Roland Jupiter-80 Parameter Guide

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Navigating Between Screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Registration Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Registration Part Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Live Set Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Live Set Eects Routing Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Synth Tone Edit (OSC/FILTER/AMP) Screen . . . . . . . . . . . . . . . . . . . . . . . . 6

Tone Blender Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Parameter List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Registration Part Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Registration Common/Control Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Registration PERC Part Screen, Registration SOLO Part Screen . . . .13

Registration Eects Routing Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Registration External Part Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Live Set Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Live Set Common Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Live Set Layer Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Live Set Eects Routing Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Live Set Tone Modify Screen (SuperNATURAL Acoustic Tones) . . . .25

Live Set Tone Modify Screen (SuperNATURAL Synth Tones) . . . . . . .33

Tone Blender Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Synth Tone Edit (PRO EDIT) Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Multi-Eects Parameters (MFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Reverb Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Control Change Assign List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

About Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

The Parameter Guide (this document) presents a detailed explanation of each parameter.

Explanations of parameters and notes regarding the settings are provided for each screen shown in the screen owchart (p. 3–p. 7).

Refer to this guide when you want to learn more about the parameters, or to get tips for creating sounds.

Roland, COSM, and SuperNATURAL are either registered trademarks or trademarks of

Roland Corporation in the United States and/or other countries.

Navigating Between Screens

On the JUPITER-80, you navigate between screens by touching the enclosed areas or buttons shown in the illustrations below. Here we explain how to navigate between screens. The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

The explanations of the parameters are organized by screen. The parameters shown in each screen are described on the page indicated like this:

Registration Screen

This is the main screen that appears when you turn on the power. It shows the name of the currently selected Registration, the sound and volume of each Part, and the split status.

p. xx

Live Set List screen

Select the Live Sets for the Upper and Lower Parts. Select the Tone for the Solo Part.

Tone List screen

Select the Tone for the Percussion Part. View the name and volume of the Tones assigned to each layer of the Live Set.

Tone List screen

Live Set screen

p. 18

Registration List screen

Select a Registration from a list. View the Registration’s volume, and settings such as the volume and pan of

Registration Part screen

each Part.

p. 8

Navigating Between Screens

Registration Part Screen

Here you can view the volume of the Registration, and the volume and pan settings of each Part.

p. 8

432

p. 3

Registration PERC Part screen

Edit the settings of the Percussion Part. Edit the settings of the Solo Part.

p. 13

Registration SOLO Part screen

p. 13

Registration Common/Control screen

Make overall settings for the Registration.

p. 8

Registration Eects Routing screen

Edit the eect settings for the Registration.

Registration External Part screen

Edit Part settings for an external MIDI device.

p. 16

p. 17

Navigating Between Screens

Live Set Screen

View the name and volume of the Tones assigned to each layer of the Live Set.

p. 18

p. 3

Tone List screen

Select the Tone for each layer. Edit the eect settings for the Live Set.

Live Set Eects Routing screen

p. 24

Live Set Tone Modify screen

Edit the sound of each layer. Edit the settings of each layer.

p. 25, p. 33

Live Set Layer screen

p. 37

Live Set List screen

Select a Live Set. Make overall settings for the Live Set.

Live Set Common screen

p. 36

p. 20

p. 36

p. 19

p. 36

Navigating Between Screens

Live Set Eects Routing Screen

Edit the eect settings for the Live Set.

Live Set MFX screen

Edit the parameters of each multi-eect. Edit the reverb parameters of the Live Set.

p. 42–

p. 24

Live Set Reverb screen

p. 36

p. 79

Synth Tone Edit (OSC/FILTER/AMP) Screen

Edit the oscillator, lter, and amp settings of the SuperNATURAL Synth Tone.

LFO screen

Edit the Tone’s LFO settings. Make detailed settings for the Tone.

p. 37

Pro Edit screen

Navigating Between Screens

Tone Blender Screen

Simultaneously edit multiple parameters of the Live Set.

p. 36

List of Shortcuts

By holding down the [SHIFT] button and pressing another button, you can edit the settings of the button you pressed; i.e., this is a shortcut to the corresponding editing screen.

Shortcut Description Page

[SHIFT] + [ASSIGNABLE] Accesses the D Beam Assign setting screen. p. 9

[SHIFT] + [S1] (or S2) Accesses the Switch S1 Assign (or Switch S2 Assign) setting screen. p. 9

[SHIFT] + [HOLD]

[SHIFT] + ARPEGGIO LOWER [ON/OFF]

[SHIFT] + ARPEGGIO UPPER [ON/OFF]

[SHIFT] + [HARMONY INTELLIGENCE] Accesses the Harmony Type setting screen. p. 12

Accesses the arpeggiator setting screen. p. 10

[SHIFT] + [SPLIT] Accesses the Lower Split Point setting screen. p. 8

[SHIFT] + [SOLO SPLIT] Accesses the Solo Split Point setting screen. p. 8

[SHIFT] + LOWER [BASS] Accesses the Synth Tone Edit screen for layer 1 of the Live Set assigned to the Lower Part.

[SHIFT] + LOWER [PAD] Accesses the Synth Tone Edit screen for layer 2 of the Live Set assigned to the Lower Part.

[SHIFT] + LOWER [CHOIR] Accesses the Synth Tone Edit screen for layer 3 of the Live Set assigned to the Lower Part.

[SHIFT] + LOWER [STRINGS] Accesses the Synth Tone Edit screen for layer 4 of the Live Set assigned to the Lower Part.

[SHIFT] + LOWER [SYNTH BRASS] Accesses the Live Set Common screen of the Lower Part. p. 19

[SHIFT] + LOWER [WOOD WINDS] Accesses the Live Set Layer screen of the Lower Part. p. 20

[SHIFT] + LOWER [OTHER] Accesses the Live Set Eects Routing screen of the Lower Part. p. 24

[SHIFT] + UPPER [PIANO] Accesses the Synth Tone Edit screen for layer 1 of the Live Set assigned to the Upper Part.

[SHIFT] + UPPER [E. PIANO] Accesses the Synth Tone Edit screen for layer 2 of the Live Set assigned to the Upper Part.

[SHIFT] + UPPER [CLAV] Accesses the Synth Tone Edit screen for layer 3 of the Live Set assigned to the Upper Part.

[SHIFT] + UPPER [COMBO ORGAN] Accesses the Synth Tone Edit screen for layer 4 of the Live Set assigned to the Upper Part.

[SHIFT] + UPPER [VIBES/MARIMBA] Accesses the Live Set Common screen of the Upper Part. p. 19

[SHIFT] + UPPER [ACCORDION/HARMONICA] Accesses the Live Set Layer screen of the Upper Part. p. 20

[SHIFT] + UPPER [OTHER] Accesses the Live Set Eects Routing screen of the Upper Part. p. 24

Accesses the Tone Blender screen.

[SHIFT] + rotate the [E1]–[E4] knobs

* This function is available in Registration screens and Live Set screens, and requires that Tone

Blender (CC79) be assigned as one of the Knob E1 Assign–Knob E4 Assign settings (“Registration Common/Control Screen” (P. 8)).

p. 37

p. 36

Parameter List

The following icons indicate how the parameters are saved.

Registration

Live Set

: Saved as Registration parameters.

: Saved as Live Set parameters.

Tone

: Saved as Synth Tone parameters.

Registration Part Screen

Parameter Value Explanation

REGIST LEVEL 0–127 Volume of the registration. Use this to adjust the volume balance between registrations.

Part on/o switch.

Part Switch

Part Switch OFF, ON

Live Set Number

Tone Type

Tone Number

Registration

Live Set Number - Assigns a sound to the part. A Live Set is assigned to the upper part and the lower part, and a

Tone Type -

Tone Number -

OCTAVE -3– +3

PAN L64–0–63R Part panning (left/right position).

LEVEL 0–127 Part volume. This is used mainly to adjust the volume balance between parts.

Tone is assigned to the solo part and the percussion part.

* The SuperNATURAL acoustic tone 0028:TW Organ can’t be assigned to the solo part or

percussion part.

Part (keyboard) pitch in one-octave steps.

This can’t be specied for a part to which manual percussion is assigned.

Registration Common/Control Screen

Parameter Value Explanation

General tab

Registration Name - Name of the registration.

Registration Level Described in the Registration Part screen’s “REGIST LEVEL” (p. 8).

Tempo 20–250 Tempo for the arpeggio, LFO, eects, metronome, etc.

Transpose Switch OFF, ON

Transpose Value -5 (G)– +6 (F#)

Octave Shift -3– +3 Species the keyboard pitch in octave steps.

Keyboard tab

Solo Split OFF, ON

Solo Split Point F1–G7 Species the solo split point.

Lower Split OFF, ON

Lower Split Point E1–F#7 Species the lower split point.

Species the keyboard pitch in semitone steps.

If this is on, the sound of the solo part will be sounded by keys to the right of the solo split point, and the sound of the upper part will be sounded by those to the left. The solo split point key will be the lowest note of the solo part (it will be included in the solo part).

If this is on, the sound of the upper part will be sounded by keys to the right of the lower split point, and the sound of the lower part will be sounded by those to the left. The lower split point key will be the highest note of the lower part (it will be included in the lower part).

Registration

Parameter Value Explanation

Pedal/D Beam tab

This selects the function that’s controlled when the D Beam controller’s ASSIGNABLE button is on.

OFF No function is assigned.

D Beam Assign

Control Pedal 1 Assign

Control Pedal 2 Assign

Knob/S1-S2 tab

Knob E1 Assign

Knob E2 Assign

Knob E3 Assign

Knob E4 Assign

CC01–31, 33–95 Controller numbers 1–31, 33–95

AFTERTOUCH Aftertouch

BEND UP The same eect as when the pitch bend lever is moved to the right.

BEND DOWN The same eect as when the pitch bend lever is moved to the left.

These select the functions that are controlled by pedals connected to the FOOT PEDAL CTRL 1 and 2 jacks. Control Pedal 1 Assign and Control Pedal 2 Assign settings are enabled when the system parameters Control Pedal 1 Assign Source or Control Pedal 2 Assign Source are set to REGISTRATION.

OFF No function is assigned.

CC01–31, 33–95 Controller numbers 1–31, 33–95

AFTERTOUCH Aftertouch

BEND UP The same eect as when the pitch bend lever is moved to the right.

BEND DOWN The same eect as when the pitch bend lever is moved to the left.

These select the functions that are assigned to E1–E4. You can specify whether the setting will apply to Upper or Lower.

No Assign No function is assigned.

Cuto Adjust the Live Set Common Cuto.

Resonance Adjust the Live Set Common Resonance.

Attack Time Oset Adjust the Live Set Layer Attack Time Oset.

Decay Time Oset Adjust the Live Set Layer Decay Time Oset.

Release Time Oset Adjust the Live Set Layer Release Time Oset.

Vibrato Rate Adjust the Live Set Layer Vibrato Rate.

Vibrato Depth Adjust the Live Set Layer Vibrato Depth.

Vibrato Delay Adjust the Live Set Layer Vibrato Delay.

CC05 (Porta Time)

CC07 (Volume)

CC10 (Pan)

CC16 (Modify-1)

CC17 (Modify-2)

CC18 (Modify-3)

CC19 (Modify-4)

CC65 (PortamentoSw)

CC71 (Resonance)

CC72 (Release Time)

CC73 (Attack Time)

CC74 (Cuto)

CC75 (Decay Time)

CC76 (Vib Rate)

CC77 (Vib Depth)

CC78 (Vib Delay)

CC79 (Tone Blender)

CC80 (Variation-1)

CC81 (Variation-2)

CC82 (Variation-3)

CC83 (Variation-4)

CC91 (Reverb)

Transmit the corresponding control change.

Parameter List

Parameter Value Explanation

These select the functions that are assigned to the [S1]/[S2] buttons. Some SuperNATURAL acoustic tones allow you to use control changes to modify the tone character of the sound or switch to a dierent variation sound. For details, refer to “Control Change Assign List” (p. 80).

OFF

CC01 (Modulation)

CC02 (Breath)

CC03

CC04 (Foot Type)

CC11 (Expression)

CC12

CC13

CC14

CC15

CC16 (Modify-1)

CC17 (Modify-2)

CC18 (Modify-3)

CC19 (Modify-4)

CC20

CC21

CC22

Switch S1 Assign

Switch S2 Assign

Switch S1 Type

Switch S2 Type

Arpeggio tab

Upper Switch

Lower Switch

Style P001–P128, U001–U128

Hold OFF, ON Turns the arpeggio hold function on/o.

Variation 1–

CC23

CC24

CC25

CC26

CC27

CC28

CC29

CC30

CC31

CC64 (Hold-1)

CC65 (PortamentoSw)

CC66 (Sostenuto)

CC67 (Soft)

CC68 (Legato Sw)

CC69 (Hold-2)

CC79 (Tone Blender)

CC80 (Variation-1)

CC81 (Variation-2)

CC82 (Variation-3)

CC83 (Variation-4)

AFTERTOUCH Transmit aftertouch.

MONO/POLY Transmit a control change.

LATCH Switch the setting on/o each time you press the button.

MOMENTARY The setting will be on while the button is held down, and o when released.

OFF, ON Turns the arpeggiator on/o.

Transmit a control change.

If a SuperNATURAL acoustic tone is selected, a specic eect will be applied (p. 80).

Transmit a control change.

If a SuperNATURAL acoustic tone is selected, a specic eect will be applied (p. 80).

Species the basic style of the arpeggio.

You can create your own original arpeggio style by importing an SMF into an arpeggio style. For details, refer to JUPITER-80 Owner’s Manual “Creating an Arpeggio Style from a MIDI File (Import).”

Each arpeggio style provides several variations (patterns). Here you can select the variation number. The number of variations will depend on the arpeggio style.

Parameter Value Explanation

Choose one of the following to specify the order in which the notes of the chord you play will be sounded.

UP The notes will be sounded from the lowest to the highest note you play.

DOWN The notes will be sounded from the highest to the lowest note you play.

UP&DOWN

RANDOM The notes you play will be sounded in random order.

NOTE ORDER

Motif

Velocity

Oct Range -3– +3

Accent 0–100%

GLISSANDO

CHORD All of the notes you play will sound simultaneously.

AUTO1

AUTO2

PHRASE

REAL, 1–127

The notes will be sounded from the lowest to the highest note, and then back down to the lowest note.

The notes you play will be sounded in the order you played them. You can create a melody line by playing the notes in the appropriate order. The order of up to 128 notes can be remembered.

A chromatic glissando will be sounded upward and then downward repeatedly between the lowest and highest notes you played. Play two notes; the lowest and highest desired notes.

The timing at which each note will sound is assigned automatically, starting at the lowest note you play.

The timing at which each note will sound is assigned automatically, starting at the highest note you play.

Play only one key; a phrase based on the pitch of that key will be sounded. If you play more than one key, the last key you play will take priority.

Species the loudness at which the notes you play will be sounded. If you want the notes to be sounded at the velocity with which you actually struck the key, choose “REAL.” If you want the notes to be sounded at a xed velocity regardless of how strongly you struck the key, specify that value (1–127).

Species the range in octaves in which the arpeggio will be sounded. Choose “0” if you want only the notes you play to be sounded. Choose “+1” if you want the notes of the chord you played as well as the same notes one octave higher to be sounded. Choose “-1” if you want the notes of the chord you played as well as the notes one octave lower to be sounded.

Modies the groove of the performance by adjusting the strength of the accents and the duration of the notes. The “100%” setting produces the strongest sense of groove.

Produces a shue rhythm by adjusting the timing of the notes. With the “50%” setting, notes will be sounded at equal intervals. As this value is increased, the result will be more like dotted notes.

Shue Rate = 50%

Parameter List

Shue Rate 0–100%

Shue Resolution

50 5050 50

Shue Rate = 90%

90 10 90 10

Species the timing (as a note value) at which the notes will be heard.

Parameter List

Parameter Value Explanation

Harmony Intelligence tab

Harmony Switch OFF, ON Turns the harmony intelligence on/o.

ORGAN Harmony appropriate for organ sounds will be produced.

Harmony typical of big band jazz will be produced. This is appropriate for brass sounds.

Block chord harmony will be produced. This is appropriate for piano or mallet sounds.

Harmony appropriate for hymns will be produced. This is appropriate for choir sounds.

Simple duet harmony will be produced. This is appropriate for brass sounds.

Combination harmony will be produced. This is appropriate for brass or wind sounds.

Open chord harmony will be produced. This is appropriate for guitar sounds.

