Roland FP-50 Midi Implementation

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MIDI Implementation

Model: FP-50

Date: Apr. 1. 2013

Version: 1.00

1. Receive Data

 Channel Voice Messages

Note O

Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note o velocity: 00H-7FH (0-127)

* For Drum Parts, these messages are received when Rx. NOTE OFF = ON for each

Instrument.

Note On

Status 2nd byte 3rd byte 9nH kkH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note on velocity: 01H-7FH (1-127)

* Not received when Rx. NOTE MESSAGE = OFF. (Initial value is ON) * For Drum Parts, not received when Rx. NOTE ON = OFF for each Instrument.

Polyphonic Key Pressure

Status 2nd byte 3rd byte AnH kkH vvH

Control Change

* When Rx. CONTROL CHANGE = OFF, all control change messages except for

Channel Mode messages will be ignored.

* The value specied by a Control Change message will not be reset even by a

Program Change, etc.

 Bank Select (Controller Number 0, 32)

Status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Bank number: 00H, 00H-7FH, 7FH (bank.1-bank.16384), Initial Value = 00 00H (bank.1)

* Not received when Rx. BANK SELECT = OFF. * “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will

be ignored. * “Rx. BANK SELECT” is set to ON by “GM2 System On.” * “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.” * When Rx. BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H

regardless of the received value. However, when sending Bank Select messages,

you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)

together. * Bank Select processing will be suspended until a Program Change message is

received. * The GS format “Variation number” is the value of the Bank Select MSB (Controller

number 0) expressed in decimal. * Some other GS devices do not recognize the Bank Select LSB (Controller number

32).

 Modulation (Controller Number 1)

Status 2nd byte 3rd byte BnH 01H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Modulation depth: 00H-7FH (0-127)

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = key pressure: 00H-7FH (0-127)

* Not received when Rx. POLY PRESSURE (PAf) = OFF. (Initial value is ON) * The resulting eect is determined by System Exclusive messages. With the initial

settings, there will be no eect.

* Not received when Rx. MODULATION = OFF. (Initial value is ON) * The resulting eect is determined by System Exclusive messages. With the initial

settings, this is Pitch Modulation Depth.

 Portamento Time (Controller Number 5)

Status 2nd byte 3rd byte BnH 05H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Portamento Time: 00H-7FH (0-127), Initial value = 00H (0)

* This adjusts the rate of pitch change when Portamento is ON or when using the

Portamento Control. A value of 0 results in the fastest change.

 Data Entry (Controller Number 6, 38)

Status 2nd byte 3rd byte BnH 06H mmH BnH 26H llH

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = the value of the parameter specied by RPN/NRPN mm = MSB, ll = LSB

 Volume (Controller Number 7)

Status 2nd byte 3rd byte BnH 07H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Volume: 00H-7FH (0-127), Initial Value = 64H (100)

1PS

* Volume messages are used to adjust the volume balance of each Part. * Not received when Rx. VOLUME = OFF. (Initial value is ON)

MIDI Implementation

 Pan (Controller Number 10)

Status 2nd byte 3rd byte BnH 0AH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = pan: 00H-40H-7FH (Left-Center-Right), Initial Value = 40H (Center)

* For Rhythm Parts, this is a relative adjustment of each Instrument’s pan setting. * Some Tones are not capable of being panned all the way to the left or right. * Not received when Rx. PANPOT = OFF. (Initial value is ON)

 Expression (Controller Number 11)

Status 2nd byte 3rd byte BnH 0BH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Expression: 00H-7FH (0-127), Initial Value = 7FH (127)

* This adjusts the volume of a Part. It can be used independently from Volume

messages. Expression messages are used for musical expression within a performance; e.g., expression pedal movements, crescendo and decrescendo.

* Not received when Rx. EXPRESSION = OFF. (Initial value is ON)

 Hold 1 (Controller Number 64)

Status 2nd byte 3rd byte BnH 40H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)

* Not received when Rx. HOLD1 = OFF. (Initial value is ON)

 Resonance (Controller Number 71)

Status 2nd byte 3rd byte BnH 47H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv= Resonance value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)

* Not received when Rx. Resonance = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Release Time (Controller Number 72)

Status 2nd byte 3rd byte BnH 48H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Release Time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)

* Not received when Rx. Release Time = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Attack Time (Controller Number 73)

Status 2nd byte 3rd byte BnH 49H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Attack time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value=40H (no change)

* Not received when Rx. Attack Time = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Portamento (Controller Number 65)

Status 2nd byte 3rd byte BnH 41H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

* Not received when Rx. PORTAMENTO = OFF. (Initial value is ON)

 Sostenuto (Controller Number 66)

Status 2nd byte 3rd byte BnH 42H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

* Not received when Rx. SOSTENUTO = OFF. (Initial value is ON)

 Soft (Controller Number 67)

Status 2nd byte 3rd byte BnH 43H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)

* Not received when Rx. SOFT = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Cuto (Controller Number 74)

Status 2nd byte 3rd byte BnH 4AH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Cuto value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)

* Not received when Rx. Cuto = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Decay Time (Controller Number 75)

Status 2nd byte 3rd byte BnH 4BH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Decay Time value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)

* Not received when Rx. Decay Time = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Vibrato Rate (Controller Number 76)

Status 2nd byte 3rd byte BnH 4CH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Rate value (relative change): 00H-7FH(-64 - 0 - +63), Initial value = 40H (no change)

* Not received when Rx. Vibrato Rate = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

MIDI Implementation

 Vibrato Depth (Controller Number 77)

Status 2nd byte 3rd byte BnH 4DH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Depth Value (relative change): 00H-7FH(-64 - 0 - +63), Initial Value = 40H (no change)

* Not received when Rx. Vibrato Depth = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Vibrato Delay (Controller Number 78)

Status 2nd byte 3rd byte BnH 4EH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Vibrato Delay value (relative change): 00H-7FH(-64 - 0 - +63), Initial value=40H (no change)

* Not received when Rx. Vibrato Delay = OFF. (Initial value is ON) * Some Tones will not exhibit any change.

 Portamento Control (Controller Number 84)

Status 2nd byte 3rd byte BnH 54H kkH

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = source note number: 00H-7FH (0-127)

* A Note-on received immediately after a Portamento Control message will change

continuously in pitch, starting from the pitch of the Source Note Number.

* If a voice is already sounding for a note number identical to the Source Note

Number, this voice will continue sounding (i.e., legato) and will, when the next Note-on is received, smoothly change to the pitch of that Note-on.

* The rate of the pitch change caused by Portamento Control is determined by the

Portamento Time value.

Example 1. On MIDI Description Result 90 3C 40 Note on C4 C4 on B0 54 3C Portamento no change (C4 voice still sounding) Control from C4 90 40 40 Note on E4 glide from C4 to E4 80 3C 40 Note o C4 no change 80 40 40 Note o E4 E4 o

Example 2. On MIDI Description Result B0 54 3C Portamento no change Control from C4 90 40 40 Note on E4 E4 is played with glide from C4 to E4 80 40 40 Note o E4 E4 o

 Eect 1 (Reverb Send Level) (Controller Number 91)

Status 2nd bytes 3rd byte BnH 5BH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value : 00H-7FH (0-127), Initial Value = 28H (40)

* This message adjusts the Reverb Send Level of each Part.

 Eect 3 (Chorus Send Level) (Controller Number 93)

Status 2nd byte 3rd byte BnH 5DH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127), Initial Value = 00H (0)

* This message adjusts the Chorus Send Level of each Part.

 NRPN MSB/LSB (Controller Number 98, 99)

Status 2nd byte 3rd byte BnH 63H mmH BnH 62H llH

n = MIDI channel number:0H-FH (ch.1-ch.16) mm = upper byte (MSB) of the parameter number specied by NRPN ll = lower byte (LSB) of the parameter number specied by NRPN

* Rx. NRPN is set to OFF by power-on reset or by receiving “GM1 System On” or “GM2

System On,” and NRPN message will be ignored. NRPN message will be received

when Rx. NRPN = ON, or by receiving “GS RESET.” * The value set by NRPN will not be reset even if Program Change or Reset All

Controllers is received.

**NRPN** The NRPN (Non Registered Parameter Number) message allows an extended range of control changes to be used. To use these messages, you must rst use NRPN MSB and NRPN LSB messages to specify the parameter to be controlled, and then use Data Entry messages to specify the value of the specied parameter. Once an NRPN parameter has been specied, all Data Entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH 7FH) when you have nished setting the value of the desired parameter. Refer to Section 4. Supplementary Material “Examples of actual MIDI messages” <Example 4>. On the GS devices, Data entry LSB (llH) of NRPN (controller number 38) is ignored, so it is no problem to send Data entry MSB (mmH) only without Data entry LSB (controller number 6).

On this instrument, NRPN can be used to modify the following parameters.

NRPN Data entry MSB LSB MSB Description 01H 08H mmH Vibrato Rate (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 09H mmH Vibrato Depth (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 0AH mmH Vibrato Delay (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 20H mmH TVF Cuto Frequency (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 21H mmH TVF Resonance (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 63H mmH TVF & TVA Envelope Attack Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 64H mmH TVF & TVA Envelope Decay Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 01H 66H mmH TVF & TVA Envelope Release Time (relative change) mm: 0EH-40H-72H (-50 - 0 - +50) 18H rrH mmH Drum Instrument Pitch Coarse (relative change) rr: key number of drum instrument mm: 00H-40H-7FH (-63 - 0 - +63 semitone) 1AH rrH mmH Drum Instrument TVA Level (absolute change) rr: key number of drum instrument mm: 00H-7FH (zero-maximum) 1CH rrH mmH Drum Instrument Panpot (absolute change) rr: key number of drum instrument mm: 00H, 01H-40H-7FH (Random, Left-Center-Right) 1DH rrH mmH Drum Instrument Reverb Send Level (absolute change) rr: key number of drum instrument mm: 01H-7FH (zero-maximum) 1EH rrH mmH Drum Instrument Chorus Send Level (absolute change) rr: key number of drum instrument mm: 01H-7FH (zero-maximum)

MIDI Implementation

* Parameters marked “relative change” will change relatively to the preset value(40H).

Even among dierent GS devices, “relative change” parameters may sometimes dier in the way the sound changes or in the range of change.

* Parameters marked “absolute change” will be set to the absolute value of the

parameter, regardless of the preset value.

* Data entry LSB (llH) is ignored.

 RPN MSB/LSB (Controller Number 100, 101)

Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm = upper byte (MSB) of parameter number specied by RPN ll = lower byte (LSB) of parameter number specied by RPN

* Not received when Rx. RPN = OFF. (Initial value is ON) * The value specied by RPN will not be reset even by messages such as Program

Change or Reset All Controller.

**RPN** The RPN (Registered Parameter Number) messages are expanded control changes, and each function of an RPN is described by the MIDI Standard. To use these messages, you must rst use RPN MSB and RPN LSB messages to specify the parameter to be controlled, and then use Data Entry messages to specify the value of the specied parameter. Once an RPN parameter has been specied, all Data Entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH 7FH) when you have nished setting the value of the desired parameter.Refer to Section 4. “Examples of actual MIDI messages” <Example 4>

Program Change

Status 2nd byte CnH ppH

n = MIDI channel number: 0H-FH (ch.1-ch.16) pp = Program number: 00H-7FH (prog.1-prog.128)

* Not received when Rx. PROGRAM CHANGE = OFF. (Initial value is ON) * After a Program Change message is received, the sound will change beginning with

the next Note-on. Voices already sounding when the Program Change message was received will not be aected.

* For Drum Parts, Program Change messages will not be received on bank numbers

129-16384 (the value of Controller Number 0 is other than 0 (00H)).

Channel Pressure

Status 2nd byte DnH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Channel Pressure : 00H-7FH (0-127)

* Not received when Rx. CH PRESSURE (CAf) = OFF. (Initial value is ON) * The resulting eect is determined by System Exclusive messages. With the initial

settings there will be no eect.

Pitch Bend Change

Status 2nd byte 3rd byte EnH llH mmH

On this instrument, RPN can be used to modify the following parameters.

RPN Data entry MSB LSB MSB LSB Explanation 00H 00H mmH --- Pitch Bend Sensitivity mm: 00H-18H (0-24 semitones), Initial Value = 02H (2 semitones) ll: ignored (processed as 00h) specify up to 2 octaves in semitone steps 00H 01H mmH llH Master Fine Tuning mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents), Initial Value = 40 00H (0 cent) ll: ignored (processed as 00h) specify up to 2 octaves in semitone steps Refer to 4. Supplementary Material, “About Tuning” 00H 02H mmH --- Master Coarse Tuning mm: 28H - 40H - 58H (-24 - 0 - +24 semitones), Initial Value = 40H (0 cent) ll: ignored (processed as 00h) 00H 05H mmH llH Modulation Depth Range mm: 00H - 04H (0 - 4 semitones) ll: 00H - 7FH (0 - 100 cents) 100/128 Cent/Value 7FH 7FH --- --- RPN null Set condition where RPN and NRPN are unspecied. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null). Settings already made will not change. mm, ll: ignored

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* Not received when Rx. PITCH BEND = OFF. (Initial value is ON) * The resulting eect is determined by System Exclusive messages. With the initial

settings the eect is Pitch Bend.

