Roland D-05 User Manual

D-05 Parameter Guide

Contents

Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Basic Operation for Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Settings Common to All Screens . . . . . . . . . . . . . . . . . . 2

CONTROL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

OUTPUT (Output Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . 4

CHASE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

TONE TUNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

MIDI (MIDI Functions) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Copying a Reverb Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Copying a Reverb Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Saving Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Tone Parameters (Upper/Lower Tone Menu) . . . . . . . . . . . . . 8

Common Parameters (Common) . . . . . . . . . . . . . . . . . . . . . . . 8

Struct (Structure) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

P-ENV (Pitch Envelope) . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

LFO (Low Frequency Oscillator) . . . . . . . . . . . . . . . . . . . 9

EQ/CHORUS (Equalizer/Chorus) . . . . . . . . . . . . . . . . . . . 10

Partial Parameters (Part-1, Part-2) . . . . . . . . . . . . . . . . . . . . . . . 11

PITCH (WG Pitch) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Form (WG Form) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

TVF (Time Variant Filter) . . . . . . . . . . . . . . . . . . . . . . . . . . 13

TVA (Time Variant Amplier) . . . . . . . . . . . . . . . . . . . . . . 15

Copyright © 2017 ROLAND CORPORATION

01

Key Mode Alteration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Mono Mode, Poly Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

SEQUENCER/ARPEGGIATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Transferring Patches To and From the D-50/550 . . . . . . . . . 21

Transferring Patches from the D-50 to the D-05 . . . . . . . . . . 22

Transferring Patches from the D-50/550 to the D-05 22

Sound List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Preset Patches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Waveform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Parameter List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Patch Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Tone Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Common Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Partial Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

System Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Basic Operation

Basic Operation for Editing

The items that you can edit are grouped into screens. To nd the
item that you want to edit, switch between display screens as
necessary.

1. Make sure that the PATCH TOP screen is shown.

2. Press the [EDIT] button.

Edit Menu
(TnTune)(RtEdit)

3. Press the [F2] (PtEdit) button.

The Patch Edit Menu screen appears.

Patch Edit Menu
(P-Name) (Ctrl)

4. Use the [ ] [ ] buttons to switch pages, and use the

[F1] [F2] buttons to select the item that you want to

edit.

Item Explanation

Rename the patch.

(Patch Name)

P-Name

Ctrl

(Control)

Output Output mode (p. 4)

Chase Chase function (p. 4)

MIDI MIDI functions for each patch (p. 5)

Use the [F1] [F2] buttons to move the cursor

Use the numeric keys to input characters

Press the [EXIT] button to exit the screen

Control functions (p. 3)

Settings Common to All Screens

UPPER/LOWER/VALUE/LOCAL

These buttons switch the function of the joystick.
The function changes each time you press a selection button.

Indicator /
Button

UPPER The up/down direction changes the part balance, and

LOWER

VALUE Enters values, such as during editing.

LOCAL

Select button

Explanation

the left/right direction changes the partial balance of the
selected part.

Enables local editing (a function that lets you use the joystick
to simultaneously edit adjacent items in the display).

Switches in the order of UPPER
LOCAL.

KEY MODE

Neo Horizon

DUAL SP C4

(switching the joystick’s function)

LOWER VALUE

5. Use the [ ] [ ] buttons to switch pages, and use the

[F1] [F2] buttons to select the item that you want to

edit.

Control Edit
Bend 05 AfPB 00

When you press a [F1] [F2] button, the selected parameter blinks.

6. Use the joystick or the [INCREMENT] [DECREMENT]

buttons to edit the setting.

Press the [EXIT] button to return to the Patch Edit Menu screen.

7. Repeat steps 5–6 to make patch factor settings.

8. If you want to save the edited settings, perform the

Write operation.

&

“Saving Patches” (p. 7)

If you don’t want to save, press the [EXIT] button to return to the
PATCH TOP screen. If you return to the PATCH TOP screen without
saving, the colon (:) between the patch number and patch name
blinks, indicates that the patch settings are modied (the patch is
being edited).

* If you select another patch while editing, or turn o the power,

the changes you made to the patch settings are lost.

Key Mode refers to the Upper and Lower Tones are played on the
keyboard.

1. In the main screen, press the [F1] button and then use

the [INCREMENT] [DECREMENT] buttons to edit the
parameter.

Value: WHOLE, DUAL, SPLIT, SEP, WHOL-S, DUAL-S, SPL-US, SPL-LS,

SEP-S

Indication Description

WHOLE Upper Tone can be played in 16 voice polyphony

DUAL

SPLIT

SEP

(Separate)

WHOL-S

DUAL-S

SPL-US

SPL-LS

SEP-S

(Whole Solo)

(Dual Solo)

(Split Upper Solo)

(Split Lower Solo)

(Separate Solo)

Both Upper and Lower Tones are played by each key in
8 voices polyphony.

The Split mode divides the keyboard into upper and
lower sections, where two dierent Tones can be played
in 8 voices polyphony. That is, the D-05 works like two 8
voice synthesizers. The Split Point (where the keyboard
is divided into two sections) is shown next to the Key
Mode indication.

The Separate mode lets you control the upper and
lower sections on separate MIDI channels.

The Upper Tone is monophonic.

Both Upper and Lower Tones are monophonic.

The Upper Tone is monophonic, and the Lower Tone is 8
voices polyphonic.

The Lower Tone is monophonic, and the Upper Tone is 8
voices polyphonic.

The Upper Tone and Lower Tone can be controlled on
separate MIDI channels. The Upper Tone is monophonic.

* The way in which the Key Mode aects how the voices play

depends on whether the D-05 is in mono mode or poly mode.

&

“Key Mode Alteration” (p. 18)

2

Basic Operation

C7

(middle C)

(Split Point)

SPLIT

Neo Horizon

DUAL SP C4

This species the split point that is used when the KEY MODE
(key mode) is set to SPLIT (split), SPL-US (split upper solo), or SPL­LS (split lower solo).

The Split Point can be changed as follows.

1. In the main screen, press the [F2] (SP) button and then

use the [INCREMENT] [DECREMENT] buttons to edit
the parameter.

Value: C2–C7

C2–B2 C3–B3 C4–B4 C5–B5 C6–B6

BALANCE

The volume balance of the Upper and the Lower Tone can be
change.

(Tone Balance)

1. In the main screen, press the [ ] button.

The page changes.

Neo Horizon

Bal 00 Trns 00

CHASE

PORTAMENTO

(Chase Button)

Switches the Chase function (p. 4) on and o.

Value: OFF, ON

(Portamento Button)

Switches the Portamento function on and o. Portamento is
a slide from one pitch to another, and is often used for violin
performance.

Value: OFF, ON

2. Press the [F1] (Bal) button, and then use the

[INCREMENT] [DECREMENT] buttons to edit the

parameter.

Value: 0–100

TRANSPOSE

The pitch range of the keyboard can be transposed (shifted) in
semitone steps.

(Transpose)

1. In the main screen, press the [ ] button.

The page changes.

Neo Horizon

Bal 00 Trns 00

2. Press the [F2] (Trns) button, and then use the

[INCREMENT] [DECREMENT] buttons to edit the

parameter.

If you hold down the [SHIFT] button and use the [INCREMENT]

[DECREMENT] buttons to edit the parameter, the value changes

in steps of one octave (12 semitones).

Value: -36–0–+36

CONTROL

These parameters specify how the control functions aect each
patch.

Control Edit
Bend 05 AfPB 00

Bend

(Bender Range)

This species the available range of pitch change when you
operate pitch bend.

The variable range set here may result dierently depending on
the setting of the Tone Parameter Bender Mode (p. 12).

Value: 0–12

AfterPB

Port

(Aftertouch, Pitch Bender)

This sets the sensitivity of the aftertouch eect on pitch. Higher
values mean higher sensitivity. A Minus setting decreases the
pitch, and a plus setting increases it.

Value: -12–+12

(Portamento Time)

This sets the portamento time from one note to another. Higher
values make the time longer.

Value: 0–100

3

Port

Sound Generator Listener

(Portamento Mode)

This selects the Tone that should take on the Portamento
eect. When the Key Mode is Whole , Portamento always works
whichever of the above three modes may be selected.

Value: U, L, UL

Indication Function

U Works on the Upper Tone.

L Works on the Lower Tone.

UL Works on the both Tones.

* Even when Portamento is set to ON, the Portamento ON/OFF

message sent from an external device can change the settings of
Portamento.

Hold

(Hold Mode)

This selects the Tone that on the Pedal Hold eect. When the Key
mode is Whole , Pedal Hold always works whichever of the above
three modes may be selected.

Value: U, L, UL

Indication Function

U Works on the Upper Tone.

L Works on the Lower Tone.

UL Works on the both Tones.

Basic Operation

Rev

(Reverb Type)

Selects one of the 32-reverb types.

Value: 1–32

* A reverb type (any one of types 17–32) from another bank can be

copied to a reverb type (any one of types 17–32) of patch bank
U1–U8.

&

“Copying a Reverb Type” (p. 6)

Rbal

(Reverb Balance)

Sets the volume of the reverb and direct sounds.

Value: 0–100

Indication Function

100

0

Vol

(Total Volume)

The volume of the reverb sound = maximum, the volume
of the direct sound = 0.

The volume of the reverb sound = 0, the volume of the
direct sound = maximum.

Sets the volume of both tones, and therefore adjusts the volume
dierence between Patches.

Value: 0–100

CHASE

OUTPUT

(Output Mode)

The Output Mode determines how the Tones take on the reverb
eect, and how the Tones appear at the outputs.

A sound reverberated in an acoustic environment consists of three
parts. First, you hear the direct sound as it travels from the source
outward. Next the early reection resounds once, or several time,
from the walls, ceiling ,and oor. Finally, you hear the reverberated
sound as it reects many times in the environment.

Output Mode Edit
Mode 01 Rev 24

Reverb Sound

Direct Sound

Mode

(Output Mode)

Here you can choose one of four modes to specify how the reverb
applied to the two tones is sent from the output.

Value: 01–04

The Chase Play function makes it possible to output the Lower
Tone slightly later than the Upper Tone, which is actually played
on the keyboard. This function, however, is only available in Dual
or Whole Key Mode.

Chase Edit
ModeULU Lev 50

Mode

(Chase Mode)

Sets how tones sound. Depending on the Chase Level and
Velocity , the number of repeats of the delayed sound dier.

Value: UL, ULL, ULU

5

When the Key Mode is Dual

Indication Function

UL The Upper Tone then the Lower Tone is played.

ULL The Upper, then the Lower Tone is repeated.

ULU The Upper, the Lower and the Upper Tone alternate.

5

When the Key Mode is Whole

Indication Function

UL The Upper Tone is played twice.

ULL Upper Tone is repeated.

ULU Upper Tone is repeated.

Indication Function

01

02

03

04

Stereo reverb works on the mixed sound of Upper and Lower
Tones, and id sent out in stereo.

The Mixture of Upper and Lower takes on stereo reverb, and
the direct sound is sent out separately for Upper and Lower.

Only the Upper Tone takes on reverb. Upper and lower Tones
are sent out separately.

Only the Lower Tone takes on reverb, Upper and Lower Tones
are sent out separately.

Lev

(Chase Level)

This adjusts the level of the sound that is heard after a delay
relative to the Upper Tone, which is heard rst. Higher values
produce a higher level.

Value: 0–100

4

Time

(Chase Time)

Adjusts the sounding time. Higher value is longer time.

Value: 0–100

TONE TUNE

The relative pitch of the Upper and the Lower Tones can be
separately set. By setting slightly dierent pitches, a detune eect
can be obtained. Also, by lowering the pitch of the Upper Tone,
and raising the pitch of the Lower Tone, the pitches of the Two
Tones can become exactly the same.

Neo Horizon

LKey 00 Ukey 00

LKey

(Key Shift of the Lower Tone)

Allows you to shift the pitch of the Lower Tone in semi-tone steps.

Value: -24–+24 (+/- 2 octave)

UKey

(Key Shift of the Upper Tone)

Allows you to shift the pitch of the Upper Tone in semi-tone steps.

Value: -24–+24 (+/- 2 octave)

Basic Operation

LTun

(Fine Tuning of the Lower Tone)

Allows you to Tune the pitch of the Lower Tone.

Value: -50–+50 (approx. +/- 2 cents)

UTun

(Fine Tuning of the Upper Tone)

Allows you to Tune the pitch of the Upper Tone.

Value: -50–+50 (approx. +/- 2 cents)

MIDI

(MIDI Functions)

You can change the setting of the MIDI Functions included Patch
Factor as follows.

MIDI Edit
TxCH B TxPC OFF

TxCH

(Transmit Channel)

The transmit channel of each Patch can be set to a deferent
number from the basic channel (“Function Menu” 0 “MIDI”

0

“CH” parameter). At B, the channel number is the same as the

Basic Channel.

Value: B (Basic), 1–16

TxPC

(Transmit Program Change Number)

A Program Change number to be transmitted can be set for
each patch individually. At OFF, the Program Change number
preprogrammed in each Patch is transmitted.

Value: OFF, 1–100

SepCH

(Receive Channel in Separate Mode)

A receive MIDI Channel in separate mode can be set for each
Patch individually. At OFF, the receive channel set in MIDI
Functions commonly set for System Function is used (“Function

Menu” 0 “MIDI” 0 “SepCH” parameter).

Value: OFF, 1–16

5

Copying a Reverb Type

Copying a Reverb Type

In addition to the patches (64 patches), 16 reverb types (17–32
are also saved to the D-05’s patch banks (P1–P6, U1–U8). Dierent
reverb types 17–32 are saved to each patch bank. The reverb
types you can use vary with the selected patch as described
below.

5 All shared common reverb types (1–16) can be used.

5 The reverb types 17–32 in individual banks can be used only

with the patches (64 patches) contained in that bank.

5 Reverb types from a bank other than the internal banks (any

from 1 through 32) can be copied to a reverb type in the
internal banks (any from 17 through 32).

5 This is convenient when, for example, you want to use Reverb

Type 25 (Gate Reverb) from the Patch Bank P1 as Reverb Type
30 in the Patch Bank U1.

Common

Reverb Type

(NOT rewritable)

1 2 3 4
5 6 7 8
9 10 11 12

13 14 15 16

User BankPreset Bank

P1

Reverb Type

(NOT rewritable)

17 18 19 20
21 22 23 24
25 26 27 28
29 30 31 32

* Reverb Types (17–32) are transferred simultaneously with patch

data when patch data is transferred from the D-50 to the D-05
(bulk loaded) or from the D-05 to the D-50 (bulk dumped).

U1

Reverb Type

(rewritable)

17 18 19 20
21 22 23 24
25 26 27 28
29 30 31 32

1. Hold down the [SHIFT] button and press the [WRITE]

button.

