O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland XV-5080.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUC-
TIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and “IMPORTANT NOTES” (p. 5). These
sections provide important information concerning the proper operation of the unit. Addi-
tionally, in order to feel assured that you have gained a good grasp of every feature provided
by your new unit, Owner’s Manual and Quick Start should be read in its entirety. The manual
should be saved and kept on hand as a convenient reference.
N o ta tio n Use d in Th is O w n e r’s Ma n u a l
To make operation procedures easy to understand, the following notation system is
adopted:
Characters and numbers in square brackets [ ] indicate buttons on the front panel. For
example, [PATCH] represents the PATCH button and [ENTER] the ENTER button.
An asterisk (*) at the beginning of a paragraph indicates a note or precaution.
(p. **) refers to pages within the manual.
* The display screens printed in this owner’s manual are based on the factory settings.
However, please be aware that in some cases they may differ from the actual factory settings.
* Microsoft and MS-DOS are registered trademarks of Microsoft Corporation.
* Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation.
* Windows® 3.1 is known officially as: “Microsoft® Windows® operating system Version 3.1.”
* Windows® 95 is known officially as: “Microsoft® Windows® 95 operating system.”
* Windows® 98 is known officially as: “Microsoft® Windows® 98 operating system.”
* MacOS is a trademark of Apple Computer, Inc.
* Zip is a trademark of Iomega Corporation.
* SmartMedia is a trademark of Toshiba Corporation.
* All product names mentioned in this document are trademarks or registered trademarks of their
respective owners.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
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The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a damp cloth.
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
11. Only use attachments/accessories specified by the
manufacturer.
12. Never use with a cart, stand, tripod, bracket,
or table except as specified by the
manufacturer, or sold with the apparatus.
When a cart is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
WARNING:
THIS APPARATUS MUST BE EARTHED
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
2
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USIN G THE UN IT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
•
The unit should be connected to a power supply
only of the type described in the operating instruc-
tions, or as marked on the unit.
•
Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
•
..........................................................................................................
Do not open or perform any internal modifica-
tions on the unit. (The only exception would be
where this manual provides specific instructions
which should be followed in order to put in place
user-installable options; see QuickStart (p. 3, p.
34), Reference Manual (p. 181).)
•
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!
..........................................................................................................
..........................................................................................................
•
Do not attempt to repair the unit, or replace parts
•
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.
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.
..........................................................................................................
•
Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
..........................................................................................................
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
..........................................................................................................
•
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.
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
..........................................................................................................
•
•
This unit should be used only with a rack or stand
that is recommended by Roland.
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
•
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.
..........................................................................................................
3
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•
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.
..........................................................................................................
•
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.
..........................................................................................................
•
Always turn the unit off and unplug the power
cord (QuickStart p. 8) before attempting instal-
lation of the circuit board (SRX series, SR-JV80
series ; QuickStart p. 3).
•
The unit should be located so that its location or
position does not interfere with its proper venti-
lation.
..........................................................................................................
•
Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
•
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.
..........................................................................................................
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
•
Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
•
Before moving the unit, disconnect the power
plug from the outlet, and pull out all cords from
external devices.
..........................................................................................................
•
Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (QuickStart
p. 12).
..........................................................................................................
•
Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
•
Install only the specified circuit board(s) (SRX
series, SR-JV80 series). Remove only the specified
screws (Quick Start p. 4).
..........................................................................................................
•
Should you remove the optical connector caps,
make sure to put them in a safe place out of
children's reach, so there is no chance of them
being swallowed accidentally.
..........................................................................................................
4
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IMPO RTAN T N O TES
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2
and 3, please read and observe the following:
Po w e r Su p p ly
Ad d itio n a l Pre ca u tio n s
•
Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
•
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, a memory card.
Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory, a memory
card, or another MIDI device (e.g., a sequencer) once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
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.
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.
•
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.
•
•
Pla ce m e n t
•
This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
•
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.
To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
•
•
•
•
•
A small amount of heat will radiate from the unit during
normal operation.
Ma in te n a n ce
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.
The display screens printed in this owner’s manual are based
on the factory settings. However, please be aware that in
some cases they may differ from the actual factory settings.
•
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.
•
•
•
Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/ or
deformation.
Re p a irs a n d Da ta
Be fo re Usin g Ca rd s
•
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 Memory
Card, 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.
Usin g DATA Ca rd s
•
Carefully insert the DATA card all the way in—until it is
firmly in place.
Me m o ry Ba ck u p
•
This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this
battery becomes weak, the message shown below will
appear in the display. Once you see this message, have the
battery replaced with a fresh one as soon as possible to
avoid the loss of all data in memory. To have the battery
replaced, consult with your retailer, the nearest Roland
Service Center, or an authorized Roland distributor, as
listed on the “Information” page.
•
•
Insert memory cards with the gold contacts facing
downwards.
Never touch the terminals of the DATA card. Also, avoid
getting the terminals dirty.
“Battery Low”
5
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USING THE UNIT SAFELY......................................................................3
Features.................................................................................................11
Panel Descriptions................................................................................12
Front Panel................................................................................................................................................. 12
Auditioning Sounds on the XV-5080 (Phrase Preview)...................................................................... 16
Setting the Way In Which Sounds Are Previewed................................................................... 16
Playing a Patch on the XV-5080 from External MIDI Devices (MIDI Keyboard) ........................... 17
Setting the XV-5080’s MIDI Reception Channels ..................................................................... 17
Selecting Sound Libraries........................................................................................................................ 18
Basic Procedure for Selecting a Patch......................................................................................... 19
Selecting Patches by Category (Patch Finder) .......................................................................... 19
Selecting Patches and Rhythm Sets from an External MIDI Device...................................... 21
Setting a Patch’s Pitch in Octave Steps (Octave Shift) ........................................................................ 23
Selecting How a Patch Will Play (Polyphonic/ Monophonic) ........................................................... 23
Turning Effects On/ Off........................................................................................................................... 24
Patch Mode Settings................................................................................................................................. 24
Making Multi-Effects Settings..................................................................................................... 26
Making Chorus Settings............................................................................................................... 26
Making Multi-Effects Settings..................................................................................................... 31
Making Chorus Settings............................................................................................................... 32
Rhythm Set Mode Settings...................................................................................................................... 36
Making Multi-Effects Settings..................................................................................................... 37
Making Chorus Settings............................................................................................................... 38
Making Reverb Settings ............................................................................................................... 39
Settings in General MIDI Mode.............................................................................................................. 41
Parameters for Each Multi-Effects ......................................................................................................... 41
Patch Mode Settings............................................................................................................................... 107
Rhythm Set Mode Settings.................................................................................................................... 114
Signal (RHYTHM TONE) Flow ................................................................................................ 114
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Digital Connections Using R-BUS........................................................................................................ 119
Settings for the Digital Interface ([SYSTEM/ UTILITY] - [F2 (Output)]) ............................ 119
Eight-Channel R-BUS Digital Connection ............................................................................... 120
Digital Output to an ADAT....................................................................................................... 121
Digital Output to an AES/ EBU Device.................................................................................... 123
Synchronizing the XV-5080 to the Word Clock arriving at WORD CLOCK IN ........................... 124
How a Tone Is Organized .......................................................................................................... 125
How a Partial Is Organized ....................................................................................................... 126
Selecting the Tones That Will Sound (Tone On/ Off)........................................................................ 126
Settings Common to the Entire Patch.................................................................................................. 127
Common (Patch Common)........................................................................................................ 127
Control (Patch Control).............................................................................................................. 129
Creating Four-Tone Patches.................................................................................................................. 134
Tips for Creating a Patch............................................................................................................ 134
More Advanced Editing of Tones............................................................................................. 134
Tips for Selecting a Waveform .................................................................................................. 135
Modifying the Waveform and Pitch ([F2] (WG)) ................................................................... 136
Using the Filter to Modify the Brightness ([F3 (TVF)]).......................................................... 140
Changing the Volume and Stereo Location ([F4 (TVA)])...................................................... 143
Editing Partials ............................................................................................................................ 149
Editing Samples........................................................................................................................... 150
Using the Filter to Modify the Brightness ([F3 (TVF)]).......................................................... 152
Saving Patches You Create.................................................................................................................... 158
Copying the Settings of Another Patch (Patch Tone Copy)............................................................. 158
Basic Ways to Use Performances ......................................................................................................... 159
Establishing Settings for an Entire Performance (COMMON)........................................................ 160
Comparing the Settings of Each Part as You Make Settings................................................. 161
Selecting the Patch, and Setting the Volume, Pan, Pitch, and Polyphony.......................... 162
Editing the Attack and Release of the Sound and Changing the Way the Sound is Played ..
163
Establishing a Part’s MIDI Settings .......................................................................................... 164
Confirming MIDI Information for Each MIDI Channel........................................................ 166
Saving Performances You Create......................................................................................................... 166
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Editing a Patch or Rhythm Set in the Performance Mode................................................................ 167
How Percussion Instruments Are Organized .................................................................................... 168
Using a MIDI Keyboard to Select a Percussion Instrument for Editing......................................... 168
Settings Common to an Entire Rhythm Set ........................................................................................ 169
Tips for Selecting a Waveform .................................................................................................. 170
Modifying the Waveform, Pan and Pitch ([F2 (Key WG)])................................................... 171
Tune............................................................................................................................................... 172
Using the Filter to Modify the Brightness ([F3 (Key TVF)]).................................................. 175
Saving the Rhythm Set You Create...................................................................................................... 179
Copying Settings from Some Other Rhythm Tone............................................................................ 180
Installing the SIMM (Memory Module)................................................................................... 181
Cautions When Installing SIMM .............................................................................................. 181
Removing SIMMs........................................................................................................................ 182
With Sampler Libraries .............................................................................................................. 185
About Each Sampler Library Folder Type (Display)............................................................. 187
Sample Load ................................................................................................................................ 188
Auto Load..................................................................................................................................... 189
Playing Back Loaded Sampler Libraries ............................................................................................. 190
Loading Data Saved on a Zip Disk ...................................................................................................... 190
Individually Loading Patches, Performances, or Rhythm Sets............................................ 190
Loading Data Stored on Memory Cards............................................................................................. 191
Sample-Related Utilities ........................................................................................................................ 191
Sending and Receiving Samples (Sample Dump).................................................................. 191
Saving Edits to the XV-5080’s Internal Memory (Write) .................................................................. 194
a Part in a Performance .............................................................................................................. 195
Formatting a Zip Disk/ Hard Disk (Format)........................................................................... 200
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Transmitting to User Memory................................................................................................... 204
Registering Favorite Patches in the FAVORITE LIST....................................................................... 207
Selecting Patches from the FAVORITE LIST...................................................................................... 207
Settings Common to the Entire XV-5080 ([SYSTEM/ UTILITY] - [F1 (General)])......................... 208
Setting the Tuning and Volume Settings................................................................................. 209
Setting the System Tempo ......................................................................................................... 209
Making the Equalizer Settings ([SYSTEM/ UTILITY] - [F2 (Outp&EQ)] - [F2 (EQ)]) .................. 211
Making the System Exclusive Settings..................................................................................... 212
Specifying the Reception Status for Each Tone ...................................................................... 212
Connecting Two or More XV-5080s to Increase Polyphony ................................................. 214
Selecting Common Controllers ([SYSTEM/ UTILITY] - [F4 (Control)])......................................... 215
Confirming the Current Status ([SYSTEM/ UTILITY] - [F6 (Info)])................................................ 215
Controlling the XV-5080 in Real Time Using an External MIDI Device ........................................ 217
Modifying Tone Settings............................................................................................................ 218
Applications for Patches........................................................................................................................ 219
Syncing the LFO Cycle to System Tempo ............................................................................... 219
Modifying Multi-Effects to Match the System’s Tempo........................................................ 219
Making a Tone’s Delay Time Match the System Tempo....................................................... 220
Playing Phrase Loops at a System’s Tempo............................................................................ 220
Changing the Part Settings from an External MIDI Device ............................................................. 221
Using the XV-5080 as a General MIDI Sound Module ..................................................................... 224
Turning Effects On/ Off.............................................................................................................. 225
Modifying GM Mode Settings................................................................................................... 225
Troubleshooting..................................................................................232
Can’t select the Part for which to make settings................................................................................ 232
Effects do not apply................................................................................................................................ 233
Memory Card cannot be used .............................................................................................................. 233
Song data does not playback correctly................................................................................................ 233
The SCSI device is not being recognized. ........................................................................................... 233
Error Messages...................................................................................235
About SCSI ..........................................................................................239
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SCSI Devices That Can Be Used................................................................................................ 239
What you need to know before making connections........................................................................ 239
About SCSI Chains...................................................................................................................... 239
About Terminators...................................................................................................................... 239
About SCSI ID Numbers............................................................................................................ 240
Making Connections................................................................................................................... 240
Parameter List.....................................................................................241
Patch Parameters......................................................................................................................... 241
Rhythm Set Parameters .............................................................................................................. 252
GM Mode Parameters................................................................................................................. 255
System Parameters...................................................................................................................... 276
Specifications......................................................................................306
1 0
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Fe a tu re s
1 2 8 -Vo ice Po ly p h o n y a n d 3 2 -
Pa rt Mu ltitim b ra lity
Dig ita l O u t a n d R-BUS fo r
Co m p le te Co m p a tib ility w ith
Dig ita l Sy ste m s
The XV-5080 is a 32-part multitimbral sound generator that
produces up to 128 simultaneous polyphonic voices. It provides
ample polyphony, even with Patches containing multiple Tones.
The XV-5080’s output systems not only include eight parallel
analog outs that can also be used as four stereo pairs, but also S/
P DIF digital outputs (optical and coaxial) and R-BUS digital out
as well. Using R-BUS lets you simply output eight analog
outputs as eight-channel digital audio. And you can connect the
XV-5080 to Roland’s VM-3100Pro or VM-7000 Series with just
one cable.
Cre a te Am a zin g ly Ex p re ssive
To n e s
With Patches containing four stereo Tones, as well as four-Tone
instruments in Rhythm Sets—you can use up to a total of eight
wave types—the XV-5080 takes you the next step beyond
Roland’s previous generation of JV-Series modules, providing
even more precise control and allowing you to create lusher,
more expressive sounds.
Furthermore, the XV-5080 includes a Word Clock In as a
standard feature.
Su p p o rts Ge n e ra l MIDI sy ste m
Le ve l 2
The XV-5080 provides a mode compatible with General MIDI
System Level 2, the standard format for desktop music (DTM)
systems. The upwardly compatible General MIDI 2 standards
pick up where the original General MIDI standard left off,
offering enhanced expressive capabilities and even greater
compatibility. You can play back commercially available General
MIDI-compatible song data.
Po w e rfu l In te rn a l Effe cts,
In clu d in g CO SM Effe cts
The internal effects have been completely rethought and
improved. The reverb, the XV-5080’s most central effect,
incorporates the high-quality SRV-3030 DSP, allowing the
instrument itself to give great spatial definition with superior,
clear sound.
In addition, the XV-5080 features Multi-effects (MFX) with 90
kinds of effects, including RSS and 3D Delay, Slicer, and
Formant Filter. What’s more, the XV-5080 also features a variety
of combinations of different effects, such as the Guitar Amp
Simulator, made possible with COSM technology; Guitar Multi,
which lets you get just the right guitar, bass, and keyboard
sounds; Bass Multi, and Keyboard Multi, all of which let you
create even more powerful sounds. Furthermore, you can use
three different MFX systems when in Performance mode, and
use each MFX on any Part you select.
Gre a te r Ex p a n sio n Po ssib ilitie s
w ith th e N e w -Fo rm a t W a ve
Ex p a n sio n Bo a rd s
The XV-5080 accepts up to four of Roland’s new-format Wave
Expansion Boards (SRX Series). In addition, you can add four
previous-generation Wave Expansion Boards (SR-JV Series).
All of this provides you unprecedented power in creating
sounds from a massive amount of waveform data.
On top of all this, each output is supplied with two-band EQ.
Fe a tu rin g th e Pa tch Fin d e r a n d
Ph ra se Pre vie w Fu n ctio n s
Sa m p le Pla y b a ck Fu n ctio n Le ts
Yo u Ad d W a ve s
The XV-5080 provides a Patch Finder function that allows you to
quickly find Patches of a specified type or category.
By expanding with SIMM (72-pin, 64/ 32/ 16 MB) memory
modules, you can add the sample playback function to the XV-
5080. With a CD-ROM drive connected to the SCSI connector,
you can then load Roland’s S-700 Series and other CD-ROM
libraries. You of course can perform using existing sampled
tones just as they are, but you can also synthesize internal
Patches into a single Wave. Additionally, since you can also save
the wave data of loaded samples to SmartMedia cards, you can
easily take pre-existing samples for use in your live
performances, even with no CD-ROM drives or hard disks
connected.
Press the XV-5080’s [PHRASE PREVIEW] button to preview the
selected Patch with a musically appropriate Phrase.
Re g iste rin g a Pa tch in th e
FAVO RITE LIST
You can keep the Patches that you like to use all in one place by
registering them on the Favorite List. The FAVORITE LIST gives
you immediate access to your favorite Patches, whether they are
in the XV-5080 itself, on Wave Expansion Boards, or on memory
cards. You can register up to 64 Patches in this list.
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Pa n e l De scrip tio n s
Fro n t Pa n e l
fig.0-001
E
D
F
B
G
J
C
H
I
A
The function name is shown in the display.
When “ ” appears next to the function name in the lower row
A
of the screen, it means that there are one or more further pages.
Press the corresponding [F1]-[F6] buttons to switch to such
pages.
VO LUME Kn o b (PHRASE PREVIEW )
This adjusts the volume from the A (MIX) OUTPUT jacks and
PHONES jacks. The volume from the OUTPUT B, C and D jacks
cannot be adjusted.
[EXIT]
You can press the knob to listen to the XV-5080 without using
any external devices. (Phrase Preview function; p. 16)
to cancel an operation before executing it.
Hold [EXIT] and press [
Start; p. 14)
] to hear the demo songs. (Quick
PHO N ES Ja ck
Headphones are plugged in here. (Quick Start; p. 11)
D
B
VALUE Dia l (SO UN D LIST)
Disp la y
Use this to modify the values of a setting. If you hold down
[SHIFT] as you turn the VALUE dial, the parameter’s value will
change by larger increments.
The display presents a variety of information about the
operation being performed.
Press this dial in Patch/ Rhythm Set mode to display a list
showing the collection of your favorite sounds. (p. 207)
C
Pressing the VALUE dial while “
” appears in the upper right
of the screen displays the list for the screen.
[SYSTEM/ UTILITY]
The screen displayed switches each time the button is pressed,
rotating through the System mode, Utility mode, and original
screens.
[PATCH FIN DER]
You can select a Patch using the Patch Finder function. (p. 19)
System Mode (the indicator is lit)
This allows you to make settings that affect the entire XV-5080.
Utility Mode (the indicator is blinking)
[IN C]/ [DEC] (In cre m e n t/ De cre m e n t)
Use these to modify the values of a setting. If you keep on holding
down one button while pressing the other, the value change
accelerates. If you press one of these buttons while holding down
[SHIFT], the value will change in bigger increments.
This allows you to perform operations such as saving, copying,
initializing, transferring data, write-protecting data, and factory
reset operations.
[F1 ]–[F6 ]
[
] [
] [ ] [
]
The functions of these buttons change depending on the selected
page.
Use these buttons to move the cursor.
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Pa n e l De scrip tio n s
E (MO DE)
H
[PERFO RM] (Pe rfo rm a n ce )
[SHIFT]
Pressed to get into Performance mode. (p. 17)
this button changes the functions of other buttons.
Press this button while holding down [SHIFT] to switch to Part
Play mode, enabling you to make changes to the settings for the
Patch and Rhythm Set assigned to each Part. (p. 167)
Use this to restore a modified parameter value to its original
setting.
[PATCH]
Pressed to get into Patch mode. (p. 17)
[DISK]
[RHYTHM] (Rh y th m Se t)
Selects Disk mode.
Selects Rhythm Set mode. (p. 17)
[EFFECTS O N / O FF]
[GM]
Use this to turn the internal effects (Multi-effects, Chorus,
Press this to enter General MIDI mode. (p. 17)
I
F (SO UN D LIBRARY)
MEMO RY CARD Slo t
[USER]
Selects a sound from the USER library. (p. 18)
[CARD]
J
Selects a sound from an installed memory card, sold separately.
(p. 18)
[MIDI MESSAGE/ RX] (MIDI Me ssa g e
In d ica to r/ Re ce ive Sw itch )
[PRESET]
MIDI MESSAGE: This will light when a MIDI message is
Selects a sound from the PRESET library. (p. 18)
RX: This turns Parts on and off in Performance mode and GM
mode. (p. 159)
[EXP]
Selects a sound from a Wave Expansion Board (sold separately).
(p. 18, Quick Start; p. 22)
[1 -1 6 / 1 7 -3 2 ]
This specifies whether the PART SELECT [1/ 17]–[16/ 32] buttons
will select Parts 1–16 or Parts 17–32.
G
When this button is lit, Parts 17–32 can be selected.
PART SELECT [1 / 1 7 ]–[1 6 / 3 2 ]
PO W ER Sw itch
Selects a Part whose settings you wish to change. (p. 160)
Switches each Part on or off. (p. 159)
Turns the XV-5080’s power on and off. (Quick Start; p. 12)
TO N E SW ITCH [1 ]–[4 ]
Switches each Tone on or off. (p. 126)
TO N E SELECT [1 ]–[4 ]
Selects a Tone whose settings you wish to change. (p. 134)
[A]–[H]
Selects a sound from the Sound Library.
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Pa n e l De scrip tio n s
Re a r Pa n e l
fig.0-002
L
K
N
M
O
Q
P
K
O (O UTPUT)
AC IN (AC In le t)
1 –8 IN DIVIDUAL O UTPUT Ja ck s
Connect the included power cable here. (Quick Start; p. 11)
These jacks output audio signals in mono to an amp or
mixer. (Quick Start; p. 11)
L (MIDI)
P (DIGITAL AUDIO O UT)
MIDI Co n n e cto rs (IN 1 / 2 , O UT, THRU)
R-BUS (RMDB 2 ) Co n n e cto r (O UTPUT A-
D/ 1 -8 )
These connectors connect the XV-5080 with other MIDI
devices, enabling the sending and receiving of MIDI
messages. (Quick Start; p. 11)
8-out 24 bit digital audio connector. Use this for connecting
to the device such as Roland VM-3100Pro and DIF-AT.
IN 1, 2: Receive messages from other MIDI devices.
OUT: Transmits messages to a MIDI device.
THRU: MIDI messages received at MIDI IN 1 are re-
Only the R-BUS devices listed in the Owner’s Manual may be
connected to the R-BUS (RMDB2) connector. Be careful not to
connect any other devices (such as SCSI-type devices, RS-
232C-type devices, parallel-type devices, etc.) even though
they have similar-looking connectors. Use only a specially
designed R-BUS (RMDB2) cable to make connections.
transmitted without change from this connector.
M (O UTPUT)
A (MIX) O UTPUT Ja ck s (L (MO N O ), R)
These jacks send audio signals in stereo (L/ R) from the XV-
5080 to an amp or mixer. For mono output, use the L jack.
(Quick Start; p. 11)
RMDB II, RMDB 2, and R-BUS refer to the same Roland
standard.
These jacks are used when the SYSTEM SETUP Mix/ Parallel
parameter is set to “MIX.” (p. 109, p. 112, p. 116, p. 118)
k Hz)
* The XV-5080, as shipped from the factory, routes the output of
all PRESET Patches to these jacks.
This is a connector for input of the word clock used for
synchronizing external digital devices (BNC type). (p. 124)
N (O UTPUT)
* The XV-5080’s digital out is not compatible with sampling
frequencies (word clock) other than 44.1 or 48 kHz.
B, C, D O UTPUT Ja ck s (L, R)
These jacks send audio signals in stereo (L/ R) from the XV-
5080 to an amp or mixer. (Quick Start; p. 11)
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Pa n e l De scrip tio n s
S/ P DIF O UT Co n n e cto r
The XV-5080 features both optical and coaxial digital out
connectors (conforming to S/ P DIF).
S/P DIF: This is a digital interface format used for consumer
digital audio devices.
* About the Optical Connector Protecting Cap
•
•
•
If you remove the protecting cap, be sure to keep in a
safe place to prevent loss.
Always place the protecting cap on the optical connector
when the connector is not in use.
If you use the optical connector, be sure that the
connector cover you removed is placed out of the reach
of children.
Q
SCSI Co n n e cto r
This is a DB-25 type SCSI connector for connecting SCSI
devices such as a CD-ROM drive, a Zip disk drive or a hard
disk drive.
Rotate the ID switch to set the SCSI ID numbers so that none
of the devices have the same ID number. (p. 239)
* On the XV-5080, “8” and “9” of the ID switch are not used.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
4 . Either by rotating the VALUE dial or by pressing [INC]/
Au d itio n in g So u n d s o n th e
[DEC], set the value.
XV-5 0 8 0 (Ph ra se Pre vie w )
5 . Press [EXIT] to return to the previous page.
The Phrase Preview feature allows you to audition Patches
on the XV-5080 even when it’s not connected to a MIDI
Pre vie w Mo d e
keyboard or sequencer. You can preview a Patch using a
PHRASE: The Phrase associated with the Patch’s type/
Phrase that’s appropriate to the Patch’s type or category.
category is played.
1 . Press [PATCH], getting its indicator to light.
CHORD: The notes specified by PREVIEW KEY will play
together as a chord.
2 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
SINGLE: The notes specified by PREVIEW KEY will sound
desired Patch.
one after another.
3 . Press and hold the VOLUME knob.
The phrase prepared for the Patch will play while the knob is
pushed.
Pre vie w 1 –4 N o te N u m b e r
Specifies the four notes (C -1–G9) that will be heard during a
preview when “SINGLE” or “CHORD” is selected for
Preview Mode.
* When you preview a Rhythm Set, the XV-5080 plays a
percussion Phrase. Phrase Preview also allows you to audition
a Performance — when you preview a Performance, you hear a
Phrase appropriate to the currently selected Part.
* If “PHRASE” is selected for Preview Mode, these settings will
have no effect.
* A USER Patch or a Patch from an optional Wave Expansion
Board (SRX/SR-JV80 series) may not preview in its normal
Pre vie w 1 –4 Ve lo city
pitch range. If this occurs, press [
] or [
] (Octave Shift
Specifies the volume (0–127) of the four notes that will sound
when “SINGLE” or “CHORD” is selected for Preview Mode.
* If the pitch range of a Phrase is wider than the range of the
Part within a Performance (p. 161), any notes in the Phrase
that fall outside that range will not be heard.
* If “PHRASE” is selected for Preview Mode, these settings will
have no effect.
Se ttin g th e W a y In W h ich So u n d s
Are Pre vie w e d
fig.01-000.e_70
You can preview a Patch in any of three ways: “PHRASE”
(the Patch plays a Phrase), “CHORD” (the Patch plays a
chord), or “SINGLE” (the Patch plays a series of notes).
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.
The System page will appear.
* If the indicator is blinking, you are in UTILITY mode. In this
case, press [SYSTEM/UTILITY] once again to make its
indicator light.
2 . Press [F5 (Preview)].
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
6 . After making the setting, press [EXIT].
Pla y in g a Pa tch o n th e XV-
5 0 8 0 fro m Ex te rn a l MIDI
De vice s (MIDI Ke y b o a rd )
Se le ctin g a Mo d e (Pa tch ,
Pe rfo rm a n ce , o r Rh y th m Se t)
The XV-5080 produces sound in response to MIDI messages
that it receives from an external MIDI device such as a MIDI
keyboard or sequencer. In order for this to occur, the MIDI
transmission channels of the external device must match the
MIDI reception channels of the XV-5080.
In addition to Patch mode, the XV-5080 also features three
other modes: Performance mode, Rhythm Set mode, and
GM2 mode.
You can easily switch modes simply by pressing the MODE
For details on setting the MIDI transmission channels of your
button (PERFORM/ PATCH/ RHYTHM/ GM) for each mode.
fig.01-001.e
external MIDI device, refer to its owner’s manual.
Se ttin g th e XV-5 0 8 0 ’s MIDI
Re ce p tio n Ch a n n e ls
PERFO RM (Pe rfo rm a n ce Mo d e )
In Pa tch m o d e
In this mode, the XV-5080 functions as a multi-timbral sound
generator, and Performance settings can be modified.
In order to play single Patches, set the XV-5080’s MIDI
reception channel as follows.
1 . Press [SYSTEM], getting the indicator to light.
PATCH (Pa tch Mo d e )
In this mode, you can play an individual Patch from the
keyboard or modify Patch settings.
* If the indicator is blinking, you are in UTILITY mode. In this
case, press [SYSTEM/UTILITY] once again to make its
indicator light.
RHYTHM (Rh y th m Se t Mo d e )
2 . Press [F3 (MIDI)].
This is how you can play a Rhythm Set from the keyboard
and modify the Rhythm Set settings. XV-5080 Rhythm Sets
can also be used for any Part in a Performance when in
Performance mode.
3 . Use the [
]/ [
] button to move the cursor to “Patch
Receive Channel.”
4 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
GM (Ge n e ra l MIDI2 Mo d e )
5 . After making the setting, press [EXIT].
In this mode, the XV-5080 functions as a General MIDI 2-
compatible sound generator.
Pa rts o f a Pe rfo rm a n ce
General MIDI is a set of recommendations which seeks to
provide a way to go beyond the limitations of proprietary
designs, and standardize the MIDI capabilities of sound
generating devices. Sound generating devices and music files
that meet the General MIDI standard bear the General MIDI
In order to play any of the 16 Parts in a Performance, you
must set the MIDI reception channel for the Part.
1 . Select the Performance you wish to use.
2 . Press [F4 (MIDI)].
logo (
). Music files bearing the General MIDI logo can
3 . Press one of the [1/ 17]–[16/ 32] buttons to select the Part
you want to set. To select Parts 17–32, press [1-16/ 17-32],
getting its indicator to light, and then press the desired
PART SELECT [1/ 17]–[16/ 32] button.
be played back using any General MIDI sound generating
unit to produce essentially the same musical performance.
The upwardly compatible General MIDI 2 (
)
recommendations pick up where the original General MIDI
left off, offering enhanced expressive capabilities, and even
greater compatibility. Issues that were not covered by the
original General MIDI recommendations, such as how
sounds are to be edited, and how effects should be handled,
have now been precisely defined. Moreover, the available
sounds have been expanded. General MIDI 2 compliant
The indicator will light, and the Part number will appear in
the upper right of the screen.
4 . Press [
]/ [
] to move the cursor to “Channel.”
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
desired value.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
sound generators are capable of reliably playing back music
files that carry either the General MIDI or General MIDI 2
logo. In some cases, the conventional form of General MIDI,
which does not include the new enhancements, is referred to
as “General MIDI 1” as a way of distinguishing it from
General MIDI 2.
You can directly select Tones contained on the card — even
without loading the files into the USER memory — by
assigning banks (CD-A through CD-H) to the files on the
card.
PRESET
Patches, Rhythm Sets and Performances can be stored in the
following memory locations within each library group.
The PRESET library group contains the sounds that are
permanently stored in the XV-5080’s memory. Performances
are found only in PR-A and B. However, you can modify its
sounds and save them as new sounds in the USER group.
PATCH
RHYTHM
PERFORM
USER
CARD
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
PR-H
XP-A
:
1–128
*
1, 2, 3, 4
1–64
*
EXP (Ex p a n sio n )
*
Select this group to use the tones stored on wave expansion
boards (SRX Series, SR-JV80 Series; sold separately) inserted
in the EXP-A through -H slots. You cannot alter the contents
of the EXP group, though you can modify its sounds and
save them as new sounds in the USER group. The number of
Patches and Rhythm Sets in the EXP group depends on the
specific wave expansion boards installed. The EXP group
contains no Performances. (Precautions When Installing
Wave Expansion Board (Quick Start; p. 3))
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–256
*
1, 2
1, 2
1, 2
1, 2
1, 2
1, 2
1, 2
1, 2, 3, 4
*
1–32
1–32
—
—
—
—
—
—
*
It is not possible to select an EXP Patch unless a wave
expansion board is inserted into the corresponding slot.
—
:
:
:
* CARD sounds can be selected only if a SmartMedia card is
inserted into the MEMORY CARD slot.
XP-H
*
*
—
–: None
*: Differs by type
Se le ctin g So u n d Lib ra rie s
On the XV-5080, tone data is stored in what are called
“SOUND LIBRARY.” The SOUND LIBRARY is divided into
four “groups”: USER, CARD, PRESET, and EXP.
You can easily select the desired group simply by pressing
the SOUND LIBRARY button (USER/ CARD/ PRESET/ EXP)
for each group.
fig.01-002.e
USER
You can store your own Patches, Rhythm Sets and
Performances in the SOUND LIBRARY’s USER group. Save
the tones that you create to this library.
CARD
This library uses sounds from a commercially available
memory card (SmartMedia) inserted into the MEMORY
CARD slot.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
If you want to get even more information, carry out the
following operation.
Se le ctin g a Pa tch
3 . Press the VALUE dial.
Ba sic Pro ce d u re fo r Se le ctin g a
Pa tch
The Group List window will appear.
4 . Rotate the VALUE dial to select a group.
Turn the VALUE dial or press [INC]/ [DEC] to select the
desired Patch.
5 . Press [F6 (Select)] to call up the Category List window.
6 . By rotating the VALUE dial, move the cursor to the
desired Patch, and then press [F6 (Select)].
VALUE Dia l
The Patches of the selected category will be displayed in
To move quickly through the available Patches:
sets of 10.
ig.01-003a.e_70
Turn the VALUE dial while pressing it or, if you prefer, turn
the VALUE dial while pressing [SHIFT].
[IN C]/ [DEC]
To move quickly upward through the available Patches:
Hold down [INC] and press [DEC]. Alternatively, hold down
[SHIFT] and press [INC].
7 . Pressing the [VOLUME] knob (PHRASE PREVIEW)
To move quickly downward through the available
Patches:
allows you to audition the selected Patch.
8 . Press the VALUE dial (SOUND LIST) to return to the
Hold down [DEC] and press [INC]. Alternatively, hold down
[SHIFT] and press [DEC].
PATCH PLAY page.
When you hold down [INC] or [DEC], you may eventually
arrive at the beginning (001) of the selected bank (A–H). To
continue selecting Patches, release and then press the desired
[INC] or [DEC] button again.
Se le ctin g Pa tch e s b y Ca te g o ry
(Pa tch Fin d e r)
The XV-5080’s “Patch Finder” allows you to quickly find any
Patch.
1 . Press the [PATCH] button, lighting the indicator.
2 . Press the [PATCH FINDER] button, lighting the
indicator.
The categories will appear in the PATCH PLAY page.
fig.01-003.e_70
You can press [
]/ [
] to select the desired category.
At this point, you can select patches within the currently
selected category, either by rotating the VALUE dial, or by
using the [INC]/ [DEC] button.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
Rhythm&SFX
The following categories can be selected.
Category
PRC
SFX
BTS
PERCUSSION
Percussion
SOUND FX
Sound FX
BEAT&GROOVE
Beat and Groove
Drum Set
Group
Category
Contents
DRM DRUMS
—
NO ASSIGN
No assign
CMB COMBINATION
Other Patches which use
Split and Layer
Piano
PNO AC.PIANO
Acoustic Piano
Electric Piano
EP
EL.PIANO
In te rn a l o rg a n iza tio n
Keys&Organ
When you select a sound, the sound data is loaded into a
temporary part of memory known as the Temporary
Area. The XV-5080 will produce sound according to the
data in this temporary area.
KEY KEYBOARDS
Other Keyboards
(Clav, Harpsichord etc.)
Bell, Bell Pad
BEL
BELL
MLT MALLET
Mallet
ORG ORGAN
Electric and Church Organ
Accordion
The data in the temporary area will
ACD ACCORDION
HRM HARMONICA
Harmonica, Blues Harp
•
•
change whenever you select a different sound.
be lost when the power is turned off.
Guitar
AGT AC.GUITAR
EGT EL.GUITAR
DGT DIST.GUITAR
Acoustic Guitar
Electric Guitar
Distortion Guitar
In te rn a l Me m o ry
Rewritable memory
USER
Non-rewritable memory
Bass
PR-A, B, C, E
PR-D (General MIDI)
BS
BASS
Acoustic & Electric Bass
Synth Bass
SBS
SYNTH BASS
Select
Write
Select
Orchestral
STR
STRINGS
Strings
Te m p o ra ry Are a
ORC ORCHESTRA
HIT HIT&STAB
WND WIND
Orchestra Ensemble
Orchestra Hit, Hit
Winds (Oboe, Clarinet etc.)
Flute, Piccolo
Patch
Rhythm Set
Performance
FLT
FLUTE
Brass
BRS
SBR
SAX
AC.BRASS
SYNTH BRASS
SAX
Acoustic Brass
Synth Brass
Sax
Select
Write
Select
XP-A, B, C, D, E, F, G, H
W a ve Ex p a n sio n Bo a rd
Synth
HLD HARD LEAD
DATA Ca rd
Hard Synth Lead
Soft Synth Lead
Techno Synth
SLD
TEK
PLS
FX
SOFT LEAD
TECHNO SYNTH
PULSATING
SYNTH FX
When you edit a Performance, Patch or Rhythm Set,
your modifications affect only the data that was loaded
into the temporary area. Since the data in the temporary
area is temporary, you will need to use the Write
operation if you wish to keep the modified data. (p. 194)
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
SYN
OTHER SYNTH
Pad
BPD
SPD
BRIGHT PAD
SOFT PAD
Bright Pad Synth
Soft Pad Synth
Vox, Choir
VOX VOX
Ethnic
PLK
PLUCKED
ETHNIC
Plucked (Harp etc.)
Other Ethnic
ETH
FRT
FRETTED
Fretted Inst (Mandolin etc.)
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
The Patches and Rhythm Sets in each library correspond to
Bank Select numbers as follows.
Se le ctin g Pa tch e s a n d Rh y th m
Se ts fro m a n Ex te rn a l MIDI
De vice
Pa tch e s
Patch
Patch
Bank Select Program
By receiving MIDI messages, the XV-5080 can switch Patches
(including the Patches for each Part of a Performance) or
Rhythm Sets.
Group
Number Number
MSB
Number
LSB
USER
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
CD-A
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
:
87
87
87
87
87
87
87
87
87
:
00
64
65
66
67
68
69
70
32
:
001–128
In Pa tch o r Rh y th m Se t m o d e s
001–128
001–128
001–128
001–128
001–128
001–128
001–128
001–128
::
1 . Press [PATCH] — or [RHYTHM] if you wish to select a
Rhythm Set — to make the button’s indicator light.
2 . Set the transmission channel of your external MIDI
device to match Patch Receive Channel (p. 212), the XV-
5080’s MIDI reception channel.
To learn about the MIDI settings of your external MIDI
device, see its owner’s manual.
3 . Transmit the appropriate Bank Select MSB (Controller
#0) value to the XV-5080.
CD-H
XP-A
:
001–128
*1
87
*1
:
39
*1
:
001–128
*1
If the value is “87,” a Patch is selected. If the value is “86,” a
Rhythm Set is selected.
:
:
4 . Transmit the appropriate Bank Select LSB (Controller
XP-H
*1
*1
*1
*1
#32) value to the XV-5080.
* 1 Depends on the Wave Expansion Board installed.
5 . Transmit the Program Change value corresponding to
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
the Patch or Rhythm Set.
The desired Patch or Rhythm Set will be selected on the XV-
5080.
Patch
Patch
Bank Select
Number
Group
Number
* When the XV-5080 receives only Program Change messages
without receiving Bank Select messages, it will switch to the
corresponding Patch or Rhythm Set from the currently
selected group or bank.
MSB LSB
SR-JV80-01 001–128
SR-JV80-01 129–256
SR-JV80-02 001–128
SR-JV80-02 129–256
:
89
89
89
89
00
01
02
03
SR-JV80-65 001–128
SR-JV80-65 129–256
91
91
00
01
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
5 . Transmit the Program Change value.
Rh y th m Se ts
The desired Performance will be selected.
Rhythm Set Rhythm Set Bank Select Program
Group
Number
Number
Number
* When the XV-5080 receives a Program Change message
without Bank Select messages, the corresponding Performance
in the currently selected group or bank will be chosen.
MSB LSB
USER
PR-A
PR-B
PR-C
PR-D
PR-E
PR-F
PR-G
CD-A
1, 2, 3, 4
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
1, 2, 3, 4
:
86
86
86
86
86
86
86
86
86
:
00
64
65
66
67
68
69
70
32
:
1, 2, 3 , 4
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
001, 002
1, 2, 3, 4
::
You can select any Performance Part’s Patch or Rhythm Set
via MIDI. To learn how, refer to “Assigning a different Patch
The Performances in each group correspond to the Bank
Select numbers as follows.
Pe rfo rm a n ce s
Performance Performance Bank Select Program
Group
Number
Number
Number
MSB LSB
CD-H
XP-A
1, 2, 3, 4
*1
86
*1
:
39
*1
:
1, 2, 3, 4
*1
USER
PR-A
PR-B
CD-A
001–064
001–032
001–032
001–064
:
85
85
85
85
:
00
64
65
32
:
001–064
001–032
001–032
001–064
::
:
::
XP-H
*1
*1
*1
*1
* 1 Depends on the Wave Expansion Board installed.
Fixed Bank Select numbers are assigned to the Wave
Expansion Board itself.
CD-H
001–064
85
39
001–064
When Patch/ Rhy Rx Ch and Perform Ctrl Ch are set to the
same channel, both Bank Select and Program Change are
sent, making it possible to switch among Patches, Rhythm
Sets, and Performances.
Rhythm Set Rhythm Set Bank Select
Group
Number
Number
MSB
LSB
SR-JV80-01 001–128
SR-JV80-01 129–256
SR-JV80-02 001–128
SR-JV80-02 129–256
:
88
88
88
88
00
01
02
03
Usin g MIDI to Sw itch b e tw e e n Pa tch ,
Pe rfo rm a n ce a n d Ge n e ra l MIDI 2
Mo d e s
You can switch between Patch, Performance, and General
MIDI 2 modes by transmitting the appropriate System
Exclusive (Sys Ex) message to the XV-5080, as listed below.
(Sys Ex messages are constructed using hexadecimal
notation.)
SR-JV80-65 001–128
SR-JV80-65 129–256
90
90
00
01
In Pe rfo rm a n ce m o d e
To switch to Patch/Rhythm Set (Sys Ex.)
F0 41 10 00 10 12 00 00 00 00 01 7F F7
To switch to Performance
1 . Press [PERFORM], getting its indicator to light.
2 . Set the transmission channel of your external MIDI
device to match the XV-5080’s Performance Control
Channel (p. 212).
F0 41 10 00 10 12 00 00 00 00 00 00 F7
To switch to GM2 mode
F0 41 10 00 10 12 00 00 00 00 03 7F F7
To learn about the MIDI settings of your external MIDI
device, see its owner’s manual.
The third byte of the MIDI message indicates the device ID
number, and the factory setting is “10.” (This is “10” in
hexadecimal notation; in decimal this would be 16.) (This
device ID number will appear as 17 in the display of the XV-
5080. The transmitted messages will use a value of one less
than this (16).) If you have modified the device ID number (p.
3 . Transmit the appropriate Bank Select MSB (Controller
#0) value to the XV-5080.
4 . Transmit the appropriate Bank Select LSB (Controller
#32) value to the XV-5080.
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Ch a p te r 1 Se le ctin g a n d Pla y in g a So u n d
transmitting the above exclusive message.
Se ttin g a Pa tch ’s Pitch in
O cta ve Ste p s (O cta ve Sh ift)
In Patch mode, you can easily change the pitch of an entire
Patch.
Each time you press [
]/ [
], the pitch will change in one-
octave steps. You can adjust a Patch’s pitch by as much as +/
- 3 octaves.
fig.01-004.e
Se le ctin g Ho w a Pa tch W ill
Pla y (Po ly p h o n ic/
Mo n o p h o n ic)
You can set whether a Patch will play multiple notes at the
same time (Polyphonic) — for example, when you play a
chord or legato line — or whether only the last-played note
will be heard (Monophonic).
1 . Select the Patch you wish to use. (p. 19)
2 . Press [F1 (Common)].
3 . Press [F2 (Control)].
fig.01-005.e
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
“Mono/ Poly.”
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
desired value.
6 . After making the setting, press [EXIT].
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
The XV-5080 contains four independent effects units.
Pa tch Mo d e Se ttin g s
Multi-effects
You can make separate Multi-effects, chorus, and reverb
The Multi-effects offers 90 different effects. In addition to
settings to each Four-Tone Patch and Multi-Partial Patch,
effects consisting of only one effect, such as distortion and
with the same effects applied to each Tone or Partial. You can
delay, the 90 types also include a number of compound
control the amount of effect to be applied to each Tone or
effects, which are formed by combining a number of effects.
Partial by adjusting its send level with respect to the Multi-
Furthermore, the multi-effects effect types also include
effects, Chorus and Reverb.
fig.02-002.e
chorus and reverb, although the chorus and reverb described
below can be applied as separate effects systems. The XV-
4 TONE Patch
5080 features three Multi-effects systems in Performance
mode, with each multi-effect independently controllable.
TONE
Multi-Effects
Chorus
Chorus
Chorus adds depth and spaciousness to the sound.
Reverb
Reverb adds ambience — such as the sound of a concert hall
or auditorium—to sounds.
Reverb
Equalizer
An equalizer lets you boost or cut specified frequency ranges
of a sound to adjust the tone.
* Equalizer is set in System mode (p. 211).
Multi-Partial Patch
A0
Tu rn in g Effe cts O n / O ff
Multi-Effects
Chorus
Partial
C8
You can turn any of the XV-5080’s effect units—Multi-effects,
Chorus, Reverb, and EQ—on or off using a single procedure.
1 . Press the [EFFECTS ON/ OFF] button.
The EFFECTS On/ Off window will appear.
Reverb
fig.02-001.e_70
88 Partials
Preliminarily, the settings for effects involves determining
Tone Output Assign for Four-Tone Patches, and Split Key
Output Assign for Multi-Partial Patches.
2 . ress the [F2]–[F5] button corresponding to the effect to
In keeping with the intended usage, choose from the
following setting values for Tone Output Assign.
switch that effect on or off.
The display of the setting will be turned on and off.
MFX: Selected when the Multi-effects, chorus, and reverb are
3 . Press the [EFFECTS ON/ OFF] button, getting its
used.
indicator light to go out.
A-D: Selected when outputting in stereo without use of the
Multi-effects. Chorus and reverb can be used.
You might, for example, want to turn effects off when
creating a new Patch so that you can hear what it sounds like
without effects. You may also want to turn off the XV-5080’s
effects when you wish to use external effect devices instead
of the built-in effects.
1-8: Selected when outputting in mono without Multi-
effects. Chorus and reverb can be used. When this setting is
used, chorus and reverb sounds are output in stereo
according to the Chorus Output Assign and Reverb Output
Assign settings.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
fig.02-008.e_70
The screen appears as shown below, according to the settings
values.
•
For MFX
fig.02-004.e_70
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to keep them, perform the Write operation. (p. 194)
•
For A–D
* With Multi-Partial Patches, pressing [F6 (MIDISel)] allows
you to select the Partial to be edited from the MIDI keyboard.
fig.02-005.e_70
* When [MFX], [CHO], or [REV] are turned off, effects
processors that are turned off will be indicated by a dashed
outline in the General page.
* When the General page is accessed, you can press [F6
(Palette)] to view the settings for all four Tones together in a
single screen. This allows you to compare the settings of each
Tone as you make settings. When you press [F6 (→Tone 1)],
the General page will reappear. [F6] will display the Tone
number to which you will return.
•
For 1–8
fig.02-006.e_70
The following shows the basic setting procedure.
Sp lit Ke y Ed it Mo d e
When editing Multi-Partial Patches, this sets the key ranges
to which settings are applied.
1 . Select the Patch you wish to work with.
2 . Press [F6 (Effects)].
Settings Values
The Patch Effect page appears.
1KEY: Settings are made for each key individually.
3 . Press [F1 (General)].
PTL: Settings are applied to all keys to which corresponding
The General page will appear.
fig.02-007.e_70
Partials are assigned.
ALL: Settings are applied to all keys to which all Partials are
assigned.
Ro u tin g To n e s to Effe cts
This sets the output destination and level for the currently
selected Tone and Partial, as well as its send level with
respect to the Chorus and Reverb.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
On the Effects General page, set the following parameters.
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
desired value.
O u tp u t Assig n
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the value the parameter originally had.
MFX: The Tone is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
A–D: The Tone is sent to one of the four output-jack stereo
6 . Repeat Steps 3 to 5 to set the Effect.
pairs, OUTPUTS A–D.
7 . Press [EXIT] to return to the PATCH Play page.
1–8: The Tone is sent to the INDIVIDUAL output jacks 1–8.
A “*” symbol will appear at the left of the Patch name,
indicating that its settings have been modified.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pressing [F3 (MFX Ctl)] in the Effects General page calls up
the MFX Control page, in which you can make the following
settings.
Dry Se n d Le ve l
Range: 0–127
This sets the level of the signal sent to the output destination
set with Output Assign.
MFX Co n tro l 1 –4 So u rce
Select the Control Source to be used for changing the Multi-
effects parameters, and set the Sens and parameters to be
changed by that Control Source.
Ch o ru s Se n d Le ve l 0 –1 2 7
Sets how much of the Tone is sent to the Chorus.
Re ve rb Se n d Le ve l 0 –1 2 7
OFF: No controller is used.
Sets how much of the Tone is sent to the Reverb.
CC01–95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
Ma k in g Mu lti-Effe cts Se ttin g s
SYS-CTRL 1–4: System control 1–4
This page allows you to establish various settings for the
Multi-effects processor, including its parameters and output-
jack assignment.
MFX Co n tro l De stin a tio n 1 –4
Selects the Multi-effects parameter to be controlled using the
MFX Control 1–4 source. The parameters that can be selected
depend on which type of Multi-effects is set to MFX Type.
On the Effects General page, set the following parameters.
MFX Ty p e (Mu lti-e ffe cts Ty p e )
Use this parameter to select from among the 90 available
Multi-effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
MFX Co n tro l 1 –4 Se n s -6 3 – +6 3
If you wish to modify the selected parameter in a positive (+)
etc.—from its current setting, select a positive (+) value. If
you wish to modify the selected parameter in a negative (-)
direction—i.e., a lower value, toward the left, or slower,
etc.—from its current setting, select a negative (-) value.
Higher numbers produce a greater amount of change.
MFX Dry Se n d Le ve l 0 –1 2 7
Determines the level of the Multi-effects processor’s output
to the OUTPUT jacks.
MFX Ch o ru s Se n d Le ve l 0 –1 2 7
Determines the level of the post-Multi-effects processor
signal sent to Chorus.
Ma k in g Ch o ru s Se ttin g s
The XV-5080’s Chorus effect unit can also be used as a stereo
MFX Re ve rb Se n d Le ve l 0 –1 2 7
delay unit.
Determines the level of the post-Multi-effects processor
signal sent to Reverb.
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
MFX O u tp u t Assig n A–D
Specifies the OUTPUT jacks to which the signal, after it has
passed through the Multi-effects, is to be routed.
On the Effects General page, set the following parameters.
Ch o ru s Ty p e
0 (Off): Neither Chorus or Delay is used.
1 (Chrus): Chorus is used.
2 (Delay): Delay is used.
Pressing [F2 (MFX Prm)] in the Effects General page calls up
the MFX Param page, in which you can make the following
settings.
Ch o ru s O u tp u t Se le ct
MFX A–D Pa ra m e te r
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.02-009.e
OUTPUT
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
REV: The Chorus output is sent only to the Reverb.
HPF: Frequencies lower than the selected cutoff frequency
fig.02-010.e
value are eliminated.
Chorus Input
Chorus
Reverb
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1
OUTPUT
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
M+R: The Chorus output is sent to the OUTPUT jacks and to
the Reverb.
fig.02-011.e
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
Chorus Input
Chorus
Reverb
OUTPUT
OUTPUT
• Fo r Ty p e : 2 (DELAY)
Ce n te r (De la y Ce n te r) 2 0 0 –1 0 0 0 m s, N o te
Reverb Input
Sets the delay time for the delay located at the center of the
stereo field.
Ch o ru s Le ve l 0 –1 2 7
Le ft (De la y Le ft) 2 0 0 –1 0 0 0 m s, N o te
Determines the Chorus output level.
Sets the delay time for the delay located at the left side of the
stereo field.
Ch o ru s O u tp u t Assig n A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “M+R.”
Rig h t (De la y Rig h t) 2 0 0 –1 0 0 0 m s, N o te
Sets the delay time for the delay located at the right side of
the stereo field.
HF Da m p *1
Pressing [F4 (Chorus)] in the General page calls up the
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays—frequencies above
the selected value will be damped. If you do not want to cut
the high frequencies of the feedback, set this parameter to
BYPASS.
Chorus page, in which you can make the following settings.
• Fo r Ty p e : 1 (CHO RUS)
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
Adjusts the modulation speed of the chorus effect.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
De p th (Ch o ru s De p th ) 0 –1 2 7
Adjusts the modulation depth of the chorus effect.
Fe e d b a ck -9 8 – +9 8 %
Adjusts the amount of delay feedback, controlling the
number of times the delay repeats. With negative (-) values,
the phase of the repeated delays is inverted.
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 –1 2 7
Specifies the amount of the chorus effect’s output to be
returned - fed back - to its input. Higher settings will create a
more complex Chorus effect.
Ce n te r (De la y Ce n te r Le ve l) 0 –1 2 7
Sets the volume level of the delay located at the center of the
stereo field.
Ph a se 0 –1 8 0 d e g re e
Adjusts the spatial spread of the sound.
Le ft (De la y Le ft Le ve l) 0 –1 2 7
Pre De la y (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
Sets the volume level of the delay located at the left side of
the stereo field.
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Higher settings will make the sound more spacious.
Rig h t (De la y Rig h t Le ve l) 0 –1 2 7
Sets the volume level of the delay located at the right side of
the stereo field.
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
HF Da m p (Re ve rb / De la y HF Da m p ) *1
Ma k in g Re ve rb Se ttin g s
Specifies the frequency above which the high-frequency
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
content of the reverb sound will be cut, or “damped.”
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound. If you do not want to
cut the high frequencies of the feedback, set this parameter to
BYPASS.
On the Effects General page, set the following parameters.
Re ve rb Ty p e
Selects the type of Reverb.
0 (Off): Reverb is not used.
1 (Revrb): Normal Reverb
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Fe e d b a ck (De la y Fe e d b a ck )
2 (Room): This reverb simulates typical room acoustic
When the Type setting is DELAY or PAN-DELAY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
reflections.
3 (Hall): This reverb simulates typical concert hall acoustic
reflections.
Higher settings will produce more delay repeats.
4 (Plate): This reverb simulates a reverb plate, a popular
type of artificial reverb unit that derives its sound from the
vibration of a metallic plate. You can also achieve unusual
metallic-sounding reverbs using SRV PLATE.
• Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV
HALL)/ 4 (SRV PLATE)
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
Re ve rb Le ve l 0 –1 2 7
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
Specifies the output level of the Reverb.
Re ve rb O u tp u t Assig n A–D
Tim e (Re ve rb Tim e ) 0 –1 2 7
Selects the OUTPUT jacks to which the Reverb unit’s stereo
Adjusts the time length of reverberation.
output is routed.
Size 1 –8
Adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
Pressing [F5 (Reverb)] in the General page calls up the
Reverb page, in which you can make the following settings.
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
• Fo r Ty p e : 1 (REVERB)
Sets the frequency above which the high-frequency content
of the reverb will be reduced. If you do not want to damp the
high frequencies, set this parameter to BYPASS.
Ty p e (Re ve rb / De la y Ty p e )
Selects a type of reverb or delay.
ROOM1: This is a short reverb with high density.
ROOM2: This is a short reverb with low density.
STAGE1: This is a reverb with greater late reverberation.
STAGE2: This is a reverb with strong early reflections.
HALL1: This is a very clear-sounding reverb.
HALL2: This is a rich reverb.
De n sity (Re ve rb De n sity ) 0 –1 2 7
Adjusts the density of reverb. Higher values result in greater
density.
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
Adjusts the change in the density of the reverb over time.
The higher the value, the more the density increases with
time. (The effect of this setting is most pronounced with long
reverb times.)
DELAY: This is a conventional delay effect.
PAN-DELAY: This is a delay effect with echoes that pan left
and right.
LF Da m p Fre q (LF Da m p Fre q u e n cy ) *2
Tim e (Re ve rb / De la y Tim e ) 0 –1 2 7
Specifies the frequency below which the low-frequency
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DELAY, this adjusts the delay time.
content of the reverb sound will be reduced, or “damped.”
Higher settings produce a more spacious ambience.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
LF Da m p Ga in -3 6 –0 d B
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.
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3
Specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Da m p Ga in -3 6 –0 d B
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.
*1 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500
Hz, BYPASS
*2 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
used, chorus and reverb sounds are output in stereo
according to the Chorus Output Assign and Reverb Output
Assign settings.
Pe rfo rm a n ce Mo d e Se ttin g s
Three different Multi-effects can be used in a Performance.
PAT: The Part’s output destination is determined by the
Select which of these three Multi-effects to use with Part
Output MFX Select. With this parameter, the same Multi-
effects are applied to all selected Parts. You can adjust the
amount of effect to be applied to the Parts by adjusting their
Send Levels to each of the effect units. (Fig. 1)
settings of the Patch or Rhythm Set assigned to the Part.
The screen appears as shown below, according to the settings
values.
•
For MFX
fig.02-014.e_70
The Send Level setting for each Tone can also influence effect
intensity (Fig. 2).
Furthermore, you can take the Multi-effects you have applied
to a Patch in a Part and apply them to the entire
Performance, or just part of the Performance.
fig.02-012.e
•
For A–D
Fig.1 – When Output Assign is set to “MFX” in the Performance
mode (the output settings for Tone are ignored)
fig.02-015.e_70
Performance
Part 1
Patch
Part32
TONE
Multi-Effects
•
For 1–8
Chorus
Reverb
fig.02-016.e_70
fig.02-013.e
The following shows the basic setting procedure.
Fig.2 – When Output Assign is set to “PATCH” in the Performance
mode (the output settings for Tone are valid)
1 . Select the Performance you wish to use.
Performance
2 . Press [F5 (Effects)].
Part 1
The Perform Effect page will appear.
Patch
Part32
3 . Press [F1 (General)].
TONE
Multi-Effects
The General page will appear.
fig.02-017.e_70
Chorus
Reverb
The primary role of the effect settings is to determine the Part
Output Assign.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
You can select from the following Part Output Assign
settings values to suit your purposes.
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
desired value.
MFX: Selected when Multi-effects, chorus, and reverb are
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the value the parameter originally had.
used.
A-D: Selected when outputting in stereo without use of the
Multi-effects. Chorus and reverb can be used.
1-8: Selected when outputting in mono without Multi-
6 . Repeat Steps 3 to 5 to set the Effect.
effects. Chorus and reverb can be used. When this setting is
7 . Press [EXIT] to return to the PERFORM Play page.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
A “*” symbol will appear at the left of the Performance name,
Pa rt Re ve rb Se n d Le ve l 0 –1 2 7
indicating that its settings have been modified.
fig.02-018.e_70
Sets how much of the Part’s sound is sent to the Reverb.
Ma k in g Mu lti-Effe cts Se ttin g s
This page allows you to make various settings for the Multi-
effects, including the type, the parameters, and the output
assignments.
* If you turn off the power or select another Performance while
the “*” symbol is displayed, your new Performance settings
will be lost. If you wish to keep these settings, perform the Save
operation. (p. 194)
On the Effects General page, set the following parameters.
MFX Ty p e (Mu lti-e ffe cts Ty p e )
Use this parameter to select from among the 90 available
Multi-effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
* When [MFX], [CHO], or [REV] are turned off, effects
processors that are turned off will be indicated by a dashed
outline in the General page.
MFX Dry Se n d Le ve l 0 –1 2 7
* When the General page is accessed, you can press [F6
(Palette)] to view the values for eight Parts (Parts 1–8, Parts
9–16, Parts 17–24, or Parts 25–32) in a single screen. This
allows you to compare the settings of each Part as you make
settings. Each time you press [F1], the Part Palette page will
switch between Parts 1–8, Parts 9–16, Parts 17–24, and Parts
25–32. When you press [F6 (→Part 1)], the General page will
reappear. [F6] will display the Part number to which you will
return.
Determines the level of the signal that is to be sent to the
output jacks, after passing through the Multi-effects.
MFX Ch o ru s Se n d Le ve l 0 –1 2 7
Determines the level of the signal that is to be sent to Chorus,
after passing through the Multi-effects.
MFX Re ve rb Se n d Le ve l 0 –1 2 7
Determines the level of the signal that is to be sent to Reverb,
after passing through the Multi-effects.
Ro u tin g Pa rt O u tp u ts
MFX O u tp u t Assig n A–D
Sets the output destination and level for the selected Part, as
well as its send level with respect to the Chorus and Reverb.
Selects the OUTPUT jacks to which the Multi-effects stereo
output is routed.
On the Effects General page, set the following parameters.
MFX A–C So u rce
Pa rt O u tp u t Assig n
Assigns the MFX settings being used to Multi-effects A–C. If
you wish to use the MFX parameter settings of the
Performance, select PRF. If you wish to use the MFX
parameter settings of the Patch assigned to one of the Parts,
select the Part number (P1–32).
MFX: The Part’s sound is sent into the Multi-effects. Its
output destination is determined by the Multi-effects output
settings.
OUTPUT A–D: The Part is sent to the selected pair of
OUTPUT A–D jacks.
INDIVIDUAL 1–8: The Part is sent to the selected
Pressing [F2 (MFX)] in the Effects General page calls up the
MFX Param page, in which you can make the following
settings.
INDIVIDUAL 1–8 jack.
PATCH:
Conforms to the Patch settings.
* When you press [F2 (MFX)] once again on this page, the
MFX Control page appears. When you press [F2 (MFX)] once
again, the MFX Param page will reappear.
Pa rt O u tp u t MFX Se le ct A–C
Selects which of the three Multi-effects is to be used.
Pa rt Dry Se n d Le ve l
MFX A–C Pa ra m e te r
Range: 0–127
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
This sets the level of the signal sent to the output destination
set with Part Output Assign.
Pressing [F2 (MFX)] in the MFX Param page calls up the MFX
Control page, in which you can make the following settings.
Pa rt Ch o ru s Se n d Le ve l 0 –1 2 7
Sets how much of the Part’s sound is sent to the Chorus.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
* When you press [F2 (MFX)] once again, the MFX Param page
will reappear.
Ma k in g Ch o ru s Se ttin g s
The XV-5080’s Chorus effect unit can also be used as a stereo
delay unit.
MFXA–C Co n tro l 1 –4 So u rce
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
Select the Control Source to be used for changing the Multi-
effects parameters, and set the Sens and parameters to be
changed by that Control Source.
On the Effects General page, set the following parameters.
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
Ch o ru s Ty p e
0 (Off): Neither Chorus or Delay is used.
1 (Chrus): Chorus is used.
2 (Delay): Delay is used.
AFTERTOUCH: Aftertouch
SYS-CTRL 1–4: System control 1–4
MFXA–C Co n tro l De stin a tio n 1 –4
Ch o ru s So u rce PRF/ P1 –3 2
Selects the Multi-effects parameter to be controlled using the
MFX Control 1–4 source. The parameters that can be selected
depend on which type of Multi-effects is set to MFX Type.
Set this when assigning chorus settings that are used by
another part. Select PRF when using the Performance's
chorus settings. When using the chorus settings assigned to
one of the parts, select the part number (P1–32).
MFXA–C Co n tro l 1 –4 Se n s -6 3 – +6 3
If you wish to modify the selected parameter in a positive (+)
direction—i.e., a higher value, toward the right, or faster,
etc.—from its current setting, select a positive (+) value. If
you wish to modify the selected parameter in a negative (-)
direction—i.e., a lower value, toward the left, or slower,
etc.—from its current setting, select a negative (-) value.
Higher numbers produce a greater amount of change.
Ch o ru s O u tp u t Se le ct
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.02-019.e
OUTPUT
REV: The Chorus output is sent only to the Reverb.
fig.02-020.e
Chorus Input
Chorus
OUTPUT
Reverb
M+R: The Chorus output is sent to the OUTPUT jacks and to
the Reverb.
fig.02-021.e
Chorus Input
Chorus
Reverb
OUTPUT
OUTPUT
Reverb Input
Ch o ru s Le ve l 0 –1 2 7
Determines the Chorus output level.
Ch o ru s O u tp u t Assig n A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “M+R.”
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pressing [F4 (Chorus)] in the General page calls up the
• Fo r Ty p e : 2 (DELAY)
Chorus page, in which you can make the following settings.
Ce n te r (De la y Ce n te r) 2 0 0 –1 0 0 0 m s, N o te
Sets the delay time for the delay located at the center of the
stereo field.
• Fo r Ty p e : 1 (CHO RUS)
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
Le ft (De la y Le ft) 2 0 0 –1 0 0 0 m s, N o te
Adjusts the modulation speed of the chorus effect.
Sets the delay time for the delay located at the left side of the
stereo field.
De p th (Ch o ru s De p th ) 0 –1 2 7
Adjusts the modulation depth of the chorus effect.
Rig h t (De la y Rig h t) 2 0 0 –1 0 0 0 m s, N o te
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 –1 2 7
Sets the delay time for the delay located at the right side of
the stereo field.
Specifies the amount of the chorus effect’s output to be
returned - fed back - to its input. Higher settings will create a
more complex Chorus effect.
HF Da m p *1
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays—frequencies above
the selected value will be damped. If you do not want to cut
the high frequencies of the feedback, set this parameter to
BYPASS.
Ph a se 0 –1 8 0 d e g re e
Adjusts the spatial spread of the sound.
Pre De la y (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Higher settings will make the sound more spacious.
Fe e d b a ck -9 8 – +9 8 %
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
Adjusts the amount of delay feedback, controlling the
number of times the delay repeats. With negative (-) values,
the phase of the repeated delays is inverted.
LPF: Frequencies higher than the selected cutoff frequency
Ce n te r (De la y Ce n te r Le ve l) 0 –1 2 7
value are eliminated.
Sets the volume level of the delay located at the center of the
stereo field.
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
Le ft (De la y Le ft Le ve l) 0 –1 2 7
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1
Sets the volume level of the delay located at the left side of
the stereo field.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
Rig h t (De la y Rig h t Le ve l) 0 –1 2 7
Sets the volume level of the delay located at the right side of
the stereo field.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pressing [F5 (Reverb)] in the General page calls up the
Ma k in g Re ve rb Se ttin g s
Reverb page, in which you can make the following settings.
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
• Fo r Ty p e : 1 (REVERB)
Ty p e (Re ve rb / De la y Ty p e )
On the Effects General page, set the following parameters.
Selects a type of reverb or delay.
Re ve rb Ty p e
ROOM1: This is a short reverb with high density.
ROOM2: This is a short reverb with low density.
STAGE1: This is a reverb with greater late reverberation.
STAGE2: This is a reverb with strong early reflections.
HALL1: This is a very clear-sounding reverb.
HALL2: This is a rich reverb.
Selects the type of Reverb.
0 (Off): Reverb is not used.
1 (Revrb): Normal Reverb
2 (Room): This reverb simulates typical room acoustic
reflections.
3 (Hall): This reverb simulates typical concert hall acoustic
DELAY: This is a conventional delay effect.
reflections.
PAN-DELAY: This is a delay effect with echoes that pan left
4 (Plate): This reverb simulates a reverb plate, a popular
type of artificial reverb unit that derives its sound from the
vibration of a metallic plate. You can also achieve unusual
metallic-sounding reverbs using SRV PLATE.
and right.
Tim e (Re ve rb / De la y Tim e ) 0 –1 2 7
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DELAY, this adjusts the delay time.
Re ve rb So u rce
Set this when assigning reverb settings that are used by
another part. Select PRF when using the Performance's
reverb settings. When using the reverb settings assigned to
one of the parts, select the part number (P1–32).
Higher settings produce a more spacious ambience.
HF Da m p (Re ve rb / De la y HF Da m p ) *1
Specifies the frequency above which the high-frequency
Re ve rb Le ve l 0 –1 2 7
content of the reverb sound will be cut, or “damped.”
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound. If you do not want to
cut the high frequencies of the feedback, set this parameter to
BYPASS.
Specifies the output level of the Reverb.
Re ve rb O u tp u t Assig n A–D
Selects the OUTPUT jacks to which the Reverb unit’s stereo
output is routed.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Fe e d b a ck (De la y Fe e d b a ck )
When the Type setting is DELAY or PAN-DELAY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
Higher settings will produce more delay repeats.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
• Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV
HALL)/ 4 (SRV PLATE)
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
Tim e (Re ve rb Tim e ) 0 –1 2 7
Adjusts the time length of reverberation.
Size 1 –8
Adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
Sets the frequency above which the high-frequency content
of the reverb will be reduced. If you do not want to damp the
high frequencies, set this parameter to BYPASS.
De n sity (Re ve rb De n sity ) 0 –1 2 7
Adjusts the density of reverb. Higher values result in greater
density.
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
Adjusts the change in the density of the reverb over time. The
higher the value, the more the density increases with time.
(The effect of this setting is most pronounced with long
reverb times.)
LF Da m p Fre q (LF Da m p Fre q u e n cy ) *2
Specifies the frequency below which the low-frequency
content of the reverb sound will be reduced, or “damped.”
LF Da m p Ga in -3 6 –0 d B
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.
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3
Specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Da m p Ga in -3 6 –0 d B
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.
*1 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500
Hz, BYPASS
*2 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
•
For 1–8
Rh y th m Se t Mo d e Se ttin g s
fig.02-025.e_70
You can apply Multi-effects, Chorus or Reverb to each of a
Rhythm Set’s Tones. You can control the amount of effect to
be applied to each Rhythm Tone by adjusting its send level to
the Multi-effects, Chorus and Reverb.
fig.02-022.e
The following shows the basic setting procedure.
Rhythm Set
B1
1 . Select the Rhythm Tone you wish to set.
RHYTHM
TONE
2 . Press [F6 (Effects)].
Multi-Effects
D7
The Patch Effect page appears.
Chorus
Reverb
3 . Press [F1 (General)].
The General page will appear.
fig.02-026.e_70
The primary role of the effect settings is to determine the
Rhythm Tone Output Assign.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
You can select from the following Rhythm Tone Output
Assign settings values to suit your purposes.
the parameter you want to set.
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
MFX: Selected when Multi-effects, chorus, and reverb are
desired value.
used.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the value the parameter originally had.
A-D: Selected when outputting in stereo without use of the
Multi-effects. Chorus and reverb can be used.
1-8: Selected when outputting in mono without Multi-
effects. Chorus and reverb can be used. When this setting is
used, chorus and reverb sounds are output in stereo
according to the Chorus Output Assign and Reverb Output
Assign settings.
6 . Repeat Steps 3 to 5 to set the Effect.
7 . Press [EXIT] to return to the RHYTHM Play page.
A “*” symbol will appear at the left of the Rhythm Set name,
indicating that its settings have been modified.
fig.02-027.e_70
The screen appears as shown below, according to the settings
values.
•
For MFX
fig.02-023.e_70
* If you turn off the power or select another Rhythm Set while
the “*” symbol is displayed, your new Rhythm Set settings
will be lost. If you wish to keep them, perform the Write
operation. (p. 194)
•
For A–D
fig.02-024.e_70
* When [MFX], [CHO], or [REV] are turned off, effects
processors that are turned off will be indicated by a dashed
outline in the General page.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
MFX O u tp u t Assig n A–D
Ro u tin g To n e s to Effe cts
Specifies the OUTPUT jacks to which the signal, after it has
passed through the Multi-effects, is to be routed.
This sets the output destination and level for the currently
selected Tone, as well as its send level with respect to the
Chorus and Reverb.
Pressing [F2 (MFX Prm)] in the Effects General page calls up
the MFX Param page, in which you can make the following
settings.
On the Effects General page, set the following parameters.
Rh y th m To n e O u tp u t Assig n
MFX: The Tone is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
MFX A–C Pa ra m e te rs
These parameters allow you to customize the selected Multi-
Effect. For a description of the parameters, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
A–D: The Tone is sent to one of the four output-jack stereo
pairs, OUTPUTS A–D.
1–8: The Tone is sent to the INDIVIDUAL output jacks 1–8.
Pressing [F3 (MFX Ctl)] in the Effects General page calls up
the MFX Control page, in which you can make the following
settings.
Rh y th m To n e Dry Se n d Le ve l
Range: 0–127
This sets the level of the signal sent to the output destination
set with Rhythm Output Assign.
MFX Co n tro l 1 –4 So u rce
Select the Control Source to be used for changing the Multi-
effects parameters, and set the Sens and parameters to be
changed by that Control Source.
Rh y th m To n e Ch o ru s Se n d Le ve l 0 –1 2 7
Sets how much of the Tone is sent to the Chorus.
OFF: No controller is used.
Rh y th m To n e Re ve rb Se n d Le ve l 0 –1 2 7
CC01–95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
Sets how much of the Tone is sent to the Reverb.
AFTERTOUCH: Aftertouch
Ma k in g Mu lti-Effe cts Se ttin g s
SYS-CTRL 1–4: System control 1–4
This page allows you to make various settings for the Multi-
effects, including the type, the parameters, and the output
assignments
MFX Co n tro l De stin a tio n 1 –4
Selects the Multi-effects parameter to be controlled using the
MFX Control 1–4 source. The parameters that can be selected
depend on which type of Multi-effects is set to MFX Type.
On the Effects General page, set the following parameters.
MFX Ty p e (Mu lti-e ffe cts Ty p e )
MFX Co n tro l 1 –4 Se n s -6 3 – +6 3
Use this parameter to select from among the 90 available
Multi-effects. For a description of these effects, check out
“Parameters for Each Multi-Effect (MFX TYPE)” (p. 41).
If you wish to modify the selected parameter in a positive (+)
direction—i.e., a higher value, toward the right, or faster,
you wish to modify the selected parameter in a negative (-)
direction—i.e., a lower value, toward the left, or slower,
etc.—from its current setting, select a negative (-) value.
Higher numbers produce a greater amount of change.
MFX Dry Se n d Le ve l 0 –1 2 7
Determines the level of the signal that is to be sent to the
output jacks, after passing through the Multi-effects.
MFX Ch o ru s Se n d Le ve l 0 –1 2 7
Determines the level of the signal that is to be sent to Chorus,
after passing through the Multi-effects.
MFX Re ve rb Se n d Le ve l 0 –1 2 7
Determines the level of the signal that is to be sent to Reverb,
after passing through the Multi-effects.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pressing [F4 (Chorus)] in the General page calls up the
Ma k in g Ch o ru s Se ttin g s
Chorus page, in which you can make the following settings.
The XV-5080’s Chorus effect unit can also be used as a stereo
delay unit.
• Fo r Ty p e : 1 (CHO RUS)
These settings allow you to select chorus or delay, the
characteristics of the selected effect type, and the Chorus
output routing.
Ra te (Ch o ru s Ra te ) 0 .0 5 –1 0 .0 0 Hz
Adjusts the modulation speed of the chorus effect.
On the Effects General page, set the following parameters.
De p th (Ch o ru s De p th ) 0 –1 2 7
Ch o ru s Ty p e
Adjusts the modulation depth of the chorus effect.
0 (Off): Neither Chorus or Delay is used.
1 (Chrus): Chorus is used.
2 (Delay): Delay is used.
Fe e d b a ck (Ch o ru s Fe e d b a ck ) 0 –1 2 7
Specifies the amount of the chorus effect’s output to be
returned - fed back - to its input. Higher settings will create a
more complex Chorus effect.
Ch o ru s O u tp u t Se le ct
This parameter allows you to send the Chorus output
directly to the currently selected OUTPUT jacks, to the
Reverb, or to both.
Ph a se 0 –1 8 0 d e g re e
Adjusts the spatial spread of the sound.
Pre De la y (Ch o ru s Pre De la y ) 0 .0 –1 0 0 m s
MAIN: The Chorus output is sent only to the OUTPUT jacks.
fig.02-028.e
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
OUTPUT
Higher settings will make the sound more spacious.
REV: The Chorus output is sent only to the Reverb.
fig.02-029.e
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
Chorus Input
Chorus
OUTPUT
Reverb
LPF: Frequencies higher than the selected cutoff frequency
M+R: The Chorus output is sent to the OUTPUT jacks and to
value are eliminated.
the Reverb.
fig.02-030.e
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
Chorus Input
Chorus
Reverb
OUTPUT
OUTPUT
Cu to ff fre q (Cu to ff Fre q u e n cy ) *1
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Reverb Input
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz
Ch o ru s Le ve l 0 –1 2 7
Determines the Chorus output level.
Ch o ru s O u tp u t Assig n A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “M+R.”
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
• Fo r Ty p e : 2 (DELAY)
Ma k in g Re ve rb Se ttin g s
These settings allow you to select the desired type of Reverb,
its characteristics, and the pair of OUTPUT jacks to which the
Reverb unit’s stereo output is routed.
Ce n te r (De la y Ce n te r) 2 0 0 –1 0 0 0 m s, N o te
Sets the delay time for the delay located at the center of the
stereo field.
On the Effects General page, set the following parameters.
Le ft (De la y Le ft) 2 0 0 –1 0 0 0 m s, N o te
Re ve rb Ty p e
Sets the delay time for the delay located at the left side of the
stereo field.
Selects the type of Reverb.
0 (Off): Reverb is not used.
1 (Revrb): Normal Reverb
Rig h t (De la y Rig h t) 2 0 0 –1 0 0 0 m s, N o te
Sets the delay time for the delay located at the right side of
the stereo field.
2 (Room): This reverb simulates typical room acoustic
reflections.
3 (Hall): This reverb simulates typical concert hall acoustic
HF Da m p *1
reflections.
This allows you to reduce, or “damp,” the high-frequency
content of the repeated feedback delays—frequencies above
the selected value will be damped. If you do not want to cut
the high frequencies of the feedback, set this parameter to
BYPASS.
4 (Plate): This reverb simulates a reverb plate, a popular
type of artificial reverb unit that derives its sound from the
vibration of a metallic plate. You can also achieve unusual
metallic-sounding reverbs using SRV PLATE.
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Re ve rb Le ve l 0 –1 2 7
Specifies the output level of the Reverb.
Fe e d b a ck -9 8 – +9 8 %
Re ve rb O u tp u t Assig n A–D
Adjusts the amount of delay feedback, controlling the
number of times the delay repeats. With negative (-) values,
the phase of the repeated delays is inverted.
Selects the OUTPUT jacks to which the Reverb unit’s stereo
output is routed.
Ce n te r (De la y Ce n te r Le ve l) 0 –1 2 7
Pressing [F5 (Reverb)] in the General page calls up the
Reverb page, in which you can make the following settings.
Sets the volume level of the delay located at the center of the
stereo field.
Le ft (De la y Le ft Le ve l) 0 –1 2 7
Sets the volume level of the delay located at the left side of
the stereo field.
Rig h t (De la y Rig h t Le ve l) 0 –1 2 7
Sets the volume level of the delay located at the right side of
the stereo field.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
• Fo r Ty p e : 1 (REVERB)
• Fo r Ty p e : 2 (SRV RO O M)/ 3 (SRV
HALL)/ 4 (SRV PLATE)
Ty p e (Re ve rb / De la y Ty p e )
Pre De la y (Pre De la y Tim e ) 0 .0 –1 0 0 m s
Selects a type of reverb or delay.
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
ROOM1: This is a short reverb with high density.
ROOM2: This is a short reverb with low density.
STAGE1: This is a reverb with greater late reverberation.
STAGE2: This is a reverb with strong early reflections.
HALL1: This is a very clear-sounding reverb.
HALL2: This is a rich reverb.
Tim e (Re ve rb Tim e ) 0 –1 2 7
Adjusts the time length of reverberation.
Size 1 –8
Adjusts the size of the simulated room or hall. The size
becomes bigger as the value increases.
DELAY: This is a conventional delay effect.
PAN-DELAY: This is a delay effect with echoes that pan left
and right.
Hig h Cu t (Hig h Cu t Fre q u e n cy ) *1
Sets the frequency above which the high-frequency content
of the reverb will be reduced. If you do not want to damp the
high frequencies, set this parameter to BYPASS.
Tim e (Re ve rb / De la y Tim e ) 0 –1 2 7
When the Type setting is ROOM1–HALL2, this adjusts the
length of reverberation. When the Type setting is DELAY or
PAN-DELAY, this adjusts the delay time.
De n sity (Re ve rb De n sity ) 0 –1 2 7
Higher settings produce a more spacious ambience.
Adjusts the density of reverb. Higher values result in greater
density.
HF Da m p (Re ve rb / De la y HF Da m p ) *1
Specifies the frequency above which the high-frequency
Diffu sio n (Re ve rb Diffu sio n ) 0 –1 2 7
content of the reverb sound will be cut, or “damped.”
Adjusts the change in the density of the reverb over time. The
higher the value, the more the density increases with time.
(The effect of this setting is most pronounced with long
reverb times.)
Lower values cause a greater range of high frequencies to be
cut, producing a softer reverb sound. If you do not want to
cut the high frequencies of the feedback, set this parameter to
BYPASS.
LF Da m p Fre q (LF Da m p Fre q u e n cy ) *2
*1 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Specifies the frequency below which the low-frequency
content of the reverb sound will be reduced, or “damped.”
Fe e d b a ck (De la y Fe e d b a ck )
LF Da m p Ga in -3 6 –0 d B
When the Type setting is DELAY or PAN-DELAY, this adjust
the amount of delay feedback, controlling the number of
delay repeats.
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.
Higher settings will produce more delay repeats.
HF Da m p Fre q (LF Da m p Fre q u e n cy ) *3
Specifies the frequency above which the high-frequency
content of the reverb sound will be reduced, or “damped.”
HF Da m p Ga in -3 6 –0 d B
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.
*1 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500
Hz, BYPASS
*2 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800,
1000, 1250, 1600, 2000, 2500, 3200, 4000 Hz
*3 4000, 5000, 6400, 8000, 10000, 12500 Hz
4 0
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Se ttin g s in Ge n e ra l MIDI
Mo d e
Pa ra m e te rs fo r Ea ch Mu lti-
Effe cts
the effects consist of two or more different effects connected
in series or in parallel.
227).
Parameters marked with a sharp “#” can be controlled using
a specified controller (Two setting items will change
simultaneously for “#1” and “#2”). (p. 26, p. 32, p. 37)
1:
STEREO EQ (p. 44)
OVERDRIVE (p. 44)
DISTORTION(p. 45)
2:
3:
4:
PHASER
(p. 45)
5:
SPECTRUM (p. 46)
ENHANCER (p. 46)
AUTO WAH (p. 47)
6:
7:
8:
ROTARY
COMPRESSOR(p. 48)
LIMITER (p. 48)
(p. 47)
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:
HEXA-CHORUS(p. 49)
TREMOLO CHORUS(p. 49)
SPACE-D
(p. 50)
STEREO CHORUS(p. 50)
STEREO FLANGER(p. 51)
STEP FLANGER(p. 52)
STEREO DELAY(p. 52)
MODULATION DELAY(p. 53)
TRIPLE TAP DELAY(p. 54)
QUADRUPLE TAP DELAY(p. 55)
TIME CONTROL DELAY(p. 56)
2VOICE PITCH SHIFTER(p. 56)
FBK PITCH SHIFTER(p. 57)
REVERB
(p. 58)
GATED REVERB(p. 58)
OVERDRIVE -> CHORUS(p. 59)
OVERDRIVE -> FLANGER(p. 59)
OVERDRIVE -> DELAY(p. 60)
DISTORTION -> CHORUS(p. 60)
DISTORTION -> FLANGER(p. 60)
DISTORTION -> DELAY(p. 60)
ENHANCER -> CHORUS(p. 61)
ENHANCER -> FLANGER(p. 61)
ENHANCER -> DELAY(p. 62)
CHORUS -> DELAY(p. 62)
FLANGER -> DELAY(p. 63)
4 1
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
37:
CHORUS -> FLANGER(p. 63)
CHORUS/ DELAY(p. 64)
FLANGER/ DELAY(p. 64)
CHORUS/ FLANGER(p. 64)
STEREO PHASER(p. 65)
KEYSYNC FLANGER(p. 65)
FORMANT FILTER(p. 66)
RING MODULATOR(p. 67)
MULTI TAP DELAY(p. 68)
REVERSE DELAY(p. 69)
SHUFFLE DELAY(p. 70)
3D DELAY (p. 70)
GUITAR MULTI B(p. 96)
GUITAR MULTI C(p. 98)
CLEAN GUITAR MULTI A(p. 99)
CLEAN GUITAR MULTI B(p. 101)
BASS MULTI (p. 102)
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:
ISOLATOR 2 (p. 104)
STEREO SPECTRUM(p. 104)
3D AUTO SPIN(p. 105)
3D MANUAL(p. 105)
To have the types displayed according to category (as shown
3VOICE PITCH SHIFTER(p. 71)
LOFI COMPRESS(p. 72)
LOFI NOISE (p. 72)
Modulation (Effects that modulate the sound)
4:
PHASER
SPEAKER SIMULATOR(p. 73)
OVERDRIVE 2(p. 74)
7:
AUTO WAH
41:
42:
64:
65:
66:
STEREO PHASER
KEYSYNC FLANGER
FORMANT FILTER
RING MODULATOR
STEREO PHASER 2
STEREO AUTO WAH
ST FORMANT FILTER
DISTORTION 2(p. 74)
STEREO COMPRESSOR(p. 75)
STEREO LIMITER(p. 75)
GATE
(p. 76)
(p. 76)
SLICER
ISOLATOR (p. 77)
3D CHORUS (p. 77)
Delay (Effects that delay the sound)
3D FLANGER(p. 78)
17:
18:
19:
46:
47:
48:
67:
68:
69:
STEREO DELAY
TREMOLO (p. 79)
MODULATION DELAY
TRIPLE TAP DELAY
QUADRUPLE TAP DELAY
TIME CONTROL DELAY
2VOICE PITCH SHIFTER
FBK PITCH SHIFTER
ENHANCER -> DELAY
MULTI TAP DELAY
REVERSE DELAY
AUTO PAN (p. 79)
STEREO PHASER 2(p. 80)
STEREO AUTO WAH(p. 81)
ST FORMANT FILTER(p. 81)
MULTI TAP DELAY 2(p. 82)
REVERSE DELAY 2(p. 83)
SHUFFLE DELAY 2(p. 83)
3D DELAY 2 (p. 84)
ROTARY 2 (p. 85)
SHUFFLE DELAY
ROTARY MULTI(p. 86)
KEYBOARD MULTI(p. 87)
RHODES MULTI(p. 89)
3D DELAY
3VOICE PITCH SHIFTER
MULTI TAP DELAY 2
REVERSE DELAY 2
SHUFFLE DELAY 2
3D DELAY 2
JD MULTI
(p. 90)
STEREO LOFI COMPRESS(p. 91)
STEREO LOFI NOISE(p. 92)
GUITAR AMP SIMULATOR(p. 93)
STEREO OVERDRIVE(p. 94)
STEREO DISTORTION(p. 94)
GUITAR MULTI A(p. 95)
ROTARY
ROTARY 2
ROTARY MULTI
4 2
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
73:
74:
75:
KEYBOARD MULTI
RHODES MULTI
JD MULTI
32:
ENHANCER -> CHORUS
ENHANCER -> FLANGER
CHORUS -> DELAY
FLANGER -> DELAY
CHORUS -> FLANGER
CHORUS/ DELAY
33:
35:
36:
37:
38:
39:
40:
60:
61:
LoFi (Effects that intentionally degrades the sound
quality)
50:
51:
76:
77:
LOFI COMPRESS
LOFI NOISE
FLANGER/ DELAY
CHORUS/ FLANGER
3D CHORUS
STEREO LOFI COMPRESS
STEREO LOFI NOISE
Guitar and Bass (Effects useful for the Guitar and Bass)
3D FLANGER
2:
OVERDRIVE
Dimension (Effects that control the location of the
sound)
3:
DISTORTION
26:
27:
28:
29:
30:
31:
52:
53:
54:
78:
79:
80:
81:
82:
83:
84:
85:
86:
OVERDRIVE -> CHORUS
OVERDRIVE -> FLANGER
OVERDRIVE -> DELAY
DISTORTION -> CHORUS
DISTORTION -> FLANGER
DISTORTION -> DELAY
SPEAKER SIMULATOR
OVERDRIVE 2
62:
63:
89:
90:
TREMOLO
AUTO PAN
3D AUTO SPIN
3D MANUAL
Filter (Effects that modify the sound character)
1:
STEREO EQ
5:
SPECTRUM
6:
ENHANCER
ISOLATOR
DISTORTION 2
59:
87:
88:
GUITAR AMP SIMULATOR
STEREO OVERDRIVE
STEREO DISTORTION
GUITAR MULTI A
ISOLATOR 2
STEREO SPECTRUM
Reverb (Effects that reverberate the sound)
24:
25:
REVERB
GUITAR MULTI B
GATED REVERB
GUITAR MULTI C
CLEAN GUITAR MULTI A
CLEAN GUITAR MULTI B
BASS MULTI
Compressor (Effects in which the loudness becomes
difficult to change)
9:
COMPRESSOR
LIMITER
10:
55:
56:
57:
58:
STEREO COMPRESSOR
STEREO LIMITER
GATE
SLICER
Chorus (Effects that broaden the sound)
11:
12:
13:
14:
15:
16:
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
4 3
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
1 : STEREO EQ (Ste re o Eq u a lize r)
Output
This is a four-band stereo equalizer (low, mid x 2, high).
fig.2-04
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
L in
L out
R out
4-Band EQ
4-Band EQ
2 : O VERDRIVE
R in
This effect creates a soft distortion similar to that produced
by vacuum tube amplifiers.
fig.2-05
Freq/Gain
L in
L out
Pan L
Lo w Fre q (Lo w Fre q u e n cy )
Over
drive
Amp
Simulator
2-Band
EQ
Select the frequency of the low range (200 Hz/ 400 Hz).
Pan R
R in
R out
Lo w Ga in
Adjust the gain of the low frequency.
Overdrive
Mid 1 Fre q (Mid d le 1 Fre q u e n cy )
Drive #
Adjust the frequency of Middle 1 (mid range).
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Mid 1 Ga in (Mid d le 1 Ga in )
Adjust the gain for the area specified by the Middle 1
Frequency and Q settings.
Amp Simulator
Ty p e (Am p Sim u la to r Ty p e )
Select the type of guitar amp.
SMALL:small amp
Mid 2 Fre q (Mid d le 2 Fre q u e n cy )
Adjust the frequency of Middle 2 (mid range).
BUILT-IN:single-unit type amp
2-STACK:large double stack amp
3-STACK:large triple stack amp
Mid 2 Ga in (Mid d le 2 Ga in )
Adjust the gain for the area specified by the Middle 2
Frequency and Q settings.
Hig h Fre q (Hig h Fre q u e n cy )
EQ Gain
Select the frequency of the high range (4000 Hz/ 8000 Hz).
Lo w (Lo w Ga in )
Hig h Ga in
Adjust the gain of the low frequency range.
Adjust the gain of the high frequency.
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
Band Width
Mid 1 Q (Mid d le 1 Q )
Output
This parameter adjusts the width of the area around the
Middle 1 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Mid 2 Q (Mid d le 2 Q )
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
This parameter adjusts the width of the area around the
Middle 2 Frequency that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
4 4
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
3 : DISTO RTIO N
4 : PHASER
This effect produces a more intense distortion than
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
Overdrive.
fig.2-06
and depth.
L in
L out
fig.2-07
Pan L
Amp
Simulator
2-Band
EQ
L in
L out
Pan L
Distortion
Pan R
Phaser
R in
R out
Mix
Pan R
R in
Resonance
R out
Distortion
Phaser
Drive #
Ma n u a l #
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Adjust the basic frequency from which the sound will be
modulated.
Amp Simulator
Ra te #
Ty p e (Am p Sim u la to r Ty p e )
Select the type of guitar amp.
SMALL:small amp
Adjust the frequency (period) of modulation.
De p th
Adjust the depth of modulation.
BUILT-IN:single-unit type amp
2-STACK:large double stack amp
3-STACK:large triple stack amp
Re so n a n ce
Adjust the amount of feedback for the phaser.
Mix Le ve l
EQ Gain
Adjust the ratio with which the phase-shifted sound is
combined with the direct sound.
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
Output
Hig h (Hig h Ga in )
Le ve l (O u tp u t Le ve l)
Adjust the gain of the high frequency range.
Adjust the output level.
Output
Pa n (O u tp u t Pa n )
Le ve l (O u tp u t Le ve l)
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
4 5
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
5 : SPECTRUM
6 : EN HAN CER
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is
similar to an equalizer, but has 8 frequency points fixed at
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
fig.2-09
locations most suitable for adding character to the sound.
fig.2-08
2-Band
EQ
L in
L out
R out
Enhancer
Enhancer
Mix
Mix
L in
L out
2-Band
EQ
Pan L
R in
Spectrum
Pan R
R in
R out
Enhancer
Gain
Se n s (Se n sitivity ) #
2 5 0 Hz (Ba n d 1 Ga in )
Adjust the sensitivity of the enhancer.
Adjust the 250 Hz level.
Mix Le ve l #
5 0 0 Hz (Ba n d 2 Ga in )
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Adjust the 500 Hz level.
1 0 0 0 Hz (Ba n d 3 Ga in )
EQ Gain
Adjust the 1000 Hz level.
Lo w (Lo w Ga in )
1 2 5 0 Hz (Ba n d 4 Ga in )
Adjust the gain of the low frequency range.
Adjust the 1250 Hz level.
Hig h (Hig h Ga in )
2 0 0 0 Hz (Ba n d 5 Ga in )
Adjust the gain of the high frequency range.
Adjust the 2000 Hz level.
Output
3 1 5 0 Hz (Ba n d 6 Ga in )
Le ve l (O u tp u t Le ve l)
Adjust the 3150 Hz level.
Adjust the output level.
4 0 0 0 Hz (Ba n d 7 Ga in )
Adjust the 4000 Hz level.
8 0 0 0 Hz (Ba n d 8 Ga in )
Adjust the 8000 Hz level.
Band Width
Q
Simultaneously adjust the width of the adjusted areas for all
the frequency bands.
Output
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
4 6
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
fig.2-11
7 : AUTO W AH
L in
L out
R out
The Auto Wah cyclically controls a filter to create cyclic
Rotary
change in timbre.
fig.2-10
R in
L in
L out
R out
Rotary
Auto Wah
R in
Sp e e d #
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
Auto Wah
SLOW:Slow down the rotation to the specified speed (the
Filte r (Filte r Ty p e )
Low Slow / Hi Slow values).
Select the type of filter.
FAST:Speed up the rotation to the specified speed (the Low
LPF:The wah effect will be applied over a wide frequency
Fast / Hi Fast values).
range.
BPF:The wah effect will be applied over a narrow frequency
range.
Se n s
Woofer
Adjust the sensitivity with which the filter is controlled.
Slo w Ra te (Lo w Fre q u e n cy Slo w Ra te )
Ma n u a l #
Adjust the slow speed (SLOW) of the low frequency rotor.
Adjust the center frequency from which the effect is applied.
Fa st Ra te (Lo w Fre q u e n cy Fa st Ra te )
Pe a k
Adjust the fast speed (FAST) of the low frequency rotor.
Adjust the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be applied
in a more narrow range.
Acce le ra tio n (Lo w Fre q u e n cy Acce le ra tio n )
Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
Le ve l (Lo w Fre q u e n cy Le ve l)
Ra te (LFO Ra te )#
Adjust the volume of the low frequency rotor.
Adjust the frequency of the modulation.
De p th (LFO De p th )
Separation
Adjust the depth of the modulation.
Se p a ra tio n
Adjust the spatial dispersion of the sound.
Output
Le ve l (O u tp u t Le ve l)
Tweeter
Adjust the output level.
Slo w Ra te (Hig h Fre q u e n cy Slo w Ra te )
Adjust the slow speed (SLOW) of the high frequency rotor.
8 : RO TARY
The Rotary effect simulates the sound of the rotary speakers
often used with the electric organs of the past. Since the
movement of the high range and low range rotors can be set
independently, the unique type of modulation characteristic
of these speakers can be simulated quite closely. This effect is
most suitable for electric organ Patches.
Fa st Ra te (Hig h Fre q u e n cy Fa st Ra te )
Adjust the fast speed (FAST) of the high frequency rotor.
Acce le ra tio n (Hig h Fre q u e n cy Acce le ra tio n )
Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or
slow to fast) speed. Lower values will require longer times.
4 7
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Le ve l (Hig h Fre q u e n cy Le ve l)
1 0 : LIMITER
Adjust the volume of the high frequency rotor.
The Limiter compresses signals that exceed a specified
volume level, preventing distortion from occurring.
fig.2-13
Output
L in
L out
Pan L
Le ve l (O u tp u t Le ve l) #
2-Band
EQ
Limiter
Pan R
Adjust the output level.
R in
R out
9 : CO MPRESSO R
Limiter
The Compressor flattens out high levels and boosts low
Th re sh o ld (Th re sh o ld Le ve l)
levels, smoothing out unevenness in volume.
fig.2-12
Adjust the volume at which compression will begin.
L in
L out
Pan L
Ra tio (Co m p re ssio n Ra tio )
2-Band
EQ
Compressor
Pan R
Adjust the compression ratio.
R in
R out
Re le a se (Re le a se Tim e )
Compressor
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Atta ck
Adjust the attack time of an input sound.
Po st Ga in
Adjust the output gain.
Su sta in
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
EQ Gain
Lo w (Lo w Ga in )
Po st Ga in
Adjust the low frequency gain.
Adjust the output gain.
Hig h (Hig h Ga in )
EQ Gain
Adjust the high frequency gain.
Lo w (Lo w Ga in )
Output
Adjust the low frequency gain.
Le ve l (O u tp u t Le ve l) #
Hig h (Hig h Ga in )
Adjust the output level.
Adjust the high frequency gain.
Pa n (O u tp u t Pa n ) #
Output
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. L64 is far left,
0 is center, and 63R is far right.
4 8
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
1 1 : HEXA-CHO RUS
1 2 : TREMO LO CHO RUS
Hexa-chorus uses a six-phase chorus (six layers of chorused
Tremolo Chorus is a chorus effect with added Tremolo
sound) to give richness and spatial spread to the sound.
(cyclic modulation of volume).
fig.2-14
fig.2-15
L in
L out
L in
L out
Balance D
Balance D
Balance W
Balance W
Tremolo Chorus
Hexa Chorus
Balance W
Balance W
R in
R out
R in
R out
Balance D
Balance D
Hexa Chorus
Chorus
Ra te #
Ra te (Ch o ru s Ra te )
Adjust the rate of modulation.
Adjust the modulation speed of the chorus effect.
De p th
De p th (Ch o ru s De p th )
Adjust the depth of modulation.
Adjust the modulation depth of the chorus effect.
De p th De v (De p th De via tio n )
Pre De la y (Pre De la y Tim e )
Adjust the difference in modulation depth between each
chorus sound.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Pre De la y (Pre De la y Tim e )
Tremolo
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Ra te (Tre m o lo Ra te ) #
Adjust the modulation speed of the tremolo effect.
Pre De la y De v (Pre De la y De via tio n )
Ph a se (Tre m o lo Ph a se )
Pre Delay determines the time from when the direct sound
begins until the processed sound is heard. Pre Delay
Deviation adjusts the differences in Pre Delay between each
chorus sound.
