Roland FA-08 Parameter Guide

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Contents

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

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 “C C,” “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 “C C,” “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 “po p” 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.

SuperNATURAL Synth Tone (SN-S)

TONE EDIT (SN-S)

Each tone has three sets (Partial 1–3) of OSC, FILTER, AMP, and LFO settings, in addition to multi-eect (MFX) settings.

Partial 3

Partial 2

Partial 1

LFO

OSC Filter

Aftertouch

Modulation LFO

Modify

Amp

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

MFX

2. Press the [MENU] button.

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

Parameter Value Explanation

Common tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

Tone Category *1

Phrase Number 0–243 Number of the phrase that plays when you press the [PREVIEW] button.

Phrase Octave Shift -3–+3 Pitch (in octave units) of the preview phrase.

Tone Level 0–127 Adjusts the overall volume of the tone.

Selects the tone’s category.

SuperNATURAL Synth Tone (SN-S)

Parameter Value Explanation

Turns ring modulator on/o.

By multiplying partial 1’s OSC and partial 2’s OSC, this creates a complex, metallic-sounding waveform like that of a bell.

The partial 1’s OSC waveform will change as shown in the illustration, and partial 2’s OSC will be output with its original waveform.

Setting the partial 1 OSC and the partial 2 OSC to dierent pitches will make the ring modulator eect more apparent.

RING Switch *1 OFF, ON

output waveform

If Ring Switch is turned on, the OSC Pulse Width Mod Depth, OSC Pulse Width, and SUPER SAW Detune of partial 1 and partial 2 cannot be used.

In addition, if an asymmetrical square wave is selected as the OSC waveform, the OSC variation will be ignored, and there will be a slight dierence in sound compared to the originally selected waveform.

Wave Shape 0–127

Analog Feel *1 0–127

Unison Switch OFF, ON

Partial 1 will be modulated by the pitch of partial 2. Higher values produce a greater eect.

This has no eect if the partial 1 waveform is PW-SQR or SP-SAW.

Use this to apply “1/f uctuation,” a type of randomness or instability that is present in many natural systems (such as a babbling brook or whispering breeze) and is perceived as pleasant by many people.

By applying “1/f uctuation” you can create the natural-sounding instability that is characteristic of an analog synthesizer.

This layers a single sound.

If the Unison Switch is on, the number of notes layered on one key will change according to the number of keys you play.

Number of notes assigned to each key when the Unison Switch is on

Partial 1’s OSC

waveform

Partial 2’s OSC

waveform

Partial 1’s OSC

Example: If Unison Size is 8

Unison Size 2, 4, 6, 8

Mono/Poly POLY, MONO Species whether notes will sound polyphonically (POLY) or monophonically (MONO).

Legato Switch *1 OFF, ON

Portamento Switch OFF, ON Species whether the portamento eect will be applied (ON) or not applied (OFF).

Portamento Time 0–127

Portamento Mode *1 NORMAL, LEGATO

Bend Mode *1 NORMAL, CATCH+LAST

Number of keys pressed Number of notes sounded

1 8

2 4 each

3–4 2 each

5–8 1 each

This is valid only if the Mono/Poly parameter is set to “MONO.” If this is on, pressing a key while the previous key remains held down will cause the pitch to change to that of the newly pressed key while maintaining the state in which the previous note was being sounded.

This produces an eect similar to hammering-on or pulling-o when playing a guitar.

Species the time taken for the pitch to change when playing portamento.

Higher values lengthen the time over which the pitch will change to the next note.

NORMAL: Portamento will always be applied.

LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key

before releasing the previous key).

NORMAL: The pitch bend lever works in the conventional way.

CATCH+LAST: The pitch lever aects only the last-sounded note. If you play a note while the pitch

bend lever is already moved, that note sounds at its normal pitch (as though the lever were in the center).

The pitch starts changing only after the lever passes through the center position.

Parameter Value Explanation

OSC tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

Partial Switch *1 OFF, ON Use these buttons to turn the partials on/o.

SAW

SQR

PW-SQR

Wave

Wave Variation A, B, C

Wave Number 1–450

Wave Gain *1 -6, 0, +6, +12 dB

Pulse Width Mod Depth *1 0–127

Pulse Width *1 0–127

Pulse Width Shift *1 0–127

Super Saw Detune 0–127

TRI

SINE

NOISE

SUPER SAW (SP-SAW )

PCM This is a PCM waveform.

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at all integer multiples of that fundamental.

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental.

The overtone structure of this waveform will vary signicantly depending on the width of the upper portion of the waveform (Pulse Width).

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at even-numbered multiples of that fundamental.

This is a sine wave. This is a waveform that produces just a single frequency; it is the basis of all sound.

This waveform contains all frequencies. It is suitable for percussion instrument sounds or sound eects.

This produces a tone similar to seven sawtooth waves heard simultaneously. Pitch-shifted sounds are added to the center sound. It is suitable for strings sounds, and for creating thick sounds.

You can select variations of the currently selected WAVE.

* This has no eect for SP-SAW or PCM.

Selects the PCM waveform.

* This is valid only if PCM is selected for OSC Wave.

Species the gain (amplitude) of the waveform.

The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

* This is valid only if PCM is selected for OSC Wave.

Species the amount (depth) of LFO applied to PW (Pulse Width).

If the OSC Wave has selected (PW-SQR), you can use this slider to specify the amount of LFO modulation applied to PW (pulse width).

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Species the pulse width.

If the OSC Wave has selected (PW-SQR), you can use this slider to specify the width of the upper portion of the square wave (the pulse width) as a percentage of the entire cycle.

Decreasing the value will decrease the width, approaching a square wave (pulse width = 50 %).

Increasing the value will increase the width, producing a distinctive sound.

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Shifts the range of change. Normally, you can leave this at 127.

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Species the amount of pitch dierence between the seven sawtooth waves layered within a single oscillator.

* Higher values will increase the pitch dierence (OSC Detune applies an equal amount of pitch

dierence between each of the seven sawtooth waves.).

* If the Ring Switch is on, this has no eect on partials 1 and 2.

* This is valid only if SP-SAW is selected for OSC Wave.

SuperNATURAL Synth Tone (SN-S)

Pitch tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

OSC Pitch (Pitch) -24–+24 Adjusts the pitch in semitone steps.

OSC Detune (Detune) -50–+50 Adjusts the pitch in steps of one cent.

Pitch Env Attack Time (A) 0–127

Pitch Env Decay Time (D) 0–127

Pitch Env Depth (Env Depth) -63–+63 This species how much the pitch envelope will aect the pitch.

Octave Shift *1 -3–+3 Species the octave of the tone.

Pitch Bend Range Up *1 0–+24

Pitch Bend Range Down *1 0–-24

Species the attack time of the pitch envelope.

This species the time from the moment you press the key until the pitch reaches its highest (or lowest) point.

Species the decay time of the pitch envelope.

This species the time from the moment the pitch reaches its highest (or lowest) point until it returns to the pitch of the key you pressed.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the right.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the left.

SuperNATURAL Synth Tone (SN-S)

Parameter Value Explanation

Filter tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

FILTER Mode (Mode)

BYPASS, LPF1, LPF2, LPF3, LPF4, HPF, BPF, PKG

Selects the type of lter.

This button selects the slope (steepness) of the lter.

For the LPF

Level

FILTER Slope (Slope) -12, -24 dB

frequency

FILTER Cuto (Cuto) 0–127 Species the cuto frequency.

Here’s how you can make the lter cuto frequency to vary according to the key you play.

Cuto frequency (octave)

FILTER Cuto KF (KeyFollow) -100–+100

FILTER Env V-Sens *1 -63–+63

FILTER Resonance (Resonance) 0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

FILTER Env Attack (A) 0–127

FILTER Env Decay (D) 0–127

FILTER Env Sustain (S) 0–127

FILTER Env Release (R) 0–127

FILTER Env Depth (Env Depth) -63–+63

-1

-2

C4C3C2 C5 C6

Here’s how you can make the lter envelope depth vary according to the strength with which you play the key.

This species the time from the moment you press the key until the cuto frequency reaches its highest (or lowest) point.

This species the time from when the cuto frequency reaches its highest (or lowest) point, until it decays to the sustain level.

This species the cuto frequency that will be maintained from when the decay time has elapsed until you release the key.

This species the time from when you release the key until the cuto frequency reaches its minimum value.

This species the direction and depth to which the cuto frequency will change.

Species the cuto frequency of an independent -6 dB high-pass lter.

-24 dB

Cuto frequency

Key-on

+100

+50

-50

-100

-12 dB

FrequencyCuto

High

Value

Low

Key

Key-o

DEPTH

Time

HPF Cuto *1 0–127

-6 dB HPF

BYPASS, LPF, HPF, BPF, PKG

SuperNATURAL Synth Tone (SN-S)

Parameter Value Explanation

Amp tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

AMP Level (Level) 0–127 Partial volume.

AMP Level V-Sens (Velo Sens) -63–+63

AMP Pan (Pan) L64–63R Here’s how to change the stereo position of the partial.

AMP Level Keyfollow *1

AMP Env Attack (A) 0–127

AMP Env Decay (D) 0–127

AMP Env Sustain (S) 0–127

AMP Env Release (R) 0–127

-100, -90, -80, -70, -60, -50, -40, -30,

-20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

Here’s how you can make the volume vary according to the strength with which you play the keyboard.

Specify this if you want to vary the volume according to the position of the key that you play.

With the C4 key (middle C) as the base volume, “+” values will make the volume increase as you play above C4; “-” values will make the volume decrease. Higher values will produce greater change.

Species the attack time of the amp envelope.

This species the time from the moment you press the key until the maximum volume is reached.

Species the decay time of the amp envelope.

This species the time from when the maximum volume is reached, until it decays to the sustain level.

Species the sustain level of the amp envelope.

This species the volume level that will be maintained from when the attack and decay times have elapsed until you release the key.

Species the release time of the amp envelope.

This species the time from when you release the key until the volume reaches its minimum value.

Cuto

frequency

Key-on

Key-o

Time

LFO tab

Selects the LFO waveform.

TRI

SIN

LFO Shape (Shape)

LFO Rate (Rate) 0–127 Species the LFO rate when Modulation LFO Tempo Sync Switch is OFF.

LFO Tempo Sync Sw

(Tempo Sync Switch)

LFO Tempo Sync Note (Rate)

LFO Fade Time (Fade Time) 0–127

SAW

SQR

S&H Sample and Hold (The LFO value will change once each cycle.)

RND Random wave

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

Triangle wave

Sine wave

Sawtooth wave

Square wave

Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

This species the time from when the partial sounds until the LFO reaches its maximum amplitude.

Fade Time

LFO Key Trigger (Key Trigger) OFF, ON If this is on, the LFO cycle will be restarted when you press a key.

LFO Pitch Depth (Pitch Depth) -63–+63 This allows the LFO to modulate the pitch, producing a vibrato eect.

LFO FILTER Depth (Filter Depth) -63–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

LFO AMP Depth (Amp Depth) -63–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

LFO Pan Depth (Pan Depth) -63–+63 This allows the LFO to make the PAN (stereo position) vary (Auto Panning).

SuperNATURAL Synth Tone (SN-S)

Parameter Value Explanation

Modulation LFO tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

Selects the Modulation LFO waveform.

In addition to the LFO that is always applied to the partial, there is a Modulation LFO that is controlled by the modulation controller (CC01).

TRI

Modulation LFO Shape (Shape)

Modulation LFO Rate (Rate) 0–127 Species the LFO rate when Modulation LFO Tempo Sync Switch is OFF.

Modulation LFO Tempo Sync Sw (Tempo Sync Switch)

Modulation LFO Tempo Sync Note (Rate)

Modulation LFO Pitch Depth

(Pitch Depth)

Modulation LFO FILTER Depth

(Filter Depth)

Modulation LFO AMP Depth

(Amp Depth)

Modulation LFO Pan Depth

(Pan Depth)

Modulation LFO Rate Control *1 -63–+63

SIN

SAW

SQR

S&H Sample and Hold (The LFO value will change once each cycle.)

RND Random wave

OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

-63–+63 This allows the LFO to modulate the pitch, producing a vibrato eect.

-63–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

-63–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

-63–+63 This allows the LFO to make the PAN (stereo position) vary (Auto Panning).

Triangle wave

Sine wave

Sawtooth wave

Square wave

Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

This species how the modulation controller (CC01) will change the Modulation LFO Rate.

Specify a positive (+) value if you want the Modulation LFO rate to become faster when you raise the modulation controller (CC01) value; specify a negative (-) value if you want the rate to become slower.

Aftertouch tab

Cuto Aftertouch Sens

(Cuto Sens)

Level Aftertouch Sens

(Level Sens)

-63–+63

Misc tab

*1: Shown only if you press the [4] (Pro Edit) button to enter pro edit mode.

Attack Time Interval Sens

(Attack Time)

Release Time Interval Sens

(Release Tim)

Portamento Time Interval Sens

(Portamento Time)

Envelope Loop Mode *1

0–127

Use this to loop the envelope between certain regions during a note-on.

Attack

Decay

Species how aftertouch pressure will aect the cuto frequency.

Specify a positive (+) value if you want aftertouch to raise the cuto frequency; specify a negative (-) value if you want aftertouch to lower the cuto frequency.

Species how aftertouch pressure will aect the volume.

Specify a positive (+) value if you want aftertouch to increase the volume; specify a negative (-) value if you want aftertouch to decrease the volume.

Shortens the FILTER and AMP Attack Time according to the spacing between note-on events.

Higher values produce a greater eect. With a setting of 0, there will be no eect. This is eective when you want to play rapid notes using a sound that has a slow attack (Attack Time).

Shortens the FILTER and AMP Release Time if the interval between one note-on and the next note-o is brief. Higher values produce a greater eect. With a setting of 0, there will be no eect.

This is eective when you want to play staccato notes using a sound that has a slow release.

Shortens the Portamento Time according to the spacing between note-on events. Higher values produce a greater eect. With a setting of 0, there will be no eect.

Sustain

OFF The envelope will operate normally.

FREE-RUN

TEMPO-SYNC Species the loop rate as a note value (Envelope Loop Sync Note parameter).

When the Decay segment has ended, the envelope will return to the Attack. The Attack through Decay segments will repeat until note-o occurs.

SuperNATURAL Synth Tone (SN-S)

Parameter Value Explanation

Returns to the Attack at the specied rate. If the Attack+Decay time is shorter than the specied

Envelope Loop Sync Note *1 Note (p. 116)

Chromatic Portamento *1 OFF, ON If this is turned on, portamento will operate in semitone steps.

rate, the Sustain Level will be maintained. If the Attack+Decay time is longer than the specied rate, the envelope will return to the Attack even though the Decay has not been completed. This will continue repeating until note-o occurs.

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 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.

SuperNATURAL Drum Kit (SN-D)

TONE EDIT (SN-D)

Each kit has settings for 62 drum instruments, in addition to multi-eect (MFX) settings.

You can assign a dierent note number that will sound each of the 62 partials.

For the one part specied by the Drum Comp+EQ Assign setting, you’ll be able to use six sets of compressor + equalizer units to make the sound more consistent or to adjust the tonal character.

Partial 62

Partial 1

DRUM Inst

Comp+EQ 1 Comp+EQ 4

Comp+EQ 2

Comp+EQ 3 Comp+EQ 6

Comp+EQ 5

MFX

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

Phrase Number 0–16 Number of the phrase that plays when you press the [PREVIEW] button.

Drum Kit Level 0–127 Sets the volume of the entire drum kit.

Species the volume of the drum kit resonances and the resonances of the room. This applies only

Ambience Level 0–127

for sounds whose type is Kick, Snare, Tom, and Hi-Hat.

* For some drum instruments, this will have no eect. Refer to “SuperNATURAL Drum Inst List”

(p. 40).

DRUM Inst tab

MEMO

CURRENT PARTIAL (the currently selected partial) species the note number (27 (Eb1)–88 (E6)) to which you will assign a drum instrument.

Inst Number 000: OFF, 001– Selects the drum inst number assigned to partial.

Tune -120–+120 Adjusts the pitch of the drum inst.

Attack 0–100 % Adjusts the level and time of the attack. A setting of 100 % produces the fastest attack.

Decay -63–0 Adjusts the decay time. Negative (-) value will produce a muting eect.

Level 0–127 Sets the volume of the drum inst.

Pan L64–63R Sets the pan of the drum inst.

Chorus Send Level 0–127 Species the level of the signal sent to the chorus for each drum inst.

Reverb Send Level 0–127 Species the level of the signal sent to the reverb for each drum inst.

Brilliance -15–+12

Variation

Dynamic Range 0–63

Stereo Width 0–127

Output Assign PART, COMP+EQ1–6 Species for each drum inst how the sound will be output.