MIDI Implementation

 Channel Mode Messages

All Sounds O (Controller Number 120)

Status 2nd byte 3rd byte BnH 78H 00H

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

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

channel will be turned o immediately.

Reset All Controllers (Controller Number 121)

Status 2nd byte 3rd byte BnH 79H 00H

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

* When this message is received, the following controllers will be set to their reset

values.

Controller Reset value Pitch Bend Change ±0 (Center) Polyphonic Key Pressure 0 (o) Channel Pressure 0 (o ) Modulation 0 (o) Expression 127 (max) Hold 1 0 (o) Portamento 0 (o ) Sostenuto 0 (o) Soft 0 (o ) RPN unset; previously set data will not change NRPN unset; previously set data will not change

Local Control (Controller Number 122)

Status 2nd byte 3rd byte BnH 7AH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H, 7FH (0,127) 00H: Local O 7FH: Local On

OMNI ON (Controller Number 125)

Status 2nd byte 3rd byte BnH 7DH 00H

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

* OMNI ON is only recognized as “All notes o”; the Mode doesn’t change (OMNI OFF

remains).

MONO (Controller Number 126)

Status 2nd byte 3rd byte BnH 7EH mmH

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm = mono number : 00H-10H (0-16)

* The same processing will be carried out as when All Sounds O and All Notes O is

received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of

the value of “mono number.”

POLY (Controller Number 127)

Status 2nd byte 3rd byte BnH 7FH 00H

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

* The same processing will be carried out as when All Sounds O and All Notes O is

received, and the corresponding channel will be set to Mode 3.

 System Realtime Message

Active Sensing

Status FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of

all further messages. While monitoring, if the interval between messages exceeds

420 ms, the same processing will be carried out as when All Sounds O, All Notes

O and Reset All Controllers are received, and message interval monitoring will be

halted.

All Notes O (Controller Number 123)

Status 2nd byte 3rd byte BnH 7BH 00H

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

* When All Notes O is received, all notes on the corresponding channel will be

turned o. However if Hold 1 or Sostenuto is ON, the sound will be continued until these are turned o.

OMNI OFF (Controller Number 124)

Status 2nd byte 3rd byte BnH 7CH 00H

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

* The same processing will be carried out as when All Notes O is received.

MIDI Implementation

 System Exclusive Message

Status Data byte Status

F0H iiH, ddH, ......, eeH F7H

F0H: System Exclusive Message status ii = ID number: An ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. Roland’s manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH). dd,...,ee = data: 00H-7FH (0-127) F7H: EOX (End Of Exclusive)

The System Exclusive Messages received by this instrument are; messages related to mode settings, Universal Realtime System Exclusive messages, Universal Nonrealtime System Exclusive messages and Data Set (DT1).

System Exclusive Messages Related to Mode Settings

These messages are used to initialize a device to GS or General MIDI mode, or change the operating mode. When creating performance data, a “GM1 System On” message should be inserted at the beginning of a General MIDI 1 score, a “GM2 System On” message at the beginning of a General MIDI 2 score, and a “GS Reset” message at the beginning of a GS music data. Each song should contain only one mode message as appropriate for the type of data. (Do not insert two or more mode setting messages in a single song.) “GM System On” uses Universal Non-realtime Message format. “GS Reset” uses Roland system Exclusive format “Data Set 1 (DT1).”

 GM1 System On

This is a command message that resets the internal settings of the unit to the General MIDI initial state (General MIDI System-Level 1). After receiving this message, this instrument will automatically be set to the proper condition for correctly playing a GM1 score.

Status Data byte Status F0H 7EH, 7FH, 09H, 01H F7H

Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (General MIDI Message) 01H Sub ID#2 (General MIDI 1 On) F7H EOX (End Of Exclusive)

* When this message is received, Rx. BANK SELECT will be OFF and Rx. NRPN will be

OFF.

* There must be an interval of at least 50 ms between this message and the next.

 GM2 System On

This is a command message that resets the internal settings of the unit to the General MIDI initial state (General MIDI System-Level 2). After receiving this message, this instrument will automatically be set to the proper condition for correctly playing a GM2 score.

Status Data byte Status F0H 7EH 7FH 09H 03H F7H

Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (General MIDI Message) 03H Sub ID#2 (General MIDI 2 On) F7H EOX (End Of Exclusive)

 GS Reset

GS Reset is a command message that resets the internal settings of a device to the GS initial state. This message will appear at the beginning of GS music data, and a GS device that receives this message will automatically be set to the proper state to correctly playback GS music data.

Status Data byte Status F0H 41H, 10H, 42H, 12H, 40H, F7H 00H, 7FH, 00H, 41H

Byte Explanation F0H Exclusive status 41H ID number (Roland) 10H Device ID (dev: 00H-1FH (1-32), Initial value is 10H (17)) 42H Model ID (GS) 12H Command ID (DT1) 40H Address MSB 00H Address 7FH Address LSB 00H Data (GS reset) 41H Checksum F7H EOX (End Of Exclusive)

* When this message is received, Rx. NRPN will be ON. * There must be an interval of at least 50 ms between this message and the next.

Universal Realtime System Exclusive Messages

 Master Volume

Status Data byte Status F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H

Byte Explanation F0H Exclusive status 7FH ID number (universal realtime message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control messages) 01H Sub ID#2 (Master Volume) llH Master volume lower byte mmH Master volume upper byte F7H EOX (End Of Exclusive)

llH: ignored (processed as 00H) mmH: 00H - 7FH 0 - 127

* The lower byte (llH) of Master Volume will be handled as 00H.

 Master Fine Tuning

Status Data byte Status F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 03H Sub ID#2 (Master Fine Tuning) llH Master Fine Tuning LSB mmH Master Fine Tuning MSB F7H EOX (End Of Exclusive)

llH, mmH: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])

* When this message is received, this instrument will be able to receive the messages

specied by General MIDI 2, and use the General MIDI 2 soundmap.

* There must be an interval of at least 50 ms between this message and the next.

MIDI Implementation

 Master Coarse Tuning

Status Data byte Status F0H 7FH, 7FH, 04H, 04H, llH, mmH F7H

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 04H Sub ID#2 (Master Coarse Tuning) llH Master Coarse Tuning LSB mmH Master Coarse Tuning MSB F7H EOX (End Of Exclusive)

llH: ignored (processed as 00H) mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])

Global Parameter Control

Parameters of the Global Parameter Control are newly provided for the General MIDI

 Reverb Parameters

Status Data byte Status F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H 01H, 01H, 01H, ppH, vvH

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 05H Sub ID#2 (Global Parameter Control) 01H Slot path length 01H Parameter ID width 01H Value width 01H Slot path MSB 01H Slot path LSB (Eect 0101: Reverb) ppH Parameter to be controlled. vvH Value for the parameter. F7H EOX (End Of Exclusive)

pp=0 Reverb Type vv = 00H Small Room (Room1) vv = 01H Medium Room (Room2) vv = 02H Large Room (Room3) vv = 03H Medium Hall (Hall1) vv = 04H Large Hall (Hall2) vv = 08H Plate (Plate)

pp=1 Reverb Time vv = 00H - 7FH 0 - 127

 Chorus Parameters

Status Data byte Status F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H 01H, 01H, 02H, ppH, vvH

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 04H Sub ID#1 (Device Control) 05H Sub ID#2 (Global Parameter Control) 01H Slot path length 01H Parameter ID width 01H Value width 01H Slot path MSB 02H Slot path LSB (Eect 0102: Chorus) ppH Parameter to be controlled. vvH Value for the parameter. F7H EOX (End Of Exclusive)

pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger

pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127

 Channel Pressure

Status Data byte Status F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (Controller Destination Setting) 01H Sub ID#2 (Channel Pressure) 0nH MIDI Channel (00H - 0FH) ppH Controlled parameter rrH Controlled range F7H EOX (End Of Exclusive)

pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cuto Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200 [%] pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100 [%]

MIDI Implementation

 Controller

Status Data byte Status F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, F7H ppH, rrH

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 09H Sub ID#1 (Controller Destination Setting) 03H Sub ID#2 (Control Change) 0nH MIDI Channel (00H - 0FH) ccH Controller number (01 - 1FH, 40 - 5FH) ppH Controlled parameter rrH Controlled range F7H EOX (End Of Exclusive)

 Scale/Octave Tuning Adjust

Status Data byte Status F0H 7EH, 7FH, 08H, 08H, H, ggH, F7H hhH, ssH...

Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 7FH Device ID (Broadcast) 08H Sub ID#1 (MIDI Tuning Standard) 08H Sub ID#2 (scale/octave tuning 1-byte form) H Channel/Option byte1 bits 0 to 1 = channel 15 to 16 bits 2 to 6 = Undened ggH Channel byte2 bits 0 to 6 = channel 8 to 14 hhH Channel byte3 bits 0 to 6 = channel 1 to 7 ssH 12 byte tuning oset of 12 semitones from C to B 00H = -64 [cents] 40H = 0 [cents] (equal temperament) 7FH = +63 [cents] F7H EOX (End Of Exclusive)

 Key-Based Instrument Controllers

Status Data byte Status F0H 7FH, 7FH, 0AH, 01H, 0nH, F7H kkH, nnH, vvH...

Byte Explanation F0H Exclusive status 7FH ID number (Universal Realtime Message) 7FH Device ID (Broadcast) 0AH Sub ID#1 (Key-Based Instrument Control) 01H Sub ID#2 (Controller) 0nH MIDI Channel (00 - 0FH) kkH Key Number nnH Controller Number vvH Value F7H EOX (End Of Exclusive)

nn=07H Level vv = 00H - 7FH 0 - 200 [%] (Relative) nn=0AH Pan vv = 00H - 7FH Left - Right (Absolute) nn=5BH Reverb Send vv = 00H - 7FH 0 - 127 (Absolute) nn=5DH Chorus Send vv = 00H - 7FH 0 - 127 (Absolute)

* This parameter eects drum instruments only.

Universal Non-realtime System Exclusive Messages

 Identity Request Message

Status Data byte Status F0H 7EH, 10H, 06H, 01H F7H

Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 10H Device ID 06H Sub ID#1 (General Information) 01H Sub ID#2 (Identity Request) F7H EOX (End Of Exclusive)

* Device ID = 10H or 7FH

MIDI Implementation

Data transmission

This instrument can receive the various parameters using System Exclusive messages. The exclusive message of GS format data has a model ID of 42H and a device ID of 10H (17), and it is common to all the GS devices.

 Data Set 1 (DT1)

This is the message that actually performs data transmission, and is used when you wish to transmit the data.

Status Data byte Status F0H 41H, 10H, 42H, 12H, aaH, bbH, F7H ccH, ddH, ... eeH, sum

Byte Explanation F0H Exclusive status 41H ID number (Roland) 10H Device ID 42H Model ID (GS) 12H Command ID (DT1) aaH Address MSB: upper byte of the starting address of the transmitted data bbH Address: middle byte of the starting address of the transmitted data ccH Address LSB: lower byte of the starting address of the transmitted data ddH Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address. : : eeH Data sum Checksum F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends on the type of

data, and data can be received only from the specied starting address and size. Refer to the Address and Size given in Section 3.

* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If

“Data Set 1” is transmitted successively, there must be an interval of at least 40 ms between packets.

* Regarding the checksum please refer to section 4 .

