Roland D2 User Guide

Owner’s Manual

Thank you, and congratulations on your choice of the Roland D2 Groovebox.

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (pp. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information

concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Let’s start off

by playing some sounds!

1. Press the [ ] button to start the pattern.

2. Press the [VINYL] button.

3. Move your finger in a circle on the D-FIELD.

written permission of ROLAND CORPORATION.

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

USING THE UNIT SAFELY

BLUE: BROWN:

NEUTRAL LIVE

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

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

* Material damage refers to damage or

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

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

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

The ● symbol alerts the user to things that must be

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

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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003

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

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004

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

• Subject to temperature extremes (e.g., direct

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

• Damp (e.g., baths, washrooms, on wet floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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007

• Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

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009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012b

• Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page when:

• The AC adaptor, the power-supply cord, or the

plug has been damaged; or

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

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

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014

• Protect the unit from strong impact.

(Do not drop it!)

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015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.

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101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

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102d

• Always grasp only the plug or the body of the AC adaptor when plugging into, or unplugging from, an outlet or this unit.

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103b

• Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

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104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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106

• Never climb on top of, nor place heavy objects on the unit.

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107d

• Never handle the AC adaptor body, or its plugs, with wet hands when plugging into, or unplugging from, an outlet or this unit.

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108b

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 11).

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110b

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

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IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on pages 2 and 3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

302

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

352

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

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a

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

IMPORTANT NOTES ...............................................................................4

Features of the D2...................................................................................8

How to read this manual ........................................................................9

Conventions in this manual........................................................................................................... 9

Panel Descriptions/ Making Connections ..........................................10

Top panel...................................................................................................................................................10

Rear panel.................................................................................................................................................. 11

Turning On/Off the Power.....................................................................................................................11

Chapter 1. An Overview of the D2 .......................................................12

How the D2 is structured........................................................................................................................12

The sequencer section...................................................................................................................12

The sound generator section .......................................................................................................12

About the D-FIELD.......................................................................................................................12

How characters and numerals are displayed.......................................................................................13

Changing a value in large steps ............................................................................................................. 13

Saving your settings.................................................................................................................................13

Restoring the factory settings (Factory Reset)......................................................................................14

Chapter 2. Playing Patterns .................................................................15

Basics of playing a pattern ...................................................................................................................... 15

Indication of the pattern number................................................................................................15

Selecting a pattern.........................................................................................................................15

Playing Back Patterns...................................................................................................................15

Changing the BPM (tempo)......................................................................................................... 16

Muting a part or rhythm tone ..................................................................................................... 16

Selecting a sound (Patch/Rhythm set)..................................................................................................18

Saving a patch........................................................................................................................................... 18

Modifying the settings of each part (Part Edit)....................................................................................19

Saving a pattern........................................................................................................................................ 20

Chapter 3. About the D-FIELD .............................................................21

What is the D-FIELD?..............................................................................................................................21

Basic use of the D-FIELD.........................................................................................................................22

Selecting a function.......................................................................................................................22

Memorizing the location from which you released your finger (Hold) ............................... 22

Setting the volume of SOUND mode.........................................................................................22

Changing the D-FIELD settings.................................................................................................. 22

SOUND mode ..........................................................................................................................................23

Playing back a phrase (RPS: Realtime Phrase Sequence)........................................................23

Improvising along with a chord progression (ADLIB) ........................................................... 24

Applying special turntable-type effects (VINYL-FX: Vinyl Effects)...................................... 25

Applying various muting effects (ASSIGN 1: MUTE-FX: Mute Effects)..............................25

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 1)..................................................................26

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 2)..................................................................27

Table of STYLE/MOTIF/BEAT PATTERN ........................................................................................29

Recalling a pattern (ASSIGN 1: PATTERN CALL).................................................................. 30

Auditioning the sound of a patch (ASSIGN 1: PATCH PREVIEW)......................................31

Playing a monophonic synth sound (ASSIGN 1: SOLO SYNTH) ......................................... 31

Playing rhythm instruments / scales (ASSIGN 1: KEYBOARD PAD)................................. 32

XY mode ....................................................................................................................................................33

Changing the brightness of the sound/Adding character to the sound (FILTER) ............. 33

Applying special effects to the sound (MFX)............................................................................33

Changing the volume of the parts (X-FADER).........................................................................34

Contents

Making the sound change over time (ASSIGN 2: ENVELOPE)............................................. 34

Applying cyclic change to the sound (ASSIGN 2: LFO)..........................................................36

Changing the pitch or vibrato depth (ASSIGN 2: BENDER).................................................. 36

Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE) ......................................37

Changing the reverb depth (ASSIGN 2: REVERB)...................................................................39

Changing the delay depth (ASSIGN 2: DELAY)...................................................................... 39

Controlling an external MIDI device (ASSIGN 2: EXT CTRL: External Control) ...............39

SPIN mode ................................................................................................................................................ 40

Changing the sound as on a turntable (VINYL).......................................................................40

Changing the tempo (BPM)......................................................................................................... 40

Sounding a snare roll (SD ROLL) ............................................................................................... 41

Changing the number of notes that are sounded (ASSIGN 3: STEP MUTE)....................... 41

Changing the stereo location of the sound (ASSIGN 3: PAN) ............................................... 41

Chapter 4. Applying Effects to the Sound (Effects)...........................42

Reverb ........................................................................................................................................................42

Turning reverb on/off..................................................................................................................42

Making detailed settings..............................................................................................................42

Delay (Add echoes to the sound)........................................................................................................... 43

Turning delay on/off....................................................................................................................43

Making detailed settings..............................................................................................................43

Multi-Effects (MFX).................................................................................................................................. 44

Turning the multi-effects on/off................................................................................................. 44

Making detailed settings..............................................................................................................44

Chapter 5. Replacing phrases to create a different pattern (MEGAMIX)

Replacing phrases..................................................................................................................................... 58

Using D-FIELD for MEGAMIX...................................................................................................58

Saving the pattern you rearranged........................................................................................................59

...58

Chapter 6. Creating an Original Pattern..............................................60

Creating a pattern.....................................................................................................................................60

Recording as you perform (Realtime Recording)..................................................................... 60

Inputting notes one by one (Step Recording) ...........................................................................62

Editing a pattern (Pattern Edit)..............................................................................................................65

Basic procedure for pattern editing............................................................................................65

Copying a pattern (Pattern Copy) .............................................................................................. 66

Erasing unwanted data (Erase)...................................................................................................67

Deleting unwanted measures (Delete Measure) ......................................................................67

Inserting blank measures (Insert Measure)............................................................................... 67

Shifting the pitch (Transpose) ..................................................................................................... 67

Changing the strength of the notes (Change Velocity)............................................................68

Changing the note length (Change Gate Time)........................................................................ 68

Make fine adjustments in timing (Shift Clock).........................................................................68

Thinning out unnecessary data (Data Thin) .............................................................................68

Creating a quantized pattern (Edit Quantize) .......................................................................... 68

Saving a pattern............................................................................................................................. 68

Chapter 7. Playing and Creating Songs..............................................69

Playing a song........................................................................................................................................... 69

Creating a song (Song Recording) .........................................................................................................70

Deleting an unwanted step (Step Delete)..................................................................................70

Inserting a step (Step Insert)........................................................................................................71

Editing a song (Song Edit).......................................................................................................................71

Erasing a song (Song Clear)......................................................................................................... 71

Copying a song (Song Copy)....................................................................................................... 72

Saving a song.................................................................................................................................72

Contents

Chapter 8. System Settings and MIDI Applications...........................73

Making system settings (System)...........................................................................................................73

Sound generator settings .............................................................................................................73

Sequencer settings.........................................................................................................................74

MIDI transmission settings.......................................................................................................... 76

Table of Transmitted Data ........................................................................................................... 76

MIDI reception settings................................................................................................................77

Advanced Operation Using MIDI..........................................................................................................78

About MIDI....................................................................................................................................78

Using the D2 together with an external MIDI device.............................................................. 79

Synchronization with an External MIDI Device....................................................................... 80

Saving data on an external sequencer (Bulk Dump)................................................................81

Troubleshooting....................................................................................82

Error Message List................................................................................83

Preset Patch List...................................................................................84

Preset Rhythm Set List.........................................................................86

Preset Pattern List ................................................................................92

RPS Pattern List....................................................................................94

RPS Set List...........................................................................................95

Profiles of Pattern Composers ............................................................96

Waveform List .......................................................................................97

MIDI Implementation.............................................................................98

Specifications......................................................................................110

Index.....................................................................................................111

Features of the D2

D-FIELD controller for total freedom of expression

The newly developed “D-FIELD controller” is located in the center of the panel. Its three modes (SOUND/XY/SPIN) allow you to control phrases and sounds in a completely uninhibited way, simply by touching the controller, scratching it from top to bottom or side to side, or spinning it like a turntable, thus giving rise to performance possibilities that were unavailable until now.

High-performance sound-synthesis engine

For sound generation, the D2 features a high-performance synthesizer module equivalent to the one that’s in the MC-505. A rich assortment of parameters, including precision filters and ADSR-type envelopes, can be controlled by the D-FIELD controller to create new sounds. The D2 can also be used as an eight-part multitimbral sound module.

The latest patterns and sounds put you at the forefront of most any scene

The built-in 157 preset patterns and the 232 patterns for use with RPS (original patterns and single-track data extracted from the preset patterns) cover styles including techno, house, and hip-hop, and are ready for immediate use. The D2 is all you need to take care of most styles. In addition, 600 sounds and 30 rhythm sets indispensable for dance music have been carefully selected from classic instruments such as the TB-303, TR-808/909, JUNO, and JUPITER, letting you use the sounds that match your music scene. Original sounds and patterns that you yourself create can also be saved in internal memory and recalled at any time.

MEGAMIX function lets you create original patterns in remix fashion

The D2 comes equipped with a newly enhanced version of the MEGAMIX function, which was so popular on the MC-505. You can create original patterns by recalling and mixing phrases from different parts, such as drums and bass. Using the DFIELD controller or the VALUE dial, patterns can be created quickly and easily.

New type of step recording

The D2 features a new feel in step recording. Use the 32 indicators on the panel to specify the input point, and use the REC FUNCTION section and the D-FIELD controller to instantly edit that point. It’s easier than ever before to create original patterns from scratch. In addition, D-FIELD recording allows operations of the D-FIELD controller to be recorded exactly as performed, and you can also perform realtime recording using an external keyboard or other MIDI source.

How to read this manual

The D2 manual is structured as follows.

Chapter 1. An Overview of the D2

This chapter explains how the D2 sound generator and sequencer are organized, and explains the basic operation. By reading this chapter, you can gain an overall understanding of the D2.

Chapter 2. Playing Patterns

This chapter explains the most basic operations used with the D2: how to play patterns, adjust the tempo, and mute sounds. Be sure to read this chapter.

Chapter 3. Using the D-FIELD Controller

This chapter explains how to use the D-FIELD controller. Be sure to read this chapter.

Chapter 4. Applying Effects to the Sound (Effects)

Chapter 1Chapter 2Chapter 3Chapter 4Chapter 5Chapter 6Chapter 7Chapter 8

This chapter explains the various effect types and how to use them. Read this chapter when you wish to use the arpeggiator.

Chapter 5. Replacing Phrases to Create a New Pattern (MEGAMIX)

This chapter explains how to use MEGAMIX to replace phrases within a pattern. Read this chapter when you wish to use MEGAMIX to create patterns.

Chapter 6. Creating an Original Pattern

This chapter explains how to use the RPS functions and how to assign your own phrases. Read this chapter when you wish to use the RPS function.

Chapter 7. Playing and Creating Songs

This chapter explains how to play, record, and edit songs. Be sure to read this chapter when you wish to use songs.

Chapter 8. System Settings and MIDI Applications

This chapter explains settings that affect the entire D2, such as tuning and synchronization, and how to use the D2 together with external MIDI devices. Read this chapter as necessary.

Appendices

Consult this chapter when the D2 does not function as you expect, or if an error message is displayed. This chapter also contains information such as parameter lists and the MIDI implementation.

Conventions in this manual

In this manual, text or symbols enclosed in square brackets [ ] indicate buttons or dials on the panel. (Example) [EDIT]: Edit button

Appendices

Panel Descriptions/ Making Connections

Top panel

12 34

1. VOLUME knob

This knob adjusts the volume of the entire D2.

2. Beat scan indicators

These indicators show the playback/recording location within the measure of the pattern or song.

3. DISPLAY button

This switches the display. Each time you press the button, the display will alternate between BPM, patch number, information regarding the D-FIELD, and the original screen (such as the pattern number display).

4. VALUE dial, ENTER/EXIT button

These are used to switch patterns or songs (p. 15, p. 69), or to modify settings.

5. Part buttons

These are used to select whether each part will be heard (p. 16), or to select the part whose settings you wish to edit (p. 19).

6. REC FUNCTION buttons

When recording a pattern, these buttons are used to make settings for the notes being input (p. 63).

8 9

7. D-FIELD

You can produce a variety of effects by touching this area with your finger (p. 21).

8. WRITE button

Use this to save settings you have modified.

9. SYSTEM button

Use this when you wish to modify settings that affect the entire D2 (p. 73).

10.Mode buttons

These buttons switch between Pattern mode (p. 15), Song mode (p. 69), and MEGAMIX mode (p. 58).

11.Effect switches

These are on/off switches for Reverb (p. 42), Delay (p.

43), and Multi-effect (p. 44).

12.Sequencer section

These buttons are used to play back or record a pattern or song (p. 15, p. 69).

Panel Descriptions/ Making Connections

Rear panel

* To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices

before making any connections.

1 23 456

AC Adaptor

Cord hook

Stereo Headphones

1. POWER switch

This turns the power on/off.

2. AC adaptor jack

Connect the supplied AC adaptor to this jack.

* To prevent the inadvertent disruption of power to your unit

(should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

3. MIDI connectors (IN, OUT)

These connectors are used when you want to use the D2 to play external sound generating devices, or use an external sequencer to play the D2’s sound generator; or

Turning On/Off the Power

* Once the connections have been completed, turn on power to

your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/ or damage to speakers and other devices.

1. Make sure that all volume controls on the D2 and connected devices are set to “0.”

2. Turn on the D2’s [POWER] switch.

3. Turn on the device connected to the OUTPUT Jacks.

To Mixer, Amplifier

when you want to save or load D2 settings.

* For details concerning MIDI devices, refer to Chapter 8.

System Settings and MIDI Applications (p. 73).

4. OUTPUT jacks (L, R)

Connect these jacks to your mixer or amp.

5. Headphone jack

This jack accepts connection of a set of stereo headphones. Sound will still be output from the OUTPUT jacks even while headphones are connected.

6. Security Slot ( )

http://www.kensington.com/

* This unit is equipped with a protection circuit. A brief interval

(a few seconds) after power up is required before the unit will operate normally.

Turning off the power

Before switching off the power, lower the volume on each of the devices in your system and then TURN OFF the devices in the reverse order to which they were switched on.

4. Adjust the volume levels for the devices.

Chapter 1. An Overview of the D2

KICK

SNARE

TOM

HI-HAT CRASH

How the D2 is structured

This section explains the main sections of the D2: the sequencer section, sound generator section, and the DFIELD.

SEQUENCER

Play

Recording

D-FIELD Controller

The sequencer section

SOUND

GENERATOR

Performance

The sound generator section

The sound generator is what actually produces the sound. The sounds are generated in accord with information arriving from the D2’s D-FIELD and sequencer. Performance data from an external MIDI device can also play the sound generator.

The sound generator of the D2 is able to produce up to 64 notes simultaneously, more than enough for playing multiple parts at once.

Patches

A patch is analogous to a particular instrument, such as a piano or guitar. The D2 contains 600 preset patches, and you can enjoy virtually any type of sound simply by selecting one of these patches.

Rhythm Sets

A rhythm set has a different instrument assigned to each note. It is not possible to play scales using any one instrument. 30 different preset rhythm sets are provided.

(Example)

A sequencer is a device that records musical performance data, and can play back the performance data that was recorded.

Recording/playing a performance

The D2 comes with 157 previously prepared patterns (preset patterns). These preset patterns can be played back easily.

You can also create your own original patterns, either by modifying preset patterns or by creating a pattern from scratch.

Simultaneous playback of multiple parts

The D2 is able to play multiple sounds (patches) simultaneously. For example, with the following part configuration, you can simultaneously play drums, bass, piano and guitar; and the resulting performance will sound like a band.

Part R Rhythm (Drum) Set Part 1 Guitar Part 2 Bass Part 3 Piano

Editing performance data

Unlike a cassette tape or MD, a sequencer records a performance as musical data (not as sound). It’s easy to edit the performance data to create your own original patterns.

Parts

A part is analogous to an individual musician in a band or orchestra. There are eight parts, [R], [1]... [7], allowing you to use seven patches and one rhythm set to play a total of up to eight performances simultaneously.

Effects

The D2 provides three effect processors that can be used to apply various tonal effects to a patch or rhythm set: Reverb (reverberation), Delay (echo-like effects), and Multi-effects (choose from 25 effects such as equalizer or compressor). All three effect processors can be used simultaneously.

About the D-FIELD

The D-FIELD is a controller on the panel of the D2. By operating the D-FIELD in real time, you can modify the performance, or the way in which the sounds are heard. This can also be used when playing RPS or the arpeggiator (pp. 21–41).

Chapter 1. An Overview of the D2

How characters and numerals are displayed

The display of the D2 indicates characters and numbers as follows.

B C D E F G H I J K L M N

Capital

letters Small

letters

O P Q R S T U V W X Y Z

Capital

letters Small

letters

1 2 3 4 5 6 7 8 9 0

Changing a value in large steps

If you hold down [DISPLAY] and turn [VALUE], the value will change in large steps.

If you do this when selecting a patch (p. 18), the first patch of the category (type of sound) will be selected.

Saving your settings

After you modify settings or record a performance, you must perform the Save procedure if you wish to keep the results. If you turn off the power without doing this, your settings or the recorded contents will be lost.

Chapter 1

For details on saving, refer to the following pages.

• Patch ➔ Saving a patch (p. 18)

• Pattern ➔ Saving a pattern (p. 20)

• Song ➔ Saving a song (p. 72)

• Arpeggio style ➔ Step 4 of “Making detailed settings“ in

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 1) (p.

26)

It will take several seconds for the data to be saved. Do not turn off the power until the Save operation has been completed. Doing so may cause malfunctions.

Since the following settings are saved automatically when they are modified, you do not need to perform the Save operation.

• RPS set ➔ Assigning phrases to the D-FIELD (p. 23)

• Pattern set ➔ Assigning patterns to the D-FIELD (p.

30)

• MEGAMIX set ➔ Registering the parts for use with

MEGAMIX (MEGAMIX Set) (p. 30)

Hold down

When selecting a pattern (p. 15) or patch (p. 18), you can hold down [EXIT] and turn [VALUE] to switch banks.

Hold down

Turn

It will take several seconds for the data to be saved. Do not turn off the power until the Save operation has been completed. Doing so may cause malfunctions.

Chapter 1. An Overview of the D2

Restoring the factory settings (Factory Reset)

The settings of the D2 can be restored to their factory-set condition.

Approximately 2 minutes are required for the Factory Reset operation. Never turn off the power while the display indicates “Factry.” Doing so can destroy the contents of memory.

When you execute the Factory Reset operation, the internal memory data will be lost. If you have any data in the D2’s internal memory that you don’t want to lose, you must first use the Bulk Dump (p. 81) operation to save the data on an external MIDI sequencer or similar device before you perform the reset.

1. Hold down [WRITE] and press [SYSTEM].

“Factry” will blink in the display.

2. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the reset?).

3. Press [ENTER].

The display will indicate “Factry,” and the Factory Reset operation will be executed.

* If you decide not to execute the operation, press [EXIT].

Once the Factory Reset is complete, the D2 will be in the same state as it is normally after being powered-up.

Chapter 2. Playing Patterns

Basics of playing a pattern

A pattern consists of 1 to 32 measures of play that include patches and rhythm sets of up to 8 parts.

The D2 is a sequencer that plays back patterns and adds changes to the playback method. This type of sequencer is referred to as a pattern sequencer.

The D2 is provided with 157 preset patterns. In addition to these, an area for up to 100 user-created patterns is also available.

In order to play patterns, press [PATTERN] to put the D2 in Pattern mode.

Indication of the pattern number

fig.

The CURRENT display (left) shows the bank and number of the pattern that’s currently playing (the current pattern).

The NEXT display (right) shows the bank and number of the pattern that will be played next (the next pattern).

Playing Back Patterns

Use the following buttons to play back.

Return to the

previous measure.

Stop the sequencer.

* [ ], [ ] buttons can also be used while playback is in

progress.

If you select the D-FIELD function “VINYL” (p. 40), it will not be possible to use [ ] and [ ].

Advance to the

next measure.

Play back.

Use in recording.

Chapter 2

Selecting a pattern

Turn [VALUE] to select a pattern, while a pattern stops.

• By holding down [DISPLAY] and turning [VALUE] you can change the pattern number in steps of ten.

• By holding down [EXIT] and turning [VALUE] you can switch banks.

–

A01–A100 Preset Pattern (Bank A)

–

B01–B100 Preset Pattern (Bank B)

–

C01–C100 Preset Pattern (Bank C)

–

D01–D89 Preset Pattern (Bank D)

–

U01–U100 User Pattern

* Preset patterns B58–D89 are patterns for use with RPS (p.

23).

Playing back patterns in succession

Selecting the next pattern while a pattern is being played back, the new pattern is played back when playback of the current one is completed.

This technique is used to keep playing back patterns in sequence. The BPM (tempo) of the performance is determined by the tempo of the first Pattern that is played back.

1. While a pattern is playing back, turn [VALUE] to select the next pattern.

The NEXT display will begin flashing.

2. Press [ENTER] to confirm your selection.

The NEXT readout will change from flashing to steady. When the current pattern finishes playing, the selected

pattern will begin playing.

* Immediately before the pattern finishes playing, the

CURRENT readout will begin flashing. During this time, preparations are being made for moving to the next pattern, so it is not possible to change the pattern.

Chapter 2. Playing Patterns

Playing Back at the Tempo Set for the Pattern

In order to play back patterns at the BPM (standard tempo) set up for the respective patterns, select a pattern while no pattern is being played back, then start playback.This secures playback at the optimal BPM for the pattern.

Changing the BPM (tempo)

The BPM can be set to any value from 20.0 up to 240.0.

For some preset patterns, raising the BPM excessively can cause the playback to lag.

Using the VALUE dial to change the BPM

Playback can be set to take place at any desired BPM value. This is convenient when you want to carry out playback at a known BPM.

1. Press [DISPLAY] enough times to get the BPM indicator to light.

2. Turn [VALUE] to change the BPM.

• By holding down [DISPLAY] and turning [VALUE] you can change the BPM in steps of one.

Muting a part or rhythm tone

The part button indicators show the mute status of each part (rhythm instrument) as follows:

• Lit: The part will play.

• Blinking: The part is muted.

• Dark: No performance has been recorded for the

part. (This will light when data is recorded for the part.)

Muting an individual part

Parts R and 1–7 can be muted (silenced) individually.

1. Press [PART MUTE].

[PART MUTE] will light, and part buttons [R] and [1]–[7] will function as Part Mute buttons.

2. Press the [R] or [1]–[7] button for the part that you wish to mute, making the indicator blink.

The sound of that part will be muted.

3. To cancel muting, once again press the button of the muted part, making it light.

* In the preset patterns, part 1 does not contain performance

data. This allows you to conveniently use D-FIELD (p. 24) to perform along with the pattern.

3. After you have finished making the setting, press [EXIT] to return to the previous display.

Using the D-FIELD to change the BPM

You can use the D-FIELD to set the BPM. This method lets you set the BPM using your own sense of rhythm, even if you do not know the numerical value (p. 40).

* Since the RPS preset patterns are for use with RPS, they

contain performance data only for part 1 (or part R).

* You can change the mute status of each part and save the

pattern as a user pattern (p. 20).

Chapter 2. Playing Patterns

Muting individual rhythm sounds

The instruments used within part R can be muted (silenced) individually. A certain category of instrument, such as bass drum (BD) or snare drum (SD) can be muted as a group.

1. Simultaneously press [PART SELECT] and [PART MUTE].

[PART SELECT] and [PART MUTE] will light, and part buttons [R] and [1]–[7] will function as Rhythm Tone Mute buttons ([BD]–[OTHERS]).

2. Press the [BD]–[OTHERS] button for the part that you wish to mute, making the indicator blink.

The corresponding rhythm instrument will be muted.

3. To cancel muting, once again press the button of the muted part, making it light.

Association of rhythm groups and buttons for muting them

• BD: Bass Drum

• SD: Snare Drum

• HH: Hi-Hat

• CLP: Hand Claps

• CYM: Cymbal

• TOM/PERC: TomTom/Percussion

• HIT: hit such as a one-shot SFX sound.

• OTHERS: Other instruments

Applying the mute status to the next pattern as well (Mute Remain)

This operation is used to maintain the muting mode for playing back the next part. It is useful, for example, to play back the next pattern with the rhythm track muted by maintaining the current setting.

1. Hold down [PART MUTE] and press [HOLD].

[PART MUTE] will begin flashing.

* If you once again hold down [PART MUTE] and press

[HOLD], this function will be cancelled.

2. Turn [VALUE] to select the next pattern.

After a time, the newly selected pattern will begin playing, using the current Part Mute settings.

* Mute Remain will be cancelled automatically.

Using D-FIELD to mute

By using D-FIELD you can perform the following mute operations (p. 25).

• Mute all parts at once

• Put only one specific part in playback mode

• Reverse the status of muted parts versus playing parts

• Fade in/out only a specific part

• Fade in/out all parts

• Put only the bass drum and bass in playback mode

Chapter 2

* If you would like to know which instrument is muted by

muting a particular rhythm group? ➔ Preset Rhythm Set List (p. 86)

* Using the part muting function to mute Part R mute all

rhythm tones regardless of the settings for respective rhythm tones.

Chapter 2. Playing Patterns

Selecting a sound (Patch/Rhythm set)

The D2’s Patterns are composed of up to eight Parts, and different Patches (Part1 - 7: Patches, Part R = Rhythm set) can be selected for each Part. To change tones, first select the desired Part.

First, specify the part for which you will select a patch.

1. Press [PART SELECT].

The part button of the currently selected part (the current part) will light.

2. Press the part button ([R] or [1]–[7]) of the part whose patch you wish to change.

The part of the button you pressed will become the current part, and that part button will light.

Select a patch.

3. Press [DISPLAY] enough times to get the PATCH indicator to light.

Saving a patch

Here’s how the sound you modified by using D-FIELD filter (p. 33), envelope (p. 34), and LFO (p. 36) operations can be saved as a patch.

1. Press [DISPLAY] to access the patch select screen.

2. Modify the sound parameters.

3. Press [WRITE].

A screen will appear in which you can specify the save destination patch.

4. Turn [VALUE] to select the save destination patch.

The settings will be saved in the patch you select here. The previously-saved patch will be erased, so be careful when making this selection.

5. Press [ENTER].

The display will ask “SurE” (are you sure you want to save?).

4. Turn [VALUE] to select the desired patch.

• By holding down [DISPLAY] and turning [VALUE] you can change the patch (or rhythm set) in units of ten.

• By holding down [EXIT] and turning [VALUE] you can switch banks.

5. After you have finished making the setting, press [EXIT] to return to the previous display.

Part R

– R-A 01–26 Preset Rhythm Set (Bank A) R-B 01–04 Preset Rhythm Set (Bank B) R-U 01–20 User Rhythm Set

Part 1–7

– P-A 001–128 Preset Patch (Bank A) P-B 001–128 Preset Patch (Bank B) P-C 001–128 Preset Patch (Bank C) P-D 001–128 Preset Patch (Bank D) P-E 001–088 Preset Patch (Bank E) P-U 001–256 User Patch

6. If you wish to save, press [ENTER].

* If you decide not to save, press [EXIT].

If you select another patch or turn off the power without saving the patch you edited, your edits will be lost.

Chapter 2. Playing Patterns

Modifying the settings of each part (Part Edit)

You can modify the settings of each part to change the way in which the pattern is sounded.

First specify the part whose settings you wish to modify.

1. Press [PART SELECT].

The part button of the currently selected part (the current part) will light.

2. Press the part button ([R] or [1]–[7]) of the part whose settings you wish to modify.

The part whose button you pressed will become the current part, and the part button will light.

Modify the settings.

3. Hold down [PART SELECT] and press [EDIT].

4. Press [ENTER] to select a parameter.

The parameter will change each time you press [ENTER]. LEVEL ➔ PAN ➔ KEY SHIFT ➔ REVERB ➔ DELAY ➔ MFX SW ➔ SEQ OUT ➔ LEVEL ➔ …

5. Turn [VALUE] to modify the setting.

Chapter 2

6. When you are finished, press [EXIT].

Indication Parameter Explanation Value

LEVEL (Part Level)

PAN (Part Pan)

KEY SHIFT (Part Key Shift)

REVERB (Part Reverb Level)

DELAY (Part Delay Level)

MFX SW (Part MFX switch)

SEQ OUT (Sequencer Output Assign)

Set the volume of the part. 0 – 127

Set the left/right position of the part.

Set the transposition of the part. -48 – 0 – 48

Set the amount of reverb for the part.

Set the amount of delay for the part.

Determines whether the multi-effect will be used for the part.

* You can also set this using the

D-FIELD function button [MFX] and the part button [R] or [1]–[7] (p. 33).

Specify the output destination from the sequencer to the sound source.

L64 – 0 – R63

0 – 127

OFF, ON, RHY

INT: Output to the internal sound generator. EXT: Output to the MIDI OUT connector. BOTH: Output to both of the above simultaneously.

* RHY can be set only for the rhythm part. If

you specify RHY, the multi-effect will be applied according to the settings of each tone in the rhythm set. If you select ON for the rhythm part, the multi-effect will apply to all tones.

Chapter 2. Playing Patterns

Saving a pattern

When you have made the settings for setup parameter, save the pattern as a user pattern.

If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost.

* For a pattern to be saved, pattern playback must be stopped.

1. Press [PATTERN] to enter Pattern mode.

2. Press [WRITE].

A screen will appear, allowing you to specify the savedestination pattern.

3. Turn [VALUE] to select the save-destination pattern.

The data will be saved to the pattern you select here. Make your selection carefully, since the pattern that was previously saved in this location will be erased.

4. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the save?).

Setup Parameters

On the D2, the following parameters are saved for each pattern. These parameters are collectively referred to as the “Setup parameters.”

- Standard Tempo (p. 16)

- Patch/Rhythm Set * (p. 18)

- Part LEVEL * (p. 19)

- Part PAN * (p. 19)

- Part KEY SHIFT* (p. 19)

- Part REVERB LEVEL * (p. 19)

- Part DELAY LEVEL * (p. 19)

- Part MFX SWITCH * (p. 19)

- SEQ OUT * (p. 19)

- REVERB settings (p. 42)

- DELAY settings (p. 43)

- MFX settings (p. 44)

- Part Mute status * (p. 16)

- Rhythm Mute status (p. 17)

The “*” indicates parameters that are set independently for each part.

5. To save the pattern, press [ENTER].

* To cancel without saving, press [EXIT].

Chapter 3. About the D-FIELD

What is the D-FIELD?

The D-FIELD is a controller that lets you produce various effects by touching the surface of the controller with your finger. The effect can be controlled by the location of your touch, or by how you move your finger.

Broadly speaking, there are three ways to use the D-FIELD.

SOUND mode

By pressing on the eight areas of the D-FIELD, or by rubbing the surface of the D-FIELD up/down/left/right, you can play back phrases or play sounds.

fig.3-01

•RPS (Realtime Phrase Sequence) Play phrases by pressing on the eight areas of the D-FIELD.

•ADLIB (Ad-lib) Play solos or arpeggios.

•VINYL-FX (Vinyl effects) Produce effects, such as backspin, which are perfect for DJ work.

•ASSIGN 1

Control muting and play arpeggios.

Chapter 3

XY mode

By rubbing the surface of the D-FIELD up/down/left/right, you can control two parameters simultaneously to modify the sound.

fig.3-02

•FILTER

Simultaneously control the cutoff frequency and resonance to modify the sound.

•MFX (Multi-effects) Control the effect parameters to modify the sound.

•X-FADER (Crossfader) Crossfade between two desired parts of the pattern.

•ASSIGN 2

Control the pitch, timbre, or volume of the sound, or the rhythmic feel of the pattern.

SPIN mode

By moving your finger in a circle over the surface of the D-FIELD you can control how the pattern sounds in a manner similar to when manually spinning a turntable.

fig.3-03

•VINYL

Just as on a turntable, you can make the pattern play forward, backward, or stop.

•BPM

Control the BPM (tempo).

•SD ROLL (Snare drum roll) Control the speed of the snare roll.

•ASSIGN 3

You can control things such as Step Mute and Pan (stereo location).

• When touching the D-FIELD, you must use only one finger and touch only one location. If you touch two or more locations, the controller will determine that you touched a point between those locations.

• If you press too hard on the edge of the D-FIELD, the location of your finger may not be recognized properly.

• Do not poke the surface of the D-FIELD with a sharp object. Doing so will cause malfunctions.

