Sound List
02
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Copyright © 2013 ROLAND CORPORATION
Kit List
No. Name Explanation
A contemporary cajon kit adjusted with the low range and the attack as layers.
1 Cajon Plus D-BEAM: Loop On
2 Perc Mixture Layered Sounds
3 Filtered! D-BEAM: Control
4 Drums Studio Live Room
5 TwentyFunky Disco & Funk
6 Asian Melody TriggerMode: ALT
7 Twin-Djembe Ensemble
8 Conga II Live Stage
9 Voice Drums Flanger & Phaser
10 808+909 D-BEAM: Loop On
11 Darabuka w/ Riq
12 AmbientTribe
13 Bongo Recording
14 FatStep Dubstep Style
15 Laserwave... TriggerMode: GATE
16 Frame Drum w/ Bendir
17 Light*Mini Melodic Tom
18 Timbales w/ Cowbells
19 Neo Soul RnB, HipHop Style
20 E-SCAPE Hybrid NewAge
21 Waterphone Bowed
In addition to the tonal changes of the cajon itself, produced by the location of your strike or by muting, the cymbals and
percussion played by the S2–S7 pads provide even more variety for your rhythm performance.
A cajon solo performance is also possible if you use the D-BEAM to play a loop phrase.
The concept for this kit is to create new sounds by combining various sounds.
It consists of various percussion and sound eects. There is a good balance between the basic rhythm sounds and the
distinctive sounds.
You can turn on the realtime modify EFFECT to obtain a completely dierent expressive character.
This kit is distinctive for its tight modied sounds and its eect-processed sounds.
The lter eect will change each time you strike. You can enjoy dynamic tonal changes by pressing the pad further or by
playing a roll.
Position your hand above the D-BEAM to vary the synth sound.
This is a high-quality drum kit that reproduces the live acoustics of a recording studio. Its solid and all-around sound is
suitable for a variety of styles.
The M1 pad (open rimshot on the snare) and S8 pad (the bell of the ride cymbal) will produce dierent sounds depending on
the force of your strike, so you can enjoy a dynamic performance even when playing with your hands.
This kit allows song-like performances by letting you perform along with several loop phrases.
It is distinctive for its processed voice sounds, and the backing matches the beat of disco or funk.
For the S7 and S8 pads, you can set the “Trigger Mode” parameter to “GATE” and produce unusual performances as if you were
using a sampler.
A melodic kit with an Asian avor.
The didgeridoo on the M1 and M2 pads has “Trigger Mode” set to “ALT,” so you can play a santoor while it is sounding.
If you turn the realtime modify EFFECT on, the knob will vary the lter eect.
This kit lets you enjoy ensemble performance with a variety of African percussion.
Use the M1–M4 pads to play the high and low djembe separately.
The M5 pad plays the bass tone, and the M1 and M2 pads separately play the center and edge, providing the tonal contrast
that is characteristic of the djembe.
A conga kit that was created to provide the sonic presence of a live performance.
The tone will change depending on the dynamics and location of your strike at left/right or from the center to the edge,
allowing you to naturally utilize the performance techniques that are unique to the conga, such as heel/toe, slap, and mute.
This kit provides basic human beat-box sounds with a sense of density, along with unique vocal sounds.
In addition to striking, you can press a pad to enjoy tonal transformations such as rolls or eects.
This kit combines the classic TR-808 and 909 rhythm machines.
The kit takes advantage of sound layers and eects (compressor and saturator) to create a world that’s unique to the
HandSonic.
While using the D-BEAM to play a loop phrase, change the vertical position of your hand to control the sound of the phrase.
This kit is centered around standard percussion instruments of the Middle East: the darabuka (M1, M2, M5 pads) and riq (M3
and M4 pads).
For sounds with a long decay, you can use pitch control via the D-BEAM to change the nuances.
This pleasant-feeling kit has deeply reverberated percussive tones and ambient sounds with a sense of oating.
You can enjoy yet another atmosphere of sound and performance by greatly raising or lowering the realtime modify PITCH or
by raising EFFECT (delay feedback).
This kit lets you enjoy raw-sounding tones and performance techniques that are distinctive of bongos.
High bongos (M1–M3 pads) and low bongos (M4 and M5) pads are placed in such a way that you’ll be able to comfortably
play bongo patterns on the HandSonic.
Of course heel/toe and slap performance techniques are also supported.
This kit lets you produce dubstep-style beats with powerful kick and snare sounds.
A bass pattern distinctive of dubstep is assigned to the S1 pad.
If you turn Roll on, you can broaden the range of the phrase by the pressure applied to the pad to change the roll speed.
In this unique kit, the sound will change depending on the time that your ngers and hand remain in contact, and on how
much pressure you apply to the pad.
Simple yet deep performance gestures are available; for example, you can apply vibrato by varying the pressure applied to
the pad, or use Realtime Modify to vary the pitch drastically.
This kit lets you play a frame drum (M1, M2, and M5 pads) and a bendir (M3 and M4 pads).
In additional to the tonal changes produced by the strike location and muting, pads S2, S3, S6, and S7 let you hear the raw
sounds produced by scraping the drumskin.
Small-diameter drum and cymbal drum kit.
The M3, S4, S5, and M4 pads are assigned to melodic toms, and the S7 pad is assigned to a second hi-hat with tambourine,
allowing a diverse variety of rhythm performance.
A timbales kit, the staple of Latin music.
The cowbell and small-diameter cymbal that are played together are assigned to the D-BEAM and sub-pads, allowing you to
control the performance nuances produced by applying pressure with the stick for a closed shot.
You can broaden the range of your performance by combining paila technique on the S2 and S7 pads, and by using hand
techniques on the M5 pad.
A somewhat lo- and fat-sounding drum kit for hip-hot and R&B styles.
Layered claps are assigned to the M1, S2, and S7 pads, and you can enjoy a rich variety of performances by combining these.
For even more atmosphere, use the D-BEAM to add a record-noise sound.
A kit distinctive for its scape sound with processed synthesizer and voice.
Backed by the loop phrase of the S1 pad, add pads S2–S4 and the D-BEAM to enjoy a rich ensemble.
The percussion instrument sounds that perform the rhythm are produced by layering, and deliver a solid sound that’s well
balanced with the backing.
This kit faithfully simulates an instrument called a waterphone, which is also used to produce sound eects for movies.
In addition to controlling the pitch modulation and the decay, you can use the realtime modify PITCH and EFFECT to obtain
dynamic tonal changes that go beyond an actual waterphone.
2
No. Name Explanation
22 SteelPanBand Pan Orchestra
23 Orchestral Pressure: Mute
24 CrushLowe Drums & Loops
25 Pandeiro Samba de Roda
26 Pot Drum
27 Tabla Jam
28 Echonic Dub Tape Echo
29 Deep Forest Adventure
30 Urban Mood w/ "HH CTRL"
A steel pan kit for melodic percussion.
