Roland ARX-01 User Manual

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Page 1

Owner’s Manual

取扱説明書

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Owner’s Manual

Before using this product, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 4; p. 6). These sections provide important information concerning the proper operation of the product. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new product, Owner’s Manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

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USING THE UNIT SAFELY

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

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• Do not open or perform any internal modifications on the product.

................................................................

• Do not open or perform any internal modifications on the product. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 8.)

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• Do not attempt to repair the product, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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• Never use or store the product in places that are:

• Subject to temperature extremes

(e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms,

on wet floors); or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of

vibration.

.................................................................

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the product.

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• Protect the product from strong impact. (Do not drop it!)

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• Before installing the ARX-01, you must first always turn off the unit (Fantom-G6/G7/G8) and unplug its power cord.

• Install the circuit board only into the specified unit (Fantom-G6/G7/ G8). Remove only the specified screws during the installation.

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IMPORTANT NOTES

When you purchase the ARX-01 SuperNATURAL Expansion Board from an authorized Roland dealer, the included sounds and samples are licensed, not sold, to you by Roland Corporation, for commercial use in music production, public performance, broadcast, etc.

You may use any of the included phrases and/or samples in a commercial or non-commercial recording without paying any additional license fees. However, you must strictly adhere to the following crediting guidelines on any music recording that utilize material from ARX-01.

Reproduction or duplication of this collection or any of the sound recording contained in the ARX-01, either as they exist on this expansion board or by any means of reformatting, mixing, filtering, re-synthesizing, processing or otherwise

editing for use in another product or for re-sale, is strictly prohibited without the express written consent of Roland. All unauthorized giving, trading, lending, renting, re-issue, redistribution or re-sale of the sounds included in the ARX-01 are expressly prohibited.

In Plain English: Be creative in your application of the ARX-01 sounds, and keep this library for your use only. DO NOT COPY IT.

Roland constantly monitors other Soundware releases to check for copyright infringements, and will prosecute all piracy and copyright violations to the fullest extent of the law.

THIS LIBRARY IS GUARANTEED TO BE 100% COPYRIGHT CLEAN.

Placement

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

Additional Precautions

• To avoid disturbing your neighbors, try to keep the product’s volume at reasonable levels (especially when it is late at night).

• When you need to transport the product, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

* In the interest of product improvement, the specifications and/or appear-

ance of this product are subject to change without prior notice.

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USING THE UNIT SAFELY..................................... 4

IMPORTANT NOTES............................................6

Installing the expansion board in your product ....8

Installation in your product...............................................8

Confirmation after installation ........................................11

To remove the board from the product............................12

Installation de la carte d’expansion dans un appareil

Installer la carte dans un appareil ..................................13

Retirer la carte de l’appareil...........................................16

.13

Introduction......................................................17

Main Features................................................................17

ARX series SuperNATURAL expansion boards......... 17

Roland SuperNATURAL Technology....................... 17

ARX-01 Drums..................................................... 17

The structure of ARX-01 Drums.......................................18

Creating a Kit ................................................... 19

The basic screen ............................................................19

Selecting a kit ..................................................... 19

Group Fader....................................................... 19

Saving a kit (on the Fantom-G) .............................. 20

Selecting a Tone (Tone screen) ........................................21

Tone Settings .................................................................22

Customizing a tone (Tone/Customize screen) ..........22

Flam/Roll settings (Tone/Flam/Roll screen) .............24

Volume change and tone adjustments

(Tone/Comp/EQ screen).....................................26

Volume adjustment (Tone/Output screen)................27

Adjusting the volume balance of the tones (Mixer screen)

Applying effects (Effects/Routing screen) .........................28

Multi-effect settings (Effects/MFX screen).........................29

Multi-effect control (Effects/MFX Ctrl screen)............29

Setting of Reverb (Effects/Reverb screen).........................31

Choking/muting the drum sound (Ctrl screen) .................32

Initializing a Kit/Tone or copying a Tone (Utility screen)...33

Initializing a kit or tone.........................................33

Copying a tone ...................................................33

....28

Multi-Effects List................................................ 34

Multi-Effects Types .........................................................34

Multi-Effects Parameters .................................................35

About the STEP RESET function........................................66

About Note....................................................................67

Specifications ................................................... 68

Index............................................................... 69

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Installing the expansion board in your product

Cautions when installing

• Before you install this expansion board (hereafter referred to as “the board”), you should carefully read the procedure for installing expansion boards given in the owner’s manual of the product in which you’re installing it.

• To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.

• Before you touch the board, always first grasp a metal object (such

as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.

• When handling the board, grasp it only by its edges. Avoid

touching any of the electronic components or connectors.

• Save the bag in which the board was originally shipped, and put

the board back into it whenever you need to store or transport it.

• Do not touch any of the printed circuit pathways or connection terminals.

• Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again.

• When you’ve finished installing the expansion board, follow the steps described in the owner’s manual of your device to verify that the board was installed correctly.

Installation in your product

As described in your product’s owner’s manual, expose the slot in which the expansion board is to be installed.

Orient the board with the slot of your product as shown in the illustration.

Slot of the product

Latched holders

Board

(expansion board)

Roland logo

Non-latched holders

Holes that engage the non-latched holders

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Insert the board into the product’s non-latched board holders until you hear a click.

Connector

of board

Connector

of product

Align board’s holes with holders

Board

Non-latched holders

Gently lower the board into place.

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From above, press down on the board at the three locations indicated in the illustration until the latched board holders lock into place.

Edge of the board

where the logo

is affixed

Near the cutouts

in the board

Verify that the latched board holders are locked.

Return the expansion board installation slot to its original state.

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Confirmation after installation

After you’ve finished installing the expansion board, you will need to perform the following procedure to confirm the installation. This installation procedure needs to be performed only the first time you power up your device after installing the expansion board.

Power up your device as described in its owner’s manual.

If the expansion board was installed correctly, an installation confirmation screen will appear. Press [F8 (Execute)] button to begin installation.

If the installation confirmation screen does not appear the first time you power up after installing the expansion board, it is likely that the board was not installed correctly. Check once again to make sure that the board is correctly installed.

It may take five to ten minutes before installation is finished. Never turn off the power during this installation process.

When you see the Power Off screen indicating that installation is finished, switch your device’s power off, then on again as described in its owner’s manual.

* The screen shown here is for when the board is installed in the

Fantom-G.

This completes the expansion board installation process.

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To remove the board from the product

As described in your product’s owner’s manual, expose the slot in which the expansion board was installed.

Unlatch the latched board holders.

Verify that the two latched board holders are unlocked, then gently pull up the board and disconnect the connector.

Disengage the board from the non-latched board holders, and remove the board.

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Installation de la carte d’expansion dans un appareil

Installer la carte dans un appareil

Suivre les instructions données dans le guide

Mises en garde relatives à l’installation

• Avant d’installer cette carte d’expansion (la carte), il faut lire attentivement la procédure d’installation des cartes d’expansion décrite dans le guide d’utilisation de l’appareil dans lequel la carte sera installée.

• Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’éviter toutrisque d’endommagement des pièces internes par l’électricité statique.

• Toujours toucher un objet métallique relié à la terre (comme un

tuyau par exemple) avant de manipuler la carte pour vous décharger de l’électricité statique que vous auriez pu accumuler.

• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez de

toucher aux composants ou aux connecteurs.

• Conservez le sachet d’origine dans lequel était la carte lors de

l’envoi et remettez la carte dedans si vous devez la ranger ou la transporter.

• Ne pas toucher aux circuits imprimés ou aux connecteurs.

• Ne jamais forcer lors de l’installation de la carte de circuits imprimés. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation.

• Une fois la carte installée, il faut suivre la procédure décrite dans le guide d’utilisation pour vérifier que la carte est installée correctement.

d’utilisation de l’appareil pour dégager la fente où la carte d’expansion doit être installée.

Orienter la carte de façon à ce qu’elle s’aligne avec la vente de l’appareil, comme le montre l’illustration.

Fente de l’appareil

Supports bloqués

Supports non bloqués

Carte

(carte d’expansion)

Logo Roland

Trous de retenue des supports non bloqués

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Insérer la carte dans les supports non bloqués jusqu’à ce qu’un clic se fasse entendre.

Connecteur

de la carte

Aligner les trous de la

Connecteur

de l’appareil

carte et les supports

Carte

Supports non bloqués

Abaisser la carte délicatement.

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Appuyer sur la carte aux trois points indiqués sur l’illustration jusqu’à ce que les supports se bloquent en place.

Bord de la carte

où se trouve le logo

Près des découpes

de la carte

S’assurer que les supports de carte sont bien bloqués.

Suivre les instructions données dans le guide d’utilisation et vérifier que la carte d’expansion est installée correctement.

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Retirer la carte de l’appareil

Suivre les instructions données dans le guide d’utilisation de l’appareil pour dégager la fente où la carte d’expansion a été installée.

Débloquer les supports de carte.

Vérifier que les deux supports de carte sont débloqués puis tirer délicatement sur la carte et déconnecter le connecteur.

Retirer la carte des supports débloqués, et la retirer ensuite complètement.

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Introduction

Main Features

ARX series SuperNATURAL expansion boards

The ARX series SuperNATURAL expansion boards represent a further evolution for Roland’s line of expansion solutions, which began with the SR-JV80 series and SRX series–-they are a completely new type of expansion board. SuperNATURAL technology delivers natural, richly expressive sounds and effects along with a dedicated graphic user interface, all adding up to a comprehensive application environment that allows an unprecedented degree of expressive playability and customization.

Roland SuperNATURAL Technology

Proprietary Roland sound generation technology that realistically reproduces the tonal changes and performance techniques distinctive of an acoustic instrument, allowing you to perform music that is natural and richly expressive.

ARX-01 Drums

SuperNATURAL technology provides powerful drum customizing

The SuperNATURAL technology featured in the ARX-01 allows aggressive customization of the drum sounds. You can change the depth of the shell, the diameter of a cymbal, the position of the mic, or even the muffling (muting), giving you the same degree of customization that you have over an acoustic drum. Customizing the drum sound is easy, and does not require specialized knowledge. A graphical user interface allows you to edit intuitively while watching the screen. In contrast to the way in which you “choose a drum sound” on a conventional PCM synthesizer or sampler, this new technology lets you work more creatively to “make a drum kit” that’s just right for your song.

From acoustic drum sounds that cover the full range of musical styles to the sounds of vintage gear, such as the ever-popular TR-808/909, numerous presets are provided, giving you a powerful array of resources to create drum parts for your productions.

Effects that can be set independently for each tone, and powerful mixing functionality

Up to twenty-four different tones can be assigned to a single kit. A compressor and equalizer are provided for each tone. There’s also a 24-channel mixer that lets you make detailed volume and pan settings

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for each tone, in addition to a multi-effect and a reverb. Using just the ARX-01, you can construct drum parts that are at a level that’s comparable to those used by recording studios.

The structure of ARX-01 Drums

Basic structure

ARX series SuperNATURAL expansion boards can receive performance data and control data from devices that are compatible with the ARX series, and produce an appropriate stereo audio signal in response.

* ARX series boards support up to 16 parts, but the ARX-01 Drums

board is designed to produce only one part.

Tones

A tone is the smallest unit of sound on the ARX-01 Drums board. A tone corresponds to one of the individual instruments (e.g., bass drum or cymbal) that makes up a drum set.

Each tone is provided with COMP (compressor) and EQ (equalizer). You can also make settings such as Roll or Flam for each tone.

* You can’t change the correspondence between note numbers and

tones.

Kits

A group of twenty-four tones is called a Kit. A kit is provided with MFX (multi-effect) and reverb.

The ARX-01 Drums board contains fifty kits. If the board is installed in a Fantom-G, kit data is saved in the Fantom-

G project.

from ARX compatible device (Performance data)

ARX-01 Drums

KIT 50

KIT 01

TONE 24 (Note No.57)

Tone 1 (Note No.34)

INST Type

Tuning MIC Position :

COMP/EQ

MIXER

REVERB

MFX

The twenty-four tones are assigned to note numbers 34 (B 1) through 57 (A3).

to ARX compatible device (Audio signal)

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Creating a Kit

About this manual

• The screen images used in this manual are taken from a Fantom-G with the ARX-01 installed. The various procedures described also assume that you are using the ARX-01 installed in a Fantom-G.

• For details on how to move the cursor or edit a value, refer to the owner’s manual for the device in which you’ve actually installed the ARX-01.

The basic screen shows the KIT NAME, twenty-four indicators that

The basic screen

fig.01-004.eps

represent the When the basic screen is displayed, you can also assign a name to

the kit and save it.

Selecting a kit

Move the cursor to KIT NAME and change the value to select a kit (001–050).

Group Fader

Eight faders are shown in the basic screen of the ARX-01. These are called the Group Faders.

You can divide the twenty-four tones among eight groups, and use these group faders to adjust the volume of the groups. To assign each tone to a group, use the Tone screen’s Fader Group settings (p.

21).

Current Tone

(p. 21), and the group faders.

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Saving a kit (on the Fantom-G)

A kit you’ve created is temporary; it will be lost if you select a different kit. If you want to save the kit you’ve edited, proceed as follows.

Press [WRITE] on the Fantom-G.

Assign a name to the kit.

For details on how to assign a name, refer to the Fantom-G owner’s manual.

fig.01-101.eps

When you’ve finished assigning the name, press [F8 (OK)] button.

Select a kit number, and press [F8 (WRITE)] button.

When the confirmation screen appears, press [F7 (OK)] button

to save the kit.

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Selecting a Tone (Tone screen)

In the Tone screen you can select the tones that make up the kit.

* The

Mute Switch

of the Tone/

* The Comp

of the Tone/ Comp/EQ screen.

