Roland FP-7F User Manual

FP-7F
Jan.1,2011

1.00

Model：

MIDI Implementation

Copyright © 2011 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

1. Receive data

■Channel Voice Messages

●Note off

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 off 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

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 effect is determined by System Exclusive messages. With the
initial settings, there will be no effect.

●Control Change

* When Rx.CONTROL CHANGE = OFF, all control change messages except
for Channel Mode messages will be ignored.
* The value specified 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 Ba nk 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)

* Not received when Rx.MODULATION = OFF. (Initial value is ON)
* The resulting effect 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 specified 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)

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

○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

1

Date：
Version：

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)

○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) 0-63 = OFF, 64-127 = ON

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

○Filter Resonance (Timbre/Harmonic Intensity)(Controller
number 71)

2nd byte 3rd byte

Status
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)

* 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)

* 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)

* Some Tones will not exhibit any change.

○Cutoff (Controller number 74)

Status 2nd byte 3rd byte
BnH 4AH vvH

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

* 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)

* 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)

* Some Tones will not exhibit any change.

○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)

* 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)

* 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

2

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 Tim e v alue.

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 off C4 no change
80 40 40 Note off E4 E4 off

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 off E4 E4 off

○Effect 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.

○Effect 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 specified by NRPN
ll = lower byte (LSB) of the parameter number specified 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 first 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 specified parameter. Once an NRPN
parameter has been specified, 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 finished 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 is ignored, so it is no problem
to send Data entry MSB (mmH) only (without Data entry LSB).

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

NRPN Data entry
MSB LSB
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 Cutoff 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 (i-50 - 0 - +50)
18H rrH mmH Drum Instrument Pitch Coarse (relative change)
r: 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)

* Parameters marked “relative change” will change relatively to the preset
value(40H). Even among different GS devices, “relative change” parameters
may sometimes differ 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.

MSB Description

○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 specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN

* Not received when Rx.RPN = OFF. (Initial value is ON)
*The value specified 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 first use RPN MSB and RPN LSB messages
to specify the parameter to be controlled, and the n u se D at a En try messages to
specify the value of the specified param eter. Once an RPN parameter has been
specified, 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 finished setting the value
of the desired parameter.Refer to Section 4. “Examples of actual MIDI
messages” <Example 4>

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

RPN Data entry

3

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
unspecified. 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

●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 affected.
* For Drum Parts, Program Change messages will not be received on bank
numbers 129-16384 (the value of Control 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 effect is determined by System Exclusive messages. With the
initial settings there will be no effect.

●Pitch Bend Change

Status 2nd byte 3rd byte
EnH llH mmH

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 effect is determined by System Exclusive messages. With the
initial settings the effect is Pitch Bend.

■Channel Mode Messages

●All Sounds Off (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 off 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
Pitch Bend Change ±0 (Center)
Polyphonic Key Pressure 0 (off)
Channel Pressure 0 (off)
Modulation 0 (off)
Expression 127 (max)
Hold 1 0 (off)
Portamento 0 (off)
Sostenuto 0 (off)
Soft 0 (off)
RPN unset; previously set data will not change
NRPN unset; previously set data will not change

Reset value

●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 Off
7FH: Local On

●All Notes Off (Controller number 123)

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

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

* When All Notes Off is received, all notes on the corresponding channel will be
turned off.
However if Hold 1 or Sostenuto is ON, the sound will be continued until these
are turned off.

●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 Off is received.

●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 off”; the Mode doesn’t change
(OMNI OFF remains).

●MONO (Controller number 126)

Status 2nd byte 3rd byte
BnH 7EH mmH

4

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 Off and All Notes
Off 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 Off and All Notes
Off 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 w ill begin monitoring the interv als 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
Off, All Notes Off and Reset All Controllers are received, and message interval
monitoring will be halted.

■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 and
Data Set (DT1).

●System exclusive messages related to mode settings

These messages are used to initialize a device to GS or Ge neral M IDI mode, o r
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 GM 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)

* When this message is received, this instrument will be able to receive the
messages specified by General MIDI 2, and use the General MID I 2 soundmap.
* There must be an interval of at least 50 ms between this message and the
next.

○GM System Off

“GM System Off” is a command message that resets the internal state of this

instrument from the GM state to its nativ e condition . This instr ument will reset to
the GS default state.

Status

Data byte Status

F0H 7EH, 7FH, 09H, 02H F7H

Byte

Explanation
F0H Exclusive status
7EH ID number (Universal Non-realtime Message)
7FH Device ID (Broadcast)
09H Sub-ID#1 (General MIDI message)
02H Sub-ID#2 (General MIDI Off)
40H EOX (End of exclusive)

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

○GS reset

GS Reset is a command message that reset s the inte rnal 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, 00H, F7H
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

5

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)

* 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)

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

○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 G eneral
MIDI 2.

○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 (Effect 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 (Effect 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 (00 - 0F)

6

ppH Controlled parameter
rrH Controlled range
F7H EOX (End Of Exclusive)
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff 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 [%]

○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 (00 - 0F)
ccH Controller number (01 - 1F, 40 - 5F)
ppH Controlled parameter
rrH Controlled range
F7H EOX (End Of Exclusive)

pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff 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 [%]

○Scale/Octave Tuning Adjust

Status Data byte Status
F0H 7EH, 7FH, 08H, 08H, ffH, 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)
ffH Channel/Option byte1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
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 offset 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 Control 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 effects 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

●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 1DT1

This is the message that actually performs dat a tran smission, and i s u sed w hen
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.
:

7

:
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 specified starting address and
size. Refer to the Address and Size given in Section 3.
* Data larger than 128 bytes must be divided into p acket s 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 off

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 off 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)

○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

○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)

○Effect 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)

■System Realtime Message

●Realtime Clock

Status
F8H

●Active sensing

Status
FEH

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

8

■System exclusive messages

○Identity Reply

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

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)
01H Device family number code (LSB)
1BH 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)

9

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-bit Hexadecimal-form.

■Address Block map

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

Address (H) Block
40 00 00
Individual
40 01 3F
40 1×00
Individual
40 2×5A
41 m0 00
Individual
41 m8 7F
48 00 00

48 01 10
Bulk
48 1D 0F
49 m0 00
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.

SYSTEM PARAMETERS

PART PARAMETERS（x＝0-F）

DRUM SETUP PARAMETERS
（m＝0-1）

SYSTEM PARAMETERS

PART PARAMETERS

DRUM SETUP PARAMETERS
（m＝0-1）

Bulk

■Individual Parameters

Individual Parameter Transmission tra nsmits 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)
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 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
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

Size (H) Data (H) Parameter Description Default Value (H) Description

10

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 ty pe, e ach 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 01 Thru
* Refer to EFX Type Table
* 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
* 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 Dry 100% - EFX 100%7F

11

●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 specified 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

Address (H)
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 simult aneously (in different 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 specified frequency amount, the pitch at which notes will sound. This parameter differs 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 different setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.

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
40 1x 1C 00 00 01 00-7F PART PANPOT -64 (RANDOM) 40 0 (CENTER)

-63 (LEFT) - +63 (RIGHT)
(= CC# 10, except RANDOM)
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*)

Size (H) Data (H) Parameter Description Default Value (H) Description

12

* “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 cutoff 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 fine 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 0 [%] 000 [%]
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 [%]
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]

13

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

40 4x 51 00 00 0B 00-7F HARMONIC BAR SET always 00 00 0
40 4x 52# 00-7F PERCUSSION 00(OFF)
01(4, Short)
02(2+2/3, Short)
41(4, Long)
42(2+2/3, Long)
40 4x 53# 00-7F HARMONIC BAR 16’ 00(OFF), 0F(ON) 00 OFF
40 4x 54# 00-7F HARMONIC BAR 5+1/3’ 00(OFF), 0F(ON) 00 OFF
40 4x 55# 00-7F HARMONIC BAR 8’ 00(OFF), 0F(ON) 00 OFF
40 4x 56# 00-7F HARMONIC BAR 4’ 00(OFF), 0F(ON) 00 OFF
40 4x 57# 00-7F HARMONIC BAR 2+2/3’ 00(OFF), 0F(ON) 00 OFF
40 4x 58# 00-7F HARMONIC BAR 2’ 00(OFF), 0F(ON) 00 OFF
40 4x 59# 00-7F HARMONIC BAR 1+3/5’ 00(OFF), 0F(ON) 00 OFF
40 4x 5A# 00-7F HARMONIC BAR 1+1/3’ 00(OFF), 0F(ON) 00 OFF
40 4x 5B# 00-7F HARMONIC BAR 1’ 00(OFF), 0F(ON) 00 OFF

14

●Drum Setup Parameters

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

Address (H)

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.

Size (H) Data (H) Parameter Description

15

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.

60H
61H
62H
63H
64H
65H
66H
67H
68H
69H
6AH
6BH
6CH
6DH
6EH
6FH
70H
71H
72H
73H
74H
75H
76H
77H
78H
79H
7AH
7BH
7CH
7DH
7EH
7FH

Dec. Hex. Dec. Hex. Dec. Hex. Dec Hex.

96

40H

64

20H

32

00H

0
1
2
3
4
5
6
7
8

9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31

* 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-bit byte can express data in the range of 128 steps. For data where
greater precision is required, we must use two or more by tes. For example, two
hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a
value of aa x 128 + bb.

* In the case of values which have a ± sign, 00H = -64, 40H = ±0, and 7FH =
+63, so that the decimal expression would be 64 less than the value given in
the above chart. In the case of two types, 00 00H = -8192, 40 00H = ±0, and 7F
7FH = +8191. For example if aa bbH were expressed as decimal, this would be
aa bbH - 40 00H = aa x 128 + bb - 64 x 128.

* Data marked “nibbled” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16 + b.

<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90

<Example2> What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128 + 52 = 2356

<Example3> What is the decimal expression of the nibbled v alue 0A 03 09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

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

16) 1258

16) 78

01H
02H
03H
04H
05H
06H
07H
08H
09H
0AH
0BH
0CH
0DH
0EH
0FH
10H
11H
12H
13H
14H
15H
16H
17H
18H
19H
1AH
1BH
1CH
1DH
1EH
1FH

... 10

33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63

21H
22H
23H
24H
25H
26H
27H
28H
29H
2AH
2BH
2CH
2DH
2EH
2FH
30H
31H
32H
33H
34H
35H
36H
37H
38H
39H
3AH
3BH
3CH
3DH
3EH
3FH

65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95

41H
42H
43H
44H
45H
46H
47H
48H
49H
4AH
4BH
4CH
4DH
4EH
4FH
50H
51H
52H
53H
54H
55H
56H
57H
58H
59H
5AH
5BH
5CH
5DH
5EH
5FH

97
98

99
100
101
102
103
104
105
106
107
108
109
1

10
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127

... 14

16) 4

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

●Examples of actual MIDI messages

<Example1> 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.