Chapter 3. About the D-FIELD

Basic use of the D-FIELD

Selecting a function

1. Of the D-FIELD function buttons [RPS]–[ASSIGN 3],

press the button for the desired function to make its indicator light.

The function of the illuminated button will be selected.

2. For [ASSIGN 1–3], hold down the button and turn [VALUE] to select the desired function.

Functions that can be selected for [ASSIGN 1]

Mute effect

Arpeggiator 1

Arpeggiator 2

Pattern Call

Patch Preview

Memorizing the location from which you released your finger (Hold)

If you press [HOLD] to make it light, you can take your finger off of the D-FIELD and the effect will continue as if you were still pressing at that location.

If you press [HOLD] once again to make it go dark, the effect will change as though you had taken your finger off of the DFIELD.

This is convenient when you want to use RPS to keep a phrase sounding, or when you want to sustain a sound that is being modified by filter or MFX.

There are some functions for which Hold cannot be used. If such a function is selected, pressing [HOLD] will not make it light.

When used in conjunction with RPS, there are some cases in which [HOLD] will blink. For details refer to “Holding RPS” (p. 23).

Setting the volume of SOUND mode

Solo Synth

Keyboard Pad

Functions that can be selected for [ASSIGN 2]

Envelope

LFO

Bender

Quantize

Reverb

Delay

External Control

Functions that can be selected for [ASSIGN 3]

Step Mute

1. Hold down the REC FUNCTION button [VELOCITY] and turn [VALUE].

You can use [ADLIB] and [ASSIGN 1(AP1, AP2, PRV, PAD)] to specify the velocity of the sound that will be played.

Values: 1–127

Changing the D-FIELD settings

1. Press and hold the D-FIELD function button [RPS]–

[ASSIGN 3] whose settings you wish to change.

The parameter will be displayed.

2. Turn [VALUE] to modify the setting.

* For [ASSIGN 1–3], this will be the selection of function. * The VINYL-FX setting is fixed, and turning [VALUE] will

not change it.

For [ADLIB], [ASSIGN 1(AP2, PCL, SYN)], [MFX], [XFADER], and [ASSIGN 2 (other than BND)], you can further perform the following operations.

1. Continue holding the D-FIELD function button.

2. Press [ENTER] to select a parameter.

Pan

* For details on each function, refer to pp. 25–41.

3. Turn [VALUE] to modify the setting.

For details on each setting, refer to the explanations on the subsequent pages.

Chapter 3. About the D-FIELD

SOUND mode

Playing back a phrase (RPS: Realtime Phrase Sequence)

Phrases assigned to each of the eight areas of the D-FIELD will continue playing as long as you continue pressing that area.

The phrases assigned to each of the eight areas of the DFIELD are collectively managed as an “RPS set.” You are free to re-assign the contents of an RPS set, and internal memory can accommodate 30 different sets. You can also switch RPS sets while a pattern is playing.

Display Explanation Setting

TYPE Select an RPS set. 1–30

➔ Changing the D-FIELD settings (p. 22)

Holding RPS

You can hold the RPS so that the phrase continues playing even when you take your finger off of the D-FIELD.

• Holding all phrases

1. Press [HOLD] to make it light.

2. Press the D-FIELD to play a phrase.

When you once again press the same area of the DFIELD, that phrase will stop.

• Specifying whether each phrase will be held or not

Assigning phrases to the D-FIELD

You may find it convenient to assign your favorite or frequently used phrases as one RPS set.

1. Select the pattern that contains the phrase you want to assign.

2. Press [PART MUTE], and use the mute buttons to mute all but the part that you wish to assign to RPS.

3. Hold down [RPS] and turn [VALUE] to select the RPS set to which you will assign the phrase.

4. While holding down [RPS], press the D-FIELD area number to which you will assign the pattern.

Chapter 3

* It is not possible for multi-part phrases to be assigned to each

of the eight D-FIELD areas. You must mute all parts other than the part that contains the phrase you wish to assign. If you attempt to assign a phrase in which two or more parts are un-muted, the display will indicate “noASGn”.

* If you have assigned a phrase from a user pattern to RPS, and

modify the performance data of the pattern that contains that phrase after it has been assigned, be aware that the phrase played by RPS will be affected by these modifications. For example if you delete the performance data of a pattern that contains an assigned phrase, no sound will be heard when you use RPS to play that phrase.

1. While pressing [HOLD], press the D-FIELD to play a phrase.

[HOLD] will blink, and that phrase will continue playing until the same area of the D-FIELD is pressed once again.

2. The phrases being held will continue playing until you hold down [HOLD] and press the D-FIELD as you did in step 1.

The phrases will be heard together.

3. A phrase that you do not want to hold can be played by pressing only the D-FIELD.

When you release your finger, that phrase will stop playing.

* As an alternative to holding down [HOLD] and pressing the

D-FIELD in steps 1 and 2, you can obtain the same result by holding down the D-FIELD to play the phrase and pressing [HOLD].

By pressing [HOLD] to make it go dark, you can stop all phrases.

* If you assign a phrase from a part that uses MFX, the MFX

settings during RPS playback will be determined by the MFX settings of the currently selected pattern. This means that the RPS playback may sound different than the original phrase.

* If you assign a phrase from the rhythm part, the rhythm mute

settings will be ignored during RPS playback.

* Each phrase will be played back by a dedicated RPS part 1–8

that corresponds to the eight areas of the D-FIELD. However, phrases that were assigned from the rhythm part will be played back by the rhythm part of the currently selected pattern. This means that in some cases, the phrase may be sounded by a different rhythm set than that of the assignment source. If a different rhythm set is selected when you switch patterns, the rhythm set played by RPS will also change.

Chapter 3. About the D-FIELD

Improvising along with a chord progression (ADLIB)

After pressing one of the areas in the lower half of the D-FIELD, move your finger in the left/right direction to play an ad-lib performance. While sound is being produced, you can move your finger upward to apply modulation.

Modulation

Pitch

fig.Adlib

Display Explanation Setting

TYPE Select how the sound will be

played.

X Specify the scale. Scale 1–Scale 9

MAN (MANUAL):

Notes of any pitch and duration are available for play at will.

ARP (ARPEGGIO):

Play automatic arpeggios.

Y Raise or lower the pitch in

octave units.

-3–3

➔ Changing the D-FIELD settings (p. 22)

fig.Scale

Making detailed settings

1. Hold down [ADLIB] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to modify the value.

Display Parameter Explanation Setting

TYPE Select how the sound will be played. MAN (MANUAL):

ARP (ARPEGGIO):

STYLE Select how the sound will be played when TYPE is “AR-

PEGGIO.”

MOTIF Specify the order in which the component notes of the

chord will sound.

BEAT PATTERN Specify the pattern of accent locations and note lengths.

Refer to “Arpeggio settings” (p.

28).

* Arpeggio settings are common

Notes of any pitch and duration are available for play at will.

Play automatic arpeggios.

to Adlib and Arpeggiator 1 and

SHUFFLE RATE You can vary the timing of the backbeats to create shuffle

rhythms. With a setting of 50%, the notes will be spaced equally. As this value is increased, the notes will be played with a more “dotted” feel.

* When the Beat Pattern setting is 1/4, no “shuffle” feel

will be applied even if you increase the Shuffle Rate.

ACCENT RATE You can add expression to the arpeggio by varying the

strength and note length of the accented notes. Increasing this value will produce a greater sense of groove.

OCTAVE RANGE Specify the pitch range of the arpeggio in octave units.

Lowering this value below 0 will cause the arpeggio to be played in a pitch range below the chord you specified.

ROOT Specify the root note of the chord. C–B

SCALE Specify the scale. Scale 1–Scale 9

OCTAVE SHIFT Raise or lower the pitch that is sounded, in units of an oc-

tave.

50–90(%)

0–100

-3–3

Chapter 3. About the D-FIELD

Applying special turntable-type effects (VINYL-FX: Vinyl Effects)

You can apply various special effects by pressing each of the eight areas of the D-FIELD.

fig.Pad

No. Function Explanation

1 POWER OFF The tempo will slow down and the pitch will fall, just as when a turntable is

powered-off during playback. Finally the playback will stop. If you wish to

play back once again, after the playback has stopped completely, press [ ]. 2 REVERSE The sounds of the rhythm part will be played backward. 3 PITCH DOWN The pitch of all parts will become lower. 4 PITCH UP The pitch of all parts will become higher. 5 BPM HALF The BPM will be halved (minimum 20). 6 BPM DOUBLE The BPM will be doubled (maximum 240). 7 RETURN TO TOP Play back from the beginning of the pattern. 8 BACK SPIN The sound will be as when a turntable is spun backward.

Applying various muting effects (ASSIGN 1: MUTE-FX: Mute Effects)

fig.MUT—

Chapter 3

You can perform various muting operations by pressing each of the eight areas of the D-FIELD.

fig.Pad

No. Function Explanation

1 DEFAULT Return to the mute status that is registered in the pattern. 2 ALL MUTE ON All parts will be muted. 3 SOLO All parts other than the current part will be muted. 4 REVERSE The current mute settings will be inverted. 5 FADE OUT The volume of the current part will gradually decrease. 6 FADE IN The volume of the current part will gradually increase. 7 ALL CROSSFADE The current mute settings will gradually be inverted. 8 KICK & BASS Sounds other than the BD (bass drum) of the rhythm group and

Part 2 (bass) will be muted.

* The fade-in/out of D-FIELD area numbers 5–7 will continue even after you take your finger away, and the volume(s) will not return to the

original setting(s).

Making detailed settings

1. Hold down [ASSIGN 1] and press [EDIT].

2. Turn [VALUE] to modify the setting.

Display Parameter Explanation Setting

FADE TIME Specify the time over which the volume will

be changed by D-FIELD effects No.5–7.

1.0–10.0 (sec.)

Chapter 3. About the D-FIELD

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 1)

fig.AP1—

You can specify ahead of time how the arpeggio will be sounded; then change the root note by varying the left/right location at which you press the D-FIELD, and change the chord by moving up/down.

Display Explanation Setting

TYPE none none none X none Root note Root note (fixed) Y none Chord Chord (fixed)

Making detailed settings

1. Hold down [ASSIGN 1] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to modify the setting.

Display Parameter Explanation Setting

STYLE Select how the sound will be played. Refer to “Arpeggio set-

tings” (p. 28).

MOTIF Specify the order in which the component notes of the chord

will sound.

BEAT PATTERN Specify the pattern of accent locations and note lengths.

* Arpeggio settings are

common to Adlib and Arpeggiator 1 and 2.

SHUFFLE RATE You can vary the timing of the backbeats to create shuffle

rhythms. With a setting of 50%, the notes will be spaced equally. As this value is increased, the notes will be played with a more “dotted” feel.

* When the Beat Pattern setting is 1/4, no “shuffle” feel will

be applied even if you increase the Shuffle Rate.

ACCENT RATE You can add expression to the arpeggio by varying the

strength and note length of the accented notes. Increasing this value will produce a greater sense of groove.

OCTAVE RANGE Specify the pitch range of the arpeggio in octave units. Low-

ering this value below 0 will cause the arpeggio to be played in a pitch range below the chord you specified.

OCTAVE SHIFT Raise or lower the pitch that is sounded, in units of an oc-

tave.

When you have created an arpeggio that you like, save it as a user style.

4. Press [WRITE].

A screen will appear in which you can specify the save destination for the arpeggio style.

5. Turn [VALUE] to select the save destination arpeggio style.

6. Press [ENTER].

The display will ask “SurE” (are you sure you want to save?).

50–90(%)

0–100

-3–3

If you switch to another style without saving the edited arpeggio settings in a user style, your settings will be lost.

7. If you wish to save, press [ENTER].

* If you decide not to save, press [EXIT].

Chapter 3. About the D-FIELD

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 2)

fig.AP2—

Arpeggios can be played using the root note and chord that you specify ahead of time. By varying the location at which you press the D-FIELD, you can change how the arpeggio is sounded.

Display Explanation Setting

TYPE none none none X Select the part that will be af-

fected when you move your finger in the left/right direction.

Y Select the part that will be af-

fected when you move your finger in the up/down direction.

➔ Changing the D-FIELD settings (p. 22)

OFF, STYLE, MOTIF, BEAT PATTERN, SHUFFLE RATE, ACCENT RATE, and OCTAVE RANGE

* It is not possible to select the same parameter for X, Y.

Making detailed settings

1. Hold down [ASSIGN 1] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to modify the setting.

Display Parameter Explanation Setting

STYLE Select how the sound will be played. Refer to “Arpeggio set-

tings” (p. 28).

MOTIF Specify the order in which the component notes of the chord

will sound.

BEAT PATTERN Specify the pattern of accent locations and note lengths.

SHUFFLE RATE You can vary the timing of the backbeats to create shuffle

rhythms. With a setting of 50%, the notes will be spaced equally. As this value is increased, the notes will be played with a more “dotted” feel.

* When the Beat Pattern setting is 1/4, no “shuffle” feel will

be applied even if you increase the Shuffle Rate.

ACCENT RATE You can add expression to the arpeggio by varying the

strength and note length of the accented notes. Increasing this value will produce a greater sense of groove.

OCTAVE RANGE Specify the pitch range of the arpeggio in octave units. Low-

ering this value below 0 will cause the arpeggio to be played in a pitch range below the chord you specified.

ROOT Specify the root note of the chord. C–B

* Arpeggio settings are

50–90(%)

0–100

-3–3

Chapter 3

common to Adlib and Arpeggiator 1 and 2.

CHORD Select the type of chord. Major, minor, 7th, m7, M7,

OCTAVE SHIFT Raise or lower the pitch that is sounded, in units of an oc-

tave.

When you have created an arpeggio that you like, save it as a user style.

When you have created an arpeggio that you like, save it as a user style. ➔ Refer to steps 4 and following of “Making detailed settings” on the preceding page.

mM7, 6th, m7-5, dim, sus4, 7sus4, aug

-3–3

Chapter 3. About the D-FIELD

Arpeggio settings

Arpeggio Styles

When you wish to make arpeggiator settings, you will first select an Arpeggio Style. When you select a style, optimal values will be set for the four parameters “Motif,” “Beat Pattern,” “Shuffle Rate,” and “Accent Rate.” You can adjust parameters such as Accent Rage and Octave Range to modify the pattern to your taste.

STYLE Explanation

1/4 The rhythm will be divided in quarter notes. 1/6 The rhythm will be divided in quarter note triplets. 1/8 The rhythm will be divided in eighth notes. 1/12 The rhythm will be divided in eighth note triplets. 1/16 The rhythm will be divided in 16th notes. 1/32 The rhythm will be divided in 32nd notes. PORTAMENTO A, B A style using the portamento effect. GLISSANDO A glissando style. SEQUENCE A–D Styles for sequenced patterns. ECHO An echo-like style. BASS 1–4 Styles appropriate for bass playing. RHYTHM GUITAR 1–5 Guitar strumming styles. 3 FINGER Three-finger guitar style. STRUMMING GUITAR A style simulating a guitar chord strummed upward (downward). PIANO BACKING, CLAVI CHORD Styles for keyboard instrument backing. WALTZ, SWING WALTZ Styles in triple meter. REGGAE A reggae-type style. PERCUSSION A style suitable for percussive instrument sounds. HARP The playing style of a harp. SHAMISEN The playing style of a Shamisen. BOUND BALL A style suggestive of a bouncing ball. RANDOM A style in which the notes sound in random order. BOSSA NOVA Bossa nova guitar strumming style. Can also be used for Samba by making the BPM faster. SALSA Typical salsa style. MAMBO Typical mambo style. LATIN PERCUSSION SAMBA Typical samba style. Use for rhythm patterns or bass lines. TANGO Typical tango rhythm style. HOUSE A style for house piano backing. LIMITLESS The settings of all parameters can be freely combined without restriction. USER STYLE 1–10 Arpeggio settings can be modified and saved in one of these user styles.

A rhythm style with Latin percussion instruments such as Claves, Cowbell, Clap, Bongo, Conga, Agogo etc.

MOTIF

Specifies the order in which the notes of the chord will be sounded.

* The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for each style, refer to

“Table of STYLE/MOTIF/BEAT PATTERN” on next page.

MOTIF Description

SINGLE UP Notes will be sounded individually, beginning from low to high. SINGLE DOWN Notes will be sounded individually, beginning from high to low. SINGLE UP&DW Notes will be sounded individually, from low to high, and then back down from high to low. SINGLE RANDOM Notes will be sounded individually, in random order. DUAL UP Notes will be sounded two at a time, beginning from low to high. DUAL DOWN Notes will be sounded two at a time, beginning from high to low. DUAL UP&DW Notes will be sounded two at a time, from low to high, and then back down from high to low. DUAL RANDOM Notes will be sounded two at a time, in random order. TRIPLE UP Notes will sound three at a time, from low to high. TRIPLE DOWN Notes will sound three at a time, from high to low. TRIPLE UP&DOWN Notes will sound three at a time, from low to high and then back down from high to low. TRIPLE RANDOM Notes will sound three at a time, in random order. NOTE ORDER Notes you press will be sounded in the order in which you pressed them. By pressing the notes in the appropriate or-

der you can produce melody lines. Up to 32 notes will be remembered.

GLISSANDO Each chromatic step between the highest and lowest notes will sound in succession, repeating upward and downward.

CHORD All notes will sound simultaneously. BASS+CHORD 1–5 The lowest of the notes you play will sound, and the remaining notes will sound as a chord. BASS+UP 1–8 The lowest of the notes you play will sound, and the remaining notes will be arpeggiated. BASS+RND 1–3 The lowest of the notes you play will sound, and the remaining notes will sound in random order. TOP+UP 1–6 The highest of the notes you play will sound, and the remaining notes will be arpeggiated. BASS+UP+TOP The highest and the lowest of the notes you play will sound, and the remaining notes will be arpeggiated.

* This is valid only when playing arpeggios from an external MIDI device.

Press only the lowest and the highest notes.

Chapter 3. About the D-FIELD

Beat pattern

It will affect the accent location and note length, causing the beat (rhythm) to change.

* The values which can be set will depend on the currently selected arpeggio style. For details on the possible values for each style, refer to

“Table of STYLE/MOTIF/BEAT PATTERN” on this page.

Types of Beat pattern

1/4, 1/6, 1/8, 1/12, 1/16 1-3, 1/32 1-3, PORTA-A 1-11, PORTA-B 1-15, SEQ-A 1-7, SEQ-B 1-5, SEQ-C 1–2, SEQ-D 1-8, ECHO 1-3, MUTE 1-16, STRUM 1-8, REGGAE 1–2, REF 1–2, PERC 1-4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1-4, MAMBO 1-2, CLAVE, REV CLA, GUILO, AGOGO, SAMBA, TANGO 1-4, HOUSE 1–2

Table of STYLE/MOTIF/BEAT PATTERN

Style Motif Beat Pattern

1/4 all 1/4 1/6 all 1/6 1/8 all 1/8 1/12 all 1/12 1/16 all 1/16 1 - 3 1/32 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSAN-

DO, BASS+UP 1 - 8, BASS+RND 1 - 3, TOP+UP 1 - 6 PORTAMENTO A all PORTA 1 - 11 PORTAMENTO B all PORTA 12 - 26 GLISSANDO GLISSANDO 1/16 1 - 3, 1/32 1 - 3 SEQUENCE A all SEQ-A 1 - 7 SEQUENCE B all SEQ-B 1 - 5 SEQUENCE C SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSAN-

DO, BASS+UP 1 - 8, BASS+RND 1 - 3, TOP+UP 1 - 6 SEQUENCE D all SEQ-D 1 - 8 ECHO SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER BASS 1 BASS+UP 2 SEQ-A 1, SEQ-C 1 BASS 2 BASS+UP 5, TOP+UP 5 MUTE 02, 03 BASS 3 BASS+UP 5, TOP+UP 5 MUTE 02, 03 BASS 4 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, NOTE OR-

DER, GLISSANDO RHYTHM GTR 1 SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 1 -

8, BASS+RND 1 - 3, TOP+UP 1 - 6 RHYTHM GTR 2 CHORD MUTE 07, 13, 14 RHYTHM GTR 3 CHORD MUTE 08, 12, 15 RHYTHM GTR 4 CHORD MUTE 09, 10, 11, 16 RHYTHM GTR 5 SINGLE UP, SINGLE DOWN STRUM 1 - 6 3 FINGER BASS+UP+TOP SEQ-A 7 STRUMMING GTR SINGLE UP, SINGLE DOWN STRUM 7, 8 PIANO BACKING CHORD MUTE 12, REF 2 CLAVI CHORD BASS+CHORD 4, BASS+CHORD 5 MUTE 05, 06 WALTZ BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2 1/6, 1/12 SWING WALTZ BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2 1/16 1 - 3 REGGAE CHORD, BASS+CHORD 1 REGGAE1 - 2 PERCUSSION SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, BASS+UP 1 -

8, BASS+RND 1 - 3, TOP+UP 1 - 6 HARP SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO HARP SHAMISEN TOP+UP 4 - 6 SEQ-A 2 BOUND BALL SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,

RANDOM SINGLE RANDOM, DUAL RANDOM, BASS+RND 1 - 3 1/4,1/6,1/8,1/12,1/16 1-3,

BOSSA NOVA all BOSSA NOVA SALSA all SALSA 1 - 4 MAMBO all MAMBO 1 - 2 LATIN PERCUSSION SAMBA all SAMBA TANGO all TANGO 1 - 4 HOUSE all HOUSE 1 - 2 LIMITLESS all all

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO

SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP,

DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, NOTE ORDER, GLISSANDO

1/32 1 - 3

SEQ-C 1 - 2

SEQ-D 1 - 8

WALKBS

MUTE 01, 04

PERC1 - 4

BOUND

1/32 1-3, RANDOM

CLAVE, REV CLA, GUIRO, AGOGO

Chapter 3

Chapter 3. About the D-FIELD

Recalling a pattern (ASSIGN 1: PATTERN CALL)

fig.PCL—

The eight areas of the D-FIELD can be used as buttons that select patterns. You can prepare the desired patterns ahead of time, and then use this method to switch patterns quickly.

The patterns assigned to the eight areas of the D-FIELD are collectively managed as a “pattern set.” You are free to re-assign the contents of a pattern set, and internal memory can accommodate 20 different sets. You can also switch pattern sets while a pattern is playing.

When you perform Pattern Call in MEGAMIX mode, the parts registered in the MEGAMIX set will be selected.

Display Explanation Setting

TYPE Select a pattern set. 1–20

➔ Changing the D-FIELD settings (p. 22)

Assigning patterns to the D-FIELD

You may find it convenient to assign your favorite or frequently used patterns as one pattern set.

1. Set [ASSIGN 1] TYPE to “PCL.”

2. Select the pattern that you wish to assign.

3. While holding down [ASSIGN 1], turn [VALUE] to select the pattern set to which you will assign the phrase.

4. Hold down [ASSIGN 1], and press the D-FIELD area to which you will assign the pattern.

This specifies the correspondence of the D-FIELD and the part.

Registering the parts for use with MEGAMIX (MEGAMIX Set)

It is convenient to register the parts you wish to use for MEGAMIX (p. 58) as a single MEGAMIX Set. You can store twenty MEGAMIX Sets separately from the conventional pattern sets.

1. Select the pattern that contains the part you wish to assign.

2. Press [MEGAMIX] to enter MEGAMIX mode.

3. Press [PART MUTE], and use the mute buttons to mute all parts except for the one that you wish to register.

4. As the [ASSIGN 1] TYPE, select "PCL."

5. Hold down [ASSIGN 1] and press [ENTER] to access the MEGAMIX set select screen, and while continuing to hold

down [ASSIGN 1], turn [VALUE] to select the MEGAMIX Set in which you wish to register the part.

6. Hold down [ASSIGN 1], and press the D-FIELD to which you wish to assign the part.

This specifies the correspondence of the D-FIELD and the part.

* It is not possible to register multiple parts to each of the eight D-FIELD areas. You must mute all parts other than the part being

registered. If you perform the registration operation with more than one part unmuted, the display will indicate “noASGn.”

Chapter 3. About the D-FIELD

Auditioning the sound of a patch (ASSIGN 1: PATCH PREVIEW)

fig.PRV—

You can press each of the eight D-FIELD areas to hear the sound of each part. Pressing D-FIELD 8 will sound the rhythm part.

* The note number (pitch) that is played can be modified by holding down REC FUNCTION (p. 63) [NOTE NUMBER], and turning

[VALUE].

You can check the currently sounding part and note number by pressing [DISPLAY] to set it to “D-FIELD.”

Playing a monophonic synth sound (ASSIGN 1: SOLO SYNTH)

fig.SYN—

The sound will play when you press the D-FIELD. Left/right movement will change the pitch, and up/down movement will change the volume.

Chapter 3

Display Explanation Setting

TYPE Select the solo synth sound. 1–14

X none Pitch Pitch (fixed) Y none Level Level (fixed)

➔ Changing the D-FIELD settings (p. 22)

Making detailed settings

1. Hold down [ASSIGN 1] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

Display Parameter Explanation Setting

* The solo synth sounds are the sounds of the following patches.

SOUND Select the solo synth sound. 1–14

OCTAVE RANGE Adjust the pitch range in octave units. -4–4

REVERB SEND LEVEL Adjust the reverb depth. 0–127

DELAY SEND LEVEL Adjust the delay depth. 0–127

No. Patch No. Patch No. Patch

1 P-E001: SOLO Saw 11 P-A030: Square Lead1 21 P-B005: Saw Stack 1 2 P-E003: Fright Saw 12 P-A040: PortaSynLead 22 P-B006: Saw Stack 2 3 P-E006: SOLO PWM 13 P-A042: Beep Mod 23 P-B012: Good Bean 4 P-E007: SOLO Square 14 P-A045: JU2 SubOsc 1 24 P-B014: Mega 5th 5 P-E008: Square Lead4 15 P-A054: Sine Tone 25 P-B025: Sweep Pad 2 6 P-E012: SOLO Choir 16 P-A057: Big Up Massv 26 P-B045: Atmosphere 2 7 P-E013: SOLO Sin 17 P-A064: Dark SawLead 27 P-B094: Cal + After 8 P-E015: Sweep Beep 18 P-A068: Voc Saw 28 P-C005: P5 Noise 9 P-E037: Saw Stack 3 19 P-A112: NU-NRG Bass 29 P-C050: Pop Organ 10 P-E063: Powerful Org 20 P-B001: Strong Brass 30 P-C098: Hush Brass

Chapter 3. About the D-FIELD

Playing rhythm instruments / scales (ASSIGN 1: KEYBOARD PAD)

fig.PAD—

By pressing the eight areas of the D-FIELD you can play any eight notes of the current part. In the case of part R alone, you can specify different note numbers than the other parts. This allows you to assign various

instruments of the rhythm set for part R, and assign a scale for the other parts.

Specifying the notes (note numbers) that will sound

1. Press [PART SELECT] and select the part.

2. Hold down [ASSIGN 1] and press [EDIT].

3. Press the D-FIELD to select the D-FIELD area to which you wish to assign a note number.

Example displays

Part R, D-FIELD No.1, Note number 36

Part 1–7, D-FIELD No.5, Note G4

4. Turn [VALUE] to specify the note.

* For the note numbers that can be assigned to the D-FIELD for part R, refer to “Preset Rhythm Set List” (p. 86).

5. When you are finished, press [EXIT].

Chapter 3. About the D-FIELD

XY mode

Changing the brightness of the sound/Adding character to the sound (FILTER)

You can vary the brightness of the current part by the location of your touch. Left/right movement will vary the cutoff frequency. Upward movement will apply more emphasis to the region surrounding the cutoff frequency (resonance),

producing a distinctive tone.

Display Explanation Setting

TYPE Select the type of fil-

ter.

* At the factory

settings, the filter will be as specified by the patch selected for the current part of the current pattern.

X none Cutoff Frequency Cutoff Frequency (fixed) Y none Resonance Resonance (fixed)

➔ Changing the D-FIELD settings (p. 22)

OFF:

The filter will not be applied.

LPF (Low Pass Filter):

Moving your finger toward the right will cause the sound to become increasingly closer to the original waveform, and be brighter. Moving your finger toward the left will increasingly cut the higher frequencies, making the sound darker.

* For some waveforms, you may hear no sound at all if you move your finger far

toward the left.

BPF (Band Pass Filter):

Moving your finger toward the right will increasingly cause only the high frequency range to be heard. Moving your finger toward the left will increasingly cause only the low frequencies to be heard.

HPF (High Pass Filter):

Moving your finger toward the right will increasingly cut the lower frequencies, sharpening the sound. Moving your finger toward the left will cause the sound to become increasingly closer to the original waveform.

* For some waveforms, you may hear no sound at all if you move your finger far

toward the right.

PKG (Peaking Filter):

Moving your finger toward the right will increasingly emphasize the high frequency range. Moving your finger toward the left will increasingly emphasize the lower frequency range.

Chapter 3

Applying special effects to the sound (MFX)

You can simultaneously control any two desired parameters of a multi-effects (p. 44).

* There will be no effect if [MFX] is dark. Press [MFX] to make it light.

Display Explanation Setting

TYPE Select the multi-effects type. Refer to “Available Settings” (p. 44).

X Select the parameter that will be affected

when you move your finger to left or right.

Y Select the parameter that will be affected

when you move your finger upward or downward.

➔ Changing the D-FIELD settings (p. 22)

While setting X or Y, you can hold down the D-FIELD function button [MFX] and press one of the part buttons to turn the Part MFX Switch (p. 19) on/off. The part button will light to indicate parts for which the multi-effects is on.

Making detailed settings

1. Hold down the D-FIELD function button [MFX], and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

For details on the parameters and their settings, refer to the explanation for each effect (pp. 45–57).

Refer to the explanation for each effect (pp. 45–57).

* When you change the type, the parameter whose value is

followed by an “X” or “Y” will be selected automatically (X = left/right, Y = up/down).

* It is not possible to select the same parameter for both X and Y.

Chapter 3. About the D-FIELD

Changing the volume of the parts (X-FADER)

The volume or pan of two parts can be controlled simultaneously.

Display Explanation Setting

TYPE Specify whether you will control volume or pan. LEV (LEVEL), PAN

X Select the part that will be affected when you move your

finger to left or right.

Y Select the part that will be affected when you move your

finger upward or downward.

P-r, P-1–P-7

* It is not possible to select

the same part for both X and Y.

➔ Changing the D-FIELD settings (p. 22)

As an alternate way to select the part that will be controlled, you can hold down [X-FADER] and press a part button while making X or Y settings. (At this time, the selected part button will blink.)

When TYPE is “LEVEL,” it is not possible for the volume to become louder than the volume setting of the pattern.

Making the sound change over time (ASSIGN 2: ENVELOPE)

fig.ENV—

You can control the time-variant change in pitch, tone, and volume of the current part.

Display Explanation Setting

TYPE none none none X Select the parameter that will be

affected when you move your finger to left or right.

Y Select the parameter that will be

affected when you move your finger upward or downward.

➔ Changing the D-FIELD settings (p. 22)

OFF, PITCH DEPTH, PITCH ATTACK TIME, PITCH DECAY TIME, PITCH SUSTAIN LEVEL, PITCH RELEASE TIME, FILTER DEPTH, FILTER ATTACK TIME, FILTER DECAY TIME, FILTER SUSTAIN LEVEL, FILTER RELEASE TIME, AMP ATTACK TIME, AMP DECAY TIME, AMP SUSTAIN LEVEL, AMP RELEASE TIME

* It is not possible to select the same parameter for both X and Y.

About the envelope

These parameters specify how the pitch, filter, or amp will change over time. As shown in the diagram below, this allows you to specify how change will occur from the beginning to the end of the sound.

fig.Envelope

Pitch Filter (Cutoff Frequency) Level

Attack

Decay Release

Note On Note Off

Sustain

Time

Chapter 3. About the D-FIELD

Making detailed settings

1. Hold down [ASSIGN 2] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

Display Parameter Explanation Setting

PITCH ENVELOPE

DEPTH Adjust the range of pitch change. Negative (-) settings will invert

the shape of the envelope, causing the pitch to change in the opposite direction.

ATTACK TIME Refer to “About the envelope” on previous page. 0–127

DECAY TIME 0–127

SUSTAIN LEVEL -63–63

-12–12

FILTER ENVELOPE

AMP ENVELOPE

RELEASE TIME 0–127

DEPTH Adjust the range of tonal change. Negative (-) settings will invert

the shape of the envelope, causing the tone to change in the opposite direction.

ATTACK TIME Refer to “About the envelope” on previous page. 0–127

DECAY TIME 0–127

SUSTAIN LEVEL 0–127

RELEASE TIME 0–127

ATTACK TIME Refer to “About the envelope” on previous page. 0–127

DECAY TIME 0–127

SUSTAIN LEVEL 0–127

RELEASE TIME 0–127

-63–63

Chapter 3

Chapter 3. About the D-FIELD

Applying cyclic change to the sound (ASSIGN 2: LFO)

fig.LFO—

The LFO (Low Frequency Oscillator) applies cyclic change to the sound. By cyclically changing the pitch, cutoff frequency, or volume, you can create effects such as vibrato, wah, tremolo, or auto-pan.

* There will be no effect for part R.

Display Explanation Setting

TYPE Select the LFO waveform. TRI, SIN, SAW, SQR, TRP, S-H, RND, CHS

X Select the parameter that will be affected when

you move your finger to left or right.

Y Select the parameter that will be affected when

you move your finger upward or downward.