Sounds are layered according to the force of your strike, allowing you to add chords or thickness to your performance.
Using the realtime modify PITCH will instantly vary all pitches, letting you change keys.
An orchestral percussion kit centered on timpani, concert bass drum, and snare.
In addition to these standard instruments, you can use the sub-pads to play small percussion items.
For the bass drum, timpani, and pair cymbals, you can shorten the decay by applying pressure as you strike.
This kit lets you enjoy percussively-processed drum sounds backed by a simple loop phrase.
In addition to striking the S1–S4 pads to vary the loop phrases, you can create unique performances by adjusting the vertical
position of your hand above the D-BEAM to change the pitch.
A Brazilian percussion kit centered on the pandeiro.
To perform the basic rhythm, use heel/toe technique (M2 and M4 pads) to mark the beat, and use the bass tone (M5 pad) and
slap (M3) to add accents.
For even more versatility, play a roll using the S8 pad, and use the M1 pad to add the surdo.
A kit that reproduces pot-shaped African percussion.
You can obtain a realistic performance feel by varying your strike location to change the tone, and by using the M2 and M5
pads and D-BEAM to vary the nuances produced when playing the hole.
A kit that eectively layers tabla and drum sounds, supporting both percussive phrases and drum phrases.
If you connect a kick pad to the TRIG IN jack, you’ll be able to play drum phrases more comfortably.
The synth sounds on the S3–S6 pads can be played in the background, and are also ideal material for use with realtime
modify.
A drum kit suitable for dub, that makes eective use of tape echo.
By turning the realtime modify EFFECT on/o or turning the knob, you can control the tape echo eect and speed while
playing beats.
The hi-hats on the M3 and M4 pads have dierent pan settings, and will produce unique eects depending on how you play
them.
A sound eect kit that combines melodic percussion with sounds that give the impression of a deep forest.
By making good use of the eects, you can produce the sensation that the sounds of animals are heard from various
directions.
If you turn the realtime modify EFFECT on, raise Feedback, and strike the M5 pad, you’ll obtain an eect like a loop phrase;
you can enjoy playing along with this as background.
This kit takes advantage of HandSonic’s editing functions to create an urban-feeling sound.
By layering sound eect-like tones with the drums, you can play a variety of sounds inside your beats.
If you connect a hi-hat control pedal to the HH CTRL jack, you’ll be able to control the nuances.
Kit List
No. Name
31 Cajon Recording
32 Conga w/ Quinto & Tumba
33 Timbalitos w/ Cowbell & Block
34 Repinique Escola de Samba
35 Folklore South America
36 Latin Kit Conga & Bongo
37 Djembe
38 African Song
39 Tabla Trad Method
40 DrumsOfIndia Bhangra
41 Asian Perc 1 East Asia
42 Asian Perc 2 South East Asia
43 Asian Perc 3 Ryukyu
44 China Pad: Pitch Bend
45 Samul Nori Korean Drums
46 Island Dance Pan Pacic
47 Drumline ROLL: On
48 Ballad Perc Long Reverb
49 Metallic Percussion
50 Shakers
51 Cowbells
52 Steel Pan D-BEAM: PitchBend
53 Marimba ROLL: On
54 Lithophone 1 Pentatonic
55 Lithophone 2 C Major Scale
No. Name
56 Hand Pan w/ Tone Plate
57 Balaphone w/ Gyilli
58 Tuned Gongs D-BEAM: Mute
59 Melophone D-BEAM, M5: Ctrl
60 Luna Mallet Impressionist
61 Harmony Time
62 Finger Bells w/ Percussion
63 Perc & Flute
64 Siesta Cajon & Marimba
65 OrientalWind Roll-Santoor
66 Symphonist ROLL: On
67 Drum Booth
68 Jazz Club w/ "HH CTRL"
69 Brushes
70 Deep Jazz Roll-Snare/Cym
71 Pop Drums
72 Garage Rock w/ "HH CTRL"
73 Wide*Open Concert Hall
74 Double Bass w/ "HH CTRL"
75 Timbale+Ds Reggae Style
76 CAJONIC Ring Modulator
77 Percussive DANCE BEAT
78 RollingAgogo TriggerMode: GATE
79 Deep Space
80 Trap-iT! ROLL: On
No. Name
81 4-On-Floor
82 Instant DnB Pressure: Mute
83 ANALOG D-BEAM: Loop On
84 Electro ProcessedVintage
85 CombiNation w/ "HH CTRL"
86 Solid BEAT
87 Space*Trap
88 Experimental Electronica
89 Wah Stepping Step Flanger
90 Crush Beat BitCrush & Phaser
91 Filt & Verb D-BEAM: MFX Ctrl
92 Beepy Beats
93 Mute Kicker Mute Group
94 Bass Line D-BEAM: Mute
95 Junk Yard Industrial
96 Sound EFX 1 RAW
97 Sound EFX 2 DIGITAL
98 Drama Horror | Comedy
99 Noel Happy Holidays
100 Mystronic
101 User Kit
: :
200 User Kit
3
Inst List
*p : Instruments whose sound varies depending on the location of your strike (M1 and M2 pads only)
*l : Instruments whose sound is sustained if “Trigger Mode” is set to “GATE” or “ALT”
*n : Instruments that also sound at note-o if “Trigger Mode” is set to “GATE”
*h : Instruments whose open/close state can be controlled by a hi-hat control pedal
No. Name
LATIN 1
1 Conga L *p
2 Conga R *p
3 Conga Inner L
4 Conga Inner R
5 Conga Edge L
6 Conga Edge R
7 Conga Bass
8 Conga Slap *p
9 Conga Slap 1
10 Conga Slap 2
11 Conga Gliss
12 Conga /Heel L *p
