Roland Electronic Keyboard Prelude User Guide

Owner’s Manual  
201a  
Before using this unit, carefully read the sections entitled: “Using the unit safely” (p. 3) and  
“Important notes” (p. 5). These sections provide important information concerning the proper  
operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of  
every feature provided by your new unit, this owner’s manual should be read in its entirety. The  
manual should be saved and kept on hand as a convenient reference.  
Conventions Used in This Manual  
Operating buttons are enclosed by square brackets [ ]; e.g., [ENTER].  
Reference pages are indicated by (p. **).  
The following symbols are used.  
This indicates an important note; be sure to read it.  
This indicates a memo regarding the setting or function; read it as desired.  
This indicates a useful hint for operation; read it as necessary.  
This indicates information for your reference; read it as necessary.  
This indicates an explanation of a term; read it as necessary.  
* The explanations in this manual include illustrations that depict what should typically be shown by  
the display. Note, however, that your unit may incorporate a newer, enhanced version of the  
system (e.g., includes newer sounds), so what you actually see in the display may not always  
match what appears in the manual.  
202  
Copyright © 2009 ROLAND EUROPE Spa  
All rights reserved. No part of this publication may be reproduced in any form without the  
written permission of ROLAND EUROPE.  
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Using the unit safely  
About WARNING and CAUTION Notices  
About the Symbols  
The symbol alerts the user to important instructions or  
Used for instructions intended to alert the  
user to the risk of death or severe injury  
should the unit be used improperly.  
warnings.The specific meaning of the symbol is  
determined by the design contained within the triangle. In  
the case of the symbol at left, it is used for general  
cautions, warnings, or alerts to danger.  
Used for instructions intended to alert the  
user to the risk of injury or material  
damage should the unit be used  
improperly.  
The symbol alerts the user to items that must never be  
carried out (are forbidden).The specific thing that must  
not be done is indicated by the design contained within  
the circle. In the case of the symbol at left, it means that  
the unit must never be disassembled.  
* Material damage refers to damage or  
other adverse effects caused with  
respect to the home and all its  
furnishings, as well to domestic animals  
or pets.  
The symbol alerts the user to things that must be  
carried out.The specific thing that must be done is  
indicated by the design contained within the circle. In the  
case of the symbol at left, it means that the power-cord  
plug must be unplugged from the outlet.  
ALWAYS OBSERVE THE FOLLOWING  
006  
When using the unit with a rack or stand recom-  
mended by Roland, the rack or stand must be  
carefully placed so it is level and sure to remain  
stable. If not using a rack or stand, you still need to  
make sure that any location you choose for placing  
the unit provides a level surface that will properly  
support the unit, and keep it from wobbling.  
002c  
Do not open (or modify in any way) the unit or its AC  
adaptor.  
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.................................................................................................................................  
003  
008c  
Do not attempt to repair the unit, or replace parts  
within it (except when this manual provides specific  
instructions directing you to do so). Refer all servicing  
to your retailer, the nearest Roland Service Center, or  
an authorized Roland distributor, as listed on the  
“Information” page.  
Be sure to use only the AC adaptor supplied with the  
unit. Also, make sure the line voltage at the instal-  
lation matches the input voltage specified on the AC  
adaptor’s body. Other AC adaptors may use a  
different polarity, or be designed for a different  
voltage, so their use could result in damage,  
malfunction, or electric shock.  
.................................................................................................................................  
004  
.................................................................................................................................  
Never install the unit in any of the following  
locations.  
008e  
Use only the attached power-supply cord. Also, the  
supplied power cord must not be used with any other  
device.  
Subject to temperature extremes (e.g., direct sunlight in  
an enclosed vehicle, near a heating duct, on top of  
heat-generating equipment); or are  
Damp (e.g., baths, washrooms, on wet floors); or are  
Exposed to steam or smoke; or are  
Subject to salt exposure; or are  
Humid; or are  
Exposed to rain; or are  
Dusty or sandy; or are  
.................................................................................................................................  
009  
Do not excessively twist or bend the power cord, nor  
place heavy objects on it. Doing so can damage the  
cord, producing severed elements and short circuits.  
Damaged cords are fire and shock hazards!  
.................................................................................................................................  
010  
Subject to high levels of vibration and shakiness.  
This unit, either alone or in combination with an  
amplifier and headphones or speakers, may be  
capable of producing sound levels that could cause  
permanent hearing loss. Do not operate for a long  
period of time at a high volume level, or at a level  
that is uncomfortable. If you experience any hearing  
loss or ringing in the ears, you should immediately  
stop using the unit, and consult an audiologist.  
.................................................................................................................................  
005  
This unit should be used only with a rack or stand  
that is recommended by Roland.  
.................................................................................................................................  
.................................................................................................................................  
3
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011  
101b  
Do not allow any objects (e.g., flammable material,  
coins, pins); or liquids of any kind (water, soft drinks,  
etc.) to penetrate the unit.  
The unit and the AC adaptor should be located so  
their location or position does not interfere with their  
proper ventilation.  
.................................................................................................................................  
.................................................................................................................................  
012b  
.................................................................................................................................  
Immediately turn the power off, remove the AC  
adaptor from the outlet, and request servicing by  
your retailer, the nearest Roland Service Center, or  
an authorized Roland distributor, as listed on the  
“Information” page when:  
Always grasp only the plug on the AC adaptor cord  
when plugging into, or unplugging from, an outlet or  
this unit.  
The AC adaptor, the power-supply cord, or the plug has been  
damaged; or  
If smoke or unusual odor occurs  
Objects have fallen into, or liquid has been spilled onto the unit; or  
The unit has been exposed to rain (or otherwise has become wet); or  
The unit does not appear to operate normally or exhibits a marked  
change in performance.  
.................................................................................................................................  
103b  
At regular intervals, you should unplug the AC  
adaptor and clean it by using a dry cloth to wipe all  
dust and other accumulations away from its prongs.  
Also, disconnect the power plug from the power  
outlet whenever the unit is to remain unused for an  
extended period of time. Any accumulation of dust between the  
power plug and the power outlet can result in poor insulation and  
lead to fire.  
.................................................................................................................................  
013  
In households with small children, an adult should  
provide supervision until the child is capable of  
following all the rules essential for the safe operation  
of the unit.  
.................................................................................................................................  
104  
Try to prevent cords and cables from becoming  
entangled. Also, all cords and cables should be  
placed so they are out of the reach of children.  
.................................................................................................................................  
014  
.................................................................................................................................  
Protect the unit from strong impact.  
(Do not drop it!)  
106  
Never climb on top of, nor place heavy objects on  
the unit.  
.................................................................................................................................  
015  
.................................................................................................................................  
Do not force the unit’s power-supply cord to share an  
outlet with an unreasonable number of other devices.  
Be especially careful when using extension cords—  
the total power used by all devices you have  
connected to the extension cord’s outlet must never  
exceed the power rating (watts/amperes) for the extension cord.  
Excessive loads can cause the insulation on the cord to heat up  
and eventually melt through.  
107c  
Never handle the AC adaptor or its plugs with wet  
hands when plugging into, or unplugging from, an  
outlet or this unit.  
.................................................................................................................................  
108b  
Before moving the unit, disconnect the AC adaptor  
and all cords coming from external devices.  
.................................................................................................................................  
016  
Before using the unit in a foreign country, consult  
with your retailer, the nearest Roland Service Center,  
or an authorized Roland distributor, as listed on the  
“Information” page.  
.................................................................................................................................  
109b  
Before cleaning the unit, turn off the power and  
unplug the AC adaptor from the outlet (p. 14).  
.................................................................................................................................  
023  
DO NOT play a CD-ROM disc on a conventional  
audio CD player. The resulting sound may be of a  
level that could cause permanent hearing loss.  
Damage to speakers or other system components  
may result.  
.................................................................................................................................  
110b  
Whenever you suspect the possibility of lightning in  
your area, disconnect the AC adaptor from the outlet.  
.................................................................................................................................  
.................................................................................................................................  
4
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In addition to the items listed under “Using the unit safely” (p. 3), please read and observe the following:  
Power Supply  
Repairs and Data  
• Do not connect this unit to same electrical outlet that is being used  
by an electrical appliance that is controlled by an inverter (such as  
a refrigerator, washing machine, microwave oven, or air condi-  
tioner), or that contains a motor. Depending on the way in which  
the electrical appliance is used, power supply noise may cause this  
unit to malfunction or may produce audible noise. If it is not  
practical to use a separate electrical outlet, connect a power  
supply noise filter between this unit and the electrical outlet.  
• Please be aware that all data contained in the unit’s memory may  
be lost when the unit is sent for repairs. Important data should  
always be backed up a USB memory, or written down on paper  
(when possible). During repairs, due care is taken to avoid the loss  
of data. However, in certain cases (such as when circuitry related  
to memory itself is out of order), we regret that it may not be  
possible to restore the data, and Roland assumes no liability  
concerning such loss of data.  
• The AC adaptor will begin to generate heat after long hours of  
consecutive use. This is normal, and is not a cause for concern.  
• Before connecting this unit to other devices, turn off the power to  
all units. This will help prevent malfunctions and/or damage to  
speakers or other devices.  
Memory Backup  
Additional Precautions  
• Please be aware that the contents of memory can be irretrievably  
lost as a result of a malfunction, or the improper operation of the  
unit. To protect yourself against the risk of loosing important data,  
we recommend that you periodically save a backup copy of  
important data you have stored in the unit’s memory to a USB  
memory.  
• Unfortunately, it may be impossible to restore the contents of data  
that was stored in the Prelude’s internal memory or on USB  
memory once it has been lost. Roland Europe assumes no liability  
concerning such loss of data.  
• This device may interfere with radio and television reception. Do  
not use this device in the vicinity of such receivers.  
• Noise may be produced if wireless communications devices, such  
as cell phones, are operated in the vicinity of the Prelude. Such  
noise could occur when receiving or initiating a call, or while  
conversing. Should you experience such problems, you should  
relocate such wireless devices so they are at a greater distance  
from this unit, or switch them off.  
Placement  
• Use a reasonable amount of care when using the unit’s buttons,  
sliders, or other controls; and when using its jacks and connectors.  
Rough handling can lead to malfunctions.  
• Using the unit near power amplifiers (or other equipment  
containing large power transformers) may induce hum. To alleviate  
the problem, change the orientation of this unit; or move it farther  
away from the source of interference.  
• Never strike or apply strong pressure to the display.  
• When connecting / disconnecting all cables, grasp the connector  
itself—never pull on the cable. This way you will avoid causing  
shorts, or damage to the cable’s internal elements.  
• This device may interfere with radio and television reception. Do  
not use this device in the vicinity of such receivers.  
• Noise may be produced if wireless communications devices, such  
as cell phones, are operated in the vicinity of this unit. Such noise  
could occur when receiving or initiating a call, or while  
conversing. Should you experience such problems, you should  
relocate such wireless devices so they are at a greater distance  
from this unit, or switch them off.  
• Do not expose the unit to direct sunlight, place it near devices that  
radiate heat, leave it inside an enclosed vehicle, or otherwise  
subject it to temperature extremes. Excessive heat can deform or  
discolor the unit.  
• When moved from one location to another where the temperature  
and/or humidity is very different, water droplets (condensation)  
may form inside the unit. Damage or malfunction may result if you  
attempt to use the unit in this condition. Therefore, before using the  
unit, you must allow it to stand for several hours, until the conden-  
sation has completely evaporated.  
• To avoid disturbing your neighbors, try to keep the unit’s volume at  
reasonable levels. You may prefer to use headphones, so you do  
not need to be concerned about those around you (especially  
when it is late at night).  
• When you need to transport the unit, package it in the box  
(including padding) that it came in, if possible. Otherwise, you will  
need to use equivalent packaging materials.  
• Do not apply undue force to the music stand while it is in use.  
• Use only the specified expression pedal (EV-5; sold separately). By  
connecting any other expression pedals, you risk causing  
malfunction and/or damage to the unit.  
• Some connection cables contain resistors. Do not use cables that  
incorporate resistors for connecting to this unit. The use of such  
cables can cause the sound level to be extremely low, or impos-  
sible to hear. For information on cable specifications, contact the  
manufacturer of the cable.  
• The sensitivity of the D Beam controller will change depending on  
the amount of light in the vicinity of the unit. If it does not function  
as you expect, adjust the sensitivity as appropriate for the  
brightness of your location.  
• Do not allow objects to remain on top of the keyboard. This can be  
the cause of malfunction, such as keys ceasing to produce sound.  
• Depending on the material and temperature of the surface on  
which you place the unit, its rubber feet may discolor or mar the  
surface.  
You can place a piece of felt or cloth under the rubber feet to  
prevent this from happening. If you do so, please make sure that  
the unit will not slip or move accidentally.  
Using USB Memory  
• When connecting USB memory, firmly insert it all the way in.  
• Do not touch the pins of the USB memory connector, or allow them  
to become dirty.  
• USB memory is made using high-precision electronic components,  
so please observe the following points when handling it.  
Maintenance  
• For everyday cleaning wipe the unit with a soft, dry cloth or one  
that has been slightly dampened with water. To remove stubborn  
dirt, use a cloth impregnated with a mild, non-abrasive detergent.  
Afterwards, be sure to wipe the unit thoroughly with a soft, dry  
cloth.  
• To prevent damage from static electrical charges, discharge  
any static electricity that might be present in your body before  
handling USB memory.  
• Do not touch the terminals with your fingers or any metal  
object.  
• Never use benzine, thinners, alcohol or solvents of any kind, to  
avoid the possibility of discoloration and/or deformation.  
5
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Important notes  
• Do not bend or drop USB memory, or subject it to strong  
impact.  
• Do not leave USB memory in direct sunlight or in locations such  
as a closed-up automobile. (Storage temperature: 0–50  
degrees C)  
• Do not allow USB memory to become wet.  
• Do not disassemble or modify USB memory.  
• When connecting USB memory, position it horizontally with the  
USB memory connector and insert it without using excessive force.  
The USB memory connector may be damaged if you use excessive  
force when inserting USB memory.  
• Do not insert anything other than USB memory (e.g., wire, coins,  
other types of device) into the USB memory connector. Doing so  
will damage the USB memory connector.  
• Do not apply excessive force to the connected USB memory.  
• Attach the USB memory cover when you’re not using USB memory.  
Handling CD-ROMs  
• Avoid touching or scratching the shiny underside (encoded  
surface) of the disc. Damaged or dirty CD-ROM discs may not be  
read properly. Keep your discs clean using a commercially  
available CD cleaner.  
Copyright  
* Microsoft and Windows are registered trademarks of Microsoft  
Corporation. The screen shots in this document are used in  
compliance with the guidelines of the Microsoft Corporation.  
* Pentium is a registered trademark of Intel Corporation.  
* All product names mentioned in this document are trademarks or  
registered trademarks of their respective owners.  
* MMP (Moore Microprocessor Portfolio) refers to a patent portfolio  
concerned with microprocessor architecture, which was developed  
by Technology Properties Limited (TPL).  
Roland has licensed this technology from the TPL Group.  
* MPEG Layer-3 audio compression technology is licensed from  
Fraunhofer IIS Corporation and THOMSON Multimedia Corpo-  
ration.  
* MatrixQuest™ 2008 TEPCO UQUEST, LTD. All  
rights reserved.  
The Prelude’s USB functionality uses Matrix-Quest  
middleware technology from TEPCO UQUEST, LTD.  
6
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Main Features  
The Ideal Music Keyboard for Entertainment  
High-quality sounds  
The latest sounds generated by a top-level sound generator with 128-voice polyphony  
High-quality localized sounds  
Three backing functions that assist your performances  
High-quality Music Style engine with the latest Styles  
Four variations each for Intro, Main, and Ending.  
Included “StyleConverter” software lets you create Styles on your computer.  
Styles you’ve created can be installed in the Prelude as User Styles via USB memory.  
USB Memory Player function lets you play MP3/WAV/AIFF/SMF data  
You can apply the Center Cancel function to audio, or enjoy “minus-one” performance using  
SMF data.  
Included “Playlist Editor” software lets you create playlists on your computer.  
You can easily create a playlist for each of your performances.  
16-track song sequencer is built-in, allowing you to record your performances on the Prelude  
SMF data can be stored in internal memory, and played back or used for “minus-one”  
performance.  
Designed for easy use  
High-quality 11W stereo amplification system with two built-in speakers.  
Lightweight and compact body designed for portability  
Large, full-graphic white LCD for excellent visibility  
Friendly user interface featuring Style Family buttons for direct selection  
Intuitive controllers such as the D Beam controller  
Import sounds via USB memory  
USB Import function allows you to add sounds (Tones)  
New sounds can be added via USB memory.  
7
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Changing the Key Touch ([KEY TOUCH]).... 21  
(OCTAVE Buttons).................................... 21  
Played Back (TRANSPOSE) ....................... 21  
Rear Panel.........................................................12  
Other Functions ....................................... 22  
Backing Track Functions................... 23  
(Style/Song/USB Memory Player)........................ 23  
Adjusting the Volume Balance between Backing and  
Selecting a Style .......................................................25  
Turning the power off................................................ 15  
Adding User Styles  
Restoring the Prelude to Its Factory Settings.. 17  
Back up User Style (Exporting to USB memory) .............26  
Using the Recommended Sound Settings for a Style  
Input settings for the EXT INPUT jack........... 18  
Moving the playback location of a song ......................30  
Choosing from the Tone list........................................ 20  
Performing along with a song  
Back Up Song Files ............................................ 30  
Other Functions Related to Song .......................... 30  
Switching to an Arabian Scale or Other  
Temperament........................................... 20  
8
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Selecting and playing a song from within a songlist...... 32  
System Parameters ............................................. 45  
Info Screens)...................................................... 47  
a playlist ................................................................. 32  
Data Structure in USB Memory............................. 49  
Performing along with a song  
Saving playlist settings to USB memory ([WRITE]) ......... 33  
V-LINK Settings (V-LINK SETUP) ............................ 50  
Other Functions Related to Performance ................39  
Specifications........................................ 105  
Editing the Reverb, Chorus and MFX Effects...........40  
Index ............................................106  
Using the Prelude as a MIDI Sound Module. 43  
If connection to your computer is unsuccessful.............. 44  
Making the Settings for the USB Driver..................44  
9
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Panel Descriptions  
Front Panel  
1. VOLUME knob  
This knob controls the volume of the entire Prelude.  
Beware of excessive levels as they may cause the  
speakers to distort for some sounds.  
1
2. Pitch Bend/Modulation lever  
You can raise or lower the pitch by moving this lever to  
the left or right. Push the lever away from yourself to apply  
modulation (normally vibrato) to the sound (p. 36).  
2
3. PHONES 1 & 2 sockets  
3
This is where you can connect two pairs of optional  
headphones (Roland RH-25, RH-50, RH-200 or RH-300).  
Doing so will switch off the internal speakers.  
4
5
7
8
9
10  
15  
11  
12  
13  
6
14  
4. D BEAM controller  
10.SONG REC button  
Use this controller simply by moving your hand above it  
(p. 34).  
Press this button to record a Song (p. 26).  
11.STYLE CONTROL buttons  
5. D BEAM control buttons  
Use these buttons to select the desired Style pattern (p. 24).  
PITCH: Allows you to change the pitch of the notes you  
are playing simply by moving your hand up and down  
12.SYNC buttons  
These buttons allow you to start/stop the Style by playing  
FILTER & VOLUME: Use these buttons to turn the D Beam  
controller on/off, or to select the Filter or Volume function  
(p. 34). You can also assign other functions to this button.  
13.TAP TEMPO button  
Use this button to set the tempo (p. 23).  
SONG CONTROL buttons  
6. STYLE FAMILY buttons  
These buttons allow you to select one of the twelve Style  
categories.  
The operation of these buttons will depend on which  
If you’ve used the BACKING TYPE buttons (7) to select  
STYLE,” these buttons will start/stop the Style or select  
variations (p. 24).  
BACKING TRACK section  
7. BACKING TYPE buttons  
Use these buttons to select the backing type (p. 23).  
SONG” or “USB MEMORY PLAYER,” these buttons control  
the song playback as the SONG/USB MEMORY PLAYER  
CONTROL buttons (p. 30, p. 31).  
8. BALANCE buttons  
Use these buttons to adjust the volume balance between  
the backing and the keyboard. (p. 23)  
9. PART VIEW button  
15.Display  
Use this to adjust the volume, etc. of each part (p. 24,  
27).  
This displays various information according to the  
operations you perform.  
10  
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Panel Descriptions  
17  
18  
16  
19 20  
21 22  
23 24 25 26  
30 31  
32 33  
27  
28 29  
34  
16.VALUE dial  
26.V-LINK button  
Use this to edit the value of the parameters (settings) in the  
screen.  
Switching this on lets you control external V-LINK  
compatible video equipment (p. 50).  
27.OCTAVE buttons  
EDIT section  
17.Cursor buttons ([  
Use these buttons to raise or lower the pitch of the  
keyboard in one-octave steps (p. 21).  
] [ ] [ ] [  
])  
Use these buttons to move the cursor in the screen.  
28.TRANSPOSE button  
18.EXIT and ENTER buttons  
These button allow you to transpose the Prelude up or  
down in semitone steps (p. 21).  
Pressed to issue the “Cancel” (EXIT) or “Execute” (ENTER)  
commands in screens that prompt you to make such a  
selection.  
29.MELODY INTELL button  
Press this button to add an automatic counter-melody  
(second and third voice) to your solos or melodies (p. 22).  
You’ll also use the ENTER button to access lists of Tones,  
Performances, Styles, or Songs.  
19.MENU button  
MODE section  
This button takes you to the settings screen for various  
parameters (p. 45).  
30.TONE button  
Press this button when you want to select or edit a Tone  
(p. 20). Tones you edit are stored in the Performance.  
20.REVERB button  
This button lets you make effect settings (p. 40).  
31.PERFORM button  
21.WRITE button  
Press this button when you want to select or edit a  
Performance (p. 36).  
Press this button to save various types of settings (p. 28,  
33, 39).  
32.ONE TOUCH button  
22.NUMERIC button  
This applies the recommended sound settings for the  
currently selected Style (p. 26).  
You can input numerical values with the TONE SELECT  
buttons (37) when this button is lit (p. 16).  
33.USB IMPORT button  
You can use USB memory to add Tones or update the  
system (p. 49).  
KEYBOARD section  
23.SPLIT button  
Use these buttons to select Tones by category (p. 20).  
You can also input numerical values with these buttons  
when the NUMERIC button is on (p. 16).  
This button selects “Split mode,” whereby the keyboard is  
divided into two regions, allowing you to play separate  
sounds with the right and left hands (p. 19).  
Switches the Prelude to “Dual mode,” which enables  
performances with two separate Tones layered together  
(p. 19).  
25.KEY TOUCH button  
Press this button to make the keyboard’s touch sensitivity  
lighter or heavier (p. 21).  
11  
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Panel Descriptions  
Rear Panel  
11  
1
2
3
4
5
6
7
8
9
10  
1. LCD CONTRAST knob  
6. OUTPUT R, L/MONO jacks  
Adjusts the display’s contrast (p. 16).  
The Prelude is fitted with the finest amplification system  
Roland has ever developed for its arranger keyboards.  
amplification system. These jacks output the audio signal  
to the connected mixer/amplifier system in stereo. For  
mono output, use the L jack (p. 15).  
2. MIDI OUT/IN connectors  
Connect MIDI devices to these connectors (p. 42).  
3. CONTROL PEDAL jack  
Series), a separately available foot switch (BOSS FS-5U)  
or a separately available expression pedal (Roland EV-5)  
to this jack (p. 15, p. 36).  
7. USB MIDI port  
Use a USB cable to connect the Prelude to your computer  
via this connector (p. 48).  
4. HOLD PEDAL jack  
8. USB MEMORY port  
Connect a separately available pedal switch (Roland DP  
Series) to this jack (p. 15).  
Connect a USB memory here and use the Prelude to play  
back files (songs) that have been stored on USB memory.  
You can also back up data to USB memory.  
5. EXT INPUT jack  
Connect a portable audio player or other audio source to  
thise mini jack (p. 15, p. 18).  
9. DC IN jack  
10.POWER switch  
This turns the power on/off (p. 15).  
11.Cord hook  
Use this to secure the AC adaptor cord (p. 14).  
12  
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Introduction  
About Memory  
About the Prelude  
Performance settings are stored in what is referred to as  
memory. There are three kind of memory: temporary,  
What is a Performance? (p. 36)  
A “Performance” is a group of settings that specifies the Tone  
rewritable, and non-rewritable.  
fig.Memory-Flow.eps  
What is a Tone? (p. 20)  
Prelude  
Temporary  
On the Prelude, each of the sounds you normally play is called  
a “Tone.” If we use the analogy of an orchestra, a Tone  
corresponds to an instrument played by one of the musicians.  
area  
Preset  
Performance  
Performance  
Tone  
Style  
Song  
Performance  
Tone settings, such as those for effects and filters, are stored in  
the Performance.  
Select  
Write  
Tone  
Style  
User  
System  
What is Backing? (p. 23)  
“Backing” refers to the automatic accompaniment functionality  
Style  
Song  
of the Prelude.  
There are three types of backing: you can choose from  
Import and export  
Load  
Playlist  
What is a Music Style? (p. 24)  
Playlist  
System/  
Style  
Song  
Write  
Playlist  
Sound  
A “Music Style” is a musical template used by a Backing. The  
Prelude contains a variety of Music Styles such as rock, pop,  
Latin, and jazz. You can also add Style data by using a USB  
memory (p. 48).  
Song file  
USB Memory  
Temporary memory  
* You can use the included “StyleConverter” software to  
Temporary area  
This area holds the data of the Performance you’ve selected  
using the front panel buttons, and also holds the playlist you  
edited on the Prelude.  
What is a Song? (p. 26)  
The Prelude contains a 16-track MIDI song sequencer, which  
you can use to record the music you play. You can add a  
Backing to the performance you play on the keyboard, and  
save the result as a Song. You can also import Song data from  
a USB memory .  
When you play the Prelude, sound is produced based on data  
in the temporary area. When you edit a performance, you do  
not directly modify the data in memory; rather, you call up the  
data into the temporary area, and edit it there.  
Settings in the temporary area are temporary, and will be lost  
when the power is turned off or when you select another  
performance. To keep the settings you have modified, you  
must write them into rewritable memory.  
What is a USB Memory Player? (p. 30)  
This plays audio files or SMF data that has been stored in USB  
memory.  
You can perform on the Prelude accompanied by backing  
from an audio file or SMF.  
Rewritable memory  
System memory  
System memory stores system parameter settings that  
* Some settings cannot be overwritten. For details, refer to  
“System settings that are not stored” (p. 47).  
User memory  
User memory is where you normally store the data you need.  
To store a Performance or a Song, execute Write procedure  
(p. 28, 39).  
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Introduction  
Non-Rewritable memory  
Making Connections  
Preset memory  
Data in Preset memory cannot be rewritten. However, you can  
call up settings from preset Performances into the temporary  
area, modify them and then store the modified data in  
rewritable memory.  
To prevent malfunction and/or damage to speakers or other  
devices, always turn down the volume, and turn off the power  
on all devices before making any connections.  
USB memory  
When connection cables with resistors are used, the volume  
level of equipment connected to the input (EXT INPUT jack)  
may be low. If this happens, use connection cables that do not  
contain resistors.  
You can back up your settings to USB memory in the following  
units of data. (p. 48)  
• Sound/System  
User Performances, System settings  
Connecting the AC Adaptor  
• Style  
User Styles  
1. Make sure that the [POWER] switch is off.  
• Song  
User Songs  
2. Move the VOLUME knob all the way to the left to minimize  
the volume.  
• All  
Style and Song in addition to the Sound/System data  
listed above  
3. Connect the included power cord to the included AC  
adaptor.  
The indicator will light when you plug the AC adaptor into  
an AC outlet.  
fig.ACadap.eps  
AC adaptor  
Indicator  
Power cord  
to an AC outlet  
Place the AC adaptor so the side with the indicator (see  
illustration) faces upwards and the side with textual  
information faces downwards.  
Depending on your region, the included AC adaptor may be a  
different type than the one shown above. If so, omit step 3 and  
proceed.  
4. Connect the AC adaptor to the DC IN jack on the Prelude’s  
rear panel, and then plug the AC adaptor into an electrical  
outlet.  
To prevent the inadvertent disruption of power to your unit  
(should the plug be pulled out accidentally), and to avoid  
applying undue stress to the AC adaptor jack, anchor the  
power cord using the cord hook, as shown in the illustration.  
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Introduction  
fig.codef.eps  
Cord hook  
Use only the specified expression pedal (EV-5; sold  
separately). By connecting any other expression pedals, you  
risk causing malfunction and/or damage to the unit.  
Prelude rear panel  
Connecting an audio player to the  
EXT INPUT jack  
You can connect an MP3 player or other audio device to the  
Connecting External Equipment  
The Prelude contains an internal amplification system but can  
also be connected to audio equipment such as a monitor  
speaker or a stereo set, or use headphones.  
“Input settings for the EXT INPUT jack” (p. 18)  
You can record your playing (or a song recorded on the  
Prelude) onto an audio recording device. Connect the OUTPUT  
jacks on the Prelude’s rear panel to the input jacks of your  
external device.  
Turning the Power On/Off  
Turning the power on  
Once the connections have been completed (p. 14), turn on  
power to your various devices in the order specified. By  
turning on devices in the wrong order, you risk causing  
malfunction and/or damage to speakers and other devices.  
1. Before you turn on the power, turn the [VOLUME] knob all  
Stereo  
headphones  
the way to the left to minimize the volume.  
2. Press the rear panel [POWER] switch to turn on the power.  
This unit is equipped with a protection circuit. A brief interval  
(a few seconds) after power up is required before the unit will  
operate normally.  
Monitor speakers, etc.  
The internal speakers are switched off when you connect one  
or two pairs of headphones.  
If the Prelude is connected to a keyboard amp or audio amp,  
turn on the power of the Prelude first, and then switch on your  
amp.  
Connecting a pedal and switch  
3. Turn the [VOLUME] knob to adjust the volume of the  
Prelude.  
You must switch off the Prelude’s power before you connect a  
pedal and/or switch.  
Turning the power off  
Connect a separately available pedal switch (Roland DP  
Series) to the HOLD PEDAL jack on the rear panel. You can  
use this pedal switch to sustain notes even after taking your  
hands off the keyboard.  
1. Before you turn off the power, turn the [VOLUME] knob all  
the way to the left to minimize the volume.  
2. Press the [POWER] switch once again to turn off the power.  
Connect a separately available pedal switch (Roland DP  
Series), a separately available foot switch (Boss FS-5U) or  
separately available expression pedal (Roland EV-5) to the  
rear panel CONTROL PEDAL jack. You can use this to control  
various functions that you assign (p. 36).  
If the Prelude is connected to a keyboard amp or audio amp,  
switch off the power to your amp first, then turn off the power  
on the Prelude.  
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Introduction  
Main Screen  
Adjusting the Display Contrast  
([LCD CONTRAST] knob)  
The following screen, which appears after you turn on the  
power, is called the “Main screen.” This screen will be shown  
most of the time you’re performing with the Prelude.  
1. Turn the [LCD CONTRAST] knob on the rear panel.  
(1)  
(2)  
(5)  
(6)  
Basic Operation  
(3)  
(4)  
Changing a Value  
1. The number and name of the currently selected Style or of  
the currently selected Song  
Moving the cursor  
2. The group, number, and name of the currently selected  
Performance  
A single screen or window displays multiple parameters or  
items for selection. To edit the setting of a parameter, move the  
cursor to the value of that parameter. To select an item, move  
the cursor to that item. When selected with the cursor, a  
parameter value or other selection is highlighted.  
3. The number and name of the Tone selected for the Lower  
Part  
4. The number and name of the Tone selected for the Upper  
Part  
5. The measure number, tempo, and time signature of the Style  
Move the cursor with the [  
(cursor buttons).  
], [  
], [  
] and [  
]
or Song  
6. Chord indication  
Changing a value  
Window  
To change the value, use the VALUE dial.  
The somewhat smaller screens that appear temporarily on  
top of the normal screens are called windows. Various  
types of windows appears according to the situation.  
Some display allow you to make settings, and others ask  
Entering numerical values ([NUMERIC])  
This is convenient when selecting Tones (p. 20), Styles (p. 25),  
Performances (p. 36), or Songs (p. 29).  
you to confirm an operation.  
fig.disp-tempo.eps_80  
1. Use the cursor buttons or [STYLE], [SONG], [TONE] or  
[PERFORM] to move the cursor to the numerical value you  
want to change.  
Press [EXIT] to close the window. Some windows will close  
automatically when an operation is performed.  
2. Press [NUMERIC].  
All of the TONE SELECT buttons will light.  
3. Use the TONE SELECT buttons to enter the desired value,  
and press [ENTER].  
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Introduction  
4. Press [ENTER] to execute the Factory Reset.  
If you press [EXIT] instead, you’re returned to the previous  
screen and no Factory Reset takes place.  
Listening to the Demo Songs  
1. Press [MENU].  
5. Turn the power off and then on again.  
2. Use [  
] [  
] to select “Demo Play” then press [ENTER].  
Restoring the factory settings will initialize the System and User  
Performance settings.  
3. Use the cursor buttons to select the song you want to hear  
then press [ENTER].  
Press [PIANO (0)] to play back all of the demo songs.  
Preserving Certain Settings  
Even When You Switch  
Performances (Lock System)  
4. Press [START/STOP] to stop demo playback.  
5. Press [EXIT] to return to the Main screen.  
The settings for which you select “ON” (as described below)  
will not change even when you switch Performances.  
All rights reserved. Unauthorized use of this material for  
purposes other than private, personal enjoyment is a violation  
of applicable laws.  
Choosing the settings that will be locked  
1. Press the [MENU] button and select “System”.  
No data for the music that is played will be output from MIDI  
OUT.  
2. Confirm your choice by pressing [ENTER].  
3. Press the [  
] button several times until the “System  
Restoring the Prelude to Its  
Factory Settings  
Lock” page is displayed.  
4. Use [  
] [  
] to select the parameter, and turn the  
VALUE dial to select the value.  
You can return all of Prelude’s settings to the factory-set state.  
This is called “Factory Reset.”  
Parameter  
Explanation  
Value  
The Style will not change when you  
switch Performances.  
data that you’ve created, all of this data will be lost when you  
execute a Factory Reset. If you want to keep your data, you  
must save it to USB memory (p. 48).  
Style  
OFF, ON  
The Tones will not change when you  
switch Performances.  
Tone  
OFF, ON  
OFF, ON  
when you switch Performances.  
Style Tempo  
1. Press [MENU].  
The transpose setting (p. 21) will not  
Transpose change when you switch  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
OFF, ON  
Performances.  
3. Use the cursor buttons to select “Factory Reset” then press  
[ENTER].  
5. Press [EXIT].  
The confirmation message will appear.  
These settings are system parameters (p. 45).  
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Introduction  
Input settings for the EXT  
Here you can specify whether the sound from the EXT INPUT  
jack (p. 15) will be used.  
You can also specify whether the Center Cancel function will  
be applied to the sound from the EXT INPUT jack.  
When connection cables with resistors are used, the volume  
level of equipment connected to the EXT INPUT sockets may be  
low. If this happens, use connection cables that do not contain  
resistors.  
Center Cancel function minimizes the playback volume of the  
sound that’s heard from the center (e.g., vocal or melody  
instrument).  
1. Press [MENU].  
2. Use [  
[ENTER].  
] [  
] to select “Ext Input Setting” then press  
3. Use [  
] [  
] to select the item that you want to change.  
Parameter  
Explanation  
Value  
Turns the input from the EXT  
INPUT jack ON or OFF.  
External  
Input  
OFF, ON  
Specifies whether the Center  
Cancel function will be applied to  
the sound from the EXT INPUT  
jack (ON) or will not be applied  
(OFF).  
Center  
Cancel  
OFF, ON  
4. Turn the VALUE dial to set the value.  
5. When you’re finished making settings, press [EXIT].  
The “External Input” and “Center Cancel” settings cannot be  
saved to User Programs or the System memory. “External  
Input” is reset to “On” and “Center Cancel” to “Off” each time  
you switch on the Prelude.  
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Keyboard Mode Functions  
Using Split Mode ([SPLIT])  
Playing Sounds from the  
Keyboard (Keyboard Mode)  
Such a division of the keyboard into right- and left-hand  
sections is called a “Split,” and the key where the division  
takes place is called the “Split Point.”  
Immediately after you turn on the power, the Prelude will be in  
a state where you can use the entire keyboard to play a piano  
sound. The Prelude’s keyboard can operate in one of the  
following three modes.  
While in Split mode, a sound played in the right side is called  
an “Upper Tone,” and the sound played in the left side is a  
“Lower Tone.” The Split-Point key is included in the upper  
section. The Split Point has been set at the factory to “C4”.  
SINGLE  
The entire keyboard plays one Tone.  
1. Press [SPLIT] so the button is lit.  
The region of the keyboard to the left of the Split  
Point becomes the Lower Part, while the region of  
the keyboard to the right of the Split Point  
becomes the Upper Part. Each part plays a  
different Tone.  
The Tone you selected in Single mode will be the Tone for  
the Upper Part.  
SPLIT  
2. Use [  
] [  
] to select the Upper or Lower part if you  
wish to assign it a different Tone.  
The entire keyboard plays two Tones (assigned to  
the Upper and Lower parts) simultaneously.  
DUAL  
3. To exit Split mode, press [SPLIT] once again so its light  
goes out.  
If BACKING TYPE [STYLE] is on, the left region of the keyboard  
(the Lower Part) is used to enter chords (p. 24).  
In Split mode, the most suitable octave settings for each Tone  
are applied automatically.  
Regardless of the current settings, you can easily select Single  
mode by choosing the “Piano Mode” described below.  
Changing the Split Point  
1. Press and hold [SPLIT] (for approximately two seconds).  
Using Single Mode  
The Split Point setting screen will appear.  
2. Turn the VALUE dial to change the Split Point.  
If the [SPLIT] and [DUAL] are off, the keyboard will be in Single  
mode, meaning that the entire keyboard will play a single  
Tone.  
3. When you’re finished making the setting, press [EXIT].  
When you turn on the power, the Prelude will be in this mode.  
You can also change the Split Point by holding down [SPLIT]  
and playing the desired key.  
Using Piano Mode  
Regardless of the keyboard mode that is currently selected,  
you can use the following operation to call up the “Piano  
Mode.”  
The lowest split point note is “C#2”.The screen doesn’t display  
notes lower than the “C#2”.  
This will make the appropriate settings for playing piano on  
the Prelude; the entire keyboard will play a piano sound.  
Using Dual Mode ([DUAL])  
“Dual” is the mode in which two Tones are layered, so that  
they sound together.  
1. Press [SPLIT] and [DUAL] (PIANO MODE) simultaneously.  
In Dual mode, one Tone is called the “Upper Tone,” and the  
other is called the “Lower Tone.”  
1. Press [DUAL] so the button is lit.  
The Tone you selected in Single mode will be the Tone for  
the Upper Part.  
2. Use [  
] [  
] to select the Upper or Lower part if you  
wish to assign it a different Tone.  
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Keyboard Mode Functions  
3. To exit Dual mode, press [DUAL] once again so its light  
goes out.  
Switching to an Arabian  
Scale or Other Temperament  
Selecting a Tone ([TONE])  
The Prelude contains more than 1000 different Tones. You can  
use these Tones in the three keyboard modes (Single, Split,  
Dual).  
As an alternative to the temperament commonly used in  
Western music, you can adjust the pitch of each note to create  
temperaments used in other musical cultures or historical  
periods (e.g., Oriental temperaments, or temperaments used in  
the Baroque era).  
In Split mode or Dual mode, you can use the cursor buttons to  
move the cursor to the Tone number of the Upper Tone or  
Lower Tone, and select a different Tone for each.  
You can independently adjust the pitch of each note in the  
octave (C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B).  
Using the VALUE dial  
1. Hold down the [TRANSPOSE] button and press the  
[KEY TOUCH] button.  
1. Press [TONE] so the button is lit.  
The Key Scale window will open.  
2. Use the cursor buttons to select the item that you want to  
2. Use [  
] [  
] to select the Upper or Lower part.  
change, and use the VALUE dial to change the value.  
3. Turn the VALUE dial to step through the Tones one by one.  
Alternatively, you can press one of the TONE SELECT  
buttons ([PIANO]–[SPECIAL]) to select a Tone by category.  
Parameter  
Explanation  
Value  
Equal Tuning: This tuning divides  
the octave into 12 equal parts, and  
is the most widely used method of  
temperament used in Western mu-  
sic.  
Press  
[ENTER]  
Preset  
Equal  
When the cursor in the screen is at the Tone number, you can  
also select a Tone by turning [NUMERIC] on, using the TONE  
SELECT buttons to enter a Tone number, and then pressing  
[ENTER].  
Arabic Scale: In this scale, E and B  
are a quarter note lower and C#,  
F# and G# are a quarter-note high-  
er compared to equal tempera-  
ment. The intervals between G and  
B, C and E, F and G#, Bb and C#,  
and Eb and F# have a natural third  
the interval between a major third  
and a minor third. On the GW-8,  
you can use Arabian temperament  
in the three keys of G, C and F.  
Choosing from the Tone list  
Press  
[ENTER]  
Preset  
Arabic  
1. In the Main screen, use the cursor buttons to move the  
cursor to the Tone number.  
2. Press [ENTER].  
3. Use [  
] [  
] or the VALUE dial to select a Tone.  
You can press one of the TONE SELECT buttons  
([PIANO]–[SPECIAL]) to select a Tone by category.  
Use the Key Scale for the Lower  
Part  
Lower Sw  
Upper Sw  
OFF, ON  
OFF, ON  
Use the Key Scale for the Upper  
Part  
4. Press [ENTER] to set the Tone.  
If you press [EXIT] without pressing [ENTER], the list will  
close without the currently selected Tone being changed.  
Style Sw  
Use the Key Scale for the Style Part OFF, ON  
C
Key Scale C  
Key Scale C#  
Key Scale D  
Key Scale Eb  
Key Scale E  
Key Scale F  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
You can use [  
] [  
] to select a sub-category within the  
C#  
D
currently selected category.  
You can edit the currently selected Tone and store it in the  
Performance. For details, refer to “Editing a Tone” (p. 38) and  
“Saving a Performance (WRITE)” (p. 39).  
Eb  
E
F
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Keyboard Mode Functions  
Parameter  
F#  
Explanation  
Key Scale F#  
Value  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
-64–+63  
Parameter  
Value  
Value  
Explanation  
Specifies the volume value used  
when “Curve” is set to “FIXED.”  
1–127  
G
Key Scale G  
Key Scale G#  
Key Scale A  
Key Scale Bb  
Key Scale B  
3. When you’ve finished making settings, press [KEY TOUCH]  
G#  
A
once again (or [EXIT]) to close the window.  
Bb  
B
If you want to keep this setting, press [WRITE] to store it into  
the Performance (p. 39).  
3. When you’ve finished making settings, press [EXIT] once to  
Shifting the Keyboard Pitch in  
Octave Steps (OCTAVE Buttons)  
You can shift the pitch of the currently selected Tone upward or  
downward in steps of an octave, over a maximum of four  
octaves upward or downward.  
close the window.  
Changing the Key Touch  
([KEY TOUCH])  
This setting determines how the volume changes in response to  
1. Press OCTAVE [  
] or [  
].  
the force used to play the keyboard (Velocity Sensitivity).  
The Octave Shift window will open, and will then close a  
few moments after you release the button.  
The velocity—the force with which you play the keyboard—  
can affect the volume or timbre of a sound.  
2. While holding down OCTAVE [  
] or [  
], use Cursor  
[
] [ ] to select the Upper or Lower part whose pitch  
1. Press [KEY TOUCH] so the button is lit.  
you want to shift.  
The Key Touch window will open.  
3. Use OCTAVE [  
] [  
] to change the octave.  
2. Use the cursor buttons to select the item that you want to  
change, and use the VALUE dial to change the value.  
Transposing Keyboard  
Sounds and Songs Played  
Back (TRANSPOSE)  
By using the “Transpose function,” you can transpose your  
performance without changing the notes you play. You can  
also use this function to play back a song in a different key.  
Parameter  
Value  
Explanation  
Select this setting if you do not  
want velocity changes to bring  
about major volume changes.  
LIGHT  
Medium velocity sensitivity. The  
keyboard responds to velocity  
changes, but the maximum vol-  
ume can be obtained more easily  
than with “HEAVY.”  
MEDIUM  
1. Press [TRANSPOSE].  
The Transpose window will open, and will then close a  
few moments after you release the button.  
Select this setting for maximum ex-  
pressiveness. Even small varia-  
tions of the force with which you  
strike a key produce audible  
changes. The tradeoff is, howev-  
er, that you have to strike the keys  
forcefully to achieve the maximum  
volume.  
Curve  
2. While holding down [TRANSPOSE], use [  
] [  
] to  
select the item whose setting you want to change.  
HEAVY  
FIXED  
Parameter  
Song Trans  
Explanation  
Value  
with, or imported into, the  
Prelude, and of SMF data (29,  
p. 31) will be transposed.  
Select this setting if all notes you  
play on the keyboard should have  
the same velocity value.  
OFF, ON  
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Keyboard Mode Functions  
3. Press [EXIT] to return to the Main screen.  
Parameter  
KBD Trans  
Explanation  
Value  
4. To turn the Melody Intelligence off, press [MELODY INTELL]  
The sound of the keyboard will  
be transposed.  
OFF, ON  
so its light goes out.  
F#, G,  
G#, A,  
Bb, B, C,  
C#, D, Eb,  
E, F  
Using the Metronome  
It’s convenient to use the metronome when you’re practicing a  
The transposed pitch (–5~+6  
semitones)  
C  
new song.  
