Roland RS-50 User Manual

Owner’s Manual

Thank you, and congratulations on your choice of the Roland RS-50.

201a

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p. 2–3) and “IMPORTANT NOTES” (p. 4–5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

202

USING THE UNIT SAFELY

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

For the U.K.

BLUE: BROWN:

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.

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.

NEUTRAL LIVE

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.

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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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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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012c

• 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 or the power-supply cord has

been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

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

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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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023

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

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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 output plug or the body of the AC adaptor when plugging into, or unplugging from, this unit or an outlet.

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103b

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

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104

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

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106

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

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107d

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

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108b

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

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 16).

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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 ground terminal screw, make sure to put it in a safe place out of children's reach, so there is no chance of them being swallowed accidentally.

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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.

352a

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

352b

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

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.

355b

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

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.

Repairs and Data

452

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

Additional Precautions

• Never turn off the power while the display indicates “KEEP POWER ON!” If you turn off the power while this message is displayed, the internal user data will be lost.

551

• 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 the unit’s memory or 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.

985

• The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

Handling CD-ROMs

563

• Unauthorized duplication, reproduction, hiring, and lending of the software included in the applied CD-ROM is prohibited.

801

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

204

* Microsoft and Windows are registered trademarks of

Microsoft Corporation.

206j

* Windows® is known officially as: “Microsoft®

Windows® operating system.”

207

* Apple and Macintosh are registered trademark of Apple

Computer, Inc.

209

* MacOS is a trademark of Apple Computer, Inc.

220

* All product names mentioned in this document are trade-

marks or registered trademarks of their respective owners.

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

Main Features..........................................................................................9

Panel descriptions ................................................................................10

Front panel................................................................................................................................................. 10

Rear panel.................................................................................................................................................. 13

Getting ready.........................................................................................14

Reset to default factory settings (Factory Reset) ..............................17

Listening to the demo songs ...............................................................18

Quick Start ........................................19

Try out the sounds................................................................................20

Applying various effects to the sound................................................26

Using the Rhythm Guide ......................................................................36

Advanced Use....................................39

Overview of the RS-50 ..........................................................................40

How the instrument is organized ..........................................................................................................40

Classification of RS-50 sound types....................................................................................................... 40

Effects ......................................................................................................................................................... 41

Number of voices ..................................................................................................................................... 41

About memory.......................................................................................................................................... 41

Temporary memory...................................................................................................................... 41

Rewritable memory ...................................................................................................................... 41

Non-rewritable memory ..............................................................................................................41

Basic operation of the RS-50 ...............................................................42

Switching the mode.................................................................................................................................. 42

Patch mode..................................................................................................................................... 42

Performance mode........................................................................................................................ 42

Editing parameters................................................................................................................................... 42

Basic procedure .............................................................................................................................42

Executing a command .................................................................................................................. 42

Assigning a name.......................................................................................................................... 43

When one page contains two or more settings......................................................................... 43

Inputting numbers and numerals .......................................................................................................... 43

Selecting a part.......................................................................................................................................... 43

Creating a patch (Patch mode) ............................................................44

How to make the patch settings............................................................................................................. 44

Changing the way that the tones are sounded (Key Mode) ................................................... 44

Editing the patch parameters ......................................................................................................44

Making settings that apply to the entire patch (Patch Common parameters) ..................... 45

Making settings for an individual tone (Patch Tone parameters) .........................................46

Saving a patch ........................................................................................................................................... 48

Contents

Convenient functions for patch editing (Patch Utility)....................................................................... 49

Copying patch parameters (PATCH PRM COPY)................................................................... 49

Initializing the parameters of a patch (PATCH INITIALIZE)................................................ 50

Erasing a user patch you saved (PATCH REMOVE) .............................................................. 50

Transmitting patch/rhythm set settings from the MIDI OUT connector (XFER to MIDI)

Restoring the factory settings (FACTORY RESET) .................................................................. 51

............... 51

Creating a rhythm set (Patch mode) ...................................................52

How to make the rhythm set settings.................................................................................................... 52

Editing the rhythm set parameters............................................................................................. 52

Making settings that apply to the entire rhythm set (Rhythm Common parameters) ....... 52

Editing the settings of each rhythm tone (key) (Rhythm Tone parameters)........................ 52

Saving a rhythm set (User Rhythm Set)................................................................................................ 53

Convenient functions for rhythm set editing (Rhythm Set Utility) ..................................................53

Copying effect settings from a rhythm set (RHY PRM COPY).............................................. 53

Initializing the settings of a specific rhythm tone (RHY INITIALIZE) ................................. 54

Erasing a rhythm set you saved (RHY REMOVE) ................................................................... 54

Playing more than one sound simultaneously (Performance mode)

Choosing a part and selecting the sound.............................................................................................. 55

Selecting performance numbers.................................................................................................. 55

Editing the settings of a performance.................................................................................................... 55

Making settings that apply to the entire performance ............................................................55

Editing the effect settings of a performance.............................................................................. 56

Editing the part settings of a performance (Part Setup).......................................................... 56

Editing the effect settings for each part of the performance (Performance Part Effect) ..... 58

Saving a performance ..............................................................................................................................59

Convenient functions for performance editing (Performance Utility) ............................................. 59

Copying part or effect parameters (PERFORM PRM COPY)................................................. 59

Initializing the parameters of a performance (PERFORM INIT) ...........................................60

Transmitting performance settings from the MIDI OUT connector (XFER to MIDI)......... 61

Restoring the factory settings (FACTORY RESET) .................................................................. 61

..........55

Using the phrase/arpeggio function ...................................................62

Creating your own arpeggio template (User Template) ......................................................... 62

Using chord memory function.............................................................64

Creating an original chord set (User Chord Set) ......................................................................64

Adding effects .......................................................................................65

Turning the effect function on and off (MASTER EFFECT SWITCH) ............................................. 65

The effect signal path ............................................................................................................................... 66

Making effects settings ............................................................................................................................67

Setting multi-effects parameters............................................................................................................. 68

Making chorus settings............................................................................................................................ 86

Making reverb settings ............................................................................................................................ 87

Settings common to all modes (System Function) ...........................88

How to make the system function settings........................................................................................... 88

Functions of the system parameters ...................................................................................................... 89

Settings common to the entire system (GENERAL) ................................................................89

Settings related to controllers (CONTROLLER)....................................................................... 89

Settings related to MIDI (MIDI).................................................................................................. 90

Making scale tune settings for a patch (PATCH SCALE) ....................................................... 91

Contents

Performing with an external MIDI device............................................92

About MIDI ............................................................................................................................................... 92

MIDI messages used by the RS-50 ......................................................................................................... 92

Using the RS-50 to play an external MIDI sound module.................................................................. 93

Connecting to external MIDI sound modules .......................................................................... 93

Set the keyboard transmit channel ............................................................................................. 94

Playing the RS-50’s sound generator from an external MIDI device................................................ 94

Connecting an external MIDI device.......................................................................................... 94

Setting the patch receive channel................................................................................................ 95

Setting the program change receive switch............................................................................... 95

Selecting RS-50 sounds from an external MIDI device............................................................ 95

Using an external MIDI controller to change the RS-50’s tones............................................. 96

Recording to an external sequencer....................................................................................................... 96

Connecting to an external sequencer .........................................................................................96

Making settings before recording............................................................................................... 96

Recording .......................................................................................................................................97

Listening to the recorded performance...................................................................................... 97

Playing together with the playback of a recorded performance............................................ 98

Transposing playback of performances (Master Key Shift).................................................... 98

Backing-up (saving) all RS-50 settings on your external MIDI sequencer....................................... 98

Using the RS-50 as a General MIDI/General MIDI 2 system-compatible sound module............. 98

Playing back General MIDI/General MIDI 2 music data ....................................................... 98

Performing with a computer ................................................................99

Appendix ........................................101

Troubleshooting..................................................................................102

Error Messages/Messages.................................................................105

Parameter list ......................................................................................106

Original tone list..................................................................................109

Patch list ..............................................................................................111

Rhythm set list ....................................................................................116

Performance list..................................................................................120

Rhythm guide list................................................................................120

Arpeggio template list ........................................................................120

Arpeggio style list...............................................................................122

Multi-chord set list ..............................................................................122

MIDI implementation chart .................................................................124

Specifications......................................................................................125

Index.....................................................................................................126

Main Features

General MIDI

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.