Flamboyant show-type harmony will be produced. This is appropriate for organ sounds.

Gospel harmony will be produced. This is appropriate for organ or choir sounds.

For each controller, you can specify whether MIDI messages will be transmitted to the part (ON) or not transmitted (OFF).

If INTERNAL is set for “MIDI Out Setting” (p. 17), these settings also apply to the MIDI output.

Harmony Type

Control Sw tab

Bend (Bender)

Mod (Modulation)

S1 (Switch S1)

S2 (Switch S2)

Hold (Hold Pedal)

Pedal1 (Control Pedal 1)

Pedal2 (Control Pedal 2)

Aft (Aftertouch)

DBeam (D Beam)

BIG BAND

STRINGS Harmony typical of a string ensemble will be produced. This is appropriate for string sounds.

BLOCK

HYMN

TRADITIONAL Two notes of harmony will be added to the notes you play.

DUET

COMBO

COUNTRY

BROADWAY

GOSPEL

OCTAVE1 The note you play will be layered with a note one octave lower.

OCTAVE2 The note you play will be layered with a note two octaves lower.

1NOTE One note of harmony will be added to the note you play.

2NOTES Two notes of harmony will be added to the note you play.

3NOTES Three notes of harmony will be added to the note you play.

4NOTES Four notes of harmony will be added to the note you play.

OFF, ON

Parameter List

Keyboard Range Lower

Keyboard Range Upper

Keyboard Fade Width Lower

Keyboard Fade Width Upper

Registration PERC Part Screen, Registration SOLO Part Screen

Parameter Value Explanation

Level/Pan/Output tab

Level, Pan

SOLO Part

PERC Part

Reverb Send Level

Level 0–127 Volume of the part.

Pan L64–0–63R Part panning.

Output Level 0–127 Volume at which the part’s sound is sent to the eect.

Reverb Send Level 0–127 Volume at which the part’s sound is sent to the reverb.

Output Level

EFFECTS

REV

Registration

Keyboard tab

Level

Pitch

Keyboard Fade Width Upper *5 0–127

Keyboard Range Upper *5

Keyboard Range Lower *5

Keyboard Fade Width Lower *5 0–127

Pitch tab

Octave Shift *6 -3– +3 Pitch of the part sound (in 1-octave units)

Coarse Tune -48– +48 Pitch of the part sound (in semitones, +/-4 octaves)

Fine Tune -50– +50 Pitch of the part sound (in 1-cent steps; one cent is 1/100th of a semitone)

Pitch Bend Range

Portamento Switch *6, *9

Portamento Time *6

(Keyboard Range Lower)–G9

C-–(Keyboard Range Upper)

0–24

TONE The pitch bend range setting of the tone assigned to the part will be used.

OFF Portamento will not be applied.

ON Portamento will be applied.

TONE The portamento switch setting of the tone assigned to the part will be used.

0–127 Time over which the pitch change will occur when using portamento

TONE The portamento time setting of the tone assigned to the part will be used.

Determines what will happen to the part level when a note that’s higher than Key Range Upper is played. If you don’t want the layer to sound at all, set this parameter to “0.”

Species the highest note that the layer will sound for each part.

Species the lowest note that the layer will sound for each part.

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

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.

Parameter List

Velocity Range Lower

Velocity Range Upper

Velocity Fade Width Lower

Velocity Fade Width Upper

21 3 4

Parameter Value Explanation

Vibrato tab

Vibrato Rate -64– +63 For each part, adjust the vibrato speed

Vibrato Depth -64– +63 For each part, this adjusts the depth of the vibrato eect

Vibrato Delay -64– +63 For each part, this adjusts the time delay until the vibrato

Oset tab

Cuto Oset *2 -64– +63 Cuto frequency of the part

Resonance Oset *2 -64– +63 Resonance of the part

Attack Time Oset *2 -64– +63 Amp/Filter Envelope of the part Attack Time

Decay Time Oset *7 -64– +63 Amp/Filter Envelope of the part Decay Time

Release Time Oset *2 -64– +63 Amp/Filter Envelope of the part Release Time

Velocity tab

Level

Velocity

Velocity Fade Width Lower 0–127

Velocity Range Lower 1–(Velocity Range Upper) Species the lowest velocity at which the part will sound.

Velocity Range Upper

Velocity Fade Width Upper 0–127

Velocity Sens Oset -63– +63 Adjusts the velocity sensitivity. The higher the value, the greater the sensitivity.

Velocity Curve Type OFF, 1–4

Mono/Poly/Misc tab

Mono/Poly *6

Legato Switch *6

Voice Reserve 0–63, FULL

(Velocity Range Lower)–127

MONO

POLY Chords can be played on the tone assigned to the part.

TONE The mono/poly setting of the tone assigned to the part will be used.

SOLO 1

SOLO 2

Legato refers to playing smoothly without a perceptible break between notes.

OFF Legato will not be applied to the part.

ON Legato will be applied to the part when you play single notes.

TONE The legato setting of the tone assigned to the part will be used.

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.”

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

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.”

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

The tone assigned to the part will only play monophonically. The most recently played note will take priority.

The tone assigned to the part will only play monophonically. The highest note will take priority.

The tone assigned to the part will only play monophonically. The lowest note will take priority.

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

Parameter List

Parameter Value Explanation

Rx Filter1 tab

Receive Bender

Receive Polyphonic Key Pressure *6

Receive Channel Pressure *6

Receive Modulation (CC01) *6

Receive Expression (CC11)

Receive Hold-1 (CC64)

Rx Filter2 tab

Receive Breath Type (CC02) *8

Receive Foot Type (CC04) *8

Receive Portamento (CC05, CC65) *6

Receive Filter Oset (CC71, CC74)

Receive Envelope Oset (CC72, CC73, CC75)

Receive Reverb Send (CC91)

Receive Modify (CC16-19) *6

Receive Variation (CC80-83) *6

*2 This has no eect on the SuperNATURAL acoustic tones Concert Grand (0001)–Honky-tonk (0009) and TW Organ (0028). Also, the eect may be dicult to notice

for some SuperNATURAL acoustic tones.

*5 This has no eect if a manual percussion sound is assigned. Manual percussion is played using the leftmost fteen notes of the keyboard.

*6 This has no eect if a manual percussion or Drums/SFX sound is assigned.

*7 This has no eect on SuperNATURAL acoustic tones other than Vibraphone (0026), Marimba (0027), Timpani (0049), Steel Drums (0077), APS Vibraphone (0078), APS

Marimba (0079), APS Timpani (0094), and APS Steel Drums (0117).

*8 This has no eect if a SuperNATURAL synth tone, manual percussion, or Drums/SFX sound is assigned.

*9 This has no eect on the SuperNATURAL acoustic tones TW Organ (0028), Timpani (0049), and APS Timpani (0094).

OFF, ON

Species whether the part will receive messages of a specic MIDI part (ON) or will not receive them (OFF).

Parameter List

Registration Eects Routing Screen

Parameter Value Explanation

Reverb Switch OFF, ON Turns the reverb on/o for the solo and percussion parts.

Output Level Described in “Output Level” (p. 13) for the Registration PERC Part screen and Registration SOLO Part.

Reverb Send Level Described in “Reverb Send Level” (p. 13) for the Registration PERC Part screen and Registration SOLO Part screen.

Comp Switch

OFF, ON Turns each eect on/oEQ Switch

Delay Switch

Eects Reverb Send Level 0–127 Level of the signal sent from the eect to the reverb

Eects Output Level 0–127 Output level of the eect

Reverb Level 0–127 Output level of the reverb

SOLO EFFECTS, PERC EFFECTS

COMP tab

Comp Switch OFF, ON Compressor switch for the solo and percussion parts

Attack 0–127

Threshold 0–127 Adjusts the volume at which compression begins

Post Gain 0– +18dB Adjusts the output gain.

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Comp Level 0–127 Output Level

EQ tab

EQ Switch OFF, ON Equalizer switch for the solo and percussion parts

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid1 Freq 200–8000Hz Frequency of the middle range 1

Mid1 Gain -15– +15dB Gain of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

Mid2 Freq 200–8000Hz Frequency of the middle range 2

Mid2 Gain -15– +15dB Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

EQ Level 0–127 Output Level

DELAY tab

Delay Switch OFF, ON Delay switch for the solo and percussion parts

Delay Left

Delay Right

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback -98– +98%

HF Damp 200–8000Hz, BYPASS Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Low Gain -15– +15dB Gain of the low range

0–1300msec, note (p. 86)

Phase of the left delay sound

NORMAL Non-inverted

INVERSE Inverted

Phase of the right delay sound

NORMAL Non-inverted

INVERSE Inverted

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

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.

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 “43 : DELAY” (p. 63).

Adjusts the amount of the delay sound that’s fed back into the eect. (Negative values invert the phase.)

Registration

High Gain -15– +15dB Gain of the high range

Balance D100:0W–D0:100W Volume balance between the direct sound (D) and the delay sound (W )

Delay Level 0–127 Output Level

Reverb

For details on the reverb eect, refer to “Reverb Parameters” (p. 79).

Parameter List

Registration External Part Screen

Parameter Value Explanation

Ch1-8 tab, Ch9-16 tab

MIDI output settings

MIDI Out Setting

KBD (Keyboard Switch) OFF, ON MIDI channels that are turned on will be output.

MSB (External Bank Select MSB)

LSB (External Bank Select LSB)

PC (Program Change) 1–128, ---

OCT (Part Octave Shift) -3– +3 Species the pitch of each channel in steps of an octave.

Key Lo (Keyboard Range Lower) C-– (Key Up) Species the bottom key of the key range for each channel.

Key Up (Keyboard Range Upper) (Key Lo)–G9 Species the top key of the key range for each channel.

Velo Lo (Velocity Range Lower) 1– (Velo Up) Species the lower limit of the velocity range for each channel.

Velo Up (Velocity Range Upper) (Velo Lo)–127 Species the upper limit of the velocity range for each channel.

Level (External Level) 0–127, ---

Pan (External Pan) L64–0–63R, ---

INT (INTERNAL) MIDI output will occur according to the part settings.

EXT (EXTERNAL)

0–127, ---

MIDI output will occur according to the settings in the Registration External Part screen. This is convenient when using the JUPITER-80 as a master keyboard.

If you want a bank select number and program change number to be transmitted when you switch registrations, specify the desired values here. If you don’t want these to be transmitted, choose “---”.

If you want a volume message to be transmitted when you switch registrations, specify its value here. If you don’t want these to be transmitted, choose “---”.

If you want a pan message to be transmitted when you switch registrations, specify its value here. If you don’t want these to be transmitted, choose “---”.

Registration

Parameter List

Live Set Screen

Parameter Value Explanation

Volume of each layer. This setting’s main purpose is to adjust the volume balance between layer.

Level 0–127

Layer Switch OFF, ON Layer on/o setting

Tone Type

Tone Number 0001–

SuperNATURAL Acoustic, SuperNATURAL Synth

Selects the type of tone.

Selects the tone.

* The SuperNATURAL acoustic tone 0028:TW Organ can be assigned only to layer 1 of the upper part

Live Set

and lower part.

Parameter List

Live Set Common Screen

Parameter Value Explanation

General tab

Live Set Name - Name of the live set.

Common Level 0–127 Adjusts the overall volume of the live set.

No assign, Ac.Piano, Pop Piano, E.Grand Piano, E.Piano1, E.Piano2, E.Organ, Pipe Organ, Reed Organ, Harpsichord, Clav, Celesta, Accordion, Harmonica, Bell, Mallet, Ac.Guitar, E.Guitar, Dist.Guitar, Ac.Bass, E.Bass, Synth Bass, Plucked/Stroke, Solo Strings, Ensemble

LiveSet Category

Cuto *2 -64– +63 Species the cuto frequency for the entire live set.

Resonance *2 -64– +63 Species the resonance for the entire live set.

Phase Lock *3 OFF, ON

Strings, Orchestral, Solo Brass, Ensemble Brass, Wind, Flute, Sax, Recorder, Vox/Choir, Scat, Synth Lead, Synth Brass, Synth Pad/ Strings, Synth Bellpad, Synth PolyKey, Synth FX, Synth Seq/Pop, Phrase, Pulsating, Beat&Groove, Hit, Sound FX, Drums, Percussion, Stack, Zone, Distorted

Selects the category of the live set.

Turn this “ON” if you want to align the timing at which each layer produces sound. If this is “ON,” all layers will sound simultaneously when all are ready. This means that in some cases, it might take a moment from when the note message is received until the sound is heard. Turn this “ON” if necessary.

Live Set

*2 This has no eect on the SuperNATURAL acoustic tones Concert Grand (0001)–Honky-tonk (0009) and TW Organ (0028). Also, the eect may be dicult to notice

for some SuperNATURAL acoustic tones.

*3 This has no eect on the SuperNATURAL acoustic tone TW Organ (0028).

Parameter List

Live Set Layer Screen

Parameter Value Explanation

Level/Pan/Output tab

Sw (Layer Switch) OFF, ON Layer on/o setting

Level 0–127 Volume of each layer. This setting’s main purpose is to adjust the volume balance between layer.

Pan L64–0–63R Left/right position of each layer

Output Assign

Output Level 0–127 Level of the signal that is sent to the output destination specied by Output Assign

Keyboard tab

Level

Fade Lower

Range Lower

Fade Lower (Key Fade Lower) *3 0–127

Range Lower (Key Range Lower) C-– (Range Upper) Species the lowest note that the layer will sound for each layer.

Range Upper (Key Range Upper) (Range Lower)–G9 Species the highest note that the layer will sound for each layer.

Fade Upper (Key Fade Upper) *3 0–127

Eects Send tab

MFX1 Send (Layer MFX1 Send Level)

MFX2 Send (Layer MFX2 Send Level)

MFX3 Send (Layer MFX3 Send Level)

MFX4 Send (Layer MFX4 Send Level)

Reverb Send (Reverb Send Level) 0–127 Level of the signal sent from the layer to reverb

Pitch tab

Octave (Octave Shift) -3– +3 Pitch of the layer’s sound (in 1-octave units)

Coarse (Coarse Tune) -48– +48

Fine (Fine Tune) *3 -50– +50

Bend Range (Pitch Bend Range)

Porta SW (Portamento Switch) *9

PortaTime (Portamento Time) *9

MFX Output in stereo via the MFX.

L+R Output in stereo from the OUTPUT jacks without passing through MFX.

Pitch

Fade Upper

Range Upper

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

Determines what will happen to the layer’s level when a note that’s higher than Key Range Upper is played. If you don’t want the layer to sound at all, set this parameter to “0.”

0–127 Level of the signal sent from the layer to MFX 1–4

Pitch of the layer’s sound (in semitones, +/-4 octaves)

Pitch of the layer’s sound (in 1-cent steps; one cent is 1/100th of a semitone)

0–24

TONE The bend range setting specied by the tone will be used.

OFF Portamento will not be applied.

ON Portamento will be applied.

TONE The portamento switch setting of the tone assigned to the layer will be used.

0–127 Time over which the pitch change will occur when using portamento

TONE The portamento time setting of the tone assigned to the layer will be used.

Live Set

Parameter Value Explanation

21 3 4

Vibrato tab

Vib Rate (Vibrato Rate) *3 -64– +63 For each layer, adjust the vibrato speed

Vib Depth (Vibrato Depth) *3 -64– +63 For each layer, this adjusts the depth of the vibrato eect

Vib Delay (Vibrato Delay) *3 -64– +63 For each layer, this adjusts the time delay until the vibrato

Oset tab

Cuto (Cuto Oset) *2 -64– +63 Cuto frequency

Resonance (Resonance Oset) *2 -64– +63 Resonance

Attack Time (Attack Time Oset) *2 -64– +63 Amp/Filter Envelope of the layer Attack Time

Decay (Decay Time Oset) *7 -64– +63 Amp/Filter Envelope of the layer Release Time

Release (Release Time Oset) *2 -64– +63 Amp/Filter Envelope of the layer Decay Time

Velocity tab

Level

Velocity

Parameter List

Fade Lower

Range Lower

FadeLower (Velocity Fade Lower) *3 0–127

VeloLower (Velocity Range Lower) *3 1– (Upper) Species the lowest velocity at which the layer will sound.

VeloUpper (Velocity Range Upper) *3 (Lower)–127 Species the highest velocity at which the layer will sound.

FadeUpper (Velocity Fade Upper) *3 0–127

VeloSens (Velocity Sens Oset) *1 -63– +63 Adjusts the velocity sensitivity. The higher the value, the greater the sensitivity.