2. Transmit Data

 Channel Voice Messages

Note O

Status 2nd byte 3rd byte 8nH kkH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note o velocity: 00H-7FH (0-127)

Note On

Status 2nd byte 3rd byte 9nH kkH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) kk = note number: 00H-7FH (0-127) vv = note on velocity: 01H-7FH (1-127)

Control Change

 Bank Select (Controller Number 0, 32)

Status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH

n = MIDI channel number: 0H-FH (ch.1-ch.16) mm, ll = Bank number: 00H, 00H-7FH, 7FH (bank.1-bank.16384)

 Modulation (Controller Number 1)

Status 2nd byte 3rd byte BnH 01H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Modulation depth: 00H-7FH (0-127)

 Volume (Controller Number 7)

Status 2nd byte 3rd byte BnH 07H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Volume: 00H-7FH (0-127)

 Expression (Controller Number 11)

Status 2nd byte 3rd byte BnH 0BH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Expression: 00H-7FH (0-127)

 Hold 1 (Controller Number 64)

Status 2nd byte 3rd byte BnH 40H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)

 Sostenuto (Controller Number 66)

Status 2nd byte 3rd byte BnH 42H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H, 7FH (0, 127) 0 = OFF, 127 = ON

MIDI Implementation

 Soft (Controller Number 67)

Status 2nd byte 3rd byte BnH 43H vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)

 Eect 1 (Reverb Send Level) (Controller Number 91)

Status 2nd byte 3rd byte BnH 5BH vvH

n = MIDI channel number: 0H-FH (ch.1-ch.16) vv = Control value: 00H-7FH (0-127)

Program Change

Status 2nd byte CnH ppH

n = MIDI channel number: 0H-FH (ch.1-ch.16) pp = Program number: 00H-7FH (prog.1-prog.128)

Pitch Bend Change

Status 2nd byte 3rd byte EnH llH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

 System Realtime Message

Active Sensing

Status FEH

* This will be transmitted constantly at intervals of approximately 250 ms.

 System Exclusive Messages

 Identity Reply

Status Data byte Status F0H 7EH, 10H, 06H, 02H, 41H, 42H, 00H, F7H 00H, 1EH, 07H, 01H, 00H, 00H

Byte Explanation F0H Exclusive status 7EH ID number (Universal Non-realtime Message) 10H Device ID (use the same as the device ID of Roland) 06H Sub ID#1 (General Information) 02H Sub ID#2 (Identity Reply) 41H ID number (Roland) 42H Device family code (LSB) 00H Device family code (MSB) 00H Device family number code (LSB) 1EH Device family number code (MSB) 07H Software revision level 01H Software revision level 00H Software revision level 00H Software revision level F7H EOX (End of Exclusive)

MIDI Implementation

3. Parameter Address Map (Model ID = 42H)

This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).” All the numbers of address, size, Data, and Default Value are indicated in 7-bits Hexadecimal-form.

 Address Block Map

An outlined address map of the Exclusive Communication is as follows;

+------------+------------------------------------+ | Address (H)| Block | +------------+------------------------------------+ | 40 00 00 | | | | SYSTEM PARAMETERS | Individual | 40 01 3F | | +------------+------------------------------------+ +------------+------------------------------------+ | 40 1x 00 | | | | PART PARAMETERS (x = 0-F) | Individual | 40 2x 5A | | +------------+------------------------------------+ +------------+------------------------------------+ | 41 m0 00 | | | | DRUM SETUP PARAMETERS (m = 0,1) | Individual | 41 m8 7F | | +------------+------------------------------------+ +------------+------------------------------------+ | 48 00 00 | | | | SYSTEM PARAMETERS | Bulk | 48 01 0F | | +------------+------------------------------------+ | 48 01 10 | | | | PART PARAMETERS | Bulk | 48 1D 0F | | +------------+------------------------------------+ +------------+------------------------------------+ | 49 m0 00 | | | | DRUM SETUP PARAMETERS (m = 0,1) | Bulk | 49 mE 17 | | +------------+------------------------------------+

There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in which a large amount of data is transmitted at once.

 Individual Parameters

Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of “F0 ..... F7”).

In Individual Parameter Transmission, you must use the Address and Size listed in the following “Parameter Address Map.” Addresses marked at “#” cannot be used as starting addresses.

System Parameters

Parameters related to the system of the device are called System Parameters.

Address (H) Size (H) Data (H) Parameter Description Default Value (H) Description 40 00 00 00 00 04 0018-07E8 MASTER TUNE -100.0 - +100.0 [cent] 00 04 00 00 0 [cent] 40 00 01# Use nibblized data. 40 00 02# 40 00 03#

*Refer to section 4. Supplementary Material, “About Tuning.”

40 00 04 00 00 01 00-7F MASTER VOLUME 0-127 7F 127 (= F0 7F 7F 04 01 00 vv F7) 40 00 05 00 00 01 28-58 MASTER KEY-SHIFT -24 - +24 [semitones] 40 0 [semitones] 40 00 06 00 00 01 01-7F MASTER PAN -63 (LEFT) - +63 (RIGHT) 40 0 (CENTER) 40 00 7F 00 00 01 00-7F MODE SET 00 = GS Reset, 127 = Exit GS mode (Rx. only)

* Refer to “System Exclusive Messages Related to Mode Settings”.

40 01 10 00 00 10 00-40 VOICE RESERVE Part 10 (Drum Part) 02 2 40 01 11# Part 1 06 6 40 01 12# Part 2 02 2 40 01 13# Part 3 02 2 40 01 14# Part 4 02 2 40 01 15# Part 5 02 2 40 01 16# Part 6 02 2 40 01 17# Part 7 02 2 40 01 18# Part 8 02 2 40 01 19# Part 9 02 2 40 01 1A# Part 11 00 0

MIDI Implementation

40 01 :# : : : 40 01 1F# Part 16 00 0

* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128.

For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.

40 01 30 00 00 01 00-07 REVERB MACRO 00: Room 1 04 Hall 2 01: Room 2 02: Room 3 03: Hall 1 04: Hall 2 05: Plate 06: Delay 07: Panning Delay 40 01 31 00 00 01 00-07 REVERB CHARACTER 0-7 04 4 40 01 32 00 00 01 00-07 REVERB PRE-LPF 0-7 00 0 40 01 33 00 00 01 00-7F REVERB LEVEL 0-127 40 64 40 01 34 00 00 01 00-7F REVERB TIME 0-127 40 64 40 01 35 00 00 01 00-7F REVERB DELAY FEEDBACK 0-127 00 0

* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to

the most suitable value.

* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.

40 01 38 00 00 01 00-07 CHORUS MACRO 00: Chorus 1 02 Chorus 3 01: Chorus 2 02: Chorus 3 03: Chorus 4 04: Feedback Chorus 05: Flanger 06: Short Delay 07: Short Delay (FB) 40 01 39 00 00 01 00-07 CHORUS PRE-LPF 0-7 00 0 40 01 3A 00 00 01 00-7F CHORUS LEVEL 0-12 40 64 40 01 3B 00 00 01 00-7F CHORUS FEEDBACK 0-127 08 8 40 01 3C 00 00 01 00-7F CHORUS DELAY 0-127 50 80 40 01 3D 00 00 01 00-7F CHORUS RATE 0-127 03 3 40 01 3E 00 00 01 00-7F CHORUS DEPTH 0-127 13 19 40 01 3F 00 00 01 00-7F CHORUS SEND LEVEL TO REVERB 0-127 00 0

* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter will be

set to the most suitable value.

40 03 00 00 00 02 00-7F EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 00 Thru

* For details on each type, refer to “5. Eect List.” * This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.

40 03 03 00 00 01 00-7F EFX Parameter 1 40 03 04 00 00 01 00-7F EFX Parameter 2 40 03 05 00 00 01 00-7F EFX Parameter 3 40 03 06 00 00 01 00-7F EFX Parameter 4 40 03 07 00 00 01 00-7F EFX Parameter 5 40 03 08 00 00 01 00-7F EFX Parameter 6 40 03 09 00 00 01 00-7F EFX Parameter 7 40 03 0A 00 00 01 00-7F EFX Parameter 8 40 03 0B 00 00 01 00-7F EFX Parameter 9 40 03 0C 00 00 01 00-7F EFX Parameter 10 40 03 0D 00 00 01 00-7F EFX Parameter 11 40 03 0E 00 00 01 00-7F EFX Parameter 12 40 03 0F 00 00 01 00-7F EFX Parameter 13 40 03 10 00 00 01 00-7F EFX Parameter 14 40 03 11 00 00 01 00-7F EFX Parameter 15 40 03 12 00 00 01 00-7F EFX Parameter 16 40 03 13 00 00 01 00-7F EFX Parameter 17 40 03 14 00 00 01 00-7F EFX Parameter 18 40 03 15 00 00 01 00-7F EFX Parameter 19 40 03 16 00 00 01 00-7F EFX Parameter 20

* Each parameter will be changed by EFX type. Refer to EFX Parameter Map.

40 03 17 00 00 01 00 - 7F EFX Send Level to Reverb

MIDI Implementation

* Set to 0 when EFX type is changed.

40 03 18 00 00 01 00 - 7F EFX Send Level to Chorus

* Set to 0 when EFX type is changed.

40 03 1A 00 00 01 00 - 7F EFX Depth Dr y 100% - EFX 100% 7F

Part Parameters

This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters. If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block number can be specied as one of 16 blocks, from 0 (H) to F (H).

The relation between Part number and Block number is as follows.

x...BLOCK NUMBER (0-F), Part 1 (MIDI ch = 1) x = 1 Part 2 (MIDI ch = 2) x = 2 : : : Part 9 (MIDI ch = 9) x = 9 Part10 (MIDI ch = 10) x = 0 Part11 (MIDI ch = 11) x = A Part12 (MIDI ch = 12) x = B : : : Part16 (MIDI ch = 16) x = F

* The controller numbers are indicated as “CC#” in the following map.

Address (H) Size (H) Data (H) Parameter Description Default Value (H) Description 40 1x 00 00 00 02 00-7F TONE NUMBER CC#00 VALUE 0-127 00 0 40 1x 01# 00-7F P.C. VALUE 1-128 00 1 40 1x 02 00 00 01 00-10 Rx. CHANNEL 1-16, OFF Same as the Part Number 40 1x 03 00 00 01 00-01 Rx. PITCH BEND OFF/ON 01 ON 40 1x 04 00 00 01 00-01 Rx. CH PRESSURE (CAf ) OFF/ON 01 ON 40 1x 05 00 00 01 00-01 Rx. PROGRAM CHANGE OFF/ON 01 ON 40 1x 06 00 00 01 00-01 Rx. CONTROL CHANGE OFF/ON 01 ON 40 1x 07 00 00 01 00-01 Rx. POLY PRESSURE (PAf) OFF/ON 01 ON 40 1x 08 00 00 01 00-01 Rx. NOTE MESSAGE OFF/ON 01 ON 40 1x 09 00 00 01 00-01 Rx. RPN OFF/ON 01 ON 40 1x 0A 00 00 01 00-01 Rx. NRPN OFF/ON 00 (01*) OFF (ON*)

* When “GM1 System On” and “GM2 System On” are received, Rx. NRPN will be set OFF. When “GS Reset” is received, it will be set ON.

40 1x 0B 00 00 01 00-01 Rx. MODULATION OFF/ON 01 ON 40 1x 0C 00 00 01 00-01 Rx. VOLUME OFF/ON 01 ON 40 1x 0D 00 00 01 00-01 Rx. PANPOT OFF/ON 01 ON 40 1x 0E 00 00 01 00-01 Rx. EXPRESSION OFF/ON 01 ON 40 1x 0F 00 00 01 00-01 Rx. HOLD1 OFF/ON 01 ON 40 1x 10 00 00 01 00-01 Rx. PORTAMENTO OFF/ON 01 ON 40 1x 11 00 00 01 00-01 Rx. SOSTENUTO OFF/ON 01 ON 40 1x 12 00 00 01 00-01 Rx. SOFT OFF/ON 01 ON

40 1x 13 00 00 01 00-01 MONO/POLY MODE Mono/Poly 01 Poly (= CC# 126 01 / CC# 127 00)

40 1x 15 00 00 01 00-02 USE FOR RHYTHM PART 0 = OFF 00 at x ≠0 OFF at x ≠0 1 = MAP1 01 at x = 0 MAP1 at x ≠0 2 = MAP2

* This parameter sets the Drum Map of the Part used as the Drum Part. This instrument can simultaneously (in dierent Parts) use up to two Drum Maps (MAP1, MAP2). With the

initial settings, Part10 (MIDI CH = 10, x = 0) is set to MAP1 (1), and other Parts are set to normal instrumental Parts (OFF (0)).

40 1x 16 00 00 01 28-58 PITCH KEY SHIFT -24 - +24 [semitones] 40 0 [semitones] 40 1x 17 00 00 02 00 08-0F 08 PITCH OFFSET FINE -12.0 - +12.0 [Hz] 08 00 (80) 0 [Hz] 40 1x 18# (08-F8) Use nibblized data.

* PITCH OFFSET FINE allows you to alter, by a specied frequency amount, the pitch at which notes will sound. This parameter diers from the conventional Fine Tuning (RPN #1)

parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given a dierent setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste eect.