When the Tone screen is displayed, you can switch the Current Tone by playing a key.

Parameter Value Description

Current Tone

in this screen is linked with the

Output

screen.

Switch

in this screen is linked with the

Tone 01 – Tone 24

Indicates the tone number of the currently displayed tone. To select a tone, change this value.

Mute Sw

Comp Sw

(p. 27)

(p. 26)

Parameter Value Description

KICK, SNARE, TOM, HIHAT, RIDE, CYMBAL, OTHER,

Inst Type

Inst Number

Fader Group 1–8 Assigns the tone to a fader group.

Layer Tone

Mute Group 0(OFF), 1–24

Assign Type MULTI, SINGLE

E.KICK, E.SNARE, E.TOM, E.HIHAT, E.RIDE, E.CYMBAL, E.OTHER

(Depends on the “Inst Type”)

OFF, Tone 01 – Tone 24

Selects the type of instrument.

Selects a variation of the instrument.

If you want the current tone to sound simultaneously with another tone, specify the number of that tone.

If there is a combination of tones that should not sound simultaneously, such as an open hi-hat sound and a closed hi-hat sound, set the Mute Group parameter of those tones to the same number. Mute Group is a function that prevents tones of the same setting from being heard together. If you don’t want to use this function, set this to 0.

This specifies how the tone will sound when played repeatedly.

MULTI

: The same tone will be sounded on top of the already-sounding tone. If you repeatedly play a slowdecaying sound such as a cymbal, the new note will not silence the previous note.

SINGLE

: The currently sounding note will be silenced before the new note is played.

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Tone Settings

Customizing a tone (Tone/Customize screen)

fig.02-001.eps

In the Tone/Customize screen you can adjust the sound in the same ways as on an acoustic drum; for example, by choosing the desired shell depth, and by installing muffling (muting).

The customizable parameters vary depending on the instrument type to which the tone belongs.

KICK, SNARE, TOM

Parameter

Shell Depth Head Tuning -120–+120 Muffling 0–3 Mic Position -100–+100 Buzz 0–127

-2–+2

HIHAT, RIDE, CYMBAL

Parameter

Size Sustain 0–100

-120–+120

OTHER

Parameter

Pitch Sustain 0–100

-120–120

E.KICK

Parameter

Tune Attack Level -100–+100 Decay -100–+100 Cutoff 0–127 Resonance 0–127

-100–+100

Value

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E.SNARE

Parameter

Tune Tone -100–+100 Attack Level -100–+100 Snpy Decay -100–+100 Cutoff 0–127 Resonance 0–127

-100–+100

E.TOM, E.HIHAT, E.RIDE, E.OTHER

Parameter

Tune -100–+100 Decay -100–+100 Cutoff 0–127 Resonance 0–127

E.CYMBAL

Parameter

Tune Tone -100–+100 Decay -100–+100 Cutoff 0–127 Resonance 0–127

-100–+100

Value

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Flam/Roll settings (Tone/Flam/Roll screen)

fig.02-002.eps

Here you can apply a You can use note velocity to switch the flam or roll effect on/off.

Parameter

Flam/Roll Velocity Threshold

Flam/Roll Type Upper

Flam/Roll Type Lower

fram or

roll effect to each tone.

Value Description

0–127 Boundary between Upper and Lower

OFF, FLAM, ROLL

Selects the way in which the tone will sound when the note velocity is above the Velocity Threshold setting. At OFF, the tone sounds in the normal way.

Selects the way in which the tone will sound when the note velocity is below the Velocity Threshold setting. At OFF, the tone sounds in the normal way.

Flam-related parameters

fig.flam.eps

Velocity

Rate

Note On Last Note

Parameter Value Description

Rate

Offset

Flam Time 1–16 Number of flam notes

Time Velocity Sens

Feel 0–32

1–100, note

-100– +100

Rate

(Velocity = Note On)

Time interval between flam notes

Difference in strength between note and flam note(s)

Change in the number of flam notes in response to velocity. With a positive (+) setting, velocity will increase the number of flam notes; with a negative setting (-), velocity will decrease the number of flam notes.

Amount of random change in the strength of flam notes and their time interval

For details on the “note” that can be selected for the Rate parameter, refer to

“About Note”

(p. 67)

Offset

Time

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Roll-related parameters

fig.roll.eps

Velocity

Parameter Value Description

Rate

Delay 1–100 Time interval until roll notes begin

Offset

Curve

Roll Time 1–16 Number of roll notes

Time Velocity Sens

Feel 0–32

Delay

Offset

Note On 2nd Note

1–100, note

-100– +100

Rate

Time interval between roll notes

Difference in strength between note on and the first roll note

Change in the strength of the roll notes. With a positive (+) setting, the roll notes will become stronger; with a negative (-) setting, the roll notes will become weaker.

Change in the number of roll notes in response to velocity. With a positive (+) setting, velocity will increase the number of roll notes; with a negative setting (-), velocity will decrease the number of roll notes.

Amount of random change in the strength of roll notes and their time interval

Rate

Curve

Time

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Volume change and tone adjustments (Tone/Comp/EQ screen)

fig.02-003.eps

Here you can adjust the compressor and equalizer for each tone.

* The Tone Level in this screen is linked with the Tone Level param-

eter of the Tone/

Compressor

This reduces high levels and boosts low levels, making the overall volume more consistent.

Output

screen (p. 27).

Compressor-related parameters

Parameter

Comp Sw

Input Level 0–127

Attack 0.05–50.0 ms

Release 0.05–200 ms

Output Gain 0–+24 dB Level of the output sound Threshold 0–127 Level above which compression is applied Ratio 1:1–∞:1 Compression ratio

Value Description

ON/OFF

Compressor on/off Volume level that is input to the compres-

sor Time from when the input exceeds the

threshold until compression begins Time from when the input falls below the

threshold until compression is turned off

EQ-related parameters

Parameter

Low Freq 50–400 Hz Frequency of the low range Low Gain -15–+15 dB Gain of the low frequency range

High Freq

High Gain -15–+15 dB Gain of the high frequency range

Value Description

2000– 16000 Hz

Frequency of the high range

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Volume adjustment

(Tone/Output screen)

fig.signal-flow.eps

Here you can make settings related to the output of each tone.

Signal Flow

Inst

Pan

Input Level

COMP/EQ

Tone

Output

Level

Reverb Send Level

Output Assign

MFX

to Mixe

DRY

to Reverb

to MF

Parameter Value Description

Adjusts the pan of the tone. “L64”

Pan

Tone Level 0–127

Output Level 0–127

Output Assign DRY, MFX

Reverb Send Level

Mute Sw ON/OFF Turns muting on/off for each tone.

L64 –0 –63R

0–127

places the sound at far left, “0” at the center, and “63R” at the far right.

Specifies the volume of the tone. You’ll use this parameter mainly to adjust the volume balance relative to the other tones.

Specifies the signal level of each tone.

Selects whether each tone will output its original sound or will use MFX.

DRY

: The original sound will be

output without processing.

MFX

: The sound will be sent through the multi-effect before being output.

Specifies the level of the signal sent from each tone to reverb.

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Adjusting the volume balance of the tones (Mixer screen)

fig.01-006.eps

Here you can specify each tone’s Comp Sw (p. 26), Mute Sw (p.

27), Reverb Send Level (p. 27), Pan (p. 27), Tone Level (p. 27), and EQ gain (p. 26).

Applying effects (Effects/Routing screen)

In the Effects/Routing screen you can make settings for multi-effect (MFX) and reverb.

Parameter

MFX Type

MFX Output Level 0–127

MFX Reverb Send Level

Reverb Type

Reverb Level 0–127

Value Description

0(THRU), 1–47

0–127

0(OFF), 1(REVERB), 2(SRV ROOM), 3(SRV HALL), 4(SRV PLATE)

Selects the multi-effect type. For details on each type, refer to

fects List”

Specifies the volume of the sound that has passed through the multi-effect.

Specifies the amount of reverb applied to the sound that has passed through the multi-effect. Choose “0” if you don’t want to apply reverb.

Selects the type of reverb. For details on each type, refer to

verb (Effects/Reverb screen)”

Specifies the volume of the sound that has passed through the reverb.

(p. 34)

“Multi-Ef-

“Setting of Re-

(p. 31)

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Multi-effect settings (Effects/MFX screen)

In the Effects/MFX screen you can set the parameters of the multieffect.

In this screen you can edit the parameters of the multi-effect you selected in can be edited, refer to

MFX Type

Control Assign 1–4

For details on Control Assign 1–4, refer to “

(Effects/MFX Ctrl screen)”

“MFX Type”

Parameter Value Description

(p. 29). For details on the parameters that

“Multi-Effects List”

0(THRU), 1–47

(Depends on the “MFX Type”)

(p. 29).

(p. 34).

Selects the type of multi-effect. For details on each type, refer to

“Multi-Effects List”

Multi-effect control lets you use MIDI messages to control the parameters of the multi-effect. For details, refer to

(Effects/MFX Ctrl screen)”

“Multi-effect control

(p. 34).

(p. 29).

Multi-effect control (Effects/MFX Ctrl screen)

In order to control parameters such as the volume of the multi-effect or the delay time of a delay from an external MIDI device, you will normally need to transmit “MIDI system exclusive messages,” which are a type of MIDI message that is specific to a particular device. However, system exclusive message settings are complex, and these messages will also increase the amount of data that needs to be transmitted.

Thus, this expansion board allows you to use MIDI messages such as control changes to control the most important multi-effect parameters. For example, you can use the pitch bend lever to vary the depth of distortion, or use your keyboard playing touch to change the delay time. The parameters that can be controlled in this way are preassigned for each multi-effect type. The parameters that are assigned for each multi-effect type are marked with a “#” in the list of

Effects Parameters”

This ability to use MIDI messages to vary the multi-effect parameters in real time is called “multi-effect control.” The ARX-01 expansion board allows you to use four multi-effect controls simultaneously.

To use multi-effect control, you need to specify the MIDI message (Source 1–4) that will control the desired parameter (Control Assign 1–4) in the specified way (Sens 1–4).

(p. 35).

“Multi-

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MFX Control Source 1–4

Value Description

OFF CC01–31, 32(OFF), 33–95 Control Change. PITCH BEND Pitch Bend. AFTERTOUCH Afttertouch.

AUDIO

Multi-effect control

Volume level that is input to the

Multi-effect

will not be used.

MFX Control Sens 1–4

Specifies the depth to which multi-effect control will affect the parameter. Choose a positive (+) value if you want to modify the parameter from its current value toward the positive direction (higher value, toward the right, faster, etc.). Choose a negative (-) value if you want to modify the parameter from its current value toward the negative direction (lower value, toward the left, slower, etc.). With both positive (+) and negative (-) settings, the greater the number, the greater the change. Choose “0” if you don’t want to modify the parameter.

Value:

- 63–+63

Page 31

Setting of Reverb (Effects/Reverb screen)

In the Effects/Reverb screen you can set the parameters of the reverb.

Parameter Value Description

0 (OFF),

Type

Type: 1 (REVERB)

Type

Time 0–127

HF Damp

1 (REVERB), 2 (SRV ROOM), 3 (SRV HALL), 4 (SRV PLATE)

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY

200–8000 Hz, BYPASS

Type of reverb

Type of reverb/delay

ROOM1

: short reverb with high density

ROOM2

: short reverb with low density

STAGE1

: reverb with greater late rever-

beration

STAGE2

: reverb with strong early reflec-

tions

HALL1

: very clear-sounding reverb

HALL2

: rich reverb

DELAY

: conventional delay effect

PAN-DELAY

pan left and right

Time length of reverberation(Type: ROOM1.HALL2) Delay time(Type: DELAY, PAN-DELAY)

Adjusts the frequency above which the highfrequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.

: delay effect with echoes that

Parameter Value Description

Delay Feedback

Type:2(SRV ROOM)/3(SRV HALL)/4(SRV PLATE)

Pre Delay

Time 0–127 Time length of reverberation Size 1–8 Size of the simulated room or hall

High Cut

Density 0–127 Density of reverb

Diffusion 0–127

LF Damp Freq 50–4000 Hz

LF Damp Gain

HF Damp Freq

HF Damp Gain

0–127

0.0–100.0 ms

160 Hz–

12.5 kHz, BYPASS

-36–0 dB

4000 Hz–

12.5 kHz

-36–0 dB

Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY.

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

Adjusts the frequency above which the highfrequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.

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

The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.)

Adjusts the frequency below which the lowfrequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.

Adjusts the frequency above which the highfrequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.

Page 32

Choking/muting the drum sound (Ctrl screen)

Note number 58 (B 3) is assigned the Choke/Mute function; by pressing this key, you can stop the sound of certain types of instrument that are currently sounding.

In the Ctrl screen you can specify the instrument that will be choked/ muted.

* The manner of muting will depend on the velocity. A low velocity

will mute the sound gradually, while a strong velocity will mute the sound quickly.

Parameter

Mute Key Type

Value Description

Specify the type of instrument that will be choked/muted.

OFF

: The Choke/Mute function

will not be used.

HHT

: The hi-hat sound will be mut-

OFF, HHT, RID, CYM, RID-CYM, HHT-RID-CYM, ALL

ed.

RID

: The ride sound will be mut-

ed.

CYM

muted.

RID-CYM

will be muted.

HHT-RID-CYM

cymbal sound will be muted.

ALL

: All sound will be muted.

: The cymbal sound will be

: Ride and cymbal sound

: Hi-hat, ride and

Page 33

Initializing a Kit/Tone or copying a Tone (Utility screen)

In the Utility screen you can initialize kits or tones, or copy the settings of a tone to a different tone.

Initializing a kit or tone

This operation lets you return the settings of the current kit or current tone to their default values.