13 Conga /Heel R *p
14 Conga /Toe L
15 Conga /Toe R
16 Tumba L *p
17 Tumba R *p
18 Tumba Edge L
19 Tumba Edge R
20 Tumba Bass
21 Tumba Gliss
22 Bongo Hi L *p
23 Bongo Hi R *p
24 Bongo H Inner L
25 Bongo H Inner R
26 Bongo H Edge L
27 Bongo H Edge R
28 Bongo H Slap
29 BongoH/Heel L *p
30 BongoH/Heel R *p
31 Bongo H /Toe L
32 Bongo H /Toe R
33 Bongo Lo L *p
34 Bongo Lo R *p
35 Bongo L Slap
36 Timbale Hi L *p
37 Timbale Hi R *p
38 TimbaleH Inner L
39 TimbaleH Inner R
40 Timbale H Rim L
41 Timbale H Rim R
42 Timbale H Hand
43 Timbale H Paila
44 Timbale Mid L *p
45 Timbale Mid R *p
46 TimbaleM Inner L
47 TimbaleM Inner R
48 Timbale M Rim L
No. Name
49 Timbale M Rim R
50 Timbale M Hand
51 Timbale M Paila
52 Timbale Lo L *p
53 Timbale Lo R *p
54 Timbale L Rim L
55 Timbale L Rim R
56 Timbale L Hand
57 Timbale L Paila
58 Cajon L *p
59 Cajon R *p
60 Cajon Bass L
61 Cajon Bass R
62 Cajon Edge L
63 Cajon Edge R
64 Cajon Foot
65 Cajon Thumb
66 Cajon Side L
67 Cajon Side R
68 Cajon SideEdge L
69 Cajon SideEdge R
70 Cajon Slap
71 Pandeiro *p
72 Pandeiro Thumb
73 Pandeiro Slap
74 Pandeiro Heel
75 Pandeiro Toe
76 Pandeiro Roll
77 Tamborim
78 Tamborim Mute
79 Repinique *p
80 Repinique Rim 1
81 Repinique Rim 2
82 Repinique Hand
83 Surdo *p
84 Surdo Rim
85 Surdo Hand
86 Bombo
87 Bombo Rim
88 Tambour
89 Tambour Rim
LATIN 2
90 Cowbell 1
91 Cowbell 1 Tip
92 Cowbell 2
93 Cowbell 2 Tip
94 Cowbell 3
95 Cowbell 3 Close
96 Cowbell 4
No. Name
97 Cowbell 5
98 Cowbell 6
99 Cowbell 7
100 Cowbell 8
101 Cowbell 9
102 Cowbell 10
103 Agogo Hi
104 Agogo Lo
105 Claves 1
106 Claves 2
107 Guiro 1
108 Guiro 1 Hit
109 Guiro 2
110 Guiro 2 Hit
111 Maracas 1
112 Maracas 2
113 Metal Maracas 1
114 Metal Maracas 2
115 Metal Maracas 3
116 Shaker 1
117 Shaker 2
118 Caxixi 1
119 Caxixi 2
120 Ganza 1
121 Ganza 2
122 Ganza 3
123 String Bean
124 Chafchas
125 Cabasa
126 Afuche
127 Quijada
128 Vibra-Slap
129 Cuica
130 Cuica Press
131 Berimbau *n
132 Berimbau Press
133 Berimbau Bend
134 Berimbau Gourd
135 Rain Stick*l
AFRICAN 1
136 Djembe Hi *p
137 Djembe Hi Edge
138 Djembe Hi Bass
139 Djembe Lo *p
140 Djembe Lo Inner
141 Djembe Lo Edge
142 Djembe Lo Bass
143 Djembe Ears
144 Kenkeni
No. Name
145 Kenkeni Rim
146 Sangban
147 Sangban Rim
148 Doumdoumba
149 Doumdoumba Rim
150 Bougarabou Hi
151 BougarabouH Slap
152 BougarabouH Bass
153 Bougarabou Mid
154 BougarabouM Slap
155 BougarabouM Bass
156 Bougarabou Lo
157 BougarabouL Slap
158 BougarabouL Bass
159 Talking Drum
160 Bendir *p
161 Bendir Edge
162 Bendir Scrape
163 Bendir Harm
164 Pot Drum L *p
165 Pot Drum R *p
166 Pot Drum L Edge
167 Pot Drum R Edge
168 Pot Drum Hole S
169 Pot Drum Hole L
170 Pot Drum Bottom
171 Pot Drum Heel
172 Pot Drum Gliss
173 PotDrum /HeelL*p
174 PotDrum /HeelR*p
175 Log Drum Hi
176 Log Drum Lo
177 Water Drum Hi
178 Water Drum Mid
179 Water Drum Lo
AFRICAN 2
180 Afro Claves
181 AfroClaves Close
182 Metal Castanets
183 MCastanets Close
184 MCastanetsScrape
185 Apitua
186 Apitua Mute
187 Apitua Scrape
188 Grello
189 African Bracelet
190 African Jingle
191 Ankle Bells
192 MoroccanCastanet
4
Inst List
No. Name
193 MoroccanC Close
194 Mega Cowbell
195 MegaCowbell Mute
196 MegaCowbellStomp
197 Shekere Shake
198 Shekere Tap
199 Shekere Net
200 Shekere Bottom
201 Shekere Roll 1
202 Shekere Roll 2
203 Nuts Rattle
204 Nuts Rattle Roll *l
205 Nuts Rattle 2
206 Ankle Beads
207 Rakatak
ASIAN 1
208 Tabla Na
209 Tabla Te
210 Tabla Ti
211 Tabla Tin
212 Tabla Tun
213 Baya Ga
214 Baya Ge
215 Baya Ge Mute
216 Baya Ge Slide
217 Baya Gin
218 Baya Ka
219 Dholak Ga
220 Dholak Ta
221 Dholak Tun
222 Dholak Na
223 Dhol Beater
224 Dhol Hand
225 Dhol Body
226 Dhol Stick
227 Darabuka *p
228 Darabuka Tek
229 Darabuka Snap
230 Darabuka Inner
231 Darabuka Press
232 Dawul
233 Dawul Stick
234 Dawul Buzz
235 Frame Drum L *p
236 Frame Drum R *p
237 FrameDrum L Edge
238 FrameDrum R Edge
239 FrameDrum Scrape
240 FrameDrum Harm
241 Riq *p
242 Riq Edge
243 Riq Mute
244 Riq Jingle
245 Buk
246 Buk Rim
247 Jang Gu
No. Name
248 Jang Gu Stick
249 Ban Gu
250 Ban Gu Edge
251 Tang Gu
252 Tang Gu Edge
253 Bajiaogu
254 Bajiaogu Mute
255 Tsuzumi S
256 Tsuzumi L
257 Hira Taiko
258 Hira Taiko Rim
259 Nagado Taiko
260 Nagado Taiko Rim
ASIAN 2
261 Elephant Bell Hi
262 ElephantBell Mid
263 Elephant Bell Lo
264 Chimta 1
265 Chimta 2
266 Ektara
267 Devil Chaser
268 Bell Tree
269 Zil
270 Zil Close
271 Finger Cymbal
272 Rama Cymbal
273 Crotale
274 Bali Cymbal
275 BaliCymbal Close
276 Bali Bells
277 Chenchen
278 Chenchen Close
279 Thai Gong
280 Tam Tam
281 Gong
282 Bend Gong
283 Hu Yin Luo
284 Nao Bo
285 Xiao Bo
286 Chinese Cymbals
287 ChineseCym Close
288 Chinese Bell
289 Gengari
290 Gengari Mute
291 Korean Block
292 Temple Block Hi
293 Temple Block Lo
294 Hyoshigi
295 Kagura Suzu
296 Kagura Suzu Roll
297 Chappa
298 Chappa Close
299 Chappa Scrape
300 Atarigane
ORCHESTRA
301 Timpani Hi D
No. Name
302 Timpani Mid F
303 Timpani Lo G
304 Timpani XLo D
305 Concert Bass Dr
306 Concert BD Mute
307 Concert Snare