Adjust the spread of the tremolo effect.
Se p a ra tio n (Tre m o lo Se p a ra tio n )
Adjust the spread of the tremolo effect.
Pa n De v (Pa n De via tio n )
Adjust the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. With a setting of 20, each chorus sound will be spaced
at 60 degree intervals relative to the center.
Balance
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
tremolo chorus sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the tremolo chorus sound will be output.
Balance
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
4 9
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
1 3 : SPACE-D
1 4 : STEREO CHO RUS
Space-D is a multiple chorus that applies two-phase
This is a stereo chorus. A filter is provided so that you can
modulation in stereo. It gives no impression of modulation,
adjust the timbre of the chorus sound.
fig.2-17
but produces a transparent chorus effect.
Balance D
2-Band
fig.2-16
L in
L out
R out
Balance D
2-Band
EQ
L in
L out
R out
Balance W
Chorus
Chorus
EQ
Balance W
Space D
Space D
Balance W
Balance W
2-Band
EQ
R in
Balance D
2-Band
EQ
R in
Balance D
Chorus
Chorus
Ra te #
Ra te #
Adjust the rate of modulation.
Adjust the rate of modulation.
De p th
De p th
Adjust the depth of modulation.
Adjust the depth of modulation.
Ph a se
Ph a se
Adjust the spatial spread of the sound.
Pre De la y (Pre De la y Tim e )
Adjust the spatial spread of the sound.
Pre De la y (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Adjust the time delay from when the direct sound begins
until the processed sound is heard.
Filter
EQ Gain
Ty p e (Filte r Ty p e )
Lo w (Lo w Ga in )
Select the type of filter.
Adjust the gain of the low frequency range.
OFF:a filter will not be used
LPF:cut the frequency range above the cutoff frequency
HPF:cut the frequency range below the cutoff frequency
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
Cu to ff (Cu to ff Fre q u e n cy )
Balance
Adjust the basic frequency of the filter.
Ba la n ce (Effe ct Ba la n ce ) #
EQ Gain
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
Hig h (Hig h Ga in )
Output
Adjust the gain of the high frequency range.
Le ve l (O u tp u t Le ve l)
Balance
Adjust the output level.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
5 0
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Output
EQ Gain
Le ve l (O u tp u t Le ve l)
Lo w (Lo w Ga in )
Adjust the output level.
Adjust the gain of the low frequency range.
Hig h (Hig h Ga in )
1 5 : STEREO FLAN GER
Adjust the gain of the high frequency range.
This is a stereo flanger. (The LFO has the same phase for left
and right.) It produces a metallic resonance that rises and
falls like a jet airplane taking off or landing. A filter is
provided so that you can adjust the timbre of the flanged
Balance
Ba la n ce (Effe ct Ba la n ce )
sound.
fig.2-18
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
flanger sound will be output.
Balance D
2-Band
L in
L out
EQ
Flanger
Balance W
Feedback
Feedback
Output
Le ve l (O u tp u t Le ve l)
Balance W
Flanger
2-Band
EQ
Adjust the output level.
R in
R out
Balance D
Flanger
Ra te (LFO Ra te ) #
Adjust the rate of modulation.
De p th (LFO De p th )
Adjust the depth of modulation.
Fe e d b a ck (Fe e d b a ck Le ve l) #
Adjust the amount (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
Ph a se
Adjust the spatial spread of the sound.
Pre De la y (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Filter
Ty p e
Select the type of filter.
OFF:a filter will not be used
LPF:cut the frequency range above the cutoff frequency
HPF:cut the frequency range below the cutoff frequency
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the basic frequency of the filter.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
1 6 : STEP FLAN GER
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
The Step Flanger effect 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
Balance
tempo.
fig.2-19
Ba la n ce (Effe ct Ba la n ce )
Balance D
2-Band
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
chorus sound will be output.
L in
L out
EQ
Step Flanger
Balance W
Feedback
Feedback
Output
Balance W
Step Flanger
2-Band
EQ
R in
R out
Le ve l (O u tp u t Le ve l)
Balance D
Adjust the output level.
Flanger
1 7 : STEREO DELAY
Ra te (LFO Ra te )
This is a stereo delay.
Adjust the rate of modulation.
When Feedback Mode is NORMAL:
fig.2-20
De p th (LFO Ra te )
Balance D
2-Band
Adjust the depth of modulation.
Fbk (Feedback Level) #
L in
L out
EQ
Balance W
Delay
Adjust the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Feedback
Feedback
Balance W
Delay
2-Band
EQ
Fe e d b a ck #
R in
R out
L out
Balance D
Adjust the amount (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
When Feedback Mode is CROSS:
fig.2-21
Balance D
2-Band
EQ
L in
Balance W
Delay
Ph a se
Feedback
Feedback
Adjust the spatial spread of the sound.
Balance W
Delay
Pre De la y (Pre De la y Tim e )
2-Band
EQ
R in
R out
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Balance D
Delay
Step Rate
Le ft (De la y Tim e Le ft)
Ste p Ra te #
Adjust the time from the original sound until when the left
delay sound is heard.
Adjust the rate (period) of pitch change. This parameter can
be set as a note-value of a specified tempo. In this case,
specify the value of the desired note.
Rig h t (De la y Tim e Rig h t)
Adjust the time from the original sound until when the right
delay sound is heard.
EQ Gain
Lo w (Lo w Ga in )
HF Da m p
Adjust the gain of the low frequency range.
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
5 2
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
1 8 : MO DULATIO N DELAY
frequencies of the feedback, set this parameter to BYPASS.
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
Fe e d b a ck #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
When Feedback Mode is NORMAL:
fig.2-22
Balance D
2-Band
FBK Mo d e (Fe e d b a ck Mo d e )
L in
L out
EQ
Select the way in which delay sound is fed back into the
effect.
Balance W
Delay
Modulation
Feedback
Feedback
NORMAL:The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
Balance W
Delay
Modulation
Balance D
CROSS:The left delay sound will be fed back into the right
2-Band
EQ
R in
R out
L out
delay, and the right delay sound into the left delay.
When Feedback Mode is CROSS:
fig.2-23
Phase
Balance D
2-Band
EQ
Ph a se Le ft
L in
Select the phase of the left delay sound.
NORMAL:Phase is not changed.
INVERT:Phase is inverted.
Delay
Modulation
Balance W
Feedback
Feedback
Delay
Modulation
Balance D
Balance W
Ph a se Rig h t
2-Band
EQ
R in
R out
Select the phase of the right delay sound.
NORMAL:Phase is not changed.
INVERT:Phase is inverted.
Delay
Le ft (De la y Tim e Le ft)
EQ Gain
Adjust the time from the original sound until when the left
delay sound is heard.
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
Rig h t (De la y Tim e Rig h t)
Hig h (Hig h Ga in )
Adjust the time from the original sound until when the right
delay sound is heard.
Adjust the gain of the high frequency range.
HF Da m p
Balance
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
delay sound will be output.
Fe e d b a ck (Fe e d b a ck Le ve l)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Output
FBK Mo d e (Fe e d b a ck Mo d e )
Select the way in which delay sound is fed back into the
effect.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
NORMAL:The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS:The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
5 3
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Modulation
1 9 : TRIPLE TAP DELAY
The Triple Tap Delay produces three delay sounds; center,
left and right. The center delay time can be specified as a note
Ra te #
Adjust the speed of the modulation.
value of a specified tempo.
fig.2-24
De p th
Balance D
2-Band
Adjust the depth of the modulation.
L in
L out
EQ
Balance W
Left Tap
Ph a se
Triple Tap Delay
Feedback
Center Tap
Adjust the spatial spread of the sound.
Balance W
Right Tap
EQ Gain
2-Band
EQ
R in
R out
Balance D
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
Delay
Hig h (Hig h Ga in )
Ce n te r (De la y Tim e Ce n te r)
Le ft (De la y Tim e Le ft)
Adjust the gain of the high frequency range.
Balance
Rig h t (De la y Tim e Rig h t)
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the time delay from the direct sound until when the
delay sound is heard. This parameter can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
Adjust the volume balance between the direct sound and the
modulation delay sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W
only the modulation delay sound will be output.
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Fe e d b a ck #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Delay Level
Ce n te r (Ce n te r Le ve l)
Le ft (Le ft Le ve l)
Rig h t (Rig h t Le ve l)
Adjust the volume of each delay sound.
EQ Gain
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Fe e d b a ck (Fe e d b a ck Le ve l) #
Balance
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
delay sound will be output.
Delay Level
Le ve l 1
Le ve l 2
Output
Le ve l 3
Le ve l (O u tp u t Le ve l)
Le ve l 4
Adjust the output level.
Adjust the volume of each delay sound.
2 0 : Q UADRUPLE TAP DELAY
Balance
The Quadruple Tap Delay has four delays. Each of the Delay
Time parameters can be specified as a note length of the
Ba la n ce (Effe ct Ba la n ce ) #
selected tempo.
fig.2-25
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
delay sound will be output.
Balance D
L in
L out
Delay 1
Delay 2
Balance W
Feedback
Quadruple Tap Delay
Delay 3
Output
Le ve l (O u tp u t Le ve l)
Balance W
R out
Delay 4
Adjust the output level.
R in
Balance D
The stereo location of each delay sound is as follows.
fig.2-26
2
3
4
1
R
L
Delay
De la y 1 (De la y Tim e 1 )
De la y 2 (De la y Tim e 2 )
De la y 3 (De la y Tim e 3 )
De la y 4 (De la y Tim e 4 )
Adjust the time delay from the direct sound until when each
delay sound is heard. These parameters can be set as a note-
value of a specified tempo. In this case, specify the value of
the desired note.
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
5 5
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
2 1 : TIME CO N TRO L DELAY
Output
This effect allows you to use a specified controller (the
controller selected in EFX Control Source) to control the
delay time and pitch in realtime. Lengthening the delay will
lower the pitch, and shortening it will raise the pitch.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Pa n (O u tp u t Pa n )
fig.2-27
2-Band
EQ
Balance W
2 2 : 2 VO ICE PITCH SHIFTER
L in
L out
R out
Balance D
A Pitch Shifter shifts the pitch of the original sound. This 2-
voice pitch shifter has two pitch shifters, and can add two
Time Control Delay
Balance W
Feedback
Balance D
pitch shifted sounds to the original sound.
fig.2-28
2-Band
EQ
R in
Balance D
L in
L out
Level Balance A
Delay
PanA L
PanA R
Balance W
Tim e (De la y tim e ) #
2Voice Pitch Shifter
Level Balance B
PanB L
Adjust the time delay from the direct sound until when each
delay sound is heard.
Balance W
R out
PanB R
R in
Acce le ra tio n
Balance D
This parameter adjusts the time over which the Delay Time
will change from the current setting to a newly specified
setting. The rate of change for the Delay Time directly affects
the rate of pitch change.
Pitch A
Co a rse (Co a rse Pitch A) # 1
Adjust the pitch of Pitch Shift A in semitone steps (-2-+1
octaves).
HF Da m p
Adjust the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Fin e (Fin e Pitch A) # 1
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100-+100 cents).
Fe e d b a ck #
One cent is 1/ 100th of a semitone.
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Pa n (O u tp u t Pa n A)
Adjust the stereo location of the Pitch Shift A sound. L64 is
far left, 0 is center, and 63R is far right.
EQ Gain
Lo w (Lo w Ga in )
Pre De la y (Pre De la y Tim e A)
Adjust the gain of the low frequency range.
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
Pitch shift
Mo d e (Pitch Sh ifte r Mo d e )
Balance
Higher settings of this parameter will result in slower
response, but steadier pitch.
Ba la n ce (Effe ct Ba la n ce )
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
delay sound will be output.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pitch B
Pitch
Co a rse (Co a rse Pitch B) # 2
Co a rse (Co a rse Pitch ) # 1
Adjust the pitch of Pitch Shift B in semitone steps (-2-+1
octaves).
Adjust the pitch of the pitch shifted sound in semitone steps
(-2-+1 octaves).
Fin e (Fin e Pitch B) # 2
Fin e (Fin e Pitch ) # 1
Make fine adjustments to the pitch of Pitch Shift B in 2-cent
steps (-100-+100 cents).
Make fine adjustments to the pitch of the pitch shifted sound
in 2-cent steps (-100-+100 cents).
One cent is 1/ 100th of a semitone.
One cent is 1/ 100th of a semitone.
Pa n (O u tp u t Pa n B)
Pre De la y (Pre De la y Tim e )
Adjust the stereo location of the Pitch Shift B sound. L64 is
far left, 0 is center, and 63R is far right.
Adjust the time delay from when the direct sound begins
until the pitch shifted sound is heard.
Pre De la y (Pre De la y Tim e B)
Mo d e (Pitch Sh ifte r Mo d e )
Adjust the time delay from when the direct sound begins
until the Pitch Shift A sound is heard.
Higher settings of this parameter will result in slower
response, but steadier pitch.
Fe e d b a ck (Fe e d b a ck Le ve l) #
Level Balance
Adjust the proportion (%) of the pitch shift sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Le ve l Ba la n ce
Adjust the volume balance between the Pitch Shift A and
Pitch Shift B sounds.
EQ Gain
Balance
Lo w (Lo w Ga in )
Ba la n ce (Effe ct Ba la n ce )
Adjust the gain of the low frequency range.
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Hig h (Hig h Ga in )
Adjust the gain of the high frequency range.
Balance
Output
Ba la n ce (Effe ct Ba la n ce )
Le ve l (O u tp u t Le ve l)
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Adjust the output level.
2 3 : FBK PITCH SHIFTER
(Feedback Pitch Shifter)
Output
This pitch shifter allows the pitch shifted sound to be fed
Le ve l (O u tp u t Le ve l)
back into the effect.
fig.2-29
Adjust the output level.
2-Band
EQ
Balance W
L in
L out
R out
Pa n (O u tp u t Pa n )
Balance D
Adjust the stereo location of the pitch shifted sound. L64 is
far left, 0 is center, and 63R is far right.
Pitch Shifter
Balance W
Feedback
Balance D
2-Band
EQ
R in
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
2 4 : REVERB
Output
The Reverb effect adds reverberation to the sound,
Le ve l (O u tp u t Le ve l)
simulating an acoustic space.
fig.2-30
Adjust the output level.
2-Band
EQ
Balance W
L in
L out
R out
2 5 : GATED REVERB
Balance D
Reverb
Gate Reverb is a special type of reverb in which the
reverberant sound is cut off before its natural length.
fig.2-31
Balance W
2-Band
EQ
R in
Balance D
2-Band
EQ
L in
L out
R out
Balance D
Balance W
Reverb
Gate Reverb
Balance W
Ty p e (Re ve rb Ty p e )
2-Band
EQ
R in
Balance D
Select the type of Reverb effect.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
Reverb
Ty p e (Ga te Re ve rb Ty p e )
Select the type of reverb.
NORMAL:
conventional gate reverb
REVERSE: backwards reverb
SWEEP1:
SWEEP2:
the reverberant sound moves from right to left
the reverberant sound moves from left to right
Pre De la y (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Pre De la y (Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the reverb sound is heard.
Tim e (Re ve rb Tim e ) #
Adjust the time length of reverberation.
Ga te Tim e
HF Da m p
Adjust the time from when the reverb is heard until when it
disappears.
Adjust 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 the high frequencies to be
cut, set this parameter to BYPASS.
EQ Gain
Lo w (Lo w Ga in )
Adjust the gain of the low frequency range.
EQ Gain
Hig h (Hig h Ga in )
Lo w (Lo w Ga in )
Adjust the gain of the high frequency range.
Adjust the gain of the low frequency range.
Hig h (Hig h Ga in )
Balance
Adjust the gain of the high frequency range.
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
Balance
Ba la n ce (Effe ct Ba la n ce ) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
reverb sound will be output.
5 8
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Output
2 7 : O VERDRIVE→FLAN GER
This effect connects an overdrive and a flanger in series.
fig.2-33
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Balance D
L out
L in
Feedback
Flanger
2 6 : O VERDRIVE→CHO RUS
This effect connects an overdrive and a chorus in series.
Balance W
Overdrive
Balance W
R out
fig.2-32
R in
L out
L in
Balance D
Balance D
Chorus
Balance W
Overdrive
Overdrive
Balance W
R out
R in
Drive
Balance D
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Overdrive
Pa n (O ve rd rive Pa n ) #
Drive
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Pa n (O ve rd rive Pa n ) #
Flanger
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Pre De la y (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Chorus
Ra te (Fla n g e r Ra te )
Pre De la y (Ch o ru s Pre De la y Tim e )
Adjust the modulation speed of the flanger effect.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
De p th (Fla n g e r De p th )
Ra te (Ch o ru s Ra te )
Adjust the modulation depth of the flanger effect.
Adjust the modulation speed of the chorus effect.
Fe e d b a ck (Fla n g e r Fe e d b a ck )
De p th (De p th Ra te )
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Adjust the modulation depth of the chorus effect.
Ba la n ce (Ch o ru s Ba la n ce ) #
Ba la n ce (Fla n g e r Ba la n ce ) #
Adjust the volume balance between the overdrive sound that
is sent through the chorus and the overdrive sound that is
not sent through the chorus. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the chorus will be output.
Adjust the volume balance between the overdrive sound that
is sent through the flanger and the overdrive sound that is
not sent through the flanger. With a setting of “D100: 0W,”
only the overdrive sound will be output. With a setting of
“D0: 100W,” only the overdrive sound that is sent through
the flanger will be output.
Output
Output
Le ve l (O u tp u t Le ve l)
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Adjust the output level.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
2 8 : O VERDRIVE→DELAY
2 9 : DISTO RTIO N →CHO RUS
This effect connects an overdrive and a delay in series.
fig.2-34
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26:
OVERDRIVE?CHORUS,” with the exception of the following
two.
L out
L in
Balance D
Balance W
Overdrive
Delay
Drive → Specify the amount of distortion.
Balance W
R out
Pan → Specify the stereo location of the distortion sound.
fig.2-35
Feedback
R in
Balance D
L out
L in
Balance D
Chorus
Balance W
Overdrive
Distortion
Balance W
R out
Drive
R in
Balance D
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
3 0 : DISTO RTIO N →FLAN GER
Pa n (O ve rd rive Pa n ) #
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27:
OVERDRIVE?FLANGER,” with the exception of the
following two.
Adjust the stereo location of the overdrive sound. L64 is far
left, 0 is center, and 63R is far right.
Delay
Drive → Specify the amount of distortion.
Pan → Specify the stereo location of the distortion sound.
fig.2-36
Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Balance D
L out
L in
Feedback
Flanger
Balance W
Fe e d b a ck (De la y Fe e d b a ck )
Distortion
Balance W
R out
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
R in
Balance D
HF Da m p (De la y HF Da m p )
3 1 : DISTO RTIO N →DELAY
Adjust the frequency above which delayed sound fed back to
the effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28:
OVERDRIVE?DELAY,” with the exception of the following
two.
Ba la n ce (De la y Ba la n ce ) #
Adjust the volume balance between the overdrive sound that
is sent through the delay and the overdrive sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the overdrive sound will be output. With a setting of “D0:
100W,” only the overdrive sound that is sent through the
delay will be output.
Drive → Specify the amount of distortion.
Pan → Specify the stereo location of the distortion sound.
fig.2-37
L out
L in
Balance D
Delay
Balance W
Distortion
Balance W
R out
Feedback
Balance D
Output
R in
Le ve l (O u tp u t Le ve l)
Adjust the output level.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
3 2 : EN HAN CER→CHO RUS
3 3 : EN HAN CER→FLAN GER
This effect connects an enhancer and a chorus in series.
This effect connects an enhancer and a flanger in series.
fig.2-38
fig.2-39
Balance D
L in
L out
Enhancer
Balance D
Chorus
L in
L out
Enhancer
Mix
Mix
Mix
Mix
Feedback
Flanger
Balance W
Balance W
Balance W
R out
Balance W
R out
R in
Enhancer
Balance D
R in
Enhancer
Balance D
Enhancer
Enhancer
Se n s (En h a n ce r Se n s) #
Se n s #
Adjust the sensitivity of the enhancer.
Adjust the sensitivity of the enhancer.
Mix Le ve l (En h a n ce r Mix Le ve l)
Mix Le ve l (En h a n ce r Mix Le ve l)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Chorus
Flanger
Pre De la y (Ch o ru s Pre De la y Tim e )
Pre De la y (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Ra te (Ch o ru s Ra te )
Ra te (Fla n g e r Ra te )
Adjust the modulation speed of the chorus effect.
Adjust the modulation speed of the flanger effect.
De p th (Ch o ru s De p th )
De p th (Fla n g e r De p th )
Adjust the modulation depth of the chorus effect.
Adjust the modulation depth of the flanger effect.
Ba la n ce (Ch o ru s Ba la n ce ) #
Fe e d b a ck (Fla n g e r Fe e d b a ck Le ve l)
Adjust the volume balance between the enhancer sound that
is sent through the chorus and the enhancer sound that is not
sent through the chorus. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
chorus will be output.
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Ba la n ce (Fla n g e r Ba la n ce ) #
Adjust the volume balance between the enhancer sound that
is sent through the flanger and the enhancer sound that is not
sent through the flanger. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
flanger will be output.
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
3 4 : EN HAN CER→DELAY
3 5 : CHO RUS→DELAY
This effect connects an enhancer and a delay in series.
This effect connects a chorus and a delay unit in series.
fig.2-40
fig.2-41
Balance D
L in
L out
Enhancer
L in
L out
Balance D
Mix
Mix
Balance D
Balance W
Balance W
Balance W
Delay
Feedback
Balance D
Chorus
Balance W
Delay
Feedback
Balance D
Balance W
R out
Balance W
R out
R in
Enhancer
R in
Balance D
Enhancer
Chorus
Se n s #
Pre De la y (Ch o ru s Pre De la y Tim e )
Adjust the sensitivity of the enhancer.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Mix Le ve l (En h a n ce r Mix Le ve l)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Ra te (Ch o ru s Ra te )
Adjust the modulation speed of the chorus effect.
De p th (Ch o ru s De p th )
Delay
Adjust the modulation depth of the chorus effect.
Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Ba la n ce (Ch o ru s Ba la n ce ) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
Fe e d b a ck (De la y Fe e d b a ck )
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the
phase.
Delay
HF Da m p (De la y HF Da m p )
Tim e (De la y Tim e )
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to
BYPASS.
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Fe e d b a ck (De la y Fe e d b a ck )
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the
phase.
Ba la n ce (De la y Ba la n ce ) #
Adjust the volume balance between the enhancer sound that
is sent through the delay and the enhancer sound that is not
sent through the delay. With a setting of “D100: 0W,” only
the enhancer sound will be output. With a setting of “D0:
100W,” only the enhancer sound that is sent through the
delay will be output.
HF Da m p (De la y HF Da m p )
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Ba la n ce (De la y Ba la n ce ) #
Output
Adjust the volume balance between the chorus sound that is
sent through the delay and the chorus sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
chorus sound will be output. With a setting of “D0: 100W,”
only the chorus sound that is sent through the delay will be
output.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
BYPASS.
Output
Ba la n ce #
Le ve l (O u tp u t Le ve l)
Adjust the volume balance between the flanger sound that is
sent through the delay and the flanger sound that is not sent
through the delay. With a setting of “D100: 0W,” only the
flanger sound will be output. With a setting of “D0: 100W,”
only the flanger sound that is sent through the delay will be
output.
Adjust the output level.
3 6 : FLAN GER→DELAY
This effect connects a flanger and a delay in series.
fig.2-42
Balance D
L in
L out
Balance D
Feedback
Balance W
Output
Balance W
Balance W
Flanger
Delay
Feedback
Balance D
Balance W
R out
Le ve l (O u tp u t Le ve l)
R in
Adjust the output level.
Balance D
3 7 : CHO RUS→FLAN GER
Flanger
This effect connects a chorus and a flanger in series.
fig.2-43
Pre De la y (Fla n g e r Pre De la y Tim e )
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
Balance D
Feedback
Flanger
Balance D
L in
L out
Balance W
Chorus
Balance W
Ra te (Fla n g e r Ra te )
Balance W
R out
Balance W
Adjust the modulation speed of the flanger effect.
R in
Balance D
Balance D
De p th (Fla n g e r De p th )
Adjust the modulation depth of the flanger effect.
Chorus
Fe e d b a ck (Fla n g e r Fe e d b a ck )
Pre De la y (Ch o ru s Pre De la y Tim e )
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Adjust the time delay from when the direct sound begins
until the chorus sound is heard.
Ra te (Ch o ru s Ra te )
Ba la n ce (Fla n g e r Ba la n ce ) #
Adjust the modulation speed of the chorus effect.
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
flanger sound will be output.
De p th (Ch o ru s De p th )
Adjust the modulation depth of the chorus effect.
Ba la n ce (Ch o ru s Ba la n ce ) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100: 0W,” only the direct
sound will be output. With a setting of “D0: 100W,” only the
chorus sound will be output.
Delay
Tim e (De la y Tim e )
Adjust the time delay from when the direct sound begins
until the delay sound is heard.
Flanger
Fe e d b a ck (De la y Fe e d b a ck )
Pre De la y (Fla n g e r Pre De la y Tim e )
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the
phase.
Adjust the time delay from when the direct sound begins
until the flanger sound is heard.
HF Da m p (De la y HF Da m p )
Ra te (Fla n g e r Ra te )
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to
Adjust the modulation speed of the flanger effect.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
De p th (Fla n g e r De p th )
4 0 : CHO RUS/ FLAN GER
Adjust the modulation depth of the flanger effect.
This effect connects a chorus and a flanger in parallel. The
parameters are the same as for “37: CHORUS→FLANGER.”
However, the Flanger Balance parameter adjusts the volume
Fe e d b a ck (Fla n g e r Fe e d b a ck Le ve l)
Adjust the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
balance between the direct sound and the flanger sound.
fig.2-46
Balance D
L in
L out
Ba la n ce (Fla n g e r Ba la n ce ) #
Balance W
Chorus
Feedback
Adjust the volume balance between the chorus sound and
the chorus sound that is passed through the flanger. With a
setting of “D100: 0W,” only the chorus sound will be output.
With a setting of “D0: 100W,” only the chorus sound that
passes through the flanger will be output.
Balance W
Flanger
R in
R out
Balance D
Output
Le ve l (O u tp u t Le ve l)
Adjust the output level.
3 8 : CHO RUS/ DELAY
This effect connects a chorus and a delay in parallel. The
parameters are the same as for “35: CHORUS→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
fig.2-44
Balance D
L in
L out
Balance W
Chorus
Feedback
Balance W
Delay
R in
R out
Balance D
3 9 : FLAN GER/ DELAY
This effect connects a flanger and a delay in parallel. The
parameters are the same as for “36: FLANGER→DELAY.”
However, the Delay Balance parameter adjusts the volume
balance between the direct sound and the delay sound.
fig.2-45
Balance D
L in
L out
Balance W
Flanger
Feedback
Feedback
Balance W
Delay
R in
R out
Balance D
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
direct sound.
4 1 :STEREO PHASER
This is a stereo phaser. With the Step effects, you can also
make stepped changes in the pitch of sounds to which the
Step Rate
Phaser effect is applied.
fig.2-51
Sw itch
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
2-Band
EQ
L in
L out
R out
Phaser
Phaser
Mix
Mix
Ra te (Ste p Ra te ) #
Adjust the frequency of pitch change.
2-Band
EQ
R in
EQ Gain
Lo w (Lo w Ga in )
Phaser
Adjust the low frequency gain (amount of boost or cut).
Ty p e (Ph a se r Ty p e )
Positive (+) settings will emphasize (boost) the low
frequency range.
Selects the type of Phaser.
Type 2 adds more of the Phaser effect to the high frequencies
than Type 1.
Hig h (Hig h Ga in )
Adjust the high frequency gain (amount of boost or cut).
Mo d e
Positive (+) settings will emphasize (boost) the high
frequency range.
Selects the number of stages in the phaser (4/ 8-STAGE).
Po la rity
Output
Selects whether the left and right phase of the modulation
will be the same or the opposite.
Le ve l (O u tp u t Le ve l)
INVERSE:The left and right phase will be opposite. When
Adjust the output level.
using a mono source, this spreads the sound.
SYNCHRO:The left and right phase will be the same. Select
4 2 :KEYSYN C FLAN GER
this when inputting a stereo source.
Keysync FLanger controls the Flanger by resetting the effect
at the volume of the sound input to the effects device,
restarting from the same pitch each time the Flanger is reset.
Ma n u a l #
Adjusts the center frequency to which the phase effect is
applied.
This parameter lets your playing dynamics on the keyboard
control the flanger effect.
fig.2-52
Ra te (Ph a se r Ra te ) #
2-Band
EQ
L in
Adjust the frequency of modulation.
L out
Flanger
De p th (Ph a se r De p th )
Feedback
Feedback
Adjust the depth of modulation.
Re so n a n ce (Ph a se r Re so n a n ce )
Flanger
2-Band
EQ
Adjust the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
R in
R out
Flanger
X-Fe e d b a ck (Cro ss Fe e d b a ck Le ve l)
Adjust the proportion (%) of the phaser sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
PrDly (Pre De la y Tim e )
Adjust the time delay from the original sound until the
flanger sound is heard.
Ra te (LFO Ra te ) #
Mix Le ve l
Adjust the modulation frequency of the flanger sound.
Adjust the volume of the phase-shifted sound, relative to the
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
De p th (LFO De p th )
EQ Gain
Adjust the modulation depth of the flanger sound.
Lo w (Lo w Ga in )
Adjust the low frequency range gain (amount of boost or
cut).
Fb k #
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase. Higher settings will
produce a more distinctive sound.
Positive (+) settings will emphasize (boost) the low
frequency range.
Hig h (Hig h Ga in )
Adjust the high frequency gain (amount of boost or cut).
Ph a se
Positive (+) settings will emphasize (boost) the high
frequency range.
Adjust the spaciousness of the flanger sound.
Filter
Balance
Ty p e
Ba la n ce #
OFF:A filter will not be used.
Adjusts the volume balance between the direct sound and
the flanger sound.
LPF:he frequency region above the Cutoff Freq setting will
be cut.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the flanger sound
will be output.
HPF:The frequency region below the Cutoff Freq setting will
be cut.
Cu to ff (Cu to ff Fre q u e n cy )
Output
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Le ve l (O u tp u t Le ve l) 0 –1 2 7
Adjust the output level.
Step Rate
4 3 :FO RMAN T FILTER
Sw itch
This adds a vowel character to the sound, making it similar
to a human voice.
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
L in
L out
Pan L
Ra te (Ste p Ra te ) #
2-Band
EQ
Overdrive
Formant
Adjust the frequency of pitch change.
Pan R
R out
R in
Keysync
Sw itch (Ke y sy n c Sw itch )
Overdrive
Determines whether the Flanger LFO is reset according to the
input sound (ON) or not (OFF).
Sw itch
Determines whether the Overdrive is reset according to the
input sound (ON) or not (OFF).
Thre (Keysync Threshold)
Adjust the volume level for which reset will be applied.
Drive
Th re s (Ke y sy n c Th re s)
Turns Drive on/ off.
Sets the LFO phase when the LFO is reset.
Specifies the depth of distortion. The volume will change
together with the degree of distortion.
Ph a se (Ke y sy n c Ph a se )
Sets the LFO phase when the LFO is reset.
Filter
Vo w e l 1 , 2
Selects the vowel. The left setting is the vowel 1. The right
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
fig.2-54
setting is the vowel 2.
L in
L out
R out
Ring Mod
Ring Mod
2-Band EQ
2-Band EQ
Ra te
Sets the frequency at which the two vowels will be switched.
R in
De p th
Ring Modulator
Sets the effect depth.
Fre q (Fre q u e n cy ) #
Ma n u a l
Sets the frequency at which modulation will be applied.
Sets the point at which the two vowels will be switched.
When set to 50, Vowels 1 and 2 switched in the same amount
of time. Setting this higher than 50 increases the time for
Vowel 1; setting this lower than 50 decreases the time for
Vowel 1.
Mo d u la to r (Mo d u la to r So u rce )
Selects the input of the source sound for the envelope
controlling the modulation.
When set to SOURCE, the frequency is modulated according
to the envelope of the sound input to the multi-effects.
Keysync
Mo d u la to r Mo n ito r
Sw itch (Ke y sy n c Sw itch )
Determines whether the input sound used as the modulator
is output (ON) or not (OFF).
Determines whether the LFO for switching the vowels is
reset according to the input sound (ON) or not (OFF).
Se n s #
Th re s (Ke y sy n c Th re sh o ld )
Sets the amount of frequency modulation applied.
Specifies the volume level for which reset will be applied.
Po la rity
EQ Gain
Determines whether the frequency modulation moves
towards higher frequencies (UP) or lower frequencies
(DOWN).
Lo w (Lo w Ga in )
Specifies the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
EQ Gain
Lo w (Lo w Ga in )
Hig h (Hig h Ga in )
Specifies the low frequency gain (amount of boost or cut).
Specifies the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
Hig h (Hig h Ga in )
Output
Specifies the high frequency gain (amount of boost or cut).
Le ve l (O u tp u t Le ve l)
Positive (+) settings will emphasize (boost) the high
frequency range.
Specifies the output volume.
Pa n (O u tp u t Pa n )
Balance
Specifies the stereo location of the output sound. L64 is far
left, 0 is center, and 63R is far right.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
4 4 :RIN G MO DULATO R
Ring Modulator is an effect which applies amplitude
modulation (AM) to the input signal, producing bell-like
sounds.
You can also change the modulation frequency according to
the volume of the sound input to the effects device.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Output
Level
Le ve l (O u tp u t Le ve l)
1 (Le ve l 1 )
Adjust the output level.
Adjust the output level of delay 1.
2 (Le ve l 2 )
4 5 :MULTI TAP DELAY
Adjust the output level of delay 2.
The Multi Tap Delay has four delays. Each of the Delay Time
parameters can be specified as a note length of the selected
tempo. You can also set the panning and level of each delay
3 (Le ve l 3 )
Adjust the output level of delay 3.
sound.
fig.2-55
4 (Le ve l 4 )
Balance D
2-Band
Adjust the output level of delay 4.
L in
L out
EQ
Feed
back
Delay 1
Delay 3
Balance W
Pan
Multi Tap Delay
Delay 4
1 (O u tp u t Pa n 1 )
Balance W
Sets the stereo position of the delay sound (Delay 1). A
setting of L64 is far left, 0 is center, and 63R is far right.
Delay 2
2-Band
EQ
R in
R out
Balance D
2 (O u tp u t Pa n 2 )
Delay
Sets the stereo position of the delay sound (Delay 2). A
setting of L64 is far left, 0 is center, and 63R is far right.
1 (De la y Tim e 1 )
Adjust the delay time from the original sound until the delay
1 sound is heard.
3 (O u tp u t Pa n 3 )
Sets the stereo position of the delay sound (Delay 3). A
setting of L64 is far left, 0 is center, and 63R is far right.
2 (De la y Tim e 2 )
Adjust the delay time from the original sound until the delay
2 sound is heard.
4 (O u tp u t Pa n 4 )
Sets the stereo position of the delay sound (Delay 4). A
setting of L64 is far left, 0 is center, and 63R is far right.
3 (De la y Tim e 3 )
Adjust the delay time from the original sound until the delay
3 sound is heard.
EQ Gain
Lo w (Lo w Ga in )
4 (De la y Tim e 4 )
Adjust the low frequency gain (amount of boost or cut).
Adjust the delay time from the original sound until the delay
4 sound is heard.
Positive (+) settings will emphasize (boost) the low
frequency range.
Fe e d b a ck #
Hig h (Hig h Ga in )
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
HF Da m p
Balance
Adjust the frequency at which the high frequency range of
the delayed sound returned to the input will be cut.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source sound and the
effect sound.
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )
Output
Adjust the pan of delay sound (Delay 1, 2, 3). A setting of L64
is far left, 0 is center, and 63R is far right.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Threshold
4 6 :REVERSE DELAY
Th re sh (Th re sh o ld Le ve l)
Reverse Delay is a delay effect that adds the reverse of the
Specify the volume level at which the reverse delay will
begin to apply.
input sound as the delay sound.
fig.2-56
2-Band
EQ
L out
L in
Feedback
D1
1
EQ Gain
D2
Rev. Delay
Delay
2
3
Lo w (Lo w Ga in )
D3
D4
Adjust the low frequency gain (amount of boost or cut).
2-Band
EQ
R in
R out
Positive (+) settings will emphasize (boost) the low
frequency range.
Delay
Hig h (Hig h Ga in )
1 (De la y Tim e 1 )
Adjust the high frequency gain (amount of boost or cut).
Adjust the delay time from the original sound until the delay
1 sound is heard.
Positive (+) settings will emphasize (boost) the high
frequency range.
2 (De la y Tim e 2 )
Balance
Adjust the delay time from the original sound until the delay
2 sound is heard.
Ba la n ce (Effe ct Ba la n ce ) #
3 (De la y Tim e 3 )
Sets the volume balance between the source sound and the
effect sound.
Adjust the delay time from the original sound until the delay
3 sound is heard.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
4 (De la y Tim e 4 )
Adjust the delay time from the original sound until the delay
4 sound is heard.
Output
Le ve l (O u tp u t Le ve l)
Feedback
Adjust the output level.
Fe e d b a ck 1 :4 #
Adjust the proportion (%) of the delay 1 and 4 sound that is
fed back into the effect. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
HF Damp
HF Da m p 1 :4
Adjust the frequency above which delayed sound (Delay 1,
4) fed back to the delay input will be cut.
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Le ve l 1 :2 :3
Adjust the output level of delay 1, 2 and 3.
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4 7 :SHUFFLE DELAY
EQ Gain
Shuffle Delay adds a shuffle to the delay sound, giving the
Lo w (Lo w Ga in )
sound a bouncy delay effect with a swing feel.
fig.2-57
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
2-Band
EQ
L out
R out
L in
Feedback
Delay
Delay 1
Delay 2
1
2
Hig h (Hig h Ga in )
Adjust the high frequency gain (amount of boost or cut).
2-Band
EQ
R in
Positive (+) settings will emphasize (boost) the high
frequency range.
Delay
Balance
Tim e (De la y Tim e ) #
Adjust the delay time from the original sound until the delay
sound is heard.
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source sound and the
effect sound.
Sh u ffle Ra te #
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Sets the ratio (as a percentage) of the time that elapses before
the sound plays in Delay B relative to the time that elapses
before the sound plays in Delay A. When set to 100%, the
delay times are the same.
Output
Acce le ra tio n
Le ve l (O u tp u t Le ve l)
Adjust the time over which the Delay Time will change from
the current setting to a newly specified setting. The rate of
change for the Delay Time directly affects the rate of pitch
change.
Adjust the output level.
4 8 :3 D DELAY
This applies a 3D effect to the delay sound. The delay sound
Fe e d b a ck #
will be positioned 90 degrees left and 90 degrees right.
fig.2-58
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
2-Band
EQ
L
L out
Level
3D Delay L
3D Delay C
HF Da m p
3D Delay R
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
2-Band
EQ
R
R out
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Delay
Ce n te r (De la y Tim e Ce n te r)
Pan
Adjust the delay time from the original sound until the
center delay sound is heard.
A (Pa n A)
Adjust the pan of the delay A sound.
Le ft (De la y Tim e Le ft)
B (Pa n B)
Adjust the delay time from the original sound until the left
delay sound is heard.
Adjust the pan of the delay B sound.
Rig h t (De la y Tim e Rig h t)
Balance
Adjust the delay time from the original sound until the right
delay sound is heard.
Ba la n ce (Le ve l Ba la n ce )
Sets the balance for the levels of the delay A and the delay B.
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HF Da m p
Le ve l (O u tp u t Le ve l)
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
Adjust the output level.
4 9 :3 VO ICE PITCH SHIFTER
If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
A Pitch Shifter shifts the pitch of the original sound. This 3-
voice pitch shifter has three pitch shifters, and can add three
Fe e d b a ck #
pitch shifted sounds to the original sound.
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
fig.2-58
L out
L
Pitch 1
Pitch 2
1
2
Delay Level
Pitch 3
3
Ce n te r (Le ve l Ce n te r)
R
R out
Adjust the volume of the left delay sound.
Pch Coarse
Le ft (Le ve l Le ft)
Adjust the volume of the center delay sound.
1 :2 :3 (Co a rse Pitch 1 :2 :3 ) # 1
Specify the pitch in semitones for pitch shift 1–3.
Rig h t (Le ve l Rig h t)
Adjust the volume of the right delay sound.
Pch Fine
1 :2 :3 (Fin e Pitch 1 :2 :3 ) # 1
EQ Gain
Make fine adjustments to the pitch of the pitch shift 1–3 in 2-
Lo w (Lo w Ga in )
cent steps.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Pitch Shift
Mo d e (Pitch Sh ifte r Mo d e )
Hig h (Hig h Ga in )
Higher settings of this parameter will result in slower
response, but steadier pitch.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Fb k 1 :2 :3 (Fe e d b a ck Le ve l 1 :2 :3 )
Adjust the proportion (%) of the pitch shift 1–3 sound that is
fed back into the effect.
Balance
Pre De la y 1 :2 :3 (Pre De la y Tim e 1 :2 :3 )
Ba la n ce (Effe ct Ba la n ce ) #
Specify the time delay from the original sound until the pitch
Sets the volume balance between the source sound and the
effect sound.
shift 1–3 sound is heard.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Balance
Ba la n ce (Effe ct Ba la n ce )
Sets the volume balance between the source sound and the
effect sound.
Output
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
O u t (O u tp u t Mo d e )
Adjust the method that will be used to hear the sound that is
output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Le ve l (O u tp u t Le ve l)
Specifies the output volume.
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Pa n 1 :2 :3 (O u tp u t Pa n 1 :2 :3 )
EQ Gain
Specify the stereo location of the pitch shift 1–3 sound. L64 is
Lo w (Lo w Ga in )
far left, 0 is center, and 63R is far right.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Output
Le ve l (O u tp u t Le ve l)
Hig h (Hig h Ga in )
Adjust the output level.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
5 0 :LO FI CO MPRESS
This is an effect that intentionally degrades the sound
Balance
quality.
fig.2-60
Ba la n ce (Effe ct Ba la n ce ) #
L in
L out
Pan L
Sets the volume balance between the source sound and the
effect sound.
2-Band
EQ
Lo-Fi
Pan R
R in
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
R out
Lo-Fi
Ty p e (Lo Fi Ty p e )
Output
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Pre Filter
Pa n (O u tp u t Pa n )
Ty p e (Pre Filte r Ty p e )
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Adjust the type of filter that will be applied before the sound
passes through the Lo-Fi effect.
5 1 :LO FI N O ISE
Post Filter 1
In addition to a Lo-Fi effect, this effect also generates various
types of noise, such as radio noise and disc noise.
fig.2-61
Ty p e (Po st Filte r 1 Ty p e )
Adjust the type of filter that will be applied after the sound
passes through the Lo-Fi effect.
L in
L out
Pan L
2-Band
EQ
Lo-Fi
Pan R
Post Filter 2
R in
R out
Radio
Noise Gen.
Ty p e (Po st Filte r 2 Ty p e )
OFF: A post filter 2 will not be used.
Lo-Fi
LPF: The frequency region above the Cutoff Freq setting will
Ty p e (Lo Fi Ty p e )
be cut.
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Post Filter
Cu to ff (Cu to ff Fre q u e n cy )
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Ty p e (Po st Filte r Ty p e )
OFF:A filter will not be used.
LPF:The frequency region above the Cutoff Freq setting will
be cut.
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HPF:The frequency region below the Cutoff Freq setting will
Pa n (O u tp u t Pa n )
be cut.
Adjust the stereo position of the delay sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Cu to ff (Cu to ff Fre q u e n cy )
Adjust the frequency at which the filter will begin cutting.
5 2 :SPEAKER SIMULATO R
Speaker Simulator is an effect that simulates the speaker type
Radio Noise
and mic settings used to record the speaker sound.
fig.2-62
De tu n e #
Simulates the tuning noise of a radio. As this value is raised,
the tuning will drift further.
L in
L out
R out
Speaker
Speaker
Le ve l
R in
Adjust the volume of the radio noise.
Speaker
Disc Noise
Ty p e (Sp e a k e r Ty p e )
Ty p e (Disc N o ise Ty p e )
Select the type of speaker. The specifications of each type are
as follows. The speaker column indicates the diameter of
each speaker unit (in inches) and the number of units.
Selects the type of record noise. The frequency at which the
noise is heard will depend on the selected type.
LPF
Type
Cabinet
Speaker Microphone
Adjust the cutoff frequency of the low pass filter that is
applied to the record noise.
SMALL 1
small open-back enclosure 10
small open-back enclosure 10
dynamic mic
dynamic mic
SMALL 2
MIDDLE
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
12 x 1 dynamic mic
12 x 2 dynamic mic
12 x 2 dynamic mic
12 x 2 condenser mic
12 x 2 condenser mic
12 x 2 condenser mic
12 x 2 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
12 x 4 condenser mic
Le ve l (Disc N o ise Le ve l)
JC-120
Adjust the volume of the record noise.
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
EQ Gain
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
large sealed enclosure
large sealed enclosure
large sealed enclosure
Hig h (Hig h Ga in )
METAL STACK large double stack
Adjust the high frequency gain (amount of boost or cut).
2-STACK
3-STACK
large sealed enclosure
large sealed enclosure
Positive (+) settings will emphasize (boost) the high
frequency range.
Mic
Balance
Se ttin g (Mic Se ttin g )
Ba la n ce (Effe ct Ba la n ce ) #
Adjust 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.
Sets the volume balance between the source sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Le ve l #
Adjust the volume of the microphone.
Dire ct Le ve l #
Output
Adjust the volume of the direct sound.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
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Output
5 4 :DISTO RTIO N 2
This is a distortion effect that provides heavy distortion.
fig.2-64
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Distortion
5 3 :O VERDRIVE 2
Pan R
R in
R out
This is an overdrive that provides heavy distortion.
fig.2-63
Distortion
L in
L out
Pan L
Amp
Simulator
2-Band
EQ
Drive #
Overdrive
Pan R
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
R in
R out
Overdrive
To n e
Drive #
Adjust the sound quality of the Overdrive effect.
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
Amp Simulator
Sw itch
To n e
Turns the Amp Simulator on/ off.
Adjust the sound quality of the Overdrive effect.
Ty p e (Am p Sim u la to r Ty p e )
Ajust the type of guitar amp.
SMALL : small amp
Amp Simulator
Sw itch
Turns the Amp Simulator on/ off.
BUILT-IN : single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Ty p e (Am p Sim u la to r Ty p e )
Ajust the type of guitar amp.
SMALL : small amp
EQ Gain
BUILT-IN : single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
EQ Gain
Lo w (Lo w Ga in )
Hig h (Hig h Ga in )
Adjust the low frequency gain (amount of boost or cut).
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Positive (+) settings will emphasize (boost) the high
frequency range.
Hig h (Hig h Ga in )
Output
Adjust the high frequency gain (amount of boost or cut).
Le ve l (O u tp u t Le ve l)
Positive (+) settings will emphasize (boost) the high
frequency range.
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Output
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
Pa n (O u tp u t Pa n ) #
Adjust the stereo location of the output sound. A setting of
L64 is far left, 0 is center, and 63R is far right.
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5 5 :STEREO CO MPRESSO R
5 6 :STEREO LIMITER
fig.2-65
fig.2-66
L in
L out
R out
L in
L out
R out
Compressor
Compressor
2-Band EQ
2-Band EQ
Limiter
Limiter
2-Band EQ
2-Band EQ
R in
R in
Compressor
Limiter
Atta ck
Th re sh o ld (Th re sh o ld Le ve l)
Adjust the attack time of an input sound.
Adjust the volume at which compression will begin.
Su sta in
Ra tio (Co m p re ssio n Ra tio )
Adjust the time over which low level sounds are boosted
until they reach the specified volume.
Adjust the compression ratio.
Re le a se (Re le a se Tim e )
Po st Ga in
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Adjust the output gain.
Po st Ga in
EQ Gain
Adjust the output gain.
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
EQ Gain
Positive (+) settings will emphasize (boost) the low
frequency range.
Lo w (Lo w Ga in )
Adjust the low frequency gain.
Hig h (Hig h Ga in )
Hig h (Hig h Ga in )
Adjust the high frequency gain (amount of boost or cut).
Adjust the high frequency gain.
Positive (+) settings will emphasize (boost) the high
frequency range.
Output
Output
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
Le ve l (O u tp u t Le ve l) #
Adjust the output level.
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5 7 :GATE
Balance
The Gate effect cuts the reverb’s delay according to the
volume of the sound input to the effects device. Use this in
situations such as when you want to force a decrease in the
Ba la n ce (Effe ct Ba la n ce ) #
Sets the volume balance between the source sound and the
effect sound.
decay sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
fig.2-67
L in
L out
R out
Gate
Gate
R in
Output
Le ve l (O u tp u t Le ve l)
Gate
Adjust the output level.
Mo d e
GATE (Gate Reverb):
5 8 :SLICER
When the source volume falls below a certain level, the gate
closes, giving the effect of the reverb sound being cut with a
gate reverb.
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
DUCK (Ducking Reverb):
sustain-type sounds.
fig.2-68
When the source volume gets high enough, the gate closes,
which gives a ducking reverb-type effect. Stop the reverb
sound only when input loud sound so that prevent the play
sound become unclear.
L in
L out
R out
Slicer
Slicer
R in
Atta ck Tim e
Level 1–4
Sets the time it takes the gate fully opens after being
triggered.
Be a t 1 –4
For a single measure containing four quarter notes, this sets
the level of each sixteenth-note when the measure is divided
into sixteenth notes. When set to 0, no sound is output.
Ho ld Tim e
Sets the time it takes the gate starts closing after the instant
the source sound goes under the threshold level.
Rate
Re le a se Tim e
Ra te #
Sets the time it takes the gate fully closes after passes by the
hold time.
Determines the cycle for one measure.
Gate Key
Attack
Ke y
Atta ck
Selects the input of the sound that acts as the trigger closing
the gate.
Sets the speed at which the volume changes between beats.
The higher the value, the faster the volume changes.
When set to SOURCE, the gate is closed by the sound input
to the Multi-effects.
Reset
Trig g e r #
Th re sh o ld (Ke y Th re sh o ld )
Selects the input of the sound that acts as the trigger resetting
the one-measure pattern.
Sets the volume level at which the gate begins to close.
Mo n ite r (Ke y Mo n ito r)
When set to OFF, the pattern is not reset, even if the input is
present. When set to Source, the pattern is reset by the sound
input to the multi-effects. When RESET is selected as the
MFX Control parameter, you can then use an external MIDI
device to reset the pattern.
Determines whether the sound used as the gate trigger is
output (ON) or not (OFF).
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Th re sh o ld (Re se t Th re sh o ld )
Anti Phase Low
Sets the volume level at which the reset begins.
Sw itch (An ti Ph a se Lo w Sw itch )
This turns the Anti-Phase function on and off and sets the
level settings for the Low frequency ranges. When turned on,
the counter-channel of stereo sound is inverted and added to
the signal.
Mo n ito r (Re se t Mo n ito r)
Determines whether the sound used as the reset trigger is
output (ON) or not (OFF). This parameter is disabled when
Reset is set to OFF or Source.
Le ve l (An ti Ph a se Lo w Le ve l)
Beat Change
Adjusting these levels for certain frequencies allows you to
lend emphasis to specific parts. (This is effective only for
stereo source.)
Mo d e
Sets the manner in which the volume changes as one beat
progresses to the next.
Anti Phase Mid
LEGATO:The change in volume from one beat’s level to the
next remains unaltered. If the level of a following beat is the
same as the one preceding it, then there is no change in
volume.
Sw itch (An ti Ph a se Mid d le Sw itch )
This turns the Anti-Phase function on and off and sets the
level settings for the Middle frequency ranges. When turned
on, the counter-channel of stereo sound is inverted and
added to the signal.
SLASH:The level is momentarily set to 0 before progressing
to the level for the next beat. This change in volume occurs
even if the level of a following beat is the same as the one
preceding it.
Le ve l (An ti Ph a se Mid d le Le ve l)
Adjusting these levels for certain frequencies allows you to
lend emphasis to specific parts. (This is effective only for
stereo source.)
Sh u ffle #
Sets the timing of volume changes in levels for even-
numbered Beats (Beat 1-2/ Beat 1-4/ Beat 2-2/ ...). The higher
the value selected, the later the timing with which the beat
progresses.
Low Boost
Sw itch (Lo w Bo o ste r Sw itch )
Output
Adjust whether Low Booster will be used (ON) or not (OFF).
This emphasizes the bottom to create a heavy bass sound.
Le ve l (O u tp u t Le ve l)
Increasing this value gives you a heavier low end.
(Depending on the Isolator and filter settings this effect may
be hard to distinguish.)
Adjust the output level.
5 9 :ISO LATO R
Le ve l (Lo w Bo o ste r Le ve l)
An equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in
Adjust the level.
varying ranges.
Output
fig.2-69
L in
L out
R out
Isolater
Isolater
Low Boost
Low Boost
Le ve l (O u tp u t Le ve l)
Adjust the output level.
R in
6 0 :3 D CHO RUS
Bo o st/ Cu t
This applies a 3D effect to the chorus sound. The chorus
Low (Level Low) #
Mid (Level Middle) #
High (Level High) #
sound will be positioned 90 degrees left and 90 degrees right.
fig.2-70
2-Band
EQ
L
L out
R out
These boost and cut each of the High, Middle, and Low
frequency ranges. At -60 dB, the sound becomes inaudible. 0
dB is equivalent to the input level of the sound.
3D Chorus
2-Band
EQ
R
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output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Chorus
Ra te (LFO Ra te ) #
Adjust the modulation frequency of the chorus sound.
Le ve l (O u tp u t Le ve l)
De p th (LFO De p th )
Adjust the output level.
Adjust the modulation depth of the chorus sound.
6 1 :3 D FLAN GER
Ph a se
This applies a 3D effect to the flanger sound. The flanger
Adjust the spaciousness of the chorus sound.
sound will be positioned 90 degrees left and 90 degrees right.
fig.2-71
Pre De la y (Pre De la y Tim e )
2-Band
EQ
L
L out
R out
Adjust the delay time from the original sound until when the
chorus sound is heard.
3D Flanger
2-Band
EQ
R
Filter
Ty p e
Flanger
OFF:A filter will not be used.
Ra te (LFO Ra te ) #
LPF:The frequency region above the Cutoff Freq setting will
Adjust the modulation speed of the flanger sound.
be cut.
HPF:The frequency region below the Cutoff Freq setting will
De p th (LFO De p th )
be cut.
Adjust the modulation depth of the flanger sound.
Cu to ff (Cu to ff Fre q u e n cy )
Fe e d b a ck #
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase. Higher settings will
produce a more distinctive sound.
EQ Gain
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
Ph a se
Positive (+) settings will emphasize (boost) the low
frequency range.
Adjust the spaciousness of the flanger sound.
PrDly (Pre De la y Tim e )
Hig h (Hig h Ga in )
Adjust the time delay from the direct sound until the flanger
sound is heard.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Filter
Ty p e
Balance
OFF:No filter is used.
Ba la n ce #
LPF:The frequency region above the Cutoff Freq setting will
Adjust the volume balance between the original sound and
the flanger sound.
be cut.
HPF:The frequency region below the Cutoff Freq setting will
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the flanger sound
will be output.
be cut.
Cu to ff (Cu to ff Fre q u e n cy )
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Output
O u t (O u tp u t Mo d e )
Adjust the method that will be used to hear the sound that is
7 8
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Step Rate
Tremolo
Sw itch (Ste p Ra te Sw itct)
Mo d W a ve (Mo d u la tio n W a ve )
Determines whether the pitch is changed in a stepped
fashion (ON) or not (OFF).
TRI: The sound will be modulated like a triangle wave.
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
Ste p Ra te (Ste p Ra te ) #
And adjust the rate at which the pitch will change.
The teeth in SAW1 and SAW2 point at opposite directions.
fig.2-72a
EQ Gain
Saw1
Saw2
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low
frequency range.
Ra te #
Adjust the frequency (speed) of the change.
Hig h (Hig h Ga in )
De p th #
Adjust the high frequency gain (amount of boost or cut).
Sets the depth to which the effect is applied.
Positive (+) settings will emphasize (boost) the high
frequency range.
EQ Gain
Balance
Lo w (Lo w Ga in )
Adjust the low frequency gain (amount of boost or cut).
Ba la n ce #
Positive (+) settings will emphasize (boost) the low
frequency range.
Adjust the volume balance between the original sound and
the flanger sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the flanger sound
will be output.
Hig h (Hig h Ga in )
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Output
Output
O u tp u t (O u tp u t Mo d e )
Adjust the method that will be used to hear the sound that is
output to the OUTPUT jacks. The optimal 3D effect will be
achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Le ve l (O u tp u t Le ve l)
Adjust the output level.
6 3 :AUTO PAN
Le ve l (O u tp u t Le ve l)
The Auto Pan effect cyclically modulates the stereo location
Adjust the output level.
of the sound.
fig.2-73
L in
L out
R out
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
6 2 :TREMO LO
Tremolo cyclically modulates the volume to add tremolo
effect to the sound.
R in
fig.2-72
L in
L out
R out
Tremolo
Tremolo
2-Band EQ
2-Band EQ
Auto Pan
Mo d W a ve (Mo d u la tio n W a ve )
R in
TRI: The sound will be modulated like a triangle wave.
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
The teeth in SAW1 and SAW2 point at opposite directions.
fig.2-73a
INVERSE: The left and right phase will be opposite. When
using a mono source, this spreads the sound.
Saw1
Saw2
SYNCHRO: The left and right phase will be the same. Select
this when inputting a stereo source.
Ma n u a l #
Adjusts the center frequency to which the phase effect is
applied.
Ra te #
Adjust the frequency (speed) of the change.
Ra te (Ph a se r Ra te ) #
De p th #
Specifies the frequency of modulation.
Sets the depth to which the effect is applied.
De p th (Ph a se r De p th )
EQ Gain
Adjusts the depth of modulation.
Lo w (Lo w Ga in )
Re so n a n ce (Ph a se r Re so n a n ce )
Adjust the low frequency gain (amount of boost or cut).
Adjusts the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
Positive (+) settings will emphasize (boost) the low
frequency range.
X-Fe e d b a ck (Cro ss Fe e d b a ck Le ve l)
Hig h (Hig h Ga in )
Adjusts the proportion (%) of the phaser sound that is to be
returned to the input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high
frequency range.
Output
Mix Le ve l (Mix Le ve l)
Le ve l (O u tp u t Le ve l)
Specifies the volume of the phase-shifted sound, relative to
the direct sound.
Adjust the output level.
Step Rate
6 4 : STEREO PHASER 2
This is a stereo phaser.
fig.02-064m.e
Sw itch (Ste p Sw itch )
Determines whether the pitch is changed in a stepped
fashion (ON) or not (OFF).
2-Band
EQ
L in
L out
R out
Phaser
Phaser
Mix
Mix
Ra te (Ste p Ra te ) #
Adjusts the rate (period) of pitch change.
2-Band
EQ
R in
EQ Gain
Lo w (Lo w Ga in )
Phaser
Adjusts the gain of the low frequency range.
Ty p e (Ph a se r Ty p e )
Positive (+) settings will emphasize (boost) the low-
frequency range.
Selects the type of Phaser.
Type 2 adds more of the Phaser effect to the high frequencies
than Type 1.
Hig h (Hig h Ga in )
Adjusts the gain of the high frequency range.
Mo d e
Positive (+) settings will emphasize (boost) the high-
frequency range.
Selects the number of stages in the phaser (4/ 8/ 12/ 16).
Po la rity
Selects whether the left and right phase of the modulation
will be the same or the opposite.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Output
EQ Gain
Le ve l (O u tp u t Le ve l)
Lo w
Adjusts the output level.
Adjusts the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
6 5 : STEREO AUTO W AH
This is a stereo auto wah.
fig.02-065m.e
Hig h
Adjusts the gain of the high frequency range.
L in
L out
R out
Auto Wah
Auto Wah
2-Band EQ
2-Band EQ
Positive (+) settings will emphasize (boost) the high-
frequency range.
R in
Output
Auto Wah
Le ve l (O u tp u t Le ve l)
Filte r Ty p e
Adjusts the output level.
Selects the type of filter.
LPF: The wah effect will be applied over a wide frequency
range.
6 6 : ST FO RMAN T FILTER (Ste re o
Fo rm a n t Filte r)
BPF: The wah effect will be applied over a narrow frequency
range.
This is a stereo formant filter.
fig.02-066m.e
L in
L out
R out
Overdrive
Overdrive
Formant
Formant
2-Band EQ
2-Band EQ
Se n s #
Adjusts the sensitivity with which the filter is controlled.
R in
Ma n u a l #
Adjusts the center frequency from which the wah effect is
applied.
Overdrive
Sw itch (Drive Sw itch )
Pe a k
Turns Drive on/ off.
Adjusts the amount of the wah effect that will occur in the
area of the center frequency.
Drive #
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Lower settings will cause the effect to be applied in a broad
area around the center frequency. Higher settings will cause
the effect to be applied in a more narrow range.
Filter
Ra te (LFO Ra te ) #
Vo w e l1
Adjusts the frequency of the modulation.
Selects vowel 1.
De p th (LFO De p th ) #
Vo w e l2
Adjusts the depth of the modulation.
Selects vowel 2.
Po la rity (Au to W a h Po la rity )
Ra te #
Sets the direction in which the frequency will change when
the auto-wah filter is modulated. With a setting of Up, the
filter will change toward a higher frequency. With a setting
of Down, it will change toward a lower frequency.
Sets the frequency at which the two vowels will be switched.
De p th #
Sets the effect depth.
Ph a se #
Ma n u a l #
Sets the degree of phase shift of the left and right sounds
when the wah effect is applied.
Sets the point at which the two vowels will be switched.
When set to 50, Vowels 1 and 2 are switched after the same
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amount of time. Setting this higher than 50 increases the time
for Vowel 1; setting this lower than 50 decreases the time for
Vowel 1.
Fe e d b a ck #
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Ph a se #
Sets the phase shift of the left and right sounds when the two
vowels are switched.
HF Da m p
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut.
Keysync
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
Sw itch (Ke y sy n c Sw itch )
Determines whether the LFO for switching the vowels is
reset according to the input sound (ON) or not (OFF).
Level
Th re s
1 –4 (De la y Le ve l 1 –4 )
Adjusts the volume level at which reset will be applied.
Adjusts the output level of delay 1 – 4.
EQ Gain
Pan
Lo w
1 –4 (O u tp u t Pa n 1 –4 )
Adjusts the gain of the low frequency range.
Sets the stereo position of the delay sound (Delay 1 – 4). L64
Positive (+) settings will emphasize (boost) the low-
frequency range.
is far left, 0 is center, and 63R is far right.
EQ Gain
Hig h
Adjusts the gain of the high frequency range.
Lo w (Lo w Ga in )
Positive (+) settings will emphasize (boost) the high-
frequency range.
Adjusts the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
Output
Hig h (Hig h Ga in )
Le ve l (O u tp u t Le ve l)
Adjusts the gain of the high frequency range.
Adjusts the output level.
Positive (+) settings will emphasize (boost) the high-
frequency range.
6 7 : MULTI TAP DELAY 2
This allows you to set even longer delay times (max. 3000
Balance
ms) for the Multi-Tap Delay function.
fig.02-067m.e
Ba la n ce (Effe ct Ba la n ce ) #
Balance D
2-Band
Sets the volume balance between the direct sound and the
effect sound.
L in
L out
EQ
Feed
back
Delay 1
Delay 3
Balance W
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Multi Tap Delay
Delay 4
Balance W
Delay 2
2-Band
EQ
R in
R out
Output
Balance D
Le ve l (O u tp u t Le ve l)
Delay
Adjusts the output level.
1 –4 (De la y Tim e 1 –4 )
Adjusts the delay time from the direct sound until the delay 1
– 4sound is heard.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
6 8 : REVERSE DELAY 2
EQ Gain
This allows you to set even longer delay times (max. 1500
Lo w (Lo w Ga in )
ms) for the Multi-Tap Delay function.
fig.02-068m.e
Adjusts the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
2-Band
EQ
L out
R out
L in
Feedback
D1
1
D2
Rev. Delay
Delay
2
3
Hig h (Hig h Ga in )
D3
D4
Adjusts the gain of the high frequency range.
2-Band
EQ
R in
Positive (+) settings will emphasize (boost) the high-
frequency range.
Delay
Balance
1 –4 (De la y Tim e 1 –4 )
Adjusts the delay time from the direct sound until the delay
Ba la n ce (Effe ct Ba la n ce ) #
1 – 4 sound is heard.
Sets the volume balance between the direct sound and the
effect sound.
Feedback
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W the effect sound will be output.
1 , 4 (Fe e d b a ck 1 , 4 ) #
Adjusts the proportion (%) of the delay 1 sound that is fed
back into the effect. Positive (+) settings will return the signal
to the input with the original phase, while negative (-)
settings produce an inverted phase.
Output
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
HF Damp
6 9 : SHUFFLE DELAY 2
1 , 4 (HF Da m p 1 , 4 )
This allows you to set even longer delay times (max. 3000
ms) for the Shuffle Delay function.
fig.02-069m.e
Adjusts the frequency above which delayed sound (delay 1,
4) fed back to the delay input will be cut.
2-Band
EQ
L out
R out
L in
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
Feedback
Delay
Delay 1
Delay 2
1
2
Level
2-Band
EQ
R in
1 –3 (De la y Le ve l 1 –3 )
Sets the volume level of the delay sound (Delay 1 – 3).
Delay
Pan
Tim e (De la y Tim e ) #
Adjusts the delay time from the direct sound until the delay
sound is heard.
1 –3 (O u tp u t Pa n 1 –3 )
Sets the stereo position of the delay sound (Delay 1). L64 is
far left, 0 is center, and 63R is far right.
Sh u ffle Ra te #
Sets the ratio (as a percentage) of the time that elapses before
the sound plays in Delay B relative to the time that elapses
before the sound plays in Delay A. When set to 100%, the
delay times are the same.
Threshold
Va lu e
Specifies the volume level at which the reverse delay will
begin to apply.
Acce le ra tio n
Adjusts the time over which the Delay Time will change
from the current setting to a newly specified setting.
8 3
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fig.02-070m.e
Fe e d b a ck #
2-Band
EQ
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
L
L out
Level
3D Delay L
3D Delay C
3D Delay R
HF Da m p
2-Band
EQ
R
R out
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut.
Delay
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
Ce n te r (De la y Tim e Ce n te r)
Adjusts the delay time from the direct sound until the center
delay sound is heard.
Pan
A, B (Pa n A, B)
Le ft (De la y Tim e Le ft)
Adjusts the pan of the delay A, B sound.
Balance
Adjust the delay time from the original sound until the left
delay sound is heard.
Ba la n ce (Le ve l Ba la n ce )
Rig h t (De la y Tim e Rig h t)
Sets the balance for the levels of the delay A and the delay B.
Adjust the delay time from the direct sound until the right
delay sound is heard.
EQ Gain
HF Da m p
Lo w (Lo w Ga in )
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut.
Adjusts the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
If you do not want to damp the high frequencies, set this
parameter to BYPASS.
Hig h (Hig h Ga in )
Fe e d b a ck #
Adjusts the gain of the high frequency range.
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Positive (+) settings will return the
signal to the input with the original phase, while negative (-)
settings produce an inverted phase.
Positive (+) settings will emphasize (boost) the high-
frequency range.
Balance
Delay Level
Ba la n ce (Effe ct Ba la n ce )
Ce n te r (De la y Le ve l Ce n te r)
Sets the volume balance between the direct sound and the
effect sound.
Adjusts the volume of the center delay sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
Le ft (De la y Le ve l Le ft)
Adjusts the volume of the left delay sound.
Rig h t (De la y Le ve l Rig h t)
Output
Adjusts the volume of the right delay sound.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
EQ Gain
Lo w (Lo w Ga in )
7 0 : 3 D DELAY 2
Adjusts the gain of the low frequency range.
This allows you to set even longer delay times (max. 3000
ms) for the 3D Delay function.
Positive (+) settings will emphasize (boost) the low-
frequency range.
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Hig h (Hig h Ga in )
Spread
Adjusts the gain of the high frequency range.
Va lu e
Positive (+) settings will emphasize (boost) the high-
frequency range.
Sets the rotary speaker stereo image. The higher the value
set, the wider the sound is spread out.
Balance
Woofer
Ba la n ce (Effe ct Ba la n ce ) #
Slo w (W o o fe r Slo w Ra te )
Sets the volume balance between the direct sound and the
effect sound.
Specifies the low-speed rotation speed of the woofer.
Fa st (W o o fe r Fa st Ra te )
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
Specifies the high-speed rotation speed of the woofer.
Le ve l (W o o fe r Le ve l)
Sets the volume of the woofer.
Output
O u t (O u tp u t Mo d e )
Tra n s Up (W o o fe r Tra n sitio n Up )
Specifies the method that will be used to reproduce the
sound that is output to the OUTPUT jacks. The optimal 3D
effect will be achieved if you select SPEAKER when using
speakers, or PHONES when using headphones.
Sets the rate at which the woofer rotation speeds up when
the rotation is switched from Slow to Fast. The higher the
value, the faster the transition occurs.
Tra n s Do w n (W o o fe r Tra n sitio n Do w n )
Le ve l (O u tp u t Le ve l)
Sets the rate at which the woofer rotation speeds up when
the rotation is switched from Fast to Slow. The higher the
value, the faster the transition occurs.
Adjusts the output level.
7 1 : RO TARY 2
Tweeter
This type provides modified response for the rotary speaker,
with the low end boosted further.
Slo w (Tw e e te r Slo w Ra te )
This effect features the same specifications as the VK-7’s
Specifies the low-speed rotation speed of the tweeter.
built-in rotary speaker.
fig.02-071m.e
Fa st (Tw e e te r Fa st Ra te )
L in
2-Band EQ
2-Band EQ
L out
R out
Specifies the high-speed rotation speed of the tweeter.
Rotary
Tw e e te r (Tw e e te r Le ve l)
R in
Specifies the volume of the tweeter.
Tra n s Up (Tw e e te r Tra n sitio n Up )
Rotary
Sets the rate at which the tweeter rotation speeds up when
the rotation is switched from Slow to Fast. The higher the
value, the faster the transition occurs.
Sp e e d #
Switches the rotational speed of the rotating speaker.
SLOW: The woofer rotates at the speed determined by the
Woofer Speed Slow setting, and the tweeter rotates at the
speed determined by the Tweeter Speed Slow setting.
Tra n s Do w n (Tw e e te r Tra n sitio n Do w n )
Sets the rate at which the tweeter rotation speeds up when
the rotation is switched from Fast to Slow. The higher the
value, the faster the transition occurs.
FAST: The woofer rotates at the speed determined by the
Woofer Speed Fast setting, and the tweeter rotates at the
speed determined by the Tweeter Speed Fast setting.
Bra k e #
Switches the rotation of the rotary speaker.
When this is turned off, the rotation will gradually stop.
When it is turned on, the rotation will gradually resume.
8 5
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To n e
EQ Gain
Adjusts the sound quality of the Overdrive/ Distortion effect.
Lo w (Lo w Ga in )
Adjusts the gain of the low frequency range.
Le ve l
Positive (+) settings will emphasize (boost) the low-
frequency range.
Adjusts the Overdrive/ Distortion output level.
Amp Simulator
Hig h (Hig h Ga in )
Ty p e (Am p Ty p e )
Adjusts the gain of the high frequency range.
Selects the type of guitar amp.
Positive (+) settings will emphasize (boost) the high-
frequency range.
EQ Gain
Output
Lo w (EQ Lo w Ga in )
Le ve l (O u tp u t Le ve l) #
Adjusts the low-range gain of the equalizer.
Adjusts the output level.
Mid (EQ Mid Ga in )
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
7 2 : RO TARY MULTI
This connects Overdrive/ Distortion (ODDS), 3-band
equalizer (EQ), and Rotary (RT) effects in series.
fig.02-072m.e
Hig h (EQ Hig h Ga in )
Adjusts the high-range gain of the equalizer.
L in
Overdrive/
Distortion
Amp
Simulator
3-Band EQ
Mid
R in
Mid Fre q (EQ Mid Fre q u e n cy )
Sets the center frequency for the equalizer mid-range.
L out
R out
Mid Q (EQ Mid Q )
Rotary
Pan
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Sequence
O D/ Dist (O ve rd rive / Disto rtio n Sw itch )
Rotary
Turns the Overdrive or Distortion on/ off.
Sp e e d #
Simultaneously switch the rotational speed of both the low-
range and the high-range rotors.
Am p Sim (Am p Sim u la to r Sw itch )
Turns the Amp Simulator on/ off.
Slow: Slow down the rotation to the specified speeds (RT L
Slow parameter/ RT H Slow parameter values).
3 Ba n d EQ (3 Ba n d EQ Sw itch )
Turns the 3 Band EQ on/ off.
Fast: Speed up the rotation to the specified speeds (RT L Fast
parameter/ RT H Fast parameter values).
Ro ta ry (Ro ta ry Sw itch )
Se p a ra tio n
Turns the Rotary on/ off.
Adjusts the spatial spread of the rotary sound.
Overdrive/Distortion
Woofer
Ty p e
Slo w (Lo w Fre q u e n cy Slo w Ra te )
Selects whether to use Overdrive or Distortion.
Adjusts the speed of the low-range rotor for the slow-speed
setting.
Drive #
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
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7 3 : KEYBO ARD MULTI
Fa st (Lo w Fre q u e n cy Fa st Ra te )
Adjusts the speed of the low-range rotor for the fast-speed
setting.
Keyboard Multi provides Ring Modulator (RM), Equalizer
(EQ), Pitch Shifter (PS), Phaser (PH) and Delay (Dly) effects
connected in series.
Acce l (Lo w Fre q u e n cy Acce le ra tio n )
Ring Modulator is an effect that applies amplitude
Adjusts the time over which the rotation speed of the low-
range rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Lower values will require
longer times.
modulation (AM) to the input signal, producing bell-like
sounds.
fig.02-073m.e
L in
Ring Mod
Ring Mod
3-Band EQ
3-Band EQ
Le ve l (Lo w Fre q u e n cy Le ve l)
Pitch
Shifter
Adjusts the volume of the low-range rotor.
Feedback
R in
Tweeter
Slo w (Hig h Fre q u e n cy Slo w Ra te )
L out
R out
Feedback
Delay
Adjusts the speed of the high-range rotor for the slow-speed
setting.
Phaser
Resonance
Mix
Fa st (Hig h Fre q u e n cy Fa st Ra te )
Adjusts the speed of the high-range rotor for the fast-speed
setting.
Sequence
Acce l (Hig h Fre q u e n cy Acce le ra tio n )
Rin g Mo d (Rin g Mo d u ra to r Sw itch )
Adjusts the time over which the rotation speed of the high-
range rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Lower values will require
longer times.
Turns the Ring Modulator on/ off.
3 Ba n d EQ Sw (3 Ba n d EQ Sw itch )
Turns the equalizer on/ off.
Le ve l (RT Hig h Fre q u e n cy Le ve l)
Pch Sh ift (Pitch Sh ifte r Sw itch )
Adjusts the volume of the high-range rotor.
Turns the Pitch Shifter on/ off.
Ph a se r (Ph a se r Sw itch )
Output
Turns the Phaser on/ off.
Le ve l (O u tp u t Le ve l)
De la y (De la y Sw itch )
Adjusts the output level.
Turns the delay on/ off.
Pa n (O u tp u t Pa n ) #
* After turning the VALUE dial to select the effect, you can
press [F1] or [F2] to rearrange the order in which effects are
connected.
Adjusts the stereo location of the output sound.
Ring Modulator
Fre q (RM Fre q u e n cy ) #
Sets the frequency at which modulation will be applied.
Ba la n ce (RM Ba la n ce ) #
Adjusts the balance between the direct and the ring
modulated sound.
8 7
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
modulated.
EQ Gain
Ra te (Ph a se r Ra te ) #
Lo w (EQ Lo w Ga in )
Adjusts the frequency of modulation.
Adjusts the low-range gain of the equalizer.
De p th (Ph a se r De p th )
Mid (EQ Mid Ga in )
Specifies the depth of modulation.
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
Re so n a n ce (Ph a se r Re so n a n ce )
Hig h (EQ Hig h Ga in )
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
Adjusts the high-range gain of the equalizer.
Mix Le ve l(Ph a se r Mix )
Mid (EQ Mid Fre q u e n cy )
Adjusts the proportion by which the phase-shifted sound is
combined with the direct sound.
Sets the center frequency for the equalizer mid-range.
Mid Q (EQ Mid Q )
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Delay
Le ft Tim e (De la y Tim e Le ft)
Adjusts the delay time from the original sound until the left
delay sound is heard.
Pitch Shifter
Rig h t Tim e (De la y Tim e Rig h t)
Mo d e (PS Sh ifte r Mo d e )
Adjusts the delay time from the direct sound until the right
delay sound is heard.
Higher settings of this parameter will result in slower
response, but steadier pitch.
Fe e d b a ck (De la y Fe e d b a ck Le ve l)
Co a rse Tu n e (PS Co a rse Pitch ) # *1
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input.
Adjusts the pitch of the pitch-shifted sound in semitone steps
(-2– +1 octaves).
HF Da m p
Fin e Tu n e (PS Fin e Pitch ) # *1
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to damp the high
frequencies, set this parameter to BYPASS.
Makes fine adjustments to the pitch of the pitch shifted
sound in 2-cent steps (-100– +100 cents).
De la y (PS Pre De la y )
Ba la n ce (De la y Ba la n ce ) #
Adjusts the time delay from when the direct sound begins
until the pitch-shifted sound is heard.
Adjusts the volume balance between the direct sound and
the delay sound.
Fe e d b a ck (PS Fe e d b a ck )
Adjusts the proportion (%) of the processed sound that is fed
back into the effect.
Output
Le ve l (O u tp u t Le ve l)
Ba la n ce (PS Ba la n ce )
Adjusts the output level.
Adjusts the volume balance between the direct sound and
the pitch shifted sound.
* 1 In Realtime Control, the selected pitch is controlled with
these parameters.
Phaser
Mo d e (Ph a se r Mo d e )
Selects the number of stages in the phaser.
Ma n u a l (Ph a se r Ma n u a l) #
Sets the center frequency at which the phaser sound will be
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Mix Le ve l (Ph a se r Mix )
7 4 : RHO DES MULTI
Adjusts the proportion by which the phase-shifted sound is
combined with the direct sound.
Rhodes Multi provides Enhancer (EH), Phaser (PH), Chorus
or Flanger (CF), and Tremolo or Pan (TP) effects connected in
series.
fig.02-074m.e
Ra te (Ph a se r Ra te ) #
Specifies the frequency of modulation.
L in
Enhancer
Enhancer
Mix
Mix
Resonance
Phaser
De p th (Ph a se r De p th )
Mix
Adjusts the depth of modulation.
R in
Re so n a n ce (Ph a se r Re so n a n ce )
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
Tremolo/
Pan
L out
Chorus/
Flanger
Chorus/Flanger
Ty p e
Feedback
Selects either Chorus or Flanger.
Chorus/
Flanger
Tremolo/
Pan
R out
Ra te
Specifies the rate of modulation.
Sequence
De p th
En h a n ce r (En h a n ce r Sw itch )
Specifies the depth of modulation.
Turns the Enhancer on/ off.
Fe e d b a ck (Fe e d b a ck Le ve l)
Ph a se r (Ph a se r Sw itch )
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Turns the Phaser on/ off.
CF Sw (CF Sw itch )
Pre Dly (Pre De la y )
Turns the chorus/ flanger on/ off.
Adjusts the time from the direct sound until when the chorus
or flanger sound is heard.
TP Sw (TP Sw itch )
Turns tremolo or pan on/ off.
Ba la n ce #
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Enhancer
Se n s (En h a n ce r Se n s) #
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
Adjusts the sensitivity of the enhancer.
Mix Le ve l (En h a n ce r Mix Le ve l)
Adjusts the proportion by which the overtones generated by
the enhancer are combined with the direct sound.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Phaser
Mo d e (Ph a se r Mo d e )
Cu to ff (Cu to ff Fre q u e n cy )
Selects the number of stages in the phaser.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Ma n u a l (Ph a se r Ma n u a l) #
Sets the center frequency at which the phaser sound will be
modulated.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
En h a n ce r Sw (En h a n ce r Sw itch )
Tremolo/Pan
Turns the Enhancer on/ off.
Ty p e
* After turning the VALUE dial to select the effect, you can hold
down [SHIFT] and press [F1] or [F2] to rearrange the order in
which effects are connected.
Selects either Tremolo or Pan.
Mo d W a ve (Mo d u la tio n W a ve )
Selects the way in which tremolo or pan will be modulated.
Distortion
Tri:
The sound will be modulated like a triangle
wave.
Ty p e (Disto rtio n Ty p e )
Sqr:
The sound will be modulated like a square
Specifies the type of the distortion.
wave.
MELLOW DRIVE: A soft, mellow distortion; somewhat dark
sounding.
Sin:
The sound will be modulated like a sine wave.
The sound will be modulated like a sawtooth
Saw1,2:
wave.
OVERDRIVE: The classic sound of an overdriven tube amp.
CRY DRIVE: Distortion with a high-frequency boost.
The teeth in SAW1 and SAW2 point at opposite directions.
MELLOW DIST: Sounds like the distortion you’d get from a
really big amp.
Ra te (Mo d u la tio n Ra te ) #
LIGHT DIST: A distortion with an intense, brilliant feel.
Specifies the rate of modulation.
FAT DIST: Boosted lows and highs gives this one a thick, fat
sound.
De p th (Mo d u la tio n De p th ) #
Specifies the depth of modulation.
FUZZ DIST: Like FAT DIST, but with even more distortion.
Drive (Disto rtio n Drive ) #
Output
Adjusts the degree of distortion.
Le ve l (O u tp u t Le ve l)
Le ve l (Disto rtio n Le ve l)
Adjusts the output level.
Sets the distortion output level.
7 5 : JD MULTI
Phaser
This allows the Distortion (DS), Phaser (PH), Spectrum (SP),
and Enhancer (EH) effects to be connected in series in any
Ma n u a l (Ph a se r Ma n u a l) #
desired order.
fig.02-075m.e
Specifies the center frequency at which the sound is
modulated.
L in
Distortion
Spectrum
Phaser
Mix Le ve l #
R in
Specifies the volume of the phase-shifted sound, relative to
the direct sound.
L out
R out
Ra te (Ph a se r Ra te ) #
Enhancer
Specifies the frequency of modulation.
De p th (Ph a se r De p th ) #
SEQUENCE
Adjusts the depth of modulation.
Dist (Disto rtio n Sw itch )
Re so n a n ce (Ph a se r Re so n a n ce ) #
Turns the Distortion on/ off.
Adjusts the amount of feedback for the phaser. Higher
settings will give the sound a stronger character.
Ph a se r (Ph a se r Sw itch )
Turns the phaser on/ off.
Spectrum
Sp e ctru m (Sp e ctru m Sw itch )
Ba n d W id th
Turns the Spectrum on/ off.
Specifies the range of all bands in which the level will be
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
modified.
Pre Filter
2 5 0 Hz (2 5 0 Hz Ga in )
Ty p e
Specifies the gain (amount of boost or cut) at 250 Hz.
Specifies the type of filter that will be applied before the
sound passes through the Lo-Fi effect.
5 0 0 Hz (5 0 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 500 Hz.
Post Filter 1
1 0 0 0 Hz (1 0 0 0 Hz Ga in )
Ty p e
Specifies the gain (amount of boost or cut) at 1000 Hz.
Specifies the type of filter that will be applied after the sound
passes through the Lo-Fi effect.
2 0 0 0 Hz (2 0 0 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 2000 Hz.
Post Filter 2
4 0 0 0 Hz (4 0 0 0 Hz Ga in )
Ty p e
Specifies the gain (amount of boost or cut) at 4000 Hz.
OFF: A post filter 2 will not be used.
8 0 0 0 Hz (8 0 0 0 Hz Ga in )
LPF: The frequency region above the Cutoff Freq setting will
be cut.
Specifies the gain (amount of boost or cut) at 8000 Hz.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Enhancer
Se n s (En h a n ce r Se n s)
Cu to ff (Cu to ff Fre q u e n cy )
Adjusts the sensitivity of the enhancer.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Mix Le ve l #
Determines the proportion at which the overtones generated
by the enhancer will be mixed with the original sound.
EQ Gain
Lo w (Lo w Ga in )
Adjusts the gain of the low frequency range.
Output
Positive (+) settings will emphasize (boost) the low-
frequency range.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
Hig h (Hig h Ga in )
Pa n (O u tp u t Pa n )
Adjusts the gain of the high frequency range.
Adjusts the stereo location of the output sound.
Positive (+) settings will emphasize (boost) the high-
frequency range.
7 6 : STEREO LO FI CO MPRESS
This is a stereo Lo-Fi compress. This is an effect that
Balance
intentionally degrades the sound quality.
Ba la n ce #
fig.02-076m.e
L in
L out
R out
Lo-Fi
Lo-Fi
2-Band EQ
2-Band EQ
Sets the volume balance between the direct sound and the
effect sound.
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound
will be output.
R in
Lo-Fi
Ty p e (Lo Fi Ty p e )
Output
Degrades the sound quality. The sound quality will become
poorer as this value is increased.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
7 7 : STEREO LO -FI N O ISE
Disc N o ise LPF
Specifies the cutoff frequency of the low pass filter that is
applied to the record noise.
This is a stereo Lo-Fi noise. In addition to a Lo-Fi effect, this
effect also generates various types of noise such as radio
noise and disc noise.
fig.02-077m.e
Disc N o ise Le ve l
Specifies the volume of the record noise.
2-Band
EQ
L in
L out
Lo-Fi
Noise Gen.
Lo-Fi
Radio Noise
Radio
De tu n e (Ra d io De tu n e ) #
Simulates the tuning noise of a radio. As this value is raised,
the tuning will drift further.
2-Band
EQ
R in
R out
Le ve l (Ra d io N o ise Le ve l)
Lo-Fi
Specifies the volume of the radio noise.
Ty p e
Noise
Degrades the sound quality. The sound quality will become
poorer as this value is increased.
N o ise Ty p e
Selects either white noise or pink noise.
Hum
LPF (W h ite / Pin k N o ise LPF)
Ty p e (Hu m N o ise Ty p e )
Specifies the cutoff frequency of the low pass filter that is
applied to the white noise or pink noise.
Selects the type of hum noise.
LPF (Hu m N o ise LPF)
Le ve l (W h ite / Pin k N o ise Le ve l)
Specifies the cutoff frequency of the low pass filter that is
applied to the hum noise.
Specifies the volume of the white noise or pink noise.
EQ Gain
Le ve l (Hu m N o ise Le ve l)
Lo w (Lo w Ga in )
Specifies the volume of the hum noise.
Adjusts the gain of the low frequency range.
Post Filter
Positive (+) settings will emphasize (boost) the low-
frequency range.
Ty p e (Po st Filte r Ty p e )
OFF: No filter is used.
Hig h (Hig h Ga in )
LPF: Frequencies higher than the selected cutoff frequency
value are eliminated.
Adjusts the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high-
frequency range.
HPF: Frequencies lower than the selected cutoff frequency
value are eliminated.
Balance
Cu to ff (Po st Filte r Cu to ff Fre q u e n cy )
Ba la n ce #
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Sets the volume balance between the direct sound and the
effect sound.
Disc Noise
With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W the effect sound will
be output.
Disc N o ise Ty p e
Selects the type of record noise. The frequency at which the
noise is heard will depend on the selected type.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Tre b le (Pre Am p Tre b le )
Output
Sets the treble sound quality.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
Speaker
Sw itch (Sp e a k e r Sw itch )
7 8 : GUITAR AMP SIMULATO R
Determines whether the signal passes through the speaker
(ON), or not (OFF).
This is an effect that simulates an amp.
fig.02-078m.e
L in
L out
Pan L
Sp e a k e r Ty p e
Pre Amp
Speaker
Selects the type of speaker. The specifications of each type
are as follows. The “Speaker” column lists the diameter of
the speakers (in inches) along with the number of speakers
there are.
Pan R
R in
R out
Amp Simulator
Type
Cabinet
Speaker Microphone
Sw itch (Pre Am p Sw itch )
Small 1
Small open-back enclosure 10
Small open-back enclosure 10
dynamic
Turns the amp switch on/ off.
Small 2
dynamic
Middle
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
12 x 1
dynamic
Ty p e (Pre Am p Ty p e )
JC-120
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
dynamic
Selects the type of guitar amp.
Built In 1
Built In 2
Built In 3
Built In 4
Built In 5
BG Stack 1
BG Stack 2
MS Stack 1
MS Stack 2
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
Amp Level
Vo lu m e (Pre Am p Vo lu m e ) #
Adjusts the volume and the amount of distortion of the amp.
large sealed enclosure
large sealed enclosure
large sealed enclosure
Ma ste r (Pre Am p Ma ste r Vo lu m e ) #
Adjusts the volume of the entire pre-amp.
Metal Stack large double stack
Ga in (Pre Am p Ga in )
2 Stack
3 Stack
large double stack
large triple stack
Selects the degree of pre-amp distortion between three levels
of Low, Middle and High.
Mic
Amp Tone
Se ttin g
Pre se n ce (Pre Am p Pre se n ce )
Specifies 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.
Adjusts the tone for the ultra high frequency range.
Normally the range will be 0–127, but when “Match Drive” is
selected for the Pre-amp Type parameter, the range will be -
127–0.
Le ve l (Mic Le ve l)
Adjusts the volume of the microphone.
Brig h t (Pre Am p Brig h tn e ss)
Turning this “On” will produce a sharper and brighter
sound. This parameter can be set if the Pre-amp Type is set to
“JC-120,” “Clean Twin,” or “BG Lead.”
Dire ct (Dire ct Le ve l)
Specifies the volume of the direct sound.
Output
Ba ss (Pre Am p Ba ss)
Sets the bass sound quality.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
Mid d le (Pre Am p Mid d le )
Adjusts the tone of the mid range. If “MAtch Drive” is
selected for the Pre-amp type parameter, this parameter
cannot be set.
Pa n (O u tp u t Pa n ) #
Specifies the stereo location of the output sound. L64 is far
left, 0 is center, and 63R is far right.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
7 9 : STEREO O VERDRIVE
8 0 : STEREO DISTO RTIO N
This is a stereo overdrive.
This is a stereo distortion.
fig.02-079m.e
fig.02-080m.e
Amp
Simulator
2-Band
EQ
Amp
Simulator
2-Band
EQ
Overdrive
Overdrive
Distortion
Distortion
L in
L out
R out
L in
L out
R out
Amp
Simulator
2-Band
EQ
Amp
Simulator
2-Band
EQ
R in
R in
Overdrive
Distortion
Drive #
Drive #
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
To n e
To n e
Specifies the sound quality of the Overdrive effect.
Amp Simulator
Adjusts the sound quality of the Distortion effect.
Amp Simulator
Sw itch (Am p Sim u la to r Sw itch )
Sw itch (Am p Sim u la to r Sw itch )
Turns the Amp Simulator switch on/ off.
Turns the Amp Simulator switch on/ off.
Ty p e (Am p Sim u la to r Ty p e )
Selects the type of guitar amp.
SMALL: small amp
Ty p e (Am p Sim u la to r Ty p e )
Selects the 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
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
EQ Gain
EQ Gain
Lo w (Lo w Ga in )
Lo w (Lo w Ga in )
Adjusts the gain of the low frequency range.
Adjusts the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
Positive (+) settings will emphasize (boost) the low-
frequency range.
Hig h (Hig h Ga in )
Hig h (Hig h Ga in )
Adjusts the gain of the high frequency range.
Adjusts the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high-
frequency range.
Positive (+) settings will emphasize (boost) the high-
frequency range.
Output
Output
Le ve l (O u tp u t Le ve l)
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
Adjusts the output level.
fig.02-080ms.e
You can use the Output Level setting to even out the volume
difference between the sound with and without Overdrive.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
8 1 : GUITAR MULTI A
Sequence
Guitar Multi 1 connects Compressor (Cmp), Overdrive or
Distortion (ODDS), Amp Simulator (Amp), Delay (Dly), and
Chorus or Flanger (CF) effects in series.
Co m p (Co m p re sso r Sw itch )
Turns the Compressor on/ off.
O D/ Dist (O ve rd rive / Disto rtio n Sw itch )
Turns the Overdrive/ Distortion on/ off.
L in
Overdrive/
Distortion
Amp
Simulator
Compressor
Am p Sim (Am p sim u la to r Sw itch )
R in
Turns the Compressor on/ off.
De la y (De la y Sw itch )
L out
Turns the Delay on/ off.
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )
Chorus/
Flanger
Pan
Delay
Turns the Chorus/ Flanger on/ off.
R out
Compressor
Atta ck (Co m p re sso r Atta ck )
Specifies the duration of the attack when sound is input.
Su sta in (Co m p re sso r Su sta in )
Feedback
Delay
Specifies the time over which low-level sounds will be
boosted to reach the specified volume. Increasing the value
will shorten the time. When the value is modified, the level
will also change.
Le ve l (Co m p re sso r Le ve l) #
Sets the volume of the compressor sound.
Delay
Overdrive/Distortion
Ty p e
Selects either Overdrive or Distortion.
Drive #
Chorus/
Flanger
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
L out
R out
Feedback
Chorus/
Flanger
To n e (O ve rd rive / Disto rtio n To n e )
Adjusts the sound quality of the Overdrive/ Distortion effect.
Le ve l
Adjusts the Overdrive/ Distortion output level.
Chorus/
Flanger
* In this section, the Delay and Chorus/Flanger are depicted in
diagrams. When these same effects are discussed later, these
diagrams are used.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Ba la n ce #
Amp Simulator
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Am p Ty p e (Am p Sim u la to r Ty p e )
Selects the type of guitar amp.
Small:
BltIn:
2-Stk:
3-Stk:
small amp
Filter
built-in type amp
large double stack amp
large triple stack amp
Ty p e
Selects the type of filter.
OFF: No filter is used.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
Delay
Le ft Tim e (De la y Tim e Le ft)
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Adjust the delay time from the original sound until the left
delay sound is heard.
Cu to ff (Cu to ff Fre q u e n cy )
Rig h t Tim e (De la y Tim e Rig h t)
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Adjust the delay time from the direct sound until the right
delay sound is heard.
Output
Fe e d b a ck (De la y Fe e d b a ck Le ve l)
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
HF Da m p
Pa n (O u tp u t Pa n ) #
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to damp the high
frequencies, set this parameter to BYPASS.
Adjusts the stereo location of the output sound.
8 2 : GUITAR MULTI B
Guitar Multi 2 provides Compressor (Cmp), Overdrive or
Distortion (ODDS), Amp Simulator (Amp), Equalizer (EQ),
Ba la n ce (De la y Ba la n ce ) #
Adjusts the volume balance between the direct sound and
the delay sound.
and Chorus or Flanger (CF) effects connected in series.
fig.02-082m.e
L in
Chorus/Flanger
Overdrive/
Distortion
Amp
Simulator
Compressor
Ty p e
R in
Selects either Chorus or Flanger.
Ra te
Specifies the rate of modulation.
L out
R out
Chorus/
Flanger
De p th
3-Band EQ
Specifies the depth of modulation.
Fe e d b a ck (CF Fe e d b a ck )
Sequence
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Co m p (Co m p re sso r Sw itch )
Turns the Compressor on/ off.
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )
O D/ Dist (O D/ Dist Sw itch )
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Turns Overdrive or Distortion on/ off.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Am p Sim (Am p Sim u la to r Sw itch )
Mid (EQ Mid Ga in )
Turns the Amp Simulator on/ off.
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
3 Ba n d EQ (3 Ba n d EQ Sw itch )
Hig h (EQ Hig h Ga in )
Turns the equalizer on/ off.
Adjusts the high-range gain of the equalizer.
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )
Turns the chorus/ flanger on/ off.
Mid
Mid (EQ Mid Fre q u e n cy )
Compressor
Sets the center frequency for the equalizer mid-range.
Atta ck (Co m p re sso r Atta ck )
Mid Q (EQ Mid Q )
Specifies the duration of the attack when sound is input.
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Su sta in (Co m p re sso r Su sta in )
Specifies the time over which low-level sounds will be
boosted to reach the specified volume. Increasing the value
will shorten the time. When the value is modified, the level
will also change.
Chorus/Flanger
Ty p e
Le ve l (Co m p re sso r Le ve l) #
Selects either Chorus or Flanger.
Sets the volume of the compressor sound.
Ra te
Sets the modulation speed for the chorus or flanger.
Overdrive/Distortion
Ty p e
De p th
Selects either Overdrive or Distortion.
Sets the modulation depth for the chorus or flanger.
Drive #
Fe e d b a ck
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
To n e (O ve rd rive / Disto rtio n To n e )
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )
Adjusts the sound quality of the Overdrive/ Distortion effect.
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Le ve l
Sets the volume of the overdrive sound.
Ba la n ce #
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Amp Simulator
Ty p e (Am p Sim u la to r Ty p e )
Selects the type of guitar amp.
Filter
Small:
BltIn:
2-Stk:
3-Stk:
small amp
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
built-in type amp
large double stack amp
large triple stack amp
LPF: The frequency region above the Cutoff Freq setting will
be cut.
EQ Gain
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Lo w (EQ Lo w Ga in )
Adjusts the low-range gain of the equalizer.
9 7
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Cu to ff (Cu to ff Fre q u e n cy )
To n e
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Adjusts the sound quality of the Overdrive/ Distortion effect.
Le ve l
Adjusts the Overdrive (or Distortion) output level.
Output
Le ve l (O u tp u t Le ve l)
Wah
Adjusts the output level.
Filte r Ty p e (W a h FIlte r Ty p e )
Pa n (O u tp u t Pa n )
Selects the filter type.
Adjusts the stereo location of the output sound.
LPF: The wah effect will be applied over a wide frequency
range.
8 3 : GUITAR MULTI C
BPF: The wah effect will be applied over a narrow frequency
range.
Guitar Multi C connects Overdrive or Distortion (ODDS),
Wah (Wah), Amp Simulator (Amp), Delay (Dly), and Chorus
Ra te
or Flanger (CF) effects in series.
Adjusts the frequency of the modulation.
fig.02-083m.e
L in
De p th
Overdrive/
Distortion
Amp
Simulator
Wah
Adjusts the depth of the modulation.
R in
Se n s
L out
R out
Specifies the sensitivity with which the filter will be affected.
Chorus/
Flanger
Delay
Pan
Ma n u a l #
Sets the center frequency from which the effect is applied.
Sequence
Pe a k
Adjusts the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will produce a
wah effect in a broad area around the center frequency, and
higher settings will produce a wah effect in a narrower area
around the center frequency.
W a h Sw (W a h Sw itch )
Turns the wah on/ off.
Am p Sim (Am p Sim u la to r Sw itch )
Turns the Amp Simulator on/ off.
W a h (W a h Sw itch )
Amp Simulator
Turns the wah on/ off.
Ty p e (Am p Sim u la to r Ty p e )
De la y (De la y Sw itch )
Selects the type of guitar amp.
Turns the Delay on/ off.
Small:
BltIn:
2-Stk:
3-Stk:
small amp
built-in type amp
large double stack amp
large triple stack amp
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )
Turns the wah on/ off.
Overdrive/Distortion
Delay
Ty p e
Le ft Tim e (De la y Tim e Le ft)
Selects either Overdrive or Distortion.