40 1x 19 00 00 01 00-7F PART LEVEL 0-127 64 100 (= CC# 7) 40 1x 1A 00 00 01 00-7F VELOCITY SENSE DEPTH 0-127 40 64 40 1x 1B 00 00 01 00-7F VELOCITY SENSE OFFSET 0-127 40 64

MIDI Implementation

40 1x 1C 00 00 01 00-7F PART PANPOT -64 (RANDOM) 40 0 (CENTER) (= CC# 10, except RANDOM) -63 (LEFT) - +63 (RIGHT ) 40 1x 1D 00 00 01 00-7F KEY RANGE LOW (C-1) - (G9) 00 C-1 40 1x 1E 00 00 01 00-7F KEY RANGE HIGH (C-1) - (G9) 7F G 9 40 1x 1F 00 00 01 00-5F CC1 CONTROLLER NUMBER 0-95 10 16 40 1x 20 00 00 01 00-5F CC2 CONTROLLER NUMBER 0-95 11 17 40 1x 21 00 00 01 00-7F CHORUS SEND LEVEL 0-127 00 0 (= CC# 93) 40 1x 22 00 00 01 00-7F REVERB SEND LEVEL 0-127 28 40 (= CC# 91)

40 1x 23 00 00 01 00-01 Rx. BANK SELECT OFF/ON 01 (00*) ON (OFF*)

* “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will be ignored. * “Rx. BANK SELECT” is set to ON by “GM2 System On.” * “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”

40 1x 24 00 00 01 00-01 Rx. BANK SELECT LSB OFF/ON 00 OFF

* This instrument can be recognized Bank Select LSB (40H-43H) even if this message is OFF.

40 1x 25 00 00 01 00-01 TONE REMAIN OFF/ON 01 ON 40 1x 28 00 00 03 00-7F Bank Select LSB Range LSB (from) 40 40H 40 1x 29# LSB (to) 43 43H

40 1x 30 00 00 01 0E-72 TONE MODIFY 1 -50 - +50 40 0 Vibrato rate (= NRPN# 8) 40 1x 31 00 00 01 0E-72 TONE MODIFY 2 -50 - +50 40 0 Vibrato depth (= NRPN# 9) 40 1x 32 00 00 01 0E-72 TONE MODIFY 3 -50 - +50 40 0 TVF cuto frequency (= NRPN# 32) 40 1x 33 00 00 01 0E-72 TONE MODIFY 4 -50 - +50 40 0 TVF resonance (= NRPN# 33) 40 1x 34 00 00 01 0E-72 TONE MODIFY 5 -50 - +50 40 0 TVF & TVA Env.attack (= NRPN# 99) 40 1x 35 00 00 01 0E-72 TONE MODIFY 6 -50 - +50 40 0 TVF & TVA Env.decay (= NRPN# 100) 40 1x 36 00 00 01 0E-72 TONE MODIFY 7 -50 - +50 40 0 TVF & TVA Env.release (= NRPN# 102) 40 1x 37 00 00 01 0E-72 TONE MODIFY 8 -50 - +50 40 0 Vibrato delay (= NRPN# 10)

40 1x 40 00 00 0C 00-7F SCALE TUNING C -64 - +63 [cent] 40 0 [cent] 40 1x 41# 00-7F SCALE TUNING C# -64 - +63 [cent] 40 0 [cent] 40 1x 42# 00-7F SCALE TUNING D -64 - +63 [cent] 40 0 [cent] 40 1x 43# 00-7F SCALE TUNING D# -64 - +63 [cent] 40 0 [cent] 40 1x 44# 00-7F SCALE TUNING E -64 - +63 [cent] 40 0 [cent] 40 1x 45# 00-7F SCALE TUNING F -64 - +63 [cent] 40 0 [cent] 40 1x 46# 00-7F SCALE TUNING F# -64 - +63 [cent] 40 0 [cent] 40 1x 47# 00-7F SCALE TUNING G -64 - +63 [cent] 40 0 [cent] 40 1x 48# 00-7F SCALE TUNING G# -64 - +63 [cent] 40 0 [cent] 40 1x 49# 00-7F SCALE TUNING A -64 - +63 [cent] 40 0 [cent] 40 1x 4A# 00-7F SCALE TUNING A# -64 - +63 [cent] 40 0 [cent] 40 1x 4B# 00-7F SCALE TUNING B -64 - +63 [cent] 40 0 [cent]

* SCALE TUNING is a function that allows ne adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change

simultaneously. A setting of +/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary Material, “ The Scale Tune Feature.”

40 2x 00 00 00 01 28-58 MOD PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 01 00 00 01 00-7F MOD TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 02 00 00 01 00-7F MOD AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 03 00 00 01 00-7F MOD LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 04 00 00 01 00-7F MOD LFO1 PITCH DEPTH 0-600 [cent] 0A 47 [cent] 40 2x 05 00 00 01 00-7F MOD LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 06 00 00 01 00-7F MOD LFO1 TVA DEPTH 0-100 [%] 00 0 [%] 40 2x 07 00 00 01 00-7F MOD LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 08 00 00 01 00-7F MOD LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 09 00 00 01 00-7F MOD LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 0A 00 00 01 00-7F MOD LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 10 00 00 01 40-58 BEND PITCH CONTROL 0-24 [semitone] 42 2 [semitones] 40 2x 11 00 00 01 00-7F BEND TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 12 00 00 01 00-7F BEND AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

MIDI Implementation

40 2x 13 00 00 01 00-7F BEND LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 14 00 00 01 00-7F BEND LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 15 00 00 01 00-7F BEND LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 16 00 00 01 00-7F BEND LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 17 00 00 01 00-7F BEND LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 18 00 00 01 00-7F BEND LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 19 00 00 01 00-7F BEND LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 1A 00 00 01 00-7F BEND LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 20 00 00 01 28-58 CAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 21 00 00 01 00-7F CAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 22 00 00 01 00-7F CAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 23 00 00 01 00-7F CAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 24 00 00 01 00-7F CAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 25 00 00 01 00-7F CAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 26 00 00 01 00-7F CAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 27 00 00 01 00-7F CAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 28 00 00 01 00-7F CAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 29 00 00 01 00-7F CAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 2A 00 00 01 00-7F CAf LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 30 00 00 01 28-58 PAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 31 00 00 01 00-7F PAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 32 00 00 01 00-7F PAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 33 00 00 01 00-7F PAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 34 00 00 01 00-7F PAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 35 00 00 01 00-7F PAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 36 00 00 01 00-7F PAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 37 00 00 01 00-7F PAf LFO2 RATE CONTROL -10.0-+10.0 [Hz] 40 0 [Hz] 40 2x 38 00 00 01 00-7F PAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 39 00 00 01 00-7F PAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 3A 00 00 01 00-7F PAf LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 40 00 00 01 28-58 CC1 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 41 00 00 01 00-7F CC1 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 42 00 00 01 00-7F CC1 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 43 00 00 01 00-7F CC1 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 44 00 00 01 00-7F CC1 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 45 00 00 01 00-7F CC1 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 46 00 00 01 00-7F CC1 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 47 00 00 01 00-7F CC1 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 48 00 00 01 00-7F CC1 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 49 00 00 01 00-7F CC1 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 4A 00 00 01 00-7F CC1 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 50 00 00 01 28-58 CC2 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones] 40 2x 51 00 00 01 00-7F CC2 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent] 40 2x 52 00 00 01 00-7F CC2 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%] 40 2x 53 00 00 01 00-7F CC2 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 54 00 00 01 00-7F CC2 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 55 00 00 01 00-7F CC2 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 56 00 00 01 00-7F CC2 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%] 40 2x 57 00 00 01 00-7F CC2 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz] 40 2x 58 00 00 01 00-7F CC2 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent] 40 2x 59 00 00 01 00-7F CC2 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent] 40 2x 5A 00 00 01 00-7F CC2 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 4x 23 00 00 06 00-7F PART EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 00 0 40 4x 24#

* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter, the part connect to EFX.

40 4x 25# 00-7F PART EFX MACRO 00-7F 00 0 40 4x 26# 00-7F PART EFX DEPTH 00-7F 00 0 40 4x 27# 00-7F PART EFX CONTROL1 00-7F 00 0 40 4x 28# 00-7F PART EFX CONTROL2 00-7F 00 0

40 4x 51 00 00 0B 00 HARMONIC BAR SET always 00 00 0 40 4x 52# 00-02 PERCUSSION 00 (OFF) 00 OFF 41-42 01 (2nd, Fast) 02 (3rd, Fast) 41 (2nd, Slow) 42 (3rd, Slow)

MIDI Implementation

40 4x 53# 00-08 HARMONIC BAR 16’ 00-08 00 0 40 4x 54# 00-08 HARMONIC BAR 5+1/3’ 00-08 00 0 40 4x 55# 00-08 HARMONIC BAR 8’ 00-08 00 0 40 4x 56# 00-08 HARMONIC BAR 4’ 00-08 00 0 40 4x 57# 00-08 HARMONIC BAR 2+2/3’ 00-08 00 0 40 4x 58# 00-08 HARMONIC BAR 2’ 00-08 00 0 40 4x 59# 00-08 HARMONIC BAR 1+3/5’ 00-08 00 0 40 4x 5A# 00-08 HARMONIC BAR 1+1/3’ 00-08 00 0 40 4x 5B# 00-08 HARMONIC BAR 1’ 00-08 00 0

Drum Setup Parameters

* m: Map number (0 = MAP1, 1 = MAP2) * rr: drum part note number (00H-7FH)

Address (H) Size (H) Data (H) Parameter Description 41 m1 rr 00 00 01 00-7F PLAY NOTE NUMBER Pitch coarse 41 m2 rr 00 00 01 00-7F LEVEL TVA level (= NRPN# 26) 41 m3 rr 00 00 01 00-7F ASSIGN GROUP NUMBER Non, 1-127 41 m4 rr 00 00 01 00-7F PANPOT -64 (RANDOM), -63 (LEFT) - +63 (RIGHT) (= NRPN# 28, except RANDOM) 41 m5 rr 00 00 01 00-7F REVERB SEND LEVEL 0.0-1.0 (= NRPN# 29) Multiplicand of the part reverb depth 41 m6 rr 00 00 01 00-7F CHORUS SEND LEVEL 0.0-1.0 (= NRPN# 30) Multiplicand of the part chorus depth 41 m7 rr 00 00 01 00-01 Rx. NOTE OFF OFF/ON 41 m8 rr 00 00 01 00-01 Rx. NOTE ON OFF/ON

* When the Drum Set is changed, DRUM SETUP PARAMETER values will all be initialized.

MIDI Implementation

4. Supplementary Material

Decimal and Hexadecimal Table

In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are expressed as hexadecimal values for each 7 bits. The following table shows how these correspond to decimal numbers.

+------+------++------+------++------+------++------+------+ | D | H || D | H || D | H || D | H | +------+------++------+------++------+------++------+------+ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | +------+------++------+------++------+------++------+------+

D: decimal H: hexadecimal

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

one (1) greater than the values given in the above table.

* A 7-bits byte can express data in the range of 128 steps. For data where

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

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

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

* Data marked “nibbled” is expressed in hexadecimal in 4-bits units. A value

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

<Example 1> What is the decimal expression of 5AH? >From the preceding table, 5AH = 90

<Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits? >From the preceding table, since 12H = 18 and 34H = 52 18 x 128 + 52 = 2356

<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D? >From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13 ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

<Example 4> What is the nibbled expression of the decimal value 1258?

16) 1258

16) 78... 10

16) 4... 14

0... 4

Examples of Actual MIDI Messages

<Example 1> 92 3E 5F 9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.

<Example 2> CE 49 CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and 49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute in GS).

<Example 3> EA 00 28 EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072

If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change 200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11.

<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the controller number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called “running status” which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning.

B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H (B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H (B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH (B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H (B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH (B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH

In other words, the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.

RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/- 12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.)

Once the parameter number has been specied for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end.

It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound source will then misinterpret the data. Take care to give each event its own status.

It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order dierent than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).

* TPQN: Ticks Per Quarter Note

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is 00 04 0E 0AH.

MIDI Implementation

Example of an Exclusive Message and Calculating a

Checksum

Roland Exclusive messages are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted exclusive message.

 How to Calculate the Checksum (Hexadecimal Num-

bers are Indicated by ‘H’)

The checksum is a value derived by adding the address, size and checksum itself and inverting the lower 7 bits. Here’s an example of how the checksum is calculated. We will assume that in the exclusive message we are transmitting, the address is aa bb ccH and the data or size is dd ee H.

aa + bb + cc + dd + ee +  = sum sum / 128 = quotient ... remainder 128 - remainder = checksum (However, the checksum will be 0 if the remainder is 0.)

<Example> Setting REVERB MACRO to ROOM 3 According to the “Parameter Address Map,” the REVERB MACRO Address is 40 01 30H, and ROOM 3 is a value of 02H. Thus,

F0 41 10 42 12 40 01 30 02 ?? F7 (1) (2) (3) (4) (5) Address data Checksum (6)

(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17), (4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive

Next we calculate the checksum.