Kit Init will initialize the settings of the current kit. Tone Init will initialize the settings of the current tone.

Select the kit or tone that you want to initialize.

In the Utility screen, choose Kit Init or Tone Init.

When the confirmation screen appears, press [F7 (OK)] button.

If you decide to cancel, press [F8 (EXIT)] button.

* If you’ve installed the ARX-01 in a Fantom-G6/G7/G8, executing

a Factory Reset for the Fantom-G6/G7/G8 will reset the expansion boards to their factory-set condition.

Copying a tone

This operation lets you copy the settings of a tone to a different tone of the currently selected kit. Making good use of this operation will help you create kits efficiently.

Select the tone that you want to copy.

In the Utility screen, choose Tone Copy.

The Tone Copy screen will appear.

Choose the "Destination (copy-destination)" tone number.

Press [F8 (Execute)] button.

A confirmation message will appear.

Press [F7 (OK)] button to execute the copy.

If you decide to cancel, press [F8 (EXIT)] button.

Page 34

Multi-Effects List

Multi-Effects Types

There are 47 types of multi-effect.

FILTER (9 types)

01 STEREO EQ p. 35 02 SPECTRUM p. 36 03 ENHANCER p. 36 04 ISOLATOR p. 37 05 LOW BOOST p. 37 06 SUPER FILTER p. 38 07 STEP FILTER p. 39 08 AUTO WAH p. 39 09 HUMANIZER p. 40

MODULATION (7 types)

10 PHASER p. 40 11 STEREO PHASER p. 41 12 STEP PHASER p. 41 13 RING MODULATOR p. 42 14 TREMOLO p. 43 15 AUTO PAN p. 43 16 ROTARY p. 44

17 HEXA-CHORUS p. 45

CHORUS (6 types)

18 TREMOLO CHORUS p. 45 19 SPACE-D p. 46 20 STEREO CHORUS p. 46 21 STEREO FLANGER p. 47 22 STEP FLANGER p. 48

DYNAMICS (7 types)

23 OVERDRIVE p. 48 24 DISTORTION p. 48 25 GUITAR AMP SIMULATOR p. 49 26 STEREO COMPRESSOR p. 50 27 STEREO LIMITER p. 51 28 SLICER p. 51 29 GATE p. 52

LOFI (6 types)

30 LOFI NOISE p. 53 31 LOFI COMPRESS p. 54 32 LOFI RADIO p. 54 33 TELEPHONE p. 55 34 PHONOGRAPH p. 55 35 TAPE ECHO p. 56

36 FBK PITCH SHIFTER p. 57

PITCH (2 types)

37 2Vo PITCH SHIFTER p. 58

REVERB (1 type)

38 GATED REVERB p. 58

DELAY (9 types)

39 STEREO DELAY p. 59 40 MODULATION DELAY p. 60 41 TRIPLE TAP DELAY p. 61 42 QUADRUPLE TAP DELAY p. 61 43 MULTI TAP DELAY p. 62 44 REVERSE DELAY p. 63 45 SHUFFLE DELAY p. 63 46 TIME CONTROL DELAY p. 64 47 TIME SKIP DELAY p. 65

Page 35

Multi-Effects Parameters

Each multi-effect has “Control Assign” parameters. These indicate the parameters that can be controlled via

Ctrl screen)”

(p. 29).

“Multi-effect control (Effects/MFX

01: STEREO EQ (Stereo Equalizer)

This is a four-band stereo equalizer (low, mid x 2, high).

fig.MFX01

L in

R in

4-Band EQ

L out

R out

For details on the “note” that can be selected for some parameter, refer to

“About Note”

(p. 67)

In the parameter list below, an indication of “#1”–“#4” follows the name of parameters that are selected for Control Assign by default.

Parameter

Low Freq Low Gain #1 -15– +15 dB Gain of the low frequency range

High Freq

High Gain #4 -15– +15 dB Gain of the high frequency range Mid1 Freq 200–8000 Hz Frequency of Middle Range 1

Mid1 Q

Mid1 Gain #2 -15– +15 dB Gain of Middle Range 1 Mid2 Freq 200–8000 Hz Frequency of Middle Range 2

Mid2 Q

Mid2 Gain #3 -15– +15 dB Gain of Middle Range 2 Level 0–127 Output level

Value Description

200, 400 Hz Frequency of the low range

2000, 4000, 8000 Hz

0.5, 1.0, 2.0,

4.0, 8.0

0.5, 1.0, 2.0, 4.0,

8.0

Frequency of the high range

Width of Middle Range 1

Select a higher Q value to narrow Middle Range 1.

Width of Middle Range 2

Select a higher Q value to narrow Middle Range 2.

Page 36

02: SPECTRUM

This is a type of filter that modifies the timbre by boosting or cutting the level of specific frequencies. It is similar to an equalizer, but has eight frequency points fixed at locations most useful for adding character to the sound.

fig.MFX02

L in

Spectrum

R in

Parameter Value Description

Pan L64–63R

Level 0–127 Output level Band 1 (250 Hz) Band 2 (500 Hz) #1 Band 3 (1 kHz) #2 Band 4 (1.25 kHz) Band 5 (2 kHz) #3 Band 6 (3.15 kHz) Band 7 (4 kHz) #4 Band 8 (8kHz)

0.5, 1.0, 2.0,

4.0, 8.0

-15– +15 dB

* This can be set using the sliders of

L out

Pan L

Pan R

R out

Simultaneously adjusts the width of the adjusted ranges for all of the frequency bands.

Stereo location of the SPECTRUM output

Gain of each frequency band

the part mixer.

03: ENHANCER

Controls the overtone structure of the high frequencies, adding sparkle and brightness to the sound.

fig.MFX03

L in

Enhancer

Mix

R in

Parameter

Sens #1

Mixl #2 0–127

Low Gain -15– +15 dB

High Gain -15– +15 dB

Level 0–127 Output level

Enhancer

Value Description

0–127 Sensitivity of the enhancer

Mix

Level of the overtones generated by the enhancer

Gain of the low frequency range of frequencies

Gain of the high frequency range of frequencies

2-Band

L out

R out

Page 37

04: ISOLATOR

This is an equalizer that radically cuts the volume of selected frequencies, allowing you to create special effects cutting the volume in various ranges.

fig.MFX04

L in

Isolator

Low Boost

L out

05: LOW BOOST

Boosts the volume of the lower range, creating powerful lows.

fig.MFX05

L in

Low Boost

2-Band EQ

L out

R in

Boost/Cut High #3 Boost/Cut Middle #2

Boost/Cut Low #1

AntiPhase Middle Sw

AntiPhase Middle Level

Anti Phase Low Sw OFF, ON Settings of the Anti-Phase function for the MidAnti Phase Low

Level

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output level

Isolator

Parameter Value Description

-60– +4 dB

OFF, ON

0–127

Low Boost

These boost and cut each of the High, Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Settings of the Anti-Phase function for the Middle frequency ranges.

When turned on, a stereo copy of the sound is phase-inverted and added to the signal.

Adjusts the level settings for the Middle frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specific elements within a sound. (This is effective only for stereo source.)

dle frequency ranges

The parameters are the same as for the Middle frequency ranges.

Turns Low Booster on/off.

This emphasizes the bottom frequencies to create a heavy bass sound.

Increasing this value gives you a heavier low end.

* Depending on the Isolator and filter settings,

this effect may be hard to hear.

R out

R in

Boost Frequency #1

Boost Gain #2 0–12 dB

Boost Width #3

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Parameter

Low Boost

50–125 Hz

WIDE, MID, NARROW

2-Band EQ

Value Description

Center frequency at which the lower range will be boosted

Amount by which the lower range will be boosted

Width of the lower range that will be boosted

R out

Page 38

06: SUPER FILTER

This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

fig.MFX06

L in

R in

Parameter

Filter Type #1

Filter Slope

Filter Cutoff #2

Filter Resonance #3

Filter Gain #4 0–+12 dB Amount of boost for the filter output Modulation

Modulation Wave

Super Filter

Value Description

LPF, BPF, HPF, NOTCH

-12, -24,

-36 dB

0–127

OFF,ON On/off switch for cyclic change

TRI, SQU, SIN, SAW1, SAW2

Filter type

Frequency range that will pass through each filter

LPF

: frequencies below the cutoff

BPF:

frequencies in the region of the cutoff

HPF:

frequencies above the cutoff

NOTCH:

frequencies other than the region of the

cutoff

Amount of attenuation per octave

-36 dB:

extremely steep

-24 dB:

steep

Cutoff frequency of the filter

Increasing this value will raise the cutoff frequency.

Filter resonance level

Increasing this value will emphasize the region near the cutoff frequency.

How the cutoff frequency will be modulated

TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward)

-12 dB:

L out

R out

gentle

Parameter

Rate

Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output level

Value Description

0.05–

10.0 Hz, note

Rate of modulation

Speed at which the cutoff frequency will change

This is effective if Modulation Wave is SQR, SAW1, or SAW2.

Page 39

07: STEP FILTER

This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

fig.MFX07

L in

R in

Parameter

Rate #1

Attack 0–127

Filter Type #2

Filter Slope

Filter Resonance #3

Filter Gain #4 0– +12 dB Amount of boost for the filter output Level 0– 127 Output level Step 01–16 0–127 Cutoff frequency at each step

Step Filter

Value Description

0.05–10.00 Hz, note

LPF, BPF, HPF, NOTCH

-12, -24,

-36 dB

0–127

Rate of modulation

Speed at which the cutoff frequency changes between steps

Filter type

Frequency range that will pass through each filter

LPF:

frequencies below the cutoff

BPF:

frequencies in the region of the cut-

off

HPF:

frequencies above the cutoff

NOTCH:

gion of the cutoff

Amount of attenuation per octave

-12 dB:

gentle

-24 dB:

steep

-36 dB:

extremely steep

Filter resonance level

Increasing this value will emphasize the region near the cutoff frequency.

L out

R out

frequencies other than the re-

08: AUTO WAH

A filter that turns on and off to create a cyclical change in timbre.

fig.MFX08

L in

Auto Wah

R in

Parameter

Filter Type

Rate #3

Depth #4 0–127 Depth of modulation

Sens 0–127

Manual #1 0–127

Peak #2 0–127

Level 0–127 Output level

Value Description

LPF, BPF

0.05–

10.00 Hz, note

Type of filter

LPF

: The wah effect is applied over a wide

frequency range.

BPF

: The wah effect is applied over a nar-

row frequency range

Frequency of modulation

Adjusts the sensitivity with which the filter is controlled.

Adjusts the center frequency at which the effect is applied.

Adjusts the amount of the wah effect that occurs in the range of the center frequency.

Set a higher value for Q to narrow the range to be affected.

L out

R out

Page 40

09: HUMANIZER

Adds a vowel character to the sound, making it similar to a human voice.

fig.MFX09

L in

Overdrive

Formant

2-Band

R in

Parameter Value Description

Drive Sw OFF, ON Turns Drive on/off.

Drive 0–127

Vowel1 #1 a, e, i, o, u Vowel2 #2 a, e, i, o, u

Rate #3

Depth 0–127 Effect depth

Input Sync Sw

Input Sync Threshold

Manual #4 0–100

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Pan L64–63R Stereo location of the output Level 0–127 Output level

0.05–10.00 Hz, note

OFF, ON

0–127 Volume level at which reset is applied

Degree of distortion

Also changes the volume.

Selects the vowel.

Frequency at which the two vowels switch

Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

Point at which Vowel 1/2 switch

49 or less:

Vowel 1 will have a longer

duration.

50:

Vowel 1 and 2 will be of equal du-

ration.

51 or more:

duration.

Vowel 2 will have a longer

L out

Pan L

Pan R

R out

10: PHASER

Adds a phase-shifted sound to the original sound, producing a swirling modulation that creates spaciousness and depth.

fig.MFX10

L in

Phaser

R in

Parameter Value Description

Manual #1

Rate #2

Depth #3 0–127 Depth of modulation Resonance #4 0–127 Amount of feedback Mix 0–127 Level of the phase-shifted sound Pan L64–63R Stereo location of the PHASER output Level 0–127 Output Level

Resonance

0–127

0.05–10.00 Hz, note

Mix

Adjusts the basic frequency at which the sound will be modulated.

Frequency of modulation

L out

Pan L

Pan R

R out

Page 41

11:STEREO PHASER

This is a stereo phaser.

fig.MFX11

L in

Phaser

Mix Mix

R in

Parameter

Mode

Polarity

Rate #2

Depth #3 0–127 Depth of modulation

Manual #1 0–127

Resonance #4 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 frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Phaser

Value Description

4, 8 stage Number of stages in the phaser

INVERSE, SYNCHRO

0.05–10.00 Hz, note

Selects whether the left and right phase of the modulation are the same or opposite each other.

INVERSE:

posite. When using a mono source, this spreads the sound in stereo.

SYNCHRO:

same. Select this when working with a stereo source.

Frequency of modulation

Adjusts the basic frequency from which the sound is modulated.

Adjusts the amount of the phaser sound that’s fed back into the effect. Negative () settings invert the phase.

2-Band

The left and right phase are op-

The left and right phase are the

L out

R out

12:STEP PHASER

With the Step effects, you can also make stepped changes in the pitch of sounds to which the Phaser effect is applied.

fig.MFX12

L in

Step Phaser

Mix Mix

R in

Parameter

Mode

Polarity

Rate #2

Depth 0–127 Depth of modulation

Manual #1 0–127

Resonance #3 0–127 Amount of feedback

Cross Feedback

Step Rate #4

Step Phaser

Value Description

4, 8 stage Number of stages in the phaser

INVERSE, SYNCHRO

0.05–

10.00 Hz, note

-98– +98 %

0.1–

20.0 Hz, note

Selects whether the left and right phase of the modulation are the same or opposite each other.

