10HDevice ID (use the same as the device ID of Roland)
06HSub ID#1 (General Information)
02HSub ID#2 (Identity Reply)
41HID number (Roland)
42HDevice family code (LSB)
00HDevice family code (MSB)
00HDevice family number code (LSB)
16HDevice family number code (MSB)
02H (03H)Software revision level
01HSoftware revision level
00HSoftware revision level
00HSoftware revision level
F7HEOX (End of Exclusive)
Data byteStatus
8
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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;
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.
9
■
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.
* 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.
* 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)ParameterDescriptionDefault Value (H)Description
40 01 3F00 00 0100-7FCHORUS SEND LEVEL TO REVERB0-127000
* 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
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)ParameterDescriptionDefault Value (H)Description
40 1x 0000 00 0200-7FTONE NUMBERCC#00 VALUE 0-127000
40 1x 01#00-7FP.C. VALUE 1-128001
40 1x 0200 00 0100-10Rx. CHANNEL1-16, OFFSame as the Part Number
40 1x 1500 00 0100-02USE FOR RHYTHM PART0 = OFF00 at x ≠0OFF 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)).
* 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 1900 00 0100-7FPART LEVEL0-12764100
40 1x 1A00 00 0100-7FVELOCITY SENSE DEPTH0-1274064
40 1x 1B00 00 0100-7FVELOCITY SENSE OFFSET0-1274064
* 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.”
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 ParameterValueDescription
1Low Freq0–1200, 400 HzFrequency of the low range
2Low Gain #10–30-15–+15 dBGain of the low range
3Mid1 Freq0–16200–8000 HzFrequency of the middle range 1
4Mid1 Gain0–30-15–+15 dBGain of the middle range 1
5Mid1 Q0–4
6Mid2 Freq0–16200–8000 HzFrequency of the middle range 2
7Mid2 Gain0–30-15–+15 dBGain of the middle range 2
8Mid2 Q0–4
9High Freq0–2
10 High Gain #20–30-15–+15 dBGain of the high range
11 Level0–1270–127Output 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 ParameterValueDescription
1Band1 (250Hz)0–30
Band2 (500Hz)
2
#1
3Band3 (1000Hz) 0–30
Band4 (1250Hz)
4
#2
5Band5 (2000Hz) 0–30
6Band6 (3150Hz) 0–30
7Band7 (4000Hz) 0–30
8Band8 (8000Hz) 0–30
9Q0–4
10 Level0–1270–127Output Level
0–30
0–30
-15–+15 dBGain 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 ParameterValueDescription
1Sens #10–1270–127Sensitivity of the enhancer
2Mix #20–1270–127
3Low Gain0–30-15–+15 dBGain of the low range
4High Gain0–30-15–+15 dBGain of the high range
5Level0–1270–127Output 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 ParameterValueDescription
1Boost/Cut Low0–64
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
8Low Boost Sw0–1Off, On
Low Boost
9
Level
10 Level0–1270-127Output Level
0–64
-60–+4 dB
0–64
0–1Off, On
0–1270–127
0–1Off, On
0–1270–127
0–1270–127
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 ParameterValueDescription
Boost
1
Frequency #1
2Boost Gain #20–120–+12 dB
3Boost Width0–2
4Low Gain0–30-15– +15 dBGain of the low frequency range
5High Gain0–30-15–+15 dBGain of the high frequency range
6Level0–1270–127Output level
0–850–125 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 ParameterValueDescription
Filter type
Frequency range that will pass through
each filter
1Filter Type0–3
2Filter Slope0–2-12, -24, -36 dB
3Filter Cutoff #10–1270–127
Filter
4
Resonance #2
5Filter Gain0–120–+12 dBAmount of boost for the filter output
6Modulation Sw0–1Off, OnOn/off switch for cyclic change
Modulation
7
Wave
Lpf, Bpf, Hpf,
Notch
0–1000–100
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.
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 ParameterValueDescription
1Drive0–1270–127
Small,
2Amp Type #10–3
3Low Gain0–30-15–+15 dBGain of the low range
4High Gain0–30-15–+15 dBGain of the high range
5Pan0–127L64–63RStereo location of the output sound
6Level #20–1270–127Output 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 ParameterValueDescription
1Drive0–1270–127
2Tone0–1270–127Sound quality of the Overdrive effect
3Amp Sw0–1Off, OnTurns the Amp Simulator on/off.
Small,
4Amp Type #10–3
5Low Gain0–30-15–+15 dBGain of the low range
6High Gain0–30-15–+15 dBGain of the high range
7Pan0–127L64–63RStereo location of the output sound
8Level #20–1270–127Output 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 ParameterValueDescription
1Speaker Type #1 0–15(See the table.) Type of speaker
Adjusts the location of the mic that is
2Mic Setting0–21, 2, 3
3Mic Level0–1270–127Volume of the microphone
4Direct Level0–1270–127Volume of the direct sound
5Level #20–1270–127Output Level
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of
units.
TypeCabinetSpeakerMicrophone
Small 1Small open-back enclosure10Dynamic
Small 2Small open-back enclosure10Dynamic
MiddleOpen back enclosure12 x 1Dynamic
JC-120Open back enclosure12 x 2Dynamic
Built-In 1Open back enclosure12 x 2Dynamic
Built-In 2Open back enclosure12 x 2Condenser
Built-In 3Open back enclosure12 x 2Condenser
Built-In 4Open back enclosure12 x 2Condenser
Built-In 5Open back enclosure12 x 2Condenser
BG Stack 1Sealed enclosure12 x 2Condenser
BG Stack 2Large sealed enclosure12 x 2Condenser
MS Stack 1Large sealed enclosure12 x 4Condenser
MS Stack 2Large sealed enclosure12 x 4Condenser
Metal StackLarge double stack12 x 4Condenser
2-StackLarge double stack12 x 4Condenser
3-StackLarge triple stack12 x 4Condenser
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 ParameterValueDescription
1Pre Amp Sw0–1Off, OnTurns the amp switch on/off.