OFF, PITCH, FILTER, AMP, PAN, RATE

* It is not possible to select the same parameter for

both X and Y.

➔ Changing the D-FIELD settings (p. 22)

LFO waveforms

fig.LFOWave

TRI SIN SAW SQR TRP S-H RND CHS

Making detailed settings

1. Hold down [ASSIGN 2] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

Display Parameter Explanation Setting

LFO Select the LFO waveform. TRI, SIN, SAW, SQR, TRP,

S-H, RND, CHS

PITCH DEPTH The pitch will be cyclically modulated to produce a vibrato effect.

Positive (+) and negative (-) settings will produce inverse waveforms.

FILTER DEPTH The cutoff frequency will be cyclically modulated to produce a

wah effect. Positive (+) and negative (-) settings will produce inverse waveforms.

AMP DEPTH The volume will be cyclically modulated to produce a tremolo ef-

fect. Positive (+) and negative (-) settings will produce inverse waveforms.

PAN DEPTH The pan (stereo position) will be cyclically modulated to produce

an auto-pan effect. Positive (+) and negative (-) settings will produce inverse waveforms.

RATE Specify the speed of modulation. 0–127

-63–63

Changing the pitch or vibrato depth (ASSIGN 2: BENDER)

fig.BND—

Pressing the right half of the D-FIELD will raise the pitch of the current part, and pressing the left half will lower the pitch. Pressing the upper half or lower half will apply vibrato. *This has no effect on part R.

Display Explanation Setting

TYPE none none none X none Pitch Pitch (fixed) Y none Vibrato Vibrato (fixed)

* There will be no effect for part R.

Chapter 3. About the D-FIELD

Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE)

fig.QTE—

You can change the rhythm feel of the performance data of a pattern. By modifying the timing and velocity (volume) of the notes in the pattern, you can produce a rhythm feel that is different than that of the original pattern.

fig.Quantize

You can modify the note timing by the location at which you press the D-FIELD. When TYPE is set to “GROOVE,” you can also modify the velocity by pressing a higher or lower location.

Display Explanation Setting

TYPE Select the type of quantization. OFF, GRID, SHUFFLE, GROOVE

X none Timing Timing (fixed) Y none Velocity (Only when the type is set to “GROOVE.”) Velocity (fixed)

➔ Changing the D-FIELD settings (p. 22)

Making detailed settings

Chapter 3

1. Hold down [ASSIGN 2] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

Display Parameter Explanation Setting

TYPE Select the type of quantization. OFF:

GRID:

SHUFFLE:

GROOVE:

When TYPE is “GRID”

When TYPE is “SHUFFLE”

When TYPE is “GROOVE”

TEMPLATE Specify the note value to which the timing

will be aligned.

TIMING Specify the strength of the correction. Higher

settings will cause the timing to be corrected more precisely (tightly).

TEMPLATE Specify the note value to which the timing

will be aligned.

TIMING Adjust the amount of swing. With a setting of

“50,” there will be no sense of swing at all. Normally, a setting in the range of 60–66 will produce a pleasant shuffle rhythm.

TEMPLATE Select the template. *The templates are for a

4/4 time signature. The desired result will not be obtained for other time signatures.

TIMING Specify the strength of the timing correction.

Higher settings will cause the timing to be adjusted closer to the timing of the template.

VELOCITY Specify the strength of the velocity correction.

Higher settings will cause the velocity to be adjusted closer to the velocity of the template.

32, 16T, 16, 8T, 8, 4T, 4

0–100

16, 8

0–100

1–71

* Refer to “List of GROOVE templates” on next

0–100

Quantize will not be applied.

The note timing of the pattern will be corrected toward the note value specified by the template setting.

The timing of the backbeats of the pattern will be adjusted to create a “bouncy” feel as in shuffle or swing.

The note timing and velocity of the pattern will be adjusted toward the values specified by the template, producing a variety of different grooves.

page.

Chapter 3. About the D-FIELD

Quantization will correct only note messages; other messages are not corrected. This means that if messages that modify the sound in real time (such as pitch bend) have been recorded in the pattern, some Quantize settings may cause the timing of these messages to become incorrect, so that they are no longer played correctly. It is best to use Quantize on patterns that do not contain messages that produce realtime change.

List of GROOVE templates

16 Beat Dance type

01: DANCE-NM-L.AC exact/low dynamics 02: DANCE-NM-H.AC exact/high dynamics 03: DANCE-NM-L.SW exact/light swing 04: DANCE-NM-H.SW exact/strong swing 05: DANCE-HV-L.AC dragging/low dynamics 06: DANCE-HV-H.AC dragging/high dynamics 07: DANCE-HV-L.SW dragging/light swing 08: DANCE-HV-H.SW dragging/strong swing 09: DANCE-PS-L.AC rushing/low dynamics 10: DANCE-PS-H.AC rushing/high dynamics 11: DANCE-PS-L.SW rushing/light swing 12: DANCE-PS-H.SW rushing/strong swing

16 Beat Fusion type

13: FUSON-NM-L.AC exact/low dynamics 14: FUSON-NM-H.AC exact/high dynamics 15: FUSON-NM-L.SW exact/light swing 16: FUSON-NM-H.SW exact/strong swing 17: FUSON-HV-L.AC dragging/low dynamics 18: FUSON-HV-H.AC dragging/high dynamics 19: FUSON-HV-L.SW dragging/light swing 20: FUSON-HV-H.SW dragging/strong swing 21: FUSON-PS-L.AC rushing/low dynamics 22: FUSON-PS-H.AC rushing/high dynamics 23: FUSON-PS-L.SW rushing/light swing 24: FUSON-PS-H.SW rushing/strong swing

16 Beat Reggae type

25: REGGE-NM-L.AC exact/low dynamics 26: REGGE-NM-H.AC exact/high dynamics 27: REGGE-NM-L.SW exact/light swing 28: REGGE-NM-H.SW exact/strong swing 29: REGGE-HV-L.AC dragging/low dynamics 30: REGGE-HV-H.AC dragging/high dynamics 31: REGGE-HV-L.SW dragging/light swing 32: REGGE-HV-H.SW dragging/strong swing 33: REGGE-PS-L.AC rushing/low dynamics

34: REGGE-PS-H.AC rushing/high dynamics 35: REGGE-PS-L.SW rushing/light swing 36: REGGE-PS-H.SW rushing/strong swing

8 Beat Pops type

37: POPS-NM-L.AC exact/low dynamics 38: POPS-NM-H.AC exact/high dynamics 39: POPS-NM-L.SW exact/light swing 40: POPS-NM-H.SW exact/strong swing 41: POPS-HV-L.AC dragging/low dynamics 42: POPS-HV-H.AC dragging/high dynamics 43: POPS-HV-L.SW dragging/light swing 44: POPS-HV-H.SW dragging/strong swing 45: POPS-PS-L.AC rushing/low dynamics 46: POPS-PS-H.AC rushing/high dynamics 47: POPS-PS-L.SW rushing/light swing 48: POPS-PS-H.SW rushing/strong swing

8 Beat Rhumba type

49: RHUMB-NM-L.AC exact/low dynamics 50: RHUMB-NM-H.AC exact/high dynamics 51: RHUMB-NM-L.SW exact/light swing 52: RHUMB-NM-H.SW exact/strong swing 53: RHUMB-HV-L.AC dragging/low dynamics 54: RHUMB-HV-H.AC dragging/high dynamics 55: RHUMB-HV-L.SW dragging/light swing 56: RHUMB-HV-H.SW dragging/strong swing 57: RHUMB-PS-L.AC rushing/low dynamics 58: RHUMB-PS-H.AC rushing/high dynamics 59: RHUMB-PS-L.SW rushing/light swing 60: RHUMB-PS-H.SW rushing/strong swing

Others

61: SAMBA 1 samba (pandero) 62: SAMBA 2 samba (surdo and timba) 63: AXE 1 axe (caixa) 64: AXE 2 axe (surdo) 65: SALSA 1 salsa (cascara) 66: SALSA 2 salsa (conga) 67: TRIPLETS triplets 68: QUITUPLETS quintuplets 69: SEXTUPLETS sextuplets 70: 7 AGAINST 2 seven notes played over two beats 71: LAGGING TRI lagging triplets

Chapter 3. About the D-FIELD

Changing the reverb depth (ASSIGN 2: REVERB)

fig.REV—

* There will be no effect if [REVERB] is dark. Press [REVERB] to make it lit.

Display Explanation Setting

TYPE Select the type of reverb. ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2

X Select the parameter that will be affected

when you move your finger to left or right.

Y Select the parameter that will be affected

when you move your finger upward or downward.

Refer to the explanation of reverb (p. 42).

* When you change the type, the parameter whose setting is

followed by an “X” or “Y” will be selected automatically (X = left/right, Y = up/down).

* It is not possible to select the same parameter for both X and

➔ Changing the D-FIELD settings (p. 22)

Making detailed settings

1. Hold down the D-FIELD function button [ASSIGN 2] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

For details on the parameters and settings, refer to the explanation of reverb (p. 42).

Changing the delay depth (ASSIGN 2: DELAY)

fig.DLY—

* There will be no effect if [DELAY] is dark. Press [DELAY] to make it lit.

Display Explanation Setting

TYPE Select the type of delay. SHORT, LONG

X Select the parameter that will be affected

when you move your finger to left or right.

Y Select the parameter that will be affected

when you move your finger upward or downward.

➔ Changing the D-FIELD settings (p. 22)

Making detailed settings

1. Hold down the D-FIELD function button [ASSIGN 2] and press [EDIT].

2. Press [ENTER] to select the desired parameter.

3. Turn [VALUE] to change the setting.

For details on the parameters and settings, refer to the explanation of delay (p. 43).

Refer to the explanation of delay (p. 43).

* When you change the type, the parameter whose setting is

followed by an “X” or “Y” will be selected automatically (X = left/right, Y = up/down).

* It is not possible to select the same parameter for both X and

Chapter 3

Controlling an external MIDI device (ASSIGN 2: EXT CTRL: External Control)

fig.EXT—

You can transmit control change messages to an external MIDI device.

Display Explanation Setting

TYPE Select the MIDI channel on which the messages will be

transmitted.

X Select the control change number that will be transmit-

ted when you move your finger to left or right.

Y Select the control change number that will be transmit-

ted when you move your finger upward or downward.

CH1–CH16

1–5, 7–31, 64–95

* It is not possible to select the same control

change number for both X and Y.

➔ Changing the D-FIELD settings (p. 22)

Chapter 3. About the D-FIELD

SPIN mode

You can produce a variety of effects by moving your finger in a circle on the D-FIELD.

Changing the sound as on a turntable (VINYL)

In the same way as by spinning a turntable manually, you can change the tempo or pitch, play a pattern backward, or produce scratch effects. You can also vary the volume by the size of the circle in which you move your finger.

Display Explanation Setting

Select the effect. TTE (TURNTABLE EMULATION), MAN (MANUAL):

The tempo and pitch will be affected by the speed at which you move your finger in a circle, and the volume will be affected by the size of the circle.

SR1 (SCRATCH 1), SR2 (SCRATCH 2):

A scratch sound will be produced according to the way in which you move your finger. Circling broadly with a counterclockwise motion will produce a backspin sound. “SCRATCH 2” will produce the scratch sound while continuing to play the pattern.

➔ Changing the D-FIELD settings (p. 22)

* While “TURNTABLE EMULATION” simulates the operation of a turntable, “MANUAL” selects the portion of the pattern that will be

played according to the location at which you press the D-FIELD. The two effects are similar, but have a slightly different character.

* You can specify independently whether tempo, pitch, and volume will change.

➔

“D-FIELD BPM SW/D-FIELD PITCH SW/D-FIELD LEVEL SW“ (p. 75).

• If you select the D-FIELD function “VINYL,” [ ] and [ ] cannot be used.

• When you are playing back patterns consecutively (p. 15) and you select the next pattern and press [ENTER], the “VINYL” effect cannot

be obtained until the pattern changes.

Changing the tempo (BPM)

The tempo (BPM) can be changed by the speed at which you rotate your finger or the timing at which you strike the D-FIELD.

Display Explanation Setting

Select how the BPM will be determined.

➔ Changing the D-FIELD settings (p. 22)

BPM:

Clockwise rotation speeds up the tempo, while rotating counterclockwise will slow it down. When you remove your finger, the tempo will return to the original setting.

TAP:

You can specify the tempo by striking the D-FIELD three times.

Chapter 3. About the D-FIELD

Sounding a snare roll (SD ROLL)

You can sound a snare drum roll. The speed at which you rotate your finger will affect the speed of the roll. You can also change the volume by varying the size of the circle in which you move your finger.

Display Explanation Setting

Select how the speed of the roll will change.

➔ Changing the D-FIELD settings (p. 22)

* You can change the sound that is used to play the roll. ➔ SD ROLL NOTE NUMBER (snare roll note number) (p. 73) * The volume change can be turned on/off. ➔ D-FIELD LEVEL SW (p. 75)

AUT (AUTO):

The speed of the roll will change in stages, according to the tempo of the song.

Speed of finger rotation: STOPPED: 8th notes, SLOW SPEED: 16th notes, HIGH SPEED: 32nd notes

MAN (MANUAL):

The speed of the roll will change according to the speed at which you rotate your finger, regardless of the tempo of the song.

Changing the number of notes that are sounded (ASSIGN 3: STEP MUTE)

fig.SMT—

Chapter 3

Counterclockwise rotation produces a gradual decrease in the number of notes being sounded. By switching to clockwise rotation, you can gradually increase the number of notes that are sounded.

Changing the stereo location of the sound (ASSIGN 3: PAN)

fig.PAN—

You can change the pan and volume of the current part. Low-range parts such as kick and bass will tend to remain to the end.

Display Explanation Setting

TYPE none none none X none Pan Pan (fixed) Y none Level Level (fixed)

Chapter 4. Applying Effects to the Sound (Effects)

Reverb

Reverb is an effect which adds reverberation and ambiance to the sound, creating an impression of spatial depth. It simulates the sound of music played in a concert hall. This section describes the settings for using the reverb function.

Turning reverb on/off

Reverb is turned on by pressing [REVERB] and confirming that its indicator has lighted. To turn it off, press the button again, extinguishing the indicator.

* This lets you turn the effect on/off for all parts regardless of other settings.

Adjusting the reverb depth for individual parts

Refer to the explanation of “Part Reverb Level” in “Modifying the settings of each part” (p. 19).

Making detailed settings

1. Hold down [REVERB] and press [EDIT].

* If the D-FIELD function ASSIGN 2 is set to “REVERB,” you can also access the setting screen by holding down the D-FIELD function

button [ASSIGN 2] and pressing [EDIT].

2. Press [ENTER] to select a parameter.

3. Turn [VALUE] to modify the setting.

4. When you are finished, press [EXIT]

Screen Parameter Explanation Value

TYPE Selecting the type. ROOM1 (reverb with short decay and high density),

ROOM2 (reverb with short decay and low density), STAGE1 (reverb with much lingering reverberation), STAGE2 (reverb with strong early reflections), HALL1 (clear-sounding reverb), HALL2 (rich-sounding reverb)

TIME Adjusting the length of rever-

beration. You can adjust the time over which the reverberation will continue.

HF DAMP Specifies the frequency at

which the high frequency portions of the reverberation will be cut. Lowering this setting will cause more of the upper frequency content to be cut, making the reverberation more muted.

REVERB LEVEL You can adjust the overall vol-

ume of reverb for the eight parts (rhythm part and parts 1–

7).

MFX TO REV LEVEL Specifies the volume of the re-

verb that will be applied to the Multi-effects sound. Applies reverb equally to each of the parts with Multi-effects set at ON regardless of the Part Reverb Level for each part.

* Parameters with an “X” or “Y” following the value will be selected when using D-FIELD to control the reverb (p. 39). “X” can be controlled by moving

your finger to left and right, and “Y” by moving your finger up and down.

0–127 X

200 (Hz)–8.00 (kHz), BYPASS

* If this “BYPASS” is selected, the high frequency

range will not be cut.

0–127 Y

0–127

* This setting does not have any effect on a part with

the MFX switch turned off (p. 19).

Chapter 4. Applying Effects to the Sound (Effects)

Delay (Add echoes to the sound)

Delay is an effect which adds echoes to the sound. It is effective when applied to solo phrases or to densely rhythmic phrases. Described here is how to set the Delay effect.

Turning delay on/off

Delay is turned on by pressing [DELAY] and confirming that its indicator has lighted. To turn it off, press the button again, extinguishing the indicator.

* This lets you turn the effect on/off for all parts regardless of other settings.

Adjusting the delay volume for individual parts

Refer to the explanation of “Part Delay Level” in “Modifying the settings of each part” (p. 19).

Making detailed settings

1. Hold down [DELAY] and press [EDIT].

* If the D-FIELD function ASSIGN 2 is set to “DELAY,” you can also access the setting screen by holding down the D-FIELD function

button [ASSIGN 2] and pressing [EDIT].

2. Press [ENTER] to select a parameter.

3. Turn [VALUE] to modify the setting.

4. When you are finished, press [EXIT].

Screen Parameter Explanation Value

TYPE Selecting the type. SHORT, LONG

TIME Adjusts the time from the original sound until

FEEDBACK Sets the amount of delayed sound to be repeated, as

HF DAMP Specifies the frequency at which the high frequency

OUTPUT Allows you to select a destination for the sound af-

DELAY OUTPUT LEVEL

when the delayed sound is heard (the interval between repeats).

* On the D-2, it is not possible to set a delay time

longer than 1 second. When the delay time is synchronized to the BPM, selecting a note value which would make the delay time exceed 1second will cause the delay time to be halved, and the delay sound will be heard at 1/2 the specified interval. In addition, even if 1/2 the length would exceed 1 second, the delay time will be shortened to 1/4 the length.

a proportion of the original sound.

portions of the reverberation will be cut. Lowering this setting will cause more of the upper frequency content to be cut, making the reverberation more muted in tone.If this “BYPASS” is selected, the high frequency range will not be cut.

ter reverb has been applied.Selecting LINE outputs the sound to the OUTPUT jacks on the rear panel; selecting REV outputs it to Reverb; or selecting LINE + REV outputs the sound to both the OUTPUT jacks and Reverb.

This adjusts the volume of the delay sound for all eight parts (the rhythm part and parts 1-7).

When “TYPE” is SHORT: 0.1-275 (ms) When “TYPE” is LONG: 200 (ms)-1 (s), notes (*1)

0–98 (%)

200 (Hz)–8.00 (kHz), BYPASS

LINE, REV, LINE+REV

0–127

Chapter 4

MFX TO DLY LEVEL Applies the Delay equally to each of the parts with

Multi-effects set at ON regardless of the Part Delay Level for each part.

0–127

* This setting does not have any effect on a part

with the MFX switch turned off (p. 19).

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note)

* Parameters with an “X” or “Y” following the value will be selected when using D-FIELD to control the delay (p. 39). “X” can be controlled by moving

your finger to left and right, and “Y” by moving your finger up and down.

Chapter 4. Applying Effects to the Sound (Effects)

Multi-Effects (MFX)

Multi-effects provides 25 different Effect Types, each of which let you apply a different effect. Described here is how to enter the MFX-related settings.

Turning the multi-effects on/off

The multi-effects is turned on by pressing [MFX] and getting the indicator to light. To turn it off, press the button again, extinguishing the indicator.

* This lets you turn the effect on/off for all parts, regardless of

other settings.

Applying the multi-effects to individual parts

Refer to the explanation of “Part MFX Switch” in “Modifying the settings of each part” (p. 19).

Using the part buttons to turn the multi-effects on/off

You can also turn the multi-effects on/off for an individual part by holding down the D-FIELD function button [MFX] and pressing the corresponding part button.

The multi-effects is on for parts whose part button is lit while you are pressing the D-FIELD function button [MFX].

* This method cannot be used to set the MFX switch of the

rhythm part to “RHY.” The setting can be changed from “RHY” to “OFF,” but will always change from “OFF” to “ON.”

Making detailed settings

1. Hold down [MFX] and press [EDIT].

* You can also access the setting screen by holding down the D-

FIELD function button [MFX] and pressing [EDIT].

2. Turn [VALUE] to select the desired type of multieffects.

3. Press [ENTER] to select the parameter.

4. Turn [VALUE] to modify the setting.

Available Settings

No MFX TYPE Description

1 4BAND EQ modify the tone

2 SPECTRUM add character to the sound

3 ENHANCER add sparkle to the sound

4 OVERDRIVE distort the sound mildly

5 DISTORTION distort the sound severely

6 Lo-Fi simulate a “low-fidelity” sound

7 NOISE add various types of noise

8 RADIO TUNING simulate a radio being tuned

9 PHONOGRAPH simulate an old record

10 COMPRESSOR make the volume level more consis-

tent

11 LIMITER smooth out irregularities in volume

12 SLICER apply successive cuts to the sound

13 TREMOLO cyclic changes in volume

14 PHASER modulate the sound

15 CHORUS add spaciousness and depthto the

sound

16 SPACE-D add transparent depth

17 TETRA CHORUS layer chorus sounds to add spacious-

ness

18 FLANGER add metallic resonance to the sound

19 STEP FLANGER add metallic resonance to the sound

while changing the pitch in steps

20 SHORT DELAY add echoes to the sound

21 AUTO PAN automatically move the stereo loca-

tion

22 FB PITCH

SHIFTER

23 REVERB add reverberation

24 GATE REVERB sharply cut the reverberation

25 ISOLATOR Cuts off a specific range

skew the pitch

5. When you are finished, press [EXIT].

* For details on the settings for each effect, refer to the

explanations on the next and following pages.

Chapter 4. Applying Effects to the Sound (Effects)

* Parameters with an “X” or “Y” following the value will be selected when using D-FIELD to control the multi-effects (p. 33). “X” can be

controlled by moving your finger to left and right, and “Y” by moving your finger up and down.

1. 4 Band EQ (Modify the tone)

fig.MFXEQ

This is a 4 band (high, midrange x 2, low) stereo equalizer.

Screen Parameter Explanation Value

LOW FREQ (LOW Frequency)

LOW GAIN Adjusts the volume of the low frequency range. -15–15

Determines the frequency of the low range. 200, 400 (Hz)

HIGH FREQ (HIGH Frequency)

HIGH GAIN Adjusts the volume of the high frequency range. -15–15

PEAK1 FREQ (Peaking 1 Frequency)

PEAK1 Q (Peaking 1Q)

PEAK1 GAIN (Peaking 1 GAIN)

PEAK2 FREQ (Peaking 2 Frequency)

PEAK2 Q (Peaking 2Q)

PEAK2 GAIN (Peaking 2 GAIN)

OUTPUT LEVEL Adjusts the output level from the 4 band EQ. 0–127

Determines the frequency of the high range. 4.00, 8.00 (kHz)

Determines the frequency of midrange 1. 200 (Hz)–8.00 (kHz)

Specifies the width of the frequency range affected by midrange 1. As this setting is increased, the affected area will become narrower. Adjusts the volume of midrange 1. -15–15 X

Determines the frequency of midrange 2. 200 (Hz)–8.00 (kHz)

Specifies the width of the frequency range affected by midrange 2. As this setting is increased, the affected area will become narrower. Adjusts the volume of midrange 2. -15–15 Y

2. Spectrum (Add Character to the Sound)

fig.MFXSPE

0.5–8.0

Chapter 4

0.5–8.0

This is a type of filter, which modifies the tonal character by boosting or cutting specific frequencies. It is similar to an equalizer, but when you wish to add character to the sound, the Spectrum effect will produce a more distinctive result.

Screen Parameter Explanation Value

LOW-HIGH GAIN Specifies the volume change at 500 Hz and 8.00 kHz. -15–15 X

MIDDLE GAIN Specifies the volume change at 1.25 kHz. -15–15 Y

BAND WIDTH Specifies the width of the bands in which the volume will be ad-

justed.

OUTPUT PAN Specifies the panning of the sound that is output from the Spec-

trum effect.

OUTPUT LEVEL Specifies the volume that is output from the Spectrum effect. 0–127

1–5

L64–R63

Chapter 4. Applying Effects to the Sound (Effects)

3. Enhancer (Add Sparkle to the Sound)

fig.MFXENH

By controlling the overtones of the high frequency range, this effect adds sparkle to the sound, giving it more definition.

Use this effect when you want to make a specific sound stand out from the rest of the ensemble, or to give it greater definition.

Screen Parameter Explanation Value

SENS (Sensitivity)

MIX (Mix Level)

LOW GAIN Adjusts the volume of the low frequency range. -15–15 X

HIGH GAIN Adjusts the volume of the high frequency range. -15–15

OUTPUT LEVEL Specifies the volume of the output from the Enhancer effect. 0–127

Adjusts the depth of the enhancer effect. 0–127

Determines the proportion at which the overtones generated by the enhancer will be mixed with the original sound.

0–127 Y

4. Overdrive (Distort the Sound Mildly)

fig.MFXodr

This simulates the soft distortion that occurs when you raise the gain of a vacuum tube amp. The effect also contains an amp simulator, and produces the natural distortion that is created by sounds played through a guitar amp. It is suitable for use with guitar and synth-bass sounds.

Screen Parameter Explanation Value

INPUT LEVEL Adjusts the level of the input signal. 0–127

DRIVE Adjusts the depth of distortion. This will also af-

fect the volume.

AMP TYPE Selection for the type of guitar amp. SMALL (small amp),

OUTPUT PAN Specifies the stereo location of the sound that is

output from the Overdrive effect.

OUTPUT LEVEL Specifies the output volume from the Overdrive

effect.

0–127 Y

BUILTIN (built-in type amp), 2STACK (large double amp stack), 3STACK (large triple amp stack) L64–R63 X

0–127

Chapter 4. Applying Effects to the Sound (Effects)

5. Distortion (Distort the Sound Severely)

fig.MFXDST

This effect produces a more severe distortion than the Overdrive effect. It also contains an amp simulator, and produces the natural sound of a guitar amp.

Screen Parameter Explanation Value

INPUT LEVEL Adjusts the level of the input signal. 0–127

DRIVE Adjusts the depth of distortion. This will also af-

fect the volume.

AMP TYPE Determines the type of guitar amp. SMALL (small amp),

OUTPUT PAN Specifies the stereo location of the sound that is

output from the Distortion effect.

OUTPUT LEVEL Specifies the output volume from the Distortion

effect.

0–127 Y

BUILTIN (built-in type amp), 2STACK (large double amp stack), 3STACK (large triple amp stack) L64–R63 X

0–127

6. Lo-Fi (Simulate a “Lo-Fidelity” Sound)

fig.MFXNSE

This effect intentionally degrades the audio quality to simulate a Lo-Fi sound. It is particularly effective on drums.

Screen Parameter Explanation Value

BIT DOWN This setting lowers the audio quality. The audio quality will

worsen as this setting is increased.

SAMPLE RATE DOWN This coarsens the output signal. The sound will become

coarser as this setting is lowered.

POST GAIN Adjusts the output signal. 0, +6, +12, +18

0–7 X

32, 16, 8, 4 Y

Chapter 4

LOW GAIN Adjusts the boost or cut applied to the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut applied to the high frequency range. -15–15

OUTPUT Specifies how the sound will be output. With a setting of

“MONO,” the output sound will be monaural.

OUTPUT LEVEL Specifies the output volume from the Lo-Fi effect. 0–127

MONO, STEREO

Chapter 4. Applying Effects to the Sound (Effects)

7. Noise Generator (Add Various Types of Noise)

fig.MFXNSE

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

Screen Parameter Explanation Value

NOISE TYPE Determines the type of noise(s) that will be generated. 1–18

NOISE LEVEL Specifies the volume of the noise. 0–127 Y

NOISE FILTER Adjusts the tone of the noise. If you do not wish to filter the

noise, select “BYPASS.”

LO-FI LEVEL Increasing this setting will make the original sound rougher. 0–127

OUTPUT PAN Specifies the stereo location of the sound output from the Noise

Generator.

OUTPUT LEVEL Specifies the output volume of the Noise Generator effect. 0–127

200 (Hz)–8.00 (kHz), BYPASS

L64–R63

For each setting, the type(s) of noise marked by “” will be generated.

NOISE TYPE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

Hum noise (50Hz) Hum noise (60Hz) Pink noise Disc noise (45 RPM) Disc noise (33 RPM) Disc noise generated at random

8. Radio Tuning (Simulate a Radio Being Tuned)

fig.MFXRTN

This effect simulates the sound of a radio being tuned.

Screen Parameter Explanation Value

RADIO DETUNE Specifies the frequency being tuned. 0–127 X

NOISE LEVEL Specifies the volume of the tuning noise. 0–127 Y

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

OUTPUT Specifies how the sound will be output. With a setting of “MONO,”

the output sound will be monaural.

OUTPUT LEVEL Specifies the output volume of the Radio Tuning effect. 0–127

MONO, STEREO

Chapter 4. Applying Effects to the Sound (Effects)

9. Phonograph (Simulates an Old Record)

This effect mutes the tone and adds disc noise to simulate the sound of music played on an old record player.

Screen Parameter Explanation Value

DISC TYPE Determines the type of disc noise. LP (33 RPM record),

EP (45 RPM record), SP (78 RPM record)

DISC NOISE LEVEL Specifies the volume of the disc noise. 0–127 Y

DEPTH Adjusts the tone. As this value is increased, the high range and

low range will be cut, and the mid range will be emphasized.

OUTPUT PAN Specifies the stereo location of the output from the Phonograph

effect.

OUTPUT LEVEL Specifies the output volume from the Phonograph effect. 0–127

0–20 X

L64–R63

10. Compressor (Make the Volume Level More Consistent)

This effect suppresses loud volume levels and boosts soft volume levels, making the volume more consistent.

Screen Parameter Explanation Value

ATTACK Specifies the duration of the attack when sound is input. 0–127 X

SUSTAIN Specifies the time over which low-level sounds will be

boosted to reach the specified volume.

POST GAIN Adjusts the output signal. 0, +6, +12, +18

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

0–127 Y

Chapter 4

OUTPUT LEVEL Specifies the output volume from the Compressor effect. 0–127

11. Limiter (Smooth Out Irregularities in Volume)

This effect compresses the sound when it exceeds a specified volume level, thus preventing distortion.

Screen Parameter Explanation Value

THRESHOLD (Threshold Level)

RATIO (Compression Ratio)

RELEASE Specifies the time from when the volume drops below the

POST GAIN Adjusts the output signal. 0, +6, +12, +18

OUTPUT PAN Specifies the stereo location of the output from the Limiter

OUTPUT LEVEL Specifies the output volume of the Limiter effect. 0–127

Specifies the volume level at which compression will begin. 0–127 Y

Specifies the ratio of compression. 1.5:1, 2:1, 4:1, 100:1 X

0–127

Threshold Level until compression is no longer applied.

L64–R63

effect.

Chapter 4. Applying Effects to the Sound (Effects)

12. Slicer (Apply Successive Cuts to the Sound)

fig.MFXSLI

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

Screen Parameter Explanation Value

TIMING PATTERN Select a pattern to specify the timing at which the sound will be

cut.

ACCENT PATTERN Specifies the location of the accents. 16 types

34 types X

ACCENT LEVEL Adjusts the volume of the accents. As this setting is increased,

the accent will be more pronounced.

ATTACK Adjusts the attack speed of the sound. As this setting is in-

creased, the attack will become faster.

OUTPUT LEVEL Adjusts the output volume from the Slicer effect. 0–127

RATE Determines the note value unit which will be cut. 4, 2, 1

0–127 Y

1–10

13. Tremolo (Cyclic Changes in Volume)

fig.MFXTRM

This effect cyclically modulates the volume to create tremolo.

Screen Parameter Explanation Value

LFO TYPE Determines the waveform that will be used to modulate the

sound.

DEPTH Specifies the depth of modulation. 0–127 Y

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

TRI, TRP, SIN, SAW1, SAW2, SQR

RATE Specifies the frequency of modulation. If a note value or measure

is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure.

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

OUTPUT LEVEL Specifies the output volume of the Tremolo effect. 0–127

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

0.1–10.0 (Hz), notes (*1), measures (*2)

Chapter 4. Applying Effects to the Sound (Effects)

14. Phaser (Modulate the Sound)

By adding a phase-shifted sound to the original sound, this effect modulates the sound to add depth and a sense of rotation.

Screen Parameter Explanation Value

MANUAL Specifies the center frequency at which the sound will be modulated. 100 (Hz)–8.00 (kHz)

DEPTH Specifies the depth of modulation. 0–127 Y

RESONANCE This setting emphasizes the frequency range in the vicinity of the cen-

ter frequency.

RATE Specifies the frequency of modulation. If a note value or measure is

selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or mea-

sure. MIX (Mix Level)

OUTPUT PAN Specifies the stereo location of the output from the Phaser effect. L64–R63

OUTPUT LEVEL Specifies the output volume of the Phaser effect. 0–127

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

Adjusts the proportion of the original sound that will be combined

with the phase-shifted sound.

0–127

0.1–10.0 (Hz), notes (*1), measures (*2)

0–127

15. Chorus (Add Spaciousness and Depth to the Sound)

This effect creates an impression of multiple sound sources in unison (Chorus effect), giving spaciousness and depth to the sound.

Screen Parameter Explanation Value

PRE DELAY (Pre Delay Time)

DEPTH Specifies the depth of modulation. 0–127 Y

Specifies the time from the original sound until when the chorus sound is heard.

