Roland HP-203 MIDI Implementation

Model: HP205/HP203
MIDI Implementation
Date: Nov.6, 2008 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 © 2008 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
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
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
Explanation
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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
6
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)
7
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)
Expression (Controller number 11)
Status
BnH 0BH vvH
n = MIDI channel number: 0H-FH (ch.1-ch.16)
vv = Expression: 00H-7FH (0-127)
Hold 1 (Controller number 64)
Status
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
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)
Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH 5BH vvH
n = MIDI channel number: 0H-FH (ch.1-ch.16)
vv = Control value: 00H-7FH (0-127)
2nd bytes 3rd byte
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, 02H, 01H, 00H, 00H F7H [HP205]
F0H 7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, 16H, 03H, 01H, 00H, 00H F7H [HP203]
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)
02H (03H) Software revision level
01H Software revision level
00H Software revision level
00H Software revision level
F7H EOX (End of Exclusive)
Data byte Status
8

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.
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.
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
11
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
12
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]
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 [%]
13
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
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
15
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: OverdriveChorus
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: OverdriveFlanger
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: OverdriveDelay
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: DistortionChorus
The parameters are essentially the same as in “OverdriveChorus,” with the exception of the
following two.
Overdrive DriveDistortion Drive
Overdrive PanDistortion Pan
0204: DistortionFlanger
The parameters are essentially the same as in “OverdriveFlanger,” with the exception of the
following two.
Overdrive DriveDistortion Drive
Overdrive PanDistortion Pan
0205: DistortionDelay
The parameters are essentially the same as in “OverdriveDelay,” with the exception of the
following two.
Overdrive DriveDistortion Drive
Overdrive PanDistortion Pan
0206: EnhancerChorus
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: EnhancerFlanger
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: EnhancerDelay
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: ChorusDelay
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: FlangerDelay
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: ChorusFlanger