JC-120,
Clean Twin,
MATCH Drive,
BG Lead,
MS1959I,
Pre Amp Type
2
#1
Pre Amp
3
Volume
4Pre Amp Master 0–1270–127Volume of the entire pre-amp
5Pre Amp Gain0–2
6Pre Amp Bass0–127
7Pre Amp Middle 0–127
8Pre Amp Treble 0–127
Pre Amp
9
Presence
10 Pre Amp Bright 0–1Off, On
11 Speaker Sw0–1Off, On
12 Speaker Type #2 0–15(See the table.) Type of speaker
13 Mic Setting0–21, 2, 3
14 Mic Level0–1270–127Volume of the microphone
15 Direct Level0–1270–127Volume of the direct sound
16 Pan0–127L64–63RStereo location of the output
17 Level0–1270–127Output level
MS1959II,
MS1959I+II,
0–13
SLDN Lead,
Metal 5150,
Metal Lead,
OD-1,
OD-2 Turbo,
Distortion,
Fuzz
0–1270–127
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.
TypeCabinetSpeakerMicrophone
Small 1Small open-back enclosure10Dynamic
Small 2Small open-back enclosure10Dynamic
MiddleOpen back enclosure12 x 1Dynamic
JC-120Open back enclosure12 x 2Dynamic
Built-In 1Open back enclosure12 x 2Dynamic
Built-In 2Open back enclosure12 x 2Condenser
Built-In 3Open back enclosure12 x 2Condenser
Built-In 4Open back enclosure12 x 2Condenser
Built-In 5Open back enclosure12 x 2Condenser
BG Stack 1Sealed enclosure12 x 2Condenser
BG Stack 2Large sealed enclosure12 x 2Condenser
MS Stack 1Large sealed enclosure12 x 4Condenser
MS Stack 2Large sealed enclosure12 x 4Condenser
Metal StackLarge double stack12 x 4Condenser
2-StackLarge double stack12 x 4Condenser
3-StackLarge triple stack12 x 4Condenser
18
MIDI Implementation
● 0120: Phaser
This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.
No ParameterValueDescription
1Mode0–2
2Manual #20–1270–127
3Rate Mode0–1Hz, note
4Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
5Rate0–21note Frequency of modulation (note)
6Depth0–1270–127Depth of modulation
7Polarity0–1
8Resonance0–1270–127Amount of feedback
9Cross Feedback 0–98-98–+98%
10 Mix0–1270–127Level of the phase-shifted sound
11 Low Gain0–30-15–+15 dBGain of the low range
12 High Gain0–30-15–+15 dBGain of the high range
13 Level0–1270–127Output 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 ParameterValueDescription
Type of filter
Off: No filter is used
1Filter Type0–2Off, Lpf, Hpf
2Cutoff Freq0–16200–8000 HzBasic frequency of the filter
3Pre Delay0–1250.0–100.0 ms
4Rate Mode0–1Hz, note
5Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Rate0–21note Frequency of modulation (note)
7Depth #20–1270–127Depth of modulation
8Phase0–900–180 degSpatial spread of the sound
9Feedback0–98-98–+98%
10 Low Gain0–30-15–+15 dBGain of the low range
11 High Gain0–30-15–+15 dBGain of the high range
12 Balance0–100
13 Level0–1270–127Output 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 ParameterValueDescription
4-Stage,
8-Stage,
1Mode0–5
2Manual #20–1270–127
3Rate Mode0–1Hz, note
4Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
5Rate0–21note Frequency of modulation (note)
6Depth0–1270–127Depth of modulation
7Resonance0–1270–127Amount of feedback
8Mix0–1270–127Level of the phase-shifted sound
9Pan0–127L64–63RStereo location of the output sound
10 Low Gain0–30-15–+15 dBGain of the low range
11 High Gain0–30-15–+15 dBGain of the high range
12 Level0–1270–127Output 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 ParameterValueDescription
1Mode0–31, 2, 3, 4
2Speed #10–127 -100–+100
3Resonance #20–1270–127Amount of feedback
4Mix0–1270–127Volume of the phase-shifted sound
5Pan0–127L64–63RPanning of the output sound
6Low Gain0–30-15–+15 dB
7High Gain0–30-15–+15 dB
8Level0–1270–127Output 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 ParameterValueDescription
Type of filter
Off: No filter is used
1Filter Type0–2Off, Lpf, Hpf
2Cutoff Freq0–16200–8000 HzBasic frequency of the filter
3Pre Delay0–1250.0–100.0 ms
4Rate Mode0–1Hz, note
5Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Rate0–21note Frequency of modulation (note)
7Depth #20–1270–127Depth of modulation
8Phase0–900–180 degSpatial spread of the sound
9Feedback0–98-98–+98%
10 Output Mode0–1
11 Low Gain0–30-15–+15 dBGain of the low range
12 High Gain0–30-15–+15 dBGain of the high range
13 Balance0–100
14 Level0–1270-127Output 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 ParameterValueDescription
1Split Freq0–16200–8000 Hz
2Low Pre Delay0–1250.0–100.0 ms
3Low Rate Mode 0–1Hz, note
4Low Rate #11–1270.05–10.00 Hz
5Low Rate0–21note
6Low Depth0–1270–127
7Low Phase0–900–180 deg
8Low Feedback0–98-98–+98%
9High Pre Delay0–1250.0–100.0 ms
10 High Rate Mode 0–1Hz, note
11 High Rate #21–1270.05–10.00 Hz
12 High Rate0–21note
13 High Depth0–1270–127
14 High Phase0–900–180 deg
15 High Feedback0–98-98–+98%
16 Balance0–100
17 Level0–1270–127Output 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 ParameterValueDescription
Type of filter
1Filter Type0–1Lpf, Bpf
2Manual #20–1270–127
3Peak0–1270–127
4Sens0–1270–127
5Polarity0–1Up, Down
6Rate Mode0–1Hz, note
7Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
8Rate0–21note Frequency of modulation (note)
9Depth0–1270–127Depth of modulation
10 Phase0–900-180 deg
11 Low Gain0–30-15–+15 dBGain of the low range
12 High Gain0–30-15–+15 dBGain of the high range
13 Level0–1270–127Output 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 ParameterValueDescription
1Drive Sw0–1Off, OnTurns Drive on/off.