0.0–100

Chapter 4

PHASE Adjusts the spaciousness of the sound.As this

setting is increased, the sound will spread more toward left and right.

RATE Specifies the rate of modulation. If a note value

FILTER TYPE Determines the type of filter that will be applied

CUTOFF (Cutoff Frequency)

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume from the stereo cho-

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure.

to the chorus sound.

Specifies the cutoff frequency of the filter. 200 (Hz)–8.00 (kHz)

Adjusts the volume balance between the original sound and the chorus sound.With a setting of “0,” no chorus sound will be output.

rus.

0–180

0.1–10.0 (Hz), notes (*1), measures (*2)

OFF (a filter will not be used), LPF (the frequency range above the cutoff frequency will be cut), HPF (the frequency range below the cutoff frequency will be cut)

0–100 (%)

0–127

Chapter 4. Applying Effects to the Sound (Effects)

16. Space-D (Add Transparent Depth)

This is a type of chorus, but unlike a conventional chorus, it does not create a sense of modulation.

Screen Parameter Explanation Value

PRE DELAY (Pre Delay Time)

DEPTH Specifies the depth of modulation. 0–127 Y

Specifies the time from the original sound until the chorus sound is heard.

0.0–100

PHASE Adjusts the spread of the sound.As this value is increased, the

sound will have a broader left/right spread.

RATE Specifies the rate of modulation. If a note value or measure is select-

ed as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure.

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume from the Space-D effect. 0–127

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

Adjusts the volume balance between the original sound and the chorus sound.With a setting of “0,” no chorus sound will be output.

0–180

0.1–10.0 (Hz), notes (*1), measures (*2)

0–100 (%)

17. Tetra Chorus (Layer Chorus Sounds to Add Spaciousness)

This effect layers four chorus sounds to produce even more depth and spaciousness than a conventional chorus.

Screen Parameter Explanation Value

PRE DELAY (Pre Delay Time)

DEPTH Specifies the depth of modulation. 0–127

Specifies the time from the original sound until when the chorus sound is heard.

0.0–100

PRE DELAY DEVI (Pre Delay Deviation)

RATE Specifies the rate of modulation. If a note value or measure

DEPTH DEVI (Depth Deviation)

PAN DEVI Adjusts the pan difference between each chorus sound.As

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume from the Tetra Chorus effect. 0–127

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

Adjusts the difference in pre delay between each of the chorus sounds.

is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure. Adjusts the difference in modulation depth between each of the chorus sounds.

this value is increased, the sound will have a greater left/ right spread. Specifies the volume balance between the original sound and the chorus sound.With a setting of “0,” no chorus sound will be output.

0–20

0.1–10.0 (Hz), notes (*1), measures (*2)

-20–20

0–20 Y

0–100 (%)

Chapter 4. Applying Effects to the Sound (Effects)

18. Flanger (Add Metallic Resonance to the Sound)

fig.MFXFLN

This creates a sharp and mechanical sound. It can add a metallic resonance to the sound, or produce an effect that sounds like an jet airplane taking off and landing.

Screen Parameter Explanation Value

PRE DELAY (Pre Delay Time)

DEPTH Specifies the depth of modulation. 0–127

Specifies the time from the original sound until the flanger sound is heard.

0.0–100

FEEDBACK (Feedback Level)

RATE Specifies the rate of modulation. If a note

PHASE Adjusts the width of the sound. As this

FILTER TYPE Determines the type of filter that will be

CUTOFF (Cutoff Frequency)

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume from the ste-

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note)

* 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures)

Specifies the proportion of the flanger sound that is fed back into the input.

value or measure is selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure.

setting is increased, the left/right spread of the sound will increase.

applied to the flanger sound.

Specifies the cutoff frequency of the filter. 200 (Hz)–8.00 (kHz)

Adjusts the volume balance between the original sound and the flanger sound.With a setting of “0,” no flanger sound will be output.

reo flanger.

0–98 (%) Y

0.1–10.0 (Hz), notes (*1), measures (*2) X

0–180

OFF (a filter will not be used), LPF (the frequency range above the cutoff frequency will be cut), HPF (the frequency range below the cutoff frequency will be cut)

0–100 (%)

0–127

Chapter 4

Chapter 4. Applying Effects to the Sound (Effects)

19. Step Flanger (Add Metallic Resonance to the Sound While Changing the Pitch in Steps)

This is a flanger that changes the pitch of the sound in steps. The frequency of pitch change can also be synchronized to the BPM.

Screen Parameter Explanation Value

PRE DELAY (Pre Delay Time)

DEPTH Specifies the depth of modulation. 0–127

Specifies the time from the original sound until the flanger sound is heard.

0.0–100

FEEDBACK (Feedback Level)

RATE Specifies the frequency of modulation.If a note value or measure is

PHASE Adjusts the spread of the sound.As this value is increased, the left/

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume of the Step Flanger effect. 0–127

STEP RATE Specifies the rate at which the pitch will change.If a note value is se-

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note), 1T (whole note triplets), 2. (dotted half note), 1 (whole note) * 2: 2M (2 measures), 3M (3 measures), 4M (4 measures), 8M (8 measures), 16M (16 measures) * 3: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

triplets), 4. (dotted quarter note), 2 (half note)

Specifies the proportion of the flanger sound that is fed back into the input.

selected as the value of this parameter, the Rate will synchronize with the BPM of the pattern at intervals of the specified note value or measure.

right spread of the sound will increase. Adjusts the volume balance between the original sound and the

flanger sound.With a setting of “0,” no flanger sound will be output.

lected as the value of this parameter, the Step Rate will synchronize with the BPM of the pattern at intervals of the specified note value.

0–98 (%) X

0.1–10.0 (Hz), notes (*1), measures (*2)

0–180

0–100 (%)

0.05–10.0 (Hz), notes (*3)

20. Short Delay (Add Echoes to the Sound)

This is a short delay which allows you to set the left and right delay times independently. You can also move the panning of the delay sound in synchronization with the BPM.

Screen Parameter Explanation Value

TIME L (Left Delay Time)

TIME R (Right Delay Time)

HF DAMP Determines the frequency at which the high frequency portions of

FEEDBACK (Feedback Level)

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

BALANCE (Effect Balance)

AUTO PAN This setting causes the panning of the delay sound to move in syn-

Specifies the time from the original sound until the left delay sound is heard.

Specifies the time from the original sound until the right delay sound is heard.

the delay sound will be cut. As this parameter is set to a lower frequency, more of the high range will be cut, making the delay sound more muted in tone. If you do not wish to cut the high frequency range, select “BYPASS.” Adjusts the number of delay repeats. 0–98 (%)

Adjusts the volume balance between the original sound and the delay sound. With a setting of “0,” no delay sound will be output.

chronization with the BPM.

0.1–190 Y

0.1–190 X

200 (Hz)–8.00 (kHz), BYPASS

0–100 (%)

0.1–10.0 (Hz), notes (*1), measures (*2)

Chapter 4. Applying Effects to the Sound (Effects)

Screen Parameter Explanation Value

OUTPUT LEVEL Specifies the output volume from the Short Delay effect. 0–127

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

21. Auto PAN (Automatically Move the Stereo Location)

fig.MFXAPN

This effect automatically moves the stereo location of the sound. You can cause the sound to be panned left and right in time with low notes such as a Bass Drum, or in synchronization with the BPM of the pattern.

Screen Parameter Explanation Value

LFO TYPE Determines the waveform that will be used

to pan the sound to left and right.

BASS SENS Make this setting when you wish to shift the

panning at the timing of the bass notes.

DEPTH Specifies the depth of panning. 0–127 Y

RATE Specifies the rate at which the pan will be

moved.If a note value or measure is selected as the value of this parameter, the Rate will synchronize with the tempo of the pattern at intervals of the specified note value or measure.

* When the Bass Sensitivity parameter is set

to “MODE2,” the Rate setting will be ignored.

LOW GAIN Adjusts the boost or cut of the low frequency

range.

HIGH GAIN Adjusts the boost or cut of the high frequency

range.

OUTPUT LEVEL Specifies the output volume of the AUTO

PAN effect.

TRI, TRP, SIN, SAW1, SAW2, SQR

OFF (the panning will change at the speed specified by Rate), MODE1 (the Rate value will increase at the timing of the bass notes), MODE2 (the panning will change at the timing of the bass notes)

0.1–10.0 (Hz), notes (*1), measures (*2) X

-15–15

0–127

Chapter 4

* 1: 16 (16th note), 8T (8th note triplets), 16. (dotted 16th note), 8 (8th note), 4T (quarter note triplets), 8. (dotted 8th note), 4 (quarter note), 2T (half note

Chapter 4. Applying Effects to the Sound (Effects)

22. Feedback Pitch Shifter (Skew the Pitch)

fig.MFXFPS

This effect shifts the pitch of the original sound and layers it with the original sound. It can be used to play unison lines at an interval of an octave or fifth, or to layer a slightly pitch-shifted with the original sound to create a chorus effect.

Screen Parameter Explanation Value

COARSE (Coarse Pitch)

FINE (Fine Pitch)

OUTPUT PAN Determines the stereo location of the pitch-shifted sound. L64–R63

Specifies the amount of pitch shift relative to the original sound, in semitone steps.

Adjusts the amount of pitch shift in 2-cent steps. -100–100

-24–12 X

PRE DELAY (Pre Delay Time)

MODE (Pitch Shifter Mode)

FEEDBACK (Feedback Level)

LOW GAIN Adjusts the boost or cut of the low frequency range. -15–15

HIGH GAIN Adjusts the boost or cut of the high frequency range. -15–15

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume of the Feedback Pitch Shifter effect. 0–127

Specifies the time from the original sound until the pitch-shifted sound is heard.

Specifies how the pitch will be shifted.As this setting is increased, the response will be slower, but the sound will be more stable.

Specifies the proportion of the pitch-shifted sound that will be fed back into the input.

Specifies the volume balance between the original sound and the pitch-shifted sound. When the setting is “0,” the pitch-shifted sound will not be output.

23. Reverb (Add Reverberation)

fig.MFXREV

This effect adds reverberation and ambiance to the sound, creating spatial depth.

Screen Parameter Explanation Value

TYPE (Reverb Type)

TIME (Reverb Time)

HF DAMP Determines the frequency at

You can select one of the following six basic types of reverb.

Specifies the duration of the reverberation.

which the high frequency portions of the reverberation will be cut. As this parameter is set to a lower frequency, more of the high range will be cut, making the delay sound more muted in tone. If this “BYPASS” is selected, the high frequency range will not be cut.

ROOM1 (reverb with short decay and high density), ROOM2 (reverb with short decay and low density), STAGE1 (reverb with much subsequent reverberation), STAGE2 (reverb with strong early reflections), HALL1 (clear-sounding reverb), HALL2 (rich-sounding reverb) 0–127 X

200 (Hz)–8.00 (kHz), BYPASS

0.0–100

1–5

0–98 (%)

0–100 (%) Y

Chapter 4. Applying Effects to the Sound (Effects)

Screen Parameter Explanation Value

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume from

Specifies the volume balance between the original sound and the reverberation.With a setting of “0,” no reverb sound will be output.

the reverb effect.

0–100 (%) Y

0–127

24. Gate Reverb (Sharply Cut the Reverberation)

fig.MFXGTR

This is a type of reverb, in which the reverberation is cut off before the natural completion of its decay.

Screen Parameter Explanation Value

TYPE (Gate Reverb Type)

TIME (Gate Reverb Time)

BALANCE (Effect Balance)

OUTPUT LEVEL Specifies the output volume

Select one of the following four basic types of gated reverb.

Specifies the time from when the reverberation begins until it ends. Specifies the volume balance between the original sound and the reverberation. With a setting of “0,” no reverb sound will be output.

of the Gate Reverb effect.

NORMAL (normal gated reverb), REVERSE (reverse-playback reverb), SWEEP1 (the reverberation will sweep from right to left.), SWEEP2 (the reverberation will sweep from left to right) 5–330 X

0–100 (%) Y

0–127

Chapter 4

25. Isolator (Cuts Off a Specific Range)

fig.MFXISO

An equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. The Isolator parameters are, in general, effective when applied to the following musical instruments.

• LOW: Bass drums and basses

• MID: Vocals and the like

• HIGH: High-pitched musical instruments such as cymbals

Screen Parameter Explanation Value

LOW GAIN Specifies the amount of low-frequency range to be cut. 0–127 X

MID GAIN Specifies the amount of mid-range to be cut. 0–127

HIGH GAIN Specifies the amount of high-frequency range to be cut. 0–127 Y

PAN Specifies the stereo position of the sound output from the Isola-

tor.

LEVEL Determines the loudness output from the Isolator. 0–127

L64–R63

Chapter 5. Replacing phrases to create a

different pattern (MEGAMIX)

MEGAMIX is a function which lets you play back a pattern while you exchange the musical data of one part with the data from a different pattern. You can combine phrases for each instrument to create a completely different pattern, just as if you were creating a remix.

fig.AAA

PATTERN

A21

MEGAMIX

C16

B14

A21

A25

A21

A22

A15

* This diagram is intended to explain the concept of

MEGAMIX. It does not imply that phrases of actual patterns

are as shown in the diagram.

Replacing phrases

* MEGAMIX can be used both when a pattern is playing or

stopped.

1. Press [PATTERN] to select Pattern mode.

2. Use [VALUE] to select a pattern.

3. Press [MEGAMIX] to select MEGAMIX mode.

4. Press [PART SELECT].

The part button of the currently selected part (current

part) will light.

The part button of the current part will remain lit, and the part button of the selected part will go dark.

* If you selected the same part as the current part in step 7, the

part button of the current part will change from blinking to lit.

The performance data of the selected part will be placed in the current part, and the performance will change when the currently-sounding pattern makes a complete cycle.

It is not possible to perform MEGAMIX between part R and parts 1–7.

* Even after you exit MEGAMIX mode, the state you

created using MEGAMIX will be maintained until you select a different pattern. [MEGAMIX] will blink during this time.

* It is not possible to record a pattern in the state you

created using MEGAMIX. If you wish to record, you must first save the pattern (see next page).

* The time signature and number of measures of the pattern

that is played by MEGAMIX will depend on the time signature and number of measures of the Rhythm part. Also, the mute status of each part will be maintained during MEGAMIX.

* If you switch to a part that contains no performance data,

that part will not play anything. In each of the preset patterns, part 1 contains no performance data (regardless of the pattern you select). For other parts as well, please be aware that the part you select may not necessarily contain performance data.

5. Press the part button ([R] or [1]–[7]) of the part that you wish to replace, making it the current part.

6. Turn [VALUE] to select the pattern containing the performance data that you wish to use.

7. Press a part button [R] or [1]–[7] to select the part containing the performance data.

The part button of the current part will change from blinking to lit, and the part button of the selected part will blink.

* If you select the same part as the current part, the part button

of the current part will blink.

8. Press [ENTER].

* To cancel, press [ENTER].

Using D-FIELD for MEGAMIX

If D-FIELD function ASSIGN 1 is set to “PCL (Pattern Call),” entering MEGAMIX mode will let you use the eight areas of the D-FIELD to access the performance data assigned to each part.

For details refer to p. 30.

Chapter 5. Replacing phrases to create a different pattern (MEGAMIX)

Saving the pattern you rearranged

When you have used MEGAMIX to create a pattern that you like, you can save it as a User Pattern. The saved pattern can be recalled during normal pattern playback, just as any other pattern.

If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost.

* You must stop pattern playback before saving the pattern.

1. Use MEGAMIX to create a pattern.

2. Press [ ] to stop pattern playback.

3. Press [WRITE].

A screen will appear in which you can specify the savedestination pattern.

4. Turn [VALUE] to specify the save-destination pattern.

The data will be saved in the pattern you specify here. Be careful not to specify the wrong pattern, since the pattern that was previously saved in this location will be erased.

5. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the save?).

Tips when using MEGAMIX to create a pattern

If the patterns that you combine using MEGAMIX have different time signatures or a different number of measures, their playback may not be connected appropriately. When using MEGAMIX to combine patterns, it is best to combine patterns of the same number of measures and time signature.

When you use MEGAMIX to replace phrases within a pattern, the volume balance of the parts may change significantly, depending on the phrase that you replaced. In such cases, you should re-adjust the Part Level (p. 19) before you save the pattern.

Most of the preset patterns have the following part structure.

Part R Drums

Part 1 For D-FIELD performance (contains no

performance data) Part 2 Bass Parts 3–7 Chords, lead, other

Keeping the above structure in mind, you can replace part 2 when you wish to replace the bass, replace part R when you wish to replace the drums, and so on.

If you follow the above guidelines when creating user patterns as sell, it sill be easier to use your patterns with MEGAMIX.

It is not possible to perform MEGAMIX between part R and parts 1–7.

Chapter 5

6. To save the data, press [ENTER].

* To cancel without saving, press [EXIT].

After the data has been saved, the save-destination pattern number will be displayed.

Chapter 6. Creating an Original Pattern

Creating a pattern

Two methods of creating an original pattern are available: realtime recording (a method similar to recording on a tape recorder or MD recorder), and step recording (a method by which simple button operations are used to record the pattern).

* If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will

be lost. ➔ “Saving a pattern” (p. 20)

Recording as you perform (Realtime Recording)

Here’s how you can record your performance on the D2’s DFIELD controller or an external MIDI keyboard.

1. Press [PATTERN] to enter Pattern mode.

6. Press [ ].

[ ] will light, and the D2 will be in REC STANDBY mode.

2. Turn [VALUE] to select the number of the pattern that you wish to create, and press [ENTER].

3. Press [PART SELECT].

7. Make settings for the pattern.

Press [ENTER] to select a parameter, and turn [VALUE]

4. Press a part button [R] or [1]–[7] so that the part you

to set its value. Refer to “List of pattern settings.”

wish to record is the current part.

The part being recorded can also be switched during recording.

8. Press [ ] to begin realtime recording.

Your performance, including operations on the D-FIELD will be recorded.

5. Select a patch.

➔ Selecting a sound (Patch/Rhythm set) (p. 18)

9. To stop recording, press [ ].

List of pattern settings (common to both Realtime Recording and Step Recording)

Display Parameter Explanation Setting

LENGTH Specify the length (number of measures) of the pattern. 1–32

COUNT IN Specify the number of measures in the count that will oc-

cur before recording. If this is “OFF,” no count will occur. If this is “NTE,” recording will start when you first

LOOP REST If this is ON, there will be a one-measure rest (blank) be-

METRONOME Specify whether the metronome will sound.

INPUT QUANTIZE TEMPLATE

INPUT QUANTIZE TIMING

operate the D-FIELD. (*1)

fore playback resumes from the beginning of the pattern. This is convenient when you wish to prevent the end of the last measure of the phrase from being recorded onto the beginning of the first measure. (*1)

If you want the metronome to sound during step recording, set this to “ALL.”

This adjusts the recorded result so it is aligned with the template’s timing. Specify the shortest note value that you will be performing. (*1) Specify the degree of input quantization. Higher settings of this parameter will cause the timing to be corrected more precisely. (*1)

* 1 This parameter is valid only for realtime recording. * 2 32 (32th note), 16T (16th note triplets), 16 (16th note), 8T (8th note triplets), 8 (8th note), 4T (quarter note triplets), 4 (quarter note)

OFF, 1, 2, NTE (WAIT NOTE)

OFF, ON

OFF: The metronome will not sound. ALL: The metronome will sound all the time, regardless of the mode of operation. REC (REALTIME REC ONLY): The metronome will sound only during realtime recording. PLY (PLAY&REC): The metronome will sound during playback and during realtime recording. OFF, notes (*2)

0–100

Chapter 6. Creating an Original Pattern

The display during realtime recording

The CURRENT display will indicate the measure and beat being recorded. The NEXT display will indicate the number of measures in the entire pattern.

(Example) Measure 3, beat 2, pattern length is 8 measures

The current recording location (grid line) within the measure is also shown by the beat scan indicators.

D-FIELD functions that can be recorded in real time

Functions that can record sound

• [ADLIB]

• [ASSIGN 1 (AP1, AP2, PRV, PAD)]

• [SD ROLL]

Functions that can record effects

• [FILTER]

• [MFX]

• [X-FADER]

• [ASSIGN 2 (all except for QTE and EXT)]

• [ASSIGN 3 (PAN)]

Practice performing in recording mode (Rehearsal)

You can temporarily suspend recording without actually stopping realtime recording. This allows you to alternate between practicing and recording without having to actually start and stop recording.

1. During realtime recording, press [ ].

[ ] will blink, and you will be in rehearsal mode. In this state, your performance will not be recorded.

Erasing unwanted data while recording (Realtime Erase)

Instances of a particular kind of data that occur within data you are playing back can be erased from the current part. Simply press the relevant button (see below) while holding down [EXIT (ERASE)].

Instances of the specified form of data that occur at the moments when you have the buttons pressed will be erased.

[EXIT]+[ ]

[EXIT]+[EDIT] Erase all control data etc. [EXIT]+[NOTE NUMBER] Notes of the selected note num-

[EXIT]+[VELOCITY] All notes will be erased. [EXIT]+external keyboard Notes between the lowest and

If you wish to connect an external keyboard and record, turn Auto Channel (p. 77) to “ON.”

All performance data will be erased.

ber will be erased.

highest notes you pressed on the keyboard will be erased.

Part editing while you record in real time

If you perform part edit (p. 19) operations during realtime recording, your editing operations will also be recorded.

By using this feature, you can reproduce changes in level and pan during pattern playback.

Chapter 6

2. When you are finished practicing, press [ ] once again.

[ ] will light, and you will return to normal realtime recording mode.

Chapter 6. Creating an Original Pattern

Inputting notes one by one (Step Recording)

1. Press [PATTERN] to enter Pattern mode.

2. Turn [VALUE] to select the number of the pattern that

you wish to create, and press [ENTER].

3. Press [PART SELECT].

4. Press a part button [R] or [1]–[7] to make the current

part the part that you wish to record.

The part to be recorded can also be switched while recording.

5. Press [ ].

[ ] will light, and the D2 will be in REC STANDBY mode.

6. Make pattern settings.

Press [ENTER] to select the desired parameter, and turn [VALUE] to change its setting. Refer to the “List of pattern settings” (p. 60).

The display during step recording

The CURRENT display will indicate the measure and beat being recorded. The NEXT display will indicate the note number (pitch), velocity (strength), and duration (length) of the note (event) at the note input location (grid line).

(Example) Measure 2 beat 3, note pitch C4

* If the location of the event is between that grid line and the

next, a dot will be displayed after the beat.

* If the grid line has no event, the NEXT display will indicate

“—”.

When you press and hold [HOLD], the CURRENT display will indicate the location (tick) in 1/96th of a beat.

(Example) 7th tick of beat 3, note pitch E5

The grid line is also indicated by the beat scan indicator that is blinking.

fig.BeatScan.j

7. Press [ ] to begin step recording.

Input notes. Refer to “Inputting notes.”

8. To stop recording, press [ ].

If you wish to connect an external keyboard and record, turn Auto Channel (p. 77) to “ON.”

Blink

How the note length is displayed

For notes that have already been input, both [NOTE TYPE] and [GATE TIME] will indicate the length (duration) of the sound.

The first digit of the NEXT display indicates the number of beats, and the second and third digits indicate the number of ticks that the sound will continue.

(Example) The first beat of the first measure is two beats and 35 ticks long

If the duration is longer than 9 beats and 95 ticks, the CURRENT display will also be used to indicate the duration.

(Example) 13 beats and 58 ticks

Only notes specified by the REC FUNCTION [NOTE NUMBER] will be displayed.

Chapter 6. Creating an Original Pattern

Inputting notes

Changing the location at which to input notes

Turn [VALUE] to move to the next (previous) grid line. Hold down [HOLD] and turn [VALUE] to move in steps of a

tick. When you reach the end of the measure, you will move to the

next (previous) measure.

Specifying the note to input

Hold down a REC FUNCTION button [NOTE NUMBER]– [GATE TIME], and turn [VALUE], or move your finger horizontally on the D-FIELD to set the pitch/strength/length of the note that will be newly input.

Operation Function Setting

[NOTE NUMBER]+[VALUE] [VELOCITY]+[VALUE] [NOTE TYPE]+[VALUE] [GATE TIME]+[VALUE]

* 1: 32 (32nd note), 16T (16th note triplets), 16 (16th note), 8T

(8th note triplets), 8 (8th note), 4T (quarter note triplets), 4 (quarter note), 2 (half note), 1 (whole note)

Note settings for the D-FIELD

Specify the note number, velocity, and gate time by moving your finger to left and right on the D-FIELD.

The type of note can be specified by pressing the eight areas of the D-FIELD.

Specify the pitch of the note. Specify the strength (velocity) of the note. Specify the time value of the note. Specify the length (gate time) that the note will be held.

No. Notes

1 32 (32nd note) 2 16T (16th note triplets) 3 16 (16th note) 4 8T (8th note triplets) 5 8 (8th note) 6 4T (quarter note triplets) 7 4 (quarter note) 8 2 (half note)

C–(C-1)–G9

1–127

32, 16T, 16, 8T, 8, 4T, 4, 2, 1 5–200 (%)

Using the D-FIELD to enter notes

During step recording, you can press the eight areas of the DFIELD to record efficiently.

fig.Pad

No. Function Explanation

1 REST Input a rest at the current tick and

advance to the next tick.

2 ENTER Input a note at the current tick and

advance to the next tick. 3 ERASE Erase the note at the current tick. 4 TIE Extend the length of the most-recent-

ly input note by the amount of the

current REC FUNCTION setting. 5 PREV NOTE Move to the note of the same note

number located immediately before

the current tick. 6 NEXT NOTE More to the note of the same note

number located immediately after

the current tick. 7 SEARCH BWD Move to the note located immediate-

ly before the current tick, regardless

of the note number. 8 SEARCH FWD Move to the note located immediate-

ly after the current tick, regardless of

the note number.

Part editing while carrying out step recording

If you perform part edit operations during step recording, the part settings will be modified, but the edit operations will not be recorded.

Chapter 6

Inputting/erasing notes

When you press [ENTER], the note you specified using the REC FUNCTION buttons will be input at the current tick.

If you press [EXIT (ERASE)], the note at the current tick will be erased.

* Only notes specified by the REC FUNCTION [NOTE

NUMBER] will be displayed.

Chapter 6. Creating an Original Pattern

Modifying a note that you input (Note Edit)

You can modify the pitch, strength, and length of an alreadyentered note.

1. During step recording, turn [VALUE] or use the DFIELD to move to the location of the note that you wish to edit (p. 63).

2. Hold down one of the REC FUNCTION buttons [NOTE NUMBER]–[GATE TIME], and press [EDIT].

The REC FUNCTION button that you pressed will blink, and you will be in Note Edit mode.

3. Turn [VALUE] to modify the value.

4. By pressing another REC FUNCTION button other

than the one that is currently blinking, you can modify its parameter.

5. Repeat steps 3 and 4 to edit the note.

6. When you are finished with note editing, press

[ENTER] or [EDIT].

The REC FUNCTION button will change from blinking to lit.

By using REC FUNCTION [NOTE NUMBER] to switch pitches, you can independently edit each note of a chord.

Adjusting the location of a previously input note

You can move the location of a previously input note (Move Note), or copy it to a different location (Copy Note).

1. During step recording, turn [VALUE] or use the DFIELD to move to the location of the note that you wish to move (copy).

2. Press [EDIT].

3. Turn [VALUE] to select whether the note will be

moved or copied.

Move the note.

Copy the note.

4. Press [ENTER].

The grid-setting screen will appear. (Example) 86th tick of beat 2, 1st measure

5. Turn [VALUE] to specify the location that you wish to move (copy).

By holding down [DISPLAY] and turning [VALUE], you can specify the location in grid units.

By holding down [EXIT] and turning [VALUE] you can specify this in beat units.

For notes that are between two grid lines, the beat scan indicator of the preceding grid line will light (or blink), but if you press [EDIT] on that grid line, the display will indicate “noEdit.” In this case, use the D-FIELD 5–8 functions (p. 63) to select the note.

6. When you have specified the location, press [ENTER].

The display will ask “SurE” (are you sure you want to move or copy?).

7. To execute the move (copy) operation, press [ENTER].

* If you press [EXIT] during steps 3–7, you will return to the

previous screen.

For notes that are between two grid lines, the beat scan indicator of the proceeding grid line will light (or blink), but if you press [EDIT] on that grid line, the display will indicate “noEdit.” In this case, use the D-FIELD 5–8 functions (p. 63) to select the note.

Chapter 6. Creating an Original Pattern

Editing a pattern (Pattern Edit)

The process of editing the performance data of a pattern in measure units is called Pattern Editing. By editing the performance data in a pattern, or by combining various patterns, you can create a completely new pattern.

* In order to perform pattern editing, you must stop the pattern.

The pattern data that you create by editing will be lost if you simply turn off the power. If you wish to keep the pattern that you create, you must perform the Pattern Write operation.

–> “Saving a pattern” (p. 20)

Pattern Initialize

This operation initialized a user pattern to a state of containing no musical data.

1. Turn [VALUE] to select a pattern that you wish to initialize.

Basic procedure for pattern editing

1. Press [PATTERN] to enter Pattern mode.

2. Turn [VALUE] to select the pattern that you wish to

edit.

3. Press [EDIT].

4. Turn [VALUE] to select the desired editing function.

5. Use [ENTER] and [EXIT] to select the desired

parameter.

Press [ENTER] to advance to the next parameter, or press [EXIT] to go back.

6. Turn [VALUE] to specify the desired value.

7. Repeat steps 5–6 to continue editing.

8. When you are finished setting the last parameter, the

display will ask “SurE” (are you sure you want to proceed?).

2. Hold down [EXIT] and press [PATTERN].

The display will ask “SurE” (are you sure you want to initialize?)

3. To execute, press [ENTER].

* To cancel without executing, press [EXIT].

9. To execute, press [ENTER].

* To stop editing, press [ ].

Chapter 6

Chapter 6. Creating an Original Pattern

Copying a pattern (Pattern Copy)

fig.PTNCPY

This operation copies a pattern to a different pattern.

Display Parameter Explanation Setting

SOURCE Select the data that you wish to copy.

* Press the part button [R] or [1]–[7] of the part whose data

you wish to erase, getting its indicator to light.

TOP/END Specify the range of measures that will be copied. The CUR-

RENT display will indicate the first measure to be copied, and the NEXT display will indicate the last measure to be copied.

* This will not be displayed if Source is “SETUP.”

DESTINATION Specify the copy-destination pattern. A01–U00

ALL: all performance data, PHRASE: only note data, SETUP: only setup parameters (p. 20) 001–END

MEASURE Specify the number of the measure in the copy-destination

pattern to which the data will be copied.

TIMES Specify the number of times that the data will be copied. 1–32 (maximum)

MODE Specify whether the data at the copy destination will be re-

placed by the copy-source data, or will be mixed with the copy-source data.

001–END

REPLACE, MIX

* The copy destination part can be specified only if the copy source part is a single part. If the copy source consists of two or more parts, each

will be copied to the same part.

* If you are copying the data of a part to another part within the same pattern, you can select only one part at a time.

It is not possible to copy between part R and parts 1–7.

Chapter 6. Creating an Original Pattern

Erasing unwanted data (Erase)

fig.PTNERS

This operation erases part (or all) of the data in a pattern.

Display Explanation Setting

Specify the range of measures that will be erased. The CURRENT display indicates the first measure, and the NEXT display indicates the last measure.

001– END

Press the part button [R] or [1]–[7] of the part whose data you wish to erase, getting its indicator to light.

Deleting unwanted measures (Delete Measure)

fig.PTNDEL

This operation deletes unwanted measures from a pattern, bringing the previous and subsequent measures together. If the pattern contains data following the deleted range, the performance data for that part will become shorter by the number of measures that were deleted. If you specified that the deletion be performed on all parts, this operation will shorten the pattern itself.

fig.7-01

123456

12345

Display Explanation Setting

Press the part button [R] or [1]–[7] of the part whose measure you wish to delete, getting its indicator to light.

Specify the range of measures that will be deleted. The CURRENT display indicates the first measure, and the NEXT display indicates the last measure.

001– END

Inserting blank measures (Insert Measure)

fig.PTNINS

This operation inserts blank measures between the specified measure of the pattern and the next measure. If you want to add a performance in the middle of a pattern, you can use this operation to insert one or more blank measures, and then record the additional performance. The time signature of the inserted measure(s) will be the same as the time signature that precedes the inserted location.

fig.7-02

122345

1 23456

Display Explanation Setting

CURRENT display:

Specify the measure at which the blank measure(s) will be inserted.

* For the example shown

above, select step 2.

NEXT display:

Specify the number of measures that will be inserted.

* It is not possible to

specify a number that would cause the pattern to be longer than 32 measures after insertion.

001– END

1–32

Press the part button [R] or [1]–[7] of the part you wish to insert measure, getting its indicator to light.

Shifting the pitch (Transpose)

fig.PTNTPS

This operation shifts the note numbers (pitch) of a part in the pattern. You can transpose in a +/-2 octave range.

Chapter 6

Display Explanation Setting

Specify the amount of transposition. Each increase (decrease) of 1 will raise (lower) the pitch by a semitone.

-24–0–24

Press the part button [R] or [1]–[7] of the part that you wish to transpose, getting its indicator to light.