INVERSE:

When using a mono source, this spreads the sound in stereo.

SYNCHRO:

same. Select this when working with a stereo source.

Frequency of modulation

Adjusts the basic frequency from which the sound is modulated.

Adjusts the amount of the phaser sound that’s fed back into the effect. Negative (-) settings invert the phase.

Rate of pitch change

2-Band

The left and right phase are opposite.

The left and right phase are the

L out

R out

Page 42

Parameter

Mix Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

0–127 Level of the phase-shifted sound

13: RING MODULATOR

This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect.

fig.MFX13

L in

Ring Mod

2-Band EQ

L out

R in

Frequency #1

Sens #2 0–127

Polarity UP, DOWN

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #3

Level 0–127 Output level

Ring Mod

Parameter Value Description

0–127

D100:0W– D0:100W

2-Band EQ

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied. Determines whether the frequency modulation

moves towards higher frequencies (UP) or lower frequencies (

Volume balance between the direct sound (D) and the effect sound (W)

DOWN

R out

Page 43

14: TREMOLO

Cyclically modulates the volume to add tremolo to the sound.

fig.MFX14

L in

Tremolo

2-Band EQ

L out

15: AUTO PAN

Cyclically modulates the stereo location of the sound.

fig.MFX15

L in

Auto Pan

2-Band EQ

L out

R in

Modulation Wave #1TRI, SQR, SIN,

Rate #2

Depth #3 0–127 Depth to which the effect is applied Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Parameter

Tremolo

SAW1, SAW2

0.05–

10.00 Hz, note

2-Band EQ

Value Description

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1: SAW2:

Frequency of the change

R out

sawtooth wave (upward) sawtooth wave (downward)

R in

Modulation Wave #1TRI, SQR, SIN,

Rate #2

Depth #3 0–127 Depth to which the effect is applied Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Parameter

Auto Pan

SAW1, SAW2

0.05–

10.00 Hz, note

2-Band EQ

Value Description

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1: SAW2:

Frequency of the change

R out

sawtooth wave (upward) sawtooth wave (downward)

Page 44

16: ROTARY

The Rotary effect simulates the sound of the rotary speakers often used with the classic electric organs. Since the movement of the high-range and lowrange rotors can be set independently, the unique characteristics of these speakers can be simulated quite accurately. This effect is most suitable for electric organ Patches.

fig.MFX16

L in

Rotary

L out

Parameter

Woofer Level Separation 0–127 Stereo width of the sound Level #2 0–127 Output level

Value Description

0–127 Volume of the low frequency rotor

R in

Parameter

Tweeter Slow Rate #1

Woofer Slow Rate #2

Tweeter Fast Rate #3

Woofer Fast Rate #4

Speed

Tweeter Acceleration

Woofer Acceleration

Tweeter Level 0–127 Volume of the high frequency rotor

Value Description

0.05–

10.00 Hz

0.05–

10.00 Hz

0.05–

10.00 Hz

0.05–

10.00 Hz

SLOW, FAST

0–15

Slow speed (SLOW) of the high-frequency rotor

Slow speed (SLOW) of the low-frequency rotor

Fast speed (FAST) of the high-frequency rotor

Fast speed (FAST) of the low-frequency rotor

Simultaneously switches the rotational speed of the low frequency rotor and high frequency rotor.

SLOW:

Slows down the speed to the Slow Rate.

FAST:

Speeds up the speed to the Fast Rate.

Adjusts the time it takes the high frequency rotor to reach the newly selected speed when switching between fast and slow speeds.

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching between fast and slow speeds.

R out

Page 45

17: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give richness and spaciousness to the sound.

fig.MFX17

L in

Balance D

Hexa Chorus

R in

Parameter

Pre Delay

Rate #1

Depth #2 0–127 Depth of modulation Pre Delay

Deviation Depth

Deviation

Pan Deviation

Balance #3

Level 0–127 Output level

0.0–100.0 ms Adjusts the time until chorusing is heard.

0.05–10.00 Hz, note

0–20

-20– +20

0–20

D100:0W– D0:100W

Balance D

Value Description

Frequency of modulation

Adjusts the differences in Pre Delay between each chorus layer.

Adjusts the difference in modulation depth between each chorus layer.

Adjusts the difference in stereo location between each chorus layer.

All chorus layers are in the center.

20:

The chorus layers are spaced at 60-

degree intervals relative to the center.

Volume balance between the direct sound (D) and the chorus sound (W)

L out

Balance W

R out

18: TREMOLO CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of volume).

fig.MFX18

L in

Balance D

Tremolo Chorus

R in

Parameter

Pre Delay

Chorus Rate

Chorus Depth 0–127 Modulation depth of the chorus effect Tremolo Rate #10.05–10.00 Hz,

Tremolo Separation

Tremolo Phase

Balance #2

Level 0–127 Output level

0.0–100.0 ms Adjusts the time until the chorus sound is heard.

0.05–10.00 Hz, note

note

0–127 Spread of the tremolo effect

0–180 deg Phase of the tremolo effect

D100:0W– D0:100W

Balance D

Value Description

Modulation frequency of the chorus effect

Modulation frequency of the tremolo effect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

L out

Balance W

R out

Page 46

19: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo. It creates no audible modulation, yet produces a transparent chorus effect.

fig.MFX19

L in

Balance D

Space D

R in

Balance D

Parameter

Pre Delay 0.0–100.0 ms

Rate #1

Depth #2 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #3

Level 0–127 Output level

Value Description

0.05–10.00 Hz, note

D100:0W– D0:100W

Adjusts the time until the chorus sound is heard.

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

2-Band

Balance W

2-Band

L out

R out

20: STEREO CHORUS

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorused sound.

fig.MFX20

L in

Balance D

Chorus

R in

Balance D

Parameter

Filter Type

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate #1

Depth #2 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #3

Level 0–127 Output level

Value Description

OFF, LPF, HPF

0.05–10.00 Hz, note

D100:0W– D0:100W

Type of filter

OFF: LPF:

Cutoff Freq

HPF:

Cutoff Freq

Adjusts the time until the chorus sound is heard.

Frequency of modulation

Volume balance between the direct sound (D) and the chorus sound (W)

2-Band

L out

Balance W

2-Band

no filter is used

cuts the frequency range above the

cuts the frequency range below the

R out

Page 47

21: STEREO FLANGER

This is a stereo flanger. It produces a metallic resonance that rises and falls somewhat like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.

fig.MFX21

L in

Balance D

Flanger

Feedback

Flanger

R in

Balance D

Parameter

Filter Type

Cutoff Freq

Pre Delay

Rate #1

Depth #2 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound

Feedback #3 -98– +98 %

Value Description

OFF, LPF, HPF

200–8000 Hz

0.0–100.0 ms

0.05-10.00 Hz, note

Type of filter

OFF: LPF:

Cutoff Freq

HPF:

Cutoff Freq

Basic frequency of the filter

Adjusts the time until the flanger sound is heard.

Frequency of modulation

Adjusts the amount of the flanger sound that’s fed back into the effect. Negative () settings invert the phase.

2-Band

L out

Balance W

2-Band

no filter is used

cuts the frequency range above the

cuts the frequency range below the

R out

Parameter

Low Gain High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Value Description

-15– +15 dB Gain of the low frequency range

D100:0W– D0:100W

Volume balance between the direct sound (D) and the flanger sound (W)

Page 48

22: STEP FLANGER

This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note value based on a specified tempo.

fig.MFX22

L in

Balance D

Step Flanger

Feedback Feedback

Step Flanger

R in

Balance D

Parameter

Pre Delay

Rate #1

Depth 0–127 Depth of modulation

Feedback #2 -98– +98 %

Step Rate #3

Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Value Description

0.0–100.0 ms

0.05–

10.00 Hz, note

0.10–

20.00 Hz, note

D100:0W– D0:100W

Adjusts the time until the flanger sound is heard.

Frequency of modulation

Adjusts the amount of the flanger sound that’s fed back into the effect. Negative () settings invert the phase.

Rate (period) of pitch change

Volume balance between the direct sound (D) and the flanger sound (W)

2-Band

Balance W

2-Band

L out

R out

23: OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube amplifiers.

fig.MFX23

L in

Over drive

Amp

Simulator

2-Band

R in

Parameter Value Description

Drive #1

Tone #2 0–127 Sound Quality Pan #4 L64–63R Stereo location of the OVERDRIVE output Amp Sw OFF, ON Amp simulator on/off

Amp Type #3

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

0–127

SMALL, BUILT-IN, 2-STACK, 3-STACK

Amount 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

24: DISTORTION

Produces a more intense distortion than Overdrive. The parameters are the same as for “23: OVERDRIVE.”

fig.MFX24

L in

R in

Distortion

Amp

Simulator

2-Band

L out

Pan L

Pan R

R out

Page 49

25: GUITAR AMP SIM (Guitar Amp Simulator)

This is an effect that simulates the sound of a guitar amplifier.

fig.MFX25

L in

Pre Amp

Speaker

R in

Parameter Value Description

Pre Amp Sw OFF, ON Turns the amp switch on/off.

Pre Amp Type #1

Pre Amp Volume #2

Pre Amp Master #3

Pre Amp Gain Low, Mid, High Amount of pre-amp distortion Pre Amp Bass Pre Amp Middle

Pre Amp Treble

Pre Amp Presence

JC-120, Clean Twin, Match Drive, BG Lead, MS1959I, MS1959II, MS1959I+II, SLDN Lead, Metal 5150, Metal Lead, OD-1, OD-2 TURBO, Distortion, Fuzz

0–127

0–127 Volume of the entire pre-amp

0–127

0–127 (MATCH DRIVE:

-127 - 0)

Type of guitar amp

Volume and amount of distortion of the amp

Tone of the bass/mid/treble frequency range

* Middle cannot be set if “Match Drive”

is selected as the Pre Amp Type.

Tone for the ultra-high frequency range

L out

Pan L

Pan R

R out

Parameter

Pre Amp Bright OFF, ON

Speaker Sw OFF, ON

Speaker Type #4

Mic Setting 1, 2, 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 Level 0–127 Output level

Value Description

(See the table below.)

Turning this “On” produces a sharper and brighter sound.

* This parameter applies to the “JC-

120,” “Clean Twin,” and “BG Lead” Pre Amp Types.

Determines whether the signal passes through the speaker (ON), or not (OFF).

Type of speaker

Adjusts the location of the mic that’s capturing the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.

Page 50

Specifications for each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type

Small1 Small2 small open-back enclosure 10 dynamic Middle open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic Built In 1 open back enclosure 12 x 2 dynamic Built In 2 open back enclosure 12 x 2 condenser Built In 3 open back enclosure 12 x 2 condenser Built In 4 open back enclosure 12 x 2 condenser Built In 5 open back enclosure 12 x 2 condenser BG Stack 1 sealed enclosure 12 x 2 condenser BG Stack 2 large sealed enclosure 12 x 2 condenser MS Stack1 large sealed enclosure 12 x 4 condenser MS Stack 2 large sealed enclosure 12 x 4 condenser Metal Stack large double stack 12 x 4 condenser 2 Stack large double stack 12 x 4 condenser 3 Stack large triple stack 12 x 4 condenser

small open-back enclosure 10 dynamic

Cabinet Speaker Microphone

26: COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.

fig.MFX26

L in

Compressor

R in

Compressor

Parameter

Attack #1 0–127

Threshold #2 0–127

Post Gain #3 0–18 dB Adjusts the output gain. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Value Description

2-Band EQ

Sets the speed at which compression starts

Adjusts the volume at which compression begins

L out

R out

Page 51

27: LIMITER

Compresses signals that exceed a specified volume level, preventing distortion from occurring.

fig.MFX27

L in

Limiter

2-Band EQ

L out

28: SLICER

By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds.

fig.MFX28

L in

Slicer

L out

R in

Parameter

Release #1

Threshold #2 0–127

Ratio #3

Post Gain #4 0–18 dB Adjusts the output gain. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Limiter

0–127

1.5:1, 2:1, 4:1, 100:1

2-Band EQ

Value Description

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins

Compression ratio

R out

R in

Parameter

Rate #1

Attack #2 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Mode

0.05–

10.00 Hz, note

0–127

LEGATO, SLASH

Slicer

Value Description

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

Sets the manner in which the volume changes as one step progresses to the next.

LEGATO

: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume.

SLASH

: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

R out

Page 52

Parameter

Shuffle 0–127

Level 0–127 Output level Step 01–16 0–127 Level at each step

Value Description

Timing of volume changes in levels for even-numbered steps (step 2, step 4, step

6...). The higher the value, the later the beat progresses.

29: GATE

Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding decrease in the reverb’s decay.

fig.MFX29

L in

Gate

L out

R in

Parameter Value Description

Threshold #1 0–127

Mode

Balance

Attack Time #2 0–127

Hold Time #3 0–127

Release Time #4 0–127

Level 0–127 Output level

Gate

GATE, DUCK

D100:0W– D0:100W

Volume level at which the gate begins to close

Type of gate

GATE:

The gate will close when the volume of the original sound decreases, cutting the original sound.

DUCK (Ducking):

the volume of the original sound increases, cutting the original sound.

Volume balance between the direct sound (D) and the effect sound (W)

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

R out

The gate will close when

Page 53

30: LOFI NOISE (Lo-Fi Noise)

In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise.

fig.MFX30

L in

Lo-Fi

Noise Gen.