2Drive #20–1270–127
3Vowel10–4a, e, i, o, uSelects the vowel.
4Vowel20–4a, e, i, o, u
5Rate Mode0–1Hz, note
6Rate1–1270.05–10.00 Hz
7Rate #10–21note
8Depth0–1270–127Effect depth
9Input Sync Sw0–1Off, On
Input Sync
10
Threshold
11 Manual0–1000–100
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Pan0–127L64–63RStereo location of the output
15 Level0–1270–127Output level
0–1270–127Volume 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 ParameterValueDescription
1Frequency #10–1270–127
2Sens0–1270–127
3Polarity0–1Up, Down
4Low Gain0–30-15–+15 dBGain of the low frequency range
5High Gain0–30-15–+15 dBGain of the high frequency range
6Balance #20–100
7Level0–1270–127Output 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 ParameterValueDescription
Modulation Wave
1Mod Wave0–4
2Rate Mode0–1Hz, note
3Rate #11–1270.05–10.00 Hz Frequency of the change (Hz)
4Rate0–21note Frequency of the change (note)
5Depth #20–1270–127Depth to which the effect is applied
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 ParameterValueDescription
1Rate Mode0–1Hz, note
2Rate1–1270.05–10.00 Hz
3Rate #112–21note
4Attack0–1270–127
5Input Sync Sw0–1Off, On
Input Sync
6
Threshold
7Mode0–1Legato, Slash
8Shuffle #20–1270–127
9Level0–1270–127Output level
0–1270–27
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 ParameterValueDescription
1Attack #20–1270–127
2Threshold #10–1270–127
3Post Gain0–180–+18 dBAdjusts the output gain.
4Low Gain0–30-15–+15 dBGain of the low frequency range
5High Gain0–30-15–+15 dBGain of the high frequency range
6Level0–1270–127Output 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 ParameterValueDescription
1Release0–1270–127
2Threshold #10–1270–127
3Ratio #20–3
4Post Gain0–180–+18 dBAdjusts the output gain.
5Low Gain0–30-15–+15 dBGain of the low frequency range
6High Gain0–30-15–+15 dBGain of the high frequency range
7Level0–1270–127Output 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 ParameterValueDescription
Type of filter
Off: No filter is used
1Filter Type0–2Off, Lpf, Hpf
2Cutoff Freq0–16200–8000 HzBasic frequency of the filter
3Pre Delay0–1250.0–100.0 ms
4Rate Mode0–1Hz, note
5Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Rate0–21note Frequency of modulation (note)
7Depth #20–1270–127Depth of modulation
8Phase0–900–180 degSpatial spread of the sound
9Low Gain0–30-15–+15 dBGain of the low range
10 High Gain0–30-15–+15 dBGain of the high range
11 Balance0–100
12 Level0–1270-–127Output 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 ParameterValueDescription
1Pre Delay0–1250.0–100.0 ms
2Rate Mode0–1Hz, note
3Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
4Rate0–21note Frequency of modulation (note)
5Depth #20–1270–127Depth of modulation
Pre Delay
6
Deviation
Depth
7
Deviation
8Pan Deviation0–200–20
9Balance0–100
10 Level0–1270–127Output Level
0–200–20
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 ParameterValueDescription
1Pre Delay0–1250.0–100.0 ms
Chorus Rate
2
Mode
3Chorus Rate1–1270.05–10.00 Hz
4Chorus Rate0–21note
Chorus Depth
5
#1
Tremolo Rate
6
Mode
7Tremolo Rate #2 1–1270.05–10.00 Hz
8Tremolo Rate0–21note
Tremolo
9
Separation
10 Tremolo Phase0–900–180 degSpread of the tremolo effect
11 Balance0–100
12 Level0–1270–127Output Level
0–1Hz, note
0–1270–127Modulation depth of the chorus effect
0–1Hz, note
0–1270–127Spread 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 ParameterValueDescription
1Pre Delay0–1250.0–100.0 ms
2Rate Mode0–1Hz, note
3Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
4Rate0–21note Frequency of modulation (note)
5Depth #20–1270–127Depth of modulation
6Phase0–900–180 degSpatial spread of the sound
7Low Gain0–30-15–+15 dBGain of the low range
8High Gain0–30-15–+15 dBGain of the high range
9Balance0–100
10 Level0–1270–127Output 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 ParameterValueDescription
Type of filter
Off: No filter is used
1Filter Type0–2Off, Lpf, Hpf
2Cutoff Freq0–16200–8000 HzBasic frequency of the filter
3Pre Delay0–1250.0–100.0 ms
4Rate Mode0–1Hz, note
5Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Rate0–21note Frequency of modulation (note)
7Depth #20–1270–127Modulation depth of the chorus effect
8Phase0–900–180 degSpatial spread of the sound
9Output Mode0–1
10 Low Gain0–30-15–+15 dBGain of the low range
11 High Gain0–30-15–+15 dBGain 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 ParameterValueDescription
12 Balance0–100
13 Level0–1270–127Output 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 ParameterValueDescription
1Split Freq0–16200–8000 Hz
2Low Pre Delay0–1250.0–100.0 ms
3Low Rate Mode 0–1Hz, note
4Low Rate1–1270.05–10.00 Hz
5Low Rate0–21note
6Low Depth #10–1270–127
7Low Phase0–900–180 deg
8High Pre Delay0–1250.0–100.0 ms
9High Rate Mode 0–1Hz, note
10 High Rate1–1270.05–10.00 Hz
11 High Rate0–21note
12 High Depth #20–1270–127
13 High Phase0–900–180 deg
14 Balance0–100
15 Level0–1270–127Output 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 ParameterValueDescription
Simultaneously switch the rotational
speed of the low frequency rotor and
1Speed #10–1Slow, Fast
Woofer Slow
2
Speed
Woofer Fast
3
Speed
Woofer
4
Acceleration
5Woofer Level0–1270–127Volume of the low frequency rotor
Tweeter Slow
6
Speed
Tweeter Fast
7
Speed
Tweeter
8
Acceleration
9Tweeter Level0–1270–127
10 Separation #20–1270–127Spatial dispersion of the sound
11 Level0–1270–127Output Level
1–1270.05–10.00 Hz
1–1270.05–10.00 Hz
0–150–15
1–1270.05–10.00 Hz
1–1270.05–10.00 Hz
0–150–15
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 ParameterValueDescription
1Speed #10–1Slow, Fast
2Brake #20–1Off, On
Woofer Slow
3
Speed
Woofer Fast
4
Speed
Woofer Trans
5
Up
Woofer Trans
6
Down
7Woofer Level0–1270–127Volume of the woofer
Tweeter Slow
8
Speed
Tweeter Fast
9
Speed
Tweeter Trans
10
Up
Tweeter Trans
11
Down
12 Tweeter Level0–1270–127
13 Spread0–100–10