General MIDI 2

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.

A broad range of new, high-quality sounds

Careful attention has been paid to refining the most important

sounds for a live keyboard, such as piano, organ, strings, and brass.

In addition, the latest cutting-edge sounds are also included.

The General MIDI score conforming to General MIDI /General MIDI

2 is also supported with high-quality sounds.

Quick and easy sound editing

To edit the sounds (patches) of the RS-50, you simply choose from

the wide range of “

and edit them. Editing is easy; you can adjust the brightness (filter),

attack and decay, modulation (LFO), and effects, or layer two tones

to create a rich sound.

Numerous phrase/arpeggio templates

In addition to an arpeggio function, the instrument also features

“phrase templates,” which allow you to activate performance

techniques geared toward a particular sound as well as typical

phrases simply by pressing a key---great tools for music production.

tones

” (pre-programmed instrumental sounds)

Multi-chord memory function

The Chord Memory function lets you play a registered chord by

pressing a single key.

You can register different chord forms to each key, and recall

multiple chords together.

Several sets of chord progressions that typically appear in one song

have been registered as presets.

Compact and easy to carry

The RS-50 is compact, light, and easy to carry. It’s an instrument

with great sounds and professional-level functionality that can be

easily carried between your bedroom and the stage or studio.

Dedicated sound editor is included

The dedicated sound editing program “

Windows versions on a hybrid CD-ROM) is included, allowing you

to use your computer to create and rearrange sounds quickly and

easily.

RS Editor

” (Mac and

D Beam controller

The

D Beam controller

simply by moving your hand. In conjunction with the visual

element, this can be a powerfully impressive addition to a live

performance.

gives you control over a variety of effects,

Rhythm Guide function

As an alternative to the metronome, you can use more realistic

rhythm patterns as enjoyable backing for your playing.

Panel descriptions

Front panel

fig.04-01.l

D BEAM CONTROLLER

You can apply a variety of effects to sounds simply by moving your

hand (p. 31).

[SOLO SYNTH] (Solo Synthesizer) button

You can generate passages that sound as if you are rapidly playing

the keyboard.

[ACTIVE EXPRESS] (Active Expression) button

This lets you use the D Beam controller for Active Expression.

[ASSIGNABLE] button

This lets you assign a desired function to the D Beam controller (p.

33).

[VOLUME] knob

Adjusts the overall volume that is output from the rear panel

OUTPUT jacks and PHONES jack (p. 15).

MODE Section

[PATCH] button

Switches the RS-50 into the Patch mode (p. 42).

[PERFORMANCE] button

Switches the RS-50 into the Performance mode (p. 42).

EDIT Section

[PARAM] (Parameter) button

This button accesses sound or performance settings (parameters).

The settings that are accessed will depend on the selected mode

(Patch/Performance) or state.

[EFFECTS] button

This button switches effects (MFX, chorus, reverb) on/off, and

accesses effect-related settings.

[UTILITY] button

In Patch/Performance modes, this button accesses various utility

functions, such as those for copying data or initializing sound

generator settings.

Others

[SYSTEM] button

This button accesses settings that affect the entire RS-50, such as

tuning, display contrast, and MIDI message reception.

[PART SELECT] button

When this button is lit in Performance mode, you can use the direct

access buttons to select a part to play from the keyboard or to edit (p.

43).

[AUDITION] button

You can repeatedly listen to an audition phrase for the currently

selected patch (p. 22).

[DEMO] button

Accesses the demo playback function (p. 18).

fig.04-01.r

Panel descriptions

[WRITE] button

Saves patch/performance settings or system settings.

[-/+OCT] (Octave Shift) / [-/+TRANSPOSE] (Transpose) buttons

- /+OCT: These buttons adjust the pitch of the keyboard

in octave steps (maximum +/-3 octaves) (p. 30).

- /+TRANSPOSE: Pressing either of these buttons while holding

down [SHIFT] allows you to transpose the

keyboard in semitone steps (-5–+6) (p. 31).

[PHRASE/ARPEGGIO] button

Switches phrase/arpeggio function on/off. To make settings for the

phrase/arpeggio, make this button light and then press [PARAM]

(p. 23).

[CHORD MEMORY] button

Switches chord memory function on/off. To make settings for the

chord memory function, get this button to light and then press

[PARAM] (p. 24).

DISPLAY

This displays information regarding the operation you are

performing.

[NUMERIC] button

When this button is lit, the direct access buttons will function as a

numeric keypad. This lets you directly input or specify a numerical

value for the displayed item (patch number or parameter).

[0]–[9] (DIRECT ACCESS buttons)

In Patch mode, use these buttons to switch between the sound

categories printed on the panel (p. 20). In Performance mode, use

these buttons to directly select a performance by specifying the

lowest digit of the performance number (p. 55). However, if the

[NUMERIC] or [PART SELECT] buttons are lit, the [0]–[9] buttons

will change to the corresponding function.

[VALUE -/+] buttons

Use these buttons to switch the number of an item (patch,

performance, various parameters, etc.) in the display, or to increase/

decrease a value. While one of these buttons is first held down and

the other is pressed, the value then changes rapidly. Or, if you hold

down [SHIFT] while using these buttons, the value will change in

larger steps.

[RHYTHM GUIDE] button

Switches Rhythm guide function on/off (p. 36).

Panel descriptions

PAGE/CURSOR [ ]/[ ] / JUMP [ ]/[ ] buttons

PAGE/CURSOR: Use these buttons to move between pages or to

move the cursor (p. 42).

JUMP: In grouped pages, you can hold down [SHIFT]

and use these buttons to move between groups

(p. 42).

While one of these buttons is first held down and the other is

pressed, the page or cursor then moves rapidly.

[EXIT] button

Press this button to return to the main screen of a mode, or when you

want to cancel the current operation.

[ENTER] button

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

[SHIFT] button

By holding down this button and pressing another button, you can

access a secondary function of that button (printed below the button

in square brackets).

[TAP TEMPO] button

Adjusts the tempo according to the timing at which you tap this

button. You can also use VALUE [-]/[+] to adjust the tempo if

desired (p. 37).

PATCH MODIFY section

• If balance/LFO is selected (BALANCE/LFO

indicator lit)

[BALANCE] knob

Adjusts the LOWER and UPPER volume balance (p. 26).

[LFO RATE] knob

Adjusts the rate of the LFO effect, such as vibrato (p. 27).

[LFO DEPTH] knob

Adjusts the depth of the LFO effect, such as vibrato (p. 27).

[KEY MODE] button

Switches the Key Modes (p. 44).

[FILTER LFO] button

This determines whether the LFO changes the filter cutoff frequency

(ON), or the pitch (OFF) (p. 27).

[CUTOFF] knob

Changes the tone’s Cutoff Frequency value (p. 29).

[RESONANCE] knob

Changes the tone’s Resonance value (p. 29).

Pitch bend/Modulation lever

This allows you to control pitch bend or apply vibrato (p. 29).

[DESTINATION TONE] button

Selects either UPPER or LOWER as the tone to be edited.

Patch Modify select button

Selects whether the three knobs located at the right will edit the

envelope or the balance and LFO.

• If envelope is selected (ENV indicator lit)

[ATTACK] knob

Adjusts the attack speed of the sound (p. 28).

[DECAY] knob

Adjusts the speed at which the sound decays while you

continue holding the key (p. 28).

[RELEASE] knob

Adjusts the length of the release after you take your finger off

the key (p. 28).

Rear panel

Cord Hook

To the Power Outlet

The cord of

the supplied

AC Adaptor

fig.04-02

Panel descriptions

AB DE F G HC

MIDI connectors (IN, OUT)

These connectors can be connected to other MIDI devices to receive

and transmit MIDI messages (p. 92). 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.

PEDAL jacks

CONTROL:

An optional expression pedal (such as the EV-5), pedal switch (the

optional DP-2 or DP-8), or foot switch (the optional BOSS FS-5U) can

be connected to this jack (p. 14).

HOLD:

An optional pedal switch (such as the DP-2 or DP-8) or foot switch

(the optional BOSS FS-5U) can be connected to this jack for use as a

hold pedal (p. 14).

If you are using DP-8, set the DP-8’s function switch to “Switch.”

OUTPUT jacks

These jacks output stereo (L/R) audio signals to your amp or mixer.