Adjust the delay time from the original sound until the left
delay sound is heard.
Drive #
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Rig h t Tim e (De la y Tim e Rig h t)
Adjust the delay time from the direct sound until the right
delay sound is heard.
9 8
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Fe e d b a ck (De la y Fe e d b a ck Le ve l)
Output
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
HF Da m p
Pa n (O u tp u t Pa n ) #
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to damp the high
frequencies, set this parameter to BYPASS.
Adjusts the stereo location of the output sound.
8 4 : CLEAN GUITAR MULTI A
Ba la n ce (De la y Ba la n ce ) #
Clean Guitar Multi 1 connects Compressor (Cmp), Equalizer
(EQ), Delay (Dly), and Chorus or Flanger (CF) effects in
Adjusts the volume balance between the direct sound and
the delay sound.
series.
fig.02-084m.e
L in
Chorus/Flanger
Compressor
3-Band EQ
Ty p e
R in
Selects either Chorus or Flanger.
L out
R out
Ra te
Chorus/
Flanger
Delay
Pan
Sets the modulation speed for the chorus or flanger.
De p th
Sets the modulation depth for the chorus or flanger.
Sequence
Fe e d b a ck (CF Fe e d b a ck )
Co m p (Co m p re sso r Sw itch )
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Turns the Compressor on/ off.
3 Ba n d EQ (3 Ba n d EQ Sw itch )
Turns the equalizer on/ off.
Pre De la y (Ch o ru s/ Fla n g e r Pre De la y Tim e )
De la y (De la y Sw itch )
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Turns the Delay on/ off.
Ba la n ce #
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Turns the wah on/ off.
Compressor
Filter
Atta ck (Co m p re sso r Atta ck )
Ty p e
Specifies the duration of the attack when sound is input.
Selects the type of filter.
OFF: No filter is used.
Su sta in (Co m p re sso r Su sta in )
Specifies the time over which low-level sounds will be
boosted to reach the specified volume. Increasing the value
will shorten the time.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
* When the value is modified, the level will also change.
Le ve l (Co m p re sso r Le ve l) #
Cu to ff (Cu to ff Fre q u e n cy )
Sets the volume of the compressor sound.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
De p th
EQ Gain
Sets the modulation depth for the chorus or flanger.
Lo w (EQ Lo w Ga in )
Adjusts the low-range gain of the equalizer.
Fe e d b a ck (CF Fe e d b a ck )
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
EQ M Ga in (EQ Mid Ga in )
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )
Hig h (EQ Hig h Ga in )
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Adjusts the high-range gain of the equalizer.
Ba la n ce #
Mid
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Mid Fre q (EQ Mid Fre q u e n cy )
Sets the center frequency for the equalizer mid-range.
Filter
Mid Q (EQ Mid Q )
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Ty p e
Selects the type of filter.
OFF: No filter is used.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
Delay
Le ft Tim e (De la y Tim e Le ft)
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Adjust the delay time from the original sound until the left
delay sound is heard.
Cu to ff (Cu to ff Fre q u e n cy )
Rig h t Tim e (De la y Tim e Rig h t)
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Adjust the delay time from the direct sound until the right
delay sound is heard.
Output
Fe e d b a ck (De la y Fe e d b a ck Le ve l)
Le ve l (O u tp u t Le ve l)
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input.
Adjusts the output level.
Pa n (O u tp u t Pa n )
HF Du m p (De la y HF Da m p )
Adjusts the stereo location of the output sound.
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not want the sound to
be cut, select BYPASS.
Ba la n ce (De la y Ba la n ce ) #
Adjusts the volume balance between the direct sound and
the delay sound.
Chorus/Flanger
Ty p e
Selects either Chorus or Flanger.
Ra te
Sets the modulation speed for the chorus or flanger.
1 0 0
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
area of the center frequency. Lower settings will produce a
wah effect in a broad area around the center frequency, and
higher settings will produce a wah effect in a narrower area
around the center frequency.
8 5 : CLEAN GUITAR MULTI B
Clean Guitar Multi 2 provides Auto-wah (AW), Equalizer
(EQ), Delay (Dly), and Chorus or Flanger (CF) effects
connected in series.
fig.02-085m.e
EQ Gain
L in
Wah
3-Band EQ
Lo w (EQ Lo w Ga in )
R in
Adjusts the low-range gain of the equalizer.
Mid (EQ Mid Ga in )
L out
R out
Chorus/
Flanger
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
Delay
Pan
Hig h (EQ Hig h Ga in )
Seqeuence
Adjusts the high-range gain of the equalizer.
W a h (Au to W a h Sw itch )
Mid
Turns the Auto Wah on/ off.
Mid Fre q (EQ Mid Fre q u e n cy )
3 Ba n d EQ (3 Ba n d EQ Sw itch )
Sets the center frequency for the equalizer mid-range.
Turns the 3 Band EQ on/ off.
Mid Q (EQ Mid Q )
De la y (De la y Sw itch )
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Turns the Delay on/ off.
Ch o / Flg Sw (Ch o ru s/ Fla n g e r Sw itch )
Turns the Chorus/ Flanger on/ off.
Delay
Wah
Le ft Tim e (De la y Tim e Le ft)
Filte r Ty p e (Au to W a h Filte r Ty p e )
Adjust the delay time from the original sound until the left
delay sound is heard.
Selects the type of filter for the Auto-wah.
LPF: The wah effect will be applied over a wide frequency
range.
Rig h t Tim e (De la y Tim e Rig h t)
Adjust the delay time from the direct sound until the right
delay sound is heard.
BPF: The wah effect will be applied over a narrow frequency
range.
Fe e d b a ck (De la y Fe e d b a ck Le ve l)
Ra te (Au to W a h Ra te )
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input.
Sets the modulation speed of the Auto-wah.
De p th (Au to W a h De p th )
HF Da m p (De la y HF Da m p )
Sets the modulation depth of the Auto-wah.
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to damp the high
frequencies, set this parameter to BYPASS.
Se n s
Specifies the sensitivity with which the filter will be affected.
Ba la n ce (De la y Ba la n ce ) #
Ma n u a l (Au to W a h Ma n u a l) #
Adjusts the volume balance between the direct sound and
the delay sound.
Sets the center frequency at which the auto-wah effect will be
produced.
Pe a k (Au to W a h Pe a k )
Adjusts the amount of the wah effect that will occur in the
1 0 1
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Chorus/Flanger
8 6 : BASS MULTI
Bass Multi provides Compressor (Comp), Overdrive or
Distortion (OD/ Dist), Equalizer (3 Band EQ), and Chorus or
Ty p e
Selects either Chorus or Flanger.
Flanger (Cho/ Flg) effects connected in series.
fig.02-086m.e
Ra te
L in
Sets the modulation speed for the chorus or flanger.
Overdrive/
Distortion
Amp
Simulator
Compressor
De p th
R in
Sets the modulation depth for the chorus or flanger.
L out
R out
Fe e d b a ck (CF Fe e d b a ck )
Chorus/
Flanger
3-Band
EQ
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Sequence
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )
Co m p (Co m p re sso r Sw itch )
Adjusts the delay time from the direct sound until when the
chorus sound is heard.
Turns the Compressor on/ off.
O D/ Dist (O ve rd rive o r Disto rtio n Sw itch )
Ba la n ce #
Turns the Overdrive or Distortion on/ off.
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Am p Sim (Am p Sim u la to r)
Turns the Amp Simulator on/ off.
Filter
3 Ba n d EQ (3 Ba n d EQ Sw itch )
Ty p e (Filte r Ty p e )
Selects the type of filter.
OFF: No filter is used.
Turns the 3 Band EQ on/ off.
Ch o / Flg (Ch o ru s/ Fla n g e r Sw itch )
Turns the Chorus/ Flanger on/ off.
LPF: The frequency region above the Cutoff Freq setting will
be cut.
Compressor
HPF: The frequency region below the Cutoff Freq setting will
be cut.
Atta ck (Co m p re sso r Atta ck )
Cu to ff (Cu to ff Fre q u e n cy )
Specifies the duration of the attack when sound is input.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Su sta in (Co m p re sso r Su sta in )
Specifies the time over which low-level sounds will be
boosted to reach the specified volume. Increasing the value
will shorten the time.
Output
Le ve l (O u tp u t Le ve l)
* When the value is modified, the level will also change.
Adjusts the output level.
Le ve l (Co m p re sso r Le ve l) #
Pa n (O u tp u t Pa n ) #
Sets the volume of the compressor sound.
Adjusts the stereo location of the output sound.
Overdrive/Distortion
Ty p e
Selects either Overdrive or Distortion.
Drive #
Adjusts the degree of distortion. The volume will change
1 0 2
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
together with the degree of distortion.
chorus sound is heard.
Le ve l (O ve rd rive / Disto rtio n Le ve l) #
Ba la n ce #
Sets the volume of the Overdrive/ Distortion sound.
Adjusts the volume balance between the direct sound and
the chorus/ flanger sound.
Amp Simulator
Filter
Ty p e (Am p Sim u la to r Ty p e )
Ty p e
Selects the type of bass amp.
Selects the type of filter.
OFF: No filter is used.
Small:
BltIn:
2-Stk:
small amp
built-in type amp
large double stack amp
LPF: The frequency region above the Cutoff Freq setting will
be cut.
HPF: The frequency region below the Cutoff Freq setting will
be cut.
3 Band EQ
Lo w (EQ Lo w Ga in )
Cu to ff (Cu to ff Fre q u e n cy )
Adjusts the low-range gain of the equalizer.
Sets the cutoff frequency when a specific frequency band is
cut off by a filter.
Mid (EQ Mid Ga in )
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
Output
Hig h (EQ Hig h Ga in )
Le ve l (O u tp u t Le ve l)
Adjusts the high-range gain of the equalizer.
Adjusts the output level.
Pa n (O u tp u t Pa n ) #
Mid
Adjusts the stereo location of the output sound.
Mid Fre q (EQ Mid Fre q u e n cy )
Sets the center frequency for the equalizer mid-range.
Mid Q (EQ Mid Q )
Adjusts the width of the area centered at the EQ M Fq setting
in which the gain will be affected. Higher values of Q will
result in a narrower area being affected.
Chorus/Flanger
Ty p e
Selects either Chorus or Flanger.
Ra te
Sets the modulation speed for the chorus or flanger.
De p th
Sets the modulation depth for the chorus or flanger.
Fe e d b a ck (Fe e d b a ck Le ve l)
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Pre Dly (Ch o ru s/ Fla n g e r Pre De la y Tim e )
Adjusts the delay time from the direct sound until when the
1 0 3
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
8 7 : ISO LATO R 2
Cu to ff (Filte r Cu to ff Fre q u e n cy )
Sets the filter’s cutoff frequency. The closer to zero it is set,
the lower the cutoff frequency becomes; set it closer to 127,
and the cutoff frequency becomes higher.
This adds a filter to the ISOLATOR effect. Isolator is an
equalizer which cuts the volume greatly, allowing you to add
a special effect to the sound by cutting the volume in varying
ranges.
fig.02-087m.e
Re so n a n ce (Filte r Re so n a n ce )
Sets the filter’s resonance level. Raising the setting increases
resonance near the cutoff frequency, producing a uniquely
characteristic sound.
Low
Boost
Isolator
Isolator
Filter
Filter
L in
L out
R out
Low
Boost
R in
Slo p e (Filte r Slo p e )
Sets the filter’s attenuation slope (-24 dB per octave: steep; -
Boost/Cut
12 dB per octave: gentle).
Lo w (Le ve l Lo w ) #
Mid (Le ve l Mid d le ) #
Hig h (Le ve l Hig h ) #
Ga in (Filte r Ga in )
Compensates for the volume dropped in the cut frequency
range with some filters. The level of compensation increases
as the value is increased, and raise the volume.
These boost and cut the High, Middle, and Low frequency
ranges. At -60 dB, the sound becomes inaudible. 0 dB is
equivalent to the input level of the sound.
Low Boost
Sw itch (Lo w Bo o ste r Sw itch )
Anti Phase Low
Specifies whether Low Booster will be used (ON), or not
(OFF). This emphasizes the bottom to create a heavy bass
sound.
An ti Ph a se Lo w Sw (An ti Ph a se Lo w Sw itch )
An ti Ph a se Lo w Le ve l
Le ve l (Lo w Bo o st Le ve l)
Anti Phase Mid
Increasing this value gives you a heavier low end.
(Depending on the Isolator and filter settings this effect may
be hard to distinguish.)
Sw itch (An ti Ph a se Mid d le Sw itch )
Le ve l (An ti Ph a se Mid d le Le ve l)
Output
This turns the Anti-Phase function on and off and sets the
level settings for the Middle and Low frequency ranges.
When turned on, the phases of opposite stereo channels are
reversed and then added. Adjusting these levels for certain
frequencies allows you to lend emphasis to specific parts.
(This is effective only for stereo sources.)
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
8 8 : STEREO SPECTRUM
This is a stereo spectrum. Spectrum is a type of filter which
modifies the timbre by boosting or cutting the level at
Post Filter
specific frequencies.
fig.02-088m.e
Sw itch (Filte r Sw itch )
Turns the filter on/ off.
L in
L out
R out
Spectrum
Spectrum
Ty p e (Filte r Ty p e )
R in
Selects the type of filter.
LPF:
Passes frequencies below the cutoff frequency.
Passes frequencies near the cutoff frequency.
Passes frequencies above the cutoff frequency.
Passes frequencies other than those near the
Band Gain
BPF:
HPF:
2 5 0 Hz (2 5 0 Hz Ga in )
NOTCH:
Specifies the gain (amount of boost or cut) at 250 Hz.
cutoff frequency.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
5 0 0 Hz (5 0 0 Hz Ga in )
Tu rn #
Specifies the gain (amount of boost or cut) at 500 Hz.
Stops or starts the rotation. When this is turned On, the
sound will rotate. When turned Off, rotation will stop at the
location specified by Azimuth.
1 0 0 0 Hz (1 0 0 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 1000 Hz.
Output
1 2 5 0 Hz (1 2 5 0 Hz Ga in )
O u t (O u tp u t Mo d e )
Specifies the gain (amount of boost or cut) at 1250 Hz.
Specifies the method that will be used to reproduce the
sound that is output to the OUTPUT jacks. The optimal 3D
effect will be achieved if you select SPEAKER when using
speakers, or PHONES when using headphones.
2 0 0 0 Hz (2 0 0 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 2000 Hz.
3 1 5 0 Hz (3 1 5 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 3150 Hz.
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
4 0 0 0 Hz (4 0 0 0 Hz Ga in )
Specifies the gain (amount of boost or cut) at 4000 Hz.
9 0 : 3 D MAN UAL
8 0 0 0 Hz (8 0 0 0 Hz Ga in )
This places the 3D effect at a desired location.
fig.02-090m.e
Specifies the gain (amount of boost or cut) at 8000 Hz.
L in
L out
R out
3D Manual
Band Width
R in
Q
Specifies the range of all bands in which the level will be
modified.
Auto Spin
Azim u th #
Output
Specifies the location. A setting of “0” positions the sound in
the center.
Le ve l (O u tp u t Le ve l) #
Adjusts the output level.
Output
O u t (O u tp u t Mo d e )
8 9 : 3 D AUTO SPIN
Specifies the method that will be used to reproduce the
sound that is output to the OUTPUT jacks. The optimal 3D
effect will be achieved if you select SPEAKER when using
speakers, or PHONES when using headphones.
The 3D Auto Spin effect rotates the location of the sound.
fig.02-089m.e
L in
L out
R out
3D Auto
R in
Le ve l (O u tp u t Le ve l)
Adjusts the output level.
Auto Spin
Azim u th
Sets the location at which the sound will stop when rotation
is stopped. A setting of “0” positions the sound in the center.
Sp e e d #
Sets the speed of rotation.
Clo ck w ise
Sets the direction of rotation. A setting of “-” produces
counterclockwise rotation, while at “+” it will be clockwise.
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Ch a p te r 2 Usin g th e XV-5 0 8 0 Effe cts
Co p y Ty p e
ALL: Multi-effects, Chorus, and Reverb settings
MFX: Multi-effects settings in the General page
CHORUS: Chorus settings
When Using 3D Effects
The following 3D effects utilize RSS (Roland Sound
Space) technology to create a spaciousness that cannot be
produced by delay, reverb, chorus, etc.
REVERB: Reverb settings
CHO&REV: Chorus and Reverb settings
48: 3D DELAY
* If the copy source is a Performance, the contents copied for
“MFX” will be the Multi-effects settings for the Performance
itself (the Multi-effects setting when MFX 1–3 Source is set to
“PERFORM” in the General page). When the MFX settings
such as patches is copied to the Performance, the data will be
copied as the Multi-effects settings for the Performance itself.
60: 3D CHORUS
61: 3D FLANGER
70: 3D DELAY 2
89: 3D AUTO SPIN
90: 3D MANUAL
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
1 . Make sure the Patch, Performance or Rhythm Set is
selected.
either side.
fig.02-031.e
2 . Press [SYSTEM/ UTILITY] several times, getting its
indicator to start blinking.
The Utility Menu page appears.
fig.02-032.e_70
30˚ 30˚
* When the indicator lights, you are in SYSTEM mode. In this
case, press [SYSTEM/UTILITY] once again to get its
indicator to start blinking.
If the left and right speakers are too far apart, or if there
is too much reverberation, the full 3D effect may not
appear.
3 . Press [F2 (Copy)].
4 . Press [
EFFECT.
] to move the cursor to Type, then select
Each of these effects has an Out (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.
The corresponding Effect Copy page will appear.
fig.02-033.e_70
Destination “Temporary” indicates that the copy destination
is the currently selected Patch, Performance, or Rhythm Set.
Co p y in g Effe ct Se ttin g s
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
You can copy the effect settings from any Patch,
Performance, or Rhythm Set into the currently selected
Patch, Performance, or Rhythm Set. This can save a great
deal of time and effort when setting up effects.
6 . Turn the VALUE dial or press [INC]/ [DEC] to select the
desired value.
7 . Press [F6 (Copy)] to execute the copy.
You can select the following effect contents to be copied.
8 . Press [EXIT] to return to the Play page.
1 0 6
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
The XV-5080 has four sets of stereo outputs.
These outputs allow you to separate sounds—or groups of sounds—from the XV-5080’s overall stereo mix, and to send them to
their own external destinations. For example, you could route a stereo Rhythm Set to a pair of output jacks connected to an
external effects device. You can also use the four pairs of jacks as eight independent output jacks, to which you can route Tones,
Rhythm Tones or Patches.
Besides all this, the XV-5080 also is equipped with digital outs, including R-BUS and S/ P DIF outs.
This section uses clear examples to describe the signal paths in each of the modes along with their related parameters and digital
output connectors. Please refer to this section when selecting your outputs.
The digital out (R-BUS and S/ P DIF) assignments correspond to the analog outs (OUTPUT A-D (INDIVIDUAL 1-8)) as shown
below.
R-BUS 1–8: OUTPUT A–D (INDIVIDUAL 1–8)
S/ P DIF:
OUTPUT A (MIX) (INDIVIDUAL 1–2)
The signals sent to each of the R-BUS OUTPUTS 1–8 are output from OUTPUT A–D (INDIVIDUAL 1–8). Signals sent to S/ P DIF
are output from OUTPUT A(MIX) (INDIVIDUAL 1-2).
* Signals sent to PHONES (the headphones jack) are output from OUTPUT A(MIX).
Pa tch Mo d e Se ttin g s
Sig n a l (TO N E) Flo w
fig.03-001.e
Output Assign
A
OUTPUT A
B
OUTPUT B
TONE
C
OUTPUT C
D
OUTPUT D
M-FX
Output Assign
M-FX
CHO
Chorus
Output Assign
REV
Reverb
Output Assign
1 0 7
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Determines the level of the post-Multi-effects processor
signal sent to Reverb. Its final output destination is
determined by the Reverb output setting.
Pa ra m e te rs
The parameters related to Patch output settings are shown
below.
Ch o ru s O u tp u t Se le ct
PATCH Effe cts Ge n e ra l p a g e ([PATCH] -
[F6 (Effe cts)] - [F1 (Ge n e ra l)])
Specifies how the signal routed through Chorus will be
output.
Available Settings:
This sets the output destination and level for the currently
selected Tone, as well as its send level with respect to the
Chorus and Reverb.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
REV: The Chorus output is sent only to the Reverb.
M+R: The Chorus output is sent to the OUTPUT jacks and to
To n e O u tp u t Assig n
the Reverb.
Available Settings:
MFX: The Tone is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
Ch o ru s Le ve l
Range: 0–127
Determines the Chorus output level.
OUTPUT A–D: The Tone is sent to one of the four output-
Re ve rb Le ve l
jack stereo pairs, OUTPUTS A–D.
Range: 0–127
INDIV 1–8: The Tone is sent to the INDIVIDUAL OUTPUT
jacks 1–8.
Determines the Reverb output level.
To n e Dry Se n d Le ve l
MFX O u tp u t Assig n
Range: 0–127
Range: A–D
Sets the level of the signal to be sent to the OUTPUT jacks,
which is determined by Tone Output Assign.
Specifies the OUTPUT jacks to which the signal, after it has
passed through the Multi-effects, is to be routed.
* As the Multi-effects are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
To n e Ch o ru s Se n d Le ve l
Range: 0–127
Sets how much of the Tone is sent to the Chorus. Its final
output destination is determined by the Chorus output
setting.
Ch o ru s O u tp u t Assig n
Range: A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “MAIN+R.” The output destination of the signal
sent to Reverb follows the Reverb setting.
To n e Re ve rb Se n d Le ve l
Range: 0–127
Sets how much of the Tone is sent to the Reverb. Its final
output destination is determined by the Reverb output
setting.
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Re ve rb O u tp u t Assig n
MFX Dry Se n d Le ve l
Range: A–D
Range: 0–127
Selects the OUTPUT jacks to which the Reverb unit’s stereo
Determines the level of the Multi-effects processor’s output
output is routed.
to the OUTPUT jacks.
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
MFX Ch o ru s Se n d Le ve l
Range: 0–127
Determines the level of the post-Multi-effects processor
signal sent to Chorus. Its final output destination is
determined by the Chorus output setting.
MFX Re ve rb Se n d Le ve l
Range: 0–127
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
R-BUS: Operation synchronized to the clock present on the
PATCH Co m m o n Ge n e ra l # 1 p a g e
([PATCH] - [F1 (CO MMO N )] - [F1
(Ge n e ra l)])
R-BUS. The XV-5080 functions as the slave.
WORD CLOCK IN: Operation synchronized to the word
clock. The XV-5080 functions as the slave.
Co m m o n
* When operating as the slave, the XV-5080 is capable of
synchronizing to clocks running at 44.1 or 48 kHz. It cannot
sync to clocks at other frequencies.
Le ve l (Pa tch Le ve l)
Range: 0–127
Sets the volume of the Patch.
O u tp u t Mix / Pa ra lle l
* You can specify the level for each Tone using the Tone Level
parameter (TVA; p. 143).
Mo d e
Available Settings:
Pa n (Pa tch Pa n )
MIX: All sounds—including those routed to OUTPUTs B/ C
or INDIVIDUAL 3–8—are mixed together and routed to the
A (MIX) OUTPUT jacks. This setting allows you to quickly
route everything through headphones when you are creating
sounds, or to combine all of your sounds into two outputs
when sending the XV-5080’s signal to a mixer that has only
two channels.
Range: L64–63R
Sets the stereo position of the Patch. L64 is far left, 0 is center,
and 63R is far right.
* You can specify the pan setting for each Tone in a Patch using
the Tone Pan parameter (TVA; p. 143).
* While each of the Tones forming a Patch has its own Pan
position, the Patch Pan parameter shifts the individual stereo
locations of the Tones by the amount set for it.
When MIX is selected, sounds routed to the INDIVIDUAL
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/
8 jacks are sent to the right A (MIX) OUTPUT jack.
O u tp u t Assig n
PARALLEL: Sounds are routed to output jacks according to
Specifies the output destination for the Patch.
Available Settings:
their output settings.
The XV-5080’s Master Level and Mix/ Parallel settings are
MFX: The Patch is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
each established using a single global parameter.
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -
[F1 (Ge n e ra l)])
OUTPUT A–D: The Patch is sent to the selected pair of
OUTPUT A–D jacks.
INDIV 1–8: The Patch is sent to the selected INDIVIDUAL
Ma ste r
OUTPUT 1–8 jack.
Le ve l (Ma ste r Le ve l)
Range: 0–127
TONE: Each Tone in the Patch is sent to its programmed
output destination.
Adjusts the volume of the entire XV-5080.
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2
(O u tP&EQ )])
Dig ita l In te rfa ce
Ma ste r Fre q (Ma ste r Fre q u e n cy )
Range: 44.1/ 48 kHz
Selects the clock used for synchronizing the digital output.
Ma ste r Clo ck
Selects the master clock used for synchronizing the digital
output.
Available Settings:
INTERNAL: The XV-5080 itself serves as the master.
1 0 9
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Ex a m p le o f Se ttin g s
1 4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Chorus Level.
Assig n in g Diffe re n t O u tp u t
De stin a tio n s fo r th e To n e s in a Pa tch
1 5 . Turn the VALUE dial to select “100.”
In this example, let’s suppose we have a Patch composed of
four Tones, and we are outputting Tone 1 from the A
OUTPUT jacks, Tone 2 from the B OUTPUT jacks, Tone 3
from the INDIVIDUAL 5 jack, and Tone 4 from the
INDIVIDUAL 6 jack. The Chorus and Reverb are output
from the B OUTPUT jacks.
1 6 . Press [
]/ [
] to move the cursor to Chorus Output
Select.
1 7 . Turn the VALUE dial or press [INC]/ [DEC] to select
“MAIN.”
Finally, select the Reverb output destination and set its
overall level.
First, set the output destination for each Tone.
1 . Select the Patch you wish to set.
2 . Press [F6 (Effects)].
1 8 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Reverb Output Assign.
1 9 . Turn the VALUE dial or press [INC]/ [DEC] to select “B.”
3 . Press [F1 (General)] to call up the PATCH Effects General
page.
2 0 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
4 . Use TONE SELECT [1]–[4] to select the Tone you wish to
Reverb Level.
set up.
2 1 . Turn the VALUE dial to select “100.”
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
2 2 . Press [EXIT] to return to the PATCH PLAY page.
the parameter you wish to set, and rotate the VALUE
dial, or press [INC] or [DEC] to set the value as follows.
Tone Output Tone Dry
Tone Chorus Tone Reverb
Assign
Send Level Send Level Send Level
Tone 1
Tone 2
Tone 3
Tone 4
A
B
5
127
127
127
127
100
100
100
100
100
100
100
100
6
The Chorus and Reverb send levels can be set to any value
you wish other than 0.
6 . Press [EXIT] to return to the PATCH PLAY page.
7 . Press [F1 (Common)].
8 . Press [
]/ [
] to move the cursor to Output Assign.
9 . Turn the VALUE dial or press [INC]/ [DEC] to select
“TONE.”
1 0 . Press [EXIT] to return to the PATCH PLAY page.
Next, select the Chorus output destination and set its overall
level.
1 1 . Press [F6 (Effects)].
1 2 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Chorus Output Assign.
1 3 . Turn the VALUE dial or press [INC]/ [DEC] to select “B.”
1 1 0
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Pe rfo rm a n ce Mo d e Se ttin g s
Sig n a l (PART) Flo w
fig.03-002.e
Output Assign
A
OUTPUT A
OUTPUT B
OUTPUT C
OUTPUT D
B
PART
C
D
M-FX
Output Assign
M-FX A
M-FX B
M-FX C
CHO
Chorus
Output Assign
REV
Reverb
Output Assign
settings.
Pa ra m e te rs
A–D: The Part is sent to the selected pair of OUTPUT A–D
The parameters related to Part output settings are shown
below.
jacks.
1–8: The Part is sent to the INDIVIDUAL OUTPUT jacks 1–8.
PAT: The Part’s output destination is determined by the
PERFO RMAN CE Effe cts Ge n e ra l p a g e
([PERFO RM] - [F6 (Effe cts)] - [F1
(Ge n e ra l)])
settings of the Patch or Rhythm Set assigned to the Part.
Pa rt O u tp u t MFX Se le ct
Sets the output destination and level for the selected Part, as
well as its send level with respect to the Chorus and Reverb.
Available Settings: A–C
Selects which of the three Multi-effects is to be used.
Pa rt O u tp u t Assig n
Pa rt Dry Se n d Le ve l
Available Settings:
Range: 0–127
MFX: The Part is sent into the Multi-effects. Its output
Sets the level of the signal to be sent to the OUTPUT jacks,
which is determined by Part Output Assign.
destination is determined by the Multi-effects output
1 1 1
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
* As the Multi-effects are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Pa rt Ch o ru s Se n d Le ve l
Range: 0–127
Sets how much of the Part is sent to the Chorus. Its final
output destination is determined by the Chorus output
setting.
Ch o ru s O u tp u t Assig n
Range: A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “M+R.” The output destination setting for the
signal sent to Reverb is determined according to the Reverb
settings.
Pa rt Re ve rb Se n d Le ve l
Range: 0–127
Sets how much of the Part is sent to the Reverb. Its final
output destination is determined by the Reverb output
setting.
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
MFX Dry Se n d Le ve l
Re ve rb O u tp u t Assig n
Range: 0–127
Range: A–D
Determines the level of the signal that is to be sent to the
output jacks, after passing through the Multi-effects.
Selects the OUTPUT jacks to which the Reverb unit’s stereo
output is routed.
MFX Ch o ru s Se n d Le ve l
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Range: 0–127
Determines the level of the signal that is to be sent to Chorus,
after passing through the Multi-effects. Its final output
destination is determined by the Chorus output setting.
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2
(O u tP&EQ )])
MFX Re ve rb Se n d Le ve l
O u tp u t Mix / Pa ra lle l
Range: 0–127
Mo d e
Determines the level of the signal that is to be sent to Reverb,
after passing through the Multi-effects. Its final output
destination is determined by the Reverb output setting.
Available Settings:
MIX: All sounds—including those routed to OUTPUTs B/ C
or INDIVIDUAL 3–8—are mixed together and routed to the
A (MIX) OUTPUT jacks. This setting allows you to quickly
route everything through headphones when you are creating
sounds, or to combine all of your sounds into two outputs
when sending the XV-5080’s signal to a mixer that has only
two channels.
Ch o ru s O u tp u t Se le ct
Specifies how the signal routed through Chorus will be
output.
Available Settings:
MAIN: The Chorus output is sent only to the OUTPUT jacks.
REV: The Chorus output is sent only to the Reverb.
When MIX is selected, sounds routed to the INDIVIDUAL
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/
8 jacks are sent to the right A (MIX) OUTPUT jack.
M+R: The Chorus output is sent to the OUTPUT jacks and to
the Reverb.
Ch o ru s Le ve l
PARALLEL: Sounds are routed to output jacks according to
Range: 0–127
their output settings.
Determines the Chorus output level.
The XV-5080’s Master Level and Mix/ Parallel settings are
each established using a single global parameter.
Re ve rb Le ve l
Range: 0–127
Determines the Reverb output level.
MFX O u tp u t Assig n
Range: A–D
Selects the pair of OUTPUT jacks to which the Multi-effects
stereo output is routed.
1 1 2
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -
[F1 (Ge n e ra l)])
1 3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you wish to set, and rotate the VALUE
dial, or press [INC] or [DEC] to set the value as follows.
Ma ste r
Part Output
Assign
Part Dry
Part Chorus
Part Reverb
Send Level
Le ve l (Ma ste r Le ve l)
Range: 0–127
Send Level Send Level
MFX-A
100
0
0
Adjusts the volume of the entire XV-5080.
Ex a m p le o f Se ttin g s
The Part Dry Send Level can be set to any value you wish
other than 0.
Se le ctin g Diffe re n t O u tp u t De stin a tio n s
fo r Pa rts in a Pe rfo rm a n ce
1 4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you wish to set, and rotate the VALUE
dial, or press [INC] or [DEC] to set the value as follows.
This example describes the procedure for outputting Part 1
from the A (MIX) OUTPUT jacks without sending it through
any internal effects, sending Part 2 through the Multi-effects
A and then outputting it from the B OUTPUT jack, and
outputting Part 3 from the INDIVIDUAL 5 OUTPUT jack
without sending it through any internal effects.
MFX
MFX Dry
Level
MFX Chorus MFX Reverb
Output Assign
Send Level
Send Level
B
100
0
0
First, set Part 1.
Finally, set up Part 3.
1 . Select the Performance you wish to use.
2 . Press [F6 (Effects)].
1 5 . Press PART SELECT [3/ 19], getting its indicator to light.
* Make sure that the [1-16/17-32] button’s indicator is not lit. If
the indicator is lit, press [1-16/17-32] to turn it off.
3 . Press [F1 (General)] several times to call up the
Performance Effects General #1 page.
1 6 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
4 . Press PART SELECT [1/ 17] to make its indicator light.
the parameter you wish to set, and rotate the VALUE
dial, or press [INC] or [DEC] to set the value as follows.
* Make sure that the [1-16/17-32] button’s indicator is not lit. If
the indicator is lit, press [1-16/17-32] to turn it off.
Part Output
Assign
Part Chorus
Send Level
Part Reverb
Send Level
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Part Output Assign.
5
0
0
6 . Turn the VALUE dial or press [INC]/ [DEC] to select
“A.”
The output level can be set to any value you wish other than
0.
7 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Part Dry Send Level.
1 7 . Press [EXIT] to return to the PERFORM PLAY page.
8 . Turn the VALUE dial to select “100.”
9 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Part Chorus Send Level.
1 0 . Turn the VALUE dial to select “0.”
1 1 . Set the Part Reverb Send Level setting to “0” in the same
way.
Next, set up Part 2.
1 2 . Press PART SELECT [2/ 18], getting its indicator to light.
* Make sure that the [1-16/17-32] button’s indicator is not lit. If
the indicator is lit, press [1-16/17-32] to turn it off.
1 1 3
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Rh y th m Se t Mo d e Se ttin g s
Sig n a l (RHYTHM TO N E) Flo w
fig.03-003.e
Output Assign
A
OUTPUT A
OUTPUT B
OUTPUT C
OUTPUT D
B
RHYTHM
TONE
C
D
M-FX
Output Assign
M-FX
CHO
Chorus
Output Assign
REV
Reverb
Output Assign
Rh y th m To n e Dry Se n d Le ve l
Pa ra m e te rs
Range: 0–127
The parameters related to Patch output settings are shown
below.
Sets the level of the signal to be sent to the OUTPUT jacks,
which is determined by Rhythm Tone Output Assign.
RHYTHM Effe cts Ge n e ra l p a g e
([RHYTHM] - [F6 (Effe cts)] - [F1
(Ge n e ra l)])
Rh y th m To n e Ch o ru s Se n d Le ve l
Range: 0–127
Sets how much of the Tone is sent to the Chorus. Its final
output destination is determined by the Chorus output
setting.
These parameters set the output destination and level for the
currently selected Rhythm Set Tone, and allow you to set its
send levels to the Chorus and Reverb.
Rh y th m To n e Re ve rb Se n d Le ve l
Rh y th m To n e O u tp u t Assig n
Range: 0–127
Available Settings:
Sets how much of the Tone is sent to the Reverb. Its final
output destination is determined by the Reverb output
setting.
MFX: The Tone is sent to the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
MFX Dry Se n d Le ve l
A–D: The Tone is sent to one of the four output-jack stereo
pairs, OUTPUTS A–D.
Range: 0–127
1–8: The Tone is sent to the INDIVIDUAL OUTPUT jacks 1–
Determines the level of the Multi-effects processor’s output
8.
to the OUTPUT jacks.
1 1 4
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
* As the internal effects devices are in stereo, you cannot make
the settings for the INDIVIDUAL OUTPUT jacks.
MFX Ch o ru s Se n d Le ve l
Range: 0–127
Determines the level of the post-Multi-effects processor
signal sent to Chorus. Its final output destination is
determined by the Chorus output setting.
RHYTHM Co m m o n p a g e ([RHYTHM] -
[F1 (Co m m o n )])
MFX Re ve rb Se n d Le ve l
Co m m o n
Range: 0–127
Le ve l (Rh y th m Le ve l)
Range: 0–127
Determines the level of the post-Multi-effects processor
signal sent to Reverb. Its final output destination is
determined by the Reverb output setting.
Sets the volume of the Rhythm Set.
* You can specify the level for each Rhythm Tone using the Tone
Level parameter (p. 177).
Ch o ru s O u tp u t Se le ct
Specifies how the signal routed through Chorus will be
output.
O u tp u t Assig n (Rh y th m Se t O u tp u t Assig n )
Available Settings:
Available Settings:
MFX: The Tone is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
MAIN: The Chorus output is sent only to the OUTPUT jacks.
REV: The Chorus output is sent only to the Reverb.
M+R: The Chorus output is sent to the OUTPUT jacks and to
OUTPUT A–D: The Rhythm Tone is sent to the selected
the Reverb.
OUTPUT A–D jacks.
Ch o ru s Le ve l
INDIV 1–8: The Tone is sent to the INDIVIDUAL OUTPUT
jacks 1–8.
Range: 0–127
TONE: Outputs according to the settings for each Rhythm
Determines the Chorus output level.
Tone.
Re ve rb Le ve l
Range: 0–127
Determines the Reverb output level.
MFX O u tp u t Assig n
Range: A–D
Selects the pair of OUTPUT jacks to which the Multi-effects
stereo output is routed.
* As the Multi-effects are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Ch o ru s O u tp u t Assig n
Range: A–D
Selects the pair of OUTPUT jacks to which the Chorus unit’s
stereo output is routed when Chorus Output Select is set to
“MAIN” or “M+R.” The output destination setting for the
signal sent to Reverb is determined according to the Reverb
settings.
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Re ve rb O u tp u t Assig n
Range: A–D
Selects the OUTPUT jacks to which the Reverb unit’s stereo
output is routed.
1 1 5
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
6 . Turn the VALUE dial or press [INC]/ [DEC] to select “3.”
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2
(O u tP&EQ )])
7 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Rhythm Tone Dry Send Level.
O u tp u t Mix / Pa ra lle l
8 . Turn the VALUE dial to select “100.”
9 . Press [ ]/ [ ]/ [ ]/ [ ] to move the cursor to
Mo d e
Available Settings:
MIX: Signals that are set to be output from jacks other than
the A (MIX) OUTPUT jacks are mixed and output from the A
(MIX) OUTPUT jacks. This setting allows you to quickly
route everything through headphones when you are creating
sounds, or to combine all of your sounds into two outputs
when sending the XV-5080’s signal to a mixer that has only
two channels.
Rhythm Tone Chorus Send Level.
1 0 . Turn the VALUE dial to select “0.”
1 1 . Set the Rhythm Tone Reverb Send Level setting to “0” in
the same way.
1 2 . Press [EXIT] to return to the RHYTHM PLAY page.
1 3 . Press [F1 (Common)].
When MIX is selected, sounds routed to the INDIVIDUAL
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/
8 jacks are sent to the right A (MIX) OUTPUT jack.
1 4 . Press [
]/ [
] to move the cursor to Output Assign.
1 5 . Turn the VALUE dial or press [INC]/ [DEC] to select
PARALLEL: Sounds are routed to output jacks according to
“TONE.”
their output settings.
1 6 . Press [EXIT] to return to the RHYTHM PLAY page.
The XV-5080’s Master Level and Mix/ Parallel settings are
each established using a single global parameter.
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -
[F1 (Ge n e ra l)])
Ma ste r
Le ve l (Ma ste r Le ve l)
Range: 0–127
Adjusts the volume of the entire XV-5080.
Example Settings
Setting the Output Destination of a Specific Rhythm Tone
This example explains the procedure for outputting the
Rhythm Tone assigned to C4 from the INDIVIDUAL 3
OUTPUT jack without sending it through any internal
effects.
1 . Select the Rhythm Set you wish to set.
2 . Press [F6 (Effects)].
3 . Press [F1 (General)] to call up the RHYTHM Effects
General page.
4 . Press TONE SELECT [1]–[4] and set the key at the upper
left corner of the display to “C4.”
* If a MIDI keyboard is connected, you can select C4 by pressing
the C4 key on the keyboard.
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Rhythm Tone Output Assign.
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Se ttin g s in Ge n e ra l MIDI Mo d e
Sig n a l (PART) Flo w
fig.03-004.e
Output Assign
A
OUTPUT A
OUTPUT B
OUTPUT C
OUTPUT D
B
Part
C
D
Out (GM CHORUS)
CHO
Rev (GM CHORUS)
REV
Out (GM REVERB)
Pa rt Ch o ru s Se n d Le ve l
Pa ra m e te rs
Range: 0–127
The parameters related to Part output settings are shown
below.
Sets how much of the Tone is sent to the Chorus. Its final
output destination is determined by the Chorus output
setting.
GM Effe cts Ge n e ra l p a g e ([GM] - [F6
(Effe cts)] - [F1 (Ge n e ra l)])
Pa rt Re ve rb Se n d Le ve l
Sets the output destination and level for the selected Part, as
well as its send level with respect to the Chorus and Reverb.
Range: 0–127
Sets how much of the Tone is sent to the Reverb. Its final
output destination is determined by the Reverb output
setting.
Pa rt O u tp u t Assig n
Sets the output destination for each Part.
Available Settings:
Ch o ru s O u tp u t Assig n
A–D: The Part is sent to the selected pair of OUTPUT A–D
Range: A–D
jacks.
Selects the OUTPUT jacks to which the Chorus unit’s stereo
output is routed.
Pa rt Dry Se n d Le ve l
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
Range: 0–127
Sets the level of the signal to be sent to the OUTPUT jacks,
which is determined by Part Output Assign.
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Re ve rb Se n d Le ve l
Range: 0–127
Sets the amount of the Chorus unit’s output to be sent to the
Reverb. Its final output destination is determined by the
Reverb output setting.
Re ve rb O u tp u t Assig n
Range: A–D
Selects the OUTPUT jacks to which the Reverb unit’s stereo
output is routed.
* As the internal effects processors are in stereo, settings for the
INDIVIDUAL OUTPUT jacks are unavailable.
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2
(O u tP&EQ )])
O u tp u t Mix / Pa ra lle l
Mo d e
Available Settings:
MIX: Signals that are set to be output from jacks other than
the A (MIX) OUTPUT jacks are mixed and output from the A
(MIX) OUTPUT jacks. This setting allows you to quickly
route everything through headphones when you are creating
sounds, or to combine all of your sounds into two outputs
when sending the XV-5080’s signal to a mixer that has only
two channels.
When MIX is selected, sounds routed to the INDIVIDUAL
OUTPUT 3/ 5/ 7 jacks are sent to the left A (MIX) OUTPUT
jack, and sounds routed to the INDIVIDUAL OUTPUT 4/ 6/
8 jacks are sent to the right A (MIX) OUTPUT jack.
PARALLEL: Sounds are routed to output jacks according to
their output settings.
The XV-5080’s Master Level and Mix/ Parallel settings are
each established using a single global parameter.
SYSTEM Ge n e ra l # 1 p a g e ([SYSTEM] -
[F1 (Ge n e ra l)])
Ma ste r
Le ve l (Ma ste r Le ve l)
Range: 0–127
Adjusts the volume of the entire XV-5080.
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Ma ste r Fre q (Ma ste r Fre q u e n cy )
Settings Values: 44.1/ 48 kHz
Dig ita l Co n n e ctio n s Usin g R-
BUS
This sets the master clock used for the output.
The XV-5080 comes equipped with an R-BUS connector. This
connector allows you to make an eight-channel digital
connection using a single R-BUS cable (RBC-1/ RBC-5;
optional). In addition, you can connect the R-BUS connector
to a DIF-AT, AE-7000, or other such digital device, making it
possible for you to convert to different digital formats.
DIF Co n tro l
DIF-AT Clk Se le ct (DIF-AT Clo ck Se le ct)
This selects the source of the DIF-AT synchronization signal
when digital signals between digital devices are
synchronized.
* The XV-5080' s R-BUS is for output only.
* This setting is required only when synchronizing signals with
an ADAT or DA-88 through the DIF-AT.
Settings Values:
Only the R-BUS devices listed in the Owner’s Manual may be
connected to the R-BUS (RMDB2) connector. Be careful not to
connect any other devices (such as SCSI-type devices, RS-
232C-type devices, parallel-type devices, etc.) even though
they have similar-looking connectors. Use only a specially
designed R-BUS (RMDB2) cable to make connections.
R-BUS: The synchronization signal input through the DIF-
AT’s R-BUS connector is used for the master.
ADAT: The synchronization signal input through the DIF-
AT’s ADAT connector is used for the master.
DA-88: The synchronization signal input through the DIF-
AT’s DA-88 connector is used for the master.
Pa ra m e te rs
Here is the basic procedure for making the settings.
SYSTEM O u tp u t p a g e ([SYSTEM] - [F2
(O u tp &EQ )])
1 . Press [SYSTEM/ UTILITY], causing the indicator to light.
* If the indicator is flashing, it means that the XV-5080 is in
Utility mode. In this case, press [SYSTEM/UTILITY] once
more so the indicator is lit, but not flashing.
2 . Press [F2 (Outp&EQ)] to display the SYSTEM Output
screen.
3 . Press [
], [
], [
], or [
] to move the cursor to
the parameter you want to set.
Dig ita l In te rfa ce
4 . Turn the VALUE dial or press [INC] or [DEC] to set the
Ma ste r Clo ck
value.
This sets the master clock used for the output.
Settings Values:
* If you happen to make a mistake with a setting and press
[UNDO], the parameter reverts to the value in effect when the
cursor was moved to the parameter.
INTERNAL: The XV-5080 serves as the master.
R-BUS: Synchronizes to the clock arriving at R-BUS. The XV-
5 . Press [EXIT] to return to the current PLAY screen
5080 operates as the slave.
WORD CLOCK IN: Synchronizes to the clock arriving at
O u tp u t Ga in
WORD CLOCK. The XV-5080 operates as the slave.
* When the XV-5080 operates as a slave, it can be synchronized
to clocks running at 44.1 kHz or 48 kHz. It cannot be
synchronized to clocks running at other rates.
Ga in
Settings Values: -12, -6, 0, +6, +12 dB
This adjusts the output gain from the XV-5080’s Analog Out
and Digital Out. When, for example, there are relatively few
voices being sounded, boosting the output gain can let you
attain the most suitable output level for recording and other
purposes.
* The sync status is indicated in parentheses. “Unlocked” means
that the devices are not synchronized.
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Eig h t-Ch a n n e l R-BUS Dig ita l Co n n e ctio n
fig.RBUS-1.e
VM-3100Pro
XV-5080
R-BUS
W
W
Word Clock
XV-5080 ——–> Device Equipped with R-BUS Connector (One Example)
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r
•
XV-5080 Settings
Master Clock: INTERNAL
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)
VM-3100 Pro R-BUS Settings
•
•
•
MasterClk: RMDB-2
VM-7100/ 7200 R-BUS Settings
WORD CLOCK SOURCE:MULTI 1-8
VSR-880 R-BUS Settings
SYS:MasterClk:R-BUS
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve
•
•
•
•
XV-5080 Settings
Master Clock: RBUS
VM-3100 Pro R-BUS Settings
MasterClk: INTERNAL
VM-7100/ 7200 R-BUS Settings
WORD CLOCK SOURCE:INTERNAL
VSR-880 R-BUS Settings
SYS:MasterClk:INT
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Co n ve rtin g to th e Va rio u s Dig ita l Fo rm a ts
Dig ita l O u tp u t to a n ADAT
Connect a DIF-AT, and you’ll then be able to output to an ADAT.
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r
fig.RBUS-2.e
XV-5080
R-BUS
DIF-AT
W
POWER
W
IN
OUT
OPTICAL
OUT
IN
adat
W
Word Clock
Se ttin g s
•
XV-5080 Settings
Master Clock: INTERNAL
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)
DIF-AT Clk Select:R-BUS
•
ADAT Settings
CLOCK:
INPUT:
DIG
DIGITAL
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve Se ttin g s
•
XV-5080 Settings
Master Clock: R-BUS
DIF-AT Clk Select:ADAT
ADAT Settings
•
CLOCK:
INT
INPUT:
DIGITAL
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Dig ita l O u tp u t to a TASCAM DA Se rie s
Connecting a DIF-AT then allows you to output to a TASCAM DA Series device.
fig.RBUS-3.e
XV-5080
R-BUS
DIF-AT
W
POWER
TDIF
W
W
Word Clock
TASCAM DA series
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r
Se ttin g s
You cannot make these settings (the DIF-AT cannot be used as Word Clock Slave with TASCAM devices).
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve
Se ttin g s
•
XV-5080 Settings
Master Clock: R-BUS
DIF-AT Clk Select:DA-88
TASCAM Settings
CLOCK:
DIGITAL IN: ON
•
INT
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Dig ita l O u tp u t to a n AES/ EBU De vice
Connecting an AE-7000 then allows you to output to an AES/ EBU device.
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Sla ve Se ttin g s
fig.RBUS-4.e
DIGITAL INPUT
(AES/EBU)
DIGITAL OUTPUT
(AES/EBU)
AE-7000
XV-5080
R-BUS
W
W
888 I/O
AES/EBU OUT
AES/EBU IN
ProTools
W
Word Clock
•
•
XV-5080 Settings
Master Clock: R-BUS
AE-7000 Settings
CLOCK SOURCE SELECT:WORD CLOCK or INPUT A (for detailed instructions, refer to the AE-7000 manual)
W h e n Ma k in g th e XV-5 0 8 0 th e W o rd Clo ck Ma ste r
Se ttin g s
•
XV-5080 Settings
Master Clock: INTERNAL
Master Freq: 44.1 or 48.0 kHz (set to match the sampling rate of the connected device)
AE-7000 Settings
CLOCK SOURCE SELECT:R-BUS
•
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Ch a p te r 3 Se le ctin g O u tp u t Ja ck s
Sy n ch ro n izin g th e XV-5 0 8 0 to th e W o rd Clo ck a rrivin g a t
W O RD CLO CK IN
fig.RBUS-6.e
WORD CLOCK MASTER
VM-3100Pro
W
WORD CLOCK OUT
XV-5080
R-BUS
WORD CLOCK IN
W
W
Word Clock
Se ttin g s
•
XV-5080 Settings
Master Clock: WORD CLOCK IN
Word Clock Master Device Settings
•
Set the sampling rate for the device acting as Word Clock Master to 44.1 or 48.0 kHz.
* Word Clock signals input at WORD CLOCK IN are output through R-BUS and S/P DIF.
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Ch a p te r 4 Cre a tin g Pa tch e s
fig.04-002.e
Ty p e s o f Pa tch e s a n d Th e ir
Co m p o sitio n
To n e
LFO 1
LFO 2
The basic unit of sound used in performances on the XV-5080
is called a Patch; there are two types of Patches, Four-Tone
Patches and Multi-Partial Patches.
WG
TVF
TVA
The Patch type is determined by the Tone type setting, in the
Patch Common screen (p. 127).
You do not need to be particularly aware of such distinctions
when playing Patches. However, when changing Patch
settings or creating new Patches, the parameters used differ
depending on the Patch type.
Pitch
Envelope
TVF
Envelope
TVA
Envelope
control signal
audio signal
WG (Wave Generator)
Fo u r-To n e Pa tch
Provides for the selection of PCM waveforms (waves), which
form the basis of the sound, and provides settings that
determine how the pitch of the sound will change.
These correspond to the XV-5080’s Preset Patches and Wave
Expansion Board Patches.
Each Four-Tone Patch can contain up to four Tones.
fig.04-001.e
The XV-5080 offers 1083 different waveforms. (See
each Tone. (These can be assigned as a stereo pair, with one
waveform assigned to the left, and one to the right.)
Tone
4
Tone
1
Tone
2
Tone
3
All Patches onboard the XV-5080 consist of combinations of
Tones, which in turn are composed of these waveforms. You
can use the force with which keys are played, or MIDI
messages to control the way each Tone is played. This is
referred to as the Tone Mix Table (TMT).
Example 1:A Patch consisting of only one Tone
(Tones 2–4 are turned off).
Additionally, you can load Wave data (samples) into the XV-
5080 from sampler libraries and assign this data to the Tones.
Tone
1
Tone
2
Tone
3
Tone
4
TVF (Time Variant Filter)
Specifies how the constituent frequencies of the Tone will
change.
Example 2: A Patch consisting of four Tones.
You can turn the Tones in a Patch on or off. Only Tones that
are turned on are heard when you play the Patch. (p. 126)
TVA (Time Variant Amplifier)
localization.
You can also specify how Tones 1 and 2 and Tones 3 and 4
will be combined (Structure). (p. 131)
Envelope
An envelope applies changes to the Tone over time. There
are separate envelopes for Pitch, TVF (filter), and TVA
(volume). For example, you would use the TVA Envelope to
modify the way in which the Tone attacks and decays.
Ho w a To n e Is O rg a n ize d
In the XV-5080, the Tone is the smallest class of sound.
However, it is not possible to play a Tone by itself. The Patch
is the unit of sound that can be played, and Tones are the
basic building blocks used to form a Patch. A Tone consists
of the following five components.
LFO (Low Frequency Oscillator)
Use the LFO to create cyclical changes—or cyclical
“modulation”—in a Tone. Each Tone has two LFOs. An LFO
can be applied to the Tone’s pitch settings, TVF (filter), and
TVA (volume). When an LFO is applied to pitch, a vibrato
effect is produced. When an LFO is applied to the TVF cutoff
frequency, a wah-wah effect is produced. When an LFO is
applied to the TVA volume, a tremolo effect is produced.
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Ch a p te r 4 Cre a tin g Pa tch e s
TVF (Time Variant Filter)
Mu lti-p a rtia l Pa tch
Patches using data loaded into the XV-5080 from sampler
Multi-Partial Patch
Specifies how the constituent frequencies of the Tone will
change.
TVA (Time Variant Amplifier)
B1
Partial
Specifies how the volume will change, and controls the
localization.
Sample 1
Sample 2
Sample 3
Sample 4
D7
Envelope
An envelope applies changes to the Tone over time. There
are separate envelopes for Pitch, TVF (filter), and TVA
(volume). For example, you would use the TVA Envelope to
modify the way in which the Tone attacks and decays.
The TVF envelope can be used to change not only the cutoff
frequency, but also the pitch.
88 Partials
LFO (Low Frequency Oscillator)
Use the LFO to create cyclical changes—or cyclical
libraries are of this type.
“modulation”—in a Tone. Each Tone has an LFO. An LFO
can be applied to the Tone’s pitch settings, TVF (filter), and
TVA (volume). When an LFO is applied to pitch, a vibrato
effect is produced. When an LFO is applied to the TVF cutoff
frequency, a wah-wah effect is produced. When an LFO is
applied to the TVA volume, a tremolo effect is produced.
Multi-Partial Patches are created by assigning the constituent
sounds, called Partials, to the keys on the keyboard, with up
to 88 Partials being assignable.
One difference between Tones and Partials is that whereas
Tones are composed of two waveforms, Partials may contain
up to four samples (Wave data).
* Multi-Partial Patches are created using samples (Wave data)
loaded into the SIMM (memory module) (internal Waves
cannot be used). To do this, you need a separate device to load
the samples from a sampler library or other source to the XV-
5080. (p. 181)
Se le ctin g th e To n e s Th a t W ill
So u n d (To n e O n / O ff)
Here’s how to turn on the Tones that you want to hear in a
Patch. You can also use the on/ off technique described in
this section to audition an individual Tone by turning off all
the other Tones in a Patch.
Ho w a Pa rtia l Is O rg a n ize d
The sounds from which Multi-Partial Patches are composed
Select the Patch you wish to use.
Pa rtia l
LFO
1 . Make sure that the PATCH PLAY page is displayed.
2 . Hold down [SHIFT] and press TONE SW [1]–[4] to
switch the corresponding Tone on so that its indicator
lights, or off so that its indicator goes dark.
3 . The PATCH PLAY page indicates the Tones that are on
SMT
TVF
TVA
as follows. Tones that are off are shown as “-.”
fig.04-003.e
TVF
TVA
Envelope
Envelope
control signal
audio signal
are called Partials. Partials may comprise up to four samples,
and are composed using the following five elements.
SMT (Sample Mix Table)
Selects the sample to be used as the source of the sound.
You can use the key touch and MIDI messages to control the
way each sample is played.
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Ch a p te r 4 Cre a tin g Pa tch e s
name by turning the VALUE dial or pressing the [INC] or
[DEC] buttons to select the desired characters.
Se ttin g s Co m m o n to th e
En tire Pa tch
Available characters/symbols:
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^
Setting Procedure:
_ ` { | } → ←
1 . Select the Patch you’re going to use.
2 . Press [F1 (COMMON)].
* Pressing the VALUE dial displays the Patch Name window,
in which you can use the following functions.
[F2 (←Prev)]: Move back one character.
3 . Use [F1]–[F5] to select the page containing the parameter
[F3 (Next→)]: Move forward one character.
[F4 (Insert)]: Insert a blank space at the cursor position.
[F5 (Delete)]: Delete the character at the cursor position.
[F6 (OK)]: Confirm the selected name.
you wish to set.
* When the setting pages are displayed, you can press TONE
SWITCH [1]–[4] to turn each Tone on/off.
4 . Use [
]/ [
]/ [
]/ [
] to move the cursor to the
Ca te g o ry (Pa tch Ca te g o ry )
parameter you want to set.
Specifies the type (category) of the Patch.
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to
The Patch Finder uses this setting. It also determines the
phrase that will be heard when you audition the Patch using
the Phrase Preview feature.
select the desired value.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
For details on the possible category names, refer to p. 19.
Pa tch Ty p e
6 . Press [EXIT] to return to the PATCH PLAY page.
Range: 4TONES/ MULTI-PARTIAL
Sets the Patch type (Four-Tone Patch, or Multi-partial Patch).
A “*” symbol will appear at the left of the Patch name,
indicating that the settings have been modified.
fig.04-004.e_70
Le ve l (Pa tch Le ve l)
Range: 0–127
Sets the volume of the Patch.
* The volume of each Tone/Partial is set by the Tone Level
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to preserve them, save the modified Patch using the
Write operation.(p. 194)
Pa n (Pa tch Pa n )
Range: L64–0–63R
Sets the stereo position of the Patch. L64 is far left, 0 is center,
and 63R is far right.
Co m m o n (Pa tch Co m m o n )
* The pan of each Tone/Partial is set by the Tone Pan (TVA; p.
PATCH Co m m o n Ge n e ra l # 1 p a g e
([PATCH] - [F1 (Ge n e ra l)])
fig.04-005.e_70
* While each Tone/Partial in a Patch has its own Pan position,
the Patch pan setting shifts the entire Patch – including all of
its Tones/Partials – leftward or rightward.
O u tp u t Assig n (Pa tch O u tp u t Assig n )
Specifies the output destination for the Patch.
Range:
MFX: The Patch is sent into the Multi-effects. Its output
destination is determined by the Multi-effects output
settings.
Co m m o n
n a m e (Pa tch N a m e )
OUTPUT A–D: The Patch is sent to the selected pair of
You can give a Patch a name using up to 12 characters.
OUTPUT A–D jacks. (Stereo output)
Press [
] or [
] to move the cursor, and then create the
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Ch a p te r 4 Cre a tin g Pa tch e s
fig.04-006.e
INDIV 1–8: The Patch is sent to the selected INDIVIDUAL 1–
Pitch difference from
equal temperament
8 jack. (Mono output)
Parameter value
TONE/KEY: The output routing is determined by the settings
3
2
1
of each Tone/ Partial.
O cta ve &Tu n e (Pa tch O cta ve & Tu n e )
O cta ve Sh ift
OFF
OFF
Range: -3– +3
Sets the pitch of the Patch in units of an octave (+/ -3
octaves).
1
2
* This setting can also be adjusted from the PATCH PLAY
page. (p. 17)
3
Low note range
High note range
Co a rse Tu n e
An a lo g Fe e l (An a lo g Fe e l De p th )
Range: -48– +48
Range: 0–127
Adjusts the pitch of Tone/ Partial in semitone steps (-4– +4
Specifies the depth of 1/ f modulation that is to be applied to
the Patch. (1/ f modulation is a pleasant and naturally-
occurring ratio of modulation that occurs in a babbling brook
or rustling wind.)
octaves).
Fin e Tu n e
Range: -50– +50
By adding this “1/ f modulation,” you can simulate the
Adjusts the pitch of the Tone/ Partial in 1-cent steps (1/ 100th
of a semitone) over a range of half a semitone up or down.
natural instability characteristic of an analog synthesizer.
Stre tch Tu n e De p th
PATCH Co m m o n Ge n e ra l # 2 p a g e
([PATCH] - [F1 (Ge n e ra l)])
fig.04-007.e_70
Range: OFF/ 1/ 2/ 3
This setting allows you to apply “stretched tuning” to the
Patch. Acoustic pianos typically use stretch tuning, with their
lower range slightly flatter and their higher range slightly
sharper than the actual mathematical tuning ratios dictate.
Stretch is therefore useful when programming a Patch
intended to sound like a real piano. With a setting of OFF,
the Patch’s tuning will be equal temperament. A setting of 3
will produce the greatest difference in the pitch of the low
and high ranges.
Mo d ify (Pa tch Mo d ify )
Cu to ff O ffse t
Range: -63– +63
This diagram shows the pitch change relative to equal
temperament that will occur in the low and high ranges.
Stretch will have a subtle effect on the way in which chords
resonate.
This simultaneously lowers or raises the individual TVF
cutoff frequency values of the Tones/ Partials in the Patch.
Re so n a n ce O ffse t
Range: -63– +63
This simultaneously lowers or raises the individual TVF
resonance values of the Tones/ Partials in the Patch.
Atta ck O ffse t (Atta ck Tim e O ffse t)
Range: -63– +63
This simultaneously lowers or raises the individual TVA
ENVELOPE T1 values of the Tones/ Partials in the Patch.
With Multi-Partial Patches, only TVA changes.
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Ch a p te r 4 Cre a tin g Pa tch e s
Re le a se O ffse t
Co n tro l (Pa tch Co n tro l)
Range: -63– +63
PATCH Co m m o n Co n tro l p a g e ([PATCH]
- [F2 (Co n tro l)])
This simultaneously lowers or raises the individual TVA
ENVELOPE T4 values of the Tones/ Partials in the Patch.
fig.04-008.e_70
With Multi-Partial Patches, only TVA changes.
Ve lo Se n s O ffse t (Ve lo city Se n sitivity O ffse t)
Range: -63– +63
Sets the relative ratio of change of the TVF VELOCITY V-
Cutoff and TVA V-Sens values set in each of the Tones/
Partials comprising the Patch.
Ke y Mo d e (Ke y Assig n Mo d e )
Ke y Assig n (Pa tch Ke y Assig n )
Te m p o (Pa tch Te m p o )
This sets how the Patch’s notes will be played. The SOLO
setting is effective when playing a solo instrument Patch
such as sax or flute.
Clo ck So u rce (Pa tch Clo ck So u rce )
The LFO cycle, M-FX changes, phrase loop (break beats), and
Tone/ Partial delay time can be synchronized to a clock, or
tempo. The Clock Source setting selects the timing reference
to be used by the Patch.
MONO:Only one note will sound at a time.
POLY:Two or more notes can be played simultaneously.
Available Settings:
Le g a to Sw itch
PATCH: The Patch Tempo will be used.
Range: OFF/ ON
SYSTEM: The global System Tempo or clock messages
Turn this parameter on when you want to use the Legato
feature and off when you don’t. Legato is a function that
works only when the Key Assign Mode is MONO. When
Legato is ON, pressing one key when another is already
pressed causes the currently playing note’s pitch to change to
that of the newly pressed key while continuing to sound.
This can be effective when you wish to simulate performance
techniques such as a guitarist’s hammering on and pulling
off strings.
received from an external sequencer will be used.
Te m p o (Pa tch Te m p o )
Range: 20–250
When Clock Source is set to “PATCH,” this setting
establishes the Patch’s tempo.
* Clock messages for the Patch Tempo are not transmitted from
the MIDI OUT jack.
Le g a to Re trig g e r
Vo ice Prio rity
Range: OFF/ ON
This determines how notes will be managed when the XV-
The setting determines whether sounds are replayed or not
when performing legato. Normally you will leave this
parameter “ON.” When Delay Keyfollow is set to OFF, if one
key is pressed while another key is held down, only the pitch
changes, which with some waveforms may result in
unnatural sound. Set this to “OFF” when performing wind
and string phrases or when using modulation with the mono
synth keyboard sound.
5080’s maximum polyphony limit is exceeded (128 voices).
Available Settings:
LAST: The last-played voices will be given priority, and
currently sounding notes will be turned off in order,
beginning with the first-played note.
LOUDEST: The voices with the loudest volume will be given
priority, and currently sounding notes will be turned off,
beginning with the lowest-volume voice.
* If the Legato Switch is “OFF,” this setting is ignored.
* Let’s say you have the Legato Switch set to “ON,” and the
Legato Retrigger set to “OFF.” When you try to sound a
legato (by pressing a higher key while a lower key is held
down), the pitch may sometimes not be able to rise all the way
to the intended pitch (stopping instead at an intermediate
pitch). This can occur because the limit of pitch rise, as
determined at the wave level, has been exceeded. Additionally,
if differing upper pitch limits are used for the waves of a Patch
O n e Sh o t Mo d e
Range: OFF/ ON
This causes all the samples assigned to a selected Patch in
* This function cannot be used with internal waves, and waves
on Wave Expansion Boards.
* Loop mode settings cannot be changed for individual samples.
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Ch a p te r 4 Cre a tin g Pa tch e s
that uses multiple tones, it may stop being heard in MONO.
When making large pitch changes, set the Legato Retrigger to
“ON.”
TIME: The time it takes will be constant, regardless of how
far apart in pitch the notes are.
Sta rt (Po rta m e n to Sta rt)
Portamento will begin anew if you press another key during
a pitch movement. This setting specifies how the new
portamento will start.
Be n d e r
Sets the bend range.
Available Settings:
Be n d Ra n g e Up
PITCH: The pitch will begin changing immediately to the
Range: 0–48
new note’s pitch when its key is pressed.
fig.04-009.e
Specifies the amount (in semitones) of pitch bend that will
occur when the bender lever of a connected MIDI keyboard
is moved to the far right position (or for a wheel, the fully
upward position). For example, with a setting of 12, moving
the pitch bend lever to the far right position will raise the
pitch 1 octave.
Pitch
C5
Be n d Ra n g e Do w n
D4
C4
Range: 0–48
Specifies the amount (in semitones) of pitch bend that will
occur when the bender lever of a connected MIDI keyboard
is moved to the far left position (or for a wheel, the fully
downward position). For example, with a setting of 48,
moving the pitch bend lever to the far left position will raise
the pitch 4 octave.
Time
press D4 key
press C5 key
press C4 key
NOTE: The pitch will begin changing to the new note’s pitch
only after it has first reached its original pitch destination.
fig.04-010.e
Pitch
Po rta m e n t (Pa tch Po rta m e n to )
Portamento is a function that causes the Patch’s pitch to
change smoothly from one note to the next note played.
When the Key Assign Mode is MONO, this can be effective
in simulating performance techniques such as a violinist’s
glissando.
C5
D4
C4
Sw itch (Po rta m e n to Sw itch )
Range: ON/ OFF
Time
press D4 key
press C5 key
press C4 key
Turn this switch on when you wish to use Portamento.
Mo d e (Po rta m e n to Mo d e )
Tim e (Po rta m e n to Tim e )
Range: 0–127
Selects the way in which Portamento will be applied.
Available Settings:
Sets the time over which one pitch will glide to the next.
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied for notes played legato
(i.e., notes played before the previous note is released).
Ty p e (Po rta m e n to Ty p e )
Determines the way in which the pitch difference between
the two notes will affect the time it takes to glide from one
note to the next.
Available Settings:
RATE: The time it takes will depend on the distance between
the two pitches.
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Ch a p te r 4 Cre a tin g Pa tch e s
fig.04-016.e
Stru ctu re (Pa tch Stru ctu re )
TYPE 5
These parameters can be set only for Four-Tone Patches.
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
PATCH Co m m o n Stru ctu re p a g e
([PATCH] - [F3 (Stru ct)])
fig.04-011.e_70
R
TVF TVA
TVF TVA
TVF TVA
TVF TVA
TVA
fig.04-017.e
TYPE 6
TONE 1 (3) WG
TVA
TVF
R
To n e 1 &2 / To n e 3 &4
TONE 2 (4) WG
Determines how Tone 1 and 2, or Tone 3 and 4 are connected.
fig.04-018.e
Ty p e (Stru ctu re Ty p e )
TYPE 7
Range: 1–10
fig.04-012.e
TONE 1 (3) WG
TVF TVA
TYPE 1
R
TONE 2 (4) WG
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVF
TVA
TVA
fig.04-019.e
TYPE 8
fig.04-013.e
TONE 1 (3) WG
TVF TVA
TYPE 2
R
TONE 2 (4) WG
TONE 1 (3) WG
TVA
TVA
TVA
TVF
fig.04-020.e
TONE 2 (4) WG
TYPE 9
TVF TVA
TVF TVA
TVF TVA
fig.04-014.e
TONE 1 (3) WG
TVF TVA
TVF
TYPE 3
R
TONE 2 (4) WG
TONE 1 (3) WG
TVF
B
fig.04-021.e
TONE 2 (4) WG
TYPE 10
fig.04-015.e
TONE 1 (3) WG
TVF TVA
TVF
TYPE 4
R
TONE 2 (4) WG
TVA
TONE 1 (3) WG
TVF
B
The display will graphically show the selected Structure. The
displayed symbols have the following meanings.
TONE 2 (4) WG
W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2
(TVA2), B (booster), R (ring modulator)
* If you select a Tone while on the STRUCT page, the Tone
paired with the selected Tone will also be selected.
* If Type 2–10 is selected, turning off one Tone will cause the
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Ch a p te r 4 Cre a tin g Pa tch e s
other Tone to be connected in the simple order of WG/TVF/
TVA.
K. Ra n g e (Pa tch Ke y Ra n g e )
These parameters can be set only for Four-Tone Patches.
Bo o ste r (Bo o ste r Ga in )
* When using Multi-partial Patches, this setting page doesn’t
appear.
Range: 0/ +6/ +12/ +18
If the “Type” parameter has been set to 3 or 4, you can set the
Booster strength. The Booster amplifies the incoming signal,
causing it to distort. This creates an effect similar to the
distortion often used on an electric guitar.
PATCH Co m m o n TMT Ke y Ra n g e p a g e
([PATCH] - [F4 (K.Ra n g e )])
fig.04-023.e_70
What is a Ring Modulator?
A Ring Modulator mathematically multiplies two Tones,
creating a new sound that includes inharmonic
overtones that were not present in either of the two
original Tones.
L.F (TMT Ke y b o a rd Fa d e W id th Lo w e r)
Range: 0–127
Since the difference in pitch between the two Tones
changes the overtone structure, an un-pitched “metallic”
sound often results. Ring modulation is therefore
especially suitable for creating bells and other metallic
Determines what will happen to the Tone’s level when a note
that’s lower than the Tone’s specified keyboard range is
played. Higher settings produce a more gradual change in
volume. If you don’t want the Tone to sound at all when a
note below the keyboard range is played, set this parameter
sounds.
fig.04-022.e
to 0.
fig.04-024.e
Level
Key number
0
127
Lower
Upper
L.Fade value
U.Fade value
K.L (TMT Ke y b o a rd Ra n g e Lo w e r)
Range: C -1– UPPER
Specifies the lowest note that will cause the Tone to sound.
K.U (TMT Ke y b o a rd Ra n g e Up p e r)
Range: LOWER – G9
Specifies the highest note that will cause the Tone to sound.
* It is not possible to set the Lower value higher than the Upper
value, or the Upper value below the Lower value. If you
attempt to do so, the two values will change simultaneously.
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Ch a p te r 4 Cre a tin g Pa tch e s
U.F (TMT Ke y b o a rd Fa d e W id th Up p e r)
Ma trix -Ctrl (TMT Ma trix Co n tro l
Sw itch )
Range: 0–127
Range: OFF/ ON
Determines what will happen to the Tone’s level when a note
that’s higher than the Tone’s specified keyboard range is
played. Higher settings result in a more gradual change in
volume. If you don’t want the Tone to sound at all when a
note above the keyboard range is played, set this parameter
to 0.
This setting determines whether or not the TMT is controlled
by the Matrix Control. When Velo (TMT Velocity Control
Switch) is set to OFF, turning this parameter on and off is a
simple way to switch between playing all Tones or
controlling them with the Matrix Control, making this an
effective tool for auditioning Tones.
* When using Multi-partial Patches, this setting page doesn’t
appear.
To n e
Displays the Tone number.
V. Ra n g e (Pa tch Ve lo city Ra n g e )
These parameters can be set only for Four-Tone Patches.
L.F (TMT Ve lo city Fa d e W id th Lo w e r)
* When using Multi-partial Patches, this setting page doesn’t
appear.
Range: 0–127
Determines what will happen to the Tone’s level when the
Tone is played at a velocity lower than its specified velocity
range. Higher settings result in a more gradual change in
volume. If you don’t want notes played outside the specified
PATCH Co m m o n TMT Ve l Ra n g e p a g e
([PATCH] - [F5 (V.Ra n g e )])
fig.04-025.e_70
velocity range to be heard at all, set this to 0.
fig.04-026.e
Level
Co n tro l (TMT Ve lo city Co n tro l)
Lower
Upper
Velocity
1
With the XV-5080, you can set the expression range (key
range) and the way a Tone is played according to the force
with which the key is pressed (velocity) for each Tone
individually. These settings are collectively referred to as the
TMT (Tone Mix Table).
L.Fade value
U.Fade value
V.L (TMT Ve lo city Ra n g e Lo w e r)
Range: 1–127
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
Ve lo city -Ctrl (TMT Ve lo city Co n tro l
Sw itch )
Range: OFF/ ON/ RANDOM
Determines whether Velocity messages from a MIDI
keyboard or sequencer will be recognized (ON), or ignored
(OFF).
V.U (TMT Ve lo city Ra n g e Up p e r)
Range: C -1–G9
When set to RANDOM, the Patch’s constituent Tones will
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
sound randomly, regardless of any Velocity messages.
* The Lower value cannot be set to a value greater than Upper
value, or vice versa. If you attempt to do this, the two values
will change simultaneously.
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Ch a p te r 4 Cre a tin g Pa tch e s
U.F (TMT Ve lo city Fa d e W id th Up p e r)
Mo re Ad va n ce d Ed itin g o f To n e s
Range: 0–127
You can use a tremendous amount of detail when you edit
the Tones in a Patch.
This determines what will happen to the Tone’s level when
the Tone is played at a velocity greater than its specified
velocity range. Higher settings result in a more gradual
change in volume. If you don’t want notes played outside the
specified velocity range to be heard at all, set this to 0.
The parameters which can be set for each Tone are assigned
to [F2]–[F5] as follows.
[F2 (W G)]
[F1 (WG Prm)] Selecting waveforms, FXM, Tone delay
(p. 136)
Cre a tin g Fo u r-To n e Pa tch e s
[F2 (Pitch)] Pitch (p. 138)
[F3 (Pch Env)] Pitch Envelope (p. 138)
[F4 (Sample)] Sample Edit (p. 139)
Tip s fo r Cre a tin g a Pa tch
•
Select a Patch that is similar to the sound you wish to
create.
[F3 (TVF)]
When you want to create a new sound, it’s a good idea to
begin with a Patch that is close to the sound that you have in
mind. Starting with a Patch that bears no resemblance to the
one you want to create is likely to result in much more
programming work for you. (Selecting a Patch p. 19)
[F1 (TVF Prm)] modifies the brightness using the filter
(p. 140)
[F2 (TVF Env)] TVF envelope (p. 142)
•
Decide which Tones will sound
[F1 (TVA Prm)] Changes the volume and stereo location
(p. 143)
When creating a Patch, it is important to decide which Tones
you are going to use. It is also important to turn off unused
Tones to avoid wasting voices, unnecessarily reducing the
number of simultaneous notes you can play. (Selecting the
Tones That Will Sound p. 126)
[F2 (TVA Env)] TVA envelope (p. 144)
[F5 (LFO &CTL)]
[F1 (LFO1)] Applies vibrato or tremolo (p. 145)
[F2 (LFO2)] Applies vibrato or tremolo (p. 145)
[F3 (Control)] Matrix control) (p. 146)
[F4 (Ctrl Sw)] receives MIDI messages (p. 147)
•
Check the way in which the Tones are combined
Structure Type 1&2 and 3&4 are important parameters that
determine how the four Tones are combined. Before you
select new Tones, make sure you understand how the
currently selected Tones are affecting each other. (p. 131)
* Do not change the Patch type (Patch Type, p. 127) while using
Patch Edit. Since the composition of sounds and parameters
used differ for each type, unless you go back and redo these
settings, no sound will be produced.*
•
Turn off effects
Since the XV-5080 effects have such a profound impact on its
sounds. The effects have a very great influence on the sound,
and simply turning off the effects may make the sound quite
different. Since you will hear the original sound of the Patch
itself when the effects are turned off, the results of your
modifications will be easier to hear. Actually, sometimes just
changing effects settings can give you the sound you want.
(The settings in Patch mode (p. 24))
The following shows the basic setting procedure. For
descriptions of each parameter, refer to the reference page
given in the above.
1 . Select the Patch you’re going to use.
2 . Press [F2]–[F5], whichever has the parameter you wish to
set assigned to it, and select the display group.
3 . Then press [F1]–[F4] to access the desired page.
4 . Use TONE SELECT [1]–[4] to select the Tone you wish to
set.
Its indicator will blink, and the selected Tone’s number will
appear in the upper right of the display.
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fig.04-027.e
3 . Press [
to be set.
] or [
] to move the cursor to the parameter
4 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
If you have selected two or more Tones, the change you
make will raise or lower the parameter’s value for all selected
Tones by the same amount.
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
If you wish to set all selected Tones to the same value, move
the cursor to the Tone that already has the desired value by
6 . Turn the VALUE dial or press [INC]/ [DEC] to select the
desired value.
pressing [
]/ [
], and while holding down [SHIFT],
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the original value of the parameter.
press the VALUE dial.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the original value of the parameter.
7 . Repeat Steps 2–6 to finish setting up the Patch.
8 . Press [EXIT] to return to the PATCH PLAY page.
5 . If you wish to edit other parameters, press [
]/ [
] to
A “*” symbol will appear at the left of the Patch name,
select the desired parameter.
indicating that its settings have been modified.
fig.04-028.e_70
6 . Repeat Steps 2–5 to adjust the parameter’s value.
7 . To exit the Palette page, press [F6].
[F6] will display the Tone number to which you will return
when pressing the button.
8 . Press [EXIT] to return to the PATCH PLAY page.
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
you wish to keep these settings, perform the Save operation. (p.
194)
Because the XV-5080 is designed to create completely
realistic sounds, the editing process depends heavily on the
complex PCM waveforms upon which Tones are based.
Therefore, if you try to create a sound that is totally different
from the waveform(s) you’re working with, the desired
result may be difficult or impossible to achieve.
Pa le tte Fu n ctio n
When editing a Tone, you can simultaneously view the
settings of all four of its Tones by pressing [F6 (Palette)].
1 . When modifying a Tone, press [F6 (Palette)] to call up
The XV-5080’s internal waveforms fall into the following two
the Tone Palette page.
fig.04-029.e_70
groups.
One-shot: These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall
of its sound. Some of the XV-5080’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-5080 also contains many other
one-shot waveforms that are elements of other sounds. These
include attack components such as piano-hammer sounds
and guitar fret noises.
2 . Press a TONE SELECT [1]–[4] button, [
]/ [
] to
choose the Tone you wish to modify.
The button’s indicator of the Tone for editing starts blinking.
Looped: These waveforms include sounds with long decays
as well as sustained sounds. With looped waveforms, the
latter part of the sound plays over and over for as long as the
note is held, allowing wave memory to be used more
efficiently. The XV-5080’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
To simultaneously modify the same parameter in two or
more Tones, hold down one Tone’s TONE SELECT [1]–[4]
button, press the next desired TONE SELECT [1]–[4] button,
and then another if desired, and so on.
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The following diagram shows an example of a sound – an
page) before filtering. This will help you achieve the desired
result. To make an entire waveform brighter, try applying
effects such as an enhancer and equalizer before modifying
the TVF parameter.
electric organ – that combines one-shot and looped
waveforms.
fig.04-030.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key-
click waveform (attack portion)
Resulting TVA ENV change
Mo d ify in g th e W a ve fo rm a n d
Pitch ([F2 ] (W G))
+
=
This set of parameters allows you to select the PCM
waveform that serves as the basis for the currently selected
Tone, apply effects to the waveform, and control its pitch.
Key-off
Key-off
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s
You cannot give a one-shot waveform a longer decay — or
make it into a sustaining sound — by using an envelope. If
you were to program such an envelope, you would be
attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
PATCH W G Pa ra m e te r p a g e ([PATCH] -
[F2 (W G)] - [F1 (W G Prm )])
fig.04-032.e_70
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s
With many acoustic instruments such as piano and sax,
extreme timbral changes occur during the first few moments
of each note. This initial attack is what defines much of the
instrument’s character. The XV-5080 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
W AVE
Gro u p (W a ve Gro u p )
Selects the group for the waveform that is to be the basis of
the Tone.
waveforms, it is best to leave the filter wide-open during the
attack so that all of these important timbral changes are
heard. If you use an envelope to modify the attack portion,
you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the
Available Settings:
INT: Waveform stored in the XV-5080’s memory.
XP-A–H: Waveform on the wave expansion boards A–H.
* It is not possible to select XP-A–F unless a wave expansion
board is inserted into the corresponding slot.
sound.
fig.04-031.e
SAMPLE: Samples (Wave data) loaded into the SIMM
(memory module) from a sampler library or other source.
Looped Portion
Tone change stored
with the wave
L (W a ve N u m b e r L)
Range: 1–1083
Selects the desired waveform by its number.
Envelope
for the TVF filter
The name of the wave will be displayed in square brackets [
].
R (W a ve N u m b e r R)
Range: 1–1083
Resulting tone change
Selects the desired waveform by its number.
The name of the wave will be displayed in square brackets [
].
If you try to make a waveform’s attack brighter by lowering
the high-frequency content of its decay using the TVF filter,
consider the original timbral character of the waveform. If
you’re making a part of the sound brighter than the original
waveform, you should first generate new upper harmonics
not present in the original waveform using the Color and
Depth parameters (FXM parameter in the Patch WG Prm
* When Wave Number R is set to "----," the tone being edited
goes to MONO.
* By holding down [SHIFT] and pressing [F6], you can rapidly
switch between STEREO and MONO tones.
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fig.04-033.e
Ga in (W a ve Ga in )
NORMAL
Range: -6/ 0/ +6/ +12
Specifies the gain (amplitude) of the waveform. The value
changes in 6 dB (decibel) steps—an increase of 6 dB doubles
the waveform’s gain. If you intend to use the Booster to
distort the waveform’s sound, set this parameter to its
maximum value.
Delay time
Te m p o Sy n c (W a ve Te m p o Sy n c)
Range: ON/ OFF
Note on
Note off
Determines whether the waveform is synchronized (ON) or
HOLD: The Tone will only sound if the key is held for longer
not synchronized (OFF) to the Patch’s tempo.
than the specified Delay Time. If the key is released before
the Delay Time has elapsed, the Tone will not sound.
fig.04-034.e
FXM (Fre q u e n cy Cro ss Mo d u la tio n )
HOLD
FXM (Frequency Cross Modulation) uses a specified
waveform to apply frequency modulation to the currently
selected waveform, creating complex overtones. This can be
useful when creating wilder sounds or sound effects.
Sw itch (W a ve FXM Sw itch )
Range: ON/ OFF
No sound
played
Delay time
Sets whether FXM will be used (ON) or not (OFF).
Note on
Note off
Co lo r (W a ve FXM Co lo r)
KEY-OFF-NORMAL: The Tone will not sound while the key
Range: 1–4
is being pressed, but will sound — after the specified Delay
Specifies how FXM will perform its frequency modulation.
Higher settings result in a grainier sound, while lower
settings result in a more metallic sound.
Time — when the key is released.
fig.04-035.e
KEY-OFF-NORMAL
De p th (W a ve FXM De p th )
Range: 0–16
Specifies the depth of the modulation produced by FXM.
Delay time
To n e De la y
Note on
Note off
Produces a time delay between the moment a key is pressed
(or released) and the moment the Tone actually begins to
sound. Since you can adjust the timing of each Tone in a
Patch, you can create effects in which pressing a single key
produces two or more sounds occurring at different times.
KEY-OFF-DECAY: The Tone will not sound while the key is
being pressed, but will sound after the specified Delay Time
when the key is released. However, for this setting — unlike
KEY-OFF-N — the TVA envelope of the Tone will begin
when the key is first pressed. As a result, in most cases, only
the decay portion of the sound will be heard.
fig.04-036.e
If you do not wish to use Tone Delay, set Mode to NORMAL
and Delay Time to 0.
KEY-OFF-DECAY
Mo d e (To n e De la y Mo d e )
Sets the manner in which the Tone will sound.
Available Settings:
Delay time
Note on
Note off
NORMAL: The Tone will sound after the specified Delay
If you have selected a Wave that is a decay-type sound (i.e., a
sound that fades away naturally even if the key is not
released), selecting KEY-OFF-NORMAL or KEY-OFF-
DECAY may result in no sound being heard.
Time.
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Ch a p te r 4 Cre a tin g Pa tch e s
Tim e (To n e De la y Tim e )
Pitch Ke y fo llo w (W a ve Pitch
Ke y fo llo w )
Range: 0–127/ Note
Specifies the time after which the Tone will sound when
using Tone Delay.
Range: -200– +200
Sets the amount of pitch change that will occur per octave on
the keyboard.
When the Type parameter (STRUCT page) has a setting of 2–
10, the outputs of Tones 1 (3) and 2 (4) will be combined with
Tone 2 (4). Tone 1 (or 3) settings will be ignored.
If you want the pitch to change by one octave for each 12
keys on the keyboard — as on normal keyboard instruments
— set this parameter to +100. For a two-octave pitch change
over the span of 12 keys, set this parameter to +200. Negative
(-) values cause the Tone’s pitch to go down as you go up the
keyboard. If you want the same pitch to sound regardless of
For more information on the types of notes, refer to the
Parameter List (p. 241).
PATCH W G Pitch p a g e ([PATCH] - [F2
(W G)] - [F2 (Pitch )])
fig.04-037.e_70
what key is pressed, set this parameter to 0.
fig.04-038.e
+200 +150
+120
Pitch
+100
+70
+50
+40
+30
+20
+10
0
–10
Pitch
–30
–50
These parameters set the basic pitch of each Tone.
–70
–100
Co a rse Tu n e (To n e Co a rse Tu n e )
C2
C3
C4
C5
C6
C7
Keyboard position
Range: -48– +48
Adjusts the pitch of the Tones simultaneously in semitone
steps over a range of +/ -4 octaves.
PATCH W G Pitch En ve lo p e p a g e
([PATCH] - [F2 (W G)] - [F3 (Pch En v)])
fig.04-039.e_70
Fin e Tu n e (To n e Fin e Tu n e )
Range: -50– +50
Adjusts the pitch of the Tone in one-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
Ra n d o m Pitch (To n e Ra n d o m Pitch )
De p th
Pitch En ve lo p e
Range: 0–1200
These parameters determine the amount of pitch enveloping
– changes to your basic pitch settings that occur over time –
the effect of velocity on the pitch envelope, and the basic
Specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want a random pitch
change, set this parameter to 0. The setting is adjustable in
units of 1 cent (1/ 100th of a semitone).
characteristics of the pitch envelope itself.
fig.04-040.e
T1
T2
T3
T4
L1
L0
L3
Pitch
Time
key is
key is
pressed
L2
released
L4
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De p th (Pitch En ve lo p e De p th )
Tim e 4 (Pitch En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Range: -12– +12
Range: -63– +63
Determines the amount of pitch enveloping to be used.
Higher values will cause greater change. Negative (-) settings
invert the direction of the changes made by the Pitch
Envelope.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the pitch
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
Tim e Ke y fo llo w (Pitch En ve lo p e Tim e
Ke y fo llo w )
Range: -100– +100
Use this parameter when you want the keyboard location of
notes to affect times T2–T4 of the pitch envelope. Higher
settings of this parameter will cause greater time change
relative to the envelope time at middle C (C4). Positive (+)
settings cause the times to shorten as you play above Middle
C. Negative (-) settings will extend time.
PATCH W G Sa m p le p a g e ([PATCH] -
[F2 (W G)] - [F4 (Sa m p le )])
You can edit the Sample loaded into the SIMM (memory
module).
Tim e (Pitch En ve lo p e Tim e 1 –4 )
* These settings cannot be made unless a sample is being used.
fig.04-041.e_70
Range: 0–127
These settings determine the times over which the basic pitch
settings will change from one pitch envelope level (L1–L4) to
the next.
Le ve l (Pitch En ve lo p e Le ve l 0 –4 )
Range: -63– +63
Sa m p le
Each pitch envelope level value determines an amount of
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )
change to be applied to the Tone’s basic pitch.
Displays the original sampling frequency of the loaded
Sample.
Ve lo city Se n s (Pitch En ve lo p e Ve lo city
Se n sitivity )
O rig in a l Ke y
Am o u n t (Pitch En ve lo p e Tim e Am o u n t
Se n sitivity )
Set the Note Number for the pitch used for playing the
sample when it was sampled.
Range: -63– +63
Lo o p
Adjust this parameter when you want your keyboard
playing dynamics (velocity) to affect the amount of pitch
enveloping. For higher settings, there will be a greater
difference between softly and strongly played notes.
Negative (-) values invert the change.
Mo d e (Lo o p Mo d e )
Displays the loop mode of the loaded Sample.
Available Settings:
FWD (Forward):
Tim e 1 (Pitch En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
After the sample played back from the Start point to the
Loop End point, it will then be repeatedly played back in the
forward direction, from the Loop Start point to the Loop End
point.
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the pitch
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
ONE-SHOT:
The sample will be played back only once, from the Start
point to the Loop End point.
ALT (Alternate):
When the sample has been played back from the Start point
to the Loop End point, playback will repeat to the Loop Start
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point, then go back and forth between the Loop Start point
and the Loop End point.
Usin g th e Filte r to Mo d ify th e
Brig h tn e ss ([F3 (TVF)])
REV-ONE (Reverse One-shot)
The settings for the TVF (Time Variant Filter) allow you to
change a Tone’s timbral content by altering its brightness or
thickness.
The sample will be played back only once from the Loop End
point to the Start point in the reverse direction.
REV (Reverse):
When the sample has been played back from the Loop End
point to the Start point, it will be repeatedly played back in
the reverse direction, from the Loop Start point to the Start
point.
PATCH TVF Pa ra m e te r p a g e ([PATCH] -
[F3 (TVF)] - [F1 (TVF Prm )])
fig.04-042.e_70
Tu n e (Lo o p Tu n in g )
Range: -50–50
Determines the fine pitch setting within the loop, in one-cent
steps (1/ 100 of a semitone).
TVF
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t
Fin e )
Filte r Ty p e (TVF Filte r Ty p e )
Selects the filter type. A filter typically reduces, or attenuates,
a specific frequency range within a Tone in order to
accentuate its other frequencies.
• Start Point
Range: 0–
Specifies the point in the sample from which data will be
read.
Available Settings:
OFF: No filter is used.
• Start Point Fine
LPF: Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency. Since the high
frequency range is cut, the sound will become more mellow.
This is the most frequently-used type of filter.
Range: 0–255
This is a fine adjustment of the Start Point.
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t
- Lo o p Sta rt Po in t Fin e )
BPF: Band Pass Filter. This type of filter leaves only the
region in the vicinity of the cutoff frequency, and cuts the
rest. It is useful for making distinctive sounds.
• Loop Start Point
HPF: High Pass Filter. This type of filter cuts the portion that
lies below the cutoff frequency. It is useful for making
percussive or other sounds. that have a distinctive high
range.
Range: 0–
Specifies the point in the sample from which the loop will be
started.
• Loop Start Point Fine
PKG: Peaking Filter. This emphasizes frequencies around the
cutoff frequency by raising their level. You can use this to
create wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
Range: 0–255
This is a fine adjustment of the Loop Start Point.
En d -Fin e (En d Po in t - En d Po in t Fin e )
LPF2: Low Pass Filter 2. This reduces the volume of all
frequencies above the cutoff frequency. This differs from LPF
in that you can control the amount of the reduction using the
TVF ENVELOPE settings while still maintaining a fixed
cutoff frequency.
• End Point
Range: 0–
Specifies the point to which the loop will be read.
• End Point Fine
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
Range: 0–255
This is a fine adjustment of the End Point.
* This disables the Resonance setting.
LPF3: Low Pass Filter 3. This type of filter cuts the portion
that lies above the cutoff frequency. While similar to LPF2, it
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filter reduces the frequencies more gently than LPF2.
Negative (-) values invert the change.
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
Cu to ff Ke y fo llo w (TVF Cu to ff
Ke y fo llo w )
Range: -200– +200
* This disables the Resonance setting.
Use this parameter if you want the cutoff frequency to
change according to the key that is pressed. At Middle C
(C4), the original Cutoff value is used. Positive (+) settings
cause the cutoff frequency to rise for notes higher than
Middle C, and negative (-) settings cause the cutoff frequency
to fall for notes higher than Middle C. Higher values will
cause greater change.
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )
Range: 0–127
Specifies the frequency (cutoff frequency) at which the filter
will begin to affect the frequency characteristics of the
waveform.
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,
lower cutoff frequency settings reduce a Tone’s upper
harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
Cu to ff Ve lo (TVF Cu to ff Ve lo city )
Cu rv (TVF Cu to ff Ve lo city Cu rve )
When Filter Type is BPF, the cutoff frequency setting
determines the range of frequencies within the Tone that will
be heard. It is useful for making distinctive sounds.
Range: FIXED/ 1–7
Selects one of seven curves that determine how keyboard
playing dynamics (velocity) influence the Tone’s cutoff
frequency. The selected curve is displayed graphically to the
below of its value.
When Filter Type is HPF, higher settings of the cutoff
frequency decrease the level of the Tone’s low frequencies,
preserving its brighter qualities.
When V-Curve is set to “FIXED,” the cutoff frequency
remains unchanged regardless of how hard or soft the keys
are played.
When Filter Type is PKG, the cutoff frequency setting
determines the range of frequencies to be emphasized.
Re so n a n ce (TVF Re so n a n ce )
Se n s (TVF Cu to ff Ve lo city Se n s)
Range: 0–127
Range: -63– +63
Increases the level of the cutoff frequency, adding character
to the sound. Excessively high settings can produce
Sets the amount of change produced when the keyboard
touch is used to change the cutoff frequency. For higher
settings, there will be a greater difference between softly and
strongly played notes. Negative (-) values invert the change.
oscillation, causing the sound to distort.
fig.04-043.e
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
Low
Re so n a n ce Ve lo (TVF Re so n a n ce
Ve lo city )
Se n s (TVF Re so n a n ce Ve lo city Se n s)
Range: -63– +63
Use this parameter when you want velocity to affect the
amount of Resonance. For higher settings, there will be a
greater difference between softly and strongly played notes.
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PATCH TVF En ve lo p e p a g e ([PATCH] -
[F3 (TVF)] - [F2 (TVF En v)])
fig.04-044.e_70
Ve lo Se n s (TVF En ve lo p e Ve lo city
Se n sitivity )
Am o u n t (TVF En ve lo p e Ve lo city Se n sitivity )
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect the depth of the TVF envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. Negative (-) values invert
the change.
TVF En ve lo p e
These parameters determine the amount of filter enveloping
– changes to your original cutoff frequency setting that occur
over time – the effect of velocity on the TVF envelope, and
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Range: -63– +63
the basic characteristics of the TVF envelope itself.
fig.04-045.e
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVF
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
T1
T2
T3
T4
L1
L0
L3
L2
L4
Cutoff
Frequency
Time
key is
key is
pressed
released
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
De p th (TVF En ve lo p e De p th )
Range: -63– +63
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVF
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
Adjusts the amount of filter enveloping. Higher values will
cause greater change. Negative (-) values invert the effect of
the TVF envelope.
Tim e Ke y fo llo w (TVF En ve lo p e Tim e
Ke y fo llo w )
Range: -100– +100
Use this parameter when you want a note’s keyboard
position to affect times T2–T4 of the TVF envelope. Higher
settings change the times by a greater amount as you move
away from Middle C (C4) — at Middle C, the original T1–T4
settings are in effect. Positive (+) settings cause the times to
shorten as you play above Middle C. Negative (-) settings
will extend time.
Ve lo Cu rve (TVF En ve lo p e Ve lo city
Cu rve )
Range: FIXED/ 1–7
This selects one of seven velocity curves that determine how
velocity will affect the depth of the TVF Envelope. The
selected curve is displayed graphically to the right of its
value.
Tim e 1 –4 (TVF En ve lo p e Tim e 1 –4 )
Range: 0–127
These settings determine the times over which the cutoff
frequency setting will change from one TVF envelope level
(L1–L4) to the next.
Le ve l1 –4 (TVF En ve lo p e Le ve l 1 –4 )
Range: 0–127
Each TVF envelope level value determines an amount of
change to be applied to the original cutoff frequency setting.
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fig.04-047.e
Ch a n g in g th e Vo lu m e a n d Ste re o
Lo ca tio n ([F4 (TVA)])
LOWER
Level
UPPER
Level
+
+
0
–
0
The TVA (Time Variant Amplifier) controls volume changes
to the Tone as well as its stereo positioning.
–
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
PATCH TVA Pa ra m e te r p a g e ([PATCH] -
[F4 (TVA)] - [F1 (TVA Prm )])
fig.04-046.e_70
LOWER&UPPER
ALL
Level
–
+
+
0
–
+
0
–
Level
0
0
–
+
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
Le ve l (TVA Bia s Le ve l)
TVA
Range: -100– +100
Adjusts the slope of the volume change that will occur in the
selected Bias Direction. Higher values will cause greater
change. Negative (-) values invert the change.
Le ve l (To n e Le ve l)
Range: 0–127
Sets the volume of the Tone. This setting is useful primarily
for adjusting the volume balance between Tones.
Po sitio n (TVA Bia s Po sitio n )
The overall volume of the Patch is set by the Level (PATCH
Common General page) setting, raising or lowering the Tone
level settings of its individual Tones by the selected amount.
(p. 127)
Range: C -1–G9
Selects the MIDI key at which the Tone’s volume will begin
to change.
Dire ctio n (TVA Bia s Dire ctio n )
V-Cu rve (TVA Le ve l Ve lo city Cu rve )
This determines whether the volume of notes above or below
the Bias point — or both — will change according to their
distance from the Bias Point.
Range: FIXED/ 1–7
This setting allows you to select from seven velocity curves
that determine how the force with which the keyboard is
played is to affect the Tone’s volume. The selected curve is
displayed to the below of its parameter value.
Available Settings:
LOWER: Notes below the Bias Point will be affected.
UPPER: Notes above the Bias Point will be affected.
When set to “FIXED,” the Tone’s volume will not be affected
LOWER&UPPER: Notes below and above the Bias Point will
by the force with which the keyboard is played.
be affected.
V-Se n s (TVA Le ve l Ve lo city Se n s)
ALL: The volume of notes across the entire keyboard will be
biased according to the Bias Level slope, based on their
distance from the Bias Point.