Lo-Fi

R in

Parameter Value Description

LoFi Type #1

Post Flter Type

Post Filter Cutoff 200–8000 Hz Center frequency of the filter

W/P Noise Type WHITE, PINK

W/P Noise LPF

W/P Noise Level #2

1–9

OFF, LPF, HPF

200–8000 Hz, BYPASS

0–127 Volume of the white/pink noise

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above the

Cutoff

HPF:

cuts the frequency range below the

Cutoff

Switch between white noise and pink noise.

Center frequency of the low pass filter applied to the white/pink noise (BYPASS: no cut)

L out

R out

Parameter

Disc Noise Type

Disc Noise LPF

Disc Noise Level #3

Hum Noise Type 50Hz, 60Hz Frequency of the hum noise

Hum Noise LPF

Hum Noise Level #4

Balance

Level 0–127 Output level

Value Description

LP, EP, SP, RND

200–8000 Hz, BYPASS

0–127 Volume of the record noise

200–8000 Hz, BYPASS

0–127 Volume of the hum noise

D100:0W– D0:100W

Type of record noise

The frequency at which the noise is heard depends on the selected type.

Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)

Volume balance between the direct sound (D) and the effect sound (W)

Page 54

31: LOFI COMPRESS (Lo-Fi Compress)

This is an effect that intentionally degrades the sound quality for creative purposes.

fig.MFX31

L in

Compressor

Lo-Fi

L out

32: LOFI RADIO (Lo-Fi Radio)

In addition to a Lo-Fi effect, this effect also generates various types of noise, such as radio noise or disk noise.

fig.MFX32

L in

Lo-Fi

L out

R in

Compressor

Parameter

Pre Filter Type #2

LoFi Type #1 1–9

Post Filter Type

Post Filter Cutoff

Balance #3

Level 0–127 Output level

Value Description

1–6

OFF, LPF, HPF

200–8000 Hz Basic frequency of the Post Filter D100:0W–

D0:100W

Lo-Fi

Selects the type of filter applied to the sound before it passes through the Lo-Fi effect.

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above the Cutoff

HPF:

cuts the frequency range below the Cutoff

Volume balance between the direct sound (D) and the effect sound (W)

R out

Radio

Lo-Fi

R in

Parameter Value Description

LoFi Type #1

Post Flter Type OFF, LPF, HPF

Post Filter Cutoff 200–8000 Hz Basic frequency of the Post Filter

Radio Detune #2 0–127

Radio Noise #3

Balance #4

Level 0–127 Output level

1–9

Level

0–127 Volume of the radio noise

D100:0W– D0:100W

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

OFF: LPF:

Cutoff

HPF:

Cutoff

Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.

Volume balance between the direct sound (D) and the effect sound (W)

R out

no filter is used

cuts the frequency range above the

cuts the frequency range below the

Page 55

33: TELEPHONE

fig.MFX33

L in

R in

Parameter

Voice Quality #1 Treble #2 -15– +15 dB Bandwidth of the telephone voice

Balance #3

Level 0–127 Output level

Telephone

Value Description

0–15 Audio quality of the telephone voice

D100:0– D0:100W

Volume balance between the direct sound (D) and the effect sound (W)

L out

R out

34: PHONOGRAPH

Simulates a sound recorded on an analog record and played back on a record player. This effect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable.

fig.MFX34

L in

Phonograph

R in

Balance D

L out

Balance W

R out

Balance D

Page 56

Parameter

Signal Distortion

Frequency Range #1

Disc Type #2 LP, EP, SP

Scratch

Noise Lev-

el Dust Noise Level 0–127 Volume of noise due to dust on the record Hiss Noise Level 0–127 Volume of continuous “hiss” Total Noise Level

#3 Wow 0–127 Depth of long-cycle rotational irregularity Flutter 0–127 Depth of short-cycle rotational irregularity

Random 0–127

Total Wow/

Flutter

Balance

Level 0–127 Output level

Value Description

0–127 Depth of distortion

0–127

0–127 Volume of overall noise

0–127 Depth of overall rotational irregularity

D100:0W– D0:100W

Frequency response of the playback system

Decreasing this value will produce the impression of an old system with a poor frequency response.

Rotational speed of the turntable

This will affect the frequency of the scratch noise.

Amount of noise due to scratches on the record

Depth of indefinite-cycle rotational irregularity

Volume balance between the direct sound (D) and the effect sound (W)

35: 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.

fig.MFX35

L in

Direct Level

Tape Echo

R in

Parameter

Mode #1

Repeat Rate #2 0–127

Intensity #3 0–127 Amount of delay repeats

Bass -15– +15

Treble -15– +15

Head S Pan Head M Pan Head L Pan

Tape Distortion 0–5

Direct Level

Value Description

S, M, L, S+M, S+L, M+L, S+M+L

L64–63R

Combination of playback heads to use

Select from three different heads with different delay times.

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.

L out

Echo Level

R out

Page 57

Parameter

Wow/Flutter Rate

Wow/Flutter Depth

Echo Level 0–127 Volume of the echo sound Direct Level 0–127 Volume of the original sound

Value Description

0–127

0–127 Depth of wow/flutter

Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity)

36: FBK PITCH SHIFTER (Feedback Pitch Shifter)

This allows the pitch-shifted sound to be fed back into the effect.

fig.MFX36

L in

Balance D

Pitch Shifter

R in

Parameter Value Description

Mode 1, 2, 3, 4, 5

Coarse #1

Fine

Delay #2

Feedback #3 -98– +98 %

Pan L64–63R Stereo location of the pitch-shifted sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Feedback

-24– +12 semi

-100– +100 cent

0.0–2000 ms, note

D100:0W– D0:100W

Balance D

Setting a higher value for this parameter results in a slower response, but steadier pitch.

Adjusts the pitch of the pitch-shifted sound in semitone steps.

Adjusts the pitch of the pitch-shifted sound in 2-cent steps.

Adjusts the time until the pitch shifted sound is heard.

Adjusts the amount of the pitch-shifted sound that’s fed back into the effect. Negative (-) settings invert the phase.

Volume balance between the direct sound (D) and the pitch-shifted sound (W)

2-Band

Balance W

2-Band

L out

R out

Page 58

37: 2Vo PITCH SHIFTER (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 versions of the original sound.

fig.MFX37

L in

Level Balance A

2Voice Pitch Shifter

Level Balance B

R in

Parameter

Mode

Coarse A #1 Coarse B #2 Fine A Fine B Delay A #3 Delay B #4 Pan A Pan B Level A Level B

Balance

Level 0–127 Output level

Value Description

1, 2, 3, 4, 5

-24– +12 semi

-100– +100 cent

0.0–2000 ms, note

L64–63R Stereo location of Pitch Shift A/B

A100:0B– A0:100B

D100:0W– D0:100W

Balance D

PanA L

Balance W

PanA R

PanB L

PanB R

Balance W

Balance D

Setting a higher value for this parameter results in a slower response, but steadier pitch.

Adjusts the pitch of Pitch Shift A/B in semitone steps.

Adjusts the pitch of Pitch Shift A/B in 2cent steps.

Adjusts the time until Pitch Shift A/B is heard.

Volume balance between Pitch Shift A and Pitch Shift B

Volume balance between the direct sound (D) and the pitch shifted sound (W)

L out

R out

38: GATED REVERB

This is a special type of reverb in which the reverb is cut off without being allowed to decay naturally.

fig.MFX38

L in

Balance D

Gated Reverb

R in

Parameter Value Description

Type #1

Pre Delay #2 0.0–100.0 ms

Time #3 5–500 ms

Pan L64–63R Stereo location of Pitch Shift Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Balance D

NORMAL, REVERSE

D100:0W– D0:100W

Type of reverb

NORMAL: REVERSE:

Adjusts the time until the reverb sound is heard.

Adjusts the time from when the reverb is first heard until it disappears.

Volume balance between the direct sound (D) and the reverb sound (W)

2-Band

Balance W

2-Band

conventional gated reverb

backwards reverb

L out

R out

Page 59

39: STEREO DELAY

This is a stereo delay.

When Feedback Mode is NORMAL:

L in

R in

When Feedback Mode is CROSS:

fig.MFX39b

L in

Balance D

Delay

Feedback Feedback

Delay

Balance D

Delay

Feedback Feedback

2-Band

Balance W

2-Band

Balance W

L out

R out

L out

Parameter

Feedback Mode

Delay Left #1 Delay Right #2 Phase Left Phase Right

Feedback #3 -98– +98 %

HF Damp

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Value Description

NORMAL, CROSS

0–2000 ms, note

NORMAL, INVERT

200–8000 Hz, BYPASS

D100:0W– D0:100W

Selects the way in which delay sound is fed back into the effect. (See the figures above.)

Adjusts the time until the delay sound is heard.

Phase of the delay sound

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

R in

Delay

Balance D

Balance W

2-Band

R out

Page 60

40: MODULATION DELAY

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

fig.MFX40a

L in L out

Balance D

Delay

Feedback Feedback

Delay

Modulation

R in R out

Balance D

When Feedback Mode is CROSS:

fig.MFX40b

Balance D

L in

Delay

Feedback Feedback

Modulation

2-Band

Balance W

2-Band

Balance W

L out

Parameter

Feedback Mode

Delay Left #1 Delay Right #2

Feedback #3 -98– +98 %

HF Damp

Rate #4

Depth 0–127 Depth of modulation Phase 0-180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance

Level 0–127 Output level

Value Description

NORMAL, CROSS

0–2000 ms, note

200–8000 Hz, BYPASS

0.05–10.00 Hz, note

D100:0W– D0:100W

Selects the way in which delay sound is fed back into the effect (See the figures above.)

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Frequency of modulation

Volume balance between the direct sound (D) and the delay sound (W)

R in

Delay

Modulation

Balance D

Balance W

2-Band

R out

Page 61

41: TRIPLE TAP DELAY

Produces three delay sounds; center, left and right.

fig.MFX41

Balance D

L in

Left Tap

Triple Tap Delay

Feedback

Center Tap

Right Tap

R in

Balance D

Parameter

Left #1 Center #2 Right #3

Feedback #4 -98– +98 %

HF Damp

Left/Right/

Center

Level Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance

Level 0–127 Output level

Value Description

0–4000 ms, note

200–8000 Hz, BYPASS

0–127

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume of each delay

Volume balance between the direct sound (D) and the delay sound (W)

2-Band

Balance W

2-Band

L out

R out

42: QUADRUPLE TAP DELAY

This effect has four delays.

fig.MFX42a

Balance D

L in

Feedback

Quadruple Tap Delay

R in

Stereo location of each delay

fig.MFX42b

Parameter

Delay 1–4 #1–#4

Level 1–4 0–127 Volume of each delay

Feedback -98– +98 %

0–4000 ms, note

Delay 1

Delay 2

Delay 3

Delay 4

Balance D

Value Description

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

L out

Balance W

R out

Page 62

Parameter

HF Damp

Balance

Level 0–127 Output level

Value Description

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

43: MULTI TAP DELAY

This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

fig.MFX43

Balance D

L in

Feed back

Delay 1

Delay 3

Multi Tap Delay

Delay 4

Delay 2

R in

Parameter Value Description

Delay 1–4 #1–#4

Pan 1–4 L64–63R Stereo location of Delays 1–4 Level 1–4 0–127 Output level of Delays 1–4

Feedback -98– +98 %

HF Damp

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance

Level 0–127 Output level

0–4000 ms, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

Adjusts the time until Delays 1–4 are heard.

Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the effect sound (W)

2-Band

Balance W

2-Band

L out

R out

Page 63

44: REVERSE DELAY

Adds the reverse of the input sound as a delay.

fig.MFX44

L in

Rev. Delay

R in

Parameter

Threshold

Delay 1–4 (Delay 1 #1)

Feedback 1 #2 Feedback 4 HF Damp 1

HF Damp 4

Pan 1–3 (Pan 1 #3)

Level 1–3 0–127 Output level of Delays 1–3 sound

Balance #4

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Feedback 1

0–127

0-2000 ms, note

-98– +98 %

200–8000 Hz, BYPASS

L64–63R Stereo location of Delays 1–3 sound

D100:0W– D0:100W

Delay

Feedback 4

Value Description

Volume level at which the reverse delay begins

Adjusts the time until Delays 1–4 are heard.

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the effect sound (W)

2-Band

L out

R out

45: SHUFFLE DELAY

Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel.

fig.MFX45

L in

Feedback

Delay A

2-Band

Delay

Delay B

R in

Parameter

Delay #1

Shuffle Rate #2 0–100 %

Pan A/B L64–63R Stereo location of Delay A/B

Level Balance

Feedback #3 -98– +98 %

Acceleration 0–15

HF Damp

Value Description

0–4000 ms, note

A100:0B– A0:100B

200–8000 Hz, BYPASS

2-Band

Adjusts the time until the delay sound is heard.

Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds.

When set to 100%, the delay times are the same.

Volume balance between Delay A and Delay B

Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the time over which the Delay Time changes from the current setting to its specified new setting.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

L out

R out

Page 64

Parameter

Low Gain High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Value Description

-15– +15 dB Gain of the low frequency range

D100:0W– D0:100W

Volume balance between the direct sound (D) and the effect sound (W)

46: TIME CONTROL DELAY

This lets you smoothly vary the delay time. As the delay time is varied, the pitch will change correspondingly; lengthening the delay time will lower the pitch, and shortening it will raise the pitch.

fig.MFX46

L in

Balance D

Time Control Delay

R in

Parameter Value Description

Delay #1

Feedback #2 -98– +98 %

Acceleration #3 0–15

HF Damp

Pan L64–63R Stereo location of the delay Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Feedback

Balance D

0–4000 ms, note Adjusts the time until the delay is heard.

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the time over which the Delay Time changes from the current setting to a specified new setting.

