Roland HP-201 MIDI Implementation

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Model: HP201

MIDI Implementation

Date: Feb. 1, 2009
Version: 1.00

1. Section 1. Receive data

Channel Voice Messages

Note off

Status

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

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

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

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),

* Not received when Rx.BANK SELECT = OFF.

* “Rx.BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will be ignored.

* “Rx.BANK SELECT” is set to ON by “GM2 System On.”

* “Rx.BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”

* When Rx.BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H regardless of

the received value. However, when sending Bank Select messages, you have to send both the

MSB (mmH) and LSB (llH, the value should be 00H) together.

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

* The GS format “Variation number” is the value of the Bank Select MSB (Controller number 0)

expressed in decimal.

* Some other GS devices do not recognize the Bank Select LSB (Controller number 32).

Modulation (Controller number 1)

Status

BnH 01H vvH

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

vv = Modulation depth: 00H-7FH (0-127)

2nd byte 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

Initial Value = 00 00H (bank.1)

2nd bytes 3rd byte

Portamento Time (Controller number 5)

Status 2nd bytes 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 bytes 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 bytes 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 bytes 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 bytes 3rd byte

BnH 0BH vvH

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

vv = Expression: 00H-7FH (0-127), Initial Value = 7FH (127)

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

Expression messages are used for musical expression within a performance; e.g., expression

pedal movements, crescendo and decrescendo.

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

Hold 1 (Controller number 64)

Status 2nd bytes 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 bytes 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)

* 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.

Copyright © 2009 ROLAND CORPORATION

1PS

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

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MIDI Implementation

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Sostenuto (Controller number 66)

Status 2nd bytes 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 bytes 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)

Status 2nd byte 3rd byte

BnH 47H vvH

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

vv= Resonance value (relative change): 00H-7FH(-64 - 0 - +63),

Initial value = 40H (no change)

* 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)

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 bytes 3rd byte

BnH 54H kkH

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

kk = source note number: 00H-7FH (0-127)

* 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.

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

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

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

voice will continue sounding (i.e., legato) and will, when the next Note-on is received,

smoothly change to the pitch of that Note-on.

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

Time value.

Example 1.

On MIDI Description Result

90 3C 40 Note on C4 C4 on

B0 54 3C Portamento Control from C4 no change (C4 voice still sounding)

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 Control from C4 no change

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 bytes 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.

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MIDI Implementation

NRPN MSB/LSB (Controller number 98, 99)

Status 2nd bytes 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> (p. 14). 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 MSB Description

01H 08H mmH Vibrato Rate (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

01H 09H mmH Vibrato Depth (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

01H 0AH mmH Vibrato Delay (relative change)

mm: 0EH-40H-72H (-50 - 0 - +50)

01H 20H mmH TVF 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.

RPN MSB/LSB (Controller number 100, 101)

Status 2nd bytes 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 then use Data Entry messages to specify the value of the specified

parameter. 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> (p. 14).

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

RPN Data entry

MSB LSB

00H 00H mmH --- Pitch Bend Sensitivity

00H 01H mmH llH Master Fine Tuning

00H 02H mmH --- Master Coarse Tuning

00H 05H mmH llH Modulation Depth Range

7FH 7FH --- --- RPN null

MSB LSB Explanation

mm: 00H-18H (0-24 semitones),

Initial Value = 02H (2 semitones)

ll: ignored (processed as 00h)

specify up to 2 octaves in semitone steps

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”

(p. 15)

mm: 28H - 40H - 58H (-24 - 0 - +24 semitones), Initial

Value = 40H (0 cent)

ll: ignored (processed as 00h)

mm: 00H - 04H (0 - 4 semitones)

ll: 00H - 7FH (0 - 100 cents)100/128 Cent/Value

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 bytes

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

DnH vvH

2nd bytes

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.

MIDI Implementation

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Pitch Bend Change

Status 2nd byte 3rd bytes

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

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

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

Local Control (Controller number 122)

Status 2nd byte 3rd bytes

BnH 7AH vvH

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

vv = Control value: 00H, 7FH (0,127)

All Notes Off (Controller number 123)

Status

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

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

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).

