Roland RS 5 Service Manual

Page 1

Owner’s Manual

Thank you, and congratulations on your choice of the Roland RS-5/9 64 Voice Synthesizer

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2; p. 3). 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, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

How to read this manual

The RS-5/9 Owner's Manual consists of two volumes, “Quick Start” and “Advanced Use.” “Quick Start” explains the basic functionality of the RS-5/9. By reading the Quick Start, you

will gain an overall understanding of the RS-5/9's functions and features. And, for every item explained, you will find a convenient reference to the relevant page numbers in “Advanced Use,” which you can turn to for additional information.

Read the material in “Advanced Use” when making detailed settings, when saving settings, and when using the RS-5/9 together with external devices.

This manual is arranged into sections, according to objective. Whenever you are curious about a certain item that can be set, and want to learn more about the function, refer to the Parameter List. The relevant reference pages are provided.

Convention Used in This Manual

•Words enclosed in square brackets [ ] indicate panel buttons. Example: [SPLIT] indicates the SPLIT button.

• (p. **) indicates a reference page

without the written permission of ROLAND CORPORATION.

Page 2

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

USING THE UNIT SAFELY

BLUE: BROWN:

NEUTRAL LIVE

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

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

* Material damage refers to damage or

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

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 powercord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

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

002c

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

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003

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

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004

• Never use or store the unit in places that are:

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

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

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

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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007

• Make sure you always have the unit placed so it is level and sure to remain stable. Never place it on stands that could wobble, or on inclined surfaces.

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008c

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

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009

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

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010

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

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Page 3

011

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

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012b

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

• The AC adaptor, the power-supply cord, or the

plug has been damaged; or

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

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

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

014

• Protect the unit from strong impact.

(Do not drop it!)

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015

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

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016

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

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101b

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

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102d

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

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

103b

• Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

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

104

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

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106

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

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

107d

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

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

108b

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

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

109b

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

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

110b

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

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118

• Should you remove the screws used for attaching the music stand, make sure to put them in a safe place out of children's reach, so there is no chance of them being swallowed accidentally.

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* GS ( ) is a registered trademark of Roland Corporation. * Apple is a registered trademark of Apple Computer, Inc. * Macintosh is a registered trademark of Apple Computer, Inc. * IBM is a registered trademark of International Business Machines Corporation. * IBM PC is a registered trademark of International Business Machines Corporation. * All product names mentioned in this document are trademarks or registered trademarks of their respective owners.

Page 4

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

302

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

307

• 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.

Placement

351

• 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.

352

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

354a

• 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.

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

358

• 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.

Maintenance

401a

• 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.

402

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

Additional Precautions

• Do not expose the display to strong light (such as camera flashes), as malfunction may result.

• 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 in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• 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.

554

• Never strike or apply strong pressure to the display.

556

• 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.

558a

• 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).

559a

• 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.

561

• 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.

Page 5

What can I do with the RS-5/9? (Main features)

High-Quality Tones at a Low Price

The onboard Tones were composed using Tone resources from previous XP and JV Series models. Despite the low cost of this instrument, it features 640 high-quality internal Tones (Preset: 512, including GM and GM2 Tones; User: 128), plenty for just about any live performance.

Includes Piano Button (RS-9 Only)

Regardless of the mode, pressing this button provides you with the optimum settings for piano performances (p. 60).

16-Part, 64-Voice GM2 Sound Generator

Maximum polyphony is 64 notes, and up to 16 parts can be handled simultaneously. When working with music data that conforms to General MIDI and/or General MIDI 2 (GM scores), you can combine the RS-5/9 with a computer or sequencer, and use the RS-5/9 to play back the data (p. 128).

Includes Favorite Performance Bank Buttons

You can register the Performances you like to these eight buttons and easily call them up whenever you wish (p. 58).

Stylish Aluminum Panel

The RS-5/9 features a titanium-toned aluminum panel for a great look onstage. The light weight adds to the RS-5/9’s portability; and what’s more, it’s extremely durable.

GM/General MIDI

fig.GM logo

General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meet the General MIDI standard bear the General MIDI logo ( ). Music files bearing the General MIDI logo can be played back using any General MIDI sound generating unit to produce essentially the same musical performance.

GM 2/General MIDI 2

fig.GM2 logo

Knob Controls for Adjusting the Sound in Real Time

These six convenient knobs let you can change the properties of the sound while you perform (p. 74).

Powerful Onboard Effects

Advanced DSP (Digital Signal Processor) technology provides a wide array of studio quality effects. In addition to the multiple effects section that features 42 different types of effects, the RS-5/9 also features an independent chorus unit and reverb unit (p. 79).

Arpeggiator Included

The RS-5/9’s arpeggiator function allows you to produce arpeggios (broken chords) simply by playing a chord in the keyboard. You can also use these knobs for changing Patterns in real time. Additionally, you can use them to synchronize arpeggio tempos with a connected sequencer or other device (p. 75).

Tone Search and Phrase Preview Functions Included

The Tone Search function (p. 23) lets you rapidly find the tone you want simply by specifying a tone category. By pressing [PHRASE PREVIEW] button, you can then hear the selected tone play a phrase suitable for that type of tone. (Phrase Preview function, p. 33)

The upwardly compatible General MIDI 2 ( ) recommendations pick up where the original General MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not covered by the original General MIDI recommendations, such as how sounds are to be edited, and how effects should be handled, have now been precisely defined. Moreover, the available sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the General MIDI or General MIDI 2 logo. In some cases, the conventional form of General MIDI, which does not include the new enhancements, is referred to as “General MIDI 1” as a way of distinguishing it from General MIDI 2.

GS Format

fig.GS logo

The GS Format ( ) is Roland’s set of specifications for standardizing the performance of sound generating devices. In addition to including support for everything

defined by the General MIDI, the highly compatible GS Format additionally offers an expanded number of sounds, provides for the editing of sounds, and spells out many details for a wide range of extra features, including effects such as reverb and chorus. Designed with the future in mind, the GS Format can readily include new sounds and support new hardware features when they arrive.

Page 6

USING THE UNIT SAFELY.........................................................................................2

IMPORTANT NOTES ..................................................................................................4

What can I do with the RS-5/9? (Main features)......................................................5

Front and Rear Panel...............................................................................................10

Quick Start......................................................13

Getting Ready...........................................................................................................14

Connecting the RS-5/9 to external equipment.....................................................................................14

Turning On the Power............................................................................................................................. 15

Turning the power off .................................................................................................................. 16

Adjusting the display contrast (LCD CONTRAST) ............................................................................16

Adjusting the pitch to other instruments (Master Tuning)................................................................ 18

Listening to the Demo (DEMO)...............................................................................19

Demo Songs List.......................................................................................................................................20

Playing the Sounds..................................................................................................21

Restoring the Factory Settings (Factory Reset).....................................................................................21

Selecting Tones By Category (TONE CATEGORY)............................................................................23

Selecting Tones by Specifying the Group and Number......................................................................26

Easy Tone Selection (Switching Parts) ..................................................................................................28

Playing Percussion Instruments (Drum Sets).......................................................................................29

Changing a Drum Set ................................................................................................................... 29

Selecting Drum Sets by Specifying the Group and Number..................................................30

Playing a Drum Set in a Part Other Than Part 10..................................................................... 31

Notes when selecting a Drum Set...............................................................................................32

Trying out tones (PHRASE PREVIEW)................................................................................................. 33

Playing Two Tones on the Keyboard.....................................................................34

Dividing the Keyboard into Separate Ranges and Playing Different Tones in Each (SPLIT).........34

Playing two Tones from the keyboard (DUAL)................................................................................... 36

Selecting Tones and Drum Sets..............................................................................................................37

Selecting Tones By Category (TONE CATEGORY).................................................................37

Selecting Tones by Specifying the Group and Number..........................................................38

Changing the Two Parts Being Used.....................................................................................................39

Changing the Split Point .........................................................................................................................40

Using the Convenient Functions in Performances...............................................42

Creating Arpeggios from the Chords You Play (ARPEGGIO ON/OFF) ........................................42

Using Multi-effects, Chorus, and Reverb.............................................................................................. 44

Turning the Effects On and Off (EFFECTS ON/OFF)............................................................. 44

Setting the Amount of Chorus and Reverb............................................................................... 46

Changing the Multi-effect Type..................................................................................................47

Transposing All the Parts (TRANSPOSE ON/OFF)........................................................................... 48

Setting the Amount of Transposition......................................................................................... 48

Changing the Sound’s Pitch in Real Time (Pitch Bend Lever)...........................................................50

Adding a Vibrato Effect to the Sound (Modulation Lever)................................................................51

Changing the Tone with the Knobs.......................................................................................................52

Vibrato and Wah Effects (LFO)...................................................................................................52

Changing the sound’s volume (ENVELOPE)...........................................................................54

Changing the Brightness of the Sound and Adding Special Qualities (FILTER) ................ 55

Changing the RS-5/9’s Settings All At Once (Selecting Performances)...........................................56

Easily Selecting the Performances You Like (FAVORITE PERFORM BANK) ...............................58

Registering Performances............................................................................................................58

Easily Selecting Performances.....................................................................................................59

Instantly Switching to Piano Mode ............................................................................................ 60

Page 7

Contents

Advanced Use.................................................61

Chapter 1. An overview of the RS-5/9 ....................................................................62

Basic Organization of the RS-5/9...........................................................................................................62

Classification of RS-5/9 Sound Types................................................................................................... 62

Tone................................................................................................................................................. 62

Drum Set......................................................................................................................................... 62

Performance...................................................................................................................................62

About Memory..........................................................................................................................................63

Maximum Polyphony.............................................................................................................................. 64

Preventing notes of an important Part from being cut off (Voice Reserve) .........................64

Modifying the Value of a Setting ........................................................................................................... 64

Convenient shortcuts...............................................................................................................................65

If “Stuck” Notes Occur (PANIC)............................................................................................................ 65

When Sounds From the RS-5/9 Do Not Stop Playing............................................................. 65

What to Do When an External Sound Generator Fails to Stop Sounding ............................ 65

Chapter 2. Part Volume and Pan Settings .............................................................66

Chapter 3. Mastering Use of the Performance Features......................................67

Playing single-note lines (Solo) .............................................................................................................. 67

Smoothly Changing the Pitch of the Sound (Portamento).................................................................67

Determining the Volume from the Force Used To Play the Keys (Velocity Sense)........................68

Transposing Performances...................................................................................................................... 69

Transposing All Parts (TRANSPOSE ON/OFF) ...................................................................... 69

Transposing a Specified Part (Key Shift)...................................................................................69

Adding Breadth to the Sound by Layering Tones with Different Pitches (Fine Tune).................. 69

Changing to Pure Temperament or an Arabic scale (Scale Tune)..................................................... 70

What are Equal Temperament, Pure Temperament, and Arabic scales?..............................70

Making Scale Tune settings.........................................................................................................70

Chapter 4. Changing Tones in Real Time..............................................................71

Changing the Pitch in Realtime (Pitch Bend Lever)............................................................................ 71

Using the Modulation Lever to modify the sound..............................................................................71

Using a pedal to modify the sound........................................................................................................73

Switching the Pedal’s Polarity (Pedal Polarity)........................................................................ 73

Using a knob to modify the sound.........................................................................................................74

Switching to the Value at the Current Knob Positions (MANUAL) ..................................... 74

Chapter 5. Using the arpeggiator ...........................................................................75

Turning the Arpeggio Function On and Off (ARPEGGIO ON/OFF).............................................. 75

Tip for Creating Arpeggio Patterns.......................................................................................................75

Arpeggiator parameters you can set......................................................................................................75

Creating a pattern.....................................................................................................................................77

Using the Knobs to Change Patterns in Real Time.............................................................................. 78

Chapter 6. Effect Settings .......................................................................................79

Turning the Effect Function On and Off (EFFECTS ON/OFF).........................................................79

The Effect Signal Path..............................................................................................................................80

Making Multi-Effects Settings ................................................................................................................ 80

Setting the Multi-Effects Source..................................................................................................80

Select the Type and Set Each Parameter.................................................................................... 81

00: THROUGH...............................................................................................................................82

01: STEREO EQ (Stereo Equalizer).............................................................................................82

02: OVERDRIVE............................................................................................................................ 83

03: DISTORTION...........................................................................................................................83

04: PHASER....................................................................................................................................84

05: SPECTRUM..............................................................................................................................84

06: ENHANCER............................................................................................................................85

07: AUTO WAH ............................................................................................................................ 85

08: ROTARY................................................................................................................................... 86

Page 8

Contents

09: COMPRESSOR ........................................................................................................................ 87

10: LIMITER...................................................................................................................................87

11: HEXA-CHORUS......................................................................................................................88

12: TREMOLO CHORUS ............................................................................................................. 88

13: SPACE-D .................................................................................................................................. 89

14: STEREO CHORUS..................................................................................................................89

15: STEREO FLANGER................................................................................................................90

16: STEP FLANGER...................................................................................................................... 91

17: STEREO DELAY......................................................................................................................92

18: MODULATION DELAY........................................................................................................ 93

19: TRIPLE TAP DELAY..............................................................................................................94

20: QUADRUPLE TAP DELAY .................................................................................................. 95

21: TIME CONTROL DELAY......................................................................................................96

22: 2VOICE PITCH SHIFTER...................................................................................................... 96

23: FBK PITCH SHIFTER (Feedback Pitch Shifter).................................................................. 97

24: REVERB....................................................................................................................................98

25: GATED REVERB..................................................................................................................... 99

26: OVERDRIVE→CHORUS....................................................................................................... 99

27: OVERDRIVE→FLANGER...................................................................................................100

28: OVERDRIVE→DELAY ........................................................................................................ 100

29: DISTORTION→CHORUS ...................................................................................................101

30: DISTORTION→FLANGER ................................................................................................. 101

31: DISTORTION→DELAY.......................................................................................................101

32: ENHANCER→CHORUS..................................................................................................... 102

33: ENHANCER→FLANGER................................................................................................... 102

34: ENHANCER→DELAY ........................................................................................................103

35: CHORUS→DELAY............................................................................................................... 103

36: FLANGER→DELAY............................................................................................................. 104

37: CHORUS→FLANGER.........................................................................................................104

38: CHORUS/DELAY ................................................................................................................ 105

39: FLANGER/DELAY..............................................................................................................105

40: CHORUS/FLANGER........................................................................................................... 105

41: LOFI ........................................................................................................................................106

42: SLICER....................................................................................................................................106

Setting Multi-Effects as On/Off for Individual Parts............................................................107

Making Chorus Settings........................................................................................................................107

Select the Type and Set Each Parameter.................................................................................. 107

Setting the Chorus Depth for Each Part................................................................................... 108

Making Reverb Settings......................................................................................................................... 108

Selecting the Type and Setting Each Parameter ..................................................................... 108

Setting the Reverb Depth of Each Individual Part.................................................................109

Chapter 7. Creating your original Tone or Drum Set..........................................110

Creating a Tone....................................................................................................................................... 110

Tone Parameters That Can Be Set............................................................................................. 110

Creating a Tone ........................................................................................................................... 111

Creating a Drum Set............................................................................................................................... 112

Drum Set Parameters That Can Be Set.....................................................................................112

Creating a Drum Set ................................................................................................................... 112

Chapter 8. Saving Your Settings ..........................................................................113

Saving Tone / Drum Set / Performance............................................................................................. 113

Assigning a name........................................................................................................................ 113

How to Save................................................................................................................................. 114

Saving settings on an external sequencer (Bulk Dump)................................................................... 115

Setting the Device ID Number..................................................................................................115

Bulk dump procedure ................................................................................................................ 115

Setting the System Exclusive Receive Switch .........................................................................116

Restoring saved settings to the RS-5/9....................................................................................116

Page 9

Contents

Chapter 9. Restoring the Original Settings..........................................................117

Restoring the Factory Settings (Factory Reset)...................................................................................117

Restoring GM/GM2 Basic Settings (GM/GM2 SYSTEM ON)........................................................ 117

Chapter 10. Performing With An External MIDI Device ......................................118

About MIDI.............................................................................................................................................118

MIDI connectors.......................................................................................................................... 118

MIDI Channels and Multi-timbral Sound Generators...........................................................118

MIDI messages used by the RS-5/9 .........................................................................................119

Playing Sounds from an External MIDI Sound Generator With the RS-5/9................................. 120

Connecting to External MIDI Sound Generators ................................................................... 120

Set the Keyboard Transmit Channel ........................................................................................ 120

Selecting sounds on another device using the RS-5/9 ..........................................................121

Playing the RS-5/9’s Sound Generator from an External MIDI Device.........................................122

Connecting External MIDI Device............................................................................................ 122

Setting the Receive Channel and Tone Change Receive Switch .......................................... 122

Selecting RS-5/9 Sounds from an External MIDI Device......................................................123

Using an External MIDI Controller to Change the RS-5/9’s Tones.....................................123

Chapter 11. Recording Performances on the RS-5/9 to an External Device ....124

Recording to an External Sequencer.................................................................................................... 124

Connecting to an External Sequencer ......................................................................................124

Making Settings Before Recording...........................................................................................124

Recording ..................................................................................................................................... 125

Listening to the Recorded Performance...................................................................................126

Playing Together with the Playback of a Recorded Performance........................................126

Transposing Playback of Performances (Master Key Shift)..................................................126

Enjoying Computer Music....................................................................................................................126

Connecting a Computer.............................................................................................................126

Making Settings Prior to Recording, Recording, and Listening to the Recorded Performance .......128

Using the RS-5/9 as a GM/GM2 System-Compatible Sound Module ..........................................128

Playing Back GM/GM2 Music Data ........................................................................................ 128

Creating Songs for GM and GM2 System Sound Generators ..............................................129

Appendices ...................................................131

Troubleshooting.....................................................................................................132

Error Messages/Message List ..............................................................................135

Error Message List.................................................................................................................................. 135

Message List............................................................................................................................................135

Parameter List........................................................................................................137

Performance ............................................................................................................................................137

Performance Part....................................................................................................................................139

Tone..........................................................................................................................................................140

Drum Set.................................................................................................................................................. 140

System......................................................................................................................................................141

Multi-Effect.............................................................................................................................................. 142

Performance List....................................................................................................147

Tone List.................................................................................................................148

Drum Set List..........................................................................................................151

Arpeggio Style List ................................................................................................155

MIDI Implementation..............................................................................................156

Specifications.........................................................................................................173

Index........................................................................................................................174

Information .............................................................................................................178

Page 10

Front and Rear Panel

ABC

PIANO Button

You can get the perfect settings for piano performances with the press of a single button (p. 60).