40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum) 115 (sum) / 128 = 0 (quotient) ... 115 (remainder) checksum = 128 - 115 (remainder) = 13 = 0DH

About Tuning

In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the appropriate MIDI channel. In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H). RPN #1 allows tuning to be specied in steps of approximately 0.012 cents (to be precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of

0.1 cent. One cent is 1/100th of a semitone. The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are added together to determine the actual pitch sounded by each Part.

Frequently used tuning values are given in the following table for your reference. Values are in hexadecimal (decimal in parentheses).

+----------+--------+---------------+--------------------+ | Hz in A4 | cent | RPN #1 | Sys.Ex. 40 00 00 | +----------+--------+---------------+--------------------+ | 445.0 | +19.56 | 4C 43 (+1603) | 00 04 0C 04 (+196) | | 444.0 | +15.67 | 4A 03 (+1283) | 00 04 09 0D (+157) | | 443.0 | +11.76 | 47 44 (+ 964) | 00 04 07 06 (+118) | | 442.0 | +7.85 | 45 03 (+ 643) | 00 04 04 0F (+ 79) | | 441.0 | +3.93 | 42 42 (+ 322) | 00 04 02 07 (+ 39) | | 440.0 | 0.00 | 40 00 ( 0) | 00 04 00 00 ( 0) | | 439.0 | -3.94 | 3D 3D (- 323) | 00 03 0D 09 (- 39) | | 438.0 | -7.89 | 3A 7A (- 646) | 00 03 0B 01 (- 79) | +----------+--------+---------------+--------------------+

<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz

Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.

B2 64 00 MIDI ch.3, lower byte of RPN parameter number: 00H (B2) 65 01 (MIDI ch.3) upper byte of RPN parameter number: 01H (B2) 06 45 (MIDI ch.3) upper byte of parameter value: 45H (B2) 26 03 (MIDI ch.3) lower byte of parameter value: 03H (B2) 64 7F (MIDI ch.3) lower byte of RPN parameter number: 7FH (B2) 65 7F (MIDI ch.3) upper byte of RPN parameter number: 7FH

This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.

The Scale Tune Feature (Address: 40 1x 40)

The scale Tune feature allows you to nely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the ne adjustments will aect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below.

 Equal Temperament

This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On this instrument, the default settings for the Scale Tune feature produce equal temperament.

 Just Temperament (Keytone C)

The three main chords resound much more beautifully than with equal temperament, but this benet can only be obtained in one key. If transposed, the chords tend to become ambiguous. The example given involves settings for a key in which C is the keynote.

 Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for ethnic music. For example, the settings introduced below will set the unit to use the Arabian Scale.

Example Settings

Note name Equal Temperament Just Temperament Arabian Scale (Keytone C) C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 D# 0 +16 -12 E 0 -14 -51 F 0 -2 -8 F# 0 -10 +43 G 0 +2 -4 G# 0 +14 +47 A 0 -16 0 A# 0 +14 -10 B 0 -12 -49

MIDI Implementation

The values in the table are given in cents. Refer to the explanation of Scale Tuning to convert these values to hexadecimal, and transmit them as exclusive data. For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows: F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7

MIDI Implementation

5. Eect List

0100: Equalizer 0101: Spectrum 0102: Enhancer 0104: Isolator 0105: Low Boost 0106: High Pass Filter 0110: Overdrive 0111: Distortion 0112: Overdrive2 0113: Distortion2 0107: Speaker Simulator 0114: Guitar Amp Simulator 0120: Phaser 0129: Multi Stage Phaser 012a: Innite Phaser 0123: Stereo Flanger 0127: 3D Flanger 0128: 2Band Flanger 0121: Auto Wah 0103: Humanizer 012b: Ring Modulator 0125: Tremolo 0126: Auto Pan 012c: Slicer 0130: Compressor 0131: Limiter 0133: Compression Sustainer 0142: Stereo Chorus 0140: Hexa Chorus 0141: Tremolo Chorus 0143: Space D 0144: 3D Chorus 0145: 2Band Chorus 0122: Rotary 012d: Rotary2 0300: Rotary Multi 0162: Celeste Tremolo 015b: Stereo Delay1 015c: Stereo Delay2 015d: Stereo Delay3 015e: Stereo Delay4 015f: Stereo Delay5 0150: Monaural Delay 0151: Modulation Delay 0152: Triple Tap Delay 0157: 3D Delay 0159: Tape Echo 015a: Reverse Delay 0172: Lo-Fi 0175: Telephone 0156: Gate Reverb 0200: Overdrive->Chorus 0201: Overdrive->Flanger 0202: Overdrive->Delay 0203: Distortion->Chorus 0204: Distortion->Flanger 0205: Distortion->Delay 0206: Enhancer->Chorus 0207: Enhancer->Flanger 0208: Enhancer->Delay 0209: Chorus->Delay 020a: Flanger-> Delay 020b: Chorus-> Flanger

 EFX Parameter Map

The parameters with”#1” or “#2” at the end of parameter name can be controlled with each exclusive message”Part EFX CONTROL 1” and “Part EFX CONTROL 2.”

0100: Equalizer

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

No Parameter Value Description

1 Low Freq 0–1 200, 400 Hz Frequency of the low range

2 Low Gain #1 0–30 -15–+15 dB Gain of the low range

3 Mid1 Freq 0–16 200–8000 Hz

4 Mid1 Gain 0–30 -15–+15 dB Gain of the middle range 1

5 Mid1 Q 0–4

6 Mid2 Freq 0–16 200–8000 Hz

7 Mid2 Gain 0–30 -15–+15 dB Gain of the middle range 2

8 Mid2 Q 0–4

9 High Freq 0–2

10 High Gain #2 0–30 -15–-+15 dB Gain of the high range

11 Level 0–127 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

0101: 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.

No Parameter Value Description

Band1

(250Hz)

Band2

(500Hz) #1

Band3

(1000Hz)

Band4

(1250Hz) #2

Band5

(2000Hz)

Band6

(3150Hz)

Band7

(4000Hz)

Band8

(8000Hz)

9 Q 0–4

10 Level 0–127 0-127 Output Level

0–30

-15–+15 dB Gain of each frequency band

0–30

0.5, 1.0, 2.0,

4.0, 8.0

0102: Enhancer

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

No Parameter Value Description

1 Sens #1 0–127 0–127 Sensitivity of the enhancer

2 Mix #2 0–127 0–127

3 Low Gain 0–30 -15–+15 dB Gain of the low range

4 High Gain 0–30 -15–+15 dB Gain of the high range

5 Level 0–127 0–127 Output Level

Frequency of the middle range 1

Width of the middle range 1 Set a higher value for Q to narrow the range to be aected.

Frequency of the middle range 2

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

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

Level of the overtones generated by the enhancer

MIDI Implementation

0104: 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.

No Parameter Value Description

Boost/Cut

Low

Boost/Cut

Mid #1

Boost/Cut

High #2

Anti Phase

Low Sw

Anti Phase

Low Level

Anti Phase

Mid Sw

Anti Phase

Mid Level

Low Boost

Level

10 Level 0–127 0–127 Output Level

0–64 -60–+4 dB

0–1 O, On

0–127 0–127

0–1 O, On

0–127 0–127

0–1 O, On

0–127 0–127

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.

0105: Low Boost

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

No Parameter Value Description

Boost

Frequency #1

Boost Gain

3 Boost Width 0–2

4 Low Gain 0–30 -15–+15 dB

5 High Gain 0–30 -15–+15 dB

6 Level 0–127 0–127 Output level

0–8 50–125 Hz

0–12 0–+12 dB

Wide, Mid, Narrow

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

Gain of the low frequency range

Gain of the high frequency range

0106: High Pass Filter

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

No Parameter Value Description

Filter type Frequency range that will pass through each lter Lpf: Frequencies below the

1 Filter Type 0–3

2 Filter Slope 0–2

Filter Cuto

Filter

Resonance #20–100 0–100

5 Filter Gain 0–12 0–+12 dB

Modulation

Wave

8 Rate Mode 0–1 Hz, note

9 Rate 1–127

10 Rate 0–21 note Rate of modulation (note)

11 Depth 0–127 0–127 Depth of modulation

12 Attack 0–127 0–127

13 Level 0–127 0–127 Output level

0–127 0–127

0–1 O, On

0–4

Lpf, Bpf, Hpf, Notch

-12, -24, -36 dB

Tri, Sqr, Sin, Saw1, Saw2

0.05–10.00 Hz

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

-36 dB: Extremely steep

-24 dB: Steep

-12 dB: Gentle

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.

Amount of boost for the lter output

On/o switch for cyclic change

How the cuto frequency will be modulated Tri: Triangle wave Sqr: Square wave Sin: Sine wave Saw1: Sawtooth wave (upward) Saw2: Sawtooth wave (downward)

When this is set to “note,” the eect is synchronized with the tempo.

Rate of modulation (Hz)

Speed at which the cuto frequency will change This is eective if Modulation Wave is SQR, SAW1, or SAW2.

0110: Overdrive

Creates a soft distortion similar to that produced by vacuum tube ampliers.

No Parameter Value Description

1 Drive 0–127 0–127

Small,

2 Amp Type #1 0–3

3 Low Gain 0–30 -15–+15 dB Gain of the low range

4 High Gain 0–30 -15–+15 dB Gain of the high range

5 Pan 0–127 L64–63R

6 Level #2 0–127 0–127 Output Level

Built-In, 2-Stack, 3-Stack

Degree of distortion Also changes the volume.

Type of guitar amp Small: small amp Built-In: single-unit type amp 2-Stack: large double stack amp 3-Stack: large triple stack amp

Stereo location of the output sound

MIDI Implementation

0111: Distortion

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

0112: Overdrive2

This is an overdrive that provides heavy distortion.

No Parameter Value Description

1 Drive 0–127 0–127

2 Tone 0–127 0–127

3 Amp Sw 0–1 O, On

4 Amp Type #1 0–3

5 Low Gain 0–30 -15–+15 dB Gain of the low range

6 High Gain 0–30 -15–+15 dB Gain of the high range

7 Pan 0–127 L64–63R

8 Level #2 0–127 0–127 Output Level

Small, BuiltIn, 2-Stack, 3-Stack

Degree of distortion Also changes the volume.

Sound quality of the Overdrive eect

Turns the Amp Simulator on/o.

Type of guitar amp Small: small amp Built-In: single-unit type amp 2-Stack: large double stack amp 3-Stack: large triple stack amp

Stereo location of the output sound

0113: Distortion2

This is a distortion eect that provides heavy distortion. The parameters are the same as for “Overdrive2.”

0107: Speaker Simulator

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

No Parameter Value Description

Speaker Type

2 Mic Setting 0–2 1, 2, 3

3 Mic Level 0–127 0–127 Volume of the microphone

4 Direct Level 0–127 0–127 Volume of the direct sound

5 Level #2 0–127 0–127 Output Level

0–15

 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

(See the table.)

Type of speaker

Adjusts the location of the mic that is recording the sound of the speaker. This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

0114: Guitar Amp Simulator

This is an eect that simulates the sound of a guitar amplier.

No Parameter Value Description

1 Pre Amp Sw 0–1 O, On Turns the amp switch on/o.

JC-120, Clean Twin, MATCH Drive, BG Lead, MS1959I,

Pre Amp

Type #1

Pre Amp

Volume

Pre Amp

Master

Pre Amp

Gain

6 Pre Amp Bass 0–127

Pre Amp

Middle

Pre Amp

Treble

Pre Amp

Presence

Pre Amp

Bright

11 Speaker Sw 0–1 O, On

Speaker Type

13 Mic Setting 0–2 1, 2, 3

14 Mic Level 0–127 0–127 Volume of the microphone

15 Direct Level 0–127 0–127 Volume of the direct sound

16 Pan 0–127 L64–63R Stereo location of the output

17 Level 0–127 0–127 Output level

0–13

0–127 0–127

0–127 0–127 Volume of the entire pre-amp

0–2

0–127

0–1 O, On

0–15

MS1959II, MS1959I+II, SLDN Lead, Metal 5150, Metal Lead, OD-1, OD-2 Turbo, Distortion, Fuzz

Low, Middle, High

0–127

0–127 (MATCH Drive:

-127–0)

(See the table.)

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 mic that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.

MIDI Implementation

 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

0120: Phaser

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

No Parameter Value Description

1 Mode 0–2

2 Manual #2 0–127 0–127

3 Rate Mode 0–1 Hz, note

4 Rate #1 1–127

5 Rate 0–21 note

6 Depth 0–127 0–127 Depth of modulation

7 Polarity 0–1

8 Resonance 0–127 0-127 Amount of feedback

Cross

Feedback

10 Mix 0–127 0–127

11 Low Gain 0–30 -15–+15 dB Gain of the low range

12 High Gain 0–30 -15–+15 dB Gain of the high range

13 Level 0–127 0–127 Output Level

0–98 -98–+98 %

4-Stage, 8-Stage, 12-Stage

0.05–10.00 Hz

Inverse, Synchro

Number of stages in the phaser

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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 (-) settings will invert the phase.