For mono output, use the L jack.

PHONES jack

This is the jack for connecting headphones (sold separately) (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 DC IN jack, anchor the power cord using the cord hook,

as shown in the illustration.

fig.CordHook.e

DC IN jack

Connect the AC adaptor here (p. 14).

Be sure to use only the supplied AC adaptor.

POWER switch

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

Ground terminal

927

Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones connected to it, or the metal portions of other objects, such as guitars. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in fire or explosion)

• Telephone-line ground or lightning rod (may be dangerous in

the event of lightning)

Getting ready

Stereo headphones

AC adaptor

to AC power outlet

Audio cable

Pedal switch (DP-2, DP-8)

or foot switch (BOSS FS-5U)

Expression pedal (EV-5)

or pedal switch

Audio set etc.

Monitor speakers

(powered)

Mixer etc.

Power amp

Roland

• 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.

• 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.

• 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.

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

Connecting the RS-50 to external equipment

The RS-50 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-50 as a stand-alone device.

fig.q01-01.e

921, 924, 925

Before starting the connection procedure, make sure that the power to all

devices has been turned off.

Connect the supplied AC adaptor to the RS-50, and then plug its other end

into a power outlet.

• In order to take full advantage of the RS-50’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).

• CONTROL PEDAL jack can also accommodate pedal switches.

Once the connections have

been completed (p. 14),

turn on power to your

various devices in the order

specified. By turning on

devices in the wrong order,

you risk causing

malfunction and/or

damage to speakers and

other devices.

Connect the RS-50 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.

If you want to know how to make the connections with another external device, refer to:

Using the RS-50 to play an external MIDI sound module (p. 93) Playing the RS-50’s sound generator from an external MIDI device (p. 94) Recording to an external sequencer (p. 96)

Turning on/off the power

Turning on the power

Before turning on the RS-50’s power, check the following:

Getting ready

• Are all devices connected properly?

• Are the volume controls of the RS-50 and any other connected equipment turned to the minimum position?

• Is the AC adapter correctly connected to the RS-50?

941, 942

Press the power switch on the rear panel of the RS-50 to turn on the power.

fig.q01-02

Turn on the power of the connected audio devices.

Play the RS-50’s keyboard and gradually raise the volume controls of the

RS-50, or the connected audio equipment to an appropriate volume level.

fig.q01-03

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 up the RS-50’s

volume level carefully.

Excessive volume can

damage connected audio

devices, your hearing, or

annoy your neighbors.

Getting ready

231

Turning off the power

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

• Are the volume controls of the RS-50 and the other connected equipment turned to the minimum position?

• Have you saved the sounds or other data you’ve created? (p. 48, p. 53, p. 59)

Turn off the power for all connected audio devices.

Turn off the RS-50’s 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.q01-04

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “LCD Contrast.”

fig.q01-05

Use VALUE [-]/[+] to set the value (1–10).

The LCD CONTRAST

setting is saved

automatically, and is

retained even while the

power is off.

Reset to default factory settings (Factory Reset)

This restores all data in the RS-50 to the factory-set condition (

fig.q02-01

Be sure not to turn off the power while Factory Reset is being performed. If the power is turned off or interrupted while data is being written to memory, the internal data may become corrupted.

Press [PATCH] so it is lit and you are in Patch mode.

Press [UTILITY] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “5:FACTORY RESET.”

fig.q02-02_40

Factory Reset

4, 5

If there is important data

you’ve created that’s stored

in the RS-50’s internal

memory, you must note

that all such data will be

discarded when a Factory

Reset is performed. If you

want to keep the existing

data, save it using an

external sequencer (p. 98).

Press [ENTER].

fig.q02-03_40

Press [ENTER] again to execute the Factory Reset.

When the display indicates “COMPLETED,” the factory reset operation has been completed.

Press [EXIT] to cancel the

factory reset.

Factory Reset can be

executed not only from

Patch mode, but also from

the Utility functions of

Performance mode (p. 61).

Listening to the demo songs

While the demo songs are

playing back, playing the

keyboard will not produce

sound.

The RS-50 contains Demo songs. Here’s how to listen to the demo songs and experience the superb sounds and effects of the RS-50.

fig.q03-01

241 3

Press [DEMO].

fig.q03-02_40

Use 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 song is played back repeatedly.

Press [EXIT] to stop playback.

To return the keyboard to performance mode, press [EXIT] again or press [DEMO]

again so the indicator goes out

981a, 982

• Unsaved settings changes may be lost when you start Demo Play. Carry out

the write procedure as required to save such data before listening to the demo songs (p. 48, p. 53, p. 59).

than private, personal enjoyment is a violation of applicable laws.

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

Demo songs list

The RS-50 comes with 3 demos.

“T”



Roland Corporation

Short, sweet



Roland Corporation

Catch Me



Roland Corporation

Quick Start

Try out the sounds

Selecting a patch

On the RS-50, the sounds you use for normal playing are called analogous to an instrument held by a member of an orchestra. Each patch consists of two tones; an two tones to their own region of the keyboard (p. 44), and make independent settings for each tone (p. 46).

■

Selecting a patch by category

The RS-50 allows you to rapidly select and call up a patch by specifying the type of patch. All the patches are organized into 10 category groups.

Button

[1]

[2] KBD &

[3] GUITAR (Gt) AGT AC.GUITAR Acoustic Guitar

[4] ORCH (Oc) STR STRINGS Strings

[5] WORLD (Wr) PLK PLUCKED Plucked (Harp, etc.)

[6] BRASS (Br) BRS AC.BRASS Acoustic Brass

[7] VOCAL &

[8] SYNTH (Sy) HLD HARD LEAD Hard Synth Lead

[9] BASS (Bs) BS BASS Acoustic & Electric Bass

[0] RHYTHM &

Category Group

PIANO (Pf) PNO AC.PIANO Acoustic Piano

ORGAN (Ky)

PAD (Vo)

SFX (Rh)

Category Contents

EP EL.PIANO Electric Piano KEY KEYBOARDS Other Keyboards

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

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

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

SBR SYNTH.BRASS Synth Brass SAX SAX Sax BPD BRIGHT PAD Bright Pad Synth SPD SOFT PAD Soft Pad Synth VOX VOX Vox, Choir

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

SBS SYNTH.BASS Synth Bass DRM DRUMS Rhythm Set PRC PERCUSSION Percussion SFX SOUND FX Sound FX BTS BEAT&GROOVE Beat and Groove CMB COMBINATION Other Patches

upper tone

patches

and

lower tone

(Clav, Harpsichord, etc.)

. You can assign the

. A patch is

fig.q04-02

Selecting sounds by category

In Patch mode, the direct access buttons [0]–[9] act as category select buttons. Since the patches you select for [0]–[9] (each category) will be remembered even when the power is turned off, you can select ten favorite patches from the panel and recall those patches instantly just by pressing [0]–[9].

Patch list

(p. 111)

21 3

Press [PATCH] so it is lit and you are in Patch mode.

Use [0]–[9] to specify the category group of the patch you want to select.

Use VALUE [-]/[+] to select sounds within the category group.

Try out the sounds

Quick Start

The rhythm sets are

included in [0] (p. 22).

You can turn [NUMERIC]

on and use the [0]–[9]

numeric keys to input a

patch number directly.

Press [ENTER] to finalize

the number (p. 43).

Try out the sounds

■

Selecting patches while listening to phrases (Patch Audition)

Without playing keyboards, you can audition the sounds using phrases that have been pre-programmed to be suitable for the character of each patch.

fig.q04-03

Press [AUDITION].

The currently selected patch will begin sounding.

Select patches as described in

Selecting a patch by category

(p. 20).

Press [AUDITION] once again or press [EXIT] to stop the patch audition.

Selecting a rhythm set

The RS-50 provides rhythm sets that let you play different percussion instrument sounds or special effects from each key.

fig.q04-04

1 2 3

Press [PATCH] so it is lit and you are in Patch mode.

Press [0] to select “RHYTHM & SFX.”

Use VALUE [-]/[+] to switch rhythm sets.

There are patches other than rhythm sets in the Rhythm & SFX category group. Rhythm sets have “KIT,” “MENU,” or “GM2” in their names.

With [0] pressed, you can

turn [NUMERIC] on and

use the [0]–[9] buttons to

input a rhythm set number

directly. Press [ENTER] to

finalize the number (p. 43).