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
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
MIDI Implementation
29
MIDI Implementation

6. Tone List (HP205)

Num Name MSB LSB PC
Piano
1 Grand Piano1 0 68 1
2 Piano + Str. 25 64 1
3 Harpsichord 0 66 7
4 Grand Piano2 16 67 1
5 Piano + Pad 47 64 3
6 Grand Piano3 8 66 2
7 Piano+Choir 26 64 1
8 Honky-tonk 0 64 4
9 Coupled Hps. 8 66 7
E.Piano
1 Pop E.Piano 16 67 5
2 FM E.Piano 0 70 6
3 Vibraphone 0 0 12
4 Celesta 0 0 9
5 '60s E.Piano 24 65 5
6 Clav. 0 67 8
7 Morning Lite 0 68 99
8 Marimba 0 64 13
9 Ballad Bells 0 66 9
10 E.Grand 0 69 3
Organ
1 ChurchOrgan1 0 66 20
2 ChurchOrgan2 8 69 20
3 Combo Jz.Org 0 70 19
4 Ballad Organ 0 69 19
5 Accordion 0 68 22
6 Nason flt 8' 16 66 20
7 Mellow Bars 32 68 17
8 Light Organ 32 69 17
9 Lower Organ 0 66 17
10 '60s Organ 16 64 17
Strings
1 Rich Strings 0 71 50
2 OrchestraStr 0 64 49
3 Orchestra 8 66 49
4 Harp 0 68 47
5 Violin 0 0 41
6 Flute 0 64 74
7 Cello 0 0 43
8 PizzicatoStr 0 0 46
9 DecayStrings 1 65 50
Voice
1 Aerial Choir 8 64 53
2 Jazz Scat 0 65 55
3 Beauty Vox 8 65 55
4 Soft Pad 0 64 90
5 Female Aahs 8 66 53
6 Male Aahs 8 68 53
7 Thum Voice 0 66 54
8 Lunar Strngs 1 67 90
9 Decay Choir 1 64 53
10 Dcy ChoirPad 1 66 90
Others
1 Nylon-str.Gt 0 0 25
2 Steel-str.Gt 0 0 26
Num Name MSB LSB PC
3 AcousticBass 0 71 33
4 A.Bass+Cymbl 0 66 33
5 FingeredBass 0 0 34
6 Alto Sax 0 67 66
7 Tenor Sax 8 66 67
GM2
8 STANDARD Set 120 0 1
9 ROOM Set 120 0 9
10 POWER Set 120 0 17
11 ELEC.Set 120 0 25
12 ANALOG Set 120 0 26
13 JAZZ Set 120 0 33
14 BRUSH Set 120 0 41
15 ORCH.Set 120 0 49
16 SFX Set 120 0 57
17 Piano 1 121 0 1
18 Piano 1w 121 1 1
19 Piano 1d 121 2 1
20 Piano 2 121 0 2
21 Piano 2w 121 1 2
22 Piano 3 121 0 3
23 Piano 3w 121 1 3
24 Honky-tonk 121 0 4
25 Honky-tonk w 121 1 4
26 E.Piano 1 121 0 5
27 Detuned EP 1 121 1 5
28 Vintage EP 121 2 5
29 '60s E.Piano 121 3 5
30 E.Piano 2 121 0 6
31 Detuned EP 2 121 1 6
32 St.FM EP 121 2 6
33 EP Legend 121 3 6
34 EP Phase 121 4 6
35 Harpsichord 121 0 7
36 Coupled Hps. 121 1 7
37 Harpsi.w 121 2 7
38 Harpsi.o 121 3 7
39 Clav. 121 0 8
40 Pulse Clav. 121 1 8
41 Celesta 121 0 9
42 Glockenspiel 121 0 10
43 Music Box 121 0 11
44 Vibraphone 121 0 12
45 Vibraphone w 121 1 12
46 Marimba 121 0 13
47 Marimba w 121 1 13
48 Xylophone 121 0 14
49 TubularBells 121 0 15
50 Church Bell 121 1 15
51 Carillon 121 2 15
52 Santur 121 0 16
53 Organ 1 121 0 17
54 TremoloOrgan 121 1 17
55 '60s Organ 121 2 17
56 Organ 2 121 3 17
57 Perc.Organ 1 121 0 18
58 Chorus Organ 121 1 18
59 Perc.Organ 2 121 2 18
60 Rock Organ 121 0 19
61 Church Org.1 121 0 20
62 Church Org.2 121 1 20
63 Church Org.3 121 2 20
64 Reed Organ 121 0 21
30
MIDI Implementation
Num Name MSB LSB PC
65 Puff Organ 121 1 21
66 Accordion 1 121 0 22
67 Accordion 2 121 1 22
68 Harmonica 121 0 23
69 Bandoneon 121 0 24
70 Nylon-str.Gt 121 0 25
71 Ukulele 121 1 25
72 Nylon Gt o 121 2 25
73 Nylon Gt 2 121 3 25
74 Steel-str.Gt 121 0 26
75 12-str.Gt 121 1 26
76 Mandolin 121 2 26