2nd byte 3rd bytes

2nd byte 3rd bytes

Reset value

00H: Local Off

7FH: Local On

2nd byte 3rd bytes

2nd byte 3rd bytes

2nd byte 3rd bytes

MONO (Controller number 126)

Status 2nd byte 3rd bytes

BnH 7EH mmH

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

mm = mono number : 00H-10H (0-16)

* The same processing will be carried out as when All Sounds 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 bytes

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 will begin monitoring the intervals of all further

messages. While monitoring, if the interval between messages exceeds 420 ms, the same

processing will be carried out as when All Sounds Off, All Notes Off and Reset All Controllers

are received, and message interval monitoring will be halted.

System Exclusive Message

Status

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

F0H: System Exclusive Message status

ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose

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 General MIDI mode, or change the

operating mode. When creating performance data, a “GM1 System On” message should be

inserted at the beginning of a General MIDI 1 score, a “GM2 System On” message at the beginning

of a General MIDI 2 score, and a “GS Reset” message at the beginning of a GS music data. Each

song should contain only one mode message as appropriate for the type of data. (Do not insert

two or more mode setting messages in a single song.)

“GM System On” uses Universal Non-realtime Message format. “GS Reset” uses Roland system

Exclusive format “Data Set 1 (DT1).”

GM1 System On

This is a command message that resets the internal settings of the unit to the General MIDI initial

state (General MIDI System-Level 1). After receiving this message, this instrument will

automatically be set to the proper condition for correctly playing a GM score.

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.

Data byte Status

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).

Data byte Status

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MIDI Implementation

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 MIDI 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 native condition. This instrument 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 resets the internal settings of a device to the GS initial state.

This message will appear at the beginning of GS music data, and a GS device that receives this

message will automatically be set to the proper state to correctly playback GS music data.

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

10H Device ID (dev: 00H-1FH (1-32), Initial value is 10H (17))

42H Model ID (GS)

12H Command ID (DT1)

40H Address MSB

00H Address

7FH Address LSB

00H Data (GS reset)

41H Checksum

F7H EOX (End Of Exclusive)

* When this message is received, Rx.NRPN will be ON.

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

Universal Realtime System Exclusive Messages

Master volume

Status Data byte Status

F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H

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 General MIDI 2.

Reverb Parameters

Status Data byte Status

F0H 7FH, 7FH, 04H, 05H, 01H, 01H, 01H, 01H, 01H, ppH, vvH F7H

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

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.

MIDI Implementation

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Chorus Parameters

Status Data byte Status

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

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)

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, 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)

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, hhH, ssH... F7H

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, kkH, nnH, vvH... F7H

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

nn=0AH Pan

nn=5BH Reverb Send

nn=5D Chorus Send

* This parameter effects drum instruments only.

vv = 00H - 7FH 0 - 200 [%] (Relative)

vv = 00H - 7FH Left - Right (Absolute)

vv = 00H - 7FH 0 - 127 (Absolute)

vv = 00H - 7FH 0 - 127 (Absolute)

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MIDI Implementation

Universal Non-realtime System Exclusive Messages

Identity Request Message

Status Data byte Status

F0H 7FH, 10H, 06H, 01H F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal 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 data transmission, and is used when you wish to

transmit the data.

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

10H Device ID

42H Model ID (GS)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of the transmitted data

bbH Address: middle byte of the starting address of the transmitted data

ccH Address LSB: lower byte of the starting address of the transmitted data

ddH Data: the actual data to be transmitted. Multiple bytes of data are transmitted

starting from the address.

:

:

eeH Data

sum Checksum

F7H EOX (End Of Exclusive)

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

can be received only from the specified starting address and size. Refer to the Address and Size

given in Section 3 (p. 8).

* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If “Data Set 1” is

transmitted successively, there must be an interval of at least 40 ms between packets.

* Regarding the checksum please refer to section 4 (p. 15).

2. Section 2. Transmit data

Channel Voice Messages

Note off

Status

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

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

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)

Hold 1 (Controller number 64)

Status

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

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

Soft (Controller number 67)

Status

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

BnH 5BH vvH

2nd byte 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

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

vv = Control value: 00H-7FH (0-127)

Program Change

Status

CnH ppH

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

pp = Program number 00H-7FH (prog.1-prog.128)

2nd bytes

MIDI Implementation

System Realtime Message

Realtime Clock

Status

F8H

Active sensing

Status

FEH

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

System exclusive messages

Identity Reply

Status

F0H 7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, 16H, 06H, 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)

00H Device family number code (LSB)

16H Device family number code (MSB)

06H Software revision level

01H Software revision level

00H Software revision level

00H Software revision level

F7H EOX (End of Exclusive)

