u c e d i n a n y f o r m
Owner’s Manual
fig.00-01
The V-Synth XT comes with the VC-1 and VC-2 titles
from Roland's “V-Card” software series preinstalled.
Without having to cycle power to the unit, you can sim-
ply press a single switch to transform the V-Synth XT
into a completely different product.
VC-2 “Vocal Designer” transforms the V-Synth XT into
a cutting-edge vocal modeling processor. By playing a
keyboard while you speak into the mic, you can create
beautiful and clearly intelligible human choruses as well
as many other vocal-type sounds with unprecedented
quality.
0
t h e
c
*
All product names mentioned in this
m -
document are trademarks or registered trademarks of their respective owners.
Copyright © 2005 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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About the VC-2.....................................................................................................7
Patch Algorithms.................................................................................................................................. 8
Selecting a Patch................................................................................................................................. 16
Selecting Patches with the VALUE dial ................................................................................................16
Selecting Patches from the List...............................................................................................................16
Using buttons to select patches ..............................................................................................................17
Enabling or Disabling the Beep Tone.............................................................................................. 17
Parameters in the Top Screen........................................................................................................... 18
Creating Patches................................................................................................................................. 20
Changing the Pitch (PATCH Tune).......................................................................................................20
Transmitting Data to an External MIDI Device (Data Transfer) .......................................................21
Naming a Patch (PATCH Name)...........................................................................................................22
Saving Patches (PATCH Write)..............................................................................................................22
Copying Patch Controller Settings (Patch Controller Copy).............................................................23
Deleting Patches (PATCH Delete) .........................................................................................................23
Selecting a Patch from a List (PATCH List)..........................................................................................24
Top Screen........................................................................................................................................... 24
Switching the Mic Setting........................................................................................................................24
Naming a Mic Setting (Setting Name) ..................................................................................................24
PRE-EFX Type (Pre-Effect Types)..........................................................................................................25
Carrier Screen ..................................................................................................................................... 26
OSC.............................................................................................................................................................26
PITCH ........................................................................................................................................................27
EQ GROWL...............................................................................................................................................27
TVA ............................................................................................................................................................27
CTRL (controller)......................................................................................................................................28
Carrier Screen for Processor~ Patch Algorithms........................................................................... 29
TVA ............................................................................................................................................................29
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Wave Screen........................................................................................................................................ 29
OSC.............................................................................................................................................................29
VARI...........................................................................................................................................................29
TVA ............................................................................................................................................................29
Poly Pitch Shifter Screen ................................................................................................................... 30
OSC.............................................................................................................................................................30
PITCH / EQ GROWL / TVA / CTRL ..................................................................................................31
Effect Screen........................................................................................................................................ 32
Routing.......................................................................................................................................................32
MFX ............................................................................................................................................................33
CHO............................................................................................................................................................33
REV.............................................................................................................................................................33
Copying a Wave (WAVE Copy).............................................................................................................35
Moving a Wave (WAVE Move)..............................................................................................................35
Exchanging a Wave (WAVE Exchange)................................................................................................35
Deleting a Wave (WAVE Delete) ...........................................................................................................35
Saving the System Settings (Write)........................................................................................................36
Initializing the System Settings (Init) ....................................................................................................36
Viewing VC-2’s Information (Information)..........................................................................................37
Functions of System Parameters...................................................................................................... 37
Settings Common to the Entire System (Common) ............................................................................37
Controller Settings (Controller)..............................................................................................................39
Loading a Project from Disk (Load Project) ................................................................................... 40
MFX Parameters................................................................................................................................. 43
Chorus Parameters............................................................................................................................. 61
Reverb Parameters ............................................................................................................................. 62
Specifications.....................................................................................................68
MIDI Implementation..........................................................................................69
Index....................................................................................................................70
5
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Main Features
VC-2 “Vocal Designer” transforms the V-Synth XT into a cutting-edge vocal modeling processor. By playing a keyboard while
you speak into the mic, you can create beautiful and clearly intelligible human choruses as well as many other vocal-type sounds
with unprecedented quality.
• Human Vocal Modeling lets you produce extremely high-quality and musical sounds by connecting a mic and inputting
your voice while you play the keyboard (or receive note messages).
• Lyrics you input via the mic will be clearly intelligible. You can create beautiful choirs and pop music backup choruses that
reflect the dynamics and nuances of your voice and breathing. In addition to vintage-type vocoder sounds, you can create
new vocoder sounds that allow the lyrics to be intelligible.
• High-quality preset patches are provided for each algorithm.
• You can use the Auto Note function to extract pitch data from the mic input so that the VC-2 will generate sound without
you having to play the keyboard (or receive note messages).
• You can play choir/chorus sounds just from note data without having to provide mic input.
• Multi Chord Memory function lets you generate a full chorus with one finger simply by choosing a preset chord set.
• Use mic pre-effects such as equalizer, noise suppressor, and compressor, as well as three effects (reverb, chorus, multi-effect).
Conventions Used in This Manual
Operating buttons are enclosed by square brackets [ ]; e.g., [EXIT].
Reference pages are indicated by (p. **).
The following symbols are used.
This indicates an important note; be sure to read it.
This indicates a memo regarding the setting or function; read it as desired.
This indicates a useful hint for operation; read it as necessary.
This indicates information for your reference; read it as necessary.
6
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About the VC-2
Internal Structure
The VC-2 consists of a carrier section, a modulator section, a vocoder section, and an effects section.
• The carrier section generates the signal (timbre and pitch) that is the basis of the sound.
• The modulator section uses a mic input or wave to generate a signal from which the formant data (vocal character) is
extracted.
• The vocoder section extracts the formant data (vocal character) from the signal generated by the modulator, and
applies the formants to the signal that is generated by the carrier.
• The effects section provides multi-effects, chorus, and reverb.
Effects
MFX
Reverb
Chorus
Output
Carrier
Vocoder
MIC
Modulator
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About the VC-2
Keyboard group
Patch Algorithms
The VC-2 provides the following twelve patch algorithms.
Each of these algorithms optimizes the values of certain
parameters to make it easy for you to create a desired sound.
Keyboard Choir
Instead of the mic input, samples will be used to generate the
sound. You can add these samples. This creates the sound of a
choir (multiple vocal).
Modeling group
Keyboard Vocal
Instead of the mic input, samples will be used to generate the
sound. You can add these samples. This creates the sound of a
solo vocal.
Modeling Choir
This produces an extremely clear choir (multiple vocal) sound.
Modeling Vocal
Keyboard Analog
This produces an extremely clear solo vocal sound.
Instead of the mic input, samples will be used to generate the
sound. You can add these samples. This produces a sound
based on a synth wave.
Modeling Analog
This produces an extremely clear sound based on a synth
wave.
Processor group
Vocoder group
Processor Type 1
External input (the rear panel INPUT L) is used in addition to
the mic input. This produces an extremely clear sound.
Vocoder Choir
This produces a conventional vocoder sound using a choir
(multiple vocal).
* Any keyboard playing will be ignored.
Processor Type 2
Vocoder Solo
External input (the rear panel INPUT L) is used in addition to
the mic input. This produces a traditional vocoder sound.
This produces a conventional vocoder sound using a solo
vocal.
* Any keyboard playing will be ignored.
Vocoder Vintage
This produces a traditional vocoder sound based on a synth
wave.
Poly Pitch Shifter
Poly PShift
The vocal signal you input via the mic will be heard at the
pitch you specify from the keyboard.
8
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About the VC-2
Memory Structure
Project
The largest unit of memory used by the VC-2 is the project. A
project contains up to 448 patches, up to 127 waves, and
various system settings.
The VC-2 uses one project at a time.
Work Area/Temporary Area
When the VC-2 starts up, the project data is placed in
temporary memory called the work area.
The currently playable patch data is then further placed (from
the work area) into a location called the temporary area. This
means that even after editing a patch, you can return to the
unedited condition by once again recalling that patch.
Since patch data that you edit will disappear if you simply
turn off the power, you must save (PATCH Write) it if you
want to keep your changes.
You must save the project (DISK Save Project) after you
operate wave data in the Wave screen or the Wave Import
screen.
Internal Memory / PC Card
Normally, wave and patch data is written to, and read from
the internal memory / PC Card.
USB
If you connect the V-Synth XT to your computer via a USB
cable, projects data on an internal memory / PC Card can be
saved (backed up) to the hard disk or other media on your
computer.
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Panel Descriptions
Front Panel
1
2
14
15
3
4
8
9 10
11
13
5
POWER
16
6
12
17
7
* This instrument is equipped with balanced (XLR/TRS) type
jacks. Wiring diagrams for these jacks are shown below. Make
connections after first checking the wiring diagrams of other
1
INPUT
Adjusts the volume of the signal input through the MIC jacks
on the front panel.
equipment you intend to connect.
fig.XLR/TRSJack
* This does not affect the rear panel INPUT jacks.
2
VOLUME
Adjusts the overall volume that is output from the MAIN
OUT jacks and PHONES jack.
4
MIC Switch
3
This setting specifies the impedance and phantom power
supply for the mic jack.
This is a mic jack for analog audio signal input.
It accommodates either XLR type or phone type plugs.
XLR type connections can provide 48V phantom power,
allowing you to connect condenser mics that require phantom
power. In this case, turn the mic switch to “PHANTOM ON.”
Hi-Z
Choose the high impedance (Hi-Z) setting
if you’ve connected a high-impedance de-
vice such as a guitar or bass to the phone-
type input jack.
Choose the NORMAL setting if you’ve con-
nected a low impedance device such as a
mic to the phone-type input jack.
Choose this setting if you need to supply
phantom power to a mic connected to the
XLR-type input jack.
NORMAL
* The audio signal received via the MIC jack is switched on/off by
the MIC Jack Switch (p. 38).
PHANTOM
ON
10
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Panel Descriptions
* The MIC switch does not affect the rear panel INPUT jacks.
9
PREVIEW Button
* Always turn the phantom power off when connecting any
device other than condenser microphones that require phantom
power. You risk causing damage if you mistakenly supply
phantom power to dynamic microphones, audio playback
devices, or other devices that don’t require such power. Be sure
to check the specifications of any microphone you intend to use
by referring to the manual that came with it.
On the VC-2, this is used to turn the “Talk Switch function”
on/off.
When the “Talk Switch function” is on, the PREVIEW button
will blink, the audio output of the VC-2 (V-Synth XT) will
stop, and the audio input from the mic will be passed through
from MAIN OUT without change.
This is useful when you’re on stage and want to use the mic
connected to the VC-2 (V-Synth XT) to talk or make
announcements between songs.
(This instrument’s phantom power: 48 V DC, 10 mA Max)
5
USB Connector
* The Preview function is not used with the VC-2.
This is a USB connector. You can connect it to your personal
computer to send or receive files and MIDI messages.Audio
streaming is also supported.
10
KEY PAD Button
* The KEY PAD button is not used with the VC-2.
6
11
Numeric Key
[PEAK] (Peak Indicator)
Here you can register and recall your favorite patches.
This will light when the input volume is too high.
* This responds to either the front panel MIC jack or the rear
panel INPUT jacks.
[1]–[8]
• Use these buttons to select your favorite patches.
• By holding down the [0] button and pressing [1]–[8], you
can register the currently selected patch (including the
mic settings) as a favorite patch.
[MIDI] (MIDI indicator)
This will light when a MIDI message is received.
[USB] (USB indicator)
[BANK-], [BANK+]
This will light when the V-Synth XT is connected via USB.
• By holding down the [0] button and pressing [BANK-] or
[BANK+], you can switch between banks of the patch
palette.
7
PHONES Jack
This is the jack for connecting headphones (sold separately).
[0]
• The Patch Palette screen is displayed while you hold
down the [0] button.
8
V-CARD Button
* The [9] button is not used with the VC-2.
The Roland “V-Card” series software VC-1 and VC-2 are
preinstalled in the V-Synth XT. You can switch between V-
Synth/VC-1/VC-2 functionality simply by pressing the V-
Card button (p. 15).
12
LCD CONT (LCD CONTRAST) Knob
Adjusts the display contrast.
11
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Panel Descriptions
13
17
POWER Switch
Display
This displays information regarding the operation you are
Press to turn the power on/off.
performing.
14
E1–E8 knobs
These knobs control The Top Screen of Patch Mode (p. 16)
parameters in real time.
15
PC CARD Slot
A memory card can be inserted here.
16
VALUE Dial
This is used to modify values. If you hold down [SHIFT] as
you turn the VALUE dial, the value will change in greater
increments.
[MODE]
Opens the Mode Menu window.
[CTRL]
* The CTRL button is not used with the VC-2.
[EXIT]
Return to the Top screen, or close the currently open window. In
some screens, this causes the currently executing function to be
aborted.
[DEC], [INC]
This is used to modify values. 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.
[
], [ ], [ ], [ ] (Cursor Buttons)
Moves the cursor location up/down/left/right.
12
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Panel Descriptions
Rear Panel
1
2
3
4
5
6
1
4
AC Inlet
INPUT Jacks (L, R)
Connect the included power cord to this inlet.
An external audio source can be connected to these jacks for
external input.
If you’re playing a patch whose patch algorithm (p. 8) is
Processor Type 1 or Processor Type 2, connect an external
“INPUT L” jack, and input an audio signal.
2
DIGITAL AUDIO INTERFACE
Connector (OPTICAL IN/OUT, COAXIAL
IN/OUT)
(conforming to IEC60958).
These connectors output a digital audio signal (stereo). The
output signal is identical to the signal that is output from the
MAIN OUT jacks.
The “INPUT R” jack is not used with the VC-2.
* Connect your mic to the front panel MIC jack.
* The digital input connectors are not used with the VC-2.
* The audio signal received via the INPUT jacks can be switched
on/off by the INPUT Jack Switch (p. 38).
* The gain of the audio signal received via the INPUT jacks is
3
MIDI Connectors (IN, OUT, THRU)
adjusted by the INPUT Jack Gain (p. 38).
These connectors can be connected to other MIDI devices to
receive and transmit MIDI messages.
5
DIRECT OUT Jacks (L, R)
These jacks output the audio signal from the MIC jack before it
has passed through the pre-effect (p. 25). The L and R jacks
will output the same signal.
6
MAIN OUT Jacks (L (MONO), R)
These jacks output the audio signal to the connected mixer/
amplifier system in stereo. For mono output, use the L jack.
13
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Making connections
In order to use the VC-2, you’ll need to connect a mic and MIDI keyboard to the V-Synth XT as shown in the illustration
below.
V-Synth XT (Front Panel)
POWER
Microphone
MIC
If you’re playing a patch whose patch algorithm is Process Type 1 or Process
Type 2, connect an external audio source (e.g., keyboard or CD player) to the
V-Synth XT’s “INPUT L” jack, and input an audio signal.
OUT PUT
V-Synth XT (Rear Panel)
INPUT L
MAIN
OUT
MIDI IN
The “INPUT R”
jack is not used
with the VC-2.
MIDI OUT
to Power outlet
Power amp
MIDI Keyboard
Connect your mic to the front panel MIC jack.
Before you connect your mic, set the mic switch to the appropriate position for the type of mic you’re connecting.
• If your mic requires phantom power to be supplied via the XLR jack, use the “PHANTOM ON” setting.
• If your mic uses a phone plug or does not require phantom power, set the MIC Switch (p. 10) to the “NORMAL” setting.
* If you connect a mic, don’t select the “Hi-Z” setting of the MIC switch.
* The audio signal that is input from the MIC jack can be turned on/off by the MIC Jack Switch (p. 38). Be sure that this is turned on
when you’re using the mic.
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Starting up VC-2
1. Before turning on the V-Synth XT’s power, consider these two questions:
* Are all peripheral devices connected correctly?
* Have the volume controls of the V-Synth XT and all connected audio devices been turned to their lowest settings?
2. Turn on the POWER switch located on the front panel of the V-Synth XT.
fig.Q-02.e
ON
OFF
* When you turn on the power, the V-Card that was most recently started will start up.
3. After the V-Synth XT has started up, press the [V-CARD] button and touch “Vocal Designer” (VC-2) in
the screen that appears.
4. The VC-2 startup screen will appear.
* By holding down the [V-CARD] button while you turn on the power, you can take a shortcut to the above screen when the V-Synth XT
starts up.
When the VC-2 starts up, the top screen of Patch mode will appear first.
* Please be aware that in the screen shots printed in this manual, the patch names may differ from the factory settings.
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Try Out the Sound (Patch mode)
The Top Screen of Patch
Mode
Selecting a Patch
Selecting Patches with the VALUE dial
1. Press [MODE].
1. Access the top screen of Patch mode.
The VC-2 MODE MENU window appears.
2. Touch the patch number indication to highlight
2. Touch <PATCH>.
it.
The top screen appears.
3. Turn the VALUE dial or press [INC], [DEC].
You can switch more rapidly by holding down [SHIFT]
while you perform these operations.
Selecting Patches from the List
You can easily find the desired patch by selecting it from the
patch list.
* Please be aware that in the screen shots printed in this manual,
the patch names may differ from the factory settings.
1. Access the top screen of Patch mode.
2. Touch the patch algorithm indication located in
the upper left of the screen. Alternatively, touch
<▼MENU> in the upper right of the screen and
then touch <PATCH List> in the pulldown
menu.
When the VC-2 starts up, the top screen of Patch mode
will appear first.
The screen will depend on the patch algorithm (p. 8)
group.
The PATCH List window appears.
3. Select a patch from the list.
Either turn the VALUE dial or use [INC], [DEC] to select a
patch. You can also select a patch by touching it on the
display.
From the other screens of Patch mode, you can move to
the top screen by touching <Top> at the bottom of the
screen.
The on-screen keys have the following functions.
<P001–U192>: Change the buttons at both edges of the
screen to P001–U192.
<U193–U448>: Change the buttons at both edges of the
screen to U193–U448.
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Try Out the Sound (Patch mode)
<Algorithm>: Change the buttons at both edges of the
screen to Patch Algorithm.
Playing
< << >: Return to the preceding screen page.
< >> >: Advance to the next screen page.
1. Access the top screen of Patch mode. (p. 16)
4. Touch <OK> to select the patch.
2. Select a patch.
3. While you speak or sing into the mic, turn the
front panel INPUT LEVEL knob to adjust the
volume of the input from the front panel MIC
jack.
Using buttons to select patches
Any of the 64 patches in the
current patch bank can be selected
by entering the patch bank and
number using numeric keys [1]–
[8] on the front panel (Patch
Palette).
Adjust the volume so that the PEAK indicator does not
light.
If you want to make more detailed settings, touch <Mic
Setting> at the bottom of the screen to access the SYSTEM
MIC Setting screen (p. 24).
1. Access the top screen of
Patch mode.
2. Use NUMBER [1]–[8] to
4. Speak or sing into the mic while you play the
select a patch.
MIDI keyboard.
• You can hold down the [0] button and press [1]–[8] to
register the currently selected patch (including the mic
settings) as a favorite patch.
If you’re playing a patch whose patch algorithm (p. 8) is
Processor Type 1 or Processor Type 2, you won’t hear
the patch unless you input sound from an external device
connected to the rear panel INPUT L in addition to the
mic input.
• You can hold down the [0] button and use the
[BANK-][BANK+] buttons to switch between banks of
the patch palette.
3. The Patch Palette screen is displayed while you
hold down the [0] button.
If you’re playing a patch whose patch algorithm (p. 8) is
Keyboard~, you don’t need to speak or sing into the mic;
the patch will produce sound when you simply play the
keyboard.