<Example2> 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).

<Example3> 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 by te (28H = 40) i s the MSB, bu t Pitch
Bend Value is a sig ned number in w hich 40 00H (= 64 x 12 8 + 0 = 8192) is 0, so
this Pitch Bend V alue 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 thi s ca se -200 x (-3072) / (-8192) = -75 cen t s of
Pitch Bend is being applied to MIDI channel 11.

<Example4> 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 control 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 specified 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
different 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

16

●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 me ssage w as correctly r eceiv ed. The v alue of
the checksum is determined by the address and data (or size) of the
transmitted exclusive message.

◆How to calculate the checksum (hexadecimal numbers are indica ted 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 ffH.

aa + bb + cc + dd + ee + ff = sum
sum / 128 = quotient ... remainder
128 - remainder = checksum

<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

This means that F0 41 10 42 12 40 01 30 02 0D F7 is the m essage we tran smit.

●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 specified 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.

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)

Frequently used tuning values are given in the following t able for your re ference.
Values are in hexadecimal (decimal in parentheses).

<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

●The Scale Tune Feature (address: 40 1x 40)

The scale Tune feature allows you to finely adjust the individual pitch of the
notes from C through B. Though the settings are made while working with one
octave, the fine adjustments will affect 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 ty pes 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 benefit 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
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

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

Equal Temperament Just Temperament (Keytone C) Arabian Scale

17

5. Effect 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: Amp Simulator (Guitar Amp Simulator)
0120: Phaser
0129: Multi Stage Phaser
012a: Infinite 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
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
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: OD->Chorus (Overdrive->Chorus)
0201: OD->Flanger (Overdrive->Flanger)
0202: Overdrive->Delay
0203: Dist.->Chorus (Distortion->Chorus)
0204: Dist.->Flanger (Distortion->Flanger)
0205: Dist.->Delay (Distortion->Delay)
0206: Enhancer->Cho (Enhancer->Chorus)
0207: Enhancer->Fl. (Enhancer->Flanger)
0208: Enhancer->Delay
0209: Chorus->Delay
020a: Flanger-> Delay
020b: Chorus-> Flanger
0040: Damper Resonance

■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 Frequency of the middle range 1
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 Frequency of the middle range 2
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 filter which modifies the timbre
by boosting or cutting the level at specific frequencies.

No Parameter Value Description
1 Band1 (250Hz) 0-30
2 Band2 (500Hz) #1 0-30
3 Band3 (1000Hz) 0-30
4 Band4 (1250Hz) #2 0-30
5 Band5 (2000Hz) 0-30
6 Band6 (3150Hz) 0-30
7 Band7 (4000Hz) 0-30
8 Band8 (8000Hz) 0-30

9 Q 0-4

10 Level 0-127 0-127 Output Level

-15-+15 dB Gain of each frequency band

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

18

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

Width of the middle range 2
Set a higher value for Q to narrow
the range to be affected.

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

● 0104: Isolator

This is an equalizer which cuts the v olume greatly, allowing you to add a special
effect to the sound by cutting the volume in varying ranges.

No Parameter Value Description

1 Boost/Cut Low 0-64

Boost/Cut Mid

2

#1

Boost/Cut High

3

#2

Anti Phase Low

4

Sw

Anti Phase Low

5

Level

6 Anti Phase Mid Sw 0-1 Off, On

7

Anti Phase Mid Level

8 Low Boost Sw 0-1 Off, On

Low Boost

9

Level

10 Level 0-127 0-127 Output Level

0-64

-60 - +4 dB

0-64

0-1 Off, On

0-127 0-127

0-127 0-127

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 off 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 specific parts. (This is
effective 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/off.
This emphasizes the bottom to
create a heavy bass sound.
Increasing this value gives you a
heavier low end.
Depending on the Isolator and filter
settings this effect may be hard to
distinguish.

● 0105: Low Boost

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

No Parameter Value Description

Boost

1

Frequency #1

2 Boost Gain #2 0-12 0-+12 dB

3 Boost Width 0-2

4 Low Gain 0-30 -15-+15 dB Gain of the low frequency range
5 High Gain 0-30 -15-+15 dB Gain of the high frequency range
6 Level 0-127 0-127 Output level

0-8 50-125 Hz

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

● 0106: High Pass Filter

This is a filter with an extremely sharp slope. The cutoff frequency can be
varied cyclically.

No Parameter Value Description

Filter type
Frequency range that will pass
through each filter

1 Filter Type 0-3

2 Filter Slope 0-2 -12, -24, -36 dB

3 Filter Cutoff #1 0-127 0-127

Lpf, Bpf, Hpf,
Notch

Lpf: Frequencies below the cutoff
Bpf: Frequencies in the region of
the cutoff
Hpf: Frequencies above the cutoff
Notch: Frequencies other than the
region of the cutoff
Amount of attenuation per octave

-36 dB: Extremely steep

-24 dB: Steep

-12 dB: Gentle
Cutoff frequency of the filter
Increasing this value will raise the
cutoff frequency.

Filter resonance level

4 Filter Resonance #2 0-100 0-100

5 Filter Gain 0-12 0 - +12 dB

6 Modulation Sw 0-1 Off, On On/off switch for cyclic change

7 Modulation Wave 0-4

8 Rate Mode 0-1 Hz, note

9 Rate 1-127 0.05-10.00 Hz Rate of modulation (Hz)
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

Tri, Sqr, Sin,
Saw1, Saw2

Increasing this value will
emphasize the region near the
cutoff frequency.
Amount of boost for the filter
output

How the cutoff 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
effect is synchronized with the
tempo.

Speed at which the cutoff
frequency will change
This is effective if Modulation Wave
is SQR, SAW1, or SAW2.

● 0110: Overdrive

Creates a soft distortion similar to that produced by vacuum tube amplifiers.

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 Stereo location of the output sound
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

● 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 Off, On Turns the Amp Simulator on/off.

Small,

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 Stereo location of the output sound
8 Level #2 0-127 0-127 Output Level

Built-In,
2-Stack,
3-Stack

Degree of distortion
Also changes the volume.
Sound quality of the Overdrive
effect

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

● 0113: Distortion2

This is a distortion effect that provides heavy distor tion. The parameters are the
same as for “Overdrive2.”

19

● 0107: Speaker Simulator

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

No Parameter Value Description
1 Speaker Type #1 0-15 (See the table.) Type of speaker

Adjusts the location of the mic that
is recording the sound of the

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

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

Specifications of each Speaker Type

The speaker column indicates the diam eter of each spea ker uni t (in in ches) and
the number of units.

Type Cabinet Speaker Microphone
Small 1 Small open-back enclo su re 10 Dynamic

Small 2 Small open-back enclo su re 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

● 0114: Guitar Amp Simulator

This is an effect that simulates the sound of a guitar amplifier.

No Parameter Value Description
1 Pre Amp Sw 0-1 Off, On Turns the amp switch on/off.

JC-120,
Clean Twin,
MATCH Drive,
BG Lead,
MS1959I,
MS1959II,

2 Pre Amp Type #1 0-13

3 Pre Amp Volume 0-127 0-127

4 Pre Amp Master 0-127 0-127 Volume of the entire pre-amp

5 Pre Amp Gain 0-2

6 Pre Amp Bass 0-127 0-127

7 Pre Amp Middle 0-127 0-127

8 Pre Amp Treble 0-127 0-127

9 Pre Amp Presence 0-127

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

Low, Middle,
High

0-127 (MATCH
Drive: -127-0)

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.

10 Pre Amp Bright 0-1 Off, On

11 Speaker Sw 0-1 Off, On

12 Speaker Type #2 0-15 (See the table.) Type of speaker

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

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).

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
ncreases.

Specifications of each Speaker Type

The speaker column indicates the diam eter of each spea ker uni t (in in ches) and
the number of units.

Type Cabinet Speaker Microphone
Small 1 Small open-back enclo su re 10 Dynamic

Small 2 Small open-back enclo su re 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

20

● 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 0.05-10.00 Hz Frequency of modulation (Hz)
5 Rate 0-21 note Frequency of modulation (note)
6 Depth 0-127 0-127 Depth of modulation

7 Polarity 0-1

8 Resonance 0-127 0-127 Amount of feedback

9 Cross Feedback 0-98 -98 - +98%

10 Mix 0-127 0-127 Level of the phase-shifted sound
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

4-Stage,
8-Stage,
12-Stage

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
effect is synchronized with the
tempo.

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 effect.
Negative (-) settings will invert the
phase.

● 0129: Multi Stage Phaser

Extremely high settings of the phase difference produce a deep phaser effect.

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 0.05-10.00 Hz Frequency of modulation (Hz)
5 Rate 0-21 note Frequency of modulation (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 Level of the phase-shifted sound
9 Pan 0-127 L64 - 63R Stereo location of the output sound
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

Number of phaser stages

Adjusts the basic frequency from
which the sound will be
modulated.
When this is set to “note,” the
effect is synchronized with the
tempo.

● 012a: Infinite Phaser

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

No Parameter Value Description

1 Mode 0-3 1, 2, 3, 4

Higher values will produce a
deeper
phaser effect.

Speed at which to raise or lower

2 Speed #1 0-127 -100 - +100

3 Resonance #2 0-127 0-127 Amount of feedback
4 Mix 0-127 0-127 Volume of the phase-shifted sound
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

the frequency at which the sound
is modulated (+: upward / -:
downward)

Amount of boost/cut for the
low-frequency range
Amount of boost/cut for the
high-frequency range

● 0123: Stereo Flanger

This is a stereo flanger. (The LFO has the same phase for left and right.) It
produces a metallic resonance that rises and falls like a jet airplane t aki ng of f o r
landing. A filter is provided so that you can adjust the timbre of the flanged
sound.