Level of the phase-shifted sound

0129: Multi Stage Phaser

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

No Parameter Value Description

4-Stage, 8-Stage,

1 Mode 0–5

2 Manual #2 0–127 0–127

3 Rate Mode 0–1 Hz, note

4 Rate #1 1–127

5 Rate 0–21 note

6 Depth 0–127 0–127 Depth of modulation

7 Resonance 0–127 0–127 Amount of feedback

8 Mix 0–127 0–127

9 Pan 0–127 L64–63R

10 Low Gain 0–30 -15–+15 dB Gain of the low range

11 High Gain 0–30 -15–+15 dB Gain of the high range

12 Level 0–127 0–127 Output Level

12-Stage, 16-Stage, 20-Stage, 24-Stage

0.05–10.00 Hz

Number of phaser stages

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

Level of the phase-shifted sound

Stereo location of the output sound

012a: Innite Phaser

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

No Parameter Value Description

1 Mode 0–3 1, 2, 3, 4

2 Speed #1 0–127 -100–+100

Resonance

4 Mix 0–127 0–127

5 Pan 0–127 L64–63R Panning of the output sound

6 Low Gain 0–30 -15–+15 dB

7 High Gain 0–30 -15–+15 dB

8 Level 0–127 0–127 Output volume

0–127 0–127 Amount of feedback

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)

Volume of the phase-shifted sound

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

MIDI Implementation

0123: Stereo 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.

No Parameter Value Description

Type of lter O: No lter is used

1 Filter Type 0–2 O, Lpf, Hpf

2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the lter

3 Pre Delay 0–125 0.0–100.0 ms

4 Rate Mode 0–1 Hz, note

5 Rate #1 1–127

6 Rate 0–21 note

7 Depth #2 0–127 0–127 Depth of modulation

8 Phase 0–90 0–180 deg Spatial spread of the sound

9 Feedback 0–98 -98–+98 %

10 Low Gain 0–30 -15–+15 dB Gain of the low range

11 High Gain 0–30 -15–+15 dB Gain of the high range

12 Balance 0–100

13 Level 0–127 0–127 Output Level

0.05–10.00 Hz

D100:0W– D0:100W

Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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)

0127: 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.

No Parameter Value Description

Type of lter O: No lter is used

1 Filter Type 0–2 O, Lpf, Hpf

2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the lter

3 Pre Delay 0–125 0.0–100.0 ms

4 Rate Mode 0–1 Hz, note

5 Rate #1 1–127

6 Rate 0–21 note

7 Depth #2 0–127 0–127 Depth of modulation

8 Phase 0–90 0–180 deg Spatial spread of the sound

9 Feedback 0–98 -98–+98 %

0.05–10.00 Hz

Lpf: Cuts the frequency range above the Cuto Freq Hpf: Cuts the frequency range below the Cuto Freq

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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

No Parameter Value Description

Adjusts the method that will be used to hear the sound

10 Output Mode 0–1

11 Low Gain 0–30 -15–+15 dB Gain of the low range

12 High Gain 0–30 -15–+15 dB Gain of the high range

13 Balance 0–100

14 Level 0–127 0–127 Output Level

Speaker, Phones

D100:0W– D0:100W

that is output to the OUTPUT jacks. The optimal 3D eect will be achieved if you select Speaker when using speakers, or Phones when using headphones.

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

0128: 2Band Flanger

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

No Parameter Value Description

1 Split Freq 0–16 200–8000 Hz

Low Pre

Delay

Low Rate

Mode

4 Low Rate #1 1–127

5 Low Rate 0–21 note

6 Low Depth 0–127 0–127

7 Low Phase 0–90 0–180 deg

Low

Feedback

High Pre

Delay

High Rate

Mode

11 High Rate #2 1–127

12 High Rate 0–21 note

13 High Depth 0–127 0–127

14 High Phase 0–90 0–180 deg

High

Feedback

16 Balance 0–100

17 Level 0–127 0–127 Output volume

0–125 0.0–100.0 ms

0–1 Hz, note

0.05–10.00 Hz

0–98 -98–+98 %

0–125 0.0–100.0 ms

0–1 Hz, note

0.05–10.00 Hz

0–98 -98–+98 %

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

Rate at which the low-range anger sound is modulated (Hz)

Rate at which the low-range anger sound is modulated (note)

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)

Delay time from when the original sound is heard to when the high-range anger sound is heard

When this is set to “note,” the eect is synchronized with the tempo.

Rate at which the high-range anger sound is modulated (Hz)

Rate at which the high-range anger sound is modulated (note)

Modulation depth for the high-range anger sound

Spaciousness of the highrange 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)

MIDI Implementation

0121: Auto Wah

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

No Parameter Value Description

Type of lter Lpf: The wah eect will be

1 Filter Type 0–1 Lpf, Bpf

2 Manual #2 0–127 0–127

3 Peak 0–127 0–127

4 Sens 0–127 0–127

5 Polarity 0–1 Up, Down

6 Rate Mode 0–1 Hz, note

7 Rate #1 1–127

8 Rate 0–21 note

9 Depth 0–127 0–127 Depth of modulation

10 Phase 0–90 0–180 deg

11 Low Gain 0–30 -15–+15 dB Gain of the low range

12 High Gain 0–30 -15–+15 dB Gain of the high range

13 Level 0–127 0–127 Output Level

0.05–10.00 Hz

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.

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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

No Parameter Value Description

Point at which Vowel 1/2 switch 49 or less: Vowel 1 will have a

11 Manual 0–100 0–100

12 Low Gain 0–30 -15–+15 dB

13 High Gain 0–30 -15–+15 dB

14 Pan 0–127 L64–63R Stereo location of the output

15 Level 0–127 0–127 Output level

longer duration. 50: Vowel 1 and 2 will be of equal duration. 51 or more: Vowel 2 will have a longer duration.

Gain of the low frequency range

Gain of the high frequency range

012b: 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.

No Parameter Value Description

1 Frequency #1 0–127 0–127

2 Sens 0–127 0–127

3 Polarity 0–1 Up, Down

4 Low Gain 0–30 -15–+15 dB

5 High Gain 0–30 -15–+15 dB

6 Balance #2 0–100

7 Level 0–127 0–127 Output level

D100:0W– D0:100W

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).

Gain of the low frequency range

Gain of the high frequency range

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

0125: Tremolo

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

0103: Humanizer

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

No Parameter Value Description

1 Drive Sw 0–1 O, On Turns Drive on/o.

2 Drive #2 0–127 0–127

3 Vowel1 0–4 a, e, i, o, u

4 Vowel2 0–4 a, e, i, o, u

5 Rate Mode 0–1 Hz, note

6 Rate 1–127

7 Rate #1 0–21 note

8 Depth 0–127 0–127 Eect depth

Input Sync

Input Sync Threshold

0–1 O, On

0–127 0–127

0.05–10.00 HzFrequency at which the two

Degree of distortion Also changes the volume.

Selects the vowel.

When this is set to “note,” the eect is synchronized with the tempo.

vowels switch (Hz)

Frequency at which the two vowels switch (note)

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

Volume level at which reset is applied

No Parameter Value Description

Modulation Wave

1 Mod Wave 0–4

2 Rate Mode 0–1 Hz, note

3 Rate #1 1–127 0.05-10.00 Hz Frequency of the change (Hz)

4 Rate 0–21 note

5 Depth #2 0–127 0–127

6 Low Gain 0–30 -15–+15 dB Gain of the low range

7 High Gain 0–30 -15–+15 dB Gain of the high range

8 Level 0–127 0–127 Output Level

Tri, Sqr, Sin, Saw1, Saw2, Trp

Tri: Triangle wave Sqr: Square wave Sin: Sine wave Saw1/2: Sawtooth wave Trp: trapezoidal wave

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of the change (note)

Depth to which the eect is applied

MIDI Implementation

0126: Auto Pan

Cyclically modulates the stereo location of the sound.

No Parameter Value Description

Modulation Wave

1 Mod Wave 0–4

2 Rate Mode 0–1 Hz, note

3 Rate #1 1–127 0.05–10.00 Hz

4 Rate 0–21 note

5 Depth #2 0–127 0–127

6 Low Gain 0–30 -15–+15 dB Gain of the low range

7 High Gain 0–30 -15–+15 dB Gain of the high range

8 Level 0–127 0–127 Output Level

Tri, Sqr, Sin, Saw1, Saw2, Trp

Tri: triangle wave Sqr: square wave Sin: sine wave Saw1/2: sawtooth wave Trp: trapezoidal wave

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of the change (Hz)

Frequency of the change (note)

Depth to which the eect is applied

012c: 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 sustain-type sounds.

No Parameter Value Description

1 Rate Mode 0–1 Hz, note

2 Rate 1–127 0.05-10.00 Hz

3 Rate #1 12–21 note

4 Attack 0–127 0–127

Input Sync

Threshold

7 Mode 0–1 Legato, Slash

8 Shue #2 0–127 0–127

9 Level 0–127 0–127 Output level

0–1 O, On

0–127 0–27

When this is set to “note,” the eect is synchronized with the tempo.

Rate at which the 16-step sequence will cycle (Hz)

Rate at which the 16-step sequence will cycle (note)

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.

Timing of volume changes for even-numbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses.

0130: Compressor

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

No Parameter Value Description

1 Attack #2 0–127 0–127

2 Threshold #1 0–127 0–127

3 Post Gain 0–18 0–+18 dB Adjusts the output gain.

4 Low Gain 0–30 -15–+15 dB

5 High Gain 0–30 -15–+15 dB

6 Level 0–127 0–127 Output level

Sets the speed at which compression starts

Adjusts the volume at which compression begins

Gain of the low frequency range

Gain of the high frequency range

0131: Limiter

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

No Parameter Value Description

Adjusts the time after the

1 Release 0–127 0–127

2 Threshold #1 0–127 0–127

3 Ratio #2 0–3

4 Post Gain 0–18 0–+18 dB Adjusts the output gain.

5 Low Gain 0–30 -15–+15 dB

6 High Gain 0–30 -15–+15 dB

7 Level 0–127 0–127 Output level

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

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

Adjusts the volume at which compression begins

Compression ratio

Gain of the low frequency range

Gain of the high frequency range

0133: Compression Sustainer

The compression sustainer is an eect that attenuates loud input levels and boosts soft input levels, thus evening out the volume to create sustain without distortion.

No Parameter Value Description

Adjusts the range (time) over

1 Sustain #1 0–127 0–127

2 Attack #2 0–127 0–127

3 Pan 0–127 L64–63R Stereo location of the output

4 Post Gain 0–3

5 Low Gain 0–30 -15–+15 dB

6 High Gain 0–30 -15–+15 dB

7 Level 0–127 0–127 Output level

0, +6, +12, +18 dB

which low-level signals are boosted. Larger values will result in longer sustain.

Adjust the time from when the input level exceeds the threshold level to when the eect begins to apply.

Adjusts the output gain.

Gain of the low frequency range

Gain of the high frequency range

MIDI Implementation

0142: Stereo Chorus

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

No Parameter Value Description

Type of lter O: No lter is used

1 Filter Type 0–2 O, Lpf, Hpf

2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the lter

3 Pre Delay 0–125 0.0–100.0 ms

4 Rate Mode 0–1 Hz, note

5 Rate #1 1–127

6 Rate 0–21 note

7 Depth #2 0–127 0–127 Depth of modulation

8 Phase 0–90 0–180 deg Spatial spread of the sound

9 Low Gain 0–30 -15–+15 dB Gain of the low range

10 High Gain 0–30 -15–+15 dB Gain of the high range

11 Balance 0–100

12 Level 0–127 0–127 Output Level

0.05–10.00 Hz

D100:0W– D0:100W

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.