Enabling or Disabling the
Beep Tone
You can specify whether or not a beep tone will be heard
when you touch a valid point on the touch screen. At the
factory setting, the beep tone will be sounded.
1. In the upper right of the screen, touch
<▼MENU>.
A pulldown menu appears.
2. In the pulldown menu, touch <Beep> to add a
check mark (✔).
With this setting, the beep tone will be heard. If you
perform the same procedure once again, the check mark
will be cleared and the beep tone will no longer be heard.
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Try Out the Sound (Patch mode)
Parameter
Value
Explanation
MIC Level
0–127
Adjusts the output level of the mic to the
vocoder.
Common to all patch algorithms
Carrier
Level
0–127
0–127
Adjusts the output level of the carrier to
the vocoder.
Parameter
Value
Explanation
Tempo
20.0–250.0
ON, OFF
Adjusts the tempo of the patch
Carrier
Release
Adjusts the release time of the carrier (the
time from when you release a key until the
sound disappears).
Chord
Memory
Switches the Multi Chord Memory
(one-finger chord) function on/off.
*
if you want to synchronize to an
external device, set Clock Source
your external device to transmit
clock messages. If you fail to do this,
chords will not play correctly.
Vocoder
Formant
Type
T00–
T15
Selects the type of vocoder formant.
Vocoder
Level
0–127
0–127
Adjusts the output level of the vocoder.
Vocoder
Natural
Voice
Adjusts the output level of the natural
voice (your own unprocessed voice).
Chord
Memory
Hold
ON, OFF
Switches the Chord Memory hold
on/off.
If the patch algorithm is Vocoder~
Parameter
Value
Explanation
Patch
—
Opens the PATCH List window.
(p. 16)
Algorithm
MIC Level
0–127
Adjusts the output level of the mic to the
vocoder.
Patch
Number
P001–P064,
U001–U448
Changes the patch number.
P indicates a preset patch, and U in-
dicates a user patch.
Carrier
Level
0–127
0–127
Adjusts the output level of the carrier to
the vocoder.
Effect
Chorus
0–127
0–127
Adjusts the output level of the cho-
rus.
Carrier Re-
lease
Adjusts the release time of the carrier (the
time from when you release a key until the
sound disappears).
Effect
Reverb
Adjusts the output level of the re-
verb.
Vocoder
Tone
0–127
0–127
0–127
Adjusts the tone (brightness) of the vocod-
er.
Vocoder
Level
Adjusts the output level of the vocoder.
Vocoder
Natural
Voice
Adjusts the output level of the natural
voice (your own unprocessed voice).
If the patch algorithm is Poly PShift
Parameter
Value
Explanation
MIC Level
0–127
Adjusts the output level of the mic to the
poly pitch shifter.
Poly Pitch
Shifter
0–127
0–127
Adjusts the TVA level of the poly pitch
shifter.
TVA Level
Poly Pitch
Shifter Re-
lease
Adjusts the release time of the poly pitch
shifter (the time from when you release a
key until the sound disappears).
Poly Pitch
Shifter For-
mant Style
S00–
S10
Selects the formant style of the poly pitch
shifter.
Poly Pitch
Shifter Lev-
el
0–127
0–127
Adjusts the output level of the poly pitch
shifter.
Poly Pitch
Shifter Nat-
ural Voice
Adjusts the output level of the natural
voice (your own unprocessed voice).
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Try Out the Sound (Patch mode)
If the patch algorithm is Keyboard~
Parameter
Value
Explanation
Wave Level
0–127
Adjusts the output level of the wave to the
vocoder.
Carrier
Level
0–127
0–127
Adjusts the output level of the carrier to
the vocoder.
Carrier Re-
lease
Adjusts the release time of the carrier (the
time from when you release a key until the
sound disappears).
Vocoder
Formant
Type
T00–
T15
Selects the type of vocoder formant.
Vocoder
Level
0–127
0–127
Adjusts the output level of the vocoder.
Vocoder
Natural
Voice
Adjusts the output level of the natural
voice (unprocessed sound of the wave).
If the patch algorithm is Processor Type 1
Parameter
Value
Explanation
MIC Level
0–127
Adjusts the output level of the mic to the
vocoder.
Carrier
Level
0–127
Adjusts the output level of the carrier to
the vocoder.
Vocoder
Formant
Type
T00–
T15
Selects the type of vocoder formant.
Vocoder
Level
0–127
0–127
Adjusts the output level of the vocoder.
Vocoder
Natural
Voice
Adjusts the output level of the natural
voice (your own unprocessed voice).
If the patch algorithm is Processor Type 2
Parameter
Value
Explanation
MIC Level
0–127
Adjusts the output level of the mic to the
vocoder.
Carrier
Level
0–127
0–127
0–127
0–127
Adjusts the output level of the carrier to
the vocoder.
Vocoder
Tone
Adjusts the tone (brightness) of the vocod-
er.
Vocoder
Level
Adjusts the output level of the vocoder.
Vocoder
Natural
Voice
Adjusts the output level of the natural
voice (your own unprocessed voice).
19
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Creating/Editing Patches (Patch mode)
7. When editing a parameter that requires you to
Creating Patches
On the VC-2, you don’t need to create patches from scratch,
specify a value, move the cursor to the value
box of that parameter. Then modify the value by
either turning the VALUE dial or pressing [INC]
you can start with an existing patch; i.e., by selecting a patch
or [DEC]. You can also modify a value by
dragging over the touch screen.
algorithm.
1. Decide on the algorithm (p. 8) for the patch you
8. Repeat steps 4–7 to make the settings for the
want to create.
System function.
2. Choose an existing patch that uses that
algorithm.
Changing the Pitch (PATCH Tune)
3. Assign a new name to that patch, and save it at
a different patch number (p. 22).
4. Edit the patch you copied.
Patches whose patch algorithm is Processor~ do not
have this menu.
Basic Procedure for Patch
Editing
1. Touch <▼MENU> in the upper right of the
screen.
A pulldown menu appears.
1. Press [MODE].
2. In the pulldown menu, touch <PATCH Tune>.
The VC-2 MODE MENU window appears.
The PATCH Tune screen appears.
2. Touch <PATCH>.
3. Edit the parameter values.
The top screen appears.
Parameter
Value
Explanation
Coarse
(Patch
Coarse
Tune)
-48–
+48
Adjusts the pitch of the patch’s
sound up or down in semitone steps
(+/-4 octaves).
When the VC-2 starts up, the top screen of Patch mode
will appear first.
Fine
(Patch Fine
Tune)
-50–
+50
Adjusts the pitch of the patch’s
sound up or down in 1-cent steps
(+/-50 cents).
3. Select the patch you want to edit. (p. 16)
*
One-cent is 1/100th of a semitone.
4. Touch one of the buttons at the bottom of the
screen to select the edit group containing the
parameters you want to set.
Scale Tune
(Scale Tune
Switch)
OFF,
ON
Turn this on when you wish to use a
tuning scale other than equal tem-
perament. The VC-2 allows you to
play the keyboard using tempera-
ments other than equal tempera-
ment. The pitch is specified in one-
cent units relative to the equal tem-
pered pitch.
The parameters are organized into several editing
groups.
5. Touch one of the tabs in the left of the screen to
C–B
(Patch
Scale Tune)
-100–
+100
Make scale tune settings.
select the desired editing screen.
6. In each editing screen, touch the touch screen
4. Touch <Exit> to exit the screen.
to set the parameters.
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Creating/Editing Patches (Patch mode)
possible loss of sound data or system settings.
To transmit data to an external MIDI device, connect the
external MIDI device and V-Synth XT as shown in the
Equal Temperament
This tuning divides the octave into 12 equal parts, and is
the most widely used method of temperament used in
Western music. The VC-2 employs equal temperament
when the Scale Tune Switch is set to “OFF.”
diagram.
fig.08-01.e
MIDI IN
Just Temperament (Tonic of C)
Compared with equal temperament, the principle triads
sound pure in this tuning. However, this effect is
achieved only in one key, and the triads will become
ambiguous if you transpose.
MIDI Sequencer
MIDI OUT
Arabian Scale
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 VC-2, you can use Arabian temperament in the three
keys of G, C and F.
POWER
V-Synth XT
<Example>
1. Touch <▼MENU> in the upper right of the
screen.
Note name
Equal tem-
perament
Just Tem-
perament
(tonic C)
Arabian
Scale
A pulldown menu appears.
C
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
C#
D
-8
+45
-2
2. In the pulldown menu, touch <Data Transfer>.
+4
+16
-14
-2
The Data Transfer window appears.
Eb
E
-12
-51
-8
3. In “Source,” select the type of data that you
F
want to transmit.
F#
G
-10
+2
+14
-16
+14
-12
+43
-4
<ALL>: Patch, setup, mic setting, system
<SETUP+MIC Sets>: Setup and mic setting
<SYSTEM>: System
G#
A
+47
0
Bb
B
-10
-49
<PATCH>: Patch
If you selected <PATCH>, specify the patch that is to be
sent.
<WORK>: Transmit user patches.
Transmitting Data to an External
MIDI Device (Data Transfer)
Use the “FROM” - “TO” fields to specify the range of
patch numbers (U001-U448) that will be transmit.
<TEMP>: Transmit patch from the temporary area.
Patch, setup and system settings will be transmitted to an
external MIDI device. This operation is called bulk dump. Use
this operation when you want to connect another VC-2 (V-
Synth XT) and play it using the same settings, or to save your
data on an external MIDI device as a precaution against
21
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Creating/Editing Patches (Patch mode)
4. Set the external MIDI device so that it will be
ready to receive data, and touch <Execute> to
execute data transmission.
Saving Patches (PATCH Write)
Changes you make to sound settings are temporary, and will
be lost if you turn off the power or select another sound. If you
want to keep the modified sound, you must save it.
If you edit a patch, the message “EDITED” appears in the
upper left of the screen. Once you save the patch, the
“EDITED” indication goes away.
While the data is being transmitted, the display will
indicate “Transmitting...” When “COMPLETED!” is
displayed, the transmission has been completed.
To halt during transmission, touch <ABORT>.
When you perform the save procedure, the data that
previously occupied the save destination will be lost.
Naming a Patch (PATCH Name)
Before you save the patch, here’s how to give it a new name.
1. Make sure that the patch you wish to save is
1. Make sure that the patch that you want to name
selected.
is selected.
2. Touch <▼MENU> in the upper right of the
screen.
2. Touch <▼MENU> in the upper right of the
screen.
A pulldown menu appears.
A pulldown menu appears.
3. In the pulldown menu, touch <PATCH Write>.
3. In the pulldown menu, touch <PATCH Name>.
The PATCH Write window appears.
The PATCH Name window appears.
4. Turn the VALUE dial to specify the save-
4. Touch the on-screen alphabetic or numeric
destination patch.
keys to enter the new name in the text box.
You can touch <ReName> and rename the save-source
patch.
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired
input location.
By touching <Compare> you can check the save-
destination patch (Compare function).
<SHIFT>: Turn this on when you want to input
uppercase letters or symbols.
5. Touch <Execute> to execute the Save
operation.
<Insert>: Turn this on when you want to insert a
character at the cursor location.
Auditioning the Save-Destination
Patch (Compare)
Before you save a patch, you can audition the patch which
currently occupies the save destination to make sure that it is
one you don’t mind overwriting. This can help prevent
important patches from being accidentally overwritten and
lost.
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor
location.
You can also move the input location cursor by pressing
the [ ][ ] cursor buttons. Pressing [
the character at the cursor location to uppercase, and
pressing [ ] will change it to lowercase.
] will change
1. Follow the procedure in “Saving Patches
(PATCH Write)” through step 4 to select the
save destination.
5. When you have finished inputting, touch <OK>
to finalize the patch name.
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Creating/Editing Patches (Patch mode)
2. Touch <Compare> to turn it on.
Now you can play the patch that is in the currently
selected save destination.
The controller settings shown in the Source field will be
copied. This will depend on the patch algorithm. If the
patches in the Source field and Destination field use
different algorithms, only the settings they have in
common will be copied.
3. Play the save-destination patch to make sure
that it’s one you don’t mind overwriting.
5. Touch <Execute> to execute the Copy
The patch auditioned using the Compare function may
sound slightly different than when it is played normally.
operation.
4. If you wish to change the save destination, re-
specify the save-destination patch by using the
VALUE dial.
Deleting Patches (PATCH Delete)
1. Make sure that the patch you wish to delete is
selected.
5. Touch <Execute> to execute the Save
2. Touch <▼MENU> in the upper right of the
screen.
operation.
A pulldown menu appears.
Copying Patch Controller Settings
(Patch Controller Copy)
3. In the pulldown menu, touch <PATCH Delete>.
The PATCH Delete List window appears.
1. Make sure that you’ve selected the patch with
4. From the list, select the patch that you want to
the controller settings you want to copy.
delete.
2. Touch <▼MENU> in the upper right of the
screen.
Either turn the VALUE dial or use [INC][DEC] to select a
patch. You can also select a patch by touching it on the
display.
A pulldown menu appears.
The on-screen keys have the following functions.
<P001-U192>: Change the buttons at both edges of the
screen to P001-U192.
3. In the pulldown menu, touch <PATCH Ctrl>.
The Patch Controller Copy window appears.
4. Turn the VALUE dial to select the copy
<U193-U448>: Change the buttons at both edges of the
screen to U193-U448.
destination.
If you select the same user patch for both FROM and TO
of the Destination, only that patch will be copied.
<Algorithm>: Change the buttons at both edges of the
screen to Patch Algorithm.
If you select different user patches for FROM and TO of
the Destination, the patches in that range will be copied.
< << >: Return to the preceding screen page.
< >> >: Advance to the next screen page.
5. Touch <Execute> to execute the Delete
operation.
The copy operation will not be carried out if the copy-
destination patch is “INITPATCH.”
You can’t delete preset patches.
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Creating/Editing Patches (Patch mode)
Selecting a Patch from a List
(PATCH List)
Patches whose patch algorithm is Keyboard~ do not
have this screen.
Switching the Mic Setting
You can also access the PATCH List window from the top
screen of Patch mode by touching the patch algorithm in
the upper left of the screen.
The VC-2 can store eight mic settings.
In the upper right of the screen, touch <▼MENU> to access
the pulldown menu, and choose one of the eight templates.
1. Touch <▼MENU> in the upper right of the
screen.
Note that when you change the parameter values, the mic
settings will also change (and be saved automatically).
A pulldown menu appears.
2. In the pulldown menu, touch <PATCH List>.
The PATCH List window appears.
Naming a Mic Setting (Setting Name)
3. Select a patch from the list.
You can assign a new name to a mic setting.
Either turn the VALUE dial or use [INC][DEC] to select a
patch. You can also select a patch by touching it on the
display.
1. Touch <▼MENU> in the upper right of the
screen.
The on-screen keys have the following functions.
<P001-U192>: Change the buttons at both edges of the
screen to P001-U192.
A pulldown menu appears.
2. In the pulldown menu, touch <Setting Name>.
The MIC Setting Name screen appears.
<U193-U448>: Change the buttons at both edges of the
screen to U193-U448.
3. Touch the on-screen alphabetic or numeric
<Algorithm>: Change the buttons at both edges of the
screen to Patch Algorithm.
keys to enter the new name in the text box.
The on-screen keys have the following functions.
<←><→>: Move the cursor in the text box to the desired
input location.
< << >: Return to the preceding screen page.
< >> >: Advance to the next screen page.
<SHIFT>: Turn this on when you want to input
uppercase letters or symbols.
<Insert>: Turn this on when you want to insert a
character at the cursor location.
Top Screen
<Clear>: Erases all characters in the text box.
<Delete>: Deletes the character at the cursor location.
<Back>: Deletes the character that precedes the cursor
location.
You can go to the top screen by touching <Top> in the lower
part of the screen.
For details, refer to Parameters in the Top Screen (p.
18).
You can also move the input location cursor by pressing
the [ ][ ] cursor buttons. Pressing [
the character at the cursor location to uppercase, and
pressing [ ] will change it to lowercase.
] will change
SYSTEM MIC Setting Screen
You can go to the top screen by touching <Mic Setting> in the
lower part of the screen.
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Creating/Editing Patches (Patch mode)
4. When you have finished inputting, touch <OK>
Parameter
Value
Explanation
EQ
HIGH
Freq
2000, 4000, 5000, 6300,
8000, 10000, 12500,
16000, 20000 Hz
Selectsthefrequency
of the high range.
to finalize the mic setting name.
PRE-EFX Type (Pre-Effect Types)
Gain
-15– +15 dB
Adjusts the gain of
the high frequency.
Positive (+) settings
will emphasize the
high-frequency
range.
There are three pre-effects: compressor, limiter, and noise
suppressor. By using these you can adjust the level of the
sound being sampled.
MIC LEVEL
0–127
Adjusts the volume
of the mic.
Noise suppressor: This effect leaves the original sound
untouched, but mutes the noise that is heard during periods of
silence.
*
This is linked with
MIC Level in the
top screen.
Compressor: By reducing high levels and raising low levels,
this effect smoothes out unevenness in volume.
Limiter: By compressing sounds that exceed a specified
volume level, this effect prevents the sound from distorting.
NS-COMP
Compressor and noise suppressor settings can be made.
OFF
For the parameters of the three-band equalizer, refer to
the explanation of OFF.
No pre-effect will be used.
NOISE SUPRESSOR
EQ LOW/MID/HIGH (Three-band equalizer)
Parameter
Value
Explanation
Parameter
Value
Explanation
Thres
(Threshold
Level)
-60–0 dB
Specifies the level at which the noise
suppressor will begin to operate. When
the signal falls below the specified lev-
el, it will be muted.
EQ
Freq
50, 63, 80, 100, 125, 160,
200, 250, 315, 400, 500,
630, 800, 1000, 1250,
1600, 2000, 2500, 3150,
4000 Hz
Selectsthefrequency
of the low range.
LOW
Release
(Release
Time)
0–127
Specifies the time from when the noise
suppressor begins to operate until the
volume reaches 0.
Gain
-15– +15 dB
Adjusts the gain of
the low frequency.
Positive (+) settings
will emphasize the
low-frequency
COMPRESSOR
range.
Parameter
Value
Explanation
EQ
MID
Freq
50, 63, 80, 100, 125, 160,
200, 250, 315, 400, 500,
630, 800, 1000, 1250,
1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000,
10000, 12500, 16000,
20000 Hz
Selectsthefrequency
of the middle range.
Gain
0–127
0–127
Adjusts the output gain.
Attack (At-
tack Time)
Specifies the attack time of the input
sound.
Release
(Release
Time)
0–127
0–127
Specifies the time from when the compres-
sor begins to operate until the volume
reaches 0.
Q
0.3, 0.4, 0.6, 0.8, 1.0, 1.5,
2.0, 2.5. 3.0, 3.5, 4.0, 5.0,
6.0, 7.0, 8.0, 10.0, 12.0,
14.0, 16.0, 18.0, 20.0
Adjusts the width of
themiddlerange. Set
a higher value for Q
to narrow the range
to be affected.
Level (Out-
put Level)
Adjusts the volume of the mic.
This is linked with MIC Level in the top
screen.
*
Gain
-15– +15 dB
Adjusts the gain of
the middle range.
Positive (+) settings
will emphasize the
middle range.
NS-LIMIT
Limiter and noise suppressor settings can be made.
