Roland Integra-7 Parameter Guide

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Studio Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Top Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

STUDIO SET COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

GENERAL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

CONTROL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

PHASE LOCK tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

PART VIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

TONE tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

LEVEL/CH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

KBD tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

PITCH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

OFFSET tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

SCALE tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

MIDI tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

MOTIONAL SURROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

PART tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

CONTROL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

EFFECTS ROUTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

STUDIO SET EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

COMP+EQ OUTPUT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

CHORUS tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

REVERB tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

MASTER EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

SuperNATURAL Acoustic Tone (SN-A) . . . . . . . . . . . . . . . 15

TONE EDIT (SN-A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

INST tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

SuperNATURAL INST Parameters . . . . . . . . . . . . . . . . . . 18

Performance Variation Sounds . . . . . . . . . . . . . . . . . . . . 28

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

MFX CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

SuperNATURAL Synth Tone (SN-S) . . . . . . . . . . . . . . . . . . 32

TONE EDIT (SN-S) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

OSC tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

PITCH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

FILTER tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

AMP tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

LFO tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

MOD LFO tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

AFTERTOUCH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

MISC tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

MFX CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

SuperNATURAL Drum Kit (SN-D) . . . . . . . . . . . . . . . . . . .39

TONE EDIT (SN-D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

DRUM INST tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

COMP tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

MFX CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

SuperNATURAL Drum Inst List . . . . . . . . . . . . . . . . . . . . . . . . . . 41

PCM Synth Tone (PCMS) . . . . . . . . . . . . . . . . . . . . . . . . . . .47

TONE EDIT (PCMS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

WAVE tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

PMT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

PITCH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

PITCH ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

TVF tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

TVF ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

TVA tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

TVA ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

OUTPUT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

LFO1/LFO2 tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

STEP LFO tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

How to Apply the LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

MTRX CTRL1–4 tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

MFX CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

PCM Drum Kit (PCMD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

TONE EDIT (PCMD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

COMMON tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

WAVE tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

WMT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

PITCH tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

PITCH ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

TVF tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

TVF ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

TVA tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

TVA ENV tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

OUTPUT tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

COMP tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

EQ tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

MFX tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

MFX CTRL tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Contents

MFX Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Low Boost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Step Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Auto Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Humanizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Speaker Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Phaser 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Phaser 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Phaser 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Step Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Multi Stage Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Innite Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Slicer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Rotary 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Rotary 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Rotary 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Step Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Hexa-Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Tremolo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Space-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Guitar Amp Simulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Modulation Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

3Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

4Tap Pan Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Multi Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Reverse Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Time Ctrl Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

LOFI Compress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Bit Crasher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

2Voice Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Overdrive -> Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Overdrive -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Overdrive -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion -> Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Distortion -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

OD/DS -> TouchWah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

OD/DS -> AutoWah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

GuitarAmpSim -> Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 90

GuitarAmpSim -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . 91

GuitarAmpSim -> Phaser . . . . . . . . . . . . . . . . . . . . . . . . . 91

GuitarAmpSim -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . 92

EP AmpSim -> Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

EP AmpSim -> Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

EP AmpSim -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

EP AmpSim -> Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

EP AmpSim -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Enhancer -> Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Enhancer -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Enhancer -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chorus -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Flanger -> Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Chorus -> Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

About the STEP RESET function . . . . . . . . . . . . . . . . . . . 97

Controlling a MFX via MIDI (MFX CONTROL) . . . . . . . 97

Chorus, Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Chorus Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Reverb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

SuperNATURAL Tone CC Assign . . . . . . . . . . . . . . . . . . .100

SuperNATURAL Acoustic (SN-A) . . . . . . . . . . . . . . . . . . . . . . . 100

SuperNATURAL Drum (SN-D) . . . . . . . . . . . . . . . . . . . . . . . . . .106

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

Studio Set

Top Screen

Part number, Tone number/name

Tone type/bank

Solo and mute on/o for each part

* There are two types of top screen: TYPE 1 and TYPE 2. Use [SHIFT] + [ENTER] to switch between them.

Parameter Value Explanation

Studio Set Number 1–64

Tone Type

For details, refer to “TONE tab” (p. 6) of the PART VIEW screen.Tone Bank

Tone Number

MUTE OFF, ON

SOLO OFF, 1–16

TYPE1

Studio set number/name

Part number, Tone type/bank/name

Solo and mute on/o for each part

TYPE2

Selects the number of the studio set.

The studio set will be switched when you change the number and press [ENTER].

(This is shown if the system setting “Top Screen” is TYPE 2.)

Mutes (ON) or un-mutes (OFF) each part.

Use this setting when, for example, you want to use the instrument for karaoke by muting the part playing the melody, or when you want to play something using a separate sound module.

* The bar (—) above the part number is erased for parts whose mute setting is on.

* The Mute Switch parameter does not turn the part o, but sets the volume to minimum so that

no sound is heard. Therefore, MIDI messages are still received.

Only the sound of the part set to Solo will be heard.

* You can’t set the Ext part to Solo.

STUDIO SET COMMON

1. In the top screen, press the [MENU] button.

2. Choose “STUDIO SET COMMON,” and press the [ENTER] button.

Parameter Value Explanation

GENERAL tab

Tempo for the studio set

MEMO

Studio Set Tempo 20–250

Drum Comp+EQ Assign Part1–Part16

CONTROL tab

Tone Control 1 Src

Tone Control 2 Src

Tone Control 3 Src

Tone Control 4 Src

OFF, CC01–CC31, CC33–CC95, BEND, AFT

If the system setting “Tempo Assign Source” is set to STUDIO SET, the tempo setting of the studio set will be used as the tempo. If “Tempo Assign Source” is set to SYSTEM, the system’s tempo setting will be used as the tempo.

Species the part that will use the six sets of compressor + equalizer that are provided for use with a drum kit.

* If a tone (not a drum kit) is assigned to the part specied by Drum Comp+EQ Assign, the

Comp+EQ will not be available.

Specify the MIDI messages that will be used for Tone Control of the studio set.

MEMO

If you want to use the Tone Control 1–4 Src settings of each studio set to control the tone, set the system setting “Control Source Select” to STUDIO SET. If you want to use the system settings System Control 1–4 Src to control the tone, set the system setting “Control Source

Select” to “SYSTEM.”

Studio Set – GENERAL tab

PHASE LOCK tab

CH 1–CH 16 OFF, ON

Set Phase Lock to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

When the Phase Lock parameter is set to “ON,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

* Phase Lock is not available for SuperNATURAL acoustic organ-type instruments.

Studio Set – TONE tab

PART VIEW

1. In the top screen, press the [PART VIEW] button.

The PART VIEW -ALL- screen appears.

* Some of the part parameters are not shown in the

PART VIEW -ALL- screen.

2. Press the [PART VIEW] button again.

The PART VIEW screen appears.

Parameter Value Explanation

TONE tab

SN-A : SuperNATURAL Acoustic Tones

SN-S : SuperNATURAL Synth Tones

SN-D : SuperNATURAL Drum Kits

PCMS : PCM Synth Tones

PCMD : PCM Drum Kits

Tone Type

SN-A, SN-S, SN-D

PCMS, PCMD

Species the type of tone/drum kit assigned to each part.

PRST, USER,

GM2 (GM2#),

Tone Bank

Tone Number 001– Selects the number of the tone/drum kit assigned to each part.

ExSN1–ExSN6,

SRX01–SRX12,

ExPCM

Selects the group of the tone/drum kit assigned to each part.

• ExSN1–5 can be selected as SN-A if that expansion is loaded

• ExSN6 can be selected as SN-D if that expansion is loaded

• SRX01–12 and ExPCM can be selected as PCMS and PCMD if that expansion is loaded

LEVEL/CH tab

Level

(Also valid for the Ext part)

Pan L64–63R

Cho Send Level

(Also valid for the Ext part)

Rev Send Level

(Also valid for the Ext part)

Output Assign A, B, C, D, 1–8

Rx Switch OFF, ON

Rx Channel 1–16 Species the MIDI receive channel for each part.

Mono/Poly MONO, POLY, TONE

0–127

Adjust the volume of each part.

This setting’s main purpose is to adjust the volume balance between parts.

Adjust the pan of each part.

“L64” is far left, “0” is center, and “63R” is far right.

* If motional surround is on, surround output will be enabled and this setting will be ignored.

Adjusts the amount of Chorus for each Part.

If you don’t want to add the Chorus eect, set it to 0.

* This has no eect if motional surround is on.

Adjusts the amount of Reverb for each Part.

If you don’t want to add the Reverb eect, set it to 0.

* This has no eect if motional surround is on.

Species for each part how the sound will be output.

A, B, C, D: The sound will be output in stereo to the OUTPUT A (MIX) jacks or from the OUTPUT B, C, D jacks.

1–8: The sound will be output in monaural to the INDIVIDUAL 1–8 jacks.

For each part, specify whether MIDI messages will be received (ON), or not (OFF).

If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it

“OFF” when you do not want a specic part to be playing during song playback.

Set this parameter to “MONO” when the tone assigned to the part is to be played monophonically, or to “POLY” when the tone is to be played polyphonically. If you want to use the Mono/Poly setting of the tone assigned to the part (p. **), set this to “TONE.”

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

Parameter Value Explanation

You can add legato when performing monophonically. The term “legato” refers to a playing style in which notes are smoothly connected to create a owing feel. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If

Legato Switch OFF, ON, TONE

you want to use the Legato Switch setting of the tone assigned to the part, set this to “TONE.”

* This is not shown in PART VIEW -ALL-.

Studio Set – EQ tab

Voice Reserve 0–63, FULL

SN-A

(Ac.Piano)

This setting species the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

It is not possible for the settings of all parts to total an amount greater than 64.

* This is not shown in PART VIEW -ALL-.

SN-A

(Organ)

– –

EQ tab

EQ Switch OFF, ON EQ for each part on/o setting

EQ Low Freq 200, 400 [Hz]

EQ Low Gain -15–+15 [dB] Gain of the low frequency range

EQ Mid Freq

EQ Mid Gain -15–+15 [dB] Gain of the middle frequency range

EQ Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ High Freq 2000, 4000, 8000 [Hz]

EQ High Gain -15–+15 [dB] Gain of the high frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 [Hz]

Frequency of the low range

* This is not shown in PART VIEW -ALL-.

Frequency of the middle range

* This is not shown in PART VIEW -ALL-.

Width of the middle frequency range

Set a higher value for Q to narrow the range to be aected.

* This is not shown in PART VIEW -ALL-.

Frequency of the high range

* This is not shown in PART VIEW -ALL-.

KBD tab

SN-A

(Other)

SN-S SN-D PCMS PCMD

–

Level

Pitch

Fade Lower

Range Lower

Determines what will happen to the Part’s level when a note that’s higher than its specied

Key Fade Upper 0–127

Key Range Upper LOWER–G9

Key Range Lower C-1–UPPER Species the lowest note that the tone will sound for each part.

Key Fade Lower 0–127

keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the Tone to sound at all when a note above the keyboard range is played, set this parameter to 0.

Species the highest note that the tone will sound for each part.

* It is not possible to set Lower to a value greater than the Upper value, or Upper to a value less

than the Lower value.

Determines what will happen to the Part’s level when a note that’s lower than its specied keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the Tone to sound at all when a note below the keyboard range is played, set this parameter to 0.

Range Upper

Fade Upper

Studio Set – PITCH tab

Parameter Value Explanation

Level

Velocity

Velo Fade Upper 0–127

Velo Range Upper LOWER–127

Velo Range Lower 1–UPPER

Velo Fade Lower 0–127

Velo Sens Oset -63–+63

Fade Lower

Range Lower

Fade Upper

Range Upper

Determines what will happen to the tone’s level when the tone is played at a velocity greater than Velo Range Upper. If you don’t want the tone to sound at all, set this parameter to “0.”

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü ü

Species the highest velocity at which the part will sound.

* This is not shown in PART VIEW -ALL-.

Species the lowest velocity at which the part will sound.

* This is not shown in PART VIEW -ALL-.

Determines what will happen to the tone’s level when the tone is played at a velocity lower than Velo Range Lower. If you don’t want the tone to sound at all, set this parameter to “0.”

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü ü

Adjusts the velocity sensitivity. The higher the value, the greater the sensitivity.

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

– –

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü

PITCH tab

Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves).

Octave Shift -3–+3

SN-A

(Ac.Piano)

ü ü ü ü

Coarse Tune -48–+48 Adjusts the pitch of the part’s sound up or down in semitone steps (+/-4 octaves).

Adjusts the pitch of the part’s sound up or down in 1-cent steps (+/- 50 cents).

Fine Tune -50–+50

MEMO

One cent is 1/100th of a semitone.

Species the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the tone assigned to the part, set this to “TONE.”

Bend Range 0–24, TONE

SN-A

(Ac.Piano)

ü ü ü ü

Specify whether portamento will be applied. Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the tone assigned to the part, set this to “TONE.”

* This is not shown in PART VIEW -ALL-.

Porta Switch OFF, ON, TONE

SN-A

(Ac.Piano)

SN-A

(Organ)

SN-A

(Organ)

SN-A

(Organ)

–

SN-A

(Other)

SN-A

(Other)

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

SN-S SN-D PCMS PCMD

–

SN-S SN-D PCMS PCMD

–

ü ü

–

Parameter Value Explanation

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the tone assigned to the part, set this to “TONE.”

* This is not shown in PART VIEW -ALL-.

Porta Time 0–127, TONE

SN-A

(Ac.Piano)

OFFSET tab

Adjusts the cuto frequency for the tone/drum kit assigned to a part.

SN-A

(Organ)

–

SN-A

(Other)

ü ü

Studio Set – OFFSET tab

SN-S SN-D PCMS PCMD

–

Cuto Oset -64–+63

Reso Oset -64–+63

Attack Oset -64–+63

Decay Oset -64–+63

Release Oset -64–+63

SN-A

(Ac.Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* For some tones, the eect may be dicult to notice.

Adjusts the Resonance for the tone/drum kit assigned to a part.

SN-A

(Ac.Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* For some tones, the eect may be dicult to notice.

Adjusts the Attack Time for the tone/drum kit assigned to a part.

SN-A

(Ac.Piano)

– –

SN-A

(Organ)

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

ü ü

Adjusts the Decay Time for the tone/drum kit assigned to a part.

SN-A

(Ac.Piano)

– – –

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü

Adjusts the Release Time for the tone/drum kit assigned to a part.

SN-A

(Ac.Piano)

– –

SN-A

(Organ)

SN-A

(Other)

SN-S SN-D PCMS PCMD

ü ü ü ü ü

For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

* This is not shown in PART VIEW -ALL-.

Vibrato Rate -64–+63

Vibrato Depth -64–+63

Vibrato Delay -64–+63

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* This eect does not apply to instruments of the Bell/Mallet and Percussion categories.

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* This eect does not apply to instruments of the Bell/Mallet and Percussion categories.

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

SN-A

(Organ)

–

SN-A

(Other)

ü* ü

SN-S SN-D PCMS PCMD

–

ü ü

* This eect does not apply to instruments of the Bell/Mallet and Percussion categories.

Studio Set – SCALE tab

Parameter Value Explanation

SCALE tab

These are templates that set all of the Scale Tune C–B settings.

CUSTOM: Specify the tuning individually for Scale Tune C–B.

EQUAL: Equal temperament

JUST-MAJ: Just intonation (major)

Scale Tune Type

CUSTOM, EQUAL, JUST-MAJ, JUST-MIN, PYTHAGORE, KIRNBERGE, MEANTONE, WERCKMEIS, ARABIC

JUST-MIN: Just intonation (minor)

PYTHAGORE: Pythagorean tuning

KIRNBERGE: Kirnberger (type 3)

MEANTONE: Meantone temperament

WERCKMEIS: Werckmeister (type 1, number 3)

ARABIC: Arabic scale

Scale Tune Key C, C#, D, D#, E, F, F#, G, G#, A, A#, B

Scale Tune for C–B -64–+63

MIDI tab

(Rx Program Change)

(Rx Bank Select)

(Rx Pitch Bend)

(Rx Poly Key Press)

(Rx Ch Press)

(Rx Modulation)

(Rx Volume)

(Rx Pan)

(Rx Expression)

(Rx Hold-1)

OFF, ON

OFF, ON For each MIDI channel, specify whether MIDI Pan messages will be received “ON”, or not “OFF”.

OFF, ON

OFF, ON For each MIDI channel, specify whether MIDI Hold 1 messages will be received “ON”, or not “OFF”.

SN-A

(Ac.Piano)

Species the tonic note for the scale tune template.

SN-A

(Ac.Piano)

Species the scale tuning.

* This is not shown in PART VIEW -ALL-.

SN-A

(Ac.Piano)

For each MIDI channel, specify whether MIDI Program Change messages will be received “ON”, or not “OFF”.

For each MIDI channel, specify whether MIDI Bank Select messages will be received “ON”, or not

“OFF”.

For each MIDI channel, specify whether MIDI Pitch Bend messages will be received “ON”, or not

“OFF”.

For each MIDI channel, specify whether MIDI polyphonic key pressure messages will be received

“ON”, or not “OFF”.

For each MIDI channel, specify whether MIDI Channel Pressure messages will be received “ON”, or not “OFF”.

For each MIDI channel, specify whether MIDI Modulation messages will be received “ON”, or not

“OFF”.

For each MIDI channel, specify whether MIDI Volume messages will be received “ON”, or not

“OFF”.

For each MIDI channel, specify whether MIDI Expression messages will be received “ON”, or not

“OFF”.

Velocity Curve selects for each part one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

SN-A

(Organ)

–

SN-A

(Organ)

–

SN-A

(Organ)

–

SN-A

(Other)

ü ü

SN-A

(Other)

ü ü

SN-A

(Other)

ü ü

SN-S SN-D PCMS PCMD

–

SN-S SN-D PCMS PCMD

–

SN-S SN-D PCMS PCMD

–

ü ü

(Velo Crv Type)

OFF, 1–4

SN-A

(Ac.Piano)

21 3 4

SN-A

(Organ)

–

SN-A

(Other)

ü ü ü ü ü

SN-S SN-D PCMS PCMD

Studio Set – COMMON tab

MOTIONAL SURROUND

1. Press the [MOTIONAL SURROUND] button.

2. Press the [ENTER] button.

Parameter Value Explanation

COMMON tab

Room Type ROOM1, ROOM2, HALL1, HALL2 Species the room type.

Room Size SMALL, MEDIUM, LARGE Species the room size.

Motional Surround Depth 0–100 Species the depth of the Motional Surround eect.

Ambience Level 0–127 Species the volume of ambience.

Ambience Time 0–100 Species the duration of ambience.

Ambience Density 0–100 Species the density of ambience.

Ambience HF Damp 0–100 Species the frequency at which the high range of the ambience will be cut.

PART tab

Species the left/right position.

Part L-R -64–+63

Part F-B -64–+63

Part Width 0–32 Species the width of the positioned sound.

Part Ambience Send Level 0–127

Control change number

• 1–16 Part : CC12

• Ext Part : CC28

Species the front/rear (back) position.

Control change number

• 1–16 Part : CC13

• Ext Part : CC29

Species the send level to ambience

Control change number

• 1–16 Part : CC14

• Ext Part : CC30

CONTROL tab

Ext Part Control Ch 1–16, OFF

Species the MIDI channel used when controlling the front/back/left/right position and ambience send level of an Ext part via MIDI.

Studio Set – CONTROL tab

EFFECTS ROUTING

1. In the top screen, press the [EFFECTS] button.

Motional surround : ONMotional surround : OFF

Parameter Value Explanation

MFX Switch OFF, ON

Cho Send Level

(Also valid for the Ext part)

Rev Send Level

(Also valid for the Ext part)

Chorus Switch OFF, ON

Reverb Switch OFF, ON

Master EQ Switch OFF, ON Switches the Master EQ on/o.

Comp+EQ Switch OFF, ON

OFF, ON

Species whether Multi-Eect will be used (ON) or not used (OFF).

* You can also set this in the tone MFX tab for each type.

Adjusts the amount of Chorus for each Part.

If you don’t want to add the Chorus eect, set it to 0.

* You can also set this in the LEVEL/CH tab of PART VIEW (p. 6).

* This is ignored if motional surround is on.

Adjusts the amount of Reverb for each Part.

If you don’t want to add the Reverb eect, set it to 0.

* You can also set this in the LEVEL/CH tab of PART VIEW (p. 6).

* This is ignored if motional surround is on.

Species whether chorus will be used (ON) or not used (OFF).

* This is ignored if motional surround is on.

Species whether Reverb will be used (ON) or not used (OFF).

* This is ignored if motional surround is on.

Turns the six drum kit compressor + equalizer units on/o together.

* This is shown only if you’ve selected the part specied by Drum Comp+EQ Assign.

Studio Set – COMP+EQ OUTPUT tab

STUDIO SET EFFECTS

1. In the EFFECTS ROUTING screen, move the cursor to the eect that you want to edit, and press the [ENTER] button.

* MFX and COMP+EQ can be set individually for each tone.

Parameter Value Explanation

COMP+EQ OUTPUT tab

Comp+EQ 1 Output Assign

Comp+EQ 2 Output Assign

Comp+EQ 3 Output Assign

Comp+EQ 4 Output Assign

Comp+EQ 5 Output Assign

Comp+EQ 6 Output Assign

PART, A, B, C, D, 1–8

CHORUS tab

* This is ignored if motional surround is on.

Chorus Switch OFF, ON

00: OFF

Chorus Type

Chorus Parameter -

Chorus Level 0–127 Adjusts the volume of the sound that has passed through chorus.

Chorus Output Assign A, B, C, D

Chorus Output Select MAIN, REV, MAIN+REV

01: Chorus

02: Delay

03: GM2 Chorus

Specify the output destination for each the six drum kit compressor + equalizer units.

PART: Input to the MFX of the part.

A, B, C, D: Output in stereo to the OUTPUT A (MIX) jacks or the OUTPUT B, C, D jacks.

1–8: Output in monaural to the INDIVIDUAL 1–8 jacks.

* If motional surround is on, the output from each compressor + equalizer will always be the MFX

of the part, regardless of the COMP+EQ Output Assign setting.

Switches the chorus on/o.

* This is ignored if motional surround is on.

Selects the types of chorus.

Choose “00: OFF” if you don’t want to apply a chorus.

Edit the parameters for the selected chorus type.

Refer to “Chorus Parameters” (p. 98).

Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to “MAIN” or “MAIN+REV.”

Species how the sound routed through chorus will be output.

MAIN: Output in stereo to the OUTPUT jacks.

REV: Output in monaural to the reverb.

MAIN+REV: Output in stereo to the OUTPUT jacks, and in monaural to the reverb.

REVERB tab

* This is ignored if motional surround is on.

Reverb Switch OFF, ON

00: OFF

01: Room 1

02: Room 2

Reverb Type

Reverb Parameter -

Reverb Level 0–127 Adjusts the volume of the sound that has passed through reverb.

Reverb Output Assign A, B, C, D

03: Hall 1

04: Hall 2

05: Plate

06: GM2 Reverb

Switches the reverb on/o.

* This is ignored if motional surround is on.

Selects the types of reverb.

Choose “00: OFF” if you don’t want to apply a reverb.

Edit the parameters for the selected reverb type.

Refer to “Reverb Parameters” (p. 98).

Species how the sound routed through reverb will be output.

A, B, C, D: Output in stereo to the OUTPUT A (MIX) jacks or the OUTPUT B, C, D jacks.

Studio Set – MASTER EQ tab

Parameter Value Explanation

MASTER EQ tab

Master EQ Switch OFF, ON Master EQ on/o setting

EQ Low Freq 200, 400 [Hz] Frequency of the low range

EQ Low Gain -15–+15 [dB] Gain of the low frequency range

EQ Mid Freq

EQ Mid Gain -15–+15 [dB] Gain of the middle frequency range

EQ Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ High Freq 2000, 4000, 8000 [Hz] Frequency of the high range

EQ High Gain -15–+15 [dB] Gain of the high frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 [Hz]

Frequency of the middle range

Width of the middle frequency range

Set a higher value for Q to narrow the range to be aected.

SuperNATURAL Acoustic Tone (SN-A)

TONE EDIT (SN-A)

For each tone, there are instrument settings (INST) and multi-eect settings (MFX). The instrument settings let you make settings for the tone and its parameters.

MFXINST

1. In the top screen, press the [EDIT] button.

Parameter Value Explanation

COMMON tab

No assign, Ac.Piano, E.Piano, Organ, Other Keyboards, Accordion/ Harmonica, Bell/Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass,

INST tab

INST BANK

INST NUMBER 001– Select the instrument number of the tone.

Parameters for the each inst

INT, ExSN1–ExSN5 (only if an expansion is loaded)

Make parameter settings for the selected instrument.

Refer to “SuperNATURAL INST Parameters” (p. 18).

Select the instrument bank of the tone.

