Roland FA-06 Parameter Guide

Studio Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

STUDIO SET COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

General tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Phase Lock tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Pedal tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

S1/S2 tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Knob tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

D-Beam tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Control Sw tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

PART VIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Level/Pan tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Keyboard tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Output/EFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Pitch tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Scale Tune tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Vibrato tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Oset tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Mono/Poly/Legato tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Voice Reserve tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

MIDI Rx Filter tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

EFFECTS EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

STUDIO SET EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chorus tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Reverb tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Comp+EQ Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Master Comp tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

IFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

TONE EFFECTS (MFX, COMP+EQ) . . . . . . . . . . . . . . . . . . . . . . . 17

SYSTEM EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Audio Input tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

USB Audio tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Noise Suppressor tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

MIC Reverb tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Master EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

TFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

TFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

FILTER+DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

DJFX LOOPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

BPM LOOPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

BIT CRUSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

VOICE TRANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

SLICER+FLG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

TREMOLO/PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

OVERDRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

FUZZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

SUBSONIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RING MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

CHROMATIC PS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

C. CANCELLER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

VINYL SIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

RADIO TUNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

NOISE GEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

EQUALIZER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

SuperNATURAL Acoustic Tone (SN-A) . . . . . . . . . . . . . . . 24

TONE EDIT (SN-A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Common tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Inst tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

SuperNATURAL Inst Parameters . . . . . . . . . . . . . . . . . . . . . . . 26

Performance Variation Sounds . . . . . . . . . . . . . . . . . . . . . . . . 29

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

MFX Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

SuperNATURAL Synth Tone (SN-S) . . . . . . . . . . . . . . . . . . 31

TONE EDIT (SN-S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Common tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

OSC tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Pitch tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Filter tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Amp tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

LFO tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Modulation LFO tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Aftertouch tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Misc tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

MFX Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

SuperNATURAL Drum Kit (SN-D) . . . . . . . . . . . . . . . . . . . .38

TONE EDIT (SN-D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Common tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

DRUM Inst tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Comp tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

MFX Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

SuperNATURAL Drum Inst List . . . . . . . . . . . . . . . . . . . . . . . . . . 40

PCM Synth Tone (PCMS) . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

TONE EDIT (PCMS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Common tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Wave tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

PMT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Pitch tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Contents

Pitch Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

TVF tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

TVF Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

TVA tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

TVA Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

LFO1/LFO2 tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Step LFO tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

How to Apply the LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Matrix Control 1–4 tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

MFX Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

PCM Drum Kit (PCMD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

TONE EDIT (PCMD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Common tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Wave tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

WMT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pitch tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Pitch Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

TVF tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

TVF Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

TVA tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

TVA Env tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Comp tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

MFX Control tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Chorus, Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Chorus Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Reverb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

IFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Isolator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Low Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Super Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Step Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Auto Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Humanizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Speaker Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Step Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Multi Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Innite Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Step Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Step Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Slicer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

VK Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Step Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Hexa-Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Tremolo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Space-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

3D Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

3D Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

3D Step Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

2 Band Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

2 Band Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

2 Band Step Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

VS Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

VS Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Guitar Amp Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Long Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Serial Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Modulation Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

3Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

4Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Multi Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Reverse Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Shue Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

3D Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Time Ctrl Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Long Time Ctrl Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Tape Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Lo Noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Lo Compress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Lo Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Telephone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Phonograph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

2Voice Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Step Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Gated Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Overdrive g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Overdrive

Overdrive g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Enhancer g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Enhancer g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Contents

Enhancer g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Chorus g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Flanger g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chorus g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Sympathetic Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . 91

When Using 3D Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

MFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Low Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Step Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Auto Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Humanizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Speaker Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Phaser 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Phaser 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Phaser 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Step Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Multi Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Innite Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Slicer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Rotary 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Rotary 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Rotary 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Step Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Hexa-Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Tremolo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Space-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

Guitar Amp Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Modulation Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

3Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

4Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Multi Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Reverse Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Time Ctrl Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

LOFI Compress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Bit Crusher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

2Voice Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Overdrive g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Overdrive g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Overdrive g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Distortion g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Distortion g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Distortion g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

OD/DS g TouchWah . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

OD/DS g AutoWah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

GuitarAmpSim g Chorus . . . . . . . . . . . . . . . . . . . . . . . .110

GuitarAmpSim g Flanger . . . . . . . . . . . . . . . . . . . . . . . .111

GuitarAmpSim g Phaser . . . . . . . . . . . . . . . . . . . . . . . . .111

GuitarAmpSim g Delay . . . . . . . . . . . . . . . . . . . . . . . . .112

EP AmpSim g Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . .113

EP AmpSim g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

EP AmpSim g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . .113

EP AmpSim g Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

EP AmpSim g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Enhancer g Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Enhancer g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Enhancer g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Chorus g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Flanger g Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Chorus g Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

About the STEP RESET Function . . . . . . . . . . . . . . . . . . . . . .117

Controlling a MFX via MIDI (MFX CONTROL) . . . . . . . . . .117

SuperNATURAL Tone CC Assign . . . . . . . . . . . . . . . . . . .118

SuperNATURAL Acoustic (SN-A) . . . . . . . . . . . . . . . . . . . . . . .118

SuperNATURAL Drum (SN-D) . . . . . . . . . . . . . . . . . . . . . . . . . . 120

No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

Studio Set

STUDIO SET COMMON

1. Press the [MENU] button.

2. Move the cursor to “Studio Set Common” and press the [ENTER] button.

The STUDIO SET COMMON screen appears.

Parameter Value Explanation

General tab

This species the play mode.

SINGLE Single play

Keyboard Mode

Pad Part Select Part1–Part16, OFF Species the pad part (the part that records performance data from the pads).

Drum Comp+EQ Assign Part1–Part16

SPLIT Split play

DUAL Dual play

STUDIO SET Multi part play

Species the part that will use the six sets of compressor + equalizer that are provided for use with a drum kit.

* If a tone (not a drum kit) is assigned to the part specied by Drum Comp+EQ Assign, the

Comp+EQ will not be available.

Control tab

Control Source Select (System) SYSTEM, STUDIO SET

OFF,

Tone Control Src1–4

CC01–CC31, CC33–CC95, PICTH BEND, AFTERTOUCH

Phase Lock tab

Phase Lock (Ch1)–Phase Lock (Ch16)

OFF, ON

SYSTEM: The Control Source Select system parameters System Control 1–4 Source are used for tone control.

STUDIO SET: Tone Control Src1–4 are used for tone control.

* Control Source Select (System) settings are system parameters.

* If you choose “SYSTEM,” the settings of the studio set parameters Tone Control Src1–4 are

ignored.

Specify the MIDI messages that will be used for Tone Control of the studio set.

Set Phase Lock to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

When the Phase Lock parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

* Phase Lock is not available for SuperNATURAL acoustic organ-type instruments.

Studio Set

Parameter Value Explanation

Pedal tab

Species whether the functions controlled by the pedals connected to the FOOT PEDAL CTRL 1 and 2 jacks will be determined by the system settings (SYSTEM) or by the studio set settings

Pedal Assign Source (System) SYSTEM, STUDIO

Specify the functions that are controlled by pedals connected to the FOOT PEDAL CTRL 1 and 2 jacks.

OFF No function is assigned.

Pedal 1 Assign

Pedal 2 Assign

CC01–31, 32 (OFF), 33–95 Controller number 1–31, 32, 33–95

BEND DOWN The same eect as moving the pitch bend lever to the left.

BEND UP The same eect as moving the pitch bend lever to the right.

AFTERTOUCH Aftertouch

(STUDIO).

* Pedal Assign Source (System) is a system parameter.

* If you choose “SYSTEM,” the settings of the studio set parameters Pedal 1/2 Assign are ignored.

S1/S2 tab

Species whether the functions controlled by the [S1] [S2] buttons will be determined by the system settings (SYSTEM) or by the studio set settings (STUDIO).

