Roland KR 107 Service Manual

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Digital Piano Date:July. 30, 2005
Model:KR107

MIDI Implementation

Version:1.00

* Messages for which [model name] is indicated are applicable only to that specific model.

1. Receive data

Channel Voice Messages

Note off

Status

8nH kkH vvH

9nH kkH 00H

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

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

vv = note off velocity : 00H-7FH (0-127)

* For Drum Parts, these messages are received when Rx.NOTE OFF = ON for each

Instrument.

* The velocity values of Note Off messages are ignored.

Note on

Status

9nH kkH vvH

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

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

vv = note on velocity : 01H-7FH (1-127)

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

* For Drum Parts, not received when Rx.NOTE ON = OFF for each Instrument.

Polyphonic Key Pressure

Status

AnH kkH vvH

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

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

vv = key pressure : 00H-7FH (0-127)

* Not received when Rx.POLY PRESSURE (PAf) = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial

settings, there will be no effect.

Control Change

* When Rx.CONTROL CHANGE = OFF, all control change messages except for Channel

Mode messages will be ignored.

* The value specified by a Control Change message will not be reset even by a Program

Change, etc.

Bank Select (Controller number 0, 32)

Status

BnH 00H mmH

BnH 20H llH

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

mm, ll = Bank number : 00H, 00H-7FH, 7FH (bank.1-bank.16384), Initial Value = 00

* Not received when Rx.BANK SELECT = OFF.

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

be ignored.

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

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

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

regardless of the received value. However, when sending Bank Select messages, you

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

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

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

number 0) expressed in decimal.

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

2nd byte 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

00H (bank.1)

Modulation (Controller number 1)

Status 2nd bytes 3rd byte

BnH 01H vvH

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

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

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

* The resulting effect is determined by System Exclusive messages. With the initial

settings, this is Pitch Modulation Depth.

Portamento Time (Controller number 5)

Status 2nd bytes 3rd byte

BnH 05H vvH

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

vv = Portamento Time : 00H-7FH (0-127), Initial value = 00H (0)

* This adjusts the rate of pitch change when Portamento is ON or when using the

Portamento Control. A value of 0 results in the fastest change.

Data Entry (Controller number 6, 38)

Status 2nd bytes 3rd byte

BnH 06H mmH

BnH 26H llH

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

mm, ll = the value of the parameter specified by RPN/NRPN

mm = MSB, ll = LSB

Volume (Controller number 7)

Status 2nd bytes 3rd byte

BnH 07H vvH

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

vv = Volume : 00H-7FH (0-127), Initial Value = 64H (100)

* Volume messages are used to adjust the volume balance of each Part.

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

Pan (Controller number 10)

Status 2nd bytes 3rd byte

BnH 0AH vvH

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

vv = pan : 00H-40H-7FH (Left-Center-Right), Initial Value = 40H

(Center)

* For Rhythm Parts, this is a relative adjustment of each Instrument’s pan setting.

* Some Tones are not capable of being panned all the way to the left or right.

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

Expression (Controller number 11)

Status 2nd bytes 3rd byte

BnH 0BH vvH

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

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

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

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

expression pedal movements, crescendo and decrescendo.

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

Hold 1 (Controller number 64)

Status 2nd bytes 3rd byte

BnH 40H vvH

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

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

* Not received when Rx.HOLD1 = OFF. (Initial value is ON)

Copyright © 2005 ROLAND CORPORATION

1PS

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

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Portamento (Controller number 65)

Status 2nd bytes 3rd byte

BnH 41H vvH

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

vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

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

Sostenuto (Controller number 66)

Status 2nd bytes 3rd byte

BnH 42H vvH

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

vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

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

Soft (Controller number 67)

Status 2nd bytes 3rd byte

BnH 43H vvH

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

vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

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

* Some Tones will not exhibit any change.

Filter Resonance (Timbre/Harmonic Intensity) (Controller number 71)

Status 2nd byte 3rd byte

BnH 47H vvH

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

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

Initial value = 40H (no change)

* Some Tones will not exhibit any change.

Release Time (Controller number 72)

Status 2nd byte 3rd byte

BnH 48H vvH

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

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

Initial value = 40H (no change)

* Some Tones will not exhibit any change.

Attack time (Controller number 73)

Status 2nd byte 3rd byte

BnH 49H vvH

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

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

Initial value=40H (no change)

* Some Tones will not exhibit any change.

Cutoff (Controller number 74)

Status 2nd byte 3rd byte

BnH 4AH vvH

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

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

Initial value = 40H (no change)

* Some Tones will not exhibit any change.

Decay Time (Controller number 75)

Status 2nd byte 3rd byte

BnH 4BH vvH

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

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

Initial value = 40H (no change)

* Some Tones will not exhibit any change.

Vibrato Rate (Controller number 76)

Status 2nd byte 3rd byte

BnH 4CH vvH

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

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

Initial value = 40H (no change)

* Some Tones will not exhibit any change.

Vibrato Depth (Controller number 77)

Status 2nd byte 3rd byte

BnH 4DH vvH

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

vv = Vibrato Depth Value (relative change) : 00H-7FH(-64 - 0 - +63),

Initial Value = 40H (no change)

* Some Tones will not exhibit any change.

Vibrato Delay (Controller number 78)

Status 2nd byte 3rd byte

BnH 4EH vvH

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

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

Initial value=40H (no change)

* Some Tones will not exhibit any change.

Portamento control (Controller number 84)

Status 2nd bytes 3rd byte

BnH 54H kkH

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

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

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

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

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

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

received, smoothly change to the pitch of that Note-on.

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

Portamento Time value.

Example 1.

On MIDI Description Result

90 3C 40 Note on C4 C4 on

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

90 40 40 Note on E4 glide from C4 to E4

80 3C 40 Note off C4 no change

80 40 40 Note off E4 E4 off

Example 2.

On MIDI Description Result

B0 54 3C Portamento Control from C4 no change

90 40 40 Note on E4 E4 is played with glide from C4 to E4

80 40 40 Note off E4 E4 off

Effect 1 (Reverb Send Level) (Controller number 91)

Status 2nd bytes 3rd byte

BnH 5BH vvH

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

vv = Control value : 00H-7FH (0-127), Initial Value = 28H (40)

* This message adjusts the Reverb Send Level of each Part.

Effect 3 (Chorus Send Level) (Controller number 93)

Status 2nd bytes 3rd byte

BnH 5DH vvH

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

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

* This message adjusts the Chorus Send Level of each Part.

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NRPN MSB/LSB (Controller number 98, 99)

Status 2nd bytes 3rd byte

BnH 63H mmH

BnH 62H llH

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

mm = upper byte (MSB) of the parameter number specified by NRPN

ll = lower byte (LSB) of the parameter number specified by NRPN

* Rx.NRPN is set to OFF by power-on reset or by receiving “GM1 System On” or “GM2

System On,” and NRPN message will be ignored. NRPN message will be received when

Rx.NRPN = ON, or by receiving “GS RESET.”

* The value set by NRPN will not be reset even if Program Change or Reset All Controllers

is received.

**NRPN**

The NRPN (Non Registered Parameter Number) message allows an extended range of

control changes to be used.

To use these messages, you must first use NRPN MSB and NRPN LSB messages to specify

the parameter to be controlled, and then use Data Entry messages to specify the value of the

specified parameter. Once an NRPN parameter has been specified, all Data Entry messages

received on that channel will modify the value of that parameter. To prevent accidents, it is

recommended that you set RPN Null (RPN Number = 7FH/7FH) when you have finished

setting the value of the desired parameter. Refer to Section 4. Supplementary material

“Examples of actual MIDI messages” <Example 4> (p. 14). On the GS devices, Data entry

LSB (llH) of NRPN is ignored, so it is no problem to send Data entry MSB (mmH) only

(without Data entry LSB).

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

NRPN Data entry

MSB LSB MSB Description

01H 08H mmH Vibrato Rate (relative change)

01H 09H mmH Vibrato Depth (relative change)

01H 0AH mmH Vibrato Delay (relative change)

01H 20H mmH TVF Cutoff Frequency (relative change)

01H 21H mmH TVF Resonance (relative change)

01H 63H mmH TVF&TVA Envelope Attack Time (relative change)

01H 64H mmH TVF&TVA Envelope Decay Time (relative change)

01H 66H mmH TVF&TVA Envelope Release Time (relative change)

18H rrH mmH Drum Instrument Pitch Coarse (relative change)

1AH rrH mmH Drum Instrument TVA Level (absolute change)

1CH rrH mmH Drum Instrument Panpot (absolute change)

1DH rrH mmH Drum Instrument Reverb Send Level (absolute change)

1EH rrH mmH Drum Instrument Chorus Send Level (absolute change)

* Parameters marked “relative change” will change relatively to the preset value(40H).

Even among different GS devices, “relative change” parameters may sometimes differ in

the way the sound changes or in the range of change.

* Parameters marked “absolute change” will be set to the absolute value of the parameter,

regardless of the preset value.

* Data entry LSB (llH) is ignored.

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

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

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

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

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

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

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

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

rr : key number of drum instrument

mm : 00H-40H-7FH (-63 - 0 - +63 semitone)

rr : key number of drum instrument

mm : 00H-7FH (zero-maximum)

rr : key number of drum instrument

mm : 00H, 01H-40H-7FH (Ramdom, Left-Center-Right)

rr : key number of drum instrument

mm : 01H-7FH (zero-maximum)

rr : key number of drum instrument

mm : 01H-7FH (zero-maximum)

RPN MSB/LSB (Controller number 100, 101)

Status 2nd bytes 3rd byte

BnH 65H mmH

BnH 64H llH

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

mm = upper byte (MSB) of parameter number specified by RPN

ll = lower byte (LSB) of parameter number specified by RPN

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

* The value specified by RPN will not be reset even by messages such as Program Change

or Reset All Controller.

**RPN**

The RPN (Registered Parameter Number) messages are expanded control changes, and each

function of an RPN is described by the MIDI Standard.

To use these messages, you must first use RPN MSB and RPN LSB messages to specify the

parameter to be controlled, and then use Data Entry messages to specify the value of the

specified parameter. Once an RPN parameter has been specified, all Data Entry messages

received on that channel will modify the value of that parameter. To prevent accidents, it is

recommended that you set RPN Null (RPN Number = 7FH/7FH) when you have finished

setting the value of the desired parameter.Refer to Section 4. “Examples of actual MIDI

messages” <Example 4> (p. 14).

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

RPN Data entry

MSB LSB MSB LSB Explanation

00H 00H mmH --- Pitch Bend Sensitivity

00H 01H mmH llH Master Fine Tuning

00H 02H mmH --- Master Coarse Tuning

00H 05H mmH llH Modulation Depth Range

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

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

Initial Value = 02H (2 semitones)

ll : ignored (processed as 00h)

specify up to 2 octaves in semitone steps

mm, ll : 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents),

Initial Value = 40 00H (0 cent)

ll : ignored (processed as 00h)

specify up to 2 octaves in semitone steps

Refer to 4. Supplementary material, “About tuning” (p. 15)

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

Initial Value = 40H (0 cent)

ll : ignored (processed as 00h)

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

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

Set condition where RPN and NRPN are unspecified. The

data entry messages after set RPN null will be ignored.

(No Data entry messages are required after RPN null).

Settings already made will not change.

mm, ll : ignored

Program Change

Status 2nd bytes

CnH ppH

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

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

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

* After a Program Change message is received, the sound will change beginning with the

next Note-on. Voices already sounding when the Program Change message was

received will not be affected.

* For Drum Parts, Program Change messages will not be received on bank numbers 129-

16384 (the value of Control Number 0 is other than 0 (00H)).

Channel Pressure

Status 2nd bytes

DnH vvH

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

vv = Channel Pressure : 00H-7FH (0-127)

* Not received when Rx.CH PRESSURE (CAf) = OFF (Initial value is ON).

* The resulting effect is determined by System Exclusive messages. With the initial

settings there will be no effect.

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Pitch Bend Change

Status 2nd byte 3rd bytes

EnH llH mmH

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

mm, ll = Pitch Bend value : 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

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

* The resulting effect is determined by System Exclusive messages. With the initial

settings the effect is Pitch Bend.

Channel Mode Messages

All Sounds Off (Controller number 120)

Status

BnH 78H 00H

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

* When this message is received, all currently-sounding notes on the corresponding

channel will be turned off immediately.

Reset All Controllers (Controller number 121)

Status

BnH 79H 00H

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

* When this message is received, the following controllers will be set to their reset values.

Controller Reset value

Pitch Bend Change 0 (Center)

Polyphonic Key Pressure 0 (off)

Channel Pressure 0 (off)

Modulation 0 (off)

Expression 127 (max)

Hold 1 0 (off)

Portamento 0 (off)

Sostenuto 0 (off)

Soft 0 (off)

RPN unset; previously set data will not change

NRPN unset; previously set data will not change

Loacl Control(Controller number 122)

Status

BnH 7AH vvH

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

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

All Notes Off (Controller number 123)

Status

BnH 7BH 00H

2nd byte 3rd bytes

2nd byte 3rd bytes

2nd byte 3rd bytes

00H : Local Off

7FH : Local On

2nd byte 3rd bytes

OMNI ON (Controller number 125)

Status 2nd byte 3rd bytes

BnH 7DH 00H

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

* OMNI ON is only recognized as “All notes off”; the Mode doesn’t change (OMNI OFF

remains).

MONO (Controller number 126)

Status 2nd byte 3rd bytes

BnH 7EH mmH

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

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

* The same processing will be carried out as when All Sounds Off and All Notes Off is

received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of the

value of “mono number.”

POLY (Controller number 127)

Status 2nd byte 3rd bytes

BnH 7FH 00H

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

* The same processing will be carried out as when All Sounds Off and All Notes Off is

received, and the corresponding channel will be set to Mode 3.

System Realtime Message

Active Sensing

Status

FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of all

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

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

All Controllers are received, and message interval monitoring will be halted.