OFF, FLAM1, FLAM2, FLAM3, BUZZ1, BUZZ2, BUZZ3, ROLL

Adjusts the brilliance of the sound. Positive (+) value make the sound brighter, and negative (-) value make the sound darker.

Species performance variations such as am, buzz, or roll.

* The parameters available for editing will depend on the drum instrument. Refer to

“SuperNATURAL Drum Inst List” (p. 40).

Species the curve by which velocity will aect the volume. With a setting of 0, any velocity will produce the maximum volume.

Adjusts the stereo width of the sound. A setting of 0 is mono.

* For some drum instruments, this will have no eect. Refer to “SuperNATURAL Drum Inst List”

(p. 40).

SuperNATURAL Drum Kit (SN-D)

Parameter Value Explanation

Comp tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

Comp 1–6 Switch OFF, ON Compressor on/o setting

Comp 1–6 Attack Time 0.05–50.0 ms Time from when the input exceeds the threshold until compression begins

Comp 1–6 Release Time 0.05–2000 ms Time from when the input falls below the threshold until compression is turned o

Comp 1–6 Threshold 0–127 Level above which compression is applied

Comp 1–6 Ratio 1:1–inf:1 Compression ratio

Comp 1–6 Output Gain 0–+24 dB Level of the output sound

EQ tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

EQ 1–6 Switch OFF, ON Equalizer on/o setting

EQ1–6 Low Freq 200, 400 Hz Frequency of the low range

EQ1–6 Low Gain -15–+15 dB Gain of the low frequency range

EQ1–6 Mid Freq

EQ1–6 Mid Gain -15–+15 dB Gain of the middle frequency range

EQ1–6 Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ1–6 High Freq 2000, 4000, 8000 Hz Frequency of the high range

EQ1–6 High Gain -15–+15 dB Gain of the high frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 Hz

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.

MFX tab

MFX Sw

([2] (MFX Sw) button)

MFX Type 0–68

Parameters for each MFX type Make parameter settings 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 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.

SuperNATURAL Drum Kit (SN-D)

SuperNATURAL Drum Inst List

The following table shows support for the Ambience Level parameter of the Common tab and the Stereo Width parameter of the DRUM Inst tab.

Variation indicates support for the performance variation in the DRUM Inst tab.

No. Inst Name Type

1 Studio Kick Kick

2 Studio Kick 2 Kick

3 Studio Sn 2 Snare

4 Studio Sn 2 Rim Snare

5 Studio Sn 2 XStk Snare

6 Rock Tom Hi To m

7 Rock Tom Mid Tom

8 Rock Tom Floor To m

9 Med HH Close Hi-Hat

10 Med HH Open Hi-Hat

11 Med HH Pedal Hi-Hat

12 Standard Rd Edge Ride

13 Standard Rd Bell Ride

14 Std Rd Edge/Bell Ride

15 Flat 18"Ride Ride

16 Standard 16"Cr R Crash

17 Standard 16"Cr L Crash

18 Jazz 16"Cr R Crash

19 Jazz 16"Cr L Crash

20 Splash Cymbal 2 Crash

21 China Cymbal Crash

22 Tambourine 1 Percussion

23 Cowbell 1 Percussion

24 Vibra-slap Percussion - - Flam/Buzz

25 High Bongo 1 Percussion

26 Low Bongo 1 Percussion

27 MuteHi Conga 1 Percussion

28 OpenHi Conga 1 Percussion

29 Low Conga 1 Percussion

30 H igh Timbale Percussion

31 Low Timbale Percussion

32 High Agogo 1 Percussion

33 Low Agogo 1 Percussion

34 Cabasa 1 Percussion

35 Maracas 1 Percussion

36 Maracas 2 Percussion - - Flam/Buzz

37 Shor t Whistle Percussion - - Flam/Buzz

38 Long Whistle Percussion - - Flam/Buzz

39 Short Guiro Percussion - - Flam/Buzz

40 Long Guiro Percussion - - Flam/Buzz

41 Claves 1 Percussion

42 Hi WoodBlock 1 Percussion

43 Low WoodBlock 1 Percussion

44 Mute Cuica 1 Percussion

45 Open Cuica 1 Percussion

46 Mute Triangle 1 Percussion - - Flam/Buzz/Roll

47 Open Triangle 1 Percussion - - Flam/Buzz/Roll

48 Shaker Percussion - - Flam/Buzz

49 Sleigh Bell 1 Percussion

50 Wind Chimes Percussion

Stereo

Width

ü ü

Ambience

Level

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

Variation

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

SuperNATURAL Drum Kit (SN-D)

No. Inst Name Type

51 Castanets 1 Percussion

52 Mute Surdo 1 Percussion

53 Open Surdo 1 Percussion

54 Square Click Other - - Flam/Buzz

55 Metro Click Other - - Flam/Buzz

56 Metro Bell Other - - Flam/Buzz

57 High Q SFX - - Flam/Buzz

58 Slap SFX - - Flam/Buzz

59 Scratch Push SFX - - Flam/Buzz

60 Scratch Pull SFX - - Flam/Buzz

61 Applause SFX

Stereo

Width

Ambience

Level

- Flam/Buzz/Roll

- Flam/Buzz

- -

Variation

PCM Synth Tone (PCMS)

TONE EDIT (PCMS)

Each tone has settings for four sets (Partial 1–4) of WAVE, TVF, TVA, and LFO x 2, in addition to multi-eect (MFX) settings.

You can create sounds by combining four partials.

Each partial can be turned on/o, allowing you to specify which partial (s) will be heard.

Partial 4

Partial 3

Partial 2

Partial 1

LFO 1

Wave TVF

TVA

MFX

Pitch

Env

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

2. Press the [MENU] button.

TVF Env TVA Env

LFO 2

Step LFO

MEMO

In this manual, Parameters that can be controlled using the Matrix Control (p.

58) are marked with a “ .”

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

Parameter Value Explanation

Common tab

Tone Category

Phrase Number 0–243 Number of the phrase that plays when you press the [PREVIEW] button.

Phrase Octave Shift -3–+3 Pitch (in octave units) of the preview phrase.

Tone Level 0–127 Adjusts the overall volume of the tone.

Tone Pan L64–63R Species the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

Tone Priority LAST, LOUDEST

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

Tone Coarse Tune -48–+48 Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves).

Tone Fine Tune -50–+50

Selects the tone’s category.

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

LAST: The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

LOUDEST: The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowest-volume voice.

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

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

Parameter Value Explanation

This setting allows you to apply “stretched tuning” to the tone (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.). With a setting of “OFF,” the tone’s tuning will be equal temperament. A setting of “3” will produce the greatest dierence in the pitch of the low and high ranges.

The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle eect on the way in which chords resonate.

Pitch dierence from equal temperament

Stretch Tune Depth OFF, 1–3

PCM Synth Tone (PCMS)

Parameter value

Analog Feel 0–127

Cuto Oset -63–+63

Resonance Oset -63–+63

Attack Time Oset -63–+63

Release Time Oset -63–+63

Velocity Sens Oset -63–+63

Mono/Poly MONO, POLY

OFF

Low note range

OFF

High note range

Species the depth of 1/f modulation that is to be applied to the tone (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.).

By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

Cuto Frequency Oset alters the cuto frequency of the overall tone, while preserving the relative dierences between the cuto frequency values set for each partial in the Cuto Frequency parameters (p. 51).

NOTE

This value is added to the cuto frequency value of a partial, so if the cuto frequency value of any partial is already set to “127” (maximum), positive (+) value here will not produce any change.

Resonance Oset alters the resonance of the overall tone, while preserving the relative dierences between the resonance values set for each partial in the Resonance parameter (p. 51).

* Resonance: emphasizes the overtones in the region of the cuto frequency, adding character

to the sound.

NOTE

This value is added to the resonance value of a partial, so if the resonance value of any partial is already set to “127” (maximum), positive (+) value here will not produce any change.

Attack Time Oset alters the attack time of the overall tone, while preserving the relative dierences between the attack time values set for each partial in the TVA Env Time 1 parameters (p.

54), TVF Env Time 1 parameters (p. 53).

* Attack Time: The time it takes for a sound to reach maximum volume after the key is pressed

and sound begun.

NOTE

This value is added to the attack time value of a partial, so if the attack time value of any partial is already set to “127” (maximum), positive (+) value here will not produce any change.

Release Time Oset alters the release time of the overall tone, while preserving the relative dierences between the release time values set for each partial in the TVA Env Time 4 parameters (p. 54), TVF Env Time 4 parameters (p. 53).

* Release Time: The time from when you take your nger o the key until the sound disappears.

NOTE

This value is added to the release time value of a partial, so if the release time value of any partial is already set to “127” (maximum), positive (+) value here will not produce any change.

Velocity Sensitivity Oset alters the Velocity Sensitivity of the overall tone while preserving the relative dierences between the Velocity Sensitivity values set for each partial in the parameters below.

Cuto Velocity Sens parameter (p. 52)

Level Velocity Sens parameter (p. 53)

* Velocity: Pressure with which the key is pressed.

NOTE

This value is added to the velocity sensitivity value of a partial, so if the velocity sensitivity value of any partial is already set to “+63” (maximum), positive (+) value here will not produce any change.

Species whether the tone will play polyphonically (POLY) or monophonically (MONO). The

“MONO” setting is eective when playing a solo instrument tone such as sax or ute.

MONO: Only the last-played note will sound.

POLY: Two or more notes can be played simultaneously.

PCM Synth Tone (PCMS)

Parameter Value Explanation

This setting species whether the Legato Switch will be used (ON) or not (OFF).

Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” With the Legato Switch

Legato Switch OFF, ON

Legato Retrigger OFF, ON

Portamento Switch OFF, ON

Portamento Mode NORMAL, LEGATO

Portamento Type RATE, TIME

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

“ON,” pressing a key while continuing to press a previous key causes the note to change pitch to

the pitch of the most recently pressed key, sounding all the while.

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.

The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato.

The Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to

“ON.” Normally you will leave this parameter “ON.”

When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

NOTE

Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.”

When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded.

Additionally, if diering upper pitch limits are used for the waves of a tone that uses multiple partials, it may stop being heard in MONO.

When making large pitch changes, set the Legato Retrigger to “ON.”

Species whether the portamento eect will be applied (ON) or not (OFF).

Portamento

Portamento is an eect which smoothly changes the pitch from the rst-played key to the nextplayed key. By applying portamento when the Mono/Poly parameter is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Species the performance conditions for which portamento will be applied.

NORMAL: Portamento will always be applied.

LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key

before releasing the previous key).

Species the type of portamento eect.

RATE: The time it takes will depend on the distance between the two pitches.

TIME: The time it takes will be constant

Starts a new portamento when another key is pressed while the pitch is changing.

Pitch

PITCH

Portamento Start

NOTE

Portamento Time 0–127

D4 C4

Time

press D4 key

press C5 key

press C4 key

Portamento will begin from the pitch where the current change would end.

Pitch

D4 C4

Time

press D4 key

press C5 key

press C4 key

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.

Parameter Value Explanation

NORMAL: The pitch bend lever works in the conventional way.

Bend Mode NORMAL, CATCH+LAST

CATCH+LAST: The pitch lever aects only the last-sounded note. If you play a note while the pitch bend lever is already moved, that note sounds at its normal pitch (as though the lever were in the center).

The pitch starts changing only after the lever passes through the center position.

Wave tab

Partial Switch

([2] (Partial Sw) button)

Wave Group

Wave No.L (Mono)

Wave No.R

Wave Gain -6, 0, +6, +12 dB

Wave Tempo Sync OFF, ON

OFF, ON Used to specify whether partial 1–4 will be used (ON) or not used (OFF).

INT-A, INT-B,

Ex01– (if expansion sound Waves exist)

OFF, 1–

Selects the group for the waveform that is to be the basis of the partial.

INT-A: Internal sound bank A

INT-B: Internal sound bank B

Ex01–: Expansion sound banks

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

NOTE

If you specify only the right side (R), there will be no sound.

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 48).

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

This is available only if there are expansion sounds and you’ve selected a waveform that indicates the tempo (BPM).

If a waveform of an expansion sound is selected for the partial, turning Wave Tempo Sync “ON” disables pitch-related settings and FXM-related settings.

When the Wave Tempo Sync is set to “ON,” set the Partial Delay Time (p. 46) to “0.”

With other settings, a delay eect will be applied, and you will be not be able to play as you expect.

PCM Synth Tone (PCMS)

FXM Switch OFF, ON

FXM Color 1–4

FXM Depth

0–16

Phrase Loop

“Phrase loop” refers to the repeated playback of a phrase that’s been pulled out of a song (e.g.,

by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

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

FXM

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

Species how FXM will perform frequency modulation.

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

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

* You can use matrix control to modify this.

PCM Synth Tone (PCMS)

Parameter Value Explanation

Partial Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the partial actually begins to sound. You can also make settings that shift the timing at which each partial is sounded.

This diers from the Delay in the internal eects, in that by changing the sound qualities of the delayed partials and changing the pitch for each partial, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the partial delay time to the tempo of the external MIDI sequencer.

NOTE

• If you don’t wish to use Partial Delay, set Partial Delay Mode to “NORM” and Partial Delay Time to “0.”

• If the Structure Type set in the range of “2”–”10,” the output of partial 1 and 2 will be combined into partial 2, and the output of partial

3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 47).

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

NORM

No Partial Delay

Delay time

Partial Delay Mode

HOLD

OFF-N

OFF-D

Note on

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

Note on

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

Note on

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. Here, however, changes in the T VA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Note o

Delay time

Note o

Delay time

Note o

No sound played

Delay time

Partial Delay Time 0–127, Note

Note on

Species the time from when the key is pressed (or if the Partial Delay Mode parameter is set to

“OFF-N” or “OFF-D,” the time from when the key is released) until when the partial will sound.

If you want the time until the partial sounds to be synchronized with the tempo, specify the time as a note value relative to the synchronization tempo.

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Value Partial Delay time

(half note)

(quarter note)

(eighth note)

Note o

1 second (60/60 = 1 [second])

0.5 seconds (60/120 = 0.5 [second])

0.25 seconds (60/240 = 0.25 [second])

Parameter Value Explanation

PMT tab

Determines how partial 1 and 2, or partial 3 and 4 are connected.

The following 10 dierent types of combination are available.

TYPE 1

PARTIAL 1 (3)

Partial 2 (4)

PCM Synth Tone (PCMS)

TVF TVA

With this type, partial 1 and 2 (or 3 and 4) are

TVATVF

independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each partial.

Structure Type 1 & 2

Structure Type 3 & 4

1–10

TYPE 2

PARTIAL 1 (3)

PARTIAL

2 (4)

TYPE 3

PARTIAL 1 (3)

PARTIAL 2 (4)

TYPE 4

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 5

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 6

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 7

PARTIAL1 (3)

PARTIAL 2 (4)

TVA

TVA TVFWG

TVA TVF

TVA TVFWG

TVF

R: Ring Modulator

TVATVF

TVF TVA

B: Booster

TVF TVA

B: Booster

TVF TVA

This type stacks the two lters together to intensify the characteristics of the lters. The TVA for partial 1 (or 3) controls the volume balance between the two partials.

This type mixes the sound of partial 1 (3) and partial 2 (4), applies a lter, and then applies a booster to distort the waveform.

This type applies a booster to distort the waveform, and then combines the two lters. The TVA for partial 1 (or 3) controls the volume balance between the two partials and adjusts booster level.

This type uses a ring modulator to create new overtones, and combines the two lters. The partial 1 (3) TVA will control the volume balance of the two partials, adjusting the depth of ring modulator.

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of partial 2 (4) and stacks the two lters. Since the ring-modulated sound can be mixed with partial 2 (4), partial 1 (3) TVA can adjust the amount of the ring-modulated sound.

This type applies a lter to partial 1 (3) and ring-modulates it with partial 2 (4) to create new overtones.

TYPE 8

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 9

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 10

PARTIAL 1 (3)

PARTIAL 2 (4)

R: Ring Modulator

TVATVF

R: Ring Modulator

TVATVF

TVF TVA

R: Ring Modulator

TVATVF

TVF TVA

This type sends the ltered partial 1 (3) and partial 2 (4) through a ring modulator, and then mixes in the sound of partial 2 (4) and applies a lter to the result.

This type passes the ltered sound of each partial through a ring modulator to create new overtones. The partial 1 (3) TVA will control the volume balance of the two partials, adjusting the depth of ring modulator.

This type passes the ltered sound of each partial through a ring modulator to create new overtones, and also mixes in the sound of partial 2 (4). Since the ring-modulated sound can be mixed with partial 2 (4), partial 1 (3) TVA can adjust the amount of the ring-modulated sound.

PCM Synth Tone (PCMS)

Parameter Value Explanation

When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion eect frequently used with electric guitars. Higher settings will produce more distortion.