The Reverb Write screen appears.

Reverb Write
To: U8-24

2. Use the [F1] [F2] buttons and the [INCREMENT]

[DECREMENT] buttons to select the copy-destination.

3. Press the [ ] button.

A conrmation message appears.

Reverb Write?
[EXIT]:N [ENT]:Y

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

4. Press the [ENTER] button.

Completed.

When saving is nished, the destination indicates Completed.

6

Saving Patches

1. Press the [WRITE] button.

The WRITE screen appears.

(Patch Name)
To: U2-11

2. Use the [INCREMENT] [DECREMENT] buttons and the

PATCH BANK [1]–[8] and NUMBER [1]–[8] buttons to
select the save-destination.

3. Press the [ ] button.

A conrmation message appears.

Patch Write?
[EXIT]:N [ENT]:Y

4. Press the [ENTER] button.

Completed.

When saving is nished, the destination indicates Completed.

7

Tone Parameters (Upper/Lower Tone Menu)

(Key On)

Point 1

Pitch 0

1. Make sure that the PATCH TOP screen is shown.

2. Press the [EDIT] button.

Edit Menu
(TnTune)(RtEdit)

3. Use the [ ] [ ] buttons to switch the page so that

(L-Tone) (U-Tone) is displayed.

Edit Menu
(L-Tone)(U-Tone)

4. Use the [F1] (lower) [F2] (upper) buttons to select the

tone that you want to edit.

Upper Tone Menu
(T-Name)(Common)

5. Use the [ ] [ ] buttons to switch pages, and use the

[F1] [F2] buttons to select the item that you want to

edit.

Item Explanation

Edits the tone name.

(Tone Name)

T-Name

Common Common parameters

Part-1

(Partial 1 Parameter)

(Partial 2 Parameter)

Part-2

T-Copy

(Tone Copy)

Use the [F1] [F2] buttons to move the cursor

Use the numbers to enter characters

Press the [EXIT] button to exit the screen

Partial parameters

Copies a tone.

Select the copy-source, and press the [
button

Assign a name, and press the [

]

] button

Number Partial 1 Partial 2 Combination of two Partials

07

P P

Mixture of Partial 1 and ring­modulation.

S: Synthesizer Sound Generator

P: PCM Sound Generator

R: Ring Modulator

P-ENV

(Pitch Envelope)

P-ENV Edit

U:P-Env Edit
Velo 00 TKF 00

Velo

(Envelope)

(Velocity Range)

Sets the maximum eect of the velocity that controls the pitch of
the P-ENV. At higher values, the keyboard velocity has a greater,
eect on the envelope.

Value: 0–2

TKF

(Keyfollow (Time))

Sets the time of the P-ENV depending on the key played. Higher
values change the time more drastically.

Value: 0–4

Common Parameters

&

“Struct (Structure)” (p. 8)

&

“P-ENV (Pitch Envelope)” (p. 8)

&

“LFO (Low Frequency Oscillator)” (p. 9)

&

“EQ/CHORUS (Equalizer/Chorus)” (p. 10)

Struct

(Structure)

Str

(Structure Number)

(Common)

Selects one of seven ways in which the partials are combined and
used.

Value: 01–07

Number Partial 1 Partial 2 Combination of two Partials

01

02

03

04

05

06

S S Mixture of Partial 1 and partial 2.

S S

P S Mixture of Partial 1 and partial 2.

P S

S P

P P Mixture of Partial 1 and partial 2.

Mixture of Partial 1 and ring­modulation.

Mixture of Partial 1 and ring­modulation.

Mixture of Partial 1 and ring­modulation

P-ENV Time

(Pitch Envelope Time)

The envelope curve is determined by times and levels.

Point 2

Point 3

T1

(Time 1)

L0

Point 0

L1

L3

T1

T2 T3 T4

SusL

(Key O) Point 4

Sets the time needed from point 0 (the moment the key is
pressed) to point 1.

Value: 0–50

T2

(Time 2)

Sets the time needed from point 1 to point 2.

Value: 0–50

T3

(Time 3)

Sets the time needed from point 2 to point 3.

Value: 0–50

EndL

8

T4

(Time 4)

Sets the time needed from the moment the key is released to
point 4.

Value: 0–50

Tone Parameters (Upper/Lower Tone Menu)

Aftr

(Pitch Aftertouch Modulation)

This sets the sensitivity of the vibrato depth controlled by
aftertouch. Higher values deepen the vibrato eect.

Value: 0–100

P-ENV Level Edit

L0

(Level 0)

Sets the pitch created the moment a key is pressed.

Value: -50–+50

L1

(Level 1)

Sets the pitch of the point 1.

Value: -50–+50

L2

(Level 2)

Sets the pitch of the point 2.

Value: -50–+50

SusL

(Sustain level)

Sets the pitch of the point 3.

Value: -50–+50

EndL

(End Level)

Sets the pitch of the point 4.

Value: -50–+50

* If the Levels of two adjacent points are set to similar values, the

time between these two points may prove to be shorter than
what is actually set, or even zero.

* The maximum variable range of each level will depend on the

Velocity Range in P-ENV. (p. 8)

Velocity Range Level Range

0

1

2

Pitch Mod

Depending on how the LFO in WG Mod (p. 11) is set, the vibrato
set here may have no eect at all.

U:P-Mod Edit
LFOD 02

+50 +1 octave

-50 -1 octave

+50 +1.5 octave

-50 -1.5 octave

+50 +2 octave

-50 -2 octave

(Pitch Modulation)

LFO

(Low Frequency Oscillator)

The parameters of LFO-2 and LFO-3 can be set like LFO-1, except
for a few parameters.

U:LFO1 Edit
WaveTRI Rate 74

Wave

(LFO Waveform)

Selects the LFO waveform.

Value: TRI, SAW, SQU, RND

Indication Waveform

TRI

(Triangle wave)

SAW

(Sawtooth)

SQU

(Square wave)

RND

(Random)

Rate

(LFO Rate)

Sets the rate (frequency) of the LFO. Higher values quicken the
rate.

Value: 0–100

Dely

(LFO Delay Time)

This sets the time needed for the LFO to appear, from the moment
a key is pressed. Higher values increase the delay time.

Value: 0–100

Waveform changes randomly.

Sync

Selects the timing of the LFO oscillation as follows. For LFO-2 and
LFO-3, KEY cannot be selected.

Value: OFF, ON, KEY

Indication Function

OFF LFO does not sync to the keyboard.

ON

KEY

When a key is played after all keys have been released,
the LFO begins its wave generating process from the
beginning.

LFO begins its wave generation from the beginning each
time a new key is played.

LFOD

(LFO Depth)

Sets the depth of LFO-1, that controls the WG pitch. Higher values
deepen the eect.

Value: 0–100

Levr

(Pitch Lever Modulation)

Sets the sensitivity of the vibrato depth controlled by the bender
lever. Higher values deepen the eect.

Value: 0–100

9

EQ/CHORUS

Frequency

Level 0

Frequency

Level 0

HQ is low.

Frequency

Level 0

EQ Edit

(Equalizer)

(Equalizer/Chorus)

Tone Parameters (Upper/Lower Tone Menu)

Hg

(High Gain)

Sets the gain of the Hf frequency.

“+” settings raise the gain and “-” settings lower it.

Value: -12–+12 dB

In the equalizer section, the frequency characteristic of the sound
can be modied.

U:EQ Edit
Lf 300 Lg +01

LowFreq

LowGain

Lf

(Low Frequency)

Sets the frequency where the gain is altered in the low to middle
range.

Value: 63, 75, 88, 105, 125, 150, 175, 210, 250, 300, 350, 420, 500,

600, 700, 840 Hz

Lg

(Low Gain)

Sets the gain of the lower frequencies.

“+” settings raise the gain, and “-” settings lower it.

Value: -12–+12 dB

Hf

(High Frequency)

Sets the frequency where the gain is altered in the middle to high
range.

Value: 250, 300, 350, 420, 500, 600, 700, 840 Hz, 1.0, 1.2, 1.4, 1.7,

2.0, 2.4, 2.8, 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5 kHz

HQ

(High Q)

Sets the width of the frequency band where the gain is boosted
or cut. With a higher value, the frequency band is narrower, and
vice versa.

Value: 0.3, 0.5, 0.7, 1.0, 1.4, 2.0, 3.0, 4.2, 6.0

HQ is Height.

HiFreq

HiGain

Chorus Edit

U:Chorus Edit
Type 02 Rate 25

Type

Selects one of the 8 basic chorus eects.

Value: 01–08

Indication Type

01 Chorus 1

02 Chorus 2

03 Flanger 1

04 Flanger 2

05 Feedback Chorus

06 Tremolo

07 Chorus Tremolo

08 Dimension

Rate

(Chorus Rate)

Sets the rate of the chorus eect. Higher values quicken the rate.

Value: 0–100

Dpth

Sets the depth of the chorus eect. Higher values deepen the
eect.

Value: 0–100

(Chorus)

(Chorus Type)

(Chorus Depth)

HiFreq

10

Bal

(Chorus Balance)

This sets the volume balance of the chorus of the chorus sound
and normal sound.

Value: 0–100

Partial Parameters

s2

s1

+3

Pitch

Middle C (C4)

(Part-1, Part-2)

Restriction of the available parameters caused
by Structure

Depending on what Structure is used, the available
parameters may be dierent.

1. Some parameters included in a Partial that uses

a PCM sound generator are invalid.

2. With Ring Modulation, some parameters in

Partial 2 will automatically become the same as
for Partial 1. Therefore, the values shown in the
display are irrelevant with the actual values.

&

“PITCH (WG Pitch)” (p. 11)

&

“Form (WG Form)” (p. 12)

&

“TVF (Time Variant Filter)” (p. 13)

&

“TVA (Time Variant Amplier)” (p. 15)

&

“*Init*” (Initialize)

Tone Parameters (Upper/Lower Tone Menu)

KF

(Keyfollow (pitch))

Usually, the keyboard to a synthesizer assigns a semi-tone to each
key. This parameter can change the pitch ratio as show below. The
value represents how many octaves are changed over 12 keys.

Value: -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2,

s1, s2

* s1 or s2 may be selected for slightly stretching octaves.

s1: Pitch 1 cent higher than one octave.

s2: Pitch 5 cents higher than one octave.

WG Mod

LFO

(Modulation)

S3 WG Mod

LFO OFF ENV (+)

(LFO Mode)

Normal

PITCH

(WG Pitch)

WG Pitch

Cors

Sets the standard pitch of a Partial in semi-tone steps. The
standard pitch is the pitch at C4 (middle C) key.

Value: C1–C7

Fine

Makes a ne adjustment to the standard pitch.

Value: -50–+50

(Pitch)

S3 WG Pitch

CorsC5 Fine 00

(Pitch Coarse)

(Pitch Fine)

(Octave)

2

-1

1

-1/2

-1/4

0

-1

5/4

3/2

2

1

7/8
3/4
5/8
1/2
3/8

1/4
1/8
0

Selects one of the following four vibrato modes.

Value: OFF, (+), (-), A&L

Indication Function

OFF No vibrato is obtained.

(+) Vibrato is on.

(-) Vibrato is on but inverted.

A&L Vibrato can be obtained only by Aftertouch and Bender Lever.

ENV

(P-ENV Mode)

Selects one of the following three modes, determining how the
pitch is controlled by P-ENV.

Value: OFF, (+), (-)

Indication Function

OFF No alteration.

(+) Pitch changes with the set P-ENV curve.

(-) Pitch changes with the P-ENV curve inverted.

“-” is selected.

“+” is selected.

“-” is selected.

11

Bend

97%

50%

0

100

+7

(Bender Mode)

Selects how the pitch is controlled by the bender lever as follows.

Value: OFF, KF, Norm

Indication Function

OFF No pitch alteration by moving the lever right or the left.

KF

Norm Pitch changes within the Bender range, set in Patch Factors.

Pitch changes within the Bender range, set in Patch Factors,
plus Keyfollow (Pitch) of WG.

Bender Mode Example:

5 If the Bender range (p. 3) is set to 12 (1 octave), and the

Keyfollow (Pitch) (p. 11) of WG is set to 2, the maximum
pitch change caused by moving the Bender Lever is 2
octaves.

5 When the Keyfollow (Pitch) (p. 11) of WG is set to zero,

there is no pitch change caused by the Bender lever.

Form

(WG Form)

Tone Parameters (Upper/Lower Tone Menu)

WG PW

PW

(Pulse Width)

S3 WG PW

PW 00 Velo 00

(Pulse Width)

A square waveform has exactly the same width, up and down but
a Pulse waveform has dierent widths. The ratio of upper width
to lower is called pulse width. Depending on the set pulse width
value, the harmonic content of the sound changes greatly.

Value: 0–100

* When a sawtooth is selected with WG Waveform , pulse width

50% raises the pitch by an octave.

50

WG Form

Wave

Selects the waveform of the synthesizer sound generator.

Value: SQU, SAW

* A sawtooth waveform is produced by processing a square

PCM

This selects one of the 100 dierent sampled waves of the PCM
sound generator.

&

Value: 1–100

(Waveform)

S3 WG Form

WaveSAW

(Waveform)

Indication Waveform

SQU

(Square wave)

SAW

(Sawtooth)

Waveform at the TVF, that is, all the waveform are square at WG
even when a sawtooth is selected.

(PCM Wave Number)

“Waveform” (p. 29)

Velo

(Velocity Range)

Sets the sensitivity of the velocity that controls the pulse width.
With “-” values, the pulse width becomes smaller by playing the
keyboard harder, and with “+” values, the pulse width becomes
wider by playing the keyboard harder.

Value: -7–+7

0

-7

Aftr

(Aftertouch Range)

Sets the sensitivity of the aftertouch that controls the pulse width.
With “-” values, the pulse width becomes smaller with stronger
aftertouch, and with “+” values, the pulse width becomes wider
with stronger aftertouch.

Value: -7–+7

12

LFO

Cuto Point Frequency

0

100

30

1/8

1/4

3/8

1/2

5/8

3/4

7/8

+3

Pitch

Middle C (C4)

(LFO Select)

Pulse Width Modulation (PWM) means changing the pulse width
periodically.

LFO Select decides which of the LFO’s is to be used for modulating
the pulse width.

Value: +1, -1, +2, -2, +3, -3

Tone Parameters (Upper/Lower Tone Menu)

Reso

(Resonance)

Boosts the cuto point. As you increase the value, specic
harmonics are emphasized and the sound will become more
unusual, more electronic in nature.

