2 Decay
OSC1 Level
Amp Level
OSC2 Semi
Pitch
E07
E08
E09
E10
E11
E12
E13
Dry Plant
Bell
Single
Single
Single
Single
Single
Single
Single
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Reed Piano
Magnum Bass
Mad Lead
Belly
Keyboard
Synth Bass
Sequence
Choir
Amp Level
Step Length
Panpot
BackInTheDay
Synth Brass
Synth Lead
Synth Brass
T1 Pitch
Cutoff
None
None
None
E14
E15
E16
F01
F02
ElectroShock
Bakin' Bass
Telephone
Sequence
Synth Bass
S.E.
Dual
Single
Split
Up
T2 Cutoff
OFF
OFF
T1
T2
Golden Synth
Blue&White
Synth Hard
Arpeggio
Single
Dual
OSC2 Tune
T1
None
None
None
None
Alt1
T2
F03
F04
F05
Pan Tran
Warp Bass
Killa Lead
Synth Pad
Synth Bass
Synth Lead
Single
Single
Single
Panpot
OFF
OFF
T1 Amp Level
OSC2 Level
Cutoff
None
F06
Tribe'n Beat
Sequence
Dual
Up
T2 EG2 Decay
OSC1 Level
F07
F08
F09
F10
F11
Bound Ball
CuttingArpg
Bass Machine
Trip 2 Ibiza
Ana Strings
Bell
Single
Single
Single
Single
Single
OFF
Keyboard
Synth Bass
Sequence
Strings
EG2 Release
Cutoff
Amp Level
None
None
None
Trigger
OFF
OFF
OFF
OFF
OFF
T1 EG1 Attack
Noise Level
None
Patch1 Int
None
F12
F13
F14
Past Mind
Synth Lead
Synth Soft
Sequence
Split
T2 Patch1 Int
Future Vibe
Euro Synthe
Single
Dual
T1 Pitch
None
None
T2 Pitch
OSC1 Ctrl2
Panpot
F15
F16
Digy Bass
Thunder
Synth Bass
S.E.
Single
Single
OFF
OFF
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68
Appendices
No.
G01
G02
G03
G04
G05
Name
Square Comp
Krazy Arpy 2
Sweep Pad
Sub Bass
Category
Synth Hard
Mode
Single
SEQ 1
SEQ 2
SEQ 3
ARPEGGIATOR
OFF
Arpeggio
Single
Single
Single
Single
Random
OFF
Synth Pad
Synth Bass
Synth Lead
OFF
Phenomenon
OFF
T1 Cutoff
Resonance
Noise Level
G06
Ready 2 Air
Sequence
Dual
OFF
T2 Pitch
Amp Level
OSC1 Ctrl2
Amp Level
G07
G08
G09
X-Mod Perc
BritishOrgan
80's Bass
Bell
Single
Single
Single
EG2 Decay
EG2 Release
Random
OFF
Keyboard
Synth Bass
OFF
T1 Amp Level
None
None
None
None
G10
Min.Deal
Sequence
Dual
OFF
T2 Amp Level
G11
G12
G13
G14
G15
G16
Astral Vox
Rez Lead
Choir
Single
Single
Single
Single
Single
Single
Single
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Synth Lead
Synth Brass
Sequence
Synth Bass
S.E.
Soft Brass
CPU Talk
Phunk Bass
Jet Set 2000
OSC1 Ctrl1
Resonance
OSC2 Semi
H01 Poly400
Synth Hard
Cutoff
None
None
None
None
T1 Panpot
T2 Pitch
None
H02 Diginator
S.E.
Dual
Single
Split
OFF
OFF
OFF
OFF
OFF
Amp Level
H03 Light Pad
H04 Bass&5thLead
H05 Woody's Lead
H06 Filter Muzik
Synth Pad
Synth Bass
Synth Lead
Sequence
T1
T2
Single
Dual
T1 Pitch
None
OSC2 Semi
Pitch
T2 Noise Level
Cutoff
H07 TimeZone SFX
H08 Pulse Comp
H09 Vocoder Ens
H10 Vocoder Cho
H11 Vocoder Wah
H12 VocoderPulse
H13 VoiceChanger
H14 Vocodevil
S.E.