Data byte Status

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3. Section 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 +------------------------------------+
| SYSTEM PARAMETERS |Individual
40 01 3F +------------------------------------+
40 1x 00 +------------------------------------+
| PART PARAMETERS |Individual
| (x = 0-F) |
40 2x 5A +------------------------------------+
41 m0 00 +------------------------------------+
| SRUM SETUP PARAMETERS |Individual
| (m = 0-1) |
41 m8 7F +------------------------------------+
48 00 00 +------------------------------------+
| SYSTEM PARAMETERS |Bulk
48 01 10 +------------------------------------+
| PART PARAMETERS |Bulk
48 1D 0F +------------------------------------+
49 m0 00 +------------------------------------+
| DRUM SETUP PARAMETER |Bulk
| (m = 0-1) |
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.

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MIDI Implementation

Individual Parameters

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

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

System Parameters

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

Address (H)

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” (p. 15).

40 00 04 00 00 01 00-7F MASTER VOLUME 0-127 7F 127

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,

* Refer to “System exclusive messages related to mode settings” (p. 4).

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

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.

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

(= F0 7F 7F 04 01 00 vv F7)

127 = Exit GS mode

(Rx. only)

01: Room 2

02: Room 3

03: Hall 1

04: Hall 2

05: Plate

06: Delay

07: Panning Delay

40 01 38 00 00 01 00-07 CHORUS MACRO 00: Chorus 1 02 Chorus 3

40 01 39 00 00 01 00-07 CHORUS PRE-LPF 0-7 00 0

40 01 3A 00 00 01 00-7F CHORUS LEVEL 0-12 40 64

40 01 3B 00 00 01 00-7F CHORUS FEEDBACK 0-127 08 8

40 01 3C 00 00 01 00-7F CHORUS DELAY 0-127 50 80

40 01 3D 00 00 01 00-7F CHORUS RATE 0-127 03 3

40 01 3E 00 00 01 00-7F CHORUS DEPTH 0-127 13 19

40 01 3F 00 00 01 00-7F CHORUS SEND LEVEL TO REVERB 0-127 00 0

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

value.

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

01: Chorus 2

02: Chorus 3

03: Chorus 4

04: Feedback Chorus

05: Flanger

06: Short Delay

07: Short Delay (FB)

MIDI Implementation

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.

10

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

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MIDI Implementation

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

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

40 1x 00 00 00 02 00-7F TONE NUMBER CC#00 VALUE 0-127 00 0

40 1x 01# 00-7F P.C. VALUE 1-128 00 1

40 1x 02 00 00 01 00-10 Rx. CHANNEL 1-16, OFF Same as the Part Number

40 1x 03 00 00 01 00-01 Rx. PITCH BEND OFF/ON 01 ON

40 1x 04 00 00 01 00-01 Rx. CH PRESSURE (CAf) OFF/ON 01 ON

40 1x 05 00 00 01 00-01 Rx. PROGRAM CHANGE OFF/ON 01 ON

40 1x 06 00 00 01 00-01 Rx. CONTROL CHANGE OFF/ON 01 ON

40 1x 07 00 00 01 00-01 Rx. POLY PRESSURE (PAf) OFF/ON 01 ON

40 1x 08 00 00 01 00-01 Rx. NOTE MESSAGE OFF/ON 01 ON

40 1x 09 00 00 01 00-01 Rx. RPN OFF/ON 01 ON

40 1x 0A 00 00 01 00-01 Rx. NRPN OFF/ON 00 (01*) OFF (ON*)

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

40 1x 0B 00 00 01 00-01 Rx. MODULATION OFF/ON 01 ON

40 1x 0C 00 00 01 00-01 Rx. VOLUME OFF/ON 01 ON

40 1x 0D 00 00 01 00-01 Rx. PANPOT OFF/ON 01 ON

40 1x 0E 00 00 01 00-01 Rx. EXPRESSION OFF/ON 01 ON

40 1x 0F 00 00 01 00-01 Rx. HOLD1 OFF/ON 01 ON

40 1x 10 00 00 01 00-01 Rx. PORTAMENTO OFF/ON 01 ON

40 1x 11 00 00 01 00-01 Rx. SOSTENUTO OFF/ON 01 ON

40 1x 12 00 00 01 00-01 Rx. SOFT OFF/ON 01 ON

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

40 1x 13 00 00 01 00-01 MONO/POLY MODE Mono/Poly 01 Poly

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

* This parameter sets the Drum Map of the Part used as the Drum Part. This instrument can simultaneously (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 08-F8 PITCH OFFSET FINE -12.0 - +12.0 [Hz] 08 00 0 [Hz]

40 1x 18# 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

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)

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

40 1x 22 00 00 01 00-7F REVERB SEND LEVEL 0-127 28 40

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

* “Rx.BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will be ignored.