Range: -63– +63
Use this setting when you want keyboard touch (velocity) to
affect the Tone volume. Set this to a positive value to have
the changes in tone volume increase the more forcefully the
keys are played; to make the Tone play more softly as you
play harder, set this to a negative value.
Pa n (TVA Pa n )
Use these parameters to dynamically alter the Tone’s stereo
position as set by the TVA Pan.
Pa n (To n e Pa n )
Bia s
Range: L64–0–63R
Use the Bias parameter when you want the position of notes
on a keyboard to affect the TVA level.
Specifies the stereo position of the Tone. L64 is far left, 0 is
center, and 63R is far right.
The overall panning of the entire Patch is set by the Pan
parameter (Patch Common General page), and the Pan (Tone
Pan) setting is added to this setting. (p. 127)
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Ke y fo llo w (To n e Pa n Ke y fo llo w )
De p th
Range: -100– +100
Tim e Ke y fo llo w (TVA En ve lo p e Tim e
Ke y fo llo w )
Use this parameter when you want each note’s keyboard
position to affect its stereo location. Higher values for this
parameter will cause more extreme changes to the T2–T4
settings as you play further away from Middle C (C4) – at
Middle C itself, your original T2–T4 settings are in effect.
Positive (+) settings cause notes above Middle C to be
panned rightward. Negative (-) settings cause them to be
panned leftward.
Range: -100– +100
Use this parameter when you want a note’s keyboard
position to affect times T2–T4 of the TVA envelope. Higher
settings change the times by a greater amount as you move
away from Middle C (C4) – at Middle C, the original T1–T4
settings are in effect. Positive (+) settings cause the times to
be shortened for notes above Middle C. Negative (-) settings
will extend time.
Ra n d o m (To n e Ra n d o m Pa n De p th )
Range: 0–63
Tim e (TVA En ve lo p e Tim e 1 –4 )
Use this parameter to activate random panning, note-by-
note. Higher values will result in a greater width of change.
Range: 0–127
These settings determine the times over which the Tone level
setting will change from one TVA envelope level to the next.
Alte rn a te (To n e Alte rn a te Pa n De p th )
Range: L63–R63
Le ve l (TVA En ve lo p e Le ve l 1 –3 )
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values will result in a
greater width of change. You can select the stereo placement
of the first key using this parameter – its opposite will be
used for the second note, and so on back and forth. If you
want to alternate the pan position of two Tones, set them to
the exact opposite L and R settings.
Range: 0–127
Each TVA envelope level value determines an amount of
change to be applied to the original Tone level setting.
Ve lo city Se n s (TVA En ve lo p e Ve lo city
Se n sitivity )
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
PATCH TVA En ve lo p e p a g e ([PATCH] -
[F4 (TVA)] - [F2 (TVA En v)])
fig.04-048.e_70
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVA
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
TVA En ve lo p e
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
These parameters set the characteristics of the TVA envelope,
which applies changes over time to the Tone’s Tone level
setting.
Range: -63– +63
fig.04-049.e
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVA
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
Level
T1
T2
T3
T4
L1
L2
L3
Time
key is pressed
key is released
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S&H: sample & hold wave (one time per cycle, LFO value is
Ap p ly in g Vib ra to o r Tre m o lo ([F5
(LFO &CTL)])
changed)
CHAOS: chaos wave
The LFO (Low Frequency Oscillator) can alter various Tone
settings in a back-and-forth, cyclic manner. Each Tone has
two LFOs, and each can apply the desired amount of
repetitive change to the Tone’s Pitch, TVF cutoff frequency,
TVA Level and TVA Pan settings. This can be used as the
Matrix Control source (p. 146).
* When setting “BEND-UP” or “BEND-DW,” set the Key
Sync parameter to “ON.” If this is “OFF,” it will have no
effect.
O ffse t (LFO O ffse t)
Range: -100– +100
How to Use the LFO
Adjusts the basic value of the LFO waveform upward or
downward.
Applying an LFO to the Tone’s Pitch settings creates vibrato,
applying it to its TVF cutoff frequency creates a wah-wah,
and applying it to its TVA Level creates tremolo. When an
LFO is applied to the Tone’s TVA Pan, the sound moves back
and forth, from one side to another, in the stereo field.
Ra te (LFO Ra te )
Range: 0–127/ Note
Adjusts the basic modulation rate, or speed, of the LFO.
Depending on your settings, an LFO can also be used to
cyclically exchange two Tones. For example, if you wish to
shift back and forth between Tones 1 and 2, select the same
LFO settings for both, but set their LFO TVA Depth settings
to opposite polarities – set one to a + value, and the other to a
- value.
* The Chaos waveform has no wavelength. When the Chaos
waveform is selected, the Rate setting has no effect.
* For more information on the types of notes, refer to the
Parameter List (p. 241).
De tu n e (LFO Ra te De tu n e )
PATCH LFO &Ctrl LFO 1 / 2 p a g e ([PATCH]
Range: 0–127
- [F5 (LFO &CTL)] - [F1 (LFO 1 )]/ [F2 (LFO
2 )])
This setting allows you to adjust the tuning of the LFO
waveform.
fig.04-050.e_70
De la y (LFO De la y )
Tim e (LFO De la y Tim e )
Range: 0–127
This sets the time interval between the moment when a key is
pressed (or released) and the moment the LFO begins to take
effect. (Refer to the diagrams for Fade Mode.)
W a ve (LFO W a ve )
Fo rm (LFO Fo rm )
Ke y fo lw (LFO De la y Ke y fo llo w )
Available Settings:
Range: -100– +100
Selects the waveform of the LFO.
SIN: sine wave
Adjusts the value for the LFO1/ LFO2 Delay Time parameter
depending on the key position, relative to the C4 key (center
C). To decrease the time that elapses before the LFO effect is
applied (the effect is continuous) with each higher key that is
pressed in the upper registers, select a positive value; to
increase the elapsed time, select a negative value. Higher
values will cause greater change. If you do not want the
elapsed time before the LFO effect is applied (the effect is
continuous) to change according to the key pressed, set this
to “0.”
TRI: triangle wave
SAW-UP: sawtooth wave
SAW-DW: sawtooth wave (negative polarity)
SQR: square wave
RND: random wave
BEND-UP: Once the attack of the waveform output by the
LFO is allowed to develop in standard fashion, the waveform
then continues without further change.
BEND-DW: Once the decay of the waveform output by the
LFO is allowed to develop in standard fashion, the waveform
then continues without further change.
TRP: trapezoidal wave
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Ch a p te r 4 Cre a tin g Pa tch e s
Fa d e (LFO Fa d e )
De p th (LFO De p th )
Mo d e (LFO Fa d e Mo d e )
Sets how the LFO will be applied.
Available Settings:
Pitch (Pitch LFO De p th )
Range: -63– +63
Adjusts how much the LFO will affect the WG Pitch.
ON-IN: The LFO will fade in after the key is pressed.
fig.04-051.e
TVF (TVF LFO De p th )
Range: -63– +63
Delay
Time
Fade
Time
high (more)
Adjusts how much the LFO will affect the Tone’s TVF cutoff
Depth
frequency.
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
TVA (TVA LFO De p th )
key is
pressed
low (less)
Range: -63– +63
Adjusts how much the LFO will affect the Tone’s TVA Level.
ON-OUT: The LFO will be immediately applied when the
key is pressed, and will then fade out.
fig.04-052.e
Pa n (Pa n LFO De p th )
Range: -63– +63
high (more)
Delay Time
Fade Time
Depth
Adjusts how much the LFO will affect the Tone’s TVA Pan.
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
PATCH LFO &Ctrl # 1 / # 2 p a g e ([PATCH]
- [F5 (LFO &Ctl)] - [F3 (Co n tro l)])
fig.04-055.e_70
key is
pressed
low (less)
OFF-IN: The LFO will fade in after the key is released.
fig.04-053.e
Delay
Time
Fade
Time
high (more)
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
key is
key is
pressed released
low (less)
Ma trix Co n tro l 1 –4
OFF-OUT: The LFO will be immediately applied when the
So u rce (Ma trix Co n tro l So u rce )
key is pressed, and will begin fading out when the key is
Assign one of the following controllers to Matrix Control
Source. If you wish to use a controller that will apply to all
Patches, or a controller that cannot be directly selected here,
select SYS-CTRL1–4, and then select the controller using the
System Control Source parameters (System Control Screen).
released.
fig.04-054.e
Delay
Time
Fade
Time
high (more)
Depth
WG Pitch /
TVF Cutoff Frequency /
TVA Level / TVA Pan
Available Settings:
key is
pressed
key is
released
OFF: No controller is used.
CC01–CC95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS-CTRL1: System controller 1
SYS-CTRL2: System controller 2
SYS-CTRL3: System controller 3
SYS-CTRL4: System controller 4
VELOCITY: Velocity
low (less)
Tim e (LFO Fa d e Tim e )
Range: 0–127
This adjusts the time over which the LFO rises to its full
effect or fades away. (Refer to the diagrams for Fade Mode.)
Ke y Sy n c (LFO Ke y Sy n c)
Range: OFF/ ON
Specifies whether you want the LFO cycle to start in sync
with the timing of a key press (ON), or not (OFF).
KEYFOLLOW: Keyfollow
TEMPO: Tempo
LFO1
LFO2
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Ch a p te r 4 Cre a tin g Pa tch e s
PITCH ENV: Pitch envelope
TVF ENV: TVF envelope
TVA ENV: TVA envelope
Re d a m p e r (To n e Re d a m p e r Sw itch )
Range: OFF/ ON
If a Hold 1 message is received during the time between a
note-off – when you release the key – and the time at which
the note actually disappears, any currently sounding notes
advantage of this feature, you must also turn on the Tone
Receive Hold 1 setting.
De stin a tio n
Selects the parameters to be controlled. (p. 218)
Se n s (Se n sitivity )
Range: -63– +63
Pa n Mo d e (To n e Re ce ive Pa n Mo d e )
Adjusts the amount of change that will occur in response to
controller changes. Negative (-) values invert the change.
Negative (-) settings will invert the phase. For LFO rates,
negative (-) values slow down the LFO, and positive (+)
values will speed it up.
Available Settings:
CONT: Pan messages will be responded to immediately,
instantly changing the stereo position of the Rhythm Tone.
KEY-ON: The stereo location of the Tone will be changed
only when the next note is played. If a Pan message is
received while a note is sounding, its stereo location will not
change. In this case, the stereo location will change only for
the note played later, and the currently sounding note will
not move.
To n e
Selects the Tone to which the two previous parameter
settings are applied. “o” turns signifies that the Tone is
selected for control, “_” that it is not selected, and “R” that
the change being applied is inverted when applied to this
Tone.
To n e En v Mo d e (To n e En ve lo p e Mo d e )
Range: NO-SUS/ SUSTAIN
PATCH LFO &Ctrl Co n tro l Sw p a g e
([PATCH] - [F5 (LFO &CTL)] - [F4 (Ctrl
Sw )])
fig.04-056.e_70
When a loop-type waveform is selected, it will normally
continue to sound as long as a key is pressed. If you want a
note to decay naturally even when the key remains pressed,
set this to “NO-SUS.”
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to “SUSTAIN.”
MIDI Rx Sw itch (MIDI Re ce ive Sw itch )
Be n d e r Sw (To n e Re ce ive Be n d e r)
Range: OFF/ ON
If you want the Tone to respond to Pitch Bend messages, turn
this parameter on. If not, turn it off.
Ex p re ssio n Sw (To n e Re ce ive Ex p re ssio n )
Range: OFF/ ON
If you want the Tone to respond to Expression messages,
turn this on. If not, turn it off.
Ho ld -1 Sw (To n e Re ce ive Ho ld 1 )
Range: OFF/ ON
Set this to ON if you wish the tone to respond to Hold1
messages – these messages cause sounds to continue playing
when a sustain/ damper pedal is pressed. Set this to OFF
when you do not want the Tone to respond to Hold1
messages.
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Ch a p te r 4 Cre a tin g Pa tch e s
you wish to preserve them, save the modified Patch using the
Write operation. (p. 194)
Cre a tin g Mu lti-Pa rtia l
Pa tch e s
When creating and playing Multi-Partial Patches, you must
have a separate device to load samples from a sampler
library or other source to the XV-5080.
Assig n in g Pa rtia ls
PATCH Co m m o n Sp lit p a g e ([PATCH] -
[F2 (W G)] - [F3 (Sp lit)])
fig.04-059.e_70
First, load a Patch or Performance from the sound library
(such as the optional L-CDX Series). Then, if needed, make
changes to the parameter settings.
Applying the XV-5080’s internal effects is also effective.
* When editing or playing Multi-Partial Patches, you must
have a separate device to load samples from a sampler library
or other source to the XV-5080.
* Press [F5] to select the mode when using the split settings.
Each time you press this button, the display will change as
follows. Press [F6 (Set)] to execute.
* Another way is to automatically create a Patch from the
Sample, .WAV., or .AIF wave data loaded from the sampler
library.
O.W: The specified area will be overwritten.
Move: The split area that is already split will be modified.
1Key: The split will consist only of the specified key.
* Do not change the Patch type (Patch Type, p. 125) while using
Patch Edit. Since the composition of sounds and parameters
used differ for each type, unless you go back and redo these
settings, no sound will be produced.
N o te (N o te N u m b e r)
Range: A0–C8
Sets the key you wish to assign to the Partial.
The following shows the basic setting procedure.
1 . Select the Patch you’re going to use.
N o . (Pa rtia l N u m b e r)
2 . Press [F2]–[F5], whichever has the parameter you wish to
Selects the Partial to be assigned.
set assigned to it, and select the display group.
Pa rtia l N a m e
3 . Then press [F1]–[F4] to access the desired page.
The Partial name is displayed.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
L.P (Lo w e r Ke y Po in t)
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
Range: A0–C8
desired value.
Specifies the lowest note at which the Partial can be sounded.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the original value of the parameter.
U.P (Up p e r Ke y Po in t)
Range: A0–C8
6 . Repeat Steps 2–5 to finish setting up the Patch.
Specifies the highest note at which the Partial can be
sounded.
7 . Press [EXIT] to return to the PATCH PLAY page.
A “*” symbol will appear at the left of the Patch name,
Mu te (Mu te Gro u p )
indicating that its settings have been modified.
fig.04-058.e_70
Range: OFF/ 1–31
Allows you to specify certain Partials that will be prevented
from playing at the same time. Whichever Partials that you
assign to the same Mute Group will not be played at the
same time.
* This works only for the most recently played tones, since last
note priority is used for playing the sounds.
* If you turn off the power or select another Patch while the “*”
symbol is displayed, your new Patch settings will be lost. If
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Ch a p te r 4 Cre a tin g Pa tch e s
Assig n (Assig n Ty p e )
Selects the range over which the Split settings are applied.
MULTI: The settings affect all Partials.
Press [F6 (MIDISel)], causing "●" to appear at the left of the
function name. The Partials assigned to each key can be
selected from the MIDI keyboard or other such controller.
SINGLE: The settings affect a single selected Partial.
MIDI (MIDI Sw itch )
Range: OFF/ SELECT/ SET
Determines whether or not selections and settings are be
made with a MIDI keyboard.
OFF: MIDI messages are not received.
SELECT: This setting allows note numbers to be selected
from a MIDI keyboard.
* Press [F6 (Set)] to enable the settings.
SET: This sets the value selected with the MIDI keyboard.
Ed itin g Pa rtia ls
PATCH W G Pa ra m e te r p a g e ([PATCH] -
[F2 (W G)] - [F1 (W G Prm )])
fig.04-060.e_70
Pa rtia l
N a m e (Pa rtia l N a m e )
You can name a Partial (up to 15 characters).
* Names are given to Partials in the same manner as that
described for Patch Names (p. 127).
Co a rse Tu n e (Pa rtia l Co a rse Tu n e )
Range: -48– +48
Adjusts the pitch of the Partial’s sound up or down in
semitone steps over a range of +/ -4 octaves.
Fin e Tu n e (Pa rtia l Fin e Tu n e )
Range: -50– +50
Adjusts the pitch of the Partial in one-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
Press [F5 (Global)] to turn Global on and display the “●” to
the left of the function name; the same settings are applied to
all Partials used in the Patch being edited. When Global is set
to OFF, then only the currently selected Partial (the Partial
appearing on the screen) is edited.
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Ch a p te r 4 Cre a tin g Pa tch e s
C.T (Sa m p le Co a rse Tu n e )
Ed itin g Sa m p le s
Range: -48– +48
PATCH W G SMT# 1 p a g e ([PATCH] - [F2
(W G)] - [F2 (SMT)])
Adjusts the pitch of the sample to be used in semitone steps
over a range of +/ -4 octaves.
fig.04-061.e_70
F.T (Sa m p le Fin e Tu n e )
Range: -50– +50
Determines the fine pitch setting of the sample to be used, in
one-cent steps (1/ 100 of a semitone).
SMT (Sa m p le Mix Ta b le )
P.KF (Pitch Ke y fo llo w )
The SMT number is displayed.
Range: -16– +16
Sets the relationship between the note number (key position)
of the Partial to be used and the pitch that actually sounds.
N o . (Sa m p le N u m b e r)
Specify the number of the Sample to be assigned.
* The pitch of the Sample is changed relative to the original key
of each Sample.
N a m e (Sa m p le N a m e )
16/8: When the note number is increased by one octave, the
actual pitch increases by two octaves.
The name of the assigned sample will be displayed.
Norm (8/8): When the note number is increased by one
octave, the pitch increases by one octave (the normal pitch
change in semitone units).
Le ve l (Sa m p le Le ve l)
Range: 0–127
Off (0/8): The pitch doesn’t change even though the note
Determines the sound volume of each sample.
number is changed.
-8/8: When the note number is increased by one octave, the
Pa n (Sa m p le Pa n )
actual pitch decreases by one octave.
Range: L32–32R/ RANDOM/ Key+/ Key-
-16/8: When the note number is increased by one octave, the
Determines the pan setting for each sample. The stereo
position is fixed at the center at 0, the far left at L32, and far
right at 32R. The stereo position changes irregularly at
random (RANDOM).
pitch decreases by two octaves.
fig.04-062.e
Pitch
8
8
The stereo position changes according to the notes played on
the keyboard (note number) when it is set to “Key+” or
“Key-.” When this is set to “Key+,” the higher up on the
keyboard that you play, the further the sound is shifted to
the right; when set to “Key-,” the higher the notes played on
the keyboard, the further left the sound is shifted.
Off
8
8
Keyboard
position
With “LFO+” and “LFO-,” the settings value is set to 0
(center), and the pan shifts between the left and right sides
based on the LFO. The depth of the swing in the pan is
determined by the Pan TVA Depth setting. With “LFO-,” the
LFO phase is the reverse of “LFO+.”
Original Key
With “Alt,” the pan alternates back and forth between the left
and right sides.
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Ch a p te r 4 Cre a tin g Pa tch e s
PATCH W G SMT# 2 p a g e ([PATCH] - [F2
(W G)] - [F2 (SMT)])
PATCH W G Sa m p le p a g e ([PATCH] -
[F2 (W G)] - [F3 (Sa m p le )])
fig.04-065.e_70
fig.04-063.e_70
SMT Ve lo city Co n tro l (SMT Ve lo city
Co n tro l Sw itch )
Sa m p le
Sa m p le
Range: OFF/ ON
Select the sample to be edited.
Determines whether Velocity messages from a MIDI
keyboard or sequencer will be recognized (ON), or ignored
(OFF).
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )
Displays the original sampling frequency of the loaded
Sample.
L.F (SMT Ve lo city Fa d e W id th Lo w e r)
O rig in a l Ke y
Range: 0–125
Displays the original key of the loaded Sample.
Determines the extent over which the sound level is faded
after SMT Velocity Range Upper.
Lo o p
V.L (SMT Ve lo city Ra n g e Lo w e r)
Mo d e (Lo o p Mo d e )
Displays the loop mode of the loaded Sample.
Available Settings:
Range: 1–126
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
FORWARD:
After the Sample played back from the Start point to the
Loop End point, it will then be repeatedly played back in the
forward direction, from the Loop Start point to the Loop End
point.
V.U (SMT Ve lo city Ra n g e Up p e r)
Range: 2–127
Loop
Loop
Start
Start P.
End P.
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
* It is not possible to set the Lower value higher than the Upper
value, or the Upper value below the Lower value. If you
attempt to do so, the two values will change simultaneously.
U.F (SMT Ve lo city Fa d e W id th Up p e r)
Range: 0–125
Determines the extent over which the sound level is faded
after SMT Velocity Range Upper.
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Ch a p te r 4 Cre a tin g Pa tch e s
ONE SHOT:
steps (1/ 100 of a semitone).
The sample will be played back only once, from the Start
point to the Loop End point.
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t
Fin e )
Loop
Loop
Start
Start P.
End P.
• Start Point
Range: 0–
Specifies the point in the sample from which data will be
read.
• Start Point Fine
Range: 0–255
ALT (Alternate):
This is a fine adjustment of the Start Point.
When the sample has been played back from the Start point
to the Loop End point, playback will repeat to the Loop Start
point, then go back and forth between the Loop Start point
and the Loop End point.
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t
- Lo o p Sta rt Po in t Fin e )
• Loop Start Point
Loop
Loop
Range: 0–
Start
Start P.
End P.
Specifies the point in the sample from which the loop will be
started.
• Loop Start Point Fine
Range: 0–255
This is a fine adjustment of the Loop Start Point.
REV ONE (Reverse One-shot)
En d -Fin e (En d Po in t - En d Po in t Fin e )
The sample will be played back only once from the Loop End
point to the Start point in the reverse direction.
• End Point
Range: 0–
Loop
Loop
Start
Start P.
End P.
Specifies the point to which the loop will be read.
• End Point Fine
Range: 0–255
This is a fine adjustment of the End Point.
Usin g th e Filte r to Mo d ify th e
Brig h tn e ss ([F3 (TVF)])
REVERSE:
When the sample has been played back from the Loop End
point to the Start point, it will be repeatedly played back in
the reverse direction, from the Loop Start point to the Start
point.
The settings for the TVF (Time Variant Filter) allow you to
change a Tone’s timbral content by altering its brightness or
thickness.
Loop
Loop
Start
Start P.
End P.
Press [F5 (Global)] to turn Global on and display the "●" to
the left of the function name; the same settings are applied to
all Partials used in the Patch being edited. When Global is set
to OFF, then only the currently selected Partial (the Partial
appearing on the screen) is edited.
Tu n e (Lo o p Tu n in g )
Press [F6 (MIDISel)] to display the "●" to the left of the
Range: -50–50
function name; You can also press a key on a connected MIDI
Determines the fine pitch setting within the loop, in one-cent
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Ch a p te r 4 Cre a tin g Pa tch e s
fig.04-067.e_70
keyboard to select the pertial.
LPF
BPF
HPF
PKG
Level
High
PATCH TVF Pa ra m e te r p a g e ([PATCH] -
[F3 (TVF)] - [F1 (TVF Prm )])
fig.04-066.e_70
Frequency
Cutoff frequency
TVF
Low
Filte r Ty p e (TVF Filter Type)
Cu to ff
Selects the filter type. A filter typically reduces, or attenuates,
a specific frequency range within a Tone in order to
accentuate its other frequencies.
Ke y fo llo w Po in t
Range: A0–C8
Available Settings:
Determines the key used for the center of the key follow
effect. The two independent parameters controlled by key
follow (cutoff frequency and envelope time) are both affected
by the Key Follow Point set here.
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency. Since the high
frequency range is cut, the sound will become more mellow.
This is the most frequently-used type of filter.
Ke y fo llo w (Cu to ff Fre q u e n cy Ke y fo llo w )
Range: -63– +63
BPF: Band Pass Filter. This type of filter leaves only the
region in the vicinity of the cutoff frequency, and cuts the
rest. It is useful for making distinctive sounds.
Changes the cutoff frequency relative to the key follow point.
Positive (+) settings cause the cutoff frequency to rise for
notes higher than the key follow point, and negative (-)
settings cause the cutoff frequency to fall for notes higher
than the key follow point. Higher values will cause greater
change.
HPF: High Pass Filter. This type of filter cuts the portion that
lies below the cutoff frequency. It is useful for making
percussive or other sounds. that have a distinctive high
range.
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )
TVF Ve lo (TVF Ve lo city )
Range: 0–127
Cu rve (Ve lo city Cu rve )
Specifies the frequency (cutoff frequency) at which the filter
will begin to affect the frequency characteristics of the
waveform.
Range: 1–4
Selects the curve which corresponds to the velocity value and
the cutoff frequency. The selected curve is displayed
graphically to the right of its value. When this is set to “1,”
velocity has no effect on the cutoff frequency.
Re so n a n ce (TVF Re so n a n ce )
Range: 0–127
Increases the level of the cutoff frequency, adding character
to the sound. Excessively high settings can produce
oscillation, causing the sound to distort.
Se n s (Ve lo city Cu rve Se n s)
Range: -63– +63
Determines the depth and polarity (positive/ negative) of the
velocity curve.
A curve effect can be gained by setting the velocity curve to
higher values close to 63. Setting this close to 0 results in little
change in the cutoff frequency. With negative values, the
effect becomes reversed.
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Ch a p te r 4 Cre a tin g Pa tch e s
PATCH TVF En ve lo p e p a g e ([PATCH] -
[F3 (TVF)] - [F2 (TVF En v)])
Ve lo Se n s
Am o u n t (TVF En ve lo p e Ve lo city Se n sitivity )
These parameters determine the amount of filter enveloping
– changes to your original cutoff frequency setting that occur
over time – the effect of velocity on the TVF envelope, and
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect the depth of the TVF envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. Negative (-) values invert
the change.
the basic characteristics of the TVF envelope itself.
fig.04-068.e_70
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Range: -63– +63
TVF En ve lo p e
fig.04-069.e
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVF
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
T1
T2
T3
T4
L1
L0
L3
L2
L4
Cutoff
Frequency
Time
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
key is
pressed
key is
released
Range: -63– +63
De p th (TVF En ve lo p e De p th )
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVF
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
Range: -63– +63
Determines the depth of the envelope when changing the
TVF cutoff frequency by the envelope. Higher settings will
cause the envelope to produce greater effect. With a setting
of zero, there will be no effect. With negative values, the
effect is reversed.
Tim e Ke y fo llo w (En ve lo p e Tim e Ke y fo llo w )
Range: -63– +63
Pitch De p th (En ve lo p e Pitch De p th )
Changes the envelope time (from Time 1 to 4) relative to the
key follow point. Higher settings produce greater change.
Positive (+) settings will reduce the time when higher keys
are pressed. Negative (-) settings will extend time.
Range: -63– +63
The TVF envelope can be used to change not only the cutoff
frequency, but also the pitch. Set the effect depth using this
parameter when modifying the pitch with the TVF envelope.
Higher settings will cause the envelope to produce greater
effect. With a setting of zero, there will be no effect. With
negative values, the effect is reversed.
Tim e (TVF En ve lo p e Tim e 1 –4 )
Range: 0–127
These settings determine the times over which the cutoff
frequency setting will change from one TVF envelope level
(L1–L4) to the next.
Le ve l (TVF En ve lo p e Le ve l 0 –3 )
Range: 0–127
Each TVF envelope level value determines an amount of
change to be applied to the original cutoff frequency
setting.The Level during Note On is linked to L4.
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Ch a p te r 4 Cre a tin g Pa tch e s
TVA Ve lo (TVA Ve lo city )
Ma k in g th e Vo lu m e Ch a n g e ([F4
(TVA)])
Cu rve (Ve lo city Cu rve )
Range: 0–3
Selects the curve which corresponds to the velocity value and
the volume level. When this is set to “1,” velocity has no
effect on the volume level.
Press [F5 (Global)] to turn Global on and display the "●" to
the left of the function name; the same settings are applied to
all Partials used in the Patch being edited. When Global is set
to OFF, then only the currently selected Partial (the Partial
appearing on the screen) is edited.
Se n s (Ve lo city Cu rve Se n s)
Range: -63– +63
Determines the depth of the velocity curve.
The curve effect which was set in the Velocity Curve
parameter can be gained with a setting of “0” here. The effect
is emphasized for positive values, and becomes weaker for
negative values. When this is set to -63, velocity has no effect
on the volume level.
Press [F6 (MIDISel)] to display the "●" to the left of the
function name; You can also press a key on a connected MIDI
keyboard to select the pertial.
PATCH TVA Pa ra m e te r p a g e (PATCH] -
[F4 (TVA)] - [F1 (TVF Prm )])
fig.04-070.e_70
PATCH TVA En ve lo p e p a g e ([PATCH] -
[F4 (TVA)] - [F2 (TVA En v)])
fig.04-071.e_70
TVA
TVA En ve lo p e
Le ve l (Pa rtia l Le ve l)
These parameters set the characteristics of the TVA envelope,
Range: 0–127
which applies changes over time to the Tone’s Tone level
Adjusts the sound volume of the entire Partial.
setting.
fig.04-072.e
Pa n (Pa rtia l Pa n )
Level
T1
T2
T3
T4
Range: L64–0–63R
L1
Adjusts the pan setting for the entire Partial.
L2
L3
Le ve l
Ke y fo llo w Po in t
Time
key is pressed
Range: A0–C8
key is released
Determines the key used for the center of the key follow
effect. The two independent parameters controlled by key
follow (level and envelope time) are both affected by the Key
Follow Point set here.
Tim e Ke y fo llo w (En ve lo p e Tim e Ke y fo llo w )
Range: -63– +63
Changes the envelope time (from Time 1 to 4) relative to the
key follow point. Higher settings produce greater change.
Positive (+) settings will reduce the time when higher keys
are pressed. Negative (-) settings will extend time.
Le ve l (Le ve l Ke y fo llo w )
Range: -63– +63
Changes the volume level relative to the key follow point.
Higher settings will produce more change. Positive (+)
settings will increase the volume level when higher keys are
pressed. Negative (-) settings will decrease the volume level.
Tim e (TVA En ve lo p e Tim e 1 –4 )
Range: 0–127
These settings determine the times over which the Tone level
setting will change from one TVA envelope level to the next.
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Ch a p te r 4 Cre a tin g Pa tch e s
Le ve l (TVA En ve lo p e Le ve l 1 –3 )
Ap p ly in g Vib ra to o r Tre m o lo ([F5
(LFO &CTL)])
Range: 0–127
Each TVA envelope level value determines an amount of
change to be applied to the original Tone level setting.
Press [F5 (Global)] to turn Global on and display the "●" to
the left of the function name; the same settings are applied to
all Partials used in the Patch being edited. When Global is set
to OFF, then only the currently selected Partial (the Partial
appearing on the screen) is edited.
Ve lo city Se n s (TVA En ve lo p e Ve lo city
Se n sitivity )
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVA
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
Press [F6 (MIDISel)] to display the "●" to the left of the
function name; You can also press a key on a connected MIDI
keyboard to select the pertial.
PATCH LFO &Ctrl LFO p a g e ([PATCH] -
[F5 (LFO &Ctl)] - [F1 (LFO )])
fig.04-073.e_70
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVA
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
W a ve (LFO W a ve )
Fo rm (LFO Fo rm )
Available Settings:
Selects the waveform of the LFO.
SIN: sine wave
TRI: triangle wave
SAW-UP: sawtooth wave
SAW-DW: sawtooth wave (negative polarity)
SQR: square wave
RND: random wave
BEND-UP: Once the attack of the waveform output by the
LFO is allowed to develop in standard fashion, the waveform
then continues without further change.
BEND-DW: Once the decay of the waveform output by the
LFO is allowed to develop in standard fashion, the waveform
then continues without further change.
* When setting “BEND-UP” or “BEND-DW,” set the Key
Sync parameter to “ON.” If this is “OFF,” it will have no
effect.
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Ch a p te r 4 Cre a tin g Pa tch e s
Pa n (Pa n LFO De p th )
Ra te (LFO Ra te )
Range: -63– +63
Range: 0–127
Adjusts how much the LFO will affect the Tone’s TVA Pan.
Adjusts the basic modulation rate, or speed, of the LFO.
De tu n e (LFO Ra te De tu n e )
Range: 0–127
PATCH LFO &Ctrl Co n tro l # 1 / # 2 p a g e
([PATCH] - [F5 (LFO &Ctl)] - [F2
(Co n tro l)])
Changes the rate of the LFO.
fig.04-074.e_70
De la y (LFO De la y )
Tim e (LFO De la y Tim e )
Range: 0–127
This sets the time interval between the moment when a key is
pressed (or released) and the moment the LFO begins to take
effect. (Refer to the diagrams for Fade Mode.)
Ma trix Co n tro l 1 –4
So u rce (Ma trix Co n tro l So u rce )
Ke y fo lw (LFO De la y Ke y fo llo w )
Assign one of the following controllers to Matrix Control
Source. If you wish to use a controller that will apply to all
Patches, or a controller that cannot be directly selected here,
select SYS-CTRL1–4, and then select the controller using the
System Control Source parameters (System Control screen).
Range: -63– +63
Adjusts the value for the LFO1 Delay Time parameter
depending on the key position, relative to the C4 key (center
C). To decrease the time that elapses before the LFO effect is
applied (the effect is continuous) with each higher key that is
pressed in the upper registers, select a positive value; to
increase the elapsed time, select a negative value. Higher
values will cause greater change. If you do not want the
elapsed time before the LFO effect is applied (the effect is
continuous) to change according to the key pressed, set this
to “0.”
Available Settings:
OFF: No controller is used.
CC01–CC95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS-CTRL1: System controller 1
SYS-CTRL2: System controller 2
SYS-CTRL3: System controller 3
SYS-CTRL4: System controller 4
VELOCITY: Velocity
Ke y Sy n c
Range: OFF/ ON
Specifies whether you want the LFO cycle to start in sync
with the timing of a key press (ON), or not (OFF).
KEYFOLLOW: Keyfollow
TEMPO: Tempo
De p th (LFO De p th )
LFO1
Pitch (Pitch LFO De p th )
LFO2 *1
Range: -63– +63
PITCH ENV: Pitch envelope *1
TVF ENV: TVF envelope
TVA ENV: TVA envelope
Adjusts how much the LFO will affect the WG Pitch.
TVF (TVF LFO De p th )
* Parameters with a "*1" are disabled in Multi-Partial Patches.
Range: -63– +63
Adjusts how much the LFO will affect the Tone’s TVF cutoff
frequency.
TVA (TVA LFO De p th )
Range: -63– +63
Adjusts how much the LFO will affect the Tone’s TVA Level.
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Ch a p te r 4 Cre a tin g Pa tch e s
De stin a tio n
Selects the parameters to be controlled. (p. 218)
You can copy the Patch name by setting the value to
Se n s (Se n sitivity )
“NAME” in Step 6 above.
Range: -63– +63
Adjusts the amount of change that will occur in response to
controller changes. Negative (-) values invert the change.
Negative (-) settings will invert the phase. For LFO rates,
negative (-) values slow down the LFO, and positive (+)
values will speed it up.
Compare Function
You can use the Compare function during the Patch
Tone Copy operation.The Compare function allows you
to play the Patch currently occupying the copy source.
To play the Patch of the copy source, press [F1
(Compare)] to access the Patch Compare page. A new
source Patch can be selected from the Patch Compare
page as well – however, it is not possible to select
Patches from XP-A–H. After selecting the patch, press
[F1] again to return to the previous page.
Ma k in g Effe ct Se ttin g s
Refer to “Settings in the Patch Mode” (p. 24).
* The Compare function cannot be used if a Patch of the
temporary area (Temporary Patch) is selected as the copy-
source Patch.
Sa vin g Pa tch e s Yo u Cre a te
Refer to “Saving Patches” (p. 194).
* Please be aware that when you use the Compare function
to play Patches, they may sound slightly different than
when played normally.
Co p y in g th e Se ttin g s o f
An o th e r Pa tch (Pa tch To n e
Co p y )
Tone settings from any desired Patch can be copied to the
currently selected Patch. Use this feature whenever you want
to save time in creating Patches—it’s easier to modify an
existing one, rather than starting from scratch.
1 . Make sure the copy-destination Patch is selected.
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator
has started blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
3 . Press [F6 (Menu)] to select Menu 1.
4 . Press [F2 (Copy)].
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
“Type.”
6 . Turn the VALUE dial to select “TONE.”
7 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
8 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
9 . Press [F6 (Copy)] to copy.
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
(p. 164)
Ho w a Pe rfo rm a n ce Is
O rg a n ize d
•
Setting the MIDI connector that receives MIDI messages
for each Part (Part MIDI Receive Switch) (p. 164)
After you have completed setting up your Performance, try
playing a sequence from your computer or sequencer using
the Performance’s sounds.
With Performances, you can combine a total of up to 32
separate Patches and Rhythm Sets to enjoy ensemble
performances featuring rich tones. In other words, using
Performances allows you to control 32 separate tones with a
single XV-5080. A sound module that can simultaneously
produce multiple sounds is called a multitimbral sound
Common tips for creating Performances can be listed as
follows.
module.
fig.05-001.e
•
•
A Performance can use up to three Multi-effects. (p. 30)
You can modify the Patch (Tone) settings of each Part
while still in Performance mode. (p. 167)
Performance
Part 32
Part11
Part10
Ch o o sin g th e Pa rts to Pla y
4Tone Patch,
Multi Percial Patch
or Rhythm set
Turn on each Part you wish to use.
Part 9
1 . Select the Performance you wish to use.
2 . Press [RX] to make the indicator light.
Part 1
4Tone Patch,
Multi Percial Patch
or Rhythm set
3 . Use PART SELECT [1/ 17]–[16/ 32] to switch each Part
on—so its indicator lights—or off, so its indicator is
extinguished.
To turn Parts 17–32 on or off, press [1-16/ 17-32], getting its
indicator to light, and then press the desired PART SELECT
[1/ 17]–[16/ 32] button.
Ba sic W a y s to Use
Pe rfo rm a n ce s
4 . Press [RX], getting its indicator light to go out.
There are three basic ways to use Performances.
* This setting is linked to the setting for the Part MIDI Receive
Switch parameter (Performance MIDI #1 page; p. 164).
Pla y in g Mu ltip le Pa tch e s To g e th e r
(La y e r)
After Step 2 is carried out, the following screen appears.
fig.
Refer to “QUICK START” (p. 21).
Pla y in g Se p a ra te Pa tch e s in Diffe re n t
Are a s o f th e Ke y b o a rd (Sp lit)
Refer to “QUICK START” (p. 25).
Usin g th e XV-5 0 8 0 a s a Mu ltitim b ra l
So u n d Ge n e ra to r
After using [
], [
], [
], or [
] to move the cursor
to the desired part, you can press [INC] to switch it on, or
[DEC] to switch it off.
In Performance mode, you can use the XV-5080 as a 32-part
multitimbral sound generator. Try selecting some Parts and
sounds, and then play the multiple Parts together as a
Performance.
You can switch all parts off or on by pressing [F5 (All Off)],
or [F6 (All On)].
Additionally, by pressing [F1 (#Solo)] and switching Solo
Part to “ON,” the XV-5080 enters Solo mode, whereby only
Solo Part “OFF.”
The basic steps for doing this include:
•
•
•
Choosing the Parts to Play (p. 159)
Selecting a Part’s Patch or Rhythm Set (Patch) (p. 162)
Setting the Part’s MIDI reception channels (Part MIDI)
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
* This setting is linked to the setting for the Solo Part Select
parameter (Performance Common page; p. 160).
So lo Pa rt Se le ct
* Even with Solo Part specified here, no sound will be produced
if the MIDI Rx (Performance MIDI #1 page) for the selected
part is switched to “OFF.”
You can make the setting for listening to only a specific Part.
Se ttin g s fo r Ea ch Pa rt
Esta b lish in g Se ttin g s fo r a n
En tire Pe rfo rm a n ce
(CO MMO N )
The parameters that can be set for each Part in the current
Performance are assigned to [F2]–[F5] as follows.
[F2 (K.Ra n g e )]
Sets the keyboard range (p. 161).
The following shows the setting procedure.
1 . Select the Performance you wish to use.
2 . Press [F1 (Common)].
[F3 (Pa rt)]
Selects the Patch, and sets the volume, pan, pitch, and
polyphony (p. 162).
Edit the sound’s attack time, release time, and the way
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the sound is output (p. 163).
the parameter you want to set.
[F4 (MIDI)]
4 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
Makes the settings for MIDI (p. 164).
5 . Press [EXIT] to return to the PERFORMANCE PLAY
[F5 (Effe ct)]
page.
Makes the effect settings (p. 30).
PERFO RMAN CE Co m m o n p a g e
([PERFO RM] - [F1 (Co m m o n )])
fig.05-002.e_70
[F6 (In fo )]
Confirms MIDI information for each Part (p. 166)
The following shows the setting procedure.
1 . Select the Performance you wish to use.
2 . Press [F2]–[F5], whichever has the parameter you wish to
set assigned to it, and select the display group.
N a m e (Pe rfo rm a n ce N a m e )
In some screens, pressing the same button yet again switches
the screen.
You can give a Performance a name of up to 12 characters in
length.
3 . Press PART SELECT [1/ 17]–[16/ 32] to select the Part
Use [
]/ [
] to move the cursor to a character position,
you want to set.
and then turn the [VALUE] knob, or press [INC]/ [DEC] to
select the desired character.
To select Parts 17–32, press [1-16/ 17-32], getting its indicator
to light, and then press the desired PART SELECT [1/ 17]–
[16/ 32] button.
Available characters/symbols:
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^
* By holding down [SHIFT] and pressing [
], you can have
_ ` { | } → ←
the cursor jump to the number indicating the part in the upper
left of the screen. Here, you can switch parts by turning the
VALUE dial, or by pressing [INC] or [DEC].
* Pressing the VALUE dial displays the Patch Name window,
in which you can use the following functions.
[F2 (←Prev)]: Move back one character.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
[F3 (Next→)]: Move forward one character.
[F4 (Insert)]: Insert a blank space at the cursor position.
[F5 (Delete)]: Delete the character at the cursor position.
[F6 (OK)]: Confirm the selected name.
the parameter you want to set.
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
5 . Turn the VALUE dial or press [INC]/ [DEC] to select the
Press [
] while holding down [SHIFT] to move the cursor
desired value.
to the top settings parameter; press [
] while holding
down [SHIFT] to move the cursor to the bottom settings
parameter.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the original value of the parameter.
4 . Either by rotating the VALUE dial or by pressing [INC]/
6 . Repeat steps 2–5 to complete a Performance.
[DEC], set the value.
7 . Press [EXIT] to return to the PERFORMANCE PLAY
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the original value of the parameter.
page.
A “*” symbol will appear at the left of the Performance name,
indicating that its settings have been modified.
fig.05-003.e_70
5 . Repeat steps 1–4 to complete settings for the
Performance.
6 . To exit the Part Palette page, press [F6].
The Part number to which you will return will be displayed
in [F6].
* If you turn off the power or select another Performance while
the “*” symbol is displayed, your new Performance settings
will be lost. If you wish to preserve them, save the modified
Performance using the Write operation. (p. 194)
Se ttin g th e Ke y b o a rd Ra n g e
([PERFO RM] - [F2 (K.Ra n g e )])
fig.05-005.e_70
Co m p a rin g th e Se ttin g s o f Ea ch
Pa rt a s Yo u Ma k e Se ttin g s
The values for eight Parts (Parts 1–8, Parts 9–16, Parts 17–24,
25–32) can be displayed together in the same screen.
1 . When you are making settings for an individual Part,
press [F6 (Palette)] to access the Part Palette page.
F.L (Pa rt Ke y b o a rd Fa d e W id th Lo w e r)
* [F6 (Palette)] will be displayed only when you have the option
Range: 0–127
of selecting the Part Palette page.
Determines what will happen to the Part’s level when a note
that’s lower than its specified keyboard range is played.
Higher settings produce a more gradual change in volume. If
you don’t want the Tone to sound at all when a note below
fig.05-004.e_70
the keyboard range is played, set this parameter to 0.
fig.05-006.e
Level
2 . Press PART SELECT [1/ 17]–[16/ 32] to select the Part
you want to set.
To select Parts 17–32, press [1-16/ 17-32], getting its indicator
to light, and then press the desired PART SELECT [1/ 17]–
[16/ 32] button.
Key number
You can also use [
make settings.
]/ [
] to select the Part for which to
0
127
Lower
Upper
L.Fade value
U.Fade value
Each time you press [F1], the Part Palette page will switch
between Parts 1–8, Parts 9–16, Parts 17–24, and Parts 25–32.
3 . Press [
] or [
] to move the cursor to the parameter
you wish to set.
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
* It is not possible to select XP-A–H unless a wave expansion
K.L (Pa rt Ke y b o a rd Ra n g e Lo w e r)
board is inserted into the corresponding slot. (Quick Start; p.
3)
Range: C -1–G9
Specifies the lowest note that will cause the Part to play its
sound.
* It is not possible to select CARD unless a SmartMedia card is
inserted into the XV-5080 CARD slot.
K.U (Pa rt Ke y b o a rd Ra n g e Up p e r)
N u m b e r
Range: C -1–G9
Selects the desired Patch or Rhythm Set by its number.
* You can also use the Patch Finder feature. (p. 19)
* You can also select from the FAVORITE LIST. (p. 207)
Specifies the highest note that will cause the Part to play its
sound.
The Lower value cannot be set to a value greater than Upper
value, or vice versa. If you attempt to do this, the two values
will change simultaneously.
Le ve l&Pa n (Pa rt Le ve l&Pa n )
Pa rt Le ve l
U.F (Pa rt Ke y b o a rd Fa d e W id th Up p e r)
Available Settings:
Range: 0–127
Sets the volume of the Part. This setting’s main purpose is to
This determines what will happen to the Part’s level when a
note that’s higher than its specified keyboard range is
played. Higher settings produce a more gradual change in
volume. If you don’t want the Tone to sound at all when a
note above the keyboard range is played, set this parameter
to 0.
adjust the volume balance between Parts.
Pa rt Pa n
Available Settings:
Specifies the stereo position of the Part’s sound. L64 is far
left, 0 is center, and 63R is far right.
Tu n e (Pa rt Tu n e )
Se le ctin g th e Pa tch , a n d Se ttin g
th e Vo lu m e , Pa n , Pitch , a n d
Po ly p h o n y
O cta ve Sh ift (Pa rt O cta ve Sh ift)
Range: -3– +3
Adjusts the pitch of the Part’s sound up or down in units of
PERFO RMAN CE Pa rt # 1 p a g e
([PERFO RM] - [F3 (Pa rt)])
fig.05-007.e_70
an octave (+/ -3 octaves).
Co a rse (Pa rt Co a rse Tu n e )
Range: -48– +48
Adjusts the pitch of the Part’s sound up or down in semitone
steps over a range of +/ -4 octaves.
Fin e (Pa rt Fin e Tu n e )
Range: -50– +50
Pa tch (Pa rt Pa tch )
Adjusts the pitch of the Part’s sound up or down in one-cent
steps (1/ 100th of a semitone) over a range of half a semitone
up or down.
Ty p e (Pa rt Ty p e )
Range: PAT/ RHY
Selects the Patch (PAT) or Rhythm Set (RHY) the Part will
play.
Gro u p (Pa rt Gro u p )
Available Settings:
Selects the group to which the desired Patch or Rhythm Set
belongs.
* You can also use the Patch Finder feature. (p. 19)
* You can also select from the FAVORITE LIST. (p. 207)
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Be n d Ra n g e (Pa rt Pitch Be n d Ra n g e )
Ed itin g th e Atta ck a n d Re le a se o f
th e So u n d a n d Ch a n g in g th e
W a y th e So u n d is Pla y e d
Range: 0–48/ PATCH
Sets the amount of pitch change that will occur when you
move the Pitch Bend lever. The amount of change when the
lever is tilted is set to the same value for both left and right
sides.
PERFO RMAN CE Pa rt # 2 p a g e
([PERFO RM] - [F3 (Pa rt)])
fig.05-008.e_70
When set to PATCH, the bend range settings for the assigned
Patch will be put in effect.
Vo ice Re se rve (Pa rt Vo ice Re se rve )
This setting specifies the number of voices that will be
reserved for specific Parts when more than 128 voices are
played simultaneously.
Mo d ify (Pa rt Mo d ify )
* It is not possible for the settings of all Parts to total an amount
greater than 128. The remaining number of available voices
will be displayed to the left of this value (Rest=). You should
check this readout as you set the Voice Reserve parameter.
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)
Range: -64– +63
This simultaneously lowers or raises the individual TVF
cutoff frequency values of the Tones in the Patch.
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)
Calculating the Number of Voices Being Used
Range: -64– +63
The number of notes that the XV-5080 can sound
simultaneously depends on the number of Tones in the
Patches you are using, and the number of keys being
pressed. For example, if you play one note using a Patch
that consists of only one Tone, you will use up one voice
of polyphony. XV-5080 tones can use two Waves, and
when Patches are composed of these tones, this doubles
the two sounds. When two keys are pressed, and the
Patch for each key pressed uses four tones, each having
two Waves, a total of sixteen voices is used.
Sets the relative proportion of change in the individual TVF
Resonance values of the Tones in the Patch.
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)
Range: -64– +63
Sets the relative proportion of change in the TVF/ TVA
Envelope value set for each tone comprising the Patch or
Rhythm Set assigned to the part.
* Patches also contain an Attack Time Offset setting. The final
TVF/TVA Envelope attack time value is therefore the sum of
the Tone’s TVF/TVA ENVELOPE T1 setting, the Patch’s Atk
time offset, and the Part’s Atk time offset. Accordingly, if the
tone’s T1 parameter is set to 127, there will be no change in
the Attack Time Offset, even when this is set to a positive
value.
This number is obtained by figuring (the number of
tones with one Wave + the number of tones with two
Waves x 2) x the number of keys pressed.
The XV-5080 is able to play up to 128 Tones
simultaneously. When you are using the XV-5080
multitimbrally, keep this in mind, and adjust your Voice
Reserve settings so that each Part is guaranteed at least
the minimum number of voices it requires.
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
When a “PATCH” is selected, the settings for the assigned
Re le a se O ffse t (Pa rt Re le a se Tim e O ffse t)
Patch will have effect.
Range: -64– +63
Sets the relative proportion of change in the TVF/ TVA
Envelope T4 value set for each tone comprising the Patch or
Rhythm Set assigned to the part.
Po rta m e n to (Pa rt Po rta m e n to )
Sw itch (Pa rt Po rta m e n to Sw itch )
* Patches also contain a Release Time Offset setting. The final
TVF/TVA Envelope release time value is therefore the sum of
the Tone’s TVF/TVA Envelope T4 setting, the Patch’s Release
Time Offset, and the Part’s Release Time Offset. Accordingly,
if the tone’s T4 parameter is set to 127, there will be no change
in the Release Time Offset, even when this is set to a positive
value.
Range: OFF/ ON/ PATCH
Specifies whether the portamento effect will be applied (ON)
or not (OFF).
When a “PATCH” is selected, the settings for the assigned
Patch will have effect.
Tim e (Pa rt Po rta m e n to Tim e )
Range: 0–127/ PATCH
Ve lo city Se n s O ffse t (Pa rt Ve lo city Se n sitivity
O ffse t)
When portamento is used, this specifies the time over which
the pitch will change. Higher settings will cause the pitch
change to the next note to take more time.
Range: -63– +63
This changes the volume and cutoff frequency for each part
according to the velocity with which the keys are played.
This simultaneously lowers or raises the individual TVF
VELOCITY V-Cutoff and TVA V-Sens values of the Tones in
the Patch.
When a “PATCH” is selected, the settings for the assigned
Patch will have effect.
Esta b lish in g a Pa rt’s MIDI
* Patches also contain a Velocity Sens Offset setting. The final,
resulting Velocity Sensitivity Offset value is the sum of the
part’s and the Patch’s Velocity Sensitivity Offsets. If the
Patch’s Velocity Sens Offset is already set to 127, there will be
no change produced by setting the Part’s Velocity Sens Offset
to a positive value.
Se ttin g s
PERFO RMAN CE MIDI # 1 p a g e
([PERFO RM] - [F4 (MIDI)])
fig.05-009.e_70
Ke y Mo d e (Pa rt Ke y Mo d e )
Mo n o / Po ly (Pa rt Mo n o / Po ly )
Range: MONO/ POLY
Pa rt MIDI
Sets how the Patch’s notes will be played. The SOLO setting
is effective when playing a solo instrument Patch such as sax
or flute.
Re ce ive Ch a n n e l (Pa rt Re ce ive Ch a n n e l)
Range: 1–16
MONO: Only one note will sound at a time.
Sets the MIDI channel to which the Part will respond.
POLY: Two or more notes can be played simultaneously.
PATCH: This follows the Patch settings assigned to the Part.
Pa rt MIDI Re ce ive Sw itch
Le g a to Sw itch (Pa rt Le g a to Sw itch )
MIDI Rx (Pa rt MIDI Re ce ive Sw itch )
Range: OFF/ ON/ PATCH
Range: OFF/ ON
Turn this parameter on when you want to use the Legato
feature and off when you don’t. Legato is a function that
works only when the Key Assign Mode is MONO. When
Legato is ON, pressing one key when another is already
pressed causes the currently playing note’s pitch to change to
that of the newly pressed key while continuing to sound.
This can be effective when you wish to simulate performance
techniques such as a guitarist’s hammering on and pulling
off strings.
Enables (ON) or disables (OFF) the Part’s response to
received MIDI messages.
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
MIDI IN 1 (Pa rt MIDI IN 1 Re ce ive Sw itch )
Pitch Be n d (Re ce ive Pitch Be n d Sw itch )
Range: OFF/ ON
Range: OFF/ ON
Sets whether each Part will receive MIDI messages (ON) or
not (OFF) from the MIDI IN 1 connector.
Sets whether the MIDI channel will receive MIDI Pitch Bend
messages (ON) or not (OFF).
MIDI IN 2 (Pa rt MIDI IN 2 Re ce ive Sw itch )
Ch a n n e l Pre ssu re (Re ce ive Ch a n n e l Pre ssu re
Sw itch )
Range: OFF/ ON
Range: OFF/ ON
Sets whether each Part will receive MIDI messages (ON) or
not (OFF) from the MIDI IN 2 connector.
Sets whether the MIDI channel will receive MIDI Channel
Pressure messages (ON) or not (OFF).
Pa rt Mu te
Po ly Ke y Pre ssu re (Re ce ive Po ly p h o n ic Ke y
Pre ssu re Sw itch )
Sw itch (Pa rt Mu te Sw itch )
Range: OFF/ MUTE
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Polyphonic
Key Pressure messages (ON) or not (OFF).
Turns muting of each part on (MUTE) or off (OFF).
* Although the Part’s sound is muted, the Part still receives
MIDI messages. Thus, even when the Part’s sound is switched
on or off during playback a song, the Part continues to keep up
with the latest received MIDI data.
Mo d u la tio n (Re ce ive Mo d u la tio n Sw itch )
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Modulation
messages (ON) or not (OFF).
PERFO RMAN CE MIDI # 2 MIDI Filte r
p a g e ([PERFO RM] - [F4 (MIDI)])
fig.05-010.e_70
PERFO RMAN CE MIDI # 3 MIDI Filte r
p a g e ([PERFO RM] - [F4 (MIDI)])
fig.05-011.e_70
MIDI Me ssa g e
You can determine whether the MIDI channel (1–16) will
MIDI Me ssa g e
receive the following MIDI messages (ON), or not (OFF).
You can determine whether the MIDI channel (1–16) will
receive the following MIDI messages (ON), or not (OFF).
Pro g ra m Ch a n g e (Pro g ra m Ch a n g e Sw itch )
Range: OFF/ ON
Vo lu m e (Re ce ive Vo lu m e Sw itch )
Sets whether the MIDI channel will receive MIDI Program
Change messages (ON) or not (OFF).
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Volume
messages (ON) or not (OFF).
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
Range: OFF/ ON
Pa n (Re ce ive Pa n Sw itch )
Sets whether the MIDI channel will receive MIDI Bank Select
messages (ON) or not (OFF).
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Pan
messages (ON) or not (OFF).
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
The Part Info screen is split into three menus. Press [F6
(Menu)] to switch the menus.
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Expression
messages (ON) or not (OFF).
Menu 1
•
•
•
•
•
[F1] Mod (Modulation Information)
[F2] Breath (Breath Information)
[F3] Foot (Foot Information)
[F4] Vol (Volume Information)
[F5] Pan (Pan Information)
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )
Range: OFF/ ON
Sets whether the MIDI channel will receive MIDI Hold 1
messages (ON) or not (OFF).
Ph a se Lo ck
Menu 2
Range: OFF/ ON
•
•
•
•
•
[F1] Exp (Expression Information)
This setting activates (ON) or de-activates (OFF)
synchronization of the timing of Parts that share a common
MIDI channel.
[F2] Hold (Hold 1 Information)
[F3] Bend (Pitch Bend Information)
[F4] Aft (Aftertouch Information)
[F5] Voices (Voice Information)
* When Part sounds are layered on top of each other as a result
of sharing a MIDI channel, there may be a discrepancy in their
timing. The Phase Lock feature can synchronize the sounds so
that they start precisely at the same time. However, since this
delays the sounds slightly to line them up, turn this feature off
when it is not needed.
Menu 3
•
•
•
•
[F1] Sys1 (System Control 1 Information)
[F2] Sys2 (System Control 2 Information)
[F3] Sys3 (System Control 2 Information)
[F4] Sys4 (System Control 2 Information)
Ve lo city Cu rve
Range: OFF/ 1/ 2/ 3/ 4
For each Part, you can select from among four velocity
curves to find the one that best matches the touch of the
MIDI keyboard connected to the XV-5080. Set this to “OFF” if
you are using the MIDI keyboard’s own velocity curve.
Ma k in g Effe ct Se ttin g s
Refer to “Settings in the Performance Mode” (p. 30).
Sa vin g Pe rfo rm a n ce s Yo u
Cre a te
Co n firm in g MIDI In fo rm a tio n fo r
Ea ch MIDI Ch a n n e l
Refer to “Saving Performances” (p. 194).
PERFO RMAN CE Pa rt In fo rm a tio n p a g e
([PERFO RM] - [F6 (In fo )])
Co p y in g th e Se ttin g s o f
An o th e r Pa rt (Pe rfo rm a n ce
Pa rt Co p y )
In this display you can check the receive status of various
types of MIDI message for each MIDI channel. This is a
convenient way to check that the sound generator is
responding correctly to messages from the keyboard or
external MIDI controllers.
1 . Make sure that the copy-destination Performance is
selected.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
3 . Press [F6 (Menu)] to select Menu 1.
4 . Press [F2 (Copy)].
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Ch a p te r 5 Cre a tin g a Pe rfo rm a n ce
Ed itin g a Pa tch o r Rh y th m
Se t in th e Pe rfo rm a n ce Mo d e
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
“Type.”
6 . Turn the VALUE dial to select “PART.”
While creating a Performance, you can call up the Patches
and Rhythm Sets assigned to each part and change their
settings.
7 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
1 . Make sure that the PERFORM PLAY page is displayed.
8 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
2 . Select the Part to which the Patch/ Rhythm Set you wish
to modify is assigned.
9 . Press [F6 (Copy)] to initiate the copy procedure.
3 . While holding down [SHIFT], press [PERFORM].
4 . Press [PATCH] if you wish to edit a Patch, or [RHYTHM]
Performance Name Copy
to edit a Rhythm Set, lighting the respective indicator.
You can copy the Patch name by setting the value to
The Play page for the Patch/ Rhythm Set assigned to the Part
will appear.
“NAME” in Step 6 above.
5 . These are changed using the same procedure used in
regular editing of Patches and Rhythm Sets. (Creating a
6 . When you finish making settings, press [EXIT] to return
to the PLAY page.
A “*” symbol will appear at the left of the bank to indicate
that the settings have been modified.
* If you want to keep the changes made in the settings, save
them here. (p. 194)
7 . Press [PERFORM] to return to the PERFORM PLAY
page.
* If you do not save the Patch or Rhythm Set, then even if you
save a Performance, changes in the Patch or Rhythm Set
settings are not saved. If you want to keep settings for the
Patch or Rhythm Set, be sure to save the changed settings after
carrying out Step 6.
Pa le tte Fu n ctio n
When editing a Part, you can simultaneously view the
settings of all eight of its Parts by pressing [PALETTE].
1 . When editing a Part, press [PALETTE] to make its
indicator light.
2 . Press a PART SELECT [1/ 9]–[8/ 16] button, [
] to choose the Tone you wish to modify.
]/
[
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
Ho w Pe rcu ssio n In stru m e n ts
Are O rg a n ize d
Usin g a MIDI Ke y b o a rd to
Se le ct a Pe rcu ssio n
In stru m e n t fo r Ed itin g
Rhythm sets are groups of a number of different percussion
instrument sounds. An instrument consists of the following
When setting up Individual Rhythm Tones, you can set
whether you’ll be able to select percussion instruments for
editing only by operating the XV-5080’s front-panel controls
or also by pressing keys on a connected MIDI keyboard.
four elements.
fig.06-001.e
Rhythm Set
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.
Note Number 98 (D7)
Note Number 97 (C#7)
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to make its indicator light.
Note Number 36 (C2)
2 . Press [F1 (General)] several times to call up the SYSTEM
Note Number 35 (B1)
General #1 page.
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Pitch
TVF
TVA
Envelope
Envelope
Envelope
“Rhythm Edit Key.”
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
WG (Wave Generator)
the desired value.
Specifies the PCM waveform (wave) that is the basis of the
sound, and determines how the pitch of the sound will
change.
PANEL: Percussion instrument sounds can be selected only
by using the XV-5080’s TONE SELECT [1]–[4] buttons.
PNL&MIDI: Percussion instrument sounds can be selected
using the XV-5080’s [E]–[H] buttons and by pressing a key on
a connected MIDI keyboard.
The XV-5080 has 1083 different waveforms. (See Waveform
Tone.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
All Rhythm Tones built into the XV-5080 consist of
combinations of Tones which are created based on these
waveforms.
5 . Press [EXIT] to return to the RHYTHM PLAY page.
TVF (Time Variant Filter)
Specifies how the frequency components of the Tone will
change.
If you’d like to select percussion instruments using the XV-
5080’s [E]–[H] buttons while playing the sounds on a MIDI
keyboard, select “PANEL.”
TVA (Time Variant Amplifier)
Sets how the Rhythm Tone’s volume and stereo positioning
will change.
Envelope
An envelope applies changes to the Rhythm Tone over time.
There are separate envelopes for Pitch, TVF (filter), and TVA
(volume). For example, you would use the TVA Envelope to
modify the way in which the Tone attacks and decays.
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
[F2 (←Prev)]: Move back one character.
Se ttin g s Co m m o n to a n
En tire Rh y th m Se t
[F3 (Next→)]: Move forward one character.
[F4 (Insert)]: Insert a blank space at the cursor position.
[F5 (Delete)]: Delete the character at the cursor position.
[F6 (OK)]: Confirm the selected name.
Setting Procedure:
1 . Select the Rhythm Set you wish to use.
2 . Press [F1 (Common)].
Le ve l (Rh y th m Le ve l)
Range: 0–127
Sets the volume of the Rhythm Set.
3 . Use [
]/ [
]/ [
]/ [
] to move the cursor to the
parameter you want to set.
* You can specify the level for each using the Tone Level
parameter (p. 177).
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
O u tp u t Assig n (Rh y th m O u tp u t Assig n )
Specifies the output destination of the entire Rhythm Set.
Available Settings:
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
MFX: The Tone is sent into the Multi-effects.
5 . Press [EXIT] to return to the RHYTHM PLAY page.
OUTPUT A–D: The Tone is sent to the selected pair of
A “*” symbol will appear at the left of the Rhythm Set name,
OUTPUT A–D jacks.
indicating that the settings have been modified.
fig.06-002.e_70
INDIV 1–8: The Tone is sent to the selected INDIVIDUAL 1–8
jack.
TONE: Outputs according to the settings for each Rhythm
Tone.
Te m p o
* If you turn off the power or select another Rhythm Set while
the “*” symbol is displayed, your new Rhythm Set settings
will be lost. If you wish to keep these settings, perform the Save
operation. (p. 194)
Clo ck So u rce (Rh y th m Clo ck So u rce )
The M-FX changes and phrase loop (break beats) can be
synchronized to a clock, or tempo. The Clock Source setting
selects the timing reference to be used by the Rhythm Set.
Available Settings:
RHYTHM Co m m o n p a g e ([RHYTHM] -
[F1 (Co m m o n )])
RHYTHM: The Rhythm Set Tempo will be used.
SYSTEM: The global System Tempo or clock messages
fig.06-002a.e_70
received from an external sequencer will be used.
Te m p o (Rh y th m Te m p o )
Range: 20–250
When Clock Source (Rhythm Clock Source) is set to
“RHYTHM,” this setting value is effective.
Co m m o n
* Clock messages for the Rhythm Tempo are not transmitted
from the MIDI OUT connector.
N a m e (Rh y th m N a m e )
You can name a Rhythm Set using up to 12 characters.
O n e Sh o t Mo d e
Press [
] or [
] to move the cursor, and then create the
name by turning the VALUE dial or pressing the [INC] or
[DEC] buttons to select the desired characters.
Sw itch (O n e Sh o t Mo d e Sw itch )
Range: OFF/ ON
Available characters/symbols:
This causes all the samples assigned to a selected Rhythm
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^
_ ` { | } → ←
* This function cannot be used with internal waves, and waves
on Wave Expansion Boards.
* Pressing the VALUE dial displays the Patch Name window,
in which you can use the following functions.
* Loop mode settings cannot be changed for individual samples.
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
the cursor jump to the number indicating the part in the upper
left of the screen. Here, you can switch parts by turning the
VALUE dial, or by pressing [INC] or [DEC].
Se ttin g u p In d ivid u a l Rh y th m
To n e s
The parameters that can be set for each Rhythm Tone of the
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Rhythm Set are assigned to [F2]–[F5] as follows.
the parameter you want to set.
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to
[F2 (Ke y W G)]
select the desired value.
[F1 (WG Prm)] Selecting waveforms, FXM, Pan, or
Tuning (p. 171)
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the value the parameter originally had.
[F2 (Pitch)] Pitch (p. 173)
[F3 (Pch Env)] Pitch Envelope (p. 173)
[F4 (V.Range)] WMT Velocity Range (p. 174)
[F5 (Sample)] Sample Edit (p. 174)
7 . Press [EXIT] to return to the RHYTHM PLAY page.
A “*” symbol will appear at the left of the Rhythm Set name,
indicating that its settings have been modified.
fig.06-003.e_70
[F3 (Ke y TVF)]
[F1 (TVF Prm)] modifies the brightness using the filter
(p. 175)
[F2 (TVF Env)] TVF envelope (p. 177)
[F4 (Ke y TVA)]
[F1 (TVA Prm)] Changes the volume (p. 177)
[F2 (TVA Env)] TVA envelope (p. 178)
the “*” symbol is displayed, your new Rhythm Set settings
will be lost. If you wish to keep these settings, perform the Save
operation. (p. 194)
[F5 (Ke y Ctl)]
Other Settings (p. 179)
Tip s fo r Se le ctin g a W a ve fo rm
Setting Procedure:
Because the XV-5080 is designed to create completely
realistic sounds, the editing process depends heavily on the
complex PCM waveforms upon which Tones are based.
Therefore, if you try to create a sound that is totally different
from the waveform(s) you’re working with, the desired
result may be difficult or impossible to achieve.
1 . Select the Rhythm Set you wish to set.
2 . Press [F2]–[F5], whichever has the parameter you wish to
set assigned to it, and select the display group.
With some display groups, you then press [F1]–[F4] to access
the desired page.
The XV-5080’s internal waveforms fall into the following two
3 . Press Tone Select [1]–[4] to select the percussion
instrument sound you wish to edit, according to the key
that plays it.
groups.
One-shot: These waveforms contain sounds that have short
decays. A one-shot waveform records the initial rise and fall
of its sound. Some of the XV-5080’s one-shot waveforms are
sounds that are complete in themselves, such as percussive
instrument sounds. The XV-5080 also contains many other
one-shot waveforms that are elements of other sounds. These
include attack components such as piano-hammer sounds
and guitar fret noises.
TONE SELECT [1]: Selects the key one octave below the
currently selected key.
TONE SELECT [2]: Selects the key a semitone below the
currently selected key.
TONE SELECT [3]: Selects the key a semitone above the
currently selected key.
Looped: These waveforms include sounds with long decays
as well as sustained sounds. With looped waveforms, the
latter part of the sound plays over and over for as long as the
note is held, allowing wave memory to be used more
efficiently. The XV-5080’s looped waveforms also include
components of other sounds, such as piano-string resonant
TONE SELECT [4]: Selects the key one octave above the
currently selected key.
* You can also press a key on a connected MIDI keyboard to
select the desired percussion instrument sound (key). (p. 168)
* By holding down [SHIFT] and pressing [
], you can have
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
vibrations and the hollow sounds of brass instruments.
Depth parameters (the FXM parameter in the RHYTHM WG
WgPrm page) before filtering. This will help you achieve the
desired result. To make an entire waveform brighter, try
applying effects such as an enhancer and equalizer before
modifying the TVF parameter.
The following diagram shows an example of a sound — an
electric organ — that combines one-shot and looped
waveforms.
fig.06-005.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key-
click waveform (attack portion)
Resulting TVA ENV change
Mo d ify in g th e W a ve fo rm , Pa n
a n d Pitch ([F2 (Ke y W G)])
+
=
Key-off
Key-off
RHYTHM W G Pa ra m e te r p a g e
([RHYTHM] - [F2 (W G)] - [F1 (W G Prm )])
fig.06-007.e_70
N o te s fo r Ed itin g O n e -Sh o t W a ve fo rm s
You cannot give a one-shot waveform a longer decay — or
make it into a sustaining sound — by using an envelope. If
you were to program such an envelope, you would be
attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
Rh y th m To n e
N o te s fo r Ed itin g Lo o p e d W a ve fo rm s
N a m e (To n e N a m e )
With many acoustic instruments such as piano and sax,
extreme timbral changes occur during the first few moments
of each note. This initial attack is what defines much of the
instrument’s character. The XV-5080 provides a variety of
waveforms containing realistic acoustic instrument attacks.
To obtain the maximum realism when using these
You can name a Rhythm Tone using up to 12 characters.
Press [
] or [
] to move the cursor, and then create the
name by turning the VALUE dial or pressing the [INC] or
[DEC] buttons to select the desired characters.
Available characters/symbols:
waveforms, it is best to leave the filter wide-open during the
attack so that all of these important timbral changes are
heard. If you use an envelope to modify the attack portion,
you may not achieve the result you want. Use enveloping to
produce the desired changes in the decay portion of the
space, A-Z, a-z, 0-9, ! " # $ % & ' ( ) * + , - . / : ; < = > ? @ [ \ ] ^
_ ` { | } → ←
* Pressing the VALUE dial displays the Patch Name window,
in which you can use the following functions.
[F2 (←Prev)]: Move back one character.
sound.
[F3 (Next→)]: Move forward one character.
[F4 (Insert)]: Insert a blank space at the cursor position.
[F5 (Delete)]: Delete the character at the cursor position.
[F6 (OK)]: Confirm the selected name.
fig.06-006.e
Looped Portion
Tone change stored
with the wave
With the XV-5080, up to four stereo Waves can be assigned to
a single Rhythm Tone. You can select the way tones sound
according to the force with which the keys are played, thus
allowing you to create Rhythm Tones featuring great
expressive power. This function is called WMT (Wave Mix
Table).
Envelope
for the TVF filter
Resulting tone change
If you try to make a waveform’s attack brighter by lowering
the high-frequency content of its decay using the TVF filter,
consider the original timbral character of the waveform. If
you’re making a part of the sound brighter than the original
waveform, you should first generate new upper harmonics
not present in the original waveform using the Color and
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
Pa n
W AVE
Range: L64–63R
Gro u p (W a ve Gro u p )
Establishes the stereo location of the waveform. L64 is far
left, 0 is center, and 63R is far right.
Selects the group for the waveform that is to be the basis of
the Rhythm Tone.
The pan of the Rhythm Tone is set by the Tone Pan setting
(Rhythm TVA Parameter page), and the Wave Pan setting is
added to this setting. (p. 178)
Available Settings:
INT: Waveform stored in the XV-5080’s memory.
XP-A–H: Waveform on the wave expansion boards A–H.
Ra n d o m (W a ve Ra n d o m Pa n Sw itch )
* It is not possible to select a Group of a Wave Expansion Board
that is not installed.
Use this setting to cause the waveform’s panning to change
randomly each time a key is pressed (ON) or not (OFF).
SAMPLE: Samples (Wave data) loaded into the SIMM
The stereo width of the change is set by the Random Pan
Depth setting (Rhythm TVA Parameter page). (p. 178)
(memory module) from a sampler library or other source.
L (W a ve N u m b e r L)
Alte rn a te (W a ve Alte rn a te Pa n Sw itch )
Range: 1–****
Use this setting to cause the waveform’s stereo position to
flip from the left to the right each time a key is pressed (ON)
or not (OFF).
Selects the waveform that forms the basis of a Rhythm Tone.
You can choose a separate waveform for each of the XV-
5080’s left channel.
The stereo width of the change is set by the Alternate Pan
Depth setting (Rhythm TVA Parameter page). (p. 178)
R (W a ve N u m b e r R)
Range: 1–****
Selects the waveform that forms the basis of a Rhythm Tone.
You can choose a separate waveform for each of the XV-
5080’s right channel.
Tu n e
Co a rse (W a ve Co a rse Tu n e )
Range: -48– +48
* By holding down [SHIFT] and pressing [F6], you can rapidly
switch between STEREO and MONO tones.
Adjusts the Wave pitch in semitone steps over a range of +/ -
4 octaves.
Te m p o Sy n c
Fin e (W a ve Fin e Tu n e )
Determines whether the waveform is synchronized (ON) or
not synchronized (OFF) to the Rhythm’s tempo.
Range: -50– +50
Adjusts the pitch of the Wave in one-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
Ga in & Le ve l
Ga in (W a ve Ga in )
FXM
Range: -6– +12
Specifies the gain (amplitude) of the waveform. The value
changes in 6 dB (decibel) steps—an increase of 6 dB doubles
the waveform’s gain. If you intend to use the Booster to
distort the waveform’s sound, set this parameter to its
maximum value.
Sw itch (W a ve FXM Sw itch )
Range: ON/ OFF
Sets whether FXM will be used (ON) or not (OFF).
Co lo r (W a ve FXM Co lo r)
Range: 1–4
Le ve l (W a ve Le ve l)
Specifies how FXM will perform its frequency modulation.
Higher settings result in a grainier sound, while lower
settings result in a more metallic sound.
Range: 0–127
Adjusts the volume of each of the Rhythm Tone’s waveforms
to establish the desired volume balance between the waves.
* The volume of the Rhythm Tone is set by the Tone Level
setting (Rhythm TVA Parameter page), and the Wave Level
setting is multiplied to this setting. (p. 177)
De p th (W a ve FXM De p th )
Range: 0–16
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
fig.06-010.e
RHYTHM W G Pitch p a g e ([RHYTHM] -
[F2 (W G)] - [F2 (Pitch )])
fig.06-008.e_70
T1
T2
T3
T4
L1
L0
L3
Pitch
Time
key is
key is
pressed
L2
released
L4
Pitch (Rh y th m To n e Pitch )
De p th (Pitch En ve lo p e De p th )
Co a rse Tu n e (Rh y th m To n e Co a rse Tu n e )
Range: -12– +12
Range: C-1–G9
Determines the amount of pitch enveloping to be used.
Higher values will cause greater change. Negative (-) settings
invert the direction of the changes made by the Pitch
Envelope.
Adjusts the pitch of the Tones in semitone steps over a range
of +/ -4 octaves.
Fin e Tu n e (Rh y th m To n e Fin e Tu n e )
Tim e 1 –4 (Pitch En ve lo p e Tim e 1 –4 )
Range: -50– +50
Range: 0–127
Adjusts the pitch of the Tone in one-cent steps (1/ 100th of a
semitone) over a range of half a semitone up or down.
Determine the times over which the basic pitch settings will
change from one pitch envelope level (L1–L4) to the next.
Ra n d o m Pitch (Rh y th m To n e Ra n d o m
Pitch )
Le ve l 0 –4 (Pitch En ve lo p e Le ve l 0 –4 )
Range: -63– +63
De p th (Rh y th m To n e Ra n d o m Pitch De p th )
Each pitch envelope level value determines an amount of
Range: 0–1200
change to be applied to the Tone’s basic pitch.
Specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want a random pitch
change, set this parameter to 0. The setting is adjustable in
units of 1 cent (1/ 100th of a semitone).
Ve lo city Se n s (Pitch En ve lo p e Ve lo city
Se n sitivity )
Am o u n t (Pitch En ve lo p e Tim e Am o u n t
Se n sitivity )
RHYTHM W G Pitch En ve lo p e p a g e
([RHYTHM] - [F2 (W G)] - [F3 (Pch En v)])
fig.06-009.e_70
Range: -63– +63
Adjust this parameter when you want your keyboard
playing dynamics (velocity) to affect the amount of pitch
enveloping. For higher settings, there will be a greater
difference between softly and strongly played notes.
Negative (-) values invert the change.
Tim e 1 (Pitch En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Pitch En ve lo p e
Range: -63– +63
These parameters determine the amount of pitch enveloping
— changes to your basic pitch settings that occur over time
— the effect of velocity on the pitch envelope, and the basic
characteristics of the pitch envelope itself.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the pitch
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
Tim e 4 (Pitch En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
V.U (W MT Ve lo city Ra n g e Up p e r)
Range: LOWER–127
Range: -63– +63
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the pitch envelope.
With higher settings, the T4 value will change more
significantly depending on whether you release the key slowly
or quickly. With positive (+) settings, greater keyboard
velocity will reduce the T4 setting. With negative (-) settings,
greater keyboard velocity will increase the T4 setting.
* It is not possible to set the Lower value higher than the Upper
value, or the Upper value below the Lower value. If you
attempt to do so, the two values will change simultaneously.
U.F (W MT Ve lo city Fa d e W id th Up p e r)
RHYTHM W G W MT Ve l Ra n g e p a g e
([RHYTHM] - [F2 (W G)] - [F4 (V.Ra n g e )])
fig.06-011.e_70
Range: 0–127
Determines what will happen to the Tone’s level when the
Tone is played at a velocity greater than its specified velocity
range. Higher settings result in a more gradual change in
volume. If you don’t want notes played outside the specified
velocity range to be heard at all, set this to 0.
Ve lo city Ra n g e
Ve lo city Co n tro l
Sw itch
Status of these settings will be displayed.
RHYTHM W G Sa m p le p a g e ([RHYTHM]
- [F2 (W G)] - [F5 (Sa m p le )])
Determines whether Velocity range will be recognized (ON),
or ignored (OFF). When set to RANDOM, the Wave will
sound randomly, regardless of any Velocity messages.
You can edit the Sample (Wave data) loaded into the SIMM
(memory module).
* These settings cannot be made unless a Sample is being used.
fig.06-013.e_70
L.F (W MT Ve lo city Fa d e W id th Lo w e r)
Range: 0–127
Determines what will happen to the Tone’s level when the
Tone is played at a velocity lower than its specified velocity
range. Higher settings result in a more gradual change in
volume. If you don’t want notes played outside the specified
velocity range to be heard at all, set this to 0.
fig.06-012.e
Sa m p le
Level
Sa m p lin g Fre q . (Sa m p lin g Fre q u e n cy )
Displays the original sampling frequency of the loaded
Sample.
O rig in a l Ke y
Lower
Upper
Velocity
1
Displays the original key of the loaded Sample.
L.Fade value
U.Fade value
V.L (W MT Ve lo city Ra n g e Lo w e r)
Range: 1–UPPER
Specifies the highest limit of playing dynamics (key velocity)
which will sound the Tone. Make these settings when you
want different Tones to sound in response to notes played at
different strengths.
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
• Loop Start Point Fine
Lo o p
Range: 0–255
Mo d e (Lo o p Mo d e )
Displays the loop mode of the loaded Sample.
Available Settings:
This is a fine adjustment of the Loop Start Point.
En d -Fin e (En d Po in t - En d Po in t Fin e )
FWD (Forward):
• End Point
After the Sample played back from the Start point to the
Loop End point, it will then be repeatedly played back in the
forward direction, from the Loop Start point to the Loop End
point.
Range: 0–
Specifies the point to which the loop will be read.
• End Point Fine
Range: 0–255
ONE-SHOT:
This is a fine adjustment of the End Point.
The sample will be played back only once, from the Start
point to the Loop End point.
ALT (Alternate):
Usin g th e Filte r to Mo d ify th e
Brig h tn e ss ([F3 (Ke y TVF)])
When the sample has been played back from the Start point
to the Loop End point, playback will repeat to the Loop Start
point, then go back and forth between the Loop Start point
and the Loop End point.
The settings for the TVF (Time Variant Filter) allow you to
change a Rhythm Tone’s timbral content by altering its
brightness or thickness.
REV-ONE (Reverse One-shot)
The sample will be played back only once from the Loop End
point to the Start point in the reverse direction.
RHYTHM TVF Pa ra m e te r p a g e
([RHYTHM] - [F3 (Ke y TVF)] - [F1 (TVF
Prm )])
fig.06-014.e_70
REV (Reverse):
When the sample has been played back from the Loop End
point to the Start point, it will be repeatedly played back in
the reverse direction, from the Loop Start point to the Start
point.
Tu n e (Lo o p Tu n in g )
Range: -50–50
TVF
Determines the fine pitch setting within the loop, in one-cent
steps (1/ 100 of a semitone).
Filte r Ty p e (TVF Filte r Ty p e )
Selects the filter type. A filter typically reduces, or attenuates,
a specific frequency range within a Tone in order to
accentuate its other frequencies.
Sta rt-Fin e (Sta rt Po in t - Sta rt Po in t
Fin e )
• Start Point
Range:
Range: 0–
OFF: No filter is used.
Specifies the point in the sample from which data will be
read.
LPF: Low Pass Filter. This reduces the volume of all
frequencies above the cutoff frequency. Since the high
frequency range is cut, the sound will become more mellow.
This is the most frequently-used type of filter.
• Start Point Fine
Range: 0–255
This is a fine adjustment of the Start Point.
BPF: Band Pass Filter. This type of filter leaves only the
region in the vicinity of the cutoff frequency, and cuts the
rest. It is useful for making distinctive sounds.
Lo o p Po in t Sta rt-Fin e (Lo o p Sta rt Po in t
- Lo o p Sta rt Po in t Fin e )
HPF: High Pass Filter. This type of filter cuts the portion that
lies below the cutoff frequency. It is useful for making
percussive or other sounds. that have a distinctive high
range.
• Loop Start Point
Range: 0–
Specifies the point in the sample from which the loop will be
started.
PKG: Peaking Filter. This emphasizes frequencies around the
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fig.06-015.e
cutoff frequency by raising their level. You can use this to
create wah-wah effects by employing an LFO to change the
cutoff frequency cyclically.
LPF
BPF
HPF
PKG
Level
High
Frequency
LPF2: Low Pass Filter 2. This reduces the volume of all
frequencies above the cutoff frequency. This differs from LPF
in that you can control the amount of the reduction using the
TVF ENVELOPE settings while still maintaining a fixed
cutoff frequency.
Cutoff frequency
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
Low
This disables the Resonance setting.
LPF3: Low Pass Filter 3. This reduces the volume of all
frequencies above the cutoff frequency. While similar to
LPF2, it filter reduces the frequencies more gently than LPF2.
Re so n a n ce Ve lo (TVF Re so n a n ce
Ve lo city )
Se n s (TVF Re so n a n ce Ve lo city Se n s)
This can be very effective with acoustic-instrument-based
Tones, since nothing is done to weaken the power and
energy of the sound.
Range: -63– 63
Use this parameter when you want velocity to affect the
amount of Resonance. For higher settings, there will be a
greater difference between softly and strongly played notes.
Negative (-) values invert the change.
This disables the Resonance setting.
Cu to ff Fre q (TVF Cu to ff Fre q u e n cy )
Range: 0–127
Specifies the frequency (cutoff frequency) at which the filter
will begin to affect the frequency characteristics of the
waveform.
Cu to ff Ve lo (TVF Cu to ff Ve lo city )
Cu rv (TVF Cu to ff Ve lo city Cu rve )
Range: FIXED/ 1–7
With LPF/ LPF2/ LPF3 selected for the Filter Type parameter,
lower cutoff frequency settings reduce a Tone’s upper
harmonics for a more rounded, warmer sound. Higher
settings make it sound brighter.
Selects one of seven curves that determine how keyboard
playing dynamics (velocity) influence the Tone’s cutoff
frequency. The selected curve is displayed graphically to the
right of its value.
When Filter Type is BPF, the cutoff frequency setting
determines the range of frequencies within the Tone that will
be heard. It is useful for making distinctive sounds.
When V-Curve is set to “FIXED,” the cutoff frequency
remains unchanged regardless of how hard or soft the keys
are played.
When Filter Type is HPF, higher settings of the cutoff
frequency decrease the level of the Tone’s low frequencies,
preserving its brighter qualities.
Se n s (TVF Cu to ff Ve lo city Se n s)
Range: -63– +63
When Filter Type is PKG, the cutoff frequency setting
determines the range of frequencies to be emphasized.
Sets the amount of change produced when the keyboard
touch is used to change the cutoff frequency. For higher
settings, there will be a greater difference between softly and
strongly played notes. Negative (-) values invert the change.
Re so n a n ce (TVF Re so n a n ce )
Range: 0–127
Increases the level of the cutoff frequency, adding character
to the sound. Excessively high settings can produce
oscillation, causing the sound to distort.
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the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
RHYTHM TVF En ve lo p e p a g e ([RHYTHM]
- [F3 (Ke y TVF)] - [F2 (TVF En v)])
fig.06-016.e_70
Tim e 4 (TVF En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVF
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
setting.
TVF En ve lo p e
These parameters determine the amount of filter enveloping
– changes to your original cutoff frequency setting that occur
over time – the effect of velocity on the TVF envelope, and
the basic characteristics of the TVF envelope itself.
De p th (TVF En ve lo p e De p th )
Am o u n t V-Crv (TVF En ve lo p e Ve lo city
Cu rve )
Range: -63– +63
Adjusts the amount of filter enveloping. Higher values will
cause greater change. Negative (-) settings invert the
direction of the changes made by the Pitch Envelope.
Range: FIXED/ 1–7
This selects one of seven velocity curves that determine how
velocity will affect the depth of the TVF Envelope. The
selected curve is displayed graphically to the right of its
value.
Tim e 1 –4 (TVF En ve lo p e Tim e 1 –4 )
Range: 0–127
When set to “FIXED,” the TVF envelope depth remains
These settings determine the times over which the cutoff
frequency setting will change from one TVF envelope level
(L1–L4) to the next.
unchanged, regardless of how hard or soft you play.
Ma k in g th e Vo lu m e Ch a n g e ([F4
(Ke y TVA)])
Le ve l 0 –4 (TVF En ve lo p e Le ve l 0 –4 )
Range: 0–127
Each TVF envelope level value determines an amount of
change to be applied to the original cutoff frequency setting.
RHYTHM TVA Pa ra m e te r p a g e
([RHYTHM] - [F4 (Ke y TVA)] - [F1 (TVA
Prm )])
fig.06-017.e_70
Ve lo Se n s (TVF En ve lo p e Ve lo city
Se n sitivity )
Am o u n t
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect the depth of the TVF Envelope.
For higher settings, there will be a greater difference between
softly and strongly played notes. Negative (-) values invert
the change.
TVA
The TVA (Time Variant Amplifier) controls volume changes
to the Tone as well as its stereo positioning.
Tim e 1 (TVF En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Le ve l (To n e Le ve l)
Range: 0–127
Range: -63– +63
Sets the volume of the Rhythm Tone. Use this parameter to
adjust the volume balance between Rhythm Tones.
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVF
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
The overall volume of the Rhythm Set is set by the Rhythm
Level (Rhythm Common page) setting, raising or lowering
the Tone level settings of its individual Rhythm Tones by the
selected amount. (p. 169)
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V-Cu rve (TVA Le ve l Ve lo city Cu rve )
TVA En ve lo p e
Range: FIXED/ 1–7
Tim e 1 –4 (TVA En ve lo p e Tim e 1 –4 )
This setting allows you to select from seven velocity curves
that determine how the force with which the keyboard is
played is to affect the Tone’s volume. The selected curve is
displayed to the below of its parameter value.
Range: 0–127
These settings determine the times over which the Tone level
setting will change from one TVA envelope level to the next.
When set to “FIXED,” the Tone’s volume will not be affected
Le ve l 1 –3 (TVA En ve lo p e Le ve l 1 –3 )
by the force with which the keyboard is played.
Range: 0–127
Each TVA envelope level value determines an amount of
change to be applied to the original Rhythm Tone level
setting.
V-Se n s (TVA Le ve l Ve lo city Se n s)
Range: -63– +63
Use this setting when you want keyboard touch (velocity) to
affect the Tone volume. Set this to a positive value to have
the changes in tone volume increase the more forcefully the
keys are played; to make the Tone play more softly as you
play harder, set this to a negative value.
Ve lo city Se n s
Tim e 1 (TVA En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Range: -63– +63
Pa n
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T1 (Time 1) of the TVA
envelope. For higher settings, there will be a greater
difference between softly and strongly played notes. With
positive (+) settings, greater keyboard velocity will reduce
the T1 setting. With negative (-) settings, greater keyboard
velocity will increase the T1 setting.
Pa n (To n e Pa n )
Range: L64–63R
Specifies the stereo position of the Tone. L64 is far left, 0 is
center, and 63R is far right.
Ra n d o m (Ra n d o m Pa n De p th )
Range: 0–63
Tim e 4 (TVA En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Use this parameter to activate random panning, note-by-
note. Higher values will result in a greater width of change.
Range: -63– +63
Use this parameter when you want keyboard playing
dynamics (velocity) to affect T4 (Time 4) of the TVA
envelope. With higher settings, the T4 value will change
more significantly depending on whether you release the key
slowly or quickly. With positive (+) settings, greater
keyboard velocity will reduce the T4 setting. With negative (-
) settings, greater keyboard velocity will increase the T4
Alte rn a te (Alte rn a te Pa n De p th )
Range: L63–63R
This setting causes panning to be alternated between left and
right each time a key is pressed. Higher values will result in a
greater width of change. You can select the stereo placement
of the first key using this parameter – its opposite will be
used for the second note, and so on back and forth. If you
want to alternate the pan position of two Tones, set them to
the exact opposite L and R settings.
setting.
fig.06-019.e
Level
T1
T2
T3
T4
L1
RHYTHM TVA En ve lo p e p a g e
([RHYTHM] - [F4 (Ke y TVA)] - [F2 (TVA
L2
L3
En v)])
fig.06-018.e_70
Time
key is pressed
key is released
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
* If a one-shot type Wave is selected, it will not sustain even if
this parameter is set to “SUSTAIN.”
O th e r Se ttin g s ([F5 (Ke y Ctl)])
RHYTHM Ke y Co n tro l p a g e ([RHYTHM]
- [F5 (Ke y Ctl)])
MIDI Rx Sw itch (MIDI Re ce ive Sw itch )
These parameters determine how each Rhythm Tone in a
Rhythm Set will respond to received Expression/ Hold 1/
Pan MIDI messages.
fig.06-020.e_70
Ex p re ssio n Sw (Ex p re ssio n Re ce ive Sw itch )
Range: OFF/ ON
If you want the Rhythm Tone to respond to Expression
messages, turn this parameter on. If not, turn it off.
Co n tro l
Be n d Ra n g e (To n e Pitch Be n d Ra n g e )
Ho ld -1 Sw (Ho ld 1 Re ce ive Sw itch )
Range: 0–48
Range: OFF/ ON
Sets the amount of pitch change that will occur when you
move the Pitch Bend lever. The settings value affects the
Bend Range in both the upper and lower directions.
Set this ON when you want each Tone to receive Hold1
messages. If not, set OFF.
Pa n Mo d e (Pa n Mo d e Re ce ive Sw itch )
* Depending on the wave being used, the pitch may not be able
to rise as far as expected, and could stop rising at a certain
pitch.
Range: CONT/ KEY-ON
CONTINUOUS: Pan messages will be responded to
immediately, instantly changing the stereo position of the
Rhythm Tone.
Mu te Gro u p
Range: OFF/ 1–31
KEY-ON: The stereo location of the Tone will be changed
only when the next note is played. If a Pan message is
received while a note is sounding, its stereo location will not
change.
The Mute Group function allows you to designate two or
more Rhythm Tones that are not allowed to sound
simultaneously. For example, in a real-world acoustic drum
set, an open hi-hat and a closed hi-hat sound will never occur
simultaneously, since they’re produced by the same
instrument – the hi-hat is either open or closed, but not both
at the same time. To simulate this behavior on the XV-5080,
you can set the open and closed hi-hat Rhythm Tones to the
same Mute Group, thus preventing them from being heard at
the same time.
Ma k in g Effe ct Se ttin g s
Refer to “Settings in the Rhythm Set Mode” (p. 36).
Sa vin g th e Rh y th m Se t Yo u
Cre a te
You can have up to 31 Mute Groups per Rhythm Set. If you
do not want a Rhythm Tone to use a Mute Group, turn it
“OFF.”
Refer to “Saving a Rhythm Set” (p. 194).
Assig n Ty p e
Range: MULTI/ SINGLE
This setting determines whether a Rhythm Tone note that is
playing is stopped when the same note is played again
(SINGLE), or whether it will continue to play, layered with
the new note.
En ve lo p e Mo d e (Rh y th m To n e En ve lo p e Mo d e )
Range: NO SUS/ SUSTAIN
When a loop-type waveform is selected, it will normally
continue to sound as long as a key is pressed. If you want a
note to decay naturally even when the key remains pressed,
set this to “NO SUS.”
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Ch a p te r 6 Cre a tin g Rh y th m Se ts
Co p y in g Se ttin g s fro m So m e
O th e r Rh y th m To n e
Compare Function
You can use the Compare function during the Rhythm
Key Copy operation.
The Rhythm Tone settings in a Rhythm Set you select can be
copied to the current Rhythm tone. This can save you a great
deal of time and effort when editing sounds.
The Compare function allows you to play the Rhythm
Tone currently occupying the copy source. To do so,
press [F1 (Compare)] to access the Rhythm Compare
page. The new Rhythm Tone can also be selected from
the Rhythm Compare page. However, it is not possible
to select patches from XP-A through F. After selecting a
rhythm tone, press [F1] again to return to the previous
page.
1 . Confirm that the copy-destination Rhythm Tone is
currently selected.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
* The Compare function cannot be used if a Rhythm Tone
of the temporary area (Temporary Patch) is selected as the
copy-source Rhythm Tone.
3 . Press [F6 (Menu)] to select Menu 1.
4 . Press [F2 (Copy)].
* Please be aware that when the Compare function plays a
Rhythm Tone, it may sound slightly different than when
it is played normally.
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
“Type.”
6 . Turn the VALUE dial to select “Key.”
7 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
8 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
9 . Press [F6 (Copy)] to initiate the copy.
* Press TONE SELECT [1] - [4] in the Key Selection parameter
to select the percussion instrument (key) you want to set.
TONE SELECT [1]: Selects the key one octave below the
currently selected key.
TONE SELECT [2]: Selects the key a semitone below the
currently selected key.
TONE SELECT [3]: Selects the key a semitone above the
currently selected key.
TONE SELECT [4]: Selects the key one octave above the
currently selected key.
* You can also press a key on a connected MIDI keyboard to
select the percussion instrument sound (key). (p. 168)
Patch Name Copy
You can copy the Patch name by setting the value to
“NAME” in Step 6 above.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
Use a Philips screwdriver that is suitable for the size of the
Lo a d in g Sa m p le r Lib ra rie s
screw. If an unsuitable screwdriver is used, the head of the
(CD-RO M)
screw may be stripped.
To remove a screw, rotate the screwdriver counter-clockwise.
Now let’s try loading a sampler library (such as the optional
To tighten the screws, rotate the screwdriver clockwise.
fig.07-001.e
L-CDX Series) into the XV-5080 and playing some sounds.
Playing sampler libraries with the XV-5080 requires a SCSI-
type CD-ROM drive (the optional CDR-88RW-2), and
commercially available SIMMs (memory modules).
loosen
tighten
•
Be careful not to cut your hands on the edges of the
opening while removing the cover.
* At least 16 MB (32 MB or more recommended) of additional
memory is required.
•
•
When adding SIMMs, remove only the specified screws.
Be careful that the screws you remove do not drop into
the interior of the XV-5080.
The AKAI S1000/ 3000 CD-ROM sound libraries can also be
loaded. (p. 187)
•
•
Do not touch any of the printed circuit pathways or
connection terminals.
Never use excessive force when installing a circuit
board. If it doesn’t fit properly on the first attempt,
remove the board and try again.
In sta llin g th e SIMM (Me m o ry
Mo d u le )
Loading commercial sampler libraries into the XV-5080
requires installation of a SIMM memory module. The XV-
5080 is equipped with two slots for SIMMs, allowing you to
expand memory capacity by 128 MB (with two 64-megabyte
SIMMs installed).
•
•
When circuit board installation is complete, double-
check your work.
Do not leave the cover removed. Be sure to reattach it
after the SIMM has been installed.
SIMMs for use with the XV-5080 must match the
following specifications.
Number of pins: 72
Access time:
60 ns or faster
Access protocol: FPM or EDO
Voltage:
5 V
Capacity:
64 MB/ 32 MB/ 16 MB (can be mixed)
*Both parity and non-parity are supported.
SIMM height: 36 mm or less
Ca u tio n s W h e n In sta llin g SIMM
To avoid the risk of damage to internal components that can
be caused by static electricity, please carefully observe the
following whenever you handle the board.
•
Before you touch the board, always first grasp a metal
object (such as a water pipe), so you are sure that any
static electricity you might have been carrying has been
discharged.
•
•
When handling the board, grasp it only by its edges.
Avoid touching any of the electronic components or
connectors.
Save the bag in which the board was originally shipped,
and put the board back into it whenever you need to
store or transport it.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
1 . Turn off the power on the XV-5080 and any connected
devices, and disconnect any cables connected to the XV-
5080.
7 . Return the XV-5080’s top cover to its original position.
This completes installation of the SIMM or SIMMs.
2 . Detach the cover on the top of the XV-5080.
fig.07-002.e
Re m o vin g SIMMs
Remove SIMMs in the reverse order of that used for
installation.
Screws to be removed
Before beginning this procedure, turn off the power to the
XV-5080 and all connected devices.
1 . Simultaneously push the silver-colored latches on both
sides of the slot outwards.
The SIMM is released from the latches, and remains in the
slot, at an angle.
fig.07-004.e
2 . Pull the SIMM out of the slot.
3 . The order in which the slots are used when installing the
SIMMs depends on the number of SIMMs added. Refer
to the table below.
Co n firm in g Th a t th e SIMM Is Pro p e rly
In sta lle d
SIMM Slot Installation Order
1 . Press the [SYSTEM/ UTILITY] button, getting its
indicator to light.
Two cards: A, then B
One card:
A
* If the indicator is blinking, you are in UTILITY mode. Press
the [SYSTEM/UTILITY] button again, so the indicator lights
steadily.
4 . After confirming the position of the SIMM’s notch and its
orientation, insert the SIMM at an angle into the slot.
2 . Press the [F6 (Info)] button.
5 . Using your fingers, push up on the SIMM until it stands
The SYSTEM Info page will appear.
upright in the slot.
The SIMM is then held in place with the silver-colored
3 . Confirm that the capacity of the SIMM appears next to
latches on both sides of the slot.
fig.07-003.e
the slot in which it is placed.