S1/S2 Assign Source (System) SYSTEM, STUDIO

Assignable

Specify the functions that are controlled by the [S1] [S2] buttons.

Some of the SuperNATURAL acoustic tones let you use control changes to modify the character of the sound or switch to other variation sounds. For details, refer to “SuperNATURAL Tone CC Assign” (p. 118).

*1: The Switch S1/2 Assign setting is xed at “LATCH.”

OFF No function is assigned.

CC01–31, 32 (OFF), 33–95

Switch S1 Assign

Switch S2 Assign

Switch S1 Mode

Switch S2 Mode

AFTERTOUCH Aftertouch

MONO/POLY Switch between mono/poly.

CHORUS SWITCH *1 Turn the chorus on/o.

REVERB SWITCH *1 Turn the reverb on/o.

MASTER EQ SWITCH *1 Turn the master EQ on/o.

TFX SWITCH *1 Turn the total eect on/o.

MASTER KEY DOWN *1 Lower the keyboard range by a semitone.

MASTER KEY UP *1 Raise the keyboard range by a semitone.

LATCH The setting is turned on/o each time you press the button.

MOMENTARY

* S1/S2 Assign Source (System) is a system parameter.

* If you choose “SYSTEM,” the settings of the studio set parameters Switch S1/S2 Assign and

Switch S1/S2 Assign Mode are ignored.

Controller number 1–31, 32, 33–95

CC16 (General-1)–CC19 (General-4) and CC80 (General-5)–CC83 (General-8) apply specic eects if a SuperNATURAL acoustic tone is selected (p. 118).

The setting is turned on while you hold down the button, and turned o when you release the button.

Knob tab

Knob Assign Source (System) SYSTEM, STUDIO

Specify the functions that are controlled by the SOUND MODIFY knobs.

OFF No function is assigned.

Sound Modify Knob 1–6 Assign

CC01–31, 32 (OFF), 33–95

PITCH BEND Applies the same eect as when the pitch bend lever is moved.

AFTERTOUCH Aftertouch

TFX PARAM 1–3 Controls parameters 1–3 of the Total Eect.

Species whether the functions controlled by the SOUND MODIFY knobs will be determined by the system settings (SYSTEM) or by the studio set settings (STUDIO).

* Knob Assign Source (System) is a system parameter.

* If you choose “SYSTEM,” the settings of the studio set parameters Sound Modify Knob 1–6

Assign are ignored.

Controller number 1–31, 32, 33–95

CC16 (General-1)–CC19 (General-4) and CC80 (General-5)–CC83 (General-8) apply specic eects if a SuperNATURAL acoustic tone is selected (p. 118).

Studio Set

Parameter Value Explanation

D-Beam tab

Species whether the functions controlled by the D-BEAM controller will be determined by the system settings (SYSTEM) or by the studio set settings (STUDIO).

D-Beam Assign Source (System) SYSTEM, STUDIO

Specify the functions that are controlled by the D-BEAM controller.

OFF No function is assigned.

D-Beam Switch

Solo Synth (System)

* The various Solo Synth (System) parameters are system parameters.

Level 0–127 Adjusts the volume of the solo synth.

Chorus Send Level 0–127 Adjusts the chorus send level.

Reverb Send Level 0–127 Adjusts the reverb send level.

Range 2–8OCT Adjusts the range in which the pitch of the solo synth will vary.

Osc 1 Waveform SAW, SQR

Osc 1 Pulse Width 0–127

Osc 1 Coarse Tune -48–+48 Adjusts the pitch of the tone’s sound (in semitones, +/-4 octaves).

Osc 1 Fine Tune -50–+50 Adjusts the pitch of the tone’s sound (in 1-cent steps).

Osc 2 Waveform

Osc 2 Pulse Width

Osc 2 Coarse Tune

Osc 2 Fine Tune

Osc 2 Level 0–127 Adjusts the level of the Osc 2.

Osc Sync Switch OFF, ON

Filter Type

Cuto 0–127 Frequency at which the lter begins to have an eect on the waveform’s frequency components.

Resonance 0–127

LFO Rate 0–127 Adjusts the modulation speed of the LFO.

LFO Osc 1 Pitch Depth -63–+63 Species the depth to which the LFO will modulate the Osc 1 pitch.

LFO Osc 2 Pitch Depth -63–+63 Species the depth to which the LFO will modulate the Osc 2 pitch.

LFO Osc 1 Pulse Width Depth -63–+63

LFO Osc 2 Pulse Width Depth -63–+63

Assignable

SOLO SYNTH The D-BEAM controller operates as a monophonic synthesizer.

EXPRESSION The D-BEAM controller controls the volume.

ASSIGNABLE The D-BEAM controller controls the function that you assign.

(same as Osc 1)

Species the type of lter.

OFF No lter is used.

LPF (Low Pass Filter) This reduces the volume of all frequencies above the cuto frequency (Cuto).

BPF (Band Pass Filter) This leaves only the frequencies in the region of the cuto frequency, and cuts the rest.

HPF (High Pass Filter) This cuts the frequencies in the region below the cuto frequency.

PKG (Peaking Filter) This emphasizes the frequencies in the region of the cuto frequency.

Species the function that is assigned to the D-Beam Switch “ASSIGNABLE” setting.

* D-Beam Assign Source (System) is a system parameter.

* If you choose “SYSTEM,” the settings of the studio set parameters D-Beam Switch and

Assignable are ignored.

Selects the waveform.

SAW (sawtooth wave), SQR (square wave)

Species the pulse width of the waveform.

By cyclically modifying the pulse width you can create subtle changes in the tone.

Turning this switch on produces a complex sound with many harmonics. This is eective when the Osc 1 pitch is higher than the Osc 2 pitch.

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

Species the depth to which the LFO will modulate the pulse width of the Osc 1 waveform.

* The Pulse Width is activated when “SQR” is selected with Osc 1 waveform.

Species the depth to which the LFO will modulate the pulse width of the Osc 2 waveform.

* The Pulse Width is activated when “SQR” is selected with Osc 2 waveform.

D-Beam Assign

MEMO

You can use the SOUND MODIFY knobs to control the “CUTOFF”–”TFX CTRL” parameters. You can also use the D-BEAM controller to control the same parameters.

OFF No function is assigned.

CC01–31, 32 (OFF), 33–95

BEND DOWN The same eect as moving the pitch bend lever to the left.

BEND UP The same eect as moving the pitch bend lever to the right.

AFTERTOUCH Aftertouch

Controller number 1–31, 32, 33–95

CC16 (General-1)–CC19 (General-4) and CC80 (General-5)–CC83 (General-8) apply specic eects if a SuperNATURAL acoustic tone is selected (p. 118).

Studio Set

Parameter Value Explanation

CUTOFF Adjusts the cuto frequency.

RESONANCE Adjusts the resonance.

ATTACK Adjusts the attack.

RELEASE Adjusts the release.

PAN Adjusts the pan.

LEVEL Adjusts the volume.

EQ LOW Adjusts the low frequency range.

EQ MID1 Adjusts the mid-1 frequency range.

EQ MID2 Adjusts the mid-2 frequency range.

D-Beam Assign

Range Max 0–127

Range Min 0–127

Beam Assign Knob Polarity STANDARD, REVERSE

Beam Assign Sample Pad Number

EQ MID3 Adjusts the mid-3 frequency range.

EQ HIGH Adjusts the high frequency range.

INPUT LEVEL Adjusts the input volume from the AUDIO INPUT jack.

KNOB ASSIGN1–6 Adjust the [1] (ASSIGN 1)–[6] (ASSIGN 6) knobs.

COMPRESSOR Adjusts the compressor.

TONE Adjusts the tone.

CHORUS Adjusts the chorus.

REVERB Adjusts the reverb.

TFX SELECT Selects the total eect.

TFX CTRL Controls the total eect.

SAMPLE PAD Plays a sample.