System Exclusive Message

Status

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

F0H : System Exclusive Message status

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

dd,...,ee = data : 00H-7FH (0-127)

F7H : EOX (End Of Exclusive)

Data byte Status

Exclusive message this is. Roland’s manufacturer ID is 41H.

ID numbers 7EH and 7FH are extensions of the MIDI standard;

Universal Non-realtime Messages (7EH) and Universal Realtime

Messages (7FH).

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

* When All Notes Off is received, all notes on the corresponding channel will be turned

off. However if Hold 1 or Sostenuto is ON, the sound will be continued until these are

turned off.

OMNI OFF (Controller number 124)

Status

BnH 7CH 00H

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

* The same processing will be carried out as when All Notes Off is received.

2nd byte 3rd bytes

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The System Exclusive Messages received by this instrument are; messages related to mode

settings, Universal Realtime System Exclusive messages and Data Set (DT1).

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System exclusive messages related to mode settings

These messages are used to initialize a device to GS or General MIDI mode, or change the

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

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

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

music data. Each song should contain only one mode message as appropriate for the type of

data. (Do not insert two or more mode setting messages in a single song.)

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

system Exclusive format “Data Set 1 (DT1).”

GM1 System On

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

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

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

Status Data byte Status

F0H 7EH, 7FH, 09H, 01H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

01H Sub ID#2 (General MIDI 1 On)

F7H EOX (End Of Exclusive)

* When this message is received, Rx.BANK SELECT will be OFF and Rx.NRPN will be

OFF.

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

GM2 System On

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

initial state (General MIDI System-Level 2). After receiving this message, this instrument

will automatically be set to the proper condition for correctly playing a GM2 score.

Status Data byte Status

F0H 7EH 7FH 09H 03H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

03H Sub ID#2 (General MIDI 2 On)

F7H EOX (End Of Exclusive)

* When this message is received, this instrument will be able to receive the messages

specified by General MIDI 2, and use the General MIDI 2 soundmap.

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

GM System Off

“GM System Off” is a command message that resets the internal state of this instrument

from the GM state to its native condition. This instrument will reset to the GS default state.

Status Data byte Status

F0H 7EH, 7FH, 09H, 02H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub-ID#1 (General MIDI message)

02H Sub-ID#2 (General MIDI Off)

40H EOX (End of exclusive)

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

GS reset

GS Reset is a command message that resets the internal settings of a device to the GS initial

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

receives this message will automatically be set to the proper state to correctly playback GS

music data.

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

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

42H Model ID (GS)

12H Command ID (DT1)

40H Address MSB

00H Address

7FH Address LSB

00H Data (GS reset)

41H Checksum

F7H EOX (End Of Exclusive)

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

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

Universal Realtime System Exclusive Messages

Master volume

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control messages)

01H Sub ID#2 (Master Volume)

llH Master volume lower byte

mmH Master volume upper byte

F7H EOX (End Of Exclusive)

* The lower byte (llH) of Master Volume will be handled as 00H.

Master Fine Tuning

Status Data byte Status

F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

03H Sub ID#2 (Master Fine Tuning)

llH Master Fine Tuning LSB

mmH Master Fine Tuning MSB

F7H EOX (End Of Exclusive)

mm, ll : 00 00H - 40 00H - 7F 7FH(-100 - 0 - +99.9 [cents])

Master Coarse Tuning

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

04H Sub ID#2 (Master Coarse Tuning)

llH Master Coarse Tuning LSB

mmH Master Coarse Tuning MSB

F7H EOX (End Of Exclusive)

llH : ignored (processed as 00H)

mmH : 28H - 40H - 58H (-24 - 0 - +24 [semitones])

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Global Parameter Control

Parameters of the Global Parameter Control are newly provided for the General MIDI 2.

Reverb Parameters

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

01H Slot path LSB (Effect 0101: Reverb)

ppH Parameter to be controlled.

vvH Value for the parameter.

F7H EOX (End Of Exclusive)

pp=0 Reverb Type

vv = 00H Small Room (Room1)

vv = 01H Medium Room (Room2)

vv = 02H Large Room (Room3)

vv = 03H Medium Hall (Hall1)

vv = 04H Large Hall (Hall2)

vv = 08H Plate (Plate)

pp=1 Reverb Time

vv = 00H - 7FH 0 - 127

Chorus Parameters

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

02H Slot path LSB (Effect 0102: Chorus)

ppH Parameter to be controlled.

vvH Value for the parameter.

F7H EOX (End Of Exclusive)

pp=0 Chorus Type

vv=0 Chorus1

vv=1 Chorus2

vv=2 Chorus3

vv=3 Chorus4

vv=4 FB Chorus

vv=5 Flanger

pp=1 Mod Rate

vv= 00H - 7FH 0 - 127

pp=2 Mod Depth

vv = 00H - 7FH 0 - 127

pp=3 Feedback

vv = 00H - 7FH 0 - 127

pp=4 Send To Reverb

vv = 00H - 7FH 0 - 127

Channel Pressure

Status Data byte Status

F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H

0nH MIDI Channel (00 - 0F)

ppH Controlled parameter

rrH Controlled range

F7H EOX (End Of Exclusive)

pp=0 Pitch Control

rr = 28H - 58H -24 - +24 [semitones]

pp=1 Filter Cutoff Control

rr = 00H - 7FH -9600 - +9450 [cents]

pp=2 Amplitude Control

rr = 00H - 7FH 0 - 200[%]

pp=3 LFO Pitch Depth

rr = 00H - 7FH 0 - 600 [cents]

pp=4 LFO Filter Depth

rr = 00H - 7FH 0 - 2400 [cents]

pp=5 LFO Amplitude Depth

rr = 00H - 7FH 0 - 100[%]

Controller

Status Data byte Status

F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

03H Sub ID#2 (Control Change)

0nH MIDI Channel (00 - 0F)

ccH Controller number (01 - 1F, 40 - 5F)

ppH Controlled parameter

rrH Controlled range

F7H EOX (End Of Exclusive)

pp=0 Pitch Control

rr = 28H - 58H -24 - +24 [semitones]

pp=1 Filter Cutoff Control

rr = 00H - 7FH -9600 - +9450 [cents]

pp=2 Amplitude Control

rr = 00H - 7FH 0 - 200[%]

pp=3 LFO Pitch Depth

rr = 00H - 7FH 0 - 600 [cents]

pp=4 LFO Filter Depth

rr = 00H - 7FH 0 - 2400 [cents]

pp=5 LFO Amplitude Depth

rr = 00H - 7FH 0 - 100[%]

Scale/Octave Tuning Adjust

Status Data byte Status

F0H 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

08H Sub ID#1 (MIDI Tuning Standard)

08H Sub ID#2 (scale/octave tuning 1-byte form)

ffH Channel/Option byte1

bits 0 to 1 = channel 15 to 16

bit 2 to 6 = Undefined

ggH Channel byte2

bits 0 to 6 = channel 8 to 14

hhH Channel byte3

bits 0 to 6 = channel 1 to 7

ssH 12 byte tuning offset of 12 semitones from C to B

00H = -64 [cents]

40H = 0 [cents] (equal temperament)

7FH = +63 [cents]

F7H EOX (End Of Exclusive)

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

01H Sub ID#2 (Channel Pressure)

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Key-Based Instrument Controllers

Status Data byte Status

F0H 7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH... F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

0AH Sub ID#1 (Key-Based Instrument Control)

01H Sub ID#2 (Controller)

0nH MIDI Channel (00 - 0FH)

kkH Key Number

nnH Control Number

vvH Value

F7H EOX (End Of Exclusive)

nn=07H Level

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

nn=0AH Pan

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

nn=5BH Reverb Send

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

nn=5D Chorus Send

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

* This parameter effects drum instruments only.

Universal Non-realtime System Exclusive Messages

Identity Request Message

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

10H Device ID

06H Sub ID#1 (General Information)

01H Sub ID#2 (Identity Request)

F7H EOX (End Of Exclusive)

* Device ID = 10H or 7FH

Data transmission

This instrument can receive the various parameters using System Exclusive messages.

The exclusive message of GS format data has a model ID of 42H and a device ID of 10H (17),

and it is common to all the GS devices.

Data set 1DT1

This is the message that actually performs data transmission, and is used when you wish to

transmit the data.

Status Data byte Status

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

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

10H Device ID

42H Model ID (GS)

12H Command ID (DT1)

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

data

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

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

data

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

transmitted starting from the address.

:

:

eeH Data

sum Checksum

F7H EOX (End Of Exclusive)

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

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

Address and Size given in Section 3 (p. 9).

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

1” is transmitted successively, there must be an interval of at least 40 ms between

packets.

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

2. Transmit data

Arranger data can not be transmitted.

Channel Voice Messages

Note off

Status

8nH kkH vvH

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

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

vv = note off velocity : 00H-7FH (0-127)

* Note off message is sent out with the velocity of 40H.

Note on

Status

9nH kkH vvH

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

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

vv = note on velocity : 01H-7FH (1-127)

Control Change

Bank Select (Controller number 0, 32)

Status

BnH 00H mmH

BnH 20H llH

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

mm, ll = Bank number : 00H, 00H-7FH, 7FH (bank.1-bank.16384)

Volume (Controller number 7)

Status

BnH 07H vvH

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

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

Expression (Controller number 11)

Status

BnH 0BH vvH

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

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

Hold 1 (Controller number 64)

Status

BnH 40H vvH

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

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

Sostenuto (Controller number 66)

Status

BnH 42H vvH

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

vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON

Soft (Controller number 67)

Status

BnH 43H vvH

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

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

2nd byte 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

2nd bytes 3rd byte

7

Effect 1 (Reverb Send Level) (Controller number 91)

Status 2nd bytes 3rd byte

BnH 5BH vvH

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

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

Effect 3 (Chorus Send Level) (Controller number 93)

Status 2nd bytes 3rd byte

BnH 5DH vvH

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

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

Program Change

Status 2nd bytes

CnH ppH

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

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

Pitch Bend Change

Status 2nd byte 3rd bytes

EnH llH mmH

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

mm, ll = Pitch Bend value : 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

System Realtime Message

Realtime Clock

Status

F8H

Active sensing

Status

FEH

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

System exclusive messages

Identity Reply

Status

F0H 7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H, 12H, 00H, 01H, 00H, 00H F7H

Byte

F0H Exclusive status

7EH ID number (universal non-realtime message)

10H Device ID (use the same as the device ID of Roland)

06H Sub ID#1 (General Information)

02H Sub ID#2 (Identity Reply)

41H ID number (Roland)

42H Device family code (LSB)

00H Device family code (MSB)

00H Device family number code (LSB)

12H Device family number code (MSB)

00H Software revision level

01H Software revision level

00H Software revision level

00H Software revision level

F7H EOX (End of Exclusive)

Data byte Status

Explanation

8

3. Parameter Address Map (Model ID = 42H)

This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).”

All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.

Address Block map

An outlined address map of the Exclusive Communication is as follows;

Address (H) Block

40 00 00 +—————————————————————————+

40 01 3F +—————————————————————————+
40 1x 00 +—————————————————————————+

40 2x 5A +—————————————————————————+
41 m0 00 +—————————————————————————+

41 m8 7F +—————————————————————————+
48 00 00 +—————————————————————————+

48 01 10 +—————————————————————————+

48 1D 0F +—————————————————————————+
49 m0 00 +—————————————————————————+

49 mE 17 +—————————————————————————+

There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in which a

large amount of data is transmitted at once.

| SYSTEM PARAMETERS | Individual

| PART PARAMETERS | Individual
| (x = 0-F) |

| SRUM SETUP PARAMETERS | Individual
| (m = 0-1) |

| SYSTEM PARAMETERS | Bulk

| PART PARAMETERS | Bulk

| DRUM SETUP PARAMETER | Bulk
| (m = 0-1) |

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Individual Parameters

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

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

System Parameters

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

Address (H)

40 00 00 00 00 04 0018-07E8 MASTER TUNE -100.0 - +100.0 [cent] 00 04 00 00 0 [cent]

40 00 01# Use nibblized data.

40 00 02#

40 00 03#

* Refer to section 4. Supplementary material, “About tuning” (p. 15).

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

40 00 05 00 00 01 28-58 MASTER KEY-SHIFT -24 - +24 [semitones] 40 0 [semitones]

40 00 06 00 00 01 01-7F MASTER PAN -63 (LEFT) - +63 (RIGHT) 40 0 (CENTER)

40 00 7F 00 00 01 00 MODE SET 00 = GS Reset,

* Refer to “System exclusive messages related to mode settings” (p. 5).

40 01 10 00 00 10 00-40 VOICE RESERVE Part 10 (Drum Part) 02 2

40 01 11# Part 1 06 6

40 01 12# Part 2 02 2

40 01 13# Part 3 02 2

40 01 14# Part 4 02 2

40 01 15# Part 5 02 2

40 01 16# Part 6 02 2

40 01 17# Part 7 02 2

40 01 18# Part 8 02 2

40 01 19# Part 9 02 2

40 01 1A# Part 11 00 0

40 01 :# :

40 01 1F# Part 16 00 0

* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128. For

compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.

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

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

127 = Exit GS mode(Rx. only)

40 01 30 00 00 01 00-07 REVERB MACRO 00: Room 1 04 Hall 2

40 01 31 00 00 01 00-07 REVERB CHARACTER 0-7 04 4

40 01 32 00 00 01 00-07 REVERB PRE-LPF 0-7 000

40 01 33 00 00 01 00-7F REVERB LEVEL 0-127 4064

40 01 34 00 00 01 00-7F REVERB TIME 0-127 4064

40 01 35 00 00 01 00-7F REVERB DELAY FEEDBACK 0-127 000

* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to the most

suitable value.

* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.

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

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

40 01 3A 00 00 01 00-7F CHORUS LEVEL 0-127 40 64

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

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

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

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

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

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

most suitable value.

40 03 00 00 00 02 00 - 7F EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 01 Thru

* Refer to EFX Type Table (p. 16)

* This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.