1. Press [MENU].  
Audio data cannot be transposed.  
2. Use [  
] [  
] to select “System” then press [ENTER].  
] to select “METRONOME” page, and use  
3. Hold down [TRANSPOSE], and use the VALUE dial to  
specify the desired value.  
3. Use [  
] [  
[TRANSPOSE] will light if the setting is anything other than C.  
[
] [  
] to select a parameter.  
4. Turn the VALUE dial to select the value.  
By holding down [TRANSPOSE] and using OCTAVE [  
], you can change the Transpose value regardless of  
where the cursor is located.  
]
[
Parameter  
Value  
Explanation  
Metronome  
Switch  
OFF, ON  
Turns the metronome on/off.  
Adding Harmony to the Upper  
Specifies how the metronome will be  
sounded.  
While a Music Style is playing (p. 24), the matching harmony  
is automatically added to the notes you are playing in the  
Upper Part. This function is called “Melody Intelligence.”  
Those automatic harmonies are based on the chords you play  
in the lower section.  
The metronome will sound at  
ALWAYS  
all times if it is turned on.  
The metronome will sound  
Metronome  
Mode  
REC  
only while you’re recording a  
Song (p. 26).  
The Melody Intelligence function will be on when you turn  
[MELODY INTELL] on (button lit).  
when you’re playing a Style  
and when you’re playing a  
Song (p. 24, p. 29).  
PLAY  
The Melody Intelligence function is only available while the  
[STYLE] button lights.  
Adjusts the volume of the  
metronome. The metronome  
will be quiet at “Low” and  
loud at “High.”  
LOW,  
MEDIUM,  
HIGH  
Metronome  
Level  
Selecting the type of harmony  
1. Press [MELODY INTELL] so the button is lit.  
When you play something in the Upper Part, harmony is  
added.  
5. When you’ve finished making settings, press [EXIT].  
This setting is saved to the System memory.  
2. Press and hold [MELODY INTELL], and turn the VALUE dial  
to select the Melody Intelligence type.  
Parameter  
Type  
Value  
“Editing a Tone” (p. 38)  
“Master Tune” (p. 45)  
DUET, ORGAN, COMBO, STRINGS, CHOIR,  
BLOCK, BIG BAND, COUNTRY,  
TRADITIONAL, BROADWAY, GOSPEL, RO-  
MANCE, LATIN, COUNTRY GUITAR, COUN-  
TRY BALLAD, WALTZ ORGAN, OCTAVE TYPE  
1, OCTAVE TYPE 2  
“System Transpose*” (p. 45)  
22  
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Backing Track Functions  
Selecting the Backing Types  
Adjusting the Tempo ([TAP TEMPO])  
(Style/Song/USB Memory Player)  
You can’t adjust the tempo of audio data.  
The Prelude allows you to use the following three types of  
TYPE [STYLE], [SONG] and [USB MEMORY PLAYER].  
1. Press [TAP TEMPO] three or more times at the desired  
interval.  
[STYLE] (p. 24)  
The tempo setting window will appear, and the tempo will  
be specified by the interval at which you pressed the  
button.  
This backing uses the Music Styles. The Prelude Style function  
automatically generates a backing with multiple instruments;  
simply choose one of a variety of Music Styles (Styles), then  
use your left hand to specify a chord. You can also choose  
Variations to change the backing in addition to the Intro,  
Main, and Ending backing types.  
You can also specify the tempo by pressing [TAP TEMPO] to  
access the tempo setting window, and then using the cursor  
buttons and VALUE dial to specify the tempo. Press [EXIT] to  
close the tempo setting window.  
Using only the drum part of a Style as the  
backing  
If you turn all of BACKING TYPE [STYLE], [SONG] and  
[USB MEMORY PLAYER] off, you’ll hear only the drum  
part of the currently selected Style. Just as when [STYLE] is  
VARIATION buttons to choose different variations.  
Using the metronome  
1. Press [TAP TEMPO].  
The tempo setting window will appear.  
[SONG] (p. 26)  
2. Use the cursor buttons to move the cursor to “Metronome,”  
You can use the recording function to record your own  
performance into the Prelude. Since a 16-track sequencer is  
built in, you can use multi-track recording to create a song by  
recording a different sound on each track. A song you’ve  
created can also be used as the backing for your keyboard  
performance.  
and use the VALUE dial to turn it on.  
When you turn the metronome on, it will begin sounding,  
depending on the metronome mode you selected  
(“Always”, “REC” or “Play”).  
3. To stop the metronome, turn off “Metronome.”  
SMF data can be loaded into the user Song and played back.  
4. Press [EXIT] to return to the Main screen.  
[USB MEMORY PLAYER] (p. 30)  
This allows you to play back audio files or SMF data that’s  
been saved on USB memory. You can use this playback as the  
backing for your keyboard performance.  
For details on volume and other settings for the metronome,  
refer to “Using the Metronome” (p. 22).  
Adjusting the Volume Balance between  
Backing and Keyboard (BALANCE buttons)  
Use BALANCE [BACKING] and [KEYBOARD] to adjust the  
volume balance between the backing and your keyboard  
performance.  
If you press BALANCE [BACKING] and [KEYBOARD]  
simultaneously, the volume balance will return to its original  
value.  
If you’ve changed the volume balance, the button whose  
volume is higher will be lit.  
This setting cannot be stored.  
23  
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Backing Track Functions  
Changing the Variations  
Style (Playing with an  
Accompaniment)  
You can press the VARIATION buttons to change the type of  
ensemble that will play the backing.  
The button you press flashes until the new pattern is used (after  
which the button lights steadily.)  
Playing Back a Style ([STYLE])  
VARIATION [1] produces the simplest arrangement, and  
VARIATION [4] produces the most florid.  
For an intro or ending, VARIATION [1] is the shortest and  
simplest.  
1. Press [STYLE] so the button is lit.  
At this time, the keyboard Split Point will be set to “C4” (the  
default setting).  
Using the Auto Fill-in Function  
If you leave [AUTO FILL-IN] on (button lit), a fill-in will play  
when you switch between accompaniment Variations. The fill-  
in that is played between the current and the next Variation  
pattern depends on where you come from.  
If you press and hold [SPLIT] (for approximately two seconds),  
the Split Point setting screen will appear. You can turn the  
VALUE dial to change the Split Point. When you’re finished,  
press [EXIT].  
What’s a “Fill-In”?–A short improvisational phrase inserted at  
the bar line is called a “Fill In.” The Prelude automatically  
plays the appropriate phrase for the selected Style.  
2. Press [START/STOP]; the drums will start playing.  
If you’re not using the lower area of the keyboard (the Lower  
Part area) to enter chords, only the drum pattern of the Style  
will be heard.  
Stopping a Style  
1. Press [START/STOP] once again to make the backing stop.  
3. Use your left hand to play a chord (or a single note).  
Use your left hand to play the backing chord, and your  
right hand to play the melody.  
If you press [ENDING] instead of [START/STOP], the ending  
phrase will play and then the backing will stop.  
4. If you play a different chord (or single note), the backing  
chord will change.  
Adjusting the Part Balance ([PART VIEW])  
The chord name is displayed in the backing chord area of the  
screen.  
If [STYLE] is on, or if all of the BACKING TYPE buttons are off,  
you can access the PERFORM MIXER screen by pressing [PART  
VIEW].  
5. Use the STYLE CONTROL buttons to select a different  
In the PERFORM MIXER screen you can adjust the volume for  
each Part of the Style. You can also mute (silence) a specific  
Part, or play only a specific Part.  
pattern for the currently selected Style.  
A backing pattern suitable for an  
introduction.  
[INTRO]  
1. With [STYLE] turned on, press [PART VIEW].  
This is the main accompaniment pattern for  
the song.  
The PERFORM MIXER screen will appear.  
[MAIN]  
2. Use [  
] [  
] to select the part whose settings you  
[ENDING]  
A backing pattern suitable for an ending.  
want to make, and use [  
you want to set.  
] [  
] to select the item that  
If [STYLE] is unlit, pressing [START/STOP] will cause only the  
drums to start playing.  
Display  
LWR  
UPR  
ADR  
ABS  
Part  
LOWER  
UPPER  
Accompaniment Drum  
Accompaniment Bass  
AC1–AC6 Accompaniment 1–6  
24  
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Backing Track Functions  
After importing new Styles from a USB memory, you can  
also press [USER] to select a User Style.  
Parameter  
Value  
Explanation  
LEVEL  
0–127  
Adjusts the volume of the Part.  
3. Turn the VALUE dial to step through the Styles one by one.  
OFF,  
ON  
Specifies whether the sound will be  
muted (ON) or heard (OFF).  
MUTE  
SOLO  
When the cursor in the screen is at the Style number, you can  
also select a Style by turning [NUMERIC] on, using the TONE  
SELECT buttons to enter a Style number, and then pressing  
[ENTER].  
OFF,  
ON  
Specifies whether this Part alone will  
be heard by itself (ON) or not (OFF).  
3. To exit the PERFORM MIXER screen, press [EXIT] or press  
Choosing from the Style List  
[PART VIEW] so its light is turned off.  
1. In the Main screen, use the cursor buttons to move the  
cursor to the Style number.  
Sync Start/Stop (SYNC buttons)  
2. Press [ENTER].  
If you leave SYNC [START] on (button lit), the accompaniment  
will start the moment you play a note at the left side of the Split  
Point (i.e., in the Lower Part area).  
3. Use [  
] [  
] to select a Style genre.  
To select a User style, select “USER” or press [USER].  
If you leave SYNC [STOP] on (button lit), the accompaniment  
will stop the moment you take your hand off of the Lower Part  
area. This is great for songs where you need breaks (i.e. one  
or several beats of silence).  
4. Use [  
] [  
] or the VALUE dial to select a Style.  
5. Press [ENTER] to set the Style.  
If you press [EXIT] without pressing [ENTER], the list will  
close without the currently selected Style being changed.  
To defeat this setting, press the button so it goes out.  
Saving the Current Settings in a  
Adding User Styles  
(Importing from USB memory)  
See “Saving a Performance (WRITE)” (p. 39).  
Style data saved on USB memory can be imported into the  
Prelude. Before you continue, the Style data you created on your  
saved to USB memory.  
Selecting a Music Style  
The Style memory locations are organized as follows.  
For details, refer to “Loading User Data Saved on USB  
Memory (Import)” (p. 48).  
Type  
PRST  
Explanation  
These are the Styles built into the Prelude.  
They cannot be overwritten.  
Deleting a User Style  
(Preset)  
save it to USB memory, and load it into the  
Prelude, it will be written into this USER area (p.  
48).  
Here’s how you can delete the specified Style or all Styles from  
User Style memory.  
USER  
1. Press [MENU].  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
Selecting a Style  
3. Use the cursor buttons to select “Delete” then press [ENTER].  
Using the VALUE dial  
4. Use the cursor buttons to select “Style” or “All Styles,” then  
1. Press [STYLE] so the button is lit.  
press [ENTER].  
2. Use the STYLE FAMILY buttons to select a Style by genre.  
5. If you selected “Style” in step 4, use the VALUE dial or  
Immediately after you press one of the STYLE FAMILY  
buttons, the screen will show the name of the first Style in  
the selected genre.  
[
] [  
] to select the Style that you want to delete, then  
press [ENTER].  
A confirmation window will appear.  
25  
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Backing Track Functions  
6. Press [ENTER] to delete the Style(s).  
Song  
If you press [EXIT], you’re returned to the previous screen  
without deleting the Style(s).  
Recording a New Song ([SONG REC])  
Back up User Style  
your own performances.  
You can record your keyboard performance while listening to  
an accompaniment, and then listen to the playback of your  
recorded performance.  
For details, refer to “Saving User Data to USB Memory  
(Backup)” (p. 48).  
Using the Recommended Sound  
Settings for a Style ([ONE TOUCH])  
Recorded performances are discarded when another Song is  
selected, or when the power is turned off. If you don’t want to  
When [STYLE] is on, turning [ONE TOUCH] on (button lit) will  
assign the most suitable Tones for the currently selected Style  
as the Upper Tone and Lower Tone. This is called the “One  
Touch” function.  
• Refer to “Recording in the Main screen” (p. 26).  
• Refer to “Recording a specified Part (SONG TRACK)” (p.  
27).  
If [ONE TOUCH] is on when you switch Styles, the keyboard  
Tones will also switch to the Tones that are most suitable for  
the Style you selected.  
by the settings of the Style that’s saved in the selected  
Performance. You’ll probably find it convenient to first select the  
Style and Tones that you want to use (p. 36). If you are  
performing without using a Style, you can specify the tempo and  
time signature of the Song in the SONG TRACK screen (p. 27).  
To turn off the One Touch function, turn [ONE TOUCH] off  
(button unlit).  
The Keyboard Mode (p. 19) will change depending on the  
selected Style.  
Recording in the Main screen  
Switching the Style when [ONE TOUCH] is on will not change  
the Split Point (p. 19).  
If you want to record the Style playback as well, turn [STYLE]  
on. Recording will start/stop simultaneously when you start/stop  
the Style.  
The One Touch function is available only when a preset Style  
is selected.  
If you want to record only your keyboard performance without  
playing a Style, turn [SONG] on.  
If [STYLE] and [SONG] are both turned off, the rhythm pattern  
of the Style selected by the STYLE FAMILY buttons will be  
recorded together with the keyboard performance.  
You can’t change the Tones that are assigned to each Style by  
the One Touch function.  
recording Your Performance” (p. 28). To record a new Song,  
use the Song Initializing operation. Refer to “Recording a  
specified Part (SONG TRACK)” (p. 27). The following  
procedure, allows you to record your performance.  
1. Select the Performance that you want to use (p. 36).  
“Pedal Assign” (p. 45)  
2. Press [SONG REC].  
[SONG REC] will blink.  
“Saving User Data to USB Memory (Backup)” (p. 48)  
“Loading User Data Saved on USB Memory (Import)” (p. 48)  
3. Press [  
] to start recording.  
26  
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Backing Track Functions  
Even without pressing [  
], recording starts when  
you play on the keyboard…  
Part (Upper Part or Lower Part) you play by hand. Be aware  
that MFX will not apply to the recorded Song data.  
(2) if you start playing using the Upper or Lower part  
while the “Count-In” parameter is set to “WAIT NOTE” (p.  
28).  
When [SONG] is on, you can press [PART VIEW] repeatedly  
to switch from the Main screen to SONG TRACK PERFORM  
MIXER (p. 24) Main screen.  
4. Perform.  
5. Press [  
] to stop recording.  
appear.  
following of “Recording a specified Part (SONG TRACK)”  
below, or step 3 and following of “Re-recording Your  
Performance” (p. 28).  
1. Press [SONG] so the button is lit.  
2. Press [PART VIEW] so the button is lit.  
The SONG TRACK screen will appear.  
Initializing a Song  
3. Use the cursor buttons to select the INIT icon then press  
[ENTER].  
The Song Initialize window will appear.  
MFX (p. 40) will apply only to the realtime performance of the  
Part (Upper Part or Lower Part) you play by hand. Be aware  
that MFX will not apply to the recorded Song data.  
4. As needed, use the cursor buttons and VALUE dial to  
specify the tempo and time signature of the Song.  
5. Use the cursor buttons to select the INIT icon once again  
then press [ENTER].  
A performance you record using a Style is recorded to parts  
1–16 as follows.  
A confirmation window will appear.  
Track  
Part Name  
Accomp 1  
Track  
9
Part Name  
Accomp 6  
6. Press [ENTER].  
1
2
3
4
5
6
7
8
If you press [EXIT] twice instead of [ENTER], the Song  
Initialize window will close without initializing a Song.  
The SONG TRACK screen will appear.  
Accomp bass  
Accomp 2  
Upper Part  
Accomp 3  
10  
11  
12  
13  
14  
15  
16  
Accomp drums  
Lower Part  
7. Use the cursor buttons to select an item, and turn the  
VALUE dial to set the value.  
Accomp 4  
Accomp 5  
Melody Intelligence  
Item  
Part  
Explanation  
Part to record  
The Tone number for each Part  
Value  
1–16  
Tone  
Mute  
Solo  
Mute On (no sound) or Off (sound) setting for each Part  
Solo On (hear only this part) or Off setting for each Part  
You can specify whether the metronome will sound during  
recording. See “Using the Metronome” (p. 22).  
Recording a specified Part (SONG TRACK)  
Be sure to select the sounds you want to use for your recording  
at this stage. You cannot assign different sounds to previously  
recorded parts.  
In the SONG TRACK screen you can specify the Part that you  
want to record. A performance using one Tone will be  
recorded on each Part.  
8. Press [SONG REC].  
[SONG REC] will blink.  
The Song Rec Standby screen will appear.  
If you are recording a new Song, there’s no need to make  
settings in this screen. Proceed to the next step.  
If you’re recording on a specified Part, recording with a Style  
may cause your performance to be recorded together with the  
performance generated by the Style, depending on the Part  
you’ve specified. If you’re recording on a specified Part, we  
recommend that you play without using Styles.  
9. Press [  
10.Perform.  
11.Press [  
] to start recording.  
] to stop recording.  
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Backing Track Functions  
Parameter  
Value  
Explanation  
Re-recording Your Performance  
If this is turned “ON,” recording  
will occur from the “Punch In”  
measure to the “Punch Out”  
measure that you specify below.  
When the song playback reaches  
the measure you specified for  
“Punch In,” recording will begin  
automatically, and recording will  
stop at the “Punch Out” measure.  
In the SONG TRACK screen you can overdub additional  
material onto your recorded performance, or re-record the  
specified measures of a performance.  
Punch  
Sw  
OFF, ON  
You can use the following ways of re-recording.  
Replace–New material is recorded as previously recorded  
material is erased.  
Mix–New notes are recorded on top of notes previously  
Measure at which recording  
will begin  
Punch  
In  
0001–  
0002–  
recorded.  
Punch In/Out– Replace or Mix recording is performed  
Measure at which recording  
will end  
Punch  
Out  
only in the region you specify for re-recording.  
When you record a Song using a Style, the Style data is  
recorded in the first measure of the Song. When you play back  
this Song, playback will begin from measure indication “2.”  
If you assign the pedal to “PUNCH IN/OUT” in “Pedal  
Assign” (p. 45), you’ll be able to specify the record-start and  
record-end locations by pressing the pedal. In this case, turn  
the above “Punch Sw” to the “OFF” setting.  
1. Press [SONG] so the button is lit.  
2. Press [PART VIEW] so the button is lit.  
5. Press [  
6. Perform.  
7. Press [  
] to start recording.  
The SONG TRACK screen will appear.  
As needed, make Song settings as described in step 7 of  
“Recording a specified Part (SONG TRACK).”  
] to stop recording.  
3. Press [SONG REC].  
[SONG REC] will blink.  
The Song Rec Standby screen will appear.  
Saving a Song ([WRITE])  
Here’s how you can save a Song from the temporary Song  
memory to a user Song memory.  
4. Use the cursor buttons to select a parameter, and turn the  
VALUE dial to set the value.  
1. Press [WRITE].  
Parameter  
Value  
Explanation  
New material is recorded as  
previously recorded material is  
erased.  
2. Use [  
] [  
] to select “Song,” and then press [ENTER].  
REPLACE  
Rec  
Mode  
Input a name for your user Song  
New notes are recorded on top  
of notes previously recorded.  
3. Use [  
] [  
] to move the cursor, and turn the VALUE  
MIX  
dial to change each character.  
No count-in. Recording starts as  
Enter a Song name of up to 16 characters.  
The following characters are available.  
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ ` { } _  
OFF  
soon as you press [  
].  
Recording starts after a 1-bar  
count-in.  
1MEAS  
2MEAS  
Count  
In  
Recording starts after a 2-bar  
count-in.  
Button  
Explanation  
Selects the type of character. Each time you press  
this, you will alternately select the first character  
of a character set: uppercase (A), or numerals  
and symbols (0).  
Recording starts as soon as you  
play a note on the keyboard.  
(There will be no count-in.)  
[0]  
WAIT NOTE  
OFF, 1/4,  
1/8, 1/8T,  
1/16,1/16T,  
1/32,1/32T,  
1/64  
Quantize corrects the timing of  
your notes by shifting them to the  
nearest grid mark. This specifies  
the number of steps per measure  
(i.e., the resolution).  
[1]  
[2]  
Deletes the character at the cursor location.  
Inserts a “_ ” at the cursor location.  
Input  
Quan-  
tize  
4. Press [ENTER].  
28  
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Backing Track Functions  
A confirmation window will appear.  
When you record a Song using a Style, the Style data is  
recorded in the first measure of the Song. When you play back  
this Song, playback will begin from measure indication “2.”  
5. Press [ENTER] to save the Song.  
If you press [EXIT], you’re returned to the previous screen  
without the Song being saved.  
When you select a user Song, the temporary Song memory  
will be overwritten by the user Song you selected.  
Loading Song Data from USB Memory  
Prelude. SMF data also can be stored into the user Song.  
For details, refer to “Loading User Data Saved on USB  
Memory (Import)” (p. 48).  
You can’t play back SMF data that contains more than 16 parts.  
Deleting a Song  
Here’s how you can delete the specified Song or all Songs  
from User Song memory.  
1. Press [MENU].  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
3. Use the cursor buttons to select “Delete” then press [ENTER].  
4. Use the cursor buttons to select “Song” or “All Songs,”  
then press [ENTER].  
5. If you selected “Song” in step 4, use the VALUE dial or  
[
]
[
]
to select the Song that you want to delete, then press  
[ENTER].  
A confirmation window will appear.  
6. Press [ENTER] to delete the Song(s).  
If you press [EXIT], you’re returned to the previous screen  
without deleting the Song(s).  
Selecting and Playing a Song ([SONG])  
1. Import on or several songs from a USB memory if you  
haven’t already done so.  
2. Press [SONG] so the button is lit.  
3. Turn the VALUE dial to select a Song.  
When the cursor is at the Song number, you can also  
select a Song from the Song list. Press [ENTER] to access  
the Song list, using [  
pressing [ENTER].  
] [  
You can use [NUMERIC] to select a Song (p. 16).  
4. Press [  
To stop, press [  
] to play the Song.  
] once again.  
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Backing Track Functions  
Moving the playback location of a song  
USB Memory Player  
Use the SONG buttons to specify the song playback location.  
(SMF/Audio File Player)  
Returns to the beginning of the song.  
Rewinds the song.  
[
]
[
[
]
]
Playlist: Playlist is a function that lets you create a list of songs in a  
specified order, and play them back consecutively on the Prelude.  
You can use the “Playlist Editor” software supplied with the Prelude  
to create a playlist on your computer.  
Songlist: The list of songs specified in the playlist is called a  
Songlist.  
Fast-forwards the song.  
Moves to the end of the song.  
Plays or pauses the song.  
[
]
[
]
Performing along with a song  
([MINUS ONE/CENTER CANCEL])  
Creating a playlist  
Start up “Playlist Editor” and create a playlist.  
You can press [MINUS ONE/CENTER CANCEL] to mute  
(silence) the specified Part. This is called the “Minus One”  
function. To specify the Part that will be muted, see below.  
Each time you press [MINUS ONE/CENTER CANCEL], the Minus  
One function will be turned on (button lit) or off (button unlit).  
* For details on creating a playlist, refer to  
“PlaylistEditorManualE.pdf,” which is installed together  
with “Playlist Editor” (you’ll find it in the “Help” menu).  
• You can play back individual songs even without  
creating a playlist (see “Playing Back SMF/Audio  
Files”). This only works for SMF or audio files in the  
root directory of your USB memory.  
• Only audio files whose sampling frequency is 44.1kHz  
can be played.  
• The Prelude can handle up to a maximum of 999 songs  
and playlists. (“Playlist Editor” can handle up to 999  
playlists.)  
Specifying the Part that will be muted  
1. Press [MENU].  
2. Use [  
[ENTER].  
] [  
] to select “Minus One Setting” then press  
You can also call up this page bt pressing and holding the  
[MINUS ONE] button.  
3. Use the cursor buttons to select the Part that you want to  
mute.  
4. Turn the VALUE dial to set it to ON or OFF.  
Playing Back SMF/Audio Files  
5. When you’re finished making settings, press [EXIT].  
You can play back SMF files or audio files saved in USB memory.  
SMF/Audio files that can be played  
This setting is system parameter.  
SMF  
0 or 1  
Back Up Song Files  
* With format 1 SMFs, there are  
limitations on the tracks that will be  
played.  
240 KB maximum (Note that this  
will vary slightly based on the SMF  
content.)  
Format  
memory.  
For details, refer to “Saving User Data to USB Memory  
(Backup)” (p. 48).  
File Size  
System Exclusive Packet sizes of 512 bytes or less  
Audio File  
44.1 kHz  
8/16/24 bits  
Sampling Rate  
Bit Depth  
WAV/  
AIFF  
Format  
Sampling Rate  
MPEG-1 audio layer 3  
44.1 kHz  
32/40/48/56/64/80/96/  
112/128/160/192/224/256/  
320 kbps, VBR (Variable Bit Rate)  
“Using the Metronome” (p. 22)  
“Saving User Data to USB Memory (Backup)” (p. 48)  
“Loading User Data Saved on USB Memory (Import)” (p. 48)  
MP3  
Bit Rates  
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Backing Track Functions  
SONG SELECT Screen  
In the Main screen, select the SONG icon and press [ENTER]  
to access the SONG SELECT screen.  
(1)  
USB Memory Player Screens  
Main Screen  
When you connect USB memory to the Prelude and press [USB  
(3)  
(4)  
(5)  
(6)  
MEMORY PLAYER], the Main screen will appear as follows.  
(1)  
(2)  
(2)  
(7)  
(3)  
(4)  
1. The name of the currently selected playlist  
2. Song List  
(5)  
(6)  
Select a song from the list and press [  
] to move the  
cursor to the icons in the right side of the screen. Select an  
icon and press [ENTER] to perform the following operations.  
1. PLAYLIST icon: Indicates the PLAYLIST SELECT screen.  
2. SONG icon: Indicates the SONG SELECT screen.  
3. The number and name of the currently selected Song  
3. P INFO icon: Displays information for the currently selected  
playlist.  
4. S INFO icon: Displays information for the currently selected  
4. The group, number, and name of the currently selected  
song.  
Performance  
5. CHANGE icon: Changes the playback order of the  
currently selected song. For details, refer to “Changing the  
song order” (p. 33).  
5. The number and name of the Tone selected for the Lower Part  
6. The number and name of the Tone selected for the Upper Part  
7. The measure number and tempo or time of the Song  
6. DELETE icon: Deletes the currently selected song from the  
playlist. For details, refer to “Deleting the song” (p. 33).  
PLAYLIST SELECT Screen  
In the Main screen, select the PLAYLIST icon and press [ENTER]  
Song Playback ([USB MEMORY PLAYER])  
to access the PLAYLIST SELECT screen.  
fig.disp-USBmp-songlist.eps  
Connect the USB memory containing the playlist and songs to  
the Prelude, and turn [USB MEMORY PLAYER] on.  
Play the songs as described below. Use the USB MEMORY  
PLAYER CONTROL buttons to specify the song playback  
location.  
(2)  
(1)  
1. PLAYLIST list  
Returns to the beginning of the song.  
Pressing this button at the beginning of the  
song moves to the previous song.  
In the list, choose playlist and press [  
move to the icon in the right side of the screen. Select an  
icon and press [ENTER] to perform the following operations.  
]; the cursor will  
[
]
Rewinds the song.  
[
[
]
]
Fast-forwards the song.  
Moves to the next song.  
Plays or pauses the song.  
Playlists that show a  
at the left of the name don’t allow you  
to edit the playlist settings or the settings of the songs in the  
playlist.  
[
]
[
]
2. P INFO icon: Displays information for the currently selected  
playlist.  
Selecting a playlist and playing it  
1. In the Main screen, move the cursor to the PLAYLIST icon in  
the upper line of the screen, and press [ENTER].  
The PLAYLIST SELECT screen will appear.  
Alternatively, you can access the PLAYLIST SELECT screen  
from the Main screen by pressing [USB MEMORY PLAYER]  
with [USB MEMORY PLAYER] turned on (button lit).  
31  
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Backing Track Functions  
2. Use [  
] [  
] to select the playlist that you want to play.  
], the songs in the selected  
6. To stop the song playback, press [  
] again.  
3. When you press [  
memory are not available for re-recording operations. To use  
such SMF songs as a starting point for parts you want to add  
or replace, you first need to import the song in (p. 48).  
playlist will be played in the specified order.  
Press [EXIT] to return to the Main screen.  
4. To stop the song playback, press [  
].  
If you then press [  
point at which you stopped.  
], playback will start from the  
Performing along with a song  
([MINUS ONE/CENTER CANCEL])  
Selecting and playing a song from  
within a songlist  
By pressing [MINUS ONE/CENTER CANCEL] you can perform  
the following operations depending on the type of song data.  
File  
Function  
Explanation  
1. In the Main screen, move the cursor to “SONG” in the  
upper line of the screen, and press [ENTER].  
specify the Part that will be muted,  
refer to “Specifying the Part that  
will be muted” (p. 30).  
The songlist for the currently selected playlist will appear.  
Alternatively, you can view the songlist by selecting a  
playlist in step 2 of “Selecting a playlist and playing it”  
(above), and pressing [ENTER].  
Minus  
One  
SMF  
Minimizes the playback volume  
of the sound that’s heard from the  
center (e.g., vocal or melody  
instrument).  
Center  
Cancel  
2. Use [  
] [  
] to select the song that you want to play.  
Audio file  
3. Press [  
] to play the selected song.  
Press [EXIT] to return to the Main screen.  
Each time you press [MINUS ONE/CENTER CANCEL], the  
function will turn on (button lit) or off (button unlit).  
4. To stop the song playback, press [  
].  
If you then press [  
], playback will start from the  
point at which you stopped.  
Selecting and playing back ‘external’  
songs without creating a playlist  
1. After placing the SMF or Audio files in the root directory of  
your USB memory, connect it t the Prelude and press the  
[USB MEMORY PLAYER] button.  
2. Use [  
] [  
] to select the USB memory folder.  
3. Press [ENTER]  
The list of the songs that you placed in the root directory  
appears in the display.  
4. Use [  
] [  
] to select the song that you want to play  
and press [ENTER].  
5. Press [  
] to play the selected song.  
32  
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Backing Track Functions  
If you do not want to delete, press [EXIT].  
Editing Playlist  
If you modify the content of the playlist, an “*” will be shown  
before the playlist name. If you want to keep the playlist you  
changed, execute the Write operation (see the right column). If  
you select a different playlist without writing your settings, they  
will revert to their original state.  
1. In the SONG SELECT screen (p. 31), choose the S INFO icon  
and then press [ENTER].  
2. Use [  
] to select “Level Edit,” and then press [ENTER].  
The SONG INFO (LEVEL) screen will appear.  
This item is not shown for internal songs (SONG).  
3. Use the cursor buttons to select a parameter.  
1. In the PLAYLIST SELECT (p. 31),or SONG SELECT screen (p.  
31), choose the P INFO icon and then press [ENTER].  
4. Turn the VALUE dial to adjust the value.  
2. Use [  
] to select “Chain Play” or “Repeat All” for the  
Parameter  
Value  
Explanation  
Playback Mode.  
Assuming that the original volume (the  
volume of the song in USB memory) is  
0, you can adjust the volume within  
this range: -12–0–+12.  
If the song’s file type is SMF, you can  
adjust the volume individually for Parts  
1–16. Move the cursor to the Part  
number shown at the bottom of the  
screen and press [ENTER], and you’ll  
be able to adjust the volume of that  
Part.  
-12–0–  
+12  
Level  
Adjust  
3. Turn the VALUE dial or press the [ENTER] button to add or  
remove a check mark ().  
A function is on when a check mark has been added.  
Parameter  
Explanation  
If this is on, the songs in the playlist will play  
consecutively.  
Playback will stop when the last song has ended.  
If this is on, when the last song in the playlist has  
ended, the unit returns to the first song and enters  
pause mode.  
If Chain Play is on, consecutive playback will  
continue repeating.  
Part  
1–16  
Level  
0–127  
Chain  
Play  
Repeat  
All  
When [USB MEMORY PLAYER] is on, you can press [PART  
VIEW] repeatedly to switch from the Main screen to SONG  
INFO (LEVEL) PERFORM MIXER (p. 24) Main screen.  
Changing the song order  
Saving playlist settings to USB memory  
([WRITE])  
1. In the SONG SELECT screen (p. 31), choose the CHANGE  
icon and then press [ENTER].  
Here’s how Playlist settings you’ve edited on the Prelude can  
be saved to USB memory.  
The song order change window will appear.  
2. Turn the VALUE dial to specify the desired position of the  
1. Press [WRITE].  
currently selected song.  
2. Use [  
] [  
] to select “Playlist,” and then press [ENTER].  
3. When you’ve specified the desired position, press [ENTER].  
The confirmation window will appear.  
If you do not want to change the position, press [EXIT].  
3. Press [ENTER] to save playlists on the USB memory.  
Deleting the song  
If you press [EXIT], you’re returned to the previous screen  
without playlists being saved.  
1. In the SONG SELECT screen (p. 31), choose the DELETE icon  
and then press [ENTER].  
A confirmation window will appear.  
2. Press [ENTER].  
33  
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Performance Functions and Effects  
Performance Features  
The usable range of the D Beam controller  
The diagram shows the usable range of  
the D Beam controller. Waving your  
hand outside this range will produce no  
effect.  
D Beam Controller  
The D Beam controller can be used simply by waving your  
hand over it. Depending on the function that is assigned to it,  
the D Beam controller can be used to apply varius effects and  
to modify the sounds.  
The usable range of the D Beam  
controller will become extremely small when used under  
strong direct sunlight. Please be aware of this when using  
the D Beam controller outside.  
The sensitivity of the D Beam controller will change depending  
function as you expect, adjust the D Beam Sens parameter as  
appropriate for the brightness of your location. Increase this  
value will raise the sensitivity (p. 46).  
1. Press the [PITCH], [FILTER] or [VOLUME] button in the D  
Assigning a function to the D Beam  
controller  
BEAM section (the button you press lights blue).  
You can’t use these buttons at the same time.  
1. Press and hold the [FILTER] or [VOLUME] button.  
The D BEAM screen will appear.  
Button  
PITCH  
Explanation  
2. Use [  
] [  
] to select a parameter.  
Lets you change the pitch of the sounds  
you play on the keyboard.  
3. Turn the VALUE dial to select the desired D Beam function.  
Changes the tonal character of the  
sounds you play n the keyboard. (For  
some sounds the timbre change may be  
difficult to notice.)  
4. When you’ve finished making settings, press [EXIT].  
FILTER  
The Main screen will appear.  
Changes the volume of the sounds you  
play on the keyboard.  
These settings are system parameters (p. 45).  
VOLUME  
Functions that can be assigned  
2. While you play the keyboard to produce sound, place  
up and down.  
D Beam  
Explanation  
function  
A snare drum roll will continue as long as your  
hand is positioned over the D Beam. Move your  
hand closer to increase the volume, and move  
your hand rapidly away to play a cymbal.  
DRUM  
ROLL*  
3. To turn off the D Beam controller, once again press the  
button you pressed in step (1) so the indicator goes out.  
Chimes will sound when you position your hand  
above the D Beam. The volume is greater when  
you move your hand more rapidly.  
CHIMES*  
BUBBLE*  
The sound of bubbles will continue as long as  
your hand is positioned above the D Beam. The  
volume will increase as you move your hand  
closer.  
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Performance Functions and Effects  
D Beam  
function  
D Beam  
function  
Explanation  
Explanation  
The sound of running water will continue as long  
as your hand is positioned above the D Beam.  
The volume will increase as you move your hand  
closer.  
The pitch will rise when you bring your hand  
closer to the D Beam. The pitch will return to the  
original level when you take your hand away.  
BEND UP  
STREAM*  
The pitch will fall when you bring your hand  
closer to the D Beam. The pitch will return to the  
original level when you take your hand away.  
BEND  
DOWN  
An explosion will sound when you position your  
hand over the D Beam. The volume is greater  
when you move your hand more rapidly.  
EXPLO-  
SION*  
When you bring your hand closer to the D Beam,  
the volume of the keyboard performance will  
increase and the pitch will rise. The pitch and  
volume will return to the original level when you  
take your hand away.  
A pistol shot will sound when you position your  
hand over the D Beam. The volume is greater  
when you move your hand more rapidly.  
GUN  
SHOT*  
EXP+UP  
An engine will continue sounding as long as  
your hand is positioned above the D Beam. The  
volume will increase as you move your hand  
closer.  
When you bring your hand closer to the D Beam,  
the volume of the keyboard performance will  
increase and the pitch will fall. The pitch and  
volume will return to the original level when you  
take your hand away.  
ENGINE*  
EXP+  
DOWN  
Applause will continue sounding as long as your  
hand is positioned above the D Beam. The  
volume will increase as you move your hand  
closer.  
APPLAUSE*  
The tempo will become faster when you bring  
your hand closer to the D Beam. The tempo will  
return to the original value when you take your  
hand away.  
TEMPO UP  
Laughter will sound when you position your hand  
over the D Beam. The volume is greater when  
you move your hand more rapidly.  
LAUGH-  
ING*  
The tempo will become slower when you bring  
your hand closer to the D Beam. The tempo will  
return to the original value when you take your  
hand away.  
TEMPO  
DOWN  
A scream will sound when you position your  
hand over the D Beam. The volume is greater  
when you move your hand more rapidly.  
SCREAM-  
ING*  
Playback will start when you position your hand  
over the D Beam. Playback will stop when you  
position your hand over the D Beam once again.  
A bird call will sound when you position your  
hand over the D Beam. The volume is greater  
when you move your hand more rapidly.  
START/  
STOP  
BIRD*  
DOG*  
FILL UP  
If you position your hand over the D Beam while  
the backing is playing, a fill-in will sound (p. 24).  
A dog’s bark will sound when you position your  
hand over the D Beam. The volume is greater  
when you move your hand more rapidly.  
FILL DOWN  
If you position your hand over the D Beam, the  
volume will begin decreasing and will then reach  
FADE OUT zero. The backing performance will stop, and  
then the original volume will return after two or  
three seconds.  
Surf will sound when you position your hand  
over the D Beam. The volume will increase as  
you move your hand closer.  
SEA-  
SHORE*  
The sound of rain will continue as long as your  
hand is positioned above the D Beam. The  
volume will increase as you move your hand  
closer.  
The sound becomes brighter when you bring  
your hand closer to the D Beam. It becomes  
rounder when you take your hand away.  
RAIN*  
FILTER  
A thunder will sound when you position your  
THUNDER* hand over the D Beam. The volume will increase  
The volume will increase when you bring your  
hand closer to the D Beam. The volume will  
return to the original level when you take your  
hand away.  
VOLUME  
as you move your hand closer.  
The D Beam controller will apply the same effect  
as the Modulation lever (p. 36).  
MODULA-  
TION  
The volume will increase when you bring your  
hand closer to the D Beam. The volume will  
return to the original level when you take your  
hand away.  
D Beam functions marked with an “*” cannot be recorded in a  
song.  
EXPRES-  
SION  
35  
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Performance Functions and Effects  
• Upper Tone/Lower Tone settings  
• Style settings  
• Effects settings  
• Transpose  
• Octave shift  
If you turn off the power while the D BEAM screen is  
displayed, the D Beam setting you chose will not be  
remembered by the Prelude. You must press [EXIT] before you  
turn off the power.  
• Keyboard touch  
• Chord mode  
• Melody Intelligence  
Pitch Bend and Modulation Lever  
The Pitch Bend/Modulation lever located at the left of the  
keyboard can be used to apply two types of effect to the  
sound you’re playing in Keyboard mode.  
Selecting a Performance ([PERFORM])  
The Performance memory locations are organized as follows.  
Pitch Bend is an effect that lowers the pitch of the sound you’re  
playing when you move the lever toward the left, or raises it  
when you move the lever toward the right.  
Type  
PRST  
Explanation  
These are the Performances built into the  
Prelude. They cannot be overwritten.  
Modulation is an effect that applies vibrato to the sound you’re  
playing when you push the lever away from yourself.  
(Preset)  
You can use these memory locations to store  
Performances you’ve edited.  
USER  
If the MFX type is ROTARY, this will switch the rotational speed  
instead of Modulation.  
fig.bendlever.eps  
Using the VALUE dial  
Modulation  
1. Press [PERFORM] to select Performance mode.  
(This may not be necessary, because the Prelude selects  
this mode at power-up.  
Pitch Bend  
2. Use the cursor buttons to move the cursor to the right of  
“PERFORM,” located in the upper left of the screen, then  
use the VALUE dial to choose “PRST” or “USER.”  
If you press the lever away from yourself while moving it to left  
or right, both effects will be applied at the same time.  
You’ll be able to select preset Performances if you choose  
“PRST,” or user Performances if you choose “USER.”  
The extent of the pitch change can be assigned for each Tone.  
3. Use the cursor buttons to move the cursor to the  
Performance number, and use the VALUE dial to select a  
Performance.  
“Bend Mode” (p. 45)  
Assignable Pedal  
When the cursor in the screen is at the Performance number,  
you can also select a Performance by turning [NUMERIC] on,  
using the TONE SELECT buttons to enter a Performance  
number, and then pressing [ENTER].  
You can connect a separately available foot switch (Boss  
FS-5U) or a separately available expression pedal (Roland  
You can assign a variety of functions to this pedal. For details,  
refer to “System Parameters” (p. 45).  
Choosing from the Performance list  
1. In the Main screen, use the cursor buttons to move the  
Using Preset Performances  
cursor to the Performance number.  
By selecting a preset Performance, you can quickly recall  
settings that are appropriate for the song you’re playing.  
When you select a preset performance, settings for the  
following items will be recalled.  
2. Press [ENTER].  
3. Use [  
] [  
] to select “Preset” or “User.”  
You’ll be able to select preset Performances if you choose  
“Preset,” or user Performances if you choose “User.”  
• Keyboard mode  
36  
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Performance Functions and Effects  
4. Use [  
] [  
] or the VALUE dial to select a Performance.  
Parameter  
Value  
Explanation  
5. Press [ENTER] to set the Performance.  
This lets you use simple fingering  
to specify a chord without having  
to play all the notes in the chord.  
STANDARD  
If you press [EXIT] without pressing [ENTER], the list will  
close without the currently selected Performance being  
changed.  
The chord will consist of only the  
note(s) you play on the keyboard  
PIANO  
INTEL  
Editing a Performance  
You can play chords as described  
in “Chord Intelligence” (p. 102).  
You can edit the settings of a Performance, and store them as  
a user Performance.  
You can specify chords in the  
following four ways.  
Major chords: Play the root note  
of the chord  
Minor chords: Play the root note  
and the black key located at its  
left  
Chord  
Mode  
1. Press [MENU].  
2. Use [  
] [  
] to select “Perform Edit” then press [ENTER].  
] to select a parameter, and turn the VALUE  
3. Use [  
] [  
EASY  
dial to select the value.  
Seventh chords: Play the root note  
and the white key located at its  
left  
Minor seventh chords: Play the  
root note + black key at left +  
white key at left  
4. When you’ve finished making settings, press [EXIT].  
“Saving a Performance (WRITE)” (p. 39)  
Performance Parameters  
Selects how the backing part will sound.  
When you take your hand off the  
left side of the keyboard,  
Parameter  
Value  
Explanation  
Specifies the Split Point (the key at  
which the keyboard will be  
divided) used in Split mode. This  
will be the highest note of the  
Lower Part.  
instrumental sounds other than the  
drums of the backing part will  
stop; only the rhythm part will  
continue sounding.  
OFF  
Split Point C#2–C7  
Backing  
Hold  
The chord you played in the left  
hand will be remembered. The  
backing will continue playing  
with that chord until you play  
another chord.  
Raises or lowers the pitch in steps  
of one octave for the Upper Tone.  
ON  
* In the case of a rhythm set,  
this does not transpose the  
pitch; rather, it shifts the set of  
drum/percussion sounds that  
are assigned to the keyboard.  
Octave  
-4–+4  
Upper  
Specifies how Chord Bass will be sounded.  
The root note of the chord you  
play will sound.  
OFF  
Bass  
Inversion  
Raises or lowers the pitch in steps  
of one octave for the Lower Tone.  
Octave  
-4–+4  
Lower  
The lowest note of the chord you  
play will sound.  
ON  
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Performance Functions and Effects  
Parameter  
Resonance  
Value  
Explanation  
Editing a Tone  
This boosts the sound in the  
region of the cutoff frequency,  
adding a distinctive character to  
the sound. Turn the knob toward  
the right to strengthen this  
character, or toward the left to  
decrease it.  
Editing a Tone in detail  
-64–+63  
You can edit the currently selected Tone (including rhythm set  
Tones) in more detail. The Tone settings you edit are stored in  
the Performance (p. 36).  
Adjusts the attack time (the time  
from when you press a key until  
the sound reaches its full  
volume). Turn the knob toward  
the right to lengthen the attack  
time, or toward the left to  
shorten it.  
1. Press [MENU].  
2. Use [  
[ENTER].  
] [  
] to select “Perform Tone Edit” then press  
] to select the Upper or Lower Tone that  
Attack Time -64–+63  
3. Use [  
] [  
you want to edit.  
Adjusts the decay time (the time  
from when the attack has  
4. Use [  
] [  
] to select a parameter, and turn the VALUE  
finished until the volume reaches  
the level at which it will remain  
as long as you hold down the  
key). Higher settings produce a  
longer decay time.  
dial to adjust the value.  
Decay Time -64–+63  
5. When you’ve finished making settings, press [EXIT].  
The Main screen will appear.  
Tone Parameters  
Adjusts the release time (the time  
from when you release a key  
until the sound disappears). Turn  
the knob toward the right to  
lengthen the release time, or  
toward the left to shorten it.  