Species the upper limit of the D-BEAM controller range.

* This is shown only if D-Beam Assign is set to “CC,” “BEND DOWN,” “BEND UP,” or

“AFTERTOUCH.”

MEMO

By setting the Range Max below the Range Min, you can invert the range of variation.

Species the lower limit of the D-BEAM controller range.

* This is shown only if D-Beam Assign is set to “CC,” “BEND DOWN,” “BEND UP,” or

“AFTERTOUCH.”

STANDARD: The assigned parameter changes in the positive (+) direction when you move your

hand closer to the D-BEAM controller.

REVERSE: The assigned parameter changes in the negative (-) direction when you move your hand closer to the D-BEAM controller.

* This is shown only if D-Beam Assign is set to “CUTOFF”–”TFX CTRL.”

1-1–4-16

(“Bank-Number” of the sample)

Selects the sample that plays if D-Beam Assign is set to “SAMPLE PAD.”

Control Sw tab

Bend (Control Bender)

Mod (Control Modulation)

Hold (Control Hold Pedal)

Pedal1 (Control Pedal 1)

Pedal2 (Control Pedal 2)

D-Beam (Control DBeam)

S1 (Control S1)

S2 (Control S2)

OFF, ON

For each controller, these settings specify whether MIDI messages are (ON) or are not (OFF) be transmitted to the part.

PART VIEW

1. Press the [MENU] button.

2. Move the cursor to “Part View” and press the [ENTER] button.

The PART VIEW screen appears.

Parameter Value Explanation

Level/Pan tab

Species the type of tone/drum kit assigned to each part.

SN-A,

Type (Tone Type)

Bank (Tone Bank)

Number (Tone Number) 001– Selects the number of the tone/drum kit assigned to each part.

Mute OFF, ON

Solo OFF, ON Only the sound of the soloed part is heard.

Level 0–127

Pan L64–63R

Sw (Rx Switch) OFF, ON

Ch (Rx Channel) 1–16 Species the MIDI receive channel for each part.

SN-S, SN-D, PCMS, PCMD

PRST, USER, GM2

SN-A: SuperNATURAL Acoustic Tones

SN-S: SuperNATURAL Synth Tones

SN-D: SuperNATURAL Drum Kits

PCMS: PCM Synth Tones

PCMD: PCM Drum Kits

Selects the group of the tone/drum kit assigned to each part.

* You can select “GM2” if the tone type is PCMS or PCMD.

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by minimizing the volume.

Therefore, the part still receives MIDI messages.

Adjust the volume of each part.

This setting’s main purpose is to adjust the volume balance between parts.

Adjust the pan of each part.

“L64” is far left, “0” is center, and “63R” is far right.

For each part, specify whether MIDI messages will be received (ON), or not (OFF).

If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it

“OFF” when you do not want a specic part to be playing during song playback.

Studio Set

Keyboard tab

Kbd (Keyboard Switch) OFF, ON

Arp (Arpeggio Switch) OFF, ON

R.L (Keyboard Range Lower) C-–G9

R.U (Keyboard Range Upper) C-–G9

Turns each part’s keyboard switch on/o.

* You can’t change this setting if the Keyboard Mode is “SINGLE,” “SPLIT,” or “DUAL.”

Turns each part’s arpeggio switch on/o.

* You can’t change this setting if the Keyboard Mode is “SINGLE.”

Species the lowest key of the keyboard range for each part.

* You can’t change this setting if the Keyboard Mode is “SINGLE,” “SPLIT,” or “DUAL.”

Species the highest key of the keyboard range for each part.

* You can’t change this setting if the Keyboard Mode is “SINGLE,” “SPLIT,” or “DUAL.”

NOTE

If you raise the lowest key above the highest key, or the highest key below the lowest key, the other setting will change to the same value.

Studio Set

Parameter Value Explanation

Level

Velocity

Fade Lower

Range Lower

Determines what will happen to the tone’s level when the tone is played at a velocity lower than Velocity Range Lower. If you don’t want the tone to sound at all, set this parameter to “0.”

V.F.L ( Velocity Fade Lower) 0–127

V.L (Velocity Range Lower) 1–UPPER Species the lowest velocity at which the part will sound.

V.U (Velocity Range Upper) LOWER–127 Species the highest velocity at which the part will sound.

V.F.U ( Velocity Fade Upper) 0–127

Sens (Velocity Sens Oset) -63–+63

SN-A

(Ac. Piano)

Determines what will happen to the tone’s level when the tone is played at a velocity greater than Velocity Range Upper. If you don’t want the tone to sound at all, set this parameter to “0.”

SN-A

(Ac. Piano)

Adjusts the velocity sensitivity. The higher the value, the greater the sensitivity.

SN-A

(Ac. Piano)

Range Upper

SN-A

(Organ)

–

SN-A

(Organ)

–

SN-A

(Organ)

– –

Fade Upper

SN-A

(Other)

ü ü ü ü ü

SN-A

(Other)

ü ü ü ü ü

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü

Output/EFX tab

Species the output destination for each part.

OUT (Output Assign) MAIN, SUB

Cho (Chorus Send Level) 0–127

Rev (Reverb Send Level) 0–127

MAIN: Output to the MAIN OUTPUT jacks.

SUB: Output to the SUB OUTPUT jack.

Adjusts the amount of chorus for each part.

If you don’t want to add the chorus eect, set it to 0.

Adjusts the amount of reverb for each part.

If you don’t want to add the reverb eect, set it to 0.

EQ tab

Sw (EQ Switch) OFF, ON EQ for each part on/o setting

Low Freq (EQ Low Freq)

Low Gain (EQ Low Gain)

Mid Freq (EQ Mid Freq)

Mid Gain (EQ Mid Gain)

Q (EQ Mid Q)

High Freq (EQ High Freq)

High Gain (EQ High Gain) -15–+15 dB Gain of the high frequency range.

16, 20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800 Hz

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

16, 20, 25, 31, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 Hz

-15–+15 dB Gain of the middle frequency range.

0.5, 1.0, 2.0, 4.0, 8.0

630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, 10000, 12500, 16000 Hz

Frequency of the low range.

Frequency of the middle range.

Width of the middle frequency range.

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

Frequency of the high range.

Parameter Value Explanation

Pitch tab

Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves).

Studio Set

Octave (Octave Shift) -3–+3

Coarse (Coarse Tune) -48–+48

Fine (Fine Tune) -50–+50

Bend Range (Pitch Bend Range) 0–24, TONE

Porta Sw (Portamento Switch) OFF, ON, TONE

Porta Time (Portamento Time) 0–127, TONE

SN-A

(Ac. Piano)

ü ü ü ü

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

–

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

* In some cases, specifying a setting greater than +2 octaves for a PCM drum kit tone may make

the sound play backward.

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

* One cent is 1/100th of a semitone.

Species the amount of pitch change in semitones (up to 2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the tone assigned to the part, set this to “TONE.”

SN-A

(Ac. Piano)

ü ü ü ü

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

–

ü ü

Specify whether portamento will be applied. Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the tone assigned to the part, set this to “TONE.”

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the tone assigned to the part, set this to “TONE.”

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

Scale Tune tab

CUSTOM, EQUAL, JUST-MAJ,

Type (Scale Tune Type)

Key (Scale Tune Key)

C–B (Scale Tune for C–B) -64–+63

JUST-MIN, PYTHAGORE, KIRNBERGE, MEANTONE, WERCKMEIS, ARABIC

C, C#, D, D#, E, F, F#, G, G#, A, A#, B

These are templates that set all of the Scale Tune C–B settings.

CUSTOM: Specify the tuning individually for Scale Tune C–B.

EQUAL: Equal temperament

JUST-MAJ: Just intonation (major)

JUST-MIN: Just intonation (minor)

PYTHAGORE: Pythagorean tuning

KIRNBERGE: Kirnberger (type 3)

MEANTONE: Meantone temperament

WERCKMEIS: Werckmeister (type 1, number 3)

ARABIC: Arabic scale

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

Species the tonic note for the scale tune template.