14 Low Gain0–30-15–+15 dBGain of the low range
15 High Gain0–30-15–+15 dBGain of the high range
16 Level0–1270–127Output Level
1–1270.05–10.00 Hz
1–1270.05–10.00 Hz
0–1270–127
0–1270–127
1–1270.05–10.00 Hz
1–1270.05–10.00 Hz
0–1270–127
0–1270–127
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 ParameterValueDescription
1Vib/Cho Switch 0–1Off, OnSwitches 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
8Rotary Switch0–1Off, OnSwitches the rotary effect
9Rotary Speed #1 0–1Slow, Fast
10 R-Wf Slow Sp1–1270.05–10.00 Hz
11 R-Wf Fast Sp1–1270.05–10.00 Hz
12 R-Wf Accel0–150–15
13 R-Wf Level0–1270–127Low-frequency rotor volume
14 R-Tw Slow Sp1–1270.05–10.00 Hz
15 R-Tw Fast Sp1–1270.05–10.00 Hz
16 R-Tw Accel0–150–15
17 R-Tw Level0–1270–127
18 Rotary Separat0–1270–127Amount of breadth in the sound
19 Rotary Level0–1270–127Output 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Phase Left0–1
8Phase Right0–1
9Feedback Mode 0–1Normal, Cross
10 Feedback #149–890–+80%
11 HF Damp0–17
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Balance #20–100
15 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Phase Left0–1
8Phase Right0–1
9Feedback Mode 0–1Normal, Cross
10 Feedback #149–890–+80%
11 HF Damp0–17
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Balance #20–100
15 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Phase Left0–1
8Phase Right0–1
9Feedback Mode 0–1Normal, Cross
10 Feedback #149–890–+80%
11 HF Damp0–17
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Balance #20–100
15 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Phase Left0–1
8Phase Right0–1
9Feedback Mode 0–1Normal, Cross
10 Feedback #149–890–+80%
11 HF Damp0–17
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Balance #20–100
15 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Phase Left0–1
8Phase Right0–1
9Feedback Mode 0–1Normal, Cross
10 Feedback #149–890–+80%
11 HF Damp0–17
12 Low Gain0–30-15–+15 dBGain of the low frequency range
13 High Gain0–30-15–+15 dBGain of the high frequency range
14 Balance #20–100
15 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Mode0–1ms, note
2Delay Time0–1271–2540 ms
3Delay Time #10–21note
4Phase0–1
5Feedback49–890–+80%
6HF Damp0–17
7Pan0–127L64–63RPanning of the delay sound
8Low Gain0–30-15–+15 dB
9High Gain0–30-15–+15 dB
10 Balance #20–100
11 Level0–1270–127Output 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–1270 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–1270 ms
6Delay Right0–21note
7Feedback Mode 0–1Normal, Cross
8Feedback49–890–+80%
9HF Damp0–17
10 Rate Mode0–1Hz, note
11 Rate1–1270.05–10.00 Hz Frequency of modulation (Hz)
12 Rate0–21note Frequency of modulation (note)
13 Depth #10–1270–127Depth of modulation
14 Phase0–900–180 degSpatial spread of the sound
15 Low Gain0–30-15–+15 dBGain of the low frequency range
16 High Gain0–30-15–+15 dBGain of the high frequency range
17 Balance #20–100
18 Level0–1270–127Output level
0–1ms, 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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–2540 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–2540 ms
6Delay Right0–21note
Delay Center
7
Mode
8Delay Center0–1271–2540 ms
9Delay Center0–21note
Center
10
Feedback #1
11 HF Damp0–17
12 Left Level0–1270–127Volume of each delay
13 Right Level0–1270–127Volume of each delay
14 Center Level0–1270–127Volume of each delay
15 Low Gain0–30-15–+15 dBGain of the low frequency range
16 High Gain0–30-15–+15 dBGain of the high frequency range
17 Balance #20–100
18 Level0–1270–127Output level
0–1ms, note
0–1ms, note
49–890–+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 ParameterValueDescription
1Delay Left Mode 0–1ms, note
2Delay Left0–1271–2540 ms
3Delay Left0–21note
Delay Right
4
Mode
5Delay Right0–1271–2540 ms
6Delay Right0–21note
Delay Center
7
Mode
8Delay Center0–1271–2540 ms
9Delay Center0–21note
Center
10
Feedback #1
11 HF Damp0–17
12 Left Level0–127
14 Center Level0–127
15 Output Mode0–1
16 Low Gain0–30-15–+15 dBGain of the low range
17 High Gain0–30-15–+15 dBGain of the high range
18 Balance #20–100
19 Level0–1270–127Output Level
0–1ms, note
0–1ms, note
49–890–+80%
200–8000 Hz,
Bypass
0–127Output level of the delay sound13 Right Level0–127
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 ParameterValueDescription
Combination of playback heads to use
1Mode0–6
2Repeat Rate #10–1270–127
3Intensity0–1270–127Amount of delay repeats
4Bass0–30-15–+15 dB
5Treble0–30-15–+15 dB
6Head S Pan0–127
7Head M Pan0–127
8Head L Pan0–127
9Tape Distortion 0–50–5
Wow/Flutter
10
Rate
Wow/Flutter
11
Depth
12 Echo Level #20–1270–127Volume of the echo sound
13 Direct Level0–1270–127Volume of the original sound
14 Level0–1270–127Output level
S, M, L, S+M,
S+L, M+L,
S+M+L
L64–63R
0–1270–127
0–1270–127Depth 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 ParameterValueDescription
1Threshold0–1270–127
2Rev Delay Mode 0–1ms, note
Rev Delay Time
3
#1
4Rev Delay Time 0–21note
Rev Delay
5
Feedback
Rev Delay HF
6
Damp
7Rev Delay Pan0–127L64–63RPanning of the reverse delay sound
8Rev Delay Level 0–1270–127Volume of the reverse delay sound
9Low Gain0–30-15–+15 dB
10 High Gain0–30-15–+15 dB
11 Balance #20–100
12 Level0–1270–127Output volume
0–1271–1270 ms
49–890–+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 ParameterValueDescription
1Pre Filter Type0–51–6
2LoFi Type #10–81–9
3Post Filter Type 0–2Off, Lpf, Hpf
Post Filter
4
Cutoff
5Low Gain0–30-15–+15 dBGain of the low range
6High Gain0–30-15–+15 dBGain of the high range
7Balance #20–100
8Level0–1270–127Output level
0–16200–8000 HzBasic 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 ParameterValueDescription
1Voice Quality #1 0–150–15Audio quality of the telephone voice
2Treble0–30-15–+15 dBBandwidth of the telephone voice
3Balance #20–100
4Level0–1270–127Output 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.