Booster

The Booster is used to distort the incoming signal. In addition to using this to create distortion, you can use the waveform (WG1) of one of the partials as an LFO which shifts the other waveform

Booster 1 & 2

Booster 3 & 4

Key Fade Upper 0–127

Key Range Upper LOWER–G9 Species the highest note that the tone will sound for each partial.

0, +6, +12, +18 dB

Level

Fade Lower

Range Lower

(WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain parameter (p. 45).

Fade Upper

Range Upper

This determines what will happen to the tone’s level when a note that’s higher than the partial’s specied keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the tone to sound at all when a note above the keyboard range is played, set this parameter to “0.”

Species the lowest note that the tone will sound for each partial.

Booster level

Uses WG1 as LFO

WG1

TVA

WG2

Adds to WG1

Shift in waveform by WG1

Pitch

Adjusts WG1 output

Booster

Distorted area of the

Waveform changes

Key Range Lower C-1–UPPER

Key Fade Lower 0–127

PMT Velocity Control OFF, ON, RANDOM, CYCLE

NOTE

If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modied to the same setting.

This determines what will happen to the tone’s level when a note that’s lower than the partial’s specied keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

PMT Velocity Control determines whether a dierent partial is played (ON) or not (OFF) depending on the force with which the key is played (velocity).

When set to “RANDOM,” the tone’s constituent partials will sound randomly, regardless of any velocity messages.

When set to “CYCLE,” the tone’s constituent partials will sound consecutively, regardless of any velocity messages.

MEMO

Use “Velo Range Lower” (p. 49) and “Velo Range Upper” (p. 49) to specify the range of keyboard dynamics.

NOTE

• If Velocity Range Lower and Velocity Range Upper are set to the same values, you won’t be able

to obtain any eect by setting PMT Velocity Control to “RANDOM” or “CYCLE.”

• Instead of using Velocity, you can also have partials substituted using the Matrix Control (p. 58).

However, the keyboard velocity and the Matrix Control cannot be used simultaneously to make dierent partials to sound. When using the Matrix Control to switch partials, set the Velocity Control parameter to “OFF.”

Parameter Value Explanation

Level

PCM Synth Tone (PCMS)

Velocity

Velo Fade Upper 0–127

Velo Range Upper LOWER–127

Velo Range Lower 1–UPPER

Velo Fade Lower 0–127

PMT Control Switch OFF, ON

Fade Lower

Range Lower

Fade Upper

Range Upper

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specied velocity range.

Higher settings produce a more gradual change in volume.

If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

This sets the highest velocity at which the partial will sound. Make these settings when you want dierent partials to sound in response to notes played at dierent strengths.

This sets the lowest velocity at which the partial will sound. Make these settings when you want dierent partial to sound in response to notes played at dierent strengths.

NOTE

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting. When using the Matrix Control (p. 58) to have dierent partials played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.

This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specied velocity range.

Higher settings produce a more gradual change in volume.

If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

Use the Matrix Control (p. 58) to enable (ON), or disable (OFF) sounding of dierent partials.

NOTE

You can also cause dierent partials to sound in response to notes played at dierent strengths (velocity) on the keyboard (p. 48). However, the Matrix Control and the keyboard velocity cannot be used simultaneously to make dierent partials to sound. When using the Matrix Control to have dierent partials to sound, set the Velocity Control parameter (p. 48) to “OFF.”

Pitch tab

Partial Coarse Tune

Partial Fine Tune

Random Pitch Depth

Pitch Keyfollow -200–+200

-48–+48

-50–+50

0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

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

* You can control this parameter using the Matrix Control.

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

* You can control this parameter using the Matrix Control.

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

This species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

This species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative (-) value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

Pitch

+200

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100-200

Key

Pitch Bend Range Up 0–+48

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position.

PCM Synth Tone (PCMS)

Parameter Value Explanation

Pitch Bend Range Down 0–-48

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to “-48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

Pitch Env tab

Pitch Env Depth -12–+12

Pitch Env V-Sens -63–+63

Pitch Env T1 V-Sens -63–+63

Pitch Env T4 V-Sens -63–+63

Pitch Env Time KF -100–+100

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

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

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

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

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

Time

-100

-50

Pitch Env Time 1–4

Pitch Env Level 0–4 -63–+63

0–127

+50

+100

C4C3C2C1 C5 C6 C7

Specify the pitch envelope times (Time 1–Time 4).

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

* You can control this parameter using the Matrix Control.

T1 T2 T3 T4

Pitch

Note on

T: Time L: Level

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) value will cause the pitch to be higher than the standard pitch, and negative (-) value will cause it to be lower.

Note o

Key

Time

Parameter Value Explanation

TVF tab

Selects the type of lter.

A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

OFF No lter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency (Cuto Freq) in order to round o, or un-brighten the sound.

This is the most common lter used in synthesizers.

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

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

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

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter is half that of the LPF.

This makes it a comparatively warmer low pass lter.

This lter is good for use with simulated instrument sounds such as the acoustic piano.

* If you set “LPF2,” the setting for the Resonance parameter will be ignored (p. 51).

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

* If you set “LPF3,” the setting for the Resonance parameter will be ignored (p. 51).

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

* You can control this parameter using the Matrix Control.

MEMO

To edit the overall tone while preserving the relative dierences in the Cuto Frequency values set for each partial, set the Cuto Oset parameter (p. 43).

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

* You can control this parameter using the Matrix Control.

MEMO

To edit the overall tone while preserving the relative dierences in the Resonance values set for each partial, set the Resonance Oset parameter (p. 43).

Level

High

Cuto Frequency

Filter Type

Cuto Frequency

Resonance

LPF

BPF

HPF

PKG

LPF2

LPF3

0–127

PCM Synth Tone (PCMS)

LPF BPF HPF PKG

Frequency

parameter value

Low

PCM Synth Tone (PCMS)

Parameter Value Explanation

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive (+) value will cause the cuto frequency to rise for notes higher than C4, and negative (-) value will cause the cuto frequency to fall for notes higher than C4.

Larger settings will produce greater change.

Cuto frequency (Octave)

Cuto Keyfollow -200–+200

+200

+100

+50

Cuto V-Curve FIXED, 1–7

Cuto V-Sens -63–+63

Resonance V-Sens -63–+63

-1

-2

C4C3C2C1 C5 C6 C7

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

-50

-100-200

Key

1 2 3 4 5 6 7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) value. If you want strongly played notes to lower the cuto frequency, use negative (-) value.

MEMO

To edit the overall tone while preserving the relative dierences in the Cuto V-Sens values set for each partial, set the Velocity Sens Oset parameter (p. 43). However, this setting is shared by the Level V-Sens parameter (p. 53).

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) value. If you want strongly played notes to have less Resonance, use negative (-) value.

TVF Env tab

TVF Env Depth -63–+63

TVF Env V-Curve FIXED, 1–7

TVF Env V-Sens -63–+63

TVF Env T1 V-Sens -63–+63

TVF Env T4 V-Sens -63–+63

Species the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

Selects one of the following seven curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the T VF Envelope to be aected by the keyboard velocity.

1 2 3 4 5 6 7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) value will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) value will cause the eect to be less.

This allows keyboard dynamics to aect the Time 1 of the T VF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

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

Parameter Value Explanation

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

Time

TVF Env Time KF -100–+100

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

* You can control this parameter using the Matrix Control.

C4C3C2C1 C5 C6 C7

T1 T2 T3 T4

PCM Synth Tone (PCMS)

-100

-50

+50

+100

Key

TVF Env Time 1–4

TVF Env Level 0-4 0–127

0–127

Cuto

Frequency

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

Note on

T: Time L: Level

L2 L4

Note o

TVA tab

Sets the volume of the partial. This setting is useful primarily for adjusting the volume balance

Partial Level

Level V-Curve FIXED, 1–7

Level V-Sens -63–+63

Bias Level -100–+100

Bias Position C-1–G9 Species the key relative to which the volume will be modied.

Bias Direction

0–127

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

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

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

L&U The volume will be modied symmetrically toward the left and right of the Bias Point.

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

between partials.

* You can control this parameter using the Matrix Control.

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

1 2 3 4 5 6 7

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

MEMO

If you wish to make adjustments to the entire tone while maintaining the relative values of TVA Level V-Sens among partials, adjust the Velocity Sens Oset parameter (p. 43). However, this setting is shared by the Cuto V-Sens parameter (p. 52).

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change.

Negative (-) values will invert the change direction.

Time

PCM Synth Tone (PCMS)

Parameter Value Explanation

Partial Pan

Pan Keyfollow -100–+100

L64–63R

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

* You can control this parameter using the Matrix Control.

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

Pan

+100

+50

-50

Random Pan Depth 0–63

Alternate Pan Depth L63–63R

TVA Env tab

TVA Env T1 V-Sens -63–+63

TVA Env T4 V-Sens -63–+63

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two partials are set to “L” and

“R” respectively, the panning of the two tones will alternate each time they are played.

C4C3C2C1 C5 C6 C7

-100

Key

NOTE

In the Pan Key Follow, Random Pan Depth, and Alternate Pan Depth parameter settings, if the Structure Type set in the range of “2”–”10,” the output of partial 1 and 2 will be combined into partial 2, and the output of partial 3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 47).

This allows keyboard dynamics to aect the Time 1 of the T VA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

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

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

Time

-100

TVA Env Time KF -100–+100

TVA Env Time 1–4

0–127

-50

+50

+100

C4C3C2C1 C5 C6 C7

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

* You can control this parameter using the Matrix Control.

Key

Parameter Value Explanation

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Partial Level value specied in the T VA screen).

PCM Synth Tone (PCMS)

T1 T2 T3 T4

TVA Env Level 1–3 0–127

Level

Note on

T: Time L: Level

* If you set TVA Env Level 3 near “0,” the sound may decay if you continue playing legato. If this

occurs, you can raise the TVA Env Level 3 value so that the sound continues.

Note o

Time

Output tab

Output Level 0–127 Species the signal level of each partial.

Chorus Send Level 0–127 Species the level of the signal sent to the chorus for each partial.

Reverb Send Level 0–127 Species the level of the signal sent to the reverb for each partial.

LFO1/LFO2 tab

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each partial has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cuto frequency and volume to create modulation-type eects such as vibrato, wah and tremolo. Both LFOs have the same parameters.

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-U Sawtooth wave

SAW-D Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the

BND-U

Waveform

BND-D

TRP Trapezoidal wave

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

CHAOS Chaos wave

VSIN Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

STEP

waveform then continues without further change.

NOTE

You must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no eect.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

NOTE

You must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no eect.

A waveform generated by the data specied by LFO Step 1–64. This produces stepped change with a xed pattern similar to a step modulator.

Adjusts the modulation rate, or speed, of the LFO.

If you want the LFO rate to be synchronized with the tempo, specify the setting as a note value relative to the synchronization tempo.

* You can control this parameter using the Matrix Control.

Rate

0–127, Note

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Value LFO Rate

(half note)

(quarter note)

(eighth note)

1 second (60/60 = 1 [second])

0.5 seconds (60/120 = 0.5 [second])

0.25 seconds (60/240 = 0.25 [second])

NOTE

This setting will be ignored if the Waveform parameter is set to “CHAOS.”

PCM Synth Tone (PCMS)

Parameter Value Explanation

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is

Rate Detune 0–127

Oset -100, -50, 0, +50, +100

Delay Time 0–127

pressed.

Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive (+) value will move the waveform so that modulation will occur from the central value upward. Negative (-) value will move the waveform so that modulation will occur from the central value downward.

Delay Time (LFO Delay Time) species the time elapsed before the LFO eect is applied (the eect continues) after the key is pressed (or released).

* After referring to “How to Apply the LFO” (p. 57), change the setting until the desired eect is

achieved.

MEMO

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be eective to add the vibrato after the note is drawn out somewhat. If you set the Delay Time in conjunction with the Pitch Depth parameter and Rate parameter, the vibrato will be applied automatically following a certain interval after the key is pressed. This eect is called “Delay Vibrato.”

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive (+) value; to increase the elapsed time, select a negative (-) value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

Time

-100

Delay Time KF -100–+100

Fade Mode ON<, ON>, OFF<, OFF>

Fade Time 0–127

Key Trigger OFF, ON

Pitch Depth

TVF Depth

TVA Depth

Pan Depth

-63–+63

-50

+50

+100

C4C3C2C1 C5 C6 C7

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p. 57), change the setting until the desired eect is

achieved.

Species the time over which the LFO amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 57), change the setting until the desired eect is

achieved.

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

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

* You can control this parameter using the Matrix Control.

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

* You can control this parameter using the Matrix Control.

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

* You can control this parameter using the Matrix Control.

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

* You can control this parameter using the Matrix Control.

Key

MEMO

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

NOTE

In the Pan Depth parameter settings, if the Structure Type parameter is set to any value from “2” through “10,” the output of partial 1 and 2 will be combined into partial 2, and the output of partial 3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 47).

Parameter Value Explanation

low (less)

Step LFO tab

Step Type TYP1, T YP2

LFO Step1-16 -36–+36

When generating an LFO waveform from the data specied in LFO Step1–16, specify whether the level will change abruptly at each step (TYP1) or will be connected linearly (TYP2).

Species the data for the Step LFO.

If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Pan

Delay Time

Note on

Fade Time

Delay Time

Depth

Fade Time

Depth

high (more)

Pitch

Cuto Frequency

Level

low (less)

Parameter Explanation

Fade Mode ON <

Delay Time The time from when the keyboard is played until the LFO begins to be applied.

Fade Time The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

high (more)

Pitch

Cuto Frequency

Level

PCM Synth Tone (PCMS)

Parameter Explanation

Fade Mode ON >

Delay Time The time that the LFO will continue after the keyboard is played.

Fade Time The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Apply the LFO gradually after the key is released

Note

o

Delay Time

Fade Time

Depth

high (more)

Pitch

Cuto Frequency

Level

Pan

Note

low (less)

Parameter Explanation

Fade Mode OFF <

Delay Time The time from when the keyboard is released until the LFO begins to be applied.

Fade Time The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Note o

Delay Time

Fade Time

Depth

high (more)

Pitch

Cuto Frequency

Level

Pan

low (less)

Note on

Parameter Explanation

Fade Mode OFF >

Delay Time The time that the LFO will continue after the keyboard is released.

Fade Time The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

PCM Synth Tone (PCMS)

Parameter Value Explanation

Control tab

When a loop waveform is selected, the sound will normally continue as long as the key is pressed.

Env Mode NOSUS, SUST

If you want the sound to decay naturally even if the key remains pressed, set this to “NOSUS.”

NOTE

If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUST.”

Rx Bender OFF, ON For each partial, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

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

For each partial, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Rx Hold-1 OFF, ON

Redamper Sw OFF, ON

NOTE

If “NOSUS” is selected for Env Mode parameter, this setting will have no eect.

You can specify, on an individual partial basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.”

When using this function, also set the Rx Hold-1 parameter “ON.” This function is eective for piano sounds.

Matrix Control 1–4 tab

Matrix Control

Ordinarily, if you wanted to change partial parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively

for the FA. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the FA’s partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way tones are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter.

The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the “Matrix Control.” Up to four Matrix Controls can be used in a single tone.

To use the Matrix Control, specify which MIDI message (Src) will be used to control which parameter (Dest), and how greatly (Sns), and the partial to which the eect is applie

(Switch).

Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF: Matrix control will not be used.

CC01–31, 33–95: Controller numbers 1–31, 33–95

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–4: MIDI messages used as common matrix controls.

VELOCITY: Velocity (pressure you press a key with)

KEYFOLLOW: Keyfollow (keyboard position with C4 as 0)

TEMPO: Tempo specied by the tempo assign source, or the tempo of an external MIDI sequencer

LFO1: LFO 1

LFO2: LFO 2

PITCH ENV: Pitch envelope

TVF ENV: TVF envelope

TVA ENV: TVA envelope

* Velocity and Keyfollow correspond to Note messages.

* Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as

Matrix Control. In this case, you can change the partial settings in realtime by playing tones.

* If you want to use common controllers for the entire FA, select “SYS CTRL1”–”SYS CTRL4.” MIDI

messages used as System Control 1–4 are set with the Tone Control 1–4 Src (p. 5).

Reference

For more information about Control Change messages, please refer to “MIDI Implementation

(PDF).”

Control1–4 Source

OFF, CC01–CC31, CC33–CC95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4, VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA ENV

NOTE

• There are parameters that determine whether or not Pitch Bend, Controller Number 11

(Expression) and Controller Number 64 (Hold 1) are received (p. 58). When these settings are

“ON,” and the MIDI messages are received, then when any change is made in the settings

of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specic MIDI messages will be received for

each part in a studio set (p. 13). When a tone with Matrix Control settings is assigned to a part, conrm that any MIDI messages used for the Matrix Control will be received. If the FA is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Parameter Value Explanation

Selects the partial parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

MEMO

In this manual, Parameters that can be controlled using the Matrix Control (p. 58) are marked with a “

If you’re not using Matrix Control

OFF: Matrix Control will not be used.