Value: 0–30

Level

Positive Phase (+)

Negative Phase (-)

Indication LFO

+1 LFO-1 (+)

-1 LFO-1 (-)

+2 LFO-2 (+)

-2 LFO-2 (-)

+3 LFO-3 (+)

-3 LFO-3 (-)

LFOD

(LFO Depth)

(Phase)

This sets the depth of the PWM. Higher values Deepen the eect.

Value: 0–100

TVF

(Time Variant Filter)

TVF

Freq

(Cuto Frequency)

Sets the cuto point of the TVF. As you lower the value, higher
frequencies are removed and the waveform gradually become an
approximation of a sine wave, then the sound will nally fade out.

Value: 0–100

Cuto Point Frequency

Level

Value

KF

(Keyfollow (Cuto Point))

Cuto Point Frequency

Level

Cuto Point Frequency

Level

Keyfollow can change the cuto point depending on the key
played. Just like the Keyfollow of WG pitch, the value represents
how many octaves change over 12 keys.

Value: -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2

5/4

3/2

2

1

0

-1

2

1

0

(Octave)

-1

-1/2

-1/4

Level

Value

Frequency

Level

Cuto Point Frequency

Level

BP

(Bias Point)

You can add a further change (= bias level) to the Keyfollow curve,
and set the range (bias direction) where the bias level is valid. The
bias range is where the bias level is valid on the keyboard. It can
be set with the bias point (where the bias range begins) and bias
direction ( < or > ).

Value: <A1–<C7, >A1–>C7

Cuto Point Frequency

Level

Display Example Example Function

>C4

<C4

The bias level is only valid on the keyboard above the C4
key.

The bias level is only valid on the keyboard below the C4
key.

13

BLvl

Middle C (C4)

Value

Point 1

Key On Key O

(Bias Level)

The bias level can be set. “+” values raise the curve, and “-” value
lower the curve.

Value: -7–+7

Keyfollow Adjustment

Tone Parameters (Upper/Lower Tone Menu)

TVF ENV Time

An envelope curve is determined by times and levels.

(TVF Envelope Time)

Point 2

Point 3

Point 4

Angle

0

The curve in the picture represents the Keyfollow value with
the bias level added.

This means that if the keyfollow slope is dierent, the actual
slope will dier even if the value of the slope to be biased is
the same.

TVF Keyfollow (Cuto Point): 0

Bias Direction: >C4

TVF ENV

Dpth

Velo

DKF

TKF

(TVF Envelope)

S3 TVF ENV

Depth100 Velo 00

(ENV Depth)

Sets the depth of the TVF ENV modulation that changes the TVF
cuto Point. Higher values deepen the eect.

Value: 0–100

(Velocity Range)

Sets the sensitivity of the velocity than controls the depth of the
TVF ENV. At higher values, the eect is deeper by playing harder.

Value: 0–100

(Keyfollow (Depth))

This can change the TVF ENV depth depending on the key played.
Higher values change the depth more drastically.

Value: 0–4

(Keyfollow (Time))

SusLL3L2L1

T1 T2 T3 T4 T5

S3 TVF ENV

T1 00 T2 00

T1

(Time 1)

Sets the time needs to reach point 1 from the moment the key is
pressed.

Value: 0–100

T2

(Time 2)

Sets the time needed to reach point 2 from point 1.

Value: 0–100

T3

(Time 3)

Sets the time needed to reach point 3 from point 2.

Value: 0–100

T4

(Time 4)

Sets the time needed to reach point 4 from point 3.

Value: 0–100

T5

(Time 5)

Sets the time needed to reach point 5 from the moment the key
is released.

Value: 0–100

TVF ENV Level

L1100 L2100

L1

(Level 1)

Sets the of point 1.

Value: 0–100

(TVF Envelope Level)

S3 TVF ENV

Point 5
EndL

This can change the time of the TVF ENV depending on the key
played. Higher values change the time more drastically.

Value: 0–4

14

L2

(Level 2)

Sets the level of point 2.

Value: 0–100

L3

(Level 3)

Sets the level of point 3.

Value: 0–100

SusL

(Sustain level)

This sets the level of point 4.

Value: 0–100

EndL

C6

Value

(End Level)

To lower the level after releasing the key, set this to 0, and to raise
the level, set it to 100.

Value: 0, 100

* The End Level is retained until you release and play the key again.

* If the Levels of two adjacent points are set to similar values, the

time between these two points may prove to be shorter than
what is actually set, or even zero.

TVF MOD

LFO

Selects the LFO that changes cuto point periodically (creating
growl eects).

Value: +1, -1, +2, -2, +3, -3

(TVF Modulation)

S3 TVF Mod

LFO +1 LFOD 00

(LFO Select)

Indication LFO

+1 LFO-1 (+)

-1 LFO-1 (-)

+2 LFO-2 (+)

-2 LFO-2 (-)

+3 LFO-3 (+)

-3 LFO-3 (-)

(Phase)

Positive Phase (+)

Negative Phase (-)

Tone Parameters (Upper/Lower Tone Menu)

TVA

(Time Variant Amplier)

TVA

S3 TVA

Levl 80 Velo+10

Levl

(Level)

Sets the volume of a Partial. Higher values may cause sound
distortion. If so, lower the value. Even when the Level is set to zero
here, the sound may not be completely muted if the TVA ENV
curve is high.

Value: 0–100

Velo

(Velocity Range)

Sets the sensitivity of the velocity that controls the volume of the
sound. “-” values lower the level by harder playing, and “+” values
raise the level by harder playing.

Value: -50–+50

BP

(Bias Point)

You can change the overall volume of the keyboard (= bias level)
from the set level, and set the range (bias direction) where the
bias level is valid.

This bias range is where the bias level is valid on the keyboard. It
can be set with the bias point (Where he bias range begins) and
bias direction ( < or > ).

Value: <A1–<C7, >A1–>C7

Display Example Function Example

>C4

<C4

The bias level is only valid on the keyboard above the C4
key.

The bias level is only valid on the keyboard below the C4
key.

LFOD

(LFO Depth)

Sets the depth of a growl eect. Higher values deepen the eect.

Value: 0–100

Aftr

(Aftertouch Range)

Sets the sensitivity of the aftertouch that controls the cuto point.

“-” values lower the cuto point by stronger Aftertouch, and “+”

values raise it.

Value: -7–+7

BLvl

(Bias Level)

The curve ( bias level ) can be set. Lower values make the curve
steeper.

Value: -12–0

Volume Adjustment

0

Angle

Bias Point: >C6

15

TVA ENV Time

Point 1

Key On Key O

An envelope curve is determined by times and levels.

(TVA Envelop Time)

Point 2

Point 3

Point 4

SusLL3L2L1

T1 T2 T3 T4 T5

Point 5
EndL

Tone Parameters (Upper/Lower Tone Menu)

EndL

(End Level)

To lower the level after releasing the key, set this to 0, and to raise
the level, set it to 100.

Value: 0, 100

* The End Level remains until the key is released and played again.

That is, at a value of 100, the sound remains. However, the PMC
Sound Generator’s One-shot sounds do not remain even when
set to 100.

* If the levels of two adjacent points are set to similar values, the

time between these two points may prove to be shorter than
what is actually set, or even zero.

S3 TVA ENV

T1 00 T2 00

T1

(Time 1)

Sets the time needed to reach point 1 from the moment the key
is pressed.

Value: 0–100

T2

(Time 2)

Sets the time needed to reach point 2 from point 1.

Value: 0–100

T3

(Time 3)

Sets the time needed to reach point 3 from point 2.

Value: 0–100

T4

(Time 4)

Sets the time needed to reach point 4 from point 3.

Value: 0–100

T5

(Time 5)

Sets the time needed to reach point 5 from the moment the key
is released.

Value: 0–100

TVA ENV

Velo

TKF

(Envelope)

S3 TVA ENV

Velo 00 TKF 00

(Velocity Follow (Time 1))

Sets the sensitivity of the velocity than controls the Time 1 of the
TVA ENV. Increasing the sensitivity shortens Time 1, by stronger
playing.

Value: 0–4

(Keyfollow (Time))

This can change the time o the TVA ENV depending on the key
played. 0 to 4 are valid. Higher values change the time more
drastically.

Value: 0–4

TVA ENV Level

S3 TVA ENV

L1100 L2100

L1

(Level 1)

Sets the level of point 1.

Value: 0–100

L2

(Level 2)

Sets the level of point 2.

Value: 0–100

L3

(Level 3)

Sets the level of point 3.

Value: 0–100

SusL

(Sustain level)

Sets the level of point 4.

Value: 0–100

(Level)

16

Tone Parameters (Upper/Lower Tone Menu)

TVA MOD

LFO

Selects the LFO that changes the volume periodically
(tremolo eects) .

Value: +1, -1, +2, -2, +3, -3

(TVA Modulation)

S3 TVA Mod

LFO +1 LFOD 00

(LFO Select)

Indication LFO

+1 LFO-1 (+)

-1 LFO-1 (-)

+2 LFO-2 (+)

-2 LFO-2 (-)

+3 LFO-3 (+)

-3 LFO-3 (-)

(phase)

Positive Phase (+)

Negative Phase (-)

LFOD

(LFO Depth)

Sets the depth of the tremolo eect. Higher values deepen the
eect.

Value: 0–100

Aftr

(Aftertouch Range)

Sets the sensitivity of the aftertouch that controls the volume.

“-” values lower the volume by stronger aftertouch. And “+”

values increase the volume by stronger aftertouch.

Value: -7–+7

17

Key Mode Alteration

The way in which the Key Mode (p. 2) aects how notes are
sounded diers depending on whether you’re using the D-05 in
mono mode or in poly mode.

Mono Mode, Poly Mode

When you’re using the D-05 from an external MIDI device, the D-05
can receive MIDI channels in the following two ways.

The D-05 can be used in one or the other of these two modes.

Name Function

Allows the control of more than one Key message on one

Poly Mode

Mono Mode

Select Poly or Mono mode depending on the type of Mode
Message sent from the external MIDI device.

When Mono mode messages are received by the D-05, the
messages can now be received on a channel group (= eight
consecutive MIDI channels, the basic channel being the lowest
number).

* The Mono mode of the D-05 allows it to receive only the note and

bender messages for each channel, therefore it is NOT possible to
set a dierent sound for each note separately.

channel at a time.

The D-05 is 16 or 8 voices polyphonic (depending on the
patch used). So the Poly Mode can be used the D-05 is
controlled by a keyboard or sequencer.

Allows only one MIDI massage on one channel. The D-05 is
8 voices polyphonic using 8 MIDI channels. The Mono mode
is ideal for a MIDI Guitar System (GR-33, GR-20, etc.) hat has
Mono mode, and transmits the messages of each string
separately on a dierent channel. In the other words, Mono
mode makes it possible to reproduce guitar sounds without
spoiling the natural characteristics of the instrument.

18

SEQUENCER/ARPEGGIATOR

When you want to use the sequencer, press the [SEQUENCER]
button.

The PATCH BANK [1]–[8] buttons and NUMBER [1]–[8] buttons
indicate the status of each step in the step display area that’s
selected (STEP: 1–16, 17–32, 33–48, 49–64).

SEQ MAIN

Tempo

(sequencer screen)

Steps shown on the
panel (step buttons)

Ì:120 1-16* ­ Play (PtnSel)

Shown on
the panel
(step buttons)

You can change the tempo when the tempo is displayed and no
item is selected by the [F1] [F2] buttons.

Use the [
shown.

Press a [1]–[16] button to enable step input. The screen shows
step information.

STEP INFO

Currently
playing

] [ ] buttons to change the range of steps that are

Step 1 Gate 80
C4 D#4 G4 ---

Outside the STEP
LENGTH range

Play/Stop

Plays/stops the selected pattern.

Sh

(Shue)

Species the amount of rhythm “bounce” (shue).

Value: -90–0–+90

Gate

(Gate)

Species the note duration for one step.

Value: 1–100

O

(O Step Mode)

Species whether muted steps will be treated as rests or skipped
(O Step Mode).

* This setting is not saved in the pattern.

Value: REST, SKIP

Indication Explanation

REST Rest

SKIP Skip

Ord

(Step Order)

Species the playback order of the steps.

* This setting is not saved in the pattern.

Value: , , , , RND

Indication Explanation

Play forward from the rst step.

Play backward from the last step.

Play forward from the rst step, and then play backward
from the last step.

Play with even-numbered and odd-numbered steps
inverted.

RND Play steps randomly.

(PtnSel) Pattern Select

Accesses the pattern select screen.

SEQ PRM

Len

Scal

(sequencer parameter)

In the SEQ MAIN screen, hold down the [SHIFT] button and press
the [F2] button to access the SEQ PRM screen.

(Length)

Species the pattern length (number of steps).

Value: 1–64

(Scale)

Species the note value of one step.

Value: 4, 8, 16, 32, 4T, 8T, 16T

Indication Explanation

4 Quarter note

8 Eighth note

16 Sixteenth note

32 Thirty-second note

4T Quarter-note triplet

8T Eighth note triplet

16T Sixteenth note triplet

S. Stp

(Start Step)

By specifying the start step, you can make playback start from a step that’s mid-

way through the pattern. Steps earlier than this step are not played.

* This setting is not saved in the pattern.

1. Hold down the [F1] button and use the [INCREMENT]

[DECREMENT] buttons to edit the value.

Value: -, 1–64

Indication Explanation

- Not specied

1–64 First step

E.STP

(End Step)

By specifying the last step, you can make a step that’s mid-way
through the pattern be treated as though it were the last step.
Steps later than this step are not played.

* This setting is not saved in the pattern.

1. Hold down the [F2] button and use the [INCREMENT]

[DECREMENT] buttons to edit the value.

Value: -, 1–64

Indication Explanation

- Not specied

1–64 Last step

19

SEQUENCER/ARPEGGIATOR

* Clear *

Clears the pattern.

PATTERN WRITE

While the sequencer screen is displayed, press the [WRITE]
button.

(Pattern name)

Edits the pattern name.

[F1] [F2] buttons: Move the cursor

Tempo

Species the tempo.

Value: OFF, 40–300

Indication Explanation

OFF The tempo is not stored.

40–300 The pattern is stored with the specied tempo.

Shue

Species the amount of rhythm “bounce” (shue).

Value: OFF, -90–0–90

Indication Explanation

OFF The amount of shue is not stored.

-90–0–90 The pattern is stored with the specied amount of shue.

Press a [1]–[16] button to enable step input. The screen shows
step information.

STEP INFO

ARP

(arpeggiator)

To access the arpeggiator screen, hold down the [SHIFT] button
and press the [SEQUENCER] button.

Ì:125 ARP
Sw OFF Typ UP1

Sw

(Switch)

Turns the arpeggiator on/o.