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 ParameterValueDescription
1Overdrive Drive 0–1270–127
2Overdrive Pan0–127L64–63RStereo location of the overdrive sound
Chorus Pre
3
Delay
Chorus Rate
4
Mode
5Chorus Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Chorus Rate0–21note Frequency of modulation (note)
7Chorus Depth0–1270–127Depth of modulation
Chorus Balance
8
#2
9Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
1Overdrive Drive 0–1270–127
2Overdrive Pan0–127L64–63RStereo location of the overdrive sound
Flanger Pre
3
Delay
Flanger Rate
4
Mode
5Flanger Rate #1 1–1270.05–10.00 Hz Frequency of modulation (Hz)
6Flanger Rate0–21note Frequency of modulation (note)
7Flanger Depth0–1270–127Depth of modulation
Flanger
8
Feedback
Flanger Balance
9
#2
10 Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
Overdrive Drive
1
#1
2Overdrive Pan0–127L64–63RStereo location of the overdrive sound
3Delay Mode0–1ms, note
4Delay Time0–1271–2540 ms
5Delay Time0–21note
6Delay Feedback 49–890–+80%
7Delay HF Damp 0–17
Delay Balance
8
#2
9Level0–1270–127Output Level
0–1270–127
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 ParameterValueDescription
1Enhancer Sens0–1270–127Sensitivity of the enhancer
2Enhancer Mix0–1270–127
Chorus Pre
3
Delay
Chorus Rate
4
Mode
5Chorus Rate #11–1270.05–10.00 Hz Frequency of modulation (Hz)
6Chorus Rate0–21note Frequency of modulation (note)
7Chorus Depth0–1270–127Depth of modulation
Chorus Balance
8
#2
9Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
1Enhancer Sens0–1270–127Sensitivity of the enhancer
2Enhancer Mix0–1270–127
Flanger Pre
3
Delay
Flanger Rate
4
Mode
5Flanger Rate #1 1–1270.05–10.00 Hz Frequency of modulation (Hz)
6Flanger Rate0–21note Frequency of modulation (note)
7Flanger Depth0–1270–127Depth of modulation
Flanger
8
Feedback
Flanger Balance
9
#2
10 Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
Enhancer Sens
1
#1
2Enhancer Mix0–1270–127
3Delay Mode0–1ms, note
4Delay Time0–1271–2540 ms
5Delay Time0–21note
6Delay Feedback 49–890–+80%
7Delay HF Damp 0–17
Delay Balance
8
#2
9Level0–1270–127Output Level
0–1270–127Sensitivity 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 ParameterValueDescription
Chorus Pre
1
Delay
Chorus Rate
2
Mode
3Chorus Rate1–1270.05–10.00 Hz Frequency of modulation (Hz)
4Chorus Rate0–21note Frequency of modulation (note)
5Chorus Depth0–1270–127Depth of modulation
Chorus Balance
6
#1
7Delay Mode0–1ms, note
8Delay Time0–1271–2540 ms
9Delay Time0–21note
10 Delay Feedback 49–890–+80%
11 Delay HF Damp 0–17
Delay Balance
12
#2
13 Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
Flanger Pre
1
Delay
Flanger Rate
2
Mode
3Flanger Rate1–1270.05–10.00 Hz Frequency of modulation (Hz)
4Flanger Rate0–21note Frequency of modulation (note)
5Flanger Depth0–1270–127Depth of modulation
Flanger
6
Feedback
Flanger Balance
7
#1
8Delay Mode0–1ms, note
9Delay Time0–1271–2540 ms
10 Delay Time0–21note
11 Delay Feedback 49–890–+80%
12 Delay HF Damp 0–17
Delay Balance
13
#2
14 Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, 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 ParameterValueDescription
Chorus Pre
1
Delay
Chorus Rate
2
Mode
3Chorus Rate1–1270.05–10.00 Hz
4Chorus Rate0–21note
5Chorus Depth0–1270–127Modulation depth of the chorus effect
Chorus Balance
6
#1
Flanger Pre
7
Delay
Flanger Rate
8
Mode
9Flanger Rate1–1270.05–10.00 Hz
10 Flanger Rate0–21note
11 Flanger Depth0–1270–127Modulation depth of the flanger effect
Flanger
12
Feedback
Flanger Balance
13
#2
14 Level0–1270–127Output Level
0–1250.0–100.0 ms
0–1Hz, note
D100:0W–
0–100
D0:100W
0–1250.0–100.0 ms
0–1Hz, 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
● 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 ParameterValueDescription
1Depth #10–1270–127Depth of the effect
2Damper0–1270–127
3Pre LPF1–32
4Pre HPF0–31
5Peaking Freq0–16200–8000 Hz
6Peaking Gain0–30-15–+15 dB
7Peaking Q0–4
8HF Damp Freq1–32
9LF Damp Freq0–31
11 Level0–1270–127Output Level
12 P-Sft Amount0–1270–10Amount of resonance
13 P-Sft Level0–1270–10
14 P-Sft LPF1–32
15 P-Sft HPF0–31
16 P-Sft to Rev0–1270–127
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
0–640–64
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
MIDI Implementation
29
MIDI Implementation