Rhythm set list (p. 116)

Playing arpeggios (Phrase/Arpeggio)

Try out the sounds

An arpeggio is a “broken chord” where each note is played separately. The

Arpeggio

and is also a convenient way to input a performance into an external sequencer. Since the RS-50 provides arpeggio you select, you can produce appropriate arpeggios immediately. You can also select one key, without pressing a chord (p. 62).

fig.q04-05

In Patch mode, press [1] to select piano sounds.

Press [PHRASE/ARPEGGIO] so it is lit.

Play the keyboard.

The instrument will play an arpeggio, according to the notes you have just voiced.

function lets you produce an arpeggio simply by holding down a chord,

templates

Phrase Template

1 2, 6 5

that are suitable for the various sounds

which allows you to play arpeggio using only

Phrase/

Quick Start

■

Changing the way in which the arpeggios are sounded

Then, try to change the way in which the arpeggios are sounded. Settings that specify how arpeggios are sounded are provided as By switching templates, you can change the way in which the arpeggios are sounded.

Press [0]–[9].

fig.q04-06_40

Play a phrase by pressing one key.

It switches to an arpeggio template suitable for the selected sound. Pressing [0] will select the user template.

fig.q04-07a

Preset (Arpeggio/Phrase) templates

User templates

templates

Play an arpeggio by pressing a chord.

User template (p. 24)

Arpeggio template list (p.

120)

Try out the sounds

When you press [EXIT], the Arpeggio function will remain on and you will

return to the previous screen.

If you want to select an arpeggio template once again, press [PHRASE/ARPEGGIO] so it goes out, and then press [PHRASE/ARPEGGIO] once again so it is lit. The selected arpeggio template remains stored in memory even while the power is off.

To finish playing arpeggios, press [PHRASE/ARPEGGIO] again so the

indicator goes out.

User template

The user template lets you set the various arpeggio template parameters as desired. On the RS-50 you can store eight different user templates. With [0] pressed, use VALUE [-]/[+] to select other user templates you have created. For further information on how to make user templates, refer to Creating your own arpeggio template (User Template) (p. 62).

Playing a chord at the touch of a finger (Multi-chord Memory)

Chord Memory is a function that lets you play a chord simply by touching just one key to which a “Chord Form” has been registered. On the RS-50 you can register different chord forms to each key and save these chord forms as sets (

memory

user chord sets, these are a convenient way to get immediate results, such as when inputting music into the external sequencer.

fig.q04-08

) and recall them when desired. If you save typical chord progressions as

Press [CHORD MEMORY] so it is lit.

fig.q04-09_40

multi-chord

Tw elve chord forms have been assigned from C to B.

The Chord Memory function will be turned on, and the chord set name will be displayed.

Play the keyboard.

The chord of the specified structure will sound according to the note name of the key you played.

■

Switching chord sets

Then, try to change chord sets.

fig.q04-10

Try out the sounds

Quick Start

Use VALUE [-]/[+] to select a Chord Set.

The user chord set appears after the preset chord sets.

When you press [EXIT], the Multi-chord Memory function will remain on

and you will return to the previous screen.

If you want to select a chord set once again, press [CHORD MEMORY] so it goes out, and then press [CHORD MEMORY] once again so it is lit. The selected chord set remains stored in memory even while the power is off.

To turn off the Multi-chord Memory function, press [

CHORD MEMORY

again so the indicator goes out.

You can create your own chord set by saving chords you have created. For further information, refer to Creating an original chord set (User Chord Set) (p. 64).

]

Multi-chord set list (p.

122)

Applying various effects to the sound

Changing the tone with the knobs (Patch Modify)

Using the five panel knobs, you can change the tone in real time. On the RS-50, each patch consists of two tones; the (p. 40). The way that the tones are sounded (Single/Split/Dual) is saved in each patch, and you can change this using [KEY MODE] (p. 44).

■

Selecting the tone that you want to modify (DESTINATION TONE)

Use the [DESTINATION TONE] button to specify whether you will modify the upper or the lower tone.

fig.q05-01

• UPPER lit: Only the upper tone will be modified

• LOWER lit: Only the lower tone will be modified

• Both lit: Both the upper and lower tones will be modified

upper tone

and the

lower tone

Patch Modify applies +/-

adjustments relative to the

settings of the original tone.

Depending on the tone you

select, this may not always

produce a noticeable

change in the sound.

For a rhythm set, Patch

Modify applies to the set as

a whole.

■

Adjusting the volume balance of the two tones

You can use a knob to control the volume balance of the upper tone and lower tone.

fig.q05-02

Press the patch modify select button to make the BALANCE/LFO indicator

light.

Turn the [BALANCE] knob.

Turning this to the right increases the volume of the upper tone, while turning it to the left increases that of the lower tone.

You cannot change the

volume balance for rhythm

sets.

■

[FILTER LFO] does not

take effect on a rhythm set.

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 “ and by changing the filter cutoff frequency with the LFO, you get what is called the “

wah effect

fig.q05-03

.”

Applying various effects to the sound

vibrato effect

,”

Quick Start

Press the patch modify select button to make the BALANCE/LFO indicator

light.

Make sure that [FILTER LFO] is off (unlit).

When [FILTER LFO] is off, the two LFO knobs will adjust the vibrato effect.

Turn the [LFO DEPTH] knob.

Turning this to the right (clockwise) increases the depth of the undulating sound, while turning it to the left (counterclockwise) 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.

Press [FILTER LFO] so it is lit.

When [FILTER LFO] is on, the two LFO knobs will adjust the wah effect.

Turn the [LFO DEPTH] knob.

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

2, 51

If it is on (lit), press

[FILTER LFO] once again

so it goes out.

3, 64, 7

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.

Applying various effects to the sound

3 4

■

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 from when the keyboard is pressed until the maximum

tonal change is reached.

D: Delay Time: The time from when the maximum tonal change is reached until the

Sustain Level is reached. S: Sustain level: Volume that is sustained while you hold down the key R: Release Time: The time from when the keyboard is released until the sound

disappears.

Use the ENVELOPE 3 knobs to change the A, D, and R times.

* Each tone has its own Sustain level, which cannot be modified.

fig.q05-04.e

A: Attack time

Volume

AD R

Note-on

fig.q05-05

D: Decay time R: Release time

Sustain Level

Note-off

Sound ends

Time

The “envelope” is the curve

that shows how the volume

of an instrument changes

from the beginning of a

note to its end. Each

musical instrument has a

distinctive type of

envelope, but this can

change depending on how

the instrument is played,

and is an important factor

in the character of the

sound. For example, when

a trumpet is blown strongly

it produces a piercing

sound with a rapid attack,

ut when blown softly it

produces a gentler and

more muted attack.

Press the patch modify select button so the ENV indicator is lit.

Turn the [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 [DECAY] knob.

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

Turn the [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.

Applying various effects to the sound

■

Changing the brightness of the sound and adding special qualities (CUTOFF/RESONANCE)

The sound generator section of the RS-50 contains a frequency regions of the sound. [CUTOFF] specifies the frequency (cutoff frequency) at which the filter will begin to modify the sound, and [RESONANCE] boosts the region near the cutoff frequency to add a distinctive character to the sound.

fig.q05-06

Turn the [CUTOFF] knob.

filter

that can cut or boost specific

Quick Start

1 2

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

Turn the [RESONANCE] knob.

Turning this to the right makes the sound more distinctive, while turning it to the left reduces these characteristics.

Using a lever to modify the sound

■

Changing the sound’s pitch in real time (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.

fig.q05-07.j

Pitch Bend

You can set up to a two-octave pitch bend range, adjustable in semitones. For further information, refer to

Pitch Bend Range

(p. 47).

Independently for each

patch, you can specify

whether the effect is to be

applied to the upper or the

lower tone (p. 46).

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.q05-08.j

Modulation

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

Mod (Modulation Assign)

(p. 89).

Applying various effects to the sound

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-2/8) or foot switch (the optional BOSS FS-5U) connected to the CONTROL PEDAL 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. For further information, refer to

fig.q05-09

* 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-2/8) or foot switch (the optional BOSS FS-5U) to the PEDAL HOLD jack.

Pedal (Pedal Control Assign)

(p. 90).