* “Rx.BANK SELECT” is set to ON by “GM2 System On.”

* “Rx.BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”

(= CC# 126 01 / CC# 127 00)

1 = MAP1 01 at x = 0 MAP1 at x ≠ 0

2 = MAP2

(= CC# 7)

-63 (LEFT) - +63 (RIGHT)

(= CC# 10, except RANDOM)

(= CC# 93)

(= CC# 91)

MIDI Implementation

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

* This instrument can be recognize 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

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40 1x 30 00 00 01 0E-72 TONE MODIFY 1 -50 - +50 40 0

40 1x 31 00 00 01 0E-72 TONE MODIFY 2 -50 - +50 40 0

40 1x 32 00 00 01 0E-72 TONE MODIFY 3 -50 - +50 40 0

40 1x 33 00 00 01 0E-72 TONE MODIFY 4 -50 - +50 40 0

40 1x 34 00 00 01 0E-72 TONE MODIFY 5 -50 - +50 40 0

40 1x 35 00 00 01 0E-72 TONE MODIFY 6 -50 - +50 40 0

40 1x 36 00 00 01 0E-72 TONE MODIFY 7 -50 - +50 40 0

40 1x 37 00 00 01 0E-72 TONE MODIFY 8 -50 - +50 40 0

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 [%]

Vibrato rate (= NRPN# 8)

Vibrato depth (= NRPN# 9)

TVF cutoff frequency (= NRPN# 32)

TVF resonance (= NRPN# 33)

TVF&TVA Env.attack (= NRPN# 99)

TVF&TVA Env.decay (= NRPN# 100)

TVF&TVA Env.release (= NRPN# 102)

Vibrato delay (= NRPN# 10)

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]

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]

13

MIDI Implementation

40 2x 34 00 00 01 00-7F PAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 35 00 00 01 00-7F PAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 36 00 00 01 00-7F PAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 37 00 00 01 00-7F PAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 38 00 00 01 00-7F PAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 39 00 00 01 00-7F PAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 3A 00 00 01 00-7F PAf LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 40 00 00 01 28-58 CC1 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones]

40 2x 41 00 00 01 00-7F CC1 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]

40 2x 42 00 00 01 00-7F CC1 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 43 00 00 01 00-7F CC1 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 44 00 00 01 00-7F CC1 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 45 00 00 01 00-7F CC1 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 46 00 00 01 00-7F CC1 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 47 00 00 01 00-7F CC1 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 48 00 00 01 00-7F CC1 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 49 00 00 01 00-7F CC1 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 4A 00 00 01 00-7F CC1 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 50 00 00 01 28-58 CC2 PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones]

40 2x 51 00 00 01 00-7F CC2 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]

40 2x 52 00 00 01 00-7F CC2 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 53 00 00 01 00-7F CC2 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 54 00 00 01 00-7F CC2 LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 55 00 00 01 00-7F CC2 LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 56 00 00 01 00-7F CC2 LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 57 00 00 01 00-7F CC2 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 58 00 00 01 00-7F CC2 LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 59 00 00 01 00-7F CC2 LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 5A 00 00 01 00-7F CC2 LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

●

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

* 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

Drum Setup Parameters

* m: Map number (0 = MAP1, 1 = MAP2)

* rr: drum part note number (00H-7FH)

Address (H) Size (H) Data (H) Parameter Description

41 m1 rr 00 00 01 00-7F PLAY NOTE NUMBER Pitch coarse

41 m2 rr 00 00 01 00-7F LEVEL TVA level

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)

41 m5 rr 00 00 01 00-7F REVERB SEND LEVEL 0.0-1.0

41 m6 rr 00 00 01 00-7F CHORUS SEND LEVEL 0.0-1.0

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.

(= NRPN# 26)

(= NRPN# 28, except RANDOM)

(= NRPN# 29) Multiplicand of the part reverb depth

(= NRPN# 30) Multiplicand of the part chorus depth

MIDI Implementation

14

●

●

4. Section 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.

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

* 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 bytes. 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 value 0A 03 09 0D?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

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

16) 1258

---------

16) 78... 10

---------

16) 4... 14

---------

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 byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which

40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is

28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072

If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change -

200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is being applied to MIDI

channel 11.