The rate of change for the Delay Time directly affects the rate of pitch change.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

2-Band

Balance W

2-Band

L out

R out

Page 65

47: TIME SKIP DELAY

A delay that changes the delay time in stair-step fashion.

fig.MFX47

L in

Balance D

Time Skip Delay

R in

Parameter

Delay #1

Skip Rate

Feedback #2 -98– +98 %

Acceleration #3 0–15

HF Damp

Pan L64–63R Stereo location of the delay Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance #4

Level 0–127 Output level

Feedback

Balance D

Value Description

0–4000 ms, note Adjusts the time until the delay is heard.

0.05–10.0 Hz, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Frequency at which the delay time will change

Adjusts the amount of the delay sound that’s fed back into the effect. Negative () settings invert the phase.

Adjusts the time over which the Delay Time changes from the current setting to its specified new setting.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

2-Band

Balance W

2-Band

L out

R out

Page 66

About the STEP RESET function

07:STEP FILTER 28:SLICER

The above two types contain a sixteen-step sequencer. For these effect types, you can use multi-effect control (

(Effects/MFX Ctrl screen)”

beginning. To do this, set the Control Assign setting for that effect type to “Step Reset.” For example, if you want to use the modulation lever to control Step Reset,

you would make the following settings. MFX Control–Source: CC01: MODULATION

MFX Control–Sens: +63 Control Assign: Step Reset

With these settings, the step sequence will be reset to the beginning each time you operate the modulation lever.

(p. 29)) to reset the step sequence to its

“Multi-effect control

Page 67

About Note

Some parameters (such as Rate or Delay Time) can be set in terms of a note value instead of a time value.

Such parameters provide a Sync switch (Sync SW) that allows you to switch between setting the parameter as a note value or as a numerical value.

If you want to set it as a note value, set the Sync SW to ON.

* If a parameter that’s chosen in Control Assign for multi-effect control has its Sync SW

to ON, you won’t be able to use multi-effect control to control that parameter.

Value

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( ) 1/1T( ) 1/2.( ) 1/1( ) 2/1T( ) 1/1.( ) 2/1

()

Description

Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note Quarter note Half-note triplet Dotted quarter note Half note Whole-note triplet Dotted half note Whole note Double-note triplet Dotted whole note Double note

Page 68

Specifications

ARX-01 DRUMS

Maximum Polyphony

128 voices (varies according to the sound generator load)

Parts

1 part

User Memory

Drum Kits: 50 (including pre-loaded kits)

Effects

EQ/COMP: 24 systems (1 system par instrument) Multi-Effects(MFX): 1 system, 47 types Reverb: 1 system, 4 types

Customize Functions

SNARE, KICK, TOM:

HIHAT, CYMBAL, RIDE:

E.DRUM:

Miscellaneous

24-channel Mixer, Flam/Roll effect for each tone

Accessories

Owner’s manual Screwdriver

* In the interest of product improvement, the specifications and/or

appearance of this unit are subject to change without prior notice.

Shell Depth, Head Tuning, Muffling, Mic Position, Buzz

Size, Sustain

Tune, Decay, Cutoff, Resonance and more

Page 69

Index

Assign Type .............................................................................. 21

basic screen .............................................................................. 19

Buzz ........................................................................................ 22

Comp/EQ screen ...................................................................... 26

Control Assign ........................................................................... 29

Effects/MFX Ctrl screen .............................................................. 29

Effects/MFX screen .................................................................... 29

Effects/Reverb screen ................................................................. 31

Effects/Routing screen ................................................................ 28

Flam/Roll screen ........................................................................ 24

Group Faders ............................................................................ 19

Head Tuning ............................................................................. 22

Inst Number .............................................................................. 21

Inst Type ................................................................................... 21

Kit

Save .................................................................................. 20

Select ................................................................................. 19

Kit Init ....................................................................................... 33

Layer Tone ................................................................................. 21

MFX

2Vo PITCH SHIFTER ............................................................. 58

AUTO PAN ......................................................................... 43

AUTO WAH ....................................................................... 39

COMPRESSOR .................................................................... 50

DISTORTION ....................................................................... 48

ENHANCER ........................................................................ 36

FBK PITCH SHIFTER .............................................................. 57

GATE ................................................................................. 52

GATED REVERB ................................................................... 58

GUITAR AMP SIM ................................................................ 49

HEXA-CHORUS ................................................................... 45

HUMANIZER ....................................................................... 40

ISOLATOR .......................................................................... 37

LIMITER ............................................................................... 51

LOFI COMPRESS ................................................................. 54

LOFI NOISE ........................................................................ 53

LOFI RADIO ........................................................................ 54

LOW BOOST ...................................................................... 37

MODULATION DELAY ......................................................... 60

MULTI TAP DELAY ................................................................ 62

OVERDRIVE ........................................................................ 48

Page 70

PHASER ............................................................................. 40

PHONOGRAPH .................................................................. 55

QUADRUPLE TAP DELAY ...................................................... 61

REVERSE DELAY .................................................................. 63

RING MODULATOR ............................................................ 42

ROTARY ............................................................................. 44

SHUFFLE DELAY .................................................................. 63

SLICER ............................................................................... 51

SPACE-D ............................................................................ 46

SPECTRUM ......................................................................... 36

STEP FILTER ........................................................................ 39

STEP FLANGER ................................................................... 48

STEP PHASER ...................................................................... 41

STEREO CHORUS ............................................................... 46

STEREO DELAY ................................................................... 59

STEREO EQ ........................................................................ 35

STEREO FLANGER .............................................................. 47

STEREO PHASER ................................................................. 41

SUPER FILTER ...................................................................... 38

TAPE ECHO ....................................................................... 56

TELEPHONE ....................................................................... 55

TIME CONTROL DELAY ....................................................... 64

TIME SKIP DELAY ................................................................ 65

TREMOLO .......................................................................... 43

TREMOLO CHORUS ............................................................ 45

TRIPLE TAP DELAY ............................................................... 61

MFX Control Sens ...................................................................... 30

MFX Control Source ................................................................... 30

MFX Ctrl screen ......................................................................... 29

MFX Output Level ....................................................................... 28

MFX Reverb Send Level ............................................................... 28

MFX screen ............................................................................... 29

MFX Type ............................................................................ 28–29

Mic Position .............................................................................. 22

Mixer screen .............................................................................. 28

Muffling .................................................................................... 22

multi-effect ................................................................................. 28

Multi-Effects ............................................................................... 34

Mute ......................................................................................... 27

Mute Group ............................................................................... 21

Mute Key Type ........................................................................... 32

Output Assign ............................................................................ 27

Output Level .............................................................................. 27

Output screen ............................................................................ 27

Pitch ......................................................................................... 22

Reverb Level .............................................................................. 28

Reverb screen ............................................................................ 31

Reverb Send Level ...................................................................... 27

Reverb Type ............................................................................... 28

roll ........................................................................................... 24

Routing screen ........................................................................... 28

Shell Depth ................................................................................ 22

Size .......................................................................................... 22

Sustain ...................................................................................... 22

Page 71

Tone

Customize .......................................................................... 22

Select ................................................................................ 21

Tone Init ................................................................................... 33

Tone screen ............................................................................... 21

Tone/Comp/EQ screen .............................................................. 26

Tone/Customize screen .............................................................. 22

Tone/Output screen ................................................................... 27

Type ......................................................................................... 31

Utility screen ............................................................................. 33

Page 72

For EU Countries

This product complies with the requirements of EMC Directive 2004/108/EC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna. – Increase the separation between the equipment and receiver. – Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. – Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

Page 73

Model Name :

Type of Equipment :

Responsible Party :

Address :

Telephone :

DECLARATION OF CONFORMITY

Compliance Information Statement

ARX-01 Expansion Board Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700

For the USA

Page 74

For EU Countries

Page 75

For China

Page 76

Information When you need repair service, call your nearest Roland Service Center or authorized Roland

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: (022)-418-5531

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music (Pty)Ltd.

2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011)417 3400

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900

distributor in your country as shown below.

ASIA

CHINA

Roland Shanghai Electronics Co.,Ltd.

5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800

Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili Chaoyang District Beijing 100011 CHINA TEL: (010) 6426-5050

HONG KONG

Tom Lee Music Co., Ltd. Service Division

22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911

Parsons Music Ltd.

8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 2333 1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

Jl. Cideng Timur No. 15J-15O Jakarta Pusat INDONESIA TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855

MALAYSIA

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263

VIET NAM

Suoi Nhac Company, Ltd

370 Cach Mang Thang Tam St. Dist.3, Ho Chi Minh City, VIET NAM TEL: 9316540

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC COMPANY PTE. LTD.

150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676

TAIWAN

ROLAND TAIWAN ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

100-108 Soi Verng Nakornkasem, New Road,Sumpantawongse, Bangkok 10100 THAILAND TEL: (02) 224-8821

AUSTRALIA/ NEW ZEALAND

Roland Corporation Australia Pty.,Ltd.

38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA

For Australia Tel: (02) 9982 8266 For New Zealand Tel: (09) 3098 715

CENTRAL/LATIN AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park Wildey, St.Michael, Barbados TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9 Medellin, Colombia TEL: (574)3812529

COSTA RICA

JUAN Bansbach Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211

CURACAO

Zeelandia Music Center Inc.

Orionweg 30 Curacao, Netherland Antilles TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, Dominican Republic TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma Guayaquil - Ecuador TEL:(593-4)2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final Alameda Juan Pablo II, Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala Guatemala TEL:(502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, Honduras TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle 97232 Le Lamantin Martinique F.W.I. TEL: 596 596 426860

Gigamusic SARL

10 Rte De La Folie 97200 Fort De France Martinique F.W.I. TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, Nicaragua TEL: (505)277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101

PARAGUAY

Distribuidora De Instrumentos Musicales

J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC Juan Fanning 530 Miraflores Lima - Peru TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868) 638 6385

Page 77

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales Allegro,C.A.

Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, Venezuela TEL: (212) 244-1122

EUROPE

AUSTRIA

Roland Elektronische Musikinstrumente HmbH. Austrian Office

Eduard-Bodem-Gasse 8, A-6020 Innsbruck, AUSTRIA TEL: (0512) 26 44 260

BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811

CROATIA

ART-CENTAR

Degenova 3. HR - 10000 Zagreb TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC DISTRIBUTOR s.r.o

Voctárova 247/16 CZ - 180 00 PRAHA 8, CZECH REP. TEL: (2) 830 20270

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial Finland

Elannontie 5 FIN-01510 Vantaa, FINLAND TEL: (0)9 68 24 020

GERMANY

Roland Elektronische Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090

GREECE/CYPRUS

STOLLAS S.A. Music Sound Light

155, New National Road Patras 26442, GREECE TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011

IRELAND

Roland Ireland

G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd. Kontor Norge

Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

UL. Gibraltarska 4. PL-03 664 Warszawa POLAND TEL: (022) 679 4419

PORTUGAL

Roland Iberia, S.L. Portugal Office

Cais das Pedras, 8/9-1 Dto 4050-465, Porto, PORTUGAL TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (095) 981-4967

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18. SK - 940 01 Nové Zámky TEL: (035) 6424 330

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35 08005 Barcelona SPAIN TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S SWEDISH SALES OFFICE

Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha Building Road 3931, Manama 339 BAHRAIN TEL: 17 813 942

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021)-2285-4169

ISRAEL

Halilit P. Greenspoon & Sons Ltd.

8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666

JORDAN

MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC

P. O. Box 922846 Amman 11192 JORDAN TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI & SONS CO.

Al-Yousifi Service Center P.O.Box 126 (Safat) 13002 KUWAIT TEL: 00 965 802929

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 165857 Beirut, LEBANON TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443

QATAR

Al Emadi Co. (Badie Studio & Stores)

P.O. Box 62, Doha, QATAR TEL: 4423-554

SAUDI ARABIA

aDawliah Universal Electronics APL

Behind Pizza Inn Prince Turkey Street aDawliah Building, PO BOX 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 8643601

SYRIA

Technical Light & Sound Center

Rawda, Abdul Qader Jazairi St. Bldg. No. 21, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37 Beyoglu - Istanbul / TURKEY TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg., No. 14, Ground Floor, Dubai, U.A.E. TEL: (04) 3360715

As of Oct. 1, 2007 (ROLAND)

NORTH AMERICA

CANADA

Roland Canada Ltd. (Head Office)

5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (604) 270 6626

Roland Canada Ltd. (Toronto Office)

170 Admiral Boulevard Mississauga On L5T 2N6 CANADA TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700

Page 78

Page 79

取扱説明書

この製品を正しくお使いいただくために、ご使用前に「安全上のご注意」（P.80）と「使用上のご注意」（P.82）をよくお読みください。また、この製品の優れた機能を十分ご理解いただくためにも、取扱説明書をよくお読みください。取扱説明書は必要なときにすぐに見ることができるよう、手元に置いてください。

ローランド株式会社

本書の一部、もしくは全部を無断で複写・転載することを禁じます。

Page 80

安全上のご注意

火災・感電・傷害を防止するには

888800

注意の意味について警告と

警告

注意

取扱いを誤った場合に、使用者が死亡または重傷を負う可能性が想定される内容を表わしています。

取扱いを誤った場合に、使用者が傷害を負う危険が想定される場合および物的損害のみの発生が想定される内容を表わしています。  ※物的損害とは、家屋・家財およ

び家畜・ペットにかかわる拡大損害を表わしています。

図記号の例

は、注意（危険、警告を含む）を表わしています。 具体的な注意内容は、 の中に描かれています。 左図の場合は、「一般的な注意、警告、危険」を表わしています。

は、禁止（してはいけないこと）を表わしています。 具体的な禁止内容は、 の中に描かれています。 左図の場合は、「分解禁止」を表わしています。

●は、強制（必ずすること）を表わしています。

具体的な強制内容は、左図の場合は、「電源プラグをコンセントから抜くこと」を表わしています。

●の中に描かれています。

以下の指示を必ず守ってください

Page 81

警告 警告

注意

● この製品を分解したり、改造したりしないでください。

..................................................................................