(RS-9 Only)

VOLUME Knob

Adjusts the overall volume that is output from the OUTPUT jacks, and the PHONES jack (p. 16).

LFO

RATE Knob

Changes the LFO Rate value (p. 52).

DEPTH Knob

Changes the LFO Depth value (p. 52).

ENVELOPE

ATTACK Knob

Changes the Envelope Attack Time value (p. 54).

RELEASE Knob

Changes the Envelope Release Time value (p. 54).

FILTER

LFO ON/OFF Button

This determines whether the LFO changes the filter cutoff frequency (ON), or the pitch (OFF) (p. 52).

CUTOFF Knob

Changes the Tone’s Cutoff Frequency value (p. 55).

RESONANCE Knob

Changes the Tone’s Resonance value (p. 55).

LED Display

Displays the Tone number, Drum Set number, or Performance number.

Display

This displays information regarding the operation you are performing.

FAVORITE PERFORM BANK Buttons 1–8

These allow you to register and immediately call up your favorite Performances (p. 58).

MANUAL Button

Sets the parameters assigned to the six knobs (LFO, ENVELOPE, FILTER) to the values at the current knob positions (p. 74).

ARPEGGIO/CONTROL Button

Allows control of other parameters with the four LFO and ENVELOPE knobs (p. 74, 78).

Page 11

Front and Rear Panel

ARPEGGIO ON/OFF Button

This button turns the arpeggio on or off (p. 75).

EFFECTS ON/OFF Button

Switches the multi-effects, reverb, and chorus effects on and off (p. 79).

TRANSPOSE ON/OFF Button

Transposes all Parts (p. 48).

SHIFT Button

This button is used in conjunction with other buttons (p. 64,

65).

PHRASE PREVIEW Button

Press this button to check the sound of a Tone or Drum Set before selecting (p. 33).

UTILITY Button

Used when saving data (p. 113), transmitting GM or GM2 Setup messages (p. 129), and restoring previous settings (p. 117).

PART / Button

Switches the Parts (p. 28).

VALUE -/+ Button

This is used to modify values. When one of these buttons is first held down and the other is pressed, the value then changes rapidly while [SHIFT] is held down (p. 64).

KEY MODE

SPLIT Button

Sets Key Mode to Split. When pressed, the keyboard is split into two separate ranges, with a different Tone played in each (p. 34).

DUAL Button

Sets Key Mode to Dual. When pressed, two different Tones are layered together (p. 36).

TONE CATEGOTY Button

Selects Tones when the Tone Search function is used (p. 23).

PERFORM/TONE Button

This button switches between the Tone Select display and the Performance Select display (p. 23, 29, 57).

USER/PRESET Button

This button switches between User Tones (or Drum Sets or Performances) and Preset Tones (or Drum Sets or Performances) (p. 26, 30, 57).

Numeric Keys 1–0

Used for inputting numbers when selecting and saving Tones and Performances (p. 27, 30, 57). When selecting Tones by category, these specify the category (p. 23). When the EDIT button is pressed, the functions printed beneath the buttons can be selected.

EDIT Button

Press this button when you wish to adjust various settings.

ENTER Button

Use this button to finalize a value or execute an operation.

Page 12

Front and Rear Panel

MIDI Connectors

External MIDI devices can be connected here (p. 120, 122, 124, 127). Use MIDI cables (sold separately) to make connections.

IN:

MIDI messages from an external device are received at this connector.

OUT:

MIDI messages are transmitted from this connector to an external device.

THRU:

MIDI messages received at MIDI IN are re-transmitted without change from this connector to an external MIDI device.

PHONES Jack

Accepts connection of headphones (p. 14).

Cord Hook

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.

PEDAL Jack

CONTROL:

Accepts connection of an external pedal, such as an expression pedal (the optional EV-5), pedal switch (the optional DP-2/6), or foot switch (the optional BOSS FS5U) (p. 14).

HOLD:

Allows you to use a connected pedal switch (the optional DP-2/6) or foot switch (the optional BOSS FS-5U) as a hold pedal (p. 14).

OUTPUT Jacks

Connect your amp or mixer to these jacks (p. 14). These jacks output the audio signal in stereo. For mono output, use the L jack.

AC Adaptor Jack

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

POWER Switch

Turns the power on/off (p. 15).

Page 13

Quick Start

Page 14

Getting Ready

Connecting the RS-5/9 to external equipment

The RS-5/9 does not contain an amp or speaker. You’ll need to listen to it through powered monitors, a mixer and connected monitors, a stereo system, or through headphones.

Connect as follows when using the RS-5/9 as a stand-alone device.

fig.Q-01

To prevent the inadvertent disruption of power to your unit (should the plug be

Stereo headphones

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.

Pedal switch (DP-2, DP-6)

Roland

Expression pedal (EV-5)

or pedal switch

or foot switch (BOSS FS-5U)

Mixer etc.

Audio cable

Monitor speakers

(powered)

AC adaptor

to AC power outlet

Audio set etc.

Audio cables, MIDI cables, and stereo headphones are not included. You will need to purchase these items from your dealer.

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.

Power amp

Before starting the connection procedure, make sure that the power to all devices has been turned off.

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.

Page 15

Getting Ready

Connect the supplied AC adaptor to the RS-5/9, and then plug its other end into a power outlet.

Connect the RS-5/9 and the external device as shown in the figure.

Use audio cables to connect audio equipment, such as an amp or speakers. If you are using headphones, plug them into the PHONES jack. Connect pedal switches or expression pedals as necessary.

When you want to how to make the connections for use with another external device

•“Playing Sounds from an External MIDI Sound Generator With the RS-5/9” (p. 120)

•“Playing the RS-5/9’s Sound Generator from an External MIDI Device” (p. 122)

• “Recording to an External Sequencer” (p. 124)

• “Enjoying Computer Music” (p. 126)

• CONTROL PEDAL jack can also accommodate pedal switches.

• In order to take full advantage of the RS-5/9’s performance, we recommend using a stereo amp/speaker system, If you are using a mono system, make you connections to the OUTPUT jack L (MONO).

Getting Ready

Turning On the Power

Before turning on the RS-5/9’s power, make sure that:

• Are all devices connected properly?

• Are the volume controls of the RS-5/9 and the other connected equipment turned to the minimum position?

• Is the AC adapter correctly connected to the RS-5/9?

Press the RS-5/9’s power switch on the rear panel to turn on the power.

fig.Q-02

Once the connections have

een 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.

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

efore the unit will operate normally.

Turn on the power of the connected audio devices.

Page 16

Getting Ready

Play the RS-5/9’s keyboard and gradually raise the volume controls of the RS-5/9, or the connected audio equipment to an appropriate volume level.

fig.Q-03

Turning the power off

Before you turn off the power, make sure of the following points.

• Are the volume controls of the RS-5/9 and the other connected equipment turned to the minimum position?

•Have you saved the sounds or other data you’ve created? (p. 113)

Turn up the RS-5/9’s volume level carefully. Excessive volume can damage connected audio devices, your hearing, or annoy your neighbors.

2 3

Turn off the power for all connected audio devices.

Turn off the RS-5/9 power switch.

Adjusting the display contrast (LCD CONTRAST)

The characters in the display may be difficult to view immediately after turning on the power or after extended use; this may also be because of where and how the display is situated. Follow the steps below to adjust the display’s contrast.

fig.Q-04

The LCD CONTRAST setting affects the RS-5/9 as a whole (i.e., is a system setting). This setting remains stored in memory even while the power is off.

342,5 1,6

Page 17

Getting Ready

1 2 3 4

5 6

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “System Setup.”

Press [ENTER].

Getting Ready

Press [5] a number of times to select “LCD Contrast.”

fig.Q-05

If you hold down [SHIFT] and press [5], you will return to the previous item.

Press VALUE [-]/[+] to set the value (1–8).

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Easily Setting the LCD Contrast

If you hold down [SHIFT] while you press [PHRASE PREVIEW], you can select the “LCD Contrast” screen directly. Make settings as explained in steps 5–6 of the above procedure.

fig.Q-06

Page 18

Getting Ready

Adjusting the pitch to other instruments (Master Tuning)

When playing the RS-5/9 together with other instruments, the pitch of all instruments must be adjusted to match—otherwise you will be out of tune! In general, the tuning of an instrument is indicated by the pitch in Hertz (Hz) of the middle “A” note.

fig.Q-07

32,5 1,64

1 2 3 4

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “System Setup.”

Press [ENTER].

Press [4] a number of times to select “Master Tune.”

fig.Q-08

Press VALUE [-]/[+] to set the value (415.3–440.0–466.2).

Match the pitch of the middle “A” note on the RS-5/9 to the other instruments.

The Master Tune setting is a system setting that is applied to the entire RS-5/9 (i.e., is a system setting). This setting remains stored in memory even while the power is off.

If you hold down [SHIFT] and press [4], you will return to the previous item.

The process of putting the standard pitches in tune is called “Tuning.”

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 19

Listening to the Demo (DEMO)

The RS-5/9 contains Demo songs.

Here’s how to hear the demo songs and experience the superb sounds and effects of the RS-5/9.

fig.Q-09

Press [SHIFT] and [TRANSPOSE ON/OFF] at the same time.

The following display will appear.

fig.Q-10

32 4,51

• While the demo songs are playing back, playing the keyboard will not produce sound.

4 5

Press VALUE [-]/[+] to select the song that you wish to hear.

If you want to listen to all of the songs played in order, select “All Songs.”

Press [ENTER] to start demo song playback.

The selected song is played back repeatedly. When “All Songs” is selected, the entire selection of songs is played back

repeatedly.

Press [EXIT] to stop playback.

To return the keyboard to performance mode, press [EXIT] once more.

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

Listening to the Demo (DEMO)

• In Step 4, the performance stops even when [ENTER] is pressed instead of [EXIT].

• In Step 5, the keyboard is returned to performance mode even when [ENTER] is pressed instead of simultaneously pressing [SHIFT] and [TRANSPOSE ON/OFF].

Page 20

Listening to the Demo (DEMO)

Demo Songs List

The RS-5/9 comes with 3 demos.

1. The Groove's Up

2. RS Fanfare

3. Journey To RS

Page 21

Playing the Sounds

Restoring the Factory Settings (Factory Reset)

When learning how to use the RS-5/9, it’s a good idea to reset it to its factory settings to ensure that its operation matches the behavior described in its manuals.

Notes

fig.(!)

When data is being written to the User Memory, the message “KEEP POWER ON!” appears in the display; be sure not to turn off the power while this message is displayed.

If the power is turned off or interrupted while data is being written to memory, the internal data may become corrupted, and you may not be able to turn the power back on. If you have confirmed that internal data has been lost, or if a similar problem exists, consult your Roland dealer or Roland Service. Note, however, that Roland assumes no liability, including compensation, for consequences arising from loss of data.

When this operation is executed, the settings stored in the User Area (where the User Tones and other Tones you have created are stored) as well as the System setup settings are lost. If you want to keep this data, save it to an external sequencer or computer using “Bulk Dump” (p. 115).

1 2

fig.Q-11

Press [UTILITY], getting the indicator to light.

Use VALUE [-]/[+] to select “Factory Reset.”

fig.Q-12

Press [ENTER].

321

Playing the Sounds

Page 22

Playing the Sounds

fig.Q-12a

5,64

Use VALUE [-]/[+] to select “All.”

fig.Q-13

Press [ENTER].

The confirmation message appears.

fig.Q-14

Press [ENTER] once again to start the Factory Reset operation.

After the Factory Reset operation is finished, the display will indicate “Completed.”

The [UTILITY] indicator goes out, and you are returned to the previous screen.

• To cancel the Factory Reset, press [EXIT].

• Even if the Factory Reset operation is executed, the display may be difficult to read, depending on the angle at which the RS-5/9 is placed. When this occur, adjust depth of the display (p. 16).

When you want to return a portion of the User memory to factory settings

• “Restoring the Factory Settings (Factory Reset)” (p. 117)

Page 23

Selecting Tones By Category (TONE CATEGORY)

The RS-5/9 features a Tone Search function that allows you to rapidly select and call up Tones by specifying the type of tone (Category). The 35 categories are organized into 10 groups.

fig.Q-15

Playing the Sounds

When shipped from the factory, [TONE CATEGORY] is set to “ON.”

3412

1 2

Press [PERFORM/TONE] to call up the Tone Search screen.

Make sure that the [TONE CATEGORY] indicator is lit.

If the [TONE CATEGORY] indicator is not lit, press [TONE CATEGORY] once more.

fig.Q-16exp

Tone NameTone selection screen

Tone Number

Part

Tone Group

Category

Press the numeric keys ([1]–[0]) a number of times until you can select the Category you want.

Should “PERFORM” be displayed, simply press [PERFORM/TONE] once more, and the Tone selection screen is displayed.

Playing the Sounds

Press VALUE [-]/[+] to select a Tone in the currently selected Category.

Page 24

Playing the Sounds

Selecting Categories from the Full List

In Step 3, if you hold down [TONE CATEGORY] and press a numerical key ([1]–[0]), the Category selection screen is displayed.

The indicator will begin blinking, instead of lighting steadily.

fig.Q-17

Press the numeric keys ([1]–[0]) a number of times, or press VALUE [-]/[+], to select the Category.

Pressing [TONE CATEGORY] or [EXIT] returns you to the original screen (the screen displayed in Step 2).

The indicator changes from blinking to lit.

When a Drum Set is Selected

“DRM” appears in the display if a Drum Set is selected when [TONE CATEGORY] is on (p. 29).

Note that, in this case, the numerical keys ([1]–[10]) are disabled.

fig.Q-18

Page 25

The following categories can be selected.

Playing the Sounds

Category Group

Piano PNO AC.PIANO Acoustic Piano

Keys&Organ KEY KEYBOARDS Other Keyboards

Guitar AGT AC.GUITAR Acoustic Guitar

Bass BS BASS Acoustic & Electric Bass

Orchestral STR STRINGS Strings

Brass BRS AC.BRASS Acoustic Brass

Synth HLD HARD LEAD Hard Synth Lead

Vocal&Pad VOX VOX Vox, Choir

Ethnic PLK PLUCKED Plucked (Harp etc.)

Rhythm&SFX PRC PERCUSSION Percussion

Category Contents

EP EL.PIANO Electric Piano

(Clav, Harpsichord etc.) BEL BELL Bell, Bell Pad MLT MALLET Mallet ORG ORGAN Electric and Church Organ ACD ACCORDION Accordion HRM HARMONICA Harmonica, Blues Harp

EGT EL.GUITAR Electric Guitar DGT DIST.GUITAR Distortion Guitar

SBS SYNTH BASS Synth Bass

ORC ORCHESTRA Orchestra Ensemble HIT HIT&STAB Orchestra Hit, Hit WND WIND Winds (Oboe, Clarinet etc.) FLT FLUTE Flute, Piccolo

SBR SYNTH BRASS Synth Brass SAX SAX Sax

SLD SOFT LEAD Soft Synth Lead TEK TECHNO SYNTH Techno Synth PLS PULSATING Pulsating Synth FX SYNTH FX Synth FX (Noise etc.) SYN OTHER SYNTH Poly Synth

BPD BRIGHT PAD Bright Pad Synth SPD SOFT PAD Soft Pad Synth

ETH ETHNIC Other Ethnic FRT FRETTED Fretted Inst (Mandolin etc.)

SFX SOUND FX Sound FX

Playing the Sounds

Page 26

Playing the Sounds

Selecting Tones by Specifying the Group and Number

Tones are separated into the following two groups. You can select Tones by specifying the group and number.

User

128 Tones can be stored here. You can overwrite the Tones already stored here, replacing them with Tones you create (p. 113).

Preset

This area holds 512 Tones; these cannot be overwritten or replaced. However you may modify the settings of the currently selected tone, and then store the modified tone in User memory.

1–256 are the RS-5/9’s original Tones. Tones 257–512 provide compliance with GM2.

fig.Q-19

1 2

Press [PERFORM/TONE] to display the Tone selection screen.

Press [TONE CATEGORY] to make the indicator goes out.

The following screen appears.

fig.Q-20exp

Tone NameTone selection screen

Tone Number

Part

Tone Group

Tone Number

Press [USER/PRESET] to select the group (User or Preset).

4123 5

Should “PERFORM” be displayed, simply press [PERFORM/TONE] once more, and the Tone selection screen is displayed.

Page 27

Playing the Sounds

Press the numeric keys ([1]–[0]) to specify the Tone number (User: 1–128, Preset: 1–512).

Press [ENTER] to finalize the entry.

Changing values by large amounts

When changing values on the RS-5/9, press VALUE [-]/[+]. You can change values by large amounts using the methods described below.

To increase the value, hold down VALUE [+] and press VALUE [-]. To decrease the value, hold down VALUE [-] and press VALUE [+]. To increase the value in units of ten, hold down [SHIFT] and press VALUE [+]. To decrease the value in units of ten, hold down [SHIFT] and press VALUE [-].

If you make a mistake, press [EXIT] and specify the number once more.

Instead of using Steps 4 and 5, you can also switch Tones by pressing VALUE [-]/[+].

When you want to know the name and number of the Tone

• “Tone List” (p. 148)

When you want to know how to switch Tones with Key Mode set to Split or Dual

• “Selecting Tones and Drum Sets” (p. 37)

To create Tones by yourself

• “Creating a Tone” (p. 110)

When you want to store a Tone you have created to User memory

• “Saving Tone / Drum Set / Performance” (p. 113)

When you want to switch Tones from an external MIDI device

• “Selecting RS-5/9 Sounds from an External MIDI Device” (p. 123)

Playing the Sounds

Page 28

Playing the Sounds

Easy Tone Selection (Switching Parts)

By switching Parts, you can select Tones easily. The RS-5/9 has 16 Parts. Parts are the equivalent of performers playing

instruments, and you can assign a different Tone to each individual Part.

