Roland Aerophone Pro Parameter Guide

Download

Parameter Guide

Contents

AE-30 Functions available only on the AE-30. AE-20 Functions available only on the AE-20.

Settings Used on this Instrument .............. 3

System Parameters .................................. 3

Scene Parameters .................................... 10

Assign Parameters ................................... 10

MIDI Parameters ..................................... 12

Data Backup and Restore Operations ......... 14

Formatting a USB Flash Drive ......................... 14

Backing Up/Restoring System Settings ................ 14

Backing Up/Restoring Scene Settings ................. 15

Installing a SOUND PACK/WAVE EXPANSION . 17

Preparing the Sound Files ............................ 17

Importing a SOUND PACK ............................ 17

AE-30 Installing a WAVE EXPANSION ................. 18

AE-30 Managing the WAVE EXPANSION Data ......... 18

Initializing a User License ............................. 19

How the Scenes are Structured ................. 20

ZEN-Core Tone ...................................... 20

SuperNATURAL Tone ................................. 20

Drum Kit ............................................ 21

Scene Parameters ................................ 22

SCENE/COMMON .................................... 22

SCENE/ASSIGN (INT) ................................. 22

SCENE/CONTROL SOURCE (INT) ....................... 23

SCENE/ASSIGN (MIDI) ................................ 23

SCENE/CONTROL (MIDI) .............................. 25

SCENE/PART ......................................... 25

SCENE/MODE ....................................... 25

SCENE/RANGE ....................................... 26

SCENE/PITCH ........................................ 26

SCENE/OFFSET ...................................... 26

SCENE/EQ ........................................... 27

SCENE/OUTPUT ..................................... 27

SCENE/CONTROL .................................... 27

SCENE/CONTROL RX ................................. 28

SCENE/IFX ........................................... 28

SCENE/CHORUS ..................................... 29

Chorus Parameters ................................. 29

SCENE/DELAY ....................................... 30

Delay Parameters ................................... 30

SCENE/REVERB ...................................... 32

Reverb Parameters ................................. 32

Tone Parameters ................................. 35

TONE/COMMON ..................................... 35

TONE/STRUCTURE ................................... 37

TONE/MFX .......................................... 39

TONE/PARTIAL ....................................... 40

TONE/PARTIAL/OSC .................................. 40

TONE/PARTIAL/RANGE ............................... 41

TONE/PARTIAL/PITCH ................................ 42

TONE/PARTIAL/FILTER ................................ 43

TONE/PARTIAL/AMP ................................. 45

TONE/PARTIAL/LFO1, LFO2 ........................... 46

TONE/PARTIAL/PARTIAL EQ ........................... 48

TONE/PARTIAL/OUTPUT .............................. 48

TONE/PARTIAL/CONTROL ............................ 48

TONE/PARTIAL/MATRIX CONTROL ..................... 49

MFX/IFX Parameters ............................. 51

Thru ................................................ 51

Equalizer ............................................ 51

Low Boost ........................................... 51

Enhancer ............................................ 51

Auto Wah ........................................... 52

Humanizer .......................................... 52

Speaker Sim (Speaker Simulator) ...................... 53

Phaser 1 ............................................ 53

Tremolo ............................................. 54

Auto Pan ............................................ 54

VK Rotary ........................................... 54

Chorus .............................................. 55

Flanger ............................................. 55

Step Flanger ......................................... 56

Hexa-Chorus ........................................ 56

Space-D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Overdrive ........................................... 57

Distortion ........................................... 57

T-Scream ............................................ 57

Guitar Amp Sim

Compressor ......................................... 59

Limiter .............................................. 59

Delay ............................................... 59

Mod Delay (Modulation Delay) ....................... 60

3Tap Pan Dly (3 Tap Pan Delay) ........................ 60

Tape Echo ........................................... 61

LOFI Comp (LOFI Compress) .......................... 61

Pitch Shifter ......................................... 61

2V Pshifter (2 Voice Pitch Shifter) ...................... 62

Gt (Guitar Amp Simulator) -> Delay .................... 62

CE-1 ................................................ 63

SBF-325 ............................................. 63

SDD-320 (DIMENSION D) ............................. 63

2Tap Pan Dly (2 Tap Pan Delay) ........................ 64

Fuzz ................................................ 64

JUNO-106 Chorus .................................... 64

Exciter .............................................. 64

(Guitar Amp Simulator) ..................... 58

Control Change List ............................. 66

Fingering Chart .................................. 67

Sax ................................................. 67

Recorder ............................................ 68

Electronic Wind ...................................... 69

Trumpet ............................................ 70

Left Hand ........................................... 71

Right Hand .......................................... 72

Flute ................................................ 73

Clarinet ............................................. 75

Settings Used on this Instrument

System Parameters

Indication (Parameter)

Master Tuning

Transpose Mode

AE-30

Transpose Knob Mode

AE-20

Volume Knob Mode

System Tranpose

Display Contrast

Display O Time

Auto O

Speaker Volume

Output Volume

Speaker Setting

Output Mode

Hold Mode

Breath Curve

Value Explanation

415.3–466.2 (Hz)

Switches the operating mode for transpose.

System The System Transpose value is used as the transpose value of the instrument.

Scene

These parameters congure the functions for the AE-30 [TRANSPOSE] knob or the AE-20 [VOLUME] knob.

System Transpose The System Transpose parameter changes when you operate the knob.

Speaker Volume The volume of the built-in speakers changes when you operate the knob.

Output Volume

Speaker & Output

-5 (G)–0 (C)–+6 (F#)

1–5

Always On, 3sec, 10sec, 30sec, 1–3min

Always On, 5min, 30min

0–11 Sets the volume of the built-in speakers.

0–11

These parameters are the speaker settings.

O Sound is not output from the built-in speakers.

On Sound is output from the built-in speakers.

Auto

Stereo, Mono

Sets the “hold mode,” which sustains notes even after you stop blowing.

O Notes are not sustained.

Breath

Key Pressing the performance keys produce notes according to your ngering.

Species how the sound responds to the force of your breath (breath sensitivity).

L5–L1

H1–H5

Changes the system tuning.

* The displayed value is the frequency of the A key.

The transposition will be as specied by the scene.

* When you change System Transpose, the System Transpose value is used even when a

transpose value is already set for the scene. When you change the scene afterwards, the scene’s transpose value is used.

The volume for headphones connected to the PHONES jack, or of the signal output from the OUTPUT jack changes when you operate the knob.

The volume of the built-in speakers and of headphones connected to the PHONES jack, as well as the signal output from the OUTPUT jack simultaneously changes when you operate the knob.

Sets the system transpose value.

Sets the display contrast. Larger values make the display brighter.

Sets the time it takes for the display to turn o when the instrument is not being used. When set to “Always On,” the display is always on. When you press the [SCENE] or [MENU] button while the display is o, the display turns

back on.

Sets the time before the instrument automatically turns o. The power to this unit will be turned o automatically after a predetermined amount of

time has passed since it was last used for playing music, or its buttons or controls were operated (Auto O function).

If you don’t want the unit to turn o automatically, change this setting to “Always On.”

Species the volume that is output from the OUTPUT jack or from headphones connected to the PHONES jack.

Sound is not output from the built-in speakers if headphones or a cable are connected to the PHONES jack.

Sets whether the audio signal output from the PHONES or OUTPUT jack is outputted in stereo or in mono.

Notes are sustained at the volume they are played when you blow once. Inhale to stop the note.

We recommend these settings if you’re a beginning wind instrument player.

Fortissimo () can be produced even by blowing relatively softly.

This is the usual setting.

We recommend these settings for experienced wind instrument players.

Fortissimo () is produced only when you blow quite strongly.

Level

Breath force

Settings Used on this Instrument

Indication (Parameter)

Breath Adjust

Bite Ctrl Mode

Bite Center (Sax)

Bite Sense (E-Wind)

Bite Calibration

Value Explanation

Adjusts the strength of breath at which sound starts being heard.

1–50

The larger the value, the stronger you must blow to make a sound.

These parameters set how the bite sensor controls the sound.

O Turns o the bite sensor control.

Reducing the strength of your bite on the reed makes the pitch fall.

Sax

Weakening the strength of your bite on the reed lowers the pitch

Cyclically varying the strength of your bite on the reed applies vibrato.

E-Wind

Apply vibrato by repeatedly strengthening and weakening the strength of your bite on the reed

This sets how much bite is applied to the reed (bite center) when playing normally.

Auto, 1–70

When set to “Auto,” this is automatically set.

* You can also set the bite center by pressing the +2 octave and -2 octave keys at the same

time with the mouthpiece in your mouth, as when you’re usually playing.

Sets the sensitivity when Bite Ctrl Mode is set to “E-Wind.”

1–10

Increase this value if you want to make the eect easier to apply; lower this value if the eect is too strong.

Use this parameter to adjust (calibrate) the bite sensor.

1. Select “Bite Calibration,” and then press the

[MENU] button.

2. Use your ngers to hold the reed while

“ãNO YESâ” is shown.

Level

Breath force

Breath Adjust

3. Press the [â] (YES) button while still holding the

reed.

“Adjusting now...” appears, and calibration begins automatically.

The internal digital volume is automatically adjusted.

4. Press the [MENU] button when “Press MENU to

save” appears.

“Saving...” Ó “Complete” appears, and the calibration value is saved.

Bend Range Source

Bend Range Bite Dn

Bend Range Bite Up

Bend Range Ctrl

Bend Range Mode

AE-30

Thumb Pad Sense

System, Scene

0–2400 (cent)

0–24

Selects whether the bend range in system settings (System) or the bend range set in each scene (Scene) is used when operating the pitch bend.

Sets the bend range in cents, when “Bend Down” or “Bend Up” is assigned to the bite controller.

Sets the bend range in semitones, when “Bend Up” or “Bend Down” is assigned to the thumb lever or to another controller.

These parameters switch between bend range modes.

Either the Bend Range Bite, AE-30 Bend Range Motion or Bend Range Ctrl (whichever is larger) is used for the bend range.

Normal

When you use both bite control and the thumb lever or other bend controls together, the bend range is limited to the maximum or minimum value and does not operate beyond this.

Advance

O, 1–10

Automatically calculates the bend range using the combination of Bend Range Bite,

AE-30 Bend Range Motion and Bend Range Ctrl.

Sets how much the thumb pad aects the sound. Larger values produce a greater eect.

5. Take your ngers o the reed.

* This is enabled when the

Bend Range Source is “System.”

Settings Used on this Instrument

Indication (Parameter)

AE-30

Motion Ctrl Mode

AE-30

Motion_1 Setting Motion_2 Setting

AE-30

Motion Sense (Vib)

AE-30

Bend Range Motion Dn Bend Range Motion Up

Asgn Src Breath

Asgn Src Bite

Asgn Src Lever

AE-30

Asgn Src Thumb Pad

AE-30

Asgn Src Motion

Asgn Src S1/S2

Asgn Src Key

Harmony Source

Value Explanation

These parameters set how the motion sensors control the sound.

O

Normal

Turns o the motion sensor control.

Tilting the Aerophone controls the functions that are assigned in the Assign parameters. The tilt detection range is set in Motion_1 Setting and Motion_2 Setting.

Lets you controls the pitch when you make cyclic changes to how the Aerophone is tilted. Gives a vibrato-like eect when you repeatedly move the Aerophone up and down.

Vibrato

These parameters congure the detection range of the motion sensors.

Elevation Tilt

MIDI controller value

127

0–180 °

Elevation

Tilt

-90–90°

The motion of lifting the Aerophone up is used. This works through the range of tilting the instrument up to 180º upwards.

The motion of tilting the Aerophone either to the left or to the right is used. This works through the range of tilting the instrument up to 90º to the left or right.

Tilt Full

127127

-90–90°

1270

The motion of tilting the Aerophone either to the left or to the right is used. The base value

Tilt Full

is when the instrument is tilted 90º to the left, and this works through the range of tilting the instrument up to 90º to the right.

Tilt Left

Tilt Right

1–10

0–2400 (cent)

The motion of tilting the Aerophone to the left is used. This works through the range of tilting the instrument up to 90º to the left.

The motion of tilting the Aerophone to the right is used. This works through the range of tilting the instrument up to 90º to the right.

Sets the sensitivity when Motion Ctrl Mode is set to “Vibrato.” Increase this value if you want to make the eect easier to apply; lower this value if the eect is too strong.

Sets the bend range in cents, when “Bend Up/Down” is assigned to the motion control.

* This is enabled when Bend Range Source is “System.”

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the breath control.

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the bite control.

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the thumb lever.

Selects whether to use the system settings (System) or the settings in each scene (Scene)

System, Scene

for the Assign or MIDI parameter that is assigned to the thumb pad.

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the motion control.

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the [S1]/[S2] buttons.

Selects whether to use the system settings (System) or the settings in each scene (Scene) for the Assign or MIDI parameter that is assigned to the performance keys.

Selects whether to use the system harmony settings (System) or the harmony settings in each scene (Scene).

Tilt Left Tilt Right

127

-90–0°

127

0–90°

Settings Used on this Instrument

Indication (Parameter)

Harmony 1 Harmony 2 Harmony 3 Harmony 4

Ctrl Source Select

System Ctrl Source 1 System Ctrl Source 2 System Ctrl Source 3 System Ctrl Source 4

Category Knob Mode

Value Explanation

Sets the pitch of the harmony notes that work when each controller function is set to “Harmony.” Up to four harmony notes can be added.

* This is enabled when the Harmony Source is “System.”

Oct below (-12), 7th Maj below (-11), 7th min below (-10), 6th Maj below (-9), 6th min below (-8), 5th below (-7), Tritone below (-6), 4th below (-5), 3rd Maj below (-4), 3rd min below (-3), 2nd Maj below (-2), 2nd min below (-1), O, 2nd min above (+1), 2nd Maj above (+2), 3rd min above (+3), 3rd Maj above (+4), 4th above (+5), Tritone above (+6), 5th above (+7), 6th min above (+8), 6th Maj above (+9), 7th min above (+10), 7th Maj above (+11), Oct above (+12)

These parameters select whether to use the system settings or the scene settings for tone control.

System Uses System Control Source 1–4.

Scene Uses Control Source 1–4 for the scene.

O, CC01–31, CC33–95, Bend, After Touch

Sets the function of the [CATEGORY] knob.

Scene Parameters

Indication (Parameter)

Scene Volume 0–127

Scene Transpose -5–0–+6

Scene Octave Shift -3–0–+3

Scene Chorus 0–127 Sets the chorus depth for the scene.

Scene Reverb 0–127 Sets the reverb depth for the scene.

Scene Delay 0–127 Sets the delay depth for the scene.

Scene IFX Sw O, On Switches the IFX on/o for the scene.

All Eects O

Value Explanation

Species the volume of each scene.

Species the transposition (pitch shift) of each scene.

* If the system parameter’s Transpose Mode is “Scene,” this transpose value is applied

when you select the scene.

* When you change System Transpose after selecting a scene, the System

Transpose value is used as the transpose value of the instrument.

Species the octave shift setting of the scene.

–

Turns o all eects (chorus, reverb, delay and MFX) set for the scene. To turn all eects o, press the [MENU] button and then press the [â] button.

Assign Parameters

You can assign functions to controllers such as the buttons and the thumb lever, and specify how the functions are controlled.

Maximum no. of assignable functions per controller

Breath Bite Up/Down, AE-30 Thumb Pad

Lever Up/Down

AE-30 Motion

S1, S2, Side Key

* The Assign parameters work when the settings in “Asgn Src” (assign source) of each controller of the system are set to “System.”

If Asgn Src is set to “Scene,” each scene’s assignment settings are used (p. 5).

Assigning a continuously-variable controller (

* Indications of “***” in the table will contain the following names. The rst parameter for Breath is shown as “Breath_1”, the second parameter for

S1 is shown as “S1_2” and so on.

Breath_1–8, BiteDn_1–4, BiteUp_1–4, LeverDn_1–2, LeverUp_1–2,

* For controllers whose Func parameter is “O,” their parameters related to the assign settings are not shown.

Indication (Parameter)

*** Func

*** In Min

*** In Max

*** Out Min

*** Out Max

*** Mode

Value Explanation

See “Assign Function List” (p. 12)

0–127

Species the operation mode.

Latch

Momentary

AE-30

Breath_1–Motion_2 /

AE-30 ThumbPad_1–4, AE-30 Motion_1–2

Specify the function that is assigned to a continuously-operated controller.

Specify the minimum value (Min) and maximum value (Max) in which controller operations are eective.

Specify the minimum value (Min) and maximum value (Max) in which the assigned function operates.

Each operation switches between Output Min Value and Output Max Value.

The function operates like a graph “Function assignment (continuous operation),” according to how you operate the controller.

AE-20

Breath_1–LeverUp_2)

Ø “Function assignment (continuous

operation)”

Settings Used on this Instrument

Indication (Parameter)

Value Explanation

Species the operation curve when the operation mode is “Momentary.”