Parameter  
Level  
Value  
Explanation  
Release  
-64–+63  
Time  
0–127  
Adjusts the volume of the Tone.  
Adjusts the panning (left/right  
stereo position) of the Tone.  
Values beginning with “L” place  
the sound at the left, 0 at the  
center, and “R” at the right.  
L64–0–  
63R  
Adjusts the modulation speed of  
vibrato. Higher settings produce  
faster vibrato.  
Pan  
Vibrato  
-64–+63  
Rate  
Adjusts the modulation depth  
vibrato. Higher settings produce  
more intense vibrato.  
Chorus adds depth and  
spaciousness to the sound. This  
adjusts the level of the signal  
sent to Chorus.  
Vibrato  
-64–+63  
Depth  
Chorus  
0–127  
0–127  
Send Level  
Adjusts the time until vibrato begins.  
Higher settings produce a longer  
delay until vibrato will begin.  
Vibrato  
-64–+63  
Delay  
Reverb adds the reverberation  
characteristics of halls or  
auditoriums. This adjusts the  
level of the signal sent to Reverb.  
Reverb  
Send Level  
Only the last-played note will  
sound. This setting is effective  
when playing a solo instrument  
patch such as sax or flute.  
MONO  
This specifies the cutoff  
frequency at which the filter will  
begin affecting the spectral  
components of the sound. Turn  
the knob toward the right to  
brighten the sound, or toward  
the left to darken the sound.  
Mono/Poly  
Two or more notes can be  
played simultaneously.  
POLY  
Cutoff  
-64–+63  
TONE  
Uses the Tone’s Mono/Poly setting.  
38  
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Performance Functions and Effects  
Parameter  
Value  
Explanation  
Saving a Performance (WRITE)  
This setting specifies whether the  
Legato Switch will be used (ON)  
or not (OFF). Legato Switch is  
valid when the Mono/Poly  
Here’s how the settings of the current Performance can be  
saved in the Prelude as a new Performance.  
parameter is set to “MONO.”  
With the Legato Switch “ON,”  
pressing a key while continuing  
to press a previous key causes  
the note to change pitch to the  
pitch of the most recently pressed  
key, sounding all the while. This  
creates a smooth transition  
1. Press [WRITE].  
2. Use [  
[ENTER].  
] [  
] to select “Performance,” and then press  
OFF,  
ON,  
TONE  
Legato  
Switch  
Input a name for your user Performance  
3. Use [  
] [  
] to move the cursor, and turn the VALUE  
between notes, which is effective  
when you wish to simulate the  
hammering on and pulling-off  
techniques used by a guitarist.  
When “TONE” is selected, the  
Tone’s own settings take effect.  
dial to change each character, and then press [ENTER].  
Enter a Performance name of up to 16 characters.  
The following characters are available.  
space A~Z a~z 0~9 ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ?  
@ [ \ ] ^ _ ` { | }  
Specifies whether portamento  
will be applied (ON) or not  
(OFF). When “TONE” is  
selected, the Tone’s own settings  
take effect.  
Button  
Explanation  
OFF,  
ON,  
TONE  
Portamento  
Switch  
Selects the type of character. Each time you press  
this, you will alternately select the first character of a  
character set: uppercase (A), lowercase (a), or  
numerals and symbols (0).  
[0]  
Adjusts the speed at which the  
pitch will change when  
portamento is used. Higher  
[1]  
[2]  
Deletes the character at the cursor location.  
Inserts a space at the cursor location.  
0–127,  
TONE  
Portamento  
Time  
settings will lengthen the time over  
which the pitch changes to the next  
note. When “TONE” is selected,  
the Tone’s own settings take effect.  
4. Turn the VALUE dial to select the desired destination, and  
then press [ENTER].  
A confirmation window will appear.  
Specifies the range of pitch  
change that can be controlled  
using the Pitch Bend controller.  
When “TONE” is selected, the  
Tone’s own settings take effect.  
5. Press [ENTER] to save the Performance.  
0–24,  
TONE  
Pitch Bend  
Range  
If you press [EXIT], you’re returned to the previous screen  
without the Performance being saved.  
Specifies whether the hold  
pedal will apply to the Tone  
(ON) or will not apply (OFF).  
Hold Pedal  
Switch  
OFF, ON  
OFF, ON  
“Bend Mode” (p. 45)  
“Saving User Data to USB Memory (Backup)” (p. 48)  
“Loading User Data Saved on USB Memory (Import)” (p. 48)  
Specifies whether the control  
pedal will apply to the Tone (ON)  
or will have no effect (OFF).  
Assign” in “System settings” is set  
to EXPRESSION, SOSTENUTO,  
or SOFT (p. 45).  
Control  
Pedal  
Switch  
Portamento is an effect that smoothly changes the pitch from  
one note to the next. Vibrato is an effect that uses an LFO (Low  
Frequency Oscillator) to cyclically vary the pitch.  
39  
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Performance Functions and Effects  
Effect Parameters  
Using Reverb, Chorus and  
MFX Effects ([REVERB])  
The Prelude contains built-in reverb, chorus, and multi-effect  
(MFX) processors. You can choose an effect type for each  
processor.  
Page  
Parameter  
Explanation  
Value  
Specifies the amount of  
chorus that will be  
Upper  
MFX  
Chorus  
Send  
applied to the sound of  
the Upper Part that has  
passed through MFX. Set  
this to “0” if you don’t  
want to apply chorus.  
0–127  
MFX will apply only to the realtime performance of the part  
you play by hand (the Upper Part or Lower Part). Be aware  
that MFX never applies to recorded song data.  
Specifies the amount of  
reverb that will be  
Upper  
MFX  
Reverb  
Send  
applied to the sound of  
the Upper Part that has  
passed through MFX. Set  
this to “0” if you don’t  
want to apply reverb.  
Editing the Reverb, Chorus and MFX  
Effects  
0–127  
0–127  
0–127  
1. Press [REVERB].  
Specifies the amount of  
chorus that will be  
The “Reverb” setting screen will appear.  
Lower  
MFX  
Chorus  
Send  
applied to the sound of  
the Lower Part that has  
passed through MFX. Set  
this to “0” if you don’t  
want to apply chorus.  
2. Use [  
] [  
] to select a page, and use [  
] [  
] to  
select the parameter that you want to edit.  
EFFECT  
SEND  
On some pages, the display also shows the MFX that is  
linked to the Tone that currently selected for the Upper and  
Lower parts. The “Effect Send” allows you to set the  
Chorus and Reverb Send values for the Upper and Lower  
parts.  
Specifies the amount of  
reverb that will be  
Lower  
MFX  
Reverb  
Send  
applied to the sound of  
the Lower Part that has  
passed through MFX. Set  
this to “0” if you don’t  
want to apply reverb.  
3. Turn the VALUE dial to edit the value.  
4. When you’re finished editing the effect settings, press  
[REVERB] or [EXIT].  
The Main screen will appear.  
Specifies how the sound  
routed through chorus  
will be output.  
MAIN: Output to the  
OUTPUT jacks in stereo.  
REV: Output to reverb in  
mono.  
MAIN,  
REV,  
M+R  
Chorus  
Output  
Select  
M+R: Output to the  
OUTPUT jacks in stereo,  
LOWER  
MFX  
UPPER  
MFX  
CHORUS See “Chorus Parameters” (p. 82)  
REVERB See “Reverb Parameters” (p. 83)  
40  
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Performance Functions and Effects  
Page  
Parameter  
Explanation  
Value  
Specifies the MFX  
settings that will be used  
for the Upper Part.  
If you choose  
“PERFORM,” the MFX  
settings of the  
PERFORM,  
UPPER  
TONE  
Upper  
MFX  
Source  
Performance will be  
used. If you choose  
“UPPER TONE,” the  
Upper MFX settings of  
the Tone will be used.  
EFFECT  
SOURCE  
Specifies the MFX  
settings that will be used  
for the Lower Part.  
If you choose  
“PERFORM,” the MFX  
settings of the  
PERFORM,  
LOWER  
TONE  
Lower  
MFX  
Source  
Performance will be  
used. If you choose  
“LOWER TONE,” the  
Lower MFX settings of  
the Tone will be used.  
41  
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Using MIDI  
The Prelude can transmit and receive performance data when  
connected to an external MIDI device, which enables the two  
devices to control each other’s performance. For example, one  
device can play or switch sounds on the other device.  
MIDI channel  
Track  
1
Style  
1
2
Accomp 1  
2
Accomp bass  
Accomp 2  
Upper Part  
Accomp 3  
3
3
4
4
MIDI stands for “Musical Instrument Digital Interface.” It is a  
universal standard for exchanging musical performance data  
among electronic musical instruments and computers.  
5
5
6
6
7
7
Accomp 4  
Accomp 5  
Accomp 6  
Accomp drums  
Lower Part  
8
8
The Prelude’s MIDI connectors allow it to transmit performance  
data to, and receive such data from other devices. You can  
use the Prelude in a wide range of ways by connecting  
external devices to these connectors.  
9
9
10  
11  
12  
13  
14  
15  
16  
10  
11  
12  
13  
14  
15  
16  
Connection example  
Melody Intelligence  
Before making connections with other devices, you must turn  
down the volume of all devices and turn off the power to avoid  
malfunctions or speaker damage.  
For details on how to make these settings, refer to “How to  
fig.midi.eps  
Play the Prelude’s sounds from your MIDI sequencer  
MIDI sound module/  
sequencer  
Prelude  
Make System Settings ([MENU])” (p. 45).  
MIDI parameters other than “Local Switch” will be saved as  
soon as you exit system edit mode.  
Local Switch  
Use the Prelude to play your MIDI sound module  
If the notes you play on the keyboard are sent to the sound  
generator via both of the two routes (1) and (2) as shown in  
the diagram, the notes will be duplicated or interrupted. To  
prevent this, you can disconnect route (1) by using the “Local  
Off” setting.  
MIDI Channels  
MIDI provides sixteen channels, numbered 1–16. Even if two  
MIDI devices are connected, you won’t be able to select or  
play sounds on the other device unless both devices are set to  
the same MIDI channel. The Prelude is capable of receiving on  
all channels, 1–16.  
You should turn this setting Off if you’ve connected a MIDI  
sequencer to the Prelude.  
fig.local.eps  
If the Prelude’s BACKING TYPE [SONG] is on, MIDI channels  
1–16 will be received by “Track” 1–16.  
(1) Local on  
Sequencer  
MIDI  
OUT  
MIDI  
IN  
If the Prelude’s BACKING TYPE [STYLE] is on, MIDI channels  
1–16 will be received by the “Style” Parts.  
Sound  
generator  
Memory  
MIDI  
OUT  
MIDI  
IN  
(2) Thru setting turned on  
Play a note once;  
it‘s sounded twice  
Immediately after the power is turned on, this setting will be  
On.  
42  
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Using MIDI  
MIDI Parameters  
Parameter  
Rx Sync  
Explanation  
Value  
Parameter  
Explanation  
Value  
This specifies how the Prelude will  
synchronize to an external MIDI  
device. Synchronization is  
available if the MIDI OUT  
connector of your external MIDI  
device is connected to the  
Specifies whether MIDI messages  
will not be transmitted (OFF) or will OFF, ON  
be transmitted (ON).  
MIDI Tx  
Switch  
Specifies the transmit channel for  
1–16  
Upper Tx  
Channel  
OFF, ON  
the Upper Part.  
Prelude’s MIDI IN connector. (If  
you’ve made the opposite  
Specifies the transmit channel for  
1–16  
Lower Tx  
Channel  
the Lower Part.  
connection, refer to the owner’s  
manual for your external device.)  
Specifies whether MIDI messages  
will not be received (OFF) or will OFF, ON  
be received (ON).  
MIDI Rx  
Switch  
This is an on/off switch for Pitch  
Bend message reception. These  
messages temporarily raise or  
lower the pitch of the keyboard  
mode Tone.  
Specifies the receive channel for  
1–16  
Upper Rx  
Channel  
Rx Pitch  
Bend  
OFF, ON  
the Upper Part.  
Specifies the receive channel for  
1–16  
Lower Rx  
Channel  
the Lower Part.  
This is an on/off switch for  
Modulation message reception.  
These messages apply vibrato to OFF, ON  
the keyboard mode Tone (control  
change CC#01).  
This is an on/off switch for Pitch  
Bend message transmission.  
Tx Pitch Bend These messages temporarily raise OFF, ON  
or lower the pitch of the keyboard  
mode Tone.  
Rx  
Modulation  
This is an on/off switch for  
Program Change message  
reception. These messages are  
used to select Tones.  
This is an on/off switch for  
Modulation message transmission.  
These messages apply vibrato to the OFF, ON  
keyboard mode Tone (control  
change CC#01).  
Rx  
Program  
Change  
OFF, ON  
Tx  
Modulation  
This is an on/off switch for  
Using the Prelude as a MIDI  
Sound Module  
If you want to use the Prelude with an external MIDI  
sequencer, for example to create Styles, proceed as follows.  
Program Change message  
transmission. These messages are  
used to select Tones.  
Tx Program  
Change  
OFF, ON  
OFF, ON  
This specifies whether MIDI Clock  
messages will be transmitted. Use  
this when you want a connected  
external MIDI device to synchronize  
to the Prelude.  
Tx Clock  
1. Press [SONG] to put the Prelude in Song mode.  
2. Press [PERFORM] so it’s lit, then use the VALUE dial to  
This specifies whether Start/  
Stop/Continue messages will be  
Tx StartStop transmitted.  
Song mode: Start/Stop/Continue  
OFF, ON  
OFF, ON  
MFX (p. 40) will apply only to the part that you play manually  
on the Prelude (the Upper Part or Lower Part).  
Style mode: Start/Stop  
This specifies whether Song  
Position Pointer messages will be  
transmitted to indicate the  
currently playing position in Song  
mode. If you don’t want this  
message to be transmitted,  
choose the Off setting. This is  
valid only if [SONG] is lit.  
Tx Song Po-  
sition  
43  
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Using MIDI  
If connection to your computer is  
unsuccessful...  
Connecting to a Computer via  
the USB MIDI Connector  
If you use a USB cable (commercially available) to connect the  
USB MIDI connector located on the Prelude’s rear panel to the  
USB connector of your computer, you’ll be able to do the  
following things.  
Normally, you don’t need to install a driver in order to connect  
the Prelude to your computer. However, if some problem  
occurs, or if the performance is poor, using the Roland original  
driver may solve the problem.  
For details on downloading and installing the Roland original  
driver, refer to the Roland website.  
• Use the Prelude to play SMF played back by MIDI  
compatible software.  
Roland website:http://www.roland.com/  
• By transferring MIDI data between the Prelude and your  
sequencer software, you’ll be able to enjoy a wide range  
of possibilities for music production and editing.  
Caution  
• To avoid the risk of malfunction and/or speaker  
damage, always make sure to turn the volume all the  
way down and turn off the power on all equipment  
before you make any connections.  
Connect the Prelude to your computer as shown below.  
fig.PCconnect.eps  
Computer  
To USB connector  
of computer  
• Only MIDI data can be transmitted and received via  
USB.  
USB cable  
• A USB cable is not included. If you need to obtain  
one, ask the dealer where you purchased the Prelude.  
• Switch on power to the Prelude before you start up  
the MIDI application on your computer. Don’t turn the  
Prelude’s power on/off while your MIDI application is  
running.  
USB MIDI connector  
Prelude  
Refer to the Roland website for system requirements.  
Making the Settings for the USB Driver  
Specify the USB driver you want to use, and then install the  
Roland website: http://www.roland.com/  
driver.  
If you are using Windows XP/Windows Vista, you must log  
onto Windows as one of the following users in order to  
complete the USB connection correctly.  
1. Press [MENU].  
2. Use [  
3. Use [  
4. Use [  
] [  
] [  
] [  
] to select “System” then press [ENTER].  
] to select “SYSTEM GENERAL” page.  
] to select “USB Driver.”  
• A user name belonging to the Administrators group, such  
as Administrator  
• A user name whose account type is a computer administrator  
Do not connect two or more Prelude units to one computer via  
USB. The system will not operate correctly with such connections.  
5. Turn the VALUE dial to select the driver.  
An information message appears.  
The file name for a Style or Song that can be used by the  
Prelude must be no longer than sixteen characters (not  
including the filename extension). You can use the following  
characters.  
Value  
Explanation  
VENDER  
Select this if you use the supplied driver.  
Select this if you use a generic USB driver  
included with the OS.  
GENERIC  
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }  
You must assign a filename extension of “.stl” to Style files,  
and a filename extension of “.mid” to Song files.  
Depending on the type of characters you use, it may not be  
possible to display the file name in some cases.  
6. Press [EXIT].  
7. Turn the power off and then on again.  
44  
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System Settings  
Settings that affect the entire operating environment of the  
Prelude, such as tuning and MIDI message reception, are  
referred to as “system settings.”  
Set the time (minutes) until the screen  
saver begins working. If this is  
appear.  
OFF, 5,  
10–60  
(min)  
Screen  
Saver Time  
VENDER, Refer to “Making the Settings for the  
GENERIC USB Driver” (p. 44).  
USB  
How to Make System Settings  
([MENU])  
Driver  
SYSTEM PEDAL  
Parameter  
Value  
Explanation  
1. Press [MENU].  
Selects the function that will be controlled when  
you press a separately available pedal  
connected to the CONTROL PEDAL jack.  
2. Use [  
] [  
] to select “System” then press [ENTER].  
] to select a page, and use [ ] [  
3. Use [  
] [  
] to  
The pedal will function as an  
EXPRESSION  
Expression pedal.  
select the parameter that you want to edit.  
Chord detection in the Lower Part  
area of the keyboard will be off  
while you hold down the pedal,  
For details, refer to “System Parameters” (below).  
4. Turn the VALUE dial to edit the value.  
CHORD  
allowing you to perform using the  
OFF  
5. When you’re finished making system settings, press [EXIT].  
entire keyboard. The setting will  
The display briefly shows the “System write completed”  
message.  
return to its previous state when you  
release the pedal.  
Chord detection in the Lower Part  
area will turn off when you press the  
pedal, allowing you to perform using  
The System settings are saved in the System memory and can  
be imported/exported to/from the USB memory’s “Sound/  
System” folder (p. 48).  
CHORD  
the entire keyboard. The setting will  
TOGGLE return to its previous state when you  
press the pedal once again, so that  
chord detection will be on for the  
Lower Part area.  
System Parameters  
The pedal will function as a  
Sostenuto pedal. When you press  
the pedal, notes that are already  
being held down will be sustained.  
(This function can be used only for  
the keyboard part.)  
Pedal  
Assign  
SYSTEM GENERAL  
Parameter  
Value  
Explanation  
SOSTENUTO  
Adjusts the tuning of the entire  
frequency of the A4 key (middle A).  
415.3–  
466.2Hz  
Master  
Tune  
Local  
The pedal will function as a Soft  
pedal. Notes you play while holding  
down the pedal will have a softer  
tone. (This function can be used only  
for the keyboard part.)  
OFF, ON Refer to “Local Switch” (p. 42).  
Switch*  
Transposes the pitch of the Prelude in  
semitone steps.  
System  
Transpose*  
SOFT  
-6–+5  
The pitch bend lever will operate in the  
conventional way.  
NORMAL  
rotary effect. This is valid only if the  
ROTARY type is selected for MFX (p.  
40).  
ROTARY  
SLOW/  
FAST  
If you play a note when the pitch  
bend lever is already moved to one  
side, the pitch will sound as though  
the lever were in the center position.  
START/  
STOP  
The pedal will start/stop the backing  
or song playback.  
Bend  
Mode  
When the lever passes through the  
CATCH+  
center position, it will once again  
LAST  
BASS  
The pedal will switch the Bass Inversion  
INVERSION function on/off (p. 37).  
begin affecting the pitch. This will  
apply only to the most recently  
played note. You can use this to  
simulate the double-bending  
technique of an electric guitarist.  
The pedal will control punch-in and  
punch-out during song recording (p.  
28).  
PUNCH  
IN/OUT  
45  
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System Settings  
The pedal will trigger a fill-in, and  
then the next variation will play  
(e.g., from MAIN “1” to “2”). Once  
you reach variation “4,” subsequent  
presses of the pedal will not change  
the variation any farther.  
SYSTEM MIDI  
Parameter  
Value  
Explanation  
MIDI Tx  
FILL UP  
OFF, ON  
1–16  
Switch  
Upper Tx  
Channel  
The pedal will trigger a fill-in, and  
then the previous variation will play  
(e.g., from MAIN “4” to “3”). Once  
you reach variation “1,” subsequent  
presses of the pedal will not change  
the variation any farther.  
Lower Tx  
Channel  
1–16  
Refer to “MIDI Parameters” (p. 43).  
FILL  
DOWN  
Pedal  
Assign  
MIDI Rx  
Switch  
OFF, ON  
1–16  
Upper Rx  
Channel  
The pedal will switch to the next  
Performance (i.e., from PERFORM  
001 to 002).  
Lower Rx  
Channel  
PERFORM  
UP  
1–16  
Tx  
The pedal will switch to the previous  
Performance (i.e., from PERFORM  
002 to 001).  
Tx Pitch  
Bend  
PERFORM  
DOWN  
OFF, ON  
OFF, ON  
Tx  
Switches the polarity of the pedal  
connected to the CONTROL PEDAL  
jack. Some pedals will operate in the  
opposite of the expected way when  
you press them. If you’re using this  
type of pedal, set this parameter to  
“REVERSE.” If you’re using a Roland  
pedal (without a polarity switch), use  
“STANDARD.”  
Modulation  
Tx  
Program  
Change  
OFF, ON  
Refer to “MIDI Parameters” (p. 43).  
STANDARD  
REVERSE  
,
,
Pedal  
Polarity  
Tx Clock  
OFF, ON  
OFF, ON  
Tx Start-  
Stop  
Tx Song  
Position  
OFF, ON  
Switches the polarity of the pedal  
connected to the HOLD PEDAL jack.  
(See “Pedal Polarity,” above)  
STANDARD  
Hold  
Polarity  
REVERSE  
Rx  
Rx Sync  
OFF, ON  
OFF, ON  
SYSTEM D BEAM  
Rx Pitch  
Bend  
Parameter  
Value  
Explanation  
This sets the D Beam controller’s  
sensitivity. The higher the value set,  
the more readily the D Beam  
controller goes to into erect.  
Rx  
Refer to “MIDI Parameters” (p. 43).  
OFF, ON  
OFF, ON  
Modulation  
D Beam  
Sens  
0–127  
Rx  
Program  
Change  
D Beam  
Filter/As-  
signable 1  
SYSTEM METRONOME  
Parameter  
Value  
Explanation  
Refer to “Functions that can be assigned” (p. 34).  
D Beam  
Volume/  
Assign-  
able 2  
Metronome  
Switch*  
OFF, ON  
ALWAYS,  
REC, PLAY  
Metronome  
Mode  
Refer to “Using the Metronome” (p.  
22).  
LOW,  
MEDIUM,  
HIGH  
Metronome  
Level  
46  
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System Settings  
SYSTEM LOCK  
Viewing Information about Prelude  
Parameter  
Value  
(System Version Info Screens)  
Style  
Tone  
OFF, ON  
OFF, ON  
Refer to “Preserving Certain Settings  
Even When You Switch  
Performances (Lock System)” (p. 17).  
Here’s how to view information about the Prelude such as its  
software version.  
Style Tem-  
po  
OFF, ON  
Transpose OFF, ON  
1. Press [MENU].  
2. Use [  
] [  
] to select “Version” then press [ENTER].  
] to select a page.  
Settings cannot be stored for the parameters marked by “*” in  
the table. When the power is turned on, these parameter will  
always return to the same value (the default value).  
3. Use [  
] [  
You can view information about the imported Special  
Tones as well as the version of software used by the  
Prelude.  
System settings that are not stored  
4. Press [EXIT] to return to the Main screen.  
• BALANCE button setting (p. 23)  
• Recording setting (p. 28)  
Rec Mode/Count In/Punch In/Out setting/Input Quantize  
• D Beam controller on/off (p. 34)  
• External input Center Cancel (p. 18)  
• MINUS ONE/CENTER CANCEL button on/off (p. 30, p. 32)  
47  
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Using USB Memory  
You can save Prelude user data to USB memory (i.e., back up  
data), or load data from USB memory into the Prelude. Data  
you’ve downloaded to your computer can also be saved to  
USB memory and then loaded into the Prelude.  
4. Use the cursor buttons to select an item then press [ENTER].  
Item  
Style  
Explanation  
All user Styles will be saved to USB memory.  
All user Songs will be saved to USB memory.  
Song  
Carefully insert the USB memory all the way in-until it is firmly  
in place.  
User Performances and System settings will  
be saved to USB memory.  
Sound/  
System  
All  
All user data will be saved to USB memory.  
Initializing USB Memory  
(USB Memory Format)  
A confirmation window will appear.  
If you do not want to export the data to the USB memory,  
press [EXIT].  
Here’s how to initialize the USB memory. This operation is  
5. Press [ENTER] to export the data.  
called “USB Memory Format.”  
USB memory cannot be used with the Prelude unless it is  
formatted suitably for the Prelude.  
Loading User Data Saved on USB  
Memory (Import)  
This operation will erase all data on your USB memory. Use  
this operation with caution.  
1. Press [MENU].  
1. Press [MENU].  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
3. Use the cursor buttons to select “Import” then press [ENTER].  
3. Use the cursor buttons to select “USB Memory Format”  
4. Use the cursor buttons to select an item then press [ENTER].  
then press [ENTER].  
Item  
Style  
Explanation  
A confirmation window will appear.  
If you do not want to format the USB memory, press [EXIT].  
All Style data will be loaded into the Prelude’s  
user Styles.  
4. Press [ENTER] to execute the format.  
All Song data will be loaded into the  
Prelude’s user Songs.  
Song  
Don’t remove the USB memory until formatting is completed.  
User Performances and System settings will  
be loaded into the Prelude.  
Sound/  
System  
Saving User Data to USB  
Memory (Backup)  
memory.  
All  
All data will be loaded into the Prelude.  
The amount of data loaded into the Prelude will depend on the  
amount of free memory in the Prelude.  
A confirmation window will appear.  
If you do not want to load the data, press [EXIT].  
• User Styles (p. 25)  
• User Songs (p. 28)  
5. Press [ENTER] to load the data.  
• User Performances (p. 36)  
• System settings (p. 45)  
Any file with a name consisting of seventeen or more  
characters (not including the filename extension) cannot be  
loaded into the Prelude.  
1. Press [MENU].  
2. Use [  
] [  
] to select “Utility” then press [ENTER].  
3. Use the cursor buttons to select “Export” then press [ENTER].  
48  
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Using USB Memory  
Importing Data You’ve Saved  
in USB Memory ([USB IMPORT])  
To delete User Styles, refer to “Deleting a User Style” (p. 25).  
To delete User Songs, refer to “Deleting a Song” (p. 29).  
Before you continue, save the downloaded data from your  
computer to the USB memory you’re using. Connect the USB  
memory to the Prelude, and import the data you saved.  
If you add Tones, the imported Tones will be added to  
[WORLD] and [SPECIAL].  
Data Structure in USB Memory  
The folders and files that will be created are as follows.  
Root directory  
ROLAND folder  
SOUND folder  
Prelude.svd  
Refer to the Roland website; http://www.roland.com/  
SONG folder  
***.mid  
STYLE folder  
***.stl  
PLAYLIST folder  
PLAYLIST.scp  
UPDATE folder  
Updater  
ROM folder  
The folders and files created on USB memory will be visible  
from your computer.  
By manipulating the files from your computer, you can do the  
following things.  
• You can place SMF files in the SONG folder and import  
them into the Prelude (p. 48).  
• You can drag and drop files from the SONG folder to  
copy them.  
• You can place Style files in the STYLE folder and import  
them into the Prelude (p. 48).  
• You can drag and drop files from the STYLE folder to copy  
them.  
• You can place SMF, mp3, AIFF and Wave files in the root  
directory, to individually play them back with the USB  
MEMORY PLAYER function (p. 32).  
• You can import/export User Performances in the Sound  
folder.  
• You can create playlists in the Playlist folder “Creating a  
playlist” (p. 30).  
49  
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About V-LINK  
Connecting the Prelude to a V-LINK compatible image device  
allows you to control the images with the Prelude.  
5. Press [EXIT] to return to the previous screen.  
V-LINK SETUP Parameters  
To prevent malfunction and/or damage to speakers or other  
devices, always turn down the volume, and turn off the power  
on all devices before making any connections.  
Parameter  
Value  
Explanation  
Note Tx  
Channel A  
Controls the V-  
LINK device.  
Specify the MIDI  
channel. (*)  
V-LINK  
V-LINK (  
Note Tx  
Channel B  
1–16  
) is a function that allows music and  
images to be performed together. By using MIDI to connect  
two or more V-LINK compatible devices, you can easily enjoy  
performing a wide range of visual effects that are linked to the  
expressive elements of a music performance.  
Note Tx  
Channel C  
Assigns a V-LINK function to the  
D Beam controller.  
The operation  
selected by D  
How to Use the V-LINK ([V-LINK])  
BEAM buttons will  
occurregardlessof  
whether V-LINK is  
on or off.  
1. Press [V-LINK] so the indicator is lit.  
OFF  
The V-LINK screen will appear, and the V-LINK setting will  
be on.  
Operations on the Prelude  
By operating the Prelude’s keyboard and knobs, you can  
control the image along with your performance on the  
Prelude.  
ColorEQ  
Fore  
CC01  
(Modulation)  
Used with  
motiondive  
.tokyo  
Performanc  
e Package  
D BEAM  
ColorEQ  
Back  
CC71 (Resonance)  
CC03  
• [0] (Clip Reset): Turns the image off (solid black).  
• [1] (All Reset): Resets the effect applied to the image, and  
restores all settings such as brightness and hue to their  
default values.  
• [2] (Setup): Accesses the V-LINK SETUP screen.  
• Black keys: Switch tabs.  
Scratch  
SW  
Speed  
Knob  
CC08 (Balance)  
CC10 (Panpot)  
CC11 (Expression)  
Total  
Fader  
• White keys: Switch clips.  
• D Beam controller: Controls the parameter specified in V-  
LINK setup.  
Cross  
Fader  
* When you turn V-LINK on, the settings in V-LINK setup will  
take priority for D Beam operation.  
2. With the V-LINK screen shown, press [V-LINK] again.  
The V-LINK button will go dark, and the V-LINK setting will  
be off.  
V-LINK Settings (V-LINK SETUP)  
1. Press [V-LINK] to access the V-LINK screen.  
2. Press [2] (Setup).  
The V-LINK SETUP screen will appear.  
3. Use [  
] [  
] to move the cursor to the parameter you  
want to edit.  
4. Use the VALUE dial to set the value.  
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About V-LINK  
Parameter  
Value  
BPM  
Explanation  
CC64 (Hold)  
CC65  
Sync SW  
Clip  
Loop SW (Portamento)  
Assign  
CC72 (Release)  
Knob  
Fade  
CC73 (Attack)  
Time SW  
Visual  
CC74 (Cutoff)  
Knob  
Used with  
motiondive  
.tokyo  
Performanc  
e Package  
AB SW  
CC81 (General–6)  
CC83 (General–8)  
Tap SW  
Total  
Select  
CC85  
FX Select CC86  
Play Pos  
CC91 (Reverb)  
Loop  
StartPos  
CC92 (Tremolo)  
CC93 (Chorus)  
CC94 (Celeste)  
CC73 (Attack)  
D BEAM  
LoopEnd  
Pos  
Layer  
ModeSel  
Dissolve  
Time  
Used with  
the DV-7PR  
and similar  
devices.  
ColorCb CC01  
Ctrl  
(Modulation)  
Color Cr  
Ctrl  
CC71 (Resonance)  
CC74 (Cutoff)  
Brightness  
Ctrl  
VFX1 Ctrl CC72 (Release)  
VFX2 Ctrl CC91 (Reverb)  
VFX3 Ctrl CC92 (Tremolo)  
VFX4 Ctrl CC93 (Chorus)  
Fade Ctrl CC10 (Panpot)  
* On V-LINK compatible devices such as the Edirol DV-7PR/P-  
1, only Note Tx Channel A is used.  
In motion dive .tokyo Performance Package, the Note Tx  
Channel corresponds as follows.  
A: The MIDI channel that controls section A  
B: The MIDI channel that controls section B  
C: The MIDI channel that controls the MIDI note plug-in  
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MEMO  
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Appendices  
Troubleshooting  
This section provides points to check and actions to take when the Prelude does not function as you expect. Refer to the appropriate  
section for the problem you are experiencing.  
Problem  
Check/Solution  
Page  
Is the included AC adaptor/power cord correctly connected to an AC outlet and  
to the Prelude?  
• Do not use any AC adaptor and power cord other than the one included.  
Doing so will cause malfunctions.  
Power Does Not Turn On  
p. 14  
Could the VOLUME knob be turned down?  
If playing the keyboard does not produce sound, could Local Switch be turned  
OFF?  
• Turn Local Switch ON.  
p. 42  
p. 45  
No Sound from the Prelude  
Could pedal operations or MIDI messages (exclusive or volume) received from  
an external MIDI device have lowered the volume?  
Could the volume of the Part be turned down?  
• Adjust the volume parameters in the PERFORM MIXER screen.  
p. 24  
p. 30  
Could you have used the Minus-One function to mute (silence) a specific Part?  
No Sound from a Specific Part  
Does the MIDI receive channel of the part match the MIDI transmit channel of the  
connected MIDI device?  
• Set the MIDI channel of the connected external device to match the  
Prelude.  
p. 42  
p. 45  
Are MIDI messages being transmitted?  
• Turn MIDI TxRx to a setting other than OFF.  
p. 43  
p. 45  
No Sound from a Connected MIDI  
Device  
Does the MIDI transmit channel of the Prelude’s keyboard controller section  
match the MIDI receive channel of the connected MIDI device?  
• Set the MIDI channel of the connected external device to match the  
Prelude.  
p. 43  
p. 45  
Could you be using a connection cable that contains a resistor? Use a connec-  
tion cable that does not contain a resistor.  
The volume level of the instrument  
connected to EXT INPUT is too low.  
The reverb and chorus effects for the keyboard parts won’t be applied if their  
amounts are set to 0.  
p. 40  
• Check the Effect Send settings.  
Effects Are Not Applied  
MFX will apply only to the realtime performance of the part you play by hand  
(the Upper Part or Lower Part). Be aware that MFX will not apply to recorded  
song data.  
Some combinations of Tones and effects may sound different in comparison to  
other Tones.  
• Check the Effect Source settings.  
The Effect Sounds Wrong  
p. 40  
p. 39  
Could the Pitch Bend Range be set to 0?  
• Set the Pitch Bend Range to a value other than 0.  
Pitch Bend Not Obtained When  
Pitch Bend Lever Is Moved  
For some effect or Part volume settings, the sound may distort. Adjust the follow-  
ing parameters.  
• Volume parameters in the PERFORM MIXER screen  
• Amount of reverb or chorus for the Effect Send settings  
• Overall volume and volume balance  
p. 24  
p. 40  
p. 23  
Sound Is Distorted  
Could you be applying an effect such as overdrive or distortion which intention-  
ally distorts the sound?  
p. 40  
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Appendices  
Problem  
Check/Solution  
Page  
For some Tones, the pitch in certain ranges may sound different than other  
Tones.  
Could the tuning of the Prelude be incorrect?  
• Check the Master Tune setting.  
Pitch Is Wrong  
p. 45  
Could the pitch have been changed by pedal operations or by pitch bend mes-  
sages received from an external MIDI device?  
If you attempt to play more than 128 voices simultaneously, currently sounding  
notes may be cut off.  
Notes Are Cut Off  
Check the format of your USB memory.  
The Prelude can use USB memory that has been formatted as FAT. If your USB  
memory was formatted using any other method, please re-format it using FAT.  
USB memory is not detected.  
The files are not shown.  
Check the following points.  
Can’t back up to USB memory  
• Could the USB memory be write protected?  
• Is there sufficient free space on the USB memory?  
This may be due to the following reasons.  
• Playlists may not be shown if you directly add/delete/modify the song  
data in the ROLAND folder without using Playlist Editor.  
p. 49  
Playlists are not shown  
• For some reason the USB memory is not recognized.  
• It is possible that the USB memory was not formatted correctly. The Prelude  
can use USB memory that has been formatted as FAT. If your USB memory  
was formatted using any other method, please re-format it using FAT.  
• Are the songs placed in the root directory?  
Songs may not be shown if you directly add/delete/modify the song data  
in the ROLAND folder without using Playlist Editor.  
• It is possible that the USB memory was not formatted correctly. The Prelude  
can use USB memory that has been formatted as FAT. If your USB memory  
was formatted using any other method, please re-format it using FAT.  
p. 49  
Songs are not shown  
Check the file name.  
• The file name for a Style or Song that can be used by the Prelude must be  
no longer than sixteen characters (not including the filename extension).  
You can use the following characters.  
Songs or Styles saved on USB  
memory are not shown  
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }  
• You must assign a filename extension of “.stl” to Style files, and a filename  
extension of “.mid” to Song files.  
This may be due to the following reasons.  
• The file type of the song is not one of the file types that the Prelude can  
play.  
• It may be that the song data is damaged.  
• Songs cannot be played if you directly add/delete/modify the song data  
in the ROLAND folder without using Playlist Editor.  
p. 30  
p. 49  
Songs won’t play  
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Error Messages  
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear.  
Refer to the explanation for the error message that appears, and take the appropriate action.  
Message  
Meaning  
Action  
Connect USB memory.  
USB Memory Not Ready!  
USB memory is not connected.  
The data could not be read.  
Load the data once again.  
Failed to load data from USB memory.  
It may be that the file is damaged.  
Make sure that USB memory is correctly connected.  
Do not use this file.  
Read Error!  
This file cannot be loaded since its format is in- Do not use this file.  
correct.  
Failed to write the data.  
Write the data once again.  
Make sure that USB memory is correctly connected.  
Failed to write data to USB memory.  
Data cannot be written because the USB mem- Delete unneeded files from the USB memory. Alter-  
Write Error!  
ory has no more free space.  
natively, use a different USB memory device, one  
that has more free space available.  
The file or the USB memory itself is write pro- Make sure that the file or the USB memory is not  
tected.  
write protected.  
This is a file that the 55 is unable to play.  
Do not use this file.  
This song has not been transferred from Playl- Select the song for transfer from Playlist Editor, and  
ist Editor to USB memory. transfer the data once again to USB memory.  
Incorrect File!  
The file uses a sampling rate that the Prelude Use a song whose sampling rate is 44.1 kHz.  
cannot play.  
It is possible that the contents of system memo- Please execute a Factory Reset.  
System Memory  
Damaged!  
ry have been damaged.  
If this does not resolve the problem, contact your  
dealer or a nearby Roland service center.  
The file was not found in user memory.  
The file was not found in USB memory.  
Save the file once again in user memory.  
Save the file once again in USB memory.  
File Not Found!  
MIDI Buffer Full!  
An unusually large amount of MIDI data was Reduce the amount of MIDI messages that are being  
received, and could not be processed.  
transmitted.  
The MIDI IN connection was broken.  
Check that there is no problem with the MIDI cable  
connected to the Prelude’s MIDI IN, and that the  
MIDI cable was not disconnected.  
MIDI Offline!  
The Style/Song/USB Memory Player is cur-  
rently playing.  
Either stop playback, or wait until playback has end-  
ed.  
Now Playing!  
Now Recording!  
Memory Full!  
That operation cannot be executed because  
recording is in progress.  
Either stop recording, or wait until recording is fin-  
ished.  
The Style/Song could not be saved because  
there is insufficient user memory.  
Delete unneeded user data.  
Recording could not be started.  
You cannot record if BACKING TYPE [USB MEMO-  
RY PLAYER] is on. Set BACKING TYPE to something  
other than [USB MEMORY PLAYER].  
Cannot Record!  
Cannot Store Anymore  
Styles!  
No more Styles can be saved.  
No more Songs can be saved.  
Please delete unneeded user Styles.  
Cannot Store Anymore  
Songs!  
Please delete unneeded user Songs.  
55  
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Effects List  
Multi-Effects Parameters  
FILTER (10 types)  
DELAY (13 types)  
01 EQUALIZER  
02 SPECTRUM  
03 ISOLATOR  
04 LOW BOOST  
05 SUPER FILTER  
06 STEP FILTER  
P.58  
P.58  
P.58  
P.58  
P.59  
P.59  
P.59  
P.60  
P.60  
P.60  
43 DELAY  
44 LONG DELAY  
45 SERIAL DELAY  
P.71  
P.71  
P.71  
P.72  
P.72  
P.72  
P.73  
P.73  
P.73  
P.74  
P.74  
P.74  
P.75  
46 MODULATION DELAY  
47 3TAP PAN DELAY  
48 4TAP PAN DELAY  
49 MULTI TAP DELAY  
50 REVERSE DELAY  
51 SHUFFLE DELAY  
52 3D DELAY  
53 TIME CTRL DELAY  
54 LONG TIME CTRL DLY  
55 TAPE ECHO  
LO-FI (5 types)  
56 LOFI NOISE  
57 LOFI COMPRESS  
58 LOFI RADIO  
59 TELEPHONE  
07 ENHANCER  
08 AUTO WAH  
09 HUMANIZER  
10 SPEAKER SIMULATOR  
MODULATION (12 types)  
11 PHASER  
12 STEP PHASER  
13 MULTI STAGE PHASER  
14 INFINITE PHASER  
15 RING MODULATOR  
16 STEP RING MODULATOR  
17 TREMOLO  
18 AUTO PAN  
19 STEP PAN  
20 SLICER  
21 ROTARY  
22 VK ROTARY  
CHORUS (12 types)  
P.61  
P.61  
P.61  
P.62  
P.62  
P.62  
P.62  
P.63  
P.63  
P.63  
P.64  
P.64  
P.75  
P.75  
P.76  
P.76  
P.76  
60 PHONOGRAPH  
PITCH (3 types)  
61 PITCH SHIFTER  
62 2VOI PITCH SHIFTER  
63 STEP PITCH SHIFTER  
REVERB (2 types)  
P.76  
P.77  
P.77  
23 CHORUS  
24 FLANGER  
P.64  
P.65  
P.65  
P.65  
P.66  
P.66  
P.66  
P.67  
P.67  
P.67  
P.68  
P.68  
64 REVERB  
P.77  
P.78  
65 GATED REVERB  
COMBINATION (12 types)  
66 OVERDRIVE CHORUS  
67 OVERDRIVE FLANGER  
68 OVERDRIVE DELAY  
69 DISTORTION CHORUS  
70 DISTORTION FLANGER  
71 DISTORTION DELAY  
72 ENHANCER CHORUS  
73 ENHANCER FLANGER  
74 ENHANCER DELAY  
75 CHORUS DELAY  
76 FLANGER DELAY  
77 CHORUS FLANGER  
PIANO (1 type)  
25 STEP FLANGER  
26 HEXA-CHORUS  
27 TREMOLO CHORUS  
28 SPACE-D  
29 3D CHORUS  
30 3D FLANGER  
31 3D STEP FLANGER  
32 2BAND CHORUS  
33 2BAND FLANGER  
34 2BAND STEP FLANGER  
DYNAMICS (8 types)  
35 OVERDRIVE  
36 DISTORTION  
37 VS OVERDRIVE  
38 VS DISTORTION  
39 GUITAR AMP SIMULATOR  
40 COMPRESSOR  
41 LIMITER  
P.78  
P.78  
P.78  
P.79  
P.79  
P.79  
P.79  
P.79  
P.80  
P.80  
P.80  
P.81  
P.69  
P.69  
P.69  
P.69  
P.69  
P.70  
P.70  
P.70  
78 SYMPATHETIC RESO  
P.81  
42 GATE  
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About ‘Note’  
When Using 3D Effects  
Some effect parameters (such as Rate or Delay Time) can be set in  
terms of a note value.  
The following 3D effects utilize RSS (Roland Sound Space) technology  
to create a spaciousness that cannot be produced by delay, reverb,  
chorus, etc.  
Such parameters have a num/note switch that lets you specify whether  
you will set the value as a note value or as a numerical value.  
If you want to set Rate (Delay Time) as a numerical value, set the num/  
note switch to “Hz” (“msec”). If you want to set it as a note value, set  
the num/note switch to “NOTE.”  
52: 3D DELAY  
29: 3D CHORUS  
30: 3D FLANGER  
31: 3D STEP FLANGER  
When using these effects, we recommend that you place your  
speakers as follows. Also, make sure that the speakers are at a  
sufficient distance from the walls on either side.  
fig.33-002  
NUM/NOTE switch  
30˚ 30˚  
* If the Rate is specified as a note value, the modulation will be  
synchronized with the tempo when you play back SMF song  
data.  
note:  
fig.MFX-note2.e_88  
Sixty-fourth-note triplet  
Thirty-second note  
Sixteenth note  
Eighth note  
Sixty-fourth note  
Sixteenth-note triplet  
Eighth-note triplet  
Quarter-note triplet  
Half-note triplet  
Thirty-second-note triplet  
Dotted thirty-second note  
Dotted sixteenth note  
Dotted eighth note  
Dotted quarter note  
Dotted half note  
If the left and right speakers are too far apart, or if there is too much  
reverberation, the full 3D effect may not appear.  
Each of these effects has an “Output Mode” parameter. If the sound  
from the OUTPUT jacks is to be heard through speakers, set this  
parameter to “SPEAKER.” If the sound is to be heard through  
headphones, set it to “PHONES.” This will ensure that the optimal 3D  
effect will be heard. If this parameter is not set correctly, the full 3D  
effect may not appear.  
Quarter note  
Whole-note triplet  
Double-note triplet  
Half note  
Whole note  
Double note  
Dotted whole note  
If you specify the delay time as a note value, slowing down the  
tempo will not change the delay time beyond a certain length.  