• Selecting Tones By Category (TONE CATEGORY)

• Selecting Tones by Specifying the Group and Number The two methods of selecting Tones shown above are used to change Tones

while a single Part is selected. Here, let’s select a Tone easily by switching Parts.

fig.Q-21

Press PART [ ]/[ ] and select one of the Parts 1–16.

fig.Q-22

When you want to perform in ensemble using multiple parts

• “Recording to an External Sequencer” (p. 124)

• “Enjoying Computer Music” (p. 126)

When you want to know how to switch Parts with Key Mode set to Split or Dual

• “Changing the Two Parts Being Used” (p. 39)

By selecting a Tone (p. 23,

26) or Drum Set (p. 29, 30) after selecting a Part, you can then switch the Tone or Drum Set for that Part.

Page 29

Playing Percussion Instruments (Drum Sets)

The RS-5/9 contains Drum Sets that allow you to play different percussion instruments or sound effects from each key of the keyboard.

Changing a Drum Set

Factory settings have a Drum Set assigned to Part 10, so you can immediately use the keyboard to play percussion instrument sounds by pressing PART [ ]/[ ] to select Part 10.

Here, let’s select Part 10 and learn how to switch Drum Sets.

fig.Q-23

Playing the Sounds

Press [PERFORM/TONE] to call up the Tone/Drum Set selection screen.

Press PART [ ]/[ ] to select Part 10.

fig.Q-24exp

Drum Set

selection screen

Part

Drum Set Number

Drum Set

Name

Category

Drum Set Group

Press VALUE [-]/[+] to switch the Drum Set.

Should “PERFORM” be displayed, simply press [PERFORM/TONE] once more, and the Tone/Drum Set selection screen is displayed.

Playing the Sounds

Page 30

Playing the Sounds

Selecting Drum Sets by Specifying the Group and Number

Just as are Tones, Drum Sets are separated into two groups. You can also select Drum Sets by specifying the group and number.

User

Two Drum Sets can be stored here. You can overwrite these, replacing them with Drum Sets you create (p. 113).

Preset

This area holds twenty Drum Sets; these cannot be overwritten or replaced. However, you can change the settings of a currently selected Drum Set, and then store those settings in User memory.

1–11 are the RS-5/9’s original Drum Sets. Drum Sets 12–20 provide compliance with GM2.

fig.Q-24a

Press [PERFORM/TONE] to call up the Tone/Drum Set selection screen.

Press [TONE CATEGORY] to make the indicator goes out.

The following screen appears.

fig.Q-25exp

Drum Set

Name

Drum Set

Number

Drum Set

Group

Drum Set Number

Drum Set

selection screen

Part

4123 5

Should “PERFORM” be displayed, simply press [PERFORM/TONE] once more, and the Tone/Drum Set selection screen is displayed.

3 4

Press [USER/PRESET] to select the group (User or Preset).

Press the numeric keys ([1]–[0]) to specify the Drum Set number (USER: 1, 2, Preset: 1–20).

If you make a mistake, press [EXIT] and specify the number once again.

Page 31

Playing the Sounds

Press [ENTER] to finalize the entry.

Playing a Drum Set in a Part Other Than Part 10

You can also Play Drum Sets in Parts other than Part 10.

fig.Q-26

2,6

1 2

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Performance Part.”

Instead of using Steps 4 and 5, you can also switch Drum Sets by pressing VALUE [-]/[+].

531,7

Separate Tone Type settings can be made for each individual Part in a Performance (p. 56).

3 4

6 7

Press [ENTER].

Press PART [ ]/[ ] to select the Part to which the Drum Set is to be assigned.

Press [5] a number of times to select “Tone Type.”

fig.Q-27

Press VALUE [-]/[+] to select “DRUM1” or “DRUM2.”

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

When Key Mode (p. 34) is set to Split or Dual, you can select only the Upper Part and the Lower Part.

If you hold down [SHIFT] and press [5], you will return to the previous item.

Playing the Sounds

• If you wish to make settings for other Parts, repeat steps 4–6.

• If you want to go from Drum Sets back to regular Tones, press “TONE” in Step 6.

Page 32

Playing the Sounds

Notes when selecting a Drum Set

Whether a Tone or a Drum Set is played in any Part is determined with the selection of TONE, DRUM1, or DRUM2 in the Tone Type setting as described in Step 6 of “Playing a Drum Set in a Part Other Than Part 10” (p. 31).

Up to 2 Drum Sets can be assigned to the Parts. The same Drum Set will be selected for each Part whose Tone Type is set to DRUM1. The same is true for a setting of DRUM2.

Example:

DRUM1 has been specified for Parts 1 and 2, and the STANDARD Drum Set is selected. In this situation if you change Part 1 from STANDARD to ELECTRONIC, Part 2 will automatically be set to ELECTRONIC.

fig.Q-28

Part 1

Tone Type: DRUM1

Part 2

Tone Type: DRUM1

Part 3

Tone Type: DRUM2

Part 4

Tone Type: Tone

Part 16

Tone Type: Tone

STANDARD

ELECTORONIC

STANDARD

ELECTORONIC

POWER

Piano1

Strings

When you want to play a percussion instrument assigned to a key outside the key range

• “Transposing All the Parts (TRANSPOSE ON/OFF)” (p. 48)

When you want to know a Drum Set’s name and number

• “Drum Set List” (p. 151)

To create your own Drum Sets

• “Creating a Drum Set” (p. 112)

When you want to store a Drum Set you have created to User memory

• “Saving Tone / Drum Set / Performance” (p. 113)

When you want to switch Drum Sets from an external MIDI device

• “Selecting RS-5/9 Sounds from an External MIDI Device” (p. 123)

Page 33

Trying out tones (PHRASE PREVIEW)

You can check out Tones using specially prepared phrases in each Tone Category.

fig.Q-29

Playing the Sounds

1 2 3

Select a Tone or Drum Set (p. 23, 26, 29, 30).

Press and hold [PHRASE PREVIEW].

Release your finger from [PHRASE PREVIEW], and the phrase will stop playing.

The selected Tone or Drum Set plays when Key Mode (p. 34) is set to Split or Dual.

Tone and Drum Set categories are set; they cannot be modified.

Playing the Sounds

Page 34

Playing Two Tones on the Keyboard

The setting that determines whether one or two Tones are played by a key is referred to as “Key Mode.” There are three Key modes.

Single: The same Tone is played by all keys on the keyboard. This is the

normal playing mode.

Split: One key acts as the division point (the “split point”) separating the

keyboard into left- and right-hand sides, with a different Tone played in each.

Dual: Two Tones can be layered together.

Dividing the Keyboard into Separate Ranges and Playing Different Tones in Each (SPLIT)

fig.Q-30

Different Key Mode settings can be made for each individual Performance.

1,2

Press [SPLIT], getting the indicator to light.

Try fingering the keyboard.

fig.Q-31exp

Tone selection

screen

Tone Number

Lower Part

In Split, two Parts are used. These are referred to as the “Upper Part” and the “Lower Part.” The tone data for the currently selected parts appears in the display.

The above figure shows an example where Part 1 is used for the Upper Part, and Part 16 is used for the Lower Part.

Upper Part

Current Part

Tone Name

Category

Tone Group

In some Preset Performances, Key Mode is set to Split or Dual (Performance List, p. 147). Try switching Performances (p. 56) and listening to the various combinations of tones.

The split point is set to C4 at the factory. The upper range of the keyboard, including C4, plays the tone in the Upper Part, and the Lower Part Tone is played in the range below C4.

The key used as the split point plays the Tone in the Upper Part.

Page 35

fig.Q-32

Playing Two Tones on the Keyboard

C4 (Split Point)

UpperLower

If you press [SPLIT] once more, the indicator light goes out, and the keyboard returns to the normal performance mode (Single).

When you want to switch Tones

• “Selecting Tones and Drum Sets” (p. 37)

When you want to change the Parts used for the Upper and Lower Parts

• “Changing the Two Parts Being Used” (p. 39)

When you want to change the key dividing the keyboard into two ranges

• “Changing the Split Point” (p. 40)

Playing Two Tones on the Keyboard

Page 36

Playing Two Tones on the Keyboard

Playing two Tones from the keyboard (DUAL)

fig.Q-33

1,2

Press [DUAL], getting the indicator to light.

Try fingering the keyboard.

fig.Q-31exp

Tone selection

screen

Tone Number

Lower Part

Just as in Split mode, two Parts are used. The Tones selected for the Upper Part and Lower Part are played together

when a key is pressed.

Upper Part

Current Part

Tone Name

Category

Tone Group

If you press [DUAL] once more, the indicator light goes out, and the keyboard returns to the normal performance mode (Single).

When you want to switch Tones

• “Selecting Tones and Drum Sets” (p. 37)

When you want to change the Parts used for the Upper and Lower Parts

• “Changing the Two Parts Being Used” (p. 39)

Page 37

Playing Two Tones on the Keyboard

Selecting Tones and Drum Sets

Use the following procedure to switch Tones when Key Mode is set to Split or Dual.

Selecting Tones By Category (TONE CATEGORY)

fig.Q-35

Make sure that the [TONE CATEGORY] indicator is lit.

If the [TONE CATEGORY] indicator is not lit, press [TONE CATEGORY] once more.

Press PART [ ]/[ ] to move the cursor to the Part whose Tone or Drum Set you want to switch.

fig.Q-36exp

Current Part

Upper Part

Lower Part

341

Playing Two Tones on the Keyboard

The above figure is an example where the Upper Part is selected.

Press the numeric keys ([1]–[0]) a number of times until you can select the Category you want.

Press VALUE [-]/[+] to select a Tone or Drum Set in the currently selected Category.

With Drum Sets, Step 3 is not required.

Page 38

Playing Two Tones on the Keyboard

Selecting Categories from the Full List

In Step 3, if you hold down [TONE CATEGORY] and press a numerical key ([1]–[0]), the Category selection screen is displayed.

The indicator will begin blinking, instead of lighting steadily.

fig.Q-17

Press the numeric keys ([1]–[0]) a number of times, or press VALUE [-]/[+], to select the Category.

Pressing [TONE CATEGORY] or [EXIT] returns you to the original screen (the screen displayed in Step 2).

The indicator changes from blinking to lit.

Selecting Tones by Specifying the Group and Number

fig.Q-37

1 2

Press [TONE CATEGORY] to make the indicator goes out.

Press PART [ ]/[ ] to move the cursor to the Part whose Tone or Drum Set you want to switch.

fig.Q-38exp

Current Part

45231

Upper Part

Lower Part

The above figure is an example where the Upper Part is selected.

Page 39

Playing Two Tones on the Keyboard

3 4

Press [USER/PRESET] to select the group (User, Preset).

Press the numeric keys ([1]–[0]) to specify the Tone or Drum Set number.

Press [ENTER] to finalize the entry.

The Tone number or Drum Set number appears in the display.

Changing the Two Parts Being Used

Two Parts (Upper and Lower) are used when Key Mode is set to Split or Dual. You can select which of the 16 Parts will be the Upper Part and which will be the Lower Part.

fig.Q-39

If you make a mistake, press [EXIT] and specify the number once more.

Instead of using Steps 4 and 5, you can also switch Tones by pressing VALUE [-]/[+].

Playing Two Tones on the Keyboard

These settings can be made for each Performance (p. 56) individually.

1 2 3

321

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.”

Press [ENTER].

Page 40

Playing Two Tones on the Keyboard

fig.Q-39a

65 4

5 6

Press [9] a number of times to select “Upper Part” or “Lower Part.”

fig.Q-40

Press VALUE [-]/[+] to select the value (1–16).

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Which Part Is Used in Single Mode?

When Key Mode is set to Single, the Upper Part is used.

If you hold down [SHIFT] and press [9], you will return to the previous item.

Therefore, take care not to press PART [ ]/[ ] and switch the Part while in Single Mode, or the “Upper Part” value will be overwritten.

Changing the Split Point

When Key Mode is set to Split, you can set the key that divides the keyboard into two separate ranges anywhere from C2 to C#7.

fig.Q-32

C4 (Split Point)

UpperLower

The split point can be set individually for each Performance (p. 56).

Page 41

fig.Q-42

Playing Two Tones on the Keyboard

32,5 1,64

1 2 3 4

5 6

Press [EDIT], getting the indicator to light.

Playing Two Tones on the Keyboard

Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.”

Press [ENTER].

Press [9] a number of times to select “Split Point.”

fig.Q-43

If you hold down [SHIFT] and press [9], you will return to the previous item.

Press VALUE [-]/[+] to select the value (C-1–G9).

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

A quick way to change the Split Point

If you hold down [SPLIT] and press [EDIT], you can select the “Split Point” screen directly. Make settings as explained in steps 5–6 of the above procedure.

Also, if you want be able to change the split point quickly, by holding down [SPLIT] and pressing VALUE [-]/[+], you can change only the “Split Point” setting. When you release [SPLIT], the previous display will reappear.

Page 42

Using the Convenient Functions in Performances

This section explains how to utilize the different functions that are often used in performances.

Creating Arpeggios from the Chords You Play (ARPEGGIO ON/OFF)

Just by playing a chord, you can play an arpeggio (a chord that is played one note at a time) using the notes making up that chord.

You can play arpeggios in all key ranges when Key Mode is set to Single or Dual.

When Key Mode is set to Split, you can play arpeggios in the Lower range.

fig.Q-44

For instructions on making detailed settings, refer to the reference pages in the column.

Arpeggios can be produced only by playing the RS-5/ 9’s keyboard. Arpeggios cannot be played using Note messages that arrive at the MIDI IN connector.

1 2

1,3

Press [ARPEGGIO ON/OFF], getting the indicator to light.

Press the key as shown in the figure below.

fig.Q-45

C3E3G3

The arpeggio is played with the sequence of notes, C3, E3, G3, E3, C3, E3, G3, E3, and so on.

Try playing some other chords, too.

C3 E3 E3E3

G3G3

• Arpeggio data is output from the MIDI OUT connector.

• The arpeggio On/Off setting can be made individually for each Performance (p. 56).

If you press [ARPEGGIO ON/OFF] once more, the indicator light goes out, and the keyboard returns to the normal performance mode.

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Using the Convenient Functions in Performances

Continuing Arpeggios Without Having To Hold Down the Key

Hold down the [SHIFT] button and press [ARPEGGIO ON/OFF]. The [ARPEGGIO ON/OFF] indicator starts blinking, and you can then have the arpeggio be played without having to continue pressing the chord. To cancel Arpeggio Hold, hold down [SHIFT] and press [ARPEGGIO ON/OFF] once more.

Note also that if a pedal switch (such as the optional DP-2/6), or a foot switch (such as the optional BOSS FS-5U) is connected to the PEDAL HOLD jack, you can have arpeggios be played if you depress the pedal while pressing chords. In this way, you can play arpeggios without having to continue pressing the chord.

When you want to know more about the arpeggio settings

• “Chapter 5. Using the arpeggiator” (p. 75)

Using the Convenient Functions in Performances

Page 44

Using the Convenient Functions in Performances

Using Multi-effects, Chorus, and Reverb

The RS-5/9 provides three independent internal effect channels.

Multi-Effect

This channel can provide 42 different effects, including distortion and rotary effects.

Chorus

This channel adds depth and dimension to sounds.

Reverb

This channel creates an artificial ambience around the sound.

Turning the Effects On and Off (EFFECTS ON/OFF)

When shipped from the factory, all three effects are set to ON.

fig.Q-47

The On/Off settings for each Effect affect the RS-5/ 9 as a whole (i.e., are system settings). This setting remains stored in memory even while the power is off.

2 3

1,3,5,72,4,6

Press [EFFECTS ON/OFF] to make the indicator blink.

The Multi-effects On/Off settings screen appears in the display.

fig.Q-48

Press VALUE [-]/[+] to turn the effect on or off.

Press [EFFECTS ON/OFF].

Next, the Chorus On/Off settings screen appears in the display.

fig.Q-49

Page 45

Using the Convenient Functions in Performances

4 5

6 7

Press VALUE [-]/[+] to turn the effect on or off.

Press [EFFECTS ON/OFF].

Then the Reverb On/Off settings screen appears in the display.

fig.Q-50

Press VALUE [-]/[+] to turn the effect on or off.

Press [EFFECTS ON/OFF] to return to the original screen.

The [EFFECTS ON/OFF] indicator lights up whenever any of the three effects is on.

When Using Multi-effects in Split or Dual Mode

• You can return to the original screen during the operation by pressing [EXIT].

• If all three effects are turned off, the [EFFECTS ON/OFF] indicator light goes out.

The RS-5/9 cannot use more than one multi-effect at a time. Therefore, there is a “Source” parameter which is used for selecting the multi-effect settings.

Settings Values

UPPER: The Upper Tone’s multi-effect settings are used. The

multi-effect is applied only to the Upper Part.

LOWER: The Lower Tone’s multi-effect settings are used. The

multi-effect is applied only to the Lower Part.

PERFORMANCE: The Performance’s multi-effect settings are used. The

same multi-effect is applied to all Parts (1–16).

Thus, you should note that depending on the Source setting, some Parts may not have multi-effects applied while in Split or Dual mode.

For more detailed information, refer to “Making Multi-Effects Settings” (p. 80).

Using the Convenient Functions in Performances

Page 46

Using the Convenient Functions in Performances

Setting the Amount of Chorus and Reverb

fig.Q-51

1 2 3 4 5

3,7 5 6

Set the chorus or reverb to ON (refer to previous section).

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Performance Part.”

Press [ENTER].

Press PART [ ]/[ ] to select the Part for which the amount of effect is to be set.

If setting the chorus, press [7]; if setting the reverb, press [8].

fig.Q-52

42,8

Separate settings for the amount of chorus and reverb applied can be made for each individual Part in a Performance (p. 56).