For the parameters of the three-band equalizer, refer to
the explanation of OFF.
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Creating/Editing Patches (Patch mode)
For the parameters of the noise supressor, refer to the
The carrier screen will be different if the patch algorithm
is Processor~. Refer to “Carrier Screen for Processor~
Patch Algorithms” (p. 29).
explanation of NS-COMP.
LIMITER
OSC
Parameter
Value
Explanation
Thres
(Threshold
Level)
-40–
0 dB
Specifies the level (threshold level) at
which the limiter will begin to function.
OSC 1/OSC 2
The following parameters will be displayed if the oscillator
Attack (At-
tack Time)
0–127
0–127
Specifies the time from when the input
level exceeds the threshold level until the
limiter begins to operate.
type is Analog.
Release
(Release
Time)
Specifies the time from when the input
level drops below the threshold level until
the limiter turns off.
Parameter
Value
Explanation
Wave
—
Selects the wave.
*
The available waves will depend on the
patch algorithm.
Ratio
2:1–
INF:1
Specifies the compression ratio.
Level
Pan
0–127
Adjusts the output volume.
Level (Out-
put Level)
0–127
Adjusts the volume of the mic.
L64–
0–63R
Specifies the pan of the patch. “L64” is far
left, “0” is center, and “63R” is far right.
*
screen.
Pulse
Width
-63–
+63
Specifies the amount by which the wave
shape will be modified.
SubOSC
OFF,
-2,
The same wave will be layered.
OFF: No sound.
-2: The second wave will sound two oc-
taves below.
NOISE SUP
Noise suppressor settings can be made.
-1,
0
-1: The second wave will sound one octave
below.
0: The second wave will sound at the same
pitch.
For the parameters of the three-band equalizer, refer to
the explanation of OFF. (p. 25)
SubLvl
Detune
0–127
Specifies the output volume of the second
wave.
-63–
+63
Specifies the amount of detuning for the
second wave.
NOISE SUPRESSOR
Parameter
Value
Explanation
Thres
(Threshold
Level)
-60–0 dB
Specifies the level at which the noise
suppressor will begin to operate. When
the signal falls below the specified lev-
el, it will be muted.
The following parameters will be displayed if the oscillator
type is PCM.
Parameter
Value
Explanation
Release
(Release
Time)
0–127
0–127
Specifies the time from when the noise
suppressor begins to operate until the
volume reaches 0.
Wave
—
Selects the wave.
*
The available waves will depend on the
patch algorithm.
Level (Out-
put Level)
Adjusts the volume of the mic.
Level
Pan
0–127
Adjusts the output volume.
*
This is linked with MIC Level in the top
screen.
L64–
0–63R
Specifies the pan of the patch. “L64” is far
left, “0” is center, and “63R” is far right.
Offset
0–15
Adjusts the precise point at which the
wave is to begin sounding.
Carrier Screen
You can go to the top screen by touching <Carrier> in the
lower part of the screen.
Patches whose patch algorithm is Poly PShift do not
have this screen.
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Creating/Editing Patches (Patch mode)
PITCH
EQ GROWL
OSC1 PITCH
EQUALIZER
Parameter
Value
Explanation
Mid 1/Mid 2
OctShift
(Octave
Shift)
-4– +4
Adjusts the pitch of the OSC1’s sound up
or down in units of an octave (+/-4 oc-
taves).
Parameter
Value
Explanation
Freq
50, 63, 80, 100, 125,
160, 200, 250, 315,
400, 500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000, 10000, 12500,
16000, 20000 Hz
Selects the frequency of the
middle range.
OSC2 PITCH
Parameter
Value
Explanation
Coarse
(Coarse
Tune)
-48–
+48
Adjusts the pitch of the oscillator up or
down in semitone steps (+/-4 octaves).
Q
0.5, 0.7, 1.0, 2.0, 4.0,
8.0
Adjusts the width of the mid-
dle range. Set a higher value
for Q to narrow the range to
be affected.
Fine
(Fine Tune)
-50–
+50
Adjusts the pitch of the oscillator up or
down in 1-cent steps (+/-50 cents).
PitchKF
(Pitch Key
Follow)
-200–
+200
This specifies the amount of pitch
change that will occur when you play a
key one octave higher (i.e., 12 keys up-
ward on the keyboard).
If you want the pitch to rise one octave
as on a conventional keyboard, set this
to “+100.” If you want the pitch to rise
two octaves, set this to “+200.” Con-
versely, set this to a negative value if you
want the pitch to fall. With a setting of
“0,” all keys will produce the same pitch.
Gain
-15– +15 dB
Adjusts the gain of the mid-
dle range. Positive (+) set-
tings will emphasize the
middle range.
GROWL
Parameter
Value
Explanation
Switches growl on/off.
GrowlSw
OFF,
ON
Intensity
0–127
Adjusts the intensity of modulation.
GLIDE
Parameter
ModDepth
-63–
+63
Adjusts the intensity of modulation by the
controller assigned by Controller (p. 31).
Value
Explanation
Speed
0–127
Adjusts the speed of modulation.
Time
0–127
Specifies the time over which the pitch is
to change.
ModDepth
-63–
+63
Adjusts the speed of modulation by the
controller assigned by Controller (p. 31).
OSC1/2
Depth
-63–
+63
Specifies the amount of pitch change that
is to occur.
TVA
VIBRATO
Parameter
Value
Explanation
Type
NORMAL,
FEMALE1,
FEMALE2,
MALE
Selects the type of vibrato.
Level
Parameter
Value
Explanation
Level
0–127
Specifies the volume of the patch.
Rate
0–127
Adjusts the vibrato speed.
LevelKF
(Level Key
Follow)
-200–
+200
Use this parameter if you want the volume
of the patch to change according to the key
that is pressed. Relative to the volume at
the C5 key (center C), positive (+) settings
will cause the volume to rise for notes
higher than C5, and negative (-) settings
will cause the volume to fall for notes
higher than C4. Larger settings will pro-
duce greater change.
OSC1/2
Depth
-63– +63
Adjusts the depth of the vibrato ap-
plied to OSC1 or OSC2.
OSC1/2
ModDepth
-63– +63
Adjusts the depth of the vibrato that
is applied to OSC1 or OSC2 by the
controller assigned by Controller (p.
31).
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Creating/Editing Patches (Patch mode)
Parameter
Value
Explanation
VeloSens
-63–
+63
Keyboard playing dynamics can be used
to control the volume of the patch. If you
want the volume to have more effect for
strongly played notes, set this parameter
to a positive (+) value. If you want the vol-
ume to have less effect for strongly played
notes, set this to a negative (-) value.
CTRL (controller)
KEY ASSIGN
Parameter
Value
Explanation
Mono/
Poly
MONO,
POLY
Specifies whether the patch will play
monophonically or polyphonically.
The monophonic setting is effective
when playing a solo instrument patch
such as sax or flute.
LevelMod-
Depth
-63–
+63
Adjusts the volume of the patch by the
controller assigned by Controller (p. 31).
MONO: Only the last-played note will
sound.
Pan
POLY: Two or more notes can be
played simultaneously.
Parameter
Value
Explanation
Pan
L64–
0–63R
Specifies the pan of the patch. “L64” is far
left, “0” is center, and “63R” is far right.
LegatoSw
OFF, ON
Legato is valid when the Mono/Poly
parameter is set to monophonic. This
setting specifies whether the Legato
function will be used (ON) or not
(OFF).
With the Legato Switch parameter
“ON,” pressing a key while continuing
to press a previous key causes the note
to change pitch to the pitch of the most
recently pressed key, sounding all the
while. This creates a smooth transition
between notes, which is effective when
you wish to simulate the hammering-
on and pulling-off techniques used by a
guitarist.
PanKF
(Pan Key
Follow)
-200–
+200
Use this parameter if you want key posi-
tion to affect panning. Positive (+) settings
will cause notes higher than C5 key (cen-
ter C) to be panned increasingly further to-
ward the right, and negative (-) settings
will cause notes higher than C5 key (cen-
ter C) to be panned toward the left. Larger
settings will produce greater change.
PanMod-
Depth
-63–
+63
Adjusts the pan of the patch by the con-
troller assigned by Controller (p. 31).
Attack
Parameter
Value
Explanation
Time
0–127
Specifies the attack time of the envelope
(the time from when you press a key until
the envelope level reaches the maximum
value).
PORTAMENTO
Portamento is an effect which smoothly changes the pitch
from the first-played key to the next-played key. By applying
portamento when the Mono/Poly parameter is monophonic,
you can simulate slide performance techniques on a violin or
similar instrument.
VeloSens
-63–
+63
This allows keyboard dynamics to affect
the attack time of the envelope. If you
want attack time to be speeded up for
strongly played notes, set this parameter
to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) val-
ue.
Parameter
Value
Explanation
PortaSw
OFF,
ON
Specifies whether portamento will
be applied (ON) or not (OFF).
Mode
NORMAL,
LEGATO
Specifiestheperformanceconditions
for which portamento will be ap-
plied.
NORMAL: Portamento will always
be applied.
LEGATO: Portamento will be ap-
plied only when you play legato (i.e.,
when you press the next key before
releasing the previous key).
Release
Parameter
Value
Explanation
Time
0–127
Specifies the release time of the envelope
(the time from when you release a key un-
til the envelope level reaches 0).
Type
RATE,
TIME
Specifies the type of portamento ef-
fect.
RATE: The time it takes will depend
on the distance between the two
pitches.
TIME: The time it takes will be con-
stant, regardless of how far apart in
pitch the notes are.
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Creating/Editing Patches (Patch mode)
Parameter
Value
Explanation
Time
0–127
When portamento is used, this spec-
ifies the time over which the pitch
will change. Higher settings will
cause the pitch change to the next
note to take more time.
Wave Screen
In the case of a patch whose patch algorithm is Keyboard~,
you can access the Wave screen by touching <Wave> in the
lower part of the screen.
BENDER
Parameter
Value
Explanation
OSC
Range
0–48
Specifies the degree of pitch change in
semitones when the Pitch Bend lever is all
the way left/right. For example if this is
set to “48” and you move the pitch bend
lever all the way to the left, the pitch will
fall 4 octaves. If this parameter is set to
“12,” the pitch will rise one octave when
the pitch bend lever is moved to the right-
most position.
WAVE
Parameter
Value
Explanation
Wave
—
Selects a preset or imported wave.
Tempo
Sync
OFF,
ON
Specifies whether the wave will be
sounded in sync with the tempo
clock (ON) or not (OFF).
Key Mode
NORMAL,
ALWAYS
NORMAL: Begin sounding when
you press a key, and stop sounding
when you release the key.
Carrier Screen for Processor~
Patch Algorithms
ALWAYS: Begin sounding when
you first press a key, and continue
sounding.
TVA
VARI
Level
Parameter
Parameter
Value
Explanation
Adjusts the pitch.
Value
Explanation
Pitch
-63–
+63
Level
0–127
Specifies the volume of the patch.
ModDepth
-63–
+63
Adjusts the volume of the patch by the
ModDepth
Time
-63–
+63
controller assigned by Controller (p. 31).
-63–
+63
This sets the range of change in playback
speed (time).
Pan
Parameter
ModDepth
-63–
+63
Adjust the range of change in playback
speed using the controller assigned by
Controller (p. 31).
Value
Explanation
Pan
L64–
0–63R
Specifies the pan of the patch. “L64” is
far left, “0” is center, and “63R” is far
right.
Formant
-63–
+63
This sets the range of change in vocal qual-
ity (formant).
ModDepth
-63–
+63
Adjust the range of change in vocal quali-
ty using the controller assigned by Con-
troller (p. 31).
ModDepth
-63–
+63
Adjusts the pan of the patch by the con-
troller assigned by Controller (p. 31).
TVA
Parameter
Level
Value
Explanation
0–127
Specifies the volume of the wave.
ModDepth
-63–
+63
Adjust the volume of the wave using the
controller assigned by Controller (p. 31).
29
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Creating/Editing Patches (Patch mode)
Formant
Vocoder Screen
* This parameter is not available if the patch algorithm is
Vocoder~ or Processor Type 2.
You can go to the top screen by touching <Vocoder> in the
Parameter
Value
Explanation
lower part of the screen.
Type
00: FLAT–
15: STFEM2
Selects the type of formant.
Patches whose patch algorithm is Poly PShift do not
TONE
have this screen.
* This parameter is not available if the patch algorithm is
Vocoder~ or Processor Type 2.
Parameter
Value
Explanation
VOCODER
Tone
0–127
Adjusts the brightness of the sound.
Parameter
Value
0–127
0–100
Explanation
Level
Adjusts the output level of the vocoder.
Adjusts the attack time of the vocoder.
Atk
Hold Dump
Parameter
*
algorithm is Vocoder~ or Processor
Type 2.
Value
Explanation
Time
0–127
Specifies the time from when the hold
pedal is pressed to fix the tonal character
from INPUT until that sound disappears.
Rel
0–100
Specifies the time from when the vocoder
begins to operate until the volume reaches
0.
*
This parameter is not available if the patch
algorithm is Vocoder~ or Processor
Type 2.
AutoNoteSw
LevelMod-
Depth
-63–
+63
Adjust the output level of the vocoder us-
ing the controller assigned by Controller
(p. 31).
* This parameter is not available if the patch algorithm is
Keyboard~ or Processor~.
If this is on, the pitch from the mic input will be detected,
allowing you to play the VC-2 without having to play the
keyboard (i.e., without inputting note data).
NATURAL VOICE
Parameter
Value
Explanation
Level
0–127
Specifies the output level of the natural
voice (your unprocessed voice, or the orig-
inal sound of the wave for Keyboard~
patch algorithms).
Poly Pitch Shifter Screen
In the case of a patch whose patch algorithm is Poly PShift,
you can access the Wave screen by touching <Poly Pitch
Shifter> in the lower part of the screen.
RevSend
0–127
Adjusts the reverb send level.
LevelMod-
Depth
-63–
+63
Adjust the output level of the natural
voice using the controller assigned by
Controller (p. 31).
OSC
UNVOICE
* This parameter is not available if the patch algorithm is
Vocoder~ or Processor Type 2.
OSC 1/OSC 2
Parameter
Value
Explanation
Parameter
Value
Explanation
Level
0–127
Specifies the amount of the detected un-
voiced consonants that will be mixed into
the output of the vocoder.
Formant
Style
00: FLAT–
10: IMPROV
Selects the style of vocal character
(formant).
Formant
-63– +63
Adjusts the width of formant
change.
Detect
1–50
Adjusts the sensitivity at which unvoiced
consonants are detected.
Level
Pan
0–127
Adjusts the output volume.
L64–0–63R
Specifies the pan of the patch. “L64”
is far left, “0” is center, and “63R” is
far right.
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Creating/Editing Patches (Patch mode)
Parameter
Value
Explanation
FmtKF
-200– +200
Specifies the amount by which the
formant value will be affected by
the key you play.
Controller
Select the controller used by ModDepth or ~ModDepth.
OSC 2
switch
OFF,
ON
POLY PITCH SHIFTER
Parameters marked by * will not function since the
V-Synth XT (rack-mount) does not have the
corresponding controller. They will function if you
connect the V-Synth (keyboard) to the V-Synth XT as
an external MIDI controller.
Parameter
Value
Explanation
Level
0–127
Adjusts the output level of the poly pitch
shifter.
ModDepth
-63–
+63
Adjust the output level of the poly pitch
shifter using the controller assigned by
Controller (p. 31).
OFF: Control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
BEND: Pitch Bend, AFT: Aftertouch
+PAD-X*: The center of the time trip pad is 0; toward the
right is +, and toward the left is -
+PAD-Y*: The center of the time trip pad is 0; upward is
+, and downward is -
NATURAL VOICE
Parameter
Value
Explanation
Level
0–127
Adjusts the output level of the natural
voice (your own unprocessed voice).
RevSend
0–127
Adjusts the reverb send level.
ModDepth
-63–
+63
Adjust the output level of the natural
voice using the controller assigned by
Controller (p. 31).
PAD-X*: The left edge of the time trip pad is 0; toward the
right is +
PAD-Y*: The bottom edge of the time trip pad is 0;
upward is +
UNVOICE
Parameter
TRIP-R*: The outer edge of the time trip pad is 0; toward
the center is +
Value
Explanation
Level
0–127
Specifies the amount of the detected un-
voiced consonants that will be mixed into
BEAM-L*: D Beam controller (left)
BEAM-R*: D Beam controller (right)
KNOB1*: C1 knob
Detect
1–50
consonants are detected.
KNOB2*: C2 knob
VELO: Velocity
PITCH / EQ GROWL / TVA / CTRL
KEYF: Key Follow
* VELO and KEYF do not exist in the wave screen
Controller or for patches whose patch algorithm is
Processor~.
Refer to PITCH (p. 27), EQ GROWL (p. 27), TVA (p. 27),
and CTRL (p. 28) in the “Carrier Screen.”
BREATH: Volume of the mic input → Breath (p. 39)
AutoNoteSw
If this is on, the pitch from the mic input will be detected,
allowing you to play the VC-2 without having to play the
keyboard (i.e., without inputting note data).
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Creating/Editing Patches (Patch mode)
CHO Type (Chorus Type)
Use this parameter to select from among the 8 available
chorus. For details on chorus parameters, refer to “Chorus
Parameters” (p. 61).
Effect Screen
You can go to the top screen by touching <Effect> in the
Value: 00 (Off)–08
lower part of the screen.
CHO Master Level (Chorus Master Level)
Routing
Adjusts the volume of the sound that has passed through
chorus.
Value: 0–127
Switches MFX on and off.
CHO To REV (Chorus Reverb Send Level)
Value:
(OFF),
(ON)
Adjusts the amount of reverb for the sound that passes
through chorus. If you don’t want to add the Reverb effect, set
MFX Type
it to “0.”
Use this parameter to select from among the 41 available MFX.
Value: 0–127
For details on MFX parameters, refer to “MFX Parameters”
(p. 43).
Value: 00 (Thru)–41
Switches reverb on and off.
MFX Master Level
Value:
(OFF),
(ON)
Adjusts the volume of the sound that has passed through the
MFX.
REV Type (Reverb Type)
Value: 0–127
Use this parameter to select from among the 14 available
reverb. For details on reverb parameters, refer to “Reverb
Parameters” (p. 62).
MFX To CHO (MFX Chorus Send Level)
Adjusts the amount of chorus for the sound that passes
Value: 00 (Off)–14
through MFX. If you don’t want to add the Chorus effect, set it
to “0.”
REV Master Level (Reverb Master Level)
Value: 0–127
Adjusts the volume of the sound that has passed through
reverb.
MFX To REV (MFX Reverb Send Level)
Value: 0–127
Adjusts the amount of reverb for the sound that passes
through MFX. If you don’t want to add the Reverb effect, set it
to “0.”
Value: 0–127
CHO (Chorus On/Off Switch)
Switches chorus on and off.
Value:
(OFF),
(ON)
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Creating/Editing Patches (Patch mode)
MFX
REV
MFX Type
Use this parameter to select from among the 41 available MFX.
For details on MFX parameters, refer to “MFX Parameters”
(p. 43).
Use this parameter to select from among the 14 available
reverb. For details on reverb parameters, refer to “Reverb
Parameters” (p. 62).
Value: 00 (Thru)–41
Value: 00 (Off)–14
In this setting screen, you can edit the parameters of the MFX
that is selected by the MFX Type setting. For details on the
parameters that can be edited, refer to “MFX Parameters” (p.