Value: OFF, ON

Typ

(Type)

Selects the type of arpeggio.

Value: UP1, U&D1, DOWN1, UP2, U&D2, DOWN2

Indication Explanation

UP1 Upward one octave

U&D1 Upward and downward one octave

DOWN1 Downward one octave

UP2 Upward two octaves

U&D2 Upward and downward two octaves

DOWN2 Downward two octaves

Step 1 Gate 80
C4 D#4 G4 ---

Pattern Patch

Here’s how to specify the patch that is used when the patch is
played.

1. Use the [INCREMENT] [DECREMENT] [PRESET/USER],

PATCH BANK, and PATCH NUMBER buttons to specify
the value.

2. If you want to turn this parameter OFF, press

the [PRESET/USER] button and then press the

[DECREMENT] button to select “OFF.”

Value: OFF, P1-11–U8-88

Indication Explanation

OFF The patch is not stored.

P1-11–U8-88 The pattern plays with the specied patch.

During STEP REC

In the SEQ MAIN screen, hold down the [SHIFT] button and press
the [F1] button to access the STEP REC screen.

Rest

([F1] button)

Tie

([F2] button)

Use the [ ] [ ] buttons to change the range of steps that are
shown.

When you press a key, a note is input at the current step. The
screen shows step information.

(step recording screen)

Inputs a rest.

Inputs a tie (the note value is added to the preceding step).

Scal

(Scale)

Species the note value of one step.

Value: 4, 8, 16, 32, 4T, 8T, 16T

Indication Explanation

4 Quarter note

8 Eighth note

16 Sixteenth note

32 Thirty-second note

4T Quarter-note triplet

8T Eighth note triplet

16T Sixteenth note triplet

Hold

If this is on, the arpeggio continues playing according to the chord
you had been playing even after you release your hand.

If you play a dierent chord while the arpeggio is being held, the
arpeggio also changes.

STEP INFO

Step 1 Gate 80
C4 D#4 G4 ---

20

Transferring Patches To and From the D-50/550

You can use MIDI to transmit patch data (64 patches) saved on
your D-50 and receive the data with the D-05. This procedure is
known as “bulk load.” This is an easy and convenient way to take
your own original patches (64 patches) created with the D-50 and
use them with the D-05.

Conversely, you can also send patch data edited using the D-05
via MIDI to the D-50/550. This procedure is called “bulk dump.”

* Read this material together with the D-50/550 Owner’s Manual.

Data transfer

A set of data can be sent to another D-50 using Roland MIDI
exclusive messages, and stored on that device. This is called “data

transfer”; transmitting data is called “bulk dump,” and receiving

this data is called “bulk load.”
Data transfer can occur using either of two methods: handshake

or one-way.

Handshake data transfer

Handshake transfers the data while verifying that the other
connected device has correctly received the data; this allows the
data to be sent reliably and quickly.

< Handshake connections >

MIDI IN

MIDI
OUT

MIDI IN

MIDI OUT

5. Put the transmitting unit in the transmit-ready

condition.

Operations on the D-05

From U1–U8, select the group that you want to transfer.

* P1–P6 cannot be transferred.

5-1. Press the [FUNCTION] button.

Function Menu
(Func) (MIDI)

5-2. Press the [ ] button to access the (B.Dump) (B.Load)

screen.

Function Menu
(B.Dump)(B.Load)

5-3. Hold down the [SHIFT] button and press the [F1] button.

Bulk Dump Sure?
[EXIT]:N [ENT]:Y

5-4. Press the [ENTER] button.

Read this material together with the D-50/550 Owner’s Manual.

One-way data transfer

D-05

D-50

1. Set the receiving unit and the transmitting unit to the

same basic channel.

2. Turn memory protect o for the receiving unit

(“Function Menu” 0 “Func” 0 “Protect”
parameter).

3. Press the data transfer button of the receiving

unit and the transmitting unit. (in the case of the
D-50/D-550)

4. Put the receiving unit in the receive-ready condition.

Operations on the D-05

From U1–U8, select the group that you want to transfer.

* P1–P6 cannot be transferred.

4-1. Press the [FUNCTION] button.

Function Menu
(Func) (MIDI)

4-2. Press the [ ] button to access the (B.Dump) (B.Load)

screen.

Function Menu
(B.Dump)(B.Load)

4-3. Press the [F2] button.

Bulk Load Sure?
[EXIT]:N [ENT]:Y

4-4. Press the [ENTER] button.

Read this material together with the D-50/550 Owner’s Manual.

One-way is the method in which data is sent from one unit
regardless of the state of the receiving unit. Although the
connection is simple, it takes somewhat longer to transfer the
data than the handshake transfer method.

< One-way connection >

MIDI

MIDI IN

OUT

D-05 D-50

MIDI OUT MIDI IN

D-05D-50

1. Set the receiving unit and the transmitting unit to the

same basic channel.

2. Turn memory protect o for the receiving unit

(“Function Menu” 0 “Func” 0 “Protect”
parameter).

3. Press the data transfer button of the receiving

unit and the transmitting unit. (in the case of the
D-50/D-550)

4. Put the receiving unit in the receive-ready condition.

Operations on the D-05

From U1–U8, select the group that you want to transfer.

* P1–P6 cannot be transferred.

21

Transferring Patches To and From the D-50/550

4-1. Press the [FUNCTION] button.

Function Menu
(Func) (MIDI)

4-2. Press the [ ] button to access the (B.Dump) (B.Load)

screen.

Function Menu
(B.Dump)(B.Load)

4-3. Hold down the [SHIFT] button and press the [F2] button.

BulkLoad.O Sure?
[EXIT]:N [ENT]:Y

4-4. Press the [ENTER] button.

Read this material together with the D-50/550 Owner’s Manual.

5. Put the transmitting unit in the transmit-ready

condition.

Operations on the D-05

From U1–U8, select the group that you want to transfer.

* P1–P6 cannot be transferred.

5-1. Press the [FUNCTION] button.

Function Menu
(Func) (MIDI)

Transferring Patches from the D-50 to the D-05

Patches (64 patches) bulk loaded from the D-50 to the D-05 are
temporarily transferred to the patch bank that includes the
current patch.

Currently Patch Sample
U1-11: Fantasia
U6-88: Big Wave

5 The patches (64 patches) originally residing in the bulk load

destination will appear to have been overwritten.

5 Patches saved to memory cards used with the D-50 (M-256D)

cannot be transferred directly from these memory cards to the
D-05. First, transfer the patch data to the D-50 from the memory
card (M-256D), then transfer the patch data from the D-50 to
the D-05.

M-256D

Number

1

2 3 4 5 6 7 8
1
2
3

Bank

4
5
6
7
8

0

Destination Patch Bank Sample

0

User1-11–User1-88

0

User6-11–User6-88

D-50

Number

1

2 3 4 5 6 7 8
1
2
3

Bank

4
5
6
7
8

D-05:User1

1
1
2
3

Bank

4
5
6
7
8

Number

2 3 4 5 6 7 8

5-2. Press the [ ] button to access the (B.Dump) (B.Load)

screen.

Function Menu
(B.Dump)(B.Load)

5-3. Hold down the [SHIFT] button and press the [F1] button.

BulkDump.O Sure?
[EXIT]:N [ENT]:Y

5-4. Press the [ENTER] button.

Read this material together with the D-50/550 Owner’s Manual.

Transferring Patches from the D-50/550 to the D-05

* You cannot bulk load data when a patch in the Preset Banks

(P1 – P6) is selected.

* The D-05 display does not change immediately following the

bulk load. You can conrm the outcome of the transfer by
switching patches.

22

Sound List

Preset Patches

W = WHOLE, D = DUAL, S = SPLIT

P1

(Preset 1:Original D-50)

No.1 2 3 4 5 6 7 8

BANK 1

2

3

4

5

6

7

8

Fantasia

(D)

DigitalNativeDance

(D)

Breathy Chier

(D)

Shamus Theme

(D)

Glass Voices

(D)

Staccato Heaven

(D)

Nightmare

(D)

Intruder FX

(D)

Metal Harp

(D)

Bass Marimba

(D)

Gamelan bell

(D)

Vibraphone

(D)

Hollowed Harp

(D)

Oriental Bells

(D)

Syn Marimba

(D)

Steel Pick

(D)

Jazz Guitar Duo

(D)

Flute-Piano Duo

(S)

Slap Brass

(D)

Basin Strat Blues

(S)

Ethnic Session

(D)

E-Bass and E-Piano

(S)

Slap Bass n Brass

(S)

Synth Bass

(D)

Arco Strings

(D)

Combie Strings

(D)

PressureMe Strings (D)

Pizzagogo

(D)

Jete Strings

(D)

Legato Strings

(D)

String Ensemble

(D)

Afterthought

(D)

Horn Section

(D)

Harpsichord Stabs

(D)

Rich Brass

(D)

Flutish Brass

(D)

Stereo Polysynth

(D)

JX Horns-Strings

(D)

Velo-Brass

(W)

Bones

(D)

Living Calliope

(D)

Griitttarr

(D)

Pipe Solo

(D)

Pressure Me Lead

(W)

Tine Wave

(D)

Shakuhachi

(D)

Digital Cello

(D)

Bottle Blower

(D)

D-50 Voices

(D)

Nylon Atmosphere

(D)

Soundtrack

(D)

Spacious Sweep

(W)

Syn-Harmonium

(W)

Choir

(D)

O K Chorale

(D)

Future Pad

(D)

Slow Rotor

(D)

Synthetic Electric

(D)

Cathedral Organ

(D)

Piano-Fifty

(D)

Rock Organ

(D)

Picked Guitar Duo

(D)

Pianissimo

(D)

PCM E-Piano

(D)

Reverb type

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

Bright Hall

Large Cave

Steel Pan

Delay (248 ms)

Delay (338 ms)

Cross Delay (157 ms)

Cross Delay (252 ms)

Cross Delay (274-137 ms)

Gate Reverb

Reverse Gate (360 ms)

Reverse Gate (480 ms)

Slap Back

Slap Back

Slap Back

Twisted Space

Space

23

(Preset 2: New for D-05)

P2

Sound List

BANK 1

2

3

4

5

6

7

8

Reverb type

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

No.1

Neo Horizon

(D)

A Bright Day

(D)

Alienz in G

(D)

Grim Sweeper

(D)

Magnif Pad

(D)

Rain Forest

(D)

FastMosphere Pad

(D)

Zenigma Pad

(D)

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

2 3 4 5 6 7 8

Aqua Bells

(D)

Music Box

(W)

Space Harp

(D)

Higher Bell

(D)

Wonder Drops

(D)

Fly Fairy

(D)

Twinkle Bugs

(D)

Christmas Time

(D)

Lead with Joystk

(D)

Hammer Feel

(D)

Gargle Lead

(D)

Minneapolis

(D)

MuiltMod Ld

(D)

TrashTalk Ld

(D)

Fifty Lead

(D)

Narky Light

(D)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

D-50SynBrass

(D)

Darjiling

(D)

Tweeters

(D)

Spectral Voices

(D)

The Synth Brass

(D)

Chop Flutes

(D)

D-Choir

(D)

50 Flutes

(D)

Bright Hall

Large Cave

Steel Pan

Delay (248 ms)

Delay (338 ms)

Cross Delay (157 ms)

Cross Delay (252 ms)

Cross Delay (274-137 ms)

Gate Reverb

Reverse Gate (360 ms)

Reverse Gate (480 ms)

Slap Back

Slap Back

Slap Back

Twisted Space

Space

Fat Warm Pad

(D)

I Saw The Light

(D)

Future is Behind

(D)

Thoughts

(D)

Saw Strings

(D)

Atmostrings

(D)

Waving Strings

(D)

Elliptic Orbit

(D)

MoodSwingKeys

(D)

MiamiVibe EP

(D)

80s Clav

(D)

The House Piano

(D)

End of the 7 Era

(D)

Ripper Bars

(D)

Open Da Gate

(D)

Wide DooWah

(D)

PlaceLetsGo Bs

(D)

Power Key Bs

(D)

DoubleGritBs

(D)

MoonStroller Bs

(D)

Mono Octabass

(W)

Synthectric Bass

(D)

Bass Compression

(D)

ControllahBs

(D)

Industrial Move

(D)

Fantasy Orche MW

(D)

Transformed

(D)

DanceCombination

(D)

Rave Stab P

(D)

Auto Work

(S)

DeathBrassBand

(D)

Touchdown

(D)

24

(Preset 3:PN-D50-01)

P3

BANK 1

2

3

4

5

6

7

8

Reverb type

No.1 2 3 4 5 6 7 8

Bouncing Bows

(D)

Cello

(D)

Classical Horn

(D)

Tenor Saxophone

(D)

Flute-Piccolo

(D)

Synth Lead 1

(D)

Ham and Organ

(D)

Star Peace Chorus

(D)

Deep Analog Strings

(D)

Viola

(D)

Fanfare

(D)

Alto Saxophone

(D)

Oboe

(D)

Synth Lead 2

(W)

Slow Rotor 2

(D)

Spacy Voice

(D)

Psycho Strings

(D)

Solo Violin

(D)

Tuba

(W)

Soprano Saxophone

(D)

Bassoon

(D)

Griitttarr 2

(D)

Slow to Fast Rotor

(D)

Thinful

(D)

Warm Strings

(D)

Contra Bass

(D)

Velo-Brass 2

(W)

EPiano n Sopranino

(S)

Clarinet

(D)

5th Lead Synth

(W)

Good and Old Days

(W)

V-Harmonium

(D)

Deep String Ensmbl

(D)

Choir and Strings

(D)

Stab Brass

(D)

Wild Blow

(D)

Ocarina

(W)

Analog Solo

(D)

Percussive E-Organ

(D)

Android

(D)

Symphony Strings

(D)

Harpsi Strings

(D)

Mallet Horns

(D)

Squeeze de Sax

(W)

Breathing Pipe

(D)

Synth Lead 3

(W)

SlapBass and Organ

(S)

Nuns

(D)

Chase String Ensmb

(D)

Horns and Strings

(D)

Slow Brass Sweep

(D)

Harmonica

(W)

Calliope

(D)

Gotham Low

(W)

Pipe Organ

(W)

Pressure Pad

(D)

Sound List

Baroque Strings

(D)

Pulse Pad

(D)

Slappin Brass

(D)

Whistling Soldiers

(S)

Wabi Sabi

(D)

Taj Mahal

(D)

Weird Organ

(D)

Digital Sound

(D)

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

Very Small Hall

Medium Small Hall

Medium Large Hall

Very Large Hall

Slap Back (short)

Slap Back (medium)

Slap Back (long)

Cross Delay (34-102 ms)

Cross Delay (103-206 ms)

Cross Delay (130 ms)