*** Curve

1: Linear 2: Exp L 3: Exp M1 4: Exp M2 5: Exp H

10: S-Shape 11: Reverse S 12: Step

Function assignment (continuous operation)

127

Out Max

Out Min

Operation

of function

Performer’s action

Input Min

Curve

Input Max

6: Log L 7: Log M1 8: Log M2 9: Log H

1: Linear 2: Exp L 3: Exp M1 4: Exp M2 5: Exp H

6: Log L 7: Log M1 8: Log M2 9: Log H 10: S-Shape

11: Reverse S 12: Step

127

Settings Used on this Instrument

Assigning a switch-type controller (S1_1–Ta_2)

* Indications of “***” in the table will contain the following names.

S1_1–2, S2_1–2, X_1–2, C1_1–2, C2_1–2, C3_1–2, C4_1–2, C5_1–2, Tc_1–2, Ta_1–2

* For controllers whose Func parameter is “O,” their parameters related to the assign settings are not shown.

Indication (Parameter)

*** Func See “Assign Function List” Species the function that is assigned when each controller is pressed.

*** Release Val

*** Press Val

*** Mode

Value Explanation

0–127

Species the operation mode.

Latch

Momentary

Specify the value when you take your nger o the button (Release) and the value when you press the button (Press).

Each time you press the button, the Press Value and Release Value alternate.

The Press Value is applied while the button is pressed, and the Release Value is applied while the button is released.

Assign Function List

Value Range Explanation Remarks

O

CC 01–31, CC33–95 0–127 Control change

Bend Down 0–127 Bend down

Bend Up 0–127 Bend up

After Touch 0–127 After touch (Channel Key Pressure)

Scene Down --- Select previous scene

Scene Up --- Select next scene

Favorite Down --- Select the previous favorite scene

Favorite Up --- Select the next favorite scene

Chorus Sw O, On Turns the chorus on.

Reverb Sw O, On Turns the reverb on.

Delay Sw O, On Turns the delay on.

IFX Sw O, On Turns the IFX on.

Unison Sw O, On Turns unison on.

Oct Down --- Octave down

Oct Up --- Octave up

Transpose Down ---

Transpose Up ---

Drone Sw O, On Turns the drone function on.

Harmony Sw O, On Turns the harmony on.

X-Fade 0–127 Crossfade

No function is assigned.

Not available for breath or bite control

Transpose down (0 Ø -1 Ø ... -5 Ø +6 ... ) Transpose up (0 Ø +1 Ø ... +6 Ø -5 ... )

MIDI Parameters

You can assign a MIDI control function to each controller, and specify how control occurs.

Maximum no. of assignable functions per controller

Breath 8 Bite, AE-30 Thumb Pad

Lever Up/Down 2

AE-30 Motion

S1, S2, Side Key 2

* As with Assign, the MIDI control parameters work when the settings in “Asgn Src” (assign source) of each controller of the system are set to

“System.” If Asgn Src is set to “Scene,” each scene’s MIDI control settings are used (p. 5).

Settings Used on this Instrument

Assigning a continuously-variable controller (

* Indications of “***” in the table will contain the following names.

Breath_1–8, BiteDn_1–4, BiteUp_1–4, LeverDn_1–2, LeverUp_1–2,

* For controllers whose Func parameter is “O,” their parameters related to the assign settings are not shown.

Indication (Parameter)

*** Func

*** In Min

*** In Max

*** Out Min

*** Out Max

*** Mode

*** Curve

Value Explanation

See “Assign Function (MIDI) List” (p. 13)

0–127

Species the operation mode.

Latch

Momentary

Species the operation curve when the operation mode is “Momentary.”

1: Linear 2: Exp L 3: Exp M1 4: Exp M2 5: Exp H

AE-30

Breath_1–Motion_2 /

AE-30 ThumbPad_1–4, AE-30 Motion_1–2

Specify the function that is assigned to a continuously-operated controller.

Specify the minimum value (Min) and maximum value (Max) in which controller operations are eective.

Specify the minimum value (Min) and maximum value (Max) in which the assigned function operates.

Each operation switches between Output Min Value and Output Max Value.

The function operates like a graph “Function assignment (continuous operation),” according to how you operate the controller.

6: Log L 7: Log M1 8: Log M2 9: Log H

AE-20

Breath_1–LeverUp_2)

Ø “Function assignment (continuous

operation)” (p. 11)

10: S-Shape 11: Reverse S 12: Step

Assigning a switch-type controller (S1_1–Ta_2)

* Indications of “***” in the table will contain the following names.

S1_1–2, S2_1–2, X_1–2, C1_1–2, C2_1–2, C3_1–2, C4_1–2, C5_1–2, Tc_1–2, Ta_1–2

* For controllers whose Func parameter is “O,” their parameters related to the assign settings are not shown.

Indication (Parameter)

*** Func

*** Release Val

*** Press Val

*** Mode

Assign Function (MIDI) List

Value Variable range Explanation Remarks

O

CC 01–31, CC33–95 0–127 Control change

Bend Down 00 00–00 40 Bend down

Bend Up 00 40–7F 7F Bend up

After Touch 0–127 After touch (Channel Key Pressure)

Drone Sw O, On Turns the drone function on. Not available for breath or bite control

Harmony Sw O, On Turns the harmony on.

Start/Stop O, On Outputs a start (FA)/stop (FC) signal. Not available for breath or bite control

Value Explanation

See “Assign Function (MIDI) List” (p. 13)

0–127

Species the operation mode.

Latch

Momentary

No function is assigned. The side keys follow the ngering mode settings.

Species the function that is assigned when each controller is pressed.

Specify the value when you take your nger o the button (Release) and the value when you press the button (Press).

Each time you press the button, the Press Value and Release Value alternate.

The Press Value is applied while the button is pressed, and the Release Value is applied while the button is released.

Data Backup and Restore Operations

There are two types of user settings that can be backed up and restored: system settings and scene settings.

Backing Up/Restoring System Settings

System Settings ¹ Various settings for the unit itself

Scene Settings

¹ User scene ¹ User tone

Items Required

USB ash drive (Type-C)

Formatting a USB Flash Drive

The Aerophone only recognizes USB ash drives that are formatted with the FAT32 le system.

If the instrument doesn’t recognize your USB ash drive, try using a USB ash drive that has been formatted with the FAT32 le system on your computer.

1. Hold down [MENU] button and turn on the power.

Continue to hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive to the USB port on the

unit.

3. Press the [â] button to select “USB Memory Format,”

and press the [MENU] button.

Backup

1. Hold down [MENU] button and turn on the power.

Continue to hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive to the USB port on the

unit.

3. Press the [ã] [â] buttons to select “System Backup,”

and press the [MENU] button.

4. Press the [â] button to select “YES.” If you decide to

cancel, press the [ã] button to select “NO.”

5. Enter the le name.

4. To execute formatting, press the [â] button to select

“YES.” If you decide to cancel, press the [ã] button to select “NO.”

Selecting “YES” displays a conrmation screen.

5. Press the [MENU] button.

“Executing...” is displayed on the screen and the USB ash drive is formatted. When formatting is nished, “Complete” appears and then the display returns to the USB Memory Format screen.

6. Turn o the power and disconnect the USB ash

drive.

Press the [ã] [â] buttons to move the cursor, then press [à] [á] buttons to input the characters. Use [S1] button to insert one character and [S2] button to delete it.

6. Press the [MENU] button.

“Write OK ?” is displayed on the screen.

7. To execute the backup operation, press the [â]

button to select “YES.” If you decide to cancel, press the [ã] button to select “NO.”

“Writing...” is displayed on the screen and the backup operation is executed. When the operation is nished, “Complete” appears and then the display returns to the System Backup screen.

8. Turn o the power and disconnect the USB ash

drive.

Data Backup and Restore Operations

Restore

1. Hold down [MENU] button and turn on the power.

Continue to hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive containing the backed-

up data to the USB port on the unit.

3. Press the [ã] [â] buttons to select “System Restore,”

and press the [MENU] button.

4. Press the [â] button to select “YES.” If you decide to

cancel, press the [ã] button to select “NO.”

5. Press the [ã] [â] buttons to select the backed-up

le, and press the [MENU] button.

Backing Up/Restoring Scene Settings

Backup

1. Hold down [MENU] button and turn on the power.

Continue to hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive to the USB port on the

unit.

3. Press the [ã] [â] buttons to select “Scene Backup,”

and press the [MENU] button.

4. Press the [â] button to select “YES.” If you decide to

cancel, press the [ã] button to select “NO.”

5. Enter the le name.

A conrmation screen appears.

6. To execute the restore operation, press the [â]

button to select “YES.” If you decide to cancel, press the [ã] button to select “NO.”

“Writing...” is displayed on the screen and the restore operation is executed. When the operation is nished, “Complete” appears and then the display returns to the System Restore screen.

* If les could not be read in correctly, “Read Error” is displayed. Verify

the connection of the USB ash drive, then carry out the restore operation again. Also, if the backed-up data of the scene setting is selected at “System Restore,” “Read Error” is displayed.

7. Turn o the power and disconnect the USB ash

drive.

Press the [ã] [â] buttons to move the cursor, then press [à] [á] buttons to input the characters. Use [S1] button to insert one character and [S2] button to delete it.

6. Press the [MENU] button.

“Write OK ?” is displayed on the screen.

7. To execute the backup operation, press the [â]

button to select “YES.” If you decide to cancel, press the [ã] button to select “NO.”

“Writing...” is displayed on the screen and the backup operation is executed. When the operation is nished, “Complete” appears and then the display returns to the Scene Backup screen.

8. Turn o the power and disconnect the USB ash

drive.

Data Backup and Restore Operations

Restore

1. Hold down [MENU] button and turn on the power.

Continue to hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive containing the backed-

up data to the USB port on the unit.

3. Press the [ã] [â] buttons to select “Scene Restore,”

and press the [MENU] button.

4. Press the [â] button to select “YES.” If you decide to

cancel, press the [ã] button to select “NO.”

5. Press the [ã] [â] buttons to select the backed-up

le, and press the [MENU] button.

A conrmation screen appears.

6. To execute the restore operation, press the [â]

button to select “YES.” If you decide to cancel, press the [ã] button to select “NO.”

“Writing...” is displayed on the screen and the restore operation is executed. When the operation is nished, “Complete” appears and then the display returns to the Scene Restore screen.

* If les could not be read in correctly, “Read Error” is displayed. Verify

the connection of the USB ash drive, then carry out the restore operation again. Also, if the backed-up data of the system setting is selected at “Scene Restore,” “Read Error” is displayed.

7. Turn o the power and disconnect the USB ash

drive.

Installing a SOUND PACK/WAVE EXPANSION

Preparing the Sound Files

* If you’re using the USB ash drive for the rst time, format it using

the Aerophone. Ø “Formatting a USB Flash Drive” (p. 14)

1. Prepare the sound le that you will add on the

Aerophone, and place the le on your computer.

MEMO

Sound les such as SOUND PACK or WAVE EXPANSION can be obtained via the Roland Cloud.

* Wave expansions can only be installed on the AE-30.

For more about Roland Cloud, refer to the Roland website. Ø https://www.roland.com/

2. Connect the USB ash drive to your computer.

3. Save the le in the appropriate directory of your

USB ash drive.

SOUND PACK (extension: .SDZ): ROLAND/SOUND folder

WAVE EXPANSION (extension: .EXZ): Root directory

4. Disconnect the USB ash drive from your computer.

Importing a SOUND PACK

This is how to import a SOUND PACK to the user tone/scene.

1. While holding down the [MENU] button, turn on the

power.

Hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive containing the tone le

to the USB port of this instrument.

3. Use the [ã] [â] button to select “Import Tone,” and

then press the [MENU] button.

7. Select the import destination for the tones/scenes.

Use the [à] [á] buttons to switch, use the [â] button to select, and use the [ã] button to disregard your selection.

A [+] mark is shown on the selected tone/scene number.

8. Press the [MENU] button when you’re nished

selecting.

When importing tones

1. When “Make Scene” is displayed, generate a

scene for the tone to be imported.

2. Use the [à] [á] buttons to switch between

scenes, use the [â] button to select, and use the [ã] button to disregard your selection.

A [+] mark is shown on the selected scene number.

3. Press the [MENU] button when you’re nished

selecting.

“Import OK?” is shown on the screen.

4. To import, press the [â] button and select “YES”; and

to cancel, press the [ã] button and select “NO.”

Selecting “YES” imports the data.

When the operation is completed, the display indicates “Completed!”.

Press the [MENU] button to return to the Import Tone screen.

MEMO

Hold down the [MENU] button to return to the Import Tone screen.

4. Use the [â] button to select “YES.”

If you decide to cancel, press the [ã] button to select “NO.”

5. Use the [ã] [â] buttons to select the le to import,

and press the [MENU] button.

If this is the rst time to import data, a screen appears that asks you to install the user license.

To continue importing, press the [â] button and then select “YES.”

6. Select the tones/scenes to import.

Use the [à] [á] buttons to switch between tones/scenes, use the [â] button to select, and use the [ã] button to disregard your selection.

A [+] mark is shown on the selected tone/scene number.

Press the [MENU] button when you’re nished selecting.

Installing a SOUND PACK/WAVE EXPANSION

AE-30

Installing a WAVE EXPANSION

1. While holding down the [MENU] button, turn on the

power.

Hold down the [MENU] button until the Roland logo disappears.

2. Connect the USB ash drive containing the sound

le to the USB port of this instrument.

3. Use the [ã] [â] button to select “Install Expansion,”

and then press the [MENU] button.

4. Use the [â] button to select “YES.”

If you decide to cancel, press the [ã] button to select “NO.”

5. Use the [ã] [â] buttons to select the le to install,

and press the [MENU] button.

If this is the rst time to install data, a screen appears that asks you to install the user license.

To continue installing, press the [â] button and then select “YES.”

“Install OK?” is shown on the screen.

6. To install, press the [â] button and select “YES”; and

to cancel, press the [ã] button and select “NO.”

Selecting “YES” installs the data.

When the operation is completed, the display indicates “Completed!”.

Press the [MENU] button to return to the Install Expansion screen.

MEMO

Hold down the [MENU] button to return to the Install Expansion screen.

AE-30

Managing the WAVE EXPANSION Data

This shows you how to manage the WAVE EXPANSION data you’ve installed.

1. While holding down the [MENU] button, turn on the

power.

Hold down the [MENU] button until the Roland logo disappears.

2. Use the [ã] [â] button to select “Expansion

Manager,” and then press the [MENU] button.

3. Use the [â] button to select “YES.”

If you decide to cancel, press the [ã] button to select “NO.”

4. Use the [ã] [â] buttons to select the installed WAVE

EXPANSION data, and press the [MENU] button.

5. Use the [ã] [â] buttons to select what to do with the

data you’ve selected, and press the [MENU] button.

The “Make Scene” operation creates scenes used for WAVE EXPANSION data tones in the user region. The Tone Select screen appears. (Go to step 6.)

The “Uninstall” operation uninstalls the WAVE EXPANSION data. (Go to step 10.)

6. Select the tone used to create the scene data.

Use the [à] [á] buttons to switch, use the [â] button to select, and use the [ã] button to disregard your selection.

A [+] mark is shown on the selected tone number.

7. Press the [MENU] button when you’re nished

selecting.

The Destination screen appears.

8. Select where the scene is to be created.

Use the [à] [á] buttons to switch, use the [â] button to select, and use the [ã] button to disregard your selection.

A [+] mark is shown on the selected scene number.

Press the [MENU] button when you’re nished selecting.

“Make OK?” is shown on the screen.

9. To create (make), press the [â] button and select

“YES”; and to cancel, press the [ã] button and select “NO.”

Selecting “YES” creates the scene.

When the operation is completed, the display indicates “Completed!”.

Press the [MENU] button to return to the Expansion Manager screen.

10. The message “Uninstall OK?” appears.

To uninstall, press the [â] button and select “YES”; and to cancel, press the [ã] button and select “NO.”

11.

A conrmation message appears onscreen.

Press the [MENU] button to execute, or press the [ã] button to cancel and return to the Expansion Manager screen.

MEMO

Hold down the [MENU] button to return to the Expansion Manager screen.

Installing a SOUND PACK/WAVE EXPANSION

Initializing a User License

User License

SOUND PACK and WAVE EXPANSION are associated with the user licenses of the user who downloaded them.

SOUND PACK or WAVE EXPANSION that have diering user licenses cannot be imported into the same Aerophone.

User A

EXZ001

If you want to import or install SOUND PACK and WAVE EXPANSION that has a dierent user license than what is already registered to this Aerophone unit, you must initialize the user licenses.

User A

A B

EXZ002

User A

A B

EXZ002

User B

EXZ002

User B

EXZ002

3. Press the [â] button and select “YES.” To cancel, press

the [ã] button and select “NO.”

4. The Remove License conrmation message appears.

Press the [MENU] button to execute.

If you decide to cancel, press the [ã] button.

When the reset is complete, the message “Completed!” appears.

Press the [MENU] button to return to the Remove License screen.

Initialize

Here’s how to reset a user license.

When a license is reset, the installed wave expansion is uninstalled.

1. While holding down the [MENU] button, turn on the

power.

Hold down the [MENU] button until the Roland logo disappears.

2. Use the [ã] [â] button to select “Remove License,”

and then press the [MENU] button.

