Roland Prelude User Manual

201a

Before using this unit, carefully read the sections entitled: “Using the unit safely” (p. 3) and “Important notes” (p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, this owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

Owner’s Manual

Conventions Used in This Manual

Operating buttons are enclosed by square brackets [ ]; e.g., [ENTER]. Reference pages are indicated by (p. **).

The following symbols are used.

This indicates an important note; be sure to read it. This indicates a memo regarding the setting or function; read it as desired. This indicates a useful hint for operation; read it as necessary. This indicates information for your reference; read it as necessary. This indicates an explanation of a term; read it as necessary.

* The explanations in this manual include illustrations that depict what should typically be shown by

the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

202

written permission of ROLAND EUROPE.

For the U.K.

Using the unit safely

About WARNING and CAUTION Notices

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or

other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

ALWAYS OBSERVE THE FOLLOWING

002c

• Do not open (or modify in any way) the unit or its AC adaptor.

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003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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004

•Never install the unit in any of the following locations.

• Subject to temperature extremes (e.g., direct sunlight in

an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Exposed to steam or smoke; or are

• Subject to salt exposure; or are

• Humid; or are

• Exposed to rain; or are

• Dusty or sandy; or are

• Subject to high levels of vibration and shakiness.

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005

• This unit should be used only with a rack or stand that is recommended by Roland.

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About the Symbols

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.

006

•When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

.................................................................................................................................

008e

• Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

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009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

.................................................................................................................................

011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012b

•Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:

• The AC adaptor, the power-supply cord, or the plug has been

damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been spilled onto the unit; or

• The unit has been exposed to rain (or otherwise has become wet); or

• The unit does not appear to operate normally or exhibits a marked

change in performance.

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013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

.................................................................................................................................

014

• Protect the unit from strong impact. (Do not drop it!)

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015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords— the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

.................................................................................................................................

016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

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023

•DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result.

.................................................................................................................................

101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

.................................................................................................................................

101c

• The Prelude is for use only with a Roland KS-12 stand (or cart). Use with other stands (or carts) is capable of resulting in instability causing possible injury.

.................................................................................................................................

•Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit.

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103b

•At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire.

.................................................................................................................................

104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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106

•Never climb on top of, nor place heavy objects on the unit.

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107c

•Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit.

.................................................................................................................................

108b

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 14).

.................................................................................................................................

110b

•Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

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Important notes

In addition to the items listed under “Using the unit safely” (p. 3), please read and observe the following:

Power Supply

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

•Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of the Prelude. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

Placement

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

•Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off.

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

•When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated.

• Do not allow objects to remain on top of the keyboard. This can be the cause of malfunction, such as keys ceasing to produce sound.

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

Maintenance

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

•Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

Repairs and Data

•Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up a USB memory, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

Memory Backup Additional Precautions

•Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory to a USB memory.

• Unfortunately, it may be impossible to restore the contents of data that was stored in the Prelude’s internal memory or on USB memory once it has been lost. Roland Europe assumes no liability concerning such loss of data.

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

•Never strike or apply strong pressure to the display.

•When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

•When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

• Do not apply undue force to the music stand while it is in use.

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

• The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

Using USB Memory

•When connecting USB memory, firmly insert it all the way in.

• Do not touch the pins of the USB memory connector, or allow them to become dirty.

• USB memory is made using high-precision electronic components, so please observe the following points when handling it.

• To prevent damage from static electrical charges, discharge any static electricity that might be present in your body before handling USB memory.

• Do not touch the terminals with your fingers or any metal object.

Important notes

• Do not bend or drop USB memory, or subject it to strong impact.

• Do not leave USB memory in direct sunlight or in locations such as a closed-up automobile. (Storage temperature: 0–50 degrees C)

• Do not allow USB memory to become wet.

• Do not disassemble or modify USB memory.

•When connecting USB memory, position it horizontally with the USB memory connector and insert it without using excessive force. The USB memory connector may be damaged if you use excessive force when inserting USB memory.

• Do not insert anything other than USB memory (e.g., wire, coins, other types of device) into the USB memory connector. Doing so will damage the USB memory connector.

• Do not apply excessive force to the connected USB memory.

• Attach the USB memory cover when you’re not using USB memory.

Handling CD-ROMs

• Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.

*Microsoft and Windows are registered trademarks of Microsoft

Corporation. The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation.

* Pentium is a registered trademark of Intel Corporation.

*All product names mentioned in this document are trademarks or

registered trademarks of their respective owners.

* MMP (Moore Microprocessor Portfolio) refers to a patent portfolio

concerned with microprocessor architecture, which was developed by Technology Properties Limited (TPL). Roland has licensed this technology from the TPL Group.

*MPEG Layer-3 audio compression technology is licensed from

Fraunhofer IIS Corporation and THOMSON Multimedia Corporation.

*MatrixQuest™ 2008 TEPCO UQUEST, LTD. All

rights reserved. The Prelude’s USB functionality uses Matrix-Quest middleware technology from TEPCO UQUEST, LTD.

Main Features

The Ideal Music Keyboard for Entertainment

High-quality sounds

●

The latest sounds generated by a top-level sound generator with 128-voice polyphony

●

High-quality localized sounds

Three backing functions that assist your performances

●

High-quality Music Style engine with the latest Styles

❍

Four variations each for Intro, Main, and Ending.

❍

Included “StyleConverter” software lets you create Styles on your computer. Styles you’ve created can be installed in the Prelude as User Styles via USB memory.

●

USB Memory Player function lets you play MP3/WAV/AIFF/SMF data

❍

You can apply the Center Cancel function to audio, or enjoy “minus-one” performance using SMF data.

❍

Included “Playlist Editor” software lets you create playlists on your computer. You can easily create a playlist for each of your performances.

●

16-track song sequencer is built-in, allowing you to record your performances on the Prelude

❍

SMF data can be stored in internal memory, and played back or used for “minus-one” performance.

Designed for easy use

●

High-quality 11W stereo amplification system with two built-in speakers.

●

Lightweight and compact body designed for portability

●

Large, full-graphic white LCD for excellent visibility

●

Friendly user interface featuring Style Family buttons for direct selection

●

Intuitive controllers such as the D Beam controller

Import sounds via USB memory

●

USB Import function allows you to add sounds (Tones) New sounds can be added via USB memory.

Contents

Using the unit safely ..........................3

Important notes .................................5

Main Features....................................7

Panel Descriptions............................10

Front Panel ........................................................10

Rear Panel.........................................................12

Introduction.....................................13

About the Prelude..................................... 13

About Memory...................................................13

Making Connections................................. 14

Connecting the AC Adaptor.................................14

Connecting External Equipment............................ 15

Connecting a pedal and switch.................................. 15

Connecting an audio player to the EXT INPUT jack....... 15

Turning the Power On/Off ........................ 15

Turning the power on................................................15

Turning the power off................................................ 15

Adjusting the Display Contrast ([LCD

CONTRAST] knob)................................... 16

Basic Operation....................................... 16

Changing a Value .............................................. 16

Moving the cursor..................................................... 16

Changing a value..................................................... 16

Main Screen...................................................... 16

Listening to the Demo Songs ...................... 17

Restoring the Prelude to Its Factory Settings.. 17 Preserving Certain Settings Even When You

Switch Performances (Lock System)............. 17

Input settings for the EXT INPUT jack........... 18

Keyboard Mode Functions................19

Playing Sounds from the Keyboard

(Keyboard Mode)..................................... 19

Using Single Mode............................................. 19

Using Piano Mode.................................................... 19

Using Split Mode ([SPLIT]).................................... 19

Changing the Split Point............................................ 19

Using Dual Mode ([DUAL]) ..................................19

Selecting a Tone ([TONE])......................... 20

Using the VALUE dial................................................ 20

Choosing from the Tone list........................................ 20

Switching to an Arabian Scale or Other

Temperament........................................... 20

Changing the Key Touch ([KEY TOUCH]).... 21

Shifting the Keyboard Pitch in Octave Steps

(OCTAVE Buttons).................................... 21

Transposing Keyboard Sounds and Songs

Played Back (TRANSPOSE) ....................... 21

Adding Harmony to the Upper Tone

(MELODY INTELL)..................................... 22

Using the Metronome ............................... 22

Other Functions ....................................... 22

Backing Track Functions................... 23

Selecting the Backing Types

(Style/Song/USB Memory Player)........................ 23

Adjusting the Volume Balance between Backing and

Keyboard (BALANCE buttons).............................. 23

Adjusting the Tempo ([TAP TEMPO])..................... 23

Using the metronome.................................................23

Style (Playing with an Accompaniment)....... 24

Playing Back a Style ([STYLE]).............................. 24

Changing the Variations ............................................24

Stopping a Style .......................................................24

Adjusting the Part Balance ([PART VIEW]) ....................24

Sync Start/Stop (SYNC buttons)..................................25

Saving the Current Settings in a Performance......... 25

Selecting a Music Style ....................................... 25

Selecting a Style .......................................................25

Adding User Styles

(Importing from USB memory).....................................25

Deleting a User Style .................................................25

Back up User Style (Exporting to USB memory) .............26

Using the Recommended Sound Settings for a Style

([ONE TOUCH]) ................................................ 26

Other Functions Related to Music Style.................. 26

Song ...................................................... 26

Recording a New Song ([SONG REC])................. 26

Recording in the Main screen .....................................26

Recording a specified Part (SONG TRACK)..................27

Re-recording Your Performance............................ 28

Saving a Song ([WRITE])..................................... 28

Loading Song Data from USB Memory.................. 29

Deleting a Song................................................. 29

Selecting and Playing a Song ([SONG])............... 29

Moving the playback location of a song ......................30

Performing along with a song

([MINUS ONE/CENTER CANCEL]).............................30

Back Up Song Files ............................................ 30

Other Functions Related to Song .......................... 30

USB Memory Player

(SMF/Audio File Player)............................ 30

Playing Back SMF/Audio Files ............................. 30

USB Memory Player Screens................................31

Song Playback ([USB MEMORY PLAYER]).............. 31

Selecting a playlist and playing it............................... 31

Selecting and playing a song from within a songlist...... 32

Selecting and playing back ‘external’ songs without creating

a playlist ................................................................. 32

Performing along with a song

([MINUS ONE/CENTER CANCEL])............................ 32

Editing Playlist.................................................... 33

Selecting the playback mode ..................................... 33

Changing the song order .......................................... 33

Deleting the song ..................................................... 33

Adjusting the volume of each song .............................33

Saving playlist settings to USB memory ([WRITE]) ......... 33

Performance Functions and Effects....34

Performance Features ............................... 34

D Beam Controller.............................................. 34

Assigning a function to the D Beam controller ..............34

Pitch Bend and Modulation Lever..........................36

Assignable Pedal................................................ 36

Using Preset Performances......................... 36

Selecting a Performance ([PERFORM])...................36

Using the VALUE dial................................................ 36

Choosing from the Performance list............................. 36

Editing a Performance.........................................37

Editing a Tone.................................................... 38

Editing a Tone in detail ............................................. 38

Saving a Performance (WRITE)............................. 39

Other Functions Related to Performance ................39

System Settings ...............................45

How to Make System Settings ([MENU]) ..... 45

System Parameters ............................................. 45

Viewing Information about Prelude (System Version

Info Screens)...................................................... 47

Using USB Memory..........................48

Initializing USB Memory

(USB Memory Format) .............................. 48

Saving User Data to USB Memory (Backup) 48

Loading User Data Saved on USB Memory (Import) 48

Deleting user data that you loaded..............................49

Data Structure in USB Memory............................. 49

Importing Data You’ve Saved in USB Memory

([USB IMPORT]) ....................................... 49

About V-LINK .................................. 50

How to Use the V-LINK ([V-LINK]) ......................... 50

V-LINK Settings (V-LINK SETUP) ............................ 50

Appendices ..................................... 53

Troubleshooting ....................................... 53

Error Messages........................................ 55

Effects List ............................................... 56

Multi-Effects Parameters..............................................56

Chorus Parameters ....................................................82

Reverb Parameters ....................................................83

Tone List ................................................. 84

Rhythm Set List......................................... 92

Chord Intelligence.................................. 102

MIDI Implementation Chart...................... 104

Specifications........................................ 105

Using Reverb, Chorus and MFX Effects

([REVERB])............................................... 40

Editing the Reverb, Chorus and MFX Effects...........40

Using MIDI ......................................42

MIDI Channels......................................... 42

MIDI Parameters ...................................... 42

Local Switch............................................................. 42

Using the Prelude as a MIDI Sound Module. 43 Connecting to a Computer via the USB MIDI

Connector ............................................... 44

If connection to your computer is unsuccessful.............. 44

Making the Settings for the USB Driver..................44

Index ............................................ 106

Panel Descriptions

Front Panel

1. VOLUME knob

This knob controls the volume of the entire Prelude. Beware of excessive levels as they may cause the speakers to distort for some sounds.

Pitch Bend/Modulation lever

You can raise or lower the pitch by moving this lever to the left or right. Push the lever away from yourself to apply modulation (normally vibrato) to the sound (p. 36).

PHONES 1 & 2 sockets

This is where you can connect two pairs of optional headphones (Roland RH-25, RH-50, RH-200 or RH-300). Doing so will switch off the internal speakers.

D BEAM controller

Use this controller simply by moving your hand above it (p. 34).

D BEAM control buttons PITCH: Allows you to change the pitch of the notes you

are playing simply by moving your hand up and down above the D Beam controller.

FILTER & VOLUME: Use these buttons to turn the D Beam

controller on/off, or to select the Filter or Volume function (p. 34). You can also assign other functions to this button.

STYLE FAMILY buttons

These buttons allow you to select one of the twelve Style categories.

BACKING TRACK section

7. BACKING TYPE buttons

Use these buttons to select the backing type (p. 23).

BALANCE buttons

Use these buttons to adjust the volume balance between the backing and the keyboard. (p. 23)

PART VIEW button

Use this to adjust the volume, etc. of each part (p. 24,

27).

7 8 9

11 12 13

10.

SONG REC button

Press this button to record a Song (p. 26).

11. STYLE CONTROL buttons

Use these buttons to select the desired Style pattern (p. 24).

12. SYNC buttons

These buttons allow you to start/stop the Style by playing a note in the left side of the keyboard (p. 25).

13.

TAP TEMPO button

Use this button to set the tempo (p. 23).

14. VARIATION [1]–[4], AUTO FILL-IN, START/STOP, and

SONG CONTROL buttons

The operation of these buttons will depend on which BACKING TYPE button [7] currently lights.

If you’ve used the BACKING TYPE buttons (7) to select “STYLE,” these buttons will start/stop the Style or select variations (p. 24).

If you’ve used the BACKING TYPE buttons (7) to select “SONG” or “USB MEMORY PLAYER,” these buttons control the song playback as the SONG/USB MEMORY PLAYER CONTROL buttons (p. 30, p. 31).

15.

Display

This displays various information according to the operations you perform.

Panel Descriptions

16. VALUE dial

Use this to edit the value of the parameters (settings) in the screen.

19 20

21 22

EDIT section

17. Cursor buttons ([ ] [ ] [ ] [ ])

Use these buttons to move the cursor in the screen.

18. EXIT and ENTER buttons

Pressed to issue the “Cancel” (EXIT) or “Execute” (ENTER) commands in screens that prompt you to make such a selection.

You’ll also use the ENTER button to access lists of Tones, Performances, Styles, or Songs.

23 24 25 26 30 31

27 28 29

26.

27.

28.

29.

32 33

V-LINK button

Switching this on lets you control external V-LINK compatible video equipment (p. 50).

OCTAVE buttons

Use these buttons to raise or lower the pitch of the keyboard in one-octave steps (p. 21).

TRANSPOSE button

These button allow you to transpose the Prelude up or down in semitone steps (p. 21).

MELODY INTELL button

Press this button to add an automatic counter-melody (second and third voice) to your solos or melodies (p. 22).

19.

MENU button

This button takes you to the settings screen for various parameters (p. 45).

20.

REVERB button

This button lets you make effect settings (p. 40).

21. WRITE button

Press this button to save various types of settings (p. 28, 33, 39).

22.

NUMERIC button

You can input numerical values with the TONE SELECT buttons (37) when this button is lit (p. 16).

KEYBOARD section

23. SPLIT button

This button selects “Split mode,” whereby the keyboard is divided into two regions, allowing you to play separate sounds with the right and left hands (p. 19).

24.

DUAL button

Switches the Prelude to “Dual mode,” which enables performances with two separate Tones layered together (p. 19).

MODE section

30. TONE button

Press this button when you want to select or edit a Tone (p. 20). Tones you edit are stored in the Performance.

31.

PERFORM button

Press this button when you want to select or edit a Performance (p. 36).

32.

ONE TOUCH button

This applies the recommended sound settings for the currently selected Style (p. 26).

33.

USB IMPORT button

You can use USB memory to add Tones or update the system (p. 49).

34.

[PIANO]~[SPECIAL] (Tone Select buttons)/[0]~[9]

Use these buttons to select Tones by category (p. 20). You can also input numerical values with these buttons

when the NUMERIC button is on (p. 16).

25.

KEY TOUCH button

Press this button to make the keyboard’s touch sensitivity lighter or heavier (p. 21).

Panel Descriptions

Rear Panel

1 2 3 4 5 6 7 8 9

1. LCD CONTRAST knob

Adjusts the display’s contrast (p. 16).

2. MIDI OUT/IN connectors

Connect MIDI devices to these connectors (p. 42).

CONTROL PEDAL jack

Connect a separately available pedal switch (Roland DP Series), a separately available foot switch (BOSS FS-5U) or a separately available expression pedal (Roland EV-5) to this jack (p. 15, p. 36).

HOLD PEDAL jack

Connect a separately available pedal switch (Roland DP Series) to this jack (p. 15).

EXT INPUT jack

Connect a portable audio player or other audio source to thise mini jack (p. 15, p. 18).

OUTPUT R, L/MONO jacks

The Prelude is fitted with the finest amplification system Roland has ever developed for its arranger keyboards. You therefore may not need to connect it to an external amplification system. These jacks output the audio signal to the connected mixer/amplifier system in stereo. For mono output, use the L jack (p. 15).

USB MIDI port

Use a USB cable to connect the Prelude to your computer via this connector (p. 48).

USB MEMORY port

Connect a USB memory here and use the Prelude to play back files (songs) that have been stored on USB memory. You can also back up data to USB memory.

DC IN jack

Connect the included AC adaptor here (p. 14).

10.

POWER switch

This turns the power on/off (p. 15).

11.

Cord hook

Use this to secure the AC adaptor cord (p. 14).

Introduction

About the Prelude

What is a Performance? (p. 36)

A “Performance” is a group of settings that specifies the Tone and Style, the keyboard mode, and various other parameters.

What is a Tone? (p. 20)

On the Prelude, each of the sounds you normally play is called a “Tone.” If we use the analogy of an orchestra, a Tone corresponds to an instrument played by one of the musicians.

Tone settings, such as those for effects and filters, are stored in the Performance.

What is Backing? (p. 23)

“Backing” refers to the automatic accompaniment functionality of the Prelude.

There are three types of backing: you can choose from “STYLE,” “SONG,” and “USB MEMORY PLAYER.”

What is a Music Style? (p. 24)

A “Music Style” is a musical template used by a Backing. The Prelude contains a variety of Music Styles such as rock, pop, Latin, and jazz. You can also add Style data by using a USB memory (p. 48).

* You can use the included “StyleConverter” software to

create Styles on your computer.

What is a Song? (p. 26)

The Prelude contains a 16-track MIDI song sequencer, which you can use to record the music you play. You can add a Backing to the performance you play on the keyboard, and save the result as a Song. You can also import Song data from a USB memory .

What is a USB Memory Player? (p. 30)

This plays audio files or SMF data that has been stored in USB memory.

You can perform on the Prelude accompanied by backing from an audio file or SMF.

About Memory

Performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable.

fig.Memory-Flow.eps

Prelude

Preset

Performance

System

Performance

Import and export

System/

Sound

USB Memory

Tone

User

Style Song

Style

Song

Playlist

Song file

Temporary memory

Temporary area

This area holds the data of the Performance you’ve selected using the front panel buttons, and also holds the playlist you edited on the Prelude.

When you play the Prelude, sound is produced based on data in the temporary area. When you edit a performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there.

Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another performance. To keep the settings you have modified, you must write them into rewritable memory.

Rewritable memory

Select

Write

Load

Write

Temporary area

Performance

Tone Style

Song

Playlist

System memory

System memory stores system parameter settings that determine how the Prelude functions.

* Some settings cannot be overwritten. For details, refer to

“System settings that are not stored” (p. 47).

User memory

User memory is where you normally store the data you need. To store a Performance or a Song, execute Write procedure

(p. 28, 39).

Introduction

Non-Rewritable memory

Preset memory

Data in Preset memory cannot be rewritten. However, you can call up settings from preset Performances into the temporary area, modify them and then store the modified data in rewritable memory.

Making Connections

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

USB memory

You can back up your settings to USB memory in the following units of data. (p. 48)

• Sound/System User Performances, System settings

•Style User Styles

• Song User Songs

•All Style and Song in addition to the Sound/System data listed above

When connection cables with resistors are used, the volume level of equipment connected to the input (EXT INPUT jack) may be low. If this happens, use connection cables that do not contain resistors.

Connecting the AC Adaptor

1. Make sure that the [POWER] switch is off.

2. Move the VOLUME knob all the way to the left to minimize

the volume.

3. Connect the included power cord to the included AC

adaptor.

The indicator will light when you plug the AC adaptor into an AC outlet.

fig.ACadap.eps

AC adaptor

Indicator

Power cord

to an AC outlet

Place the AC adaptor so the side with the indicator (see illustration) faces upwards and the side with textual information faces downwards.

Depending on your region, the included AC adaptor may be a different type than the one shown above. If so, omit step 3 and proceed.

4. Connect the AC adaptor to the DC IN jack on the Prelude’s

rear panel, and then plug the AC adaptor into an electrical outlet.

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

fig.codef.eps

Prelude rear panel

Cord hook

Introduction

Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Connecting an audio player to the EXT INPUT jack

Connecting External Equipment

The Prelude contains an internal amplification system but can also be connected to audio equipment such as a monitor speaker or a stereo set, or use headphones.

You can record your playing (or a song recorded on the Prelude) onto an audio recording device. Connect the OUTPUT jacks on the Prelude’s rear panel to the input jacks of your external device.

Stereo

headphones

You can connect an MP3 player or other audio device to the Prelude’s EXT INPUT jack, and listen to the playback.

“Input settings for the EXT INPUT jack” (p. 18)

Turning the Power On/Off

Turning the power on

Once the connections have been completed (p. 14), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1. Before you turn on the power, turn the [VOLUME] knob all

the way to the left to minimize the volume.

2. Press the rear panel [POWER] switch to turn on the power.

Monitor speakers, etc.

The internal speakers are switched off when you connect one or two pairs of headphones.

Connecting a pedal and switch

You must switch off the Prelude’s power before you connect a pedal and/or switch.

Connect a separately available pedal switch (Roland DP Series) to the HOLD PEDAL jack on the rear panel. You can use this pedal switch to sustain notes even after taking your hands off the keyboard.

Connect a separately available pedal switch (Roland DP Series), a separately available foot switch (Boss FS-5U) or separately available expression pedal (Roland EV-5) to the rear panel CONTROL PEDAL jack. You can use this to control various functions that you assign (p. 36).

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

If the Prelude is connected to a keyboard amp or audio amp, turn on the power of the Prelude first, and then switch on your amp.

Turn the [VOLUME] knob to adjust the volume of the Prelude.

Turning the power off

1. Before you turn off the power, turn the [VOLUME] knob all

the way to the left to minimize the volume.

Press the [POWER] switch once again to turn off the power.

If the Prelude is connected to a keyboard amp or audio amp, switch off the power to your amp first, then turn off the power on the Prelude.

Introduction

Adjusting the Display Contrast ([LCD CONTRAST] knob)

1. Turn the [LCD CONTRAST] knob on the rear panel.

Basic Operation

Changing a Value

Moving the cursor

A single screen or window displays multiple parameters or items for selection. To edit the setting of a parameter, move the cursor to the value of that parameter. To select an item, move the cursor to that item. When selected with the cursor, a parameter value or other selection is highlighted.

Move the cursor with the [ ], [ ], [ ] and [ ] (cursor buttons).

Changing a value

Main Screen

The following screen, which appears after you turn on the power, is called the “Main screen.” This screen will be shown most of the time you’re performing with the Prelude.

(1) (2)

(3) (4)

1. The number and name of the currently selected Style or of

the currently selected Song

2. The group, number, and name of the currently selected

Performance

3. The number and name of the Tone selected for the Lower

Part

4. The number and name of the Tone selected for the Upper

Part

5. The measure number, tempo, and time signature of the Style

or Song

6. Chord indication

(5)

(6)

To change the value, use the VALUE dial.

Entering numerical values ([NUMERIC])

If you turn [NUMERIC] on, you’ll be able to use the TONE SELECT buttons ([PIANO]–[SPECIAL]) to enter numerical values.

This is convenient when selecting Tones (p. 20), Styles (p. 25), Performances (p. 36), or Songs (p. 29).

1. Use the cursor buttons or [STYLE], [SONG], [TONE] or

[PERFORM] to move the cursor to the numerical value you want to change.

2. Press [NUMERIC].

All of the TONE SELECT buttons will light.

3. Use the TONE SELECT buttons to enter the desired value,

and press [ENTER].

Window

The somewhat smaller screens that appear temporarily on top of the normal screens are called windows. Various types of windows appears according to the situation. Some display allow you to make settings, and others ask you to confirm an operation.

fig.disp-tempo.eps_80

Press [EXIT] to close the window. Some windows will close automatically when an operation is performed.

Listening to the Demo Songs

Introduction

4. Press [ENTER] to execute the Factory Reset.

If you press [EXIT] instead, you’re returned to the previous screen and no Factory Reset takes place.

1. Press [MENU].

2. Use [ ] [ ] to select “Demo Play” then press [ENTER].

3. Use the cursor buttons to select the song you want to hear

then press [ENTER].

Press [PIANO (0)] to play back all of the demo songs.

4. Press [START/STOP] to stop demo playback.

5. Press [EXIT] to return to the Main screen.

No data for the music that is played will be output from MIDI OUT.

Restoring the Prelude to Its Factory Settings

You can return all of Prelude’s settings to the factory-set state. This is called “Factory Reset.”

If the Prelude’s internal memory already contains important data that you’ve created, all of this data will be lost when you execute a Factory Reset. If you want to keep your data, you must save it to USB memory (p. 48).

1. Press [MENU].

2. Use [ ] [ ] to select “Utility” then press [ENTER].

3. Use the cursor buttons to select “Factory Reset” then press

[ENTER].

The confirmation message will appear.

5. Turn the power off and then on again.

Restoring the factory settings will initialize the System and User Performance settings.

Preserving Certain Settings Even When You Switch Performances (Lock System)

The settings for which you select “ON” (as described below) will not change even when you switch Performances.

Choosing the settings that will be locked

1. Press the [MENU] button and select “System”.

2. Confirm your choice by pressing [ENTER].

3. Press the [ ] button several times until the “System

Lock” page is displayed.

4. Use [ ] [ ] to select the parameter, and turn the

VALUE dial to select the value.

Parameter

Style

Tone

Style Tempo

Transpose

5. Press [EXIT].

You will see the message “System Write Completed.”

The Style will not change when you switch Performances.

The Tones will not change when you switch Performances.

The Style tempo will not change when you switch Performances.

The transpose setting (p. 21) will not change when you switch Performances.

Explanation Value

OFF, ON

These settings are system parameters (p. 45).

Introduction

Input settings for the EXT INPUT jack

Here you can specify whether the sound from the EXT INPUT jack (p. 15) will be used.

You can also specify whether the Center Cancel function will be applied to the sound from the EXT INPUT jack.

When connection cables with resistors are used, the volume level of equipment connected to the EXT INPUT sockets may be low. If this happens, use connection cables that do not contain resistors.

Center Cancel function minimizes the playback volume of the sound that’s heard from the center (e.g., vocal or melody instrument).

1. Press [MENU].

2. Use [ ] [ ] to select “Ext Input Setting” then press

[ENTER].

3. Use [ ] [ ] to select the item that you want to change.

Parameter

External Input

Center Cancel

4. Turn the VALUE dial to set the value.

5. When you’re finished making settings, press [EXIT].

The “External Input” and “Center Cancel” settings cannot be saved to User Programs or the System memory. “External Input” is reset to “On” and “Center Cancel” to “Off” each time you switch on the Prelude.

Turns the input from the EXT INPUT jack ON or OFF.

Specifies whether the Center Cancel function will be applied to the sound from the EXT INPUT jack (ON) or will not be applied (OFF).

Explanation Value

OFF, ON

Keyboard Mode Functions

Playing Sounds from the Keyboard (Keyboard Mode)

Immediately after you turn on the power, the Prelude will be in a state where you can use the entire keyboard to play a piano sound. The Prelude’s keyboard can operate in one of the following three modes.

SINGLE

SPLIT

DUAL

If BACKING TYPE [STYLE] is on, the left region of the keyboard (the Lower Part) is used to enter chords (p. 24).

The entire keyboard plays one Tone. The region of the keyboard to the left of the Split

Point becomes the Lower Part, while the region of the keyboard to the right of the Split Point becomes the Upper Part. Each part plays a different Tone.

The entire keyboard plays two Tones (assigned to the Upper and Lower parts) simultaneously.

Using Split Mode ([SPLIT])

Such a division of the keyboard into right- and left-hand sections is called a “Split,” and the key where the division takes place is called the “Split Point.”

While in Split mode, a sound played in the right side is called an “Upper Tone,” and the sound played in the left side is a “Lower Tone.” The Split-Point key is included in the upper section. The Split Point has been set at the factory to “C4”.

Press [SPLIT] so the button is lit.

The Tone you selected in Single mode will be the Tone for the Upper Part.

Use [ ] [ ] to select the Upper or Lower part if you wish to assign it a different Tone.

To exit Split mode, press [SPLIT] once again so its light goes out.

In Split mode, the most suitable octave settings for each Tone are applied automatically.

Regardless of the current settings, you can easily select Single mode by choosing the “Piano Mode” described below.

Using Single Mode

If the [SPLIT] and [DUAL] are off, the keyboard will be in Single mode, meaning that the entire keyboard will play a single Tone.

When you turn on the power, the Prelude will be in this mode.

Using Piano Mode

Regardless of the keyboard mode that is currently selected, you can use the following operation to call up the “Piano Mode.”

This will make the appropriate settings for playing piano on the Prelude; the entire keyboard will play a piano sound.

Press [SPLIT] and [DUAL] (PIANO MODE) simultaneously.

Changing the Split Point

Press and hold [SPLIT] (for approximately two seconds).

The Split Point setting screen will appear.

Turn the VALUE dial to change the Split Point.

When you’re finished making the setting, press [EXIT].

You can also change the Split Point by holding down [SPLIT] and playing the desired key.

The lowest split point note is “C#2”.The screen doesn’t display notes lower than the “C#2”.

Using Dual Mode ([DUAL])

“Dual” is the mode in which two Tones are layered, so that they sound together.

In Dual mode, one Tone is called the “Upper Tone,” and the other is called the “Lower Tone.”

Press [DUAL] so the button is lit.

The Tone you selected in Single mode will be the Tone for the Upper Part.

Use [ ] [ ] to select the Upper or Lower part if you wish to assign it a different Tone.

Keyboard Mode Functions

3. To exit Dual mode, press [DUAL] once again so its light

goes out.

Switching to an Arabian

Selecting a Tone ([TONE])

The Prelude contains more than 1000 different Tones. You can use these Tones in the three keyboard modes (Single, Split, Dual).

In Split mode or Dual mode, you can use the cursor buttons to move the cursor to the Tone number of the Upper Tone or Lower Tone, and select a different Tone for each.

Using the VALUE dial

1. Press [TONE] so the button is lit.

2. Use [ ] [ ] to select the Upper or Lower part.

3. Turn the VALUE dial to step through the Tones one by one.

Alternatively, you can press one of the TONE SELECT buttons ([PIANO]–[SPECIAL]) to select a Tone by category.

When the cursor in the screen is at the Tone number, you can also select a Tone by turning [NUMERIC] on, using the TONE SELECT buttons to enter a Tone number, and then pressing [ENTER].

Choosing from the Tone list

1. In the Main screen, use the cursor buttons to move the

cursor to the Tone number.

2. Press [ENTER].

3. Use [ ] [ ] or the VALUE dial to select a Tone.

You can press one of the TONE SELECT buttons ([PIANO]–[SPECIAL]) to select a Tone by category.

Scale or Other Temperament

As an alternative to the temperament commonly used in Western music, you can adjust the pitch of each note to create temperaments used in other musical cultures or historical periods (e.g., Oriental temperaments, or temperaments used in the Baroque era).

You can independently adjust the pitch of each note in the octave (C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B).

1. Hold down the [TRANSPOSE] button and press the

[KEY TOUCH] button.

The Key Scale window will open.

2. Use the cursor buttons to select the item that you want to

change, and use the VALUE dial to change the value.

Parameter

Preset Equal

Preset Arabic

Lower Sw

Equal Tuning: This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

Arabic Scale: In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural third the interval between a major third and a minor third. On the GW-8, you can use Arabian temperament in the three keys of G, C and F.

Use the Key Scale for the Lower Part

Explanation Value

Press [ENTER]

OFF, ON

4. Press [ENTER] to set the Tone.

If you press [EXIT] without pressing [ENTER], the list will close without the currently selected Tone being changed.

You can use [ ] [ ] to select a sub-category within the currently selected category.

You can edit the currently selected Tone and store it in the Performance. For details, refer to “Editing a Tone” (p. 38) and “Saving a Performance (WRITE)” (p. 39).

Upper Sw

Style Sw Use the Key Scale for the Style Part OFF, ON C Key Scale C -64–+63 C# Key Scale C# -64–+63 D Key Scale D -64–+63 Eb Key Scale Eb -64–+63 E Key Scale E -64–+63 F Key Scale F -64–+63

Use the Key Scale for the Upper Part

OFF, ON

Keyboard Mode Functions

Parameter

F# Key Scale F# -64–+63 G Key Scale G -64–+63 G# Key Scale G# -64–+63 A Key Scale A -64–+63 Bb Key Scale Bb -64–+63 B Key Scale B -64–+63

3. When you’ve finished making settings, press [EXIT] once to

close the window.

Explanation Value

Changing the Key Touch ([KEY TOUCH])

This setting determines how the volume changes in response to the force used to play the keyboard (Velocity Sensitivity).

The velocity—the force with which you play the keyboard— can affect the volume or timbre of a sound.

1. Press [KEY TOUCH] so the button is lit.

The Key Touch window will open.

2. Use the cursor buttons to select the item that you want to

change, and use the VALUE dial to change the value.

Parameter

Curve

Value Explanation

Select this setting if you do not

LIGHT

MEDIUM

HEAVY

FIXED

want velocity changes to bring about major volume changes.

Medium velocity sensitivity. The keyboard responds to velocity changes, but the maximum volume can be obtained more easily than with “HEAVY.”

Select this setting for maximum expressiveness. Even small variations of the force with which you strike a key produce audible changes. The tradeoff is, however, that you have to strike the keys forcefully to achieve the maximum volume.

Select this setting if all notes you play on the keyboard should have the same velocity value.

Parameter

Value 1–127

3. When you’ve finished making settings, press [KEY TOUCH]

once again (or [EXIT]) to close the window.

If you want to keep this setting, press [WRITE] to store it into the Performance (p. 39).

Value Explanation

Specifies the volume value used when “Curve” is set to “FIXED.”

Shifting the Keyboard Pitch in Octave Steps (OCTAVE Buttons)

You can shift the pitch of the currently selected Tone upward or downward in steps of an octave, over a maximum of four octaves upward or downward.

1. Press OCTAVE [ ] or [ ].

The Octave Shift window will open, and will then close a few moments after you release the button.

2. While holding down OCTAVE [ ] or [ ], use Cursor

[] [] to select the Upper or Lower part whose pitch you want to shift.

3. Use OCTAVE [ ] [ ] to change the octave.

Transposing Keyboard Sounds and Songs Played Back (TRANSPOSE)

By using the “Transpose function,” you can transpose your performance without changing the notes you play. You can also use this function to play back a song in a different key.

1. Press [TRANSPOSE].

The Transpose window will open, and will then close a few moments after you release the button.

2. While holding down [TRANSPOSE], use [ ] [ ] to

select the item whose setting you want to change.

Parameter Explanation Value

The playback of Songs recorded

Song Trans

with, or imported into, the Prelude, and of SMF data (29, p. 31) will be transposed.

OFF, ON

Keyboard Mode Functions

Parameter Explanation Value

KBD Trans

C→

Audio data cannot be transposed.

3. Hold down [TRANSPOSE], and use the VALUE dial to

specify the desired value.

[TRANSPOSE] will light if the setting is anything other than C.