43).
In this setting screen, you can edit the parameters of the
reverb that is selected by the REV Type setting. For details on
the parameters that can be edited, refer to “Reverb
Parameters” (p. 62).
When you touch <List>, the MFX List window will
appear, allowing you to select the MFX from the list.
When you touch <List>, the Reverb List window will
appear, allowing you to select the reverb from the list.
MFX (MFX On/Off Switch)
REV (Reverb On/Off Switch)
Switches MFX on and off.
Switches reverb on and off.
Value:
(OFF),
Value:
(OFF),
(ON)
CHO
CHO Type (Chorus Type)
Use this parameter to select from among the 8 available
chorus. For details on chorus parameters, refer to “Chorus
Parameters” (p. 61).
Value: 00 (Off)–08
In this setting screen, you can edit the parameters of the
chorus that is selected by the CHO Type setting. For details on
the parameters that can be edited, refer to “Chorus
Parameters” (p. 61).
When you touch <List>, the Chorus List window will
appear, allowing you to select the chorus from the list.
CHO (Chorus On/Off Switch)
Switches chorus on and off.
Value:
(OFF),
(ON)
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Using Waves (Wave Mode)
5. From the file list, select the file/folder that you
want to import.
Never turn off the power of the V-Synth XT while
performing an operation in Wave mode. Doing so may
destroy the files.
Here you can use the following functions. Touch the
appropriate button to execute.
Prevw: Preview (audition) the selected file (.wav/.aif).
Info: View information for the selected file.
Mark All: Mark all files/folders in the file list.
Mark: Mark the selected file/folder in the file list.
Open: Open the selected folder.
1. Press [MODE].
The VC-2 MODE MENU window appears.
2. Touch <WAVE>.
The Wave screen appears.
Close: Move to the next higher folder.
6. Touch <OK>.
You must save after performing operations in this screen.
When you touch <Save> in the screen, the Disk Save
Project screen will appear, allowing you to save the
project from the work area onto the internal memory /
PC Card. For the rest of the procedure, refer to step 4 and
following of “Saving a Project to Disk (Save Project)”
(p. 40).
A WARNING window appears.
If you want to cancel the procedure at this point, touch
<CANCEL>.
7. Touch <EXECUTE> to execute the operation.
Importing Individual Wave
Files (Wave Import)
You can import individual wave files into the work area.
The data will be imported into unused wave numbers.
Importing is not possible if there are no empty wave
numbers.
1. Press [MODE].
The VC-2 MODE MENU window appears.
2. Touch <WAVE>.
The Wave screen appears.
3. Touch <Import>.
The Wave Import screen appears.
4. Touch <Int> if you want to import from internal
memory, or touch <Card> if you want to import
from a PC card.
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Using Waves (Wave Mode)
Exchanging a Wave
Using the Wave Browser
You can view a list of the imported waves in the work area.
Here you can use the following functions. Touch the
appropriate button to execute.
(WAVE Exchange)
1. Touch <▼MENU> in the upper right of the
screen.
A pulldown menu appears.
Top: Move to the beginning of the list.
End: Move to the end of the list.
2. In the pulldown menu, touch <WAVE
Exchange>.
Info: View information for the selected file.
Prevw: Preview (audition) the selected file (.wav/.aif).
Search Empty: Move to the first vacant wave.
The WAVE Exchange window appears.
3. Move the cursor to “Source” and select the
exchange-source wave.
Copying a Wave (WAVE Copy)
4. Move the cursor to “Destination” and select the
1. Touch <▼MENU> in the upper right of the
screen.
exchange-destination wave.
5. Touch <Execute> to execute the exchange
A pulldown menu appears.
operation.
2. In the pulldown menu, touch <WAVE Copy>.
The WAVE Copy window appears.
Deleting a Wave (WAVE Delete)
3. Move the cursor to “Source” and select the
1. Touch <▼MENU> in the upper right of the
screen.
copy-source wave.
4. Move the cursor to “Destination” and select the
A pulldown menu appears.
copy-destination wave.
2. In the pulldown menu, touch <WAVE Delete>.
5. Touch <Execute> to execute the copy
The WAVE Delete List window appears.
operation.
3. From the list, select the sample that you want to
delete.
Moving a Wave (WAVE Move)
Either turn the VALUE dial or use [INC][DEC] to select a
patch. You can also select a patch by touching it on the
display.
1. Touch <▼MENU> in the upper right of the
screen.
4. Touch <Execute>.
A pulldown menu appears.
2. In the pulldown menu, touch <WAVE Move>.
The WAVE Move window appears.
3. Move the cursor to “Source” and select the
move-source wave.
4. Move the cursor to “Destination” and select the
move-destination wave.
5. Touch <Execute> to execute the move
operation.
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Settings Common to All Modes (System Mode)
Settings that affect the entire operating environment of the
VC-2, such as tuning and MIDI message reception, are
Saving the System Settings
referred to as system functions. This section explains how to
(Write)
make settings for the System functions and describes the
functions of the different System parameters.
Changes you make to the System function settings are only
temporary—they will be discarded as soon as the power is
turned off. If you want to keep any changes you’ve made in
the system settings, you must save them.
How to Make the System
Function Settings
1. Press [MODE].
When you perform the save procedure, the data that
previously occupied the save destination will be lost.
However, the factory setting data can be recovered by
performing the Initialization procedure.
The VC-2 MODE MENU window appears.
2. Touch <SYSTEM>.
The SYSTEM Com Master screen appears.
The parameters are organized into several editing
groups.
1. After you have edited the settings of the System
function, touch <Write>, located in the lower
right of the screen.
3. Touch one of the buttons at the bottom of the
screen to select the edit group containing the
parameters you want to set.
Initializing the System Settings
(Init)
4. Touch one of the tabs in the left of the screen to
select the desired editing screen.
The current settings of the system functions can be restored to
the factory settings.
5. In each editing screen, touch the touch screen
to set the parameters.
1. Touch <Init>, located in the lower right of the
screen.
6. When editing a parameter that requires you to
specify a value, move the cursor to the value
box of that parameter. Then modify the value by
either turning the VALUE dial or pressing [INC]
or [DEC]. You can also modify a value by
dragging over the touch screen.
A WARNING window appears.
If you want to cancel the procedure at this point, touch
<CANCEL>.
2. Touch <EXECUTE> to execute the operation.
7. Repeat steps 3–6 to make the settings for the
System function.
If you want the factory settings to be in effect the next
time the VC-2 (V-Synth XT) is powered up, touch
<Write> to save the settings.
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Settings Common to All Modes (System Mode)
IO
Parameter
Viewing VC-2’s Information
(Information)
Value
Explanation
USB Input
Type
The signal that is input from the computer via USB
audio is used as the modulator (mic) or as the carrier
for Processor Type 1 or 2.
1. Touch <▼MENU> in the upper right of the
screen.
*
The signal that is input via USB audio is mixed
with the signal from the V-Synth XT’s MIC or
INPUT jack.
A pulldown menu appears.
OFF:
2. In the pulldown menu, touch <Info>.
The information screen appears.
USB audio input is not used.
PARA:
This indicates the version of the VC-2.
USB
L
V-Synth XT
3. Touch <EXIT> to close the window.
Carrier (Processor Type 1, 2)
Modulator (MIC)
R
Functions of System
Parameters
The USB audio L (left) channel is used as the carrier.
The USB audio R (right) channel is used as the mod-
ulator (mic).
MIX:
This section explains what the different System parameters
do, and also how these parameters are organized.
USB
L
V-Synth XT
Carrier (Processor Type 1, 2)
R
Modulator (MIC)
Settings Common to the Entire
System (Common)
The USB audio L (left) and R (right) signals are
mixed, and used as the modulator (mic) and carrier.
MIX Car:
Master
Parameter
USB
L
V-Synth XT
Value
Explanation
Carrier (Processor Type 1, 2)
Master
Tune
415.3–
466.2
Hz
Adjusts the overall tuning of the VC-2.
The display shows the frequency of the
A4 note (center A).
R
Modulator (MIC)
The USB audio L (left) and R (right) signals are
mixed, and used as the carrier.
Master Key
Shift
-24–
+24
Shifts the overall pitch of the VC-2 in
semitone steps.
Master
Level
0–127
Adjusts the volume of the entire VC-2.
MIX Mod:
USB
L
V-Synth XT
Carrier (Processor Type 1, 2)
R
Modulator (MIC)
The USB audio L (left) and R (right) signals are
mixed, and used as the modulator (mic).
Output
Gain
-12–
+12
dB
This adjusts the output gain from the VC-
2’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.
Digital
Output
Freq
44.1,
48, 96
kHz
Sets the sampling frequency of the digital
output.
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Settings Common to All Modes (System Mode)
EQ
Parameter
Parameter
Value
Explanation
Tx Edit
OFF, ON
Specify whether changes you
make in the settings of a patch will
be transmitted as system exclusive
messages (ON), or will not be
transmitted (OFF).
Value
Explanation
2 Band EQ
LOW Freq
OFF, ON
Switch the 2-Band equalizer
on/off.
50, 63, 80, 100,
125, 160, 200,
250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000 Hz
Selects the frequency of the low
range.
Clock Out
OFF, ON
OFF, ON
Specifies whether MIDI clock will
be transmitted (ON) or not (OFF).
USB-MIDI
Thru Sw
This switch specifies whether
MIDI messages received at the
MIDI connector will be re-trans-
mitted from the MIDI OUT con-
nector (ON) or not (OFF).
LOW Gain
HIGH Freq
HIGH Gain
-15– +15 dB
Adjusts the gain of the low fre-
quency. Positive (+) settings
will emphasize the low-fre-
quency range.
MIDI IN
MIDI OUT
USB OUT
USB IN
2000, 4000, 5000,
6300, 8000,
10000, 12500,
16000, 20000 Hz
Selects the frequency of the high
range.
Sound
Generator
Section
-15– +15 dB
Adjusts the gain of the high fre-
quency. Positive (+) settings
will emphasize the high-fre-
quency range.
V-Synth XT
USB-MIDI Thru Sw=OFF
MIDI IN
MIDI OUT
USB OUT
USB IN
TOTAL
Gain
-15– +15 dB
Adjusts the total gain.
Sound
Generator
Section
MIDI/USB
V-Synth XT
Parameter
Value
Explanation
USB-MIDI Thru Sw=ON
Device ID
17–32
When you want to transmit or re-
ceive System Exclusive messages,
set this parameter to match the De-
vice ID number of the other MIDI
device.
Volume
Expression
Level Con-
trol
OFF, ON
Specifies whether received Vol-
will adjust the output volume
(ON), or will be ignored (OFF).
Clock
Source
INT,
The LFO cycle or multi-effects
changes can be synchronized to a
clock (tempo). When this is used
by the patch, this Clock Source set-
ting determines the clock which
will be used.
MIDI,
Chord Memory
USB MIDI
Parameter
Value
Explanation
Chord
Memory
Sw
OFF,
ON
Switches the Multi Chord Memory (one-
finger chord) function on/off.
INT: The Patch Tempo will be
used.
MIDI: Synchronize to the clock of
an external MIDI.
USB MIDI: Synchronize to the
clock of an external USB MIDI.
*
If you want to synchronize to an external
device, set Clock Source (p. 38) to
EXTERNAL, then get your external
device to transmit clock messages. If you
fail to do this, chords will not play
correctly.
Rx Sw
OFF, ON
1–16
Specifies whether all MIDI mes-
sages will be received (ON) or not
(OFF).
Grid Reso-
lution
Dot-
Each note within the chord will be played
separately at the timing interval you
specify here.
ted 8th
note–
64th
Rx Channel
Rx PC
Sets the Basic Channel (MIDI chan-
nel on which the VC-2 receives and
transmits messages).
note
OFF, ON
OFF, ON
OFF, ON
Specifies whether Program
Change messages will be received
(ON) or not (OFF).
Code set
KEEP
C–B
Specify a chord for each key in the range
C–B.
OFF,
ON
When entering a chord from the key-
board, this parameter specifies whether
the keys you press will be held in their
pressed state (ON) or not (OFF). If this is
ON, the key will be maintained in a
“pressed” state even when you release it.
Rx Bank
Rx Sys-Ex
Specifies whether Bank Select mes-
sages will be received (ON) or not
(OFF).
Specifies whether System Exclu-
sive messages will be received
(ON) or not (OFF).
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Settings Common to All Modes (System Mode)
Parameter
Value
Explanation
Parameter
Value
Explanation
STORE
—
Store the chord you specified from the
keyboard into the chord set.
USB Audio OUT
USB Audio IN
OFF
Audio I/F
Parameter
Value
Explanation
MIC Jack
Switch
OFF, ON
OFF, ON
0db, +12db
Specifies whether the front pan-
el MIC jack will be enabled
(ON) or disabled (OFF).
DIR
MIC
Jack
DIRECT
OUT
ANALOG
INPUT Jack
Switch
Specifies whether the rear panel
INPUT jacks will be enabled
(ON) or disabled (OFF).
INPUT
Jack
MAIN
MAIN
OUT
INPUT
Monitor
Switch
INPUT Jack
Gain
Sets the gain of the rear panel
INPUT jacks.
MAIN
Front Panel
Input Knob
MIC Jack
MIC Sw
•Hi-Z
PEAK LED
Sound Generator
•NORMAL
•PHANTOM
V-Synth XT
MIC
JACK
Rear Panel
Switch
INPUT
JACK
Gain
INPUT
JACK
Switch
Sound
INPUT
Jack
Controller Settings (Controller)
Tx
Generator
R
L
Modulator (MIC)
Carrier
(Processor
Type 1, 2)
Parameter
Value
Explanation
Patch Tx
Ch
1–16,
RX CH,
OFF
Specifies the transmit channel of MIDI
messages in Patch mode. If you do not
want to transmit MIDI messages to ex-
ternal MIDI devices, turn this parameter
“OFF.” If you want the transmit channel
to always match the Patch Receive
USB Audio In-
put Source
OFF, MAIN,
When the V-Synth XT is con-
nected via USB to your comput-
er, this specifies the source of
the USB audio that will be out-
put to the computer.
ANALOG
Channel, set this parameter to “RX CH.”
USB Audio In-
put Monitor
Sw
OFF, ON
Specifies whether USB Audio
Input Source monitoring will be
sent from the V-Synth XT’s
MAIN OUT (ON) or will not be
sent (OFF).
Tx PC
OFF,
ON
Specifies whether Program Change mes-
sages will be transmitted (ON) or not
(OFF).
Tx Bank
OFF,
ON
Specifies whether Bank Select messages
will be transmitted (ON) or not (OFF).
USB Audio
Output Dest
OFF, MAIN,
DIR
When the V-Synth XT is con-
nected via USB to your comput-
er, this specifies the output
destination of the USB audio
that is received from the com-
puter.
Tx Active
Sens
OFF,
ON
Specifies whether Active Sensing mes-
sages will be transmitted (ON) or not
(OFF).
Breath
Parameter
Value
Explanation
Voice As-
sign
OFF,
CC01–31,
CC33–95
Specifies the MIDI controller
number that will transmit the
volume data extracted from the
mic input signal.
OFF: No message will be trans-
mitted.
CC01-31, 33-95: Controller
numbers 1-31, 33-95
39
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Saving and Loading Projects (Disk Mode)
Loading a Project from Disk
(Load Project)
Never turn off the power of the V-Synth XT while
performing an operation in Disk mode. Doing so may
destroy the files.
This function loads a project on internal memory / PC Card
into the V-Synth XT’s work area.
Saving a Project on Disk
(Save Project)
When a project is loaded, work area will be rewritten. If
work area contains important data, you must save it
before you load other data.
Save the project in the work area to internal memory / PC
Card.
1. Press [MODE].
1. Press [MODE].
The VC-2 MODE MENU window appears.
The VC-2 MODE MENU window appears.
2. Touch <DISK>.
2. Touch <DISK>.
The DISK UTILITY MENU window appears.
The DISK UTILITY MENU window appears.
3. Touch <Load Project>.
3. Touch <Save Project>.
The Disk Load Project screen appears.
The Disk Save Project screen appears.
4. Select the project that you want to load.
4. Select the save-destination project.
5. Touch <OK>.
A WARNING window appears.
If you want to save the data as a new project, touch <New
Project>. The PROJECT Name window will appear.
Assign a name to the new project.
If you want to cancel the procedure at this point, touch
<CANCEL>.
5. Touch <OK>.
6. Touch <EXECUTE> to execute the operation.
A WARNING window appears.
When the operation is completed, the display will briefly
indicate “COMPLETED!.”
If you want to cancel the procedure at this point, touch
<CANCEL>.
7. Press [EXIT] to exit Disk mode.
6. Touch <EXECUTE> to execute the operation.
When the operation is completed, the display will briefly
indicate “COMPLETED!.”
7. Press [EXIT] to exit Disk mode.
40
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Reset to Default Factory Settings (Factory Reset)
This restores all VC-2 data in the internal memory to the
factory-set condition (Factory Reset).
If there is important data you’ve created that’s stored in
the internal memory, all such data is discarded when a
Factory Reset is performed. If you want to keep the
existing data, USB backing up onto a computer (p. 42) or
transmit it to an external MIDI device and save it (p. 21).
1. Press [MODE].
The VC-2 MODE MENU window appears.
2. Touch <FACTORY RESET>.
The Factory Reset screen appears.
3. Touch <Execute> to execute the Factory Reset.
When the display indicates “COMPLETED!,” the factory
reset operation has been completed.
41
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Backing Up Data to Your Computer (USB Mode)
By connecting the V-Synth XT with your computer via a USB
cable, you can transfer files such as projects, patches, and
wave data from internal memory or a memory card to and
from the hard disk or other media of your computer, in order
to back up your data.
You can copy waves from your computer to the VC-2, or back
up VC-2 projects to your computer.
For details on the USB functionality, refer to the chapter
“Connecting to Your Computer via USB (USB Mode)”
in the “V-Synth XT Owner’s Manual.”
42
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Effects List
Page
p. 59
p. 60
p. 60
p. 60
MFX Parameters
parameters.
38: Phonograph
39: Radio Tuning
40: Bit Rate Converter
41: Pseudo Stereo
01: Parametric EQ
following pages.
(Parametric Equalizer)
This is a 4 band (low range, midrange x 2, high range) stereo
parametric equalizer.
Page
01: Parametric EQ
02: Graphic EQ
p. 43
p. 43
p. 44
p. 44
p. 45
p. 45
p. 46
p. 46
p. 47
p. 47
p. 47
p. 48
p. 49
p. 49
p. 49
p. 50
p. 50
p. 51
p. 51
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p. 51
p. 52
p. 52
p. 53
p. 53
p. 53
p. 54
p. 54
p. 55
p. 55
p. 56
p. 56
p. 56
p. 57
p. 58
p. 58
p. 59
Parameter
Low Freq
Low Gain
Mid 1 Freq
Mid 1 Q
Value
Description
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range 1
03: Resonant Filter
04: Isolator and Filter
05: Distortion / OD
06: Amp Simulator
07: Auto Wah
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Width of the middle range 1
Set a higher value for Q to nar-
row the range to be affected.
08: Humanizer
Mid 1 Gain
Mid 2 Freq
Mid 2 Q
-15– +15 dB
50–20000 Hz
Gain of the middle range 1
09: Dynamic Processor
10: Tape Echo Simulator
11: Stereo Delay
Frequency of the middle range 2
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Width of the middle range 2
Set a higher value for Q to nar-
row the range to be affected.