How the Scenes are Structured

OSC

Filter

Amp

LFO 2

LFO 1

Pitch Env

Filter Env

Amp Env

Partial EQ

Partial Pan

Partial

Level

Output

Chorus

Send Level

Reverb

Send Level

Partial 2

Partial 3

Partial 4

DRY

MFX

Dry

Chorus

Reverb

MFX

Partial 1

Tone

Part 1

Part EQ

Part Pan

MFX

Part Mix

Part Chorus Send level

Part Reverb Send Level

Part Delay Send Level

Chorus

Reverb

Part Level

Output Assign

Part 2

Part 3

Part 4

IFX

IFX Chorus Send level

IFX Delay Send Level

IFX Reverb Send Level

Chorus

Reverb Send Level

Delay

Reverb Send Level

Reveb

Tone MFX Chorus Send Level

Scene Level

IFX Input

Direct

Chorus

Send

Delay Send

Reverb

Send

Mix

DRY

IFX

Tone MFX Reverb Send Level

Scene

MFX

Part 1 (Super NATURAL tone)

Part EQ

Part Pan

Part Mix

Part Chorus Send level

Part Reverb Send level

Part Delay Send Level

Part Level

Output Assign

Part 2 (ZEN-Core tone for Drone)

IFX

IFX Chorus Send Level

IFX Delay Send Level

IFX Reverb Send level

Chorus

Reverb Send Level

Delay

Reverb Send Level

Reveb

Scene Level

IFX Input

Direct

Chorus

Send

Delay Send

Reverb

Send

Mix

DRY

IFX

Scene

Behavior Modeling Super NATURAL sound core

SuperNATURAL tone

(Preset Only)

ZEN-Core Tone

SuperNATURAL Tone

Drum Kit

MFX

Part 1 (Drum Kit tone)

Part EQ

Part Pan

Part Mix

Part Chorus

Send Level

Part Reverb

Send Level

Part Delay Send level

Part Level

Output Assign

IFX

IFX Chorus Send Level

IFX Delay Send Level

IFX Reverb Send Level

Chorus

Reverb Send Level

Delay

Reverb Send Level

Reveb

Scene Level

IFX Input

Direct

Chorus

Send

Delay Send

Reverb

Send

Mix

DRY

IFX

Scene

ZEN-Core Drum Kit

Chorus Send Level

Reverb Send Level

Chorus

Reverb

Drum Kit tone

(Preset Only)

How the Scenes are Structured

You can use the app “Aerophone Pro Editor” to congure the scene

Scene Parameters

Parameter Value Explanation

Scene Name Species the scene name (maximum of 16 characters).

parameters.

SCENE/COMMON

Parameter Value Explanation

Scene Volume 0–127 Sets the overall scene volume.

Scene Tempo 20.00–300.00 Sets the scene tempo. This is used for eects and other purposes.

Scene Transpose -5–0–+6

Scene Octave Shift -3–0–+3 Sets how many octaves the scene is shifted.

Bend Range Ctrl 0–24

Bend Range Bite Dn

Bend Range Bite Up

0, 5, 10–100, 200–2400 (cent)

AE-30 Bend Range

Motion Dn

AE-30 Bend Range

Motion Up

Harmony 1 Assign Harmony 2 Assign Harmony 3 Assign Harmony 4 Assign

0–2400 (cent)

Sets the pitch of the harmony sound that works when each controller function is set to “Harmony.” You can add up to four harmony notes.

* This is enabled when the Harmony Source system parameter is set to “Scene”(p. 5)

Sets how much the scene is transposed.

* This is enabled when the Transpose Mode system parameter is “Scene” (p. 3).

Sets the bend range in semitones, when “Bend Down” or “Bend Up” is assigned to the thumb lever or to another controller.

Sets the bend range in cents, when “Bend Down” or “Bend Up” is assigned to the bite controller.

Sets the bend range in cents, when “Bend Up/Down” is assigned to the motion control.

* This is enabled when Bend Range Source is “Scene.”

* This is enabled when

the Bend Range Source system parameter is “Scene“ (p. 4).

SCENE/ASSIGN (INT)

* These settings are enabled when the following system parameters (p. 5) are set to “Scene.”

Asgn Src Breath

Asgn Src Bite

Asgn Src Lever

AE-30 Asgn Src Thumb Pad AE-30 Asgn Src Motion

Asgn Src S1/S2

Asgn Src Key

Controller Explanation

Breath

Bite Down

Bite Up

Thumb Lever Down

Thumb Lever Up

AE-30 Thumb Pad AE-30 Motion

S1, S2

X, C1–5, Tc, Ta

1–8 Assigns the settings for the breath controller.

1–4 Assigns the settings for the bite controller.

1, 2 Assigns the settings for the thumb lever.

1–4 Assigns the settings for the thumb pad.

2 Assigns the settings for the motion controller.

1, 2 Assigns the settings for the [S1] and [S2] buttons.

1, 2 Assigns the settings for the [X] key and the side keys ([C1]–[C5], [Tc] and [Ta]).

Ã Assignment settings for continuously-variable controllers

Parameter Value Explanation

Assign Function

Input Min, Max

Output Min, Max

Assign Mode

Curve

For details on the parameters, refer to “Assigning a continuously-variable controller” (p. 10).

Ã Assignment settings for switch-type controllers

Parameter Value Explanation Assign Function

Release Val Press Val Assign Mode

Curve

For details on the parameters, refer to “Assigning a switch-type controller” (p. 13).

SCENE/CONTROL SOURCE (INT)

* This is enabled when the Contorl Source Select system parameter is “Scene.”

Scene Parameters

Parameter Value Explanation

Control Source 1–4

OFF, CC01–31, CC33–95, BEND, AFTER TOUCH

Sets the MIDI messages to be used as tone controls.

SCENE/ASSIGN (MIDI)

* These settings are enabled when MIDI control mode is on, and when the following system parameters (p. 5) are set to “Scene.”

Asgn Src Breath

Asgn Src Bite

Asgn Src Lever

AE-30 Asgn Src Thumb Pad AE-30 Asgn Src Motion

Asgn Src S1/S2

Asgn Src Key

Controller Explanation

Breath 1–8 Assigns the settings for MIDI control with the breath controller.

Bite Down

Bite Up

Thumb Lever Down

Thumb Lever Up

AE-30 Thumb Pad AE-30 Motion

S1, S2 1, 2 Assigns the settings for MIDI control with the [S1] and [S2] buttons.

X, C1–5, Tc, Ta 1, 2 Assigns the settings for MIDI control with the [X] key and the side keys ([C1]–[C5], [Tc] and [Ta]).

1–4 Assigns the settings for MIDI control with the bite controller.

1, 2 Assigns the settings for MIDI control with the thumb lever.

1–4 Assigns the settings for MIDI control with the thumb pad.

Assigns the settings for the motion controller.

Scene Parameters

Ã Assignment settings for continuously-variable controllers

Parameter Value Explanation

Assign Function

Input Min, Max

Output Min, Max

Assign Mode

Curve

Ã Assignment settings for switch-type controllers

Parameter Value Explanation Assign Function

Release Val Press Val Assign Mode

Curve

For details on the parameters, refer to “Assigning a continuously-variable controller” (p. 13).

For details on the parameters, refer to “Assigning a switch-type controller” (p. 13).

SCENE/CONTROL (MIDI)

* The following settings are enabled when MIDI control mode is on.

Parameter Value Explanation

Tx Channel

Bank MSB (CC#0)

Bank LSB (CC#32)

Velocity

Volume (CC#7)

Pan (CC#10)

Modulation (CC#1)

Reverb (CC#91)

Chorus (CC#93)

Coarse (RPN#2)

Fine Tune (RPN#1)

Bend Rng (RPN#0)

Cuto (CC#74)

Resonance (CC#71)

Attack (CC#73)

Decay (CC#75)

Release (CC#72)

MONO/POLY (CC#126/127)

1–16 Species the MIDI transmit chaunnel.

OFF, 0–127 Sets the bank select/program change message that is transmitted when a scene is

OFF, 0–127

OFF, 1–128

These parameters set the note-on velocity values for MIDI output.

REAL The velocity value is determined by the strength of your tonguing.

1–127 Transmits the specied value (a xed value).

OFF, 0–127

OFF, L64–0–63R

OFF, 0–127

OFF, -48–0–+48

OFF, -50–0–+50

OFF, 0–24

OFF, 0–127

OFF, MONO (CC#126), POLY (CC#127)

selected. When this is set to “OFF,” no bank select/program change is transmitted.

* These parameters are enabled when the MIDI Ctrl PC and MIDI Ctrl BS (p. 7)

system parameters are set to “On.”

Sets the value transmitted for Volume (CC#7) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for PAN (#CC#10) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Modulation (CC#1) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Reverb Send (CC#91) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Chorus Send (CC#93) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Coarse Tune (RPN#2) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Fine Tune (RPN#1) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Bend Range (RPN#0) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Cuto Oset (CC#74) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Resonance Oset (CC#71) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Attack Time Oset (CC#73) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Decay Time Oset (CC#75) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Release Time Oset (CC#72) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Sets the value transmitted for Mono/Poly (CC#126/127) when a scene is selected. When this is set to “OFF,” no bank select/program change is transmitted.

Scene Parameters

SCENE/PART

Parameter Value Explanation

PartSW OFF, ON Turns each part (PART 1–4) on/o.

SCENE/MODE

Parameter Value Explanation

Species the part mode.

Part Mode

LEAD This is the usual mode for playing melodies and the like.

DRONE

This is a special mode for playing sustaining low notes. This mode is used with the assign function set to “Drone Sw” (p. 12).

Scene Parameters

SCENE/RANGE

Parameter Value Explanation

Key Range

Key Fade Width Lower 0–127

Key Fade Width Upper 0–127

Velocity Range

Velocity Fade Width Lower

Velocity Fade Width Upper

X-Fade Range

X-Fade Fade Width Lower

X-Fade Fade Width Upper

(Lower) C-1–G9 (Upper) C-1–G9

(Lower) 1–127 (Upper) 1–127

0–127

(Lower) 0–127 (Upper) 0–127

0–127

Sets the key range for each part. Species the upper and lower limits of the key range. Set this when you want dierent tones to play depending on the key played. Sets how far the range extends in which tones sound, when a key is played that’s

lower than Key Range Lower. When no sound is to be heard for keys played outside of this range, set this to “0.” Sets how far the range extends in which tones sound, when a key is played that’s

higher than Key Range Upper. When no sound is to be heard for keys played outside of this range, set this to “0.” Sets the lower/upper limits for the velocities at which tones play. Use this to make dierent tones sound when playing at dierent velocities. Sets the intensity at which tones sound when played softer than the Velocity

Range Lower. When no sound is to be heard, set this to “0.” Sets the intensity at which tones sound when played louder than the Velocity

Range Upper. When no sound is to be heard, set this to “0.” Sets the X-Fade (CC30) lower/upper limits within which tones play. Set this when you want dierent tones to play according to the X-Fade (CC30)

value. Sets how strongly the sound is played when the X-Fade (CC30) value is lower than

X-Fade Range Lower. When no sound is to be heard, set this to “0.” Sets how strongly the sound is played when the X-Fade (CC30) value is higher than

X-Fade Range Upper. When no sound is to be heard, set this to “0.”

SCENE/PITCH

Parameter Value Explanation

Part Octave Shift -3–0–+3 Sets the pitch of the part’s sound in octaves (up to ±3 octaves). Part Coarse Tune -48–0–+48 Shifts the pitch of the part in semitones. Part Fine Tune -50–0–+50 cent Finely adjusts the part’s pitch in units of one cent.

SCENE/OFFSET

Parameter Value Explanation

Adjusts how wide the lter is open.

Cuto -64–0–+63

Resonance -64–0–+63

Attack Time -64–0–+63

Decay Time -64–0–+63

Release Time -64–0–+63

Vibrato Rate -64–0–+63

Increasing this value makes the sound brighter, and decreasing it makes the sound darker.

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound.

Excessively high settings can produce oscillation, causing the sound to distort. Increasing this value strengthens the character, and decreasing it weakens the character.

Sets the time from note-on to when the volume rises. Larger settings of this value make the attack gentler, and smaller settings make the

attack sharper. Sets the time over which the volume decreases from its attack level. Larger settings of this value make the decay longer, and smaller settings make the

decay shorter. Sets the time from note-o to when the volume fades out. Larger settings of this value make the sound linger, and smaller settings make the

sound end more abruptly. Adjusts the vibrato speed (the rate at which the pitch is modulated). The pitch is modulated more rapidly for higher settings, and more slowly with

lower settings.

Parameter Value Explanation

This adjusts the depth of the vibrato eect (the depth at which the pitch is

Vibrato Depth -64–0–+63

Vibrato Delay -64–0–+63

modulated). The pitch is modulated more greatly for higher settings, and less with lower

settings. Adjusts the time until vibrato (pitch modulation) starts to apply. Higher settings produce a longer time before vibrato begins, while lower settings

produce a shorter time.

SCENE/EQ

Parameter Value Explanation

EQ Switch OFF, ON

Input Gain -24–+24 dB Adjusts the amount of boost/cut for the input to the EQ.

Low Gain -24–+24 dB Adjusts the amount of boost/cut of the low frequency range.

Low Freq 20–16000 Hz Sets the center frequency of the low range.

Mid Gain -24–+24 dB Adjusts the amount of boost/cut of the middle frequency range.

Mid Freq 20–16000 Hz Sets the center frequency of the middle range.

Mid Q 0.5–16.0

High Gain -24–+24 dB Adjusts the boost/cut of the high frequency range.

High Freq 20–16000 Hz Sets the center frequency of the high range.

Sets whether to use the part EQ (an equalizer applied to each part) is used (ON) or not used (OFF).

Sets the bandwidth of the middle frequency range. Higher values make the width narrower.

Scene Parameters

SCENE/OUTPUT

Parameter Value Explanation

Part Level 0–127 Sets the volume of each part.

Part Pan L64–0–63R Sets the panning of each part’s sound when using stereo output.

Chorus Send 0–127 Species the send level to chorus.

Delay Send 0–127 Species the send level to delay.

Reverb Send 0–127 Species the send level to reverb.

Output Assign DRY, IFX Selects the output destination for each part.

SCENE/CONTROL

Parameter Value Explanation

Choose “MONO” if you want the tone assigned to the part to play monophonically;

Mono/Poly MONO, POLY, TONE

Legato Switch OFF, ON, TONE

Portamento Switch OFF, ON, TONE

Portamento Time 0–127, TONE

Unison Switch OFF, ON, TONE

choose “POLY” if you want to play it polyphonically. Choose “TONE” if you want to use the setting specied by the tone.

Legato is enabled when Legato Switch is “ON” and Mono/Poly is set to “MONO.” Choose “TONE” if you want to use the setting specied by the tone. This makes the pitch change smoothly while you are playing one note and then

play legato by ngering another key.

Select “ON” to apply portamento, or “OFF” if you don’t want to apply portamento. Choose “TONE” if you want to use the setting specied by the tone.

When portamento is used, this species the time over which the pitch changes. A higher value increases the time it takes for one pitch to slide to the next. Choose “TONE” if you want to use the setting specied by the tone.

This layers a single tone. Choose “ON” if you want to use unison, or “OFF” if you don’t. Choose “TONE” if you want to use the setting specied by the tone.

* Parts whose Unison Switch is “ON” play in mono.

Scene Parameters

Parameter Value Explanation

These parameters set the note-on velocity values.

Velocity

Fixed Velocity 1–127 This sets the velocity value used for the “FIXED” velocity setting.

REAL The velocity value is determined by the strength of your tonguing.

FIXED The specied value (a xed value) is used.

SCENE/CONTROL RX

Parameter Value Explanation

Rx S1, Rx S2 OFF, ON Sets whether to receive [S1] and [S2] button operations (ON) or not (OFF).

Rx X, Rx C1–5, Rx Tc, Rx Ta

Rx Breath OFF, ON Sets whether to receive breath controller operations (ON) or not (OFF).

Rx Bite Down Rx Bite Up

Rx Thumb Lever Down Rx Thumb Lever Up

AE-30

Rx Thumb Pad

AE-30

Rx Motion

OFF, ON Sets whether to receive side key button operations (ON) or not (OFF).

OFF, ON Sets whether to receive bite controller operations (ON) or not (OFF).

OFF, ON Sets whether to receive thumb lever operations (ON) or not (OFF).

OFF, ON Sets whether to receive thumb pad operations (ON) or not (OFF).

OFF, ON Sets whether to receive motion controller operations (ON) or not (OFF).

SCENE/IFX

Parameter Value Explanation

IFX SW OFF, ON Switches the IFX on/o.

IFX Type

IFX parameters

SEND

Chorus Send Level 0–127

Reverb Send Level 0–127

Delay Send Level 0–127

See “MFX/IFX Parameters” (p. 51)

Selects the IFX type.

Congure the parameters for the selected IFX. The available parameters dier depending on the type of the eects you selected

in IFX Type.

Sets the amount of chorus. If you don’t want to add the chorus eect, set it to 0.

Sets the amount of reverb. If you don’t want to add the reverb eect, set it to 0.