INT: Internal sound bank

ExSN1–ExSN5: Expanded sound bank

Instrument List

INST

BANK NUM NAME Category

INT 1 ConcertGrand Ac.Piano

INT 2 Grand Piano1 Ac.Piano

INT 3 Grand Piano2 Ac.Piano

INT 4 Grand Piano3 Ac.Piano

INT 5 Mellow Piano Ac.Piano

INT 6 Bright Piano Ac.Piano

INT 7 UprightPiano Ac.Piano

INT 8 Concert Mono Ac.Piano

INT 9 Honky-tonk Ac.Piano

INT 10 Pure Vintage EP1 E.Piano

INT 11 Pure Vintage EP2 E.Piano

INT 12 Pure Wurly E.Piano

INT 13 Pure Vintage EP3 E.Piano

INT 14 Old Hammer EP E.Piano

INT 15 Dyno Piano E.Piano

INT 16 Clav CB Flat Other Keyboards

INT 17 Clav CA Flat Other Keyboards

INT 18 Clav CB Medium Other Keyboards

INT 19 Clav CA Medium Other Keyboards

INT 20 Clav CB Brillia Other Keyboards

INT 21 Clav CA Brillia Other Keyboards

INT 22 Clav CB Combo Other Keyboards

INT 23 Clav CA Combo Other Keyboards

INT 24 Glockenspiel Bell/Mallet

INT 25 Vibraphone Bell/Mallet

INT 26 Marimba Bell/Mallet

INT 27 Xylophone Bell/Mallet

INT 28 Tubular Bells Bell/Mallet

INT 29 TW Organ Organ

INT 30 French Accordion Accordion/Harmonica

INT 31 Italian Accordion Accordion/Harmonica

INT 32 Harmonica Accordion/Harmonica

INT 33 Bandoneon Accordion/Harmonica

INT 34 Nylon Guitar Ac.Guitar

INT 35 Flamenco Guitar Ac.Guitar

INT 36 SteelStr Guitar Ac.Guitar

INT 37 Jazz Guitar E.Guitar

INT 38 ST Guitar Half E.Guitar

INT 39 ST Guitar Front E.Guitar

INT 40 TC Guitar Rear E.Guitar

INST

BANK NUM NAME Category

INT 41 Acoustic Bass Ac.Bass

INT 42 Fingered Bass E.Bass

INT 43 Picked Bass E.Bass

INT 44 Fretless Bass E.Bass

INT 45 Violin Strings

INT 46 Violin 2 Strings

INT 47 Viola Strings

INT 48 Cello Strings

INT 49 Cello 2 Strings

INT 50 Contrabass Strings

INT 51 Harp Plucked/Stroke

INT 52 Timpani Percussion

INT 53 Strings Strings

INT 54 Marcato Strings Strings

INT 55 London Choir Vox/Choir

INT 56 Boys Choir Vox/Choir

INT 57 Trumpet Brass

INT 58 Trombone Brass

INT 59 Tb2 CupMute Brass

INT 60 Mute Trumpet Brass

INT 61 French Horn Brass

INT 62 Soprano Sax 2 Sax

INT 63 Alto Sax 2 Sax

INT 64 Tenor Sax 2 Sax

INT 65 Baritone Sax 2 Sax

INT 66 Oboe Wind

INT 67 Bassoon Wind

INT 68 Clarinet Wind

INT 69 Piccolo Flute

INT 70 Flute Flute

INT 71 Pan Flute Flute

INT 72 Shakuhachi Flute

INT 73 Sitar Plucked/Stroke

INT 74 Uilleann Pipes Wind

INT 75 Bag Pipes Wind

INT 76 Erhu Strings

INT 77 Steel Drums Percussion

ExSN1 1 Santoor Bell/Mallet

ExSN1 2 Yang Chin Bell/Mallet

ExSN1 3 Tin Whistle Flute

SuperNATURAL Acoustic Tone (SN-A) – INST tab

INST

BANK NUM NAME Category

ExSN1 4 Ryuteki Flute

ExSN1 5 Tsugaru Plucked/Stroke

ExSN1 6 Sansin Plucked/Stroke

ExSN1 7 Koto Plucked/Stroke

ExSN1 8 Taishou Koto Plucked/Stroke

ExSN1 9 Kalimba Plucked/Stroke

ExSN1 10 Sarangi Strings

ExSN2 1 Soprano Sax Sax

ExSN2 2 Alto Sax Sax

ExSN2 3 Tenor Sax Sax

ExSN2 4 Baritone Sax Sax

ExSN2 5 English Horn Wind

ExSN2 6 Bass Clarinet Wind

ExSN2 7 Flute2 Flute

ExSN2 8 Soprano Recorder Recorder

ExSN2 9 Alto Recorder Recorder

ExSN2 10 Tenor Recorder Recorder

ExSN2 11 Bass Recorder Recorder

ExSN2 12 Ocarina SopC Recorder

ExSN2 13 Ocarina SopF Recorder

ExSN2 14 Ocarina Alto Recorder

ExSN2 15 Ocarina Bass Recorder

ExSN3 1 TC Guitar w/Fing Ac.Guitar

ExSN3 2 335Guitar w/Fing Ac.Guitar

INST

BANK NUM NAME Category

ExSN3 3 LP Guitar Rear E.Guitar

ExSN3 4 LP Guitar Front E.Guitar

ExSN3 5 335 Guitar Half E.Guitar

ExSN3 6 Acoustic Bass 2 Ac.Bass

ExSN3 7 Fingered Bass 2 E.Bass

ExSN3 8 Picked Bass 2 E.Bass

ExSN4 1 Ukulele Ac.Guitar

ExSN4 2 Nylon Guitar 2 Ac.Guitar

ExSN4 3 12th Steel Gtr Ac.Guitar

ExSN4 4 Mandolin Ac.Guitar

ExSN4 5 SteelFing Guitar Ac.Guitar

ExSN4 6 SteelStr Guitar2 Ac.Guitar

ExSN5 1 Classical Trumpet Brass

ExSN5 2 Frugal Horn Brass

ExSN5 3 Trumpet 2 Brass

ExSN5 4 Mariachi Tp Brass

ExSN5 5 Trombone 2 Brass

ExSN5 6 Bass Trombone Brass

ExSN5 7 Tuba Brass

ExSN5 8 Straight Mute Tp Brass

ExSN5 9 Cup Mute Trumpet Brass

ExSN5 10 French Horn 2 Brass

ExSN5 11 Mute French Horn Brass

SuperNATURAL Acoustic Tone (SN-A) – INST tab

SuperNATURAL INST Parameters

Ac.Piano

INT 001: Concert Grand

INT 002: Grand Piano1

INT 003: Grand Piano2

INT 004: Grand Piano3

INT 005: Mellow Piano

INT 006: Bright Piano

INT 007: Upright Piano

INT 008: Concert Mono

INT 009: Honky-tonk

• Dierences in your playing strength will smoothly change the tone character in a natural way.

Parameter Value Explanation

When the keys are pressed on an acoustic piano, the strings for keys that are already

String Resonance 0–127

Key O Resonance 0–127

Hammer Noise -2, -1, 0, +1, +2

StereoWidth 0–63 The higher the value set, the wider the sound is spread out.

Nuance Type1, Type2, Type3

Tone Character -5, -4, -3, -2, -1, 0, +1, +2, +3, +4, +5 Higher values produce a harder sound; lower values produce a more mellow sound.

pressed also vibrate sympathetically. The function used to reproduce is called “String

Resonance.”

Increasing the value will increase the amount of eect.

This adjusts resonances such as the key-o sound of an acoustic piano (subtle sounds that are heard when you release a key).

Higher values will increase the volume of the resonances.

This adjusts the sound of the hammer striking the string of an acoustic piano.

Higher values will increase the sound of the hammer striking the string.

This changes the Tone’s subtle nuances by altering the phase of the left and right sounds.

This eect is dicult to hear when headphones are used.

* This has no eect for 008:Concert Mono.

E.Piano

INT: 010 Pure Vintage EP1

INT: 011 Pure Vintage EP2

INT: 012 Pure Wurly

INT: 013 Pure Vintage EP3

INT: 014 Old Hammer EP

INT: 015 Dyno Piano

• Dierences in your playing strength will smoothly change the tone character in a natural way.

• A key-o noise typical of that instrument will be heard when you release the key (PureWurly is excepted).

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of hum noise and key-o noise. Higher settings will raise the volume.

Other Keyboards

INT: 016 Clav CB Flat

INT: 017 Clav CA Flat

INT: 018 Clav CB Medium

INT: 019 Clav CA Medium

INT: 020 Clav CB Brillia

INT: 021 Clav CA Brillia

INT: 022 Clav CB Combo

INT: 023 Clav CA Combo

SuperNATURAL Acoustic Tone (SN-A) – INST tab

• Dierences in your playing strength will smoothly change the tone character in a natural way.

• A key-o noise typical of that instrument will be heard when you release the key.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of hum noise and key-o noise. Higher settings will raise the volume.

Bell/Mallet

INT: 024 Glockenspiel

INT: 025 Vibraphone

INT: 026 Marimba

INT: 027 Xylophone

INT: 028 Tubular Bells

ExSN1: 001 Santoor

ExSN1: 002 Yang Chin

• You can play a roll by operating the Modulation controller (CC01) while playing a note.

• You can produce a glissando eect by operating the pitch bend lever while holding down a note, or by playing legato with the Portamento SW (CC65)

turned on.

• If Bend Range is set to Tone, you can produce a glissando eect by operating the pitch bend lever.

• If Bend Range is set to anything other than Tone, this eect will be obtained if Bend Mode (CC19) is turned on.

Use this when you want to switch between glissando playing and conventional pitch change.

• By using CC18, you can simulate the following technique.

INT: 024–028: the technique of using your hand or mallet to mute the vibration (sound). ExSN1: 001–002: the technique of playing a rapid and delicate roll (Slide Roll)

Parameter Value Explanation

Mallet Hardness (CC16) -64–+63 Adjusts the hardness of the mallet. Higher settings produce the sound of a harder mallet.

Roll Speed (CC17) -64–+63 Adjusts the speed of the roll eect.

Variation Refer to p. 28. Performance variation sounds

Organ

INT: 029 TW Organ

• The sound will be unaected by the strength with which you play the keyboard.

• This allows you to use the nine harmonic bars to create your sound just as on a tone wheel organ.

Parameter Value Explanation

Harmonic Bar 16' 0–8

Harmonic Bar 5-1/3' 0–8

Harmonic Bar 8' 0–8

Harmonic Bar 4' 0–8

Harmonic Bar 2-2/3' 0–8

Harmonic Bar 2' 0–8

Harmonic Bar 1-3/5' 0–8

Harmonic Bar 1-1/3' 0–8

Harmonic Bar 1' 0–8

Leakage Level 0–127

Percussion Switch OFF, ON If this is on, a crisp attack will be added to the beginning of the notes.

Percussion Soft NORM, SOFT

Percussion Soft Level 0–15 Volume of the percussion sound when Percussion Soft is set to SOFT

Percussion Normal Level 0–15 Volume of the percussion sound when Percussion Soft is set to NORM

Adjust the level of each footage.

A dierent harmonic component is assigned to each footage; the sound of the organ is created by mixing these components.

The 8’ footage is the core of the sound; this is the basic pitch around which the sound is created.

* Harmonic Bar 1’ is unavailable if Percussion Switch is on.

Noise Level at which the signal of tone wheels unrelated to the pressed keys is mixed into the input

NORM: The percussion sound will be at the normal volume, and the sound of the harmonic bars will be reduced.

SOFT: The percussion sound will be reduced, and the harmonic bars will be at the normal volume.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Parameter Value Explanation

Percussion Slow FAST, SLOW

Percussion Slow Time 0–127 Decay time of the percussion sound when Percussion Slow is set to SLOW

Percussion Fast Time 0–127 Decay time of the percussion sound when Percussion Slow is set to FAST

Percussion Harmonic 2ND, 3RD

Percussion Recharge Time 0–15

Percussion Harmonic Bar Level 0–127

Key On Click Level 0–31 Level of the key-click when a key is pressed

Key O Click Level 0–31 Level of the key-click when a key is released

FAST: The percussion sound will disappear immediately, producing a sharp attack.

SLOW: The percussion sound will disappear slowly, producing a more gentle attack.

2ND: The percussion sound will be the same pitch as the 4’ harmonic bar.

3RD: The percussion sound will be the same pitch as the 2-2/3’ harmonic bar.

Normally, the percussion sound will be added only to the rst note of successive notes played legato.

This reproduces the characteristics of the analog circuitry that produced the percussion sound in tone wheel organs, which caused the percussion sound to be softer when keys were pressed in quick succession. This species the characteristics of this analog circuit.

The volume of the organ will be reduced if Percussion Soft is set to NORM.

This species how much the volume will be reduced.

Accordion/Harmonica

INT: 030 French Accordion

INT: 031 Italian Accordion

INT: 033 Bandoneon

• Varying your keyboard playing dynamics will create volume changes as if you were using the bellows.

• If Bend Range is set to Tone, moving the pitch bend lever upward will produce a tremolo eect, as if you were moving the bellows in small steps.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on.

Use this when you want to switch between the tremolo eect and conventional pitch change.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of key noise heard when you press or release a key.

INT: 032 Harmonica

• If Bend Range is set to Tone, moving the pitch bend lever upward will produce a wah eect as if you were using your hands to enclose the harmonica.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on.

Use this when you want to switch between the wah eect and conventional pitch change.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) of the breath noise.

Ac.Guitar

INT: 034 Nylon Guitar

INT: 035 Flamenco Guitar

INT: 036 SteelStr Guitar

ExSN3: 001 TC Guitar w/Fing

ExSN3: 002 335Guitar w/Fing

ExSN4: 001 Ukulele

ExSN4: 002 Nylon Guitar 2

ExSN4: 003 12th Steel Gtr

ExSN4: 005 SteelFing Guitar

ExSN4: 006 SteelStr Guitar2

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

• If Strum Mode is o, playing an arpeggio with the Hold pedal held down will produce an arpeggio eect typical of a guitar.

• If Strum Mode is on, playing a chord with the Hold pedal held down will produce a guitar-like chordal performance.

• Note numbers 34 and lower will produce ghost notes as played on a guitar.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Parameter Value Explanation

Noise Level (CC16) -64–+63

Strum Speed (CC17) -64–+63

Strum Mode (CC19) OFF, ON

Sub String Tune -64–+63

Variation Refer to p. 28. Performance variation sounds

ExSN4: 004 Mandolin

• If Strum Mode is o, playing an arpeggio with the Hold pedal held down will produce a distinctively mandolin-like arpeggio eect.

• If Strum Mode is on, playing a chord with the Hold pedal held down will produce a distinctively mandolin-like chordal performance.

• Note numbers 46 and lower will produce ghost notes as played on a mandolin.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Tremolo Speed (CC17) -64–+63 Adjusts the speed of the tremolo eect.

Strum Mode (CC19) OFF, ON

Variation Refer to p. 28. Performance variation sounds

Adjusts the volume of the string grazing or picking noise.

* This has no eect on the ExSN4 001: Ukulele.

Adjusts the deviation in the timing of sound production by the strings when strumming with Strum Mode turned on. Higher values produce a greater time deviation. The eect will be more signicant for lower velocities.

If Strum Mode is turned on, strumming will be produced when you play multiple keys simultaneously. This also reproduces the dierence in time at which each string of a guitar is sounded. The guitar’s up strokes and down strokes will alternately be produced when chords are played in succession.

It is eective to play while holding down the Hold pedal.

Adjusts the pitch of the sympathetic strings.

* This is valid only for ExSN4 003: 12th Steel Gtr.

If Strum Mode is turned on, strumming will be produced when you play multiple keys simultaneously. This also reproduces the dierence in time at which each string of a mandolin is sounded. The mandolin’s up strokes and down strokes will alternately be produced when chords are played in succession.

It is eective to play while holding down the Hold pedal.

E.Guitar

INT: 037 Jazz Guitar

INT: 038 ST Guitar Half

INT: 039 ST Guitar Front

INT: 040 TC Guitar Rear

ExSN3: 003 LP Guitar Rear

ExSN3: 004 LP Guitar Front

ExSN3: 005 335 Guitar Half

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

• If Strum Mode is o, playing an arpeggio with the Hold pedal held down will produce an arpeggio eect typical of a guitar.

• If Strum Mode is on, playing a chord with the Hold pedal held down will produce a guitar-like chordal performance.

• Note numbers 34 and lower will produce ghost notes as played on a guitar.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Strum Speed (CC17) -64–+63

Strum Mode (CC19) OFF, ON

Picking Harmonics OFF, ON

Variation Refer to p. 28. Performance variation sounds

It is eective to play while holding down the Hold pedal.

If this is on, strongly played notes will have a picking harmonic eect added to them.

* This has no eect on the INT 037: Jazz Guitar.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Ac.Bass

INT: 041 Acoustic Bass

ExSN3: 006 Acoustic Bass 2

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Variation Refer to p. 28. Performance variation sounds

E.Bass

INT: 042 Fingered Bass

INT: 043 Picked Bass

INT: 044 Fretless Bass

ExSN3: 007 Fingered Bass 2

ExSN3: 008 Picked Bass 2

• Rapid legato playing in an interval of two semitones or less will produce either a slide or a hammering-on eect, depending on how fast you play.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the volume of the string grazing or picking noise.

Variation Refer to p. 28. Performance variation sounds

Plucked/Stroke

INT: 051 Harp

• By turning Glissando mode (CC19) on, you can cause only the notes included in a specic scale to be sounded. This lets you easily produce an

idiomatic harp glissando simply by playing a glissando on the white keys.

* It is eective to play this while holding down the HOLD pedal.

• By using CC18 you can simulate the technique of using your hand to stop the vibration of the strings.

Parameter Value Explanation

Glissando Mode (CC19) OFF, ON

Play Scale

Scale Key

Variation Refer to p. 28. Performance variation sounds

7th, Major, Minor, Hrm-Mi (Harmonic Minor), Dim (Diminish), Whole (Whole Tone)

, D, E , E, F, G , G, A , A, B , B

C, D

If this is on, you can produce the eect of sweeping across the harp strings by playing a glissando on the keyboard.

Species the scale used when Glissando Mode is on.

Species the key of the scale produced when you play a glissando with Glissando Mode turned on.

INT: 073 Sitar

• Strongly playing legato from a higher to a lower note will produce a distinctive ornamental eect.

• Rapid legato playing in an interval of two semitones or less will produce a slide eect.

• Note numbers 47 and below will produce a sitar sound eect.

• CC80 values in the range of 64–127 will play a tambura phrase, and values in the range 0–63 will silence it.

Parameter Value Explanation

Resonance Level (CC16) -64–+63

Tambura Level -64–+63 Adjusts the volume of the tambura sound eect sounded by CC80.

Tambura Pitch -12–+12 Adjusts the pitch of the tambura sound eect sounded by CC80.

Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

ExSN1: 005 Tsugaru

ExSN1: 006 Sansin

• Play strongly to produce a bend-up eect that is distinctive of the shamisen.

• Rapid legato playing in an interval of two semitones or less will produce a slide eect.

• If you turn CC81 on, a ghost note will be heard on the upstroke when you release the key. This simulates the return of the plectrum.

Parameter Value Explanation

Resonance Level (CC16) -64–+63

Bend Depth (CC17) -64–+63 Adjusts the amount of pitch change that occurs at the attack when you play strongly.

Buzz Key Switch OFF, ON

Variation Refer to p. 28. Performance variation sounds

ExSN1: 007 Koto

• If glissando mode (CC19) is on, only the notes within the specied scale will sound.

This means that you can easily reproduce the distinctive glissando of the koto simply by playing the white keys.

* It is eective to set Play Scale to Hira (Hirajyoshi) and play while holding down the Hold pedal.

• By using CC18 you can simulate the technique of using your hand to stop the vibration of the strings.

Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

If this is on, keys of note number 42 and lower will sound vocal interjections or other sound eects.

Parameter Value Explanation

Tremolo Speed (CC17) -64–+63 Adjusts the speed of the tremolo eect which is controlled by CC80.

Glissando Mode (CC19) OFF, ON If you turn this on, the selected scale for the “Play Scale” will apply to the glissando.

Play Scale

Scale Key

Buzz Key Switch OFF, ON

Variation Refer to p. 28. Performance variation sounds

Chroma (Chromatic), Hira (Hirajyoshi)

, D, E , E, F, G , G, A , A, B , B

C, D

Species the scale used when Glissando Mode is on.

Species the key of the scale you specify for Play Scale.

If this is on, keys of note number 42 and lower will sound vocal interjections or other sound eects.

ExSN1: 008 Taishou Koto

• Operating the Modulation controller (CC01) while playing the keyboard will produce a tremolo performance eect.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the level of the key-on noise.

Tremolo Speed (CC17) -64–+63 Adjusts the speed of the tremolo eect.

ExSN1: 009 Kalimba

• Dierences in your playing strength will smoothly change the tone character in a natural way.

Parameter Value Explanation

Resonance Level (CC16) -64–+63

Variation Refer to p. 28. Performance variation sounds

Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Strings

INT: 045 Violin

INT: 046 Violin 2

INT: 047 Viola

INT: 048 Cello

INT: 049 Cello 2

INT: 050 Contrabass

• When you play multiple keys simultaneously, the vibrato will automatically be limited so that chords will sound natural.

• Note ranges corresponding to open strings will produce an open-string sound without vibrato.

* However, this is valid only if the Part View parameter Vibrato Depth is set to 0 for the note range of the open string (upper limit Violin: note no. 55,

Viola: note no. 48, Cello: note no. 36, Contrabass: note no. 28).

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of string grazing noise.

Variation Refer to p. 28. Performance variation sounds

INT: 053 Strings

INT: 054 Marcato Strings

• The attack and release will be adjusted appropriately for the speed at which you play the phrase.

For example, notes will sound more crisply for rapidly played passages.

Parameter Value Explanation

Species how notes are sounded when Hold (CC64) is on.

Hold Legato Mode (CC19) OFF, ON

Variation Refer to p. 28. Performance variation sounds

If Hold Legato Mode is on, notes that were being held will go silent when you play a key.

For example if you play and release C major with Hold (CC64) on, the C major notes will be held. When you then play E major, the C major notes will go silent, and the E major notes will be heard.

INT: 076 Erhu

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

• If Portamento SW is turned on, a portamento eect typical of a erhu will be produced.

• Note ranges corresponding to open strings will produce an open-string sound without vibrato.

* However, this is valid only if the Part View parameter Vibrato Depth is set to 0 for the note range of the open string (upper limit : note no. 62).

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of string grazing noise.

Variation Refer to p. 28. Performance variation sounds

ExSN1: 010 Sarangi

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

• If Porta SW is turned on, a portamento eect typical of a sarangi will be produced.

• CC80 values in the range of 64–127 will play a tambura phrase, and values in the range 0–63 will silence it.

Parameter Value Explanation

Resonance Level (CC16) -64–+63

Tambura Level -64–+63 Adjusts the volume of the tambura sound eect sounded by CC80.

Tambura Pitch -12–+12 Adjusts the pitch of the tambura sound eect sounded by CC80.

Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Brass

INT: 057 Trumpet

INT: 058 Trombone

INT: 059 Tb2 CupMute

INT: 060 Mute Trumpet

INT: 061 French Horn

ExSN5: 001 Classical Trumpet

ExSN5: 002 Frugal Horn

ExSN5: 003 Trumpet 2

ExSN5: 004 Mariachi Tp

ExSN5: 005 Trombone 2

ExSN5: 006 Bass Trombone

ExSN5: 007 Tuba

ExSN5: 008 StraightMute Tp

ExSN5: 009 Cup Mute Trumpet

ExSN5: 0010 French Horn 2

ExSN5: 0011 Mute French Horn

• By setting Bend Range to Tone, you can use the pitch bend lever to create discontinuous pitch changes or falls that are typical of a brass instrument.

* Moving the pitch bend lever in the upward direction will create a discontinuous pitch change typical of brass instruments.

* Moving the pitch bend lever in the downward direction will produce a fall eect.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on. Use this when you want to switch

between discontinuous pitch changes or falls, and conventional pitch change.

• By playing legato with the Portamento SW turned on, you can create the eect of glissando performance on a trombone.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise for the brass instrument.

Adjusts the amount of automatically produced crescendo. The eect is most noticeable

Crescendo Depth (CC17) -64–+63

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a brass instrument is blown.

Variation Refer to p. 28. Performance variation sounds

when you play softly.

* This applies only for ExSN5 004: Mariachi Tp.

Wind

INT: 066 Oboe

INT: 067 Bassoon

INT: 068 Clarinet

ExSN2: 005 English Horn

ExSN2: 006 Bass Clarinet

• If Bend Range is set to Tone, you can use the pitch bend lever to create glissando or fall eects.

* Moving the pitch bend lever in the upward direction will produce a glissando eect.

* Moving the pitch bend lever in the downward direction will produce a fall eect.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on. Use this when you want to switch

between glissando/fall eects and conventional pitch change.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise for the woodwind instrument.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a woodwind instrument is blown.

Play Scale

Scale Key

Variation Refer to p. 28. Performance variation sounds

Chroma (Chromatic), Major, Minor, 7th, Dim (Diminish), Whole (Whole Tone)

, D, E , E, F, G , G, A , A, B , B

C, D

Produces discontinuous pitch changes according to the specied scale.

Species the key of the scale you specify for Play Scale.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

INT: 074 Uilleann Pipes

INT: 075 Bag Pipes

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

• CC80 values in the range of 64–127 will sound a drone. Values in the range of 0–63 will silence the drone.

Parameter Value Explanation

Drone Level -64–+63 Adjusts the volume of the drone sound eect sounded by CC80.

Drone Pitch -12–+12 Adjusts the pitch of the drone sound eect sounded by CC80.

Variation Refer to p. 28. Performance variation sounds

Flute

INT: 069 Piccolo

INT: 070 Flute

INT: 071 Pan Flute

ExSN2: 007 Flute2

• If Bend Range is set to Tone, you can use the pitch bend lever to create glissando or fall eects.

* Moving the pitch bend lever in the upward direction will produce a glissando eect.

* Moving the pitch bend lever in the downward direction will produce a fall eect.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on. Use this when you want to switch

between glissando/fall eects and conventional pitch change.

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise for the woodwind instrument.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a woodwind instrument is blown.

Play Scale

Scale Key

Variation Refer to p. 28. Performance variation sounds

INT: 072 Shakuhachi

ExSN1: 003 Tin Whistle

ExSN1: 004 Ryuteki

• Legato playing will produce notes that are connected as if they were played in a single breath.

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise for the woodwind instrument.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a woodwind instrument is blown.

Variation Refer to p. 28. Performance variation sounds

Chroma (Chromatic), Major, Minor, 7th, Dim (Diminish), Whole (Whole Tone)

C, D

, D, E , E, F, G , G, A , A, B , B

Produces discontinuous pitch changes according to the specied scale.

* This has no eect on INT: 071 Pan Flute.

Species the key of the scale you specify for Play Scale.

* This has no eect on INT: 071 Pan Flute.