No Parameter Value Description

Type of filter
Off: No filter is used

1 Filter Type 0-2 Off, Lpf, Hpf

2 Cutoff Freq 0-16 200-8000 Hz Basic frequency of the filter

3 Pre Delay 0-125 0.0-100.0 ms

4 Rate Mode 0-1 Hz, note

5 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0-21 note Frequency of modulation (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

D100:0W -
D0:100W

Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq

Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the proportion of the
flanger sound that is fed back into
the effect.
Negative (-) settings will invert the
phase.

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

21

● 0127: 3D Flanger

This applies a 3D effect to the flanger sound. The flanger sound will be
positioned 90 degrees left and 90 degrees right.

No Parameter Value Description

Type of filter
Off: No filter is used

1 Filter Type 0-2 Off, Lpf, Hpf

2 Cutoff Freq 0-16 200-8000 Hz Basic frequency of the filter

3 Pre Delay 0-125 0.0-100.0 ms

4 Rate Mode 0-1 Hz, note

5 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0-21 note Frequency of modulation (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 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

D100:0 ­WD0:100W

Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq

Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the proportion of the
flanger sound that is fed back into
the effect.
Negative (-) settings will invert the
phase.
Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks. The
optimal 3D effect will be achieved
if you select Speaker when using
speakers, or Phones when
using headphones.

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

● 0128: 2Band Flanger

A flanger that lets you apply an effect independently to the low-frequency and
high-frequency ranges.

No Parameter Value Description

1 Split Freq 0-16 200-8000 Hz

2 Low Pre Delay 0-125 0.0-100.0 ms

3 Low Rate Mode 0-1 Hz, note

4 Low Rate #1 1-127 0.05-10.00 Hz

5 Low Rate 0-21 note

6 Low Depth 0-127 0-127

7 Low Phase 0-90 0-180 deg

8 Low Feedback 0-98 -98 - +98%

9 High Pre Delay 0-125 0.0-100.0 ms

10 High Rate Mode 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 low­range flanger sound is heard
When this is set to “note,” the
effect is synchronized with the
tempo.
Rate at which the low-range flanger
sound is modulated (Hz)
Rate at which the low-range flanger
sound is modulated (note)
Modulation depth for the low-range
flanger sound

Spaciousness of the low-range
flanger sound

Proportion of the low-range flanger
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 flanger sound is heard
When this is set to “note,” the
effect is synchronized with the
tempo.

11 High Rate #2 1-127 0.05-10.00 Hz

12 High Rate 0-21 note

13 High Depth 0-127 0-127

14 High Phase 0-90 0-180 deg

15 High Feedback 0-98 -98 - +98%

16 Balance 0-100

17 Level 0-127 0-127 Output volume

D100:0W ­D0:100W

Rate at which the high-range
flanger sound is modulated (Hz)
Rate at which the high-range
flanger sound is modulated (note)
Modulation depth for the
high-range flanger sound

Spaciousness of the high-range
flanger sound

Proportion of the high-range
flanger sound that is to be
returned to the input (negative
values invert the phase)
Volume balance of the original
sound (D) and flanger sound (W)

● 0121: Auto Wah

Cyclically controls a filter to create cyclic change in timbre.

No Parameter Value Description

Type of filter

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 0.05-10.00 Hz Frequency of modulation (Hz)
8 Rate 0-21 note Frequency of modulation (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

Lpf: The wah effect will be applied
over a wide frequency range.
Bpf: The wah effect will be applied
over a narrow frequency range.

Adjusts the center frequency at
which the effect is applied.

Adjusts the amount of the wah
effect that will occur in the range
of the center frequency. Set a
higher value for Q to narrow the
range to be affected.
Adjusts the sensitivity with which
the filter is controlled.
Sets the direction in which the
frequency will change when the
autowah filter is modulated. Up:
The filter will change toward a
higher frequency. Down: The filter
will change toward a lower
frequency.
When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the degree of phase shift
of the left and right sounds when
the wah effect is applied.

22

● 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 Off, On Turns Drive on/off.

2 Drive #2 0-127 0-127

3 Vowel1 0-4 a, e, i, o, u Selects the vowel.
4 Vowel2 0-4 a, e, i, o, u Selects the vowel.

5 Rate Mode 0-1 Hz, note

6 Rate 1-127 0.05-10.00 Hz

7 Rate #1 0-21 note

8 Depth 0-127 0-127 Effect depth

9 Input Sync Sw 0-1 Off, On

10 Input Sync Threshold 0-127 0-127

11 Manual 0-100 0-100

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range
13 High Gain 0-30 -15 - +15 dB Gain of the high frequency range
14 Pan 0-127 L64 - 63R Stereo location of the output
15 Level 0-127 0-127 Output level

Degree of distortion Also changes
the volume.

When this is set to “note,” the
effect is synchronized with the
tempo.
Frequency at which the two 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

Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a
longer duration.
50: Vowel 1 and 2 will be of equal
duration.
51 or more: Vowel 2 will have a
longer duration.

● 012b: Ring Modulator

This is an effect 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 effect.

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

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).

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

● 0125: Tremolo

Cyclically modulates the volume to add tremolo effect to 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 Frequency of the change (Hz)
4 Rate 0-21 note Frequency of the change (note)
5 Depth #2 0-127 0-127 Depth to which the effect is applied
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

Tri: Triangle wave
Sqr: Square wave
Sin: Sine wave
Saw1/2: Sawtooth wave
When this is set to “note,” the
effect is synchronized with the
tempo.

● 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 Frequency of the change (Hz)
4 Rate 0-21 note Frequency of the change (note)
5 Depth #2 0-127 0-127 Depth to which the effect is applied
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

Tri: Triangle wave
Sqr: Square wave
Sin: Sine wave
Saw1/2: Sawtooth wave
When this is set to “note,” the
effect is synchronized with the
tempo.

● 012c: Slicer

By applying successive cuts to the sound, this effect turns a conventional
sound into a sound that appears to be played as a backing phrase. This is
especially effective when applied to sustain-ty pe 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

5 Input Sync Sw 0-1 Off, On

6 Input Sync Threshold 0-127 0-127

7 Mode 0-1 Legato, Slash

8 Shuffle #2 0-127 0-127

9 Level 0-127 0-127 Output level

23

When this is set to “note,” the
effect 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
Specifies whether an input note will
cause the sequence to resume
from the first 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 fluctuations 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 Gain of the low frequency range
5 High Gain 0-30 -15 - +15 dB Gain of the high frequency range
6 Level 0-127 0-127 Output level

Sets the speed at which
compression starts

Adjusts the volume at which
compression begins

● 0131: Limiter

Compresses signals that exceed a specified volume level, preventing distortion
from occurring.

No Parameter Value Description

Adjusts the time after the signal

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 Gain of the low frequency range
6 High Gain 0-30 -15 - +15 dB Gain of the high frequency range
7 Level 0-127 0-127 Output level

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

volume falls below the Threshold
Level until compression is no
longer applied.
Adjusts the volume at which
compression begins

Compression ratio

● 0142: Stereo Chorus

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

No Parameter Value Description

Type of filter
Off: No filter is used

1 Filter Type 0-2 Off, Lpf, Hpf

2 Cutoff Freq 0-16 200-8000 Hz Basic frequency of the filter

3 Pre Delay 0-125 0.0-100.0 ms

4 Rate Mode 0-1 Hz, note

5 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0-21 note Frequency of modulation (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

D100:0W ­D0:100W

Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq

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

When this is set to “note,” the
effect is synchronized with the
tempo.

Volume balance between the direct
sound (D) and the 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

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

When this is set to “note,” the
effect is synchronized with the
tempo.

3 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Rate 0-21 note Frequency of modulation (note)
5 Depth #2 0-127 0-127 Depth of modulation

6 Pre Delay Deviation 0-20 0-20

7 Depth Deviation 0-40 -20 - +20

8 Pan Deviation 0-20 0-20

9 Balance 0-100

10 Level 0-127 0-127 Output Level

D100:0W ­D0:100W

Adjusts the differences in Pre
Delay between each chorus
sound.
Adjusts the difference in
modulation depth between each
chorus sound.
Adjusts the difference 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)

● 0141: Tremolo Chorus

This is a chorus effect with added Tremolo (cyclic modulation of volume).

No Parameter Value Description

1 Pre Delay 0-125 0.0-100.0 ms

2 Chorus Rate Mode 0-1 Hz, note

3 Chorus Rate 1-127 0.05-10.00 Hz

4 Chorus Rate 0-21 note

5 Chorus Depth #1 0-127 0-127

6 Tremolo Rate Mode 0-1 Hz, note

7 Tremolo Rate #2 1-127 0.05-10.00 Hz

8 Tremolo Rate 0-21 note

9 Tremolo Separation 0-127 0-127 Spread of the tremolo effect
10 Tremolo Phase 0-90 0-180 deg Spread of the tremolo effect

11 Balance 0-100

12 Level 0-127 0-127 Output Level

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
effect is synchronized with the
tempo.
Modulation frequency of the
chorus effect (Hz)
Modulation frequency of the
chorus effect (note)
Modulation depth of the chorus
effect
When this is set to “note,” the
effect is synchronized with the
tempo.
Modulation frequency of the
tremolo effect (Hz)
Modulation frequency of the
tremolo effect (note)

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

24

● 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 effect.

No Parameter Value Description

Adjusts the delay time from the

1 Pre Delay 0-125 0.0-100.0 ms

2 Rate Mode 0-1 Hz, note

3 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
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

D100:0W ­D0:100W

direct
sound until the chorus sound is
heard.
When this is set to “note,” the
effect is
synchronized with the tempo.

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

● 0144: 3D Chorus

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

No Parameter Value Description

Type of filter
Off: No filter is used

1 Filter Type 0-2 Off, Lpf, Hpf

2 Cutoff Freq 0-16 200-8000 Hz Basic frequency of the filter

3 Pre Delay 0-125 0.0-100.0 ms

4 Rate Mode 0-1 Hz, note

5 Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0-21 note Frequency of modulation (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

Speaker,
Phones

D100:0W ­D0:100W

Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq

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

When this is set to “note,” the
effect is synchronized with the
tempo.

Modulation depth of the chorus
effect

Adjusts the method that will be
used to hear the sound that is
output to the OUTPUT jacks. The
optimal 3D effect 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 effect that lets you apply an effect independently to the low-frequency
and high-frequency ranges.