Chapter 6. Creating an Original Pattern

Changing the strength of the notes (Change Velocity)

fig.PTNCVL

This operation changes the velocity (strength) of the notes recorded in the pattern. Higher settings will cause the notes to be played more strongly. Use this when you want to make the notes stronger or weaker.

Display Explanation Setting

Specify the amount of the change in velocity.

Press the part button [R] or [1]–[7] of the part whose velocity you wish to change, getting its indicator to light.

* If this operation would result in a velocity greater than 127 (or

less than 1), that velocity will be converted to 127 (or 1).

-99–0–99

Changing the note length (Change Gate Time)

fig.CGT

Thinning out unnecessary data (Data Thin)

fig.PTNDTH

Since data such as Pitch Bend and Control Change typically has a continuously changing value, it can occupy an unexpectedly large amount of memory. The Data Thin operation thins out such data to reduce the amount of the data without affecting the audible result. This lets you make more efficient use of internal memory.

Display Explanation Setting

Specify the amount by which the data will be thinned.

Press the part button [R] or [1]–[7] of the part whose data you wish to thin, getting its indicator to light.

0–99

Creating a quantized pattern (Edit Quantize)

fig.PTNQTE

This operation changes the gate time (duration that the note is held) of the notes recorded in the pattern. Use this when you want to make the entire performance more staccato or tenuto.

Display Explanation Setting

Specify the amount of change in gate time.

Press the part button [R] or [1]–[7] of the part whose gate time you wish to change, getting its indicator to light.

-99–0–99

Make fine adjustments in timing (Shift Clock)

fig.PTNSCK

Using this operation, the timing of the performance data recorded in the pattern can be shifted forward or backward in units of one clock (1/96th of a beat). Use this when you wish to move the entire performance slightly forward or backward.

Display Explanation Setting

Specify the shift clock amount.

Press the part button [R] or [1]–[7] of the part whose timing you wish to change, getting its indicator to light.

-99–0–99

This operation modifies the actual performance data of the pattern so it is aligned with the timing produced by the Quantize operation (p. 37).

The normal Quantize operation does not modify the contents of the performance data; it merely adjusts the timing at which the pattern data is played back. Through the use of Edit Quantize, you can create data that incorporates the result of quantization.

Display Explanation

Apply the quantization settings.

* You must first set Quantize (p. 37) to

either GRID, SHUFFLE, or GROOVE. (If one of these are not selected, the data will not be modified.) Edit Quantize will be performed with this setting.

Press the part button [R] or [1]–[7] of the part that you wish to quantize, getting its indicator to light.

Saving a pattern

When you have created a pattern that you like, you should save that pattern as a user pattern.

For details on saving, refer to p. 20.

If you edit another pattern, switch to Song mode, or turn off the power without saving the pattern you recorded or edited, your edits will be lost.

Chapter 7. Playing and Creating Songs

Playing a song

A song consists of two or more patterns connected in the desired order of playback.

When you play back a song, the patterns will be selected automatically in the specified order, so you do not need to select them yourself. For each song, you can register up to 50 patterns in the desired order of playback.

1. Press [SONG] to enter Song mode.

The number of the currently selected song will appear in the NEXT display.

2. Turn [VALUE] to select the song that you wish to play.

3. When you press [ ], the song will begin playing.

When the song begins playing, the displays will indicate the current pattern and next pattern in the same way as when patterns are played back. The BPM can also be adjusted in the same way as when playing patterns. –> Changing the BPM (tempo) (p. 16)

4. Press [ ] to stop song playback.

1. Press [ENTER] during song playback.

The CURRENT display will indicate the currently playing step, and the NEXT display will show its pattern number.

2. Press either [ENTER] or [EXIT].

You are returned to the previous screen.

* This screen will also appear when you use [ ][ ] to

move between steps.

1. Press [ ] during song playback.

The CURRENT display will show the currently-playing pattern number, and the NEXT display will show the measure and beat.

2. Release your finger from [ ].

You are returned to the previous screen.

Songs do not actually contain the musical data of the patterns; they contain only the order in which the patterns are to be played back. This means that if you modify a pattern that has been registered in a song, the playback of the song will also be affected. If you delete all of the musical data of the pattern, playback will stop at the moment that pattern is selected.

<Fast-forward and rewind>

Each time you press the [ ] button, the cursor moves to the beginning of the next pattern.

Each time you press the [ ] button, the cursor moves to the beginning of the previous pattern.

Press [ ] button while the song is stopped to return to the beginning.

Chapter 7

Chapter 7. Playing and Creating Songs

Creating a song (Song Recording)

You can input patterns one by one to specify the order in which the patterns will be played back. The playback order of the patterns is indicated by a number called the step.

1. Press [SONG] to enter Song mode.

2. Turn [VALUE] to select the song number that you

wish to create.

3. Press [ ].

[ ] will light, and the D2 will be in SONG REC mode.

4. Turn [VALUE] to select the pattern that will play back for this step.

5. As necessary, edit the setup parameters (p. 20) such as the mute and patch setting of each part.

6. Press [ENTER] to proceed to the next step.

• Tempo (BPM) can be input/edited only for the first step.

• Tempo cannot be changed during the song.

Deleting an unwanted step (Step Delete)

You can delete an unwanted step from a song, joining the prior and subsequent portions of the song.

fig.7-01

123456

12345

1. Press [SONG] to select Song mode.

2. Turn [VALUE] to select the song from which you

wish to delete a step.

3. Press [ ].

[ ] will light, and the D2 will enter SONG REC mode.

7. Repeat steps 4–6 to input the pattern for the second and subsequent steps.

8. After you have input the last step, press [ ] to end the procedure.

During recording, you can select a pattern and press [ ] to audition that pattern.

If you have modified setup parameters (p. 20) such as part mute and effect settings during song recording, you can press [ENTER] to register the modified state of these settings. This merely registers the pattern setup parameters as song data, and does not affect the original patterns.

You can use this function to change the mute settings or MFX type of a pattern, or to make a song in which a pattern develops gradually.

After recording several steps, you can use [ ][ ] in SONG REC mode to move between steps.

4. Press [ ][ ] to display the step that you wish to delete.

5. Press [EDIT] to make the following display appear.

6. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the deletion?).

7. To delete the step, press [ENTER].

* To cancel the operation, press [EXIT].

8. Press [ ] to return to the normal song mode.

Chapter 7. Playing and Creating Songs

Inserting a step (Step Insert)

You can insert a step into the middle of a song, causing subsequent steps to be moved back by one step.

fig.7-02

122345

1 23456

1. Press [SONG] to enter Song mode.

2. Turn [VALUE] to select the song into which you wish

to insert a step.

3. Press [ ].

[ ] will light, and the D2 will enter SONG REC mode.

4. Use [ ][ ] to display the step at which you wish to insert a pattern.

For the example shown above, select step 2.

5. Press [EDIT].

Editing a song (Song Edit)

* You must stop song playback before editing a song.

Erasing a song (Song Clear)

When this operation is executed, all the steps you input will be set to an empty state. This is convenient when you wish to create a song from scratch.

1. Press [SONG] to enter Song mode.

2. Turn [VALUE] to select the song whose steps you

wish to clear.

3. Press [EDIT].

The display will indicate “SnG CLr.”

4. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the clear?).

6. Turn [VALUE] to make the following display appear.

7. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the insertion?).

8. To insert the step, [ENTER].

* To cancel the operation, press [EXIT].

9. Turn [VALUE] to select patterns, or edit setup parameters (p. 20).

10.Press [ ] to return to the normal song mode.

5. To clear the steps, press [ENTER].

* To cancel the operation, press [EXIT].

Chapter 7

Chapter 7. Playing and Creating Songs

Copying a song (Song Copy)

This operation copies the song data to a different song.

1. Press [SONG] to enter Song mode.

2. Turn [VALUE] to select the copy-source song.

3. Press [EDIT].

4. Turn [VALUE] to make the display read “SnG CPy.”

5. Press [ENTER].

A screen will appear in which you can specify the copydestination song.

6. Turn [VALUE] to select the copy-destination song.

The song will be copied to the number you select here. Be aware that the song that was previously saved at this number will be erased.

Saving a song

When you have created a song that you like, you should save that song as a user song.

If you wish to save the song with the changes you made, use the following procedure to save it.

1. Press [SONG] to enter Song mode.

2. Press [WRITE].

A screen will appear in which you can specify the savedestination song.

3. Turn [VALUE] to select the save-destination song.

The song will be saved into the number you select here. Be aware that the song that was previously saved at this number will be erased.

4. Press [ENTER].

The display will ask “SurE” (are you sure you want to carry out the save?).

7. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the copy?).

8. To execute the copy operation, press [ENTER].

* To cancel the operation, press [EXIT].

5. To save the song, press [ENTER].

* To cancel the operation, press [EXIT].

The edited song will be remembered until you turn the power off.

Chapter 8. System Settings and MIDI Applications

Making system settings (System)

Here you can make settings that affect the operation of the entire D2, such as tuning and the synchronization method.

* It is not possible to enter these set-up screens while a pattern or song is being played back.

System setting parameters are saved to internal memory when you move to another screen by pressing [EXIT] (or in some other way). These settings will still be in effect the next time the power of the D2 is turned on.

1. Press [SYSTEM] to enter System Edit mode.

Each time you press [SYSTEM], you will cycle through “Sound generator settings” ➔ “Sequencer settings” ➔ “MIDI transmission settings” ➔ “MIDI reception settings.”

➔ ➔ ➔ ➔ ➔ ...

* The beat scan display indicators below the NEXT display will blink to indicate the settings that you are making.

fig.8-1

2. Press [ENTER] to select the parameter that you wish to set.

3. Turn [VALUE] to modify the setting.

4. When you are finished, press [EXIT].

Sound generator settings

Indication Parameter Explanation Values

MASTER TUNE For tuning the sound generator. The displayed value is

the frequency of the A4 note.

SD ROLL NOTE NUMBER

RESONANCE LIMITER RHYTHM

RESONANCE LIMITER NORMAL

Select the instrument that will be rolled by SD ROLL in D-FIELD. Within the rhythm set that is selected for part R of the current pattern, the instrument having the note number you specify here will be sounded. –> Preset Rhythm Set List (p. 86) Determines the maximum resonance value for the rhythm part. Higher settings of this value will increase the range of change. Determines the maximum resonance value for parts 1–

7. Higher settings of this value will increase the range of change.

27.4 (427.4)–40.0 (440.0)–52.6 (452.6) (Hz)

35–98

50–127

Chapter 8

Chapter 8. System Settings and MIDI Applications

Sequencer settings

Indication Parameter Explanation Values

SYNC MODE Specifies how the internal sequencer will op-

erate and how MIDI Clock messages will be transmitted and received.

SYNC OUT Determines whether synchronization-related

MIDI messages will be transmitted. When this is on, the following messages will be transmitted from the MIDI OUT connector.

* If the SYNC MODE is set to “SLAVE,” it

will not be possible to set SYNC OUT to “ON.”

* If “VINYL” is selected as the D-FIELD

function, Timing Clock (F8) and Song Position Pointer (F2) will not be output even if you set SYNC OUT to “ON.”

SONG LOOP MODE

SONG PLAY MODE

Specifies how songs will be played back. You can cause the same song to be played back repeatedly, or all songs to be played back in sequence.

Specifies whether or not the pattern setup parameters will be loaded when you move to the next step of the song.

INT:

REMOTE:

SLAVE:

OFF:

ON:

OFF:

LOOP1:

ALL:

* When using “ALL” to playback a

MODE1:

MODE2:

The internal sequencer will synchronize to the internal tempo clock. Any MIDI Clock messages received from an external device will be ignored.

Operation will be essentially the same as “INT.” However, Start/ Stop messages from the external MIDI device will control playback/ stop for the internal sequencer.

The internal sequencer will synchronize to MIDI Clock messages received from an external device. If no MIDI Clock messages are being received, pattern/song playback will not occur even if you press the [ ] button.

Messages will not be transmitted.

The following messages will be transmitted from the MIDI OUT connector.

•Timing clock: F8

•Start: FA

•Continue: FB

•Stop: FC

•Song Position Pointer: F2

This is the normal condition. The currently selected song will be played back only once.

The currently selected song will be played back repeatedly.

All songs will be played back repeatedly in sequence.

song, we recommend that a pattern which mutes all parts (i.e., a silent pattern) be inserted at the end of the song, so that songs are joined smoothly.

The setup parameters, mute, and realtime modify settings will be loaded each time you move to the next step.

Setup parameters, mute, and realtime modify will be maintained during playback only if the next step plays a pattern that is the same as the currently playing pattern.

Chapter 8. System Settings and MIDI Applications

Indication Parameter Explanation Values

RPS TRIGGER QUANTIZE

TURNTABLE TOP When the D-FIELD function is VINYL (TTE

D-FIELD BPM SW When the D-FIELD function is VINYL (TTE),

D-FIELD PITCH SWWhen the D-FIELD function is VINYL (TTE

D-FIELD LEVEL SWWhen the D-FIELD function is VINYL (TTE

When using RPS during pattern playback, patterns and phrases may not play back in precise alignment, depending on the timing at which you press the D-FIELD. On the D2 you can specify the playback timing of the phrase, so it will play back in precise synchronization with the pattern.

* Except when this parameter is set to

“OFF,” pressing on the D-FIELD slightly before the actual desired timing will help you synchronize the phrase to the pattern.

or SR1), this setting specifies whether the pattern will return to the beginning when you release your finger.

this setting specifies whether the BPM will change according to the speed at which you move your finger in a circle.

or MAN), this setting specifies whether the pitch will change according to the speed at which you move your finger in a circle.

or MAN) or SD ROLL, this setting specifies whether the volume will change according to the size of the circle in which you move your finger.

OFF:

The phrase will play back immediately, at the timing at which you pressed D-FIELD.

16, 8, 4:

The pattern will be divided into selected note units, and when you press the D-FIELD, the phrase will begin playing at the beginning of the next note unit.

MES:

The pattern will be divided into one-measure units, and when you press the D-FIELD, the phrase will begin playing at the beginning of the next measure.

* If the pattern is stopped, the phrase

will play back immediately, regardless of the setting that is selected in the above procedure.

OFF, ON

Chapter 8

Chapter 8. System Settings and MIDI Applications

MIDI transmission settings

Indication Parameter Explanation Values

TX MODE (transmit mode)

TX BULK (bulk transmit)

Specifies the types of MIDI message that will be transmitted. At the factory settings, this is set to “MODE1.” When using a MIDI connection to a D2, MC-307, MC-505, or JX-305, setting this to MODE2 will reduce the amount of data transmitted and received, in comparison to MODE1.

* For the controller numbers that are switched by MODE1 and MODE2, refer to

“Table of transmitted data” on this page.

Internal settings and the data of the current pattern can be transmitted as a group for storage on an external device. For details refer to p. 81.

MODE1, MODE2

OFF:

PTN:

ALL:

Data will not be transmitted.

Data of the current pattern will be transmitted.

All data will be transmitted.

Table of Transmitted Data

Parameter EDIT TX/RX Value

MODE1 (Default) MODE2

PITCH COARSE TUNE EXCLUSIVE CC#21 16 - 112 Center=64)

FINE TUNE CC#77 CC#77 14 - 114 (Center=64)

FILTER FILTER TYPE EXCLUSIVE CC#34 0 - 4

CUTOFF CC#74 CC#74 0 - 127 RESONANCE CC#71 CC#71 0 - 127

AMPLIFIER TONE LEVEL EXCLUSIVE CC#36 0 - 127

TONE PAN EXCLUSIVE CC#35 0 - 127 (Center=64) RND PAN EXCLUSIVE CC#37 0 (OFF), 63 (ON)

P-ENVELOPE DEPTH EXCLUSIVE CC#25 52 - 76 (Center=64)

A EXCLUSIVE CC#26 0 - 127 D EXCLUSIVE CC#27 0 - 127 S EXCLUSIVE CC#39 1 - 127 (Center=64) R EXCLUSIVE CC#40 0 - 127

F-ENVELOPE DEPTH CC#81 CC#81 1 - 127 (Center=64)

A CC#82 CC#82 0 - 127 D CC#83 CC#83 0 - 127 S EXCLUSIVE CC#28 0 - 127 R EXCLUSIVE CC#29 0 - 127

A-ENVELOPE A CC#73 CC#73 0 - 127

D CC#75 CC#75 0 - 127 S EXCLUSIVE CC#31 0 - 127 R CC#72 CC#72 0 - 127

LFO1 WAVEFORM EXCLUSIVE CC#15 0 - 7

RATE CC#16 CC#16 0 - 127 P-DEPTH CC#18 CC#18 1 - 127 (Center=64) F-DEPTH CC#19 CC#19 1 - 127 (Center=64) A-DEPTH CC#80 CC#80 1 - 127 (Center=64)

PORTAMENTO SW CC#65 CC#65 0 - 63 (OFF), 64 - 127 (ON)

PART MIXER LEVEL CC#7 CC#7 0 - 127

TIME CC#5 CC#5 0 - 127 SOLO CC#126/127 CC#126/127 126=1 (ON), 127=0 (OFF)

PAN CC#10 CC#10 0 - 127 (Center=64) KEY SHIFT EXCLUSIVE CC#85 16 - 112 (Center=64) REVERB CC#91 CC#91 0 - 127 DELAY CC#94 CC#94 0 - 127 MFX SW EXCLUSIVE CC#86 0 (OFF), 1 (ON), 4 (RHY)

* If this parameter is changed while a pattern is playing, the data recorded in the sequencer will stop being transmitted to the sound

generator. (This is because panel operations take priority for producing sounds.) This state will continue until a different pattern is recalled.

Chapter 8. System Settings and MIDI Applications

MIDI reception settings

Indication Parameter Explanation Values

AUTO CHANNEL

ARPEGGIO CTRL CH (arpeggio control channel)

RPS CTRL CH (RPS control channel)

RX SYSEX (receive system exclusive) SOFT THRU If this is “ON,” MIDI messages received at the MIDI IN con-

DEVICE ID (device ID number)

RX BULK (bulk receive)

Determines how MIDI messages will be received from external MIDI devices.

* At the factory settings this is set to “OFF.” * Set this “OFF” if you want note messages of the channel

specified as the Arpeggio Control Channel or RPS Control Channel to control arpeggios or RPS from an external device.

Specifies the channel on which note messages from an external MIDI device will control arpeggios when Auto Channel is “OFF.” When note messages of the specified channel are received from an external MIDI device, an arpeggio can be generated according to that note data, and will sound the current part. At the factory settings this is set to “16.”

* This setting is ignored if Auto Channel is “ON.”

Specifies the channel on which note messages from an external MIDI device will control RPS when Auto CHANNEL is “OFF.” RPS can be played by receiving note messages on the specified channel. At the factory settings this is set to “15.”

* This setting is ignored if Auto Channel is “ON.”

Determines whether the D2 will receive system exclusive messages. When this setting is “OFF,” system exclusive messages will not be received.

nector will be re-transmitted without change from the MIDI OUT connector. This setting is necessary only if data is being transmitted separately to two or more D2 units. Otherwise, you should not change this setting. At the factory settings, the device ID number is set to “17.”

* If you forget the device ID that was used when bulk data

was saved on an external device, it will no longer be possible to receive the saved bulk data.

Data that was saved on an external device can be sent back to the D2. For details refer to p. 81.

OFF:

ON:

OFF, 1–16

OFF, ON

17–32

OFF:

PTN:

ALL:

The patches of each part can be played independently according to the channel of the MIDI data transmitted from an external MIDI device.

The patch of the part selected on the D2 can be played, regardless of the transmit channel of the external MIDI device.

Data will not be received.

Data of the current pattern will be received.

All data will be received.

Chapter 8

Chapter 8. System Settings and MIDI Applications

Advanced Operation Using MIDI

About MIDI

The D2 records and plays back MIDI musical data, and when MIDI musical data is received its sound generator will produce sound.

MIDI (Musical Instrument Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. Devices that have a MIDI connector can be connected using a MIDI cable, allowing them to transmit and receive data. Today, MIDI is found on virtually all electronic musical instruments. Without MIDI, it would not be possible to use an external keyboard to play the D2, or to use the D2 to record and play back a performance played on an external keyboard. Although you can use the D2 without knowing much at all about MIDI, you might also want to take full advantage of the possibilities offered by electronic musical instruments. This chapter will provide a simple explanation of the D2’s MIDI-related functionality.

About MIDI connectors

The D2 has two kinds of MIDI connectors.

• MIDI OUT Connectors These connectors transmit MIDI messages to external MIDI devices. These can also be used as connectors from which data received from the MIDI IN connector are directly transmitted. (Refer to SOFT THRU (p. 77).)

• MIDI IN Connectors Performance messages from an external MIDI device are received here. The D2 can receive these messages to play notes or select sounds, etc.

MIDI Channels

MIDI is able to transmit 16 parts of independent musical data over a single MIDI cable. This is made possible by the concept of “MIDI channels.” MIDI channels allow messages intended for a given instrument to be distinguished from messages intended for another instrument. There are sixteen MIDI channels (1–16), and normally the transmitting device must be set to the same MIDI channel as the receiving device in order for messages to be received.

With the factory settings, the D2’s AUTO CHANNEL setting is ON. (p. 77) In this condition, an external MIDI keyboard will be able to play the patch of the current part, regardless of its transmit channel setting.

* The transmit/receive channel settings of each part are as

follows. It is not possible to change the channel settings of each part.

Rhythm part Ch. 10 Part 1 Ch. 1 Part 2 Ch. 2 Part 3 Ch. 3 Part 4 Ch. 4 Part 5 Ch. 5 Part 6 Ch. 6 Part 7 Ch. 7 RPS (factory setting) Ch. 15 Arpeggiator (factory setting) Ch. 16

Chapter 8. System Settings and MIDI Applications

Using the D2 together with an external MIDI device

Using an external MIDI keyboard to record on the D2

Use these settings when you wish to perform on an external MIDI keyboard and record on the D2.

Set the Auto Channel to “ON” (p. 77).

fig.8-3

MIDI OUTMIDI Ch = 1–16

MIDI IN

Playing an external MIDI device using the D2

The D2 can transmit D-FIELD operations from its MIDI OUT connector. Recordings in the respective parts of the D2 can also be transmitted to an external device. In such transmission, MIDI channels 10 and 1 to 7 are assigned to data in parts R and 1 to 7, in this order.

Setting the external MIDI sound module channel, the receiving channel, to one of channels 10 and 1 to 7 enables playback on the external MIDI device.

MIDI IN MIDI OUT

MIDI Sound Module

AUTO CHANNEL = ON

With this setting, the part selected on the D2 will be the recording part (regardless of which channel is used for transmission by the external MIDI keyboard).

Using the D2 as a sound module for an external MIDI sequencer

Set the Auto Channel to “OFF” (p. 77). (At the factory settings, this is “OFF.”)

With this setting, the D2 can receive multiple channels of MIDI data and sound them simultaneously.

Set the transmit channel of the external MIDI sequencer to match the receive channel of the D2 part that you wish to play. For example if you wish to play part 2, set the transmit channel of the external MIDI sequencer to “2,” since the receive channel of part 2 is “2.”

1. Set the MIDI channel of the external sound module to one of channels 10 and 1 to 7.

2. Play back the data on the D2 by pressing [ ] or using the D-FIELD.

Chapter 8

Chapter 8. System Settings and MIDI Applications

Synchronization with an External MIDI Device

Timing of the D2’s sequencer can be synchronized with that of another sequencer for playback. This feature enables largescale performance playing back a number of parts at the same time.

Making an external MIDI sequencer synchronized with playback on the D2

Now, let’s make D2’s patterns synchronized with an external MIDI sequencer. (In this example, the external MIDI sound generator is played back using the MIDI data from the external MIDI sequencer.)

MIDI IN MIDI OUT

Making the D2 synchronized with performance on an external sequencer.

The playback of the D2’s sequencer can be synchronized to the MIDI Clock messages transmitted from an external MIDI sequencer or from a hard disk recorder (optional). In the following example, we will synchronize the D2 pattern playback to an external source of timing.

MIDI INMIDI OUT

Sequencer

Set up the D2

1. Set SYNC OUT to “ON” (p. 74).

This setting enables synchronizing signals to be transmitted from the D2’s MIDI OUT.

2. Set the sequence output assignment for all parts of the pattern to be used to “INT” (p. 19).

This setting enables the D2 to output only MIDI clocks and start/stop information from the MIDI OUT connector.

Set up the external sequencer

3. Set the external MIDI sequencer so it will synchronize to the MIDI Clock messages that it receives.

For details on the setting, refer to the owner’s manual for your MIDI sequencer.

Start synchronized playback.

4. Press the [ ] button of the D2, and synchronized playback will begin.

Set up the D2.

1. Set SYNC MODE to “SLAVE” (p. 74).

2. Press the [ ] button on the D2.

Returns to the beginning of pattern.

Set up the external sequencer.

3. Set up so that MIDI clocks are transmitted from the external MIDI sequencer.

For details on the setting, refer to the owner’s manual for your external MIDI sequencer.

Start synchronized playback.

4. Press the [PLAY] button of the external MIDI sequencer, and synchronized playback will begin.

5. To stop synchronized playback, press [STOP] button on the external sequencer.

* As required, set up to block transmission of playback

information from the external device to the D2. (Or, set MIDI channels 1 to 7 and 10, corresponding to those used on the D2, not to be used for data transmission.) Otherwise, the D2 performs playback with playback information from the external device. For details, see the operation manual of the external MIDI device.

5. To stop synchronized playback, press [ ] button on the D2.

The external MIDI sequencer will also stop.

* It is also possible to control playback/stop operations only

without synchronization with MIDI clocks transmitted from the external MIDI sequencer. In this case, set Sync mode of the D2 to “REMOTE.”

Chapter 8. System Settings and MIDI Applications

MIDI INMIDI OUT

Sequencer

Saving data on an external sequencer (Bulk Dump)

Data for the currently selected pattern or for all data in memory can be transmitted from the D2 to another D2, or to an external MIDI sequencer (such as the Roland MC-80) for saving. Transmitting this data is called bulk dump, and receiving this data is called bulk load.

Transmission (bulk dump) procedure

Here’s how data stored in the D2 can be transmitted to a sequencer or other external MIDI device for saving.

fig.8-7.j

MIDI IN MIDI OUT

Reception (bulk load) procedure

Here’s how to receive data that was stored on an external MIDI device.

fig.8-8.j

1. Press [SYSTEM] several times to access the MIDI reception setting display.

Sequencer

1. Press [SYSTEM] several times to access the MIDI transmission setting display.

2. Press [ENTER] to access the Bulk Dump setting display.

3. Turn [VALUE] to select either “Ptn” (transmit the data of the current pattern) or “ALL” (transmit all data).

4. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the transmission?)

* To cancel the operation, press [EXIT].

5. Set your connected MIDI device so it is ready to receive data.

6. Press [ENTER] to begin the transmission.

2. Press [ENTER] several times to access the Bulk Load setting display.

3. Turn [VALUE] to select either “Ptn” (receive the data of the current pattern) or “ALL” (receive all data).

4. Press [ENTER].

The display will ask “SurE” (are you sure you want to proceed with the reception?).

* To cancel the operation, press [EXIT].

5. Press [ENTER] and reception will begin.

6. Transmit data from the connected MIDI device.

Once the data reception has been completed, the previous display will reappear.

When you enter Bulk Load, the contents of the pattern being editing will be changed. If you selected “ALL” in step 3, all of the data will be changed.

Chapter 8

Once the data transmission has been completed, the previous display will reappear.

Never turn off the power while bulk load is in progress. Doing so may destroy the contents of memory.

Troubleshooting

If the D2 stops producing sound, or if it does not function the way you expect, please check the following points first. If checking these points does not resolve the problem, please contact your dealer or a nearby Roland service center.

* Roland can take no responsibility for the recovery of any lost data, or for any damages incurred as a result of such loss.

Problem Cause Action

No sound The D2 and/or connected equipment is not

powered-on. The volume of the D2 and/or connected equipment has been lowered. MIDI cable(s) and/or audio cables are not connected correctly. The part level of the corresponding part is

lowered. Part R does not sound All rhythm tones are muted. Defeat muting of the rhythm tones (p. 17). Sound is interrupted You are attempting to sound too many notes

at once (the maximum polyphony is 64

notes). Some notes continue sounding unnaturally. Touching the D-FIELD does not produce sound D-FIELD effect does not occur

The sound continues even after you remove your hand from the D-FIELD. Reverb/Delay/MFX is not applied.

Pitch is incorrect. The tuning of the D2 or the external MIDI

Patterns or songs will not play back. Pattern playback is not “on the beat,” or lags.

Can’t change patterns The CURRENT display is blinking when you

The D2 does not operate correctly.

The delay time, feedback, or amp envelope

release time settings are too high.

A function that does not produce sound has

been assigned as the D-FIELD function.

You didn’t press the D-FIELD strongly

enough.

The D2 is in SYSTEM/EDIT/WRITE modes. Press [EXIT] several times to exit these states.

The Sync Mode is set to “SLAVE.” Change the Sync Mode setting to “INT” (p. 74).

[HOLD] is lit. Press [HOLD] to make it go dark.

Reverb/Delay/MFX is turned “OFF.” Turn the desired effect “ON” (p. 42, p. 43, p. 44).

The Reverb Level or the Part Reverb Level

setting of each part is set to “0.”

The Delay Level or the Part Delay Level set-

ting of each part is set to “0.”

The MFX Output Level is set to “0.” The Part

MFX SW value of each part is set to “OFF.”

sound source is incorrect.

The D2 is in SYSTEM/EDIT/WRITE modes. Press [EXIT] several times to exit these states.

The Sync Mode setting is set to “SLAVE.” Chang the Sync Mode setting to “INT” (p. 74).

The pattern contains too much data. Remove unwanted data. Use the Data Thin function to thin out

Tempo is too fast. Slow down the tempo (p. 16).

select a pattern.

The D2 is in Song mode or MEGAMIX mode. Press [PATTERN] to enter Pattern mode.

[ENTER] was not pressed. Press [ENTER] to finalize your selection.

A panel button is being held down. Release the button.

Turn on the power. Make sure that the AC adaptor is connected correctly. Raise the volume.

Make the correct connections (p. 11).

Raise the part level (p. 19).

Reduce the number of notes that are played simultaneously. Reduce the number of notes in the pattern that is playing back.

Lower these values (p. 43, p. 35).

Select a function that produce sound (such as RPS or ADLIB) (pp. 23–32). Press the D-FIELD with an appropriate amount of force.

Raise the value (p. 42, p. 19).

Raise the value (p. 43, p. 19).

Raise the MFX Output Level. Turn the Part MFX SW “ON” (pp. 45–57, p. 19). Check the tuning setting (p. 73).

the data (p. 68). Using the Move Note function, move note data that was input as a chord (i.e., note data that is located at the same position) backward in time (p. 64). Use the Shift Clock function to move data of parts other than the rhythm part backward in time (p. 68).

Select a pattern when the CURRENT display is not blinking (p.

15).

Error Message List

If the D2 is operated incorrectly or if an operation could not be executed correctly, an error message will be displayed. Take the appropriate action for the error message that is displayed.

Display Meaning Action

There is a problem with the internal system.

Please contact your dealer or a nearby Roland service center.

It is possible that the contents of user memory have been lost.

That operation cannot be performed because the D2 is now playing back.

That operation cannot be performed because the pattern has been megamixed.

The data cannot be registered in a RPS set (or MEGAMIX set) because there are multiple un-muted parts.

There is no item to edit. (This will be displayed if there is no editable parameter when you

Playback is not possible because no performance data has been recorded in the pattern.

No further pattern recording is possible because the maximum number of notes recordable in one pattern has been exceeded. No further song recording is possible because the maximum number of patterns recordable in one song has been exceeded. The pattern cannot be saved because of insufficient user memory.

Please perform the Factory Reset operation (p. 14). If this does not resolve the problem, contact your dealer or a nearby Roland service center.

Press [ ] to stop playback before performing the operation.

Save the pattern, or re-select the pattern.

Decide on one part of the phrase that you wish to register, and mute all of the remaining parts (p. 23, p. 30).

press [EDIT].)

Select a pattern that contains data.

Delete unwanted data from the pattern being recorded (p. 67).

Up to 50 patterns can be recorded in one song. No more patterns than this can be recorded.

Either initialize unwanted patterns (p. 65), or save the data on an external sequencer (p. 81).

Since a large amount of MIDI messages was received in a short time (or because there was too much pattern data), the D2 was not able to process the MIDI messages. There is a problem with the MIDI cable connection.

Reduce the amount of MIDI messages transmitted to the D2.

Make sure that the MIDI cable has not been disconnected or broken.