* If no SIMM has been installed, or if the installed SIMM is not
being recognized properly, “—–” appears in the display.
* If the SIMM is not properly recognized, or if the capacity
indicated for the installed SIMM differs from its actual
capacity, turn off the power, and carry out the procedure once
more. Check again, and if you get the same result, it means
that that particular SIMM cannot be used in the XV-5080.
6 . When installing more than one SIMM, repeat Steps 4 and
5.
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Pour installer une carte d'extension (vendue en option dans
les séries SR-JV80 et SRX), détacher la plaque du dessus. La
carte de série SRX s'installe dans l'emplacement EXP-E,F et la
carte de série SR-JV80, dans l'emplacement EXP-A–D.
In sta lla tio n d e la ca rte
d 'e x te n sio n W a ve
(Fre n ch la n g u a g e fo r Ca n a d ia n Sa fe ty Sta n d a rd )
Les cartes d'exten-sion Wave contiennent des donnees
Wave, aussi bien que des morceaux musicaux et des
ensembles rythmiques utilisant ces donnees, auxquelles on
peut directement acceder dans la zone temporaire et les faire
jouer.
Precautions lors de l'installation de la carte d'extension Wave
•
Pour éviter tout dommage des composants internes
pouvant provenir de l’électricité statique, veuillez suivre
les conseils suivants quand vous installez la carte.
* Avant de toucher la carte, saisissez toujours un objet
métallique (tuyau d’eau ou autre) pour être sûr que
l’électricité statique se décharge.
* Quand vous saisissez la carte, prenez-la par les bords. Evitez
de toucher les composants électroniques ou les connecteurs.
* Conservez le sac dans lequel la carte était emballée et remettez
la carte dedans pour l’expédier ou l’entreposer.
•
Utiliser un tournevis cruciforme correspondant à la taille
de la vis (un tournevis numéro 2). En cas d’utilisation
d’un tournevis inapproprié, la tête de la vis pourrait être
endommagée.
•
Pour enlever les vis, tourner le tournevis dans le sens
contraire des aiguilles d’une montre. Pour resserrer,
tourner dans le sens des aiguilles d’une montre.
desserrer
resserrer
•
•
•
Lors de l’insertion de la carte d’extension Wave, enlevez
seulement les vis indiquées dans les instructions.
Veillez à ne pas laisser tomber de vis dans le châssis du
XV-5080.
Ne pas laisser le panneau de protection avant détaché.
S’assurer de l’avoir rattacher après avoir installé le
disque dur.
•
•
•
Ne touchez aucun des circuits imprimés ni les bornes de
connexion.
Veillez à ne pas vous couper les doitgs sur le bord de
l’ouverture d’installation.
Ne jamais forcer quand vous installez une carte de
circuits. Si la carte ne rentre pas correctement, ressortez-
la et ressayez.
•
Quand la carte est installée, vérifiez si l’installation est
correcte.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
1 . Éteindre le XV-5080 et tout l’équipement qui y est relié.
Ensuite, déconnecter tous les câbles qui sont reliés au
XV-5080.
6 . Pour ajouter plus d’une carte mémoire, répéter les étapes
4 et 5.
7 . Replacer la plaque du dessus du XV-5080.
2 . Enlever la plaque protectrice du dessus du XV-5080.
Ceci complète les procédures d’installation pour augmenter
la mémoire.
Vis à enlever
En le ve r u n e ca rte m é m o ire W a ve
Enlever les cartes de mémoire des emplacements dans
l’ordre inverse que celui effectué lors de l’installation.
1 . Pousser simultanément vers l’extérieur les ressorts
argentés aux deux extrémités des emplacements.
Cette manipulation détache la carte des ressorts et la laisse de
biais dans l’emplacement.
2 . Retirer la carte de l’emplacement
3 . L’emplacement et l’ordre d’installation sont déterminés
par le nombre de cartes que vous désirez ajouter. Se
référer au tableau ci-dessous pour procéder à
l’installation:
Assu re z-vo u s q u e le s m o d u le s SIMM
so n t in sta llé s co rre cte m e n t
1 . Appuyez sur le bouton [SYSTEM/ UTILITY] pour que le
voyant lumineux s’allume.
Nombre de cartes mémoireWaveEmplacement et ordre
* Si le voyant clignote, l’appareil est en mode « Utilitaire ».
Appuyez à nouveau sur le bouton [SYSTEM/UTILITY] pour
que le voyant lumineux reste allumé sans clignoter.
d’installation
2
1
A et B dans cet ordre
A
2 . Appuyez sur le bouton [F6 (Info)].
4 . Vérifier la position des encoches sur la carte mémoire et
L’écran Information Système apparaît.
leur orientation puis, insérer la carte de biais.
3 . Assurez-vous que la taille du module SIMM est affichée
5 . Orienter la carte en position verticale avec vos doigts.
à côté du nom de la fente dans laquelle il est installé.
La carte mémoire est fixée dans les ressorts argentés à chaque
« —– » s’affiche à côté du nom de la fente si aucun module
SIMM n’y est installé ou si un module SIMM y est installé
incorrectement.
extrémité de l’emplacement.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
fig.07-007.e_70
Co n n e ctin g a CD-RO M Drive
fig.07-005.e
XV-5080
CD-ROM drive
The SCSI ID and Volume Label of the connected SCSI device
appear in the window.
SCSI
Cable
6 . Turn the VALUE dial to select the SCSI ID that was set
1 . Turn off the power of the XV-5080 and any connected
when the CD-ROM drive was connected.
external devices.
7 . Press [F6 (OK)].
2 . Connect the XV-5080 and the CD-ROM drive with a SCSI
cable (one equipped with a 25-pin D-sub type connector
at the XV-5080 end).
The CD-ROM’s contents are displayed.
* Items enclosed by <> indicate folders. Folders cannot be
loaded.
3 . Set the SCSI ID with the SCSI switch on the rear panel.
Any number is acceptable, as long as each device has a
different SCSI ID.
* The types of folders displayed vary depending on the library
being loaded. “Refer to “About the Sampler Library Folder
Types (Indication)” (p. 187).
* For more on the CD-ROM drive SCSI ID settings, please refer
to the owner’s manual for the device you are using.
[F5 (Refresh)]
Pressing this button clears the XV-5080’s internal cache.
When sharing a Zip Drive with another XV-5080 (or
other device), be sure to press this button whenever
loading data from the other device concurrently being
used.
The SCSI ID switch settings “8” and “9” cannot be used with
the XV-5080.
4 . Set the CD-ROM drive’s terminator to ON.
* For more on the CD-ROM drive terminator settings, please
refer to the owner’s manual for the device you are using.
* For more on making SCSI connections, please refer to p. 239 of
the Owner’s Manual.
8 . Turn the VALUE dial or press [
] or [
] to select the
folder containing the file to be loaded.
9 . Press [
displayed.
* Press [
], and the files available for loading will be
W ith Sa m p le r Lib ra rie s
1 . Turn on the power to the CD-ROM drive and the XV-
] to move up one level in the hierarchy.
5080.
2 . Place the CD-ROM (sampler library) that you want to
load in the CD-ROM drive.
By pressing [F2 (View)], you can specify the category for files
to be displayed.
3 . Press [DISK].
fig.07-008.e_70
The Disk Menu page will appear.
4 . Press [F1 (Load)].
The Load page will appear.
fig.07-006.e_70
Turn the VALUE dial or press [
] or [
] to select the
category you want to load, and then press [F5 (On/ Off)].
Press [F4 (All)] if you want to set markers in all files. Press
this once more to remove all markers. And then press [F6
(OK)] to finalize the category.
5 . Press [F1 (Drive)].
The Drive window will appear.
For more on category contents, refer to p. 188.
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1 4 . A window appears, in which you can select either to
overwrite the data (Partial or wave) on the SIMM (OK),
or add to the data (Append).
1 0 . Turn the VALUE dial or press [
] or [
] to select the
file to be loaded and press [F5 (Mark)]; a “●” is added.
* Press [F4 (Mk All) if you want to set markers for all files.
Press it again to remove all markers.
* To cancel the operation, press [EXIT].
* If there is no available free space open in the SIMM, then press
[F4 (JumpDel) to display the Delete page; you can then delete
an unneeded Partial or wave.
The files can also be sorted. Press [F3 (Sort)] to open the
window for selecting the sorting preferences. Turn the
* You can load a maximum of 4,096 Partials and 8,192 samples
(if this does not exceed the capacity of the installed SIMM).
VALUE dial or press [
then press [F6 (OK)].
] or [
] to select the sort type,
1 5 . When loading has been completed, the File Selection
page will reappear.
fig.07-010.e_70
Without: Files are displayed in the order in which they
have been saved.
Name:
Size
Files are sorted by file name, in ascending order.
: Files are sorted in ascending order of file size.
: Files are sorted in descending order of file size.
Size
You can check the tone of sample, .wav, .aif, and other such
wave data files by pressing the VOLUME knob when
selecting them.
1 1 . Press [F6 (Select)]
The total memory used by the marked files is displayed.
* After checking the amount of memory, if you find you cannot
load to the SIMM, follow the procedure in Step 10 to reset the
markers once more.
* When loading Volume, Performance, Patch, Partial, and
Program data, the lowermost file is loaded with it.
1 2 . Press [F6 (Load)].
Fre e Are a
When selecting Volume, Performance, or Patch files, a
message asking “Overwrite in User Group. OK?” appears
with a window in which the number and name of the User
SIMM
This displays the amount of free space in the SIMM.
Group Patch or Performance is shown.
fig.07-009.e_70
Disk
This displays the free disk space remaining in the connected
SCSI device.
Ma rk e d
* To cancel the operation, press [EXIT].
The number and size of marked files to be processed are
displayed.
* When loading Patches or Performances, you can specify the
load-destination Patch or Performance number in this
window.
1 3 . To overwrite while loading, press [F6 (OK)]. If you want
to load to an empty location in the User Group, press [F5
(NxtUsr)].
* If there is no space available in the User Group, “User
Performances (Patches) Full Choose User location and OK to
overwrite” is displayed.
In this case, press [F4 (JmpDel) to display the Delete screen,
then proceed to delete a Performance or Patch.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
Ab o u t Ea ch Sa m p le r Lib ra ry
Fo ld e r Ty p e (Disp la y )
Procedure for Deleting a Patch or Performance
After selecting “No” in Step 12 of “Loading Sampler
In th e ca se o f th e S-7 0 0 se rie s
Libraries,” press [F4 (JumpDel)] to display the Delete
<Volume>: This indicates Volume folders.
screen.
fig.07-01.e_65
<Performance>:This indicates Performance folders.
<Patch>:
<Partial>:
This indicates Patch folders.
This indicates Partial folders.
<Sample>: This indicates Sample folders.
W h e n Lo a d in g Lib ra rie s fo r th e AKAI
S1 0 0 0 / 3 0 0 0
1 . Turn the VALUE dial or press [
] or [
] to select
the Patch or Performance to be deleted, then press
[F5 (Mark)]. To place a marker on all Patches and
Performances, press [F4 (Mk All)]. Press this once
more to remove all markers.
<Partition A-?>:This indicates Partition folders.
<Volume>: This indicates Volume folders. Actually, the
name may be set as desired. Check the reference material
included with the CD-ROM to be loaded.
2 . Press [F6 (Delete)] to delete the selected Patch or
* Program files are loaded to the User Area as Patches. When
files are displayed, as when shown in the File Select screen, the
extension “.AKP” is added. In addition, sample files are loaded
to SIMMs. When these files are displayed, as when shown in
the File Select screen, the extension “.AKS” is added.
Performance.
* To cancel the operation, press [EXIT].
* When a Patch is deleted, the Partials and samples used in
that Patch are deleted simultaneously. However, Partials
and samples are not deleted when they are also being used
in another Patch.
W h e n Lo a d in g AIFF/ W AV Lib ra rie s
The folder display and level varies according to the library
(CD-ROM) type.
By pressing [F3 (View)], you can specify the category of
patches to be displayed.
Check the reference material included with the CD-ROM to
be loaded.
When the View Switch window appears, turn the
VALUE dial or press [
] or [
] to select the category
to be displayed, then press [F5 (On/ Off)]. To place a
marker on all categories, press [F4 (All)]. Press this once
more to remove all markers. And then press [F6 (OK)] to
finalize the category.
* Partials and samples can also be deleted in much the same
way as Patches—simply move the cursor to Type and
select the type to delete.
* You can also display the Delete screen by pressing
[SYSTEM/UTILITY], causing the indicator to flash, then
pressing [F4 (Delete)].
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Ab o u t th e Disp la y o f Fo ld e r
Sa m p le Lo a d
Ca te g o rie s in Sa m p le r Lib ra rie s
All samples (wave data) stored on the memory card are
loaded to the XV-5080’s SIMM. When switching to a memory
card containing Patches or Performances that use samples,
the samples in the card are used after being loaded to the
SIMM.
S-700 Series files have the category indicated.
The following categories can be selected.
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
other: No Assign
BEL: Bell(Bell, Bell Pad)
BRS: Brass(Synth Brass)
BS : Bass(Acoustic Bass, Electric Bass)
BTS: Beats(Beat, Groove)
CMB: Combination(Splitted/ Layerd Patch)
CYM: Cymbals
* Patches and Performances may not sound properly if samples
in the inserted card are not loaded to the SIMM.
fig.07-02.e_70
DRM: Drums
FLT: Flute
1 . Press [DISK], getting the indicator to light.
GTR: Guitar(Acoustic Guitar, Electric uitar
HAT: Hi Hats
2 . Press [F3 (SampLd)].
3 . A message asking you if you want to overwrite the
HIT: Hits(Orchestra Hit)
KEY: Keyboards
Partials and Samples in the SIMM appears.
KIK: Kick Drums
4 . Press [F6 (Load)] to begin loading the data.
KIT: Drum Kits
Once the data has been loaded successfully, the display will
indicate “Completed!”
MLT: Mallets
ORC: Symphony Orchestra
ORG: Organ(Electric Organ, Pipe Organ)
PAD: Synth Pads(Pad Synth)
PNO: Piano(Acoustic Piano)
PRC: Percussion
5 . Press [DISK] to return to the previous page.
Fre e Are a
SIMM
This displays the amount of free space in the SIMM.
SAX: Saxophones
Disk
SFX: Sound Effects
This displays the free disk space remaining on the connected
SCSI device.
SNR: Snare Drum
STR: Strings
TOM: Toms
To ta l
VOX: Voices(Vox, Choir)
WND: Winds
This indicates the total size of the contents of the SIMM and
samples on the memory card.
In addition to the S-700 Series, there is also the following.
SVD: (XV-5080's settings files)
•
•
•
•
AIFF: AIFF file
WAV: WAV file
AS: AKAI sample
AP: AKAI patch
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6 . Display the sample you want to load, then press [F6
Au to Lo a d
(SELECT)].
This selects the folder (<Sample>) to which samples are
* If you want to delete the settings, press [F5 (OFF)].
automatically loaded when the XV-5080’s power is turned
The path name showing the media used for the Auto Load
on.
appears below Auto Load Path.
fig.07-03.e
* If you select Auto Load, the display will show a message for
ten seconds, informing you that “Samples for automatic
loading were found. Execute automatic loading?” If you wish
to load the samples, press [F6 (Yes)]. If you do not wish to
load, press [EXIT]. If you do nothing while the message is
displayed (ten seconds), the samples will be loaded
automatically.
7 . Press [DISK] to return to the previous page.
1 . Press [DISK], getting the indicator to light.
Fre e Are a
2 . Press [F4 (Auto Ld)].
SIMM
3 . Press [F1 (Drive)].
This displays the amount of free space in the SIMM.
The Drive window will appear.
The SCSI ID and Volume Label of the connected SCSI device
appear in the window.
Disk
This displays the free disk space remaining on the connected
SCSI device.
4 . Turn the VALUE dial to select the SCSI ID for the drive
you want to load.
To ta l
5 . Press [F6 (OK)].
SIMM
This shows the total memory of the installed SIMM.
By pressing [F2 (View)], you can specify the category of files
to be displayed.
Ta rg e t
This shows the total size of all samples in the selected Sample
folder.
Turn the VALUE dial or press [
] or [
] to select the
category to be loaded, then press [F5 (On/ Off)]. Press [F4
(All) if you want to set markers for all files. Press this once
more to remove all markers. And then press [F6 (OK)] to
finalize the category.
* The category designations are displayed in the upper right of
the screen with the View function. When categories are
specified, “View(Filterd)” appears. If no category is specified,
“View(All)” appears.
The files can also be sorted. Press [F3 (Sort)] to open the
window for selecting the sorting preferences. Turn the
VALUE dial or press [
then press [F6 (OK)].
] or [
] to select the sort type,
Without: Files are displayed in the order in which they have
been saved.
Name: Files are sorted by file name, in ascending order.
Size
Size
: Files are sorted in ascending order of file size.
: Files are sorted in descending order of file size.
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fig.07-012.e_70
Pla y in g Ba ck Lo a d e d
Sa m p le r Lib ra rie s
Patches and Performances loaded from CD-ROMs are
recorded in the USER Group.
The SCSI ID and Volume Label of the connected SCSI device
appears in the window.
After selecting a Patch or Performance in the USER Group,
you can then play the sounds.
6 . Turn the VALUE dial to select the SCSI ID for the drive
1 . Press [USER], getting the indicator to light.
you want to load.
2 . Press [PATCH] or [PERFORM] to make its indicator
7 . Press [F6 (OK)].
light.
The contents of the disk drive appear.
3 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
* Items enclosed by <> indicate folders. Folders cannot be
loaded.
Patch or Performance you want to play.
You can play the sounds using a connected MIDI keyboard
or other such device.
8 . Turn the VALUE dial or press [
] or [
] to select the
* You can also press the VOLUME knob to listen to the sound.
When a Performance is selected, this plays the Patch phrase of
the currently selected part.
folder containing the file to be loaded.
9 . Press [
], and the files (.SVD) available for loading
will be displayed.
* Press [
] to move up one level in the hierarchy.
Lo a d in g Da ta Sa ve d o n a Zip
Disk
1 0 . Move the cursor to the file to be loaded (.SVD) and press
[F6 (Select)].
Files containing the collected Patch, Performance, Rhythm
Set, System, and Favorites List settings (.SVD), as well as the
wave data (.WAV/ .AIF) that use them, are saved to Zip
Disks. (p. 200)
1 1 . Press [F6 (Load)].
All of the XV-5080’s settings in effect at the time the
particular file was saved are loaded.
* All data in the User Area is overwritten.
These files are loaded to the internal memory (All wave data
in the Sample folder is also loaded to the SIMM.).
In d ivid u a lly Lo a d in g Pa tch e s,
Pe rfo rm a n ce s, o r Rh y th m Se ts
* A disk that can be used by Windows 98/95/3.1 or MS-DOS
can be used as is.
You can load data for Patches, Performances, or Rhythm Sets
separately.
* A Mac OS format disk cannot be used.
1 . Turn on the power to the Zip disk drive and the XV-5080.
2 . Insert the disk containing the data you want to load.
Use the following procedure.
1 . Move the cursor to the file (.SVD) that appears in Step 9
3 . Press [DISK].
in the preceding operation and press [
].
The Disk Menu page will appear.
The Patch, Performance, and Rhythm Set folders are
displayed.
4 . Press [F1 (Load)].
The Load page will appear.
2 . Move the cursor to the type of tone you want to load and
fig.07-011.e_70
press [
].
The files that can be loaded are displayed.
3 . Turn the VALUE dial or press [
] or [
] to select the
file to be loaded, then press [F5 (Mark)] to place a “●”
marker.
5 . Press [F1 (Drive)].
* If you want to place a marker on all files, press [F4 (Mk ALL)].
Press this once more to remove all markers.
The Drive window will appear.
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All of the XV-5080 settings for the selected file, with values as
they were when saved, are loaded.
You can also sort files. When you press [F3 (Sort)] the
* If any samples are used in the file being loaded, a confirmation
message appears, asking whether or not you want to overwrite
the data (Partials/Waves) already contained in the SIMM.
Press [F6 (OK)] to proceed with the load. To cancel, press
[EXIT].
window for selecting the type of sort is displayed. Turn the
VALUE dial or press [
] or [
] to select the way you
want the files to be sorted, then press [F6 (OK)].
Without:
Name:
Files appear in the order saved.
* If you want to load only a part of the data in the file, refer to
"Individually Loading Patches, Performances, or Rhythm Sets
Files are sorted according to the file names.
Size
Size
: Files are sorted in ascending order of file size.
:
Files are sorted in descending order of file size.
* Although you can directly call up Patches, Performances, and
Rhythm Sets on a memory card using Program Change
messages, panel controls or MIDI Exclusive messages cannot
be used to perform editing. For editing, you need to transfer
the data to internal memory first.
4 . Press [F6 (Load)].
A message saying, “Overwriting to the User Group. OK?”
appears, and a window showing the User Group Patch and
Performance numbers to be overwritten is displayed.
* If you want to cancel, press [EXIT].
* When Patches/Performances/Rhythm Sets are loaded
individually, only the lower-level data essential to production
of the sound will be loaded at the same time.
Sa m p le -Re la te d Utilitie s
Se n d in g a n d Re ce ivin g Sa m p le s
(Sa m p le Du m p )
This is convenient when creating an overall XV-5080 settings
file (.SVD) that fits the capacity of the SIMMs you actually
have installed.
You can transmit and receive wave data using the Sample
Dump MIDI Universal Exclusive Message. Samples (wave
data) including loop points and loop modes can be
exchanged with samplers supporting the Sample Dump
Standard.
Lo a d in g Da ta Sto re d o n
Me m o ry Ca rd s
* Sample name and key-range data is not transmitted. Set this
separately on the receiving sampler.
Data (.SVD) files stored on memory cards holding the Patch,
Performance, Rhythm Set, and system settings are loaded to
the internal memory. The memory is overwritten when the
file is loaded (all wave data in the Sample folder is loaded
into the SIMM as well). Should there be any data in internal
memory you want to keep, be sure to save it onto a memory
card before you begin the load procedure.
* Data received by the XV-5080 automatically has
“MIDI******” added to the name.
Tra n sm ittin g Sa m p le s
1 . Connect the XV-5080 and the receiving sampler with a
MIDI cable.
1 . Press [DISK].
For instructions on making settings for the receiving
sampler, refer to the owner’s manual for the connected
device.
2 . Press [F1 (Load)].
3 . Press [F1 (Drive)].
4 . Turn the VALUE dial and select "CARD."
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
5 . Press [F6 (OK)].
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
The contents of the card are displayed.
6 . Turn the VALUE dial and select the file you want to load.
3 . Press [F6 (Menu)] to select Menu 2.
7 . Move the cursor to the file to be loaded (.SVD) and press
4 . Press the [F2 (S-Dump)] button.
[F6 (Select)].
The Sample Dump Standard page appears.
8 . Press [F6 (Load)].
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
fig.07-04.e_70
Em p h a sizin g a n d Su p p re ssin g
th e Hig h En d o f Lo a d e d Sa m p le s
(Em p h a sis)
Emphasizing the high range frequencies in data received in a
Sample Dump from another manufacturer’s sampler may
improve the sound quality of the samples. Furthermore,
when samples (wave data) are transmitted to another
manufacturer’s sampler, the high end of the samples may be
boosted in the destination device. In such instances, by
suppressing the high frequencies prior to transmission, you
can minimize the changes in sound quality that could occur
as a result of the transmission.
f
5 . Turn the VALUE dial or press [
] or [
] to select the
Sample to be transmitted, then press [F5 (Mark)]. Press
[F4 (Mk All) if you want to set markers in all samples.
Press this once more to remove all markers.
* This displays the number and size of marked samples on the
display.
6 . Press [F6 (Trans)] to initiate the transmission.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
The following message appears on the display:
“Transmitting....”
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
* Reception using Sample Dump Standard can only be done in
this mode.
2 . Press [F6 (Menu)] to select Menu 2.
3 . Press [F4 (Emphasis)].
Re ce ivin g Sa m p le s
The Emphasis page will appear.
ig.07-05.e_70
1 . Connect the XV-5080 and the transmitting sampler with
a MIDI cable.
For instructions on making the transmitting sampler settings,
refer to the owner’s manual for the connected device.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
f
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
4 . Turn the VALUE dial or press [
] or [
] to select the
sample whose high end is to be emphasized or
suppressed, then press [F4 (Mark)]. Press [F3 (Mk All) if
you want to set markers in all samples. Press this once
more to remove all markers.
3 . Press [F6 (Menu)] to select Menu 2.
4 . Press the [F2 (S-Dump)] button.
The Sample Dump Standard page appears.
This completes the preparations needed for reception.
5 . If emphasizing the high end, press [F6 (+Emphas)]. If
suppressing the high end, press [F5 (-Emphas)].
5 . Transmit the Sample from the transmitting device.
The following message appears in the display: “Receiving....”
Fre e Are a
SIMM
Fre e Are a
This displays the amount of free space in the SIMM.
SIMM
This displays the amount of free space in the SIMM.
Ma rk e d
The number and size of marked files to be processed are
displayed.
Ma rk e d
The number and size of marked files to be processed are
displayed.
Pro ce ssin g
This indicates the approximate time required for processing
Emphasis.
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Ch a p te r 7 Lo a d in g a Va rie ty o f Da ta
Au to m a tica lly Cre a tin g Mu lti-
Pa rtia l Pa tch e s (Cre a te Pa tch )
This creates Partials from samples loaded to the SIMM,
assigns the samples to the original key, and automatically
creates a Multi-Partial Patch.
* If any of the loaded samples have the same original key, the
sample assigned latest is given priority (assignments are made
in order of file name).
* Patches are created in the Temporary Area. If any Patch is
being edited, save it before continuing.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
2 . Press [F6 (Menu)] to select Menu 2.
3 . Press [F5 (Create)].
The Create Patch page appears in the display.
ig.07-06.e_70
4 . Turn the VALUE dial or press [
] or [
] to select the
samples composing the Patch, then press [F5 (Mark)].
Press [F4 (Mk All) if you want to set markers in all
samples. Press this once more to remove all markers.
5 . Press [F6 (Create)]. The message “Creates a Patch in
Temporary area. Sure?” appears.
6 . Press [F6 (OK)] to proceed; the Patch is created.
7 . After creating this, edit the Split settings as needed.
Fre e Are a
SIMM
This displays the amount of free space in the SIMM.
Ma rk e d
The number and size of marked files to be processed are
displayed.
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Ch a p te r 8
Sa vin g To n e s a n d O th e r Da ta Yo u ’ve Cre a te d
7 . If you wish to cancel the save procedure, press [EXIT].
Sa vin g Ed its to th e XV-
5 0 8 0 ’s In te rn a l Me m o ry
(W rite )
The message “Write Protect ON” may appear in a window. If
you want to continue with the save, press [DEC] to set Write
Protect to “OFF,” and press [F6 (OK)] to close the window.
Then press [F6 (Execute)] once more to execute the save.
If you turn the power off or select another Patch,
Performance, or Rhythm Set after you have modified a Patch,
Performance or Rhythm Set, the changes you have made will
be lost. If you wish to preserve the data, store it into the XV-
5080’s USER memory.
Once set to “OFF,” Write Protect remains disabled until the
power to the instrument is turned off.
The following number of Patches, Performances, and
Rhythm Sets can be saved in internal memory:
* In step 5, you can press the VALUE dial (SOUND LIST) and
select the save destination from the list.
fig.08-002.e_70
128 Patches, 64 Performances, and 4 Rhythm Sets
* When saving tones that use samples loaded to the SIMM, you
must carry out the Write operation, then save all the data,
including the data in the SIMM, to the memory card or Zip
disk (p. 195, p. 200).
* By selecting a file (.SVD) with CARD or XV-5080 settings
saved in Step 5, you can then save directly to the memory card.
•
•
Press [F5 (-10)] or [F6 (+10)] to change the indication in
steps of 10.
1 . Make sure the Patch, Performance, or Rhythm Set that
When a memory card is inserted in the slot, press [F2] to
display Sound List (Card), then press [-Bank] or [+Bank]
to switch the bank.
you wish to save is selected.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
•
Press the VALUE dial (SOUND LIST) or [F6 (Execute)] to
execute saving. Press [EXIT] to return to the normal
display.
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
3 . Press [F6 (Menu)] to select Menu 1.
Compare Function (Patch/Rhythm Set)
4 . Press [F1 (Write)].
The Compare function allows you to play the Patch/
Rhythm Set currently stored in the selected memory
location so that you can make sure you really want to
overwrite it. To play the stored Patch/ Rhythm Set, press
[F1 (Compare)] to display the Patch Compare/ Rhythm
The Write page will appear.
fig.08-001.e_70
Compare page.
fig.08-003.e_65
5 . Either by rotating the VALUE dial, or by pressing [INC]/
[DEC], select the save destination.
* When saving a Patch or Rhythm Set, you can use the Compare
function to check the sound of the Patch or Rhythm Set at the
save destination. (p. 194)
You can select the write destination in this display as
well. After selecting the write-destination Patch/ Rhythm
Set, press [F1 (Write)] or [EXIT] to return to the Write
page.
* If saving to a CARD, select the save destination file. In this
case, the Patch, Performance, or Rhythm Set is overwritten on
the card. If there is no file, use the SAVE procedure (p. 195, p.
* Please be aware that when the Compare function is used
to play a Patch/Rhythm Set, it may sound slightly
different than when it is played normally.
* Files (.SVD) created on devices or instruments other than the
XV-5080 are not displayed when data is being written.
6 . Press [F6 (Execute)], and the material will be saved. You
are then returned to the PLAY page.
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When Changing the Settings for the
Patch or Rhythm Set Assigned to a
Part in a Performance
Sa vin g All Da ta to Me m o ry
Ca rd ([DISK] - [F2 (SAVE)])
After changing the settings for the Patch or Rhythm Set
assigned to a Part in a Performance, if you then try to save
the Performance without first saving the changes in the
The Patch, Performance, Rhythm Set, and System settings in
internal memory can be saved as a single file to a
commercially available memory card (SmartMedia 3.3/ 5 V),
with the name you specify.Samples (wave data) loaded to the
SIMM are also saved at the same time.
settings, the following display appears.
fig.08-004.e_65
Use cards when you wish to save data for which there is no
more space internally, or so that data you’ve created can be
used on another XV-5080.
A “*” is indicated for Patches/ Rhythm Sets that haven’t been
saved.
* If there are any samples on the card that you don’t want to
lose, be sure to save them to another card beforehand, since
existing samples on the card will be overwritten during the
save process.
* If you do not need to save the Patch settings, press [F5 (OK)].
A message will ask for confirmation, so press [F5 (OK)] once
again to save the Performance.
* If you press [F6 (Cancel)], you will return to the Perform
Write page.
Be fo re Usin g a Me m o ry Ca rd
* Insert memory cards with the gold contacts facing downwards.
* Be sure to insert the memory card all the way into the slot.
If you want to keep the Patch or Rhythm Set settings, you
will first need to follow the procedure below to save the
Patch or Rhythm Set before you go on to save the
Performance.
* Do not touch the contacts of the memory card, or allow them to
become soiled.
* Never remove the memory card or turn off the power while an
operation—such as reading or writing data, or formatting—is
being performed on the memory card. Doing so can destroy the
data on the memory card and/or render the memory card itself
unusable. (The CARD indicator flashes when the memory card
is being accessed.)
1 . Press [F3 (Patch)] or [F4 (Rhythm)].
The page for saving Patches or Rhythm Sets will appear.
fig.08-005.e_70
* If you affix the write-protect label to the write-protect area of
the memory card, you will not be able to format the card or
write data to it. If you wish to format the card or write data to
it, do so without the label affixed. For details on the write-
protect sticker, refer to the owner’s manual for your memory
card.
2 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
number of the save destination.
* When saving Patches or Rhythm Sets, you can check the
sound of the save-destination Patch or Rhythm Set. (p. 194)
3 . Press [F6 (Execute)] to carry out the save procedure.
* If you attempt to format a card or write data to it when the
write-protect label is affixed, the following message will
appear.
The “*” indication changes to “-.”
If more than one Patch/ Rhythm Set needs to be saved, the
Source will automatically change to the next Part.
Memory Card Write Protected
* You can also move the cursor to Source and freely select Parts
of the Patch to be saved.
4 . Repeat steps 2 and 3 to save the Patch/ Rhythm Set.
To return to the Perform Write page without completing the
process, press [EXIT].
When you have finished saving the Patch/ Rhythm Set, you
will automatically return to the Perform Write page.
5 . Press [F6 (Execute)] to carry out the save procedure.
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5 . Press [F6 (OK)].
Fo rm a ttin g a Me m o ry Ca rd
6 . Press [F6 (SAVE)].
This function initializes (formats) a memory card so that XV-
The Save File window will appear.
fig.08-03.e_70
5080 data can be saved onto it. Before a new memory card or
a memory card used on another device can be used on the
XV-5080, it must be formatted on the XV-5080.
* Please be aware that formatting will erase all the data
currently stored on the memory card.
Here, give the file a name, and press [F6 (OK)].
1 . Press [DISK], lighting the indicator.
2 . Press [F5 (Tool)].
When naming the file, turn the VALUE dial or press [
],
[
], [
], or [
] to move the cursor and select the
characters for the name, then press [F3 (Next→)].
[F2 (←Prev)]: To move back one character.
[F4 (Insert)]: To insert a “_”.
3 . Press [F1 (Format)].
4 . Press [F1 (Drive)].
5 . Turn the VALUE dial or press [
] or [
] to select
[F5 (Delete)]: To delete the character at the cursor position.
“CARD.”
The Save what from SIMM? window will appear.
6 . Press [F6 (OK)].
* If desired, you can change the Volume Label by pressing [F4
(V.Label)].
WAV + PARAMETERS: All of the XV-5080’s settings are
saved. In addition, samples loaded to the SIMM are saved in
WAV format.
7 . Press [F6 (Quick)]. The message “Format, OK?” appears.
8 . When you press [F6 (OK)], the format is executed.
* To cancel the operation, press [EXIT].
AIFF + PARAMETERS: All of the XV-5080’s settings are
saved. In addition, samples loaded to the SIMM are saved in
AIFF format.
When formatting the memory card, you can accomplish the
same result by executing [F5 (Full)].
PARAMETERS ONLY: All of the XV-5080’s settings other
than those for sample wave data loaded to the SIMM are
saved.
Sa vin g Da ta
* When saving with “PARAMETERS ONLY” selected, the
wave data itself is not saved. After first performing a save
using “WAV + PARAMETERS” or “AIFF +
Patch, Performance, Rhythm Set, System, and Favorites List
settings in internal memory can be saved as a single file to a
commercially available memory card (SmartMedia), with the
name you specify. Saved files are registered to the Sound
Library CARD A-H, and can be managed just like preset
sounds.
PARAMETERS,” which save the waveforms as well, you can
save time during tone editing or other operations on the XV-
5080 by thereafter carrying out saves (if saving to the same
media) using the “PARAMETERS ONLY” option.
If you later load data from a CD-ROM or other source, you
will need to save the waveforms themselves using the “WAV
+ PARAMETERS” or “AIFF + PARAMETERS” option.
* The Sample folder is created and saved automatically if any
wave data is used in the Patch or other data.
* If you are saving files containing many Patches, which make
extensive use of samples (wave data), then you will need a high
capacity card. In such cases, we recommend that you save the
data to a Zip disk or other such external SCSI device.
7 . When you are finished making settings, press [F5 (Full)]
or [F6 (Quick)].
The save is executed.
[F5 (Full)]: All samples loaded into SIMM will be saved. The
1 . Press [DISK].
saved data will overwrite all samples in the memory card.
2 . Press [F2 (Save)].
3 . Press [F1 (Drive)].
[F6 (Quick)]: Only the changes relative to the contents of the
memory card will be saved. The samples in the memory card
will be compared (by name and size) with the samples
loaded into the SIMM memory of the XV-5080, and only the
newly added samples or replaced samples will be saved.
4 . Rotate the VALUE dial, or press [
]/ [
] to select
“CARD.”
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If samples not loaded into the SIMM memory are found in
the save destination memory card, those samples will be
deleted from the memory card.
The files can also be sorted. Press [F3 (Sort)] to open the
window for selecting the sorting preferences. Turn the
The sample is automatically registered to an empty bank in
CARD A-H.
VALUE dial or press [
then press [F6 (OK)].
] or [
] to select the sort type,
* To cancel the operation, press [EXIT].
Without: Files are displayed in the order in which they have
been saved.
Fre e Are a
Name: Files are sorted by file name, in ascending order.
SIMM
Size
Size
: Files are sorted in ascending order of file size.
This displays the amount of free space in the SIMM.
: Files are sorted in descending order of file size.
Disk
8 . Press [F6 (Rename)].
This displays the free disk space remaining on the connected
SCSI device.
The Rename window will appear.
fig.08-04.e_70
The type of disk is indicated within square brackets ([]).
Furthermore, if there are any Partials, those numbers are
shown as well.
O rg a n izin g th e Co n te n ts o f
Me m o ry Ca rd s
9 . Turn the VALUE dial or press [
], [
], [
], or
[
] to move the cursor and select the characters for
the name, then press [F3 (Next→)].
[F2 (←Prev)]: To move back one character.
[F4 (Insert)]: To insert a “_”.
<Re n a m in g a File (REN AME)>
1 . Press [DISK], lighting the indicator.
2 . Press [F5 (Tool)] .
[F5 (Delete)]: To delete the character at the cursor position.
1 0 . When you are finished naming the song, press [F6 (OK)].
3 . Press [F2 (Rename)].
* To cancel the operation, press [EXIT].
The Card&Disk Rename page appears.
4 . Press [F1 (Drive)].
De le tin g File s (De le te )
1 . Press [DISK], lighting the indicator.
2 . Press [F5 (Tool)].
5 . Rotate the VALUE dial, or press [
]/ [
] to select
“CARD.”
6 . Press [F6 (OK)].
3 . Press [F2 (Delete)].
7 . Rotate the VALUE dial to select the file to be changed.
The Card&Disk Delete page appears.
4 . Press [F1 (Drive)].
5 . Rotate the VALUE dial, or press [INC]/ [DEC] to select
By pressing [F2 (View)], you can specify the category of files
to be displayed.
“CARD.”
6 . Press [F6 (OK)].
Turn the VALUE dial or press [
] or [
] to select the
category to be loaded, then press [F5 (Mark)]. Press [F4 (Mk
All) if you want to set markers for all files. Press this once
more to remove all markers.
7 . Turn the VALUE dial or press [
] or [
] to select the
files to be deleted, then press [F5 (Mark)]. Press [F4 (Mk
All) if you want to set markers for all files. Press this once
more to remove all markers.
* After moving the cursor to the folder, you can open the folder
by pressing [
], and close the folder by pressing [
].
* Markers on folders are removed when folders are moved.
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4 . Press [F1 (Drive)].
5 . Rotate the VALUE dial, or press [
]/ [
] to select
By pressing [F2 (View)], you can specify the category of files
to be displayed.
“CARD.”
6 . Press [F6 (OK)].
Turn the VALUE dial or press [
] or [
] to select the
category to be loaded, then press [F5 (Mark)]. Press [F4 (Mk
All) if you want to set markers for all files. Press this once
more to remove all markers.
7 . Turn the VALUE dial or press [
] or [
] to select the
files to be copied or moved, then press [F5 (Mark)]. Press
[F4 (Mk All) if you want to set markers for all files. Press
this once more to remove all markers.
The files can also be sorted. Press [F3 (Sort)] to open the
window for selecting the sorting preferences. Turn the
By pressing [F2 (View)], you can specify the category of files
to be displayed.
VALUE dial or press [
then press [F6 (OK)].
] or [
] to select the sort type,
Turn the VALUE dial or press [
] or [
] to select the
category to be loaded, then press [F5 (Mark)].Press [F4 (Mk
All) if you want to set markers for all files. Press this once
more to remove all markers.
Without: Files are displayed in the order in which they have
been saved.
Name: Files are sorted by file name, in ascending order.
The files can also be sorted.Press [F3 (Sort)] to open the
window for selecting the sorting preferences. Turn the
Size
Size
: Files are sorted in ascending order of file size.
: Files are sorted in descending order of file size.
VALUE dial or press [
then press [F6 (OK)].
] or [
] to select the sort type,
8 . Press [F6 (Delete)].
The confirmation message “Delete Sure?” appears in the
Without: Files are displayed in the order in which they have
display.
been saved.
9 . When you press [F6 (OK)], the delete is executed.
Name: Files are sorted by file name, in ascending order.
* To cancel the operation, press [EXIT].
Size
Size
: Files are sorted in ascending order of file size.
: Files are sorted in descending order of file size.
* You cannot delete individual Patches or Performances within
a file (.SVD).
8 . Press [F6 (Select)].
The Card&Disk Copy Destination page appears.
Fre e Are a
* The amount of space available on the media at the copy/move
destination is displayed. This allows you to check whether or
not marked files can be copied/moved.
SIMM
This displays the amount of free space in the SIMM.
9 . After pressing [F1 (Drive)], turn the VALUE dial or press
Disk
This displays the free disk space remaining on the connected
SCSI device.
[
] or [
] to select the media you want to be the
copy/ move destination.
When copying or moving to a folder, press [
select the move destination folder, then press [
the folder.
] or [
] to
Ma rk e d
] to close
This displays the number and size of marked samples being
transmitted.
1 0 . Press [F6 (OK)].
1 1 . Press [F6 (Copy)] to initiate the copy.
<Co p y in g / Mo vin g File s (Cp / Mo ve )>
1 . Press [DISK], lighting the indicator.
2 . Press [F1 (Crd&Dsk)].
Here, when you press [F5 (Move)], the move is executed.
* To cancel the operation, press [EXIT].
* You cannot copy or move individual Patches or Performances
within a file (.SVD).
3 . Press [F5 (Tool)].
The Card&Disk Copy Source page appears.
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4 . After the page indicated in Step 4 appears, insert the card
<Re g iste rin g to Ba n k s (Re g stry )>
containing the file you want to copy, then press [F6
(OK)].
1 . Press [DISK], lighting the indicator.
2 . Press [F5 (Tool)].
5 . Turn the VALUE dial to select the file you want to copy,
3 . Press [F5 (Regstry)].
then press [F6 (Select)].
The Card&Disk Card Registration page appears.
The following screen appears.
fig.08-05.e_70
fig.08-07.e_70
* The amount of memory available in installed SIMMs, and the
size of samples on the card are displayed.
6 . When the screen shown above appears, insert the copy-
destination card and press [F6 (OK)].
fig.08-08.e_70
4 . Press [
], [
], [
], or [
] to move the cursor to
the bank to be used for registering.
5 . Press [F1 (List)] to display the Sound File List page.
6 . Turn the VALUE dial to select the file you want to
The contents of the copy destination card are displayed. Files
in the copy destination with "+" appearing before the file
names are shown at the top.
register, then press [F6 (OK)].
The registration is carried out.
* To cancel the operation, press [EXIT].
When you execute the copy after selecting the files with the
VALUE dial, then only the contents are overwrittem, with
the copy destination name remaining the same.
If no bank is available, you can select the files of a bank you
intend to erase, and press [F5 (Cancel)]. The registrations are
cancelled, and the bank is thus made empty and available.
You can change the file name by pressing [F5 (Name)].
For details on assigning names, refer to <Renaming a File/
Co p y in g File s o n O n e Me m o ry Ca rd to
An o th e r Ca rd (Ca rd Cp y )
Folder (RENAME)> (p. 201).
* After naming the file, pressing [F6 (OK)] the executes the
copy.
You can take files stored on one memory card and copy them
to another memory card.
7 . Press [F6 (Copy)] to execute the File Copy, and the
* The copy destination memory card must already be formatted.
following screen will appear.
* To cancel the copy, press [EXIT].
Always be sure to follow the on-screen instructions when
inserting and removing cards during File Copy. Using a
different procedure or sequence may damage the card.
09.e_70
1 . Press [DISK], lighting the indicator.
2 . Press [F5 (Tool)].
8 . fIf you want to go on to copy any further files or other
3 . Press [F6 (CardCpy)].
data, press [F6 (Yes)]. To exit the operation, press [EXIT].
The Card&Disk Card Card File Copy page appears.
fig.08-06.e_70
* No samples on the memory card are copied in this operation.
To copy samples, use the Sample Load procedure (p. 188) to
load the samples to the SIMM, then save them onto the card
(p. 196).
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1 . Prepare the media to be formatted.
Sa vin g All Da ta to Zip Disk
([DISK] - [F2 (SAVE)])
2 . Press [DISK], lighting the indicator.
3 . Press [F5 (Tool)].
By connecting a SCSI-compatible Zip drive (optional ZIP-
EXT-2S), you can take all of the Patch, Performance, Rhythm
Set, System, and Favorites List settings that are stored in the
internal memory, put them in one single file, name the file,
then save it onto a Zip disk. Use Zip disks when you want to
save data for which there is no more space available
internally, or so the data you’ve created can be used on
another XV-5080.
4 . Press [F1 (Format)].
5 . Press [F1 (Drive)].
6 . Turn the VALUE dial or press [
] or [
] to select the
drive or partition.
If the disk is one that has been partitioned, the indication
“SCSI1:PO*******” is used for the partitions.
* The Sample folder is created and saved automatically if any
wave data is used in the Patch or other data.
7 . Press [F6 (OK)].
* If desired, you can change the Volume Label by pressing [F4
(V.Label)].
Fo rm a ttin g a Zip Disk / Ha rd Disk
(Fo rm a t)
8 . Press [F5 (Full)] or [F6 (Quick)]. The message “Format.
OK?” appears.
This function initializes (formats) a Zip disk or a hard disk so
that XV-5080 data can be saved onto it. Formatting is
required whenever a new disk is used with the XV-5080.
* If you press “Full” with a partition selected, the entire
partition is formatted.
9 . When you press [F6 (OK)], the format is executed.
* Please be aware that formatting will erase any data that may
already be residing on the disk.
* To cancel the operation, press [EXIT].
There are two types of formatting, “Quick” and “Full”.
1 0 . Press [EXIT] to return to the previous page.
With the Zip disk, first try formatting using “Quick.” If
unable to format, then a message suggesting the “Full”
format appears in the screen. Press [F6 (OK)] to continue
with formatting; to cancel, press [EXIT].
Sa vin g Da ta
1 . Press [DISK].
When reformatting a disk that has already been formatted,
carry out the format according to the following.
2 . Press [F2 (Save)].
3 . Press [F1 (Drive)].
If the hard disk has not been partitioned
Use the Quick format.
4 . Rotate the VALUE dial, or press [
]/ [
] to select
If the hard disk has been partitioned into a number of
separate partitions, and you are formatting a specified
partition
“SCSI *: *******.”
* When copying to a folder, press [
move destination folder, then press [
] or [
] to select the
] to open the folder.
Select the partition number, then use the Quick format.
If the hard disk has been partitioned into a number of
separate partitions, and you want to format the entire
hard disk
5 . Press [F6 (OK)].
6 . Press [F6 (SAVE)].
The Save File window will appear.
fig.08-03.e_70
Use the Full format (partitions are eliminated).
* Storage devices that offer a write protect function may have
the write protect settings selected. If you try formatting such
devices using the “Quick” format, a message suggesting you
use the “Full” format appears. Press [F6 (OK)] to continue
with formatting; to cancel, press [EXIT].
Here, give the file a name, and press [F6 (OK)].
* A disk that can be used by Windows 98/95/3.1 or MS-DOS
can be used as is.
When naming the file, turn the VALUE dial or press [
],
[
], [
], or [
] to move the cursor and select the
* A Mac OS format disk cannot be used.
characters for the name, then press [F3 (Next→)].
* Partitioning of hard disks cannot be done with the XV-5080.
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[F2 (←Prev)]: To move back one character.
[F4 (Insert)]: To insert a space.
Creating a Folder
[F5 (Delete)]: To delete the character at the cursor position.
The Save what from SIMM? window will appear.
You can create folders when saving data to Zip drives or
other similar external SCSI devices.
Saving all of the XV-5080's settings using a separate
folder for the contents of each sample allows you to
efficiently manage Patches and other such data that use
samples contained in the SIMM.
WAV + PARAMETERS: All of the XV-5080’s settings are
saved. In addition, samples loaded to the SIMM are saved in
WAV format.
Pressing [F2 (New)] takes you to the Create New Folder
window.
fig.08-011.e_70
AIFF + PARAMETERS: All of the XV-5080’s settings are
saved. In addition, samples loaded to the SIMM are saved in
AIFF format.
PARAMETERS ONLY: All of the XV-5080’s settings other
than those for sample wave data loaded to the SIMM are
saved.
Here, after the name is applied, pressing [F6 (OK)]
creates the folder.
* When saving with “PARAMETERS ONLY” selected, the
wave data itself is not saved. After first performing a save
using “WAV + PARAMETERS” or “AIFF +
For instructions on supplying a name, refer to Step 9 of
PARAMETERS,” which save the waveforms as well, you can
save time during tone editing or other operations on the XV-
5080 by thereafter carrying out saves (if saving to the same
media) using the “PARAMETERS ONLY” option.
Fre e Are a
If you later load data from a CD-ROM or other source, you
will need to save the waveforms themselves using the “WAV
+ PARAMETERS” or “AIFF + PARAMETERS” option.
SIMM
This displays the amount of free space in the SIMM.
Disk
7 . When you are finished making settings, press [F5 (Full)]
This displays the free disk space remaining on the connected
SCSI device.
or [F6 (Quick)].
The save is executed.
[F5 (Full)]: All samples loaded into SIMM will be saved. The
saved data will overwrite all samples in the storage device.
O rg a n izin g a Zip Disk
[F6 (Quick)]: Only the changes relative to the contents of the
storage device will be saved. The samples in the folder on the
external storage device (e.g., Zip) will be compared (by name
and size) with the samples loaded into the SIMM memory of
the XV-5080, and only the newly added samples or replaced
samples will be saved. If samples not loaded into the SIMM
memory are found in the folder on the save destination
external device, those samples will be deleted from the
storage device.
<Re n a m in g a File / Fo ld e r (REN AME)>
This is exactly the same as with memory cards. Refer to
“Organizing the Contents of Memory Cards” (p. 197).
<De le tin g a File / Fo ld e r (De le te )>
This is exactly the same as with memory cards. Refer to
“Organizing the Contents of Memory Cards” (p. 197).
* To cancel the operation, press [EXIT].
<Co p y in g / Mo vin g a File / Fo ld e r (Cp /
Mo ve )>
8 . Press [DISK] to return to the previous page.
This is exactly the same as with memory cards. Refer to
“Organizing the Contents of Memory Cards” (p. 197).
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5 . Either rotate the VALUE dial, or press [INC]/ [DEC] to
In itia lizin g a So u n d
choose “DEFAULT” or “PRESET.”
This function resets all of the parameters in the current Patch,
Performance, Rhythm Set or Rhythm Tone to their standard
or factory default settings.
6 . Press [F6 (Execute)] to execute initializing and return to
the PLAY page.
If you used “DEFAULT” to initialize, the name will be either
* Only current data (data in the temproary memory) will be
initialized, and data resident in user memory will not be
rewritten. If you want to restore all settings to their factory
values, carry out Factory Reset. (p. 206)
“INIT PATCH” or “INIT PERFORM.”
* A “*” symbol will appear at the left of the group name,
indicating that the settings have been modified. If you wish to
keep the settings, you need to store them. (p. 194)
* To initialize the General MIDI System, refer to Initializing
GM Settings (Init) (p. 229).
Fo r Rh y th m Se ts
Ty p e (In itia lize Ty p e )
1 . Select a Rhythm Set that you wish to initialize.
DEFAULT: This resets the data currently in the Temporary
memory to the standard values called “initial data”: INIT
PATCH, INIT PERFORM or INIT SET. Use this setting when
you wish to create a sound from scratch.
If you will be using “PRESET” for the initialization, select the
USER group Rhythm Set number whose data you wish to
restore.
* If you will be using “DEFAULT” for the initialization, it does
not matter which Rhythm Set is selected.
PRESET: Resets the current data to the factory user group
settings.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
If the current data is a Performance, Patch or Rhythm Set
from PRESET memory (PR-A–G), and initialization is
performed with “PRESET” specified, the data will be reset to
the value of the correspondingly numbered user group.
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
3 . Press [F6 (Menu)] to select Menu 1.
Fo r Pa tch e s o r Pe rfo rm a n ce s
4 . Press [F3 (Initialize)].
1 . Select the Patch/ Performance you wish to initialize.
The Initialize page will appear.
If you will be using “PRESET” for the initialization, select the
USER group Performance/ Patch number whose data you
wish to restore.
5 . Carry out the following operation for the Rhythm Set to
be initialized.
To Initialize a Rhythm Tone
* If you will be using “DEFAULT” for the initialization, it does
not matter which Patch or Performance is selected.
Press [F1 (Key)]. The Rhythm Initialize Key page will appear.
fig.08-007.e_70
* You can select “DEFAULT (4 TONES)“or “DEFAULT
(MULTI-PARTIAL)“ in a Patch Mode.
2 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
To Initialize a Rhythm Set
Press [F2 (All)]. The Rhythm Initialize All page will appear.
fig.08-008.e_70
3 . Press [F6 (Menu)] to select Menu 1.
4 . Press [F3 (Initialize)].
The corresponding Initialize page will appear.
fig.08-006.e_70
6 . Either rotate the VALUE dial, or press [INC]/ [DEC] to
choose “DEFAULT” or “PRESET.”
In the case of Rhythm Tone (Key), you must also specify the
percussion instrument (key) that you wish to initialize.
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Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ’ve Cre a te d
Ch a n g in g th e W a y MIDI Sig n a ls
Use [
] [
] to move the cursor to Key, and either rotate
Arrivin g a t MIDI IN 2 Are
Ha n d le d
the VALUE dial, or press [INC] [DEC] to select the key.
You can also use TONE SELECT [1]–[4] to select the
percussion instrument sound you wish to edit, according to
the key that plays it.
By pressing [F2 (MIDIIN2)] in the Initialization screen, you
can change the setting that determines how the MIDI signals
that arrive at MIDI IN 2 will be handled.
TONE SELECT [1]: Selects the key one octave below the
currently selected key.
Use the VALUE dial to select the parameter, and press [F6
(Init)] to make the setting.
TONE SELECT [2]: Selects the key a semitone below the
currently selected key.
TONE SELECT [3]: Selects the key a semitone above the
MIDI IN 2
currently selected key.
Mo d e
TONE SELECT [4]: Selects the key one octave above the
GM OFF:
controlled, in combination with the signals from MIDI IN 1.
GM: Instates the GM System basic settings.
Performances, Patches, and Rhythm Sets are
currently selected key.
* You can also press a key on a connected MIDI keyboard to
select the desired percussion instrument sound (key). (p. 168)
Arriving MIDI signals will control a separate GM sound
generator, independent of the Performances, Patches, and
Rhythm Sets controlled through MIDI IN 1.
7 . Press [F6 (Execute)] to proceed with the initialization.
Afterwards, you’re returned to the RHYTHM PLAY
page.
GM2:
Instates the GM2 System basic settings.
If you used “DEFAULT” to initialize the Rhythm Set, the
Arriving MIDI signals will control a separate GM sound
generator, independent of the Performances, Patches, and
Rhythm Sets controlled through MIDI IN 1.
name will be “INIT SET.”
* A “*” symbol will appear at the left of the group name,
indicating that the settings have been modified. If you wish to
keep the settings, you need to store them. (p. 194)
Points to Note When Writing Data
Tra n sm ittin g Da ta to a n
Ex te rn a l MIDI De vice (Da ta
Tra n sfe r)
You can transmit sound generator or System settings that are
in the XV-5080’s memory—or stored on a memory card—to
an external MIDI device or to the XV-5080’s USER memory.
Tra n sm ittin g to a n Ex te rn a l MIDI
De vice
The act of transmitting Patch, Performance, Rhythm Set or
System data to an external MIDI device is called a “bulk
dump.” You can perform a bulk dump when two XV-5080s
are connected to each other, or when you wish to store Patch,
Performance, Rhythm Set or System data on an external
MIDI device as a safety backup of your XV-5080 data.
fig.08-009.e_70
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* If the indicator is steadily lit, you are in SYSTEM mode. Press
So u rce
[SYSTEM/UTILITY] once again, so the indicator is blinking.
2 . Press [F6 (Menu)] to select Menu 2.
3 . Press [F1 (Xfer)].
You can specify the data to be transmitted by selecting the
appropriate combination shown below.
For example, if you wish to transmit the USER group Patches
001–020, you would specify “PATCH USER: 001–020.”
4 . Press [F1 (To MIDI)].
TYPE
ALL
BLOCK
USER
TEMP
USER
TEMP
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
PERFORM
01–64
desired value.
-PATCH
+PATCH
*1
*2
7 . Press [F6 (Trans)] to execute the transmission.
CTRL
USER
TEMP
USER
TEMP
USER
* To cancel the operation, press [EXIT].
PATCH
001–128
Tra n sm ittin g to Use r Me m o ry
RHYTHM
SYSTEM
001–004
You can transmit Patch, Performance or Rhythm Set settings
to the USER memory and System settings to the System
memory.
fig.08-010.e_70
* 1 The current Performance
* 2 The current Performance and the Patch or Rhythm Set
assigned to each Part of the Performance
* ALL indicates all of the Patches, Performances, and Rhythm
Sets in the following settings (USER or TEMP).
You can specify the data to be transmitted by selecting the
appropriate combination shown below.
* When set to TEMP, data in the temporary area will be
transmitted.
For example, if you wish to transmit only the PR-A group
* When set to CTRL, the status of Performances, including
Performance Bank Selects and Program Changes, are not sent
as Exclusive messages, but rather as MIDI Channel messages.
For more on the transmitted MIDI channel messages, refer to
“MIDI Implementation.” (p. 282)
Patch 001, specify “PATCH PR-A: 001–001.”
If the selected data is too large to fit completely into the
transmission destination, as much of the data as will fit will
be transmitted, starting at the first number of the specified
transmission destination.
* It is not possible to transmit GM system settings.
(Example)
Source
De stin a tio n
Type:
PATCH
As shown in the diagram, connect the XV-5080 to the
external MIDI device before performing the procedure.
Block
PR-A:001–005
fig.08-012.e_70
Destination
User:127
XV-5080
MIDI OUT
MIDI IN
If the above settings are made and transmission is executed,
only the two PR-A group Patches 01 and 02 will be
transmitted to USER group Patches 127 and 128.
Sequencer, etc.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
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TYPE
BLOCK
PR-A, B
USER *2
PR-A, B
CARD
7 . Press [F6 (Trans)] to execute the transmission.
ALL
*1
*6
* To cancel the operation, press [EXIT].
PERFORM
01–64
01–32
Pro te ctin g th e In te rn a l
Me m o ry (Pro te ct)
01–64
PATCH
USER *2
PR-A–G *3
CARD
001–128
001–128
001–128
This feature helps prevent the accidental overwriting of
USER memory to ensure that Patch, Performance or Rhythm
Set data is not accidentally erased.
*5
*4
XP-A–H
USER *2
PR-A–G *3
CARD
RHYTHM
1–4
1–2
1–4
In te rn a l W rite Pro te ct
The Internal Write Protect setting prevents the Write
operation from accidentally overwriting USER memory
locations. When this is set “ON,” the data cannot be written.
Data can be only written when Internal Write Protect is set to
“OFF.” When the XV-5080’s power is turned on, this setting
is automatically turned on, —you will need to turn it off
before writing data to the USER memory. It is also possible to
turn this setting off during the Write procedure.
*5
*4
*6
*6
XP-A–H
CARD
SYSTEM
F-LIST
CARD
* 1 Since there are no others, Performances other than PR-A/B
cannot be selected.
* 2 Move data within the User Memory in block units. The
Move destination Patch is overwritten.
Ex clu sive Pro te ct
* 3 PR-H uses GM data, and cannot be transmitted.
* 4 Depends on the Wave Expansion Board installed
The Exclusive Protect setting prevents System Exclusive
messages received from an external MIDI device from
rewriting USER memory settings. When this is set “ON,” the
data cannot be written. Data can be only written when
Internal Write Protect is set to “OFF.” When it is set to
“OFF,” data can be rewritten, even if the Internal Write
Protect setting is set to “ON.”
* 5 After designating the file, set the range specifications for the
block being transmitted.
* 6 Specify the file.
* If the number sent exceeds the capacity of the User memory,
then transmission of the data stops the moment the memory is
filled.
The following shows the setting procedure.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
De stin a tio n
Set the number at the transfer-destination in "User."
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
* You cannot select ALL, SYSTEM, or F-LIST.
The following shows the setting procedure.
2 . Press [F6 (Menu)] to select Menu 1.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
3 . Press [F5 (Protect)].
blinking.
The User Memory Protect page will appear.
fig.08-011.e_70
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
2 . Press [F6 (Menu)] to select Menu 2.
3 . Press [F2 (Xfer)].
4 . Press [F2 (to USER)].
4 . Press [
]/ [
] to move the cursor to the parameter
you wish to set.
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
5 . Either by rotating the VALUE dial, or by pressing [INC]/
the parameter you want to set.
[DEC], select the save destination.
6 . Turn the VALUE dial or press [INC] / [DEC] to select the
desired value.
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6 . Press [EXIT] several times to return to the applicable
Re se ttin g All Se ttin g s to
PLAY page.
De fa u lt Fa cto ry Se ttin g s
(Fa cto ry )
* Even if the Internal Write Protect setting is “ON” (write
prohibit), incoming System Exclusive messages can rewrite
the User memory data if the Exclusive Protect setting is set to
“OFF” (write permit).
This function resets all the XV-5080’s settings to their factory
default values.
If the XV-5080 internal memory already contains important
data that you have created, this operation will cause all of
this data to be lost. If you wish to preserve any of its
contents, you must save them on a commercially available
storage device before performing the Factory Reset.
The following shows the setting procedure.
1 . Press [SYSTEM/ UTILITY], getting its indicator to start
blinking.
* If the indicator is steadily lit, you are in SYSTEM mode. Press
[SYSTEM/UTILITY] once again, so the indicator is blinking.
2 . Press [F6 (Menu)] to select Menu 3.
3 . Press [F5 (Factory)].
The Factory Reset page appears.
fig.08-012.e_70
4 . Press [F6 (Execute)] to execute Factory Reset.
To cancel the Factory Reset, press [EXIT].
After the Factory Reset operation has been executed, the
PATCH PLAY page will appear.
The message “Write Protect ON” may appear in a window. If
you want to continue with the Factory Reset, press [DEC] to
set Write Protect to “OFF,” and press [F6 (OK)] to close the
window. Then press [F6 (Factory)] once more to execute the
Factory Reset.
Once set to “OFF,” Write Protect remains disabled until the
power to the instrument is turned off.
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Ch a p te r 8 Sa vin g To n e s a n d O th e r Da ta Yo u ’ve Cre a te d
Re g iste rin g Fa vo rite Pa tch e s
in th e FAVO RITE LIST
Dire ctly re g iste rin g to th e list o n th e
PATCH/ RHYTHM PLAY p a g e
You can bring together your favorite and most frequently
used Patches in one place by registering them in the
FAVORITE LIST. The FAVORITE LIST gives you immediate
access to your favorite Patches, whether they are in the XV-
5080 itself, on Wave Expansion Boards, or on memory cards.
You can register up to 64 Patches in this list.
The following display appears when [SHIFT] is pressed
while on the PATCH/ RHYTHM PLAY page.
fig.08-13.e_65
If [F6 (Register)] is pressed at this stage, the data is
registered to the lowest-numbered opening on the list.
If a Patch on a Wave Expansion Board or memory card is
registered in the list and selected, no sound will be produced
for the Patch unless the required Wave Expansion Board or
memory card is inserted.
Although the message "COMPLETED" instantly appears
in the display when the registration is executed, if the
registration cannot be carried out
1 . At the PATCH PLAY page, choose the Patch you want to
register.
2 . Press the VALUE dial.
The Sound List window will appear.
Se le ctin g Pa tch e s fro m th e
FAVO RITE LIST
* When the SOUND LIST is displayed, press the [F2 (Favorit)]
button.
1 . Press the VALUE dial.
3 . Turn the VALUE dial or press the [INC]/ [DEC] button to
The Sound List or Favorite window will appear.
select the desired registration destination number.
* If the Sound List window will appear, Press the [F2 (F-List)]
button.
* No data is registered at the factory settings.
2 . Turn the VALUE dial or press the [INC]/ [DEC] button to
On this page, pressing the VOLUME knob allows you to
audition the Patch being registered.
select the desired Patch.
* If you want to cancel the selection, simply press the [UNDO]
button. The value of the parameter will be restored to what it
was when you first positioned the cursor there.
4 . Press the [F3 (Register)] button.
The Patch will be registered to the Favorite List.
To cancel the registration, press the [EXIT] button.
3 . Press the [F6 (Select)] button to return to the previous
* To cancel the registration, select the file you want to cancel,
and then press the [F4 (Remove)] button.
page.
5 . Press the [EXIT] button or the VALUE dial to return to
the PATCH PLAY page.
You can also register the Rhythm Set in the same way.
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
Po w e ru p Mo d e
Se ttin g s Co m m o n to th e
En tire XV-5 0 8 0 ([SYSTEM/
Sets the condition of the XV-5080 when its power is turned
on.
UTILITY] - [F1 (Ge n e ra l)])
Available Settings:
fig.09-001.e_70
DEFAULT: The XV-5080 will be ready to play Patch
“USER:001.”
LAST: The XV-5080 will power up exactly as it was when it
was turned off.
Ch a ra cte r Sty le
Setting Procedure:
Select the style of the large characters that are displayed in
the various Play pages (number and name display).
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.
TYPE 1: Bold mono-spaced characters
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to make its indicator light.
TYPE 2: Light mono-spaced characters
TYPE 3: Bold proportionally-spaced characters
TYPE 4: Light proportionally-spaced characters
2 . Press [F1 (General)] several times to call up the SYSTEM
General #1 page.
Rh y th m Ed it Ke y
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
You can set whether you’ll be able to select percussion
instruments for editing only by operating the XV-5080’s
front-panel controls or also by pressing keys on a connected
MIDI keyboard.
the parameter you want to set.
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
Available Settings:
PANEL: Percussion instrument sounds can be selected only
by using the XV-5080’s TONE SELECT [1]–[4].
PANEL&MIDI: Percussion instrument sounds can be selected
using the XV-5080’s TONE SELECT [1]–[4] and by pressing a
key on a connected MIDI keyboard.
5 . Press [EXIT] to return to the applicable PLAY page.
Ma k in g O ve ra ll Se ttin g s
Se tu p
If you’d like to select percussion instruments using the XV-
5080’s [E]–[H] buttons while playing the sounds on a MIDI
keyboard, select “PANEL.”
LCD Co n tra st
Range: 1–10
This adjusts the contrast/ brightness of the display. Higher
values will make the characters darker.
SCSI Pro b e Tim e
This sets the time spent in recognizing connected SCSI
devices. The higher the value set, the longer the time
allowed. Ordinarily, this is set to “1.”
Pa tch Re m a in (Pa tch Re m a in Sw itch )
This specifies whether you want the notes that are sounding
to remain (ON) or turn off (OFF) when you select a new
Patch or Rhythm Set in Patch mode.
Settings values: 1-10
* If the connected SCSI device is not being recognized, set a
higher value, then following the instructions in “Turning Off
the Power” in Quick Start (P.12), turn off the XV-5080’s
power. After this, follow the instructions in “Turning On the
Power” in Quick Start (P.12) to turn on the power in the
proper sequence.
In addition, when “ON” is selected, the Volume and Pan
data, and the Key Mode and other settings received via MIDI
(CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY
ON) are passed on.
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
Se ttin g th e Tu n in g a n d Vo lu m e
Se ttin g s
Ma k in g Sca le Tu n e Se ttin g s
([SYSTEM/ UTILITY] - [F1
(Ge n e ra l)])
Ma ste r
fig.09-002.e_70
The Master Tune and Master Key Shift settings are common
to all Patches, Performances, Rhythm Sets, and the GM
Mode.
Le ve l (Ma ste r Le ve l)
Range: 0–127
Adjusts the volume of the entire XV-5080.
Sca le Tu n e
Tu n e (Ma ste r Tu n e )
The XV-5080 allows you to use temperaments other than
equal temperament. The pitch of each note can be adjusted in
one-cent steps (1/ 100th of a semitone) relative to its equal-
tempered pitch.
Range: 415.3–466.2 kHz
Adjusts the overall tuning of the XV-5080. The setting is
expressed as the frequency played by the A4 key.
One set of Scale Tune settings can be created in Patch mode.
In Performance mode and GM system mode, each Part can
have its own Scale Tune settings.
Ke y Sh ift (Ma ste r Ke y Sh ift)
Range: -24– +24
Shifts the overall pitch of the XV-5080 in semitone steps.
* The selected scale applies to MIDI messages received from an
external MIDI device as well as to local sound generation.
* When a Multi-partial Patch or Rhythm Set is selected, this
setting is disabled.
Sw itch (Sca le Tu n e Sw itch )
Turn this on when you wish to use a tuning scale other than
equal temperament.
Se ttin g th e Sy ste m Te m p o
Pa tch Sca le C–B
Sy ste m Te m p o
Range: -64– +63
Clo ck So u rce (Sy ste m Clo ck So u rce )
Specifies the tempo clock of the system.
Available Settings:
Ke y Sca le C–B
Range: -64– +63
INT: The internal clock will be the tempo clock for the
Th e Se ttin g s in Pa tch Mo d e (Pa tch
Sca le )
system.
MIDI: An external clock will be the tempo clock for the
system.
* The Patch’s scale tune settings share the same settings as those
for Part 1 of the Performance.
Te m p o (Sy ste m Te m p o )
1 . Press [PATCH], getting its indicator to light.
Range: 20–250
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator
Sets the system tempo.
has lighted.
* When Clock Source is set to “MIDI,” the tempo will
synchronize to the clock messages received from an external
MIDI device, so the tempo value will be ignored.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to get the indicator to light
steadily.
3 . Press [F1 (General)] several times to call up the SYSTEM
General #2 page.
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the note name you want to set.
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
5 . Either turn the VALUE dial, or press [INC]/ [DEC] to
select the desired value.
<Equal Temperament>
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
This scale divides an octave into 12 equal parts using the
tuning system that is most widely used in Western
music.
6 . Press [EXIT] to return to the applicable PLAY page.
<Pure Temperament (Tonic is C)>
With this tuning, the three fundamental chords sound
richer compared to equal temperament. This effect only
applies to one key, and transposition can produce less-
pleasing results.
Th e Se ttin g In Pe rfo rm a n ce / GM m o d e
(Ke y Sca le )
1 . Press [PERFORM] or [GM] to make its indicator light.
<Arabian Scale>
2 . Press [SYSTEM/ UTILITY], and confirm that its indicator
In this scale, E and B are a quarter note lower, and C#,
F# and G# are a quarter-note higher compared to equal
temperament. The intervals between G and B, C and E, F
and G#, Bb and C#, and Eb and F# have a natural
third—the interval between a major third and a minor
third. On the XV-5080, you can use Arabian
has lighted.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to get the indicator to light
steadily.
3 . Press [F1 (General)] several times to call up the SYSTEM
General #2 page.
temperament in the three keys of G, C and F.
4 . Press PART SELECT [1/ 17]–[16/ 32] to select the Part
Example:
you want to set.
Note name
Equal
Pure
Arabian scale
To select Parts 17–32, press [1-16/ 17-32], getting its indicator
to light, and then press the desired PART SELECT [1/ 17]–
[16/ 32] button.
temperament
(tonic C) temperament
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
C#
D
5 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
+4
the note name you want to set.
Eb
E
+16
-14
-2
-12
-51
-8
6 . Either turn the VALUE dial, or press [INC]/ [DEC] to
select the desired value.
F
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
7 . Press [EXIT] to return to the applicable PLAY page.
Bb
B
-10
-49
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
Ma k in g th e Eq u a lize r
Se ttin g s ([SYSTEM/ UTILITY] -
[F2 (O u tp &EQ )] - [F2 (EQ )])
5 . Press [EXIT] to return to the applicable PLAY page.
You can set the equalization for each of the output jacks.
* ON and OFF are applied to all of the equalizers as a group. (p.
Se ttin g s ([SYSTEM/ UTILITY] -
[F3 (MIDI)])
24)
fig.09-003.e_70
fig.09-004.e_70
O u tp u t-A (1 / 2 )–D (7 / 8 )
Setting Procedure:
L.F (Lo w Fre q u e n cy )
Range: 200/ 400 Hz
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator
has lighted.
Selects the frequency of the low range.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to get the indicator to light
steadily.
L.G (Lo w Ga in )
Range: -15– +15
Specifies the low-frequency gain (amount of boost or cut).
Positive (+) settings will emphasize the low-frequency range.
2 . Press [F3 (MIDI)] to call up the SYSTEM MIDI page.
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
H.F (Hig h Fre q u e n cy )
Range: 2000/ 4000/ 8000 Hz
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
Selects the frequency of the high range.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
H.G (Hig h Ga in )
Range: -15– +15
Specifies the high-frequency gain (amount of boost or cut).
5 . Press [EXIT] to return to the applicable PLAY page.
Positive (+) settings will emphasize the high-frequency
range.
Setting Procedure:
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator
has lighted.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to get the indicator to light
steadily.
2 . Press [F2 (Outp&EQ)] to call up the SYSTEM EQ page.
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
4 . Turn the VALUE dial or by press [INC]/ [DEC] to select
the desired value.
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
GM Sy ste m O N (Re ce ive GM-O N Ex clu sive
Sw itch )
Se ttin g th e MIDI Ch a n n e l
The XV-5080 produces sound, and can change its internal
settings in response to MIDI messages that it receives from
other devices. In order for this to occur, the MIDI
transmission channels of the external device must match the
MIDI reception channels of the XV-5080.
Specifies whether GM-ON (General MIDI System On)
messages will be received (ON), or not (OFF).
GM2 Sy ste m O N (Re ce ive GM2 -O N Ex clu sive
Sw itch )
Specifies whether GM Level2-ON (General MIDI Level 2
System On) messages will be received (ON), or not (OFF).
MIDI Re ce ive Ch (MIDI Re ce ive
Ch a n n e l)
GS Re se t (Re ce ive GS Re se t Ex clu sive Sw itch )
Pe rf Ctl Ch (Pe rfo rm a n ce Co n tro l Ch a n n e l)
This specifies whether GS Reset messages will be received
(ON), or not (OFF).
When changing Performances by MIDI messages from the
external device, set the transmit channel of the external
device and this channel to the same channel.
Ma k in g th e Sy ste m Ex clu sive
Se ttin g s
* When you perform a Factory Reset operation, Perform Ctrl Ch
is reset to “16.”
Pa tch / Rh y Rx Ch (Pa tch / Rh y th m Se t Re ce ive
Ch a n n e l)
Sy ste m Ex clu sive
De vice ID (De vice ID N u m b e r)
Set this channel to use an external MIDI device (such as a
MIDI keyboard) for playing Patches and Rhythm Sets, or to
have Patches or Rhythm Sets changed as the result of MIDI
messages.
Range: 17–32
When transmitting or receiving System Exclusive messages,
set this parameter to match the device ID number of the other
MIDI device.
Re ce ive Sw (Re ce ive Sy ste m Ex clu sive Sw itch )
Se ttin g th e MIDI Tra n sm it/
Re ce ive Sw itch
Specifies whether System Exclusive messages will be
received (ON), or not (OFF).
MIDI Tx (MIDI Tra n sm it)
Sp e cify in g th e Re ce p tio n Sta tu s
fo r Ea ch To n e
Ed it Da ta (Tra n sm it Ed it Da ta Sw itch )
When Patch, Performance or Rhythm Set settings are
modified, you can specify whether the modified settings will
be transmitted as System Exclusive data (ON), or not (OFF).
You can enable or disable the response to received MIDI
messages for each Part of a Performance, each Tone of a
Patch, and each Rhythm Tone of a Rhythm Set.
Rx Sw itch (Re ce ive Sw itch )
For more information about setting the MIDI response of
Parts in a Performance, check out “Establishing a Part’s MIDI
Settings (MIDI) (p. 164).”
Pro g ra m Ch g (Re ce ive Pro g ra m Ch a n g e
Sw itch )
For more information about the settings for a Patch, refer to
Specifies whether Program Change messages will be
received (ON), or not (OFF).
“MIDI Rx Switch (MIDI Receive Switch)” (p. 147).
For more about setting the MIDI response of Rhythm Tones
in a Rhythm Set, refer to “Other Settings (CONTROL)/ Rx
MIDI (Receive MIDI)” (p. 179).
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
Specifies whether Bank Select messages will be received
(ON), or not (OFF).
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
The MIDI messages from both MIDI IN 1 and 2 are received
MIDI IN co n n e cto rs
as 16 GM2 parts.
The XV-5080 has two MIDI IN connectors. By providing for
the use of two MIDI IN connectors, the XV-5080 readily
accommodates a broad variety of performance situations.
fig.09-MIDI IN-3.e
IN 1
IN 2
The XV-5080’s MIDI IN 1 connector is usually used for
keyboard performances and the like, whereas the MIDI IN 2
connector is designed as an auxiliary connector, convenient
for using a connected sequencer or other device playing
accompaniment.
* If using only one of the MIDI IN connectors, we recommend
that you use MIDI IN 1.
GM2 16Part
In Pa tch / Rh y th m Se t Mo d e
Both MIDI IN 1 and 2 will be received.
fig.09-MIDI IN-1.e
•
Reception of GM ON or GS Reset at MIDI IN
The status of the XV-5080 changes as follows, depending on
the connector through which a GM ON or GS Reset has been
received.
IN 1
IN 2
W h e n GM O N o r GS Re se t is re ce ive d a t MIDI
IN 1 :
Instates the same status as that which would be entered if the
GM button on the panel were pressed to switch to GM mode.
fig.09-MIDI IN-4.e
IN 1
IN 2
Patch
In Pe rfo rm a n ce Mo d e
The MIDI messages from MIDI IN 1 and 2 are received, for
32 Parts.
Furthermore, you can set the MIDI IN 1/ 2 reception switch
you can play Parts 1–16 with the messages from MIDI IN 1
GM2 16Part
and Parts 17–32 using the messages from MIDI IN 2.
fig.09-MIDI IN-2.e
* When GM ON or GS Reset is received at MIDI IN 2:
IN 1
IN 2
In Pa tch / Rh y th m Se t Mo d e
The instrument plays XV-5080 Patches while functioning as a
16-part GM2 sound module.
Part IN1
Part IN2
RX Switch
RX Switch
You cannot use the panel to select GM2 sound module tones
from MIDI IN 2, nor can you edit these tones. They can only
be controlled with an external MIDI device.
Performance
W h e n Usin g th e XV-5 0 8 0 a s a GM So u n d
Mo d u le
•
When switching to GM mode by pressing the GM button
on the panel:
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
fig.09-MIDI IN-5.e
the status to "GM OFF" in the Initialize screen ([UTILITY] -
[Init] - [MIDI In2]).
IN 1
IN 2
Co n n e ctin g Tw o o r Mo re XV-
5 0 8 0 s to In cre a se Po ly p h o n y
The Stack function allows you to combine two or more XV-
5080 units to increase the number of voices that can be
played simultaneously. You can connect and use up to eight
XV-5080s.
fig.09-005.e
Patch
GM2 16part
Usage with Three Connected Units
Keyboard
MIDI OUT
In Pe rfo rm a n ce Mo d e
The instrument operates as a Performance (32-part) sound
module and a 16-part GM2 sound module (for a total of 48
parts). In this case, the MIDI IN 2 Receive switch settings for
the Performance’s parts are disabled (always OFF).
MIDI IN
THRU
IN
XV-5080 (2 of 3) XV-5080 (3 of 3)
Stack Mode: 3 Stack Mode: 3
THRU
IN
XV-5080 (1 of 3)
Stack Mode: 3
Stack Number: 1 Stack Number: 2 Stack Number: 3
You cannot use the panel to select GM2 sound module tones
from MIDI IN 2, nor can you edit these tones. They can only
Setting value
Sequence of sound played
be controlled with an external MIDI device.
1
4
7
2
5
8
3
6
9
fig.09-MIDI IN-6.e
IN 1
IN 2
10
Sta ck
Mo d e (Sta ck Mo d e )
Range: OFF/ 2–8
When using more than one XV-5080, set this parameter to 2–
8. When not using the Stack feature, set the parameter to
OFF.
Performance GM2 16part
If Stack mode is turned off, the Stack function will not
operate, and each XV-5080 will attempt to sound all of the
note messages that it receives.
GM Mo d e
The instrument functions as two independent 16-part GM2
N u m b e r (Sta ck N u m b e r)
sound modules, one for each of the MIDI IN connectors.
fig.09-MIDI IN-7.e
Range: 1–8
When the Stack feature is enabled, this parameter selects the
XV-5080 that is to function as the primary/ first unit—this is
the XV-5080 that will sound the first 128 voices.
IN 1
IN 2
The Stack function will not operate when using Patches in
which Key Assign of Key Mode is set to “MONO” or whose
Portamento Switch is “ON” (Patch Common Control #1
page), or for Rhythm Sets. Patches for which the KEY MODE
Key Assign is “MONO” or whose Portamento Switch is
“ON” will be sounded by the first XV-5080, and Rhythm Sets
will be sounded by the second XV-5080.
GM2 16part
GM2 16part
* The Multi-Partial Patches are sounded by the first XV-5080.
You can initialize the MIDI IN2 GM sound generator and set
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
Se le ctin g Co m m o n
Co n tro lle rs ([SYSTEM/
UTILITY] - [F4 (Co n tro l)])
Co n firm in g th e Cu rre n t
Sta tu s ([SYSTEM/ UTILITY] -
[F6 (In fo )])
fig.09-007.e_70
These settings allow you to choose four MIDI controllers for
global use when controlling the parameters of any Patch or
Performance. The settings in each Patch or Performance will
determine whether the two controllers you choose here will
actually be used. In each Patch or Performance, you will also
need to specify the parameters to be controlled.
fig.09-006.e_70
The basic steps needed to carry out the procedure are as
follows:
1 . Press [SYSTEM/ UTILITY], and confirm that its indicator
has lighted.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to get the indicator to light
steadily.
Sy ste m Co n tro l 1 –4 (Sy ste m Co n tro l
So u rce 1 –4 )
2 . Press [F6 (Info)] to call up the SYSTEM Info page.
Available Settings:
3 . Press [EXIT] to return to the Play page.
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
W a ve Ex p a n sio n A–D (W a ve
Ex p a n sio n Bo a rd N a m e A–D)
AFTERTOUCH: Aftertouch
Setting Procedure:
The display shows the names of Wave Expansion Boards
(SR-JV80 Series) installed in slots EXP A–D.
Slots without any boards installed are shown as “---------.”
1 . Press [SYSTEM/ UTILITY], getting the indicator to light.
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to make its indicator light.
SRX (SRX Bo a rd N a m e E–H)
The display shows the names of Wave Expansion Boards
2 . Press [F4 (Control)] to call up the SYSTEM Control page.
(SRX Series) installed in slots EXP E–H.
Slots without any boards installed are shown as “---------.”
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the System Control (System Control Source) you wish to
set.
SIMM
This displays the installation status of any memory modules
(SIMMs), used for Wave data.
4 . Turn the VALUE dial or by press [INC]/ [DEC], to select
the desired value.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
BATTERY CHECK
The XV-5080 contains a battery that retains the data in its
internal memory when the unit’s power is turned off. This
displays the status of the battery. If the display says “OK,”
there is sufficient voltage. If the display says “LOW,” the
battery voltage has run down. Contact your nearby Roland
service station as soon as possible to have the battery
replaced.
5 . Press [EXIT] to return to the applicable PLAY page.
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Ch a p te r 9 O th e r Se ttin g s/ Sta tu s Ch e ck s
SCSI ID
XV-5 0 8 0 Se lf
The current SCSI ID number of the XV-5080 will be
displayed.
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Ch a p te r 1 0
Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
Co n tro llin g th e XV-5 0 8 0 in
Re a l Tim e Usin g a n Ex te rn a l
MIDI De vice
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
* Hold down [SHIFT] and press [
parameter furthest to the left.
] to move to the
External MIDI controllers (modulation lever, foot switch,
expression pedal, etc.) can be used to modify Multi-effects
settings or Tone settings in real time.
4 . Either by rotating the VALUE dial or by pressing [INC]/
[DEC], set the value.
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
Ch a n g in g th e Mu lti-Effe cts
Se ttin g s Fro m a n Ex te rn a l MIDI
De vice
5 . Press [EXIT] to return to the PLAY page.
* A “*” symbol will appear at the left of the group name,
indicating that the settings have been modified. If you wish to
keep the settings, you need to store them. (p. 194)
The parameters that can be changed via MIDI are
predetermined according to the selected Multi-effects.
This applies to the Multi-effects parameters described on p.
32, the Part name will appear in the upper right of the display.
This indicates that the parameters below are the parameters for
the Patch assigned to the Part.
Settings can be made for each Patch, Performance, and
Rhythm Set.
1 . Select the Multi-effects you wish to use.
MFX Co n tro l p a g e ([PATCH] - [F6
(Effe cts)] - [F3 (MFX Ctl)]/
[PERFO RM] - [F5 (Effe cts)] - [F3 (MFX
Ctl)])
Make the settings in the Effects General page. For the setting
procedure, refer to Chapter 2 (p. 25).
2 . From the various Play pages, press buttons in the
following order to access the Effects MFX #2 page.
MFX Co n tro l So u rce
For Patches or Rhythm Sets
Select the Control Source to be used for changing the Multi-
effects parameters, and set the Sens and parameters to be
changed by that Control Source.
[F6 (Effects)] - [F3 (MFX Ctl)]
fig.10-001.e_70
OFF: No controller is used.
CC01–95: Controller numbers 1–95 (except for 32)
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
For Performances or GM System
SYS-CTRL 1–4: System control 1–4
[F5 (Effects)] - [F3 (MFX Ctl)]
fig.10-002.e_70
MFX Co n tro l Se n s -6 3 – +6 3
If you wish to modify the selected parameter in a positive (+)
direction—i.e., a higher value, toward the right, or faster
etc.—from its current setting, select a positive (+) value. If
you wish to modify the selected parameter in a negative (-)
direction—i.e., a lower value, toward the left, or slower etc.—
from its current setting, select a negative (-) value. Higher
numbers produce a greater amount of change.
Three different Multi-effects can be set for a Performance.
Press [F3 (MFX Ctl)] to switch among the MFX-A, MFX-B,
and MFX-C pages.
The MIDI channel used for controlling the three multi-effects
is determined according to the MFX Source setting (p. 31).
Setting MFX Source to "PERF" selects the Performance MFX
Ctrl Channel, and when set to "Part 1-32," the Receive
Channel settings for each part are used.
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
LFO2
MFX Co n tro l De stin a tio n
PITCH-ENV: Pitch envelope
TVF-ENV: TVF envelope
TVA-ENV: TVA envelope
Selects the Multi-effects parameter to be controlled using the
MFX Control 1–4 source. The parameters that can be selected
depend on which type of Multi-effects is set to MFX Type.
De stin a tio n
Mo d ify in g To n e Se ttin g s
Selects the parameters to be controlled.
You can use the Matrix Control parameter to control Tone
settings in realtime.
OFF: No control
PITCH
TMT
Se le ctin g th e MIDI Me ssa g e s Use d fo r
Co n tro l a n d th e Pa ra m e te rs to Be
Ch a n g e d
Effects parameters ([PATCH] - [F6 (Effects)] (p. 26))
DRY LEVEL
CHORUS SEND
REVERB SEND
MFX CTRL1
MFX CTRL2
MFX CTRL3
MFX CTRL4
1 . Select the Patch you’re going to use.
2 . Press [F5 (LFO&CTL)].
3 . Press [F3 (Control)].
4 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
the parameter you want to set.
WG parameters ([PATCH] - [F2 (WG)] - [F1 (WG Prm)] (p.
5 . Turn the VALUE dial, or press [INC]/ [DEC] to select the
136))
desired value.
FXM DEPTH
* If you’ve made a mistake, simply press [UNDO]. The value of
the parameter will be restored to what it was when you first
positioned the cursor there.
LFO parameters ([PATCH] - [F5 (LFO&CTL)] p. 145)
LFO1 PCH DEPTH
LFO2 PCH DEPTH
LFO1 TVF DEPTH
LFO2 TVF DEPTH
LFO1 TVA DEPTH
LFO2 TVA DEPTH
LFO1 PAN DEPTH
LFO2 PAN DEPTH
LFO1 RATE
6 . Press [EXIT] to return to the PATCH PLAY page.
Ma trix Co n tro l 1 –4
So u rce (Ma trix Co n tro l So u rce )
Assign one of the following controllers to Matrix Control
Source. If you wish to use a controller that will apply to all
Patches, or a controller that cannot be directly selected here,
select SYS-CTRL1–4, and then select the controller using the
System Control Source parameters (SYSTEM Control screen).
LFO2 RATE
PITCH parameters ([PATCH] - [F2 (WG)] - [F1 (Pch Env)]
Available Settings:
p. 138)
OFF: No controller is used.
CC01–CC95: Controller numbers 1–95 (except for 32)
BENDER: Bender
PIT ENV A-TIME
PIT ENV D-TIME
PIT ENV R-TIME
AFTERTOUCH: Aftertouch
SYS-CTRL1: System controller 1
SYS-CTRL2: System controller 2
SYS-CTRL3: System controller 3
SYS-CTRL4: System controller 4
VELOCITY: Velocity
TVF parameters ([PATCH] - [F3 (TVF)] (p. 140))
CUTOFF
RESONANCE
TVF ENV A-TIME
TVF ENV D-TIME
TVF ENV R-TIME
KEYFOLLOW: Keyfollow
TEMPO: Tempo
TVA parameters ([PATCH] - [F4 (TVA)] (p. 143))
LEVEL
LFO1
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PAN
Ap p lica tio n s fo r Pa tch e s
TVA ENV A-TIME
TVA ENV D-TIME
TVA ENV R-TIME
Sy n cin g th e LFO Cy cle to Sy ste m
Te m p o
Se n s
1 . Select the Patch you wish to synchronize on the PATCH
Range: -63– +63
PLAY page.
Adjusts the amount of change that will occur in response to
controller changes. Negative (-) values invert the change.
Negative (-) settings will invert the phase. For LFO rates,
negative (-) values slow down the LFO, and positive (+)
values will speed it up.
2 . Set the Patch Clock Source parameter (PATCH Common
General #2 page) to “SYSTEM.”
3 . Set the beat length of the Rate (PATCH LFO&TL LFO 1, 2
page) of each Tone to match the System Tempo.
To n e
4 . Set the System Clock Source parameter (SYSTEM
General #1 page) to “INT.”
Selects the Tone to which the two previous parameter
settings are applied. “o” turns signifies that the Tone is
selected for control, “_” that it is not selected, and “R” that
the change being applied is inverted when applied to this
Tone.
* When System Clock Source is set to “MIDI,” you can
synchronize the Multi-effect to the tempo of an external MIDI
device.
5 . If the System Tempo (SYSTEM General #1 page)
changes, the LFO Rate changes along with it.
6 . Set the modulation depth as desired using LFO Depth
(PATCH LFO&CTL LFO 1, 2 page) for each Tone.
* Tempo synchronization is not available with Multi-Partial
Patches.
Mo d ify in g Mu lti-Effe cts to Ma tch
th e Sy ste m ’s Te m p o
You can modify Multi-effects parameter values in time with
the System Tempo when you have selected the following
Multi-effects.
MFX Type
MFX parameter
Step Rate
16:STEP FLANGER
19:TRIPLE TAP DELAY
Delay L-R
20:QUADRUPLE TAP DELAY Delay1-4
41:STEREO PHASER
42:KEYSYNC FLANGER
43:FORMANT FILTER
45:MULTI TAP DELAY
46:REVERSE DELAY
47:SHUFFLE DELAY
48:3D DELAY
Rate,Step Rate
Rate,Step Rate
Rate
Delay1-4
Delay1-4
Delay
Delay Left/ Right/ Center
58:SLICER
Rate
60:3D CHORUS
Rate
61:3D FLANGER
62:TREMOLO
Rate,Step Rate
Rate
63:AUTO PAN
Rate
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
64:STEREO PHASER2
65:STEREO AUTO WAH
66:ST FORMANT FILTER
67:MULTI TAP DELAY 2
68:REVERSE DELAY 2
69:SHUFFLE DELAY 2
70:3D DELAY 2
Rate,Step Rate
Rate
6 . If the System Tempo (SYSTEM General #1 page)
changes, the LFO Rate changes along with it.
Rate
Delay1-4
Ma k in g a To n e ’s De la y Tim e
Ma tch th e Sy ste m Te m p o
Delay1-4
Delay
* You can use the Tone Delay only with Four-Tone Patches.
Delay Left/ Right/ Center
Woofer Speed Slow/
Fast,Tweeter Speed Slow/
Fast
1 . Select a Patch on the PATCH PLAY page.
71:ROTARY 2
2 . Set the Patch Clock Source parameter (PATCH Common
General #2 page) to “SYSTEM.”
72:ROTARY MULTI
Rotary High/ Low Slow
Rate,Rotary High/ Low Fast
Rate
3 . Set the Time parameter (PATCH WG Parameter page) of
Tone Delay to the beat length for the tempo you are
synchronizing.
If not, reset it so that it is.
73:KEYBOARD MULTI
Phaser Rate,Delay Time
Left/ Right
4 . Set the System Clock Source parameter (SYSTEM
General #1 page) to “INT.”
74:RHODES MULTI
81:GUITAR MULTI A
Phaser Rate,CF Rate,TP Rate
Delay Time Left/ Right,CF
Rate
* When System Clock Source is set to “MIDI,” you can
synchronize the Multi-effect to the tempo of an external MIDI
device.
82:GUITAR MULTI B
83:GUITAR MULTI C
CF Rate
AW Rate,Delay Time Left/
Right,CF Rate
5 . If the System Tempo (SYSTEM General #1 page)
changes, the LFO Rate changes along with it.
84:CLEAN GUITAR MULTI A Delay Left/ Right,CF Rate
85:CLEAN GUITAR MULTI B AW Rate,Delay Left/ Right,
CF Rate
Usin g a Pe d a l Sw itch to Mo d ify
th e Ro ta ry Sp e e d o f th e Ro ta ry
Effe ct
86:BASS MULTI
CF Rate
Speed
89:3D AUTO SPIN
1 . Connect a pedal switch (DP-2, DP-6, etc.) to your
external device (MIDI keyboard, etc.).
Here is an example in which STEP FLANGER is used for the
Multi-effects.
2 . Set the pedal switch of the external MIDI device to
generate FOOT TYPE (CC4) control-change messages.
1 . Select a Patch on the PATCH PLAY page.
To learn how to set up the pedal switch, refer to the external
MIDI device’s owner’s manual.
2 . Set the Patch Clock Source parameter (PATCH Common
General #2 page) to “SYSTEM.”
3 . Select “PR-A: 050 Perky B” on the PATCH PLAY page.
3 . Make sure that MFX Type (PATCH Effects General page)
This Patch uses ROTARY as its Multi-effect.
is set to STEP FLANGER.
4 . Go to the PATCH Effects MFX Control page and set
If not, reset it so that it is.
Source of MFX Control 1 to “FOOT TYPE.”
4 . Make sure that Step Rate (PATCH Effects MFX page) is
5 . Set Destination to “SPEED,” and Sens to “+63.”
set to a note—not a numerical—value.
When you wish to speed up the rotary effect, press the pedal
switch. Release the pedal switch to slow down the rotary
effect.
If not, reset using a note value.
5 . Set the System Clock Source parameter (SYSTEM
General #1 page) to “INT.”
* When System Clock Source is set to “MIDI,” you can
synchronize the Multi-effect to the tempo of an external MIDI
device.
Pla y in g Ph ra se Lo o p s a t a
Sy ste m ’s Te m p o
An optional Wave Expansion Board can contain Patches
based on waveforms that are timed—in BPM—phrase loops.
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You can play these phrase loops in sync with the System
Ch a n g in g th e Pa rt Se ttin g s
fro m a n Ex te rn a l MIDI De vice
Tempo.
1 . On the PATCH PLAY page, select a Patch that uses a
By sending Control Change messages for different Part
settings, including volume, panning, and pitch, you can
change these settings from an external MIDI device
connected to the XV-5080. This lets you control fade-ins and
fade-outs, open and close filters, and exercise other controls
in real time from the external MIDI device.
phrase loop.
2 . Set the Patch Clock Source parameter (PATCH Common
General #2 page) to “SYSTEM.”
3 . Call up the PATCH WG Parameter page.
4 . Press TONE SELECT [1]–[4] to choose the Tone that uses
The parameters that can be used for changing the settings
and the Control Change messages that can be used to change
the values are shown below.
waveforms with BPM indication.
Waveform names that have a BPM number in the first part of
the name (such as “132: WAVE NAME”) are phrase loop
waveforms.
For more detailed information about Control Change
messages, please refer to “MIDI Implementation” (p. 282).
5 . Confirm that Wave Tempo Sync is set to "ON."
To changing multi-effects, reverb, or chorus effects from an
external MIDI device, send a “System Exclusive message” (p.
285).
6 . Set the Time parameter (PATCH WG Parameter page) of
Tone Delay to “0.”
If you select a value other than 0, a delay will be applied, and
you will not be able to play the Patch normally.
Making the Volume Change (p. 282)
•
Volume: Controller number 7
Changing the Stereo Location (p. 282)
Pan: Controller number 10
Applying Portamento (p. 283, p. 288)
7 . Set the System Clock Source parameter (SYSTEM
General #1 page) to “INT.”
•
* When System Clock Source is set to “MIDI,” you can
synchronize the Multi-effect to the tempo of an external MIDI
device.
•
Portament: Controller number 65 (Portamento switch),
Controller number 5 (Portamento time)
Changing Sounds’ Attack and Release Time (p. 283)
8 . When the System Tempo (SYSTEM General #1 page)
•
•
Rel: Controller number 72
Atk: Controller number 73
changes, the speed of the phrase loop changes along with
it.
Changing the Cutoff Frequency (p. 283)
Cut: Controller number 74
Changing the Resonance (p. 283)
Res: Controller number 71
Changing the Amount of Internal Chorus/ Reverb (p. 284)
* The phrase loop will sound at the system’s tempo regardless of
which key you press. The settings for pitch and FXM will be
ignored.
•
•
•
•
Chorus: Controller number 93
Reverb: Controller number 91
Changing the Pitch (p. 285)
•
Coarse: Controller number 100 (value is 2), Controller
number 101 (value is 0), Controller number 6 (value is
16–112)
•
Fine: Controller number 100 (value is 1), Controller
number 101 (value is 0), Controller number 6 (value is
32–96), Controller number 38 (value is 0–127)
When changing the Coarse parameter, set the amount of
change in pitch with the Control Number 6 (Data Entry MSB)
value. There is no change in pitch when the value is set to
“64.” The pitch is raised as the value increases from 64, and is
lowered the more the value decreases below 64.
When changing the Fine parameter, set the amount of change
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
in pitch with the Control Number 6 (Data Entry MSB) and
Control Number 38 (Data Entry LSB) settings. There is no
What is RPN?
change in pitch when Data Entry MSB is set to “64” and Data
“RPN” (Registered Parameter Number) is an extension
Entry LSB to “0.” The pitch is raised as the respective values
message prepared by Control Change message. Use RPN
when using an external MIDI device to change the XV-
5080’s Pitch or Pitch Bend range settings. An RPN has an
superior part (RPN MSB) and a subordinate part (RPN
LSB). The RPN MSB (Control Number 101) informs the
XV-5080 that a setting using RPN is to follow, and the
RPN LSB (Control Number 100) value tells the which
parameter is to be set. Lastly, the Data Entry (Control
Change 6) value sets the degree of change.
increase, and lowered as the respective values decrease.