40 03 03 00 00 01 00 - 7F EFX Parameter 1

40 03 04 00 00 01 00 - 7F EFX Parameter 2

40 03 05 00 00 01 00 - 7F EFX Parameter 3

40 03 06 00 00 01 00 - 7F EFX Parameter 4

40 03 07 00 00 01 00 - 7F EFX Parameter 5

40 03 08 00 00 01 00 - 7F EFX Parameter 6

40 03 09 00 00 01 00 - 7F EFX Parameter 7

40 03 0A 00 00 01 00 - 7F EFX Parameter 8

40 03 0B 00 00 01 00 - 7F EFX Parameter 9

40 03 0C 00 00 01 00 - 7F EFX Parameter 10

40 03 0D 00 00 01 00 - 7F EFX Parameter 11

40 03 0E 00 00 01 00 - 7F EFX Parameter 12

40 03 0F 00 00 01 00 - 7F EFX Parameter 13

40 03 10 00 00 01 00 - 7F EFX Parameter 14

40 03 11 00 00 01 00 - 7F EFX Parameter 15

40 03 12 00 00 01 00 - 7F EFX Parameter 16

40 03 13 00 00 01 00 - 7F EFX Parameter 17

40 03 14 00 00 01 00 - 7F EFX Parameter 18

40 03 15 00 00 01 00 - 7F EFX Parameter 19

40 03 16 00 00 01 00 - 7F EFX Parameter 20

* Each parameter will be changed by EFX type. Refer to EFX Parameter Map. (p. 16)

40 03 17 00 00 01 00 - 7F EFX Send Level to Reverb

* Set to 0 when EFX type is changed.

40 03 18 00 00 01 00 - 7F EFX Send Level to Chorus

* Set to 0 when EFX type is changed.

40 03 1A 00 00 01 00 - 7F EFX Depth Dry 100% - EFX 100% 7F

40 03 1B 00 00 01 00 - 7F EFX Control Source 1 00: OFF 00

40 03 1C 00 00 01 00 - 7F EFX Control Depth 1 7F -100% - +100%

40 03 1D 00 00 01 00 - 7F EFX Control Source 2 *Refer to EFX Control Source 1 00

40 03 1E 00 00 01 00 - 7F EFX Control Depth 2 7F -100% - +100%

* Marked #1 or #2 can be controlled by EFX CONTROL SOURCE 1 or 2.

01: Room 2

02: Room 3

03: Hall 1

04: Hall 2

05: Plate

06: Delay

07: Panning Delay

01: Chorus 2

02: Chorus 3

03: Chorus 4

04: Feedback Chorus

05: Flanger

06: Short Delay

07: Short Delay (FB)

01 - 5F: Control Change No.

71: CAf

72: Bender

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●Part Parameters

This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters.

If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block number can be

specified as one of 16 blocks, from 0 (H) to F (H).

The relation between Part number and Block number is as follows.

x...BLOCK NUMBER (0-F), Part 1 (MIDI ch = 1) x = 1

Part 2 (MIDI ch = 2) x = 2

: : :

Part 9 (MIDI ch = 9) x = 9

Part10 (MIDI ch = 10) x = 0

Part11 (MIDI ch = 11) x = A

Part12 (MIDI ch = 12) x = B

: : :

Part16 (MIDI ch = 16) x = F

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1 = MAP1 01 at x = 0 MAP1 at x =0

2 = MAP2

* This parameter sets the Drum Map of the Part used as the Drum Part. This instrument can simultaneously (in different Parts) use up to two Drum Maps (MAP1, MAP2). With the initial

settings, Part10 (MIDI CH = 10, x = 0) is set to MAP1 (1), and other Parts are set to normal instrumental Parts (OFF (0)).

40 1x 16 00 00 01 28-58 PITCH KEY SHIFT -24 - +24 [semitones] 40 0 [semitones]

40 1x 17 00 00 02 08-F8 PITCH OFFSET FINE -12.0 - +12.0 [Hz] 08 00 0 [Hz]

40 1x 18# Use nibblized data.

* PITCH OFFSET FINE allows you to alter, by a specified frequency amount, the pitch at which notes will sound. This parameter differs from the conventional Fine Tuning (RPN #1) parameter

in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given a different setting for

PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.

40 1x 19 00 00 01 00-7F PART LEVEL 0-127 64 100

(= CC# 7)

40 1x 1A 00 00 01 00-7F VELOCITY SENSE DEPTH 0-127 40 64

40 1x 1B 00 00 01 00-7F VELOCITY SENSE OFFSET 0-127 40 64

40 1x 1C 00 00 01 00-7F PART PANPOT -64 (RANDOM), 40 0 (CENTER)

-63 (LEFT) - +63 (RIGHT)

(= CC# 10, except RANDOM)

40 1x 1D 00 00 01 00-7F KEY RANGE LOW (C-1)-(G9) 00 C-1

40 1x 1E 00 00 01 00-7F KEY RANGE HIGH (C-1)-(G9) 7F G 9

40 1x 1F 00 00 01 00-5F CC1 CONTROLLER NUMBER 0-95 10 16

40 1x 20 00 00 01 00-5F CC2 CONTROLLER NUMBER 0-95 11 17

40 1x 21 00 00 01 00-7F CHORUS SEND LEVEL 0-127 00 0

(= CC# 93)

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

(= CC# 91)

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

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

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

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

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

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* This instrument can be recognise Bank Select LSB (40H-43H) even if this message is OFF.

40 1x 25 00 00 01 00-01 TONE REMAIN OFF/ON 01 ON

40 1x 28 00 00 03 00-7F Bank Select LSB Range LSB (from) 40 40H

40 1x 29# LSB (to) 43 43H

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

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

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

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

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

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

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

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

40 1x 40 00 00 0C 00-7F SCALE TUNING C -64 - +63 [cent] 40 0 [cent]

40 1x 41# 00-7F SCALE TUNING C# -64 - +63 [cent] 40 0 [cent]

40 1x 42# 00-7F SCALE TUNING D -64 - +63 [cent] 40 0 [cent]

40 1x 43# 00-7F SCALE TUNING D# -64 - +63 [cent] 40 0 [cent]

40 1x 44# 00-7F SCALE TUNING E -64 - +63 [cent] 40 0 [cent]

40 1x 45# 00-7F SCALE TUNING F -64 - +63 [cent] 40 0 [cent]

40 1x 46# 00-7F SCALE TUNING F# -64 - +63 [cent] 40 0 [cent]

40 1x 47# 00-7F SCALE TUNING G -64 - +63 [cent] 40 0 [cent]

40 1x 48# 00-7F SCALE TUNING G# -64 - +63 [cent] 40 0 [cent]

40 1x 49# 00-7F SCALE TUNING A -64 - +63 [cent] 40 0 [cent]

40 1x 4A# 00-7F SCALE TUNING A# -64 - +63 [cent] 40 0 [cent]

40 1x 4B# 00-7F SCALE TUNING B -64 - +63 [cent] 40 0 [cent]

* SCALE TUNING is a function that allows fine adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change simultaneously. A setting of

+/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary material, “The Scale Tune Feature”(p. 15).

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

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

40 2x 02 00 00 01 00-7F MOD AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 03 00 00 01 00-7F MOD LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 04 00 00 01 00-7F MOD LFO1 PITCH DEPTH 0-600 [cent] 0A 47 [cent]

40 2x 05 00 00 01 00-7F MOD LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 06 00 00 01 00-7F MOD LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 07 00 00 01 00-7F MOD LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 08 00 00 01 00-7F MOD LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 09 00 00 01 00-7F MOD LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

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

40 2x 10 00 00 01 40-58 BEND PITCH CONTROL 0-24 [semitone] 42 2 [semitones]

40 2x 11 00 00 01 00-7F BEND TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]

40 2x 12 00 00 01 00-7F BEND AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 13 00 00 01 00-7F BEND LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 14 00 00 01 00-7F BEND LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 15 00 00 01 00-7F BEND LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 16 00 00 01 00-7F BEND LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 17 00 00 01 00-7F BEND LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 18 00 00 01 00-7F BEND LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 19 00 00 01 00-7F BEND LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 1A 00 00 01 00-7F BEND LFO2 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 20 00 00 01 28-58 CAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones]

40 2x 21 00 00 01 00-7F CAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]

40 2x 22 00 00 01 00-7F CAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 23 00 00 01 00-7F CAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 24 00 00 01 00-7F CAf LFO1 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 25 00 00 01 00-7F CAf LFO1 TVF DEPTH 0-2400 [cent] 00 0 [cent]

40 2x 26 00 00 01 00-7F CAf LFO1 TVA DEPTH 0-100.0 [%] 00 0 [%]

40 2x 27 00 00 01 00-7F CAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

40 2x 28 00 00 01 00-7F CAf LFO2 PITCH DEPTH 0-600 [cent] 00 0 [cent]

40 2x 29 00 00 01 00-7F CAf LFO2 TVF DEPTH 0-2400 [cent] 00 0 [cent]

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

40 2x 30 00 00 01 28-58 PAf PITCH CONTROL -24 - +24 [semitone] 40 0 [semitones]

40 2x 31 00 00 01 00-7F PAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]

40 2x 32 00 00 01 00-7F PAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]

40 2x 33 00 00 01 00-7F PAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]

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

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

Vibrato rate (= NRPN# 8)

Vibrato depth (= NRPN# 9)

TVF cutoff frequency (= NRPN# 32)

TVF resonance (= NRPN# 33)

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

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

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

Vibrato delay (= NRPN# 10)

12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

40 4x 23 00 00 02 00-7F PART EFX TYPE (MSB, LSB) 00 00 - 7F 7F 00 00 0

* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter (p. 9), the part connect to EFX.

40 4x 25# 00 00 01 00-7F PART EFX MACRO 00-7F 00 00 0

40 4x 26# 00 00 01 00-7F PART EFX DEPTH 00-7F 00 00 0

40 4x 51 00 00 0B 00-7F HARMONIC BAR SET always 00 00 0

40 4x 52# 00-7F PERCUSSION 00(OFF) 00 OFF

40 4x 53# 00-7F HARMONIC BAR 16’ 00(OFF), 0F(ON) 00 OFF

40 4x 54# 00-7F HARMONIC BAR 5+1/3’ 00(OFF), 0F(ON) 00 OFF

40 4X 55# 00-7F HARMONIC BAR 8’ 00(OFF), 0F(ON) 00 OFF

40 4X 56# 00-7F HARMONIC BAR 4’ 00(OFF), 0F(ON) 00 OFF

40 4X 57# 00-7F HARMONIC BAR 2+2/3’ 00(OFF), 0F(ON) 00 OFF

40 4X 58# 00-7F HARMONIC BAR 2’ 00(OFF), 0F(ON) 00 OFF

40 4X 59# 00-7F HARMONIC BAR 1+3/5’ 00(OFF), 0F(ON) 00 OFF

40 4X 5A# 00-7F HARMONIC BAR 1+1/3’ 00(OFF), 0F(ON) 00 OFF

40 4X 5B# 00-7F HARMONIC BAR 1’ 00(OFF), 0F(ON) 00 OFF

01(4, Short)

02(2+2/3, Short)

41(4, Long)

42(2+2/3, Long)

●Drum Setup Parameters

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

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

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

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

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

(= NRPN# 26)

41 m3 rr 00 00 01 00-7F ASSIGN GROUP NUMBER Non, 1-127

41 m4 rr 00 00 01 00-7F PANPOT -64 (RANDOM), -63 (LEFT) - +63 (RIGHT)

(= NRPN# 28, except RANDOM)

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

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

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

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

41 m7 rr 00 00 01 00-01 Rx. NOTE OFF OFF/ON

41 m8 rr 00 00 01 00-01 Rx. NOTE ON OFF/ON

* When the Drum Set is changed, DRUM SETUP PARAMETER values will all be initialized.

Section 4. Supplementary material

13

4. Supplementary material

●Decimal and Hexadecimal table

In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are

expressed as hexadecimal values for each 7 bits.

The following table shows how these correspond to decimal numbers.

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

* Decimal values such as MIDI channel, bank select, and program change are listed as one

(1) greater than the values given in the above table.

* A 7-bit byte can express data in the range of 128 steps. For data where greater precision

is required, we must use two or more bytes. For example, two hexadecimal numbers aa

bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.

* In the case of values which have a +/- sign, 00H = -64, 40H = +/- 0, and 7FH = +63, so

that the decimal expression would be 64 less than the value given in the above chart. In

the case of two types, 00 00H = -8192, 40 00H = +/- 0, and 7F 7FH = +8191. For example if

aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x

128.

* Data marked “nibbled” is expressed in hexadecimal in 4-bit units. A value expressed as a

2-byte nibble 0a 0bH has the value of a x 16 + b.

<Example1> What is the decimal expression of 5AH ?

From the preceding table, 5AH = 90

<Example2> What is the decimal expression of the value 12 34H given as

hexadecimal for each 7 bits?

From the preceding table, since 12H = 18 and 34H = 52

18 x 128 + 52 = 2356

<Example3> What is the decimal expression of the nibbled value 0A 03

09 0D ?

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

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

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

16) 1258
—————————

16) 78... 10
—————————

16) 4... 14
—————————

0... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is 00 04 0E

0AH.

●Examples of actual MIDI messages

<Example1> 92 3E 5F

9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and

5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),

and velocity 95.

<Example2> CE 49

CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and

49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute

in GS).

<Example3> EA 00 28

EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H

= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed

number in which 40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40

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

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

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

applied to MIDI channel 11.

<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F

BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,

the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or

more messages consecutive messages have the same status, MIDI has a provision called

“running status” which allows the status byte of the second and following messages to be

omitted. Thus, the above messages have the following meaning.

B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H

(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H

(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH

(B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H

(B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH

(B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH

In other words, the above messages specify a value of 0C 00H for RPN parameter number

00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.

RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates

semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/- 12

semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored, but

the LSB should be transmitted anyway (with a value of 0) so that operation will be correct

on any device.)