Sets the amount of delay. If you don’t want to add the delay eect, set it to 0.

SCENE/CHORUS

Parameter Value Explanation

CH SW OFF, ON Turns the chorus on/o.

Chorus Type

Chorus parameters

OUTPUT

Chorus Level 0–127

Reverb Send Level 0–127

Chorus Parameters

Selects the chorus type.

OFF, 1 Chorus, 2 CE-1, 3 SDD-320, 4 JUNO-106 Chorus

Congure the parameters of the selected chorus type.

See “Chorus parameters”

The available parameters dier depending on the type of chorus you selected in Chorus Type.

Sets the amount of chorus. If you don’t want to add the chorus eect, set it to 0.

Sets the amount of reverb. If you don’t want to add the reverb eect, set it to 0.

Scene Parameters

1 Chorus

This is a stereo chorus.

Parameter Value Explanation

Rate 0–127 Frequency of modulation

Depth 0–127 Depth of modulation

Feedback 0–127

Level at which chorus sound is returned to the input

2 CE-1 (Chorus)

This models the classic BOSS CE-1 chorus eect unit. It provides a chorus sound with a distinctively analog warmth.

Parameter Value Explanation

Intensity 0–127 Chorus depth

3 SDD-320 (Dimension D)

4 JUNO-106 Chorus

This models the chorus eects of the Roland JUNO-106.

Parameter Value Explanation

Mode

Noise Level 0–127

I, II, I+II, JX I, JX II

Type of Chorus

I+II: The state when two buttons

are pressed simultaneously.

Amount of noise produced by the chorus

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

Parameter Value Explanation

Mode

1, 2, 3, 4, 1+4, 2+4, 3+4

Switches the mode.

Scene Parameters

SCENE/DELAY

Parameter Value Explanation

DLY SW

Delay Type

Delay parameters

OUTPUT

Delay Level

Reverb Send Level

Delay Parameters

OFF, ON Switches the delay on/o.

Selects the types of delay. OFF, 1 Delay, 2 T-Ctrl Dly, 3 Delay Ó Trem, 4 2Tap PanDly, 5 3Tap PanDly

Congure the parameters of the selected delay type.

See “Delay parameters”

0–127

The available parameters dier depending on the type of delay you selected in Delay Type.

Sets the amount of delay. If you don’t want to add the delay eect, set it to 0.

Sets the amount of reverb. If you don’t want to add the reverb eect, set it to 0.

1 Delay

This is a stereo delay.

Parameter Value Explanation

Delay Time (sync sw)

Delay Time (msec)

Delay Time (note)

Feedback -98–+98 (%)

HF Damp (*2)

OFF, ON

1–1300

Note (*1)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

2 T-Ctrl Dly (Time Control Delay)

A stereo delay in which the delay time can be varied smoothly.

Parameter Value Explanation

Delay Time (sync sw)

Delay Time (msec)

Delay Time (note)

Acceleration 0–15

Feedback -98–+98 (%)

HF Damp (*2)

OFF, ON

1–1300

Note (*1)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard.

When you change the delay time, this species the time over which the current delay time changes to the specied delay time.

This aects the speed of pitch change as well as the delay time.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Scene Parameters

3 DelayÓTrem (DelayÓTremolo)

Tremolo is applied to the delay sound.

Parameter Value Explanation

Input Mode

Delay Time (sync sw)

Delay Time (msec)

Delay Time (note)

Feedback -98–+98 (%)

HF Damp (*2)

Tremolo Switch OFF, ON Switches the tremolo eect on/o

Tremolo Mod Wave

Tremolo Rate (sync sw)

Tremolo Rate (Hz)

Tremolo Rate (note)

Tremolo Depth 0–127 Tremolo depth

MONAURAL The input is mono-mixed. STEREO The sound is input in stereo.

OFF, ON

1–1300

Note (*1)

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1

SAW2

TRP Trapezoidal wave

OFF, ON

0.05–10.00 (Hz)

Note (*1)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Sawtooth wave

If this is “ON,” the tremolo synchronizes with the tempo.

Tremolo rate

5 3Tap PanDly (3 Tap Pan Delay)

Delayed sound is heard from the three locations you specify.

Parameter Value Explanation

Delay Time (sync sw)

Delay Time (msec)

Delay Time (note)

Feedback -98–+98 (%)

HF Damp (*2)

Delay 1 Pan L64–63R Stereo location of Delay 1

Delay 2 Pan L64–63R Stereo location of Delay 2

Delay 3 Pan L64–63R Stereo location of Delay 3

Delay 1 Level 0–127 Volume of Delay 1

Delay 2 Level 0–127 Volume of Delay 2

Delay 3 Level 0–127 Volume of Delay 3

(*1) 1/64T, 1/64, 1/32T, 1/32, 1/16T, 1/32., 1/16, 1/8T, 1/16., 1/8, 1/4T,

1/8., 1/4, 1/2T, 1/4., 1/2, 1T, 1/2., 1, 2T, 1., 2

(*2) 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500,

3150, 4000, 5000, 6300, 8000 (Hz), BYPASS

OFF, ON

1–2600

Note (*1)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the third delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

4 2Tap PanDly (2 Tap Pan Delay)

Delayed sound is heard from the two locations you specify.

Parameter Value Explanation

Delay Time (sync sw)

Delay Time (msec)

Delay Time (note)

Feedback -98–+98 (%)

HF Damp (*2)

Delay 1 Pan L64–63R Stereo location of Delay 1

Delay 2 Pan L64–63R Stereo location of Delay 2

Delay 1 Level 0–127 Volume of Delay 1

Delay 2 Level 0–127 Volume of Delay 2

OFF, ON

1–1300

Note (*1)

If this is “ON,” the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the eect is ltered out (BYPASS: no cut).

Scene Parameters

SCENE/REVERB

Parameter Value Explanation

RV SW

Reverb Type

Reverb parameters

OUTPUT

Reverb Level

Reverb Parameters

OFF, ON Switches the reverb on/o.

Selects the types of reverb.

OFF, 1 INTEGRA7Rev, 2 Warm Hall, 3 Hall, 4 GS Reverb, 5 SRV-2000, 6 SRV-2000NL, 7 GM2 Reverb

Congure the parameters of the selected reverb type.

See “Reverb parameters”

0–127

The available parameters dier depending on the type of reverb you selected in Reverb Type.

Sets the amount of reverb. If you don’t want to add the reverb eect, set it to 0.

1 INTEGRA7Rev (INTEGRA 7 Reverb)

Parameter Value Explanation

Char

PreDelay 0–100

Time 0.1–10.0 (sec)

Density 0–127

Diusion 0–127

LF Damp 0–100

HF Damp 0–100

Spread 0–127 Reverb spread

Tone 0–127 Tonal character of the reverb

ROOM1–2, HALL1–2, PLATE

Type of reverb

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the decay length of the reverb sound.

Adjusts the density of the reverb sound.

Adjusts the change in the density of the reverb over time.

The higher the value, the more the density increases with time.

(The eect of this setting is most pronounced with long reverb times.)

Adjusts the low-frequency portion of the reverb.

Adjusts the high-frequency portion of the reverb.

2 Warm Hall

Parameter Value Explanation

PreDelay 0–100

Time 0.3–30.0 (sec)

Pre LPF (*3)

Pre HPF (*4)

PreLoop LPF (*3)

Diusion 0–127

HF Damp Freq (*5)

HF Damp Ratio 0.1–1.0

(*1) 16, 20, 25, 32, 40, 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, 15000 (Hz), BYPASS

(*2) BYPASS, 16, 20, 25, 32, 40, 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, 15000 (Hz)

(*3) 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the decay length of the reverb sound.

Frequency above which to cut the high-frequency portion of the sound entering the reverb

Frequency below which to cut the low-frequency portion of the sound entering the reverb

Frequency above which to cut the high-frequency portion of the extended reverberation

Adjusts the change in the density of the reverb over time.

Adjusts the frequency above which to cut the high-frequency portion of the reverb.

Adjusts the amount by which to attenuate the high-frequency portion of the reverb.

Scene Parameters

3 Hall

Parameter Value Explanation

PreDelay 0–100

Time 0–127

Size 1–8 Size of room/hall

High Cut (*6)

Density 0–127

Diusion 0–127

LF Damp Freq (*7)

LF Damp Gain -36–0 (dB)

HF Damp Freq (*8)

HF Damp Gain -36–0 (dB)

(*4) 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600, 2000,

2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500 (Hz), BYPASS

(*5) 50, 64, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1000,

1250, 1600, 2000, 2500, 3200, 4000 (Hz)

(*6) 4000, 5000, 6400, 8000, 10000, 12500 (Hz)

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the decay length of the reverb sound.

Adjusts the frequency above which the high-frequency portion of the nal output sound is cut (BYPASS: no cut)

Adjusts the density of the reverb sound.

Adjusts how reverb density increases over time. (This eect is especially noticeable with long reverb times.)

Adjusts the frequency below which the low-frequency portion of the reverb sound is cut.

LF damp attenuation amount (0: no eect)

Adjusts the frequency above which the high-frequency portion of the reverb sound is cut.

HF damp attenuation amount (0: no eect)

4 GS Reverb

5 SRV-2000

Parameter Value Explanation

R0.3, R1.0, R7.0, R15, R22, R26,

Selection

PreDelay 0–160

Time 0.1–99.0 (sec)

HF Damp 0.05–1.00

Density 0–9

Attack Gain 0–9

Attack Time 0–9

ER Density 0–9

ER Level 0–99

EQ Low Freq 0.04–1.00 (kHz) Frequency of the low range.

EQ Low Gain -24–+12 (dB) Gain of the low range.

EQ Mid Freq 0.25–9.99 (kHz) Frequency of the middle range.

EQ Mid Gain -24–+12 (dB) Gain of the middle range.

EQ Mid Q 0.2–9.0

EQ Hi Freq 0.80–9.99 (kHz) Frequency of the high range.

EQ Hi Gain -24–+12 (dB) Gain of the high range

EQ Hi Q 0.2–9.0

R32, R37, H15, H22, H26, H32, H37, P-B, P-A

Selects the type of reverb oered by the Roland SRV-2000 digital reverb.

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the decay length of the reverb sound.

Adjusts the high-frequency portion of the reverb.

Adjusts the density of the late reverberation.

Adjusts the gain of the early reections.

Adjusts the time of the early reections.

Adjusts the density of the early reections.

Adjusts the volume of the early reections.

Width of the middle range. Set a higher value to narrow the

range to be aected.

Species the width of the highfrequency range.

Set a higher value to narrow the range to be aected.

Parameter Value Explanation

ROOM1–3, HALL1–2,

Character

Pre LPF 0–7

Time 0–127

Delay Feedback

PLATE, DELAY, PAN-DELAY

0–127

Selects the type of reverb.

Adjusts the amount of highfrequency attenuation for the sound being input to the reverb.

Adjusts the decay length of the reverb sound.

Adjusts the level at which the reverb sound is returned to the input.

Scene Parameters

6 SRV-2000NL (NON-LINEAR)

Parameter Value Explanation

PreDelay 0–120

ReverbTime -0.9–99.0 (sec)

GateTime 10–450

EQ Low Freq 0.04–1.00 (kHz) Frequency of the low range.

EQ Low Gain -24–+12 (dB) Gain of the low range.

EQ Mid Freq 0.25–9.99 (kHz) Frequency of the middle range.

EQ Mid Gain -24–+12 (dB) Gain of the middle range.

EQ Mid Q 0.2–9.0

EQ Hi Freq 0.80–9.99 (kHz) Frequency of the high range.

EQ Hi Gain -24–+12 (dB) Gain of the high range

EQ Hi Q 0.2–9.0

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the decay length of the reverb sound.

Adjusts the time from when the reverb starts being heard until the reverb sound is cut o.

Width of the middle range. Set a higher value to narrow the

range to be aected.

Species the width of the highfrequency range.

Set a higher value to narrow the range to be aected.

7 GM2 Reverb

Parameter Value Explanation

SMALL ROOM, MEDIUM ROOM,

Character

Time 0–127

LARGE ROOM, MEDIUM HALL, LARGE HALL, PLATE

Selects the type of reverb.

Adjusts the decay length of the reverb sound.

Tone Parameters

Parameter Value Explanation

Tone Name Species the tone name (maximum of 16 characters).

TONE/COMMON

You can use the app “Aerophone Pro Editor” to congure the tone parameters.

Parameter Value Explanation

Selects the tone’s category.

No Assign Ac.Piano Pop Piano E.Grand Piano E.Piano1 E.Piano2 E.Organ Pipe Organ

TONE/STRUCTURE

Tone Parameters

Structure lets you sound two partials as a set.

You can create a wide range of sounds by using partial 2 or 4 (the modulator) to modulate partial 1 or 3 (the carrier).

Since the Structure uses two partials as a pair, it provides parameters that are used in common by the carrier and modulator.

For the following parameters, only the partial settings of the carrier are valid (the settings of the modulator are ignored).

TONE/PARTIAL/RANGE

¹ Key Range Lower ¹ Key Range Upper ¹ Key Fade Lower ¹ Key Fade Upper ¹ Velocity Range Lower ¹ Velocity Range Upper ¹ Velocity Fade Low ¹ Velocity Fade Up

TONE/PARTIAL

¹ Partial Switch

TONE/PARTIAL/OSC

¹ Delay Mode ¹ Delay Time Sync ¹ Delay Time (note) ¹ Delay Time

TONE/PARTIAL/CONTROL

¹ Envelope Mode ¹ Receive Hold-1 ¹ Redamper Switch ¹ Damper Free Note

TONE/PARTIAL/MATRIX CONTROL

¹ Destination: PMT ¹ Destination: CROSS-MOD

Parameter Value Explanation

The sound of partial 1 is modulated by partial 2.

OFF O

Implements the oscillator sync function that is provided by an analog synthesizer.

SYNC

Structure1-2

Structure3-4

Partial Phase Lock OFF, ON

RING

XMOD, XMOD2

The sound of partial 3 is modulated by partial 4.

OFF O

SYNC

RING

XMOD, XMOD2

The partial 1 oscillator is reset at intervals of partial 2’s pitch cycle.

* This is valid when the OSC Type

(p. 40) is “VA” or “PCM-Sync.”

Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 2 is multiplied with partial 1.

Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 2 is applied as the pitch of partial 1. XMOD2 is available only when Partial 1 and 3 are OSC Type (p. 40) “VA.”

Implements the oscillator sync function that is provided by an analog synthesizer. The partial 3 oscillator is reset at intervals of partial 4’s pitch cycle.

* This is valid when the OSC Type

(p. 40) is “VA” or “PCM-Sync.”

Implements the ring modulator function that is provided by an analog synthesizer. The output sound of partial 4 is multiplied with partial 3.

Implements the cross modulation function that is provided by an analog synthesizer. The output sound of partial 4 is applied as the pitch of partial 3. XMOD2 is available only when Partial 1 and 3 are OSC Type (p. 40) “VA.”

It locks the waveform phase between partials. It is eective to use this with XMOD2.

* This is valid when the OSC Type

(p. 40) is “VA.”

RING

1-2 Level 0–127 RING level when Structure1-2 is “RING.”

3-4 Level 0–127 RING level when Structure3-4 is “RING.”

OSC1 Level 0–127

OSC2 Level 0–127

OSC3 Level 0–127

OSC4 Level 0–127

Sets the partial 1 OSC level. * This is valid when the Structure1-2 is

“RING.”

Sets the partial 2 OSC level. * This is valid when the Structure1-2 is

“RING.”

Sets the partial 3 OSC level. * This is valid when the Structure3-4 is

“RING.”

Sets the partial 4 OSC level. * This is valid when the Structure3-4 is

“RING.”

Tone Parameters

Parameter Value Explanation

CROSS MOD

1-2 Depth 0–10800 (cent)

3-4 Depth 0–10800 (cent)

OSC1 Level 0–127

OSC2 Level 0–127

OSC3 Level 0–127

OSC4 Level 0–127

XM2 1-2 Depth 0–127

XM2 3-4 Depth 0–127

Cross Modulation Depth when Structure1-2 is “XMOD.”

Cross Modulation Depth when Structure3-4 is “XMOD.”

Sets the partial 1 OSC level. * This is valid when the Structure1-2 is

“XMOD” or “XMOD2.”

Sets the partial 2 OSC level. * This is valid when the Structure1-2 is

“XMOD” or “XMOD2.”

Sets the partial 3 OSC level. * This is valid when the Structure3-4 is

“XMOD” or “XMOD2.”

Sets the partial 4 OSC level. * This is valid when the Structure3-4 is

“XMOD” or “XMOD2.”

Cross Modulation Depth when Structure1-2 is “XMOD2.”

Cross Modulation Depth when Structure3-4 is “XMOD2.”

OFF

SYNC

RING

XMOD

XMOD2

TONE/MFX

Tone Parameters

Parameter Value Explanation

MFX Switch OFF, ON Switches the MFX on/o.

MFX Type

MFX parameters

See “MFX/IFX Parameters” (p. 51)

Selects the MFX type.

Edit the parameters for the selected MFX. The available parameters dier depending on the type of the eects you selected in MFX Type.