● この製品を分解したり（取扱説明書に記載されている指示（P.84）を除く）、改造したりしないでください。

..................................................................................

● 修理／部品の交換などで、取扱説明書に書かれていないことは、絶対にしないでください。必ずお買い上げ店またはローランド・サービスに相談してください。

..................................................................................

● 次のような場所での使用や保存はしないでください。

○ 温度が極端に高い場所（直射日

光の当たる場所、暖房機器の近く、発熱する機器の上など）

○ 水気の近く（風呂場、洗面台、

濡れた床など）や湿度の高い場

所 ○ 雨に濡れる場所 ○ ホコリの多い場所 ○ 振動の多い場所

..................................................................................

● お子様のいるご家庭で使用する場合、お子様の取り扱いやいたずらに注意してください。必ず大人のかたが、監視／指導してあげてください。

..................................................................................

● この製品を落としたり、この製品に強い衝撃を与えないでください。

..................................................................................

● このエクスパンション・ボードを取り付ける前に、取り付ける機器

（Fantom-G6/G7/G8）の電源を

切って電源プラグをコンセントから外してください。

..................................................................................

● 指定の機器（Fantom-G6/G7/ G8）だけに取り付け、取り付け時には指定されたネジだけを外してください。

..................................................................................

888811

Page 82

使用上のご注意

お客様が SuperNATURAL エクスパンション・ボード ARX-01

（以下、「本製品」といいます）をローランドの正規販売店からお買

い上げになった時点で、本製品に含まれる音やサンプルは、ローランド株式会社から、お客様に対して、音楽制作、公共の場での演奏、放送などの商用目的のための使用を許諾したものであって、著作権を譲渡したものではありません。

お客様は、いかなる追加料金を支払うこともなく、本製品に含まれるあらゆるフレーズやサンプルを、商用あるいは非商用目的の録音に使用できます。ただし、お客様が本製品を使用して音楽の録音を行う際は、以下のことにご注意ください。

本製品に含まれるいかなる録音物も、そのままの状態であれ、いかなる手段によって再構成、ミキシング、フィルター加工、再合成、加工処理、その他の編集作業をした状態であれ、ローランドの書面による許可なく、他の製品に含めたり再販売するために複製・複写することを禁止します。また、本製品に含まれるいかなる音も、許可なく贈与、取引、貸与、賃貸、再発行、再配布、再販売することを禁止します。

従って、本製品の音色は音楽制作の範囲でお使いいただくようお願いします。そして、本製品のライブラリーはお客様ご自身の個人的使用の目的の範囲でお使いください。本製品の音色データの複製・複写は禁止します。

ローランドは、著作権侵害がないかどうか、常時他のサウンド・ライブラリーの発売を把握しており、著作権侵害に対しては法的手段を行使する場合があります。

なお、本製品のライブラリーは第三者の著作権を一切侵害していないことを保証します。

888822

設置について

● テレビやラジオの近くでこの製品を動作させると、テレビ画面に色ムラが出たり、ラジオから雑音が出ることがあります。この場合は、この製品を遠ざけて使用してください。

修理について

● お客様がこの製品を分解、改造された場合、以後の性能について保証できなくなります。また、修理をお断りする場合もあります。

● 当社では、この製品の補修用性能部品（製品の機能を維持するために必要な部品）を、製造打切後 6 年間保有しています。この部品保有期間を修理可能の期間とさせていただきます。なお、保有期間が経過した後も、故障箇所によっては修理可能の場合がありますので、お買い上げ店、または最寄りのローランド・サービスにご相談ください。

その他の注意について

● 音楽をお楽しみになる場合、隣近所に迷惑がかからないように、特に夜間は、音量に十分注意してください。

● 輸送や引っ越しをするときは、この製品が入っていたダンボール箱と緩衝材、または同等品で梱包してください。

● この製品が入っていた梱包箱や緩衝材を廃棄する場合、各市町村のゴミの分別基準に従って行ってください。

※ 製品の仕様および外観は、改良のため予告なく変更することがあ

ります。

Page 83

安全上のご注意.........................................................................80

使用上のご注意.........................................................................82

エクスパンション・ボードを機器に取り付ける................... 84

機器への取り付け方 ............................................................................84

取り付け後の確認方法 ........................................................................87

機器から取り外す場合 ........................................................................88

はじめに ....................................................................................89

主な特長 ...............................................................................................89

SuperNATURAL エクスパンション・ボード ARX シリーズ

Roland SuperNATURAL テクノロジー ...................................89

ARX-01 Drums............................................................................89

ARX-01 Drums の構成....................................................................90

.....89

キットを作る............................................................................. 91

基本画面 ...............................................................................................91

キットの選択 ...................................................................................91

グループ・フェーダー....................................................................91

キットの保存（Fantom-G の場合）............................................. 92

トーンを選ぶ（Tone 画面）...............................................................93

トーンの設定 .......................................................................................94

トーンのカスタマイズ（Tone / Customize 画面）................. 94

フラム／ロールの設定（Tone / Flam/Roll 画面）...................96

音量変化／音色の調整（Tone / Comp/EQ 画面）...................98

音量の調整（Tone / Output 画面）............................................99

トーンの音量バランスを変える（Mixer 画面）............................ 100

エフェクトをかける（Effects / Routing 画面）........................ 100

マルチエフェクトの設定（Effects / MFX 画面）...................... 101

マルチエフェクト・コントロール（Effects / MFX Ctrl 画面）

リバーブの設定（Effects / Reverb 画面）................................ 103

ドラム音のチョーク／ミュート（Ctrl 画面）............................... 104

キット／トーンの初期化とトーンのコピー（Utility 画面）....... 105

キット／トーンの初期化 ............................................................ 105

トーンのコピー............................................................................ 105

.. 101

マルチエフェクト一覧 ..........................................................106

マルチエフェクト・タイプ ............................................................. 106

マルチエフェクト・パラメーター ................................................. 107

STEP RESET 機能について ......................................................... 138

音符について ....................................................................................139

主な仕様.................................................................................. 140

索引 .........................................................................................141

888833

Page 84

エクスパンション・ボードを機器に取り付ける

取り付け時のご注意

● このエクスパンション・ボード（以下、基板と呼びます）を取り付ける前に、取り付ける機器の取扱説明書に記載されている、エクスパンション・ボードの取り付け方法をよくお読みください。

● この基板は、静電気により部品が破壊される恐れがあります。基板を取り扱うときは、次の点に注意してください。

○ 基板を持つときは、あらかじめ何らかの金属に触れて、体や衣類

にたまっている静電気を放電してください。

○ 基板を持つときは、基板の縁を持ち、部品やコネクターの部分に

直接手を触れないでください。

○ 基板を保管するとき、または輸送するときなどは、購入時に基板

が入っていた袋（導電袋）に入れてください。

● 基板や機器内部の回路部、コネクター部には手を触れないでください。

● 基板を無理に押し込まないでください。取り付けにくい場合、いったん基板を外してやり直してください。

● 取り付けを終えたら、機器の取扱説明書に従ってエクスパンション・ボードが正しく取り付けられていることを確認してください。

888844

機器への取り付け方

1 機器の取扱説明書に従って、エクスパンション・ボー

ド取り付け用のスロットを露出させます。

2 図のように、機器のスロットと基板の向きを合わせ

てください。

機器のスロット

ツメ付きホルダー

基板

（エクスパンション・ボード）

ローランドの ロゴ

ツメなしホルダー

ツメなしホルダー用 取り付け穴

Page 85

3 基板を、機器側にあるツメなし基板ホルダーに、カ

チッと音がするまで差し込みます。

基板の

コネクター

機器の

コネクター

基板

ツメなしホルダー

基板の穴をホル ダーに合わせる

4 基板を静かに倒します。

888855

Page 86

5 ツメ付き基板ホルダーがロックされるまで、基板の

図の場所（3ヶ所）を上から押し込みます。

ロゴがついている

部分の基板の端

基板の切り欠き付近

（2ケ所）

6 ツメ付き基板ホルダーがロックされていることを確

認します。

7 エクスパンション・ボード取り付け用のスロットを

元の状態に戻します。

888866

Page 87

取り付け後の確認方法

エクスパンション・ボードの取り付けが終わったら、次にエクスパンション・ボードのインストール作業を行います。

このインストール作業は、エクスパンション・ボードの取り付け直後の電源投入時のみに行われます。

1 取り付けた機器の取扱説明書に従って、機器の電源

を入れます。

2 エクスパンション・ボードが正常に取り付けられて

いると、インストールの確認画面が表示されます。

［F8(Execute)］ボタンを押して、インストールを

開始します。

※ 画面はFantom-G 装着時のものです。

取り付け直後の電源投入時にインストール確認画面が表示されない場合は、エクスパンション・ボードが正しく認識されていない恐れがあります。エクスパンション・ボードが正しく装着されていることを確認してみてください。

インストールが完了するまで、5 〜 10 分程度かかる場合があります。インストール中は、絶対に電源を切らないでください。

3 画面に「Power Off」と表示されたら、機器の取扱

説明書に従って、機器の電源を入れ直します。

これでエクスパンション・ボードのインストール作業は終了しました。

888877

Page 88

機器から取り外す場合

1 機器の取扱説明書に従って、エクスパンション・ボー

ド取り付け用のスロットを露出させます。

2 ツメ付き基板ホルダーのロックを外します。

3 ツメ付き基板ホルダー（2ヶ所）のロックが外れている

ことを確認し、基板を上にゆっくり引き起こして、コネクターを外します。

4 ツメなし基板ホルダーから、基板を抜き取ります。

888888

Page 89

はじめに

主な特長

SuperNATURAL エクスパンション・ボード ARX シリーズ

SuperNATURAL エクスパンション・ボード ARX シリーズは、 SR-JV80 シリーズ、SRX シリーズで築き上げたローランドの拡張コンセプトをさらに発展、そして進化させた、まったく新しいエクスパンション・ボードです。自然で豊かな演奏表現を実現した SuperNATURAL により、音色、エフェクト、専用のグラフィック・ユーザー・インターフェースなど、統合的なアプリケーション環境までをも拡張し、これまでにない演奏表現と新感覚のサウンド・カスタマイズを可能にします。

Roland SuperNATURAL テクノロジー

logosupernatural.eps

SuperNATURAL は、アコースティック楽器の音色変化や楽器特有の奏法をリアルに再現し、「自然で豊かな表現」を可能にしたローランド独自の音源技術です。

ARX-01 Drums

SuperNATURAL による強力なドラム・カスタマイズ機能

ARX-01 は、SuperNATURAL テクノロジーによる積極的なドラム・サウンドのカスタマイズが可能。シェルの深さやシンバルの口径を変えたり、マイク・ポジションを変更したり、マフリング（ミュート）を調整したりと、アコースティック・ドラムと同じ感覚でのカスタマイズができます。ドラムのカスタマイズは専門的な知識がなくても操作可能。グラフィカルなユーザー・インターフェースにより、画面を見ながら直感的なエディットが行えます。従来の PCM シンセサイザーやサンプラーの「ドラム音色を選ぶ」という手法ではなく、楽曲に合わせて「ドラム・キットをつくり込む」という創造的な作業が実現します。

各音楽ジャンルに対応するアコースティック・ドラムのサウンドから、TR-808/909 などの往年の名器のサウンドまで幅広いプリセットを収録。楽曲制作におけるドラム・パート作成を強力にサポートします。

トーンごとに設定可能なエフェクトと強力なミキシング機能

ひとつのキットには、24 の異なるトーンをアサイン可能。トーンごとにコンプレッサーとイコライザーを装備しています。またトーンごとに音量やパンを細かく設定できる24 チャンネルのミキサーと、各一系統のマルチエフェクト、リバーブも搭載。ARX01 のみで、レコーディング・スタジオ・レベルのドラム・パートを構成することが可能です。

888899

Page 90

ARX-01 Drums の構成

fig.01-002j.eps

ARX対応機器より（演奏情報）

999900

基本構成

SuperNATURAL エクスパンション・ボード ARX シリーズは、 ARX シリーズに対応した機器から演奏情報、制御情報を受けて音を鳴らし、対応機器にステレオ・オーディオ信号を送信します。

※ ARX シリーズでは最大 16 までのパートをサポートしてい

ますが、ARX-01 Drums は、1 パートのみの仕様です。

トーン

トーンは、ARX-01 Drums における音の最小単位です。トーンは、ドラム・セットを構成する個々の楽器（バス・ドラムやシンバルなど）に相当します。

各トーンは、COMP（コンプレッサー）と EQ（イコライザー）を装備しています。

また、トーンごとに、ロールやフラムの設定をすることもできます。 ※ 各トーンに対応するノート・ナンバーを変更することはでき

ません。

キット

24 個のトーンを集めたグループをキットと呼びます。キットには、MFX（マルチエフェクト）と、リバーブが装備されています。

24 個のトーンは、ノート・ナンバー 34（B ♭ 1）〜 57（A3）に割り当てられます。

ARX-01 Drums では、50 のキットを持っています。

Fantom-G に装着した場合、キットの情報が Fantom-G のプロジェクトに保存されます。

キット50

キット01

トーン24（ノート・ナンバー57）

トーン1（ノート・ナンバー34）

インスト・タイプ

チューニング マイク位置 ：

COMP/EQ

ミキサー

リバーブ

ARX対応機器へ（オーディオ信号）

ARX-01Drums

MFX

Page 91

キットを作る

本書について

•

本書では、Fantom-G に装着したときの画面写真を使用しています。また、各種操作方法は、Fantom-G 装着時の場合を想定して説明しています。

•

カーソルを移動させる方法や、値を変更する方法については、お使いの機器の取扱説明書を参照してください。

基本画面

fig.01-003.eps

基本画面には、KIT NAME（キット名）、カレント・トーン

（P.93）を示す 24 個のインジケーターと、Group Fader（グ

ループ・フェーダー）があります。

キットの選択

KIT NAME（キット名）にカーソルを合わせて値を変更すると、キット（001 〜 050）を選択することができます。

グループ・フェーダー

ARX-01 の基本画面には、8 つのフェーダーが表示されています。これを Group Fader （グループ・フェーダー）と呼びます。Group Fader は、24 のトーンを 8 つのグループに分け、それぞれのグループの音量を一度に変えることができます。