Curve (Velocity Curve Type) OFF, 1–4

Mono/Poly/Misc tab

MONO

POLY Chords can be played on the tone assigned to the layer.

Mono/Poly *3

TONE The mono/poly setting of the tone assigned to the layer will be used.

SOLO 1 The tone assigned to the layer will only play monophonically. The highest note will take priority.

SOLO 2 The tone assigned to the layer will only play monophonically. The lowest note will take priority.

Legato refers to playing smoothly without a perceptible break between notes.

Legato (Legato Switch) *1

LayerSection (Layer Section Switch) OFF, ON

VoiceRsv (Voice Reserve) 0–63, FULL

OFF Legato will not be applied to the layer.

ON Legato will be applied to the layer when you play single notes.

TONE The legato setting of the tone assigned to the layer will be used.

Range Upper

Fade Upper

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.”

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.”

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

The tone assigned to the layer will only play monophonically. The most recently played note will take priority.

If this is on, you’ll be able to play the layer as part of a Section. By assigning wind or string instruments to multiple layers, you can create the impression of a brass section or string section. For details on how this works, refer to “LayerSection examples” (p. 23). This parameter is valid for SuperNATURAL Acoustic wind instruments and string instruments (with the exception of some ethnic sounds).

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

It is not possible for the settings of all layers to total an amount greater than 64. The remaining number of available voices will be displayed at (rest=). Pay attention to this readout as you make Voice Reserve settings.

Parameter List

Parameter Value Explanation

Rx Filter1 tab

Bend (Receive Bender) *3

PAf (Receive Poly Key Press) *3

CAf (Receive Channel Press) *3

Mod (Receive Modulation: CC01) *3

Exp (Receive Expression: CC11) *3

Hold (Receive Hold-1: CC64) *3

Rx Filter2 tab

Breath (Receive Breath Type: CC02) *4

Foot (Receive Foot Type: CC04) *4

Porta (Receive Portamento: CC05, CC65) *3

Filter (Receive Filter Oset: CC71, CC74) *3

Env (Receive Envelope Oset: CC72, CC73, CC75) *3

Reverb (Receive Reverb Send: CC91)

Modify (Receive Modify: CC16-19)

Vari (Receive Variation: CC80-83)

*1 This has no eect on SuperNATURAL acoustic tones other than Concert Grand (0001) through Honky-tonk (0009).

*2 This has no eect on the SuperNATURAL acoustic tones Concert Grand (0001)–Honky-tonk (0009) and TW Organ (0028).

Also, the eect may be dicult to notice for some SuperNATURAL acoustic tones.

*3 This has no eect on the SuperNATURAL acoustic tone TW Organ (0028).

*4 This has no eect on the SuperNATURAL acoustic tone TW Organ (0028) or on SuperNATURAL synth tones.

*7 This has no eect on SuperNATURAL acoustic tones other than Vibraphone (0026), Marimba (0027), Timpani (0049), Steel Drums (0077), APS Vibraphone (0078), APS

Marimba (0079), APS Timpani (0094), and APS Steel Drums (0117).

*9 This has no eect on the SuperNATURAL acoustic tones TW Organ (0028), Timpani (0049), and APS Timpani (0094).

OFF, ON Turn reception of specic MIDI messages on/o for each layer

Parameter List

LayerSection examples

(LayerSection turned on for all layers)

Layer 1

When a single note is played

All instruments for which LayerSection is turned on will sound at the same pitch. Each instrument will be assigned to an appropriate octave.

Layer 2

Layer 4Layer 3

When multiple notes are played simultaneously

Each instrument will automatically be assigned to the appropriate one of the notes you played.

• Example: Two notes played simultaneously

• Example: Four notes played simultaneously

MEMO

• When you turn LayerSection on and play multiple notes simultaneously, the layers (sounds) will be assigned in the order of their layer number, starting with the high note.

• The “Coarse Tune” setting is used only if LayerSection is turned on and you’re playing a single note; it has no eect when you play multiple notes simultaneously (chords). For example, if you’re using brass section sounds, and want the trombone to sound one octave lower for single notes, but at the normal pitch for chords, set Coarse Tune to “-12.”

Parameter List

Live Set Eects Routing Screen

Parameter Value Explanation

Output Level 0–127 Level of the signal sent to the output destination specied by Output Assign

Output Assign

Layer MFX1 Send Level

Layer MFX2 Send Level

Layer MFX3 Send Level

Layer MFX4 Send Level

Reverb Send Level 0–127 Level of the signal sent from each layer to the reverb

MFX Sw OFF, ON Multi-eects on/o

Type 0–76

MFX Output Level 0–127 Volume of the sound that has been processed by the multi-eect

MFX Reverb Send Level 0–127 Amount of reverb applied to the sound that has been processed by the multi-eect

Reverb Sw OFF, ON Reverb on/o

Reverb Type

Reverb Level 0–127 Volume of the reverb sound

MFX Output in stereo via the MFX.

L+R Output in stereo from the OUTPUT jacks without passing through MFX.

0–127 Levels of the signals sent from each layer to MFX 1–4

Type of multi-eect to use (choose one of 76 types)

For details on each multi-eect, refer to “Multi-Eects Parameters (MFX)” (p. 42).

For details on how this reverb eect, refer to “Reverb Parameters” (p. 79).

00 (OFF) Reverb will not be used

01 (REVERB) Basic reverb

02 (SRV ROOM) Reverb that simulates the reverberation of a room

03 (SRV HALL) Reverb that simulates the reverberation of a hall

04 (SRV PLATE) Simulation of a plate echo (a reverb device that uses a metal plate)

05 (GM2 REVERB) GM2 reverb

Live Set

Parameter List

Live Set Tone Modify Screen (SuperNATURAL Acoustic Tones)

Changes in dynamics

You can produce changes in dynamics that are idiomatic to each specic instrument, shifting smoothly from subtle to powerful sounds in a natural way that goes beyond a mere change in volume.

* Dynamics can be controlled by Note-on Velocity, the Modulation controller (CC01), or Expression (CC11).

After playing a key, you can operate the Modulation controller (CC01) to continuously control the dynamics (percussion instruments, struck-string instruments, and plucked-string instruments are excepted).

Legato eect

With the exception of some sounds, legato playing (the technique of playing the next key before releasing the previous key) lets you play notes that are smoothly connected.

* To obtain a legato eect, set Mono/Poly (p. 21) to TONE or MONO.

Performance variation sounds

Musically appropriate performance variations are provided for each instrument, and you can use control changes (CC80–CC83) to instantly switch between these variations while you perform.

0001:Concert Grand–0009:Honky Tonk

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

Live Set

Parameter Value Explanation

String Resonance 0–127

Key O Resonance 0–127

Hammer Noise -2– +2

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

Nuance TYPE1, TYPE2, TYPE3

Tone Character -5– +5 Higher values produce a harder sound; lower values produce a more mellow sound.

When the keys are pressed on an acoustic piano, the strings for keys that are already 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 0008:Concert Mono.

0010:Pure Vintage EP1–0025:Clav CA Combo

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

Parameter Value Explanation

Key O Noise (CC16) -64– +63

Adjusts the amount of key-o noise. Higher settings will raise the volume. This has no eect for 0012:Pure Wurly.

Parameter List

0026:Vibraphone, 0027:Marimba, 0078:APS Vibraphone, 0079:APS Marimba

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 Mute (CC18) you can simulate the technique of using your hand or mallet to mute the vibration (sound). It is eective to assign this to the D Beam controller.

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. 32. Performance variation sounds

0028:TW Organ

0028:TW Organ can be assigned only to layer 1 of the upper part or lower part.

Parameter Value Explanation

Harmonic Bar tab

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 Level at which the signal of tonewheels unrelated to the pressed keys is mixed into the input

Percussion tab

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

Percussion 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

Percussion 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

Percussion Recharge Time 0–10

Percussion Harmonic Bar Level 0–127

Click Level tab

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

NORM

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

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.

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.

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

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 tonewheel 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.

Parameter List

0029:French Accordion, 0030:Italian Accordion, 0032:Bandoneon, 0080:APS Accordion, 0082:APS Bandoneon

These sounds let you produce distinctive volume changes, as if you were operating the bellows of the instrument. 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.

0031:Harmonica, 0081:APS 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.

0033:Nylon Guitar–0035:SteelStr Guitar, 0083:APS Nylon Guitar–0084:APS SteelStr Gt.

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

Parameter Value Explanation

Noise Level (CC16) -64– +63

Strum Speed (CC17) -64– +63

Strum Mode (CC19) OFF, ON

Variation Refer to p. 32. Performance variation sounds

Adjusts the volume of the string grazing or picking noise. This has no eect on the 0083:APS Nylon Guitar and 0084:APS SteelStr Gt.

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 use this with Hold turned on.

0036:Acoustic Bass–0041:Fretless Bass, 0085:APS Acoustic Bs.–0088:APS Fretless Bs.

By playing legato rapidly, you can simulate techniques that are distinctive of a bass, such as slides or hammering-on, depending on the speed at which you played the notes.

Parameter Value Explanation

Noise Level (CC16) -64– +63

Variation Refer to p. 32. Performance variation sounds

Adjusts the volume of the string grazing or picking noise. This has no eect on the 0085:APS Acoustic Bs. – 0088:APS Fretless Bs.

Parameter List

0042:Violin–0047:Contrabass, 0089:APS Violin–0092:APS Contrabass

If Porta SW (p. 20) is turned on, a portamento eect typical of a violin will be produced. Note ranges corresponding to open strings will produce an open-string sound without vibrato.

Parameter Value Explanation

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

Variation Refer to p. 32. Performance variation sounds

0048:Harp, 0093:APS 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 Mute (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

7th, Major, Minor,

Play Scale

Scale Key

Variation Refer to p. 32. Performance variation sounds

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

C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B

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.

0049:Timpani, 0094:APS Timpani

You can play a roll by operating the Modulation controller (CC01) while playing a note. You can use Mute (CC18) to simulate the muting technique of using your hand to press down on the timpani. It is eective to assign this to the D Beam controller.

Parameter Value Explanation

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

Variation Refer to p. 32. Performance variation sounds

0050:Strings, 0095:APS Strings

Parameter Value Explanation

Variation Refer to p. 32. Performance variation sounds

Parameter List

0051:Trumpet, 0052:Flugel Horn, 0056:Mute Trumpet, 0057:French Horn, 0096:APS Trumpet, 0098:APS Mute Trumpet, 0099:APS 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.

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

0053:Trombone–0055:Bass Trombone, 0097:APS Trombone

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

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.

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

0058:Soprano Sax–0061:Baritone Sax, 0100:APS Soprano Sax–0103:APS Baritone Sax

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.

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

Parameter List

0062:Oboe–0069:Flute 2, 0104:APS Oboe–0109:APS Flute

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.

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

0070:Pan Flute, 0110:APS Pan Flute

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. You can create a utter sound by using Flutter (CC81) to switch the variation. Strongly played notes will sound a phrase typical of pan utes.

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

0071:Shakuhachi, 0072:Ryuteki, 0111:APS Shakuhachi, 0112:APS Ryuteki

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

Parameter Value Explanation

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

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

Variation Refer to p. 32. Performance variation sounds

0073:Sitar, 0113:APS Sitar

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

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.

0074:Uilleann Pipes, 0114:APS UilleannPipe

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. 32. Performance variation sounds

0075:Erhu, 0115:APS Erhu

Turning the Portamento SW on will produce the smooth pitch change typical of this instrument. Note ranges corresponding to open strings will produce an open-string sound without vibrato.

Parameter Value Explanation

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

Variation Refer to p. 32. Performance variation sounds

Parameter List

0076:Sarangi, 0116:APS Sarangi

Turning the Portamento SW on will produce the smooth pitch change typical of this instrument. Note ranges corresponding to open strings will produce an open-string sound without vibrato. 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 Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

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.

0077:Steel Drums, 0117:APS 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 Mute (CC18) you can simulate the technique of using your hand or mallet to mute the vibration (sound). It is eective to assign this to the D Beam controller.

Parameter Value Explanation

Resonance Level (CC16) -64– +63 Adjusts the sympathetic resonance. Higher settings will increase the sympathetic resonance.

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

Variation Refer to p. 32. Performance variation sounds

Parameter List

Performance Variations for SuperNATURAL Acoustic Tones

SuperNATURAL Acoustic Tones

0001 Concert Grand - - - -

0002 Grand Piano1 - - - 0003 Grand Piano2 - - - 0004 Grand Piano3 - - - 0005 Mellow Piano - - - 0006 Bright Piano - - - 0007 Upright Piano - - - 0008 Concert Mono - - - 0009 Honky-tonk - - - 0010 Pure Vintage EP1 - - - 0011 Pure Vintage EP2 - - - 0012 Pure Wurly - - - 0013 Pure Vintage EP3 - - - 0014 Tined EP1 - - - 0015 Tined EP2 - - - 0016 Old Hammer EP - - - 0017 Dyno Piano - - - 0018 Clav CB Flat - - - 0019 Clav CA Flat - - - 0020 Clav CB Medium - - - 0021 Clav CA Medium - - - 0022 Clav CB Brillia - - - 0023 Clav CA Brillia - - - 0024 Clav CB Combo - - - 0025 Clav CA Combo - - - 0026 Vibraphone Dead Stroke Tremolo Sw - 0027 Marimba Dead Stroke - - 0028 TW Organ - - - 0029 French Accordion - - - 0030 ItalianAccordion - - - 0031 Harmonica - - - 0032 Bandoneon - - - 0033 Nylon Guitar Mute Harmonics - 0034 Flamenco Guitar Rasgueado Harmonics - 0035 SteelStr Guitar Mute Harmonics - 0036 Acoustic Bass Staccato Harmonics - 0037 Fingered Bass Slap Harmonics - 0038 Fingered Bass 2 Slap Harmonics - 0039 Picked Bass Bridge Mute Harmonics - 0040 Picked Bass 2 Bridge Mute Harmonics - 0041 Fretless Bass Staccato Harmonics - 0042 Violin Staccato Pizzicato Tremolo 0043 Violin 2 Staccato Pizzicato Tremolo 0044 Viola Staccato Pizzicato Tremolo 0045 Cello Staccato Pizzicato Tremolo 0046 Cello 2 Staccato Pizzicato Tremolo 0047 Contrabass Staccato Pizzicato Tremolo 0048 Harp Nail - - 0049 Timpani Flam Accent Roll - 0050 Strings Staccato Pizzicato Tremolo Fall 0051 Trumpet Staccato Fall - 0052 Frugal Horn Staccato Fall - 0053 Trombone Staccato Fall - 0054 Trombone 2 Staccato Fall - 0055 Bass Trombone Staccato Fall - 0056 Mute Trumpet Staccato Fall - 0057 French Horn Staccato - - 0058 Soprano Sax Staccato Fall - 0059 Alto Sax Staccato Fall - 0060 Tenor Sax Staccato Fall - -

1 2 3 4

Variation

SuperNATURAL Acoustic Tones

0061 Baritone Sax Staccato Fall - 0062 Oboe Staccato - - 0063 English Horn Staccato - - 0064 Bassoon Staccato - - 0065 Clarinet Staccato - - 0066 Bass Clarinet Staccato - - 0067 Piccolo Staccato - - 0068 Flute Staccato - - 0069 Flute2 Staccato - - 0070 Pan Flute Staccato Flutter - 0071 Shakuhachi Staccato Ornament - 0072 Ryuteki Staccato Ornament - 0073 Sitar - - - 0074 Uilleann Pipes - Ornament - 0075 Erhu Staccato Ornament - 0076 Sarangi - - - 0077 Steel Drums Mute - - 0078 APS Vibraphone Dead Stroke Tremolo Sw - 0079 APS Marimba Dead Stroke - - 0080 APS Accordion - - - 0081 APS Harmonica - - - 0082 APS Bandoneon - - - 0083 APS Nylon Guitar Mute Harmonics - 0084 APS SteelStr Gt. Mute Harmonics - 0085 APS Acoustic Bs. Staccato Harmonics - 0086 APS Fingered Bs. Slap Harmonics - 0087 APS Picked Bass Bridge Mute Harmonics - 0088 APS Fretless Bs. Staccato Harmonics - 0089 APS Violin Staccato Pizzicato Tremolo 0090 APS Viola Staccato Pizzicato Tremolo 0091 APS Cello Staccato Pizzicato Tremolo 0092 APS Contrabass Staccato Pizzicato Tremolo 0093 APS Harp Nail - - 0094 APS Timpani Flam Accent Roll - 0095 APS Strings Staccato Pizzicato Tremolo Fall 0096 APS Trumpet Staccato Fall - 0097 APS Trombone Staccato Fall - 0098 APS Mute Trumpet Staccato Fall - 0099 APS French Horn Staccato - - 0100 APS Soprano Sax Staccato Fall - 0101 APS Alto Sax Staccato Fall - 0102 APS Tenor Sax Staccato Fall - 0103 APS Baritone Sax Staccato Fall - 0104 APS Oboe Staccato - - 0105 APS English Horn Staccato - - 0106 APS Bassoon Staccato - - 0107 APS Clarinet Staccato - - 0108 APS Piccolo Staccato - - 0109 APS Flute Staccato - - 0110 APS Pan Flute Staccato Flutter - 0111 APS Shakuhachi Staccato Ornament - 0112 APS Ryuteki Staccato Ornament - 0113 APS Sitar - - - 0114 APS UilleannPipe - Ornament - 0115 APS Erhu Staccato Ornament - 0116 APS Sarangi - - - 0117 APS Steel Drums Mute - - -

1 2 3 4

Variation

Parameter List

Live Set Tone Modify Screen (SuperNATURAL Synth Tones)

Parameter Value Explanation

Pitch tab

Pitch Envelope

Depth -12– +12

Attack Time -63– +63

Decay Time -63– +63

FILTER tab

Filter

OFF No lter is used.