Cross Delay (306-153 ms)

Cross Delay (191 ms)

Cross Delay (220 ms)

Cross Delay (22.5-284 ms)

Cross Delay (382-11 ms)

Cross Delay (28-426 ms)

25

(Preset 4:PN-D50-02)

P4

BANK 1

2

3

4

5

6

7

8

Reverb type

No.1 2 3 4 5 6 7 8

Synthetic Piano 1

(D)

Electric Piano

(D)

Guitar Frets

(D)

Marimba

(D)

SambaDrum n Agogo

(S)

Fingered Bass

(D)

Stringz n Bellz

(D)

AQUA

(D)

Upright Pianer

(D)

Xmod Attack EPiano

(W)

Jazz Guitar

(W)

Xylophone

(D)

Drums Set 1

(S)

Slap Bass 1

(D)

Bright Wave

(D)

Jet Wars

(S)

Loud Piano

(D)

Harmonic E-Piano

(D)

Spanishart

(D)

Glockenspiel

(W)

Drums Set 2

(S)

Slap It

(D)

Gotham Chords

(D)

Orchestra Hit

(D)

Tack Piano

(D)

Reluctant E-Piano

(D)

Acoustic Guitr Box

(D)

Jamaican Steel

(D)

Percussion Set 1

(S)

Picked Bass

(D)

Wonderwave

(D)

Clock Factory

(D)

Synthetic Piano 2

(W)

Tines

(D)

Harp

(W)

Perc AAAH

(D)

Gron Percussion

(D)

Fretless Bass

(D)

GamelanBells 2

(D)

Gunre - Ricochet

(D)

High Piano

(D)

Old Clav

(W)

Koto

(D)

Tremolo BrassBells

(D)

Bell Tree

(W)

Acoustic Bass

(D)

Ethnic Fifth

(W)

Fast Forward

(W)

Two Part Invention

(D)

Painful Clav

(D)

Sitar

(D)

5th Voice Bells

(D)

Serrengetti

(D)

Synth Bass 2

(D)

Japanese Duo 1

(S)

Air Raid Siren

(D)

Sound List

HarpsichordCoupler

(W)

Flanging Clav

(D)

Hawaiian Palms

(S)

Xylo Gate

(W)

Bellocell

(D)

SlapBass-SynBrass

(S)

Japanese Duo 2

(S)

Sweep Loop on C

(D)

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

Very Small Room

Medium Small Room

Medium Room

Large Room

Metal Can

Short Gate (140 ms)

Medium Gate (250 ms)

Long Gate (390 ms)

Reverse Gate (270 ms)

Reverse Gate (440 ms)

Delay (94 ms)

Delay (122 ms)

Delay (142 ms)

Cross Delay (168 ms)

Delay (212 ms)

Delay (290 ms)

26

(Preset 5:PN-D50-03)

P5

BANK 1

2

3

4

5

6

7

8

Reverb type

No.1 2 3 4 5 6 7 8

String Section

(D)

Vibrato Cello

(D)

Powerful Brass

(D)

Baritone Saxophone

(D)

Breathy Flute

(D)

Heavy Metal Lead

(D)

Jazz Organ

(D)

Whispy Voice

(D)

Syn-Strings Hi

(D)

String Quartette

(D)

Mute Trumpet

(W)

Silver Saxophones

(D)

Bohemian

(D)

Monophonic Lead

(D)

Huge Pipes

(D)

Alpha Omega Ensemble

(D)

Tension Strings

(D)

Pizz Typewriter

(D)

Westerly Brass

(D)

Saxcessive Tones

(D)

Recorder

(D)

Pulse Lead

(W)

Velocity Rotor

(D)

Voice n Sawz

(D)

Planetary Strings

(D)

Strings Horn (D)

Flugel Horn

(W)

Synthesized Sax

(W)

Breeze Pipe

(D)

Squeeze Lead

(D)

Choral Organ

(D)

4th Synth Voice

(D)

Symphony Orchestra

(D)

Strings ElecPiano

(D)

Eye Brasspad

(D)

Growl Saxophone

(D)

Flutes Ensemble

(D)

Energetical Lead

(D)

Click Organ

(D)

Husky Voices

(D)

Analog Syn-Strings

(D)

High-Strings Oboe

(D)

Trumpetters

(D)

Sopranino Sax

(D)

Woodwinds

(S)

Monotone Lead

(D)

Solid Beat

(D)

Stereo Panorama

(D)

Crescendo Strings

(D)

Cello-ViolaPiccolo

(D)

Pressure 5th Horns

(D)

Xarmonica

(W)

Pipe Bags

(D)

Harmonics Lead

(D)

Wavy Motion

(D)

Voyageur

(D)

Sound List

Warm Strings Pad

(D)

Bass-PianoStrings

(D)

Pianish Horns

(D)

Happy Whistler

(D)

Vibe n Clarinet

(S)

Metallic Lead

(D)

Pressure Generator

(D)

Glass Voice 2

(D)

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

Cross Delay (114 ms)

Cross Delay (165 ms)

Cross Delay (198 ms)

Cross Delay (240 ms)

Tap Delay (110-38 ms)

Tap Delay (50-180 ms)

Tap Delay (250-500 ms)

Pan Delay (250-500 ms)

Single Delay (136 ms)

Single Delay (205 ms)

Single Delay (270 ms)

Single Delay (355 ms)

Single Delay (430 ms)

Single Delay (500 ms)

Rolling (short)

Rolling (long)

27

(Preset 6:PN-D50-04)

P6

BANK 1

2

3

4

5

6

7

8

Reverb type

No.1 2 3 4 5 6 7 8

Perc E-Piano

(D)

Spanish Guitar

(D)

Toys in the Attic

(D)

Sweet Vibes

(D)

Digital Atmosphere

(W)

Hopper Bass

(D)

Soundtrack n Hold

(D)

Marshy Zone

(D)

Ballad Piano Choir

(D)

Ringmod E-Guitar

(D)

Music Toybox

(D)

Clear Bell Pad

(W)

Polyphonic Synth

(D)

Electric Pick Bass

(D)

Reso Release

(D)

Dense Forest

(D)

New Age Piano

(D)

Gypsy Guitar

(D)

Bells Harmony

(D)

Marimbell

(D)

Pad Combo

(D)

Octave Synth Bass

(D)

Ballet Voices U-L

(D)

F-1 Grand Prix

(D)

Xmod E-Piano

(W)

Rock Guitar

(D)

Star Chime

(D)

Venetian Cafe

(S)

Attack-Reso Synth

(D)

Natural Bass

(D)

PressPan SamplHold

(D)

Passing Sky

(D)

Vividly Piano

(D)

HarpStrings

(D)

African Kalimba

(D)

Grand Canyon

(S)

Velo-Oct Pulse

(D)

Glide Bass

(D)

Twilight Zone

(D)

Devildom

(S)

Air Piano

(D)

Dulcimer Voice

(D)

Okinawa Session

(S)

Funky Bed Trax

(S)

Perc Release

(D)

Funky Reso-Bass

(D)

AfterBend-Panning

(D)

Haunted Bells

(D)

Honky-Tonk Piano

(D)

Combie Clav

(D)

Jamaican Sounds

(D)

Ohayashi

(S)

Steam Synth Pad

(D)

Steelblue Bass

(D)

All Diminish Chord

(D)

Vietnam FX

(S)

Sound List

Antique harpsichord

(D)

Stereo Clav

(D)

India

(S)

Koto-BambooFlute

(S)

Zean- - -

(D)

Funky Cutting

(S)

Cosmo Voices

(D)

Big Waves

(D)

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

11.

12.

13.

14.

15.

16.

Small Hall

Medium Hall

Large Hall

Chapel

Box

Small Metal Room

Small Room

Medium Room

Medium Large Room

Large Room

Single Delay (102 ms)

Cross Delay (180 ms)

Cross Delay (224 ms)

Cross Delay (148-296 ms)

Short Gate (200 ms)

Long Gate (480 ms)

17.

18.

19.

20.

21.

22.

23.

24

25.

26.

27.

28.

29.

30.

31.

32.

Small Hall

Medium Hall

Large Hall

Cave

Small Room

Medium Room

Large Room

Garage

Slap Back

Small Can

Metal Box

Medium Gate (320 ms)

Long Gate (430 ms)

Gate Reverse (370 ms)

Space

Flange Space

28

Sound List

Waveform

Oneshot

Number Indication PCM Name

1 Marmba Marimba

2 Vibes Vibraphone

3 Xylo1 Xylophone 1

4 Xylo2 Xylophone 2

5 Log_Bs Log bass

6 Hammer Hammer

7 JpnDrm Japanese Drum

8 Kalmba Kalimba

9 Pluck Pluck 1

10 Chink Chink

11 Agogo Agogo

12 3angle Triangle

13 Bells Bell’s

14 Nails Nail File

15 Pick Pick

16 Lpiano Low Piano

17 Mpiano Mid Piano

18 Hpiano High Piano

19 Harpsi Harpsichord

20 Harp Harp

21 Orgprc Organ Percussion

22 Steel Steel Strings

23 Nylon Nylon Strings

24 Eguit1 Electric Guitar 1

25 Eguit2 Electric Guitar 2

26 Dirt Dirty Guitar

27 P_Bass Pick Bass

28 Pop Pop Bass

29 Thump Thump

30 Uprite Upright Bass

31 Clarnt Clarinet

32 Breath Breath

33 Steam Steamer

34 FluteH High Flute

35 FluteL Low Flute

36 Guiro Guiro

37 IndFlt Indian Flute

38 Harmo Flute Harmonics

39 Lips1 Lips 1

40 Lips2 Lips 2

41 Trumpt Trumpet

42 Bones Trombones

43 Contra Contrabass

44 Cello Cello

45 VioBow Violin bow

46 Violns Violins

47 Pizz Pizzicart

Loop

Number Indication PCM Name

48 Drawbr Draw bars (Loop)

49 Horgan High Organ (Loop)

50 Lorgan Low Organ (Loop)

51 EP_lp1 Electric Piano (Loop 1)

52 EP_lp2 Electric Piano (Loop 2)

53 CLAVlp Clavi (Loop)

54 HC_lp Harpsichord (Loop)

55 EP_lp1 Electric Bass (Loop 1)

56 AB_lp Acoustic Bass (Loop)

57 EB_lp2 Electric Bass (Loop 2)

58 EB_lp3 Electric Bass (Loop 3)

59 EG_lp Electric Guitar (Loop)

60 CELLlp CELLlp (Loop)

61 VIOLlp Violin (Loop)

62 Reedlp Lead (Loop)

63 SAXip1 Sax (Loop 1)

64 SAXlp2 Sax (Loop 2)

65 Aah_lp Aah (Loop)

66 Ooh_lp Ooh (Loop)

67 Manlp1 Male (Loop 1)

68 Spect1 Spectrum 1 (Loop)

69 Spect2 Spectrum 2 (Loop)

70 Spect3 Spectrum 3 (Loop)

71 Spect4 Spectrum 4 (Loop)

72 Spect5 Spectrum 5 (Loop)

73 Spect6 Spectrum 6 (Loop)

74 Spect7 Spectrum 7 (Loop)

75 Manlp2 Male (Loop 2)

76 Noise Noise (Loop)

Loop

(Some of the sounds 1 to 76, are combined and looped.)

Number Indication

77 Loop01

78 Loop02

79 Loop03

80 Loop04

81 Loop05

82 Loop06

83 Loop07

84 Loop08

85 Loop09

86 Loop10

87 Loop11

88 Loop12

89 Loop13

90 Loop14

91 Loop15

92 Loop16

93 Loop17

94 Loop18

95 Loop19

96 Loop20

29

Number Indication

97 Loop21

98 Loop22

99 Loop23

100 Loop24

Sound List

30

Parameter List

Patch Factors

Settings Common to All Screens

KEY MODE Key Mode

SPLIT Split Point C2–C7

BALANCE Tone Balance 0–100

TRANSPOSE Transpose -36–+36

Chase Switch Chase Switch OFF, ON

Portamento Switch Portamento Switch OFF, ON

CONTROL

OUTPUT

(p. 3)

Bend Bender Range 0–12

AfterPB Aftertouch Bend Range -12–+12

Hold Hold Mode U, L, UL

Time Portamento Time 0–100

Mode Portamento Mode U, L, UL

(p. 4)

Mode Output Mode 1–4

RevType Reverb Type 1–32

Revbal Reverb Balance 0–100

Vol Total Volume 0–100

(PATCH TOP) (p. 2)

WHOLE, DUAL, SPLIT, SEP,
WHOL-S, DUAL-S, SPL-US,
SPL-LS, SEP-S

Tone Parameters

Common Parameters

Struct

(p. 8)

Structure Struct Structure 1–7

P-ENV

LFO

(p. 8)

P. ENV

P-ENV Time

P-ENV Level

Pitch Mod

(p. 9)

Velo Velocity Range 0–2

TKF Time Keyfollow 0–4

T1 Time1 0–50

T2 Time2 0–50

T3 Time3 0–50

T4 Time4 0–50

L0 Level0 -50–0–+50

L1 Level1 -50–+50

L2 Level2 -50–+50

SusL Sustain Level -50–+50

EndL End Level -50–+50

LFOD LFO Depth 0–100

Lever Pitch Lever Modulation 0–100

Aftr

Pitch Aftertouch
Modulation

0–100

CHASE

TONE TUNE

MIDI

(p. 4)

Mode Chase Mode UL, ULL, ULU

Level Chase Level 0–100

Time Chase Time 0–100

(p. 5)

LKey L-Tone Key Shift -24–+24

UKey U-Tone Key Shift -24–+24

LTu n L-Tone Fine Tune -50–+50

UTun U-Tone Fine Tune -50–+50

(p. 5)

TxCH Transmit CH B, 1–16

TxPC

SepCH

Transmit Program
Change

Separate Mode Receive
CH

O, 1–100

O, 1–16

EQ

LFO-1

LFO-2

LFO-3

(p. 10)

EQ

Wave Waveform TRI, SAW, SQU, RND

Rate Rate 0–100

Delay Delay Time 0–100

Sync Sync. O, On, KEY

Wave Waveform TRI, SAW, SQU, RND

Rate Rate 0–100

Delay Delay Time 0–100

Sync Sync. O, On

Wave Waveform TRI, SAW, SQU, RND

Rate Rate 0–100

Delay Delay Time 0–100

Sync Sync. O, On

63, 75, 88, 105, 125,

LowFreq Low Frequency

LowGain Low Gain -12–+12

HiFreq High Frequency

HiQ High Q

HiGain High Gain -12–+12

150, 175, 210, 250,

300, 350, 420, 500,

600, 700, 840

250, 300, 350, 420,

500, 600, 700, 840,

1.0, 1.2, 1.4, 1.7, 2.0,

2.4, 2.8, 3.4, 4.0, 4.8,

5.7, 6.7, 8.0, 9.5

0.3, 0.5, 0.7, 1.0, 1.4,

2.0, 3.0, 4.2, 6.0

31

Parameter List

Type Chorus Type 1–8

Chorus

Rate Chorus Rate 0–100

Depth Chorus Depth 0–100

Balance Chorus Balance 0–100

Partial Parameters

FORM

PITCH

(p. 12)