Changing the Pitch

PITCH: Changes the pitch.

Opening and Closing the Filter

CUTOFF: Changes the cuto frequency.

RESONANCE: Emphasizes the overtones in the region of the cuto frequency, adding character

to the sound.

Changing the Volume and Pan

Control1–4 Dest1–4

OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, OUTPUT LEVEL, CHORUS SEND, REVERB SEND, LFO1/LFO2 PITCH DEPTH, LFO1/LFO2 TVF DEPTH, LFO1/LFO2 TVA DEPTH, LFO1/LFO2 PAN DEPTH, LFO1/LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, PMT, FXM DEPTH

LEVEL: Changes the volume level.

PAN: Changes the pan.

Changing How the Eects Are Applied

OUTPUT LEVEL: Changes the volume of the original sound.

CHORUS SEND: Changes the amount of chorus.

REVERB SEND: Changes the amount of reverb.

Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.

LFO1/LFO2 TVF DEPTH: Changes the wah depth.

LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.

LFO1/LFO2 PAN DEPTH: Changes the eect that the LFO will have on pan.

LFO1/LFO2 RATE: Changes the speed of the LFO cycles. The speed will not change if LFO Rate

is set to “note.”

Changing the Pitch Envelope

PIT ENV A-TIME: Changes the Env Time 1 of the pitch envelope.

PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the pitch envelope.

PIT ENV R-TIME: Changes the Env Time 4 of the pitch envelope.

Changing the TVF Envelope

TVF ENV A-TIME: Changes the Env Time 1 of the TVF envelope.

TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVF envelope.

TVF ENV R-TIME: Changes the Env Time 4 of the T VF envelope.

Changing the TVA Envelope

TVA ENV A-TIME: Changes the Env Time 1 of the TVA envelope.

TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVA envelope.

TVA ENV R-TIME: Changes the Env Time 4 of the TVA envelope.

Splitting Partials That Are Played

PMT:If the M atrix Control is used to split partials, set the PMT Velocity Control (p. 48) to “OFF,” and the PMT Control Switch (p. 49) to “ON.”

• If the Matrix Control is used to split partials, we recommend setting the Sens (p. 59) to “+63.”

Selecting a lower value may prevent switching of the partials. Furthermore, if you want to reverse the eect, set the value to “-63.”

• If you want to use matrix control to switch smoothly between partials, use the Velo Fade Lower and

Velo Fade Upper (p. 49). The higher the values set, the smoother the switch is between the partials.

Changing the Depth of Frequency Modulation Produced by FXM

FXM DEPTH

Sets the amount of the Matrix Control’s eect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward

Control1–4 Sens1–4 -63–+63

Control1–4 Switch1–4 OFF, ON, REVS

the right, or faster etc. – from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, 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.

Selects the partial to which the eect is applied when using the Matrix Control.

OFF: The eect will not be applied.

ON: The eect will be applied.

REVS: The eect will be applied in reverse.

PCM Synth Tone (PCMS)

.”

PCM Synth Tone (PCMS)

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 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.

PCM Drum Kit (PCMD)

TONE EDIT (PCMD)

Each kit has 88 sets (Partial 1–88) of WAVE, TVF, and TVA settings, in addition to multi-eect (MFX) settings.

Each partial has four wave generators. You can assign a dierent note number that will sound each of the 88 partials.

For the one part specied by the Drum Comp+EQ Assign setting, you’ll be able to use six sets of compressor + equalizer units to make the sound more consistent or to adjust the tonal character.

Partial 88

Partial 1

WAVE TVF

Pitch

Env

TVA

TVF Env TVA Env

Comp+EQ 1

Comp+EQ 2 Comp+EQ 5

Comp+EQ 3 Comp+EQ 6

Comp+EQ 4

MFX

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

MEMO

CURRENT PARTIAL (the currently selected partial) species the note number (21 (A0)–108 (C8)) to which you will assign a drum instrument.

Phrase Number 0–18 Number of the phrase that plays when you press the [PREVIEW] button.

Sets the volume of the drum kit.

Drum Kit Level 0–127

Partial Name 12 characters

Assign Type MULTI, SINGLE

Mute Group OFF, 1–31

Partial Env Mode NO-SUS, SUSTAIN

Partial Pitch Bend Range 0–48

Partial Rx Expression OFF, ON

MEMO

The volume levels of the partials from which the drum kit is composed is set with the Partial Level parameter (p. 65). The volume levels of the Waves from which the drum partial is composed is set with the Wave Level parameter (p. 62).

You can assign a name of up to 12 characters to the drum partial.

By pressing [ENTER], you can assign a name to the drum partial.

Assign Type sets the way sounds are played when the same key is pressed a number of times.

MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more drum partials that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. Drum partials that are not belong to any such group should be set to “OFF.”

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUSTAIN.”

Species the amount of pitch change in semitones (4 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.

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

PCM Drum Kit (PCMD)

Parameter Value Explanation

For each drum partial, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Partial Rx Hold-1 OFF, ON

One Shot Mode OFF, ON

NOTE

If “NO-SUS” is selected for Partial Env Mode parameter (p. 61), this setting will have no eect.

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes rst).

The result will be the same as when the envelope’s Partial Env Mode parameter is set to “NO-SUS.”

Wave tab

Wave 1–4 Switch OFF, ON Turns the wave on/o.

Wave Group

Wave No.L (Mono)

Wave No.R

Wave Gain -6, 0, +6, +12 dB

Wave Tempo Sync OFF, ON

INT, Ex01– (if expansion sound Waves exist)

OFF, 1–

Select the groups containing the Waves comprising the drum partial.

INT: Internal sound bank

Ex01–: Expansion sound banks

This selects the Waves comprising the drum partial. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

This is available only if there are expansion sounds and you’ve selected a waveform that indicates the tempo (BPM).

If a waveform of an expansion sound is selected for the partial, turning Wave Tempo Sync “ON” disables pitch-related settings and FXM-related settings.

Phrase Loop

“Phrase Loop” refers to the repeated playback of a phrase that’s been pulled out of a song (e.g.,

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

Wave FXM Switch OFF, ON

Wave FXM Color 1–4

Wave FXM Depth 0–16

Wave Coarse Tune -48–+48

Wave Fine Tune -50–+50

Wave Level 0–127

Wave Pan L64–63R

Wave Random Pan Sw OFF, ON

Wave Alter Pan Sw OFF, ON, REVS

FXM

Species how FXM will perform frequency modulation.

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

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

NOTE

When the Wave Tempo Sync is set to “ON,” settings related to Pitch (p. 63) and FXM are disabled.

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

MEMO

The Coarse Tune of the entire drum partial is set by the Partial Coarse Tune (p. 63).

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

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

MEMO

The Fine Tune of the entire drum partial is set by the Partial Fine Tune (p. 63).

You can set the volume of the waveform.

MEMO

The volume level of each drum partial is set with the Partial Level; the volume levels of the entire drum kit is set with the Drum Kit Level (p. 61).

This species the pan of the waveform.

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

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

* The range of the panning change is set by the Random Pan Depth (p. 66).

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alter Pan Sw to “ON” to pan the Wave according to the Alter Pan Depth settings, or to “REVS” when you want the panning reversed. If you do not want the panning to change each time a key is pressed, set this to “OFF.”

Parameter Value Explanation

WMT tab

WMT Velocity Control determines whether a dierent drum partial is played (ON) or not (OFF)

WMT Velocity Control OFF, ON, RANDOM

Level

depending on the force with which the key is played (velocity).

When set to “RANDOM,” the drum kit’s constituent drum partials will sound randomly, regardless of any velocity messages.

PCM Drum Kit (PCMD)

Velocity

Velo Fade Upper 0–127

Velo Range Upper LOWER–127

Velo Range Lower 1–UPPER

Velo Fade Lower 0–127

Pitch tab

Partial Coarse Tune C-1–G9

Partial Fine Tune -50–+50

0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30,

Partial Random Pitch Depth

40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

Fade Lower

Range Lower

Fade Upper

Range Upper

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

This sets the highest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

This sets the lowest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

NOTE

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

Selects the pitch at which a drum partial sounds.

MEMO

Set the coarse tuning for Waves comprising the drum partials with the Wave Coarse Tune parameter (p. 62).

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

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

MEMO

Set the ne tuning for Waves comprising the drum partials with the Wave Fine Tune parameter (p. 62).

This species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.”

These values are in units of cents (1/100th of a semitone).

Pitch Env tab

Pitch Env Depth -12–+12

Pitch Env V-Sens -63–+63

Pitch Env T1 V-Sens -63–+63

Pitch Env T4 V-Sens -63–+63

Pitch Env Time 1–4 0–127

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

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

PCM Drum Kit (PCMD)

Parameter Value Explanation

Pitch Env Level 0-4 -63–+63

Pitch

T: Time L: Level

TVF tab

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

OFF: No lter is used.

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

Freq) in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

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

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

Filter Type OFF, LPF, BPF, HPF, PKG, LPF2, LPF3

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto Frequency). This can be used to portray the resonance peak of a drum.

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

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

Note on

T2 T3 T4

Time

Note o

Cuto Frequency 0–127

Resonance 0–127

NOTE

If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

If “BPF” is selected, harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

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

LPF BPF HPF PKG

Level

High

Frequency

Cuto Frequency

parameter value

Low

Parameter Value Explanation

Cuto V-Curve FIXED, 1–7

1 2 3 4 5 6 7

Use this parameter when changing the cuto frequency to be applied as a result of changes in

Cuto V-Sens -63–+63

Resonance V-Sens -63–+63

TVF Env V-Curve FIXED, 1–7

playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) value. If you want strongly played notes to lower the cuto frequency, use negative (-) value.

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

1 2 3 4 5 6 7

PCM Drum Kit (PCMD)

TVF Env V-Sens -63–+63

TVF Env T1 V-Sens -63–+63

TVF Env T4 V-Sens -63–+63

TVF Env tab

TVF Env Depth -63–+63

TVF Env Time 1–4 0–127

TVF Env Level 0-4 0–127

Species the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) value will invert the shape of the envelope.

T1 T2 T3 T4

Cuto

Frequency

Note on

L2L1 L4

Note o

Time

TVA tab

Partial Level 0–127

Level V-Curve FIXED, 1–7

T: Time L: Level

Sets the volume of the drum partial. Use this parameter to adjust the volume balance between drum partials.

MEMO

The volume levels of the Waves from which the drum partial is composed is set with the Wave Level parameter (p. 62).

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the drum partial to be aected by the force with which you press the key, select “FIXED.”

1 2 3 4 5 6 7

PCM Drum Kit (PCMD)

Parameter Value Explanation

Set this when you want the volume of the drum partial to change depending on the force with

Level V-Sens -63–+63

Partial Pan L64–63R

Random Pan Depth 0–63

Alternate Pan Depth L63–63R

Relative Level -64–+63

which you press the keys. Set this to a positive (+) value to have the changes in drum partial volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

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

MEMO

Set the Pan for Waves comprising the drum partials with the Wave Pan parameter (p. 62).

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

NOTE

This will aect only waves whose Wave Random Pan Sw parameter (p. 62) is ON.

“L” and “R” respectively, the panning of the two drum partials will alternate each time they are

played.

NOTE

This will aect only waves whose Wave Alter Pan Sw parameter (p. 62) is ON or REVS.

Corrects for the volume of the drum partial.

This parameter is set by the key-based controller system exclusive message. Normally, you should leave it set to 0.

NOTE

If the drum partial level is set to 127, the volume will not increase beyond that point.

TVA Env tab

TVA Env T1 V-Sens -63–+63

TVA Env T4 V-Sens -63–+63

TVA Env Time 1–4 0–127

TVA Env Level 1–3 0–127

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

T1 T2 T3 T4

Level

Note on

T: Time L: Level

Note o

Output tab

Partial Output Assign PART, COMP+EQ1–6 Species how the sound of each partial will be output.

Partial Output Level 0–127 Species the signal level of each partial.

Partial Chorus Send Level 0–127 Species the level of the signal sent to the chorus for each partial.

Partial Reverb Send Level 0–127 Species the level of the signal sent to the reverb for each partial.

Time

Comp tab

* COMP+EQ can be used only for the part specied by Drum Comp+EQ Assign.

Comp 1–6 Switch OFF, ON Compressor on/o

Comp 1–6 Attack Time 0.05–50.0 ms Time from when the input exceeds the threshold until compression begins

Comp 1–6 Release Time 0.05–2000 ms Time from when the input falls below the threshold until compression is turned o

Comp 1–6 Threshold 0–127 Level above which compression is applied

Comp 1–6 Ratio 1:1–inf:1 Compression ratio

Comp 1–6 Output Gain 0–+24 dB Level of the output sound

Parameter Value Explanation

EQ tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

EQ 1–6 Switch OFF, ON Equalizer on/o

EQ 1–6 Low Freq 200, 400 Hz Frequency of the low range

EQ 1–6 Low Gain -15–+15 dB Gain of the low range

EQ 1–6 Mid Freq

EQ 1–6 Mid Gain -15–+15 dB Gain of the middle range

EQ 1–6 Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ 1–6 High Freq 2000, 4000, 8000 Hz Frequency of the high range

EQ 1–6 High Gain -15–+15 dB Gain of the high range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 Hz

Frequency of the middle range

Width of the middle range

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

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 tone multi-eects. For details on tone 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.”

PCM Drum Kit (PCMD)

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 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.

Chorus, Reverb

Chorus Parameters

The chorus section can be used as a delay.

Select either chorus or delay, and specify how the chorus/delay sound will be heard.

Parameter Value Explanation

00: OFF,

Chorus Type

Chorus Level 0–127 Volume of the chorus sound

Chorus Output Assign

Chorus Output Select

01: Chorus

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback 0–127

02: Delay

Delay Left

Delay Right

Delay Center

Center Feedback -98–+98 %

HF Damp

Left Level

Center Level

03: GM2 Chorus

Pre-LPF 0–7

Level 0–127 Volume of the chorus sound

Feedback 0–127

Delay 0–127

Rate 0–127 Frequency of modulation

Depth 0–127 Depth of modulation

Send Level to Reverb

01: Chorus, 02: Delay, 03: GM2 Chorus

MAIN, SUB

MAIN, REV, MAIN+REV

0.05–10.00 Hz, note

0–1000 msec, note

200–8000 Hz, BYPASS

0–127 Volume of each delay soundRight Level

0–127

Selects either Chorus or Delay.

OFF: Neither Chorus or Delay is used.

Chorus: Chorus is used.

Delay: Delay is used.

GM2: GM2 Chorus is used.

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.

Type of lter

OFF: No lter is used.

LPF: Cuts the frequency range above the

Cuto Freq

HPF: Cuts the frequency range below the Cuto Freq

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

Frequency of modulation

Adjusts the amount of the chorus sound that is fed back into the eect.

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Cuts the high frequency range of the sound coming into the chorus.

Higher values will cut more of the high frequencies.

Adjusts the amount of the chorus sound that is fed back into the eect.

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

Adjusts the amount of chorus sound that will be sent to the reverb.

Reverb Parameters

Parameter Value Explanation

Type of reverb

00: OFF 01: Room 1

Reverb Type

Reverb Level 0–127 Volume of the reverb sound

Reverb Output Assign

01–05: Room 1/2, Hall 1/2, Plate

Pre Delay 0–100 msec

Time 0.1–10 sec Time length of reverberation

Density 0–127 Density of reverb

Diusion 0–127

LF Damp 0–100

HF Damp 0–100

Spread 0–127 Reverb spread

Tone 0–127 Tonal character of the reverb

06: GM2 Reverb

Character 0–5 Type of reverb

Time 0–127 Time length of reverberation

02: Room 2 03: Hall 1 04: Hall 2 05: Plate 06: GM2 Reverb

MAIN, SUB

OFF: Reverb will not be used

Room 1/2: Reverb that simulates the

reverberation of a room

Hall 1/2: Reverb that simulates the reverberation of a hall

Plate: Simulation of a plate echo (a reverb device that uses a metal plate)

GM2 Reverb: GM2 reverb

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

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

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

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

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

Adjusts the low-frequency portion of the reverb.

Adjusts the high-frequency portion of the reverb.