Specifying the Range of Pitch Bend (p. 284)
•
BendRng: Controller number 100 (value is 0), Controller
number 101 (value is 0), Controller number 6 (value is 0–
12)
<Procedure>
Enable the external MIDI device to send a Control Change
message.
For example, if you want to change the volume level, set the
external MIDI device to send Control Number 7 (Volume
message). In this case, the MIDI channel is matched to the
MIDI channel of the Part the volume of which you want to
change.
Once the XV-5080 has been received an RPN parameter,
all further Data Entry messages on that MIDI channel are
considered to apply to that parameter. In order to
prevent accidents, when the desired setting has been
made for the parameter, it is recommended that RPN be
set to Null.
For information on how to make the settings, refer to the
owner’s manual for your external MIDI device.
For example, to raise the pitch of a certain Part by one
half-step (semitone) send the following Control Change
message from the external MIDI device.
Operate the external MIDI device (adjust the controls, play
back using the sequencer, etc.) to send the settings.
Not only is the actual sound played changed, but the values
appearing in the display are changed as well.
•
•
•
•
•
Controller number 100: value “2”
Controller number 101: value “0”
Controller number 6: value “65”
Controller number 100: value “127” <- RPN null
Controller number 101: value “127” <- RPN null
For more detailed information about RPN, please refer to
the “MIDI Implementation” (p. 282).
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Control are disabled, and the two Tones play
Ap p lica tio n s fo r Ma trix
Co n tro l
simultaneously, regardless of the velocity data received from
the MIDI keyboard or sequencer.
(4): TMT Matrix Control is enabled, and the timing of the
Tones changes according to the Control Source controller
data.
Co n tro llin g th e TMT w ith th e LFO
a n d Ch a n g in g th e To n e ’s Cy cle
Tim e Pla y s
* The Velocity-Ctrl settings are given priority when both
Velocity-Ctrl and Matrix-Ctrl are set to “ON.”
When TMT (Tone Mix Table) is selected as the Matrix
Control destination, you can change the timing at which
tones used in Patches are played with the Control Source
controller.
6 . Select “LFO1” as the Matrix Control1 source in the
PATCH LFO&Ctrl #1 page (p. 146).
7 . Set one of Destination:Sns–Tone of Matrix Control1 as
shown below.
Here is an example of a Patch with LFO1 set to Control
Source, which changes the timing at which the tone is played
based on the LFO1’s amplitude value.
Destination: TMT
Sns:
+63
Tone:
o o _ _ (applied to Tone 1 and 2)
1 . Select “PR-E: 043 Morph Pad” on the PATCH PLAY
page.
8 . In the PATCH LFO&Ctrl LFO1 page (p. 145), set the
2 . In the PATCH Common TMT Vel Range page (p. 133),
set the Velocity Range V.L (Lower) and V.U. (Upper)
settings for Tone 1 and 2.
tone=1
tone=2
Form:
Value:
SIN
64
SIN
127
Set the Velocity Range for both of the tones as follows.
V.L
:
V.U
tone = 1
tone = 2
0
:
:
64
To change the wave, specify the wave for Tone 1 and 2 in the
PATCH WG Parameter page (p. 136).
65
127
3 . In the PATCH Common TMT Vel Range page, set the
Velocity Fade L.F and U.F settings to “10” for Tones 1
and 2.
In this case, you can use the Palette function (p. 135) to
display the parameters of four Tones in one screen, making it
easier to adjust these settings.
This makes the Tones fade in and out smoothly outside their
velocity ranges.
9 . Press [EXIT] to return to the PATCH PLAY page.
4 . Set TMT Control Switch Velocity-Ctrl to “OFF.”
This setting disables the Velocity Range settings made in
Step 2 and causes the two Tones to sound simultaneously,
regardless of the velocity—the force with which keys are
played—received from your MIDI keyboard or sequencer.
Other possible applications include synchronizing the
Control Source LFO rate to the tempo, assigning Modulation
and other parameters to the Control Source, and changing
the Tone in realtime from a MIDI keyboard or other such
device.
5 . Set TMT Control Switch Matrix-Ctrl to “ON.”
This setting allows the TMT to be controlled by the Matrix
Control Controller. The following chart shows all the
relationships between Velocity-Ctrl of TMT Control Switch
and Matrix-Ctrl.
(1)
(2)
(3)
(4)
[Velocity-Ctrl]
[Matrix-Ctrl]
ON
OFF
OFF
ON
ON
OFF
ON
OFF
(1) (3): The Velocity Control settings are enabled, and the two
Tones are switched on or off according to the velocity data
received from the MIDI keyboard or sequencer.
(2): The Velocity Control settings and TMT control by Matrix
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
Pla y in g Ba ck a GM Sco re
Usin g th e XV-5 0 8 0 a s a
When the XV-5080 is in GM mode, it plays back GM scores
correctly. But beyond this, the XV-5080 provides many
extended features not defined in GM System specifications,
and if you create music files using these extended features,
your song may not play back correctly on other GM-
compatible sound modules.
Ge n e ra l MIDI So u n d Mo d u le
The XV-5080 features a GM mode (GM2)—a convenient way
to play back or create GM score data (music files for General
MIDI sound module). You’re able to play back commercial
GM score data releases and even modify various parameter
settings for enhanced musical expression.
In addition, although the XV-5080 can also be compatible
with the GS format by receiving a GS Reset MIDI message,
Roland’s Sound Canvas Series (including the SC-8850 and
SC-8820) features a different sound module system and
extended tone map, you may be unable to get MIDI data (GS
music data) created especially for use only with the Sound
Canvas series of devices to play back properly.
En te rin g GM Mo d e
Basically GM mode is similar to a special kind of
Performance in which a General MIDI System Rhythm Set is
assigned to Part 10, and General MIDI System Patches are
assigned to other Parts.
The beginning of a GM score normally contains a GM System
On message. So if you play back a GM score starting in the
top of a song, XV-5080 will switch itself to GM mode. But if
you play back a GM score starting in the middle of a song,
XV-5080 may not switch itself to GM mode, and the GM
score may not play back correctly. So to be safe, it’s
recommended to manually set the XV-5080 to GM mode
before playing back a GM score.
But however, you can’t store GM mode settings in user
memory.
fig.10-003.e_70
The GM PLAY page shows a Patch or Rhythm Set assigned
to each Part.
Mu tin g a Sp e cific Pa rt
Each time you enter GM mode, the GM Drum Set is assigned
to Part 10, and Piano 1 is assigned to other Parts. You can
also select other GM Patches and GM Drum Sets for each
Part to match the performance.
When you switch over to GM mode, all Parts will be set to
receive MIDI messages. To turn off a specific Part so that it
will not sound, set the Receive Switch to OFF for the Part.
First, press [RX] to make its indicator light.
At this time, the on/ off setting of each Part will be shown by
the indicators of PART SELECT [1/ 17]–[16/ 32]. Lit is on, and
dark is off.
1 . Press [GM] in MODE to call up the GM PLAY page.
When you switch the XV-5080 into GM mode, the sound
generator initializes itself for basic GM System settings.
Press PART SELECT [1/ 17]–[16/ 32] to turn the Part on/ off.
2 . To change the current Part, press [
] or [
].
* In GM mode, [1-16/17-32] will be ignored.
3 . To change the GM Patch or GM Rhythm Set assigned to
the Part, perform the same procedure as you usually do
when you select a Patch or Rhythm Set.
In itia lizin g th e So u n d Ge n e ra to r fo r
Ge n e ra l MIDI Sy ste m Ba sic Se ttin g s
To play back a GM score correctly, the sound generator must
first be initialized to basic GM system settings. The XV-5080’s
sound generator is initialized in the General MIDI settings.
•
•
When Switching to GM Mode
When it receives a GM System On message from an
external MIDI device
•
When a GM System On message is encountered in the
song data being played back
•
•
When the XV-5080’s power is turned on.
When you execute the GM Initialize function (p. 229).
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
5 . If you wish to move to another page group, use [F2]–[F5]
Tu rn in g Effe cts O n / O ff
to choose a group.
fig.10-004.e_70
* You can also move to another display group by holding down
[SHIFT] and using [
] or [
].
6 . Repeat steps 2–5 to complete a GM mode settings.
7 . When you finish making settings, press [EXIT] to return
to the GM PLAY page.
1 . Press [EFFECTS ON/ OFF].
* You can also use the Palette display in the same manner when
you edit in Performance mode (p. 135).
2 . Use [
] or [
] to select the effects device to be
turned on or off.
3 . Pressing [INC] turns it on and pressing [DEC] turns it
Se ttin g s fo r Pla y in g So u n d s ([F2
(Co n tro l)])
off.
fig.10-005.e_70
EQ
An equalizer lets you boost or cut specified frequency ranges
of a sound to adjust the tone.
* Although you can add equalization to each of the XV-5080’s
output jacks, this operation turns the EQ for all of the outputs
on and off simultaneously.
Mo d ify (Pa rt Mo d ify )
Ch o ru s
You can determine how a Part will pay a sound by setting it
to modify the sound’s programmed cutoff frequency,
Resonance, and TVF and TVA Envelope attack and release
time settings.
Chorus is an effect that add fatness and breadth to the sound.
Re ve rb
Reverb is an effect that adds reverberation resembling that
created when sounds are played in a hall.
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)
Range: -64– +63
Mo d ify in g GM Mo d e Se ttin g s
Sets ratio by which the relative change in the TVF cutoff
frequency value for the tone selected for the part is
determined.
GM mode also offers parameters that you can modify for
each Part. You can modify settings like effects, pan and level
to customize a GM score playback to your preference.
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)
When GM mode is initialized (p. 229), all these settings will
be lost.
Range: -64– +63
Sets ratio by which the relative change in the TVF Resonance
value for the tone selected for the part is determined.
1 . Press [GM] to enter GM mode.
2 . Press [F2]–[F5] to choose the page group you want to set.
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)
Range: -64– +63
3 . Press [
]/ [
]/ [
]/ [
] to move the cursor to
Sets ratio by which the relative change in the TVF/ TVA
envelope attack time value for the tone selected for the part is
determined.
the parameter you want to set.
If you have selected a parameter display that can be set
independently for each Part, the number of the Part selected
for editing will be shown in the display. To select a different
Part, use [1/ 17]–[16/ 32] to select a Part.
Re le a se O ffse t (Pa rt Re le a se Tim e O ffse t)
Range: -64– +63
4 . Use the VALUE dial or [INC] / [DEC] to modify the
Sets ratio by which the relative change in the TVF/ TVA
envelope release time value for the tone selected for the part
is determined.
value.
* If you make a mistake when setting a parameter’s value, or you
don’t like the change you have made, just press [UNDO] to
restore the parameter to its original value.
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
Specifies the stereo location of the sound of each Part. L63 is
Ke y Mo d e
far left, 0 is center, and 63R is far right.
Mo n o / Po ly (Pa rt Mo n o / Po ly )
* If you modify the settings for Part Volume or Part Pan, they
will be reflected in the Part Information page.
Range: MONO/ POLY
Specifies whether the Part will play polyphonically (POLY)
or monophonically (MONO). The MONO setting is effective
when playing a solo instrument Patch such as sax or flute.
Tu n e
Sets the pitch for each Part.
Po rta m e n t (Po rta m e n to )
Co a rse (Co a rse Tu n e )
Range: -48– +48
Sw itch (Po rta m e n to Sw itch )
Adjusts the pitch of the Part’s sound up or down in semitone
Specifies whether the portamento effect will be applied (ON)
or not (OFF).
steps over a range of +/ -4 octaves.
Fin e (Fin e Tu n e )
Tim e (Po rta m e n to Tim e )
Range: -50– +50
Range: 0–127
Makes fine adjustments in 1-cent steps to the pitch specified
in Coarse Tune.
When portamento is used, this specifies the time over which
the pitch will change. Higher settings will cause the pitch
change to the next note to take more time.
One cent is 1/ 100th of a semitone.
Be n d Ra n g e
Th e Pa tch Se le ctio n / Vo lu m e / Pa n / Pitch
Se ttin g s ([F3 (Pa rt)])
fig.10-006.e_70
Va lu e
Range: 0–24
Sets the amount of pitch change that will occur when you
move the Pitch Bend lever.
The amount of change when the lever is tilted is set to the
same value for both left and right sides.
Pa tch (Pa rt Pa tch )
You can select the Patch or Rhythm Set that will be assigned
to each Part.
Ty p e
Range: PATCH/ RHYTHM
Selects the Patch (PATCH) or Rhythm Set (RHYTHM) the
Part will play.
N u m b e r
Specifies the number of the Patches (1–256) or Rhythm Set
(1–4) that is assigned to each Part.
Le ve l&Pa n
Sets the volume and pan for each Part.
Pa rt Vo lu m e
Range: 0–127
Sets the volume of the Part.
Pa rt Pa n
Range: RANDOM/ L63–63R
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Pa rt Re ve rb Se n d Le ve l
Ma k in g MIDI Se ttin g s fo r Ea ch Pa rt
([F4 (MIDI)])
Range: 0–127
fig.10-007.e_70
Adjusts the amount of Reverb for each Part.
Re ve rb Se n d Le ve l
Range: 0–127
Determines the level of the signal sent from Chorus to
Reverb.
PART MIDI
Ch o ru s O u tp u t Assig n
Range: A–D
Re ce ive Ch a n n e l (MIDI Ch a n n e l)
Range: 1–16/ OFF
Sets the output destination for Chorus.
Specifies the MIDI channel for each Part.
Re ve rb O u tp u t Assig n
Range: A–D
Pa rt MIDI Re ce ive Sw itch
Sets the output destination of the reverb sound.
Re ce ive Sw itch
GM Effects Chorus page ([F5 (Effects)] - [F2
(Chorus)])
Sets whether each Part will respond to received MIDI
messages (ON) or not (OFF) from external MIDI devices.
Here, settings for the chorus effect used in GM mode are
made.
Pa rt Mu te
In GM mode, the Chorus effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send
Sw itch (Pa rt Mu te Sw itch )
Level parameter).
fig.10-009.e_70
Turns muting of each part on (MUTE) or off (OFF).
Ma k in g Effe cts Se ttin g s ([F5 (Effe cts)])
Here, settings for the Chorus/ Reverb effects used in GM
mode are made.
When the effect name in the upper right of the screen
appears in dashed lines, it indicates that the corresponding
effect for the screen is set to OFF. Turn the corresponding
effect on before you make settings (p. 225).
Ty p e (Ch o ru s Ty p e )
Selects the type of Chorus.
Available Settings:
GM Effects General page ([F5 (Effects)] - [F1 (General)])
CHORUS 1–4: Chorus 1–4
FB CHORUS: Feedback Chorus
FLANGER: Flanger
fig.10-008.e_70
Ra te (Ch o ru s Ra te )
Range: 0–127
Sets the modulation speed of the Chorus.
Pa rt O u tp u t Assig n
Range: A–D
De p th (Ch o ru s De p th )
Range: 0–127
Sets the output destination for each Part.
Adjusts the modulation depth for the Chorus.
Pa rt Dry Se n d Le ve l
Range: 0–127
Fe e d b a ck (Ch o ru s Fe e d b a ck Le ve l)
Sets the volume level of the Part.
Range: 0–127
Adjusts the amount of chorus sound that is returned (fed
back) to the chorus. Higher settings will result in a more
intense effect.
Pa rt Ch o ru s Se n d Le ve l
Range: 0–127
Adjusts the amount of Chorus for each Part.
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
GM Effects Reverb page ([F5 (Effects)] -
[F3 (Reverb)])
Ch e ck in g MIDI In fo rm a tio n fo r Ea ch
Pa rt ([F6 (In fo )])
GM mode reverb settings are made here.
In this screen, you can check the reception status of the
various types of MIDI messages, on an individual Part basis.
This is a convenient way to check that the sound generator is
responding correctly to messages from a keyboard or
external MIDI controllers.
In GM mode, the reverb effect settings for the GM Patch
assigned to each Part will be ignored (except for the Send
Level parameter).
fig.10-010.e_70
* Use [
] or [
] to select a display page.
Mod (Modulation Information)
Breath (Breath Information)
Foot (Foot Information)
Ty p e (Re ve rb Ty p e )
Vol (Volume Information)
Pan (Pan Information)
Selects the type of Reverb.
Available Settings:
Exp (Expression Information)
Hold (Hold 1 Information)
Bend (Pitch Bend Information)
Aftertouch (Aftertouch Information)
Voices (Voice Information)
SMALL ROOM: Reverb obtained in a small sized room.
MEDIUM ROOM: Reverb obtained in a somewhat larger
room.
LARGE ROOM: Large room reverb.
MEDIUM HALL: Reverb sound found in a medium sized
concert hall.
Utility Fu n ctio n s in GM Mo d e
LARGE HALL: Reverb sound found in a large concert hall.
In the GM mode, you can initialize GM mode, and transmit
GM mode settings, using the Utility functions.
PLATE: Plate reverb effect
Tim e (Re ve rb Tim e )
Setting Procedure:
Range: 0–127
1 . In GM mode, press [SYSTEM/ UTILITY], getting the
Adjusts the time over which the reverberation will continue.
indicator to light.
The unit should now be in Utility mode.
2 . Press [F6 (Menu)] to select the function.
3 . Press F button.
4 . Press [SYSTEm/ UTILITY] to return to the GM PLAY
page.
The functions of the UTIL 2 group can also be executed from
GM mode. The operation is the same as in other modes.
Press [] or [] until the desired function is blinking, then press
[ENTER].
The page for the function you’ve selected will appear.
Set parameters as necessary on each function’s page.
To cancel the operation, press [EXIT]. To return to the GM
PLAY page, press [UTILITY], extinguishing the indicator.
Press [ENTER] to execute the function.
Once the write operation is finished, “COMPLETED” will
momentarily appear in the display, then you’re returned to
the GM PLAY page.
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
Once the external MIDI device is ready to record data, you
In itia lizin g GM Se ttin g s (In it)
can press [ENTER].
For details of the settings that are transmitted, refer to “MIDI
Implementation” (p. 282).
If you do not want the settings of a specific Part to be
transmitted, turn off the Receive Switch for that Part (p. 227).
Pro te ctin g th e In te rn a l
Me m o ry (PRO TECT)
This feature helps prevent the accidental overwriting of
USER memory to ensure that Patch, Performance or Rhythm
Set data is not accidentally erased.
As GM Initialize initializes only GM mode settings, data
stored in user memory will not be initialized. If you want to
restore the factory values of all settings, carry out Factory
Reset (p. 206).
Internal (Internal Write Protect)
The Internal Write Protect setting prevents the Write
operation from accidentally overwriting USER memory
locations. When this is set ON, the data cannot be written.
Data can be only written when Internal Write Protect is off.
When the XV-5080’s power is turned on, this setting is
automatically turned on, – you will need to turn it off before
writing data to the USER memory. It is also possible to turn
this setting off during the Write procedure.
With the XV-5080, you can operate two separate, 16-part GM
sound generators, one for each of the two MIDI IN jacks,
each of which can be can be initialized separately.
In itia lizin g th e GM So u n d Ge n e ra to r Use d in
GM Mo d e (F1 (GM)]
Mo d e
GM:
Instates the GM System basic settings.
Instates the GM2 System basic settings.
Exclusive (Exclusive Protect)
GM2:
The Exclusive Protect setting prevents System Exclusive
messages received from an external MIDI device from
rewriting USER memory settings. When this feature is on,
the data cannot be rewritten by System Exclusive messages.
When it is off, data can be rewritten, even if the Internal
Write Protect setting is set to ON.
In itia lizin g th e GM So u n d Ge n e ra to r Use d
O n ly fo r MIDI IN 2 (F2 (MIDI In 2 )]
Mo d e
GM:
Instates the GM System basic settings.
Instates the GM2 System basic settings.
The MIDI IN 2-specific GM sound generator is
GM2:
1 . Press [SYSTEM/ UTILITY] to make its indicator blink.
GM OFF:
* If the indicator is blinking, you are in UTILITY mode. Press
[SYSTEM/UTILITY] once again to make its indicator light.
turned off. When “GM OFF” is selected, the data for both
MIDI IN 1 and 2 is received by the GM sound generator
using GM mode.
2 . Press [F6 (Menu)], then select “Menu1“.
After the parameters have been set, pressing [F6 (Init)]
executes the initialization.
3 . Press [F5 (Protect].
“User Memory Protect” screen appears.
Tra n sm ittin g GM Mo d e Se ttin g s (XFER)
fig.10-014.e_70
4 . Press [
]/ [
] to move the cursor to the parameter
GM mode settings cannot be stored in user memory. If you
wish to keep your GM mode settings, you can transmit them
as MIDI messages to an external MIDI device, where they
can be saved.
you want to set.
5 . Turn the VALUE dial or press the [INC]/ [DEC] button to
select the destination.
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Ch a p te r 1 0 Ex a m p le s o f Ap p lica tio n s Usin g th e XV-5 0 8 0
6 . Press [EXIT] several times to return to the applicable
PLAY page.
* Even if the Internal Write Protect setting is “ON” (write
prohibit), incoming System Exclusive messages can rewrite
the User memory data if the Exclusive Protect setting is set to
“OFF” (write permit).
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Ap p e n d ice s
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Tro u b le sh o o tin g
If no sound can be heard, or if the unit does not perform as
you expect, check the following points first. If this does not
resolve the problem, contact your dealer or a nearby Roland
service station.
Are th e o u tp u t d e stin a tio n se ttin g s
co rre ct?
•
Check the Output Assign and MFX Output Assign
settings.
* If a message appears during operation, consult the following
section (p. 235).
Ca n ’t se le ct Pe rfo rm a n ce s
N o so u n d
Is [RX] o n ?
•
When [RX] is on in the PERFORM PLAY page, [A]—[H]
(PART SELECT [1/ 9]—[8/ 16]) act as buttons which turn
Parts on/ off. Turn [RX] off.
Is th e VO LUME lo w e re d ?
•
Check the VOLUME knob, and the volume settings on
the connected amp/ mixer etc.
Ha ve co n n e ctio n s b e e n m a d e
co rre ctly ?
Ca n ’t se le ct th e Pa rt fo r
w h ich to m a k e se ttin g s
•
If there is sound in the headphones, it is possible that the
connection cables are broken, or that the amp or mixer is
malfunctioning. Check the connection cables and other
devices once again.
Is [RX] o n ?
•
When [RX] is on in the various Performance setting
pages, PART SELECT [1/ 9]—[8/ 16] function as buttons
to switch each Part on/ off. Turn [RX] off.
Is th e MIDI re ce ive ch a n n e l co rre ct?
•
Make sure that the MIDI transmit channel of the
connected device matches the receive channel of theXV-
5080.
Pitch is w ro n g
Are th e To n e , Pa tch a n d Pa rt le ve l
se ttin g s e x ce ssive ly lo w ?
Is th e Ma ste r Tu n e se ttin g co rre ct?
•
Check the setting. (p. 209)
•
Check the level settings of each Tone, Patch and each
Is Sca le Tu n e se le cte d ?
Part.
•
Check the setting. (p. 209)
Are To n e s o r Pa rts tu rn e d o ff?
Are th e p itch se ttin g s fo r e a ch To n e
a n d e a ch Pa rt co rre ct?
•
Check the on/ off settings of each Tone and each Part.
Are th e k e y ra n g e se ttin g s co rre ct?
•
’Check each setting.
•
Check the key range settings of each Tone and each Part.
Ha ve p itch b e n d m e ssa g e s re ce ive d
fro m a n e x te rn a l d e vice ca u se d th e
p itch to “ stick ” ?
Ha s th e vo lu m e b e e n lo w e re d b y
vo lu m e / e x p re ssio n m e ssa g e s
re ce ive d fro m a n e x te rn a l d e vice ?
•
The pitch will return to normal when the power is
turned on. If a Performance or Rhythm Set is selected,
the PART INFO page allows you to check the reception
status of each type of messages. (p. 166, p. 228)
•
The volume will return to normal when the power is
turned on once again. When a Performance or Rhythm
Set is selected, the reception status for each type of
message can be viewed in the PART INFO page. (p. 166,
p. 228)
Are th e e ffe ct se ttin g s co rre ct?
•
Check settings such as Effect On/ Off, and Effect Balance
and Level.
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Tro u b le sh o o tin g
Effe cts d o n o t a p p ly
Me m o ry Ca rd ca n n o t b e
u se d
Are [MFX], [CHO RUS], a n d [REVERB]
tu rn e d o ff?
Ha s th e Me m o ry Ca rd (Sm a rtMe d ia )
b e e n in itia lize d ?
•
Press the corresponding button to turn on the indicator.
•
An uninitialized Memory Card cannot be used. Perform
Are th e va rio u s e ffe ct se ttin g s co rre ct?
the initialize operation. (p. 196)
•
If the send levels to each effect are at 0, effects will not
apply. Check each setting.
Are y o u u sin g a ca rd w h ich th e XV-
5 0 8 0 d o e s n o t su p p o rt?
•
Even if the send level to each effect is above 0, effects
will not apply if the MFX Output Level, Chorus Level,
and Reverb Level are set to 0. Check each setting.
•
It is not possible to read the contents of a card which is
for the XV-5080. Also, it is not possible to write data to a
Memory Card which was formatted on a device other
than the XV-5080.
•
If Output Assign is set to PATCH for each Part of the
Performance, the sound will be output according to the
Output Assign settings of the Patch (for each Tone)
which is assigned to those Parts. This means that if the
Output Assign of (each Tone in) the Patch is set to
PATCH, the MFX sound will not be output.
So n g d a ta d o e s n o t
p la y b a ck co rre ctly
Are y o u p la y in g b a ck fro m th e m id d le
o f th e so n g ?
MIDI m e ssa g e s a re n o t
re ce ive d co rre ctly
•
The beginning of a GM score song contains a GM System
On message. In some cases, a GM Score cannot be played
back correctly unless this message is received.
Are th e re ce ive ch a n n e l a n d re ce ive
sw itch se ttin g s co rre ct?
Are y o u p la y in g b a ck GS fo rm a t so n g
d a ta ?
•
Check the settings for the MIDI receive channel and the
various switches for reception of MIDI messages.
•
Since the XV-5080 is a GM system compatible sound
source, there may be cases in which GS format song data
will not playback correctly.
Are th e e x clu sive re ce ive se ttin g s
co rre ct?
•
In order for system exclusive messages to be received,
the Device ID Number must match that of the
transmitting device, and the System Exclusive receive
data in the USER group, the System Exclusive message
Protect Switch must be turned off as well. (p. 205)
Th e SCSI d e vice is n o t b e in g
re co g n ize d .
in th e w ro n g o rd e r?
Is th e DEMO PLAY p a g e d isp la y e d ?
•
Read “Turning On the Power” in Quick Start (P. 12),
then turn on the power to the devices in the correct
order.
•
When the DEMOPLAY page is displayed, MIDI
messages received from an external device will be
ignored.
W ith so m e SCSI d e vice s, it ca n ta k e
lo n g e r th a n u su a l b e fo re th e y a re
re co g n ize d
•
Should this be the case, set a higher value for the SCSI
following the instructions in “Turning Off the Power” in
Quick Start (P. 12). Then, following the instructions in
“Turning On the Power” in Quick Start (P. 12), turn on
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Tro u b le sh o o tin g
the power in the proper sequence. If the device is still not
being recognized, even with the setting at the maximum
value, then that SCSI device cannot be used with the XV-
5080.
Is a n y SCSI ID b e in g u se d fo r m o re
th a n o n e d e vice ?
•
If more than one device shares the same SCSI ID, then
connected devices will not be correctly recognized.
Follow the procedure described on p. 185 to set the SCSI
IDs so that none is shared by any other device.
Co m m e rcia l sa m p le r d a ta fo r o th e r
d e vice s ca n n o t b e lo a d e d .
•
The XV-5080 is capable of loading S-700 Series and AKAI
S-1000/ 3000 data. Other formats are not compatible.
Please confirm the compatibility of any commercial data
CD-ROM or other media you are using.
•
AKAI S-1000/ 3000 data is converted when loaded to the
XV-5080. There may be differences in the data compared
to when it is played on the AKAI S-1000/ 3000.
Th e re is n o so u n d fro m th e d ig ita l o u t,
o r th e re is n o ise .
•
The XV-5080’s digital out is not compatible with
sampling frequencies (word clock) other than 44.1 or 48
kHz. When using the XV-5080 with the digital outs
synchronized to an external device, check the sampling
frequency (word clock) of the external device.
•
When the sampling frequency (word clock) of the XV-
5080’s digital outs is synchronized to an external device,
noise can sometimes be introduced as a result of the
manner in which the cables carrying the signal have
been run. Consequently, noise can be added to the audio
signal, or in some cases, sound may not be heard. In such
instances, you may be able to alleviate problems by
rearranging the cables used to connect the devices.
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Erro r Me ssa g e s
If there has been a mistake in operation, or if the XV-5080 is
unable to continue processing as you directed, an error
message will appear in the display. Take the appropriate
action for the displayed error message. This section gives the
error messages in alphabetical order.
De st Disk In co rre ct!
Cause:
The media is of a format that cannot be written
by the XV-5080.
Action:
Prepare media of a format that the XV-5080 is
able to write.
All Da ta o n th e Drive W ill Be Lo st.It
W ill Ta k e a Lo n g Tim e .Are Yo u Su re ?
Disk Fu ll!
Cause:
The media is full.
Condition: When you execute a Full Format, all data on the
disk will be lost. Also, a substantial length of
time is required for a full format. Is it OK to
execute the operation?
Action:
Either delete unneeded files (p. 198), or prepare
another media.
Disk N o t Re a d y !
Cause:
Action:
To cancel the operation, press [F1 (CANCEL)].
To execute the full format, press [F6 (FORMAT)].
The media is not ready.
Action:
Insert another media.
All Da ta o n th e Drive W ill Be Lo st.Are
Yo u Su re ?
DISK, Re a d Erro r!
Situation:
An error occurred during read of the disk.
Condition: When you execute a Quick Format, all data on
the disk will be lost. Is it OK to execute the
operation?
Action:
This disk cannot be used.
DISK, W rite Erro r!
Situation:
Action:
To cancel the operation, press [F1 (CANCEL)].
To execute the full format, press [F6 (FORMAT)].
An error occurred during writing to the disk.
Action:
This disk cannot be used.
Ba tte ry Lo w
Situation: The internal backup battery that is preserving
File Fo rm a t Erro r
Situation: The XV-5080 cannot handle this file.
the contents of user memory has run down.
Action:
Consult your dealer or a nearby Roland service
station to have the battery replaced.
File I/ O Erro r
Situation: It was not possible to save/ load a file.
Action:
Try the operation once again. If the same
message appears, that file has been damaged.
Delete the damaged file.
Ca n n o t Fin d Ta rg e t File !
Condition: The performance specified for Auto Load was
not found.
Action 1: Make sure that the drive you specified for Auto
FILE N AME DUPLICATE, File (file n a m e )
Alre a d y Ex ists!
Performance Load is connected.
Action 2: In the case of a Zip disk, insert it into the drive.
Situation: A folder with the same name already exists.
Action:
Delete the file bearing the same name from the
disk, and if overwriting and saving the data,
merely save the file. If you do not want to delete
the file with the same name from the disk, either
save the file with a different name or save it to a
different disk.
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Erro r Me ssa g e s
File N a m e (Fo ld e r, Vo lu m e )Fo rm a t
Erro r
IMPRO PER DISK, Th is Disk is n o t fo r
th e XV-5 0 8 0 .
Situation: A file name has not been assigned.
Situation: The disk format is not one that can be used by
Action:
Assign a file name.
the XV-5080.
Action:
Exchange the disk with one in a format that the
XV-5080 can use, or initialize the disk for use
with the XV-5080.
File n o t Fo u n d
Situation: The specified file was not found.
Action:
Insert the memory card that contains the
Ille g a l Fo rm a t!
specified file, and try the operation once again.
Cause:
Since the format of this file is incorrect, it cannot
File Re a d Erro r!
be loaded.
Cause 1: The data is damaged, and cannot be loaded.
Action:
Do not use this file.
Action 1: Do not use this file.
Ille g a l PCM W a ve ! Ca n n o t Lo a d Th is
W a ve .
Cause 2: A problem has occurred with the connected SCSI
device.
Cause:
This file uses a type of compression that the XV-
5080 is unable to read.
Action 2: Check the connections and power supply of the
SCSI device.
Action:
Use the device that created the file to convert the
data into an 8 bit or 16 bit wave.
File W rite Erro r!
Cause 1: The media is of a format to which the XV-5080
Me m o ry Ca rd Fu ll
cannot write.
Situation: There is insufficient space available on the
Action 1: Prepare a media that is of a format to which the
memory card to save the data.
XV-5080 is able to write.
Action:
Either insert a different memory card, or delete
unnecessary data and try the operation once
again.
Cause 2: A problem has occurred with the connected SCSI
device.
Action 2: Check the connections and power supply of the
SCSI device.
Me m o ry Ca rd I/ O Erro r
Situation: It is possible that the memory card has been
Fo ld e r Le ve l To o De e p !
scratched or otherwise damaged.
Cause:
You have exceeded the allowable depth to which
folders can be created.
Action:
If the memory card has been damaged, do not
use that memory card. If the same error message
appears repeatedly, consult your dealer or a
nearby Roland service station.
Action:
Create the folder at a shallower level of the
folder hierarchy.
Fo rm a t Co m p le te d !
Condition: Formatting has been completed.
Me m o ry Ca rd n o t Re a d y
Situation: A memory card is not inserted in the MEMORY
CARD slot.
Action:
Press [F6 (ACCEPT)] to erase the message.
Action:
Turn off the power, and insert a memory card.
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Erro r Me ssa g e s
Me m o ry Ca rd W rite Pro te cte d
Situation: Since a write protect sticker is affixed to the
memory card, data cannot be saved to the card
bank.
PASSW O RD PRO TECTED, Th is Zip Disk
is Pro te cte d b y Pa ssw o rd !
Situation: This disk is write-protected by password. The
write protection cannot be removed with the
XV-5080.
Action:
Remove the write protect sticker from the
memory card.
Action:
Either use the device with which the password
protection was applied to remove the
protection, or prepare a Zip disk that is not
write-protected.
Me m o ry Erro r!
Cause:
For some reason, wave memory cannot be read
or written.
Pa th Du p lica te !
Action:
The SIMM may be damaged. If the same message
appears even after reinstallation, use a different
SIMM.
Cause:
You are attempting to write to the same
hierarchical level.
Action:
Change the writing destination.
Me m o ry Fu ll!
Cause:
Due to insufficient wave memory, Reading is not
Pa th N a m e To o Lo n g !
possible.
Cause:
The path name is too long.
Action:
Delete unwanted samples from the XV-5080’s
Action:
Shorten the names of each folder. Alternatively,
move the entire folder to a shallower level of the
hierarchy (p. 201).
memory (p. 197).
MIDI Bu ffe r Fu ll
* The “path” indicates the hierarchical level at which the file is
located. It is given together with the folder name.
Situation: Due to an inordinate volume of MIDI messages
received, the XV-5080 has failed to process them
properly.
Pe rfo rm a n ce (Pa tch / Pa rtia l/ Sa m p le )
Fu ll!
Situation: Although the specified data was loaded, the
required free space for the Performance (Patch/
Partial/ Sample) is not available.
Action:
Reduce the amount of MIDI messages to be
transmitted.
MIDI Co m m u n ica tio n Erro r
Situation: A problem has occurred with the MIDI cable
connections.
Action:
Try loading again after deleting any unneeded
Performances (Patches/ Partials/ Samples).
Action:
Check that MIDI cables are not broken or pulled
out.
Re ce ive Da ta Erro r
Situation: A MIDI message was received incorrectly.
N u m b e r ‘****’ W ill Be De le te d . Are
Yo u Su re ?
Action:
If the same error message is displayed
repeatedly, there is a problem with the MIDI
messages that are being transmitted to the XV-
5080.
Condition: The sample at internal sample number ‘****’ will
be deleted. Is it OK to execute?
Action:
To cancel the operation, press [F1 (CANCEL)].
To execute the deletion, press [F6 (DELETE)].
2 3 7
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Erro r Me ssa g e s
So u rce Disk In co rre ct!
Use r Me m o ry Da m a g e d
Situation: The data in user memory has been lost.
Cause:
The operation you are attempting to execute
does not support this media.
Action:
Use the Factor Reset function (UTILITY/ UTIL
2/ FACTORY RESET) to initialize the memory to
the factory settings.
Action:
Do not select this media as the object of the
operation.
Th is W ill Cle a r th e File (s)/ Fo ld e r(s).Are
Yo u Su re ?
Use r Me m o ry W rite Pro te cte d
Situation 1: The Internal parameter (UTILITY/ UTIL 1/
PROTECT/ WRITE PROTECT) is turned ON.
Action 1: Turn the Internal parameter OFF.
Situation 2: The Exclusive parameter (UTILITY/ UTIL 1/
PROTECT/ WRITE PROTECT) is turned ON,
and Exclusive messages cannot be received.
Condition: The file(s) or folder(s) will be deleted from the
disk. Is it OK to execute?
Action:
To cancel the operation, press [F1 (CANCEL)].
To execute the operation, press [F6 (DELETE)].
To o Ma n y File s!
Action 2: Turn the Exclusive parameter OFF.
Cause:
The maximum number of files that can be
Use r Pe rfo rm a n ce s (Pa tch e s/ Rh y th m )
Ch o o se Use r lo ca tio n a n d O K to
o ve rw rite
Situation: Although the specified data was loaded, the
required free space for the Performance (Patch/
Rhythm) is not available.
created in a folder has been exceeded.
Action:
Either delete unneeded files (p. 197), or write the
file to a different folder.
To o Ma n y Fo ld e rs!
Cause:
The maximum number of folders that can be
created in a folder has been exceeded.
Action:
Either delete unneeded folders (p. 201), or create
the folder in a different folder.
unneeded Performance (Patch/ Rhythm) data
and load again.
Un fo rm a tte d Me m o ry Ca rd
Situation: This memory card cannot be used by the XV-
5080.
W rite Pro te cte d !
Cause:
The Zip disk is write protected.
Action:
Format the memory card on the XV-5080.
Action:
Provide a different media that can be written.
Un k n o w n Disk Erro r!
Yo u Ca n n o t Use Th is De vice !
Cause:
A disk error of unknown causes has occurred.
Cause:
The operation you attempted to execute does not
Action:
Contact your dealer or a nearby Roland service
center for service.
support this media
Action:
Do not select this media for this operation.
2 3 8
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Ab o u t SCSI
Co n n e ctin g a SCSI d e vice
W h a t y o u n e e d to k n o w
b e fo re m a k in g co n n e ctio n s
In order to load wave data from a sound library (a CD-ROM
containing sounds or phrases) into the XV-5080, or to save
data on a removable disk or hard disk, you will need to
connect a separately available SCSI device.
Ty p e s o f SCSI ca b le s a n d SCSI
co n n e cto rs
SCSI devices are delicate. Incorrect connections or operation
may not only cause the device to malfunction, but may even
destroy the data on the disk, or permanently damage the
SCSI device itself. Please read the owner’s manual for your
SCSI device together with this manual.
The XV-5080 provides the SCSI connector (DB 25-pin type
(SCSI-A)).
fig.scsi-001.e
SCSI De vice s Th a t Ca n Be Use d
The following types of SCSI device can be used with the XV-
5080.
Use a SCSI cable to connect to XV-5080 to a SCSI device.
Check the connector type and number of pins on the SCSI
device you wish to connect, and purchase the appropriate
cable.
Zip Drive
This is a removable disk drive that features high-speed
reading and writing of data, and is resistant to physical
shock and dust.
Use a SCSI cable that is as short as possible, that is
completely shielded, and that has an impedance compatible
with the SCSI standard (110 ohms, +/ -10%).
MO Drive
This removable disk utilizes MO (magneto-optical) storage
media, which uses both laser light and magnetism for high-
precision data storage.
The total length of SCSI cables for all connected SCSI devices
must not exceed 6.5 meters.
Hard Disk
Ab o u t SCSI Ch a in s
This is the storage media with the fastest data read/ write
time. It has a high capacity, and is able to store an extremely
large amount of data. However, since the disk cannot be
removed, hard disks are not convenient when you need to
exchange or transport data.
A maximum of seven SCSI devices can be connected to the
XV-5080. Use SCSI cables to connect SCSI devices as follows.
SCSI connectors make no distinction between input and
output, so you may use either one. This type of connection is
called a SCSI chain or a daisy chain.
fig.scsi-002.e
* If you share a single hard disk between two XV-5080 units,
never allow both XV-5080 units to read from, or write to the
hard disk simultaneously. Doing so may damage the data or
the connected devices.
* Do not share a single hard disk between the XV-5080 and a
computer. Doing so may damage the data or the connected
devices. Some computers automatically access the disk at
regular intervals, which may cause both the XV-5080 and the
computer to access the hard disk simultaneously.
XV-5080
Disk Drive1
(Zip Drive, etc) (CD-ROM Drive, etc)
Disk Drive7
Ab o u t Te rm in a to rs
CD-ROM Drive
To prevent malfunctions caused by aliasing noise, a
terminating resistor must be attached to the devices at either
end of a SCSI chain. This is called the terminator. Some
terminators are “internal,” and can be switched on/ off by a
switch. Other terminators are “external,” and can be attached
to the SCSI connector. The XV-5080 features a built-in
terminator.
This is a device for loading wave data from a sound library.
As an external terminator, we recommend that you use an
active terminator. In this case, if you are using a SCSI device
that allows you to switch the terminator power on/ off, be
2 3 9
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Ab o u t SCSI
sure to turn it on. For details on attaching an active
Co n n e ctin g tw o o r m o re SCSI d e vice s
terminator, refer to the owner’s manual of your SCSI device.
fig.scsi-005.e
Terminator ON Terminator OFF Terminator ON
* On some SCSI devices, the terminator switch is always on
(i.e., the terminator is always active). Attach such devices at
the end of the SCSI chain.
* Do not “double” terminators. For example, do not attach an
external terminator to a SCSI device that has an internal
terminator.
XV-5080
Disk Drive1
Disk Drive2
Ab o u t SCSI ID N u m b e rs
SCSI devices are distinguished by a SCSI ID number (0–7).
Thus, when connecting two or more SCSI devices, you must
set the SCSI ID number of each connected SCSI device so that
they do not conflict. If any SCSI ID numbers conflict, the XV-
5080 will not detect the SCSI devices correctly. When the XV-
5080 is shipped, its SCSI ID number is set to “7.” Set the SCSI
ID numbers of the connected SCSI devices to a setting other
than “7.”
fig.scsi-003.e
If it is not possible to set the SCSI ID number of a connected
SCSI device to something other than “7,” you will have to
change the SCSI ID number of the XV-5080. To do so, rotate
the ID knob located on the rear panel.
Ma k in g Co n n e ctio n s
When you understand the material given in “What you need
to know before making connections,” refer to the connection
examples and connect your SCSI device accordingly.
Be sure to turn off the power of all devices before you do any
of the following three things.
•
•
•
Connect/ disconnect a SCSI cable
Turn a terminator on/ off
Set a SCSI ID number
* For the procedure of turning on the power, refer to p. 12.
Co n n e ctio n Ex a m p le s
Co n n e ctin g o n e SCSI d e vice
fig.scsi-004.e
Terminator ON Terminator ON
XV-5080
Disk Drive1
2 4 0
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Pa ra m e te r List
●Pa tch Pa ra m e te rs
PATCH Co m m o n Ge n e ra l # 1 ([PATCH]-[F1 (Co m m o n )]-[F1 (Ge n e ra l)])(p . 1 2 7 )
Group
Parameter
Value
Common
Name
Patch name
ASCII Characters (max. 12)
Category
Patch Type
Level
Patch category
Patch Type
(*1)
4 TONES, MULTI-PARTIAL
0–127
Patch Level
Pan
Patch Pan
L64–0–63R
Output Assign
Patch output assign
MFX, OUTPUT A–D, INDIV 1–8, TONE
Octave & Tune
Octave shift
Coarce Tune
Fine Tune
Octave shift
Coarce tune
Fine tune
-3–0–+3
-48–+48
-50–+50
OFF, 1, 2, 3
0–127
Stretch Tune Depth Stretch tune depth
Analog Feel Analog feel depth
*1:NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS,
SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH,
PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE,
DRUMS, COMBINATION
PATCH Co m m o n Ge n e ra l # 2 ([PATCH]-[F1 (Co m m o n )]-[F1 (Ge n e ra l)])(p . 1 2 8 )
Group
Parameter
Value
Modify
Cutoff offset
Patch cutoff offset
-63–+63
-63–+63
-63–+63
-63–+63
-63–+63
Resonance offset
Attack offset
Patch resonance offset
Patch attack time offset
Patch release time offset
Patch velocity sens
Release offset
Velo Sens offset
Tempo
Clock Source
Tempo
Patch clock source
Patch tempo
PATCH, SYSETEM
20–250
Voice priority
Mode
Voice priority mode
Switch
LAST, LOUDEST
OFF, ON
One shot Mode
Switch
PATCH Co m m o n Co n tro l ([PATCH]-[F1 (Co m m o n )]-[F2 (Co n tro l)])(p . 1 2 9 )
Group
Parameter
Value
Key Mode
Key Assign
Key assign mode
Legato switch
POLY, MONO
OFF, ON
Legato Switch
Legato Retrigger Legato retrigger switch
OFF, ON
Bender
Bend Range
Bend range up
0–+48
Bend range down
Portament switch
Portament mode
Portament type
-48–0
Portamento
Switch
Mode
Type
Start
OFF, ON
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
0–127
Portament start pitch
Portament time
Time
PATCH Co m m o n Stru ctu re ([PATCH]-[F1 (Co m m o n )]-[F3 (Stru ct)])(p . 1 3 1 )
Group
Parameter
Value
Tone 1 & 2
Tone 3 & 4
Type
Structure type1&2, 3&4
Structure type1&2, 3&4
Booster gain1&2, 3&4
1–10
Type
1–10
Booster
0, +6, +12, +18 dB
PATCH Co m m o n TMT Ke y Ra n g e ([PATCH]-[F1 (Co m m o n )]-[F4 (K.Ra n g e )])(p . 1 3 2 )
Group
Parameter
Value
F.L
K.L
K.U
F.U
Key fade width lower
Key range lower
0–127
C-1–UPPER
LOWER–G9
0–127
Key range upper
Key fade width upper
2 4 1
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Pa ra m e te r List
PATCH Co m m o n TMT Ve l Ra n g e ([PATCH]-[F1 (Co m m o n )]-[F5 (V.Ra n g e )])(p . 1 3 3 )
Group
Parameter
Value
TMT Velocity Control
TMT Matrix Control
TMT VEL RANG
Switch
Switch
L.F
TMT Velocity control switch
TMT Matrix control switch
Velocity fade width lower
Velocity range lower
OFF, ON, RANDOM
OFF, ON
0–127
V.L
1–UPPER
LOWER–127
0–127
V.U
Velocity range upper
U.F
Velocity fade width upper
PATCH W G Pa ra m e te r ([PATCH]-[F2 (W G)]-[F1 (W G Prm )])(p . 1 3 6 )
Group
Parameter
Value
Wave
Group
Number
Gain
Wave group
INT, XP-A–H, SMPL
0001–1083
-6, 0, +6, +12 dB
OFF, ON
OFF, ON
1–4
Wave number(L, R)
Wave gain
Tempo Sync
Switch
Color
Wave tempo sync
FXM
Frequency cross modulation switch
Frequency cross modulation color
Frequency cross modulation depth
Tone delay mode
Depth
0–16
Tone Delay
Mode
(*1)
Time
Tone delay time
0–127(*2)
1:NORMAL, HOLD, KEY-OFF-NORMAL, KEY-OFF-DECAY
2:It can also be set in terms of notes.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Eighth-note triplet), (Dotted sixteenth note),
(Half note), (Whole-note triplet), (Dotted half note),
(Thirty-second-note triplet),
(Thirty-second note),
(Whole note),
(Sixteenth-note triplet),
(Dotted eighth note),
(Dotted thirty-second note),
(Sixteenth note),
(Eighth note),
(Quarter-note triplet),
(Quarter note),
(Half-note triplet),
(Double note)
(Dotted quarter note),
(Double-note triplet),
(Dotted whole note),
PATCH W G Pitch ([PATCH]-[F2 (W G)]-[F2 (Pitch )])(p . 1 3 8 )
Group
Parameter
Value
Pitch
Coarse Tune
Fine Tune
Depth
Coarse tune
-48–+48 semitone
-50–+50 cent
Fine tune
Random pitch
Keyfollow
Random pitch depth
Pitch keyfollow
0–1200 cent(*1)
-200–+200(*2)
Value
1:0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
2:-200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100,
+110, +120, +130, +140, +150, +160, +170, +180, +190, +200
PATCH W G Pitch En ve lo p e ([PATCH]-[F2 (W G)]-[F3 (Pch En v)])(p . 1 3 8 )
Group
Parameter
Value
Pitch Envelope
Depth
Pitch envelope depth
-12–+12
-100–+100(*1)
0–127
Time Keyfollow
T1, T2, T3, T4
Pitch envelope time keyfollow
Pitch envelope time 1–4
L0, L1, L2, L3, L4 Pitch envelope level 0–4
-63–+63
-63–+63
-63–+63
-63–+63
V-Sens
Amount
Time1
Pitch envelope velocity sens
Pitch envelope time1 velocity sens
Pitch envelope time4 velocity sens
Time 4
*1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
PATCH W G Sa m p le ([PATCH]-[F2 (W G)]-[F4 (Sa m p le )])(p . 1 3 9 )
Group
Parameter
Value
Sample
Original Key
Original Key
C-1–G9
Loop Mode
Loop Mode
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE
Loop Tune
Loop Tune
-50–50
Start-Fine
---
---
---
Start Point -Start Point Fine
Loop Point Start Point -Loop Point Start Point Fine
End Point - End Point Fine
0–/0–255
0–/0–255
0–/0–255
Loop Point Start Fine
End-Fine
2 4 2
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Pa ra m e te r List
PATCH TVF Pa ra m e te r ([PATCH]-[F3 (TVF)]-[F1 (TVF Prm )])(p . 1 4 0 )
Group
Parameter
Value
TVF
Filter type
Cutoff freq
Resonance
Sens
Filter type
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
Cutoff frequency
0–127
Resonance
0–127
Resonance Velo
Cutoff keyfollow
Cutoff Velo
Resonance Velocity Sens
Cutoff frequency keyfollow
TVF cutoff velocity curve
Resonance Velocity Sens
0–127
Keyfollow
Curve
-200–+200(*1)
FIXED, 1–7
-63–+63
Sens
1:-200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100,
+110, +120, +130, +140, +150, +160, +170, +180, +190, +200
PATCH TVF En ve lo p e ([PATCH]-[F3 (TVF)]-[F2 (TVF En v)])(p . 1 4 2 )
Group
Parameter
Value
TVF Envelope
Depth
TVF envelope depth
-63–+63
-100–+100(*1)
0–127
Time Keyfollow
T1, T2, T3, T4
TVF envelope time keyfollow
TVF envelope time 1, 2, 3, 4
L0, L1, L2, L3, L4 TVF envelope level 0, 1, 2, 3, 4
0–127
Velo Sens
Velo Curve
Amount
Time 1
Time 4
Amount
TVF envelope velocity amount
TVF envelope time1 velocity sens
TVF envelope time4 velocity sens
TVF envelope velocity curve
-63–+63
-63–+63
-63–+63
FIXED, 1–7
*1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
PATCH TVA Pa ra m e te r ([PATCH]-[F4 (TVA)]-[F1 (TVA Prm )])(p . 1 4 3 )
Group
Parameter
Value
TVA
Level
Level
0–127
V-Curve
V-Sens
Level
TVA envelope velocity curve
TVA envelope velocity sens
TVA Bias level
FIXED, 1–7
-63–+63
Bias
Pan
-100–+100(*1)
Position
Direction
Pan
TVA Bias position
TVA Bias direction
Tone Pan
C-1–G9
LOWER, UPPER, LOWER&UPPER, ALL
L64–0–63R
-100–+100(*1)
0–63
Keyfollow
Random
Alternate
Tone Pan keyfollow
Tone Random pan depth
Tone Alternate pan depth
L63–0–63R
PATCH TVA En ve lo p e ([PATCH]-[F4 (TVA)]-[F2 (TVA En v)])(p . 1 4 4 )
Group
Parameter
Value
TVA Envelope
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3
Time 1
TVA envelope time keyfollow
TVA envelope time 1, 2, 3, 4
TVA envelope level 1, 2, 3
-100–+100(*1)
0–127
0–127
Velocity Sens
TVA envelope time1 velocity sens
TVA envelope time4 velocity sens
-63–+63
-63–+63
Time 4
1:-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100
2 4 3
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Pa ra m e te r List
PATCH LFO &Ctrl LFO 1 , LFO 2 ([PATCH]-[F5 (LFO &CTL)]-[F1 (LFO 1 )])(p . 1 4 5 )
Group
Parameter
Value
Wave
Form
LFO form
SIN,TRI, SAW-UP, SAW-DW, SQR, RND,
BEND-UP, BEND-DW, TRP, S&H, CHAOS
Offset
Value
Detune
Time
LFO offset
-100, -50, 0, +50, +100
Rate
Delay
Fade
LFO rate
0–127(*1)
LFO detune
0–127
LFO delay time
LFO delay keyfollow
LFO fade mode
LFO fade time
0–127
Keyfollow
Mode
Time
-100–+100
ON-IN, ON-OUT, OFF-IN, OFF-OUT
0–127
Key Sync
Depth
Switch
Pitch
LFO key sync switch
Pitch LFO depth1, 2
TVF LFO depth 1, 2
TVA LFO depth 1, 2
Pan LFO depth1, 2
OFF, ON
-63–+63
-63–+63
-63–+63
-63–+63
TVF
TVA
Pan
1:It can also be set in terms of notes.
(Sixty-fourth-note triplet),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted sixteenth note), (Eighth note),
(Whole-note triplet), (Dotted half note),
(Thirty-second note),
(Quarter-note triplet),
(Whole note),
(Sixteenth-note triplet),
(Dotted thirty-second note),
(Sixteenth note),
(Eighth-note triplet),
(Half note),
(Dotted eighth note),
(Quarter note),
(Half-note triplet),
(Double note)
(Dotted quarter note),
(Double-note triplet),
(Dotted whole note),
PATCH LFO &Ctrl # 1 ([PATCH]-[F5 (LFO &CTL)]-[F3 (Co n tro l)])(p . 1 4 6 )
Group
Parameter
Value
Matrix Control 1
Destination
Source
Destination
Sns
Control source1
(*1)
Control1 Destination1–4
Control1 sens1–4
Tone select1–4
(*2)
-63–+63
OFF, ON, R
(*1)
Tone
Matrix Control 2
Destination
Source
Destination
Sns
Control source2
Control2 Destination1–4
Control2 sens1–4
Tone select1–4
(*2)
-63–+63
OFF, ON, R
Tone
PATCH LFO &Ctrl # 2 ([PATCH]-[F5 (LFO &CTL)]-[F3 (Co n tro l)])(p . 1 4 6 )
Group
Parameter
Value
Matrix Control 3
Destination
Source
Destination
Sns
Control source3
(*1)
Control3 Destination1–4
Control3 sens1–4
Tone select1–4
(*2)
-63–+63
OFF, ON, R
(*1)
Tone
Matrix Control 4
Destination
Source
Destination
Sns
Control source4
Control4 Destination1–4
Control4 sens1–4
Tone select1–4
(*2)
-63–+63
OFF, ON, R
Tone
*1:OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,
LFO2, PITCH ENV, TVF ENV, TVA ENV
*2:OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT
ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4
PATCH LFO &Ctrl Co n tro l Sw ([PATCH]-[F5 (LFO &CTL)]-[F4 (Ctrl Sw )])(p . 1 4 7 )
Group
Parameter
Value
MIDI Rx Switch
Bender Sw
Recieve pitch bend switch
Recieve expression switch
Recieve hold-1 switch
Recieve redamper switch
Recieve pan mode switch
Envelope mode
OFF, ON
Expression Sw
Hold-1 Sw
OFF, ON
OFF, ON
Redamper
OFF, ON
Pan Mode
CONTINUOUS, KEY-ON
NO SUSTAIN, SUSTAIN
Tone Env Mode
2 4 4
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Pa ra m e te r List
PATCH Effe cts Ge n e ra l ([PATCH]-[F6 (Effe cts)]-[F1 (Ge n e ra l)])(p . 2 5 )
Group
Parameter
Value
Patch Output Assign
Tone Output Assign
Tone Dry Send Level
Tone Chorus Send Level
(non MFX/MFX)
MFX, A–D, 1–8, TONE
MFX, OUTPUT A–D, INDIV1–8
0–127
0–127
Tone Reverb Send Level
(non MFX/MFX)
0–127
MFX Type
0–90
MFX Dry Send Level
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
0–127
0–127
0–127
OFF, Chrus, Delay
MAIN, REV, M+R
0–127
Chorus Output Select
Chorus Level
Reverb Type
OFF, Revrb, Room, Hall, Plate
0–127
Reverb Level
MFX Output Assign
Chorus Output Assign
Reverb Output Assign
A, B, C, D
A, B, C, D
A, B, C, D
PATCH Effe cts MFX Co n tro l ([PATCH]-[F6 (Effe cts)]-[F2 (MFX Prm )])(p . 2 6 )
* Refer to MFX Parameters (p. 41)
PATCH Effe cts MFX Co n tro l ([PATCH]-[F6 (Effe cts)]-[F3 (MFX Ctl)])(p . 2 6 )
Group
Parameter
Value
MFX CTRL
Source
Destination
Sens
MFX Control Source 1, 2, 3, 4
MFX Control Destination 1, 2, 3, 4
MFX Control Sens 1, 2, 3, 4
(*1)
(*2)
-63–+63
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*2: Refer to MFX Parameters (p. 41)
PATCH Effe cts Ch o ru s ([PATCH]-[F6 (Effe cts)]-[F4 (Ch o ru s)])(p . 2 7 )
* Refer to Chorus Parameters (p. 27)
PATCH Effe cts Re ve rb ([PATCH]-[F6 (Effe cts)]-[F2 (Re ve rb )])(p . 2 8 )
* Refer to Reverb Parameters (p. 28)
2 4 5
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Pa ra m e te r List
●●Mu lti Pa rtia l Pa tch Pa ra m e te rs
PATCH Co m m o n Sp lit ([PATCH]-[F1 (Co m m o n )]-[F3 (Sp lit)])(p . 1 4 8 )
Group
Parameter
Value
Note
---
---
---
---
---
---
---
---
Note Number
Partial Number
Partial Name
Lower Key Point
Upper Key Point
Mute Group
A0–C8
No.
---
Partial Name
L.P
---
A0–C8
U.P
A0–C8
Mute
OFF, 1–31
Mute, Single
OFF, Select, Set
Assign
MIDI
Assign Type
MIDI Switch
PATCH W G Pa rtia l ([PATCH]-[F2 (W G)]-[F1 (W G Prm )])(p . 1 4 9 )
Group
Parameter
Value
Partial
Name
Partial Name
ASCII Character (max 12 Characters)
Course Tune
Fine Tune
Partial Course Tune
Partial Fine Tune
-48–+48
-50–+50
PATCH W G SMT # 1 ([PATCH]-[F2 (W G)]-[F2 (SMT)])(p . 1 5 0 )
Group
Parameter
Value
No.
---
---
---
---
---
---
---
Sample Number
Sample Name
---
Name
Level
Pan
---
Sample Level
0–127
Sample Pan
L32–32R, RANDOM, Key+, Key-, LFO+, LFO-, ALT
C.T
Sample Course Tune
Sample Fine Tune
Pitch Keyfollow
-48–+48
-50–+50
-16–+16
F.T
P.KF
PATCH W G SMT # 2 ([PATCH]-[F2 (W G)]-[F2 (SMT)])(p . 1 5 1 )
Group
Parameter
Value
SMT Vel Control
Switch
---
SMT Velocity Control Switch
Velocity Fade width Lower
Velocity Range Lower
OFF, ON
0–127
L.F
L.F
L.F
U.F
---
1–Upper
Lower–127
0–127
---
Velocity Range Upper
---
Velocity Fade width Upper
PATCH W G Sa m p le ([PATCH]-[F2 (W G)]-[F3 (SMT)]-[F3 (Sa m p le )])(p . 1 5 1 )
Group
Parameter
Value
Sample
Original Key
Original Key
C-1–G9
Loop Mode
Loop Mode
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE
Loop Tune
Loop Tune
-50–50
Start-Fine
---
---
---
Start Point - Start Point Fine
Loop Point Start Point - Loop Point StartPoint Fine
End Point - End Point Fine
0-/0–255
0-/0–255
0-/0–255
Loop Point Start Fine
End - Fine
PATCH TVF Pa ra m e te r ([PATCH]-[F3 (TVF)]-[F1 (TVF Prm )])(p . 1 5 3 )
Group
Parameter
Value
TVF
Filter type
Cutoff freq
Resonance
Keyfollow Point
Keyfollow
Curve
Filter type
OFF, LPF, BPF, HPF
0–127
Cutoff frequency
Resonance
0–127
Cutoff
Cutoff frequency keyfollow Point
Cutoff frequency keyfollow
TVF cutoff velocity curve
Resonance Velocity Sens
A0–C8
-63–+63
1–4
TVF Velo
Sens
0–127
2 4 6
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Pa ra m e te r List
PATCH TVF En ve lo p e ([PATCH]-[F3 (TVF)]-[F2 (TVF En v)])(p . 1 5 4 )
Group
Parameter
Value
TVF Envelope
Depth
TVF envelope depth
-63–+63
-63–+63
0–127
Time Keyfollow
T1, T2, T3, T4
L0, L1, L2, L3
Amount
TVF envelope time keyfollow
TVF envelope time 1, 2, 3, 4
TVF envelope level 0, 1, 2, 3
TVF envelope velocity sens
TVF envelope time1 velocity sens
TVF envelope time4 velocity sens
TVF envelope pitch Depth
0–127
Velo Sens
-63–+63
-63–+63
-63–+63
-63–+63
Time 1
Time 4
Pitch Depth
PATCH TVA Pa ra m e te r ([PATCH]-[F4 (TVA)]-[F1 (TVA Prm )])(p . 1 5 5 )
Group
Parameter
Value
TVA
Level
Partial Level
0–127
Pan
Partial Pan
-64–+63
A0–C8
Level
Key follow Point
Key follow
Curve
Key follow Point
Level Key follow
TVA velocity curve
TVA velocity curve sens
-63–+63
FIXED, 1–7
-63–+63
TVA Velo
Sens
PATCH TVA En ve lo p e ([PATCH]-[F4 (TVA)]-[F2 (TVA En v)])(p . 1 5 5 )
Group
Parameter
Value
TVA Envelope
Time Keyfollow
T1, T2, T3, T4
L1, L2, L3
Time 1
TVA envelope time keyfollow
TVA envelope time 1, 2, 3, 4
TVA envelope level 1, 2, 3
-63–+63
0–127
0–127
Velocity Sens
TVA envelope time1 velocity sens
TVA envelope time4 velocity sens
-63–+63
-63–+63
Time 4
PATCH LFO &Ctrl LFO ([PATCH]-[F5 (LFO &Ctl)]-[F1 (LFO 1 )])(p . 1 5 6 )
Group
Parameter
Value
Wave
Form
LFO form
SIN,TRI, SAW-UP, SAW-DW, SQR, RND,
BEND-UP, BEND-DW
0–127
Rate
Value
Detune
Time
LFO rate
LFO detune
0–127
Delay
LFO delay time
0–127
Keyfollow
Switch
Pitch
LFO delay keyfollow
LFO key sync switch
Pitch LFO depth1, 2
TVF LFO depth 1, 2
TVA LFO depth 1, 2
Pan LFO depth1, 2
-63–+63
Key Sync
Depth
OFF, ON
-63–+63
TVF
-63–+63
TVA
-63–+63
Pan
-63–+63
PATCH LFO &Ctrl Co n tro l # 1 ([PATCH]-[F5 (LFO &Ctl)]-[F2 (Co n tro l)])(p . 1 5 7 )
Group
Parameter
Value
Matrix Control 1
Destination
Source
Destination
Sens
Control source1
(*1)
Control1 Destination1–4
Control1 sens1–4
Control source2
(*2)
-63–+63
(*1)
Matrix Control 2
Destination
Source
Destination
Sens
Control2 Destination1–4
Control2 sens1–4
(*2)
-63–+63
2 4 7
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Pa ra m e te r List
PATCH LFO &Ctrl Co n tro l # 2 ([PATCH]-[F5 (LFO &Ctl)]-[F2 (Co n tro l)])(p . 1 5 7 )
Group
Parameter
Value
Matrix Control 3
Destination
Source
Destination
Sens
Control source3
(*1)
Control3 Destination1–4
Control3 sens1–4
Control source4
(*2)
-63–+63
(*1)
Matrix Control 4
Destination
Source
Destination
Sens
Control4 Destination1–4
Control4 sens1–4
(*2)
-63–+63
*1:OFF, CC01–95(except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3,SYS-CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1,
LFO2, PITCH ENV, TVF ENV, TVA ENV
*2:OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL, CHORUS SEND, REVERB SEND, LFO1 PCH DEPTH, LFO2 PCH DEPTH, LFO1 TVF
DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT
ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM
DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4
2 4 8
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Pa ra m e te r List
●Pe rfo rm a n ce Pa ra m e te rs
PERFO RMAN CE Co m m o n ([PERFO RMAN CE]-[F1 (Co m m o n )])(p . 1 6 0 )
Group
Parameter
Value
Performance Name
Solo Part Select
Name
Performance Name
Solo Part Number
ASCII Character (12 characters max)
OFF, PART1-32
Number
PERFO RMAN CE Ke y Ra n g e ([PERFO RMAN CE]-[F2 (K.Ra n g e )])(p . 1 6 1 )
Group
Parameter
Value
F.L
K.L
K.U
F.U
Key fade width lower
Key range lower
0–127
C-1–UPPER
LOWER–G9
0–127
Key range upper
Key fade width upper
PERFO RMAN CE Pa rt # 1 ([PERFO RMAN CE]-[F3 (Pa rt)])(p . 1 6 2 )
Group
Parameter
Value
Patch
Type
Part type
PATCH/RHYTHM
Group
Patch group
USER, PR-A, PR-B, PR-C, PR-D, PR-E, PR-F, PR-G, GM
XP-A–H, CD-A–H
001–256
Number
Level
Pan
Patch number
Part Level
Part Pan
Level & Pan
0–127
L64–0–63R
0–24, PATCH
-3–+3
Bend Range
Tune
Value
Octave
Coarse
Fine
Pitch bend range
Octave shift
Coarse tune
Fine tune
-48–+48 semitone
-50–+50 cent
0–63, FULL
Voice Reserve
---
---
PERFO RMAN CE Pa rt # 2 ([PERFO RMAN CE]-[F3 (Pa rt)])(p . 1 6 3 )
Group
Parameter
Value
Modify
Cutoff Offset
Part cutoff offset
-64–+63
Resonance Offset Part resonance offset
Attack Time Offset Part attack time offset
-64–+63
-64–+63
Release Offset
Part release time offset
-64–+63
Velocity Sens OffsetPart velocity sens offset
-64–+63
Key Mode
Mono/Poly
Legato Switch
Switch
Part MONO/POLY
Legato switch
MONO, POLY, PATCH
OFF, ON, PATCH
OFF, ON, PATCH
0–127, PATCH
Portamento
Portamento switch
Portamento Time
Time
PERFO RMAN CE MIDI # 1 ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 4 )
Group
Parameter
Value
Part MIDI
Part Mute
Receive Channel MIDI Receive Channel
1–16
Switch
Part Mute switch
OFF, MUTE
OFF, ON
OFF, ON
OFF, ON
Part MIDI Receive SwitchMIDI Rx
MIDI IN 1
Receive switch
MIDI IN 1 Receive switch
MIDI IN 2 Receive switch
MIDI IN 2
2 4 9
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Pa ra m e te r List
PERFO RMAN CE MIDI # 2 MIDI Filte r ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 5 )
Group
Parameter
Value
MIDI Message
Program Change Receive program change switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Bank Select
Pitch Bend
Receive bank select switch
Receive bend switch
Channel Pressure Receive channel pressure switch
Poly Key Pressure Receive polyphonic key pressure switch
Modulation
Receive modulation switch
PERFO RMAN CE MIDI # 3 MIDI Filte r ([PERFO RMAN CE]-[F4 (MIDI)])(p . 1 6 5 )
Group
Parameter
Value
MIDI Message
Volume
Receive volume switch
Receive pan switch
Receive expression switch
Receive hold-1 switch
Phase lock
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, 1, 2, 3, 4
Pan
Expression
Hold-1
Phase Lock
Velocity Curve
Velocity curve
PERFO RMAN CE Effe cts Ge n e ra l # 1 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F1 (Ge n e ra l)])(p .
3 1 )
Group
Parameter
Value
Part Output Assign
Part Output MFX Select
Part Dry Send Level
Part Chorus Send Level
(non MFX/MFX)
MFX, A–D, 1–8, PAT
A–C
0–127
0–127
Part Reverb Send Level
(non MFX/MFX)
0–127
MFX Type
0–90
MFX Source
PRF, P1–32
0–127
MFX Dry Send Level
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
0–127
0–127
OFF, Chrus, Delay
PRF, P1–32
MAIN, REV, M+R
0–127
Chorus Source
Chorus Output Select
Chorus Level
Reverb Type
OFF, Revrb, Room, Hall, Plate
PRF, P1–32
0–127
Reverb Source
Reverb Level
MFX Output Assign
Chorus Output Assign
Reverb Output Assign
A, B, C, D
A, B, C, D
A, B, C, D
PERFO RMAN CE Effe cts Ge n e ra l # 2 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F1 (Ge n e ra l)])(p .
3 1 )
Group
Parameter
Value
Output Assign
Output MFX Select
MFX Source
Output
MFX
Output assign
Output MFX select
MFX-A source
MFX-B source
MFX-C source
MFX-A type
MFX, A–D, 1–8, PAT
MFX-A–C
MFX-A
MFX-B
MFX-C
MFX-A
MFX-B
MFX-C
PERFORM, PART 1–16
PERFORM, PART 1–16
PERFORM, PART 1–16
0–90
MFX Type
MFX-B type
0–90
MFX-C type
0–90
2 5 0
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PERFO RMAN CE Effe cts MFX Co n tro l # 2 ([PERFO RMAN CE]-[F5 (Effe cts)]-[F3 (MFX
Ctl)])(p . 3 1 )
Group
Parameter
Value
Source
Control 1
Control 2
Control 3
Control 4
Control 1
Control 2
Control 3
Control 4
Control 1
Control 2
Control 3
Control 4
MFX control source 1
MFX control source 2
MFX control source 3
MFX control source 4
MFX control Destination 1
MFX control Destination 2
MFX control Destination 3
MFX control Destination 4
MFX control sens 1
(*1)
(*1)
(*1)
(*1)
Destination
Sens
(*2)
(*2)
(*2)
(*2)
-63–+63
-63–+63
-63–+63
-63–+63
MFX control sens 2
MFX control sens 3
MFX control sens 4
Performance MFX
Ctrl Channel
MIDI Channel
Switch
MFX control channel
1–16, OFF
OFF, ON
OFF, ON
Receive MIDI IN1
Receive MIDI IN2
Receive MIDI IN1 Switch
Receive MIDI IN2 Switch
Switch
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*2: Refer to MFX Parameters (p. 41)
PERFO RMAN CE Effe cts Ch o ru s ([PERFO RMAN CE]-[F5 (Effe ct)]-[F4 (Ch o ru s)])(p . 3 3 )
* Refer to Chorus Parameters (p. 33)
PERFO RMAN CE Effe cts Re ve rb ([PERFO RMAN CE]-[F5 (Effe ct)]-[F5 (Re ve rb )])(p . 3 4 )
* Refer to Reverb Parameters (p. 34)
PERFO RMAN CE Pa rt In fo rm a tio n ([PERFO RMAN CE]-[F6 (In fo )])(P. 1 6 6 )
Group
Parameter
Value
INFO
Mod
Modulation information
Breath information
0–127
Breath
Foot
0–127
Foot information
0–127
Volume
Pan
Volume information
0–127
Pan information
L64–0–63R
0–127
Exp
Expression information
Hold1 information
Hold
0–127
Bend
Aft
Pitch bend information
Aftertouch information
Voice information
-128–+127
0–127
Voices
Sys 1
Sys 2
Sys 3
Sys 4
0–64
System control 1 information
System control 2 information
System control 3 information
System control 4 information
0–127/-128–+127
0–127/-128–+127
0–127/-128–+127
0–127/-128–+127
2 5 1
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Pa ra m e te r List
●Rh y th m Se t Pa ra m e te rs
RHYTHM Co m m o n ([RHYTHM]-[F1 (Co m m o n )])(p . 1 6 9 )
Group
Parameter
Value
Common
Name
Rhythm set name
Rhythm level
ASCII Characters (max. 12)
Level
0–127
Output Assign
Clock Source
Tempo
Rhythm output assign
Rhythm clock source
Rhythm tempo
MFX, OUTPUT A–D, INDIV 1–8, TONE
Tempo
RHYTHM, SYSETEM
20–250
One Shot Mode
Switch
One Shot Mode
OFF, ON
RHYTHM W G Pa ra m e te r ([RHYTHM]-[F2 (Ke y W G)]-[F1 (W G Prm )])(p . 1 7 1 )
Group
Parameter
Value
Rhythm Tone
----
Tone name
ASCII Characters (max. 12)
OFF, ON
Tempo Sync
Group
L, R
Wave tempo sync
Wave group
Wave number(L, R)
Wave gain
Wave
INT, XP-A–H, SAMPLE
1–****
Gain&Level
Pan
Gain
-6, 0, 6, 12 dB
0–127
Level
Level
Value
Value
L64–0–63R
OFF, ON
Random
Alternate
Course
Fine
Random pan switch
Alternate pan switch
Course Tune
Fine Tune
OFF, ON
Tune
FXM
-48–+48
-50–+50
Switch
Color
FXM switch
FXM color
OFF, ON
1–4
Depth
FXM depth
0–16
RHYTHM W G Pitch ([RHYTHM]-[F2 (Ke y W G)]-[F2 (Pitch )])(p . 1 7 3 )
Group
Parameter
Value
Pitch
Coarse Tune
Fine Tune
Depth
Coarse tune
C-1–G9
Fine tune
-50–+50 cent
0–1200 cent(*1)
Random Pitch
Random pitch depth
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
RHYTHM W G Pitch En ve lo p e ([RHYTHM]-[F2 (Ke y W G)]-[F3 (Pch En v)])(p . 1 7 3 )
Group
Parameter
Value
Pitch Envelope
Depth
Pitch envelope depth
-12–+12
-63–+63
0–127
L0
Pitch envelope level 0
T1, T2, T3, T4
L1, L2, L3, L4
Amount
Time1
Pitch envelope time 1–4
Pitch envelope level 1–4
-63–+63
-63–+63
-63–+63
-63–+63
Velocity Sens
Pitch envelope velocity sens
Pitch envelope time 1 velocity sens
Pitch envelope time 4 velocity sens
Time 4
2 5 2
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RHYTHM W G W MT Ve l Ra n g e ([RHYTHM]-[F2 (Ke y W G)]-[F4 (V.Ra n g e )])(p . 1 7 4 )
Group
Parameter
Value
Velocity Control
Switch
L.F
Velocity Control Switch
Velocity fade width lower
Velocity range lower
OFF, ON, RANDOM
0–127
V.L
1–UPPER
V.U
Velocity range upper
LOWER–127
0–127
U.F
Velocity fade width upper
RHYTHM W G Sa m p le ([RHYTHM]-[F2 (Ke y W G)]-[F5 (Sa m p le )])(p . 1 7 4 )
Group
Parameter
Value
Sample
Original Key
Original Key
C-1–G9
Loop Mode
Loop Mode
FORWARD, ONE SHOT, ALT, REV ONE, REVERSE
Loop Tune
Loop Tune
-50–50
Start-Fine
---
---
---
Start Point -Start Point Fine
Loop Point Start Point -Loop Point Start Point Fine
End Point - End Point Fine
0–/0–255
0–/0–255
0–/0–255
Loop Point Start Fine
End-Fine
RHYTHM TVF Pa ra m e te r ([RHYTHM]-[F3 (Ke y TVF)]-[F1 (TVF Prm )])(p . 1 7 5 )
Group
Parameter
Value
TVF FILTER
Type
Filter type
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
Cutoff
Cutoff frequency
0–127
Resonance
V-Cutoff
V-Curve
V-Resonance
Resonance
0–127
TVF VELOCITY
TVF cutoff velocity sens
TVF cutoff velocity curve
TVF resonance velocity sens
-63–+63
FIXED, 1–7
-63–+63
RHYTHM TVF En ve lo p e ([RHYTHM]-[F3 (Ke y TVF)]-[F2 (TVF En v)])(p . 1 7 7 )
Group
Parameter
Value
TVF ENVELOPE
Depth
TVF Envelope depth
-63–+63
-63–+63
FIXED, 1–7
-63–+63
-63–+63
0–127
V-Sens
V-Curve
V-T1
TVF envelope velocity sens
TVF envelope velocity curve
TVF envelope time 1 velocity sens
TVF envelope time 4 velocity sens
TVF envelope level 0
V-T4
L0
T1, T2, T3, T4
L1, L2, L3, L4
TVF envelope time 1, 2, 3, 4
TVF envelope level 1, 2, 3, 4
0–127
0–127
RHYTHM TVA Pa ra m e te r ([RHYTHM]-[F4 (Ke y TVA)]-[F1 (TVA Prm )])(p . 1 7 7 )
Group
Parameter
Value
TVA
Level
Level
0–127
Pan
Pan
L64–0–63R
0–63
Random
Alternate
Velocity Sens
Velocity Curve
Random pan depth
Alternate pan depth
TVA envelope velocity sens
TVA envelope velocity curve
L63–0–63R
-63–+63
FIXED, 1–7
TVA VELOCITY
RHYTHM TVA En ve lo p e ([RHYTHM]-[F4 (Ke y TVA)]-[F2 (TVA En v)])(p . 1 7 8 )
Group
Parameter
Value
TVA TIME ENV
V-T1
V-T4
T1–4
L1–3
TVA envelope time 1 velocity sens
TVA envelope time 4 velocity sens
TVA envelope time 1–4
-63–+63
-63–+63
0–127
TVA ENVELOPE
TVA envelope level 1–3
0–127
2 5 3
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Pa ra m e te r List
RHYTHM Ke y Co n tro l ([RHYTHM]-[F5 (Ke y Ctl)])(p . 1 7 9 )
Group
Parameter
Value
CONTROL
Bend Range
Envelope Mode
Mute Group
Assign Type
Expression
Pan
Bend range
0–48
Envelope mode
NO SUS, SUSTAIN
OFF, 1–31
Mute group
Assign type
MULTI, SINGLE
OFF, ON
Rx MIDI
Receive expression switch
Receive pan control switch
Receive hold-1 switch
CONTINUOUS, KEY-ON
OFF, ON
Hold-1
RHYTHM Effe cts Ge n e ra l ([RHYTHM]-[F6 (Effe cts)]-[F1 (Ge n e ra l)])(p . 3 7 )
Group
Parameter
Value
Rhythm Output Assign
Rhythm Tone Output Assign
Rhythm Tone Dry Send Level
Rhythm Tone Chorus Send Level
(non MFX/MFX)
MFX, A–D, 1–8, TONE
MFX, A–D, 1–8
0–127
0–127
Rhythm Tone Reverb Send Level
(non MFX/MFX)
0–127
MFX Type
0–90
MFX Dry Send Level
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
0–127
0–127
0–127
OFF, Chrus, Delay
MAIN, REV, M+R
0–127
Chorus Output Select
Chorus Level
Reverb Type
OFF, Revrb, Room, Hall, Plate
0–127
Reverb Level
MFX Output Assign
Chorus Output Assign
Reverb Output Assign
A, B, C, D
A, B, C, D
A, B, C, D
RHYTHM Effe cts MFX ([RHYTHM]-[F6 (Effe cts)]-[F2 (MFX Prm )])(p . 3 7 )
Group
Parameter
Value
(Refer to MFX parameters)
RHYTHM Effe cts MFX Co n tro l ([RHYTHM]-[F6 (Effe cts)]-[F3 (MFX Ctl)])(p . 3 7 )
Group
Parameter
Value
MFX CTRL
Source
Destination
Sens
MFX Control Source 1, 2, 3, 4
Destination 1, 2, 3, 4
(*1)
(*2)
MFX Control Sens 1, 2, 3, 4
-63–+63
*1: OFF, CC01–95 (except 32), PITCH BEND, AFTERTOUCH, SYS-CTRL1, SYS-CTRL2, SYS-CTRL3, SYS-CTRL4
*2: Refer to MFX Parameters
RHYTHM Effe cts Ch o ru s ([RHYTHM]-[F6 (Effe cts)]-[F3 (Ch o ru s)])(p . 3 8 )
* Refer to Chorus Parameters (p. 38)
RHYTHM Effe cts Re ve rb ([RHYTHM]-[F6 (Effe cts)]-[F4 (Re ve rb )])(p . 4 0 )
* Refer to Reverb parameters (p. 40)
2 5 4
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Pa ra m e te r List
●GM Mo d e Pa ra m e te rs
GM Co n tro l ([GM]-[F2 (Co n tro l)])(p . 2 2 5 )
Group
Parameter
Value
Modify
Cutoff offset
Cutoff offset
-64–+63
-64–+63
-64–+63
-64–+63
MONO, POLY
OFF, ON
0–127
Resonance offset Resonance offset
Attack time offset Attack time offset
Release time offset Release time offset
Key Mode
Mono/Poly
Switch
MONO/POLY
Portamento
Portament Switch
Portament Time
Time
GM Pa rt ([GM]-[F3 (Pa rt)])(p . 2 2 7 )
Group
Parameter
Value
Patch
Type
Part Type
PATCH, RHYTHM
001–256
Number
Value
GM patch number
Pitch bend range value
Part Volume
Part Pan
Bend Range
Level & Pan
0–24
Part Volume
Part Pan
Coarse
Fine
0–127
RND, L63–0–63R
-48–+48 semitone
-50–+50 cent
Tune
Coarse tune
Fine tune
GM MIDI ([GM]-[F4 (MIDI)])(p . 2 2 7 )
Group
Parameter
Value
Part MIDI
Part Mute
Part MIDI
Receive Channel MIDI channel
1–16, OFF
OFF, MUTE
OFF, ON
Switch
Mute switch
Receive Switch
MIDI receive switch
GM Effe cts Ge n e ra l ([GM]-[F5 (Effe cts)])(p . 2 2 7 )
Group
Parameter
Value
Part Output Assign
Part Dry Send Level
Part Chorus Send Level
Part Reverb Send Level
Chorus Type
A–D
0–127
0–127
0–127
Cho1–4, FBCho, Flang
Chorus Output Assign
Reverb Send Level
Reverb Type
A–D
0–127
SRoom, MRoom, LRoom, MHall, LHall, Plate
Reverb Output Assign
A–D
GM Effe cts Ch o ru s ([GM]-[F5 (Effe ct)]-[F2 (Ch o ru s)])(p . 2 2 7 )
Group
Parameter
Value
GM Effect Chorus
Chorus
Type
Chorus type
CHORUS 1–4, FB CHORUS, FLANGER
Rate
Chorus rate
0–127
0–127
0–127
Depth
Feedback
Chorus depth
Chorus feedback level
GM Effe cts Re ve rb ([GM]-[F5 (Effe ct)]-[F3 (Re ve rb )])(p . 2 2 8 )
Group
Parameter
Value
GM Effect Reverb
Type
Reverb type
Reverb time
SMALL ROOM, MEDIUM ROOM, LARGE ROOM,
MEDIUM HALL, LARGE HALL, PLATE
0–127
Reverb
Time
2 5 5
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Pa ra m e te r List
GM Effe cts Ge n e ra l ([GM]-[F6 (In fo )])(p . 2 2 8 )
Group
Parameter
Value
Infometion
Mod
Modulation information
Breath information
Foot information
0–127
Breath
Foot
0–127
0–127
Volume
Pan
Volume information
Pan information
0–127
L64–0–63R
0–127
Exp
Expression information
Hold1 information
Hold
Bend
Aft
0–127
Pitch bend information
Aftertouch information
Voice information
-128–+127
0–127
Voices
0–64
2 5 6
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Pa ra m e te r List
4 :PHASER(p . 4 5 )
Parameter
●MFX Pra m e te rs
Value
1 :STEREO EQ (p . 4 4 )
Parameter
Phaser
Manual
Value
Manual
Rate
100-8000 Hz
0.05-10.00 Hz
0-127
Rate
Freq/Gain
LowFreq
Depth
Depth
Low frequency
Low gain
200, 400 Hz
Resonance
Mix Level
Resonance
Mix level
0-127
LowGain
-15–+15 dB
0-127
Mid1 Freq
Mid1 Gain
Mid2 Freq
Mid2 Gain
High Freq
High Gain
Middle 1 frequency
Middle 1 gain
Middle 2 frequency
Middle 2 gain
High frequency
High gain
200–8000Hz(*1)
-15–+15 dB
Output
Level
200–8000 Hz(*1)
-15–+15 dB
Output level
Output pan
0-127
Pan
L64-0-63R
4000, 8000 Hz
-15–+15 dB
5 :SPECTRUM(p . 4 6 )
Parameter
Value
Band Width
Mid1 Q
Mid1 Q
Mid2 Q
0.5, 1.0, 2.0, 4.0, 8.0
0.5, 1.0, 2.0, 4.0, 8.0
Gain
Mid2 Q
250Hz
250Hz gain
500Hz gain
1000Hz gain
1250Hz gain
2000Hz gain
3150Hz gain
4000Hz gain
8000Hz gain
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
Output
500Hz
Level
Output level
0–127
1000Hz
1250Hz
2000Hz
3150Hz
4000Hz
8000Hz
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
2 :O VERDRIVE(p . 4 4 )
Parameter
Value
Band Width
Q
Q
0.5, 1.0, 2.0, 4.0, 8.0
Overdrive
Output
Level
Drive
Drive
0-127
Output level
Output pan
0-127
Amp simulator
Type
Pan
L64-0-63R
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
6 :EN HAN CER(p . 4 6 )
Parameter
EQ Gain
Low
Value
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Enhancer
Sens
Sens
0-127
0-127
Output
Level
Mix Level
Mix level
Output level
Output pan
0-127
Pan
L64-0-63R
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
3 :DISTO RTIO N (p . 4 5 )
Parameter
Value
Output
Level
Output level
0-127
Overdrive
Drive
Drive
0-127
7 :AUTO W AH(p . 4 7 )
Amp simulator
Type
Parameter
Value
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
Auto Wah
Filter type
Filter type
Sens
LPF, BPF
0-127
EQ Gain
Low
Sens
Low gain
High gain
-15-+15 dB
-15-+15 dB
Manual
Peak
Manual
Peak
0-127
High
0-127
Rate
Rate
0.05-10.00 Hz
0-127
Output
Level
Depth
Depth
Output level
Output pan
0-127
Pan
L64-0-63R
Output
Level
Output level
0-127
2 5 7
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Pa ra m e te r List
Output
Level
8 :RO TARY(p . 4 7 )
Parameter
Output level
0-127
Value
1 2 :TREMO LO CHO RUS(p . 4 9 )
Rotary
Speed
Speed
SLOW, FAST
Parameter
Value
Woofer
Slow Rate
Fast Rate
Acceleration
Level
Chorus
Rate
Low frequency slow rate
Low frequency fast rate
Low frequency acceleration
Low frequency level
0.05-10.00 Hz
0.05-10.00 Hz
0-15
Chorus rate
0.05-10.00 Hz
0-127
Depth
Chorus depth
Pre delay time
Pre Delay
0.0-100.0 ms
0-127
Tremolo
Rate
Separation
Tremolo rate
0.05-10.00 Hz
0-180 degree
0-127
Separation
0-127
Phase
Tremolo phase
Tremolo separation
Separation
Tweeter
Slow Rate
Fast Rate
Accelerationl
Level
High frequency slow rate
High frequency fast rate
High frequency acceleration
High frequency level
0.05-10.00 Hz
0.05-10.00 Hz
0-15
Balance
Effect balance
Output level
D100:0W-D0:100W
0-127
0-127
Output
Level
Output
Level
Output level
0-127
1 3 :SPACE-D(p . 5 0 )
Parameter
Value
9 :CO MPRESSO R(p . 4 8 )
Parameter
Value
Chorus
Rate
Rate
0.05-10.00 Hz
0-127
Compressor
Attack
Depth
Depth
Attack
0-127
Phase
Pre Delay
Phase
0-180 degree
0.0-100.0 ms
Sustain
Post Gain
Sustain
Post gain
0-127
Pre delay time
0, +6, +12, +18 dB
EQ Gain
Low
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
High
Balance
Output
Level
Effect balance
Output level
D100:0W-D0:100W
0-127
Output level
Output pan
0-127
Pan
L64-0-63R
Output
Level
1 0 :LIMITER(p . 4 8 )
Parameter
1 4 :STEREO CHO RUS(p . 5 0 )
Parameter
Value
Value
Limiter
Threshold
Threshold level
Compression ratio
Release time
Post gain
0-127
Chorus
Rate
Ratio
1.5:1, 2:1, 4:1, 100:1
0-127
Rate
0.05-10.00 Hz
0-127
Release
Post gain
Depth
Depth
0, +6, +12, +18 dB
Phase
Pre Delay
Phase
0-180 degree
0.0-100.0 ms
Pre delay time
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Filter
Type
High
Filter type
OFF, LPF, HPF
200-8000 Hz (*1)
Cutoff
Cutoff frequency
Output
Level
Output level
Output pan
0-127
EQ Gain
Low
Pan
L64-0-63R
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
1 1 :HEXA-CHO RUS(p . 4 9 )
Parameter
Value
Effect balance
Output level
D100:0W-D0:100W
0-127
Output
Level
Hexa Chorus
Rate
Rate
0.05-10.00 Hz
0-127
Depth
Depth
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Depth Dev
Pre Delay
Depth deviation
Pre delay time
-20-+20
0.0-100.0 ms
0-127
Pre Delay Dev Pre delay deviation
Pan Dev
Pan deviation
0-127
Balance
Effect balance
D100:0W-D0:100W
2 5 8
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Level
1 5 :STEREO FLAN GER(p . 5 1 )
Parameter
Output level
0-127
Value
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Flanger
Rate
Rate
0.05-10.00 Hz
0-127
Depth
Depth
1 8 :MO DULATIO N DELAY(p . 5 3 )
Feedback
Phase
Feedback level
Phase
-98-+98%
0-180 degree
0.0-100.0 ms
Parameter
Value
Pre Delay
Pre delay time
Delay
Left
Filter
Type
Delay time left
Delay time right
HF damp
0.0-500.0 ms
0.0-500.0 ms
200-8000 Hz,
-98-+98%
Filter type
OFF, LPF, HPF
200-8000 Hz (*1)
Right
Cutoff
Cutoff frequency
HF Damp
Feedback
FBK Mode
Feedback level
Feedback mode
EQ Gain
Low
NORMAL, CROSS
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Modulation
Rate
Rate
0.05-10.00 Hz
0-127
Balance
Depth
Depth
Phase
Effect balance
Output level
D100:0W-D0:100W
0-127
Phase
0-180 degree
BYPASS (*1)
Output
Level
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
High
Balance
1 6 :STEP FLAN GER(p . 5 1 )
Parameter
Effect balance
Output level
D100:0W-D0:100W
0-127
Value
Level
Level
Flanger
Rate
Rate
0.05-10.00 Hz
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Depth
Depth
Feedback
Phase
Feedback level
Phase
-98-+98%
0-180 degree
0.0-100.0 ms
Pre Delay
Pre delay time
1 9 :TRIPLE TAP DELAY(p . 5 4 )
Parameter
Value
Step Rate
Step rate
0.10-20.00 Hz, note *1
Delay
Center
Left
Delay time center
Delay time left
Delay time right
HF damp
200-1000 ms, note *1
200-1000 ms, note *1
200-1000 ms, note *1
200-8000 Hz,
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Right
HF Damp
Balance
BYPASS (*1)
Effect balance
Output level
D100:0W-D0:100W
0-127
Feedback
Feedback level
-98-+98%
Output
Level
Delay Level
Center
Center level
Left level
0-127
0-127
0-127
Left
1 7 :STEREO DELAY(p . 5 2 )
Parameter
Right
Right level
Value
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Delay
Left
High
Delay time left
Delay time right
HF damp
0.0-500.0 ms
0.0-500.0 ms
200-8000 Hz,
-98-+98%
Right
Balance
HF Damp
Feedback
FBK Mode
Effect balance
Output level
D100:0W-D0:100W
0-127
Feedback level
Feedback mode
Level
Level
NORMAL, CROSS
Phase
Phase Left
Feedback phase left
Feedback phase right
NORMAL, INVERT
NORMAL, INVERT
BYPASS (*1)
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Phase Right
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Balance
Effect balance
D100:0W-D0:100W
2 5 9
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Level
2 0 :Q UADRUPLE TAP DELAY(p . 5 5 )
Effect balance
Output level
D100:0W-D0:100W
0-127
Parameter
Value
Delay
Delay 1
Delay 2
Delay 3
Delay 4
HF Damp
Delay time 1
Delay time 2
Delay time 3
Delay time 4
HF damp
200-1000 ms, note *1
200-1000 ms, note *1
200-1000 ms, note *1
200-1000 ms, note *1
200-8000 Hz,
2 3 :FBK PITCH SHIFTER(p . 5 7 )
Parameter
Value
Pitch
BYPASS (*1)
Coarse
Coarse pitch
-24-+12 semitone
-100-+100 cent
0.0-500.0 ms
1, 2, 3, 4, 5
Feedback
Feedback level
-98-+98%
Fine
Fine pitch
Pre Delay
Mode
Pre delay time
Pitch shifter mode
Feedback level
Delay Level
Level 1
Level 1
Level 2
Level 3
Level 4
0-127
0-127
0-127
0-127
Level 2
Feedback
-98-+98%
Level 3
EQ Gain
Low
Level 4
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Balance
Effect balance
Output level
D100:0W-D0:100W
0-127
Balance
Effect balance
D100:0W-D0:100W
Level
Level
Output
Level
Output level
Output pan
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Pan
L64-0-63R
2 1 :TIME CO N TRO L DELAY(p . 5 6 )
Parameter
Parameter
Value
Value
Delay
Time
Reverb
Type
Delay time
Acceleration
HF damp
200-1000 ms
0-15
Reverb type
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0-100.0 ms
0-127
Acceleration
HF Damp
200-8000 Hz,
BYPASS (*1)
-98-+98%
Pre Delay
Time
Pre delay time
Gate time
Feedback
Feedback level
HF Damp
HF damp
200-8000 Hz,
BYPASS (*1)
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Balance
High
Effect balance
D100:0W-D0:100W
Balance
Output
Level
Effect balance
Output level
D100:0W-D0:100W
0-127
Output level
Output pan
0-127
Pan
L64-0-63R
Output
Level
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 2 :2 VO ICE PITCH SHIFTER(p . 5 6 )
Parameter
Value
2 5 :GATED REVERB(p . 5 8 )
Parameter
Value
Pitch A
Coarse
Fine
Coarse pitch
Fine pitch
-24-+12 semitone
-100-+100 cent
L64-0-63R
Reverb
Type
Gated Reverb type
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0-100.0 ms
Pan
Output pan
Pre delay time
Pre Delay
0.0-500.0 ms
Pre Delay
Gate Time
Pre delay time
Gate time
5-500 ms
Pitch Shift
Mode
Pitch shifter mode
1, 2, 3, 4, 5
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Pitch B
Coarse
Fine
Coarse pitch
Fine pitch
-24-+12 semitone
-100-+100 cent
L64-0-63R
High
Balance
Pan
Output pan
Pre delay time
Effect balance
Output level
D100:0W-D0:100W
0-127
Pre Delay
0.0-500.0 ms
Output
Level
Level Balance
Level balance
A100:0B-A0:100B
2 6 0
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Pa ra m e te r List
2 6 :O VERDRIVE→CHO RUS(p . 5 9 )
Parameter Value
Parameter
Value
Enhanser
Sens
Overdrive
Drive
Enhancer sens
0-127
0-127
Drive
Pan
0-127
Mix Level
Enhancer mix level
Pan
L64-0-63R
Chorus
Pre delay
Rate
Chorus
Pre Delay
Rate
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Chorus pre delay time
Chorus Rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Depth
Chorus depth
Depth
Chorus depth
Balance
Chorus balance
D100:0W-D0:100W
Balance
Chorus balance
D100:0W-D0:100W
Output
Level
Output
Level
Output level
0-127
Output level
0-127
3 3 :EN HAN SER→FLAN GER(p . 6 1 )
2 7 :O VERDRIVE→FLAN GER(p . 5 9 )
Parameter
Value
Parameter
Value
Enhanser
Sens
Overdrive
Drive
Enhancer sens
0-127
0-127
Drive
Pan
0-127
Mix Level
Enhancer mix level
Pan
L64-0-63R
Flanger
Pre Delay
Rate
Flanger
Pre Delay
Rate
Flanger pre delay time
Flanger rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Flanger pre delay time
Flanger rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Depth
Flanger depth
Depth
Flanger depth
Feedback
Balance
Flanger feedback level
Flanger balance
-98-+98%
Feedback
Balance
Flanger feedback level
Flanger balance
-98-+98%
D100:0W-D0:100W
D100:0W-D0:100W
Output
Level
Output
Level
Output level
0-127
Output level
0-127
3 4 :EN HAN SER→DELAY(p . 6 2 )
2 8 :O VERDRIVE→DELAY(p . 6 0 )
Value
Parameter
Value
Enhanser
Sens
Enhancer sens
0-127
0-127
Overdrive
Drive
Drive
Pan
0-127
Mix Level
Enhancer mix level
Pan
L64-0-63R
Delay
Time
Delay time
0.0-500.0 ms
-98-+98%
Delay
Time
Delay time
0.0-500.0 ms
-98-+98%
Feedback
HF Damp
Delay feedback level
Delay HF damp
Feedback
HF Damp
Delay feedback level
Delay HF damp
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
Balance
Delay balance
Output level
Balance
Delay balance
Output level
Output
Level
0-127
Output
Level
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 9 :DISTO RTIO N →CHO RUS(p . 6 0 )
The parameters are essentially the same as "26: OVERDRIVE→CHORUS,"
with the exception of the following two.
3 0 :DISTO RTIO N →FLAN GER(p . 6 0 )
The parameters are essentially the same as "27: OVERDRIVE→FLANGER,"
with the exception of the following two.
3 1 :DISTO RTIO N →DELAY(p . 6 0 )
The parameters are essentially the same as "28: OVERDRIVE→DELAY," with
the exception of the following two.
2 6 1
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3 5 :CHO RUS→DELAY(p . 6 2 )
Refer to "37: CHORUS/FLANGER."