<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

MIDI Implementation

15

●Example of an Exclusive message and calculating a
Checksum

Roland Exclusive messages are transmitted with a checksum at the end (before F7) to make sure

that the message was correctly received. The value of the checksum is determined by the address

and data (or size) of the transmitted exclusive message.

◆How to calculate the checksum (hexadecimal numbers are indicated by ‘H’)

The checksum is a value derived by adding the address, size and checksum itself and inverting the

lower 7 bits.

Here’s an example of how the checksum is calculated. We will assume that in the exclusive

message we are transmitting, the address is aa bb ccH and the data or size is dd ee 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 message we transmit.

●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 types of scale setting

are explained below.

❍Equal Temperament

This method of tuning divides the octave into 12 equal parts. It is currently the most widely used

form of tuning,

especially in occidental music. On this instrument, the default settings for the Scale Tune feature

produce equal temperament.

❍Just Temperament (Keytone C)

The three main chords resound much more beautifully than with equal temperament, but this

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 Equal Temperament Just Temperament (Keytone C) Arabian Scale

C0 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

●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.

Frequently used tuning values are given in the following table for your reference. Values are in

hexadecimal (decimal in parentheses).

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

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

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

B2 64 00 MIDI ch.3, lower byte of RPN parameter number: 00H

(B2) 65 01 (MIDI ch.3) upper byte of RPN parameter number: 01H

(B2) 06 45 (MIDI ch.3) upper byte of parameter value: 45H

(B2) 26 03 (MIDI ch.3) lower byte of parameter value: 03H

(B2) 64 7F (MIDI ch.3) lower byte of RPN parameter number: 7FH

(B2) 65 7F (MIDI ch.3) upper byte of RPN parameter number: 7FH

The values in the table are given in cents. Refer to the explanation of Scale Tuning to convert

these values to hexadecimal, and transmit them as exclusive data.

For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows:

F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7

MIDI Implementation

5. 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

Band2 (500Hz)

2

#1

3 Band3 (1000Hz) 0–30

Band4 (1250Hz)

4

#2

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

0–30

0–30

-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

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

16

MIDI Implementation

● 0104: Isolator

This is an equalizer which cuts the volume 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

Anti Phase Mid

6

Sw

Anti Phase Mid

7

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

0–1 Off, On

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

Filter

4

Resonance #2

5 Filter Gain 0–12 0–+12 dB Amount of boost for the filter output

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

Modulation

7

Wave

Lpf, Bpf, Hpf,
Notch

0–100 0–100

Tri, Sqr, Sin,

0–4

Saw1, Saw2

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
Increasing this value will emphasize
the region near the cutoff frequency.

How the cutoff frequency will be
modulated

Tri: Triangle wave
Sqr: Square wave
Sin: Sine wave
Saw1: Sawtooth wave (upward)
Saw2: Sawtooth wave (downward)

No Parameter Value Description

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

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 Sound quality of the Overdrive effect

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.

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 distortion. The parameters are the same as for

“Overdrive2.”

17

MIDI Implementation

● 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

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

Specifications of each Speaker Type

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

units.

Type Cabinet Speaker Microphone

Small 1 Small open-back enclosure 10 Dynamic

Small 2 Small open-back enclosure 10 Dynamic

Middle Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

Built-In 1 Open back enclosure 12 x 2 Dynamic

Built-In 2 Open back enclosure 12 x 2 Condenser

Built-In 3 Open back enclosure 12 x 2 Condenser

Built-In 4 Open back enclosure 12 x 2 Condenser

Built-In 5 Open back enclosure 12 x 2 Condenser

BG Stack 1 Sealed enclosure 12 x 2 Condenser

BG Stack 2 Large sealed enclosure 12 x 2 Condenser

MS Stack 1 Large sealed enclosure 12 x 4 Condenser

MS Stack 2 Large sealed enclosure 12 x 4 Condenser

Metal Stack Large double stack 12 x 4 Condenser

2-Stack Large double stack 12 x 4 Condenser

3-Stack Large triple stack 12 x 4 Condenser

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

● 0114: Guitar Amp Simulator

This is an 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,

Pre Amp Type

2

#1

Pre Amp

3

Volume

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

7 Pre Amp Middle 0–127

8 Pre Amp Treble 0–127

Pre Amp

9

Presence

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

MS1959II,
MS1959I+II,

0–13

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

0–127 0–127

Low, Middle,
High

0–127

0–127 (MATCH

0–127

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.
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 increases.