IFX Parameters

The IFX features 78 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Type IFX Name Page

00 Thru −

01 Equalizer p. 70

02 Spectrum p. 70

03 Isolator p. 70

04 Low Boost p. 70

FILTER

MODULATION

CHORUS

DYNAMICS

05 Super Filter p. 71

06 Step Filter p. 71

07 Enhancer p. 71

08 Auto Wah p. 72

09 Humanizer p. 72

10 Speaker Simulator p. 72

11 Phaser p. 73

12 Step Phaser p. 73

13 Multi Stage Phaser p. 73

14 Innite Phaser p. 73

15 Ring Modulator p. 74

16 Step Ring Modulator p. 74

17 Tremolo p. 74

18 Auto Pan p. 74

19 Step Pan p. 75

20 Slicer p. 75

21 Rotary p. 75

22 VK Rotary p. 76

23 Chorus p. 76

24 Flanger p. 76

25 Step Flanger p. 77

26 Hexa-Chorus p. 77

27 Tremolo Chorus p. 77

28 Space-D p. 77

29 3D Chorus p. 78

30 3D Flanger p. 78

31 3D Step Flanger p. 78

32 2Band Chorus p. 79

33 2Band Flanger p. 79

34 2Band Step Flanger p. 79

35 Overdrive p. 80

36 Distortion p. 80

37 VS Overdrive p. 80

38 VS Distortion p. 80

39 Guitar Amp Simulator p. 80

40 Compressor p. 81

41 Limiter p. 81

42 Gate p. 81

Type IFX Name Page

43 Delay p. 81

44 Long Delay p. 82

45 Serial Delay p. 82

46 Modulation Delay p. 82

47 3Tap Pan Delay p. 83

48 4Tap Pan Delay p. 83

DELAY

LO-FI

PITCH

REVERB

COMBINATION

PIANO 78 Sympathetic Resonance p. 91

49 Multi Tap Delay p. 83

50 Reverse Delay p. 84

51 Shue Delay p. 84

52 3D Delay p. 84

53 Time Ctrl Delay p. 85

54 Long Time Ctrl Delay p. 85

55 Tape Echo p. 85

56 Lo Noise p. 86

57 Lo Compress p. 86

58 Lo Radio p. 86

59 Telephone p. 87

60 Phonograph p. 87

61 Pitch Shifter p. 87

62 2Voice Pitch Shifter p. 87

63 Step Pitch Shifter p. 88

64 Reverb p. 88

65 Gated Reverb p. 88

Overdrive g Chorus

Overdrive g Flanger

Overdrive g Delay

Distortion g Chorus

Distortion g Flanger

Distortion g Delay

Enhancer g Chorus

Enhancer g Flanger

Enhancer g Delay

Chorus g Delay

Flanger g Delay

Chorus g Flanger

p. 89

p. 90

p. 91

IFX Parameters

L in

R in

L out

R out

L in

R in

R out

L in

R in

R out

L in

R in

R out

01: Equalizer

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

4-Band EQ

Parameter Value Explanation

Low Freq 200, 400 Hz Frequency of the low range

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

Mid1 Freq 200–8000 Hz Frequency of the middle range 1

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

Mid1 Q

Mid2 Freq 200–8000 Hz Frequency of the middle range 2

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

Mid2 Q

High Freq

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

Level 0–127 Output Level

0.5, 1.0, 2.0, 4.0,

8.0

0.5, 1.0, 2.0, 4.0,

8.0

2000, 4000, 8000 Hz

Width of the middle range 1

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

Width of the middle range 2

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

Frequency of the high range

02: Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

Spectrum

Parameter Value Explanation

Band1 (250 Hz)

Band2 (500 Hz)

Band3 (1000 Hz)

Band4 (1250 Hz)

Band5 (2000 Hz)

Band6 (3150 Hz)

Band7 (4000 Hz)

Band8 (8000 Hz)

Level 0–127 Output Level

-15–+15 dB Gain of each frequency band

0.5, 1.0, 2.0, 4.0,

8.0

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

L out

03: Isolator

This is an equalizer which cuts the volume greatly, allowing you to add a special eect to the sound by cutting the volume in varying ranges.

Isolator

Parameter Value Explanation

Boost/Cut Low

Boost/Cut Mid

Boost/Cut High

Anti Phase Low Sw

Anti Phase Low Level

Anti Phase Mid Sw

Anti Phase Mid Level

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output Level

-60–+4 dB

OFF, ON

0–127

OFF, ON

0–127

Low Boost

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

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

Turns the Anti-Phase function on and o for the Low frequency ranges.

When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Adjusts the level settings for the Low frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specic parts (This is eective only for stereo source.).

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

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

Turns Low Booster on/o.

This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end.

* Depending on the Isolator and

lter settings this eect may be hard to distinguish.

L out

04: Low Boost

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

Low Boost

Parameter Value Explanation

Boost Frequency

Boost Gain 0–+12 dB

Boost Width

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

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

Level 0–127 Output level

50–125 Hz

WIDE, MID, NARROW

2-Band EQ

Center frequency at which the lower range will be boosted

Amount by which the lower range will be boosted

Width of the lower range that will be boosted

L out

IFX Parameters

L in

R in

R out

SAW1 SAW2

L in

R in

R out

L in

R in

R out

Mix

05: Super Filter

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

Super Filter

Parameter Value Explanation

Filter type

Frequency range that will pass through each lter

LPF Frequencies below the cuto

Filter Type

Filter Slope

Filter Cuto 0–127

Filter Resonance

Filter Gain 0–+12 dB Amount of boost for the lter output

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

BPF Frequencies in the region of the cuto

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12 dB Gentle

-24 dB Steep

-36 dB Extremely steep

0–127

How the cuto frequency will be modulated

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

Frequencies other than the region of the cuto

Cuto frequency of the lter

Increasing this value will raise the cuto frequency.

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

L out

06: Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

Step Filter

L out

Step Filter

Parameter Value Explanation

Step 01-16 0–127 Cuto frequency at each step

Rate

Attack 0–127

Filter Type

Filter Slope

Filter Resonance

Filter Gain 0–+12 dB Amount of boost for the lter output

Level 0–127 Output level

0.05–10.00 Hz, note

Filter type

Frequency range that will pass through each lter

LPF Frequencies below the cuto

BPF Frequencies in the region of the cuto

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12 dB Gentle

-24 dB Steep

-36 dB Extremely steep

0–127

Rate of modulation

Speed at which the cuto frequency changes between steps

Frequencies other than the region of the cuto

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

07: Enhancer

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

Rate

Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output level

0.05–10.00 Hz, note

Rate of modulation

Speed at which the cuto frequency will change

This is eective if Modulation Wave is SQR, SAW1, or SAW2.

Enhancer

Mix

Enhancer

Parameter Value Explanation

Sens 0–127 Sensitivity of the enhancer

Mix 0–127

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

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

Level 0–127 Output Level

2-Band

Level of the overtones generated by the enhancer

L out

IFX Parameters

L in

R in

R out

L in

R in

L out

R out

L in

R in

R out

08: Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

Auto Wah

Parameter Value Explanation

Type of lter

Filter Type

Manual 0–127

Peak 0–127

Sens 0–127

Polarity

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg

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

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

Level 0–127 Output Level

LPF

BPF

Sets the direction in which the frequency will change when the auto-wah lter is modulated.

DOWN

0.05–10.00 Hz, note

2-Band EQ

The wah eect will be applied over a wide frequency range.

The wah eect will be applied over a narrow frequency range.

Adjusts the center frequency at which the eect is applied.

Adjusts the amount of the wah eect that will occur in the range of the center frequency.

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

Adjusts the sensitivity with which the lter is controlled.

The lter will change toward a higher frequency.

The lter will change toward a lower frequency.

Frequency of modulation

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

L out

Parameter Value Explanation

Point at which Vowel 1/2 switch

0–49 Vowel 1 will have a longer duration.

Manual

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

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

Pan L64–63R Stereo location of the output

Level 0–127 Output level

51–100 Vowel 2 will have a longer duration.

Vowel 1 and 2 will be of equal duration.

10: Speaker Simulator

Simulates the speaker type and microphone settings used to record the speaker sound.

Speaker

Parameter Value Explanation

Speaker Type

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Level 0–127 Output Level

(See the following table)

Type of speaker

Adjusts the location of the microphone that is recording the sound of the speaker.

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Specications of each Speaker Type

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

L out

09: Humanizer

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

Overdrive

Parameter Value Explanation

Drive Sw OFF, ON Turns Drive on/o.

Drive 0–127

Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u

Rate

Depth 0–127 Eect depth

Input Sync Sw OFF, ON

Input Sync Threshold

0.05–10.00 Hz, note

0–127 Volume level at which reset is applied

Formant

2-Band

Degree of distortion

Also changes the volume.

Selects the vowel.

Frequency at which the two vowels switch

LFO reset on/o

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

Pan L

Pan R

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

IFX Parameters

R in

R out

L in

R in

R out

L in

Resonance

L in

R in

L out

R out

L in

R in

L out

R out

11: Phaser

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

Phaser

Mix

Phaser

Parameter Value Explanation

Mode

Manual 0–127

Rate

Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback

Mix 0–127 Level of the phase-shifted sound

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

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

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

-98–+98 %

Number of stages in the phaser

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

Frequency of modulation

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

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

2-Band

12: Step Phaser

This is a stereo phaser. The phaser eect will be varied gradually.

L out

Parameter Value Explanation

Resonance 0–127 Amount of feedback

Cross Feedback

Step Rate

Mix 0–127 Level of the phase-shifted sound

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

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

Level 0–127 Output Level

-98–+98 %

0.10–20.00 Hz, note

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

Rate of the step-wise change in the phaser eect

13: Multi Stage Phaser

Extremely high settings of the phase dierence produce a deep phaser eect.

Multi Stage

Phaser

Parameter Value Explanation

4-STAGE, 8-STAGE,

Mode

Manual 0–127

Rate

Depth 0–127 Depth of modulation

Resonance 0–127 Amount of feedback

Mix 0–127 Level of the phase-shifted sound

Pan L64–63R Stereo location of the output sound

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

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

Level 0–127 Output Level

12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0.05–10.00 Hz, note

Mix

Number of phaser stages

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

Frequency of modulation

2-Band

Pan L

Pan R

2-Band

Step Phaser

Mix

Step Phaser

Parameter Value Explanation

Mode

Manual 0–127

Rate

Depth 0–127 Depth of modulation

Polarity

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

Number of stages in the phaser

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

Frequency of modulation

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

L out

14: Innite Phaser

A phaser that continues raising/lowering the frequency at which the sound is modulated.

Infinite Phaser 2-Band EQ

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed -100–+100

Resonance 0–127 Amount of feedback

Mix 0–127 Volume of the phase-shifted sound

Pan L64–63R Panning of the output sound

Low Gain -15–+15 dB

High Gain -15–+15 dB

Level 0–127 Output volume

Higher values will produce a deeper phaser eect.

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Pan L

Pan R

IFX Parameters

L in

R in

R out

L in

R in

R out

L in

R in

R out

SAW1 SAW2

L in

R in

R out

SAW1 SAW2

15: Ring Modulator

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

Ring Mod

Parameter Value Explanation

Frequency 0–127

Sens 0–127

Determines whether the frequency modulation moves

Polarity

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

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

Balance

Level 0–127 Output level

towards higher frequencies or lower frequencies.

UP Higher frequencies

DOWN Lower frequencies

D100:0W– D0:100W

2-Band EQ

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Volume balance between the direct sound (D) and the eect sound (W)

L out

17: Tremolo

Cyclically modulates the volume to add tremolo eect to the sound.

Tremolo

Parameter Value Explanation

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

Mod Wave

Rate

Depth 0–127 Depth to which the eect is applied

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

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

Level 0–127 Output Level

SAW1/2 Sawtooth wave

0.05–10.00 Hz, note

2-Band EQ

Frequency of the change

L out

16: Step Ring Modulator

This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied.

Step Ring Mod

Parameter Value Explanation

Step 01-16 0–127

Rate

Attack 0–127

Low Gain -15–+15 dB

High Gain -15–+15 dB

Balance

Level 0–127 Output volume

0.05–10.00 Hz, note

D100:0W– D0:100W

2-Band EQ

Frequency of ring modulation at each step

Rate at which the 16-step sequence will cycle

Speed at which the modulation frequency changes between steps

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Volume balance of the original sound (D) and eect sound (W)

L out

18: Auto Pan

Cyclically modulates the stereo location of the sound.

Auto Pan

Parameter Value Explanation

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

Mod Wave

Rate

Depth 0–127 Depth to which the eect is applied

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

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

Level 0–127 Output Level

SAW1/2 Sawtooth wave

0.05–10.00 Hz, note

2-Band EQ

Frequency of the change

L out

IFX Parameters

L in

R in

L out

R out

L in

R in

R out

L out

R out

L in

R in

19: Step Pan

This uses a 16-step sequence to vary the panning of the sound.

Step Pan

Parameter Value Explanation

Step 01-16 L64–63R Pan at each step

Rate

Attack 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Level 0–127 Output volume

0.05–10.00 Hz, note

0–127

Rate at which the 16-step sequence will cycle

Speed at which the pan changes between steps

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

20: Slicer

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustaintype sounds.

Slicer

Parameter Value Explanation

Step 01-16 0–127 Level at each step

Rate

Attack 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Mode

Shue 0–127

Level 0–127 Output level

0.05–10.00 Hz, note

0–127

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

LEGATO

SLASH

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

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

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

Timing of volume changes in levels for even-numbered steps (step 2, step 4, step 6...).

The higher the value, the later the beat progresses.

L out

21: Rotary

The Rotary eect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This eect is most suitable for electric organ Tones.

Rotary

Parameter Value Explanation

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

Speed

Woofer Slow Speed

Woofer Fast Speed

Woofer Acceleration

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Acceleration

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

Level 0–127 Output Level

SLOW

FAST

0.05–10.00 Hz

0–15

0.05–10.00 Hz

0–15

Slows down the rotation to the Slow Rate.

Speeds up the rotation to the Fast Rate.

Slow speed (SLOW) of the low frequency rotor

Fast speed (FAST ) of the low frequency rotor

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Settings of the high frequency rotor

The parameters are the same as for the low frequency rotor

IFX Parameters

R out

L in

R in

L in

R out

Balance D

R in

R out

L in

Balance D

22: VK Rotary

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

2-Band EQ

Rotary

2-Band EQ

Parameter Value Explanation

Rotational speed of the rotating speaker

Speed

Brake OFF, ON

Woofer Slow Speed

Woofer Fast Speed

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Trans Up 0–127

Tweeter Trans Down

Tweeter Level 0–127

Spread 0–10

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

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

Level 0–127 Output Level

SLOW Slow

FAST Fast

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

0.05–10.00 Hz

0–127

0.05–10.00 Hz

0–127

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from SLOW to FAST.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from FAST to SLOW.

Settings of the tweeter

The parameters are the same as for the woofer.

Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.

23: Chorus

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

2-Band

Chorus

R in

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

LPF

HPF

Balance W

2-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

L out

Parameter Value Explanation

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Center frequency when using the lter to cut a specic frequency range

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

Frequency of modulation

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

24: Flanger

This is a stereo anger (The LFO has the same phase for left and right.). It produces a metallic resonance that rises and falls like a jet airplane taking o or landing. A lter is provided so that you can adjust the timbre of the anged sound.

2-Band

Flanger

Feedback Feedback

Flanger

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback -98–+98 %

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

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

Balance

Level 0–127 Output Level

LPF

HPF

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance W

2-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Volume balance between the direct sound (D) and the anger sound (W)

L out

IFX Parameters

R in

R out

L in

Balance D

L in

L out

R out

Balance D

L in

R in

L out

R out

Balance D

L in

R in

R out

Balance D

25: Step Flanger

This is a anger in which the anger pitch changes in steps. The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

2-Band

Step Flanger

Feedback Feedback

Step Flanger

Balance W

2-Band

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback -98–+98 %

Step Rate

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

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

Balance

Level 0–127 Output Level

LPF

HPF

0.05–10.00 Hz, note

0.10–20.00 Hz, note

D100:0W– D0:100W

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Rate (period) of pitch change

Volume balance between the direct sound (D) and the anger sound (W)

26: Hexa-Chorus

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

Balance D

Hexa Chorus

R in

Parameter Value Explanation

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Pre Delay Deviation

Depth Deviation -20–+20

0.05–10.00 Hz, note

0–20

Balance W

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

Frequency of modulation

Adjusts the dierences in Pre Delay between each chorus sound.

Adjusts the dierence in modulation depth between each chorus sound.

L out

Parameter Value Explanation

0–20

Pan Deviation

Balance

Level 0–127 Output Level

0 All chorus sounds will be in the center.

D100:0W– D0:100W

Adjusts the dierence in stereo location between each chorus sound.

Each chorus sound will be spaced at 60 degree intervals relative to the center.

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

27: Tremolo Chorus

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

Balance W

Tremolo Chorus

Balance W

Parameter Value Explanation

Pre Delay 0.0–100 msec

Chorus Rate

Chorus Depth 0–127 Modulation depth of the chorus eect

Tremolo Rate

Tremolo Separation

Tremolo Phase 0–180 deg Spread of the tremolo eect

Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

0–127 Spread of the tremolo eect

D100:0W– D0:100W

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

Modulation frequency of the chorus eect

Modulation frequency of the tremolo eect

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

28: Space-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus eect.