No Parameter Value Description

1 Split Freq 0-16 200-8000 Hz

2 Low Pre Delay 0-125 0.0-100.0 ms

3 Low Rate Mode 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
effect is synchronized with the
tempo.

4 Low Rate 1-127 0.05-10.00 Hz

5 Low Rate 0-21 note

6 Low Depth #1 0-127 0-127

7 Low Phase 0-90 0-180 deg

8 High Pre Delay 0-125 0.0-100.0 ms

9 High Rate Mode 0-1 Hz, note

10 High Rate 1-127 0.05-10.00 Hz

11 High Rate 0-21 note

12 High Depth #2 0-127 0-127

13 High Phase 0-90 0-180 deg

14 Balance 0-100

15 Level 0-127 0-127 Output volume

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 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
effect 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
high-range chorus sound

Spaciousness of the high-range
chorus sound

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

● 0122: Rotary

The Rotary effect 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 effect is
most suitable for electric organ Patches.

No Parameter Value Description

Simultaneously switch the
rotational speed of the low

1 Speed #1 0-1 Slow, Fast

2 Woofer Slow Speed 1-127 0.05-10.00 Hz

3 Woofer Fast Speed 1-127 0.05-10.00 Hz

4 Woofer Acceleration 0-15 0-15

5 Woofer Level 0-127 0-127 Volume of the low frequency rotor

6 Tweeter Slow Speed 1-127 0.05-10.00 Hz

7 Tweeter Fast Speed 1-127 0.05-10.00 Hz
8 Tweeter Acceleration 0-15 0-15
9 Tweeter Level 0-127 0-127
10 Separation #2 0-127 0-127 Spatial dispersion of the sound
11 Level 0-127 0-127 Output Level

25

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

Slow speed (Slow) of the low
frequency rotor

Fast speed (Fast) of the low
frequency rotor

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

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

● 012d: Rotary2

This type provides modified response for the rotary speaker, with the low end
boosted further.
This effect 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 Off, On

3 Woofer Slow Speed 1-127 0.05-10.00 Hz

4 Woofer Fast Speed 1-127 0.05-10.00 Hz

5 Woofer Trans Up 0-127 0-127

6 Woofer Trans Down 0-127 0-127

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

8 Tweeter Slow Speed 1-127 0.05-10.00 Hz

9 Tweeter Fast Speed 1-127 0.05-10.00 Hz
10 Tweeter Trans Up 0-127 0-127
11 Tweeter Trans Down 0-127 0-127
12 Tweeter Level 0-127 0-127

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

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 off, the rotation will
gradually resume.
Low-speed rotation speed of the
woofer
High-speed rotation speed of the
woofer
Adjusts the rate at which the woofer
rotation speeds up when the
rotation is switched from Slow to
Fast.
Adjusts the rate at which the woofer
rotation speeds up when the
rotation is switched from Fast to
Slow.

Settings of the tweeter The
parameters are the same as for the
woofer.

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

● 0300: Rotary Multi

This is an effect combining the VK series internal effect with an organ effect
with the same features.
It comprises vibrato/chorus, overdrive, and rotary effects.

No Parameter Value Description

1 Vib/Cho Switch 0-1 Off, On

2 Vib/Cho Type 0-5

3 Vib/Cho Vintage 0-2 ‘50, ‘60, ‘70

4 Vib/Cho Level 0-127 0-127 Vibrato/chorus effect volume
5 OD Switch 0-1 Off, On Switches the overdrive effect
6 OD Drive #2 0-127 0-127 Amount of distortion
7 OD Level 0-127 0-127 Overdrive effect volume
8 Rotary Switch 0-1 Off, On Switches the rotary effect

9 Rotary Speed #1 0-1 Slow, Fast

10 R-Wf Slow Sp 1-127 0.05-10.00 Hz

11 R-Wf Fast Sp 1-127 0.05-10.00 Hz

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

Switches the vibrato and chorus
effects
Vibrato and chorus effect types
V-1, V-2, V-3: Adds a wavering
(vibrato) that is created by
changes in the pitch.
The effect deepens as the value is
increased
C-1, C-2, C-3: Adds a fullness and
breadth (chorus) to the sound.The
effect deepens as the value is
increased.
This reproduces the subtle
differences in the vibrato and
chorus effects in organs built in
different years.

Low- and high-frequency rotation
speeds (Rate) Slow: (Slow Rate)
Fast: (Fast Rate)
Rate with low-frequency rotor set to
Slow rate
Rate with low-frequency rotor set to
Fast rate

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 0.05-10.00 Hz

15 R-Tw Fast Sp 1-127 0.05-10.00 Hz
16 R-Tw Accel 0-15 0-15
17 R-Tw Level 0-127 0-127
18 Rotary Separat 0-127 0-127 Amount of breadth in the sound
19 Rotary Level 0-127 0-127 Output volume

Speed at which the low-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.

● 015b: Stereo Delay1

This is a stereo delay.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms

6 Delay Right 0-21 note

7 Phase Left 0-1
8 Phase Right 0-1

9 Feedback Mode 0-1 Normal, Cross

10 Feedback #1 49-89 0 - +80%

11 HF Damp 0-17

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range
13 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

14 Balance #2 0-100

15 Level 0-127 0-127 Output level

Normal,
Inverse

200-8000 Hz,
Bypass

D100:0W ­D0:100W

26

When this is set to “note,” the
effect 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)

When this is set to “note,” the
effect 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)

Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.

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

● 015c: Stereo Delay2

This is a stereo delay.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms

6 Delay Right 0-21 note

7 Phase Left 0-1
8 Phase Right 0-1

9 Feedback Mode 0-1 Normal, Cross

10 Feedback #1 49-89 0 - +80%

11 HF Damp 0-17

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range
13 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

14 Balance #2 0-100

15 Level 0-127 0-127 Output level

Normal,
Inverse

200-8000 Hz,
Bypass

D100:0W ­D0:100W

When this is set to “note,” the
effect 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)

When this is set to “note,” the
effect 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)

Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.

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

● 015d: Stereo Delay3

This is a stereo delay.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms

6 Delay Right 0-21 note

7 Phase Left 0-1
8 Phase Right 0-1

9 Feedback Mode 0-1 Normal, Cross

10 Feedback #1 49-89 0 - +80%

11 HF Damp 0-17

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range

Normal,
Inverse

200-8000 Hz,
Bypass

When this is set to “note,” the
effect 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)

When this is set to “note,” the
effect 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)

Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.

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

14 Balance #2 0-100

15 Level 0-127 0-127 Output level

D100:0W ­D0:100W

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

● 015e: Stereo Delay4

This is a stereo delay.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms

6 Delay Right 0-21 note

7 Phase Left 0-1
8 Phase Right 0-1

9 Feedback Mode 0-1 Normal, Cross

10 Feedback #1 49-89 0 - +80%

11 HF Damp 0-17

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range
13 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

14 Balance #2 0-100

15 Level 0-127 0-127 Output level

Normal,
Inverse

200-8000 Hz,
Bypass

D100:0W ­D0:100W

When this is set to “note,” the
effect 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)

When this is set to “note,” the
effect 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)

Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.

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

27

● 015f: Stereo Delay5

This is a stereo delay.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms

6 Delay Right 0-21 note

7 Phase Left 0-1

8 Phase Right 0-1

9 Feedback Mode 0-1 Normal, Cross

10 Feedback #1 49-89 0 - +80%

11 HF Damp 0-17

12 Low Gain 0-30 -15 - +15 dB Gain of the low frequency range
13 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

14 Balance #2 0-100

15 Level 0-127 0-127 Output level

Normal,
Inverse

200-8000 Hz,
Bypass

D100:0W ­D0:100W

When this is set to “note,” the
effect 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)

When this is set to “note,” the
effect 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)

Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.

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 0-2540 ms

3 Delay Time #1 0-21 note

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

NORMAL,
INVERSE

200-8000 Hz,
Bypass

D100:0W ­D0:100W

When this is set to “note,” the
effect 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: non­inverted, INVERSE: inverted)

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

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

Amount of boost/cut for the high­frequency range
Amount of boost/cut for the high­frequency 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

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-1270 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-1270 ms
6 Delay Right 0-21 note

7 Feedback Mode 0-1 Normal, Cross

8 Feedback 49-89 0 - +80%

9 HF Damp 0-17

10 Rate Mode 0-1 Hz, note

11 Rate 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
12 Rate 0-21 note Frequency of modulation (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 Gain of the low frequency range
16 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

17 Balance #2 0-100

18 Level 0-127 0-127 Output level

200-8000 Hz,
Bypass

D100:0W ­D0:100W

When this is set to “note,” the
effect 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 R The
parameters are the same as for the
Delay L.

Selects the way in which delay
sound is fed back into the effect
(See the figures above.)

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you don’t want to
filter out any high frequencies, set
this parameter to Bypass.
When this is set to “note,” the
effect is synchronized with the
tempo.

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

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-2540 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note

5 Delay Right 0-127 0-2540 ms
6 Delay Right 0-21 note

7 Delay Center Mode 0-1 ms, note

8 Delay Center 0-127 0-2540 ms
9 Delay Center 0-21 note

10 Center Feedback #1 49-89 0 - +80%

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 Gain of the low frequency range
16 High Gain 0-30 -15 - +15 dB Gain of the high frequency range

17 Balance #2 0-100

18 Level 0-127 0-127 Output level

200-8000 Hz,
Bypass

D100:0W ­D0:100W

28

When this is set to “note,” the
effect 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 R The
parameters are the same as for the
Delay L.

Settings of the Delay C The
parameters are the same as for the
Delay L.

Adjusts the amount of the delay
sound that’s fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect is
filtered out. If you do not want to
filter out any high frequencies, set
this parameter to Bypass.

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

● 0157: 3D Delay

This applies a 3D effect to the delay sound. The delay sound will be positioned
90 degrees left and 90 degrees right.

No Parameter Value Description

1 Delay Left Mode 0-1 ms, note

2 Delay Left 0-127 0-2540 ms

3 Delay Left 0-21 note

4 Delay Right Mode 0-1 ms, note
5 Delay Right 0-127 0-2540 ms
6 Delay Right 0-21 note
7 Delay Center Mode 0-1 ms, note
8 Delay Center 0-127 0-2540 ms
9 Delay Center 0-21 note

10 Center Feedback #1 49-89 0 - +80%

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

200-8000 Hz,
Bypass

0-127 Output level of the delay sound

Speaker,
Phones

D100:0W ­D0:100W

When this is set to “note,” the
effect 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 R The
parameters are the same as for the
Delay 1.