Parameter
Value
Chorus
Pre Delay
4 1 :STEREO PHASER(p . 6 5 )
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Parameter
Value
Rate
Depth
Chorus depth
Phaser
Type
Balance
Chorus balance
D100:0W-D0:100W
Phaser type
Mode
1, 2
Mode
4-STAGE, 8-STAGE
INVERSE, SYNCHRO
0 – 127
Delay
Time
Delay time
0.0-500.0 ms
-98-+98%
Polarity
Manual
Rate
Polarity
Feedback
HF Damp
Delay Feedback level
Delay HF damp
Manual
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
Phaser rate
0.05 – 10.00 Hz , note
*2
Balance
Delay balance
Output level
Depth
Phaser depth
0 – 127
Resonance
X-Feedback
Mix Level
Phaser resonance
Cross feedback level
Mix level
0 – 127
Output
Level
-98 – +98 %
0 – 127
0-127
Step Rate
Switch
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Switch
OFF, ON
Rate
Step rate
0.1–20.0 Hz , note *2
3 6 :FLAN GER→DELAY(p . 6 3 )
Low
Low gain
High gain
-15 – +15 dB
Parameter
Value
High
-15 – +15 dB
Flanger
Pre Delay
Rate
Output
Level
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Output level
0 – 127
Depth
Chorus depth
4 2 :KEYSYN C FLAN GER(p . 6 5 )
Feedback
Balance
Delay Feedback level
Chorus balance
-98-+98%
D100:0W-D0:100W
Parameter
Value
Delay
Time
Flanger
PrDly
Delay time
0.0-500.0 ms
-98-+98%
Pre delay time
LFO rate
0.0 – 100 ms
0.05 – 10.00 Hz , note
*2
Feedback
HF Damp
Delay Feedback level
Delay HF damp
Rate
200-8000 Hz,
BYPASS (*1)
D100:0W-D0:100W
Depth
Fbk
LFO depth
Feedback
Phase
0 – 127
Balance
Delay balance
Output level
-98 – +98 %
0 – 180 degree
Phase
Output
Level
0-127
Filter
Type
Filter type
OFF, LPF, HPF
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Cutoff
Cutoff frequency
200–8000 H(*1)
Step Rate
Switch
Switch
OFF, ON
3 7 :CHO RUS→FLAN GER(p . 6 3 )
Rate
Step rate (*2)
0.1–20.0 Hz , note *2
Parameter
Value
Keysync
Switch
Switch
OFF, ON
Chorus
Pre Delay
Rate
Thres
Keysync threshold
Keysync phase
0 – 127
Chorus pre delay time
Chorus rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Phase
0 – 360 degree
Depth
Chorus depth
EQ Gain
Low
Balance
Chorus balance
D100:0W-D0:100W
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Flanger
Pre Delay
Rate
Flanger pre delay time
Flanger rate
0.0-100.0 ms
0.05-10.00 Hz
0-127
Balance
Balance
D100:0W – D0:100W
Depth
Flanger depth
Feedback
Balance
Flanger feedback level
Flanger balance
-98-+98%
Output
Level
D100:0W-D0:100W
Output level
0 – 127
Output
Level
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Output level
0-127
3 8 :CHO RUS/ DELAY(p . 6 4 )
Refer to "35: CHORUS/DELAY."
3 9 :FLAN GER/ DELAY(p . 6 4 )
Refer to "36: FLANGER/DELAY."
2 6 2
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Low
4 3 :FO RMAN T FILTER(p . 6 6 )
Parameter
Low gain
High gain
-15 – +15 dB
Value
High
-15 – +15 dB
Overdrive
Switch
Balance
Switch
Drive
OFF, ON
Effect balance
Output level
D100:0W – D0:100W
Drive
0 – 127
Level
Level
Filter
Vowel 1
Vowel 2
Rate
0 – 127
Vowel 1
Vowel 2
Rate
a, e, i, o, u
a, e, i, o, u
0.05 – 10.00 Hz , note
*2
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Depth
Depth
0 – 127
4 6 :REVERSE DELAY(p . 6 9 )
Parameter
Manual
Manual
0 – 100
Value
Keysync
Switch
Keysync switch
OFF, ON
Delay
Thres
Keysync threshold
0 – 127
1
2
3
4
Delay time 1
Delay time 2
Delay time 3
Delay time 4
0 – 900 ms , note *2
0 – 900 ms , note *2
0 – 900 ms , note *2
0 – 900 ms , note *2
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Feedback
1
Output
Level
Feedback 1
Feedback 4
-98 – +98 %
Output level
Output pan
0 – 127
4
-98 – +98 %
Pan
L64 – 63R
HF Damp
HF Damp 1
HF Damp 4
200–8000 Hz,
BYPASS(*1)
200–8000 Hz,
BYPASS(*1)
4 4 :RIN G MO DULATO R(p . 6 7 )
Parameter
Value
4
Ring Modulator
Freq
Frequency
0 – 127
Level
Modulator
Modulator source
OFF, SOURCE, A, B,
C, D
1
2
3
Level 1
Level 2
Level 3
0 – 127
0 – 127
0 – 127
Modulator Monitor
Sens
Modulator monitor
Sens
OFF, ON
0 – 127
Pan
Polarity
Polarity
UP, DOWN
1
2
3
Output pan 1
Output pan 2
Output pan 3
L64 – 63R
L64 – 63R
L64 – 63R
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Threshold
Balance
Threshold level
0 – 127
Effect balance
Output level
D100:0W – D0:100W
Output
Level
EQ Gain
Low
0 – 127
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
4 5 :MULTI TAP DELAY(p . 6 8 )
Balance
Parameter
Value
Effect balance
Output level
D100:0W – D0:100W
Output
Level
Delay
1
0 – 127
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Feedback
0 – 1800 ms , note *2
0 – 1800 ms , note *2
0 – 1800 ms , note *2
0 – 1800 ms , note *2
-98 – +98 %
2
3
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
4
Feedback
HF Damp
HF Damp
200–8000 Hz,
BYPASS(*1)
Level
1
2
3
4
Level 1
Level 2
Level 3
Level 4
0 – 127
0 – 127
0 – 127
0 – 127
Pan
1
2
3
4
Output pan 1
Output pan 2
Output pan 3
Output pan 4
L64 – 63R
L64 – 63R
L64 – 63R
L64 – 63R
2 6 3
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4 7 :SHUFFLE DELAY(p . 7 0 )
Parameter
Value
Parameter
Value
Delay
Pch Coarse
Time
Delay time
Shuffle rate
Acceleration
Feedback
HF Damp
0 – 1800 ms , note *2
0 – 100 %
1-3
Coarse pitch 1-3
Fine pitch 1-3
-24 – +12
Shuffle Rate
Acceleration
Feedback
HF Damp
Pch Fine
1-3
0 – 15
-100 – +100 [cent]
1, 2, 3, 4, 5
-98 – +98 %
200–8000 Hz,
BYPASS(*1)
Pitch Shift
Mode
Pitch shifter mode
Feedback level 1-3
Pre Delay time 1-3
Pan
A
Fbk
1-3
Pan A
Pan B
L64 – 63R
-98 – +98 %
0.0 – 500 [ms]
B
L64 – 63R
Pre Delay
1-3
Balance
Level balance
A100:0B – A0:100B
Balance
EQ Gain
Low
Effect balance
Level 1-3
D100:0E – D0:100W
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Level
1-3
0 – 127
Balance
Effect balance
Output level
D100:0E – D0:100W
Pan
1-3
Output pan 1-3
Output level
L64 – 63R
Output
Level
0 – 127
Output
0 – 127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
5 0 :LO FI CO MPRESS(p . 7 2 )
Parameter
Value
4 8 :3 D DELAY(p . 7 0 )
Parameter
Lo-Fi
Value
Type
LOFI type
1 – 9
1 – 6
1 – 6
Delay
Center
Left
Pre Filter
Type
Delay time center
Delay time left
Delay time right
HF Damp
0 – 1800 ms, note *2
0 – 1800 ms, note *2
0 – 1800 ms, note *2
200–8000 Hz,
Pre Filter type
Post Filter 1 type
Right
Post Filter 1
Type
HF Damp
BYPASS(*1)
Post Filter 2
Type
Feedback
Feedback
-98 – +98 %
Post Filter 2 type
Cutoff Frequency
OFF, LPF, HPF:(*1)
(*1)
Delay Level
Center
Cutoff
Level center
Level left
0 – 127
0 – 127
0 – 127
EQ Gain
Low
Left
Low gain
High gain
-15 – +15 dB
Right
Level right
High
-15 – +15 dB
EQ Gain
Low
Balance
Low gain
-15 – +15 dB
Effect balance
D100:0E – D0:100W
High
High gain -15 – +15 dB
Output
Level
Balance
Output level
Output pan
0 – 127
Effect balance
D100:0E – D0:100W
Pan
L64 – 63R
Output
Out
Output mode
Output level
SPEAKER, PHONES
1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
Level
0 – 127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 6 4
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5 1 :LO FI N O ISE(p . 7 2 )
Parameter
5 3 :O VERDRIVE 2 (p . 7 4 )
Parameter
Value
Value
Lo-Fi
Overdrive
Type
LOFI type
1 – 9
Drive
Drive
Tone
0 – 127
Tone
0 – 127
Post Filter
Type
Post Filter Type
Cutoff Frequency
OFF, LPF, HPF
(*1)
Amp simulator
Amp Type
Cutoff
Amp. simulator type
OFF,ON:SMALL,
BUILT-IN, 2-STACK,
3-STACK
Radio Noise
Detune
Radio detune
Output level
0 – 127:0 – 127 (*2)
Level
0 – 127
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
Disk Noise
Type
High
-15 – +15 dB
Disc noise type
Disc noise LPF
Level
(*3)
(*4)
(*5)
LPF
Output
Level
Level
Output level
Output pan
0 – 127
Pan
L64 – 63R
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
5 4 :DISTO RTIO N 2 (p . 7 4 )
Parameter
High
-15 – +15 dB
Value
Balance
Effect balance
D100:0E – D0:100W
Distortion
Drive
Drive
Tone
0 – 127
Output
Level
Tone
0 – 127
Output level
Output pan
0 – 127
Pan
L64 – 63R
Amp simulator
Amp Type
Amp. simulator type
OFF,ON:SMALL,
BUILT-IN, 2-STACK,
3-STACK
*1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
*2: Radio detune:Radio noise level
EQ Gain
Low
*3: Disc noise type:LP, EP, SP, RND
Low gain
High gain
-15 – +15 dB
*4: Disc noise LPF:200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600,
2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*5: Disc noise level:0 – 127
High
-15 – +15 dB
Output
Level
Output level
Output pan
0 – 127
L64 – 63R
5 2 :SPEAKER SIMULATO R(p . 7 3 )
Parameter
Value
5 5 :STEREO CO MPRESSO R(p . 7 5 )
Speaker
Parameter
Value
Type
Speaker type
(*1)
Compressor
Attack
Mic
Setting
Attack time
Sustain
0 – 127
Mic setting
Mic level
1, 2, 3
Sustain
0 – 127
Level
0 – 127
0 – 127
Post Gain
Post gain
0, +6, +12, +18
Direct Level
Direct level
EQ Gain
Low
Output
Level
Low gain
High gain
-15 – +15 dB
Output level
0 – 127
High
-15 – +15 dB
1: Small 1, Small 2, Middle, JC-120, 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, 3 Stack
Output
Level
Output level
0 – 127
5 6 :STEREO LIMITER(p . 7 5 )
Parameter
Value
Limiter
Threshold
Threshold level
Compression ratio
Release time
Post gain
0 – 127
Ratio
1.5:1, 2:1, 4:1, 100:1
0 – 127
Release
Post Gain
0, +6, +12, +18
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Output
Level
Output level
0 – 127
2 6 5
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5 7 :GATE(p . 7 6 )
Parameter
6 0 :3 D CHO RUS(p . 7 7 )
Parameter
Value
Value
Gate
Chorus
Mode
Mode
GATE, DUCK
0 – 127
Rate
LFO rate
0.05 – 10.00 Hz,
note *1
Attack Time
Hold Time
Release Time
Attack time
Hold time
Release time
0 – 127
Depth
LFO depth
Phase
0 – 127
0 – 127
Phase
0 – 180 degree
0.0 – 100 ms
Pre Delay
Pre delay time
Gate
Key Key
Threshold
Monitor
Key
SOURCE, A, B, C, D
0 – 127
Filter
Type
Key threshold
Key monitor
Filter Type
OFF, LPF, HPF
OFF, ON
Cutoff
Cutoff frequency
200–8000 Hz (*1)
Balance
EQ Gain
Low
Effect balance
Output level
D100:0E – D0:100W
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Output
Level
0 – 127
Balance
Effect balance
D100:0W – D0:100W
5 8 :SLICER(p . 7 6 )
Parameter
Output
Value
Output mode
Output level
SPEAKER, PHONES
Level
0 – 127
Level 1, 2, 3, 4
Beat 1– 4
Beat 1– 4
Rate
0 –127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Rate
0.05 – 10.0 , note *2
0 – 127
6 1 :3 D FLAN GER(p . 7 8 )
Attack
Parameter
Value
Attack
Flanger
Rate
Reset
Trigger
LFO rate
0.05 – 10.00 Hz,
note *1
Trigger
OFF, Source, A, B, C,
D
Depth
LFO depth
Feedback
Phase
0 – 127
Threshold
Monitor
Reset threshold
0 – 127
OFF, ON
Feedback
Phase
PrDly
-98 – +98 %
0 – 180 degree
0.0 – 100 ms
Reset monitor switch
Beat Change
Mode
Pre delay time
Mode
LEGATO, SLASH
Filter
Type
Shuffle
Shuffle
0 – 127
Filter Type
OFF, LPF, HPF
Output
Level
Cutoff
Cutoff frequency
200–8000 Hz (*1)
Output level
0 – 127
Step Rate
Switch
Switch
OFF, ON
5 9 :ISO LATO R(p . 7 7 )
Parameter
Rate
Step Rate (*2)
0.1–20.0 Hz, note *2
Value
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
Boost/Cut
Low
Level low
-60 – +4 dB
-60 – +4 dB
-60 – +4 dB
High
-15 – +15 dB
Mid
Level middle
Level high
Balance
High
Effect balance
D100:0W – D0:100W
Anti Phase Low
Output
Out
Switch
Switch
OFF, ON
Output mode
Output level
SPEAKER, PHONES
Level
Level
0 – 127
Level
0 – 127
Anti Phase Mid
Switch
Switch
OFF, ON
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Level
Level
0 – 127
Low Boost
Switch
Switch
Level
OFF, ON
Level
0 – 127
Output
Level
Output level
0 – 127
1: Anti phase middle switch:level
2: Anti phase low switch:level
2 6 6
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EQ Gain
Low
6 2 :TREMO LO (p . 7 9 )
Parameter
Low gain
High gain
-15 – +15 dB
Value
High
-15 – +15 dB
Tremolo
Mod Wave
Output
Level
Modulation wave
TRI, SQR, SIN, SAW1,
SAW2
Output level
0-127
Rate
Rate
0.05 – 10.0 Hz, note *2
0 – 127
6 6 :ST FO RMAN T FILTER(p . 8 1 )
Depth
Depth
Parameter
Value
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
Overdrive
Switch
High
-15 – +15 dB
Switch
Drive
OFF, ON
Drive
0 – 127
Output
Level
Output level
0 – 127
Filter
Vowel 1
Vowel 2
Rate
Vowel 1
Vowel 2
Rate
a, e, i, o, u
a, e, i, o, u
0.05 – 10.00 Hz, note*2
0 – 127
6 3 :AUTO PAN (p . 7 9 )
Parameter
Value
Depth
Depth
Manual
Phase
Manual
0 – 100
Auto Pan
Mod Wave
Formant phase
0-180 degree
Modulation wave
TRI, SQR, SIN, SAW1,
SAW2
Keysync
Switch
Rate
Rate
0.05 – 10.0 Hz, note *2
0 – 127
Keysync switch
OFF, ON
Depth
Depth
Thres
Keysync threshold
0 – 127
EQ Gain
Low
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
High
-15 – +15 dB
Output
Level
Output
Level
Output level
0 – 127
Output level
0 – 127
6 4 :STEREO PHASER 2 (p . 8 0 )
Parameter
Parameter
Value
Value
Phaser
Type
Delay
1-4
Type
1, 2
Delay time 1-4
Feedback level
HF damp
0-3000 ms, note *2
-98-+98%
Mode
Mode
4 stage, 8 stage,
12 stage, 16 stage
INVERSE, SYNCHRO
0 - 127
Feedback
HF Damp
200-8000 Hz,
BYPASS (*1)
Polarity
Polarity
Manual
Manual
Level
1-4
Rate
Rate
0.05-10.00 Hz, note *2
0-127
Level 1-4
Pan 1-4
0-127
Depth
Depth
Resonance
X-Feedback
Mix Level
Resonance
Cross Feedback
Mix level
0-127
Pan
1-4
-98 - +98 [%]
0-127
L64-0-R63
Step Rate
Switch
EQ Gain
Low
Switch
OFF, ON
Low gain
High gain
-15 – +15 dB
Rate
Step rate
0.1–20.0 Hz, note *2
High
-15 – +15 dB
EQ Gain
Low
Balance
Low gain
High gain
-15 – +15 dB
Effect balance
Output level
D100:0W-D0:100W
0-127
High
-15 – +15 dB
Level
Level
Output
Level
Output level
0-127
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
6 5 :STEREO AUTO W AH(p . 8 1 )
Parameter
Value
Auto Wah
Filter type
Sens
Filter type
Sens
LPF, BPF
0-127
Manual
Peak
Manual
Peak
0-127
0-127
Rate
Rate
0.05-10.00 Hz, note *2
0-127
Depth
Depth
Polarity
Phase
Polarity
Phase
UP, DOWN
0 - 180
2 6 7
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6 8 :REVERSE DELAY 2 (p . 8 2 )
Parameter
Parameter
Value
Value
Delay
Delay
1-4
Delay time 1-4
Feedback level 1, 4
HF damp 1, 4
0-1500 ms, note *2
-98-+98%
Center
Delay time center
Delay time left
Delay time right
HF damp
0-3000 ms, note *2
0-3000 ms, note *2
0-3000 ms, note *2
200-8000 Hz,
Left
Feedback
1, 4
Right
HF Damp
BYPASS (*1)
HF Damp
1, 4
Feedback
Feedback level
-98-+98%
200-8000 Hz, BYPASS
(*1)
Delay Level
Center
Center level
Left level
0-127
0-127
0-127
Level
1-3
Left
Level 1-3
Pan 1-3
Value
0-127
Right
Right level
Pan
1-3
EQ Gain
Low
L64-0-R63
0-127
Low gain
High gain
-15-+15 dB
-15-+15 dB
Threshold
Value
High
Balance
EQ Gain
Low
Effect balance
D100:0W-D0:100W
Low gain
High gain
-15 – +15 dB
Level
Out
High
-15 – +15 dB
Output mode
Output level
SPEAKER, PHONES
0-127
Balance
Level
Effect balance
Output level
D100:0W-D0:100W
0-127
7 1 :RO TARY 2 (p . 8 5 )
Parameter
Output
Level
Value
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Rotary
Speed
Speed
Brake
SLOW, FAST
OFF,ON
Brake
6 9 :SHUFFLE DELAY 2 (p . 8 3 )
Parameter
Value
Value
0-127
Value
Woofer
Slow
Delay
Time
Woofer slow rate
Woofer fast rate
0.05-10.00 Hz, note *2
Delay time
0-3000 ms, note *2
0-100%
Fast
0.05-10.00 Hz, note *2
Shuffle Rate
Acceleration
Feedback
HF Damp
Shuffle Rate
Acceleration
Feedback level
HF damp
Level
Woofer level
0-127
0-127
0-127
0-15
Trans Up
Trans Down
Woofer transition up
Woofer transition down
-98-+98%
200-8000 Hz,
BYPASS (*1)
Tweeter
Slow
Tweeter slow rate
Tweeter fast rate
0.05-10.00 Hz, note *2
Delay Pan
A, B
Fast
0.05-10.00 Hz, note *2
Pan A, B
L64-0-R63
Level
Tweeter level
0-127
0-127
0-127
Balance
Trans Up
Trans Down
Tweeter transition up
Tweeter transition down
Level Balance
A100:0B-A0:100B
EQ Gain
Low
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
-15 – +15 dB
High
Balance
Output
Effect balance
Output level
D100:0W-D0:100W
0-127
Level
Output level
0-127
Output
Level
1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
2 6 8
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7 2 :RO TARY MULTI(p . 8 6 )
Parameter
7 3 :KEYBO ARD MULTI(p . 8 7 )
Value
Parameter
Value
Sequence
Sequence
Ring Mod
3 Band EQ
Pch Shft
Phaser
OD/Dist
Amp Sim
3 Band EQ
Rotary
Overdrive/Distortion Switch
Amp Simulator Switch
3 Band EQ Switch
OFF,ON
OFF,ON
OFF,ON
OFF,ON
Ring Mod. Sw
EQ Sw
OFF,ON
OFF,ON
OFF,ON
OFF,ON
OFF,ON
Pitch Shifter Sw
Phaser Sw
Delay Sw
Rotary Switch
Delay
Overdrive/Distortion
Type
Drive
Tone
Level
Type
Drive
Tone
Level
Overdrive, Distortion
Ring Modulator
0-127
0-127
0-127
Freq
Ring Mod. Freq
0 - 127
Balance
Ring Mod. Balance
D100:0W - D0:100W
EQ Gain
Low
EQ Low Gain
EQ Mid Gain
EQ High Gain
-15 - +15
-15 - +15
-15 - +15
Amp Simulator
Type
Type
SMALL, BUILT-IN,
2-STACK, 3-STACK
Mid
High
EQ Gain
Low
Mid
Mid Freq
EQ Low Gain
EQ Mid Gain
EQ High Gain
-15 - +15
-15 - +15
-15 - +15
EQ Mid Freq
EQ Mid Q
(*1)
Mid
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
High
Pitch Shifter
Mode
Mode
1, 2, 3, 4, 5
-24 - +12
Mid
Mid Freq
EQ Mid Freq
EQ Mid Q
(*1)
Coarse Tune
Fine Tune
Delay
Coarse Tune
Fine Tune
Delay
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
-100 - +100
0.0 - 500
Rotary
Speed
Feedback
Balance
Feedback
Balance
-98 - +98
Speed
SLOW, FAST
0-127
D100:0W - D0:100W
Separation
Separation
Phaser
Mode
Woofer
Slow
Mode
4 stage, 8 stage
0 - 127
Low frequency slow rate
Low frequency fast rate
Low frequency acceleration
Low frequency level
0.05-10.00 Hz, note *2
0.05-10.00 Hz, note *2
0-15
Manual
Rate
Manual
Rate
Fast
0.05 - 10.0, note *2
0 - 127
Accel
Level
Depth
Depth
0-127
Resonance
Mix Level
Resonance
Mix Level
0 - 127
0 - 127
Tweeter
Slow
High frequency slow rate
High frequency fast rate
High frequency acceleration
High frequency level
0.05-10.00 Hz, note *2
0.05-10.00 Hz, note *2
0-15
Delay
Fast
Left Time
Right Time
Feedback
HF Damp
Balance
Left Time
Right Time
Feedback
HF Damp
Balance
0 - 3000, note *2
0 - 3000, note *2
-98 - +98
Accel
Level
0-127
(*2)
EQ Gain
Low
D100:0W - D0:100W
Low gain
High gain
-15-+15 dB
-15-+15 dB
High
Output
Level
Output
Level
Output level
0-127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000, BYPASS
2 6 9
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7 4 :RHO DES MULTI(p . 8 9 )
Parameter
Parameter
Value
Value
Sequence
Sequence
Enhancer
Enhancer Switch
Phaser Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Dist
Distortion Switch
Phaser Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Phaser
Phaser
Spectrum
Enhancer
Cho/Flg
Tre/Pan
Chorus/Flanger Switch
Tremolo/Pan Switch
Spectrum Switch
Enhancer Switch
Enhancer
Sens
Distortion
Type
Sens
0 - 127
0 - 127
Type
Drive
Level
*1
Mix Level
Mix Level
Drive
0 - 100
0 - 100
Level
Phaser
Mode
Mode
4 stage, 8 stage
0 - 127
Phaser
Manual
Mix Level
Rate
Manual
Mix Level
Rate
Manual
Mix Level
Rate
Manual
Mix Level
Rate
50 - 15000 Hz
0 - 100
0 - 127
0.05 - 10.0, note *2
0 - 127
0.1 - 10.0 Hz
0 - 100
Depth
Depth
Depth
Depth
Resonance
Resonance
0 - 127
Resonance
Resonance
0 - 100
Chorus/Flanger
Spectrum
Type
Type
CHORUS,FLANGER
0.05 - 10.0, note *2
0 - 127
Band Width
Band Width
1, 2, 3, 4, 5
Rate
Rate
Band Gain
250Hz
Depth
Depth
Band1
Band2
Band3
Band4
Band5
Band6
-15 - +15
-15 - +15
-15 - +15
-15 - +15
-15 - +15
-15 - +15
Feedback
PreDly
Balance
Feedback
PreDelay
Balance
-98 - +98
500Hz
0.0 - 100
1000Hz
2000Hz
4000Hz
8000Hz
D100:0W - D0:100W
Filter
Type
Type
OFF, LPF, HPF
(*1)
Cutoff
Cutoff Frequency
Enhancer
Sens
Sens
0 - 100
0 - 100
Tremolo/Auto Pan
Type
Type
TREMOLO, PAN
TRI, SQU, SIN, SAW1,
SAW2
Mix Level
Mix Level
ModWave
ModWave
Output
Level
Output level
Output pan
0 – 127
Rate
Rate
0.05 - 10.0, note *2
0 - 127
Pan
L64 – 63R
Depth
Depth
*1: MELLOW DRIVE, OVERDRIVE, CRY DRIVE, MELLOW DIST, LIGHT
DIST, FAT DIST, FUZZ DIST
Output
Level
Output level
0 – 127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
7 6 :STEREO LO FI CO MPRESS(p . 9 1 )
Parameter
Value
Lo-Fi
Type
LOFI type
1 – 9
1 – 6
1 – 6
Pre Filter
Type
Pre Filter type
Post Filter 1 type
Post Filter 1
Type
Post Filter 2
Type
Post Filter 2 type
Cutoff Frequency
OFF, LPF, HPF:(*1)
(*1)
Cutoff
EQ Gain
Low
Low gain
High gain
-15 – +15 dB
High
-15 – +15 dB
Balance
Effect balance
Output level
D100:0W – D0:100W
Output
Level
0 – 127
1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000,
1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
2 7 0
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Level
7 7 :STEREO LO FI N O ISE(p . 9 2 )
Output level
Output pan
0 – 127
Parameter
Value
Pan
L64 – 63R
Lo-Fi
Type
*1: JC-120,Clean Twin,Match Drive, BG Lead,MS1959I,MS1959II,
MS1959I+II,SLDN Lead,Metal 5150, Metal Lead,OD-1,OD-2 Turbo,
Distortion,Fuzz
LOFI type
1 – 9
Hum
Type
LPF
Hum Type
Hum LPF
Hum Level
50, 60 [Hz]
(*1)
*2: Small1,Small2,Middle,JC-120, 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, 3
Stack
Level
0 – 127
Post Filter
Type
Post Filter Type
Cutoff Frequency
OFF, LPF, HPF
(*2)
7 9 :STEREO O VERDRIVE(p . 9 4 )
Cutoff
Parameter
Value
Disc Noise
Type
Disc noise type
Disc noise LPF
Disc noise Level
WHITE, PINK
(*1)
Overdrive
Drive
LPF
Drive
Tone
0-127
0-127
Level
0 – 127
Tone
Radio Noise
Detune
Amp simulator
Radio detune
0 – 127
Switch
Amp Switch
OFF, ON
Level
Radio Noise Level
0 – 127
Type
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
Noise
Type
LPF
White/Pink Noise Type
White/Pink Noise LPF
White/Pink Noise Level
(*3)
EQ Gain
Low
(*1)
Low gain
High gain
-15-+15 dB
-15-+15 dB
Level
0 – 127
High
EQ Gain
Low
Output
Level
Low gain
High gain
-15 – +15 dB
Output level
0-127
High
-15 – +15 dB
8 0 :STEREO DISTO RTIO N (p . 9 4 )
Balance
Effect balance
Output level
D100:0W – D0:100W
Parameter
Value
Output
Level
Distortion
Drive
0 – 127
Drive
Tone
0-127
0-127
Tone
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Amp simulator
Switch
Amp Switch
OFF, ON
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Type
Amp simulator type
SMALL, BUILT-IN,
2-STACK, 3-STACK
7 8 :GUITAR AMP SIMULATO R(p . 9 3 )
EQ Gain
Low
Low gain
High gain
-15-+15 dB
-15-+15 dB
Parameter
Value
High
Amp Simulator
Output
Level
Switch
Switch
OFF, ON
(*1)
Output level
0-127
Type
Pre Amp Type
Amp Level
Volume
Master
Pre Amp Volume
Pre Amp Master
Pre Amp Gain
0-127
0-127
Gain
LOW, MID, HIGH
Amp Tone
Presence
Pre Amp Presence
0 - 127
(Match Drive -127 - 0)
OFF,ON
Bright
Bass
Pre Amp Bright
Pre Amp Bass
Pre Amp Middle
Pre Amp Treble
0 - 127
Middle
Treble
0 - 127
0 - 127
Speaker
Switch
Switch
OFF, ON
(*2)
Speaker Type Speaker Type
Mic
Setting
Mic Setting
Mic Level
1,2,3
Level
0 – 127
0 – 127
Direct
Output level
2 7 1
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8 1 :GUITAR MULTI A(p . 9 5 )
Parameter
Parameter
Value
Value
Sequence
Sequence
Comp
Cmp Switch
OFF,ON
OFF,ON
OFF,ON
OFF,ON
OFF,ON
Comp
Compressor Switch
OFF,ON
OFF,ON
OFF,ON
OFF,ON
OFF,ON
OD/Dist
Amp Sim
Delay
Overdrive/Distortion Switch
Amp Simulator Switch
Delay Switch
OD/Dist
Amp Sim
3 Band EQ
Cho/Flg
Overdrive/Distortion Switch
Amp Simulator Switch
3 Band EQ Switch
Cho/Flg
Chorus/FlangerF Switch
Chorus/Flanger Switch
Compressor
Attack
Compressor
Attack
Attack
Sustain
Level
0 - 127
0 - 127
0 - 127
Attack
Sustain
Level
0 - 127
0 - 127
0 - 127
Sustain
Sustain
Level
Level
Overdrive/Distortion
Overdrive/Distortion
Type
Type
OVERDRIVE,
DISTORTION
0 - 127
Type
Type
OVERDRIVE,
DISTORTION
0 - 127
Drive
Tone
Level
Drive
Tone
Level
Drive
Tone
Level
Drive
Tone
Level
0 - 127
0 - 127
0 - 127
0 - 127
Amp Simulator
Amp Simulator
Type
Type
SMALL, BUILT-IN,
2STACK, 3STACK
Type
Type
SMALL, BUILT-IN,
2STACK, 3STACK
Delay
EQ Gain
Low
Left Time
Right Time
Feedback
HF Damp
Balance
Left Time
Right Time
Feedback
HF Damp
Balance
0 - 3000 [ms], note *2
0 - 3000 [ms], note *2
-98 - +98 [%]
Low gain
Mid gain
High gain
-15 – +15 dB
-15 – +15 dB
-15 – +15 dB
Mid
High
(*1)
Mid
Mid Freq
D100:0W - D0:100W
Mid Freq
Mid Q
(*1)
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
Chorus/Flanger
Type
Type
CHORUS,FLANGER
0.05 - 10.0 [Hz], note *2
0 - 127
Chorus/Flanger
Rate
Rate
Type
Type
CHORUS,FLANGER
0.0 - 100 [ms]
Depth
Depth
Pre Delay
Rate
Pre Delay
Rate
Feedback
Pre Delay
Balance
Feedback
Pre Delay
Balance
-98 - +98 [%]
0.05 - 10.0 [Hz], note *2
0 - 127
0.0 - 100 [ms]
Depth
Depth
D100:0W - D0:100W
Feedback
Balance
Feedback
Balance
-98 - +98 [%]
D100:0W - D0:100W
Filter
Type
Filter Type
Cutoff Freq
OFF, LPF, HPF
(*2)
Filter
Type
Cutoff
Filter Type
Cutoff Freq
OFF, LPF, HPF
(*2)
Cutoff
Output
Level
Level
Pan
0 - 127
Output
Level
Pan
L64 - 63R
Level
Pan
0 - 127
Pan
L64 - 63R
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
2 7 2
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8 3 :GUITAR MULTI C(p . 9 8 )
Parameter
Value
Parameter
Value
Sequence
OD/Dist
Sequence
Comp
Overdrive/Distortion Switch
Wah Switch
OFF,ON
OFF,ON
OFF,ON
OFF,ON
OFF,ON
Compressor Sw
3 Band EQ Sw
Delay Sw
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Wah
3 Band EQ
Delay
Amp Sim
Delay
Amp Simulator Switch
Delay Switch
Cho/Flg
Chorus/Flanger Sw
Cho/Flg
Chorus/FlangerF Switch
Compressor
Attack
Attack
Sustain
Level
0 - 127
0 - 127
0 - 127
Overdrive/Distortion
Type
Type
OVERDRIVE,
DISTORTION
0 - 127
Sustain
Level
Drive
Tone
Level
Drive
Tone
Level
EQ Gain
Low
0 - 127
Low gain
Mid gain
High gain
-15 – +15 dB
-15 – +15 dB
-15 – +15 dB
0 - 127
Mid
High
Wah
Filter type
Filter type
Rate
LPF, BPF
Mid
Mid Freq
Rate
0.05-10.00 Hz, note *2
Mid Freq
Mid Q
(*1)
Depth
Sens
Depth
Sens
0-127
0-127
0-127
0-127
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
Manual
Peak
Manual
Peak
Delay
Left Time
Right Time
Feedback
HF Damp
Balance
Left Time
Right Time
Feedback
HF Damp
Balance
0 - 3000 [ms], note *2
0 - 3000 [ms], note *2
-98 - +98 [%]
Amp Simulator
Type
Type
SMALL, BUILT-IN,
2STACK, 3STACK
(*2)
D100:0E - D0:100E
Delay
Chorus/Flanger
Left Time
Right Time
Feedback
HF Damp
Balance
Left Time
Right Time
Feedback
HF Damp
Balance
0 - 3000 [ms], note *2
0 - 3000 [ms], note *2
-98 - +98 [%]
Type
Type
CHORUS,FLANGER
0.0 - 100 [ms]
0.05 - 10.0 [Hz]
0 - 127
Pre Delay
Rate
Pre Delay
Rate
(*1)
Depth
Depth
D100:0W - D0:100W
Feedback
Balance
Feedback
Balance
-98 - +98 [%]
D100:0E - D0:100E
Chorus/Flanger
Type
Type
CHORUS,FLANGER
0.05 - 10.0 [Hz], note *2
0 - 127
Filter
Type
Rate
Rate
Type
OFF, LPF, HPF
(*1)
Depth
Depth
Cutoff
Cutoff Frequency
Feedback
Pre Delay
Balance
Feedback
Pre Delay
Balance
-98 - +98 [%]
0.0 - 100 [ms]
Output
Level
D100:0W - D0:100W
Level
Pan
0 - 127
Pan
L64 - 63R
Filter
Type
Filter Type
Cutoff Freq
OFF, LPF, HPF
(*2)
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
Cutoff
Output
Level
Level
Pan
0 - 127
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000, BYPASS
Pan
L64 - 63R
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000, BYPASS
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
2 7 3
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8 5 :CLEAN GUITAR MULTI B(p . 1 0 1 )
Type
Drive
Tone
Level
Type
Drive
Tone
Level
OVERDRIVE, DISTORTION
Parameter
Value
0 - 127
0 - 127
0 - 127
Sequence
Wah
Wah Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
3 Band EQ
Delay
3 Band EQ Switch
Delay Switch
Amp Simulator
Type
Type
SMALL, BUILT-IN, 2-STACK
Cho/Flg
Chorus/Flanger Switch
EQ Gain
Low
Wah
Filter type
Low gain
Mid gain
High gain
-15 – +15 dB
-15 – +15 dB
-15 – +15 dB
Filter type
Rate
LPF, BPF
Mid
Rate
0.05-10.00 Hz, note *2
High
Depth
Sens
Depth
Sens
0-127
0-127
0-127
0-127
Mid
Mid Freq
Mid Freq
Mid Q
(*1)
Manual
Peak
Manual
Peak
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
Chorus/Flanger
EQ Gain
Low
Type
Type
CHORUS,FLANGER
0.05 - 10.0 [Hz], note *2
0 - 127
Low gain
Mid gain
High gain
-15 – +15 dB
-15 – +15 dB
-15 – +15 dB
Rate
Rate
Mid
Depth
Depth
High
Feedback
Pre Delay
Balance
Feedback
Pre Delay
Balance
-98 - +98 [%]
Mid
Mid Freq
0.0 - 100 [ms]
Mid Freq
Mid Q
(*1)
D100:0W - D0:100W
Mid Q
0.5, 1.0, 2.0, 4.0, 8.0
Filter
Type
Delay
Type
OFF, LPF, HPF
(*1)
Left Time
Right Time
Feedback
HF Damp
Balance
Left Time
Right Time
Feedback
HF Damp
Balance
0 - 3000 [ms], note *2
0 - 3000 [ms], note *2
-98 - +98 [%]
Cutoff
Cutoff Frequency
Output
Level
Level
Pan
0 - 127
(*2)
Pan
L64 - 63R
D100:0W - D0:100W
Chorus/Flanger
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
Select
Select
CHORUS,FLANGER
0.0 - 100 [ms]
Pre Delay
Rate
Pre Delay
Rate
0.05 - 10.0 [Hz], note *2
0 - 127
8 7 :ISO LATO R 2 (p . 1 0 4 )
Parameter
Depth
Depth
Value
Feedback
Balance
Feedback
Balance
-98 - +98 [%]
D100:0E - D0:100E
Boost/Cut
Low
Level low
-60 – +4 dB
-60 – +4 dB
-60 – +4 dB
Filter
Type
Type
OFF, LPF, HPF
(*1)
Mid
Level middle
Level high
Cutoff
Cutoff Frequency
High
Output
Level
Anti Phase Low
Level
Pan
0 - 127
Switch
Switch
OFF, ON
Pan
L64 - 63R
Level
Level
0 – 127
Anti Phase Mid
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 [Hz]
Switch
Switch
OFF, ON
Level
Level
0 – 127
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000, BYPASS
Post Filter
Switch
Switch
OFF, ON
OFF, LPF, HPF
0-127
Type
Filter type
Cutoff frequency
Resonance
Slope
Cutoff
8 6 :BASS MULTI(p . 1 0 2 )
Parameter
Resonance
Slope
0-127
Value
-12, -24 dB
0-24 dB
Gain
Gain
Sequence
Comp
Compressor Switch
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Low Boost
Switch
OD/Dist
Overdrive/Distortion Switch
Amp Simulator Switch
3 Band EQSwitch
Switch
Level
OFF, ON
Amp Sim
3 Band EQ
Cho/Flg
Level
0 – 127
Chorus/Flanger Switch
Output
Level
Output level
0 – 127
Compressor
Attack
Attack
Sustain
Level
0 - 127
0 - 127
0 - 127
Sustain
Level
2 7 4
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8 8 :STEREO SPECTRUM(p . 1 0 4 )
Parameter
Value
(Eighth-note triplet),
(Sixteenth note),
(Dotted sixteenth note), (Eighth note),
Band Gain
250Hz
250Hz gain
500Hz gain
1000Hz gain
1250Hz gain
2000Hz gain
3150Hz gain
4000Hz gain
8000Hz gain
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
-15-+15 dB
(Half-note triplet), (Dotted eighth note), (Quarter note),
(Dotted quarter note), (Half note),
(Half-note triplet),
500Hz
1000Hz
1250Hz
2000Hz
3150Hz
4000Hz
8000Hz
note *2:
Band Width
Q
(Sixty-fourth-note triplet),
(Thirty-second note),
(Sixty-fourth note),
(Thirty-second-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
Q
0.5, 1.0, 2.0, 4.0, 8.0
0-127
Output
Level
(Sixteenth-note triplet),
Output level
(Eighth-note triplet),
(Quarter-note triplet),
(Half-note triplet),
(Sixteenth note),
(Eighth note),
8 9 :3 D AUTO SPIN (p . 1 0 5 )
Parameter
(Dotted eighth note),
Value
(Quarter note),
(Dotted quarter note),
(Half note),
Auto Spin
Azimuth
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Whole note),
(Double note)
Azimuth
Speed
(*1)
Speed
0.05 - 10.0 [Hz], note *2
(Dotted whole note),
Clockwise
Turn
Clockwise
Turn
-, +
OFF, ON
Output
Out
Output mode
Output level
SPEAKER, PHONES
Level
0 – 127
*1, *2: L180, L168, L156, L144, L132, L120, L108, L96, L84, L72, L60, L48,
L36, L24, L12, 0, R12, R24, R36, R48, R60, R72, R84, R96, R108, R120,
R132, R144, R156, R168, R180
9 0 :3 D MAN UAL(p . 1 0 5 )
Parameter
Value
Auto Spin
Azimuth
Azimuth
(*1)
Output
Out
Output mode
Output level
SPEAKER, PHONES
Level
0 – 127
*1: L180, L168, L156, L144, L132, L120, L108, L96, L84, L72, L60, L48, L36,
L24, L12, 0, R12, R24, R36, R48, R60, R72, R84, R96, R108, R120, R132,
R144, R156, R168, R180
2 7 5
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Pa ra m e te r List
●Sy ste m Pa ra m e te rs
SYSTEM Ge n e ra l # 1 ([SYSTEM/ UTILITY]-[F1 (Ge n e ra l)])(p . 2 0 9 )
Group
Parameter
Value
Setup
LCD Contrast
Patch Remain
Powerup Mode
Character Style
LCD contrast
1–10
Patch remain switch
Power up mode
Character Style
OFF, ON
LAST-SET, DEFAULT
TYPE1–4
Rhythm Edit Key Rhythm edit key
SCSI Probe Time SCSI probe time
PANEL, PANEL&MIDI
1–10
Master
Level
Master level
Master Tune
Key Shift
0–127
Tune
415.3–466.2Hz
-24–+24 semitones
INT, MID
Key Shift
Clock Source
Tempo
System Tempo
Clock source
System tempo
20–250
SYSTEM Ge n e ra l # 2 ([SYSTEM/ UTILITY]-[F1 (Ge n e ra l)])(p . 2 1 1 )
Group
Parameter
Value
Scale Tune
Switch
C–B
Scale tune switch
Scale tune C–B
Scale tune C–B
OFF, ON
-64–+63
-64–+63
PATCH SCALE
KEY SCALE
C–B
SYSTEM O u tp u t ([SYSTEM/ UTILITY]-[F2 (O u tp &EQ )-[F2 (O u tp u t)])(p . 2 1 1 )
Group
Parameter
Value
Digital Interface
Master Clock
Master Freq
Master Clock
INTERNAL/R-BUS/WORD CLOCK IN
44.1/48.0kHz
Master Frequency
DIF Control
DIF-AT Clk Select DIF-AT Clock select
R-BUS/ADAT/DA-88
MIX, PARALLEL
Output Mix/Parallel
Output Gain
Mode
Gain
Mix/Parallel
Output Gain
-12, -6, 0, +6, +12 dB
SYSTEM EQ ([SYSTEM/ UTILITY]-[F2 (O u tp &EQ )-[F2 (EQ )])(p . 2 1 1 )
Group
Parameter
Value
Output-A–D
L.F
Low Frequency
Low Gain
200/400Hz
-15–+15
L.G
H.F
H.G
High Frequency
High Gain
2000/4000/8000Hz
-15–+15
SYSTEM MIDI ([SYSTEM/ UTILITY]-[F3 (MIDI)])(p . 2 1 1 )
Group
Parameter
Value
MIDI Receive Ch
Perform Ctrl Ch
Performance control channel
1–16, OFF
1–16
Patch/Rhy Rx Ch Patch/Rhythm set receive channel
System Exclusive
Device ID
Device ID number
17–32
Receive Sw
Receive exclusive switch
OFF, ON
OFF, ON
OFF, 2–8
1–8
MIDI Tx
Stack
Transmit Edit Data Transmit edit data switch
Mode
Stack mode
Number
Stack number
Rx Switch
Program Chg
Bank Select
GM System ON
Program Change
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Receive bank select switch
Receive GM-ON exclusive switch
GM2 System ON Receive GM2-ON exclusive switch
GS Reset Receive GS Reset exclusive switch
SYSTEM Co n tro l ([SYSTEM/ UTILITY]-[F4 (Co n tro l)])(p . 2 1 5 )
Group
Parameter
Value
System Control 1-4
Source
System control assign 1-4
OFF, CC01–95(except 32), PITCH BEND, AFTERTOUCH
2 7 6
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
1
StGrand pA L
StGrand pA R
StGrand pB L
StGrand pB R
StGrand pC L
StGrand pC R
StGrand fA L
StGrand fA R
StGrand fB L
StGrand fB R
StGrand fC L
StGrand fC R
Ac Piano2 pA
Ac Piano2 pB
Ac Piano2 pC
Ac Piano2 fA
Ac Piano2 fB
Ac Piano2 fC
Ac Piano1 A
Ac Piano1 B
Ac Piano1 C
Piano Thump
Piano Up TH
Piano Atk
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
E.Piano 1C
E.Piano 2A
E.Piano 2B
E.Piano 2C
E.Piano 3A
E.Piano 3B
E.Piano 3C
MK-80 EP A
MK-80 EP B
MK-80 EP C
EP Hard
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
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
RockOrg1 A R
RockOrg1 B L
RockOrg1 B R
RockOrg1 C L
RockOrg1 C R
RockOrg2 A L
RockOrg2 A R
RockOrg2 B L
RockOrg2 B R
RockOrg2 C L
RockOrg2 C R
RockOrg3 A L
RockOrg3 A R
RockOrg3 B L
RockOrg3 B R
RockOrg3 C L
RockOrg3 C R
Dist. Organ
Rot.Org Slw
Rot.Org Fst
Pipe Organ
Soft Nylon A
Soft Nylon B
Soft Nylon C
Nylon Gtr A
Nylon Gtr B
Nylon Gtr C
Nylon Str
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
Jazz Gtr B
Jazz Gtr C
LP Rear A
LP Rear B
LP Rear C
Rock lead 1
Rock lead 2
Comp Gtr A
Comp Gtr B
Comp Gtr C
Comp Gtr A+
Mute Gtr 1
Mute Gtr 2A
Mute Gtr 2B
Mute Gtr 2C
Muters
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
Syn Gtr B
Syn Gtr C
Harp 1A
2
3
4
Harp 1B
5
Harp 1C
6
Harp Harm
Pluck Harp
Banjo A
7
8
9
Banjo B
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
Banjo C
Sitar A
EP Distone
Clear Keys
D-50 EP A
D-50 EP B
D-50 EP C
Celesta
Sitar B
Sitar C
E.Sitar A
E.Sitar B
E.Sitar C
Pop Strat A
Pop Strat B
Pop Strat C
JC Strat A
Santur A
Music Box
Music Box 2
Clav 1A
Santur B
Santur C
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
Koto A
Clav 1B
JC Strat B
Clav 1C
JC Strat C
JC Strat A+
JC Strat B+
JC Strat C+
Clean Gtr A
Clean Gtr B
Clean Gtr C
Stratus A
Clav 2A
Clav 2B
MKS-20 P3 A
MKS-20 P3 B
MKS-20 P3 C
SA Rhodes 1A
SA Rhodes 1B
SA Rhodes 1C
SA Rhodes 2A
SA Rhodes 2B
SA Rhodes 2C
Dyn Rhd mp A
Dyn Rhd mp B
Dyn Rhd mp C
Dyn Rhd mf A
Dyn Rhd mf B
Dyn Rhd mf C
Dyn Rhd ff A
Dyn Rhd ff B
Dyn Rhd ff C
Wurly soft A
Clav 2C
Clav 3A
Clav 3B
Koto B
Clav 3C
Koto C
Clav 4A
6-Str Gtr A
Taishokoto A
Taishokoto B
Taishokoto C
Pick Bass A
Pick Bass B
Pick Bass C
Fingerd Bs A
Fingerd Bs B
Fingerd Bs C
E.Bass
Clav 4B
6-Str Gtr B
Stratus B
Clav 4C
6-Str Gtr C
Stratus C
Clav Wave
MIDI Clav
HarpsiWave A
HarpsiWave B
HarpsiWave C
Jazz Organ 1
Jazz Organ 2
Organ 1
StlGtr mp A
StlGtr mp B
StlGtr mp C
StlGtr mf A
Scrape Gut
Strat Sust
Strat Atk
OD Gtr A
StlGtr mf B
OD Gtr B
StlGtr mf C
OD Gtr C
StlGtr ff A
OD Gtr A+
Heavy Gtr A
Heavy Gtr B
Heavy Gtr C
Heavy Gtr A+
Heavy Gtr B+
Heavy Gtr C+
PowerChord A
PowerChord B
PowerChord C
EG Harm
StlGtr ff B
P.Bass 1
Organ 2
StlGtr ff C
P.Bass 2
Organ 3
StlGtr sld A
StlGtr sld B
StlGtr sld C
StlGtr Hrm A
StlGtr Hrm B
StlGtr Hrm C
Gtr Harm A
Gtr Harm B
Gtr Harm C
Jazz Gtr A
Stick
Organ 4
Fretless A
Fretless B
Fretless C
Fretless 2A
Fretless 2B
Fretless 2C
UprightBs 1
UprightBs 2A
UprightBs 2B
60's Organ1
60's Organ2
60's Organ3
60's Organ4
Full Organ
Full Draw
Wurly soft B
Wurly soft C
Wurly hard A
Wurly hard B
Wurly hard C
E.Piano 1A
Rock Organ
RockOrg1 A L
Gt.FretNoise
Syn Gtr A
E.Piano 1B
2 7 7
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
UprightBs 2C
Ac.Bass A
Ac.Bass B
Ac.Bass C
Slap Bass 1
Slap & Pop
Slap Bass 2
Slap Bass 3
Jz.Bs Thumb
Jz.Bs Slap 1
Jz.Bs Slap 2
Jz.Bs Slap 3
Jz.Bs Pop
Funk Bass1
Funk Bass2
Syn Bass A
Syn Bass C
Syn Bass
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
Oboe mf A
Oboe mf B
Oboe mf C
Oboe f A
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
OrcUnisonA L
OrcUnisonA R
OrcUnisonB L
OrcUnisonB R
OrcUnisonC L
OrcUnisonC R
BrassSectA L
BrassSectA R
BrassSectB L
BrassSectB R
BrassSectC L
BrassSectC R
Tpt Sect. A
Tpt Sect. B
Tpt Sect. C
Tb Sect A
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
Violin 2 B
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
Voice Aahs B
Voice Aahs C
Voice Oohs1A
Voice Oohs1B
Voice Oohs1C
Voice Oohs2A
Voice Oohs2B
Voice Oohs2C
Choir 1A
Violin 2 C
Cello A
Cello B
Oboe f B
Cello C
Oboe f C
Cello 2 A
E.Horn A
Cello 2 B
E.Horn B
Cello 2 C
E.Horn C
Cello Wave
Pizz
Bassoon A
Bassoon B
Bassoon C
T_Recorder A
T_Recorder B
T_Recorder C
Sop.Sax A
Sop.Sax B
Sop.Sax C
Sop.Sax mf A
Sop.Sax mf B
Sop.Sax mf C
Alto mp A
Choir 1B
STR Attack A
STR Attack B
STR Attack C
DolceStr.A L
DolceStr.A R
DolceStr.B L
DolceStr.B R
DolceStr.C L
DolceStr.C R
JV Strings L
JV Strings R
JV Strings A
JV Strings C
JP Strings1A
JP Strings1B
JP Strings1C
JP Strings2A
JP Strings2B
JP Strings2C
PWM
Choir 1C
Oohs Chord L
Oohs Chord R
Male Ooh A
Male Ooh B
Male Ooh C
Org Vox A
Org Vox B
Org Vox C
Org Vox
Tb Sect B
Tb Sect C
Syn Bass 2 A
Syn Bass 2 B
Syn Bass 2 C
Mini Bs 1A
Mini Bs 1B
Mini Bs 1C
Mini Bs 2
T.Sax Sect A
T.Sax Sect B
T.Sax Sect C
Flugel A
ZZZ Vox
Bell VOX
Alto mp B
Flugel B
Kalimba
Alto mp C
Flugel C
JD Kalimba
Klmba Atk
Wood Crak
Block
Alto Sax 1A
Alto Sax 1B
Alto Sax 1C
T.Breathy A
T.Breathy B
T.Breathy C
SoloSax A
SoloSax B
SoloSax C
Tenor Sax A
Tenor Sax B
Tenor Sax C
T.Sax mf A
T.Sax mf B
T.Sax mf C
Bari.Sax f A
Bari.Sax f B
Bari.Sax f C
Bari.Sax A
Bari.Sax B
Bari.Sax C
Syn Sax
FlugelWave
Trumpet 1A
Trumpet 1B
Trumpet 1C
Trumpet 2A
Trumpet 2B
Trumpet 2C
HarmonMute1A
HarmonMute1B
HarmonMute1C
Trombone 1
Trombone 2 A
Trombone 2 B
Trombone 2 C
Tuba A
Mini Bs 2+
MC-202 Bs A
MC-202 Bs B
MC-202 Bs C
Hollow Bs
Gamelan 1
Gamelan 2
Gamelan 3
Log Drum
Hooky
Flute 1A
Pulse Mod
Soft Pad A
Soft Pad B
Soft Pad C
Fantasynth A
Fantasynth B
Fantasynth C
D-50 HeavenA
D-50 HeavenB
D-50 HeavenC
Fine Wine
Flute 1B
Flute 1C
Tabla
Jazz Flute A
Jazz Flute B
Jazz Flute C
Flute Tone
Piccolo A
Marimba Wave
Xylo
Xylophone
Vibes
Bottle Hit
Piccolo B
Glockenspiel
Tubular
Piccolo C
Tuba B
Blow Pipe
Tuba C
Steel Drums
Pole lp
Pan Pipe
French 1A
D-50 Brass A
D-50 Brass B
D-50 Brass C
D-50 BrassA+
Doo
BottleBlow
Rad Hose
French 1C
Fanta Bell A
Fanta Bell B
Fanta Bell C
FantaBell A+
Org Bell
F.Horns A
Shakuhachi
Shaku Atk
Flute Push
Clarinet A
F.Horns B
F.Horns C
Chanter
Violin A
Pop Voice
Harmonica A
Harmonica B
Harmonica C
Violin B
Syn Vox 1
AgogoBells
FingerBell
DIGI Bell 1
Clarinet B
Violin C
Syn Vox 2
Clarinet C
Violin 2 A
Voice Aahs A
2 7 8
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
DIGI Bell 1+
JD Cowbell
Bell Wave
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
DualSquare A
DualSquare C
DualSquareA+
JD SynPulse1
JD SynPulse2
JD SynPulse3
JD SynPulse4
Synth Pulse1
Synth Pulse2
JD SynPulse5
Sync Sweep
Triangle
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
TVF_Trig
Org Click
Cut Noiz
Bass Body
Flute Click
Gt&BsNz MENU
Ac.BassNz 1
Ac.BassNz 2
El.BassNz 1
El.BassNz 2
DistGtrNz 1
DistGtrNz 2
DistGtrNz 3
DistGtrNz 4
SteelGtrNz 1
SteelGtrNz 2
SteelGtrNz 3
SteelGtrNz 4
SteelGtrNz 5
SteelGtrNz 6
SteelGtrNz 7
Sea
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
Thunder 2
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
Jazz Rim ffR
Brush Slap
Brush Swish
Jazz Swish p
Jazz Swish f
909 SN 1
AmbientSN pL
AmbientSN pR
AmbientSN fL
AmbientSN fR
Wet SN p L
Wet SN p R
Wet SN f L
Chime
Crystal
2.2 Bellwave
2.2 Vibwave
Digiwave
909 SN 2
808 SN
DIGI Chime
JD DIGIChime
BrightDigi
Wet SN f R
Dry SN p
Rock Roll L
Rock Roll R
Jazz Roll
Dry SN f
Can Wave 1
Can Wave 2
Vocal Wave
Wally Wave
Brusky lp
Sharp SN
Brush Roll
JD Triangle
Sine
Piccolo SN
Dry Stick
Maple SN
Dry Stick 2
Side Stick
Metal Wind
Wind Agogo
Feedbackwave
Spectrum
CrunchWind
ThroatWind
Pitch Wind
JD Vox Noise
Vox Noise
BreathNoise
Voice Breath
White Noise
Pink Noise
Rattles
Old Fill SN
70s SN
Woody Stick
RockStick pL
RockStick pR
RockStick fL
RockStick fR
Dry Kick
Wave Scan
Wire String
Nasty
SN Roll
Natural SN1
Natural SN2
Ballad SN
Wave Table
Klack Wave
Spark VOX
JD Spark VOX
Cutters
Rock SN p L
Rock SN p R
Rock SN mf L
Rock SN mf R
Rock SN f L
Rock SN f R
Rock Rim p L
Rock Rim p R
Rock Rim mfL
Rock Rim mfR
Rock Rim f L
Rock Rim f R
Rock Gst L
Rock Gst R
Snare Ghost
Jazz SN p L
Jazz SN p R
Jazz SN mf L
Jazz SN mf R
Jazz SN f L
Jazz SN f R
Jazz SN ff L
Jazz SN ff R
Jazz Rim p L
Jazz Rim p R
Jazz Rim mfL
Jazz Rim mfR
Jazz Rim f L
Jazz Rim f R
Jazz Rim ffL
Maple Kick
Rock Kick p
Rock Kick mf
Rock Kick f
Jazz Kick p
Jazz Kick mf
Jazz Kick f
Jazz Kick
Thunder
Windy
EML 5th
Stream
MMM VOX
Lead Wave
Synth Reed
Synth Saw 1
Synth Saw 2
Syn Saw 2inv
Synth Saw 3
JD Syn Saw 2
FAT Saw
Bubble
Bird
Dog Bark
Horse
Ice Rain
Tin Wave
Telephone 1
Telephone 2
Creak
Pillow Kick
JazzDry Kick
Lite Kick
Anklungs
Wind Chimes
Orch. Hit
Door Slam
Engine
Old Kick
Tekno Hit
Back Hit
Hybrid Kick
Hybrid Kick2
Verb Kick
JP-8 Saw A
JP-8 Saw B
JP-8 Saw C
P5 Saw A
Car Stop
Car Pass
Crash
Philly Hit
Scratch 1
Round Kick
MplLmtr Kick
70s Kick 1
Scratch 2
Gun Shot
Siren
P5 Saw B
Scratch 3
P5 Saw C
Shami
Train
70s Kick 2
P5 Saw2 A
P5 Saw2 B
P5 Saw2 C
D-50 Saw A
D-50 Saw B
D-50 Saw C
Synth Square
JP-8 SquareA
JP-8 SquareB
JP-8 SquareC
Org Atk 1
Jetplane
Dance Kick
808 Kick
Org Atk 2
Starship
Sm Metal
Breath
909 Kick 1
909 Kick 2
Rock TomL1 p
Rock TomL2 p
Rock Tom M p
Rock Tom H p
Rock TomL1 f
Rock TomL2 f
StrikePole
Thrill
Laugh
Scream
Switch
Punch
Tuba Slap
Plink
Heart
Steps
Plunk
Machine Gun
Laser
EP Atk
2 7 9
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
No.
Wave Name
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
Rock Tom M f
Rock Tom H f
Rock Flm L1
Rock Flm L2
Rock Flm M
Rock Flm H
Jazz Tom L p
Jazz Tom M p
Jazz Tom H p
Jazz Tom L f
Jazz Tom M f
Jazz Tom H f
Jazz Flm L
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
Jazz PdHH p
Jazz PdHH f
Pedal HiHat
Pedal HiHat2
Dance Cl HH
909 NZ HiHat
70s Cl HiHat
70s Op HiHat
606 Cl HiHat
606 Op HiHat
909 Cl HiHat
909 Op HiHat
808 Claps
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
Cabasa Down
Cabasa Cut
Maracas
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
REV Wet SNfR
REV Dry SN
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
REV JzRoll
REV Dry Stk
REV PiccloSN
REV Maple SN
REV OldFilSN
REV 70s SN
REV DrySick
REV Side Stk
REV Wdy Stk
REV RkStk1L
REV RkStk1R
REV RkStk2L
REV RkStk2R
REV Thrill
Long Guiro
Tambourine 1
Tambourine 2
Open Triangl
Cuica
REV SN Roll
REV NatrlSN1
REV NatrlSN2
REV BalladSN
REV RkSNpL
REV RkSNpR
REV RkSNmfL
REV RkSNmfR
REV RkSNfL
REV RkSNfR
REV RkRimpL
REV RkRimpR
REV RkRimmfL
REV RkRimmfR
REV RkRimfL
REV RkRimfR
REV RkGstL
Vibraslap
Timpani
Timp3 pp
REV Dry Kick
REV Mpl Kick
REV RkKik p
REV RkKik mf
REV RkKik f
Timp3 mp
Applause
Jazz Flm M
HumanClapsEQ
Tight Claps
Hand Claps
Finger Snaps
Rock RdCym1p
Rock RdCym1f
Rock RdCym2p
Rock RdCym2f
Jazz RdCym p
Jazz RdCymmf
Jazz RdCym f
Ride 1
Syn FX Loop
Loop 1
Jazz Flm H
Maple Tom 1
Maple Tom 2
Maple Tom 3
Maple Tom 4
808 Tom
Loop 2
REV JzKik p
Loop 3
REV JzKik mf
REV JzKik f
Loop 4
Loop 5
REV Jaz Kick
REV Pillow K
REV Jz Dry K
REV LiteKick
REV Old Kick
REV Hybrid K
REV HybridK2
REV 70s K 1
REV 70s K 2
REV Dance K
REV 909 K 2
REV RkTomL1p
REV RkTomL2p
REV RkTomM p
REV RkTomH p
REV RkTomL1f
REV RkTomL2f
REV RkTomM f
REV RkTomH f
REV RkFlmL1
REV RkFlmL2
REV RkFlm M
REV RkFlm H
REV JzTomL p
REV JzTomM p
REV JzTomH p
REV JzTomL f
REV JzTomM f
REV JzTomH f
REV JzFlm L
REV JzFlm M
REV JzFlm H
Loop 6
Verb Tom Hi
Verb Tom Lo
Dry Tom Hi
Loop 7
R8 Click
Metronome 1
Metronome 2
MC500 Beep 1
MC500 Beep 2
Low Saw
Dry Tom Lo
Rock ClHH1 p
Rock ClHH1mf
Rock ClHH1 f
Rock ClHH2 p
Rock ClHH2mf
Rock ClHH2 f
Jazz ClHH1 p
Jazz ClHH1mf
Jazz ClHH1 f
Jazz ClHH2 p
Jazz ClHH2mf
Jazz ClHH2 f
Cl HiHat 1
REV RkGstR
REV SnareGst
REV JzSNpL
REV JzSNpR
REV JzSNmfL
REV JzSNmfR
REV JzSNfL
Ride 2
Ride Bell
Rock CrCym1p
Rock CrCym1f
Rock CrCym2p
Rock CrCym2f
Rock Splash
Jazz CrCym p
Jazz CrCym f
Crash Cymbal
Crash 1
Low Saw inv
Low P5 Saw
Low Pulse 1
Low Pulse 2
Low Square
Low Sine
REV JzSNfR
REV JzSNffL
REV JzSNffR
REV JzRimpL
REV JzRimpR
REV JzRimmfL
REV JzRimmfR
REV JzRimfL
REV JzRimfR
REV JzRimffL
REV JzRimffR
REV Brush 1
REV Brush 2
REV Brush 3
REV JzSwish1
REV JzSwish2
REV 909 SN 1
REV 909 SN 2
REV RkRoll L
REV RkRoll R
Low Triangle
Low White NZ
Low Pink NZ
DC
Rock China
China Cym
Cl HiHat 2
REV Orch.Hit
REV TeknoHit
REV Back Hit
REV PhillHit
REV Steel DR
REV Tin Wave
REV AmbiSNpL
REV AmbiSNpR
REV AmbiSNfL
REV AmbiSNfR
REV Wet SNpL
REV Wet SNpR
REV Wet SNfL
Cl HiHat 3
Cowbell
Cl HiHat 4
Wood Block
Claves
Cl HiHat 5
Rock OpHH p
Rock OpHH f
Jazz OpHH p
Jazz OpHH mf
Jazz OpHH f
Op HiHat
Bongo Hi
Bongo Lo
Cga Open Hi
Cga Open Lo
Cga Mute Hi
Cga Mute Lo
Cga Slap
Op HiHat 2
Rock PdHH p
Rock PdHH f
Timbale
Cabasa Up
2 8 0
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W a ve fo rm List
No.
Wave Name
No.
Wave Name
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
REV MplTom2
REV MplTom4
REV 808Tom
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
REV RkRCym2p
REV RkRCym2f
REV JzRCym p
REV JzRCymmf
REV JzRCym f
REV Ride 1
REV VerbTomH
REV VerbTomL
REV DryTom H
REV DryTom M
REV RkClH1 p
REV RkClH1mf
REV RkClH1 f
REV RkClH2 p
REV RkClH2mf
REV RkClH2 f
REV JzClH1 p
REV JzClH1mf
REV JzClH1 f
REV JzClH2 p
REV JzClH2mf
REV JzClH2 f
REV Cl HH 1
REV Ride 2
REV RideBell
REV RkCCym1p
REV RkCCym1f
REV RkCCym2p
REV RkCCym2f
REV RkSplash
REV JzCCym p
REV JzCCym f
REV CrashCym
REV Crash 1
REV RkChina
REV China
REV Cowbell
REV WoodBlck
REV Claves
REV Cl HH 2
REV Cl HH 3
REV Cl HH 4
REV Conga
REV Cl HH 5
REV Timbale
REV Maracas
REV Guiro
REV RkOpHH p
REV RkOpHH f
REV JzOpHH p
REV JzOpHHmf
REV JzOpHH f
REV Op HiHat
REV OpHiHat2
REV RkPdHH p
REV RkPdHH f
REV JzPdHH p
REV JzPdHH f
REV PedalHH
REV PedalHH2
REV Dance HH
REV 70s ClHH
REV 70s OpHH
REV 606 ClHH
REV 606 OpHH
REV 909 NZHH
REV 909 OpHH
REV HClapsEQ
REV TghtClps
REV FingSnap
REV RealCLP
REV RkRCym1p
REV RkRCym1f
REV Tamb 1
REV Tamb 2
REV Cuica
REV Timpani
REV Timp3 pp
REV Timp3 mp
REV Metro
2 8 1
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MIDI Im p le m e n ta tio n
Model
Date
XV-5080
087 | 000
| 032
| 033
| :
| 001 - 128 | User Patch
| 001 - 128 | Card Patch A
| 001 - 128 | Card Patch B
| 001 - 128
| 001 - 128
| 001 - 128
|
| 001 - 128
| 001 - 128
|
| 001 - 256
| 001 - 256
|
| 001 - 256
| 001 - 256
|
| 001 -
|
| 001 -
|
| 001 - 009
| 001 - 256
May. 20, 2000
Version
1.00
|
| :
| 064
| 065
| :
| 001 - 128 | Preset Patch A
| 001 - 128 | Preset Patch B
|
| :
1. Receive data
088 | 000 - 001 | 001 - 128 | SR-JV80-01 Rhythm
| 002 - 003 | 001 - 128 | SR-JV80-02 Rhythm
| :
|
| :
089 | 000 - 001 | 001 - 128 | SR-JV80-01 Patch
| 002 - 003 | 001 - 128 | SR-JV80-02 Patch
●Channel Voice Messages
| :
092 | 000 -
| :
093 | 000 -
| :
120 |
|
| :
| 001 -
| SRX Rhythm
| :
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
PART) is OFF.
|
| 001 -
|
| SRX Patch
| :
| 001 - 057 | GM Rhythm
121 | 000 - 009 | 001 - 128 | GM Patch
●Note off
Status
2nd byte
kkH
3rd byte
vvH
●Modulation (Controller number 1)
8nH
Status
BnH
2nd byte
01H
3rd byte
vvH
9nH
kkH
00H
n = MIDI channel number:0H - FH (Ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
vv = note off velocity:00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Modulation depth:00H - 7FH (0 - 127)
*
Not received in Performance mode when the Receive Modulation (PERFORM/ MIDI) is
OFF.
*
Not received when the Envelope Mode parameter (PATCH/ TONE and RHYTHM/
TONE) is NO-SUS.
●Breath type (Controller number 2)
●Note on
Status
BnH
2nd byte
02H
3rd byte
vvH
Status
2nd byte
kkH
3rd byte
vvH
9nH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
vv = note on velocity:01H - 7FH (1 - 127)
●Foot type (Controller number 4)
Status
BnH
2nd byte
04H
3rd byte
vvH
●Polyphonic Key Pressure
Status
2nd byte
3rd byte
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
AnHkkH
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
kk = note number: 00H - 7FH (0 - 127)
●Portamento Time (Controller number 5)
vv = Polyphonic Key Pressure:00H - 7FH (0 - 127)
Status
BnH
2nd byte
05H
3rd byte
vvH
*
Not received in Performance mode when the Receive Polyphonic Key Pressure
parameter (PERFORM/ MIDI) is OFF.
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Portamento Time:00H - 7FH (0 - 127)
●Control Change
*
In Performance mode the Part Portamento Time parameter (PERFORM/ PART) will
change.
*
If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
4 parameter (PATCH COMMON), the corresponding effect will occur.
●Data Entry (Controller number 6, 38)
*
If a Controller number that corresponds to the System Control Source 1, 2, 3 or
4
parameter (SYSTEM/ COMMON) is selected, the specified effect will apply if Patch
Control Source 1, 2, 3 or 4 parameter (PATCH/ COMMON) is set to SYS-CTRL1, CTRL-2,
CTRL-3 or CTRL-4.
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
llH
●Volume (Controller number 7)
BnH
20H
n = MIDI channel number:0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
07H
3rd byte
vvH
mm, ll = Bank nunber:00 00H - 7F 7FH (bank.1 - bank.16384)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Volume: 00H - 7FH (0 - 127)
*
*
*
Not received in Performance mode when the Receive Bank Select (PERFORM/ MIDI) is
OFF.
The Performances, Rhythms, and Patches corresponding to each Bank Select are as
*
*
Not received in Performance mode when the Receive Volume parameter (PERFORM/
follows.
MIDI) is OFF.
The SRX series corresponding to each Bank Select are to see the SRX series owner's
manual.
In Performance mode the Part Level parameter (PERFORM/ PART) will change.
●Balance (Controller number 8)
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
Status
BnH
2nd byte
08H
3rd byte
vvH
-----+-----------+-----------+----------------------+-----------
000 |
: |
032 |
085 | 000
| 032
| 033
| :
| 001 - 128 | GM Patch
|
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Balance: 00H - 7FH (0 - 127)
|
|
|
| 001 - 128 | GM Patch
|
| 001 - 064 | User Performance
| 001 - 064 | Card Performance A
| 001 - 064 | Card Performance B
| 001 - 064
| 001 - 064
| 001 - 064
|
●Panpot (Controller number 10)
|
| :
Status
BnH
2nd byte
0AH
3rd byte
vvH
| 064
| 065
| :
| 001 - 032 | Preset Performance A | 001 - 032
| 001 - 032 | Preset Performance B | 001 - 032
|
| :
|
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),
086 | 000
| 032
| 033
| :
| 001 - 004 | User Rhythm
| 001 - 004 | Card Rhythm A
| 001 - 004 | Card Rhythm B
| 001 - 004
| 001 - 004
| 001 - 004
|
|
| :
| 064
| 065
| :
| 001 - 002 | Preset Rhythm A
| 001 - 002 | Preset Rhythm B
| 001 - 002
| 001 - 002
|
*
Not received in Performance mode when the Receive Pan parameter (PERFORM/ MIDI)
is OFF.
|
| :
2 8 2
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MIDI Im p le m e n ta tio n
*
In Performance mode the Part pan parameter (PERFORM/ PART) will change.
*
In Performance mode the Part Release Time Offset parameter (PERFORM/ PART) will
change.
●Expression (Controller number 11)
●Attack time (Controller number 73)
Status
BnH
2nd byte
0BH
3rd byte
vvH
Status
BnH
2nd byte
49H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Expression: 00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Attack time value (relative change):00H - 7FH (-64 - 0 - +63),
*
*
Not received when Tone Receive Expression parameter (PATCH/ TONE or RHYTHM/
TONE) is OFF.
*
In Performance mode the Part Attack Time Offset parameter (PERFORM/ PART) will
change.
Not received in Performance mode when Receive Expression parameter (PERFORM/
MIDI) is OFF.
●Cutoff (Controller number 74)
●Hold 1 (Controller number 64)
Status
BnH
2nd byte
4AH
3rd byte
vvH
Status
BnH
2nd byte
40H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Cutoff value (relative change):00H - 7FH (-64 - 0 - +63)
vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
In Performance mode the Part Cutoff Offset parameter (PERFORM/ PART) will change.
*
*
Not received when Tone Receive Hold-1 parameter (PATCH/ TONE or RHYTHM/
TONE) is OFF.
●Decay Time (Controller number 75)
Not received in Performance mode when Receive Hold-1 parameter (PERFORM/ MIDI)
is OFF.
Status
BnH
2nd byte
4BH
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
●Portamento (Controller number 65)
vv = Decay Time value (relative change):00H - 7FH (-64 - 0 - +63)
Status
BnH
2nd byte
41H
3rd byte
vvH
*
The decay time will change in GM mode.
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte
vvH
*
In Performance mode the Part Portamento Switch parameter (PERFORM/ PART) will
change.
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Vibrato Rate value (relative change):00H - 7FH (-64 - 0 - +63)
●Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
vvH
*
The vibrato rate will change in GM mode.
n = MIDI channel number:0H - FH (Ch.1 - 16)
●Vibrato Depth (Controller number 77)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Status
BnH
2nd byte
4DH
3rd byte
vvH
●Soft (Controller number 67)
n = MIDI channel number:0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
43H
3rd byte
vvH
vv = Vibrato Depth Value (relative change):00H - 7FH (-64 - 0 - +63)
n = MIDI channel number:0H - FH (Ch.1 - 16)
*
The vibrato depth will change in GM mode.
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
●Vibrato Delay (Controller number 78)
●Legato Foot Switch (Controller number 68)
Status
BnH
2nd byte
4EH
3rd byte
vvH
Status
BnH
2nd byte
44H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Vibrato Delay value (relative change):00H - 7FH (-64 - 0 - +63)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
The vibrato delay will change in GM mode.
*
In Performance mode the Part Legato Switch parameter (PERFORM/ PART) will change.
●General Purpose Controller 5 (Controller number 80)
●Hold-2 (Controller number 69)
Status
BnH
2nd byte
50H
3rd byte
vvH
Status
BnH
2nd byte
45H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
*
The Tone Level parameter (PATCH/ TONE) of Tone 1 will change.
*
A hold movement isn't done.
●General Purpose Controller 6 (Controller number 81)
●Resonance (Controller number 71)
Status
BnH
2nd byte
51H
3rd byte
vvH
Status
BnH
2nd byte
47H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv= Resonance value (relative change):00H - 7FH (-64 - 0 - +63),
*
The Tone Level parameter (PATCH/ TONE) of Tone 2 will change.
*
In Performance mode the Part Resonance Offset parameter (PERFORM/ PART) will
change.
●General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H
3rd byte
vvH
●Release Time (Controller number 72)
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Release Time value (relative change):00H - 7FH (-64 - 0 - +63),
*
The Tone Level parameter (PATCH/ TONE) of Tone 3 will change.
2 8 3
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MIDI Im p le m e n ta tio n
RPN and NRPN will be set as "unspecified". Once this setting has been
●General Purpose Controller 8 (Controller number 83)
made, subsequent
Status
BnH
2nd byte
53H
3rd byte
vvH
Parameter values that were previously set will not change.
mm, ll: ignored
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
●Program Change
*
The Tone Level parameter (PATCH/ TONE) of Tone 4 will change.
Status
2nd byte
CnH
ppH
●Portamento control (Controller number 84)
n = MIDI channel number:0H - FH (Ch.1 - 16)
Status
BnH
2nd byte
54H
3rd byte
kkH
pp = Program number:00H - 7FH (prog.1 - prog.128)
n = MIDI channel number:0H - FH (Ch.1 - 16)
kk = source note number:00H - 7FH (0 - 127)
*
Not received in Performance mode when the Receive Program parameter (PERFORM/
MIDI) is OFF.
*
*
A
Note-on received immediately after
a
Portamento Control message will change
●Channel Pressure
continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
Status
2nd byte
DnH
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Channel Pressure:00H - 7FH (0 - 127)
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
*
Not received in Performance mode when the Receive Channel Pressure parameter
(PERFORM/ MIDI) is OFF.
●Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH
3rd byte
vvH
●Pitch Bend Change
Status
2nd byte
3rd byte
mmH
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Reverb Send Level:00H - 7FH (0 - 127)
EnH
llH
n = MIDI channel number:0H - FH (Ch.1 - 16)
mm, ll = Pitch Bend value:00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*
In Performance mode the Part Part Reverb Send Level parameter (PERFORM/ PART)
will change.
*
*
Not received when the Tone Receive Bender parameter (PATCH/ TONE) is OFF.
Not received in Performance mode when the Receive Bender parameter (PERFORM/
MIDI) is OFF.
●Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
5DH
3rd byte
vvH
●Channel Mode Messages
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Chorus Send Level:00H - 7FH (0 - 127)
*
Not received in Performance mode when the Receive Switch parameter (PERFORM/
MIDI) is OFF.
*
In Performance mode the Part Part Chorus Send Level parameter (PERFORM/ PART)
will change.
●All Sounds Off (Controller number 120)
●RPN MSB/LSB (Controller number 100, 101)
Status
2nd byte
3rd byte
BnH
78H
00H
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
n = MIDI channel number: 0H - FH (Ch.1 - 16)
BnH
64H
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
n = MIDI channel number:0H - FH (Ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
●Reset All Controllers (Controller number 121)
<<< RPN >>>
Status
2nd byte
3rd byte
Control Changes include RPN (Registered Parameter Numbers), which are extended
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
BnH
79H
00H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
This device receives the following RPNs.
*
RPN
Data entry
MSB, LSB
mmH, llH
mm:
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Breath Type
Expression
Hold 1
Reset value
MSB, LSB
00H, 00H
Notes
+/ -0 (center)
Pitch Bend Sensitivity
00H - 18H (0 - 24 semitones)
ignored (processed as 00H)
0 (off)
0 (off)
ll:
0 (off)
Up to 2 octave can be specified in semitone steps.
In Performance mode, the Part Pitch Bend Range parameter
(PERFORM/ PART) will change.
0 (min)
*
127 (max)
0 (off)
Sostenuto
0 (off)
00H, 01H
mmH, llH
mm, ll:
Master Fine Tuning
Soft
0 (off)
20 00H - 40 00H - 60 00H (-8192 - 50/ 8192 - 0 -
+8192*50/ 8192 cent)
Hold 2
0 (off)
RPN
unset; previously set data will not change
unset; previously set data will not change
* In Performance mode, the Part Fine Tune parameter (PERFORM/
PART) will change.
NRPN
●All Notes Off (Controller number 123)
00H, 02H
mmH, llH
mm:
Master Coarse Tuning
Status
2nd byte
3rd byte
10H - 40H - 70H (-48 - 0 - +48 semitones)
ignored (processed as 00H)
BnH
7BH
00H
ll:
n = MIDI channel number: 0H - FH (Ch.1 - 16)
* In Performance mode, the Part Coarse Tune parameter (PERFORM/
PART) will change.
7FH, 7FH
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
---, ---
RPN null
2 8 4
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MIDI Im p le m e n ta tio n
7EH
dev
06H
01H
F7H
ID number (Universal Non-realtime Message)
●OMNI OFF (Controller number 124)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID#1 (General Information)
Status
2nd byte
3rd byte
BnH
7CH
00H
Sub ID#2 (Identity Request)
n = MIDI channel number:0H - FH (Ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
EOX (End Of Exclusive)
*
*
When this message is received, Identity Reply message (p. 289) will be transmitted.
●MNI ON (Controller number 125)
●GM1 System On
Status
2nd byte
3rd byte
Status
F0H
Data byte
Status
BnH
7DH
00H
7EH, 7FH, 09H, 01H F7H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
●MONO (Controller number 126)
Status
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
2nd byte
3rd byte
BnH
7EH
mmH
n = MIDI channel number:0H - FH (Ch.1 - 16)
mm = mono number:00H - 10H (0 - 16)
*
*
When this messages is received, this instrument will turn to the GM1 mode.
Not received when the Receive GM1 System On parameter (SYSTEM/ COMMON) is
OFF.
*
*
The same processing will be carried out as when All Notes Off is received.
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.
●GM2 System On
●POLY (Controller number 127)
Status
F0H
Data byte
Status
Status
2nd byte
3rd byte
7EH 7FH 09H 03H F7H
BnH
7FH
00H
n = MIDI channel number: 0H - FH (Ch.1 - 16)
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
*
*
The same processing will be carried out as when All Notes Off is received.
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
In Performance mode, the Part Mono/ Poly parameter (PERFORM/ PART) will change.
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
●System Realtime Message
●Timing Clock
*
*
When this messages is received, this instrument will turn to the GM2 mode.
Status
Not received when the Receive GM2 System On parameter (SYSTEM/ COMMON) is
OFF.
F8H
*
This message will be received if the Clock Source parameter (SYSTEM/ COMMON) is
MIDI.
●GM System Off
Status
F0H
Data byte
Status
F7H
7EH,7F,09H,02H
●Active Sensing
Status
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
FEH
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
*
When this messages is received, this instrument will return to the Performance mode.
●System Exclusive Message
Status
Data byte
Status
●Universal Realtime System Exclusive Messages
F0H
iiH, ddH, ......,eeH
F7H
●Master Volume
F0H:
System Exclusive Message status
Status
F0H
Data byte
Status
F7H
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
7FH, 7FH, 04H, 01H, llH, mmH
Exclusive message this is. Roland's manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH).
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
Exclusive status
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
ID number (universal realtime message)
Device ID (Broadcast)
EOX (End Of Exclusive)
Sub ID#1 (Device Control messages)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
mmH
F7H
●Universal Non-realtime System Exclusive Messages
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
The Master Level parameter (SYSTEM/ COMMON) will change.
●Identity Request Message
Status
F0H
Data byte
Status
●Master Fine Tuning
7EH, dev, 06H, 01H F7H
Status
F0H
Data byte
7FH,7FH,04H,03H,llH,mmH
Status
F7H
Byte
F0H
Explanation
Exclusive status
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MIDI Im p le m e n ta tio n
Byte
Explanation
01H
01H
01H
02H
ppH
vvH
Parameter width
F0H
7FH
7FH
04H
03H
llH
Exclusive status
Value width
ID number (universal realtime message)
Device ID (Broadcast)
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
vv=1 Chorus2
vv=2 Chorus3
mm, ll : 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
The Master Tune parameter (SYSTEM/ COMMON) will change.
vv=3 Chorus4
vv=4 FB Chorus
*
vv=5 Flanger
pp=1 Mod Rate
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
●Master Coarse Tuning
vv = 00H - 7FH 0 - 127
pp=3 Feedback
Status
F0H
Data byte
Status
F7
7FH,7FH,04H,04H,llH,mmH
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
Exclusive status
F7H
ID number (universal realtime message)
Device ID (Broadcast)
●Channel Pressure
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
Status
F0H
Data byte
Status
F7H
7FH,7FH,09H,01H,0nH,ppH,rrH
mmH
F7H
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Exclusive status
llH :
ignored (processed as 00H)
ID number (universal realtime message)
Device ID (Broadcast)
mmH :
28H - 40H - 58H (-24 - 0 - +24 [semitones])
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
*
The Master Key Shift parameter (SYSTEM/ COMMON) will change.
Controlled parameter
●Global Parameter Control
Controlled range
*
Not received in Performance mode and Patch mode.
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450[cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
pp=3 LFO Pitch Depth
●Reverb Parameters
Status
F0H
Data byte
Status
F7H
7FH,7FH,04H,05H,01H,01H,01H,01H,01H,ppH,vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
rr = 00H - 7FH 0 - 600[cents]
pp=4 LFO Filter Depth
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
rr = 00H - 7FH 0 - 2400[cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
F7H
Parameter ID width
Value width
●Controller
Status
Slot path MSB
Data byte
Status
F7H
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type
F0H
7FH,7FH,09H,03H,0nH,ccH,ppH,rrH
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
pp=1 Reverb Time
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
Controlled range
F7H
pp=0 Pitch Control
rr = 28H - 58H -24 - +24[semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450[cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
●Chorus Parameters
Status
F0H
Data byte
Status
F7H
7FH,7FH,04H,05H,01H,01H,01H,01H,02H,ppH,vvH
Byte
F0H
7FH
7FH
04H
05H
01H
Explanation
pp=3 LFO Pitch Depth
Exclusive status
rr = 00H - 7FH 0 - 600[cents]
pp=4 LFO Filter Depth
ID number (universal realtime message)
Device ID (Broadcast)
rr = 00H - 7FH 0 - 2400[cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100 %
EOX (End Of Exclusive)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
F7H
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MIDI Im p le m e n ta tio n
ssH
ssH
eeH
ffH
Sample number lower byte
●Scale/Octave Tuning Adjust
Sample number upper byte
Sample format
Status
F0H
Data byte
Status
F7H
7EH,7FH,08H,08H,ffH,ggH,hhH,ssH...
Sample period lower byte
Sample period middle byte
Sample period upper byte
Sample length lower byte
Sample length middle byte
Sample length upper byte
Loop start point lower byte
Loop start point middle byte
Loop start point upper byte
Loop end point lower byte
Loop end point middle byte
Loop end point upper byte
Loop type
ffH
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
ffH
Exclusive status
ggH
ggH
ggH
hhH
hhH
hhH
iiH
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/ octave tuning 1-byte form)
Channel/ Option byte1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
iiH
ggH
hhH
ssH
Channel byte2
iiH
bits 0 to 6 = channel 8 to 14
Channel byte3
jjH
F7
EOX (End Of Exclusive)
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
●Data Packet
Status
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
Data byte
Status
F7H
F0H
7EH, dev, 02H, kkH, aaH, ... bbH, sum
F7H
EOX (End Of Exclusive)
Byte
F0H
7EH
dev
02H
kkH
aaH
:
Explanation
Exclusive status
●Key-Based Instrument Controllers
ID number (Universal Non-realtime Message)
Status
F0H
Data byte
Status
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
7FH,7FH,0AH,01H,0nH,kkH,nnH,vvH... F7H
ID number (Data Packet)
Packet number
Data (120 byte)
:
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
F7
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0F)
Key Number
bbH
sum
F7H
Data
checksum
EOX (End Of Exclusive)
●ACK
Status
F0H
Control Number
Data byte
Status
F7H
Value
7EH, dev, 7FH, ppH
EOX (End Of Exclusive)
Byte
F0H
7EH
dev
Explanation
nn=07H
nn=0AH
nn=5BH
nn=5D
Level
Exclusive status
vv = 00H - 7FH
Pan
0 - 200% (Relative)
Left - Right (Absolute)
0 - 127 (Absolute)
0 - 127 (Absolute)
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (ACK)
vv = 00H - 7FH
Reverb Send
vv = 00H - 7FH
Chorus Send
vv = 00H - 7FH
7FH
ppH
F7H
Packet number
EOX (End Of Exclusive)
●NAK
Status
F0H
Data byte
Status
F7H
*
This parameter affects drum instruments only.
7EH, dev, 7EH, ppH
Byte
F0H
7EH
dev
Explanation
●Sample Dump Standard
Exclusive status
*
Received only in Sample Dump mode.
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (NAK)
●Dump Request
7EH
ppH
F7H
Status
F0H
Data byte
Status
F7H
Packet number
7EH, dev, 03H, ssH, ssH
EOX (End Of Exclusive)
Byte
F0H
7EH
dev
03H
ssH
ssH
F7
Explanation
●Cancel
Status
Exclusive status
Data byte
Status
F7H
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID (Dump Request)
F0H
7EH, dev, 7DH, ppH
Byte
F0H
7EH
dev
Explanation
Requested sample lower byte
Exclusive status
Requested sample upper byte
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (Cancel)
EOX (End Of Exclusive)
7DH
ppH
F7H
●Dump Header
Packet number
Status
F0H
Data byte
Status
F7H
EOX (End Of Exclusive)
7EH, dev, 01H, ssH, ssH, eeH, ffH, ffH, ffH, ggH,
ggH, ggH, hhH, hhH, hhH, iiH, iiH, iiH, jjH
●Wait
Status
F0H
Data byte
Status
F7H
Byte
F0H
7EH
dev
Explanation
7EH, dev, 7CH, ppH
Exclusive status
ID number (Universal Non-realtime Message)
Byte
F0H
Explanation
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID (Dump Header)
Exclusive status
01H
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MIDI Im p le m e n ta tio n
7EH
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (Wait)
*
*
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
dev
7CH
ppH
F7H
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
Packet number
EOX (End Of Exclusive)
Status
F0H
Data byte
Status
F7H
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum
●Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings
Byte
Explanation
with other devices.
F0H
Exclusive status
ID number (Roland)
Device ID (dev: 10H)
he model ID of the exclusive messages used by this instrument is 00H 10H.
41H
dev
●Data Request 1RQ1 (11H)
42H
Model ID
(GS)
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
12H
Command ID
Address MSB:
(DT1)
aaH
upper byte of the starting address of the
middle byte of the starting address of the
lower byte of the starting address of the
the actual data to be transmitted. Multiple bytes
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
transmitted data
bbH
Address:
Address LSB:
Data:
transmitted data
ccH
Status
F0H
Data Byte
Status
F7H
transmitted data
ddH
41H, dev, 00H, 10H, 11H, aaH, bbH, ccH, ddH, ssH,
ttH, uuH, vvH, sum
of data are transmitted starting from the address.
:
:
Byte
F0H
41H
dev
00H
10H
11H
aaH
bbH
ccH
ddH
ssH
Remarks
eeH
sum
F7H
Data
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH, 7FH)
model ID #1 (XV-5080)
model ID #2 (XV-5080)
commandID (RQ1)
address MSB
address
Checksum
EOX
(End Of Exclusive)
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the
Address and Size given in Section 3, "Parameter address map.
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
address
*
*
Regarding the checksum, please refer to p. 303 .
address LSB
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
size MSB
ttH
size
2. Data transmission
section)
(sound source
uuH
vvH
sum
F7H
size
size LSB
checksum
EOX (End Of Exclusive)
●Channel Voice Messages
*
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
and size given in "Parameter Address Map (p. 290)".
When execute the GM Data Transfer, the following Program Change and Control Change
will transmit.
*
*
For the checksum, refer to Example of an Exclusive message and calculating a
checksum (p. 303).
●Control Change
Not received when the Receive Exclusive parameter (SYSTEM/ COMMON) is OFF.
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
llH
●Data set 1DT1 (12H)
BnH
20H
Status
F0H
Data byte
Status
F7H
n = MIDI channel number:0H - FH (Ch.1 - 16)
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH,
eeH, ... ffH, sum
mm, ll = Bank nunber:00 00H - 7F 7FH (bank.1 - bank.16384)
Byte
F0H
41H
dev
Explanation
●Portamento Time (Controller number 5)
Exclusive status
Status
BnH
2nd byte
05H
3rd byte
vvH
ID number (Roland)
Device ID (dev: 00H - 1FH, Initial value is 10H)
Model ID #1 (XV-5080)
Model ID #2 (XV-5080)
Command ID (DT1)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Portamento Time:00H - 7FH (0 - 127)
00H
10H
12H
aaH
bbH
sent
ccH
sent
ddH
eeH
●Data Entry (Controller number 6, 38)
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
BnH
26H
Address: lower middle byte of the starting address of the data to be
n = MIDI channel number: 0H - FH (Ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/ NRPN
mm = MSB, ll = LSB
Address LSB: lower byte of the starting address of the data to be sent.
Data: the actual data to be sent. Multiple bytes of data are transmitted
in order starting from the address.
:
:
●Volume (Controller number 7)
ffH
sum
F7H
Data
Status
BnH
2nd byte
07H
3rd byte
vvH
Checksum
EOX (End Of Exclusive)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Volume: 00H - 7FH (0 - 127)
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the
Address and Size given in Section 3, "Parameter address map.
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●Panpot (Controller number 10)
●RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
0AH
3rd byte
vvH
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
n = MIDI channel number:0H - FH (Ch.1 - 16)
BnH
64H
vv = Panpot:
00H - 40H - 7FH (Left - Center - Right),
n = MIDI channel number:0H - FH (Ch.1 - 16)
Initial value = 40H (Center)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
●Portamento (Controller number 65)
<<< RPN >>>
Status
BnH
2nd byte
41H
3rd byte
vvH
Control Changes include RPN (Registered Parameter Numbers), which are extended
When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
This device receives the following RPNs.
●Resonance (Controller number 71)
RPN
Data entry
MSB, LSB
mmH, llH
mm:
Status
BnH
2nd byte
47H
3rd byte
vvH
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
00H - 18H (0 - 24 semitones)
ignored (processed as 00H)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv= Resonance value (relative change):00H - 7FH (-64 - 0 - +63)
ll:
Up to 2 octave can be specified in semitone steps.
In Performance mode, the Part Pitch Bend Range parameter
(PERFORM/ PART) will change.
●Release Time (Controller number 72)
*
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
00H, 01H
mmH, llH
mm, ll:
Master Fine Tuning
vv = Release Time value (relative change):00H - 7FH (-64 - 0 - +63)
20 00H - 40 00H - 60 00H (-8192*50/ 8192 - 0 -
+8192 *50/ 8192 cent)
●Attack time (Controller number 73)
* In Performance mode, the Part Fine Tune parameter (PERFORM/
PART) will change.
Status
BnH
2nd byte
49H
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
00H, 02H
mmH, llH
mm:
Master Coarse Tuning
vv = Attack time value (relative change):00H - 7FH (-64 - 0 - +63)
10H - 40H - 70H (-48 - 0 - +48 semitones)
ignored (processed as 00H)
ll:
●Cutoff (Controller number 74)
* In Performance mode, the Part Coarse Tune parameter (PERFORM/
Status
BnH
2nd byte
4AH
3rd byte
vvH
PART) will change.
7FH, 7FH
n = MIDI channel number:0H - FH (Ch.1 - 16)
---, ---
RPN null
vv = Cutoff value (relative change):00H - 7FH (-64 - 0 - +63)
RPN and NRPN will be set as "unspecified". Once this setting has been
made, subsequent
●Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
vvH
Parameter values that were previously set will not change.
mm, ll: ignored
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Decay Time value (relative change):00H - 7FH (-64 - 0 - +63)
●Program Change
Status
2nd byte
●Vibrato Rate (Controller number 76)
CnH
ppH
Status
BnH
2nd byte
4CH
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
pp = Program number:00H - 7FH (prog.1 - prog.128)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Vibrato Rate value (relative change):00H - 7FH (-64 - 0 - +63)
●System Exclusive messages
●Vibrato Depth (Controller number 77)
Universal Non-realtime System Exclusive Message" and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the XV-5080.
Status
BnH
2nd byte
4DH
3rd byte
vvH
n = MIDI channel number:0H - FH (Ch.1 - 16)
●Universal Non-realtime System Exclusive Message
●Identity Reply Message
vv = Vibrato Depth Value (relative change):00H - 7FH (-64 - 0 - +63)
●Vibrato Delay (Controller number 78)
Status
BnH
2nd byte
4EH
3rd byte
vvH
Receiving Identity Request Message, the XV-5080 send this message.
n = MIDI channel number:0H - FH (Ch.1 - 16)
Status
F0H
Data byte
Status
vv = Vibrato Delay value (relative change):00H - 7FH (-64 - 0 - +63)
7EH, dev, 06H, 02H, 41H, 10H, 01H, 00H, F7H
00H, 00H, 00H, 00H, 00H
●Effect 1 (Reverb Send Level) (Controller number 91)
Byte
Explanation
Status
BnH
2nd byte
5BH
3rd byte
vvH
FOH
7EH
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (use the same as the device ID of Roland)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Reverb Send Level:00H - 7FH (0 - 127)
dev
06H
02H
●Effect 3 (Chorus Send Level) (Controller number 93)
41H
ID number (Roland)
Status
BnH
2nd byte
5DH
3rd byte
vvH
10H 01H
00H 00H
Device family code
Device family number code
n = MIDI channel number:0H - FH (Ch.1 - 16)
vv = Chorus Send Level:00H - 7FH (0 - 127)
00H 00H 00H 00H Software revision level
F7H EOX (End of Exclusive)
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F0H
7EH
dev
Exclusive status
●Sample Dump Standard
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (Cancel)
*
Transmitted only in Sample Dump mode.
7DH
ppH
F7H
●Dump Header
Packet number
Status
F0H
Data byte
Status
F7H
EOX (End Of Exclusive)
7EH, dev, 01H, ssH, ssH, eeH, ffH, ffH, ffH, ggH,
ggH, ggH, hhH, hhH, hhH, iiH, iiH, iiH, jjH
●Data Transmission
Byte
F0H
7EH
dev
01H
ssH
ssH
eeH
ffH
Explanation
●Data set 1DT1 (12H)
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID (Dump Header)
Status
F0H
Data byte
Status
F7H
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH,
eeH, ... ffH, sum
Sample number lower byte
Sample number upper byte
Sample format
Byte
F0H
41H
dev
Explanation
Exclusive status
Sample period lower byte
Sample period middle byte
Sample period upper byte
Sample length lower byte
Sample length middle byte
Sample length upper byte
Loop start point lower byte
Loop start point middle byte
Loop start point upper byte
Loop end point lower byte
Loop end point middle byte
Loop end point upper byte
Loop type
ID number (Roland)
ffH
Device ID (dev: 00H - 1FH, Initial value is 10H)
Model ID #1 (XV-5080)
Model ID #2 (XV-5080)
Command ID (DT1)
ffH
00H
10H
12H
aaH
bbH
sent
ccH
sent
ddH
eeH
ggH
ggH
ggH
hhH
hhH
hhH
iiH
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be
Address: lower middle byte of the starting address of the data to be
iiH
Address LSB: lower byte of the starting address of the data to be sent.
Data: the actual data to be sent. Multiple bytes of data are transmitted
iiH
jjH
in order starting from the address.
F7
EOX (End Of Exclusive)
:
:
ffH
sum
F7H
Data
Checksum
●Data Packet
Status
EOX (End Of Exclusive)
Data byte
Status
F7H
F0H
7EH, dev, 02H, kkH, aaH, ... bbH, sum
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the
Address and Size given in Section 3, "Parameter address map."