6. Tone List (HP205)
NumNameMSBLSB PC
Piano
1Grand Piano10681
2Piano + Str.25641
3Harpsichord 0667
4Grand Piano216671
5Piano + Pad 47643
6Grand Piano38662
7Piano+Choir 26641
8Honky-tonk 0644
9Coupled Hps.8667
E.Piano
1Pop E.Piano 16675
2FM E.Piano 0706
3Vibraphone 0012
4Celesta 009
5'60s E.Piano24655
6Clav. 0678
7Morning Lite06899
8Marimba 06413
9Ballad Bells0669
10E.Grand 0693
Organ
1ChurchOrgan106620
2ChurchOrgan286920
3Combo Jz.Org07019
4Ballad Organ06919
5Accordion 06822
6Nason flt 8'166620
7Mellow Bars 326817
8Light Organ 326917
9Lower Organ 06617
10'60s Organ 166417
Strings
1Rich Strings07150
2OrchestraStr06449
3Orchestra 86649
4Harp 06847
5Violin 0041
6Flute 06474
7Cello 0043
8PizzicatoStr0046
9DecayStrings16550
Voice
1Aerial Choir86453
2Jazz Scat 06555
3Beauty Vox 86555
4Soft Pad 06490
5Female Aahs 86653
6Male Aahs 86853
7Thum Voice 06654
8Lunar Strngs16790
9Decay Choir 16453
10Dcy ChoirPad16690
Others
1Nylon-str.Gt0025
2Steel-str.Gt0026
NumNameMSBLSB PC
3AcousticBass07133
4A.Bass+Cymbl06633
5FingeredBass0034
6Alto Sax 06766
7Tenor Sax 86667
GM2
8STANDARD Set12001
9ROOM Set 12009
10POWER Set 120017
11ELEC.Set 120025
12ANALOG Set 120026
13JAZZ Set 120033
14BRUSH Set 120041
15ORCH.Set 120049
16SFX Set 120057
17Piano 1 12101
18Piano 1w 12111
19Piano 1d 12121
20Piano 2 12102
21Piano 2w 12112
22Piano 3 12103
23Piano 3w 12113
24Honky-tonk 12104
25Honky-tonk w12114
26E.Piano 1 12105
27Detuned EP 112115
28Vintage EP 12125
29'60s E.Piano12135
30E.Piano 2 12106
31Detuned EP 212116
32St.FM EP 12126
33EP Legend 12136
34EP Phase 12146
35Harpsichord 12107
36Coupled Hps.12117
37Harpsi.w 12127
38Harpsi.o 12137
39Clav. 12108
40Pulse Clav. 12118
41Celesta 12109
42Glockenspiel121010
43Music Box 121011
44Vibraphone 121012
45Vibraphone w121112
46Marimba 121013
47Marimba w 121113
48Xylophone 121014
49TubularBells121015
50Church Bell 121115
51Carillon 121215
52Santur 121016
53Organ 1 121017
54TremoloOrgan121117
55'60s Organ 121217
56Organ 2 121317
57Perc.Organ 1121018
58Chorus Organ121118
59Perc.Organ 2121218
60Rock Organ 121019
61Church Org.1121020
62Church Org.2121120
63Church Org.3121220
64Reed Organ 121021
30
MIDI Implementation
NumNameMSBLSB PC
65Puff Organ 121121
66Accordion 1 121022
67Accordion 2 121122
68Harmonica 121023
69Bandoneon 121024
70Nylon-str.Gt121025
71Ukulele 121125
72Nylon Gt o 121225
73Nylon Gt 2 121325
74Steel-str.Gt121026
7512-str.Gt 121126
76Mandolin 121226
77Steel+Body 121326
78Jazz Guitar 121027
79Hawaiian Gt 121127
80Clean Guitar121028
81Chorus Gt 1 121128
82Mid Tone Gt 121228
83Muted Guitar121029
84Funk Guitar1121129
85Funk Guitar2121229
86Chorus Gt 2 121329
87Overdrive Gt121030
88Guitar Pinch121130
89DistortionGt121031
90Gt Feedback1121131
91Dist.Rtm Gt 121231
92Gt Harmonics121032
93Gt Feedback2121132
94AcousticBass121033
95FingeredBass121034
96Finger Slap 121134
97Picked Bass 121035
98FretlessBass121036
99Slap Bass 1 121037
100Slap Bass 2 121038
101Synth Bass 1121039
102WarmSyn.Bass121139
103Synth Bass 3121239
104Clav.Bass 121339
105Hammer 121439
106Synth Bass 2121040
107Synth Bass 4121140
108RubberSyn.Bs121240
109Attack Pulse121340
110Violin 121041
111Slow Violin 121141
112Viola 121042
113Cello 121043
114Contrabass 121044
115Tremolo Str.121045
116PizzicatoStr121046
117Harp 121047
118Yang Qin 121147
119Timpani 121048
120Strings 121049
121Orchestra 121149
122'60s Strings121249
123Slow Strings121050
124Syn.Strings1121051
125Syn.Strings3121151
126Syn.Strings2121052
127Choir 1 121053
NumNameMSBLSB PC
128Choir 2 121153
129Voice 121054
130Humming 121154
131Synth Voice 121055
132Analog Voice121155
133OrchestraHit121056
134Bass Hit 121156
1356th Hit 121256
136Euro Hit 121356
137Trumpet 121057
138Dark Trumpet121157
139Trombone 1 121058
140Trombone 2 121158
141Bright Tb 121258
142Tuba 121059
143MuteTrumpet1121060
144MuteTrumpet2121160
145French Horn1121061
146French Horn2121161
147Brass 1 121062
148Brass 2 121162
149Synth Brass1121063
150Synth Brass3121163
151AnalogBrass1121263
152Jump Brass 121363
153Synth Brass2121064
154Synth Brass4121164
155AnalogBrass2121264
156Soprano Sax 121065
157Alto Sax 121066
158Tenor Sax 121067
159Baritone Sax121068
160Oboe 121069
161English Horn121070
162Bassoon 121071
163Clarinet 121072
164Piccolo 121073
165Flute 121074
166Recorder 121075
