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.
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
.................................................................................................................................
.................................................................................................................................
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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).
13
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
14
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
15
Download from Www.Somanuals.com. All Manuals Search And Download.
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].
16
Download from Www.Somanuals.com. All Manuals Search And Download.
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).
17
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
18
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
19
Download from Www.Somanuals.com. All Manuals Search And Download.
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
20
Download from Www.Somanuals.com. All Manuals Search And Download.
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
21
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Tone (MELODY INTELL)
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
“Adding Harmony to the Upper Tone (MELODY INTELL)” (p. 22)
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
27
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
29
Download from Www.Somanuals.com. All Manuals Search And Download.
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
30
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
34
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
37
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
50
Download from Www.Somanuals.com. All Manuals Search And Download.
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
51
Download from Www.Somanuals.com. All Manuals Search And Download.
MEMO
52
Download from Www.Somanuals.com. All Manuals Search And Download.
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
53
Download from Www.Somanuals.com. All Manuals Search And Download.
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
54
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
56
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
57
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
MEMO
101
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
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
C
Parameters ............................................................ 82
D Beam ................................................................ 46
H
Hold Pedal Switch ...................................................... 39
Count In .................................................................... 28
Cursor buttons ...................................................... 11, 16
Cutoff ........................................................................ 38
Input Quantize ........................................................... 28
[KEY SCALE] .............................................................. 20
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
Download from Www.Somanuals.com. All Manuals Search And Download.
Lower MFX Reverb Send .............................................. 40
Lower MFX Source ...................................................... 41
M
Music Style (Style) ................................................. 13, 25
MUTE ........................................................................ 25
Rx Pitch Bend ............................................................. 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
Download from Www.Somanuals.com. All Manuals Search And Download.
Index
System settings that are not stored ................................. 47
System Transpose ....................................................... 45
Adding ................................................................ 25
Metronome ........................................................... 22
T
Tx Program Change .................................................... 43
Tx Song Position ......................................................... 43
between Backing and Keyboard ............................. 23
U
[USB MEMORY PLAYER] ........................................ 23, 31
USB Memory Player .............................................. 13, 30
USB MEMORY PLAYER CONTROL ................................ 31
108
Download from Www.Somanuals.com. All Manuals Search And Download.
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
Download from Www.Somanuals.com. All Manuals Search And Download.
For China
110
Download from Www.Somanuals.com. All Manuals Search And Download.
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.
Download from Www.Somanuals.com. All Manuals Search And Download.
R®
602.00.0322.01
RES 692-08
Owner’s Manual (E) Prelude
Download from Www.Somanuals.com. All Manuals Search And Download.
|