Specifications of each Speaker Type

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

units.

Type Cabinet Speaker Microphone

Small 1 Small open-back enclosure 10 Dynamic

Small 2 Small open-back enclosure 10 Dynamic

Middle Open back enclosure 12 x 1 Dynamic

JC-120 Open back enclosure 12 x 2 Dynamic

Built-In 1 Open back enclosure 12 x 2 Dynamic

Built-In 2 Open back enclosure 12 x 2 Condenser

Built-In 3 Open back enclosure 12 x 2 Condenser

Built-In 4 Open back enclosure 12 x 2 Condenser

Built-In 5 Open back enclosure 12 x 2 Condenser

BG Stack 1 Sealed enclosure 12 x 2 Condenser

BG Stack 2 Large sealed enclosure 12 x 2 Condenser

MS Stack 1 Large sealed enclosure 12 x 4 Condenser

MS Stack 2 Large sealed enclosure 12 x 4 Condenser

Metal Stack Large double stack 12 x 4 Condenser

2-Stack Large double stack 12 x 4 Condenser

3-Stack Large triple stack 12 x 4 Condenser

18

MIDI Implementation

● 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.

● 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 taking off or 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)

● 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/lowering the frequency at which the sound is modulated.

No Parameter Value Description

1 Mode 0–3 1, 2, 3, 4

2 Speed #1 0–127 -100–+100

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

Higher values will produce a deeper
phaser effect.

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

Amount of boost/cut for the low­frequency range

Amount of boost/cut for the high­frequency range

● 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

D100:0W­D0:100W

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)

19

MIDI Implementation

● 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

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

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
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.

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.

● 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

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

Input Sync

10

Threshold

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

0–127 0–127 Volume level at which reset is applied

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).

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.

20

MIDI Implementation

● 0126: Auto Pan

Cyclically modulates the stereo location of the sound.

No Parameter Value Description

Modulation Wave

1 Mod Wave 0–4

2 Rate Mode 0–1 Hz, note

3 Rate #1 1–127 0.05–10.00 Hz 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-type

sounds.

No Parameter Value Description

1 Rate Mode 0–1 Hz, note

2 Rate 1–127 0.05–10.00 Hz

3 Rate #1 12–21 note

4 Attack 0–127 0–127

5 Input Sync Sw 0–1 Off, On

Input Sync

6

Threshold

7 Mode 0–1 Legato, Slash

8 Shuffle #2 0–127 0–127

9 Level 0–127 0–127 Output level

0–127 0–27

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 even­numbered 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

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

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

Adjusts the volume at which
compression begins

Compression ratio

● 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

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

Pre Delay

6

Deviation

Depth

7

Deviation

8 Pan Deviation 0–20 0–20

9 Balance 0–100

10 Level 0–127 0–127 Output Level

0–20 0–20

0–40 -20–+20

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.

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)

21

MIDI Implementation

● 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

Chorus Rate

2

Mode

3 Chorus Rate 1–127 0.05–10.00 Hz

4 Chorus Rate 0–21 note

Chorus Depth

5

#1

Tremolo Rate

6

Mode

7 Tremolo Rate #2 1–127 0.05–10.00 Hz

8 Tremolo Rate 0–21 note

Tremolo

9

Separation

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

0–1 Hz, note

0–127 0–127 Modulation depth of the chorus effect

0–1 Hz, note

0–127 0–127 Spread of the tremolo effect

D100:0W­D0:100W

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)

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)

● 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

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

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)

● 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 Modulation depth of the chorus effect

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

Speaker,
Phones

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.

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.

No Parameter Value Description

12 Balance 0–100

13 Level 0–127 0–127 Output Level

D100:0W–
D0:100W

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

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

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.