各トーンを、どのグループに割り当てるかは、Tone 画面の Fader Group（P.93）で指定します。

999911

Page 92

キットの保存（Fantom-G の場合）

作成したキットは一時的なもので、キットを選び直した場合に作成したキットが失われてしまいます。キットの状態を保存しておきたいときは、以下の方法で保存してください。

Fantom-G の［WRITE］を押します。

キットに名前を付けます。

名前を付けるときの操作方法については、Fantom-G 取扱説明書を参照してください。

名前を付け終わったら、［F8（（OK）］ボタンを押しま

す。キット番号を選び、［F8（WRITE）］ボタンを押します。

確認の画面が表示されたら、［F7（OK）］ボタンを押し

て、キットを保存します。

999922

Page 93

トーンを選ぶ（Tone 画面）

fig.01-004.eps

Tone 画面では、キットを構成するトーンを選びます。 ※ この画面にある MUTEスイッチは、Tone/Output 画面の

Mute Sw（P.99）に連動しています。

※ この画面にある COMP スイッチは、Tone/Comp/EQ 画面

の Comp Sw （P.98）に連動しています。

Tone 画面が表示されている状態で鍵盤を弾くと、Current Tone が自動的に切り替わります。

パラメーター設定値説明

Current Tone

（カレント・トーン）

Tone 01 〜 Tone 24

トーン番号を表示します。設定値を変更してカレント・トーンを変えることができます。

パラメーター設定値説明

KICK、SNARE、 TOM、HIHAT、 RIDE、 CYMBAL、 OTHER、

Inst Type

Inst Number

Fader Group 1〜8

Layer Tone

Mute Group

Assign Type

E.KICK、 E.SNARE、 E.TOM、 E.HIHAT、 E.RIDE、 E.CYMBAL、 E.OTHER

（Inst Type に依存）インストのバリエーションを選

OFF、 Tone 01 〜 Tone 24

0（OFF）、 1〜24

MULTI、 SINGLE

インストの種類を選びます。

びます。どのグループ・フェーダーに割

り当てるかを指定します。カレント・トーンと同時に他の

トーンを鳴らしたいときに、そのトーン番号を指定します。

オープン・ハイハット／クローズ・ハイハットなど、同時に鳴らせないようなトーンの組み合わせを使用するときは、これらのトーンの Mute Group を同じ値に設定します。 Mute Group は、同じ設定値のトーンを鳴らさないようにする機能です。この機能を使用しない場合は、0 にします。

同じトーンを繰り返し鳴らすときの発音の仕方を指定します。

MULTI：同じトーンを重ねて鳴らします。シンバルなど、長い持続音の音を繰り返し鳴らしたときでも、前の音を消さずに重ねて鳴らします。 SINGLE：発音中の音を消して、新たな音を鳴らします。

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Page 94

トーンの設定

トーンのカスタマイズ

（Tone / Customize 画面）

fig.02-001.eps

Tone / Cusomize 画面では、好みの胴の深さを選んだり、マフリング（ミュート）を取り付けたりするなど、アコースティック・ドラムと同じ感覚で音作りをすることができます。

カスタマイズ可能なパラメーターは、トーンのインスト・タイプによって異なります。

KICK、SNARE、TOM の場合

パラメーター設定値説明

Shell Depth -2 〜 +2 胴の深さ Head Tuning -120 〜 +120 ヘッドのチューニング Muffling 0〜3 マフリング（ミュートの設定） Mic Position -100 〜 +100 マイクの位置 Buzz 0 〜 127 他のインストの共鳴音

HIHAT、RIDE、CYMBAL の場合

パラメーター設定値説明

Size -120 〜 +120 シンバルの直径 Sustain 0 〜 100 余韻の長さ

OTHER の場合

パラメーター設定値説明

Pitch -120 〜 120 音の高さ Sustain 0 〜 100 余韻の長さ

E.KICK の場合

パラメーター設定値説明

Tune -100 〜+100 音の高さ Attack Level -100 〜 +100 アタックの強さ Decay -100 〜+100 余韻の長さ Cutoff 0 〜 127 高域成分をカットする基準周波数

Resonance 0 〜 127

Cutoff 付近の周波数成分を強調する量

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Page 95

E.SNARE の場合

パラメーター設定値説明

Tune -100 〜 +100 音の高さ Tone -100 〜 +100 音色のバリエーション Attack Level -100 〜 +100 アタックの強さ Snpy Decay -100 〜 +100 スナッピー（響線）の響き Cutoff 0 〜 127 高域成分をカットする基準周波数

Resonance 0 〜 127

Cutoff 付近の周波数成分を強調する量

E.TOM、E.HIHAT、E.RIDE、E.OTHER の場合

パラメーター設定値説明

Tune -100 〜 +100 音の高さ Decay -100 〜 +100 余韻の長さ Cutoff 0 〜 127 高域成分をカットする基準周波数

Resonance 0 〜 127

Cutoff 付近の周波数成分を強調する量

E.CYMBAL の場合

パラメーター設定値説明

Tune -100 〜 +100 音の高さ Tone -100 〜 +100 音色のバリエーション Decay -100 〜 +100 アタックの強さ Cutoff 0 〜 127 高域成分をカットする基準周波数

Resonance 0 〜 127

Cutoff 付近の周波数成分を強調する量

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Page 96

フラム／ロールの設定

（Tone / Flam/Roll 画面）

fig.02-002.eps

各トーンにフラムとロールの効果を付けることができます。フラムのオン／オフ、ロールのオン／オフは、ノートのベロシ

ティで切り替えることができます。

パラメーター設定値説明

Flam/Roll Velocity Threshold

Flam/Roll Type Upper

Flam/Roll Type Lower

0〜127 Upper と Lower の境界。

OFF、 FLAM、 ROLL

ノートのベロシティが、Velocity Threshold より大きいのときの発音方法を選択。OFF は通常の発音。

ノートのベロシティが、Velocity Threshold 以下のときの発音方法を選択。OFF は通常の発音。

フラムに関するパラメーター

Velocity

Rate

Note On

パラメーター設定値説明

Rate

Offset

Flam Time 1〜16 フラム音の数 Time

Velocity Sens

Feel 0〜32

1 〜 100、音符

-100 〜 +100

Rateで設定可能な「音符」については、『音符について』

（P.139）を参照してください。

Rate

Offset

Time

最後のノート

(Velocity = Note On)

フラム音の時間間隔

ノートとフラム音の強さの差

ベロシティによるフラム音の数の増減

＋にすると、フラム音の数が増加し、

−にするとフラム音の数が減少します。

フラム音の強さと時間間隔の不規則な変化量

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Page 97

ロールに関するパラメーター

Velocity

Rate

Delay

Offset

Curve

Roll Time 1〜 16 ロール音の数 Time

Veloctiy Sens

Feel 0〜32 ロール音の強さと時間間隔の不規則な変化量

Delay

Offset

Note On 最初のロール音

パラメー

ター

Rate

設定値説明

1 〜 100、音符

-100 〜 +100

ロール音の時間間隔

ロール音が鳴るまでの時間間隔

ノート・オンと最初のロール音との強さの差

ロール音の強さの変化量

＋にすると、ロール音が強くなっていき、

−にすると、−にするとロール音が弱くなっていきます。

ベロシティによるロール音の数の増減

＋にすると、ロール音の数が増加し、−にするとロール音の数が減少します。

Rate

Curve

Time

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Page 98

音量変化／音色の調整

（Tone / Comp/EQ 画面）

fig.02-003.eps

トーンごとにコンプレッサー、イコライザーを設定します。 ※ この画面のTone Level は、Tone/Output 画面（P.99）

にある Tone Level と連動しています。

コンプレッサー

大きなレベルの音を抑え、小さなレベルの音を持ち上げることで、全体の音量のばらつきを減らします。

コンプレッサーに関するパラメーター

パラメーター設定値説明

Comp Sw ON/OFF コンプレッサーのオン／オフ Input Level 0 〜 127 コンプレッサーに入力する音量レベル

Attack

Release

Output Gain 0 〜 24dB 出力する音のレベル Threshold 0 〜 127 圧縮をする基準レベル Ratio 1:1 〜∞:1 圧縮比

0.05 〜

50.0ms

0.05 〜 200ms

Threshold を超える入力があってから圧縮を開始するまでの時間

入力が Threshold 以下になってから圧縮を解除するまでの時間

イコライザーに関するパラメーター

パラメーター設定値説明

Low Freq

Low Gain

High Freq

High Gain

50 〜 400Hz

-15 〜 +15dB

2000 〜 16000Hz

-15 〜 +15dB

低域の基準周波数

低域の増幅／減衰量

高域の基準周波数

高域の増幅／減衰量

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Page 99

音量の調整（Tone / Output 画面）

fig.02-004.eps

各トーンの出力に関する設定をします。

信号の流れ

Inst

Pan

Input Level

COMP/EQ

Tone

Output

Level

Reverb Send Level

Output Assign

MFX

to Mixer

DRY

to Reverb

to MFX

パラメーター設定値説明

Pan

Tone Level 0 〜 127

Output Level

Output Assign

ReverbSend Level

Mute Sw ON ／ OFF トーンごとに、ミュートを設定します。

L64 〜 0 〜 63R

0 〜 127

DRY、MFX

0 〜 127

トーンのパンを調節します。「L64」で最も左、「0」で中央、「63R」で最も右に定位します。

トーンの音量を設定します。主に各トーンとの音量バランスを調整するときに使用します。

トーンごとの信号のレベルを設定します。

トーンごとに、原音のまま出力するか、 MFX を使用するかを選びます。

DRY: 原音のまま出力します。 MFX: マルチエフェクトを通して出力

します。

トーンごとに、リバーブへ送る信号のレベルを設定します。

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Page 100

トーンの音量バランスを変える

（Mixer 画面）

fig.01-005.eps

各トーンの Comp Sw（P.98）、Mute Sw（P.99）、Reverb Send Level（P.99）、Pan（P.99）、Tone Level（P.99）、 EQ のゲイン（P.98）を調整できます。

1111000000

エフェクトをかける

（Effects / Routing 画面）

Effedts / Routing 画面では、マルチエフェクト（MFX）、およびリバーブの設定をします。

パラメーター設定値説明

MFX Type

MFX Output Level

MFX Reverb Send Level

Reverb Type

Reverb Level 0 〜 127

0（THRU）、 1〜47

0 〜 127

0（OFF）、 1（REVERB）、 2（SRV ROOM）、 3（SRV HALL）、 4（SRV PLATE）

マルチエフェクトのタイプを選びます。各タイプの詳細は、

『マルチエフェクト一覧』

（P.106）を参照してくださ

い。マルチエフェクトを通した音の

音量を設定します。マルチエフェクトを通した音に

対するリバーブのかかり具合を設定します。リバーブをかけたくないときは、0 にします。

リバーブの種類を選びます。各タイプの詳細は、『リバーブの

設定（Effects / Reverb 画面）』（P.103）を参照してく

ださい。リバーブがかかった音の音量を

設定します。

Roland ARX-01 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Installing the expansion board in your product

Installation in your product

Confirmation after installation

To remove the board from the product

Installation de la carte d’expansion dans un appareil

Installer la carte dans un appareil

Retirer la carte de l’appareil

Introduction

Main Features

ARX series SuperNATURAL expansion boards

Roland SuperNATURAL Technology

ARX-01 Drums

The structure of ARX-01 Drums

Creating a Kit

The basic screen

Selecting a kit

Group Fader

Saving a kit (on the Fantom-G)

Selecting a Tone (Tone screen)

Tone Settings

Customizing a tone (Tone/Customize screen)

Flam/Roll settings (Tone/Flam/Roll screen)

Volume change and tone adjustments (Tone/Comp/EQ screen)

Adjusting the volume balance of the tones (Mixer screen)

Applying effects (Effects/Routing screen)

Multi-effect settings (Effects/MFX screen)

Multi-effect control (Effects/MFX Ctrl screen)

Setting of Reverb (Effects/Reverb screen)

Choking/muting the drum sound (Ctrl screen)

Initializing a Kit/Tone or copying a Tone (Utility screen)

Initializing a kit or tone

Copying a tone

Multi-Effects List

Multi-Effects Types

Multi-Effects Parameters

About the STEP RESET function

About Note

Specifications

Index

安全上のご注意

使用上のご注意

エクスパンション・ボードを機器に取り付ける

機器への取り付け方

取り付け後の確認方法

機器から取り外す場合

はじめに

主な特長

SuperNATURAL エクスパンション・ ボード ARX シリーズ

Roland SuperNATURAL テクノロジー

ARX-01 Drums

ARX-01 Drums の構成

キットを作る

基本画面

キットの選択

グループ・フェーダー

キットの保存（Fantom-G の場合）

トーンを選ぶ（Tone 画面）

トーンの設定

音量の調整（Tone / Output 画面）

SuperNATURAL エクスパンション・ボード ARX シリーズ