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

Species the scale tuning.

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

ü ü

Studio Set

Parameter Value Explanation

Vibrato tab

For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

Rate (Vibrato Rate)

Depth (Vibrato Depth)

-64–+63

Delay (Vibrato Delay) -64–+63

Oset tab

Cuto (Cuto Oset) -64–+63

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

ü ü

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

ü ü

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

SN-A

(Ac. Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

ü ü

Adjusts the cuto frequency for the tone/drum kit assigned to a part.

SN-A

(Ac. Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* For some tones, the eect may be dicult to notice.

Adjusts the Resonance for the tone/drum kit assigned to a part.

Reso (Resonance Oset) -64–+63

Attack (Attack Time Oset) -64–+63

Decay (Decay Time Oset) -64–+63

Release (Release Time Oset) -64–+63

SN-A

(Ac. Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

* For some tones, the eect may be dicult to notice.

Adjusts the Attack Time for the tone/drum kit assigned to a part.

SN-A

(Ac. Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

Adjusts the Decay Time for the tone/drum kit assigned to a part.

SN-A

(Ac. Piano)

– – –

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü

Adjusts the Release Time for the tone/drum kit assigned to a part.

SN-A

(Ac. Piano)

– –

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü ü

–

ü ü

Parameter Value Explanation

Mono/Poly/Legato tab

Set this parameter to “MONO” when the tone assigned to the part is to be played monophonically, or to “POLY” when the tone is to be played polyphonically. If you want to use the Mono/Poly setting of the tone assigned to the part, set this to “TONE.”

Mono/Poly

Legato (Legato Switch)

MONO, POLY, TONE

OFF, ON, TONE

SN-A

(Ac. Piano)

You can add legato when performing monophonically. The term “legato” refers to a playing style in which notes are smoothly connected to create a owing feel. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the tone assigned to the part, set this to “TONE.”

SN-A

(Organ)

–

SN-A

(Other)

ü ü

Studio Set

SN-S SN-D PCMS PCMD

–

SN-A

(Ac. Piano)

SN-A

(Organ)

– –

SN-A

(Other)

SN-S SN-D PCMS PCMD

–

Voice Reserve tab

This setting species the number of voices that will be reserved for each part when more than 128

VoiceRsv (Voice Reserve) 0–63, FULL

voices are played simultaneously.

It is not possible for the settings of all parts to total an amount greater than 64.

MIDI Rx Filter tab

PC (Receive Program Change) OFF, ON

BS (Receive Bank Select) OFF, ON

PB (Receive Pitch Bend) OFF, ON

PA (Receive Polyphonic Key Pressure)

CA (Receive Channel Pressure) OFF, ON

MD (Receive Modulation) OFF, ON

VO (Receive Volume) OFF, ON For each MIDI channel, specify whether MIDI Volume messages will be received “ON”, or not “OFF.”

PN (Receive Pan) OFF, ON For each MIDI channel, specify whether MIDI Pan messages will be received “ON”, or not “OFF.”

EX (Receive Expression) OFF, ON

HD (Receive Hold-1) OFF, ON For each MIDI channel, specify whether MIDI Hold 1 messages will be received “ON”, or not “OFF.”

OFF, ON

For each MIDI channel, specify whether MIDI Program Change messages will be received “ON”, or not “OFF.”

For each MIDI channel, specify whether MIDI Bank Select messages will be received “ON”, or not

“OFF.”

For each MIDI channel, specify whether MIDI Pitch Bend messages will be received “ON”, or not

“OFF.”

For each MIDI channel, specify whether MIDI polyphonic key pressure messages will be received

“ON”, or not “OFF.”

For each MIDI channel, specify whether MIDI Channel Pressure messages will be received “ON”, or not “OFF.”

For each MIDI channel, specify whether MIDI Modulation messages will be received “ON”, or not

“OFF.”

For each MIDI channel, specify whether MIDI Expression messages will be received “ON”, or not

“OFF.”

Velocity Curve selects for each part one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

VC (Velocity Curve Type) OFF, 1–4

SN-A

(Ac. Piano)

21 3 4

SN-A

(Organ)

–

SN-A

(Other)

ü ü ü ü ü

SN-S SN-D PCMS PCMD

EFFECTS EDIT

1. Press the [MENU] button.

2. Move the cursor to “Eects Edit” and press the [ENTER] button.

The EFFECTS EDIT screen appears.

The EFFECTS EDIT screen shows the eect blocks and routing.

You can edit the values that are shown as red characters.

To edit a value, move the cursor to that value and turn the dial.

The currently selected parameter and its value are shown.

Parameter Value Explanation

MFX Switch OFF, ON Species whether multi-eect will be used (ON) or not used (OFF).

MFX Type Selects the type of multi-eect (p. 93).

Adjusts the amount of chorus.

Chorus Send Level 0–127

Reverb Send Level 0–127

Chorus Sw OFF, ON Switches the chorus on/o.

Reverb Sw OFF, ON Switches the reverb on/o.

Chorus Type Selects the type of chorus (p. 68).

Reverb Type Selects the type of reverb (p. 68).

Master Comp Switch OFF, ON Switches the master compressor on/o.

Master EQ Switch OFF, ON Switches the master EQ on/o.

TFX Sw OFF, ON Species whether total eect will be used (ON) or not used (OFF).

TFX Type

IFX Part1–16 Switch *1 OFF, ON Switches each part’s insert eect on/o.

IFX Sw *1 OFF, ON Switches the insert eect on/o.

IFX Type *1 Selects the type of insert eect (p. 69).

IFX Chorus Send Level *1 0–127

IFX Reverb Send Level *1 0–127

Drum Comp/EQ Switch *2 OFF, ON Turns the six drum kit compressor + equalizer units on/o together.

Audio Input Level 0–127 Adjusts the input volume of the AUDIO INPUT jack.

NS Switch OFF, ON Switches the noise suppressor on/o.

Input Reverb Switch OFF, ON Switches the microphone input reverb on/o.

Input Reverb Type Selects the type of microphone input reverb (p. 18).

M.COMP/IFX Select M. Comp (Master Comp), IFX Selects whether to use the master compressor (M.Comp) or the insert eect (IFX).

TFX Location MAIN, Input

Selects the type of total eect (p. 20).

* You can also set this in the TFX tab of SYSTEM EFFECTS (p. 19).

If you don’t want to add the chorus eect, set it to 0.

* You can also set this in the Output/EFX tab of PART VIEW (p. 10).

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to 0.

* You can also set this in the Output/EFX tab of PART VIEW (p. 10).

Adjusts the amount of chorus.

If you don’t want to add the chorus eect, set it to 0.

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to 0.

Selects whether the total eect is applied to the sounds that you play from the keyboard (MAIN) or to the sound being input via the AUDIO INPUT jack (Input).

*1: This is shown only if M.COMP/IFX Select is set to “IFX.”

*2: This is shown only if you’ve selected the part specied by Drum Comp+EQ Assign.

STUDIO SET EFFECTS

1. Access the EFFECTS EDIT screen (p. 14).

2. Press the button for the studio set eect that you want to edit.

Button Explanation

[3] (Chorus) Edits the chorus settings.

[4] (Reverb) Edits the reverb settings.

[SHIFT] + [3] (Comp+EQ Output)

[SHIFT] + [7] (Master Comp)

[SHIFT] + [7] (IFX)

The STUDIO SET EFFECTS screen appears.

Species the output destination of the drum part’s compressor and equalizer.

* This is valid only if the tone of the part specied by Drum Comp+EQ Assign is either PCMD or SN-D.

Applies a nal adjustment (compression) to the overall sound of the studio set.

* When M.COMP/IFX Select is set to “Master Comp.”