167Pan Flute 121076
168Bottle Blow 121077
169Shakuhachi 121078
170Whistle 121079
171Ocarina 121080
172Square Lead1121081
173Square Lead2121181
174Sine Lead 121281
175Saw Lead 1 121082
176Saw Lead 2 121182
177Doctor Solo 121282
178Natural Lead121382
179SequencedSaw121482
180Syn.Calliope121083
181Chiffer Lead121084
182Charang 121085
183Wire Lead 121185
184Solo Vox 121086
1855th Saw Lead121087
186Bass+Lead 121088
187Delayed Lead121188
188Fantasia 121089
189Warm Pad 121090
190Sine Pad 121190
31
MIDI Implementation
NumNameMSBLSB PC
191Polysynth 121091
192Space Voice 121092
193Itopia 121192
194Bowed Glass 121093
195Metallic Pad121094
196Halo Pad 121095
197Sweep Pad 121096
198Ice Rain 121097
199Soundtrack 121098
200Crystal 121099
201Synth Mallet121199
202Atmosphere 1210100
203Brightness 1210101
204Goblins 1210102
205Echo Drops 1210103
206Echo Bell 1211103
207Echo Pan 1212103
208Star Theme 1210104
209Sitar 1 1210105
210Sitar 2 1211105
211Banjo 1210106
212Shamisen 1210107
213Koto 1210108
214Taisho Koto 1211108
215Kalimba 1210109
216Bagpipe 1210110
217Fiddle 1210111
218Shanai 1210112
219Tinkle Bell 1210113
220Agogo 1210114
221Steel Drums 1210115
222Woodblock 1210116
223Castanets 1211116
224Taiko 1210117
225Concert BD 1211117
226Melodic Tom11210118
227Melodic Tom21211118
228Synth Drum 1210119
229TR-808 Tom 1211119
230Elec.Perc. 1212119
231Reverse Cym.1210120
232Gt FretNoise1210121
233Gt Cut Noise1211121
234BsStringSlap1212121
235Breath Noise1210122
236Fl.Key Click1211122
237Seashore 1210123
238Rain 1211123
239Thunder 1212123
240Wind 1213123
241Stream 1214123
242Bubble 1215123
243Bird 1 1210124
244Dog 1211124
245Horse Gallop1212124
246Bird 2 1213124
247Telephone 1 1210125
248Telephone 2 1211125
249DoorCreaking1212125
250Door 1213125
251Scratch 1214125
252Wind Chimes 1215125
253Helicopter 1210126
NumNameMSBLSB PC
254Car Engine 1211126
255Car Stop 1212126
256Car Pass 1213126
257Car Crash 1214126
258Siren 1215126
259Train 1216126
260Jetplane 1217126
261Starship 1218126
262Burst Noise 1219126
263Applause 1210127
264Laughing 1211127
265Screaming 1212127
266Punch 1213127
267Heart Beat 1214127
268Footsteps 1215127
269Gun Shot 1210128
270Machine Gun 1211128
271Laser Gun 1212128
272Explosion 1213128
32
MIDI Implementation
7. Tone List (HP203)
NumNameMSBLSB PC
Piano
1Grand Piano10681
2Piano + Str.25641
3Harpsichord 0667
4Grand Piano216671
5Piano+Choir 26641
6Honky-tonk 0644
E.Piano
1Pop E.Piano 16675
2FM E.Piano 0706
3Vibraphone 0012
4Celesta 009
5'60s E.Piano24655
6Clav. 0678
7Morning Lite06899
Organ
1ChurchOrgan106620
2ChurchOrgan286920
3Combo Jz.Org07019
4Ballad Organ06919
5Nason flt 8'166620
6Mellow Bars 326817
7Light Organ 326917
8Lower Organ 06617
Strings
1Rich Strings07150
2OrchestraStr06449
3Harp 06847
4Violin 0041
5Flute 06474
6PizzicatoStr0046
7DecayStrings16550
Voice
1Aerial Choir86453
2Jazz Scat 06555
3Soft Pad 06490
4Female Aahs 86653
5Male Aahs 86853
6Thum Voice 06654
7Decay Choir 16453
8Dcy ChoirPad16690
Others
1Nylon-str.Gt0025
2Steel-str.Gt0026
3AcousticBass07133
4A.Bass+Cymbl06633
5FingeredBass0034
GM2
6STANDARD Set12001
7ROOM Set 12009
8POWER Set 120017
9ELEC.Set 120025
10ANALOG Set 120026
11JAZZ Set 120033
12BRUSH Set 120041
13ORCH.Set 120049
NumNameMSBLSB PC
14SFX Set 120057
15Piano 1 12101
16Piano 1w 12111
17Piano 1d 12121
18Piano 2 12102
19Piano 2w 12112
20Piano 3 12103
21Piano 3w 12113
22Honky-tonk 12104
23Honky-tonk w12114
24E.Piano 1 12105
25Detuned EP 112115
26Vintage EP 12125
27'60s E.Piano12135
28E.Piano 2 12106
29Detuned EP 212116
30St.FM EP 12126
31EP Legend 12136
32EP Phase 12146
33Harpsichord 12107
34Coupled Hps.12117
35Harpsi.w 12127
36Harpsi.o 12137
37Clav. 12108
38Pulse Clav. 12118
39Celesta 12109
40Glockenspiel121010
41Music Box 121011
42Vibraphone 121012
43Vibraphone w121112
44Marimba 121013
45Marimba w 121113
46Xylophone 121014
47TubularBells121015
48Church Bell 121115
49Carillon 121215
50Santur 121016
51Organ 1 121017
52TremoloOrgan121117
53'60s Organ 121217
54Organ 2 121317
55Perc.Organ 1121018
56Chorus Organ121118
57Perc.Organ 2121218
58Rock Organ 121019
59Church Org.1121020
60Church Org.2121120
61Church Org.3121220
62Reed Organ 121021
63Puff Organ 121121
64Accordion 1 121022
65Accordion 2 121122
66Harmonica 121023
67Bandoneon 121024
68Nylon-str.Gt121025
69Ukulele 121125