WG Form

WG PW

(p. 11)

WG Pitch

WG Mod

Wave Waveform SQU, SAW

PCM PCM Wave No. 1–100

PW Pulse Width 0–100

Velo Velocity Range -7–+7

After Aftertouch Range -7–+7

LFO LFO Select +1, -1, +2, -2, +3, -3

LFOD LFO Depth 0–100

Coars Coarse C1–C7

Fine Fine -50–+50

KF Keyfollow

LFO LFO Mode O, (+), (-), A&L

ENV P-ENV Mode O, (+), (-)

Bend Bender Mode O, KEY, Norm

-1, -1/2, -1/4, 0, 1/8,
1/4, 3/8, 1/2, 5/8,
3/4, 7/8, 1, 5/4, 3/2,
2, s1, s2

TVA

(p. 15)

TVA

TVA ENV

TVA ENV
Time

TVA ENV
Level

MOD

TVF MOD

TVA MOD

(p. 15, p. 17)

Level Level 0–100

Velo Velocity Range -50–+50

BP Bias Point/Bias Direction

BLevel Bias Level -12–0

Velo Velocity Follow 0–4

TKF Time Keyfollow 0–4

T1 Time1 0–100

T2 Time2 0–100

T3 Time3 0–100

T4 Time4 0–100

T5 Time5 0–100

L1 Level1 0–100

L2 Level2 0–100

L3 Level3 0–100

SusL Sustain Level 0–100

EndL End Level 0, 100

LFO LFO Select +1, -1, +2, -2, +3, -3

LFOD LFO Depth 0–100

After Aftertouch Range -7–+7

LFO LFO Select +1, -1, +2, -2, +3, -3

LFOD LFO Depth 0–100

After Aftertouch Range -7–+7

<A1 – <C7,

>A1 – >C7

TVF

(p. 13)

TVF

TVF ENV

TVF ENV
Time

TVF ENV
Level

Freq Cuto Frequency 0–100

Reso Resonance 0–30

KF Keyfollow

BP Bias Point/Bias Direction

BLevel Bias Level -7–+7

Depth Depth 0–100

Velo Velocity Range 0–100

DKF Depth Keyfollow 0–4

TKF Time Keyfollow 0–4

T1 Time1 0–100

T2 Time2 0–100

T3 Time3 0–100

T4 Time4 0–100

T5 Time5 0–100

L1 Level1 0–100

L2 Level2 0–100

L3 Level3 0–100

SusL Sustain Level 0–100

EndL End Level 0, 100

-1, -1/2, -1/4, 0, 1/8,
1/4, 3/8, 1/2, 5/8, 3/4,
7/8, 1, 5/4, 3/2, 2

<A1 – <C7,

>A1 – >C7

System Parameters

Function

(Function screen)

MastTune

Protect Turns memory protect on/o.

AutoO

Demo

LCDCont

SndMode

C1Scale

C2Hold

(Master Tune)

(LCD Contrast)

(Sound Mode)

Species the reference pitch.

Enables automatic power-o when a certain
length of time has elapsed since the unit was last
played or operated.

Species the time (minutes) until the LED demo
begins.

If this is OFF, the demo is disabled.

Adjusts the contrast of the display.

Original

This mode simulates the sound engine of the
D-50.

Clear

This mode uses digital processing that is more
accurate than on the D-50, delivering clear
sound.

Species a note scale type for the ribbon
controller (C1).

Turns on/o the hold function of the ribbon
controller (C2).

32

MIDI Implementation

Model: D-05

Date: Sep. 09, 2017

Version: 1.00

1. Data Transmission

9Channel Voice Messages

7 Note o

Status 2nd byte 3rd byte

8nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note o velocity: 00H - 7FH (0 - 127)

7 Note on

Status 2nd byte 3rd byte

9nH kkH v vH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

7 Control Change

6Bank Select (Controller number 0, 32)

Status 2nd byte 3rd byte

BnH 00H mmH

BnH 20H llH

6Volume (Controller number 7)

Status 2nd byte 3rd byte

BnH 07H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Volume: 00H - 7FH (0 - 127)

6Hold 1 (Controller number 64)

Status 2nd byte 3rd byte

BnH 40H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

6Portamento Switch (Controller number 65)

Status 2nd byte 3rd byte

BnH 41H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

7 Program change

Status 2nd byte

CnH ppH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

pp = Program number: 00H - 3FH (prog.1 - prog.64)

* Not transmitted when Program Change Switch (SYSTEM MIDI) is OFF.

7 Channel Aftertouch

Status 2nd byte

DnH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)

* The Patches corresponding to each Bank Select are as follows.

BANK SELECT

MSB LSB

000

001

002

003

004

005

087

006

007

008

009

010

011

012

013

PROGRAM

NUMBER

BATCH BANK PATCH NUMBER

001 - 064 Internal 1 11 - 88

001 - 064 Internal 2 11 - 88

001 - 064 Internal 3 11 - 88

001 - 064 Internal 4 11 - 88

001 - 064 Internal 5 11 - 88

001 - 064 Internal 6 11 - 88

001 - 064 Internal 7 11 - 88

001 - 064 Internal 8 11 - 88

001 - 064 Preset 1 11 - 88

001 - 064 Preset 2 11 - 88

001 - 064 Preset 3 11 - 88

001 - 064 Preset 4 11 - 88

001 - 064 Preset 5 11 - 88

001 - 064 Preset 6 11 - 88

6Modulation (Controller number 1)

Status 2nd byte 3rd byte

BnH 01H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Modulation depth: 00H - 7FH (0 - 127)

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

vv = Aftertouch Value: 00H - 7FH (0 - 127)

7 Pitch Bender Change

Status 2nd byte 3rd byte

EnH llH mmH

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

mm, ll = Pitch Bender value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

9Channel Mode Messages

7 All Sounds O (Controller number 120)

Status 2nd byte 3rd byte

BnH 78H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

7 Reset All Controllers (Controller number 121)

Status 2nd byte 3rd byte

BnH 79H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

7 OMNI OFF (Controller number 124)

Status 2nd byte 3rd byte

BnH 7CH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

33

MIDI Implementation

7 POLY (Controller number 127)

Status 2nd byte 3rd byte

BnH 7FH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

9System Realtime Messages

7 Active Sensing

Status

FEH

* This message is transmitted at intervals of approximately 250 msec.

7 System Exclusive Messages

Status

F0H :System Exclusive

F7H : EOX (End of Exclusive)

Transmitted in the following three cases.

1. When Operating Bulk-Dump

2. If Exclusive of System MIDI is “P-Dump,” this unit transmits all parameters in the patch when the
patch is changed.

3. If Exclusive of System MIDI is “TxEdit,” this unit transmits the parameter when the parameter is
edited.

Refer to Section 3 to see details.

2. Receive data

9Channel Voice Messages

7 Note o

Status 2nd byte 3rd byte

8nH kkH vvH

9nH kkH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

kk = note number: 00H - 7FH (0 - 127)

vv = note o velocity: 00H - 7FH (0 - 127)

7 Note on

Status 2nd byte 3rd byte

9nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

7 Control Change

6Bank Select (Controller number 0, 32)

Status 2nd byte 3rd byte

BnH 00H mmH

BnH 20H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)

* The Patches corresponding to each Bank Select are as follows.

BANK SELECT

MSB LSB

000

001

002

003

004

005

087

006

007

008

009

010

011

012

013

PROGRAM

NUMBER

BATCH BANK PATCH NUMBER

001 - 064 Internal 1 11 - 88

001 - 064 Internal 2 11 - 88

001 - 064 Internal 3 11 - 88

001 - 064 Internal 4 11 - 88

001 - 064 Internal 5 11 - 88

001 - 064 Internal 6 11 - 88

001 - 064 Internal 7 11 - 88

001 - 064 Internal 8 11 - 88

001 - 064 Preset 1 11 - 88

001 - 064 Preset 2 11 - 88

001 - 064 Preset 3 11 - 88

001 - 064 Preset 4 11 - 88

001 - 064 Preset 5 11 - 88

001 - 064 Preset 6 11 - 88

6Modulation (Controller number 1)

Status 2nd byte 3rd byte

BnH 01H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Modulation depth: 00H - 7FH (0 - 127)

6Portamento Time (Controller number 5)

Status 2nd byte 3rd byte

BnH 05H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Portamento Time: 00H - 7FH (0 - 127)

34

MIDI Implementation

6Data Entry (Controller number 6, 38)

Status 2nd byte 3rd byte

BnH 06H mmH

BnH 26H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = the value of the parameter specied by RPN/NRPN

mm = MSB, ll = LSB

6Volume (Controller number 7)

Status 2nd byte 3rd byte

BnH 07H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Volume: 00H - 7FH (0 - 127)

6Hold 1 (Controller number 64)

Status 2nd byte 3rd byte

BnH 40H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

6Portamento Switch (Controller number 65)

Status 2nd byte 3rd byte

BnH 41H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

6RPN MSB/LSB (Controller number 100, 101)

Status 2nd byte 3rd byte

BnH 65H mmH

BnH 64H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm = upper byte (MSB) of parameter number specied by RPN

ll = lower byte (LSB) of parameter number specied by RPN

<<< RPN >>>

Control Changes include RPN (Registered Parameter Numbers), which are extended.

When using RPNs, rst RPN (Controller numbers 100 and 101; they can be sent in any order) should
be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be
sent to set the value.

This device receives the following RPNs.

RPN Data entry

MSB, LSB MSB, LSB Notes

00H, 00H mmH, llH Pitch Bender Range

00H, 01H mmH, llH Fine Tuning

mm: 00H - 0CH (0 - 12 semitones)
ll: ignored (processed as 00H)
Up to 1 octave can be specied in semitone
steps.

mm, ll: 00 00H - 40 00H - 7F 7FH
( -50 - 0 - +50 cent)

7 Program change

Status 2nd byte

CnH ppH

n = MIDI channel number: 0H - FH (ch.1 - 16)

pp = Program number: 00H - 3FH (prog.1 - prog.64)

* Not received when the Program Change Switch (SYSTEM MIDI) is OFF.

7 Channel Aftertouch

Status 2nd byte

DnH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Aftertouch Value: 00H - 7FH (0 - 127)

7 Pitch Bender Change

Status 2nd byte 3rd byte

EnH llH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Pitch Bender value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

9Channel Mode Messages

7 All Sounds O (Controller number 120)

Status 2nd byte 3rd byte

BnH 78H 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* When this message is received, all notes currently sounding on the corresponding channel will

be turned o.

7 Reset All Controllers (Controller number 121)

Status 2nd byte 3rd byte

BnH 79H 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* When this message is received, all controllers on the corresponding channel will be set to their

reset values.

7 MONO (Controller number 126)

Status 2nd byte 3rd byte

BnH 7EH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm = mono number: 00H - 10H (0 - 16)

MONO mode, each message is recognized on the channel shown below.

mm Channel range that is specied

0 8

1-8 1-8

9-16 8

17 or higher Ignored

If mono mode is detected, each type of message is recognized on the channels shown below,
according to the SYSTEM MIDI “Control” setting.

Message

Note on/o

Control Change

Mode Message

Program Change

Aftertouch

Pitch Bender Change

Exclusive

“Basic” refers to the basic channel specied by the SYSTEM MIDI “MIDI CH” setting; “global” refers to
the MIDI channel that is numbered one below the basic channel. However, if the basic channel is 1,
the global channel will be 16.

7 POLY (Controller number 127)

Status 2nd byte 3rd byte

BnH 7FH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* These Mode Messages (2nd byte = 123-127) are also recognized as All Sounds O and Reset All

Controllers.

Control in MIDI function

B.CH G.CH

individual

basic Global

basic Global

basic Global

basic Global

individual

basic Global

35

MIDI Implementation

9System Realtime Message

7 Active Sensing

Status

FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of all further mes-

sages. While monitoring, if the interval between messages exceeds 300 ms, the same processing
will be carried out as when All Notes O are received, and message interval monitoring will be
halted.

7 System Exclusive Message

Status

F0H : System Exclusive

F7H : EOX (End of Exclusive)

* Exclusive message can change either each parameter individually or all parameters, of a patch or

tone.

* Refer to Section 3 to see details.

3. Exclusive Communication

93.1 Message Format

Roland’s exclusive format (type IV) messages all have the following structure.

Byte Explanation

FOH Exclusive status

41H Roland ID

DEV Device-ID

MDL Model-ID

CMD Command-ID

[BODY] Data

F7H EOX (End Of Exclusive)

7 MIDI status (F0H), (F7H)

Exclusive messages are enclosed between two status bytes; a “maker ID” is required after the F0H
status byte. <This is prescribed by MIDI Specication version 1.0.>

7 Maker ID (41H)

This is Roland’s ID. The “maker ID” species the manufac turer whose exclusive message this is.

7 Device ID “DEV”

This distinguishes between multiple devices. Normally, this will be a value that is one less than the
“basic channel” (00H-0FH), but in the case of a device that has multiple basic channels, it may also
be specied as (00H-1FH).

7 Model ID “MDL”

This has a xed value for each model. However, if the same data is used by diering models, the
same value is used. For expansion, (00H) is used; the number of (00H) is also used to dierentiate
various things.

For example,

(01H),
(02H),
(03H),
(00H, 01H),
(00H, 02H),
(00H, 00H, 01H)

each indicate dierent models.

7 Command ID “CMD”

This indicates the role of the message.

For expansion, (OOH) is used; the number of (OOH) is also used to dierentiate various things.

For example,

(01H),
(02H),
(03H),
(00H, 01H),
(00H, 02H),
(00H, 00H, 01H)

each indicate dierent roles.

7 Data body [BODY]

This is the actual body of data that is transmitted or received. The size and content dier depending
on the “model ID” and “command ID.”

93.2 Data Transfer Using Address Mapping

Address mapping is the method in which data is transferred according to the format described
in section 3.1. With this method, waveform data, sound data, switch information, and parameters
are assigned to the address space specied for each model, so that various types of data can be
transferred by specifying its address.

This means that the data transfer method does not dier depending on the model or the type of
data. There are two methods of transferring the data: one-way and handshake.