By holding down [TRANSPOSE] and using OCTAVE [ ] [], you can change the Transpose value regardless of where the cursor is located.

The sound of the keyboard will be transposed.

The transposed pitch (–5~+6 semitones)

OFF, ON

F#, G, G#, A, Bb, B, C, C#, D, Eb, E, F

Adding Harmony to the Upper Tone

(MELODY INTELL)

3. Press [EXIT] to return to the Main screen.

4. To turn the Melody Intelligence off, press [MELODY INTELL]

so its light goes out.

Using the Metronome

It’s convenient to use the metronome when you’re practicing a new song.

1. Press [MENU].

2. Use [ ] [ ] to select “System” then press [ENTER].

3. Use [ ] [ ] to select “METRONOME” page, and use

[] [ ] to select a parameter.

4. Turn the VALUE dial to select the value.

Parameter Value Explanation

Metronome Switch

OFF, ON Turns the metronome on/off.

Specifies how the metronome will be sounded.

While a Music Style is playing (p. 24), the matching harmony is automatically added to the notes you are playing in the Upper Part. This function is called “Melody Intelligence.”

Those automatic harmonies are based on the chords you play in the lower section.

The Melody Intelligence function will be on when you turn [MELODY INTELL] on (button lit).

The Melody Intelligence function is only available while the [STYLE] button lights.

Selecting the type of harmony

1. Press [MELODY INTELL] so the button is lit.

When you play something in the Upper Part, harmony is added.

2. Press and hold [MELODY INTELL], and turn the VALUE dial

to select the Melody Intelligence type.

Parameter

Type

DUET, ORGAN, COMBO, STRINGS, CHOIR, BLOCK, BIG BAND, COUNTRY, TRADITIONAL, BROADWAY, GOSPEL, ROMANCE, LATIN, COUNTRY GUITAR, COUNTRY BALLAD, WALTZ ORGAN, OCTAVE TYPE 1, OCTAVE TYPE 2

Value

ALWAYS

Metronome Mode

Metronome Level

5. When you’ve finished making settings, press [EXIT].

This setting is saved to the System memory.

REC

PLAY

LOW, MEDIUM, HIGH

The metronome will sound at all times if it is turned on.

The metronome will sound only while you’re recording a Song (p. 26).

The metronome will sound when you’re playing a Style and when you’re playing a Song (p. 24, p. 29).

Adjusts the volume of the metronome. The metronome will be quiet at “Low” and loud at “High.”

Other Functions

“Performance Functions and Effects” (p. 34) “Editing a Tone” (p. 38) “Master Tune” (p. 45) “System Transpose*” (p. 45)

Backing Track Functions

Selecting the Backing Types (Style/Song/USB Memory Player)

The Prelude allows you to use the following three types of musical backing. To switch the backing type, use BACKING TYPE [STYLE], [SONG] and [USB MEMORY PLAYER].

[STYLE] (p. 24)

This backing uses the Music Styles. The Prelude Style function automatically generates a backing with multiple instruments; simply choose one of a variety of Music Styles (Styles), then use your left hand to specify a chord. You can also choose Variations to change the backing in addition to the Intro, Main, and Ending backing types.

Using only the drum part of a Style as the backing

If you turn all of BACKING TYPE [STYLE], [SONG] and [USB MEMORY PLAYER] off, you’ll hear only the drum part of the currently selected Style. Just as when [STYLE] is on, you’ll be able to use the STYLE CONTROL buttons and VARIATION buttons to choose different variations.

[SONG] (p. 26)

You can use the recording function to record your own performance into the Prelude. Since a 16-track sequencer is built in, you can use multi-track recording to create a song by recording a different sound on each track. A song you’ve created can also be used as the backing for your keyboard performance. SMF data can be loaded into the user Song and played back.

[USB MEMORY PLAYER] (p. 30)

This allows you to play back audio files or SMF data that’s been saved on USB memory. You can use this playback as the backing for your keyboard performance.

Adjusting the Tempo ([TAP TEMPO])

You can’t adjust the tempo of audio data.

1. Press [TAP TEMPO] three or more times at the desired

interval.

The tempo setting window will appear, and the tempo will be specified by the interval at which you pressed the button.

You can also specify the tempo by pressing [TAP TEMPO] to access the tempo setting window, and then using the cursor buttons and VALUE dial to specify the tempo. Press [EXIT] to close the tempo setting window.

Using the metronome

1. Press [TAP TEMPO].

The tempo setting window will appear.

2. Use the cursor buttons to move the cursor to “Metronome,”

and use the VALUE dial to turn it on.

When you turn the metronome on, it will begin sounding, depending on the metronome mode you selected (“Always”, “REC” or “Play”).

3. To stop the metronome, turn off “Metronome.”

4. Press [EXIT] to return to the Main screen.

For details on volume and other settings for the metronome, refer to “Using the Metronome” (p. 22).

Adjusting the Volume Balance between Backing and Keyboard (BALANCE buttons)

Use BALANCE [BACKING] and [KEYBOARD] to adjust the volume balance between the backing and your keyboard performance.

If you press BALANCE [BACKING] and [KEYBOARD] simultaneously, the volume balance will return to its original value.

If you’ve changed the volume balance, the button whose volume is higher will be lit.

This setting cannot be stored.

Backing Track Functions

Changing the Variations

Style (Playing with an Accompaniment)

Playing Back a Style ([STYLE])

1. Press [STYLE] so the button is lit.

At this time, the keyboard Split Point will be set to “C4” (the default setting).

If you press and hold [SPLIT] (for approximately two seconds), the Split Point setting screen will appear. You can turn the VALUE dial to change the Split Point. When you’re finished, press [EXIT].

2. Press [START/STOP]; the drums will start playing.

If you’re not using the lower area of the keyboard (the Lower Part area) to enter chords, only the drum pattern of the Style will be heard.

You can press the VARIATION buttons to change the type of ensemble that will play the backing.

The button you press flashes until the new pattern is used (after which the button lights steadily.)

VARIATION [1] produces the simplest arrangement, and VARIATION [4] produces the most florid.

For an intro or ending, simplest.

VARIATION [1]

is the shortest and

Using the Auto Fill-in Function

If you leave [AUTO FILL-IN] on (button lit), a fill-in will play when you switch between accompaniment Variations. The fillin that is played between the current and the next Variation pattern depends on where you come from.

What’s a “Fill-In”?–A short improvisational phrase inserted at the bar line is called a “Fill In.” The Prelude automatically plays the appropriate phrase for the selected Style.

Stopping a Style

3. Use your left hand to play a chord (or a single note).

Use your left hand to play the backing chord, and your right hand to play the melody.

4. If you play a different chord (or single note), the backing

chord will change.

The chord name is displayed in the backing chord area of the screen.

5. Use the STYLE CONTROL buttons to select a different

pattern for the currently selected Style.

[INTRO]

[MAIN]

[ENDING] A backing pattern suitable for an ending.

If [STYLE] is unlit, pressing [START/STOP] will cause only the drums to start playing.

A backing pattern suitable for an introduction.

This is the main accompaniment pattern for the song.

1. Press [START/STOP] once again to make the backing stop.

If you press [ENDING] instead of [START/STOP], the ending phrase will play and then the backing will stop.

Adjusting the Part Balance ([PART VIEW])

If [STYLE] is on, or if all of the BACKING TYPE buttons are off, you can access the PERFORM MIXER screen by pressing [PART VIEW].

In the PERFORM MIXER screen you can adjust the volume for each Part of the Style. You can also mute (silence) a specific Part, or play only a specific Part.

1. With [STYLE] turned on, press [PART VIEW].

The PERFORM MIXER screen will appear.

2. Use [ ] [ ] to select the part whose settings you

want to make, and use [ ] [ ] to select the item that you want to set.

Display Part

LWR LOWER UPR UPPER ADR Accompaniment Drum ABS Accompaniment Bass AC1–AC6 Accompaniment 1–6

Parameter

Value Explanation

Backing Track Functions

After importing new Styles from a USB memory, you can also press [USER] to select a User Style.

LEVEL 0–127 Adjusts the volume of the Part.

MUTE

SOLO

3. To exit the PERFORM MIXER screen, press [EXIT] or press

[PART VIEW] so its light is turned off.

OFF, ON

Specifies whether the sound will be muted (ON) or heard (OFF).

Specifies whether this Part alone will be heard by itself (ON) or not (OFF).

Sync Start/Stop (SYNC buttons)

If you leave SYNC [START] on (button lit), the accompaniment will start the moment you play a note at the left side of the Split Point (i.e., in the Lower Part area).

If you leave SYNC [STOP] on (button lit), the accompaniment will stop the moment you take your hand off of the Lower Part area. This is great for songs where you need breaks (i.e. one or several beats of silence).

To defeat this setting, press the button so it goes out.

3. Turn the VALUE dial to step through the Styles one by one.

When the cursor in the screen is at the Style number, you can also select a Style by turning [NUMERIC] on, using the TONE SELECT buttons to enter a Style number, and then pressing [ENTER].

Choosing from the Style List

1. In the Main screen, use the cursor buttons to move the

cursor to the Style number.

2. Press [ENTER].

3. Use [ ] [ ] to select a Style genre.

To select a User style, select “USER” or press [USER].

4. Use [ ] [ ] or the VALUE dial to select a Style.

5. Press [ENTER] to set the Style.

If you press [EXIT] without pressing [ENTER], the list will close without the currently selected Style being changed.

Saving the Current Settings in a Performance

See “Saving a Performance (WRITE)” (p. 39).

Selecting a Music Style

The Style memory locations are organized as follows.

Type Explanation

PRST

(Preset)

USER

Selecting a Style

Using the VALUE dial

1. Press [STYLE] so the button is lit.

These are the Styles built into the Prelude. They cannot be overwritten.

When you create Style data on your computer, save it to USB memory, and load it into the Prelude, it will be written into this USER area (p.

48).

Adding User Styles (Importing from USB memory)

Style data saved on USB memory can be imported into the Prelude. Before you continue, the Style data you created on your computer using the included “StyleConverter” software must be saved to USB memory.

For details, refer to “Loading User Data Saved on USB Memory (Import)” (p. 48).

Deleting a User Style

Here’s how you can delete the specified Style or all Styles from User Style memory.

1. Press [MENU].

2. Use [ ] [ ] to select “Utility” then press [ENTER].

Use the cursor buttons to select “Delete” then press [ENTER].

4. Use the cursor buttons to select “Style” or “All Styles,” then

press [ENTER].

2. Use the STYLE FAMILY buttons to select a Style by genre.

Immediately after you press one of the STYLE FAMILY buttons, the screen will show the name of the first Style in the selected genre.

5. If you selected “Style” in step 4, use the VALUE dial or

[] [] to select the Style that you want to delete, then press [ENTER].

A confirmation window will appear.

Backing Track Functions

6. Press [ENTER] to delete the Style(s).

If you press [EXIT], you’re returned to the previous screen without deleting the Style(s).

Back up User Style (Exporting to USB memory)

For details, refer to “Saving User Data to USB Memory (Backup)” (p. 48).

Using the Recommended Sound Settings for a Style ([ONE TOUCH])

When [STYLE] is on, turning [ONE TOUCH] on (button lit) will assign the most suitable Tones for the currently selected Style as the Upper Tone and Lower Tone. This is called the “One Touch” function.

If [ONE TOUCH] is on when you switch Styles, the keyboard Tones will also switch to the Tones that are most suitable for the Style you selected.

To turn off the One Touch function, turn [ONE TOUCH] off (button unlit).

The Keyboard Mode (p. 19) will change depending on the selected Style.

Song

Recording a New Song ([SONG REC])

You can use the 16-track recorder of the Prelude to record your own performances.

You can record your keyboard performance while listening to an accompaniment, and then listen to the playback of your recorded performance.

Recorded performances are discarded when another Song is selected, or when the power is turned off. If you don’t want to lose the Song, you must save it (p. 28).

On the Prelude, there are two ways to record a Song.

• Refer to “Recording in the Main screen” (p. 26).

• Refer to “Recording a specified Part (SONG TRACK)” (p.

27).

Song settings (e.g., tempo and time signature) are determined by the settings of the Style that’s saved in the selected Performance. You’ll probably find it convenient to first select the Style and Tones that you want to use (p. 36). If you are performing without using a Style, you can specify the tempo and time signature of the Song in the SONG TRACK screen (p. 27).

Switching the Style when [ONE TOUCH] is on will not change the Split Point (p. 19).

The One Touch function is available only when a preset Style is selected.

You can’t change the Tones that are assigned to each Style by the One Touch function.

Other Functions Related to Music Style

“Using Split Mode ([SPLIT])” (p. 19) “Selecting a Tone ([TONE])” (p. 20) “Adding Harmony to the Upper Tone (MELODY INTELL)” (p. 22) “Using Preset Performances” (p. 36) “Chord Mode” (p. 37) “Backing Hold” (p. 37) “Bass Inversion” (p. 37) “Pedal Assign” (p. 45) “Saving User Data to USB Memory (Backup)” (p. 48) “Loading User Data Saved on USB Memory (Import)” (p. 48)

Recording in the Main screen

If you want to record the Style playback as well, turn [STYLE] on. Recording will start/stop simultaneously when you start/stop

the Style.

If you want to record only your keyboard performance without playing a Style, turn [SONG] on. If [STYLE] and [SONG] are both turned off, the rhythm pattern of the Style selected by the STYLE FAMILY buttons will be recorded together with the keyboard performance.

If you want to record your performance after selecting any internal song, imported from USB memory, refer to “Rerecording Your Performance” (p. 28). To record a new Song, use the Song Initializing operation. Refer to “Recording a specified Part (SONG TRACK)” (p. 27). The following procedure, allows you to record your performance.

1. Select the Performance that you want to use (p. 36).

2. Press [SONG REC].

[SONG REC] will blink.

3. Press [ ] to start recording.

Even without pressing [ ], recording starts when you play on the keyboard… (1) if the [SYNC START] button is lit, or… (2) if you start playing using the Upper or Lower part while the “Count-In” parameter is set to “WAIT NOTE” (p.

28).

4. Perform.

5. Press [ ] to stop recording.

When you stop recording, the SONG TRACK screen will appear.

If you want to continue recording, refer to step 7 and following of “Recording a specified Part (SONG TRACK)” below, or step 3 and following of “Re-recording Your Performance” (p. 28).

Press [EXIT] to return to the Main screen.

MFX (p. 40) will apply only to the realtime performance of the Part (Upper Part or Lower Part) you play by hand. Be aware that MFX will not apply to the recorded Song data.

Backing Track Functions

MFX (p. 40) will apply only to the realtime performance of the Part (Upper Part or Lower Part) you play by hand. Be aware that MFX will not apply to the recorded Song data.

When [SONG] is on, you can press [PART VIEW] repeatedly to switch from the Main screen to SONG TRACK → PERFORM MIXER (p. 24) → Main screen.

1. Press [SONG] so the button is lit.

2. Press [PART VIEW] so the button is lit.

The SONG TRACK screen will appear.

Initializing a Song

3. Use the cursor buttons to select the INIT icon then press

[ENTER].

The Song Initialize window will appear.

4. As needed, use the cursor buttons and VALUE dial to

specify the tempo and time signature of the Song.

A performance you record using a Style is recorded to parts 1–16 as follows.

Track Part Name Track Part Name

1 Accomp 1 9 Accomp 6 2 Accomp bass 10 Accomp drums 3 Accomp 2 11 Lower Part 4 Upper Part 12 5 Accomp 3 13 6 14 7 Accomp 4 15 Melody Intelligence 8 Accomp 5 16

You can specify whether the metronome will sound during recording. See “Using the Metronome” (p. 22).

Recording a specified Part (SONG TRACK)

In the SONG TRACK screen you can specify the Part that you want to record. A performance using one Tone will be recorded on each Part.

If you’re recording on a specified Part, recording with a Style may cause your performance to be recorded together with the performance generated by the Style, depending on the Part you’ve specified. If you’re recording on a specified Part, we recommend that you play without using Styles.

5. Use the cursor buttons to select the INIT icon once again

then press [ENTER].

A confirmation window will appear.

6. Press [ENTER].

If you press [EXIT] twice instead of [ENTER], the Song Initialize window will close without initializing a Song.

The SONG TRACK screen will appear.

7. Use the cursor buttons to select an item, and turn the

VALUE dial to set the value.

Item Explanation Value

Part Part to record 1–16 Tone The Tone number for each Part Mute Solo

Be sure to select the sounds you want to use for your recording at this stage. You cannot assign different sounds to previously recorded parts.

8. Press [SONG REC].

9. Press [ ] to start recording.

10. Perform.

Mute On (no sound) or Off (sound) setting for each Part Solo On (hear only this part) or Off setting for each Part

[SONG REC] will blink. The Song Rec Standby screen will appear. If you are recording a new Song, there’s no need to make settings in this screen. Proceed to the next step.

11. Press [ ] to stop recording.

Backing Track Functions

Re-recording Your Performance

In the SONG TRACK screen you can overdub additional material onto your recorded performance, or re-record the specified measures of a performance. You can use the following ways of re-recording.

• Replace–New material is recorded as previously recorded material is erased.

• Mix–New notes are recorded on top of notes previously recorded.

• Punch In/Out– Replace or Mix recording is performed only in the region you specify for re-recording.

When you record a Song using a Style, the Style data is recorded in the first measure of the Song. When you play back this Song, playback will begin from measure indication “2.”

1. Press [SONG] so the button is lit.

2. Press [PART VIEW] so the button is lit.

The SONG TRACK screen will appear. As needed, make Song settings as described in step 7 of

“Recording a specified Part (SONG TRACK).”

3. Press [SONG REC].

[SONG REC] will blink. The Song Rec Standby screen will appear.

4. Use the cursor buttons to select a parameter, and turn the

VALUE dial to set the value.

Parameter

Punch Sw

Punch In

Punch Out

If you assign the pedal to “PUNCH IN/OUT” in “Pedal Assign” (p. 45), you’ll be able to specify the record-start and record-end locations by pressing the pedal. In this case, turn the above “Punch Sw” to the “OFF” setting.

5. Press [ ] to start recording.

6. Perform.

7. Press [ ] to stop recording.

Value Explanation

If this is turned “ON,” recording will occur from the “Punch In” measure to the “Punch Out” measure that you specify below.

OFF, ON

0001–

0002–

When the song playback reaches the measure you specified for “Punch In,” recording will begin automatically stop at the “Punch Out” measure.

Measure at which recording will begin

Measure at which recording will end

, and recording will

Saving a Song ([WRITE])

Here’s how you can save a Song from the temporary Song memory to a user Song memory.

Parameter

Rec Mode

Count In

Input Quantize

Value Explanation

New material is recorded as

REPLACE

MIX

OFF

1MEAS

2MEAS

WAIT NOTE

OFF, 1/4, 1/8, 1/8T, 1/16, 1/16T, 1/32, 1/32T, 1/64

previously recorded material is erased.

New notes are recorded on top of notes previously recorded.

No count-in. Recording starts as soon as you press [ ]. Recording starts after a 1-bar

count-in. Recording starts after a 2-bar

count-in. Recording starts as soon as you

play a note on the keyboard. (There will be no count-in.)

Quantize corrects the timing of your notes by shifting them to the nearest grid mark. This specifies the number of steps per measure (i.e., the resolution).

1. Press [WRITE].

2. Use [ ] [ ] to select “Song,” and then press [ENTER].

Input a name for your user Song

3. Use [ ] [ ] to move the cursor, and turn the VALUE

dial to change each character.

Enter a Song name of up to 16 characters. The following characters are available. A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ ` { } _

Button Explanation

Selects the type of character. Each time you press

[0]

[1] Deletes the character at the cursor location. [2] Inserts a “_ ” at the cursor location.

4. Press [ENTER].

this, you will alternately select the first character of a character set: uppercase (A), or numerals and symbols (0).

A confirmation window will appear.

5. Press [ENTER] to save the Song.

If you press [EXIT], you’re returned to the previous screen without the Song being saved.

Loading Song Data from USB Memory

Backing Track Functions

When you record a Song using a Style, the Style data is recorded in the first measure of the Song. When you play back this Song, playback will begin from measure indication “2.”

When you select a user Song, the temporary Song memory will be overwritten by the user Song you selected.

Song data saved on USB memory can be loaded into the Prelude. SMF data also can be stored into the user Song.

For details, refer to “Loading User Data Saved on USB Memory (Import)” (p. 48).

Deleting a Song

Here’s how you can delete the specified Song or all Songs from User Song memory.

1. Press [MENU].

2. Use [ ] [ ] to select “Utility” then press [ENTER].

Use the cursor buttons to select “Delete” then press [ENTER].

4. Use the cursor buttons to select “Song” or “All Songs,”

then press [ENTER].

If you selected “Song” in step 4, use the VALUE dial or

to select the Song that you want to delete, then press

[] [ENTER].

A confirmation window will appear.

[]

You can’t play back SMF data that contains more than 16 parts.

6. Press [ENTER] to delete the Song(s).

If you press [EXIT], you’re returned to the previous screen without deleting the Song(s).

Selecting and Playing a Song ([SONG])

1. Import on or several songs from a USB memory if you

haven’t already done so.

2. Press [SONG] so the button is lit.

3. Turn the VALUE dial to select a Song.

When the cursor is at the Song number, you can also select a Song from the Song list. Press [ENTER] to access the Song list, using [ ] [ ] to select a Song, and then pressing [ENTER].

You can use [NUMERIC] to select a Song (p. 16).

4. Press [ ] to play the Song.

To stop, press [ ] once again.

Backing Track Functions

Moving the playback location of a song

Use the SONG buttons to specify the song playback location.

[] [] []

[]

Returns to the beginning of the song. Rewinds the song. Fast-forwards the song. Moves to the end of the song. Plays or pauses the song.

Performing along with a song ([MINUS ONE/CENTER CANCEL])

You can press [MINUS ONE/CENTER CANCEL] to mute (silence) the specified Part. This is called the “Minus One” function. To specify the Part that will be muted, see below.

Each time you press [MINUS ONE/CENTER CANCEL], the Minus One function will be turned on (button lit) or off (button unlit).

Specifying the Part that will be muted

1. Press [MENU].

2. Use [ ] [ ] to select “Minus One Setting” then press

[ENTER].

You can also call up this page bt pressing and holding the [MINUS ONE] button.

3. Use the cursor buttons to select the Part that you want to

mute.

USB Memory Player (SMF/Audio File Player)

Playlist:

specified order, and play them back consecutively on the Prelude. You can use the “Playlist Editor” software supplied with the Prelude to create a playlist on your computer. Songlist: The list of songs specified in the playlist is called a Songlist.

Playlist is a function that lets you create a list of songs in a

Creating a playlist

Start up “Playlist Editor” and create a playlist.

* For details on creating a playlist, refer to

“PlaylistEditorManualE.pdf,” which is installed together with “Playlist Editor” (you’ll find it in the “Help” menu).

• You cannot create playlists on Prelude itself.

• You can play back individual songs even without creating a playlist (see “Playing Back SMF/Audio Files”). This only works for SMF or audio files in the root directory of your USB memory.

• Only audio files whose sampling frequency is 44.1kHz can be played.

• The Prelude can handle up to a maximum of 999 songs and playlists. (“Playlist Editor” can handle up to 999 playlists.)

4. Turn the VALUE dial to set it to ON or OFF.

5. When you’re finished making settings, press [EXIT].

This setting is system parameter.

Back Up Song Files

Song data you created on the Prelude can be saved on USB memory.

For details, refer to “Saving User Data to USB Memory (Backup)” (p. 48).

Other Functions Related to Song

“Using Preset Performances” (p. 36) “Using the Metronome” (p. 22) “Saving User Data to USB Memory (Backup)” (p. 48) “Loading User Data Saved on USB Memory (Import)” (p. 48)

Playing Back SMF/Audio Files

You can play back SMF files or audio files saved in USB memory.

SMF/Audio files that can be played

SMF

0 or 1

*With format 1 SMFs, there are

limitations on the tracks that will be played.

240 KB maximum (Note that this will vary slightly based on the SMF content.)

Audio File

32/40/48/56/64/80/96/ 112/128/160/192/224/256/ 320 kbps, VBR (Variable Bit Rate)

WAV/ AIFF

MP3

Format

File Size

System Exclusive Packet sizes of 512 bytes or less

Sampling Rate 44.1 kHz Bit Depth 8/16/24 bits Format MPEG-1 audio layer 3 Sampling Rate 44.1 kHz

Bit Rates

USB Memory Player Screens

Main Screen

When you connect USB memory to the Prelude and press [USB MEMORY PLAYER], the Main screen will appear as follows.

(1) (2)

(3) (4)

(5) (6)

1. PLAYLIST icon: Indicates the PLAYLIST SELECT screen.

2. SONG icon: Indicates the SONG SELECT screen.

3. The number and name of the currently selected Song

4. The group, number, and name of the currently selected

Performance The number and name of the Tone selected for the Lower Part

The number and name of the Tone selected for the Upper Part

7. The measure number and tempo or time of the Song

PLAYLIST SELECT Screen

In the Main screen, select the PLAYLIST icon and press [ENTER] to access the PLAYLIST SELECT screen.

fig.disp-USBmp-songlist.eps

(1)

1. PLAYLIST list

In the list, choose playlist and press [ ]; the cursor will move to the icon in the right side of the screen. Select an icon and press [ENTER] to perform the following operations.

Playlists that show a at the left of the name don’t allow you to edit the playlist settings or the settings of the songs in the playlist.

2. P INFO icon: Displays information for the currently selected

playlist.

(7)

(2)

Backing Track Functions

SONG SELECT Screen

In the Main screen, select the SONG icon and press [ENTER] to access the SONG SELECT screen.

(1)

(3)

(2)

1. The name of the currently selected playlist

2. Song List

Select a song from the list and press [ ] to move the cursor to the icons in the right side of the screen. Select an icon and press [ENTER] to perform the following operations.

3. P INFO icon: Displays information for the currently selected

playlist.

4. S INFO icon: Displays information for the currently selected

song.

5. CHANGE icon: Changes the playback order of the

currently selected song. For details, refer to “Changing the song order” (p. 33).

6. DELETE icon: Deletes the currently selected song from the

playlist. For details, refer to “Deleting the song” (p. 33).

(4) (5) (6)

Song Playback ([USB MEMORY PLAYER])

Connect the USB memory containing the playlist and songs to the Prelude, and turn [USB MEMORY PLAYER] on.

Play the songs as described below. Use the USB MEMORY PLAYER CONTROL buttons to specify the song playback location.

Returns to the beginning of the song.

[]

[] []

[]

Selecting a playlist and playing it

Pressing this button at the beginning of the song moves to the previous song.

Rewinds the song. Fast-forwards the song. Moves to the next song. Plays or pauses the song.

1. In the Main screen, move the cursor to the PLAYLIST icon in

the upper line of the screen, and press [ENTER].

The PLAYLIST SELECT screen will appear. Alternatively, you can access the PLAYLIST SELECT screen

from the Main screen by pressing [USB MEMORY PLAYER] with [USB MEMORY PLAYER] turned on (button lit).

Backing Track Functions

2. Use [ ] [ ] to select the playlist that you want to play.

3. When you press [ ], the songs in the selected

playlist will be played in the specified order.

Press [EXIT] to return to the Main screen.

4. To stop the song playback, press [ ].

If you then press [ ], playback will start from the point at which you stopped.

Selecting and playing a song from within a songlist

1. In the Main screen, move the cursor to “SONG” in the

upper line of the screen, and press [ENTER].

The songlist for the currently selected playlist will appear. Alternatively, you can view the songlist by selecting a

playlist in step 2 of “Selecting a playlist and playing it” (above), and pressing [ENTER].

2. Use [ ] [ ] to select the song that you want to play.

3. Press [ ] to play the selected song.

Press [EXIT] to return to the Main screen.

4. To stop the song playback, press [ ].

If you then press [ ], playback will start from the point at which you stopped.

6. To stop the song playback, press [ ] again.

Songs you play back directly from the root directory of a USB memory are not available for re-recording operations. To use such SMF songs as a starting point for parts you want to add or replace, you first need to import the song in (p. 48).

Performing along with a song ([MINUS ONE/CENTER CANCEL])

By pressing [MINUS ONE/CENTER CANCEL] you can perform the following operations depending on the type of song data.

File Function Explanation

Mutes the specified Part. To

SMF

Audio file

Each time you press [MINUS ONE/CENTER CANCEL], the function will turn on (button lit) or off (button unlit).

Minus One

Center Cancel

specify the Part that will be muted, refer to “Specifying the Part that will be muted” (p. 30).

Minimizes the playback volume of the sound that’s heard from the center (e.g., vocal or melody instrument).

Selecting and playing back ‘external’ songs without creating a playlist

1. After placing the SMF or Audio files in the root directory of

your USB memory, connect it t the Prelude and press the [USB MEMORY PLAYER] button.

2. Use [ ] [ ] to select the USB memory folder.

3. Press [ENTER]

The list of the songs that you placed in the root directory appears in the display.

4. Use [ ] [ ] to select the song that you want to play

and press [ENTER].

5. Press [ ] to play the selected song.

Editing Playlist

Backing Track Functions

If you do not want to delete, press [EXIT].

Adjusting the volume of each song

If you modify the content of the playlist, an “*” will be shown before the playlist name. If you want to keep the playlist you changed, execute the Write operation (see the right column). If you select a different playlist without writing your settings, they will revert to their original state.

Selecting the playback mode

1. In the PLAYLIST SELECT (p. 31),or SONG SELECT screen (p.

31), choose the P INFO icon and then press [ENTER].

2. Use [ ] to select “Chain Play” or “Repeat All” for the

Playback Mode.

3. Turn the VALUE dial or press the [ENTER] button to add or

remove a check mark (✔).

A function is on when a check mark has been added.

Parameter

Chain Play

Repeat All

If this is on, the songs in the playlist will play consecutively. Playback will stop when the last song has ended. If this is on, when the last song in the playlist has ended, the unit returns to the first song and enters pause mode. If Chain Play is on, consecutive playback will continue repeating.

Explanation

Changing the song order

1. In the SONG SELECT screen (p. 31), choose the S INFO icon

and then press [ENTER].

2. Use [ ] to select “Level Edit,” and then press [ENTER].

The SONG INFO (LEVEL) screen will appear.

This item is not shown for internal songs (SONG).

3. Use the cursor buttons to select a parameter.

4. Turn the VALUE dial to adjust the value.

Parameter

Level Adjust

Part 1–16 Level

When [USB MEMORY PLAYER] is on, you can press [PART VIEW] repeatedly to switch from the Main screen to SONG INFO (LEVEL) → PERFORM MIXER (p. 24) → Main screen.

Value Explanation

Assuming that the original volume (the

-12–0– +12

0–127

volume of the song in USB memory) is 0, you can adjust the volume within this range: -12–0–+12. If the song’s file type is SMF, you can adjust the volume individually for Parts 1–16. Move the cursor to the Part number shown at the bottom of the screen and press [ENTER], and you’ll be able to adjust the volume of that Part.

1. In the SONG SELECT screen (p. 31), choose the CHANGE

icon and then press [ENTER].

The song order change window will appear.

2. Turn the VALUE dial to specify the desired position of the

currently selected song.

3. When you’ve specified the desired position, press [ENTER].

If you do not want to change the position, press [EXIT].

Deleting the song

1. In the SONG SELECT screen (p. 31), choose the DELETE icon

and then press [ENTER].

A confirmation window will appear.

2. Press [ENTER].

Saving playlist settings to USB memory ([WRITE])

Here’s how Playlist settings you’ve edited on the Prelude can be saved to USB memory.

1. Press [WRITE].

2. Use [ ] [ ] to select “Playlist,” and then press [ENTER].

The confirmation window will appear.

3. Press [ENTER] to save playlists on the USB memory.

If you press [EXIT], you’re returned to the previous screen without playlists being saved.

Performance Functions and Effects

Performance Features

D Beam Controller

The D Beam controller can be used simply by waving your hand over it. Depending on the function that is assigned to it, the D Beam controller can be used to apply varius effects and to modify the sounds.

1. Press the [PITCH], [FILTER] or [VOLUME] button in the D

BEAM section (the button you press lights blue).

The usable range of the D Beam controller

The diagram shows the usable range of the D Beam controller. Waving your hand outside this range will produce no effect.

The usable range of the D Beam controller will become extremely small when used under strong direct sunlight. Please be aware of this when using the D Beam controller outside.

The sensitivity of the D Beam controller will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the D Beam Sens parameter as appropriate for the brightness of your location. Increase this value will raise the sensitivity (p. 46).

Assigning a function to the D Beam controller

You can’t use these buttons at the same time.

Button Explanation

PITCH

FILTER

VOLUME

2. While you play the keyboard to produce sound, place

your hand above the D Beam controller and move it slowly up and down.

The button you pressed in step (1) above flashes.

3. To turn off the D Beam controller, once again press the

button you pressed in step (1) so the indicator goes out.

Lets you change the pitch of the sounds you play on the keyboard.

Changes the tonal character of the sounds you play n the keyboard. (For some sounds the timbre change may be difficult to notice.)

Changes the volume of the sounds you play on the keyboard.

1. Press and hold the [FILTER] or [VOLUME] button.

The D BEAM screen will appear.

2. Use [ ] [ ] to select a parameter.

3. Turn the VALUE dial to select the desired D Beam function.

4. When you’ve finished making settings, press [EXIT].

The Main screen will appear.

These settings are system parameters (p. 45).

Functions that can be assigned

D Beam function

DRUM ROLL*

CHIMES*

BUBBLE*

A snare drum roll will continue as long as your hand is positioned over the D Beam. Move your hand closer to increase the volume, and move your hand rapidly away to play a cymbal.

Chimes will sound when you position your hand above the D Beam. The volume is greater when you move your hand more rapidly.

The sound of bubbles will continue as long as your hand is positioned above the D Beam. The volume will increase as you move your hand closer.

Explanation

Performance Functions and Effects

D Beam

function

STREAM*

EXPLOSION*

GUN SHOT*

ENGINE*

APPLAUSE*

LAUGHING*

SCREAMING*

BIRD*

DOG*

SEASHORE*

RAIN*

THUNDER*

MODULATION

EXPRESSION

Explanation

The sound of running water will continue as long as your hand is positioned above the D Beam. The volume will increase as you move your hand closer.

An explosion will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

A pistol shot will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

An engine will continue sounding as long as your hand is positioned above the D Beam. The volume will increase as you move your hand closer.

Applause will continue sounding as long as your hand is positioned above the D Beam. The volume will increase as you move your hand closer.

Laughter will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

A scream will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

A bird call will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

A dog’s bark will sound when you position your hand over the D Beam. The volume is greater when you move your hand more rapidly.

Surf will sound when you position your hand over the D Beam. The volume will increase as you move your hand closer.

The sound of rain will continue as long as your hand is positioned above the D Beam. The volume will increase as you move your hand closer.

A thunder will sound when you position your hand over the D Beam. The volume will increase as you move your hand closer.

The D Beam controller will apply the same effect as the Modulation lever (p. 36).

The volume will increase when you bring your hand closer to the D Beam. The volume will return to the original level when you take your hand away.

D Beam function

The pitch will rise when you bring your hand

BEND UP

BEND DOWN

EXP+UP

EXP+ DOWN

TEMPO UP

TEMPO DOWN

START/ STOP

FILL UP FILL DOWN

FADE OUT

FILTER

VOLUME

D Beam functions marked with an “*” cannot be recorded in a song.

closer to the D Beam. The pitch will return to the original level when you take your hand away.

The pitch will fall when you bring your hand closer to the D Beam. The pitch will return to the original level when you take your hand away.

When you bring your hand closer to the D Beam, the volume of the keyboard performance will increase and the pitch will rise. The pitch and volume will return to the original level when you take your hand away.

When you bring your hand closer to the D Beam, the volume of the keyboard performance will increase and the pitch will fall. The pitch and volume will return to the original level when you take your hand away.

The tempo will become faster when you bring your hand closer to the D Beam. The tempo will return to the original value when you take your hand away.

The tempo will become slower when you bring your hand closer to the D Beam. The tempo will return to the original value when you take your hand away.

Playback will start when you position your hand over the D Beam. Playback will stop when you position your hand over the D Beam once again.

If you position your hand over the D Beam while the backing is playing, a fill-in will sound (p. 24).

If you position your hand over the D Beam, the volume will begin decreasing and will then reach zero. The backing performance will stop, and then the original volume will return after two or three seconds.

The sound becomes brighter when you bring your hand closer to the D Beam. It becomes rounder when you take your hand away.

The volume will increase when you bring your hand closer to the D Beam. The volume will return to the original level when you take your hand away.

Explanation

Performance Functions and Effects

If you turn off the power while the D BEAM screen is displayed, the D Beam setting you chose will not be remembered by the Prelude. You must press [EXIT] before you turn off the power.

Pitch Bend and Modulation Lever

The Pitch Bend/Modulation lever located at the left of the keyboard can be used to apply two types of effect to the sound you’re playing in Keyboard mode.

