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.
• 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.
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.
• 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.
• 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!
• 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.
•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
• 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.
• 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.
• 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.
•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.
• 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.
•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.
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.
5
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.
Copyright
*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.
6
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.
7
Contents
Using the unit safely ..........................3
Important notes .................................5
Main Features....................................7
Panel Descriptions............................10
Front Panel ........................................................10
If connection to your computer is unsuccessful.............. 44
Making the Settings for the USB Driver..................44
Index ............................................ 106
9
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.
2.
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).
3.
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.
1
2
3
4
5
6
4.
D BEAM controller
Use this controller simply by moving your hand above it
(p. 34).
5.
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.
6.
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).
8.
BALANCE buttons
Use these buttons to adjust the volume balance between
the backing and the keyboard. (p. 23)
9.
PART VIEW button
Use this to adjust the volume, etc. of each part (p. 24,
27).
789
111213
14
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
10
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.
15
10
Panel Descriptions
16
16. VALUE dial
Use this to edit the value of the parameters (settings) in the
screen.
17
19 20
21 22
18
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 263031
2728 29
34
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).
11
Panel Descriptions
Rear Panel
123 456789
1. LCD CONTRAST knob
Adjusts the display’s contrast (p. 16).
2. MIDI OUT/IN connectors
Connect MIDI devices to these connectors (p. 42).
3.
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).
4.
HOLD PEDAL jack
Connect a separately available pedal switch (Roland DP
Series) to this jack (p. 15).
5.
EXT INPUT jack
Connect a portable audio player or other audio source to
thise mini jack (p. 15, p. 18).
11
10
OUTPUT R, L/MONO jacks
6.
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).
7.
USB MIDI port
Use a USB cable to connect the Prelude to your computer
via this connector (p. 48).
8.
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.
9.
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).
12
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
StyleSong
Style
Style
Song
Playlist
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).
13
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.
14
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.
3.
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.
2.
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.
15
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.
16
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.
All rights reserved. Unauthorized use of this material for
purposes other than private, personal enjoyment is a violation
of applicable laws.
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.
ExplanationValue
OFF, ON
OFF, ON
OFF, ON
OFF, ON
These settings are system parameters (p. 45).
17
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).
ExplanationValue
OFF, ON
OFF, ON
18
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”.
1.
Press [SPLIT] so the button is lit.
The Tone you selected in Single mode will be the Tone for
the Upper Part.
2.
Use [] [] to select the Upper or Lower part if you
wish to assign it a different Tone.
3.
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.
1.
Press [SPLIT] and [DUAL] (PIANO MODE) simultaneously.
Changing the Split Point
1.
Press and hold [SPLIT] (for approximately two seconds).
The Split Point setting screen will appear.
2.
Turn the VALUE dial to change the Split Point.
3.
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.”
1.
Press [DUAL] so the button is lit.
The Tone you selected in Single mode will be the Tone for
the Upper Part.
2.
Use [] [] to select the Upper or Lower part if you
wish to assign it a different Tone.
19
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
ExplanationValue
Press
[ENTER]
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).
20
Upper Sw
Style SwUse the Key Scale for the Style Part OFF, ON
CKey Scale C-64–+63
C#Key Scale C#-64–+63
DKey Scale D-64–+63
EbKey Scale Eb-64–+63
EKey Scale E-64–+63
FKey Scale F-64–+63
3. When you’ve finished making settings, press [EXIT] once to
close the window.
ExplanationValue
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
ValueExplanation
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
Value1–127
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).
ValueExplanation
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.
ParameterExplanationValue
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
21
Keyboard Mode Functions
ParameterExplanationValue
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.
ParameterValueExplanation
Metronome
Switch
OFF, ONTurns 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)
22
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.
23
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.
After importing new Styles from a USB memory, you can
also press [USER] to select a User Style.
LEVEL0–127Adjusts 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
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.
TypeExplanation
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].
3.
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.
25
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.
26
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.
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.
ItemExplanationValue
PartPart to record1–16
ToneThe 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.
27
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.
ValueExplanation
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.
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 ! # $ % & ‘ ( ) - @ ^ ` { } _
ButtonExplanation
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).
28
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].
3.
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
5.
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.
29
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
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
5.
6.
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).
31
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.
FileFunctionExplanation
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.
32
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.
ValueExplanation
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.
33
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.
ButtonExplanation
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
34
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
35
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.
TypeExplanation
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
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
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
36
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
ValueExplanation
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 PointC#2–C7
Octave
Upper
Octave
Lower
ValueExplanation
-4–+4
-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
ON
Specifies how Chord Bass will be sounded.
OFF
ON
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.
37
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).
ParameterValueExplanation
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
ParameterValueExplanation
Level0–127Adjusts 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
-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
0–127
38
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
-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.
ParameterValueExplanation
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
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.
39
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
ExplanationValue
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
0–127
0–127
0–127
MAIN,
REV,
M+R
40
LOWER
MFX
UPPER
MFX
CHORUS
REVERBSee “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
ExplanationValue
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
41
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
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
IN
MIDI
OUT
OUT
Memory
MIDI
IN
(2)
Thru setting turned on
42
Immediately after the power is turned on, this setting will be
On.
Using MIDI
MIDI Parameters
ParameterExplanationValue
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
1–16
OFF, ON
1–16
1–16
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
ParameterExplanationValue
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
OFF, ON
OFF, ON
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).
43
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.
ValueExplanation
VENDERSelect 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.
44
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
ValueExplanation
415.3–
466.2Hz
OFF, ONRefer 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).
ValueExplanation
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).
45
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)
ValueExplanation
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 ClockOFF, ON
Tx Start-
Stop
Tx Song
Position
Rx
Rx SyncOFF, ON
Rx Pitch
Bend
Rx
Modulation
Rx
Program
Change
SYSTEM METRONOME
Parameter
Metronome
Switch*
Metronome
Mode
Metronome
Level
ValueExplanation
OFF, ON
1–16
1–16
OFF, ON
1–16
1–16
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
ValueExplanation
OFF, ON
ALWAYS,
REC, PLAY
LOW,
MEDIUM,
HIGH
Refer to “MIDI Parameters” (p. 43).
Refer to “MIDI Parameters” (p. 43).
Refer to “MIDI Parameters” (p. 43).
Refer to “Using the Metronome” (p.
22).
46
SYSTEM LOCK
Parameter
StyleOFF, ON
ToneOFF, ON
Style Tem-
po
Transpose OFF, ON
ValueExplanation
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.
•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.
47
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].
ItemExplanation
StyleAll user Styles will be saved to USB memory.
SongAll user Songs will be saved to USB memory.
Sound/
System
AllAll 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].
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].
ItemExplanation
Style
Song
Sound/
System
AllAll 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].
48
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).
49
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
ParameterValueExplanation
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.
50
ParameterValueExplanation
About V-LINK
D BEAM
BPM
Sync SW
Clip
Loop SW
Assign
Knob
Fade
Time SW
Visual
Knob
AB SWCC81 (General–6)
Tap SWCC83 (General–8)
Total
* 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
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.
ProblemCheck/SolutionPage
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
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
53
Appendices
ProblemCheck/SolutionPage
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.
• 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.
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
54
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.
MessageMeaningAction
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].
55
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.
35 OVERDRIVEP.69
36 DISTORTIONP.69
37 VS OVERDRIVEP.69
38 VS DISTORTIONP.69
39 GUITAR AMP SIMULATORP.69
40 COMPRESSORP.70
41 LIMITERP.70
42 GATEP.70
DELAY (13 types)
43 DELAYP.71
44 LONG DELAYP.71
45 SERIAL DELAYP.71
46 MODULATION DELAYP.72
47 3TAP PAN DELAYP.72
48 4TAP PAN DELAYP.72
49 MULTI TAP DELAYP.73
50 REVERSE DELAYP.73
51 SHUFFLE DELAYP.73
52 3D DELAYP.74
53 TIME CTRL DELAYP.74
54 LONG TIME CTRL DLYP.74
55 TAPE ECHOP.75
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.
57
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
4-Band EQ
L out
R out
ParameterValueDescription
Low Freq200, 400 HzFrequency of the low range
Low Gain -15– +15 dBGain of the low range
Mid1 Freq200–8000 HzFrequency of the middle range 1
Mid1 Gain-15– +15 dBGain of the middle range 1
Width of the middle range 1
Mid1 Q0.5, 1.0, 2.0, 4.0, 8.0
Mid2 Freq200–8000 HzFrequency of the middle range 2
Mid2 Gain-15– +15 dBGain of the middle range 2
Mid2 Q0.5, 1.0, 2.0, 4.0, 8.0
High Freq2000, 4000, 8000 Hz Frequency of the high range
High Gain -15– +15 dBGain of the high range
Level 0–127Output 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
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
Isolator
Low Boost
Low Boost
L out
R out
ParameterValueDescription
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 SwOFF, ON
Low Boost Level 0–127
Level0–127Output 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.
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
Step Filter
L out
R out
ParameterValueDescription
Step 01–16 0–127Cutoff frequency at each step
Rate
Attack 0–127
Filter Type
Filter Slope-12, -24, -36 dB
Filter
Resonance
Filter Gain0– +12 dBAmount of boost for the filter output
Level0–127Output 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
Depth0–127Depth of modulation
Attack 0–127
Level0–127Output 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
Enhancer
Mix
Mix
2-Band
EQ
2-Band
EQ
L out
R out
ParameterValueDescription
Sens 0–127Sensitivity of the enhancer
Mix 0–127
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output Level
Level of the overtones generated by the enhancer
59
08: AUTO WAH
t
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
L in
R in
Auto Wah
Auto Wah
2-Band EQ
2-Band EQ
L out
R out
ParameterValueDescription
Type of filter
Filter TypeLPF, BPF
Manual 0–127
Peak0–127
Sens 0–127
PolarityUP, DOWN
Rate
Depth 0–127Depth of modulation
Phase 0–180 deg
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output 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
EQ
R in
ParameterValueDescription
Drive SwOFF, ONTurns Drive on/off.
Drive 0–127
Vowel1 a, e, i, o, u
Vowel2 a, e, i, o, u
Rate
Depth 0–127Effect depth
Input Sync
Sw
Input Sync
Threshold
0.05–10.00 Hz,
note
OFF, ON
0–127Volume 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
ParameterValueDescription
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a longer
Manual 0–100
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Pan L64–63RStereo location of the output
Level0–127Output 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
Speaker
ParameterValueDescription
Speaker Type(See the table below.)Type of speaker
Mic Setting1, 2, 3
Mic Level 0–127Volume of the microphone
Direct Level 0–127Volume of the direct sound
Level 0–127Output Level
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
TypeCabinetSpeaker
SMALL 1small open-back enclosure10dynamic
SMALL 2small open-back enclosure10dynamic
MIDDLEopen back enclosure12 x 1dynamic
JC-120open back enclosure12 x 2dynamic
BUILT-IN 1open back enclosure12 x 2dynamic
BUILT-IN 2open back enclosure12 x 2condenser
BUILT-IN 3open back enclosure12 x 2condenser
BUILT-IN 4open back enclosure12 x 2condenser
BUILT-IN 5open back enclosure12 x 2condenser
BG STACK 1sealed enclosure12 x 2condenser
BG STACK 2large sealed enclosure12 x 2condenser
MS STACK 1large sealed enclosure12 x 4condenser
MS STACK 2large sealed enclosure12 x 4condenser
METAL STACKlarge double stack12 x 4condenser
2-STACKlarge double stack12 x 4condenser
3-STACKlarge triple stack12 x 4condenser
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
60
11: PHASER
Resonance
Mix
L in
R in
L out
R out
Pan R
Pan L
2-Band
EQ
Multi Stage
Phaser
A phase-shifted sound is added to the original sound and modulated.
fig.MFX-11
L in
R in
Phaser
Mix
Mix
Phaser
2-Band
EQ
2-Band
EQ
L out
R out
ParameterValueDescription
Mode
Manual 0–127
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth0–127Depth of modulation
Polarity
Resonance 0–127Amount of feedback
Cross
Feedback
Mix 0–127Level of the phase-shifted sound
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output 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
Mix
Step Phaser
2-Band
EQ
2-Band
EQ
L out
R out
ParameterValueDescription
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
Polarity
Resonance 0–127Amount of feedback
Cross
Feedback
Step Rate 0.10–20.00 Hz, note
Mix 0–127
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output 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
ParameterValueDescription
Mode
Manual 0–127
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Resonance 0–127Amount of feedback
Mix 0–127Level of the phase-shifted sound
Pan L64–63R
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output Level
Adjusts the basic frequency
from which the sound will be
modulated.