• When Key Mode (p. 34) is set to Split or Dual, you can select only the Upper Part and the Lower Part.

• Note that even if the chorus or reverb is set to ON, no effect is applied if each Send Level is set to 0.

7 8

Use VALUE [-]/[+] to select the value (1–127).

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

If you wish to make settings for other Parts, repeat steps 5–7.

Page 47

Changing the Multi-effect Type

Here’s how to select the desired one of the 42 different Multi-effect settings.

fig.Q-53

Using the Convenient Functions in Performances

1 2 3 4 5

3,6

Set Multi-effects to ON (p. 44).

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.”

Press [ENTER].

Press [6] a number of times to select “Type.”

fig.Q-54

The figure above shows Source set to UPPER. You can see which multieffects settings are being used in the upper left of the display.

42,75

You can set the Multi-Effects Type for each Tone or Performance (p. 56) individually with the Source setting.

If you hold down [SHIFT] and press [6], you will return to the previous item.

Using the Convenient Functions in Performances

6 7

Press VALUE [-]/[+] to select the type.

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

When you want to know about the Multi-effects in greater detail

• “Chapter 6. Effect Settings” (p. 79)

When set to “00:THROUGH,” the multi-effects are then not applied.

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Using the Convenient Functions in Performances

Transposing All the Parts (TRANSPOSE ON/OFF)

This function moves the key range in half-step units. This is convenient in situations like the ones below.

When matching the vocalist’s register

Sometimes melodies may extend outside a vocalist’s register. Therefore, if you want to perform with the song changed to a different key, you can play the song in a new key while still using the same fingering as before.

When changing from a difficult key to one that is easy to play

You can use simple fingerings to play difficult songs that include numerous sharps or flats.

When playing with the tone of a transposed instrument

You can play the tones of a transposed instrument just as it is written in the score.

When Playing sounds outside the keyboard’s range

While the RS-5 features a 61-key keyboard, with some songs you may want to play notes even higher or lower. Also, when playing a Drum Set etc., there may be percussion instruments that the RS-5/9’s keyboard is not able to access. In such cases, you can use the Transpose function to play these notes.

fig.Q-55

Press [TRANSPOSE ON/OFF] to light indicator.

Transpose is set at the factory to play notes at one octave below what is played.

The Transpose On/Off settings can be set individually for each Performance (p. 56).

1,2

If you press [TRANSPOSE ON/OFF] once more, the indicator light goes out, and the keyboard returns to the normal performance mode.

Setting the Amount of Transposition

You can set the amount of transposition that is to occur when Transpose is switched on. The setting is made in semitone units, and can specify a rise or lowering of up to three octaves.

The settings for the amount of transposition can be set individually for each Performance (p. 56).

Page 49

fig.Q-56

Using the Convenient Functions in Performances

1 2 3 4

2,5

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Tone/Drum/PFMCommon.”

Press [ENTER].

Press [9] a number of times to select “Transpose.”

fig.Q-57

Press VALUE [-]/[+] to select the value (-36 to +36).

Note messages from MIDI IN connector will not be transposed.

If you hold down [SHIFT] and press [9], you will return to the previous item.

31,6

Using the Convenient Functions in Performances

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

An easy way to set Transpose

You can select the “Transpose” screen directly by holding down [TRANSPOSE ON/OFF] and pressing [EDIT]. Make settings as explained in steps 5–6 of the above procedure.

Furthermore, to change the transposition even more rapidly, you can change only the “Transpose” setting by holding down [TRANSPOSE ON/OFF] and pressing VALUE [-]/[+]. When you release [TRANSPOSE ON/OFF], the previous display will reappear.

When you want to transpose a specific Part

• “Transposing a Specified Part (Key Shift)” (p. 69)

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Using the Convenient Functions in Performances

Changing the Sound’s Pitch in Real Time (Pitch Bend Lever)

The “height” of a sound is called “pitch.” While playing the keyboard, move the lever to the left to lower the pitch, or

to the right to raise the pitch. When shipped from the factory, this is set so that the pitch is changed up or

down one whole step.

fig.Q-58exp

Pitch Bend

You can set up to a two-octave pitch bend range, adjustable in half-steps.

fig.Q-59

2,6 4 5

Pitch Bend is not applied to arpeggios.

The pitch bend range settings can be made for each individual Part in a Performance (p. 56).

31,7

1 2 3 4

Press [EDIT], getting the indicator to light.

Use VALUE [-]/[+] to select “Performance Part.”

Press [ENTER].

Press PART [ ]/[ ] to select the Part for which the pitch bend is to be changed.

Press [5] a number of times to select “Pitch Bend Range.”

fig.Q-60

When Key Mode (p. 34) is set to Split or Dual, you can select only two Parts, the Upper Part and the Lower Part.

If you hold down [SHIFT] and press [5], you will return to the previous item.

Page 51

Using the Convenient Functions in Performances

6 7

Press VALUE [-]/[+] to select the value (0 to +24).

Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Adding a Vibrato Effect to the Sound (Modulation Lever)

While playing the keyboard, move the lever away from you to add a vibrato effect.

fig.Q-61exp

With a setting of 0, there will be no pitch bend effect.

If you wish to make settings for other Parts, repeat steps 4–6.

The effect is applied to both the Upper Part and Lower Part when Key Mode is set to Split and Dual.

Modulation

When you want to use the Modulation Lever to add effects other than vibrato

• “Using the Modulation Lever to modify the sound” (p. 71)

Using the Convenient Functions in Performances

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Using the Convenient Functions in Performances

Changing the Tone with the Knobs

Using the six panel knobs, you can change the tone in real time. When a knob is turned, the function assigned to the knob and its value

appear temporarily in the display.

fig.Q-62

Vibrato and Wah Effects (LFO)

The LFO, short for “low frequency oscillator,” makes changes to the sound in periodic fashion. Changing the pitch with the LFO produces the “vibrato effect,” and by changing the filter cutoff frequency with the LFO, you get what is called the “wah effect.”

fig.Q-63

The effect is applied to both the Upper Part and Lower Part when Key Mode is set to Split and Dual.

1,43,6 2,5

Confirm that the FILTER [LFO ON/OFF] is set to OFF.

When [LFO ON/OFF] is set to OFF, you can use the LFO 2 knob to change the vibrato effect.

Turn the LFO DEPTH knob.

Turning this to the right increases the depth of the undulating sound, while turning it to the left makes the undulation shallower and milder.

Turn the LFO RATE knob.

Turning this to the right (clockwise) increases the speed of the undulating sound, while turning it to the left (counterclockwise) slows the undulation down.

If this is set to ON, press [LFO ON/OFF] once more to switch it off.

Press FILTER [LFO ON/OFF], causing the indicator to light up.

When [LFO ON/OFF] is set to ON, you can use the LFO 2 knob to change the vibrato effect.

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Using the Convenient Functions in Performances

Turn the LFO DEPTH knob.

Turning this to the right increases the depth of the undulating sound, while turning it to the left makes the undulation shallower and milder.

Turn the LFO RATE knob.

Turning this to the right (clockwise) increases the speed of the undulating sound, while turning it to the left (counterclockwise) slows the undulation down.

Using the Convenient Functions in Performances

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Using the Convenient Functions in Performances

Changing the sound’s volume (ENVELOPE)

The volume continues to change from the time a key is pressed to when it is released.

A: Attack Time:The time it takes after the key is pressed for a sound to reach full volume.

R: Release Time:The time it takes after the key is released for a sound to become inaudible.

Use the ENVELOPE 2 knob to change the A and R times.

fig.Q-64

A: Attack time

Volume

D: Decay time R: Release time

Sustain Level

Sound ends

Time

fig.Q-65

AD R

Note-on

Note-off

1 2

Turn the ENVELOPE ATTACK knob.

Turning this to the right (clockwise) increases the time it takes for the sound to rise, while turning it to the left (counterclockwise) shortens this time.

Turn the ENVELOPE RELEASE knob.

Turning this to the right increases the time it takes for the sound to disappear, while turning it to the left shortens this time.

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Using the Convenient Functions in Performances

Changing the Brightness of the Sound and Adding Special Qualities (FILTER)

You can change the brightness of the sound and give the sound peculiar characteristics using the FILTER 2 knob.

fig.Q-66

1 2

Turn the FILTER CUTOFF knob.

Turning this to the right (clockwise) brightens the sound, while turning it to the left (counterclockwise) makes the sound seem darker.

Turn the FILTER RESONANCE knob.

Turning this to the right makes the special quality of the sound stronger, while turning it to the left reduces these characteristics.

[MANUAL] and [ARPEGGIO/CONTROL] Functions

When [ARPEGGIO/CONTROL] is set to ON, you then become able to control another parameter using the LFO ENVELOPE 4 knob (p. 74). What’s more, when [ARPEGGIO ON/OFF] is set to ON, and [ARPEGGIO/ CONTROL] is flashing, you can use the four knobs to change the arpeggio settings in real time (p. 74).

When you press [MANUAL], the parameters assigned to the six knobs are set to the values at the current knob positions (p. 74).

Using the Convenient Functions in Performances

When you want to know about changing the tone in real time in greater detail

• “Chapter 4. Changing Tones in Real Time” (p. 71)

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Using the Convenient Functions in Performances

Changing the RS-5/9’s Settings All At Once (Selecting Performances)

The group of Tones and Drum Sets assigned to the sixteen Parts is known as a “Performance.”

fig.Q-67exp

Performance

Part 16

Part 1

Tone/

Drum Set

You can record the Tone numbers assigned to Parts as well as the Key Mode, Arpeggio, Transpose, and other settings to the Performance.

If you store a group of settings in a Performance, you can then call up those settings instantly by simply selecting that Performance.

Performances, just like Tones, are divided into two groups.

User

Although this area comes provided with 128 prepared Performances, you can overwrite these with Performances that you create.

Preset

This area holds 128 prepared Performances; these cannot be overwritten or replaced. But you can call up preset Performance settings into the temporary area, modify them, and then store them in user memory.

fig.Q-68

312 4

Page 57

Using the Convenient Functions in Performances

Press [PERFORM/TONE] to call up the Performance selection screen.

When in Single Mode

fig.Q-69exp

Performance NamePerformance selection screen

Performance Number

When in Split or Dual Mode

fig.Q-70exp

Performance

selection screen

Performance Number

Part

Performance Group

Upper Part

Lower Part

Performance Number

Current Part

Performance Name

Performance

Number

Performance Group

If “PERFORM” does not appear in the display, press [PERFORM/TONE] once more to switch to the Performance selection screen.

2 3

Press [USER/PRESET] to select the group (User, Preset).

Press the numeric keys ([1]–[0]) to specify the Performance number (1–128).

Press [ENTER] to finalize the entry.

When you want to know a Performance’s name and number

• “Performance List” (p. 147)

When you want to know what settings can be stored in a Performance

• “Parameter List (Performance)” (p. 137)

When you want to store a Performance you have created to User memory

• “Saving Tone / Drum Set / Performance” (p. 113)

Using the Convenient Functions in Performances

If you make a mistake, press [EXIT] and specify the number once more.

Instead of using Steps 3 and 4, you can also switch Performances by pressing VALUE [-]/[+].

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Using the Convenient Functions in Performances

Easily Selecting the Performances You Like (FAVORITE PERFORM BANK)

You can call up your favorite Performances merely by pressing a single button.

Use Performances after registering them to the FAVORITE PERFORM BANK buttons below the display.

Registering Performances

Although the RS-5/9 comes with Performances already registered to the FAVORITE PERFORM BANK, you can change these to your own favorite Performances.

fig.Q-71

The FAVORITE PERFORM BANK settings apply to the RS-5/9 as a whole (i.e., are system settings). This setting remains stored in memory even while the power is off.

Select a Performance that you want to register (refer to previous section).

Hold down [SHIFT] and press one of the FAVORITE PERFORM BANK buttons [1]–[8].

The Performance is registered, and “Completed” appears in the display. The indicator on the button that was pressed lights up.

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Using the Convenient Functions in Performances

If the Performance is Not Saved

After selecting a Performance, if you change the Performance’s settings and carry out Step 2 without saving these changes, the RS-5/9 jumps to the Save screen.

fig.Q-72

The Performance is saved while the Performance group and number are registered to the button at the same time.

If you make a mistake, press [EXIT] and specify the number once again.

3. Press the numeric keys ([1]–[0]) to specify the Save destination number

(1–128).

4. Press [ENTER] to confirm the number.

5. Press [ENTER] once more to execute the save.

The Performance is saved, and “Completed” appears in the display. The Performance is saved while the Performance group and number are

registered to the button at the same time.

Easily Selecting Performances

Press one of the FAVORITE PERFORM BANK buttons [1]–[8], causing the button’s indicator to light up.

The Performance registered to the button that is pressed is called up.

Instead of using Steps 3 and 4, you can also specify the number by pressing VALUE [-]/[+].

To cancel a save or registration in progress, press [EXIT].

Using the Convenient Functions in Performances

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Using the Convenient Functions in Performances

Instantly Switching to Piano Mode

You can get the perfect settings for piano performances with the press of a single button.

fig.Q-73

Press [PIANO], getting the indicator to light.

The most suitable Performance for performing on the piano (Preset:127) is called up.

This feature is included only with the RS-9. It is not available with the RS-5.

When [PIANO] is pressed, you cannot change the Performance that is called up.

Page 61

Advanced Use

Chapter 1Chapter 2Chapter 3Chapter 4Chapter 5Chapter 6Chapter 7Chapter 8Chapter 9Chapter 10Chapter 11

Page 62

Chapter 1. An overview of the RS-5/9

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Percussion instrument sound

Drum Set

Basic Organization of the RS-5/9

The RS-5/9 can be broadly divided into two sections: a

keyboard controller section and a sound generator section. The two sections are connected internally by means

of MIDI.

fig.R01-01exp

Sound

Generator

Section

Play

Keyboard Controller Section (controllers such as keyboard, pitch bend lever, etc.)

Keyboard Controller Section

This section includes the keyboard, the Pitch Bend/ Modulation Lever, the panel knobs, and any pedal connected to the rear panel. Actions such as pressing and releasing of keys on the keyboard, depressing a pedal, and so forth, are converted to MIDI messages and sent to the sound generator section, or to an external MIDI device.

Sound Generator Section

The sound generator section produces the sound. Here, MIDI messages received from the keyboard controller section or external MIDI device are converted to musical signals, which are then output as analog signals from the OUTPUT and PHONES jacks.

Classification of RS-5/9

Drum Set

Drum sets are groups of a number of different percussion instrument sounds. Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is, however, more important that as many percussion instruments as possible be available to you at the same time. Therefore, the Drum sets are set up so that you can get different sets of percussion sounds by pressing different keys (note numbers). Drum sets are also assigned to each part of a performance.

fig.R01-02exp

Performance

A Performance is a collective set of assignments of the sixteen different Tones and Drum Sets. In Performances you can save whole collections of settings, including the tone numbers assigned to each of the Parts, along with Key Mode, Arpeggio, Transpose, and other settings.

Just like Tones, Performances are separated into two types, User and Preset, with 128 User Performances and 128 Preset Performances.

A maximum of two Parts can be handled simultaneously from the keyboard. Connecting an external sequencer allows you to work with up to sixteen Parts simultaneously, which lets you enjoy full ensemble performances.

fig.R01-03exp

Sound Types

When using the RS-5/9, you will notice that a variety of different categories come into play when handling sounds. What follows is a simple explanation of each sound category.

Tone

The individual sounds used when playing the RS-5/9 are referred to as “Tones.” The 640 Tones stored in the RS-5/9’s memory are divided into two types, with the memory containing 128 User Tones and 512 Preset Tones. Tones are assigned to each part of a performance.

Performance

Part 16

Part 1

Tone/

Drum Set

Page 63

Chapter 1. An overview of the RS-5/9

About Memory

Memory refers to the area where Tones and settings are stored. The memory of the RS-5/9 is divided into three areas: System Memory, User Memory, and Preset Memory.

There is a Temporary Area within memory, into which data is placed when you select a tone or performance, and the data in the temporary area is what you are actually playing and editing.

System memory

System memory stores system setup settings that determine how the RS-5/9 functions.

User Memory

The contents of User Memory can be overwritten, and are used to store settings that you create. You can store 128 Tones and 128 Performances in the User Memory.

Preset Memory

The contents of Preset Memory cannot be rewritten. Preset Memory contains 512 tones and 128 performances.

As for System settings, changing these settings directly affects the data in memory, so the data is always updated. Therefore, you do not need to do anything to save this data.

Chapter 1

The temporary area

When you select a Tone or Performance, whether to play it, or to change the settings, the selected Tone or Performance is called up to a temporary holding memory called the Temporary Area.

When a Performance is selected, the selected Performance is called up to the Temporary Area, and then it is played.

When a tone is selected, the selected Tone is called up to the Upper Part or Lower Part of the Performance in the Temporary Area, and then that is played. A Performance is called up to the Temporary Area at all times.

The Upper or Lower Parts may use any of the Parts 1– 16. When the Key Mode is set to Single, the Upper Part is used. When Key Mode is set to Split or Dual, both the Upper and Lower Parts are used.

The data in memory will be preserved even if the power is turned off, and can be recalled at any time. However, the data in the temporary area will be lost when the power is turned off.

When changing Tone or Performance settings, you don’t directly change the settings stored in memory, but rather the data called up to the Temporary Area. If you want to keep the changed data in the Temporary Area, you must then save that data to the User Memory.

Page 64

Chapter 1. An overview of the RS-5/9

Maximum Polyphony

The sound source of the RS-5/9 can produce up to 64 notes (voices) simultaneously. If data is received that attempts to play more than this number of voices, notes will be dropped out. When the number of requested voices exceeds 64, the RS-5/9 will give priority to the later-played notes, and will consecutively turn off the oldest sounding notes. An appropriate Voice Reserve setting should be made with respect to any Parts that you cannot do without.

* Some Tones use 2 voices to create a single Tone. For the

number of voices used by each Tone, refer to “Tone List” (p.

148).