If you are using DP-8, set

the DP-8’s function switch

to “Switch.”

Shifting the keyboard range in one-octave steps (Octave Shift)

Octave Shift is a function that shifts the pitch of the keyboard in one-octave units. This lets you shift the range of the keyboard to the most convenient range for playing. This is also convenient in a situation below.

When playing sounds outside the keyboard’s range

While the RS-50 features a 61-key keyboard, with some songs you may want to play notes even higher or lower. Also, when playing a Rhythm Set etc., there may be percussion instruments that the RS-50’s keyboard is not able to access. In such cases, you can use the Transpose function to play these notes.

fig.q05-10

Use OCT [-]/[+] to transpose the pitch.

You can transpose the pitch of the keyboard in 1 octave units (-3– +3 octaves)

Applying various effects to the sound

Moving the key range in half-steps (TRANSPOSE)

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 patches of a transposed instrument just as it is written in the score.

fig.q05-11

Quick Start

1 1

While holding down [SHIFT], press OCT [-]/[+].

You can transpose your performance over a range of -5–+6 semitones.

Waving your hand over the D Beam (D Beam Controller)

The D Beam controller can be used simply by waving your hand over it. Of the three buttons, one is assigned to the solo synth, another to the active expression effect, and the third button can be assigned to the function of your choice. You can also create effects in which the sound changes instantaneously, in a way that would not be possible by operating a knob or the bender lever.

fig.q05-12

Press [SOLO SYNTH], [ACTIVE EXPRESS], or [ASSIGNABLE] so it is lit.

If you select [ASSIGNABLE], the function assigned to the D Beam controller will appear in the display.

fig.q05-13_40

Applying various effects to the sound

The usable range of the D Beam controller

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

fig.q05-14

Either [SOLO SYNTH], [ACTIVE EXPRESS], or [ASSIGNABLE] will blink while the D Beam controller is responding. When your hand leaves the usable range of the D Beam controller, the button will stop blinking, and will remain lit.

* The sensitivity of the D Beam controller will change depending

on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location (p. 34). Also, the usable range of the D Beam controller will be considerably reduced when used under strong, direct sunlight. Please be aware of this when using the D Beam controller outside.

While playing the keyboard to produce sound, place your hand over the D

Beam, and slowly move it up and down.

An effect will be applied to the sound, depending on the function that is assigned to the D Beam controller.

To turn off the D Beam controller, press the button once again to turn it off.

■

Effects that can be used with the D Beam controller

SOLO SYNTH

This lets you generate passages that sound as if you are playing the keyboard rapidly. For example, if you hold down the four notes C, D, E, and G with your right hand and move your left hand over the D Beam, a phrase such as “C D E G C D E G ...” will be repeated. For example, you can use the D Beam to play a synth solo on a synth-lead type sound, and hold chords using a long, sustaining sound to create the impression of harp playing. The chord memory function also provides a chord set that contain notes of a specific scale and is designed for use with this function (16. Scale Set).

ACTIVE EXPRESS (Active Expression)

You can use the D Beam as an Active Expression function. If you assign the Active Expression function to a patch that consists of dual tones (a patch whose [KEYMODE] is set to “DUAL”), you can create tonal changes for greater expressiveness, and to emphasize the forte passages in your playing. The patches suitable for active expression have “AEx” in their names.

The explanations of each

type in this manual are for

when the D Beam Polarity

is set to “NORMAL” (p. 34).

With [SOLO SYNTH]

switched on, pressing the

keyboard alone will not

result in the production of

sound. You need to move

your hand over the D Beam

while you hold down keys.

If the Active Expression

Switch (p. 46) of the patch

is turned OFF, this will be

conventional expression

(volume change).

You will hear no sound if

you play the keyboard

when Active Expression

has set the volume to 0.

ASSIGNABLE

Specifies a function controlled by the D Beam controller. Use VALUE [-]/[+] and select one of the following functions.

Applying various effects to the sound

Value

MODULATION PORTA TIME CC05 Portamento Time (p. 47) VOLUME CC07 Level BALANCE CC08 The volume balance of LOWER and UP-

PAN CC10 Pan (p. 46) EXPRESSION CC11 Level PORTAMENTO CC65 Portamento Switch (p. 47) SOSTENUTO CC66 Holds the sound of the key being pressed SOFT CC67 Softens the Tone RESONANCE CC71 Tone Filter Resonance (p. 48) RELEASE TIME CC72 Tone Envelope Release Time (p. 48) ATTACK TIME CC73 Tone Envelope Attack Time (p. 48) CUTOFF CC74 Tone Filter Cutoff (p. 47) DECAY TIME CC75 Tone Envelope Decay Time (p. 48) LFO RATE CC76 Tone LFO Rate (p. 47) LFO DEPTH CC77 Tone LFO Depth (p. 47) LFO DELAY CC78 Tone LFO Delay (p. 47) CHO SEND LEVEL CC93 Chorus Send Level (p. 46) REV SEND LEVEL CC91 Reverb Send Level (p. 46) MFX PARAMETER1 CC12 The parameter specified by Multi-effect

MFX PARAMETER2 CC13 The parameter specified by Multi-effect

AFTERTOUCH ---BEND UP ---- Pitch bend effect (center BEND DOWN ---- Pitch bend effect (center

In Patch mode, the effect will apply to the patch. In Performance mode, the effect will apply to the patch assigned to the current part. Use [DESTINATION TONE] to specify the tone (p. 26). “TxCC#” refers to the controller number of control change messages sent from the MIDI OUT connector when the D Beam controller is operated. When set to AFTERTOUCH, Channel Aftertouch messages are sent. Set to AFTERTOUCH mainly when you want to control an external sound generator with Aftertouch messages. Receiving these control change messages from the MIDI IN connector produces the same effect as moving the D Beam controller.

Tx CC# Function/Parameter Changed

CC01 Vibrato Effect

PER tones (p. 45)

Control 1 (p. 69)

Control 2 (p. 69)

→

up)

→

down)

Quick Start

* When set to MFX PARAMETER1 or MFX PARAMETER2, be sure to note the following.

• When the multi-effects Type is set to 01: STEREO EQ (p. 69) or 42: LOFI (p. 83), Level is changed regardless of whether MFX PARAMETER1 or MFX PARAMETER2 is selected.

• When the multi-effects Type is set to 23: 2V PCH SHIFT (p. 77), or 24: FB PCH SHIFT (p. 78), the two parameters are changed simultaneously.

* When making the LFO RATE, LFO DEPTH or LFO DELAY settings, the effect achieved

differs depending on whether [FILTER LFO] is on or off. When [FILTER LFO] is off, the LFO alters the pitch (vibrato effect). When [FILTER LFO] is on, the LFO changes the Filter Cutoff frequency (wah effect).

Applying various effects to the sound

■

Adjusting the sensitivity of the D Beam controllers (D BEAM SENS)

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

Press [SOLO SYNTH], [ACTIVE EXPRESS], or [ASSIGNABLE] so it is lit.

Press [PARAM].

Use PAGE/CURSOR [ ]/[ ] to select “Sens.”

fig.q05-16_40

Use VALUE [-]/[+] to adjust the sensitivity.

Value:

As you increase this value, the D Beam controller will become more sensitive. Normally, you will leave it at a setting of “5.”

Press [EXIT] or [PARAM] to return to the previous screen.

■

Changing the polarity of the change

1–10

(D BEAM POLARITY)

By changing the D Beam Polarity setting, you can invert the direction of the effect that is applied.

Press [SOLO SYNTH], [ACTIVE EXPRESS], or [ASSIGNABLE] so it is lit.

Press [PARAM].

Use PAGE/CURSOR [ ]/[ ] to select “Polarity.”

fig.q05-17_40

Use VALUE [-]/[+] to change the polarity.

Value:

Press [EXIT] or [PARAM] to return to the previous screen.

NORMAL, REVERSE

This setting remains stored

in memory even while the

power is off.

This setting remains stored

in memory even while the

power is off.

Applying various effects to the sound

Using the RS-50 effects

Three separate effects are always available in the RS-50. You can independently edit each effect’s settings.

Multi-Effects

The RS-50 contains 47 different multi-effects, including distortion and a rotary speaker simulation.

Chorus

Chorus adds a sense of depth and spaciousness to patches.