Sax

INT: 062 Soprano Sax 2

INT: 063 Alto Sax 2

INT: 064 Tenor Sax 2

INT: 065 Baritone Sax 2

ExSN2: 001 Soprano Sax

ExSN2: 002 Alto Sax

ExSN2: 003 Tenor Sax

ExSN2: 004 Baritone Sax

SuperNATURAL Acoustic Tone (SN-A) – INST tab

• If Bend Range is set to Tone, you can use the pitch bend lever to create glissando or fall eects.

* Moving the pitch bend lever in the upward direction will produce a glissando eect.

* Moving the pitch bend lever in the downward direction will produce a fall eect.

• If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on. Use this when you want to switch

between glissando/fall eects and conventional pitch change.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of the woodwind instrument’s breath noise or key noise.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a woodwind instrument is blown.

Play Scale

Scale Key

Glide Porta, Gliss

Variation Refer to p. 28. Performance variation sounds

Chroma (Chromatic), Major, Minor, 7th, Dim (Diminish), Whole (Whole Tone)

, D, E , E, F, G , G, A , A, B , B

C, D

Produces discontinuous pitch changes according to the specied scale.

Species the key of the scale you specify for Play Scale.

Species whether portamento or glissando will be applied when the portamento switch is on.

Recorder

ExSN2: 008 Soprano Recorder

ExSN2: 009 Alto Recorder

ExSN2: 0010 Tenor Recorder

ExSN2: 0011 Bass Recorder

• Legato playing will produce notes that are smoothly connected as if they were played with a single breath.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise for the woodwind instrument.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when a woodwind instrument is blown.

Variation Refer to p. 28. Performance variation sounds

ExSN2: 012 Ocarina SopC

ExSN2: 013 Ocarina SopF

ExSN2: 014 Ocarina Alto

ExSN2: 015 Ocarina Bass

• Legato playing will produce notes that are connected as if they were played in a single breath.

• While playing legato, a distinctive ornamental sound will be produced when you play strongly.

Parameter Value Explanation

Noise Level (CC16) -64–+63 Adjusts the amount of breath noise.

Growl Sens (CC18) 0–127 Adjusts the distinctive nuance (growl) that occurs when an instrument is blown.

Variation Refer to p. 28. Performance variation sounds

Vox/Choir

INT: 055 London Choir

INT: 056 Boys Choir

• You can obtain a wide range of expression by combining volume change produced by dynamics with the dierent variation sounds.

Parameter Value Explanation

Species how notes are sounded when Hold (CC64) is on.

If Hold Legato Mode is on, notes that were being held will go silent when you play a key.

Hold Legato Mode (CC19) OFF, ON

Variation Refer to p. 28. Performance variation sounds

For example if you play and release C major with Hold (CC64) on, the C major notes will be held.

When you then play E major, the C major notes will go silent, and the E major notes will be heard.

SuperNATURAL Acoustic Tone (SN-A) – INST tab

Percussion

INT: 052 Timpani

• You can play a roll by operating the Modulation controller (CC01) while playing a note.

• You can use CC18 to simulate the muting technique of using your hand to press down on the timpani.

Parameter Value Explanation

Roll Speed (CC17) -64– +63 Adjusts the speed of the roll eect.

Variation Refer to p. 28. Performance variation sounds

INT: 077 Steel Drums

• You can play a roll by operating the Modulation controller (CC01) while playing a note.

• You can produce a glissando eect by employing pitch bend while playing the keyboard, or by playing legato with the Portamento SW (CC65) turned

on.

* If Bend Range is set to Tone, you can use the pitch bend lever to produce a glissando eect.

* If Bend Range is set to anything other than Tone, this eect will be produced if Bend Mode (CC19) is turned on. Use this when you want to switch

between glissando/fall eects and conventional pitch change.

• By using CC18 you can simulate the technique of using your hand or mallet to mute the vibration (sound).

Parameter Value Explanation

Resonance Level (CC16) -64–+63

Roll Speed (CC17) -64–+63 Adjusts the speed of the roll eect.

Variation Refer to p. 28. Performance variation sounds

Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

Performance Variation Sounds

INST Variation

BANK NUM NAME 1 2 3 4

INT 1 ConcertGrand - - - -

INT 2 Grand Piano1 - - - -

INT 3 Grand Piano2 - - - -

INT 4 Grand Piano3 - - - -

INT 5 Mellow Piano - - - -

INT 6 Bright Piano - - - -

INT 7 UprightPiano - - - -

INT 8 Concert Mono - - - -

INT 9 Honky-tonk - - - -

INT 10 Pure Vintage EP1 - - - -

INT 11 Pure Vintage EP2 - - - -

INT 12 Pure Wurly - - - -

INT 13 Pure Vintage EP3 - - - -

INT 14 Old Hammer EP - - - -

INT 15 Dyno Piano - - - -

INT 16 Clav CB Flat - - - -

INT 17 Clav CA Flat - - - -

INT 18 Clav CB Medium - - - -

INT 19 Clav CA Medium - - - -

INT 20 Clav CB Brillia - - - -

INT 21 Clav CA Brillia - - - -

INT 22 Clav CB Combo - - - -

SuperNATURAL Acoustic Tone (SN-A) – INST tab

INST Variation

BANK NUM NAME 1 2 3 4

INT 23 Clav CA Combo - - - -

INT 24 Glockenspiel Dead Stroke - - -

INT 25 Vibraphone Dead Stroke Tremolo Sw - -

INT 26 Marimba Dead Stroke - - -

INT 27 Xylophone Dead Stroke - - -

INT 28 Tubular Bells Dead Stroke - - -

INT 29 TW Organ - - - -

INT 30 French Accordion - - - -

INT 31 Italian Accordion - - - -

INT 32 Harmonica - - - -

INT 33 Bandoneon - - - -

INT 34 Nylon Guitar Mute Harmonics - -

INT 35 Flamenco Guitar Rasugueado Harmonics - -

INT 36 SteelStr Guitar Mute Harmonics - -

INT 37 Jazz Guitar FingerPicking Octave Tone - -

INT 38 ST Guitar Half Mute Harmonics - -

INT 39 ST Guitar Front Mute Harmonics - -

INT 40 TC Guitar Rear Mute Harmonics - -

INT 41 Acoustic Bass Staccato Harmonics - -

INT 42 Fingered Bass Slap Harmonics - -

INT 43 Picked Bass Bridge Mute Harmonics - -

INT 44 Fretless Bass Staccato Harmonics - -

INT 45 Violin Staccato Pizzicato Tremolo -

INT 46 Violin 2 Staccato Pizzicato Tremolo -

INT 47 Viola Staccato Pizzicato Tremolo -

INT 48 Cello Staccato Pizzicato Tremolo -

INT 49 Cello 2 Staccato Pizzicato Tremolo -

INT 50 Contrabass Staccato Pizzicato Tremolo -

INT 51 Harp Nail - - -

INT 52 Timpani Flam Accent Roll - -

INT 53 Strings Staccato Pizzicato Tremolo -

INT 54 Marcato Strings Staccato Pizzicato Tremolo -

INT 55 London Choir Voice Woo - - -

INT 56 Boys Choir Voice Woo - - -

INT 57 Trumpet Staccato Fall - -

INT 58 Trombone Staccato Fall - -

INT 59 Tb2 CupMute Staccato Fall - -

INT 60 Mute Trumpet Staccato Fall - -

INT 61 French Horn Staccato - - -

INT 62 Soprano Sax 2 Staccato Fall SubTone -

INT 63 Alto Sax 2 Staccato Fall SubTone -

INT 64 Tenor Sax 2 Staccato Fall SubTone -

INT 65 Baritone Sax 2 Staccato Fall SubTone -

INT 66 Oboe Staccato - - -

INT 67 Bassoon Staccato - - -

INT 68 Clarinet Staccato - - -

INT 69 Piccolo Staccato - - -

INT 70 Flute Staccato - - -

INT 71 Pan Flute Staccato Flutter - -

INT 72 Shakuhachi Staccato Ornament - -

INT 73 Sitar - - - -

INT 74 Uilleann Pipes - Ornament - -

INT 75 Bag Pipes - Ornament - -

INT 76 Erhu Staccato Ornament - -

INT 77 Steel Drums Mute - - -

SuperNATURAL Acoustic Tone (SN-A) – INST tab

INST Variation

BANK NUM NAME 1 2 3 4

ExSN1 1 Santoor Mute Tremolo - -

ExSN1 2 Yang Chin Mute Tremolo - -

ExSN1 3 Tin Whistle Cut Ornament - -

ExSN1 4 Ryuteki Staccato Ornament - -

ExSN1 5 Tsugaru Strum Up Picking Auto Bend -

ExSN1 6 Sansin Strum Up Picking Auto Bend -

ExSN1 7 Koto Tremolo Ornament - -

ExSN1 8 Taishou Koto - - - -

ExSN1 9 Kalimba Buzz - - -

ExSN1 10 Sarangi - - - -

ExSN2 1 Soprano Sax Staccato Fall SubTone -

ExSN2 2 Alto Sax Staccato Fall SubTone -

ExSN2 3 Tenor Sax Staccato Fall SubTone -

ExSN2 4 Baritone Sax Staccato Fall SubTone -

ExSN2 5 English Horn Staccato - - -

ExSN2 6 Bass Clarinet Staccato - - -

ExSN2 7 Flute2 Staccato - - -

ExSN2 8 Soprano Recorder Staccato - - -

ExSN2 9 Alto Recorder Staccato - - -

ExSN2 10 Tenor Recorder Staccato - - -

ExSN2 11 Bass Recorder Staccato - - -

ExSN2 12 Ocarina SopC Staccato Ornament - -

ExSN2 13 Ocarina SopF Staccato Ornament - -

ExSN2 14 Ocarina Alto Staccato Ornament - -

ExSN2 15 Ocarina Bass Staccato Ornament - -

ExSN3 1 TC Guitar w/Fing FingerPicking Octave Tone - -

ExSN3 2 335Guitar w/Fing FingerPicking Octave Tone - -

ExSN3 3 LP Guitar Rear Mute Harmonics - -

ExSN3 4 LP Guitar Front Mute Harmonics - -

ExSN3 5 335 Guitar Half Mute Harmonics - -

ExSN3 6 Acoustic Bass 2 Staccato Harmonics - -

ExSN3 7 Fingered Bass 2 Slap Harmonics - -

ExSN3 8 Picked Bass 2 Bridge Mute Harmonics - -

ExSN4 1 Ukulele - - - -

ExSN4 2 Nylon Guitar 2 Mute Harmonics - -

ExSN4 3 12th Steel Gtr Mute Harmonics - -

ExSN4 4 Mandolin Mute Harmonics - -

ExSN4 5 SteelFing Guitar FingerPicking Octave Tone - -

ExSN4 6 SteelStr Guitar2 Mute Harmonics - -

ExSN5 1 Classical Trumpet Staccato Fall - -

ExSN5 2 Frugal Horn Staccato Fall - -

ExSN5 3 Trumpet 2 Staccato Fall - -

ExSN5 4 Mariachi Tp Staccato Fall - -

ExSN5 5 Trombone 2 Staccato Fall - -

ExSN5 6 Bass Trombone Staccato Fall - -

ExSN5 7 Tuba Staccato - - -

ExSN5 8 Straight Mute Tp Staccato Fall - -

ExSN5 9 Cup Mute Trumpet Staccato Fall - -

ExSN5 10 French Horn 2 Staccato - - -

ExSN5 11 Mute French Horn Staccato - - -

SuperNATURAL Acoustic Tone (SN-A) – MFX tab

Parameter Value Explanation

MFX tab

MFX Switch OFF, ON Switches the multi-eect (MFX) on/o.

MFX Type 0–67

Parameters for each MFX type Edit the parameters for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

Use this parameter to select from among the 67 available MFXs. For details on MFX parameters, refer to “MFX Parameters” (p. 73).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the Chorus eect, set it to “0.”

* This has no eect if motional surround is on.

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the Reverb eect, set it to “0.”

* This has no eect if motional surround is on.

MFX CTRL tab

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4

Sets the multi-eects parameters to be controlled with the multi-eects control. The multi-eects parameters available for control will depend on the multi-eects type. For details, refer to “MFX Parameters” (p. 73).

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-eects controls.

Sets the amount of the multi-eects control’s eect that is applied.

To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

SuperNATURAL Synth Tone (SN-S)

TONE EDIT (SN-S)

Each tone has three sets (Partial 1–3) of OSC, FILTER, AMP, and LFO settings, in addition to multi-eect (MFX) settings.

PARTIAL 3

PARTIAL 2

PARTIAL 1

LFO

OSC FILTER

AFTERTOUCH

MOD LFO

MISC

AMP

1. In the top screen, press the [EDIT] button.

MFX

Parameter Value Explanation

COMMON tab

No assign, Ac.Piano, E.Piano, Organ, Other Keyboards, Accordion/ Harmonica, Bell/Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass,

Tone Category

Phrase Number 0–243 Number of the phrase that plays when you press the [VOLUME] knob (PREVIEW).

Phrase Octave Shift -3–+3 Pitch (in octave units) of the preview phrase.

Tone Level 0–127 Adjusts the overall volume of the tone.

Selects the tone’s category.

Parameter Value Explanation

Turns ring modulator on/o.

By multiplying partial 1’s OSC and partial 2’s OSC, this creates a complex, metallic-sounding waveform like that of a bell.

The partial 1’s OSC waveform will change as shown in the illustration, and partial 2’s OSC will be output with its original waveform.

Setting the partial 1 OSC and the partial 2 OSC to dierent pitches will make the ring modulator eect more apparent.

Partial 1’s OSC

RING Switch OFF, ON

Partial 2’s OSC

Partial 1’s OSC

output waveform

If Ring Switch is turned on, the OSC Pulse Width Mod Depth, OSC Pulse Width, and SUPER SAW Detune of partial 1 and partial 2 cannot be used.

In addition, if an asymmetrical square wave is selected as the OSC waveform, the OSC variation will be ignored, and there will be a slight dierence in sound compared to the originally selected waveform.

Wave Shape 0–127

Analog Feel 0–127

Unison Switch OFF, ON

Partial 1 will be modulated by the pitch of partial 2. Higher values produce a greater eect.

This has no eect if the partial 1 waveform is PW-SQR or SP-SAW.

Use this to apply “1/f uctuation,” a type of randomness or instability that is present in many natural systems (such as a babbling brook or whispering breeze) and is perceived as pleasant by many people.

By applying “1/f uctuation” you can create the natural-sounding instability that is characteristic of an analog synthesizer.

This layers a single sound.

If the Unison Switch is on, the number of notes layered on one key will change according to the number of keys you play.

Number of notes assigned to each key when the Unison Switch is on

SuperNATURAL Synth Tone (SN-S) – COMMON tab

waveform

Example: If Unison Size is 8

Unison Size 2, 4, 6, 8

Mono/Poly POLY, MONO Species whether notes will sound polyphonically (POLY) or monophonically (MONO).

Legato Switch OFF, ON

Portamento Switch OFF, ON Species whether the portamento eect will be applied (ON) or not applied (OFF).

Portamento Time 0–127

Portamento Mode NORMAL, LEGATO

Number of keys pressed Number of notes sounded

1 8

2 4 each

3–4 2 each

5–8 1 each

This is valid only if the Mono/Poly parameter is set to “MONO.” If this is on, pressing a key while the previous key remains held down will cause the pitch to change to that of the newly pressed key while maintaining the state in which the previous note was being sounded.

This produces an eect similar to hammering-on or pulling-o when playing a guitar.

Species the time taken for the pitch to change when playing portamento.

Higher values lengthen the time over which the pitch will change to the next note.

NORMAL: Portamento will always be applied.

LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key

before releasing the previous key).

SuperNATURAL Synth Tone (SN-S) – OSC tab

Parameter Value Explanation

OSC tab

Partial Switch OFF, ON Use these buttons to turn on the partial that you want to be heard.

SAW

SQR

PW-SQR

Wave

Wave Variation A, B, C

Wave Number 1–450

Wave Gain -6, 0, +6, +12 [dB]

Pulse Width Mod Depth 0–127

Pulse Width 0–127

Pulse Width Shift 0–127

Super Saw Detune 0–127

TRI

SINE

NOISE

SUPER SAW (SP-SAW)

PCM This is a PCM waveform.

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at all integer multiples of that fundamental.

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at odd-numbered multiples of that fundamental.

The overtone structure of this waveform will vary signicantly depending on the width of the upper portion of the waveform (Pulse Width).

This waveform contains a sine wave fundamental plus a xed proportion of sine wave harmonics at even-numbered multiples of that fundamental.

This is a sine wave. This is a waveform that produces just a single frequency; it is the basis of all sound.

This waveform contains all frequencies. It is suitable for percussion instrument sounds or sound eects.

This produces a tone similar to seven sawtooth waves heard simultaneously. Pitch-shifted sounds are added to the center sound. It is suitable for strings sounds, and for creating thick sounds.

You can select variations of the currently selected WAVE.

* This has no eect for SP-SAW or PCM.

Selects the PCM waveform.

* This is valid only if PCM is selected for OSC Wave.

Species the gain (amplitude) of the waveform.

The value will change in 6 dB (decibel) steps. Each 6 dB increase doubles the gain.

* This is valid only if PCM is selected for OSC Wave.

Species the amount (depth) of LFO applied to PW (Pulse Width).

If the OSC Wave has selected (PW-SQR), you can use this slider to specify the amount of LFO modulation applied to PW (pulse width).

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Species the pulse width.

If the OSC Wave has selected (PW-SQR), you can use this slider to specify the width of the upper portion of the square wave (the pulse width) as a percentage of the entire cycle.

Decreasing the value will decrease the width, approaching a square wave (pulse width = 50%).

Increasing the value will increase the width, producing a distinctive sound.

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Shifts the range of change. Normally, you can leave this at 127.

* If the Ring Switch is on, this has no eect on partials 1 and 2.

Species the amount of pitch dierence between the seven sawtooth waves layered within a single oscillator.

* Higher values will increase the pitch dierence. (OSC Detune applies an equal amount of pitch

dierence between each of the seven sawtooth waves.)

* If the Ring Switch is on, this has no eect on partials 1 and 2.

* This is valid only if SP-SAW is selected for OSC Wave.

PITCH tab

OSC Pitch -24–+24 Adjusts the pitch in semitone steps.

OSC Detune -50–+50 Adjusts the pitch in steps of one cent.

Pitch Env Attack Time 0–127

Pitch Env Decay Time 0–127

Pitch Env Depth -63–+63 This species how much the pitch envelope will aect the pitch.

Octave Shift -3–+3 Species the octave of the tone.

Pitch Bend Range Up 0–+24

Pitch Bend Range Down 0–-24

Species the attack time of the pitch envelope.

This species the time from the moment you press the key until the pitch reaches its highest (or lowest) point.

Species the decay time of the pitch envelope.

This species the time from the moment the pitch reaches its highest (or lowest) point until it returns to the pitch of the key you pressed.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the right.

Species the amount of pitch change that occurs when the pitch bend/modulation lever is moved all the way to the left.

FILTER tab

FILTER Mode

BYPASS, LPF1, LPF2, LPF3, LPF4, HPF, BPF, PKG

Selects the type of lter.

Parameter Value Explanation

This button selects the slope (steepness) of the lter.

For the LPF

Level

SuperNATURAL Synth Tone (SN-S) – AMP tab

FILTER Slope -12, -24 [dB]

frequency

FILTER Cuto 0–127 Species the cuto frequency.

Here’s how you can make the lter cuto frequency to vary according to the key you play.

Cuto frequency (octave)

FILTER Cuto KF -100–+100

FILTER Env V-Sens -63–+63

FILTER Resonance 0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

FILTER Env Attack 0–127

FILTER Env Decay 0–127

FILTER Env Sustain 0–127

FILTER Env Release 0–127

FILTER Env Depth -63–+63

-1

-2

C4C3C2 C5 C6

Here’s how you can make the lter envelope depth vary according to the strength with which you play the key.

This species the time from the moment you press the key until the cuto frequency reaches its highest (or lowest) point.

This species the time from when the cuto frequency reaches its highest (or lowest) point, until it decays to the sustain level.

This species the cuto frequency that will be maintained from when the decay time has elapsed until you release the key.

This species the time from when you release the key until the cuto frequency reaches its minimum value.

This species the direction and depth to which the cuto frequency will change.

Species the cuto frequency of an independent -6 dB high-pass lter.

-24 dB

Cuto frequency

Key-on

+100

+50

-50

-100

-12 dB

FrequencyCuto

High

Value

Low

Key

Key-o

DEPTH

Time

HPF Cuto 0–127

-6 dB HPF

BYPASS, LPF, HPF, BPF, PKG

AMP tab

AMP Level 0–127 Partial volume.

AMP Level V-Sens -63–+63

AMP Pan L64–63R Here’s how to change the stereo position of the partial.

Here’s how you can make the volume vary according to the strength with which you play the keyboard.

SuperNATURAL Synth Tone (SN-S) – LFO tab

Parameter Value Explanation

AMP Level Keyfollow

AMP Env Attack 0–127

AMP Env Decay 0–127

AMP Env Sustain 0–127

AMP Env Release 0–127

-100, -90, -80, -70, -60, -50, -40, -30,

-20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100

Specify this if you want to vary the volume according to the position of the key that you play.

With the C4 key (middle C) as the base volume, “+” values will make the volume increase as you play above C4; “-” values will make the volume decrease. Higher values will produce greater change.

Species the attack time of the amp envelope.

This species the time from the moment you press the key until the maximum volume is reached.

Species the decay time of the amp envelope.

This species the time from when the maximum volume is reached, until it decays to the sustain level.

Species the sustain level of the amp envelope.

This species the volume level that will be maintained from when the attack and decay times have elapsed until you release the key.

Species the release time of the amp envelope.

This species the time from when you release the key until the volume reaches its minimum value.

Cuto

frequency

Key-on

Key-o

Time

LFO tab

Selects the LFO waveform.

TRI

SIN

LFO Shape

LFO Rate 0–127 Species the LFO rate when Modulation LFO Tempo Sync Switch is OFF.

LFO Tempo Sync Sw OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

LFO Tempo Sync Note

LFO Fade Time 0–127

LFO Key Trigger OFF, ON If this is on, the LFO cycle will be restarted when you press a key.

LFO Pitch Depth -63–+63 This allows the LFO to modulate the pitch, producing a vibrato eect.

LFO FILTER Depth -63–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

LFO AMP Depth -63–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

LFO Pan Depth -63–+63 Here’s how to make the PAN (stereo position) vary (Auto Panning).

SAW

SQR

S&H Sample and Hold ( The LFO value will change once each cycle.)

RND Random wave

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

Triangle wave

Sine wave

Sawtooth wave

Square wave

Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

This species the time from when the partial sounds until the LFO reaches its maximum amplitude.

Fade Time

SuperNATURAL Synth Tone (SN-S) – MOD LFO tab

Parameter Value Explanation

MOD LFO tab

Selects the MODULATION LFO waveform.

There is an LFO that is always applied to the partial, and a MODULATION LFO for applying modulation when the pitch bend/modulation lever is moved away from yourself.

TRI

ModLFO Shape

ModLFO Rate 0–127 Species the LFO rate when Modulation LFO Tempo Sync Switch is OFF.

ModLFO TempoSyncSw OFF, ON If this is ON, the LFO rate can be specied as a note value relative to the tempo.

ModLFO TempoSyncNote

ModLFO Pitch Depth -63–+63 This allows the LFO to modulate the pitch, producing a vibrato eect.

ModLFO FILTER Depth -63–+63 This allows the LFO to modulate the FILTER CUTOFF (cuto frequency), producing a wah eect.

ModLFO AMP Depth -63–+63 This allows the LFO to modulate the AMP LEVEL (volume), producing a tremolo eect.

ModLFO Pan Depth -63–+63 Here’s how to make the PAN (stereo position) vary (Auto Panning).

ModLFO Rate Control -63–+63

SIN

SAW

SQR

S&H Sample and Hold ( The LFO value will change once each cycle.)

RND Random wave

16, 12, 8, 4, 2, 1, 3/4, 2/3, 1/2, 3/8, 1/3, 1/4, 3/16, 1/6, 1/8, 3/32, 1/12, 1/16, 1/24, 1/32

Triangle wave

Sine wave

Sawtooth wave

Square wave

Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

Make these settings if you want to change the Modulation LFO Rate when the modulation lever is operated.

Specify a positive “+” value if you want the Modulation LFO Rate to speed up when you move the modulation lever; specify a negative “-” value if you want it to slow down.

AFTERTOUCH tab

Cuto Aftertouch Sens -63–+63

Level Aftertouch Sens -63–+63

Species how aftertouch pressure will aect the cuto frequency.

Specify a positive “+” value if you want aftertouch to raise the cuto frequency; specify a negative

“-” value if you want aftertouch to lower the cuto frequency.

Species how aftertouch pressure will aect the volume.

Specify a positive “+” value if you want aftertouch to increase the volume; specify a negative “-” value if you want aftertouch to decrease the volume.

MISC tab

Attack Time Interval Sens 0–127

Release Time Interval Sens 0–127

Portamento Time Interval Sens 0–127

Use this to loop the envelope between certain regions during a note-on.

Envelope Loop Mode

Attack

Decay

OFF The envelope will operate normally.

FREE-RUN

TEMPO-SYNC Species the loop rate as a note value (Sync Note parameter).

Envelope Loop Sync Note Note (p. 96)

Chromatic Portamento OFF, ON If this is turned on, portamento will operate in semitone steps.

Shortens the FILTER and AMP Attack Time according to the spacing between note-on events.

Higher values produce a greater eect. With a setting of 0, there will be no eect. This is eective when you want to play rapid notes using a sound that has a slow attack (Attack Time).

Shortens the FILTER and AMP Release Time if the interval between one note-on and the next note-o is brief. Higher values produce a greater eect. With a setting of 0, there will be no eect.

This is eective when you want to play staccato notes using a sound that has a slow release.

Shortens the Portamento Time according to the spacing between note-on events. Higher values produce a greater eect. With a setting of 0, there will be no eect.