Pitch Bend is an effect that lowers the pitch of the sound you’re playing when you move the lever toward the left, or raises it when you move the lever toward the right.

Modulation is an effect that applies vibrato to the sound you’re playing when you push the lever away from yourself.

• Upper Tone/Lower Tone settings

•Style settings

•Effects settings

• Transpose

• Octave shift

• Keyboard touch

• Chord mode

• Melody Intelligence

Selecting a Performance ([PERFORM])

The Performance memory locations are organized as follows.

Type Explanation

PRST

(Preset)

These are the Performances built into the Prelude. They cannot be overwritten.

If the MFX type is ROTARY, this will switch the rotational speed instead of Modulation.

fig.bendlever.eps

Pitch Bend

If you press the lever away from yourself while moving it to left or right, both effects will be applied at the same time.

The extent of the pitch change can be assigned for each Tone. For details, refer to “Pitch Bend Range” (p. 39).

“Bend Mode” (p. 45)

Modulation

Assignable Pedal

You can connect a separately available foot switch (Boss FS-5U) or a separately available expression pedal (Roland EV-5) to the CONTROL PEDAL jack on the rear panel.

You can assign a variety of functions to this pedal. For details, refer to “System Parameters” (p. 45).

USER

You can use these memory locations to store Performances you’ve edited.

Using the VALUE dial

1. Press [PERFORM] to select Performance mode.

(This may not be necessary, because the Prelude selects this mode at power-up.

2. Use the cursor buttons to move the cursor to the right of

“PERFORM,” located in the upper left of the screen, then use the VALUE dial to choose “PRST” or “USER.”

You’ll be able to select preset Performances if you choose “PRST,” or user Performances if you choose “USER.”

3. Use the cursor buttons to move the cursor to the

Performance number, and use the VALUE dial to select a Performance.

When the cursor in the screen is at the Performance number, you can also select a Performance by turning [NUMERIC] on, using the TONE SELECT buttons to enter a Performance number, and then pressing [ENTER].

Choosing from the Performance list

Using Preset Performances

By selecting a preset Performance, you can quickly recall settings that are appropriate for the song you’re playing.

When you select a preset performance, settings for the following items will be recalled.

• Keyboard mode

1. In the Main screen, use the cursor buttons to move the

cursor to the Performance number.

2. Press [ENTER].

3. Use [ ] [ ] to select “Preset” or “User.”

You’ll be able to select preset Performances if you choose “Preset,” or user Performances if you choose “User.”

Performance Functions and Effects

4. Use [ ] [ ] or the VALUE dial to select a Performance.

5. Press [ENTER] to set the Performance.

If you press [EXIT] without pressing [ENTER], the list will close without the currently selected Performance being changed.

Editing a Performance

You can edit the settings of a Performance, and store them as a user Performance.

1. Press [MENU].

2. Use [ ] [ ] to select “Perform Edit” then press [ENTER].

3. Use [ ] [ ] to select a parameter, and turn the VALUE

dial to select the value.

4. When you’ve finished making settings, press [EXIT].

The Main screen will appear.

“Saving a Performance (WRITE)” (p. 39)

Performance Parameters

Parameter

Chord Mode

Value Explanation

This lets you use simple fingering

STANDARD

PIANO

INTEL

EASY

Selects how the backing part will sound.

to specify a chord without having to play all the notes in the chord.

The chord will consist of only the note(s) you play on the keyboard in the Lower Part.

You can play chords as described in “Chord Intelligence” (p. 102).

You can specify chords in the following four ways. Major chords: Play the root note of the chord Minor chords: Play the root note and the black key located at its left Seventh chords: Play the root note and the white key located at its left Minor seventh chords: Play the root note + black key at left + white key at left

Parameter

Split Point C#2–C7

Octave Upper

Octave Lower

Value Explanation

-4–+4

Specifies the Split Point (the key at which the keyboard will be divided) used in Split mode. This will be the highest note of the Lower Part.

Raises or lowers the pitch in steps of one octave for the Upper Tone.

*In the case of a rhythm set,

this does not transpose the pitch; rather, it shifts the set of drum/percussion sounds that are assigned to the keyboard.

Raises or lowers the pitch in steps of one octave for the Lower Tone.

Backing Hold

Bass Inversion

When you take your hand off the left side of the keyboard,

OFF

Specifies how Chord Bass will be sounded.

OFF

instrumental sounds other than the drums of the backing part will stop; only the rhythm part will continue sounding.

The chord you played in the left hand will be remembered. The backing will continue playing with that chord until you play another chord.

The root note of the chord you play will sound.

The lowest note of the chord you play will sound.

Performance Functions and Effects

Editing a Tone

Editing a Tone in detail

You can edit the currently selected Tone (including rhythm set Tones) in more detail. The Tone settings you edit are stored in the Performance (p. 36).

Parameter Value Explanation

This boosts the sound in the region of the cutoff frequency, adding a distinctive character to

Resonance -64–+63

the sound. Turn the knob toward the right to strengthen this character, or toward the left to decrease it.

1. Press [MENU].

2. Use [ ] [ ] to select “Perform Tone Edit” then press

[ENTER].

3. Use [ ] [ ] to select the Upper or Lower Tone that

you want to edit.

4. Use [ ] [ ] to select a parameter, and turn the VALUE

dial to adjust the value.

5. When you’ve finished making settings, press [EXIT].

The Main screen will appear.

Tone Parameters

Parameter Value Explanation

Level 0–127 Adjusts the volume of the Tone.

Adjusts the panning (left/right stereo position) of the Tone. Values beginning with “L” place the sound at the left, 0 at the center, and “R” at the right.

Pan

L64–0– 63R

Attack Time -64–+63

Decay Time -64–+63

Release Time

Vibrato Rate

-64–+63

Adjusts the attack time (the time from when you press a key until the sound reaches its full volume). Turn the knob toward the right to lengthen the attack time, or toward the left to shorten it.

Adjusts the decay time (the time from when the attack has finished until the volume reaches the level at which it will remain as long as you hold down the key). Higher settings produce a longer decay time.

Adjusts the release time (the time from when you release a key until the sound disappears). Turn the knob toward the right to lengthen the release time, or toward the left to shorten it.

Adjusts the modulation speed of vibrato. Higher settings produce faster vibrato.

Chorus Send Level

Reverb Send Level

Cutoff -64–+63

0–127

Chorus adds depth and spaciousness to the sound. This adjusts the level of the signal sent to Chorus.

Reverb adds the reverberation characteristics of halls or auditoriums. This adjusts the level of the signal sent to Reverb.

This specifies the cutoff frequency at which the filter will begin affecting the spectral components of the sound. Turn the knob toward the right to brighten the sound, or toward the left to darken the sound.

Vibrato Depth

Vibrato Delay

Mono/Poly

-64–+63

MONO

POLY

TONE

Adjusts the modulation depth vibrato. Higher settings produce more intense vibrato.

Adjusts the time until vibrato begins. Higher settings produce a longer delay until vibrato will begin.

Only the last-played note will sound. This setting is effective when playing a solo instrument patch such as sax or flute.

Two or more notes can be played simultaneously.

Uses the Tone’s Mono/Poly setting.

Parameter Value Explanation

This setting specifies whether the Legato Switch will be used (ON) or not (OFF). Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” With the Legato Switch “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is effective when you wish to simulate the hammering on and pulling-off techniques used by a guitarist. When “TONE” is selected, the Tone’s own settings take effect.

Legato Switch

OFF, ON, TONE

Performance Functions and Effects

Saving a Performance (WRITE)

Here’s how the settings of the current Performance can be saved in the Prelude as a new Performance.

1. Press [WRITE].

2. Use [ ] [ ] to select “Performance,” and then press

[ENTER].

Input a name for your user Performance

3. Use [ ] [ ] to move the cursor, and turn the VALUE

dial to change each character, and then press [ENTER].

Enter a Performance name of up to 16 characters. The following characters are available. space A~Z a~z 0~9 ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ?

@ [ \ ] ^ _ ` { | }

Portamento Switch

Portamento Time

Pitch Bend Range

Hold Pedal Switch

Control Pedal Switch

OFF, ON, TONE

0–127, TONE

0–24, TONE

OFF, ON

Specifies whether portamento will be applied (ON) or not (OFF). When “TONE” is selected, the Tone’s own settings take effect.

Adjusts the speed at which the pitch will change when portamento is used. Higher settings will lengthen the time over which the pitch changes to the next note. When “TONE” is selected, the Tone’s own settings take effect.

Specifies the range of pitch change that can be controlled using the Pitch Bend controller. When “TONE” is selected, the Tone’s own settings take effect.

Specifies whether the hold pedal will apply to the Tone (ON) or will not apply (OFF).

Specifies whether the control pedal will apply to the Tone (ON) or will have no effect (OFF). This is enabled when “Pedal Assign” in “System settings” is set to EXPRESSION, SOSTENUTO, or SOFT (p. 45).

Button

Selects the type of character. Each time you press this, you will alternately select the first character of a

[0]

character set: uppercase (A), lowercase (a), or numerals and symbols (0).

[1] Deletes the character at the cursor location. [2] Inserts a space at the cursor location.

4. Turn the VALUE dial to select the desired destination, and

then press [ENTER].

A confirmation window will appear.

5. Press [ENTER] to save the Performance.

If you press [EXIT], you’re returned to the previous screen without the Performance being saved.

Explanation

Other Functions Related to Performance

“Style (Playing with an Accompaniment)” (p. 24) “Bend Mode” (p. 45) “Saving User Data to USB Memory (Backup)” (p. 48) “Loading User Data Saved on USB Memory (Import)” (p. 48)

Portamento is an effect that smoothly changes the pitch from one note to the next. Vibrato is an effect that uses an LFO (Low Frequency Oscillator) to cyclically vary the pitch.

Performance Functions and Effects

Effect Parameters

Using Reverb, Chorus and MFX Effects ([REVERB])

The Prelude contains built-in reverb, chorus, and multi-effect (MFX) processors. You can choose an effect type for each processor.

MFX will apply only to the realtime performance of the part you play by hand (the Upper Part or Lower Part). Be aware that MFX never applies to recorded song data.

Editing the Reverb, Chorus and MFX Effects

1. Press [REVERB].

The “Reverb” setting screen will appear.

2. Use [ ] [ ] to select a page, and use [ ] [ ] to

select the parameter that you want to edit.

On some pages, the display also shows the MFX that is linked to the Tone that currently selected for the Upper and Lower parts. The “Effect Send” allows you to set the Chorus and Reverb Send values for the Upper and Lower parts.

3. Turn the VALUE dial to edit the value.

4. When you’re finished editing the effect settings, press

[REVERB] or [EXIT].

The Main screen will appear.

Page

EFFECT

SEND

Parameter

Upper MFX Chorus Send

Upper MFX Reverb Send

Lower MFX Chorus Send

Lower MFX Reverb Send

Chorus Output Select

Explanation Value

Specifies the amount of chorus that will be applied to the sound of the Upper Part that has passed through MFX. Set this to “0” if you don’t want to apply chorus.

Specifies the amount of reverb that will be applied to the sound of the Upper Part that has passed through MFX. Set this to “0” if you don’t want to apply reverb.

Specifies the amount of chorus that will be applied to the sound of the Lower Part that has passed through MFX. Set this to “0” if you don’t want to apply chorus.

Specifies the amount of reverb that will be applied to the sound of the Lower Part that has passed through MFX. Set this to “0” if you don’t want to apply reverb.

Specifies how the sound routed through chorus will be output. MAIN: Output to the OUTPUT jacks in stereo. REV: Output to reverb in mono. M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.

0–127

MAIN, REV, M+R

LOWER

MFX

UPPER

MFX

CHORUS REVERB See “Reverb Parameters” (p. 83)

See “Multi-Effects Parameters” (p. 56)

See “Chorus Parameters” (p. 82)

Performance Functions and Effects

Page

EFFECT

SOURCE

Parameter

Upper MFX Source

Lower MFX Source

Explanation Value

Specifies the MFX settings that will be used for the Upper Part. If you choose “PERFORM,” the MFX settings of the Performance will be used. If you choose “UPPER TONE,” the Upper MFX settings of the Tone will be used.

Specifies the MFX settings that will be used for the Lower Part. If you choose “PERFORM,” the MFX settings of the Performance will be used. If you choose “LOWER TONE,” the Lower MFX settings of the Tone will be used.

PERFORM, UPPER TONE

PERFORM, LOWER TONE

Using MIDI

The Prelude can transmit and receive performance data when connected to an external MIDI device, which enables the two devices to control each other’s performance. For example, one device can play or switch sounds on the other device.

MIDI stands for “Musical Instrument Digital Interface.” It is a universal standard for exchanging musical performance data among electronic musical instruments and computers.

The Prelude’s MIDI connectors allow it to transmit performance data to, and receive such data from other devices. You can use the Prelude in a wide range of ways by connecting external devices to these connectors.

Connection example

Before making connections with other devices, you must turn down the volume of all devices and turn off the power to avoid malfunctions or speaker damage.

fig.midi.eps

Play the Prelude’s sounds from your MIDI sequencer

Prelude

MIDI sound module/ sequencer

MIDI channel Track Style

1 1 Accomp 1 2 2 Accomp bass 3 3 Accomp 2 4 4 Upper Part 5 5 Accomp 3 6 6 7 7 Accomp 4 8 8 Accomp 5

9 9 Accomp 6 10 10 Accomp drums 11 11 Lower Part 12 12 13 13 14 14 15 15 Melody Intelligence 16 16

MIDI Parameters

For details on how to make these settings, refer to “How to Make System Settings ([MENU])” (p. 45).

Use the Prelude to play your MIDI sound module

MIDI Channels

MIDI provides sixteen channels, numbered 1–16. Even if two MIDI devices are connected, you won’t be able to select or play sounds on the other device unless both devices are set to the same MIDI channel. The Prelude is capable of receiving on all channels, 1–16.

If the Prelude’s BACKING TYPE [SONG] is on, MIDI channels 1–16 will be received by “Track” 1–16.

If the Prelude’s BACKING TYPE [STYLE] is on, MIDI channels 1–16 will be received by the “Style” Parts.

MIDI parameters other than “Local Switch” will be saved as soon as you exit system edit mode.

Local Switch

If the notes you play on the keyboard are sent to the sound generator via both of the two routes (1) and (2) as shown in the diagram, the notes will be duplicated or interrupted. To prevent this, you can disconnect route (1) by using the “Local Off” setting.

You should turn this setting Off if you’ve connected a MIDI sequencer to the Prelude.

fig.local.eps

Local on

(1)

Sequencer

MIDI

Sound generator

Play a note once; it‘s sounded twice

MIDI

MIDI OUT

OUT

Memory

MIDI

(2)

Thru setting turned on

Immediately after the power is turned on, this setting will be On.

Using MIDI

MIDI Parameters

Parameter Explanation Value

MIDI Tx Switch

Upper Tx Channel

Lower Tx Channel

MIDI Rx Switch

Upper Rx Channel

Lower Rx Channel

Tx Pitch Bend

Tx Modulation

Tx Program Change

Tx Clock

Tx StartStop

Tx Song Position

Specifies whether MIDI messages will not be transmitted (OFF) or will be transmitted (ON).

Specifies the transmit channel for the Upper Part.

Specifies the transmit channel for the Lower Part.

Specifies whether MIDI messages will not be received (OFF) or will be received (ON).

Specifies the receive channel for the Upper Part.

Specifies the receive channel for the Lower Part.

This is an on/off switch for Pitch Bend message transmission. These messages temporarily raise or lower the pitch of the keyboard mode Tone.

This is an on/off switch for Modulation message transmission. These messages apply vibrato to the keyboard mode Tone (control change CC#01).

This is an on/off switch for Program Change message transmission. These messages are used to select Tones.

This specifies whether MIDI Clock messages will be transmitted. Use this when you want a connected external MIDI device to synchronize to the Prelude.

This specifies whether Start/ Stop/Continue messages will be transmitted. Song mode: Start/Stop/Continue Style mode: Start/Stop

This specifies whether Song Position Pointer messages will be transmitted to indicate the currently playing position in Song mode. If you don’t want this message to be transmitted, choose the Off setting. This is valid only if [SONG] is lit.

OFF, ON

1–16

OFF, ON

1–16

OFF, ON

Parameter Explanation Value

This specifies how the Prelude will synchronize to an external MIDI device. Synchronization is available if the MIDI OUT

Rx Sync

Rx Pitch Bend

Rx Modulation

Rx Program Change

connector of your external MIDI device is connected to the Prelude’s MIDI IN connector. (If you’ve made the opposite connection, refer to the owner’s manual for your external device.)

This is an on/off switch for Pitch Bend message reception. These messages temporarily raise or lower the pitch of the keyboard mode Tone.

This is an on/off switch for Modulation message reception. These messages apply vibrato to the keyboard mode Tone (control change CC#01).

This is an on/off switch for Program Change message reception. These messages are used to select Tones.

OFF, ON

Using the Prelude as a MIDI Sound Module

If you want to use the Prelude with an external MIDI sequencer, for example to create Styles, proceed as follows.

1. Press [SONG] to put the Prelude in Song mode.

2. Press [PERFORM] so it’s lit, then use the VALUE dial to

select the preset Performance “128: Init Performance.”

MFX (p. 40) will apply only to the part that you play manually on the Prelude (the Upper Part or Lower Part).

Using MIDI

Connecting to a Computer via

If connection to your computer is unsuccessful...

the USB MIDI Connector

If you use a USB cable (commercially available) to connect the USB MIDI connector located on the Prelude’s rear panel to the USB connector of your computer, you’ll be able to do the following things.

• Use the Prelude to play SMF played back by MIDI compatible software.

• By transferring MIDI data between the Prelude and your sequencer software, you’ll be able to enjoy a wide range of possibilities for music production and editing.

Connect the Prelude to your computer as shown below.

fig.PCconnect.eps

Computer

To USB connector

USB cable

USB MIDI connector

of computer

Normally, you don’t need to install a driver in order to connect the Prelude to your computer. However, if some problem occurs, or if the performance is poor, using the Roland original driver may solve the problem.

For details on downloading and installing the Roland original driver, refer to the Roland website.

Roland website:http://www.roland.com/

Caution

• To avoid the risk of malfunction and/or speaker damage, always make sure to turn the volume all the way down and turn off the power on all equipment before you make any connections.

• Only MIDI data can be transmitted and received via USB.

•A USB cable is not included. If you need to obtain one, ask the dealer where you purchased the Prelude.

• Switch on power to the Prelude before you start up the MIDI application on your computer. Don’t turn the Prelude’s power on/off while your MIDI application is running.

Prelude

Refer to the Roland website for system requirements. Roland website: http://www.roland.com/

If you are using Windows XP/Windows Vista, you must log onto Windows as one of the following users in order to complete the USB connection correctly.

•A user name belonging to the Administrators group, such as Administrator

•A user name whose account type is a computer administrator

Do not connect two or more Prelude units to one computer via USB. The system will not operate correctly with such connections.

The file name for a Style or Song that can be used by the Prelude must be no longer than sixteen characters (not including the filename extension). You can use the following characters. A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }

You must assign a filename extension of “.stl” to Style files, and a filename extension of “.mid” to Song files.

Depending on the type of characters you use, it may not be possible to display the file name in some cases.

Making the Settings for the USB Driver

Specify the USB driver you want to use, and then install the driver.

1. Press [MENU].

2. Use [ ] [ ] to select “System” then press [ENTER].

3. Use [ ] [ ] to select “SYSTEM GENERAL” page.

4. Use [ ] [ ] to select “USB Driver.”

5. Turn the VALUE dial to select the driver.

An information message appears.

Value Explanation

VENDER Select this if you use the supplied driver.

GENERIC

6. Press [EXIT].

7. Turn the power off and then on again.

Select this if you use a generic USB driver included with the OS.

System Settings

Settings that affect the entire operating environment of the Prelude, such as tuning and MIDI message reception, are referred to as “system settings.”

How to Make System Settings ([MENU])

1. Press [MENU].

2. Use [ ] [ ] to select “System” then press [ENTER].

3. Use [ ] [ ] to select a page, and use [ ] [ ] to

select the parameter that you want to edit.

For details, refer to “System Parameters” (below).

4. Turn the VALUE dial to edit the value.

5. When you’re finished making system settings, press [EXIT].

The display briefly shows the “System write completed” message.

The System settings are saved in the System memory and can be imported/exported to/from the USB memory’s “Sound/ System” folder (p. 48).

System Parameters

SYSTEM GENERAL

Parameter

Master Tune

Local Switch*

System Transpose*

Bend Mode

Value Explanation

415.3–

466.2Hz

OFF, ON Refer to “Local Switch” (p. 42).

-6–+5

NORMAL

CATCH+ LAST

Adjusts the tuning of the entire Prelude. The displayed value is the frequency of the A4 key (middle A).

Transposes the pitch of the Prelude in semitone steps.

The pitch bend lever will operate in the conventional way.

If you play a note when the pitch bend lever is already moved to one side, the pitch will sound as though the lever were in the center position. When the lever passes through the center position, it will once again begin affecting the pitch. This will apply only to the most recently played note. You can use this to simulate the double-bending technique of an electric guitarist.

Screen Saver Time

USB Driver

SYSTEM PEDAL

Parameter

Pedal Assign

OFF, 5, 10–60 (min)

VENDER, GENERIC

Selects the function that will be controlled when you press a separately available pedal connected to the CONTROL PEDAL jack.

EXPRESSION

CHORD OFF

CHORD TOGGLE

SOSTENUTO

SOFT

ROTARY SLOW/ FAST

START/ STOP

BASS

INVERSION

PUNCH IN/OUT

Set the time (minutes) until the screen saver begins working. If this is “OFF,” the screen saver will not appear.

Refer to “Making the Settings for the USB Driver” (p. 44).

Value Explanation

The pedal will function as an Expression pedal.

Chord detection in the Lower Part area of the keyboard will be off while you hold down the pedal, allowing you to perform using the entire keyboard. The setting will return to its previous state when you release the pedal.

Chord detection in the Lower Part area will turn off when you press the pedal, allowing you to perform using the entire keyboard. The setting will return to its previous state when you press the pedal once again, so that chord detection will be on for the Lower Part area.

The pedal will function as a Sostenuto pedal. When you press the pedal, notes that are already being held down will be sustained. (This function can be used only for the keyboard part.)

The pedal will function as a Soft pedal. Notes you play while holding down the pedal will have a softer tone. (This function can be used only for the keyboard part.)

The pedal will switch the speed of the rotary effect. This is valid only if the ROTARY type is selected for MFX (p.

40). The pedal will start/stop the backing

or song playback. The pedal will switch the Bass Inversion

function on/off (p. 37). The pedal will control punch-in and

punch-out during song recording (p.

28).

System Settings

FILL UP

Pedal Assign

Pedal Polarity

Hold Polarity

SYSTEM D BEAM

Parameter

D Beam Sens

D Beam Filter/Assignable 1

D Beam Volume/ Assignable 2

FILL DOWN

PERFORM UP

PERFORM DOWN

STANDARD

REVERSE

STANDARD

REVERSE

0–127

Refer to “Functions that can be assigned” (p. 34).

The pedal will trigger a fill-in, and then the next variation will play (e.g., from MAIN “1” to “2”). Once you reach variation “4,” subsequent presses of the pedal will not change the variation any farther.

The pedal will trigger a fill-in, and then the previous variation will play (e.g., from MAIN “4” to “3”). Once you reach variation “1,” subsequent presses of the pedal will not change the variation any farther.

The pedal will switch to the next Performance (i.e., from PERFORM 001 to 002).

The pedal will switch to the previous Performance (i.e., from PERFORM 002 to 001).

Switches the polarity of the pedal connected to the CONTROL PEDAL jack. Some pedals will operate in the opposite of the expected way when

you press them. If you’re using this type of pedal, set this parameter to “REVERSE.” If you’re using a Roland pedal (without a polarity switch), use “STANDARD.”

Switches the polarity of the pedal

connected to the HOLD PEDAL jack. (See “Pedal Polarity,” above)

Value Explanation

This sets the D Beam controller’s sensitivity. The higher the value set, the more readily the D Beam controller goes to into erect.

SYSTEM MIDI

Parameter

MIDI Tx Switch

Upper Tx Channel

Lower Tx Channel

MIDI Rx Switch

Upper Rx Channel

Lower Rx Channel

Tx Tx Pitch

Bend Tx

Modulation Tx

Program Change

Tx Clock OFF, ON Tx Start-

Stop Tx Song

Position

Rx Rx Sync OFF, ON Rx Pitch

Bend Rx

Modulation Rx

Program Change

SYSTEM METRONOME

Parameter

Metronome Switch*

Metronome Mode

Metronome Level

Value Explanation

OFF, ON

1–16

OFF, ON

1–16

OFF, ON

Value Explanation

OFF, ON

ALWAYS, REC, PLAY

LOW, MEDIUM, HIGH

Refer to “MIDI Parameters” (p. 43).

Refer to “Using the Metronome” (p.

22).

SYSTEM LOCK

Parameter

Style OFF, ON Tone OFF, ON Style Tem-

po Transpose OFF, ON

Value Explanation

OFF, ON

Refer to “Preserving Certain Settings Even When You Switch Performances (Lock System)” (p. 17).

System Settings

Viewing Information about Prelude (System Version Info Screens)

Here’s how to view information about the Prelude such as its software version.

1. Press [MENU].

Settings cannot be stored for the parameters marked by “*” in the table. When the power is turned on, these parameter will always return to the same value (the default value).

System settings that are not stored

In addition to the parameters marked by “*” in the above table, the following settings cannot be stored.

• BALANCE button setting (p. 23)

• Recording setting (p. 28) Rec Mode/Count In/Punch In/Out setting/Input Quantize

•D Beam controller on/off (p. 34)

• External input Center Cancel (p. 18)

•MINUS ONE/CENTER CANCEL button on/off (p. 30, p. 32)

2. Use [ ] [ ] to select “Version” then press [ENTER].

3. Use [ ] [ ] to select a page.

You can view information about the imported Special Tones as well as the version of software used by the Prelude.

4. Press [EXIT] to return to the Main screen.

Using USB Memory

You can save Prelude user data to USB memory (i.e., back up data), or load data from USB memory into the Prelude. Data you’ve downloaded to your computer can also be saved to USB memory and then loaded into the Prelude.

Carefully insert the USB memory all the way in-until it is firmly in place.

Initializing USB Memory (USB Memory Format)

Here’s how to initialize the USB memory. This operation is called “USB Memory Format.”

USB memory cannot be used with the Prelude unless it is formatted suitably for the Prelude.

This operation will erase all data on your USB memory. Use this operation with caution.

1. Press [MENU].

4. Use the cursor buttons to select an item then press [ENTER].

Item Explanation

Style All user Styles will be saved to USB memory. Song All user Songs will be saved to USB memory.

Sound/ System

All All user data will be saved to USB memory.

A confirmation window will appear. If you do not want to export the data to the USB memory,

press [EXIT].

5. Press [ENTER] to export the data.

User Performances and System settings will be saved to USB memory.

Loading User Data Saved on USB Memory (Import)

1. Press [MENU].

2. Use [ ] [ ] to select “Utility” then press [ENTER].

3. Use the cursor buttons to select “USB Memory Format”

then press [ENTER].

A confirmation window will appear. If you do not want to format the USB memory, press [EXIT].

4. Press [ENTER] to execute the format.

Don’t remove the USB memory until formatting is completed.

Saving User Data to USB Memory (Backup)

The following user data of the Prelude can be saved on USB memory.

• User Styles (p. 25)

• User Songs (p. 28)

• User Performances (p. 36)

• System settings (p. 45)

3. Use the cursor buttons to select “Import” then press [ENTER].

4. Use the cursor buttons to select an item then press [ENTER].

Item Explanation

Style

Song

Sound/ System

All All data will be loaded into the Prelude.

The amount of data loaded into the Prelude will depend on the amount of free memory in the Prelude.

A confirmation window will appear. If you do not want to load the data, press [EXIT].

5. Press [ENTER] to load the data.

All Style data will be loaded into the Prelude’s user Styles.

All Song data will be loaded into the Prelude’s user Songs.

User Performances and System settings will be loaded into the Prelude.

1. Press [MENU].

2. Use [ ] [ ] to select “Utility” then press [ENTER].

3. Use the cursor buttons to select “Export” then press [ENTER].

Any file with a name consisting of seventeen or more characters (not including the filename extension) cannot be loaded into the Prelude.

Deleting user data that you loaded

Using USB Memory

To delete User Styles, refer to “Deleting a User Style” (p. 25). To delete User Songs, refer to “Deleting a Song” (p. 29).

Data Structure in USB Memory

The folders and files that will be created are as follows.

Root directory

ROLAND folder

SOUND folder

Prelude.svd

SONG folder

***.mid

STYLE folder

***.stl

PLAYLIST folder

PLAYLIST.scp

UPDATE folder

Updater ROM folder

Importing Data You’ve Saved in USB Memory ([USB IMPORT])

Before you continue, save the downloaded data from your computer to the USB memory you’re using. Connect the USB memory to the Prelude, and import the data you saved.

If you add Tones, the imported Tones will be added to [WORLD] and [SPECIAL].

Refer to the Roland website; http://www.roland.com/

The folders and files created on USB memory will be visible from your computer.

By manipulating the files from your computer, you can do the following things.

• You can place SMF files in the SONG folder and import them into the Prelude (p. 48).

• You can drag and drop files from the SONG folder to copy them.

• You can place Style files in the STYLE folder and import them into the Prelude (p. 48).

• You can drag and drop files from the STYLE folder to copy them.

• You can place SMF, mp3, AIFF and Wave files in the root directory, to individually play them back with the USB MEMORY PLAYER function (p. 32).

• You can import/export User Performances in the Sound folder.

• You can import/export the System settings in the Sound folder.

• You can create playlists in the Playlist folder “Creating a playlist” (p. 30).

About V-LINK

Connecting the Prelude to a V-LINK compatible image device allows you to control the images with the Prelude.

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

V-LINK

V-LINK ( ) is a function that allows music and images to be performed together. By using MIDI to connect two or more V-LINK compatible devices, you can easily enjoy performing a wide range of visual effects that are linked to the expressive elements of a music performance.

How to Use the V-LINK ([V-LINK])

1. Press [V-LINK] so the indicator is lit.

The V-LINK screen will appear, and the V-LINK setting will be on.

Operations on the Prelude

By operating the Prelude’s keyboard and knobs, you can control the image along with your performance on the Prelude.

• [0] (Clip Reset): Turns the image off (solid black).

• [1] (All Reset): Resets the effect applied to the image, and restores all settings such as brightness and hue to their default values.

• [2] (Setup): Accesses the V-LINK SETUP screen.

•Black keys: Switch tabs.

•White keys: Switch clips.

•D Beam controller: Controls the parameter specified in VLINK setup.

*When you turn V-LINK on, the settings in V-LINK setup will

take priority for D Beam operation.

5. Press [EXIT] to return to the previous screen.

V-LINK SETUP Parameters

Parameter Value Explanation

Note Tx Channel A

Note Tx Channel B

Note Tx Channel C

D BEAM

1–16

Assigns a V-LINK function to the D Beam controller.

OFF

ColorEQ Fore

ColorEQ Back

Scratch SW

Speed Knob

Total Fader

Cross Fader

Controls the VLINK device. Specify the MIDI channel. (*)

The operation selected by D BEAM buttons will occur regardless of whether V-LINK is on or off.

CC01 (Modulation)

CC71 (Resonance)

CC03

CC08 (Balance)

CC10 (Panpot)

CC11 (Expression)

Used with motion dive .tokyo Performanc e Package

2. With the V-LINK screen shown, press [V-LINK] again.

The V-LINK button will go dark, and the V-LINK setting will be off.

V-LINK Settings (V-LINK SETUP)

1. Press [V-LINK] to access the V-LINK screen.

2. Press [2] (Setup).

The V-LINK SETUP screen will appear.

3. Use [ ] [ ] to move the cursor to the parameter you

want to edit.

4. Use the VALUE dial to set the value.

Parameter Value Explanation

About V-LINK

D BEAM

BPM Sync SW

Clip Loop SW

Assign Knob

Fade Time SW

Visual Knob

AB SW CC81 (General–6) Tap SW CC83 (General–8) Total

Select FX Select CC86 Play Pos CC91 (Reverb) Loop

StartPos Loop End

Pos

CC64 (Hold)

CC65 (Portamento)

CC72 (Release)

CC73 (Attack)

CC74 (Cutoff)

CC85

CC92 (Tremolo)

CC93 (Chorus)

Used with motion dive .tokyo Performanc e Package

Layer ModeSel

Dissolve Time

Color Cb Ctrl

Color Cr Ctrl

Brightness Ctrl

VFX1 Ctrl VFX2 Ctrl VFX3 Ctrl VFX4 Ctrl Fade Ctrl CC10 (Panpot)

* On V-LINK compatible devices such as the Edirol DV-7PR/P-

1, only Note Tx Channel A is used. In motion dive .tokyo Performance Package, the Note Tx Channel corresponds as follows. A: The MIDI channel that controls section A B: The MIDI channel that controls section B C: The MIDI channel that controls the MIDI note plug-in

CC94 (Celeste)

CC73 (Attack)

CC01 (Modulation)

CC71 (Resonance)

CC74 (Cutoff)

CC72 (Release) CC91 (Reverb) CC92 (Tremolo) CC93 (Chorus)

Used with the DV-7PR and similar devices.

MEMO

Appendices

Troubleshooting

This section provides points to check and actions to take when the Prelude does not function as you expect. Refer to the appropriate section for the problem you are experiencing.

Problem Check/Solution Page

Is the included AC adaptor/power cord correctly connected to an AC outlet and

Power Does Not Turn On

to the Prelude?

• Do not use any AC adaptor and power cord other than the one included. Doing so will cause malfunctions.

Could the VOLUME knob be turned down? —

p. 14

No Sound from the Prelude

No Sound from a Specific Part

No Sound from a Connected MIDI Device

The volume level of the instrument connected to EXT INPUT is too low.

If playing the keyboard does not produce sound, could Local Switch be turned OFF?

• Turn Local Switch ON.

Could pedal operations or MIDI messages (exclusive or volume) received from an external MIDI device have lowered the volume?

Could the volume of the Part be turned down?

• Adjust the volume parameters in the PERFORM MIXER screen.

Could you have used the Minus-One function to mute (silence) a specific Part? p. 30 Does the MIDI receive channel of the part match the MIDI transmit channel of the

connected MIDI device?

• Set the MIDI channel of the connected external device to match the Prelude.

Are MIDI messages being transmitted?

• Turn MIDI TxRx to a setting other than OFF.

Does the MIDI transmit channel of the Prelude’s keyboard controller section match the MIDI receive channel of the connected MIDI device?

• Set the MIDI channel of the connected external device to match the Prelude.

Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor.

p. 42 p. 45

p. 24

p. 42 p. 45

p. 43 p. 45

—

Effects Are Not Applied

The Effect Sounds Wrong

Pitch Bend Not Obtained When Pitch Bend Lever Is Moved

Sound Is Distorted

The reverb and chorus effects for the keyboard parts won’t be applied if their amounts are set to 0.

• Check the Effect Send settings.

MFX will apply only to the realtime performance of the part you play by hand (the Upper Part or Lower Part). Be aware that MFX will not apply to recorded song data.

Some combinations of Tones and effects may sound different in comparison to other Tones.

• Check the Effect Source settings.

Could the Pitch Bend Range be set to 0?

• Set the Pitch Bend Range to a value other than 0.

For some effect or Part volume settings, the sound may distort. Adjust the following parameters.

• Volume parameters in the PERFORM MIXER screen

• Amount of reverb or chorus for the Effect Send settings

• Overall volume and volume balance

Could you be applying an effect such as overdrive or distortion which intentionally distorts the sound?

p. 40

—

p. 40

p. 39

p. 24 p. 40 p. 23

p. 40

Appendices

Problem Check/Solution Page

Pitch Is Wrong

Notes Are Cut Off

USB memory is not detected. The files are not shown.

Can’t back up to USB memory

Playlists are not shown

For some Tones, the pitch in certain ranges may sound different than other Tones.

Could the tuning of the Prelude be incorrect?

• Check the Master Tune setting.

Could the pitch have been changed by pedal operations or by pitch bend messages received from an external MIDI device?

If you attempt to play more than 128 voices simultaneously, currently sounding notes may be cut off.

Check the format of your USB memory. The Prelude can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT.

Check the following points.

• Could the USB memory be write protected?

•Is there sufficient free space on the USB memory?

This may be due to the following reasons.

•Playlists may not be shown if you directly add/delete/modify the song data in the ROLAND folder without using Playlist Editor.

• For some reason the USB memory is not recognized.

• It is possible that the USB memory was not formatted correctly. The Prelude can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT.

—

p. 45

—

p. 49

Songs are not shown

Songs or Styles saved on USB memory are not shown

Songs won’t play

• Are the songs placed in the root directory? Songs may not be shown if you directly add/delete/modify the song data in the ROLAND folder without using Playlist Editor.