Once the parameter number has been specified for RPN or NRPN, all Data Entry messages

transmitted on that same channel will be valid, so after the desired value has been

transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.

This is the reason for the (B3) 64 7F (B3) 65 7F at the end.

It is not desirable for performance data (such as Standard MIDI File data) to contain many

events with running status as given in <Example 4>. This is because if playback is halted

during the song and then rewound or fast-forwarded, the sequencer may not be able to

transmit the correct status, and the sound source will then misinterpret the data. Take care

to give each event its own status.

It is also necessary that the RPN or NRPN parameter number setting and the value setting

be done in the proper order. On some sequencers, events occurring in the same (or

consecutive) clock may be transmitted in an order different than the order in which they

were received. For this reason it is a good idea to slightly skew the time of each event (about

1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).

* TPQN: Ticks Per Quarter Note

14

●Example of an Exclusive message and calculating a
Checksum

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

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

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

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

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

inverting the lower 7 bits.

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

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

aa + bb + cc + dd + ee + ff = sum

sum / 128 = quotient ... remainder

128 - remainder = checksum

<Example> Setting REVERB MACRO to ROOM 3

According to the “Parameter Address Map,” the REVERB MACRO Address is 40 01 30H,

and ROOM 3 is a value of 02H. Thus,

F0 41 10 42 12 40 01 30 02 ?? F7

-- -- -- -- -- -------- -- -- --

(1) (2) (3) (4) (5) Address data Checksum (6)

(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17),

(4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive

Next we calculate the checksum.

40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum)

115 (sum) / 128 = 0 (quotient) ... 115 (remainder)

checksum = 128 - 115 (remainder) = 13 = 0DH

This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.

●About tuning

In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the

appropriate MIDI channel.

In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being

used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H).

RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be precise,

100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of 0.1 cent.

One cent is 1/100th of a semitone.

The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are

added together to determine the actual pitch sounded by each Part.

●The Scale Tune Feature (address: 40 1x 40)

The scale Tune feature allows you to finely adjust the individual pitch of the notes from C

through B. Though the settings are made while working with one octave, the fine

adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can

obtain a complete variety of tuning methods other than equal temperament. As examples,

three possible types of scale setting are explained below.

❍Equal Temperament

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

used form of tuning,

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

feature produce equal temperament.

❍Just Temperament (Keytone C)

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

this benefit can only be obtained in one key. If transposed, the chords tend to become

ambiguous. The example given involves settings for a key in which C is the keynote.

❍Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for

ethnic music. For example, the settings introduced below will set the unit to use the Arabian

Scale.

Example Settings

Note name Equal Temperament Just Temperament (Keytone C) Arabian Scale

C0 0 -6

C# 0 -8 +45

D 0 +4 -2

D# 0 +16 -12

E 0 -1 -51

F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +1 +47

A 0 -16 0

A# 0 +14 -10

B 0 -12 -49

The values in the table are given in cents. Refer to the explanation of Scale Tuning (p. 6) to

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

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

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

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

are in hexadecimal (decimal in parentheses).

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

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

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

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

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

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

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

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

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

15

■EFX Type Table

■EFX Parameter Map

MSB LSB Type

01H 00H Equalizer

01H 01H Spectrum

01H 02H Enhancer

01H 04H Isolator

01H 05H Low Boost

01H 06H High Pass Filter

01H 10H Overdrive

01H 11H Distortion

01H 12H Overdrive2

01H 13H Distortion2

01H 07H Speaker Simulator

01H 14H Guitar Amp Simulator

01H 20H Phaser

01H 29H Multi Stage Phaser

01H 2aH Infinite Phaser

01H 23H Stereo Flanger

01H 27H 3D Flanger

01H 28H 2Band Flanger

01H 21H Auto Wah

01H 03H Humanizer

01H 2bH Ring Modulator

01H 25H Tremolo

01H 26H Auto Pan

01H 2cH Slicer

01H 30H Compressor

01H 31H Limiter

01H 42H Stereo Chorus

01H 40H Hexa Chorus

01H 41H Tremolo Chorus

01H 43H Space D

01H 44H 3D Chorus

01H 45H 2 Band Chorus

01H 22H Rotary

01H 2dH Rotary2

03H 00H Rotary Multi

01H 5bH Stereo Delay1

01H 5cH Stereo Delay2

01H 5dH Stereo Delay3

01H 5eH Stereo Delay4

01H 5fH Stereo Delay5

01H 50H Monaural Delay

01H 51H Modulation Delay

01H 52H Triple Tap Delay

01H 57H 3D Delay

01H 59H Tape Echo

01H 5aH Reverse Delay

01H 72H Lo-Fi

01H 75H Telephone

01H 56H Gate Reverb

02H 00H Overdrive -> Chorus

02H 01H Overdrive -> Flanger

02H 02H Overdrive -> Delay

02H 03H Distortion -> Chorus

02H 04H Distortion -> Flanger

02H 05H Distortion -> Delay

02H 06H Enhancer -> Chorus

02H 07H Enhancer -> Flanger

02H 08H Enhancer -> Delay

02H 09H Chorus -> Delay

02H 0aH Flanger -> Delay

02H 0bH Chorus -> Flanger

00H 40H Damper Resonance

● 0100: EQUALIZER

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

No Parameter Value Default Description

1 Low Freq 0 - 1 200, 400 Hz Frequency of the low range
2 Low Gain # 0 - 30 -15- +15 dB Gain of the low range
3 Mid1 Freq 0 - 16 200-8000 Hz Frequency of the middle range 1
4 Mid1 Gain 0 - 30 -15- +15 dB Gain of the middle range 1
5 Mid1 Q 0 - 4 0.5, 1.0, 2.0,

6 Mid2 Freq 0 - 16 200-8000 Hz Frequency of the middle range 2
7 Mid2 Gain 0 - 30 -15- +15 dB Gain of the middle range 2
8 Mid2 Q 0 - 4 0.5, 1.0, 2.0,

9 High Freq 0 - 2 2000, 4000,

10 High Gain # 0 - 30 -15- +15 dB Gain of the high range
11 Level 0 - 127 0-127 Output Level

4.0, 8.0

4.0, 8.0

8000 Hz

Width of the middle range 1
Set a higher value for Q to narrow the
range to be affected.

Width of the middle range 2
Set a higher value for Q to narrow the
range to be affected.

Frequency of the high range

● 0101: SPECTRUM

This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting

or cutting the level at specific frequencies.

No Parameter Value Default Description

1 Band1 (250Hz) 0 - 30 -15- +15 dB Gain of each frequency band
2 Band2 (500Hz) #0 - 30

3 Band3

(1000Hz)

4 Band4

(1250Hz) #

5 Band5

(2000Hz)

6 Band6

(3150Hz)

7 Band7

(4000Hz)

8 Band8

(8000Hz)

9 Q 0 - 4 0.5, 1.0, 2.0,

10 Level 0 - 127 0-127 Output Level

0 - 30

0 - 30

0 - 30

0 - 30

0 - 30

0 - 30

4.0, 8.0

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

● 0102: ENHANCER

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the

sound.

No Parameter Value Default Description

1 Sens # 0 - 127 0-127 Sensitivity of the enhancer
2 Mix # 0 - 127 0-127 Level of the overtones generated by

3 Low Gain 0 - 30 -15- +15 dB Gain of the low range
4 High Gain 0 - 30 -15- +15 dB Gain of the high range
5 Level 0 - 127 0-127 Output Level

the enhancer

● 0104: ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to add a special effect to

the sound by cutting the volume in varying ranges.

No Parameter Value Default Description

1 Boost/Cut

Low

2 Boost/Cut Mid #0 - 64

3 Boost/Cut

High #

4 Anti Phase

Low Sw

5 Anti Phase

Low Level

6 Anti Phase Mid Sw0 - 1 OFF, ON Settings of the Anti-Phase function

7 Anti Phase Mid

Level

0 - 64 -60- +4 dB These boost and cut each of the High,

0 - 64

0 - 1 OFF, ON Turns the Anti-Phase function on

0 - 127 0-127 Adjusts the level settings for the Low

0 - 127 0-127

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

and off for the Low frequency ranges.
When turned on, the counter-chan­nel of stereo sound is inverted and
added to the signal.

frequency ranges.
Adjusting this level for certain fre­quencies allows you to lend empha­sis to specific parts. (This is effective
only for stereo source.)

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

16

No Parameter Value Default Description

8 Low Boost Sw 0 - 1 OFF, ON Turns Low Booster on/off.

9 Low Boost Lev-el0 - 127 0-127 Increasing this value gives you a

10 Level 0 - 127 0-127 Output Level

This emphasizes the bottom to create
a heavy bass sound.

heavier low end.
Depending on the Isolator and filter
settings this effect may be hard to
distinguish.

● 0105: LOW BOOST

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

No Parameter Value Default Description

1 Boost Frequen-

cy #

2 Boost Gain # 0 - 12 0- +12 dB Amount by which the lower range

3 Boost Width 0 - 2 WIDE, MID,

4 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
5 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
6 Level 0 - 127 0-127 Output level

0 - 8 50-125 Hz Center frequency at which the lower

NARROW

range will be boosted

will be boosted
Width of the lower range that will be

boosted

● 0106: SUPER FILTER

This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically.

No Parameter Value Default Description

1 Filter Type 0 - 3 LPF, BPF,

2 Filter Slope 0 - 2 -12, -24, -36 dB Amount of attenuation per octave

3 Filter Cutoff # 0 - 127 0-127 Cutoff frequency of the filter

4 Filter Reso-

nance #

5 Filter Gain 0 - 12 0- +12 dB Amount of boost for the filter output
6 Modulation Sw 0 - 1 OFF, ON On/off switch for cyclic change
7 Modulation

Wave

8 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

9 Rate 1 - 127 0.05-10.00 Hz Rate of modulation (Hz)
10 Rate 0 - 21 note (*1) Rate of modulation (note)
11 Depth 0 - 127 0-127 Depth of modulation
12 Attack 0 - 127 0-127 Speed at which the cutoff frequency

13 Level 0 - 127 0-127 Output level

HPF, NOTCH

0 - 100 0-127 Filter resonance level

0 - 4 TRI, SQR,

SIN, SAW1,
SAW2

Filter type
Frequency range that will pass
through each filter

LPF: Frequencies below the cutoff
BPF: Frequencies in the region of the

cutoff

HPF: Frequencies above the cutoff
NOTCH: Frequencies other than the

region of the cutoff

-36 dB: Extremely steep

-24 dB: Steep

-12 dB: Gentle

Increasing this value will raise the
cutoff frequency.

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

How the cutoff frequency will be
modulated

TRI: Triangle wave
SQR: Square wave
SIN: Sine wave
SAW1: Sawtooth wave (upward)
SAW2: Sawtooth wave (downward)

synchronized with the tempo.

will change
This is effective if Modulation Wave
is SQR, SAW1, or SAW2.

● 0110: OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube amplifiers.

No Parameter Value Default Description

1 Drive 0 - 127 0-127 Degree of distortion

2 Amp Type # 0 - 3 SMALL,

3 Low Gain 0 - 30 -15- +15 dB Gain of the low range
4 High Gain 0 - 30 -15- +15 dB Gain of the high range
5 Pan 0 - 127 L64-63R Stereo location of the output sound
6 Level # 0 - 127 0-127 Output Level

BUILT-IN,
2-STACK,
3-STACK

Also changes the volume.
Type of guitar amp

SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp

● 0111: DISTORTION

Produces a more intense distortion than Overdrive. The parameters are the same as for

“OVERDRIVE.”

● 0112: VS OVERDRIVE

This is an overdrive that provides heavy distortion.

No Parameter Value Default Description

1 Drive 0 - 127 0-127 Degree of distortion

2 Tone 0 - 127 0-127 Sound quality of the Overdrive effect
3 Amp Sw 0 - 1 OFF, ON Turns the Amp Simulator on/off.
4 Amp Type # 0 - 3 SMALL,

5 Low Gain 0 - 30 -15- +15 dB Gain of the low range
6 High Gain 0 - 30 -15- +15 dB Gain of the high range
7 Pan 0 - 127 L64-63R Stereo location of the output sound
8 Level # 0 - 127 0-127 Output Level

BUILT-IN, 2­STACK, 3­STACK

Also changes the volume.

Type of guitar amp

SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp

● 0113: VS DISTORTION

This is a distortion effect that provides heavy distortion. The parameters are the same as for

“VS OVERDRIVE.”

● 0107: SPEAKER SIMULATOR

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

No Parameter Value Default Description

1 Speaker Type # 0 - 15 (See the

2 Mic Setting 0 - 2 1, 2, 3 Adjusts the location of the mic that is

3 Mic Level 0 - 127 0-127 Volume of the microphone
4 Direct Level 0 - 127 0-127 Volume of the direct sound
5 Level # 0 - 127 0-127 Output Level

Specifications of each Speaker Type

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

of units.

Type Cabinet Speaker Microphone

SMALL 1 small open-back enclo-

SMALL 2 small open-back enclo-

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

sure

sure

table.)

Type of speaker

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

10 dynamic

10 dynamic

● 0114: GUITAR AMP SIMULATOR

This is an effect that simulates the sound of a guitar amplifier.

No Parameter Value Default Description

1 Pre Amp Sw 0 - 1 OFF, ON Turns the amp switch on/off.
2 Pre Amp Type #0 - 13 JC-120,

3 Pre Amp Vol-

ume

CLEAN
TWIN,
MATCH
DRIVE,
BG LEAD,
MS1959I,
MS1959II,
MS1959I+II,
SLDN LEAD,
METAL5150,
METAL
LEAD,
OD-1,
OD-2 TURBO,
DISTOR­TION,
FUZZ

0 - 127 0-127 Volume and amount of distortion of

Type of guitar amp

the amp

17

No Parameter Value Default Description

4 Pre Amp Mas-

ter

5 Pre Amp Gain 0 - 2 LOW, MID-

6 Pre Amp Bass 0 - 127 0-127 Tone of the bass/mid/treble fre­7 Pre Amp Mid-

dle

8 Pre Amp Tre-

ble

9 Pre Amp Pres-

ence

10 Pre Amp

Bright

11 Speaker Sw 0 - 1 OFF, ON Determines whether the signal pass-

12 Speaker Type # 0 - 15 (See the table.) Type of speaker
13 Mic Setting 0 - 2 1, 2, 3 Adjusts the location of the mic that’s

14 Mic Level 0 - 127 0-127 Volume of the microphone
15 Direct Level 0 - 127 0-127 Volume of the direct sound
16 Pan 0 - 127 L64-63R Stereo location of the output
17 Level 0 - 127 0-127 Output level

Specifications of each Speaker Type

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

of units.