Stereo location of the output
sound
ParameterValueDescription
Mode
Manual 0–127
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth0–127Depth of modulation
4-STAGE, 8-STAGE, 12STAGE
Number of stages in the phaser
Adjusts the basic frequency from
which the sound will be modulated.
61
14: INFINITE PHASER
SAW1SAW2
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 Phaser2-Band EQ
R in
Pan R
R out
ParameterRangeExplanation
Mode1, 2, 3, 4
Speed -100– +100
Resonance 0–127Amount of feedback
Mix 0–127
Pan L64–63RPanning of the output sound
Low Gain-15– +15 dB
High Gain-15– +15 dB
Level0–127Output 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
Ring Mod
2-Band EQ
2-Band EQ
ParameterValueDescription
Frequency 0–127
Sens 0–127
PolarityUP, DOWN
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
Step Ring Mod
2-Band EQ
2-Band EQ
L out
R out
ParameterRangeExplanation
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
Level0–127Output 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
Tremolo
2-Band EQ
2-Band EQ
ParameterValueDescription
Modulation Wave
TRI, SQR, SIN, SAW1,
SAW2
Mod Wave
Rate 0.05–10.00 Hz, note Frequency of the change
Depth 0–127Depth to which the effect is applied
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output Level
Cyclically modulates the stereo location of the sound.
fig.MFX-18a
L in
R in
Auto Pan
Auto Pan
2-Band EQ
2-Band EQ
L out
R out
ParameterValueDescription
Modulation Wave
TRI, SQR, SIN, SAW1,
SAW2
Mod Wave
SAW1SAW2
R
L
Rate 0.05–10.00 Hz, note Frequency of the change
Depth 0–127Depth to which the effect is applied
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level0–127Output Level
This uses a 16-step sequence to vary the panning of the sound.
fig.MFX-19
L in
R in
Step Pan
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
Slicer
L out
R out
ParameterValueDescription
Step 01–16 L64–63RLevel at each step
Rate
Attack 0–127
Input Sync SwOFF, ON
Input Sync
Threshold
Mode
Shuffle 0–127
Level0–127Output 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.
ParameterRangeExplanation
Step 01–16 L64–63RPan at each step
Rate 0.05–10.00 Hz, note
Attack 0–127
Input Sync SwOFF, ON
Input Sync
Threshold
Level0–127Output 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
63
L in
R in
Chorus
Chorus
L out
R out
2-Band
EQ
2-Band
EQ
Balance W
Balance W
Balance D
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
ParameterValueDescription
Simultaneously switch the rotational
speed of the low frequency rotor
Speed SLOW, FAST
Woofer Slow
Speed
Woofer Fast
Speed
Woofer
Acceleration
Woofer Level0–127Volume of the low frequency rotor
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter
Acceleration
Tweeter Level0–127
Separation0–127Spatial dispersion of the sound
Level 0–127Output Level
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0.05–10.00 Hz
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
ParameterValueDescription
Speed SLOW, FAST
Brake OFF, ON
Woofer Slow
Speed
Woofer Fast
Speed
64
0.05–10.00 Hz
0.05–10.00 Hz
2-Band EQ
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
ParameterValueDescription
Adjusts the rate at which the
Woofer Trans Up 0–127
Woofer Trans
Down
Woofer Level0–127Volume of the woofer
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter Trans Up 0–127
Tweeter Trans
Down
Tweeter Level0–127
Spread0–10
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level 0–127Output Level
0–127
0.05–10.00 Hz
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
ParameterValueDescription
Type of filter
OFF: no filter is used
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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
EQ
Balance W
Balance W
2-Band
EQ
L out
R out
ParameterValueDescription
Type of filter
OFF: no filter is used
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
Feedback -98– +98%
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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
EQ
Balance W
L out
ParameterValueDescription
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
Feedback -98– +98%
Step Rate 0.10–20.00 Hz, noteRate (period) of pitch change
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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
ParameterValueDescription
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth0–127Depth of modulation
Pre Delay
Deviation
Depth
Deviation
Pan Deviation0–20
Balance D100:0W–D0:100W
Level0–127Output Level
0–20
-20– +20
L out
Balance W
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
EQ
R out
ParameterValueDescription
Type of filter
OFF: no filter is used
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
65
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
ParameterValueDescription
Pre Delay0.0–100.0 ms
Chorus Rate 0.05–10.00 Hz, note
Chorus Depth0–127
Tremolo Rate 0.05–10.00 Hz, note
Tremolo
Separation
Tremolo Phase0–180 degSpread of the tremolo effect
Balance D100:0W–D0:100W
Level0–127Output Level
0–127Spread 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
Space D
R in
Balance D
2-Band
Balance W
Balance W
2-Band
EQ
EQ
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
L
2-Band
EQ
L out
3D Chorus
R
2-Band
EQ
R out
ParameterValueDescription
Type of filter
OFF: no filter is used
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, note Frequency of modulation
Depth0–127
Phase0–180 degSpatial spread of the sound
Output ModeSPEAKER, PHONES
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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)
ParameterValueDescription
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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)
66
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
L
2-Band
EQ
L out
3D Flanger
R
2-Band
EQ
R out
ParameterValueDescription
Type of filter
OFF: no filter is used
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
Feedback -98– +98%
Output ModeSPEAKER, PHONES
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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.
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Volume balance between the direct sound (D) and the flanger
sound (W)
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
L
3D Step Flanger
R
ParameterValueDescription
Filter TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate 0.05–10.00 Hz, noteFrequency of modulation
Depth0–127Depth of modulation
Phase0–180 degSpatial spread of the sound
2-Band
EQ
2-Band
EQ
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
ParameterValueDescription
Adjusts the proportion of the
Feedback -98– +98%
Step Rate 0.10–20.00 Hz, noteRate (period) of pitch change
Output ModeSPEAKER, PHONES
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output Level
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Volume balance between the direct sound (D) and the flanger
sound (W)
32: 2BAND CHORUS
A chorus effect that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-32
ParameterRangeExplanation
Split Freq200–8000 Hz
Low Pre Delay0.0–100.0 ms
Low Rate 0.05–10.00 Hz, note
Low Depth0–127
Low Phase0–180 deg
High Pre Delay0.0–100.0 ms
High Rate 0.05–10.00 Hz, note
High Depth0–127
High Phase0–180 deg
Balance D100:0W–D0:100W
Level0–127Output 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)
67
33: 2BAND FLANGER
R in
R out
L in
L out
Split
High Band Step Flanger
Split
Low Band Feedback
High 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
ParameterRangeExplanation
Split Freq200–8000 Hz
Low Pre Delay0.0–100.0 ms
Low Rate 0.05–10.00 Hz, note
Low Depth0–127
Low Phase0–180 deg
Low
Feedback
High Pre Delay0.0–100.0 ms
High Rate 0.05–10.00 Hz, note
High Depth0–127
High Phase0–180 deg
High
Feedback
Balance D100:0W–D0:100W
Level0–127Output volume
-98– +98%
-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
ParameterRangeExplanation
Split Freq200–8000 Hz
Low Pre Delay0.0–100.0 ms
Low Rate 0.05–10.00 Hz, note
Low Depth0–127
Low Phase0–180 deg
Low
Feedback
Low Step
Rate
High Pre Delay0.0–100.0 ms
High Rate 0.05–10.00 Hz, note
High Depth0–127
High Phase0–180 deg
High
Feedback
High Step
Rate
Balance D100:0W–D0:100W
Level0–127Output 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)
68
35: OVERDRIVE
L in
R in
L out
R out
Pan R
Pan L
Amp
Simulator
2-Band
EQ
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
EQ
L out
Pan L
Pan R
R out
ParameterValueDescription
Drive 0–127
Amp Type
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Pan L64–63R
Level0–127Output 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
EQ
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
EQ
R in
ParameterValueDescription
Drive 0–127
Tone 0–127Sound quality of the Overdrive effect
Amp SwOFF, ONTurns the Amp Simulator on/off.
Amp Type
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Pan L64–63RStereo location of the output sound
Level0–127Output 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
ParameterValueDescription
Pre Amp SwOFF, ONTurns 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 GainLOW, MIDDLE, HIGHAmount of pre-amp distortion
Pre Amp Bass
Pre Amp
Middle
Pre Amp Treble
Pre Amp
Presence
Pre Amp Bright OFF, ON
Speaker SwOFF, ON
Speaker Type(See the table right.)Type of speaker
Mic Setting1, 2, 3
Mic Level0–127Volume of the microphone
Direct Level0–127Volume of the direct sound
Pan L64–63RStereo location of the output
Level 0–127Output level
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.
69
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
TypeCabinet
SMALL 1small open-back enclosure10dynamic
SMALL 2small open-back enclosure10dynamic
MIDDLEopen back enclosure12 x 1dynamic
JC-120open back enclosure12 x 2dynamic
BUILT-IN 1open back enclosure12 x 2dynamic
BUILT-IN 2open back enclosure12 x 2condenser
BUILT-IN 3open back enclosure12 x 2condenser
BUILT-IN 4open back enclosure12 x 2condenser
BUILT-IN 5open back enclosure12 x 2condenser
BG STACK 1sealed enclosure12 x 2condenser
BG STACK 2large sealed enclosure12 x 2condenser
MS STACK 1large sealed enclosure12 x 4condenser
MS STACK 2large sealed enclosure12 x 4condenser
METAL STACKlarge double stack12 x 4condenser
2-STACKlarge double stack12 x 4condenser
3-STACKlarge triple stack12 x 4condenser
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
Limiter
2-Band EQ
2-Band EQ
ParameterValueDescription
Release 0–127
Threshold 0–127
Ratio
Post Gain0– +18 dBAdjusts the output gain.
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Level 0–127Output 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
Compressor
2-Band EQ
2-Band EQ
ParameterValueDescription
Attack 0–127Sets the speed at which compression starts
Threshold 0–127
Post Gain0– +18 dBAdjusts the output gain.