SEND

Chorus Send Level 0–127

Reverb Send Level 0–127

Adjusts the amount of chorus. If you don’t want to add the chorus eect, set it to “0.”

Adjusts the amount of reverb. If you don’t want to add the reverb eect, set it to “0.”

CONTROL

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX CONTROL will not be used.

Control Source 1–4

Control Destination 1–4

Control Sens 1–4

CC01–31 Controller number 1–31

CC33–95 Controller number 33–95

BEND Pitch bend

AFTER TOUCH Aftertouch

SYS-CTRL1–4

Species the multi-eect parameters that are controlled by MFX CONTROL. The multi-eects parameters available for control will depend on the multi-eects type.

-63–+63

Use the controller that is assigned by the System Control Source 1–4.

Species the depth of MFX CONTROL. Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative (-) value if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

Controlling a MFX via MIDI (MFX CONTROL)

You can use MIDI messages such as control change messages to control the principal MFX parameters.

This capability is called “MFX CONTROL (multi-eects control).”

The editable parameters are pre-determined according to the MFX type. You can specify up to four parameters for multi-eect control.

To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will aect which parameter (Destination), and how greatly (Sens).

Tone Parameters

Note o

Note on

Note o

Delay time

Note on

No sound played

TONE/PARTIAL

Parameter Value Explanation

Partial SW OFF, ON Turns each partial on/o.

TONE/PARTIAL/OSC

Parameter Value Explanation

Species the oscillator type.

PCM (INT A–D)

OSC Type

Wave LEFT/RIGHT

Waveform

VA Waveform Invert Switch

PCM-Sync Wave

Gain -18–+12 [dB]

Pulse Width 0–127

PWM Depth -63–+63

Click Type

Fat 0–127

SuperSAW Detune 0–127

PCM-Sync

SuperSAW SuperSAW is used.

Noise White noise is used.

Species the wave that is used when OSC Type is “PCM.” Species the wave within the group specied by Wave Group. If using mono, specify only the LEFT and leave RIGHT at “0: OFF.” If using stereo, specify the RIGHT as well. If you specify only RIGHT, no sound is heard.

Species the wave that is used when OSC Type is “VA.”

SAW Sawtooth wave

SQR Square wave

TRI Triangle wave

SIN sine wave

RAMP Ramp wave

JUNO Modulated sawtooth wave

TRI2 Triangle wave variation

TRI3 Triangle wave variation

SIN2 Sine wave variation

OFF, ON

Species the wave that is used when OSC Type is “PCM-Sync.” The PCM-Sync oscillator is eective when specied as the Slave (the sync-modulated partial 1 or 3) when Structure is set to “SYNC.”

SOFT, HARD, NATURAL, OFF

The wave of the number specied by the Wave Group (INT A–D) and Wave LEFT/ RIGHT is used.

A numerically calculated analog-modeled wave is generated. The wave of the number specied by Wave is used.

The wave of the number specied by PCM-Sync Wave Number is used.

If this is “ON,” the phase of the VA waveform is inverted.

Species the gain (amplitude) of the waveform. The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

This eect is produced when the waveform is deformed by varying the duty cycle of the pulse width. It is eective when OSC Type is “VA,” and is also eective with waveforms other than SQR (square wave).

* If the value is 64, the pulse width has a

50%: 50% duty cycle.

Species the amount (depth) of LFO applied to PW (Pulse Width). PW is modulated according to the LFO2 setting.

Changes the sense of attack by varying the position at which the sound starts. This is available if OSC Type is “VA.” However, HARD is eective only when Waveform is “TRI,” “ TRI2,” “SIN,” or “SIN2.”

Boosts the low-frequency region. * This is valid when the OSC Type is “VA.”

Adjusts the Detune depth for SuperSAW. Higher values produce a deeper Detune eect.

* This is valid when the OSC Type is

“SuperSAW.”

Parameter Value Explanation

Species the OSC level.

OSC Attenuator 0–255

FXM Switch OFF, ON

FXM Color 1–4

FXM Depth 0–16

Partial Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the partial actually begins to sound. You can also make settings that shift the timing at which each partial is sounded. This diers from the Delay in the internal eects, in that by changing the sound qualities of the delayed partials and changing the pitch for each partial, you can also perform arpeggio-like passages just by pressing one key. You can also synchronize the partial delay time to the tempo of the external MIDI sequencer. If Legato Retrigger Interval is other than OFF, legato operation occurs only when Delay Mode is NORMAL. Also in this case, Legato Retrigger Interval operates as 0 (retriggers at each Delay Time).

Delay Mode

NORMAL

HOLD

255 is the reference value. If you want only the self-oscillation of the lter to be heard, set this to 0.

This sets whether FXM will be used (ON) or not (OFF).

MEMO

FXM (Frequency Cross Modulation) uses a specied waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Species the depth of the modulation produced by FXM.

The partial begins to play after the time specied in the Partial Delay Time parameter has elapsed.

Delay time

Although the partial begins to play after the time specied in the Partial Delay Time parameter has elapsed, if the key is released before the time specied in the Partial Delay Time parameter has elapsed, the partial is not played.

No Partial Delay

Tone Parameters

Note o

Delay time

Note on

Note o

Delay time

Note on

Range Lower

Range Upper

Fade Lower

Fade Upper

Level

Pitch

Range Lower

Range Upper

Fade Low

Fade Up

Level

Velocity

Parameter Value Explanation

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. This is eective in situations such as when simulating noises from guitars and other

KEY-OFF-NORMAL

instruments.

Delay Mode

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while

KEY-OFF-DECAY

the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Delay Time Sync OFF, ON

Set this “ON” if you want the partial delay time to synchronize with the tempo.

It species the delay time in terms of a

Delay Time (note) 1/64T–2

note value. * This is available when Delay Time Sync

is “ON.”

It species the delay time without regard

Delay Time

0–1023

to the tempo. * This is available when Delay Time Sync

is OFF.

TONE/PARTIAL/RANGE

Parameter Value Explanation

Key Range Lower C-1–G9

Key Range Upper C-1–G9

Key Fade Lower 0–127

Key Fade Upper 0–127

Velocity Range Lower

Velocity Range Upper

1–127

Velocity Fade Low 0–127

Velocity Fade Up 0–127

Specify the key range for each partial. Make these settings when you want dierent key ranges to play dierent tones. Specify the lower limit (Lower) and upper limit (Upper) of the key range.

Species the degree to which the partial is sounded by notes played below the Keyboard Range Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the partial is sounded by notes played above the Keyboard Range Up. If you don’t want the tone to sound at all, set this parameter to “0.”

Specify the lower limit (Lower) and upper limit (Upper) of the velocities that will sound the partial. Make these settings when you want dierent partials to sound depending on keyboard playing dynamics.

Species the degree to which the partial is sounded by notes played more softly than Velocity Range Low. If you don’t want the tone to sound at all, set this parameter to “0.”

Species the degree to which the partial is sounded by notes played more strongly than Velocity Range Up. If you don’t want the tone to sound at all, set this parameter to “0.”

Tone Parameters

C4C3C2C1 C5 C6 C7

+50

+100

+200

-50

-100-200

Key

Pitch

1 2 3 4 5 6 7

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

T1 T2 T3 T4

Pitch

Note on

：

Time　　L：Level

Note o

Time

TONE/PARTIAL/PITCH

Parameter Value Explanation

Coarse Tune

Fine Tune

-48–+48 (semitone)

-50–+50 (cent)

Adjusts the pitch of the sound up or down in semitone steps (+/-4 octaves).

Adjusts the pitch of the sound up or down in 1-cent steps (+/-50 cents).

This species the width of random pitch deviation that will occur each time a key is pressed.

Random Depth 0–1200 [cent]

If you do not want the pitch to change randomly, set this to “0.”

* These values are in units of cents

(1/100th of a semitone).

This species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward 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.” Conversely, set this to a negative (-) value if you want the pitch to fall.

Pitch Keyfollow -200–+200

With a setting of “0,” all keys will produce the same pitch.

Species the amount by which the

Vibrato Pitch Sens -100–+100

Pitch Depth of LFO1 is changed by the program’s Modify Vib Depth.

Stereo Detune -50–+ 50 (cent)

Species the detune between LÕR when outputting in stereo.

PITCH ENVELOPE

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change.

Depth -100–+100

Velocity Curve FIXED, 1–7

Negative (-) value will invert the shape of the envelope. If OSC Type () is other than VA, this is limited to ±63.

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the pitch envelope. Set this to “FIXED” if you don’t want the pitch envelope be aected by the keyboard velocity.

Parameter Value Explanation

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) value will cause notes higher than C4 to have increasingly shorter times, and negative (-) value will cause them to have increasingly longer times.

Time Keyfollow -100–+100

Higher values will produce greater change.

If this is ON, the pitch envelope is

LFO Trigger Switch OFF, ON

cyclically retriggered by LFO1. * This is valid when the Envelope Mode

(p. 48) is “SUSTAIN.”

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

Time1 (Attack) Time2 Time3 (Decay)

0–1023

* If ADSR Envelope Switch is “ON,” the

Time 2 has no eect.

Time4 (Release)

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch

Level0 Level1 Level2 Level3 (Sustain) Level4

-511–+511

changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower.

* If ADSR Envelope Switch (p. 48) is

“ON,” only Level 3 (Sustain) has an eect. Also in this case, settings with a negative value are ignored.

Velocity Sens -100–+100

T1 Velocity Sens -100–+100

T4 Velocity Sens -100–+100

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 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 “-” value.

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

LPF BPF HPF PKG

Level

Frequency

Cuto Frequency

High

Low

parameter value

TONE/PARTIAL/FILTER

Tone Parameters

Parameter Value Explanation

FILTER

Selects the type of lter.

MEMO

TVF stands for Time Variant Filter, a lter

Filter Type

TVF Type

VCF Type

TVF, VCF

Selects the type of TVF lter. * If Filter Type is set to VCF, this will be LPF.

OFF No lter is used.

LPF

BPF

HPF

PKG

LPF2

LPF3

VCF1, J P, MG, P5

that lets you specify in detail how the frequency components of the sound change over time. If you select VCF, the polyphony will be lower than if you select TVF.

Low Pass Filter. This cuts the frequencies in the region above the cuto frequency (Cuto Frequency). Since this cuts the high-frequency region, the sound becomes more mellow. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency (Cuto Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency (Cuto Frequency). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto Frequency). You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano. * If you set “LPF2,” the setting for the

Resonance parameter (p. 43) will be ignored.

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Frequency) are cut, the sensitivity of this lter changes according to the Cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings. * If you set “LPF3,” the setting for the

Resonance parameter (p. 43) will be ignored.

Each setting simulates the operation of an analog synthesizer’s LPF. In particular, MG, JP, and P5 are types that are suitable for reproducing synthesizer sounds of the past.

* This is valid when the Filter Type is “VCF.”

Parameter Value Explanation

Selects the slope (steepness) of the lter. For VCF, you can choose -12, -18, or -24. For TVF, only -12 or -24 can be selected. If Filter Type is TVF, the following

Filter Slope

-12, -18, -24 (dB/Oct)

limitations apply.

¹ You can specify only -12 dB or -24 dB. If

you specify -18 dB, the sound generator operates internally with the -12 dB setting.

¹ If you specify -24 dB, the polyphony will

be lower than if you specify -12 dB.

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

Resonance 0–1023

Use this parameter when changing the resonance to be applied as a result of changes in playing velocity.

Reso Velo Sens -100–+100

Specify a positive “+” value if you want resonance to increase when you play strongly, or a negative “-” value if you want it to decrease.

Species how the TVF Depth of LFO1

Vib Cuto Sens -100–+100

is aected by the program’s Modify Vib Depth.

Species the cuto frequency of the -6 dB

HPF Cuto 0–1023

high-pass lter. * This is valid when the Filter Type is “VCF.”

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components. With “LPF/LPF2/LPF3” selected for the TVF Filter Type parameter, lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter. If “BPF” is selected for the Filter Type,

Cuto Freq 0–1023

harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds. With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound. With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

Tone Parameters

-200

C4C3C2C1 C5 C6 C7

+50

+100

-100

-1

-2

Cuto frequency (Octave)

Key

+200

-50

-200

1 2 3 4 5 6 7

C4C3C2C1 C5 C6 C7

-50

-100

+50

+100

Key

Time

T1 T2 T3 T4

Note o

Cuto

Frequency

Time

Note on

T: Time L: Level

L3L0L2L1 L4

Parameter Value Explanation

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the key specied by Cuto Keyfollow Base Point, positive “+” values cause the cuto frequency to become higher as you play above the reference key, and negative “-” values cause the cuto frequency to become lower. Higher values will produce greater

Cuto Keyfollow -200–+200

change.

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency.

Cuto Velo Curve FIXED, 1–7

Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity.

Cuto Velo Sens -100–+100

Specify a positive “+” value if you want the cuto frequency to raise when you play strongly, or a negative “-” value if you want it to lower.

Species the reference key when using

Cut KF Base Point 0–127

Keyfollow to modify the cuto frequency. If this is 60, the C4 key (middle C) is the reference key.

FILTER ENVELOPE

Species the depth of the Filter envelope. Higher settings increase the change

Depth -63–+63

Fine Depth -63–+63

Velocity Curve FIXED, 1–7

produced by the Filter envelope. Negative (-) value will invert the shape of the envelope.

Finely adjusts the depth of the lter envelope.

Selects one of the following seven types of curve by which keyboard playing dynamics aect the depth of the lter envelope. If you don’t want keyboard playing dynamics to aect the lter envelope depth, specify “FIXED.”

Parameter Value Explanation

Specify this if you want key release velocity to aect Time 4 of the lter envelope.

T4 Velocity Sens -100–+100

If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify this if you want the lter envelope times (Time 2–Time 4) to vary depending on the keyboard position you play. Relative to the lter envelope times at the C4 key (middle C), positive “+” values shorten the times for notes played in the region above C4, and negative “-” values lengthen the times. Higher values will produce greater

Time Keyfollow -100–+100

change.

If this is “ON,” the lter envelope is

LFO Trigger Switch OFF, ON

cyclically retriggered by LFO1. * This is valid when the Envelope Mode

(p. 48) is “SUSTAIN.”

Specify the lter envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time

Time1 (Attack) Time2 Time3 (Decay)

0–1023

over which Level 1 will change to Level 2.) * If ADSR Envelope Switch (p. 48) is

“ON,” the Time 2 has no eect.

Time4 (Release)

Specify the lter envelope levels (Level 0–Level 4).

Level0 Level1 Level2 Level3 (Sustain) Level4

0–1023

Specify the amount of cuto frequency change at each point relative to the reference cuto frequency (the cuto frequency value specied in the Filter screen).

* If ADSR Envelope Switch (p. 48) is

“ON,” only Level 3 (Sustain) has an eect.

Velocity Sens -100–+100

T1 Velocity Sens -100–+100

Specify this if you want keyboard playing dynamics to aect the lter envelope depth. Specify a positive “+” value if you want the lter envelope to apply more deeply as you play more strongly, or a negative “-” value if you want it to apply less deeply.

Specify this if you want keyboard playing dynamics to aect Time 1 of the lter envelope. If you want Time 1 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 “-” value.

1 2 3 4 5 6 7

Pan

Time

T1 T2 T3 T4

Note o

Level

Time

Note on

T: Time L: Level

TONE/PARTIAL/AMP

Tone Parameters

Parameter Value Explanation

AMP

Sets the volume of the partial.

Level

0–127

Velocity Curve FIXED, 1–7

Velocity Sens -100–+100

Bias Level -100–+100

Bias Position 0–127

Selects the direction in which change will occur starting from the Bias Position.

LOWER

Bias Direction

UPPER

LOWER&UPPER

ALL

Pan L64–63R

Pan Keyfollow -100–+100

This setting is useful primarily for adjusting the volume balance between partials.

Selects one of the following seven curves that determine how keyboard dynamics will aect the volume. Set this to “FIXED” if you don’t want the volume of the partial to be aected by the keyboard velocity.

Set this when you want the volume of the partial to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative (-) value.

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Higher values will produce greater change. Negative (-) values will invert the change direction.

Species the key relative to which the volume will be modied. A setting of 64 is the C4 key (middle C).

The volume will be modied for the keyboard area below the Bias Point.

The volume will be modied for the keyboard area above the Bias Point.

The volume will be modied symmetrically toward the left and right of the Bias Point.

The volume changes linearly with the bias point at the center.

Sets the pan of the partial. “L64” is far left, “0” is center, and “63R” is far right.

Use this parameter if you want key position to aect panning. Positive (+) value will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) value will cause notes higher than C4 key (center C) to be panned toward the left. Higher values will produce greater change.

C4C3C2C1 C5 C6 C7

Parameter Value Explanation

Vibrato Level Sens -100–+100

Species how the program’s Modify Vib Depth aects the Amp Depth of LFO1.

Adjusts the amount of width when

Stereo Width 0–100

outputting in stereo. This has no eect when outputting in mono.

AMP ENVELOPE

Specify this if you want keyboard dynamics to aect the AMP envelope’s Time 1.