Sustain

When the Decay segment has ended, the envelope will return to the Attack. The Attack through Decay segments will repeat until note-o occurs.

Returns to the Attack at the specied rate. If the Attack+Decay time is shorter than the specied rate, the Sustain Level will be maintained. If the Attack+Decay time is longer than the specied rate, the envelope will return to the Attack even though the Decay has not been completed. This will continue repeating until note-o occurs.

SuperNATURAL Synth Tone (SN-S) – MFX tab

Parameter Value Explanation

MFX tab

MFX Switch OFF, ON Species whether MFX will be used (ON) or not used (OFF).

MFX Type 0–67

Parameters for each MFX type Edit the parameters for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

Use this parameter to select from among the 67 available multi-eects.

For details on multi-eects parameters, refer to “MFX Parameters” (p. 73).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the Chorus eect, set it to “0.”

* This has no eect if motional surround is on.

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the Reverb eect, set it to “0.”

* This has no eect if motional surround is on.

MFX CTRL tab

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-eects controls.

Sets the amount of the multi-eects control’s eect that is applied. To make an increase in the currently selected value (to get higher values, move to the right, increase rates, and so on), select a positive value; to make a decrease in the currently selected value (to get lower values, move to the left, decrease rates, and so on), select a negative value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

SuperNATURAL Drum Kit (SN-D)

TONE EDIT (SN-D)

Each kit has settings for 62 drum instruments, in addition to multi-eect (MFX) settings.

You can assign a dierent note number that will sound each of the 62 partials.

For the one part specied by the Drum Comp+EQ Assign setting, you’ll be able to use six sets of compressor + equalizer units to make the sound more consistent or to adjust the tonal character.

PARTIAL 62

PARTIAL 1

DRUM INST

COMP+EQ 1 COMP+EQ 4

COMP+EQ 2

COMP+EQ 3 COMP+EQ 6

COMP+EQ 5

MFX

1. In the top screen, press the [EDIT] button.

Parameter Value Explanation

COMMON tab

Phrase Number 0–16 Number of the phrase that plays when you press the [VOLUME] knob (PREVIEW).

Drum Kit Level 0–127 Sets the volume of the entire drum kit.

Species the volume of the drum kit resonances and the resonances of the room. This applies only

Ambience Level 0–127

for sounds whose type is Kick, Snare, Tom, and Hi-Hat.

* For some drum instruments, this will have no eect. Refer to “SuperNATURAL Drum Inst List”

(p. 41).

DRUM INST tab

Inst Bank

Inst Number 000: OFF, 001– Selects the drum inst number assigned to partial.

Level 0–127 Sets the volume of the drum inst.

Pan L64–63R Sets the pan of the drum inst.

Chorus Send Level 0–127

Reverb Send Level 0–127

Tune -120–+120 Adjusts the pitch of the drum inst.

Attack 0–100 [%] Adjusts the level and time of the attack. A setting of 100% produces the fastest attack.

Decay -63–0 Adjusts the decay time. Negative “-” settings will produce a muting eect.

Brilliance -15–+12

Variation

Dynamic Range 0–63

Stereo Width 0–127

INT, ExSN6 (only if an expansion is loaded)

OFF, FLAM1, FLAM2, FLAM3, BUZZ1, BUZZ2, BUZZ3, ROLL

Selects the drum inst bank assigned to partial.

INT: Internal inst bank

ExSN6: Expanded inst bank

Species the level of the signal sent to the chorus for each drum inst.

* This has no eect if motional surround is on.

Species the level of the signal sent to the reverb for each drum inst.

* This has no eect if motional surround is on.

Adjusts the brilliance of the sound. Positive “+” settings make the sound brighter, and negative “-” settings make the sound darker.

Species performance variations such as am, buzz, or roll.

* The parameters available for editing will depend on the drum instrument. Refer to

“SuperNATURAL Drum Inst List” (p. 41).

Species the curve by which velocity will aect the volume. With a setting of 0, any velocity will produce the maximum volume.

Adjusts the stereo width of the sound. A setting of 0 is monaural.

* For some drum instruments, this will have no eect. Refer to “SuperNATURAL Drum Inst List”

(p. 41).

SuperNATURAL Drum Kit (SN-D) – COMP tab

Parameter Value Explanation

Output Assign PART, COMP+EQ1–6 Species for each drum inst how the sound will be output.

COMP tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

Comp 1–6 Switch OFF, ON Compressor on/o setting

Comp 1–6 Attack Time 0.05–50.0ms Time from when the input exceeds the threshold until compression begins

Comp 1–6 Release Time 0.05–2000ms Time from when the input falls below the threshold until compression is turned o

Comp 1–6 Threshold 0–127 Level above which compression is applied

Comp 1–6 Ratio 1:1–inf:1 Compression ratio

Comp 1–6 Output Gain 0–+24[dB] Level of the output sound

EQ tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

EQ 1–6 Switch OFF, ON Equalizer on/o setting

EQ1–6 Low Freq 200, 400 [Hz] Frequency of the low range

EQ1–6 Low Gain -15–+15 [dB] Gain of the low frequency range

EQ1–6 Mid Freq

EQ1–6 Mid Gain -15–+15 [dB] Gain of the middle frequency range

EQ1–6 Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ1–6 High Freq 2000, 4000, 8000 [Hz] Frequency of the high range

EQ1–6 High Gain -15–+15 [dB] Gain of the high frequency range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 [Hz]

Frequency of the middle range

Width of the middle frequency range

Set a higher value for Q to narrow the range to be aected.

MFX tab

MFX Switch OFF, ON Switches the multi-eect (MFX) on/o.

MFX Type 0–67

Parameters for each MFX type Make parameter settings for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

Use this parameter to select from among the 67 available MFXs. For details on MFX parameters, refer to “MFX Parameters” (p. 73).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the Chorus eect, set it to “0.”

* This has no eect if motional surround is on.

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the Reverb eect, set it to “0.”

* This has no eect if motional surround is on.

MFX CTRL tab

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-eects controls.

Sets the amount of the multi-eects control’s eect that is applied.

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

SuperNATURAL Drum Inst List

The following table shows support for the Ambience Level parameter of the COMMON tab and the Stereo Width parameter of the DRUM INST tab.

Variation indicates support for the performance variation in the DRUM INST tab.

Bank No. Inst Name Type

INT 1 Studio Kick Kick

INT 2 Pop Kick Kick

INT 3 Jazz Kick Kick

INT 4 Rock Kick Kick

INT 5 Studio Kick 2 Kick

INT 6 Rock Kick 2 Kick

INT 7 Orch Bass Drum Kick

INT 8 Studio Sn Snare

INT 9 Studio Sn Rim Snare

INT 10 Studio Sn XStk Snare

INT 11 Pop Sn Snare

INT 12 Pop Sn Rim Snare

INT 13 Pop Sn XStk Snare

INT 14 Jazz Sn Snare

INT 15 Jazz Sn Rim Snare

INT 16 Jazz Sn XStk Snare

INT 17 Rock Sn Snare

INT 18 Rock Sn Rim Snare

INT 19 Rock Sn XStk Snare

INT 20 Tight Sn Snare

INT 21 Tight Sn Rim Snare

INT 22 Tight Sn XStk Snare

INT 23 Studio Sn 2 Snare

INT 24 Studio Sn 2 Rim Snare

INT 25 Studio Sn 2 XStk Snare

INT 26 Rock Sn 2 Snare

INT 27 Rock Sn 2 Rim Snare

INT 28 Rock Sn 2 XStk Snare

INT 29 Brush Sn Slap Snare

INT 30 Brush Sn Tap Snare

INT 31 Brush Sn Slide Snare

INT 32 Brush Sn Swirl 1 Snare

INT 33 Brush Sn Swirl 2 Snare

INT 34 Snare CrossStk Snare

INT 35 Orch Snare Snare

INT 36 Orch Snare XStk Snare

INT 37 Pop Tom Hi Tom

INT 38 Pop Tom Mid Tom

INT 39 Pop Tom Flr Tom

INT 40 Rock Tom Hi Tom

INT 41 Rock Tom Mid Tom

INT 42 Rock Tom Floor Tom

INT 43 Jazz Tom Hi Tom

INT 44 Jazz Tom Mid Tom

INT 45 Jazz Tom Floor Tom

INT 46 Brush Tom Hi Tom

INT 47 Brush Tom Mid Tom

INT 48 Brush Tom Floor Tom

INT 49 Med HH Close Hi-Hat

INT 50 Med HH Open Hi-Hat

Stereo

Width

ü ü

Ambience

Level

Variation

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

Flam/Buzz/Roll

Flam/Buzz

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

Bank No. Inst Name Type

INT 51 Med HH Pedal Hi-Hat

INT 52 Standard HH Cl Hi-Hat

INT 53 Standard HH Op Hi-Hat

INT 54 Standard HH Pdl Hi-Hat

INT 55 Jazz HH Close Hi-Hat

INT 56 Jazz HH Open Hi-Hat

INT 57 Jazz HH Pedal Hi-Hat

INT 58 Brush HH Close Hi-Hat

INT 59 Brush HH Open Hi-Hat

INT 60 Standard Rd Edge Ride

INT 61 Standard Rd Bell Ride

INT 62 Std Rd Edge/Bell Ride

INT 63 Medium Ride Edge Ride

INT 64 Medium Ride Bell Ride

INT 65 Med Rd Edge/Bell Ride

INT 66 Flat 18"Ride Ride

INT 67 Brush 18"Ride Ride

INT 68 Brush 20"Ride Ride

INT 69 Standard 16"Cr R Crash

INT 70 Standard 16"Cr L Crash

INT 71 Standard 18"Cr R Crash

INT 72 Standard 18"Cr L Crash

INT 73 Jazz 16"Cr R Crash

INT 74 Jazz 16"Cr L Crash

INT 75 Heavy 18"Cr R Crash

INT 76 Heavy 18"Cr L Crash

INT 77 Brush 16"Cr R Crash

INT 78 Brush 16"Cr L Crash

INT 79 Brush 18"Cr R Crash

INT 80 Brush 18"Cr L Crash

INT 81 Splash Cymbal 1 Crash

INT 82 Splash Cymbal 2 Crash

INT 83 Brush Splash Cym Crash

INT 84 China Cymbal Crash

INT 85 Orch Cymbal Crash

INT 86 Orch Mallet Cym Crash

INT 87 Gong Crash

INT 88 Timpani F2 Percussion

INT 89 Timpani F#2 Percussion

INT 90 Timpani G2 Percussion

INT 91 Timpani G#2 Percussion

INT 92 Timpani A2 Percussion

INT 93 Timpani A#2 Percussion

INT 94 Timpani B2 Percussion

INT 95 Timpani C3 Percussion

INT 96 Timpani C#3 Percussion

INT 97 Timpani D3 Percussion

INT 98 Timpani D#3 Percussion

INT 99 Timpani E3 Percussion

INT 100 Timpani F3 Percussion

INT 101 Tambourine 1 Percussion

INT 102 Tambourine 2 Percussion - - Flam/Buzz

INT 103 Cowbell 1 Percussion

INT 104 Cowbell 2 Percussion - - Flam/Buzz

Stereo

Width

ü ü

Ambience

Level

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

Variation

Flam/Buzz

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

Bank No. Inst Name Type

INT 105 Vibra-slap Percussion - - Flam/Buzz

INT 106 High Bongo 1 Percussion

INT 107 Low Bongo 1 Percussion

INT 108 High Bongo 2 Percussion - - Flam/Buzz

INT 109 Low Bongo 2 Percussion - - Flam/Buzz

INT 110 MuteHi Conga 1 Percussion

INT 111 OpenHi Conga 1 Percussion

INT 112 Low Conga 1 Percussion

INT 113 MuteHi Conga 2 Percussion - - Flam/Buzz

INT 114 OpenHi Conga 2 Percussion - - Flam/Buzz

INT 115 Low Conga 2 Percussion - - Flam/Buzz

INT 116 High Timbale Percussion

INT 117 Low Timbale Percussion

INT 118 High Agogo 1 Percussion

INT 119 Low Agogo 1 Percussion

INT 120 High Agogo 2 Percussion - - Flam/Buzz

INT 121 Low Agogo 2 Percussion - - Flam/Buzz

INT 122 Cabasa 1 Percussion

INT 123 Cabasa 2 Percussion - - Flam/Buzz

INT 124 Maracas 1 Percussion

INT 125 Maracas 2 Percussion - - Flam/Buzz

INT 126 Short Whistle Percussion - - Flam/Buzz

INT 127 Long Whistle Percussion - - Flam/Buzz

INT 128 Short Guiro Percussion - - Flam/Buzz

INT 129 Long Guiro Percussion - - Flam/Buzz

INT 130 Claves 1 Percussion

INT 131 Claves 2 Percussion - - Flam/Buzz

INT 132 Hi WoodBlock 1 Percussion

INT 133 Low WoodBlock 1 Percussion

INT 134 Hi WoodBlock 2 Percussion - - Flam/Buzz

INT 135 Low WoodBlock 2 Percussion - - Flam/Buzz

INT 136 Mute Cuica 1 Percussion

INT 137 Open Cuica 1 Percussion

INT 138 Mute Cuica 2 Percussion - - Flam/Buzz

INT 139 Open Cuica 2 Percussion - - Flam/Buzz

INT 140 Mute Triangle 1 Percussion - - Flam/Buzz/Roll

INT 141 Open Triangle 1 Percussion - - Flam/Buzz/Roll

INT 142 Mute Triangle 2 Percussion - - Flam/Buzz

INT 143 Open Triangle 2 Percussion - - Flam/Buzz

INT 144 Shaker Percussion - - Flam/Buzz

INT 145 Sleigh Bell 1 Percussion

INT 146 Sleigh Bell 2 Percussion - - Flam/Buzz

INT 147 Wind Chimes Percussion

INT 148 Castanets 1 Percussion

INT 149 Castanets 2 Percussion - - Flam/Buzz

INT 150 Mute Surdo 1 Percussion

INT 151 Open Surdo 1 Percussion

INT 152 Mute Surdo 2 Percussion - - Flam/Buzz

INT 153 Open Surdo 2 Percussion - - Flam/Buzz

INT 154 Sticks Other - - Flam/Buzz

INT 155 Square Click Other - - Flam/Buzz

INT 156 Metro Click Other - - Flam/Buzz

INT 157 Metro Bell Other - - Flam/Buzz

INT 158 Hand Clap Other - - Flam/Buzz

INT 159 High Q SFX - - Flam/Buzz

Stereo

Width

Ambience

Level

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

- Flam/Buzz/Roll

- Flam/Buzz

Variation

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

Bank No. Inst Name Type

INT 160 Slap SFX - - Flam/Buzz

INT 161 Scratch Push SFX - - Flam/Buzz

INT 162 Scratch Pull SFX - - Flam/Buzz

INT 163 Gt Fret Noise SFX - - Flam/Buzz

INT 164 Gt Cutting Up Nz SFX - - Flam/Buzz

INT 165 Gt Cutting Dw Nz SFX - - Flam/Buzz

INT 166 AcBass Noise SFX - - Flam/Buzz

INT 167 Flute Key Click SFX - - Flam/Buzz

INT 168 Applause SFX

ExSN6 1 Laughing 1 SFX

ExSN6 2 Laughing 2 SFX

ExSN6 3 Laughing 3 SFX

ExSN6 4 Scream 1 SFX

ExSN6 5 Scream 2 SFX

ExSN6 6 Scream 3 SFX

ExSN6 7 Punch 1 SFX

ExSN6 8 Punch 2 SFX

ExSN6 9 Punch 3 SFX

ExSN6 10 Heart Beat 1 SFX

ExSN6 11 Heart Beat 2 SFX

ExSN6 12 Heart Beat 3 SFX

ExSN6 13 Foot Steps 1 SFX

ExSN6 14 Foot Steps 2 SFX

ExSN6 15 Foot Steps 3 SFX

ExSN6 16 Foot Step 1 A SFX

ExSN6 17 Foot Step 1 B SFX

ExSN6 18 Foot Step 2 A SFX

ExSN6 19 Foot Step 2 B SFX

ExSN6 20 Foot Step 3 A SFX

ExSN6 21 Foot Step 3 B SFX

ExSN6 22 Door Creaking 1 SFX

ExSN6 23 Door Creaking 2 SFX

ExSN6 24 Door Creaking 3 SFX

ExSN6 25 Door Slam 1 SFX

ExSN6 26 Door Slam 2 SFX

ExSN6 27 Door Slam 3 SFX

ExSN6 28 Scratch SFX

ExSN6 29 MetalScratch SFX

ExSN6 30 Matches SFX

ExSN6 31 Car Engine 1 SFX

ExSN6 32 Car Engine 2 SFX

ExSN6 33 Car Engine 3 SFX

ExSN6 34 Car Stop 1 L>R SFX

ExSN6 35 Car Stop 1 R>L SFX

ExSN6 36 Car Stop 2 L>R SFX

ExSN6 37 Car Stop 2 R>L SFX

ExSN6 38 Car Stop 3 L>R SFX

ExSN6 39 Car Stop 3 R>L SFX

ExSN6 40 CarPassing 1 L>R SFX

ExSN6 41 CarPassing 1 R>L SFX

ExSN6 42 CarPassing 2 L>R SFX

ExSN6 43 CarPassing 2 R>L SFX

ExSN6 44 CarPassing 3 L>R SFX

ExSN6 45 CarPassing 3 R>L SFX

ExSN6 46 CarPassing 4 SFX - - -

Stereo

Width

Ambience

Level

- -

Variation

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

Bank No. Inst Name Type

ExSN6 47 CarPassing 5 SFX - - -

ExSN6 48 CarPassing 6 SFX - - -

ExSN6 49 Car Crash 1 L>R SFX

ExSN6 50 Car Crash 1 R>L SFX

ExSN6 51 Car Crash 2 L>R SFX

ExSN6 52 Car Crash 2 R>L SFX

ExSN6 53 Car Crash 3 L>R SFX

ExSN6 54 Car Crash 3 R>L SFX

ExSN6 55 Crash 1 SFX

ExSN6 56 Crash 2 SFX

ExSN6 57 Crash 3 SFX

ExSN6 58 Siren 1 SFX

ExSN6 59 Siren 2 L>R SFX

ExSN6 60 Siren 2 R>L SFX

ExSN6 61 Siren 3 SFX

ExSN6 62 Train 1 SFX

ExSN6 63 Train 2 SFX

ExSN6 64 Jetplane 1 L>R SFX

ExSN6 65 Jetplane 1 R>L SFX

ExSN6 66 Jetplane 2 L>R SFX

ExSN6 67 Jetplane 2 R>L SFX

ExSN6 68 Jetplane 3 L>R SFX

ExSN6 69 Jetplane 3 R>L SFX

ExSN6 70 Helicopter 1 L SFX

ExSN6 71 Helicopter 1 R SFX

ExSN6 72 Helicopter 2 L SFX

ExSN6 73 Helicopter 2 R SFX

ExSN6 74 Helicopter 3 L SFX

ExSN6 75 Helicopter 3 R SFX

ExSN6 76 Starship 1 L>R SFX

ExSN6 77 Starship 1 R>L SFX

ExSN6 78 Starship 2 L>R SFX

ExSN6 79 Starship 2 R>L SFX

ExSN6 80 Starship 3 L>R SFX

ExSN6 81 Starship 3 R>L SFX

ExSN6 82 Gun Shot 1 SFX

ExSN6 83 Gun Shot 2 SFX

ExSN6 84 Gun Shot 3 SFX

ExSN6 85 Machine Gun 1 SFX

ExSN6 86 Machine Gun 2 SFX

ExSN6 87 Machine Gun 3 SFX

ExSN6 88 Laser Gun 1 SFX

ExSN6 89 Laser Gun 2 SFX

ExSN6 90 Laser Gun 3 SFX

ExSN6 91 Explosion 1 SFX

ExSN6 92 Explosion 2 SFX

ExSN6 93 Explosion 3 SFX

ExSN6 94 Dog 1 SFX

ExSN6 95 Dog 2 SFX

ExSN6 96 Dog 3 SFX

ExSN6 97 Dog 4 SFX

ExSN6 98 Horse 1 L>R SFX

ExSN6 99 Horse 1 R>L SFX

ExSN6 100 Horse 2 L>R SFX

Stereo

Width

Ambience

Level

- -

Variation

SuperNATURAL Drum Kit (SN-D) – MFX CTRL tab

Bank No. Inst Name Type

ExSN6 101 Horse 2 R>L SFX

ExSN6 102 Horse 3 L>R SFX

ExSN6 103 Horse 3 R>L SFX

ExSN6 104 Birds 1 SFX

ExSN6 105 Birds 2 SFX

ExSN6 106 Rain 1 SFX

ExSN6 107 Rain 2 SFX

ExSN6 108 Thunder 1 SFX

ExSN6 109 Thunder 2 SFX

ExSN6 110 Thunder 3 SFX

ExSN6 111 Wind SFX

ExSN6 112 Seashore SFX

ExSN6 113 Stream 1 SFX

ExSN6 114 Stream 2 SFX

ExSN6 115 Bubbles 1 SFX

ExSN6 116 Bubbles 2 SFX

ExSN6 117 Burst 1 SFX

ExSN6 118 Burst 2 SFX

ExSN6 119 Burst 3 SFX

ExSN6 120 Burst 4 SFX - - -

ExSN6 121 Glass Burst 1 SFX

ExSN6 122 Glass Burst 2 SFX

ExSN6 123 Glass Burst 3 SFX

ExSN6 124 Telephone 1 SFX

ExSN6 125 Telephone 2 SFX

ExSN6 126 Telephone 3 SFX

Stereo

Width

Ambience

Level

- -

Variation

PCM Synth Tone (PCMS)

TONE EDIT (PCMS)

Each tone has settings for four sets (Partial 1–4) of WAVE, TVF, TVA, and LFO×2, in addition to multi-eect (MFX) settings.

You can create sounds by combining four partials.

Each partial can be turned on/o, allowing you to specify which partial (s) will be heard.

PARTIAL 4

PARTIAL 3

PARTIAL 2

PARTIAL 1

LFO 1

WAVE TVF

TVA

MFX

PITCH

ENV

TVF ENV TVA

ENV

LFO 2

STEP LFO

1. In the top screen, press the [EDIT] button.

MEMO

In this manual, Parameters that can be controlled using the Matrix Control (p. 63) are marked

.”

with a “

Parameter Value Explanation

COMMON tab

No assign, Ac.Piano, E.Piano, Organ, Other Keyboards, Accordion/ Harmonica, Bell/Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass,

Tone Category

Phrase Number 0–243 Number of the phrase that plays when you press the [VOLUME] knob (PREVIEW).

Phrase Octave Shift -3–+3 Pitch (in octave units) of the preview phrase.

Tone Level 0–127 Adjusts the overall volume of the tone.

Tone Pan L64–63R Species the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

Tone Priority LAST, LOUDEST

Octave Shift -3–+3 Adjusts the pitch of the tone’s sound up or down in units of an octave (+/-3 octaves).

Tone Coarse Tune -48–+48 Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves).

Tone Fine Tune -50–+50

Selects the tone’s category.

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

LAST: The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

LOUDEST: The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowest-volume voice.

Adjusts the tone of the patch’s sound up or down in 1-cent steps (+/-50 cents).

* One cent is 1/100th of a semitone.

PCM Synth Tone (PCMS) – COMMON tab

Parameter Value Explanation

This setting allows you to apply “stretched tuning” to the patch. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will produce the greatest dierence in the pitch of the low and high ranges.

The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle eect on the way in which chords resonate.

Pitch dierence from equal temperament

Stretch Tune Depth OFF, 1–3

Parameter value

Analog Feel 0–127

Cuto Oset -63–+63

Resonance Oset -63–+63

Attack Time Oset -63–+63

Release Time Oset -63–+63

Velocity Sens Oset -63–+63

Mono/Poly MONO, POLY

OFF

Low note range

OFF

High note range

Species the depth of 1/f modulation that is to be applied to the tone. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.)

By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

Cuto Frequency Oset alters the cuto frequency of the overall tone, while preserving the relative dierences between the cuto frequency values set for each partial in the Cuto Frequency parameters (p. 56).

NOTE

This value is added to the cuto frequency value of a partial, so if the cuto frequency value of any partial is already set to “127” (maximum), positive “+” settings here will not produce any change.

Resonance Oset alters the resonance of the overall tone, while preserving the relative dierences between the resonance values set for each partial in the Resonance parameter (p. 56).

* Resonance: emphasizes the overtones in the region of the cuto frequency, adding character

to the sound.

NOTE

This value is added to the resonance value of a partial, so if the resonance value of any partial is already set to “127” (maximum), positive “+” settings here will not produce any change.

Attack Time Oset alters the attack time of the overall tone, while preserving the relative dierences between the attack time values set for each partial in the TVA Env Time 1 parameters (p.

59), TVF Env Time 1 parameters (p. 58).

* Attack Time: The time it takes for a sound to reach maximum volume after the key is pressed

and sound begun.

NOTE

This value is added to the attack time value of a partial, so if the attack time value of any partial is already set to “127” (maximum), positive “+” settings here will not produce any change.

Release Time Oset alters the release time of the overall tone, while preserving the relative dierences between the release time values set for each partial in the TVA Env Time 4 parameters (p. 59), TVF Env Time 4 parameters (p. 58).

* Release Time: The time from when you take your nger o the key until the sound disappears.

NOTE

This value is added to the release time value of a partial, so if the release time value of any partial is already set to “127” (maximum), positive “+” settings here will not produce any change.

Velocity Sensitivity Oset alters the Velocity Sensitivity of the overall tone while preserving the relative dierences between the Velocity Sensitivity values set for each partial in the parameters below.

Cuto Velocity Sens parameter (p. 57)

Level Velocity Sens parameter (p. 58)

* Velocity: Pressure with which the key is pressed.

NOTE

This value is added to the velocity sensitivity value of a partial, so if the velocity sensitivity value of any partial is already set to “+63” (maximum), positive “+” settings here will not produce any change.