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Level 0–127Output 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
Gate
ParameterValueDescription
Threshold 0–127
Mode
Attack 0–127
Hold 0–127
Release0–127
Balance
Level0–127Output 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
70
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
EQ
Balance W
Balance W
2-Band
EQ
L out
R out
ParameterRangeExplanation
Feedback -98– +98%
HF Damp
Pan L64–63RPanning of the delay sound
Low Gain-15– +15 dB
High Gain-15– +15 dB
Balance D100:0W–D0:100W
Level0–127Output 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
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
EQ
Balance W
Balance W
2-Band
EQ
L out
R out
ParameterValueDescription
Delay Left
Delay Right
Phase Left
Phase Right
Feedback
Mode
Feedback -98– +98%
HF Damp
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
EQ
Pan L
Pan R
2-Band
EQ
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
ParameterRangeExplanation
Delay1 Time0–1300 ms, note
Delay1
Feedback
Delay1 HF Damp
Delay2 Time0–1300 ms, note
Delay2
Feedback
Delay2 HF Damp
Pan L64–63RPanning of the delay sound
Low Gain-15– +15 dB
High Gain-15– +15 dB
Balance D100:0W–D0:100W
Level0–127Output 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)
ParameterRangeExplanation
Delay Time0–2600 ms, note
PhaseNORMAL, 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)
71
46: MODULATION DELAY
L in
R in
L out
R out
Left Tap
Right Tap
Triple Tap Delay
2-Band
EQ
2-Band
EQ
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 inL out
Delay
Feedback
Feedback
Delay
R inR out
Balance D
Modulation
Modulation
Balance D
2-Band
EQ
Balance W
Balance W
2-Band
EQ
When Feedback Mode is CROSS:
fig.MFX-46b
L in
Delay
Feedback
Feedback
Delay
R in
Balance D
Modulation
Modulation
Balance D
2-Band
EQ
Balance W
Balance W
2-Band
EQ
L out
R out
ParameterValueDescription
Delay Left
Delay Right
Feedback
Mode
Feedback -98– +98%
HF Damp
Rate
Depth0–127Depth of modulation
Phase0-180 degSpatial spread of the sound
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
ParameterValueDescription
Delay Left/
Right/Center
Center
Feedback
HF Damp
Left/Right/
Center Level
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output level
0–2600 ms,
note
-98– +98%
200–8000 Hz,
BYPASS
0–127Volume 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
23
1
Stereo location of each delay
4
72
L
R
ParameterValueDescription
Delay 1–4 Time
Delay 1
Feedback
HF Damp
Delay 1–4 Level 0–127Volume of each delay
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
ParameterValueDescription
Delay 1–4 Time
Delay 1
Feedback
HF Damp
Delay 1–4 Pan L64–63RStereo location of Delays 1–4
Delay 1–4 Level 0–127Output level of Delays 1–4
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
EQ
Balance W
Balance W
2-Band
EQ
L out
R out
ParameterRangeExplanation
Delay 1 – 3 Time 0–1300 ms, note
Delay 3 Feedback
Delay HF Damp200–8000 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
Level0–127Output volume
-98– +98%
L64–63RPanning of the tap delay sounds
0–127Volume 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
A
B
2-Band
EQ
EQ
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
D3
D1
D2
R in
ParameterRangeExplanation
Threshold0–127
Rev Delay Time0–1300 ms, note
Rev Delay
Feedback
Rev Delay HF
Damp
Rev Delay PanL64–63R
Rev Delay Level0–127
-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
2-Band
EQ
EQ
L out
R out
ParameterValueDescription
Delay Time
Shuffle
Rate
Acceleration0–15
Feedback -98– +98%
HF Damp
Pan A/B0–127Stereo location of Delay A/B
Level A/B0–127Volume of delay A/B
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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)
73
52: 3D DELAY
L in
R in
L out
R out
2-Band
EQ
Balance W
Balance W
Balance D
Balance D
2-Band
EQ
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
L
3D Delay L
Level
2-Band
EQ
L out
3D Delay C
Feedback
3D Delay R
R
2-Band
EQ
R out
ParameterValueDescription
Delay Left
Delay Right
Delay Center
Center
Feedback
HF Damp200–8000 Hz, BYPASS
Left Level
Center Level
Output ModeSPEAKER, PHONES
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output Level
0–2600 ms, note
-98– +98%
0–127Output 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.
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Volume balance between the direct
sound (D) and the effect sound (W)
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
ParameterValueDescription
Adjusts the frequency above which
HF Damp
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
ParameterValueDescription
Delay Time
Acceleration0–15
Feedback -98– +98%
HF Damp
Pan L64–63RStereo location of the delay
Low Gain-15– +15 dBGain of the low frequency range
High Gain-15– +15 dBGain of the high frequency range
Balance
Level0–127Output 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
ParameterValueDescription
Delay Time 0–1300 ms, note
Acceleration0–15
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.
74
2-Band EQ
R out
55: TAPE ECHO
L in
R in
L out
R out
Compressor
Lo-Fi
Lo-Fi
Compressor
2-Band
EQ
2-Band
EQ
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
ParameterValueDescription
Mode
Repeat Rate 0–127
Intensity 0–127Amount of delay repeats
Bass-15– +15 dB
Treble-15– +15 dB
Head S Pan
Head M Pan
Head L Pan
Tape Distortion0–5
Wow/Flutter
Rate
Wow/Flutter
Depth
Echo Level 0–127Volume of the echo sound
Direct Level 0–127Volume of the original sound
Level0–127Output level
S, M, L, S+M,
S+L, M+L,
S+M+L
L64–63R
0–127
0–127Depth 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
EQ
2-Band
EQ
L out
R out
ParameterValueDescription
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 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance
Level 0–127Output level
200–8000 Hz,
BYPASS
0–127Volume of the white/pink noise
LP, EP, SP,
RND
200–8000 Hz,
BYPASS
0–127Volume of the record noise
50 Hz, 60 Hz Frequency of the hum noise
200–8000 Hz,
BYPASS
0–127Volume 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
ParameterValueDescription
Selects the type of filter applied to the sound
Pre Filter Type1–6
LoFi Type1–9
Post Filter Type OFF, LPF, HPF
Post Filter
Cutoff
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance
Level 0–127Output 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)
ParameterValueDescription
LoFi Type1–9
Filter Type
Filter Cutoff200–8000 Hz Center frequency of the filter
W/P Noise
Type
OFF, LPF,
HPF
WHITE, PINKSwitch 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
75
58: LOFI RADIO
L in
R in
Pitch Shifter
Pitch Shifter
L out
R out
2-Band EQ
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
ParameterValueDescription
LoFi Type1–9
Filter Type
Filter Cutoff200–8000 Hz Basic frequency of the Post Filter
Radio
Detune
Radio Noise
Level
Balance
Level0–127Output level
OFF, LPF,
HPF
0–127
0–127Volume 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
EQ
2-Band
EQ
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
ParameterValueDescription
Signal
Distortion
Frequency
Range
Disc TypeLP, EP, SP
Scratch
Level
Dust Noise
Level
Hiss Noise
Level
Total Noise
Level
Wow0–127Depth of long-cycle rotational irregularity
Flutter0–127Depth of short-cycle rotational irregularity
Random0–127
Total Wow/
Flutter
Balance
Level0–127Output level
61:
0–127Depth of distortion
Frequency response of the playback system
0–127
Noise
0–127
0–127Volume of noise due to dust on the record
0–127Volume of continuous “hiss”
0–127Volume of overall noise
0–127Depth 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
Telephone
L out
R out
ParameterValueDescription
Voice
Quality
Treble-15– +15 dBBandwidth of the telephone voice
Balance
Level0–127Output level
0–15Audio 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
Phonograph
R in
Balance D
L out
Balance W
Balance W
R out
Balance D
A stereo pitch shifter.
fig.MFX-61
ParameterValueDescription
Coarse-24– +12 semi
Fine-100– +100 cent
Delay Time0–1300 ms, note
Feedback -98– +98%
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output 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)
76
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
Balance W
R out
ParameterValueDescription
Pitch 1:
Coarse
Pitch 1:Fine -100-+100 cent
Pitch 1:Delay0–1300 ms, note
Pitch 1:Feedback
Pitch 1:Pan L64-63R
Pitch 1:Level0–127Volume of the Pitch Shift1 sound
Pitch 2:
Coarse
Pitch 2:Fine -100-+100 cent
Pitch 2:Delay0–1300 ms, note
Pitch 2:Feedback -98– +98%
Pitch 2:Pan L64-63R
Pitch 2:Level0–127
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Level BalanceA100:0B-A0:100B
BalanceD100:0W-D0:100W
Level0-127Output 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
Step Pitch Shifter
R in
2-Band
EQ
2-Band
EQ
L out
R out
ParameterRangeExplanation
Attack 0–127
Gate Time 0–127
Fine-100– +100 cent
Delay Time0–1300 ms, note
Feedback -98– +98%
Low Gain-15– +15 dB
High Gain-15– +15 dB
Balance D100:0W–D0:100W
Level0–127Output 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
ParameterValueDescription
ROOM1, ROOM2,
Type
Pre Delay0.0–100.0 ms
Time 0–127Time length of reverberation
HF Damp
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level0–127Output Level
STAGE1, STAGE2,
HALL1, HALL2
200–8000 Hz,
BYPASS
2-Band
EQ
Balance W
Balance W
2-Band
EQ
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
ParameterRangeExplanation
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
77
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
ParameterValueDescription
Type
Pre Delay0.0–100.0 ms
Gate Time5–500 ms
Low Gain-15– +15 dBGain of the low range
High Gain-15– +15 dBGain of the high range
Balance D100:0W–D0:100W
Level 0–127Output Level
NORMAL, REVERSE,
SWEEP1, SWEEP2
2-Band
EQ
Balance W
Balance W
2-Band
EQ
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
ParameterValueDescription
Overdrive Drive 0–127
Overdrive Pan L64–63R
Flanger Pre
Delay
Flanger Rate 0.05–10.00 Hz, noteFrequency of modulation
Flanger Depth0–127Depth of modulation
Flanger
Feedback
Flanger Balance D100:0W–D0:100W
Level0–127Output 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
Balance W
R out
66: OVERDRIVE → CHORUS
fig.MFX-66
L in
Overdrive
R in
Balance D
Chorus
Balance D
ParameterValueDescription
Overdrive Drive 0–127
Overdrive Pan L64–63R
Chorus Pre
Delay
Chorus Rate 0.05–10.00 Hz, noteFrequency of modulation
Chorus Depth0–127Depth of modulation
Chorus Balance D100:0W–D0:100W
Level0–127Output 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
Balance W
R out
68: OVERDRIVE → DELAY
fig.MFX-68
L in
Overdrive
R in
ParameterValueDescription
Overdrive Drive 0–127
Overdrive Pan L64–63R
Delay Time0–2600 ms, note
Delay
Feedback
Delay HF Damp
Delay Balance D100:0W–D0:100W
Level0–127Output 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
Balance W
R out
78
69: DISTORTION → CHORUS
Feedback
Flanger
L in
R in
L out
R out
Mix
Mix
Enhancer
Enhancer
Balance W
Balance W
Balance D
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
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
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
Balance W
R out
ParameterValueDescription
Chorus Rate
Chorus Depth0–127Depth of modulation
Chorus Balance
Level0–127Output 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
ParameterValueDescription
Enhancer Sens 0–127Sensitivity of the enhancer
Enhancer Mix 0–127
Flanger Pre Delay 0.0–100.0 ms
Flanger Rate
Flanger Depth0–127Depth of modulation
Flanger Feedback -98– +98%
Flanger Balance
Level0–127Output 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
ParameterValueDescription
Enhancer Sens 0–127Sensitivity of the enhancer
Enhancer Mix 0–127
Chorus Pre Delay0.0–100.0 ms
Enhancer
Enhancer
Mix
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
Balance W
R out
79
74: ENHANCER → DELAY
Feedback
Delay
L in
R in
L out
R out
Balance W
Balance W
Balance D
Balance D
Flanger
Balance W
Balance W
Balance D
Balance D
Feedback
fig.MFX-74
L in
R in
Enhancer
Enhancer
Mix
Mix
Balance D
Delay
Feedback
Balance D
76: FLANGER → DELAY
fig.MFX-76
L out
Balance W
Balance W
R out
ParameterValueDescription
Enhancer Sens 0–127Sensitivity of the enhancer
Enhancer Mix 0–127
Delay Time0–2600 ms, note
Delay
Feedback
Delay HF Damp
Delay Balance D100:0W–D0:100W
Level0–127Output 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
Balance D
Delay
Feedback
Balance D
Balance W
Balance W
L out
R out
ParameterValueDescription
Flanger Pre Delay 0.0–100.0 ms
Flanger Rate 0.05–10.00 Hz, noteFrequency of modulation
Flanger Depth0–127Depth of modulation
Flanger Feedback -98– +98%
Flanger Balance D100:0W–D0:100W
Delay Time0–2600 ms, note
Delay
Feedback
Delay HF Damp
Delay
Balance
Level0–127Output 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).
ParameterValueDescription
Chorus Pre
Delay
Chorus Rate 0.05–10.00 Hz, noteFrequency of modulation
Chorus Depth0–127Depth of modulation
Chorus Balance D100:0W–D0:100W
Delay Time0–2600 ms, note
Delay
Feedback
Delay HF Damp
Delay
Balance
Level0–127Output Level
80
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).