2-Band

Space D

Parameter Value Explanation

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance W

2-Band

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

Frequency of modulation

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

L out

IFX Parameters

2-Band

R out

2-Band

R out

2-Band

R out

29: 3D Chorus

This applies a 3D eect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.

L out

3D Chorus

2-Band

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Modulation depth of the chorus eect

Phase 0–180 deg Spatial spread of the sound

Output Mode

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

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

Balance

Level 0–127 Output Level

LPF

HPF

0.05–10.00 Hz, note

The optimal 3D eect will be achieved.

Speaker When using speakers

Phones When using headphones

D100:0W– D0:100W

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

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

Frequency of modulation

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

30: 3D Flanger

This applies a 3D eect to the anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

3D Flanger

2-Band

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback -98–+98 %

LPF

HPF

0.05–10.00 Hz, note

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

L out

Parameter Value Explanation

The optimal 3D eect will be achieved.

Output Mode

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

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

Balance

Level 0–127 Output Level

Speaker When using speakers

Phones When using headphones

D100:0W– D0:100W

Volume balance between the direct sound (D) and the anger sound (W)

31: 3D Step Flanger

This applies a 3D eect to the step anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

3D Step Flanger

2-Band

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000 Hz

Pre Delay 0.0–100 msec

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback -98–+98 %

Step Rate

Output Mode

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

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

Balance

Level 0–127 Output Level

LPF

HPF

0.05–10.00 Hz, note

0.10–20.00 Hz, note

The optimal 3D eect will be achieved.

Speaker When using speakers

Phones When using headphones

D100:0W– D0:100W

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Rate (period) of pitch change

Volume balance between the direct sound (D) and the anger sound (W)

L out

IFX Parameters

R in

R out

L in

L out

R in

R out

L in

L out

R in

R out

L in

L out

32: 2 Band Chorus

A chorus eect that lets you apply an eect independently to the low-frequency and high-frequency ranges.

Split

Parameter Value Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100 msec

Low Rate

Low Depth 0–127

Low Phase 0–180 deg

High Pre Delay 0.0–100 msec

High Rate

High Depth 0–127

High Phase 0–180 deg

Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

High Band Chorus

Low Band Chorus

High Band Chorus

Low Band Chorus

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range chorus sound is heard

Rate at which the low-range chorus sound is modulated

Modulation depth for the low-range chorus sound

Spaciousness of the low-range chorus sound

Delay time from when the original sound is heard to when the highrange chorus sound is heard

Rate at which the low-range chorus sound is modulated

Modulation depth for the high-range chorus sound

Spaciousness of the high-range chorus sound

Volume balance of the original sound (D) and chorus sound (W)

Parameter Value Explanation

Proportion of the low-range anger

Low Feedback -98–+98 %

High Pre Delay 0.0–100 msec

High Rate

High Depth 0–127

High Phase 0–180 deg

High Feedback -98–+98 %

Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

sound that is to be returned to the input (negative (-) values invert the phase)

Delay time from when the original sound is heard to when the highrange anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Spaciousness of the high-range anger sound

Proportion of the high-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Volume balance of the original sound (D) and anger sound (W)

34: 2 Band Step Flanger

A step anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Step Flanger

Split

High Band Feedback

Low Band Step Flanger

Low Band Feedback

High Band Feedback

High Band Step Flanger

Low Band Feedback

Low Band Step Flanger

33: 2 Band Flanger

A anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Flanger

Split

Parameter Value Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100 msec

Low Rate

Low Depth 0–127

Low Phase 0–180 deg

0.05–10.00 Hz, note

High Band Feedback

Low Band Flanger

Low Band Feedback

High Band Feedback

High Band Flanger

Low Band Feedback

Low Band Flanger

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Spaciousness of the low-range anger sound

Parameter Value Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100 msec

Low Rate

Low Depth 0–127

Low Phase 0–180 deg

Low Feedback -98–+98 %

Low Step Rate

High Pre Delay 0.0–100 msec

High Rate

High Depth 0–127

High Phase 0–180 deg

0.05–10.00 Hz, note

0.10–20.00 Hz, note

0.05–10.00 Hz, note

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Spaciousness of the low-range anger sound

Proportion of the low-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Rate at which the steps will cycle for the low-range anger sound

Delay time from when the original sound is heard to when the highrange anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Spaciousness of the high-range anger sound

IFX Parameters

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

Parameter Value Explanation

Proportion of the high-range anger

High Feedback -98–+98 %

High Step Rate

Balance

Level 0–127 Output Level

0.10–20.00 Hz, note

D100:0W– D0:100W

sound that is to be returned to the input (negative (-) values invert the phase)

Rate at which the steps will cycle for the high-range anger sound

Volume balance of the original sound (D) and anger sound (W)

35: Overdrive

Creates a soft distortion similar to that produced by vacuum tube ampliers.

Over drive

Parameter Value Explanation

Drive 0–127

Type of guitar amp

SMALL Small amp

Amp Type

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

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

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

BUILT-IN Single-unit type amp

2-STACK Large double stack amp

3-STACK Large triple stack amp

Amp

Simulator

2-Band

Degree of distortion Also changes the volume.

36: Distortion

Produces a more intense distortion than Overdrive. The parameters are the same as for “35: Overdrive.”

Distortion

Amp

Simulator

2-Band

37: VS Overdrive

This is an overdrive that provides heavy distortion.

Overdrive

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Type of guitar amp

SMALL Small amp

Amp Type

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

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

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

BUILT-IN Single-unit type amp

2-STACK Large double stack amp

3-STACK Large triple stack amp

Amp

Simulator

2-Band

Degree of distortion Also changes the volume.

Pan L

Pan R

Pan L

Pan R

Pan L

Pan R

38: VS Distortion

This is a distortion eect that provides heavy distortion. The parameters are the same as for “37: VS Overdrive.”

Distortion

Amp

Simulator

2-Band

39: Guitar Amp Simulator

This is an eect that simulates the sound of a guitar amplier.

Pre Amp

Parameter Value Explanation

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

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II,

Pre Amp Type

Pre Amp Volume 0–127

Pre Amp Master 0–127 Volume of the entire pre-amp

Pre Amp Gain

Pre Amp Bass

Pre Amp Middle

Pre Amp Treble

Pre Amp Presence

Pre Amp Bright OFF, ON

Speaker Sw OFF, ON

Speaker Type

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

MS1959I+II, SLDN LEAD, METAL 5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

LOW, MIDDLE, HIGH

0–127

(See the following table)

Speaker

Type of guitar amp

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Tone of the bass/mid/treble frequency range Middle cannot be set if “MATCH

DRIVE” is selected as the Pre Amp

Type.

Tone for the ultra-high frequency range

Turning this “On” produces a sharper and brighter sound. This parameter applies to the

“JC-120,” “CLEAN TWIN,” and “BG LEAD” Pre Amp Types.

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

Type of speaker

Adjusts the location of the microphone that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

Pan L

Pan R

Pan L

Pan R

IFX Parameters

L in

R in

R out

L in

R in

R out

L in

R in

R out

R in

R out

L in

Balance D

R in

R out

L in

Balance D

Specications for each Speaker Type

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

Type Cabinet Speaker Microphone

SMALL 1 Small open-back enclosure 10 Dynamic

SMALL 2 Small open-back enclosure 10 Dynamic

MIDDLE Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

BUILT-IN 1 Open back enclosure 12 x 2 Dynamic

BUILT-IN 2 Open back enclosure 12 x 2 Condenser

BUILT-IN 3 Open back enclosure 12 x 2 Condenser

BUILT-IN 4 Open back enclosure 12 x 2 Condenser

BUILT-IN 5 Open back enclosure 12 x 2 Condenser

BG STACK 1 Sealed enclosure 12 x 2 Condenser

BG STACK 2 Large sealed enclosure 12 x 2 Condenser

MS STACK 1 Large sealed enclosure 12 x 4 Condenser

MS STACK 2 Large sealed enclosure 12 x 4 Condenser

METAL STACK Large double stack 12 x 4 Condenser

2-STACK Large double stack 12 x 4 Condenser

3-STACK Large triple stack 12 x 4 Condenser

40: Compressor

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

Compressor

Parameter Value Explanation

Attack 0–127

Threshold 0–127

Post Gain 0–+18 dB Adjusts the output gain.

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

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

Level 0–127 Output Level

2-Band EQ

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

Adjusts the volume at which compression begins

L out

Parameter Value Explanation

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

Level 0–127 Output Level

42: Gate

Cuts the reverb’s delay according to the volume of the sound sent into the eect. Use this when you want to create an articialsounding decrease in the reverb’s decay.

Gate

L out

Gate

Parameter Value Explanation

Threshold 0–127

Type of gate

Mode

Attack 0–127

Hold 0–127

Release 0–127

Balance

Level 0–127 Output Level

GATE

DUCK (Ducking)

D100:0W– D0:100W

Volume level at which the gate begins to close

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

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

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

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

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

Volume balance between the direct sound (D) and the eect sound (W)

43: Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

2-Band

Delay

Feedback Feedback

Balance W

L out

41: Limiter

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

Limiter

Parameter Value Explanation

Release 0–127

Threshold 0–127

Ratio

Post Gain 0–+18 dB Adjusts the output gain.

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

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

2-Band EQ

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

Adjusts the volume at which compression begins

Compression ratio

L out

Delay

When Feedback Mode is CROSS:

Delay

Feedback Feedback

Delay

Balance W

2-Band

Balance W

2-Band

L out

IFX Parameters

L in

R in

R out

2-Band

R in

R out

L in

L out

2-Band

R in R out

L in

Balance D

R in

R out

L in

Balance D

Parameter Value Explanation

Delay Left

Delay Right

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback -98–+98 %

HF Damp

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

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

Balance

Level 0–127 Output Level

0–1300 msec, note

Phase of the left delay sound

NORMAL Non-inverted

INVERT Inverted

Phase of the right delay sound

NORMAL Non-inverted

INVERT Inverted

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the eect (See the gures.).

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

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

44: Long Delay

A delay that provides a long delay time.

Long Delay

Feedback

Parameter Value Explanation

Delay time from when the original sound is heard to when the delay sound is heard

Phase of the delay (NORMAL: non-inverted, INVERT: inverted)

Proportion of the delay sound that is to be returned to the input (negative (-) values invert the phase)

Frequency at which the highfrequency content of the delayed sound will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

0–2600 msec, note

NORMAL, INVERSE

200–8000 Hz, BYPASS

D100:0W– D0:100W

Delay Time

Phase

Feedback -98–+98 %

HF Damp

Pan L64–63R Panning of the delay sound

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

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

Balance

Level 0–127 Output Level

Pan L

Pan R

2-Band

L out

45: Serial Delay

This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds.

Pan L

Delay 1

Feedback 1

Parameter Value Explanation

Delay 1 Time

Delay 1 Feedback

Delay 1 HF Damp

Delay 2 Time

Delay 2 Feedback

Delay 2 HF Damp

Pan L64–63R Panning of the delay sound

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

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

Balance

Level 0–127 Output Level

0–1300 msec, note

-98–+98 %

200–8000 Hz, BYPASS

0–1300 msec, note

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Delay 2

Feedback 2

Delay time from when sound is input to delay 1 until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of delay 1 (negative (-) values invert the phase)

Frequency at which the highfrequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut)

Proportion of the delay sound that is to be returned to the input of delay 2 (negative (-) values invert the phase)

Frequency at which the highfrequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

Pan R

2-Band

46: Modulation Delay

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

2-Band

Delay

Feedback Feedback

Delay

Modulation

When Feedback Mode is CROSS:

Delay

Feedback Feedback

Delay

Modulation

Balance W

2-Band

Balance W

2-Band

L out

IFX Parameters

L in

R in

R out

Balance D

L in

R in

L out

R out

Balance D

L in

R in

R out

Balance D

Parameter Value Explanation

Delay Left

Delay Right

Feedback Mode NORMAL, CROSS

Feedback -98–+98 %

HF Damp

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Balance

Level 0–127 Output Level

0–1300 msec, note

200–8000 Hz, BYPASS

0.05–10.00 Hz, note

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the eect (See the gures.)

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Frequency of modulation

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

47: 3Tap Pan Delay

Produces three delay sounds; center, left and right.

Left Tap

Triple Tap Delay

Feedback

Parameter Value Explanation

Delay Left/Right/ Center

Center Feedback -98–+98 %

HF Damp

Left/Right/ Center Level

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

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

Balance

Level 0–127 Output Level

0–2600 msec, note

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W– D0:100W

Center Tap

Right Tap

Adjusts the time from the original sound until the left, right, and center delayed sounds are heard

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

Balance W

2-Band

L out

48: 4Tap Pan Delay

This eect has four delays.

2-Band

Feedback

Delay 1

Quadruple

Tap Delay

Delay 4

Delay 2

Delay 3

Balance W

2-Band

2 3

Stereo location of each delay

Parameter Value Explanation

Delay 1-4 Time

Delay 1 Feedback

HF Damp

Delay 1-4 Level 0–127 Volume of each delay

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

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

Balance

Level 0–127 Output Level

0–2600 msec, note

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time from the original sound until delay sounds 1–4 are heard

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

49: Multi Tap Delay

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

2-Band

Feed back

Delay 1

Delay 3

Multi Tap Delay

Delay 4

Delay 2

Parameter Value Explanation

Delay 1-4 Time

Delay 1 Feedback

HF Damp

Delay 1-4 Pan L64–63R Stereo location of Delays 1–4

Delay 1-4 Level 0–127 Output level of Delays 1–4

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

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

0–2600 msec, note

-98–+98 %

200–8000 Hz, BYPASS

Adjusts the time until Delays 1–4 are heard.

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any the high frequencies, set this parameter to BYPASS.

Balance W

2-Band

L out

IFX Parameters

L in

R in

R out

2-Band

L in

R in

R out

2-Band

R out

Parameter Value Explanation

Balance

Level 0–127 Output Level

D100:0W– D0:100W

Volume balance between the direct sound (D) and the eect sound (W)

50: Reverse Delay

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

Feedback

Rev. Delay

Parameter Value Explanation

Threshold 0–127

Rev Delay Time

Rev Delay Feedback

Rev Delay HF Damp

Rev Delay Pan L64–63R Panning of the reverse delay sound

Rev Delay Level 0–127 Volume of the reverse delay sound

Delay 1 - 3 Time

Delay 3 Feedback

Delay HF Damp

Delay 1 Pan, Delay 2 Pan

Delay 1 Level, Delay 2 Level

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

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

Balance

Level 0–127 Output Level

Rev

Delay

Volume at which the reverse delay will begin to be applied

0–1300 msec, note

-98–+98 %

200–8000 Hz, BYPASS

0–1300 msec, note

-98–+98 %

200–8000 Hz, BYPASS

L64–63R Panning of the tap delay sounds

0–127 Volume of the tap delay sounds

D100:0W– D0:100W

Delay time from when sound is input into the reverse delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the reverse delay (negative (-) values invert the phase)

Frequency at which the highfrequency content of the reversedelayed sound will be cut (BYPASS: no cut)

Delay time from when sound is input into the tap delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the tap delay (negative (-) values invert the phase)

Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

2-Band

L out

51: Shue Delay

Adds a shue to the delay sound, giving the sound a bouncy delay eect with a swing feel.

Feedback

Delay A

Delay

Delay B

Parameter Value Explanation

Delay Time

Shue Rate 0–100

Acceleration 0–15

Feedback -98–+98 %

HF Damp

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

Level A/B 0–127 Volume of delay A/B

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

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

Balance

Level 0–127 Output Level

0–2600 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds. When set to 100, the delay times are the same.

Adjusts the speed which the Delay Time changes from the current setting to its specied new setting.

Adjusts the amount of the delay that’s feedback into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

2-Band

52: 3D Delay

This applies a 3D eect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.

3D Delay L

Level

3D Delay C

Feedback

3D Delay R

Parameter Value Explanation

Delay Left

Delay Right

Delay Center

Center Feedback -98–+98 %

HF Damp

0–2600 msec, note

200–8000 Hz, BYPASS

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

2-Band

L out

IFX Parameters

R in

R out

L in

R in

R out

Balance D

2-Band

L in

R in

L out

R out

Direct Level

Parameter Value Explanation

Left Level

0–127 Output level of the delay soundRight Level

Center Level

The optimal 3D eect will be achieved.

Output Mode

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

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

Balance

Level 0–127 Output Level

Speaker When using speakers

Phones When using headphones

D100:0W– D0:100W

Volume balance between the direct sound (D) and the eect sound (W)

53: Time Ctrl Delay

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

2-Band EQ

Time Ctrl Delay

Feedback Feedback

Time Ctrl Delay

Pan L

Pan R

2-Band EQ

Parameter Value Explanation

Delay Time

Acceleration 0–15

Feedback -98–+98 %

HF Damp

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

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

Balance

Level 0–127 Output Level

0–1300 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay is heard.