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 frequency rotor and

1 Speed #1 0–1 Slow, Fast

Woofer Slow

2

Speed

Woofer Fast

3

Speed

Woofer

4

Acceleration

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

Tweeter Slow

6

Speed

Tweeter Fast

7

Speed

Tweeter

8

Acceleration

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

1–127 0.05–10.00 Hz

1–127 0.05–10.00 Hz

0–15 0–15

1–127 0.05–10.00 Hz

1–127 0.05–10.00 Hz

0–15 0–15

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

22

MIDI Implementation

● 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

Woofer Slow

3

Speed

Woofer Fast

4

Speed

Woofer Trans

5

Up

Woofer Trans

6

Down

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

Tweeter Slow

8

Speed

Tweeter Fast

9

Speed

Tweeter Trans

10

Up

Tweeter Trans

11

Down

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

1–127 0.05–10.00 Hz

1–127 0.05–10.00 Hz

0–127 0–127

0–127 0–127

1–127 0.05–10.00 Hz

1–127 0.05–10.00 Hz

0–127 0–127

0–127 0–127

Rotational speed of the rotating
speaker

Switches the rotation of the rotary
speaker.
When this is turned on, the rotation will
gradually stop. When it is turned 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 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

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

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

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

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

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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

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

0–1 ms, note

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)

23

MIDI Implementation

● 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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

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

0–1 ms, note

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)

● 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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

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

0–1 ms, note

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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

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

0–1 ms, note

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)

● 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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 ms

6 Delay Right 0–21 note

7 Phase Left 0–1

8 Phase Right 0–1

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

0–1 ms, note

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)

24

MIDI Implementation

● 0150: Monaural Delay

A delay that provides a long delay time.

No Parameter Value Description

1 Delay Mode 0–1 ms, note

2 Delay Time 0–127 1–2540 ms

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 1–1270 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–1270 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

0–1 ms, note

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 1–2540 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–2540 ms

6 Delay Right 0–21 note

Delay Center

7

Mode

8 Delay Center 0–127 1–2540 ms

9 Delay Center 0–21 note

Center

10

Feedback #1

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

0–1 ms, note

0–1 ms, note

49–89 0–+80%

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.

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 1–2540 ms

3 Delay Left 0–21 note

Delay Right

4

Mode

5 Delay Right 0–127 1–2540 ms

6 Delay Right 0–21 note

Delay Center

7

Mode

8 Delay Center 0–127 1–2540 ms

9 Delay Center 0–21 note

Center

10

Feedback #1

11 HF Damp 0–17

12 Left Level 0–127

14 Center Level 0–127

15 Output Mode 0–1

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

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

18 Balance #2 0–100

19 Level 0–127 0–127 Output Level

0–1 ms, note

0–1 ms, note

49–89 0–+80%

200–8000 Hz,
Bypass

0–127 Output level of the delay sound13 Right Level 0–127

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)

25

MIDI Implementation

● 0159: Tape Echo

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section

of a Roland RE-201 Space Echo.

No Parameter Value Description

Combination of playback heads to use

1 Mode 0–6

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

Wow/Flutter

10

Rate

Wow/Flutter

11

Depth

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

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

14 Level 0–127 0–127 Output level

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

L64–63R

0–127 0–127

0–127 0–127 Depth of wow/flutter

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 signal-analysis
equipment. Increasing this value will
increase the distortion.

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

Rev Delay Time

3

#1

4 Rev Delay Time 0–21 note

Rev Delay

5

Feedback

Rev Delay HF

6

Damp

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

0–127 1–1270 ms

49–89 0–+80%

200–8000 Hz,

0–17

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

Post Filter

4

Cutoff

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

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

7 Balance #2 0–100

8 Level 0–127 0–127 Output level

0–16 200–8000 Hz Basic frequency of the Post Filter

D100:0W–
D0:100W

Selects the type of filter applied to the
sound before it passes through the Lo­Fi 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)

● 0175: Telephone

No Parameter Value Description

1 Voice Quality #1 0–15 0–15 Audio quality of the telephone voice

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

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 Stereo location of the overdrive sound

Chorus Pre

3

Delay

Chorus Rate

4

Mode

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

Chorus Balance

8

#2

9 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

D100:0W–

0–100

D0:100W

Degree of distortion
Also changes the volume.

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).

26

MIDI Implementation

● 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 Stereo location of the overdrive sound

Flanger Pre

3

Delay

Flanger Rate

4

Mode

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

Flanger

8

Feedback

Flanger Balance

9

#2

10 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

0–98 -98–+98%

D100:0W–

0–100

D0:100W

Degree of distortion
Also changes the volume.

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).

● 0202: Overdrive→Delay

This effect connects an overdrive and a delay in series.

No Parameter Value Description

Overdrive Drive

1

#1

2 Overdrive Pan 0–127 L64–63R Stereo location of the overdrive sound

3 Delay Mode 0–1 ms, note

4 Delay Time 0–127 1–2540 ms

5 Delay Time 0–21 note

6 Delay Feedback 49–89 0–+80%

7 Delay HF Damp 0–17

Delay Balance

8

#2

9 Level 0–127 0–127 Output Level

0–127 0–127

200–8000 Hz,
Bypass

D100:0W–

0–100

D0:100W

Degree of distortion
Also changes the volume.