Settings of the Delay C The
parameters are the same as for the
Delay 1.

Adjusts the proportion of the delay
sound that is fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the
high frequencies, set this
parameter to Bypass.

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

Volume balance between the direct
sound (D) and the effect 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

S, M, L, S+M,

1 Mode 0-6

2 Repeat Rate #1 0-127 0-127

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

9 Tape Distortion 0-5 0-5

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

L64 - 63R

Combination of playback heads to
use Select from three different
heads with different 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 signal­analysis equipment. Increasing this
value will increase the distortion.

10 Wow/Flutter Rate 0-127 0-127

11 Wow/Flutter Depth 0-127 0-127 Depth of wow/flutter
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

Speed of wow/flutter (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

2 Rev Delay Mode 0-1 ms, note

3 Rev Delay Time #1 0-127 0-1270 ms

4 Rev Delay Time 0-21 note

5 Rev Delay Feedback 49-89 0 - +80%

6 Rev Delay HF Damp 0-17

7 Rev Delay Pan 0-127 L64-63R Panning of the reverse delay sound
8 Rev Delay Level 0-127 0-127 Volume of the reverse delay sound

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

200-8000 Hz,
Bypass

D100:0W ­D0:100W

Volume at which the reverse delay
will begin to be applied

When this is set to “note,” the
effect 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 high­frequency content of the reverse­delayed sound will be cut (Bypass:
no cut)

Amount of boost/cut for the low­frequency range
Amount of boost/cut for the high­frequency range
Volume balance of the original
sound (D) and the delay sound (W)

● 0172: Lo-Fi

This is an effect that intentionally degrades the sound quality for creative
purposes.

No Parameter Value Description

1 Pre Filter Type 0-5 1-6

2 LoFi Type #1 0-8 1-9

3 Post Filter Type 0-2 Off, Lpf, Hpf

4 Post Filter Cutoff 0-16 200-8000 Hz Basic frequency of the Post Filter
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

D100:0W ­D0:100W

Selects the type of filter applied to
the sound before it passes
through the Lo- Fi effect.

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

Type of filter
Off: no filter is used
Lpf: cuts the frequency range
above the Cutoff
Hpf: cuts the frequency range
below the Cutoff

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

29

● 0175: Telephone

No Parameter Value Description

1 Voice Quality #1 0-15 0-15

2 Treble 0-30 -15 - +15 dB Bandwidth of the telephone voice

3 Balance #2 0-100

4 Level 0-127 0-127 Output level

D100:0 ­D0:100W

Audio quality of the telephone
voice

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

● 0156: Gate Reverb

This is a special type of reverb in which the reverberant sound is cut off 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→Chorus

This effect connects an overdrive and a chorus in series.

No Parameter Value Description

1 Overdrive Drive 0-127 0-127

2 Overdrive Pan 0-127 L64 - 63R

3 Chorus Pre Delay 0-125 0.0-100.0 ms

4 Chorus Rate Mode 0-1 Hz, note

5 Chorus Rate #1 1-127 0.05 - 10.00 Hz Frequency of modulation (Hz)
6 Chorus Rate 0-21 note Frequency of modulation (note)
7 Chorus Depth 0-127 0-127 Depth of modulation

8 Chorus Balance #2 0-100

9 Level 0-127 0-127 Output Level

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
effect is synchronized with the
tempo.

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).

● 0201: Overdrive→Flanger

This effect connects an overdrive and a flanger in series.

No Parameter Value Description

1 Overdrive Drive 0-127 0-127

2 Overdrive Pan 0-127 L64 - 63R

3 Flanger Pre Delay 0-125 0.0-100.0 ms

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
flanger sound is heard.

4 Flanger Rate Mode 0-1 Hz, note

5 Flanger Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Flanger Rate 0-21 note Frequency of modulation (note)
7 Flanger Depth 0-127 0-127 Depth of modulation

8 Flanger Feedback 0-98 -98 - +98%

9 Flanger Balance #2 0-100

10 Level 0-127 0-127 Output Level

D100:0W ­D0:100W

When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the volume balance
between the sound that is sent
through the flanger (W) and the
sound that is not sent through the
flanger (D).

● 0202: Overdrive→Delay

This effect connects an overdrive and a delay in series.

No Parameter Value Description

1 Overdrive Drive #1 0-127 0-127

2 Overdrive Pan 0-127 L64 - 63R

3 Delay Mode 0-1 ms, note

4 Delay Time 0-127 0 - 2540 ms

5 Delay Time 0-21 note

6 Delay Feedback 49-89 0 - +80%

7 Delay HF Damp 0-17

8 Delay Balance #2 0-100

9 Level 0-127 0-127 Output Level

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
effect 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)

Adjusts the proportion of the delay
sound that is fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect 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→Chorus

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

● 0204: Distortion→Flanger

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

● 0205: Distortion→Delay

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

30

● 0206: Enhancer→Chorus

This effect connects an enhancer and a chorus in series.

No Parameter Value Description
1 Enhancer Sens 0-127 0-127 Sensitivity of the enhancer

2 Enhancer Mix 0-127 0-127

3 Chorus Pre Delay 0-125 0.0-100.0 ms

4 Chorus Rate Mode 0-1 Hz, note

5 Chorus Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Chorus Rate 0-21 note Frequency of modulation (note)
7 Chorus Depth 0-127 0-127 Depth of modulation

8 Chorus Balance #2 0-100

9 Level 0-127 0-127 Output Level

D100:0W ­D0:100W

Level of the overtones generated
by the enhancer

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

When this is set to “note,” the
effect is synchronized with the
tempo.

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→Flanger

This effect connects an enhancer and a flanger in series.

No Parameter Value Description
1 Enhancer Sens 0-127 0-127 Sensitivity of the enhancer

2 Enhancer Mix 0-127 0-127

3 Flanger Pre Delay 0-125 0.0-100.0 ms

4 Flanger Rate Mode 0-1 Hz, note

5 Flanger Rate #1 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Flanger Rate 0-21 note Frequency of modulation (note)
7 Flanger Depth 0-127 0-127 Depth of modulation

8 Flanger Feedback 0-98 -98 - +98%

9 Flanger Balance #2 0-100

10 Level 0-127 0-127 Output Level

D100:0W -
D0:100W

Level of the overtones generated
by the enhancer
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the volume balance
between the sound that is sent
through the flanger (W) and the
sound that is not sent through the
flanger (D).

● 0208: Enhancer→Delay

This effect connects an enhancer and a delay in series.

No Parameter Value Description
1 Enhancer Sens #1 0-127 0-127 Sensitivity of the enhancer

2 Enhancer Mix 0-127 0-127

3 Delay Mode 0-1 ms, note

4 Delay Time 0-127 0-2540 ms

5 Delay Time 0-21 note

6 Delay Feedback 49-89 0 - +80%

Level of the overtones generated
by the enhancer
When this is set to “note,” the
effect 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)

Adjusts the proportion of the delay
sound that is fed back into the
effect.

Adjusts the frequency above which

7 Delay HF Damp 0-17

8 Delay Balance #2 0-100

9 Level 0-127 0-127 Output Level

200-8000 Hz,
Bypass

D100:0W ­D0:100W

sound fed back to the effect 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→Delay

This effect connects a chorus and a delay in series.

No Parameter Value Description

1 Chorus Pre Delay 0-125 0.0-100.0 ms

2 Chorus Rate Mode 0-1 Hz, note

3 Chorus Rate 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Chorus Rate 0-21 note Frequency of modulation (note)
5 Chorus Depth 0-127 0-127 Depth of modulation

6 Chorus Balance #1 0-100

7 Delay Mode 0-1 ms, note

8 Delay Time 0-127 1-2540 ms

9 Delay Time 0-21 note

10 Delay Feedback 49-89 0 - +80%

11 Delay HF Damp 0-17

12 Delay Balance #2 0-100

13 Level 0-127 0-127 Output Level

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
effect is synchronized with the
tempo.

Volume balance between the direct
sound (D) and the chorus sound
(W)
When this is set to “note,” the
effect 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)

Adjusts the proportion of the delay
sound that is fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect 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).

31

● 020a: Flanger→Delay

This effect connects a flanger and a delay in series.

No Parameter Value Description

1 Flanger Pre Delay 0-125 0.0-100.0 ms

2 Flanger Rate Mode 0-1 Hz, note

3 Flanger Rate 1-127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Flanger Rate 0-21 note Frequency of modulation (note)
5 Flanger Depth 0-127 0-127 Depth of modulation

6 Flanger Feedback 0-98 -98 - +98%

7 Flanger Balance #1 0-100

8 Delay Mode 0-1 ms, note

9 Delay Time 0-127 0-2540 ms

10 Delay Time 0-21 note

11 Delay Feedback 49-89 0 - +80%

12 Delay HF Damp 0-17

13 Delay Balance #2 0-100D

14 Level 0-127 0-127 Output Level

D100:0W ­D0:100W

200-8000 Hz,
Bypass

100:0W ­D0:100W

Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
When this is set to “note,” the
effect is synchronized with the
tempo.

Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Volume balance between the direct
sound (D) and the flanger sound
(W)
When this is set to “note,” the
effect 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)

Adjusts the proportion of the delay
sound that is fed back into the
effect.
Adjusts the frequency above which
sound fed back to the effect 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).

● 020b: Chorus→Flanger

This effect connects a chorus and a flanger in series.

No Parameter Value Description

1 Chorus Pre Delay 0-125 0.0-100.0 ms

2 Chorus Rate Mode 0-1 Hz, note

3 Chorus Rate 1-127 0.05-10.00 Hz

4 Chorus Rate 0-21 note

5 Chorus Depth 0-127 0-127

6 Chorus Balance #1 0-100

7 Flanger Pre Delay 0-125 0.0 - 100.0 ms

8 Flanger Rate Mode 0-1 Hz, note

9 Flanger Rate 1-127 0.05-10.00 Hz

10 Flanger Rate 0-21 note

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
effect is synchronized with the
tempo.
Modulation frequency of the
chorus effect (Hz)
Modulation frequency of the
chorus effect (note)
Modulation depth of the chorus
effect
Volume balance between the direct
sound (D) and the chorus sound
(W)
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
When this is set to “note,” the
effect is synchronized with the
tempo.
Modulation frequency of the
flanger effect (Hz)
Modulation frequency of the
flanger effect (note)

11 Flanger Depth 0-127 0-127

12 Flanger Feedback 0-98 -98 - +98%

13 Flanger Balance #2 0-100

14 Level 0-127 0-127 Output Level

D100:0W -
D0:100W

Modulation depth of the flanger
effect
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the volume balance
between the sound that is sent
through the flanger (W) and the
sound that is not sent through the
flanger (D).