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

54: Long Time Ctrl Delay

A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced.

Balance D

Time Control Delay

Feedback

Parameter Value Explanation

Delay Time

0–2600 msec, note

Adjusts the time until the delay is heard.

Balance W

2-Band

L out

Parameter Value Explanation

Adjusts the speed which the Delay Time changes from the current setting

Acceleration 0–15

Feedback -98–+98 %

HF Damp

Pan L64–63R Stereo location of the delay

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

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

Balance

Level 0–127 Output Level

200–8000 Hz, BYPASS

D100:0W– D0:100W

to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

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

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

55: Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

Tape Echo

Parameter Value Explanation

Mode

Repeat Rate 0–127

Intensity 0–127 Amount of delay repeats

Bass -15–+15 dB

Treble -15–+15 dB

Head S Pan

Head M Pan

Head L Pan

Tape Distortion 0–5

Wow/Flutter Rate

Wow/Flutter Depth

Echo Level 0–127 Volume of the echo sound

Direct Level 0–127 Volume of the original sound

Level 0–127 Output Level

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

L64–63R

0–127

0–127 Depth of wow/utter

Echo Level

Combination of playback heads to use Select from three dierent heads with dierent delay times. S: short M: middle L: long

Tape speed Increasing this value will shorten the spacing of the delayed sounds.

Boost/cut for the lower range of the echo sound

Boost/cut for the upper range of the echo sound

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

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

IFX Parameters

R in

R out

L in

2-Band

L in

R in

R out

2-Band

R in

R out

L in

2-Band

56: Lo Noise

In addition to a lo- eect, this adds various types of noise such as white noise and disc noise.

Lo-Fi

Noise Gen.

Lo-Fi

2-Band

Parameter Value Explanation

LoFi Type 1–9

Type of lter that follows the LoFi eect

OFF No lter is used

Post Filter Type

Post Filter Cuto 200–8000 Hz Center frequency of the lter

W/P Noise Type WHITE, PINK

W/P Noise LPF

W/P Noise Level 0–127 Volume of the white/pink noise

Disc Noise Type LP, EP, SP, RND

Disc Noise LPF

Disc Noise Level 0–127 Volume of the record noise

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

Hum Noise LPF

Hum Noise Level 0–127 Volume of the hum noise

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

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

Balance

Level 0–127 Output Level

LPF

HPF

200–8000 Hz, BYPASS

D100:0W– D0:100W

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

Cuts the frequency range above the Cuto.

Cuts the frequency range below the Cuto.

Switch between white noise and pink noise.

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

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

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

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

57: Lo Compress

This is an eect that intentionally degrades the sound quality for creative purposes.

Compressor

Parameter Value Explanation

Selects the type of lter applied to the sound before it

Pre Filter Type

LoFi Type 1–9

Post Filter Type

Post Filter Cuto 200–8000 Hz Basic frequency of the Post Filter

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

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

Balance

Level 0–127 Output Level

passes through the Lo-Fi eect.

1 Compressor o

2–6 Compressor on

Type of lter

OFF No lter is used

LPF

HPF

D100:0W– D0:100W

Lo-Fi

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

Cuts the frequency range above the Cuto

Cuts the frequency range below the Cuto

Volume balance between the direct sound (D) and the eect sound (W)

2-Band

58: Lo Radio

In addition to a Lo-Fi eect, this eect also generates radio noise.

Lo-Fi

Radio

Lo-Fi

2-Band

Parameter Value Explanation

LoFi Type 1–9

Type of lter

OFF No lter is used

Post Filter Type

Post Filter Cuto 200–8000 Hz Basic frequency of the Post Filter

Radio Detune 0–127

Radio Noise Level

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

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

Balance

Level 0–127 Output Level

LPF

HPF

0–127 Volume of the radio noise

D100:0W– D0:100W

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

Cuts the frequency range above the Cuto.

Cuts the frequency range below the Cuto.

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

IFX Parameters

L in

R in

R out

L in

R in

R out

Balance D

L in

R in

R out

L in

R in

R out

Balance D

59: Telephone

This eect produces a mued sound, like that heard through a telephone.

Telephone

L out

Telephone

Parameter Value Explanation

Voice Quality 0–15 Audio quality of the telephone voice

Treble -15–+15 dB Bandwidth of the telephone voice

Balance

Level 0–127 Output Level

D100:0W– D0:100W

Volume balance between the direct sound (D) and the eect sound (W)

60: Phonograph

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

L out

Phonograph

Balance W

61: Pitch Shifter

A stereo pitch shifter.

Pitch Shifter

Parameter Value Explanation

Coarse -24–+12 semi

Fine -100–+100 cent

Delay Time

Feedback -98–+98 %

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

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

Balance

Level 0–127 Output Level

0–1300 msec, note

D100:0W– D0:100W

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

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

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

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

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

2-Band EQ

L out

Parameter Value Explanation

Signal Distortion 0–127 Depth of distortion

Frequency response of the playback

Frequency Range

Disc Type LP, EP, SP

Scratch Noise Level

Dust Noise Level 0–127

Hiss Noise Level 0–127 Volume of continuous “hiss”

Total Noise Level 0–127 Volume of overall noise

Wow 0–127

Flutter 0–127

Random 0–127

Total Wow/ Flutter

Balance

Level 0–127 Output Level

0–127

0–127 Depth of overall rotational irregularity

D100:0W– D0:100W

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

Rotational speed of the turntable This will aect the frequency of the scratch noise.

Amount of noise due to scratches on the record

Volume of noise due to dust on the record

Depth of long-cycle rotational irregularity

Depth of short-cycle rotational irregularity

Depth of indenite-cycle rotational irregularity

Volume balance between the direct sound (D) and the eect sound (W)

62: 2Voice Pitch Shifter

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

2-Band

Level 1

2Voice

Pitch Shifter

Level 2

Parameter Value Explanation

Pitch1 Coarse -24–+12 semi

Pitch1 Fine -100–+100 cent

Pitch1 Delay

Pitch1 Feedback -98–+98 %

Pitch1 Pan L64–63R

Pitch1 Level 0–127 Volume of the Pitch Shift1 sound

Pitch2 Coarse -24–+12 semi

Pitch2 Fine -100–+100 cent

Pitch2 Delay

Pitch2 Feedback -98–+98 %

Pitch2 Pan L64–63R

Pitch2 Level 0–127

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

0–1300 msec, note

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

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

Stereo location of the Pitch Shift 1 sound

Settings of the Pitch Shift 2 sound.

The parameters are the same as for the Pitch Shift 1 sound.

Balance W

2-Band

L out

IFX Parameters

L in

R out

2-Band

L in

R in

R out

Balance D

2-Band

L in

R in

R out

Balance D

2-Band

Parameter Value Explanation

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

Balance

Level 0–127 Output Level

D100:0W– D0:100W

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

63: Step Pitch Shifter

A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence.

Step Pitch Shifter

R in

Parameter Value Explanation

Step 01-16 -24–+12 semi

Rate

Attack 0–127

Gate Time 0–127

Fine -100–+100 cent

Delay Time

Feedback -98–+98 %

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

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

Balance

Level 0–127 Output Level

0.05–10.0 Hz, note

0–1300 msec, note

D100:0W– D0:100W

Amount of pitch shift at each step (semitone units)

Rate at which the 16-step sequence will cycle

Speed at which the amount of pitch shift changes between steps

Duration of the pitch shifted sound at each step

Pitch shift adjustment for all steps (2-cent units)

Delay time from the original sound until the pitch-shifted sound is heard

Proportion of the pitch-shifted sound that is to be returned to the input (negative (-) values invert the phase)

Volume balance of the original sound (D) and pitch-shifted sound (W)

2-Band

64: Reverb

Adds reverberation to the sound, simulating an acoustic space.

L out

Parameter Value Explanation

Adjusts the frequency above which the reverberant sound will be cut.

HF Damp

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

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

Balance

Level 0–127 Output Level

200–8000 Hz, BYPASS

D100:0W– D0:100W

As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this parameter to BYPASS.

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

65: Gated Reverb

This is a special type of reverb in which the reverberant sound is cut o before its natural length.

Balance D

Balance W

Reverb

Balance W

2-Band

Parameter Value Explanation

Type of reverb

NORMAL Conventional gated reverb

Type

Pre Delay 0.0–100 msec

Gate Time 5–500 msec

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

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

Balance

Level 0–127 Output Level

REVERSE Backwards reverb

SWEEP1

SWEEP2

D100:0W– D0:100W

The reverberant sound moves from right to left

The reverberant sound moves from left to right

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

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

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

L out

Balance D

Balance W

Reverb

Balance W

2-Band

Parameter Value Explanation

Type of reverb

ROOM1 Dense reverb with short decay

ROOM2 Sparse reverb with short decay

Type

Pre Delay 0.0–100 msec

Time 0–127 Time length of reverberation

STAGE1 Reverb with greater late reverberation

STAGE2 Reverb with strong early reections

HALL1 Reverb with clear reverberance

HALL2 Reverb with rich reverberance

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

L out

IFX Parameters

L in

R in

L out

Balance W

Balance D

L in

R in

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

L in

R in

Balance W

Balance D

66: Overdrive g Chorus

Balance D

Overdrive

Chorus

R out

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–63R Stereo location of the overdrive sound

Chorus Pre Delay 0.0–100 msec

Chorus Rate

Chorus Depth 0–127 Depth of modulation

Chorus Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Degree of distortion Also changes the volume.

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

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

67: Overdrive g Flanger

Feedback

L out

68: Overdrive g Delay

Balance D

Overdrive

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–63R Stereo location of the overdrive sound

Delay Time

Delay Feedback -98–+98 %

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0–2600 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Delay

Feedback

Degree of distortion Also changes the volume.

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

R out

Overdrive

Flanger

R out

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–63R Stereo location of the overdrive sound

Flanger Pre Delay

Flanger Rate

Flanger Depth 0–127 Depth of modulation

Flanger Feedback

Flanger Balance

Level 0–127 Output Level

0.0–100 msec

0.05–10.00 Hz, note

-98–+98 %

D100:0W– D0:100W

Degree of distortion Also changes the volume.

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

69: Distortion g Chorus

The parameters are essentially the same as in “66: Overdrive g

Chorus,” with the exception of the following two.

Overdrive Drive g Distortion Drive, Overdrive Pan g Distortion Pan

Balance D

Distortion

Chorus

R out

70: Distortion g Flanger

The parameters are essentially the same as in “67: Overdrive g

Flanger,” with the exception of the following two.

Overdrive Drive g Distortion Drive, Overdrive Pan g Distortion Pan

Feedback

Distortion

Flanger

L out

R out

IFX Parameters

L in

R in

L out

Balance W

Balance D

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

R in

R out

Mix

Balance W

Balance D

L in

R in

L out

Mix

Enhancer

Balance W

R in

Balance W

Balance D

71: Distortion g Delay

The parameters are essentially the same as in “68: Overdrive g

Delay,” with the exception of the following two.

Overdrive Drive g Distortion Drive, Overdrive Pan g Distortion Pan

Balance D

Distortion

Delay

Feedback

72: Enhancer g Chorus

Mix

Enhancer

Parameter Value Explanation

Enhancer Sens 0–127 Sensitivity of the enhancer

Enhancer Mix 0–127

Chorus Pre Delay 0.0–100 msec

Chorus Rate

Chorus Depth 0–127 Depth of modulation

Chorus Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance D

Chorus

Level of the overtones generated by the enhancer

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

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

R out

74: Enhancer g Delay

Mix

Enhancer

Parameter Value Explanation

Enhancer Sens 0–127 Sensitivity of the enhancer

Enhancer Mix 0–127

Delay Time

Delay Feedback -98–+98 %

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0–2600 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

Delay

Feedback

Balance D

Level of the overtones generated by the enhancer

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

75: Chorus g Delay

L in

Balance W

Chorus

Balance W

Balance D

Delay

Feedback

Balance W

R out

L out

Balance W

R out

73: Enhancer g Flanger

L in

Enhancer

Mix

Feedback

Flanger

Enhancer

Parameter Value Explanation

Enhancer Sens 0–127 Sensitivity of the enhancer

Enhancer Mix 0–127

Flanger Pre Delay

Flanger Rate

Flanger Depth 0–127 Depth of modulation

Flanger Feedback

Flanger Balance

Level 0–127 Output Level

0.0–100 msec

0.05–10.00 Hz, note

-98–+98 %

D100:0W– D0:100W

Balance D

Level of the overtones generated by the enhancer

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

L out

Parameter Value Explanation

Chorus Pre Delay 0.0–100 msec

Chorus Rate

Chorus Depth 0–127 Depth of modulation

Chorus Balance

Delay Time

Delay Feedback -98–+98 %

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

0–2600 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

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

Frequency of modulation

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

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

IFX Parameters

R in

R out

Balance W

Balance D

R in

L out

R out

Balance W

Balance D

L in

R in

R out

3-Band

76: Flanger g Delay

L in

Feedback

Flanger

Parameter Value Explanation

Flanger Pre Delay

Flanger Rate

Flanger Depth 0–127 Depth of modulation

Flanger Feedback

Flanger Balance

Delay Time

Delay Feedback -98–+98 %

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0.0–100 msec

0.05–10.00 Hz, note

-98–+98 %

D100:0W– D0:100W

0–2600 msec, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance W

Balance D

Delay

Feedback

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

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

Volume balance between the direct sound (D) and the anger sound (W)

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

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

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

77: Chorus g Flanger

L in

Balance W

Chorus

Balance W

Parameter Value Explanation

Chorus Pre Delay 0.0–100 msec

Chorus Rate

Chorus Depth 0–127 Modulation depth of the chorus eect

Chorus Balance

Flanger Pre Delay

Flanger Rate

Flanger Depth 0–127 Modulation depth of the anger eect

Flanger Feedback

0.05–10.00 Hz, note

D100:0W– D0:100W

0.0–100 msec

0.05–10.00 Hz, note

-98–+98 %

Feedback

Flanger

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

Modulation frequency of the chorus eect

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

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Modulation frequency of the anger eect

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

L out

Parameter Value Explanation

Flanger Balance

Level 0–127 Output Level

D100:0W– D0:100W

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

78: Sympathetic Resonance

On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This eect simulates these sympathetic resonances.

Sym. Resonance

3-Band

Parameter Value Explanation

Depth 0–127 Depth of the eect

Damper 0–127

Lid 1–6

Pre LPF

Pre HPF

HF Damp

LF Damp

EQ Low Freq 200, 400 Hz Frequency of the low-range EQ

EQ Low Gain -15–+15 dB Amount of low-range boost/cut

EQ Mid Freq 200–8000 Hz Frequency of the midrange EQ

EQ Mid Gain -15–+15 dB Amount of midrange boost/cut

EQ Mid Q

EQ High Freq

EQ High Gain -15–+15 dB Amount of high-range boost/cut

Peaking Freq 200–8000 Hz

Peaking Gain -15–+15 dB

Peaking Q

Level 0–127 Output Level

16–15000 Hz, BYPASS

BYPASS, 16–15000 Hz

16–15000 Hz, BYPASS

BYPASS, 16–15000 Hz

0.5, 1.0, 2.0, 4.0,

8.0

2000, 4000, 8000 Hz

0.5, 1.0, 2.0, 4.0,

8.0

Depth to which the damper pedal is pressed (controls the resonant sound)

This simulates the actual changes in sound that occur when the lid of a grand piano is set at dierent heights.

Frequency of the lter that cuts the high-frequency content of the input sound (BYPASS: no cut)

Frequency of the lter that cuts the low-frequency content of the input sound (BYPASS: no cut)

Frequency at which the highfrequency content of the resonant sound will be cut (BYPASS: no cut)

Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut)

Width of midrange (larger values make the region narrower)

Frequency of the high-range EQ

Frequency of the lter that boosts/ cuts a specic frequency region of the input sound

Amount of boost/cut produced by the lter at the specied frequency region of the input sound

Width of the frequency region boosted/cut by the Peaking Gain parameter (larger values make the region narrower)

L out

IFX Parameters

Note

Sixty-fourth-note triplet

Sixteenth-note triplet

Dotted sixteenth note

Quarter note Half-note triplet

Whole-note triplet

Dotted whole note

NOTE

If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specied as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

Sixty-fourth note

Dotted thirtysecond note

Eighth note

Dotted half note Whole note

Double note

Thirty-secondnote triplet

Sixteenth note

Quarter-note triplet

Dotted quarter note

Thirty-second note

Eighth-note triplet

Dotted eighth note

Half note

Double-note triplet

When Using 3D Eects

The following 3D eects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.

52: 3D Delay

29: 3D Chorus

30: 3D Flanger

31: 3D Step Flanger

When using these eects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sucient distance from the walls on either side.