Appendices

Preset Patch List

Preset A (CC#0 = 81, CC#32 = 0)

No. Name

001 Lead TB 1 002 Dist TB 1 003 Dist Sqr TB 004 Dist TB 2 005 Dist TB 3 006 TB + Voco 007 Dist TB 4 008 Lead TB 2 009 Devil TB 010 Dual TB 011 HiLo303ModSw 012 Arpness TB 013 Acid Line 014 Dist TB 5 015 Lead TB 3 016 Lead TB 4 017 TB Tra Bass 018 Acid TB 019 Psyche-TB 020 TB + Sine 021 Hi-Pass TB 022 Moog Saw 023 OB Saw 024 MG Lead 025 Poly Key 026 Synth Pulse 027 Dual Profs 028 Axe of 80 029 MG Square 030 Square Lead1 031 Square Lead2 032 Square Lead3 033 Lucky 034 Synth Lead 1 035 Moon Lead 036 Rezo SynLead 037 Wspy Synth 038 Enorjizor 039 JP8 Sprang 040 PortaSynLead 041 Wah Lead 042 Beep Mod 043 Dist Lead 1 044 Freaky Fry 045 JU2 SubOsc 1 046 JU2 SubOsc 2 047 Froggy 048 Synth Lead 2 049 Singin’ MINI 050 Plastic Tone 051 SinusoidRave 052 Sine Me Up 053 Spooky Sine 054 Sine Tone 055 D50 Saw Lead 056 Dst Syn Lead 057 Big Up Massv 058 Warm SawLead 059 Hartnoll Era 060 Skegness 97 061 Simply June 062 The Brothers 063 Dist Lead 2 064 Dark SawLead

No.

065 Dist Lead 3 066 Mosquito 067 Phazyn Vox 068 Voc Saw 069 VT Vox 070 Pure Voice 071 Robo Vox 072 Hallucinate 073 Seq.Synth 074 Analog Seq 075 Ana Punch 076 Atom Brain 077 Fooled MC 078 101 Bass 1 079 House Bass 080 101 Bass 2 081 202 Bass 082 Psycho Funk 083 Talking Line 084 Inside Bass 085 Bubble Bass 086 Bass Bleep 087 Wiggle Bass 088 Twist Bass 089 Octa Bass 090 BT’s Sticky 091 MG Bass 092 FM Super Bs 093 Solid Bass 094 T Nite Bass 095 Front 505 096 Def Bass 1 097 Def Bass 2 098 Sine Bass 1 099 Sine Bass 2 100 RollModRezBs 101 Gate Me Buzz 102 System Bass 103 Spike Bass 104 Solid Goa 105 Rezo Bass 106 Blip Bass 107 Pizz Bass 108 Voco Bass 109 VoCoRoBo 110 Dust Bass 111 ArtCore Bass 112 NU-NRG Bass 113 TalkBox Bass 114 Incontinence 115 Bari Voice 116 Ac.Bass 117 E.Ac.Bass 118 Acid Jazz Bs 119 Soup’s Bass 120 Fingered Bs 121 FingBsVeloSw 122 PickedBass 1 123 PickedBass 2 124 Fretless Bs 125 Phot Bass 126 Slap Bass 127 R&B B-Slides 128 Syn Stack 1

Name

Preset B (CC#0 = 81, CC#32 = 1)

No. Name

001 Strong Brass 002 You Can Fly 003 Syn stack 2 004 Dawn Of Man 005 Saw Stack 1 006 Saw Stack 2 007 DLM Stack 008 DOC Stack 009 LN2 Stack 010 Bend Stack 011 Freedom 012 Good Bean 013 JP8000 5th 014 Mega 5th 015 5th Saw 016 4th Saw 017 Soundtrack 018 Rise Pad 019 Warm Pad 020 JP + OB Pad 021 Planet 022 Additive 023 Noise Pad 024 Sweep Pad 1 025 Sweep Pad 2 026 Alles Padde 027 Sky Light 028 Stargate MC 029 Middle Grow 030 AiRye Bread031 NU-NRG Org 032 Halo Pad 033 Str/Brs Pad 034 Syn Brs Pad 035 Simple Pad 036 OB Rezo Pad 037 Sweet Vocode 038 Thin Pad 039 Attack Pad 040 Metal Pad 041 Atmosphere 042 Fantasia 043 Feedbackwave 044 Pacifica 045 Atmosphere 2 046 Sub Atmosphe 047 Machine Pad 048 Detuned Pad 049 Scoop Pad 050 Psycho Trevo 051 Floating Pad 052 Fancy Pad 053 Strings 1 054 Strings 2 055 Old StringSW 056 Swim Strings 057 Eclip-Str 058 Slow Strings 059 OB Slow Str 060 Syn.Strings1 061 Syn.Strings2 062 OB Strings 063 Rhap Strings 064 Banded Jupe

No.

065 NU-NRG Str 066 Violin 067 Contrabass 068 Tremolo Str 069 Pizzicato 1 070 Pizzicato 2 071 Pizz It 072 Guardians 073 Gat Passion 074 Syn Harp 075 Voice Oohs 076 Solo Vox 077 Syn Vox 078 Choir Aahs 079 Space Voice 080 Star Voice 081 Brightness 082 Vox Lead 083 Auhbient 084 Auh Luv Rave 085 PCM Life 086 Noisevox 087 Trance Voice 088 Effect Acer 089 Alternative 090 Hard Pure 091 Metal EF 092 Dly Tone 093 Osci Frog 094 Cal + After 095 8b Pad 096 SpaceHighway 097 Trek Storm 098 Abduction 099 1st Contact 100 Ice Cave 101 Rev Cord 102 Blue Random 103 Sync Tone 104 Seq Up 105 SawLFOSaw 106 Calculating 107 Touch EF 108 Welding 109 Press Machin 110 EF Tribe 111 Scratch Alt 112 Analog FX 113 Non TB 114 Nasty Filt 115 Psy-Ence 116 Music Hi 117 Uber Zone 118 Down Gown 119 For Giving 120 Sound Alarm 121 Acid Drone 122 X-Mod 123 X-FM/Org 124 X-FM Bass 125 Hard BD? 126 S&H Voc 127 X-TlkBxBass 128 X-Kick/TB

Name

Preset C (CC#0 = 81, CC#32 = 2)

No. Name

001 X-Org/Nz 002 X-Pizz/Rng 003 White Noise 004 Pink Noise 005 P5 Noise 006 Toy Noise 007 Rezo Noise 008 Vinyl Noise 009 Tornado Jet 010 Smooth Jet 011 Sweep Noise 012 ModWhtSweep 013 Perk Breath 014 Pink Bomb 015 64voicePiano 016 Ac.Piano 1 017 Ac.Piano 2 018 Epic House 019 Hush Piano 020 Happy Piano 021 BPF Piano 022 Honky-tonk 023 NY Piano+Str 024 Voice Piano 025 Old E.Piano 026 E.Piano 1 027 E.Piano 2 028 Cool Rhodes 029 Psycho EP 030 Trip E.Piano 031 Rotary Rhode 032 EP-Organ 033 Harpsichord 034 Clavi 035 Digi Clavi 036 FM Clavi 037 AnalogClavi1 038 AnalogClavi2 039 Funky Clavi 040 RotaryOrg Sl 041 RotaryOrg Fs 042 Gospel Spin 043 L Org F 044 Organ 1 045 Lp-Hp Organ 046 Organ 2 047 Percsv Organ 048 Ballad B 049 FM Club Org 050 Pop Organ 051 Cheese Organ 052 Reed Organ 053 Telstar 054 Church Org 055 Organ Bass 056 Strict Organ 057 SmkyChrd Org 058 Sweep Organ 059 Accordion 060 Vibraphone 061 FM Marimba 062 Marimba 063 Xylophone 064 Balaphone

Preset Patch List

No. Name

065 Timpani 066 Steel Drum 067 Digi Bell 068 Acid Perc 069 MetaL-SD 070 Classy Pulse 071 Glockenspiel 072 Fanta Bell 073 Crystal 074 Tubular-Bell 075 Shank Bells 076 MKS-30 Melts 077 Trip Lead 078 Steel-Str.Gt 079 Clean Gtr 080 Jazz Gtr 1 081 Jazz Gtr 2 082 Muted Gtr 083 Lo-Fi Gtr 084 Terror Dome 085 Psycho-G 086 Dist Gtr Chd 087 Going Bald 088 Gt.Harmonic1 089 Gt.Harmonic2 090 Shafted Gtr 091 WahGT 2 Menu 092 Gtr Up 093 Gtr Down 094 Gtr Sweep 095 Orch Gtr 096 Brass 097 Bright Brass 098 Hush Brass 099 Synth Brass1 100 Synth Brass2 101 Synth Brass3 102 Syn Brs Lead 103 Obilator 104 OpenUp Brass 105 Brass Fall 106 Trumpet 107 MutedTrumpet 108 Soprano Sax 109 Alto Sax 110 Baritone Sax 111 SlideBiteSax 112 Sax & Tp 113 Tuba 114 Syn F.Horn 115 Oboe 116 Whistle 117 Ocarina 118 Recorder 119 Jazz SynLead 120 Solo Flute 121 Pan Flute 122 Bottle Blow 123 Funky Pipe 124 Breath Noise 125 Shakuhachi 126 Sitar 1 127 Sitar 2 128 Santur

Preset D (CC#0 = 81, CC#32 = 3)

No. Name

001 Kalimba 002 Bagpipes 003 PnoBendM7-m7 004 Org Chd m7 005 BalapChd 9th 006 Wah Gtr Hit 007 Orch Hit 1 008 Orch Hit 2 009 Rave-X-Tasy 010 Philly Hit 1 011 Philly Hit 2 012 Attack Hit 013 Funky Hit 014 Tekno ChdHit 015 Dist Hit 016 Glasgow Hit 017 Happy Hit 018 Scene Hit 1 019 Scene Hit 2 020 Drill Hit 021 Gaia Message 022 Rezo Perc 023 Syn Perc 024 MG Blip 025 Rev Blip 026 Air Blip 027 Radical Perc 028 Machine 029 Metal Hit 030 Tanz Devil 031 Headz Direkt 032 ShoppingCart 033 Noisy Drill 034 Thump Bounce 035 Tape Rewind 036 Stop 037 Ao! 038 Ha! 039 Seashore 040 Bird 041 Telephone 042 Helicopter 043 Applause 044 Gun Shot 045 Machine Gun 046 Laser Gun 047 Sci-Fi Laser 048 Breath 049 Rain 050 Siren 051 TR909 Tom 052 TR808 Tom 053 Syn Tom 1 054 Syn Tom 2 055 Old Syn Tom 056 Taiko 057 Slow Down 058 Boom Drop 059 B-Tom-D 060 Mr.Bong Bass 061 Friends of 0 062 Latin Perc 063 Bongo Fury 064 High Timbale

No.

065 MutePandeiro 066 Open Surdo 067 Brazil Perc 068 Tablabaya 069 Mute Cuica 070 Long Whistle 071 Agogo 072 Short Tamb 073 808 Cowbell 074 CR78 Cowbell 075 CR78 Beat 076 Wind-Chime 077 Rim Shot 078 TR909 Rim 079 Hyoshigi 080 TR626 Shaker 081 727 Quijada 082 Real CH 083 TR909 OH 084 Syn OH 085 TR909 Crash 086 Reverse Cym. 087 Asian Gong 088 TR808 Clap 089 Down Clap 090 Clap Tail 091 Rap&Real Clp 092 Maddening 093 TR909 Snare 094 TR808 Snare 095 House Snare 096 Jungle Snr 1 097 Jungle Snr 2 098 TR808 Kick 099 Plastic BD 0100 Gate Kick 0101 Jungle Kick 0102 Scrtch/Vo Mn 0103 Flexi Vox Mn 0104 Hit Menu 0105 Indust Menu 0106 Tom Menu 0107 Percus1 Menu 0108 Percus2 Menu 0109 Cowbell Menu 0110 Shaker+ Menu 0111 Rim Menu 0112 Cymbal Menu 0113 CHH 1 Menu 0114 CHH 2 Menu 0115 PHH Menu 0116 OHH 1 Menu 0117 OHH 2 Menu 0118 Clap 1 Menu 0119 Clap 2 Menu 0120 Snare 1 Menu 0121 Snare 2 Menu 0122 Snare 3 Menu 0123 Snare 4 Menu 0124 Snare 5 Menu 0125 Snare 6 Menu 0126 Kick 1 Menu 0127 Kick 2 Menu 0128 Kick 3 Menu

Name

Preset E (CC#0 = 84, CC#32 = 0)

No. Name

001 SOLO Saw 002 Stereo Saw 003 Fright Saw 004 Seq Strings 005 Delay Seq 006 SOLO PWM 007 SOLO Square 008 Square Lead4 009 Fbk 8000 010 Juno Lead 011 Dark Lead 012 SOLO Choir 013 SOLO Sin 014 PortaDetLead 015 Sweep Beep 016 Pow Lead 017 NonReality 018 HardTranceLd 019 Dist Reso TB 020 Dark TB 021 SpaceKhoomij 022 80s Bass 023 Mini Bass 024 Percus Bass 025 Filter Chop 026 Hard Bass 027 Solid Reso 028 Electro Bass 029 Master Bass 030 FX Bass 031 Sine Bass 3 032 Def Bass 3 033 DnB Dist Bs 034 PickedBass 3 035 Heavy PBass 036 Euro Stab 037 Saw Stack 3 038 Trance Riff 039 Galactic Stb 040 Devil Stab 041 Sweep Pad 042 Detroit Pad 043 Church Pad 044 Eternal Pad 045 Strong Orch 046 Mellow Str 047 Strings 3 048 Big Choir 049 Drop FX 050 Old Space 051 LaughMachine 052 Hicuts 053 Spaceship 054 FXM Blip 055 Wierd Mod 056 4Dimensions 057 LowdownBass 058 Radio Sweep 059 SF Noise 060 Clear Piano 061 Space Piano 062 Trip E.P 2 063 Powerful Org 064 E.Org Sweep

No.

065 Digi Steel 066 OctoLimba 067 Alto Sax 2 068 Synth Brass4 069 DiscoAction 070 Dooomed Hit 071 Hard Rave 072 Analog Hash 073 PR riff 074 HardRock Hit 075 Retro SE 1 076 Retro SE 2 077 Reso Blip 078 Dark Rim 079 R&B Rim 080 Tabla Seq 081 Afro Attack 082 Cyber Cymbal 083 D&B Ride 084 Real Snap 085 TR909 Snare2 086 HipHop Snare 087 Nrg BD 088 Beats Kick

User: 001–128 (CC#0 = 85, CC#32 = 0)

User: 129–256 (CC#0 = 85, CC#32 = 1)

Name

Appendices

Preset Rhythm Set List

* The Rhythm Group column shows the button that can be pressed to mute that rhythm tone.

P: A 01–26 (CC#0 = 81, CC#32 = 0), P: B 01–04 (CC#0 = 84, CC#32 = 0), User: 01–20 (CC#0 = 85, CC#32 = 0)

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH BD BD TOM/PERC SD CLP SD TOM/PERC HH TOM/PERC HH TOM/PERC HH TOM/PERC TOM/PERC CYM TOM/PERC CYM CYM CYM TOM/PERC CYM TOM/PERC CYM TOM/PERC CYM TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC TOM/PERC HIT HIT HIT HIT HIT HIT OTHERS OTHERS OTHERS OTHERS OTHERS CLP BD BD SD SD

P: A01 TR-909

Plastic BD 4 Plastic BD 3 TR808 Rim TR909 Snr 1 TR909 Clap 2 TR909 Snr 3 TR707 Tom TR909 CHH 2 TR707 Tom TR909 PHH 2 TR707 Tom TR909 OHH 1 TR909 Kick 4 TR909 Kick 2 TR909 Rim TR909 Snr 2 TR909 Clap 1 TR909 Snr 3 TR909 Tom TR909 CHH 1 TR909 Tom TR909 OHH 2 TR909 Tom TR909 OHH 2 TR909 Tom TR909 Tom TR909 Crash TR909 Tom TR909 Ride TR909 Crash TR909 Ride Tambourine 2 NaturalCrash TR808Cowbell TR606 Cym 1 PC-2 Machine Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up 808 Maracas Beam HiQ Air Blip MG Blip Techno Scene Air Gun Tekno Hit Come on! Wao! Ooh! 1 Canvas JP8000 FBK Funky Clap TR808 Kick 1 Gabba Kick Synth Snare TR808 Snr 2

P: A02 TR-808

TR808 Kick 5 TR808 Kick 3 TR808 RimLng TR808 Snr 8 TR909 Clap 1 TR808 Snr 9 TR606 Tom TR808 CHH 2 TR606 Tom TR808 PHH 2 TR606 Tom TR808 OHH 2 TR808 Kick 1 TR808 Kick 4 TR808 Rim TR808 Snr 6 TR808 Clap TR808 Snr 2 TR808 Tom TR808 CHH 1 TR808 Tom TR808 CHH 2 TR808 Tom TR808 OHH 1 TR808 Tom TR808 Tom TR606 Cym 1 TR808 Tom TR606 Cym 1 TR909 Crash TR909 Ride CR78 Tamb TR909 Crash TR808Cowbell TR909 Crash CR78 Guiro Natural Ride TR808 Conga TR808 Conga TR808 Conga TR808 Conga TR808 Conga Hi Timbale Lo Timbale TR727 Agogo TR808 Claves Cabasa Up 808 Maracas Beam HiQ Air Blip Syn Hit Techno Scene Beam HiQ PC-2 Machine P5 Noise Toy Gun 1 Syn Tom Cup Cym TR808 OHH 1 Hip Clap TR808 Kick 2 TR909 Kick 4 CR78 Snare TR808 Snr 3

P: A03 TR-606

TR808 Kick 3 Analog Kick TR808 Rim TR606 Snr 3 Cheap Clap TR808 Snr 5 TR606 CmpTom TR606 CHH 2 TR606 CmpTom Hip PHH TR606 CmpTom TR606 DstOHH TR606 Dst BD TR606 Kick Analog Rim TR606 Snr 2 TR808 Clap TR606 Snr 1 TR606 Tom TR606 CHH 1 TR606 Tom TR606 PHH 1 TR606 Tom TR606 OHH TR606 Tom TR606 Tom TR606 Cym 2 TR606 Tom TR909 Ride TR606 Cym 1 TR707 Ride CR78 Tamb TR909 Crash TR808Cowbell TR909 Crash CR78 Guiro Natural Ride TR808 Conga TR808 Conga TR808 Conga TR808 Conga TR808 Conga Hi Timbale Lo Timbale CR78 Beat CR78 Beat Cabasa Up 808 Maracas Beam HiQ Buzzer Air Blip Rezo Noise Hyoshigi Analog Bird Retro UFO PC-2 Machine Syn Hit Retro UFO Thrill Comp Clap TR808 Kick 1 Plastic BD 4 TR909 Snr 3 CR78 Snare

P: A04 CR78&Cheaps

Toy Kick Plastic BD 4 TR808 Rim TR808 Snr 5 TR909 Clap 1 Deep Snare MG Blip TR808 CHH 1 MG Blip TR606 PHH 2 MG Blip TR606 OHH TR606 Kick Analog Kick Analog Rim TR808 Snr 1 TR808 Clap CR78 Snare TR606 Tom DR55 CHH 1 TR606 Tom CR78 CHH TR606 Tom CR78 OHH TR606 Tom TR606 Tom TR606 Cym 1 TR606 Tom TR606 Cym 1 Cup Cym TR909 Ride CR78 Tamb TR909 Crash CR78 Cowbell TR909 Ride TR808Cowbell TR707 Ride TR808 Conga TR808 Conga TR808 Conga TR808 Conga TR808 Conga CR78 Beat CR78 Beat TR727 Agogo TR727 Agogo CR78 Guiro 808 Maracas Syn Hit Beam HiQ Analog Bird MG Attack Tape Rewind Air Blip Reso FX Ring Osc MG Blip MG White Nz Rezo Noise Cheap Clap TR808 Kick 1 TR909 Kick 1 TR909 Snr 1 Sim Snare

P: A05 Techno 1

Plastic BD 3 Plastic BD 2 TR707 Rim TR909 Snr 6 TR909 Clap 1 TR909 Snr 7 TR909 DstTom TR909 CHH 2 TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 OHH 2 TR909 Kick 5 TR909 Kick 4 TR909 Rim TR909 Snr 4 Group Clap TR909 Snr 5 TR909 Tom TR909 CHH 1 TR909 Tom TR909 PHH 2 TR909 Tom TR909 OHH 3 TR909 Tom TR909 Tom TR909 Crash TR909 Tom TR707 Ride TR909 Crash Asian Gong Tambourine 3 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF CR78 Beat CR78 Beat TechnoShaker TR626 Shaker Wao! Come on! Ooh! 1 MG White Nz Bomb Noise Wah Gtr 2b Toy Gun 3 Toy Gun 3 Buzzer Bomb Noise Sea Flange Snr TR909 Dst BD Plastic BD 4 Break Snare2 Ragga Rim 2

Preset Rhythm Set List

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

P: A06 Techno 2

TR808 Kick 5 TR707 Kick 1 TR909 Rim Real Snare Down Clap Rap Snare TR808 Tom TR808 CHH 2 TR808 Tom TR808 PHH 1 TR808 Tom TR808 OHH 1 TR909 Kick 2 Plastic BD 4 TR808 RimLng TR909 Snr 4 Claptail Funky Clap TR707 Tom Closed Hat TR707 Tom TR909 OHH 2 TR707 Tom TR909 OHH 2 TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR707 Ride TR909 Crash Asian Gong Tambourine 2 TR909 Crash TR808Cowbell TR606 Cym 2 CR78 Tamb Cup Cym HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker Maracas Beam HiQ Techno Scene Thin Beef Come on! Ooh! 1 Wao! Analog Bird Retro UFO Metal Sweep Emergency Tonality TR909 Clap 1 Wet Kick Hip Kick TR909 Snr 5 Clap Snare 2

P: A07 Techno 3

Plastic BD 3 Plastic BD 4 Jungle Snr 2 TR808 Snr 7 Comp Clap Indus Snare Air Blip CHH MENU 2 MG Blip Jungle Rim 2 HIT MENU TR909 OHH 2 KICK MENU 2 West Kick Natural Rim TR808 Snr 8 Comp Clap MC Snare Uuh Formant TR606 PHH 2 Ooh Formant CR78 CHH Iih Formant TR606 OHH Can Tom ElectricDunk TR606 Cym 2 HiBongo LoFi CYMBAL MENU Cup Cym TR909 Ride Tambourine 4 CYMBAL MENU CR78 Beat Natural Ride CR78 Beat Cup Cym HiBongo LoFi HiBongo LoFi HiBongo LoFi HiCnga Mt LF HiConga Mute Triangle 2 ElectricDunk Air Blip MG Attack TechnoShaker 808 Maracas Reso FX Beam HiQ Toy Gun 3 MG Blip Toy Gun 3 Air Blip Reso FX Emergency MG Blip MG Pink Nz Jet Plane Roll Snare TR808 Kick 1 TR909 Kick 1 TR909 Snr 1 Urban RollSD

P: A08 Hardcore

TR909 Kick 5 Gabba Kick SideStiker Jungle Snr 1 Fuzzy Clap TR909 Snr 4 TR606 CmpTom TR909 CHH 2 TR606 CmpTom TR909 PHH 1 TR606 CmpTom TR909 OHH 1 Amsterdam BD TR909 Dst BD Lo-Fi Rim TR909 DstSnr Funk Clap 2 TR909 DstSnr TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 PHH 2 TR909 DstTom TR909 DstOHH TR909 DstTom TR909 DstTom TR909 Crash TR909 DstTom TR707 Ride TR909 Crash Asian Gong CR78 Tamb NaturalCrash TR808Cowbell Jungle Crash TR727Quijada Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo TechnoShaker Dance Shaker Beam HiQ Air Gun ElectricDunk Thin Beef Drill Hit TAO Hit Rezo Noise Toy Gun 1 Toy Gun 3 Gtr FX Dist Synth Funk Clap TR909 Kick 2 Turbo Kick Rage Snare Big Trash SD

P: A09 Ambient

TR909 Kick 5 Wet Kick Ragga Rim 1 DJ Snare Comp Clap SideStiker TR707 Tom Closed Hat TR707 Tom Pedal Hat 1 TR707 Tom Real OHH Wet Kick TR808 Kick 3 TR808 RimLng CR78 Snare TR909 Clap 1 Beam HiQ TR808 Tom DR55 CHH 1 TR808 Tom TR606 PHH 2 TR808 Tom CR78 OHH TR808 Tom TR808 Tom TR606 Cym 1 TR808 Tom TR909 Ride TR606 Cym 1 Asian Gong Tambourine 3 TR606 Cym 2 CR78 Cowbell NaturalCrash TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker 808 Maracas Air Blip Wind Chime Thrill CR78 Beat Retro UFO Hyoshigi Pizzy Techno Org Chord Feedbackwave Stream Bird Claptail TR808 Kick 1 JungleKick 2 TR808 Snr 2 Jungle Snr 1

P: A10 House 1

TR808 Kick 5 TR909 Kick 2 TR808 Rim SNR MENU 1 CLAP MENU 1 TR909 Snr 6 TOM MENU TR707 OHH TR909 Tom TR707 OHH TR909 Tom TR707 OHH TR808 Kick 1 TR909 Kick 3 TR808 RimLng Break Snare2 Claptail TR909 Snr 4 TR808 Tom TR909 CHH 1 TR808 Tom OHH MENU 1 TR808 Tom OHH MENU 1 TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride NaturalCrash Tambourine 2 Tambourine 1 TR909 Crash TR707Cowbell Cup Cym TR808Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiConga Mute HiConga Open LoConga Open HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo 808 Maracas TR626 Shaker TR606 CHH 1 TR727Quijada Short Guiro Long Guiro TR808 Claves Hyoshigi Bomb Noise Come on! Triangle 1 Cup Cym TR808 OHH 1 Hip Clap TR808 Kick 2 TR909 Kick 4 CR78 Snare TR808 Snr 3

Appendices

Preset Rhythm Set List

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

P: A11 House 2

Wet Kick Plastic BD 2 TR808 Rim Clap Snare 2 Group Clap TR808 Snr 7 TR808 Tom TR707 CHH TR808 Tom TR707 PHH TR808 Tom TR707 OHH TR909 Kick 2 TR909 Kick 5 TR909 Rim Break Snare2 TR909 Clap 1 TR909 Snr 4 TR707 Tom TR909 CHH 1 TR707 Tom TR909 PHH 1 TR707 Tom TR909 OHH 3 TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride NaturalCrash Tambourine 3 Tambourine 4 TR909 Crash TR707Cowbell Cup Cym TR808Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo Cabasa Up TR626 Shaker Belltree TR727Quijada Short Guiro Long Guiro TR808 Claves Hyoshigi Bomb Noise Come on! Ooh! 1 Wao! Laugh Claptail TR808 Kick 1 Plastic BD 3 TR808 Snr 6 TR909 Snr 7

P: A12 Jungle

TR909 Kick 3 Lo-Fi Kick 2 SideStiker Urban RollSD Down Clap Jungle Rim 1 Jungle Snr 2 Tight CHH Jungle Snr 2 Tambourine 1 Jungle Snr 2 Cym OHH TR909 Kick 5 JungleKick 2 Jungle Rim 2 Urban Snare Jungle Rim 3 Jungle Snr 1 TR606 CmpTom Real CHH TR606 CmpTom Jungle Hat TR606 CmpTom Hip OHH TR606 CmpTom TR606 CmpTom Jungle Crash TR606 CmpTom Natural Ride NaturalCrash Asian Gong Tambourine 3 TR606 Cym 1 Cowbell TR909 Crash CR78 Tamb TR707 Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF Open Surdo Mute Surdo TechnoShaker TR626 Shaker Beam HiQ Air Blip Thin Beef Analog Bird Tape Rewind Wao! Emergency Toy Gun 3 Reso FX Toy Gun 2 Toy Gun 1 Big Clap TR808 Kick 2 Roll Kick Roll Snare Break Snare2

P: A13 Drum’n’Bass1

Roll Kick Analog Kick RaggaTightSD Cross Snare Roll Snare Headz Snare TR606 Tom Pop CHH TR606 Tom Tambourine 3 TR606 Tom Pop Hat Open Plastic BD 1 Hip Kick Scratch SD r Break Snare2 Funky Clap Ragga Snr 2 Kick Tom Real CHH Kick Tom TR808 PHH 1 Kick Tom TR606 OHH Kick Tom Kick Tom TR909 Crash Kick Tom TR909 Ride TR909 Crash Asian Gong Tambourine 2 TR909 Crash CR78 Cowbell TR606 Cym 2 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas MG Blip Air Blip Hyoshigi CR78 Guiro Mt Pandeiro Chenchen Thrill Retro UFO Rezo Noise Feedbackwave Space Noise Little Clap TR808 Kick 2 TR909 Kick 1 Solid Snare Flange Snr

P: A14 Drum’n’Bass2

TR909 Kick 3 Lo-Fi Kick 2 SideStiker Urban RollSD Down Clap Jungle Snr 1 Jungle Snr 2 Tight CHH Jungle Snr 2 Tambourine 1 Jungle Snr 2 Cym OHH TR909 Kick 5 JungleKick 2 Jungle Rim 2 Urban Snare Jungle Rim 3 Jungle Snr 1 TR909 DstTom Real CHH TR909 DstTom Jungle Hat TR909 DstTom Hip OHH TR909 DstTom TR909 DstTom Jungle Crash TR606 CmpTom Natural Ride NaturalCrash Asian Gong Tambourine 3 TR606 Cym 1 Cowbell TR909 Crash CR78 Tamb TR707 Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF Open Surdo Mute Surdo Cabasa Up Maracas Beam HiQ ElectricDunk Bomb Analog Bird Tape Rewind Wao! Emergency Toy Gun 3 Reso FX Toy Gun 2 Toy Gun 1 Big Clap TR808 Kick 2 Roll Kick Roll Snare Break Snare2

P: A15 Hip-Hop 1

Lo-Fi Kick 1 TR808 Kick 3 Solid Snare HipJazz Snr Funk Clap 2 R&B Snare TR808 Tom Pop CHH TR808 Tom Pedal Hat 1 TR808 Tom Pop Hat Open Break Kick Hip Kick Lo-Fi Rim Jazz Snare Funky Clap East Snare Natural Tom Tight CHH Natural Tom Pedal Hat 2 Natural Tom Hip OHH Natural Tom Natural Tom TR909 Crash Natural Tom TR707 Ride TR909 Crash Cup Cym Tambourine 3 Tambourine 4 TR808Cowbell TR606 Cym 1 CR78 Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo Dance Shaker 808 Maracas Scratch BD f Scratch BD r Scratch SD f Scratch SD r Scratch ALT Vinyl Stop Vinyl Noise Kick it! Ooh! 2 Ooh! 1 Laugh Funk Clap TR808 Kick 1 Dance Kick 1 Break Snare2 HH Soul Snr

Preset Rhythm Set List

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

P: A16 Hip-Hop 2

TR707 Kick 1 Optic Kick TR808 RimLng Headz Snare Claptail TR808 Snr 7 TR808 Tom TR808 CHH 1 TR808 Tom TR808 PHH 1 TR808 Tom TR808 OHH 2 TR909 Kick 3 TR808 Kick 3 Gate Rim Tiny Snare 2 Little Clap R&B Snare Natural Tom Pop CHH Natural Tom Pedal Hat 1 Natural Tom Pop Hat Open Natural Tom Natural Tom NaturalCrash Natural Tom TR909 Ride TR909 Crash Cup Cym Tambourine 4 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker 808 Maracas Scratch BD f Scratch BD r Scratch SD f Scratch SD r Scratch ALT Funky Bass Vinyl Noise Philly Hit Brass Fall Ooh! 1 Ooh! 2 Finger Snap TR808 Kick 1 Hazy Kick TR606 Snr 2 Machine Snr

P: A17 Funk

TR707 Kick 2 West Kick Lo-Fi Rim Deep Snare Funky Clap Disco Snare TR707 Tom Tight CHH TR707 Tom Hip PHH TR707 Tom Funk OHH Hazy Kick Turbo Kick SideStiker Whack Snare Funk Clap 2 Macho Snare TR909 Tom Real CHH TR909 Tom Pedal Hat 1 TR909 Tom Cym OHH TR909 Tom TR909 Tom NaturalCrash TR909 Tom TR909 Ride TR909 Crash Cup Cym CR78 Tamb TR909 Crash TR707Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker 808 Maracas Scratch BD f Scratch BD r Scratch SD f Scratch SD r Scratch ALT Vinyl Stop Vinyl Noise Philly Hit Brass Fall Kick it! Harmo Gtr Big Clap Plastic BD 2 TR909 Kick 5 DanceHall SD Machine Snr

P: A18 Electro

TR808 Kick 1 TR808 Kick 5 TR808 RimLng TR808 Snr 8 Down Clap TR808 Snr 5 TR808 Tom TR808 CHH 1 TR808 Tom TR808 PHH 1 TR808 Tom TR808 OHH 1 Ele Kick TR707 Kick 2 TR707 Rim ElectroSnr 2 TR707 Clap Sim Snare Deep Tom Closed Hat Deep Tom Pedal Hat 1 Deep Tom Open Hat Deep Tom Deep Tom TR909 Crash Deep Tom TR707 Ride NaturalCrash Asian Gong Tambourine 2 TR909 Crash TR808Cowbell TR606 Cym 1 TR727Quijada Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up 808 Maracas Air Blip Thin Beef Back Hit Analog Bird Hoo Metal Sweep Emergency Buzzer Tonality Ring Osc Toy Gun 3 Hip Clap Plastic BD 1 Lo-Fi Kick 1 Synth Snare TR808 Snr 6