308 March Bass Dr 1
309 March BD 1 Rim
310 March Bass Dr 2
311 March BD 2 Rim
312 Marching Snare 1
313 Marching S 1 Rim
314 MarchingS1 Click
315 Marching Snare 2
316 Marching S 2 Rim
317 MarchingS2 Click
318 Marching Tenor 1
319 Marching Tenor 2
320 Marching Tenor 3
321 Marching Tenor 4
322 Marching Tenor 5
323 Pair Cymbal 1
324 Pair Cym 1 Smash
325 Pair Cymbal 2
326 Pair Cym 2 Choke
327 Pair Cym2 Scrape
328 Tambourine 1
329 Tambourine 2
330 Tambourine2 Roll *l
331 Tambourine Stick
332 Triangle 1
333 Triangle 1 Mute
334 Triangle 2
335 Triangle 2 Mute
336 Wood Block Hi
337 Wood Block Lo
338 Plastic Block Hi
339 Plastic Block Lo
340 Mini Block
341 Castanets 1
342 Castanets1 Close
343 Castanets 2
344 Knocker
345 Cricket
346 Sleigh Bells
347 Tree Chime
348 Pin Chime
MELODIC
349 Steel Drum D3
350 Steel Drum F3
351 Steel Drum A3
352 Steel Drum C4
353 Steel Drum E4
354 Steel Drum C5
355 Steel Drum F5
356 Steel Drum A5
No. Name
357 Balaphone C4
358 Balaphone G4
359 Balaphone E5
360 Balaphone B5
361 Balaphone GlissU
362 Balaphone GlissD
363 Slit Drum F2
364 Slit Drum A2
365 Slit Drum D3
366 Slit Drum F3
367 Slit Drum G3
368 Gyilli A2
369 Gyilli D3
370 Gyilli G3
371 Gyilli C4
372 Gyilli G4
373 Lithophone G4
374 Lithophone C5
375 Lithophone G5
376 Lithophone C6
377 Lithophone F6
378 Khongwong F4
379 Khongwong B4
380 Khongwong E5
381 Khongwong B5
382 Khongwong E6
383 Kalimba F3
384 Kalimba A3
385 Kalimba C4
386 Kalimba G#4
387 Kalimba D#5
388 Santoor D3
389 Santoor F#3
390 Santoor B3
391 Santoor E4
392 Santoor F#4
393 Santoor B4
394 Santoor E5
395 Santoor G5
396 Santoor B5
397 Hand Pan F3
398 Hand Pan C4
399 Hand Pan F4
400 Hand Pan A4
401 Hand Pan A#4
402 Hand Pan C5
403 Hand Pan D5
404 Hand Pan F5
405 Tone Plate G5
406 Tone Plate C6
407 Tone Plate F6
408 Tone Plate A6
409 Tone Plate C7
410 Vibraphone G3
411 Vibraphone C4
412 Vibraphone E4
5
Inst List
No. Name
413 Vibraphone G4
414 Vibraphone B4
415 Vibraphone D5
416 Vibraphone G5
417 Vibraphone C6
418 Vibraphone E6
419 Marimba D3
420 Marimba G3
421 Marimba C4
422 Marimba E4
423 Marimba B4
424 Marimba D5
425 Marimba G5
426 Marimba C6
427 Marimba E6
428 Marimba G6
429 Glockenspiel G5
430 Glockenspiel C6
431 Glockenspiel F6
432 Glockenspiel A6
433 Glockenspiel D7
434 Glockenspiel F7
435 Tublar Bells C
436 Tublar Bells G
437 Hand Bell C
OTHERS
438 Ipu Body
439 Ipu Slap
440 Ipu Hole
441 Ipu Stomp
442 Coco
443 Coco Mute
444 Kalaau S
445 Kalaau L
446 Ili-ili
447 Clapsticks
448 Didgeridoo*l
449 Ratchet
450 Ratchet Notch
451 Metal Crasher
452 Vibra Metal
453 Flex Metal
454 FlexMetal BendUp
455 Music Bow
456 Jew’s Harp
457 Jew’s Harp Wow
458 Church Bell
459 Waterphone
460 Waterphone Hit
461 Slide Whistle
462 Slide Whistle Up
463 Whistle
464 Duck Call
465 Quad Horns
466 Fight Gong
No. Name
467 Stomped Box
ELECTRO
468 CR-78 Bongo
469 CR-78 Cowbell
470 CR-78 Claves
471 CR-78 Guiro
472 CR-78 Maracas
473 CR-78 Tambourine
474 CR-78 Metal Beat
475 TR-808 Conga Hi
476 TR-808 Conga Mid
477 TR-808 Conga Lo
478 TR-808 Cowbell 1
479 TR-808 Cowbell 2
480 TR-808 Claves
481 TR-808 Maracas
482 TR-707 Cowbell
483 TR-727 Agogo
484 DR-55 Claves
KICK 1
485 Studio Kick
486 Vintage Kick
487 Compact Kick
488 Mellow Kick
489 Hard Kick
490 Heavy Kick
491 Plugged Kick
492 Close Miked Kick
493 Solid Kick
494 Floor Tom Kick
KICK 2
495 Tight Kick 1
496 Tight Kick 2
497 Tight Kick 3
498 Tight Cut Kick
499 Impact Kick
500 Hybrid Kick
501 Tronic Kick
502 New Tronic Kick
503 Knock Kick
504 Electro Knock K
505 Minimal House K
506 Early House Kick
507 BreakBeats Kick1
508 BreakBeats Kick2
509 DnB Kick 1
510 DnB Kick 2
511 Nu Hip Kick
512 Lo-Fi Kick 1
513 Lo-Fi Kick 2
514 Short Noise Kick
515 Hi Jumper Kick
516 Lo Jumper Kick
517 Dance Kick
518 Dancer Kick
No. Name
519 BB Kick
520 Bounce Kick
521 Gabba K
522 Voice Kick 1
523 Voice Kick 2
524 Voice Kick 3
525 Analog Kick 1
526 Analog Kick 2
527 Analog Kick 3
528 FX Electro Kick
529 CR-78 Kick
530 TR-606 Kick
531 TR-808 Kick 1
532 TR-808 Kick 2
533 TR-808 Kick Long
534 TR-909 Kick 1
535 TR-909 Kick 2
536 TR-909 Kick 3
537 DR-110 Kick
538 R-8 Kick
SNARE 1
539 Wood Snare
540 Wood Snare Rim
541 Metal Snare
542 Metal Snare Rim
543 Deep Snare
544 Deep Snare Rim
545 Piccolo Snare
546 PiccoloSnare Rim
547 Solid Snare
548 Solid Snare Rim
549 Tight Snare
550 Tight Snare Rim
551 Brush Snare
552 Brush Snare Rim
553 Brush Hit&Stir*l
554 Cross Stick 1
555 Cross Stick 2
556 Cross Stick 3
557 Cross Stick 4
558 Cross Stick 5
SNARE 2
559 OldSchool Snare1
560 OldSchool Snare2
561 DnB Snare
562 Dub Step Snare
563 Disto Slap Snare
564 House Low Snare
565 Tiny House Snare
566 Hip Snare
567 Garage Snare
568 BB Snare
569 Box Snare
570 Punch Snare
571 Barrel Snare
No. Name
572 Whack Snare
573 Radio Snare
574 Reverse Snare
575 Voice Snare 1
576 Voice Snare 2
577 Voice CrossStick
578 Analog Snare 1
579 Analog Snare 2
580 CR-78 Snare
581 TR-808 Snare 1
582 TR-808 Snare 2
583 TR-909 Snare
584 TR-909 S w/ Clap
585 TR-606 Snare