Byte
F0H
7EH
dev
02H
kkH
aaH
:
Explanation
Exclusive status
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (Data Packet)
Packet number
Data (120 byte)
:
3. Parameter address map
bbH
sum
F7H
Data
Transmission of "#" marked address is devided to some packets. For example, ABH in
hexadecimal notation will be devided to 0AH and 0BH, and is sent/ recieved in this order.
checksum
EOX (End Of Exclusive)
1. XV-5080 (Model ID: 00H 10H)
●ACK
Status
F0H
Data byte
Status
F7H
+——————————————————————————————————————————————————————————————————————————————+
7EH, dev, 7FH, ppH
| Start
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
Byte
F0H
7EH
dev
Explanation
| 00 00 00 00 | System
*1-1|
|—————————————+————————————————————————————————————————————————————————————————|
Exclusive status
| 10 00 00 00 | Temporary Performance
*1-2|
*1-3|
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1)
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2)
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (ACK)
|
|
|
|
|
:
|
| 18 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 32)
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode)
7FH
ppH
F7H
|—————————————+————————————————————————————————————————————————————————————————|
| 20 00 00 00 | User Performance (01)
| 20 01 00 00 | User Performance (02)
Packet number
*1-2|
|
|
|
EOX (End Of Exclusive)
|
:
|
| 20 3F 00 00 | User Performance (64)
|—————————————+————————————————————————————————————————————————————————————————|
| 30 00 00 00 | User Patch (001)
| 30 01 00 00 | User Patch (002)
*1-3-1|
●NAK
Status
F0H
|
|
|
|
:
|
Data byte
Status
F7H
| 30 7F 00 00 | User Patch (128)
|—————————————+————————————————————————————————————————————————————————————————|
7EH, dev, 7EH, ppH
| 40 00 00 00 | User Rhythm (001)
| 40 10 00 00 | User Rhythm (002)
| 40 20 00 00 | User Rhythm (003)
| 40 30 00 00 | User Rhythm (004)
*1-3-2|
|
|
|
Byte
F0H
7EH
dev
Explanation
+——————————————————————————————————————————————————————————————————————————————+
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
ID number (NAK)
*1-1 System
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
7EH
ppH
F7H
|—————————————+————————————————————————————————————————————————————————————————|
Packet number
|
|
|
|
|
|
00 00 00 | System Common
*1-1-1|
00 02 00 | System EQ
*1-1-2|
EOX (End Of Exclusive)
00 10 00 | System Part (Part 1)
00 11 00 | System Part (Part 2)
*1-1-3|
|
|
|
:
|
00 2F 00 | System Part (Part 32)
+——————————————————————————————————————————————————————————————————————————————+
●Cancel
Status
Data byte
Status
F7H
*1-3 Temporary Patch/ Rhythm
F0H
7EH, dev, 7DH, ppH
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
Byte
Explanation
|—————————————+————————————————————————————————————————————————————————————————|
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MIDI Im p le m e n ta tio n
|
|
00 00 00 | Temporary Patch
10 00 00 | Temporary Rhythm
*1-3-1|
*1-3-2|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 02 | 000a aaaa | EQ1 Low Gain
(0 - 30) |
-15 - +15 |
|
|
+——————————————————————————————————————————————————————————————————————————————+
00 03 | 0000 00aa | EQ1 High Frequency
(0 - 2) |
|
|
2000, 4000, 8000 [Hz]
|
00 04 | 000a aaaa | EQ1 High Gain
(0 - 30) |
*1-2 Performance
|
|
-15 - +15
|
+——————————————————————————————————————————————————————————————————————————————+
00 05 | 0000 000a | EQ2 Low Frequency
(0 - 1) |
| Offset
|
|
|
|
|
200, 400 [Hz]
|
|
Address |
Description
00 06 | 000a aaaa | EQ2 Low Gain
(0 - 30) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-15 - +15
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Performance Common
*1-2-1|
00 07 | 0000 00aa | EQ2 High Frequency
(0 - 2) |
00 02 00 | Performance Common MFX
00 04 00 | Performance Common Chorus
00 06 00 | Performance Common Reverb
00 10 00 | Performance MIDI (Channel 1)
00 11 00 | Performance MIDI (Channel 2)
*1-2-2|
|
|
2000, 4000, 8000 [Hz]
|
*1-2-3|
00 08 | 000a aaaa | EQ2 High Gain
(0 - 30) |
*1-2-4|
|
|
-15 - +15
|
*1-2-5|
00 09 | 0000 000a | EQ3 Low Frequency
(0 - 1) |
|
|
|
|
200, 400 [Hz]
|
:
|
00 0A | 000a aaaa | EQ3 Low Gain
(0 - 30) |
00 1F 00 | Performance MIDI (Channel 16)
00 20 00 | Performance Part (Part 1)
00 21 00 | Performance Part (Part 2)
*1-2-6|
|
|
-15 - +15
|
|
|
|
|
00 0B | 0000 00aa | EQ3 High Frequency
(0 - 2) |
|
|
2000, 4000, 8000 [Hz]
|
:
|
00 0C | 000a aaaa | EQ3 High Gain
(0 - 30) |
00 3F 00 | Performance Part (Part 32)
|
|
-15 - +15
|
+——————————————————————————————————————————————————————————————————————————————+
00 0D | 0000 000a | EQ4 Low Frequency
(0 - 1) |
|
|
200, 400 [Hz]
|
00 0E | 000a aaaa | EQ4 Low Gain
(0 - 30) |
*1-3-1 Patch
|
|
-15 - +15
|
+——————————————————————————————————————————————————————————————————————————————+
00 0F | 0000 00aa | EQ4 High Frequency
(0 - 2) |
| Offset
|
|
|
|
|
2000, 4000, 8000 [Hz]
|
|
Address |
Description
00 10 | 000a aaaa | EQ4 High Gain
(0 - 30) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-15 - +15
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 00 | Patch Common
00 02 00 | Patch Common MFX
*1-3-1-1|
00 11 | 0000 000a | EQ5 Low Frequency
(0 - 1) |
*1-3-1-2|
|
|
200, 400 [Hz]
|
00 04 00 | Patch Common Chorus
00 06 00 | Patch Common Reverb
00 10 00 | Patch TMT (Tone Mix Table)
00 20 00 | Patch Tone (Tone 1)
00 22 00 | Patch Tone (Tone 2)
00 24 00 | Patch Tone (Tone 3)
00 26 00 | Patch Tone (Tone 4)
00 30 00 | Patch Split Key (Key # 21)
00 30 20 | Patch Split Key (Key # 22)
*1-3-1-3|
00 12 | 000a aaaa | EQ5 Low Gain
(0 - 30) |
*1-3-1-4|
|
|
-15 - +15
|
*1-3-1-5|
00 13 | 0000 00aa | EQ5 High Frequency
(0 - 2) |
*1-3-1-6|
|
|
2000, 4000, 8000 [Hz]
|
|
00 14 | 000a aaaa | EQ5 High Gain
(0 - 30) |
|
|
|
-15 - +15
|
|
00 15 | 0000 000a | EQ6 Low Frequency
(0 - 1) |
*1-3-1-7|
|
|
200, 400 [Hz]
|
|
|
|
00 16 | 000a aaaa | EQ6 Low Gain
(0 - 30) |
:
|
|
|
-15 - +15
|
00 45 60 | Patch Split Key (Key # 108)
00 17 | 0000 00aa | EQ6 High Frequency
(0 - 2) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
2000, 4000, 8000 [Hz]
|
00 18 | 000a aaaa | EQ6 High Gain
(0 - 30) |
*1-3-2 Rhythm
|
|
-15 - +15
|
00 19 | 0000 000a | EQ7 Low Frequency
(0 - 1) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
200, 400 [Hz]
|
| Offset
|
|
|
00 1A | 000a aaaa | EQ7 Low Gain
(0 - 30) |
|
Address |
Description
|
|
-15 - +15
|
|—————————————+————————————————————————————————————————————————————————————————|
00 1B | 0000 00aa | EQ7 High Frequency
(0 - 2) |
|
|
|
|
|
|
|
|
00 00 00 | Rhythm Common
*1-3-2-1|
*1-3-2-2|
*1-3-2-3|
*1-3-2-4|
*1-3-2-5|
|
|
|
2000, 4000, 8000 [Hz]
|
00 02 00 | Rhythm Common MFX
00 04 00 | Rhythm Common Chorus
00 06 00 | Rhythm Common Reverb
00 10 00 | Rhythm Tone (Key # 21)
00 12 00 | Rhythm Tone (Key # 22)
00 1C | 000a aaaa | EQ7 High Gain
(0 - 30) |
|
|
-15 - +15
|
00 1D | 0000 000a | EQ8 Low Frequency
(0 - 1) |
|
|
200, 400 [Hz]
|
00 1E | 000a aaaa | EQ8 Low Gain
(0 - 30) |
:
|
|
|
|
|
-15 - +15
|
01 3E 00 | Rhythm Tone (Key # 108)
00 1F | 0000 00aa | EQ8 High Frequency
(0 - 2) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
2000, 4000, 8000 [Hz]
|
00 20 | 000a aaaa | EQ8 High Gain
(0 - 30) |
*1-1-1 System Common
|
|
-15 - +15
|
|—————————————+————————————————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
| 00 00 00 21 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 0aaa | Sound Mode
(0 - 4) |
*1-1-3 System Part
|
|
PERFORM, PATCH, GM1, GM2, GS
|
+——————————————————————————————————————————————————————————————————————————————+
00 01 | 0000 aaaa |
| 0000 bbbb |
|
| Offset
|
|
|
|
|
|
Address |
Description
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Scale Tune for C
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
-100.0 - 100.0 [cent]
|
|
|
|
00 05 | 00aa aaaa | Master Key Shift
(40 - 88) |
00 01 | 0aaa aaaa | Scale Tune for C#
|
|
-24 - +24
|
|
|
|
00 06 | 0aaa aaaa | Master Level
(0 - 127) |
(0 - 1) |
00 02 | 0aaa aaaa | Scale Tune for D
00 07 | 0000 000a | Scale Tune Switch
|
|
|
|
|
OFF, ON
|
00 03 | 0aaa aaaa | Scale Tune for D#
00 08 | 0000 000a | Patch Remain
(0 - 1) |
OFF, ON
(0 - 1) |
MIX, PARALLEL |
|
|
|
|
|
|
00 04 | 0aaa aaaa | Scale Tune for E
00 09 | 0000 000a | Mix/Parallel
|
|
|
|
|
00 05 | 0aaa aaaa | Scale Tune for F
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 0A | 0000 000a | MFX Switch
(0 - 1) |
00 06 | 0aaa aaaa | Scale Tune for F#
|
|
BYPASS, ON
|
|
|
|
00 0B | 0000 000a | Chorus Switch
(0 - 1) |
00 07 | 0aaa aaaa | Scale Tune for G
|
|
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
|
00 0C | 0000 000a | Reverb Switch
00 08 | 0aaa aaaa | Scale Tune for G#
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 09 | 0aaa aaaa | Scale Tune for A
|
|
|
|
|
00 0D | 000a aaaa | Performance Control Channel
(0 - 16) |
|
|
|
|
|
1 - 16, OFF
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
00 0A | 0aaa aaaa | Scale Tune for A#
00 0E | 0aaa aaaa | Performance Bank Select MSB (CC# 0)
00 0F | 0aaa aaaa | Performance Bank Select LSB (CC# 32)
00 10 | 0aaa aaaa | Performance Program Number (PC)
|
|
|
00 0B | 0aaa aaaa | Scale Tune for B
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
00 11 | 0000 aaaa | Patch Receive Channel
(0 - 15) |
1 - 16 |
(0 - 127) |
(0 - 127) |
(0 - 127) |
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
00 12 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 13 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 14 | 0aaa aaaa | Patch Program Number (PC)
*1-2-1 Performance Common
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
|
00 15 | 0000 000a | System Clock Source
(0 - 1) |
| Offset
|
|
|
|
|
INT, MIDI
|
|
|
Address |
Description
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb | System Tempo
|—————————————+————————————————————————————————————————————————————————————————|
(20 - 250) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Performance Name 1
(32 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
|
|
|
|
00 18 | 0aaa aaaa | System Control 1 Source
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
(0 - 97) |
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT
00 01 | 0aaa aaaa | Performance Name 2
(32 - 127) |
|
|
|
|
|
|
32 - 127 [ASCII]
|
|
00 02 | 0aaa aaaa | Performance Name 3
(32 - 127) |
00 19 | 0aaa aaaa | System Control 2 Source
|
|
32 - 127 [ASCII]
|
|
|
|
|
00 03 | 0aaa aaaa | Performance Name 4
(32 - 127) |
|
|
|
32 - 127 [ASCII]
|
00 1A | 0aaa aaaa | System Control 3 Source
00 04 | 0aaa aaaa | Performance Name 5
(32 - 127) |
|
|
|
|
|
|
32 - 127 [ASCII]
|
|
00 05 | 0aaa aaaa | Performance Name 6
(32 - 127) |
00 1B | 0aaa aaaa | System Control 4 Source
|
|
32 - 127 [ASCII]
|
|
|
|
|
00 06 | 0aaa aaaa | Performance Name 7
(32 - 127) |
|
|
|
32 - 127 [ASCII]
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 07 | 0aaa aaaa | Performance Name 8
(32 - 127) |
|
|
|
|
00 1C | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
|
32 - 127 [ASCII]
|
|
|
|
00 08 | 0aaa aaaa | Performance Name 9
(32 - 127) |
00 1D | 0000 000a | Receive Bank Select
|
|
32 - 127 [ASCII]
|
|
|
00 09 | 0aaa aaaa | Performance Name 10
(32 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
| 00 00 00 1E | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 0A | 0aaa aaaa | Performance Name 11
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0B | 0aaa aaaa | Performance Name 12
(32 - 127) |
*1-1-2 System EQ
|
|
32 - 127 [ASCII]
|
|—————————————+———————————+————————————————————————————————————————————————————|
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
00 0C | 00aa aaaa | Solo Part Select
(0 - 32) |
| Offset
|
|
|
|
|
OFF, 1 - 32
|
|
Address |
Description
00 0D | 000a aaaa | MFX Control Channel
(0 - 16) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
1 - 16, OFF
|
|
|
|
|
00 00 | 0000 000a | EQ Switch
(0 - 1) |
00 0E | 0000 000a | MFX Control MIDI1
(0 - 1) |
|
|
BYPASS, ON
|
|
|
OFF, ON
|
00 01 | 0000 000a | EQ1 Low Frequency
(0 - 1) |
00 0F | 0000 000a | MFX Control MIDI2
(0 - 1) |
OFF, ON |
|
|
200, 400 [Hz]
|
|
|
2 9 1
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 10 | 0aaa aaaa | Voice Reserve 1
(0 - 64) |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 11 | 0aaa aaaa | Voice Reserve 2
(0 - 64) |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 12 | 0aaa aaaa | Voice Reserve 3
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
00 13 | 0aaa aaaa | Voice Reserve 4
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
00 14 | 0aaa aaaa | Voice Reserve 5
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 15 | 0aaa aaaa | Voice Reserve 6
(0 - 64) |
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 16 | 0aaa aaaa | Voice Reserve 7
(0 - 64) |
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 17 | 0aaa aaaa | Voice Reserve 8
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
00 18 | 0aaa aaaa | Voice Reserve 9
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 19 | 0aaa aaaa | Voice Reserve 10
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 1A | 0aaa aaaa | Voice Reserve 11
(0 - 64) |
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 1B | 0aaa aaaa | Voice Reserve 12
(0 - 64) |
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 1C | 0aaa aaaa | Voice Reserve 13
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
00 1D | 0aaa aaaa | Voice Reserve 14
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
00 1E | 0aaa aaaa | Voice Reserve 15
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 1F | 0aaa aaaa | Voice Reserve 16
(0 - 64) |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 20 | 0aaa aaaa | Voice Reserve 17
(0 - 64) |
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 21 | 0aaa aaaa | Voice Reserve 18
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
00 22 | 0aaa aaaa | Voice Reserve 19
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
00 23 | 0aaa aaaa | Voice Reserve 20
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 24 | 0aaa aaaa | Voice Reserve 21
(0 - 64) |
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 25 | 0aaa aaaa | Voice Reserve 22
(0 - 64) |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 26 | 0aaa aaaa | Voice Reserve 23
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
00 27 | 0aaa aaaa | Voice Reserve 24
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
00 28 | 0aaa aaaa | Voice Reserve 25
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 29 | 0aaa aaaa | Voice Reserve 26
(0 - 64) |
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 2A | 0aaa aaaa | Voice Reserve 27
(0 - 64) |
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
00 2B | 0aaa aaaa | Voice Reserve 28
(0 - 64) |
|
| 0000 cccc |
|
|
0 - 63, FULL
|
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
00 2C | 0aaa aaaa | Voice Reserve 29
(0 - 64) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
0 - 63, FULL
|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
00 2D | 0aaa aaaa | Voice Reserve 30
(0 - 64) |
|
|
0 - 63, FULL
|
|
| 0000 cccc |
00 2E | 0aaa aaaa | Voice Reserve 31
(0 - 64) |
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
|
|
0 - 63, FULL
|
|
|
|
-20000 - +20000
|
|
|
|
00 2F | 0aaa aaaa | Voice Reserve 32
(0 - 64) |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|
|
0 - 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
00 30 | 00aa aaaa | MFX1 Source
(0 - 32) |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
|
|
PERFORM, 1 - 32
|
|
|
|
-20000 - +20000
|
|
|
|
00 31 | 00aa aaaa | MFX2 Source
(0 - 32) |
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
|
PERFORM, 1 - 32
|
00 32 | 00aa aaaa | MFX3 Source
(0 - 32) |
|
| 0000 cccc |
|
|
PERFORM, 1 - 32
|
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
00 33 | 00aa aaaa | Chorus Source
(0 - 32) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
PERFORM, 1 - 32
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
00 34 | 00aa aaaa | Reverb Source
(0 - 32) |
|
|
PERFORM, 1 - 32
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
| 00 00 00 35 | Total Size
|
|
|
|
-20000 - +20000
|
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-2-2 Performance Common MFX
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
-20000 - +20000
|
|
|
|
| Offset
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
A, B, C, D
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
-63 - +63 |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
| 0000 cccc |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
|
|
OFF, 1 - 16
|
|
|
|
-20000 - +20000
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 - 16
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
|
2 9 2
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
*1-2-3 Performance Common Chorus
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
| Offset
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|
Address |
Description
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
(0 - 127) |
(0 - 3) |
|
| 0000 cccc |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
A, B, C, D
(0 - 2) |
MAIN, REV, MAIN+REV |
|
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
00 03 | 0000 00aa | Chorus Output Select
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
*1-2-5 Performance MIDI
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
| Offset
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|
Address |
Description
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 000a | Receive Program Change
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
00 01 | 0000 000a | Receive Bank Select
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
00 02 | 0000 000a | Receive Bender
|
|
|
|
| 0000 cccc |
00 03 | 0000 000a | Receive Polyphonic Key Pressure
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 04 | 0000 000a | Receive Channel Pressure
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 05 | 0000 000a | Receive Modulation
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000
00 06 | 0000 000a | Receive Volume
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 07 | 0000 000a | Receive Pan
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 08 | 0000 000a | Receive Expression
|
|
|
00 09 | 0000 000a | Receive Hold-1
*1-2-4 Performance Common Reverb
|
|
|
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
| Offset
|
|
|
|
|
|
|
00 0A | 0000 000a | Phase Lock
(0 - 1) |
OFF, ON
(0 - 4) |
OFF, 1 - 4 |
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 0B | 0000 0aaa | Velocity Curve Type
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
|
|
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
A, B, C, D
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
*1-2-6 Performance Part
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
| Offset
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|
Address |
Description
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Receive Channel
(0 - 15) |
1 - 16
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
00 01 | 0000 000a | Receive Switch
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
00 02 | 0000 000a | Receive MIDI1
|
|
|
|
| 0000 cccc |
00 03 | 0000 000a | Receive MIDI2
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 06 | 0aaa aaaa | Patch Program Number (PC)
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | Part Level (CC# 7)
00 08 | 0aaa aaaa | Part Pan (CC# 10)
(0 - 127) |
(0 - 127) |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
L64 - 63R
|
|
| 0000 cccc |
00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2)
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50 |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1)
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
|
00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON)
(0 - 2) |
|
| 0000 cccc |
|
|
MONO, POLY, PATCH
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
00 0C | 0000 00aa | Part Legato Switch (CC# 68)
(0 - 2) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
OFF, ON, PATCH
|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0)
(0 - 25) |
|
|
0 - 24, PATCH
|
|
| 0000 cccc |
00 0E | 0000 00aa | Part Portamento Switch (CC# 65)
(0 - 2) |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
OFF, ON, PATCH
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 0F | 0000 aaaa |
| 0000 bbbb | Part Portamento Time (CC# 5)
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
(0 - 128) |
|
|
0 - 127, PATCH
|
|
| 0000 cccc |
00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74)
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
-64 - +63
|
|
|
|
-20000 - +20000
|
|
|
00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71)
(0 - 127) |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
-64 - +63
|
00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73)
(0 - 127) |
2 9 3
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
|
|
|
-64 - +63
(0 - 127) |
-64 - +63 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
DRY, CHO, REV, PIT-LFO1, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72)
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
00 15 | 0aaa aaaa | Part Octave Shift
(61 - 67) |
-3 - +3
(1 - 127) |
-63 - +63
|
|
|
00 16 | 0aaa aaaa | Part Velocity Sens Offset
|
|
|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 17 | 0aaa aaaa | Keyboard Range Lower
(0 - 127) |
00 2F | 0aaa aaaa | Matrix Control 1 Sens 2
(1 - 127) |
|
|
C-1 - UPPER
|
|
|
-63 - +63
|
00 18 | 0aaa aaaa | Keyboard Range Upper
(0 - 127) |
00 30 | 00aa aaaa | Matrix Control 1 Destination 3
(0 - 33) |
|
|
LOWER - G9
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
00 19 | 0aaa aaaa | Keyboard Fade Width Lower
00 1A | 0aaa aaaa | Keyboard Fade Width Upper
00 1B | 0000 000a | Mute Switch
(0 - 127) |
(0 - 127) |
(0 - 1) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
OFF, MUTE
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 1C | 0aaa aaaa | Part Dry Send Level
(0 - 127) |
(0 - 127) |
00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93)
00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91)
00 1F | 0000 aaaa | Part Output Assign
(0 - 127) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
(0 - 13) |
00 31 | 0aaa aaaa | Matrix Control 1 Sens 3
(1 - 127) |
|
|
|
|
MFX, A, B, C, D, |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
1, 2, 3, 4, 5, 6, 7, 8, PATCH
|
00 32 | 00aa aaaa | Matrix Control 1 Destination 4
00 20 | 0000 00aa | Part Output MFX Select
(0 - 2) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
MFX1, MFX2, MFX3
|
|—————————————+————————————————————————————————————————————————————————————————|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
| 00 00 00 21 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
*1-3-1-1 Patch Common
+——————————————————————————————————————————————————————————————————————————————+
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
| Offset
|
|
|
00 33 | 0aaa aaaa | Matrix Control 1 Sens 4
(1 - 127) |
|
Address |
Description
|
|
-63 - +63
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Patch Name 1
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
00 01 | 0aaa aaaa | Patch Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 02 | 0aaa aaaa | Patch Name 3
(32 - 127) |
PIT-ENV, TVF-ENV, TVA-ENV
|
|
|
32 - 127 [ASCII]
|
00 35 | 00aa aaaa | Matrix Control 2 Destination 1
(0 - 33) |
00 03 | 0aaa aaaa | Patch Name 4
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
32 - 127 [ASCII]
|
00 04 | 0aaa aaaa | Patch Name 5
(32 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
32 - 127 [ASCII]
|
00 05 | 0aaa aaaa | Patch Name 6
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 06 | 0aaa aaaa | Patch Name 7
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 07 | 0aaa aaaa | Patch Name 8
(32 - 127) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
32 - 127 [ASCII]
|
00 36 | 0aaa aaaa | Matrix Control 2 Sens 1
(1 - 127) |
00 08 | 0aaa aaaa | Patch Name 9
(32 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
32 - 127 [ASCII]
|
00 37 | 00aa aaaa | Matrix Control 2 Destination 2
00 09 | 0aaa aaaa | Patch Name 10
(32 - 127) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
00 0A | 0aaa aaaa | Patch Name 11
(32 - 127) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
|
32 - 127 [ASCII]
|
00 0B | 0aaa aaaa | Patch Name 12
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 0C | 0aaa aaaa | Patch Category
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 0D | 0000 000a | Tone Type
(0 - 1) |
4TONES, MULTI-PARTIAL |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
|
00 38 | 0aaa aaaa | Matrix Control 2 Sens 2
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
00 0E | 0aaa aaaa | Patch Level
00 0F | 0aaa aaaa | Patch Pan
(0 - 127) |
(0 - 127) |
00 39 | 00aa aaaa | Matrix Control 2 Destination 3
|
|
|
|
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L64 - 63R
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00 10 | 0000 000a | Patch Priority
(0 - 1) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
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LAST, LOUDEST
|
00 11 | 0aaa aaaa | Patch Coarse Tune
(16 - 112) |
|
|
-48 - +48
|
00 12 | 0aaa aaaa | Patch Fine Tune
(14 - 114) |
-50 - +50
(61 - 67) |
-3 - +3
(0 - 3) |
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00 13 | 0000 0aaa | Octave Shift
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
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00 3A | 0aaa aaaa | Matrix Control 2 Sens 3
(1 - 127) |
00 14 | 0000 00aa | Stretch Tune Depth
|
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-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
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OFF, 1 - 3
|
(0 - 127) |
(0 - 1) |
00 3B | 00aa aaaa | Matrix Control 2 Destination 4
00 15 | 0aaa aaaa | Analog Feel
00 16 | 0000 000a | Mono/Poly
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MONO, POLY
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
00 17 | 0000 000a | Legato Switch
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00 18 | 0000 000a | Legato Retrigger
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00 19 | 0000 000a | Portamento Switch
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TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 1A | 0000 000a | Portamento Mode
(0 - 1) |
00 3C | 0aaa aaaa | Matrix Control 2 Sens 4
(1 - 127) |
|
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NORMAL, LEGATO
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-63 - +63
|
00 1B | 0000 000a | Portamento Type
(0 - 1) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) |
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RATE, TIME
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00 1C | 0000 000a | Portamento Start
(0 - 1) |
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OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
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PITCH, NOTE
|
(0 - 127) |
(0 - 1) |
00 1D | 0aaa aaaa | Portamento Time
00 1E | 0000 000a | Patch Clock Source
PIT-ENV, TVF-ENV, TVA-ENV
|
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|
PATCH, SYSTEM
|
|
00 3E | 00aa aaaa | Matrix Control 3 Destination 1
(0 - 33) |
00 1F | 0000 aaaa |
| 0000 bbbb | Patch Tempo
00 21 | 0000 000a | One Shot Mode
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
(20 - 250) |
(0 - 1) |
OFF, ON
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
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|—————————————+———————————+————————————————————————————————————————————————————|
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00 22 | 0aaa aaaa | Cutoff Offset
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
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|
00 23 | 0aaa aaaa | Resonance Offset
|
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TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 24 | 0aaa aaaa | Attack Time Offset
00 3F | 0aaa aaaa | Matrix Control 3 Sens 1
(1 - 127) |
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-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 25 | 0aaa aaaa | Release Time Offset
00 40 | 00aa aaaa | Matrix Control 3 Destination 2
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00 26 | 0aaa aaaa | Velocity Sens Offset
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PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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00 27 | 0000 aaaa | Patch Output Assign
(0 - 13) |
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MFX, A, B, C, D, |
1, 2, 3, 4, 5, 6, 7, 8, TONE
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
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|
00 28 | 0000 000a | TMT Control Switch
(0 - 1) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
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OFF, ON
|
00 41 | 0aaa aaaa | Matrix Control 3 Sens 2
(1 - 127) |
00 29 | 00aa aaaa | Pitch Bend Range Up
00 2A | 00aa aaaa | Pitch Bend Range Down
(0 - 48) |
(0 - 48) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 42 | 00aa aaaa | Matrix Control 3 Destination 3
|—————————————+———————————+————————————————————————————————————————————————————|
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00 2B | 0aaa aaaa | Matrix Control 1 Source
(0 - 109) |
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OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
PIT-ENV, TVF-ENV, TVA-ENV
|
00 2C | 00aa aaaa | Matrix Control 1 Destination 1
(0 - 33) |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
00 43 | 0aaa aaaa | Matrix Control 3 Sens 3
(1 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 44 | 00aa aaaa | Matrix Control 3 Destination 4
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PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 2D | 0aaa aaaa | Matrix Control 1 Sens 1
(1 - 127) |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
|
00 2E | 00aa aaaa | Matrix Control 1 Destination 2
|
|
2 9 4
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
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TVA-ATK, TVA-DCY, TVA-REL, |
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
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|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 45 | 0aaa aaaa | Matrix Control 3 Sens 4
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
|
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| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) |
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-20000 - +20000
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|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
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OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4, VELOCITY, |
KEYFOLLOW, TEMPO, LFO1, LFO2, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
PIT-ENV, TVF-ENV, TVA-ENV
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-20000 - +20000
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00 47 | 00aa aaaa | Matrix Control 4 Destination 1
(0 - 33) |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
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OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
| 0000 cccc |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
|
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|
-20000 - +20000
|
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|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
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-20000 - +20000
|
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|
00 48 | 0aaa aaaa | Matrix Control 4 Sens 1
(1 - 127) |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
00 49 | 00aa aaaa | Matrix Control 4 Destination 2
|
| 0000 cccc |
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| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
|
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-20000 - +20000
|
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|
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
|
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|
-20000 - +20000
|
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|
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
00 4A | 0aaa aaaa | Matrix Control 4 Sens 2
(1 - 127) |
|
| 0000 cccc |
|
|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
00 4B | 00aa aaaa | Matrix Control 4 Destination 3
|
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-20000 - +20000
|
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|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
|
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|
-20000 - +20000
|
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|
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
00 4C | 0aaa aaaa | Matrix Control 4 Sens 3
(1 - 127) |
|
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|
-20000 - +20000
|
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|
-63 - +63
(0 - 33) |
OFF, PCH, CUT, RES, LEV, PAN, |
DRY, CHO, REV, PIT-LFO1, |
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
00 4D | 00aa aaaa | Matrix Control 4 Destination 4
|
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|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
PIT-LFO2, TVF-LFO1, TVF-LFO2, |
TVA-LFO1, TVA-LFO2, PAN-LFO1, |
PAN-LFO2, LFO1-RATE, LFO2-RATE, |
PIT-ATK, PIT-DCY, PIT-REL, |
TVF-ATK, TVF-DCY, TVF-REL, |
TVA-ATK, TVA-DCY, TVA-REL, |
|
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|
-20000 - +20000
|
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|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
|
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|
-20000 - +20000
|
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|
TMT, FXM, MFX1, MFX2, MFX3, MFX4
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
00 4E | 0aaa aaaa | Matrix Control 4 Sens 4
(1 - 127) |
|
|
-63 - +63
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
| 00 00 00 4F | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
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|
-20000 - +20000
|
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|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-3-1-2 Patch Common MFX
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
+——————————————————————————————————————————————————————————————————————————————+
|
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|
-20000 - +20000
|
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|
| Offset
|
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|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
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|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
|
|
-20000 - +20000
|
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|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
A, B, C, D
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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-20000 - +20000
|
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00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
OFF, CC01 - CC31, CC33 - CC95, |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
|
|
-63 - +63
(0 - 101) |
|
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|
|
-20000 - +20000
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
|
|
-63 - +63
|
|
|
|
-20000 - +20000
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
-63 - +63 |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
| 0000 cccc |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
|
|
|
OFF, 1 - 16
|
|
|
|
-20000 - +20000
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 - 16
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
| 0000 cccc |
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
*1-3-1-3 Patch Common Chorus
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
(0 - 127) |
(0 - 3) |
|
| 0000 cccc |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
A, B, C, D
|
2 9 5
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MIDI Im p le m e n ta tio n
|
|
00 03 | 0000 00aa | Chorus Output Select
(0 - 2) |
MAIN, REV, MAIN+REV
|
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 17
(12768 - 52768) |
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
| 0000 cccc |
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
*1-3-1-5 Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| Offset
|
|
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
-20000 - +20000
|
Address |
Description
|
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
00 00 | 0000 aaaa | Structure Type 1 & 2
(0 - 9) |
1 - 10 |
|
|
|
| 0000 cccc |
00 01 | 0000 00aa | Booster 1 & 2
(0 - 3) |
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
-20000 - +20000
|
|
0, +6, +12, +18 [dB]
|
|
|
|
|
|
|
|
00 02 | 0000 aaaa | Structure Type 3 & 4
(0 - 9) |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
|
1 - 10
|
00 03 | 0000 00aa | Booster 3 & 4
(0 - 3) |
0, +6, +12, +18 [dB] |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 04 | 0000 00aa | TMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM |
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0000 000a | TMT1 Tone Switch
(0 - 1) |
OFF, ON |
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000 |
|
|
|
|
|
00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower
(0 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
C-1 - UPPER
|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper
(0 - 127) |
|
|
LOWER - G9
|
00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower
00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper
00 0A | 0aaa aaaa | TMT1 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
*1-3-1-4 Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
1 - UPPER
|
|
Address |
Description
00 0B | 0aaa aaaa | TMT1 Velocity Range Upper
(1 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower
00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
A, B, C, D
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0000 000a | TMT2 Tone Switch
(0 - 1) |
OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower
(0 - 127) |
|
|
C-1 - UPPER
|
|
| 0000 cccc |
00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
LOWER - G9
|
|
|
|
-20000 - +20000
|
|
|
|
00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower
00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper
00 13 | 0aaa aaaa | TMT2 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
1 - UPPER
|
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
-20000 - +20000
00 14 | 0aaa aaaa | TMT2 Velocity Range Upper
(1 - 127) |
|
|
|
|
|
|
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower
00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 000a | TMT3 Tone Switch
(0 - 1) |
OFF, ON |
|
|
|
|
|
|
|
|
|
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower
(0 - 127) |
|
|
C-1 - UPPER
|
|
| 0000 cccc |
00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
LOWER - G9
|
|
|
|
|
|
|
|
00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower
00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper
00 1C | 0aaa aaaa | TMT3 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
1 - UPPER
|
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
-20000 - +20000
00 1D | 0aaa aaaa | TMT3 Velocity Range Upper
(1 - 127) |
|
|
|
|
|
|
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower
00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 20 | 0000 000a | TMT4 Tone Switch
(0 - 1) |
OFF, ON |
|
|
|
|
|
|
|
|
|
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower
(0 - 127) |
|
|
C-1 - UPPER
|
|
| 0000 cccc |
00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
LOWER - G9
|
|
|
|
|
|
|
|
00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower
00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper
00 25 | 0aaa aaaa | TMT4 Velocity Range Lower
(0 - 127) |
(0 - 127) |
(1 - 127) |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
1 - UPPER
|
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
-20000 - +20000
00 26 | 0aaa aaaa | TMT4 Velocity Range Upper
(1 - 127) |
|
|
|
|
|
|
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower
00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
-20000 - +20000
| 00 00 00 29 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
*1-3-1-6 Patch Tone
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
-20000 - +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Level
(0 - 127) |
(16 - 112) |
|
| 0000 cccc |
00 01 | 0aaa aaaa | Tone Coarse Tune
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
-20000 - +20000
|
|
-48 - +48
|
|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Tone Fine Tune
(14 - 114) |
-50 - +50
(0 - 30) |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 03 | 000a aaaa | Tone Random Pitch Depth
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 12
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
|
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|#
00 33 | 0000 aaaa |
2 9 6
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MIDI Im p le m e n ta tio n
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
|
|
|
|
600, 700, 800, 900, 1000, 1100, |
1200
(0 - 127) |
L64 - 63R
(54 - 74) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
-63 - +63
|
|
00 4F | 0aaa aaaa | TVF Env Depth
(1 - 127) |
00 04 | 0aaa aaaa | Tone Pan
|
|
-63 - +63
|
|
|
|
00 50 | 0000 0aaa | TVF Env Velocity Curve
(0 - 7) |
00 05 | 000a aaaa | Tone Pan Keyfollow
|
|
FIXED, 1 - 7
|
|
|
-100 - +100
|
(0 - 63) |
(1 - 127) |
00 51 | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
00 06 | 00aa aaaa | Tone Random Pan Depth
00 07 | 0aaa aaaa | Tone Alternate Pan Depth
|
|
-63 - +63
|
00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
L63 - 63R
|
|
|
|
00 08 | 0000 000a | Tone Env Mode
(0 - 1) |
00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens
|
|
NO-SUS, SUSTAIN
|
|
|
|
00 09 | 0000 00aa | Tone Delay Mode
(0 - 3) |
00 54 | 000a aaaa | TVF Env Time Keyfollow
|
|
|
|
NORMAL, HOLD, KEY-OFF-NORMAL, |
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
KEY-OFF-DECAY
|
|
00 55 | 0aaa aaaa | TVF Env Time 1
00 56 | 0aaa aaaa | TVF Env Time 2
00 57 | 0aaa aaaa | TVF Env Time 3
00 58 | 0aaa aaaa | TVF Env Time 4
00 59 | 0aaa aaaa | TVF Env Level 0
00 5A | 0aaa aaaa | TVF Env Level 1
00 5B | 0aaa aaaa | TVF Env Level 2
00 5C | 0aaa aaaa | TVF Env Level 3
00 5D | 0aaa aaaa | TVF Env Level 4
00 0A | 0000 aaaa |
| 0000 bbbb | Tone Delay Time
(0 - 149) |
0 - 127, MUSICAL-NOTES
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
(0 - 127) |
00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX)
00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX)
00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 11 | 0000 aaaa | Tone Output Assign
(0 - 127) |
(0 - 127) |
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
(0 - 12) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5E | 000a aaaa | Bias Level
(54 - 74) |
|
|
|
|
MFX, A, B, C, D, |
|
|
-100 - +100
|
1, 2, 3, 4, 5, 6, 7, 8
|
00 5F | 0aaa aaaa | Bias Position
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
C-1 - G9
|
|
|
|
|
|
|
|
|
|
|
00 12 | 0000 000a | Tone Receive Bender
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
00 60 | 0000 00aa | Bias Direction
(0 - 3) |
|
|
|
|
|
LOWER, UPPER, LOWER&UPPER, ALL
|
00 13 | 0000 000a | Tone Receive Expression
00 61 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
|
|
|
FIXED, 1 - 7
|
00 14 | 0000 000a | Tone Receive Hold-1
00 62 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
|
00 15 | 0000 000a | Tone Receive Pan Mode
(0 - 1) |
00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
|
|
CONTINUOUS, KEY-ON
|
|
|
|
00 16 | 0000 000a | Tone Redamper Switch
(0 - 1) |
00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
|
|
OFF, ON
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 65 | 000a aaaa | TVA Env Time Keyfollow
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 17 | 0000 00aa | Tone Control 1 Switch 1
(0 - 2) |
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
OFF, ON, REVERSE
|
00 66 | 0aaa aaaa | TVA Env Time 1
00 67 | 0aaa aaaa | TVA Env Time 2
00 68 | 0aaa aaaa | TVA Env Time 3
00 69 | 0aaa aaaa | TVA Env Time 4
00 6A | 0aaa aaaa | TVA Env Level 1
00 6B | 0aaa aaaa | TVA Env Level 2
00 6C | 0aaa aaaa | TVA Env Level 3
00 18 | 0000 00aa | Tone Control 1 Switch 2
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 19 | 0000 00aa | Tone Control 1 Switch 3
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 1A | 0000 00aa | Tone Control 1 Switch 4
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 1B | 0000 00aa | Tone Control 2 Switch 1
(0 - 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, ON, REVERSE
|
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 6D | 0000 aaaa | LFO1 Wave Form
(0 - 10) |
00 1C | 0000 00aa | Tone Control 2 Switch 2
(0 - 2) |
|
|
|
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
|
OFF, ON, REVERSE
|
RND, BEND-UP, BEND-DW, TRP, S&H
CHS
|
|
|
00 1D | 0000 00aa | Tone Control 2 Switch 3
(0 - 2) |
|
|
OFF, ON, REVERSE
|
00 6E | 0000 aaaa |
| 0000 bbbb | LFO1 Rate
00 1E | 0000 00aa | Tone Control 2 Switch 4
(0 - 2) |
(0 - 149) |
|
|
OFF, ON, REVERSE
|
|
|
0 - 127, MUSICAL-NOTES
|
00 1F | 0000 00aa | Tone Control 3 Switch 1
(0 - 2) |
00 70 | 0000 0aaa | LFO1 Offset
(0 - 4) |
|
|
OFF, ON, REVERSE
|
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
00 20 | 0000 00aa | Tone Control 3 Switch 2
(0 - 2) |
00 71 | 0aaa aaaa | LFO1 Rate Detune
00 72 | 0aaa aaaa | LFO1 Delay Time
|
|
OFF, ON, REVERSE
|
00 21 | 0000 00aa | Tone Control 3 Switch 3
(0 - 2) |
00 73 | 000a aaaa | LFO1 Delay Time Keyfollow
|
|
OFF, ON, REVERSE
|
|
|
-100 - +100
|
00 22 | 0000 00aa | Tone Control 3 Switch 4
(0 - 2) |
00 74 | 0000 00aa | LFO1 Fade Mode
(0 - 3) |
|
|
OFF, ON, REVERSE
|
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
00 23 | 0000 00aa | Tone Control 4 Switch 1
(0 - 2) |
00 75 | 0aaa aaaa | LFO1 Fade Time
00 76 | 0000 000a | LFO1 Key Trigger
|
|
OFF, ON, REVERSE
|
00 24 | 0000 00aa | Tone Control 4 Switch 2
(0 - 2) |
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
|
OFF, ON, REVERSE
|
00 77 | 0aaa aaaa | LFO1 Pitch Depth
00 25 | 0000 00aa | Tone Control 4 Switch 3
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 78 | 0aaa aaaa | LFO1 TVF Depth
00 26 | 0000 00aa | Tone Control 4 Switch 4
(0 - 2) |
|
|
|
|
|
OFF, ON, REVERSE
|
00 79 | 0aaa aaaa | LFO1 TVA Depth
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 27 | 0000 00aa | Wave Group Type
(0 - 3) |
INT-WAVE, SRJV80-EXP, SRX-EXP, |
00 7A | 0aaa aaaa | LFO1 Pan Depth
|
|
|
|
|
|
|
|
|
SAMPLE
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 7B | 0000 aaaa | LFO2 Wave Form
(0 - 10) |
|
|
|
|
|
|
SIN, TRI, SAW-UP, SAW-DW, SQR, |
|
| 0000 cccc |
RND, BEND-UP, BEND-DW, TRP, S&H
CHS
|
|
|
|
| 0000 dddd | Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
00 7C | 0000 aaaa |
| 0000 bbbb | LFO2 Rate
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
(0 - 149) |
|
|
0 - 127, MUSICAL-NOTES
|
|
| 0000 cccc |
00 7E | 0000 0aaa | LFO2 Offset
(0 - 4) |
|
| 0000 dddd | Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
-100, -50, 0, +50, +100
|
(0 - 127) |
(0 - 127) |
(54 - 74) |
|
|
|
|
|
|
|
00 7F | 0aaa aaaa | LFO2 Rate Detune
01 00 | 0aaa aaaa | LFO2 Delay Time
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
01 01 | 000a aaaa | LFO2 Delay Time Keyfollow
|
| 0000 cccc |
|
|
-100 - +100
|
|
| 0000 dddd | Wave Number R
(0 - 16384) |
OFF, 1 - 16384
01 02 | 0000 00aa | LFO2 Fade Mode
(0 - 3) |
|
|
|
|
|
|
ON-IN, ON-OUT, OFF-IN, OFF-OUT
|
(0 - 127) |
(0 - 1) |
|
00 34 | 0000 00aa | Wave Gain
(0 - 3) |
01 03 | 0aaa aaaa | LFO2 Fade Time
01 04 | 0000 000a | LFO2 Key Trigger
|
|
|
-6, 0, +6, +12 [dB]
|
|
00 35 | 0000 000a | Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
OFF, ON
|
01 05 | 0aaa aaaa | LFO2 Pitch Depth
|
00 36 | 0000 00aa | Wave FXM Color
(0 - 3) |
|
|
|
|
|
|
1 - 4
|
01 06 | 0aaa aaaa | LFO2 TVF Depth
|
00 37 | 000a aaaa | Wave FXM Depth
00 38 | 0000 000a | Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
|
|
01 07 | 0aaa aaaa | LFO2 TVA Depth
|
|
|
OFF, ON
|
|
|
|
|
00 39 | 00aa aaaa | Wave Pitch Keyfollow
(44 - 84) |
-200 - +200
01 08 | 0aaa aaaa | LFO2 Pan Depth
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3A | 000a aaaa | Pitch Env Depth
(52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(54 - 74) |
| 00 00 01 09 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 3B | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
*1-3-1-7 Patch Split Key
00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 3E | 000a aaaa | Pitch Env Time Keyfollow
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
-100 - +100
|
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
00 3F | 0aaa aaaa | Pitch Env Time 1
00 40 | 0aaa aaaa | Pitch Env Time 2
00 41 | 0aaa aaaa | Pitch Env Time 3
00 42 | 0aaa aaaa | Pitch Env Time 4
00 43 | 0aaa aaaa | Pitch Env Level 0
|
| 0000 cccc |
|
| 0000 dddd | Partial Number
(0 - 4096) |
|
|
|
OFF, 1 - 4096
|
|
00 04 | 0000 000a | Assign Type
(0 - 1) |
|
|
|
MULTI, SINGLE
|
|
|
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
|
|
00 05 | 000a aaaa | Mute Group
(0 - 31) |
00 44 | 0aaa aaaa | Pitch Env Level 1
|
|
|
OFF, 1 - 31
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 45 | 0aaa aaaa | Pitch Env Level 2
|
|
|
|
|
|
|
|
00 06 | 0aaa aaaa | Split Dry Send Level
(0 - 127) |
(0 - 127) |
|
|
|
00 07 | 0aaa aaaa | Split Chorus Send Level (MFX)
00 08 | 0aaa aaaa | Split Reverb Send Level (MFX)
00 09 | 0aaa aaaa | Split Chorus Send Level (non MFX)
00 0A | 0aaa aaaa | Split Reverb Send Level (non MFX)
00 0B | 0000 aaaa | Split Output Assign
00 46 | 0aaa aaaa | Pitch Env Level 3
(0 - 127) |
|
|
|
(0 - 127) |
00 47 | 0aaa aaaa | Pitch Env Level 4
(0 - 127) |
|
|
|
(0 - 12) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
MFX, A, B, C, D, |
|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0000 0aaa | TVF Filter Type
(0 - 6) |
1, 2, 3, 4, 5, 6, 7, 8
|
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|—————————————+————————————————————————————————————————————————————————————————|
LPF3
|
| 00 00 00 0C | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 49 | 0aaa aaaa | TVF Cutoff Frequency
00 4A | 00aa aaaa | TVF Cutoff Keyfollow
(0 - 127) |
(44 - 84) |
|
|
-200 - +200
|
00 4B | 0000 0aaa | TVF Cutoff Velocity Curve
(0 - 7) |
*1-3-2-1 Rhythm Common
|
|
FIXED, 1 - 7
|
+——————————————————————————————————————————————————————————————————————————————+
| Offset
00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
|
|
|
|
|
-63 - +63
|
|
Address |
Description
00 4D | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
00 4E | 0aaa aaaa | TVF Resonance Velocity Sens
|
00 00 | 0aaa aaaa | Rhythm Name 1
(32 - 127) |
2 9 7
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
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|
|
|
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|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | MFX Parameter 12
(12768 - 52768) |
00 01 | 0aaa aaaa | Rhythm Name 2
(32 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
00 02 | 0aaa aaaa | Rhythm Name 3
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 03 | 0aaa aaaa | Rhythm Name 4
(32 - 127) |
|
| 0000 dddd | MFX Parameter 13
(12768 - 52768) |
|
|
32 - 127 [ASCII]
|
|
|
|
-20000 - +20000
|
|
|
|
00 04 | 0aaa aaaa | Rhythm Name 5
(32 - 127) |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 05 | 0aaa aaaa | Rhythm Name 6
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | MFX Parameter 14
(12768 - 52768) |
-20000 - +20000
00 06 | 0aaa aaaa | Rhythm Name 7
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
00 07 | 0aaa aaaa | Rhythm Name 8
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 08 | 0aaa aaaa | Rhythm Name 9
(32 - 127) |
|
| 0000 dddd | MFX Parameter 15
(12768 - 52768) |
-20000 - +20000
|
|
32 - 127 [ASCII]
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | Rhythm Name 10
(32 - 127) |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 0A | 0aaa aaaa | Rhythm Name 11
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | MFX Parameter 16
(12768 - 52768) |
-20000 - +20000
00 0B | 0aaa aaaa | Rhythm Name 12
(32 - 127) |
|
|
|
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
00 0C | 0aaa aaaa | Rhythm Level
(0 - 127) |
(0 - 1) |
RHYTHM, SYSTEM
|
| 0000 cccc |
|
00 0D | 0000 000a | Rhythm Clock Source
|
| 0000 dddd | MFX Parameter 17
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb | Rhythm Tempo
00 10 | 0000 000a | One Shot Mode
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
(20 - 250) |
(0 - 1) |
OFF, ON
|
|
| 0000 cccc |
|
|
|
|
|
| 0000 dddd | MFX Parameter 18
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
00 11 | 0000 aaaa | Rhythm Output Assign
(0 - 13) |
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
MFX, A, B, C, D, |
1, 2, 3, 4, 5, 6, 7, 8, TONE
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 19
(12768 - 52768) |
-20000 - +20000
| 00 00 00 12 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
*1-3-2-2 Rhythm Common MFX
|
| 0000 dddd | MFX Parameter 20
(12768 - 52768) |
-20000 - +20000
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
| Offset
|
|
|
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 3) |
|
| 0000 dddd | MFX Parameter 21
(12768 - 52768) |
-20000 - +20000
00 01 | 0aaa aaaa | MFX Dry Send Level
00 02 | 0aaa aaaa | MFX Chorus Send Level
00 03 | 0aaa aaaa | MFX Reverb Send Level
00 04 | 0000 00aa | MFX Output Assign
|
|
|
|
|
|
|
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
A, B, C, D
|
|
| 0000 dddd | MFX Parameter 22
(12768 - 52768) |
-20000 - +20000
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 05 | 0aaa aaaa | MFX Control 1 Source
(0 - 101) |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 06 | 0aaa aaaa | MFX Control 1 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 23
(12768 - 52768) |
-20000 - +20000
|
|
-63 - +63
|
|
|
|
|
|
|
|
00 07 | 0aaa aaaa | MFX Control 2 Source
(0 - 101) |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 08 | 0aaa aaaa | MFX Control 2 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 24
(12768 - 52768) |
-20000 - +20000
|
|
-63 - +63
|
|
|
|
|
|
|
|
00 09 | 0aaa aaaa | MFX Control 3 Source
(0 - 101) |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0A | 0aaa aaaa | MFX Control 3 Sens
(1 - 127) |
|
| 0000 dddd | MFX Parameter 25
(12768 - 52768) |
-20000 - +20000
|
|
-63 - +63
|
|
|
|
|
|
|
|
00 0B | 0aaa aaaa | MFX Control 4 Source
(0 - 101) |
|#
|
00 75 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
OFF, CC01 - CC31, CC33 - CC95, |
BEND, AFT, SYS1 - SYS4
|
|
| 0000 cccc |
00 0C | 0aaa aaaa | MFX Control 4 Sens
(1 - 127) |
-63 - +63 |
|
| 0000 dddd | MFX Parameter 26
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
00 0D | 000a aaaa | MFX Control Assign 1
(0 - 16) |
|
|
|
OFF, 1 - 16
|
|
| 0000 cccc |
|
00 0E | 000a aaaa | MFX Control Assign 2
(0 - 16) |
|
| 0000 dddd | MFX Parameter 27
(12768 - 52768) |
-20000 - +20000
|
|
|
OFF, 1 - 16
|
|
|
|
|
|
|
|
|
00 0F | 000a aaaa | MFX Control Assign 3
(0 - 16) |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
|
|
OFF, 1 - 16
|
|
00 10 | 000a aaaa | MFX Control Assign 4
(0 - 16) |
|
| 0000 cccc |
|
|
|
OFF, 1 - 16
|
|
| 0000 dddd | MFX Parameter 28
(12768 - 52768) |
-20000 - +20000
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 1
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 29
(12768 - 52768) |
-20000 - +20000
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
01 05 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 2
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 30
(12768 - 52768) |
-20000 - +20000
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
01 09 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 3
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 31
(12768 - 52768) |
-20000 - +20000
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
01 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 4
(12768 - 52768) |
-20000 - +20000
|
|
| 0000 cccc |
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 32
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 01 11 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | MFX Parameter 5
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
*1-3-2-3 Rhythm Common Chorus
|
| 0000 cccc |
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 dddd | MFX Parameter 6
(12768 - 52768) |
-20000 - +20000
| Offset
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 - 2) |
(0 - 127) |
(0 - 3) |
|
| 0000 cccc |
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Assign
|
| 0000 dddd | MFX Parameter 7
(12768 - 52768) |
-20000 - +20000
|
|
|
|
|
|
|
|
|
A, B, C, D
(0 - 2) |
MAIN, REV, MAIN+REV |
|
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
00 03 | 0000 00aa | Chorus Output Select
|
|
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 8
(12768 - 52768) |
-20000 - +20000
|#
|
00 04 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 1
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | MFX Parameter 9
(12768 - 52768) |
-20000 - +20000
|#
|
00 08 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 2
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 10
(12768 - 52768) |
-20000 - +20000
|#
|
00 0C | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 3
(12768 - 52768) |
-20000 - +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | MFX Parameter 11
(12768 - 52768) |
-20000 - +20000
|#
|
00 10 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 4
(12768 - 52768) |
-20000 - +20000 |
|
| 0000 cccc |
|
|
|
2 9 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|#
|
00 14 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 47 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
|
| 0000 dddd | Chorus Parameter 5
(12768 - 52768) |
|
| 0000 cccc |
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 18
(12768 - 52768) |
-20000 - +20000
|#
|
00 18 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 4B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 6
(12768 - 52768) |
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 - 52768) |
-20000 - +20000
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|#
|
00 4F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | Chorus Parameter 7
(12768 - 52768) |
|
|
| 0000 cccc |
|
|
|
-20000 - +20000
|
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 - 52768) |
-20000 - +20000 |
|#
|
00 20 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
| 00 00 00 53 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
| 0000 dddd | Chorus Parameter 8
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 24 | 0000 aaaa |
| 0000 bbbb |
*1-3-2-5 Rhythm Tone
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc |
| Offset
|
|
|
|
| 0000 dddd | Chorus Parameter 9
(12768 - 52768) |
|
Address |
Description
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
00 28 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Tone Name 1
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
| 0000 cccc |
00 01 | 0aaa aaaa | Tone Name 2
(32 - 127) |
|
| 0000 dddd | Chorus Parameter 10
(12768 - 52768) |
|
|
32 - 127 [ASCII]
|
|
|
|
-20000 - +20000
|
|
|
|
00 02 | 0aaa aaaa | Tone Name 3
(32 - 127) |
|#
|
00 2C | 0000 aaaa |
| 0000 bbbb |
|
|
32 - 127 [ASCII]
|
00 03 | 0aaa aaaa | Tone Name 4
(32 - 127) |
|
| 0000 cccc |
|
|
32 - 127 [ASCII]
|
|
| 0000 dddd | Chorus Parameter 11
(12768 - 52768) |
00 04 | 0aaa aaaa | Tone Name 5
(32 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
|
|
32 - 127 [ASCII]
|
|#
|
00 30 | 0000 aaaa |
| 0000 bbbb |
00 05 | 0aaa aaaa | Tone Name 6
(32 - 127) |
|
|
32 - 127 [ASCII]
|
|
|
| 0000 cccc |
00 06 | 0aaa aaaa | Tone Name 7
(32 - 127) |
| 0000 dddd | Chorus Parameter 12
(12768 - 52768) |
-20000 - +20000 |
|
|
32 - 127 [ASCII]
|
|
|
|
00 07 | 0aaa aaaa | Tone Name 8
(32 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
| 00 00 00 34 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
00 08 | 0aaa aaaa | Tone Name 9
(32 - 127) |
|
|
32 - 127 [ASCII]
|
00 09 | 0aaa aaaa | Tone Name 10
(32 - 127) |
*1-3-2-4 Rhythm Common Reverb
|
|
32 - 127 [ASCII]
|
+——————————————————————————————————————————————————————————————————————————————+
00 0A | 0aaa aaaa | Tone Name 11
(32 - 127) |
| Offset
|
|
|
|
|
32 - 127 [ASCII]
|
|
Address |
Description
00 0B | 0aaa aaaa | Tone Name 12
(32 - 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
32 - 127 [ASCII]
|
|
|
|
|
00 00 | 0000 aaaa | Reverb Type
(0 - 4) |
(0 - 127) |
(0 - 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
00 01 | 0aaa aaaa | Reverb Level
00 02 | 0000 00aa | Reverb Output Assign
|
|
|
|
00 0C | 0000 000a | Assign Type
(0 - 1) |
|
|
MULTI, SINGLE
|
|
|
A, B, C, D
|
00 0D | 000a aaaa | Mute Group
(0 - 31) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
OFF, 1 - 31
|
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0E | 0aaa aaaa | Tone Level
(0 - 127) |
(0 - 127) |
C-1 - G9
(14 - 114) |
-50 - +50
(0 - 30) |
|
| 0000 cccc |
00 0F | 0aaa aaaa | Tone Coarse Tune
|
| 0000 dddd | Reverb Parameter 1
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 10 | 0aaa aaaa | Tone Fine Tune
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 11 | 000a aaaa | Tone Random Pitch Depth
|
| 0000 cccc |
|
|
|
|
|
|
|
|
|
|
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
10, 20, 30, 40, 50, 60, 70, 80, |
90, 100, 200, 300, 400, 500, |
600, 700, 800, 900, 1000, 1100, |
|
| 0000 dddd | Reverb Parameter 2
(12768 - 52768) |
|
|
|
-20000 - +20000
|
|
|
|
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
1200
|
|
| 0000 cccc |
00 12 | 0aaa aaaa | Tone Pan
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 3
(12768 - 52768) |
|
|
L64 - 63R
|
|
|
|
-20000 - +20000
|
|
|
|
00 13 | 00aa aaaa | Tone Random Pan Depth
00 14 | 0aaa aaaa | Tone Alternate Pan Depth
(0 - 63) |
(1 - 127) |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
|
L63 - 63R
|
|
| 0000 cccc |
00 15 | 0000 000a | Tone Env Mode
(0 - 1) |
NO-SUS, SUSTAIN |
|
| 0000 dddd | Reverb Parameter 4
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
00 16 | 0aaa aaaa | Tone Dry Send Level
(0 - 127) |
(0 - 127) |
00 17 | 0aaa aaaa | Tone Chorus Send Level
00 18 | 0aaa aaaa | Tone Reverb Send Level
00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX)
00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX)
00 1B | 0000 aaaa | Tone Output Assign
|
| 0000 cccc |
(0 - 127) |
|
| 0000 dddd | Reverb Parameter 5
(12768 - 52768) |
(0 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
(0 - 127) |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
(0 - 12) |
|
|
|
|
MFX, A, B, C, D, |
|
| 0000 cccc |
1, 2, 3, 4, 5, 6, 7, 8
|
|
| 0000 dddd | Reverb Parameter 6
(12768 - 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|
00 1C | 00aa aaaa | Tone Pitch Bend Range
00 1D | 0000 000a | Tone Receive Expression
(0 - 48) |
(0 - 1) |
OFF, ON
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
00 1E | 0000 000a | Tone Receive Hold-1
(0 - 1) |
OFF, ON
(0 - 1) |
CONTINUOUS, KEY-ON |
|
| 0000 dddd | Reverb Parameter 7
(12768 - 52768) |
|
|
|
|
|
|
-20000 - +20000
|
|
|
|
00 1F | 0000 000a | Tone Receive Pan Mode
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
00 20 | 0000 00aa | WMT Velocity Control
(0 - 2) |
OFF, ON, RANDOM |
|
| 0000 dddd | Reverb Parameter 8
(12768 - 52768) |
|
|
|
|
|
-20000 - +20000
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 21 | 0000 000a | WMT1 Wave Switch
(0 - 1) |
|
|
OFF, ON
|
|
| 0000 cccc |
00 22 | 0000 00aa | WMT1 Wave Group Type
(0 - 3) |
|
| 0000 dddd | Reverb Parameter 9
(12768 - 52768) |
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
-20000 - +20000
|
|
|
|
SAMPLE
|
|
|
|
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 11
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 12
(12768 - 52768) |
| 0000 dddd | WMT1 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
|
-20000 - +20000
|
|
|
|
|
|
|#
|
00 33 | 0000 aaaa |
| 0000 bbbb |
00 2F | 0000 00aa | WMT1 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
|
| 0000 cccc |
00 30 | 0000 000a | WMT1 Wave FXM Switch
(0 - 1) |
|
| 0000 dddd | Reverb Parameter 13
(12768 - 52768) |
|
|
OFF, ON
|
|
|
|
-20000 - +20000
|
|
|
|
00 31 | 0000 00aa | WMT1 Wave FXM Color
(0 - 3) |
|#
|
00 37 | 0000 aaaa |
| 0000 bbbb |
|
|
1 - 4
|
00 32 | 000a aaaa | WMT1 Wave FXM Depth
00 33 | 0000 000a | WMT1 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 14
(12768 - 52768) |
|
|
OFF, ON
|
|
|
|
-20000 - +20000
|
|
|
|
00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|#
|
00 3B | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 35 | 0aaa aaaa | WMT1 Wave Fine Tune
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 - 52768) |
00 36 | 0aaa aaaa | WMT1 Wave Pan
|
|
|
-20000 - +20000
|
|
|
|
|
|
|
|#
|
00 3F | 0000 aaaa |
| 0000 bbbb |
00 37 | 0000 000a | WMT1 Wave Random Pan Switch
|
|
|
|
| 0000 cccc |
00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch
|
| 0000 dddd | Reverb Parameter 16
(12768 - 52768) |
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
|
|
-20000 - +20000
|
|
|
|
00 39 | 0aaa aaaa | WMT1 Wave Level
|#
|
00 43 | 0000 aaaa |
| 0000 bbbb |
00 3A | 0aaa aaaa | WMT1 Velocity Range Lower
|
|
1 - UPPER
|
|
|
| 0000 cccc |
| 0000 dddd | Reverb Parameter 17
00 3B | 0aaa aaaa | WMT1 Velocity Range Upper
(1 - 127) |
(12768 - 52768) |
|
|
LOWER - 127
|
2 9 9
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower
00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper
(0 - 127) |
(0 - 127) |
|
|
|
|
|
|
|
1 - UPPER
|
01 12 | 0aaa aaaa | WMT4 Velocity Range Upper
(1 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3E | 0000 000a | WMT2 Wave Switch
(0 - 1) |
01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower
01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper
|
|
OFF, ON
|
00 3F | 0000 00aa | WMT2 Wave Group Type
(0 - 3) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 15 | 000a aaaa | Pitch Env Depth
(52 - 76) |
-12 - +12
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63
SAMPLE
|
|
|
|
|
|
|
00 40 | 0000 aaaa |
| 0000 bbbb |
01 16 | 0aaa aaaa | Pitch Env Velocity Sens
|
|
|
| 0000 cccc |
01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens
| 0000 dddd | WMT2 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|
|
|
01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens
00 44 | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 19 | 0aaa aaaa | Pitch Env Time 1
01 1A | 0aaa aaaa | Pitch Env Time 2
01 1B | 0aaa aaaa | Pitch Env Time 3
01 1C | 0aaa aaaa | Pitch Env Time 4
01 1D | 0aaa aaaa | Pitch Env Level 0
| 0000 cccc |
| 0000 dddd | WMT2 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
00 48 | 0000 aaaa |
| 0000 bbbb |
|
|
|
| 0000 cccc |
01 1E | 0aaa aaaa | Pitch Env Level 1
| 0000 dddd | WMT2 Wave Number R
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
01 1F | 0aaa aaaa | Pitch Env Level 2
00 4C | 0000 00aa | WMT2 Wave Gain
(0 - 3) |
|
|
|
|
|
-6, 0, +6, +12 [dB]
|
01 20 | 0aaa aaaa | Pitch Env Level 3
00 4D | 0000 000a | WMT2 Wave FXM Switch
(0 - 1) |
|
|
|
|
|
OFF, ON
|
01 21 | 0aaa aaaa | Pitch Env Level 4
00 4E | 0000 00aa | WMT2 Wave FXM Color
(0 - 3) |
|
|
|
|
|
1 - 4
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 4F | 000a aaaa | WMT2 Wave FXM Depth
00 50 | 0000 000a | WMT2 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 22 | 0000 0aaa | TVF Filter Type
(0 - 6) |
|
|
|
|
OFF, LPF, BPF, HPF, PKG, LPF2, |
|
|
OFF, ON
|
LPF3
|
00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
01 23 | 0aaa aaaa | TVF Cutoff Frequency
(0 - 127) |
(0 - 7) |
|
|
|
01 24 | 0000 0aaa | TVF Cutoff Velocity Curve
00 52 | 0aaa aaaa | WMT2 Wave Fine Tune
|
|
FIXED, 1 - 7
|
|
|
|
01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens
(1 - 127) |
00 53 | 0aaa aaaa | WMT2 Wave Pan
|
|
-63 - +63
|
|
|
|
01 26 | 0aaa aaaa | TVF Resonance
(0 - 127) |
(1 - 127) |
00 54 | 0000 000a | WMT2 Wave Random Pan Switch
01 27 | 0aaa aaaa | TVF Resonance Velocity Sens
|
|
|
|
|
-63 - +63
|
00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch
01 28 | 0aaa aaaa | TVF Env Depth
(1 - 127) |
-63 - +63 |
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
|
|
00 56 | 0aaa aaaa | WMT2 Wave Level
01 29 | 0000 0aaa | TVF Env Velocity Curve Type
(0 - 7) |
00 57 | 0aaa aaaa | WMT2 Velocity Range Lower
|
|
FIXED, 1 - 7
|
|
|
1 - UPPER
|
01 2A | 0aaa aaaa | TVF Env Velocity Sens
(1 - 127) |
00 58 | 0aaa aaaa | WMT2 Velocity Range Upper
(1 - 127) |
|
|
-63 - +63
|
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower
00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper
|
|
|
01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5B | 0000 000a | WMT3 Wave Switch
(0 - 1) |
01 2D | 0aaa aaaa | TVF Env Time 1
01 2E | 0aaa aaaa | TVF Env Time 2
01 2F | 0aaa aaaa | TVF Env Time 3
01 30 | 0aaa aaaa | TVF Env Time 4
01 31 | 0aaa aaaa | TVF Env Level 0
01 32 | 0aaa aaaa | TVF Env Level 1
01 33 | 0aaa aaaa | TVF Env Level 2
01 34 | 0aaa aaaa | TVF Env Level 3
01 35 | 0aaa aaaa | TVF Env Level 4
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
OFF, ON
|
00 5C | 0000 00aa | WMT3 Wave Group Type
(0 - 3) |
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
SAMPLE
|
|
|
|
00 5D | 0000 aaaa |
| 0000 bbbb |
| 0000 cccc |
| 0000 dddd | WMT3 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
01 36 | 0000 0aaa | TVA Level Velocity Curve
(0 - 7) |
|
|
FIXED, 1 - 7
|
| 0000 cccc |
01 37 | 0aaa aaaa | TVA Level Velocity Sens
(1 - 127) |
| 0000 dddd | WMT3 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
|
-63 - +63
|
|
|
|
|
|
|
01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens
(1 - 127) |
-63 - +63
(1 - 127) |
-63 - +63 |
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
|
01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens
| 0000 cccc |
|
|
| 0000 dddd | WMT3 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
01 3A | 0aaa aaaa | TVA Env Time 1
01 3B | 0aaa aaaa | TVA Env Time 2
01 3C | 0aaa aaaa | TVA Env Time 3
01 3D | 0aaa aaaa | TVA Env Time 4
01 3E | 0aaa aaaa | TVA Env Level 1
01 3F | 0aaa aaaa | TVA Env Level 2
01 40 | 0aaa aaaa | TVA Env Level 3
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
00 69 | 0000 00aa | WMT3 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
00 6A | 0000 000a | WMT3 Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
|
00 6B | 0000 00aa | WMT3 Wave FXM Color
(0 - 3) |
|
|
1 - 4
|
|—————————————+————————————————————————————————————————————————————————————————|
00 6C | 000a aaaa | WMT3 Wave FXM Depth
00 6D | 0000 000a | WMT3 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
| 00 00 01 41 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
OFF, ON
|
00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|
|
00 6F | 0aaa aaaa | WMT3 Wave Fine Tune
|
|
|
2. GS (Model ID: 42H)
00 70 | 0aaa aaaa | WMT3 Wave Pan
|
|
|
00 71 | 0000 000a | WMT3 Wave Random Pan Switch
|
|
|
*
System Parameter
00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch
+——————————————————————————————————————————————————————————————————————————————+
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
| Start
|
|
|
00 73 | 0aaa aaaa | WMT3 Wave Level
|
Address |
Description
00 74 | 0aaa aaaa | WMT3 Velocity Range Lower
|—————————————+————————————————————————————————————————————————————————————————|
|
|
1 - UPPER
|
|#
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 75 | 0aaa aaaa | WMT3 Velocity Range Upper
(1 - 127) |
|
|
LOWER - 127
|
(0 - 127) |
(0 - 127) |
| 0000 cccc |
00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower
00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper
| 0000 dddd | Master Tune
(24 - 2024) |
|
|
-100.0 - 100.0 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 - 127) |
(40 - 88) |
|
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 78 | 0000 000a | WMT4 Wave Switch
(0 - 1) |
|
|
OFF, ON
|
|
|
-24 - +24 [semitone]
|
00 79 | 0000 00aa | WMT4 Wave Group Type
(0 - 3) |
40 00 06 | 0aaa aaaa | Master Pan
(1 - 127) |
|
|
|
|
INT-WAVE, SRJV80-EXP, SRX-EXP, |
|
|
L63 - 63R
|
SAMPLE
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 7A | 0000 aaaa |
| 0000 bbbb |
|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS-RESET, GS-EXIT |
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
| 0000 dddd | WMT4 Wave Group ID
(0 - 16384) |
OFF, 1 - 16384
|
|
|
|
|
|
*
Common Parameter
00 7E | 0000 aaaa |
| 0000 bbbb |
+——————————————————————————————————————————————————————————————————————————————+
| 0000 cccc |
| Start
|
|
|
| 0000 dddd | WMT4 Wave Number L (Mono)
(0 - 16384) |
OFF, 1 - 16384
|
Address |
Description
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
01 02 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
40 01 11 | 0aaa aaaa | Voice Reserve 2
40 01 12 | 0aaa aaaa | Voice Reserve 3
40 01 13 | 0aaa aaaa | Voice Reserve 4
40 01 14 | 0aaa aaaa | Voice Reserve 5
40 01 15 | 0aaa aaaa | Voice Reserve 6
40 01 16 | 0aaa aaaa | Voice Reserve 7
40 01 17 | 0aaa aaaa | Voice Reserve 8
40 01 18 | 0aaa aaaa | Voice Reserve 9
40 01 19 | 0aaa aaaa | Voice Reserve 10
40 01 1A | 0aaa aaaa | Voice Reserve 11
40 01 1B | 0aaa aaaa | Voice Reserve 12
40 01 1C | 0aaa aaaa | Voice Reserve 13
40 01 1D | 0aaa aaaa | Voice Reserve 14
40 01 1E | 0aaa aaaa | Voice Reserve 15
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
(0 - 24) |
| 0000 cccc |
| 0000 dddd | WMT4 Wave Number R
(0 - 16384) |
OFF, 1 - 16384 |
|
|
01 06 | 0000 00aa | WMT4 Wave Gain
(0 - 3) |
|
|
-6, 0, +6, +12 [dB]
|
01 07 | 0000 000a | WMT4 Wave FXM Switch
(0 - 1) |
|
|
OFF, ON
|
01 08 | 0000 00aa | WMT4 Wave FXM Color
(0 - 3) |
|
|
1 - 4
|
01 09 | 000a aaaa | WMT4 Wave FXM Depth
01 0A | 0000 000a | WMT4 Wave Tempo Sync
(0 - 16) |
(0 - 1) |
|
|
OFF, ON
|
01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune
(16 - 112) |
-48 - +48
(14 - 114) |
-50 - +50
(0 - 127) |
L64 - 63R
(0 - 1) |
OFF, ON
(0 - 2) |
|
|
|
01 0C | 0aaa aaaa | WMT4 Wave Fine Tune
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 - 7) |
(0 - 7) |
(0 - 7) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
01 0D | 0aaa aaaa | WMT4 Wave Pan
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre-LPF
40 01 33 | 0aaa aaaa | Reverb Level
|
|
|
01 0E | 0000 000a | WMT4 Wave Random Pan Switch
|
|
|
40 01 34 | 0aaa aaaa | Reverb Time
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus
01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch
|
|
OFF, ON, REVERSE
|
(0 - 127) |
(1 - 127) |
01 10 | 0aaa aaaa | WMT4 Wave Level
|—————————————+———————————+————————————————————————————————————————————————————|
01 11 | 0aaa aaaa | WMT4 Velocity Range Lower
|
40 01 38 | 0aaa aaaa | Chorus Macro
(0 - 7) |
3 0 0
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|
|
|
|
|
|
|
40 01 39 | 0aaa aaaa | Chorus Pre-LPF
40 01 3A | 0aaa aaaa | Chorus Level
40 01 3B | 0aaa aaaa | Chorus Feedback
40 01 3C | 0aaa aaaa | Chorus Delay
40 01 3D | 0aaa aaaa | Chorus Rate
(0 - 7) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
(0 - 127) |
|
|
|
|
|
|
|
|
|
|
|
0 - 100.0 [%]
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 01 3E | 0aaa aaaa | Chorus Depth
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
*
Part Parameter
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 - 88) |
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
0 - 24 [semitone]
|
|
|
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 - 127) |
|
Address |
Description
|
|
-9600 - +9600 [cent]
|
|—————————————+————————————————————————————————————————————————————————————————|
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 - 127) |
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 - 127) |
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 - 16) |
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 - 127) |
|
|
1 - 16, OFF
|
|
|
0 - 600 [cent]
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 - 1) |
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 - 127) |
|
|
OFF, ON
|
|
|
0 - 2400 [cent]
|
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 - 127) |
|
|
|
|
|
0 - 100.0 [%]
|
40 1x 05 | 0000 000a | Rx. Program Change
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 - 127) |
|
|
|
|
|
-10.0 - +10.0 [Hz]
|
40 1x 06 | 0000 000a | Rx. Control Change
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 - 127) |
|
|
|
|
|
0 - 600 [cent]
|
40 1x 07 | 0000 000a | Rx. Poly Pressure
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 - 127) |
|
|
|
|
|
0 - 2400 [cent]
|
40 1x 08 | 0000 000a | Rx. Note Message
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 - 127) |
|
|
|
|
|
0 - 100.0 [%]
|
40 1x 09 | 0000 000a | Rx. RPN
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 - 88) |
40 1x 0A | 0000 000a | Rx. NRPN
|
|
-24 - +24 [semitone]
|
|
|
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 - 127) |
40 1x 0B | 0000 000a | Rx. Modulation
|
|
-9600 - +9600 [cent]
|
|
|
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 - 127) |
40 1x 0C | 0000 000a | Rx. Volume
|
|
-100.0 - +100.0 [%]
|
|
|
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 - 127) |
40 1x 0D | 0000 000a | Rx. Panpot
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 - 127) |
40 1x 0E | 0000 000a | Rx. Expression
|
|
0 - 600 [cent]
|
|
|
|
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 - 127) |
40 1x 0F | 0000 000a | Rx. Hold-1
|
|
0 - 2400 [cent]
|
|
|
|
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 - 127) |
40 1x 10 | 0000 000a | Rx. Portamento
|
|
0 - 100.0 [%]
|
|
|
|
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 - 127) |
40 1x 11 | 0000 000a | Rx. Sostenuto
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 - 127) |
40 1x 12 | 0000 000a | Rx. Soft
|
|
0 - 600 [cent]
|
|
|
|
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
|
|
|
|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 - 1) |
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 - 127) |
|
|
MODE, POLY
|
|
|
0 - 100.0 [%]
|
40 1x 14 | 0aaa aaaa | Assign Mode
(0 - 2) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
SINGLE, LIMITED-MULTI, |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 - 88) |
FULL-MULTI
|
|
|
-24 - +24 [semitone]
|
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
(0 - 2) |
OFF, MAP1, MAP2 |
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 - 127) |
|
|
|
|
-9600 - +9600 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 - 127) |
|
|
|#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 - 88) |
|
|
-100.0 - +100.0 [%]
|
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|
-24 - +24 [semitone]
|
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 - 127) |
40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
|
|
-10.0 - +10.0 [Hz]
|
(8 - 248) |
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 - 127) |
|
|
-12.0 - +12.0 [Hz]
|
(0 - 127) |
(0 - 127) |
|
|
0 - 600 [cent]
|
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 - 127) |
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
|
0 - 100.0 [%]
|
|
|
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 - 127) |
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
|
|
-10.0 - +10.0 [Hz]
|
|
|
RANDOM, L63 - 63R
|
(0 - 127) |
(0 - 127) |
(0 - 95) |
(0 - 95) |
(0 - 127) |
(0 - 127) |
(0 - 1) |
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 - 127) |
40 1x 1D | 0aaa aaaa | Keyboard Range Low
40 1x 1E | 0aaa aaaa | Keyboard Range High
40 1x 1F | 0aaa aaaa | CC1 Controller Number
40 1x 20 | 0aaa aaaa | CC2 Controller Number
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
40 1x 23 | 0000 000a | Rx. Bank Select
|
|
0 - 600 [cent]
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 - 127) |
|
|
0 - 2400 [cent]
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 - 127) |
|
|
0 - 100.0 [%]
|
|—————————————+———————————+————————————————————————————————————————————————————|
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40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 - 88) |
|
|
OFF, ON
(0 - 1) |
OFF, ON |
|
|
|
-24 - +24 [semitone]
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 - 127) |
|
|
|
|
-9600 - +9600 [cent]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 - 127) |
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40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
(0 - 127) |
-64 - +63
|
|
-100.0 - +100.0 [%]
|
|
|
|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 - 127) |
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 - 127) |
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
|
|
0 - 600 [cent]
|
|
|
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 - 127) |
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
|
|
0 - 2400 [cent]
|
|
|
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 - 127) |
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
|
|
0 - 100.0 [%]
|
|
|
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 - 127) |
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
|
|
-10.0 - +10.0 [Hz]
|
|
|
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 - 127) |
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
|
|
0 - 600 [cent]
|
|
|
|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 - 127) |
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
|
|
0 - 2400 [cent]
|
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|
|
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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0 - 100.0 [%]
|
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40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 - 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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-64 - +63 [cent]
|
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40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 - 88) |
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 - 127) |
|
|
-24 - +24 [semitone]
|
|
|
-64 - +63 [cent]
|
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 - 127) |
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 - 127) |
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 - 127) |
|
|
-100.0 - +100.0 [%]
|
|
|
-64 - +63 [cent]
|
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 - 127) |
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
-64 - +63 [cent]
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 - 127) |
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 - 127) |
|
|
0 - 600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 - 127) |
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 - 127) |
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 - 127) |
|
|
0 - 100.0 [%]
|
|
|
-64 - +63 [cent]
|
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 - 127) |
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
|
|
-64 - +63 [cent]
|
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 - 127) |
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 - 127) |
|
|
0 - 600 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 - 127) |
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 - 127) |
|
|
0 - 2400 [cent]
|
|
|
-64 - +63 [cent]
|
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 - 127) |
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 - 127) |
|
|
0 - 100.0 [%]
|
|
|
-64 - +63 [cent]
|
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
x: BLOCK NUMBER (0-F)
|
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40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 - 88) |
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
|
|
-24 - +24 [semitone]
|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control
(0 - 127) |
|
|
-9600 - +9600 [cent]
|
:
:
:
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 - 127) |
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
|
|
-100.0 - +100.0 [%]
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 - 127) |
|
|
-10.0 - +10.0 [Hz]
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 - 127) |
|
|
0 - 600 [cent]
|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 - 127) |
:
:
:
|
|
0 - 2400 [cent]
|
Part16 (MIDI ch = 16) x = F
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 - 127) |
3 0 1
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*
Drum Setup Parameter
<Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for
+——————————————————————————————————————————————————————————————————————————————+
each 7 bits?
| Start
|
|
|
|
Address |
Description
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
|—————————————+————————————————————————————————————————————————————————————————|
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41 m0 00 | 0aaa aaaa | Drum Map Name 1
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2
(32 - 127) |
|
|
32 - 127 [ASCII]
|
<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D ?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
41 m0 02 | 0aaa aaaa | Drum Map Name 3
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 03 | 0aaa aaaa | Drum Map Name 4
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 04 | 0aaa aaaa | Drum Map Name 5
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 05 | 0aaa aaaa | Drum Map Name 6
(32 - 127) |
<Example 4> What is the nibbled expression of the decimal value 1258?
|
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32 - 127 [ASCII]
|
41 m0 06 | 0aaa aaaa | Drum Map Name 7
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 07 | 0aaa aaaa | Drum Map Name 8
(32 - 127) |
16) 1258
|
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32 - 127 [ASCII]
|
41 m0 08 | 0aaa aaaa | Drum Map Name 9
(32 - 127) |
16) 78 ... 10
|
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32 - 127 [ASCII]
|
41 m0 09 | 0aaa aaaa | Drum Map Name 10
(32 - 127) |
16)
4 ... 14
0 ... 4
|
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32 - 127 [ASCII]
|
41 m0 0A | 0aaa aaaa | Drum Map Name 11
(32 - 127) |
|
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32 - 127 [ASCII]
|
41 m0 0B | 0aaa aaaa | Drum Map Name 12
(32 - 127) |
|
|
32 - 127 [ASCII]
|
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
|—————————————+———————————+————————————————————————————————————————————————————|
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41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
(0 - 127) |
(0 - 127) |
(0 - 127) |
41 m3 rr | 0aaa aaaa | Assign Group Number
|
|
NON, 1 - 127
|
41 m4 rr | 0aaa aaaa | Panpot
(0 - 127) |
|
|
RAMDOM, L63 - 63R
|
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 - 127) |
|
|
0.0 - 1.0
|
●Examples of actual MIDI messages
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 - 127) |
0.0 - 1.0
(0 - 1) |
OFF, ON
(0 - 1) |
OFF, ON |
|
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|
41 m7 rr | 0000 000a | Rx. Note Off
|
|
|
<Example 1> 92 3E 5F
41 m8 rr | 0000 000a | Rx. Note On
|
|
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
|—————————————+————————————————————————————————————————————————————————————————|
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
●Decimal and Hexadecimal table
(An "H" is appended to the end of numbers in hexadecimal notation.)
<Example 2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute
in GS).
In MIDI documentation, data values and addresses/ sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
<Example 3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
+——————+——————++——————+——————++——————+——————++——————+——————+
| D
| H
|| D
| H
|| D
| H
|| D
| H
|
+——————+——————++——————+——————++——————+——————++——————+——————+
|
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0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
"running status" which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
B3
64 00
00H
MIDI ch.4, lower byte of RPN parameter
(MIDI ch.4) upper byte of RPN parameter
number:
(B3)
65 00
00H
number:
(B3)
06 0C
26 00
64 7F
7FH
(MIDI ch.4) upper byte of parameter value:0CH
(MIDI ch.4) lower byte of parameter value:00H
(MIDI ch.4) lower byte of RPN parameter
(B3)
(B3)
number:
(B3)
65 7F
7FH
(MIDI ch.4) upper byte of RPN parameter
+——————+——————++——————+——————++——————+——————++——————+——————+
D:decimal
number:
H:hexadecimal
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
In the case of values which have a +/ - sign, 00H = -64, 40H = +/ -0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In
the case of two types, 00 00H = -8192, 40 00H = +/ -0, and 7F 7FH = +8191. For example, if
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so
a
value of 0CH = 12 sets the maximum pitch bend range to +/ -12
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
*
*
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
Data marked "Use nibbled data" is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
<Example 1> What is the decimal expression of 5AH ?
From the preceding table, 5AH = 90
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
3 0 2
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MIDI Im p le m e n ta tio n
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
(4) Model ID (XV-5080), (5) Command ID(RQ1),
(6) End of Exclusive
Then calculate the checksum.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
20H + 02H + 22H + 00H + 00H + 00H + 00H + 21H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 33 = 101
(sum)
101 (sum) ÷ 128 = 0 (quotient) ... 101 (remainder)
checksum = 128 - 101 (remainder) = 27 = 1BH
*
TPQN: Ticks Per Quarter Note
This means that F0 41 10 00 10 11 20 02 22 00 00 00 00 21 1B F7 is the message should be sent.
<Example 3> Getting Temporary Performance data (RQ1);
●Example of an Exclusive message and calculating a
checksum
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"
(Type parameter) and "TEMP: -PATCH" (Source parameter) options.
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
According to the "Parameter Address Map (p. 290)", the start address of Temporary
Performance is assinged as following:
●How to calculate the checksum (hexadecimal numbers are indicated by
10 00 00 00H
Temporary Performance Common
Temporary Performance Part 1
Temporary Performance Part 32
"H")
:
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
10 00 20 00H
:
Here's an example of how the checksum is calculated. We will assume that in the Exclusive
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH.
10 00 3F 00H
As the data size of Performance Part is 00 00 00 21H, summation of the size and the start
address of Part 32 at Temporay Performance will be;
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
10 00 3F 00H
+) 00 00 00 21H
10 00 3F 21H
<Example 1> Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1).
According to the "Parameter Address Map (p. 290)", the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON
is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
And the size that have to be got should be;
10 00 3F 21H
-) 10 00 00 00H
00 00 3F 21H
10 00 00 00H
04 00H
Therefore the system exclusive message should be sent is;
+)
00 00H
10 00 04 00H
F0 41 10 00 10
(1) (2) (3) (4)
11
10 00 00 00
address
00 00 3F 21 ??
F7
(5)
data checksum (6)
DELAY has the value of 02H.
So the system exclusive message should be sent is;
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
(4) Model ID (XV-5080), (5) Command ID (RQ1),
(6) End of Exclusive
F0 41 10 00 10
(1) (2) (3) (4)
(1) Exclusive Status,
12
(5)
(2) ID (Roland),
10 00 04 00
address
02
??
F7
data
checksum
(6)
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11
10 00 00 00 00 00 3F 21 10 F7 to be transmitted.
(3) Device ID (17),
(4) Model ID (XV-5080), (5) Command ID (DT1),
(6) End of Exclusive
<Example 4> Getting data (RQ1) at once;
Then calculate the checksum.
Tempory Performance data,
Temporary Patch data of whole part in Performance mode,
Temporary Rhythm data of whole part in Performance mode.
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
checksum = 128 - 22 (remainder) = 106 = 6AH
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"
(Type parameter) and "TEMP: +PATCH" (Source parameter) options.
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.
<Example 2> Getting the data (RQ1) of Performance Part 3 in USER:03.
According to the "Parameter Address Map (p. 290)", the start address of the
above all parameters is assinged as following:
10 00 00 00H
11 20 00 00H
11 30 00 00H
:
Temporary Performance
00H, and the offset address of Performance Part 3 is 00 22 00H.
Temporary Patch (Performance Mode Part 1)
Temporary Rhythm (Performance Mode Part 1)
Therefore the start address of Performance Part 3 in USER:03 is;
14 60 00 00H
14 70 00 00H
Temporary Patch (Performance Mode Part 16)
Temporary Rhythm (Performance Mode Part 16)
20 02 00 00H
+) 00 22 00H
20 02 22 00H
The offset address of Rhythm is also assigned as follows:
As the size of Performance Part is 00 00 00 21H, the system exclusive message should be
sent is;
00 00 00H
Rhythm Common
Rhythm Tone 1
Rhythm Tone 4
:
00 10 00H
:
F0 41 10 00 10
(1) (2) (3) (4)
11
20 02 22 00
address
00 00 00 21 ??
F7
(5)
data checksum (6)
01 3E 00H
3 0 3
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MIDI Im p le m e n ta tio n
As the data size of Rhythm Tone is 00 00 01 41H, summation of the size and the
●ASCII code table
start address of Tone 4 of Part 16 at Temporay Patch in Performance mode will
be;
Patch Name and Performance Name, etc, of MIDI data are described the ASCII
code in the table below.
14 70 00 00H
01 3E 00H
(HEX) = hexadecimal
(DEC) = decimal
+) 00 00 01 41H
14 71 3F 41H
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
+—————————+—————+—————+
|Character|(HEX)|(DEC)|
+—————————+—————+—————+
And the size that have to be got should be;
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
SP | 20H | 32 |
! | 21H | 33 |
" | 22H | 34 |
# | 23H | 35 |
$ | 24H | 36 |
% | 25H | 37 |
& | 26H | 38 |
' | 27H | 39 |
( | 28H | 40 |
) | 29H | 41 |
* | 2AH | 42 |
+ | 2BH | 43 |
, | 2CH | 44 |
- | 2DH | 45 |
. | 2EH | 46 |
/ | 2FH | 47 |
0 | 30H | 48 |
1 | 31H | 49 |
2 | 32H | 50 |
3 | 33H | 51 |
4 | 34H | 52 |
5 | 35H | 53 |
6 | 36H | 54 |
7 | 37H | 55 |
8 | 38H | 56 |
9 | 39H | 57 |
: | 3AH | 58 |
; | 3BH | 59 |
< | 3CH | 60 |
= | 3DH | 61 |
> | 3EH | 62 |
? | 3FH | 63 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
@ | 40H | 64 |
A | 41H | 65 |
B | 42H | 66 |
C | 43H | 67 |
D | 44H | 68 |
E | 45H | 69 |
F | 46H | 70 |
G | 47H | 71 |
H | 48H | 72 |
I | 49H | 73 |
J | 4AH | 74 |
K | 4BH | 75 |
L | 4CH | 76 |
M | 4DH | 77 |
N | 4EH | 78 |
O | 4FH | 79 |
P | 50H | 80 |
Q | 51H | 81 |
R | 52H | 82 |
S | 53H | 83 |
T | 54H | 84 |
U | 55H | 85 |
V | 56H | 86 |
W | 57H | 87 |
X | 58H | 88 |
Y | 59H | 89 |
Z | 5AH | 90 |
[ | 5BH | 91 |
\ | 5CH | 92 |
] | 5CH | 93 |
^ | 5CH | 94 |
_ | 5CH | 95 |
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
` | 20H | 96 |
a | 61H | 97 |
b | 62H | 98 |
c | 63H | 99 |
d | 64H | 100 |
e | 65H | 101 |
f | 66H | 102 |
g | 67H | 103 |
h | 68H | 104 |
i | 69H | 105 |
j | 6AH | 106 |
k | 6BH | 107 |
l | 6CH | 108 |
m | 6DH | 109 |
n | 6EH | 110 |
o | 6FH | 111 |
p | 70H | 112 |
q | 71H | 113 |
r | 72H | 114 |
s | 73H | 115 |
t | 74H | 116 |
u | 75H | 117 |
v | 76H | 118 |
w | 77H | 119 |
x | 78H | 120 |
y | 79H | 121 |
z | 7AH | 122 |
{ | 7BH | 123 |
| | 7CH | 124 |
} | 7CH | 125 |
14 71 3F 41H
-) 10 00 00 00H
04 71 3F 41H
Therefore the system exclusive message should be sent is;
F0 41 10 00 10
(1) (2) (3) (4)
11
10 00 00 00
address
04 71 3F 41 ??
F7
(5)
data checksum (6)
(1) Exclusive Status,
(2) ID (Roland),
(3) Device ID (17),
(4) Model ID (XV-5080), (5) Command ID (RQ1),
(6) End of Exclusive
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11
10 00 00 00 04 71 3F 41 7B F7 to be transmitted.
●The Scale Tune Feature (address: 40 1x 40)
+—————————+—————+—————+
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
+—————————+—————+—————+
+—————————+—————+—————+
NOTE : "SP" is space.
●Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the XV-5080, the default settings for
the Scale Tune feature produce equal temperament.
*GS (
) is a registered trademark of Roland Corporation.
●Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
●Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Example Settings
Note name
Equal
Just Temperament
Arabian Scale
Temperament
(Keytone C)
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
C#
D
+4
D#
E
+16
-14
-2
-12
-51
-8
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
A#
B
-10
-49
The values in the table are given in cents. Refer to the explanation of Scale Tuning on page
??? to convert these values to hexadecimal, and transmit them as Exclusive data.
For example, to set the tune (C-B) of the Part1 Arabian Scale, send the following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
3 0 4
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SYNTHESIZER MODULE
Model XV-5080
Date : May. 20, 2000
Version : 1.00
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
X
X
1–16
1–16
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
* 2
Mode
**************
Note
X
0–127
Number :
0–127
True Voice
**************
Note On
Note Off
X
X
O
O
Velocity
After
Touch
Key's
Channel's
X
O
O
O
*1
*1
*7
*7
Pitch Bend
O
O
*1
Bank select
0, 32
1
O
O
O
O
O
O
O
O
X
X
O
X
X
X
X
O
O
O
O
O
O
O
O
X
X
X
X
X
O
O
X
X
X
O
*4
O
*1
*1
Modulation
*7
O
Breath type
Foot type
2
*7
O
4
5
6, 38
7
*7
O
Portamento time
Data entry
*4
O
*4
O
Volume
*4, *7
*4, *7
O
*1
*1
*1
*1
Panpot
10
11
64
65
66
67
68
69
71
72
73
74
75
76
77
78
80
81
82
83
84
91
93
O
Expression
O
Hold 1
O
Control
Change
Portamento
*4
O
Sostenuto
O
Soft
O
Legato Foot Switch
Hold 2
O
O
Resonance
*4
*4
*4
*4
*4
*4
*4
*4
O
Release Time
O
Attack Time
O
Cutoff
O
Decay Time
O
*6
*6
*6
*6
Vibrato Rate
O
Vibrato Depth
O
Vibrato Delay
O
General Purpose Controller 5
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Portamento control
General purpose effects 1
General purpose effects 3
CC1, 2 (General purpose controller 1, 2)
CC3, 4 (General purpose controller 3, 4)
NRPN LSB, MSB
RPN LSB, MSB
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
*4
*4
O (Reverb)
O (Chorus)
1–5, 7–31, 64–95 *3
1–5, 7–31, 64–95 *3
98, 99
O
O
X
100, 101
*4
O
Program
Change
O
*4
O
0–127
*1
*1
**************
: True Number
Program No. 1–128
System Exclusive
O
O
*5
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
*1
System
Real Time : Commands
: Clock
X
X
X
X
X
X
X
O
X
O (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O (123–127)
*1
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
* 3 Can be changed settings.
* 5 Transmits when Data Transfer is excuted or RQ1
received.
* 6 GM Mode only.
Notes
* 4 Transmits when GM Data Transfer is excuted .
* 7 Transmits when Part Information value changed.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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Sp e cifica tio n s
XV-5080 128 voice sound module
GM Level 2 system Compatible
● Co n n e cto rs
A (MIX) Output (L(MONO), R)
B Output (L, R)
● Pa rts
C Output (L, R)
32
D Output (L, R)
● Ma x im u m Po ly p h o n y
(or Individual 1 - 8)
128 voices
Digital Audio Out S/ P DIF 44.1/ 48kHz
(COAXIAL 1, OPTICAL 1)
Word Clock In (BNC)
● W a ve m e m o ry
64MB (16-bit linear format)
SCSI Connector (D-SUB 25pin)
R-BUS Connector (Output Only)
MIDI connector (IN, OUT, THRU)
Phones Jack (Stereo)
● Ex p a n sio n slo ts
Wave Expansion Board SR-JV80 Series: 4slots
New Wave Expansion Board SRX Series: 4slots
Two SIMM Slots (Compatible with 72-pin FP/ EDO 16/ 32/ 64
MB SIMMs for a maximum expansion of 128 MB)
● Po w e r su p p ly
AC117, 230, 240 V
● Pre se t m e m o ry
● Po w e r Co n su m p tio n
Patch: 896 (128 x 7 banks) + GM Level 2 Patch: 256
Performance: 64 (32 x 2 banks)
25 W
Rhythm Sets: 14 (2 x 7 banks) + GMLevel 2 Rhythm Set: 9
● Dim e n sio n s
482 (W) x 281 (D) x 88 (H) mm
19 (W) x 11-1/ 16 (D) x 3-1/ 2 (H) inches
(EIA-2U rack mount type)
● Use r m e m o ry
Patch:
128
64
4
Performance:
Rhythm Set:
● W e ig h t
4.9 kg / 10lbs 13oz
● Ex te rn a l m e m o ry
SmartMedia card
1slot
● Acce sso rie s
Quickstart manual
Owner's manual
Q&A, Sound List
Power cord
( 2 - 128 MB, 5 or 3.3 V)
● Effe cts
Multi Effects (MFX): 90 type
(Three different multi-effects can be used simultaneously in
Performance mode)
● O p tio n s
Reverb:
Chorus:
4 type
2 type
Wave Expansion Board (SRX series, SR-JV80 series)
2 Band EQ (can be sent to eight separate outputs when used
as system EQ)
* In the interest of product improvement, the specifications
and/ or appearance of this unit are subject to change without
prior notice.
● Disp la y
320 x 80 dot Graphic LCD (with Backlit )
3 0 6
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In d e x
Numerics
A
B
C
CLEAN GUITAR MULTI B ........................................101
Internal Memory ...................................................194, 205
J
D
E
3 0 7
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M
MIDI Channel .......................................................166, 212
MODULATION DELAY ...............................................53
MULTI TAP DELAY ......................................................68
MULTI TAP DELAY 2 ...................................................82
STEREO LIMITER ..........................................................75
STEREO LOFI COMPRESS ...........................................91
O
Performance Mode .................................................111
Rhythm Set Mode ...................................................114
P
Performance Mode .........................................................17
Transmitting Samples ..................................................191
TRIPLE TAP DELAY .....................................................54
Q
R
Reverb Send Level ....................................................31, 37
3 0 8
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V
W
Z
3 0 9
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 6846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 273 0074
KUW AIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat, KUWAIT
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
PO RTUGAL
THAILAN D
VEN EZUELA
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VENEZUELA
TEL: (212) 285-8586
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
EURO PE
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
TEL: (0512) 26 44 260
ASIA
AUSTRALIA
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CHIN A
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai, CHINA
TEL: (021) 5580-0800
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
TEL: (93) 308 1000
TEL: (02) 9982 8266
Center
DEN MARK
SW EDEN
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing,
CHINA
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
N EW ZEALAN D
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
TEL: (039)16 6200
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
TEL: (010) 6426-5050
FRAN CE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 493 9051
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
TEL: (040) 52 60090
UNITED KINGDOM
TEL: (01792) 700139
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 043-5400
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
HUN GARY
Intermusica Ltd.
TEL: (905) 362 9707
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
75 Avenida Norte y Final
Alameda Juan Pablo
,
PHILIPPIN ES
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 66-9426
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of June 1, 2002 (Roland)
TEL: (55) 5668-6699
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For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Apparatus containing
Lithium batteries
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved
fejlagtig håndtering.
Udskiftning må kun ske med batteri af
samme fabrikat og type.
VARNING
Explosionsfara vid felaktigt batteribyte.
Använd samma batterityp eller en
ekvivalent typ som rekommenderas av
apparattillverkaren.
Levér det brugte batteri tilbage til
leverandøren.
Kassera använt batteri enligt
fabrikantens instruktion.
ADVARSEL
Eksplosjonsfare ved feilaktig skifte av
batteri.
VAROITUS
Paristo voi räjähtää, jos se on
virheellisesti asennettu.
Benytt samme batteritype eller en
tilsvarende type anbefalt av
apparatfabrikanten.
Brukte batterier kasseres i henhold til
fabrikantens instruks joner.
Vaihda paristo ainoastaan
laitevalmistajan suosittelemaan
tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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02019812
’02-6-F2-61K
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