Reverb

Reverb adds ambient characteristics that emulate the sound of various physical spaces, such as concert halls or auditoriums.

■

Turning effects on and off (Master Effects Switch)

fig.q05-18

Quick Start

Turn on a switch to enable the corresponding effect (multi-effect, chorus, reverb). You may wish to turn these switches off when you want to listen to the unprocessed sound while editing it, or if you are using an external effects processor and do not want to use the built-in effects. When shipped from the factory, all three effects are set to ON.

Press [PATCH] so it is lit and you are in Patch mode.

Press [EFFECTS] so it is lit.

The on/off state of each effect (multi-effect, chorus, reverb) will be displayed.

fig.q05-19_40

Use PAGE/CURSOR [ ]/[ ] to select the effect type, and use VALUE

[-]/[+] to turn to switch it on/off.

When you play the keyboard in this state, the effects whose master effect switch is turned on will be applied to the patches. When the cursor is located at “Rev” and you want to edit the effect settings, press PAGE/CURSOR[ ], and the effect parameters will be displayed one after another starting with the multi-effect (MFX) parameters. For further information, refer to

Making effects settings

(p. 67).

The On/Off settings for

each Effect affect the RS-50

as a whole (i.e., are system

settings). This setting

remains stored in memory

even while the power is off.

Using the Rhythm Guide

If you want to change the

part that you will play

along with the rhythm

guide, press [PART

SELECT] so it is lit; then

use [1]–[9] to select the part

(category) that you want to

play from the keyboard.

The Rhythm Guide provides an easy way to produce full-fledged rhythm patterns as easily as using a metronome. The Rhythm Guide can be used only in on the keyboard while using drum sounds simultaneously.

Performance mode

Selecting a rhythm pattern

fig.q06-22

, which lets you perform

Performance mode (p. 55)

2, 4

Press [PERFORM] so it is lit and you are in Performance mode.

Press [RHYTHM GUIDE] so it is lit.

The rhythm pattern will begin playing.

With the display showing the pattern name, use VALUE [-]/[+] to select a

rhythm pattern.

Once again press [RHYTHM GUIDE] so it is unlit; the rhythm pattern will

stop.

To select a rhythm pattern without playing it

Press [PERFORM] so it is lit and you are in Performance mode.

Press [RHYTHM GUIDE] while holding down [SHIFT].

Use VALUE [-]/[+] to select a rhythm set.

Press [ENTER] to play back the rhythm pattern.

Switching sounds

fig.q06-22

Using the Rhythm Guide

Quick Start

2 3

Play the rhythm pattern.

Press [PART SELECT] so it is lit.

Press [0] so it is lit to select a rhythm set.

Use VALUE [-]/[+] to select the rhythm set that you want to use with the

rhythm pattern.

Change the tempo

fig.q06-22

When you have selected a rhythm pattern, you can specify the tempo.

Press [TAP TEMPO] so it is lit.

The current tempo of the pattern will be displayed.

fig.q06-02_40

Use VALUE [-] to adjust the tempo.

Press [EXIT] to return to the previous screen.

Pressing a button to modify the tempo (

You can modify the tempo by the rate at which you press [TAP TEMPO].

At quarter-note beats, press [TAP TEMPO] three or more times at the

desired tempo.

The tempo will be calculated automatically, and set to the interval at which you pressed the button. The button lets you check the tempo and time signature. During the playback of the rhythm pattern, the button will blink in red on the first beat of each measure, and in green on subsequent beats.

BPM stands for Beats Per

Minute, and indicates the

number of quarter notes

that occur in one minute.

Tap Tempo)

Memo

Advanced Use

Overview of the RS-50

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Rhythm Set

How the instrument is organized

Basic structure

Broadly speaking, the RS-50 consists of a

section and a

fig.r01-01.e

sound generator

Keyboard Controller Section (controllers

such as keyboard, pitch bend lever, etc.)

section.

Sound

Generator

Section

Keyboard controller section

This section consists of the keyboard, pitch bend/modulation lever,

panel knobs and buttons, and D Beam controller. It also includes any

pedals that may be connected to the rear panel. The performance

information generated when you do things such as press/release a

key, or depress the hold pedal is sent to the sound generator section

and/or an external sound device.

keyboard controller

Play

Patches

On the RS-50, the sounds you use for normal playing (e.g., from the

keyboard) are called

held by a member of an orchestra. Each patch consists of two tones;

upper tone

own region of the keyboard, or play them together to produce a

richer sound (p. 44). Detailed settings can be made independently for

each of the two tones (p. 46).

and

patches

lower tone

. A patch is analogous to an instrument

. You can assign the two tones to their

Rhythm sets

Rhythm sets are groups consisting of various 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, each key (note number) of a rhythm set

will produce a different percussion instrument.

fig.r01-04.e

Sound generator section

According to the performance data it receives from the Keyboard

Controller section, this section generates and outputs sounds from

the output jacks and headphone jack. Up to sixteen parts can each

play different sounds (patches), with a simultaneous total of up to 64

notes. This section also includes three effects (reverb, chorus, multi-

effects).

Classification of RS-50 sound types

When using the RS-50, you will notice that a variety of different

categories come into play when working with sounds. What follows

is a simple explanation of each sound category.

Tones

On the RS-50, the tones are the smallest unit of sound. However, it is

not possible to play a tone by itself. The patch is the unit of sound

that can be played, and the tones are the basic building blocks that

make up the patch.

fig.r01-02.e

Patch

Rhythm sets

Performance

A performance is a set of sounds containing patches for the sixteen

parts used when you use the Rhythm Guide or when using the RS-50

with an external MIDI device.

Part

A part corresponds to a single musician in a band or orchestra. Since

the RS-50 has sixteen parts, you can use sixteen different patches or

rhythm sets to play as many as sixteen performances simultaneously.

Current part

The “current part” is the part that will sound when you play the

keyboard.

The RS-50 has a total of sixteen parts. For details on how to switch

the current part, refer to

“Selecting a part”

(p. 43).

Upper Tone Lower Tone

Overview of the RS-50

Effects

Effects let you apply a variety of special effects to patches or rhythm sets.

You can use three effects simultaneously: chorus (which adds depth and

spaciousness), reverb (which adds reverberation), multi-effects (each

selectable from 47 types such as equalizer, overdrive, and delay).

Number of voices

Maximum polyphony

The sound generator of the RS-50 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-50 will give priority to the

later-played notes, and will consecutively turn off the sounding

notes. An appropriate Voice Reserve setting should be made with

respect to any Parts that you cannot do without (p. 56).

Some Tones use more than two voices to create a single Tone.

For the number of voices used by each Tone, refer to

tone list”

(p. 109).

“Original

About memory

Temporary memory

Temporary area

This is the area that holds the data for the patch or the like that

you’ve selected using the panel buttons.

When you play the keyboard or play back an external sequence,

sound is produced based on data in the temporary area. When you

edit a patch, you do not directly modify the data in memory; rather,

you call up the data into the temporary area, and edit it there.

Settings in the temporary area are temporary, and will be lost when

the power is turned off or when you select another setting. To keep

the settings you have modified, you must write them into rewritable

memory.

Rewritable memory

System memory

System memory stores system parameter settings that determine

how the RS-50 functions.

User memory

User memory is where you normally store the data you need. USER

memory contains 128 patches, 2 rhythm sets, 8 performances.

Overview

Patch and performance settings are stored in what is referred to as

memory

and non-rewritable.

fig.r01-05.e

. There are three kinds of memory: temporary, rewritable,

RS-50

Presets

Patches:

Rhythm Sets

Performances

Arpeggio Templates

Arpeggio Styles

Multichord Sets:

Temporary Area

All data stored in the user area can be stored on an external

sequencer (p. 98). If you load the saved data back into the RS-50,

all settings of the entire RS-50 will return to the state by they

were in when the data was saved.

System

User

Patches:

128

Rhythm Sets: 2

Performances:

Arpeggio Templates: 8

Multichord Sets: 8

SaveSelect Select

Non-rewritable memory

Preset memory

Data in Preset memory cannot be rewritten. However, you can call

up settings from preset memory into the temporary area, modify

them and then store the modified data in rewritable memory.

Basic operation of the RS-50

Switching the mode

The RS-50 has numerous functions, and these functions are

organized into the following two modes. The operation of the sound

generator and the screens that appear in the display will differ

depending on the mode.