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
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
ParameterRangeExplanation
Depth 0–127Depth of the effect
Damper 0–127
Pre LPF
Pre HPF
Peaking Freq200–8000 Hz
Peaking Gain-15– +15 dB
Peaking Q
HF Damp
LF Damp
Lid6–1
EQ Low Freq200, 400 HzFrequency of the low-range EQ
EQ Low Gain-15– +15 dBAmount of low-range boost/cut
EQ Mid Freq200–8000 HzFrequency of the midrange EQ
EQ Mid Gain-15– +15 dBAmount of midrange boost/cut
EQ Mid Q
EQ High Freq
EQ High Gain-15–+15 dBAmount of high-range boost/cut
Level0–127Output 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
Hz
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
81
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.
ParameterValueDescription
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 TypeOFF, LPF, HPF
Cutoff Freq200–8000 HzBasic frequency of the filter
Pre Delay0.0–100.0 ms
Rate
Depth0–127Depth of modulation
Phase0–180˚Spatial spread of the sound
Feedback0–127
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
0–127Volume 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-LPF0–7
Level0–127Volume of the chorus sound
Feedback0–127
Delay0–127
Rate0–127Frequency of modulation
Depth0–127Depth 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.
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.
note:
fig.MFX-note2.e
82
Reverb Parameters
These settings allow you to select the desired type of reverb, and its characteristics.
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
Time0–127
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
Time0–127Time length of reverberation
Size1–8Size of the simulated room or hall
High Cut
Density0–127Density of reverb
Diffusion0–127
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
ValueDescription
05: GM2 REVERB
Character0–7
Pre-LPF0–7
Level0–127Output level of reverberation
Time0–127Time 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.
83
Tone List
*Nos. 897–1152 (Tones) and Nos. 1185–1193 (Rhythms) are GM2 sounds.
No.NameCategoryMSB LSBPC
1Rich Grand AC.PIANO87641
288ConcertPnoAC.PIANO87642
3UltimatGrandAC.PIANO87643
4X Pure GrandAC.PIANO 87644
5So true... AC.PIANO 87645
6ConcertPianoAC.PIANO 87646
7Warm Piano AC.PIANO 87647
8ConcertGrandAC.PIANO 87648
382 Tpts & Tmbs AC.BRASS 8766126
383 Brass & Sax AC.BRASS 8766127
384 BrassPartOutAC.BRASS 8766128
385 Simple TuttiAC.BRASS 87671
386 F.Horns SectAC.BRASS 87672
387 Full sForza AC.BRASS 87673
388 Stereo BrassAC.BRASS 87674
389 Wide SynBrssSYNTH BRASS 87675
390 DetuneSawBrsSYNTH BRASS 87676
391 J-Pop Brass SYNTH BRASS 87677
392 80s Brass 1 SYNTH BRASS 87678
393 80s Brass 2 SYNTH BRASS 87679
394 Ana Brass SYNTH BRASS 876710
395 Soft Brass SYNTH BRASS 876711
396 JP8000 BrassSYNTH BRASS 876712
397 Sonic Brass SYNTH BRASS 876713
398 Syn Brass SYNTH BRASS 876714
399 Syn Brass 2 SYNTH BRASS 876715
400 Xpand Brass SYNTH BRASS 876716
401 Xpand Brass2SYNTH BRASS 876717
402 Super Saw SYNTH BRASS 876718
403 SoftSynBrassSYNTH BRASS 876719
404 Silky JP SYNTH BRASS 876720
405 Silk Brs PadSYNTH BRASS 876721
406 80s Brass 3 SYNTH BRASS 876722
407 X-Saw Brass1SYNTH BRASS 876723
408 Cheesy BrassSYNTH BRASS 876724
409 Dual Saw BrsSYNTH BRASS 876725
410 Juno-106 BrsSYNTH BRASS 876726
411 Poly Brass SYNTH BRASS 876727
412 Stacked Brs SYNTH BRASS 876728
413 Soprano Sax SAX 876729
414 Solo Sop SaxSAX 876730
415 Alto mp SAX 876731
416 Alto Sax SAX 876732
417 Solo AltoSaxSAX 876733
418 AltoLead SaxSAX 876734
419 XP TnrBrethySAX 876735
420 Tenor Sax SAX 876736
421 Fat TenorSaxSAX 876737
422 Baritone SaxSAX 876738
423 Sax Sect. 1 SAX 876739
424 Sax Sect. 2 SAX 876740
425 Horny Sax SAX 876741
426 FXM Alto SaxSAX 876742
427 Porta SoloLdHARD LEAD 876743
428 Porta Lead HARD LEAD 876744
429 Wind Syn Ld HARD LEAD 876745
430 SC Saw Ld 1 HARD LEAD 876746
431 SC Saw Ld 2 HARD LEAD 876747
432 Juno Lead HARD LEAD 876748
433 Follow Me HARD LEAD 876749
434 DC Triangle HARD LEAD 876750
435 Sqr-Seqence HARD LEAD 876751
436 Pure Square HARD LEAD 876752
437 Griggley HARD LEAD 876753
438 SC LegatoSawHARD LEAD 876754
439 Lone ProphatHARD LEAD 876755
440 Dual Profs HARD LEAD 876756
441 Gwyo Press HARD LEAD 876757
442 Q DualSawsHARD LEAD 876758
443 Mogulator LdHARD LEAD 876759
444 DirtyVoltageHARD LEAD 876760
445 Clean? HARD LEAD 876761
446 Distortion HARD LEAD 876762
447 SC Syn Ld HARD LEAD 876763
448 SynLead 0322HARD LEAD 876764
449 X-Sink DelayHARD LEAD 876765
450 Destroyed LdHARD LEAD 876766
451 Synchro LeadHARD LEAD 876767
452 Sync Ld MonoHARD LEAD 876768
453 SyncModulateHARD LEAD 876769
454 Distorted MGHARD LEAD 876770
455 SonicVampireHARD LEAD 876771
456 Blue Meanie HARD LEAD 876772
457 SC Dist LeadHARD LEAD 876773
458 Ringmod LeadHARD LEAD 876774
86
No.NameCategoryMSB LSBPC
459 Stimulation HARD LEAD 876775
460 BodyElectricHARD LEAD 876776
461 Classic LeadHARD LEAD 876777
462 Feat Lead HARD LEAD 876778
463 Wire Sync HARD LEAD 876779
464 Epic Lead HARD LEAD 876780
465 Bag Lead HARD LEAD 876781
466 Wezcoast HARD LEAD 876782
467 HyperJupiterHARD LEAD 876783
468 VintagolizerHARD LEAD 876784
469 C64 Lead HARD LEAD 876785
470 303 NRG HARD LEAD 876786
471 Cell SquLeadSOFT LEAD 876787
472 SC Sqr Lead SOFT LEAD 876788
473 SH Sqr Lead SOFT LEAD 876789
474 Round SQR SOFT LEAD 876790
475 Windy Synth SOFT LEAD 876791
476 Sqr Diamond SOFT LEAD 876792
477 Sinetific SOFT LEAD 876793
478 PeakArpSine SOFT LEAD 876794
479 Howards LeadSOFT LEAD 876795
480 SoloNzPeakerSOFT LEAD 876796
481 Juno SftLd SOFT LEAD 876797
482 R&B TriLead SOFT LEAD 876798
483 R&B Tri Ld2 SOFT LEAD 876799
484 Jupiter LeadSOFT LEAD 8767100
485 Dig-n-Duke SOFT LEAD 8767101
486 SC SoftLead SOFT LEAD 8767102
487 Mid Saw Ld SOFT LEAD 8767103
488 X-Pulse LeadSOFT LEAD 8767104
489 Mild 2-SawLdSOFT LEAD 8767105
490 Mew Lead SOFT LEAD 8767106
491 Shy Soloist SOFT LEAD 8767107
492 Theramax SOFT LEAD 8767108
493 Therasqu SOFT LEAD 8767109
494 GR Lead SOFT LEAD 8767110
495 SH-2 Lead SOFT LEAD 8767111
496 SC ResoLead SOFT LEAD 8767112
497 Modulated LdSOFT LEAD 8767113
498 Synthi Fizz SOFT LEAD 8767114
499 Waspy Lead SOFT LEAD 8767115
500 Pulstar Ld SOFT LEAD 8767116
501 Naked Lead SOFT LEAD 8767117
502 Alpha Spit SOFT LEAD 8767118
503 Vliolin LeadSOFT LEAD 8767119
504 Mod Lead SOFT LEAD 8767120
505 JP Saw Lead SOFT LEAD 8767121
506 Tristar SOFT LEAD 8767122
507 Chubby Lead SOFT LEAD 8767123
508 Sneaky LeadySOFT LEAD 8767124
509 Shaku Lead SOFT LEAD 8767125
510 Legato Tkno SOFT LEAD 8767126
511 SCResoSaw LdSOFT LEAD 8767127
512 SliCed Lead SOFT LEAD 8767128
513 Mini Growl SOFT LEAD 87681
514 Evangelized SOFT LEAD 87682
515 Air Lead SOFT LEAD 87683
516 Juno-D Maj7 TECHNO SYNTH 87684
517 Sweet House TECHNO SYNTH 87685
518 Periscope TECHNO SYNTH 87686
519 5th Voice TECHNO SYNTH 87687
520 HPF Sweep TECHNO SYNTH 87688
521 BPF Saw TECHNO SYNTH 87689
522 Moon Synth TECHNO SYNTH 876810
523 DelyResoSawsTECHNO SYNTH 876811
524 R-Trance TECHNO SYNTH 876812
525 Braatz... TECHNO SYNTH 876813
526 AllinOneRiffTECHNO SYNTH 876814
527 YZ Again TECHNO SYNTH 876815
528 Flazzy Lead TECHNO SYNTH 876816
529 Coffee Bee TECHNO SYNTH 876817
530 SC-303 TECHNO SYNTH 876818
531 Dance Saws TECHNO SYNTH 876819
532 AluminmWiresTECHNO SYNTH 876820
533 Fred&Barney TECHNO SYNTH 876821
534 ElectrostarsTECHNO SYNTH 876822
535 LoFiSequenceTECHNO SYNTH 876823
613 Echo Echo PULSATING 8768101
614 Keep going PULSATING 8768102
615 Arposphere PULSATING 8768103
616 Voco Riff PULSATING 8768104
617 Pulsator PULSATING 8768105
618 Motion Bass PULSATING 8768106
619 Sine Magic PULSATING 8768107
620 Juno-D SlicePULSATING 8768108
621 Pulsatron PULSATING 8768109
622 Mega Sync PULSATING 8768110
623 Passing by SYNTH FX 8768111
624 Lazer PointsSYNTH FX 8768112
625 Retro Sci-FiSYNTH FX 8768113
626 Magic Chime SYNTH FX 8768114
627 SC Try This!SYNTH FX 8768115
628 New Planetz SYNTH FX 8768116
629 Jet Noise SYNTH FX 8768117
630 Chaos 2003 SYNTH FX 8768118
631 Control RoomSYNTH FX 8768119
632 OutOf sortzSYNTH FX 8768120
633 Scatter SYNTH FX 8768121
634 Low Beat-S SYNTH FX 8768122
635 WaitnOutsideSYNTH FX 8768123
636 Breath Echo SYNTH FX 8768124
637 SoundStrangeSYNTH FX 8768125
638 Cosmic PulseSYNTH FX 8768126
639 Faked Piano SYNTH FX 8768127
640 SC Crystal SYNTH FX 8768128