T1 Velocity Sens -100–+100

T4 Velocity Sens -100–+100

Time Keyfollow -100–+100

LFO Trigger Switch OFF, ON

Time1 (Attack) Time2 Time3 (Decay)

+100

+50

-50

-100 Key

Time4 (Release)

0–1023

If you want Time 1 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 (-) value.

Specify this if you want key release velocity to aect the AMP envelope’s Time 4. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

Specify this if you want keyboard position to aect the AMP envelope’s times (Time 2–Time 4). Relative to the AMP envelope times at the C4 key (middle C), positive (+) values cause the times to shorten as you play higher on the keyboard, and negative (-) values cause the times to lengthen. Higher values will produce greater change.

-100

-50

+50

+100

C4C3C2C1 C5 C6 C7

Key

If this is ON, the amp envelope is cyclically retriggered by LFO1.

* This is valid when the Envelope Mode

(p. 48) is “SUSTAIN.”

Specify the AMP envelope times (Time 1–Time 4). Higher settings lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

* If ADSR Envelope Switch (p. 48) is

“ON,” the Time 2 has no eect.

Specify the AMP envelope levels (Level 1–Level 3). These specify the amount of change at each point relative to the reference volume (the partial level value specied in the Amp screen).

Rand Pan Depth 0–63

Alt Pan Depth L64–63R

Use this parameter when you want the stereo location to change randomly each time you press a key.

Level1 Level2 Level3 (Sustain)

0–1023

Higher values will produce a greater amount of change.

This setting causes panning to be alternated between left and right each time a key is pressed. Higher values will produce a greater amount of change. “L” or “R” settings will

* If ADSR Envelope Switch (p. 48) is

“ON,” only Level 3 (Sustain) has an

eect. reverse the order in which the pan will alternate between left and right. For example if two partials are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

Tone Parameters

C4C3C2C1 C5 C6 C7

Key

Time

-50

-100

+50

+100

TONE/PARTIAL/LFO1, LFO2

Parameter Value Explanation

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-UP Sawtooth wave

SAW-DW Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

TRP Trapezoidal wave

Waveform

S&H

Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

Modied sine wave. The amplitude of a

VSIN

sine wave is randomly varied once each cycle.

A waveform generated by the data

STEP

specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

Rate Sync

OFF, ON

Set this “ON” if you want the LFO rate to synchronize with the tempo.

Species the LFO rate in terms of a note

Rate (note)

1/64T–4

value. * This is valid when the Rate Sync is “ON.”

Species the LFO rate without regard to the tempo.

Rate

0–1023

Higher values produce a faster LFO rate (a shorter cycle).

* This is valid when the Rate Sync is “OFF.”

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency).

Oset

-100–100

Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.

Subtly changes the LFO cycle speed (Rate parameter) each time you press

Rate Detune

0–127

a key. Higher values produce greater change. * This is invalid when Rate is set to “note.”

Species the time elapsed before the LFO eect is applied (the eect continues)

Delay Time

0–1023

after the key is pressed (or released). * After referring to “How to Apply the

LFO,” change the setting until the desired eect is achieved.

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive (+) value; to increase the elapsed time, select a negative (-) value. Higher values will produce greater change. If you do not want the elapsed time before

Delay Time KF

-100–+100

the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

Parameter Value Explanation

Species the time over which the LFO amplitude will reach the maximum

Fade Time

0–1023

(minimum). * After referring to “How to Apply the

LFO” (p. 47), change the setting until the desired eect is achieved.

Species whether the LFO cycle will be

Key Trigger Switch

OFF, ON

synchronized to begin when the key is pressed (ON) or not (OFF).

Species how deeply the LFO will aect

Pitch Depth

-100–100

pitch. * If OSC Type (p. 40) is other than VA,

the range is limited to -63–+63.

Filter Depth

Amp Depth

-100–100

Species how deeply the LFO will aect the cuto frequency.

Species how deeply the LFO will aect the volume.

Species how deeply the LFO will aect the pan.

MEMO

Positive (+) and negative (-) value for the Depth parameter result in diering kinds of change in pitch and volume. For example, if you set the Depth

Pan Depth

-63–+63

parameter to a positive (+) value for one partial, and set another partial to the same numerical value, but make it negative (-), the modulation phase for the two partials will be the reverse of each other. This allows you to shift back and forth between two dierent partials, or combine it with the Pan setting to cyclically change the location of the sound image.

Species the LFO’s starting phase value when Key Trigger is ON. * This has no eect if Waveform is “RND,” “S&H,” or “CHS.”

Phase Position

0 1 cycle

1 1/4 cycle

2 1/2 cycle

3 3/4 cycle

Step Size 1–16

Species the length of the step change. * This is eective if Waveform is “STEP.”

Specify the Depth value of each step. If you want to specify this in pitch scale degrees (100 cents), the settings are as follows.

1 Pitch Depth: 51, Step: multiples of 6

up to one octave of change

Step1–16 -72–+72

2 Pitch Depth: 74, Step: multiples of 3

up to two octaves of change

3 Pitch Depth: 89, Step: multiples of 2

up to three octaves of change

* If OSC Type is not VA, the Pitch Depth

setting range is limited to -63–+63, so only “1” above is possible.

Step Curve1–16 0–36

Species the type of curve at each step.

Ø “Step curve types”

Fade Mode

ON-OUT

OFF-IN

OFF-OUT

ON-IN

Species how the LFO will be applied. * After referring to “How to Apply the

LFO,” change the setting until the desired eect is achieved.

Tone Parameters

1 2

5 6

3 4

7 8 9 10

12 13 14

16 17 18 19

20 21 22 23

24 25 26 27

28 29 30 31

32 33 34 35

Note on

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Delay

Time

Fade Time

Depth

high (more)

low (less)

Pitch

Cuto Frequency

Level

Pan

Note on

Delay Time

Fade Time

Depth

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note

o

Note

Pitch

Cuto Frequency

Level

Pan

Note on

high (more)

low (less)

Delay

Time

Fade Time

Depth

Note o

Pitch

Cuto Frequency

Level

Pan

Step curve types

Step Curve 0

Curve Type 1–6 (variations of square wave)

Curve Type 7–10 (variations of ascending saw)

Curve Type 32–36 (other variations)

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Fade Mode: ON-IN

Curve Type 11–15 (variations of descending saw)

Curve Type 16–19 (variations of ascending exponential)

Curve Type 20–23 (variations of descending exponential)

Curve Type 24–27 (variations of ascending charging curve)

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Fade Mode: ON-OUT

Apply the LFO gradually after the key is released

Fade Mode: OFF-IN

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Fade Mode: OFF-OUT

Curve Type 28–31 (variations of descending charging curve)

Tone Parameters

TONE/PARTIAL/PARTIAL EQ

Parameter Value Explanation

Switch OFF, ON Turns the equalizer on/o for each partial.

Low Gain -24.0–+24.0 (dB) Gain of the low range.

Low Frequency 20–16000 (Hz) Frequency of the low range.

Mid Gain -24.0–+24.0 (dB) Gain of the middle range.

Mid Frequency 20–16000 (Hz) Frequency of the middle range.

Mid Q 0.5–16.0 (0.1step)

High Gain -24.0–+24.0 (dB) Gain of the high range

High Frequency 20–16000 (Hz) Frequency of the high range.

Width of the middle range. Set a higher value to narrow the range to be aected.

TONE/PARTIAL/OUTPUT

Parameter Value Explanation

Output Assign DRY, MFX

Chorus Send Level 0–127

Reverb Send Level 0–127

Species how the sound of each partial will be output.

Species the level of the signal sent to the chorus for each partial.

Species the level of the signal sent to the reverb for each partial.

TONE/PARTIAL/CONTROL

Parameter Value Explanation

This imitates the operation of the ADSR envelope that is provided on an analog synthesizer.

ADSR Envelope Switch

Envelope Mode

Damper Free Note OFF, 1–127

D.Free Decay Oset

Receive Bender OFF, ON

Receive Expression

Receive Hold-1 OFF, ON

Redamper Switch OFF, ON

Soft EQ Sens 0–100

Wave Tempo Sync

OFF, ON

Species the envelope mode.

NO-SUS

SUSTAIN

-100–+100

OFF, ON

* If ADSR Envelope Switch is “ON,”

the “Time 2” parameters of Pitch/ Filter/Amp Env Time respectively are ignored, and only the “Level 3” parameters of Pitch/Filter/Amp Env Level are valid.

The envelope transitions to the release segment after passing Time 3 regardless of the note-o timing, operating according to the times specied by the envelope.

The Envelope Level 3 is held from when the envelope Time 3 has elapsed until note-o. When note-o occurs, the envelope transitions from the current value to the Time 4 segment (release segment).

For notes above the specied note number, the Envelope Mode operates as “NO-SUS.” Use this to simulate the undamped region of a piano sound.

Species a ne adjustment to the time over which the sound decays when the Damper Free Note eect is applied.

Species for each partial whether MIDI pitch bend messages are received (ON) or not received (OFF).

Species for each partial whether MIDI expression messages are received (ON) or not received (OFF).

Species for each partial whether MIDI hold 1 messages are received (ON) or not received (OFF).

If Redamper Switch is ON, you can perform the Half Damper operations used for piano sounds. However, the following conditions must be satised in order to use this operation.

¹ Envelope Mode is NO-SUS ¹ Amp Envelope’s Level 1 and 2 are 1 or

greater

¹ Amp Envelope’s Times are Time 3 > Time4

Increases the proportion by which the EQ’s HighGain is lowered by the amount of pedal. With a setting of “0,” this has no eect.

Turn this on to match the phrase loop with the clock (tempo).

* This is enabled with when you select

a waveform for which a tempo (BPM) is shown.

Tone Parameters

TONE/PARTIAL/MATRIX CONTROL

Ordinarily, if you wanted to change partial parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the Aerophone. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the Aerophone’s partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played.

The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the “Matrix Control.”

Up to four Matrix Controls can be used in a single tone.

To use Matrix Control, you specify which MIDI message (Source) controls which parameter (Destination) and how deeply (Sens: sensitivity).

Parameter Value Explanation

Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF Matrix control will not be used.

CC01–31, CC33–95 Controller numbers 1–31, 33–95

BEND Pitch bend

AFTER TOUCH Aftertouch

MIDI messages assigned by the SYSTEM parameters SYS-CTRL 1–4

Keyfollow (keyboard position with C4 as 0)

Tempo specied by the tempo assign source

LFO 1 LFO 2

Source

SYS-CTRL1–4

VELOCITY Velocity (pressure you press a key with)

KEYFOLLOW

TEMPO

LFO1, LFO2

PIT-ENV Pitch envelope

FLT-ENV Filter envelope

AMP-ENV Amp envelope

* Velocity and Keyfollow correspond to Note messages. * Although there are no MIDI messages for LFO 1 through

AMP Envelope, they can be used as Matrix Control. In this case, you can change the partial settings in realtime by playing tones.

* If you want to use common controllers for the entire

Aerophone, select “SYS-CTRL1”–”SYS-CTRL4.” MIDI messages used as System Control 1–4 are set with the System Control Source1–4.

NOTE

There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 48). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

Parameter Value Explanation

Selects the partial parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

OFF Matrix control will not be used.

PCH Changes the pitch.

CUT Changes the cuto frequency.

Emphasizes the overtones in the region of the cuto frequency, adding character to the sound.

Changes the vibrato depth.

Changes the wah depth.

Changes the tremolo depth.

Changes the eect that the LFO will have on pan.

The speed will not change if LFO Rate is set to “note.”

Changes the Time 1 of the PITCH envelope.

Changes the Time 2 and Env Time 3 of the PITCH envelope.

Changes the Time 4 of the PITCH envelope.

Changes the Time 1 of the FILTER envelope.

Changes the Time 2 and Env Time 3 of the FILTER envelope.

Changes the Time 4 of the FILTER envelope.

Changes the Time 1 of the AMP envelope.

Changes the Time 2 and Env Time 3 of the AMP envelope.

Changes the Time 4 of the AMP envelope.

Destination 1–4

RES

LEV Changes the volume level.

PAN Changes the pan.

CHO Changes the amount of chorus.

REV Changes the amount of reverb.

PIT-LFO1

PIT-LFO2

FLT-LFO1

FLT-LFO2

AMP-LFO1

AMP-LFO2

PAN-LFO1

PAN-LFO2

LFO1-RATE Changes the speed of the LFO cycles.

LFO2-RATE

PIT-ATK

PIT-DCY

PIT-REL

FLT-ATK

FLT-DCY

FLT-REL

AMP-ATK

AMP-DCY

AMP-REL

Tone Parameters

Parameter Value Explanation

If the Matrix Control is used to split partials, set the Velocity Control (p. 36) to “OFF.”

¹ If the Matrix Control is used to split

partials, we recommend setting the Sens to “+63.” Selecting a lower value may prevent switching of the partials. Furthermore, if you want to reverse the eect, set the value to “-63.”

¹ If you want to use matrix control to

switch smoothly between partials, use the Velocity Fade Low and Velocity Fade Up (p. 41). The higher the values set, the smoother the switch is between the partials.

Changing the depth of frequency modulation produced by FXM

Applies a change to MFX CONTROL 1–4 Source. If this is specied for more than one partial, the result will be the summed values.

This setting is valid only for the carrier partial (Partial 1 or 3), and applies change to the CROSS MOD 1-2 Depth or CROSS MOD 3-4 Depth.

Species the step position. In this case, the Sens value is ignored. * This is valid when the LFO1/LFO2

Waveform (p. 46) is “STEP.”

Applies change to Super-SAW Detune. * This is valid when the OSC Type

(p. 40) is “SuperSAW.”

Changes the depth of the PITCH envelope.

Changes the depth of the FILTER envelope.

Applies change to XMOD2 1-2 (3-4) Depth.

* This is valid when the Structure 1-2

(3-4) (p. 37) is “XMOD2.”

Applies change to RING OSC1 Level. * This is valid when the Structure 1-2

(3-4) (p. 37) is “RING.”

Applies change to RING OSC2 Level. * This is valid when the Structure 1-2

(3-4) (p. 37) is “RING.”

Applies change to CROSS MOD OSC1 Level.

* This is valid when the Structure 1-2

(3-4) (p. 37) is “XMOD” or “XMOD2.”

Applies change to CROSS MOD OSC2 Level.

* This is valid when the Structure 1-2

(3-4) (p. 37) is “XMOD” or “XMOD2.”

Specify the eective depth of the matrix controls. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value. For either positive or negative value, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

Destination 1–4

Sens 1–4

PMT

FXM

MFX-CTRL1

MFX-CTRL2

MFX-CTRL3

MFX-CTRL4

PW Applies change to PW.

PWM Applies change to PWM.

FAT Applies change to FAT.

XMOD

LFO1-STEP

LFO2-STEP

SSAW-DETN

PIT-DEPTH

FLT-DEPTH

AMP-DEPTH Changes the depth of the AMP envelope.

XMOD2

ATT Applies change to OSC Attenuator.

RING-OSC1-LEV

RING-OSC2-LEV

XMOD-OSC1-LEV

XMOD-OSC2-LEV

-63–+63

MFX/IFX Parameters

You can use the app “Aerophone Pro Editor” to configure the MFX/IFX parameters.

00 Thru

01 Equalizer

This is a four-band stereo equalizer (low, mid x 2, high).

L in L out

Parameter Value Explanation

Low Freq

Low Gain

Mid1 Freq

Mid1 Gain -15–+15 (dB) Gain of the middle range 1

Mid1 Q

Mid2 Freq

Mid2 Gain -15–+15 (dB) Gain of the middle range 2

Mid2 Q

High Freq

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

4-Band EQ

20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400 (Hz)

-15–+15 (dB) Gain of the low range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

0.5, 1.0, 2.0, 4.0,

8.0

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

0.5, 1.0, 2.0, 4.0,

8.0

2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 (Hz)

R outR in

Frequency of the low range

Frequency of the middle range 1

Width of the middle range 1 Set a higher value to narrow the range to

be affected.

Frequency of the middle range 2

Width of the middle range 2 Set a higher value to narrow the range to

be affected.

Frequency of the high range

04 Low Boost

Boosts the volume of the lower range, creating powerful lows.

L in L out

Parameter Value Explanation

Boost Frequency

Boost Gain 0–+12 (dB)

Boost Width

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Low Boost 2-Band EQ

50, 56, 63, 71, 80, 90, 100, 112, 125 (Hz)

WIDE, MID, NARROW

R outR in

Center frequency at which the lower range will be boosted

Width of the lower range that will be boosted

07 Enhancer

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in L out

Parameter Value Explanation

Sens 0–127 Sensitivity of the enhancer

Mix 0–127

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Enhancer 2-Band EQ

Mix

2-Band EQEnhancer

Mix

Level of the overtones generated by the enhancer

R outR in

MFX/IFX Parameters

08 Auto Wah

Cyclically controls a filter to create cyclic change in timbre.

L in L out

Parameter Value Explanation

Filter Type LPF, BPF

Manual 0–127

Peak 0–127

Sens 0–127

Polarity UP, DOWN

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg)

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Auto Wah 2-Band EQ

Note

Ø “Note” (p. 65)

R outR in

Type of filter

LPF: Produces a wah effect in a broad

frequency range.