12: Multi Tap Delay
13: Reverse Delay
14: Vocal Echo
Mid 2 Gain
Hi Freq
-15– +15 dB
2000–20000 Hz
-15– +15 dB
-15– +15 dB
Gain of the middle range 2
Frequency of the high range
Gain of the high range
Output Level
Hi Gain
15: Band Pass Delay
16: Analog Delay→Chorus
17: Digital Chorus
18: Space Chorus
19: Hexa Chorus
20: Analog Flanger
21: BOSS Flanger
22: Step Flanger
Total Gain
02: Graphic EQ (Graphic Equalizer)
This simulates a 12-band stereo graphic equalizer.
Parameter
Value
Description
180Hz Gain
250Hz Gain
355Hz Gain
500Hz Gain
710Hz Gain
1000Hz Gain
1400Hz Gain
2000Hz Gain
2800Hz Gain
4000Hz Gain
5600Hz Gain
8000Hz Gain
Total Gain
-15– +15 dB
Gain of each frequency band
23: Analog Phaser
24: Digital Phaser
25: Rotary
26: Tremolo/Auto Pan
27: Stereo Pitch Shifter
28: OD/DS→Cho/Flg
29: OD/DS→Delay
30: Cho/Flg→Delay
31: Enh→Cho/Flg
32: Enh→Delay
33: Vocal Multi
-15– +15 dB
Output Level
34: Guitar Multi
35: Bass Multi
36: E.Piano Multi
37: Keyboard Multi
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Effects List
03: Resonant Filter
Parameter
Value
Description
Low Band
Level
-60– +4
dB
These specify each level of the Low, Mid,
and High frequency ranges.
At -60 dB, the sound becomes inaudible. 0
dB is equivalent to the input level of the
sound.
It allows for cyclical control of the cutoff frequency using an
LFO. It allows you to make drastic changes in the frequency
response of the input signal by the cutoff frequency and
feedback, making the sound brighter or darker, or giving it a
distinctive character.
Mid Band
Level
Hi Band
Level
Parameter
Value
Description
AP Low Sw OFF, ON Turns the Anti-Phase function on and off
for the Low frequency ranges.
Cutoff Freq
50–20000 Hz
Basic frequency of the filter
The LFO will control the cutoff
frequency with this value as its
maximum level.
When turned on, the counter-channel of
stereo sound is inverted and added to the
signal.
AP Low
Level
0–127
Adjusts the level settings for the Low fre-
quency ranges.
Adjusting this level for certain frequencies
allows you to lend emphasis to specific
parts. (This is effective only for stereo
source.)
Resonance
Band Mode
0–127
Filter’s resonance level
Raising the setting increases
resonance near the cutoff fre-
quency, producing a uniquely
characteristic sound.
LOW, MID,
HIGH,
LOW+MID,
MID+HIGH,
ALL
Frequency range to which the
filter will be applied
LOW: low frequency band
MID: mid-range frequency
HIGH: high frequency
LOW+MID: low and middle
range frequency
AP Mid Sw OFF, ON Settings of the Anti-Phase function for the
Middle frequency ranges
AP Mid
Level
0–127
The parameters are the same as for the
Low frequency ranges.
Filter Type
Type of filter
THRU: no filter is used
MID+HIGH: middle and high
range frequency
LPF: Passes frequencies below the Cutoff.
BPF: Passes frequencies near the Cutoff.
HPF: Passes frequencies above the Cutoff.
NOTCH: Passes frequencies other than those near the
Cutoff.
ALL: all ranges
Sweep Wave-
form
TRI, SAWUP,
SAWDN, SQR
LFO waveform
TRI: Triangle wave
SAWUP: Sawtooth Wave
SAWDN: Sawtooth Wave
SQR: Square wave
Level
Level
Level
Freq.
Freq.
Freq.
Freq.
SAWUP
SAWDN
LPF
BPF
HPF
Level
Sweep Rate
0.05–10.0 Hz,
note
Frequency of the LFO modula-
tion
Sweep Depth
Balance
0–127
Modulation depth of the LFO
DRY100:0WET–
DRY0:100WET
Volume balance between the
direct sound (DRY) and the ef-
fect sound (WET)
NOTCH
Filter Slope -12, -24
dB/O
Filter’s attenuation slope
-24 dB per octave: steep
-12 dB per octave: gentle
Filter Cut-
off
0–127
Cutoff frequency of the filter
04: Isolator and Filter
A 3-band isolator, filter, and low booster are connected in
stereo in series.
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.
The filters allow you to modify the frequency response of the
input sound widely and give sound a character.
The low booster emphasizes the bottom to create a heavy bass
sound.
The closer to zero it is set, the lower the
cutoff frequency becomes; set it closer to
127, and the cutoff frequency becomes
higher.
Filter Reso- 0–127
nance
Resonance level of the filter
Raising the setting increases resonance
near the cutoff frequency, giving the
sound a special characteristic.
Filter Gain
0– +24
dB
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.
LowBoost
Level
-15– +15
dB
Increasing this value gives you a heavier
low end.
* Depending on the Isolator and filter set-
tings this effect may be hard to distin-
guish.
44
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Effects List
05: Distortion / OD
Parameter
Value
Description
Amp Type
(Amp)
Type of guitar amp
(Distortion / Overdrive)
JC-120: The sound of a Roland JC-120.
CLEAN TWIN: The sound of a standard built-in type
vacuum tube amp.
Overdrive produces a natural-sounding distortion similar to
that produced by a vacuum tube amplifier. Distortion
produces a more intense distortion than the overdrive effect.
MATCH DRIVE: The sound of a recent vacuum tube
amp widely used in blues, rock, and fusion.
BG LEAD: The sound of a vacuum tube amp repre-
sentative of the late 70’s and the 80’s.
MS1959 I: The sound of the large vacuum tube amp
stack that was indispensable to the British hard rock of
the 70’s, with input I connected.
MS1959 II: The same amp as MS1959 I, but with input
II connected.
MS1959 I+II: The same amp as MS1959 I, but with in-
puts I and II connected in parallel.
Parameter
Value
Description
Input Mode
MONO, STE-
REO
Selects whether to input in stereo
or in monaural.
If MONO is selected, the left and
right sound will be mixed, and in-
put as monaural.
Drive Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
SLDN LEAD: The sound of a vacuum tube amp us-
able in a wide variety of styles.
METAL 5150: The sound of a large vacuum tube amp
suitable for heavy metal.
METAL LEAD: A metal lead sound with a distinctive
mid-range.
OD-1: The sound of the BOSS OD-1 compact effects
processor.
Drive
0–127
Degree of distortion
Amp Sim Sw
Amp Type
OFF, ON
Turns the Amp Simulator on/off.
SMALL,
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,
2-STACK,
3-STACK
OD-2 TURBO: The sound of the BOSS OD-2 compact
effects processor with the Turbo switch on.
DISTORTION: Distortion sound.
Output Level
Ps Low Freq
Ps Low Gain
Ps Hi Freq
0–127
Output Level
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
FUZZ: Fuzz sound.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Volume
0–127
0–127
Volume and degree of distortion of the
amp
Ps Hi Gain
Bass
Tone of the bass/mid/treble range
* Middle cannot be set if MATCH
DRIVE is selected for the Amp Type.
Middle
Treble
Presence
06: Amp Simulator (Guitar Amp
Simulator)
0–127
Tone for the ultra high frequency range
Volume of the entire amp
This is an effect that simulates an guitar amp.
Master Vol- 0–127
ume
Parameter
Value
Description
Brightness
Sw
(Bright Sw)
OFF, ON
Turning this On will produce a sharper
and brighter sound.
NS Sw
OFF, ON
Turns the noise suppressor on/off.
The noise suppressor leaves the origi-
nal sound unmodified, but mutes only
the noise during the silent intervals.
* This parameter can be set if the Amp
Type is set to JC-120, CLEAN TWIN, or
BG LEAD.
NS Thresh-
old
0–127
0–127
Adjusts the level at which the noise
suppressor will begin to take effect.
When the signal drops below the spec-
ified level, it will be muted.
Gain Sw
LOW,MID, Degree of amp distortion
HIGH
Sp Sim Sw
Sp Type
OFF, ON
Turns the Speaker Simulator on/off.
(see below) Type of speaker
NS Release
Sets the transition time from when the
noise suppression starts to the point
where the volume reaches 0.
Mic Setting
1–10
Adjusts the location of the mic that is
recording the sound of the speaker.
Increasing this value will produce the
effect of the mic being further away
from the center of the speaker cone.
Mic Level
0–127
Volume of the microphone
Volume of the direct sound
Output Level
Direct Level 0–127
Level 0–127
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker
unit (in inches) and the number of units.
Type
Cabinet
Speaker Microphone
10 dynamic
SMALL
small open-back enclo-
sure
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Effects List
Type
Cabinet
Speaker Microphone
Parameter
Value
Description
MIDDLE
JC-120
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
dynamic
Rate
0.05–10.0 Hz,
note
Frequency of modulation
dynamic
Depth
0–127
Depth of modulation
BUILT IN 1
BUILT IN 2
BUILT IN 3
BUILT IN 4
BUILT IN 5
dynamic
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
BG STACK 1 sealed enclosure
BG STACK 2 large sealed enclosure
MS STACK 1 large sealed enclosure
MS STACK 2 large sealed enclosure
08: Humanizer
This adds a vowel character to the sound, making it similar to
a human voice.
METAL
STACK
large double stack
Parameter
Value
Description
Overdrive
Sw
OFF, ON
Turns Drive on/off.
Recommended combination of pre-amp and speaker
Drive
0–127
Degree of distortion
First vowel
Amp type
Speaker type
Vowel 1
Vowel 2
Rate
a, e, i, o, u
a, e, i, o, u
BG LEAD
BG STACK 1–2, MIDDLE
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BG STACK 1–2, METAL STACK
BUILT IN 1–4
Second vowel
MS1959 II
0.05–10.0 Hz,
note
Frequency at which the two vowels
will be switched
MS1959 I+II
SLDN LEAD
METAL 5150
METAL LEAD
OD-2 TURBO
DISTORTION
FUZZ
Depth
0–127
Effect depth
With a setting of 0, it will be fixed at
Vowel 1.
Trigger Sens -60–0 dB, LFO
Level at which the two vowels will
be switched
-60–0 dB: When the specified level
is exceeded, the sound will change
to the other vowel at the frequency
(speed) specified by Rate.
BUILT IN 1–4
BUILT IN 1–4
LFO: The two vowel sounds will al-
ternate at the frequency specified
by Rate, regardless of the level.
07: Auto Wah
Wah is an effect that modifies the frequency characteristics of
a filter over time, producing a unique tone. The wah effect can
change in relation to the volume of the input signal, and/or
cyclically.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Parameter
Value
Description
Filter Type
LPF, BPF
Type of filter
LPF: The wah effect will be applied
over a wide frequency range.
BPF: The wah effect will be applied
over a narrow frequency range
Polarity
DOWN, UP
When using the volume of the in-
put signal to control the wah effect,
this setting determines whether the
frequency of the filter will be
moved upward (UP) or downward
(DOWN).
Frequency
Peak
0–127
0–127
Adjusts the frequency at which the
wah effect will apply.
Adjusts the amount of the wah ef-
fect that will occur in the range of
the center frequency.
Set a higher value for Q to narrow
the range to be affected.
Trigger Sens 0–127
Adjusts the sensitivity with which
the wah effect is controlled.
46
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Effects List
09: Dynamic Processor
10: Tape Echo Simulator
This virtual tape echo gives you real tape delay sound. This
simulates the tape echo part of Roland’s RE-201 Space Echo.
(Stereo Dynamic Processor)
A comp/limiter, enhancer, 3-band equalizer, and noise
suppressor are connected in series.
Parameter
Value
Description
Comp/Limiter is able to use as a compressor, which controls
inconsistencies in sound levels by suppressing high sound
levels while lifting weaker signals, or as a limiter that prevents
the signal from reaching exceedingly high levels.
Enhancer regulates the high-end overtones, clarifying the
sound and the sound contour.
3-Band Equalizer works in three frequency ranges: Low, Mid,
and High. You can set the frequencies and boost or cut the
level.
Mode
S, M, L,
S+M, S+L,
M+L,
Sets the combination of playback heads
to be used.
The RE-201 had three playback heads to
make different delay times (Short, Me-
dium, and Long delay) at once. For ex-
ample, to use the short and middle
heads, select S+M.
S+M+L
Repeat Rate
Intensity
0–127
0–127
Sets the tape speed.
This corresponds to the delay time in a
contemporary delay effect.
Sets the repeat times of the delayed
sound.
This is analogous to a contemporary de-
lay’s feedback setting.
Noise Suppressor leaves the original sound unmodified, but
mutes only the noise during the silent intervals.
Parameter
Value
Description
Bass
-100– +100 These are the echo sound’s bass and tre-
ble adjustments.
Comp Sw
OFF, ON
-60–0 dB
Turns the comp/limiter on/off.
Treble
When set to 0, they make no change to
the sound.
Comp
Threshold
Sets the volume level at which the
compression begins.
Head S Pan
Head M Pan
Head L Pan
L63–63R
These are the pan (left-right) settings
for each of the heads for Short, Medi-
um, and Long delay time.
* This parameter does not appear on the
original RE-201.
Comp Attack 0–127
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
Comp Re-
lease
0–127
Specifies the time from when the
volume drops below the compres-
sor threshold until compression is
no longer applied.
Tape Distor- 0–5
tion
(Tape DS)
Adds the distortion characteristic of
tape.
The distortion gets more intense as the
value is increased.
Comp Ratio
1.5:1, 2:1, 4:1,
100:1
Sets the “source sound:output
sound” compression ratio.
W/F Rate
0–127
Frequency of the wow and flutter mod-
ulation
The wavering of multiple pitches that
appears from tape wear and irregulari-
ties in rotation is called wow and flut-
ter.
Comp Gain
Enhan Sw
Enhan Sens
-60– +12 dB
OFF, ON
0–127
Output gain
Turns the enhancer on/off.
Sensitivity of the enhancer
Enhan Fre-
quency
0–127
Sets the lower limit of the frequen-
cies to which the enhancement ef-
fect is added.
W/F Depth
Echo Level
0–127
0–127
Modulation depth of the wow and flut-
ter
Volume of the echo sound.
Enhan Mix
Level
0–127
0–127
Level of the overtones generated
by the enhancer
Enhan Level
Volume of the enhancer sound
Frequency of the low range
Gain of the low range
11: Stereo Delay
This is a stereo delay. Depending on the length of the delay
you set, you can get long echoes, thick sounds, or spatial
sounds.
EQ Low Freq 50–4000 Hz
EQ Low Gain -15– +15 dB
EQ Mid Freq
EQ Mid Q
50–20000 Hz
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0 Set a higher value for Q to narrow
Parameter Value
Mode MONO,
Description
the range to be affected.
Switches stereo, monaural, or alter-
nate.
MONO: This is a single-input,
dual-output delay. Stereo sound
(left and right) are mixed before be-
ing input.
STEREO: This is a dual-input, dual-
output delay. The delay sound out-
put features the same stereo place-
ment as that of the input.
ALTERNATE: The left and right
delay sound output alternately.
(Alternate delay)
EQ Mid Gain -15– +15 dB
Gain of the middle range
STEREO,
ALTERNATE
EQ Hi Freq
EQ Hi Gain
NS Sw
2000–20000 Hz Frequency of the high range
-15– +15 dB
OFF, ON
0–127
Gain of the high range
Turns the noise suppressor on/off.
NS Thresh-
old
Adjusts the level at which the noise
suppressor will begin to take ef-
fect.
When the signal drops below the
specified level, it will be muted.
NS Release
0–127
Sets the transition time from when
the noise suppression starts to the
point where the volume reaches 0.
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Effects List
12: Multi Tap Delay
The effect has five 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 sound.
Parameter Value
Description
Delay
Time
0–1300 ms
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
(MONO),
0–650 ms (STE-
REO, ALTER-
NATE), note
Parameter
Value
Description
L-R Shift
L-R Order
Feedback
0–650 ms, note
L→R, R→L
-98– +98 %
Of the left and right delay sounds,
the delay time will be increased for
only one side.
If the L-R order is L→R, the R
sound will be later. In the case of
R→L, the L sound will be later.
When the mode is set to MONO or
ALTERNATE, this setting will be
ignored.
Delay 1–5
0–1300 ms,
note
Specifies the delay time from the
original sound until each delay
sound (Delay 1/2/3/4/5) is heard.
Fbk Dly
Time
0–1300 ms,
note
Adjusts the delay time for the feed-
back sound
Feedback
-98– +98 %
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
In STEREO or ALTERNATE mode,
this setting determines which of the
left or right sides has the delay
sound before the other
L→R: The left side is expressed first
R→L: The right side is expressed
first
Delay 1–5
Level
0–127
Adjusts the volume of each delay
sound (Delay 1/2/3/4/5)
Delay 1–5
Pan
L63–63R
50–4000 Hz
Adjusts the pan of each delay
sound (Delay 1/2/3/4/5)
Low Damp
Freq
Adjusts the frequency below which
sound fed back to the effect will be
cut.
* In MONO mode, this setting will
be ignored.
The Low Damp function damps the
low frequency band of the delay
sound quicker than other bands,
which makes for a clearer delay ef-
fect.
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
LowDamp 50–4000 Hz
Freq
Adjusts the frequency below which
sound fed back to the effect will be
cut.
The Low Damp function damps the
low frequency band of the delay
sound quicker than other bands,
which makes for a clearer delay ef-
fect.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above which
sound fed back to the effect will be
cut.
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
LowDamp -36–0 dB
Gain
Degree of Low Damp
Hi Damp
Gain
-36–0 dB
Degree of High Damp
Hi Damp
Freq
2000–20000 Hz
Adjusts the frequency above which
sound fed back to the effect will be
cut.
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Hi Damp
Gain
-36–0 dB
Degree of High Damp
Balance
DRY100:0WET– Volume balance between the direct
DRY0:100WET
sound (DRY) and the delay sound
(WET)
Ps Low
Freq
50–4000 Hz
Frequency of the low range
Ps Low
Gain
-15– +15 dB
Gain of the low range
Ps Hi Freq
2000–20000 Hz
Frequency of the high range
Gain of the high range
Ps Hi Gain -15– +15 dB
48
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Effects List
13: Reverse Delay
Parameter
Value
Description
Hi Damp
Freq
500–15000 Hz,
THRU
Adjusts the frequency above which
sound fed back to the effect will be
cut.
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Adds the reverse of the input sound as the delay sound.
Parameter
Value
Description
Threshold
0–127
Specifies the input level at which
the delay will begin to apply.
Rvs Dly
Time
0–650 ms, note
-98– +98 %
Specifies the delay time from the
original sound until the delay
sound is heard.
Echo Level
0–127
Volume of the echo sound
Frequency of the low range
Gain of the low range
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Rvs Feed-
back
Adjusts the proportion of the re-
verse delay sound that is fed back
into the effect. Negative (-) set-
tings will invert the phase.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the effect
will be cut.
15: Band Pass Delay
The Low Damp function damps
the low frequency band of the de-
lay sound quicker than other
bands, which makes for a clearer
delay effect.