Check the file name.

• The file name for a Style or Song that can be used by the Prelude must be no longer than sixteen characters (not including the filename extension). You can use the following characters. A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }

• You must assign a filename extension of “.stl” to Style files, and a filename extension of “.mid” to Song files.

This may be due to the following reasons.

• The file type of the song is not one of the file types that the Prelude can play.

• It may be that the song data is damaged.

• Songs cannot be played if you directly add/delete/modify the song data in the ROLAND folder without using Playlist Editor.

p. 49

—

p. 30 p. 49

Error Messages

If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the explanation for the error message that appears, and take the appropriate action.

Message Meaning Action

USB Memory Not Ready! USB memory is not connected. Connect USB memory.

The data could not be read. Load the data once again. Failed to load data from USB memory. Make sure that USB memory is correctly connected.

Read Error!

It may be that the file is damaged. Do not use this file.

Write Error!

Incorrect File!

System Memory Damaged!

File Not Found!

This file cannot be loaded since its format is incorrect.

Failed to write the data. Write the data once again. Failed to write data to USB memory. Make sure that USB memory is correctly connected. Data cannot be written because the USB mem-

ory has no more free space.

The file or the USB memory itself is write protected.

This is a file that the 55 is unable to play. Do not use this file. This song has not been transferred from Playl-

ist Editor to USB memory. The file uses a sampling rate that the Prelude

cannot play. It is possible that the contents of system memo-

ry have been damaged.

The file was not found in user memory. Save the file once again in user memory. The file was not found in USB memory. Save the file once again in USB memory.

Do not use this file.

Delete unneeded files from the USB memory. Alternatively, use a different USB memory device, one that has more free space available.

Make sure that the file or the USB memory is not write protected.

Select the song for transfer from Playlist Editor, and transfer the data once again to USB memory.

Use a song whose sampling rate is 44.1 kHz.

Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center.

MIDI Buffer Full!

MIDI Offline!

Now Playing!

Now Recording!

Memory Full!

Cannot Record!

Cannot Store Anymore Styles!

Cannot Store Anymore Songs!

An unusually large amount of MIDI data was received, and could not be processed.

The MIDI IN connection was broken. Check that there is no problem with the MIDI cable

The Style/Song/USB Memory Player is currently playing.

That operation cannot be executed because recording is in progress.

The Style/Song could not be saved because there is insufficient user memory.

Recording could not be started. You cannot record if BACKING TYPE [USB MEMO-

No more Styles can be saved. Please delete unneeded user Styles.

No more Songs can be saved. Please delete unneeded user Songs.

Reduce the amount of MIDI messages that are being transmitted.

connected to the Prelude’s MIDI IN, and that the MIDI cable was not disconnected.

Either stop playback, or wait until playback has ended.

Either stop recording, or wait until recording is finished.

Delete unneeded user data.

RY PLAYER] is on. Set BACKING TYPE to something other than [USB MEMORY PLAYER].

Effects List

Multi-Effects Parameters

The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series.

FILTER (10 types)

01 EQUALIZER P.58 02 SPECTRUM P.58 03 ISOLATOR P.58 04 LOW BOOST P.58 05 SUPER FILTER P.59 06 STEP FILTER P.59 07 ENHANCER P.59 08 AUTO WAH P.60 09 HUMANIZER P.60 10 SPEAKER SIMULATOR P.60

MODULATION (12 types)

11 PHASER P.61 12 STEP PHASER P.61 13 MULTI STAGE PHASER P.61 14 INFINITE PHASER P.62 15 RING MODULATOR P.62 16 STEP RING MODULATOR P.62 17 TREMOLO P.62 18 AUTO PAN P.63 19 STEP PAN P.63 20 SLICER P.63 21 ROTARY P.64 22 VK ROTARY P.64

CHORUS (12 types)

23 CHORUS P.64 24 FLANGER P.65 25 STEP FLANGER P.65 26 HEXA-CHORUS P.65 27 TREMOLO CHORUS P.66 28 SPACE-D P.66 29 3D CHORUS P.66 30 3D FLANGER P.67 31 3D STEP FLANGER P.67 32 2BAND CHORUS P.67 33 2BAND FLANGER P.68 34 2BAND STEP FLANGER P.68

DYNAMICS (8 types)

35 OVERDRIVE P.69 36 DISTORTION P.69 37 VS OVERDRIVE P.69 38 VS DISTORTION P.69 39 GUITAR AMP SIMULATOR P.69 40 COMPRESSOR P.70 41 LIMITER P.70 42 GATE P.70

DELAY (13 types)

43 DELAY P.71 44 LONG DELAY P.71 45 SERIAL DELAY P.71 46 MODULATION DELAY P.72 47 3TAP PAN DELAY P.72 48 4TAP PAN DELAY P.72 49 MULTI TAP DELAY P.73 50 REVERSE DELAY P.73 51 SHUFFLE DELAY P.73 52 3D DELAY P.74 53 TIME CTRL DELAY P.74 54 LONG TIME CTRL DLY P.74 55 TAPE ECHO P.75

LO-FI (5 types)

56 LOFI NOISE P.75 57 LOFI COMPRESS P.75 58 LOFI RADIO P.76 59 TELEPHONE P.76 60 PHONOGRAPH P.76

PITCH (3 types)

61 PITCH SHIFTER P.76 62 2VOI PITCH SHIFTER P.77 63 STEP PITCH SHIFTER P.77

REVERB (2 types)

64 REVERB P.77 65 GATED REVERB P.78

COMBINATION (12 types)

66 OVERDRIVE → CHORUS P.78 67 OVERDRIVE → FLANGER P.78 68 OVERDRIVE → DELAY P.78 69 DISTORTION → CHORUS P.79 70 DISTORTION → FLANGER P.79 71 DISTORTION → DELAY P.79 72 ENHANCER → CHORUS P.79 73 ENHANCER → FLANGER P.79 74 ENHANCER → DELAY P.80 75 CHORUS → DELAY P.80 76 FLANGER → DELAY P.80 77 CHORUS → FLANGER P.81

PIANO (1 type)

78 SYMPATHETIC RESO P.81

About ‘Note’

When Using 3D Effects

Some effect parameters (such as Rate or Delay Time) can be set in terms of a note value.

Such parameters have a num/note switch that lets you specify whether you will set the value as a note value or as a numerical value.

If you want to set Rate (Delay Time) as a numerical value, set the num/ note switch to “Hz” (“msec”). If you want to set it as a note value, set the num/note switch to “NOTE.”

NUM/NOTE switch

* If the Rate is specified as a note value, the modulation will be

synchronized with the tempo when you play back SMF song data.

note:

fig.MFX-note2.e_88

Sixty-fourth-note triplet

Thirty-second note

Sixteenth note

Half note Whole note Double note

Sixty-fourth note

Sixteenth-note triplet Eighth-note triplet

Half-note tripletQuarter note

Whole-note triplet

Double-note triplet

Thirty-second-note triplet

Dotted thirty-second note Dotted sixteenth note

Dotted eighth noteQuarter-note tripletEighth note

Dotted quarter note

Dotted half note Dotted whole note

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

52: 3D DELAY 29: 3D CHORUS 30: 3D FLANGER 31: 3D STEP FLANGER When using these effects, we recommend that you place your

speakers as follows. Also, make sure that the speakers are at a sufficient distance from the walls on either side.

fig.33-002

30˚ 30˚

If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D effect may not appear.

Each of these effects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to “SPEAKER.” If the sound is to be heard through headphones, set it to “PHONES.” This will ensure that the optimal 3D effect will be heard. If this parameter is not set correctly, the full 3D effect may not appear.

If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specified as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value.

01: EQUALIZER

03: ISOLATOR

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

fig.MFX-01

L in

R in

4-Band EQ

L out

R out

Parameter Value Description

Low Freq 200, 400 Hz Frequency of the low range Low Gain -15– +15 dB Gain of the low range Mid1 Freq 200–8000 Hz Frequency of the middle range 1 Mid1 Gain -15– +15 dB Gain of the middle range 1

Width of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

Mid2 Freq 200–8000 Hz Frequency of the middle range 2 Mid2 Gain -15– +15 dB Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

High Freq 2000, 4000, 8000 Hz Frequency of the high range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

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.

02: 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.

fig.MFX-02

L in

R in

Spectrum

L out

R out

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.

fig.MFX-03

L in

R in

Isolator

Low Boost

L out

R out

Parameter Value Description

Boost/ Cut Low

Boost/ Cut Mid

Boost/ Cut High

Anti Phase Low Sw

Anti Phase Low Level

Anti Phase Mid Sw

Anti Phase Mid Level

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output Level

-60– +4 dB

OFF, ON

0–127

OFF, ON

0–127

These boost and cut each of the High, Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Turns the Anti-Phase function on and off for the Low frequency ranges.

When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Adjusts the level settings for the Low frequency ranges.

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

Settings of the Anti-Phase function for the Middle frequency ranges

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

Turns Low Booster on/off.

This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end.

*Depending on the Isolator and filter

settings this effect may be hard to distinguish.

Parameter Value Description

Band1 (250Hz) Band2 (500Hz) Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) Band8 (8000Hz)

Level 0–127 Output Level

-15– +15 dB Gain of each frequency band

0.5, 1.0, 2.0, 4.0,

8.0

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

04: LOW BOOST

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

fig.MFX-04

L in

R in

Low Boost

2-Band EQ

Parameter Value Description

Boost Frequency

Boost Gain 0– +12 dB

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

High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

50–125 Hz

WIDE, MID, NARROW

Center frequency at which the lower range will be boosted

Amount by which the lower range will be boosted

Width of the lower range that will be boosted

L out

R out

05: SUPER FILTER

06: STEP FILTER

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

fig.MFX-05

L in

R in

Super Filter

L out

R out

Parameter Value Description

Filter type

Frequency range that will pass through

Filter Type

Filter Slope -12, -24, -36 dB

Filter Cutoff

Filter Resonance

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

Modulation Wave

LPF, BPF, HPF, NOTCH

0–127

TRI, SQR, SIN, SAW1, SAW2

SAW1 SAW2

each filter LPF: frequencies below the cutoff

frequencies in the region of the cutoff

BPF: HPF: frequencies above the cutoff NOTCH: frequencies other than the re-

gion of the cutoff

Amount of attenuation per octave

-36 dB: extremely steep

-24 dB: steep

-12 dB: gentle

Cutoff frequency of the filter

Increasing this value will raise the cutoff frequency.

Filter resonance level

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

How the cutoff frequency will be modulated

TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward)

This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change.

fig.MFX-06

L in

R in

Step Filter

L out

R out

Parameter Value Description

Step 01–16 0–127 Cutoff frequency at each step Rate

Attack 0–127

Filter Type

Filter Slope -12, -24, -36 dB

Filter Resonance

Filter Gain 0– +12 dB Amount of boost for the filter output Level 0–127 Output level

0.05–10.00 Hz, note

LPF, BPF, HPF, NOTCH

0–127

Rate of modulation Speed at which the cutoff frequency

changes between steps Filter type

Frequency range that will pass through each filter LPF: frequencies below the cutoff

frequencies in the region of the cutoff

BPF: HPF: frequencies above the cutoff NOTCH: frequencies other than the re-

gion of the cutoff

Amount of attenuation per octave

-12 dB: gentle

-24 dB: steep

-36 dB: extremely steep

Filter resonance level

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

07: ENHANCER

Rate Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output level

0.05–10.00 Hz, note

Rate of modulation

Speed at which the cutoff frequency will change

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

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

fig.MFX-07

L in

R in

Enhancer

Mix

2-Band

L out

R out

Parameter Value Description

Sens 0–127 Sensitivity of the enhancer Mix 0–127 Low Gain -15– +15 dB Gain of the low range

High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Level of the overtones generated by the enhancer

08: AUTO WAH

Cyclically controls a filter to create cyclic change in timbre.

fig.MFX-08

L in

R in

Auto Wah

2-Band EQ

L out

R out

Parameter Value Description

Type of filter

Filter Type LPF, BPF

Manual 0–127

Peak 0–127

Sens 0–127

Polarity UP, DOWN

Rate Depth 0–127 Depth of modulation

Phase 0–180 deg

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

0.05–10.00 Hz, note

LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range.

Adjusts the center frequency at which the effect is applied.

Adjusts the amount of the wah effect that will occur in the range of the center frequency.

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

Adjusts the sensitivity with which the filter is controlled.

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

UP: The filter will change toward a higher frequency. DOWN: The filter will change toward a lower frequency.

Frequency of modulation

Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied.

09: HUMANIZER

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

fig.MFX-09

L in

Overdrive

Formant

2-Band

R in

Parameter Value Description

Drive Sw OFF, ON Turns Drive on/off. Drive 0–127 Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u Rate Depth 0–127 Effect depth Input Sync

Sw Input Sync

Threshold

0.05–10.00 Hz, note

OFF, ON

0–127 Volume level at which reset is applied

Degree of distortion

Also changes the volume.

Selects the vowel.

Frequency at which the two vowels switch

Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

L out

Pan L

Pan R

R ou

Parameter Value Description

Point at which Vowel 1/2 switch

49 or less: Vowel 1 will have a longer

Manual 0–100

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Pan L64–63R Stereo location of the output Level 0–127 Output level

duration. 50: Vowel 1 and 2 will be of equal duration. 51 or more: Vowel 2 will have a longer duration.

10: SPEAKER SIMULATOR

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

fig.MFX-10

L in

R in

Speaker

Parameter Value Description

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

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone Direct Level 0–127 Volume of the direct sound Level 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

SMALL 1 small open-back enclosure 10 dynamic SMALL 2 small open-back enclosure 10 dynamic MIDDLE open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic BUILT-IN 1 open back enclosure 12 x 2 dynamic BUILT-IN 2 open back enclosure 12 x 2 condenser BUILT-IN 3 open back enclosure 12 x 2 condenser BUILT-IN 4 open back enclosure 12 x 2 condenser BUILT-IN 5 open back enclosure 12 x 2 condenser BG STACK 1 sealed enclosure 12 x 2 condenser BG STACK 2 large sealed enclosure 12 x 2 condenser MS STACK 1 large sealed enclosure 12 x 4 condenser MS STACK 2 large sealed enclosure 12 x 4 condenser METAL STACK large double stack 12 x 4 condenser 2-STACK large double stack 12 x 4 condenser 3-STACK large triple stack 12 x 4 condenser

L out

R out

Adjusts the location of the mic that is recording the sound of the speaker.

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

Microphone

11: PHASER

Resonance

Mix

L in

R in

L out

R out

Pan R

Pan L

2-Band

Multi Stage

Phaser

A phase-shifted sound is added to the original sound and modulated.

fig.MFX-11

L in

R in

Phaser

Mix

Phaser

2-Band

L out

R out

Parameter Value Description

Mode

Manual 0–127

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback

Mix 0–127 Level of the phase-shifted sound Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

4-STAGE, 8-STAGE, 12STAGE

INVERSE, SYNCHRO

-98– +98%

Number of stages in the phaser Adjusts the basic frequency from

which the sound will be modulated.

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

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

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

12: STEP PHASER

The phaser effect will be varied gradually.

fig.MFX-12

L in

R in

Step Phaser

Mix

Step Phaser

2-Band

L out

R out

Parameter Value Description

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

INVERSE: The left and right

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback

Step Rate 0.10–20.00 Hz, note Mix 0–127

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

INVERSE, SYNCHRO

-98– +98%

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

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

Rate of the step-wise change in the phaser effect

Level of the phase-shifted sound

13: MULTI STAGE PHASER

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

fig.MFX-13

Parameter Value Description

Mode

Manual 0–127

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Resonance 0–127 Amount of feedback Mix 0–127 Level of the phase-shifted sound

Pan L64–63R Low Gain -15– +15 dB Gain of the low range

High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

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

Number of phaser stages

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

Stereo location of the output sound

Parameter Value Description

Mode

Manual 0–127

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation

4-STAGE, 8-STAGE, 12STAGE

Number of stages in the phaser Adjusts the basic frequency from

which the sound will be modulated.

14: INFINITE PHASER

SAW1 SAW2

16: STEP RING MODULATOR

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

fig.MFX-14

L in

L out

Pan L

Infinite Phaser 2-Band EQ

R in

Pan R

R out

Parameter Range Explanation

Mode 1, 2, 3, 4

Speed -100– +100

Resonance 0–127 Amount of feedback Mix 0–127 Pan L64–63R Panning of the output sound Low Gain -15– +15 dB

High Gain -15– +15 dB Level 0–127 Output volume

Higher values will produce a deeper phaser effect.

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Volume of the phase-shifted sound

Amount of boost/cut for the lowfrequency range

Amount of boost/cut for the highfrequency range

15: 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.

fig.MFX-15

L in

R in

Ring Mod

2-Band EQ

Parameter Value Description

Frequency 0–127

Sens 0–127

Polarity UP, DOWN

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

Balance Level 0–127 Output level

D100:0W– D0:100W

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (DOWN).

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

L out

R out

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

fig.MFX-16

L in

R in

Step Ring Mod

2-Band EQ

L out

R out

Parameter Range Explanation

Step 01–16 0–127

Rate 0.05–10.00 Hz, note

Attack 0–127

Low Gain -15– +15 dB

High Gain -15– +15 dB

Balance D100:0W–D0:100W Level 0–127 Output volume

Frequency of ring modulation at each step

Rate at which the 16-step sequence will cycle

Speed at which the modulation frequency changes between steps

Amount of boost/cut for the lowfrequency range

Amount of boost/cut for the highfrequency range

Volume balance of the original sound (D) and effect sound (W)

17: TREMOLO

Cyclically modulates the volume to add tremolo effect to the sound.

fig.MFX-17a

L in

R in

Tremolo

2-Band EQ

Parameter Value Description

Modulation Wave

TRI, SQR, SIN, SAW1, SAW2

Mod Wave

Rate 0.05–10.00 Hz, note Frequency of the change Depth 0–127 Depth to which the effect is applied Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

L out

R out

TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave

18: AUTO PAN

20: SLICER

Cyclically modulates the stereo location of the sound.

fig.MFX-18a

L in

R in

Auto Pan

2-Band EQ

L out

R out

Parameter Value Description

Modulation Wave

TRI, SQR, SIN, SAW1, SAW2

Mod Wave

SAW1 SAW2 R

TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave

19: STEP PAN

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

fig.MFX-19

L in

R in

Step Pan

L out

R out

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 sustaintype sounds.

fig.MFX-20

L in

R in

Slicer

L out

R out

Parameter Value Description

Step 01–16 L64–63R Level at each step Rate

Attack 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Mode

Shuffle 0–127

Level 0–127 Output level

0.05–10.00 Hz, note

0–127

LEGATO, SLASH

Rate at which the 16-step sequence will cycle

Speed at which the level changes between steps

Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

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

LEGATO: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

Timing of volume changes in levels for evennumbered steps (step 2, step 4, step 6...).

The higher the value, the later the beat progresses.

Parameter Range Explanation

Step 01–16 L64–63R Pan at each step Rate 0.05–10.00 Hz, note

Attack 0–127

Input Sync Sw OFF, ON

Input Sync Threshold

Level 0–127 Output volume

0–127

Rate at which the 16-step sequence will cycle

Speed at which the pan changes between steps

Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

Volume at which an input note will be detected

L in

R in

Chorus

L out

R out

2-Band

Balance W

Balance D

21: 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.

fig.MFX-21

L in

L out

Rotary

R in

R out

Parameter Value Description

Simultaneously switch the rotational speed of the low frequency rotor

Speed SLOW, FAST

Woofer Slow Speed

Woofer Fast Speed

Woofer Acceleration

Woofer Level 0–127 Volume of the low frequency rotor Tweeter Slow

Speed Tweeter Fast

Speed Tweeter

Acceleration Tweeter Level 0–127 Separation 0–127 Spatial dispersion of the sound Level 0–127 Output Level

0.05–10.00 Hz

0–15

0.05–10.00 Hz

0–15

and high frequency rotor.

SLOW: Slows down the rotation to the Slow Rate. FAST: Speeds up the rotation to the Fast Rate.

Slow speed (SLOW) of the low frequency rotor

Fast speed (FAST) of the low frequency rotor

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.

Settings of the high frequency rotor

The parameters are the same as for the low frequency rotor

22: VK ROTARY

This type provides modified response for the rotary speaker, with the low end boosted further.

This effect features the same specifications as the VK-7’s built-in rotary speaker.

fig.MFX-22

L in

Rotary

R in

Parameter Value Description

Speed SLOW, FAST

Brake OFF, ON

Woofer Slow Speed

Woofer Fast Speed

0.05–10.00 Hz

2-Band EQ

Rotational speed of the rotating speaker

Switches the rotation of the rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.

Low-speed rotation speed of the woofer

High-speed rotation speed of the woofer

L out

R out

Parameter Value Description

Adjusts the rate at which the

Woofer Trans Up 0–127

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer Tweeter Slow

Speed Tweeter Fast

Speed Tweeter Trans Up 0–127 Tweeter Trans

Down Tweeter Level 0–127

Spread 0–10

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

0–127

0.05–10.00 Hz

0–127

woofer rotation speeds up when the rotation is switched from Slow to Fast.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.

Settings of the tweeter

The parameters are the same as for the woofer.

Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.

23: CHORUS

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

fig.MFX-23

Parameter Value Description

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range

Balance D100:0W–D0:100W Level 0–127 Output Level

LPF: cuts the frequency range

above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

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

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

24: 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.

fig.MFX-24

L in

R in

Balance D

Flanger

Feedback Feedback

Flanger

Balance D

2-Band

Balance W

2-Band

L out

R out

Parameter Value Description

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound

Feedback -98– +98%

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

Balance D100:0W–D0:100W Level 0–127 Output Level

LPF: cuts the frequency range

above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

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

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

25: STEP FLANGER

This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a notevalue of a specified tempo.

fig.MFX-25

L in

Balance D

Step Flanger

2-Band

Balance W

L out

Parameter Value Description

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound

Feedback -98– +98%

Step Rate 0.10–20.00 Hz, note Rate (period) of pitch change Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range

Balance D100:0W–D0:100W

Level 0–127 Output Level

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

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

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

26: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

fig.MFX-26

L in

Balance D

Hexa Chorus

R in

Balance D

Parameter Value Description

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Pre Delay

Deviation Depth

Deviation

Pan Deviation 0–20

Balance D100:0W–D0:100W Level 0–127 Output Level

0–20

-20– +20

L out

Balance W

R out

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

Adjusts the differences in Pre Delay between each chorus sound.

Adjusts the difference in modulation depth between each chorus sound.

Adjusts the difference in stereo location between each chorus sound.

0: All chorus sounds will be in the center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center.

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

Feedback Feedback

Step Flanger

R in

Balance D

Balance W

2-Band

R out

Parameter Value Description

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

LPF: cuts the frequency range

above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

27: TREMOLO CHORUS

29: 3D CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of volume).

fig.MFX-27

L in

Balance D

L out

Balance W

Tremolo Chorus

Balance W

R in

Balance D

R out

Parameter Value Description

Pre Delay 0.0–100.0 ms

Chorus Rate 0.05–10.00 Hz, note

Chorus Depth 0–127

Tremolo Rate 0.05–10.00 Hz, note Tremolo

Separation Tremolo Phase 0–180 deg Spread of the tremolo effect

Balance D100:0W–D0:100W

Level 0–127 Output Level

0–127 Spread of the tremolo effect

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

Modulation frequency of the chorus effect

Modulation depth of the chorus effect

Modulation frequency of the tremolo effect

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

28: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.

fig.MFX-28

L in

Balance D

Space D

R in

Balance D

2-Band

Balance W

2-Band

L out

R out

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

fig.MFX-29

2-Band

L out

3D Chorus

2-Band

R out

Parameter Value Description

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Phase 0–180 deg Spatial spread of the sound

Output Mode SPEAKER, PHONES

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

Balance D100:0W–D0:100W

Level 0–127 Output Level

LPF: cuts the frequency range

above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

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

Modulation depth of the chorus effect

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)

Parameter Value Description

Pre Delay 0.0–100.0 ms

Balance D100:0W–D0:100W

Level 0–127 Output Level

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

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

R in

R out

L in

L out

Split

High Band Chorus

Low Band Chorus

High Band Chorus

Low Band Chorus

Split

30: 3D FLANGER

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

fig.MFX-30

2-Band

L out

3D Flanger

2-Band

R out

Parameter Value Description

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound

Feedback -98– +98%

Output Mode SPEAKER, PHONES

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

Balance D100:0W–D0:100W

Level 0–127 Output Level

LPF: cuts the frequency range

above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

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

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

31: 3D STEP FLANGER

This applies a 3D effect to the step flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right.

fig.MFX-31

3D Step Flanger

Parameter Value Description

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Pre Delay 0.0–100.0 ms

Rate 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound

2-Band

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

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

L out

R out

Parameter Value Description

Adjusts the proportion of the

Feedback -98– +98%

Step Rate 0.10–20.00 Hz, note Rate (period) of pitch change

Output Mode SPEAKER, PHONES

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

Balance D100:0W–D0:100W

Level 0–127 Output Level

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

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

32: 2BAND CHORUS

A chorus effect that lets you apply an effect independently to the lowfrequency and high-frequency ranges.

fig.MFX-32

Parameter Range Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100.0 ms

Low Rate 0.05–10.00 Hz, note

Low Depth 0–127

Low Phase 0–180 deg

High Pre Delay 0.0–100.0 ms

High Rate 0.05–10.00 Hz, note

High Depth 0–127

High Phase 0–180 deg

Balance D100:0W–D0:100W Level 0–127 Output volume

Frequency at which the low and high ranges will be divided

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

Rate at which the low-range chorus sound is modulated

Modulation depth for the lowrange chorus sound

Spaciousness of the low-range chorus sound

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

Rate at which the low-range chorus sound is modulated

Modulation depth for the highrange chorus sound

Spaciousness of the high-range chorus sound

Volume balance of the original sound (D) and chorus sound (W)

33: 2BAND FLANGER

R in

R out

L in

L out

Split

High Band Step Flanger

Split

Low Band Feedback

High Band Feedback

Low Band Feedback

Low Band Step Flanger

High Band Step Flanger

Low Band Step Flanger

34: 2BAND STEP FLANGER

A flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.

fig.MFX-33

L in

High Band Flanger

Split

High Band Feedback

Low Band Flanger

Low Band Feedback High Band Feedback

High Band Flanger

Split

Low Band Feedback

Low Band Flanger

R in

Parameter Range Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100.0 ms

Low Rate 0.05–10.00 Hz, note

Low Depth 0–127

Low Phase 0–180 deg

Low Feedback

High Pre Delay 0.0–100.0 ms

High Rate 0.05–10.00 Hz, note

High Depth 0–127

High Phase 0–180 deg

High Feedback

Balance D100:0W–D0:100W Level 0–127 Output volume

-98– +98%

Frequency at which the low and high ranges will be divided

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

Rate at which the low-range flanger sound is modulated

Modulation depth for the lowrange flanger sound

Spaciousness of the low-range flanger sound

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

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

Rate at which the high-range flanger sound is modulated

Modulation depth for the highrange flanger sound

Spaciousness of the high-range flanger sound

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

Volume balance of the original sound (D) and flanger sound (W)

L out

R out

A step flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.

fig.MFX-34

Parameter Range Explanation

Split Freq 200–8000 Hz

Low Pre Delay 0.0–100.0 ms

Low Rate 0.05–10.00 Hz, note

Low Depth 0–127

Low Phase 0–180 deg

Low Feedback

Low Step Rate

High Pre Delay 0.0–100.0 ms

High Rate 0.05–10.00 Hz, note

High Depth 0–127

High Phase 0–180 deg

High Feedback

High Step Rate

Balance D100:0W–D0:100W Level 0–127 Output volume

-98– +98%

0.10–20.00 Hz, note

-98– +98%

0.10–20.00 Hz, note

Frequency at which the low and high ranges will be divided

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

Rate at which the low-range flanger sound is modulated

Modulation depth for the lowrange flanger sound

Spaciousness of the low-range flanger sound

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

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

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

Rate at which the high-range flanger sound is modulated

Modulation depth for the highrange flanger sound

Spaciousness of the high-range flanger sound

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

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

Volume balance of the original sound (D) and flanger sound (W)

35: OVERDRIVE

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

Distortion

L in

R in

L out

R out

Pan R

Pan L

Pre Amp

Speaker

38: VS DISTORTION

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

fig.MFX-35

L in

R in

Over drive

Amp

Simulator

2-Band

L out

Pan L

Pan R

R out

Parameter Value Description

Drive 0–127

Amp Type

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

Pan L64–63R Level 0–127 Output Level

SMALL, BUILT-IN, 2-STACK, 3-STACK

Degree of distortion

Also changes the volume.

Type of guitar amp

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

amp 3-STACK: large triple stack amp

Stereo location of the output sound

36: DISTORTION

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

fig.MFX-36

L in

R in

Distortion

Amp

Simulator

2-Band

L out

Pan L

Pan R

R out

37: VS OVERDRIVE

This is an overdrive that provides heavy distortion.

fig.MFX-37

L in

Overdrive

Amp

Simulator

2-Band

R in

Parameter Value Description

Drive 0–127 Tone 0–127 Sound quality of the Overdrive effect

Amp Sw OFF, ON Turns the Amp Simulator on/off.

Amp Type

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Pan L64–63R Stereo location of the output sound Level 0–127 Output Level

SMALL, BUILT-IN, 2STACK, 3-STACK

Degree of distortion

Also changes the volume.

Type of guitar amp

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

L out

Pan L

Pan R

R out

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

fig.MFX-38

39: GUITAR AMP SIMULATOR

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

fig.MFX-39

Parameter Value Description

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

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

Pre Amp Type

Pre Amp Volume

Pre Amp Master

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

Middle Pre Amp Treble Pre Amp

Presence

Pre Amp Bright OFF, ON

Speaker Sw OFF, ON

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

Mic Setting 1, 2, 3

Mic Level 0–127 Volume of the microphone Direct Level 0–127 Volume of the direct sound Pan L64–63R Stereo location of the output Level 0–127 Output level

MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD2 TURBO, DISTORTION, FUZZ

0–127

0–127 Volume of the entire pre-amp

0–127

Type of guitar amp

Volume and amount of distortion of the amp

Tone of the bass/mid/treble frequency range

*Middle cannot be set if “Match

Drive” is selected as the Pre Amp Type.

Tone for the ultra-high frequency range

Turning this “On” produces a sharper and brighter sound.

* This parameter applies to the

“JC-120,” “Clean Twin,” and “BG Lead” Pre Amp Types.

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

Adjusts the location of the mic that’s capturing the sound of the speaker.

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

Specifications for each Speaker Type

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

Type Cabinet

Speak-er Micro-

phone

41: LIMITER

Compresses signals that exceed a specified volume level, preventing distortion from occurring.

fig.MFX-41

L in

R in

Limiter

2-Band EQ

Parameter Value Description

Release 0–127

Threshold 0–127

Ratio

Post Gain 0– +18 dB Adjusts the output gain. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

1.5:1, 2:1, 4:1, 100:1

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

Adjusts the volume at which compression begins

Compression ratio

L out

R out

40: COMPRESSOR

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

fig.MFX-40

L in

R in

Compressor

2-Band EQ

Parameter Value Description

Attack 0–127 Sets the speed at which compression starts Threshold 0–127 Post Gain 0– +18 dB Adjusts the output gain.

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Adjusts the volume at which compression begins

L out

R out

42: GATE

Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding decrease in the reverb’s decay.

fig.MFX-42

L in

R in

Gate

Parameter Value Description

Threshold 0–127

Mode

Attack 0–127

Hold 0–127

Release 0–127

Balance Level 0–127 Output level

GATE, DUCK

D100:0W– D0:100W

Volume level at which the gate begins to close Type of gate

GATE: The gate will close when the volume of the original sound decreases, cutting the original sound. DUCK (Ducking): The gate will close when the volume of the original sound increases, cutting the original sound.

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

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

L out

R out

43: DELAY

R in

R out

L in

L out

Feedback 1

Pan L

Pan R

Delay 1

Feedback 2

Delay 2

This is a stereo delay. When Feedback Mode is NORMAL:

fig.MFX-43a

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

2-Band

Balance W

2-Band

L out

R out

Parameter Range Explanation

Feedback -98– +98%

HF Damp

Pan L64–63R Panning of the delay sound Low Gain -15– +15 dB

High Gain -15– +15 dB

Balance D100:0W–D0:100W Level 0–127 Output volume

200–8000 Hz, BYPASS

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

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

Amount of boost/cut for the highfrequency range

Volume balance of the original sound (D) and delay sound (W)

When Feedback Mode is CROSS:

fig.MFX-43b

L in

R in

Balance D

Delay

Feedback Feedback

Delay

Balance D

2-Band

Balance W

2-Band

L out

R out

Parameter Value Description

Delay Left Delay Right Phase Left Phase Right Feedback

Mode

Feedback -98– +98%

HF Damp

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

Balance Level 0–127 Output level

0–1300 ms, note

NORMAL, INVERSE

NORMAL, CROSS

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Phase of the delay sound

Selects the way in which delay sound is fed back into the effect. (See the figures above.)

Adjusts the amount of the delay 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)

44: LONG DELAY

A delay that provides a long delay time.

fig.MFX-44

L in

R in

Long Delay

Feedback

2-Band

Pan L

Pan R

2-Band

L out

R out

45: SERIAL DELAY

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

fig.MFX-45

Parameter Range Explanation

Delay1 Time 0–1300 ms, note

Delay1 Feedback

Delay1 HF Damp

Delay2 Time 0–1300 ms, note

Delay2 Feedback

Delay2 HF Damp

Pan L64–63R Panning of the delay sound Low Gain -15– +15 dB

High Gain -15– +15 dB

Balance D100:0W–D0:100W Level 0–127 Output volume

-98– +98%

200–8000 Hz, BYPASS

-98– +98%

200–8000 Hz, BYPASS

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

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

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

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

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

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

Amount of boost/cut for the lowfrequency range

Amount of boost/cut for the highfrequency range

Volume balance of the original sound (D) and delay sound (W)

Parameter Range Explanation

Delay Time 0–2600 ms, note

Phase NORMAL, INVERSE

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

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

46: MODULATION DELAY

L in

R in

L out

R out

Left Tap

Right Tap

Triple Tap Delay

2-Band

Balance W

Balance D

Balance W

Balance D

Feedback

Center Tap

L in

R in

L out

R out

Quadruple Tap Delay

Balance W

Balance D

Balance W

Balance D

Delay 1

Delay 2

Delay 3

Delay 4

Feedback

47: 3TAP PAN DELAY

Adds modulation to the delayed sound. When Feedback Mode is NORMAL:

fig.MFX-46a

L in L out

Delay

Feedback Feedback

Delay

R in R out

Balance D

Modulation

Balance D

2-Band

Balance W

2-Band

When Feedback Mode is CROSS:

fig.MFX-46b

L in

Delay

Feedback Feedback

Delay

R in

Balance D

Modulation

Balance D

2-Band

Balance W

2-Band

L out

R out

Parameter Value Description

Delay Left Delay Right Feedback

Mode

Feedback -98– +98%

HF Damp

Rate Depth 0–127 Depth of modulation

Phase 0-180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance Level 0–127 Output level

0–1300 ms, note

NORMAL, CROSS

200–8000 Hz, BYPASS

0.05–10.00 Hz, note

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the effect (See the figures above.)

Adjusts the amount of the delay 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.

Frequency of modulation

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

Produces three delay sounds; center, left and right.

fig.MFX-47

Parameter Value Description

Delay Left/ Right/Center

Center Feedback

HF Damp

Left/Right/ Center Level

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

Balance Level 0–127 Output level

0–2600 ms, note

-98– +98%

200–8000 Hz, BYPASS

0–127 Volume of each delay

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the 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)

48: 4TAP PAN DELAY

This effect has four delays.

fig.MFX-48a

fig.MFX-48b

Stereo location of each delay

Parameter Value Description

Delay 1–4 Time

Delay 1 Feedback

HF Damp

Delay 1–4 Level 0–127 Volume of each delay Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance Level 0–127 Output level

0–2600 ms, note

-98– +98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the 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)

49: MULTI TAP DELAY

This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

fig.MFX-49

Balance D

L in

Feed back

Delay 1

Delay 3

Multi Tap Delay

Delay 4

Delay 2

R in

Balance D

Parameter Value Description

Delay 1–4 Time

Delay 1 Feedback

HF Damp

Delay 1–4 Pan L64–63R Stereo location of Delays 1–4 Delay 1–4 Level 0–127 Output level of Delays 1–4 Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance Level 0–127 Output level

0–2600 ms, note

-98– +98%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until Delays 1–4 are heard.

Adjusts the amount of the delay sound that’s fed back into the 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 the high frequencies, set this parameter to BYPASS.