BPF: Produces a wah effect in a narrow

frequency range.

Center frequency at which the wah effect is applied

Width of the frequency region at which the wah effect is applied

Increasing this value will make the frequency region narrower.

Adjusts the sensitivity with which the filter is controlled.

Direction in which the filter will move

UP: The filter will change toward a higher

frequency.

DOWN: The filter will change toward a

lower frequency.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Modulation frequency of the wah effect

Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied.

09 Humanizer

Adds a vowel character to the sound, making it similar to a human voice.

L in

FormantOverdrive 2-Band EQ

R in

Parameter Value Explanation

Drive Switch OFF, ON Overdrive on/off

Drive 0–127

Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of the effect

Input Sync Switch OFF, ON

Input Sync 0–127 Volume level at which reset is applied

Manual 0–100

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

Degree of distortion Also changes the volume.

Selects the vowel.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency at which the two vowels switch

LFO reset on/off If this is ON, the LFO for switching the

vowels is reset by the input signal.

Point at which Vowel 1/2 switch

0–49: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal

duration.

51–100: Vowel 2 will have a longer

duration.

L out

Pan L

Pan R

R out

MFX/IFX Parameters

10 Speaker Sim

(Speaker Simulator)

Simulates the speaker type and microphone settings used to record the speaker sound.

L in L out

Parameter Value Explanation

Speaker Type

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Level 0–127 Output Level

Speaker

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK 1

BG STACK 2

MS STACK 1

MS STACK 2

METAL STACK

2-STACK

3-STACK

R outR in

Diameter (in

Cabinet

Small open-

back enclosure

Small open-

back enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large double

stack

Large double

stack

Large triple

stack

inches) and

number of the

speaker

10 Dynamic

12 x 1 Dynamic

12 x 2 Dynamic

12 x 2 Condenser

12 x 4 Condenser

Adjusts the location of the microphone that is recording the sound of the speaker.

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Microphone

11 Phaser 1

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

L in L out

Parameter Value Explanation

Mode

Manual 0–127

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Polarity INVERSE, SYNCHRO

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98 (%)

Mix 0–127 Level of the phase-shifted sound

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Phaser 2-Band EQ

Mix

2-Band EQPhaser

Mix

4-STAGE, 8-STAGE, 12-STAGE

Number of stages in the phaser

Center frequency at which the sound is modulated

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Note

Ø “Note” (p. 65)

Modulation rate

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be

opposite. When using a mono source, this spreads

the sound.

SYNCHRO: The left and right phase will

be the same. Select this when inputting a stereo

source.

Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.

R outR in

MFX/IFX Parameters

18 Tremolo

Cyclically changes the volume.

L in L out

Parameter Value Explanation

Mod Wave

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth to which the effect is applied

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Tremolo 2-Band EQ

TRI, SQR, SIN, SAW1, SAW2, TRP

SAW1 SAW2

Note

Ø “Note” (p. 65)

R outR in

Modulation wave

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of the change

19 Auto Pan

Cyclically modulates the stereo location of the sound.

L in L out

Parameter Value Explanation

Mod Wave

Auto Pan 2-Band EQ

TRI, SQR, SIN, SAW1, SAW2, TRP

SAW1 SAW2

R R

R outR in

How the pan changes

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1/2: Sawtooth wave TRP: Trapezoidal wave

22 VK Rotary

This type provides modified response for the rotary speaker, with the low end boosted further.

This effect features the same specifications as the VK-7’s built-in rotary speaker.

L in

Rotary

R in

Parameter Value Explanation

Speed SLOW, FAST

Brake OFF, ON

Wf Slow Speed 0.05–10.00 (Hz) Low-speed rotation speed of the woofer

Wf Fast Speed 0.05–10.00 (Hz) High-speed rotation speed of the woofer

Wf Trans Up 0–127

Wf Trans Down 0–127

Wf Level 0–127 Volume of the woofer

Tw Slow Speed 0.05–10.00 (Hz)

Tw Fast Speed 0.05–10.00 (Hz)

Tw Trans Up 0–127

Tw Trans Down 0–127

Tw Level 0–127

Spread 0–10 Sets the rotary speaker stereo image.

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

OD Switch OFF, ON Overdrive on/off

OD Gain 0–127

OD Drive 0–127 Degree of distortion

OD Level 0–127 Volume of the overdrive

2-Band EQ

Rotational speed of the rotating speaker

SLOW: Slow FAST: Fast

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Settings of the tweeter The parameters are the same as for the

woofer.

Overdrive input level Higher values will increase the distortion.

L out

R out

L L

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth to which the effect is applied

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of the change

MFX/IFX Parameters

23 Chorus

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

Balance D

L in

Chorus

Balance W

R in

Balance D

Parameter Value Explanation

Filter Type OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000,

Cutoff Freq

Pre Delay 0.0–100 (msec)

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg) Spatial spread of the sound

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

Note

Ø “Note” (p. 65)

2-Band EQ

Type of filter

OFF: No filter is used. LPF: Cuts the frequency range above the

Cutoff Freq

HPF: Cuts the frequency range below the

Cutoff Freq

Basic frequency of the filter

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

L out

R out

24 Flanger

This is a stereo flanger (The LFO has the same phase for left and right.).

It produces a metallic resonance that rises and falls like a jet airplane taking off or landing.

A filter is provided so that you can adjust the timbre of the flanged sound.

Balance D

L in

Flanger

Feedback Feedback

Flanger

R in

Balance D

Parameter Value Explanation

Type of filter

OFF: No filter is used.

Filter Type OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000,

Cutoff Freq

Pre Delay 0.0–100 (msec)

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg) Spatial spread of the sound

Feedback -98–+98 (%)

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

Note

Ø “Note” (p. 65)

LPF: Cuts the frequency range above the

Cutoff Freq

HPF: Cuts the frequency range below the

Cutoff Freq

Basic frequency of the filter

Adjusts the delay time from the direct sound until the flanger sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the flanger sound (W)

2-Band EQ

Balance W

2-Band EQ

L out

R out

MFX/IFX Parameters

25 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.

Balance D

L in

Step

Flanger

Feedback Feedback

Step

Flanger

R in

Balance D

Parameter Value Explanation

Type of filter

OFF: No filter is used.

Filter Type OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000,

Cutoff Freq

Pre Delay 0.0–100.0 (msec)

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg) Spatial spread of the sound

Feedback -98–+98 (%)

Step Rate (sync sw) OFF, ON

Step Rate (Hz) 0.10–20.00 (Hz)

Step Rate (note)

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

Note

Ø “Note” (p. 65)

Note

Ø “Note” (p. 65)

LPF: Cuts the frequency range above the

Cutoff Freq

HPF: Cuts the frequency range below the

Cutoff Freq

Basic frequency of the filter

Adjusts the delay time from the direct sound until the flanger sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Rate (period) of pitch change

Volume balance between the direct sound (D) and the flanger sound (W)

2-Band EQ

Balance W

2-Band EQ

L out

R out

26 Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

L in

Hexa

Chorus

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 (msec)

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Pre Delay Deviation

Depth Deviation -20–20

Pan Deviation 0–20

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

0–20

L out

Balance W

R out

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Adjusts the differences in Pre Delay between each chorus sound.

Adjusts the difference in modulation depth between each chorus sound.

Adjusts the difference in stereo location between each chorus sound.

0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at

60 degree intervals relative to the center.

Volume balance between the direct sound (D) and the chorus sound (W)

MFX/IFX Parameters

28 Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

Balance D

L in

Space D

Balance W

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100 (msec)

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg) Spatial spread of the sound

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

2-Band EQ

Adjusts the delay time from the direct sound until the chorus sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

L out

R out

30 Distortion

This is a distortion effect that provides heavy distortion.

L in

Distortion 2-Band EQ

Amp

Smlator

R in

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive effect

Amp Switch OFF, ON Turns the Amp Simulator on/off.

Amp Type

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

SMALL, BUILT-IN, 2-STACK, 3-STACK

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

L out

Pan L

Pan R

R out

31 T-Scream

This models a classic analog overdrive. It is distinctive in adding an appropriate amount of overtones without muddying the sound.

29 Overdrive

This is an overdrive that provides heavy distortion.

L in

Overdrive 2-Band EQ

Amp

Smlator

R in

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive effect

Amp Switch OFF, ON Turns the Amp Simulator on/off.

Amp Type

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

SMALL, BUILT-IN, 2-STACK, 3-STACK

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: Small amp BUILT-IN: Single-unit type amp 2-STACK: Large double stack amp 3-STACK: Large triple stack amp

L out

Pan L

Pan R

R out

L in L out

Parameter Value Explanation

Distortion 0–127

Tone 0–127 Tonal character of the overdrive

Level 0–127 Output Level

Overdrive Tone

R outR in

Degree of distortion Also changes the volume.

MFX/IFX Parameters

32 Guitar Amp Sim

(Guitar Amp Simulator)

This is an effect that simulates the sound of a guitar amplifier.

L in

SpeakerPre Amp

R in

Parameter Value Explanation

Pre Amp Switch OFF, ON Turns the amp switch on/off.

Type of guitar amp

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

Pre Amp Type

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

Pre Amp Volume 0–127

Pre Amp Master 0–127 Volume of the entire pre-amp

Pre Amp Gain

LOW, MIDDLE, HIGH

Pre Amp Bass

Pre Amp Middle

0–127

Pre Amp Treble

Pre Amp Presence 0–127 Tone for the ultra-high frequency range

Pre Amp Bright OFF, ON

Speaker Switch OFF, ON

This models the sound of the Roland JC-120.

This models the sound input to left input on a Matchless D/C-30.

A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp.

The sound of a tube amp typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall 1959.

This models the sound of connecting inputs I and II on a Marshall 1959 in parallel. It creates a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This models the lead channel of a Peavey EVH5150.

This is distortion sound that is ideal for performances of heavy riffs.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

This is the high-gain overdrive sound of the BOSS OD-2.

This gives a basic, traditional distortion sound.

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range

Turning this “On” produces a sharper and brighter sound.

* This parameter applies to the “JC-120,”

“CLEAN TWIN,” “MATCH DRIVE,” and “BG LEAD” Pre Amp Types.

Determines whether the signal passes through the speaker (ON), or not (OFF).

L out

Pan L

Pan R

R out

Parameter Value Explanation

Diameter (in

Speaker Type

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN 1

BUILT-IN 2

BUILT-IN 3

BUILT-IN 4

BUILT-IN 5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

METAL STACK

2-STACK

3-STACK

Cabinet

Small open-

back enclosure

Small open-

back enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large double

stack

Large double

stack

Large triple

stack

inches) and

number of the

speaker

10 Dynamic

12 x 1 Dynamic

12 x 2 Dynamic

12 x 2 Condenser

12 x 4 Condenser

Microphone

Adjusts the location of the microphone that is recording the sound of the speaker.

Mic Setting 1, 2, 3

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

MFX/IFX Parameters

33 Compressor

Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.

L in L out

Parameter Value Explanation

Attack 0–124

Release 0–124

Threshold -60–0 (dB)

Knee 0–30 (dB)

Ratio

Post Gain 0–+18 (dB) Adjusts the output gain.

Level 0–127 Output Level

Compressor 2-Band EQ

1:1, 1.5:1, 2:1, 4:1, 16:1, INF:1

R outR in

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins

This is a function that smooths the onset of compression from the uncompressed state; it gradually applies compression starting earlier than Threshold. Higher values produce a smoother transition.

Compression ratio

37 Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

When Feedback Mode is CROSS:

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

2-Band EQ

Balance W

2-Band EQ

Balance W

2-Band EQ

L out

R out

L out

R out

34 Limiter

Compresses signals that exceed a specified volume level, preventing distortion from occurring.

L in L out

Parameter Value Explanation

Release 0–127

Threshold 0–127

Ratio 1.5:1, 2:1, 4:1, 100:1 Compression ratio

Post Gain 0–+18 (dB) Adjusts the output gain.

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

Limiter 2-Band EQ

R outR in

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins

Parameter Value Explanation

Delay L (sync sw) OFF, ON

Delay L (msec) 1–1300 (msec)

Delay L (note)

Delay R (sync sw) OFF, ON

Delay R (msec) 1–1300 (msec)

Delay R (note)

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback -98–+98 (%)

HF Damp

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

Note

Ø “Note” (p. 65)

NORMAL, INVERSE

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS (Hz)

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the left delay sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the right delay sound is heard.

Phase of left and right delay sound

NORMAL: Non-inverted INVERT: Inverted

Selects the way in which delay sound is fed back into the effect. (See the figures above.)

Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the effect is filtered out (BYPASS: no cut).

Volume balance between the direct sound (D) and the delay sound (W)

MFX/IFX Parameters

38 Mod Delay

(Modulation Delay)

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

Balance D

L in

Delay Modulation

Feedback Feedback

Delay Modulation

R in

Balance D

2-Band EQ

Balance W

2-Band EQ

When Feedback Mode is CROSS:

Balance D

L in

Delay Modulation

Feedback Feedback

Delay Modulation

R in

Balance D

Parameter Value Explanation

Delay L (sync sw) OFF, ON

Delay L (msec) 1–1300 (msec)

Delay L (note)

Delay R (sync sw) OFF, ON

Delay R (msec) 1–1300 (msec)

Delay R (note)

Feedback Mode NORMAL, CROSS

Feedback -98–+98 (%)

HF Damp

Rate (sync sw) OFF, ON

Rate (Hz) 0.05–10.00 (Hz)

Rate (note)

Depth 0–127 Depth of modulation

Phase 0–180 (deg) Spatial spread of the sound

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

Note

Ø “Note” (p. 65)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS (Hz)

Note

Ø “Note” (p. 65)

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the left delay sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the right delay sound is heard.

Selects the way in which delay sound is fed back into the effect. (See the figures above.)

Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the effect is filtered out (BYPASS: no cut).

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Frequency of modulation

Volume balance between the direct sound (D) and the delay sound (W)

2-Band EQ

Balance W

2-Band EQ

L out

R out

L out

R out

39 3Tap Pan Dly

(3 Tap Pan Delay)

Produces three delay sounds; center, left and right.

Balance D

L in

Left Tap

Triple Tap

Delay

Feedback

Center Tap

Right Tap

R in

Balance D

Parameter Value Explanation

Delay L (sync sw) OFF, ON

Delay L (msec) 1–2600 (msec)

Delay L (note)

Delay R (sync sw) OFF, ON

Delay R (msec) 1–2600 (msec)

Delay R (note)

Delay C (sync sw) OFF, ON

Delay C (msec) 1–2600 (msec)

Delay C (note)

Center Feedback -98–+98 (%)

HF Damp

Left Level 0–127

Center Level 0–127

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Note

Ø “Note” (p. 65)

Note

Ø “Note” (p. 65)

Note

Ø “Note” (p. 65)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS (Hz)

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the left delay sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the right delay sound is heard.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the time until the center delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the effect is filtered out (BYPASS: no cut).

Volume of each delay soundRight Level 0–127

Volume balance between the direct sound (D) and the delay sound (W)

2-Band EQ

Balance W

2-Band EQ

L out

R out

MFX/IFX Parameters

44 Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

L in

Tape Echo

R in

Direct Level

Parameter Value Explanation

Mode

Repeat Rate 0–127

Intensity 0–127 Amount of delay repeats

Bass -15–+15 (dB)

Treble -15–+15 (dB)

Head S Pan L64–63R

Head M Pan L64–63R

Head L Pan L64–63R

Tape Distortion 0–5

W/F Rate 0–127

W/F Depth 0–127 Depth of wow/flutter

Echo Level 0–127 Volume of the echo sound

Direct Level 0–127 Volume of the original sound

Level 0–127 Output Level

S, M, L, S+M, S+L, M+L, S+M+L

L out

Echo Level

R out

Combination of playback heads to use Select from three different heads with

different delay times.

S: Short M: Middle L: Long

Tape speed Increasing this value will shorten the

spacing of the delayed sounds.

Boost/cut for the lower range of the echo sound

Boost/cut for the upper range of the echo sound

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added

This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity)

45 LOFI Comp

(LOFI Compress)

Degrades the sound quality.

Compressor Lo-Fi 2-Band EQ

L in L out

Compressor Lo-Fi 2-Band EQ

Parameter Value Explanation

Selects the type of filter applied to the sound before it passes through the Lo-Fi

Pre Filter Type 1, 2, 3, 4, 5, 6

LoFi Type 1, 2, 3, 4, 5, 6, 7, 8, 9

Post Filter Type OFF, LPF, HPF

200, 250, 315, 400, 500, 630, 800, 1000,

Post Filter Cutoff

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 (Hz)

effect.

1: Compressor off 2–6: Compressor on

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Selects the type of filter applied to the sound after it passes through the Lo-Fi effect.

OFF: No filter is used. LPF: Cuts the frequency range above the

Cutoff Freq

HPF: Cuts the frequency range below the

Cutoff Freq

Basic frequency of the Post Filter

Volume balance between the direct sound (D) and the effect sound (W)

R outR in

47 Pitch Shifter

A stereo pitch shifter.