586 TR-707 Snare
587 DR-110 Snare
588 CR-78 Rim
589 TR-808 Rim
590 TR-909 Rim
TOM 1
591 Wood Tom Hi
592 Wood Tom Mid
593 Wood Tom Lo
594 Open Tom Hi
595 Open Tom Mid
596 Open Tom Lo
597 Solid Tom Hi
598 Solid Tom Mid
599 Solid Tom Lo
600 Brush Tom Hi
601 Brush Tom Mid
602 Brush Tom Lo
603 Roto Tom Hi
604 Roto Tom Mid
605 Roto Tom Lo
606 Roto Tom XLo
607 Tube Tom Hi C
608 Tube Tom G
609 Tube Tom E
610 Tube Tom C
611 Tom Rim Click 1
612 Tom Rim Click 2
613 Tom Rim Click 3
TOM 2
614 Voice Tom Hi
615 Voice Tom Mid
616 Voice Tom Lo
617 Voice Tom XLo
618 Analog Tom1 Hi
619 Analog Tom1 Mid
620 Analog Tom1 Lo
621 Analog Tom2 Hi
622 Analog Tom2 Mid
623 Analog Tom2 Lo
624 TR-808 Tom Hi
6
Inst List
No. Name
625 TR-808 Tom Mid
626 TR-808 Tom Lo
627 TR-909 Tom Hi
628 TR-909 Tom Mid
629 TR-909 Tom Lo
HI-HAT 1
630 Light Hi-Hat *h
631 Light HH Open
632 Light HH Close
633 Light HH Edge *h
634 Light HHE Open
635 Light HHE Close
636 Light HH Pedal
637 Dark Hi-Hat *h
638 Dark HH Open
639 Dark HH Close
640 Dark HH Edge *h
641 Dark HHE Open
642 Dark HHE Close
643 Dark HH Pedal
644 Brush Hi-Hat *h
645 Brush HH Open
646 Brush HH Close
647 Brush HH Pedal
648 Spoke Hi-Hat *h
649 Spoke HH Open
650 Spoke HH Close
651 Spoke HH Pedal
HI-HAT 2
652 Club Hi-Hat *h
653 Club HH Open
654 Club HH Close
655 Sharp Hi-Hat *h
656 Sharp HH Open
657 Sharp HH Close
658 Hip Hi-Hat *h
659 Hip HH Open
660 Hip HH Close
661 House Hi-Hat *h
662 House HH Open
663 House HH Close
664 DnB Hi-Hat *h
665 DnB HH Open
666 DnB HH Close
667 LowStepHi-Hat *h
668 LowStep HH Open
669 LowStep HH Close
670 Voice Hi-Hat *h
671 Voice HH Open
672 Voice HH Close
673 CR-78 Hi-Hat *h
674 CR-78 HH Open
675 CR-78 HH Close
676 TR-808 Hi-Hat *h
677 TR-808 HH Open
No. Name
678 TR-808 HH Close
679 TR-909 Hi-Hat *h
680 TR-909 HH Open
681 TR-909 HH Close
CYMBALS 1
682 Light Ride
683 Light Ride Edge
684 Light Ride Bell
685 Dark Ride
686 Dark Ride Edge
687 Dark Ride Bell
688 Brush Ride
689 Brush Ride Edge
690 Sizzle Ride
691 Sizzle Ride Edge
692 Sizzle Ride Bell
693 Thin Crash
694 Dark Crash
695 Wild Crash
696 Suspended Crash
697 Latin Crash
698 Brush Crash
699 Splash Cymbal 1
700 Splash Cymbal 2
701 Splash Cymbal 3
702 China Cymbal 1
703 China Cymbal 2
704 Swish Cymbal
705 Trash Cymbal 1
706 Trash Cymbal 2
707 Stacked Cymbal
708 Accent Cymbal
709 Chime Cymbal
710 Cross Cymbal 1
711 Cross Cymbal 2
712 Mini Cymbal
CYMBALS 2
713 Sweep Crash
714 Lo-Fi Crash
715 Ambient Crash
716 Verby Crash
717 Gate Crash
718 Trashy Ride
719 Phasing Ride
720 Cosmo Bell
721 Electra Bell
722 Reective Bell
723 Reverse Crash
724 Reverse Ride
725 Reverse Trash
726 Voice Crash 1
727 Voice Crash 2
728 Analog Cymbal
729 TR-808 Cymbal
730 TR-606 Cymbal
No. Name
CLAP
731 Clap 1
732 Clap 2
733 Claps
734 Torio Clap
735 Flamenco Clap
736 Room Clap
737 Ambience Clap
738 House Clap
739 Tech House Clap
740 Minimal Clap
741 Hip Clap
742 Buzz Clap
743 Gate Clap
744 Noise Clap 1
745 Noise Clap 2
746 DR-110 Clap
747 TR-808 Clap
748 TR-808 Clap Dry
749 TR-909 Clap
750 TR-909 Clap Dry
751 Finger Snap 1
752 Finger Snap 2
753 Ambient Snap
SOUND FX
754 Sticks
755 Dense Click
756 Pulse
757 High Q
758 Dyna Filter
759 Random Noise 1
760 Random Noise 2
761 Beep
762 Fat Beep
763 Disto Beep
764 Techno Beef
765 High Saw
766 Low Saw
767 Space Beep
768 Afro Stomp
769 Super Low
770 PCM Press
771 Prevision
772 Ejector
773 Water Drop
774 Echoic Shot
775 Chromatone
776 Super Shot
777 Stamp
778 Rusty Iron
779 Digi Cup
780 Hammer
781 Abstract Noise
782 Industrial 1
783 Industrial 2
No. Name
784 Junk
785 Air Driver
786 Robo 1
787 Robo 2
788 Clock Tick
789 Clock Bell
790 Emergency
791 Discovery
792 Cave
793 LP Noise 1*l
794 LP Noise 2
795 Blow Attack
796 Tongue Click
797 Voice Block
798 Voice Beep
799 Voice Granuliser
800 Voice Scratch
801 Percussion Hit 1
802 Percussion Hit 2
803 Orchestra Hit 1
804 Orchestra Hit 2
805 Brass Hit
806 Philadelphia Hit
807 Techno Hit
808 Feedback Wave
809 Atmosphere
ELEMENTS
810 Low Frequency 1
811 Low Frequency 2
812 Low Frequency 3
813 Attack 1
814 Attack 2
815 Attack 3
816 Attack 4
817 Ambience Kick 1
818 Ambience Kick 2
819 Ambience Kick 3
820 Ambience Snare 1
821 Ambience Snare 2
822 Ambience Snare 3
823 Ambience Tom 1
824 Ambience Tom 2
825 Ambience Tom 3
826 Snare Buzz
827 Conga Body *p
828 Noise 1
829 Noise 2
830 Noise 3
831 Noise 4
832 Noise 5
833 Noise 6
834 Noise 7
835 White Noise 1 *l
836 White Noise 2 *l
837 Sine Wave 1kHz*l
7
Inst List
No. Name
838 Sine Wave C *l
839 Triangle Wave C *l
840 Square Wave C *l
841 Sawtooth Wave1 C *l
842 Sawtooth Wave2 C *l
843 Super Saw C *l
844 Synth Bass 1 C*l
845 Synth Bass 2 C*l
846 Synth Lead C*l
847 Synth Pad C *l
848 Synth Brass C *l
849 Synth Strings C *l
OFF
850 O
8
Multi-Eect Parameter List
Type List
No. Name No. Name
0 THRU 13 COMPRESSOR
1 STEREO DELAY 14 SATURATOR
2 SYNC DELAY 15 FILTER
3 TAPE ECHO 16 FILTER+DRIVE
4 CHORUS 17 AUTO WAH
5 SPACE-D 18 LO-FI COMPRESS
6 PHASER 19 OVERDRIVE
7 STEP PHASER 20 DISTORTION