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

2-Band

Balance W

2-Band

L out

R out

Parameter Range Explanation

Delay 1 – 3 Time 0–1300 ms, note

Delay 3 Feedback

Delay HF Damp 200–8000 Hz, BYPASS

Delay 1 Pan’, ‘Delay 2 Pan

Delay 1 Level’, ‘Delay 2 Level

Low Gain -15– +15 dB

High Gain -15– +15 dB

Balance D100:0W–D0:100W Level 0–127 Output volume

-98– +98%

L64–63R Panning of the tap delay sounds

0–127 Volume of the tap delay sounds

Delay time from when sound is input into the tap delay until the delay sound is heard

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

Frequency at which the low-frequency content of the tap delay sound will be cut (BYPASS: no cut)

Amount of boost/cut for the lowfrequency range

Amount of boost/cut for the highfrequency range

Volume balance of the original sound (D) and delay sound (W)

51: SHUFFLE DELAY

Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel.

fig.MFX-51

L in

R in

Feedback

Delay

Delay A

Delay B

2-Band

L out

R out

50: REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

fig.MFX-50

L in

Feedback

Rev. Delay

Rev

Delay

R in

Parameter Range Explanation

Threshold 0–127

Rev Delay Time 0–1300 ms, note

Rev Delay Feedback

Rev Delay HF Damp

Rev Delay Pan L64–63R

Rev Delay Level 0–127

-98– +98%

200–8000 Hz, BYPASS

Volume at which the reverse delay will begin to be applied

Delay time from when sound is input into the reverse delay until the delay sound is heard

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

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

Panning of the reverse delay sound

Volume of the reverse delay sound

2-Band

L out

R out

Parameter Value Description

Delay Time

Shuffle Rate

Acceleration 0–15

Feedback -98– +98%

HF Damp

Pan A/B 0–127 Stereo location of Delay A/B Level A/B 0–127 Volume of delay A/B Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance Level 0–127 Output level

0–2600 ms, note

0–100%

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay sound is heard.

Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds.

When set to 100%, the delay times are the same.

Adjusts the speed which the Delay Time changes from the current setting to its specified new setting.

Adjusts the amount of the delay 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 effect sound (W)

52: 3D DELAY

L in

R in

L out

R out

2-Band

Balance W

Balance D

2-Band

Feedback

Time Control Delay

This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.

fig.MFX-52

3D Delay L

Level

2-Band

L out

3D Delay C

Feedback

3D Delay R

2-Band

R out

Parameter Value Description

Delay Left Delay Right Delay Center

Center Feedback

HF Damp 200–8000 Hz, BYPASS

Left Level

Center Level

Output Mode SPEAKER, PHONES

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

Balance D100:0W–D0:100W Level 0–127 Output Level

0–2600 ms, note

-98– +98%

0–127 Output level of the delay soundRight Level

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

Adjusts the proportion of the delay sound that is fed back into the 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.

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

53: TIME CTRL DELAY

A stereo delay in which the delay time can be varied smoothly.

fig.MFX-53

L in

Time Ctrl Delay

2-Band EQ

Pan L

L out

Parameter Value Description

Adjusts the frequency above which

HF Damp

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

Balance Level 0–127 Output level

LONG TIME CTRL DLY

54:

(LONG TIME CONTROL DELAY)

200–8000 Hz, BYPASS

D100:0W– D0:100W

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)

A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced.

fig.MFX-54

Parameter Value Description

Delay Time

Acceleration 0–15

Feedback -98– +98%

HF Damp

Pan L64–63R Stereo location of the delay Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range

Balance Level 0–127 Output level

0–2600 ms, note

200–8000 Hz, BYPASS

D100:0W– D0:100W

Adjusts the time until the delay is heard. Adjusts the speed which the Delay Time

changes from the current setting to a specified new setting.

The rate of change for the Delay Time directly affects the rate of pitch change.

Adjusts the amount of the delay 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)

Feedback Feedback

Time Ctrl Delay

Pan R

R in

Parameter Value Description

Delay Time 0–1300 ms, note

Acceleration 0–15

Feedback -98– +98%

Adjusts the time until the delay is heard.

Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change.

Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase.

2-Band EQ

R out

55: TAPE ECHO

L in

R in

L out

R out

Compressor

Lo-Fi

Compressor

2-Band

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

fig.MFX-55

L in

Direct Level

L out

Echo Level

Tape Echo

Echo Level

R in

Direct Level

R out

Parameter Value Description

Mode

Repeat Rate 0–127

Intensity 0–127 Amount of delay repeats Bass -15– +15 dB Treble -15– +15 dB Head S Pan Head M Pan Head L Pan

Tape Distortion 0–5

Wow/Flutter Rate

Wow/Flutter Depth

Echo Level 0–127 Volume of the echo sound Direct Level 0–127 Volume of the original sound Level 0–127 Output level

S, M, L, S+M, S+L, M+L, S+M+L

L64–63R

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

Tape speed

Increasing this value will shorten the spacing of the delayed sounds.

Boost/cut for the lower range of the echo sound Boost/cut for the upper range of the echo sound

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added

This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity)

56: LOFI NOISE

In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise.

fig.MFX-56

L in

Lo-Fi

Noise Gen.

Lo-Fi

R in

2-Band

L out

R out

Parameter Value Description

W/P Noise LPF

W/P Noise Level

Disc Noise Type

Disc Noise LPF

Disc Noise Level

Hum Noise Type

Hum Noise LPF

Hum Noise Level

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

Balance Level 0–127 Output level

200–8000 Hz, BYPASS

0–127 Volume of the white/pink noise

LP, EP, SP, RND

200–8000 Hz, BYPASS

0–127 Volume of the record noise

50 Hz, 60 Hz Frequency of the hum noise 200–8000 Hz,

BYPASS 0–127 Volume of the hum noise

D100:0W– D0:100W

Center frequency of the low pass filter applied to the white/pink noise (BYPASS: no cut)

Type of record noise

The frequency at which the noise is heard depends on the selected type.

Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)

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

57: LOFI COMPRESS

This is an effect that intentionally degrades the sound quality for creative purposes.

fig.MFX-57

Parameter Value Description

Selects the type of filter applied to the sound

Pre Filter Type 1–6

LoFi Type 1–9

Post Filter Type OFF, LPF, HPF

Post Filter Cutoff

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

Balance Level 0–127 Output level

200–8000 Hz Basic frequency of the Post Filter

D100:0W– D0:100W

before it passes through the Lo-Fi effect. 1: Compressor off 2–6: Compressor on

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

OFF: no filter is used LPF: cuts the frequency range above the

Cutoff HPF: cuts the frequency range below the Cutoff

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

Parameter Value Description

LoFi Type 1–9

Filter Type

Filter Cutoff 200–8000 Hz Center frequency of the filter W/P Noise

Type

OFF, LPF, HPF

WHITE, PINK Switch between white noise and pink noise.

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

OFF: no filter is used LPF: cuts the frequency range above the

Cutoff HPF: cuts the frequency range below the Cutoff

58: LOFI RADIO

L in

R in

Pitch Shifter

L out

R out

2-Band EQ

In addition to a Lo-Fi effect, this effect also generates radio noise.

fig.MFX-58

L in

Lo-Fi

Radio

Lo-Fi

R in

Parameter Value Description

LoFi Type 1–9

Filter Type

Filter Cutoff 200–8000 Hz Basic frequency of the Post Filter Radio

Detune Radio Noise

Level Balance Level 0–127 Output level

OFF, LPF, HPF

0–127

0–127 Volume of the radio noise D100:0W–

D0:100W

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Type of filter

Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.

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

2-Band

OFF: no filter is used LPF: cuts the frequency range above the

Cutoff HPF: cuts the frequency range below the Cutoff

L out

R out

Parameter Value Description

Signal Distortion

Frequency Range

Disc Type LP, EP, SP

Scratch Level

Dust Noise Level

Hiss Noise Level

Total Noise Level

Wow 0–127 Depth of long-cycle rotational irregularity Flutter 0–127 Depth of short-cycle rotational irregularity

Random 0–127 Total Wow/

Flutter Balance Level 0–127 Output level

61:

0–127 Depth of distortion

Frequency response of the playback system

0–127

Noise

0–127

0–127 Volume of noise due to dust on the record

0–127 Volume of continuous “hiss”

0–127 Volume of overall noise

0–127 Depth of overall rotational irregularity D100:0W–

D0:100W

Decreasing this value will produce the impression of an old system with a poor frequency response.

Rotational speed of the turntable

This will affect the frequency of the scratch noise.

Amount of noise due to scratches on the record

Depth of indefinite-cycle rotational irregularity

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

PITCH SHIFTER (Feedback Pitch Shifter)

59: TELEPHONE

fig.MFX-59

L in

R in

Telephone

L out

R out

Parameter Value Description

Voice Quality

Treble -15– +15 dB Bandwidth of the telephone voice Balance Level 0–127 Output level

0–15 Audio quality of the telephone voice

D100:0– D0:100W

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

60: PHONOGRAPH

Simulates a sound recorded on an analog record and played back on a record player. This effect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable.

fig.MFX-60

L in

Phonograph

R in

Balance D

L out

Balance W

R out

Balance D

A stereo pitch shifter.

fig.MFX-61

Parameter Value Description

Coarse -24– +12 semi

Fine -100– +100 cent

Delay Time 0–1300 ms, note

Feedback -98– +98%

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

Balance D100:0W–D0:100W

Level 0–127 Output Level

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

62: 2VOI PITCH SHIFTER (2VOICE PITCH SHIFTER)

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

fig.MFX-62

Balance D

L in

R in

Level 1

2Voice Pitch Shifter

Level 1

Pan 1 L

Pan 1 R Pan 2 L

Pan 2 R

Balance D

L out

Balance W

R out

Parameter Value Description

Pitch 1: Coarse

Pitch 1:Fine -100-+100 cent

Pitch 1:Delay 0–1300 ms, note

Pitch 1:Feedback

Pitch 1:Pan L64-63R Pitch 1:Level 0–127 Volume of the Pitch Shift1 sound

Pitch 2: Coarse

Pitch 2:Fine -100-+100 cent Pitch 2:Delay 0–1300 ms, note Pitch 2:Feedback -98– +98% Pitch 2:Pan L64-63R Pitch 2:Level 0–127 Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range

Level Balance A100:0B-A0:100B

Balance D100:0W-D0:100W

Level 0-127 Output Level

-24-+12 semi

-98– +98%

-24-+12 semi

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.

Stereo location of the Pitch Shift 1 sound

Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.

Volume balance between the Pitch Shift 1 and Pitch Shift 2 sounds

Volume balance between the direct sound (D) and the pitch shifted sound (W)

63: STEP PITCH SHIFTER

A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence.

fig.MFX-63

L in

Step Pitch Shifter

R in

2-Band

L out

R out

Parameter Range Explanation

Attack 0–127

Gate Time 0–127

Fine -100– +100 cent

Delay Time 0–1300 ms, note

Feedback -98– +98%

Low Gain -15– +15 dB

High Gain -15– +15 dB

Balance D100:0W–D0:100W Level 0–127 Output volume

Speed at which the amount of pitch shift changes between steps

Duration of the pitch shifted sound at each step

Pitch shift adjustment for all steps (2-cent units)

Delay time from the original sound until the pitch-shifted sound is heard

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

Amount of boost/cut for the lowfrequency range

Amount of boost/cut for the highfrequency range

Volume balance of the original sound (D) and pitch-shifted sound (W)

64: REVERB

Adds reverberation to the sound, simulating an acoustic space.

fig.MFX-64

L in

Balance D

Reverb

R in

Balance D

Parameter Value Description

ROOM1, ROOM2,

Type

Pre Delay 0.0–100.0 ms

Time 0–127 Time length of reverberation

HF Damp

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

Balance D100:0W–D0:100W Level 0–127 Output Level

STAGE1, STAGE2, HALL1, HALL2

200–8000 Hz, BYPASS

2-Band

Balance W

2-Band

Type of reverb

ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance

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

Adjusts the frequency above which the reverberant sound will be cut.

As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this parameter to BYPASS.

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

L out

R out

Parameter Range Explanation

Step 01–16 -24–+12 semi

Rate 0.05–10.00 Hz, note

Amount of pitch shift at each step (semitone units)

Rate at which the 16-step sequence will cycle

65: GATED REVERB

This is a special type of reverb in which the reverberant sound is cut off before its natural length.

fig.MFX-65

L in

Balance D

Gated Reverb

R in

Balance D

Parameter Value Description

Type

Pre Delay 0.0–100.0 ms

Gate Time 5–500 ms Low Gain -15– +15 dB Gain of the low range

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

Balance D100:0W–D0:100W

Level 0–127 Output Level

NORMAL, REVERSE, SWEEP1, SWEEP2

2-Band

Balance W

2-Band

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

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

Adjusts the time from when the reverb is heard until it disappears.

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

L out

R out

67: OVERDRIVE → FLANGER

fig.MFX-67

L in

Balance D

Feedback

Overdrive

R in

Flanger

Balance D

Parameter Value Description

Overdrive Drive 0–127

Overdrive Pan L64–63R

Flanger Pre Delay

Flanger Rate 0.05–10.00 Hz, note Frequency of modulation Flanger Depth 0–127 Depth of modulation

Flanger Feedback

Flanger Balance D100:0W–D0:100W

Level 0–127 Output Level

0.0–100.0 ms

-98– +98%

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

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

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

L out

Balance W

R out

66: OVERDRIVE → CHORUS

fig.MFX-66

L in

Overdrive

R in

Balance D

Chorus

Balance D

Parameter Value Description

Overdrive Drive 0–127

Overdrive Pan L64–63R

Chorus Pre Delay

Chorus Rate 0.05–10.00 Hz, note Frequency of modulation Chorus Depth 0–127 Depth of modulation

Chorus Balance D100:0W–D0:100W

Level 0–127 Output Level

0.0–100.0 ms

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

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

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).

L out

Balance W

R out

68: OVERDRIVE → DELAY

fig.MFX-68

L in

Overdrive

R in

Parameter Value Description

Overdrive Drive 0–127

Overdrive Pan L64–63R

Delay Time 0–2600 ms, note

Delay Feedback

Delay HF Damp

Delay Balance D100:0W–D0:100W

Level 0–127 Output Level

-98– +98%

200–8000 Hz, BYPASS

Balance D

Delay

Feedback

Balance D

Degree of distortion

Also changes the volume.

Stereo location of the overdrive sound

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

Adjusts the proportion of the delay sound that is fed back into the 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).

L out

Balance W

R out

69: DISTORTION → CHORUS

Feedback

Flanger

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

The parameters are essentially the same as in “66: OVERDRIVE → CHORUS,” with the exception of the following two.

Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan

fig.MFX-69

L in

R in

Distortion

Balance D

Chorus

Balance D

L out

Balance W

R out

70: DISTORTION → FLANGER

The parameters are essentially the same as in “67: OVERDRIVE → FLANGER,” with the exception of the following two.

Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan

fig.MFX-70

L in

R in

Distortion

Balance D

Feedback

Flanger

Balance D

L out

Balance W

R out

71: DISTORTION → DELAY

The parameters are essentially the same as in “68: OVERDRIVE → DELAY,” with the exception of the following two.

Overdrive Drive → Distortion Drive, Overdrive Pan → Distortion Pan

fig.MFX-71

L in

R in

Distortion

Balance D

Delay

Feedback

Balance D

L out

Balance W

R out

Parameter Value Description

Chorus Rate Chorus Depth 0–127 Depth of modulation

Chorus Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

73: ENHANCER → FLANGER

fig.MFX-73

Parameter Value Description

Enhancer Sens 0–127 Sensitivity of the enhancer Enhancer Mix 0–127

Flanger Pre Delay 0.0–100.0 ms

Flanger Rate Flanger Depth 0–127 Depth of modulation

Flanger Feedback -98– +98%

Flanger Balance

Level 0–127 Output Level

0.05–10.00 Hz, note

D100:0W– D0:100W

Level of the overtones generated by the enhancer

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

Frequency of modulation

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

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

72: ENHANCER → CHORUS

fig.MFX-72

L in

R in

Parameter Value Description

Enhancer Sens 0–127 Sensitivity of the enhancer Enhancer Mix 0–127

Chorus Pre Delay 0.0–100.0 ms

Enhancer

Mix

Balance D

Chorus

Balance D

Level of the overtones generated by the enhancer

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

L out

Balance W

R out

74: ENHANCER → DELAY

Feedback

Delay

L in

R in

L out

R out

Balance W

Balance D

Flanger

Balance W

Balance D

Feedback

fig.MFX-74

L in

R in

Enhancer

Mix

Balance D

Delay

Feedback

Balance D

76: FLANGER → DELAY

fig.MFX-76

L out

Balance W

R out

Parameter Value Description

Enhancer Sens 0–127 Sensitivity of the enhancer Enhancer Mix 0–127

Delay Time 0–2600 ms, note

Delay Feedback

Delay HF Damp

Delay Balance D100:0W–D0:100W

Level 0–127 Output Level

-98– +98%

200–8000 Hz, BYPASS

Level of the overtones generated by the enhancer

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

Adjusts the proportion of the delay sound that is fed back into the 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).

75: CHORUS → DELAY

fig.MFX-75

L in

R in

Balance D

Balance W

Chorus

Balance W

Balance D

Delay

Feedback

Balance D

Balance W

L out

R out

Parameter Value Description

Flanger Pre Delay 0.0–100.0 ms

Flanger Rate 0.05–10.00 Hz, note Frequency of modulation Flanger Depth 0–127 Depth of modulation

Flanger Feedback -98– +98%

Flanger Balance D100:0W–D0:100W

Delay Time 0–2600 ms, note

Delay Feedback

Delay HF Damp

Delay Balance

Level 0–127 Output Level

-98– +98%

200–8000 Hz, BYPASS

D100:0W–D0:100W

Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

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

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

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

Adjusts the proportion of the delay sound that is fed back into the 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).

Parameter Value Description

Chorus Pre Delay

Chorus Rate 0.05–10.00 Hz, note Frequency of modulation Chorus Depth 0–127 Depth of modulation

Chorus Balance D100:0W–D0:100W

Delay Time 0–2600 ms, note

Delay Feedback

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0.0–100.0 ms

-98– +98%

200–8000 Hz, BYPASS

D100:0W–D0:100W

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

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

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

Adjusts the proportion of the delay sound that is fed back into the 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).

77: CHORUS → FLANGER

L in

R in

L out

R out

Sym. Resonance

3-Band

fig.MFX-77

L in

Balance D

Balance W

Chorus

Balance W

R in

Balance D

Parameter Value Description

Chorus Pre Delay

Chorus Rate 0.05–10.00 Hz, note Chorus Depth 0–127 Chorus Balance D100:0W–D0:100W

Flanger Pre Delay

Flanger Rate 0.05–10.00 Hz, note Flanger Depth 0–127

Flanger Feedback

Flanger Balance D100:0W–D0:100W

Level 0–127 Output Level

0.0–100.0 ms

-98– +98%

Balance D

Feedback

Flanger

Balance D

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

Modulation frequency of the chorus effect

Modulation depth of the chorus effect Volume balance between the direct

sound (D) and the chorus sound (W) Adjusts the delay time from when

the direct sound begins until the flanger sound is heard.

Modulation frequency of the flanger effect

Modulation depth of the flanger effect

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

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

L out

Balance W

R out

SYMPATHETIC RESO

78:

(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.

fig.MFX-78

Parameter Range Explanation

Depth 0–127 Depth of the effect

Damper 0–127

Pre LPF

Pre HPF

Peaking Freq 200–8000 Hz

Peaking Gain -15– +15 dB

Peaking Q

HF Damp

LF Damp

Lid 6–1

EQ Low Freq 200, 400 Hz Frequency of the low-range EQ EQ Low Gain -15– +15 dB Amount of low-range boost/cut EQ Mid Freq 200–8000 Hz Frequency of the midrange EQ EQ Mid Gain -15– +15 dB Amount of midrange boost/cut

EQ Mid Q

EQ High Freq EQ High Gain -15–+15 dB Amount of high-range boost/cut

Level 0–127 Output Level

16–15000 Hz, BYPASS

BYPASS, 16–15000 Hz

0.5, 1.0, 2.0, 4.0,

8.0

16–15000 Hz, BYPASS

BYPASS, 16–15000 Hz

0.5, 1.0, 2.0, 4.0,

8.0 2000, 4000, 8000

Depth to which the damper pedal is pressed (controls the resonant sound)

Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut)

Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut)

Frequency of the filter that boosts/ cuts a specific frequency region of the input sound

Amount of boost/cut produced by the filter at the specified frequency region of the input sound

Width of the frequency region boosted/cut by the ‘Peaking Gain’ parameter (larger values make the region narrower)

Frequency at which the 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)

This simulates the actual changes in sound that occur when the lid of a grand piano is set at different heights.

Width of midrange (larger values make the region narrower)

Frequency of the high-range EQ

Chorus Parameters

Double note

Dotted whole note

Dotted half note

Dotted thirty-second note

Whole note

Double-note triplet

Sixteenth-note triplet

Thirty-second note

Sixty-fourth-note triplet

Sixty-fourth note

Thirty-second-note triplet

Dotted eighth noteQuarter-note tripletEighth note

Half-note tripletQuarter note

Dotted quarter note

Whole-note triplet

Half note

Sixteenth note

Eighth-note triplet

Dotted sixteenth note

The Prelude’s Chorus effect unit can also be used as a stereo delay unit. These settings allow you to select chorus or delay, and the characteristics of the selected effect type.

Parameter Value Description

Selects either Chorus or Delay.

0 (OFF): Neither Chorus or Delay is used. 1 (CHORUS): Chorus is used. 2 (DELAY): Delay is used. 3 (GM2 CHORUS): GM2 Chorus is used.

Chorus Type

0 (OFF), 1 (CHORUS), 2 (DELAY), 3 (GM2 CHORUS)

01: CHORUS

Type of filter

OFF: no filter is used

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms

Rate Depth 0–127 Depth of modulation

Phase 0–180˚ Spatial spread of the sound Feedback 0–127

0.05–10.00 Hz, note

LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq

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

Frequency of modulation

Adjusts the amount of the chorus sound that is fed back into the effect.

02: DELAY

Delay Left Delay Right Delay Center

Center Feedback

HF Damp

Left Level

Center Level

0–1000 ms, note

-98–+98%

200–8000 Hz, BYPASS

0–127 Volume of each delay soundRight Level

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

Adjusts the proportion of the delay sound that is fed back into the 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.

03: GM2 CHORUS

Cuts the high frequency range of the

Pre-LPF 0–7

Level 0–127 Volume of the chorus sound Feedback 0–127

Delay 0–127 Rate 0–127 Frequency of modulation

Depth 0–127 Depth of modulation Send Level To

Reverb

0–127

sound coming into the chorus.

Higher values will cut more of the high frequencies.

Adjusts the amount of the chorus sound that is fed back into the effect.

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

Adjusts the amount of chorus sound that will be sent to the reverb.

note:

fig.MFX-note2.e

Reverb Parameters

These settings allow you to select the desired type of reverb, and its characteristics.

Parameter

Reverb Type

Value Description

Type of reverb

0 (OFF): Reverb is not used.

0 (OFF), 1 (REVERB), 2 (SRV ROOM), 3 (SRV HALL), 4 (SRV PLATE), 5 (GM2 REVERB)

1 (REVERB): Normal reverb 2 (SRV ROOM): This simulates typical room acoustic reflections. 3 (SRV HALL): This simulates typical concert hall acoustic reflections. 4 (SRV PLATE): This simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. 5 (GM2 REVERB): GM2 Reverb

01: REVERB

Type of reverb/delay

ROOM1: short reverb with high density

ROOM1, ROOM2,

Type

Time 0–127

HF Damp

Delay Feedback

STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY

200–8000 Hz, BYPASS

0–127

ROOM2: short reverb with low density STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: very clear-sounding reverb HALL2: rich reverb DELAY: conventional delay effect PAN-DELAY: delay effect with echoes that pan left and right

Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY)

Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY. Amount of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY)

02: SRV ROOM 03: SRV HALL 04: SRV PLATE

Pre Delay

Time 0–127 Time length of reverberation Size 1–8 Size of the simulated room or hall

High Cut

Density 0–127 Density of reverb

Diffusion 0–127

LF Damp Freq

LF Damp Gain

HF Damp Freq

HF Damp Gain

0.0–100.0 ms

160 Hz–12.5 kHz, BYPASS

50–4000 Hz

-36–0 dB

4000 Hz–12.5 kHz

-36–0 dB

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

Adjusts the frequency above which the highfrequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.

Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.)

Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.

Adjusts the frequency above which the highfrequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.

Parameter

Value Description

05: GM2 REVERB

Character 0–7

Pre-LPF 0–7

Level 0–127 Output level of reverberation Time 0–127 Time length of reverberation

Delay Feedback

0–127

Type of reverb

0–5: reverb 6, 7: delay

Cuts the high frequency range of the sound coming into the reverb.

Higher values will cut more of the high frequencies.

Adjusts the amount of the delay sound that is fed back into the effect when the Reverb Character setting is 6 or 7.

Tone List

*Nos. 897–1152 (Tones) and Nos. 1185–1193 (Rhythms) are GM2 sounds.

No. Name Category MSB LSB PC

1 Rich Grand AC.PIANO 87 64 1 2 88ConcertPno AC.PIANO 87 64 2 3 UltimatGrand AC.PIANO 87 64 3 4 X Pure Grand AC.PIANO 87 64 4 5 So true... AC.PIANO 87 64 5 6 ConcertPiano AC.PIANO 87 64 6 7 Warm Piano AC.PIANO 87 64 7 8 ConcertGrand AC.PIANO 87 64 8

9 Hall Concert AC.PIANO 87 64 9 10 Bright Tune AC.PIANO 87 64 10 11 Mellow Tune AC.PIANO 87 64 11 12 Studio Grand AC.PIANO 87 64 12 13 DryStudio88 AC.PIANO 87 64 13 14 First Choice AC.PIANO 87 64 14 15 Rokkin' pF AC.PIANO 87 64 15 16 Dark Grand AC.PIANO 87 64 16 17 SC Grand+Pad AC.PIANO 87 64 17 18 Warm Pad Pno AC.PIANO 87 64 18 19 SC Grand+Vox AC.PIANO 87 64 19 20 Cicada Piano AC.PIANO 87 64 20 21 X Piano +Str AC.PIANO 87 64 21 22 Warm Str Pno AC.PIANO 87 64 22 23 Grand Hall AC.PIANO 87 64 23 24 Rapsody AC.PIANO 87 64 24 25 JD-800 Piano AC.PIANO 87 64 25 26 SA Dance Pno AC.PIANO 87 64 26 27 SC E-Grand AC.PIANO 87 64 27 28 Back E-Grand AC.PIANO 87 64 28 29 SC Grand+FM AC.PIANO 87 64 29 30 SC Blend Pno AC.PIANO 87 64 30 31 Piano Oz AC.PIANO 87 64 31 32 FX Piano AC.PIANO 87 64 32 33 AmbientPiano AC.PIANO 87 64 33 34 SC Pure EP EL.PIANO 87 64 34 35 SC Trem EP EL.PIANO 87 64 35 36 SC Phase EP EL.PIANO 87 64 36 37 PhaseEPLayer EL.PIANO 87 64 37 38 SC E.Piano EL.PIANO 87 64 38 39 StageEP Trem EL.PIANO 87 64 39 40 Back2the60s EL.PIANO 87 64 40 41 Stage EP EL.PIANO 87 64 41 42 Stage Phazer EL.PIANO 87 64 42 43 StageCabinet EL.PIANO 87 64 43 44 Tine EP EL.PIANO 87 64 44 45 LEO EP EL.PIANO 87 64 45 46 LonesomeRoad EL.PIANO 87 64 46 47 Age'n'Tines EL.PIANO 87 64 47 48 Brill TremEP EL.PIANO 87 64 48 49 Crystal EP EL.PIANO 87 64 49 50 Vintage Tine EL.PIANO 87 64 50 51 Celestial EP EL.PIANO 87 64 51 52 Psycho EP EL.PIANO 87 64 52 53 Mk2 Stg phsr EL.PIANO 87 64 53 54 Dreaming EP EL.PIANO 87 64 54 55 Balladeer EL.PIANO 87 64 55 56 Remember EL.PIANO 87 64 56 57 Vibe EP EL.PIANO 87 64 57 58 sin(EP) EL.PIANO 87 64 58 59 SC Pure Wuly EL.PIANO 87 64 59 60 SC Trem Wuly EL.PIANO 87 64 60 61 Super Wurly EL.PIANO 87 64 61 62 Wurly Trem EL.PIANO 87 64 62 63 VelSpdWurly EL.PIANO 87 64 63 64 Fonky Fonky EL.PIANO 87 64 64 65 FM EP mix EL.PIANO 87 64 65 66 FM-777 EL.PIANO 87 64 66 67 FM EPad EL.PIANO 87 64 67 68 EP Stack EL.PIANO 87 64 68 69 EP Belle EL.PIANO 87 64 69 70 80s EP EL.PIANO 87 64 70 71 SA EPiano EL.PIANO 87 64 71 72 BrillClav DB KEYBOARDS 87 64 72 73 Cell Clav KEYBOARDS 87 64 73 74 VntgClav KEYBOARDS 87 64 74 75 Cutter Clavi KEYBOARDS 87 64 75

No. Name Category MSB LSB PC

76 Funky D KEYBOARDS 87 64 76 77 Phase Clavi KEYBOARDS 87 64 77 78 BPF Clavi Ph KEYBOARDS 87 64 78 79 Pulse Clavi KEYBOARDS 87 64 79 80 PWM Clav KEYBOARDS 87 64 80 81 Funky Line KEYBOARDS 87 64 81 82 Biting Clav KEYBOARDS 87 64 82 83 Analog Clavi KEYBOARDS 87 64 83 84 Reso Clavi KEYBOARDS 87 64 84 85 Snappy Clav KEYBOARDS 87 64 85 86 Over-D6 KEYBOARDS 87 64 86 87 Harpsy Clavi KEYBOARDS 87 64 87 88 SC Harpsi KEYBOARDS 87 64 88 89 Amadeus KEYBOARDS 87 64 89 90 SC Celesta KEYBOARDS 87 64 90 91 Himalaya Ice BELL 87 64 91 92 FM Syn Bell BELL 87 64 92 93 D-50 Fantsia BELL 87 64 93 94 Wine Glass BELL 87 64 94 95 MuBox Pad BELL 87 64 95 96 SC Bell 1 BELL 87 64 96 97 FM Heaven BELL 87 64 97 98 SC Glocken BELL 87 64 98

99 Music Bells BELL 87 64 99 100 SC Musicbox BELL 87 64 100 101 Music Box 2 BELL 87 64 101 102 Kalimbells BELL 87 64 102 103 Step Ice BELL 87 64 103 104 SC Bell 2 BELL 87 64 104 105 Candy Bell BELL 87 64 105 106 SC Chime BELL 87 64 106 107 Bell Ring BELL 87 64 107 108 Tubular Bell BELL 87 64 108 109 5th Key BELL 87 64 109 110 Bell Monitor BELL 87 64 110 111 TubyRuesday BELL 87 64 111 112 Vibrations MALLET 87 64 112 113 SC Vibe MALLET 87 64 113 114 Ringy Vibes MALLET 87 64 114 115 Airie Vibez MALLET 87 64 115 116 SC Marimba MALLET 87 64 116 117 FM Wood MALLET 87 64 117 118 SC Xylo MALLET 87 64 118 119 Ethno Keys MALLET 87 64 119 120 Synergy MLT MALLET 87 64 120 121 Icy Keys MALLET 87 64 121 122 Steel Drums MALLET 87 64 122 123 50`SteelDrms MALLET 87 64 123 124 Xylosizer MALLET 87 64 124 125 Toy Box MALLET 87 64 125 126 AirPluck MALLET 87 64 126 127 HardRockORG1 ORGAN 87 64 127 128 HardRockORG2 ORGAN 87 64 128 129 SuperDistORG ORGAN 87 65 1 130 SuperDistLd2 ORGAN 87 65 2 131 FullDraw Org ORGAN 87 65 3 132 StakDraw Org ORGAN 87 65 4 133 FullStop Org ORGAN 87 65 5 134 SC Perc Org ORGAN 87 65 6 135 VKHold4Speed ORGAN 87 65 7 136 X Perc Organ ORGAN 87 65 8 137 Rocky Organ ORGAN 87 65 9 138 Euro Organ ORGAN 87 65 10 139 Rhythm'n'B ORGAN 87 65 11 140 Phono Organ ORGAN 87 65 12 141 LoFi PercOrg ORGAN 87 65 13 142 Rochno Org ORGAN 87 65 14 143 R&B Organ 1 ORGAN 87 65 15 144 R&B Organ 2 ORGAN 87 65 16 145 SC Dist Bee ORGAN 87 65 17 146 60's Org 1 ORGAN 87 65 18 147 60's Org 2 ORGAN 87 65 19 148 Smoky Organ ORGAN 87 65 20 149 SC SoapOpera ORGAN 87 65 21 150 Crummy Organ ORGAN 87 65 22

No. Name Category MSB LSB PC

151 Chapel Organ ORGAN 87 65 23 152 Grand Pipe ORGAN 87 65 24 153 Pipe Org/Mod ORGAN 87 65 25 154 Masked Opera ORGAN 87 65 26 155 Mid Pipe Org ORGAN 87 65 27 156 Vodkakordion ACCRDION 87 65 28 157 Squeeze Me! ACCRDION 87 65 29 158 Guinguette ACCRDION 87 65 30 159 HarWonderca HARMONICA 87 65 31 160 BluesHrp V/S HARMONICA 87 65 32 161 Green Bullet HARMONICA 87 65 33 162 SC Brt Nylon AC.GUITAR 87 65 34 163 SoftNyln Gtr AC.GUITAR 87 65 35 164 SC Nylon Gt AC.GUITAR 87 65 36 165 Wet Nyln Gtr AC.GUITAR 87 65 37 166 Pre Mass Hum AC.GUITAR 87 65 38 167 Thick Steel AC.GUITAR 87 65 39 168 Uncle Martin AC.GUITAR 87 65 40 169 Wide Ac Gtr AC.GUITAR 87 65 41 170 Comp Stl Gtr AC.GUITAR 87 65 42 171 Stl Gtr Duo AC.GUITAR 87 65 43 172 SC 12str Gtr AC.GUITAR 87 65 44 173 So good ! AC.GUITAR 87 65 45 174 StratSeq'nce EL.GUITAR 87 65 46 175 Jazz Guitar EL.GUITAR 87 65 47 176 DynoJazz Gtr EL.GUITAR 87 65 48 177 Clean Gtr EL.GUITAR 87 65 49 178 Crimson Gtr EL.GUITAR 87 65 50 179 Plug n' Gig EL.GUITAR 87 65 51 180 Kinda Kurt EL.GUITAR 87 65 52 181 Nice Oct Gtr EL.GUITAR 87 65 53 182 Strat Gtr EL.GUITAR 87 65 54 183 Touch Drive DIST.GUITAR 87 65 55 184 SC Chunk DIST.GUITAR 87 65 56 185 Trem-o-Vibe DIST.GUITAR 87 65 57 186 LP Dist DIST.GUITAR 87 65 58 187 Hurtling Gtr DIST.GUITAR 87 65 59 188 Searing COSM DIST.GUITAR 87 65 60 189 SC Loud Gtr DIST.GUITAR 87 65 61 190 SC Plugged!! DIST.GUITAR 87 65 62 191 Punker 1 DIST.GUITAR 87 65 63 192 SC PowerChd DIST.GUITAR 87 65 64 193 Punker 2 DIST.GUITAR 87 65 65 194 Larsen /Aft DIST.GUITAR 87 65 66 195 Rockin' Dly DIST.GUITAR 87 65 67 196 Sonic Ac Bs BASS 87 65 68 197 Ulti Ac Bass BASS 87 65 69 198 Downright Bs BASS 87 65 70 199 Cmp'd Fng Bs BASS 87 65 71 200 Sonic Fng Bs BASS 87 65 72 201 Ultimo Bass BASS 87 65 73 202 Roomy Bass BASS 87 65 74 203 FingerMaster BASS 87 65 75 204 All Round Bs BASS 87 65 76 205 R&B Bs/Slide BASS 87 65 77 206 Sonic Pck Bs BASS 87 65 78 207 Thumb Up! BASS 87 65 79 208 Tubby Mute BASS 87 65 80 209 Chicken Bass BASS 87 65 81 210 Snug Bass BASS 87 65 82 211 Return2Base! BASS 87 65 83 212 Chorus Bass BASS 87 65 84 213 A Big Pick BASS 87 65 85 214 Basement BASS 87 65 86 215 SC Fretnot 1 BASS 87 65 87 216 SC Fretnot 2 BASS 87 65 88 217 RichFretless BASS 87 65 89 218 NewAge Frtls BASS 87 65 90 219 SlapBass1 BASS 87 65 91 220 Slap2 w/Fx BASS 87 65 92 221 Got Pop? BASS 87 65 93 222 JBass v/Thmb BASS 87 65 94 223 SC Slap Bass BASS 87 65 95 224 X Slap Bass BASS 87 65 96 225 Low Bass SYNTH BASS 87 65 97 226 Mini Like! SYNTH BASS 87 65 98 227 MC-404 Bass SYNTH BASS 87 65 99