Patch mode

You will use this mode when you want to play the keyboard in a

band or a solo performance.

When you turn on the power, the RS-50 will start up in Patch mode.

From other modes, you can press [PATCH] to enter this mode.

All of the three built-in effects processors are used only for the patch

you are playing.

In Patch mode you can select and edit patches, and create user

patches.

fig.r02-01_40

Performance mode

In this mode, you can simultaneously play different sounds on

sixteen parts. After turning on the power, press [PERFORM] to select

this mode. The three built-in effects processors are used in common

by the patches of each part.

You can create up to 8 user performances.

fig.r02-02_40

Editing parameters

On the RS-50, the numerous parameters are organized into

that they can be displayed efficiently within the display. To select a

parameter, move to the appropriate page. The underlined area

(

cursor

) in the screen will blink to indicate that you may edit that

value.

fig.r02-05

cursor

Basic procedure

The basic procedure for editing a parameter is to use PAGE/

CURSOR [ ]/[ ] to move between pages, and use VALUE [-]/

[+] to modify the value in the page.

fig.r02-06

In cases where there are numerous pages, pages of related content

are organized into

hold down [SHIFT] and use PAGE/CURSOR [ ]/[ ] to jump to

the previous or next group.

When using PAGE/CURSOR [ ]/[ ] or VALUE [-]/[+], you

can make the value change more rapidly by holding down one

button while you press the other button. Or, if you hold down

[SHIFT] while using these buttons, the value will change in

larger steps, or you can move between sound category groups

(p. 55).

groups

. When editing such parameters, you can

pages

PAGE/CURSOR [ ]/[ ] will move you more rapidly

between pages if you continue holding them down. In some

cases, you will automatically stop at the beginning of the group.

Executing a command

If [ENT] is indicated in the upper right of the display, you can

execute the command you have selected by pressing [ENTER].

fig.r02-05a_40

In the example above, pressing [ENTER] executes the Patch

Parameter copy (p. 49).

Basic operation of the RS-50

Press [ ].

Use VALUE [-] / [+] to modify the characters.

The cursor moves to the next digit. Use VALUE [-] / [+] to modify the characters.

The cursor moves to the last digit. Use VALUE [-] / [+] to modify the characters.

Moves to the next page.

Press [ ].

Assigning a name

As an exception, in pages where you can assign a name to a patch or

performance, pressing PAGE/CURSOR [ ] will not immediately

take you to the next page. The cursor will move to each character in

the name, and when the cursor is located at the last character,

pressing PAGE/CURSOR [ ] again will take you to the next page.

The same applies when moving in the opposite direction.

In pages where you can assign a name, you can hold down [SHIFT]

and use PAGE/CURSOR [ ]/[ ] to jump to the previous or next

page.

fig.r02-07.e

By pressing VALUE [-]/[+], you can change the character at the

cursor position.

Value:

space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = >

? @ [ ¥ ] ^ _ ` { | }

When one page contains two or more settings

In cases such as the page shown below, use PAGE/CURSOR [ ]/

[] to switch between (A), (B) and (C), and use VALUE [-]/[+] to

modify the value of each parameter.

Example: Master effect switch

fig.r02-08

(A) (B) (C)

Inputting numbers and numerals

On the RS-50, you can select a patch/performance number or input a

numerical value by using VALUE [-]/[+], or by using [NUMERIC]

[0]–[9] to input the value directly.

Press [NUMERIC] so it is lit.

The indication will blink.

Use the [0]–[9] buttons to input the number.

• Pressing [0] while holding down [SHIFT] switches the +/-

status.

If you want to finalize the value, press [ENTER].

The value will be finalized, and [NUMERIC] will go out.

If you decide to cancel, press [EXIT].

Selecting a part

Basic Operation

When inputting characters, you can perform the following

operations conveniently by pressing [0]–[9].

[0]: Deletes all the characters.

[1]: Displays a “.” at the cursor position.

[2]: Displays a space at the cursor position.

[3]: Displays an “A” at the cursor position.

[4]: Displays an “a” at the cursor position.

[5]: Displays a “0” at the cursor position.

[6]: Converts capital and lowercase characters.

[7]: Inserts a space at the cursor position.

[8]: Deletes a character at the cursor position and moves the

following characters to the left.

[9]: (no assignment)

On the RS-50 you can use [0]–[9] to select parts.

There are a total of sixteen parts. Select parts as follows.

Press [PERFORM] so it is lit and you are in Performance

mode.

Press [PART SELECT] so it is lit.

Press the button as described below.

Part 1 Part 2 [2] Part 12 [SHIFT] and [2] Part 3 [3] Part 13 [SHIFT] and [3] Part 4 [4] Part 14 [SHIFT] and [4] Part 5 [5] Part 15 [SHIFT] and [5] Part 6 [6] Part 16 [SHIFT] and [6] Part 7 [7] Part 8 [8] Part 9 [9] Part 10 [0]

[1] Part 11 [SHIFT] and [1]

Creating a patch (Patch mode)

Three tips for editing patches

Select a patch that is similar to the sound you wish to

create (p. 20).

It’s hard to create a new sound that’s exactly what you want if

you just select a patch and modify its parameters at random. It

makes sense to start with a patch whose sound is related to

what you have in mind.

Choose the tone that you want to edit (p. 26)

You can assign a different instrumental sound to each of the

two tones (upper/lower) in a patch, and edit them

independently. Use [DESTINATION TONE] to choose the tone

to be edited; UPPER only, LOWER only, or both.

If the [KEY MODE] is SINGLE, the upper tone will always

sound. If you want to hear only the lower tone while you

edit, switch [KEY MODE] to DUAL, and turn the PATCH

MODIFY section’s BALANCE knob all the way to the “L”

position.

Turn Effects off (p. 65).

Since the RS-50’s effects have such a profound impact on its

sounds, turn them off to listen to the sound itself so you can

better evaluate the changes you’re making. Since you will hear

the original sound of the patch itself when the effects are turned

off, the results of your modifications will be easier to hear.

Actually, sometimes just changing effects settings can give you

the sound you want.

To create a sound (patch) of your own on the RS-50, you will start

with one of the existing patches (

create the desired sound. A sound you create can be saved as one of

128 user patches.

Each item that can be set is known as a

change the values of parameters, you are doing what is referred

to as

Editing

Settings for the internal effects (reverb, chorus, multi-effect) are

also saved as part of the patch settings. For details on editing the

effect settings, refer to

This chapter explains the procedures used in creating patches, and

the functions of the patch parameters.

If you want to edit the sound of a rhythm set, refer to

a rhythm set (Patch mode)”

preset patches

“Adding effects”

(p. 52).

), and edit it to

parameter

(p. 65).

. When you

“Creating

How to make the patch settings

Including the parameters that can be controlled from the panel, a

patch consists of the following types of settings.

• Settings used by the entire patch (Patch Common)

• Settings for each patch (Patch Tone)

Collectively, these are referred to as “

Changing the way that the tones are sounded (Key Mode)

fig.r03-03a

On the RS-50, the sound of each patch is produced by combining two

tones; the

setting lets you specify how these two tones will be sounded when

you play the keyboard.

upper tone

This setting is also valid when using Patch Audition.

SINGLE:

SPLIT:

and the

The upper tone is played by all keys on the

keyboard.

The keyboard will be split; the lower range plays the

lower tone, and the upper range plays the upper tone.

patch parameters

lower tone

.”

(p. 40). The [KEY MODE]

You can change the point at which the lower and upper tones are

divided (p. 45).

DUAL:

The upper and lower tones are layered.

Editing the patch parameters

Press [PATCH] so it is lit and you are in Patch mode.

Select a patch.

Press [PARAM] so it is lit.

Now you can edit the patch parameters.

Use PAGE/CURSOR [ ]/[ ] to select the parameter that

you want to edit.

“Selecting patch parameters”

fig.r03-04_40

If there is an editable parameter, the cursor (underline) will

blink below its value. Now you can use VALUE [-]/[+] to

modify the value of that patch parameter.

fig.r03-05.e

(p. 45)

cursor

Creating a patch (Patch mode)

PATCH COMMON

PAGE/ CURSOR [ ]

PATCH TONE

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

Selecting patch parameters

fig.r03-06

Making settings that apply to the entire patch (Patch Common parameters)

You can edit the following Patch Common parameters.