70Nylon Gt o 121225
71Nylon Gt 2 121325
72Steel-str.Gt121026
7312-str.Gt 121126
74Mandolin 121226
75Steel+Body 121326
76Jazz Guitar 121027
33
MIDI Implementation
NumNameMSBLSB PC
77Hawaiian Gt 121127
78Clean Guitar121028
79Chorus Gt 1 121128
80Mid Tone Gt 121228
81Muted Guitar121029
82Funk Guitar1121129
83Funk Guitar2121229
84Chorus Gt 2 121329
85Overdrive Gt121030
86Guitar Pinch121130
87DistortionGt121031
88Gt Feedback1121131
89Dist.Rtm Gt 121231
90Gt Harmonics121032
91Gt Feedback2121132
92AcousticBass121033
93FingeredBass121034
94Finger Slap 121134
95Picked Bass 121035
96FretlessBass121036
97Slap Bass 1 121037
98Slap Bass 2 121038
99Synth Bass 1121039
100WarmSyn.Bass121139
101Synth Bass 3121239
102Clav.Bass 121339
103Hammer 121439
104Synth Bass 2121040
105Synth Bass 4121140
106RubberSyn.Bs121240
107Attack Pulse121340
108Violin 121041
109Slow Violin 121141
110Viola 121042
111Cello 121043
112Contrabass 121044
113Tremolo Str.121045
114PizzicatoStr121046
115Harp 121047
116Yang Qin 121147
117Timpani 121048
118Strings 121049
119Orchestra 121149
120'60s Strings121249
121Slow Strings121050
122Syn.Strings1121051
123Syn.Strings3121151
124Syn.Strings2121052
125Choir 1 121053
126Choir 2 121153
127Voice 121054
128Humming 121154
129Synth Voice 121055
130Analog Voice121155
131OrchestraHit121056
132Bass Hit 121156
1336th Hit 121256
134Euro Hit 121356
135Trumpet 121057
136Dark Trumpet121157
137Trombone 1 121058
138Trombone 2 121158
139Bright Tb 121258
NumNameMSBLSB PC
140Tuba 121059
141MuteTrumpet1121060
142MuteTrumpet2121160
143French Horn1121061
144French Horn2121161
145Brass 1 121062
146Brass 2 121162
147Synth Brass1121063
148Synth Brass3121163
149AnalogBrass1121263
150Jump Brass 121363
151Synth Brass2121064
152Synth Brass4121164
153AnalogBrass2121264
154Soprano Sax 121065
155Alto Sax 121066
156Tenor Sax 121067
157Baritone Sax121068
158Oboe 121069
159English Horn121070
160Bassoon 121071
161Clarinet 121072
162Piccolo 121073
163Flute 121074
164Recorder 121075
165Pan Flute 121076
166Bottle Blow 121077
167Shakuhachi 121078
168Whistle 121079
169Ocarina 121080
170Square Lead1121081
171Square Lead2121181
172Sine Lead 121281
173Saw Lead 1 121082
174Saw Lead 2 121182
175Doctor Solo 121282
176Natural Lead121382
177SequencedSaw121482
178Syn.Calliope121083
179Chiffer Lead121084
180Charang 121085
181Wire Lead 121185
182Solo Vox 121086
1835th Saw Lead121087
184Bass+Lead 121088
185Delayed Lead121188
186Fantasia 121089
187Warm Pad 121090
188Sine Pad 121190
189Polysynth 121091
190Space Voice 121092
191Itopia 121192
192Bowed Glass 121093
193Metallic Pad121094
194Halo Pad 121095
195Sweep Pad 121096
196Ice Rain 121097
197Soundtrack 121098
198Crystal 121099
199Synth Mallet121199
200Atmosphere 1210100
201Brightness 1210101
202Goblins 1210102
34
MIDI Implementation
NumNameMSBLSB PC
203Echo Drops 1210103
204Echo Bell 1211103
205Echo Pan 1212103
206Star Theme 1210104
207Sitar 1 1210105
208Sitar 2 1211105
209Banjo 1210106
210Shamisen 1210107
211Koto 1210108
212Taisho Koto 1211108
213Kalimba 1210109
214Bagpipe 1210110
215Fiddle 1210111
216Shanai 1210112
217Tinkle Bell 1210113
218Agogo 1210114
219Steel Drums 1210115
220Woodblock 1210116
221Castanets 1211116
222Taiko 1210117
223Concert BD 1211117
224Melodic Tom11210118
225Melodic Tom21211118
226Synth Drum 1210119
227TR-808 Tom 1211119
228Elec.Perc. 1212119
229Reverse Cym.1210120
230Gt FretNoise1210121
231Gt Cut Noise1211121
232BsStringSlap1212121
233Breath Noise1210122
234Fl.Key Click1211122
235Seashore 1210123
236Rain 1211123
237Thunder 1212123
238Wind 1213123
239Stream 1214123
240Bubble 1215123
241Bird 1 1210124
242Dog 1211124
243Horse Gallop1212124
244Bird 2 1213124
245Telephone 1 1210125
246Telephone 2 1211125
247DoorCreaking1212125
248Door 1213125
249Scratch 1214125
250Wind Chimes 1215125
251Helicopter 1210126
252Car Engine 1211126
253Car Stop 1212126
254Car Pass 1213126
255Car Crash 1214126
256Siren 1215126
257Train 1216126
258Jetplane 1217126
259Starship 1218126
260Burst Noise 1219126
261Applause 1210127
262Laughing 1211127
263Screaming 1212127
264Punch 1213127
265Heart Beat 1214127
NumNameMSBLSB PC
266Footsteps 1215127
267Gun Shot 1210128
268Machine Gun 1211128
269Laser Gun 1212128
270Explosion 1213128
35
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