77 Steel+Body 121 3 26
78 Jazz Guitar 121 0 27
79 Hawaiian Gt 121 1 27
80 Clean Guitar 121 0 28
81 Chorus Gt 1 121 1 28
82 Mid Tone Gt 121 2 28
83 Muted Guitar 121 0 29
84 Funk Guitar1 121 1 29
85 Funk Guitar2 121 2 29
86 Chorus Gt 2 121 3 29
87 Overdrive Gt 121 0 30
88 Guitar Pinch 121 1 30
89 DistortionGt 121 0 31
90 Gt Feedback1 121 1 31
91 Dist.Rtm Gt 121 2 31
92 Gt Harmonics 121 0 32
93 Gt Feedback2 121 1 32
94 AcousticBass 121 0 33
95 FingeredBass 121 0 34
96 Finger Slap 121 1 34
97 Picked Bass 121 0 35
98 FretlessBass 121 0 36
99 Slap Bass 1 121 0 37
100 Slap Bass 2 121 0 38
101 Synth Bass 1 121 0 39
102 WarmSyn.Bass 121 1 39
103 Synth Bass 3 121 2 39
104 Clav.Bass 121 3 39
105 Hammer 121 4 39
106 Synth Bass 2 121 0 40
107 Synth Bass 4 121 1 40
108 RubberSyn.Bs 121 2 40
109 Attack Pulse 121 3 40
110 Violin 121 0 41
111 Slow Violin 121 1 41
112 Viola 121 0 42
113 Cello 121 0 43
114 Contrabass 121 0 44
115 Tremolo Str. 121 0 45
116 PizzicatoStr 121 0 46
117 Harp 121 0 47
118 Yang Qin 121 1 47
119 Timpani 121 0 48
120 Strings 121 0 49
121 Orchestra 121 1 49
122 '60s Strings 121 2 49
123 Slow Strings 121 0 50
124 Syn.Strings1 121 0 51
125 Syn.Strings3 121 1 51
126 Syn.Strings2 121 0 52
127 Choir 1 121 0 53
Num Name MSB LSB PC
128 Choir 2 121 1 53
129 Voice 121 0 54
130 Humming 121 1 54
131 Synth Voice 121 0 55
132 Analog Voice 121 1 55
133 OrchestraHit 121 0 56
134 Bass Hit 121 1 56
135 6th Hit 121 2 56
136 Euro Hit 121 3 56
137 Trumpet 121 0 57
138 Dark Trumpet 121 1 57
139 Trombone 1 121 0 58
140 Trombone 2 121 1 58
141 Bright Tb 121 2 58
142 Tuba 121 0 59
143 MuteTrumpet1 121 0 60
144 MuteTrumpet2 121 1 60
145 French Horn1 121 0 61
146 French Horn2 121 1 61
147 Brass 1 121 0 62
148 Brass 2 121 1 62
149 Synth Brass1 121 0 63
150 Synth Brass3 121 1 63
151 AnalogBrass1 121 2 63
152 Jump Brass 121 3 63
153 Synth Brass2 121 0 64
154 Synth Brass4 121 1 64
155 AnalogBrass2 121 2 64
156 Soprano Sax 121 0 65
157 Alto Sax 121 0 66
158 Tenor Sax 121 0 67
159 Baritone Sax 121 0 68
160 Oboe 121 0 69
161 English Horn 121 0 70
162 Bassoon 121 0 71
163 Clarinet 121 0 72
164 Piccolo 121 0 73
165 Flute 121 0 74
166 Recorder 121 0 75
167 Pan Flute 121 0 76
168 Bottle Blow 121 0 77
169 Shakuhachi 121 0 78
170 Whistle 121 0 79
171 Ocarina 121 0 80
172 Square Lead1 121 0 81
173 Square Lead2 121 1 81
174 Sine Lead 121 2 81
175 Saw Lead 1 121 0 82
176 Saw Lead 2 121 1 82
177 Doctor Solo 121 2 82
178 Natural Lead 121 3 82
179 SequencedSaw 121 4 82
180 Syn.Calliope 121 0 83
181 Chiffer Lead 121 0 84
182 Charang 121 0 85
183 Wire Lead 121 1 85
184 Solo Vox 121 0 86
185 5th Saw Lead 121 0 87
186 Bass+Lead 121 0 88
187 Delayed Lead 121 1 88
188 Fantasia 121 0 89
189 Warm Pad 121 0 90
190 Sine Pad 121 1 90
31
MIDI Implementation
Num Name MSB LSB PC
191 Polysynth 121 0 91
192 Space Voice 121 0 92
193 Itopia 121 1 92
194 Bowed Glass 121 0 93
195 Metallic Pad 121 0 94
196 Halo Pad 121 0 95
197 Sweep Pad 121 0 96
198 Ice Rain 121 0 97
199 Soundtrack 121 0 98
200 Crystal 121 0 99
201 Synth Mallet 121 1 99