This is because there is an upper limit for the delay time; if the  
delay time is specified as a note value and you slow down the  
tempo until this upper limit is reached, the delay time cannot  
change any further. This upper limit is the maximum value that  
can be specified when setting the delay time as a numerical  
value.  
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01: EQUALIZER  
03: ISOLATOR  
This is a four-band stereo equalizer (low, mid x 2, high).  
This is an equalizer which cuts the volume greatly, allowing you to  
add a special effect to the sound by cutting the volume in varying  
fig.MFX-01  
ranges.  
L in  
L out  
R out  
4-Band EQ  
4-Band EQ  
fig.MFX-03  
L in  
L out  
R out  
Isolator  
Isolator  
Low Boost  
Low Boost  
R in  
R in  
Parameter  
Low Freq  
Low Gain  
Mid1 Freq  
Mid1 Gain  
Value  
Description  
Frequency of the low range  
Gain of the low range  
Frequency of the middle range 1  
Gain of the middle range 1  
Width of the middle range 1  
Set a higher value for Q to  
narrow the range to be affect-  
ed.  
200, 400 Hz  
-15– +15 dB  
200–8000 Hz  
-15– +15 dB  
Parameter  
Boost/  
Cut Low  
Boost/  
Cut Mid  
Boost/  
Cut High  
Value  
Description  
These boost and cut each of the High,  
Middle, and Low frequency ranges.  
At -60 dB, the sound becomes inaudi-  
ble. 0 dB is equivalent to the input lev-  
el of the sound.  
-60– +4 dB  
Mid1 Q  
0.5, 1.0, 2.0, 4.0, 8.0  
Mid2 Freq  
Mid2 Gain  
200–8000 Hz  
-15– +15 dB  
Frequency of the middle range 2  
Gain of the middle range 2  
Width of the middle range 2  
Set a higher value for Q to  
narrow the range to be affect-  
ed.  
Turns the Anti-Phase function on and off  
for the Low frequency ranges.  
When turned on, the counter-channel  
of stereo sound is inverted and added  
to the signal.  
Adjusts the level settings for the Low fre-  
quency ranges.  
Adjusting this level for certain fre-  
quencies allows you to lend emphasis  
to specific parts. (This is effective only  
for stereo source.)  
Anti Phase Low  
Sw  
OFF, ON  
0–127  
Mid2 Q  
0.5, 1.0, 2.0, 4.0, 8.0  
High Freq  
High Gain  
Level  
2000, 4000, 8000 Hz Frequency of the high range  
-15– +15 dB  
0–127  
Anti Phase Low  
Level  
Gain of the high range  
Output Level  
Anti Phase Mid  
Sw  
Anti Phase Mid  
Level  
Settings of the Anti-Phase function for the  
Middle frequency ranges  
The parameters are the same as for  
the Low frequency ranges.  
OFF, ON  
0–127  
02: SPECTRUM  
Turns Low Booster on/off.  
This emphasizes the bottom to create  
a heavy bass sound.  
Increasing this value gives you a heavier  
low end.  
Low Boost Sw  
OFF, ON  
This is a stereo spectrum. Spectrum is a type of filter which modifies  
the timbre by boosting or cutting the level at specific frequencies.  
fig.MFX-02  
Low Boost Level 0–127  
L in  
L out  
R out  
* Depending on the Isolator and filter  
settings this effect may be hard to dis-  
tinguish.  
Spectrum  
Level  
0–127  
Output Level  
R in  
Spectrum  
Parameter  
Value  
Description  
04: LOW BOOST  
Band1 (250Hz)  
Band2 (500Hz)  
Band3 (1000Hz)  
Band4 (1250Hz)  
Band5 (2000Hz)  
Band6 (3150Hz)  
Band7 (4000Hz)  
Band8 (8000Hz)  
Boosts the volume of the lower range, creating powerful lows.  
fig.MFX-04  
-15– +15 dB  
Gain of each frequency band  
L in  
L out  
R out  
Low Boost  
Low Boost  
2-Band EQ  
2-Band EQ  
R in  
Simultaneously adjusts the width of  
the adjusted ranges for all the fre-  
quency bands.  
0.5, 1.0, 2.0, 4.0,  
8.0  
Q
Parameter  
Boost  
Frequency  
Value  
Description  
Center frequency at which the lower  
range will be boosted  
Level  
0–127  
Output Level  
50–125 Hz  
Amount by which the lower range will  
be boosted  
Boost Gain  
0– +12 dB  
WIDE, MID,  
NARROW  
Width of the lower range that will be  
boosted  
Boost Width  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Gain of the low frequency range  
Gain of the high frequency range  
Output level  
58  
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05: SUPER FILTER  
06: STEP FILTER  
This is a filter with an extremely sharp slope. The cutoff frequency can  
This is a filter whose cutoff frequency can be modulated in steps. You  
be varied cyclically.  
can specify the pattern by which the cutoff frequency will change.  
fig.MFX-05  
fig.MFX-06  
L in  
L out  
R out  
L in  
L out  
R out  
Super Filter  
Super Filter  
Step Filter  
Step Filter  
R in  
R in  
Parameter  
Value  
Description  
Filter type  
Frequency range that will pass through  
each filter  
LPF: frequencies below the cutoff  
BPF: frequencies in the region of the cutoff  
HPF: frequencies above the cutoff  
NOTCH: frequencies other than the re-  
gion of the cutoff  
Parameter  
Step 01–16  
Value  
0–127  
0.05–10.00Hz,  
note  
Description  
Cutoff frequency at each step  
Rate  
Rate of modulation  
LPF, BPF, HPF,  
NOTCH  
Filter Type  
Filter Slope  
Speed at which the cutoff frequency  
changes between steps  
Filter type  
Frequency range that will pass through  
each filter  
LPF: frequencies below the cutoff  
BPF: frequencies in the region of the cutoff  
HPF: frequencies above the cutoff  
NOTCH: frequencies other than the re-  
gion of the cutoff  
Attack  
0–127  
Amount of attenuation per octave  
-36 dB: extremely steep  
-24 dB: steep  
LPF, BPF, HPF,  
NOTCH  
Filter Type  
Filter Slope  
-12, -24, -36 dB  
0–127  
-12 dB: gentle  
Cutoff frequency of the filter  
Increasing this value will raise the cutoff  
frequency.  
Filter resonance level  
Increasing this value will emphasize the  
region near the cutoff frequency.  
Filter  
Cutoff  
Amount of attenuation per octave  
-12 dB: gentle  
-12, -24, -36 dB  
0–127  
-24 dB: steep  
Filter  
Resonance  
0–127  
-36 dB: extremely steep  
Filter resonance level  
Increasing this value will emphasize the  
region near the cutoff frequency.  
Filter  
Resonance  
Filter Gain  
Modulation Sw OFF,ON  
0– +12 dB  
Amount of boost for the filter output  
On/off switch for cyclic change  
How the cutoff frequency will be modulated  
TRI: triangle wave  
Filter Gain  
Level  
0– +12 dB  
0–127  
Amount of boost for the filter output  
Output level  
TRI, SQR, SIN,  
SAW1, SAW2  
SQR: square wave  
SIN: sine wave  
SAW1: sawtooth wave (upward)  
SAW2: sawtooth wave (downward)  
Modulation  
Wave  
07: ENHANCER  
SAW1  
SAW2  
Controls the overtone structure of the high frequencies, adding sparkle  
and tightness to the sound.  
fig.MFX-07  
0.05–10.00Hz,  
note  
Rate  
Rate of modulation  
Depth of modulation  
Speed at which the cutoff frequency will  
change  
This is effective if Modulation Wave is  
SQR, SAW1, or SAW2.  
2-Band  
EQ  
L in  
L out  
R out  
Enhancer  
Enhancer  
Depth  
0–127  
0–127  
0–127  
Mix  
Mix  
2-Band  
EQ  
Attack  
Level  
R in  
Output level  
Parameter  
Sens  
Value  
0–127  
Description  
Sensitivity of the enhancer  
Level of the overtones generat-  
ed by the enhancer  
Mix  
0–127  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
59  
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Parameter  
Manual  
Value  
Description  
08: AUTO WAH  
Point at which Vowel 1/2 switch  
49 or less: Vowel 1 will have a longer  
duration.  
Cyclically controls a filter to create cyclic change in timbre.  
fig.MFX-08  
0–100  
50: Vowel 1 and 2 will be of equal du-  
ration.  
L in  
L out  
R out  
Auto Wah  
2-Band EQ  
2-Band EQ  
51 or more: Vowel 2 will have a longer  
duration.  
Low Gain  
High Gain  
Pan  
-15– +15 dB  
-15– +15 dB  
L64–63R  
Gain of the low frequency range  
Gain of the high frequency range  
Stereo location of the output  
Output level  
R in  
Auto Wah  
Value  
Level  
0–127  
Parameter  
Filter Type  
Description  
Type of filter  
LPF: The wah effect will be applied over  
a wide frequency range.  
BPF: The wah effect will be applied over  
a narrow frequency range.  
LPF, BPF  
10: SPEAKER SIMULATOR  
Adjusts the center frequency at which the  
effect is applied.  
Adjusts the amount of the wah effect that  
will occur in the range of the center fre-  
quency.  
Set a higher value for Q to narrow the  
range to be affected.  
Simulates the speaker type and mic settings used to record the speaker  
Manual  
Peak  
0–127  
0–127  
0–127  
sound.  
fig.MFX-10  
L in  
L out  
R out  
Speaker  
Speaker  
Adjusts the sensitivity with which the filter  
is controlled.  
Sens  
R in  
Sets the direction in which the frequency  
will change when the auto-wah filter is  
modulated.  
Parameter  
Speaker Type  
Value  
(See the table below.)  
Description  
Type of speaker  
Polarity  
UP, DOWN  
UP: The filter will change toward a high-  
er frequency.  
Adjusts the location of the mic  
that is recording the sound of the  
speaker.  
This can be adjusted in three  
steps, with the mic becoming  
more distant in the order of 1,  
2, and 3.  
Volume of the microphone  
Volume of the direct sound  
Output Level  
DOWN: The filter will change toward a  
lower frequency.  
0.05–10.00Hz,  
note  
0–127  
Mic Setting  
1, 2, 3  
Rate  
Frequency of modulation  
Depth  
Depth of modulation  
Adjusts the degree of phase shift of the left  
and right sounds when the wah effect is  
applied.  
Gain of the low range  
Gain of the high range  
Output Level  
Phase  
0–180 deg  
Mic Level  
Direct Level  
Level  
0–127  
0–127  
0–127  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Specifications of each Speaker Type  
The speaker column indicates the diameter of each speaker unit (in  
inches) and the number of units.  
09: HUMANIZER  
Micro-  
phone  
dynamic  
dynamic  
dynamic  
dynamic  
dynamic  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
Type  
Cabinet  
Speaker  
Adds a vowel character to the sound, making it similar to a human  
SMALL 1  
SMALL 2  
MIDDLE  
JC-120  
small open-back enclosure  
small open-back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
sealed enclosure  
large sealed enclosure  
large sealed enclosure  
large sealed enclosure  
large double stack  
large double stack  
large triple stack  
10  
10  
voice.  
fig.MFX-09  
12 x 1  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
L in  
L out  
Pan L  
BUILT-IN 1  
BUILT-IN 2  
BUILT-IN 3  
BUILT-IN 4  
BUILT-IN 5  
BG STACK 1  
BG STACK 2  
MS STACK 1  
MS STACK 2  
METAL STACK  
2-STACK  
2-Band  
EQ  
Overdrive  
Formant  
Pan R  
R in  
R out  
Parameter  
Drive Sw  
Value  
OFF, ON  
Description  
Turns Drive on/off.  
Degree of distortion  
Also changes the volume.  
Drive  
0–127  
Vowel1  
Vowel2  
a, e, i, o, u  
a, e, i, o, u  
Selects the vowel.  
0.05–10.00Hz,  
note  
Rate  
Frequency at which the two vowels switch  
Effect depth  
3-STACK  
Depth  
0–127  
Determines whether the LFO for switching  
the vowels is reset by the input signal (ON)  
or not (OFF).  
Input Sync  
Sw  
OFF, ON  
Input Sync  
Threshold  
0–127  
Volume level at which reset is applied  
60  
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Parameter  
Polarity  
Value  
Description  
11: PHASER  
Selects whether the left and right  
phase of the modulation will be  
the same or the opposite.  
INVERSE: The left and right  
phase will be opposite. When  
using a mono source, this  
spreads the sound.  
SYNCHRO: The left and right  
phase will be the same. Select  
this when inputting a stereo  
source.  
A phase-shifted sound is added to the original sound and modulated.  
fig.MFX-11  
INVERSE,  
SYNCHRO  
2-Band  
EQ  
L in  
L out  
R out  
Phaser  
Phaser  
Mix  
Mix  
2-Band  
EQ  
R in  
Resonance  
0–127  
Amount of feedback  
Adjusts the proportion of the  
phaser sound that is fed back  
into the effect. Negative (-) set-  
tings will invert the phase.  
Rate of the step-wise change in  
the phaser effect  
Level of the phase-shifted sound  
Gain of the low range  
Gain of the high range  
Output Level  
Cross  
Feedback  
-98– +98%  
Parameter  
Mode  
Value  
4-STAGE, 8-STAGE, 12-  
STAGE  
Description  
Step Rate  
0.10–20.00 Hz, note  
Number of stages in the phaser  
Mix  
0–127  
Adjusts the basic frequency from  
which the sound will be modulat-  
ed.  
Frequency of modulation  
Depth of modulation  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Manual  
0–127  
Rate  
Depth  
0.05–10.00 Hz, note  
0–127  
Selects whether the left and right  
phase of the modulation will be  
the same or the opposite.  
INVERSE: The left and right  
phase will be opposite. When  
using a mono source, this  
spreads the sound.  
SYNCHRO: The left and right  
phase will be the same. Select  
this when inputting a stereo  
source.  
13: MULTI STAGE PHASER  
INVERSE,  
Polarity  
Extremely high settings of the phase difference produce a deep phaser  
SYNCHRO  
effect.  
fig.MFX-13  
L in  
L out  
Pan L  
Multi Stage  
Phaser  
2-Band  
EQ  
Resonance  
0–127  
Amount of feedback  
Mix  
Pan R  
Adjusts the proportion of the  
phaser sound that is fed back  
into the effect. Negative (-) set-  
tings will invert the phase.  
R in  
Cross  
Feedback  
R out  
-98– +98%  
Resonance  
Mix  
0–127  
Level of the phase-shifted sound  
Gain of the low range  
Gain of the high range  
Output Level  
Parameter  
Mode  
Value  
4-STAGE, 8-STAGE,  
12-STAGE, 16-STAGE,  
20-STAGE, 24-STAGE  
Description  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Number of phaser stages  
Adjusts the basic frequency  
from which the sound will be  
modulated.  
Manual  
0–127  
Rate  
0.05–10.00 Hz, note  
0–127  
0–127  
Frequency of modulation  
Depth of modulation  
Amount of feedback  
Level of the phase-shifted sound  
Stereo location of the output  
sound  
12: STEP PHASER  
Depth  
Resonance  
Mix  
The phaser effect will be varied gradually.  
0–127  
fig.MFX-12  
Pan  
L64–63R  
2-Band  
L out  
EQ  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Gain of the low range  
Gain of the high range  
Output Level  
L in  
Step Phaser  
Mix  
Mix  
2-Band  
R out  
Step Phaser  
R in  
EQ  
Parameter  
Mode  
Value  
4-STAGE, 8-STAGE, 12-  
STAGE  
Description  
Number of stages in the phaser  
Adjusts the basic frequency from  
which the sound will be modulat-  
ed.  
Manual  
0–127  
Rate  
Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
61  
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14: INFINITE PHASER  
16: STEP RING MODULATOR  
A phaser that continues raising/lowering the frequency at which the  
This is a ring modulator that uses a 16-step sequence to vary the  
sound is modulated.  
frequency at which modulation is applied.  
fig.MFX-14  
fig.MFX-16  
L in  
L out  
Pan L  
L in  
L out  
R out  
Step Ring Mod  
Step Ring Mod  
2-Band EQ  
2-Band EQ  
Infinite Phaser  
2-Band EQ  
Pan R  
R in  
R in  
R out  
Parameter  
Mode  
Range  
Explanation  
Higher values will produce a  
deeper phaser effect.  
Speed at which to raise or lower  
the frequency at which the sound  
is modulated  
(+: upward / -: downward)  
Amount of feedback  
Volume of the phase-shifted  
sound  
Panning of the output sound  
Amount of boost/cut for the low-  
frequency range  
Amount of boost/cut for the high-  
frequency range  
Parameter  
Step 01–16  
Range  
Explanation  
Frequency of ring modulation at  
each step  
1, 2, 3, 4  
0–127  
Rate at which the 16-step sequence  
will cycle  
Speed at which the modulation fre-  
quency changes between steps  
Amount of boost/cut for the low-  
frequency range  
Amount of boost/cut for the high-  
frequency range  
Rate  
0.05–10.00 Hz, note  
0–127  
Speed  
-100– +100  
Attack  
Resonance  
Mix  
0–127  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
0–127  
Pan  
L64–63R  
-15– +15 dB  
Low Gain  
Volume balance of the original  
sound (D) and effect sound (W)  
Output volume  
Balance  
Level  
D100:0W–D0:100W  
0–127  
High Gain  
Level  
-15– +15 dB  
0–127  
Output volume  
17: TREMOLO  
15: RING MODULATOR  
Cyclically modulates the volume to add tremolo effect to the sound.  
fig.MFX-17a  
This is an effect that applies amplitude modulation (AM) to the input  
signal, producing bell-like sounds. You can also change the  
modulation frequency in response to changes in the volume of the  
L in  
L out  
R out  
Tremolo  
Tremolo  
Value  
2-Band EQ  
2-Band EQ  
sound sent into the effect.  
R in  
fig.MFX-15  
L in  
L out  
R out  
Ring Mod  
Ring Mod  
2-Band EQ  
Parameter  
Mod Wave  
Description  
Modulation Wave  
TRI: triangle wave  
SQR: square wave  
SIN: sine wave  
TRI, SQR, SIN, SAW1,  
R in  
2-Band EQ  
SAW2  
SAW1/2: sawtooth wave  
Parameter  
Frequency  
Value  
Description  
Adjusts the frequency at which modulation is  
applied.  
SAW1  
SAW2  
0–127  
Adjusts the amount of frequency modulation  
applied.  
Sens  
0–127  
Determines whether the frequency modula-  
tion moves towards higher frequencies (UP)  
or lower frequencies (DOWN).  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Output level  
Rate  
Depth  
Low Gain  
High Gain  
Level  
0.05–10.00 Hz, note  
0–127  
-15– +15 dB  
-15– +15 dB  
0–127  
Frequency of the change  
Depth to which the effect is applied  
Gain of the low range  
Gain of the high range  
Output Level  
Polarity  
UP, DOWN  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Balance  
Level  
0–127  
62  
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18: AUTO PAN  
20: SLICER  
Cyclically modulates the stereo location of the sound.  
By applying successive cuts to the sound, this effect turns a  
conventional sound into a sound that appears to be played as a  
backing phrase. This is especially effective when applied to sustain-  
fig.MFX-18a  
L in  
L out  
R out  
Auto Pan  
Auto Pan  
Value  
2-Band EQ  
2-Band EQ  
type sounds.  
fig.MFX-20  
R in  
L in  
L out  
R out  
Slicer  
Slicer  
Parameter  
Description  
Modulation Wave  
TRI: triangle wave  
SQR: square wave  
SIN: sine wave  
R in  
TRI, SQR, SIN, SAW1,  
SAW2  
Parameter  
Step 01–16  
Value  
L64–63R  
Description  
Level at each step  
SAW1/2: sawtooth wave  
SAW1  
R
SAW2  
R
Mod Wave  
0.05–10.00  
Hz, note  
Rate at which the 16-step sequence will cy-  
cle  
Rate  
Speed at which the level changes between  
steps  
Attack  
0–127  
Specifies whether an input note will cause  
the sequence to resume from the first step of  
the sequence (ON) or not (OFF)  
Volume at which an input note will be detect-  
ed  
Sets the manner in which the volume chang-  
es as one step progresses to the next.  
LEGATO: The change in volume from one  
step’s level to the next remains unaltered.  
If the level of a following step is the same  
as the one preceding it, there is no  
change in volume.  
Input Sync Sw OFF, ON  
L
L
Rate  
Depth  
Low Gain  
High Gain  
Level  
0.05–10.00 Hz, note  
0–127  
-15– +15 dB  
-15– +15 dB  
0–127  
Frequency of the change  
Depth to which the effect is applied  
Gain of the low range  
Gain of the high range  
Output Level  
Input Sync  
0–127  
Threshold  
LEGATO,  
SLASH  
Mode  
SLASH: The level is momentarily set to 0  
before progressing to the level of the next  
step. This change in volume occurs even  
if the level of the following step is the  
same as the preceding step.  
Timing of volume changes in levels for even-  
numbered steps (step 2, step 4, step 6...).  
The higher the value, the later the beat  
progresses.  
19: STEP PAN  
This uses a 16-step sequence to vary the panning of the sound.  
fig.MFX-19  
L in  
L out  
R out  
Step Pan  
Step Pan  
Shuffle  
Level  
0–127  
0–127  
Output level  
R in  
Parameter  
Step 01–16  
Range  
L64–63R  
Explanation  
Pan at each step  
Rate at which the 16-step sequence  
will cycle  
Rate  
0.05–10.00 Hz, note  
Speed at which the pan changes  
between steps  
Attack  
0–127  
Specifies whether an input note  
will cause the sequence to resume  
from the first step of the sequence  
(ON) or not (OFF)  
Input Sync Sw  
OFF, ON  
Input Sync  
Threshold  
Level  
Volume at which an input note will  
be detected  
Output volume  
0–127  
0–127  
63  
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Parameter  
Value  
Description  
21: ROTARY  
Adjusts the rate at which the  
woofer rotation speeds up when  
the rotation is switched from  
Slow to Fast.  
Adjusts the rate at which the  
woofer rotation speeds up when  
the rotation is switched from Fast  
to Slow.  
Woofer Trans Up 0–127  
The Rotary effect simulates the sound of the rotary speakers often used  
with the electric organs of the past. Since the movement of the high  
range and low range rotors can be set independently, the unique type  
of modulation characteristic of these speakers can be simulated quite  
Woofer Trans  
0–127  
Down  
closely. This effect is most suitable for electric organ Patches.  
fig.MFX-21  
Woofer Level  
Tweeter Slow  
Speed  
0–127  
Volume of the woofer  
L in  
L out  
0.05–10.00 Hz  
Rotary  
Tweeter Fast  
Speed  
Tweeter Trans Up 0–127  
Tweeter Trans  
Down  
0.05–10.00 Hz  
Settings of the tweeter  
The parameters are the same  
as for the woofer.  
R in  
R out  
0–127  
Parameter  
Value  
Description  
Tweeter Level  
0–127  
0–10  
Simultaneously switch the rotational  
speed of the low frequency rotor  
and high frequency rotor.  
SLOW: Slows down the rotation  
to the Slow Rate.  
FAST: Speeds up the rotation to  
the Fast Rate.  
Slow speed (SLOW) of the low fre-  
quency rotor  
Fast speed (FAST) of the low fre-  
quency rotor  
Adjusts the time it takes the low fre-  
quency rotor to reach the newly se-  
lected speed when switching from  
fast to slow (or slow to fast) speed.  
Lower values will require longer  
times.  
Sets the rotary speaker stereo im-  
age. The higher the value set, the  
wider the sound is spread out.  
Gain of the low range  
Gain of the high range  
Output Level  
Spread  
Speed  
SLOW, FAST  
Low Gain  
High Gain  
Level  
-15– +15 dB  
-15– +15 dB  
0–127  
Woofer Slow  
Speed  
Woofer Fast  
Speed  
0.05–10.00 Hz  
0.05–10.00 Hz  
23: CHORUS  
Woofer  
Acceleration  
This is a stereo chorus. A filter is provided so that you can adjust the  
0–15  
timbre of the chorus sound.  
fig.MFX-23  
Balance D  
2-Band  
Woofer Level  
Tweeter Slow  
Speed  
Tweeter Fast  
Speed  
Tweeter  
Acceleration  
Tweeter Level  
Separation  
Level  
0–127  
Volume of the low frequency rotor  
L in  
L out  
R out  
EQ  
0.05–10.00 Hz  
Balance W  
Chorus  
Chorus  
Settings of the high frequency rotor  
The parameters are the same as  
for the low frequency rotor  
0.05–10.00 Hz  
0–15  
Balance W  
2-Band  
EQ  
R in  
0–127  
0–127  
0–127  
Balance D  
Spatial dispersion of the sound  
Output Level  
Parameter  
Value  
Description  
Type of filter  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
Filter Type  
OFF, LPF, HPF  
HPF: cuts the frequency range  
below the Cutoff Freq  
22: VK ROTARY  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
This type provides modified response for the rotary speaker, with the  
low end boosted further.  
This effect features the same specifications as the VK-7’s built-in rotary  
Adjusts the delay time from the di-  
rect sound until the chorus sound  
is heard.  
Frequency of modulation  
Depth of modulation  
Rate  
Depth  
0.05–10.00 Hz, note  
0–127  
speaker.  
fig.MFX-22  
Phase  
Low Gain  
High Gain  
0–180 deg  
-15– +15 dB  
-15– +15 dB  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Volume balance between the direct  
sound (D) and the chorus sound (W)  
L in  
2-Band EQ  
L out  
R out  
Rotary  
Balance  
Level  
D100:0W–D0:100W  
0–127  
R in  
2-Band EQ  
Output Level  
Parameter  
Speed  
Value  
Description  
Rotational speed of the rotating  
speaker  
SLOW, FAST  
Switches the rotation of the rota-  
ry speaker.  
When this is turned on, the ro-  
tation will gradually stop.  
When it is turned off, the rota-  
tion will gradually resume.  
Brake  
OFF, ON  
Woofer Slow  
Speed  
Woofer Fast  
Speed  
Low-speed rotation speed of the  
woofer  
High-speed rotation speed of the  
woofer  
0.05–10.00 Hz  
0.05–10.00 Hz  
64  
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Parameter  
Pre Delay  
Value  
Description  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Frequency of modulation  
Depth of modulation  
Spatial spread of the sound  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Rate (period) of pitch change  
Gain of the low range  
24: FLANGER  
0.0–100.0 ms  
This is a stereo flanger. (The LFO has the same phase for left and  
right.) It produces a metallic resonance that rises and falls like a jet  
airplane taking off or landing. A filter is provided so that you can  
Rate  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
0–180 deg  
adjust the timbre of the flanged sound.  
fig.MFX-24  
Balance D  
2-Band  
Feedback  
-98– +98%  
L in  
L out  
EQ  
Balance W  
Flanger  
Step Rate  
Low Gain  
High Gain  
0.10–20.00 Hz, note  
-15– +15 dB  
-15– +15 dB  
Feedback  
Feedback  
Gain of the high range  
Volume balance between the di-  
Balance  
Level  
D100:0W–D0:100W rect sound (D) and the flanger  
sound (W)  
0–127  
Balance W  
Flanger  
2-Band  
Output Level  
R in  
R out  
EQ  
Balance D  
Parameter  
Value  
Description  
Type of filter  
26: HEXA-CHORUS  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
HPF: cuts the frequency range  
below the Cutoff Freq  
Filter Type  
OFF, LPF, HPF  
Uses a six-phase chorus (six layers of chorused sound) to give richness  
and spatial spread to the sound.  
fig.MFX-26  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
L in  
L out  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Frequency of modulation  
Depth of modulation  
Balance D  
Balance W  
Hexa Chorus  
Rate  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
0–180 deg  
Balance W  
R in  
R out  
Spatial spread of the sound  
Balance D  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Gain of the low range  
Gain of the high range  
Feedback  
-98– +98%  
Parameter  
Pre Delay  
Value  
Description  
Adjusts the delay time from the di-  
rect sound until the chorus sound is  
heard.  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
0.0–100.0 ms  
Volume balance between the direct  
sound (D) and the flanger sound (W)  
Output Level  
Rate  
Depth  
Pre Delay  
Deviation  
0.05–10.00 Hz, note Frequency of modulation  
Balance  
Level  
D100:0W–D0:100W  
0–127  
0–127  
Depth of modulation  
Adjusts the differences in Pre Delay  
between each chorus sound.  
0–20  
Depth  
Adjusts the difference in modulation  
depth between each chorus sound.  
-20– +20  
0–20  
Deviation  
Adjusts the difference in stereo loca-  
tion between each chorus sound.  
0: All chorus sounds will be in the  
center.  
20: Each chorus sound will be  
spaced at 60 degree intervals  
relative to the center.  
25: STEP FLANGER  
Pan Deviation  
This is a flanger in which the flanger pitch changes in steps. The speed  
at which the pitch changes can also be specified in terms of a note-  
value of a specified tempo.  
fig.MFX-25  
Volume balance between the direct  
sound (D) and the chorus sound (W)  
Output Level  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Balance D  
2-Band  
L in  
L out  
EQ  
Step Flanger  
Balance W  
Feedback  
Feedback  
Balance W  
Step Flanger  
2-Band  
EQ  
R in  
R out  
Balance D  
Parameter  
Filter Type  
Cutoff Freq  
Value  
Description  
Type of filter  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
OFF, LPF, HPF  
200–8000 Hz  
HPF: cuts the frequency range  
below the Cutoff Freq  
Basic frequency of the filter  
65  
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27: TREMOLO CHORUS  
29: 3D CHORUS  
This is a chorus effect with added Tremolo (cyclic modulation of  
This applies a 3D effect to the chorus sound. The chorus sound will be  
volume).  
positioned 90 degrees left and 90 degrees right.  
fig.MFX-27  
fig.MFX-29  
L in  
L out  
2-Band  
EQ  
L
L out  
R out  
Balance D  
Balance W  
3D Chorus  
Tremolo Chorus  
Balance W  
2-Band  
EQ  
R
R in  
R out  
Balance D  
Parameter  
Filter Type  
Value  
Description  
Type of filter  
Parameter  
Pre Delay  
Value  
Description  
Adjusts the delay time from the di-  
rect sound until the chorus sound  
is heard.  
Modulation frequency of the cho-  
rus effect  
Modulation depth of the chorus ef-  
fect  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
0.0–100.0 ms  
OFF, LPF, HPF  
HPF: cuts the frequency range  
below the Cutoff Freq  
Chorus Rate  
Chorus Depth  
Tremolo Rate  
0.05–10.00 Hz, note  
0–127  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
Adjusts the delay time from the di-  
rect sound until the chorus sound is  
heard.  
Frequency of modulation  
Modulation depth of the chorus ef-  
fect  
Modulation frequency of the trem-  
olo effect  
0.05–10.00 Hz, note  
Rate  
0.05–10.00 Hz, note  
0–127  
Tremolo  
Separation  
Tremolo Phase  
0–127  
Spread of the tremolo effect  
Depth  
Phase  
0–180 deg  
Spread of the tremolo effect  
Volume balance between the di-  
0–180 deg  
Spatial spread of the sound  
Adjusts the method that will be  
used to hear the sound that is out-  
put to the OUTPUT jacks. The opti-  
mal 3D effect will be achieved if  
you select SPEAKER when using  
speakers, or PHONES when using  
headphones.  
Balance  
D100:0W–D0:100W rect sound (D) and the tremolo  
chorus sound (W)  
0–127  
Level  
Output Level  
Output Mode  
SPEAKER, PHONES  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
28: SPACE-D  
Volume balance between the di-  
rect sound (D) and the chorus  
sound (W)  
This is a multiple chorus that applies two-phase modulation in stereo. It  
gives no impression of modulation, but produces a transparent chorus  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
effect.  
fig.MFX-28  
Balance D  
2-Band  
L in  
L out  
R out  
EQ  
Balance W  
Space D  
Space D  
Balance W  
2-Band  
R in  
EQ  
Balance D  
Parameter  
Pre Delay  
Value  
Description  
Adjusts the delay time from the  
direct sound until the chorus  
sound is heard.  
0.0–100.0 ms  
Rate  
Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Phase  
Low Gain  
High Gain  
0–180 deg  
-15– +15 dB  
-15– +15 dB  
Spatial spread of the sound  
Gain of the low range  
Gain of the high range  
Volume balance between the  
direct sound (D) and the chorus  
sound (W)  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
66  
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Parameter  
Feedback  
Step Rate  
Value  
Description  
30: 3D FLANGER  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
-98– +98%  
This applies a 3D effect to the flanger sound. The flanger sound will  
be positioned 90 degrees left and 90 degrees right.  
fig.MFX-30  
0.10–20.00 Hz, note  
Rate (period) of pitch change  
Adjusts the method that will be  
used to hear the sound that is out-  
put to the OUTPUT jacks. The opti-  
mal 3D effect will be achieved if  
you select SPEAKER when using  
speakers, or PHONES when using  
headphones.  
2-Band  
EQ  
L
L out  
R out  
3D Flanger  
Output Mode  
SPEAKER, PHONES  
2-Band  
EQ  
R
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the di-  
rect sound (D) and the flanger  
sound (W)  
Parameter  
Filter Type  
Value  
Description  
Type of filter  
Balance  
Level  
D100:0W–D0:100W  
0–127  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
OFF, LPF, HPF  
Output Level  
HPF: cuts the frequency range  
below the Cutoff Freq  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
32: 2BAND CHORUS  
A chorus effect that lets you apply an effect independently to the low-  
Rate  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
0–180 deg  
Frequency of modulation  
Depth of modulation  
Spatial spread of the sound  
frequency and high-frequency ranges.  
fig.MFX-32  
L in  
L out  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Adjusts the method that will be  
used to hear the sound that is out-  
put to the OUTPUT jacks. The opti-  
mal 3D effect will be achieved if  
you select SPEAKER when using  
speakers, or PHONES when using  
headphones.  
High Band Chorus  
Feedback  
-98– +98%  
Split  
Split  
Low Band Chorus  
High Band Chorus  
Output Mode  
SPEAKER, PHONES  
Low Band Chorus  
R in  
R out  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the di-  
rect sound (D) and the flanger  
sound (W)  
Parameter  
Split Freq  
Range  
Explanation  
Frequency at which the low and  
high ranges will be divided  
Delay time from when the origi-  
nal sound is heard to when the  
low-range chorus sound is heard  
200–8000 Hz  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Low Pre Delay  
0.0–100.0 ms  
Output Level  
Rate at which the low-range cho-  
rus sound is modulated  
Modulation depth for the low-  
range chorus sound  
Spaciousness of the low-range  
chorus sound  
Low Rate  
0.05–10.00 Hz, note  
0–127  
Low Depth  
Low Phase  
31: 3D STEP FLANGER  
0–180 deg  
This applies a 3D effect to the step flanger sound. The flanger sound  
Delay time from when the origi-  
nal sound is heard to when the  
high-range chorus sound is  
heard  
Rate at which the low-range cho-  
rus sound is modulated  
Modulation depth for the high-  
range chorus sound  
Spaciousness of the high-range  
chorus sound  
will be positioned 90 degrees left and 90 degrees right.  
High Pre Delay  
0.0–100.0 ms  
fig.MFX-31  
2-Band  
EQ  
L
L out  
R out  
High Rate  
0.05–10.00 Hz, note  
0–127  
3D Step Flanger  
High Depth  
High Phase  
2-Band  
EQ  
R
0–180 deg  
Volume balance of the original  
sound (D) and chorus sound (W)  
Output volume  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Parameter  
Value  
Description  
Type of filter  
OFF: no filter is used  
LPF: cuts the frequency range  
above the Cutoff Freq  
Filter Type  
OFF, LPF, HPF  
HPF: cuts the frequency range  
below the Cutoff Freq  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Rate  
Depth  
Phase  
0.05–10.00 Hz, note  
0–127  
0–180 deg  
Frequency of modulation  
Depth of modulation  
Spatial spread of the sound  
67  
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33: 2BAND FLANGER  
34: 2BAND STEP FLANGER  
A flanger that lets you apply an effect independently to the low-  
A step flanger that lets you apply an effect independently to the low-  
frequency and high-frequency ranges.  
frequency and high-frequency ranges.  
fig.MFX-33  
fig.MFX-34  
L in  
L in  
L out  
L out  
High Band Flanger  
High Band Step Flanger  
Split  
Split  
Split  
Split  
High Band Feedback  
Low Band Flanger  
High Band Feedback  
Low Band Step Flanger  
Low Band Feedback  
High Band Feedback  
Low Band Feedback  
High Band Feedback  
High Band Flanger  
Low Band Feedback  
High Band Step Flanger  
Low Band Feedback  
Low Band Flanger  
Low Band Step Flanger  
R in  
R in  
R out  
R out  
Parameter  
Split Freq  
Range  
Explanation  
Frequency at which the low and  
high ranges will be divided  
Parameter  
Split Freq  
Range  
Explanation  
Frequency at which the low and  
high ranges will be divided  
200–8000 Hz  
200–8000 Hz  
Delay time from when the origi-  
nal sound is heard to when the  
low-range flanger sound is heard  
Delay time from when the origi-  
nal sound is heard to when the  
low-range flanger sound is heard  
Low Pre Delay  
0.0–100.0 ms  
Low Pre Delay  
0.0–100.0 ms  
Rate at which the low-range  
flanger sound is modulated  
Modulation depth for the low-  
range flanger sound  
Spaciousness of the low-range  
flanger sound  
Rate at which the low-range  
flanger sound is modulated  
Modulation depth for the low-  
range flanger sound  
Spaciousness of the low-range  
flanger sound  
Low Rate  
0.05–10.00 Hz, note  
0–127  
Low Rate  
0.05–10.00 Hz, note  
0–127  
Low Depth  
Low Phase  
Low Depth  
Low Phase  
0–180 deg  
0–180 deg  
Proportion of the low-range  
flanger sound that is to be re-  
turned to the input (negative val-  
ues invert the phase)  
Proportion of the low-range  
flanger sound that is to be re-  
turned to the input (negative val-  
ues invert the phase)  
Low  
Feedback  
Low  
Feedback  
-98– +98%  
-98– +98%  
Delay time from when the origi-  
nal sound is heard to when the  
high-range flanger sound is  
heard  
Rate at which the high-range  
flanger sound is modulated  
Modulation depth for the high-  
range flanger sound  
Spaciousness of the high-range  
flanger sound  
Proportion of the high-range  
flanger sound that is to be re-  
turned to the input (negative val-  
ues invert the phase)  
Volume balance of the original  
sound (D) and flanger sound (W)  
Low Step  
Rate  
Rate at which the steps will cycle  
for the low-range flanger sound  
Delay time from when the origi-  
nal sound is heard to when the  
high-range flanger sound is  
heard  
Rate at which the high-range  
flanger sound is modulated  
Modulation depth for the high-  
range flanger sound  
Spaciousness of the high-range  
flanger sound  
Proportion of the high-range  
flanger sound that is to be re-  
turned to the input (negative val-  
ues invert the phase)  
0.10–20.00 Hz, note  
0.0–100.0 ms  
High Pre Delay  
0.0–100.0 ms  
High Pre Delay  
High Rate  
0.05–10.00 Hz, note  
0–127  
High Depth  
High Phase  
High Rate  
0.05–10.00 Hz, note  
0–127  
0–180 deg  
High Depth  
High Phase  
0–180 deg  
High  
Feedback  
-98– +98%  
High  
Feedback  
-98– +98%  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Output volume  
High Step  
Rate  
Rate at which the steps will cycle  
for the high-range flanger sound  
0.10–20.00 Hz, note  
Volume balance of the original  
sound (D) and flanger sound (W)  
Output volume  
Balance  
Level  
D100:0W–D0:100W  
0–127  
68  
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35: OVERDRIVE  
38: VS DISTORTION  
Creates a soft distortion similar to that produced by vacuum tube  
This is a distortion effect that provides heavy distortion. The  
amplifiers.  
parameters are the same as for “37: VS OVERDRIVE.”  
fig.MFX-35  
fig.MFX-38  
L in  
L out  
Pan L  
L in  
L out  
Pan L  
Amp  
Simulator  
2-Band  
EQ  
Over  
drive  
Amp  
Simulator  
2-Band  
EQ  
Distortion  
Pan R  
Pan R  
R in  
R out  
R in  
R out  
Parameter  
Drive  
Value  
Description  
Degree of distortion  
Also changes the volume.  
Type of guitar amp  
SMALL: small amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack  
amp  
3-STACK: large triple stack  
amp  
0–127  
39: GUITAR AMP SIMULATOR  
This is an effect that simulates the sound of a guitar amplifier.  
SMALL, BUILT-IN,  
2-STACK, 3-STACK  
fig.MFX-39  
Amp Type  
L in  
L out  
Pan L  
Pre Amp  
Speaker  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Pan R  
R in  
R out  
Stereo location of the output  
sound  
Output Level  
Pan  
L64–63R  
0–127  
Parameter  
Pre Amp Sw  
Value  
OFF, ON  
JC-120,  
Description  
Turns the amp switch on/off.  
Level  
CLEAN TWIN, MATCH  
DRIVE,  
BG LEAD, MS1959I,  
MS1959II, MS1959I+II,  
SLDN LEAD,  
36: DISTORTION  
Pre Amp Type  
Type of guitar amp  
METAL5150,  
METAL LEAD, OD-1, OD-  
2 TURBO,  
Produces a more intense distortion than Overdrive. The parameters  
are the same as for “35: OVERDRIVE.”  
DISTORTION, FUZZ  
fig.MFX-36  
Pre Amp  
Volume  
Pre Amp  
Master  
Volume and amount of distortion  
of the amp  
0–127  
0–127  
L in  
L out  
Pan L  
Amp  
Simulator  
2-Band  
EQ  
Volume of the entire pre-amp  
Amount of pre-amp distortion  
Tone of the bass/mid/treble fre-  
quency range  
* Middle cannot be set if “Match  
Drive” is selected as the Pre  
Amp Type.  
Tone for the ultra-high frequency  
range  
Distortion  
Pan R  
Pre Amp Gain LOW, MIDDLE, HIGH  
R in  
R out  
Pre Amp Bass  
Pre Amp  
Middle  
0–127  
Pre Amp Treble  
37: VS OVERDRIVE  
Pre Amp  
0–127  
Presence  
This is an overdrive that provides heavy distortion.  
Turning this “On” produces a  
sharper and brighter sound.  
fig.MFX-37  
L in  
L out  
Pan L  
Pre Amp Bright OFF, ON  
* This parameter applies to the  
“JC-120,” “Clean Twin,” and  
“BG Lead” Pre Amp Types.  
Determines whether the signal  
passes through the speaker (ON),  
or not (OFF).  
Amp  
Simulator  
2-Band  
EQ  
Overdrive  
Pan R  
R in  
R out  
Speaker Sw  
OFF, ON  
Parameter  
Drive  
Value  
Description  
Degree of distortion  
Also changes the volume.  
Sound quality of the Overdrive effect  
Turns the Amp Simulator on/off.  
Type of guitar amp  
SMALL: small amp  
BUILT-IN: single-unit type amp  
2-STACK: large double stack amp  
3-STACK: large triple stack amp  
Gain of the low range  
Gain of the high range  
Stereo location of the output sound  
Output Level  
Speaker Type  
(See the table right.)  
Type of speaker  
Adjusts the location of the mic that’s  
capturing the sound of the speaker.  
This can be adjusted in three  
steps, from 1 to 3, with the mic  
becoming more distant as the  
value increases.  
Volume of the microphone  
Volume of the direct sound  
Stereo location of the output  
Output level  
0–127  
Tone  
Amp Sw  
0–127  
OFF, ON  
Mic Setting  
1, 2, 3  
Mic Level  
Direct Level  
Pan  
0–127  
0–127  
L64–63R  
0–127  
SMALL, BUILT-IN, 2-  
STACK, 3-STACK  
Amp Type  
Low Gain  
High Gain  
Pan  
-15– +15 dB  
-15– +15 dB  
L64–63R  
Level  
Level  
0–127  
69  
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Specifications for each Speaker Type  
41: LIMITER  
The speaker column indicates the diameter of each speaker unit (in  
inches) and the number of units.  
Compresses signals that exceed a specified volume level, preventing  
distortion from occurring.  
fig.MFX-41  
Speak-  
er  
10  
Micro-  
phone  
dynamic  
dynamic  
dynamic  
dynamic  
dynamic  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
condenser  
Type  
Cabinet  
L in  
L out  
R out  
Limiter  
Limiter  
2-Band EQ  
SMALL 1  
SMALL 2  
MIDDLE  
JC-120  
small open-back enclosure  
small open-back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
open back enclosure  
sealed enclosure  
10  
12 x 1  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 2  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
12 x 4  
R in  
2-Band EQ  
BUILT-IN 1  
BUILT-IN 2  
BUILT-IN 3  
BUILT-IN 4  
BUILT-IN 5  
BG STACK 1  
BG STACK 2  
MS STACK 1  
MS STACK 2  
METAL STACK  
2-STACK  
Parameter  
Release  
Value  
Description  
Adjusts the time after the signal volume falls  
below the Threshold Level until compression  
is no longer applied.  
Adjusts the volume at which compression be-  
gins  
0–127  
Threshold  
Ratio  
0–127  
large sealed enclosure  
large sealed enclosure  
large sealed enclosure  
large double stack  
1.5:1, 2:1,  
4:1,  
100:1  
Compression ratio  
Post Gain  
Low Gain  
High Gain  
Level  
0– +18 dB  
-15– +15 dB  
-15– +15 dB  
0–127  
Adjusts the output gain.  
Gain of the low frequency range  
Gain of the high frequency range  
Output level  
large double stack  
3-STACK  
large triple stack  
40: COMPRESSOR  
42: GATE  
Flattens out high levels and boosts low levels, smoothing out  
Cuts the reverb’s delay according to the volume of the sound sent into  
the effect. Use this when you want to create an artificial-sounding  
fluctuations in volume.  
fig.MFX-40  
decrease in the reverb’s decay.  