Edits the insert eect settings.

* When M.COMP/IFX Select is set to “IFX.”

EFFECTS EDIT

Parameter Value Explanation

Chorus tab

Chorus Switch

([2] (Chorus Sw) button)

Chorus Type

Chorus Parameter -

Chorus Level 0–127 Adjusts the volume of the sound that has passed through chorus.

Chorus Output Assign MAIN, SUB

Chorus Output Select MAIN, REV, MAIN+REV

OFF, ON Switches the chorus on/o.

00: OFF

01: Chorus

02: Delay

03: GM2 Chorus

Selects the types of chorus.

Choose “00: OFF” if you don’t want to apply a chorus.

Edit the parameters for the selected chorus type.

Refer to “Chorus Parameters” (p. 68).

Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to “MAIN” or “MAIN+REV.”

Species how the sound routed through chorus will be output.

MAIN: Output to the OUTPUT jacks.

REV: Output to the reverb.

MAIN+REV: Output to the OUTPUT jacks and the reverb.

Reverb tab

Reverb Switch

([2] (Reverb Sw) button)

Reverb Type

Reverb Parameter -

Reverb Level 0–127 Adjusts the volume of the sound that has passed through reverb.

Reverb Output Assign MAIN, SUB

OFF, ON Switches the reverb on/o.

00: OFF

01: Room 1

02: Room 2

03: Hall 1

04: Hall 2

05: Plate

06: GM2 Reverb

Selects the types of reverb.

Choose “00: OFF” if you don’t want to apply a reverb.

Edit the parameters for the selected reverb type.

Refer to “Reverb Parameters” (p. 68).

Species how the sound routed through reverb will be output.

The sound is output in stereo from the MAIN OUTPUT jacks, or from the SUB OUTPUT jack.

EFFECTS EDIT

Parameter Value Explanation

Comp+EQ Output tab

* This is shown only if the tone of the part specied by Drum Comp+EQ Assign is PCMD or SN-D.

Comp+EQ 1 Output Assign

Comp+EQ 2 Output Assign

Comp+EQ 3 Output Assign

Comp+EQ 4 Output Assign

Comp+EQ 5 Output Assign

Comp+EQ 6 Output Assign

PART, SUB

Specify the output destination for each the six drum kit compressor + equalizer units.

PART: Input to the MFX of the part.

SUB: Output in stereo to the SUB OUTPUT jack.

Master Comp tab

* This is shown only if M.COMP/IFX Select is set to “Master Comp.”

M.Comp Sw

([2] (M.Comp Sw) button)

Low band Attack time 0–100

Low band Release time 0–100

Low band Threshold -36–0 dB Level at which compression is applied

Low band Ratio 1:1.0–1:INF Compression ratio

Low band Level 0–24 dB Level of the output sound

Mid band Attack time 0–100

Mid band Release time 0–100

Mid band Threshold -36–0 dB Level at which compression is applied

Mid band Ratio 1:1.0–1:INF Compression ratio

Mid band Level 0–24 dB Level of the output sound

High band Attack time 0–100

High band Release time 0–100

High band Threshold -36–0 dB Level at which compression is applied

High band Ratio 1:1.0–1:INF Compression ratio

High band Level 0–24 dB Level of the output sound

Split Freq Low 200–800 Hz Frequency at which the low and mid bands are divided

Split Freq High 2000–8000 Hz Frequency at which the mid and high bands are divided

OFF, ON Switches the master compressor on/o.

Time from when the input exceeds the Threshold until compression begins

Time from when the input falls below the Threshold until compression is removed

Low band

Time from when the input exceeds the Threshold until compression begins

Time from when the input falls below the Threshold until compression is removed

Middle band

Time from when the input exceeds the Threshold until compression begins

Time from when the input falls below the Threshold until compression is removed

High band

IFX tab

* This is shown only if M.COMP/IFX Select is set to “IFX.”

IFX Sw

([2] (IFX Sw) button)

IFX Type 00–78

IFX Chorus Send Level 0–127

IFX Reverb Send Level 0–127

IFX Output Assign MAIN, SUB

Parameters for each IFX type Edit the parameters for the selected IFX type.

OFF, ON Switches the insert eect on/o.

Use this parameter to select from among the 78 available insert eect. For details on insert eect parameters, refer to “IFX Parameters” (p. 69).

Adjusts the amount of chorus.

If you don’t want to add the chorus eect, set it to 0.

Adjusts the amount of reverb.

If you don’t want to add the reverb eect, set it to 0.

Species the output destination of the sound that passes through the insert eect.

The sound is output in stereo from the MAIN OUTPUT jacks, or from the SUB OUTPUT jack.

TONE EFFECTS (MFX, COMP+EQ)

1. Access the EFFECTS EDIT screen (p. 14).

2. Press the button for the tone eect that you want to edit.

Button Explanation

[2] (MFX)

[SHIFT] + [2] (Comp+EQ)

The TONE EDIT screen appears.

Edits the MFX (multi-eect) settings.

Refer to “MFX Parameters” (p. 93).

Edits the compressor and equalizer of the drum part.

For details, refer to the parameters of each tone.

* This is valid only if the tone of the part specied by Drum Comp+EQ Assign is either PCMD or SN-D.

EFFECTS EDIT

* You can edit MFX and COMP+EQ individually for each tone.

EFFECTS EDIT

SYSTEM EFFECTS

1. Access the EFFECTS EDIT screen (p. 14).

2. Press the button for the system eect that you want to edit.

Button Explanation

[5] (Master EQ) Edits the equalizer that is applied to the entire sound engine of the FA.

[6] (TFX) Edits the TFX (total eect) settings.

[SHIFT] + [4] (Input)

[SHIFT] + [5] (NS)

[SHIFT] + [6] (MIC Reverb)

The SYSTEM EFFECTS screen appears.

Species the input volume from the AUDIO INPUT jack.

Edits the noise suppressor settings.

Applies reverb to the microphone or other device that’s connected to the AUDIO INPUT jack.

Parameter Value Explanation

Audio Input tab

Audio Input Level 0–127 Species the input volume of the device that is connected to the AUDIO INPUT jacks.

Species the output destination of the sound that is input from the AUDIO INPUT jack.

Audio Input Output Assign MAIN, SUB

MAIN: Output to the MAIN OUTPUT jacks.

SUB: Output to the SUB OUTPUT jack.

USB Audio tab

USB Audio Input Level 0–127 Species the input volume of the device that is connected to the USB COMPUTER port.

Species the output destination of the sound that is input from the USB COMPUTER port.

MAIN: Output to the MAIN OUTPUT jacks.

USB Audio Input Destination MAIN, SUB, TFX

USB Audio Output Select MAIN, INPUT, INPUT-EFX

SUB: Output to the SUB OUTPUT jack.

TFX: Output to a point before the total eect.

By setting TFX Location to “MAIN,” you can apply the total eect to the sound of the USB Audio Input.

Species the USB audio sound that is output from the USB COMPUTER port.

MAIN: The same sound as the output from the MAIN OUTPUT jacks is output from the USB COMPUTER port.

INPUT: The sound that is input from the AUDIO INPUT jack is output without change from the USB COMPUTER port.

INPUT-EFX: (NS) and microphone reverb (MIC Reverb) and then output from the USB COMPUTER jack.

You can apply the total eect by setting TFX Location to “Input.”

The sound that is input from the AUDIO INPUT jack is processed by the noise suppressor

Noise Suppressor tab

NS Sw

([2] (NS Sw) button)

NS Threshold 0–127 Adjusts the volume at which noise suppression starts to be applied.

NS Release 0–127 Adjusts the time from when noise suppression starts until the volume reaches 0.

OFF, ON Switches the noise suppressor on/o.

MIC Reverb tab

MIC Rev Sw

([2] (MIC Rev Sw) button)

Input Reverb Type

Input Reverb Time 0–127 Adjusts the decay length of the reverb sound.