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

● 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

Chorus Pre

3

Delay

Chorus Rate

4

Mode

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

Chorus Balance

8

#2

9 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

D100:0W–

0–100

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

Flanger Pre

3

Delay

Flanger Rate

4

Mode

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

Flanger

8

Feedback

Flanger Balance

9

#2

10 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

0–98 -98–+98%

D100:0W–

0–100

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

Enhancer Sens

1

#1

2 Enhancer Mix 0–127 0–127

3 Delay Mode 0–1 ms, note

4 Delay Time 0–127 1–2540 ms

5 Delay Time 0–21 note

6 Delay Feedback 49–89 0–+80%

7 Delay HF Damp 0–17

Delay Balance

8

#2

9 Level 0–127 0–127 Output Level

0–127 0–127 Sensitivity of the enhancer

Level of the overtones generated by
the enhancer

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).

0–100

200–8000 Hz,
Bypass

D100:0W–
D0:100W

27

MIDI Implementation

● 0209: Chorus→Delay

This effect connects a chorus and a delay in series.

No Parameter Value Description

Chorus Pre

1

Delay

Chorus Rate

2

Mode

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

Chorus Balance

6

#1

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

Delay Balance

12

#2

13 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

D100:0W–

0–100

D0:100W

200–8000 Hz,
Bypass

D100:0W–

0–100

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).

● 020a: Flanger→Delay

This effect connects a flanger and a delay in series.

No Parameter Value Description

Flanger Pre

1

Delay

Flanger Rate

2

Mode

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

Flanger

6

Feedback

Flanger Balance

7

#1

8 Delay Mode 0–1 ms, note

9 Delay Time 0–127 1–2540 ms

10 Delay Time 0–21 note

11 Delay Feedback 49–89 0–+80%

12 Delay HF Damp 0–17

Delay Balance

13

#2

14 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

0–98 -98–+98%

D100:0W–

0–100

D0:100W

200–8000 Hz,
Bypass

D100:0W–

0–100

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

Chorus Pre

1

Delay

Chorus Rate

2

Mode

3 Chorus Rate 1–127 0.05–10.00 Hz

4 Chorus Rate 0–21 note

5 Chorus Depth 0–127 0–127 Modulation depth of the chorus effect

Chorus Balance

6

#1

Flanger Pre

7

Delay

Flanger Rate

8

Mode

9 Flanger Rate 1–127 0.05–10.00 Hz

10 Flanger Rate 0–21 note

11 Flanger Depth 0–127 0–127 Modulation depth of the flanger effect

Flanger

12

Feedback

Flanger Balance

13

#2

14 Level 0–127 0–127 Output Level

0–125 0.0–100.0 ms

0–1 Hz, note

D100:0W–

0–100

D0:100W

0–125 0.0–100.0 ms

0–1 Hz, note

0–98 -98–+98%

D100:0W–

0–100

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)

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)

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).

28

MIDI Implementation

● 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 0–10 Amount of resonance

13 P-Sft Level 0–127 0–10

14 P-Sft LPF 1–32

15 P-Sft HPF 0–31

16 P-Sft to Rev 0–127 0–127

Damper Offset

17

#2

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

0–64 0–64

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

6. Tone List

Key Name MSB LSB PC

21 A0 Grand Piano1 0 68 1

22 A#0 Rich Strings 0 71 50

23 B0 Grand Piano2 16 67 1

24 C1 Honky-tonk 0 64 4

25 C#1 Orchestra Strings 0 64 49

26 D1 Harpsichord 0 66 7

27 D#1 Aerial Choir 8 64 53

28 E1 Pop Electric Piano 16 67 5

29 F1 FM Electric Piano 0 70 6

30 F#1 Soft Pad 0 64 90

31 G1 Vibraphone 0 0 12

32 G#1 Morning Lite 0 68 99

33 A1 ChurchOrgan1 0 66 20

34 A#1 Harp 0 68 47

35 B1 ChurchOrgan2 8 69 20

36 C2 Nason flute 8' 16 66 20

37 C#2 Piano + Strings 25 64 1

38 D2 Combo Jazz Organ 0 70 19

39 D#2 Piano + Choir 26 64 1

40 E2 Ballad Organ 0 69 19

29