641 ResoSweep DnSYNTH FX 87691
642 Zap B3 & C4 SYNTH FX 87692
643 PolySweep NzSYNTH FX 87693
644 Strange LandSYNTH FX 87694
645 S&H Voc SYNTH FX 87695
646 12th Planet SYNTH FX 87696
647 Scare SYNTH FX 87697
648 Hillside SYNTH FX 87698
649 Mod Scanner SYNTH FX 87699
650 SoundOnSoundSYNTH FX 876910
651 Gasp SYNTH FX 876911
652 ResoSweep UpSYNTH FX 876912
653 Magic Wave SYNTH FX 876913
654 Shangri-La SYNTH FX 876914
655 CerealKillerSYNTH FX 876915
656 Cosmic DropsSYNTH FX 876916
657 Space Echo SYNTH FX 876917
658 Robot Sci-FiSYNTH FX 876918
659 Stacc HeavenOTHER SYNTH 876919
660 Juno Poly OTHER SYNTH 876920
661 DigitalDreamOTHER SYNTH 876921
662 Jucy Saw OTHER SYNTH 876922
663 Cue Tip OTHER SYNTH 876923
664 Waspy Synth OTHER SYNTH 876924
665 TB-Sequence OTHER SYNTH 876925
666 Europe XpresOTHER SYNTH 876926
667 Squeepy OTHER SYNTH 876927
668 DOC Stack OTHER SYNTH 876928
669 Sweep Lead OTHER SYNTH 876929
670 80s Saws 1 OTHER SYNTH 876930
671 80s Saws 2 OTHER SYNTH 876931
672 80s Saws 3 OTHER SYNTH 876932
673 Digitaless OTHER SYNTH 876933
674 Flip Pad OTHER SYNTH 876934
675 Short DetuneOTHER SYNTH 876935
676 forSequence OTHER SYNTH 876936
677 Memory PluckOTHER SYNTH 876937
678 Metalic BassOTHER SYNTH 876938
679 Aqua OTHER SYNTH 876939
680 Big Planet OTHER SYNTH 876940
681 Wet Atax OTHER SYNTH 876941
682 Houze Clavi OTHER SYNTH 876942
683 SuperSawSlowOTHER SYNTH 876943
684 Cell Trance OTHER SYNTH 876944
685 Trancy X OTHER SYNTH 876945
686 Trancy SynthOTHER SYNTH 876946
687 Juno Trnce OTHER SYNTH 876947
688 Saw Stack OTHER SYNTH 876948
689 Frgile Saws OTHER SYNTH 876949
No.NameCategoryMSB LSBPC
690 Steamed SawzOTHER SYNTH 876950
691 RAVtune OTHER SYNTH 876951
692 Bustranza OTHER SYNTH 876952
693 AftTch Ji-n OTHER SYNTH 876953
694 JP OctAttackOTHER SYNTH 876954
695 Oct Unison OTHER SYNTH 876955
696 Xtatic OTHER SYNTH 876956
697 Dirty Combo OTHER SYNTH 876957
698 FM's Attack OTHER SYNTH 876958
699 Digi-vox SynOTHER SYNTH 876959
700 Fairy FactorOTHER SYNTH 876960
701 Tempest OTHER SYNTH 876961
702 X-Racer OTHER SYNTH 876962
703 TB Booster OTHER SYNTH 876963
704 Syn-Orch/ModOTHER SYNTH 876964
705 Pressyn OTHER SYNTH 876965
706 High Five OTHER SYNTH 876966
707 4DaCommonMan OTHER SYNTH 876967
708 Orgaenia OTHER SYNTH 876968
709 Sleeper OTHER SYNTH 876969
710 Sugar Synth OTHER SYNTH 876970
711 Ice Palace OTHER SYNTH 876971
712 Story Harp OTHER SYNTH 876972
713 LostParadiseOTHER SYNTH 876973
714 Magnetic 5thOTHER SYNTH 876974
715 DigimaX OTHER SYNTH 876975
716 Exhale OTHER SYNTH 876976
717 X-panda OTHER SYNTH 876977
718 Saw Keystep OTHER SYNTH 876978
719 4mant Cycle OTHER SYNTH 876979
720 Modular OTHER SYNTH 876980
721 Angel Pipes OTHER SYNTH 876981
722 Wired Synth OTHER SYNTH 876982
723 Analog DreamOTHER SYNTH 876983
724 DCO Bell PadOTHER SYNTH 876984
725 Cell Fanta OTHER SYNTH 876985
726 Juno 5th OTHER SYNTH 876986
727 DoubleBubbleOTHER SYNTH 876987
728 Cell Comb BRIGHT PAD 876988
729 Super SynStrBRIGHT PAD 876989
730 80s Str BRIGHT PAD 876990
731 PhaseStringsBRIGHT PAD 876991
732 Voyager BRIGHT PAD 876992
733 Cosmic Rays BRIGHT PAD 876993
734 Stringship BRIGHT PAD 876994
735 Fat Stacks BRIGHT PAD 876995
736 Strings R UsBRIGHT PAD 876996
737 Electric PadBRIGHT PAD 876997
738 Neo RS-202 BRIGHT PAD 876998
739 OB Rezo Pad BRIGHT PAD 876999
740 Synthi Ens BRIGHT PAD 8769100
741 Giant Sweep BRIGHT PAD 8769101
742 Mod Dare BRIGHT PAD 8769102
743 Cell Space BRIGHT PAD 8769103
744 Digi-Swell BRIGHT PAD 8769104
745 Sonic SurferBRIGHT PAD 8769105
746 New Year DayBRIGHT PAD 8769106
747 Polar Morn BRIGHT PAD 8769107
748 Distant Sun BRIGHT PAD 8769108
749 PG Chimes BRIGHT PAD 8769109
750 Saturn RingsBRIGHT PAD 8769110
751 Brusky BRIGHT PAD 8769111
752 2 Point 2 BRIGHT PAD 8769112
753 2.2 Pad BRIGHT PAD 8769113
754 two.two Pad BRIGHT PAD 8769114
755 SaturnHolidaBRIGHT PAD 8769115
756 Neuro-Drone BRIGHT PAD 8769116
757 In The Pass BRIGHT PAD 8769117
758 Polar Night BRIGHT PAD 8769118
759 Cell 5th BRIGHT PAD 8769119
760 MistOver5thsBRIGHT PAD 8769120
761 Gritty Pad BRIGHT PAD 8769121
762 India GardenBRIGHT PAD 8769122
763 BillionStarsBRIGHT PAD 8769123
764 Sand Pad BRIGHT PAD 8769124
765 ReverseSweepBRIGHT PAD 8769125
766 HugeSoundModBRIGHT PAD 8769126
88
No.NameCategoryMSB LSBPC
767 Metal Swell BRIGHT PAD 8769127
768 NuSoundtrackBRIGHT PAD 8769128
769 Phat StringsBRIGHT PAD 87701
770 Soft OB Pad SOFT PAD 87702
771 SC Hollow SOFT PAD 87703
772 SC Sqr Pad SOFT PAD 87704
773 Silk Pad SOFT PAD 87705
774 WarmReso PadSOFT PAD 87706
775 SC Soft Pad SOFT PAD 87707
776 Air Pad SOFT PAD 87708
777 Soft Breeze SOFT PAD 87709
778 JP Strings 1SOFT PAD 877010
779 JP Strings 2SOFT PAD 877011
780 DelayStringsSOFT PAD 877012
781 NorthStringsSOFT PAD 877013
782 SC Syn Str SOFT PAD 877014
783 Slow Saw StrSOFT PAD 877015
784 Syn Strings SOFT PAD 877016
785 OB Slow Str SOFT PAD 877017
786 Strings Pad SOFT PAD 877018
787 R&B SoftPad SOFT PAD 877019
788 Reso Pad SOFT PAD 877020
789 Phat Pad SOFT PAD 877021
790 SC PhaserPadSOFT PAD 877022
791 Mystic Str SOFT PAD 877023
792 Glass Organ SOFT PAD 877024
793 Wind Pad SOFT PAD 877025
794 Combination SOFT PAD 877026
795 HumanKindnesSOFT PAD 877027
796 BeautyPad SOFT PAD 877028
797 AtmosphericsSOFT PAD 877029
798 Terra NostraSOFT PAD 877030
799 OB Aaahs SOFT PAD 877031
800 Vulcano Pad SOFT PAD 877032
801 Cloud #9 SOFT PAD 877033
802 Organic Pad SOFT PAD 877034
803 Hum Pad SOFT PAD 877035
804 Vox Pad SOFT PAD 877036
805 Digital AahsSOFT PAD 877037
806 Tri 5th Pad SOFT PAD 877038
807 SC MovinPad SOFT PAD 877039
808 Seq-Pad 1 SOFT PAD 877040
809 Follow SOFT PAD 877041
810 Consolament SOFT PAD 877042
811 Spacious PadSOFT PAD 877043
812 JD Pop Pad SOFT PAD 877044
813 JP-8 Phase SOFT PAD 877045
814 Nu Epic Pad SOFT PAD 877046
815 Forever SOFT PAD 877047
816 Flange DreamSOFT PAD 877048
817 Evolution X SOFT PAD 877049
818 Heaven Pad SOFT PAD 877050
819 Angelis Pad SOFT PAD 877051
820 Juno-106 StrSOFT PAD 877052
821 JupiterMovesSOFT PAD 877053
822 Oceanic Pad SOFT PAD 877054
823 Fairy's SongSOFT PAD 877055
824 Borealis SOFT PAD 877056
825 JX Warm Pad SOFT PAD 877057
826 Analog BgrndSOFT PAD 877058
827 Choir Aahs 1VOX 877059
828 Choir Aahs 2VOX 877060
829 ChoirOoh/AftVOX 877061
830 Angels ChoirVOX 877062
831 Angelique VOX 877063
832 Gospel Oohs VOX 877064
833 Choir&Str VOX 877065
834 Aah Vox VOX 877066
835 Synvox VOX 877067
836 Uhmmm VOX 877068
837 Morning StarVOX 877069
838 Syn Opera VOX 877070
839 BeautifulOneVOX 877071
840 Ooze VOX 877072
841 Aerial ChoirVOX 877073
842 3D Vox VOX 877074
843 Film Cue VOX 877075
No.NameCategoryMSB LSBPC
844 Paradise VOX 877076
845 Sad ceremonyVOX 877077
846 Lost Voices VOX 877078
847 Jazz Doos VOX 877079
848 Beat Vox VOX 877080
849 Talk 2 Me VOX 877081
850 FM Vox VOX 877082
851 Let's Talk! VOX 877083
852 Nice KalimbaPLUCKED 877084
853 Quiet River PLUCKED 877085
854 Teky Drop PLUCKED 877086
855 Pat is away PLUCKED 877087
856 SC Sitar 1 PLUCKED 877088
857 SC Sitar 2 PLUCKED 877089
858 Sitar on C PLUCKED 877090
859 Sitar Baby PLUCKED 877091
860 Elec Sitar PLUCKED 877092
861 Neo Sitar PLUCKED 877093
862 SaraswatiRvrPLUCKED 877094
863 Bosporus PLUCKED 877095
864 Santur StackPLUCKED 877096
865 Aerial Harp PLUCKED 877097
866 Harpiness PLUCKED 877098
867 Skydiver PLUCKED 877099
868 TroubadorEnsPLUCKED 8770100
869 Jamisen PLUCKED 8770101
870 Koto PLUCKED 8770102
871 Monsoon PLUCKED 8770103
872 Bend Koto PLUCKED 8770104
873 LongDistanceETHNIC 8770105
874 Ambi Shaku ETHNIC 8770106
875 SC LochscapeETHNIC 8770107
876 SC PipeDreamETHNIC 8770108
877 SC Far East ETHNIC 8770109
878 Banjo FRETTED 8770110
879 Timpani+Low PERCUSSION 8770111
880 Timpani RollPERCUSSION 8770112
881 Bass Drum PERCUSSION 8770113
882 AmbidextrousSOUND FX 8770114
883 En-co-re SOUND FX 8770115
884 Mobile PhoneSOUND FX 8770116
885 ElectroDiscoBEAT&GROOVE 8770117
886 Groove 007 BEAT&GROOVE 8770118
887 In Da GrooveBEAT&GROOVE 8770119
888 Sweet 80s BEAT&GROOVE 8770120
889 Autotrance BEAT&GROOVE 8770121
890 Juno Pop BEAT&GROOVE 8770122
891 Compusonic 1BEAT&GROOVE 8770123
892 Compusonic 2BEAT&GROOVE 8770124
893 80s Combo COMBINATION 8770125
894 Analog Days COMBINATION 8770126
895 Techno CraftCOMBINATION 8770127
896 Lounge Kit COMBINATION 8770128
897 Piano 1 AC.PIANO 12101
898 Piano 1w AC.PIANO 1211