LPF

BPF

Mode

HPF

PKG

TONE The setting of the tone assigned to the layer will be used.

Cuto Frequency -63– +63

Cuto Keyfollow -200, -190, …, +190, +200

Resonance -63– +63

Filter Envelope

Depth -63– +63

Velocity Sens -63– +63

Attack Time -63– +63

Decay Time -63– +63

Sustain Level -63– +63

Release Time -63– +63

Adjusts the OSC Pitch Env Depth (p. 38) of the tone assigned to the layer. The nal value is the sum of this value and the OSC Pitch Env Depth.

Adjusts the OSC Pitch Env Attack Time (p. 38) of the tone assigned to the layer. The nal value is the sum of this value and the OSC Pitch Env Attack Time. Higher settings will result in a longer time until the next pitch is reached.

Adjusts the OSC Pitch Env Decay Time (p. 38) of the tone assigned to the layer. The nal value is the sum of this value and the OSC Pitch Env Decay Time. Higher settings will result in a longer time until the next pitch is reached.

Low Pass Filter This reduces the volume of all frequencies above the Cuto Frequency (p. 33) in order to round o, or un-brighten the sound.

Band Pass Filter This leaves only the frequencies in the region of the Cuto Frequency (p. 33), 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 (p. 33). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter This emphasizes the frequencies in the region of the Cuto Frequency (p. 33). You can use this to create wah-wah eects by employing an LFO to change the Cuto Frequency cyclically.

Adjusts the FILTER Cuto (p. 39) of the tone assigned to the layer. The nal value is the sum of the FILTER Cuto, the Live Set Common screen’s Cuto (p. 19), the Live Set Layer screen’s Cuto Oset (p. 21), and the value of this parameter.

Amount of change in the cuto frequency relative to the position of the key that you played The nal value is the sum of this value and the FILTER Cuto Keyfollow (p. 39).

Adjusts the FILTER Resonance (p. 39) of the tone assigned to the layer. The nal value is the sum of the FILTER Resonance, Live Set Common screen’s Resonance (p. 19), the Live Set Layer screen’s Resonance Oset (p. 21), and the value of this parameter.

Adjusts the FILTER Env Depth (p. 39) of the tone assigned to the layer. The nal value is the sum of this value and the FILTER Env Depth.

Adjusts the FILTER Env Velocity Sens (p. 39) of the tone assigned to the layer. The nal value is the sum of this value and the FILTER Env Velocity Sens.

Adjusts the FILTER Env Attack Time (p. 39) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Attack Time Oset (p. 21), the FILTER Env Attack Time, and the value of this parameter.

Adjusts the FILTER Env Decay Time (p. 39) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Decay Time Oset (p. 21), the FILTER Env Decay Time, and the value of this parameter.

Adjusts the FILTER Env Sustain Level (p. 39) of the tone assigned to the layer. The nal value is the sum of this value and the FILTER Env Sustain Level.

Adjusts the FILTER Env Release Time (p. 39) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Release Time Oset (p. 21), the FILTER Env Release Time, and the value of this parameter.

Live Set

Parameter List

Parameter Value Explanation

AMP tab

AMP Level

Velocity Sens -63– +63

Keyfollow

AMP Envelope

Attack Time -63– +63

Decay Time -63– +63

Sustain Level -63– +63

Release Time -63– +63

LFO tab

LFO

Shape

Rate

Key Trigger

LFO Depth

Pitch OFF, -63– +63

Filter OFF, -63– +63

AMP OFF, -63– +63

Pan OFF, -63– +63

-100, -90, …, +90, +100, TONE

Selects the LFO waveform. If anything other than TONE is selected, the LFO will be applied to the FILTER using the waveform selected for the tone’s LFO Shape (p. 40) plus the waveform selected here.

SIN

TRI

SAW-UP

SQR

RND Random wave

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

TONE The settings of the tone assigned to the layer will be used.

0–127 Modulation speed of the LFO

note (p. 86)

TONE The setting of the tone assigned to the layer will be used.

OFF, ON

TONE The setting of the tone assigned to the layer will be used.

Adjusts the AMP Level Velocity Sens (p. 39) of the tone assigned to the layer. The nal value is the sum of this value and the AMP Level Velocity Sens.

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. If this is set to TONE, the AMP Level Keyfollow (p. 39) setting of the tone assigned to the layer will be used.

Adjusts the AMP Env Attack Time (p. 40) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Attack Time Oset (p. 21), the AMP Env Attack Time, and the value of this parameter.

Adjusts the AMP Env Decay Time (p. 40) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Decay Time Oset (p. 21), the AMP Env Decay Time, and the value of this parameter.

Adjusts the AMP Env Sustain Level (p. 40) of the tone assigned to the layer. The nal value is the sum of this value and the AMP Env Sustain Level.

Adjusts the AMP Env Release Time (p. 40) of the tone assigned to the layer. The nal value is the sum of the Live Set Layer screen’s Release Time Oset (p. 21), the AMP Env Release Time, and the value of this parameter.

Sine wave

Triangle wave

Sawtooth wave

Square wave

If you want the LFO rate to be synchronized with the tempo, this should be set in terms of a note value.

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Depth of LFO applied to the pitch If this is OFF, the result will be the same as a setting of 0, regardless of the tone’s setting. The nal value is the sum of this value and the LFO Pitch Depth.

Depth of LFO applied to the cuto frequency If this is OFF, the result will be the same as a setting of 0, regardless of the tone’s setting. The nal value is the sum of this value and the LFO Filter Depth.

Depth of LFO applied to the volume If this is OFF, the result will be the same as a setting of 0, regardless of the tone’s setting. The nal value is the sum of this value and the LFO Amp Depth.

Depth of LFO applied to pan (stereo position) If this is OFF, the result will be the same as a setting of 0, regardless of the tone’s setting. The nal value is the sum of this value and the LFO Pan Depth.

Parameter Value Explanation

Modulation LFO tab

Modulation LFO

Selects the LFO waveform.

SIN

TRI

Shape

Rate

Key Trigger

Modulation LFO Depth

Pitch OFF, -63– +63

Filter OFF, -63– +63

AMP OFF, -63– +63

Pan OFF, -63– +63

Portamento/Misc tab

Portamento Mode

Modulation Limit 0–127

SAW-UP

SQR

RND Random wave

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

TONE The settings of the tone assigned to the layer will be used.

0–127 Modulation speed of the LFO

note (p. 86)

TONE The setting of the tone assigned to the layer will be used.

OFF, ON

TONE The setting of the tone assigned to the layer will be used.

NORMAL Portamento will always be applied.

LEGATO Portamento will be applied only when you play legato.

TONE The setting of the tone assigned to the layer will be used.

Sine wave

Triangle wave

Sawtooth wave

Square wave

If you want the LFO rate to be synchronized with the tempo, this should be set in terms of a note value.

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

Depth of LFO applied to the pitch When the modulation lever is in the center position, the LFO specied by Shape will be applied.

Depth of LFO applied to the cuto frequency When the modulation lever is in the center position, the LFO specied by Shape will be applied.

Depth of LFO applied to the volume When the modulation lever is in the center position, the LFO specied by Shape will be applied.

Depth of LFO applied to pan (stereo position) When the modulation lever is in the center position, the LFO specied by Shape will be applied.

You can change the depth of the Ring Modulator (p. 37) and Super Saw Detune (p. 38) of the tone assigned to the layer. Normally, you can leave this set at 100.

Parameter List

Time Interval Env Sens

Attack Time 0–127

Release Time 0–127

Envelope Loop

Shortens the FILTER and AMP Attack Time (p. 39) 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 (p. 39) 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.

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

Sustain

Loop Mode

Sync Note note (p. 86) Species the loop rate when Loop Mode is set to TEMPO-SYNC.

Portamento

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

Time Interval Sens 0–127

Attack

OFF The envelope will operate normally.

FREE-RUN

TEMPO-SYNC

Decay

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

Species the loop rate as a note value (p. 86) (Sync Note parameter). 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.

Shortens the Portamento Time (p. 41) 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.

Tone Blender Screen

Parameter Value Explanation

Level (Destination Level) 0–127

Pan (Destination Pan) L64–0–63R

Cuto (Destination Cuto) *2 -64– +63

Reso (Destination Resonance) *2 -64– +63

Attack (Destination Attack) *2 -64– +63

Decay (Destination Decay) *7 -64– +63

Release (Destination Release) *2 -64– +63

MFX1 (Destination MFX1 Send) 0–127

MFX2 (Destination MFX2 Send) 0–127

MFX3 (Destination MFX3 Send) 0–127

MFX4 (Destination MFX4 Send) 0–127

Rev (Destination Reverb Send) 0–127

Values of the layer’s parameters (destination values) produced when the Tone Blender Control (CC79) is at 127 (maximum).

Live Set

*2 This has no eect on the SuperNATURAL acoustic tones Concert Grand (0001)–Honky-tonk (0009) and TW Organ (0028). Also, the eect may be dicult to notice

for some SuperNATURAL acoustic tones.

*7 This has no eect on SuperNATURAL acoustic tones other than Vibraphone (0026), Marimba (0027), Timpani (0049), Steel Drums (0077), APS Vibraphone (0078), APS

Marimba (0079), APS Timpani (0094), and APS Steel Drums (0117).

Parameter List

Synth Tone Edit (PRO EDIT) Screen

Parameter Value Explanation

Partial 1-3 Switch OFF, ON Use these buttons to turn on the partial that you want to be heard.

Partial 1-3 Select OFF, ON Use these buttons to select the partial that you want to edit.

COMMON tab

Tone Name - Name of the tone.

Tone Category

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

Solo Strings, Ensemble Strings, Orchestral, Solo Brass, Ensemble Brass, Wind, Flute, Sax, Recorder, Vox/Choir, Scat, Synth Lead, Synth Brass, Synth Pad/ Strings, Synth Bellpad, Synth PolyKey, Synth FX, Synth Seq/Pop, Phrase, Pulsating, Beat&Groove, Hit, Sound FX, Drums, Percussion

Selects the tone’s category.

Turns ring modulator on/o.

Tone

RING Switch OFF, ON

Wave Shape 0–127

Analog Feel 0–127

Unison Switch OFF, ON

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.

Partial 1’s OSC

waveform

Partial 2’s OSC

waveform

Partial 1’s OSC

output waveform

The modulator LFO will always use the partial parameter settings, regardless of the LFO Shape, Rate, and Key Trigger settings of the Live Set Modify parameters. 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.

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.

Parameter List

Parameter Value Explanation

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

Example: If Unison Size is 8

Number of keys pressed Number of notes sounded

Unison Size 2, 4, 6, 8

OSC tab

SAW

SQR

PW-SQR

OSC Wave

OSC Wave Variation A, B, C

Wave Number 1–363

Wave Gain -6, 0, +6, +12

OSC Pulse Width Mod Depth 0–127

OSC Pulse Width 0–127

OSC Pulse Width Shift 0–127

Super Saw Detune 0–127

Pitch tab

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

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

OSC Pitch Env Attack Time 0–127

OSC Pitch Env Decay Time 0–127

OSC 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

TRI

SINE

NOISE

SUPER SAW (SP-SAW)

PCM This is a PCM waveform.

1 8

2 4 each

3–4 2 each

5–8 1 each

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 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 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.

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.

(PW-SQR), you can use this slider to specify the amount of LFO

(PW-SQR), you can use this slider to specify the width of the

Parameter Value Explanation

FILTER tab

FILTER Mode BYPASS, LPF, HPF, BPF, PKG Selects the type of lter.

FILTER Slope -12dB, -24dB This button selects the slope (steepness) of the lter.

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)

+100

Parameter List

High

FILTER Cuto Keyfollow -100– +100

-1

-2

+50

-50

-100

Value

Low

FILTER Env Velocity Sens -63– +63

C4C3C2 C5 C6

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

Key

FILTER Resonance 0–127 Resonance emphasizes the sound in the region of the lter cuto frequency.

This species the time from the

FILTER Env Attack Time 0–127

moment you press the key until the cuto frequency reaches its highest (or lowest) point.

This species the time from when the

FILTER Env Decay Time 0–127

FILTER Env Sustain Level 0–127

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.

Cuto frequency

Key-on

This species the time from when

FILTER Env Release Time 0–127

you release the key until the cuto frequency reaches its minimum value.

This species the direction and

FILTER Env Depth -63– +63

depth to which the cuto frequency will change.

Species the cuto frequency of an independent -6 dB high-pass lter.

Key-o

DEPTH

Time

HPF Cuto 0–127

-6dB HPF

BYPASS, LPF, HPF, BPF, PKG

AMP tab

AMP Level 0–127 Partial volume.

AMP Level Velocity Sens -63– +63

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

AMP Pan L64–64R Here’s how to change the stereo position of the partial.

AMP Level Keyfollow

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

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

Parameter List

Parameter Value Explanation

Species the attack time of the amp

AMP Env Attack Time 0–127

AMP Env Decay Time 0–127

AMP Env Sustain Level 0–127

AMP Env Release Time 0–127

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 Switch 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 note (p. 86) Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

SAW

SQR

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

RND Random wave

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.

Triangle wave

Sine wave

Sawtooth wave

Square wave

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

Cuto frequency

Key-on

Key-o

Time

LFO Fade Time 0–127

Fade Time

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).

Modulation LFO tab

Selects the 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

Modulation LFO Shape

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

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

Modulation LFO Tempo Sync Note note (p. 86) Species the LFO rate when Modulation LFO Tempo Sync Switch is ON.

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

SIN

SAW

SQR

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

RND Random wave

Triangle wave

Sine wave

Sawtooth wave

Square wave

Parameter List

Parameter Value Explanation

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

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

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

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

Modulation LFO Rate Control -63– +63

Mono/Porta tab

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

NORMAL Portamento will always be applied.

Portamento Mode

Aftertouch tab

Cuto Aftertouch Sens -63– +63

Level Aftertouch Sens -63– +63

LEGATO

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.

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.

Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

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.