● 0040: Damper Resonance

On an acoustic piano, holding down the damper pedal allows other strings to
resonate in sympathy with the notes you play, creating rich and spacious
resonances. This effect simulates these damper resonances.

No Parameter Value Description
1 Depth #1 0-127 0-127 Depth of the effect

2 Damper 0-127 0-127

3 Pre LPF 1-32

4 Pre HPF 0-31

5 Peaking Freq 0-16 200-8000 Hz

6 Peaking Gain 0-30 -15 - +15 dB

7 Peaking Q 0-4

8 HF Damp Freq 1-32

9 LF Damp Freq 0-31

11 Level 0-127 0-127 Output Level
12 P-Sft Amount 0-127 0-127 Amount of resonance

13 P-Sft Level 0-127 0-127

14 P-Sft LPF 1-32

15 P-Sft HPF 0-31

16 P-Sft to Rev 0-127 0-127

17 Damper Offset #2 0-64 0-64

16-15000 Hz,
Bypass

Bypass,
16-15000 Hz

0.5, 1.0, 2.0,

4.0, 8.0

16-15000 Hz,
Bypass

Bypass,
16-15000 Hz

16-15000 Hz,
Bypass

Bypass,
16-15000 Hz

32

Depth to which the damper pedal is
pressed (controls the resonant
sound)
Frequency of the filter that cuts the
high-frequency content of the input
sound (Bypass: no cut)
Frequency of the filter that cuts the
low-frequency content of the input
sound (Bypass: no cut)

Frequency of the filter that
boosts/cuts a specific frequency
region of the input sound

Amount of boost/cut produced by
the filter at the specified frequency
region of the input sound
Width of the frequency region
boosted/cut by the `Peaking Gain’
parameter (larger values make the
region narrower)

Frequency at which the high­frequency content of the resonant
sound will be cut (Bypass: no cut)

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

Volume level of the resonant
component
Basic frequency at which the filter
cuts the high-frequency portion of
the resonant component (Bypass:
no cut)
Basic frequency at which the filter
cuts the low-frequency portion of
the resonant component (Bypass:
no cut)

Volume of additional resonance
added to resonant component

Volume of additional slight
resonance when the damper pedal
is not pressed

MIDI Implementation Chart

DIGITAL PIANO Date: Jan. 1, 2011
Model FP-7F Version: 1.00

Function... Transmitted Recognized Remarks

Basic Channel

Mode

Note Number

Velocity

After Touch
Pitch Bend O O

Control Change

Prog Change
System Exclusive O O

System Common

System Real Time

Aux Message

Notes

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O: Yes
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO X: No

Default 1 1-16
Changed 1-16 1-16
Default Mode 3 Mode 3
Messages x Mode 3, 4 (M=1) *2
Altered **************
15-113 0-127
:True Voice ************** 0-127
Note ON O O
Note OFF O O
Key's x O *1
Ch's x O *1

0, 32 O O *1 Bank select
1 O O *1 Modulation
5 x O *1 Portamento time
6, 38 x O *1 Data entry
7 x O *1 Volume
10 x O *1 Panpot
11 O O *1 Expression
64 O O *1 Hold 1
65 x O *1 Portamento
66 O O *1 Sostenuto
67 O O *1 Soft
84 x O Portamento control
91 O O (Reverb) Effect1 depth
93 x O (Chorus) Effect3 depth
98, 99 x O *1 NRPN LSB, MSB

100, 101 x O *1 RPN LSB, MSB
0-127 O

:True # ************** 0-127 Program number 1-128

:Song Pos x x
:Song Sel x x
:Tune x x
:Clock O x
:Commands O x
:All sound off x O (120, 126, 127)
:Reset all controllers x O
:Local Control x O
:All Notes OFF x O (123-125)
:Active Sense O O
:Reset x x
*1 O x is selectable by Sys Ex.

*2 Recognized as M=1 even if M≠1.

33

Tone List

PIANO STRINGS/PAD

No. Tone Name MSB LSB PC No. Tone Name MSB LSB PC
001 Grand Piano1 0 68 1 001 Rich Strings 0 71 50
002 Piano + Str. 25 64 1 002 OrchestraStr 0 64 49
003 Grand Piano2 16 67 1 003 Velo Strings 1 65 49
004 Piano + Pad 47 64 3 004 DecayStrings 1 65 50
005 Grand Piano3 8 66 2 005 SynthStrings 0 65 52
006 MagicalPiano 47 65 3 006 Soft Pad 0 64 90
007 Rock Piano 8 64 3 007 Glass Pad 0 65 93
008 Piano+Choir 26 64 1 008 Silky Way 1 68 90
009 Honky-tonk 0 64 4 009 Lunar Strngs 1 67 90
010 Harpsichord 0 66 7 010 Dcy ChoirPad 1 66 90
011 Coupled Hps. 8 66 7 011 Orchestra 8 66 49

012 OrchestraBrs 1 66 61

E.PIANO

No. Tone Name MSB LSB PC 014 Violin 0 0 41
001 Vintage EP 0 67 5 015 Cello 0 0 43
002 Pop E.Piano 16 67 5 016 PizzicatoStr 0 0 46
003 '60s E.Piano 24 65 5
004 FM E.Piano 0 70 6
005 '70s E.Piano 16 66 5
006 Stage Phaser 0 68 5
007 E.Grand 0 69 3 No. Tone Name MSB LSB PC
008 Clav. 0 67 8 001 Nylon-str.Gt 0 0 25
009 Vibraphone 0 0 12 002 Steel-str.Gt 0 0 26
010 Marimba 0 64 13 003 Clean Guitar 0 64 28
011 Celesta 0 0 9 004 Jazz Guitar 0 64 27
012 Mallet Isle 0 64 115 005 Overdrive Gt 0 66 30
013 Morning Lite 0 68 99 006 AcousticBass 0 71 33
014

EP Belle 8 68 6

015

Ballad Bells 0 66 9

ORGAN

No. Tone Name MSB LSB PC 011 Synth Bass 0 0 39
001 TW-Organ 1 - - - 012 Thum Voice 0 66 54
002 TW-Organ 2 - - ­003 TW-Organ 3 - - ­004 TW-Organ 4 - - ­005 TW-Organ 5 - - ­006 TW-Organ 6 - - - No. Tone Name MSB LSB PC
007 Combo Jz.Org 0 70 19 001 Aerial Choir 8 64 53
008 Ballad Organ 0 69 19 002 Jazz Scat 0 65 55
009 Gospel Spin 0 71 17 003 Female Aahs 8 66 53
010 Full Stops 0 69 17 004 Angels Choir 0 65 86
011 Mellow Bars 32 68 17 005 Beauty Vox 8 65 55
012 Light Organ 32 69 17 006 Male Aahs 8 68 53
013 Lower Organ 0 66 17 007 Harpvox 0 64 100
014 Purple Spin 1 64 19 008 Decay Choir 1 64 53
015 '60s Organ 16 64 17 009 Alto Sax 0 67 66
016 ChurchOrgan1 0 66 20 010 Tenor Sax 8 66 67
017 ChurchOrgan2 8 69 20 011 BrassSection 0 0 62
018 Nason flt 8' 16 66 20 012 Flute 0 64 74
019 Accordion 0 68 22 013 ChamberWinds 0 67 69

013 Harp 0 68 47

GUITAR/BASS

007 A.Bass+Cymbl 0 66 33
008 FingeredBass 0 0 34
009 FretlessBass 0 0 36
010 Slap Bass 0 64 37

VOICE/OTHERS

* When select ToneWheel Organ, send the System Exclusive of footage setting.

34

GM2

No. Tone Name MSB LSB PC No. Tone Name MSB LSB PC
014 STANDARD Set 120 0 1 069 Church Org.3 121 2 20
015 ROOM Set 120 0 9 070 Reed Organ 121 0 21
016 POWER Set 120 0 17 071 Puff Organ 121 1 21
017 ELEC.Set 120 0 25 072 Accordion 1 121 0 22
018 ANALOG Set 120 0 26 073 Accordion 2 121 1 22
019 JAZZ Set 120 0 33 074 Harmonica 121 0 23
020 BRUSH Set 120 0 41 075 Bandoneon 121 0 24
021 ORCH.Set 120 0 49 076 Nylon-str.Gt 121 0 25
022 SFX Set 120 0 57 077 Ukulele 121 1 25
023 Piano 1 121 0 1 078 Nylon Gt o 121 2 25
024 Piano 1w 121 1 1 079 Nylon Gt 2 121 3 25
025 Piano 1d 121 2 1 080 Steel-str.Gt 121 0 26
026 Piano 2 121 0 2 081 12-str.Gt 121 1 26
027 Piano 2w 121 1 2 082 Mandolin 121 2 26
028 Piano 3 121 0 3 083 Steel+Body 121 3 26
029 Piano 3w 121 1 3 084 Jazz Guitar 121 0 27
030 Honky-tonk 121 0 4 085 Hawaiian Gt 121 1 27
031 Honky-tonk w 121 1 4 086 Clean Guitar 121 0 28
032 E.Piano 1 121 0 5 087 Chorus Gt 1 121 1 28
033 Detuned EP 1 121 1 5 088 Mid Tone Gt 121 2 28
034 Vintage EP 121 2 5 089 Muted Guitar 121 0 29
035 '60s E.Piano 121 3 5 090 Funk Guitar1 121 1 29
036 E.Piano 2 121 0 6 091 Funk Guitar2 121 2 29
037 Detuned EP 2 121 1 6 092 Chorus Gt 2 121 3 29
038 St.FM EP 121 2 6 093 Overdrive Gt 121 0 30
039 EP Legend 121 3 6 094 Guitar Pinch 121 1 30
040 EP Phase 121 4 6 095 DistortionGt 121 0 31
041 Harpsichord 121 0 7 096 Gt Feedback1 121 1 31
042 Coupled Hps. 121 1 7 097 Dist.Rtm Gt 121 2 31
043 Harpsi.w 121 2 7 098 Gt Harmonics 121 0 32
044 Harpsi.o 121 3 7 099 Gt Feedback2 121 1 32
045 Clav. 121 0 8 100 AcousticBass 121 0 33
046 Pulse Clav. 121 1 8 101 FingeredBass 121 0 34
047 Celesta 121 0 9 102 Finger Slap 121 1 34
048 Glockenspiel 121 0 10 103 Picked Bass 121 0 35
049 Music Box 121 0 11 104 FretlessBass 121 0 36
050 Vibraphone 121 0 12 105 Slap Bass 1 121 0 37
051 Vibraphone w 121 1 12 106 Slap Bass 2 121 0 38
052 Marimba 121 0 13 107 Synth Bass 1 121 0 39
053 Marimba w 121 1 13 108 WarmSyn.Bass 121 1 39
054 Xylophone 121 0 14 109 Synth Bass 3 121 2 39
055 TubularBells 121 0 15 110 Clav.Bass 121 3 39
056 Church Bell 121 1 15 111 Hammer 121 4 39
057 Carillon 121 2 15 112 Synth Bass 2 121 0 40
058 Santur 121 0 16 113 Synth Bass 4 121 1 40
059 Organ 1 121 0 17 114 RubberSyn.Bs 121 2 40
060 TremoloOrgan 121 1 17 115 Attack Pulse 121 3 40
061 '60s Organ 121 2 17 116 Violin 121 0 41
062 Organ 2 121 3 17 117 Slow Violin 121 1 41
063 Perc.Organ 1 121 0 18 118 Viola 121 0 42
064 Chorus Organ 121 1 18 119 Cello 121 0 43
065 Perc.Organ 2 121 2 18 120 Contrabass 121 0 44
066 Rock Organ 121 0 19 121 Tremolo Str. 121 0 45
067 Church Org.1 121 0 20 122 PizzicatoStr 121 0 46
068 Church Org.2 121 1 20 123 Harp 121 0 47