Species whether the tone will play polyphonically (POLY) or monophonically (MONO). The

“MONO” setting is eective when playing a solo instrument patch such as sax or ute.

MONO: Only the last-played note will sound.

POLY: Two or more notes can be played simultaneously.

Parameter Value Explanation

This setting species whether the Legato Switch will be used (ON) or not (OFF).

Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” With the Legato Switch

Legato Switch OFF, ON

“ON,” pressing a key while continuing to press a previous key causes the note to change pitch to

the pitch of the most recently pressed key, sounding all the while.

This creates a smooth transition between notes, which is eective when you wish to simulate the hammering on and pulling-o techniques used by a guitarist.

The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato.

The Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to

“ON.” Normally you will leave this parameter “ON.”

When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

NOTE

Legato Retrigger OFF, ON

Portamento Switch OFF, ON

Portamento Mode NORMAL, LEGATO

Portamento Type RATE, TIME

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.”

When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded.

Additionally, if diering upper pitch limits are used for the waves of a tone that uses multiple partials, it may stop being heard in MONO.

When making large pitch changes, set the Legato Retrigger to “ON.”

Species whether the portamento eect will be applied (ON) or not (OFF).

Portamento

Portamento is an eect which smoothly changes the pitch from the rst-played key to the next-played key. By applying portamento when the Mono/Poly parameter is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Species the performance conditions for which portamento will be applied.

NORMAL: Portamento will always be applied.

LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key

before releasing the previous key).

Species the type of portamento eect.

RATE: The time it takes will depend on the distance between the two pitches.

TIME: The time it takes will be constant

Starts a new portamento when another key is pressed while the pitch is changing.

Pitch

PCM Synth Tone (PCMS) – COMMON tab

Portamento Start

PITCH

NOTE

D4 C4

Time

press D4 key

press C5 key

press C4 key

Portamento will begin a new from the pitch where the current change would end.

Pitch

D4 C4

Time

press D4 key

press C5 key

press C4 key

PCM Synth Tone (PCMS) – WAVE tab

Parameter Value Explanation

Portamento Time 0–127

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.

WAVE tab

Partial Switch OFF, ON Used to specify whether partial 1–4 will be used (ON) or not used (OFF).

Wave Group

Wave No.L (Mono)

Wave No.R

Wave Gain -6, 0, +6, +12 [dB]

Wave Tempo Sync OFF, ON

INT,

SRX01–SRX12 (only if an expansion is loaded)

OFF, 1–

Selects the group for the waveform that is to be the basis of the partial.

INT: Waveforms stored in internal

SRX01–SRX12: Expansion sound banks

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

NOTE

If you specify only the right side (R), there will be no sound.

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 53).

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

This is valid only when an SRX waveform which indicates a tempo (BPM) is selected.

(Example: SRX05 3:080:BladeBtL, SRX08 5:75:BoomRvBel, etc.)

If a waveform from an SRX is selected for the partial, turning the Wave Tempo Sync parameter

“ON” will cause pitch-related settings and FXM-related settings to be ignored.

When the Wave Tempo Sync is set to “ON,” set the Partial Delay Time (p. 51) to “0.”

With other settings, a delay eect will be applied, and you will be not be able to play as you expect.

FXM Switch OFF, ON

FXM Color 1–4

FXM Depth

0–16

Phrase Loop

“Phrase” loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by

using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

This sets whether FXM will be used (ON) or not (OFF).

FXM

FXM (Frequency Cross Modulation) uses a specied waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency modulation.

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Species the depth of the modulation produced by FXM.

* You can use matrix control to modify this.

Parameter Value Explanation

Partial Delay

This produces a time delay between the moment a key is pressed (or released), and the moment the partial actually begins to sound. You can also make settings that shift the timing at which each partial is sounded.

This diers from the Delay in the internal eects, in that by changing the sound qualities of the delayed partials and changing the pitch for each partial, you can also perform arpeggio-like passages just by pressing one key.

You can also synchronize the partial delay time to the tempo of the external MIDI sequencer.

NOTE

If you don’t wish to use Partial Delay, set Partial Delay Mode to “NORM” and Partial Delay Time to “0.”

• If the Structure Type set in the range of “2”–”10,” the output of partial 1 and 2 will be combined into partial 2, and the output of partial

3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 52).

The partial begins to play after the time specied in the Partial Delay Time parameter has elapsed.

NORM

Note on

Although the partial begins to play after the time specied in the Partial Delay Time parameter has elapsed, if the key is released before the time specied in the Partial Delay Time parameter has elapsed, the partial is not played.

Partial Delay Mode

HOLD

PCM Synth Tone (PCMS) – WAVE tab

No Partial Delay

Delay time

Note o

OFF-N

OFF-D

Partial Delay Time 0–127, Note

No sound played

Note on

Delay time

Note o

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. This is eective in situations such as when simulating noises from guitars and other instruments.

Delay time

Note on

Note o

Rather than being played while the key is pressed, the partial begins to play once the period of time specied in the Partial Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Delay time

Note on

Note o

Species the time from when the key is pressed (or if the Partial Delay Mode parameter is set to

“OFF-N” or “OFF-D,” the time from when the key is released) until when the partial will sound.

If you want the time until the partial sounds to be synchronized with the tempo, specify the time as a note value relative to the synchronization tempo.

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Value Partial Delay time

(half note)

(quarter note)

(eighth note)

1 second (60/60 = 1 [second])

0.5 seconds (60/120 = 0.5 [second])

0.25 seconds (60/240 = 0.25 [second])

PCM Synth Tone (PCMS) – PMT tab

Parameter Value Explanation

PMT tab

Determines how partial 1 and 2, or partial 3 and 4 are connected.

The following 10 dierent types of combination are available.

TYPE 1

PARTIAL 1 (3)

Partial 2 (4)

TVF TVA

With this type, partial 1 and 2 (or 3 and 4) are

TVATVF

independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each partial.

Structure Type 1 & 2

Structure Type 3 & 4

1–10

TYPE 2

PARTIAL 1 (3)

PARTIAL

2 (4)

TYPE 3

PARTIAL 1 (3)

PARTIAL 2 (4)

TYPE 4

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 5

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 6

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 7

PARTIAL1 (3)

PARTIAL 2 (4)

TVA

TVA TVFWG

TVA TVF

TVA TVFWG

TVF

R: Ring Modulator

TVATVF

TVF TVA

B: Booster

TVF TVA

B: Booster

TVF TVA

This type stacks the two lters together to intensify the characteristics of the lters. The TVA for partial 1 (or 3) controls the volume balance between the two partials.

This type mixes the sound of partial 1 (3) and partial 2 (4), applies a lter, and then applies a booster to distort the waveform.

This type applies a booster to distort the waveform, and then combines the two lters. The TVA for partial 1 (or 3) controls the volume balance between the two partials and adjusts booster level.

This type uses a ring modulator to create new overtones, and combines the two lters. The partial 1 (3) TVA will control the volume balance of the two partials, adjusting the depth of ring modulator.

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of partial 2 (4) and stacks the two lters. Since the ring-modulated sound can be mixed with partial 2 (4), partial 1 (3) TVA can adjust the amount of the ring-modulated sound.

This type applies a lter to partial 1 (3) and ring-modulates it with partial 2 (4) to create new overtones.

TYPE 8

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 9

PARTIAL1 (3)

PARTIAL 2 (4)

TYPE 10

PARTIAL 1 (3)

PARTIAL 2 (4)

R: Ring Modulator

TVATVF

R: Ring Modulator

TVATVF

TVF TVA

R: Ring Modulator

TVATVF

TVF TVA

This type sends the ltered partial 1 (3) and partial 2 (4) through a ring modulator, and then mixes in the sound of partial 2 (4) and applies a lter to the result.

This type passes the ltered sound of each partial through a ring modulator to create new overtones. The partial 1 (3) TVA will control the volume balance of the two partials, adjusting the depth of ring modulator.

This type passes the ltered sound of each partial through a ring modulator to create new overtones, and also mixes in the sound of partial 2 (4). Since the ring-modulated sound can be mixed with partial 2 (4), partial 1 (3) TVA can adjust the amount of the ring-modulated sound.

Parameter Value Explanation

When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. The booster increases the input signal in order to distort the sound. This creates the distortion eect frequently used with electric guitars. Higher settings will produce more distortion.

PCM Synth Tone (PCMS) – PMT tab

Booster

The Booster is used to distort the incoming signal. In addition to using this to create distortion, you can use the waveform (WG1) of one of the partials as an LFO which shifts the other waveform

Booster 1 & 2

Booster 3 & 4

Key Fade Upper 0–127

Key Range Upper LOWER–G9 Species the highest note that the tone will sound for each partial.

0, +6, +12, +18 [dB]

Level

Fade Lower

Range Lower

(WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain parameter (p. 50).

Fade Upper

Range Upper

This determines what will happen to the tone’s level when a note that’s higher than the partial’s specied keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the tone to sound at all when a note above the keyboard range is played, set this parameter to “0.”

Species the lowest note that the tone will sound for each partial.

Booster level

Uses WG1 as LFO

WG1

TVA

WG2

Adds to WG1

Shift in waveform by WG1

Pitch

Adjusts WG1 output

Booster

Distorted area of the

Waveform changes

Key Range Lower C-1–UPPER

Key Fade Lower 0–127

PMT Velocity Control OFF, ON, RANDOM, CYCLE

NOTE

If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modied to the same setting.

This determines what will happen to the tone’s level when a note that’s lower than the partial’s specied keyboard range is played. Higher settings produce a more gradual change in volume.

If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

PMT Velocity Control determines whether a dierent partial is played (ON) or not (OFF) depending on the force with which the key is played (velocity).

When set to “RANDOM,” the tone’s constituent partials will sound randomly, regardless of any Velocity messages.

When set to “CYCLE,” the tone’s constituent partials will sound consecutively, regardless of any Velocity messages.

MEMO

Use “Velo Range Lower” (p. 54) and “Velo Range Upper” (p. 54) to specify the range of keyboard dynamics.

NOTE

• If Velocity Range Lower and Velocity Range Upper are set to the same values, you won’t be able

to obtain any eect by setting PMT Velocity Control to “RANDOM” or “CYCLE.”

* Instead of using Velocity, you can also have partials substituted using the Matrix Control (p. 63).

However, the keyboard velocity and the Matrix Control cannot be used simultaneously to make dierent partials to sound. When using the Matrix Control to switch partials, set the Velocity Control parameter to “OFF.”

PCM Synth Tone (PCMS) – PITCH tab

Parameter Value Explanation

Level

Velocity

Velo Fade Upper 0–127

Velo Range Upper LOWER–127

Velo Range Lower 1–UPPER

Velo Fade Lower 0–127

PMT Control Switch OFF, ON

Fade Lower

Range Lower

Fade Upper

Range Upper

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specied velocity range.

Higher settings produce a more gradual change in volume.

If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

This sets the highest velocity at which the partial will sound. Make these settings when you want dierent partials to sound in response to notes played at dierent strengths.

This sets the lowest velocity at which the partial will sound. Make these settings when you want dierent partial to sound in response to notes played at dierent strengths.

NOTE

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting. When using the Matrix Control (p. 63) to have dierent partials played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.

This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specied velocity range.

Higher settings produce a more gradual change in volume.

If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

Use the Matrix Control (p. 63) to enable (ON), or disable (OFF) sounding of dierent partials.

NOTE

You can also cause dierent partials to sound in response to notes played at dierent strengths (velocity) on the keyboard (p. 53). However, the Matrix Control and the keyboard velocity cannot be used simultaneously to make dierent partials to sound. When using the Matrix Control to have dierent partials to sound, set the Velocity Control parameter (p. 53) to “OFF.”

PITCH tab

Partial Coarse Tune

Partial Fine Tune

Random Pitch Depth

Pitch Keyfollow -200–+200

-48–+48

-50–+50

0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

Adjusts the pitch of the partial’s sound up or down in semitone steps (+/-4 octaves).

* You can control this parameter using the Matrix Control.

Adjusts the pitch of the partial’s sound up or down in 1-cent steps (+/-50 cents).

* You can control this parameter using the Matrix Control.

* One cent is 1/100th of a semitone.

This species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

This species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

Pitch

+200

C4C3C2C1 C5 C6 C7

+100

+50

-50

-100-200

Key

Parameter Value Explanation

Pitch Bend Range Up 0–+48

Pitch Bend Range Down 0–-48

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position.

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to “-48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves.

PITCH ENV tab

Pitch Env Depth -12–+12

Pitch Env V-Sens -63–+63

Pitch Env T1 V-Sens -63–+63

Pitch Env T4 V-Sens -63–+63

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative “-” settings will invert the shape of the envelope.

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive

“+” value. If you want the pitch envelope to have less eect for strongly played notes, set this to a

negative “-” value.

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the pitch envelope times for the C4 key, positive “+” settings will cause notes higher than C4 to have increasingly shorter times, and negative “-” settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Time

PCM Synth Tone (PCMS) – PITCH ENV tab

-100

Pitch Env Time KF -100–+100

Pitch Env Time 1–4

0–127

-50

+50

+100

C4C3C2C1 C5 C6 C7

Specify the pitch envelope times (Time 1–Time 4).

Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

* You can control this parameter using the Matrix Control.

T1 T2 T3 T4

Pitch

Note on

T: Time L: Level

Note o

Key

Time

Pitch Env Level 0–4 -63–+63

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive “+” settings will cause the pitch to be higher than the standard pitch, and negative

“-” settings will cause it to be lower.

PCM Synth Tone (PCMS) – TVF tab

Parameter Value Explanation

TVF tab

Selects the type of lter.

A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

OFF No lter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency (Cuto Freq) in order to round o, or un-brighten the sound.

This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency (Cuto Freq), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency (Cuto Freq). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto Freq). You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter is half that of the LPF.

This makes it a comparatively warmer low pass lter.

This lter is good for use with simulated instrument sounds such as the acoustic piano.

* If you set “LPF2,” the setting for the Resonance parameter will be ignored (p. 56).

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter changes according to the Cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

* If you set “LPF3,” the setting for the Resonance parameter will be ignored (p. 56).

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

With “LPF/LPF2/LPF3” selected for the Filter Type parameter, lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

If “BPF” is selected, harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

* You can control this parameter using the Matrix Control.

MEMO

To edit the overall tone while preserving the relative dierences in the Cuto Frequency values set for each partial, set the Cuto Oset parameter (p. 48).

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

* You can control this parameter using the Matrix Control.

MEMO

To edit the overall tone while preserving the relative dierences in the Resonance values set for each partial, set the Resonance Oset parameter (p. 48).

Filter Type

Cuto Frequency

LPF

BPF

HPF

PKG

LPF2

LPF3

0–127

Resonance

0–127

LPF BPF HPF PKG

Level

High

Frequency

Cuto Frequency

parameter value

Low

Parameter Value Explanation

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive “+” settings will cause the cuto frequency to rise for notes higher than C4, and negative “-” settings will cause the cuto frequency to fall for notes higher than C4.

Larger settings will produce greater change.

Cuto frequency (Octave)

Cuto Keyfollow -200–+200

PCM Synth Tone (PCMS) – TVF ENV tab

+200

+100

+50

Cuto V-Curve FIXED, 1–7

Cuto V-Sens -63–+63

Resonance V-Sens -63–+63

-1

-2

C4C3C2C1 C5 C6 C7

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

-50

-100-200

Key

1 2 3 4 5 6 7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive “+” settings. If you want strongly played notes to lower the cuto frequency, use negative “-” settings.

MEMO

To edit the overall tone while preserving the relative dierences in the Cuto V-Sens values set for each partial, set the Velocity Sens Oset parameter (p. 48). However, this setting is shared by the Level V-Sens parameter (p. 58).

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive “+” settings. If you want strongly played notes to have less Resonance, use negative “-” settings.

TVF ENV tab

TVF Env Depth -63–+63

TVF Env V-Curve FIXED, 1–7

TVF Env V-Sens -63–+63

TVF Env T1 V-Sens -63–+63

TVF Env T4 V-Sens -63–+63

Species the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative “-” settings will invert the shape of the envelope.

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

1 2 3 4 5 6 7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive

“+” settings will cause the TVF envelope to have a greater eect for strongly played notes, and

negative “-” settings will cause the eect to be less.

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

PCM Synth Tone (PCMS) – TVA tab

Parameter Value Explanation

Use this setting if you want the TVF envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive “+” settings will cause notes higher than C4 to have increasingly shorter times, and negative “-” settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Time

TVF Env Time KF -100–+100

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

* You can control this parameter using the Matrix Control.

C4C3C2C1 C5 C6 C7

T1 T2 T3 T4

-100

-50

+50

+100

Key

TVF Env Time 1–4

TVF Env Level 0-4 0–127

0–127

Cuto

Frequency

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

Note on

T: Time L: Level

L2 L4

Note o

TVA tab

Sets the volume of the partial. This setting is useful primarily for adjusting the volume balance

Partial Level

Level V-Curve FIXED, 1–7

Level V-Sens -63–+63

Bias Level -100–+100

Bias Position C-1–G9 Species the key relative to which the volume will be modied.

Bias Direction

0–127

Selects the direction in which change will occur starting from the Bias Position.

LWR The volume will be modied for the keyboard area below the Bias Point.

UPR The volume will be modied for the keyboard area above the Bias Point.

L&U The volume will be modied symmetrically toward the left and right of the Bias Point.

ALL The volume changes linearly with the bias point at the center.

between partials.

* You can control this parameter using the Matrix Control.

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the partial to be aected by the force with which you play the key, set this to “FIXED.”

1 2 3 4 5 6 7

Set this when you want the volume of the partial to change depending on the force with which you press the keys. Set this to a positive “+” value to have the changes in partial volume increase the more forcefully the keys are played; to make the partial play more softly as you play harder, set this to a negative “-” value.

MEMO

If you wish to make adjustments to the entire tone while maintaining the relative values of TVA Level V-Sens among partials, adjust the Velocity Sens Oset parameter (p. 48). However, this setting is shared by the Cuto V-Sens parameter (p. 57).

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change.

Negative “-” values will invert the change direction.

Time

Parameter Value Explanation

Partial Pan

Pan Keyfollow -100–+100

L64–63R

Sets the pan of the partial. “L64” is far left, “0” is center, and “63R” is far right.

* You can control this parameter using the Matrix Control.

Use this parameter if you want key position to aect panning. Positive “+” settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative

“-” settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger

settings will produce greater change.

Pan

PCM Synth Tone (PCMS) – TVA ENV tab

+100

+50

-50

Random Pan Depth 0–63

Alternate Pan Depth L63–63R

TVA ENV tab

TVA Env T1 V-Sens -63–+63

TVA Env T4 V-Sens -63–+63

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and

“R” respectively, the panning of the two tones will alternate each time they are played.

C4C3C2C1 C5 C6 C7

-100

Key

NOTE

In the Pan Key Follow, Random Pan Depth, Alternate Pan Depth parameter settings, if the Structure Type set in the range of “2”–”10,” the output of partial 1 and 2 will be combined into partial 2, and the output of partial 3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 52).

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive “+” value. If you want it to be slowed down, set this to a negative “-” value.

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive “+” settings will cause notes higher than C4 to have increasingly shorter times, and negative “-” settings will cause them to have increasingly longer times. Larger settings will produce greater change.

Time

-100

TVA Env Time KF -100–+100

TVA Env Time 1–4

0–127

-50

+50

+100

C4C3C2C1 C5 C6 C7

Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

* You can control this parameter using the Matrix Control.

Key

PCM Synth Tone (PCMS) – OUTPUT tab

Parameter Value Explanation

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Partial Level value specied in the TVA screen).

TVA Env Level 1–3 0–127

T1 T2 T3 T4

Level

Note on

T: Time L: Level

Note o

Time

OUTPUT tab

Output Level 0–127 Species the signal level of each partial.

Chorus Send Level 0–127 Species the level of the signal sent to the chorus for each partial.

Reverb Send Level 0–127 Species the level of the signal sent to the reverb for each partial.

LFO1/LFO2 tab

An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each partial has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cuto frequency and volume to create modulation-type eects such as vibrato, wah and tremolo. Both LFOs have the same parameters.

Selects the waveform of the LFO.

SIN Sine wave

TRI Triangle wave

SAW-U Sawtooth wave

SAW-D Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the

BND-U

Waveform

BND-D

TRP Trapezoidal wave

S&H Sample & Hold wave (one time per cycle, LFO value is changed)

CHAOS Chaos wave

VSIN Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

STEP

waveform then continues without further change.

NOTE

You must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no eect.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

NOTE

You must turn the Key Trigger parameter to “ON.” If this is “OFF,” it will have no eect.

A waveform generated by the data specied by LFO Step 1–64. This produces stepped change with a xed pattern similar to a step modulator.

Adjusts the modulation rate, or speed, of the LFO.

If you want the LFO rate to be synchronized with the tempo, specify the setting as a note value relative to the synchronization tempo.

* You can control this parameter using the Matrix Control.

Rate

Rate Detune 0–127

0–127, Note

(Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

Value LFO Rate

(half note)

(quarter note)

(eighth note)

1 second (60/60 = 1 [second])

0.5 seconds (60/120 = 0.5 [second])

0.25 seconds (60/240 = 0.25 [second])

NOTE

This setting will be ignored if the Waveform parameter is set to “CHAOS.”

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed.

Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.”

Parameter Value Explanation

Oset -100, -50, 0, +50, +100

Delay Time 0–127

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive “+” settings will move the waveform so that modulation will occur from the central value upward. Negative

“-” settings will move the waveform so that modulation will occur from the central value downward.

Delay Time (LFO Delay Time) species the time elapsed before the LFO eect is applied (the eect continues) after the key is pressed (or released).

* After referring to “How to Apply the LFO” (p. 62), change the setting until the desired eect is

achieved.

MEMO

When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be eective to add the vibrato after the note is drawn out somewhat. If you set the Delay Time in conjunction with the Pitch Depth parameter and Rate parameter, the vibrato will be applied automatically following a certain interval after the key is pressed. This eect is called “Delay Vibrato.”

Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

Time

PCM Synth Tone (PCMS) – STEP LFO tab

-100

Delay Time KF -100–+100

Fade Mode ON<, ON>, OFF<, OFF>

Fade Time 0–127

Key Trigger OFF, ON

Pitch Depth

TVF Depth

TVA Depth

Pan Depth

-63–+63

-50

+50

+100

C4C3C2C1 C5 C6 C7

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p. 62), change the setting until the desired eect is

achieved.

Species the time over which the LFO amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 62), change the setting until the desired eect is

achieved.

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Species how deeply the LFO will aect pitch.

* You can control this parameter using the Matrix Control.

Species how deeply the LFO will aect the cuto frequency.

* You can control this parameter using the Matrix Control.

Species how deeply the LFO will aect the volume.

* You can control this parameter using the Matrix Control.

Species how deeply the LFO will aect the pan.

* You can control this parameter using the Matrix Control.

Key

MEMO

Positive “+” and negative “-” settings for the Depth parameter result in diering kinds of change in pitch and volume. For example, if you set the Depth parameter to a positive “+” value for one partial, and set another partial to the same numerical value, but make it negative

“-”, the modulation phase for the two partials will be the reverse of each other. This allows you

to shift back and forth between two dierent partials, or combine it with the Pan setting to cyclically change the location of the sound image.

STEP LFO tab

Step Type TYP1, TYP2

LFO Step1-16 -36–+36

NOTE

In the Pan Depth parameter settings, if the Structure Type parameter is set to any value from

“2” through “10,” the output of partial 1 and 2 will be combined into partial 2, and the output

of partial 3 and 4 will be combined into partial 4. For this reason, partial 1 will follow the settings of partial 2, and partial 3 will follow the settings of partial 4 (p. 52).

When generating an LFO waveform from the data specied in LFO Step1–16, specify whether the level will change abruptly at each step (TYP1) or will be connected linearly (TYP2).

Species the data for the Step LFO.

If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

PCM Synth Tone (PCMS) – How to Apply the LFO

Parameter Value Explanation

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Pan

Delay Time

Note on

Fade Time

Delay Time

Depth

Fade Time

Depth

high (more)

Pitch

Cuto Frequency

Level

low (less)

Parameter Explanation

Fade Mode ON <

Delay Time The time from when the keyboard is played until the LFO begins to be applied.

Fade Time The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

high (more)

Pitch

Cuto Frequency

Level

low (less)

Parameter Explanation

Fade Mode ON >

Delay Time The time that the LFO will continue after the keyboard is played.

Fade Time The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Apply the LFO gradually after the key is released

Note

o

Delay Time

Fade Time

Depth

high (more)

Pitch

Cuto Frequency

Level

Pan

Note

low (less)

Parameter Explanation

Fade Mode OFF <

Delay Time The time from when the keyboard is released until the LFO begins to be applied.

Fade Time The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

high (more)

Pitch

Cuto Frequency

Level

Pan

Delay Time

Fade Time

Depth

low (less)

Parameter Explanation

Fade Mode OFF >

Delay Time The time that the LFO will continue after the keyboard is released.

Fade Time The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Note on

Note o

PCM Synth Tone (PCMS) – CTRL tab

Parameter Value Explanation

CTRL tab

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If

Env Mode NOSUS, SUST

you want the sound to decay naturally even if the key remains pressed, set this to “NO SUS.”

NOTE

If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUST.”

Rx Bender OFF, ON For each partial, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

Rx Expression OFF, ON For each partial, specify whether MIDI Expression messages will be received (ON), or not (OFF).

For each partial, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Rx Hold-1 OFF, ON

Redamper Sw OFF, ON

NOTE

If “NO SUS” is selected for Env Mode parameter, this setting will have no eect.

You can specify, on an individual partial basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.”

When using this function, also set the Rx Hold-1 parameter “ON.” This function is eective for piano sounds.

MTRX CTRL1–4 tab

Matrix Control

Ordinarily, if you wanted to change partial parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the INTEGRA-7. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large.