This is a delay with a band pass filter (a filter that outputs only
a specified frequency range) on each of five delays. A phaser is
included before the delay. Phaser is an effect that adds a
phase-shifted sound to the original sound to create time-
varying change, modulating the sound.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Parameter
Value
Description
Hi Damp
Freq
2000–20000 Hz
Adjusts the frequency above
which sound fed back to the effect
will be cut.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Phaser Man- 0–127
ual
Specifies the center frequency at
which the sound is modulated.
Phaser Rate
0.05–10.0 Hz,
note
Specifies the frequency of modu-
lation.
Phaser
Depth
0–127
Specifies the depth of modula-
tion.
Hi Damp
Gain
-36–0 dB
Degree of High Damp
Phaser Reso- 0–127
nance
Specifies the amount of feedback
for the phaser.
Higher settings will give the
sound a stronger character.
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET
rect sound (DRY) and the effect
sound (WET)
Phaser Mix
Level
0–127
Specifies the volume of the
phase-shifted sound, relative to
the direct sound.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz
-15– +15 dB
Frequency of the high range
Gain of the high range
Delay Time
0–1300 ms, note
Adjusts the delay time from the
direct sound until the each delay
sound is heard.
Fbk Dly
Time
0–1300 ms, note
0–1300 ms, note
0–127
Adjusts the delay time for the
feedback sound.
14: Vocal Echo
Dly Time
Dev
Specifies the differences in delay
time for each of the delay sounds.
This effect simulates a karaoke echo.
Parameter
Value
Description
Delay Level
Adjusts the volume of each delay
sound.
Delay Time
0–650 ms, note Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
Delay Feed-
back
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into the
effect. Negative (-) settings will
invert the phase.
Pre LPF
Freq
500–15000 Hz,
THRU
Sets the filter’s cutoff frequency
(THRU: no filter is used)
Mod Rate
Mod Depth
Diffusion
Feedback
0.05–10.0 Hz,
note
Specifies the modulation speed of
the modulation effect.
Delay Pan
Type
1–10
Specifies the pan of each delay
sound.
Ten settings are provided as vari-
ous panning combinations of the
delay sounds (see below).
0–127
Specifies the modulation depth of
the modulation effect.
0–100
Specifies the spaciousness of the
delay sound.
BPF 1–5 Freq 50–20000 Hz
Sets the center frequency for each
band pass filter (1–5).
-98– +98 %
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
BPF 1/2 Q
0.3–24.0
Specify the output bandwidth for
each band pass filter (1–5).
BPF 3/4/5 Q
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Effects List
17: Digital Chorus
This is a stereo chorus or flanger. Equalizers are provided
before (Pre) and after (Post) the chorus (or flanger).
Parameter
Value
Description
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET
rect sound (DRY) and the delay
sound (WET)
Parameter
Value
Description
Delay Pan Type
Mode
CHORUS,
FLANGER
Selects either chorus or flanger.
Values
Dly 1
L63
L63
L63
32R
63R
L32
0
Dly 2
L32
32R
63R
L32
0
Dly 3
0
Dly 4
32R
63R
32R
0
Dly 5
63R
0
Rate
0.05–10.0 Hz,
note
Sets the cycle for the chorus or
flanger sound undulations.
1
2
L32
L32
L63
L63
L63
L63
L32
L32
0
Depth
Phase
0–127
Adjusts the depth of modulation
for the chorus or flanger.
3
0
4
63R
32R
0
0–180 deg
Specifies the spaciousness of the
chorus or flanger sound.
5
L32
63R
32R
32R
63R
L32
Pre Low Freq 50–4000 Hz
Pre Low Gain -15– +15 dB
Frequency of the low range (Pre)
Gain of the low range (Pre)
6
32R
63R
63R
32R
32R
7
L32
L63
L63
L63
Pre Hi Freq
Pre Hi Gain
2000–20000 Hz Frequency of the high range (Pre)
8
0
-15– +15 dB
Gain of the high range (Pre)
9
0
Pre Dly Time 0–50.0 ms
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
10
63R
Feedback
-98– +98 %
Adjusts the proportion of the cho-
rus or flanger sound that is fed
back into the effect. Negative (-)
settings will invert the phase.
16: Analog Delay→Chorus
This effect reproduces the sound of the BOSS CE-1 Chorus
Ensemble. To reproduce the sound of the unit at the time, a
monaural analog-type delay is first inserted in series.
Xover Low-
Freq
50–4000 Hz
-36–0 dB
Attenuates the effect in the range
below the specified frequency.
Parameter
Value
Description
Xover Low
Gain
Specifies how greatly the low
range will be attenuated.
Dly Sw
OFF, ON
0–127
Turns the delay on/off.
Dly Repeat
Rate
Corresponds to the delay time in a de-
lay effects.
Xover HiFreq 2000–20000 Hz Attenuates the effect in the range
above the specified frequency.
Dly Intensity
0–127
Corresponds to the feedback setting in
a delay effects.
Xover Hi
Gain
-36–0 dB
Specifies how greatly the high
range will be attenuated.
Dly Level
0–127
Sets the volume of the delay sound.
Turns chorus or vibrato on/off.
Modulation
Level
0–127
Volume of the chorus or flanger
sound.
Chorus Sw
OFF, ON
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range (Post)
Gain of the low range (Post)
Chorus Mode CHORUS,
VIBRATO
Switches the sound between chorus
and vibrato modes.
Chorus Inten- 0–127
sity
When Chorus Mode is CHORUS, this
sets the pitch vibrato speed.
2000–20000 Hz Frequency of the high range (Post)
-15– +15 dB Gain of the high range (Post)
Ps Hi Gain
Vibrato
Depth
0–127
When Chorus Mode is VIBRATO, this
sets the pitch vibrato depth.
Vibrato Rate
0–127
When Chorus Mode is VIBRATO, this
sets the pitch vibrato speed.
Chorus Out
Mode
MONO,
ST-1, ST-2
Switches the output format (mono/
stereo).
MONO: Output is monaural.
ST-1: Chorus sound of the pitch vibra-
tion which phase is inverted between
left and right is mixed with the source
sound. This is a broader chorus, with
a weaker feeling of placement.
ST-2: The left output contains the
source sound, and the right side has
the wavering chorus sound.
50
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Effects List
18: Space Chorus
This effect reproduces the sound of Roland’s SDD-320 spatial
expression effects. Greater breadth is added.
20: Analog Flanger
This effect reproduces the sound of Roland’s SBF-325 analog
flanger. You can get three different types of flanger sounds
(adding a metallic swelling sound to the source sound) and
chorus like effect.
Parameter
Value
Description
Mode
1, 2, 3, 4, 1+4,
2+4, 3+4
Selects the way in the chorus will
change.
Parameter
Value
Description
The SDD-320 features four mode
buttons for changing the effect.
This setting determines which
buttons are to be pressed. (“1+4”
represents the condition when
Buttons 1 and 4 are pressed simul-
taneously.)
Mode
FL1, FL2,
Sets the effect type.
FL3, CHO
FL1: A general monaural flanger
FL2: A stereo flanger that utilizes the
stereo placement of the source sound
FL3: A cross mix flanger that provid-
ing a more intense effect
CHO: Chorus effect
Chorus Level 0–127
Volume level of the chorus sound
Frequency of the low range
Gain of the low range
Rate
0.02–5.00Hz, Sets the rate of the swelling of the
note
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
flanger sound.
Depth
0–127
Specifies the modulation depth of the
flanger sound.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Manual
Feedback
0–127
0–127
Adjusts the center frequency to which
the flanger effect is applied.
Ps Hi Gain
Sets the intensity of the flanger’s ef-
fect.
When the mode is set to CHO, this
setting will be ignored.
19: Hexa Chorus
Hexa-chorus is a six-stage chorus which adds depth and
spaciousness to the sound. (Six chorus sounds with different
delay times are overlaid.) An equalizer is provided before
(Pre) and after (Post) the hexa chorus.
CH-R Mod
Phase
NORM, INV Sets the phase of the right channel.
This is usually set to Normal
(NORM). Setting this to Invert (INV)
inverts the phase of the modulation
(rise and fall) in the right channel.
Parameter
Value
Description
CH-L Phase NORM, INV Sets the phase of the left and right
Pre Dly Time 0–50.0 ms
Adjusts the delay time from the di-
rect sound until the chorus sound
is heard.
channels when the source sound is
CH-R Phase
mixed with the flanging sound.
NORM: Positive phase (+)
INV: negative phase (-)
Pre Dly Dev
0–50.0 ms
Specifies the differences in Pre De-
lay time for each of the chorus
sounds
Rate
0.05–10.0 Hz,
note
Specifies the modulation frequen-
cy of the chorus sound.
21: BOSS Flanger
Depth
0–127
Specifies the modulation depth of
the chorus sound.
This effect features a pair of the same flanger circuits used in
the BOSS compact flangers, connected in parallel for stereo
input. This adds a particular metallic-sounding modulation to
the source sound.
Depth Devia- 0–127
tion
Specifies the difference in modula-
tion depth between each of the
chorus sounds.
Parameter
Value
Description
Pan Devia-
tion
L63–63R
Specifies the difference in stereo
position between each of the cho-
rus sounds.
0: All of the chorus sounds will be
panned to the center.
L20/R20: each chorus sound will
be placed in 30 degree intervals
relative to the center position.
Type
NORMAL,
HI-BAND
Selects the model of flanger simu-
lated.
NORMAL: Normal type (BOSS BF-
2)
HI-BAND: High-Band type (BOSS
HF-2). Setting HI-B raise the flang-
ing sound one octave above that at
the NORM.
Chorus Level 0–127
Volume level of the chorus sound
Frequency of the low range (Pre)
Gain of the low range (Pre)
Manual
Depth
0–127
0–127
Sets the center frequency for the ef-
fect.
Pre Low Freq 50–4000 Hz
Pre Low Gain -15– +15 dB
Sets the depth of the swelling of the
flanger sound.
Pre Hi Freq
Pre Hi Gain
Ps Low Freq
Ps Low Gain
Ps Hi Freq
2000–20000 Hz Frequency of the high range (Pre)
-15– +15 dB
50–4000 Hz
-15– +15 dB
Gain of the high range (Pre)
Frequency of the low range
Gain of the low range
Rate
0.05–10.0 Hz,
note
Adjusts the modulation speed of
the flanger effect.
Resonance
0–127
Sets the intensity of the flanger’s ef-
fect.
* If the Feedback Mode is CROSS,
this setting is ignored.
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
51
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Effects List
23: Analog Phaser
Parameter
Value
Description
Phase
0–180 deg
Specifies the spaciousness of the
flanger sound.
This effect features two analog-type phasers arranged in
parallel, making it stereo compatible. The sound as it
cyclically drifts in and out of phase is added to the source
sound, creating the modulation with the characteristic of
phasers.
Feedback
Mode
NORMAL,
CROSS
Specifies the input destination to
which the flanger sound will be re-
turned.
NORMAL: The left flanger sound
will be returned to the left input,
and the right flanger sound to the
right input.
CROSS: The left flanger sound will
be returned to the right input, and
the right flanger sound to the left
input.
Parameter
Value
Description
Shift Mode
4STAGE,
8STAGE
Sets the number of stages in the
phase shift circuit (four (4STAGE) or
eight (8STAGE)).
Setting this to eight stages (8STAGE)
increases the number of the frequen-
cy points that sound is canceled,
giving a sharper effect.
Feedback
-98– +98 %
-100– +100
This setting makes the flanging
sound of each of right and left
channels return to the input of the
opposite channel. Negative (-) set-
tings will invert the phase.
* When the Feedback Mode is set to
NORMAL, this setting will be ig-
nored.
Level
Level
4 stage
Freq.
Cross Mix
Level
This setting makes the flanging
sound from each of the right and
left channels mix it with the flang-
ing sound of the opposite channel.
Negative (-) settings will invert the
phase.
8 stage
Freq.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Center Freq
Resonance
0–127
0–127
Sets the center frequency to which
the phaser effect is applied.
Increasing this value moves the ef-
fect point of the phaser into higher
frequency ranges.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Amount of feedback
Increasing this value gives a more
distinctive sound to the effect.
22: Step Flanger
This is a flanger in which the flanger pitch changes in steps.
The speed at which the pitch changes can also be specified in
terms of a note-value of a specified tempo.
LFO 1/2
Rate
0.02–5.00 Hz,
note
Sets the rate of the swelling sound.
LFO 1/2
Depth
0–127
Specifies the depth of modulation.
Parameter
Value
Description
LFO 1/2
Phase
NORM, INV
Sets the phase of both left and right
swelling.
NORM: The left and right phase will
be the same.
Pre Dly Time 0–50.0 ms
Specifies the time delay from the
original sound until the flanger
sound is heard.
INV: The left and right phase will be
opposite.
Rate
0.05–10.0 Hz,
note
Specifies the modulation frequen-
cy of the flanger sound.
Depth
Feedback
0–127
Specifies the modulation depth of
the flanger sound.
-98– +98 %
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Phase
0–180 deg
Specifies the spaciousness of the
flanger sound.
Step Rate
0.05–10.0 Hz,
note
Specifies the frequency of pitch
change.
Flanger Level 0–127
Volume of the flanger sound
Frequency of the low range
Gain of the low range
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
52
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Effects List
24: Digital Phaser
Phaser is an effect that adds a phase-shifted sound to the
original sound to create time-varying change, modulating the
sound.
Parameter
Value
Description
Speed
SLOW, FAST
Simultaneously switch the rota-
tional speed of the low frequency
rotor and high frequency rotor
SLOW: Slows down the rotation to
the Slow Rate.
FAST: Speeds up the rotation to the
Fast Rate.
Parameter
Value
Description
Shift Mode
4STAGE,
8STAGE
Sets the number of stages in the
phase shift circuit (four (4STAGE)
or eight (8STAGE)).
Low Slow
Rate
0.05–10.0 Hz,
note
Slow speed (SLOW) of the low fre-
quency rotor
Setting this to eight stages
Low Fast
Rate
0.05–10.0 Hz,
note
Fast speed (FAST) of the low fre-
quency rotor
(8STAGE) increases the number of
the frequency points that sound is
canceled, giving a sharper effect.
Low Accel-
eration
0–15
Adjusts the time it takes the low
frequency rotor to reach the newly
selected speed when switching
from fast to slow (or slow to fast)
speed.
Level
4 stage
Low Level
0–127
Volume of the low frequency rotor
Freq.
Hi Slow
Rate
0.05–10.0 Hz,
note
Slow speed (SLOW) of the high fre-
quency rotor
Level
8 stage
Hi Fast Rate 0.05–10.0 Hz,
note
Fast speed (FAST) of the high fre-
quency rotor
Hi Accelera- 0–15
tion
Adjusts 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.
Freq.
Manual
Rate
0–127
Specifies the center frequency at
which the sound is modulated.
0.05–10.0 Hz,
note
Specifies the frequency of modula-
tion.
Hi Level
0–127
0–127
Volume of the high frequency rotor
Spatial dispersion of the sound
Frequency of the low range
Gain of the low range
Separation
Depth
Phase
0–127
Specifies the depth of modulation.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
NORM, INV
Sets the phase of both left and right
swelling.
NORM: The left and right phase
will be the same.
INV: The left and right phase will
be opposite.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Resonance
Mix Level
0–127
0–127
Specifies the amount of feedback
for the phaser.
Higher settings will give the sound
a stronger character.
26: Tremolo/Auto Pan
This is a stereo tremolo or auto-pan effect. Tremolo cyclically
modulates the volume to add tremolo effect to the sound. The
Auto Pan effect cyclically modulates the stereo location of the
sound.
Volume of the phase-shifted sound,
relative to the direct sound
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Parameter
Value
Description
Mode
TREMOLO,
AUTO PAN
Selects whether to use tremolo or
auto pan.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Waveform
TRI, SAWUP,
SAWDN, SQR,
SIN
Selects the type of modulation.
TRI: Triangle wave
SAWUP/SAWDN: Sawtooth
Wave
25: Rotary
SQR: Square wave
SIN: Sine wave
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.
SAWUP
SAWDN
Rate
0.05–10.0 Hz,
note
Frequency of modulation
Depth of modulation
Depth
0–127
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Effects List
28: OD/DS→Cho/Flg (Overdrive/
Parameter
Value
Description
Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET
Distortion→Chorus/Flanger)
rect sound (DRY) and the effect
sound (WET)
This effect connects either Overdrive or Distortion and either
Chorus or Flanger.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Parameter
Value
Description
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz
-15– +15 dB
Frequency of the high range
Gain of the high range
Drive Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Drive
0–127
Degree of distortion
Amp Sim Sw OFF, ON
Turns the amp simulator on/off.
27: Stereo Pitch Shifter
This effect features two pitch shifters arranged in parallel,
making it stereo compatible. It can shift the pitch of the input
signal up to one octave up or down.
Amp Type
SMALL,
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,
2-STACK,
3-STACK
Parameter
Value
Description
Distortion
(DS) Level
0–127
Volume of the overdrive or distor-
tion sound.
Input Mode
MONO,
STEREO
Selects either stereo input or mon-
aural input.
Mod Mode
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
Grade
1–5
Sets the grade of the effect sound.
The higher the value is set, the
more natural-sounding can be ob-
tained; however, this increases the
delay from the source sound as
well.
Mod Rate
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
Mod Depth
Mod Phase
0–127
Adjusts the depth of modulation
for the chorus or flanger.
0–180 deg
Sets how the chorus or flanger
sound is spread.
Coarse Pitch
A/B
-12– +12
semitone
Specifies the pitch shift amount in
semitones for pitch shift A or B.
Mod Pre De- 0–50.0 ms
lay
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
Fine Pitch A/ -100– +100
cent
Adjusts the pitch shift amount in
2-cent units (1 cent = 1/100 of a
semitone) for pitch shift A or B.
B
Mod Feed-
back
-98– +98 %
Adjusts the proportion of the effect
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Pre Delay A/ 0–500 ms
B
Adjusts the delay time from the di-
rect sound until the pitch shift A
or B sound is heard.
Level A/B
0–127
Volume of the pitch shift A or B
sound.
Xover Low-
Freq
50–4000 Hz
-36–0 dB
Attenuates the effect in the range
below the specified frequency.
Pan A/B
L63–63R
0–127
Pan of the pitch shift A or B sound.
Volume of the direct sound.
Xover Low
Gain
Specifies how greatly the low
range will be attenuated.
Direct Level
Feedback
-98– +98 %
Adjusts the proportion of the pitch
shift sound that is fed back into the
effect. Negative (-) settings will in-
vert the phase.
Xover Hi-
Freq
2000–20000 Hz Attenuates the effect in the range
above the specified frequency.
Xover Hi
Gain
-36–0 dB
Specifies how greatly the high
range will be attenuated.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the effect
will be cut.
The Low Damp function damps
the low frequency band of the
pitch shift sound quicker than oth-
er bands.
Mod Level
0–127
Volume of the chorus or flanger
sound.
Ps Low Freq
50–4000 Hz
Frequency of the low range
Gain of the low range
Ps Low Gain -15– +15 dB
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above
which sound fed back to the effect
will be cut.
High Damp, by attenuating the
higher frequencies first.
Hi Damp
Gain
-36–0 dB
Degree of High Damp
Ps Low Freq
Ps Low Gain
Ps Hi Freq
50–4000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Ps Hi Gain
54
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Effects List
29: OD/DS→Delay
Parameter
Value
Description
Mod Depth
0–127
Adjusts the depth of modulation
for the chorus or flanger.
(Overdrive/Distortion→Delay)
This effect connects either Overdrive or Distortion and Delay
in series.