899 European Pf AC.PIANO 1212
900 Piano 2 AC.PIANO 12102
901 Piano 2w AC.PIANO 1211
902 Piano 3 AC.PIANO 12103
903 Piano 3w AC.PIANO 1211
904 Honky-tonk AC.PIANO 12104
905 Honky-tonk 2AC.PIANO 1214
906 E.Piano 1 EL.PIANO 12105
907 St.Soft EP EL.PIANO 1211
908 FM+SA EP EL.PIANO 1212
909 Wurly EL.PIANO 1213
910 E.Piano 2 EL.PIANO 12106
911 Detuned EP 2EL.PIANO 1211
912 St.FM EP EL.PIANO 1212
913 EP Legend EL.PIANO 1213
914 EP Phase EL.PIANO 1214
915 Harpsichord KEYBOARDS 12107
916 Coupled Hps.KEYBOARDS 1211
917 Harpsi.w KEYBOARDS 1212
918 Harpsi.o KEYBOARDS 1213
919 Clav. KEYBOARDS 12108
920 Pulse Clav KEYBOARDS 1211
1185GM2 STANDARD
1186GM2 ROOM
1187GM2 POWER
1188GM2 ELECTRIC
1189GM2 ANALOG
1190GM2 JAZZ
1191GM2 BRUSH
1192GM2 ORCHSTRA
1193GM2 SFX
92
C2
C3
C4
C5
C6
C7
Preset Group
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1153
GW Std Kit
Dance Kick Dance Kick Dance Kick Dance Kick MaxLow Kick2Dance 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 Kick2Power 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 2Reg.CHH 2 Reg.CHH 2
SF M.Tom TY M.Tom LD M.Tom TY M.TomReg.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 CymbalChina CymbalChina CymbalChina CymbalChina CymbalChina Cymbal
Splash Cym Splash Cym Splash Cym Splash Cym Ride Edge Splash Cym
Tamborine2 Tamborine 3 Tamborine 3 Tamborine2 Tamborine Tamborine
Rock Crash 1Rock Crash 1Rock Crash 1Crash 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 LngCowbell2 LngCowbell Cowbell2 LngCowbell 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 SlpConga Hi SlpConga 2H SlpConga 2H SlpConga 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 HAgogo 2 Hi Agogo 2 Hi Agogo Bell HMild Agogo H
Agogo 2 Low Mild Agogo LAgogo 2 Low Agogo 2 Low Agogo Bell LMild Agogo L
Cabasa 2 Cabasa Up Cabasa 2 Cabasa 2 Cabasa Up Cabasa Up
Shaker 2 Maracas Shaker 2 Shaker 1 Maracas Maracas
Whistle ShrtWhistle ShrtWhistle ShrtWhistle ShrtWhistle ShrtWhistle Shrt
Whistle LongWhistle LongWhistle Whistle LongWhistle LongWhistle Long
Guiro 2 Up Guiro Short Guiro 2 Up Guiro 2 Up Guiro Short Guiro Short
Guiro 2 DownGuiro Long Guiro Long Guiro 2 DownGuiro Long Guiro Long
Claves 2 Claves Claves 2 Claves 2 Claves Claves
Wood Block2HWood Block HWood Block2HWood Block2HWood Block HWood Block H
Wood Block2LWood Block LWood Block2LWood Block2LWood Block LWood 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
DigiSpectrumDigiSpectrumDigiSpectrumDigiSpectrumCastanet DigiSpectrum
Wind Chime Wind Chime Wind Chime Wind Chime Bongo Hi Mt Wind Chime
Wood Block2MWood Block MWood Block2MWood Block2MBongo Hi SlpWood Block M
Cajon 2 Cajon 2 Cajon 2 Cajon 2 Bongo Lo SlpCajon 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 CymbalCowbell
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
93
C2
C3
C4
C5
C6
C7
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1159
StandardKit3
HipHop Kick2R&B Kick MaxLow Kick2TR909 Kick1aTimpani RollTR909 Kick 2
Syn Swt Atk1Rk CmpKick MaxLow Kick1TR909 Kick1bConcertBD 2 TR909 Kick 4
Lo-Bit Stk 1Sft 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 SnrTR909 Kick 5
TR808 Snr 5 Snr Roll Mix Clap 2 Soft Jz RollReverse 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 RollTR909 Kick 6
Old Kick 1 Reg.Kick 2 Rk CmpKick Jazz Kick 2 ConcertBD 1 TR909 Kick 1
Lo-Bit Stk 4Reg.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 SwshGospel Clap TR909 Clap 1
TY Rim Reg.Snr1 Reg.Snr1 Jazz Snr Concert SD TR909 Snr 2
Jazz Lo Tom1Reg.F.Tom Sharp L.Tom1Reg.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 Tom2Reg.L.Tom Sharp L.Tom2Reg.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 TomReg.M.Tom Sharp L.Tom3Reg.M.Tom 1 Timpani A TR909 Tom M
Reg.OHH Reg.OHH Rock OHH Reg.OHH Timpani A# TR909 OHH 2
Jazz Mid TomReg.M.TomFlmSharp H.Tom1Reg.M.Tom 1 Timpani B TR909 Tom M
Jazz Hi Tom Reg.H.Tom Sharp H.Tom2Reg.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.TomFlmSharp H.Tom3Reg.H.Tom 1 Timpani D TR909 Tom H
Rock Rd EdgeRock Ride 1 Ride Cymbal Jazz Ride 1 Timpani D# TR909 Ride 1
China CymbalChina CymbalChina CymbalChina 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 1Rock Crash 2Crash Cym Concert Cym TR909 Crash2
Cowbell Cowbell Hi Cowbell MuteCowbell Low Cowbell MuteJD Sm Metal
Rock Crash 2Crash Cym1b Splash Cym Crash Cym Concert Cym2TR909 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 SlpConga Slp OpConga Lo SlpConga 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 HAgogo Bell HAgogo Bell HAgogo Bell HTR808 Tom L
Cowbell Low Agogo Bell LAgogo Bell LAgogo Bell LAgogo Bell LTR808 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 ShrtWhistle ShrtJazz Kick 1 Whistle ShrtTR808 Tom M
Scratch 5 Whistle LongWhistle LongJazz Kick 2 Whistle LongTR808 Tom H
Syn Low Atk2Guiro Short Guiro Short Hard Stick Guiro Short TR808Cowbell
MG Zap 3 Guiro Long Guiro Long Jazz Rim Guiro Long TR808 Tom H
Syn Swt Atk1Claves Claves Sft Snr Gst Claves TR606 Cym
Syn Swt Atk4Wood Block HWood Block HJazz Snr Wood Block HTR606 OHH 1
Bongo Hi SlpWood Block LWood Block LReg.F.Tom 2 Wood Block LTR606 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 DigiSpectrumWind Chime Reg.M.TomFlmFinger Snap TR808 OHH 2
Wind Chime Wind Chime Dist Chord 1Reg.H.Tom 2 Wind Chime 808 Maracas
SprgDrm Hit Dist Chord 1Dist Chord 2Jazz Cymbal Tibet CymbalTR808 Claves
Crotale Dist Chord 2Dist Chord 3Reg.H.TomFlmVibraslap Triangle Mt
R8 Click Dist Chord 3Dist Chord 4Jazz Ride 2 Crotale Triangle Op
Metro Bell Dist Chord 4Dist Chord 5China Cym 2 Applause Narrow Hit 2
DR202 Beep Dist Chord 5Dist Chord 6Cajon 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 7Cajon 3 TubulrBel G Scratch 1
Vinyl Noise Rock CHH 1 DistGtr Nz 1Vint Snr 2 TubulrBel G#MG Zap 1
Mobile PhoneCowbell 2b DistGtr Nz 2Shaker 3 TubulrBel A TR606 Snr 2
Group Snap Rock OHH DistGtr Nz 3WD 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 3Cajon 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 2Gospel Clap Mix Clap 1 TubulrBel E Vint Snr 3
TR808 Snr 2 Rock Rd Cup Tibet CymbalWind Chime TubulrBel f Door Creak
Short Snr1 Club FinSnapTamborine 1 Tibet CymbalChurch Bell1Vint.Phone
Vint Snr 4 TR909 Snr 6 Tamborine 2 Crotale Church Bell2Door Creak
1160
Rock Kit 1
1161
Rock Kit 2
1162
Brush Jz Kit
1163
Orch Kit
1164
909 808 Kit
94
C2
C3
C4
C5
C6
C7
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1165
Limiter Kit
Dance Kick 1PlasticKick270's Kick MaxLow Kick2TR909 Kick 2TR707 Kick
HipHop Kick1Group Snap AnalogKick 6FB Kick TR909 Kick 4AnalogKick 1
WD CStk Snr Roll Urbn Sn RollRough Kick1aLight Snr Dirty Snr 6
R&B Kick 1 AnalogKick 3HipHop Kick2MaxLow Kick1Mix Kick 5 FB Kick
Wild Stick GoodOld Snr5R&B ShrtSnr1Rough Kick3 DR660 Snr BrushRoll
Dance Kick 2Dist Kick Old Kick Rk CmpKick Mix Kick 2 PlasticKick2
Hip PHH Noise CHH HipHop CHH TR909 Kick 5TR808 PHH Reg.CHH 2
LD Kick TR707 Kick EuroHit KickRough Kick1bAnalogKick 6Power Kick
R&B Kick 2 Dry Kick 4 TR909 Kick 1R&B Kick 70's Kick 1 TR909 Kick 6
Lo-Bit Stk 2Jazz Rim Dry Stick 4 Hard Stick TR808 Rim R&B ShrtRim1
Wild Stick Dirty Snr 2 Dirty Snr 2 GoodOld Snr3Jngl pktSnr1TR909 Snr 3
Dist Clap Old Clap Maple Snr GoodOld Snr4Funk Clap TR909 Clap 1
DR660 Snr Vint Snr 4a Short Snr2 GoodOld Snr2Jngl pktSnr2TR909 Snr 4a
Reg.F.Tom p TR909 Tom L TR808 Tom 1 Lo-Bit Snr 1MG Attack Sharp L.Tom2
Lo-Bit CHH 2HipHop CHH 2TR606 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 4Lo-Bit PHH TR909 CHH 2 Hip PHH TR808 PHH TR909 PHH 1
Reg.L.Tom TR909 Tom M TR808 Tom 2 Lo-Bit Snr 2MG Blip Sharp M.Tom
Lo-Bit OHH 2Lo-Bit OHH 2Lo-Bit OHH 2Reg.OHH TR808 OHH 1 TR909 OHH 2
Reg.L.TomFlmDeep 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 pRock Crash 1TR808 Cym 1 TR606 Cym 2aTR909 Crash
Reg.H.TomFlmDeep Tom H Reg.H.Tom GoodOld Snr6Beam HiQ Sharp H.Tom
Lo-Bit OHH 1Rock Crash 1Splash Cym TR606 Cym 2 Lo-Bit OHH1aTR909 Ride
TR606 Cym 2 Rock Rd EdgeRock Rd EdgeWhite Noise TR606 Cym 2 China Cymbal
Jazz Ride 1 China CymbalConcert Cym Bright Form Lo-Bit OHH1bRock Rd Edge
Tamborine 1 Snap Cheap Clap CR78 Tamb CR78 Tamb 1 Tamborine 3
TR606 OHH TR808 Conga2Snap SBF Hrd Ld 1TR606 Cym 2bCrash Cym1 p
Vibraslap Vint Snr 4 Lo-Bit Snr 2JD Sm Metal JD Sm Metal1Cowbell
Mix Kick 2 TR808CowbellWood Block TR808 Cym 2 Lo-Bit OHH1cRock Crash 2