For that reason, a number of the more typical of the INTEGRA-7’s partial parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter.

The function which allows you use MIDI messages to make these changes in realtime to the partial parameters is called the “Matrix Control.” Up to four Matrix Controls can be used in a single tone.

To use the Matrix Control, specify which MIDI message (Src) will be used to control which parameter (Dest), and how greatly (Sns), and the partial to which the eect is applied (Switch).

Sets the MIDI message used to change the partial parameter with the Matrix Control.

OFF: Matrix control will not be used.

CC01–31, 33–95: Controller numbers 1–31, 33–95

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–4: MIDI messages used as common matrix controls.

VELOCITY: Velocity (pressure you press a key with)

KEYFOLLOW: Keyfollow (keyboard position with C4 as 0)

TEMPO: Tempo specied by the tempo assign source, or the tempo of an external MIDI sequencer

LFO1: LFO 1

LFO2: LFO 2

PITCH ENV: Pitch envelope

TVF ENV: TVF envelope

TVA ENV: TVA envelope

* Velocity and Keyfollow correspond to Note messages.

* Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as

Matrix Control. In this case, you can change the partial settings in realtime by playing patches.

* If you want to use common controllers for the entire INTEGRA-7, select “SYS CTRL1”–”SYS

CTRL4.” MIDI messages used as System Control 1–4 are set with the Tone Control 1–4 Src (p. 5).

Reference

For more information about Control Change messages, please refer to “MIDI Implementation

(PDF).”

Control1–4 Source

OFF, CC01–CC31, CC33–CC95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA ENV

NOTE

• There are parameters that determine whether or not Pitch Bend, Controller Number 11

(Expression) and Controller Number 64 (Hold 1) are received (p. 63). When these settings are

“ON,” and the MIDI messages are received, then when any change is made in the settings

of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specic MIDI messages will be received for

each part in a studio set (p. 10). When a tone with Matrix Control settings is assigned to a part, conrm that any MIDI messages used for the Matrix Control will be received. If the INTEGRA-7 is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

PCM Synth Tone (PCMS) – MTRX CTRL1–4 tab

Parameter Value Explanation

Selects the partial parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

MEMO

In this manual, Parameters that can be controlled using the Matrix Control (p. 63) are marked with a “

.”

If you’re not using Matrix Control

OFF: Matrix Control will not be used.

Changing the Pitch

PITCH: Changes the pitch.

Opening and Closing the Filter

CUTOFF: Changes the cuto frequency.

RESONANCE: Emphasizes the overtones in the region of the cuto frequency, adding

character to the sound.

Changing the Volume and Pan

LEVEL: Changes the volume level.

PAN: Changes the pan.

Changing How the Eects Are Applied

OUTPUT LEVEL: Changes the volume of the original sound.

CHORUS SEND: Changes the amount of chorus.

OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, OUTPUT LEVEL, CHORUS SEND, REVERB SEND, LFO1/LFO2 PITCH DEPTH, LFO1/LFO2 TVF DEPTH, LFO1/LFO2 TVA DEPTH,

Control1–4 Dest1–4

Control1–4 Sens1–4 -63–+63

Control1–4 Switch1–4 OFF, ON, REVS

LFO1/LFO2 PAN DEPTH, LFO1/ LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, PMT, FXM DEPTH

REVERB SEND: Changes the amount of reverb.

Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.

LFO1/LFO2 TVF DEPTH: Changes the wah depth.

LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.

LFO1/LFO2 PAN DEPTH: Changes the eect that the LFO will have on pan.

LFO1/LFO2 RATE: Changes the speed of the LFO cycles. The speed will not change if LFO Rate

is set to “note.”

Changing the Pitch Envelope

PIT ENV A-TIME: Changes the Env Time 1 of the pitch envelope.

PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the pitch envelope.

PIT ENV R-TIME: Changes the Env Time 4 of the pitch envelope.

Changing the TVF Envelope

TVF ENV A-TIME: Changes the Env Time 1 of the TVF envelope.

TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVF envelope.

TVF ENV R-TIME: Changes the Env Time 4 of the TVF envelope.

Changing the TVA Envelope

TVA ENV A-TIME: Changes the Env Time 1 of the TVA envelope.

TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3 of the TVA envelope.

TVA ENV R-TIME: Changes the Env Time 4 of the TVA envelope.

Splitting Partials That Are Played

PMT

If the Matrix Control is used to split partials, set the PMT Velocity Control (p. 53) to “OFF,” and the PMT Control Switch (p. 54) to “ON.”

• If the Matrix Control is used to split partials, we recommend setting the Sens (p. 64) to “+63.”

Selecting a lower value may prevent switching of the partials. Furthermore, if you want to reverse the eect, set the value to “-63.”

• If you want to use matrix control to switch smoothly between partials, use the Velo Fade Lower and

Velo Fade Upper (p. 54). The higher the values set, the smoother the switch is between the partials.

Changing the Depth of Frequency Modulation Produced by FXM

FXM DEPTH

Sets the amount of the Matrix Control’s eect that is applied. If you wish to modify the selected parameter in a positive “+” direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select a positive “+” value. If you wish to modify the selected parameter in a negative “-” direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, select a negative “-” value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

Selects the partial to which the eect is applied when using the Matrix Control.

OFF: The eect will not be applied.

ON: The eect will be applied.

REVS: The eect will be applied in reverse.

PCM Synth Tone (PCMS) – MFX tab

Parameter Value Explanation

MFX tab

MFX Switch OFF, ON Species whether tone MFX will be used (ON) or not used (OFF).

MFX Type 0–67

Parameters for each MFX type Edit the parameters for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

Use this parameter to select from among the 67 available multi-eects. For details on multi-eects parameters, refer to “MFX Parameters” (p. 73).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the Chorus eect, set it to “0.”

* This has no eect if motional surround is on.

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the Reverb eect, set it to “0.”

* This has no eect if motional surround is on.

MFX CTRL tab

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-eects controls.

Sets the amount of the multi-eects control’s eect that is applied.

PCM Drum Kit (PCMD)

TONE EDIT (PCMD)

Each kit has 88 sets (Partial 1–88) of WAVE, TVF, and TVA settings, in addition to multi-eect (MFX) settings.

Each partial has four wave generators. You can assign a dierent note number that will sound each of the 88 partials.

For the one part specied by the Drum Comp+EQ Assign setting, you’ll be able to use six sets of compressor + equalizer units to make the sound more consistent or to adjust the tonal character.

PARTIAL 88

PARTIAL 1

WAVE TVF

PITCH

ENV

TVA

TVF ENV TVA

ENV

COMP+EQ 1

COMP+EQ 2 COMP+EQ 5

COMP+EQ 3 COMP+EQ 6

COMP+EQ 4

MFX

1. In the tone screen, press the [EDIT] button.

Parameter Value Explanation

COMMON tab

Phrase Number 0–18 Number of the phrase that plays when you press the [VOLUME] knob (PREVIEW).

Sets the volume of the drum kit.

Drum Kit Level 0–127

Partial Name 12 characters

Assign Type MULTI, SINGLE

Mute Group OFF, 1–31

Partial Env Mode NO-SUS, SUSTAIN

Partial Pitch Bend Range 0–48

Partial Rx Expression OFF, ON

MEMO

The volume levels of the partials from which the drum kit is composed is set with the Partial Level parameter (p. 70). The volume levels of the Waves from which the drum par tial is composed is set with the Wave Level parameter (p. 67).

You can assign a name of up to 12 characters to the drum partial.

By pressing [ENTER], you can assign a name to the drum partial.

MEMO

For details on assigning names, refer to “Assigning a Name” (Owner’s Manual).

Assign Type sets the way sounds are played when the same key is pressed a number of times.

MULTI: Layer the sound of the same keys. Even with continuous sounds where the sound plays

for an extended time, such as with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

SINGLE: Only one sound can be played at a time when the same key is pressed. With continuous

sounds where the sound plays for an extended time, the previous sound is stopped when the following sound is played.

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group.

The Mute Group function allows you to designate two or more drum partials that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. Drum partials that are not belong to any such group should be set to “OFF.”

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type Wave is selected, it will not sustain even if this parameter is set to “SUSTAIN.”

Species the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.

For each drum partial, specify whether MIDI Expression messages will be received (ON), or not (OFF).

Parameter Value Explanation

For each drum partial, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

Partial Rx Hold-1 OFF, ON

One Shot Mode OFF, ON

NOTE

If “NO-SUS” is selected for Partial Env Mode parameter (p. 66), this setting will have no eect.

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes rst).

The result will be the same as when the envelope’s Partial Env Mode parameter is set to “NO-SUS.”

WAVE tab

Wave 1–4 Switch OFF, ON Turns the wave on/o.

Wave Group

Wave No.L (Mono)

Wave No.R

Wave Gain -6, 0, +6, +12 [dB]

INT, SRX (only if an expansion is loaded)

OFF, 1–

Select the groups containing the Waves comprising the drum partial.

INT: Waveforms stored in internal

SRX: Expansion sound banks

This selects the Waves comprising the drum partial. Along with the Wave number, the Wave name appears at the lower part of the display.

When in monaural mode, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

This is valid only when an SRX waveform which indicates a tempo (BPM) is selected.

(Example: SRX05 3:080:BladeBtL, SRX08 5:75:BoomRvBel, etc.)

PCM Drum Kit (PCMD) – WAVE tab

Wave Tempo Sync OFF, ON

Wave FXM Switch OFF, ON

Wave FXM Color 1–4

Wave FXM Depth 0–16

Wave Coarse Tune -48–+48

Wave Fine Tune -50–+50

If a waveform from an SRX is selected for the partial, turning the Wave Tempo Sync parameter

“ON” will cause pitch-related settings and FXM-related settings to be ignored.

Phrase Loop

“Phrase Loop” refers to the repeated playback of a phrase that’s been pulled out of a song

(e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break

Beats.”

This sets whether FXM will be used (ON) or not (OFF).

FXM

Species how FXM will perform frequency modulation.

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

Species the depth of the modulation produced by FXM.

NOTE

When the Tempo Sync is set to “ON,” settings related to Pitch (p. 68) and FXM are disabled.

Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/-4 octaves).

MEMO

The Coarse Tune of the entire drum partial is set by the Partial Coarse Tune (p. 68).

Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (+/-50 cents).

* One cent is 1/100th of a semitone.

MEMO

The Fine Tune of the entire drum partial is set by the Partial Fine Tune (p. 68).

You can set the volume of the waveform.

Wave Level 0–127

Wave Pan L64–63R

Wave Random Pan Sw OFF, ON

Wave Alter Pan Sw OFF, ON, REVS

MEMO

The volume level of each drum partial is set with the Partial Level; the volume levels of the entire drum kit is set with the Drum Kit Level (p. 66*).

This species the pan of the waveform.

“L64” is far left, “0” is center, and “63R” is far right.

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

* The range of the panning change is set by the Random Pan Depth (p. 71).

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alter Pan Sw to “ON” to pan the Wave according to the Alter Pan Depth settings, or to “REVS” when you want the panning reversed. If you do not want the panning to change each time a key is pressed, set this to “OFF.”

PCM Drum Kit (PCMD) – WMT tab

Parameter Value Explanation

WMT tab

WMT Velocity Control determines whether a dierent drum partial is played (ON) or not (OFF)

WMT Velocity Control OFF, ON, RANDOM

Level

depending on the force with which the key is played (velocity).

When set to “RANDOM,” the drum kit’s constituent drum partials will sound randomly, regardless of any Velocity messages.

Velocity

Velo Fade Upper 0–127

Velo Range Upper LOWER–127

Velo Range Lower 1–UPPER

Velo Fade Lower 0–127

PITCH tab

Partial Coarse Tune C-1–G9

Partial Fine Tune -50–+50

0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30,

Partial Random Pitch Depth

40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

Fade Lower

Range Lower

Fade Upper

Range Upper

This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

This sets the highest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

This sets the lowest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

NOTE

If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting.

This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

Selects the pitch at which a drum partial sounds.

MEMO

Set the coarse tuning for Waves comprising the drum partials with the Wave Coarse Tune parameter (p. 67).

Adjusts the pitch of the drum partial’s sound up or down in 1-cent steps (+/-50 cents).

* One cent is 1/100th of a semitone.

MEMO

Set the ne tuning for Waves comprising the drum partials with the Wave Fine Tune parameter (p. 67).

This species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.”

These values are in units of cents (1/100th of a semitone).

PITCH ENV tab

Pitch Env Depth -12–+12

Pitch Env V-Sens -63–+63

Pitch Env T1 V-Sens -63–+63

Pitch Env T4 V-Sens -63–+63

Pitch Env Time 1–4 0–127

Adjusts the eect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative “-” settings will invert the shape of the envelope.

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive

“+” value. If you want the pitch envelope to have less eect for strongly played notes, set this to a

negative “-” value.

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

Parameter Value Explanation

“-” settings will cause it to be lower.

Pitch Env Level 0-4 -63–+63

Pitch

Note on

T: Time L: Level

TVF tab

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

LPF: Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency

(Cuto Freq) in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

BPF: Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency

(Cuto Frequency), and cuts the rest. This can be useful when creating distinctive sounds.

HPF: High Pass Filter. This cuts the frequencies in the region below the cuto frequency (Cuto

Frequency). This is suitable for creating percussive sounds emphasizing their higher ones.

PKG: Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto

Filter Type OFF, LPF, BPF, HPF, PKG, LPF2, LPF3

Frequency). You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

LPF2: Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto

Frequency) are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

LPF3: Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto

Frequency) are cut, the sensitivity of this lter changes according to the Cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

T2 T3 T4

PCM Drum Kit (PCMD) – TVF tab

Time

Note o

Cuto Frequency 0–127

Resonance 0–127

NOTE

If you set “LPF2” or “LPF3,” the setting for the Resonance parameter will be ignored.

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

If “BPF” is selected, harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

With “HPF” selected, higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

With “PKG” selected, the harmonics to be emphasized will vary depending on Cuto Frequency setting.

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

LPF BPF HPF PKG

Level

High

Frequency

Cuto Frequency

parameter value

Low

PCM Drum Kit (PCMD) – TVF ENV tab

Parameter Value Explanation

Cuto V-Curve FIXED, 1–7

1 2 3 4 5 6 7

Use this parameter when changing the cuto frequency to be applied as a result of changes in

Cuto V-Sens -63–+63

Resonance V-Sens -63–+63

TVF Env V-Curve FIXED, 1–7

playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive “+” settings. If you want strongly played notes to lower the cuto frequency, use negative “-” settings.

1 2 3 4 5 6 7

TVF Env V-Sens -63–+63

TVF Env T1 V-Sens -63–+63

TVF Env T4 V-Sens -63–+63

TVF ENV tab

TVF Env Depth -63–+63

TVF Env Time 1–4 0–127

TVF Env Level 0-4 0–127

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive

“+” settings will cause the TVF envelope to have a greater eect for strongly played notes, and

negative “-“ settings will cause the eect to be less.

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive “+“ value. If you want it to be slowed down, set this to a negative “-” value.

Species the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative “-” settings will invert the shape of the envelope.

T1 T2 T3 T4

Cuto

Frequency

Note on

L2L1 L4

Note o

Time

TVA tab

Partial Level 0–127

Level V-Curve FIXED, 1–7

T: Time L: Level

Sets the volume of the drum partial. Use this parameter to adjust the volume balance between drum partials.

MEMO

The volume levels of the Waves from which the drum partial is composed is set with the Wave Level parameter (p. 67).

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the drum partial to be aected by the force with which you press the key, select “FIXED.”

1 2 3 4 5 6 7

Parameter Value Explanation

Set this when you want the volume of the drum partial to change depending on the force with

Level V-Sens -63–+63

Partial Pan L64–63R

Random Pan Depth 0–63

which you press the keys. Set this to a positive “+” value to have the changes in drum partial volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative “-” value.

Sets the pan for the drum partial. “L64” is far left, “0” is center, and “63R” is far right.

MEMO

Set the Pan for Waves comprising the drum partials with the Wave Pan parameter (p. 67).

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

NOTE

This will aect only waves whose Wave Random Pan Sw parameter (p. 67) is ON.

Alternate Pan Depth L63–63R

“L” and “R” respectively, the panning of the two drum partials will alternate each time they are

played.

NOTE

This will aect only waves whose Wave Alter Pan Sw parameter (p. 67) is ON or REVS.

Corrects for the volume of the drum partial.

This parameter is set by the key-based controller system exclusive message. Normally, you should

Relative Level -64–+63

leave it set to 0.

NOTE

If the drum partial level is set to 127, the volume will not increase beyond that point.

PCM Drum Kit (PCMD) – TVA ENV tab

TVA ENV tab

TVA Env T1 V-Sens -63–+63

TVA Env T4 V-Sens -63–+63

TVA Env Time 1–4 0–127

TVA Env Level 1–3 0–127

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

T1 T2 T3 T4

Level

Note on

T: Time L: Level

Note o

OUTPUT tab

Partial Output Assign PART, COMP+EQ1–6 Species how the sound of each partial will be output.

Partial Output Level 0–127 Species the signal level of each partial.

Partial Chorus Send Level 0–127 Species the level of the signal sent to the chorus for each partial.

Partial Reverb Send Level 0–127 Species the level of the signal sent to the reverb for each partial.

Time

COMP tab

* COMP+EQ can be used only for the part specied by Drum Comp+EQ Assign.

Comp 1–6 Switch OFF, ON Compressor on/o

Comp 1–6 Attack Time 0.05–50.0 ms Time from when the input exceeds the threshold until compression begins

Comp 1–6 Release Time 0.05–2000 ms Time from when the input falls below the threshold until compression is turned o

PCM Drum Kit (PCMD) – EQ tab

Parameter Value Explanation

Comp 1–6 Threshold 0–127 Level above which compression is applied

Comp 1–6 Ratio 1:1–inf:1 Compression ratio

Comp 1–6 Output Gain 0–+24[dB] Level of the output sound

EQ tab

* COMP + EQ can be used only for the part specied by the Drum Comp+EQ Assign setting.

EQ 1–6 Switch OFF, ON Equalizer on/o

EQ 1–6 Low Freq 200, 400 [Hz] Frequency of the low range

EQ 1–6 Low Gain -15–+15 [dB] Gain of the low range

EQ 1–6 Mid Freq

EQ 1–6 Mid Gain -15–+15 [dB] Gain of the middle range

EQ 1–6 Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ 1–6 High Freq 2000, 4000, 8000 [Hz] Frequency of the high range

EQ 1–6 High Gain -15–+15 [dB] Gain of the high range

200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300,8000 [Hz]

Frequency of the middle range

Width of the middle range

Set a higher value for Q to narrow the range to be aected.

MFX tab

MFX Switch OFF, ON Species whether MFX will be used (ON) or not used (OFF).

MFX Type 0–67

Parameters for each MFX type Edit the parameters for the selected MFX type.

MFX Chorus Send Level 0–127

MFX Reverb Send Level 0–127

Use this parameter to select from among the 67 available patch multi-eects. For details on patch multi-eects parameters, refer to “MFX Parameters” (p. 73).

Adjusts the amount of chorus for the sound that passes through multi-eects. If you don’t want to add the Chorus eect, set it to “0.”

* This has no eect if motional surround is on.

Adjusts the amount of reverb for the sound that passes through multi-eects. If you don’t want to add the Reverb eect, set it to “0.”

* This has no eect if motional surround is on.

MFX CTRL tab

Source (1–4)

Destination (1–4)

Sens (1–4) -63–+63

OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4

Sets the MIDI message used to change the multi-eects parameter with the multi-eects control.

OFF: Multi-eects control will not be used.

CC01–31, 33–95: Control Change

PITCH BEND: Pitch Bend

AFTERTOUCH: Aftertouch

SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-eects controls.

MFX Parameters

The multi-eects feature 67 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Parameters marked with a sharp “#” can be controlled using a Multi-Eects Control (p. 97).

(Two setting items will change simultaneously for “#1” and “#2”).

Type MFX Name Page

0 Thru −

1 Equalizer p. 74

2 Spectrum p. 74

3 Low Boost p. 74

FILTER

MODULATION

CHORUS

DYNAMICS

DELAY

LO-FI

PITCH

4 Step Filter p. 74

5 Enhancer p. 75

6 Auto Wah p. 75

7 Humanizer p. 75

8 Speaker Simulator p. 75

9 Phaser 1 p. 76

10 Phaser 2 p. 76

11 Phaser 3 p. 76

12 Step Phaser p. 77

13 Multi Stage Phaser p. 77

14 Innite Phaser p. 77

15 Ring Modulator p. 78

16 Tremolo p. 78

17 Auto Pan p. 78

18 Slicer p. 78

19 Rotary 1 p. 79

20 Rotary 2 p. 79

21 Rotary 3 p. 80

22 Chorus p. 80

23 Flanger p. 81

24 Step Flanger p. 81

25 Hexa-Chorus p. 82

26 Tremolo Chorus p. 82

27 Space-D p. 82

28 Overdrive p. 82

29 Distortion p. 82

30 Guitar Amp Simulator p. 83

31 Compressor p. 83

32 Limiter p. 83

33 Gate p. 84

34 Delay p. 84

35 Modulation Delay p. 85

36 3Tap Pan Delay p. 85

37 4Tap Pan Delay p. 85

38 Multi Tap Delay p. 86

39 Reverse Delay p. 86

40 Time Ctrl Delay p. 87

41 LOFI Compress p. 87

42 Bit Crasher p. 87

43 Pitch Shifter p. 87

44 2Voice Pitch Shifter p. 88

Type MFX Name Page

COMBINATION

Overdrive g Chorus

Overdrive g Flanger

Overdrive g Delay

Distortion g Chorus

Distortion g Flanger

Distortion g Delay

OD/DS g TouchWah

OD/DS g AutoWah

GuitarAmpSim g Chorus

GuitarAmpSim g Flanger

GuitarAmpSim g Phaser

GuitarAmpSim g Delay

EP AmpSim g Tremolo

EP AmpSim g Chorus

EP AmpSim g Flanger

EP AmpSim g Phaser

EP AmpSim g Delay

Enhancer g Chorus

Enhancer g Flanger

Enhancer g Delay

Chorus g Delay

Flanger g Delay

Chorus g Flanger

p. 88

p. 89

p. 90

p. 91

p. 92

p. 93

p. 94

p. 95

p. 96

MFX Parameters

01: Equalizer

This is a four-band stereo equalizer (low, mid x 2, high).

L in

R in

Parameter Value Explanation

Low Freq 200, 400 Hz Frequency of the low range

Low Gain # -15–+15 dB Gain of the low range

Mid1 Freq 200–8000 Hz Frequency of the middle range 1

Mid1 Gain -15–+15 dB Gain of the middle range 1

Mid1 Q

Mid2 Freq 200–8000 Hz Frequency of the middle range 2

Mid2 Gain -15–+15 dB Gain of the middle range 2

Mid2 Q

High Freq

High Gain # -15–+15 dB Gain of the high range

Level # 0–127 Output Level

4-Band EQ

0.5, 1.0, 2.0, 4.0,

8.0

0.5, 1.0, 2.0, 4.0,

8.0

2000, 4000, 8000 Hz

Width of the middle range 1

Set a higher value for Q to narrow the range to be aected.

Width of the middle range 2

Set a higher value for Q to narrow the range to be aected.

Frequency of the high range

L out

R out

03: Low Boost

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

L in

R in

Parameter Value Explanation

Boost Frequency #

Boost Gain # 0–+12 dB

Boost Width

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Level 0–127 Output level

Low Boost

50–125 Hz

WIDE, MID, NARROW

2-Band EQ

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

L out

R out

04: Step Filter

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

You can use MFX CONTROL to restart the step sequence from the beginning (p. 97).

L in

Step Filter

L out

02: Spectrum

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

L in

R in

Parameter Value Explanation

Band1 (250 Hz)

Band2 (500 Hz)

Band3 (1000 Hz)

Band4 (1250 Hz)

Band5 (2000 Hz)

Band6 (3150 Hz)

Band7 (4000 Hz)

Band8 (8000 Hz)

Level # 0–127 Output Level

Spectrum

-15–+15 dB Gain of each frequency band

0.5, 1.0, 2.0, 4.0,

8.0

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

L out

R out

R in

Parameter Value Explanation

Step 01 –16 0–127 Cuto frequency at each step

Rate #

Attack # 0–127

Filter Type

Filter Slope -12, -24, -36 dB

Filter Resonance #

Filter Gain 0–+12 dB Amount of boost for the lter output

Level 0–127 Output level

Step Filter

0.05 –10.00 Hz, note

LPF, BPF, HPF, NOTCH

0–127

Rate of modulation

Speed at which the cuto frequency changes between steps

Filter type

Frequency range that will pass through each lter

LPF: frequencies below the cuto

BPF: frequencies in the region of

the cuto

HPF: frequencies above the cuto

NOTCH: frequencies other than the

region of the cuto

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

R out

MFX Parameters

05: Enhancer

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

L in

R in

Parameter Value Explanation

Sens # 0–127 Sensitivity of the enhancer

Mix # 0–127

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Enhancer

Mix

2-Band

Level of the overtones generated by the enhancer

06: Auto Wah

Cyclically controls a lter to create cyclic change in timbre.

L in

R in

Parameter Value Explanation

Filter Type LPF, BPF

Manual # 0–127

Peak 0–127

Sens # 0–127

Polarity UP, DOWN

Rate #

Depth # 0–127 Depth of modulation

Phase # 0–180 deg

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Auto Wah

0.05–10.00 Hz, note

2-Band EQ

Type of lter

LPF: The wah eect will be applied over a wide frequency range.

BPF: The wah eect will be applied over a narrow frequency range.

Adjusts the center frequency at which the eect is applied.

Adjusts the amount of the wah eect that will occur in the range of the center frequency.

Set a higher value for Q to narrow the range to be aected.

Adjusts the sensitivity with which the lter is controlled.

Sets the direction in which the frequency will change when the auto-wah lter is modulated.

UP: The lter will change toward a higher frequency.