Type Cabinet Speaker Microphone

SMALL 1 small open-back enclo-

SMALL 2 small open-back enclo-

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

0 - 127 0-127 Volume of the entire pre-amp

DLE, HIGH

0 - 127

0 - 127

0 - 127 0-127

(MATCH
DRIVE: -127 -

0)

0 - 1 OFF, ON Turning this “On” produces a sharp-

sure

sure

Amount of pre-amp distortion

quency range
Middle cannot be set if “Match
Drive” is selected as the Pre Amp
Type.

Tone for the ultra-high frequency
range

er and brighter sound.
This parameter applies to the “JC­120,” “Clean Twin,” and “BG Lead”
Pre Amp Types.

es through the speaker (ON), or not
(OFF).

capturing the sound of the speaker.
This can be adjusted in three steps,
from 1 to 3, with the mic becoming
more distant as the value increases.

10 dynamic

10 dynamic

● 0120: PHASER

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

modulated.

No Parameter Value Default Description

1 Mode 0 - 2 4-STAGE, 8-

2 Manual # 0 - 127 0-127 Adjusts the basic frequency from

3 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

4 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
5 Rate 0 - 21 note (*1) Frequency of modulation (note)
6 Depth 0 - 127 0-127 Depth of modulation
7 Polarity 0 - 1 INVERSE,

8 Resonance 0 - 127 0-127 Amount of feedback
9 Cross Feedback 0 - 98 -98- +98 % Adjusts the proportion of the phaser

10 Mix 0 - 127 0-127 Level of the phase-shifted sound
11 Low Gain 0 - 30 -15- +15 dB Gain of the low range
12 High Gain 0 - 30 -15- +15 dB Gain of the high range

STAGE, 12­STAGE

SYNCHRO

Number of stages in the phaser

which the sound will be modulated.

synchronized with the tempo.

Selects whether the left and right
phase of the modulation will be the
same or the opposite.
INVERSE: The left and right phase
will be opposite. When using a mono
source, this spreads the sound.
SYNCHRO: The left and right phase
will be the same. Select this when in­putting a stereo source.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

No Parameter Value Default Description

13 Level 0 - 127 0-127 Output Level

● 0129: MULTI STAGE PHASER

Extremely high settings of the phase difference produce a deep phaser effect.

No Parameter Value Default Description

1 Mode 0 - 5 4-STAGE,

2 Manual # 0 - 127 0-127 Adjusts the basic frequency from

3 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

4 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
5 Rate 0 - 21 note (*1) Frequency of modulation (note)
6 Depth 0 - 127 0-127 Depth of modulation
7 Resonance 0 - 127 0-127 Amount of feedback
8 Mix 0 - 127 0-127 Level of the phase-shifted sound
9 Pan 0 - 127 L64-63R Stereo location of the output sound
10 Low Gain 0 - 30 -15- +15 dB Gain of the low range
11 High Gain 0 - 30 -15- +15 dB Gain of the high range
12 Level 0 - 127 0-127 Output Level

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

Number of phaser stages

which the sound will be modulated.

synchronized with the tempo.

● 012a: INFINITE PHASER

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

No Parameter Value Default Description

1 Mode 0 - 3 1, 2, 3, 4 Higher values will produce a deeper

2 Speed # 0 - 127 -100- +100 Speed at which to raise or lower the

3 Resonance # 0 - 127 0-127 Amount of feedback
4 Mix 0 - 127 0-127 Volume of the phase-shifted sound
5 Pan 0 - 127 L64-63R Panning of the output sound
6 Low Gain 0 - 30 -15- +15 dB Amount of boost/cut for the low-fre-

7 High Gain 0 - 30 -15- +15 dB Amount of boost/cut for the high-

8 Level 0 - 127 0-127 Output volume

phaser effect.

frequency at which the sound is
modulated
(+: upward / -: downward)

quency range

frequency range

● 0123: FLANGER

This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a

metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is

provided so that you can adjust the timbre of the flanged sound.

No Parameter Value Default Description

1 Filter Type 0 - 2 OFF, LPF,

2 Cutoff Freq 0 - 16 200-8000 Hz Basic frequency of the filter
3 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from when

4 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

5 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Depth # 0 - 127 0-127 Depth of modulation
8 Phase 0 - 90 0-180 deg Spatial spread of the sound
9 Feedback 0 - 98 -98- +98 % Adjusts the proportion of the flanger

10 Low Gain 0 - 30 -15- +15 dB Gain of the low range
11 High Gain 0 - 30 -15- +15 dB Gain of the high range
12 Balance 0 - 100 D100:0W-

13 Level 0 - 127 0-127 Output Level

HPF

D0:100W

Type of filter

OFF: No filter is used
LPF: Cuts the frequency range above

the Cutoff Freq
HPF: Cuts the frequency range below
the Cutoff Freq

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Volume balance between the direct
sound (D) and the flanger sound (W)

18

● 0127: 3D FLANGER

This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90

degrees left and 90 degrees right.

No Parameter Value Default Description

1 Filter Type 0 - 2 OFF, LPF,

2 Cutoff Freq 0 - 16 200-8000 Hz Basic frequency of the filter
3 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from when

4 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

5 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Depth # 0 - 127 0-127 Depth of modulation
8 Phase 0 - 90 0-180 deg Spatial spread of the sound
9 Feedback 0 - 98 -98- +98 % Adjusts the proportion of the flanger

10 Output Mode 0 - 1 SPEAKER,

11 Low Gain 0 - 30 -15- +15 dB Gain of the low range
12 High Gain 0 - 30 -15- +15 dB Gain of the high range
13 Balance 0 - 100 D100:0W-

14 Level 0 - 127 0-127 Output Level

HPF

PHONES

D0:100W

Type of filter

OFF: No filter is used
LPF: Cuts the frequency range above

the Cutoff Freq
HPF: Cuts the frequency range below
the Cutoff Freq

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the method that will be used
to hear the sound that is output to the
OUTPUT jacks. The optimal 3D effect
will be achieved if you select SPEAK­ER when using speakers, or
PHONES when using headphones.

Volume balance between the direct
sound (D) and the flanger sound (W)

● 0121: AUTO WAH

Cyclically controls a filter to create cyclic change in timbre.

No Parameter Value Default Description

1 Filter Type 0 - 1 LPF, BPF Type of filter

2 Manual # 0 - 127 0-127 Adjusts the center frequency at

3 Peak 0 - 127 0-127 Adjusts the amount of the wah effect

4 Sens 0 - 127 0-127 Adjusts the sensitivity with which

5 Polarity 0 - 1 UP, DOWN Sets the direction in which the fre-

6 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

7 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
8 Rate 0 - 21 note (*1) Frequency of modulation (note)
9 Depth 0 - 127 0-127 Depth of modulation
10 Phase 0 - 90 0-180 deg Adjusts the degree of phase shift of

11 Low Gain 0 - 30 -15- +15 dB Gain of the low range
12 High Gain 0 - 30 -15- +15 dB Gain of the high range
13 Level 0 - 127 0-127 Output Level

LPF: The wah effect will be applied
over a wide frequency range.
BPF: The wah effect will be applied
over a narrow frequency range.

which the effect is applied.

that will occur in the range of the cen­ter frequency.
Set a higher value for Q to narrow the
range to be affected.

the filter is controlled.

quency will change when the auto­wah filter is modulated.
UP: The filter will change toward a
higher frequency.
DOWN: The filter will change toward
a lower frequency.

synchronized with the tempo.

the left and right sounds when the
wah effect is applied.

● 0128: 2BAND FLANGER

A flanger that lets you apply an effect independently to the low-frequency and high-

frequency ranges.

No Parameter Value Default Description

1 Split Freq 0 - 16 200-8000 Hz Frequency at which the low and high

2 Low Pre Delay 0 - 125 0.0-100.0 ms Delay time from when the original

3 Low Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

4 Low Rate # 1 - 127 0.05-10.00 Hz Rate at which the low-range flanger

5 Low Rate 0 - 21 note (*1) Rate at which the low-range flanger

6 Low Depth 0 - 127 0-127 Modulation depth for the low-range

7 Low Phase 0 - 90 0-180 deg Spaciousness of the low-range

8 Low Feedback 0 - 98 -98- +98 % Proportion of the low-range flanger

9 High Pre Delay 0 - 125 0.0-100.0 ms Delay time from when the original

10 High Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

11 High Rate # 1 - 127 0.05-10.00 Hz Rate at which the high-range flanger

12 High Rate 0 - 21 note (*1) Rate at which the high-range flanger

13 High Depth 0 - 127 0-127 Modulation depth for the high-range

14 High Phase 0 - 90 0-180 deg Spaciousness of the high-range

15 High Feedback 0 - 98 -98- +98 % Proportion of the high-range flanger

16 Balance 0 - 100 D100:0W-

17 Level 0 - 127 0-127 Output volume

D0:100W

ranges will be divided

sound is heard to when the low­range flanger sound is heard

synchronized with the tempo.

sound is modulated (Hz)

sound is modulated (note)

flanger sound

flanger sound

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

sound is heard to when the high­range flanger sound is heard

synchronized with the tempo.

sound is modulated (Hz)

sound is modulated (note)

flanger sound

flanger sound

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

Volume balance of the original sound
(D) and flanger sound (W)

● 0103: HUMANIZER

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

No Parameter Value Default Description

1 Drive Sw 0 - 1 OFF, ON Turns Drive on/off.
2 Drive # 0 - 127 0-127 Degree of distortion

3 Vowel1 0 - 4 a, e, i, o, u Selects the vowel.
4 Vowel2 0 - 4 a, e, i, o, u
5 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

6 Rate 1 - 127 0.05-10.00 Hz Frequency at which the two vowels

7 Rate # 0 - 21 note (*1) Frequency at which the two vowels

8 Depth 0 - 127 0-127 Effect depth
9 Input Sync Sw 0 - 1 OFF, ON Determines whether the LFO for

10 Input Sync

Threshold

11 Manual 0 - 100 0-100 Point at which Vowel 1/2 switch

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Pan 0 - 127 L64-63R Stereo location of the output
15 Level 0 - 127 0-127 Output level

0 - 127 0-127 Volume level at which reset is ap-

Also changes the volume.

synchronized with the tempo.

switch (Hz)

switch (note)

switching the vowels is reset by the
input signal (ON) or not (OFF).

plied

49 or less: Vowel 1 will have a long­er duration.
50: Vowel 1 and 2 will be of equal du­ration.
51 or more: Vowel 2 will have a
longer duration.

● 012b: RING MODULATOR

This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-

like sounds. You can also change the modulation frequency in response to changes in the

volume of the sound sent into the effect.

No Parameter Value Default Description

1 Frequency # 0 - 127 0-127 Adjusts the frequency at which mod-

2 Sens 0 - 127 0-127 Adjusts the amount of frequency

3 Polarity 0 - 1 UP, DOWN Determines whether the frequency

4 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
5 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
6 Balance # 0 - 100 D100:0W-

7 Level 0 - 127 0-127 Output level

D0:100W

ulation is applied.

modulation applied.

modulation moves towards higher
frequencies (UP) or lower frequen­cies (DOWN).

Volume balance between the direct
sound (D) and the effect sound (W)

19

● 0125: TREMOLO

Cyclically modulates the volume to add tremolo effect to the sound.

● 0130: COMPRESSOR

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

No Parameter Value Default Description

1 Mod Wave 0 - 4 TRI, SQR,

2 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

3 Rate # 1 - 127 0.05-10.00 Hz Frequency of the change (Hz)
4 Rate 0 - 21 note (*1) Frequency of the change (note)
5 Depth # 0 - 127 0-127 Depth to which the effect is applied
6 Low Gain 0 - 30 -15- +15 dB Gain of the low range
7 High Gain 0 - 30 -15- +15 dB Gain of the high range
8 Level 0 - 127 0-127 Output Level

SIN, SAW1,
SAW2

Modulation Wave

TRI: Triangle wave
SQR: Square wave
SIN: Sine wave
SAW1/2: Sawtooth wave

synchronized with the tempo.

● 0126: AUTO PAN

Cyclically modulates the stereo location of the sound.

No Parameter Value Default Description

1 Mod Wave 0 - 4 TRI, SQR,

2 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

3 Rate # 1 - 127 0.05-10.00 Hz Frequency of the change (Hz)
4 Rate 0 - 21 note (*1) Frequency of the change (note)
5 Depth # 0 - 127 0-127 Depth to which the effect is applied
6 Low Gain 0 - 30 -15- +15 dB Gain of the low range
7 High Gain 0 - 30 -15- +15 dB Gain of the high range
8 Level 0 - 127 0-127 Output Level

SIN, SAW1,
SAW2

Modulation Wave

TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave

synchronized with the tempo.

● 012c: SLICER

By applying successive cuts to the sound, this effect turns a conventional sound into a

sound that appears to be played as a backing phrase. This is especially effective when

applied to sustain-type sounds.