Preventing notes of an important Part from being cut off (Voice Reserve)

This setting specifies the number of voices that will be reserved for each Part when more than 64 voices are played simultaneously. For example if Voice Reserve is set to 6 for Part 1, Part 1 will always have 6 notes of sound-producing capacity available to it even if a total of more than 64 notes (total for all Parts) are being requested.

You can make separate Voice Reserve settings for each individual Part in a Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

5. Press the numeric key [5] several times to select “Voice

Reserve.”

fig.R01-04exp

Modifying the Value of a Setting

To modify a value, use the VALUE [-]/[+] or [0]–[9] (numeric keys).

fig.R01-05

VALUE [-]/[+]

Pressing VALUE [+] increases the value, and VALUE [-] decreases it. Keep the button pressed for continuous adjustment. For faster value increases, keep VALUE [+] pressed down and press VALUE [-]. For decreasing value faster, keep VALUE [-] pressed down and press VALUE [+].

In addition, by holding down [SHIFT] and pressing VALUE [+] or [-], you can change the value ten units at a time.

[0]–[9] (Numeric Keys)

These allow you to specify the number directly when selecting Tones, Drum Sets, or Performances. When you enter the number, the number will blink. This indicates that the number has not yet been finalized. To finalize the number press the [ENTER] button.

[EXIT]

Press this in situations such as when you’ve make a mistake in pressing the numeric keys, when you want to cancel an operation, or when you want to return to a previous screen after settings have been made.

At least these many

Voices will sound

Remaining V oices

* If you hold down [SHIFT] and press [5], you will return to the

previous item.

6. Use VALUE [-]/[+] to set the value.

* It is not possible for the settings of all Parts to total more than

64. The remaining number of available voices will be displayed at (). You should check this readout as you set the Voice Reserve parameter.

* If you wish to make settings for other Parts, repeat steps 4–6.

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 65

Chapter 1. An overview of the RS-5/9

Convenient shortcuts

The RS-5/9 provides several convenient shortcuts.

* [**] + [##] means that you should hold down [**] and press

[##].

Setting the Split Point (p. 40)

[SPLIT]+[EDIT]

The display will show the Split Point setting page.

[SPLIT] + VALUE [-]/[+]

The split point can be set. When you release [SPLIT], the previous display will reappear.

Setting the Arpeggio (p. 77)

[ARPEGGIO ON/OFF]+[EDIT]

The display will show the Arpeggio Style setting page.

[ARPEGGIO ON/OFF] + VALUE [-]/[+]

The arpeggio style can be set. When you release [ARPEGGIO ON/OFF], the previous display will reappear.

Setting the Transpose (p. 48)

[TRANSPOSE ON/OFF]+[EDIT]

The display will show the Transpose setting page.

[TRANSPOSE ON/OFF] + VALUE [-]/[+]

The transpose can be set. When you release [TRANSPOSE ON/OFF], the previous display will reappear.

If “Stuck” Notes Occur (PANIC)

If some operation causes sounds from the RS-5/9, or sounds from an external sound generator connected with a MIDI cable to fail to stop playing, use the Panic function.

When Sounds From the RS-5/9 Do Not Stop Playing

1. Hold down [SHIFT] and press [PANIC].

Sounds from the RS-5/9 stop playing. The display will indicate “Panic! Now Muting.” while

the Panic function is being executed. When this message goes off, you can start playing.

fig.R01-06

What to Do When an External Sound Generator Fails to Stop Sounding

Chapter 1

Setting the LCD Contrast (p. 16)

[SHIFT]+[PHRASE PREVIEW]

The display will show the LCD Contrast setting page.

1. Hold down [SHIFT] and press [PANIC] for more than a

second. Send the MIDI messages All Sound Off, Reset All

Controllers, Hold1 (0), Hold2 (0), and Sostenuto (0) for all MIDI channels (Parts).

The display will indicate “Panic! Now Transmitting.” while the Panic function is being executed. When this message goes off, you can start playing.

fig.R01-07

Page 66

Chapter 2. Part Volume and Pan Settings

You can make separate volume and pan (sound-image localization) settings for each individual Part in a Performance.

Level

Set the volume of each part. This is mainly used to achieve the volume balance between Parts when Key Mode is set to Split or Dual.

Value: 0–127

Pan

When stereo output is used, this setting sets the pan position (stereo location) of each Part. With an increase in the value for L, more of the sound will be heard as coming from the left side. Similarly, more of the sound will originate at the right if the value of R is increased. When set to RANDOM, you obtain a specialized effect whereby the sound randomly moves left and right with each key stroke.

Value: RANDOM, L63–0–63R

* In the case of a Drum Set, the pan position has been fixed for

each percussion instrument (p. 112). When setting the pan for a Part to which a Drum Set is assigned, the panning of the entire drum set is moved.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

5. Press the numeric key [3] several times to select the item

you wish to set.

fig.R02-01

6. Use VALUE [-]/[+] to set the value.

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 67

Chapter 3. Mastering Use of the Performance Features

Playing single-note lines (Solo)

This function is effective when performing a solo using single-note Tone like sax and flute.

You can make separate Solo Switch settings for each individual Part in a Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

* When Key Mode (p. 34) is set to Split or Dual, you can select

only two Parts, the Upper Part and the Lower Part.

5. Press the numeric key [9] several times to select “Solo

Switch.”

fig.R03-01

* If you hold down [SHIFT] and press [9], you will return to the

previous item.

Portamento Time

When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time.

Value: 0–127

* The Portamento Time setting is disabled when the Portamento

Switch is off.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

* When Key Mode (p. 34) is set to Split or Dual, you can select

only two Parts, the Upper Part and the Lower Part.

5. Press the numeric key [9] several times to select the item

you wish to set.

fig.R03-02

Chapter 3

6. Use VALUE [-]/[+] to set “ON.”

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Smoothly Changing the Pitch of the Sound (Portamento)

Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. With the Solo Switch (refer to the previous section) set to ON, portamento is especially effective when simulating playing techniques such as a violin glissandos.

Portamento can also be applied when Solo Switch is OFF. You can make separate Portamento settings for each

individual Part in a Performance.

Portamento SW (Portamento Switch)

Specifies whether the portamento effect will be applied (ON) or not (OFF).

Value: OFF, ON

* If you hold down [SHIFT] and press [9], you will return to the

previous item.

6. Use VALUE [-]/[+] to set the value.

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 68

Chapter 3. Mastering Use of the Performance Features

Determining the Volume from the Force Used To Play the Keys (Velocity Sense)

You can specify how your keyboard playing dynamics will affect the volume.

You can make separate Velocity Sens settings for each individual Part in a Performance.

Velo Sens Depth (Velocity Sens Depth)

If this value is increased, small differences in your playing dynamics will make a large difference in the loudness of the sound. If this is decreased, even large differences in your playing dynamics will make only a small difference in the loudness of the sound.

Value: 0–127

Velo Sens Offset (Velocity Sens Offset)

The higher above 64 the value is set, the louder the sound produced, even as the keyboard is played with lesser force. The lower below 64 the value is set, the lower the sound produced, even as the keyboard is played with greater force.

Value: 0–127

fig.R03-03exp

Velo Depth = 64, Velo Offset = 64

Velo Depth = 32, Velo Offset = 64

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

* When Key Mode (p. 34) is set to Split or Dual, you can select

only two Parts, the Upper Part and the Lower Part.

5. Press the numeric key [9] several times to select the item

you wish to set.

fig.R03-04

* If you hold down [SHIFT] and press [9], you will return to the

previous item.

6. Use VALUE [-]/[+] to set the value.

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

The actual sound level

Fig. 1

Keyboard playing dynamics Keyboard playing dynamics

Velo Depth = 127, Velo Offset = 64

The actual sound level

Fig. 3

Keyboard playing dynamics Keyboard playing dynamics

Velo Depth = 64, Velo Offset = 96

The actual sound level

Fig. 5

Keyboard playing dynamics Keyboard playing dynamics

The actual sound level

Fig. 2

Velo Depth = 64, Velo Offset = 32

The actual sound level

Fig. 4

Velo Depth = 64, Velo Offset = 127

The actual sound level

Fig. 6

Page 69

Chapter 3. Mastering Use of the Performance Features

Transposing Performances

The RS-5/9 has two functions, “Transpose” and “Key Shift,” that you can use to move the key range of what is

being played in half-step units. The Transpose function transposes all Parts, whereas Key Shift transposes only specified Parts.

Transposing All Parts (TRANSPOSE ON/OFF)

For instructions on setting Transpose, refer to Quick Start (p. 48).

Transposing a Specified Part (Key Shift)

This is convenient in situations such as the following.

Layering Tones an octave apart

When the Keyboard Mode is Dual, you can create a richer sound by setting the two Tones to different octaves.

Having only the Tone of a selected Part be played at a lower pitch

If the Keyboard Mode is set to Split and you are playing a bass Tone in the lower Part, you can use the Key Shift function to play the bass at a lower pitch.

You can make separate Key Shift settings for each individual Part in a Performance.

* Note messages from MIDI IN connector will also be transposed.

Adding Breadth to the Sound by Layering Tones with Different Pitches (Fine Tune)

When Tones with slightly different pitches are played together, it creates a sound with more fullness and breadth.

When Key Mode is set to Dual (p. 36), and the same Tone is assigned to both Parts (p. 37), make the Fine Tune setting for only one of the Parts.

* The effect whereby sounds with slightly different pitches are

layered is called “Detune.”

You can make separate Fine Tune settings for each individual Part in a Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

* When Key Mode (p. 34) is set to Split or Dual, you can select

only two Parts, the Upper Part and the Lower Part.

5. Press the numeric key [4] several times to select “Fine

Tune.”

fig.R03-06

* If you hold down [SHIFT] and press [4], you will return to the

previous item.

Chapter 3

* This setting is disabled when the Drum Set is assigned to the Part.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

* When Key Mode (p. 34) is set to Split or Dual, you can select

only two Parts, the Upper Part and the Lower Part.

5. Press the numeric key [4] several times to select “Key Shift.”

fig.R03-05

* If you hold down [SHIFT] and press [4], you will return to the

previous item.

6. Press VALUE [-]/[+] to select the value (-24– +24).

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

6. Press VALUE [-]/[+] to select the value (-100 to +100).

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

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 70

Chapter 3. Mastering Use of the Performance Features

Changing to Pure Temperament or an Arabic scale (Scale Tune)

What are Equal Temperament, Pure Temperament, and Arabic scales?

Equal Temperament

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

Pure Temperament

In comparison to Equal Temperament, Pure Temperament allows the three principal chords to have a purer sound. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabic Scale

In comparison to Equal Temperament, E and B are 1/2 a semitone low, and C#, F# and G# are 1/2 a semitone high. The intervals of G–B, C–E, F–G#, A#–C# and D#–F# are neutral thirds (an interval midway between a major third and a minor third).

6. Press VALUE [-]/[+] to select the value (-64 to +63).

* If you wish to make settings for other Parts, repeat steps 5–6.

7. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Settings Example

Note

name

C0 0 -6

C# 0 -8 +45

D0 +4 -2

D# 0 +16 -12

E0 -14 -51 F0 -2 -8

F# 0 -10 +43

G0 +2 -4

G# 0 +14 +47

A0 -16 0

A# 0 +14 -10

B0 -12 -49

* In this example, the Arabic Scale can be played in the three

keys of G, C, and F.

Equal

Temperament

Just Temperament

(tonic C)

Arabian

Scale

Making Scale Tune settings

You can adjust the Scale Tune settings to make a variety of scales. These settings allow you to make fine adjustments in 1 cent (1/100th of a semitone) to the pitch of each note C–B.

You can make separate Scale Tune settings for each individual Part in a Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Performance Part.”

3. Press [ENTER].

4. Press PART [ ]/[ ] to select the Part.

5. Press numeric key [4] several times to select “Scale Tune

C”– “Scale Tune B.”

fig.R03-07

* If you hold down [SHIFT] and press [4], you will return to the

previous item.

* You can press the key to directly select the name of the sound

whose pitch you want to change.

Page 71

Chapter 4. Changing Tones in Real Time

You can use the RS-5/9’s Pitch Bend lever, Modulation lever, and control knobs to make changes to the Tones in real time. You can also alter the Tones with a pedal connected to the PEDAL jack.

Changing the Pitch in Realtime (Pitch Bend Lever)

While playing the keyboard, move the lever to the left to lower the pitch, or to the right to raise the pitch.

For a more detailed explanation of the Pitch Bend lever, refer to Quick Start (p. 50).

fig.R04-01exp

Pitch Bend

Using the Modulation Lever to modify the sound

As set at the factory, moving the lever away from you as you press a key on the keyboard produces a vibrato effect.

You can add effects other than vibrato with the Modulation lever.

fig.R04-02exp

Modulation

* This is applied to both the Upper Part and Lower Part when

Key Mode is set to Dual.

MOD (Modulation Assign)

Value Tx CC#

MODULATION CC01 Vibrato Effect PORTAMENTO

TIME VOLUME CC07 Perform Part Level (p. 66) PAN CC10 Perform Part Pan (p. 66) EXPRESSION CC11 Perform Part Level (p. 66) PORTAMENTO CC65 Perform Part Portamento

SOSTENUTO CC66 Holds the sound of the key

SOFT CC67 Softens the Tone RESONANCE CC71 RELEASE TIME CC72 Tone Envelope Release Time

ATTACK TIME CC73 Tone Envelope Attack Time

CUTOFF CC74 Tone Filter Cutoff (p. 110) DECAY TIME CC75 Tone Envelope Decay Time

LFO RATE CC76 Tone LFO Rate (p. 110) LFO DEPTH CC77 Tone LFO Depth (p. 110) LFO DELAY CC78 Tone LFO Delay (p. 110) CHO SEND

LEVEL REV SEND LEVEL CC91 Perform Part Reverb Send

UP-LO BALANCE CC07 Perform Part Upper and

MFX PARAMETER 1

MFX PARAMETER 2

AFTERTOUCH —-

“TxCC#” refers to the controller number sent from the MIDI OUT connector when the Modulation lever is moved. When set to AFTERTOUCH, a Channel Aftertouch message is sent.

Receiving these controller numbers from the MIDI IN connector gives the same effect as moving the Modulation lever.

Set to AFTERTOUCH mainly when you want to control the external sound generator with Aftertouch messages.

CC05 Perform Part Portamento

CC93 Perform Part Chorus Send

CC12 Multi-Effects Parameter at

CC13 Multi-Effects Parameter at

Function/Parameter Changed

Time (p. 67)

Switch (p. 67)

being pressed

Tone Filter Resonance (p. 110)

(p. 110)

Level (p. 108)

Level (p. 109)

Lower Levels (p. 66)

Marker #1 (p. 81)

Marker #2 (p. 81)

Chapter 4

Page 72

Chapter 4. Changing Tones in Real Time

* When set to MFX PARAMETER 1 or MFX PARAMETER

2, be sure to note the following.

• When the multi-effects Type is set to 01: STEREO EQ (p.

82) or 41: LOFI (p. 106), Level is changed regardless of whether MFX PARAMETER 1 or MFX PARAMETER 2 is selected.

• When the multi-effects Type is set to 22: 2VOICE PITCH SHIFTER (p. 96), the two parameters are changed simultaneously.

• When the multi-effects Type is set to 23: FBK PITCH SHIFTER (p. 97), the two parameters are changed simultaneously when MFX PARAMETER 1 is selected.

• he following describes which Part or Parts are enabled according to the Source setting (p. 80).

UPPER = Upper LOWER = Lower PERFORMANCE = All Parts

* When making the LFO RATE, LFO DEPTH or LFO DELAY

settings, the effect achieved differs depending on whether [LFO ON/OFF] is on or off. When [LFO ON/OFF] is off, the LFO alters the pitch (vibrato effect). When [LFO ON/OFF] is on, the LFO changes the Filter Cutoff frequency (wah effect).

Different Modulation lever settings can be made for each individual Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Tone/Drum/

PFMCommon.”

3. Press [ENTER].

4. Press the numeric key [5] several times to select “MOD.”

fig.R04-03

* If you hold down [SHIFT] and press [5], you will return to the

previous item.

5. Use VALUE [-]/[+] to set the value.

6. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 73

Chapter 4. Changing Tones in Real Time

Using a pedal to modify the sound

With an external pedal, such as an expression pedal (the optional EV-5,) pedal switch (the optional DP-2/6) or foot switch (the optional BOSS FS-5U) connected to the PEDAL CONTROL jack, you can then use the pedal to make changes in the Tone.

Just as with the Modulation lever, you can select the function affected when the pedal is pressed. The pedal will mainly be used for changing volume levels (VOLUME, EXPRESSION, and UP-LO BALANCE), sostenuto (SOSTENUTO), and as a soft pedal (SOFT).

fig.R04-04

* This is applied to both the Upper Part and Lower Part when

Key Mode is set to Split and Dual.

For a description of the settings values, refer to (p. 71). To make the settings, select the “PEDAL” (Control Pedal

Assign) in Step 4 above (p. 72).

fig.R04-05

Switching the Pedal’s Polarity (Pedal Polarity)

Select the polarity of the pedal. On some pedals, the electrical signal output by the pedal when it is pressed or released is the opposite of other pedals. If your pedal has an effect opposite of what you expect, set this parameter to REVERSE. If you are using a Roland pedal (that has no polarity switch), set this parameter to STANDARD.

The Pedal Polarity setting affects the entire RS-5/9 (i.e., is a System setting). This setting remains stored in memory even while the power is off.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “System Setup.”

3. Press [ENTER].

4. Press numeric key [5] several times to select the

parameter to be set. If setting the polarity of the pedal connected to the

PEDAL HOLD jack, select “CONTROL PEDAL Polarity.”

If setting the polarity of the pedal connected to the PEDAL HOLD jack, select “HOLD PEDAL Polarity.”

fig.R04-06

Chapter 4

* When you want to apply the effect that causes the sounds

being played to continue playing (called the “hold effect”), connect a pedal switch (the optional DP-2/6) or foot switch (the optional BOSS FS-5U) to the PEDAL HOLD jack. When Arpeggio is on, this changes to an Arpeggio Hold function. This allows you to play arpeggios without having to continue holding chords. However, when the Key Mode is set to Split, the Hold effect can be obtained with respect to what is played in the upper part of the keyboard, while Arpeggio Hold will apply to notes played in the lower part of the keyboard (p. 75).