Mod Phase
0–180 deg
Sets how the chorus or flanger
sound is spread.
Mod Pre De- 0–50.0 ms
lay
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
Parameter
Value
Description
Drive Mode
OD, DS
Selects whether to use overdrive
(OD) or distortion (DS).
Mod Feed-
back
-98– +98%
Adjusts the proportion of the effect
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Drive
0–127
Degree of distortion
Amp Sim Sw OFF, ON
Turns the amp simulator on/off.
Amp Type
SMALL,
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,
2-STACK,
3-STACK
Xover Low-
Freq
50–4000 Hz
-36–0 dB
Attenuates the effect in the range
below the specified frequency.
Xover Low
Gain
Specifies how greatly the low range
will be attenuated.
Distortion
(DS) Level
0–127
Volume of the overdrive or distor-
tion sound.
Xover Hi-
Freq
2000–20000 Hz Attenuates the effect in the range
above the specified frequency.
Delay Time
0–1300 ms,
note
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
Xover Hi
Gain
-36–0 dB
Specifies how greatly the high
range will be attenuated.
Mod Level
0–127
Volume of the chorus or flanger
sound.
Delay Feed-
back
-98– +98 %
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Delay Time
0–1300 ms,
note
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the effect
will be cut.
The Low Damp function damps
the low frequency band of the de-
lay sound quicker than other
bands, which makes for a clearer
delay effect.
Delay Feed-
back
-98– +98%
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below which
sound fed back to the effect will be
cut.
The Low Damp function damps the
low frequency band of the delay
sound quicker than other bands,
which makes for a clearer delay ef-
fect.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above
which sound fed back to the effect
will be cut.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above which
sound fed back to the effect will be
cut.
Hi Damp
Gain
-36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Delay Level
Ps Low Freq
0–127
Volume of the delay sound.
Frequency of the low range
Gain of the low range
50–4000 Hz
Ps Low Gain -15– +15 dB
Hi Damp
Gain
-36–0 dB
0–127
Degree of High Damp
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Delay Level
Volume of the delay sound.
Frequency of the low range
Gain of the low range
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
30: Cho/Flg→Delay
(Chorus/Flanger→Delay)
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
This effect connects either Chorus or Flanger and Delay in
series.
Parameter
Value
Description
Mod Mode
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
Mod Rate
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
55
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Effects List
31: Enh→Cho/Flg
Parameter
Value
Description
Delay Feed-
back
-98– +98%
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
(Enhancer→Chorus/Flanger)
This effect connects Enhancer and either Chorus or Flanger in
series.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below which
sound fed back to the effect will be
cut.
The Low Damp function damps the
low frequency band of the delay
sound quicker than other bands,
which makes for a clearer delay ef-
fect.
Parameter
Value
0–127
0–127
Description
Enhan Sens
Sensitivity of the enhancer
Enhan Fre-
quency
Sets the lower limit of the frequen-
cies to which the enhancement ef-
fect is added.
Enhan Mix
Level
0–127
Level of the overtones generated by
the enhancer
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Enhan Level 0–127
Volume of the enhancer sound
Mod Mode
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above which
sound fed back to the effect will be
cut.
Mod Rate
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Mod Depth
Mod Phase
0–127
Adjusts the depth of modulation
for the chorus or flanger.
Hi Damp
Gain
-36–0 dB
0–127
Degree of High Damp
0–180 deg
Sets how the chorus or flanger
sound is spread.
Delay Level
Volume of the delay sound.
Frequency of the low range
Gain of the low range
Mod Pre De- 0–50.0 ms
lay
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Mod Feed-
back
-98– +98 %
Adjusts the proportion of the effect
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
Xover Low-
Freq
50–4000 Hz
-36–0 dB
Attenuates the effect in the range
below the specified frequency.
33: Vocal Multi
A limiter/de-esser, enhancer, 3-band equalizer, and delay are
connected in series.
A limiter holds down high signal levels to prevent distortion.
A de-esser cuts the sibilant sounds of a voice, producing a
gentler tone.
Xover Low
Gain
Specifies how greatly the low range
will be attenuated.
Xover Hi-
Freq
2000–20000 Hz Attenuates the effect in the range
above the specified frequency.
Xover Hi
Gain
-36–0 dB
Specifies how greatly the high
range will be attenuated.
Mod Level
0–127
Volume of the chorus or flanger
sound.
Parameter
Value
Description
Limtr Mode
LIMITER,
DE-ESSER
Selects whether the effect will
function as a limiter or as a de-ess-
er.
Ps Low Freq 50–4000 Hz
Ps Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
* If the Limtr Mode is DE-ESSER,
the limiter settings are ignored.
Conversely, if the Limtr Mode is
LIMITER, the de-esser settings are
ignored.
Ps Hi Freq
Ps Hi Gain
2000–20000 Hz Frequency of the high range
-15– +15 dB Gain of the high range
32: Enh→Delay (Enhancer→Delay)
This effect connects an Enhancer and a Delay in series.
Limtr
-60–0 dB
0–127
Adjusts the level (Threshold Lev-
el) at which the limiter will begin
to operate.
Threshold
Parameter
Value
0–127
0–127
Description
Limtr Re-
lease
Adjusts the time until when the
limiter will turn off after the input
level falls below the threshold lev-
el.
Enhan Sens
Sensitivity of the enhancer
Enhan Fre-
quency
Sets the lower limit of the frequen-
cies to which the enhancement ef-
fect is added.
Limtr Gain
DE Sens
-60– +12 dB
0–127
Adjusts the gain of the sound that
passes through the limiter.
Enhan Mix
Level
0–127
Level of the overtones generated by
the enhancer
Adjusts the sensitivity relative to
the input volume, which controls
how the effect is applied.
Enhan Level 0–127
Delay Time 0–1300 ms,
note
Volume of the enhancer sound
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
DE Frequen-
cy
1000–10000 Hz Adjusts the frequency at which the
de-esser effect will apply.
56
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Effects List
Parameter
Value
0–127
0–127
Description
Parameter
Value
Description
Enhan Sens
Sensitivity of the enhancer
Comp Re-
lease
0–127
Specifies the time from when the
volume drops below the compres-
sor threshold until compression is
no longer applied.
Enhan Fre-
quency
Sets the lower limit of the frequen-
cies to which the enhancement ef-
fect is added.
Comp Ratio
1.5:1, 2:1, 4:1,
100:1
Sets the “source sound:output
sound” compression ratio.
Enhan Mix
Level
0–127
0–127
Level of the overtones generated
by the enhancer
Comp Gain
Od/Ds Sw
-60– +12 dB
OFF, ON
Adjusts the output gain.
Enhan Level
Volume of the enhancer sound
Frequency of the low range
Gain of the low range
Selects whether to use overdrive or
distortion.
EQ Low Freq 50–4000 Hz
EQ Low Gain -15– +15 dB
Drive Mode
Drive
OD, DS
0–127
Selects whether to use overdrive
(OD) or distortion (DS).
EQ Mid Freq
EQ Mid Q
50–20000 Hz
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0 Set a higher value for Q to narrow
Degree of distortion
Amp Sim Sw OFF, ON
Turns the amp simulator on/off.
the range to be affected.
Amp Type
SMALL,
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
EQ Mid Gain -15– +15 dB
Gain of the middle range
BUILT-IN,
2-STACK,
3-STACK
EQ Hi Freq
EQ Hi Gain
Delay Time
2000–20000 Hz Frequency of the high range
-15– +15 dB
Gain of the high range
0–1300 ms,
note
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
Distortion
(DS) Level
0–127
Volume of the overdrive or distor-
tion sound.
Delay Feed-
back
-98– +98 %
Adjusts the proportion of the de-
lay sound that is fed back into the
effect. Negative (-) settings will in-
vert the phase.
Mod Mode
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
Mod Rate
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the effect
will be cut.
The Low Damp function damps
the low frequency band of the de-
lay sound quicker than other
bands, which makes for a clearer
delay effect.
Mod Depth
Mod Phase
0–127
Adjusts the depth of modulation
for the chorus or flanger.
0–180 deg
Sets how the chorus or flanger
sound is spread.
Mod Pre De- 0–50.0 ms
lay
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Mod Feed-
back
-98– +98 %
Adjusts the proportion of the effect
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Hi Damp
Freq
2000–20000 Hz Adjusts the frequency above
which sound fed back to the effect
will be cut.
Mod Xover-
LPF
500–15000 Hz, Adjusts the cutoff frequency of the
THRU
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
low pass filter. (THRU: no filter is
used)
Mod Xover-
HPF
THRU,
50–800 Hz
Adjusts the cutoff frequency of the
high pass filter. (THRU: no filter is
used)
Hi Damp
Gain
-36–0 dB
0–127
Degree of High Damp
Delay Level
Volume of the delay sound.
Mod Level
Delay Time
0–127
Volume of the chorus or flanger
sound.
0–1300 ms,
note
Adjusts the delay time from the di-
rect sound until the delay sound is
heard.
34: Guitar Multi
Guitar Multi provides Comp/Limiter, Overdrive or
Distortion, Chorus or Flanger, and Delay effects connected in
series.
Delay Feed-
back
-98– +98 %
Adjusts the proportion of the delay
sound that is fed back into the ef-
fect. Negative (-) settings will in-
vert the phase.
Parameter
Value
Description
Hi Damp
Freq
500–15000 Hz, Adjusts the frequency above which
THRU
Comp Sw
OFF, ON
-60–0 dB
Turns the comp/limiter on/off.
sound fed back to the effect will be
cut.
High Damp, by attenuating the
higher frequencies first, makes the
delay sound more natural.
Comp
Threshold
Sets the volume level at which the
compression begins.
Comp At-
tack
0–127
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
Delay Level
0–127
Volume of the delay sound.
57
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Effects List
35: Bass Multi
Bass Multi provides Comp/Limiter, Overdrive or Distortion,
3-band equalizer, and Chorus or Flanger effects connected in
series. This algorithm is a multi-effects for bass.
Parameter
Value
Description
Mod Xover-
LPF
500–15000 Hz,
THRU
Adjusts the cutoff frequency of the
low pass filter. (THRU: no filter is
used)
Mod Xover-
HPF
THRU,
50–800 Hz
Adjusts the cutoff frequency of the
high pass filter. (THRU: no filter is
used)
Parameter
Value
Description
Comp Sw
OFF, ON
-60–0 dB
Turns the comp/limiter on/off.
Mod Level
0–127
Volume of the chorus or flanger
sound.
Comp
Threshold
Sets the volume level at which the
compression begins.
Comp Attack 0–127
Sets the time after the sound vol-
ume is crossed the compressor
threshold until compression be-
gins.
36: E.Piano Multi
Enhancer, Phaser, Chorus or Flanger, and Tremolo or Auto-
pan are connected in series. This effect is used for electric
piano.
Comp Re-
lease
0–127
Specifies the time from when the
volume drops below the compres-
sor threshold until compression is
no longer applied.
Parameter
Enhan Sw
Enhan Sens
Value
OFF, ON
0–127
Description
Comp Ratio
1.5:1, 2:1, 4:1,
100:1
Sets the “source sound:output
sound” compression ratio.
Turns the enhancer effect on/off.
Sensitivity of the enhancer
Comp Gain
Od/Ds Sw
-60– +12 dB
OFF, ON
Adjusts the output gain.
Enhan Fre-
quency
0–127
Sets the lower limit of the frequencies
to which the enhancement effect is
added.
Selects whether to use overdrive
or distortion.
Drive Mode
Drive
OD, DS
0–127
Selects whether to use overdrive
(OD) or distortion (DS).
Enhan Mix
Level
0–127
0–127
0–127
Level of the overtones generated by
the enhancer
Degree of distortion
Enhan Lev-
el
Volume of the enhancer sound
Amp Sim Sw OFF, ON
Turns the amp simulator on/off.
Phaser
Manual
Specifies the center frequency at
which the sound is modulated.
Amp Type
SMALL,
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
BUILT-IN,
2-STACK
(STACK)
Phaser Rate 0.05–10.0
Hz, note
Specifies the frequency of modula-
tion.
Distortion
(DS) Level
0–127
Volume of the overdrive or distor-
tion sound.
Phaser
Depth
0–127
Specifies the depth of modulation.
EQ Low Freq 50–4000 Hz
EQ Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Phaser Res-
onance
0–127
Specifies the amount of feedback for
the phaser.
Higher settings will give the sound a
stronger character.
EQ Mid Freq
EQ Mid Q
50–20000 Hz
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Gain of the middle range
4.0, 8.0 Set a higher value for Q to narrow
Phaser Mix
Level
0–127
Specifies the volume of the phase-
shifted sound, relative to the direct
sound.
the range to be affected.
EQ Mid Gain -15– +15 dB
Gain of the middle range
Mod Mode
Mod Rate
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
EQ Hi Freq
EQ Hi Gain
Mod Mode
2000–20000 Hz Frequency of the high range
-15– +15 dB
Gain of the high range
0.05–10.0
Hz, note
Adjusts the speed of modulation for
the chorus or flanger.
CHORUS,
FLANGER
Selects whether to use chorus or
flanger.
Mod Depth
Mod Phase
0–127
Adjusts the depth of modulation for
the chorus or flanger.
Mod Rate
0.05–10.0 Hz,
note
Adjusts the speed of modulation
for the chorus or flanger.
0–180 deg
0–50.0 ms
Sets how the chorus or flanger sound
is spread.
Mod Depth
Mod Phase
0–127
Adjusts the depth of modulation
for the chorus or flanger.
Mod Pre
Delay
Adjusts the delay time from the direct
sound until the chorus or flanger
sound is heard.
0–180 deg
0–50.0 ms
Sets how the chorus or flanger
sound is spread.
Mod Feed-
back
-98– +98 %
Adjusts the proportion of the effect
sound that is fed back into the effect.
Negative (-) settings will invert the
phase.
Mod Pre De-
lay
Adjusts the delay time from the di-
rect sound until the chorus or
flanger sound is heard.
Mod Feed-
back
-98– +98 %
Adjusts the proportion of the ef-
fect sound that is fed back into the
effect. Negative (-) settings will in-
vert the phase.
Mod Xover- 500–15000
LPF Hz, THRU
Adjusts the cutoff frequency of the
low pass filter. (THRU: no filter is
used)
Mod Xover- THRU, 50–
HPF 800 Hz
Adjusts the cutoff frequency of the
high pass filter. (THRU: no filter is
used)
58
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Effects List
Parameter
Value
Description
Parameter
Value
Description
Mod Level
0–127
Volume of the chorus or flanger
sound.
Phaser Rate
0.05–10.0 Hz,
note
Specifies the frequency of modu-
lation.
Trem/Pan
Sw
OFF, ON
Turns the tremolo/auto pan effect
on/off.
Phaser Depth 0–127
Specifies the depth of modula-
tion.
Trem Mode TREMOLO,
Selects whether to use tremolo or auto
Phaser Reso-
nance
0–127
Specifies the amount of feedback
for the phaser.
AUTO PAN pan.
Higher settings will give the
sound a stronger character.
Trem
Waveform
TRI,
Selects the type of modulation.
TRI: Triangle wave
SAWUP/SAWDN: Sawtooth Wave
SQR: Square wave
SIN: Sine wave
SAWUP,
SAWDN,
SQR, SIN
Phaser Mix
Level
0–127
Specifies the volume of the
phase-shifted sound, relative to
the direct sound.
Delay Time
0–650 ms, note
-98– +98 %
Adjusts the delay time from the
direct sound until the delay
sound is heard.
SAWUP
SAWDN
Delay Feed-
back
Adjusts the proportion of the de-
lay sound that is fed back into the
effect. Negative (-) settings will
invert the phase.
Trem Rate
0.05–10.0
Hz, note
Frequency of modulation
Depth of modulation
Trem Depth 0–127
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the
delay sound quicker than other
bands, which makes for a clearer
delay effect.
37: Keyboard Multi
A ring modulator, 3-band equalizer, pitch shifter, phaser, and
delay are connected in series.
Ring Modulator is an effect which applies ring modulation
using an internal oscillator to the input signal, producing bell-
like sounds.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp
Freq
2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first, makes
the delay sound more natural.
Parameter
Value
Description
Ring Freq
0–127
Frequency at which modulation
will be applied
Ring Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET
rect sound (DRY) and the ring
modulated sound (WET)
Hi Damp
Gain
-36–0 dB
0–127
Degree of High Damp
EQ Low Freq 50–4000 Hz
EQ Low Gain -15– +15 dB
Frequency of the low range
Gain of the low range
Delay Level
Volume of the delay sound.
EQ Mid Freq
EQ Mid Q
50–20000 Hz
Frequency of the middle range
0.5, 0.7, 1.0, 2.0,
4.0, 8.0
Gain of the middle range
Set a higher value for Q to nar-
row the range to be affected.
38: Phonograph
This effect reproduces the sound of an analog record played
on a record player. This includes the various noises with the
characteristic of records and the uneven rotation of older
turntables.
EQ Mid Gain -15– +15 dB
Gain of the middle range
Frequency of the high range
Gain of the high range
EQ Hi Freq
EQ Hi Gain
PS Grade
2000–20000 Hz
-15– +15 dB
1–5
Sets the grade of the effect sound.
The higher the value is set, the
more natural-sounding can be
obtained; however, this increases
the delay from the source sound
as well.
Parameter
Value
Description
Input Mode
MONO, STE-
REO
Use this setting to select either a
stereo or monaural record player
for the effect.
Signal Dist
0–127
0–127
Degree of distortion
Frequency
Range
Sets the frequency response of the
record player.
Lowering the value degrades the
frequency characteristics, making
the sound resemble that from an
older system.
PS Coarse
PS Fine
-12– +12
semitone
Specifies the pitch shift amount
in semitone steps.
-100– +100 cent
Adjusts the pitch shift amount in
2-cent steps (1 cent = 1/100 of a
semitone).
PS Balance
DRY100:0WET– Volume balance between the di-
DRY0:100WET
Disk Type
LP, EP, SP
Sets the turntable rotation speed.
LP: 33 1/3 r.p.m.
EP: 45 r.p.m.
SP: 78 r.p.m.
rect sound (DRY) and the effect
sound (WET)
Phaser Man-
ual
0–127
Specifies the center frequency at
which the sound is modulated.
59
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Effects List
Parameter
Total Noise
Scratch
Dust
Value
0–127
0–127
0–127
0–127
Description
Parameter Value
Description
Total noise level.
Scratches on the record.
Dust on the record.
Bit Down
0–15
This setting is for reducing the bit
count.
Post Filter
Sw
OFF, ON
This is the switch of the filter placed
after the Lo-Fi processing.
Hiss
Continuous hissing noise.
Balance
DRY100:0WET– Volume balance between the direct
DRY0:100WET
These settings add the typical
record’s noise. The noises increase
as the values are raised. Set each of
the Scratch, Dust, and Hiss noise
levels to get a balance, the adjust
the overall amount of noise with
the Total Noise Level control.
sound (DRY) and the effect sound
(WET)
Filter Type Type of filter
THRU: no filter is used
LPF: Passes frequencies below the Cutoff.
BPF: Passes frequencies near the Cutoff.
HPF: Passes frequencies above the Cutoff.
NOTCH: Passes frequencies other than those near the
Cutoff.
Total Wow/ 0–127
Flutter
Total wow and flutter.
Wow
0–127
0–127
0–127
Wow, long cycle rotational irregu-
larity.
Level
Level
Flutter
Random
Flutter, short cycle rotational ir-
regularity.