No Parameter Value Default Description

1 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

2 Rate 1 - 127 0.05-10.00 Hz Rate at which the 16-step sequence

3 Rate # 12 - 21 note (*1) Rate at which the 16-step sequence

4 Attack 0 - 127 0-127 Speed at which the level changes be-

5 Input Sync Sw 0 - 1 OFF, ON Specifies whether an input note will

6 Input Sync

Threshold

7 Mode 0 - 1 LEGATO,

8 Shuffle # 0 - 127 0-127 Timing of volume changes in levels

9 Level 0 - 127 0-127 Output level

0 - 127 0-127 Volume at which an input note will

SLASH

synchronized with the tempo.

will cycle (Hz)

will cycle (note)

tween steps

cause the sequence to resume from
the first step of the sequence (ON) or
not (OFF)

be detected
Sets the manner in which the volume

changes as one step progresses to the
next.
LEGATO: The change in volume
from one step’s level to the next re­mains unaltered. If the level of a fol­lowing step is the same as the one
preceding it, there is no change in
volume.
SLASH: The level is momentarily set
to 0 before progressing to the level of
the next step. This change in volume
occurs even if the level of the follow­ing step is the same as the preceding
step.

for even-numbered steps (step 2, step
4, step 6...).
The higher the value, the later the
beat progresses.

No Parameter Value Default Description

1 Attack # 0 - 127 0-127 Sets the speed at which compression

2 Threshold # 0 - 127 0-127 Adjusts the volume at which com-

3 Post Gain 0 - 18 0- +18 dB Adjusts the output gain.
4 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
5 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
6 Level 0 - 127 0-127 Output level

starts

pression begins

● 0131: LIMITER

Compresses signals that exceed a specified volume level, preventing distortion from

occurring.

No Parameter Value Description

1 Release 0 - 127 0-127 Adjusts the time after the signal vol-

2 Threshold # 0 - 127 0-127 Adjusts the volume at which com-

3 Ratio # 0 - 3 1.5:1, 2:1, 4:1,

4 Post Gain 0 - 18 0- +18 dB Adjusts the output gain.
5 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
6 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
7 Level 0 - 127 0-127 Output level

100:1

ume falls below the Threshold Level
until compression is no longer ap­plied.

pression begins
Compression ratio

● 0142: CHORUS

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

sound.

No Parameter Value Description

1 Filter Type 0 - 2 OFF, LPF,

2 Cutoff Freq 0 - 16 200-8000 Hz Basic frequency of the filter
3 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

4 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect

5 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Depth # 0 - 127 0-127 Depth of modulation
8 Phase 0 - 90 0-180 deg Spatial spread of the sound
9 Low Gain 0 - 30 -15- +15 dB Gain of the low range
10 High Gain 0 - 30 -15- +15 dB Gain of the high range
11 Balance 0 - 100 D100:0W-

12 Level 0 - 127 0-127 Output Level

HPF

D0:100W

Type of filter

OFF: No filter is used
LPF: Cuts the frequency range

above the Cutoff Freq
HPF: Cuts the frequency range be­low the Cutoff Freq

rect sound until the chorus sound is
heard.

is synchronized with the tempo.

Volume balance between the direct
sound (D) and the chorus sound (W)

● 0140: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to

the sound.

No Parameter Value Default Description

1 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

2 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

3 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Rate 0 - 21 note (*1) Frequency of modulation (note)
5 Depth # 0 - 127 0-127 Depth of modulation
6 Pre Delay De-

viation

7 Depth Devia-

tion

8 Pan Deviation 0 - 20 0-20 Adjusts the difference in stereo loca-

9 Balance 0 - 100 D100:0W-

10 Level 0 - 127 0-127 Output Level

0 - 20 0-20 Adjusts the differences in Pre Delay

0 - 40 -20- +20 Adjusts the difference in modulation

D0:100W

rect sound until the chorus sound is
heard.

synchronized with the tempo.

between each chorus sound.

depth between each chorus sound.

tion between each chorus sound.
0: All chorus sounds will be in the
center.
20: Each chorus sound will be spaced
at 60 degree intervals relative to the
center.

Volume balance between the direct
sound (D) and the chorus sound (W)

20

● 0141: TREMOLO CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of volume).

No Parameter Value Default Description

1 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

2 Chorus Rate

sync

3 Chorus Rate 1 - 127 0.05-10.00 Hz Modulation frequency of the chorus

4 Chorus Rate 0 - 21 note (*1) Modulation frequency of the chorus

5 Chorus Depth #0 - 127 0-127 Modulation depth of the chorus ef-

6 Tremolo Rate

sync

7 Tremolo Rate # 1 - 127 0.05-10.00 Hz Modulation frequency of the tremolo

8 Tremolo Rate 0 - 21 note (*1) Modulation frequency of the tremolo

9 Tremolo Sepa-

ration
10 Tremolo Phase 0 - 90 0-180 deg Spread of the tremolo effect
11 Balance 0 - 100 D100:0W-

12 Level 0 - 127 0-127 Output Level

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 127 0-127 Spread of the tremolo effect

D0:100W

rect sound until the chorus sound is
heard.

synchronized with the tempo.

effect (Hz)

effect (note)

fect

synchronized with the tempo.

effect (Hz)

effect (note)

Volume balance between the direct
sound (D) and the tremolo chorus
sound (W)

● 0143: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no

impression of modulation, but produces a transparent chorus effect.

No Parameter Value Default Description

1 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

2 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

3 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Rate 0 - 21 note (*1) Frequency of modulation (note)
5 Depth # 0 - 127 0-127 Depth of modulation
6 Phase 0 - 90 0-180 deg Spatial spread of the sound
7 Low Gain 0 - 30 -15- +15 dB Gain of the low range
8 High Gain 0 - 30 -15- +15 dB Gain of the high range
9 Balance 0 - 100 D100:0W-

10 Level 0 - 127 0-127 Output Level

D0:100W

rect sound until the chorus sound is
heard.

synchronized with the tempo.

Volume balance between the direct
sound (D) and the chorus sound (W)

● 0144: 3D CHORUS

This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees

left and 90 degrees right.

No Parameter Value Default Description

1 Filter Type 0 - 2 OFF, LPF,

2 Cutoff Freq 0 - 16 200-8000 Hz Basic frequency of the filter
3 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

4 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

5 Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Depth # 0 - 127 0-127 Modulation depth of the chorus ef-

8 Phase 0 - 90 0-180 deg Spatial spread of the sound
9 Output Mode 0 - 1 SPEAKER,

10 Low Gain 0 - 30 -15- +15 dB Gain of the low range
11 High Gain 0 - 30 -15- +15 dB Gain of the high range
12 Balance 0 - 100 D100:0W-

13 Level 0 - 127 0-127 Output Level

HPF

PHONES

D0:100W

Type of filter

OFF: No filter is used
LPF: Cuts the frequency range above

the Cutoff Freq
HPF: Cuts the frequency range below
the Cutoff Freq

rect sound until the chorus sound is
heard.

synchronized with the tempo.

fect

Adjusts the method that will be used
to hear the sound that is output to
the OUTPUT jacks. The optimal 3D
effect will be achieved if you select
SPEAKER when using speakers, or
PHONES when using headphones.

Volume balance between the direct
sound (D) and the chorus sound (W)

● 0145: 2BAND CHORUS

A chorus effect that lets you apply an effect independently to the low-frequency and high-

frequency ranges.

No Parameter Value Default Description

1 Split Freq 0 - 16 200-8000 Hz Frequency at which the low and

2 Low Pre De-

lay

3 Low Rate sync 0 - 1 Hz, note When this is set to “note,” the effect

4 Low Rate 1 - 127 0.05-10.00 Hz Rate at which the low-range chorus

5 Low Rate 0 - 21 note (*1) Rate at which the low-range chorus

6 Low Depth # 0 - 127 0-127 Modulation depth for the low-range

7 Low Phase 0 - 90 0-180 deg Spaciousness of the low-range cho-

8 High Pre De-

lay

9 High Rate

sync

10 High Rate 1 - 127 0.05-10.00 Hz Rate at which the low-range chorus

11 High Rate 0 - 21 note (*1) Rate at which the low-range chorus

12 High Depth # 0 - 127 0-127 Modulation depth for the high-

13 High Phase 0 - 90 0-180 deg Spaciousness of the high-range cho-

14 Balance 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output volume

0 - 125 0.0-100.0 ms Delay time from when the original

0 - 125 0.0-100.0 ms Delay time from when the original

0 - 1 Hz, note When this is set to “note,” the effect

D0:100W

high ranges will be divided

sound is heard to when the low­range chorus sound is heard

is synchronized with the tempo.

sound is modulated (Hz)

sound is modulated (note)

chorus sound

rus sound

sound is heard to when the high­range chorus sound is heard

is synchronized with the tempo.

sound is modulated (Hz)

sound is modulated (note)

range chorus sound

rus sound
Volume balance of the original

sound (D) and chorus sound (W)

● 0122: ROTARY

The Rotary effect simulates the sound of the rotary speakers often used with the electric

organs of the past. Since the movement of the high range and low range rotors can be set

independently, the unique type of modulation characteristic of these speakers can be

simulated quite closely. This effect is most suitable for electric organ Patches.

No Parameter Value Default Description

1 Speed # 0 - 1 SLOW, FAST Simultaneously switch the rotational

2 Woofer Slow

Speed

3 Woofer Fast

Speed

4 Woofer Accel-

eration

5 Woofer Level 0 - 127 0-127 Volume of the low frequency rotor
6 Tweeter Slow

Speed

7 Tweeter Fast

Speed

8 Tweeter

Acceleration
9 Tweeter Level 0 - 127 0-127
10 Separation # 0 - 127 0-127 Spatial dispersion of the sound
11 Level 0 - 127 0-127 Output Level

1 - 127 0.05-10.00 Hz Slow speed (SLOW) of the low fre-

1 - 127 0.05-10.00 Hz Fast speed (FAST) of the low fre-

0 - 15 0-15 Adjusts the time it takes the low fre-

1 - 127 0.05-10.00 Hz Settings of the high frequency rotor

1 - 127 0.05-10.00 Hz

0 - 15 0-15

speed of the low frequency rotor and
high frequency rotor.
SLOW: Slows down the rotation to
the Slow Rate.
FAST: Speeds up the rotation to the
Fast Rate.

quency rotor

quency rotor

quency rotor to reach the newly se­lected speed when switching from
fast to slow (or slow to fast) speed.
Lower values will require longer
times.

The parameters are the same as for
the low frequency rotor

21

● 012d: VK ROTARY

This type provides modified response for the rotary speaker, with the low end boosted

further.

This effect is a descendant of the Roland VK Series’ built-in rotary speaker.

No Parameter Value Default Description

1 Speed # 0 - 1 SLOW, FAST Rotational speed of the rotating

2 Brake # 0 - 1 OFF, ON Switches the rotation of the rotary

3 Woofer Slow

Speed

4 Woofer Fast

Speed

5 Woofer Trans Up0 - 127 0-127 Adjusts the rate at which the woofer

6 Woofer Trans

Down

7 Woofer Level 0 - 127 0-127 Volume of the woofer
8 Tweeter Slow

Speed

9 Tweeter Fast

Speed

10 Tweeter Trans Up0 - 127 0-127

11 Tweeter Trans

Down
12 Tweeter Level 0 - 127 0-127
13 Spread 0 - 10 0-10 Sets the rotary speaker stereo image.

14 Low Gain 0 - 30 -15- +15 dB Gain of the low range
15 High Gain 0 - 30 -15- +15 dB Gain of the high range
16 Level 0 - 127 0-127 Output Level

1 - 127 0.05-10.00 Hz Low-speed rotation speed of the

1 - 127 0.05-10.00 Hz High-speed rotation speed of the

0 - 127 0-127 Adjusts the rate at which the woofer

1 - 127 0.05-10.00 Hz Settings of the tweeter

1 - 127 0.05-10.00 Hz

0 - 127 0-127

speaker

speaker.
When this is turned on, the rotation
will gradually stop. When it is turned
off, the rotation will gradually re­sume.

woofer

woofer

rotation speeds up when the rotation
is switched from Slow to Fast.

rotation speeds up when the rotation
is switched from Fast to Slow.

The parameters are the same as for
the woofer.

The higher the value set, the wider
the sound is spread out.

● 0300: ORGAN MULTI

This is an effect combining the VK series internal effect with an organ effect with the same

features.

It comprises vibrato/chorus, overdrive, and rotary effects.

No Parameter Value Default Description

1 Vib/Cho

Switch
2 Vib/Cho Type 0 - 5 V-1, V-2, V-3,

3 Vib/Cho

Vintage

4 Vib/Cho

Level
5 OD Switch 0 - 1 OFF, ON Switches the overdrive effect
6 OD Drive # 0 - 127 0-127 Amount of distortion
7 OD Level 0 - 127 0-127 Overdrive effect volume
8 Rotary Switch 0 - 1 OFF, ON Switches the rotary effect
9 Rotary Speed # 0 - 1 SLOW, FAST Low- and high-frequency rotation

10 R-Wf Slow Sp 1 - 127 0.05-10.00 Hz Rate with low-frequency rotor set to

11 R-Wf Fast Sp 1 - 127 0.05-10.00 Hz Rate with low-frequency rotor set to

12 R-Wf Accel 0 - 15 0-15 Speed at which the low-frequency ro-

13 R-Wf Level 0 - 127 0-127 Low-frequency rotor volume
14 R-Tw Slow Sp 1 - 127 0.05-10.00 Hz High-frequency rotor settingThis pa­15 R-Tw Fast Sp 1 - 127 0.05-10.00 Hz
16 R-Tw Accel 0 - 15 0-15
17 R-Tw Level 0 - 127 0-127
18 Rotary Separat 0 - 127 0-127 Amount of breadth in the sound
19 Rotary Level 0 - 127 0-127 Output volume

0 - 1 OFF, ON Switches the vibrato and chorus ef-

C-1, C-2, C-3

0 - 2 ‘50, ‘60, ‘70 This reproduces the subtle differenc-

0 - 127 0-127 Vibrato/chorus effect volume

fects

Vibrato and chorus effect types
V-1, V-2, V-3: Adds a wavering (vi-

brato) that is created by changes in
the pitch.The effect deepens as the
value is increased
C-1, C-2, C-3: Adds a fullness and
breadth (chorus) to the sound.The ef­fect deepens as the value is increased.

es in the vibrato and chorus effects in
organs built in different years.

speeds (Rate)

SLOW: (Slow Rate)
FAST: (Fast Rate)

SLOW rate

FAST rate

tor’s rotation rate changes when the
rotation speed is switched

rameter is the same as that for the
low-frequency rotor.