Depending on the model and on the type of data, one or another of the two methods is used, or in
some cases only one method is possible.

7 One-way method (see 3.3)

This method is suitable for transferring relatively small amounts of data; it transfers data by
unilaterally transmitting an exclusive message.

Connection diagram

Device A

MIDI OUT

MIDI IN

If “data request” (see 3) is used, connection 2 is required.

1

2

Device B

MIDI IN

MIDI OUT

7 Handshake method (see 3.4)

This method transfers data using bi-directional verication (handshaking) between the transmitting
and receiving devices. When transferring large amounts of data, this method provides high
reliability and faster transfer.

Connection diagram

Device A

MIDI OUT

MIDI IN

Both connections 1 and 2 are required.

Regarding the above two methods

* The “command ID” is xed according to the transfer method.

* Data transfer cannot occur unless both device [A] and device [B] use the same method, are both

in a state that allows them to transfer data, and are both set to matching “device ID” and “model
I D.”

1

2

Device B

MIDI IN

MIDI OUT

93.3 Transferring Data Using the One-Way
Method

When transferring relatively small amount of data, this method transmits the data unilaterally
without checking each message. However, when consecutively sending large amount of data,
an appropriate interval of time (at least 20 msec) is inserted between transmissions. This method
requires that the receiving device be able to correctly receive the data within that time.

Types of message

Byte Explanation

Request data 1 RQ1

Data set DT1

(11H)

(12H)

36

MIDI Implementation

7 Request data 1 “RQ1” (11H)

Transmit this when you want the other device to send you data. The address and size indicate the
size of data that is requested.

If this message is received, and if that device is able to transmit data, and the address and size are
appropriate, the requested data is sent as a “data reset” message. If these conditions are not met,
nothing is sent.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

11H Command-ID

aaH Address MSB

ssH Size MSB

sum Check Sum

F7H EOX (End Of Exclusive)

* The size indicates the address of the entire data that is being requested; it is not the number of

bytes of data in a single “data set 1” message.

* For each model, the amount of data that can be transmitted at one time is xed depending on

the type of data, and in some cases the data must be transmitted and received in divisions of the
specied address.

* The address and size are numbers of bytes, and are determined for each “model ID.”

* The check sum is the value that causes the lower seven bits to be zero when the address, the

size, and the check sum itself are added.

LSB

LSB

7 Data set 1 “DT1” (12H)

This transmits the actual data.

Although each individual byte of data has an address, this message allows the address of a single
item of data, or the starting address of multiple items of data, together with the data alone, to be
transmitted in the order of the addresses.

According to the MIDI specication, messages other than realtime messages cannot interrupt an
exclusive message. In consideration of devices that implement “soft-thru,” Roland limits the amount
of data that is transferred in a single “data set 1” to a maximum of 256 bytes; for this reason, large
amount of data that exceed 256 bytes are divided and transmitted in multiple pieces.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

12H Command-ID

aaH Address MSB

ssH Data

sum Check Sum

F7H EOX (End Of Exclusive)

* This message allows transfer of just the valid portion within the range indicated by the “data

request 1” message.

* For each model, the number of data items that can be transmitted at once is determined accord-

ing to the type of data, and in some cases, these must be transmitted or received at divisions of
the specied address.

* The number of address bytes is determined for each “model ID.”

* The check sum is the value that causes the lower seven bits to be zero when the address, the

size, and the check sum itself are added.

LSB

7 Example of transmission and reception

6When device (A) transfers data to device (B)

Simply transmit a “data set 1” message.

Device A Device B

“Data set 1”

* Make a time interval of 20 msec or more

“Data set 1”

“Data set 1”

6When device (B) requests data transmission from device (A)

First a “data request 1” message is transmitted. Then, device (A) transmits a “data set 1” message.

Device A Device B

“Request data”

“Data set 1”

* Make a time interval of 20 msec or more

“Data set 1”

“Data set 1”

93.4 Transferring Data Using the Handshake
Method

The handshake method transfers data while performing bi-directional verication between the two
devices. Since data is transferred while checking whether it was transferred correctly, it is highly
reliable, and since data is transmitted successively as soon as the receiving device is ready, data
transfer takes a shorter time than the one-way method which involves waiting for an interval of
time.

When transferring a large amount of MIDI data, such as sampler waveform data or data for all
sounds of a synthesizer, the handshake method is more appropriate than the one-way method.

Types of message

Byte Explanation

Want to send data WSD (40H)

Request data RQD (41H)

Data set DAT (42H)

Acknowiedge

End of data EOD (45H)

Communication
error

Rejection RJC (4FH)

7 Want to send data “WSD” (40H)

Transmit this when you want to send data to the other device. The address and size indicate the
amount of data that you want to send.

If this message is received, and if that device is able to receive data, and the address and size are
appropriate, then it transmits an “acknowledge” message. If not, the device transmits a “ rejection”
message.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

40H Command-ID

aaH Address MSB

ACK (43H)

ERR (4EH)

LSB

37

MIDI Implementation

Byte Explanation

ssH Size MSB

LSB

sum Check Sum

F7H EOX (End Of Exclusive)

* The size indicates the address range of the entire data that is being requested; it is not the

number of bytes of data in a single “data set” message.

* For some models, the amount of data that can be transmitted at one time might be xed

depending on the type of data, and in some cases the data must be transmitted and received in
specic divisions or divided by addresses.

* The address and size are the same number of bytes, and are determined for each “model ID.”

* The check sum is the value that causes the lower seven bits to be zero when the address, the

size, and the check sum itself are added.

7 Request data “RQD” (41H)

This is transmitted when requesting the other device to transmit data. The address and size indicate
the data and the amount being requested.

If this message is received, and if that device is in a condition of being able to transmit data, and if
the address and size are appropriate, then it transmits the requested data as a “data set” message. If
not, the device transmits a “rejection” message.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

41H Command-ID

aaH Address MSB

LSB

ssH Size MSB

LSB

sum Check Sum

F7H EOX (End Of Exclusive)

* The size indicates the address range of the entire data that is being requested; it is not the

number of bytes of data in a single “data set” message.

* For each model, the amount of data that can be transmitted at one time might be xed

depending on the type of data, and in some cases the data must be transmitted and received in
divisions of specic addresses.

* The address and size are the same number of bytes, and are determined for each “model ID.”

* The check sum is the value that causes the lower seven bits to be zero when the address, the

size, and the check sum itself are added.

7 Data set “ DAT” (42H)

This transfers the actual data.

Although each byte of the data has an address, this message allows the address of a single item
of data, or the starting address of multiple items of data, together with the data along, to be
transmitted in the order of the addresses.

According to the MIDI specication, messages other than realtime messages cannot interrupt an
exclusive message. In consideration of devices that implement “soft-thru,” Roland limits the amount
of data that is transferred in a single “data set” to a maximum of 256 bytes; for this reason, large
amount of data that exceed 256 bytes are divided and transmitted in multiple pieces.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

42H Command-ID

aaH Address MSB

ssH Data

LSB

Byte Explanation

sum Check Sum

F7H EOX (End Of Exclusive)

* This message allows transfer of just the valid portion within the range indicated by the “data

request” or “data transmission request” message.

* For each model, the number of data items that can be transmitted at once might be determined

according to the type of data, or might have to be transmitted and received at divisions of the
specied address.

* The number of address bytes is determined for each “model ID.”

* The check sum is the value that causes the lower seven bits to be zero when the address, the

size, and the check sum itself are added.

7 Acknowiedge “ACK” (43H)

This message is transmitted when a message such as “data transmit/receive request,” “data set,”
or “data end” was received, and that message was correctly received and the corresponding
preparations or processing were completed. After the other device receives this message, it
proceeds to the next operation.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

43H Command-ID

7FH EOX (End Of Exclusive)

7 End of data “EOD” (45H)

This message is transmitted in order to inform the other device that the data has ended. After this
message, an “acknowledge” message is received from the other device, and then transfer ends.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

45H Command-ID

7FH EOX (End Of Exclusive)

7 Communication error “ERR” (4EH)

If the message could not be received correctly, such as if check sum value does not match, then this
message is transmitted to inform the other device of the error. However, it is also permissible to end
communication by transmitting a “rejection” message instead of this message.

If this message is received, the last-transmitted message may be retransmitted once again, or a
“rejection” message may be transmitted to end communication.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

4EH Command-ID

7FH EOX (End Of Exclusive)

38

MIDI Implementation

7 Rejection “RJC” (4FH)

This message is transmitted if you wish to forcibly end communication for some reason. This
message could be transmitted in the following cases.

5If the size and address value indicated in a “data transmit/receive request” or “data request”

was inappropriate, or if the device is not in a state in which it can transmit or receive data

5If the address or number of the data that was transmitted is inappropriate

5If data transmission/reception was stopped by a panel operation, etc.

5If a communication error occurred

This message can be transmitted at any time by either device, and the device that receives it must
immediately stop communication.

Byte Explanation

F0H Exclusive status

41H Roland ID

DEV Device-ID

14H Model-ID (D-50)

4FH Command-ID

7FH EOX (End Of Exclusive)

7 Example of the transmitting device

When device (A) transfers data to device (B)

Device A Device B

“Want to send data”

“Acknowiedge”

“Data set”

“Acknowiedge”

“Data set”

“Acknowiedge”

“End of data”

“Acknowiedge”

When device (A) requests data transmission from device (B)

Device A Device B

“Request data”

“Data set”

“Acknowiedge”

“Data set”

“Acknowiedge”

“End of data”

2. When device (B) rejects data retransmission, and terminate communic ation

Device A Device B

“Data set”

“Acknowiedge”

(error occurs) x

“Data set”

“Communication error”

(terminate)

3. When device (A) terminates immediately

Device A Device B

“Rejection”

“Data set”

“Acknowiedge”

(error occurs) x

“Rejection”

“Data set”

(terminate)

93.5 Address mapping

7 Temporary area

Address Description

[00-00-00] Upper Partial-1 temp-area

[00-00-40] Upper Partial-2 temp-area

[00-01-00] Upper Common temp-area

[00-01-40] Lower Partial-1 temp-area

[00-02-00] Lower Partial-2 temp-area

[00-02-40] Lower Common temp-area

[00-03-00] Patch temp-area

7 Work area

The data in the bank of the currently selected patch can be transmitted and received using the
following addresses.

Address Description

[02-00-00] Patch Memory 1-1

[02-03-40] Patch Memory 1-2

: :

[03-5C-40] Patch Memory 8-8

[03-60-00] Reverb Data 17

[03-62-78] Reverb Data 18

: :

[04-0C-08] Reverb Data 32

“Acknowiedge”

When an error occurs while device (A) is receiving data from device
(B)

1. When requesting retransmission of data from device (B)

Device A Device B

“Data set”

“Acknowiedge”

(error occurs) x

“Data set”

“Communication error”

“Data set”

“Acknowiedge”

(same as above)

Each patch memory has the following structure.

Oset Description

[00-00-00] Upper Partial-1

[00-00-40] Upper Partial-2

[00-01-00] Upper Common

[00-01-40] Lower Partial-1

[00-02-00] Lower Partial-2

[00-02-40] Lower Common

[00-03-00] Patch

39

MIDI Implementation

93.6 Partial Parameter

Oset Address Description

00H 0vvv vvvv WG Pitch Coarse 0-72 C1, C#1...C7

01H 0vvv vvvv WG Pitch Fine 0-100 -50..0..+50

02H 0vvv vvvv WG Pitch Keyfollow 0-16 -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2, s1, s2

03H 0vvv vvvv WG Modulation LFO Mode 0-3 O, (+), (-), A&L

04H 0vvv vvvv WG Modulation P-ENV Mode 0-2 O, (+), (-)

05H 0vvv vvvv WG Modulation Bender Mode 0-2 O, Keyfollow, Normal

06H 0vvv vvvv WG Waveform Waveform 0-1 Square, Sawtooth

07H 0vvv vvvv WG Waveform PCM Wave No. 0-99 1..100

08H 0vvv vvvv WG Pulse Width 0-100 0..100

09H 0vvv vvvv WG Pulse Width Velocity Range 0-14 -7..0..+7

0AH 0vvv vvvv WG Pulse Width LFO Select 0-5 +1, -1, +2, -2, +3, -3

0BH 0vvv vvvv WG Pulse Width LFO Depth 0-100 0..100

0CH 0vvv vvvv WG Pulse Width Aftertouch Range 0-14 -7..0..+7

0DH 0vvv vvvv TVF Cuto Frequency 0-100 0..100

0EH 0vvv vvvv TVF Resonance 0-30 0..30

0FH 0vvv vvvv T VF Keyfollow 0-14 -1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2, 2

10H 0vvv vvvv TVF Bias Point/Bias Direction 0-63,64-127 <A1...<C7, >A1...>C7

11H 0vvv vvvv TVF Bias Level 0-14 -7..0..+7

12H 0vvv vvvv TVF ENV Depth 0-100 0..100

13H 0vvv vvvv TVF ENV Velocity Range 0-100 0..100

14H 0vvv vvvv TVF ENV Depth Keyfollow 0-4 0..4

15H 0vvv vvvv TVF ENV Time Keyfollow 0-4 0..4

16H 0vvv vvvv TVF ENV Time 1 0-100 0..100

17H 0vvv vvvv TVF ENV Time 2 0-100 0..100

18H 0vvv vvvv TVF ENV Time 3 0-100 0..100

19H 0vvv vvvv TVF ENV Time 4 0-100 0..100

1AH 0vvv vvvv TVF ENV Time 5 0-100 0..100

1BH 0vvv vvvv TVF ENV Level 1 0-100 0..100

1CH 0vvv vvvv TVF ENV Level 2 0-100 0..100

1DH 0vvv vvvv TVF ENV Level 3 0-100 0..100

1EH 0vvv vvvv TVF ENV Sustain Level 0-100 0..100

1FH 0vvv vvvv T VF ENV End Level 0-1 0, 100

20H 0vvv vvvv TVF Modulation LFO Select 0-5 +1, -1, +2, -2, +3, -3

21H 0vvv vvvv TVF Modulation LFO Depth 0-100 0..100

22H 0vvv vvvv TVF Modulation Aftertouch Range 0-14 -7..0..+7

23H 0vvv vvvv T VA Level 0-100 0..100

24H 0vvv vvvv T VA Velocity Range 0-100 -50..0..+50

25H 0vvv vvvv T VA Bias Point/Bias Direction 0-63,64-127 <A1...<C7, >A1...>C7

26H 0vvv vvvv T VA Bias Level 0-12 -12..0

27H 0vvv vvvv TVA ENV Time 1 0-100 0..100

28H 0vvv vvvv TVA ENV Time 2 0-100 0..100

29H 0vvv vvvv TVA ENV Time 3 0-100 0..100

2AH 0vvv vvvv TVA ENV Time 4 0-100 0..100

2BH 0vvv vvvv TVA ENV Time 5 0-100 0..100

2CH 0vvv vvvv TVA ENV Level 1 0-100 0..100

2DH 0vvv vvvv TVA ENV Level 2 0-100 0..100

2EH 0vvv vvvv TVA ENV Level 3 0-100 0..100

2FH 0vvv vvvv T VA ENV Sustain Level 0-100 0..100

30H 0vvv vvvv TVA ENV End Level 0-1 0, 100

31H 0vvv vvvv TVA ENV Velocoty Follow 0-4 0..4

32H 0vvv vvvv TVA ENV Time Keyfollow 0-4 0..4

33H 0vvv vvvv TVA Modulation LFO Select 0-5 +1, -1, +2, -2, +3, -3

34H 0vvv vvvv TVA Modulation LFO Depth 0-100 0..100

35H 0vvv vvvv TVA Modulation Aftertouch Range 0-14 -7..0..+7

40

MIDI Implementation

Oset Address Description

36H 0vvv vvvv Extension 0-127

: : : :