L in  
L out  
R out  
Compressor  
Compressor  
2-Band EQ  
fig.MFX-42  
L in  
L out  
R out  
Gate  
Gate  
R in  
2-Band EQ  
R in  
Parameter  
Attack  
Value  
0–127  
Description  
Sets the speed at which compression starts  
Adjusts the volume at which compression be-  
gins  
Parameter  
Threshold  
Value  
0–127  
Description  
Volume level at which the gate begins to close  
Threshold  
0–127  
Type of gate  
Post Gain  
Low Gain  
High Gain  
Level  
0– +18 dB  
-15– +15 dB  
-15– +15 dB  
0–127  
Adjusts the output gain.  
Gain of the low frequency range  
Gain of the high frequency range  
Output level  
GATE: The gate will close when the vol-  
ume of the original sound decreases, cut-  
ting the original sound.  
GATE,  
DUCK  
Mode  
DUCK (Ducking): The gate will close when  
the volume of the original sound increas-  
es, cutting the original sound.  
Adjusts the time it takes for the gate to fully  
open after being triggered.  
Adjusts the time it takes for the gate to start  
closing after the source sound falls beneath  
the Threshold.  
Attack  
Hold  
0–127  
0–127  
0–127  
Adjusts the time it takes the gate to fully close  
after the hold time.  
Release  
D100:0W–  
D0:100W  
0–127  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Output level  
Balance  
Level  
70  
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Parameter  
Feedback  
Range  
Explanation  
Proportion of the delay sound  
that is to be returned to the input  
(negative values invert the phase)  
Frequency at which the high-fre-  
quency content of the delayed  
sound will be cut (BYPASS: no  
cut)  
Panning of the delay sound  
Amount of boost/cut for the high-  
frequency range  
Amount of boost/cut for the high-  
frequency range  
43: DELAY  
-98– +98%  
This is a stereo delay.  
When Feedback Mode is NORMAL:  
fig.MFX-43a  
Balance D  
L in  
200–8000 Hz,  
BYPASS  
HF Damp  
2-Band  
EQ  
Balance W  
L out  
Pan  
L64–63R  
Delay  
Low Gain  
-15– +15 dB  
Feedback  
Feedback  
High Gain  
-15– +15 dB  
Volume balance of the original  
sound (D) and delay sound (W)  
Output volume  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Balance W  
Delay  
2-Band  
EQ  
R in  
R out  
L out  
Balance D  
When Feedback Mode is CROSS:  
45: SERIAL DELAY  
fig.MFX-43b  
Balance D  
L in  
2-Band  
EQ  
Balance W  
This delay connects two delay units in series. Feedback can be  
applied independently to each delay unit, allowing you to produce  
Delay  
complex delay sounds.  
fig.MFX-45  
Feedback  
Feedback  
L in  
L out  
Pan L  
Balance W  
Delay  
Delay 1  
Delay 2  
2-Band  
EQ  
R in  
R out  
Pan R  
Balance D  
Feedback 1  
Feedback 2  
Parameter  
Delay Left  
Delay Right  
Phase Left  
Phase Right  
Value  
0–1300 ms,  
note  
Description  
Adjusts the time until the delay sound is  
heard.  
R in  
R out  
Parameter  
Delay1 Time  
Range  
Explanation  
Delay time from when sound is  
input to delay 1 until the delay  
sound is heard  
Proportion of the delay sound  
that is to be returned to the input  
of delay 1 (negative values invert  
the phase)  
Frequency at which the high-fre-  
quency content of the delayed  
sound of delay 1 will be cut (BY-  
PASS: no cut)  
Delay time from when sound is  
input to delay 2 until the delay  
sound is heard  
NORMAL,  
INVERSE  
Phase of the delay sound  
0–1300 ms, note  
Feedback  
Mode  
NORMAL,  
CROSS  
Selects the way in which delay sound is fed  
back into the effect. (See the figures above.)  
Adjusts the amount of the delay sound that’s  
fed back into the effect. Negative  
(-) settings invert the phase.  
Delay1  
Feedback  
-98– +98%  
Feedback  
-98– +98%  
Adjusts the frequency above which sound fed  
200–8000 Hz,  
BYPASS  
Delay1 HF Damp  
Delay2 Time  
200–8000Hz, back to the effect is filtered out. If you don’t  
BYPASS  
HF Damp  
want to filter out any high frequencies, set this  
parameter to BYPASS.  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the delay sound (W)  
Output level  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
0–1300 ms, note  
-98– +98%  
Proportion of the delay sound  
that is to be returned to the input  
of delay 2 (negative values invert  
the phase)  
Balance  
Level  
Delay2  
Feedback  
0–127  
Frequency at which the high-fre-  
quency content of the delayed  
sound of delay 2 will be cut (BY-  
PASS: no cut)  
200–8000 Hz,  
BYPASS  
Delay2 HF Damp  
44: LONG DELAY  
Pan  
L64–63R  
Panning of the delay sound  
Amount of boost/cut for the low-  
frequency range  
A delay that provides a long delay time.  
Low Gain  
-15– +15 dB  
fig.MFX-44  
Amount of boost/cut for the high-  
frequency range  
Volume balance of the original  
sound (D) and delay sound (W)  
High Gain  
-15– +15 dB  
2-Band  
EQ  
Pan L  
L in  
L out  
R out  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Long Delay  
Output volume  
Pan R  
Feedback  
R in  
2-Band  
EQ  
Parameter  
Delay Time  
Range  
Explanation  
Delay time from when the origi-  
nal sound is heard to when the  
delay sound is heard  
0–2600 ms, note  
Phase of the delay (NORMAL:  
non-inverted, INVERT: inverted)  
Phase  
NORMAL, INVERSE  
71  
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46: MODULATION DELAY  
47: 3TAP PAN DELAY  
Adds modulation to the delayed sound.  
Produces three delay sounds; center, left and right.  
fig.MFX-47  
When Feedback Mode is NORMAL:  
Balance D  
fig.MFX-46a  
Balance D  
L in  
2-Band  
EQ  
L in  
L out  
2-Band  
EQ  
L out  
Balance W  
Left Tap  
Balance W  
Delay  
Modulation  
Triple Tap Delay  
Center Tap  
Feedback  
Feedback  
Feedback  
Balance W  
Right Tap  
Balance W  
2-Band  
EQ  
Delay  
Modulation  
Balance D  
R in  
R out  
Balance D  
2-Band  
EQ  
R in  
R out  
L out  
Parameter  
Delay Left/  
Right/Center  
Value  
0–2600 ms,  
note  
Description  
When Feedback Mode is CROSS:  
Adjusts the time until the delay sound is  
heard.  
fig.MFX-46b  
Balance D  
L in  
Adjusts the amount of the delay sound  
that’s fed back into the effect. Negative (-)  
settings invert the phase.  
Center  
Feedback  
2-Band  
EQ  
-98– +98%  
Delay  
Modulation  
Adjusts the frequency above which sound  
Balance W  
200–8000 Hz, fed back to the effect is filtered out. If you  
HF Damp  
BYPASS  
do not want to filter out any high frequen-  
cies, set this parameter to BYPASS.  
Feedback  
Feedback  
Left/Right/  
Center Level  
Low Gain  
High Gain  
0–127  
Volume of each delay  
Delay  
Modulation  
Balance D  
Balance W  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the delay sound (W)  
2-Band  
EQ  
R in  
R out  
Balance  
Level  
Parameter  
Delay Left  
Delay Right  
Value  
Description  
0–127  
Output level  
0–1300 ms,  
note  
Adjusts the time until the delay sound is  
heard.  
48: 4TAP PAN DELAY  
Feedback  
Mode  
NORMAL,  
CROSS  
Selects the way in which delay sound is fed  
back into the effect (See the figures above.)  
This effect has four delays.  
Adjusts the amount of the delay sound  
that’s fed back into the effect. Negative (-)  
settings invert the phase.  
Feedback  
-98– +98%  
fig.MFX-48a  
Balance D  
L out  
Adjusts the frequency above which sound  
L in  
200–8000 Hz, fed back to the effect is filtered out. If you  
Delay 1  
Delay 2  
HF Damp  
Rate  
BYPASS  
don’t want to filter out any high frequen-  
cies, set this parameter to BYPASS.  
Balance W  
Feedback  
0.05–10.00Hz,  
note  
0–127  
Frequency of modulation  
Quadruple Tap Delay  
Delay 3  
Depth  
Depth of modulation  
Balance W  
R out  
Phase  
Low Gain  
High Gain  
0-180 deg  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Spatial spread of the sound  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the delay sound (W)  
Delay 4  
R in  
1
Balance D  
fSigt.eMrFeX-o48lbocation of each delay  
Balance  
Level  
2
3
0–127  
Output level  
4
R
L
Parameter  
Value  
Description  
0–2600 ms,  
note  
Adjusts the time until the delay sound is  
heard.  
Delay 1–4 Time  
Adjusts the amount of the delay sound  
that’s fed back into the effect. Negative (-)  
settings invert the phase.  
Delay 1  
Feedback  
-98– +98%  
Adjusts the frequency above which sound  
200–8000 Hz, fed back to the effect is filtered out. If you  
HF Damp  
BYPASS  
do not want to filter out any high frequen-  
cies, set this parameter to BYPASS.  
Delay 1–4 Level 0–127  
Volume of each delay  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low frequency range  
Gain of the high frequency range  
D100:0W–  
D0:100W  
0–127  
Volume balance between the direct sound  
(D) and the delay sound (W)  
Output level  
Balance  
Level  
72  
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Parameter  
Range  
Explanation  
Delay time from when sound is  
input into the tap delay until the  
delay sound is heard  
Proportion of the delay sound  
that is to be returned to the input  
of the tap delay (negative values  
invert the phase)  
Frequency at which the low-fre-  
quency content of the tap delay  
sound will be cut (BYPASS: no  
cut)  
49: MULTI TAP DELAY  
Delay 1 – 3 Time 0–1300 ms, note  
This effect provides four delays. Each of the Delay Time parameters  
can be set to a note length based on the selected tempo. You can also  
set the panning and level of each delay sound.  
Delay 3 Feedback  
Delay HF Damp  
-98– +98%  
fig.MFX-49  
Balance D  
2-Band  
L in  
L out  
EQ  
Feed  
back  
Delay 1  
Delay 3  
200–8000 Hz, BYPASS  
Balance W  
Delay 1 Pan’,  
‘Delay 2 Pan  
Delay 1 Level’,  
‘Delay 2 Level  
L64–63R  
Panning of the tap delay sounds  
Volume of the tap delay sounds  
Multi Tap Delay  
Delay 4  
Balance W  
0–127  
Delay 2  
Amount of boost/cut for the low-  
frequency range  
Amount of boost/cut for the high-  
frequency range  
2-Band  
EQ  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
R in  
R out  
Balance D  
Parameter  
Value  
0–2600 ms,  
note  
Description  
Adjusts the time until Delays 1–4 are  
heard.  
Volume balance of the original  
sound (D) and delay sound (W)  
Output volume  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Delay 1–4 Time  
Adjusts the amount of the delay sound  
that’s fed back into the effect. Negative (-)  
settings invert the phase.  
Delay 1  
-98– +98%  
Feedback  
51: SHUFFLE DELAY  
Adjusts the frequency above which sound  
200–8000 Hz, fed back to the effect is filtered out. If you  
Adds a shuffle to the delay sound, giving the sound a bouncy delay  
HF Damp  
BYPASS  
don’t want to filter out any the high fre-  
quencies, set this parameter to BYPASS.  
effect with a swing feel.  
fig.MFX-51  
Delay 1–4 Pan L64–63R  
Delay 1–4 Level 0–127  
Low Gain  
High Gain  
Stereo location of Delays 1–4  
Output level of Delays 1–4  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Output level  
2-Band  
EQ  
L out  
L in  
Feedback  
Delay  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
0–127  
Delay A  
Delay B  
A
B
Balance  
Level  
2-Band  
EQ  
R in  
R out  
Parameter  
Delay Time  
Value  
0–2600 ms,  
note  
Description  
Adjusts the time until the delay sound is  
heard.  
50: REVERSE DELAY  
Adjusts the ratio (as a percentage) of the  
time that elapses before Delay B sounds rel-  
ative to the time that elapses before the De-  
lay A sounds.  
This is a reverse delay that adds a reversed and delayed sound to the  
input sound. A tap delay is connected immediately after the reverse  
Shuffle  
Rate  
0–100%  
delay.  
When set to 100%, the delay times are  
the same.  
fig.MFX-50  
2-Band  
EQ  
L out  
Adjusts the speed which the Delay Time  
changes from the current setting to its speci-  
fied new setting.  
Adjusts the amount of the delay that’s fed  
back into the effect. Negative (-) settings in-  
vert the phase.  
L in  
Feedback  
Acceleration  
Feedback  
0–15  
Rev  
D1  
Rev. Delay  
Delay  
-98– +98%  
D2  
D3  
2-Band  
EQ  
Adjusts the frequency above which sound  
R in  
R out  
200–8000Hz, fed back to the effect is filtered out. If you  
HF Damp  
BYPASS  
don’t want to filter out any high frequencies,  
set this parameter to BYPASS.  
Stereo location of Delay A/B  
Volume of delay A/B  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Parameter  
Threshold  
Range  
Explanation  
Pan A/B  
0–127  
0–127  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Volume at which the reverse de-  
lay will begin to be applied  
Level A/B  
Low Gain  
High Gain  
0–127  
Delay time from when sound is  
input into the reverse delay until  
the delay sound is heard  
Proportion of the delay sound  
that is to be returned to the input  
of the reverse delay (negative  
values invert the phase)  
Rev Delay Time  
0–1300 ms, note  
-98– +98%  
Balance  
Level  
Rev Delay  
Feedback  
0–127  
Output level  
Frequency at which the high-fre-  
quency content of the reverse-de-  
layed sound will be cut (BYPASS:  
no cut)  
Rev Delay HF  
Damp  
200–8000 Hz,  
BYPASS  
Panning of the reverse delay  
sound  
Volume of the reverse delay  
sound  
Rev Delay Pan  
Rev Delay Level  
L64–63R  
0–127  
73  
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Parameter  
HF Damp  
Value  
Description  
52: 3D DELAY  
Adjusts the frequency above which  
sound fed back to the effect is fil-  
tered out. If you do not want to filter  
out any high frequencies, set this  
parameter to BYPASS.  
200–8000 Hz,  
BYPASS  
This applies a 3D effect to the delay sound. The delay sound will be  
positioned 90 degrees left and 90 degrees right.  
fig.MFX-52  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct  
sound (D) and the delay sound (W)  
2-Band  
EQ  
L out  
L
Level  
3D Delay L  
3D Delay C  
Balance  
Level  
0–127  
Output level  
Feedback  
3D Delay R  
2-Band  
EQ  
LONG TIME CTRL DLY  
(LONG TIME CONTROL DELAY)  
R
R out  
54:  
Parameter  
Value  
Description  
Delay Left  
Delay Right  
Delay Center  
Adjusts the delay time from the  
direct sound until the delay  
sound is heard.  
A delay in which the delay time can be varied smoothly, and allowing  
0–2600 ms, note  
an extended delay to be produced.  
fig.MFX-54  
Adjusts the proportion of the de-  
lay sound that is fed back into the  
effect. Negative (-) settings will  
invert the phase.  
Adjusts the frequency above  
which sound fed back to the ef-  
2-Band  
EQ  
Balance W  
Center  
L in  
L out  
R out  
-98– +98%  
Feedback  
Balance D  
Time Control Delay  
Balance W  
HF Damp  
200–8000 Hz, BYPASS fect will be cut. If you do not want  
to cut the high frequencies, set  
Feedback  
2-Band  
EQ  
R in  
this parameter to BYPASS.  
Balance D  
Left Level  
Right Level  
Center Level  
Parameter  
Delay Time  
Value  
0–2600 ms,  
note  
Description  
0–127  
Output level of the delay sound  
Adjusts the time until the delay is heard.  
Adjusts the method that will be  
used to hear the sound that is out-  
put to the OUTPUT jacks. The opti-  
mal 3D effect will be achieved if  
you select SPEAKER when using  
speakers, or PHONES when using  
headphones.  
Gain of the low range  
Gain of the high range  
Volume balance between the direct  
sound (D) and the effect sound (W)  
Adjusts the speed which the Delay Time  
changes from the current setting to a speci-  
fied new setting.  
The rate of change for the Delay Time di-  
rectly affects the rate of pitch change.  
Adjusts the amount of the delay that’s fed  
back into the effect. Negative (-) settings in-  
vert the phase.  
Acceleration  
0–15  
Output Mode  
SPEAKER, PHONES  
Feedback  
HF Damp  
-98– +98%  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Adjusts the frequency above which sound  
200–8000Hz, fed back to the effect is filtered out. If you do  
BYPASS  
Balance  
Level  
D100:0W–D0:100W  
0–127  
not want to filter out any high frequencies,  
set this parameter to BYPASS.  
Output Level  
Pan  
L64–63R  
Stereo location of the delay  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Gain of the low frequency range  
Gain of the high frequency range  
Volume balance between the direct sound  
(D) and the delay sound (W)  
53: TIME CTRL DELAY  
Balance  
Level  
0–127  
Output level  
A stereo delay in which the delay time can be varied smoothly.  
fig.MFX-53  
L in  
2-Band EQ  
L out  
Pan L  
Time Ctrl Delay  
Feedback  
Feedback  
Pan R  
Time Ctrl Delay  
R in  
2-Band EQ  
Description  
R out  
Parameter  
Delay Time  
Value  
Adjusts the time until the delay is  
0–1300 ms, note  
heard.  
Adjusts the speed which the Delay Time  
changes from the current setting to a  
specified new setting.  
Acceleration  
Feedback  
0–15  
The rate of change for the Delay Time  
directly affects the rate of pitch change.  
Adjusts the amount of the delay  
that’s fed back into the effect. Neg-  
ative (-) settings invert the phase.  
-98– +98%  
74  
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Parameter  
W/P Noise  
LPF  
W/P Noise  
Level  
Value  
Description  
55: TAPE ECHO  
200–8000Hz, Center frequency of the low pass filter applied  
BYPASS  
to the white/pink noise (BYPASS: no cut)  
A virtual tape echo that produces a realistic tape delay sound. This  
0–127  
Volume of the white/pink noise  
simulates the tape echo section of a Roland RE-201 Space Echo.  
fig.MFX-55  
Type of record noise  
The frequency at which the noise is heard  
depends on the selected type.  
Disc Noise  
Type  
LP, EP, SP,  
RND  
L in  
L out  
Direct Level  
Echo Level  
Adjusts the cutoff frequency of the low pass  
Tape Echo  
Disc Noise  
LPF  
200–8000Hz, filter applied to the record noise. If you don’t  
BYPASS  
want to filter out any high frequencies, set  
this parameter to BYPASS.  
Echo Level  
R out  
R in  
Disc Noise  
Level  
0–127  
Volume of the record noise  
Direct Level  
Hum Noise  
Type  
Hum Noise  
LPF  
Hum Noise  
Level  
Low Gain  
High Gain  
50 Hz, 60 Hz Frequency of the hum noise  
Parameter  
Mode  
Value  
Description  
Combination of playback heads to use  
Select from three different heads with dif-  
ferent delay times.  
200–8000Hz, Center frequency of the low pass filter ap-  
S, M, L, S+M,  
S+L, M+L,  
S+M+L  
BYPASS  
plied to the hum noise (BYPASS: no cut)  
S: short, M: middle, L: long  
0–127  
Volume of the hum noise  
Tape speed  
Increasing this value will shorten the spac-  
ing of the delayed sounds.  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Repeat Rate  
0–127  
0–127  
D100:0W–  
D0:100W  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Intensity  
Bass  
Treble  
Amount of delay repeats  
Balance  
Level  
-15– +15 dB Boost/cut for the lower range of the echo sound  
-15– +15 dB Boost/cut for the upper range of the echo sound  
0–127  
Output level  
Head S Pan  
Head M Pan  
Head L Pan  
Independent panning for the short, middle,  
L64–63R  
and long playback heads  
57: LOFI COMPRESS  
Amount of tape-dependent distortion to be  
added  
This is an effect that intentionally degrades the sound quality for  
This simulates the slight tonal changes  
Tape Distortion  
0–5  
that can be detected by signal-analysis  
creative purposes.  
equipment. Increasing this value will in-  
crease the distortion.  
fig.MFX-57  
2-Band  
EQ  
Speed of wow/flutter (complex variation in  
L in  
L out  
R out  
Compressor  
Compressor  
Lo-Fi  
Wow/Flutter  
Rate  
0–127  
0–127  
pitch caused by tape wear and rotational ir-  
regularity)  
Wow/Flutter  
Depth  
Echo Level  
Direct Level  
Level  
Depth of wow/flutter  
2-Band  
EQ  
R in  
Lo-Fi  
0–127  
0–127  
0–127  
Volume of the echo sound  
Volume of the original sound  
Output level  
Parameter  
Value  
Description  
Selects the type of filter applied to the sound  
before it passes through the Lo-Fi effect.  
1: Compressor off  
Pre Filter Type 1–6  
2–6: Compressor on  
56: LOFI NOISE  
Degrades the sound quality. The sound qual-  
ity grows poorer as this value is increased.  
LoFi Type  
1–9  
Type of filter  
In addition to a lo-fi effect, this adds various types of noise such as  
OFF: no filter is used  
white noise and disc noise.  
LPF: cuts the frequency range above the  
Post Filter Type OFF, LPF, HPF  
fig.MFX-56  
Cutoff  
HPF: cuts the frequency range below the  
2-Band  
EQ  
Cutoff  
L in  
L out  
Post Filter  
Cutoff  
200–8000 Hz Basic frequency of the Post Filter  
Lo-Fi  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
D100:0W–  
D0:100W  
Gain of the low range  
Gain of the high range  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Noise Gen.  
Lo-Fi  
Balance  
Level  
0–127  
Output level  
2-Band  
EQ  
R in  
R out  
Parameter  
LoFi Type  
Value  
Description  
Degrades the sound quality. The sound quality  
grows poorer as this value is increased.  
1–9  
Type of filter  
OFF: no filter is used  
OFF, LPF,  
HPF  
LPF: cuts the frequency range above the  
Filter Type  
Cutoff  
HPF: cuts the frequency range below the  
Cutoff  
Filter Cutoff  
200–8000 Hz Center frequency of the filter  
W/P Noise  
Type  
WHITE, PINK Switch between white noise and pink noise.  
75  
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58: LOFI RADIO  
Parameter  
Value  
Description  
Signal  
Distortion  
0–127  
Depth of distortion  
In addition to a Lo-Fi effect, this effect also generates radio noise.  
fig.MFX-58  
Frequency response of the playback system  
Decreasing this value will produce the im-  
pression of an old system with a poor fre-  
quency response.  
Rotational speed of the turntable  
This will affect the frequency of the  
scratch noise.  
Frequency  
Range  
2-Band  
EQ  
0–127  
L in  
L out  
Lo-Fi  
Lo-Fi  
Disc Type  
LP, EP, SP  
Radio  
Scratch Noise  
Level  
Dust Noise  
Level  
Hiss Noise  
Level  
Total Noise  
Level  
Amount of noise due to scratches on the  
record  
0–127  
0–127  
0–127  
0–127  
Volume of noise due to dust on the record  
Volume of continuous “hiss”  
2-Band  
EQ  
R in  
R out  
Parameter  
LoFi Type  
Value  
Description  
Degrades the sound quality. The sound qual-  
ity grows poorer as this value is increased.  
Volume of overall noise  
Wow  
Flutter  
0–127  
0–127  
Depth of long-cycle rotational irregularity  
Depth of short-cycle rotational irregularity  
Depth of indefinite-cycle rotational irregular-  
ity  
1–9  
Type of filter  
OFF: no filter is used  
Random  
0–127  
0–127  
OFF, LPF,  
HPF  
LPF: cuts the frequency range above the  
Filter Type  
Cutoff  
Total Wow/  
Flutter  
Depth of overall rotational irregularity  
HPF: cuts the frequency range below the  
Cutoff  
D100:0W–  
D0:100W  
0–127  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Output level  
Balance  
Level  
Filter Cutoff  
Radio  
Detune  
Radio Noise  
Level  
200–8000 Hz Basic frequency of the Post Filter  
Simulates the tuning noise of a radio. As this  
value is raised, the tuning drifts further.  
0–127  
0–127  
Volume of the radio noise  
D100:0W–  
D0:100W  
0–127  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Output level  
Balance  
Level  
PITCH SHIFTER  
(Feedback Pitch Shifter)  
61:  
A stereo pitch shifter.  
fig.MFX-61  
59: TELEPHONE  
L in  
2-Band EQ  
L out  
R out  
fig.MFX-59  
Pitch Shifter  
L in  
L out  
R out  
Telephone  
Telephone  
Pitch Shifter  
R in  
R in  
2-Band EQ  
Parameter  
Voice  
Quality  
Treble  
Balance  
Level  
Value  
Description  
Parameter  
Coarse  
Value  
Description  
Adjusts the pitch of the pitch shift-  
ed sound in semitone steps.  
Adjusts the pitch of the pitch shift-  
ed sound in 2-cent steps.  
Adjusts the delay time from the  
direct sound until the pitch shifted  
sound is heard.  
0–15  
Audio quality of the telephone voice  
-24– +12 semi  
-15– +15 dB  
D100:0–  
D0:100W  
Bandwidth of the telephone voice  
Volume balance between the direct sound  
(D) and the effect sound (W)  
Fine  
-100– +100 cent  
0–1300 ms, note  
0–127  
Output level  
Delay Time  
Adjusts the proportion of the  
pitch shifted sound that is fed  
back into the effect. Negative (-)  
settings will invert the phase.  
Feedback  
-98– +98%  
60: PHONOGRAPH  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the di-  
rect sound (D) and the pitch shift-  
ed sound (W)  
Simulates a sound recorded on an analog record and played back on a  
record player. This effect also simulates the various types of noise that are  
Balance  
Level  
D100:0W–D0:100W  
0–127  
typical of a record, and even the rotational irregularities of an old turntable.  
fig.MFX-60  
Output Level  
Balance D  
L in  
L out  
R out  
Balance W  
Balance W  
Phonograph  
Phonograph  
R in  
Balance D  
76  
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Parameter  
Attack  
Range  
Explanation  
Speed at which the amount of  
pitch shift changes between steps  
Duration of the pitch shifted  
sound at each step  
Pitch shift adjustment for all steps  
(2-cent units)  
62: 2VOI PITCH SHIFTER (2VOICE PITCH SHIFTER)  
0–127  
Shifts the pitch of the original sound. This 2-voice pitch shifter has two  
pitch shifters, and can add two pitch shifted sounds to the original  
Gate Time  
Fine  
0–127  
sound.  
-100– +100 cent  
fig.MFX-62  
Balance D  
Delay time from the original  
sound until the pitch-shifted  
sound is heard  
Proportion of the pitch-shifted sound  
that is to be returned to the input  
(negative values invert the phase)  
Delay Time  
Feedback  
0–1300 ms, note  
-98– +98%  
L in  
L out  
Level 1  
Pan 1 L  
Pan 1 R  
Balance W  
2Voice Pitch Shifter  
Level 1  
Pan 2 L  
Amount of boost/cut for the low-  
frequency range  
Amount of boost/cut for the high-  
frequency range  
Volume balance of the original sound  
(D) and pitch-shifted sound (W)  
Output volume  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Balance W  
R out  
Pan 2 R  
R in  
Balance D  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Parameter  
Value  
Description  
Pitch 1:  
Coarse  
Adjusts the pitch of Pitch Shift 1  
in semitone steps.  
-24-+12 semi  
Adjusts the pitch of Pitch Shift  
Pitch 1 in 2-cent steps.  
64: REVERB  
Pitch 1:Fine  
-100-+100 cent  
Adjusts the delay time from the  
direct sound until the Pitch Shift 1  
sound is heard.  
Adds reverberation to the sound, simulating an acoustic space.  
Pitch 1:Delay  
0–1300 ms, note  
fig.MFX-64  
Adjusts the proportion of the  
pitch shifted sound that is fed  
back into the effect. Negative (-)  
settings will invert the phase.  
Stereo location of the Pitch Shift  
1 sound  
2-Band  
EQ  
Balance W  
L in  
L out  
Balance D  
Reverb  
Pitch 1:Feedback  
-98– +98%  
Pitch 1:Pan  
L64-63R  
Balance W  
2-Band  
EQ  
Pitch 1:Level  
Pitch 2:  
Coarse  
Pitch 2:Fine  
Pitch 2:Delay  
0–127  
Volume of the Pitch Shift1 sound  
R in  
R out  
Balance D  
-24-+12 semi  
Parameter  
Value  
Description  
Type of reverb  
Settings of the Pitch Shift 2  
sound.  
The parameters are the same as  
for the Pitch Shift 1 sound.  
-100-+100 cent  
0–1300 ms, note  
ROOM1: dense reverb with  
short decay  
Pitch 2:Feedback -98– +98%  
Pitch 2:Pan  
Pitch 2:Level  
Low Gain  
L64-63R  
0–127  
-15– +15 dB  
-15– +15 dB  
ROOM2: sparse reverb with  
short decay  
ROOM1, ROOM2,  
STAGE1, STAGE2,  
HALL1, HALL2  
STAGE1: reverb with greater  
late reverberation  
Gain of the low range  
Gain of the high range  
Volume balance between the  
Pitch Shift 1 and Pitch Shift 2  
sounds  
Volume balance between the di-  
rect sound (D) and the pitch shift-  
ed sound (W)  
Type  
High Gain  
STAGE2: reverb with strong  
early reflections  
HALL1: reverb with clear rever-  
berance  
Level Balance  
A100:0B-A0:100B  
HALL2: reverb with rich rever-  
berance  
Balance  
Level  
D100:0W-D0:100W  
0-127  
Adjusts the delay time from the di-  
rect sound until the reverb sound  
is heard.  
Pre Delay  
Time  
0.0–100.0 ms  
0–127  
Output Level  
Time length of reverberation  
Adjusts the frequency above which  
the reverberant sound will be cut.  
As the frequency is set lower,  
more of the high frequencies  
will be cut, resulting in a softer  
and more muted reverberance.  
If you do not want to cut the  
high frequencies, set this pa-  
rameter to BYPASS.  
63: STEP PITCH SHIFTER  
200–8000 Hz,  
BYPASS  
HF Damp  
A pitch shifter in which the amount of pitch shift is varied by a 16-step  
sequence.  
fig.MFX-63  
2-Band  
EQ  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the direct  
sound (D) and the reverb sound (W)  
L in  
L out  
R out  
Step Pitch Shifter  
Step Pitch Shifter  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Output Level  
2-Band  
EQ  
R in  
Parameter  
Step 01–16  
Range  
Explanation  
Amount of pitch shift at each step  
(semitone units)  
-24–+12 semi  
Rate at which the 16-step se-  
quence will cycle  
Rate  
0.05–10.00 Hz, note  
77  
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65: GATED REVERB  
67: OVERDRIVE FLANGER  
fig.MFX-67  
This is a special type of reverb in which the reverberant sound is cut  
Balance D  
off before its natural length.  
L out  
L in  
fig.MFX-65  
Feedback  
Flanger  
2-Band  
EQ  
Balance W  
Balance W  
L in  
L out  
R out  
Balance D  
Overdrive  
Balance W  
R out  
Gated Reverb  
Balance W  
R in  
Balance D  
2-Band  
EQ  
R in  
Balance D  
Parameter  
Value  
Description  
Degree of distortion  
Also changes the volume.  
Parameter  
Value  
Description  
Type of reverb  
NORMAL: conventional gat-  
ed reverb  
REVERSE: backwards reverb  
SWEEP1: the reverberant  
sound moves from right to left  
SWEEP2: the reverberant  
sound moves from left to right  
Adjusts the delay time from the  
direct sound until the reverb  
sound is heard.  
Adjusts the time from when the re-  
verb is heard until it disappears.  
Overdrive Drive 0–127  
Stereo location of the overdrive  
sound  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Frequency of modulation  
Depth of modulation  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Overdrive Pan  
L64–63R  
NORMAL, REVERSE,  
SWEEP1, SWEEP2  
Type  
Flanger Pre  
Delay  
0.0–100.0 ms  
Flanger Rate  
Flanger Depth  
0.05–10.00 Hz, note  
0–127  
Pre Delay  
Gate Time  
0.0–100.0 ms  
5–500 ms  
Flanger  
Feedback  
-98– +98%  
Low Gain  
High Gain  
-15– +15 dB  
-15– +15 dB  
Gain of the low range  
Gain of the high range  
Volume balance between the di-  
rect sound (D) and the reverb  
sound (W)  
Adjusts the volume balance be-  
tween the sound that is sent  
Flanger Balance D100:0W–D0:100W through the flanger (W) and the  
sound that is not sent through the  
flanger (D).  
Output Level  
Balance  
Level  
D100:0W–D0:100W  
0–127  
Level  
0–127  
Output Level  
68: OVERDRIVE DELAY  
66: OVERDRIVE CHORUS  
fig.MFX-68  
fig.MFX-66  
L out  
L in  
L out  
L in  
Balance D  
Balance D  
Balance W  
Balance W  
Overdrive  
Delay  
Overdrive  
Chorus  
Balance W  
R out  
Balance W  
R out  
Feedback  
Balance D  
R in  
R in  
Balance D  
Parameter  
Value  
Description  
Degree of distortion  
Also changes the volume.  
Parameter  
Value  
Description  
Degree of distortion  
Also changes the volume.  
Overdrive Drive 0–127  
Overdrive Drive  
0–127  
Stereo location of the overdrive  
sound  
Adjusts the delay time from the di-  
rect sound until the chorus sound is  
heard.  
Frequency of modulation  
Depth of modulation  
Adjusts the volume balance be-  
tween the sound that is sent  
Stereo location of the overdrive  
sound  
Adjusts the delay time from the  
direct sound until the delay  
sound is heard.  
Adjusts the proportion of the de-  
lay sound that is fed back into the  
effect. Negative (-) settings will  
invert the phase.  
Adjusts the frequency above  
which sound fed back to the ef-  
fect will be cut. If you do not want  
to cut the high frequencies, set  
this parameter to BYPASS.  
Overdrive Pan  
L64–63R  
Overdrive Pan  
Delay Time  
L64–63R  
Chorus Pre  
Delay  
0.0–100.0 ms  
0–2600 ms, note  
Chorus Rate  
Chorus Depth  
0.05–10.00 Hz, note  
0–127  
Delay  
Feedback  
-98– +98%  
Chorus Balance D100:0W–D0:100W through the chorus (W) and the  
sound that is not sent through the  
chorus (D).  
Output Level  
200–8000 Hz,  
BYPASS  
Delay HF Damp  
Level  
0–127  
Adjusts the volume balance be-  
tween the sound that is sent  
Delay Balance  
Level  
D100:0W–D0:100W through the delay (W) and the  
sound that is not sent through the  
delay (D).  
0–127  
Output Level  
78  
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Parameter  
Chorus Rate  
Chorus Depth  
Value  
0.05–10.00 Hz,  
note  
Description  
69: DISTORTION CHORUS  
Frequency of modulation  
The parameters are essentially the same as in “66: OVERDRIVE  
CHORUS,” with the exception of the following two.  
0–127  
Depth of modulation  
Adjusts the volume balance between  
the sound that is sent through the cho-  
rus (W) and the sound that is not sent  
through the chorus (D).  
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan  
D100:0W–  
D0:100W  
Chorus Balance  
Level  
fig.MFX-69  
L out  
L in  
0–127  
Output Level  
Balance D  
Chorus  
Balance W  
Distortion  
Balance W  
R out  
73: ENHANCER FLANGER  
R in  
Balance D  
fig.MFX-73  
Balance D  
L in  
L out  
Feedback  
Enhancer  
Enhancer  
Mix  
Balance W  
70: DISTORTION FLANGER  
Flanger  
Balance W  
The parameters are essentially the same as in “67: OVERDRIVE →  
FLANGER,” with the exception of the following two.  
R in  
R out  
Balance D  
Mix  
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan  
fig.MFX-70  
Parameter  
Value  
Description  
Balance D  
Enhancer Sens  
0–127  
Sensitivity of the enhancer  
L out  
L in  
Level of the overtones generated  
by the enhancer  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Enhancer Mix  
0–127  
Feedback  
Flanger  
Balance W  
Flanger Pre Delay 0.0–100.0 ms  
Distortion  
Balance W  
R out  
0.05–10.00 Hz,  
note  
0–127  
Flanger Rate  
Frequency of modulation  
R in  
Balance D  
Flanger Depth  
Depth of modulation  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Flanger Feedback -98– +98%  
71: DISTORTION DELAY  
Adjusts the volume balance between  
the sound that is sent through the  
flanger (W) and the sound that is not  
sent through the flanger (D).  
D100:0W–  
Flanger Balance  
D0:100W  
The parameters are essentially the same as in “68: OVERDRIVE →  
DELAY,” with the exception of the following two.  
Level  
0–127  
Output Level  
Overdrive Drive Distortion Drive, Overdrive Pan Distortion Pan  
fig.MFX-71  
L out  
L in  
Balance D  
Delay  
Balance W  
Distortion  
Balance W  
R out  
Feedback  
Balance D  
R in  
72: ENHANCER CHORUS  
fig.MFX-72  
L in  
L out  
Enhancer  
Balance D  
Chorus  
Mix  
Balance W  
Balance W  
R out  
R in  
Enhancer  
Balance D  
Mix  
Parameter  
Value  
Description  
Enhancer Sens  
0–127  
Sensitivity of the enhancer  
Level of the overtones generated  
by the enhancer  
Enhancer Mix  
0–127  
Adjusts the delay time from the di-  
rect sound until the chorus sound is  
heard.  
Chorus Pre Delay 0.0–100.0 ms  
79  
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74: ENHANCER DELAY  
76: FLANGER DELAY  
fig.MFX-74  
fig.MFX-76  
Balance D  
L in  
L out  
Enhancer  
Balance D  
Mix  
L in  
L out  
Balance D  
Balance W  
Feedback  
Balance W  
Delay  
Feedback  
Balance D  
Balance W  
Balance W  
Flanger  
Delay  
Feedback  
Balance D  
Balance W  
R out  
Balance W  
R out  
R in  
Enhancer  
Mix  
R in  
Balance D  
Parameter  
Enhancer Sens  
Value  
0–127  
Description  
Sensitivity of the enhancer  
Level of the overtones generated  
by the enhancer  
Parameter  
Value  
Description  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Flanger Pre Delay 0.0–100.0 ms  
Enhancer Mix  
0–127  
Adjusts the delay time from the  
direct sound until the delay  
sound is heard.  
Adjusts the proportion of the de-  
lay sound that is fed back into the  
effect. Negative (-) settings will  
invert the phase.  
Adjusts the frequency above  
which sound fed back to the ef-  
fect will be cut. If you do not want  
to cut the high frequencies, set  
this parameter to BYPASS.  
Adjusts the volume balance be-  
tween the sound that is sent  
Flanger Rate  
Flanger Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Adjusts the proportion of the  
flanger sound that is fed back into  
the effect. Negative (-) settings will  
invert the phase.  
Delay Time  
0–2600 ms, note  
-98– +98%  
FlangerFeedback -98– +98%  
Delay  
Feedback  
Volume balance between the di-  
Flanger Balance  
Delay Time  
D100:0W–D0:100W rect sound (D) and the flanger  
sound (W)  
200–8000 Hz,  
BYPASS  
Delay HF Damp  
Adjusts the delay time from the di-  
rect sound until the delay sound is  
heard.  
0–2600 ms, note  
Adjusts the proportion of the de-  
lay sound that is fed back into the  
effect. Negative (-) settings will in-  
vert the phase.  
Adjusts the frequency above  
which sound fed back to the effect  
will be cut. If you do not want to  
cut the high frequencies, set this  
parameter to BYPASS.  
Adjusts the volume balance between  
the sound that is sent through the de-  
lay (W) and the sound that is not sent  
through the delay (D).  
Delay  
Feedback  
Delay Balance  
Level  
D100:0W–D0:100W through the delay (W) and the  
sound that is not sent through the  
delay (D).  
-98– +98%  
0–127  
Output Level  
200–8000 Hz,  
BYPASS  
Delay HF Damp  
75: CHORUS DELAY  
Delay  
Balance  
fig.MFX-75  
D100:0W–D0:100W  
0–127  
Balance D  
L in  
L out  
Level  
Output Level  
Balance D  
Balance W  
Chorus  
Balance W  
Balance W  
Delay  
Feedback  
Balance D  
Balance W  
R out  
R in  
Balance D  
Parameter  
Value  
Description  
Adjusts the delay time from the di-  
rect sound until the chorus sound is  
heard.  
Chorus Pre  
Delay  
0.0–100.0 ms  
Chorus Rate  
Chorus Depth  
0.05–10.00 Hz, note  
0–127  
Frequency of modulation  
Depth of modulation  
Volume balance between the di-  
Chorus Balance D100:0W–D0:100W rect sound (D) and the chorus  
sound (W)  
Adjusts the delay time from the di-  
Delay Time  
0–2600 ms, note  
-98– +98%  
rect sound until the delay sound is  
heard.  
Adjusts the proportion of the delay  
sound that is fed back into the ef-  
fect. Negative (-) settings will invert  
the phase.  
Delay  
Feedback  
Adjusts the frequency above which  
sound fed back to the effect will be  
cut. If you do not want to cut the  
high frequencies, set this parame-  
ter to BYPASS.  
200–8000 Hz,  
BYPASS  
Delay HF Damp  
Adjusts the volume balance be-  
tween the sound that is sent  
D100:0W–D0:100W through the delay (W) and the  
sound that is not sent through the  
delay (D).  
Delay  
Balance  
Level  
0–127  
Output Level  
80  
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77: CHORUS FLANGER  
SYMPATHETIC RESO  
(SYMPATHETIC RESONANCE)  
78:  
fig.MFX-77  
Balance D  
Feedback  
Flanger  
Balance D  
L in  
On an acoustic piano, holding down the damper pedal allows other  
strings to resonate in sympathy with the notes you play, creating rich  
and spacious resonances. This effect simulates these sympathetic  
L out  
Balance W  
Chorus  
Balance W  
Balance W  
resonances.  
Balance W  
R out  
fig.MFX-78  
3-Band  
EQ  
R in  
L in  
L out  
R out  
Balance D  
Balance D  
Parameter  
Value  
Description  
Adjusts the delay time from the direct  
sound until the chorus sound is heard.  
Modulation frequency of the chorus  
effect  
Modulation depth of the chorus effect  
Volume balance between the direct  
sound (D) and the chorus sound (W)  
Sym. Resonance  
Chorus Pre  
Delay  
0.0–100.0 ms  
3-Band  
EQ  
R in  
Chorus Rate  
0.05–10.00 Hz, note  
0–127  
Chorus Depth  
Parameter  
Depth  
Range  
0–127  
Explanation  
Depth of the effect  
Chorus Balance D100:0W–D0:100W  
Adjusts the delay time from when  
the direct sound begins until the  
flanger sound is heard.  
Depth to which the damper pedal is  
pressed (controls the resonant  
sound)  
Flanger Pre  
0.0–100.0 ms  
Delay  
Damper  
0–127  
Modulation frequency of the flanger  
effect  
Modulation depth of the flanger effect  
Frequency of the filter that cuts the  
high-frequency content of the input  
sound (BYPASS: no cut)  
Flanger Rate  
0.05–10.00 Hz, note  
0–127  
16–15000 Hz,  
BYPASS  
Pre LPF  
Flanger Depth  
Frequency of the filter that cuts the  
low-frequency content of the input  
sound (BYPASS: no cut)  
Frequency of the filter that boosts/  
cuts a specific frequency region of  
the input sound  
Amount of boost/cut produced by  
the filter at the specified frequency  
region of the input sound  
Adjusts the proportion of the flanger  
sound that is fed back into the ef-  
fect. Negative (-) settings will invert  
the phase.  
Adjusts the volume balance between  
the sound that is sent through the  
flanger (W) and the sound that is not  
sent through the flanger (D).  
BYPASS,  
Pre HPF  
Flanger  
16–15000 Hz  
-98– +98%  
Feedback  
Peaking Freq  
Peaking Gain  
200–8000 Hz  
-15– +15 dB  
Flanger Balance D100:0W–D0:100W  
Level 0–127  
Output Level  
Width of the frequency region  
boosted/cut by the ‘Peaking Gain’  
parameter (larger values make the  
region narrower)  
0.5, 1.0, 2.0, 4.0,  
8.0  
Peaking Q  
Frequency at which the high-fre-  
quency content of the resonant  
sound will be cut (BYPASS: no cut)  
Frequency at which the low-frequen-  
cy content of the resonant sound will  
be cut (BYPASS: no cut)  
16–15000 Hz,  
BYPASS  
HF Damp  
LF Damp  
BYPASS,  
16–15000 Hz  
This simulates the actual changes in  
sound that occur when the lid of a  
grand piano is set at different  
heights.  
Lid  
6–1  
EQ Low Freq  
EQ Low Gain  
EQ Mid Freq  
EQ Mid Gain  
200, 400 Hz  
-15– +15 dB  
200–8000 Hz  
-15– +15 dB  
Frequency of the low-range EQ  
Amount of low-range boost/cut  
Frequency of the midrange EQ  
Amount of midrange boost/cut  
0.5, 1.0, 2.0, 4.0,  
8.0  
Width of midrange (larger values  
make the region narrower)  
EQ Mid Q  
2000, 4000, 8000  
Hz  
EQ High Freq  
Frequency of the high-range EQ  
EQ High Gain  
Level  
-15–+15 dB  
0–127  
Amount of high-range boost/cut  
Output Level  
81  
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Chorus Parameters  
The Prelude’s Chorus effect unit can also be used as a stereo delay unit.  