Input Reverb Level 0–127 Adjusts the volume of the sound that has passed through reverb.

OFF, ON Switches the reverb on/o.

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

Selects the type of reverb.

Parameter Value Explanation

Master EQ tab

M.EQ Sw

([2] (M.EQ Sw) button)

EQ Input Gain -15–+15 dB Adjusts the input gain of the master EQ.

EQ Low Freq 16–800 Hz Frequency of the low range.

EQ Low Gain -15–+15 dB Gain of the low frequency range.

EQ Mid1 Freq 16–16000 Hz Frequency of the middle range 1.

EQ Mid1 Gain -15–+15 dB Gain of the middle frequency range 1.

EQ Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ Mid2 Freq 16–16000 Hz Frequency of the middle range 2.

EQ Mid2 Gain -15–+15 dB Gain of the middle frequency range 2.

EQ Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ Mid3 Freq 16–16000 Hz Frequency of the middle range 3.

EQ Mid3 Gain -15–+15 dB Gain of the middle frequency range 3.

EQ Mid3 Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ High Freq 630–16000 Hz Frequency of the high range.

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

OFF, ON Switches the master EQ on/o.

Width of the middle frequency range 1.

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

Width of the middle frequency range 2.

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

Width of the middle frequency range 3.

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

EFFECTS EDIT

TFX tab

TFX Sw

([2] (TFX Sw) button)

TFX Type 00–29

Parameters for each TFX type Edit the parameters for the selected TFX type.

TFX Input Gain -18–0 dB

Limit Mode Sw OFF, ON

OFF, ON Species whether total eect will be used (ON) or not used (OFF).

Use this parameter to select from among the 29 available total eect. For details on total eect parameters, refer to “TFX Parameters” (p. 20).

Simultaneously adjusts the input and output gain of the total eect.

This is convenient when adjusting dynamics-type eects (such as overdrive or compressor) that produce their eect by varying the volume. For some eects, it may be dicult to notice the result of this adjustment.

If you turn Limit Mode on, the eect depth is restricted to prevent feedback or an extremely high volume.

Parameters that are aected by Limit Mode are indicated by a when you’re performing in high-volume conditions at a club or hall.

symbol. This can be convenient

EFFECTS EDIT

TFX Parameters

Parameters that are aected by Limit Mode are indicated by a symbol.

Parameter Value Explanation

01: FILTER+DRIVE

A low-pass lter with overdrive. It cuts the high frequencies and adds distortion.

Cuto 0–127 Adjusts the frequency that will be cut.

Resonance

Drive

02: ISOLATOR

Isolates or removes the low, mid, or high frequency ranges.

Low 0–127 Isolates/removes the low-frequency range.

Mid

High

03: DJFX LOOPER

Loops a short portion of the input sound. You can vary the playback direction and playback speed of the input sound to add turntable-type eects.

Length 0–127 Species the length of the loop.

Speed -1.0–+1.0

Loop Sw OFF, ON

0–127 Adjusts peak frequency response at the cuto frequency.

0–127 Adds distortion.

0–127 Isolates/removes the mid-frequency range.

0–127 Isolates/removes the high-frequency range.

Species the playback direction and playback speed.

Turning the knob to the left of 12 o’clock plays in reverse; turning the knob to the right of 12 o’clock plays forward. Playback stops if the knob is at 12 o’clock.

If you turn this on while sound is playing, the sound at that point will be looped. Turn this o to cancel the loop.

04: BPM LOOPER

Loops the input sound over a short period.

Length 0–127 Adjusts the length of the loop.

Timing OFF, 1–8

Loop Sw OFF, ON

Species the timing (in 8th note units) at which sounds looped during a measure will automatically start playing. If you don’t want the loop to play automatically, turn this “OFF.”

If you turn this on while the sound is heard, the sound at that point will be looped. Turn this o to defeat looping.

05: BIT CRUSH

Produces an extreme lo- eect.

Sample Rate 0–127 Adjusts the sample rate.

Bit

Filter 0–127 Adjusts the lter depth.

0–127 Adjusts the bit depth.

06: WAH

Produces a wah eect.

Peak 0–127 Adjusts the width of frequencies to which eect is applied.

Rate 0–127 Adjust the speed of modulation.

Manual 0–127 Adjusts the pitch of the eect sound.

07: REVERB

Adds reverberation to the sound.

Reverb Time 0–127 Adjusts the reverberation time.

Tone 0–127 Adjusts the tone of the reverberation.

Balance 0–127 Adjusts the volume balance between the direct sound and eect sound.

08: DELAY

Repeats the sound.

Delay Time Note *1 Adjusts the interval of the repeats.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

0–127 Adjusts the number of the repeats.

09: TAPE ECHO

Simulates a tape-type echo unit of the past.

Rate 0–127 Species the tape speed.

Intensity 0–127 Species the amount of echo repeat.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

Parameter Value Explanation

10: PITCH SHIFTER

Changes the pitch.

Pitch 0–127 Adjusts the amount of pitch change.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

0–127 Adjusts the amount of pitch-shifted sound that is fed back.

11: VOICE TRANS

Processes a human voice to create a variety of characters.

Formant 0–127 Adjusts the character (formant) of the voice.

Eect Level 0–127 Adjusts the volume of the eect sound.

Direct Level 0–127 Adjusts the volume of the direct sound.

12: FLANGER

Creates modulation reminiscent of a jet airplane taking o and landing.

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the speed of modulation.

Feedback

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

0–127 Adjusts the proportion of eect sound that is returned to the input.

13: SLICER+FLG

Repeatedly cuts the sound. A anger is added.

Timing Pattern P01–P16 *2 The timing at which the sound is cut.

Rate Note *1 Adjusts the length of Timing Pattern.

Feedback

Attack 0–127 Adjusts the speed at which the level will change between steps.

0–127 Adjusts the anger depth.

EFFECTS EDIT

14: PHASER

Creates modulation by adding a phase-shifted sound.

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the speed of modulation.

Manual 0–127 Adjusts the pitch of the eect sound.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

15: CHORUS

Adds spaciousness and richness to the sound.

Depth 0–127 Adjusts the depth of modulation.

Rate 0–127 Adjusts the rate of modulation.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

16: TREMOLO/PAN

Cyclically varies the volume or panning.

Depth 0–127 Adjusts the amount of change in volume/panning.

Rate 0–127 Adjusts the speed of volume/panning change.

Waveform TRM, PAN Switches the curve of the cyclic change in volume (TRM) / panning (PAN).

17: OVERDRIVE

Mildly distorts the sound.

Drive 0–127 Adjusts the degree of distortion.

Tone

Level

0–127 Adjusts the tone.

0–127 Adjusts the volume.

18: DISTORTION

Intensely distorts the sound.

Drive 0–127 Adjusts the degree of distortion.

Tone

Level

0–127 Adjusts the tone.

0–127 Adjusts the volume.

19: FUZZ

Adds overtones and intensely distorts the sound.

Drive 0–127 Adjusts the degree of distortion.

Tone

Level

0–127 Adjusts the tone.

0–127 Adjusts the volume.

EFFECTS EDIT

Parameter Value Explanation

20: OCTAVE

Adds a pitch at lower octaves.

-2 Oct Level 0–127 Adds a pitch two octaves below.

-1 Oct Level 0–127 Adds a pitch one octave below.

Direct Level 0–127 Adjusts the volume of the direct sound.

21: SUBSONIC

Adds a low-frequency sine wave based on the volume being input to the eect (*3).

Pitch 0–127 Adjusts the frequency of the sine wave.

Threshold 0–127 Adjusts the volume at which the sine wave will begin sounding.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

22: RING MOD

Gives the sound a metallic character.

Frequency 0–127 Adjusts the pitch of the metallic sound.