8 FLANGER 21 BIT CRUSH
9 STEP FLANGER 22 ISOLATOR
10 REVERB 23 RING MOD
11 LONG REVERB 24 PITCH SHIFT
12 EQUALIZER 25 AUTO PAN
Parameter List
Parameters indicated by “*” can be controlled by the realtime modify
knob.
0: THRU
The eect won’t be applied.
1: STEREO DELAY
Repeats the sound.
2: SYNC DELAY
This is a delay whose delay time is specied in terms of a note value
relative to the tempo. You can also synchronize it to the metronome
tempo.
* The maximum delay time is 1300 msec. Tempo or note value
settings may exceed this maximum; in this case, the tempo will no
longer synchronize.
Parameter Value Explanation
OFF: Synchronizes to the tempo of
Metro Sync OFF, ON
Tempo 20–260
Left Note
Right Note
Left Phase NORMAL, INVERSE Phase of the left delay sound
Right Phase NORMAL, INVERSE Phase of the right delay sound
Feedback
Mode
Feedback* -98–98%
HF Damp
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output level
(16th note)–
(whole note)
(16th note)–
(whole note)
NORMAL, CROSS
200–8000Hz,
BYPASS
D100: 0W–
D0: 100W
the “Tempo” parameter.
ON: Synchronizes to the tempo of
the metronome.
Species the synchronization tempo
when “Metro Sync” is OFF.
Adjusts the time until the left delay
sound is heard.
Adjusts the time until the right delay
sound is heard.
Selects the way in which delay
sound is fed back into the eect.
Adjusts the amount of the delay
sound that’s fed back into the eect.
Negative (-) settings invert the
phase.
Adjusts the frequency above which
sound fed back to the eect is
ltered out (BYPASS: no cut).
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the chorus sound (W)
Parameter Value Explanation
Left Time 0–1300msec
Right Time 0–1300msec
Left Phase NORMAL, INVERSE Phase of the left delay sound
Right Phase NORMAL, INVERSE Phase of the right delay sound
Feedback
Mode
Feedback* -98–98%
HF Damp
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output level
NORMAL, CROSS
200–8000Hz,
BYPASS
D100: 0W–
D0: 100W
Adjusts the time until the left delay
sound is heard.
Adjusts the time until the right delay
sound is heard.
Selects the way in which delay
sound is fed back into the eect.
Adjusts the amount of the delay
sound that’s fed back into the eect.
Negative (-) settings invert the
phase.
Adjusts the frequency above which
sound fed back to the eect is
ltered out (BYPASS: no cut).
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the chorus sound (W)
3: TAPE ECHO
Simulates a tape-type echo unit of the past.
Parameter Value Explanation
Rate* 0–127 Tape speed
Intensity 0–127 Amount of echo repeat
Balance
Level 0–127 Output Level
D100: 0W–
D0: 100W
Volume balance between the direct
sound (D) and the chorus sound (W)
9
Multi-Eect Parameter List
4: CHORUS
Adds spaciousness and depth to the sound.
Parameter Value Explanation
Type of lter
OFF: no lter is used
Filter Type OFF, LPF, HPF
Filter Freq 200–8000Hz
Pre Delay 0.0–100msec
Rate* 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180deg Spatial spread of the sound
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output Level
D100: 0W–
D0: 100W
LPF: cuts the frequency range above
the Cuto Freq
HPF: cuts the frequency range
below the Cuto Freq
Center frequency when using the
lter to cut a specic frequency
range
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the chorus sound (W)
5: SPACE-D
It gives no impression of modulation, but produces a transparent
chorus eect.
Parameter Value Explanation
Mix 0–127 Level of the phase-shifted sound
Level 0–127 Output Level
7: STEP PHASER
The phaser eect will be varied gradually.
Parameter Value Explanation
Mode
Manual 0–127
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Polarity INVERSE, SYNCHRO
Resonance 0–127 Amount of feedback
Step Rate* 0–127
Mix 0–127 Level of the phase-shifted sound
Level 0–127 Output Level
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the phaser
Adjusts the basic frequency from
which the sound will be modulated.
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.
Rate of the step-wise change in the
phaser eect
Parameter Value Explanation
Pre Delay 0.0–100msec
Rate* 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180deg Spatial spread of the sound
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output Level
D100: 0W–
D0: 100W
Adjusts the delay time from the
direct sound until the chorus sound
is heard.
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the chorus sound (W)
6: PHASER
A phase-shifted sound is added to the original sound and modulated.
Parameter Value Explanation
Mode
Manual 0–127
Rate* 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Polarity INVERSE, SYNCHRO
Resonance 0–127 Amount of feedback
10
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the phaser
Adjusts the basic frequency from
which the sound will be modulated.
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.
8: FLANGER
It produces a metallic resonance that rises and falls like a jet airplane
taking o or landing.