Freq.
Freq.
Freq.
Freq.
Random rotational irregularity.
These settings determine the rota-
tional irregularities of the record
player. Set each of the Wow, Flut-
ter, and Random levels to get a
balance, the adjust the overall
depth of the effect with the Total
Wow/Flutter control.
LPF
HPF
Level
Level
Balance
DRY100:0WET– Volume balance between the di-
BPF
NOTCH
DRY0:100WET
rect sound (DRY) and the effect
sound (WET)
Filter Slope -12, -24 dB/O
Filter’s attenuation slope
-24 dB per octave: steep
-12 dB per octave: gentle
Filter Cut-
off
0–127
Cutoff frequency of the filter
The closer to zero it is set, the lower
the cutoff frequency becomes; set it
closer to 127, and the cutoff fre-
quency becomes higher.
39: Radio Tuning
This effect reproduces the sound of an AM radio playing.
Parameter
Value
Description
Tuning
-50– +50
Adjusts the degree of noise that oc-
curs when tuning a radio.
Filter Reso- 0–127
nance
Resonance level of the filter
Raising the setting increases reso-
nance near the cutoff frequency,
giving the sound a special charac-
teristic.
Noise Level 0–127
Sets the noise level.
Frequency
Range
0–127
Sets the frequency response of the
radio.
Lowering the value worsens the
frequency characteristics, making
the sound appear to be coming
from a tiny radio speaker.
Filter Gain
0– +24 dB
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.
Balance
DRY100:0WET– Volume balance between the direct
DRY0:100WET
sound (DRY) and the effect sound
(WET)
41: Pseudo Stereo
Spreads the components of the monaural input sound to left
and right, creating an artificial sense of stereo output.
40: Bit Rate Converter
By changing the bit count and sample rate, this effect recreates
the Lo-Fi (Low-Fidelity) sounds of the early digital samplers
and similar machines. After the Lo-Fi processor, a filter to
change the tone is arranged in series.
Parameter Value
Depth 0–15
Description
Spaciousness of the sound field
Parameter Value
Description
Pre Filter
Sw
OFF, ON
This is the switch of the filter placed
before the Lo-Fi processing
Sample
Rate
1/1, 1/2, 1/4,
1/8, 1/16, 1/32
Sets the fraction of current sampling
rates to be used for processing.
60
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Effects List
Chorus Parameters
Chorus Parameters
Parameter
Value
Description
Pre Low Freq
500–15000 Hz,
THRU
Frequency of the low range (TH-
RU: no filter is used)
The functions of Chorus parameters are explained.
Pre Hi Freq
THRU, 50–800
Hz
Frequency of the high range (TH-
RU: no filter is used)
Pre Dly Time
0–50.0 ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Chorus Type
01: Chorus 1
Co LPF Freq
Co HPF Freq
500–15000 Hz,
THRU
Adjusts the cutoff frequency of
the low pass filter. (THRU: no fil-
ter is used)
The effect will be applied to the
frequency range below the cutoff
frequency.
This conventional chorus effect adds spaciousness and depth
to the sound. Slow modulation frequency with less depth.
02:Chorus 2
THRU, 50–800
Hz
Adjusts the cutoff frequency of
the high pass filter. (THRU: no
filter is used)
This conventional chorus effect adds spaciousness and depth
to the sound. Rapid modulation frequency with less depth.
The effect will be applied to the
frequency range above the cutoff
frequency.
03: Chorus 3
Rate
0.05–10.0 Hz,
note
Sets the cycle for the chorus or
flanger sound undulations.
This conventional chorus effect adds spaciousness and depth
to the sound. Slow modulation frequency with more depth.
Depth
Feedback
0–127
Adjusts the depth of modulation
for the chorus or flanger.
04: Chorus 4
-98– +98 %
Adjusts the proportion of the ef-
fect sound that is fed back into
the effect. Negative (-) settings
will invert the phase.
This conventional chorus effect adds spaciousness and depth
to the sound. Rapid modulation frequency with more depth.
Cho/Flg Sw
CHORUS,
FLANGER
Selects either chorus or flanger.
05: Feedback Chorus
This chorus offers a flanger-like effect, creating a soft sound.
06: Flanger
This effect sounds somewhat like a jet airplane taking off and
landing.
07: Short Delay
This is a delay with a short delay time.
08: Fbk Short Delay
This is a short delay with many repeats.
61
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Effects List
02: Stereo OperaHouse
Stereo reverb which simulates the reverberation within a
opera house.
Reverb Parameters
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Explanations for each Reverb Type are given on the
following pages.
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Page
01: Stereo Plate
02: Stereo OperaHouse
03: Stereo StudioSpring
04: Stereo Echoes
05: Stereo Room
06: Stereo Cathedral
07: Stereo Church
08: Room 1
p. 62
p. 62
p. 62
p. 63
p. 63
p. 63
p. 63
p. 64
p. 64
p. 65
p. 65
p. 66
p. 66
p. 67
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Room Size
0–5
Size of the room which is simu-
lated
Rev Time
1.00–10.00 sec
-36–0 dB
Duration (time) of the reverb
09: Room 2
LfDamp Gain
Degree of Low Damp
10: Room 3
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
11: Hall 1
12: Hall 2
13: Hall 3
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
14: Garage
01: Stereo Plate
Stereo reverb which simulates plate reverberation (a reverb
unit that uses the vibration of a metallic plate).
03: Stereo StudioSpring
Stereo reverb which simulates spring reverberation (a reverb
unit that uses the vibration of springs).
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Rev Time
1.00–10.00 sec
-36–0 dB
Duration (time) of the reverb
LfDamp Gain
Degree of Low Damp
Rev Time
1.00–10.00 sec
-36–0 dB
Duration (time) of the reverb
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
LfDamp Gain
Degree of Low Damp
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
62
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Effects List
04: Stereo Echoes
06: Stereo Cathedral
Stereo reverb which simulates the reverberation within a
cathedral.
Stereo reverb which simulates echoes.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–500 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Repeat Time
Rev Time
20–500 ms
0.06–10.00 sec
-36–0 dB
Repeat interval
Room Size
0–5
Size of the room which is simu-
lated
Duration (time) of the reverb
LfDamp Gain
Degree of Low Damp
Rev Time
0.40–10.00 sec
-36–0 dB
Duration (time) of the reverb
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
LfDamp Gain
Degree of Low Damp
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
05: Stereo Room
Stereo reverb which simulates the reverberation within a
room.
07: Stereo Church
Stereo reverb which simulates the reverberation within a
church.
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Pre Delay
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0–160.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Room Size
0–5
Size of the room which is simu-
lated
Room Size
0–5
Size of the room which is simu-
lated
Rev Time
0.40–10.00 sec
-36–0 dB
Duration (time) of the reverb
LfDamp Gain
Degree of Low Damp
Rev Time
1.00–10.00 sec
-36–0 dB
Duration (time) of the reverb
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
LfDamp Gain
Degree of Low Damp
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
HfDamp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
63
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Effects List
08: Room 1
Reverb which simulates the reverberation within a room. It is
standard room reverb.
09: Room 2
This simulates the reverberation of a room. It is suitable for
simulating a fairly small room, and produces a clear
reverberation.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
-15– +15 dB
2000–20000 Hz
-15– +15 dB
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Rev Time
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0.06–32.0 sec
0–200.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Low Rev Time 0.06–32.0 sec
Duration (time) of the reverb for
the low frequency band
Duration (time) of the reverb
Hi Rev Time
Xover Freq
0.06–32.0 sec
Duration (time) of the reverb for
the high frequency band
Pre Dly Time
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
160–15000 Hz,
THRU
The reverberation specified by
the Low Rev Time will be ap-
plied to the range below this fre-
quency, and by the Hi Rev Time
to the range above this frequen-
cy.
Density
0–99
1–10
Density of the reverb
Room Size
Size of the room which is simu-
lated
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Pre Dly Time
0–200.0 ms
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Density
0–99
Density of the reverb
Room Size
5.6–32.6 m
Size of the room which is simu-
lated
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Release Densi- 0–99
ty
Density of the sound that reaches
the listener after many repeated
reflections
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first.
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
64
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Effects List
10: Room 3
Reverb which simulates the reverberation within a room. This
is suitable for simulating a fairly large room, and produces
reverberation with a strong mid and low range.
11: Hall 1
This simulates the reverberation of a concert hall. It is a
conventional hall reverb. You can also apply a chorus effect to
the reverberation to adjust the sense of spaciousness or to
create a special effect.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
0.5, 0.7, 1.0,
2.0, 4.0, 8.0
Width of the middle range
Set a higher value for Q to narrow
the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Rev Time
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0.06–32.0 sec
0–200.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
-15– +15 dB
Gain of the middle range
2000–20000
Hz
Frequency of the high range
Duration (time) of the reverb
Pre Hi Gain
-15– +15 dB
Gain of the high range
Pre Dly Time
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Low Rev Time 0.06–64.0 sec
Duration (time) of the reverb for
the low frequency band.
Hi Rev Time
Xover Freq
0.06–64.0 sec
Duration (time) of the reverb for
the high frequency band
Density
0–99
1–8
Density of the reverb
Room Size
Size of the room which is simu-
lated
160–15000
Hz, THRU
The reverberation specified by the
Low Rev Time will be applied to
the range below this frequency,
and by the Hi Rev Time to the
range above this frequency.
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Release Densi- 0–99
ty
Density of the sound that reaches
the listener after many repeated
reflections
Pre Dly Time
0–200.0 ms
Adjusts the delay time from the di-
rect sound until the reverb sound
is heard.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Density
0–99
Density of the reverb
Room Size
5.6–32.6 m
Size of the room which is simulat-
ed
Early Ref Lev- 0–99
el
Volume level of the initial reflected
sound
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Release Densi- 0–99
ty
Density of the sound that reaches
the listener after many repeated re-
flections
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the effect
will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000
Hz
Adjusts the frequency above
which sound fed back to the effect
will be cut.
High Damp, by attenuating the
higher frequencies first.
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000
Hz, THRU
Frequency at which the high cut
filter will begin to take effect (TH-
RU: no filter is used)
Chorus Rate
0–127
Rate of modulation for the reverb
Depth of modulation for the reverb
Chorus Depth 0–127
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Effects List
12: Hall 2
Simulates the reverberation in a concert hall. This is suitable
for simulating a smaller room, and produces a clear
reverberation.
13: Hall 3
Simulates the reverberation in a concert hall. This is suitable
for simulating a fairly large room, and produces reverberation
with a strong mid and low range.
Parameter
Value
Description
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Rev Time
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0.06–64.0 sec
0–200.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Rev Time
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0.06–64.0 sec
0–200.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Duration (time) of the reverb
Duration (time) of the reverb
Pre Dly Time
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Pre Dly Time
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Density
0–99
1–10
Density of the reverb
Density
0–99
1–8
Density of the reverb
Room Size
Size of the room which is simu-
lated
Room Size
Size of the room which is simu-
lated
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
Release Densi- 0–99
ty
Density of the sound that reaches
the listener after many repeated
reflections
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
High Damp, by attenuating the
higher frequencies first.
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
Hi Damp Gain -36–0 dB
Degree of High Damp
High Damp, by attenuating the
higher frequencies first.
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
66
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Effects List
14: Garage
This simulates the reverberation of a garage. It produces the
reverberation of a room surrounded by hard-surfaced walls
with many reflections.
Parameter
Value
Description
Pre Low Freq
Pre Low Gain
Pre Mid Freq
Pre Mid Q
50–4000 Hz
-15– +15 dB
50–20000 Hz
Frequency of the low range
Gain of the low range
Frequency of the middle range
0.5, 0.7, 1.0, 2.0, Width of the middle range
4.0, 8.0
Set a higher value for Q to nar-
row the range to be affected.
Pre Mid Gain
Pre Hi Freq
Pre Hi Gain
Rev Time
-15– +15 dB
2000–20000 Hz
-15– +15 dB
0.06–32.0 sec
0–200.0 ms
Gain of the middle range
Frequency of the high range
Gain of the high range
Duration (time) of the reverb
Pre Dly Time
Adjusts the delay time from the
direct sound until the reverb
sound is heard.
Density
0–99
1–8
Density of the reverb
Room Size
Size of the room which is simu-
lated
Early Ref Lev- 0–99
el
Volume level of the initial reflect-
ed sound
Release Densi- 0–99
ty
Density of the sound that reaches
the listener after many repeated
reflections
Low Damp
Freq
50–4000 Hz
Adjusts the frequency below
which sound fed back to the ef-
fect will be cut.
The Low Damp function damps
the low frequency band of the re-
verb sound quicker than other
bands.
Low Damp
Gain
-36–0 dB
Degree of Low Damp
Hi Damp Freq 2000–20000 Hz
Adjusts the frequency above
which sound fed back to the ef-
fect will be cut.
High Damp, by attenuating the
higher frequencies first.
Hi Damp Gain -36–0 dB
Degree of High Damp
Post HC Freq
160–15000 Hz,
THRU
Frequency at which the high cut
filter will begin to take effect
(THRU: no filter is used)
67
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Specifications
VC-2: V-Card Vocal Designer
Internal (User) Memory
• Patches: 448
Main Functions
• Transform vocal input from a mic into high-quality choirs
and human choruses
Preset Memory
• Patches: 64
• Use the keyboard to play chords and control the pitch in
real time
Supported hardware configurations
• Transform the character of your voice in real time
• Play high-quality vocal choirs from your keyboard
A mic for input, an external MIDI keyboard, etc.
Algorithm
• Modeling Choir
• Modeling Vocal
• Modeling Analog Voice
• Vocoder Choir
* In the interest of product improvement, the specifications and/
or appearance of this unit are subject to change without prior
notice.
• Vocoder Solo
• Vocoder Vintage
• Polyphonic Pitch Shifter
• Keyboard Choir
• Keyboard Vocal
• Keyboard Analog Voice
• Processor Type 1
• Processor Type 2
Effects
• MFX (Multi-effects): 41 sets
• Chorus: 8 sets
• Reverb: 14 sets
Assisted performance functions
• Auto Note Switch (usable without playing the keyboard)
• Multi-Chord Memory Function
68
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MIDI Implementation
[Vocal Designer]
Model VC-2 for V-Synth XT
Date: March 1, 2005
Version: 1.00
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
X
X
1-16
1-16
Memorized
*2
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M=1)
Mode
*************
Note
Number
X
0-127
0-127
: True Voice
*************
Note ON
Note OFF
O
O
O
O
*4
*4
Velocity
*1
*1
Aftertouch
Key's
Channel's
X
O
O
O
Pitch Bend
X
O
0, 32
O
O
X
*1
*1
*1
O
X
*1
*1
Bank select
Control
Change
1–31, 33–95
100, 101
O
RPN LSB, MSB
Program
Change
O
*1
*3
O
0-127
*1
*1
**************
: True Number
Program Number 1-128
System Exclusive
O
O
: Song Postion
: Song Select
: Tune
X
X
X
X
X
X
System
Common
*1
*4
System
Realtime
: Clock
: Command
X
X
X
X
*1
: All Sound Off
X
X
X
X
O
X
O
O
X
: Reset All Controllers
: Local ON/OFF
: All Notes Off
: Active Sensing
: System Reset
Aux
Messages
O (123-127)
O
X
*1
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
Notes
* 3 Transmitted on excuted Data Transfer or receiving RQ1.
* 4 ignored when Algorith is Processor Type1 or Processor Type2
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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A
AC inlet .................................................................... 13
Algorithms .................................................................. 8
Attack ...................................................................... 28
Audio I/F ................................................................. 38
AutoNoteSw ........................................................ 30–31
Formant ................................................................... 30
G
GROWL ................................................................... 27
B
Beep ........................................................................ 17
BENDER ................................................................... 29
Breath ...................................................................... 39
Hold Dump ............................................................... 30
C
Information ............................................................... 37
Init .......................................................................... 36
INPUT ..................................................................... 10
INPUT Jack Gain ......................................................... 38
INPUT Jack Switch ...................................................... 38
Internal Memory ........................................................... 9
Internal memory ........................................................... 9
Carrier ..................................................................... 26
CHO ........................................................................ 32
CHO Master Level ....................................................... 32
CHO To REV ............................................................. 32
CHO Type ........................................................... 32–33
Chord Memory ........................................................... 38
Chorus master level ..................................................... 32
Chorus on/off switch ................................................... 32
Chorus reverb send level ............................................... 32
Chorus type ......................................................... 32–33
COAXIAL IN/OUT ..................................................... 13
Compare ................................................................... 22
connection ................................................................. 14
Controller ................................................................. 31
[CTRL] ..................................................................... 12
Cursor button ............................................................. 12
K
KEY ASSIGN ............................................................. 28
Limiter ..................................................................... 25
Load Project .............................................................. 40
D
Data Transfer ............................................................. 21
[DEC] ...................................................................... 12
DIRECT OUT jack ....................................................... 13
Disk Load Project ........................................................ 40
MFX chorus send level .................................................. 32
MFX Master Level ....................................................... 32
MFX on/off switch ................................................ 32–33
MFX reverb send level .................................................. 32
MFX To CHO ............................................................. 32
MFX To REV .............................................................. 32
MFX Type ........................................................... 32–33
MIC ........................................................................ 17
MIC jack ............................................................. 10, 17
E
E1–E8 knobs .............................................................. 12
effect ......................................................................... 7
EQ .......................................................................... 38
EQUALIZER .............................................................. 27
[EXIT] ...................................................................... 12
70
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MIC Jack Switch .......................................................... 38
Mic Setting ................................................................ 24
MIC Setting Name ....................................................... 24
MIC Switch ............................................................... 10
[MIDI] ...................................................................... 11
MIDI Indicator ........................................................... 11
MIDI/USB ................................................................ 38
[MODE] .................................................................... 12
modulator ................................................................... 7
Release .................................................................... 28
REV Master Level ....................................................... 32
Setting Name ............................................................. 24
N
NATURAL VOICE ................................................ 30–31
NOISE SUP ............................................................... 26
Noise suppressor ......................................................... 25
NS-COMP ................................................................. 25
NS-LIMIT ................................................................. 25
T
TONE ...................................................................... 30
O
OPTICAL IN/OUT ...................................................... 13
OSC ................................................................... 26, 30
UNVOICE .......................................................... 30–31
[USB] ...................................................................... 11
USB .......................................................................... 9
USB Audio Output Dest ................................................ 39
P
Pan ................................................................... 28–29
PATCH .............................................................. 16, 20
PATCH Delete ............................................................ 23
PATCH List ......................................................... 16, 24
PATCH Name ............................................................ 22
PATCH Tune ............................................................. 20
PATCH Write ............................................................. 22
PC Card ...................................................................... 9
[PEAK] ..................................................................... 11
Peak Indicator ............................................................ 11
PHONES jack ............................................................. 11
PITCH ..................................................................... 27
POLY PITCH SHIFTER ................................................. 31
Poly Pitch Shifter ......................................................... 30
PORTAMENTO .......................................................... 28
POWER switch ........................................................... 12
Pre-Effect .................................................................. 25
PREVIEW Button ........................................................ 11
Project ........................................................................ 9
W
WAVE ..................................................................... 29
WAVE Copy ............................................................. 35
WAVE Delete ............................................................ 35
WAVE Exchange ........................................................ 35
Wave Import ............................................................. 34
WAVE Move ............................................................. 35
Work Area .................................................................. 9
Write ....................................................................... 36
71
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