P: A19 Jazz

Lo-Fi Kick 1 Hip Kick SideStiker Deep Snare Real Clap 1 HH Soul Snr Natural Tom Real CHH Natural Tom Pedal Hat 1 Natural Tom Real OHH Optic Kick Video Kick Gate Rim Headz Snare Big Clap Cross Snare TR707 Tom Closed Hat TR707 Tom Bristol CHH TR707 Tom Cym OHH TR707 Tom TR707 Tom NaturalCrash TR707 Tom TR909 Ride NaturalCrash Cup Cym Tambourine 2 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas TR727Quijada Jingle Bell Short Guiro Long Guiro TR808 Claves Hyoshigi Hyoshigi Mute Cuica Open Cuica Triangle 1 Triangle 1 Finger Snap TR808 Kick 1 TR909 Kick 1 R8 BrshSwill R8 Brush Tap

P: A20 Brush

Video Kick West Kick Natural Rim R&B Snare Brush Slap 1 MC Snare TR707 Tom Pop CHH TR707 Tom Room CHH TR707 Tom Pop Hat Open Hip Kick Optic Kick R8 BrshSwill R8 Brush Tap Brush Slap 2 R8 BrushRoll Natural Tom R8 Brush CHH Natural Tom Pedal Hat 1 Natural Tom R8 OHH Natural Tom Natural Tom NaturalCrash Natural Tom TR909 Ride NaturalCrash Cup Cym Tambourine 2 TR606 Cym 1 Cowbell TR909 Crash TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas Whistle Whistle Short Guiro Long Guiro TR808 Claves Hyoshigi Hyoshigi Mute Cuica Open Cuica Triangle 1 Triangle 1 Real Clap 1 TR909 Kick 2 TR707 Kick 1 Real Snare Deep Snare

Appendices

Preset Rhythm Set List

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

P: A21 Disco

TR707 Kick 2 TR808 Kick 3 TR707 Rim Real Snare Real Clap 1 Fat Snare TR707 Tom Real CHH TR707 Tom Pedal Hat 1 TR707 Tom Real OHH Turbo Kick TR707 Kick 1 TR808 RimLng Deep Snare Big Clap TR707 Snare Deep Tom TR808 CHH 1 Kick Tom Pop CHH Deep Tom TR707 OHH Kick Tom Deep Tom NaturalCrash Kick Tom TR909 Ride NaturalCrash Cup Cym Tambourine 2 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up Maracas Triangle 1 Triangle 1 Beam HiQ Back Hit Back Hit Philly Hit Brass Fall Rezo Noise Iih Formant Analog Bird Emergency Down Clap TR808 Kick 1 TR909 Kick 1 TR909 Snr 3 TR808 Snr 5

P: A22 Ragga

Analog Kick TR707 Kick 2 Gate Rim Jungle Rim 1 Hip Clap Ragga Snr 2 TR808 Tom Bristol CHH TR808 Tom Pedal Hat 1 TR808 Tom Cym OHH Plastic BD 4 Video Kick Beam HiQ DanceHall SD Little Clap Ragga Rim 2 Deep Tom TR707 CHH Deep Tom Pop CHH Deep Tom TR707 OHH Deep Tom Deep Tom NaturalCrash Deep Tom TR909 Ride NaturalCrash Asian Gong Tambourine 3 TR909 Crash Cowbell TR606 Cym 1 TR808Cowbell TR707 Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker 808 Maracas MG Attack Air Blip Syn Hit TAO Hit Chiki! Hey! Toy Gun 1 Toy Gun 2 Toy Gun 3 Reso FX Emergency Big Clap TR808 Kick 1 TR909 Kick 1 HH Soul Snr TR909 Snr 4

P: A23 Rock

Optic Kick TR909 Kick 4 TR808 RimLng Hash Snare Funk Clap 2 DJ Snare Kick Tom TR909 CHH 2 Kick Tom TR909 PHH 1 Kick Tom TR909 OHH 1 TR909 Kick 5 Turbo Kick SideStiker Lo-Fi Snare Claptail Macho Snare TR707 Tom TR909 PHH 1 TR707 Tom TR909 OHH 3 TR707 Tom Cym OHH TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride TR909 Crash Asian Gong Tambourine 3 TR909 Crash Cowbell TR606 Cym 2 TR808Cowbell Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo TR727Quijada TR626 Shaker Bounce ElectricDunk Iron Door Drill Hit Thrill PCM Press Dist TekGtr Dist TekGtr Dist TekGtr Dist TekGtr Gtr FX Air Gun TR909 Kick 2 Gabba Kick ElectroSnr 2 Big Trash SD

P: A24 Industrial

TR909 Dst BD Lo-Fi Kick 2 Drill Hit Big Trash SD Dist Swish Rage Snare Can Tom Air Blip Can Tom Beam HiQ Can Tom TR909 DstOHH Bomb Iron Door Thrill PCM Press Air Gun PCM Press TekRok Snare Real PHH TekRok Snare TR909 PHH 1 TekRok Snare TR909 DstOHH TekRok Snare TekRok Snare Bomb Noise TekRok Snare TR909 Ride Drill Hit ElectricDunk Mt Pandeiro TR606 Cym 1 PC-2 Machine TR909 Crash Crash Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF Analog Bird Analog Bird TechnoShaker TR626 Shaker One! Two! Three! Kick it! Wao! Come on! Fuzzy Clap Roll Kick Bomb LoTimbale LF TR909 DstOHH Fuzzy Clap TR909 Kick 2 Roll Kick TR909 DstSnr Flange Snr

P: A25 Ethnic

Open Surdo Mute Surdo Jungle Snap Natural Rim Big Clap Jungle Snr 1 Jungle Snr 2 Mt Pandeiro Jungle Snr 2 R8 Brush CHH Jungle Snr 2 Metal Sweep Afro Feet Mute Surdo Jungle Snap Op Pandeiro Real Clap 2 Hi Timbale TablaBaya Chenchen TablaBaya Tambourine 1 TablaBaya Tambourine 4 TablaBaya Udo Asian Gong Udo Cup Cym NaturalCrash Cup Cym Tambourine 2 TR606 Cym 1 Cowbell NaturalCrash CR78 Beat Natural Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo Cabasa Up TR626 Shaker Whistle Whistle Short Guiro Long Guiro TR808 Claves Hyoshigi AfroDrum Rat Mute Cuica Open Cuica Triangle 2 Triangle 1 Real Clap 1 Boost Kick Kick Ghost Voice loop Chiki!

Preset Rhythm Set List

Note No. 35

40 41

47 48

52 53

59 60

64 65

71 72

76 77

83 84

88 89

95 96

Rhythm Group

P: A26 Reverse

Ele Kick Turbo Kick TR909 Rim TR606 Snr 2 Comp Clap Real Snare Can Tom TR808 CHH 2 Can Tom TR808 PHH 1 Can Tom TR808 OHH 1 TR707 Kick 1 Plastic BD 3 TR707 Rim TR909 Snr 4 TR707 Clap Comp Clap TR707 Tom TR909 CHH 1 TR707 Tom TR909 PHH 1 TR707 Tom TR909 DstOHH TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR707 Ride TR909 Crash Asian Gong Tambourine 2 TR909 Crash TR808Cowbell TR606 Cym 2 CR78 Tamb Cup Cym HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo TechnoShaker Maracas Beam HiQ Tape Rewind Vinyl Stop Come on! One! Pa! Analog Bird Retro UFO Metal Sweep Dst Solo Gtr Emergency Down Clap Wet Kick Hip Kick TR909 Snr 5 Jazz Snare

P: B01 Trance

Plastic BD 4 Gabba Kick Jungle Rim 3 Headz Snare Fuzzy Clap TekRok Snare Deep Tom TR909 CHH 2 Deep Tom TR909 PHH 2 Deep Tom TR909 DstOHH Amsterdam BD Hip Kick Jungle Rim 1 TR606 Snr 1 Clap Snare 1 Indus Snare TR606 Tom TR909 PHH 1 TR606 Tom TR909 PHH 2 TR606 Tom TR909 DstOHH TR606 CmpTom TR606 CmpTom TR909 Crash HiTimbale LF TR707 Ride TR909 Crash Natural Ride TR707 Ride NaturalCrash Cup Cym TR909 Ride Triangle 1 Triangle 1 HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo TechnoShaker Dance Shaker Beam HiQ Dist Swish PCM Press Iron Door MG Attack Air Blip Rezo Noise Toy Gun 2 Buzzer P5 Noise Rezo Noise SNR MENU 6 TR808 Kick 2 Turbo Kick ElectroSnr 2 Synth Snare

P: B02 House 3

TR909 Kick 3 Plastic BD 2 TR808 RimLng TR808 Snr 7 Real Clap 1 TR909 Snr 5 TR909 Tom TR707 CHH TR909 Tom TR707 PHH TR909 Tom TR707 OHH TR707 Kick 2 TR909 Kick 5 Lo-Fi Rim Tiny Snare 2 TR909 Clap 1 TR909 Snr 4 TR707 Tom TR909 CHH 1 TR707 Tom TR909 PHH 1 TR707 Tom TR909 OHH 3 TR707 Tom TR707 Tom NaturalCrash TR707 Tom TR909 Ride NaturalCrash Tambourine 3 Tambourine 1 TR909 Ride CR78 Cowbell Cup Cym CR78 Beat Natural Ride HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up TR626 Shaker Wind Chime TR727Quijada Short Guiro Long Guiro Wood Block Whistle Beam HiQ Drill Hit Thin Beef Dist Swish Analog Bird Big Clap TR808 Kick 1 TR606 Dst BD TR606 Snr 1 Whack Snare

P: B03 2step

TR909 Dst BD Break Kick Natural Rim Cross Snare Big Clap Antigua Snr TR909 Tom Real CHH TR909 Tom Pedal Hat 1 TR909 Tom Open Hat Hip Kick Hazy Kick Scratch SD f Hash Snare Real Clap 1 Cross Snare TR707 Tom Real CHH TR707 Tom TR808 PHH 1 TR707 Tom TR606 OHH TR707 Tom TR707 Tom NaturalCrash TR707 Tom Natural Ride NaturalCrash TR909 Crash Tambourine 3 TR707 Ride TR808Cowbell TR606 Cym 1 CR78 Beat Cup Cym HiBongo Open LoBongo Open HiConga Mute HiConga Open LoConga Open Hi Timbale Lo Timbale TR727 Agogo TR727 Agogo Cabasa Up TR626 Shaker Beam HiQ Philly Hit ElectricDunk TablaBaya Tabla Chenchen Metal Sweep Analog Bird Wao! Mute Cuica Toy Gun 3 Big Clap TR909 Kick 3 TR909 Kick 5 Jungle Rim 2 RaggaTightSD

P: B04 R&B

TR606 Dst BD Dance Kick 1 Gate Rim HH Soul Snr Finger Snap DJ Snare TR606 Tom Pop CHH TR606 Tom Pedal Hat 1 TR606 Tom Pop Hat Open Hip Kick Wet Kick Natural Rim Whack Snare Real Clap 2 Lo-Hard Snr Natural Tom Tight CHH Natural Tom Pedal Hat 2 Natural Tom Open Hat Natural Tom Natural Tom NaturalCrash Natural Tom Natural Ride NaturalCrash Cup Cym Tambourine 3 Tambourine 4 TR707Cowbell TR606 Cym 2 CR78 Cowbell TR707 Ride HiBongo LoFi LoBongo LoFi HiCnga Mt LF HiCnga Op LF LoConga LoFi HiTimbale LF LoTimbale LF TR727 Agogo TR727 Agogo TR626 Shaker Maracas Scratch BD f Scratch BD r Scratch SD f Scratch SD r Scratch ALT MG Blip Philly Hit Metal Sweep Chiki! Chenchen Canvas Cheap Clap TR808 Kick 1 Turbo Kick Real Snare HipJazz Snr

Appendices

Preset Pattern List

No. Pattern Name BPM Mes. Programmer A01 EuroTrance 1 140 8 Roland Corporation

A02 EuroTrance 2 140 8 Roland Corporation A03 EuroTrance 3 140 8 Hans-Joerg Scheffler A04 EuroTrance 4 140 4 B.U.S A05 EuroTrance 5 138 4 B.U.S A06 EuroTrance 6 135 8 Roland Corporation A07 EuroTrance 7 138 8 Hans-Joerg Scheffler A08 EuroTrance 8 150 8 Hans-Joerg Scheffler A09 EuroTrance 9 144 8 Roland Europe S.p.A. A10 EuroTrance 10 138 4 B.U.S A11 Progressive 1 140 4 B.U.S A12 Progressive 2 138 8 B.U.S A13 Progressive 3 138 4 B.U.S A14 Progressive 4 140 4 B.U.S A15 Progressive 5 138 8 B.U.S A16 Progressive 6 130 8 Hans-Joerg Scheffler A17 Psy Trance 1 145 4 MASA A18 Psy Trance 2 140 4 MASA A19 Psy Trance 3 136 4 MASA A20 Psy Trance 4 143 4 Roland Corporation U.S. A21 Psy Trance 5 145 4 MASA A22 HardTrance 1 145 4 MASA A23 HardTrance 2 140 4 MASA A24 HardTrance 3 139 4 MASA A25 HardTrance 4 138 8 MASA A26 HardTrance 5 141 4 B.U.S A27 Trance 1 140 4 MASA A28 Trance 2 138 4 MASA A29 Trance 3 136 4 MASA A30 Trance 4 137 4 MASA A31 Trance 5 136 4 MASA A32 Trance 6 140 8 Roland Corporation U.S. A33 Trance 7 130 4 Hans-Joerg Scheffler A34 DetroitTechno 1 132 4 HEIGO TANI A35 DetroitTechno 2 134 4 Cappadocia Productions A36 DetroitTechno 3 135 8 Cappadocia Productions A37 DetroitTechno 4 130 4 HEIGO TANI A38 DetroitTechno 5 132 4 HEIGO TANI A39 DetroitTechno 6 140 4 Roland Corporation A40 Minimal 1 140 4 HEIGO TANI A41 Minimal 2 140 4 HEIGO TANI A42 Minimal 3 140 4 HEIGO TANI A43 Minimal 4 140 4 HEIGO TANI A44 Minimal 5 130 4 Roland Corporation A45 Minimal 6 141 4 Cappadocia Productions A46 Minimal 7 141 4 Cappadocia Productions A47 New Electro 1 128 4 Cappadocia Productions A48 New Electro 2 128 4 Bjoern Bojahr A49 New Electro 3 130 4 Roland Corporation A50 New Electro 4 155 4 Cappadocia Productions

No. Pattern Name BPM Mes. Programmer A51 Ambient 1 100 4 Cappadocia Productions

A52 Ambient 2 80 4 Cappadocia Productions A53 Ambient 3 98 4 HEIGO TANI A54 Ambient 4 93 8 Cappadocia Productions A55 NU-NRG 1 145 8 Roland Corporation A56 NU-NRG 2 155 8 Roland Corporation A57 NU-NRG 3 150 8 Roland Corporation A58 NU-NRG 4 145 8 Roland Corporation A59 NU-NRG 5 150 4 Hans-Joerg Scheffler A60 EuroBeat 1 159 4 Roland Europe S.p.A. A61 EuroBeat 2 159 8 Roland Europe S.p.A. A62 EuroBeat 3 159 8 Roland Europe S.p.A. A63 HappyHardcore 1 175 8 Roland Corporation A64 HappyHardcore 2 175 8 Roland Europe S.p.A. A65 HappyHardcore 3 175 4 HEIGO TANI A66 Gabba 1 190 8 Roland Corporation A67 Gabba 2 180 4 Roland Corporation A68 Gabba 3 170 4 HEIGO TANI A69 UK HardHouse 1 140 8 Roland Corporation A70 UK HardHouse 2 135 8 Roland Corporation A71 UK HardHouse 3 138 4 B.U.S A72 UK HardHouse 4 138 8 B.U.S A73 UK HardHouse 5 138 4 B.U.S A74 UK HardHouse 6 138 4 B.U.S A75 UK HardHouse 7 138 4 B.U.S A76 UK HardHouse 8 128 4 Bjoern Bojahr A77 US HardHouse 1 120 8 Roland Corporation A78 US HardHouse 2 125 8 Roland Corporation A79 US HardHouse 3 127 4 Roland Corporation U.S. A80 US HardHouse 4 128 4 Bjoern Bojahr A81 US HardHouse 5 128 4 Roland Corporation U.S. A82 US HardHouse 6 136 4 Roland Corporation U.S. A83 US HardHouse 7 136 4 Roland Corporation U.S. A84 US HardHouse 8 130 4 Hans-Joerg Scheffler A85 Chicago House 1 130 4 HEIGO TANI A86 Chicago House 2 130 4 HEIGO TANI A87 Filter Disco 1 132 8 HEIGO TANI A88 Filter Disco 2 132 4 HEIGO TANI A89 House 1 132 4 Hans-Joerg Scheffler A90 House 2 130 4 Hans-Joerg Scheffler A91 House 3 125 8 Hans-Joerg Scheffler A92 House 4 130 4 Roland Corporation U.S. A93 House 5 133 8 Roland Corporation U.S. A94 House 6 130 4 Hans-Joerg Scheffler A95 House 7 128 4 Bjoern Bojahr A96 House 8 134 8 Hans-Joerg Scheffler A97 House 9 125 4 Roland Corporation U.S. A98 House 10 127 8 Roland Corporation U.S. A99 House 11 128 4 Bjoern Bojahr A00 House 12 128 4 Bjoern Bojahr

Preset Pattern List

No. Pattern Name BPM Mes. Programmer B01 House 13 128 4 Bjoern Bojahr

B02 Garage House 1 130 4 Roland Corporation B03 Garage House 2 125 8 Hans-Joerg Scheffler B04 Garage House 3 120 4 Hans-Joerg Scheffler B05 Garage House 4 125 8 Hans-Joerg Scheffler B06 Garage House 5 135 4 B.U.S B07 Garage House 6 133 8 Roland Corporation U.S. B08 2step 1 130 8 presto B09 2step 2 132 8 presto B10 2step 3 136 8 presto B11 2step 4 136 8 presto B12 2step 5 126 8 presto B13 2step 6 130 4 Roland Corporation B14 R&B 1 100 8 presto B15 R&B 2 100 8 presto B16 R&B 3 111 4 Roland Corporation U.S. B17 R&B 4 103 4 Roland Corporation U.S. B18 R&B 5 102 4 Roland Corporation U.S. B19 R&B 6 135 8 Roland Corporation U.S. B20 R&B 7 104 4 Roland Corporation U.S. B21 R&B 8 100 4 Roland Corporation B22 R&B 9 82 4 presto B23 R&B 10 80 8 presto B24 R&B 11 93 4 Roland Corporation B25 R&B 12 110 8 presto B26 R&B 13 78 8 Roland Corporation U.S. B27 R&B 14 78 4 Roland Corporation U.S. B28 HipHopEast 1 88 4 Roland Corporation U.S. B29 HipHopEast 2 91 4 Roland Corporation U.S. B30 HipHopEast 3 90 4 Cappadocia Productions B31 HipHopEast 4 94 4 Roland Corporation U.S. B32 HipHopEast 5 89 4 Cappadocia Productions B33 HipHopEast 6 100 4 Roland Corporation U.S. B34 HipHopEast 7 93 4 Roland Corporation B35 HipHopEast 8 90 4 Roland Corporation B36 HipHopEast 9 90 4 Roland Corporation B37 HipHopEast 10 90 4 Roland Corporation B38 G-Funk 1 91 4 Roland Corporation U.S. B39 G-Funk 2 92 4 Roland Corporation U.S. B40 G-Funk 3 98 4 Cappadocia Productions B41 G-Funk 4 92 4 Roland Corporation U.S. B42 Abstruct 1 96 4 Roland Corporation U.S. B43 Abstruct 2 90 4 Roland Corporation B44 Abstruct 3 85 4 Roland Corporation B45 Abstruct 4 93 4 Roland Corporation B46 Abstruct 5 78 4 Roland Corporation B47 Abstruct 6 97 4 Roland Corporation B48 Drum'n'Bass 1 156 16 presto B49 Drum'n'Bass 2 165 8 presto B50 Drum'n'Bass 3 180 8 Roland Corporation

No. Pattern Name BPM Mes. Programmer B51 Drum'n'Bass 4 160 4 HEIGO TANI

B52 Drum'n'Bass 5 180 8 presto B53 Drum'n'Bass 6 170 8 Roland Corporation B54 Drum'n'Bass 7 160 8 presto B55 Drum'n'Bass 8 173 8 presto B56 Drum'n'Bass 9 170 4 HEIGO TANI B57 Drum'n'Bass 10 165 8 HEIGO TANI

No.: Pattern Number Mes.: Measure Length

The sounds, phrases and patterns contained in this product are sound recordings protected by copyright. Roland hereby grants to purchasers of this product the permission to utilize the sound recordings contained in this product for the creation and recording of original musical works; provided however, the sound recordings contained in this product may not be sampled, downloaded or otherwise re-recorded, in whole or in part, for any other purpose, including but not limited to the transmission of all or any part of the sound recordings via the internet or other digital or analog means of transmission, and/or the manufacture, for sale or otherwise, of any collection of sampled sounds, phrases or patterns, on CD-ROM or equivalent means.

The sound recordings contained in this product are the original works of Roland Corporation. Roland is not responsible for the use of the sound recordings contained in this product, and assumes no liability for any infringement of any copyright of any third party arising out of use of the sounds, phrases and patterns in this product.

Appendices

RPS Pattern List

No. Pattern Name B58 Trance Drums 1

B59 Trance Drums 2 B60 Trance Drums 3 B61 Trance Drums 4 B62 Trance Drums 5 B63 Trance Drums 6 B64 Techno Drums 1 B65 Techno Drums 2 B66 Techno Drums 3 B67 Techno Drums 4 B68 Techno Drums 5 B69 Techno Drums 6 B70 Techno Drums 7 B71 Techno Drums 8 B72 Techno Drums 9 B73 House Drums 1 B74 House Drums 2 B75 House Drums 3 B76 House Drums 4 B77 House Drums 5 B78 House Drums 6 B79 House Drums 7 B80 2step Drums 1 B81 2step Drums 2 B82 R&B Drums 1 B83 R&B Drums 2 B84 R&B Drums 3 B85 R&B Drums 4 B86 HipHop Drums 1 B87 HipHop Drums 2 B88 HipHop Drums 3 B89 HipHop Drums 4 B90 DnB Drums B91 Drums Fill 1 B92 Drums Fill 2 B93 Drums Fill 3 B94 Drums Fill 4 B95 Drums Fill 5 B96 Drums Fill 6 B97 Drums Fill 7 B98 Drums Fill 8 B99 Drums Fill 9 B00 Drums Fill 10 C01 Drums Fill 11 C02 Drums Fill 12 C03 Drums Fill 13 C04 Drums Fill 14 C05 Drums Fill 15 C06 Drums Fill 16 C07 Drums Fill 17 C08 Drums Fill 18 C09 Drums Fill 19 C10 Drums Fill 20 C11 Drums Fill 21 C12 Drums Fill 22 C13 Drums Fill 23 C14 Drums Fill 24 C15 Drums Fill 25

No. Pattern Name C16 Drums Fill 26

C17 Drums Fill 27 C18 Drums Fill 28 C19 Perc Fill 1 C20 Perc Fill 2 C21 Perc Fill 3 C22 Noise Fill 1 C23 Noise Fill 2 C24 Trance Bass 1 C25 Trance Bass 2 C26 Trance Bass 3 C27 Trance Bass 4 C28 Trance Bass 5 C29 Techno Bass 1 C30 Techno Bass 2 C31 Techno Bass 3 C32 Techno Bass 4 C33 Techno Bass 5 C34 Techno Bass 6 C35 Techno Bass 7 C36 Techno Bass 8 C37 House Bass 1 C38 House Bass 2 C39 House Bass 3 C40 House Bass 4 C41 House Bass 5 C42 House Bass 6 C43 2step Bass C44 R&B Bass C45 HipHop Bass 1 C46 HipHop Bass 2 C47 HipHop Bass 3 C48 DnB Bass C49 Synth Seq 1 C50 Synth Seq 2 C51 Synth Seq 3 C52 Synth Seq 4 C53 Synth Seq 5 C54 Synth Seq 6 C55 Synth Seq 7 C56 Synth Seq 8 C57 Synth Seq 9 C58 Synth Seq 10 C59 Synth Seq 11 C60 Synth Seq 12 C61 Synth Seq 13 C62 Kalimba Seq C63 Synth Riff 1 C64 Synth Riff 2 C65 Synth Riff 3 C66 Synth Riff 4 C67 Synth Riff 5 C68 Synth Riff 6 C69 Synth Riff 7 C70 Synth Riff 8 C71 Synth Riff 9 C72 Synth Riff 10 C73 Synth Riff 11

No. Pattern Name C74 Synth Riff 12

C75 Synth Riff 13 C76 Synth Riff 14 C77 Synth Riff 15 C78 Synth Riff 16 C79 Synth Riff 17 C80 Synth Riff 18 C81 Synth Riff 19 C82 Synth Riff 20 C83 Synth Riff 21 C84 Synth Riff 22 C85 Synth Riff 23 C86 Synth Riff 24 C87 Synth Riff 25 C88 Synth Riff 26 C89 Synth Riff 27 C90 Synth Riff 28 C91 Synth Riff 29 C92 Synth Riff 30 C93 Synth Riff 31 C94 Synth Riff 32 C95 Synth Riff 33 C96 Synth Riff 34 C97 Guitar Riff 1 C98 Guitar Riff 2 C99 Guitar Riff 3 C00 Organ Riff D01 Hit Riff 1 D02 Hit Riff 2 D03 Hit Riff 3 D04 Hit Riff 4 D05 Hit Riff 5 D06 Hit Riff 6 D07 Perc Riff D08 Synth Pad 1 D09 Synth Pad 2 D10 Synth Pad 3 D11 Synth Pad 4 D12 Synth Pad 5 D13 Synth Pad 6 D14 Synth Pad 7 D15 Synth Pad 8 D16 Synth Pad 9 D17 Synth Pad 10 D18 Synth Pad 11 D19 Synth Pad 12 D20 Synth Lead 1 D21 Synth Lead 2 D22 Synth Lead 3 D23 Synth Lead 4 D24 Synth Lead 5 D25 Synth Lead 6 D26 Synth Lead 7 D27 Synth Lead 8 D28 Synth Lead 9 D29 Synth Lead 10 D30 Synth Lead 11 D31 Synth Lead 12

No. Pattern Name D32 Synth Lead 13

D33 Piano 1 D34 Piano 2 D35 Piano 3 D36 E.Piano 1 D37 E.Piano 2 D38 E.Piano 3 D39 E.Piano 4 D40 E.Piano 5 D41 E.Piano 6 D42 Organ D43 Guitar 1 D44 Guitar 2 D45 Brass 1 D46 Brass 2 D47 Brass 3 D48 Voice 1 D49 Voice 2 D50 Voice 3 D51 Voice 4 D52 Scratch 1 D53 Scratch 2 D54 SFX 1 D55 SFX 2 D56 SFX 3 D57 SFX 4 D58 SFX 5 D59 SFX 6 D60 SFX 7 D61 SFX 8 D62 SFX 9 D63 SFX 10 D64 SFX 11 D65 SFX 12 D66 SFX 13 D67 SFX 14 D68 SFX 15 D69 SFX 16 D70 SFX 17 D71 SFX 18 D72 SFX 19 D73 SFX 20 D74 SFX 21 D75 SFX 22 D76 SFX 23 D77 SFX 24 D78 SFX 25 D79 SFX 26 D80 SFX 27 D81 SFX 28 D82 SFX 29 D83 SFX 30 D84 SFX 31 D85 SFX 32 D86 SFX 33 D87 SFX 34 D88 SFX 35 D89 SFX 36

RPS Set List

D-FIELD No. Pattern Name

1. Euro Trance

1 B58 Trance Drums 1 2 C24 Trance Bass 1 3 B91 Drums Fill 1 4 C63 Synth Riff 1 5 C70 Synth Riff 8 6 D20 Synth Lead 1 7 C60 Synth Seq 12 8 D54 SFX 1

2. Progressive

1 B59 Trance Drums 2 2 C25 Trance Bass 2 3 B92 Drums Fill 2 4 D08 Synth Pad 1 5 C71 Synth Riff 9 6 D21 Synth Lead 2 7 D34 Piano 2 8 D55 SFX 2

3. Psy Trance

1 B60 Trance Drums 3 2 C26 Trance Bass 3 3 B93 Drums Fill 3 4 D09 Synth Pad 2 5 C54 Synth Seq 6 6 D22 Synth Lead 3 7 C85 Synth Riff 23 8 D05 Hit Riff 5

4. Hard Trance

1 B61 Trance Drums 4 2 C27 Trance Bass 4 3 B94 Drums Fill 4 4 D10 Synth Pad 3 5 C72 Synth Riff 10 6 C80 Synth Riff 18 7 C61 Synth Seq 13 8 D56 SFX 3

5. Trance

1 B62 Trance Drums 5 2 C28 Trance Bass 5 3 B95 Drums Fill 5 4 C64 Synth Riff 2 5 D13 Synth Pad 6 6 C81 Synth Riff 19 7 C86 Synth Riff 24 8 D06 Hit Riff 6

6. Detroit Techno

1 B64 Techno Drums 1 2 C29 Techno Bass 1 3 B96 Drums Fill 6 4 D11 Synth Pad 4 5 C73 Synth Riff 11 6 D23 Synth Lead 4 7 D30 Synth Lead 11 8 D57 SFX 4

7. Minimal

1 B65 Techno Drums 2 2 C30 Techno Bass 2 3 B97 Drums Fill 7 4 C49 Synth Seq 1 5 C74 Synth Riff 12 6 C58 Synth Seq 10 7 C87 Synth Riff 25 8 D50 Voice 3

8. New Electro

1 B66 Techno Drums 3 2 C31 Techno Bass 3 3 C22 Noise Fill 1 4 C65 Synth Riff 3 5 D14 Synth Pad 7 6 C59 Synth Seq 11 7 C88 Synth Riff 26 8 D58 SFX 5

D-FIELD

No. Pattern Name

9. Ambient

1 B67 Techno Drums 4 2 C32 Techno Bass 4 3 B98 Drums Fill 8 4 C50 Synth Seq 2 5 D15 Synth Pad 8 6 C82 Synth Riff 20 7 D45 Brass 1 8 D59 SFX 6

10. NU-NRG

1 B68 Techno Drums 5 2 C33 Techno Bass 5 3 B99 Drums Fill 9 4 C66 Synth Riff 4 5 C75 Synth Riff 13 6 D24 Synth Lead 5 7 C89 Synth Riff 27 8 D60 SFX 7

11. Euro Beat

1 B69 Techno Drums 6 2 C34 Techno Bass 6 3 B00 Drums Fill 10 4 C51 Synth Seq 3 5 C55 Synth Seq 7 6 C83 Synth Riff 21 7 D35 Piano 3 8 D61 SFX 8

12. HappyHardcore

1 B70 Techno Drums 7 2 C35 Techno Bass 7 3 C01 Drums Fill 11 4 C52 Synth Seq 4 5 C76 Synth Riff 14 6 D25 Synth Lead 6 7 C90 Synth Riff 28 8 D62 SFX 9

13. Gabba

1 B71 Techno Drums 8 2 C36 Techno Bass 8 3 C02 Drums Fill 12 4 C97 Guitar Riff 1 5 C56 Synth Seq 8 6 D26 Synth Lead 7 7 D49 Voice 2 8 D63 SFX 10

14. UK HardHouse

1 B73 House Drums 1 2 C37 House Bass 1 3 C03 Drums Fill 13 4 C67 Synth Riff 5 5 C57 Synth Seq 9 6 D02 Hit Riff 2 7 D31 Synth Lead 12 8 D64 SFX 11

15. US HardHouse

1 B74 House Drums 2 2 C38 House Bass 2 3 C19 Perc Fill 1 4 C68 Synth Riff 6 5 C00 Organ Riff 6 D27 Synth Lead 8 7 C91 Synth Riff 29 8 D65 SFX 12

16. Chicago House

1 B75 House Drums 3 2 C39 House Bass 3 3 C04 Drums Fill 14 4 D48 Voice 1 5 C77 Synth Riff 15 6 D03 Hit Riff 3 7 D07 Perc Riff 8 D66 SFX 13

D-FIELD

No. Pattern Name

17. Filter Disco

1 B76 House Drums 4 2 C40 House Bass 4 3 C05 Drums Fill 15 4 C98 Guitar Riff 2 5 C78 Synth Riff 16 6 D04 Hit Riff 4 7 C92 Synth Riff 30 8 D67 SFX 14

18. House

1 B77 House Drums 5 2 C41 House Bass 5 3 C20 Perc Fill 2 4 D33 Piano 1 5 C79 Synth Riff 17 6 D18 Synth Pad 11 7 C93 Synth Riff 31 8 D51 Voice 4

19. Garage House

1 B78 House Drums 6 2 C42 House Bass 6 3 C06 Drums Fill 16 4 C53 Synth Seq 5 5 D40 E.Piano 5 6 D43 Guitar 1 7 D46 Brass 2 8 D68 SFX 15

20. 2step

1 B80 2step Drums 1 2 C43 2step Bass 3 C07 Drums Fill 17 4 D36 E.Piano 1 5 C62 Kalimba Seq 6 D44 Guitar 2 7 D47 Brass 3 8 D69 SFX 16

21. R&B

1 B82 R&B Drums 1 2 C44 R&B Bass 3 C23 Noise Fill 2 4 D37 E.Piano 2 5 C99 Guitar Riff 3 6 D42 Organ 7 C94 Synth Riff 32 8 D70 SFX 17

22. HipHop East

1 B86 HipHop Drums 1 2 C45 HipHop Bass 1 3 C08 Drums Fill 18 4 D38 E.Piano 3 5 D01 Hit Riff 1 6 D28 Synth Lead 9 7 D52 Scratch 1 8 D71 SFX 18

23. G-Funk

1 B87 HipHop Drums 2 2 C46 HipHop Bass 2 3 C09 Drums Fill 19 4 D39 E.Piano 4 5 D16 Synth Pad 9 6 D29 Synth Lead 10 7 C95 Synth Riff 33 8 D72 SFX 19

24. Abstruct

1 B88 HipHop Drums 3 2 C47 HipHop Bass 3 3 C10 Drums Fill 20 4 C69 Synth Riff 7 5 D17 Synth Pad 10 6 D19 Synth Pad 12 7 C96 Synth Riff 34 8 D53 Scratch 2

D-FIELD

No. Pattern Name

25. Drum'n'Bass

1 B90 DnB Drums 2 C48 DnB Bass 3 C11 Drums Fill 21 4 D12 Synth Pad 5 5 D41 E.Piano 6 6 C84 Synth Riff 22 7 D32 Synth Lead 13 8 D73 SFX 20

26. BreakBeats Collection

1 B83 R&B Drums 2 2 B72 Techno Drums 9 3 B89 HipHop Drums 4 4 B84 R&B Drums 3 5 B63 Trance Drums 6 6 B85 R&B Drums 4 7 B79 House Drums 7 8 B81 2step Drums 2

27. BreakBeats Collection2

1 B58 Trance Drums 1 2 B68 Techno Drums 5 3 B65 Techno Drums 2 4 B76 House Drums 4 5 B90 DnB Drums 6 B86 HipHop Drums 1 7 B82 R&B Drums 1 8 B67 Techno Drums 4

28. Fill Collection

1 C12 Drums Fill 22 2 C13 Drums Fill 23 3 C14 Drums Fill 24 4 C21 Perc Fill 3 5 C15 Drums Fill 25 6 C16 Drums Fill 26 7 C17 Drums Fill 27 8 C18 Drums Fill 28

29. FX Collection

1 D74 SFX 21 2 D75 SFX 22 3 D76 SFX 23 4 D77 SFX 24 5 D78 SFX 25 6 D79 SFX 26 7 D80 SFX 27 8 D81 SFX 28

30. FX Collection 2

1 D82 SFX 29 2 D83 SFX 30 3 D84 SFX 31 4 D85 SFX 32 5 D86 SFX 33 6 D87 SFX 34 7 D88 SFX 35 8 D89 SFX 36

No.: RPS Pattern Number

Appendices

Profiles of Pattern Composers

B.U.S [Build Up Swing]

Okada Hideki, born in 1966, debuted in 1995 with a Japanese house garage unit named Swell Emotion [DOHB disk/Epic], and is a highly acclaimed creative talent of house music. He has signed a contract with the Paratone label, and released an album as the solo project “B.U.S.” His work has appeared in the radio and TV charts, and has been praised by DJ TOMO, YO-C, DJ Shinkawa and others. He is also active as a producer for the YO-C solo album. He is one of the most talked-about house creators in Japan today, partially due to his highly successful remixes in 1998 of Debra Morgan, and the group “Every Little Thing.”