35

No. Tone Name MSB LSB PC No. Tone Name MSB LSB PC
124 Yang Qin 121 1 47 179 Square Lead2 121 1 81
125 Timpani 121 0 48 180 Sine Lead 121 2 81
126 Strings 121 0 49 181 Saw Lead 1 121 0 82
127 Orchestra 121 1 49 182 Saw Lead 2 121 1 82
128 '60s Strings 121 2 49 183 Doctor Solo 121 2 82
129 Slow Strings 121 0 50 184 Natural Lead 121 3 82
130 Syn.Strings1 121 0 51 185 SequencedSaw 121 4 82
131 Syn.Strings3 121 1 51 186 Syn.Calliope 121 0 83
132 Syn.Strings2 121 0 52 187 Chiffer Lead 121 0 84
133 Choir 1 121 0 53 188 Charang 121 0 85
134 Choir 2 121 1 53 189 Wire Lead 121 1 85
135 Voice 121 0 54 190 Solo Vox 121 0 86
136 Humming 121 1 54 191 5th Saw Lead 121 0 87
137 Synth Voice 121 0 55 192 Bass+Lead 121 0 88
138 Analog Voice 121 1 55 193 Delayed Lead 121 1 88
139 OrchestraHit 121 0 56 194 Fantasia 121 0 89
140 Bass Hit 121 1 56 195 Warm Pad 121 0 90
141 6th Hit 121 2 56 196 Sine Pad 121 1 90
142 Euro Hit 121 3 56 197 Polysynth 121 0 91
143 Trumpet 121 0 57 198 Space Voice 121 0 92
144 Dark Trumpet 121 1 57 199 Itopia 121 1 92
145 Trombone 1 121 0 58 200 Bowed Glass 121 0 93
146 Trombone 2 121 1 58 201 Metallic Pad 121 0 94
147 Bright Tb 121 2 58 202 Halo Pad 121 0 95
148 Tuba 121 0 59 203 Sweep Pad 121 0 96
149 MuteTrumpet1 121 0 60 204 Ice Rain 121 0 97
150 MuteTrumpet2 121 1 60 205 Soundtrack 121 0 98
151 French Horn1 121 0 61 206 Crystal 121 0 99
152 French Horn2 121 1 61 207 Synth Mallet 121 1 99
153 Brass 1 121 0 62 208 Atmosphere 121 0 100
154 Brass 2 121 1 62 209 Brightness 121 0 101
155 Synth Brass1 121 0 63 210 Goblins 121 0 102
156 Synth Brass3 121 1 63 211 Echo Drops 121 0 103
157 AnalogBrass1 121 2 63 212 Echo Bell 121 1 103
158 Jump Brass 121 3 63 213 Echo Pan 121 2 103
159 Synth Brass2 121 0 64 214 Star Theme 121 0 104
160 Synth Brass4 121 1 64 215 Sitar 1 121 0 105
161 AnalogBrass2 121 2 64 216 Sitar 2 121 1 105
162 Soprano Sax 121 0 65 217 Banjo 121 0 106
163 Alto Sax 121 0 66 218 Shamisen 121 0 107
164 Tenor Sax 121 0 67 219 Koto 121 0 108
165 Baritone Sax 121 0 68 220 Taisho Koto 121 1 108
166 Oboe 121 0 69 221 Kalimba 121 0 109
167 English Horn 121 0 70 222 Bagpipe 121 0 110
168 Bassoon 121 0 71 223 Fiddle 121 0 111
169 Clarinet 121 0 72 224 Shanai 121 0 112
170 Piccolo 121 0 73 225 Tinkle Bell 121 0 113
171 Flute 121 0 74 226 Agogo 121 0 114
172 Recorder 121 0 75 227 Steel Drums 121 0 115
173 Pan Flute 121 0 76 228 Woodblock 121 0 116
174 Bottle Blow 121 0 77 229 Castanets 121 1 116
175 Shakuhachi 121 0 78 230 Taiko 121 0 117
176 Whistle 121 0 79 231 Concert BD 121 1 117
177 Ocarina 121 0 80 232 Melodic Tom1 121 0 118
178 Square Lead1 121 0 81 233 Melodic Tom2 121 1 118

36

No. Tone Name MSB LSB PC
234 Synth Drum 121 0 119
235 TR-808 Tom 121 1 119
236 Elec.Perc. 121 2 119
237 Reverse Cym. 121 0 120
238 Gt FretNoise 121 0 121
239 Gt Cut Noise 121 1 121
240 BsStringSlap 121 2 121
241 Breath Noise 121 0 122
242 Fl.Key Click 121 1 122
243 Seashore 121 0 123
244 Rain 121 1 123
245 Thunder 121 2 123
246 Wind 121 3 123
247 Stream 121 4 123
248 Bubble 121 5 123
249 Bird 1 121 0 124
250 Dog 121 1 124
251 Horse Gallop 121 2 124
252 Bird 2 121 3 124
253 Telephone [phone]
254 Telephone [phone]
255 DoorCreaking 121 2 125
256 Door 121 3 125
257 Scratch 121 4 125
258 Wind Chimes 121 5 125
259 Helicopter 121 0 126
260 Car Engine 121 1 126
261 Car Stop 121 2 126
262 Car Pass 121 3 126
263 Car Crash 121 4 126
264 Siren 121 5 126
265 Train 121 6 126
266 Jetplane 121 7 126
267 Starship 121 8 126
268 Burst Noise 121 9 126
269 Applause 121 0 127
270 Laughing 121 1 127
271 Screaming 121 2 127
272 Punch 121 3 127
273 Heart Beat 121 4 127
274 Footsteps 121 5 127
275 Gun Shot 121 0 128
276 Machine Gun 121 1 128
277 Laser Gun 121 2 128
278 Explosion 121 3 128

37

Rhythm Set List

STANDARD Set ROOM Set POWER Set

27 High-Q High-Q High-Q

28 Slap Slap Slap
29 Scratch Push [EXC7] Scratch Push [EXC7] Scratch Push [EXC7]

30 Scratch Pull [EXC7] Scratch Pull [EXC7] Scratch Pull [EXC7]

31 Sticks Sticks Sticks

32 Square Click Square Click Square Click

33 Metronome Click Metronome Click Metronome Click

34 Metronome Bell Metronome Bell Metronome Bell

35 Kick Drum 2 Room Kick 2 Room Kick 1

C2 36 Kick Drum 1 Room Kick 1 Power Kick

C3 48 High Tom 2 Room High Tom 2 Power High Tom 2

C4 60 High Bongo 1 High Bongo 2 High Bongo 2

C5 72 Long Low Whistle [EXC2] Long Low Whistle [EXC2] Long Low Whistle [EXC2]