No. Name Category MSB LSB PC

228 SC Rubber Bs SYNTH BASS 87 65 100 229 SH-101 Bs 1 SYNTH BASS 87 65 101 230 SC Syn Bass1 SYNTH BASS 87 65 102 231 Juno-106 Bs SYNTH BASS 87 65 103 232 Smooth Bass SYNTH BASS 87 65 104 233 SC Flat Bs SYNTH BASS 87 65 105 234 Foundation SYNTH BASS 87 65 106 235 Punch MG 2 SYNTH BASS 87 65 107 236 Electro Rubb SYNTH BASS 87 65 108 237 R&B Bass 1 SYNTH BASS 87 65 109 238 Enorjizor SYNTH BASS 87 65 110 239 LowFat Bass SYNTH BASS 87 65 111 240 Doze Bass SYNTH BASS 87 65 112 241 DCO Bass SYNTH BASS 87 65 113 242 Virtual RnBs SYNTH BASS 87 65 114 243 Saw&MG Bass SYNTH BASS 87 65 115 244 MG+SubOsc Bs SYNTH BASS 87 65 116 245 R&B Bass 2 SYNTH BASS 87 65 117 246 R&B Bass 3 SYNTH BASS 87 65 118 247 Not a Bass SYNTH BASS 87 65 119 248 ResoSyn Bs 1 SYNTH BASS 87 65 120 249 SH-1 Bass SYNTH BASS 87 65 121 250 SH-101 Bs 2 SYNTH BASS 87 65 122 251 Punch MG 1 SYNTH BASS 87 65 123 252 MKS-50 SynBs SYNTH BASS 87 65 124 253 Gashed Bass SYNTH BASS 87 65 125 254 Q Bass SYNTH BASS 87 65 126 255 Super-G DX SYNTH BASS 87 65 127 256 Kickin' Bass SYNTH BASS 87 65 128 257 OilDrum Bass SYNTH BASS 87 66 1 258 Dust Bass SYNTH BASS 87 66 2 259 Glide-iator SYNTH BASS 87 66 3 260 SC AcidPunch SYNTH BASS 87 66 4 261 TBasic SYNTH BASS 87 66 5 262 SC Unison Bs SYNTH BASS 87 66 6 263 Detune Bass SYNTH BASS 87 66 7 264 Lo Bass SYNTH BASS 87 66 8 265 SC GarageBs1 SYNTH BASS 87 66 9 266 SC GarageBs2 SYNTH BASS 87 66 10 267 Sub Sonic SYNTH BASS 87 66 11 268 SC Jungle Bs SYNTH BASS 87 66 12 269 R&B Bass 4 SYNTH BASS 87 66 13 270 Simply Basic SYNTH BASS 87 66 14 271 Beepin Bass SYNTH BASS 87 66 15 272 MC-TB Bass SYNTH BASS 87 66 16 273 Acdg Bass SYNTH BASS 87 66 17 274 Loco Voco SYNTH BASS 87 66 18 275 Unplug it! SYNTH BASS 87 66 19 276 S&H Bass SYNTH BASS 87 66 20 277 Destroyed Bs SYNTH BASS 87 66 21 278 SC Acid Bs SYNTH BASS 87 66 22 279 Lo-Fi TB SYNTH BASS 87 66 23 280 Drop Bass SYNTH BASS 87 66 24 281 Big Mini SYNTH BASS 87 66 25 282 Muffled MG SYNTH BASS 87 66 26 283 Intrusive Bs SYNTH BASS 87 66 27 284 Alpha SynBs SYNTH BASS 87 66 28 285 TransistorBs SYNTH BASS 87 66 29 286 Juno-60 Bass SYNTH BASS 87 66 30 287 Storm Bass SYNTH BASS 87 66 31 288 Alpha ResoBs SYNTH BASS 87 66 32 289 SH-101 Vibe SYNTH BASS 87 66 33 290 Fazee Bass SYNTH BASS 87 66 34 291 Hi-Energy Bs SYNTH BASS 87 66 35 292 SC Violin STRINGS 87 66 36 293 Violin STRINGS 87 66 37 294 Viola STRINGS 87 66 38 295 SC Cello STRINGS 87 66 39 296 Cello STRINGS 87 66 40 297 Contrabass STRINGS 87 66 41 298 Dolce Qrt STRINGS 87 66 42 299 Chamber Str STRINGS 87 66 43 300 Small Str STRINGS 87 66 44 301 Marcato STRINGS 87 66 45 302 Bright Str STRINGS 87 66 46 303 String Ens STRINGS 87 66 47 304 SonicStrings STRINGS 87 66 48

No. Name Category MSB LSB PC

305 Stringz 101 STRINGS 87 66 49 306 Crossed Bows STRINGS 87 66 50 307 Warm Strings STRINGS 87 66 51 308 Stacc mp Str STRINGS 87 66 52 309 Movie Scene STRINGS 87 66 53 310 Hybrid Str 1 STRINGS 87 66 54 311 Gang Strangs STRINGS 87 66 55 312 Clustered!?! STRINGS 87 66 56 313 Full Strings STRINGS 87 66 57 314 X StrSection STRINGS 87 66 58 315 Oct Strings STRINGS 87 66 59 316 Sahara Str STRINGS 87 66 60 317 Random Mood STRINGS 87 66 61 318 X Hall Str STRINGS 87 66 62 319 SC Slow Str STRINGS 87 66 63 320 Hybrid Str 2 STRINGS 87 66 64 321 Biggie Bows STRINGS 87 66 65 322 Staccato VS STRINGS 87 66 66 323 So Staccato STRINGS 87 66 67 324 DelicatePizz STRINGS 87 66 68 325 Vls PizzHall STRINGS 87 66 69 326 Orch Pizz STRINGS 87 66 70 327 Pizz'Stac VS STRINGS 87 66 71 328 Mellow Tron STRINGS 87 66 72 329 Tronic Str STRINGS 87 66 73 330 Tape Memory STRINGS 87 66 74 331 Wind & Str 1 ORCHESTRA 87 66 75 332 Wind & Str 2 ORCHESTRA 87 66 76 333 Farewell ORCHESTRA 87 66 77 334 Orch & Horns ORCHESTRA 87 66 78 335 Soft Orch 1 ORCHESTRA 87 66 79 336 Soft Orch 2 ORCHESTRA 87 66 80 337 Henry IX ORCHESTRA 87 66 81 338 Ending Scene ORCHESTRA 87 66 82 339 Symphonika ORCHESTRA 87 66 83 340 Mix Hit 2 HIT&STAB 87 66 84 341 Cheezy Movie HIT&STAB 87 66 85 342 Philly Hit HIT&STAB 87 66 86 343 Smear Hit 1 HIT&STAB 87 66 87 344 Smear Hit 2 HIT&STAB 87 66 88 345 Good Old Hit HIT&STAB 87 66 89 346 Mix Hit 1 HIT&STAB 87 66 90 347 Lo-Fi Hit HIT&STAB 87 66 91 348 2ble Action HIT&STAB 87 66 92 349 In da Cave HIT&STAB 87 66 93 350 Housechord HIT&STAB 87 66 94 351 Mod Chord HIT&STAB 87 66 95 352 Dance Steam HIT&STAB 87 66 96 353 Good Old Day WIND 87 66 97 354 SC WindWood WIND 87 66 98 355 Clarence.net WIND 87 66 99 356 SC Oboe WIND 87 66 100 357 Hall Oboe WIND 87 66 101 358 English Horn WIND 87 66 102 359 Bassoon WIND 87 66 103 360 SC Flute FLUTE 87 66 104 361 Piccolo FLUTE 87 66 105 362 Andes Mood FLUTE 87 66 106 363 HimalayaPipe FLUTE 87 66 107 364 Solo Tp AC.BRASS 87 66 108 365 Horn Chops AC.BRASS 87 66 109 366 Flugel Horn AC.BRASS 87 66 110 367 Spit Flugel AC.BRASS 87 66 111 368 Mute Tp /Mod AC.BRASS 87 66 112 369 Harmon Mute AC.BRASS 87 66 113 370 Soft Tb AC.BRASS 87 66 114 371 Solo Tb AC.BRASS 87 66 115 372 Solo Bone AC.BRASS 87 66 116 373 XP Horn AC.BRASS 87 66 117 374 Grande Tuba AC.BRASS 87 66 118 375 SC Tuba AC.BRASS 87 66 119 376 StackTp Sect AC.BRASS 87 66 120 377 Tb Section AC.BRASS 87 66 121 378 TpTb Sect. AC.BRASS 87 66 122 379 SC Brt Brass AC.BRASS 87 66 123 380 SC BrsSect 1 AC.BRASS 87 66 124 381 SC BrsSect 2 AC.BRASS 87 66 125

No. Name Category MSB LSB PC

382 Tpts & Tmbs AC.BRASS 87 66 126 383 Brass & Sax AC.BRASS 87 66 127 384 BrassPartOut AC.BRASS 87 66 128 385 Simple Tutti AC.BRASS 87 67 1 386 F.Horns Sect AC.BRASS 87 67 2 387 Full sForza AC.BRASS 87 67 3 388 Stereo Brass AC.BRASS 87 67 4 389 Wide SynBrss SYNTH BRASS 87 67 5 390 DetuneSawBrs SYNTH BRASS 87 67 6 391 J-Pop Brass SYNTH BRASS 87 67 7 392 80s Brass 1 SYNTH BRASS 87 67 8 393 80s Brass 2 SYNTH BRASS 87 67 9 394 Ana Brass SYNTH BRASS 87 67 10 395 Soft Brass SYNTH BRASS 87 67 11 396 JP8000 Brass SYNTH BRASS 87 67 12 397 Sonic Brass SYNTH BRASS 87 67 13 398 Syn Brass SYNTH BRASS 87 67 14 399 Syn Brass 2 SYNTH BRASS 87 67 15 400 Xpand Brass SYNTH BRASS 87 67 16 401 Xpand Brass2 SYNTH BRASS 87 67 17 402 Super Saw SYNTH BRASS 87 67 18 403 SoftSynBrass SYNTH BRASS 87 67 19 404 Silky JP SYNTH BRASS 87 67 20 405 Silk Brs Pad SYNTH BRASS 87 67 21 406 80s Brass 3 SYNTH BRASS 87 67 22 407 X-Saw Brass1 SYNTH BRASS 87 67 23 408 Cheesy Brass SYNTH BRASS 87 67 24 409 Dual Saw Brs SYNTH BRASS 87 67 25 410 Juno-106 Brs SYNTH BRASS 87 67 26 411 Poly Brass SYNTH BRASS 87 67 27 412 Stacked Brs SYNTH BRASS 87 67 28 413 Soprano Sax SAX 87 67 29 414 Solo Sop Sax SAX 87 67 30 415 Alto mp SAX 87 67 31 416 Alto Sax SAX 87 67 32 417 Solo AltoSax SAX 87 67 33 418 AltoLead Sax SAX 87 67 34 419 XP TnrBrethy SAX 87 67 35 420 Tenor Sax SAX 87 67 36 421 Fat TenorSax SAX 87 67 37 422 Baritone Sax SAX 87 67 38 423 Sax Sect. 1 SAX 87 67 39 424 Sax Sect. 2 SAX 87 67 40 425 Horny Sax SAX 87 67 41 426 FXM Alto Sax SAX 87 67 42 427 Porta SoloLd HARD LEAD 87 67 43 428 Porta Lead HARD LEAD 87 67 44 429 Wind Syn Ld HARD LEAD 87 67 45 430 SC Saw Ld 1 HARD LEAD 87 67 46 431 SC Saw Ld 2 HARD LEAD 87 67 47 432 Juno Lead HARD LEAD 87 67 48 433 Follow Me HARD LEAD 87 67 49 434 DC Triangle HARD LEAD 87 67 50 435 Sqr-Seqence HARD LEAD 87 67 51 436 Pure Square HARD LEAD 87 67 52 437 Griggley HARD LEAD 87 67 53 438 SC LegatoSaw HARD LEAD 87 67 54 439 Lone Prophat HARD LEAD 87 67 55 440 Dual Profs HARD LEAD 87 67 56 441 Gwyo Press HARD LEAD 87 67 57 442 Q DualSaws HARD LEAD 87 67 58 443 Mogulator Ld HARD LEAD 87 67 59 444 DirtyVoltage HARD LEAD 87 67 60 445 Clean? HARD LEAD 87 67 61 446 Distortion HARD LEAD 87 67 62 447 SC Syn Ld HARD LEAD 87 67 63 448 SynLead 0322 HARD LEAD 87 67 64 449 X-Sink Delay HARD LEAD 87 67 65 450 Destroyed Ld HARD LEAD 87 67 66 451 Synchro Lead HARD LEAD 87 67 67 452 Sync Ld Mono HARD LEAD 87 67 68 453 SyncModulate HARD LEAD 87 67 69 454 Distorted MG HARD LEAD 87 67 70 455 SonicVampire HARD LEAD 87 67 71 456 Blue Meanie HARD LEAD 87 67 72 457 SC Dist Lead HARD LEAD 87 67 73 458 Ringmod Lead HARD LEAD 87 67 74

No. Name Category MSB LSB PC

459 Stimulation HARD LEAD 87 67 75 460 BodyElectric HARD LEAD 87 67 76 461 Classic Lead HARD LEAD 87 67 77 462 Feat Lead HARD LEAD 87 67 78 463 Wire Sync HARD LEAD 87 67 79 464 Epic Lead HARD LEAD 87 67 80 465 Bag Lead HARD LEAD 87 67 81 466 Wezcoast HARD LEAD 87 67 82 467 HyperJupiter HARD LEAD 87 67 83 468 Vintagolizer HARD LEAD 87 67 84 469 C64 Lead HARD LEAD 87 67 85 470 303 NRG HARD LEAD 87 67 86 471 Cell SquLead SOFT LEAD 87 67 87 472 SC Sqr Lead SOFT LEAD 87 67 88 473 SH Sqr Lead SOFT LEAD 87 67 89 474 Round SQR SOFT LEAD 87 67 90 475 Windy Synth SOFT LEAD 87 67 91 476 Sqr Diamond SOFT LEAD 87 67 92 477 Sinetific SOFT LEAD 87 67 93 478 PeakArpSine SOFT LEAD 87 67 94 479 Howards Lead SOFT LEAD 87 67 95 480 SoloNzPeaker SOFT LEAD 87 67 96 481 Juno SftLd SOFT LEAD 87 67 97 482 R&B TriLead SOFT LEAD 87 67 98 483 R&B Tri Ld2 SOFT LEAD 87 67 99 484 Jupiter Lead SOFT LEAD 87 67 100 485 Dig-n-Duke SOFT LEAD 87 67 101 486 SC SoftLead SOFT LEAD 87 67 102 487 Mid Saw Ld SOFT LEAD 87 67 103 488 X-Pulse Lead SOFT LEAD 87 67 104 489 Mild 2-SawLd SOFT LEAD 87 67 105 490 Mew Lead SOFT LEAD 87 67 106 491 Shy Soloist SOFT LEAD 87 67 107 492 Theramax SOFT LEAD 87 67 108 493 Therasqu SOFT LEAD 87 67 109 494 GR Lead SOFT LEAD 87 67 110 495 SH-2 Lead SOFT LEAD 87 67 111 496 SC ResoLead SOFT LEAD 87 67 112 497 Modulated Ld SOFT LEAD 87 67 113 498 Synthi Fizz SOFT LEAD 87 67 114 499 Waspy Lead SOFT LEAD 87 67 115 500 Pulstar Ld SOFT LEAD 87 67 116 501 Naked Lead SOFT LEAD 87 67 117 502 Alpha Spit SOFT LEAD 87 67 118 503 Vliolin Lead SOFT LEAD 87 67 119 504 Mod Lead SOFT LEAD 87 67 120 505 JP Saw Lead SOFT LEAD 87 67 121 506 Tristar SOFT LEAD 87 67 122 507 Chubby Lead SOFT LEAD 87 67 123 508 Sneaky Leady SOFT LEAD 87 67 124 509 Shaku Lead SOFT LEAD 87 67 125 510 Legato Tkno SOFT LEAD 87 67 126 511 SCResoSaw Ld SOFT LEAD 87 67 127 512 SliCed Lead SOFT LEAD 87 67 128 513 Mini Growl SOFT LEAD 87 68 1 514 Evangelized SOFT LEAD 87 68 2 515 Air Lead SOFT LEAD 87 68 3 516 Juno-D Maj7 TECHNO SYNTH 87 68 4 517 Sweet House TECHNO SYNTH 87 68 5 518 Periscope TECHNO SYNTH 87 68 6 519 5th Voice TECHNO SYNTH 87 68 7 520 HPF Sweep TECHNO SYNTH 87 68 8 521 BPF Saw TECHNO SYNTH 87 68 9 522 Moon Synth TECHNO SYNTH 87 68 10 523 DelyResoSaws TECHNO SYNTH 87 68 11 524 R-Trance TECHNO SYNTH 87 68 12 525 Braatz... TECHNO SYNTH 87 68 13 526 AllinOneRiff TECHNO SYNTH 87 68 14 527 YZ Again TECHNO SYNTH 87 68 15 528 Flazzy Lead TECHNO SYNTH 87 68 16 529 Coffee Bee TECHNO SYNTH 87 68 17 530 SC-303 TECHNO SYNTH 87 68 18 531 Dance Saws TECHNO SYNTH 87 68 19 532 AluminmWires TECHNO SYNTH 87 68 20 533 Fred&Barney TECHNO SYNTH 87 68 21 534 Electrostars TECHNO SYNTH 87 68 22 535 LoFiSequence TECHNO SYNTH 87 68 23

No. Name Category MSB LSB PC

536 MelodicDrums TECHNO SYNTH 87 68 24 537 TB Wah TECHNO SYNTH 87 68 25 538 Waving TB303 TECHNO SYNTH 87 68 26 539 Digi Seq TECHNO SYNTH 87 68 27 540 Seq Saw TECHNO SYNTH 87 68 28 541 Reso Seq Saw TECHNO SYNTH 87 68 29 542 DetuneSeqSaw TECHNO SYNTH 87 68 30 543 Technotribe TECHNO SYNTH 87 68 31 544 Teethy Grit TECHNO SYNTH 87 68 32 545 Repertition TECHNO SYNTH 87 68 33 546 Killerbeez TECHNO SYNTH 87 68 34 547 Acid Lead TECHNO SYNTH 87 68 35 548 Tranceformer TECHNO SYNTH 87 68 36 549 Anadroid TECHNO SYNTH 87 68 37 550 Shroomy TECHNO SYNTH 87 68 38 551 Noize R us TECHNO SYNTH 87 68 39 552 Beep Melodie TECHNO SYNTH 87 68 40 553 Morpher TECHNO SYNTH 87 68 41 554 Uni-G TECHNO SYNTH 87 68 42 555 Power Synth TECHNO SYNTH 87 68 43 556 Hoover Again TECHNO SYNTH 87 68 44 557 Alpha Said.. TECHNO SYNTH 87 68 45 558 Ravers Awake TECHNO SYNTH 87 68 46 559 Tekno Gargle TECHNO SYNTH 87 68 47 560 Tranceiver TECHNO SYNTH 87 68 48 561 Techno Dream TECHNO SYNTH 87 68 49 562 Techno Pizz TECHNO SYNTH 87 68 50 563 VirtualHuman PULSATING 87 68 51 564 Strobot PULSATING 87 68 52 565 SC Strobe PULSATING 87 68 53 566 Strobe X PULSATING 87 68 54 567 Rhythmic 5th PULSATING 87 68 55 568 Cell Pad PULSATING 87 68 56 569 DarknessSide PULSATING 87 68 57 570 Shape of X PULSATING 87 68 58 571 Sonic Dance PULSATING 87 68 59 572 ShapeURMusic PULSATING 87 68 60 573 Synth Force PULSATING 87 68 61 574 Trance Split PULSATING 87 68 62 575 Step Trance PULSATING 87 68 63 576 Chop Synth PULSATING 87 68 64 577 Euro Teuro PULSATING 87 68 65 578 Auto Trance PULSATING 87 68 66 579 Eureggae PULSATING 87 68 67 580 Sorry4theDLY PULSATING 87 68 68 581 Beat Pad PULSATING 87 68 69 582 TMT Seq Pad PULSATING 87 68 70 583 ForYourBreak PULSATING 87 68 71 584 HPF Slicer PULSATING 87 68 72 585 Sliced Choir PULSATING 87 68 73 586 Digi-Doo PULSATING 87 68 74 587 PanningFrmnt PULSATING 87 68 75 588 Dirty Beat PULSATING 87 68 76 589 Electrons PULSATING 87 68 77 590 Protons PULSATING 87 68 78 591 Brisk Vortex PULSATING 87 68 79 592 SC Throbulax PULSATING 87 68 80 593 SC Lonizer PULSATING 87 68 81 594 diGital Pad PULSATING 87 68 82 595 StepPitShift PULSATING 87 68 83 596 Pad Pulses PULSATING 87 68 84 597 Seq-Pad 2 PULSATING 87 68 85 598 DSP Chaos PULSATING 87 68 86 599 Dancefloor PULSATING 87 68 87 600 Minor Thirds PULSATING 87 68 88 601 FX World PULSATING 87 68 89 602 Mr. Fourier PULSATING 87 68 90 603 Nu Trance X PULSATING 87 68 91 604 Auto 5thSaws PULSATING 87 68 92 605 Cross Talk PULSATING 87 68 93 606 Reanimation PULSATING 87 68 94 607 VoX Chopper PULSATING 87 68 95 608 Trevor's Pad PULSATING 87 68 96 609 Fantomas Pad PULSATING 87 68 97 610 Jazzy Arps PULSATING 87 68 98 611 Keep Running PULSATING 87 68 99 612 Step In PULSATING 87 68 100

No. Name Category MSB LSB PC

613 Echo Echo PULSATING 87 68 101 614 Keep going PULSATING 87 68 102 615 Arposphere PULSATING 87 68 103 616 Voco Riff PULSATING 87 68 104 617 Pulsator PULSATING 87 68 105 618 Motion Bass PULSATING 87 68 106 619 Sine Magic PULSATING 87 68 107 620 Juno-D Slice PULSATING 87 68 108 621 Pulsatron PULSATING 87 68 109 622 Mega Sync PULSATING 87 68 110 623 Passing by SYNTH FX 87 68 111 624 Lazer Points SYNTH FX 87 68 112 625 Retro Sci-Fi SYNTH FX 87 68 113 626 Magic Chime SYNTH FX 87 68 114 627 SC Try This! SYNTH FX 87 68 115 628 New Planetz SYNTH FX 87 68 116 629 Jet Noise SYNTH FX 87 68 117 630 Chaos 2003 SYNTH FX 87 68 118 631 Control Room SYNTH FX 87 68 119 632 OutOf sortz SYNTH FX 87 68 120 633 Scatter SYNTH FX 87 68 121 634 Low Beat-S SYNTH FX 87 68 122 635 WaitnOutside SYNTH FX 87 68 123 636 Breath Echo SYNTH FX 87 68 124 637 SoundStrange SYNTH FX 87 68 125 638 Cosmic Pulse SYNTH FX 87 68 126 639 Faked Piano SYNTH FX 87 68 127 640 SC Crystal SYNTH FX 87 68 128 641 ResoSweep Dn SYNTH FX 87 69 1 642 Zap B3 & C4 SYNTH FX 87 69 2 643 PolySweep Nz SYNTH FX 87 69 3 644 Strange Land SYNTH FX 87 69 4 645 S&H Voc SYNTH FX 87 69 5 646 12th Planet SYNTH FX 87 69 6 647 Scare SYNTH FX 87 69 7 648 Hillside SYNTH FX 87 69 8 649 Mod Scanner SYNTH FX 87 69 9 650 SoundOnSound SYNTH FX 87 69 10 651 Gasp SYNTH FX 87 69 11 652 ResoSweep Up SYNTH FX 87 69 12 653 Magic Wave SYNTH FX 87 69 13 654 Shangri-La SYNTH FX 87 69 14 655 CerealKiller SYNTH FX 87 69 15 656 Cosmic Drops SYNTH FX 87 69 16 657 Space Echo SYNTH FX 87 69 17 658 Robot Sci-Fi SYNTH FX 87 69 18 659 Stacc Heaven OTHER SYNTH 87 69 19 660 Juno Poly OTHER SYNTH 87 69 20 661 DigitalDream OTHER SYNTH 87 69 21 662 Jucy Saw OTHER SYNTH 87 69 22 663 Cue Tip OTHER SYNTH 87 69 23 664 Waspy Synth OTHER SYNTH 87 69 24 665 TB-Sequence OTHER SYNTH 87 69 25 666 Europe Xpres OTHER SYNTH 87 69 26 667 Squeepy OTHER SYNTH 87 69 27 668 DOC Stack OTHER SYNTH 87 69 28 669 Sweep Lead OTHER SYNTH 87 69 29 670 80s Saws 1 OTHER SYNTH 87 69 30 671 80s Saws 2 OTHER SYNTH 87 69 31 672 80s Saws 3 OTHER SYNTH 87 69 32 673 Digitaless OTHER SYNTH 87 69 33 674 Flip Pad OTHER SYNTH 87 69 34 675 Short Detune OTHER SYNTH 87 69 35 676 forSequence OTHER SYNTH 87 69 36 677 Memory Pluck OTHER SYNTH 87 69 37 678 Metalic Bass OTHER SYNTH 87 69 38 679 Aqua OTHER SYNTH 87 69 39 680 Big Planet OTHER SYNTH 87 69 40 681 Wet Atax OTHER SYNTH 87 69 41 682 Houze Clavi OTHER SYNTH 87 69 42 683 SuperSawSlow OTHER SYNTH 87 69 43 684 Cell Trance OTHER SYNTH 87 69 44 685 Trancy X OTHER SYNTH 87 69 45 686 Trancy Synth OTHER SYNTH 87 69 46 687 Juno Trnce OTHER SYNTH 87 69 47 688 Saw Stack OTHER SYNTH 87 69 48 689 Frgile Saws OTHER SYNTH 87 69 49

No. Name Category MSB LSB PC

690 Steamed Sawz OTHER SYNTH 87 69 50 691 RAVtune OTHER SYNTH 87 69 51 692 Bustranza OTHER SYNTH 87 69 52 693 AftTch Ji-n OTHER SYNTH 87 69 53 694 JP OctAttack OTHER SYNTH 87 69 54 695 Oct Unison OTHER SYNTH 87 69 55 696 Xtatic OTHER SYNTH 87 69 56 697 Dirty Combo OTHER SYNTH 87 69 57 698 FM's Attack OTHER SYNTH 87 69 58 699 Digi-vox Syn OTHER SYNTH 87 69 59 700 Fairy Factor OTHER SYNTH 87 69 60 701 Tempest OTHER SYNTH 87 69 61 702 X-Racer OTHER SYNTH 87 69 62 703 TB Booster OTHER SYNTH 87 69 63 704 Syn-Orch/Mod OTHER SYNTH 87 69 64 705 Pressyn OTHER SYNTH 87 69 65 706 High Five OTHER SYNTH 87 69 66 707 4DaCommonMan OTHER SYNTH 87 69 67 708 Orgaenia OTHER SYNTH 87 69 68 709 Sleeper OTHER SYNTH 87 69 69 710 Sugar Synth OTHER SYNTH 87 69 70 711 Ice Palace OTHER SYNTH 87 69 71 712 Story Harp OTHER SYNTH 87 69 72 713 LostParadise OTHER SYNTH 87 69 73 714 Magnetic 5th OTHER SYNTH 87 69 74 715 DigimaX OTHER SYNTH 87 69 75 716 Exhale OTHER SYNTH 87 69 76 717 X-panda OTHER SYNTH 87 69 77 718 Saw Keystep OTHER SYNTH 87 69 78 719 4mant Cycle OTHER SYNTH 87 69 79 720 Modular OTHER SYNTH 87 69 80 721 Angel Pipes OTHER SYNTH 87 69 81 722 Wired Synth OTHER SYNTH 87 69 82 723 Analog Dream OTHER SYNTH 87 69 83 724 DCO Bell Pad OTHER SYNTH 87 69 84 725 Cell Fanta OTHER SYNTH 87 69 85 726 Juno 5th OTHER SYNTH 87 69 86 727 DoubleBubble OTHER SYNTH 87 69 87 728 Cell Comb BRIGHT PAD 87 69 88 729 Super SynStr BRIGHT PAD 87 69 89 730 80s Str BRIGHT PAD 87 69 90 731 PhaseStrings BRIGHT PAD 87 69 91 732 Voyager BRIGHT PAD 87 69 92 733 Cosmic Rays BRIGHT PAD 87 69 93 734 Stringship BRIGHT PAD 87 69 94 735 Fat Stacks BRIGHT PAD 87 69 95 736 Strings R Us BRIGHT PAD 87 69 96 737 Electric Pad BRIGHT PAD 87 69 97 738 Neo RS-202 BRIGHT PAD 87 69 98 739 OB Rezo Pad BRIGHT PAD 87 69 99 740 Synthi Ens BRIGHT PAD 87 69 100 741 Giant Sweep BRIGHT PAD 87 69 101 742 Mod Dare BRIGHT PAD 87 69 102 743 Cell Space BRIGHT PAD 87 69 103 744 Digi-Swell BRIGHT PAD 87 69 104 745 Sonic Surfer BRIGHT PAD 87 69 105 746 New Year Day BRIGHT PAD 87 69 106 747 Polar Morn BRIGHT PAD 87 69 107 748 Distant Sun BRIGHT PAD 87 69 108 749 PG Chimes BRIGHT PAD 87 69 109 750 Saturn Rings BRIGHT PAD 87 69 110 751 Brusky BRIGHT PAD 87 69 111 752 2 Point 2 BRIGHT PAD 87 69 112 753 2.2 Pad BRIGHT PAD 87 69 113 754 two.two Pad BRIGHT PAD 87 69 114 755 SaturnHolida BRIGHT PAD 87 69 115 756 Neuro-Drone BRIGHT PAD 87 69 116 757 In The Pass BRIGHT PAD 87 69 117 758 Polar Night BRIGHT PAD 87 69 118 759 Cell 5th BRIGHT PAD 87 69 119 760 MistOver5ths BRIGHT PAD 87 69 120 761 Gritty Pad BRIGHT PAD 87 69 121 762 India Garden BRIGHT PAD 87 69 122 763 BillionStars BRIGHT PAD 87 69 123 764 Sand Pad BRIGHT PAD 87 69 124 765 ReverseSweep BRIGHT PAD 87 69 125 766 HugeSoundMod BRIGHT PAD 87 69 126

No. Name Category MSB LSB PC

767 Metal Swell BRIGHT PAD 87 69 127 768 NuSoundtrack BRIGHT PAD 87 69 128 769 Phat Strings BRIGHT PAD 87 70 1 770 Soft OB Pad SOFT PAD 87 70 2 771 SC Hollow SOFT PAD 87 70 3 772 SC Sqr Pad SOFT PAD 87 70 4 773 Silk Pad SOFT PAD 87 70 5 774 WarmReso Pad SOFT PAD 87 70 6 775 SC Soft Pad SOFT PAD 87 70 7 776 Air Pad SOFT PAD 87 70 8 777 Soft Breeze SOFT PAD 87 70 9 778 JP Strings 1 SOFT PAD 87 70 10 779 JP Strings 2 SOFT PAD 87 70 11 780 DelayStrings SOFT PAD 87 70 12 781 NorthStrings SOFT PAD 87 70 13 782 SC Syn Str SOFT PAD 87 70 14 783 Slow Saw Str SOFT PAD 87 70 15 784 Syn Strings SOFT PAD 87 70 16 785 OB Slow Str SOFT PAD 87 70 17 786 Strings Pad SOFT PAD 87 70 18 787 R&B SoftPad SOFT PAD 87 70 19 788 Reso Pad SOFT PAD 87 70 20 789 Phat Pad SOFT PAD 87 70 21 790 SC PhaserPad SOFT PAD 87 70 22 791 Mystic Str SOFT PAD 87 70 23 792 Glass Organ SOFT PAD 87 70 24 793 Wind Pad SOFT PAD 87 70 25 794 Combination SOFT PAD 87 70 26 795 HumanKindnes SOFT PAD 87 70 27 796 BeautyPad SOFT PAD 87 70 28 797 Atmospherics SOFT PAD 87 70 29 798 Terra Nostra SOFT PAD 87 70 30 799 OB Aaahs SOFT PAD 87 70 31 800 Vulcano Pad SOFT PAD 87 70 32 801 Cloud #9 SOFT PAD 87 70 33 802 Organic Pad SOFT PAD 87 70 34 803 Hum Pad SOFT PAD 87 70 35 804 Vox Pad SOFT PAD 87 70 36 805 Digital Aahs SOFT PAD 87 70 37 806 Tri 5th Pad SOFT PAD 87 70 38 807 SC MovinPad SOFT PAD 87 70 39 808 Seq-Pad 1 SOFT PAD 87 70 40 809 Follow SOFT PAD 87 70 41 810 Consolament SOFT PAD 87 70 42 811 Spacious Pad SOFT PAD 87 70 43 812 JD Pop Pad SOFT PAD 87 70 44 813 JP-8 Phase SOFT PAD 87 70 45 814 Nu Epic Pad SOFT PAD 87 70 46 815 Forever SOFT PAD 87 70 47 816 Flange Dream SOFT PAD 87 70 48 817 Evolution X SOFT PAD 87 70 49 818 Heaven Pad SOFT PAD 87 70 50 819 Angelis Pad SOFT PAD 87 70 51 820 Juno-106 Str SOFT PAD 87 70 52 821 JupiterMoves SOFT PAD 87 70 53 822 Oceanic Pad SOFT PAD 87 70 54 823 Fairy's Song SOFT PAD 87 70 55 824 Borealis SOFT PAD 87 70 56 825 JX Warm Pad SOFT PAD 87 70 57 826 Analog Bgrnd SOFT PAD 87 70 58 827 Choir Aahs 1 VOX 87 70 59 828 Choir Aahs 2 VOX 87 70 60 829 ChoirOoh/Aft VOX 87 70 61 830 Angels Choir VOX 87 70 62 831 Angelique VOX 87 70 63 832 Gospel Oohs VOX 87 70 64 833 Choir&Str VOX 87 70 65 834 Aah Vox VOX 87 70 66 835 Synvox VOX 87 70 67 836 Uhmmm VOX 87 70 68 837 Morning Star VOX 87 70 69 838 Syn Opera VOX 87 70 70 839 BeautifulOne VOX 87 70 71 840 Ooze VOX 87 70 72 841 Aerial Choir VOX 87 70 73 842 3D Vox VOX 87 70 74 843 Film Cue VOX 87 70 75