DOWN: The lter will change toward a lower frequency.

Frequency of modulation

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

L out

R out

L out

R out

07: Humanizer

Adds a vowel character to the sound, making it similar to a human voice.

L in

Overdrive

Formant

2-Band

R in

Parameter Value Explanation

Drive Sw OFF, ON Turns Drive on/o.

Drive # 0–127

Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u

Rate #

Depth # 0–127 Eect depth

Input Sync Sw OFF, ON

Input Sync Threshold

Manual # 0–100

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Pan # L64–63R Stereo location of the output

Level 0–127 Output level

0.05–10.00 Hz, note

0–127

Degree of distortion

Also changes the volume.

Selects the vowel.

Frequency at which the two vowels switch

LFO reset on/o

Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

Volume level at which reset is applied

Point at which Vowel 1/2 switch

49 or less: Vowel 1 will have a longer duration.

50: Vowel 1 and 2 will be of equal duration.

51 or more: Vowel 2 will have a longer duration.

08: Speaker Simulator

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

L in

R in

Parameter Value Explanation

Type

Mic Setting 1, 2, 3

Mic Level # 0–127 Volume of the microphone

Direct Level # 0–127 Volume of the direct sound

Level # 0–127 Output Level

Speaker

(See the table right.)

Type of speaker

Adjusts the location of the mic that is 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.

L out

R out

L out

Pan L

Pan R

R out

MFX Parameters

Specications 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

09: Phaser 1

A phase-shifted sound is added to the original sound and modulated.

10: Phaser 2

This simulates an analog phaser of the past.

It is particularly suitable for electric piano.

L in

R in

Parameter Value Explanation

Rate # 0–100 Frequency of modulation

Color 1, 2 Modulation character

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Phaser

2-Band EQ

11: Phaser 3

This simulates a dierent analog phaser than Phaser 2.

It is particularly suitable for electric piano.

L in

R in

Phaser

2-Band EQ

L out

R out

L out

R out

L in

R in

Parameter Value Explanation

Mode

Manual # 0 –127

Rate #

Depth 0 –127 Depth of modulation

Polarity

Resonance # 0 –127 Amount of feedback

Cross Feedback -98–+98 %

Mix # 0 –127 Level of the phase-shifted sound

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0 –127 Output Level

Phaser

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

Mix

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

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 eect. Negative “-” settings will invert the phase.

2-Band

L out

R out

Parameter Value Explanation

Speed # 0–100 Frequency of modulation

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

MFX Parameters

12: Step Phaser

The phaser eect will be varied gradually.

L in

R in

Parameter Value Explanation

Mode

Manual # 0 –127

Rate #

Depth 0 –127 Depth of modulation

Polarity

Resonance # 0–127 Amount of feedback

Cross Feedback -98–+98 %

Step Rate #

Mix # 0–127 Level of the phase-shifted sound

Low Gain -15–+15 dB Level of the phase-shifted sound

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Step Phaser

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00 Hz, note

INVERSE, SYNCHRO

0.10–20.00 Hz, note

Mix

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

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 eect. Negative “-” settings will invert the phase.

Rate of the step-wise change in the phaser eect

2-Band

L out

R out

13: Multi Stage Phaser

Extremely high settings of the phase dierence produce a deep phaser eect.

L in

Multi Stage

Phaser

R in

Parameter Value Explanation

Mode

Manual # 0–127

Rate #

Depth 0–127 Depth of modulation

Resonance # 0–127 Amount of feedback

Mix # 0–127 Level of the phase-shifted sound

Pan # L64–63R Stereo location of the output sound

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Resonance

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0.05–10.00 Hz, note

Mix

2-Band

Number of phaser stages

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

14: Innite Phaser

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

L in

Innite Phaser 2-Band EQ

R in

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed # -100–+100

Resonance # 0–127 Amount of feedback

Mix # 0–127 Volume of the phase-shifted sound

Pan # L64–63R Panning of the output sound

Low Gain -15–+15 dB

High Gain -15–+15 dB

Level 0–127 Output volume

Higher values will produce a deeper phaser eect.

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

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

L out

Pan L

Pan R

R out

L out

Pan L

Pan R

R out

MFX Parameters

15: Ring Modulator

This is an eect 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 eect.

L in

R in

Parameter Value Explanation

Frequency # 0–127

Sens # 0–127

Polarity UP, DOWN

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output level

Ring Mod

D100:0W –D0:100W

2-Band EQ

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 eect sound (W)

L out

R out

17: Auto Pan

Cyclically modulates the stereo location of the sound.

L in

R in

Parameter Value Explanation

Mod Wave

Rate #

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Auto Pan

TRI, SQR, SIN, SAW1, SAW2

SAW1 SAW2

R R

L L

0.05–10.00 Hz, note

2-Band EQ

Modulation Wave

TRI: triangle wave

SQR: square wave

SIN: sine wave

SAW1/2: sawtooth wave

Frequency of the change

L out

R out

16: Tremolo

Cyclically modulates the volume to add tremolo eect to the sound.

L in

R in

Parameter Value Explanation

Mod Wave

Rate #

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

Tremolo

TRI, SQR, SIN,

SAW1, SAW2

SAW1 SAW2

0.05–10.00 Hz, note

2-Band EQ

Modulation Wave

TRI: triangle wave

SQR: square wave

SIN: sine wave

SAW1/2: sawtooth wave

Frequency of the change

L out

R out

18: Slicer

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustaintype sounds.

You can use MFX CONTROL to restart the step sequence from the beginning (p. 97).

L in

R in

Parameter Value Explanation

Step 01–16 L64 –63R Level at each step

Rate #

Attack # 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Mode LEGATO, SLASH

Slicer

0.05 –10.00 Hz, note

0–127

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Species whether an input note will cause the sequence to resume from the rst 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.

L out

R out

MFX Parameters

L in

Parameter Value Explanation

Timing of volume changes in levels for even-numbered steps (step 2,

Shue # 0–127

Level 0–127 Output level

step 4, step 6...).

The higher the value, the later the beat progresses.

19: Rotary 1

This simulates a classic rotary speaker of the past.

Since the operation of the high-frequency and low-frequency rotors can be specied independently, the distinctive modulation can be reproduced realistically. This is most eective on organ patches.

L out

Rotary

R in

Parameter Value Explanation

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

Speed # SLOW, FAST

Woofer Slow Speed

Woofer Fast Speed

Woofer Acceleration

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Acceleration

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

Level # 0–127 Output Level

0.05–10.00 Hz

0–15

0.05–10.00 Hz

0–15

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

R out

20: Rotary 2

This type provides modied response for the rotary speaker, with the low end boosted further.

This eect features the same specications as the VK-7’s built-in rotary speaker.

L in

Rotary

R in

Parameter Value Explanation

Speed # SLOW, FAST

Brake # OFF, ON

Woofer Slow Speed

Woofer Fast Speed

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0 –127 Volume of the woofer

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Trans Up 0 –127

Tweeter Trans Down

Tweeter Level 0 –127

Spread 0 –10

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level # 0 –127 Output Level

0.05–10.00 Hz

0 –127

0.05–10.00 Hz

0 –127

2-Band EQ

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 o, 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.

L out

R out

MFX Parameters

L in

21: Rotary 3

This type includes an overdrive. By distorting the sound you can produce the intense organ sound used in hard rock.

RotaryOverdrive

R in

Parameter Value Explanation

Speed # SLOW, FAST

Brake # OFF, ON

OD Switch OFF, ON Overdrive on/o

OD Gain # 0–127

OD Drive # 0–127 Degree of distortion

OD Level 0–127 Volume of the overdrive

Woofer Slow Speed

Woofer Fast Speed

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Trans Up 0–127

Tweeter Trans Down

Tweeter Level 0–127

Spread 0–10

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level # 0–127 Output Level

0.05–10.00 Hz

0–127

0.05–10.00 Hz

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 o, the rotation will gradually resume.

Overdrive input level Higher values will increase the distortion.

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.

L out

R out

22: Chorus

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

L in

Balance D

Chorus

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: no lter is used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W –D0:100W

LPF: cuts the frequency range above the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

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

Frequency of modulation

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

2-Band

Balance W

2-Band

L out

R out

MFX Parameters

Balance D

23: Flanger

This is a stereo anger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking o or landing. A lter is provided so that you can adjust the timbre of the anged sound.

L in

Balance D

Flanger

Feedback Feedback

Flanger

R in

Balance D

Parameter Value Explanation

Type of lter

OFF: no lter is used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Rate #

Depth 0 –127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback # -98–+98 %

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0 –127 Output Level

0.05–10.00 Hz, note

D100:0W –D0:100W

LPF: cuts the frequency range above the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

2-Band

Balance W

2-Band

L out

R out

24: Step Flanger

This is a anger in which the anger pitch changes in steps. The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

L in

Step Flanger

Feedback Feedback

Step Flanger

R in

Balance D

Parameter Value Explanation

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback # -98–+98 %

Step Rate #

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0–127 Output Level

0.05–10.00 Hz, note

0.10–20.00 Hz, note

D100:0W –D0:100W

2-Band

Balance W

2-Band

Type of lter

OFF: no lter is used

LPF: cuts the frequency range above

the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Rate (period) of pitch change

Volume balance between the direct sound (D) and the anger sound (W)

L out

R out

MFX Parameters

25: Hexa-Chorus

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

L in

Balance D

L out

Balance W

Hexa Chorus

Balance W

R in

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Rate #

Depth 0–127 Depth of modulation

Pre Delay Deviation

Depth Deviation -20–+20

Pan Deviation 0–20

Balance #

Level 0–127 Output Level

Balance D

0.05–10.00 Hz, note

0–20

D100:0W –D0:100W

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

Frequency of modulation

Adjusts the dierences in Pre Delay between each chorus sound.

Adjusts the dierence in modulation depth between each chorus sound.

Adjusts the dierence 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)

R out

26: Tremolo Chorus

This is a chorus eect with added Tremolo (cyclic modulation of volume).

L in

Balance D

Tremolo Chorus

R in

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth 0–127

Tremolo Rate #

Tremolo Separation

Tremolo Phase 0–180 deg Spread of the tremolo eect

Balance #

Level 0–127 Output Level

Balance D

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

0.05–10.00 Hz, note

0–127 Spread of the tremolo eect

D100:0W –D0:100W

Modulation frequency of the chorus eect

Modulation depth of the chorus eect

Modulation frequency of the tremolo eect

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

L out

Balance W

R out

27: 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 eect.

L in

Balance D

Space D

R in

Balance D

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W –D0:100W

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

Frequency of modulation

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

2-Band

Balance W

2-Band

28: Overdrive

This is an overdrive that provides heavy distortion.

L in

Overdrive

Amp

Simulator

2-Band

R in

Parameter Value Explanation

Drive # 0–127

Tone # 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Pan # L64–63R Stereo location of the output sound

Level 0–127 Output Level

SMALL, 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

29: Distortion

This is a distortion eect that provides heavy distortion. The parameters are the same as for “28: Overdrive.”

L in

R in

Distortion

Amp

Simulator

2-Band

L out

R out

L out

Pan L

Pan R

R out

L out

Pan L

Pan R

R out

MFX Parameters

30: Guitar Amp Simulator

This is an eect that simulates the sound of a guitar amplier.

L in

Pre Amp

R in

Parameter Value Explanation

Amp Sw OFF, ON Turns the amp switch on/o.

JC-120,

CLEAN TWIN,

MATCH DRIVE,

BG LEAD,

MS1959I,

MS1959II,

Amp Type

Amp Volume # 0–127

Amp Master # 0–127 Volume of the entire pre-amp

Amp Gain

Amp Bass

Amp Middle

Amp Treble

Amp Presence 0–127

Amp Bright OFF, ON

Speaker Sw OFF, ON

Speaker Type

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan # L64–63R Stereo location of the output

Level # 0–127 Output Level

MS1959I+II,

SLDN LEAD,

METAL5150,

METAL LEAD,

OD-1, OD-2

TURBO,

DISTORTION,

FUZZ

LOW, MIDDLE, HIGH

0–127

(See the table below.)

Specications for each Speaker Type

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

Speaker

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).

Type of speaker

Adjusts the location of the microphone that’s capturing the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

Pan L

Pan R

L out

R out

Type Cabinet Speaker Microphone

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

31: Compressor

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

L in

R in

Compressor

Parameter Value Explanation

Attack # 0–127

Threshold # 0–127

Post Gain 0–+18 dB Adjusts the output gain.

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Level # 0–127 Output Level

2-Band EQ

Sets the speed at which compression starts

Adjusts the volume at which compression begins

L out

R out

32: Limiter

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

L in

R in

Parameter Value Explanation

Release # 0–127

Threshold # 0–127

Ratio

Post Gain 0–+18 dB Adjusts the output gain.

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Level # 0–127 Output Level

Limiter

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

2-Band EQ

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

L out

R out

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

MFX Parameters

Balance D

33: Gate

Cuts the reverb’s delay according to the volume of the sound sent into the eect. Use this when you want to create an articialsounding decrease in the reverb’s decay.

L in

R in

Parameter Value Explanation

Threshold # 0–127

Mode GATE, DUCK

Attack 0–127

Hold 0–127

Release 0–127

Balance #

Level 0–127 Output Level

Gate

D100:0W –D0:100W

Volume level at which the gate begins to close

Type of gate

GATE: The gate will close when the volume of the original sound decreases, cutting the original sound.

DUCK (Ducking): The gate will close when the volume of the original sound increases, cutting the original sound.

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

34: Delay

This is a stereo delay.

When Feedback Mode is NORMAL:

L in

Delay

Feedback Feedback

Delay

R in

When Feedback Mode is CROSS:

L in

Delay

Feedback Feedback

Delay

R in

Parameter Value Explanation

Delay Left

Delay Right

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback # -98–+98 %

HF Damp

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

0–1300 ms, note

NORMAL, INVERSE

200–8000

Hz, BYPASS

D100:0W –D0:100W

Adjusts the time until the delay sound is heard.

Phase of the delay sound

Selects the way in which delay sound is fed back into the eect. (See the gures above.)

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

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

2-Band

Balance W

2-Band

Balance W

2-Band

L out

R out

L out

R out

MFX Parameters

Balance D

35: Modulation Delay

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

L in L out

Delay

Feedback Feedback

Delay

Modulation

R in R out

When Feedback Mode is CROSS:

L in

Delay

Feedback Feedback

Delay

Modulation

R in

Parameter Value Explanation

Delay Left

Delay Right

Feedback Mode NORMAL, CROSS

Feedback # -98–+98 %

HF Damp

Rate #

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

0–1300 ms, note

200–8000 Hz, BYPASS

0.05–10.00 Hz, note

D100:0W –D0:100W

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the eect (See the gures above.)

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Frequency of modulation

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

2-Band

Balance W

2-Band

Balance W

2-Band

L out

R out

36: 3Tap Pan Delay

Produces three delay sounds; center, left and right.

L in

Left Tap

Triple Tap Delay

Feedback

Center Tap

Right Tap

R in

Parameter Value Explanation

Delay Left/ Right/Center

Center Feedback #

HF Damp

Left/Right/ Center Level

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

0–2600 ms, note

-98–+98 %

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W –D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

37: 4Tap Pan Delay

This eect has four delays.

L in

Feedback

Quadruple Tap Delay

R in

2 3

Parameter Value Explanation

Delay 1–4 Time

Delay 1 Feedback #

HF Damp

Delay 1–4 Level

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

0–2600 ms, note

-98–+98 %

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W –D0:100W

Delay 1

Delay 2

Delay 3

Delay 4

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

2-Band

Balance W

2-Band

L out

R out

L out

Balance W

R out

MFX Parameters

Balance D

38: Multi Tap Delay

This eect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

L in

Feed back

Delay 1

Delay 3

Multi Tap Delay

Delay 4

Delay 2

R in

Parameter Value Explanation

Delay 1–4 Time 0–2600 ms, note

Delay 1 Feedback #

HF Damp

Delay 1–4 Pan L64–63R Stereo location of Delays 1–4

Delay 1–4 Level 0–127 Output level of Delays 1–4

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

-98–+98 %

200–8000 Hz, BYPASS

D100:0W –D0:100W

Adjusts the time until Delays 1–4 are heard.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

2-Band

Balance W

2-Band

L out

R out

39: 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.

L in

Feedback

Rev. Delay

Rev

Delay

R in

Parameter Value Explanation

Threshold 0–127

Rev Delay Tme 0–1300 ms, note

Rev Delay Feedback #

Rev Delay HF Damp

Rev Delay Pan L64–63R Panning of the reverse delay sound

Rev Delay Level 0–127 Volume of the reverse delay sound

Delay 1–3 Time 0–1300 ms, note

Delay 3 Feedback #

Delay HF Damp

Delay 1 Pan, Delay 2 Pan

Delay 1 Level, Delay 2 Level

Low Gain -15–+15 dB

High Gain -15–+15 dB

Balance #

Level 0–127 Output Level

-98–+98 %

200–8000 Hz, BYPASS

-98–+98 %

200–8000 Hz, BYPASS

L64–63R Panning of the tap delay sounds

0–127 Volume of the tap delay sounds

D100:0W –D0:100W

Volume at which the reverse delay will begin to be applied

Delay time from when sound is input into the reverse delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the reverse delay (negative values invert the phase)

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

Delay time from when sound is input into the tap delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the tap delay (negative values invert the phase)

Frequency at which the lowfrequency content of the tap delay sound will be cut (BYPASS: no cut)

Amount of boost/cut for the low-frequency range

Amount of boost/cut for the high-frequency range

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

2-Band

L out

R out

MFX Parameters

Balance D

40: Time Ctrl Delay

A stereo delay in which the delay time can be varied smoothly.

L in

Time Ctrl Delay

Feedback Feedback

Time Ctrl Delay

R in

Balance D

Parameter Value Explanation

Delay Time # 0–1300 ms, note

Acceleration 0–15

Feedback # -98–+98 %

HF Damp

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Balance #

Level 0–127 Output Level

200–8000 Hz, BYPASS

D100:0W –D0:100W

Adjusts the time until the delay is heard.

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting.

The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the amount of the delay that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

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

2-Band EQ

Balance W

2-Band EQ

41: LOFI Compress

This is an eect that intentionally degrades the sound quality for creative purposes.

L in

Compressor

R in

Compressor

Parameter Value Explanation

Pre Filt Type 1–6

LoFi Type 1–9

PostFilt Type OFF, LPF, HPF

PostFilt Cof 200–8000 Hz Basic frequency of the Post Filter

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level # 0–127 Output Level

D100:0W –D0:100W

Lo-Fi

Selects the type of lter applied to the sound before it passes through the Lo-Fi eect.

1: Compressor o

2–6: Compressor on

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

Type of lter

OFF: no lter is used

LPF: cuts the frequency range above

the Cuto

HPF: cuts the frequency range below the Cuto

Volume balance between the direct sound (D) and the eect sound (W)

2-Band

L out

R out

L out

R out

42: Bit Crasher

This creates a lo- sound.

L in

R in

Parameter Value Explanation

Sample Rate # 0–127 Adjusts the sample rate.

Bit Down # 0–20 Adjusts the bit depth.

Filter # 0–127 Adjusts the lter depth.

Low Gain -15–+15 dB Gain of the low frequency range

High Gain -15–+15 dB Gain of the high frequency range

Level 0–127 Output Level

Bit Crasher

2-Band EQ

43: Pitch Shifter

A stereo pitch shifter.

L in

Pitch Shifter

R in

Parameter Value Explanation

Coarse #1 -24–+12 semi

Fine #1 -100–+100 cent

Delay Time 0–1300 ms, note

Feedback # -98–+98 %

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0–127 Output Level

D100:0W –D0:100W

2-Band EQ

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative “-” settings will invert the phase.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

L out

R out

L out

R out

MFX Parameters

Balance D

44: 2Voice Pitch Shifter

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

L in

R in

Parameter Value Explanation

Pitch1 Coarse #1 -24–+12 semi

Pitch1 Fine #1 -100–+100 cent

Pitch1 Delay 0–1300 ms, note

Pitch1 Feedback #

Pitch1 Pan # L64–63R

Pitch1 Level 0–127 Volume of the Pitch Shift 1 sound

Pitch2 Coarse #2 -24–+12 semi

Pitch2 Fine #2 -100–+100 cent

Pitch2 Delay 0–1300 ms, note

Pitch2 Feedback #

Pitch2 Pan # L64–63R

Pitch2 Level 0–127

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Balance #

Level 0–127 Output Level

Level 1

2Voice

Pitch Shifter

Level 2

-98–+98 %

D100:0W –D0:100W

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

Balance D

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative “-” settings will invert the phase.

Stereo location of the Pitch Shift 1 sound

Settings of the Pitch Shift 2 sound.

The parameters are the same as for the Pitch Shift 1 sound.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

2-Band

Balance W

2-Band

L out

R out

45: Overdrive -> Chorus

L in

Overdrive

R in

Parameter Value Explanation

Overdrive Drive #

Overdrive Pan # L64–63R

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance #

Level 0–127 Output Level

0–127

0.05–10.00 Hz, note

D100:0W– D0:100W

Balance D

Chorus

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

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

Frequency of modulation

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).

46: Overdrive -> Flanger

L in

Overdrive

R in

Parameter Value Explanation

Overdrive Drive #

Overdrive Pan # L64–63R

Flanger Pre Delay

Flanger Rate #

Flanger Depth 0–127 Depth of modulation

Flanger Feedback #

Flanger Balance #D100:0W–

Level 0–127 Output Level

0–127

0.0–100.0 ms

0.05–10.00 Hz, note

-98–+98 %

D0:100W

Feedback

Flanger

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

L out

Balance W

R out

L out

Balance W

R out

MFX Parameters

L out

Balance D

L out

Balance D

L in

L out

47: Overdrive -> Delay

L in

Overdrive

R in

Parameter Value Explanation

Overdrive Drive #

Overdrive Pan # L64–63R

Delay Time 0–2600 ms, note

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0 –127 Output Level

0 –127

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance D

Delay

Feedback

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

48: Distortion -> Chorus

The parameters are essentially the same as in “45: Overdrive g

Chorus,” with the exception of the following two.

OD Drive g Dst Drive, OD Pan g Dst Pan

L in

Distortion

Balance D

Balance W

Chorus

Balance W

R in

49: Distortion -> Flanger

The parameters are essentially the same as in “46: Overdrive g

Flanger,” with the exception of the following two.

OD Drive g Dst Drive, OD Pan g Dst Pan

L in

Distortion

R in

Feedback

Flanger

Balance W

R out

L out

R out

L out

Balance W

R out

50: Distortion -> Delay

The parameters are essentially the same as in “47: Overdrive g

Delay,” with the exception of the following two.

OD Drive g Dst Drive, OD Pan g Dst Pan

L in

Distortion

Balance D

Delay

Feedback

Balance W

R in

51: OD/DS -> TouchWah

Overdrive/

Distortion

Amp

Simulator

Touch

Wah

R in

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/o

Drive Type

Drive # 0–127

Tone # 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Touch Wah Switch

Touch Wah Filter Type

Touch Wah Polarity

Touch Wah Sens #

Touch Wah Manual #

Touch Wah Peak #

Touch Wah Balance #

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

OVERDRIVE, DISTORTION

SMALL, BUILTIN, 2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

DOWN, UP

0–127

D100:0W– D0:100W

Type of distortion

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

Type of lter LPF: Produces a wah eect in a broad frequency range. BPF: Produces a wah eect in a narrow frequency range.

Direction in which the lter will move

UP: Move toward a higher frequency DOWN: Move toward a lower

frequency

Sensitivity with which the lter is modied

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied Increasing this value will make the frequency region narrower.

Volume balance of the sound that passes through the wah (W) and the unprocessed sound (D)

2-Band

R out

MFX Parameters

L in

L out

52: OD/DS -> AutoWah

Overdrive/

Distortion

Amp

Simulator

Auto

Wah

R in

Parameter Value Explanation

Drive Switch OFF, ON Overdrive/distortion on/o

Drive Type

Drive # 0–127

Tone # 0–127 Sound quality of the Overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Auto Wah Switch OFF, ON Wah on/o

Auto Wah Filter Type

Auto Wah Manual #

Auto Wah Peak # 0–127

Auto Wah Rate #

Auto Wah Depth #

Auto Wah Balance #

Low Gain -15–+15 dB Gain of the low range

High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

OVERDRIVE, DISTORTION

SMALL, BUILT-IN, 2-STACK, 3-STACK

LPF, BPF

0–127

0.05–10.00 Hz, note

0–127

D100:0W– D0:100W

Type of distortion

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

Type of lter

LPF: Produces a wah eect in a broad frequency range. BPF: Produces a wah eect in a narrow frequency range.

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied

Increasing this value will make the frequency region narrower.

Rate at which the wah eect is modulated

Depth at which the wah eect is modulated

Volume balance of the sound that passes through the wah (W) and the unprocessed sound (D)

2-Band

53: GuitarAmpSim -> Chorus

L in

Pre Amp

Speaker

Balance D

Chorus

R out

L out

Balance W

Parameter Value Explanation

Amp Bass

Amp Middle

Amp Treble

Chorus Switch # OFF, ON Chorus on/o

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate (Hz) #

Chorus Depth # 0–127 Depth of modulation

Chorus Balance #

Speaker Sw OFF, ON

Speaker Type

Level 0–127 Output Level

0–127

0.05–10.00 Hz Frequency of modulation

D100:0W– D0:100W

(See the table below.)

Tone of the bass/mid/treble frequency range

* Middle cannot be set if “Match

Drive” is selected as the Pre Amp

Type.

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

Volume balance of the sound that passes through the chorus (W) and the unprocessed sound (D)

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Specications 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

R in

Parameter Value Explanation

Amp Sw OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCH DRIVE,

Amp Type

Amp Volume # 0–127

Amp Master # 0–127 Volume of the entire pre-amp

Amp Gain

Type of guitar amp

LOW, MIDDLE, HIGH

BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2, TURBO, DISTORTION, FUZZ

Volume and amount of distortion of the amp

Amount of pre-amp distortion

Balance D

R out

MFX Parameters

Balance D

L in

R in

L out

R out

Resonance

54: GuitarAmpSim -> Flanger

L in

Pre Amp

Speaker

R in

Parameter Value Explanation

Amp Sw OFF, ON Turns the amp switch on/o.