Single
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Trigger
OFF
Keyboard
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
AudioIn
Init Program
Single
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Vocoder
Single
H15 AudioIn INIT
H16 Init Program
Single
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69
Single/Split/Dual Program
Program No. :
Program Name:
AMP
FILTER
Vel.Sense:
Vel Sense:
KBD Track:
ARPEGGIATOR
Type:
Key Sync:
Range:
Target:
Resolution:
Swing:
COMMON
Mode:
TimbreVoice:
Split Point:
Scale:
PITCH
Transpose:
Tune:
Vibrato Int:
Bend Range:
VOICE
Assign :
Priority:
Trigger :
Detune:
EG 1
EG Reset:
MOD FX
Type:
DELAY FX
Type:
EQ
LowEQFreq:
EG 2
EG Reset:
LFO 1
Key Sync:
Tempo Sync:
Sync Note:
Tempo Sync:
Sync Note:
LowEQGain:
HiEQFreq:
HiEQGain:
LFO 2
Key Sync:
Tempo Sync:
Sync Note:
SEQ COMMON
SEQ1
Knob:
Motion:
LastStep :
SeqType:
Run Mode:
Key Sync:
Resolution :
SEQ2
Knob:
Motion:
SEQ3
Knob:
Motion:
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Timbre2 (Dual/Split)
FILTER
Vel.Sense:
AMP
Vel Sense:
KBD Track:
PITCH
Transpose:
Tune:
Vibrato Int:
Bend Range:
VOICE
Assign :
Priority:
Trigger :
Detune:
LFO 2
LFO 1
EG 2
EG Reset:
EG 1
EG Reset:
KeySync:
Tempo Sync:
Sync Note:
KeySync:
Tempo Sync:
Sync Note:
SEQ COMMON
LastStep :
SeqType:
Run Mode:
Key Sync:
SEQ1
Knob:
Motion:
Resolution :
SEQ2
Knob:
Motion:
SEQ3
Knob:
Motion:
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Vocoder Program
Program No. :
Program Name:
AUDIO IN2
Gate Sense:
HPF Gate:
AMP
Vel Sense:
KBD Track:
ARPEGGIATOR
Type:
Range:
Key Sync:
Resolution:
Swing:
Target:
COMMON
Mode: Vocoder
Scale:
MOD FX
Type:
DELAY FX
Type:
EQ
LowEQFreq:
PITCH
Transpose:
Tune:
Tempo Sync:
Sync Note:
LowEQGain:
HiEQFreq:
HiEQGain:
Vibrato Int:
Bend Range:
VOICE
Assign :
Priority:
Trigger :
Detune:
EG 1
EG Reset:
EG 2
EG Reset:
LFO 1
Key Sync:
LFO 2
Key Sync:
Tempo Sync:
Sync Note:
Tempo Sync:
Sync Note:
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Appendices
Troubleshooting
Specifications and options
Tone generator system
Before you suspect a malfunction, please check the following
points.
Analog modeling synthesis system
• Synth programs
Multi-timbral capability: maximum two timbres (for Split/Dual)
4 voices, 2 oscillators + noise generator, EG × 2, LFO × 2, virtual
Power does not turn on
• Is the power cable connected to the outlet?................ p.10
• Is the [POWER/VOLUME] knob turned on? ............ p.12
4 voices, 1 oscillator + noise generator, EG × 2, LFO × 2
16 channel vocoder, adjustable level and pan for each channel, For-
mant Shift function
No sound
• Are the connected devices or headphones connected to
the correct jack(s)?.......................................................... p.10
Tone generator
• Are the connected devices powered-on?
Keyboard (MS2000)
• 44 notes (no aftertouch)
• Is the [POWER/VOLUME] knob set to a position where
sound will be output?.................................................... p.12
Effects
• Modulation effect (3 types), delay (3 types), equalizer
• Is the Global mode Page 3B: MIDI “Local” setting
Arpeggiator
• 6 types
turned ON? ..................................................................... p.54
• Were any volume-related parameters set to a value of 0?
..................................................................................... p.38, 40
Programs
Inputs
• Was the FILTER “Cutoff” set to 0?............................... p.39
• AUDIO IN 1 jack
• If a pedal is connected to the MS2000/MS2000R, is the
pedal in a position for which no sound will be pro-
duced?
Input impedance
Maximum input level
39 [kΩ]
–3.5 [dBu] (AUDIO IN [1/INST] knob:
Max)
600 [Ω]
Source impedance
• AUDIO IN 2 jack (with MIC/LINE switch)
AUDIO IN 2 [LINE]
Sound does not stop
Input impedance
39 [kΩ]
• Is the Global mode Page 6A: PEDAL & SW “A.Switch”
setting appropriate for the pedal switch that is connected?
p.57
Maximum input level –3.5 [dBu] (AUDIO IN [2/VOICE] knob:
Max)
Source impedance
AUDIO IN 2 [MIC]
Input impedance
600 [Ω]
22 [kΩ]
Can’t write programs or global settings
• IsGlobalmodePage2A:MEMORY“Protect”turnedOFF?
p.30, 54
Maximum input level –33 [dBu] (AUDIO IN [2/VOICE] knob:
Max)
Source impedance
600 [Ω]
Outputs
• L/MONO, R jacks
Output impedance
Transpose or velocity curve is not transmitted/
1.1 [kΩ] (MONO: 550Ω)
received correctly
Maximum output level +6.5 [dBu]
• IsGlobalmodePage1C:Global“Position”setappropriately?
p.53
Load impedance
• Headphone jack
Output impedance
100 [kΩ]
10 [Ω]
Maximum output level 35 [mW]
Load impedance
Arpeggios do not start
• Is the arpeggiator turned on ([ON/OFF] key lit)?..... p.15
33 [Ω]
Control inputs
• ASSIGNABLE PEDAL jack
• ASSIGNABLE SW jack
• Is Global mode Page 3C: MIDI “Clock” set to Internal?