No. Name Category MSB LSB PC

844 Paradise VOX 87 70 76 845 Sad ceremony VOX 87 70 77 846 Lost Voices VOX 87 70 78 847 Jazz Doos VOX 87 70 79 848 Beat Vox VOX 87 70 80 849 Talk 2 Me VOX 87 70 81 850 FM Vox VOX 87 70 82 851 Let's Talk! VOX 87 70 83 852 Nice Kalimba PLUCKED 87 70 84 853 Quiet River PLUCKED 87 70 85 854 Teky Drop PLUCKED 87 70 86 855 Pat is away PLUCKED 87 70 87 856 SC Sitar 1 PLUCKED 87 70 88 857 SC Sitar 2 PLUCKED 87 70 89 858 Sitar on C PLUCKED 87 70 90 859 Sitar Baby PLUCKED 87 70 91 860 Elec Sitar PLUCKED 87 70 92 861 Neo Sitar PLUCKED 87 70 93 862 SaraswatiRvr PLUCKED 87 70 94 863 Bosporus PLUCKED 87 70 95 864 Santur Stack PLUCKED 87 70 96 865 Aerial Harp PLUCKED 87 70 97 866 Harpiness PLUCKED 87 70 98 867 Skydiver PLUCKED 87 70 99 868 TroubadorEns PLUCKED 87 70 100 869 Jamisen PLUCKED 87 70 101 870 Koto PLUCKED 87 70 102 871 Monsoon PLUCKED 87 70 103 872 Bend Koto PLUCKED 87 70 104 873 LongDistance ETHNIC 87 70 105 874 Ambi Shaku ETHNIC 87 70 106 875 SC Lochscape ETHNIC 87 70 107 876 SC PipeDream ETHNIC 87 70 108 877 SC Far East ETHNIC 87 70 109 878 Banjo FRETTED 87 70 110 879 Timpani+Low PERCUSSION 87 70 111 880 Timpani Roll PERCUSSION 87 70 112 881 Bass Drum PERCUSSION 87 70 113 882 Ambidextrous SOUND FX 87 70 114 883 En-co-re SOUND FX 87 70 115 884 Mobile Phone SOUND FX 87 70 116 885 ElectroDisco BEAT&GROOVE 87 70 117 886 Groove 007 BEAT&GROOVE 87 70 118 887 In Da Groove BEAT&GROOVE 87 70 119 888 Sweet 80s BEAT&GROOVE 87 70 120 889 Autotrance BEAT&GROOVE 87 70 121 890 Juno Pop BEAT&GROOVE 87 70 122 891 Compusonic 1 BEAT&GROOVE 87 70 123 892 Compusonic 2 BEAT&GROOVE 87 70 124 893 80s Combo COMBINATION 87 70 125 894 Analog Days COMBINATION 87 70 126 895 Techno Craft COMBINATION 87 70 127 896 Lounge Kit COMBINATION 87 70 128 897 Piano 1 AC.PIANO 121 0 1 898 Piano 1w AC.PIANO 121 1 899 European Pf AC.PIANO 121 2 900 Piano 2 AC.PIANO 121 0 2 901 Piano 2w AC.PIANO 121 1 902 Piano 3 AC.PIANO 121 0 3 903 Piano 3w AC.PIANO 121 1 904 Honky-tonk AC.PIANO 121 0 4 905 Honky-tonk 2 AC.PIANO 121 4 906 E.Piano 1 EL.PIANO 121 0 5 907 St.Soft EP EL.PIANO 121 1 908 FM+SA EP EL.PIANO 121 2 909 Wurly EL.PIANO 121 3 910 E.Piano 2 EL.PIANO 121 0 6 911 Detuned EP 2 EL.PIANO 121 1 912 St.FM EP EL.PIANO 121 2 913 EP Legend EL.PIANO 121 3 914 EP Phase EL.PIANO 121 4 915 Harpsichord KEYBOARDS 121 0 7 916 Coupled Hps. KEYBOARDS 121 1 917 Harpsi.w KEYBOARDS 121 2 918 Harpsi.o KEYBOARDS 121 3 919 Clav. KEYBOARDS 121 0 8 920 Pulse Clav KEYBOARDS 121 1

No. Name Category MSB LSB PC

921 Celesta KEYBOARDS 121 0 9 922 Glockenspiel BELL 121 0 10 923 Music Box BELL 121 0 11 924 Vibraphone MALLET 121 0 12 925 Vibraphone w MALLET 121 1 926 Marimba MALLET 121 0 13 927 Marimba w MALLET 121 1 928 Xylophone MALLET 121 0 14 929 Tubular-bell BELL 121 0 15 930 Church Bell BELL 121 1 931 Carillon BELL 121 2 932 Santur PLUCKED 121 0 16 933 Organ 1 ORGAN 121 0 17 934 Trem. Organ ORGAN 121 1 935 60's Organ 1 ORGAN 121 2 936 70's E.Organ ORGAN 121 3 937 Organ 2 ORGAN 121 0 18 938 Chorus Or.2 ORGAN 121 1 939 Perc. Organ ORGAN 121 2 940 Organ 3 ORGAN 121 0 19 941 Church Org.1 ORGAN 121 0 20 942 Church Org.2 ORGAN 121 1 943 Church Org.3 ORGAN 121 2 944 Reed Organ ORGAN 121 0 21 945 Puff Organ ORGAN 121 1 946 Accordion Fr ACCRDION 121 0 22 947 Accordion It ACCRDION 121 1 948 Harmonica HARMONICA 121 0 23 949 Bandoneon ACCRDION 121 0 24 950 Nylon-str.Gt AC.GUITAR 121 0 25 951 Ukulele AC.GUITAR 121 1 952 Nylon Gt.o AC.GUITAR 121 2 953 Nylon Gt.2 AC.GUITAR 121 3 954 Steel-str.Gt AC.GUITAR 121 0 26 955 12-str.Gt AC.GUITAR 121 1 956 Mandolin AC.GUITAR 121 2 957 Steel + Body AC.GUITAR 121 3 958 Jazz Gt. EL.GUITAR 121 0 27 959 Pedal Steel EL.GUITAR 121 1 960 Clean Gt. EL.GUITAR 121 0 28 961 Chorus Gt. EL.GUITAR 121 1 962 Mid Tone GTR EL.GUITAR 121 2 963 Muted Gt. EL.GUITAR 121 0 29 964 Funk Pop EL.GUITAR 121 1 965 Funk Gt.2 EL.GUITAR 121 2 966 Jazz Man EL.GUITAR 121 3 967 Overdrive Gt DIST.GUITAR 121 0 30 968 Guitar Pinch DIST.GUITAR 121 1 969 DistortionGt DIST.GUITAR 121 0 31 970 Feedback Gt. DIST.GUITAR 121 1 971 Dist Rtm GTR DIST.GUITAR 121 2 972 Gt.Harmonics EL.GUITAR 121 0 32 973 Gt. Feedback EL.GUITAR 121 1 974 Acoustic Bs. BASS 121 0 33 975 Fingered Bs. BASS 121 0 34 976 Finger Slap BASS 121 1 977 Picked Bass BASS 121 0 35 978 Fretless Bs. BASS 121 0 36 979 Slap Bass 1 BASS 121 0 37 980 Slap Bass 2 BASS 121 0 38 981 Synth Bass 1 SYNTH BASS 121 0 39 982 SynthBass101 SYNTH BASS 121 1 983 Acid Bass SYNTH BASS 121 2 984 Clavi Bass SYNTH BASS 121 3 985 Hammer SYNTH BASS 121 4 986 Synth Bass 2 SYNTH BASS 121 0 40 987 Beef FM Bass SYNTH BASS 121 1 988 RubberBass 2 SYNTH BASS 121 2 989 Attack Pulse SYNTH BASS 121 3 990 Violin STRINGS 121 0 41 991 Slow Violin STRINGS 121 1 992 Viola STRINGS 121 0 42 993 Cello STRINGS 121 0 43 994 Contrabass STRINGS 121 0 44 995 Tremolo Str STRINGS 121 0 45 996 PizzicatoStr STRINGS 121 0 46 997 Harp PLUCKED 121 0 47

No. Name Category MSB LSB PC

998 Yang Qin PLUCKED 121 1 999 Timpani PERCUSSION 121 0 48

1000 Strings STRINGS 121 0 49 1001 Orchestra ORCHESTRA 121 1 1002 60s Strings STRINGS 121 2 1003 Slow Strings STRINGS 121 0 50 1004 Syn.Strings1 STRINGS 121 0 51 1005 Syn.Strings3 STRINGS 121 1 1006 Syn.Strings2 SOFT PAD 121 0 52 1007 Choir Aahs VOX 121 0 53 1008 Chorus Aahs VOX 121 1 1009 Voice Oohs VOX 121 0 54 1010 Humming VOX 121 1 1011 SynVox VOX 121 0 55 1012 Analog Voice VOX 121 1 1013 OrchestraHit HIT&STAB 121 0 56 1014 Bass Hit HIT&STAB 121 1 1015 6th Hit HIT&STAB 121 2 1016 Euro Hit HIT&STAB 121 3 1017 Trumpet AC.BRASS 121 0 57 1018 Dark Trumpet AC.BRASS 121 1 1019 Trombone AC.BRASS 121 0 58 1020 Trombone 2 AC.BRASS 121 1 1021 Bright Tb AC.BRASS 121 2 1022 Tuba AC.BRASS 121 0 59 1023 MutedTrumpet AC.BRASS 121 0 60 1024 MuteTrumpet2 AC.BRASS 121 1 1025 French Horns AC.BRASS 121 0 61 1026 Fr.Horn 2 AC.BRASS 121 1 1027 Brass 1 AC.BRASS 121 0 62 1028 Brass 2 AC.BRASS 121 1 1029 Synth Brass1 SYNTH BRASS 121 0 63 1030 JP Brass SYNTH BRASS 121 1 1031 Oct SynBrass SYNTH BRASS 121 2 1032 Jump Brass SYNTH BRASS 121 3 1033 Synth Brass2 SYNTH BRASS 121 0 64 1034 SynBrass sfz SYNTH BRASS 121 1 1035 Velo Brass 1 SYNTH BRASS 121 2 1036 Soprano Sax SAX 121 0 65 1037 Alto Sax SAX 121 0 66 1038 Tenor Sax SAX 121 0 67 1039 Baritone Sax SAX 121 0 68 1040 Oboe WIND 121 0 69 1041 English Horn WIND 121 0 70 1042 Bassoon WIND 121 0 71 1043 Clarinet WIND 121 0 72 1044 Piccolo FLUTE 121 0 73 1045 Flute FLUTE 121 0 74 1046 Recorder FLUTE 121 0 75 1047 Pan Flute FLUTE 121 0 76 1048 Bottle Blow FLUTE 121 0 77 1049 Shakuhachi ETHNIC 121 0 78 1050 Whistle FLUTE 121 0 79 1051 Ocarina FLUTE 121 0 80 1052 Square Wave HARD LEAD 121 0 81 1053 MG Square HARD LEAD 121 1 1054 2600 Sine HARD LEAD 121 2 1055 Saw Wave HARD LEAD 121 0 82 1056 OB2 Saw HARD LEAD 121 1 1057 Doctor Solo HARD LEAD 121 2 1058 Natural Lead HARD LEAD 121 3 1059 SequencedSaw HARD LEAD 121 4 1060 Syn.Calliope SOFT LEAD 121 0 83 1061 Chiffer Lead SOFT LEAD 121 0 84 1062 Charang HARD LEAD 121 0 85 1063 Wire Lead HARD LEAD 121 1 1064 Solo Vox SOFT LEAD 121 0 86 1065 5th Saw Wave HARD LEAD 121 0 87 1066 Bass & Lead HARD LEAD 121 0 88 1067 Delayed Lead HARD LEAD 121 1 1068 Fantasia OTHER SYNTH 121 0 89 1069 Warm Pad SOFT PAD 121 0 90 1070 Sine Pad SOFT PAD 121 1 1071 Polysynth OTHER SYNTH 121 0 91 1072 Space Voice VOX 121 0 92 1073 Itopia VOX 121 1 1074 Bowed Glass SOFT PAD 121 0 93

No. Name Category MSB LSB PC

1075 Metal Pad BRIGHT PAD 121 0 94 1076 Halo Pad BRIGHT PAD 121 0 95 1077 Sweep Pad SOFT PAD 121 0 96 1078 Ice Rain OTHER SYNTH 121 0 97 1079 Soundtrack SOFT PAD 121 0 98 1080 Crystal BELL 121 0 99 1081 Syn Mallet BELL 121 1 1082 Atmosphere AC.GUITAR 121 0 100 1083 Brightness OTHER SYNTH 121 0 101 1084 Goblin PULSATING 121 0 102 1085 Echo Drops BRIGHT PAD 121 0 103 1086 Echo Bell BRIGHT PAD 121 1 1087 Echo Pan BRIGHT PAD 121 2 1088 Star Theme BRIGHT PAD 121 0 104 1089 Sitar PLUCKED 121 0 105 1090 Sitar 2 PLUCKED 121 1 1091 Banjo FRETTED 121 0 106 1092 Shamisen PLUCKED 121 0 107 1093 Koto PLUCKED 121 0 108 1094 Taisho Koto PLUCKED 121 1 1095 Kalimba PLUCKED 121 0 109 1096 Bagpipe ETHNIC 121 0 110 1097 Fiddle STRINGS 121 0 111 1098 Shanai ETHNIC 121 0 112 1099 Tinkle Bell BELL 121 0 113 1100 Agogo PERCUSSION 121 0 114 1101 Steel Drums MALLET 121 0 115 1102 Woodblock PERCUSSION 121 0 116 1103 Castanets PERCUSSION 121 1 1104 Taiko PERCUSSION 121 0 117 1105 Concert BD PERCUSSION 121 1 1106 Melo. Tom 1 PERCUSSION 121 0 118 1107 Melo. Tom 2 PERCUSSION 121 1 1108 Synth Drum PERCUSSION 121 0 119 1109 808 Tom PERCUSSION 121 1 1110 Elec Perc PERCUSSION 121 1 1111 Reverse Cym. PERCUSSION 121 0 120 1112 Gt.FretNoise AC.GUITAR 121 0 121 1113 Gt.Cut Noise AC.GUITAR 121 1 1114 String Slap AC.GUITAR 121 2 1115 Breath Noise SYNTH FX 121 0 122 1116 Fl.Key Click SYNTH FX 121 1 1117 Seashore SOUND FX 121 0 123 1118 Rain SOUND FX 121 1 1119 Thunder SOUND FX 121 2 1120 Wind SOUND FX 121 3 1121 Stream SOUND FX 121 4 1122 Bubble SOUND FX 121 5 1123 Bird SOUND FX 121 0 124 1124 Dog SOUND FX 121 1 1125 Horse-Gallop SOUND FX 121 2 1126 Bird 2 SOUND FX 121 3 1127 Telephone 1 SOUND FX 121 0 125 1128 Telephone 2 SOUND FX 121 1 1129 DoorCreaking SOUND FX 121 2 1130 Door SOUND FX 121 3 1131 Scratch SOUND FX 121 4 1132 Wind Chimes SOUND FX 121 5 1133 Helicopter SOUND FX 121 0 126 1134 Car-Engine SOUND FX 121 1 1135 Car-Stop SOUND FX 121 2 1136 Car-Pass SOUND FX 121 3 1137 Car-Crash SOUND FX 121 4 1138 Siren SOUND FX 121 5 1139 Train SOUND FX 121 6 1140 Jetplane SOUND FX 121 7 1141 Starship SOUND FX 121 8 1142 Burst Noise SOUND FX 121 9 1143 Applause SOUND FX 121 0 127 1144 Laughing SOUND FX 121 1 1145 Screaming SOUND FX 121 2 1146 Punch SOUND FX 121 3 1147 Heart Beat SOUND FX 121 4 1148 Footsteps SOUND FX 121 5 1149 Gun Shot SOUND FX 121 0 128 1150 Machine Gun SOUND FX 121 1 1151 Lasergun SOUND FX 121 2

No. Name Category MSB LSB PC

1152 Explosion SOUND FX 121 3 1153 GW Std Kit RHYTHM 86 64 1 1154 WD Std Kit RHYTHM 86 64 2 1155 LD Std Kit RHYTHM 86 64 3 1156 TY Std Kit RHYTHM 86 64 4 1157 StandardKit1 RHYTHM 86 64 5 1158 StandardKit2 RHYTHM 86 64 6 1159 StandardKit3 RHYTHM 86 64 7 1160 Rock Kit 1 RHYTHM 86 64 8 1161 Rock Kit 2 RHYTHM 86 64 9 1162 Brush Jz Kit RHYTHM 86 64 10 1163 Orch Kit RHYTHM 86 64 11 1164 909 808 Kit RHYTHM 86 64 12 1165 Limiter Kit RHYTHM 86 64 13 1166 HipHop Kit 1 RHYTHM 86 64 14 1167 R&B Kit RHYTHM 86 64 15 1168 HiFi R&B Kit RHYTHM 86 64 16 1169 Machine Kit1 RHYTHM 86 64 17 1170 Kit-Euro:POP RHYTHM 86 64 18 1171 House Kit RHYTHM 86 64 19 1172 Nu Technica RHYTHM 86 64 20 1173 Machine Kit2 RHYTHM 86 64 21 1174 ArtificalKit RHYTHM 86 64 22 1175 Noise Kit RHYTHM 86 64 23 1176 Kick Menu RHYTHM 86 64 24 1177 Snare Menu RHYTHM 86 64 25 1178 Snr/Rim Menu RHYTHM 86 64 26 1179 HiHat Menu RHYTHM 86 64 27 1180 Tom Menu RHYTHM 86 64 28 1181 Clp&Cym&Hit RHYTHM 86 64 29 1182 FX/SFX Menu RHYTHM 86 64 30 1183 Percussion RHYTHM 86 64 31 1184 Scrh&Voi&Wld RHYTHM 86 64 32 1185 GM2 STANDARD RHYTHM 120 0 1 1186 GM2 ROOM RHYTHM 120 0 9 1187 GM2 POWER RHYTHM 120 0 17 1188 GM2 ELECTRIC RHYTHM 120 0 25 1189 GM2 ANALOG RHYTHM 120 0 26 1190 GM2 JAZZ RHYTHM 120 0 33 1191 GM2 BRUSH RHYTHM 120 0 41 1192 GM2 ORCHSTRA RHYTHM 120 0 49 1193 GM2 SFX RHYTHM 120 0 57

Rhythm Set List

Preset Group GM Group

Tone No Name

1153 GW Std Kit 1154 WD Std Kit 1155 LD Std Kit 1156 TY Std Kit 1157 StandardKit1 1158 StandardKit2 1159 StandardKit3 1160 Rock Kit 1 1161 Rock Kit 2 1162 Brush Jz Kit 1163 Orch Kit 1164 909 808 Kit 1165 Limiter Kit 1166 HipHop Kit 1 1167 R&B Kit 1168 HiFi R&B Kit 1169 Machine Kit1 1170 Kit-Euro:POP 1171 House Kit 1172 Nu Technica 1173 Machine Kit2 1174 ArtificalKit 1175 Noise Kit 1176 Kick Menu 1177 Snare Menu 1178 Snr/Rim Menu 1179 HiHat Menu 1180 Tom Menu 1181 Clp&Cym&Hit 1182 FX/SFX Menu 1183 Percussion 1184 Scrh&Voi&Wld

Tone No Name

1185 GM2 STANDARD 1186 GM2 ROOM 1187 GM2 POWER 1188 GM2 ELECTRIC 1189 GM2 ANALOG 1190 GM2 JAZZ 1191 GM2 BRUSH 1192 GM2 ORCHSTRA 1193 GM2 SFX

Preset Group

Note No.

47 48

100 101

102

103

1153 GW Std Kit

Dance Kick Dance Kick Dance Kick Dance Kick MaxLow Kick2 Dance Kick Dry Kick 1 Dry Kick 1 Dry Kick 1 Dry Kick 1 Rk CmpKick Dry Kick 1 Snr Roll Snr Roll Snr Roll Snr Roll Gospel Clap Snr Roll Power Kick Power Kick Power Kick Power Kick Sweep Bass Power Kick Amb.Snr 2 Amb.Snr 2 Amb.Snr 2 Amb.Snr2 p Sft Snr Gst Amb.Snr 2p Power Kick Reg.Kick 2 Reg.Kick 2 Power Kick HipHop Kick2 Power Kick Reg.PHH Reg.PHH Reg.PHH Reg.PHH Reg.PHH Reg.PHH Reg.Kick Reg.Kick 1 Reg.Kick 1 Reg.Kick Reg.Kick 1 Reg.Kick 1 SF Kick 1 WD Kick LD Kick TY Kick Reg.Kick 2 Reg.Kick 2 SF CStk WD CStk LD CStk TY CStk Reg.Stick Wild Stick SF Snr WD Snr LD Snr TY Snr Reg.Snr 2 Amb.Snr 1 SF Snr Gst SF Snr Gst Reg.Snr Gst SF SnrGst Reg.Snr Gst Reg.Snr Gst SF Rim WD Rim LD Rim TY Rim Reg.Snr 1 Amb.Snr 2 RR F.Tom RR F.Tom RR F.Tom RR F.Tom Reg.F.Tom Reg.F.Tom Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 Reg.CHH 1 SF L.Tom TY L.Tom LD L.Tom TY L.Tom Reg.L.Tom Reg.L.Tom Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 Reg.CHH 2 SF M.Tom TY M.Tom LD M.Tom TY M.Tom Reg.M.Tom 1 Reg.M.Tom Reg.OHH Reg.OHH Reg.OHH Reg.OHH Reg.OHH Reg.OHH SF MT Flm TY M.Tom LD M.Tom TY M.Tom Reg.M.Tom 2 Reg.M.TomFlm SF H.Tom TY H.Tom LD H.Tom TY H.Tom Reg.H.Tom 1 Reg.H.Tom Crash Cym1a Crash Cym1a Crash Cym1a Crash Cym 2 Crash Cym1 Crash Cym1a SF HT Flm TY H.Tom LD H.Tom TY H.Tom Reg.H.Tom 2 Reg.H.TomFlm Rock Ride 1 Rock Ride 1 Rock Ride 1 Rock Ride 1 Rock Ride Rock Ride 1 China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal Splash Cym Splash Cym Splash Cym Splash Cym Ride Edge Splash Cym Tamborine2 Tamborine 3 Tamborine 3 Tamborine2 Tamborine Tamborine Rock Crash 1 Rock Crash 1 Rock Crash 1 Crash Cym1a Crash Cym2a Rock Crash 1 Cowbell3 Cowbell3 Cowbell3 Cowbell3 Cowbell Low Cowbell Hi Crash Cym1b Crash Cym1b Crash Cym1 Crash Cym1b Crash Cym2b Crash Cym1b Cowbell2 Lng Cowbell2 Lng Cowbell Cowbell2 Lng Cowbell Hi Cowbell Low Rock Ride 2 Rock Ride 2 Rock Ride 2 Rock Ride 2 Ride Bell Rock Ride 2 Conga 2H Mt Conga Hi Mt Conga 2H Mt Conga 2H Mt Conga Hi Mt Conga Hi Mt Conga 2L Mt Conga Lo Mt Conga 2L Mt Conga 2L Mt Conga Lo Mt Conga Lo Mt Conga 2H Slp Conga Hi Slp Conga 2H Slp Conga 2H Slp Conga Lo Conga Hi Slp Conga 2H Op Conga Hi Op Conga 2H Op Conga 2H Op Conga Hi Op Conga Hi Op Conga 2L Op Conga Lo Op Conga Lo Op Conga 2L Op Conga Lo Op Conga Lo Op Timbare 4 Timbale Hi Timbale 1 Timbare 4 Timbale Hi Timbale Hi Timbare 3 Timbale Low Timbale 2 Timbare 3 Timbale Low Timbale Low Agogo 2 Hi Mild Agogo H Agogo 2 Hi Agogo 2 Hi Agogo Bell H Mild Agogo H Agogo 2 Low Mild Agogo L Agogo 2 Low Agogo 2 Low Agogo Bell L Mild Agogo L Cabasa 2 Cabasa Up Cabasa 2 Cabasa 2 Cabasa Up Cabasa Up Shaker 2 Maracas Shaker 2 Shaker 1 Maracas Maracas Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt Whistle Shrt Whistle Long Whistle Long Whistle Whistle Long Whistle Long Whistle Long Guiro 2 Up Guiro Short Guiro 2 Up Guiro 2 Up Guiro Short Guiro Short Guiro 2 Down Guiro Long Guiro Long Guiro 2 Down Guiro Long Guiro Long Claves 2 Claves Claves 2 Claves 2 Claves Claves Wood Block2H Wood Block H Wood Block2H Wood Block2H Wood Block H Wood Block H Wood Block2L Wood Block L Wood Block2L Wood Block2L Wood Block L Wood Block L Cuica 2 Low Cuica Mute Cuica 2 Low Cuica 2 Low Cuica Mute Cuica Mute Cuica 2 Hi Cuica Open Cuica 2 Hi Cuica 2 Hi Cuica Open Cuica Open Triangle Mt Triangle Mt Triangle Mt Triangle Mt Triangle Mt Triangle Mt Triangle Op Triangle Op Triangle Op Triangle Op Triangle Op Triangle Op Cabasa2 Cut Cabasa Cut Cabasa2 Cut Cabasa2 Cut Cabasa Cut Cabasa Cut DigiSpectrum DigiSpectrum DigiSpectrum DigiSpectrum Castanet DigiSpectrum Wind Chime Wind Chime Wind Chime Wind Chime Bongo Hi Mt Wind Chime Wood Block2M Wood Block M Wood Block2M Wood Block2M Bongo Hi Slp Wood Block M Cajon 2 Cajon 2 Cajon 2 Cajon 2 Bongo Lo Slp Cajon 2 ConcertBD ConcertBD ConcertBD ConcertBD Bongo Hi Op ConcertBD R&B Kick R&B Kick R&B Kick R&B Kick Bongo Lo Op R&B Kick Dry Kick 2 Dry Kick 2 Dry Kick 2 Dry Kick 2 Cajon 1 Dry Kick 2 Old Kick Old Kick Old Kick Old Kick Cajon 2 Old Kick Jazz Doos Jazz Doos Jazz Doos Jazz Doos Cajon 3 Jazz Doos Agogo Noise Agogo Noise Agogo Noise Agogo Noise Vint Snr 2 Agogo Noise Rock OHH Rock OHH Rock OHH Rock OHH Shaker 3 Rock OHH JD Anklungs JD Anklungs JD Anklungs JD Anklungs WD Rim JD Anklungs Rock OHH Rock OHH Rock OHH Rock OHH Mix Kick 1 Rock OHH Cajon 3 Cajon 3 Cajon 3 Cajon 3 Mix Kick 2 Mix Kick 1 Cajon 1 Cajon 1 Cajon 1 Cajon 1 Mix Kick 3 Cajon 1 Mix Kick 4 Mix Clap Mix Kick 4 TY Rim f Mix Kick 4 Mix Kick 2 Gospel Clap Gospel Clap Gospel Clap Gospel Clap Mix Kick 5 Gospel Clap Bright Clap Bright Clap Bright Clap Bright Clap Mix Clap 1 Bright Clap Rock Rd Cup Rock Rd Cup Rock Rd Cup Rock Rd Cup Wind Chime Rock Rd Cup Cowbell Cowbell Cowbell Cowbell Tibet Cymbal Cowbell Crash Cym 2 Crash Cym 2 Crash Cym 2 Crash Cym 2 Crotale Crash Cym 2

1154 WD Std Kit

1155 LD Std Kit

1156 TY Std Kit

1157 StandardKit1

1158 StandardKit2

Note No.

47 48

100 101

102

103

1159 StandardKit3

HipHop Kick2 R&B Kick MaxLow Kick2 TR909 Kick1a Timpani Roll TR909 Kick 2 Syn Swt Atk1 Rk CmpKick MaxLow Kick1 TR909 Kick1b ConcertBD 2 TR909 Kick 4 Lo-Bit Stk 1 Sft Snr Gst LD Rim mf Jazz Snr R8 Shaker 1 Urbn Sn Roll TR707 Kick Dry Kick 4 Power Kick Reg.Kick 1 Jngl pkt Snr TR909 Kick 5 TR808 Snr 5 Snr Roll Mix Clap 2 Soft Jz Roll Reverse Cym TR909 Snr 3 Vint Kick 1 SH32 Kick Vint Kick Reg.Kick 2 Snr Roll TR909 Kick 3 Reg.PHH Reg.PHH Rock CHH2 Reg.PHH Jazz Ride TR909 PHH 2 Vint Kick 2 Reg.Kick 1 Rock Kick Jazz Kick 1 Timpani Roll TR909 Kick 6 Old Kick 1 Reg.Kick 2 Rk CmpKick Jazz Kick 2 ConcertBD 1 TR909 Kick 1 Lo-Bit Stk 4 Reg.Stick Wild Stick Hard Stick Hard Stick TR909 Rim Reg.Snr 1 Reg.Snr2 Maple Snr Jazz Rim Amb.Snr 2 TR909 Snr 1 Amb Clap Reg.Snr Gst Sft Snr Gst Jz Brsh Swsh Gospel Clap TR909 Clap 1 TY Rim Reg.Snr1 Reg.Snr1 Jazz Snr Concert SD TR909 Snr 2 Jazz Lo Tom1 Reg.F.Tom Sharp L.Tom1 Reg.F.Tom 1 Timpani F TR909 Tom L Reg.CHH 1 Reg.CHH 1 Rock CHH 1 Reg.CHH 1 Timpani F# TR909 CHH 1 Jazz Lo Tom2 Reg.L.Tom Sharp L.Tom2 Reg.L.Tom 1 Timpani G TR909 Tom L Reg.CHH 2 Reg.CHH 2 Reg.PHH Reg.CHH 2 Timpani G# TR909 PHH 1 Jazz Mid Tom Reg.M.Tom Sharp L.Tom3 Reg.M.Tom 1 Timpani A TR909 Tom M Reg.OHH Reg.OHH Rock OHH Reg.OHH Timpani A# TR909 OHH 2 Jazz Mid Tom Reg.M.TomFlm Sharp H.Tom1 Reg.M.Tom 1 Timpani B TR909 Tom M Jazz Hi Tom Reg.H.Tom Sharp H.Tom2 Reg.H.Tom 1 Timpani C TR909 Tom H Crash Cym1 Crash Cym1a Crash Cym1 Jazz Crash Timpani C# TR909 Crash Jazz Hi Tom Reg.H.TomFlm Sharp H.Tom3 Reg.H.Tom 1 Timpani D TR909 Tom H Rock Rd Edge Rock Ride 1 Ride Cymbal Jazz Ride 1 Timpani D# TR909 Ride 1 China Cymbal China Cymbal China Cymbal China Cym 1 Timpani E TR909 Crash1 Rock Rd Cup Splash Cym Ride Bell Ride Edge Timpani f TR909 Ride 2 Tamborine Tamborine Tamborine 3 Tamborine Tamborine 3 CR78 Tamb 1 Splash Cym Rock Crash 1 Rock Crash 2 Crash Cym Concert Cym TR909 Crash2 Cowbell Cowbell Hi Cowbell Mute Cowbell Low Cowbell Mute JD Sm Metal Rock Crash 2 Crash Cym1b Splash Cym Crash Cym Concert Cym2 TR909 Ride 3 TR808 Cym Cowbell Low Cowbell Cowbell Hi Ride Cymbal Syn Swt Atk3 Jazz Ride Rock Ride 2 Rock Rd Cup Ride Bell Crash Cym1 TR808 Kick 1 Bongo Hi Conga Hi Mt Conga Hi Mt Conga Hi Mt Bongo Hi Op TR808 Kick 2 Bongo Lo Conga Lo Mt Conga Lo Mt Conga Lo Mt Bongo Lo Op TR808 Rim Conga Hi Mt Conga Hi Slp Conga Slp Op Conga Lo Slp Conga Hi Mt TR808 Snr 2 Conga Hi Conga Hi Op Conga Hi Op Conga Hi Op Conga Hi Op TR808 Clap 2 Conga Lo Conga Lo Op Conga Lo Op Conga Lo Op Conga Lo Op TR808 Snr 4 Timbale Hi Timbale Hi Timbale Hi Timbale Hi Timbale Hi TR808 Tom L Timbale Low Timbale Low Timbale Low Timbale Low Timbale Low TR808 CHH 1 Cowbell Hi Agogo Bell H Agogo Bell H Agogo Bell H Agogo Bell H TR808 Tom L Cowbell Low Agogo Bell L Agogo Bell L Agogo Bell L Agogo Bell L TR808 CHH 2 Cabasa Cabasa Up Cabasa Up Cabasa Up Cabasa Up TR808 Tom M Shaker Maracas Maracas Maracas Maracas TR808 OHH 1 Noise OHH 2 Whistle Shrt Whistle Shrt Jazz Kick 1 Whistle Shrt TR808 Tom M Scratch 5 Whistle Long Whistle Long Jazz Kick 2 Whistle Long TR808 Tom H Syn Low Atk2 Guiro Short Guiro Short Hard Stick Guiro Short TR808Cowbell MG Zap 3 Guiro Long Guiro Long Jazz Rim Guiro Long TR808 Tom H Syn Swt Atk1 Claves Claves Sft Snr Gst Claves TR606 Cym Syn Swt Atk4 Wood Block H Wood Block H Jazz Snr Wood Block H TR606 OHH 1 Bongo Hi Slp Wood Block L Wood Block L Reg.F.Tom 2 Wood Block L TR606 OHH 2 Noise OHH Cuica Mute Cuica Mute Reg.CHH 1 Cuica Mute CR78 Tamb 2 Noise CHH Cuica Open Cuica Open Reg.L.Tom 2 Cuica Open CR78 OHH 1 Triangle 1 Triangle Mt Triangle Mt Reg.CHH 2 Triangle Mt Cowbell Mute Triangle 2 Triangle Op Triangle Op Reg.M.Tom 2 Triangle Op CR78 OHH 2 Cajon 1 Cabasa Cut Cabasa Cut Reg.OHH Cabasa Cut Syn Swt Atk5 Cajon 3 DigiSpectrum Wind Chime Reg.M.TomFlm Finger Snap TR808 OHH 2 Wind Chime Wind Chime Dist Chord 1 Reg.H.Tom 2 Wind Chime 808 Maracas SprgDrm Hit Dist Chord 1 Dist Chord 2 Jazz Cymbal Tibet Cymbal TR808 Claves Crotale Dist Chord 2 Dist Chord 3 Reg.H.TomFlm Vibraslap Triangle Mt R8 Click Dist Chord 3 Dist Chord 4 Jazz Ride 2 Crotale Triangle Op Metro Bell Dist Chord 4 Dist Chord 5 China Cym 2 Applause Narrow Hit 2 DR202 Beep Dist Chord 5 Dist Chord 6 Cajon 1 TubulrBel F TR808 Cym1 Reverse Cym Rock CHH 2 Rock CHH 2 Cajon 2 TubulrBel F# MG Zap 4 Xylo Seq. Cowbell 2a Dist Chord 7 Cajon 3 TubulrBel G Scratch 1 Vinyl Noise Rock CHH 1 DistGtr Nz 1 Vint Snr 2 TubulrBel G# MG Zap 1 Mobile Phone Cowbell 2b DistGtr Nz 2 Shaker 3 TubulrBel A TR606 Snr 2 Group Snap Rock OHH DistGtr Nz 3 WD Rim f TubulrBel A# Synth Saw Laser Fng.EB2 Sld JD Switch Mix Kick 1 TubulrBel B Digi Breath Siren Cajon 3 Cajon 3 Mix Kick 2 TubulrBel C TR808 Cym2 AnalogKick 3 Cajon 2 Cajon 2 Mix Kick 3 TubulrBel C# TR808 Conga1 Old Kick 2 Cajon 1 Cajon 1 Mix Kick 4 TubulrBel D TR808 Conga2 Reg.Kick Gospel Clap Real Clap Mix Kick 5 TubulrBel D# Cajon 1 TR909 Snr 4 Rock Crash 2 Gospel Clap Mix Clap 1 TubulrBel E Vint Snr 3 TR808 Snr 2 Rock Rd Cup Tibet Cymbal Wind Chime TubulrBel f Door Creak Short Snr1 Club FinSnap Tamborine 1 Tibet Cymbal Church Bell1 Vint.Phone Vint Snr 4 TR909 Snr 6 Tamborine 2 Crotale Church Bell2 Door Creak

1160 Rock Kit 1

1161 Rock Kit 2

1162 Brush Jz Kit

1163 Orch Kit

1164 909 808 Kit

Note No.