202 Atmosphere 121 0 100
203 Brightness 121 0 101
204 Goblins 121 0 102
205 Echo Drops 121 0 103
206 Echo Bell 121 1 103
207 Echo Pan 121 2 103
208 Star Theme 121 0 104
209 Sitar 1 121 0 105
210 Sitar 2 121 1 105
211 Banjo 121 0 106
212 Shamisen 121 0 107
213 Koto 121 0 108
214 Taisho Koto 121 1 108
215 Kalimba 121 0 109
216 Bagpipe 121 0 110
217 Fiddle 121 0 111
218 Shanai 121 0 112
219 Tinkle Bell 121 0 113
220 Agogo 121 0 114
221 Steel Drums 121 0 115
222 Woodblock 121 0 116
223 Castanets 121 1 116
224 Taiko 121 0 117
225 Concert BD 121 1 117
226 Melodic Tom1 121 0 118
227 Melodic Tom2 121 1 118
228 Synth Drum 121 0 119
229 TR-808 Tom 121 1 119
230 Elec.Perc. 121 2 119
231 Reverse Cym. 121 0 120
232 Gt FretNoise 121 0 121
233 Gt Cut Noise 121 1 121
234 BsStringSlap 121 2 121
235 Breath Noise 121 0 122
236 Fl.Key Click 121 1 122
237 Seashore 121 0 123
238 Rain 121 1 123
239 Thunder 121 2 123
240 Wind 121 3 123
241 Stream 121 4 123
242 Bubble 121 5 123
243 Bird 1 121 0 124
244 Dog 121 1 124
245 Horse Gallop 121 2 124
246 Bird 2 121 3 124
247 Telephone 1 121 0 125
248 Telephone 2 121 1 125
249 DoorCreaking 121 2 125
250 Door 121 3 125
251 Scratch 121 4 125
252 Wind Chimes 121 5 125
253 Helicopter 121 0 126
Num Name MSB LSB PC
254 Car Engine 121 1 126
255 Car Stop 121 2 126
256 Car Pass 121 3 126
257 Car Crash 121 4 126
258 Siren 121 5 126
259 Train 121 6 126
260 Jetplane 121 7 126
261 Starship 121 8 126
262 Burst Noise 121 9 126
263 Applause 121 0 127
264 Laughing 121 1 127
265 Screaming 121 2 127
266 Punch 121 3 127
267 Heart Beat 121 4 127
268 Footsteps 121 5 127
269 Gun Shot 121 0 128
270 Machine Gun 121 1 128
271 Laser Gun 121 2 128
272 Explosion 121 3 128
32
MIDI Implementation

7. Tone List (HP203)

Num Name MSB LSB PC
Piano
1 Grand Piano1 0 68 1
2 Piano + Str. 25 64 1
3 Harpsichord 0 66 7
4 Grand Piano2 16 67 1
5 Piano+Choir 26 64 1
6 Honky-tonk 0 64 4
E.Piano
1 Pop E.Piano 16 67 5
2 FM E.Piano 0 70 6
3 Vibraphone 0 0 12
4 Celesta 0 0 9
5 '60s E.Piano 24 65 5
6 Clav. 0 67 8
7 Morning Lite 0 68 99
Organ
1 ChurchOrgan1 0 66 20
2 ChurchOrgan2 8 69 20
3 Combo Jz.Org 0 70 19
4 Ballad Organ 0 69 19
5 Nason flt 8' 16 66 20
6 Mellow Bars 32 68 17
7 Light Organ 32 69 17
8 Lower Organ 0 66 17
Strings
1 Rich Strings 0 71 50
2 OrchestraStr 0 64 49
3 Harp 0 68 47
4 Violin 0 0 41
5 Flute 0 64 74
6 PizzicatoStr 0 0 46
7 DecayStrings 1 65 50
Voice
1 Aerial Choir 8 64 53
2 Jazz Scat 0 65 55
3 Soft Pad 0 64 90
4 Female Aahs 8 66 53
5 Male Aahs 8 68 53
6 Thum Voice 0 66 54
7 Decay Choir 1 64 53
8 Dcy ChoirPad 1 66 90
Others
1 Nylon-str.Gt 0 0 25
2 Steel-str.Gt 0 0 26
3 AcousticBass 0 71 33
4 A.Bass+Cymbl 0 66 33
5 FingeredBass 0 0 34
GM2
6 STANDARD Set 120 0 1
7 ROOM Set 120 0 9
8 POWER Set 120 0 17
9 ELEC.Set 120 0 25
10 ANALOG Set 120 0 26
11 JAZZ Set 120 0 33
12 BRUSH Set 120 0 41
13 ORCH.Set 120 0 49
Num Name MSB LSB PC
14 SFX Set 120 0 57
15 Piano 1 121 0 1
16 Piano 1w 121 1 1
17 Piano 1d 121 2 1
18 Piano 2 121 0 2
19 Piano 2w 121 1 2
20 Piano 3 121 0 3