........................................................................................... p.54
MIDI
• IN, OUT, THRU connectors
No response to MIDI messages sent from an
external device
• Is the MIDI cable connected correctly? ....................... p.10
Display
• 16 character (8 × 5 pixel) × 2 line LCD module (with backlight)
Power supply
• DC 9V, 8 W
• Does the MIDI channel of the data transmitted from the
external MIDI device match the global MIDI channel of
the MS2000/MS2000R? ..................................................p.11
Dimensions
• MS2000R: 482.0 (W) × 233.2 (D) × 87.1 (H) mm [five-space rack
mount]
Does not respond correctly to MIDI messages sent
Weight
• MS2000: 7.1 kg
• MS2000R: 2.8 kg
from an external device
• Are the various parameters of Global mode Page 4:
MIDI FILTER set to ENA?............................................. p.55
Included items
• AC adapter (DC9V)
• Washers ×4, Bushing ×4, Screws ×4 (MS2000R only)
Options
• EXP-2 expression pedal
• XVP-10 EXP/VOL pedal
• PS-1 pedal switch
• DS-1H damper pedal
* Appearance and specifications of this product are subject to change without
notice.
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73
Copy
Index
CopySeq
CopySeqAll
CopyTimbre
CrossDelay
Symbols
FILTER
[+/YES] [–/NO] keys
Filter type
CTRL CHANGE
A
A.Pedal
7, 19, 30
A.SwFunc
A.Switch
A.SwMode
Aftertouch
Gate
Gate Sense
All note off
AMP
Damper pedal
Data Dump
ANALYSIS FILTER
55, 58, 59, 65
ARPEGGIATOR
Assign
Global mode
ASSIGNABLE
PEDAL jack
SWITCH jack
Delay
Attack (ATTACK)
Attack time
HiEQGain
Audio In
AUDIO IN 2
AUDIO IN jack
AudioInThru
Detune 36, 38, 57
B
C
Band-pass filter
BANK
BANK/OCTAVE
Bend Range
BPF
InitTimbre
Intensity (PATCH)
E.F.Sense
[EDIT] key
Cable hook
CALIB
Carrier
CH LEVEL
CH PAN
CH PARAM
Cho/Flg
ARPEGGIO
LFO
Clock
Computer
Control change
Control1 (CONTROL1)
Control2 (CONTROL2)
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74
Appendices
Noise
L
L/R Delay
Last Step
LATCH
Program change
Program Play mode
LCD Edit mode
Level (LEVEL)
LFO
OCTAVE
ON/OFF
Pulse
LFO Speed (SPEED)
Load
Preload
Local
LowEQFreq
LowEQGain
LPF
M
OSCILLATOR
Modulation
OSCILLATOR 2
Reset all controller
Master
MEMORY
Memory protect
Defeat
21, 37, 39, 50
MIDI
Ring
MIDI Ch
MIDI ch
MIDI channel
MIDI Dump
MIDI FILTER
MIDI1/MIDI2
MIXER
31
MOD FX
Semitone (SEMITONE)
SEQ EDIT
Seq Type
Mode
Modulation effect
Modulation source
Modulation type
Modulator
Sequencer
Sin (Cross)
Single
Split
on/off
Motion
Motion Rec
POWER/VOLUME
Preload
Mst.Tune
StereoDelay
Sustain (SUSTAIN)
Sustain level
N
Preloaded data
30
NAME
NOISE
Priority
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SwapSeq
SwapTimbre
Swing
Sync
Sync control
Sync Note
DELAY FX
LFO
Vox Wave
SyncCtrl
Wave (WAVE)
Synchronization
Clock
Synth programs
SystemEx
T
Target
Tempo (TEMPO)
Tempo Sync
TIMBRE
TIMBRE SELECT
Timbre Voice
TimbreSelect
Transpose
Tri
Trigger
Trigger mode
Tune (TUNE)
Type (DELAY FX)
Type (MOD FX)
U
V
User Scale
UTILITY
Vel Sense
Vel.Curve
Vel.Value
Velocity
Vibrato Int
VIRTUAL PATCH
Vocoder
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