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.  
Parameter  
Value  
Description  
If you specify the delay time as a note value, slowing down the  
tempo will not change the delay time beyond a certain length.  
This is because there is an upper limit for the delay time; if the  
delay time is specified as a note value and you slow down the  
tempo until this upper limit is reached, the delay time cannot  
change any further. This upper limit is the maximum value that  
can be specified when setting the delay time as a numerical  
value.  
Selects either Chorus or Delay.  
0 (OFF): Neither Chorus or Delay is  
used.  
1 (CHORUS): Chorus is used.  
2 (DELAY): Delay is used.  
3 (GM2 CHORUS): GM2 Chorus is  
used.  
0 (OFF),  
1 (CHORUS),  
2 (DELAY),  
Chorus Type  
3 (GM2 CHORUS)  
01: CHORUS  
Type of filter  
OFF: no filter is used  
LPF: cuts the frequency range above  
the Cutoff Freq  
Filter Type  
OFF, LPF, HPF  
note:  
fig.MFX-note2.e  
HPF: cuts the frequency range be-  
low the Cutoff Freq  
Cutoff Freq  
Pre Delay  
200–8000 Hz  
0.0–100.0 ms  
Basic frequency of the filter  
Adjusts the delay time from the direct  
sound until the chorus sound is heard.  
Sixty-fourth-note triplet  
Sixty-fourth note  
Sixteenth-note triplet  
Eighth-note triplet  
Quarter-note triplet  
Half-note triplet  
Thirty-second-note triplet  
Dotted thirty-second note  
Dotted sixteenth note  
Dotted eighth note  
Dotted quarter note  
Dotted half note  
Thirty-second note  
Sixteenth note  
Eighth note  
0.05–10.00 Hz,  
note  
0–127  
Rate  
Frequency of modulation  
Depth  
Phase  
Depth of modulation  
Spatial spread of the sound  
Adjusts the amount of the chorus sound  
that is fed back into the effect.  
0–180˚  
Quarter note  
Feedback  
0–127  
Whole-note triplet  
Double-note triplet  
Half note  
02: DELAY  
Delay Left  
Delay Right  
Delay Center  
Whole note  
Double note  
Dotted whole note  
Adjusts the delay time from the direct  
sound until the delay sound is heard.  
0–1000 ms, note  
-98–+98%  
Adjusts the proportion of the delay  
sound that is fed back into the effect.  
Negative (-) settings will invert the  
phase.  
Center Feed-  
back  
Adjusts the frequency above which  
sound fed back to the effect will be cut.  
If you do not want to cut the high fre-  
quencies, set this parameter to BY-  
PASS.  
200–8000 Hz,  
BYPASS  
HF Damp  
Left Level  
Right Level  
Center Level  
0–127  
Volume of each delay sound  
03: GM2 CHORUS  
Cuts the high frequency range of the  
sound coming into the chorus.  
Higher values will cut more of the  
high frequencies.  
Pre-LPF  
0–7  
Level  
0–127  
0–127  
Volume of the chorus sound  
Adjusts the amount of the chorus sound  
that is fed back into the effect.  
Feedback  
Adjusts the delay time from the direct  
sound until the chorus sound is heard.  
Delay  
0–127  
Rate  
Depth  
0–127  
0–127  
Frequency of modulation  
Depth of modulation  
Send Level To  
Reverb  
Adjusts the amount of chorus sound that  
will be sent to the reverb.  
0–127  
82  
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Reverb Parameters  
These settings allow you to select the desired type of reverb, and its characteristics.  
Parameter Value  
Description  
Parameter Value  
Description  
Type of reverb  
05: GM2 REVERB  
0 (OFF): Reverb is not used.  
1 (REVERB): Normal reverb  
Type of reverb  
0–5: reverb  
6, 7: delay  
Cuts the high frequency range of the sound  
coming into the reverb.  
Higher values will cut more of the high fre-  
quencies.  
0 (OFF),  
2 (SRV ROOM): This simulates typical room  
acoustic reflections.  
3 (SRV HALL): This simulates typical concert  
hall acoustic reflections.  
Character 0–7  
1 (REVERB),  
Reverb  
Type  
2 (SRV ROOM),  
3 (SRV HALL),  
4 (SRV PLATE),  
5 (GM2 REVERB)  
4 (SRV PLATE): This simulates a reverb  
plate, a popular type of artificial reverb unit  
that derives its sound from the vibration of a  
metallic plate.  
Pre-LPF  
0–7  
Level  
Time  
0–127  
0–127  
Output level of reverberation  
Time length of reverberation  
5 (GM2 REVERB): GM2 Reverb  
Adjusts the amount of the delay sound that is  
fed back into the effect when the Reverb Char-  
acter setting is 6 or 7.  
01: REVERB  
Delay  
Feedback  
0–127  
Type of reverb/delay  
ROOM1: short reverb with high density  
ROOM2: short reverb with low density  
STAGE1: reverb with greater late reverber-  
ation  
ROOM1,  
ROOM2,  
STAGE1,  
Type  
STAGE2: reverb with strong early reflections  
HALL1: very clear-sounding reverb  
HALL2: rich reverb  
DELAY: conventional delay effect  
PAN-DELAY: delay effect with echoes that  
pan left and right  
STAGE2, HALL1,  
HALL2, DELAY,  
PAN-DELAY  
Time length of reverberation  
(Type: ROOM1–HALL2)  
Delay time  
Time  
0–127  
(Type: DELAY, PAN-DELAY)  
Adjusts the frequency above which the high-fre-  
quency content of the reverb sound will be cut, or  
“damped.” If you do not want to cut the high fre-  
quencies, set this parameter to BYPASS.  
200–8000 Hz,  
BYPASS  
HF Damp  
Adjusts the amount of delay feedback when  
the Type setting is DELAY or PAN-DELAY.  
Amount of delay sound returned to the input  
(this setting is valid only if Type is DELAY or  
PAN-DELAY)  
Delay  
Feedback  
0–127  
02: SRV ROOM  
03: SRV HALL  
04: SRV PLATE  
Pre  
Adjusts the delay time from the direct sound until  
the reverb sound is heard.  
Time length of reverberation  
0.0–100.0 ms  
Delay  
Time  
Size  
0–127  
1–8  
Size of the simulated room or hall  
Adjusts the frequency above which the high-  
frequency content of the reverb will be re-  
duced. If you do not want to reduce the high  
frequencies, set this parameter to BYPASS.  
160 Hz–12.5  
kHz, BYPASS  
High Cut  
Density  
0–127  
0–127  
Density of reverb  
Adjusts the change in the density of the reverb over  
time. The higher the value, the more the density in-  
creases with time. (The effect of this setting is most  
pronounced with long reverb times.)  
Diffusion  
Adjusts the frequency below which the low-fre-  
quency content of the reverb sound will be re-  
duced, or “damped.”  
Adjusts the amount of damping applied to the  
frequency range selected with LF Damp. With  
a setting of “0,” there will be no reduction of  
the reverb’s low-frequency content.  
LF Damp  
Freq  
50–4000 Hz  
-36–0 dB  
LF Damp  
Gain  
Adjusts the frequency above which the high-  
frequency content of the reverb sound will be  
reduced, or “damped.”  
HF Damp  
Freq  
4000 Hz–12.5  
kHz  
Adjusts the amount of damping applied to the  
frequency range selected with HF Damp. With  
a setting of “0,” there will be no reduction of  
the reverb’s high-frequency content.  
HF Damp  
Gain  
-36–0 dB  
83  
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Tone List  
* Nos. 897–1152 (Tones) and Nos. 1185–1193 (Rhythms) are GM2 sounds.  
No.  
Name  
Funky D  
Category  
KEYBOARDS  
MSB LSB  
PC  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
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  
128  
1
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
15  
16  
17  
No.  
1
2
3
4
5
6
7
8
Name  
Rich Grand  
88ConcertPno  
UltimatGrand  
X Pure Grand  
So true...  
ConcertPiano  
Warm Piano  
ConcertGrand  
Hall Concert  
Bright Tune  
Mellow Tune  
Studio Grand  
DryStudio88  
First Choice  
Rokkin' pF  
Dark Grand  
SC Grand+Pad  
Warm Pad Pno  
SC Grand+Vox  
Cicada Piano  
X Piano +Str  
Warm Str Pno  
Grand Hall  
Rapsody  
JD-800 Piano  
SA Dance Pno  
SC E-Grand  
Back E-Grand  
SC Grand+FM  
SC Blend Pno  
Piano Oz  
Category  
AC.PIANO  
MSB LSB  
PC  
1
2
3
4
5
6
7
8
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
99  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
Phase Clavi  
BPF Clavi Ph  
Pulse Clavi  
PWM Clav  
Funky Line  
Biting Clav  
Analog Clavi  
Reso Clavi  
Snappy Clav  
Over-D6  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
BELL  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
9
9
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
Harpsy Clavi  
SC Harpsi  
Amadeus  
SC Celesta  
Himalaya Ice  
FM Syn Bell  
D-50 Fantsia  
Wine Glass  
MuBox Pad  
SC Bell 1  
FM Heaven  
SC Glocken  
Music Bells  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
BELL  
100 SC Musicbox  
101 Music Box 2  
102 Kalimbells  
103 Step Ice  
104 SC Bell 2  
105 Candy Bell  
106 SC Chime  
107 Bell Ring  
108 Tubular Bell  
109 5th Key  
110 Bell Monitor  
111 TubyRuesday  
112 Vibrations  
FX Piano  
BELL  
BELL  
BELL  
BELL  
AmbientPiano  
SC Pure EP  
SC Trem EP  
SC Phase EP  
PhaseEPLayer  
SC E.Piano  
StageEP Trem  
Back2the60s  
Stage EP  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
113 SC Vibe  
114 Ringy Vibes  
115 Airie Vibez  
116 SC Marimba  
117 FM Wood  
118 SC Xylo  
119 Ethno Keys  
120 Synergy MLT  
121 Icy Keys  
122 Steel Drums  
123 50`SteelDrms  
124 Xylosizer  
125 Toy Box  
126 AirPluck  
127 HardRockORG1  
128 HardRockORG2  
129 SuperDistORG  
130 SuperDistLd2  
131 FullDraw Org  
132 StakDraw Org  
133 FullStop Org  
134 SC Perc Org  
135 VKHold4Speed  
136 X Perc Organ  
137 Rocky Organ  
138 Euro Organ  
139 Rhythm'n'B  
140 Phono Organ  
141 LoFi PercOrg  
142 Rochno Org  
143 R&B Organ 1  
144 R&B Organ 2  
145 SC Dist Bee  
146 60's Org 1  
147 60's Org 2  
148 Smoky Organ  
149 SC SoapOpera  
150 Crummy Organ  
Stage Phazer  
StageCabinet  
Tine EP  
LEO EP  
LonesomeRoad  
Age'n'Tines  
Brill TremEP  
Crystal EP  
Vintage Tine  
Celestial EP  
Psycho EP  
Mk2 Stg phsr  
Dreaming EP  
Balladeer  
Remember  
Vibe EP  
sin(EP)  
SC Pure Wuly  
SC Trem Wuly  
Super Wurly  
Wurly Trem  
VelSpdWurly  
Fonky Fonky  
FM EP mix  
FM-777  
FM EPad  
EP Stack  
EP Belle  
80s EP  
SA EPiano  
BrillClav DB  
Cell Clav  
VntgClav  
18  
19  
20  
21  
22  
Cutter Clavi  
84  
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No.  
Name  
Category  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
MSB LSB  
PC  
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
99  
No.  
Name  
Category  
SYNTH BASS  
MSB LSB  
PC  
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  
128  
1
2
3
4
5
6
7
8
9
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  
151 Chapel Organ  
152 Grand Pipe  
153 Pipe Org/Mod  
154 Masked Opera  
155 Mid Pipe Org  
156 Vodkakordion  
157 Squeeze Me!  
158 Guinguette  
159 HarWonderca  
160 BluesHrp V/S  
161 Green Bullet  
162 SC Brt Nylon  
163 SoftNyln Gtr  
164 SC Nylon Gt  
165 Wet Nyln Gtr  
166 Pre Mass Hum  
167 Thick Steel  
168 Uncle Martin  
169 Wide Ac Gtr  
170 Comp Stl Gtr  
171 Stl Gtr Duo  
172 SC 12str Gtr  
173 So good !  
174 StratSeq'nce  
175 Jazz Guitar  
176 DynoJazz Gtr  
177 Clean Gtr  
178 Crimson Gtr  
179 Plug n' Gig  
180 Kinda Kurt  
181 Nice Oct Gtr  
182 Strat Gtr  
183 Touch Drive  
184 SC Chunk  
185 Trem-o-Vibe  
186 LP Dist  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
228 SC Rubber Bs  
229 SH-101 Bs 1  
230 SC Syn Bass1  
231 Juno-106 Bs  
232 Smooth Bass  
233 SC Flat Bs  
234 Foundation  
235 Punch MG 2  
236 Electro Rubb  
237 R&B Bass 1  
238 Enorjizor  
239 LowFat Bass  
240 Doze Bass  
241 DCO Bass  
242 Virtual RnBs  
243 Saw&MG Bass  
244 MG+SubOsc Bs  
245 R&B Bass 2  
246 R&B Bass 3  
247 Not a Bass  
248 ResoSyn Bs 1  
249 SH-1 Bass  
250 SH-101 Bs 2  
251 Punch MG 1  
252 MKS-50 SynBs  
253 Gashed Bass  
254 Q Bass  
255 Super-G DX  
256 Kickin' Bass  
257 OilDrum Bass  
258 Dust Bass  
259 Glide-iator  
260 SC AcidPunch  
261 TBasic  
262 SC Unison Bs  
263 Detune Bass  
264 Lo Bass  
265 SC GarageBs1  
266 SC GarageBs2  
267 Sub Sonic  
268 SC Jungle Bs  
269 R&B Bass 4  
270 Simply Basic  
271 Beepin Bass  
272 MC-TB Bass  
273 Acdg Bass  
274 Loco Voco  
275 Unplug it!  
276 S&H Bass  
277 Destroyed Bs  
278 SC Acid Bs  
279 Lo-Fi TB  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
65  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
STRINGS  
ACCRDION  
ACCRDION  
ACCRDION  
HARMONICA  
HARMONICA  
HARMONICA  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
BASS  
187 Hurtling Gtr  
188 Searing COSM  
189 SC Loud Gtr  
190 SC Plugged!!  
191 Punker 1  
192 SC PowerChd  
193 Punker 2  
194 Larsen /Aft  
195 Rockin' Dly  
196 Sonic Ac Bs  
197 Ulti Ac Bass  
198 Downright Bs  
199 Cmp'd Fng Bs  
200 Sonic Fng Bs  
201 Ultimo Bass  
202 Roomy Bass  
203 FingerMaster  
204 All Round Bs  
205 R&B Bs/Slide  
206 Sonic Pck Bs  
207 Thumb Up!  
208 Tubby Mute  
209 Chicken Bass  
210 Snug Bass  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
280 Drop Bass  
281 Big Mini  
282 Muffled MG  
283 Intrusive Bs  
284 Alpha SynBs  
285 TransistorBs  
286 Juno-60 Bass  
287 Storm Bass  
288 Alpha ResoBs  
289 SH-101 Vibe  
290 Fazee Bass  
291 Hi-Energy Bs  
292 SC Violin  
293 Violin  
294 Viola  
295 SC Cello  
296 Cello  
297 Contrabass  
298 Dolce Qrt  
299 Chamber Str  
300 Small Str  
301 Marcato  
302 Bright Str  
211 Return2Base!  
212 Chorus Bass  
213 A Big Pick  
214 Basement  
215 SC Fretnot 1  
216 SC Fretnot 2  
217 RichFretless  
218 NewAge Frtls  
219 SlapBass1  
220 Slap2 w/Fx  
221 Got Pop?  
222 JBass v/Thmb  
223 SC Slap Bass  
224 X Slap Bass  
225 Low Bass  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
226 Mini Like!  
227 MC-404 Bass  
303 String Ens  
304 SonicStrings  
85  
Download from Www.Somanuals.com. All Manuals Search And Download.  
No.  
Name  
Category  
STRINGS  
MSB LSB  
PC  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
No.  
Name  
Category  
AC.BRASS  
MSB LSB  
PC  
126  
127  
128  
1
2
3
4
5
6
7
8
9
305 Stringz 101  
306 Crossed Bows  
307 Warm Strings  
308 Stacc mp Str  
309 Movie Scene  
310 Hybrid Str 1  
311 Gang Strangs  
312 Clustered!?!  
313 Full Strings  
314 X StrSection  
315 Oct Strings  
316 Sahara Str  
317 Random Mood  
318 X Hall Str  
319 SC Slow Str  
320 Hybrid Str 2  
321 Biggie Bows  
322 Staccato VS  
323 So Staccato  
324 DelicatePizz  
325 Vls PizzHall  
326 Orch Pizz  
327 Pizz'Stac VS  
328 Mellow Tron  
329 Tronic Str  
330 Tape Memory  
331 Wind & Str 1  
332 Wind & Str 2  
333 Farewell  
334 Orch & Horns  
335 Soft Orch 1  
336 Soft Orch 2  
337 Henry IX  
338 Ending Scene  
339 Symphonika  
340 Mix Hit 2  
341 Cheezy Movie  
342 Philly Hit  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
66  
382 Tpts & Tmbs  
383 Brass & Sax  
384 BrassPartOut  
385 Simple Tutti  
386 F.Horns Sect  
387 Full sForza  
388 Stereo Brass  
389 Wide SynBrss  
390 DetuneSawBrs  
391 J-Pop Brass  
392 80s Brass 1  
393 80s Brass 2  
394 Ana Brass  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
66  
66  
66  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
ORCHESTRA  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
WIND  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SAX  
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
395 Soft Brass  
396 JP8000 Brass  
397 Sonic Brass  
398 Syn Brass  
399 Syn Brass 2  
400 Xpand Brass  
401 Xpand Brass2  
402 Super Saw  
403 SoftSynBrass  
404 Silky JP  
405 Silk Brs Pad  
406 80s Brass 3  
407 X-Saw Brass1  
408 Cheesy Brass  
409 Dual Saw Brs  
410 Juno-106 Brs  
411 Poly Brass  
412 Stacked Brs  
413 Soprano Sax  
414 Solo Sop Sax  
415 Alto mp  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
SAX  
416 Alto Sax  
417 Solo AltoSax  
418 AltoLead Sax  
419 XP TnrBrethy  
420 Tenor Sax  
343 Smear Hit 1  
344 Smear Hit 2  
345 Good Old Hit  
346 Mix Hit 1  
421 Fat TenorSax  
422 Baritone Sax  
423 Sax Sect. 1  
424 Sax Sect. 2  
425 Horny Sax  
426 FXM Alto Sax  
427 Porta SoloLd  
428 Porta Lead  
429 Wind Syn Ld  
430 SC Saw Ld 1  
431 SC Saw Ld 2  
432 Juno Lead  
433 Follow Me  
434 DC Triangle  
435 Sqr-Seqence  
436 Pure Square  
437 Griggley  
438 SC LegatoSaw  
439 Lone Prophat  
440 Dual Profs  
441 Gwyo Press  
442 Q DualSaws  
443 Mogulator Ld  
444 DirtyVoltage  
445 Clean?  
347 Lo-Fi Hit  
348 2ble Action  
349 In da Cave  
350 Housechord  
351 Mod Chord  
352 Dance Steam  
353 Good Old Day  
354 SC WindWood  
355 Clarence.net  
356 SC Oboe  
357 Hall Oboe  
358 English Horn  
359 Bassoon  
360 SC Flute  
361 Piccolo  
362 Andes Mood  
363 HimalayaPipe  
364 Solo Tp  
365 Horn Chops  
366 Flugel Horn  
367 Spit Flugel  
368 Mute Tp /Mod  
369 Harmon Mute  
370 Soft Tb  
371 Solo Tb  
372 Solo Bone  
373 XP Horn  
374 Grande Tuba  
375 SC Tuba  
SAX  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
97  
98  
99  
WIND  
WIND  
WIND  
WIND  
WIND  
WIND  
FLUTE  
FLUTE  
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  
FLUTE  
FLUTE  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
446 Distortion  
447 SC Syn Ld  
448 SynLead 0322  
449 X-Sink Delay  
450 Destroyed Ld  
451 Synchro Lead  
452 Sync Ld Mono  
453 SyncModulate  
454 Distorted MG  
455 SonicVampire  
456 Blue Meanie  
457 SC Dist Lead  
458 Ringmod Lead  
376 StackTp Sect  
377 Tb Section  
378 TpTb Sect.  
379 SC Brt Brass  
380 SC BrsSect 1  
381 SC BrsSect 2  
86  
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No.  
Name  
Category  
HARD LEAD  
MSB LSB  
PC  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
No.  
Name  
Category  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
MSB LSB  
PC  
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
98  
99  
100  
459 Stimulation  
460 BodyElectric  
461 Classic Lead  
462 Feat Lead  
463 Wire Sync  
464 Epic Lead  
465 Bag Lead  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
67  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
536 MelodicDrums  
537 TB Wah  
538 Waving TB303  
539 Digi Seq  
540 Seq Saw  
541 Reso Seq Saw  
542 DetuneSeqSaw  
543 Technotribe  
544 Teethy Grit  
545 Repertition  
546 Killerbeez  
547 Acid Lead  
548 Tranceformer  
549 Anadroid  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
466 Wezcoast  
467 HyperJupiter  
468 Vintagolizer  
469 C64 Lead  
470 303 NRG  
471 Cell SquLead  
472 SC Sqr Lead  
473 SH Sqr Lead  
474 Round SQR  
475 Windy Synth  
476 Sqr Diamond  
477 Sinetific  
478 PeakArpSine  
479 Howards Lead  
480 SoloNzPeaker  
481 Juno SftLd  
482 R&B TriLead  
483 R&B Tri Ld2  
484 Jupiter Lead  
485 Dig-n-Duke  
486 SC SoftLead  
487 Mid Saw Ld  
488 X-Pulse Lead  
489 Mild 2-SawLd  
490 Mew Lead  
491 Shy Soloist  
492 Theramax  
493 Therasqu  
550 Shroomy  
551 Noize R us  
552 Beep Melodie  
553 Morpher  
554 Uni-G  
555 Power Synth  
556 Hoover Again  
557 Alpha Said..  
558 Ravers Awake  
559 Tekno Gargle  
560 Tranceiver  
561 Techno Dream  
562 Techno Pizz  
563 VirtualHuman  
564 Strobot  
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  
128  
1
2
3
4
5
6
7
8
9
10  
11  
12  
13  
14  
15  
16  
17  
565 SC Strobe  
566 Strobe X  
567 Rhythmic 5th  
568 Cell Pad  
569 DarknessSide  
570 Shape of X  
571 Sonic Dance  
572 ShapeURMusic  
573 Synth Force  
574 Trance Split  
575 Step Trance  
576 Chop Synth  
577 Euro Teuro  
578 Auto Trance  
579 Eureggae  
494 GR Lead  
495 SH-2 Lead  
496 SC ResoLead  
497 Modulated Ld  
498 Synthi Fizz  
499 Waspy Lead  
500 Pulstar Ld  
501 Naked Lead  
502 Alpha Spit  
503 Vliolin Lead  
504 Mod Lead  
505 JP Saw Lead  
506 Tristar  
507 Chubby Lead  
508 Sneaky Leady  
509 Shaku Lead  
510 Legato Tkno  
511 SCResoSaw Ld  
512 SliCed Lead  
513 Mini Growl  
514 Evangelized  
515 Air Lead  
516 Juno-D Maj7  
517 Sweet House  
518 Periscope  
519 5th Voice  
520 HPF Sweep  
521 BPF Saw  
522 Moon Synth  
523 DelyResoSaws  
524 R-Trance  
525 Braatz...  
526 AllinOneRiff  
527 YZ Again  
580 Sorry4theDLY  
581 Beat Pad  
582 TMT Seq Pad  
583 ForYourBreak  
584 HPF Slicer  
585 Sliced Choir  
586 Digi-Doo  
587 PanningFrmnt  
588 Dirty Beat  
589 Electrons  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
SOFT LEAD  
590 Protons  
591 Brisk Vortex  
592 SC Throbulax  
593 SC Lonizer  
594 diGital Pad  
595 StepPitShift  
596 Pad Pulses  
597 Seq-Pad 2  
598 DSP Chaos  
599 Dancefloor  
600 Minor Thirds  
601 FX World  
602 Mr. Fourier  
603 Nu Trance X  
604 Auto 5thSaws  
605 Cross Talk  
606 Reanimation  
607 VoX Chopper  
608 Trevor's Pad  
609 Fantomas Pad  
610 Jazzy Arps  
611 Keep Running  
612 Step In  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
TECHNO SYNTH  
528 Flazzy Lead  
529 Coffee Bee  
530 SC-303  
531 Dance Saws  
532 AluminmWires  
533 Fred&Barney  
534 Electrostars  
535 LoFiSequence  
18  
19  
20  
21  
22  
23  
PULSATING  
87  
Download from Www.Somanuals.com. All Manuals Search And Download.  
No.  
Name  
Category  
PULSATING  
MSB LSB  
PC  
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  
128  
1
2
3
4
5
6
7
8
9
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  
No.  
Name  
Category  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
MSB LSB  
PC  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
613 Echo Echo  
614 Keep going  
615 Arposphere  
616 Voco Riff  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
68  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
690 Steamed Sawz  
691 RAVtune  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
69  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
PULSATING  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
692 Bustranza  
693 AftTch Ji-n  
694 JP OctAttack  
695 Oct Unison  
696 Xtatic  
697 Dirty Combo  
698 FM's Attack  
699 Digi-vox Syn  
700 Fairy Factor  
701 Tempest  
617 Pulsator  
618 Motion Bass  
619 Sine Magic  
620 Juno-D Slice  
621 Pulsatron  
622 Mega Sync  
623 Passing by  
624 Lazer Points  
625 Retro Sci-Fi  
626 Magic Chime  
627 SC Try This!  
628 New Planetz  
629 Jet Noise  
702 X-Racer  
703 TB Booster  
704 Syn-Orch/Mod  
705 Pressyn  
706 High Five  
707 4DaCommonMan OTHER SYNTH  
630 Chaos 2003  
631 Control Room  
632 OutOf sortz  
633 Scatter  
708 Orgaenia  
709 Sleeper  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
710 Sugar Synth  
711 Ice Palace  
712 Story Harp  
713 LostParadise  
714 Magnetic 5th  
715 DigimaX  
634 Low Beat-S  
635 WaitnOutside  
636 Breath Echo  
637 SoundStrange  
638 Cosmic Pulse  
639 Faked Piano  
640 SC Crystal  
641 ResoSweep Dn  
642 Zap B3 & C4  
643 PolySweep Nz  
644 Strange Land  
645 S&H Voc  
646 12th Planet  
647 Scare  
648 Hillside  
649 Mod Scanner  
650 SoundOnSound  
651 Gasp  
652 ResoSweep Up  
653 Magic Wave  
654 Shangri-La  
655 CerealKiller  
656 Cosmic Drops  
657 Space Echo  
658 Robot Sci-Fi  
659 Stacc Heaven  
660 Juno Poly  
716 Exhale  
717 X-panda  
718 Saw Keystep  
719 4mant Cycle  
720 Modular  
721 Angel Pipes  
722 Wired Synth  
723 Analog Dream  
724 DCO Bell Pad  
725 Cell Fanta  
726 Juno 5th  
727 DoubleBubble  
728 Cell Comb  
729 Super SynStr  
730 80s Str  
731 PhaseStrings  
732 Voyager  
733 Cosmic Rays  
734 Stringship  
735 Fat Stacks  
736 Strings R Us  
737 Electric Pad  
738 Neo RS-202  
739 OB Rezo Pad  
740 Synthi Ens  
741 Giant Sweep  
742 Mod Dare  
743 Cell Space  
744 Digi-Swell  
745 Sonic Surfer  
746 New Year Day  
747 Polar Morn  
748 Distant Sun  
749 PG Chimes  
750 Saturn Rings  
751 Brusky  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
SYNTH FX  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
OTHER SYNTH  
661 DigitalDream  
662 Jucy Saw  
663 Cue Tip  
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  
664 Waspy Synth  
665 TB-Sequence  
666 Europe Xpres  
667 Squeepy  
668 DOC Stack  
669 Sweep Lead  
670 80s Saws 1  
671 80s Saws 2  
672 80s Saws 3  
673 Digitaless  
674 Flip Pad  
675 Short Detune  
676 forSequence  
677 Memory Pluck  
678 Metalic Bass  
679 Aqua  
680 Big Planet  
681 Wet Atax  
682 Houze Clavi  
683 SuperSawSlow  
684 Cell Trance  
685 Trancy X  
752 2 Point 2  
753 2.2 Pad  
754 two.two Pad  
755 SaturnHolida  
756 Neuro-Drone  
757 In The Pass  
758 Polar Night  
759 Cell 5th  
760 MistOver5ths  
761 Gritty Pad  
762 India Garden  
763 BillionStars  
764 Sand Pad  
765 ReverseSweep  
766 HugeSoundMod  
686 Trancy Synth  
687 Juno Trnce  
688 Saw Stack  
689 Frgile Saws  
88  
Download from Www.Somanuals.com. All Manuals Search And Download.  
No.  
Name  
Category  
BRIGHT PAD  
MSB LSB  
PC  
127  
128  
1
2
3
4
5
6
7
No.  
844 Paradise  
Name  
Category  
MSB LSB  
PC  
76  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
96  
97  
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  
128  
1
767 Metal Swell  
768 NuSoundtrack  
769 Phat Strings  
770 Soft OB Pad  
771 SC Hollow  
772 SC Sqr Pad  
773 Silk Pad  
774 WarmReso Pad  
775 SC Soft Pad  
776 Air Pad  
777 Soft Breeze  
778 JP Strings 1  
779 JP Strings 2  
780 DelayStrings  
781 NorthStrings  
782 SC Syn Str  
783 Slow Saw Str  
784 Syn Strings  
785 OB Slow Str  
786 Strings Pad  
787 R&B SoftPad  
788 Reso Pad  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
69  
69  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
87  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
70  
0
BRIGHT PAD  
BRIGHT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
SOFT PAD  
VOX  
845 Sad ceremony  
846 Lost Voices  
847 Jazz Doos  
848 Beat Vox  
849 Talk 2 Me  
850 FM Vox  
851 Let's Talk!  
852 Nice Kalimba  
853 Quiet River  
854 Teky Drop  
855 Pat is away  
856 SC Sitar 1  
857 SC Sitar 2  
858 Sitar on C  
859 Sitar Baby  
860 Elec Sitar  
861 Neo Sitar  
862 SaraswatiRvr  
863 Bosporus  
864 Santur Stack  
865 Aerial Harp  
866 Harpiness  
867 Skydiver  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
PLUCKED  
ETHNIC  
ETHNIC  
ETHNIC  
8
9
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  
64  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
789 Phat Pad  
790 SC PhaserPad  
791 Mystic Str  
792 Glass Organ  
793 Wind Pad  
794 Combination  
795 HumanKindnes  
796 BeautyPad  
797 Atmospherics  
798 Terra Nostra  
799 OB Aaahs  
800 Vulcano Pad  
801 Cloud #9  
868 TroubadorEns  
869 Jamisen  
870 Koto  
871 Monsoon  
872 Bend Koto  
873 LongDistance  
874 Ambi Shaku  
875 SC Lochscape  
876 SC PipeDream  
877 SC Far East  
878 Banjo  
879 Timpani+Low  
880 Timpani Roll  
881 Bass Drum  
882 Ambidextrous  
883 En-co-re  
884 Mobile Phone  
885 ElectroDisco  
886 Groove 007  
887 In Da Groove  
888 Sweet 80s  
889 Autotrance  
890 Juno Pop  
891 Compusonic 1  
892 Compusonic 2  
893 80s Combo  
894 Analog Days  
895 Techno Craft  
896 Lounge Kit  
897 Piano 1  
898 Piano 1w  
899 European Pf  
900 Piano 2  
901 Piano 2w  
902 Piano 3  
903 Piano 3w  
904 Honky-tonk  
905 Honky-tonk 2  
906 E.Piano 1  
907 St.Soft EP  
908 FM+SA EP  
909 Wurly  
910 E.Piano 2  
911 Detuned EP 2  
912 St.FM EP  
ETHNIC  
ETHNIC  
FRETTED  
802 Organic Pad  
803 Hum Pad  
804 Vox Pad  
PERCUSSION  
PERCUSSION  
PERCUSSION  
SOUND FX  
SOUND FX  
SOUND FX  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
BEAT&GROOVE  
COMBINATION  
COMBINATION  
COMBINATION  
COMBINATION  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
AC.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
EL.PIANO  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
KEYBOARDS  
805 Digital Aahs  
806 Tri 5th Pad  
807 SC MovinPad  
808 Seq-Pad 1  
809 Follow  
810 Consolament  
811 Spacious Pad  
812 JD Pop Pad  
813 JP-8 Phase  
814 Nu Epic Pad  
815 Forever  
816 Flange Dream  
817 Evolution X  
818 Heaven Pad  
819 Angelis Pad  
820 Juno-106 Str  
821 JupiterMoves  
822 Oceanic Pad  
823 Fairy's Song  
824 Borealis  
825 JX Warm Pad  
826 Analog Bgrnd  
827 Choir Aahs 1  
828 Choir Aahs 2  
829 ChoirOoh/Aft  
830 Angels Choir  
831 Angelique  
832 Gospel Oohs  
833 Choir&Str  
834 Aah Vox  
87  
87  
87  
87  
87  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
1
2
0
1
0
1
0
4
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
2
3
4
5
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
VOX  
6
835 Synvox  
836 Uhmmm  
913 EP Legend  
914 EP Phase  
915 Harpsichord  
916 Coupled Hps.  
917 Harpsi.w  
918 Harpsi.o  
837 Morning Star  
838 Syn Opera  
839 BeautifulOne  
840 Ooze  
841 Aerial Choir  
842 3D Vox  
7
8
919 Clav.  
920 Pulse Clav  
843 Film Cue  
89  
Download from Www.Somanuals.com. All Manuals Search And Download.  
No.  
921 Celesta  
Name  
Category  
KEYBOARDS  
MSB LSB  
PC  
9
No.  
Name  
Category  
PLUCKED  
MSB LSB  
PC  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
0
0
0
0
1
0
1
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
0
1
2
3
0
1
2
3
0
1
0
1
2
0
1
2
3
0
1
0
1
2
0
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
0
1
0
0
0
0
0
0
998 Yang Qin  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
1
0
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
0
1
0
1
2
0
0
1
0
1
0
1
0
1
2
3
0
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
0
0
1
0
0
1
0
922 Glockenspiel  
923 Music Box  
924 Vibraphone  
925 Vibraphone w  
926 Marimba  
927 Marimba w  
928 Xylophone  
929 Tubular-bell  
930 Church Bell  
931 Carillon  
BELL  
BELL  
MALLET  
MALLET  
MALLET  
MALLET  
MALLET  
BELL  
BELL  
BELL  
PLUCKED  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ORGAN  
ACCRDION  
ACCRDION  
HARMONICA  
ACCRDION  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
EL.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
DIST.GUITAR  
EL.GUITAR  
EL.GUITAR  
BASS  
10  
11  
12  
999 Timpani  
1000 Strings  
PERCUSSION  
STRINGS  
ORCHESTRA  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
SOFT PAD  
VOX  
VOX  
VOX  
VOX  
VOX  
48  
49  
1001 Orchestra  
1002 60s Strings  
1003 Slow Strings  
1004 Syn.Strings1  
1005 Syn.Strings3  
1006 Syn.Strings2  
1007 Choir Aahs  
1008 Chorus Aahs  
1009 Voice Oohs  
1010 Humming  
1011 SynVox  
1012 Analog Voice  
1013 OrchestraHit  
1014 Bass Hit  
1015 6th Hit  
1016 Euro Hit  
13  
50  
51  
14  
15  
52  
53  
932 Santur  
933 Organ 1  
16  
17  
54  
55  
56  
934 Trem. Organ  
935 60's Organ 1  
936 70's E.Organ  
937 Organ 2  
938 Chorus Or.2  
939 Perc. Organ  
940 Organ 3  
941 Church Org.1  
942 Church Org.2  
943 Church Org.3  
944 Reed Organ  
945 Puff Organ  
946 Accordion Fr  
947 Accordion It  
948 Harmonica  
949 Bandoneon  
950 Nylon-str.Gt  
951 Ukulele  
952 Nylon Gt.o  
953 Nylon Gt.2  
954 Steel-str.Gt  
955 12-str.Gt  
956 Mandolin  
957 Steel + Body  
958 Jazz Gt.  
959 Pedal Steel  
960 Clean Gt.  
961 Chorus Gt.  
962 Mid Tone GTR  
963 Muted Gt.  
964 Funk Pop  
965 Funk Gt.2  
966 Jazz Man  
967 Overdrive Gt  
968 Guitar Pinch  
969 DistortionGt  
970 Feedback Gt.  
971 Dist Rtm GTR  
972 Gt.Harmonics  
973 Gt. Feedback  
974 Acoustic Bs.  
975 Fingered Bs.  
976 Finger Slap  
977 Picked Bass  
978 Fretless Bs.  
979 Slap Bass 1  
980 Slap Bass 2  
981 Synth Bass 1  
982 SynthBass101  
983 Acid Bass  
984 Clavi Bass  
985 Hammer  
VOX  
HIT&STAB  
HIT&STAB  
HIT&STAB  
HIT&STAB  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
AC.BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SYNTH BRASS  
SAX  
SAX  
SAX  
SAX  
WIND  
WIND  
WIND  
WIND  
FLUTE  
FLUTE  
FLUTE  
FLUTE  
FLUTE  
ETHNIC  
FLUTE  
FLUTE  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
SOFT LEAD  
SOFT LEAD  
HARD LEAD  
HARD LEAD  
SOFT LEAD  
HARD LEAD  
HARD LEAD  
HARD LEAD  
OTHER SYNTH  
SOFT PAD  
SOFT PAD  
OTHER SYNTH  
VOX  
18  
19  
20  
1017 Trumpet  
57  
58  
1018 Dark Trumpet  
1019 Trombone  
1020 Trombone 2  
1021 Bright Tb  
1022 Tuba  
1023 MutedTrumpet  
1024 MuteTrumpet2  
1025 French Horns  
1026 Fr.Horn 2  
1027 Brass 1  
21  
22  
59  
60  
23  
24  
25  
61  
62  
63  
1028 Brass 2  
1029 Synth Brass1  
1030 JP Brass  
26  
1031 Oct SynBrass  
1032 Jump Brass  
1033 Synth Brass2  
1034 SynBrass sfz  
1035 Velo Brass 1  
1036 Soprano Sax  
1037 Alto Sax  
1038 Tenor Sax  
1039 Baritone Sax  
1040 Oboe  
1041 English Horn  
1042 Bassoon  
1043 Clarinet  
1044 Piccolo  
1045 Flute  
64  
27  
28  
65  
66  
67  
68  
69  
70  
71  
72  
73  
74  
75  
76  
77  
78  
79  
80  
81  
29  
30  
31  
1046 Recorder  
1047 Pan Flute  
1048 Bottle Blow  
1049 Shakuhachi  
1050 Whistle  
32  
33  
34  
1051 Ocarina  
BASS  
BASS  
BASS  
BASS  
BASS  
BASS  
1052 Square Wave  
1053 MG Square  
1054 2600 Sine  
1055 Saw Wave  
1056 OB2 Saw  
1057 Doctor Solo  
1058 Natural Lead  
1059 SequencedSaw  
1060 Syn.Calliope  
1061 Chiffer Lead  
1062 Charang  
1063 Wire Lead  
1064 Solo Vox  
1065 5th Saw Wave  
1066 Bass & Lead  
1067 Delayed Lead  
1068 Fantasia  
35  
36  
37  
38  
39  
82  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
SYNTH BASS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
STRINGS  
PLUCKED  
83  
84  
85  
986 Synth Bass 2  
987 Beef FM Bass  
988 RubberBass 2  
989 Attack Pulse  
990 Violin  
991 Slow Violin  
992 Viola  
993 Cello  
994 Contrabass  
995 Tremolo Str  
996 PizzicatoStr  
997 Harp  
40  
41  
86  
87  
88  
89  
90  
42  
43  
44  
45  
46  
47  
1069 Warm Pad  
1070 Sine Pad  
1071 Polysynth  
1072 Space Voice  
1073 Itopia  
91  
92  
VOX  
SOFT PAD  
1074 Bowed Glass  
93  
90  
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No.  
Name  
Category  
BRIGHT PAD  
MSB LSB  
PC  
94  
95  
96  
97  
98  
99  
No.  
Name  
Category  
SOUND FX  
MSB LSB  
PC  
1075 Metal Pad  
1076 Halo Pad  
1077 Sweep Pad  
1078 Ice Rain  
1079 Soundtrack  
1080 Crystal  
1081 Syn Mallet  
1082 Atmosphere  
1083 Brightness  
1084 Goblin  
1085 Echo Drops  
1086 Echo Bell  
1087 Echo Pan  
1088 Star Theme  
1089 Sitar  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
121  
0
0
0
0
0
0
1
0
0
0
0
1
2
0
0
1
0
0
0
1
0
0
0
0
0
0
0
0
1
0
1
0
1
0
1
1
0
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
1152 Explosion  
121  
3
BRIGHT PAD  
SOFT PAD  
OTHER SYNTH  
SOFT PAD  
BELL  
1153 GW Std Kit  
1154 WD Std Kit  
1155 LD Std Kit  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
86  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
64  
0
1
2
3
4
5
6
7
8
1156 TY Std Kit  
1157 StandardKit1  
1158 StandardKit2  
1159 StandardKit3  
1160 Rock Kit 1  
1161 Rock Kit 2  
1162 Brush Jz Kit  
1163 Orch Kit  
1164 909 808 Kit  
1165 Limiter Kit  
1166 HipHop Kit 1  
1167 R&B Kit  
1168 HiFi R&B Kit  
1169 Machine Kit1  
1170 Kit-Euro:POP  
1171 House Kit  
1172 Nu Technica  
1173 Machine Kit2  
1174 ArtificalKit  
1175 Noise Kit  
1176 Kick Menu  
1177 Snare Menu  
1178 Snr/Rim Menu  
1179 HiHat Menu  
1180 Tom Menu  
1181 Clp&Cym&Hit  
1182 FX/SFX Menu  
1183 Percussion  
1184 Scrh&Voi&Wld  
BELL  
AC.GUITAR  
OTHER SYNTH  
PULSATING  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
BRIGHT PAD  
PLUCKED  
PLUCKED  
FRETTED  
PLUCKED  
PLUCKED  
100  
101  
102  
103  
9
10  
11  
12  
13  
14  
15  
16  
17  
18  
19  
20  
21  
22  
23  
24  
25  
26  
27  
28  
29  
30  
31  
32  
1
104  
105  
1090 Sitar 2  
1091 Banjo  
106  
107  
108  
1092 Shamisen  
1093 Koto  
1094 Taisho Koto  
1095 Kalimba  
1096 Bagpipe  
1097 Fiddle  
1098 Shanai  
1099 Tinkle Bell  
1100 Agogo  
1101 Steel Drums  
1102 Woodblock  
1103 Castanets  
1104 Taiko  
1105 Concert BD  
1106 Melo. Tom 1  
1107 Melo. Tom 2  
1108 Synth Drum  
1109 808 Tom  
1110 Elec Perc  
1111 Reverse Cym.  
1112 Gt.FretNoise  
1113 Gt.Cut Noise  
1114 String Slap  
1115 Breath Noise  
1116 Fl.Key Click  
1117 Seashore  
1118 Rain  
1119 Thunder  
1120 Wind  
1121 Stream  
1122 Bubble  
1123 Bird  
1124 Dog  
1125 Horse-Gallop  
1126 Bird 2  
1127 Telephone 1  
1128 Telephone 2  
1129 DoorCreaking  
1130 Door  
PLUCKED  
PLUCKED  
ETHNIC  
STRINGS  
109  
110  
111  
112  
113  
114  
115  
116  
ETHNIC  
BELL  
PERCUSSION  
MALLET  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
PERCUSSION  
AC.GUITAR  
AC.GUITAR  
AC.GUITAR  
SYNTH FX  
SYNTH FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
SOUND FX  
117  
118  
119  
1185 GM2 STANDARD RHYTHM  
120  
120  
120  
120  
120  
120  
120  
120  
120  
1186 GM2 ROOM  
1187 GM2 POWER  
1188 GM2 ELECTRIC  
1189 GM2 ANALOG  
1190 GM2 JAZZ  
1191 GM2 BRUSH  
1192 GM2 ORCHSTRA RHYTHM  
1193 GM2 SFX RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
RHYTHM  
0
0
0
0
0
0
0
0
9
17  
25  
26  
33  
41  
49  
57  
120  
121  
122  
123  
124  
125  
1131 Scratch  
1132 Wind Chimes  
1133 Helicopter  
1134 Car-Engine  
1135 Car-Stop  
1136 Car-Pass  
1137 Car-Crash  
1138 Siren  
126  
1139 Train  
1140 Jetplane  
1141 Starship  
1142 Burst Noise  
1143 Applause  
1144 Laughing  
1145 Screaming  
1146 Punch  
1147 Heart Beat  
1148 Footsteps  
1149 Gun Shot  
1150 Machine Gun  
1151 Lasergun  
127  
128  
91  
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Rhythm Set List  
Preset Group  
GM Group  
Tone No Name  
GW Std Kit  
Tone No Name  
1153  
1154  
1155  
1156  
1157  
1158  
1159  
1160  
1161  
1162  
1163  
1164  
1165  
1166  
1167  
1168  
1169  
1170  
1171  
1172  
1173  
1174  
1175  
1176  
1177  
1178  
1179  
1180  
1181  
1182  
1183  
1184  
1185  
1186  
1187  
1188  
1189  
1190  
1191  
1192  
1193  
GM2 STANDARD  
WD Std Kit  
LD Std Kit  
TY Std Kit  
StandardKit1  
StandardKit2  
StandardKit3  
Rock Kit 1  
Rock Kit 2  
Brush Jz Kit  
Orch Kit  
909 808 Kit  
Limiter Kit  
HipHop Kit 1  
R&B Kit  
HiFi R&B Kit  
Machine Kit1  
Kit-Euro:POP  
House Kit  
Nu Technica  
Machine Kit2  
ArtificalKit  
GM2 ROOM  
GM2 POWER  
GM2 ELECTRIC  
GM2 ANALOG  
GM2 JAZZ  
GM2 BRUSH  
GM2 ORCHSTRA  
GM2 SFX  
Noise Kit  
Kick Menu  
Snare Menu  
Snr/Rim Menu  
HiHat Menu  
Tom Menu  
Clp&Cym&Hit  
FX/SFX Menu  
Percussion  
Scrh&Voi&Wld  
92  
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Preset Group  
Note No.  