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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

0141: Tremolo Chorus

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

No Parameter Value Description

1 Pre Delay 0–125 0.0–100.0 ms

Chorus Rate

Mode

3 Chorus Rate 1–127

4 Chorus Rate 0–21 note

Chorus

Depth #1

Tremolo Rate

Mode

Tremolo

Rate #2

8 Tremolo Rate 0–21 note

Tremolo

Separation

Tremolo

Phase

11 Balance 0–100

12 Level 0–127 0–127 Output Level

0–1 Hz, note

0.05–10.00 HzModulation frequency of the

0–127 0–127

0–1 Hz, note

1–127

0–127 0–127 Spread of the tremolo eect

0–90 0–180 deg Spread of the tremolo eect

0.05–10.00 HzModulation frequency of the

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

chorus eect (Hz)

Modulation frequency of the chorus eect (note)

Modulation depth of the chorus eect

When this is set to “note,” the eect is synchronized with the tempo.

tremolo eect (Hz)

Modulation frequency of the tremolo eect (note)

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

0140: Hexa Chorus

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

No Parameter Value Description

1 Pre Delay 0–125 0.0–100.0 ms

2 Rate Mode 0–1 Hz, note

3 Rate #1 1–127

4 Rate 0–21 note

5 Depth #2 0–127 0–127 Depth of modulation

Pre Delay

Deviation

Depth

Deviation

Pan

Deviation

9 Balance 0–100

10 Level 0–127 0–127 Output Level

0–20 0–20

0–40 -20–+20

0–20 0–20

0.05–10.00 Hz

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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

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

Adjusts the dierence in stereo location between each chorus sound. 0: All chorus sounds will be in the center. 20: 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)

0143: 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.

No Parameter Value Description

1 Pre Delay 0–125

2 Rate Mode 0–1 Hz, note

3 Rate #1 1–127

4 Rate 0–21 note Frequency of modulation (note)

5 Depth #2 0–127 0–127 Depth of modulation

6 Phase 0–90 0–180 deg Spatial spread of the sound

7 Low Gain 0–30 -15–+15 dB Gain of the low range

8 High Gain 0–30 -15–+15 dB Gain of the high range

9 Balance 0–100

10 Level 0–127 0–127 Output Level

0.0–100.0 ms

0.05–10.00 Hz

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

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

MIDI Implementation

0144: 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.

No Parameter Value Description

Type of lter O: No lter is used

1 Filter Type 0–2 O, Lpf, Hpf

2 Cuto Freq 0–16 200–8000 Hz Basic frequency of the lter

3 Pre Delay 0–125 0.0–100.0 ms

4 Rate Mode 0–1 Hz, note

5 Rate #1 1–127

6 Rate 0–21 note

7 Depth #2 0–127 0–127

8 Phase 0–90 0–180 deg Spatial spread of the sound

9 Output Mode 0–1

10 Low Gain 0–30 -15–+15 dB Gain of the low range

11 High Gain 0–30 -15–+15 dB Gain of the high range

12 Balance 0–100

13 Level 0–127 0–127 Output Level

0.05–10.00 Hz

Speaker, Phones

D100:0W– D0:100W

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.

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

Modulation depth of the chorus eect

Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D eect will be achieved if you select Speaker when using speakers, or Phones when using headphones.

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

0145: 2Band Chorus

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

No Parameter Value Description

1 Split Freq 0–16 200–8000 Hz

Low Pre

Delay

Low Rate

Mode

4 Low Rate 1–127

5 Low Rate 0–21 note

Low Depth

7 Low Phase 0–90 0–180 deg

High Pre

Delay

High Rate

Mode

0–125 0.0–100.0 ms

0–1 Hz, note

0.05–10.00 Hz

0–127 0–127

0–125 0.0–100.0 ms

0–1 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 chorus sound is heard

When this is set to “note,” the eect is synchronized with the tempo.

Rate at which the low-range chorus sound is modulated (Hz)

Rate at which the low-range chorus sound is modulated (note)

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 high-range chorus sound is heard

When this is set to “note,” the eect is synchronized with the tempo.

No Parameter Value Description

10 High Rate 1–127

11 High Rate 0–21 note

High Depth

13 High Phase 0–90 0–180 deg

14 Balance 0–100

15 Level 0–127 0–127 Output volume

0–127 0–127

0.05–10.00 Hz

D100:0W– D0:100W

Rate at which the low-range chorus sound is modulated (Hz)

Rate at which the low-range chorus sound is modulated (note)

Modulation depth for the high-range chorus sound

Spaciousness of the highrange chorus sound

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

0122: 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.

No Parameter Value Description

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

1 Speed #1 0–1 Slow, Fast

Woofer Slow

Speed

Woofer Fast

Speed

Woofer

Acceleration

5 Woofer Level 0–127 0–127

Tweeter Slow

Speed

Tweeter Fast

Speed

Tweeter

Acceleration

Tweeter

Level

Separation

11 Level 0–127 0–127 Output Level

1–127

0–15 0–15

1–127

0–15 0–15

0–127 0–127

0.05–10.00 HzSlow speed (Slow) of the low

0.05–10.00 HzFast speed (Fast) of the low

0.05–10.00 Hz

frequency rotor. Slow: Slows down the rotation to the Slow Rate. Fast: Speeds up the rotation to the Fast Rate.

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.

Volume of the low frequency rotor

Settings of the high frequency rotor The parameters are the same as for the low frequency rotor

Spatial dispersion of the sound

012d: Rotary2

This type provides modied response for the rotary speaker, with the low end boosted further. This eect is a descendant of the Roland VK Series’ built-in rotary speaker.

No Parameter Value Description

1 Speed #1 0–1 Slow, Fast

2 Brake #2 0–1 O, On

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.

MIDI Implementation

No Parameter Value Description

Woofer Slow

Speed

Woofer Fast

Speed

Woofer Trans

Down

7 Woofer Level 0–127 0–127 Volume of the woofer

Tweeter Slow

Speed

Tweeter Fast

Speed

Tweeter

Trans Up

Tweeter

Trans Down

Tweeter

Level

13 Spread 0–10 0–10

14 Low Gain 0–30 -15–+15 dB Gain of the low range

15 High Gain 0–30 -15–+15 dB Gain of the high range

16 Level 0–127 0–127 Output Level

1–127

0–127 0–127

1–127

0–127 0–127

0.05–10.00 HzLow-speed rotation speed of

0.05–10.00 HzHigh-speed rotation speed of

0.05–10.00 Hz

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.

No Parameter Value Description

Speed at which the low-

12 R-Wf Accel 0–15 0–15

13 R-Wf Level 0–127 0–127 Low-frequency rotor volume

14 R-Tw Slow Sp 1–127

15 R-Tw Fast Sp 1–127

16 R-Tw Accel 0–15 0–15

17 R-Tw Level 0–127 0–127

Rotary

Separat

19 Rotary Level 0–127 0–127 Output volume

0–127 0–127

0.05–10.00 Hz

frequency rotor’s rotation rate changes when the rotation speed is switched

High-frequency rotor setting This parameter is the same as that for the low-frequency rotor.

Amount of breadth in the sound

0162: Celeste Tremolo

This is an tremolo-like eect using the theory of frequency modulation.

No Parameter Value Description

Frequency

L #1

2 Frequency R 0–100 -10–+10 Hz

3 Phase #2 0–100 -180–+180

4 Phase 0–100 -180–+180

5 Balance 0–100

6 Level 0–127 0–127 Output volume

0–100 -10–+10 Hz

D100:0W– D0:100W

Amount of frequency shift

Phase of frequency shift modulation

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

0300: Rotary Multi

This is an eect combining the VK series internal eect with an organ eect with the same features. It comprises vibrato/chorus, overdrive, and rotary eects.

No Parameter Value Description

Vib/Cho

Switch

2 Vib/Cho Type 0–5

Vib/Cho

Vintage

Vib/Cho

Level

5 OD Switch 0–1 O, On Switches the overdrive eect

6 OD Drive #2 0–127 0–127 Amount of distortion

7 OD Level 0–127 0–127 Overdrive eect volume

Rotary

Switch

Rotary Speed

10 R-Wf Slow Sp 1–127

11 R-Wf Fast Sp 1–127

0–1 O, On

V-1, V-2, V-3, C-1, C-2, C-3

0–2 `50, `60, `70

0–127 0–127 Vibrato/chorus eect volume

0–1 O, On Switches the rotary eect

0–1 Slow, Fast

0.05–10.00 HzRate with low-frequency rotor

Switches the vibrato and chorus eects

Vibrato and chorus eect types V-1, V-2, V-3: Adds a wavering (vibrato) that is created by changes in the pitch.The eect deepens as the value is increased C-1, C-2, C-3: Adds a fullness and breadth (chorus) to the sound.The eect deepens as the value is increased.

This reproduces the subtle dierences in the vibrato and chorus eects in organs built in dierent years.

Low- and high-frequency rotation speeds (Rate) Slow: (Slow Rate) Fast: (Fast Rate)

set to Slow rate

set to Fast rate

015b: Stereo Delay1

This is a stereo delay.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

Feedback

Mode

10 Feedback #1 49–89 0–+80 %

11 HF Damp 0–17

12 Low Gain 0–30 -15–+15 dB

13 High Gain 0–30 -15–+15 dB

14 Balance #2 0–100

15 Level 0–127 0–127 Output level

0–1 ms, note

Normal, Inverse

0–1

Normal, Cross

200–8000 Hz, Bypass

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

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.

Gain of the low frequency range

Gain of the high frequency range

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

MIDI Implementation

015c: Stereo Delay2

This is a stereo delay.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

Feedback

Mode

10 Feedback #1 49–89 0–+80 %

11 HF Damp 0–17

12 Low Gain 0–30 -15–+15 dB

13 High Gain 0–30 -15–+15 dB

14 Balance #2 0–100

15 Level 0–127 0-–27 Output level

0–1 ms, note

Normal, Inverse

0–1

Normal, Cross

200–8000 Hz, Bypass

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

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.

Gain of the low frequency range

Gain of the high frequency range

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

015d: Stereo Delay3

This is a stereo delay.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

Feedback

Mode

10 Feedback #1 49–89 0–+80 %

11 HF Damp 0–17

12 Low Gain 0–30 -15–+15 dB

0–1 ms, note

Normal, Inverse

0–1

Normal, Cross

200–8000 Hz, Bypass

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

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.

Gain of the low frequency range

No Parameter Value Description

13 High Gain 0–30 -15–+15 dB

14 Balance #2 0–100

15 Level 0–127 0–127 Output level

D100:0W– D0:100W

Gain of the high frequency range

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

015e: Stereo Delay4

This is a stereo delay.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

Feedback

Mode

10 Feedback #1 49–89 0–+80 %

11 HF Damp 0–17

12 Low Gain 0-30 -15–+15 dB

13 High Gain 0-30 -15–+15 dB

14 Balance #2 0-100

15 Level 0-127 0–127 Output level

0–1 ms, note

Normal, Inverse

0–1

Normal, Cross

200–8000 Hz, Bypass

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

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.

Gain of the low frequency range

Gain of the high frequency range

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

015f: Stereo Delay5

This is a stereo delay.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

Feedback

Mode

10 Feedback #1 49–89 0–+80 %

0–1 ms, note

Normal, Inverse

0–1

Normal, Cross

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

MIDI Implementation

No Parameter Value Description

Adjusts the frequency above

11 HF Damp 0–17

12 Low Gain 0–30 -15–+15 dB

13 High Gain 0–30 -15–+15 dB

14 Balance #2 0–100

15 Level 0–127 0–127 Output level

200–8000 Hz, Bypass

D100:0W– D0:100W

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.

Gain of the low frequency range

Gain of the high frequency range

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

0150: Monaural Delay

A delay that provides a long delay time.

No Parameter Value Description

1 Delay Mode 0–1 ms, note

2 Delay Time 0–127 1–2540 ms

Delay Time

4 Phase 0–1

5 Feedback 49–89 0–+80 %

6 HF Damp 0–17

7 Pan 0–127 L64–63R Panning of the delay sound

8 Low Gain 0–30 -15–+15 dB

9 High Gain 0–30 -15–+15 dB

10 Balance #2 0–100

11 Level 0–127 0–127 Output volume

0–21 note

NORMAL, INVERSE

200–8000 Hz, Bypass

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Delay time from when the original sound is heard to when the delay sound is heard (Hz)

Delay time from when the original sound is heard to when the delay sound is heard (note)

Phase of the delay (NORMAL: non-inverted, INVERSE: inverted)

Proportion of the delay sound that is to be returned to the input

Frequency at which the high-frequency content of the delayed sound will be cut (Bypass: no cut)

Amount of boost/cut for the high-frequency range

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

0151: Modulation Delay

Adds modulation to the delayed sound.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–1270 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

Feedback

Mode

8 Feedback 49–89 0–+80 %

9 HF Damp 0–17

10 Rate Mode 0–1 Hz, note

11 Rate 1–127

12 Rate 0–21 note

13 Depth #1 0–127 0–127 Depth of modulation

14 Phase 0–90 0–180 deg Spatial spread of the sound

15 Low Gain 0–30 -15–+15 dB

16 High Gain 0–30 -15–+15 dB

17 Balance #2 0–100

18 Level 0–127 0–127 Output level

0–1 ms, note

0–1

Normal, Cross

200–8000 Hz, Bypass

0.05–10.00 Hz

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Selects the way in which delay sound is fed back into the eect.