21 Piano 3w 121 1 3
22 Honky-tonk 121 0 4
23 Honky-tonk w 121 1 4
24 E.Piano 1 121 0 5
25 Detuned EP 1 121 1 5
26 Vintage EP 121 2 5
27 '60s E.Piano 121 3 5
28 E.Piano 2 121 0 6
29 Detuned EP 2 121 1 6
30 St.FM EP 121 2 6
31 EP Legend 121 3 6
32 EP Phase 121 4 6
33 Harpsichord 121 0 7
34 Coupled Hps. 121 1 7
35 Harpsi.w 121 2 7
36 Harpsi.o 121 3 7
37 Clav. 121 0 8
38 Pulse Clav. 121 1 8
39 Celesta 121 0 9
40 Glockenspiel 121 0 10
41 Music Box 121 0 11
42 Vibraphone 121 0 12
43 Vibraphone w 121 1 12
44 Marimba 121 0 13
45 Marimba w 121 1 13
46 Xylophone 121 0 14
47 TubularBells 121 0 15
48 Church Bell 121 1 15
49 Carillon 121 2 15
50 Santur 121 0 16
51 Organ 1 121 0 17
52 TremoloOrgan 121 1 17
53 '60s Organ 121 2 17
54 Organ 2 121 3 17
55 Perc.Organ 1 121 0 18
56 Chorus Organ 121 1 18
57 Perc.Organ 2 121 2 18
58 Rock Organ 121 0 19
59 Church Org.1 121 0 20
60 Church Org.2 121 1 20
61 Church Org.3 121 2 20
62 Reed Organ 121 0 21
63 Puff Organ 121 1 21
64 Accordion 1 121 0 22
65 Accordion 2 121 1 22
66 Harmonica 121 0 23
67 Bandoneon 121 0 24
68 Nylon-str.Gt 121 0 25
69 Ukulele 121 1 25
70 Nylon Gt o 121 2 25
71 Nylon Gt 2 121 3 25
72 Steel-str.Gt 121 0 26
73 12-str.Gt 121 1 26
74 Mandolin 121 2 26
75 Steel+Body 121 3 26
76 Jazz Guitar 121 0 27
33
MIDI Implementation
Num Name MSB LSB PC
77 Hawaiian Gt 121 1 27
78 Clean Guitar 121 0 28
79 Chorus Gt 1 121 1 28
80 Mid Tone Gt 121 2 28
81 Muted Guitar 121 0 29
82 Funk Guitar1 121 1 29
83 Funk Guitar2 121 2 29
84 Chorus Gt 2 121 3 29
85 Overdrive Gt 121 0 30
86 Guitar Pinch 121 1 30
87 DistortionGt 121 0 31
88 Gt Feedback1 121 1 31
89 Dist.Rtm Gt 121 2 31
90 Gt Harmonics 121 0 32
91 Gt Feedback2 121 1 32
92 AcousticBass 121 0 33
93 FingeredBass 121 0 34
94 Finger Slap 121 1 34
95 Picked Bass 121 0 35
96 FretlessBass 121 0 36
97 Slap Bass 1 121 0 37
98 Slap Bass 2 121 0 38
99 Synth Bass 1 121 0 39
100 WarmSyn.Bass 121 1 39
101 Synth Bass 3 121 2 39
102 Clav.Bass 121 3 39
103 Hammer 121 4 39
104 Synth Bass 2 121 0 40
105 Synth Bass 4 121 1 40
106 RubberSyn.Bs 121 2 40
107 Attack Pulse 121 3 40
108 Violin 121 0 41
109 Slow Violin 121 1 41
110 Viola 121 0 42
111 Cello 121 0 43
112 Contrabass 121 0 44
113 Tremolo Str. 121 0 45
114 PizzicatoStr 121 0 46
115 Harp 121 0 47
116 Yang Qin 121 1 47
117 Timpani 121 0 48
118 Strings 121 0 49
119 Orchestra 121 1 49
120 '60s Strings 121 2 49
121 Slow Strings 121 0 50
122 Syn.Strings1 121 0 51
123 Syn.Strings3 121 1 51
124 Syn.Strings2 121 0 52
125 Choir 1 121 0 53
126 Choir 2 121 1 53
127 Voice 121 0 54
128 Humming 121 1 54
129 Synth Voice 121 0 55
130 Analog Voice 121 1 55
131 OrchestraHit 121 0 56
132 Bass Hit 121 1 56
133 6th Hit 121 2 56
134 Euro Hit 121 3 56
135 Trumpet 121 0 57
136 Dark Trumpet 121 1 57
137 Trombone 1 121 0 58
138 Trombone 2 121 1 58
139 Bright Tb 121 2 58
Num Name MSB LSB PC
140 Tuba 121 0 59
141 MuteTrumpet1 121 0 60
142 MuteTrumpet2 121 1 60
143 French Horn1 121 0 61
144 French Horn2 121 1 61
145 Brass 1 121 0 62
146 Brass 2 121 1 62
147 Synth Brass1 121 0 63