Parameter List

Multi-Eects Parameters (MFX)

The multi-eects feature 76 types dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

FILTER (10 types)

01 EQUALIZER p. 44

02 SPECTRUM p. 44

03 ISOLATOR p. 44

04 LOW BOOST p. 44

05 SUPER FILTER p. 45

06 STEP FILTER p. 45

07 ENHANCER p. 46

08 AUTO WAH p. 46

09 HUMANIZER p. 47

10 SPEAKER SIMULATOR p. 47

MODULATION (12 types)

11 PHASER p. 48

12 STEP PHASER p. 48

13 MULTI STAGE PHASER p. 49

14 INFINITE PHASER p. 49

15 RING MODULATOR p. 50

16 STEP RING MODULATOR p. 50

17 TREMOLO p. 51

18 AUTO PAN p. 51

19 STEP PAN p. 52

20 SLICER p. 52

21 ROTARY p. 53

22 VK ROTARY p. 53

CHORUS (12 types)

23 CHORUS p. 54

24 FLANGER p. 54

25 STEP FLANGER p. 55

26 HEXA-CHORUS p. 55

27 TREMOLO CHORUS p. 56

28 SPACE-D p. 56

29 3D CHORUS p. 57

30 3D FLANGER p. 57

31 3D STEP FLANGER p. 58

32 2BAND CHORUS p. 58

33 2BAND FLANGER p. 59

34 2BAND STEP FLANGER p. 59

DYNAMICS (8 types)

35 OVERDRIVE p. 60

36 DISTORTION p. 60

37 VS OVERDRIVE p. 60

38 VS DISTORTION p. 60

39 GUITAR AMP SIMULATOR p. 61

40 COMPRESSOR p. 61

41 LIMITER p. 62

42 GATE p. 62

DELAY (13 types)

43 DELAY p. 63

44 LONG DELAY p. 63

45 SERIAL DELAY p. 64

46 MODULATION DELAY p. 64

47 3TAP PAN DELAY p. 65

48 4TAP PAN DELAY p. 65

49 MULTI TAP DELAY p. 66

50 REVERSE DELAY p. 66

51 SHUFFLE DELAY p. 67

52 3D DELAY p. 67

53 TIME CTRL DELAY p. 68

54 LONG TIME CTRL DELAY p. 68

55 TAPE ECHO p. 69

LO-FI (5 types)

56 LOFI NOISE p. 69

57 LOFI COMPRESS p. 70

58 LOFI RADIO p. 70

59 TELEPHONE p. 70

60 PHONOGRAPH p. 71

PITCH (3 types)

61 PITCH SHIFTER p. 71

62 2VOICE PITCH SHIFTER p. 72

63 STEP PITCH SHIFTER p. 72

COMBINATION (12 types)

OVERDRIVE ➝ CHORUS

OVERDRIVE ➝ FLANGER

OVERDRIVE ➝ DELAY

DISTORTION ➝ CHORUS

DISTORTION ➝ FLANGER

DISTORTION ➝ DELAY

ENHANCER ➝ CHORUS

ENHANCER ➝ FLANGER

ENHANCER ➝ DELAY

CHORUS ➝ DELAY

FLANGER ➝ DELAY

CHORUS ➝ FLANGER

PIANO (1 type)

76 SYMPATHETIC RESONANCE p. 78

p. 73

p. 74

p. 75

p. 76

p. 77

Parameters marked with a sharp “#” can be controlled using a MFX CONTROL (Two setting items will change simultaneously for “#1” and “#2”).

Parameter List

When Using 3D Eects

The following 3D eects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.

29: 3D CHORUS

30: 3D FLANGER

31: 3D STEP FLANGER

52: 3D DELAY

When using these eects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sucient distance from the walls on either side.

30˚ 30˚

If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D eect may not appear. Each of these eects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to “SPEAKER.” If the sound is to be heard through headphones, set it to “PHONES.” This will ensure that the optimal 3D eect will be heard. If this parameter is not set correctly, the full 3D eect may not appear.

About the STEP RESET function

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 1–4.

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. 44 and following

Use the controller that is assigned by the System Parameter setting Sys Ctrl 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.

06 : STEP FILTER

16 : STEP RING MODULATOR

19 : STEP PAN

20 : SLICER

63 : STEP PITCH SHIFTER

The above ve 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.

Parameter List

01 : EQUALIZER

This is a four-band stereo equalizer (low, mid x 2, high).

L in

R in

Parameter Value Explanation

Low Freq 200, 400Hz Frequency of the low range

Low Gain # -15– +15dB Gain of the low range

Mid1 Freq 200–8000Hz Frequency of the middle range 1

Mid1 Gain -15– +15dB Gain of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

Mid2 Freq 200–8000Hz Frequency of the middle range 2

Mid2 Gain -15– +15dB Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain # -15– +15dB Gain of the high range

Level # 0–127 Output Level

4-Band EQ

L out

R out

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.

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

Spectrum

L out

R out

03 : ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to add a special eect to the sound by cutting the volume in varying ranges.

L in

R in

Parameter Value Explanation

Boost/Cut Low #

Boost/Cut Mid #

Boost/Cut High #

Anti Phase Low Sw OFF, ON

Anti Phase Low Level 0–127

Anti Phase Mid Sw OFF, ON Settings of the Anti-Phase function

Anti Phase Mid Level 0–127

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output Level

Isolator

Low Boost

-60– +4dB

L out

R out

These boost and cut each of the High, Middle, and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Turns the Anti-Phase function on and o for the Low frequency ranges. When turned on, the counterchannel of stereo sound is inverted and added to the signal.

Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specic parts. (This is eective only for stereo source.)

for the Middle frequency ranges The parameters are the same as for the Low frequency ranges.

Turns Low Booster on/o. This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end.

* Depending on the Isolator and

lter settings this eect may be hard to distinguish.

Parameter Value Explanation

Band1 (250Hz)

Band2 (500Hz)

Band3 (1000Hz)

Band4 (1250Hz)

Band5 (2000Hz)

Band6 (3150Hz)

Band7 (4000Hz)

Band8 (8000Hz)

Q 0.5, 1.0, 2.0, 4.0, 8.0

Level # 0–127 Output Level

-15– +15dB Gain of each frequency band

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

04 : LOW BOOST

Boosts the volume of the lower range, creating powerful lows.

L in

R in

Low Boost

Parameter Value Explanation

Boost Frequency #

Boost Gain # 0– +12dB

Boost Width WIDE, MID, NARROW

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

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

Level 0–127 Output level

2-Band EQ

50–125Hz

L out

R out

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

Parameter List

SAW1 SAW2

05 : SUPER FILTER

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

L in

R in

Parameter Value Explanation

Filter Type

Filter Slope

Filter Cuto # 0–127

Filter Resonance #

Filter Gain 0– +12dB

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

Super Filter

Filter type

Frequency range that will pass through each lter

LPF Frequencies below the cuto

BPF

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12dB Gentle

-24dB Steep

-36dB Extremely steep

0–127

How the cuto frequency will be modulated

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

L out

R out

Frequencies in the region of the cuto

Frequencies other than the region of the cuto

Cuto frequency of the lter

Increasing this value will raise the cuto frequency.

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

Amount of boost for the lter output

06 : 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.

L in

R in

Parameter Value Explanation

Step 01-16 0–127 Cuto frequency at each step

Rate #

Attack # 0–127

Filter Type

Filter Slope

Filter Resonance #

Filter Gain 0– +12dB

Level 0–127 Output level

Step Filter

0.05–10.00Hz, note (p. 86)

Filter type

Frequency range that will pass through each lter

LPF Frequencies below the cuto

BPF

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12dB Gentle

-24dB Steep

-36dB Extremely steep

0–127

MEMO

You can use MFX CONTROL to make the step sequence play again from the beginning (p. 43).

L out

R out

Rate of modulation

Speed at which the cuto frequency changes between steps

Frequencies in the region of the cuto

Frequencies other than the region of the cuto

Filter resonance level

Increasing this value will emphasize the region near the cuto frequency.

Amount of boost for the lter output

Rate #

Depth 0–127 Depth of modulation

Attack # 0–127

Level 0–127 Output level

0.05–10.00Hz, note (p. 86)

Rate of modulation

Speed at which the cuto frequency will change

This is eective if Modulation Wave is SQR, SAW1, or SAW2.

Parameter List

07 : 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

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Enhancer

Mix

3-Band

Level of the overtones generated by the enhancer

Width of the middle range

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

L out

R out

08 : AUTO WAH

Cyclically controls a lter to create cyclic change in timbre.

L in

R in

Parameter Value Explanation

Filter Type

Manual # 0–127

Peak 0–127

Sens # 0–127

Polarity

Rate #

Depth # 0–127 Depth of modulation

Phase # 0–180deg

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Auto Wah

3-Band EQ

Type of lter

LPF

BPF

Sets the direction in which the frequency will change when the auto-wah lter is modulated.

DOWN

0.05–10.00Hz, note (p. 86)

L out

R out

The wah eect will be applied over a wide frequency range.

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.

The lter will change toward a higher frequency.

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.

Width of the middle range

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

Parameter List

L in

R in

L out

R out

09 : HUMANIZER

Adds a vowel character to the sound, making it similar to a human voice.

Overdrive

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 0–127

Manual #

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Pan # L64–63R Stereo location of the output

Level 0–127 Output Level

Formant

0.05–10.00Hz, note (p. 86)

Point at which Vowel 1/2 switch

0–49

51–100

3-Band

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

Vowel 1 will have a longer duration.

Vowel 1 and 2 will be of equal duration.

Vowel 2 will have a longer duration.

Width of the middle range

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

Pan L

Pan R

10 : SPEAKER SIMULATOR

Simulates the speaker type and microphone settings used to record the speaker sound.

L in

R in

Parameter Value Explanation

Speaker Type (See the table below.) Type of speaker

Mic Setting 1, 2, 3

Mic Level # 0–127 Volume of the microphone

Direct Level # 0–127 Volume of the direct sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

Speaker 3-Band EQ

Speaker

3-Band EQ

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

L out

R out

Adjusts the location of the microphone that is recording the sound of the speaker. This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Width of the middle range

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

Parameter List

11 : PHASER

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

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

Mix # 0–127 Level of the phase-shifted sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Phaser

Mix

Phaser

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00Hz, note (p. 86)

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

-98– +98%

3-Band

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

The left and right phase will be opposite. When using a mono source, this spreads the sound.

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 values invert the phase.)

Width of the middle range

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

L out

R out

12 : STEP PHASER

This is a stereo 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

Step Rate #

Mix # 0–127 Level of the phase-shifted sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Step Phaser

Mix

Step Phaser

4-STAGE, 8-STAGE, 12-STAGE

0.05–10.00Hz, note (p. 86)

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

-98– +98%

0.10–20.00Hz, note (p. 86)

3-Band

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

The left and right phase will be opposite. When using a mono source, this spreads the sound.

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 values invert the phase.)

Rate of the step-wise change in the phaser eect

Width of the middle range

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

L out

R out

Parameter List

Resonance

L in

L out

L in

L out

R out

13 : MULTI STAGE PHASER

Extremely high settings of the phase dierence produce a deep phaser eect.

Multi Stage

Phaser

Mix

3-Band

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

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

0.05–10.00Hz, note (p. 86)

Number of phaser stages

Adjusts the basic frequency from which the sound will be modulated.

Frequency of modulation

Stereo location of the output sound

Width of the middle range

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

Pan L

Pan R

R out

14 : INFINITE PHASER

A phaser that continues raising/lowering the frequency at which the sound is modulated.

Infinite Phaser 3-Band EQ

R in

Parameter Value Explanation

Mode 1, 2, 3, 4

Speed # -100– +100

Resonance # 0–127 Amount of feedback

Mix # 0–127

Pan # L64–63R Panning of the output sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

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)

Volume of the phase-shifted sound

Width of the middle range

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

Pan L

Pan R

Parameter List

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

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

Ring Mod

3-Band EQ

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.

UP Higher frequencies

DOWN Lower frequencies

L out

R out

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

16 : STEP RING MODULATOR

This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied.

L in

Step Ring Mod

R in

Step Ring Mod

Parameter Value Explanation

Step 01-16 0–127

Rate #

Attack # 0–127

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0.05–10.00Hz, note (p. 86)

3-Band EQ

MEMO

You can use MFX CONTROL to make the step sequence play again from the beginning (p. 43).

L out

R out

Frequency of ring modulation at each step

Rate at which the 16-step sequence will cycle

Speed at which the modulation frequency changes between steps

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

Parameter List

SAW1 SAW2

17 : 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

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Tremolo

3-Band EQ

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1/2 Sawtooth wave

0.05–10.00Hz, note (p. 86)

L out

R out

Frequency to which the eect is applied

Depth to which the eect is applied

Width of the middle range

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

18 : AUTO PAN

Cyclically modulates the stereo location of the sound.

L in

R in

Parameter Value Explanation

Mod Wave

Rate #

Depth # 0–127

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Auto Pan

3-Band EQ

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1/2 Sawtooth wave

0.05–10.00Hz, note (p. 86)

L out

R out

Frequency to which the eect is applied

Depth to which the eect is applied

Width of the middle range

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

Parameter List

19 : STEP PAN

This uses a 16-step sequence to vary the panning of the sound.

L in

R in

Parameter Value Explanation

Step 01-16 L64–63R Pan at each step

Rate #

Attack # 0–127

Input Sync Sw OFF, ON

Input Sync Threshold 0–127

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Step Pan

3-Band EQ

0.05–10.00Hz, note (p. 86)

MEMO

You can use MFX CONTROL to make the step sequence play again from the beginning (p. 43).

L out

R out

Rate at which the 16-step sequence will cycle

Speed at which the pan 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

Width of the middle range

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

20 : 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 sustain-type sounds.

L in

R in

Parameter Value Explanation

Step 01-16 0–127 Level at each step

Rate #

Attack # 0–127

Input Sync Sw OFF, ON

Input Sync Threshold 0–127

Mode

Shue # 0–127

Level 0–127 Output Level

Slicer

0.05–10.00Hz, note (p. 86)

Sets the manner in which the volume changes as one step progresses to the next.

LEGATO

SLASH

L out

R out

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

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.

The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

Timing of volume changes in levels for even-numbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses.

MEMO

You can use MFX CONTROL to make the step sequence play again from the beginning (p. 43).

Parameter List

21 : ROTARY

The Rotary eect simulates the sound of the rotary speakers often used with the electric organs of the past.

Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This eect is most suitable for electric organ Tones.

L in

Rotary

R in

Parameter Value Explanation

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

Speed #

Woofer Slow Speed 0.05–10.00Hz

Woofer Fast Speed 0.05–10.00Hz

Woofer Acceleration 0–15

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed 0.05–10.00Hz

Tweeter Fast Speed 0.05–10.00Hz

Tweeter Acceleration 0–15

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

SLOW

FAST

3-Band EQ

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

Width of the middle range

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

L out

R out

22 : VK ROTARY

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

Rotational speed of the rotating speaker

Speed #

Brake # OFF, ON

Woofer Slow Speed 0.05–10.00Hz

Woofer Fast Speed 0.05–10.00Hz

Woofer Trans Up 0–127

Woofer Trans Down 0–127

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed 0.05–10.00Hz

Tweeter Fast Speed 0.05–10.00Hz

Tweeter Trans Up 0–127

Tweeter Trans Down 0–127

Tweeter Level 0–127

Spread 0–10

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

SLOW Slow

FAST Fast

2-Band EQ

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

Parameter List

Balance D

23 : CHORUS

This is a stereo chorus. A lter is provided so that you can adjust the timbre of the chorus sound.

L in

Chorus

R in

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

3-Band

Balance W

3-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the chorus sound is heard.

Frequency of modulation

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

24 : 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

Flanger

Feedback Feedback

Flanger

R in

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

Feedback # -98– +98%

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

3-Band

Balance W

3-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

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 values invert the phase.)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

25 : 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

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

Feedback # -98– +98%

Step Rate #

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

0.10–20.00Hz, note (p. 86)

3-Band

Balance W

3-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

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 values invert the phase.)

Rate (period) of pitch change

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

26 : 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

Hexa Chorus

R in

Parameter Value Explanation

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Pre Delay Deviation 0–20

Depth Deviation -20– +20

Pan Deviation

Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Balance D

0.05–10.00Hz, note (p. 86)

0–20

3-Band EQ

Balance W

3-Band EQ

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.

All chorus sounds will be in the center.

Each chorus sound will be spaced at 60 degree intervals relative to the center.

Volume balance between the direct sound (D) and the eect sound (W)

Width of the middle range

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

L out

R out

Parameter List

Balance D

27 : 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 0.0–100msec

Chorus Rate #

Chorus Depth 0–127

Tremolo Rate #

Tremolo Separation 0–127 Spread of the tremolo eect

Tremolo Phase 0–180deg Spread of the tremolo eect

Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Balance D

0.05–10.00Hz, note (p. 86)

3-Band EQ

Balance W

3-Band EQ

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

Modulation frequency of the tremolo eect

Volume balance between the direct sound (D) and the eect sound (W)

Width of the middle range

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

L out

R out

28 : 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

Space D

R in

Parameter Value Explanation

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0.05–10.00Hz, note (p. 86)

3-Band

Balance W

3-Band

Adjusts the delay time from the direct sound until the chorus sound is heard.

Frequency of modulation

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

29 : 3D CHORUS

This applies a 3D eect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.

3D Chorus

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127

Phase 0–180deg Spatial spread of the chorus sound

Output Mode

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

2-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the chorus sound is heard.

Frequency of modulation

Modulation depth of the chorus eect

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

30 : 3D FLANGER

This applies a 3D eect to the anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

3D Flanger

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the anger sound

Feedback # -98– +98%

Output Mode

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

2-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

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 values invert the phase.)