Hip PHH Guiro Long Shaku Noise Syn Swt Atk3Syn Swt Atk3Vibraslap
Mix Kick 2Guiro 2 Syn Hrd Atk1TR909 Kick4aAnalogKick 6TR606 Cym 2
Rough Kick Guiro 1 JD MetalWindTR909 Kick4b70's Kick 2 Bongo Lo Op
Dry Stick Shaker 3 Maracas TR808 Rim R8 Comp Rim Bongo Hi Op
GoodOld Snr5Noise CHH Cabasa Up TR808 Snr 2 Pocket Snr Conga Hi Mt
R8 Clap Cabasa 2 Cabasa Down TR808 Clap 2TR909 Clap 2Conga Hi Op
Jngl pkt SnrVibraslap 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 1CR78 Beat
TR606 Tom L1CR78 CHH Triangle Op TR808 Tom 2 TR606 Tom M Cabasa Cut 1
Lo-Bit OHH 2Shaker 2 Xylo Seq. TR808 OHH 1 Reg.OHH Cabasa Cut 2
TR606 Tom L2CR78 Tamb Philly Hit TR808 Tom 1 TR606 Tom M Lo-Bit PHH
TR606 Tom H1Noise OHH LoFi Min HitScratch 3 TR606 Tom H Scratch 7
Crash Cym 2 Slight Bell Vinyl Noise Scratch 4 TR909 Crash1Syn Low Atk2
TR606 Tom H2Tibet CymbalCajon 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 Crash2Syn Swt Atk4
Rock Rd EdgeScratch 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 SlpCabasa Cut TR909 Crash Triangle 2
Gospel Clap Smear Hit 2 Conga Lo SlpR8 Shaker JD Sm Metal2Euro Hit 1
Tibet CymbalLofi Min HitConga Hi Op Tamborine 2 Lite OHH 3 Tao Hit
Wind Chime Thin Beef Conga Lo Op Cabasa Down Syn Swt Atk1Narrow Hit 2
Mix Kick 1 Dist Hit Conga Slp OpCabasa Cut TR808 OHH 2 Euro Hit 2
Mix Kick 2 Narrow Hit 2Conga Efx Tibet Cymbal808 Maracas Wind Chime
Mix Kick 4 MG Attack Conga Thumb Crotale TR808 ClavesTimpani 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 2Metro Bell
Vint Snr 4 Cabasa Down CR78 Beat Mild CanWaveEuro Hit MC500 Beep 1
Noise CHH Cabasa Cut CR78 OHH Cheap Clap MG Zap 4 MC500 Beep 2
CR78 CHH MaxLow Kick1CR78 CHH JD Plunk Scratch 1 Atmosphere
Noise CHH 3 MaxLow Kick2Lite OHH Syn Swt Atk2MG Zap 1 Agogo Noise
Noise OHH 2 Lo-Bit Snr 1CR78 Tamb DistGtr Nz 2TR606 Snr 2 Car Slip
Noise OHH 1 Dance CHH JD Vox NoiseRiver Synth Saw Group Snap
Heartbeat Wild Stick Guiro 2 FastBubble Digi Breath Laser
Scratch 2 MC500 Beep 1Metro Click Train Pass DigiSpectrumConcertBD
Scratch 5 MC500 Beep 2Metro Bell LoFi Min HitShaker 3 AnalogKick 3
Scratch 1 Gospel Clap Wind Chime Pink Noise Conga 2H SlpOld Kick
Scratch 4 TR606 Cym Crotale Agogo Noise Cajon 1 Reg.Kick
Scratch 6 China CymbalCrash Cym1 pSynVox Nz 1 Vint Snr 3 TR909 Snr 4b
Mobile PhoneRock Crash 2TR909 Crash SynVox Nz 2 Door Creak 1TR808 Snr 2
Sweep Bass 1CR78 OHH CR78 OHH R8 Click Vint.Phone Vint Snr 4
Sweep Bass 2Concert Cym Rev.Lite OHHSyn Swt Atk1Door Creak 2Light Snr
1166
HipHop Kit 1
1167
R&B Kit
1168
HiFi R&B Kit
1169
Machine Kit1
1170
Kit-Euro:POP
95
C2
C3
C4
C5
C6
C7
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1171
House Kit
TR909 Kick 3SH32 Kick 1 AnalogKick 5TR909 Kick 2TR909 Kick 2----SH32 Kick JD EML 5th 1AnalogKick6aAnalogKick 2TR909 Kick 4----Urbn Sn RollAnalogKick 6Analog Snr 1TR808 Snr 5 Urbn SnRoll1----TR909 Kick 2TR909 Kick 5AnalogKick1aTR909 Kick 3TR909 Kick 5----TR909 Snr 6 Plastic Kc3aTR808 Snr 4 Vint Snr 3 Door Creak 1----TR909 Kick 5R&B Kick FB Kick FB Kick TR909 Kick 1----TR909 PHH 2 TR707 Kick TR808 PHH TR606 Cym 2aSynSwt Atk7a----TR909 Kick4aPlastic Kc3bAnalogKick6bAnalogKick 3Cajon 3a Reg.Kick p
TR909 Kick4bSH32 Kick 2 AnalogKick6cTVF Trigger Cajon 3b Reg.Kick f
TR909 Rim TR909 Snr 5 R&B ShrtRim2TR909 Rim Laser Reg.Kick ff
TR909 Snr 4 Syn Mtl Atk2TR909 Snr 1 TR909 Snr 1 Door Creak2aRock Kick p
TR909 Clap 2Flange Snr TR707 Clap Claptail Train Pass Rock Kick f
TR909 Snr 5 TR909 Snr 3 Lo-Bit Snr 2TR909 Snr 3 Door Creak2bJazz Kick p
TR909 Tom L Dance CHH Deep Tom L TR909 Tom L2Syn Swt AtkLJazz Kick mf
TR909 CHH 2 TR606DstCHH1TR606 CHH 1 TR909 CHH 1 SynSwt Atk7bJazz Kick f
TR909 Tom L TR909 PHH 2 Deep Tom L TR909 Tom L1Syn Swt AtkLDry Kick 1
TR909 PHH 2 TR606 PHH 2aTR606 PHH 1 TR909 PHH 1 Syn Mtl Atk2Tight Kick
TR909 Tom M TR909 OHH 1 Deep Tom M TR909 Tom M2Syn Swt AtkMOld 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 M1Syn Swt AtkMDry Kick 2
TR909 Tom H Syn Hrd Atk4Deep Tom H TR909 Tom H2Syn Swt AtkHDry Kick 3
TR909 Crash1MG Zap 7a Lite OHH TR909 Crash Syn Mtl Atk1Power Kick
TR909 Tom H MG Zap 9 Deep Tom H TR909 Tom H1Syn Swt AtkHR&B Kick L
TR909 Ride 1MG Zap 8 TR808 OHH 1 TR909 Ride SynLow Atk1aRk CmpKick
TR909 Crash2MG Zap 10 TR606 Cym 2aWhite Noise1Crotale 1 Dance Kick
TR909 Ride 2HipHop CHH 2TR909 Ride 1CR78 Beat Laser 1 HipHop Kick1
CR78 Tamb Syn Swt Atk3CR78 Tamb Tamborine 3 MG Zap 11 HipHop Kick2
MG Zap 4 Reg.PHH TR606 Cym 2bAtmosphere Laser 2 TR909 Kick 1
JD Sm Metal Syn Swt Atk6JD Sm Metal Cowbell MuteMG Zap 4a TR808 Kick
MG Zap 5 HipHop OHH TR909 Ride 2Syn Swt Atk1Digi Loop 1 TR909 Kick 4
Syn Swt Atk3TR909 OHH 2 Syn Swt Atk3Cowbell MG Zap 6a WD Kick mf
AnalogKick 2TR909 R.CrshAnalogKick1bReverse Cym SynLow Atk2aWD Kick f
TR909 Kick 2TR909 Crash AnalogKick 4AnalogKick 5SynLow Atk2bWD Kick ff
TR909 Rim Rock Crash 1Urbn SnRoll1Metal Vox W1MG Attack LD Kick mf
TR909 Snr 1 MG Zap 2 Analog Snr 2Metal Vox W2Syn Hrd Atk4LD Kick f
TR909 Clap 1MG Zap 9 Dist Clap Metal Vox W3Train Pass LD Kick ff
TR909 Snr 2 Smear Hit 2 Analog Snr 3White Noise2Syn Mtl Atk1TY Kick mf
TR909 D.TomLLow Square R8 Shaker White Noise3Syn Swt AtkLTY Kick f
TR909 CHH 1 JD WoodCrak1TR909 CHH 2 TR606 Cym 2bSyn Swt Atk7TY Kick ff
TR909 D.TomLPiano Atk NzR8 Shaker MG Blip Syn Swt AtkLSF Kick 1
TR808 CHH 2 JD WoodCrak2TR909 PHH 2 MG Blip Rev.Syn Mtl Atk2SF Kick 2
TR909 D.TomMDR202 Beep 1Syn Hrd Atk1DigiSpectrumSyn Swt AtkMMaxLow Kick1
TR909 OHH 1 JD WoodCrak3TR909 OHH 2 Ice Crash DigiSpectrumMaxLow Kick2
TR909 D.TomMSyn Pulse 2 SynHrd Atk1aMetal Vox L2Syn Swt AtkMDist Kick
TR909 D.TomHDR202 Beep 2SynHrd Atk1bThin Beef Syn Swt AtkHFB Kick
TR909 Crash3Narrow Hit2aTR909 Crash LoFi Min HitDigi Loop 1 Rough Kick1
TR909 D.TomHE.Gtr Harm SynHrd Atk1cTrance Saw Syn Swt AtkHRough Kick2
TR909 Ride 3Narrow Hit2bTR909 Ride 3TB DstSqr SynLow Atk1bRough Kick3
TR909 Crash4Euro Hit TR909 Crash Finger Snap Crotale 2 PlasticKick1
TR909 Ride 4Jazz Lo Tom1TR909 Ride 1Conga Slp OpLaser 3 70's Kick
Tamborine 2 TR909 D.TomLCR78 Tamb Conga Lo Op MG Zap 11 AnalogKick 1
MG Zap 2 Jazz Lo Tom2MG Zap 2 Conga Hi Op Laser 4 PlasticKick2
Cowbell Low TR909 D.TomMJD Sm Metal Triangle Mt MG Zap 4b PlasticKick3
MG Zap 6 Jazz Lo Tom3MG Zap 6 Triangle Op Crotale 3 TR909 Kick 2
Cowbell Hi TR909 D.TomHSyn Swt Atk1Cabasa Cut MG Zap 6b AnalogKick 2
MG Zap 7AnalogKick 3MG Zap 7 R8 Shaker Syn Low Atk2TR909 Kick 3
Conga Hi Mt AnalogKick 5808 Maracas AnalogKick 1808 Maracas AnalogKick 3
Conga Lo Mt Club Clap TR808 ClavesPlasticKick2TR808 ClavesAnalogKick 4
Conga Lo SlpTR808 Snr 7 Triangle Mt PlasticKick3Triangle Mt AnalogKick 5
Conga Hi Op TR808 Snr 3 Triangle Op TR909 Kick 1Triangle Op AnalogKick 6
Conga Lo Op TR909 Snr 6aEuro Hit AnalogKick 4Dry Lo Tom TR606DstKick
Timbale Hi TR909 CHH 2 Scratch 4 AnalogKick 6Conga Thumb TR909 Kick 5
Timbale Low TR606DstCHH2Brt Strat C TR909 Snr 2 Funk Gtr SH32 Kick
Agogo Bell HDance CHH Crotale TR909 Snr 4 Digi Loop 1 TR707 Kick
Agogo Bell LTR606 PHH 2bMG Zap 4 TR909 Snr 5 MG Zap 4c TR909 Kick 6
Cabasa Down TR909 OHH 2 Urbn SnRoll2TR909 Snr 6 Urbn SnRoll2Mix 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 6bShaker 2 TR808 OHH 1 Shaker 3 Mix Kick 5
Wood Block LTR808 Kick Shaker 3 TR909 CHH 2 Scream Dry Kick 4
Wood Block HJD EML 5th 2Cajon 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 PhoneTR606 Cym 2cConcertBD ----Whistle MG Zap 7b Door Creak China CymbalTimpani -----
1172
Nu Technica
1173
Machine Kit2
1174
ArtificalKit
1175
Noise Kit
1176
Kick Menu
96
C2
C3
C4
C5
C6
C7
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1177
Snare Menu
------------------------------
------------------------------
------------------------------
------------------------------
------------------------------
------------------------------
-----------------------------Reg.Snr1 p GoodOld Snr1Reg.CHH 1 p Reg.F.Tom p Hand Clap MG Zap 1
Reg.Snr1mf GoodOld Snr2Reg.CHH 1 mfReg.F.Tom f Club Clap MG Zap 2
Reg.Snr1 f GoodOld Snr3Reg.CHH 1 f Reg.L.Tom p Real Clap MG Zap 3
Reg.Snr1ff GoodOld Snr4Reg.CHH 1 ffReg.L.Tom f Bright Clap MG Zap 4
Reg.Snr2 p GoodOld Snr5Reg.CHH 2 mfReg.M.Tom p R8 Clap MG Zap 5
Reg.Snr2 f GoodOld Snr6Reg.CHH 2 f Reg.M.Tom f Gospel Clap MG Zap 6
Reg.Snr2ff Dirty Snr 1 Reg.CHH 2 ffReg.H.Tom p Amb Clap MG Zap 7