● 015b: DELAY

This is a stereo delay.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync

5 Delay Right 0 - 127 1-1300 ms Adjusts the time until the delay

6 Delay Right 0 - 21 note (*1) Adjusts the time until the delay

7 Phase Left 0 - 1 NORMAL,
8 Phase Right 0 - 1
9 Feedback

Mode

10 Feedback # 49 - 89 0- +80 % Adjusts the amount of the delay

11 HF Damp 0 - 17 200-8000 Hz,

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Balance # 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output level

0 - 1 ms, note When this is set to “note,” the effect is

INVERSE

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)
Phase of the delay sound

Selects the way in which delay sound
is fed back into the effect. (See the fig­ures above.)

sound that’s fed back into the effect.
Negative
(-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter
to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 015c: DELAY

This is a stereo delay.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync

5 Delay Right 0 - 127 1-1300 ms Adjusts the time until the delay

6 Delay Right 0 - 21 note (*1) Adjusts the time until the delay

7 Phase Left 0 - 1 NORMAL,
8 Phase Right 0 - 1
9 Feedback

Mode

10 Feedback # 49 - 89 0- +80 % Adjusts the amount of the delay

11 HF Damp 0 - 17 200-8000 Hz,

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Balance # 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output level

0 - 1 ms, note When this is set to “note,” the effect

INVERSE

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

is synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

is synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)
Phase of the delay sound

Selects the way in which delay
sound is fed back into the effect.
(See the figures above.)

sound that’s fed back into the effect.
Negative
(-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is fil­tered out. If you don’t want to filter
out any high frequencies, set this
parameter to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 015d: DELAY

This is a stereo delay.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync

5 Delay Right 0 - 127 1-1300 ms Adjusts the time until the delay

6 Delay Right 0 - 21 note (*1) Adjusts the time until the delay

7 Phase Left 0 - 1 NORMAL,
8 Phase Right 0 - 1

0 - 1 ms, note When this is set to “note,” the effect is

INVERSE

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)
Phase of the delay sound

22

No Parameter Value Default Description

9 Feedback

Mode

10 Feedback # 49 - 89 0- +80 % Adjusts the amount of the delay

11 HF Damp 0 - 17 200-8000 Hz,

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Balance # 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output level

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

Selects the way in which delay sound
is fed back into the effect. (See the fig­ures above.)

sound that’s fed back into the effect.
Negative
(-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter
to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 015e: DELAY

This is a stereo delay.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync
5 Delay Right 0 - 127 1-1300 ms Adjusts the time until the delay

6 Delay Right 0 - 21 note (*1) Adjusts the time until the delay

7 Phase Left 0 - 1 NORMAL,
8 Phase Right 0 - 1
9 Feedback

Mode

10 Feedback # 49 - 89 0- +80 % Adjusts the amount of the delay

11 HF Damp 0 - 17 200-8000 Hz,

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Balance # 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output level

0 - 1 ms, note When this is set to “note,” the effect is

INVERSE

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)
Phase of the delay sound

Selects the way in which delay sound
is fed back into the effect. (See the fig­ures above.)

sound that’s fed back into the effect.
Negative
(-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter
to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 015f: DELAY

This is a stereo delay.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync
5 Delay Right 0 - 127 1-1300 ms Adjusts the time until the delay

6 Delay Right 0 - 21 note (*1) Adjusts the time until the delay

7 Phase Left 0 - 1 NORMAL,

8 Phase Right 0 - 1
9 Feedback

Mode

10 Feedback # 49 - 89 0- +80 % Adjusts the amount of the delay

11 HF Damp 0 - 17 200-8000 Hz,

12 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
13 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
14 Balance # 0 - 100 D100:0W-

15 Level 0 - 127 0-127 Output level

0 - 1 ms, notße When this is set to “note,” the effect is

INVERSE

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)
Phase of the delay sound

Selects the way in which delay sound
is fed back into the effect. (See the fig­ures above.)

sound that’s fed back into the effect.
Negative
(-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter
to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 0150: LONG DELAY

A delay that provides a long delay time.

No Parameter Value Default Description

1 Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Time 0 - 127 1-2600 ms Delay time from when the original

3 Delay Time # 0 - 21 note (*1) Delay time from when the original

4 Phase 0 - 1 NORMAL,

5 Feedback 49 - 89 0- +80 % Proportion of the delay sound that is

6 HF Damp 0 - 17 200-8000 Hz,

7 Pan 0 - 127 L64-63R Panning of the delay sound
8 Low Gain 0 - 30 -15- +15 dB Amount of boost/cut for the high-

9 High Gain 0 - 30 -15- +15 dB Amount of boost/cut for the high-

10 Balance # 0 - 100 D100:0W-

11 Level 0 - 127 0-127 Output volume

INVERSE

BYPASS

D0:100W

synchronized with the tempo.

sound is heard to when the delay
sound is heard (Hz)

sound is heard to when the delay
sound is heard (note)

Phase of the delay (NORMAL: non­inverted, INVERT: inverted)

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)

frequency range

frequency range
Volume balance of the original sound

(D) and delay sound (W)

● 0151: MODULATION DELAY

Adds modulation to the delayed sound.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-1300 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync

5 Delay Right 0 - 127 1-1300 ms
6 Delay Right 0 - 21 note (*1)
7 Feedback

Mode

8 Feedback 49 - 89 0- +80 % Adjusts the amount of the delay

9 HF Damp 0 - 17 200-8000 Hz,

10 Rate sync 0 - 1 Hz, note When this is set to “note,” the effect is

11 Rate 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
12 Rate 0 - 21 note (*1) Frequency of modulation (note)
13 Depth # 0 - 127 0-127 Depth of modulation
14 Phase 0 - 90 0-180 deg Spatial spread of the sound
15 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
16 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
17 Balance # 0 - 100 D100:0W-

18 Level 0 - 127 0-127 Output level

0 - 1 ms, note Settings of the Delay R

0 - 1 NORMAL,

CROSS

BYPASS

D0:100W

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

The parameters are the same as for
the Delay L.

Selects the way in which delay sound
is fed back into the effect (See the fig­ures above.)

sound that’s fed back into the effect.
Negative (-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you don’t want to filter out any
high frequencies, set this parameter
to BYPASS.

synchronized with the tempo.

Volume balance between the direct
sound (D) and the delay sound (W)

23

● 0152: 3TAP PAN DELAY

Produces three delay sounds; center, left and right.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-2600 ms Adjusts the time until the delay

3 Delay Left 0 - 21 note (*1) Adjusts the time until the delay

4 Delay Right

sync
5 Delay Right 0 - 127 1-2600 ms
6 Delay Right 0 - 21 note (*1)
7 Delay Center

sync
8 Delay Center 0 - 127 1-2600 ms
9 Delay Center 0 - 21 note
10 Center Feed-

back #

11 HF Damp 0 - 17 200-8000 Hz,

12 Left Level 0 - 127 0-127 Volume of each delay
13 Right Level 0 - 127 0-127 Volume of each delay
14 Center Level 0 - 127 0-127 Volume of each delay
15 Low Gain 0 - 30 -15- +15 dB Gain of the low frequency range
16 High Gain 0 - 30 -15- +15 dB Gain of the high frequency range
17 Balance # 0 - 100 D100:0W-

18 Level 0 - 127 0-127 Output level

0 - 1 ms, note Settings of the Delay R

0 - 1 ms, note Settings of the Delay C

49 - 89 0- +80 % Adjusts the amount of the delay

BYPASS

D0:100W

synchronized with the tempo.

sound is heard. (Hz)

sound is heard. (note)

The parameters are the same as for
the Delay L.

The parameters are the same as for
the Delay L.

sound that’s fed back into the effect.
Negative (-) settings invert the phase.

Adjusts the frequency above which
sound fed back to the effect is filtered
out. If you do not want to filter out
any high frequencies, set this param­eter to BYPASS.

Volume balance between the direct
sound (D) and the delay sound (W)

● 0157: 3D DELAY

This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees

left and 90 degrees right.

No Parameter Value Default Description

1 Delay Left sync 0 - 1 ms, note When this is set to “note,” the effect is

2 Delay Left 0 - 127 1-2600 ms Adjusts the delay time from the di-

3 Delay Left 0 - 21 note (*1) Adjusts the delay time from the di-

4 Delay Right

sync
5 Delay Right 0 - 127 1-2600 ms
6 Delay Right 0 - 21 note (*1)
7 Delay Center

sync
8 Delay Center 0 - 127 1-2600 ms
9 Delay Center 0 - 21 note (*1)
10 Center Feed-

back #

11 HF Damp 0 - 17 200-8000 Hz,

12 Left Level 0 - 127 0-127 Output level of the delay sound
13 Right Level 0 - 127
14 Center Level 0 - 127
15 Output Mode 0 - 1 SPEAKER,

16 Low Gain 0 - 30 -15- +15 dB Gain of the low range
17 High Gain 0 - 30 -15- +15 dB Gain of the high range
18 Balance # 0 - 100 D100:0W-

19 Level 0 - 127 0-127 Output Level

0 - 1 ms, note Settings of the Delay R

0 - 1 ms, note Settings of the Delay C

49 - 89 0- +80 % Adjusts the proportion of the delay

BYPASS

PHONES

D0:100W

synchronized with the tempo.

rect sound until the delay sound is
heard. (Hz)

rect sound until the delay sound is
heard. (note)

The parameters are the same as for
the Delay 1.

The parameters are the same as for
the Delay 1.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the high
frequencies, set this parameter to BY­PASS.

Adjusts the method that will be used
to hear the sound that is output to the
OUTPUT jacks. The optimal 3D effect
will be achieved if you select SPEAK­ER when using speakers, or
PHONES when using headphones.

Volume balance between the direct
sound (D) and the effect sound (W)

● 0159: TAPE ECHO

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

section of a Roland RE-201 Space Echo.

No Parameter Value Default Description

1 Mode 0 - 6 S, M, L, S+M,

2 Repeat Rate # 0 - 127 0-127 Tape speed

3 Intensity 0 - 127 0-127 Amount of delay repeats
4 Bass 0 - 30 -15- +15 dB Boost/cut for the lower range of the

5 Treble 0 - 30 -15- +15 dB Boost/cut for the upper range of the

6 Head S Pan 0 - 127 L64-63R Independent panning for the short,
7 Head M Pan 0 - 127
8 Head L Pan 0 - 127
9 Tape Distor-

tion

10 Wow/Flutter

Rate

11 Wow/Flutter

Depth
12 Echo Level # 0 - 127 0-127 Volume of the echo sound
13 Direct Level 0 - 127 0-127 Volume of the original sound
14 Level 0 - 127 0-127 Output level

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

0 - 5 0-5 Amount of tape-dependent distor-

0 - 127 0-127 Speed of wow/flutter (complex vari-

0 - 127 0-127 Depth of wow/flutter

Combination of playback heads to
use
Select from three different heads
with different delay times.

S: short
M: middle
L: long

Increasing this value will shorten the
spacing of the delayed sounds.

echo sound

echo sound

middle, and long playback heads

tion to be added
This simulates the slight tonal chang­es that can be detected by signal­analysis equipment. Increasing this
value will increase the distortion.

ation in pitch caused by tape wear
and rotational irregularity)

● 015a: REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap

delay is connected immediately after the reverse delay.

No Parameter Value Default Description

1 Threshold 0 - 127 0-127 Volume at which the reverse delay

2 Rev Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

3 Rev Delay

Time #

4 Rev Delay

Time

5 Rev Delay

Feedback

6 Rev Delay HF

Damp

7 Rev Delay Pan 0 - 127 L64-63R Panning of the reverse delay sound
8 Rev Delay Lev-el0 - 127 0-127 Volume of the reverse delay sound

9 Low Gain 0 - 30 -15- +15 dB Amount of boost/cut for the low-fre-

10 High Gain 0 - 30 -15- +15 dB Amount of boost/cut for the high-

11 Balance # 0 - 100 D100:0W-

12 Level 0 - 127 0-127 Output volume

0 - 127 1-1300 ms Delay time from when sound is input

0 - 21 note (*1) Delay time from when sound is input

49 - 89 0- +80 % Proportion of the delay sound that is

0 - 17 200-8000 Hz,

BYPASS

D0:100W

will begin to be applied

synchronized with the tempo.

into the reverse delay until the delay
sound is heard (Hz)

into the reverse delay until the delay
sound is heard (note)

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)

quency range

frequency range
Volume balance of the original sound

(D) and delay sound (W)

● 0172: LOFI COMPRESS

This is an effect that intentionally degrades the sound quality for creative purposes.

No Parameter Value Default Description

1 Pre Filter Type 0 - 5 1-6 Selects the type of filter applied to the

2 LoFi Type # 0 - 8 1-9 Degrades the sound quality. The

3 Post Filter Type 0 - 2 OFF, LPF,

4 Post Filter Cut-

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

HPF

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

sound before it passes through the
Lo-Fi effect.

sound quality grows poorer as this
value is increased.

Type of filter

OFF: no filter is used
LPF: cuts the frequency range above

the Cutoff
HPF: cuts the frequency range below
the Cutoff

24

No Parameter Value Default Description

6 High Gain 0 - 30 -15- +15 dB Gain of the high range
7 Balance # 0 - 100 D100:0W-

8 Level 0 - 127 0-127 Output level

D0:100W

Volume balance between the direct
sound (D) and the effect sound (W)

● 0175: TELEPHONE

No Parameter Value Default Description

1 Voice Quality # 0 - 15 0-15 Audio quality of the telephone voice
2 Treble 0 - 30 -15- +15 dB Bandwidth of the telephone voice
3 Balance # 0 - 100 D100:0-

4 Level 0 - 127 0-127 Output level

D0:100W

Volume balance between the direct
sound (D) and the effect sound (W)

● 0156: GATED REVERB

This is a special type of reverb in which the reverberant sound is cut off before its natural

length.