3FH 0vvv vvvv Extension 0-127

93.7 Common Parameter

Oset Address Description

00H 0vvv vvvv Tone Name 1 0-63 ‘,’A’-’Z’,’a’-’z’,’1’-’9’,’0’,’-’

: : : : : :

: : : : : :

09H 0vvv vvvv Tone Name 10 0-63

0AH 0vvv vvvv Structure No. 0-6 1..7

0BH 0vvv vvvv P-ENV Edit Velocity Range 0-2 0..2

0CH 0vvv vvvv P-ENV Edit Time Keyfollow 0-4 0..4

0DH 0vvv vvvv P-ENV Time Edit 1 0-50 0..50

0EH 0vvv vvvv P-ENV Time Edit 2 0-50 0..50

0FH 0vvv vvvv P-ENV Time Edit 3 0-50 0..50

10H 0vvv vvvv P-ENV Time Edit 4 0-50 0..50

11H 0vvv vvvv P-ENV Level Edit 0 0-100 -50..0..+50

12H 0vvv vvvv P-ENV Level Edit 1 0-100 -50..0..+50

13H 0vvv vvvv P-ENV Level Edit 2 0-100 -50..0..+50

14H 0vvv vvvv P-ENV Edit Sustain Level 0-100 -50..0..+50

15H 0vvv vvvv P-ENV Edit End Level 0-100 -50..0..+50

16H 0vvv vvvv Pitch Mod Edit LFO Depth 0-100 0..100

17H 0vvv vvvv Pitch Mod Edit Pitch Lever Modulation 0-100 0..100

18H 0vvv vvvv Pitch Mod Edit Pitch Aftertouch Modulation 0-100 0..100

19H 0vvv vvvv LFO-1 Waveform 0-3 Triangle, Sawtooth, Square, Random

1AH 0vvv vvvv LFO-1 Rate 0-100 0..100

1BH 0vvv vvvv LFO-1 Delay Time 0-100 0..100

1CH 0vvv vvvv LFO-1 Sync. 0-2 O, On, Key

1DH 0vvv vvvv LFO-2 Waveform 0-3 Triangle, Sawtooth, Square, Random

1EH 0vvv vvvv LFO-2 Rate 0-100 0..100

1FH 0vvv vvvv LFO-2 Delay Time 0-100 0..100

20H 0vvv vvvv LFO-2 Sync. 0-1 O, On

21H 0vvv vvvv LFO-3 Waveform 0-3 Triangle, Sawtooth, Square, Random

22H 0vvv vvvv LFO-3 Rate 0-100 0..100

23H 0vvv vvvv LFO-3 Delay Time 0-100 0..100

24H 0vvv vvvv LFO-3 Sync. 0-1 O, On

25H 0vvv vvvv EQ Edit Low Frequency 0-15

26H 0vvv vvvv EQ Edit Low Gain 0-24 -12..0..+12

27H 0vvv vvvv EQ Edit H igh Frequency 0-21

28H 0vvv vvvv EQ Edit H igh Q 0-8 0.3, 0.5, 0.7, 1.0, 1.4, 2.0, 3.0, 4.2, 6.0

29H 0vvv vvvv EQ Edit H igh Gain 0-24 -12..0..+12

2AH 0vvv vvvv Chorus Edit Chorus Type 0-7 1..8

2BH 0vvv vvvv Chorus Edit Chorus Rate 0-100 0..100

2CH 0vvv vvvv Chorus Edit Chorus Depth 0-100 0..100

2DH 0vvv vvvv Chorus Edit Chorus Balance 0-100 0..100

2EH 0vvv vvvv Partial Mute 0-3 00, 01, 10, 11 (*1)

2FH 0vvv vvvv Partial Balance 0-100 0..100

30H 0vvv vvvv Extension 0-127

31H 0vvv vvvv Extension 0-127

32H 0vvv vvvv Extension 0-127

33H 0vvv vvvv Extension 0-127

34H 0vvv vvvv Extension 0-127

63, 75, 88, 105, 125, 150, 175, 210, 250, 300, 350, 420, 500, 600,
700, 840

250, 300, 350, 420, 500, 600, 700, 840, 1.0, 1.2, 1.4, 1.7, 2.0, 2.4, 2.8,

3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5

41

Oset Address Description

35H 0vvv vvvv Extension 0-127

36H 0vvv vvvv Extension 0-127

37H 0vvv vvvv Extension 0-127

38H 0vvv vvvv Extension 0-127

39H 0vvv vvvv Extension 0-127

3AH 0vvv vvvv Extension 0-127

3BH 0vvv vvvv Extension 0-127

3CH 0vvv vvvv Extension 0-127

3DH 0vvv vvvv Extension 0-127

3EH 0vvv vvvv Extension 0-127

3FH 0vvv vvvv Extension 0-127

93.8 Patch Parameter

Oset Address Description

00H 0vvv vvvv Patch Name 1 0-63 ‘,’A’-’Z’,’a’-’z’,’1’-’9’,’0’,’-’

: : : : : :

: : : : : :

11H 0vvv vvvv Patch Name 18 0-63

12H 0vvv vvvv Key Mode 0-8

13H 0vvv vvvv Split Point 0-60 C2, C#2...C7

14H 0vvv vvvv Portamento Mode 0-2 U, L, UL

15H 0vvv vvvv Hold Mode 0-2 U, L, UL

16H 0vvv vvvv U-Tone Key Shift 0-48 -24..0..+24

17H 0vvv vvvv L-Tone Key Shift 0-48 -24..0..+24

18H 0vvv vvvv U-Tone Fine Tune 0-100 -50..0..+50

19H 0vvv vvvv L-Tone Fine Tune 0-100 -50..0..+50

1AH 0vvv vvvv Bender Range 0-12 0..12

1BH 0vvv vvvv

1CH 0vvv vvvv Portamento Time 0-100 0..100

1DH 0vvv vvvv Output Mode 0-3 1..4

1EH 0vvv vvvv Reverb Type 0-31 1..32 (17..32 Change Type)

1FH 0vvv vvvv Reverb Balance 0-100 0..100

20H 0vvv vvvv Total Volume 0-100 0..100

21H 0vvv vvvv Tone Balance 0-100 0..100

22H 0vvv vvvv Chase Mode 0-2 UL, ULL, ULU

23H 0vvv vvvv Chase Level 0-100 0..100

24H 0vvv vvvv Chase Time 0-100 0..100

25H 0vvv vvvv MIDI Transmit CH 0-16 Basic, 1..16

26H 0vvv vvvv MIDI Separate Mode Receive CH 0-16 O, 1..16

27H 0vvv vvvv MIDI Transmit Program Change 0-100 O, 1..100

28H 0vvv vvvv Extension 0-127

29H 0vvv vvvv Extension 0-127

2AH 0vvv vvvv Extension 0-127

2BH 0vvv vvvv Extension 0-127

2CH 0vvv vvvv Extension 0-127

2DH 0vvv vvvv Extension 0-127

2EH 0vvv vvvv Extension 0-127

2FH 0vvv vvvv Extension 0-127

30H 0vvv vvvv Extension 0-127

31H 0vvv vvvv Extension 0-127

32H 0vvv vvvv Extension 0-127

33H 0vvv vvvv Extension 0-127

34H 0vvv vvvv Extension 0-127

Aftertouch
(Pitch Bender)

0-24 -12..0..+12

Whole, Dual, Split, Separate, Whole-S, Dual-S, Split-US, Split-LS,
Separate-S

MIDI Implementation

42

Oset Address Description

35H 0vvv vvvv Extension 0-127

36H 0vvv vvvv Extension 0-127

37H 0vvv vvvv Extension 0-127

38H 0vvv vvvv Extension 0-127

39H 0vvv vvvv Extension 0-127

3AH 0vvv vvvv Extension 0-127

3BH 0vvv vvvv Extension 0-127

3CH 0vvv vvvv Extension 0-127

3DH 0vvv vvvv Extension 0-127

3EH 0vvv vvvv Extension 0-127

3FH 0vvv vvvv Extension 0-127

93.9 Reverb Block

MIDI Implementation

Oset
Address

00 00H 0000 aaaa Reverb Data 1

00 01H 0000 bbbb aaaa bbbb 0-255

00 02H 0000 aaaa Reverb Data 2

00 03H 0000 bbbb aaaa bbbb 0-255

: : : : : :

: : : : : :

02 76H 0000 aaaa Reverb Data 188

02 77H 0000 bbbb aaaa bbbb 0-255

* 1: table 1 (Common Parameter - Partial Mute)

BIN DEC Description

00B 0 Partial2 O, Partial1 O

01B 1 Partial2 O, Partial1 On

10B 2 Partial2 On, Partial1 O

11B 3 Partial2 On, Partial1 On

Description

43

MIDI Implementation

4. Supplementary Material

9Decimal and Hexadecimal Table

(An “H” is appended to the end of numbers in hexadecimal notation.)

In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed
as hexadecimal values for each 7 bits.

The following table shows how these correspond to decimal numbers.

D H D H D H D H

0 00H 32 20H 64 40H 96 60H

1 01H 33 21H 65 41H 97 61H

2 02H 34 22H 66 42H 98 62H

3 03H 35 23H 67 43H 99 63H

4 04H 36 24H 68 44H 100 64H

5 05H 37 25H 69 45H 101 65H

6 06H 38 26H 70 46H 102 66H

7 07H 39 27H 71 47H 103 67H

8 08H 40 28H 72 48H 104 68H

9 09H 41 29H 73 49H 105 69H

10 0AH 42 2AH 74 4AH 106 6AH

11 0BH 43 2BH 75 4BH 107 6BH

12 0CH 44 2CH 76 4CH 108 6CH

13 0DH 45 2DH 77 4DH 109 6DH

14 0EH 46 2EH 78 4EH 110 6EH

15 0FH 47 2FH 79 4FH 111 6FH

16 10H 48 30H 80 50H 112 70H

17 11H 49 31H 81 51H 113 71H

18 12H 50 32H 82 52H 114 72H

19 13H 51 33H 83 53H 115 73H

20 14H 52 34H 84 54H 116 74H

21 15H 53 35H 85 55H 117 75H

22 16H 54 36H 86 56H 118 76H

23 17H 55 37H 87 57H 119 77H

24 18H 56 38H 88 58H 120 78H

25 19H 57 39H 89 59H 121 79H

26 1AH 58 3AH 90 5AH 122 7AH

27 1BH 59 3BH 91 5BH 123 7BH

28 1CH 60 3CH 92 5CH 124 7CH

29 1DH 61 3DH 93 5DH 125 7DH

30 1EH 62 3EH 94 5EH 126 7EH

31 1FH 63 3FH 95 5FH 127 7FH

D: decimal

H: hexadecimal

* Decimal values such as MIDI channel, bank select, and program change are listed as one greater

than the values given in the above table.

* A 7-bit byte can express data in the range of 128 steps. For data where greater precision is

required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH
expressing two 7-bit bytes would indicate a value of aa x 128+bb.

* In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so that the

decimal expression would be 64 less than the value given in the above chart. In the case of
two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if aa bbH were
expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x 128.

* Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value expressed as

a 2-byte nibble 0a 0bH has the value of a x 16+b.

<Example1> What is the decimal expression of 5AH?

From the preceding table, 5AH = 90

<Example2> What is the decimal expression of the value 12 34H
given as hexadecimal for each 7 bits?

From the preceding table, since 12H = 18 and 34H = 52

18 x 128 + 52 = 2356

<Example3> What is the decimal expression of the nibbled value 0A
03 09 0D?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

<Example4> What is the nibbled expression of the decimal value
1258?

16 ) 1258

16 ) 78...10

16 ) 4...14

0... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is:

00 04 0E 0AH.

44

Linear Synthesizer

Model: D-05

Function... Transmitted Recognized Remarks

Basic Channel Default

Changed

Mode Default

Messages

Altered

1

1–16

x

**************

MIDI Implementation Chart

1

1–16

Mode 3

Mono, Poly,

Omni O

Mode 1 0 Mode 3

Mode 2 0 Mode 4

Memorized

Date: Sep. 09, 2017

Version: 1.00

Note
Number

Velocity Note ON

Aftertouch Key’s

Pitch Bend o *1 o *1

Control Change 0,32

Program Change 0-127 *1 0-63 *1

System Exclusive o *1 o *1

System
Common

System Real
Time

Aux Message : All Sound O

Notes

: True Voice

Note OFF

Ch’s

100,101

: Song Pos

: Song Sel

: Tune

: Clock

: Start

: Continue

: Stop

: Reset All Controllers

: Local On/O

: All Notes O

: Omni Mode O

: Omni Mode On

: Mono Mode On

: Poly Mode On

: Active Sensing

: System Reset

*1 Can be set to O or X manually, and memorized.

*2 RPC=Registered parameter control number.

RPC#0 : Pitch bend sensitivity
RPC#1 : Master ne tuning
Parameter Values are given by Data Entry

0–127

**************

o

x

x

x

o *1

1

o *1

5

x

7

x

6,38

x

64

x

65

o *1

x

x

x

x

o

o

x

o

x

o

o

x

0–127

0–127

o

x

x

o *1

o *1

o *1

o *1

o *1

o *2

o *1

o *1

(0,1) *2

x

x

x

o

o

o

o

o

o (123-127)

o

x

Bank select

Modulation

Portamento Time

Volume

Data Entry

Hold 1

Portament SW

RPC (LSB,MSB)

Memorized

Mode 1: Omni On, Poly Mode 2: Omni On, Mono

Mode 3: Omni O, Poly Mode 4: Omni O, Mono

o: Yes

x: No

45