Bjoern Bojahr

Bjoern Bojahr is a germany based young sound designer and music producer. He is also getting a reputation as one of the main reviewers of the german KEYBOARDS magazine. He has been into synthesizers for years and does lots of multimedia-projects in his studio. He can be reached at mail@bjoernbojahr.de

Hans-Joerg Scheffler

Born and raised in the Ruhrvalley, one of the largest industrial areas of europe, Hans interest in noise and rhythm came quite naturally. Today he runs his own company Digital Audio Design and creates patches and patterns for Roland Synthesizers and Grooveboxes.

Visit him online at www.DigitalAudioDesign.de

HEIGO TANI

Active in the techno unit “Co-Fusion,” a collaboration with Japan’s well-known techno DJ “DJ WADA,” and has also released an album from Sublime Records.

MASA

Psychedelic Trance DJ / Artist Active since the beginning of the 90’s in live and DJ performance at parties both in and outside of Japan. Masa has also released numerous works as a creator, and collaborates frequently with artists around the world. He has also been responsible for music production and effects for commercials, events, and videos. In addition, he created internal patterns and preset sounds for the Roland MC-505 and 307. Listeners are captivated by his four-dimensional sound unbound by stereotypical ideas.

Naoki “GigBag” Matsuura

Naoki began musical activity in 1983 during his university days. As a bassist, he participated in numerous live and studio sessions. Subsequently, he took a break from his performance activities and began creating MIDI data and working as a producer. At present, he is the chairman and producer of Prest Ltd., which produces desktop music and other digital content.

Cappadocia Productions

Electronic sound tinkerers based in Japan. Also active as an art performance unit named GIGAHERTZ. Also involved in the development of products such as the Roland MC series.

E-mail:RXN00541@nifty.ne.jp

Waveform List

Group A

No Name No Name No Name No Name No Name No Name

001 TB Dst Saw 002 TB Dst Sqr 1 003 TB Dst Sqr 2 004 TB Reso Sqr1 005 TB Reso Sqr2 006 TB Saw 007 TB SolidSaw1 008 TB SolidSaw2 009 TB Square 1 010 TB Square 2 011 TB Sqr Decay 012 TB Natural 013 JP8000 Saw 1 014 JP8000 Saw 2 015 MG Saw 016 Synth Saw 1 017 JP-8 Saw 018 P5 Saw 019 Synth Saw 2 020 OB Saw 021 D-50 Saw 022 JP-6 Square 023 MG Square 024 P5 Square 025 JP-8 Pulse 026 JP-6 Pulse 027 MG Pulse 028 260 Pulse 029 JU-2 Sub OSC 030 Frog wave 031 Digiwave 032 FM Pulse 033 JP8000 PWM 034 JP8000 FBK 035 260 Sub OSC 036 Dist Synth 037 Dist Square 038 MG Triangle 039 Jungle Bass 040 260 Sine Bs 041 MC-202 Bass 042 SH-101 Bass 043 Octa Bass

044 Funky Bass 045 Poly Bass 046 MG Bass 047 FM Super Bs 048 Solid Bass 049 Organ Bass 050 Dirty Bass 051 Upright Bs 052 Ac Bass 053 Voco Bass 054 Fingered Bs 055 Pick Bass 056 Fretless Bs 057 Slap Bass 058 Juno Rave 059 Blaster 060 Fat JP-6 061 OB Strings 062 Orch Strings 063 Pizzy Techno 064 Choir 065 Syn Vox 1 066 Syn Vox 2 067 Syn Vox 3 068 Ac Piano 069 D-50 EP 070 E.Piano 071 Clavi 072 Full Stop 073 FM Club Org 074 E.Organ 1 075 E.Organ 2 076 Church Org 077 Power B fst 078 Power B slw 079 Org Chord 080 Tubular 081 Glockenspiel 082 Vibraphone 083 FantabellSub 084 DIGI Bell 085 Steel Drum 086 Marimba

087 Balaphone 088 Kalimba 089 Steel Gtr 090 Clean TC 091 Dst Solo Gtr 092 Dist TekGtr 093 Gtr FX 094 Harmo Gtr 095 Wah Gtr 1 096 Wah Gtr 2 097 Wah Gtr 2a 098 Wah Gtr 2b 099 Wah Gtr 2c 100 Wah Gtr 2d 101 Sitar 102 Brass 103 Trumpet

104 Mute Trumpet

105 Soprano Sax 106 Solo Sax 107 Baritone Sax 108 Brass Fall 109 Flute 110 Pan Flute 111 Shakuhachi 112 Bagpipe 113 Breath 114 Feedbackwave 115 Atmosphere 116 Rezo Noise 117 MG White Nz 118 P5 Noise 119 MG Pink Nz 120 Bomb Noise 121 Sea 122 Brush Noise 123 Space Noise 124 Scream 125 Jet Plane 126 Toy Gun 1 127 Crash 128 Toy Gun 2 129 Toy Gun 3

130 Emergency 131 Buzzer 132 Insect 133 Tonality 134 Ring Osc 135 Reso FX 136 SCRATCH MENU 137 Vinyl Noise 138 Scratch BD f 139 Scratch BD r 140 Scratch SD f 141 Scratch SD r 142 Scratch ALT 143 Tape Rewind 144 Vinyl Stop 145 HIT MENU 146 MG Blip 147 Beam HiQ 148 MG Attack 149 Air Blip 150 Org Click 151 Syn Hit 152 Techno Scene 153 Techno Chord 154 Dist Hit 155 Thin Beef 156 Tekno Hit 157 Back Hit 158 TAO Hit 159 Philly Hit 160 INDUST. MENU 161 Analog Bird 162 Retro UFO 163 PC-2 Machine 164 Hoo 165 Metal Sweep 166 Afro Feet 167 Bomb 168 Bounce 169 ElectricDunk 170 Iron Door 171 Dist Swish 172 Drill Hit

173 Thrill 174 PCM Press 175 Air Gun 176 VOICE MENU 177 One! 178 Two! 179 Three! 180 Kick it! 181 Come on! 182 Wao! 183 Shout 184 Ooh! 1 185 Ooh! 2 186 Voice loop 187 Pa! 188 Canvas 189 Punch 190 Chiki! 191 Hey! 192 Laugh 193 Aah Formant 194 Eeh Formant 195 Iih Formant 196 Ooh Formant 197 Uuh Formant 198 Dist Ooh Vox 199 Auh Voice 200 Stream 201 Bird 202 TOM MENU 203 TR909 Tom 204 TR909 DstTom 205 TR808 Tom 206 TR606 Tom 207 TR606 CmpTom 208 TR707 Tom 209 Syn Tom 210 Deep Tom 211 Can Tom 212 Kick Tom 213 Natural Tom 214 PERCUS MENU1 215 PERCUS MENU2

216 TR808 Conga 217 HiBongo Open 218 LoBongo Open 219 HiConga Mute 220 HiConga Open 221 LoConga Open 222 HiBongo LoFi 223 LoBongo LoFi 224 HiCnga Mt LF 225 HiCnga Op LF 226 LoConga LoFi 227 Timpani 228 Mute Surdo 229 Open Surdo 230 Hi Timbale 231 Lo Timbale 232 HiTimbale LF 233 LoTimbale LF 234 Tabla 235 TablaBaya 236 Udo 237 AfroDrum Rat 238 Chenchen 239 Op Pandeiro 240 Mt Pandeiro 241 Tambourine 1 242 Tambourine 2 243 Tambourine 3 244 Tambourine 4 245 CR78 Tamb 246 COWBELL MENU 247 TR808Cowbell 248 TR707Cowbell 249 CR78 Cowbell 250 Cowbell 251 TR727 Agogo 252 CR78 Beat 253 Triangle 1 254 Triangle 2

Group B

No Name No Name No Name No Name No Name No Name

001 SHKR+ MENU 002 808 Maracas 003 Maracas 004 Cabasa Up 005 TechnoShaker 006 TR626 Shaker 007 Dance Shaker 008 CR78 Guiro 009 Long Guiro 010 Short Guiro 011 Mute Cuica 012 Open Cuica 013 Whistle 014 TR727Quijada 015 Jingle Bell 016 Belltree 017 Wind Chime 018 RIM MENU 019 TR909 Rim 020 TR808 Rim 021 TR808 RimLng 022 TR707 Rim 023 Analog Rim 024 Natural Rim 025 Ragga Rim 1 026 Lo-Fi Rim 027 Wood Block 028 Jungle Snap 029 TR808 Claves 030 Hyoshigi 031 CHH MENU 1 032 CHH MENU 2 033 TR909 CHH 1 034 TR909 CHH 2 035 TR808 CHH 1 036 TR808 CHH 2 037 TR808 CHH 3 038 TR606 CHH 1 039 TR606 CHH 2 040 TR606 DstCHH 041 TR707 CHH 042 CR78 CHH 043 DR55 CHH 1

044 Closed Hat 045 Pop CHH 046 Real CHH 047 Bristol CHH 048 DR550 CHH 2 049 Tight CHH 050 Hip CHH 051 Room CHH 052 R8 Brush CHH 053 Jungle Hat 054 PHH MENU 055 TR909 PHH 1 056 TR909 PHH 2 057 TR808 PHH 1 058 TR808 PHH 2 059 TR606 PHH 1 060 TR606 PHH 2 061 TR707 PHH 062 Hip PHH 063 Tight PHH 064 Pedal Hat 1 065 Real PHH 066 Pedal Hat 2 067 OHH MENU 1 068 OHH MENU 2 069 TR909 OHH 1 070 TR909 OHH 2 071 TR909 OHH 3 072 TR909 DstOHH 073 TR808 OHH 1 074 TR808 OHH 2 075 TR606 OHH 076 TR606 DstOHH 077 TR707 OHH 078 CR78 OHH 079 Hip OHH 080 Pop Hat Open 081 Open Hat 082 Cym OHH 083 DR550 OHH 084 Funk OHH 085 Real OHH 086 R8 OHH

087 CYMBAL MENU 088 TR606 Cym 1 089 TR606 Cym 2 090 TR909 Ride 091 TR707 Ride 092 Natural Ride 093 Cup Cym 094 TR909 Crash 095 NaturalCrash 096 Jungle Crash 097 Asian Gong 098 CLAP MENU 1 099 CLAP MENU 2 100 TR909 Clap 1 101 TR909 Clap 2 102 TR808 Clap 103 TR707 Clap 104 Cheap Clap 105 Funk Clap 106 Little Clap 107 Real Clap 1 108 Real Clap 2 109 Funky Clap 110 Comp Clap 111 Hip Clap 112 Down Clap 113 Group Clap 114 Big Clap 115 Claptail 116 Clap Snare 1 117 Fuzzy Clap 118 Snap 119 Finger Snap 120 SNR MENU 1 121 SNR MENU 2 122 SNR MENU 3 123 SNR MENU 4 124 SNR MENU 5 125 SNR MENU 6 126 TR909 Snr 1 127 TR909 Snr 2 128 TR909 Snr 3 129 TR909 Snr 4

130 TR909 Snr 5 131 TR909 Snr 6 132 TR909 Snr 7 133 TR909 DstSnr 134 TR808 Snr 1 135 TR808 Snr 2 136 TR808 Snr 3 137 TR808 Snr 4 138 TR808 Snr 5 139 TR808 Snr 6 140 TR808 Snr 7 141 TR808 Snr 8 142 TR808 Snr 9 143 TR606 Snr 1 144 TR606 Snr 2 145 TR606 Snr 3 146 DanceHall SD 147 TR707 Snare 148 CR78 Snare 149 Clap Snare 2 150 Jngl Tiny SD 151 Jazz Snare 152 Headz Snare 153 Whack Snare 154 Rap Snare 155 Jungle Snr 1 156 Antigua Snr 157 Real Snare 158 Tiny Snare 1 159 Tiny Snare 2 160 Break Snare1 161 Break Snare2 162 MC Snare 163 East Snare 164 Phat Snare 165 Brush Slap 1 166 Brush Slap 2 167 Deep Snare 168 Fat Snare 169 Disco Snare 170 DJ Snare 171 Macho Snare 172 Hash Snare

173 Lo-Hard Snr 174 Indus Snare 175 Rage Snare 176 TekRok Snare 177 Big Trash SD 178 Ragga Rim 2 179 Gate Rim 180 SideStiker 181 HipJazz Snr 182 HH Soul Snr 183 Cross Snare 184 Jungle Rim 1 185 Ragga Snr 2 186 Upper Snare 187 Lo-Fi Snare 188 RaggaTightSD 189 Flange Snr 190 Machine Snr 191 Clap Snare 3 192 Solid Snare 193 Funk Clap 2 194 Jungle Rim 2 195 Jungle Rim 3 196 Jungle Snr 2 197 Urban Snare 198 Urban RollSD 199 R&B Snare 200 R8 Brush Tap 201 R8 BrshSwill 202 R8 BrushRoll 203 Sim Snare 204 ElectroSnr 1 205 ElectroSnr 2 206 Synth Snare 207 Roll Snare 208 KICK MENU 1 209 KICK MENU 2 210 KICK MENU 3 211 TR909 Kick 1 212 TR909 Kick 2 213 TR909 Kick 3 214 TR909 Kick 4 215 Plastic BD 1

216 Plastic BD 2 217 Plastic BD 3 218 Plastic BD 4 219 TR909 Kick 5 220 TR808 Kick 1 221 TR808 Kick 2 222 TR808 Kick 3 223 TR808 Kick 4 224 TR808 Kick 5 225 TR606 Kick 226 TR606 Dst BD 227 TR707 Kick 1 228 TR707 Kick 2 229 Toy Kick 230 Analog Kick 231 Boost Kick 232 West Kick 233 JungleKick 1 234 Optic Kick 235 Wet Kick 236 Lo-Fi Kick 1 237 Hazy Kick 238 Hip Kick 239 Video Kick 240 Tight Kick 241 Break Kick 242 Turbo Kick 243 Ele Kick 244 Dance Kick 1 245 Kick Ghost 246 Lo-Fi Kick 2 247 JungleKick 2 248 TR909 Dst BD 249 Amsterdam BD 250 Gabba Kick 251 Roll Kick

Appendices

MIDI Implementation

Model: D2 (groovebox) Date: Mar. 12, 2001 Version: 1.00

Symbol Description Range n MIDI Channel 0H–6H,9H (ch.1–ch.7,ch.10) vv Control value 00H–7FH (0–127) kk Note Number 00H–7FH (0–127) xx ON/OFF 00H–3FH (0–63:OFF), 40H–7FH (64–127:ON)

1. Data reception (sound source section)

■Channel voice messages

●Note Off

status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H vv=Note Off velocity: 00H - 7FH (0 - 127)

●Note On

status 2nd byte 3rd byte 9nH kkH vvH vv=Note On velocity: 01H - 7FH (1 - 127)

●Polyphonic Aftertouch

status 2nd byte 3rd byte AnH kkH vvH vv=Polyphonic Aftertouch: 00 00H - 7FH (0 - 127)

●Control Change

* Not received when the Rx Switch parameter is OFF.

❍Bank Select (Controller number 0,32)

status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH mm,ll=Bank number: 00 00H–7F 7FH (bank.1–bank.16384)

* Not received when the Rx Program Change Switch or Rx Bank Select Switch parameter

is OFF.

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

Bank Select | Program No | Group Patch No. MSB | LSB | | ——————+—————+————————————+———————————————————————————————————————— 81 | 0 | 001 - 128 | Preset A 001 - 128 81 | 1 | 001 - 128 | Preset B 001 - 128 81 | 2 | 001 - 128 | Preset C 001 - 128 81 | 3 | 001 - 128 | Preset D 001 - 128 84 | 0 | 001 - 088 | Preset E 001 - 088 85 | 0 | 001 - 128 | User 001 - 128 85 | 1 | 001 - 128 | User 129 - 256

* The Rhythm set corresponding to each Bank Select are as follows.

Bank Select | Program No | Group Patch No. MSB | LSB | | ——————+—————+————————————+———————————————————————————————————————— 81 | 0 | 1 - 26 | Preset A 01 - 26 84 | 0 | 1 - 4 | Preset B 01 - 04 85 | 0 | 1 - 20 | User 01 - 20

❍Modulation (Controller number 1)

status 2nd byte 3rd byte BnH 01H vvH * The effect will apply according to the Modulation Control setting.

❍Data Entry (Controller number 6,38)

status 2nd byte 3rd byte BnH 06H mmH BnH 26H llH mm,ll= the value of the parameter specified by RPNmm=MSB, ll=LSB

❍Expression (Controller number 11)

status 2nd byte 3rd byte BnH 0BH vvH * Expression messages are used to adjust the volume of each part.

❍Hold 1 (Controller number 64)

status 2nd byte 3rd byte BnH 40H xxH

❍Sostenuto (Controller number 66)

status 2nd byte 3rd byte BnH 42H xxH

❍Soft (Controller number 67)

status 2nd byte 3rd byte BnH 43H xxH

❍Hold 2 (Controller number 69)

status 2nd byte 3rd byte BnH 45H xxH

❍Portamento Control (Controller number 84)

status 2nd byte 3rd byte BnH 54H kkH

* A Note On message received immediately after a Portamento control will be sounded

with the pitch changing smoothly from the source note number. If a voice is already sounding at the same note number as the source note number, that voice will change pitch to the pitch of the newly received Note On, and continue sounding (i.e., will be played legato).

* The speed of the pitch change caused by Portamento is determined by the Portamento

Time parameter.

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

status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH mm=MSB of the parameter number specified by RPN ll=LSB of the parameter number specified by RPN

<< RPN >> Control Changes include RPN (Registered Parameter Numbers), which are extended parameters whose function is defined in the MIDI specification. When using RPNs, first the RPN (Controller numbers 100 and 101; they can be sent in any order) is transmitted to specify the parameter you wish to control. Then, Data Entry messages (Controller numbers 6 and 38) are used to set the value of the specified parameter. Once a RPN parameter has been specified, all further Data Entry messages on that channel are considered to apply to that specified parameter. In order to prevent accidents, when the desired setting has been made for the parameter, it is recommended that RPN be set to Null.

This device receives the following RPNs.

RPN Data entry MSB LSB MSB LSB Notes 00H 00H mmH — Pitch Bend Sensitivity

00H 01H mmH llH Master Fine Tuning

00H 02H mmH — Master Coarse Tuning

7FH 7FH — — RPN null

For the functions of other controller numbers, refer to

mm : 00H–0CH (0–12 semitones) ll : ignored (processed as 00H) Up to 1 octave can be specified in semitone steps. *The Bend Range up parameter, Bend Range Down parameter will also be changed. *Not received by the Part R.

mm, ll: 20 00H–40 00H–60 00H ( -4096 x 100 / 8192–0–+4096 x 100 / 8192 cent ) *The Fine Tune parameter of each Part will change.

mm : 10H–40H–70H (-48–0–+48 semitones) ll : ignored (processed as 00H) *The Key Shift parameter of each Part will change.

RPN will be set as “unspecified”. Once this setting has been made, subsequent Data Entry messages will be ignored. (It is not necessary to transmit Data Entry for RPN Null settings.) Parameter values that were previously set will not change. mm, ll: ignored

“Table of Transmitted Data” (p. 76).

MIDI Implementation

● Program Change

status 2nd byte CnH ppH pp=Program number: 00H–7FH (prog.1–prog.128)

●Channel Aftertouch

status 2nd byte DnH vvH

* The effect will apply according to the Aftertouch Control setting.

●Pitch Bend Change

status 2nd byte 3rd byte EnH llH mmH mm,ll=Pitch Bend value:00 00H–40 00H–7F 7FH (-8192–0–+8191)

* The effect will apply according to the Pitch Bend Control setting.

■Channel Mode messages

●All Sound Off (Controller number 120)

status 2nd byte 3rd byte BnH 78H 00H

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

channel will be turned off.

●Reset All Controllers (Controller number 121)

status 2nd byte 3rd byte BnH 79H 00H

* When this message is received, the following controllers will be set to their reset values.

Controller Reset value Pitch Bend Change ±0 (center) Polyphonic Key Pressure 0 (off) Channel Pressure 0 (off) Modulation 0 (off) Expression 127 (maximum) Hold 1 0 (off) Sostenuto 0 (off) Soft 0 (off) Hold 2 0 (off) RPN Unset. Previously set data will not change.

●All Note Off (Controller number 123)

status 2nd byte 3rd byte BnH 7BH 00H

* When All Note Off is received, all currently sounding notes of the corresponding

channel will be turned off. However if Hold 1 or Sostenuto are on, the sound will be held until these are turned off.

●Omni Off (Controller number 124)

status 2nd byte 3rd byte BnH 7CH 00H

* The same processing as when All Note Off is received will be done.

●Omni On (Controller number 125)

status 2nd byte 3rd byte BnH 7DH 00H

* The same processing as when All Note Off is received will be done. The instrument will

not be set to OMNI ON.

●Mono (Controller number 126)

status 2nd byte 3rd byte BnH 7EH mmH mm=Mono number: 00H–10H (0–16)

* The same processing as when All Note Off is received will be done, and the Solo Switch

parameter will be set to ON.

●Poly (Controller number 127)

status 2nd byte 3rd byte BnH 7FH 00H

* The same processing as when All Note Off is received will be done, and the Solo Switch

parameter will be set to OFF.

■System Realtime messages

●Timing Clock

status F8H

* Settings can be made to synchronize or the LFO rate or the effect rate.

●Active Sensing

status FEH

* When an Active Sensing message is received, the unit will begin monitoring the interval

at which MIDI messages are received. During monitoring, if more than 420 ms passes without a message being received, the same processing will be done as when All Sound Off, All Note Off, and Reset All Controllers messages are received. Then monitoring will be halted.

■ System Exclusive messages

status data byte status

F0H iiH, ddH, ......, eeH F7H

F0H: System Exclusive message status ii = ID number: This is the ID number (manufacturer ID) that specifies the

manufacturer whose exclusive message this is. Roland’s manufacturer ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-realtime messages (7EH) and

Universal Realtime Messages (7FH). dd,..., ee = data: 00H–7FH (0–127) F7H: EOX (End Of Exclusive) This is the last status of system exclusive

message.

●Universal Non-realtime System Exclusive Messages

IdentityIdentity Request Message Status Data byte Status F0H 7EH, dev, 06H, 01H F7H

Byte Explanation F0H Exclusive status 7EH ID number (universal non-realtime message) dev Device ID (dev:10H(17)-1FH(32)) 06H Sub ID#1 (General Information) 01H Sub ID#2 (Identity Request) F7H EOX (End Of Exclusive)

* The “dev” is own device number or 7FH (Broadcast) * When Identity Request is received, Identity Reply message will be transmitted.

●Data Request 1 RQ1

This message requests the other device to transmit data. The address and size indicate the type and amount of data that is requested. When a Data Request message is received, if the device is in a state in which it is able to transmit data, and if the address and size are appropriate, the requested data is transmitted as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted. The model ID of the exclusive messages used by this instrument is 00 0BH.

status data byte status F0H 41H, dev, 00H, 0BH, 11H, aaH, bbH, F7H

ccH, ddH, ssH, ttH, uuH, vvH, sum Byte Remarks F0H Exclusive status 41H ID number (Roland) dev device ID (dev: 10H–1FH) 00H model ID (D2) 0BH model ID (D2)

Appendices

MIDI Implementation

11H command ID (RQ1) aaH address MSB bbH address ccH address ddH address LSB ssH size MSB ttH size uuH size vvH size LSB sum checksum F7H EOX (End Of Exclusive)

* For the address, size, and checksum, refer to “Examples of system exclusive messages

and calculating the checksum” (p. 107).

* This message is not received if the Rx.System Exclusive Switch Switch parameter is OFF.

●Data Set 1 DT1

This message transmits the actual data, and is used when you wish to set the data of the receiving device.

status data byte status F0H 41H, dev, 00H, 0BH, 12H, aaH, bbH, F7H

ccH, ddH, eeH, ... ffH, sum Byte Remarks F0H Exclusive status 41H ID number (Roland) dev device ID (dev: 10H–1FH) 00H model ID (D2) 0BH model ID (D2) 12H command ID (DT1) aaH address MSB bbH address ccH address ddH address LSB eeH data: The actual data to be transmitted. Multi-byte data is transmitted

in the order of the address. :: ffH data sum checksum F7H EOX (End Of Exclusive)

* For the address, size, and checksum, refer to “Examples of system exclusive messages

and calculating the checksum” (p. 107).

* Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or

less and transmitted. Successive “Data Set 1” messages should have at least 20 ms of time interval between them.

* This message is not received if the Rx.System Exclusive Switch parameter is OFF.

The only GS exclusive messages received by the D2 are Scale Tune settings.

●Data Set 1 DT1

status data byte status F0H 41H, dev, 42, 12H, aaH, bbH, F7H

ccH, ddH, ... eeH, sum Byte Remarks F0H Exclusive status 41H ID number (Roland) dev device ID (dev: 10H–1FH) 42H model ID (GS) 12H command ID (DT1) aaH address MSB bbH address ccH address LSB ddH data: The actual data to be transmitted. Multi-byte data is transmitted

in the order of the address. :: eeH data sum checksum F7H EOX (End Of Exclusive)

* This message is not received if the Rx.System Exclusive Switch parameter is OFF.

In addition to conventional system exclusive messages, the D2 also uses special system exclusive messages for operations which require realtime handling.

●Data Set 1 DT1

status data byte status F0H 41H, dev, 3AH, 12H, aaH, F7H

bbH, ccH, ddH, sum Byte Remarks F0H Exclusive status 41H ID number (Roland) dev device ID (dev: 10H–1FH) 3AH model ID (D2 Quick) 12H command ID (DT1) aaH address (Status/Channel) bbH address/Data H ccH Data L ddH Data E sum checksum F7H EOX (End Of Exclusive)

* For the address, size, and checksum, refer to “Examples of system exclusive messages

and calculating the checksum” (p. 107). * Transmission of consecutive addresses is not possible. * This message is not received if the Rx.System Exclusive Switch parameter is OFF.

2. Data transmission

(sound source section)

■Channel Voice messages

●Note Off

status 2nd byte 3rd byte 8nH kkH vvH

●Note On

status 2nd byte 3rd byte 9nH kkH vvH vv=Note On velocity: 01H - 7FH (1 - 127)

●Control Change

* By selecting a controller number that corresponds to the setting of the Control Pedal

Assign parameter, you can transmit any desired control change.

❍Bank Select (Controller number 0,32)

status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH mm,ll=Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)

* This message is not transmitted if Tx Program Change Switch parameter or Tx Bank

Select Switch parameter is OFF. * For the Bank Select that corresponds to each Patch, refer to section 1.

❍Modulation (Controller number 1)

status 2nd byte 3rd byte BnH 01H vvH

❍Expression (Controller number 11)

status 2nd byte 3rd byte BnH 0BH vvH

❍Hold 1 (Controller number 64)

status 2nd byte 3rd byte BnH 40H xxH

❍Sostenuto (Controller number 66)

status 2nd byte 3rd byte BnH 42H xxH

❍Soft (Controller number 67)

status 2nd byte 3rd byte BnH 43H xxH

100

Roland D2 User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Features of the D2

How to read this manual

Conventions in this manual

Panel Descriptions/ Making Connections

Top panel

Rear panel

Turning On/Off the Power

Chapter 1. An Overview of the D2

How the D2 is structured

The sequencer section

The sound generator section

About the D-FIELD

How characters and numerals are displayed

Changing a value in large steps

Saving your settings

Restoring the factory settings (Factory Reset)

Chapter 2. Playing Patterns

Basics of playing a pattern

Indication of the pattern number

Playing Back Patterns

Selecting a pattern

Changing the BPM (tempo)

Muting a part or rhythm tone

Selecting a sound (Patch/Rhythm set)

Saving a patch

Modifying the settings of each part (Part Edit)

Saving a pattern

Chapter 3. About the D-FIELD

What is the D-FIELD?

Basic use of the D-FIELD

Selecting a function

Memorizing the location from which you released your finger (Hold)

Setting the volume of SOUND mode

Changing the D-FIELD settings

SOUND mode

Playing back a phrase (RPS: Realtime Phrase Sequence)

Improvising along with a chord progression (ADLIB)

Applying special turntable-type effects (VINYL-FX: Vinyl Effects)

Applying various muting effects (ASSIGN 1: MUTE-FX: Mute Effects)

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 1)

Playing arpeggios (ASSIGN 1: ARPEGGIATOR 2)

Table of STYLE/MOTIF/BEAT PATTERN

Recalling a pattern (ASSIGN 1: PATTERN CALL)

Auditioning the sound of a patch (ASSIGN 1: PATCH PREVIEW)

Playing a monophonic synth sound (ASSIGN 1: SOLO SYNTH)

Playing rhythm instruments / scales (ASSIGN 1: KEYBOARD PAD)

XY mode

Changing the brightness of the sound/Adding character to the sound (FILTER)

Applying special effects to the sound (MFX)

Changing the volume of the parts (X-FADER)

Making the sound change over time (ASSIGN 2: ENVELOPE)

Applying cyclic change to the sound (ASSIGN 2: LFO)

Changing the pitch or vibrato depth (ASSIGN 2: BENDER)

Changing the rhythmic feel of a pattern (ASSIGN 2: QUANTIZE)

Changing the reverb depth (ASSIGN 2: REVERB)

Changing the delay depth (ASSIGN 2: DELAY)

Controlling an external MIDI device (ASSIGN 2: EXT CTRL: External Control)

SPIN mode

Changing the sound as on a turntable (VINYL)

Changing the tempo (BPM)

Sounding a snare roll (SD ROLL)

Changing the number of notes that are sounded (ASSIGN 3: STEP MUTE)

Changing the stereo location of the sound (ASSIGN 3: PAN)

Chapter 4. Applying Effects to the Sound (Effects)

Reverb

Turning reverb on/off

Making detailed settings

Delay (Add echoes to the sound)

Turning delay on/off

Making detailed settings

Multi-Effects (MFX)

Turning the multi-effects on/off

Making detailed settings