Amp Type

Amp Volume # 0–127

Amp Master # 0–127 Volume of the entire pre-amp

Amp Gain

Amp Bass

Amp Middle

Amp Treble

Flanger Switch # OFF, ON Flanger on/o

Flanger Pre Delay

Flanger Rate (Hz) #

Flanger Depth # 0–127 Depth of modulation

Flanger Feedback #

Flanger Balance #D100:0W–

Speaker Sw OFF, ON

Speaker Type

Level 0–127 Output Level

Type of guitar amp

LOW, MIDDLE, HIGH

0–127

0.0–100.0 ms

0.05–10.00 Hz Frequency of modulation

-98–+98 %

D0:100W

(See the table below.)

Feedback

Flanger

Balance D

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2, TURBO, DISTORTION, FUZZ

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.

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

L out

Balance W

R out

Type Cabinet Speaker Microphone

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

55: GuitarAmpSim -> Phaser

Pre

Amp

Parameter Value Explanation

Amp Sw OFF, ON Turns the amp switch on/o.

Amp Type

Amp Volume # 0–127

Amp Master # 0–127 Volume of the entire pre-amp

Amp Gain

Amp Bass

Amp Middle

Amp Treble

Phaser Switch # OFF, ON Phaser on/o

Phaser Manual # 0–127

Phaser Resonance #

Phaser Mix # 0–127 Volume of phase-shifted sound

Phaser Rate (Hz) #

Phaser Depth # 0–127 Modulation depth

Speaker Sw OFF, ON

Speaker Type

Level 0–127 Output Level

Speaker

Type of guitar amp

LOW, MIDDLE, HIGH

0–127

0–127 Amount of feedback

0.05–10.00 Hz Modulation rate

(See the table below.)

Phaser

Mix

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2, TURBO, DISTORTION, FUZZ

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.

Center frequency at which the sound is modulated

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Specications 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

MFX Parameters

Balance D

Specications 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

56: GuitarAmpSim -> Delay

L in

R in

Pre Amp

Speaker

Delay

Feedback

Balance D

L out

Balance W

R out

Parameter Value Explanation

Speaker Sw OFF, ON

Speaker Type

Level 0–127 Output Level

(See the table below.)

Selects whether the sound will be sent through the speaker simulation (ON) or not (OFF)

Type of speaker

Specications 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

Parameter Value Explanation

Amp Sw OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCH DRIVE,

Amp Type

Amp Volume # 0–127

Amp Master # 0–127 Volume of the entire pre-amp

Amp Gain

Amp Bass

Amp Middle

Amp Treble

Delay Switch # OFF, ON Delay on/o

Delay Time # 0–1300 ms

Delay Feedback #

Delay HF Damp

Delay Balance #

Type of guitar amp

LOW, MIDDLE, HIGH

0–127

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2, TURBO, DISTORTION, FUZZ

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.

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Frequency at which the highfrequency portion of the delay sound will be cut (BYPASS: no cut)

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).

MFX Parameters

L in

Balance D

57: EP AmpSim -> Tremolo

Speaker TremoloEP Amp

R in

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127 Overdrive input level

OD Drive 0–127 Degree of distortion

Tremolo Switch # OFF, ON Tremolo on/o

Tremolo Rate #

Tremolo Depth # 0–127 Depth of the tremolo eect

Tremolo Duty -10–+10

Speaker Type

Level 0–127 Output Level

OLDCASE, NEWCASE, WURLY

0.05–10.00 Hz, note

LINE, OLD, NEW, WURLY, TWIN

sound of the early 70s

NEWCASE: a standard electric piano sound of the late 70s and early 80s

WURLY: a standard electric piano sound of the 60s

Amount of high-frequency boost/ cut

Rate of the tremolo eect

Adjusts the duty cycle of the LFO waveform used to apply tremolo.

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

58: EP AmpSim -> Chorus

L in

Speaker ChorusEP Amp

R in

Balance D

Parameter Value Explanation

Type of amp

OLDCASE: a standard electric piano

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127 Overdrive input level

OD Drive 0–127 Degree of distortion

Chorus Switch # OFF, ON Chorus on/o

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth # 0–127 Depth of modulation

Chorus Balance #

OLDCASE, NEWCASE, WURLY

0.05–10.00 Hz, note

D100:0W– D0:100W

sound of the early 70s

NEWCASE: a standard electric piano sound of the late 70s and early 80s

WURLY: a standard electric piano sound of the 60s

Amount of high-frequency boost/ cut

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

Frequency of modulation

Volume balance of the sound that passes through the chorus (W) and the unprocessed sound (D)

L out

R out

L out

Balance W

R out

Parameter Value Explanation

Type of speaker

Speaker Type

Level 0–127 Output Level

LINE, OLD, NEW, WURLY, TWIN

* If LINE is selected, the sound will

not be sent through the speaker simulation.

59: EP AmpSim -> Flanger

Balance D

L in

SpeakerEP Amp

R in

Parameter Value Explanation

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127 Overdrive input level

OD Drive 0–127 Degree of distortion

Flanger Switch # OFF, ON Flanger on/o

Flanger Pre Delay

Flanger Rate #

Flanger Depth # 0–127 Depth of modulation

Flanger Feedback #

Flanger Balance #D100:0W–

Speaker Type

Level 0–127 Output Level

OLDCASE, NEWCASE, WURLY

0.0–100.0 ms

0.05–10.00 Hz, note

-98–+98 %

D0:100W

LINE, OLD, NEW, WURLY, TWIN

Feedback

Flanger

Balance D

Type of amp

OLDCASE: a standard electric piano sound of the early 70s

NEWCASE: a standard electric piano sound of the late 70s and early 80s

WURLY: a standard electric piano sound of the 60s

Amount of high-frequency boost/ cut

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

L out

Balance W

R out

MFX Parameters

L in

R in

L out

R out

Balance W

Balance D

Balance W

Balance D

60: EP AmpSim -> Phaser

Speaker

Amp

Parameter Value Explanation

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127 Overdrive input level

OD Drive 0–127 Degree of distortion

Phaser Switch # OFF, ON Phaser on/o

Phaser Manual # 0–127

Phaser Resonance #

Phaser Mix # 0–127 Volume of phase-shifted sound

Phaser Rate #

Phaser Depth # 0–127 Modulation depth

Speaker Type

Level 0–127 Output Level

OLDCASE, NEWCASE, WURLY

0–127 Amount of feedback

0.05–10.00 Hz, note

LINE, OLD, NEW, WURLY, TWIN

Phaser

Mix

Resonance

Type of amp

OLDCASE: a standard electric piano sound of the early 70s

NEWCASE: a standard electric piano sound of the late 70s and early 80s

WURLY: a standard electric piano sound of the 60s

Amount of high-frequency boost/ cut

Center frequency at which the sound is modulated

Modulation rate

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

61: EP AmpSim -> Delay

L in

EP Amp

Speaker

R in

Parameter Value Explanation

Type

Bass # -50–+50 Amount of low-frequency boost/cut

Treble # -50–+50

OD Switch OFF, ON Overdrive on/o

OD Gain 0–127 Overdrive input level

OD Drive 0–127 Degree of distortion

Delay Switch # OFF, ON Delay on/o

Delay Time # 0–1300 ms, note

Delay Acceleration

Delay Feedback #

Delay HF Damp

Delay Balance #

Speaker Type

Level 0–127 Output Level

OLDCASE, NEWCASE, WURLY

0–15

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

LINE, OLD, NEW, WURLY, TWIN

Time Ctrl

Delay

Feedback

Type of amp

OLDCASE: a standard electric piano sound of the early 70s

NEWCASE: a standard electric piano sound of the late 70s and early 80s

WURLY: a standard electric piano sound of the 60s

Amount of high-frequency boost/ cut

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

Speed at which the current delay time changes to the specied delay time when you change the delay time.

The speed of the pitch change will change simultaneously with the delay time.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Frequency at which the highfrequency portion of the delay sound will be cut (BYPASS: no cut)

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).

Type of speaker

* If LINE is selected, the sound will

not be sent through the speaker simulation.

L out

R out

MFX Parameters

Mix

Balance D

Mix

Balance D

Mix

Balance D

62: Enhancer -> Chorus

L in

R in

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance #

Level 0–127 Output Level

Enhancer

0.05–10.00 Hz, note

D100:0W– D0:100W

Mix

Chorus

Level of the overtones generated by the enhancer

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

Frequency of modulation

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).

63: Enhancer -> Flanger

L in

R in

Parameter Value Explanation

Enhancer Sens # 0 –127 Sensitivity of the enhancer

Enhancer Mix # 0 –127

Flanger Pre Delay

Flanger Rate #

Flanger Depth 0 –127 Depth of modulation

Flanger Feedback #

Flanger Balance #D100:0W–

Level 0 –127 Output Level

Enhancer

0.0–100.0 ms

0.05–10.00 Hz, note

-98–+98 %

D0:100W

Mix

Feedback

Flanger

Level of the overtones generated by the enhancer

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Balance D

L out

Balance W

R out

L out

Balance W

R out

64: Enhancer -> Delay

L in

R in

Parameter Value Explanation

Enhancer Sens # 0 –127 Sensitivity of the enhancer

Enhancer Mix # 0 –127

Delay Time 0–2600 ms, note

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0 –127 Output Level

Enhancer

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Mix

Feedback

Level of the overtones generated by the enhancer

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

65: Chorus -> Delay

L in

Balance W

Chorus

Balance W

R in

Parameter Value Explanation

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance #

Delay Time 0–2600 ms, note

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Feedback

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

Frequency of modulation

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

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Balance D

Delay

Balance D

Delay

L out

Balance W

R out

L out

Balance W

R out

MFX Parameters

Balance D

66: Flanger -> Delay

L in

R in

Parameter Value Explanation

Flanger Pre Delay

Flanger Rate #

Flanger Depth 0–127 Depth of modulation

Flanger Feedback #

Flanger Balance #D100:0W–

Delay Time 0–2600 ms, note

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0–127 Output Level

Feedback

Flanger

0.0–100.0 ms

0.05–10.00 Hz, note

-98–+98 %

D0:100W

-98–+98 %

200–8000 Hz, BYPASS

D100:0W– D0:100W

Balance W

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect 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).

Balance D

Delay

Feedback

L out

Balance W

R out

Parameter Value Explanation

Flanger Feedback #

Flanger Balance #D100:0W–

Level 0 –127 Output Level

-98–+98 %

D0:100W

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

Note

(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),

(Thirty-second note),

(Sixteenth note),

(Whole-note triplet),

(Double-note triplet),

(Sixteenth-note triplet),

(Eighth-note triplet),

(Half-note triplet),(Quarter note),

(Dotted half note),

(Dotted quarter note),

(Dotted thirty-second note),

(Dotted sixteenth note),

(Dotted eighth note),(Quarter-note triplet),(Eighth note),

(Half note),

(Whole note),

(Double note)(Dotted whole note),

67: Chorus -> Flanger

L in

Balance W

Chorus

Balance W

R in

Parameter Value Explanation

Chorus Pre Delay 0.0–100.0 ms

Chorus Rate #

Chorus Depth 0 –127

Chorus Balance #

Flanger Pre Delay

Flanger Rate #

Flanger Depth 0 –127

0.05–10.00 Hz, note

D100:0W– D0:100W

0.0–100.0 ms

0.05–10.00 Hz, note

Feedback

Balance W

Flanger

L out

Balance W

R out

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

Modulation frequency of the chorus eect

Modulation depth of the chorus eect

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

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Modulation frequency of the anger eect

Modulation depth of the anger eect

MFX Parameters

About the STEP RESET function

04: Step Filter

18: Slicer

The above types contain a sixteen-step sequencer. For these types, you can use a MFX CONTROL to reset the sequence to play from the rst step. To do this, set the MFX CONTROL Destination to “Step

Reset.”

For example if you are using the modulation lever to control the eect, you would make the following settings.

Parameter Value

Source CC01: Modulation

Destination Step Reset

Sens +63

With these settings, the sequence will play back from the rst step whenever you operate the modulation lever.

Controlling a MFX via MIDI (MFX CONTROL)

You can use MIDI messages such as control change messages to control the principal MFX parameters. This capability is called “MFX

CONTROL (multi-eects control).”

The parameters that can be controlled are preset for each MFX type, and are the parameters marked by a “#” symbol in the following explanations of each MFX parameter. Up to four multi-eects control settings can be assigned using MFX 1–16.

To use MFX CONTROL, you’ll need to specify which MIDI message (Source) will aect which parameter (Destination), and how greatly (Sens).

Parameter Value Explanation

Species the MIDI message that will control the corresponding MFX CONTROL parameter.

OFF MFX will not be used.

CC01–31 Controller number 1–31

Source (1–4)

Destination (1–4)

Sens (1–4) -63– +63

CC33–95 Controller number 33–95

PITCH BEND Pitch bend

AFTERTOUCH Aftertouch

SYS CTRL1–4

Refer to the parameters marked “#” on p. 74 and following

Use the controller that is assigned by the System Parameter setting System Control 1–4 Source.

Selects the multi-eect parameter that will be controlled by control source 1–4.

The type of parameters that can be selected will depend on the type of multi-eect you’ve selected in MFX Type.

Species the depth of MFX CONTROL.

Specify a positive “+” value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value “-” if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

Chorus, Reverb

Chorus Parameters

The chorus section can be used as a delay.

Select either chorus or delay, and specify how the chorus/delay sound will be heard.

Parameter Value Explanation

00: OFF,

Chorus Type

Chorus Level 0–127 Volume of the chorus sound

Chorus Output Assign

Chorus Output Select

01: Chorus

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 [Hz] Basic frequency of the lter

Pre Delay 0.0–100 [msec]

Rate

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread of the sound

Feedback 0–127

02: Delay

Delay Left

Delay Right

Delay Center

Center Feedback -98–+98 [%]

HF Damp

Left Level

Center Level

03: GM2 Chorus

Pre-LPF 0–7

Level 0–127 Volume of the chorus sound

Feedback 0–127

Delay 0–127

Rate 0–127 Frequency of modulation

Depth 0–127 Depth of modulation

01: Chorus, 02: Delay, 03: GM2 Chorus

A, B, C, D

MAIN, REV, MAIN+REV

0.05–10.00 [Hz], note

0–1000 [msec], note

200–8000 [Hz], BYPASS

0–127 Volume of each delay soundRight Level

Selects either Chorus or Delay.

OFF: Neither Chorus or Delay is used.

Chorus: Chorus is used.

Delay: Delay is used.

GM2: GM2 Chorus is used.

Selects the pair of OUTPUT jacks to which the chorus sound is routed when Chorus Output Select is set to “MAIN” or

“MAIN+REV.”

Species how the sound routed through chorus will be output.

MAIN: Output in stereo to the OUTPUT jacks.

REV: Output in monaural to the reverb.

MAIN+REV: Output in stereo to the OUTPUT

jacks, and in monaural to the reverb.

Type of lter

OFF: No lter is used.

LPF: Cuts the frequency range above the Cuto Freq

HPF: Cuts the frequency range below the Cuto Freq

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

Frequency of modulation

Adjusts the amount of the chorus sound that is fed back into the eect.

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

Adjusts the proportion of the delay sound that is fed back into the eect. Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Cuts the high frequency range of the sound coming into the chorus.

Higher values will cut more of the high frequencies.

Adjusts the amount of the chorus sound that is fed back into the eect.

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

Parameter Value Explanation

Send Level to Reverb

0–127

Adjusts the amount of chorus sound that will be sent to the reverb.

Reverb Parameters

Parameter Value Explanation

Type of reverb

00: OFF 01: Room 1

Reverb Type

Reverb Level 0–127 Volume of the reverb sound

Reverb Output Assign

01–05: Room 1/2, Hall 1/2, Plate

Pre Delay 0–100 [msec]

Time 0.1–10 [sec] Time length of reverberation

Density 0–127 Density of reverb

Diusion 0–127

LF Damp 0–100

HF Damp 0–100

Spread 0–127 Reverb spread

Tone 0–127 Tonal character of the reverb

06: GM2 Reverb

Character 0–5 Type of reverb

Time 0–127 Time length of reverberation

02: Room 2 03: Hall 1 04: Hall 2 05: Plate 06: GM2 Reverb

A, B, C, D

OFF: Reverb will not be used

Room 1/2: Reverb that simulates the

reverberation of a room

Hall 1/2: Reverb that simulates the reverberation of a hall

Plate: Simulation of a plate echo (a reverb device that uses a metal plate)

GM2 Reverb: GM2 reverb

Species how the sound routed through reverb will be output.

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

Adjusts the change in the density of the reverb over time.

The higher the value, the more the density increases with time.

(The eect of this setting is most pronounced with long reverb times.)

Adjusts the low-frequency portion of the reverb.

Adjusts the high-frequency portion of the reverb.

MEMO

SuperNATURAL Tone CC Assign

SuperNATURAL Acoustic (SN-A)

INST

BANK NUM NAME Category BANK NUM NAME

INT 1 Concert Grand Ac.Piano - - - - INT 1 Concert Grand - - - Portamento Vibrato * 2 -

INT 2 Grand Piano1 Ac.Piano - - - - INT 2 Grand Piano1 - - - Portamento Vibrato * 2 -

INT 3 Grand Piano2 Ac.Piano - - - - INT 3 Grand Piano2 - - - Portamento Vibrato * 2 -

INT 4 Grand Piano3 Ac.Piano - - - - INT 4 Grand Piano3 - - - Portamento Vibrato * 2 -

INT 5 Mellow Piano Ac.Piano - - - - INT 5 Mellow Piano - - - Portamento Vibrato * 2 -

INT 6 Bright Piano Ac.Piano - - - - INT 6 Bright Piano - - - Portamento Vibrato * 2 -

INT 7 Upright Piano Ac.Piano - - - - INT 7 Upright Piano - - - Portamento Vibrato * 2 -

INT 8 Concert Mono Ac.Piano - - - - INT 8 Concert Mono - - - Portamento Vibrato * 2 -

INT 9 Honky-tonk Ac.Piano - - - - INT 9 Honky-tonk - - - Portamento Vibrato * 2 -

INT 10 Pure Vintage EP1 E.Piano Noise Level - - - INT 10 Pure Vintage EP1 - - - Portamento Vibrato -

INT 11 Pure Vintage EP2 E.Piano Noise Level - - - INT 11 Pure Vintage EP2 - - - Portamento Vibrato -

INT 12 Pure Wurly E.Piano Noise Level - - - INT 12 Pure Wurly - - - Portamento Vibrato -

INT 13 Pure Vintage EP3 E.Piano Noise Level - - - INT 13 Pure Vintage EP3 - - - Portamento Vibrato -

INT 14 Old Hammer EP E.Piano Noise Level - - - INT 14 Old Hammer EP - - - Portamento Vibrato -

INT 15 Dyno Piano E.Piano Noise Level - - - INT 15 Dyno Piano - - - Portamento Vibrato -

INT 16 Clav CB Flat Other Keyboards Noise Level - - - INT 16 Clav CB Flat - - - Portamento Vibrato -

INT 17 Clav CA Flat Other Keyboards Noise Level - - - INT 17 Clav CA Flat - - - Portamento Vibrato -

INT 18 Clav CB Medium Other Keyboards Noise Level - - - INT 18 Clav CB Medium - - - Portamento Vibrato -

INT 19 Clav CA Medium Other Keyboards Noise Level - - - INT 19 Clav CA Medium - - - Portamento Vibrato -

INT 20 Clav CB Brillia Other Keyboards Noise Level - - - INT 20 Clav CB Brillia - - - Portamento Vibrato -

INT 21 Clav CA Brillia Other Keyboards Noise Level - - - INT 21 Clav CA Brillia - - - Portamento Vibrato -

INT 22 Clav CB Combo Other Keyboards Noise Level - - - INT 22 Clav CB Combo - - - Portamento Vibrato -

INT 23 Clav CA Combo Other Keyboards Noise Level - - - INT 23 Clav CA Combo - - - Portamento Vibrato -

INT 24 Glockenspiel Bell/Mallet Mallet Hardness Roll Speed Mute Bend Mode INT 24 Glockenspiel Dead Stroke - Glissando

INT 25 Vibraphone Bell/Mallet

CC16 CC17 CC18 CC19

Mallet Hardness Roll Speed Mute Bend Mode

• Tremolo Speed is assigned to CC76.

INT 26 Marimba Bell/Mallet Mallet Hardness Roll Speed Mute Bend Mode

INT 27 Xylophone Bell/Mallet Mallet Hardness Roll Speed Mute Bend Mode INT 27 Xylophone Dead Stroke - Glissando

INT 28 Tubular Bells Bell/Mallet Mallet Hardness Roll Speed Mute Bend Mode INT 28 Tubular Bells Dead Stroke Glissando

INT 29 TW Organ Organ Noise Level * 1 - - - INT 29 TW Organ - - - - - -

INT 30 French Accordion Accordion/Harmonica Noise Level - - Bend Mode INT 30 French Accordion - - - Portamento Dynamics -

INT 31 Italian Accordion Accordion/Harmonica Noise Level - - Bend Mode INT 31 Italian Accordion - - - Portamento Dynamics -

INT 32 Harmonica Accordion/Harmonica Noise Level - Growl Sens Bend Mode INT 32 Harmonica - - - Portamento Dynamics Vibrato

INT 33 Bandoneon Accordion/Harmonica Noise Level - - Bend Mode INT 33 Bandoneon - - - Portamento Dynamics -

INT 34 Nylon Guitar Ac.Guitar Noise Level Strum Speed - Strum Mode INT 34 Nylon Guitar Mute Harmonics - Portamento Vibrato Vibrato

INT 35 Flamenco Guitar Ac.Guitar Noise Level Strum Speed - Strum Mode INT 35 Flamenco Guitar Rasgueado Harmonics - Portamento Vibrato Vibrato

INT 36 SteelStr Guitar Ac.Guitar Noise Level Strum Speed - Strum Mode INT 36 SteelStr Guitar Mute Harmonics - Portamento Vibrato Vibrato

INT 37 Jazz Guitar E.Guitar Noise Level Strum Speed - Strum Mode INT 37 Jazz Guitar FingerPicking Octave Tone - Portamento Vibrato Vibrato

INT 38 ST Guitar Half E.Guitar Noise Level Strum Speed - Strum Mode INT 38 ST Guitar Half Mute Harmonics - Portamento Vibrato Vibrato

INT 39 ST Guitar Front E.Guitar Noise Level Strum Speed - Strum Mode INT 39 ST Guitar Front Mute Harmonics - Portamento Vibrato Vibrato

INT 40 TC Guitar Rear E.Guitar Noise Level Strum Speed - Strum Mode INT 40 TC Guitar Rear Mute Harmonics - Portamento Vibrato Vibrato

INT 41 Acoustic Bass Ac.Bass Noise Level - - - INT 41 Acoustic Bass Staccato Harmonics - Portamento Vibrato Vibrato

INT 42 Fingered Bass E.Bass Noise Level - - - INT 42 Fingered Bass Slap Harmonics - Portamento Vibrato Vibrato

INT 43 Picked Bass E.Bass Noise Level - - - INT 43 Picked Bass Bridge Mute Harmonics - Portamento Vibrato Vibrato

INT 44 Fretless Bass E.Bass Noise Level - - - INT 44 Fretless Bass Staccato Harmonics - Portamento Vibrato Vibrato

INT 45 Violin Strings Noise Level - - - INT 45 Violin Staccato Pizzicato Tremolo Portamento Dynamics+Vib Vibrato

INT 46 Violin 2 Strings Noise Level - - - INT 46 Violin 2 Staccato Pizzicato Tremolo Portamento Dynamics+Vib Vibrato

INT 47 Viola Strings Noise Level - - - INT 47 Viola Staccato Pizzicato Tremolo Portamento Dynamics+Vib Vibrato

INT 48 Cello Strings Noise Level - - - INT 48 Cello Staccato Pizzicato Tremolo Portamento Dynamics+Vib Vibrato

100

Roland Integra-7 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Studio Set

Top Screen

STUDIO SET COMMON

GENERAL tab

CONTROL tab

PHASE LOCK tab

PART VIEW

TONE tab

LEVEL/CH tab

EQ tab

KBD tab

PITCH tab

OFFSET tab

SCALE tab

MIDI tab

MOTIONAL SURROUND

COMMON tab

PART tab

CONTROL tab

EFFECTS ROUTING

STUDIO SET EFFECTS

COMP+EQ OUTPUT tab

CHORUS tab

REVERB tab

MASTER EQ tab

SuperNATURAL Acoustic Tone (SN-A)

TONE EDIT (SN-A)

COMMON tab

INST tab

Instrument List

SuperNATURAL INST Parameters

Performance Variation Sounds

MFX tab

MFX CTRL tab

SuperNATURAL Synth Tone (SN-S)

TONE EDIT (SN-S)

COMMON tab

OSC tab

PITCH tab

FILTER tab

AMP tab

LFO tab

MOD LFO tab

AFTERTOUCH tab

MISC tab

MFX tab

MFX CTRL tab

SuperNATURAL Drum Kit (SN-D)

TONE EDIT (SN-D)

COMMON tab

DRUM INST tab

COMP tab

EQ tab

MFX tab

MFX CTRL tab

SuperNATURAL Drum Inst List

PCM Synth Tone (PCMS)

TONE EDIT (PCMS)

COMMON tab

WAVE tab

PMT tab

PITCH tab

PITCH ENV tab

TVF tab

TVF ENV tab

TVA tab

TVA ENV tab

OUTPUT tab

LFO1/LFO2 tab

STEP LFO tab

How to Apply the LFO

CTRL tab

MTRX CTRL1–4 tab

MFX tab

MFX CTRL tab