Sens

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

23: CHROMATIC PS

A two-voice pitch shifter that changes the pitch in semitone steps.

Pitch1 -12–+12 Changes pitch 1 in semitone steps over a +/-1 octave range.

Pitch2 -12–+12 Changes pitch 2 in semitone steps over a +/-1 octave range.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

0–127 Adjusts the depth to which the frequency is modulated.

24: C. CANCELLER

Cancels the vocal or other sound located in the center.

L-R Balance L64–63R Adjusts the point at which maximum cancellation occurs.

Low Boost 0–127 Boosts the low-frequency sounds located in the center, such as the bass.

High Boost 0–127 Boosts the high-frequency sounds.

25: VINYL SIM

Simulates sound heard from an analog record.

Frequency Range 0–127 Adjusts the frequency response of the playback system.

Noise Level 0–127 Adjusts the volume of noise.

Wow/Flutter 0–127 Adjusts the rotational instability of the analog record.

26: RADIO TUNING

Simulates sound heard from a radio.

Detune 0–127 Adjusts the tuning drift of the radio.

Noise Level 0–127 Adjusts the volume of noise.

Balance D64–63E Adjusts the volume balance between the direct sound and eect sound.

27: NOISE GEN

Applies a lo- eect, and also adds noises such as white noise and record noise.

White Noise 0–127 Adjusts the volume of the “hiss” noise.

Disc Noise 0–127 Adjusts the volume of the “pop” noise.

Hum Noise 0–127 Adjusts the volume of the “hum” noise.

28: COMP

Makes the sound more consistent.

Sustain 0–127 Adjusts the depth of the compressor.

Attack

Level

0–127 Adjusts the attack. If Limit mode is on, this adjusts the release.

0–127 Adjusts the volume.

29: EQUALIZER

Adjusts the volume of each frequency region.

Low 0–127 Adjusts the low-frequency volume.

Mid

High

0–127 Adjusts the mid-frequency volume.

0–127 Adjusts the high-frequency volume.

*1: This setting is specied as a note value relative to the sequencer’s tempo.

Note values that you can specify:

Thirty-second note

Eighth note

Half-note triplet

Whole note

However, you can’t select a setting that would cause the delay time to exceed approximately 2,000 msec.

*2: Choose from the following Timing Patterns.

Sixteenth note

Quarter-note triplet

Dotted quarter note

Eighth-note triple

Dotted eighth note

Half note Dotted half note

Dotted sixteenth note

Quarter note

EFFECTS EDIT

P01

P02

P03

P04

P05

P06

P07

P08

The cycle of the Timing Pattern is based on a 4/4 time signature.

If the sequencer is set to a time signature other than 4/4, unexpected results may occur.

You can use Rate to adjust the synchronization speed as follows.

Rate maximum: One cycle of Timing Pattern corresponds to one measure.

Rate minimum: One cycle of Timing Pattern corresponds to a 32nd note.

By changing the Rate setting you can change the cycle in the range between a 32nd note to one full measure.

P09

P10

P11

P12

P13

P14

P15

P16

*3: Set the Balance at about 12 o’clock, turn Pitch all the way to the right, and set Threshold so that the sine wave is heard appropriately for the input source.

After you’ve nished setting the Threshold, adjust the Pitch and Balance. This is a useful way to strengthen a kick drum.

SuperNATURAL Acoustic Tone (SN-A)

TONE EDIT (SN-A)

For each tone, there are instrument settings (Inst) and multi-eect settings (MFX). The instrument settings let you make settings for the tone and its parameters.

MFXInst

1. Select the part to which the tone is assigned.

2. Press the [MENU] button.

3. Move the cursor to “Tone Edit” and press the [ENTER] button.

Parameter Value Explanation

Common tab

No Assign, Ac.Piano, Pop Piano, E.GrandPiano, E.Piano1, E.Piano2, E.Organ, Pipe Organ, Reed Organ, Harpsichord, Clav, Celesta, Accordion, Harmonica, Bell, Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass,

Inst tab

Inst 001– Select the instrument number of the tone.

Parameters for the each inst

Make parameter settings for the selected instrument.

Refer to “SuperNATURAL Inst Parameters” (p. 26).

Instrument List

Inst

No. Name

1 Concert Grand

2 Grand Piano1

3 Grand Piano2

4 Grand Piano3

5 Mellow Piano

6 Bright Piano

7 Upright Piano

8 Concert Mono

9 Honky-tonk

10 Pure Vintage EP1

11 Pure Vintage EP2

12 Pure Wurly

13 Pure Vintage EP3

14 Old Hammer EP

15 Dyno Piano

16 Clav CB Flat

17 Clav CA Flat

18 Clav CB Medium

19 Clav CA Medium

20 Clav CB Brillia

21 Clav CA Brillia

22 Clav CB Combo

23 Clav CA Combo

24 TW Organ

25 Nylon Guitar

26 SteelStr Guitar

27 Acoustic Bass

28 Fingered Bass

29 Picked Bass

30 Strings

31 Marcato Strings

SuperNATURAL Acoustic Tone (SN-A)

SuperNATURAL Inst Parameters

Ac. Piano

001 Concert Grand

002 Grand Piano1

003 Grand Piano2

004 Grand Piano3

005 Mellow Piano

006 Bright Piano

007 Upright Piano

008 Concert Mono

009 Honky-tonk

• Dierences in your playing strength will smoothly change the tone character in a natural way.

Parameter Value Explanation

When the keys are pressed on an acoustic piano, the strings for keys that are already pressed

String Resonance 0–127

Key O Resonance 0–127

Hammer Noise -2, -1, 0, +1, +2

StereoWidth 0–63 The higher the value set, the wider the sound is spread out.

Nuance Type1, Type2, Type3

Tone Character -5, -4, -3, -2, -1, 0, +1, +2, +3, +4, +5 Higher values produce a harder sound; lower values produce a more mellow sound.

also vibrate sympathetically. The function used to reproduce is called “String Resonance.”

Increasing the value will increase the amount of eect.

This adjusts resonances such as the key-o sound of an acoustic piano (subtle sounds that are heard when you release a key).

Higher values will increase the volume of the resonances.

This adjusts the sound of the hammer striking the string of an acoustic piano.

Higher values will increase the sound of the hammer striking the string.

This changes the Tone’s subtle nuances by altering the phase of the left and right sounds.

This eect is dicult to hear when headphones are used.

* This has no eect for 008:Concert Mono.

E. Piano

010 Pure Vintage EP1

011 Pure Vintage EP2

012 Pure Wurly

013 Pure Vintage EP3

014 Old Hammer EP

015 Dyno Piano

• Dierences in your playing strength will smoothly change the tone character in a natural way.

• A key-o noise typical of that instrument will be heard when you release the key (PureWurly is excepted).

Parameter Value Explanation

Noise Level (CC#16) -64–+63 Adjusts the amount of hum noise and key-o noise. Higher settings will raise the volume.

SuperNATURAL Acoustic Tone (SN-A)

Other Keyboards

016 Clav CB Flat

017 Clav CA Flat

018 Clav CB Medium

019 Clav CA Medium

020 Clav CB Brillia

021 Clav CA Brillia

022 Clav CB Combo

023 Clav CA Combo

• Dierences in your playing strength will smoothly change the tone character in a natural way.

• A key-o noise typical of that instrument will be heard when you release the key.

Parameter Value Explanation

Noise Level (CC#16) -64–+63 Adjusts the amount of hum noise and key-o noise. Higher settings will raise the volume.

Organ

024 TW Organ

• The sound will be unaected by the strength with which you play the keyboard.

• This allows you to use the nine harmonic bars to create your sound just as on a tone wheel organ.