* If you hold down [SHIFT] and press [5], you will return to the

previous item.

5. Press VALUE [-]/[+] to set the value (STANDARD,

REVERSE).

6. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Page 74

Chapter 4. Changing Tones in Real Time

Using a knob to modify the sound

You can use the six panel knobs to modify Tones in real time. Knob functions change depending on whether [ARPEGGIO/ CONTROL] and/or [ARPEGGIO ON/OFF] are switched on or off.

fig.R04-07

* The effect is applied to both the Upper Part and Lower Part

when Key Mode is set to Split and Dual.

When a knob is turned, the function assigned to the knob and its value appear temporarily in the display.

fig.R04-08

When [ARPEGGIO/CONTROL] is Off

The six knobs can be used to change the values of Tone parameters, as indicated on the panel.

LFO RATE Knob: Tone LFO Rate (p. 110) LFO DEPTH Knob: Tone LFO Depth (p. 110) ENVELOPE ATTACK Knob: Tone Envelope Attack Time

(p. 110)

ENVELOPE RELEASE Knob: Tone Envelope Release Time

(p. 110) FILTER CUTOFF Knob: Tone Filter Cutoff (p. 110) FILTER RESONANCE Knob: Tone Filter Resonance (p. 110)

When [ARPEGGIO/CONTROL] is On

Using the four LFO and ENVELOPE knobs, you can control parameters that you select. The functions affected when the knobs are turned can be set in the same manner as with the Modulation lever.

For a description of the settings values, refer to (p. 71). To make the settings, select one of the “CONTROL 1–

CONTROL 4” (Knob Assign) in Step 4 (p. 72).

fig.R04-09

* You can use the two FILTER panel knobs to change the

parameter values for the Tone appearing in the display.

When [ARPEGGIO ON/OFF] is On

With [ARPEGGIO ON/OFF] set at ON, each press of [ARPEGGIO/CONTROL] takes you to the next state for the indicator, among three possible choices: lit, flashing, or extinguished.

When [ARPEGGIO/CONTROL] is flashing, you can control the Arpeggio parameters using the four LFO and ENVELOPE knobs.

C1: Accent Rate (p. 77) C2: Shuffle Rate (p. 77) C3: Octave Range (p. 77) C4: Tempo (p. 76)

* You can use the two FILTER panel knobs to change the

parameter values for the Tone appearing in the display.

Switching to the Value at the Current Knob Positions (MANUAL)

fig.R04-10

* The effect achieved with the two LFO knobs differs depending

on whether [LFO ON/OFF] is switched on or off. When [LFO ON/OFF] is off, the LFO alters the pitch (vibrato effect). When [LFO ON/OFF] is on, the LFO changes the Filter Cutoff frequency (wah effect).

* Pressing [LFO ON/OFF] when Key Mode is set to Split or

Dual sets the same LFO Filter Sw value in both of the Part's Tones.

When you press [MANUAL], the parameters assigned to the six knobs are set to the values at the current knob positions.

* This is applied to both the Upper Part and Lower Part when

Key Mode is set to Split and Dual.

Page 75

Chapter 5. Using the arpeggiator

The RS-5/9’s arpeggiator lets you produce an arpeggio (broken chord) simply by playing a chord.

When the Key Mode is Single or Dual, arpeggios can be played in all areas of the keyboard.

When the Key Mode is Split, chords played in the Lower area of the keyboard will be sounded as arpeggios.

* Arpeggios can be produced only by playing the RS-5/9’s

keyboard. It is not possible to produce arpeggios with Note messages from the MIDI IN connector.

* Arpeggio data are transmitted from MIDI OUT connector.

Turning the Arpeggio Function On and Off (ARPEGGIO ON/OFF)

You can set the Arpeggio ON/OFF for each Performance separately.

1. Press the [ARPEGGIO ON/OFF] button, getting its

indicator to light. At ON, the keyboard in placed in Arpeggio mode.

2. Press the [ARPEGGIO ON/OFF] button again, getting its

indicator light to go out. At OFF, the RS-5/9 operates in normal performance mode.

* Hold down the [SHIFT] button and press [ARPEGGIO ON/

OFF]. The [ARPEGGIO ON/OFF] indicator starts blinking, and you can then have the arpeggio be played without having to continue pressing the chord. To cancel Arpeggio Hold, hold down [SHIFT] and press [ARPEGGIO ON/OFF] once more. Note also that if a pedal switch (such as the optional DP-2/6), or a foot switch (such as the optional BOSS FS-5U) is connected to the PEDAL HOLD jack, you can have arpeggios be played if you depress the pedal while pressing chords. In this way, you can play arpeggios without having to continue pressing the chord.

* Pitch Bend is not applied to arpeggios.

Tip for Creating Arpeggio Patterns

There are a total of nine items that you can set to control arpeggiation, but the “Arpeggio Style” is the most important. The playback pattern of the arpeggio is determined mainly by this selection.

When you select an arpeggio style, the four parameters marked by an asterisk (*) in the list below will be set automatically. This allows you to call up the most appropriate pattern simply by selecting the arpeggio style. After selecting the arpeggio style, you can set Tempo and Octave Range etc. as appropriate. Normally you will specify the pattern in this way.

However, if this alone does not produce the pattern you want, try changing the settings for the four parameters marked with an asterisk below (Motif, Beat Ptrn, Shuffle Rate, and Accent Rate) to get the desired result.

Arpeggiator parameters you can set

Style (Arpeggio Style)

Sets the style of the arpeggio. Select from the following 45 options. For creating your own style, choose LIMITLESS.

Value

1/4 The rhythm will be divided in quar-

1/6 The rhythm will be divided in quar-

1/8 The rhythm will be divided in eighth

1/12 The rhythm will be divided in eighth

1/16 The rhythm will be divided in 16th

1/32 The rhythm will be divided in 32nd

PORTAMENTO A, B A style using the portamento effect. GLISSANDO A glissando style. SEQUENCE A–D Styles for sequenced patterns. ECHO An echo-like style. SYNTH BASS,

HEAVY SLAP, LIGHT SLAP, WALK BASS

RHYTHM GTR A–E Styles for guitar cutting. Styles B–E

3 FINGER GTR Three-finger guitar style. STRUM GTR UP,

STRUM GTR DOWN, STRUM GTR U&D

PIANO BACKING, CLAVI CHORD

WALTZ, SWING WALTZ

REGGAE A reggae-type style. Effective when 3

PERCUSSION Style effective for percussive instru-

HARP The playing style of a harp. SHAMISEN The playing style of a Shamisen. BOUND BALL A style suggestive of a bouncing ball. RANDOM A style in which the notes sound in

ter notes.

ter note triplets.

notes.

note triplets.

notes.

Styles appropriate for bass playing.

are effective when 3–4 notes are held.

Guitar chords strummed both up and down. Effective when 5–6 notes are held.

Styles for keyboard instrument backing.

Styles in triple meter.

notes are held.

ments.

random order.

Chapter 5

Page 76

Chapter 5. Using the arpeggiator

BOSSANOVA A style with bossanova guitar cut-

ting. Hold 3–4 notes for best results. You can increase the tempo and use this as a Samba.

SALSA Typical salsa style. Hold 3–4 notes for

best results.

MAMBO Typical mambo style. Hold 3–4 notes

for best results.

LATIN PERC A rhythm style with Latin percussion

instruments such as Clave, Cowbell, Clap, Bongo, Conga, Agogo etc.

SAMBA Typical samba style. Use for rhythm

patterns or bass lines.

TANGO Typical tango rhythm style. Hold the

root, 3rd and 5th of a triad etc. for best results.

HOUSE A style for house piano backing.

Hold 3–4 notes for best results.

LIMITLESS The settings of all parameters can be

freely combined without restriction.

Motif *

Sets the order in which notes of the chord will sound.

* Depending on the Style settings (p. 75), some choices may not

be available. For details on the possible values, refer to “Arpeggio Style List” (p. 155).

Value

SINGLE UP Notes you press will be sounded in-

dividually, beginning from low to high.

SINGLE DOWN Notes you press will be sounded in-

dividually, beginning from high to low.

SINGLE UP&DOWN

SINGLE RANDOM Notes you press will be sounded in-

DUAL UP Notes you press will be sounded two

DUAL DOWN Notes you press will be sounded two

DUAL UP&DOWN Notes you press will be sounded two

DUAL RANDOM Notes you press will be sounded two

TRIPLE UP Notes you press will sound three at a

TRIPLE DOWN Notes you press will sound three at a

TRIPLE UP&DOWN Notes you press will sound three at a

Notes you press will be sounded individually, from low to high, and then back down from high to low.

dividually, in random order.

at a time, beginning from low to high.

at a time, beginning from high to low.

at a time, from low to high, and then back down from high to low.

at a time, in random order.

time, from low to high.

time, from high to low.

time, from low to high and then back down from high to low.

TRIPLE RANDOM Notes you press will sound three at a

time, in random order.

NOTE ORDER Notes will sound in the order that

they were pressed. Up to 128 notes can be stored, so you can create melody lines by pressing keys in the appropriate order.

GLISSANDO Notes will be played in an ascending

and descending chromatic scale between the lowest and the highest keys that are pressed. Simply press two notes, the lowest and highest.

CHORD All notes that are pressed will sound

simultaneously.

BASS+CHORD 1–5 The lowest of the notes you play will

sound, and the remaining notes will sound as a chord.

BASS+UP 1–8 The lowest of the notes you play will

sound, and the remaining notes will be arpeggiated.

BASS+RANDOM 1–3

TOP+UP 1–6 The highest of the notes you play will

BASS+UP+TOP Simulated fingering of folk guitar’s

The lowest of the notes you play will sound, and the remaining notes will sound in random order.

sound, and the remaining notes will be arpeggiated.

three-finger picking technique.

Beat Ptrn (Beat Pattern) *

Select the beat pattern from the choices below. This setting will affect the location of the accent and length of the notes to determine the beat (rhythm).

* Depending on the Style settings (p. 75), some choices may not

be available. For details on the possible values, refer to “Arpeggio Style List” (p. 155).

Value

1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3, PORTA-A 01–11, PORTA-B 01–15, SEQ-A 1–7, SEQ-B 1–5, SEQ-C 1–2, SEQ-D 1–8, ECHO 1–3, MUTE 01–16, STRUM1–8, REGGAE1–2, REFRAIN1–2, PERC1–4, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 1–4, MAMBO 1–2, CLAVE, REV CLA, GUIRO, AGOGO, SAMBA, TANGO 1–4, HOUSE 1–2

* When PORTA-A 01– 11 and PORTA-B 01– 15 are selected,

you can use Portamento time (p. 67) to control the portamento attack. In this case, it is not necessary to have Portamento Sw set to ON.

Tempo

Sets the speed of the arpeggio. Value: 20–250

Page 77

Chapter 5. Using the arpeggiator

* With Sync Source (p. 77) set to MIDI, Tempo (=MIDI)

appears in the display, and the RS-5/9 is synchronized to the clock of the external MIDI device.

Octave Range

Sets the key range in octaves over which arpeggio will take place. If you want the arpeggio to sound using only the notes that you actually play, set this parameter to 0. To have the arpeggio sound using the notes you play and notes 1 octave higher, set this parameter to +1. A setting of -1 will make the arpeggio sound using the notes you play and notes 1 octave lower.

Value: -3– +3

Key Velocity

This sets the velocity, or the force of the sound at the time a key is played. If you wish to use the velocity at which the notes are actually played, set this parameter to REAL. To use a constant velocity regardless of the force with which you play the keyboard, choose a desired value from 1–127.

Value: REAL, 1–127

Shuffle Rate *

This setting lets you modify the note timing to create shuffle rhythms. With a setting of 50%, the notes will sound at equal spacing. As this value is increased, the notes will become more “bouncy,” as if they were dotted notes.

Value: 50–90%

fig.R05-01

Shuffle Rate = 50%

50 50 50 50

* If the Beat Pattern (p. 76) is 1/4, there will be no shuffle effect

even if the Shuffle Rate value is increased.

Shuffle Rate = 90%

90 10 90 10

Settings

INT: The arpeggiator will be synchronized to the tempo of

the RS-5/9. Any MIDI Clock messages received from an external device will be ignored.

MIDI: Arpeggiator tempo will be synchronized to the MIDI

Clock messages received from an external device. If MIDI Clock messages are not being received from an external device, the arpeggiator will not play.

* MIDI Clock is a message used to synchronize MIDI devices

connected by a MIDI cable. If the RS-5/9 is connected to a MIDI device such as a sequencer, you can set the Sync Source setting to MIDI so that the arpeggio will play in synchronization with the sequencer playback. (“About MIDI” p. 118)

Creating a pattern

You can make separate Arpeggio settings for each Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Tone/Drum/

PFMCommon.”

3. Press [ENTER].

4. Press the numeric key [0] several times to select the item

you wish to set.

fig.R05-02

* If you hold down [SHIFT] and press [0], you will return to the

previous item.

5. Use VALUE [-]/[+] to set the value.

* If you wish to make settings for other Parts, repeat steps 4–5.

Chapter 5

Accent Rate *

Modifies the strength of accents and the length of the notes to adjust the “groove” feel of the arpeggio. A setting of 100% will produce the most pronounced groove feel.

Value: 0–100%

Sync Source

This specifies how the tempo of the arpeggio will be determined. Ordinarily, you should set this to “INT.” If you wish to record arpeggios on your sequencer, or to synchronize the arpeggiator to an external device for a live performance, set this to “MIDI.”

6. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

To make Arpeggio settings easily

By holding down [ARPEGGIO ON/OFF] and pressing [EDIT], you can select the “Style” display directly. Make settings as explained in steps 4–6 of the above procedure.

Also, if you want be able to change the arpeggio style quickly, by holding down [ARPEGGIO ON/OFF] and pressing VALUE [-]/[+], you can change only the “Style” setting. When you release [ARPEGGIO ON/OFF], the previous display will reappear.

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Chapter 5. Using the arpeggiator

Using the Knobs to Change Patterns in Real Time

Using knobs C1– C4, you can change Patterns in real time.

1. Press the [ARPEGGOP ON/OFF] button, getting its

indicator to light. Arpeggios can now be produced when chords are

played.

2. Press [ARPEGGIO/CONTROL] several times, getting its

indicator to start blinking.

* If the indicator lights, press [ARPEGGIO/CONTROL] again.

Using knobs C1– C4, you can change each of the following parameter settings values in real time.

C1: Accent Rate (p. 77) C2: Shuffle Rate (p. 77) C3: Octave Range (p. 77) C4: Tempo (p. 76)

When [ARPEGGIO ON/OFF] is set to ON, the [ARPEGGIO/CONTROL] indicator switches each time the button is pressed, cycling through lit, flashing, and off.

When the indicator is off, you can change the LFO Rate, LFO Depth, Envelope Attack, and Envelope Release in real time (p. 74).

When the indicator is lit, you can change the parameter you have set yourself in real time (p. 74).

Page 79

Chapter 6. Effect Settings

The RS-5/9 contains three effects processors: multi-effects, chorus, and reverb. Settings can be made separately for each effects processor.

There are 42 types of multi-effects, 8 types of chorus, and 8 types of reverb. You can use one of each type in a Performance.

Turning the Effect Function On and Off (EFFECTS ON/OFF)

In order to enable an effects processor (multi-effects, chorus, reverb), turn its switch on.

Turn these settings off when you wish to listen to the unprocessed sound as you create a sound, or when you wish to use external effect devices instead of the built-in effects.

The On/Off settings for each Effect affect the RS-5/9 as a whole (i.e., are system settings). This setting remains stored in memory even while the power is off.

When shipped from the factory, all three effects are set to ON.

5. Press [EFFECTS ON/OFF].

Next, the Reverb On/Off settings screen appears in the display.

fig.Q-50

6. Press VALUE [-]/[+] to turn the effect on or off.

7. Press [EFFECTS ON/OFF] to return to the original

screen. The [EFFECTS ON/OFF] indicator lights up whenever

any of the three effects is on.

* You can return to the original screen during the operation by

pressing [EXIT].

* If all three effects are turned off, the [EFFECTS ON/OFF]

indicator light goes out.

1. Press [EFFECTS ON/OFF], getting its indicator to start

blinking. The Multi-effects On/Off settings screen appears in the

display.

fig.Q-48

2. Press VALUE [-]/[+] to turn the effect on or off.

3. Press [EFFECTS ON/OFF].

Next, the Chorus On/Off settings screen appears in the display.

fig.Q-49

4. Press VALUE [-]/[+] to turn the effect on or off.

Chapter 6

Page 80

Chapter 6. Effect Settings

The Effect Signal Path

The following figure shows the path followed by the effects signals.

fig.R06-01exp

Part Rev

Send Level

Reverb

OUTPUT

(R, L(MONO))

Cho Send

Level to Rev

Chorus

M-FX Send Level to Rev

Tone

Drum Set

Part Cho

Send Level

Part M-FX

M-FX Send

Level to Cho

Multi-FX

* You can make this setting only when Source is set to PERFORMANCE in the Part’s MULTI-FX Switch setting. When Source is set to

UPPER or LOWER, the Upper or Lower Part’s MULTI-FX SWITCH automatically goes on, and all other Parts are switched off.

Making Multi-Effects Settings

Make each of the settings according to the desired purpose, as shown below.

You can use only one type of multi-effect in a Performance.

Be sure to start by setting the Source (Multi-Effects Source). Here, select the multi-effects settings to be used

based on the particular application or purpose. Afterwards, select the type, then set each of the parameters

(p. 81). You can select whether to have the multi-effects used (ON),

or not used (OFF) in each individual Part only when Source is set to PERFORMANCE (p. 107).

Set to UPPER:

• When Key Mode is set to Single and you want to use the tone to which multi-effects are applied.

• When Key Mode is set to Split and you want to use the tone to which multi-effects are applied in the Upper Part.

Set to LOWER:

• When Key Mode is set to Split and you want to use the tone to which multi-effects are applied in the Lower Part.