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

R in

R out

L in

L out

31 : 3D STEP FLANGER

This applies a 3D eect to the step anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

3D Step Flanger

Parameter Value Explanation

Type of lter

OFF No lter is used

Filter Type

Cuto Freq 200–8000Hz

Pre Delay 0.0–100msec

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

Feedback # -98– +98%

Step Rate #

Output Mode

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

0.05–10.00Hz, note (p. 86)

0.10–20.00Hz, note (p. 86)

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

2-Band

Cuts the frequency range above the Cuto Freq

Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

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 values invert the phase.)

Rate (period) of pitch change

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

32 : 2 BAND CHORUS

A chorus eect that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Chorus

Split

Low Band Chorus

High Band Chorus

Split

Low Band Chorus

Parameter Value Explanation

Split Freq 200–8000Hz

Low Pre Delay 0.0–100msec

Low Rate #

Low Depth 0–127

Low Phase 0–180deg

High Pre Delay 0.0–100msec

High Rate #

High Depth 0–127

High Phase 0–180deg

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0.05–10.00Hz, note (p. 86)

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range chorus sound is heard

Rate at which the low-range chorus sound is modulated

Modulation depth for the low-range chorus sound

Spaciousness of the low-range chorus sound

Delay time from when the original sound is heard to when the high-range chorus sound is heard

Rate at which the low-range chorus sound is modulated

Modulation depth for the high-range chorus sound

Spaciousness of the high-range chorus sound

Volume balance between the direct sound (D) and the eect sound (W)

Parameter List

R in

R out

L in

L out

R in

R out

L in

L out

33 : 2 BAND FLANGER

A anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Flanger

Split

Parameter Value Explanation

Split Freq 200–8000Hz

Low Pre Delay 0.0–100msec

Low Rate #

Low Depth 0–127

Low Phase 0–180deg

Low Feedback # -98– +98%

High Pre Delay 0.0–100msec

High Rate #

High Depth 0–127

High Phase 0–180deg

High Feedback # -98– +98%

Balance # D100:0W–D0:100W

Level 0–127 Output Level

High Band Feedback

Low Band Flanger

Low Band Feedback

High Band Feedback

High Band Flanger

Low Band Feedback

Low Band Flanger

0.05–10.00Hz, note (p. 86)

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Spaciousness of the low-range anger sound

Proportion of the low-range anger sound that is to be returned to the input (negative values invert the phase)

Delay time from when the original sound is heard to when the high-range anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Spaciousness of the high-range anger sound

Proportion of the high-range anger sound that is to be returned to the input (negative values invert the phase)

Volume balance between the direct sound (D) and the eect sound (W)

34 : 2 BAND STEP FLANGER

A step anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Step Flanger

Split

Parameter Value Explanation

Split Freq 200–8000Hz

Low Pre Delay 0.0–100msec

Low Rate #

Low Depth 0–127

Low Phase 0–180deg

Low Feedback # -98– +98%

Low Step Rate #

High Pre Delay 0.0–100msec

High Rate #

High Depth 0–127

High Phase 0–180deg

High Feedback # -98– +98%

High Step Rate #

Balance # D100:0W–D0:100W

Level 0–127 Output Level

High Band Feedback

Low Band Step Flanger

Low Band Feedback

High Band Feedback

High Band Step Flanger

Low Band Feedback

Low Band Step Flanger

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

0.05–10.00Hz, note (p. 86)

0.10–20.00Hz, note (p. 86)

0.05–10.00Hz, note (p. 86)

0.10–20.00Hz, note (p. 86)

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Spaciousness of the low-range anger sound

Proportion of the low-range anger sound that is to be returned to the input (negative values invert the phase)

Rate at which the steps will cycle for the low-range anger sound

Delay time from when the original sound is heard to when the high-range anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Spaciousness of the high-range anger sound

Proportion of the high-range anger sound that is to be returned to the input (negative values invert the phase)

Rate at which the steps will cycle for the high-range anger sound

Volume balance between the direct sound (D) and the eect sound (W)

Parameter List

L in

R in

L out

R out

L in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

35 : OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube ampliers.

Over drive

Parameter Value Explanation

Drive # 0–127

Amp Type

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Pan # L64–63R

Level 0–127 Output Level

Amp

Simulator

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

3-Band

Degree of distortion

Also changes the volume.

Width of the middle range

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

Stereo location of the output sound

Pan L

Pan R

36 : DISTORTION

Produces a more intense distortion than Overdrive. The parameters are the same as for “35: OVERDRIVE.”

Pan L

Pan R

R in

Distortion

Amp

Simulator

3-Band

37 : VS OVERDRIVE

This is an overdrive that provides heavy distortion.

Overdrive

Parameter Value Explanation

Drive # 0–127

Tone # 0–127

Amp Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Pan # L64–63R

Level 0–127 Output Level

Amp

Simulator

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

3-Band

Degree of distortion

Also changes the volume.

Sound quality of the Overdrive eect

Width of the middle range

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

Stereo location of the output sound

Pan L

Pan R

38 : VS DISTORTION

This is a distortion eect that provides heavy distortion. The parameters are the same as for “37: VS OVERDRIVE.”

Distortion

Amp

Simulator

3-Band

Pan L

Pan R

Parameter List

L in

R in

L out

R out

39 : GUITAR AMP SIMULATOR

This is an eect that simulates the sound of a guitar amplier.

Pre Amp

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I,

Pre Amp Type

Pre Amp Volume # 0–127

Pre Amp Master # 0–127 Volume of the entire pre-amp

Pre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortion

Pre Amp Bass

Pre Amp Middle

Pre Amp Treble

Pre Amp Presence 0–127

Pre Amp Bright OFF, ON

Speaker Sw OFF, ON

Speaker Type (See the table below.) Type of speaker

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

Level # 0–127 Output Level

MS1959II, MS1959I+II, SLDN LEAD, METAL 5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

0–127

Speaker

Type of guitar amp

Volume and amount of distortion of the amp

Tone of the bass/mid/treble frequency range

Middle cannot be set if “MATCH DRIVE” is selected as the Pre Amp Type.

Tone for the ultra-high frequency range

Turning this “On” produces a sharper and brighter sound. This parameter applies to the “JC-120,” “CLEAN TWIN,” and “BG LEAD” Pre Amp Types.

Determines whether the signal passes through the speaker (ON), or not (OFF).

Adjusts the location of the 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.

Stereo location of the output sound

Pan L

Pan R

Specications for 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 2

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

Small open-back enclosure

10 Dynamic

40 : COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

L in

Compressor

R in

Compressor

Parameter Value Explanation

Attack # 0–127

Threshold # 0–127

Post Gain 0– +18dB Adjusts the output gain.

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

3-Band EQ

L out

R out

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

Adjusts the volume at which compression begins

Width of the middle range

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

Parameter List

41 : 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 1.5:1, 2:1, 4:1, 100:1 Compression ratio

Post Gain 0– +18dB Adjusts the output gain.

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

Limiter

3-Band EQ

L out

R out

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

Width of the middle range

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

42 : 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cial-sounding decrease in the reverb’s decay.

L in

R in

Parameter Value Explanation

Threshold # 0–127

Mode

Attack 0–127

Hold 0–127

Release 0–127

Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Gate

3-Band EQ

Type of gate

GATE

DUCK

L out

R out

Volume level at which the gate begins to close

The gate will close when the volume of the original sound decreases, cutting the original sound.

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)

Width of the middle range

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

Parameter List

Balance D

43 : 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 200–8000Hz, BYPASS

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

Phase of the left delay sound

NORMAL Non-inverted

INVERSE Inverted

Phase of the right delay sound

NORMAL Non-inverted

INVERSE Inverted

3-Band

Balance W

3-Band

Balance W

3-Band

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

L out

R out

44 : LONG DELAY

A delay that provides a long delay time.

L in

Long Delay

R in

Parameter Value Explanation

Delay Time

Phase NORMAL, INVERSE

Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Pan # L64–63R Panning of the delay sound

Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Feedback

0–2600msec, note (p. 86)

3-Band

Pan L

Pan R

3-Band

Delay time from when the original sound is heard to when the delay sound is heard

Phase of the delay (NORMAL: non-inverted, INVERT: inverted)

Proportion of the delay sound that is to be returned to the input (negative values invert the phase)

Frequency at which the high frequency content of the delayed sound will be cut (BYPASS: no cut)

Volume balance between the direct sound (D) and the eect sound (W)

Width of the middle range

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

L out

R out

Parameter List

Balance D

45 : SERIAL DELAY

This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds.

Pan L

Pan R

3-Band

L out

R out

L in

Delay 1

Feedback 1

R in

Parameter Value Explanation

Delay 1 Time

Delay 1 Feedback # -98– +98%

Delay 1 HF Damp 200–8000Hz, BYPASS

Delay 2 Time

Delay 2 Feedback # -98– +98%

Delay 2 HF Damp 200–8000Hz, BYPASS

Pan # L64–63R Panning of the delay sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

Delay 2

Feedback 2

Delay time from when sound is input to delay 1 until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of delay 1 (negative values invert the phase)

Frequency at which the high-frequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut)

Delay time from when sound is input to delay 2 until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of delay 2 (negative values invert the phase)

Frequency at which the high-frequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

46 : 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 200–8000Hz, BYPASS

Rate #

Depth 0–127 Depth of modulation

Phase 0–180deg Spatial spread of the sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

0.05–10.00Hz, note (p. 86)

3-Band

Balance W

3-Band

Balance W

3-Band

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Frequency of modulation

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

47 : 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 # -98– +98%

HF Damp 200–8000Hz, BYPASS

Left/Right/Center Level

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–2600msec, note (p. 86)

0–127 Volume of each delay

3-Band

Balance W

3-Band

Adjusts the time from the original sound until the left, right, and center delayed sounds are heard

Adjusts the amount of the delay sound that’s fed back into the eect. (Negative values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

48 : 4TAP PAN DELAY

This eect has four delays.

L in

Feedback

R in

2 3

Parameter Value Explanation

Delay 1-4 Time

Delay 1 Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Delay 1-4 Level 0–127 Volume of each delay

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

Delay 1

Quadruple

Tap Delay

Delay 4

0–2600msec, note (p. 86)

Delay 2

Delay 3

Balance D

Stereo location of each delay

3-Band

Balance W

3-Band

Adjusts the time from the original sound until delay sounds 1–4 are heard

Adjusts the amount of the delay sound that’s fed back into the eect. (Negative values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

49 : 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

Delay 1 Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Delay 1-4 Pan L64–63R Stereo location of Delays 1–4

Delay 1-4 Level 0–127 Output level of Delays 1–4

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–2600msec, note (p. 86)

3-Band

Balance W

3-Band

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

50 : 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 Time

Rev Delay Feedback # -98– +98%

Rev Delay HF Damp 200–8000Hz, BYPASS

Rev Delay Pan L64–63R

Rev Delay Level 0–127 Volume of the reverse delay sound

Delay 1 - 3 Time

Delay 3 Feedback # -98– +98%

Delay HF Damp 200–8000Hz, BYPASS

Delay 1 Pan, Delay 2 Pan

Delay 1 Level, Delay 2 Level

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

L64–63R Panning of the tap delay sounds

0–127 Volume of the tap delay sounds

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)

Panning of the reverse delay sound

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 hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)

Volume balance between the direct sound (D) and the eect sound (W)

2-Band

L out

R out

Parameter List

51 : SHUFFLE DELAY

Adds a shue to the delay sound, giving the sound a bouncy delay eect with a swing feel.

L in

Feedback

Delay A

Delay

Delay B

R in

Parameter Value Explanation

Delay Time #

Shue Rate # 0–100

Acceleration 0–15

Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Pan A/B L64–63R Stereo location of Delay A/B

Level A/B 0–127 Volume of delay A/B

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–2600msec, note (p. 86)

Adjusts the time until the delay sound is heard.

Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds. When set to 100, the delay times are the same.

Adjusts the speed which the Delay Time changes from the current setting to its specied new setting.

Adjusts the amount of the delay that’s feedback into the eect. (Negative values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

3-Band

L out

R out

52 : 3D DELAY

This applies a 3D eect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.

3D Delay L

Level

2-Band

3D Delay C

Feedback

3D Delay R

Parameter Value Explanation

Delay Left

Delay Right

Delay Center

Center Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Left Level

Right Level

Center Level

Output Mode

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–2600msec, note (p. 86)

0–127

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

2-Band

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect will be cut. (BYPASS: no cut)

Output level of the center/left/ right delay sound

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

53 : 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

Parameter Value Explanation

Delay Time #

Acceleration 0–15

Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

3-Band EQ

Pan L

Pan R

3-Band EQ

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

54 : LONG TIME CTRL DELAY

A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced.

L in

Balance D

Time Control Delay

R in

Parameter Value Explanation

Delay Time #

Acceleration 0–15

Feedback # -98– +98%

HF Damp 200–8000Hz, BYPASS

Pan # L64–63R Stereo location of the delay

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

Feedback

0–2600msec, note (p. 86)

3-Band

Balance W

3-Band

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect is ltered out. (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

55 : TAPE ECHO

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

L in

Direct Level

Tape Echo

R in

Parameter Value Explanation

Mode

Repeat Rate # 0–127

Intensity # 0–127 Amount of delay repeats

Bass -15– +15dB

Treble -15– +15dB

Head S Pan

Head M Pan

Head L Pan

Tape Distortion 0–5

Wow/Flutter Rate 0–127

Wow/Flutter Depth 0–127 Depth of wow/utter

Echo Level # 0–127 Volume of the echo sound

Direct Level # 0–127 Volume of the original sound

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Direct Level

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

L64–63R

3-Band EQ

Echo Level

3-Band EQ

Combination of playback heads to use

Select from three dierent heads with dierent delay times. S: short M: middle L: long

Tape speed

Increasing this value will shorten the spacing of the delayed sounds.

Boost/cut for the lower range of the echo sound

Boost/cut for the upper range of the echo sound

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/utter (complex variation in pitch caused by tape wear and rotational irregularity)

Width of the middle range

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

L out

R out

56 : LOFI NOISE

In addition to a lo- eect, this adds various types of noise such as white noise and disc noise.

L in

Lo-Fi

Noise Gen.

Lo-Fi

R in

Parameter Value Explanation

LoFi Type 1–9

Type of lter that follows the LoFi eect

OFF No lter is used

Post Filter Type

Post Filter Cuto 200–8000Hz Center frequency of the lter

W/P Noise Type WHITE, PINK

W/P Noise LPF 200–8000Hz, BYPASS

W/P Noise Level # 0–127 Volume of the white/pink noise

Disc Noise Type LP, EP, SP, RND

Disc Noise LPF 200–8000Hz, BYPASS

Disc Noise Level # 0–127 Volume of the record noise

Hum Noise Type 50Hz, 60Hz Frequency of the hum noise

Hum Noise LPF 200–8000Hz, BYPASS

Hum Noise Level # 0–127 Volume of the hum noise

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

3-Band

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Cuts the frequency range above the Cuto.

Cuts the frequency range below the Cuto.

Switch between white noise and pink noise.

Center frequency of the low pass lter applied to the white/pink noise (BYPASS: no cut)

Type of record noise

The frequency at which the noise is heard depends on the selected type.

Adjusts the cuto frequency of the low pass lter applied to the record noise. (BYPASS: no cut)

Center frequency of the low pass lter applied to the hum noise (BYPASS: no cut)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

57 : LOFI COMPRESS

This is an eect that intentionally degrades the sound quality for creative purposes.

L in

R in

Compressor

Parameter Value Explanation

Selects the type of lter applied to the sound before it

Pre Filter Type

LoFi Type 1–9

Post Filter Type

Post Filter Cuto 200–8000Hz Basic frequency of the Post Filter

Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level # 0–127 Output Level

passes through the Lo-Fi eect.

1 Compressor o

2–6 Compressor on

Type of lter that follows the LoFi eect

OFF No lter is used

LPF

HPF

Lo-Fi

3-Band

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Cuts the frequency range above the Cuto

Cuts the frequency range below the Cuto

Volume balance between the direct sound (D) and the eect sound (W)

Width of the middle range

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

L out

R out

58 : LOFI RADIO

In addition to a Lo-Fi eect, this eect also generates radio noise.

L in

Lo-Fi

Radio

Lo-Fi

R in

Parameter Value Explanation

LoFi Type 1–9

Type of lter that follows the LoFi eect

OFF No lter is used

Post Filter Type

Post Filter Cuto 200–8000Hz Basic frequency of the Post Filter

Radio Detune # 0–127

Radio Noise Level # 0–127 Volume of the radio noise

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

LPF

HPF

3-Band

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Cuts the frequency range above the Cuto.