Parameter Value Explanation

Harmonic Bar 16’ 0–8

Harmonic Bar 5-1/3’ 0–8

Harmonic Bar 8’ 0–8

Harmonic Bar 4’ 0–8

Harmonic Bar 2-2/3’ 0–8

Harmonic Bar 2’ 0–8

Harmonic Bar 1-3/5’ 0–8

Harmonic Bar 1-1/3’ 0–8

Harmonic Bar 1’ 0–8

Leakage Level 0–127

Percussion Switch OFF, ON If this is on, a crisp attack will be added to the beginning of the notes.

Percussion Soft NORM, SOFT

Percussion Soft Level 0–15 Volume of the percussion sound when Percussion Soft is set to SOFT

Percussion Normal Level 0–15 Volume of the percussion sound when Percussion Soft is set to NORM

Percussion Slow FAST, SLOW

Percussion Slow Time 0–127 Decay time of the percussion sound when Percussion Slow is set to SLOW

Percussion Fast Time 0–127 Decay time of the percussion sound when Percussion Slow is set to FAST

Percussion Harmonic 2ND, 3RD

Percussion Recharge Time 0–15

Percussion Harmonic Bar Level 0–127

Key On Click Level 0–31 Level of the key-click when a key is pressed

Key O Click Level 0–31 Level of the key-click when a key is released

Adjust the level of each footage.

A dierent harmonic component is assigned to each footage; the sound of the organ is created by mixing these components.

The 8’ footage is the core of the sound; this is the basic pitch around which the sound is created.

* Harmonic Bar 1’ is unavailable if Percussion Switch is on.

Noise Level at which the signal of tone wheels unrelated to the pressed keys is mixed into the input

NORM: The percussion sound will be at the normal volume, and the sound of the harmonic bars will be reduced.

SOFT: The percussion sound will be reduced, and the harmonic bars will be at the normal volume.

FAST: The percussion sound will disappear immediately, producing a sharp attack.

SLOW: The percussion sound will disappear slowly, producing a more gentle attack.

2ND: The percussion sound will be the same pitch as the 4’ harmonic bar.

3RD: The percussion sound will be the same pitch as the 2-2/3’ harmonic bar.

Normally, the percussion sound will be added only to the rst note of successive notes played legato.

This reproduces the characteristics of the analog circuitry that produced the percussion sound in tone wheel organs, which caused the percussion sound to be softer when keys were pressed in quick succession. This species the characteristics of this analog circuit.

The volume of the organ will be reduced if Percussion Soft is set to NORM.

This species how much the volume will be reduced.

SuperNATURAL Acoustic Tone (SN-A)

Ac. Guitar

025 Nylon Guitar

026 SteelStr Guitar

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

• If Strum Mode is o, playing an arpeggio with the Hold pedal held down will produce an arpeggio eect typical of a guitar.

• If Strum Mode is on, playing a chord with the Hold pedal held down will produce a guitar-like chordal performance.

• Note numbers 34 and lower can produce ghost notes as played on a guitar.

Parameter Value Explanation

Noise Level (CC#16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Strum Speed (CC#17) -64–+63

Strum Mode (CC#19) OFF, ON

Variation Refer to p. 29. Performance variation sounds

Adjusts the deviation in the timing of sound production by the strings when strumming with Strum Mode turned on. Higher values produce a greater time deviation. The eect will be more signicant for lower velocities.

If Strum Mode is turned on, strumming will be produced when you play multiple keys simultaneously. This also reproduces the dierence in time at which each string of a guitar is sounded. The guitar’s up strokes and down strokes will alternately be produced when chords are played in succession.

It is eective to play while holding down the Hold pedal.

Ac. Bass

027 Acoustic Bass

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

Parameter Value Explanation

Noise Level (CC#16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Variation Refer to p. 29. Performance variation sounds

E. Bass

028 Fingered Bass

029 Picked Bass

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

Parameter Value Explanation

Noise Level (CC#16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Variation Refer to p. 29. Performance variation sounds

Strings

030 Strings

031 Marcato Strings

• The attack and release will be adjusted appropriately for the speed at which you play the phrase.

For example, notes will sound more crisply for rapidly played passages.

Parameter Value Explanation

Species how notes are sounded when Hold (CC64) is on.

Hold Legato Mode (CC#19) OFF, ON

Variation Refer to p. 29. Performance variation sounds

If Hold Legato Mode is on, notes that were being held will go silent when you play a key.

For example if you play and release C major with Hold (CC64) on, the C major notes will be held. When you then play E major, the C major notes will go silent, and the E major notes will be heard.

SuperNATURAL Acoustic Tone (SN-A)

Performance Variation Sounds

Inst Variation

No. Name 1 2 3 4

1 Concert Grand - - - -

2 Grand Piano1 - - - -

3 Grand Piano2 - - - -

4 Grand Piano3 - - - -

5 Mellow Piano - - - -

6 Bright Piano - - - -

7 Upright Piano - - - -

8 Concert Mono - - - -

9 Honky-tonk - - - -

10 Pure Vintage EP1 - - - -

11 Pure Vintage EP2 - - - -

12 Pure Wurly - - - -

13 Pure Vintage EP3 - - - -

14 Old Hammer EP - - - -

15 Dyno Piano - - - -

16 Clav CB Flat - - - -

17 Clav CA Flat - - - -

18 Clav CB Medium - - - -

19 Clav CA Medium - - - -

20 Clav CB Brillia - - - -

21 Clav CA Brillia - - - -

22 Clav CB Combo - - - -

23 Clav CA Combo - - - -

24 TW Organ - - - -

25 Nylon Guitar Mute Harmonics - -

26 SteelStr Guitar Mute Harmonics - -

27 Acoustic Bass Staccato Harmonics - -

28 Fingered Bass Slap Harmonics - -

29 Picked Bass Bridge Mute Harmonics - -

30 Strings Staccato Pizzicato Tremolo -

31 Marcato Strings Staccato Pizzicato Tremolo -

SuperNATURAL Acoustic Tone (SN-A)

Parameter Value Explanation

MFX tab

MFX Sw

([2] (MFX Sw) button)

MFX Type 0–68

Parameters for each MFX type Edit the parameters for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

OFF, ON Species whether the tone’s multi-eect is used (ON) or not used (OFF).

Use this parameter to select from among the 68 available multi-eects. For details on multi-eects parameters, refer to “MFX Parameters” (p. 93).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the chorus eect, set it to “0.”

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the reverb eect, set it to “0.”

MFX Control tab

OFF, CC01–31,

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4

Sets the multi-eects parameters to be controlled with the multi-eects control. The multi-eects parameters available for control will depend on the multi-eects type. For details, refer to “Controlling a MFX via MIDI (MFX CONTROL)” (p. 117).

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–4: MIDI messages used as common multi-eects controls.

Sets the amount of the multi-eects control’s eect that is applied.

To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive (+) value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative (-) value. For either positive or negative value, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

+ 90 hidden pages

Roland FA-06 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Studio Set

STUDIO SET COMMON

General tab

Control tab

Phase Lock tab

Pedal tab

S1/S2 tab

Knob tab

D-Beam tab

Control Sw tab

PART VIEW

Level/Pan tab

Keyboard tab

Output/EFX tab

EQ tab

Pitch tab

Scale Tune tab

Vibrato tab

Mono/Poly/Legato tab

Voice Reserve tab

MIDI Rx Filter tab

EFFECTS EDIT

STUDIO SET EFFECTS

Chorus tab

Reverb tab

Comp+EQ Output tab

Master Comp tab

IFX tab

TONE EFFECTS (MFX, COMP+EQ)

SYSTEM EFFECTS

Audio Input tab

USB Audio tab

Noise Suppressor tab

MIC Reverb tab

Master EQ tab

TFX tab

TFX Parameters

SuperNATURAL Acoustic Tone (SN-A)

TONE EDIT (SN-A)

Common tab

Inst tab

Instrument List

SuperNATURAL Inst Parameters

Performance Variation Sounds

MFX tab

MFX Control tab