L in

R in

Pitch

Shifter

Pitch

Shifter

2-Band EQ

L out

R out

Parameter Value Explanation

Coarse -24–+12 (semi)

Fine -100–+100 (cent)

Delay Time (sync sw)

Delay Time (msec) 1–1300 (msec)

Delay Time (note)

Feedback -98–+98 (%)

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

OFF, ON

Note

Ø “Note” (p. 65)

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the effect.

Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

MFX/IFX Parameters

48 2V Pshifter

(2 Voice Pitch Shifter)

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

Balance D

L in

Level 1

2 Voice

Pitch Shifter

Level 2

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

R in

Balance D

Parameter Value Explanation

Pitch1 Coarse -24–+12 (semi)

Pitch1 Fine -100–+100 (cent)

Pitch1 Delay (sync sw)

Pitch1 Delay (msec)

Pitch1 Delay (note)

Pitch1 Feedback -98–+98 (%)

Pitch1 Pan L64–63R Stereo location of the Pitch Shift 1 sound

Pitch1 Level 0–127 Volume of the Pitch Shift 1 sound

Pitch2 Coarse -24–+12 (semi)

Pitch2 Fine -100–+100 (cent)

Pitch2 Delay (sync sw)

Pitch2 Delay (msec)

Pitch2 Delay (note)

Pitch2 Feedback -98–+98 (%)

Pitch2 Pan L64–63R

Pitch2 Level 0–127

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

OFF, ON

1–1300 (msec)

Note

Ø “Note” (p. 65)

OFF, ON

1–1300 (msec)

Note

Ø “Note” (p. 65)

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the effect.

Negative (-) settings will invert the phase.

Settings of the Pitch Shift 2 sound. The parameters are the same as for the

Pitch Shift 1 sound.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

2-Band EQ

Balance W

2-Band EQ

L out

R out

60 Gt (Guitar Amp Simulator) -> Delay

Balance D

L in

Pre Amp Speaker

Delay

Feedback

R in

Balance D

Parameter Value Explanation

Pre Amp Switch OFF, ON Turns the amp switch on/off.

Type of guitar amp

JC-120

CLEAN TWIN This models a Fender Twin Reverb.

MATCH DRIVE

BG LEAD

MS1959I

MS1959II

Pre Amp Type

MS1959I+II

SLDN LEAD

METAL 5150

METAL LEAD

OD-1

OD-2 TURBO

DISTORTION

FUZZ A fuzz sound with rich harmonic content.

Pre Amp Volume 0–127

Pre Amp Master 0–127 Volume of the entire pre-amp

Pre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortion

Pre Amp Bass 0–127

Pre Amp Middle 0–127

Pre Amp Treble 0–127

Speaker Switch OFF, ON

This models the sound of the Roland JC-120.

This models the sound input to left input on a Matchless D/C-30.

A simulation of the latest tube amp widely used in styles from blues and rock.

This models the lead sound of the MESA/ Boogie combo amp.

The sound of a tube amp typical of the late ‘70s to ‘80s.

This models the sound input to Input I on a Marshall 1959.

This is a trebly sound suited to hard rock.

This models the sound input to Input II on a Marshall 1959.

This models the sound of connecting inputs I and II on a Marshall 1959 in parallel. It creates a sound with a stronger low end than I.

This models a Soldano SLO-100. This is the typical sound of the eighties.

This models the lead channel of a Peavey EVH5150.

This is distortion sound that is ideal for performances of heavy riffs.

This models the sound of the BOSS OD-1. This produces sweet, mild distortion.

This is the high-gain overdrive sound of the BOSS OD-2.

This gives a basic, traditional distortion sound.

Volume and amount of distortion of the amp

Tone of the bass/mid/treble frequency range

Determines whether the signal passes through the speaker (ON), or not (OFF).

L out

Balance W

R out

MFX/IFX Parameters

Parameter Value Explanation

Cabinet

Small open-

back enclosure

Small open-

back enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Open back

enclosure

Sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large sealed

enclosure

Large double

stack

Large double

stack

Large triple

stack

Speaker Type

SMALL 1

SMALL 2

MIDDLE

JC-120

BUILT-IN1

BUILT-IN2

BUILT-IN3

BUILT-IN4

BUILT-IN5

BG STACK1

BG STACK2

MS STACK1

MS STACK2

METAL STACK

2-STACK

3-STACK

Delay Switch OFF, ON Delay on/off

Delay Time 1–1300 (msec)

Delay time from when the original sound is heard to when the delay sound is heard

Adjusts the proportion of the delay sound

Delay Feedback -98–+98 (%)

that is fed back into the effect. Negative (-) settings will invert the phase.

200, 250, 315, 400,

Delay HF Damp

500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000,

Frequency at which the high-frequency portion of the delay sound will be cut (BYPASS: no cut)

BYPASS (Hz)

Adjusts the volume balance between the

Delay Balance D100:0W–D0:100W

sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Level 0–127 Output Level

Diameter (in

inches) and

number of the

speaker

10 Dynamic

12 x 1 Dynamic

12 x 2 Dynamic

12 x 2 Condenser

12 x 4 Condenser

Microphone

73 SBF-325

This effect reproduces Roland’s SBF-325 analog flanger. It provides three types of flanging effect (which adds a metallic

resonance to the original sound) and a chorus-type effect.

L in L out

SBF-325

R outR in

Parameter Value Explanation

Types of flanging effect

FL1 A typical mono flanger

Mode

FL2

FL3

CHO A chorus effect

Rate (sync sw) OFF, ON

Rate (Hz) 0.02–5.00 (Hz)

Rate (note)

Note

Ø “Note” (p. 65)

Depth 0–127 Modulation depth of the flanger effect

Manual 0–127

Feedback 0–127

CH-R Mod Phase

NORM, INV

CH-L Phase

CH-R Phase

Level 0–127 Output Level

A stereo flanger that preserves the stereo positioning of the original sound

A cross-mix flanger that produces a more intense effect

If this is ON, the rate synchronizes with the tempo of the rhythm.

Ø “Scene Tempo” (p. 22)

Modulation frequency of the flanger effect

Center frequency at which the flanger effect is applied

Amount by which the flanging effect is boosted

If Mode is CHO, this setting is ignored.

Phase of the right channel modulation: Normally, you will leave this at Normal

(NORM). If you specify Inverted (INV), the modulation

(upward/downward movement) of the right channel is inverted.

Phase when mixing the flanging sound with the original sound

NORM: normal phase INV: inverse phase

72 CE-1

This models the classic BOSS CE-1 chorus effect unit. It provides a chorus sound with a distinctively analog warmth.

L in L out

CE-1

Parameter Value Explanation

Intensity 0–127 Chorus depth

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

2-Band EQ

R outR in

74 SDD-320

(DIMENSION D)

This models Roland’s DIMENSION D (SDD-320). It provides a clear chorus sound.

L in L out

SDD-320

Parameter Value Explanation

Mode

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Level 0–127 Output Level

1, 2, 3, 4, 1+4, 2+4, 3+4

2-Band EQ

R outR in

Switches the mode.

MFX/IFX Parameters

Double Tap

Delay

Double Tap

Delay

Pre FilterPre Filter

Tone

Control

Tone

Control

Tone

Control

Tone

Control

OverdriveOverdrive

Post FilterPost Filter

ChorusChorus

Noise

Generator

Noise

Generator

75 2Tap Pan Dly

(2 Tap Pan Delay)

Balance D

L in

Delay 1

Feedback

Delay 2

R in

Balance D

Parameter Value Explanation

Delay Time (sync sw)

Delay Time (msec) 1–2600 (msec)

Delay Time (note)

Feedback -98–+98 (%)

HF Damp

Delay 1 Pan L64–63R Stereo location of Delay 1

Delay 2 Pan L64–63R Stereo location of Delay 2

Delay 1 Level 0–127 Volume of delay 1

Delay 2 Level 0–127 Volume of delay 2

Low Gain -15–+15 (dB) Gain of the low range

High Gain -15–+15 (dB) Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

OFF, ON

Note

Ø “Note” (p. 65)

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS (Hz)

If this is ON, the delay synchronizes with the tempo.

Adjusts the delay time from the direct sound until the second delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which the delay sound fed back to the effect is filtered out (BYPASS: no cut).

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

86 Fuzz

Balance W

L out

R out

87 JUNO-106 Chorus

This models the chorus effects of the Roland JUNO-106.

L in

R in

Parameter Value Explanation

Mode I, II, I+II, JX I, JX II

Noise Level 0–127 Volume of the noise produced by chorus

Balance D100:0W–D0:100W

Level 0–127 Output Level

Type of Chorus

I+II: The state in which two buttons are

pressed simultaneously.

Volume balance between the dry sound (D) and effect sound (W)

L out

R out

92 Exciter

This adds dynamics to the sound, by dynamically bringing up the high end using a split-band compressor.

* This effect can be used as an IFX. The effect is not available for the

MFX.

L in

R in

Channel Divider

Low

Mid

High

Low

Mid

High

Compressor

L out

R out

Adds overtones and intensely distorts the sound.

L in L out

Parameter Value Explanation

Drive 0–127

Tone 0–100 Sound quality of the Overdrive effect

Level 0–127 Output Level

Adjusts the amount of distortion. This also changes the volume.

Parameter Value Explanation

Band2 Threshold -80.0–0.0 (dB)

R outR in

Band2 Max Gain 0–+24 (dB)

Band3 Threshold -80.0–0.0 (dB)

Band3 Max Gain 0–+24 (dB)

Split1 Frequency 2000–5000 (Hz)

Split2 Frequency 3000–10000 (Hz)

Level 0–127 Output Level

Raises the midrange frequency levels when they fall below the specified amount.

Sets how much to raise the levels when the midrange volume is low.

Raises the high-end frequency levels when they fall below the specified amount.

Sets how much to raise the levels when the high-end frequency volume is low.

Frequency at which the low and midrange frequencies are split

Frequency at which the midrange and high-end frequencies are split

Note

MFX/IFX Parameters

Sixty-fourth-note triplet

Sixteenth-note triplet

Dotted sixteenth note

Quarter note Half-note triplet

Whole-note triplet

Dotted whole note

Sixty-fourth note

Dotted thirtysecond note

Eighth note

Dotted half note Whole note

Double note

Thirty-secondnote triplet

Sixteenth note

Quarter-note triplet

Dotted quarter note

Thirty-second note

Eighth-note triplet

Dotted eighth note

Half note

Double-note triplet

Control Change List

These control change messages are used when controlling the Aerophone from an external MIDI device such as a MIDI foot controller.

CC# Functions that are controlled Explanation

0 Bank Select MSB 1 Mudulation (depend on scene) vib, tone, lter, level, rotary, Xfade 2 Breath (depend on scene) cuto, dynamics, PMT 4 (depend on scene) growl, sfx, tremolo 5 Portamento Time 6 Data Entry MSB 7 Volume

9 (depend on scene) resonance 10 Pan 11 Expression (depend on scene) Expression, dynamics 16 (SuperNATURAL Control1) noise level 18 (SuperNATURAL Control2) growl 19 (SuperNATURAL Control3) bend mode, glissando mode, hold legato mode 20 Scene Down 21 Scene Up 22 Favorite Down 23 Favorite Up 24 Octave Down 25 Octave Up 26 Transpose Down 27 Transpose Up 28 Harmony Sw 29 Drone Sw 30 X-Fade 32 Bank Select LSB 38 Data Entry LSB 64 Hold1 65 Portamento 66 Sostenuto 68 Legato 71 Resonance 72 Release Time 73 Attack Time 74 Cut O 75 Decay Time 76 Vibrato Rate 77 Vibrato Depth 78 Vibrato Delay 80 (SuperNATURAL Control 4) staccato, drone, ornament, tambura, strum, nail, voice woo 81 (SuperNATURAL Control 5) fall, pizz 82 (SuperNATURAL Control 6) subtone, tremolo 84 Portamento Control 91 Reverb Send Level 93 Chorus Send Level 98 NRPN LSB 99 NRPN MSB

100 RPN LSB 101 RPN MSB 120 All Sound O 121 Reset All Controllers 123 All Note O 126 Mono Mode On 127 Poly Mode On

Fingering Chart

Sax

A#/B²3 C#/D²4 D#/E²4

F#/G²4 G#/A²4 A#/B²4

B3 C4 D4 E4

G4 A4 B4

C5 D5 E5

C#/D²5 D#/E²5

F#/G²5

Fingering Chart

Recorder

The side keys are disabled so that the note does not change even if you inadvertently press the left or right side key.

A#/B²3

F#/G²4

C4 D4 F4

C#/D²4 D#/E²4

A#/B²4G#/A²4

B4 D5

C#/D²5

Electronic Wind

1, 2, 3, 4, 5, 6, C The same “C D E F G A B C” ngering as a standard sax or recorder Tc, G#, C# Raise by a semitone Ta, Tf, Eb, B Lower by a semitone Bb Lower by a whole tone

Fingering Chart

A3 B3 C4

A#/B²3 C#/D²4

F#/G²4

G#/A²4

D4 E4

A4F4 G4

A#/B²4

D#/E²4

C#/D²5 D#/E²5

F#/G²5

G5D5 F5

Fingering Chart

Trumpet

Right-hand keys 4, 5, and 6 correspond to pistons 1, 2, and 3 of a trumpet.

D4 E4

D#/E²4

G#/A²3F#/G²3

A#/B²3 C#/D²4

F#/G²4 G#/A²4

B3 C4

G4 A4

A#/B²4

F#/G²5

C5 D5 E5 F5

C#/D²5 D#/E²5

Left Hand

Fingering that lets you perform using only the left hand.

Fingering Chart

F#/G²4

C#/D²4

D4 E4

G#/A²4

D#/E²4

A#/B²4

C5 D5 F5

C#/D²5 D#/E²5

Fingering Chart

Right Hand

Fingering that lets you perform using only the right hand.

C#/D²4

G#/A²4

D4 E4

D#/E²4

A#/B²4

F#/G²4

C5 D5 F5

C#/D²5 D#/E²5

Flute

Flute ngering.

x, C1, C2, C3 Raise by a semitone p, B, C4, Tc, Ta Lower by a semitone Bb Lower by a whole tone

C4 D4 E4 F4C´4/D³4 D´4/E³4 F´4/G³4

Fingering Chart

G4 A4 B4 C5G´4/A³4 A´4/B³4 C´5/D³5

D5 E5 F5D´5/E³5

Fingering Chart

G5 A5F´5/G³5 G´5/A³5

B5 C6A´5/B³5

Clarinet

Clarinet ngering.

C1 Raise by a semitone p, C5 Lower by a semitone

E3 F3 G3 A3F´3/G³3 G´3/A³3 A´3/B³3

Fingering Chart

B3 C4

F4 G4 A4F´4/G³4 A´4/B³4G´4/A³4

C´4/D³4 D´4/E³4

D4 E4

Fingering Chart

B4 C5 D5 E5 F5C´5/D³5 D´5/E³5

C6 D6 E6C´6/D³6 D´6/E³6

A5 B5F´5/G³5 G´5/A³5 A´5/B³5

A6F6 G6F´6/G³6 G´6/A³6

Roland Aerophone Pro Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Settings Used on this Instrument

System Parameters

Scene Parameters

Assign Parameters

MIDI Parameters

Data Backup and Restore Operations

Backing Up/Restoring System Settings

Formatting a USB Flash Drive

Backing Up/Restoring Scene Settings

Installing a SOUND PACK/WAVE EXPANSION

Preparing the Sound Files

Importing a SOUND PACK

Initializing a User License

How the Scenes are Structured

ZEN-Core Tone

SuperNATURAL Tone

Drum Kit

Scene Parameters

SCENE/COMMON

SCENE/ASSIGN (INT)

SCENE/CONTROL SOURCE (INT)

SCENE/ASSIGN (MIDI)

SCENE/CONTROL (MIDI)

SCENE/PART

SCENE/MODE

SCENE/RANGE

SCENE/PITCH

SCENE/OFFSET

SCENE/EQ

SCENE/OUTPUT

SCENE/CONTROL

SCENE/CONTROL RX

SCENE/IFX

SCENE/CHORUS

Chorus parameters

SCENE/DELAY

Delay parameters

SCENE/REVERB

Reverb parameters

Tone Parameters

TONE/COMMON

TONE/STRUCTURE

TONE/MFX

TONE/PARTIAL

TONE/PARTIAL/OSC

TONE/PARTIAL/RANGE

TONE/PARTIAL/PITCH

TONE/PARTIAL/FILTER

TONE/PARTIAL/AMP

TONE/PARTIAL/LFO1, LFO2

TONE/PARTIAL/PARTIAL EQ

TONE/PARTIAL/OUTPUT

TONE/PARTIAL/CONTROL

TONE/PARTIAL/MATRIX CONTROL

MFX/IFX Parameters

00 Thru

01 Equalizer

04 Low Boost

07 Enhancer

08 Auto Wah

09 Humanizer

11 Phaser 1

18 Tremolo

19 Auto Pan

22 VK Rotary

Chorus

Flanger

25 Step Flanger

26 Hexa-Chorus

28 Space-D

30 Distortion

31 T-Scream

29 Overdrive

33 Compressor

Delay

34 Limiter