C6 84 Bell Tree Bell Tree Bell Tree

37 Side Stick Side Stick Side Stick

38 Snare Drum Room Snare Power Snare

39 Hand Clap Hand Clap Hand Clap

40 Electric Snare 3 Electric Snare 4 Electric Snare 5
41 Low Tom 2 Room Low Tom 2 Power Low Tom 2

42 Closed Hi-Hat 1 [EXC1] Closed Hi-Hat 2 [EXC1] Closed Hi-Hat 2 [EXC1]

43 Low Tom 1 Room Low Tom 1 Power Low Tom 1

44 Pedal Hi-Hat 1 [EXC1] Pedal Hi-Hat 2 [EXC1] Pedal Hi-Hat 2 [EXC1]

45 Mid Tom 2 Room Mid Tom 2 Power Mid Tom 2

46 Open Hi-Hat 1 [EXC1] Open Hi-Hat 2 [EXC1] Open Hi-Hat 2 [EXC1]

47 Mid Tom 1 Room Mid Tom 1 Power Mid Tom 1

49 Crash Cymbal 1 Crash Cymbal 3 Crash Cymbal 3

50 High Tom 1 Room High Tom 1 Power High Tom 1

51 Ride Cymbal 1 Ride Cymbal 3 Ride Cymbal 3

52 Chinese Cymbal 1 Chinese Cymbal 2 Chinese Cymbal 2
53 Ride Bell 1 Ride Bell 2 Ride Bell 2

54 Tambourine Tambourine Tambourine

55 Splash Cymbal Splash Cymbal Splash Cymbal

56 Cowbell Cowbell Cowbell

57 Crash Cymbal 2 Crash Cymbal 4 Crash Cymbal 4

58 Vibraslap Vibraslap Vibraslap

59 Ride Cymbal 2 Ride Cymbal4 Ride Cymbal4

61 Low Bongo 1 Low Bongo 2 Low Bongo 2

62 Mute High Conga 1 Mute High Conga 2 Mute High Conga 2

63 Open High Conga Open High Conga Open High Conga

64 Low Conga Low Conga Low Conga
65 High Timbale High Timbale High Timbale

66 Low Timbale Low Timbale Low Timbale

67 High Agogo High Agogo High Agogo

68 Low Agogo Low Agogo Low Agogo

69 Cabasa Cabasa Cabasa

70 Maracas Maracas Maracas

71 Short High Whistle [EXC2] Short High Whistle [EXC2] Short High Whistle [EXC2]

73 Short Guiro [EXC3] Short Guiro [EXC3] Short Guiro [EXC3]

74 Long Guiro [EXC3] Long Guiro [EXC3] Long Guiro [EXC3]

75 Claves Claves Claves

76 High Woodblock High Woodblock High Woodblock
77 Low Woodblock Low Woodblock Low Woodblock

78 Mute Cuica [EXC4] Mute Cuica [EXC4] Mute Cuica [EXC4]

79 Open Cuica [EXC4] Open Cuica [EXC4] Open Cuica [EXC4]

80 Mute Triangle [EXC5] Mute Triangle [EXC5] Mute Triangle [EXC5]

81 Open Triangle [EXC5] Open Triangle [EXC5] Open Triangle [EXC5]

82 Shaker Shaker Shaker

83 Jingle Bell Jingle Bell Jingle Bell

85 Castanets Castanets Castanets

86 Mute Surdo [EXC6] Mute Surdo [EXC6] Mute Surdo [EXC6]

87 Open Surdo [EXC6] Open Surdo [EXC6] Open Surdo [EXC6]

* ----: No sound.
* [EXC]: will not sound simultaneously with other percussion instruments of the same number.

38

ELEC.Set ANALOG Set JAZZ Set

t

t

27 High-Q High-Q High-Q

28 Slap Slap Slap
29 Scratch Push [EXC7] Scratch Push [EXC7] Scratch Push [EXC7]

30 Scratch Pull [EXC7] Scratch Pull [EXC7] Scratch Pull [EXC7]

31 Sticks Sticks Sticks

32 Square Click Square Click Square Click

33 Metronome Click Metronome Click Metronome Click

34 Metronome Bell Metronome Bell Metronome Bell

35 Power Kick TR-808 Kick 2 Room Kick 2

C2 36 Electric Kick TR-808 Kick 1 Jazz Kick

C3 48 Electric High Tom 2 TR-808 High Tom 2 Jazz High Tom 2

C4 60 High Bongo 2 High Bongo 2 High Bongo 2

C5 72 Long Low Whistle [EXC2] Long Low Whistle [EXC2] Long Low Whistle [EXC2]

C6 84 Bell Tree Bell Tree Bell Tree

37 Side Stick TR-808 Rim shot Side Stick

38 Electric Snare 1 TR-808 Snare Jazz Snare

39 Hand Clap Hand Clap Hand Clap

40 Electric Snare 2 Electric Snare 6 Electric Snare 7
41 Electric Low Tom 2 TR-808 Low Tom 2 Jazz Low Tom

42 Closed Hi-Hat 2 [EXC1] TR-808 Closed Hi-Ha

43 Electric Low Tom 1 TR-808 Low Tom 1 Low Tom 1

44 Pedal Hi-Hat 2 [EXC1] TR-808 Closed Hi-Ha

45 Electric Mid Tom 2 TR-808 Mid Tom 2 Mid Tom 2

46 Open Hi-Hat 2 [EXC1] TR-808 Open Hi-Hat [EXC1] Open Hi-Hat 2 [EXC1]

47 Electric Mid Tom 1 TR-808 Mid Tom 1 Jazz Mid Tom

49 Crash Cymbal 3 TR-808 Crash Cymbal Crash Cymbal 3

50 Electric High Tom 1 TR-808 High Tom 1 Jazz High Tom 1

51 Ride Cymbal 3 Ride Cymbal 3 Ride Cymbal 3

52 Reverse Cymbal Chinese Cymbal 2 Chinese Cymbal 2
53 Ride Bell 2 Ride Bell 2 Ride Bell 2

54 Tambourine Tambourine Tambourine

55 Splash Cymbal Splash Cymbal Splash Cymbal

56 Cowbell TR-808 Cowbell Cowbell

57 Crash Cymbal 4 Crash Cymbal 4 Crash Cymbal 4

58 Vibraslap Vibraslap Vibraslap

59 Ride Cymbal4 Ride Cymbal4 Ride Cymbal4

61 Low Bongo 2 Low Bongo 2 Low Bongo 2

62 Mute High Conga 2 TR-808 High Conga Mute High Conga 2

63 Open High Conga TR-808 Mid Conga Open High Conga

64 Low Conga TR-808 Low Conga Low Conga
65 High Timbale High Timbale High Timbale

66 Low Timbale Low Timbale Low Timbale

67 High Agogo High Agogo High Agogo

68 Low Agogo Low Agogo Low Agogo

69 Cabasa Cabasa Cabasa

70 Maracas TR-808 Maracas Maracas

71 Short High Whistle [EXC2] Short High Whistle [EXC2] Short High Whistle [EXC2]

73 Short Guiro [EXC3] Short Guiro [EXC3] Short Guiro [EXC3]

74 Long Guiro [EXC3] Long Guiro [EXC3] Long Guiro [EXC3]

75 Claves Claves Claves

76 High Woodblock High Woodblock High Woodblock
77 Low Woodblock Low Woodblock Low Woodblock

78 Mute Cuica [EXC4] Mute Cuica [EXC4] Mute Cuica [EXC4]

79 Open Cuica [EXC4] Open Cuica [EXC4] Open Cuica [EXC4]

80 Mute Triangle [EXC5] Mute Triangle [EXC5] Mute Triangle [EXC5]

81 Open Triangle [EXC5] Open Triangle [EXC5] Open Triangle [EXC5]

82 Shaker Shaker Shaker

83 Jingle Bell Jingle Bell Jingle Bell

85 Castanets Castanets Castanets

86 Mute Surdo [EXC6] Mute Surdo [EXC6] Mute Surdo [EXC6]

87 Open Surdo [EXC6] Open Surdo [EXC6] Open Surdo [EXC6]

[EXC1] Closed Hi-Hat 2 [EXC1]
[EXC1] Pedal Hi-Hat 2 [EXC1]

39

BRUSH Set ORCH.Set SFX Set

27 High-Q Closed Hi-Hat 2 [EXC1] -----

28 Slap Pedal Hi-Hat 2 [EXC1] ----­29 Scratch Push [EXC7] Open Hi-Hat 2 [EXC1] -----

30 Scratch Pull [EXC7] Ride Cymbal 3 -----

31 Sticks Sticks -----

32 Square Click Square Click -----

33 Metronome Click Metronome Click -----

34 Metronome Bell Metronome Bell -----

35 Room Kick 2 Concert Bass Drum 2 -----

C2 36 Jazz Kick Concert Bass Drum 1 -----

C3 48 Brush High Tom 2 Timpani C Guitar Cutting Noise Up

C4 60 High Bongo 2 High Bongo 2 Door

C5 72 Long Low Whistle [EXC2] Long Low Whistle [EXC2] Gun Shot

C6 84 Bell Tree Bell Tree Bubble

37 Side Stick Side Stick -----

38 Brush Tap Concert Snare Drum -----

39 Brush Slap1 Castanets High Q

40 Brush Swirl Concert Snare Drum Slap
41 Brush Low Tom 2 Timpani F Scratch Push [EXC7]

42 Brush Closed Hi-Hat [EXC1] Timpani F# Scratch Pull [EXC7]

43 Brush Low Tom 1 Timpani G Sticks

44 Brush Pedal Hi-Hat [EXC1] Timpani G# Square Click

45 Brush Mid Tom 2 Timpani A Metronome Click

46 Brush Open Hi-Hat [EXC1] Timpani A# Metronome Bell

47 Brush Mid Tom 1 Timpani B Guitar Fret Noise

49 Jazz Crash Cymbal Timpani C# Guitar Cutting Noise Down

50 Brush High Tom 1 Timpani D String Slap of Double Bass

51 Jazz Ride Cymbal 1 Timpani D# Fl.Key Click

52 Chinese Cymbal 2 Timpani E Laughing
53 Jazz Ride Cymbal 2 Timpani F Screaming

54 Tambourine Tambourine Punch

55 Splash Cymbal Splash Cymbal Heart Beat

56 Cowbell Cowbell Footsteps 1

57 Crash Cymbal 4 Concert Cymbal 2 Footsteps 2

58 Vibraslap Vibraslap Applause

59 Ride Cymbal4 Concert Cymbal 1 Door Creaking

61 Low Bongo 2 Low Bongo 2 Scratch

62 Mute High Conga 2 Mute High Conga 2 Wind Chimes

63 Open High Conga Open High Conga Car-Engine

64 Low Conga Low Conga Car-Stop
65 High Timbale High Timbale Car-Pass

66 Low Timbale Low Timbale Car-Crash

67 High Agogo High Agogo Siren

68 Low Agogo Low Agogo Train

69 Cabasa Cabasa Jet Plane

70 Maracas Maracas Helicopter

71 Short High Whistle [EXC2] Short High Whistle [EXC2] Starship

73 Short Guiro [EXC3] Short Guiro [EXC3] Machine Gun

74 Long Guiro [EXC3] Long Guiro [EXC3] Laser Gun

75 Claves Claves Explosion

76 High Woodblock High Woodblock Dog
77 Low Woodblock Low Woodblock Horse-Gallop

78 Mute Cuica [EXC4] Mute Cuica [EXC4] Birds

79 Open Cuica [EXC4] Open Cuica [EXC4] Rain

80 Mute Triangle [EXC5] Mute Triangle [EXC5] Thunder

81 Open Triangle [EXC5] Open Triangle [EXC5] Wind

82 Shaker Shaker Seashore

83 Jingle Bell Jingle Bell Stream

85 Castanets Castanets -----

86 Mute Surdo [EXC6] Mute Surdo [EXC6] -----

87 Open Surdo [EXC6] Open Surdo [EXC6] -----

88 ----- Applause -----

40