28  
1153  
1154  
1155  
1156  
1157  
1158  
GW Std Kit  
WD Std Kit  
LD Std Kit  
TY Std Kit  
StandardKit1  
StandardKit2  
Dance Kick  
Dry Kick 1  
Snr Roll  
Power Kick  
Amb.Snr 2  
Power Kick  
Reg.PHH  
Reg.Kick  
SF Kick 1  
SF CStk  
SF Snr  
SF Snr Gst  
SF Rim  
RR F.Tom  
Reg.CHH 1  
SF L.Tom  
Reg.CHH 2  
SF M.Tom  
Dance Kick  
Dry Kick 1  
Snr Roll  
Power Kick  
Amb.Snr 2  
Reg.Kick 2  
Reg.PHH  
Reg.Kick 1  
WD Kick  
WD CStk  
WD Snr  
SF Snr Gst  
WD Rim  
RR F.Tom  
Reg.CHH 1  
TY L.Tom  
Dance Kick  
Dry Kick 1  
Snr Roll  
Power Kick  
Amb.Snr 2  
Reg.Kick 2  
Reg.PHH  
Reg.Kick 1  
LD Kick  
LD CStk  
LD Snr  
Reg.Snr Gst  
LD Rim  
RR F.Tom  
Reg.CHH 1  
LD L.Tom  
Reg.CHH 2  
LD M.Tom  
Reg.OHH  
Dance Kick  
Dry Kick 1  
Snr Roll  
Power Kick  
Amb.Snr2 p  
Power Kick  
Reg.PHH  
Reg.Kick  
TY Kick  
TY CStk  
TY Snr  
SF SnrGst  
TY Rim  
RR F.Tom  
Reg.CHH 1  
TY L.Tom  
Reg.CHH 2  
TY M.Tom  
Reg.OHH  
MaxLow Kick2  
Rk CmpKick  
Gospel Clap  
Sweep Bass  
Sft Snr Gst  
HipHop Kick2  
Reg.PHH  
Reg.Kick 1  
Reg.Kick 2  
Reg.Stick  
Reg.Snr 2  
Reg.Snr Gst  
Reg.Snr 1  
Reg.F.Tom  
Reg.CHH 1  
Reg.L.Tom  
Reg.CHH 2  
Reg.M.Tom 1  
Reg.OHH  
Dance Kick  
Dry Kick 1  
Snr Roll  
29  
30  
Power Kick  
Amb.Snr 2p  
Power Kick  
Reg.PHH  
Reg.Kick 1  
Reg.Kick 2  
Wild Stick  
Amb.Snr 1  
Reg.Snr Gst  
Amb.Snr 2  
Reg.F.Tom  
Reg.CHH 1  
Reg.L.Tom  
Reg.CHH 2  
Reg.M.Tom  
Reg.OHH  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
C2  
C3  
C4  
41  
42  
43  
44  
45  
46  
Reg.CHH 2  
TY M.Tom  
Reg.OHH  
Reg.OHH  
47  
SF MT Flm  
SF H.Tom  
TY M.Tom  
TY H.Tom  
Crash Cym1a  
TY H.Tom  
LD M.Tom  
LD H.Tom  
Crash Cym1a  
LD H.Tom  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine 3  
Rock Crash 1  
Cowbell3  
TY M.Tom  
TY H.Tom  
Crash Cym 2  
TY H.Tom  
Reg.M.Tom 2  
Reg.H.Tom 1  
Crash Cym1  
Reg.H.Tom 2  
Rock Ride  
China Cymbal  
Ride Edge  
Tamborine  
Crash Cym2a  
Cowbell Low  
Crash Cym2b  
Cowbell Hi  
Ride Bell  
Reg.M.TomFlm  
Reg.H.Tom  
Crash Cym1a  
Reg.H.TomFlm  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine  
Rock Crash 1  
Cowbell Hi  
Crash Cym1b  
Cowbell Low  
Rock Ride 2  
Conga Hi Mt  
Conga Lo Mt  
Conga Hi Slp  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Mild Agogo H  
Mild Agogo L  
Cabasa Up  
Maracas  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
DigiSpectrum  
Wind Chime  
Wood Block M  
Cajon 2  
48  
49  
50  
51  
52  
Crash Cym1a  
SF HT Flm  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine2  
Rock Crash 1  
Cowbell3  
Crash Cym1b  
Cowbell2 Lng  
Rock Ride 2  
Conga 2H Mt  
Conga 2L Mt  
Conga 2H Slp  
Conga 2H Op  
Conga 2L Op  
Timbare 4  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine 3  
Rock Crash 1  
Cowbell3  
Crash Cym1b  
Cowbell2 Lng  
Rock Ride 2  
Conga Hi Mt  
Conga Lo Mt  
Conga Hi Slp  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Mild Agogo H  
Mild Agogo L  
Cabasa Up  
Maracas  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
DigiSpectrum  
Wind Chime  
Wood Block M  
Cajon 2  
ConcertBD  
R&B Kick  
Dry Kick 2  
Old Kick  
Jazz Doos  
Agogo Noise  
Rock OHH  
JD Anklungs  
Rock OHH  
Cajon 3  
Cajon 1  
Mix Clap  
Gospel Clap  
Bright Clap  
Rock Rd Cup  
Cowbell  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine2  
Crash Cym1a  
Cowbell3  
Crash Cym1b  
Cowbell2 Lng  
Rock Ride 2  
Conga 2H Mt  
Conga 2L Mt  
Conga 2H Slp  
Conga 2H Op  
Conga 2L Op  
Timbare 4  
53  
54  
55  
56  
57  
58  
59  
Crash Cym1  
Cowbell  
Rock Ride 2  
Conga 2H Mt  
Conga 2L Mt  
Conga 2H Slp  
Conga 2H Op  
Conga Lo Op  
Timbale 1  
Conga Hi Mt  
Conga Lo Mt  
Conga Lo  
60  
61  
62  
63  
64  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Up  
Maracas  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
Castanet  
Bongo Hi Mt  
Bongo Hi Slp  
Bongo Lo Slp  
Bongo Hi Op  
Bongo Lo Op  
Cajon 1  
65  
66  
Timbare 3  
Timbale 2  
Timbare 3  
Agogo 2 Hi  
Agogo 2 Low  
Cabasa 2  
Agogo 2 Hi  
Agogo 2 Low  
Cabasa 2  
Shaker 2  
Whistle Shrt  
Whistle  
Guiro 2 Up  
Guiro Long  
Claves 2  
Wood Block2H  
Wood Block2L  
Cuica 2 Low  
Cuica 2 Hi  
Triangle Mt  
Triangle Op  
Cabasa2 Cut  
DigiSpectrum  
Wind Chime  
Wood Block2M  
Cajon 2  
ConcertBD  
R&B Kick  
Dry Kick 2  
Old Kick  
Jazz Doos  
Agogo Noise  
Rock OHH  
JD Anklungs  
Rock OHH  
Cajon 3  
Agogo 2 Hi  
Agogo 2 Low  
Cabasa 2  
67  
68  
69  
70  
71  
Shaker 2  
Shaker 1  
Whistle Shrt  
Whistle Long  
Guiro 2 Up  
Guiro 2 Down  
Claves 2  
Wood Block2H  
Wood Block2L  
Cuica 2 Low  
Cuica 2 Hi  
Triangle Mt  
Triangle Op  
Cabasa2 Cut  
DigiSpectrum  
Wind Chime  
Wood Block2M  
Cajon 2  
ConcertBD  
R&B Kick  
Dry Kick 2  
Old Kick  
Jazz Doos  
Agogo Noise  
Rock OHH  
JD Anklungs  
Rock OHH  
Cajon 3  
Whistle Shrt  
Whistle Long  
Guiro 2 Up  
Guiro 2 Down  
Claves 2  
Wood Block2H  
Wood Block2L  
Cuica 2 Low  
Cuica 2 Hi  
Triangle Mt  
Triangle Op  
Cabasa2 Cut  
DigiSpectrum  
Wind Chime  
Wood Block2M  
Cajon 2  
ConcertBD  
R&B Kick  
Dry Kick 2  
Old Kick  
Jazz Doos  
Agogo Noise  
Rock OHH  
JD Anklungs  
Rock OHH  
Cajon 3  
72  
73  
74  
75  
76  
C5  
C6  
C7  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
ConcertBD  
R&B Kick  
Dry Kick 2  
Old Kick  
Jazz Doos  
Agogo Noise  
Rock OHH  
JD Anklungs  
Rock OHH  
Mix Kick 1  
Cajon 1  
89  
90  
Cajon 2  
Cajon 3  
Vint Snr 2  
Shaker 3  
91  
92  
93  
94  
95  
WD Rim  
Mix Kick 1  
Mix Kick 2  
Mix Kick 3  
Mix Kick 4  
Mix Kick 5  
Mix Clap 1  
Wind Chime  
Tibet Cymbal  
Crotale  
96  
97  
98  
99  
Cajon 1  
Cajon 1  
Cajon 1  
TY Rim f  
Gospel Clap  
Bright Clap  
Rock Rd Cup  
Cowbell  
Mix Kick 4  
Gospel Clap  
Bright Clap  
Rock Rd Cup  
Cowbell  
Mix Kick 4  
Gospel Clap  
Bright Clap  
Rock Rd Cup  
Cowbell  
Mix Kick 2  
Gospel Clap  
Bright Clap  
Rock Rd Cup  
Cowbell  
100  
101  
102  
103  
Crash Cym 2  
Crash Cym 2  
Crash Cym 2  
Crash Cym 2  
Crash Cym 2  
93  
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Note No.  
28  
1159  
1160  
1161  
1162  
1163  
1164  
StandardKit3  
Rock Kit 1  
Rock Kit 2  
Brush Jz Kit  
Orch Kit  
909 808 Kit  
HipHop Kick2  
Syn Swt Atk1  
Lo-Bit Stk 1  
TR707 Kick  
TR808 Snr 5  
Vint Kick 1  
Reg.PHH  
Vint Kick 2  
Old Kick 1  
Lo-Bit Stk 4  
Reg.Snr 1  
R&B Kick  
MaxLow Kick2  
MaxLow Kick1  
LD Rim mf  
Power Kick  
Mix Clap 2  
Vint Kick  
Rock CHH2  
Rock Kick  
Rk CmpKick  
Wild Stick  
Maple Snr  
Sft Snr Gst  
Reg.Snr1  
Sharp L.Tom1  
Rock CHH 1  
Sharp L.Tom2  
Reg.PHH  
TR909 Kick1a  
TR909 Kick1b  
Jazz Snr  
Reg.Kick 1  
Soft Jz Roll  
Reg.Kick 2  
Reg.PHH  
Jazz Kick 1  
Jazz Kick 2  
Hard Stick  
Jazz Rim  
Jz Brsh Swsh  
Jazz Snr  
Reg.F.Tom 1  
Reg.CHH 1  
Reg.L.Tom 1  
Reg.CHH 2  
Reg.M.Tom 1  
Reg.OHH  
Reg.M.Tom 1  
Reg.H.Tom 1  
Jazz Crash  
Reg.H.Tom 1  
Jazz Ride 1  
China Cym 1  
Ride Edge  
Tamborine  
Crash Cym  
Cowbell Low  
Crash Cym  
Cowbell Hi  
Ride Bell  
Conga Hi Mt  
Conga Lo Mt  
Conga Lo Slp  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Up  
Maracas  
Jazz Kick 1  
Jazz Kick 2  
Hard Stick  
Jazz Rim  
Sft Snr Gst  
Jazz Snr  
Reg.F.Tom 2  
Reg.CHH 1  
Reg.L.Tom 2  
Reg.CHH 2  
Reg.M.Tom 2  
Reg.OHH  
Reg.M.TomFlm  
Reg.H.Tom 2  
Jazz Cymbal  
Reg.H.TomFlm  
Jazz Ride 2  
China Cym 2  
Cajon 1  
Timpani Roll  
ConcertBD 2  
R8 Shaker 1  
Jngl pkt Snr  
Reverse Cym  
Snr Roll  
TR909 Kick 2  
TR909 Kick 4  
Urbn Sn Roll  
TR909 Kick 5  
TR909 Snr 3  
TR909 Kick 3  
TR909 PHH 2  
TR909 Kick 6  
TR909 Kick 1  
TR909 Rim  
TR909 Snr 1  
TR909 Clap 1  
TR909 Snr 2  
TR909 Tom L  
TR909 CHH 1  
TR909 Tom L  
TR909 PHH 1  
TR909 Tom M  
TR909 OHH 2  
TR909 Tom M  
TR909 Tom H  
TR909 Crash  
TR909 Tom H  
TR909 Ride 1  
TR909 Crash1  
TR909 Ride 2  
CR78 Tamb 1  
TR909 Crash2  
JD Sm Metal  
TR909 Ride 3  
Syn Swt Atk3  
TR808 Kick 1  
TR808 Kick 2  
TR808 Rim  
TR808 Snr 2  
TR808 Clap 2  
TR808 Snr 4  
TR808 Tom L  
TR808 CHH 1  
TR808 Tom L  
TR808 CHH 2  
TR808 Tom M  
TR808 OHH 1  
TR808 Tom M  
TR808 Tom H  
TR808Cowbell  
TR808 Tom H  
TR606 Cym  
TR606 OHH 1  
TR606 OHH 2  
CR78 Tamb 2  
CR78 OHH 1  
Cowbell Mute  
CR78 OHH 2  
Syn Swt Atk5  
TR808 OHH 2  
808 Maracas  
TR808 Claves  
Triangle Mt  
Rk CmpKick  
Sft Snr Gst  
Dry Kick 4  
Snr Roll  
SH32 Kick  
29  
30  
31  
32  
33  
34  
35  
Reg.PHH  
Jazz Ride  
Reg.Kick 1  
Reg.Kick 2  
Reg.Stick  
Reg.Snr2  
Reg.Snr Gst  
Reg.Snr1  
Reg.F.Tom  
Reg.CHH 1  
Reg.L.Tom  
Reg.CHH 2  
Reg.M.Tom  
Reg.OHH  
Reg.M.TomFlm  
Reg.H.Tom  
Crash Cym1a  
Reg.H.TomFlm  
Rock Ride 1  
China Cymbal  
Splash Cym  
Tamborine  
Rock Crash 1  
Cowbell Hi  
Crash Cym1b  
Cowbell Low  
Rock Ride 2  
Conga Hi Mt  
Conga Lo Mt  
Conga Hi Slp  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Up  
Maracas  
Timpani Roll  
ConcertBD 1  
Hard Stick  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Amb.Snr 2  
Amb Clap  
TY Rim  
Gospel Clap  
Concert SD  
Timpani F  
Timpani F#  
Timpani G  
Timpani G#  
Timpani A  
Timpani A#  
Timpani B  
Timpani C  
Timpani C#  
Timpani D  
Timpani D#  
Timpani E  
Timpani f  
Tamborine 3  
Concert Cym  
Cowbell Mute  
Concert Cym2  
Ride Cymbal  
Crash Cym1  
Bongo Hi Op  
Bongo Lo Op  
Conga Hi Mt  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Up  
Maracas  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
Finger Snap  
Wind Chime  
Tibet Cymbal  
Vibraslap  
Jazz Lo Tom1  
Reg.CHH 1  
Jazz Lo Tom2  
Reg.CHH 2  
Jazz Mid Tom  
Reg.OHH  
Jazz Mid Tom  
Jazz Hi Tom  
Crash Cym1  
Jazz Hi Tom  
Rock Rd Edge  
China Cymbal  
Rock Rd Cup  
Tamborine  
Splash Cym  
Cowbell  
Rock Crash 2  
TR808 Cym  
Jazz Ride  
Bongo Hi  
Bongo Lo  
Conga Hi Mt  
Conga Hi  
Conga Lo  
Timbale Hi  
Timbale Low  
Cowbell Hi  
Cowbell Low  
Cabasa  
Shaker  
Noise OHH 2  
Scratch 5  
Syn Low Atk2  
MG Zap 3  
Syn Swt Atk1  
Syn Swt Atk4  
Bongo Hi Slp  
Noise OHH  
Noise CHH  
Triangle 1  
Triangle 2  
Cajon 1  
Cajon 3  
Wind Chime  
SprgDrm Hit  
Crotale  
41  
42  
43  
44  
45  
46  
Sharp L.Tom3  
Rock OHH  
47  
Sharp H.Tom1  
Sharp H.Tom2  
Crash Cym1  
Sharp H.Tom3  
Ride Cymbal  
China Cymbal  
Ride Bell  
Tamborine 3  
Rock Crash 2  
Cowbell Mute  
Splash Cym  
Cowbell  
Rock Rd Cup  
Conga Hi Mt  
Conga Lo Mt  
Conga Slp Op  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Up  
Maracas  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
Whistle Shrt  
Whistle Long  
Guiro Short  
Guiro Long  
Claves  
72  
73  
74  
75  
76  
C5  
C6  
C7  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
DigiSpectrum  
Wind Chime  
Dist Chord 1  
Dist Chord 2  
Dist Chord 3  
Dist Chord 4  
Dist Chord 5  
Rock CHH 2  
Cowbell 2a  
Rock CHH 1  
Cowbell 2b  
Rock OHH  
Wood Block H  
Wood Block L  
Cuica Mute  
Cuica Open  
Triangle Mt  
Triangle Op  
Cabasa Cut  
Wind Chime  
Dist Chord 1  
Dist Chord 2  
Dist Chord 3  
Dist Chord 4  
Dist Chord 5  
Dist Chord 6  
Rock CHH 2  
Dist Chord 7  
DistGtr Nz 1  
DistGtr Nz 2  
DistGtr Nz 3  
JD Switch  
77  
78  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
R8 Click  
Crotale  
Applause  
Triangle Op  
Narrow Hit 2  
TR808 Cym1  
MG Zap 4  
Scratch 1  
MG Zap 1  
TR606 Snr 2  
Synth Saw  
Digi Breath  
TR808 Cym2  
TR808 Conga1  
TR808 Conga2  
Cajon 1  
Metro Bell  
DR202 Beep  
Reverse Cym  
Xylo Seq.  
Vinyl Noise  
Mobile Phone  
Group Snap  
Laser  
TubulrBel F  
TubulrBel F#  
TubulrBel G  
TubulrBel G#  
TubulrBel A  
TubulrBel A#  
TubulrBel B  
TubulrBel C  
TubulrBel C#  
TubulrBel D  
TubulrBel D#  
TubulrBel E  
TubulrBel f  
Church Bell1  
Church Bell2  
89  
90  
Cajon 2  
Cajon 3  
Vint Snr 2  
Shaker 3  
91  
92  
93  
94  
95  
WD Rim f  
Fng.EB2 Sld  
Cajon 3  
Cajon 2  
Mix Kick 1  
Mix Kick 2  
Mix Kick 3  
Mix Kick 4  
Mix Kick 5  
Mix Clap 1  
Wind Chime  
Tibet Cymbal  
Crotale  
Siren  
Cajon 3  
Cajon 2  
Cajon 1  
Real Clap  
Gospel Clap  
Tibet Cymbal  
Tamborine 1  
Tamborine 2  
96  
97  
98  
99  
AnalogKick 3  
Old Kick 2  
Reg.Kick  
TR909 Snr 4  
TR808 Snr 2  
Short Snr1  
Vint Snr 4  
Cajon 1  
Gospel Clap  
Rock Crash 2  
Rock Rd Cup  
Club FinSnap  
TR909 Snr 6  
Vint Snr 3  
Door Creak  
Vint.Phone  
Door Creak  
100  
101  
102  
103  
94  
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Note No.  
28  
1165  
1166  
1167  
1168  
1169  
1170  
Limiter Kit  
HipHop Kit 1  
R&B Kit  
HiFi R&B Kit  
Machine Kit1  
Kit-Euro:POP  
Dance Kick 1  
HipHop Kick1  
WD CStk  
R&B Kick 1  
Wild Stick  
Dance Kick 2  
Hip PHH  
LD Kick  
PlasticKick2  
Group Snap  
Snr Roll  
AnalogKick 3  
GoodOld Snr5  
Dist Kick  
Noise CHH  
TR707 Kick  
Dry Kick 4  
70's Kick  
MaxLow Kick2  
FB Kick  
TR909 Kick 2  
TR909 Kick 4  
Light Snr  
Mix Kick 5  
DR660 Snr  
TR707 Kick  
AnalogKick 1  
Dirty Snr 6  
FB Kick  
AnalogKick 6  
Urbn Sn Roll  
HipHop Kick2  
R&B ShrtSnr1  
Old Kick  
HipHop CHH  
EuroHit Kick  
TR909 Kick 1  
Dry Stick 4  
Dirty Snr 2  
Maple Snr  
Short Snr2  
TR808 Tom 1  
TR606 CHH 2  
Reg.F.Tom  
TR909 CHH 2  
TR808 Tom 2  
Lo-Bit OHH 2  
Reg.M.Tom  
TR808 Tom 3  
Rock Crash 1  
Reg.H.Tom  
Splash Cym  
Rock Rd Edge  
Concert Cym  
Cheap Clap  
Snap  
Lo-Bit Snr 2  
Wood Block  
Shaku Noise  
Syn Hrd Atk1  
JD MetalWind  
Maracas  
Cabasa Up  
Cabasa Down  
Cabasa Cut  
Tamborine 1  
Tamborine 2  
Tamborine 1  
Triangle Mt  
Triangle Op  
Xylo Seq.  
29  
30  
Rough Kick1a  
MaxLow Kick1  
Rough Kick3  
Rk CmpKick  
TR909 Kick 5  
Rough Kick1b  
R&B Kick  
31  
32  
33  
34  
35  
BrushRoll  
Mix Kick 2  
PlasticKick2  
Reg.CHH 2  
Power Kick  
TR909 Kick 6  
R&B ShrtRim1  
TR909 Snr 3  
TR909 Clap 1  
TR909 Snr 4a  
Sharp L.Tom2  
TR909 CHH 1  
Sharp L.Tom1  
TR909 PHH 1  
Sharp M.Tom  
TR909 OHH 2  
Sharp M.Tom  
Sharp H.Tom  
TR909 Crash  
Sharp H.Tom  
TR909 Ride  
China Cymbal  
Rock Rd Edge  
Tamborine 3  
Crash Cym1 p  
Cowbell  
TR808 PHH  
AnalogKick 6  
70's Kick 1  
TR808 Rim  
Jngl pktSnr1  
Funk Clap  
Jngl pktSnr2  
MG Attack  
TR808 CHH 1  
MG Attack  
TR808 PHH  
MG Blip  
TR808 OHH 1  
MG Blip  
Beam HiQ  
TR606 Cym 2a  
Beam HiQ  
Lo-Bit OHH1a  
TR606 Cym 2  
Lo-Bit OHH1b  
CR78 Tamb 1  
TR606 Cym 2b  
JD Sm Metal1  
Lo-Bit OHH1c  
Syn Swt Atk3  
AnalogKick 6  
70's Kick 2  
R8 Comp Rim  
Pocket Snr  
TR909 Clap 2  
Vint Snr 4  
TR606 Tom L  
Dance CHH  
TR606 Tom L  
Lo-Bit CHH 1  
TR606 Tom M  
Reg.OHH  
TR606 Tom M  
TR606 Tom H  
TR909 Crash1  
TR606 Tom H  
Lite OHH 1  
TR909 Crash2  
Lite OHH 2  
CR78 Tamb 2  
TR909 Crash  
JD Sm Metal2  
Lite OHH 3  
R&B Kick 2  
Lo-Bit Stk 2  
Wild Stick  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Jazz Rim  
Dirty Snr 2  
Old Clap  
Hard Stick  
GoodOld Snr3  
GoodOld Snr4  
GoodOld Snr2  
Lo-Bit Snr 1  
Noise CHH  
Jazz Snr  
Hip PHH  
Lo-Bit Snr 2  
Reg.OHH  
Dist Clap  
DR660 Snr  
Reg.F.Tom p  
Lo-Bit CHH 2  
Reg.F.Tom f  
Lo-Bit CHH 4  
Reg.L.Tom  
Lo-Bit OHH 2  
Reg.L.TomFlm  
Reg.H.Tom  
Crash Cym 1  
Reg.H.TomFlm  
Lo-Bit OHH 1  
TR606 Cym 2  
Jazz Ride 1  
Tamborine 1  
TR606 OHH  
Vibraslap  
Vint Snr 4a  
TR909 Tom L  
HipHop CHH 2  
Deep Tom L  
Lo-Bit PHH  
TR909 Tom M  
Lo-Bit OHH 2  
Deep Tom M  
TR909 Tom H  
Crash Cym1 p  
Deep Tom H  
Rock Crash 1  
Rock Rd Edge  
China Cymbal  
Snap  
TR808 Conga2  
Vint Snr 4  
TR808Cowbell  
Guiro Long  
Guiro 2  
Guiro 1  
Shaker 3  
Noise CHH  
Cabasa 2  
Vibraslap  
41  
42  
43  
44  
45  
46  
47  
Vint Snr 2  
WD Snr  
48  
49  
50  
51  
52  
TR808 Cym 1  
GoodOld Snr6  
TR606 Cym 2  
White Noise  
Bright Form  
CR78 Tamb  
SBF Hrd Ld 1  
JD Sm Metal  
TR808 Cym 2  
Syn Swt Atk3  
TR909 Kick4a  
TR909 Kick4b  
TR808 Rim  
TR808 Snr 2  
TR808 Clap 2  
TR808 Snr 4  
TR808 Tom 4  
TR808 CHH 1  
TR808 Tom 3  
TR808 CHH 2  
TR808 Tom 2  
TR808 OHH 1  
TR808 Tom 1  
Scratch 3  
Scratch 4  
Scratch 5  
Scratch 6  
Old Clap  
Hand Clap  
R8 Clap  
Cabasa Cut  
R8 Shaker  
Tamborine 2  
Cabasa Down  
Cabasa Cut  
Tibet Cymbal  
Crotale  
Slight Bell  
Wind Chime  
Triangle 1  
Mild CanWave  
Cheap Clap  
JD Plunk  
Syn Swt Atk2  
DistGtr Nz 2  
River  
53  
54  
55  
56  
57  
58  
59  
Mix Kick 2  
Hip PHH  
Mix Kick 2  
Rough Kick  
Dry Stick  
Rock Crash 2  
Vibraslap  
TR606 Cym 2  
Bongo Lo Op  
Bongo Hi Op  
Conga Hi Mt  
Conga Hi Op  
Conga Lo Op  
Conga Efx  
Shaker 3  
Shaker 2  
CR78 Beat  
Cabasa Cut 1  
Cabasa Cut 2  
Lo-Bit PHH  
Scratch 7  
Syn Low Atk2  
MG Zap 7  
Syn Swt Atk1  
Syn Swt Atk4  
Conga Thumb  
Triangle 1  
Triangle 2  
Euro Hit 1  
Tao Hit  
Narrow Hit 2  
Euro Hit 2  
Wind Chime  
Timpani Roll  
Crotale  
R8 Click  
Metro Bell  
MC500 Beep 1  
MC500 Beep 2  
Atmosphere  
Agogo Noise  
Car Slip  
Group Snap  
Laser  
ConcertBD  
AnalogKick 3  
Old Kick  
60  
61  
62  
63  
64  
GoodOld Snr5  
R8 Clap  
Jngl pkt Snr  
TR808 Tom  
Noise CHH 1  
TR808 Tom  
Noise CHH 2  
TR606 Tom L1  
Lo-Bit OHH 2  
TR606 Tom L2  
TR606 Tom H1  
Crash Cym 2  
TR606 Tom H2  
Jazz Ride 2  
Splash Cym  
Rock Rd Edge  
Tamborine 3  
Guiro Long  
Gospel Clap  
Tibet Cymbal  
Wind Chime  
Mix Kick 1  
Mix Kick 2  
Mix Kick 4  
Vint Snr 1  
Vint Snr 2  
Vint Snr 3  
Vint Snr 4  
Noise CHH  
CR78 CHH  
Noise CHH 3  
Noise OHH 2  
Noise OHH 1  
Heartbeat  
Scratch 2  
Scratch 5  
Scratch 1  
Scratch 4  
Mix Kick 2  
Dist Snr  
65  
66  
Sweep Bass  
Short Snr1  
CR78 CHH  
Shaker 2  
CR78 Tamb  
Noise OHH  
Slight Bell  
Tibet Cymbal  
Wind Chime  
Scratch 2  
Scratch 1  
Scratch 10  
Scratch 9  
Smear Hit 2  
Lofi Min Hit  
Thin Beef  
67  
68  
69  
70  
71  
Philly Hit  
LoFi Min Hit  
Vinyl Noise  
Cajon 1  
Cajon 2  
Cajon 3  
Conga Hi Mt  
Conga Lo Mt  
Conga Hi Slp  
Conga Lo Slp  
Conga Hi Op  
Conga Lo Op  
Conga Slp Op  
Conga Efx  
Conga Thumb  
Noise OHH  
Shaker 3  
Castanet  
CR78 Beat  
CR78 OHH  
CR78 CHH  
Lite OHH  
CR78 Tamb  
JD Vox Noise  
Guiro 2 Fast  
Metro Click  
Metro Bell  
72  
73  
74  
75  
76  
C5  
C6  
C7  
77  
78  
79  
80  
81  
82  
83  
Syn Swt Atk1  
TR808 OHH 2  
808 Maracas  
TR808 Claves  
Triangle Mt  
Triangle Op  
Narrow Hit 2  
Euro Hit  
MG Zap 4  
Scratch 1  
MG Zap 1  
TR606 Snr 2  
Synth Saw  
Dist Hit  
Narrow Hit 2  
MG Attack  
MG Zap 9  
Mix Clap 3  
R8 Shaker  
84  
85  
86  
87  
88  
Cabasa Down  
Cabasa Cut  
MaxLow Kick1  
MaxLow Kick2  
Lo-Bit Snr 1  
Dance CHH  
Wild Stick  
MC500 Beep 1  
MC500 Beep 2  
Gospel Clap  
TR606 Cym  
China Cymbal  
Rock Crash 2  
CR78 OHH  
Concert Cym  
89  
90  
91  
92  
93  
94  
95  
Bubble  
Digi Breath  
DigiSpectrum  
Shaker 3  
Conga 2H Slp  
Cajon 1  
Train Pass  
LoFi Min Hit  
Pink Noise  
Agogo Noise  
SynVox Nz 1  
SynVox Nz 2  
R8 Click  
96  
97  
98  
99  
Wind Chime  
Crotale  
Crash Cym1 p  
TR909 Crash  
CR78 OHH  
Rev.Lite OHH  
Reg.Kick  
Scratch 6  
Vint Snr 3  
TR909 Snr 4b  
TR808 Snr 2  
Vint Snr 4  
100  
Mobile Phone  
Sweep Bass 1  
Sweep Bass 2  
Door Creak 1  
Vint.Phone  
Door Creak 2  
101  
102  
103  
Syn Swt Atk1  
Light Snr  
95  
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Note No.  
28  
1171  
1172  
1173  
1174  
1175  
1176  
House Kit  
Nu Technica  
Machine Kit2  
ArtificalKit  
Noise Kit  
Kick Menu  
TR909 Kick 3  
SH32 Kick  
SH32 Kick 1  
JD EML 5th 1  
AnalogKick 6  
TR909 Kick 5  
Plastic Kc3a  
R&B Kick  
TR707 Kick  
Plastic Kc3b  
SH32 Kick 2  
TR909 Snr 5  
Syn Mtl Atk2  
Flange Snr  
TR909 Snr 3  
Dance CHH  
TR606DstCHH1  
TR909 PHH 2  
TR606 PHH 2a  
TR909 OHH 1  
Lite OHH  
Rock Rd Cup  
Syn Hrd Atk4  
MG Zap 7a  
AnalogKick 5  
AnalogKick6a  
Analog Snr 1  
AnalogKick1a  
TR808 Snr 4  
FB Kick  
TR909 Kick 2  
AnalogKick 2  
TR808 Snr 5  
TR909 Kick 3  
Vint Snr 3  
TR909 Kick 2  
TR909 Kick 4  
Urbn SnRoll1  
TR909 Kick 5  
Door Creak 1  
TR909 Kick 1  
SynSwt Atk7a  
Cajon 3a  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
29  
30  
Urbn Sn Roll  
TR909 Kick 2  
TR909 Snr 6  
TR909 Kick 5  
TR909 PHH 2  
TR909 Kick4a  
TR909 Kick4b  
TR909 Rim  
TR909 Snr 4  
TR909 Clap 2  
TR909 Snr 5  
TR909 Tom L  
TR909 CHH 2  
TR909 Tom L  
TR909 PHH 2  
TR909 Tom M  
TR909 OHH 2  
TR909 Tom M  
TR909 Tom H  
TR909 Crash1  
TR909 Tom H  
TR909 Ride 1  
TR909 Crash2  
TR909 Ride 2  
CR78 Tamb  
MG Zap 4  
31  
32  
33  
34  
35  
FB Kick  
TR808 PHH  
AnalogKick6b  
AnalogKick6c  
R&B ShrtRim2  
TR909 Snr 1  
TR707 Clap  
Lo-Bit Snr 2  
Deep Tom L  
TR606 CHH 1  
Deep Tom L  
TR606 PHH 1  
Deep Tom M  
TR909 OHH 2  
Deep Tom M  
Deep Tom H  
Lite OHH  
Deep Tom H  
TR808 OHH 1  
TR606 Cym 2a  
TR909 Ride 1  
CR78 Tamb  
TR606 Cym 2b  
JD Sm Metal  
TR909 Ride 2  
Syn Swt Atk3  
AnalogKick1b  
AnalogKick 4  
Urbn SnRoll1  
Analog Snr 2  
Dist Clap  
TR606 Cym 2a  
AnalogKick 3  
TVF Trigger  
TR909 Rim  
TR909 Snr 1  
Claptail  
TR909 Snr 3  
TR909 Tom L2  
TR909 CHH 1  
TR909 Tom L1  
TR909 PHH 1  
TR909 Tom M2  
TR909 OHH 2  
TR909 Tom M1  
TR909 Tom H2  
TR909 Crash  
TR909 Tom H1  
TR909 Ride  
White Noise1  
CR78 Beat  
Tamborine 3  
Atmosphere  
Cowbell Mute  
Syn Swt Atk1  
Cowbell  
Reverse Cym  
AnalogKick 5  
Metal Vox W1  
Metal Vox W2  
Metal Vox W3  
White Noise2  
White Noise3  
TR606 Cym 2b  
MG Blip  
Reg.Kick p  
Reg.Kick f  
Reg.Kick ff  
Rock Kick p  
Rock Kick f  
Jazz Kick p  
Jazz Kick mf  
Jazz Kick f  
Dry Kick 1  
Tight Kick  
Old Kick  
Jz Dry Kick  
Dry Kick 2  
Dry Kick 3  
Power Kick  
R&B Kick L  
Rk CmpKick  
Dance Kick  
HipHop Kick1  
HipHop Kick2  
TR909 Kick 1  
TR808 Kick  
TR909 Kick 4  
WD Kick mf  
WD Kick f  
WD Kick ff  
LD Kick mf  
LD Kick f  
Cajon 3b  
Laser  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Door Creak2a  
Train Pass  
Door Creak2b  
Syn Swt AtkL  
SynSwt Atk7b  
Syn Swt AtkL  
Syn Mtl Atk2  
Syn Swt AtkM  
White Noise  
Syn Swt AtkM  
Syn Swt AtkH  
Syn Mtl Atk1  
Syn Swt AtkH  
SynLow Atk1a  
Crotale 1  
Laser 1  
MG Zap 11  
Laser 2  
MG Zap 4a  
Digi Loop 1  
MG Zap 6a  
SynLow Atk2a  
SynLow Atk2b  
MG Attack  
Syn Hrd Atk4  
Train Pass  
Syn Mtl Atk1  
Syn Swt AtkL  
Syn Swt Atk7  
Syn Swt AtkL  
Syn Mtl Atk2  
Syn Swt AtkM  
DigiSpectrum  
Syn Swt AtkM  
Syn Swt AtkH  
Digi Loop 1  
Syn Swt AtkH  
SynLow Atk1b  
Crotale 2  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
MG Zap 9  
MG Zap 8  
MG Zap 10  
HipHop CHH 2  
Syn Swt Atk3  
Reg.PHH  
Syn Swt Atk6  
HipHop OHH  
TR909 OHH 2  
TR909 R.Crsh  
TR909 Crash  
Rock Crash 1  
MG Zap 2  
53  
54  
55  
56  
57  
58  
59  
JD Sm Metal  
MG Zap 5  
Syn Swt Atk3  
AnalogKick 2  
TR909 Kick 2  
TR909 Rim  
60  
61  
62  
63  
64  
TR909 Snr 1  
TR909 Clap 1  
TR909 Snr 2  
TR909 D.TomL  
TR909 CHH 1  
TR909 D.TomL  
TR808 CHH 2  
TR909 D.TomM  
TR909 OHH 1  
TR909 D.TomM  
TR909 D.TomH  
TR909 Crash3  
TR909 D.TomH  
TR909 Ride 3  
TR909 Crash4  
TR909 Ride 4  
Tamborine 2  
MG Zap 2  
MG Zap 9  
LD Kick ff  
TY Kick mf  
TY Kick f  
TY Kick ff  
SF Kick 1  
Smear Hit 2  
Low Square  
JD WoodCrak1  
Piano Atk Nz  
JD WoodCrak2  
DR202 Beep 1  
JD WoodCrak3  
Syn Pulse 2  
DR202 Beep 2  
Narrow Hit2a  
E.Gtr Harm  
Analog Snr 3  
R8 Shaker  
TR909 CHH 2  
R8 Shaker  
65  
66  
67  
68  
69  
70  
71  
TR909 PHH 2  
Syn Hrd Atk1  
TR909 OHH 2  
SynHrd Atk1a  
SynHrd Atk1b  
TR909 Crash  
SynHrd Atk1c  
TR909 Ride 3  
TR909 Crash  
TR909 Ride 1  
CR78 Tamb  
MG Zap 2  
JD Sm Metal  
MG Zap 6  
Syn Swt Atk1  
MG Zap 7  
808 Maracas  
TR808 Claves  
Triangle Mt  
Triangle Op  
Euro Hit  
Scratch 4  
Brt Strat C  
Crotale  
MG Zap 4  
Urbn SnRoll2  
Calc.Saw  
White Noise  
Blow Loop  
Shaker 2  
Shaker 3  
MG Blip Rev.  
DigiSpectrum  
Ice Crash  
Metal Vox L2  
Thin Beef  
LoFi Min Hit  
Trance Saw  
TB DstSqr  
Finger Snap  
Conga Slp Op  
Conga Lo Op  
Conga Hi Op  
Triangle Mt  
SF Kick 2  
MaxLow Kick1  
MaxLow Kick2  
Dist Kick  
FB Kick  
72  
73  
74  
75  
76  
C5  
C6  
C7  
Rough Kick1  
Rough Kick2  
Rough Kick3  
PlasticKick1  
70's Kick  
Narrow Hit2b  
Euro Hit  
Jazz Lo Tom1  
TR909 D.TomL  
Jazz Lo Tom2  
TR909 D.TomM  
Jazz Lo Tom3  
TR909 D.TomH  
AnalogKick 3  
AnalogKick 5  
Club Clap  
TR808 Snr 7  
TR808 Snr 3  
TR909 Snr 6a  
TR909 CHH 2  
TR606DstCHH2  
Dance CHH  
TR606 PHH 2b  
TR909 OHH 2  
TR606 OHH  
CR78 OHH  
Laser 3  
MG Zap 11  
Laser 4  
MG Zap 4b  
Crotale 3  
77  
78  
AnalogKick 1  
PlasticKick2  
PlasticKick3  
TR909 Kick 2  
AnalogKick 2  
TR909 Kick 3  
AnalogKick 3  
AnalogKick 4  
AnalogKick 5  
AnalogKick 6  
TR606DstKick  
TR909 Kick 5  
SH32 Kick  
TR707 Kick  
TR909 Kick 6  
Mix Kick 1  
Mix Kick 2  
Mix Kick 3  
Mix Kick 4  
Mix Kick 5  
Dry Kick 4  
Sweep Bass  
Vint Kick  
79  
80  
81  
82  
83  
Cowbell Low  
MG Zap 6  
Cowbell Hi  
Triangle Op  
Cabasa Cut  
R8 Shaker  
MG Zap 6b  
Syn Low Atk2  
808 Maracas  
TR808 Claves  
Triangle Mt  
Triangle Op  
Dry Lo Tom  
Conga Thumb  
Funk Gtr  
Digi Loop 1  
MG Zap 4c  
Urbn SnRoll2  
Sweep Saw  
White Noise  
Monsoon  
Shaker 3  
Scream  
Cajon 1  
Euro Hit  
Laugh  
ConcertBD  
Timpani  
MG Zap 7  
Conga Hi Mt  
Conga Lo Mt  
Conga Lo Slp  
Conga Hi Op  
Conga Lo Op  
Timbale Hi  
Timbale Low  
Agogo Bell H  
Agogo Bell L  
Cabasa Down  
Maracas  
Guiro Short  
Guiro Long  
Claves  
Wood Block L  
Wood Block H  
Triangle Mt  
Triangle Op  
Castanet  
AnalogKick 1  
PlasticKick2  
PlasticKick3  
TR909 Kick 1  
AnalogKick 4  
AnalogKick 6  
TR909 Snr 2  
TR909 Snr 4  
TR909 Snr 5  
TR909 Snr 6  
TR808 Snr 1  
TR808 Snr 2  
TR808 CHH 1  
TR808 OHH 1  
TR909 CHH 2  
TR909 OHH 2  
Lite CHH  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
Juno Sqr HD  
TR909 Snr 6b  
TR808 Kick  
JD EML 5th 2  
TR707 Clap  
Dist Clap  
96  
97  
98  
99  
Cajon 1  
Euro Hit  
Laugh  
Office Phone  
Door Creak  
100  
Lite OHH  
TR606 Cym 2c  
China Cymbal  
Small Kick  
-----  
-----  
101  
102  
103  
MG Zap 5  
MG Zap 7b  
Whistle  
96  
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Note No.  