No Parameter Value Default Description

1 Type # 0 - 3 NORMAL,

2 Pre Delay 0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

3 Gate Time 0 - 99 5-500 ms Adjusts the time from when the re-

4 Low Gain 0 - 30 -15- +15 dB Gain of the low range
5 High Gain 0 - 30 -15- +15 dB Gain of the high range
6 Balance # 0 - 100 D100:0W-

7 Level 0 - 127 0-127 Output Level

REVERSE,
SWEEP1,
SWEEP2

D0:100W

Type of reverb

NORMAL: conventional gated reverb
REVERSE: backwards reverb
SWEEP1: the reverberant sound

moves from right to left
SWEEP2: the reverberant sound
moves from left to right

rect sound until the reverb sound is
heard.

verb is heard until it disappears.

Volume balance between the direct
sound (D) and the reverb sound (W)

● 0200: OVERDRIVE→CHORUS

This effect connects an overdrive and a chorus in series.

No Parameter Value Default Description

1 Overdrive

Drive

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

3 Chorus Pre De-

lay

4 Chorus Rate

sync
5 Chorus Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Chorus Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Chorus Depth 0 - 127 0-127 Depth of modulation
8 Chorus Balance #0 - 100 D100:0W-

9 Level 0 - 127 0-127 Output Level

0 - 127 0-127 Degree of distortion

0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

0 - 1 Hz, note When this is set to “note,” the effect is

D0:100W

Also changes the volume.

sound

rect sound until the chorus sound is
heard.

synchronized with the tempo.

Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).

● 0201: OVERDRIVE→FLANGER

This effect connects an overdrive and a flanger in series.

No Parameter Value Default Description

1 Overdrive

Drive
2 Overdrive Pan 0 - 127 L64-63R Stereo location of the overdrive

3 Flanger Pre De-

lay

4 Flanger Rate

sync
5 Flanger Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Flanger Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Flanger Depth 0 - 127 0-127 Depth of modulation
8 Flanger Feed-

back

9 Flanger Bal-

ance #

10 Level 0 - 127 0-127 Output Level

0 - 127 0-127 Degree of distortion

0 - 125 0.0-100.0 ms Adjusts the delay time from when

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 98 -98- +98 % Adjusts the proportion of the flanger

0 - 100 D100:0W-

D0:100W

Also changes the volume.

sound

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
flanger (W) and the sound that is not
sent through the flanger (D).

● 0202: OVERDRIVE→DELAY

This effect connects an overdrive and a delay in series.

No Parameter Value Default Description

1 Overdrive

Drive #

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

3 Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

4 Delay Time 0 - 127 1-2600 ms Adjusts the delay time from the di-

5 Delay Time 0 - 21 note (*1) Adjusts the delay time from the di-

6 Delay Feed-

back

7 Delay HF

Damp

8 Delay Balance #0 - 100 D100:0W-

9 Level 0 - 127 0-127 Output Level

0 - 127 0-127 Degree of distortion

49 - 89 0- +80 % Adjusts the proportion of the delay

0 - 17 200-8000 Hz,

BYPASS

D0:100W

Also changes the volume.

sound

synchronized with the tempo.

rect sound until the delay sound is
heard. (Hz)

rect sound until the delay sound is
heard. (note)

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the high
frequencies, set this parameter to BY­PASS.

Adjusts the volume balance between
the sound that is sent through the de­lay (W) and the sound that is not sent
through the delay (D).

● 0203: DISTORTION→CHORUS

The parameters are essentially the same as in “OVERDRIVE→CHORUS,” with the

exception of the following two.

Overdrive Drive→Distortion Drive

Overdrive Pan→Distortion Pan

● 0204: DISTORTION→FLANGER

The parameters are essentially the same as in “OVERDRIVE→FLANGER,” with the

exception of the following two.

Overdrive Drive→Distortion Drive

Overdrive Pan→Distortion Pan

● 0205: DISTORTION→DELAY

The parameters are essentially the same as in “OVERDRIVE→DELAY,” with the exception

of the following two.

Overdrive Drive→Distortion Drive

Overdrive Pan→Distortion Pan

● 0206: ENHANCER→CHORUS

This effect connects an enhancer and a chorus in series.

No Parameter Value Default Description

1 Enhancer Sens 0 - 127 0-127 Sensitivity of the enhancer
2 Enhancer Mix 0 - 127 0-127 Level of the overtones generated by

3 Chorus Pre De-

lay

4 Chorus Rate

sync
5 Chorus Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Chorus Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Chorus Depth 0 - 127 0-127 Depth of modulation
8 Chorus Balance #0 - 100 D100:0W-

9 Level 0 - 127 0-127 Output Level

0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

0 - 1 Hz, note When this is set to “note,” the effect is

D0:100W

the enhancer

rect sound until the chorus sound is
heard.

synchronized with the tempo.

Adjusts the volume balance between
the sound that is sent through the
chorus (W) and the sound that is not
sent through the chorus (D).

25

● 0207: ENHANCER→FLANGER

This effect connects an enhancer and a flanger in series.

No Parameter Value Default Description

1 Enhancer Sens 0 - 127 0-127 Sensitivity of the enhancer
2 Enhancer Mix 0 - 127 0-127 Level of the overtones generated by

3 Flanger Pre De-

lay

4 Flanger Rate

sync
5 Flanger Rate # 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
6 Flanger Rate 0 - 21 note (*1) Frequency of modulation (note)
7 Flanger Depth 0 - 127 0-127 Depth of modulation
8 Flanger Feed-

back

9 Flanger Bal-

ance #

10 Level 0 - 127 0-127 Output Level

0 - 125 0.0-100.0 ms Adjusts the delay time from when

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 98 -98- +98 % Adjusts the proportion of the flanger

0 - 100 D100:0W-

D0:100W

the enhancer

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
flanger (W) and the sound that is not
sent through the flanger (D).

● 0208: ENHANCER→DELAY

This effect connects an enhancer and a delay in series.

No Parameter Value Default Description

1 Enhancer Sens #0 - 127 0-127 Sensitivity of the enhancer

2 Enhancer Mix 0 - 127 0-127 Level of the overtones generated by

3 Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

4 Delay Time 0 - 127 1-2600 ms Adjusts the delay time from the di-

5 Delay Time 0 - 21 note (*1) Adjusts the delay time from the di-

6 Delay Feed-

back

7 Delay HF

Damp

8 Delay Balance #0 - 100 D100:0W-

9 Level 0 - 127 0-127 Output Level

49 - 89 0- +80 % Adjusts the proportion of the delay

0 - 17 200-8000 Hz,

BYPASS

D0:100W

the enhancer

synchronized with the tempo.

rect sound until the delay sound is
heard. (Hz)

rect sound until the delay sound is
heard. (note)

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the high
frequencies, set this parameter to BY­PASS.

Adjusts the volume balance between
the sound that is sent through the de­lay (W) and the sound that is not sent
through the delay (D).

● 0209: CHORUS→DELAY

This effect connects a chorus and a delay in series.

No Parameter Value Default Description

1 Chorus Pre De-

lay

2 Chorus Rate

sync
3 Chorus Rate 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Chorus Rate 0 - 21 note (*1) Frequency of modulation (note)
5 Chorus Depth 0 - 127 0-127 Depth of modulation
6 Chorus Balance #0 - 100 D100:0W-

7 Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

8 Delay Time 0 - 127 1-2600 ms Adjusts the delay time from the di-

9 Delay Time 0 - 21 note (*1) Adjusts the delay time from the di-

10 Delay Feed-

back

11 Delay HF

Damp

0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

0 - 1 Hz, note When this is set to “note,” the effect is

D0:100W

49 - 89 0- +80 % Adjusts the proportion of the delay

0 - 17 200-8000 Hz,

BYPASS

rect sound until the chorus sound is
heard.

synchronized with the tempo.

Volume balance between the direct
sound (D) and the chorus sound (W)

synchronized with the tempo.

rect sound until the delay sound is
heard. (Hz)

rect sound until the delay sound is
heard. (note)

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the high
frequencies, set this parameter to BY­PASS.

No Parameter Value Default Description

12 Delay Balance #0 - 100 D100:0W-

13 Level 0 - 127 0-127 Output Level

D0:100W

Adjusts the volume balance between
the sound that is sent through the de­lay (W) and the sound that is not sent
through the delay (D).

● 020a: FLANGER→DELAY

This effect connects a flanger and a delay in series.

No Parameter Value Default Description

1 Flanger Pre De-

lay

2 Flanger Rate

sync
3 Flanger Rate 1 - 127 0.05-10.00 Hz Frequency of modulation (Hz)
4 Flanger Rate 0 - 21 note (*1) Frequency of modulation (note)
5 Flanger Depth 0 - 127 0-127 Depth of modulation
6 Flanger Feed-

back

7 Flanger Bal-

ance #
8 Delay sync 0 - 1 ms, note When this is set to “note,” the effect is

9 Delay Time 0 - 127 1-2600 ms Adjusts the delay time from the di-

10 Delay Time 0 - 21 note (*1) Adjusts the delay time from the di-

11 Delay Feed-

back

12 Delay HF

Damp

13 Delay Balance #0 - 100 D100:0W-

14 Level 0 - 127 0-127 Output Level

0 - 125 0.0-100.0 ms Adjusts the delay time from when

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 98 -98- +98 % Adjusts the proportion of the flanger

0 - 100 D100:0W-

D0:100W

49 - 89 0- +80 % Adjusts the proportion of the delay

0 - 17 200-8000 Hz,

BYPASS

D0:100W

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Volume balance between the direct
sound (D) and the flanger sound (W)

synchronized with the tempo.

rect sound until the delay sound is
heard. (Hz)

rect sound until the delay sound is
heard. (note)

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the frequency above which
sound fed back to the effect will be
cut. If you do not want to cut the high
frequencies, set this parameter to BY­PASS.

Adjusts the volume balance between
the sound that is sent through the de­lay (W) and the sound that is not sent
through the delay (D).

● 020b: CHORUS→FLANGER

This effect connects a chorus and a flanger in series.

No Parameter Value Default Description

1 Chorus Pre De-

lay

2 Chorus Rate

sync
3 Chorus Rate 1 - 127 0.05-10.00 Hz Modulation frequency of the chorus

4 Chorus Rate 0 - 21 note (*1) Modulation frequency of the chorus

5 Chorus Depth 0 - 127 0-127 Modulation depth of the chorus ef-

6 Chorus Balance #0 - 100 D100:0W-

7 Flanger Pre De-

lay

8 Flanger Rate

sync
9 Flanger Rate 1 - 127 0.05-10.00 Hz Modulation frequency of the flanger

10 Flanger Rate 0 - 21 note (*1) Modulation frequency of the flanger

11 Flanger Depth 0 - 127 0-127 Modulation depth of the flanger ef-

12 Flanger Feed-

back

13 Flanger Bal-

ance #

14 Level 0 - 127 0-127 Output Level

0 - 125 0.0-100.0 ms Adjusts the delay time from the di-

0 - 1 Hz, note When this is set to “note,” the effect is

D0:100W

0 - 125 0.0-100.0 ms Adjusts the delay time from when

0 - 1 Hz, note When this is set to “note,” the effect is

0 - 98 -98- +98 % Adjusts the proportion of the flanger

0 - 100 D100:0W-

D0:100W

rect sound until the chorus sound is
heard.

synchronized with the tempo.

effect (Hz)

effect (note)

fect
Volume balance between the direct

sound (D) and the chorus sound (W)

the direct sound begins until the
flanger sound is heard.

synchronized with the tempo.

effect (Hz)

effect (note)

fect

sound that is fed back into the effect.
Negative (-) settings will invert the
phase.

Adjusts the volume balance between
the sound that is sent through the
flanger (W) and the sound that is not
sent through the flanger (D).

26

● 0040: 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 effect

simulates these sympathetic resonances.

No Parameter Value Description

1 Depth # 0 - 127 0-10 Depth of the effect
2 Damper 0 - 127 0-127 Depth to which the damper pedal is

3 Pre LPF 1 - 32 16-15000 Hz,

4 Pre HPF 0 - 31 BYPASS, 16-

5 Peaking Freq 0 - 16 200-8000 Hz Frequency of the filter that boosts/

6 Peaking Gain 0 - 30 -15- +15 dB Amount of boost/cut produced by

7 Peaking Q 0 - 4 0.5, 1.0, 2.0,

8 HF Damp Freq 1 - 32 16-15000 Hz,

9 LF Damp Freq 0 - 31 BYPASS, 16-

11 Level 0 - 127 0-127 Output Level
12 P-Sft Amount 0 - 127 0-10 Amount of

13 P-Sft Level 0 - 127 0-10 Volume level of the resonant compo-

14 P-Sft LPF 1 - 32 16-15000 Hz,

15 P-Sft HPF 0 - 31 BYPASS, 16-

16 P-Sft to Rev 0 - 127 0-127 Volume of additional resonance add-

17 Damper offset #0 - 64 0-64 As the value is increased, more of a

BYPASS

15000 Hz

4.0, 8.0

BYPASS

15000 Hz

BYPASS

15000 Hz

pressed (controls the resonant
sound)

Frequency of the filter that cuts the
high-frequency content of the input
sound (BYPASS: no cut)

Frequency of the filter that cuts the
low-frequency content of the input
sound (BYPASS: no cut)

cuts a specific frequency region of the
input sound

the filter at the specified frequency
region of the input sound

Width of the frequency region boost­ed/cut by the `Peaking Gain’ param­eter (larger values make the region
narrower)

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

Frequency at which the low-frequen­cy content of the resonant sound will
be cut (BYPASS: no cut)

resonance

nent
Basic frequency at which the filter

cuts the high-frequency portion of
the resonant component (BYPASS:
no cut)

Basic frequency at which the filter
cuts the low-frequency portion of the
resonant component (BYPASS: no
cut)

ed to resonant component

slight resonance is added to the
sound, even when the damper pedal
is not pressed

27