Set to PERFORMANCE:

• When Key Mode is set to Split or Dual and you want to

Setting the Multi-Effects Source

Select the multi-effects settings that are to be used based on the particular application or purpose you have in mind.

You can make different Multi-Effects Source setting for each individual Performance.

Source (Multi-Effects Source)

Value:

UPPER: The Upper Tone’s multi-effect settings are used.

The multi-effect is applied only to the Upper Part.

add the same multi-effects to the tones in both Parts.

• If you do not want the multi-effects to change when switching Tones or Drum Sets.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Tone/Drum/

PFMCommon.”

3. Press [ENTER].

4. Press [6] a number of times to select “Source.”

fig.R06-02

LOWER: The Lower Tone’s multi-effect settings are used.

The multi-effect is applied only to the Lower Part.

PERFORMANCE: The Performance’s multi-effect settings

are used. The same multi-effect is applied to all Parts (1–16).

* If you hold down [SHIFT] and press [6], you will return to the

previous item.

5. Use VALUE [-]/[+] to set the value.

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Chapter 6. Effect Settings

6. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Select the Type and Set Each Parameter

There are 42 types of multi-effects. You can select any one of these. After selecting the Type, you can change the values for each of the parameters.

* When Source is set to UPPER or LOWER, the Type and

parameter settings are used as the settings for the Tone or Drum Set assigned to that Part. When Source is set to PERFORMANCE, these settings apply to the Performance.

1. Press [EDIT], getting the indicator to light.

2. Use VALUE [-]/[+] to select “Tone/Drum/

PFMCommon.”

3. Press [ENTER].

4. Press the numeric key [6] several times to select the item

you wish to set.

fig.R06-03

* What is indicated in the upper-left part of the display will

change depending on the value of the Source setting.

* If you hold down [SHIFT] and press [6], you will return to the

previous item.

5. Use VALUE [-]/[+] to set the value.

* If you wish to make settings for other Parts, repeat steps 4–5.

6. Press [EDIT].

The [EDIT] indicator goes out, and you are returned to the previous screen.

Type (Multi-Effects Type)

Selections are made from the following 42 different multieffects.

Additionally, parameters for each of the multi-effects types can be found on the following pages.

Value:

00: THROUGH (p. 82) 01: STEREO EQ (p. 82) 02: OVERDRIVE (p. 83) 03: DISTORTION (p. 83)

04: PHASER (p. 84) 05: SPECTRUM (p. 84) 06: ENHANCER (p. 85) 07: AUTO WAH (p. 85) 08: ROTARY (p. 86) 09: COMPRESSOR (p. 87) 10: LIMITER (p. 87) 11: HEXA-CHORUS (p. 88) 12: TREMOLO CHORUS (p. 88) 13: SPACE-D (p. 89) 14: STEREO CHORUS (p. 89) 15: STEREO FLANGER (p. 90) 16: STEP FLANGER (p. 91) 17: STEREO DELAY (p. 92) 18: MODULATION DELAY (p. 93) 19: TRIPLE TAP DELAY (p. 94) 20: QUADRUPLE TAP DELAY (p. 95) 21: TIME CONTROL DELAY (p. 96) 22: 2VOICE PITCH SHIFTER (p. 96) 23: FBK PITCH SHIFTER (p. 97) 24: REVERB (p. 98) 25: GATED REVERB (p. 99) 26: OVERDRIVE → CHORUS (p. 99) 27: OVERDRIVE → FLANGER (p. 100) 28: OVERDRIVE → DELAY (p. 100) 29: DISTORTION → CHORUS (p. 101) 30: DISTORTION → FLANGER (p. 101) 31: DISTORTION → DELAY (p. 101) 32: ENHANCER → CHORUS (p. 102) 33: ENHANCER → FLANGER (p. 102) 34: ENHANCER → DELAY (p. 103) 35: CHORUS → DELAY (p. 103) 36: FLANGER → DELAY (p. 104) 37: CHORUS → FLANGER (p. 104) 38: CHORUS/DELAY (p. 105) 39: FLANGER/DELAY (p. 105) 40: CHORUS/FLANGER (p. 105) 41: LOFI (p. 106) 42: SLICER (p. 106)

* Values for parameters marked with #1 or #2 can be changed in

real time with the modulation lever or the knobs. For details, refer to (p. 71).

Chapter 6

Page 82

Chapter 6. Effect Settings

Send Levl to Cho (Multi-effect send level to chorus)

Sets the amount of the multi-effects sound that is sent to the chorus. Higher values result in more sound being sent.

Value: 0–127

* This parameter is included in all multi-effects types.

Send Levl to Rev (Multi-effect send level to reverb)

Sets the amount of the multi-effects sound that is sent to the reverb. Higher values result in more sound being sent.

Value: 0–127

* This parameter is included in all multi-effects types.

00: THROUGH

Effects are not applied. Select when creating Tones or Drum Sets that do not use multi-effects.

01: STEREO EQ (Stereo Equalizer)

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

fig.MFX-01

L in

R in

4-Band EQ

Low Freq (Low Frequency)

Select the frequency of the low range (200 Hz/400 Hz). Value: 200, 400 [Hz]

Low Gain

Adjust the gain of the low frequency. Value: -15– +15 [dB]

L out

R out

Mid1 Q (Middle 1 Q)

This parameter adjusts the width of the area around the Middle 1 Frequency that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.

Value: 0.5, 1.0, 2.0, 4.0, 8.0

Mid1 Gain (Middle 1 Gain)

Adjust the gain for the area specified by the Middle 1 Frequency and Q settings.

Value: -15– +15 [dB]

Mid2 Freq (Middle 2 Frequency)

Adjust the frequency of Middle 2 (mid range). Value: 200–8000 [Hz]

Mid2 Q (Middle 2 Q)

This parameter adjusts the width of the area around the Middle 2 Frequency that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.

Value: 0.5, 1.0, 2.0, 4.0, 8.0

Mid2 Gain (Middle 2 Gain)

Adjust the gain for the area specified by the Middle 2 Frequency and Q settings.

Value: -15– +15 [dB]

Level (Output Level) #1, #2

Adjust the output level. Value: 0–127

High Freq (High Frequency)

Select the frequency of the high range (4000 Hz/8000 Hz). Value: 4000, 8000 [Hz]

High Gain

Adjust the gain of the high frequency. Value: -15– +15 [dB]

Mid1 Freq (Middle 1 Frequency)

Adjust the frequency of Middle 1 (mid range). Value: 200–8000 [Hz]

Page 83

Chapter 6. Effect Settings

02: OVERDRIVE

This effect creates a soft distortion similar to that produced by vacuum tube amplifiers.

fig.MFX-02

L in

R in

Over drive

Amp

Simulator

2-Band

Drive #1

Adjust the degree of distortion. The volume will change together with the degree of distortion.

Value: 0–127

Level (Output Level)

Adjust the output level. Value: 0–127

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

L out

Pan L

Pan R

R out

03: DISTORTION

This effect produces a more intense distortion than Overdrive.

fig.MFX-03

L in

R in

Distortion

Amp

Simulator

2-Band

Drive #1

Adjust the degree of distortion. The volume will change together with the degree of distortion.

Value: 0–127

Level (Output Level)

Adjust the output level. Value: 0–127

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

L out

Pan L

Pan R

R out

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Amp Type (Amp Simulator Type)

Select the type of guitar amp.

Value

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

Pan (Output Pan) #2

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Amp Type (Amp Simulator Type)

Select the type of guitar amp.

Value

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

Pan (Output Pan) #2

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

Chapter 6

Page 84

Chapter 6. Effect Settings

04: PHASER

A phaser adds a phase-shifted sound to the direct sound, producing a twisting modulation that creates spaciousness and depth.

fig.MFX-04

L in

R in

Phaser

Resonance

Mix

Manual #1

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

Value: 100–8000 [Hz]

Rate #2

Adjust the frequency (period) of modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of modulation. Value: 0–127

L out

Pan L

Pan R

R out

05: SPECTRUM

Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.

It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character to the sound.

fig.MFX-05

L in

Spectrum

R in

Band 1 (Band 1 Gain)

Adjust the 250 Hz level. Value: -15– +15 [dB]

Band 2 (Band 2 Gain)

Adjust the 500 Hz level. Value: -15– +15 [dB]

Band 3 (Band 3 Gain)

Adjust the 1000 Hz level. Value: -15– +15 [dB]

L out

Pan L

Pan R

R out

Resonance

Adjust the amount of feedback for the phaser. Value: 0–127

Mix (Mix Level)

Adjust the ratio with which the phase-shifted sound is combined with the direct sound.

Value: 0–127

Pan (Output Pan)

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

Level (Output Level)

Adjust the output level. Value: 0–127

Band 4 (Band 4 Gain)

Adjust the 1250 Hz level. Value: -15– +15 [dB]

Band 5 (Band 5 Gain)

Adjust the 2000 Hz level. Value: -15– +15 [dB]

Band 6 (Band 6 Gain)

Adjust the 3150 Hz level. Value: -15– +15 [dB]

Band 7 (Band 7 Gain)

Adjust the 4000 Hz level. Value: -15– +15 [dB]

Band 8 (Band 8 Gain)

Adjust the 8000 Hz level. Value: -15– +15 [dB]

Simultaneously adjust the width of the adjusted areas for all the frequency bands.

Value: 0.5, 1.0, 2.0, 4.0, 8.0

Page 85

Chapter 6. Effect Settings

Pan (Output Pan) #1

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

Level (Output Level) #2

Adjust the output level. Value: 0–127

06: ENHANCER

The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

fig.MFX-06

L in

R in

Enhancer

Mix

Sens (Sensitivity) #1

Adjust the sensitivity of the enhancer. Value: 0–127

2-Band

L out

R out

07: AUTO WAH

The Auto Wah cyclically controls a filter to create cyclic change in timbre.

fig.MFX-07

L in

Auto Wah

R in

Filter Type

Select the type of filter.

Value

LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range.

Sens (Sensitivity)

Adjust the sensitivity with which the filter is controlled. Value: 0–127

Manual #1

Adjust the center frequency from which the effect is applied. Value: 0–127

L out

R out

Mix (Mix Level) #2

Adjust the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Value: 0–127

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Level (Output Level)

Adjust the output level. Value: 0–127

Peak

Chapter 6

Adjust the amount of the wah effect that will occur in the area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range.

Value: 0–127

Rate #2

Adjust the frequency of the modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of the modulation. Value: 0–127

Polarity

Sets the direction in which the frequency will change when the auto-wah filter is modulated. With a setting of Up, the filter will change toward a higher frequency. With a setting of Down, it will change toward a lower frequency.

Value: UP, DOWN

Level (Output Level)

Adjust the output level. Value: 0–127

Page 86

Chapter 6. Effect Settings

08: 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-08

L in

Rotary

R in

Low Slow (Low Frequency Slow Rate)

Adjust the slow speed (SLOW) of the low frequency rotor. Value: 0.05–10.00 [Hz]

Low Fast (Low Frequency Fast Rate)

Adjust the fast speed (FAST) of the low frequency rotor. Value: 0.05–10.00 [Hz]

L out

R out

Separation

Adjust the spatial dispersion of the sound. Value: 0–127

Speed #1

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

Value

SLOW: Slow down the rotation to the specified speed (the

Low Slow/Hi Slow values).

FAST: Speed up the rotation to the specified speed (the

Low Fast/Hi Fast values).

* When you want to use the pedal switch to switch the Rotary

rotation speed, select MFX PARAMETER 1 in Control Pedal Assign (p. 73).

Level (Output Level) #2

Adjust the output level. Value: 0–127

Low Accel (Low Frequency Acceleration)

Adjust 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.

Value: 0–15

Low Level (Low Frequency Level)

Adjust the volume of the low frequency rotor. Value: 0–127

High Slow (High Frequency Slow Rate)

Adjust the slow speed (SLOW) of the high frequency rotor. Value: 0.05–10.00 [Hz]

High Fast (High Frequency Fast Rate)

Adjust the fast speed (FAST) of the high frequency rotor. Value: 0.05–10.00 [Hz]

High Accel (High Frequency Acceleration)

Adjust the time it takes the high 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.

Value: 0–15

High Level (High Frequency Level)

Adjust the volume of the high frequency rotor. Value: 0–127

Page 87

Chapter 6. Effect Settings

09: COMPRESSOR

The Compressor flattens out high levels and boosts low levels, smoothing out unevenness in volume.

fig.MFX-09

L in

Compressor

R in

2-Band

Attack (Attack Time)

Adjust the attack time of an input sound. Value: 0–127

Sustain

Adjust the time over which low level sounds are boosted until they reach the specified volume.

Value: 0–127

Post Gain

Adjust the output gain. Value: 0, +6, +12, +18 [dB]

L out

Pan L

Pan R

R out

10: LIMITER

The Limiter compresses signals that exceed a specified volume level, preventing distortion from occurring.

fig.MFX-10

L in

Limiter

R in

2-Band

Threshold (Threshold Level)

Adjust the volume at which compression will begin. Value: 0–127

Ratio (Compression Ratio)

Adjust the compression ratio. Value: 1.5:1, 2:1, 4:1, 100:1

Release (Release Time)

Adjust the time from when the volume falls below the Threshold Level until compression is no longer applied.

Value: 0–127

L out

Pan L

Pan R

R out

Low Gain

Adjust the low frequency gain. Value: -15– +15 [dB]

High Gain

Adjust the high frequency gain. Value: -15– +15 [dB]

Pan (Output Pan) #1

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

Level (Output Level) #2

Adjust the output level. Value: 0–127

Post Gain

Adjust the output gain. Value: 0, +6, +12, +18 [dB]

Low Gain

Adjust the low frequency gain. Value: -15– +15 [dB]

High Gain

Adjust the high frequency gain. Value: -15– +15 [dB]

Pan (Output Pan) #1

Adjust the stereo location of the output sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64– 63R

Level (Output Level) #2

Adjust the output level.

Value: 0–127

Chapter 6

Page 88

Chapter 6. Effect Settings

11: HEXA-CHORUS

Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

fig.MFX-11

L in

R in

Balance D

Hexa-Chorus

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Value: 0.0–100 [ms]

Rate #1

Adjust the rate of modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of modulation. Value: 0–127

L out

Balance W

R out

Level (Output Level)

Adjust the output level. Value: 0–127

12: TREMOLO CHORUS

Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume).

fig.MFX-12

L in

Tremolo Chorus

R in

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Value: 0.0–100 [ms]

Chorus Rate

Adjust the modulation speed of the chorus effect. Value: 0.05–10.00 [Hz]

L out

Balance W

R out

Pre Delay Dev (Pre Delay Deviation)

Pre Delay determines the time from when the direct sound begins until the processed sound is heard. Pre Delay Deviation adjusts the differences in Pre Delay between each chorus sound.

Value: 0–20

Depth Dev (Depth Deviation)

Adjust the difference in modulation depth between each chorus sound.

Value: -20– +20

Pan Dev (Pan Deviation)

Adjust the difference in stereo location between each chorus sound. With a setting of 0, all chorus sounds will be in the center. With a setting of 20, each chorus sound will be spaced at 60 degree intervals relative to the center.

Value: 0–20

Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the chorus sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the chorus sound will be output.

Value: D100:0W–D0:100W

Chorus Depth

Adjust the modulation depth of the chorus effect. Value: 0–127

Tremolo Phase

Adjust the spread of the tremolo effect. Value: 0–180 [deg]

Tremolo Rate #1

Adjust the modulation speed of the tremolo effect. Value: 0.05–10.00 [Hz]

Tremolo Sep (Tremolo Separation)

Adjust the spread of the tremolo effect. Value: 0–127

Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the tremolo chorus sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the tremolo chorus sound will be output.

Value: D100:0W–D0:100W

Page 89

Chapter 6. Effect Settings

Level (Output Level)

Adjust the output level. Value: 0–127

13: SPACE-D

Space-D 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-13

L in

Balance D

Space-D Space-D

R in

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Value: 0.0–100 [ms]

Rate #1

Adjust the rate of modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of modulation. Value: 0–127

Phase

Adjust the spatial spread of the sound. Value: 0–180 [deg]

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Value: D100:0W–D0:100W

2-Band

Balance W Balance W

2-Band

L out

R out

Level (Output Level)

Adjust the output level. Value: 0–127

14: STEREO CHORUS

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

fig.MFX-14

L in

Balance D

Chorus Chorus

R in

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the processed sound is heard.

Value: 0.0–100 [ms]

Rate #1

Adjust the rate of modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of modulation. Value: 0–127

Phase

Adjust the spatial spread of the sound. Value: 0–180 [deg]

Filter Type

Select the type of filter.

Value

OFF: a filter will not be used LPF: cut the frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency

Cutoff Freq (Cutoff Frequency)

Adjust the basic frequency of the filter. Value: 200–8000 [Hz]

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

2-Band

Balance W

2-Band

L out

R out

Chapter 6

Page 90

Chapter 6. Effect Settings

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

15: STEREO 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-15

L in

Balance D

Flanger

Feedback Feedback

Flanger

R in

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Value: 0.0–100 [ms]

2-Band

Balance W

2-Band

L out

R out

Feedback (Feedback Level) #2

Adjust the amount (%) of the processed sound that is returned (fed back) into the input. Positive (+) settings will return the sound in phase, and negative (-) settings will return the sound in reverse phase.

Value: -98– +98 [%]

Phase

Adjust the spatial spread of the sound. Value: 0–180 [deg]

Filter Type

Select the type of filter.

OFF:a filter will not be used LPF: cut the frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency

Cutoff Freq (Cutoff Frequency)

Adjust the basic frequency of the filter. Value: 200–8000 [Hz]

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance)

Adjust the volume balance between the direct sound and the flanger sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the flanger sound will be output.