Cuts the frequency range below the Cuto.

Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

59 : TELEPHONE

This eect produces a mued sound, like that heard through a telephone.

L in

R in

Parameter Value Explanation

Voice Quality # 0–15

Treble -15– +15dB Bandwidth of the telephone voice

Balance # D100:0W–D0:100W

Level 0–127 Output Level

Telephone

L out

R out

Audio quality of the telephone voice

Volume balance between the direct sound (D) and the eect sound (W)

Parameter List

Balance D

60 : PHONOGRAPH

Simulates a sound recorded on an analog record and played back on a record player. This eect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable.

L in

Phonograph

Balance W

R in

Parameter Value Explanation

Signal Distortion 0–127 Depth of distortion

Frequency Range 0–127

Disc Type LP, EP, SP

Scratch Noise Level 0–127

Dust Noise Level 0–127

Hiss Noise Level 0–127 Volume of continuous “hiss”

Total Noise Level # 0–127 Volume of overall noise

Wow 0–127

Flutter 0–127

Random 0–127

Total Wow/Flutter # 0–127

Balance # D100:0W–D0:100W

Level 0–127 Output Level

L out

R out

Frequency response of the playback system

Decreasing this value will produce the impression of an old system with a poor frequency response.

Rotational speed of the turntable This will aect the frequency of the scratch noise.

Amount of noise due to scratches on the record

Volume of noise due to dust on the record

Depth of long-cycle rotational irregularity

Depth of short-cycle rotational irregularity

Depth of indenite-cycle rotational irregularity

Depth of overall rotational irregularity

Volume balance between the direct sound (D) and the eect sound (W)

61 : PITCH SHIFTER

A stereo pitch shifter.

L in

3-Band EQ

Pitch Shifter

R in

Parameter Value Explanation

Coarse #1 -24– +12semi

Fine #1 -100– +100cent

Delay Time

Feedback # -98– +98%

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0–1300msec, note (p. 86)

3-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 values invert the phase.)

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

62 : 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– +12semi

Pitch1 Fine #1 -100– +100cent

Pitch1 Delay

Pitch1 Feedback # -98– +98%

Pitch1 Pan # L64–63R

Pitch1 Level 0–127 Volume of the Pitch Shift1 sound

Pitch2 Coarse #2 -24– +12semi

Pitch2 Fine #2 -100– +100cent

Pitch2 Delay

Pitch2 Feedback # -98– +98%

Pitch2 Pan # L64–63R

Pitch2 Level 0–127

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

Level 1

2Voice

Pitch Shifter

Level 1

0–1300msec, note (p. 86)

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 values 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.

Width of the middle range

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

Volume balance between the direct sound (D) and the eect sound (W)

3-Band

Balance W

3-Band

L out

R out

63 : STEP PITCH SHIFTER

A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence.

L in

Step Pitch Shifter

R in

Parameter Value Explanation

Step 01-16 -24– +12semi

Rate #

Attack # 0–127

Gate Time # 0–127

Fine -100– +100cent

Delay Time

Feedback # -98– +98%

Low Gain -15– +15dB Gain of the low range

High Gain -15– +15dB Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output Level

0.05–10.0Hz, note (p. 86)

0–1300msec, note (p. 86)

MEMO

You can use MFX CONTROL to make the step sequence play again from the beginning (p. 43).

2-Band

Amount of pitch shift at each step (semitone units)

Rate at which the 16-step sequence will cycle

Speed at which the amount of pitch shift changes between steps

Duration of the pitch shifted sound at each step

Pitch shift adjustment for all steps (2-cent units)

Delay time from the original sound until the pitch-shifted sound is heard

Proportion of the pitch-shifted sound that is to be returned to the input (negative values invert the phase)

Volume balance between the direct sound (D) and the eect sound (W)

L out

R out

Parameter List

Balance D

64 : OVERDRIVE ➝ CHORUS

This eect connects an overdrive and a chorus in series.

L in

Overdrive

R in

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R

Chorus Pre Delay 0.0–100msec

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

0.05–10.00Hz, note (p. 86)

Balance D

Chorus

Balance D

3-Band EQ

Balance W

3-Band EQ

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).

Width of the middle range

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

L out

R out

65 : OVERDRIVE ➝ FLANGER

This eect connects an overdrive and a anger in series.

L in

Feedback

Overdrive

R in

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R

Flanger Pre Delay 0.0–100msec

Flanger Rate #

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98– +98%

Flanger Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

0.05–10.00Hz, note (p. 86)

Flanger

Balance D

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 values 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).

Width of the middle range

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

3-Band EQ

Balance W

3-Band EQ

L out

R out

Parameter List

Balance D

66 : OVERDRIVE ➝ DELAY

This eect connects an overdrive and a delay in series.

L in

Overdrive

R in

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R

Delay Time

Delay Feedback # -98– +98%

Delay HF Damp 200–8000Hz, BYPASS

Delay Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

0–2600msec, note (p. 86)

Balance D

Delay

Feedback

Balance D

3-Band EQ

Balance W

3-Band EQ

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect 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).

Width of the middle range

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

L out

R out

67 : DISTORTION ➝ CHORUS

The parameters are essentially the same as in “64: OVERDRIVE ➝ CHORUS,” with the exception of the following two.

Overdrive Drive ➝ Distortion Drive,

Overdrive Pan ➝ Distortion Pan

L in

R in

Distortion

Balance D

Chorus

Balance D

3-Band EQ

Balance W

3-Band EQ

L out

R out

68 : DISTORTION ➝ FLANGER

The parameters are essentially the same as in “65: OVERDRIVE ➝ FLANGER,” with the exception of the following two.

Overdrive Drive ➝ Distortion Drive,

Overdrive Pan ➝ Distortion Pan

L in

R in

Distortion

Feedback

Flanger

Balance D

3-Band EQ

Balance W

3-Band EQ

69 : DISTORTION ➝ DELAY

The parameters are essentially the same as in “66: OVERDRIVE ➝ DELAY,” with the exception of the following two.

Overdrive Drive ➝ Distortion Drive,

Overdrive Pan ➝ Distortion Pan

L in

R in

Distortion

Balance D

Delay

Feedback

Balance D

3-Band EQ

Balance W

3-Band EQ

L out

R out

L out

R out

Parameter List

Balance D

70 : ENHANCER ➝ CHORUS

This eect connects an enhancer and a chorus in series.

L in

Enhancer

R in

Enhancer

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Chorus Pre Delay 0.0–100msec

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Mix

0.05–10.00Hz, note (p. 86)

Balance D

Chorus

Balance D

3-Band

Balance W

3-Band

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).

Width of the middle range

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

L out

R out

71 : ENHANCER ➝ FLANGER

This eect connects an enhancer and a anger in series.

L in

Enhancer

Mix

Feedback

Flanger

R in

Enhancer

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Flanger Pre Delay 0.0–100msec

Flanger Rate #

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98– +98%

Flanger Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Mix

0.05–10.00Hz, note (p. 86)

Balance D

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 values 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).

Width of the middle range

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

3-Band

Balance W

3-Band

L out

R out

Parameter List

Balance D

72 : ENHANCER ➝ DELAY

This eect connects an enhancer and a delay in series.

L in

Enhancer

Mix

Balance D

Delay

R in

Enhancer

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Delay Time

Delay Feedback # -98– +98%

Delay HF Damp 200–8000Hz, BYPASS

Delay Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Mix

0–2600msec, note (p. 86)

Feedback

Balance D

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect 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).

Width of the middle range

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

3-Band

Balance W

3-Band

L out

R out

73 : CHORUS ➝ DELAY

This eect connects a chorus and a delay in series.

L in

Balance W

Chorus

Balance W

R in

Parameter Value Explanation

Chorus Pre Delay 0.0–100msec

Chorus Rate #

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

Delay Time

Delay Feedback # -98– +98%

Delay HF Damp 200–8000Hz, BYPASS

Delay Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Balance D

0.05–10.00Hz, note (p. 86)

0–2600msec, note (p. 86)

Balance D

Delay

Feedback

Balance D

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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect 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).

Width of the middle range

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

3-Band

Balance W

3-Band

L out

R out

Parameter List

Balance D

Feedback

Balance D

Feedback

Balance D

74 : FLANGER ➝ DELAY

This eect connects a anger and a delay in series.

L in

R in

Parameter Value Explanation

Flanger Pre Delay 0.0–100msec

Flanger Rate #

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98– +98%

Flanger Balance # D100:0W–D0:100W

Delay Time

Delay Feedback # -98– +98%

Delay HF Damp 200–8000Hz, BYPASS

Delay Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Balance W

Flanger

Balance W

Balance D

0.05–10.00Hz, note (p. 86)

0–2600msec, note (p. 86)

Balance W

Delay

Balance W

Balance D

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 values 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 values invert the phase.)

Adjusts the frequency above which sound fed back to the eect 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).

Width of the middle range

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

3-Band

L out

R out

75 : CHORUS ➝ FLANGER

This eect connects a chorus and a anger in series.

L in

Balance W

Chorus

Balance W

R in

Parameter Value Explanation

Chorus Pre Delay 0.0–100msec

Chorus Rate #

Chorus Depth 0–127

Chorus Balance # D100:0W–D0:100W

Flanger Pre Delay 0.0–100msec

Flanger Rate #

Flanger Depth 0–127

Flanger Feedback # -98– +98%

Flanger Balance # D100:0W–D0:100W

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

Level 0–127 Output Level

Balance D

0.05–10.00Hz, note (p. 86)

Feedback

Flanger

Balance D

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

Adjusts the proportion of the anger sound that is fed back into the eect. (Negative values 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).

Width of the middle range

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

3-Band

Balance W

3-Band

L out

R out

Parameter List

L in

L out

76 : SYMPATHETIC RESONANCE

On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This eect simulates these sympathetic resonances.

Sym. Resonance

R in

Parameter Value Explanation

Damper # 0–127

Depth # 0–127 Depth of the eect

Octave -3– +3 oct

Detune -50– +50 cent

Phase NORMAL, INVERSE

Time 10–5000 ms

Low Damp Freq 20–1000Hz

High Damp Freq 1000–10000Hz

Level 0–127 Output Level

Depth to which the damper pedal is pressed (controls the resonant sound)

Octave shift amount for the sympathetic resonance

Pitch shift amount for the sympathetic resonance

Phase at which the sympathetic resonance is generated

Time over which the sympathetic resonance will decay (lowering the Octave setting will make this more noticeable)

Frequency at which the lowfrequency content of the resonant sound will be cut

Frequency at which the highfrequency content of the resonant sound will be cut

R out

Parameter List

Reverb Parameters

These settings allow you to select the desired type of reverb, and its characteristics.

Parameter Value Explanation

Type of reverb

00 : OFF Reverb will not be used

01 : Reverb Basic reverb

02 : SRV Room

Reverb Type

Reverb Level 0–127 Volume of the reverb sound

01 : REVERB

Type

Time 0–127

HF Damp 200–8000Hz, BYPASS

Delay Feedback 0–127

02 : SRV ROOM 03 : SRV HALL 04 : SRV PLATE

COMP Sw OFF, ON Turns the COMP switch on/o.

Attack 0–127

Threshold 0–127

Post Gain 0– +18dB Adjusts the output gain.

EQ Sw OFF, ON Turns the EQ switch on/o.

Low Freq 200, 400Hz Frequency of the low range

Low Gain -15– +15dB Gain of the low range

Mid Freq 200–8000Hz Frequency of the middle range

Mid Gain -15– +15dB Gain of the middle range

Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

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

High Gain -15– +15dB Gain of the high range

03 : SRV Hall

04 : SRV Plate

05 : GM2 Reverb GM2 reverb

Type of reverb/delay

ROOM1 Short reverb with high density

ROOM2 Short reverb with low density

STAGE1

STAGE2

HALL1 Very clear-sounding reverb

HALL2 Rich reverb

DELAY Conventional delay eect

PAN-DELAY

Reverb that simulates the reverberation of a room

Reverb that simulates the reverberation of a hall

Simulation of a plate echo (a reverb device that uses a metal plate)

Reverb with greater late reverberation

Reverb with strong early reections

Delay eect with echoes that pan left and right

Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY)

Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” (BYPASS: no cut)

Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY. Amount of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY)

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

Adjusts the volume at which compression begins

Width of the middle range

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

Parameter Value Explanation

Pre Delay 0.0–100msec

Time 0–127 Time length of reverberation

Size 1–8 Size of the simulated room or hall

Density 0–127 Density of reverb

Diusion 0–127

LF Damp Freq 50–4000Hz

LF Damp Gain -36–0dB

HF Damp Freq 4000–12500Hz

HF Damp Gain -36–0dB

High Cut 160–12500Hz, BYPASS

05 : GM2 REVERB

Type of reverb

Character

Pre-LPF 0–7

Level 0–127 Output level of reverberation

Time 0–127 Time length of reverberation

Delay Feedback 0–127

0–5 Reverb

6, 7 Delay

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 frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.

Adjusts the frequency above which the high-frequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.

Adjusts the frequency above which the high-frequency content of the reverb will be reduced. (BYPASS: no cut)

Cuts the high frequency range of the sound coming into the reverb. Higher values will cut more of the high frequencies.

Adjusts the amount of the delay sound that is fed back into the eect when the Character setting is 6 or 7.

Appendix

Control Change Assign List

The sound of the SuperNATURAL acoustic tone can be controlled by receiving a specied control change (CC).

The parameters that are controlled by CC16–CC19 are the same as the parameters listed in “Live Set Tone Modify Screen (SuperNATURAL Acoustic Tones)” (P. 25) (except for *4–*9).

CC80–CC83 are performance variation sounds (except for *10).

SuperNATURAL Acoustic Tone

0001 Concert Grand - - - - - - - - 0001 Concert Grand Portamento - Vibrato -

0002 Grand Piano1 - - - - - - - - 0002 Grand Piano1 Portamento - Vibrato -

0003 Grand Piano2 - - - - - - - - 0003 Grand Piano2 Portamento - Vibrato -

0004 Grand Piano3 - - - - - - - - 0004 Grand Piano3 Portamento - Vibrato -

0005 Mellow Piano - - - - - - - - 0005 Mellow Piano Portamento - Vibrato -

0006 Bright Piano - - - - - - - - 0006 Bright Piano Portamento - Vibrato -

0007 Upright Piano - - - - - - - -

0008 Concert Mono - - - - - - - - 0008 Concert Mono Portamento - Vibrato -

0009 Honky-tonk - - - - - - - - 0009 Honky-tonk Portamento - Vibrato -

0010 Pure Vintage EP1 Key O Noise - - - - - - - 0010 Pure Vintage EP1 Portamento - Vibrato -

0011 Pure Vintage EP2 Key O Noise - - - - - - -

0012 Pure Wurly - - - - - - - -

0013 Pure Vintage EP3 Key O Noise - - - - - - - 0013 Pure Vintage EP3 Portamento - Vibrato -

0014 Tined EP1 Key O Noise - - - - - - - 0014 Tined EP1 Portamento - Vibrato -

0015 Tined EP2 Key O Noise - - - - - - - 0015 Tined EP2 Portamento - Vibrato -

0016 Old Hammer EP Key O Noise - - - - - - - 0016 Old Hammer EP Portamento - Vibrato -

0017 Dyno Piano Key O Noise - - - - - - - 0017 Dyno Piano Portamento - Vibrato -

0018 Clav CB Flat Key O Noise - - - - - - - 0018 Clav CB Flat Portamento - Vibrato -

0019 Clav CA Flat Key O Noise - - - - - - - 0019 Clav CA Flat Portamento - Vibrato -

0020 Clav CB Medium Key O Noise - - - - - - - 0020 Clav CB Medium Portamento - Vibrato -

0021 Clav CA Medium Key O Noise - - - - - - - 0021 Clav CA Medium Portamento - Vibrato -

0022 Clav CB Brillia Key O Noise - - - - - - - 0022 Clav CB Brillia Portamento - Vibrato -

0023 Clav CA Brillia Key O Noise - - - - - - - 0023 Clav CA Brillia Portamento - Vibrato -

0024 Clav CB Combo Key O Noise - - - - - - - 0024 Clav CB Combo Portamento - Vibrato -

0025 Clav CA Combo Key O Noise - - - - - - - 0025 Clav CA Combo Portamento - Vibrato -

0026 Vibraphone Mallet Hardness Roll Speed Mute (*4) Bend Mode (*9) Dead Stroke Tremolo Sw - - 0026 Vibraphone Portamento Tremolo Speed Roll Sw+Dynamics (*3) -