Amb.Snr1 p Dirty Snr 2 Reg.PHH mf Reg.H.Tom f TR808 Clap 1MG Zap 8
Amb.Snr1 f Dirty Snr 4 Reg.PHH f Reg.L.TomFlmTR808 Clap 2MG Zap 9
Amb.Snr2 p Dirty Snr 5 Reg.OHH mf Reg.M.TomFlmTR909 Clap 1MG Zap 10
Amb.Snr2 f Dirty Snr 6 Reg.OHH f Reg.H.TomFlmTR909 Clap 2MG Zap 11
Piccolo Snr Dirty Snr 7 Reg.OHH ff Jazz Lo Tom TR707 Clap MG Blip
Maple Snr Grit Snr 1 Rock CHH1 mfJazz Mid TomCheap 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 mfJazz Lo Flm Mix Clap 2 Syn Low Atk1
Jazz Snr p LoBit SnrFlmRock CHH2 f Jazz Mid FlmMix Clap 3 Syn Low Atk2
Jz Brsh SlapLo-Bit Snr 1Rock OHH Jazz Hi Flm Mix Clap 4 Syn Hrd Atk1
Jz Brsh SwshDirty Snr 3 Lo-Bit CHH 1Sharp Lo TomDist Clap Syn Hrd Atk2
Swish&Turn pLo-Bit Snr 2Lo-Bit CHH 2Sharp Hi TomDist Clap 2 Syn Hrd Atk3
Swish&Turn fAnalog Snr 1Lo-Bit CHH 3Dry Lo Tom Crash Cym1 pSyn Hrd Atk4
Concert SD Tiny Snare Lo-Bit CHH 4TR909 Tom Crash Cym1 fSyn Mtl Atk1
Snr Roll Lp R&B ShrtSnr1Lo-Bit CHH 5TR909 DstTomCrash Cym 2 Syn Mtl Atk2
BrushRoll LpTR808 Snr 1 HipHop CHH TR808 Tom Rock Crash 1Syn Swt Atk1
WD Snr p TR808 Snr 2 TR909 CHH 1 TR606 Tom Rock Crash 2Syn 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 SnrTR606 DstCHHLD L.Tom f Rock Rd EdgeR8 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 mfMC500 Beep 2
LD Snr mf Analog Snr 2CR78 CHH LD M.Tom f China CymbalDR202 Beep
LD Snr f Analog Snr 3Dance 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 Cym1Vinyl Noise
LD Rim f TR909 Snr 3 TR909 PHH 1 LD H.Tom ff Concert Cym2Applause
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 ClassicHseHtStream
TY Snr ff Lite Snare HipHop OHH TY M.Tom f Narrow Hit 1Bubble
TY Rim p TR808 Snr 5 TR909 OHH 1 TY M.Tom ff Narrow Hit 2Bird 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 RollTR606 OHH SF L.Tom mf Tao Hit Office Phone
SF Snr mf Reg.Stick Lo-Bit OHH 1SF L.Tom ff Smear Hit 1 Mobile Phone
SF Snr f Soft Stick Lo-Bit OHH 2SF M.Tom mf Smear Hit 2 Door Creak
SF Snr ff Hard Stick Lo-Bit OHH 3SF M.Tom f LoFi Min HitDoor Slam
SF SnrGst1 Wild Stick Lite OHH SF M.Tom ff Orch. Hit Car Engine
SF SnrGst2 R&B ShrtRim1CR78 OHH SF H.Tom mf Punch Hit Car Slip
SF Rim p R&B ShrtRim2Noise 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 ffLD CStk f -----SF MT Flm f -----Train Pass
Click Snr p TY CStk mf -----SF HT Flm p -----Airplane
Click Snr ffTY 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 RollLo-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
97
C2
C3
C4
C5
C6
C7
Note No.
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
1183
Percussion
Cowbell ----Cowbell Mute----Cowbell2 Lng----Cowbell2 Edg----Cowbell3 mf ----Cowbell3 f ----Wood Block ----Wood Block2HScratch 1
Wood Block2LScratch 2
Claves Scratch 3
TR808 ClavesScratch 4
Claves 2 Scratch 5
CR78 Beat Scratch 6
Castanet Scratch 7
Whistle Scratch 9
Whistle LongScratch 10
Whistle ShrtAah Formant
Bongo Hi Mt Eeh Formant
Bongo Hi SlpIih Formant
Bongo Lo SlpOoh 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 SlpJD Gamelan 1
Conga Lo SlpJD Gamelan 2
Conga Hi Op JD Gamelan 3
Conga Lo Op JD Gamelan 4
Conga Slp OpJD 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 SlpJD 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
98
C2
C3
C4
C5
C6
Note No.
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
GM Group
1185 (PC: 1)
GM2 STANDARD
High Q High Q High QHigh Q High QHigh Q
SlapSlap Slap Slap Slap Slap
Scratch PushScratch PushScratch PushScratch PushScratch PushScratch Push
Scratch PullScratch PullScratch PullScratch PullScratch PullScratch Pull
Sticks Sticks Sticks Sticks Sticks Sticks
Square ClickSquare ClickSquare ClickSquare ClickSquare ClickSquare Click
Metron ClickMetron ClickMetron ClickMetron ClickMetron ClickMetron Click
Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell Metron Bell
Kick Drum 2 Kick Drum 2 Power Kick 2Kick Drum 2 Kick Drum 2 Jazz Kick 2
Kick Drum 1 Kick Drum 1 Power Kick 1Elec.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 PowerSnareDrE.SnareDrum1Ana.Snare 1 Aco.Snare
Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap Hand Clap
Elec.Snare Elec.Snare Elec.Snare E.SnareDrum2Elec.Snare Elec.Snare
Low Tom 2 Room LowTom2PowerLowTom2E.Low Tom 2 Ana.Low Tom2Low Tom 2
ClosedHi-hatClosedHi-hatClosedHi-hatClosedHi-hatAna.ClosedHHClosedHi-hat
Low Tom 1 Room LowTom1PowerLowTom1E.Low Tom 1 Ana.Low Tom1Low Tom 1
Pedal Hi-hatPedal Hi-hatPedal Hi-hatPedal Hi-hatAna.ClosedHHPedal Hi-hat
Mid Tom 2 Room MidTom2PowerMidTom2E.Mid Tom 2 Ana.Mid Tom2Mid Tom 2
Open Hi-hat Open Hi-hat Open Hi-hat Open Hi-hat Ana.Open HH Open Hi-hat
Mid Tom 1 Room MidTom1PowerMidTom1E.Mid Tom 1 Ana.Mid Tom1Mid Tom 1
High Tom 2 Room Hi Tom2Power HiTom2E.Hi Tom 2 Ana.Hi Tom2 High Tom 2
CrashCymbal1CrashCymbal1CrashCymbal1CrashCymbal1Ana.Cymbal CrashCymbal1
High Tom 1 Room Hi Tom1Power HiTom1E.Hi Tom 1 Ana.Hi Tom1 High Tom 1
Ride Cymbal1Ride Cymbal1Ride Cymbal1Ride Cymbal1Ride Cymbal1Ride Cymbal1
China CymbalChina CymbalChina CymbalReverse Cym.China CymbalChina Cymbal
Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell Ride Bell
Tambourine Tambourine Tambourine Tambourine Tambourine Tambourine
SplashCymbalSplashCymbalSplashCymbalSplashCymbalSplashCymbalSplashCymbal
Cowbell Cowbell Cowbell Cowbell Ana.Cowbell Cowbell
CrashCymbal2CrashCymbal2CrashCymbal2CrashCymbal2CrashCymbal2CrashCymbal2
Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap Vibra-slap
Ride Cymbal2Ride Cymbal2Ride Cymbal2Ride Cymbal2Ride Cymbal2Ride 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 CongaMuteHi CongaMuteHi CongaMuteHi CongaAna.Hi CongaMuteHi Conga
OpenHi CongaOpenHi CongaOpenHi CongaOpenHi CongaAna.MidCongaOpenHi Conga
Low Conga Low Conga Low Conga Low Conga Ana.LowCongaLow Conga
High TimbaleHigh TimbaleHigh TimbaleHigh TimbaleHigh TimbaleHigh 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
ShortWhistleShortWhistleShortWhistleShortWhistleShortWhistleShortWhistle
Long WhistleLong WhistleLong WhistleLong WhistleLong WhistleLong 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 WoodBlockHi WoodBlockHi WoodBlockHi WoodBlockHi WoodBlockHi WoodBlock
LowWoodBlockLowWoodBlockLowWoodBlockLowWoodBlockLowWoodBlockLowWoodBlock
Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica Mute Cuica
Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica Open Cuica
MuteTriangleMuteTriangleMuteTriangleMuteTriangleMuteTriangleMuteTriangle
OpenTriangleOpenTriangleOpenTriangleOpenTriangleOpenTriangleOpenTriangle
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
99
C2
C3
C4
C5
C6
Note No.
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
1191 (PC: 41)
GM2 BRUSH
High Q ClosedHi-hat----Slap Pedal Hi-hat----Scratch PushOpen Hi-hat ----Scratch PullRide Cymbal1----Sticks Sticks ----Square ClickSquare Click----Metron ClickMetron 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
BrushLowTom2Timpani F Scratch Push
ClosedHi-hatTimpani F# Scratch Pull
BrushLowTom1Timpani G Sticks
Pedal Hi-hatTimpani G# Square Click
BrushMidTom2Timpani A Metron Click
Open Hi-hat Timpani A# Metron Bell
BrushMidTom1Timpani B GtFret Noise
Brush HiTom2Timpani c Cut Noise Up
CrashCymbal1Timpani c# Cut Noise Dw
Brush HiTom1Timpani d Slap_St.Bass
Ride Cymbal1Timpani d# Fl.Key Click
China CymbalTimpani e Laughing
Ride Bell Timpani f Scream
Tambourine Tambourine Punch
SplashCymbalSplashCymbalHeart Beat
Cowbell Cowbell Footsteps 1
CrashCymbal2Concert Cym2Footsteps 2
Vibra-slap Vibra-slap Applause
Ride Cymbal2Concert Cym1Door Creak
High Bongo High Bongo Door
Low Bongo Low Bongo Scratch
MuteHi CongaMuteHi CongaWind Chimes
OpenHi CongaOpenHi CongaCar-Engine
Low Conga Low Conga Car-Stop
High TimbaleHigh TimbaleCar-Pass
Low Timbale Low Timbale Car-Crash
High Agogo High Agogo Siren
Low Agogo Low Agogo Train
Cabasa Cabasa Jetplane
Maracas Maracas Helicopter
ShortWhistleShortWhistleStarship
Long WhistleLong WhistleGun Shot
Short Guiro Short Guiro Machine Gun
Long Guiro Long Guiro Lasergun
Claves Claves Explosion
Hi WoodBlockHi WoodBlockDog
LowWoodBlockLowWoodBlockHorse-Gallop
Mute Cuica Mute Cuica Birds
Open Cuica Open Cuica Rain
MuteTriangleMuteTriangleThunder
OpenTriangleOpenTriangleWind
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
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