Value: D100:0W–D0:100W

Rate #1

Adjust the rate of modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of modulation. Value: 0–127

Level (Output Level)

Adjust the output level. Value: 0–127

Page 91

Chapter 6. Effect Settings

16: STEP FLANGER

The Step Flanger effect is a flanger in which the flanger pitch changes in steps.

fig.MFX-16

L in

Balance D

Step Flanger

Feedback Feedback

Step Flanger

R in

Balance D

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Value: 0.0–100 [ms]

Rate

Adjust the rate of modulation. Value: 0.05–10.00 [Hz]

2-Band

Balance W

2-Band

L out

R out

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance)

Adjust the volume balance between the direct sound and the flanger sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the chorus sound will be output.

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

Depth

Adjust the depth of modulation. Value: 0–127

Feedback (Feedback Level) #1

Adjust the amount (%) of the flanger sound that is returned (fed back) into the input. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Phase

Adjust the spatial spread of the sound. Value: 0–180 [deg]

Step Rate #2

Adjust the rate (period) of pitch change. Value: 0.1–20.0 [Hz], note-value symbols

Step Rate parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note. The Tempo (p. 76) setting changes to the basic tempo.

Chapter 6

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

Page 92

Chapter 6. Effect Settings

17: STEREO DELAY

This is a stereo delay.

When Feedback Mode is NORMAL:

fig.MFX-17a

Delay

Feedback Feedback

Delay

Feedback Feedback

Delay

Balance D

Balance W

Balance D

Balance W

Balance D

L in

R in

When Feedback Mode is CROSS:

fig.MFX-17b

L in

R in

2-Band

L out

R out

L out

R out

Phase Left (Feedback Phase Left)

Select the phase of the left delay sound.

Value

NORMAL: Phase is not changed. INVERT: Phase is inverted.

Phase Right (Feedback Phase Right)

Select the phase of the right delay sound.

Value

NORMAL: Phase is not changed. INVERT: Phase is inverted.

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

Delay Left (Delay Time Left)

Adjust the time from the direct sound until when the left delay sound is heard.

Value: 0.0–500 [ms]

Delay Right (Delay Time Right)

Adjust the time from the direct sound until when the right delay sound is heard.

Value: 0.0–500 [ms]

Feedback (Feedback Level) #1

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Feedback Mode

Select the way in which delay sound is fed back into the effect.

Value

NORMAL: The left delay sound will be fed back into the left

delay, and the right delay sound into the right delay.

CROSS: The left delay sound will be fed back into the

right delay, and the right delay sound into the left delay.

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the delay sound will be output.

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

Page 93

Chapter 6. Effect Settings

18: MODULATION DELAY

This effect adds modulation to the delayed sound, producing an effect similar to a flanger.

When Feedback Mode is NORMAL:

fig.MFX-18a

L in L out

Delay

Feedback Feedback

Delay

R in R out

Balance D

Modulation

Balance D

When Feedback Mode is CROSS:

fig.MFX-18b

L in

Delay

Feedback

Delay

R in

Balance D

Modulation

Balance D

Delay Left (Delay Time Left)

Adjust the time from the direct sound until when the left delay sound is heard.

Value: 0.0–500 [ms]

Delay Right (Delay Time Right)

Adjust the time from the direct sound until when the right delay sound is heard.

Value: 0.0–500 [ms]

2-Band

Balance W

2-Band

Balance W

2-Band

L out

R out

Rate #1

Adjust the speed of the modulation. Value: 0.05–10.00 [Hz]

Depth

Adjust the depth of the modulation. Value: 0–127

Phase

Adjust the spatial spread of the sound. Value: 0–180 [deg]

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the modulation delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the modulation delay sound will be output.

Value: D100:0W–D0:100W

Chapter 6

Feedback (Feedback Level)

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Feedback Mode

Select the way in which delay sound is fed back into the effect.

Value

NORMAL: The left delay sound will be fed back into the left

delay, and the right delay sound into the right delay.

CROSS: The left delay sound will be fed back into the

right delay, and the right delay sound into the left delay.

Level (Output Level)

Adjust the output level. Value: 0–127

Page 94

Chapter 6. Effect Settings

19: TRIPLE TAP DELAY

The Triple Tap Delay produces three delay sounds; center, left and right.

fig.MFX-19

Balance D

L in

Left Tap

Triple Tap Delay

Feedback

R in

Center Tap

Right Tap

Balance D

Delay Center (Delay Time Center)

Adjust the time delay from the direct sound until when the center delay sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay Left (Delay Time Left)

Adjust the time delay from the direct sound until when the left delay sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay Right (Delay Time Right)

Adjust the time delay from the direct sound until when the right delay sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay C, Delay L and Delay R parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note. The Tempo (p. 76) setting changes to the basic tempo.

2-Band

Balance W

2-Band

L out

R out

Right Level

Adjust the volume of the right delay sound. Value: 0–127

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

Feedback (Feedback Level) #1

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Center Level

Adjust the volume of the center delay sound. Value: 0–127

Left Level

Adjust the volume of the left delay sound. Value: 0–127

Page 95

Chapter 6. Effect Settings

20: QUADRUPLE TAP DELAY

The Quadruple Tap Delay has four delays.

fig.MFX-20a

Balance D

L in

Feedback

Quadruple Tap Delay

R in

Delay 1

Delay 2

Delay 3

Delay 4

Balance D

The stereo location of each delay sound is as follows.

fig.MFX-20b

Delay 1 (Delay Time 1)

Adjust the time delay from the direct sound until when delay 1 sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay 2 (Delay Time 2)

Adjust the time delay from the direct sound until when delay 2 sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay 3 (Delay Time 3)

Adjust the time delay from the direct sound until when delay 3 sound is heard.

Value: 200–1000 [ms], note-value symbols

Delay 4 (Delay Time 4)

Adjust the time delay from the direct sound until when delay 4 sound is heard.

Value: 200–1000 [ms], note-value symbols

L out

Balance W

R out

Level 2

Adjust the volume of delay 2 sound. Value: 0–127

Level 3

Adjust the volume of delay 3 sound. Value: 0–127

Level 4

Adjust the volume of delay 4 sound. Value: 0–127

Feedback (Feedback Level) #1

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Balance (Effect Balance) #

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level.

Value: 0–127

Chapter 6

Delay 1–4 parameters can be set as a note-value of a specified tempo. In this case, specify the value of the desired note. The Tempo (p. 76) setting changes to the basic tempo.

Level 1

Adjust the volume of delay 1 sound. Value: 0–127

Page 96

Chapter 6. Effect Settings

21: TIME CONTROL DELAY

You can use the modulation lever and knobs to change the delay time and pitch in real time (p. 71). Lengthening the delay will lower the pitch, and shortening it will raise the pitch.

fig.MFX-21

L in

Time Control Delay

R in

Balance D

Feedback

Balance D

Delay (Delay Time) #1

Adjust the time delay from the direct sound until when each delay sound is heard.

Value: 200–1000 [ms]

Acceleration

This parameter adjusts the time over which the Delay Time will change from the current setting to a newly specified setting. The rate of change for the Delay Time directly affects the rate of pitch change.

Value: 0–15

Feedback (Feedback Level) #2

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

2-Band

Balance W

2-Band

L out

R out

Balance (Effect Balance)

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

22: 2VOICE PITCH SHIFTER

A Pitch Shifter shifts the pitch of the direct sound. This 2voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the direct sound.

fig.MFX-22

Balance D

L in

R in

Level Balance A

2Voice Pitch Shifter

Level Balance B

PanA L

PanA R PanB L

PanB R

Balance D

CoarseA (Coarse Pitch A) #1

Adjust the pitch of Pitch Shift A in semitone steps (-2–+1 octaves).

Value: -24– +12 [semi]

L out

Balance W

R out

HF Damp

Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Pan (Output Pan)

Adjust the stereo location of the delay sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Fine A (Fine Pitch A) #1

Make fine adjustments to the pitch of Pitch Shift A in 2-cent steps (-100–+100 cents).

One cent is 1/100th of a semitone. Value: -100– +100 [cent]

Pan A (Output Pan A)

Adjust the stereo location of the Pitch Shift A sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Pre Delay A (Pre Delay Time A)

Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard.

Value: 0.0–500 [ms]

Page 97

Chapter 6. Effect Settings

CoarseB (Coarse Pitch B) #2

Adjust the pitch of Pitch Shift B in semitone steps (-2–+1 octaves).

Value: -24– +12 [semi]

Fine B (Fine Pitch B) #2

Make fine adjustments to the pitch of Pitch Shift B in 2-cent steps (-100–+100 cents).

One cent is 1/100th of a semitone. Value: -100– +100 [cent]

Pan B (Output Pan B)

Adjust the stereo location of the Pitch Shift B sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Pre Delay B (Pre Delay Time B)

Adjust the time delay from when the direct sound begins until the Pitch Shift A sound is heard.

Value: 0.0–500 [ms]

23: FBK PITCH SHIFTER (Feedback Pitch Shifter)

This pitch shifter allows the pitch shifted sound to be fed back into the effect.

fig.MFX-23

L in

Pitch Shifter

R in

Balance D

Feedback

Balance D

Coarse (Coarse Pitch) #1

Adjust the pitch of the pitch shifted sound in semitone steps (-2–+1 octaves).

Value: -24– +12 [semi]

Fine (Fine Pitch) #1

Make fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-2–+1 octaves).

Value: -100– +100 [cent]

2-Band

Balance W

2-Band

L out

R out

Mode (Pitch Shifter Mode)

Higher settings of this parameter will result in slower response, but steadier pitch.

Value: 1, 2, 3, 4, 5

Lev Balance (Level Balance)

Adjust the volume balance between the Pitch Shift A and Pitch Shift B sounds.

Value: A100:0B–A0:100B

Balance (Effect Balance)

Adjust the volume balance between the direct sound and the pitch shift sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the pitch shift sound will be output.

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

Feedback (Feedback Level) #2

Adjust the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the pitch shifted sound is heard.

Value: 0.0–500 [ms]

Mode (Pitch Shifter Mode)

Higher settings of this parameter will result in slower response, but steadier pitch.

Value: 1, 2, 3, 4, 5

Pan (Output Pan)

Adjust the stereo location of the pitch shifted sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Chapter 6

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

Page 98

Chapter 6. Effect Settings

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance)

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

24: REVERB

The Reverb effect adds reverberation to the sound, simulating an acoustic space.

fig.MFX-24

L in

R in

Balance D

Reverb

Balance D

Type (Reverb Type)

Select the type of Reverb effect.

Value

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

2-Band

Balance W

2-Band

L out

R out

HF Damp

Adjust 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 the high frequencies to be cut, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #2

Adjust the volume balance between the direct sound and the reverb sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the reverb sound will be output.

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level. Value: 0–127

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the reverb sound is heard.

Value: 0.0–100 [ms]

Time (Reverb Time) #1

Adjust the time length of reverberation. Value: 0–127

Page 99

Chapter 6. Effect Settings

25: GATED REVERB

Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.

fig.MFX-25

L in

R in

Balance D

Gated Reverb

Balance D

Type (Gated Reverb Type)

Select the type of reverb.

Value

NORMAL: conventional gate reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right

Pre Delay (Pre Delay Time)

Adjust the time delay from when the direct sound begins until the reverb sound is heard.

Value: 0.0–100 [ms]

2-Band

Balance W

2-Band

L out

R out

26: OVERDRIVE→CHORUS

This effect connects an overdrive and a chorus in series.

fig.MFX-26

L in

Overdrive

R in

Balance D

Chorus

Balance D

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

Value: 0–127

OD Pan (Overdrive Pan) #1

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Chorus Delay (Chorus Pre Delay Time)

Adjust the time delay from when the direct sound begins until the chorus sound is heard.

Value: 0.0–100 [ms]

L out

Balance W

R out

Gate Time

Adjust the time from when the reverb is heard until when it disappears.

Value: 5–500 [ms]

Low Gain

Adjust the gain of the low frequency range. Value: -15– +15 [dB]

High Gain

Adjust the gain of the high frequency range. Value: -15– +15 [dB]

Balance (Effect Balance) #1

Value: D100:0W–D0:100W

Level (Output Level) #2

Adjust the output level. Value: 0–127

Chorus Rate

Adjust the modulation speed of the chorus effect. Value: 0.05–10.00 [Hz]

Chorus Depth

Adjust the modulation depth of the chorus effect. Value: 0–127

Chorus Bal (Chorus Balance) #2

Adjust the volume balance between the overdrive sound that is sent through the chorus and the overdrive sound that is not sent through the chorus. With a setting of “D100:0W,” only the overdrive sound will be output. With a setting of “D0:100W,” only the overdrive sound that is sent through the chorus will be output.

Value: D100:0W–D0:100W

Level (Output Level)

Adjust the output level.

Value: 0–127

Chapter 6

Page 100

Chapter 6. Effect Settings

27: OVERDRIVE→FLANGER

This effect connects an overdrive and a flanger in series.

fig.MFX-27

L in

Overdrive

R in

Balance D

Feedback

Flanger

Balance D

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

Value: 0–127

OD Pan (Overdrive Pan) #1

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Flg Pre Dly (Flanger Pre Delay Time)

Adjust the time delay from when the direct sound begins until the flanger sound is heard.

Value: 0.0–100 [ms]

Flg Rate (Flanger Rate)

Adjust the modulation speed of the flanger effect. Value: 0.05–10.00 [Hz]

L out

Balance W

R out

Level (Output Level)

Adjust the output level. Value: 0–127

28: OVERDRIVE→DELAY

This effect connects an overdrive and a delay in series.

fig.MFX-28

L in

Overdrive

R in

Balance D

Delay

Feedback

Balance D

OD Drive

Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.

Value: 0–127

OD Pan (Overdrive Pan) #1

Adjust the stereo location of the overdrive sound. L64 is far left, 0 is center, and 63R is far right.

Value: L64–63R

Delay Time

Adjust the time delay from when the direct sound begins until the delay sound is heard.

Value: 0.0–500 [ms]

L out

Balance W

R out

Flg Dpt (Flanger Depth)

Adjust the modulation depth of the flanger effect. Value: 0–127

Flg Feedback (Flanger Feedback Level)

Adjust the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Flg Balance (Flanger Balance) #2

Adjust the volume balance between the overdrive sound that is sent through the flanger and the overdrive sound that is not sent through the flanger. With a setting of “D100:0W,” only the overdrive sound will be output. With a setting of “D0:100W,” only the overdrive sound that is sent through the flanger will be output.

Value: D100:0W–D0:100W

Delay Feedback (Delay Feedback Level)

Adjust the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Value: -98– +98 [%]

Delay HF Damp

Adjust the frequency above which delayed sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Value: 200–8000 [Hz], BYPASS

Delay Bal (Delay Balance) #2

Adjust the volume balance between the overdrive sound that is sent through the delay and the overdrive sound that is not sent through the delay. With a setting of “D100:0W,” only the overdrive sound will be output. With a setting of “D0:100W,” only the overdrive sound that is sent through the delay will be output.

Value: D100:0W–D0:100W

100

Roland RS 5 Service Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

IMPORTANT NOTES

What can I do with the RS-5/9? (Main features)

Contents

Front and Rear Panel

Quick Start

Getting Ready

Connecting the RS-5/9 to external equipment

Turning On the Power

Turning the power off

Adjusting the display contrast (LCD CONTRAST)

Adjusting the pitch to other instruments (Master Tuning)

Listening to the Demo (DEMO)

Demo Songs List

Playing the Sounds

Restoring the Factory Settings (Factory Reset)

Selecting Tones By Category (TONE CATEGORY)

Selecting Tones by Specifying the Group and Number

Easy Tone Selection (Switching Parts)

Playing Percussion Instruments (Drum Sets)

Changing a Drum Set

Selecting Drum Sets by Specifying the Group and Number

Playing a Drum Set in a Part Other Than Part 10

Notes when selecting a Drum Set

Trying out tones (PHRASE PREVIEW)

Playing Two Tones on the Keyboard

Dividing the Keyboard into Separate Ranges and Playing Different Tones in Each (SPLIT)

Playing two Tones from the keyboard (DUAL)

Selecting Tones and Drum Sets

Selecting Tones By Category (TONE CATEGORY)

Selecting Tones by Specifying the Group and Number

Changing the Two Parts Being Used

Changing the Split Point

Using the Convenient Functions in Performances

Creating Arpeggios from the Chords You Play (ARPEGGIO ON/OFF)

Using Multi-effects, Chorus, and Reverb

Turning the Effects On and Off (EFFECTS ON/OFF)

Setting the Amount of Chorus and Reverb

Changing the Multi-effect Type

Transposing All the Parts (TRANSPOSE ON/OFF)

Setting the Amount of Transposition

Changing the Sound’s Pitch in Real Time (Pitch Bend Lever)

Adding a Vibrato Effect to the Sound (Modulation Lever)

Changing the Tone with the Knobs

Vibrato and Wah Effects (LFO)

Changing the sound’s volume (ENVELOPE)

Changing the Brightness of the Sound and Adding Special Qualities (FILTER)

Changing the RS-5/9’s Settings All At Once (Selecting Performances)

Easily Selecting the Performances You Like (FAVORITE PERFORM BANK)

Registering Performances

Easily Selecting Performances

Instantly Switching to Piano Mode

Advanced Use

Chapter 1. An overview of the RS-5/9

Drum Set

Basic Organization of the RS-5/9

Performance

Tone

About Memory

Maximum Polyphony

Preventing notes of an important Part from being cut off (Voice Reserve)

Modifying the Value of a Setting

Convenient shortcuts

If “Stuck” Notes Occur (PANIC)

When Sounds From the RS-5/9 Do Not Stop Playing

What to Do When an External Sound Generator Fails to Stop Sounding

Chapter 2. Part Volume and Pan Settings

Chapter 3. Mastering Use of the Performance Features

Playing single-note lines (Solo)

Smoothly Changing the Pitch of the Sound (Portamento)

Determining the Volume from the Force Used To Play the Keys (Velocity Sense)

Transposing Performances

Transposing All Parts (TRANSPOSE ON/OFF)

Transposing a Specified Part (Key Shift)

Adding Breadth to the Sound by Layering Tones with Different Pitches (Fine Tune)

Changing to Pure Temperament or an Arabic scale (Scale Tune)

What are Equal Temperament, Pure Temperament, and Arabic scales?