Parameter Value Explanation
Pre Delay 0.0–100msec
Rate* 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180deg Spatial spread of the sound
Feedback -98–98%
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output Level
D100: 0W–
D0: 100W
Adjusts the delay time from when
the direct sound begins until the
anger sound is heard.
Adjusts the proportion of the anger
sound that is fed back into the
eect.
Negative (-) settings will invert the
phase.
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the anger sound (W)
Multi-Eect Parameter List
9: STEP FLANGER
This is a anger in which the anger pitch changes in steps.
Parameter Value Explanation
Pre Delay 0.0–100msec
Rate* 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180deg Spatial spread of the sound
Feedback -98–98%
Step Rate 0–127 Rate (period) of pitch change
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output Level
D100: 0W–
D0: 100W
Adjusts the delay time from when
the direct sound begins until the
anger sound is heard.
Adjusts the proportion of the anger
sound that is fed back into the
eect.
Negative (-) settings will invert the
phase.
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the anger sound (W)
10: REVERB
Adds reverberation to the sound, simulating an acoustic space.
Parameter Value Explanation
Type of reverb
ROOM1:
dense reverb with short decay
Type
Pre Delay 0.0–100msec
Rev Time 0–127 Time length of reverberation
HF Damp
Low Gain -15–+15dB
High Gain -15–+15dB
Balance*
Level 0–127 Output Level
ROOM1, ROOM2,
STAGE1, STAGE2
200–8000Hz,
BYPASS
D100: 0W–
D0: 100W
ROOM2:
sparse reverb with short decay
STAGE1:
reverb with greater late reverberation
STAGE2:
reverb with strong early reections
Adjusts the delay time from the direct
sound until the reverb sound is heard.
Adjusts the frequency above which
the reverberant sound will be cut.
As the frequency is set lower, more
of the high frequencies will be cut,
resulting in a softer and more muted
reverberance (BYPASS: no cut).
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the anger sound (W)
11: LONG REVERB
This is a very rich sounding reverb.
Parameter Value Explanation
Depth* 0–127 Depth of the eect
Reverb Time 0–127 Time length of reverberation
Character 0–5 Type of reverb
Pre LPF
16–15000Hz,
BYPASS
Frequency of the lter that cuts the
high-frequency content of the input
sound (BYPASS: no cut).
Parameter Value Explanation
Pre HPF
Pre EQ Freq 200–8000Hz
Pre EQ Gain -15–+15dB
HF Damp
LF Damp
Low Gain -15–+15dB Amount of low-range boost/cut
Mid Freq 200–8000Hz Frequency of the low-range EQ
Mid Gain -15–+15dB Amount of midrange boost/cut
High Gain -15–+15dB Amount of high-range boost/cut
Reverb Level 0–127 Output Level
BYPASS,
16–15000Hz
16–15000Hz,
BYPASS
BYPASS,
16–15000Hz
Frequency of the lter that cuts the
low-frequency content of the input
sound (BYPASS: no cut)
Frequency of the lter that boosts/
cuts a specic frequency region of
the input sound
Amount of boost/cut produced by
the lter at the specied frequency
region of the input sound
Frequency at which the highfrequency content of the resonant
sound will be cut (BYPASS: no cut)
Frequency at which the lowfrequency content of the resonant
sound will be cut (BYPASS: no cut)
12: EQUALIZER
Adjusts the tonal character.
Parameter Value Explanation
Low Freq 200, 400Hz Frequency of the low range
Low Gain -15–+15dB Gain of the low range
Mid 1 Freq 200–8000Hz Frequency of the middle range 1
Mid 1 Gain -15–+15dB Gain of the middle range 1
Mid 1 Q 0.5, 1.0, 2.0, 4.0, 8.0
Mid 2 Freq 200–8000Hz Frequency of the middle range 2
Mid 2 Gain -15–+15dB Gain of the middle range 2
Mid 2 Q 0.5, 1.0, 2.0, 4.0, 8.0
High Freq 2000, 4000, 8000Hz Frequency of the high range
High Gain -15–+15dB Gain of the high range
Level 0–127 Output Level
Width of the middle range 1
Set a higher value for Q to narrow
the range to be aected.
Width of the middle range 2
Set a higher value for Q to narrow
the range to be aected.
13: COMPRESSOR
Smoothing out uctuations in volume.
Parameter Value Explanation
Threshold -48 –0dB
Make Up 0–+24dB Adjusts the output gain.
Ratio
Attack 0–100
Release 0–99
Low Gain -15–+15dB Gain of the low frequency range
High Gain -15–+15dB Gain of the high frequency range
2: 1, 3: 1, 4: 1, 8: 1,
100: 1
Adjusts the volume at which
compression begins.
Compression ratio
Sets the time from when the input
exceeds the Threshold until the
volume starts being compressed.
Adjusts the time after the signal
volume falls below the Threshold
Level until compression is no longer
applied.
11
Multi-Eect Parameter List
14: SATURATOR
Producing a rougher tonal character and boosting the loudness. This
also cuts the low-frequency region of the input audio.
Parameter Value Explanation
Sat Drive 0–127
Sat Level 0–127 Output volume of the saturator
Comp Level 0–127 Output volume of the compressor
High Gain -12–+6dB Amount of high-range boost/cut
Sat&Comp Mix 0–127
Level 0–127 Output level
Amount of distortion of the
saturator
Volume at which the saturator
sound and compressor sound are
mixed with the original sound
15: FILTER
This is a lter with an extremely sharp slope. The cuto frequency can
be varied cyclically.
Parameter Value Explanation
Filter type
Frequency range that will pass
through each lter
Type
Cuto* 0–127
Resonance 0–127
Mod Sw OFF, ON On/o switch for modulation
Mod Rate 0–127 Rate of modulation
Mod Depth 0–127 Depth of modulation
Balance
Level 0–127 Output level
LPF, BPF, HPF,
NOTCH
D100: 0W–
D0: 100W
LPF: Frequencies below the cuto
BPF: Frequencies in the region of
the cuto
HPF: Frequencies above the cuto
NOTCH: Frequencies other than the
region of the cuto
Cuto frequency of the lter
Increasing this value will raise the
cuto frequency.
Filter resonance level Increasing this
value will emphasize the region near
the cuto frequency.
Volume balance between the direct
sound (D) and the eect sound (W)
16: FILTER+DRIVE
Cuts the high-frequency range, and adds distortion.
17: AUTO WAH
Produces a wah eect (a cyclic shift in frequency emphasis).
Parameter Value Explanation
Manual* 0–127
Peak 0–127
Sens 0–127
Mod Rate 0–127 Frequency of modulation
Mod Depth 0–127 Depth of modulation
Mod Phase 0–180deg
Balance
Level 0–127 Output level
D100: 0W–
D0: 100W
Adjusts the basic frequency at which
the eect is applied.