30˚ 30˚

If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D eect may not appear. Each of these eects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to

“Speaker.” If the sound is to be heard through headphones, set it to “Phones.” This will ensure that the optimal 3D eect will be heard. If

this parameter is not set correctly, the full 3D eect may not appear.

MFX Parameters

The multi-eects feature 68 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Parameters marked with a sharp “#” can be controlled using a Multi-Eects Control (p. 117) (Two setting items will change simultaneously for “#1” and

“#2”).

Type MFX Name Page

0 Thru −

1 Equalizer p. 94

2 Spectrum p. 94

3 Low Boost p. 94

FILTER

MODULATION

CHORUS

DYNAMICS

DELAY

LO-FI

PITCH

4 Step Filter p. 94

5 Enhancer p. 95

6 Auto Wah p. 95

7 Humanizer p. 95

8 Speaker Simulator p. 95

9 Phaser 1 p. 96

10 Phaser 2 p. 96

11 Phaser 3 p. 96

12 Step Phaser p. 97

13 Multi Stage Phaser p. 97

14 Innite Phaser p. 97

15 Ring Modulator p. 98

16 Tremolo p. 98

17 Auto Pan p. 98

18 Slicer p. 98

19 Rotary 1 p. 99

20 Rotary 2 p. 99

21 Rotary 3 p. 100

22 Chorus p. 100

23 Flanger p. 101

24 Step Flanger p. 101

25 Hexa-Chorus p. 102

26 Tremolo Chorus p. 102

27 Space-D p. 102

28 Overdrive p. 102

29 Distortion p. 102

30 Guitar Amp Simulator p. 103

31 Compressor p. 103

32 Limiter p. 103

33 Gate p. 104

34 Delay p. 104

35 Modulation Delay p. 105

36 3Tap Pan Delay p. 105

37 4Tap Pan Delay p. 105

38 Multi Tap Delay p. 106

39 Reverse Delay p. 106

40 Time Ctrl Delay p. 107

41 LOFI Compress p. 107

42 Bit Crusher p. 107

43 Pitch Shifter p. 107

44 2Voice Pitch Shifter p. 108

Type MFX Name Page

Overdrive g Chorus

Overdrive g Flanger

Overdrive g Delay

Distortion g Chorus

Distortion g Flanger

Distortion g Delay

OD/DS g TouchWah

OD/DS g AutoWah

GuitarAmpSim g Chorus

GuitarAmpSim g Flanger

GuitarAmpSim g Phaser

COMBINATION

VOCODER 68 Vocoder p. 116

GuitarAmpSim g Delay

EP AmpSim g Tremolo

EP AmpSim g Chorus

EP AmpSim g Flanger

EP AmpSim g Phaser

EP AmpSim g Delay

Enhancer g Chorus

Enhancer g Flanger

Enhancer g Delay

Chorus g Delay

Flanger g Delay

Chorus g Flanger

p. 108

p. 109

p. 110

p. 111

p. 112

p. 113

p. 114

p. 115

p. 116

MFX Parameters

L in

R in

R out

L in

R in

R out

L in

R in

R out

L in

R in

L out

R out

Step Filter

01: Equalizer

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

4-Band EQ

Parameter Value Explanation

Low Freq 200, 400 Hz Frequency of the low range

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

Mid1 Freq 200–8000 Hz Frequency of the middle range 1

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

Mid1 Q

Mid2 Freq 200–8000 Hz Frequency of the middle range 2

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

Mid2 Q

High Freq

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

Level # 0–127 Output Level

0.5, 1.0, 2.0, 4.0,

8.0

0.5, 1.0, 2.0, 4.0,

8.0

2000, 4000, 8000 Hz

Width of the middle range 1

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

Width of the middle range 2

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

Frequency of the high range

L out

03: Low Boost

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

Low Boost

Parameter Value Explanation

Boost Frequency #

Boost Gain # 0–+12 dB

Boost Width

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

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

Level 0–127 Output level

50–125 Hz

WIDE, MID, NARROW

2-Band EQ

Center frequency at which the lower range will be boosted

Amount by which the lower range will be boosted

Width of the lower range that will be boosted

L out

04: Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

You can use MFX CONTROL to restart the step sequence from the beginning (p. 117).

02: Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

Spectrum

Parameter Value Explanation

Band1 (250 Hz)

Band2 (500 Hz)

Band3 (1000 Hz)

Band4 (1250 Hz)

Band5 (2000 Hz)

Band6 (3150 Hz)

Band7 (4000 Hz)

Band8 (8000 Hz)

Level # 0–127 Output Level

-15–+15 dB Gain of each frequency band

0.5, 1.0, 2.0, 4.0,

8.0

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

L out

Parameter Value Explanation

Step 01–16 0–127 Cuto frequency at each step

Rate #

Attack # 0–127

Filter Type

Filter Slope -12, -24, -36 dB

Filter Resonance #

Filter Gain 0–+12 dB Amount of boost for the lter output

Level 0–127 Output level

0.05–10.00 Hz, note

LPF, BPF, HPF, NOTCH

0–127

Rate of modulation

Speed at which the cuto frequency changes between steps

Filter type

Frequency range that will pass through each lter

LPF: frequencies below the cuto

BPF: frequencies in the region of the

cuto

HPF: frequencies above the cuto

NOTCH: frequencies other than the

region of the cuto

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

MFX Parameters

L in

R in

R out

L in

R in

R out

L in

R in

L out

R out

L in

R in

R out

05: Enhancer

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

Enhancer

Mix

Enhancer

Parameter Value Explanation

Sens # 0–127 Sensitivity of the enhancer

Mix # 0–127

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

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

Level 0–127 Output Level

Mix

2-Band

Level of the overtones generated by the enhancer

06: Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

Auto Wah

Parameter Value Explanation

Filter Type LPF, BPF

Manual # 0–127

Peak 0–127

Sens # 0–127

Polarity UP, DOWN

Rate #

Depth # 0–127 Depth of modulation

Phase # 0–180 deg

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

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

Level 0–127 Output Level

0.05–10.00 Hz, note

2-Band EQ

Type of lter

LPF: The wah eect will be applied over a wide frequency range.

BPF: The wah eect will be applied over a narrow frequency range.

Adjusts the center frequency at which the eect is applied.

Adjusts the amount of the wah eect that will occur in the range of the center frequency.

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

Adjusts the sensitivity with which the lter is controlled.

Sets the direction in which the frequency will change when the auto-wah lter is modulated.

UP: The lter will change toward a higher frequency.

DOWN: The lter will change toward a lower frequency.

Frequency of modulation

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

L out

07: Humanizer

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

Overdrive

Parameter Value Explanation

Drive Sw OFF, ON Turns Drive on/o.

Drive # 0–127

Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u

Rate #

Depth # 0–127 Eect depth

Input Sync Sw OFF, ON

Input Sync Threshold

Manual # 0–100

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

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

Pan # L64–63R Stereo location of the output

Level 0–127 Output level

0.05–10.00 Hz, note

0–127 Volume level at which reset is applied

Formant

2-Band

Degree of distortion

Also changes the volume.

Selects the vowel.

Frequency at which the two vowels switch

LFO reset on/o

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

Point at which Vowel 1/2 switch

49 or less: Vowel 1 will have a longer duration.

50: Vowel 1 and 2 will be of equal duration.

51 or more: Vowel 2 will have a longer duration.

08: Speaker Simulator

Simulates the speaker type and microphone settings used to record the speaker sound.

Speaker

Parameter Value Explanation

Type

Mic Setting 1, 2, 3

Mic Level # 0–127 Volume of the microphone

Direct Level # 0–127 Volume of the direct sound

Level # 0–127 Output Level

(See the following table)

Type of speaker

Adjusts the location of the microphone that is recording the sound of the speaker.

This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

L out

Pan L

Pan R

MFX Parameters

R in

R out

L in

R in

R out

L in

R in

R out

Specications of each Speaker Type

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

Type Cabinet Speaker Microphone

SMALL 1 small open-back enclosure 10 dynamic

SMALL 2 small open-back enclosure 10 dynamic

MIDDLE open back enclosure 12 x 1 dynamic

JC-120 open back enclosure 12 x 2 dynamic

BUILT-IN 1 open back enclosure 12 x 2 dynamic

BUILT-IN 2 open back enclosure 12 x 2 condenser

BUILT-IN 3 open back enclosure 12 x 2 condenser

BUILT-IN 4 open back enclosure 12 x 2 condenser

BUILT-IN 5 open back enclosure 12 x 2 condenser

BG STACK 1 sealed enclosure 12 x 2 condenser

BG STACK 2 large sealed enclosure 12 x 2 condenser

MS STACK 1 large sealed enclosure 12 x 4 condenser

MS STACK 2 large sealed enclosure 12 x 4 condenser

METAL STACK large double stack 12 x 4 condenser

2-STACK large double stack 12 x 4 condenser

3-STACK large triple stack 12 x 4 condenser

09: Phaser 1

A phase-shifted sound is added to the original sound and modulated.

10: Phaser 2

This simulates an analog phaser of the past.

It is particularly suitable for electric piano.

Phaser

Parameter Value Explanation

Rate # 0–100 Frequency of modulation

Color 1, 2 Modulation character

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

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

Level 0–127 Output Level

2-Band EQ

11: Phaser 3

This simulates a dierent analog phaser than Phaser 2.

It is particularly suitable for electric piano.

Phaser

2-Band EQ

L out

Phaser

Mix

Phaser

Parameter Value Explanation

Mode

Manual # 0–127

Rate #

Depth 0–127 Depth of modulation

Polarity

Resonance # 0–127 Amount of feedback

Cross Feedback -98–+98 %

Mix # 0–127 Level of the phase-shifted sound

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

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

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

Number of stages in the phaser

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

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) value will invert the phase.

2-Band

L out

Parameter Value Explanation

Speed # 0–100 Frequency of modulation

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

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

Level 0–127 Output Level

MFX Parameters

R in

R out

L in

Resonance

L in

R in

L out

R out

L in

R in

L out

R out

12: Step Phaser

The phaser eect will be varied gradually.

Step Phaser

Mix

Step Phaser

Parameter Value Explanation

Mode

Manual # 0–127

Rate #

Depth 0–127 Depth of modulation

Polarity

Resonance # 0–127 Amount of feedback

Cross Feedback -98–+98 %

Step Rate #

Mix # 0–127 Level of the phase-shifted sound

Low Gain -15–+15 dB Level of the phase-shifted sound

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

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

0.10–20.00 Hz, note

Number of stages in the phaser

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

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) value will invert the phase.

Rate of the step-wise change in the phaser eect

2-Band

L out

13: Multi Stage Phaser

Extremely high settings of the phase dierence produce a deep phaser eect.

Multi Stage

Phaser

Parameter Value Explanation

4-STAGE, 8-STAGE,

Mode

Manual # 0–127

Rate #

Depth 0–127 Depth of modulation

Resonance # 0–127 Amount of feedback

Mix # 0–127 Level of the phase-shifted sound

Pan # L64–63R Stereo location of the output sound

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

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

Level 0–127 Output Level

12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0.05–10.00 Hz, note

Mix

Number of phaser stages

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

Frequency of modulation

2-Band

14: Innite Phaser

A phaser that continues raising/lowering the frequency at which the sound is modulated.

Infinite Phaser 2-Band EQ

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed # -100–+100

Resonance # 0–127 Amount of feedback

Mix # 0–127 Volume of the phase-shifted sound

Pan # L64–63R Panning of the output sound

Low Gain -15–+15 dB

High Gain -15–+15 dB

Level 0–127 Output volume

Higher values will produce a deeper phaser eect.

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

Pan L

Pan R

Pan L

Pan R

MFX Parameters

L in

R in

R out

L in

R in

R out

L in

R in

R out

L in

R in

R out

15: Ring Modulator

Ring Mod

Parameter Value Explanation

Frequency # 0–127

Sens # 0–127

Polarity UP, DOWN

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

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

Balance #

Level 0–127 Output level

D100:0W– D0:100W

2-Band EQ

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (DOWN).

Volume balance between the direct sound (D) and the eect sound (W)

L out

17: Auto Pan

Cyclically modulates the stereo location of the sound.

Auto Pan

Parameter Value Explanation

TRI, SQR, SIN, SAW1, SAW2

Mod Wave

Rate #

Depth # 0–127 Depth to which the eect is applied

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

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

Level 0–127 Output Level

SAW1 SAW2

R R

L L

0.05–10.00 Hz, note

2-Band EQ

Modulation Wave

TRI: triangle wave

SQR: square wave

SIN: sine wave

SAW1/2: sawtooth wave

Frequency of the change

L out

16: Tremolo

Cyclically modulates the volume to add tremolo eect to the sound.

Tremolo

Parameter Value Explanation

TRI, SQR, SIN,

SAW1, SAW2

Mod Wave

SAW1 SAW2

Rate #

Depth # 0–127 Depth to which the eect is applied

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

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

Level 0–127 Output Level

0.05–10.00 Hz, note

2-Band EQ

Modulation Wave

TRI: triangle wave

SQR: square wave

SIN: sine wave

SAW1/2: sawtooth wave

Frequency of the change

L out

18: Slicer

You can use MFX CONTROL to restart the step sequence from the beginning (p. 117).

Slicer

Parameter Value Explanation

Step 01–16 L64–63R Level at each step

Rate #

Attack # 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Mode LEGATO, SLASH

0.05–10.00 Hz, note

0–127

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

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

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

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

L out

MFX Parameters

L out

R out

L in

R in

R out

L in

R in

Parameter Value Explanation

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

Shue # 0–127

Level 0–127 Output level

4, step 6...).

The higher the value, the later the beat progresses.

19: Rotary 1

This simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can be specied independently, the distinctive modulation can be reproduced realistically. This is most eective on organ tones.

Rotary

Parameter Value Explanation

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

Speed # SLOW, FAST

Woofer Slow Speed

Woofer Fast Speed

Woofer Acceleration

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Acceleration

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

Level # 0–127 Output Level

0.05–10.00 Hz

0–15

0.05–10.00 Hz

0–15

SLOW: Slows down the rotation to the Slow Rate.

FAST: Speeds up the rotation to the Fast Rate.

Slow speed (SLOW) of the low frequency rotor

Fast speed (FAST ) of the low frequency rotor

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Settings of the high frequency rotor

The parameters are the same as for the low frequency rotor

20: Rotary 2

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

2-Band EQ

Rotary

2-Band EQ

Parameter Value Explanation

Speed # SLOW, FAST

Brake # OFF, ON

Woofer Slow Speed

Woofer Fast Speed

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Trans Up 0–127

Tweeter Trans Down

Tweeter Level 0–127

Spread 0–10

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

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

Level # 0–127 Output Level

0.05–10.00 Hz

0–127

0.05–10.00 Hz

0–127

Rotational speed of the rotating speaker

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop.

When it is turned o, the rotation will gradually resume.

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Settings of the tweeter

The parameters are the same as for the woofer.

Sets the rotary speaker stereo image.

The higher the value set, the wider the sound is spread out.

L out

MFX Parameters

L in

R in

R out

Balance D

21: Rotary 3

This type includes an overdrive. By distorting the sound you can produce the intense organ sound used in hard rock.

RotaryOverdrive

R in

Parameter Value Explanation

Speed # SLOW, FAST

Brake # OFF, ON

OD Switch OFF, ON Overdrive on/o

OD Gain # 0–127

OD Drive # 0–127 Degree of distortion

OD Level 0–127 Volume of the overdrive

Woofer Slow Speed

Woofer Fast Speed

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Trans Up 0–127

Tweeter Trans Down

Tweeter Level 0–127

Spread 0–10

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

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

Level # 0–127 Output Level

0.05–10.00 Hz

0–127

0.05–10.00 Hz

0–127

Rotational speed of the rotating speaker

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop.

When it is turned o, the rotation will gradually resume.

Overdrive input level Higher values will increase the distortion.

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Settings of the tweeter

The parameters are the same as for the woofer.

Sets the rotary speaker stereo image.

The higher the value set, the wider the sound is spread out.

L out

R out

22: Chorus

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

2-Band

Chorus

Parameter Value Explanation

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Balance #

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance W

2-Band

Type of lter

OFF: no lter is used

LPF: cuts the frequency range above

the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

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

Frequency of modulation

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

L out

100

Roland FA-08 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

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

SuperNATURAL Synth Tone (SN-S)

TONE EDIT (SN-S)

Common tab

OSC tab

Pitch tab

Filter tab

Amp tab

LFO tab

Modulation LFO tab

Aftertouch tab

Misc tab

MFX tab

MFX Control tab

SuperNATURAL Drum Kit (SN-D)

TONE EDIT (SN-D)

Common tab

DRUM Inst tab

Comp tab

EQ tab

MFX tab

MFX Control tab

SuperNATURAL Drum Inst List

PCM Synth Tone (PCMS)

TONE EDIT (PCMS)

Common tab

Wave tab

PMT tab

Pitch tab

Pitch Env tab

TVF tab