148 Synth Brass3 121 1 63
149 AnalogBrass1 121 2 63
150 Jump Brass 121 3 63
151 Synth Brass2 121 0 64
152 Synth Brass4 121 1 64
153 AnalogBrass2 121 2 64
154 Soprano Sax 121 0 65
155 Alto Sax 121 0 66
156 Tenor Sax 121 0 67
157 Baritone Sax 121 0 68
158 Oboe 121 0 69
159 English Horn 121 0 70
160 Bassoon 121 0 71
161 Clarinet 121 0 72
162 Piccolo 121 0 73
163 Flute 121 0 74
164 Recorder 121 0 75
165 Pan Flute 121 0 76
166 Bottle Blow 121 0 77
167 Shakuhachi 121 0 78
168 Whistle 121 0 79
169 Ocarina 121 0 80
170 Square Lead1 121 0 81
171 Square Lead2 121 1 81
172 Sine Lead 121 2 81
173 Saw Lead 1 121 0 82
174 Saw Lead 2 121 1 82
175 Doctor Solo 121 2 82
176 Natural Lead 121 3 82
177 SequencedSaw 121 4 82
178 Syn.Calliope 121 0 83
179 Chiffer Lead 121 0 84
180 Charang 121 0 85
181 Wire Lead 121 1 85
182 Solo Vox 121 0 86
183 5th Saw Lead 121 0 87
184 Bass+Lead 121 0 88
185 Delayed Lead 121 1 88
186 Fantasia 121 0 89
187 Warm Pad 121 0 90
188 Sine Pad 121 1 90
189 Polysynth 121 0 91
190 Space Voice 121 0 92
191 Itopia 121 1 92
192 Bowed Glass 121 0 93
193 Metallic Pad 121 0 94
194 Halo Pad 121 0 95
195 Sweep Pad 121 0 96
196 Ice Rain 121 0 97
197 Soundtrack 121 0 98
198 Crystal 121 0 99
199 Synth Mallet 121 1 99
200 Atmosphere 121 0 100
201 Brightness 121 0 101
202 Goblins 121 0 102
34
MIDI Implementation
Num Name MSB LSB PC
203 Echo Drops 121 0 103
204 Echo Bell 121 1 103
205 Echo Pan 121 2 103
206 Star Theme 121 0 104
207 Sitar 1 121 0 105
208 Sitar 2 121 1 105
209 Banjo 121 0 106
210 Shamisen 121 0 107
211 Koto 121 0 108
212 Taisho Koto 121 1 108
213 Kalimba 121 0 109
214 Bagpipe 121 0 110
215 Fiddle 121 0 111
216 Shanai 121 0 112
217 Tinkle Bell 121 0 113
218 Agogo 121 0 114
219 Steel Drums 121 0 115
220 Woodblock 121 0 116
221 Castanets 121 1 116
222 Taiko 121 0 117
223 Concert BD 121 1 117
224 Melodic Tom1 121 0 118
225 Melodic Tom2 121 1 118
226 Synth Drum 121 0 119
227 TR-808 Tom 121 1 119
228 Elec.Perc. 121 2 119
229 Reverse Cym. 121 0 120
230 Gt FretNoise 121 0 121
231 Gt Cut Noise 121 1 121
232 BsStringSlap 121 2 121
233 Breath Noise 121 0 122
234 Fl.Key Click 121 1 122
235 Seashore 121 0 123
236 Rain 121 1 123
237 Thunder 121 2 123
238 Wind 121 3 123
239 Stream 121 4 123
240 Bubble 121 5 123
241 Bird 1 121 0 124
242 Dog 121 1 124
243 Horse Gallop 121 2 124
244 Bird 2 121 3 124
245 Telephone 1 121 0 125
246 Telephone 2 121 1 125
247 DoorCreaking 121 2 125
248 Door 121 3 125
249 Scratch 121 4 125
250 Wind Chimes 121 5 125
251 Helicopter 121 0 126
252 Car Engine 121 1 126
253 Car Stop 121 2 126
254 Car Pass 121 3 126
255 Car Crash 121 4 126
256 Siren 121 5 126
257 Train 121 6 126
258 Jetplane 121 7 126
259 Starship 121 8 126
260 Burst Noise 121 9 126
261 Applause 121 0 127
262 Laughing 121 1 127
263 Screaming 121 2 127
264 Punch 121 3 127
265 Heart Beat 121 4 127
Num Name MSB LSB PC
266 Footsteps 121 5 127
267 Gun Shot 121 0 128
268 Machine Gun 121 1 128
269 Laser Gun 121 2 128
270 Explosion 121 3 128
35
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