28  
1177  
1178  
1179  
1180  
1181  
1182  
Snare Menu  
Snr/Rim Menu  
HiHat Menu  
Tom Menu  
Clp&Cym&Hit  
FX/SFX Menu  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
29  
30  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
31  
32  
33  
34  
35  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Reg.Snr1 p  
Reg.Snr1mf  
Reg.Snr1 f  
Reg.Snr1ff  
Reg.Snr2 p  
Reg.Snr2 f  
Reg.Snr2ff  
Amb.Snr1 p  
Amb.Snr1 f  
Amb.Snr2 p  
Amb.Snr2 f  
Piccolo Snr  
Maple Snr  
Reg.Snr Gst  
Sft Snr Gst  
Jazz Snr p  
Jz Brsh Slap  
Jz Brsh Swsh  
Swish&Turn p  
Swish&Turn f  
Concert SD  
Snr Roll Lp  
BrushRoll Lp  
WD Snr p  
WD Snr mf  
WD Snr f  
WD Snr ff  
WD Rim p  
WD Rim mf  
WD Rim f  
WD Rim ff  
LD Snr p  
LD Snr mf  
LD Snr f  
LD Snr ff  
LD Rim mf  
LD Rim f  
LD Rim ff  
TY Snr p  
TY Snr mf  
TY Snr f  
TY Snr ff  
TY Rim p  
TY Rim mf  
TY Rim f  
TY Rim ff  
SF Snr p  
SF Snr mf  
SF Snr f  
GoodOld Snr1  
GoodOld Snr2  
GoodOld Snr3  
GoodOld Snr4  
GoodOld Snr5  
GoodOld Snr6  
Dirty Snr 1  
Dirty Snr 2  
Dirty Snr 4  
Dirty Snr 5  
Dirty Snr 6  
Dirty Snr 7  
Grit Snr 1  
Reg.CHH 1 p  
Reg.CHH 1 mf  
Reg.CHH 1 f  
Reg.CHH 1 ff  
Reg.CHH 2 mf  
Reg.CHH 2 f  
Reg.CHH 2 ff  
Reg.PHH mf  
Reg.PHH f  
Reg.OHH mf  
Reg.OHH f  
Reg.OHH ff  
Rock CHH1 mf  
Rock CHH1 f  
Rock CHH2 mf  
Rock CHH2 f  
Rock OHH  
Lo-Bit CHH 1  
Lo-Bit CHH 2  
Lo-Bit CHH 3  
Lo-Bit CHH 4  
Lo-Bit CHH 5  
HipHop CHH  
TR909 CHH 1  
TR909 CHH 2  
TR808 CHH 1  
TR808 CHH 2  
TR606 CHH 1  
TR606 CHH 2  
TR606 DstCHH  
Noise CHH  
Lite CHH  
Reg.F.Tom p  
Reg.F.Tom f  
Reg.L.Tom p  
Reg.L.Tom f  
Reg.M.Tom p  
Reg.M.Tom f  
Reg.H.Tom p  
Reg.H.Tom f  
Reg.L.TomFlm  
Reg.M.TomFlm  
Reg.H.TomFlm  
Jazz Lo Tom  
Jazz Mid Tom  
Jazz Hi Tom  
Jazz Lo Flm  
Jazz Mid Flm  
Jazz Hi Flm  
Sharp Lo Tom  
Sharp Hi Tom  
Dry Lo Tom  
TR909 Tom  
TR909 DstTom  
TR808 Tom  
TR606 Tom  
Deep Tom  
RR F.Tom mp  
RR F.Tom f  
RR F.Tom ff  
LD L.Tom mf  
LD L.Tom f  
LD L.Tom ff  
LD M.Tom mf  
LD M.Tom f  
LD M.Tom ff  
LD H.Tom mf  
LD H.Tom f  
LD H.Tom ff  
TY L.Tom mf  
TY L.Tom f  
TY L.Tom ff  
TY M.Tom mf  
TY M.Tom f  
TY M.Tom ff  
TY H.Tom mf  
TY H.Tom f  
TY H.Tom ff  
SF L.Tom mf  
SF L.Tom ff  
SF M.Tom mf  
SF M.Tom f  
SF M.Tom ff  
SF H.Tom mf  
SF H.Tom f  
SF H.Tom ff  
RR FT Flm ff  
SF LT Flm ff  
SF MT Flm f  
SF HT Flm p  
SF HT Flm f  
SF HT Flm ff  
-----  
Hand Clap  
Club Clap  
Real Clap  
Bright Clap  
R8 Clap  
MG Zap 1  
MG Zap 2  
MG Zap 3  
MG Zap 4  
MG Zap 5  
MG Zap 6  
MG Zap 7  
MG Zap 8  
MG Zap 9  
MG Zap 10  
MG Zap 11  
MG Blip  
Beam HiQ  
MG Attack  
Syn Low Atk1  
Syn Low Atk2  
Syn Hrd Atk1  
Syn Hrd Atk2  
Syn Hrd Atk3  
Syn Hrd Atk4  
Syn Mtl Atk1  
Syn Mtl Atk2  
Syn Swt Atk1  
Syn Swt Atk2  
Syn Swt Atk3  
Syn Swt Atk4  
Syn Swt Atk5  
Syn Swt Atk6  
Syn Swt Atk7  
R8 Click  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Gospel Clap  
Amb Clap  
TR808 Clap 1  
TR808 Clap 2  
TR909 Clap 1  
TR909 Clap 2  
TR707 Clap  
Cheap Clap  
Mix Clap 1  
Mix Clap 2  
Mix Clap 3  
Mix Clap 4  
Dist Clap  
Dist Clap 2  
Crash Cym1 p  
Crash Cym1 f  
Crash Cym 2  
Rock Crash 1  
Rock Crash 2  
Splash Cym  
Jazz Crash  
Ride Cymbal  
Ride Bell  
Rock Rd Cup  
Rock Rd Edge  
Jazz Ride p  
Jazz Ride mf  
China Cymbal  
TR909 Crash  
TR909 Ride  
Concert Cym1  
Concert Cym2  
TR606 Cym  
TR808 Cym  
Reverse Cym  
ClassicHseHt  
Narrow Hit 1  
Narrow Hit 2  
Euro Hit  
41  
42  
43  
44  
45  
46  
47  
Grit Snr 2  
Grit Snr 3  
48  
49  
50  
51  
52  
LoBit SnrFlm  
Lo-Bit Snr 1  
Dirty Snr 3  
Lo-Bit Snr 2  
Analog Snr 1  
Tiny Snare  
R&B ShrtSnr1  
TR808 Snr 1  
TR808 Snr 2  
TR808 Snr 3  
TR606 Snr 1  
MrchCmp Snr  
Reggae Snr  
DR660 Snr  
Jngl pkt Snr  
Pocket Snr  
Flange Snr  
Analog Snr 2  
Analog Snr 3  
TR909 Snr 1  
TR909 Snr 2  
TR909 Snr 3  
TR909 Snr 4  
TR909 Snr 5  
TR909 Snr 6  
TR808 Snr 4  
Lite Snare  
TR808 Snr 5  
TR808 Snr 6  
TR606 Snr 2  
CR78 Snare  
Urbn Sn Roll  
Reg.Stick  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
MC500 Beep 1  
MC500 Beep 2  
DR202 Beep  
JD Switch  
Cutting Nz  
Vinyl Noise  
Applause  
River  
65  
66  
CR78 CHH  
Dance CHH  
Lo-Bit PHH  
Hip PHH  
67  
68  
69  
70  
71  
TR909 PHH 1  
TR909 PHH 2  
TR808 PHH  
TR606 PHH 1  
TR606 PHH 2  
HipHop OHH  
TR909 OHH 1  
TR909 OHH 2  
TR808 OHH 1  
TR808 OHH 2  
TR606 OHH  
Lo-Bit OHH 1  
Lo-Bit OHH 2  
Lo-Bit OHH 3  
Lite OHH  
CR78 OHH  
Noise OHH 1  
Noise OHH 2  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
72  
73  
74  
75  
76  
C5  
C6  
C7  
Thunder  
Monsoon  
Stream  
Bubble  
Bird Song  
Dog Bark  
Gallop  
Vint.Phone  
Office Phone  
Mobile Phone  
Door Creak  
Door Slam  
Car Engine  
Car Slip  
Car Pass  
Crash Seq.  
Gun Shot  
Siren  
Train Pass  
Airplane  
77  
78  
Dist Hit  
Thin Beef  
Tao Hit  
79  
80  
81  
82  
83  
Smear Hit 1  
Smear Hit 2  
LoFi Min Hit  
Orch. Hit  
Punch Hit  
O'Skool Hit  
Philly Hit  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Soft Stick  
SF Snr ff  
SF SnrGst1  
SF SnrGst2  
SF Rim p  
SF Rim mf  
SF Rim f  
SF Rim ff  
Light Snr ff  
Click Snr p  
Click Snr ff  
Jazz Snr mf  
Jazz Snr f  
Jazz Rim p  
Soft Jz Roll  
-----  
Hard Stick  
Wild Stick  
R&B ShrtRim1  
R&B ShrtRim2  
WD CStk mf  
WD CStk f  
LD CStk mf  
LD CStk f  
84  
85  
86  
87  
88  
89  
90  
91  
92  
93  
94  
95  
TY CStk mf  
TY CStk f  
Laugh  
Scream  
Punch  
SfCrsStk p  
SfCrsStk f  
Lo-Bit Stk 1  
Lo-Bit Stk 2  
Dry Stick 1  
Dry Stick 2  
Dry Stick 3  
R8 Comp Rim  
TR909 Rim  
TR808 Rim  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Heartbeat  
Footsteps  
Machine Gun  
Laser  
Thunder Lp  
Metro Bell  
Metro Click  
-----  
96  
97  
98  
99  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
100  
101  
102  
103  
-----  
-----  
-----  
97  
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Note No.  
28  
1183  
1184  
Percussion  
Scrh&Voi&Wld  
Cowbell  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
Cowbell Mute  
Cowbell2 Lng  
Cowbell2 Edg  
Cowbell3 mf  
Cowbell3 f  
Wood Block  
Wood Block2H  
Wood Block2L  
Claves  
TR808 Claves  
Claves 2  
CR78 Beat  
Castanet  
Whistle  
Whistle Long  
Whistle Shrt  
Bongo Hi Mt  
Bongo Hi Slp  
Bongo Lo Slp  
Bongo Hi Op  
Bongo Lo Op  
Conga Hi Mt  
Conga Lo Mt  
Conga Hi Slp  
Conga Lo Slp  
Conga Hi Op  
Conga Lo Op  
Conga Slp Op  
Conga Efx  
Conga Thumb  
Conga 2H Op  
Conga 2H Mt  
Conga 2H Slp  
Conga 2L Op  
Conga 2L Mt  
Timbale 1  
29  
30  
31  
32  
33  
34  
35  
Scratch 1  
Scratch 2  
Scratch 3  
Scratch 4  
Scratch 5  
Scratch 6  
Scratch 7  
Scratch 9  
Scratch 10  
Aah Formant  
Eeh Formant  
Iih Formant  
Ooh Formant  
Uuh Formant  
Metal Vox W1  
Metal Vox W2  
Metal Vox W3  
JD Gamelan 1  
JD Gamelan 2  
JD Gamelan 3  
JD Gamelan 4  
JD Gamelan 5  
JD Gamelan 6  
JD Gamelan 7  
JD Gamelan 8  
JD Gamelan 9  
JD Gamelan10  
JD Gamelan11  
JD Gamelan12  
Cajon 1  
Cajon 2  
Cajon 3  
Cajon 4  
SprgDrm Hit  
Cuica  
36  
37  
38  
39  
40  
C2  
C3  
C4  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
Timbale 2  
Timbare 3  
Timbare 4  
65  
66  
67  
68  
69  
70  
71  
Cabasa Up  
Cabasa Down  
Cabasa Cut  
Cabasa2  
Cabasa2 Cut  
Shaker  
Maracas  
808 Maracas  
R8 Shaker  
Cuica 2 Hi  
Cuica 2 Low  
-----  
-----  
-----  
72  
73  
74  
75  
76  
C5  
C6  
C7  
-----  
-----  
Guiro 1  
Guiro 2  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
77  
78  
Guiro Long  
Guiro 2 Up  
Guiro 2 Down  
Guiro 2 Fast  
Vibraslap  
Tamborine 1  
Tamborine 2  
Tamborine 3  
Tamborine4 f  
Tamborine4 p  
CR78 Tamb  
Timpani p  
79  
80  
81  
82  
83  
84  
85  
86  
87  
88  
89  
90  
Timpani f  
91  
92  
93  
94  
95  
Timpani Roll  
Timpani Lp  
ConcertBD p  
ConcertBD f  
ConcertBD ff  
ConcertBD Lp  
Triangle 1Op  
Triangle 1Mt  
Triangle 2  
96  
97  
98  
99  
100  
Tibet Cymbal  
Wind Chime  
Crotale  
-----  
-----  
-----  
101  
102  
103  
98  
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GM Group  
1185 (PC: 1)  
1186 (PC: 9)  
GM2 ROOM  
1187 (PC: 17)  
GM2 POWER  
1188 (PC: 25)  
GM2 ELECTRIC  
1189 (PC: 26)  
GM2 ANALOG  
1190 (PC: 33)  
GM2 JAZZ  
Note No.  
GM2 STANDARD  
High Q  
Slap  
High Q  
Slap  
High Q  
Slap  
High Q  
Slap  
High Q  
Slap  
High Q  
Slap  
27  
28  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Kick Drum 2  
Kick Drum 1  
Side Stick  
Aco.Snare  
Hand Clap  
Elec.Snare  
Low Tom 2  
ClosedHi-hat  
Low Tom 1  
Pedal Hi-hat  
Mid Tom 2  
Open Hi-hat  
Mid Tom 1  
High Tom 2  
CrashCymbal1  
High Tom 1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Kick Drum 2  
Kick Drum 1  
Side Stick  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Power Kick 2  
Power Kick 1  
Side Stick  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Kick Drum 2  
Elec.Kick 1  
Side Stick  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Kick Drum 2  
Ana.Kick 1  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Jazz Kick 2  
Jazz Kick 1  
Side Stick  
Aco.Snare  
Hand Clap  
Elec.Snare  
Low Tom 2  
ClosedHi-hat  
Low Tom 1  
Pedal Hi-hat  
Mid Tom 2  
Open Hi-hat  
Mid Tom 1  
High Tom 2  
CrashCymbal1  
High Tom 1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
29  
30  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Ana.Rim Sho  
Ana.Snare 1  
Hand Clap  
Aco.Snare  
Hand Clap  
PowerSnareDr  
Hand Clap  
Elec.Snare  
E.SnareDrum1  
Hand Clap  
Elec.Snare  
Room LowTom2  
ClosedHi-hat  
Room LowTom1  
Pedal Hi-hat  
Room MidTom2  
Open Hi-hat  
Room MidTom1  
Room Hi Tom2  
CrashCymbal1  
Room Hi Tom1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
E.SnareDrum2  
E.Low Tom 2  
ClosedHi-hat  
E.Low Tom 1  
Pedal Hi-hat  
E.Mid Tom 2  
Open Hi-hat  
E.Mid Tom 1  
E.Hi Tom 2  
CrashCymbal1  
E.Hi Tom 1  
Ride Cymbal1  
Reverse Cym.  
Ride Bell  
Elec.Snare  
PowerLowTom2  
ClosedHi-hat  
PowerLowTom1  
Pedal Hi-hat  
PowerMidTom2  
Open Hi-hat  
PowerMidTom1  
Power HiTom2  
CrashCymbal1  
Power HiTom1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
Ana.Low Tom2  
Ana.ClosedHH  
Ana.Low Tom1  
Ana.ClosedHH  
Ana.Mid Tom2  
Ana.Open HH  
Ana.Mid Tom1  
Ana.Hi Tom2  
Ana.Cymbal  
Ana.Hi Tom1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
41  
42  
43  
44  
45  
46  
47  
48  
49  
50  
51  
52  
53  
54  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
Tambourine  
SplashCymbal  
Ana.Cowbell  
CrashCymbal2  
Vibra-slap  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
55  
56  
57  
58  
59  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
Ride Cymbal2  
High Bongo  
Low Bongo  
Ana.Hi Conga  
Ana.MidConga  
Ana.LowConga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
Ana.Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Ana.Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
Maracas  
Maracas  
Maracas  
Maracas  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
72  
73  
74  
75  
76  
C5  
77  
78  
79  
80  
81  
82  
83  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
84  
85  
86  
87  
88  
C6  
99  
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1191 (PC: 41)  
GM2 BRUSH  
1192 (PC: 49)  
GM2 ORCHSTRA  
1193 (PC: 57)  
GM2 SFX  
Note No.  
High Q  
Slap  
ClosedHi-hat  
Pedal Hi-hat  
Open Hi-hat  
Ride Cymbal1  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Concert BD 2  
Concert BD 1  
Side Stick  
Concert SD  
Castanets  
Concert SD  
Timpani F  
Timpani F#  
Timpani G  
Timpani G#  
Timpani A  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
-----  
High Q  
Slap  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
GtFret Noise  
Cut Noise Up  
Cut Noise Dw  
Slap_St.Bass  
Fl.Key Click  
Laughing  
Scream  
Punch  
Heart Beat  
Footsteps 1  
Footsteps 2  
Applause  
Door Creak  
Door  
Scratch  
Wind Chimes  
Car-Engine  
Car-Stop  
Car-Pass  
Car-Crash  
Siren  
27  
28  
Scratch Push  
Scratch Pull  
Sticks  
Square Click  
Metron Click  
Metron Bell  
Jazz Kick 2  
Jazz Kick 1  
Side Stick  
29  
30  
31  
32  
33  
34  
35  
36  
37  
38  
39  
40  
C2  
C3  
C4  
Brush Tap  
Brush Slap  
Brush Swirl  
BrushLowTom2  
ClosedHi-hat  
BrushLowTom1  
Pedal Hi-hat  
BrushMidTom2  
Open Hi-hat  
BrushMidTom1  
Brush HiTom2  
CrashCymbal1  
Brush HiTom1  
Ride Cymbal1  
China Cymbal  
Ride Bell  
Tambourine  
SplashCymbal  
Cowbell  
CrashCymbal2  
Vibra-slap  
Ride Cymbal2  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
41  
42  
43  
44  
45  
46  
Timpani A#  
Timpani B  
Timpani c  
Timpani c#  
Timpani d  
Timpani d#  
Timpani e  
47  
48  
49  
50  
51  
52  
Timpani f  
53  
54  
Tambourine  
SplashCymbal  
Cowbell  
Concert Cym2  
Vibra-slap  
Concert Cym1  
High Bongo  
Low Bongo  
MuteHi Conga  
OpenHi Conga  
Low Conga  
High Timbale  
Low Timbale  
High Agogo  
Low Agogo  
Cabasa  
55  
56  
57  
58  
59  
60  
61  
62  
63  
64  
65  
66  
67  
68  
69  
70  
71  
Train  
Jetplane  
Helicopter  
Starship  
Gun Shot  
Machine Gun  
Lasergun  
Explosion  
Dog  
Horse-Gallop  
Birds  
Rain  
Thunder  
Wind  
Seashore  
Stream  
Maracas  
Maracas  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
-----  
ShortWhistle  
Long Whistle  
Short Guiro  
Long Guiro  
Claves  
Hi WoodBlock  
LowWoodBlock  
Mute Cuica  
Open Cuica  
MuteTriangle  
OpenTriangle  
Shaker  
Jingle Bell  
Bell Tree  
Castanets  
Mute Surdo  
Open Surdo  
Applause  
72  
73  
74  
75  
76  
C5  
77  
78  
79  
80  
81  
82  
83  
Bubble  
-----  
-----  
-----  
84  
85  
86  
87  
88  
C6  
-----  
100  
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MEMO  
101  
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Chord Intelligence  
= Constituent notes of this chord  
= Keys you need to press to hear this chord when “Chord Mode” in “Performance Parameters” is set to INTEL (p. 37)  
C
C#  
D
E
E
E
E
E
E
E
E
E
E
E
E
F
CM7  
C#M7  
DM7  
M7  
EM7  
FM7  
C7  
C#7  
D7  
7
E7  
F7  
Cm  
C#m  
Dm  
m
Em  
Fm  
Cm7  
C#m7  
Dm7  
m7  
Em7  
Fm7  
CmM7  
Cdim  
Cm7 ( 5 )  
Caug  
Csus4  
C7sus4  
C#mM7  
C#dim  
C#m7 ( 5 )  
C#aug  
C#sus4  
C#7sus4  
DmM7  
Ddim  
Dm7 ( 5 )  
Daug  
Dsus4  
D7sus4  
mM7  
dim  
EmM7  
Edim  
Em7 ( 5 )  
Eaug  
Esus4  
E7sus4  
FmM7  
Fdim  
Fm7 ( 5 )  
Faug  
Fsus4  
F7sus4  
m7 ( 5 )  
aug  
sus4  
7sus4  
102  
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Chord Intelligence  
= Constituent notes of this chord  
= Keys you need to press to hear this chord when “Chord Mode” in “Performance Parameters” is set to INTEL (p. 37)  
F#  
G
A
A
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
B
B
F#M7  
GM7  
M7  
AM7  
M7  
BM7  
F#7  
G7  
7
A7  
7
B7  
F#m  
Gm  
m
Am  
m
Bm  
F#m7  
Gm7  
m7  
Am7  
m7  
Bm7  
F#mM7  
F#dim  
F#m7 ( 5 )  
F#aug  
F#sus4  
F#7sus4  
GmM7  
Gdim  
Gm7 ( 5 )  
Gaug  
Gsus4  
G7sus4  
mM7  
dim  
AmM7  
Adim  
Am7 ( 5 )  
Aaug  
Asus4  
A7sus4  
mM7  
dim  
BmM7  
Bdim  
Bm7 ( 5 )  
Baug  
Bsus4  
B7sus4  
m7 ( 5 )  
m7 ( 5 )  
aug  
aug  
sus4  
7sus4  
sus4  
7sus4  
103  
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MIDI Implementation Chart  
Date : October 15, 2008  
Model: Prelude  
MIDI Implementation Chart  
Version : 1.00  
Remarks  
Function...  
Transmitted  
Recognized  
Basic  
Channel  
Default  
Changed  
1—16  
1—16  
1—16  
1—16  
Default  
Mode 3  
Mode 3  
Messages  
Altered  
Mode 3, 4 (M = 1)  
**************  
Mode 3, 4 (M = 1)  
* 2  
Mode  
Note  
Number :  
0—127  
0—127  
0—127  
True Voice  
**************  
Note ON  
Note OFF  
O
O
O
O
Velocity  
*3  
Key’s  
Channel’s  
O
O
*3  
*3  
O
O
Aftertouch  
Pitch Bend  
O
*1  
O
*1  
0, 32  
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1  
*1  
O
*1  
*1  
Bank select  
O
Modulation  
2
X
Breath type  
4
5
X
Foot type  
O
Portamento time  
Data entry  
6, 38  
7
O
O
Volume  
8
X
Balance  
10  
O
Panpot  
11  
O
Expression  
16  
X
General purpose controller 1  
General purpose controller 2  
General purpose controller 3  
General purpose controller 4  
Hold1  
17  
X
18  
X
19  
X
64  
O
65  
O
Portamento  
Control  
Change  
66  
O
Sostenuto  
67  
O
Soft  
68  
O
Legato foot switch  
Hold2  
69  
X
70  
X
Sound variation  
Resonance  
71  
O
72  
O
Release time  
73  
O
Attack time  
74  
O
Cutoff  
75  
O
Decay time  
76  
O
Vibrato rate  
77  
O
Vibrato depth  
78  
O
Vibrato delay  
80  
O
General purpose controller 5  
General purpose controller 6  
General purpose controller 7  
General purpose controller 8  
Portamento control  
General purpose effects 1  
Tremolo  
81  
O
82  
O
83  
O
84  
O
91  
O (Reverb)  
92  
X
93  
O (Chorus)  
General purpose effects 3  
Celeste  
Phaser  
Increment, Decrement  
NRPN LSB,MSB  
RPN LSB,MSB  
94  
X
X
X
X
O
X
95  
96, 97  
98, 99  
100, 101  
102—119  
Program  
Change  
O
*1  
*1  
O
*1  
Program Number 1—128  
0—127  
: True Number  
**************  
O
System Exclusive  
O
: Song Position  
: Song Select  
: Tune  
O
X
X
O
X
X
System  
Common  
System  
Realtime  
: Clock  
: Command  
O
O
*1  
*1  
O
O
*1  
*1  
O
O
X
O
O
X
*3  
*3  
O
O
X
: All Sound Off  
: Reset All Controllers  
: Local ON/OFF  
: All Note Off  
: Active Sensing  
: System Reset  
Aux  
Messages  
O (123—127)  
O
X
*3  
* 1 O X is selectable.  
Notes  
* 2 Recognized as M=1 even if M›1.  
* 3 Transmitted from Backing Track.  
Mode 1 : OMNI ON, POLY  
Mode 3 : OMNI OFF, POLY  
Mode 2 : OMNI ON, MONO  
Mode 4 : OMNI OFF, MONO  
O : Yes  
X : No  
104  
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Specifications  
Dimensions  
Weight  
1,044 (W) x 317 (D) x 121 (H) mm  
Prelude: Music Keykoard  
Conforms to General MIDI 2 System)  
7.8 kg/17.19 lbs. (excluding AC  
adaptor)  
Accessories  
Owner’s Manual  
Keyboard  
CD-ROM  
61 keys (with velocity)  
(Style Converter 3.0, Playlist Editor)  
AC Adaptor (PSB-7U), Power Cord  
Music rest  
Sound Generator  
Maximum Polyphony  
Parts  
128 voices  
16 parts + Keyboard part  
256 MB (16-bit linear equivalent)  
Wave Memory  
Preset Memory  
Style Converter 3 System Requirements  
Performances: 128  
Tones: 896 + 256 (GM2) + World  
Rhythm Sets: 32 + 9 (GM2) + World  
Operating  
System  
Microsoft® Windows® XP  
Microsoft® Windows Vista®  
User Memory  
Effects  
Performances: 128  
* This does not work with the 64-bit Edition of  
Windows Vista®.  
MFX: Upper and Lower, 78 types  
Chorus: 3 types  
Reverb: 5 types  
CPU/Clock Pentium®/Celeron® processor  
1 GHz or higher  
Backing Track  
Backing type  
RAM  
512 MB or more  
2 MB or more  
Style, Song, USB Memory Player  
Hard Disk  
Tempo (MIDI)  
Style, Song: 20 to 250  
USB Memory Player: 5 to 300  
Display/  
Colors  
800 x 600 or higher/  
65,536 colors (16 bit High Color) or more  
Style Variations  
4 Intro, 4 Main, 4 Ending, 4 Fill In  
Sync Start, Stop  
One Touch Setting  
Others  
CD-ROM Drive  
Song (16-track  
Recorder)  
16-track, Rec mode (Mix, Replace),  
Count in, Punch In-Out, Input  
Quantize  
Playlist Editor System Requirements  
Operating  
System  
Microsoft® Windows® XP  
USB Memory Player  
999 songs  
SMF: format-0/1  
Audio File: WAV, AIFF, MP3  
Microsoft® Windows Vista®  
* This does not work with the 64-bit Edition of  
Windows Vista®.  
Preset Memory  
User Memory  
Styles: 130 + World  
CPU/Clock Pentium®/Celeron® processor  
1 GHz or higher  
Styles: 100  
Songs: 200  
RAM  
512 MB or more  
10 MB or more  
* If user memory is full, it will not  
be possible to save anything  
even though the above limit has  
not been exceeded.  
Hard Disk  
Display/Colors 1024 x 768 or higher/24 bit Full Color or more  
Others  
CD-ROM Drive  
Others  
986  
Controllers  
Control knob: 1  
Pitch Bend/Modulation Lever: 1  
* While under most conditions, a computer similar to the above  
will permit normal operation of the Prelude applications, Roland  
cannot guarantee compatibility solely on these factors. This is due  
to numerous variables that may influence the processing  
environment, such as differences in motherboard design and the  
particular combination of other devices involved.  
USB (MIDI)  
Operating System  
Windows: XP Home SP2 or later/  
Windows XP Professional SP2 or  
later/Windows Vista  
* This does not work with the 64-  
bit Edition of Windows Vista.  
962a  
* In the interest of product improvement, the specifications and/or  
appearance of this unit are subject to change without prior  
notice.  
Display  
240 x 64 dots black graphic LCD  
Connectors  
Output Jacks (L/MONO, R)  
Ext Input jack (mini jack)  
Headphones Jacks: 2  
MIDI Connectors (IN, OUT)  
Hold Pedal Jack  
Control Pedal Jack  
USB Connectors  
* All rights reserved. Unauthorized use of this material for purposes  
other than private, personal enjoyment is a violation of  
applicable laws.  
* No data for the music that is played will be output from MIDI  
OUT.  
: COMPUTER (supports USB MIDI)  
: MEMORY (supports USB 2.0 Hi-  
Speed Flash Memory)  
Speakers  
2x 10 cm  
Rated power output  
Power Supply  
Current Draw  
2x 11W  
DC 12V (AC Adaptor)  
1,200 mA  
105  
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Index  
Display Contrast ......................................................... 16  
Mode .................................................................. 19  
A
Audio File .................................................................. 30  
AUTO FILL-IN ............................................................. 24  
Expression pedal ........................................................ 15  
B
BACKING TYPE buttons ............................................... 10  
BALANCE buttons ....................................................... 10  
Bass Inversion ............................................................ 37  
F
File name ............................................................ 44, 54  
C
Parameters ............................................................ 82  
D Beam ................................................................ 46  
H
HOLD PEDAL jack ................................................ 12, 15  
Hold Pedal Switch ...................................................... 39  
Count In .................................................................... 28  
Cursor buttons ...................................................... 11, 16  
Cutoff ........................................................................ 38  
Initializing USB memory .............................................. 48  
Input Quantize ........................................................... 28  
[KEY SCALE] .............................................................. 20  
[KEY TOUCH] ...................................................... 11, 21  
D
D Beam  
DC IN jack .......................................................... 12, 14  
Decay Time ................................................................ 38  
Delay ........................................................................ 82  
Deleting  
Lock System ............................................................... 17  
LOWER MFX ............................................................. 40  
Lower MFX Chorus Send ............................................. 40  
106  
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Lower MFX Reverb Send .............................................. 40  
Lower MFX Source ...................................................... 41  
Pitch Bend Range ....................................................... 39  
[POWER] switch ................................................... 12, 15  
Preset memory ........................................................... 14  
M
Music Style (Style) ................................................. 13, 25  
MUTE ........................................................................ 25  
Rx Pitch Bend ............................................................. 43  
Rx Program Change ................................................... 43  
Rx Sync ..................................................................... 43  
N
O
One Touch function ..................................................... 26  
OUTPUT R, L/MONO jacks ......................................... 12  
[SONG REC] .................................................. 10, 26–28  
Song Rec Standby screen ............................................ 28  
SONG SELECT screen ................................................ 31  
P
[PERFORM] .......................................................... 11, 36  
PERFORM MIXER screen .............................................. 24  
Performance ......................................................... 13, 36  
107  
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Index  
System settings that are not stored ................................. 47  
System Transpose ....................................................... 45  
USB MIDI connector ............................................. 12, 44  
Adding ................................................................ 25  
Metronome ........................................................... 22  
T
Tx Program Change .................................................... 43  
Tx Song Position ......................................................... 43  
between Backing and Keyboard ............................. 23  
[WRITE] .................................................. 11, 28, 33, 39  
U
[USB MEMORY PLAYER] ........................................ 23, 31  
USB Memory Player .............................................. 13, 30  
USB MEMORY PLAYER CONTROL ................................ 31  
108  
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Information  
When you need repair service, call your nearest Roland Service Center or authorized Roland  
distributor in your country as shown below.  
PHILIPPINES  
CURACAO  
URUGUAY  
NORWAY  
JORDAN  
AFRICA  
G.A. Yupangco & Co. Inc.  
339 Gil J. Puyat Avenue  
Makati, Metro Manila 1200,  
PHILIPPINES  
Zeelandia Music Center Inc.  
Orionweg 30  
Todo Musica S.A.  
Francisco Acuna de Figueroa  
1771  
Roland Scandinavia Avd.  
MUSIC HOUSE CO. LTD.  
Kontor Norge  
FREDDY FOR MUSIC  
P. O. Box 922846  
Amman 11192 JORDAN  
TEL: (06) 5692696  
EGYPT  
Al Fanny Trading Office  
9, EBN Hagar Al Askalany  
Street,  
ARD E1 Golf, Heliopolis,  
Cairo 11341, EGYPT  
TEL: (022)-417-1828  
Curacao, Netherland Antilles  
TEL:(305)5926866  
Lilleakerveien 2 Postboks 95  
Lilleaker N-0216 Oslo  
NORWAY  
C.P.: 11.800  
Montevideo, URUGUAY  
TEL: (02) 924-2335  
TEL: (02) 899 9801  
DOMINICAN REPUBLIC  
Instrumentos Fernando Giraldez  
Calle Proyecto Central No.3  
Ens.La Esperilla  
Santo Domingo,  
Dominican Republic  
TEL:(809) 683 0305  
TEL: 2273 0074  
SINGAPORE  
SWEE LEE MUSIC  
COMPANY PTE. LTD.  
150 Sims Drive,  
SINGAPORE 387381  
TEL: 6846-3676  
KUWAIT  
EASA HUSAIN AL-YOUSIFI  
& SONS CO.  
Al-Yousifi Service Center  
P.O.Box 126 (Safat) 13002  
KUWAIT  
VENEZUELA  
Instrumentos Musicales  
Allegro,C.A.  
Av.las industrias edf.Guitar  
POLAND  
ROLAND POLSKA SP. Z O.O.  
ul. Kty Grodziskie 16B  
03-289 Warszawa, POLAND  
TEL: (022) 678 9512  
REUNION  
Maison FO - YAM Marcel  
25 Rue Jules Hermann,  
Chaudron - BP79 97 491  
Ste Clotilde Cedex,  
import  
#7 zona Industrial de Turumo  
Caracas, Venezuela  
TEL: (212) 244-1122  
TEL: 00 965 802929  
ECUADOR  
Mas Musika  
Rumichaca 822 y Zaruma  
Guayaquil - Ecuador  
PORTUGAL  
Roland Iberia, S.L.  
Portugal Office  
Cais das Pedras, 8/9-1 Dto  
4050-465, Porto, PORTUGAL  
TEL: 22 608 00 60  
TAIWAN  
ROLAND TAIWAN  
ENTERPRISE CO., LTD.  
Room 5, 9fl. No. 112 Chung  
Shan N.Road Sec.2, Taipei,  
TAIWAN, R.O.C.  
LEBANON  
Chahine S.A.L.  
George Zeidan St., Chahine  
Bldg., Achrafieh, P.O.Box: 16-  
5857  
Beirut, LEBANON  
TEL: (01) 20-1441  
REUNION ISLAND  
TEL: (0262) 218-429  
TEL:(593-4)2302364  
SOUTH AFRICA  
T.O.M.S. Sound & Music  
(Pty)Ltd.  
2 ASTRON ROAD DENVER  
JOHANNESBURG ZA 2195,  
SOUTH AFRICA  
EUROPE  
EL SALVADOR  
OMNI MUSIC  
75 Avenida Norte y Final  
Alameda Juan Pablo II,  
Edificio No.4010 San Salvador,  
EL SALVADOR  
TEL: (02) 2561 3339  
AUSTRIA  
Roland Elektronische  
Musikinstrumente HmbH.  
ROMANIA  
FBS LINES  
Piata Libertatii 1,  
535500 Gheorgheni,  
ROMANIA  
THAILAND  
Theera Music Co. , Ltd.  
100-108 Soi Verng  
OMAN  
Austrian Office  
TALENTZ CENTRE L.L.C.  
Malatan House No.1  
Al Noor Street, Ruwi  
SULTANATE OF OMAN  
TEL: 2478 3443  
TEL: (011)417 3400  
Eduard-Bodem-Gasse 8,  
A-6020 Innsbruck, AUSTRIA  
TEL: (0512) 26 44 260  
Nakornkasem, New  
TEL: (266) 364 609  
TEL: 262-0788  
Road,Sumpantawongse,  
Bangkok 10100 THAILAND  
TEL: (02) 224-8821  
Paul Bothner(PTY)Ltd.  
Royal Cape Park, Unit 24  
Londonderry Road, Ottery 7800  
Cape Town, SOUTH AFRICA  
TEL: (021) 799 4900  
RUSSIA  
MuTek  
Dorozhnaya ul.3,korp.6  
117 545 Moscow, RUSSIA  
TEL: (095) 981-4967  
GUATEMALA  
BELGIUM/FRANCE/  
HOLLAND/  
LUXEMBOURG  
Roland Central Europe N.V.  
Houtstraat 3, B-2260, Oevel  
(Westerlo) BELGIUM  
Casa Instrumental  
Calzada Roosevelt 34-01,zona 11  
Ciudad de Guatemala  
Guatemala  
QATAR  
Al Emadi Co. (Badie Studio &  
Stores)  
P.O. Box 62, Doha, QATAR  
TEL: 4423-554  
TEL:(502) 599-2888  
OCEANIA  
SLOVAKIA  
ASIA  
CHINA  
Roland Shanghai Electronics  
DAN Acoustic s.r.o.  
Povazská 18.  
HONDURAS  
Almacen Pajaro Azul S.A. de C.V.  
BO.Paz Barahona  
3 Ave.11 Calle S.O  
San Pedro Sula, Honduras  
TEL: (504) 553-2029  
TEL: (014) 575811  
AUSTRALIA/  
NEW ZEALAND  
Roland Corporation  
Australia Pty.,Ltd.  
38 Campbell Avenue  
Dee Why West. NSW 2099  
AUSTRALIA  
SAUDI ARABIA  
aDawliah Universal  
SK - 940 01 Nové Zámky  
TEL: (035) 6424 330  
CROATIA  
ART-CENTAR  
Degenova 3.  
HR - 10000 Zagreb  
TEL: (1) 466 8493  
Electronics APL  
Behind Pizza Inn  
Prince Turkey Street  
aDawliah Building,  
PO BOX 2154,  
Alkhobar 31952  
SAUDI ARABIA  
TEL: (03) 8643601  
Co.,Ltd.  
5F. No.1500 Pingliang Road  
Shanghai 200090, CHINA  
TEL: (021) 5580-0800  
SPAIN  
Roland Iberia, S.L.  
Paseo García Faria, 33-35  
08005 Barcelona SPAIN  
TEL: 93 493 91 00  
MARTINIQUE  
Musique & Son  
Z.I.Les Mangle  
97232 Le Lamantin  
Martinique F.W.I.  
TEL: 596 596 426860  
CZECH REP.  
Roland Shanghai Electronics  
Co.,Ltd.  
(BEIJING OFFICE)  
10F. No.18 3 Section Anhuaxili  
Chaoyang District Beijing  
100011 CHINA  
CZECH REPUBLIC  
DISTRIBUTOR s.r.o  
Voctárova 247/16  
CZ - 180 00 PRAHA 8,  
CZECH REP.  
For Australia  
SWEDEN  
Tel: (02) 9982 8266  
For New Zealand  
Tel: (09) 3098 715  
Roland Scandinavia A/S  
SWEDISH SALES OFFICE  
Danvik Center 28, 2 tr.  
S-131 30 Nacka SWEDEN  
TEL: (0)8 702 00 20  
SYRIA  
Technical Light & Sound  
Center  
PO BOX 13520 BLDG No.17  
ABDUL WAHAB  
KANAWATI.ST RAWDA  
DAMASCUS, SYRIA  
TEL: (011) 223-5384  
Gigamusic SARL  
10 Rte De La Folie  
97200 Fort De France  
Martinique F.W.I.  
TEL: 596 596 715222  
TEL: (2) 830 20270  
TEL: (010) 6426-5050  
CENTRAL/LATIN  
AMERICA  
DENMARK  
HONG KONG  
Tom Lee Music Co., Ltd.  
Service Division  
22-32 Pun Shan Street, Tsuen  
Wan, New Territories,  
HONG KONG  
Roland Scandinavia A/S  
Nordhavnsvej 7, Postbox 880,  
DK-2100 Copenhagen  
DENMARK  
SWITZERLAND  
Roland (Switzerland) AG  
Landstrasse 5, Postfach,  
CH-4452 Itingen,  
SWITZERLAND  
TEL:(061)975-9987  
MEXICO  
ARGENTINA  
Instrumentos Musicales S.A.  
Av.Santa Fe 2055  
(1123) Buenos Aires  
ARGENTINA  
TEL: (011) 4508-2700  
Casa Veerkamp, s.a. de c.v.  
Av. Toluca No. 323, Col. Olivar  
de los Padres 01780 Mexico  
D.F. MEXICO  
TURKEY  
ZUHAL DIS TICARET A.S.  
Galip Dede Cad. No.37  
Beyoglu - Istanbul / TURKEY  
TEL: (0212) 249 85 10  
TEL: 3916 6200  
TEL: 2415 0911  
FINLAND  
Roland Scandinavia As, Filial  
Finland  
Elannontie 5  
FIN-01510 Vantaa, FINLAND  
TEL: (0)9 68 24 020  
UKRAINE  
EURHYTHMICS Ltd.  
P.O.Box: 37-a.  
Nedecey Str. 30  
UA - 89600 Mukachevo,  
UKRAINE  
Parsons Music Ltd.  
TEL: (55) 5668-6699  
8th Floor, Railway Plaza, 39  
Chatham Road South, T.S.T,  
Kowloon, HONG KONG  
TEL: 2333 1863  
NICARAGUA  
Bansbach Instrumentos  
Musicales Nicaragua  
Altamira D'Este Calle Principal  
de la Farmacia 5ta.Avenida  
1 Cuadra al Lago.#503  
Managua, Nicaragua  
BARBADOS  
U.A.E.  
Zak Electronics & Musical  
Instruments Co. L.L.C.  
Zabeel Road, Al Sherooq Bldg.,  
No. 14, Ground Floor, Dubai,  
U.A.E.  
A&B Music Supplies LTD  
12 Webster Industrial Park  
Wildey, St.Michael, Barbados  
TEL: (246)430-1100  
GERMANY  
Roland Elektronische  
Musikinstrumente HmbH.  
Oststrasse 96, 22844  
Norderstedt, GERMANY  
TEL: (040) 52 60090  
TEL: (03131) 414-40  
INDIA  
Rivera Digitec (India) Pvt. Ltd.  
411, Nirman Kendra  
Mahalaxmi Flats Compound  
Off. Dr. Edwin Moses Road,  
Mumbai-400011, INDIA  
TEL: (022) 2493 9051  
UNITED KINGDOM  
BRAZIL  
Roland Brasil Ltda.  
Rua San Jose, 211  
Parque Industrial San Jose  
Cotia - Sao Paulo - SP, BRAZIL  
TEL: (011) 4615 5666  
Roland (U.K.) Ltd.  
Atlantic Close, Swansea  
Enterprise Park, SWANSEA  
SA7 9FJ,  
TEL: (04) 3360715  
TEL: (505)277-2557  
PANAMA  
SUPRO MUNDIAL, S.A.  
Boulevard Andrews, Albrook,  
Panama City, REP. DE  
PANAMA  
GREECE/CYPRUS  
STOLLAS S.A.  
Music Sound Light  
155, New National Road  
Patras 26442, GREECE  
TEL: 2610 435400  
UNITED KINGDOM  
TEL: (01792) 702701  
NORTH AMERICA  
INDONESIA  
PT Citra IntiRama  
Jl. Cideng Timur No. 15J-15O  
Jakarta Pusat  
INDONESIA  
TEL: (021) 6324170  
CANADA  
Roland Canada Ltd.  
(Head Office)  
5480 Parkwood Way  
Richmond B. C., V6V 2M4  
CANADA  
CHILE  
Comercial Fancy II S.A.  
Rut.: 96.919.420-1  
Nataniel Cox #739, 4th Floor  
Santiago - Centro, CHILE  
TEL: (02) 688-9540  
TEL: 315-0101  
MIDDLE EAST  
PARAGUAY  
Distribuidora De  
Instrumentos Musicales  
J.E. Olear y ESQ. Manduvira  
Asuncion PARAGUAY  
TEL: (595) 21 492147  
HUNGARY  
BAHRAIN  
Moon Stores  
No.1231&1249 Rumaytha  
Building Road 3931, Manama  
339 BAHRAIN  
KOREA  
Roland East Europe Ltd.  
Warehouse Area ‘DEPO’ Pf.83  
H-2046 Torokbalint,  
HUNGARY  
TEL: (604) 270 6626  
Cosmos Corporation  
1461-9, Seocho-Dong,  
Seocho Ku, Seoul, KOREA  
TEL: (02) 3486-8855  
COLOMBIA  
Centro Musical Ltda.  
Cra 43 B No 25 A 41 Bododega 9  
Medellin, Colombia  
Roland Canada Ltd.  
(Toronto Office)  
170 Admiral Boulevard  
Mississauga On L5T 2N6  
CANADA  
TEL: (23) 511011  
PERU  
Audionet  
Distribuciones Musicales SAC  
Juan Fanning 530  
Miraflores  
TEL: 17 813 942  
TEL: (574)3812529  
IRELAND  
Roland Ireland  
G2 Calmount Park, Calmount  
Avenue, Dublin 12  
Republic of IRELAND  
TEL: (01) 4294444  
MALAYSIA  
IRAN  
MOCO INC.  
No.41 Nike St., Dr.Shariyati Ave.,  
Roberoye Cerahe Mirdamad  
Tehran, IRAN  
Roland Asia Pacific Sdn. Bhd.  
45-1, Block C2, Jalan PJU 1/39,  
Dataran Prima, 47301 Petaling  
Jaya, Selangor, MALAYSIA  
TEL: (03) 7805-3263  
COSTA RICA  
JUAN Bansbach Instrumentos  
Musicales  
Ave.1. Calle 11, Apartado  
10237,  
San Jose, COSTA RICA  
TEL: 258-0211  
TEL: (905) 362 9707  
Lima - Peru  
TEL: (511) 4461388  
U. S. A.  
Roland Corporation U.S.  
5100 S. Eastern Avenue  
Los Angeles, CA 90040-2938,  
U. S. A.  
TEL: (021)-2285-4169  
TRINIDAD  
AMR Ltd  
Ground Floor  
Maritime Plaza  
Barataria Trinidad W.I.  
TEL: (868) 638 6385  
ITALY  
Roland Italy S. p. A.  
Viale delle Industrie 8,  
20020 Arese, Milano, ITALY  
TEL: (02) 937-78300  
VIET NAM  
VIET THUONG  
CORPORATION  
386 CACH MANG THANG  
TAM ST. DIST.3,  
HO CHI MINH CITY  
VIET NAM  
ISRAEL  
Halilit P. Greenspoon & Sons  
Ltd.  
8 Retzif Ha'alia Hashnia St.  
Tel-Aviv-Yafo ISRAEL  
TEL: (03) 6823666  
TEL: (323) 890 3700  
TEL: 9316540  
As of Jan. 1, 2009 (ROLAND)  
109  
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For China  
110  
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For EU Countries  
For the USA  
This product complies with the requirements of EMC Directive 2004/108/EC.  
FEDERAL COMMUNICATIONS COMMISSION  
RADIO FREQUENCY INTERFERENCE STATEMENT  
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the  
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential  
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in  
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee  
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or  
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the  
interference by one or more of the following measures:  
Reorient or relocate the receiving antenna.  
Increase the separation between the equipment and receiver.  
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  
Consult the dealer or an experienced radio/TV technician for help.  
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:  
(1) this device may not cause harmful interference, and  
(2) this device must accept any interference received, including interference that may cause undesired operation.  
Unauthorized changes or modification to this system can void the users authority to operate this equipment.  
This equipment requires shielded interface cables in order to meet FCC class B Limit.  
For Canada  
For the USA  
DECLARATION OF CONFORMITY  
Compliance Information Statement  
Model Name :  
Type of Equipment :  
Responsible Party :  
Prelude  
Music Keyboard  
Roland Corporation U.S.  
Address : 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938  
(323) 890-3700  
Telephone :  
(
)
For C.A. US Proposition 65  
WARNING  
This product contains chemicals known to cause cancer, birth defects and other reproductive harm, including lead.  
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R®  
602.00.0322.01  
RES 692-08  
Owner’s Manual (E) Prelude  
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