47 48

100 101

102

103

1165 Limiter Kit

Dance Kick 1 PlasticKick2 70's Kick MaxLow Kick2 TR909 Kick 2 TR707 Kick HipHop Kick1 Group Snap AnalogKick 6 FB Kick TR909 Kick 4 AnalogKick 1 WD CStk Snr Roll Urbn Sn Roll Rough Kick1a Light Snr Dirty Snr 6 R&B Kick 1 AnalogKick 3 HipHop Kick2 MaxLow Kick1 Mix Kick 5 FB Kick Wild Stick GoodOld Snr5 R&B ShrtSnr1 Rough Kick3 DR660 Snr BrushRoll Dance Kick 2 Dist Kick Old Kick Rk CmpKick Mix Kick 2 PlasticKick2 Hip PHH Noise CHH HipHop CHH TR909 Kick 5 TR808 PHH Reg.CHH 2 LD Kick TR707 Kick EuroHit Kick Rough Kick1b AnalogKick 6 Power Kick R&B Kick 2 Dry Kick 4 TR909 Kick 1 R&B Kick 70's Kick 1 TR909 Kick 6 Lo-Bit Stk 2 Jazz Rim Dry Stick 4 Hard Stick TR808 Rim R&B ShrtRim1 Wild Stick Dirty Snr 2 Dirty Snr 2 GoodOld Snr3 Jngl pktSnr1 TR909 Snr 3 Dist Clap Old Clap Maple Snr GoodOld Snr4 Funk Clap TR909 Clap 1 DR660 Snr Vint Snr 4a Short Snr2 GoodOld Snr2 Jngl pktSnr2 TR909 Snr 4a Reg.F.Tom p TR909 Tom L TR808 Tom 1 Lo-Bit Snr 1 MG Attack Sharp L.Tom2 Lo-Bit CHH 2 HipHop CHH 2 TR606 CHH 2 Noise CHH TR808 CHH 1 TR909 CHH 1 Reg.F.Tom f Deep Tom L Reg.F.Tom Jazz Snr MG Attack Sharp L.Tom1 Lo-Bit CHH 4 Lo-Bit PHH TR909 CHH 2 Hip PHH TR808 PHH TR909 PHH 1 Reg.L.Tom TR909 Tom M TR808 Tom 2 Lo-Bit Snr 2 MG Blip Sharp M.Tom Lo-Bit OHH 2 Lo-Bit OHH 2 Lo-Bit OHH 2 Reg.OHH TR808 OHH 1 TR909 OHH 2 Reg.L.TomFlm Deep Tom M Reg.M.Tom Vint Snr 2 MG Blip Sharp M.Tom Reg.H.Tom TR909 Tom H TR808 Tom 3 WD Snr Beam HiQ Sharp H.Tom Crash Cym 1 Crash Cym1 p Rock Crash 1 TR808 Cym 1 TR606 Cym 2a TR909 Crash Reg.H.TomFlm Deep Tom H Reg.H.Tom GoodOld Snr6 Beam HiQ Sharp H.Tom Lo-Bit OHH 1 Rock Crash 1 Splash Cym TR606 Cym 2 Lo-Bit OHH1a TR909 Ride TR606 Cym 2 Rock Rd Edge Rock Rd Edge White Noise TR606 Cym 2 China Cymbal Jazz Ride 1 China Cymbal Concert Cym Bright Form Lo-Bit OHH1b Rock Rd Edge Tamborine 1 Snap Cheap Clap CR78 Tamb CR78 Tamb 1 Tamborine 3 TR606 OHH TR808 Conga2 Snap SBF Hrd Ld 1 TR606 Cym 2b Crash Cym1 p Vibraslap Vint Snr 4 Lo-Bit Snr 2 JD Sm Metal JD Sm Metal1 Cowbell Mix Kick 2 TR808Cowbell Wood Block TR808 Cym 2 Lo-Bit OHH1c Rock Crash 2 Hip PHH Guiro Long Shaku Noise Syn Swt Atk3 Syn Swt Atk3 Vibraslap Mix Kick 2 Guiro 2 Syn Hrd Atk1 TR909 Kick4a AnalogKick 6 TR606 Cym 2 Rough Kick Guiro 1 JD MetalWind TR909 Kick4b 70's Kick 2 Bongo Lo Op Dry Stick Shaker 3 Maracas TR808 Rim R8 Comp Rim Bongo Hi Op GoodOld Snr5 Noise CHH Cabasa Up TR808 Snr 2 Pocket Snr Conga Hi Mt R8 Clap Cabasa 2 Cabasa Down TR808 Clap 2 TR909 Clap 2 Conga Hi Op Jngl pkt Snr Vibraslap Cabasa Cut TR808 Snr 4 Vint Snr 4 Conga Lo Op TR808 Tom Mix Kick 2 Tamborine 1 TR808 Tom 4 TR606 Tom L Conga Efx Noise CHH 1 Dist Snr Tamborine 2 TR808 CHH 1 Dance CHH Shaker 3 TR808 Tom Sweep Bass Tamborine 1 TR808 Tom 3 TR606 Tom L Shaker 2 Noise CHH 2 Short Snr1 Triangle Mt TR808 CHH 2 Lo-Bit CHH 1 CR78 Beat TR606 Tom L1 CR78 CHH Triangle Op TR808 Tom 2 TR606 Tom M Cabasa Cut 1 Lo-Bit OHH 2 Shaker 2 Xylo Seq. TR808 OHH 1 Reg.OHH Cabasa Cut 2 TR606 Tom L2 CR78 Tamb Philly Hit TR808 Tom 1 TR606 Tom M Lo-Bit PHH TR606 Tom H1 Noise OHH LoFi Min Hit Scratch 3 TR606 Tom H Scratch 7 Crash Cym 2 Slight Bell Vinyl Noise Scratch 4 TR909 Crash1 Syn Low Atk2 TR606 Tom H2 Tibet Cymbal Cajon 1 Scratch 5 TR606 Tom H MG Zap 7 Jazz Ride 2 Wind Chime Cajon 2 Scratch 6 Lite OHH 1 Syn Swt Atk1 Splash Cym Scratch 2 Cajon 3 Old Clap TR909 Crash2 Syn Swt Atk4 Rock Rd Edge Scratch 1 Conga Hi Mt Hand Clap Lite OHH 2 Conga Thumb Tamborine 3 Scratch 10 Conga Lo Mt R8 Clap CR78 Tamb 2 Triangle 1 Guiro Long Scratch 9 Conga Hi Slp Cabasa Cut TR909 Crash Triangle 2 Gospel Clap Smear Hit 2 Conga Lo Slp R8 Shaker JD Sm Metal2 Euro Hit 1 Tibet Cymbal Lofi Min Hit Conga Hi Op Tamborine 2 Lite OHH 3 Tao Hit Wind Chime Thin Beef Conga Lo Op Cabasa Down Syn Swt Atk1 Narrow Hit 2 Mix Kick 1 Dist Hit Conga Slp Op Cabasa Cut TR808 OHH 2 Euro Hit 2 Mix Kick 2 Narrow Hit 2 Conga Efx Tibet Cymbal 808 Maracas Wind Chime Mix Kick 4 MG Attack Conga Thumb Crotale TR808 Claves Timpani Roll Vint Snr 1 MG Zap 9 Noise OHH Slight Bell Triangle Mt Crotale Vint Snr 2 Mix Clap 3 Shaker 3 Wind Chime Triangle Op R8 Click Vint Snr 3 R8 Shaker Castanet Triangle 1 Narrow Hit 2 Metro Bell Vint Snr 4 Cabasa Down CR78 Beat Mild CanWave Euro Hit MC500 Beep 1 Noise CHH Cabasa Cut CR78 OHH Cheap Clap MG Zap 4 MC500 Beep 2 CR78 CHH MaxLow Kick1 CR78 CHH JD Plunk Scratch 1 Atmosphere Noise CHH 3 MaxLow Kick2 Lite OHH Syn Swt Atk2 MG Zap 1 Agogo Noise Noise OHH 2 Lo-Bit Snr 1 CR78 Tamb DistGtr Nz 2 TR606 Snr 2 Car Slip Noise OHH 1 Dance CHH JD Vox Noise River Synth Saw Group Snap Heartbeat Wild Stick Guiro 2 Fast Bubble Digi Breath Laser Scratch 2 MC500 Beep 1 Metro Click Train Pass DigiSpectrum ConcertBD Scratch 5 MC500 Beep 2 Metro Bell LoFi Min Hit Shaker 3 AnalogKick 3 Scratch 1 Gospel Clap Wind Chime Pink Noise Conga 2H Slp Old Kick Scratch 4 TR606 Cym Crotale Agogo Noise Cajon 1 Reg.Kick Scratch 6 China Cymbal Crash Cym1 p SynVox Nz 1 Vint Snr 3 TR909 Snr 4b Mobile Phone Rock Crash 2 TR909 Crash SynVox Nz 2 Door Creak 1 TR808 Snr 2 Sweep Bass 1 CR78 OHH CR78 OHH R8 Click Vint.Phone Vint Snr 4 Sweep Bass 2 Concert Cym Rev.Lite OHH Syn Swt Atk1 Door Creak 2 Light Snr

1166 HipHop Kit 1

1167 R&B Kit

1168 HiFi R&B Kit

1169 Machine Kit1

1170 Kit-Euro:POP

Note No.

47 48

100 101

102

103

1171 House Kit

TR909 Kick 3 SH32 Kick 1 AnalogKick 5 TR909 Kick 2 TR909 Kick 2 ----SH32 Kick JD EML 5th 1 AnalogKick6a AnalogKick 2 TR909 Kick 4 ----Urbn Sn Roll AnalogKick 6 Analog Snr 1 TR808 Snr 5 Urbn SnRoll1 ----TR909 Kick 2 TR909 Kick 5 AnalogKick1a TR909 Kick 3 TR909 Kick 5 ----TR909 Snr 6 Plastic Kc3a TR808 Snr 4 Vint Snr 3 Door Creak 1 ----TR909 Kick 5 R&B Kick FB Kick FB Kick TR909 Kick 1 ----TR909 PHH 2 TR707 Kick TR808 PHH TR606 Cym 2a SynSwt Atk7a ----TR909 Kick4a Plastic Kc3b AnalogKick6b AnalogKick 3 Cajon 3a Reg.Kick p TR909 Kick4b SH32 Kick 2 AnalogKick6c TVF Trigger Cajon 3b Reg.Kick f TR909 Rim TR909 Snr 5 R&B ShrtRim2 TR909 Rim Laser Reg.Kick ff TR909 Snr 4 Syn Mtl Atk2 TR909 Snr 1 TR909 Snr 1 Door Creak2a Rock Kick p TR909 Clap 2 Flange Snr TR707 Clap Claptail Train Pass Rock Kick f TR909 Snr 5 TR909 Snr 3 Lo-Bit Snr 2 TR909 Snr 3 Door Creak2b Jazz Kick p TR909 Tom L Dance CHH Deep Tom L TR909 Tom L2 Syn Swt AtkL Jazz Kick mf TR909 CHH 2 TR606DstCHH1 TR606 CHH 1 TR909 CHH 1 SynSwt Atk7b Jazz Kick f TR909 Tom L TR909 PHH 2 Deep Tom L TR909 Tom L1 Syn Swt AtkL Dry Kick 1 TR909 PHH 2 TR606 PHH 2a TR606 PHH 1 TR909 PHH 1 Syn Mtl Atk2 Tight Kick TR909 Tom M TR909 OHH 1 Deep Tom M TR909 Tom M2 Syn Swt AtkM Old Kick TR909 OHH 2 Lite OHH TR909 OHH 2 TR909 OHH 2 White Noise Jz Dry Kick TR909 Tom M Rock Rd Cup Deep Tom M TR909 Tom M1 Syn Swt AtkM Dry Kick 2 TR909 Tom H Syn Hrd Atk4 Deep Tom H TR909 Tom H2 Syn Swt AtkH Dry Kick 3 TR909 Crash1 MG Zap 7a Lite OHH TR909 Crash Syn Mtl Atk1 Power Kick TR909 Tom H MG Zap 9 Deep Tom H TR909 Tom H1 Syn Swt AtkH R&B Kick L TR909 Ride 1 MG Zap 8 TR808 OHH 1 TR909 Ride SynLow Atk1a Rk CmpKick TR909 Crash2 MG Zap 10 TR606 Cym 2a White Noise1 Crotale 1 Dance Kick TR909 Ride 2 HipHop CHH 2 TR909 Ride 1 CR78 Beat Laser 1 HipHop Kick1 CR78 Tamb Syn Swt Atk3 CR78 Tamb Tamborine 3 MG Zap 11 HipHop Kick2 MG Zap 4 Reg.PHH TR606 Cym 2b Atmosphere Laser 2 TR909 Kick 1 JD Sm Metal Syn Swt Atk6 JD Sm Metal Cowbell Mute MG Zap 4a TR808 Kick MG Zap 5 HipHop OHH TR909 Ride 2 Syn Swt Atk1 Digi Loop 1 TR909 Kick 4 Syn Swt Atk3 TR909 OHH 2 Syn Swt Atk3 Cowbell MG Zap 6a WD Kick mf AnalogKick 2 TR909 R.Crsh AnalogKick1b Reverse Cym SynLow Atk2a WD Kick f TR909 Kick 2 TR909 Crash AnalogKick 4 AnalogKick 5 SynLow Atk2b WD Kick ff TR909 Rim Rock Crash 1 Urbn SnRoll1 Metal Vox W1 MG Attack LD Kick mf TR909 Snr 1 MG Zap 2 Analog Snr 2 Metal Vox W2 Syn Hrd Atk4 LD Kick f TR909 Clap 1 MG Zap 9 Dist Clap Metal Vox W3 Train Pass LD Kick ff TR909 Snr 2 Smear Hit 2 Analog Snr 3 White Noise2 Syn Mtl Atk1 TY Kick mf TR909 D.TomL Low Square R8 Shaker White Noise3 Syn Swt AtkL TY Kick f TR909 CHH 1 JD WoodCrak1 TR909 CHH 2 TR606 Cym 2b Syn Swt Atk7 TY Kick ff TR909 D.TomL Piano Atk Nz R8 Shaker MG Blip Syn Swt AtkL SF Kick 1 TR808 CHH 2 JD WoodCrak2 TR909 PHH 2 MG Blip Rev. Syn Mtl Atk2 SF Kick 2 TR909 D.TomM DR202 Beep 1 Syn Hrd Atk1 DigiSpectrum Syn Swt AtkM MaxLow Kick1 TR909 OHH 1 JD WoodCrak3 TR909 OHH 2 Ice Crash DigiSpectrum MaxLow Kick2 TR909 D.TomM Syn Pulse 2 SynHrd Atk1a Metal Vox L2 Syn Swt AtkM Dist Kick TR909 D.TomH DR202 Beep 2 SynHrd Atk1b Thin Beef Syn Swt AtkH FB Kick TR909 Crash3 Narrow Hit2a TR909 Crash LoFi Min Hit Digi Loop 1 Rough Kick1 TR909 D.TomH E.Gtr Harm SynHrd Atk1c Trance Saw Syn Swt AtkH Rough Kick2 TR909 Ride 3 Narrow Hit2b TR909 Ride 3 TB DstSqr SynLow Atk1b Rough Kick3 TR909 Crash4 Euro Hit TR909 Crash Finger Snap Crotale 2 PlasticKick1 TR909 Ride 4 Jazz Lo Tom1 TR909 Ride 1 Conga Slp Op Laser 3 70's Kick Tamborine 2 TR909 D.TomL CR78 Tamb Conga Lo Op MG Zap 11 AnalogKick 1 MG Zap 2 Jazz Lo Tom2 MG Zap 2 Conga Hi Op Laser 4 PlasticKick2 Cowbell Low TR909 D.TomM JD Sm Metal Triangle Mt MG Zap 4b PlasticKick3 MG Zap 6 Jazz Lo Tom3 MG Zap 6 Triangle Op Crotale 3 TR909 Kick 2 Cowbell Hi TR909 D.TomH Syn Swt Atk1 Cabasa Cut MG Zap 6b AnalogKick 2 MG Zap 7 AnalogKick 3 MG Zap 7 R8 Shaker Syn Low Atk2 TR909 Kick 3 Conga Hi Mt AnalogKick 5 808 Maracas AnalogKick 1 808 Maracas AnalogKick 3 Conga Lo Mt Club Clap TR808 Claves PlasticKick2 TR808 Claves AnalogKick 4 Conga Lo Slp TR808 Snr 7 Triangle Mt PlasticKick3 Triangle Mt AnalogKick 5 Conga Hi Op TR808 Snr 3 Triangle Op TR909 Kick 1 Triangle Op AnalogKick 6 Conga Lo Op TR909 Snr 6a Euro Hit AnalogKick 4 Dry Lo Tom TR606DstKick Timbale Hi TR909 CHH 2 Scratch 4 AnalogKick 6 Conga Thumb TR909 Kick 5 Timbale Low TR606DstCHH2 Brt Strat C TR909 Snr 2 Funk Gtr SH32 Kick Agogo Bell H Dance CHH Crotale TR909 Snr 4 Digi Loop 1 TR707 Kick Agogo Bell L TR606 PHH 2b MG Zap 4 TR909 Snr 5 MG Zap 4c TR909 Kick 6 Cabasa Down TR909 OHH 2 Urbn SnRoll2 TR909 Snr 6 Urbn SnRoll2 Mix Kick 1 Maracas TR606 OHH Calc.Saw TR808 Snr 1 Sweep Saw Mix Kick 2 Guiro Short CR78 OHH White Noise TR808 Snr 2 White Noise Mix Kick 3 Guiro Long Juno Sqr HD Blow Loop TR808 CHH 1 Monsoon Mix Kick 4 Claves TR909 Snr 6b Shaker 2 TR808 OHH 1 Shaker 3 Mix Kick 5 Wood Block L TR808 Kick Shaker 3 TR909 CHH 2 Scream Dry Kick 4 Wood Block H JD EML 5th 2 Cajon 1 TR909 OHH 2 Cajon 1 Sweep Bass Triangle Mt TR707 Clap Euro Hit Lite CHH Euro Hit Vint Kick Triangle Op Dist Clap Laugh Lite OHH Laugh Small Kick Castanet MG Zap 5 Office Phone TR606 Cym 2c ConcertBD ----Whistle MG Zap 7b Door Creak China Cymbal Timpani -----

1172 Nu Technica

1173 Machine Kit2

1174 ArtificalKit

1175 Noise Kit

1176 Kick Menu

Note No.

47 48

100 101

102

103

1177 Snare Menu

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----- ----- ----- ----- ----- ----Reg.Snr1 p GoodOld Snr1 Reg.CHH 1 p Reg.F.Tom p Hand Clap MG Zap 1 Reg.Snr1mf GoodOld Snr2 Reg.CHH 1 mf Reg.F.Tom f Club Clap MG Zap 2 Reg.Snr1 f GoodOld Snr3 Reg.CHH 1 f Reg.L.Tom p Real Clap MG Zap 3 Reg.Snr1ff GoodOld Snr4 Reg.CHH 1 ff Reg.L.Tom f Bright Clap MG Zap 4 Reg.Snr2 p GoodOld Snr5 Reg.CHH 2 mf Reg.M.Tom p R8 Clap MG Zap 5 Reg.Snr2 f GoodOld Snr6 Reg.CHH 2 f Reg.M.Tom f Gospel Clap MG Zap 6 Reg.Snr2ff Dirty Snr 1 Reg.CHH 2 ff Reg.H.Tom p Amb Clap MG Zap 7 Amb.Snr1 p Dirty Snr 2 Reg.PHH mf Reg.H.Tom f TR808 Clap 1 MG Zap 8 Amb.Snr1 f Dirty Snr 4 Reg.PHH f Reg.L.TomFlm TR808 Clap 2 MG Zap 9 Amb.Snr2 p Dirty Snr 5 Reg.OHH mf Reg.M.TomFlm TR909 Clap 1 MG Zap 10 Amb.Snr2 f Dirty Snr 6 Reg.OHH f Reg.H.TomFlm TR909 Clap 2 MG Zap 11 Piccolo Snr Dirty Snr 7 Reg.OHH ff Jazz Lo Tom TR707 Clap MG Blip Maple Snr Grit Snr 1 Rock CHH1 mf Jazz Mid Tom Cheap Clap Beam HiQ Reg.Snr Gst Grit Snr 2 Rock CHH1 f Jazz Hi Tom Mix Clap 1 MG Attack Sft Snr Gst Grit Snr 3 Rock CHH2 mf Jazz Lo Flm Mix Clap 2 Syn Low Atk1 Jazz Snr p LoBit SnrFlm Rock CHH2 f Jazz Mid Flm Mix Clap 3 Syn Low Atk2 Jz Brsh Slap Lo-Bit Snr 1 Rock OHH Jazz Hi Flm Mix Clap 4 Syn Hrd Atk1 Jz Brsh Swsh Dirty Snr 3 Lo-Bit CHH 1 Sharp Lo Tom Dist Clap Syn Hrd Atk2 Swish&Turn p Lo-Bit Snr 2 Lo-Bit CHH 2 Sharp Hi Tom Dist Clap 2 Syn Hrd Atk3 Swish&Turn f Analog Snr 1 Lo-Bit CHH 3 Dry Lo Tom Crash Cym1 p Syn Hrd Atk4 Concert SD Tiny Snare Lo-Bit CHH 4 TR909 Tom Crash Cym1 f Syn Mtl Atk1 Snr Roll Lp R&B ShrtSnr1 Lo-Bit CHH 5 TR909 DstTom Crash Cym 2 Syn Mtl Atk2 BrushRoll Lp TR808 Snr 1 HipHop CHH TR808 Tom Rock Crash 1 Syn Swt Atk1 WD Snr p TR808 Snr 2 TR909 CHH 1 TR606 Tom Rock Crash 2 Syn Swt Atk2 WD Snr mf TR808 Snr 3 TR909 CHH 2 Deep Tom Splash Cym Syn Swt Atk3 WD Snr f TR606 Snr 1 TR808 CHH 1 RR F.Tom mp Jazz Crash Syn Swt Atk4 WD Snr ff MrchCmp Snr TR808 CHH 2 RR F.Tom f Ride Cymbal Syn Swt Atk5 WD Rim p Reggae Snr TR606 CHH 1 RR F.Tom ff Ride Bell Syn Swt Atk6 WD Rim mf DR660 Snr TR606 CHH 2 LD L.Tom mf Rock Rd Cup Syn Swt Atk7 WD Rim f Jngl pkt Snr TR606 DstCHH LD L.Tom f Rock Rd Edge R8 Click WD Rim ff Pocket Snr Noise CHH LD L.Tom ff Jazz Ride p MC500 Beep 1 LD Snr p Flange Snr Lite CHH LD M.Tom mf Jazz Ride mf MC500 Beep 2 LD Snr mf Analog Snr 2 CR78 CHH LD M.Tom f China Cymbal DR202 Beep LD Snr f Analog Snr 3 Dance CHH LD M.Tom ff TR909 Crash JD Switch LD Snr ff TR909 Snr 1 Lo-Bit PHH LD H.Tom mf TR909 Ride Cutting Nz LD Rim mf TR909 Snr 2 Hip PHH LD H.Tom f Concert Cym1 Vinyl Noise LD Rim f TR909 Snr 3 TR909 PHH 1 LD H.Tom ff Concert Cym2 Applause LD Rim ff TR909 Snr 4 TR909 PHH 2 TY L.Tom mf TR606 Cym River TY Snr p TR909 Snr 5 TR808 PHH TY L.Tom f TR808 Cym Thunder TY Snr mf TR909 Snr 6 TR606 PHH 1 TY L.Tom ff Reverse Cym Monsoon TY Snr f TR808 Snr 4 TR606 PHH 2 TY M.Tom mf ClassicHseHt Stream TY Snr ff Lite Snare HipHop OHH TY M.Tom f Narrow Hit 1 Bubble TY Rim p TR808 Snr 5 TR909 OHH 1 TY M.Tom ff Narrow Hit 2 Bird Song TY Rim mf TR808 Snr 6 TR909 OHH 2 TY H.Tom mf Euro Hit Dog Bark TY Rim f TR606 Snr 2 TR808 OHH 1 TY H.Tom f Dist Hit Gallop TY Rim ff CR78 Snare TR808 OHH 2 TY H.Tom ff Thin Beef Vint.Phone SF Snr p Urbn Sn Roll TR606 OHH SF L.Tom mf Tao Hit Office Phone SF Snr mf Reg.Stick Lo-Bit OHH 1 SF L.Tom ff Smear Hit 1 Mobile Phone SF Snr f Soft Stick Lo-Bit OHH 2 SF M.Tom mf Smear Hit 2 Door Creak SF Snr ff Hard Stick Lo-Bit OHH 3 SF M.Tom f LoFi Min Hit Door Slam SF SnrGst1 Wild Stick Lite OHH SF M.Tom ff Orch. Hit Car Engine SF SnrGst2 R&B ShrtRim1 CR78 OHH SF H.Tom mf Punch Hit Car Slip SF Rim p R&B ShrtRim2 Noise OHH 1 SF H.Tom f O'Skool Hit Car Pass SF Rim mf WD CStk mf Noise OHH 2 SF H.Tom ff Philly Hit Crash Seq. SF Rim f WD CStk f ----- RR FT Flm ff ----- Gun Shot SF Rim ff LD CStk mf ----- SF LT Flm ff ----- Siren Light Snr ff LD CStk f ----- SF MT Flm f ----- Train Pass Click Snr p TY CStk mf ----- SF HT Flm p ----- Airplane Click Snr ff TY CStk f ----- SF HT Flm f ----- Laugh Jazz Snr mf SfCrsStk p ----- SF HT Flm ff ----- Scream Jazz Snr f SfCrsStk f ----- ----- ----- Punch Jazz Rim p Lo-Bit Stk 1 ----- ----- ----- Heartbeat Soft Jz Roll Lo-Bit Stk 2 ----- ----- ----- Footsteps

----- Dry Stick 1 ----- ----- ----- Machine Gun

----- Dry Stick 2 ----- ----- ----- Laser

----- Dry Stick 3 ----- ----- ----- Thunder Lp

----- R8 Comp Rim ----- ----- ----- Metro Bell

----- TR909 Rim ----- ----- ----- Metro Click

----- TR808 Rim ----- ----- ----- -----

1178 Snr/Rim Menu

1179 HiHat Menu

1180 Tom Menu

1181 Clp&Cym&Hit

1182 FX/SFX Menu

Note No.

47 48

100 101

102

103

1183 Percussion

Cowbell ----Cowbell Mute ----Cowbell2 Lng ----Cowbell2 Edg ----Cowbell3 mf ----Cowbell3 f ----Wood Block ----Wood Block2H Scratch 1 Wood Block2L Scratch 2 Claves Scratch 3 TR808 Claves Scratch 4 Claves 2 Scratch 5 CR78 Beat Scratch 6 Castanet Scratch 7 Whistle Scratch 9 Whistle Long Scratch 10 Whistle Shrt Aah Formant Bongo Hi Mt Eeh Formant Bongo Hi Slp Iih Formant Bongo Lo Slp Ooh Formant Bongo Hi Op Uuh Formant Bongo Lo Op Metal Vox W1 Conga Hi Mt Metal Vox W2 Conga Lo Mt Metal Vox W3 Conga Hi Slp JD Gamelan 1 Conga Lo Slp JD Gamelan 2 Conga Hi Op JD Gamelan 3 Conga Lo Op JD Gamelan 4 Conga Slp Op JD Gamelan 5 Conga Efx JD Gamelan 6 Conga Thumb JD Gamelan 7 Conga 2H Op JD Gamelan 8 Conga 2H Mt JD Gamelan 9 Conga 2H Slp JD Gamelan10 Conga 2L Op JD Gamelan11 Conga 2L Mt JD Gamelan12 Timbale 1 Cajon 1 Timbale 2 Cajon 2 Timbare 3 Cajon 3 Timbare 4 Cajon 4 Cabasa Up SprgDrm Hit Cabasa Down Cuica Cabasa Cut Cuica 2 Hi Cabasa2 Cuica 2 Low Cabasa2 Cut ----Shaker ----Maracas ----808 Maracas ----R8 Shaker ----Guiro 1 ----Guiro 2 ----Guiro Long ----Guiro 2 Up ----Guiro 2 Down ----Guiro 2 Fast ----Vibraslap ----Tamborine 1 ----Tamborine 2 ----Tamborine 3 ----Tamborine4 f ----Tamborine4 p ----CR78 Tamb ----Timpani p ----Timpani f ----Timpani Roll ----Timpani Lp ----ConcertBD p ----ConcertBD f ----ConcertBD ff ----ConcertBD Lp ----Triangle 1Op ----Triangle 1Mt ----Triangle 2 ----Tibet Cymbal ----Wind Chime ----Crotale -----

1184 Scrh&Voi&Wld

Note No.

47 48

GM Group

1185 (PC: 1) GM2 STANDARD

High Q High Q High Q High Q High Q High Q Slap Slap Slap Slap Slap Slap Scratch Push Scratch Push Scratch Push Scratch Push Scratch Push Scratch Push Scratch Pull Scratch Pull Scratch Pull Scratch Pull Scratch Pull Scratch Pull Sticks Sticks Sticks Sticks Sticks Sticks Square Click Square Click Square Click Square Click Square Click Square Click Metron Click Metron Click Metron Click Metron Click Metron Click Metron Click Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell Kick Drum 2 Kick Drum 2 Power Kick 2 Kick Drum 2 Kick Drum 2 Jazz Kick 2 Kick Drum 1 Kick Drum 1 Power Kick 1 Elec.Kick 1 Ana.Kick 1 Jazz Kick 1 Side Stick Side Stick Side Stick Side Stick Ana.Rim Sho Side Stick Aco.Snare Aco.Snare PowerSnareDr E.SnareDrum1 Ana.Snare 1 Aco.Snare Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap Elec.Snare Elec.Snare Elec.Snare E.SnareDrum2 Elec.Snare Elec.Snare Low Tom 2 Room LowTom2 PowerLowTom2 E.Low Tom 2 Ana.Low Tom2 Low Tom 2 ClosedHi-hat ClosedHi-hat ClosedHi-hat ClosedHi-hat Ana.ClosedHH ClosedHi-hat Low Tom 1 Room LowTom1 PowerLowTom1 E.Low Tom 1 Ana.Low Tom1 Low Tom 1 Pedal Hi-hat Pedal Hi-hat Pedal Hi-hat Pedal Hi-hat Ana.ClosedHH Pedal Hi-hat Mid Tom 2 Room MidTom2 PowerMidTom2 E.Mid Tom 2 Ana.Mid Tom2 Mid Tom 2 Open Hi-hat Open Hi-hat Open Hi-hat Open Hi-hat Ana.Open HH Open Hi-hat Mid Tom 1 Room MidTom1 PowerMidTom1 E.Mid Tom 1 Ana.Mid Tom1 Mid Tom 1 High Tom 2 Room Hi Tom2 Power HiTom2 E.Hi Tom 2 Ana.Hi Tom2 High Tom 2 CrashCymbal1 CrashCymbal1 CrashCymbal1 CrashCymbal1 Ana.Cymbal CrashCymbal1 High Tom 1 Room Hi Tom1 Power HiTom1 E.Hi Tom 1 Ana.Hi Tom1 High Tom 1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 China Cymbal China Cymbal China Cymbal Reverse Cym. China Cymbal China Cymbal Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell Tambourine Tambourine Tambourine Tambourine Tambourine Tambourine SplashCymbal SplashCymbal SplashCymbal SplashCymbal SplashCymbal SplashCymbal Cowbell Cowbell Cowbell Cowbell Ana.Cowbell Cowbell CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2 Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 High Bongo High Bongo High Bongo High Bongo High Bongo High Bongo Low Bongo Low Bongo Low Bongo Low Bongo Low Bongo Low Bongo MuteHi Conga MuteHi Conga MuteHi Conga MuteHi Conga Ana.Hi Conga MuteHi Conga OpenHi Conga OpenHi Conga OpenHi Conga OpenHi Conga Ana.MidConga OpenHi Conga Low Conga Low Conga Low Conga Low Conga Ana.LowConga Low Conga High Timbale High Timbale High Timbale High Timbale High Timbale High Timbale Low Timbale Low Timbale Low Timbale Low Timbale Low Timbale Low Timbale High Agogo High Agogo High Agogo High Agogo High Agogo High Agogo Low Agogo Low Agogo Low Agogo Low Agogo Low Agogo Low Agogo Cabasa Cabasa Cabasa Cabasa Cabasa Cabasa Maracas Maracas Maracas Maracas Ana.Maracas Maracas ShortWhistle ShortWhistle ShortWhistle ShortWhistle ShortWhistle ShortWhistle Long Whistle Long Whistle Long Whistle Long Whistle Long Whistle Long Whistle Short Guiro Short Guiro Short Guiro Short Guiro Short Guiro Short Guiro Long Guiro Long Guiro Long Guiro Long Guiro Long Guiro Long Guiro Claves Claves Claves Claves Ana.Claves Claves Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica MuteTriangle MuteTriangle MuteTriangle MuteTriangle MuteTriangle MuteTriangle OpenTriangle OpenTriangle OpenTriangle OpenTriangle OpenTriangle OpenTriangle Shaker Shaker Shaker Shaker Shaker Shaker Jingle Bell Jingle Bell Jingle Bell Jingle Bell Jingle Bell Jingle Bell Bell Tree Bell Tree Bell Tree Bell Tree Bell Tree Bell Tree Castanets Castanets Castanets Castanets Castanets Castanets Mute Surdo Mute Surdo Mute Surdo Mute Surdo Mute Surdo Mute Surdo Open Surdo Open Surdo Open Surdo Open Surdo Open Surdo Open Surdo

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

1186 (PC: 9) GM2 ROOM

1187 (PC: 17) GM2 POWER

1188 (PC: 25) GM2 ELECTRIC

1189 (PC: 26) GM2 ANALOG

1190 (PC: 33) GM2 JAZZ

Note No.

47 48

1191 (PC: 41) GM2 BRUSH

High Q ClosedHi-hat ----Slap Pedal Hi-hat ----Scratch Push Open Hi-hat ----Scratch Pull Ride Cymbal1 ----Sticks Sticks ----Square Click Square Click ----Metron Click Metron Click ----Metron Bell Metron Bell ----Jazz Kick 2 Concert BD 2 ----Jazz Kick 1 Concert BD 1 ----Side Stick Side Stick ----Brush Tap Concert SD ----Brush Slap Castanets High Q Brush Swirl Concert SD Slap BrushLowTom2 Timpani F Scratch Push ClosedHi-hat Timpani F# Scratch Pull BrushLowTom1 Timpani G Sticks Pedal Hi-hat Timpani G# Square Click BrushMidTom2 Timpani A Metron Click Open Hi-hat Timpani A# Metron Bell BrushMidTom1 Timpani B GtFret Noise Brush HiTom2 Timpani c Cut Noise Up CrashCymbal1 Timpani c# Cut Noise Dw Brush HiTom1 Timpani d Slap_St.Bass Ride Cymbal1 Timpani d# Fl.Key Click China Cymbal Timpani e Laughing Ride Bell Timpani f Scream Tambourine Tambourine Punch SplashCymbal SplashCymbal Heart Beat Cowbell Cowbell Footsteps 1 CrashCymbal2 Concert Cym2 Footsteps 2 Vibra-slap Vibra-slap Applause Ride Cymbal2 Concert Cym1 Door Creak High Bongo High Bongo Door Low Bongo Low Bongo Scratch MuteHi Conga MuteHi Conga Wind Chimes OpenHi Conga OpenHi Conga Car-Engine Low Conga Low Conga Car-Stop High Timbale High Timbale Car-Pass Low Timbale Low Timbale Car-Crash High Agogo High Agogo Siren Low Agogo Low Agogo Train Cabasa Cabasa Jetplane Maracas Maracas Helicopter ShortWhistle ShortWhistle Starship Long Whistle Long Whistle Gun Shot Short Guiro Short Guiro Machine Gun Long Guiro Long Guiro Lasergun Claves Claves Explosion Hi WoodBlock Hi WoodBlock Dog LowWoodBlock LowWoodBlock Horse-Gallop Mute Cuica Mute Cuica Birds Open Cuica Open Cuica Rain MuteTriangle MuteTriangle Thunder OpenTriangle OpenTriangle Wind Shaker Shaker Seashore Jingle Bell Jingle Bell Stream Bell Tree Bell Tree Bubble Castanets Castanets ----Mute Surdo Mute Surdo ----Open Surdo Open Surdo -----

----- Applause -----

1192 (PC: 49) GM2 ORCHSTRA

1193 (PC: 57) GM2 SFX

100

Roland Prelude User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Using the unit safely

Important notes

Main Features

Panel Descriptions

Front Panel

Rear Panel

Introduction

About Memory

Making Connections

Connecting the AC Adaptor

Connecting External Equipment

Turning the Power On/Off

Turning the power on

Connecting a pedal and switch

Turning the power off

Adjusting the Display Contrast ([LCD CONTRAST] knob)

Basic Operation

Changing a Value

Moving the cursor

Changing a value

Main Screen

Listening to the Demo Songs

Preserving Certain Settings Even When You Switch Performances (Lock System)

Input settings for the EXT INPUT jack

Keyboard Mode Functions

Using Split Mode ([SPLIT])

Using Single Mode

Using Piano Mode

Changing the Split Point

Using Dual Mode ([DUAL])

Selecting a Tone ([TONE])

Using the VALUE dial

Choosing from the Tone list

Changing the Key Touch ([KEY TOUCH])

Shifting the Keyboard Pitch in Octave Steps (OCTAVE Buttons)

Transposing Keyboard Sounds and Songs Played Back (TRANSPOSE)

Using the Metronome

Other Functions

Backing Track Functions

Selecting the Backing Types (Style/Song/USB Memory Player)

Adjusting the Tempo ([TAP TEMPO])

Using the metronome

Adjusting the Volume Balance between Backing and Keyboard (BALANCE buttons)

Changing the Variations

Style (Playing with an Accompaniment)

Playing Back a Style ([STYLE])

Stopping a Style

Adjusting the Part Balance ([PART VIEW])

Sync Start/Stop (SYNC buttons)

Saving the Current Settings in a Performance

Selecting a Music Style

Selecting a Style

Adding User Styles (Importing from USB memory)

Deleting a User Style

Using the Recommended Sound Settings for a Style ([ONE TOUCH])

Song

Recording a New Song ([SONG REC])

Other Functions Related to Music Style

Recording in the Main screen

Recording a specified Part (SONG TRACK)

Re-recording Your Performance

Saving a Song ([WRITE])

Loading Song Data from USB Memory

Deleting a Song

Selecting and Playing a Song ([SONG])

Moving the playback location of a song

Performing along with a song ([MINUS ONE/CENTER CANCEL])

USB Memory Player (SMF/Audio File Player)

Back Up Song Files

Other Functions Related to Song

Playing Back SMF/Audio Files

USB Memory Player Screens

Song Playback ([USB MEMORY PLAYER])

Selecting a playlist and playing it

Selecting and playing a song from within a songlist

Performing along with a song ([MINUS ONE/CENTER CANCEL])