0027 Marimba Mallet Hardness Roll Speed Mute (*4) Bend Mode (*9) Dead Stroke - - 0027 Marimba Portamento - Roll Sw+Dynamics (*3) -

0028 TW Organ - - - - - - - 0028 TW Organ - - - -

0029 French Accordion Noise Level - - Bend Mode (*6) - - - -

0030 ItalianAccordion Noise Level - - Bend Mode (*6) - - - - 0030 ItalianAccordion Portamento - Dynamics -

0031 Harmonica Noise Level - Growl Sens Bend Mode (*7) - - - - 0031 Harmonica Portamento - Dynamics Vibrato

0032 Bandoneon Noise Level - - Bend Mode (*6) - - - - 0032 Bandoneon Portamento - Dynamics -

0033 Nylon Guitar Noise Level Strum Speed - Strum Mode Mute Harmonics - - 0033 Nylon Guitar Portamento - Vibrato Vibrato

0034 Flamenco Guitar Noise Level Strum Speed - Strum Mode Rasgueado Harmonics - - 0034 Flamenco Guitar Portamento - Vibrato Vibrato

0035 SteelStr Guitar Noise Level Strum Speed - Strum Mode Mute Harmonics - - 0035 SteelStr Guitar Portamento - Vibrato Vibrato

0036 Acoustic Bass Noise Level - - - Staccato Harmonics - - 0036 Acoustic Bass Portamento - Vibrato Vibrato

0037 Fingered Bass Noise Level - - - Slap Harmonics - - 0037 Fingered Bass Portamento - Vibrato Vibrato

0038 Fingered Bass 2 Noise Level - - - Slap Harmonics - - 0038 Fingered Bass 2 Portamento - Vibrato Vibrato

0039 Picked Bass Noise Level - - - Bridge Mute Harmonics - -

0040 Picked Bass 2 Noise Level - - - Bridge Mute Harmonics - -

0041 Fretless Bass Noise Level - - - Staccato Harmonics - - 0041 Fretless Bass Portamento - Vibrato Vibrato

0042 Violin Noise Level - - - Staccato Pizzicato Tremolo - 0042 Violin Portamento - Dynamics+Vibrato Vibrato

0043 Violin 2 Noise Level - - - Staccato Pizzicato Tremolo - 0043 Violin 2 Portamento - Dynamics+Vibrato Vibrato

0044 Viola Noise Level - - - Staccato Pizzicato Tremolo - 0044 Viola Portamento - Dynamics+Vibrato Vibrato

0045 Cello Noise Level - - - Staccato Pizzicato Tremolo - 0045 Cello Portamento - Dynamics+Vibrato Vibrato

0046 Cello 2 Noise Level - - - Staccato Pizzicato Tremolo - 0046 Cello 2 Portamento - Dynamics+Vibrato Vibrato

0047 Contrabass Noise Level - - - Staccato Pizzicato Tremolo -

0048 Harp - - Mute (*5) Glissando Mode Nail - - - 0048 Harp Portamento - Vibrato Vibrato

CC16 CC17 CC18 CC19 CC80 CC81 CC82 CC83

Appendix

SuperNATURAL Acoustic Tone

0007 Upright Piano Portamento - Vibrato -

0011 Pure Vintage EP2 Portamento - Vibrato -

0012 Pure Wurly Portamento - Vibrato -

CC65 CC76

CC01 (System Control 1 Source) *1

AFTERTOUCH

(System Control 2 Source) *2

0029 French Accordion Portamento - Dynamics -

0039 Picked Bass Portamento - Vibrato Vibrato

0040 Picked Bass 2 Portamento - Vibrato Vibrato

0047 Contrabass Portamento - Dynamics+Vibrato Vibrato

Appendix

SuperNATURAL Acoustic Tone

0049 Timpani - Roll Speed Mute (*4) - Flam Accent Roll - - 0049 Timpani - - Roll Sw+Dynamics (*3) -

0050 Strings - - - - Staccato Pizzicato Tremolo Fall 0050 Strings Portamento - Dynamics+Vibrato Level

0051 Trumpet Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0051 Trumpet Portamento - Dynamics+Vibrato Vibrato

0052 Flugel Horn Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0052 Flugel Horn Portamento - Dynamics+Vibrato Vibrato

0053 Trombone Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0053 Trombone Portamento - Dynamics+Vibrato Vibrato

0054 Trombone 2 Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0054 Trombone 2 Portamento - Dynamics+Vibrato Vibrato

0055 Bass Trombone Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - -

0056 Mute Trumpet Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0056 Mute Trumpet Portamento - Dynamics+Vibrato Vibrato

0057 French Horn Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0057 French Horn Portamento - Dynamics+Vibrato Vibrato

0058 Soprano Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0058 Soprano Sax Portamento - Dynamics+Vibrato Vibrato

0059 Alto Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0059 Alto Sax Portamento - Dynamics+Vibrato Vibrato

0060 Tenor Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0060 Tenor Sax Portamento - Dynamics+Vibrato Vibrato

0061 Baritone Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0061 Baritone Sax Portamento - Dynamics+Vibrato Vibrato

0062 Oboe Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0062 Oboe Portamento - Dynamics+Vibrato Vibrato

0063 English Horn Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0063 English Horn Portamento - Dynamics+Vibrato Vibrato

0064 Bassoon Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0064 Bassoon Portamento - Dynamics+Vibrato Vibrato

0065 Clarinet Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0065 Clarinet Portamento - Dynamics+Vibrato Vibrato

0066 Bass Clarinet Noise Level - Growl Sens Bend Mode (*8) Staccato - - -

0067 Piccolo Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0067 Piccolo Portamento - Dynamics+Vibrato Vibrato

0068 Flute Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0068 Flute Portamento - Dynamics+Vibrato Vibrato

0069 Flute2 Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0069 Flute2 Portamento - Dynamics+Vibrato Vibrato

0070 Pan Flute Noise Level - Growl Sens Bend Mode (*8) Staccato Flutter - - 0070 Pan Flute Portamento - Dynamics+Vibrato Vibrato

0071 Shakuhachi Noise Level - Growl Sens - Staccato Ornament - - 0071 Shakuhachi Portamento - Dynamics+Vibrato Vibrato

0072 Ryuteki Noise Level - Growl Sens - Staccato Ornament - -

0073 Sitar Resonance Level - - - Tambura (*10) - - - 0073 Sitar Portamento - Vibrato Vibrato

0074 Uilleann Pipes - - - - Drone (*10) Ornament - - 0074 Uilleann Pipes Portamento - Dynamics Vibrato

0075 Erhu Noise Level - - - Staccato Ornament - - 0075 Erhu Portamento - Dynamics+Vibrato Vibrato

0076 Sarangi Resonance Level - - - Tambura (*10) - - - 0076 Sarangi Portamento - Dynamics Vibrato

0077 Steel Drums Resonance Level Roll Speed Mute (*4) Bend Mode (*9) Mute - - - 0077 Steel Drums Portamento - Roll Sw+Dynamics (*3) -

0078 APS Vibraphone Mallet Hardness Roll Speed Mute (*4) Bend Mode (*9) Dead Stroke Tremolo Sw - - 0078 APS Vibraphone Portamento Tremolo Speed Roll Sw+Dynamics (*3) -

0079 APS Marimba Mallet Hardness Roll Speed Mute (*4) Bend Mode (*9) Dead Stroke - - 0079 APS Marimba Portamento - Roll Sw+Dynamics (*3) -

0080 APS Accordion Noise Level - - Bend Mode (*6) - - - - 0080 APS Accordion Portamento - Dynamics -

0081 APS Harmonica Noise Level - Growl Sens Bend Mode (*7) - - - - 0081 APS Harmonica Portamento - Dynamics Vibrato

0082 APS Bandoneon Noise Level - - Bend Mode (*6) - - - - 0082 APS Bandoneon Portamento - Dynamics -

0083 APS Nylon Guitar - Strum Speed - Strum Mode Mute Harmonics - - 0083 APS Nylon Guitar Portamento - Vibrato Vibrato

0084 APS SteelStr Gt. - Strum Speed - Strum Mode Mute Harmonics - - 0084 APS SteelStr Gt. Portamento - Vibrato Vibrato

0085 APS Acoustic Bs. - - - - Staccato Harmonics - - 0085 APS Acoustic Bs. Portamento - Vibrato Vibrato

0086 APS Fingered Bs. - - - - Slap Harmonics - - 0086 APS Fingered Bs. Portamento - Vibrato Vibrato

0087 APS Picked Bass - - - - Bridge Mute Harmonics - - 0087 APS Picked Bass Portamento - Vibrato Vibrato

0088 APS Fretless Bs. - - - - Staccato Harmonics - - 0088 APS Fretless Bs. Portamento - Vibrato Vibrato

0089 APS Violin Noise Level - - - Staccato Pizzicato Tremolo - 0089 APS Violin Portamento - Dynamics+Vibrato Vibrato

0090 APS Viola Noise Level - - - Staccato Pizzicato Tremolo - 0090 APS Viola Portamento - Dynamics+Vibrato Vibrato

0091 APS Cello Noise Level - - - Staccato Pizzicato Tremolo -

0092 APS Contrabass Noise Level - - - Staccato Pizzicato Tremolo -

0093 APS Harp - - Mute (*5) Glissando Mode Nail - - -

0094 APS Timpani - Roll Speed Mute (*4) - Flam Accent Roll - - 0094 APS Timpani - - Roll Sw+Dynamics (*3) -

0095 APS Strings - - - - Staccato Pizzicato Tremolo Fall 0095 APS Strings Portamento - Dynamics+Vibrato Level

0096 APS Trumpet Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0096 APS Trumpet Portamento - Dynamics+Vibrato Vibrato

0097 APS Trombone Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0097 APS Trombone Portamento - Dynamics+Vibrato Vibrato

0098 APS Mute Trumpet Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0098 APS Mute Trumpet Portamento - Dynamics+Vibrato Vibrato

0099 APS French Horn Noise Level - Growl Sens Bend Mode (*8) Staccato - - -

0100 APS Soprano Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - -

0101 APS Alto Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - -

0102 APS Tenor Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0102 APS Tenor Sax Portamento - Dynamics+Vibrato Vibrato

0103 APS Baritone Sax Noise Level - Growl Sens Bend Mode (*8) Staccato Fall - - 0103 APS Baritone Sax Portamento - Dynamics+Vibrato Vibrato

CC16 CC17 CC18 CC19 CC80 CC81 CC82 CC83

Appendix

SuperNATURAL Acoustic Tone

0055 Bass Trombone Portamento - Dynamics+Vibrato Vibrato

0066 Bass Clarinet Portamento - Dynamics+Vibrato Vibrato

CC65 CC76

CC01 (System Control 1 Source) *1

AFTERTOUCH

(System Control 2 Source) *2

0072 Ryuteki Portamento - Dynamics+Vibrato Vibrato

0091 APS Cello Portamento - Dynamics+Vibrato Vibrato

0092 APS Contrabass Portamento - Dynamics+Vibrato Vibrato

0093 APS Harp Portamento - Vibrato Vibrato

0099 APS French Horn Portamento - Dynamics+Vibrato Vibrato

0100 APS Soprano Sax Portamento - Dynamics+Vibrato Vibrato

0101 APS Alto Sax Portamento - Dynamics+Vibrato Vibrato

Appendix

SuperNATURAL Acoustic Tone

0104 APS Oboe Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0104 APS Oboe Portamento - Dynamics+Vibrato Vibrato

0105 APS English Horn Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0105 APS English Horn Portamento - Dynamics+Vibrato Vibrato

0106 APS Bassoon Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0106 APS Bassoon Portamento - Dynamics+Vibrato Vibrato

0107 APS Clarinet Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0107 APS Clarinet Portamento - Dynamics+Vibrato Vibrato

0108 APS Piccolo Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0108 APS Piccolo Portamento - Dynamics+Vibrato Vibrato

0109 APS Flute Noise Level - Growl Sens Bend Mode (*8) Staccato - - - 0109 APS Flute Portamento - Dynamics+Vibrato Vibrato

0110 APS Pan Flute Noise Level - Growl Sens Bend Mode (*8) Staccato Flutter - -

0111 APS Shakuhachi Noise Level - Growl Sens - Staccato Ornament - - 0111 APS Shakuhachi Portamento - Dynamics+Vibrato Vibrato

0112 APS Ryuteki Noise Level - Growl Sens - Staccato Ornament - - 0112 APS Ryuteki Portamento - Dynamics+Vibrato Vibrato

0113 APS Sitar Resonance Level - - - Tambura (*10) - - - 0113 APS Sitar Portamento - Vibrato Vibrato

0114 APS UilleannPipe - - - - Drone (*10) Ornament - - 0114 APS UilleannPipe Portamento - Dynamics Vibrato

0115 APS Erhu Noise Level - - - Staccato Ornament - - 0115 APS Erhu Portamento - Dynamics+Vibrato Vibrato

0116 APS Sarangi Resonance Level - - - Tambura (*10) - - - 0116 APS Sarangi Portamento - Dynamics Vibrato

0117 APS Steel Drums Resonance Level Roll Speed Mute (*4) Bend Mode (*9) Mute - - - 0117 APS Steel Drums Portamento - Roll Sw+Dynamics (*3) -

CC16 CC17 CC18 CC19 CC80 CC81 CC82 CC83

Appendix

SuperNATURAL Acoustic Tone

0110 APS Pan Flute Portamento - Dynamics+Vibrato Vibrato

CC65 CC76

CC01 (System Control 1 Source) *1

AFTERTOUCH

(System Control 2 Source) *2

*1 The setting of System Control 1 Source is used. With the factory settings, CC01 is assigned.

*2 The setting of System Control 2 Source is used. With the factory settings, AFTERTOUCH is assigned.

*3 Regardless of the System Control 1 Source setting, this can always be controlled by CC01.

*4 Mute: Simulates the technique of using a hand or mallet to stop the vibration (sound) of the instrument. Higher values will produce stronger muting.

*5 Mute: Simulates the technique of using a hand to stop the vibration of the string.

*6 Bend Mode: If Bend Range is set to anything other than Tone, operating the pitch bend lever when Bend Mode (CC19) is ON will produce a bellows tremolo eect.

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

*7 Bend Mode: If Bend Range is set to anything other than Tone, operating the pitch bend lever when Bend Mode (CC19) is ON will simulate the wah eect produced

by cupping the hands around the instrument. Use this when you want to switch between the wah eect and conventional pitch change.

*8 Bend Mode: If Bend Range is set to anything other than Tone, operating the pitch bend lever when Bend Mode (CC19) is ON will produce a discontinuous pitch

change. Use this if you want to switch between discontinuous pitch change and conventional pitch change.

*9 Bend Mode: If Bend Range is set to anything other than Tone, operating the pitch bend lever when Bend Mode (CC19) is ON will produce a glissando eect. Use this

if you want to switch between glissando playing and conventional pitch change.

*10 The sound of the corresponding technique will be produced.

Appendix

About Note

Some parameters (such as Rate or Delay Time) can be set in terms of a note value.

If Rate is specied as a note value, the modulation will be synchronized to the tempo.

note:

Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note

Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet

Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note

Quarter note Half-note triplet Dotted quarter note Half note

Whole-note triplet Dotted half note Whole note Double-note triplet

Dotted whole note Double note 4 Four whole notes 8 Eight whole notes

12 Twelve whole notes 16 Sixteen whole notes

NOTE!

• If a parameter for which the Rate is specied as a note value is assigned as an MFX CONTROL destination, you cannot use MFX CONTROL to vary that parameter.

• If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specied as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

• The type (range) of selectable note values will vary depending on the parameter.

1PS

Roland Jupiter-80 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Navigating Between Screens

Registration Screen

Registration Part Screen

Live Set Screen

Synth Tone Edit (OSC/FILTER/AMP) Screen

Tone Blender Screen

Parameter List

Registration Part Screen

Registration Common/Control Screen

Registration PERC Part Screen, Registration SOLO Part Screen

Registration External Part Screen

Live Set Screen

Live Set Common Screen

Live Set Layer Screen

Live Set Tone Modify Screen (SuperNATURAL Acoustic Tones)

Live Set Tone Modify Screen (SuperNATURAL Synth Tones)

Tone Blender Screen

Synth Tone Edit (PRO EDIT) Screen

Reverb Parameters

Appendix

Control Change Assign List

About Note