Adjusts the amount of the wah
eect that will occur in the range of
the center frequency.
Set a higher value for Peak to narrow
the range to be aected.
Adjusts the sensitivity with which
the lter is controlled.
Proportion by which the phase of
the wah eect’s modulation will be
oset between the left and right
sides.
Volume balance between the direct
sound (D) and the eect sound (W)
18: LO-FI COMPRESS
This is an eect that intentionally degrades the sound quality for
creative purposes.
Parameter Value Explanation
PreFlt Type TYPE 1–3
Lo-Fi Type TYPE 1–9
PostFlt Type OFF, LPF, HPF
PostFlt Cuto 200–8000Hz Basic frequency of the Post Filter
Low Gain -15–+15dB Gain of the low range
High Gain -15–+15dB Gain of the high range
Level 0–127 Output level
Selects the type of lter applied to
the sound before it passes through
the Lo-Fi eect.
Degrades the sound quality. The
sound quality grows poorer as this
value is increased.
Type of lter after it passes through
the Lo-Fi eect
OFF: no lter is used
LPF: cuts the frequency range above
the Cuto
HPF: cuts the frequency range
below the Cuto
Parameter Value Explanation
Cuto* 0–127
Resonance 0–127
Drive 0–127 Amount of distortion
Level 0–127 Output level
Cuto frequency of the lter
Increasing this value will raise the
cuto frequency.
Filter resonance level
Increasing this value will emphasize
the region near the cuto frequency.
12
19: OVERDRIVE
Mildly distorts the sound.
Parameter Value Explanation
Frequency of the lter that cuts the
Pre HPF BYPASS, 16–1000Hz
Drive 0–127 Amount of distortion
Tone 0–127 Tone quality of distorted sound
Balance*
Level 0–127 Output level
D100: 0W–
D0: 100W
low-frequency content of the input
sound
(BYPASS: no cut)
Volume balance between the direct
sound (D) and the eect sound (W)
Multi-Eect Parameter List
20: DISTORTION
Intensely distorts the sound.
Parameter Value Explanation
Frequency of the lter that cuts the
Pre HPF BYPASS, 16–1000Hz
Drive 0–127 Amount of distortion
Tone Sw OFF, ON Switches Tone on/o
Tone 0–127 Tone quality of distorted sound
Balance*
Level 0–127 Output level
D100: 0W–
D0: 100W
low-frequency content of the input
sound
(BYPASS: no cut)
Volume balance between the direct
sound (D) and the eect sound (W)
21: BIT CRUSH
Produces an extreme lo- eect.
Parameter Value Explanation
Sample Rate 0–127 Adjusts the sample rate.
Bit Rate 0–20 Adjusts the bit depth.
Filter* 0–127 Adjusts the lter depth.
Balance
Level 0–127 Output level
D100: 0W–
D0: 100W
Volume balance between the direct
sound (D) and the eect sound (W)
22: ISOLATOR
Creating unique eects by cutting the volume of specic frequency
regions.
Parameter Value Explanation
These boost and cut each of the Low
Boost/Cut Low -64–+63
Boost/Cut Mid -64–+63
Boost/Cut High -64–+63
Boost/Cut
Depth*
Level 0–127 Output level
0–127 Depth of boost/cut
frequency ranges.
At -64, the sound becomes
inaudible. 0 is equivalent to the
input level of the sound.
These boost and cut each of the
Middle frequency ranges.
At -64, the sound becomes
inaudible. 0 is equivalent to the
input level of the sound.
These boost and cut each of the
High frequency ranges.
At -64, the sound becomes
inaudible. 0 is equivalent to the
input level of the sound.
23: RING MOD
A ring modulator that varies the modulated frequency in a stepwise
manner.
Parameter Value Explanation
RING MOD: Applies amplitude
modulation to the input signal
ENV OSC: Outputs oscillation
corresponding to the input signal
Mode
RING MOD, ENV
OSC
Parameter Value Explanation
Pitch* -64–+63
Rate 0–127
Attack 0–127
Low Gain -15–+15dB Gain of the low range
High Gain -15–+15dB Gain of the high range
Balance
Level 0–127 Output level
D100: 0W–
D0: 100W
Raise or lower the ring modulation
frequency
Rate at which step changes are
repeated
Speed at which the modulation
frequency changes between steps
Volume balance between the direct
sound (D) and the eect sound (W)
24: PITCH SHIFT
Shifts the pitch of the original sound.
Parameter Value Explanation
Pitch1 Coarse -24–12
Pitch2 Coarse -24–12
Delay Time 0–1300msec
Pitch
Feedback*
Pitch1 Pan L64–63R
Pitch2 Pan L64–63R
Pitch1 Level 0–127 Volume of the Pitch Shift 1 sound
Pitch2 Level 0–127 Volume of the Pitch Shift 2 sound
Low Gain -15–+15dB
High Gain -15–+15dB
Balance
Level 0–127 Output Level
-98–98%
D100: 0W–
D0: 100W
Adjusts the pitch of Pitch Shift 1 in
semitone steps.
Adjusts the pitch of Pitch Shift 2 in
semitone steps.
Adjusts the delay time from the
direct sound until the Pitch Shift
sound is heard.
Adjusts the proportion of the pitch
shifted sound that is fed back into
the eect.
Negative (-) settings will invert the
phase.
Stereo location of the Pitch Shift 1
sound
Stereo location of the Pitch Shift 2
sound
Amount of boost/cut for the eect
sound’s lower range
Amount of boost/cut for the eect
sound’s upper range
Volume balance between the direct
sound (D) and the pitch shifted
sound (W)
25: AUTO PAN
Cyclically modulates the stereo location of the sound.
Parameter Value Explanation
Mod Wave
Rate* 0–127 Frequency of the change
Depth 0–127 Depth to which the eect is applied
Low Gain -15–+15dB Gain of the low range
High Gain -15–+15dB Gain of the high range
Level 0–127 Output Level
TRI, SQR, SIN,
SAW1, SAW2
Type of pan change
13
Ambience Parameter List
Type List
No. Name Explanation
1 BOOTH Recording booth
2 STUDIO Recording studio
3 BASEMENT Underground room with numerous reections
4 JAZZ CLUB Small club
5 ROCK CLUB Large club
6 BALLROOM Dance hall
7 CONCERT HALL Large concert hall
8 EXPO HALL Broad space
9 GATE Reverberation is cut o sharply
10 SPIRAL Spiral-like reverberation
Parameter List
Parameter Value Explanation
Character 1–7
Size
Wall Type
Shape 0–100 Width of the room
Level 0–100 Overall amount of ambience
TINY, SMALL, MEDIUM, LARGE,
HUGE
CURTAIN, CLOTH, WOOD,
PLASTER, CONCRETE, GLASS
Character of the ambience
sound
Size of the room
Material of the walls
14
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