Adjusts the amount of the delay sound that’s fed back into the eect.

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.

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

Gain of the low frequency range

Gain of the high frequency range

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

0152: Triple Tap Delay

Produces three delay sounds; center, left and right.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–2540 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–2540 ms

6 Delay Right 0–21 note

Delay Center

Mode

8 Delay Center 0–127 1–2540 ms

9 Delay Center 0–21 note

Center

Feedback #1

0–1 ms, note

49–89 0–+80 %

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the time until the delay sound is heard. (Hz)

Adjusts the time until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Settings of the Delay Center The parameters are the same as for the Delay Left.

Adjusts the amount of the delay sound that’s fed back into the eect.

MIDI Implementation

No Parameter Value Description

Adjusts the frequency above

11 HF Damp 0–17

12 Left Level 0–127 0–127 Volume of each delay

13 Right Level 0–127 0–127 Volume of each delay

14 Center Level 0–127 0–127 Volume of each delay

15 Low Gain 0–30 -15–+15 dB

16 High Gain 0–30 -15–+15 dB

17 Balance #2 0–100

18 Level 0–127 0–127 Output level

200–8000 Hz, Bypass

D100:0W– D0:100W

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.

Gain of the low frequency range

Gain of the high frequency range

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

0157: 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.

No Parameter Value Description

Delay Left

Mode

2 Delay Left 0–127 1–2540 ms

3 Delay Left 0–21 note

Delay Right

Mode

5 Delay Right 0–127 1–2540 ms

6 Delay Right 0–21 note

Delay Center

Mode

8 Delay Center 0–127 1–2540 ms

9 Delay Center 0–21 note

Center

Feedback #1

11 HF Damp 0–17

12 Left Level 0–127

13 Right Level 0–127

14 Center Level 0–127

15 Output Mode 0–1

16 Low Gain 0–30 -15–+15 dB Gain of the low range

17 High Gain 0–30 -15–+15 dB Gain of the high range

18 Balance #2 0–100

19 Level 0–127 0–127 Output Level

0–1 ms, note

49–89 0–+80 %

200–8000 Hz, Bypass

0–127

Speaker, Phones

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard. (Hz)

Adjusts the delay time from the direct sound until the delay sound is heard. (note)

Settings of the Delay Right The parameters are the same as for the Delay Left.

Settings of the Delay Center The parameters are the same as for the Delay Left.

Adjusts the proportion of the delay sound that is fed back into the eect.

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.

Output level of the delay sound

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

0159: 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.

No Parameter Value Description

Combination of playback heads to use

1 Mode 0–6

Repeat Rate

3 Intensity 0–127 0–127 Amount of delay repeats

4 Bass 0–30 -15–+15 dB

5 Treble 0–30 -15–+15 dB

6 Head S Pan 0–127

7 Head M Pan 0–127

8 Head L Pan 0–127

Tape

Distortion

Wow/Flutter

Rate

Wow/Flutter

Depth

12 Echo Level #2 0–127 0–127 Volume of the echo sound

13 Direct Level 0–127 0–127 Volume of the original sound

14 Level 0–127 0–127 Output level

0–127 0–127

0–5 0–5

0–127 0–127

0–127 0–127 Depth of wow/utter

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

L64–63R

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)

015a: 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.

No Parameter Value Description

1 Threshold 0–127 0–127

Rev Delay

Time Mode

Rev Delay Time #1

Rev Delay Time

Rev Delay Feedback

Rev Delay HF Damp

Rev Delay Pan

Rev Delay Level

0–1 ms, note

0–127 1–1270 ms

0–21 note

49–89 0–+80 %

0–17

0–127 L64–63R

0–127 0–127

200–8000 Hz, Bypass

Volume at which the reverse delay will begin to be applied

When this is set to “note,” the eect is synchronized with the tempo.

Delay time from when sound is input into the reverse delay until the delay sound is heard (Hz)

Delay time from when sound is input into the reverse delay until the delay sound is heard (note)

Proportion of the delay sound that is to be returned to the input of the reverse delay

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (Bypass: no cut)

Panning of the reverse delay sound

Volume of the reverse delay sound

MIDI Implementation

No Parameter Value Description

9 Low Gain 0–30 -15–+15 dB

10 High Gain 0–30 -15–+15 dB

11 Balance #2 0–100

12 Level 0–127 0–127 Output volume

D100:0W– D0:100W

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 the delay sound (W)

0172: Lo-Fi

This is an eect that intentionally degrades the sound quality for creative purposes.

No Parameter Value Description

Pre Filter

Type

2 LoFi Type #1 0–8 1–9

Post Filter

Type

Post Filter

Cuto

5 Low Gain 0–30 -15–+15 dB Gain of the low range

6 High Gain 0–30 -15–+15 dB Gain of the high range

7 Balance #2 0–100

8 Level 0–127 0–127 Output level

0–5 1–6

0–2 O, Lpf, Hpf

0–16 200–8000 Hz

D100:0W– D0:100W

Selects the type of lter applied to the sound before it passes through the Lo-Fi eect.

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

Type of lter O: no lter is used Lpf: cuts the frequency range above the Cuto Hpf: cuts the frequency range below the Cuto

Basic frequency of the Post Filter

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

0175: Telephone

No Parameter Value Description

Voice Quality

2 Treble 0–30 –15–+15 dB

3 Balance #2 0–100

4 Level 0–127 0–127 Output level

0–15 0–15

D100:0– D0:100W

Audio quality of the telephone voice

Bandwidth of the telephone voice

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

0156: Gate Reverb

This is a special type of reverb in which the reverberant sound is cut o before its natural length.

No Parameter Value Description

Type of reverb

Normal,

1 Type #1 0–3

2 Pre Delay 0–125 0.0–100.0 ms

3 Gate Time 0–99 5–500 ms

4 Low Gain 0–30 -15–+15 dB Gain of the low range

5 High Gain 0–30 -15–+15 dB Gain of the high range

6 Balance #2 0–100

7 Level 0–127 0–127 Output Level

Reverse, Sweep1, Sweep2

D100:0W– D0:100W

Normal: conventional gated reverb Reverse: backwards reverb Sweep1: the reverberant sound moves from right to left Sweep2: 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)

0200: Overdrive g Chorus

This eect connects an overdrive and a chorus in series.

No Parameter Value Description

Overdrive

Drive

Overdrive

Pan

Chorus Pre

Delay

Chorus Rate

Mode

Chorus Rate

6 Chorus Rate 0–21 note

Chorus

Depth

Chorus

Balance #2

9 Level 0–127 0–127 Output Level

0–127 0–127

0–127 L64–63R

0–125 0.0–100.0 ms

0–1 Hz, note

1–127

0–127 0–127 Depth of modulation

0–100

0.05–10.00 Hz

D100:0W– D0:100W

Degree of distortion Also changes the volume.

Stereo location of the overdrive sound

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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).

MIDI Implementation

0201: Overdrive g Flanger

This eect connects an overdrive and a anger in series.

No Parameter Value Description

Overdrive

Drive

Overdrive

Pan

Flanger Pre

Delay

Flanger Rate

Mode

Flanger Rate

6 Flanger Rate 0–21 note

Flanger

Depth

Flanger

Feedback

Flanger

Balance #2

10 Level 0–127 0–127 Output Level

0–127 0–127

0–127 L64–63R

0–125 0.0–100.0 ms

0–1 Hz, note

1–127

0–127 0–127 Depth of modulation

0–98 -98–+98 %

0–100

0.05–10.00 Hz

D100:0W– D0:100W

Degree of distortion Also changes the volume.

Stereo location of the overdrive sound

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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).

0202: Overdrive g Delay

This eect connects an overdrive and a delay in series.

No Parameter Value Description

Overdrive

Drive #1

Overdrive

Pan

3 Delay Mode 0–1 ms, note

4 Delay Time 0–127 1–2540 ms

5 Delay Time 0–21 note

Delay

Feedback

Delay HF

Damp

Delay

Balance #2

9 Level 0–127 0–127 Output Level

0–127 0–127

0–127 L64–63R

49–89 0–+80 %

0–17

0–100

200–8000 Hz, Bypass

D100:0W– D0:100W

Degree of distortion Also changes the volume.

Stereo location of the overdrive sound

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard. (ms)

Adjusts the delay time from the direct sound until the delay sound is heard. (note)

Adjusts the proportion of the delay sound that is fed back into the eect.

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).

0203: Distortion g Chorus

The parameters are essentially the same as in “Overdrive g Chorus,” with the exception of the following two. Overdrive Drive g Distortion Drive Overdrive Pan g Distortion Pan

0204: Distortion g Flanger

The parameters are essentially the same as in “Overdrive g Flanger,” with the exception of the following two. Overdrive Drive g Distortion Drive Overdrive Pan g Distortion Pan

0205: Distortion g Delay

The parameters are essentially the same as in “Overdrive g Delay,” with the exception of the following two. Overdrive Drive g Distortion Drive Overdrive Pan g Distortion Pan

0206: Enhancer g Chorus

This eect connects an enhancer and a chorus in series.

No Parameter Value Description

Enhancer

Sens

2 Enhancer Mix 0–127 0–127

Chorus Pre

Delay

Chorus Rate

Mode

Chorus Rate

6 Chorus Rate 0–21 note

Chorus

Depth

Chorus

Balance #2

9 Level 0–127 0–127 Output Level

0–127 0–127 Sensitivity of the enhancer

Level of the overtones generated by the enhancer

0–125 0.0–100.0 ms

0–1 Hz, note

1–127

0–127 0–127 Depth of modulation

0–100

0.05–10.00 Hz

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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).

0207: Enhancer g Flanger

This eect connects an enhancer and a anger in series.

No Parameter Value Description

Enhancer

Sens

2 Enhancer Mix 0–127 0–127

Flanger Pre

Delay

Flanger Rate

Mode

Flanger Rate

6 Flanger Rate 0–21 note

Flanger

Depth

Flanger

Feedback

Flanger

Balance #2

10 Level 0–127 0–127 Output Level

0–127 0–127 Sensitivity of the enhancer

Level of the overtones generated by the enhancer

Adjusts the delay time from

0–125 0.0–100.0 ms

0–1 Hz, note

1–127

0–127 0–127 Depth of modulation

0–98 -98–+98 %

0–100

0.05–10.00 Hz

D100:0W– D0:100W

when the direct sound begins until the anger sound is heard.

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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).

MIDI Implementation

0208: Enhancer g Delay

This eect connects an enhancer and a delay in series.

No Parameter Value Description

Enhancer

Sens #1

2 Enhancer Mix 0–127 0–127

Delay Time

Mode

4 Delay Time 0–127 1–2540 ms

5 Delay Time 0–21 note

Delay

Feedback

Delay HF

Damp

Delay

Balance #2

9 Level 0–127 0–127 Output Level

0–127 0–127 Sensitivity of the enhancer

Level of the overtones generated by the enhancer

0–1 ms, note

49–89 0–+80 %

0–17

0–100

200–8000 Hz, Bypass

D100:0W– D0:100W

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard. (ms)

Adjusts the delay time from the direct sound until the delay sound is heard. (note)

Adjusts the proportion of the delay sound that is fed back into the eect.

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).

0209: Chorus g Delay

This eect connects a chorus and a delay in series.

No Parameter Value Description

Chorus Pre

Delay

Chorus Rate

Mode

3 Chorus Rate 1–127

4 Chorus Rate 0–21 note

Chorus

Depth

Chorus

Balance #1

Delay Time

Mode

8 Delay Time 0–127 1–2540 ms

9 Delay Time 0–21 note

Delay

Feedback

Delay HF

Damp

Delay

Balance #2

13 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

0.05–10.00 Hz

0–127 0–127 Depth of modulation

0–100

0–1 ms, note

49–89 0–+80 %

0–17

0–100

D100:0W– D0:100W

200–8000 Hz, Bypass

D100:0W– D0:100W

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

When this is set to “note,” the eect is synchronized with the tempo.

Frequency of modulation (Hz)

Frequency of modulation (note)

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

When this is set to “note,” the eect is synchronized with the tempo.

Adjusts the delay time from the direct sound until the delay sound is heard. (ms)

Adjusts the delay time from the direct sound until the delay sound is heard. (note)

Adjusts the proportion of the delay sound that is fed back into the eect.

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).

MIDI Implementation

020a: Flanger g Delay

This eect connects a anger and a delay in series.

No Parameter Value Description

Flanger Pre

Delay

Flanger Rate

Mode

3 Flanger Rate 1–127

4 Flanger Rate 0–21 note

Flanger

Depth

Flanger

Feedback

Flanger

Balance #1

Delay Time

Mode

9 Delay Time 0–127 1–2540 ms

10 Delay Time 0–21 note