Name (Patch Name)

You can change the name of the patch.

Here you can use PAGE/CURSOR [ ]/[ ] to move through the

characters, and use VALUE [-]/[+] to finalize the desired character.

Value:

“Assigning a name”

Making settings for an individual tone (Patch Tone parameters)

You can set parameters that apply to each individual tone. The panel

[DESTINATION TONE] switch specifies which tone(s) (upper/

lower) will be affected by your settings (p. 26).

If “BOTH” is selected, the value of the tone parameter assigned

to the upper tone is displayed. If you change this value, the

parameters for both Upper and Lower tones will be changed to

the same values.

No. (Original Tone Number)

For each of the two tones (upper and lower) that make up a patch,

you can select one of 640 different original tones.

VALUE:

Tone Pan

Sets the pan position (stereo location) of each tone when stereo

output is used. 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.

VALUE:

• Specifying the amount of signal sent to the effect

MFX Switch (Multi-Effects Switch)

Switches the multi-effects on/bypass (off) for each tone.

VALUE:

0001–0640

L64–0–63R

BYPASS, ON

Modify Dest (Modify Destination)

Specifies the tone that will be affected by adjustments to the sound

using the panel knobs.

This is linked with the panel’s [DESTINATION TONE] setting (p.

26).

VALUE

UPPER:

LOWER:

BOTH:

Modification will apply only to the upper tone.

Modification will apply only to the lower tone.

Modification will apply to both the upper and lower

tone.

ExpressionDst (Expression Destination)

Specifies the tone that will be affected by expression.

VALUE

UPPER:

LOWER:

BOTH:

Expression will apply only to the upper tone.

Expression will apply only to the lower tone.

Expression will apply to both the upper and lower

tone.

Chorus Send Lvl (Chorus Send Level)

Sets the level of the signal sent to chorus for each tone.

VALUE:

0–127

Reverb Send Lvl (Reverb Send Level)

Sets the level of the signal sent to reverb for each tone.

VALUE:

0–127

Coarse Tune

Adjusts the pitch of the tone’s sound up or down in semitone steps

(+/-4 octaves).

VALUE:

-48–+48

Creating a patch (Patch mode)

Fine Tune

Adjusts the pitch of the tone’s sound up or down in one-cent steps

(+/- 50 cents).

VALUE:

One cent is 1/100th of a semitone.

-50–+50

• Creating smooth pitch transitions (Portamento)

Portamento is an effect that creates a smooth transition in pitch

between one key and the next. When the Solo Switch parameter is

“ON,” you can apply portamento to create an effect similar to a

violinist changing the pitch smoothly by sliding their finger along

the fingerboard.

Portamento Sw (Portamento Switch)

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

(OFF).

VALUE:

OFF, ON

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:

•

Varying the sounds by the force of your

0–127

keyboard playing

The force with which you play a key is expressed by a

value. When you play a note strongly, a high velocity value will be

transmitted, producing a louder volume or a different tone. By

editing the

adjust the relationship between your keyboard playing strength and

the loudness of the notes that are produced.

Velo Sens Depth

and

Velo Sens Ofs

velocity

values, you can

• Adjusting the modulation of the sound (LFO)

The LFO (Low Frequency Oscillator) applies cyclic change to the

sound. It can be applied to the pitch, cutoff frequency, or volume to

produce vibrato, wah, or tremolo effects. The original tones of the

RS-50 contain LFO settings appropriate for each sound. You can edit

the patches to adjust the speed of the LFO effect, and the depth to

which it will affect the pitch and filter cutoff frequency.

You cannot simultaneously adjust the pitch depth and cutoff

depth. Nor can you adjust the depth of the LFO effect on

volume. If you need to use an adjustable tremolo effect, use the

TREMOLO multi-effect (p. 84).

Filter LFO (Filter LFO Switch)

Selects whether the LFO Depth setting will control the depth of

cutoff frequency modulation or of pitch modulation. This is linked

with the operation of the [FILTER LFO] switch of the panel (p. 27).

VALUE

OFF (PCH):

ON (FLT):

You can adjust the depth of the LFO’s effect on pitch.

You can adjust the depth of the LFO’s effect on the

filter cutoff frequency.

LFO Rate

Adjusts the modulation rate, or speed, of the LFO. This is linked

with the operation of the [LFO RATE] knob of the panel (p. 27).

VALUE:

-64–+63

LFO Depth

Specifies the depth of LFO. Normally, the depth of the LFO’s effect on

pitch will change. If Filter LFO is ON, the LFO’s effect on cutoff frequency

will change.

knob of the panel

VALUE:

This is linked with the operation of the [LFO DEPTH]

(p. 27).

-64–+63

Patch Mode

Velo Sens Depth (Velocity Sensitivity Depth)

Higher settings of this value allow you to produce notes in a wider

range of loudness even with small changes in your playing strength.

Lower settings of this value will mean that even if you vary your

playing strength significantly, the notes that are sounded will not

have a wide range of loudness.

VALUE:

-64–+63

Velo Sens Ofs (Velocity Sensitivity Offset)

With higher settings of this value, loud sounds can be produced

even when you play the keys softly. With lower settings of this

value, the sounds will be soft even if you play strongly.

VALUE:

-64–+63

Pitch Bend Range

Specifies the amount of pitch change in semitone units (maximum of

two octaves) that will occur when you operate the pitch bend lever.

The amount of change will be the same whether the lever is moved

to left or right.

VALUE:

0–24

LFO Delay

Adjusts the time from when the key is pressed (or released) until the

LFO begins to be applied (or the duration that the effect continues).

VALUE:

-64–+63

Adjusting the brightness or hardness of the sound (Filter)

The sound generator section of the RS-50 contains a

or boost specific frequency regions of the sound. Each original tone

in the RS-50 has its own filter settings, but you can use patch editing

to modify these.

filter

that can cut

Cutoff Freq (Cutoff Frequency)

Specifies the frequency (cutoff frequency) at which the filter will

begin to modify the sound. This is linked with the operation of the

[CUTOFF] knob of the panel (p. 29).

VALUE:

-64–+63

Creating a patch (Patch mode)

Resonance

This boosts the region near the cutoff frequency to add a distinctive

character to the sound. Raising this value excessively may cause

oscillation and distortion. This is linked with the operation of the

[RESONANCE] knob of the panel (p. 29).

VALUE:

-64–+63

• Adjusting the attack or decay of the sound (Envelope)

Each original tone of the RS-50 includes envelope settings, but you

can use patch editing to apply relative adjustments to these settings.

Depending on the tone you select, editing may not produce

noticeable change in the sound. You cannot change the sustain level.

Attack Time

Adjusts the envelope attack time. This is linked with the operation of

the [ATTACK] knob of the panel (p. 28).

VALUE:

-64–+63

Decay Time

Adjusts the envelope decay time. This is linked with the operation of

the [DECAY] knob of the panel (p. 28).

VALUE:

-64–+63

Release Time

Adjusts the envelope release time. This is linked with the operation

of the [RELEASE] knob of the panel (p. 28).

VALUE:

-64–+63

Saving a patch

When you have edited a patch to your liking, use the following

procedure to save it.

Press [PATCH] so it is lit and you are in Patch mode.

Select the patch that you want to edit.

Edit the patch.

“Changing the tone with the knobs (Patch Modify)”

“How to make the patch settings”

When the sound is to your liking, press [WRITE].

Use VALUE [-]/[+] to specify the number in which the user

patch is to be saved (U001–U128).

fig.r03-01_40

As shown above, the display will show only the user patch

number if nothing has yet been saved to that number.

If you save to a number in which a user patch has already been

saved, be aware that the previously saved settings will be

overwritten and lost.

Press [ENTER].

Use VALUE [-]/[+] to specify the category for the user patch

you want to save.

fig.r03-02_40

(p. 44).

(p. 26)

For more about the category, refer to

Press [ENTER] once again to execute.

When the user patch has been saved, the display will indicate

“COMPLETED.” This completes the procedure.

If you decide not to save the user patch, press [EXIT].

If you do not change

have the same name as the one you selected in step 2.

“Name (Patch Name)”

“Patch categories”

(p. 45), the patch will

(p. 49).

Creating a patch (Patch mode)

Patch categories

On the RS-50, a patch you edit can be named and saved in the

desired category of sounds (

the appropriate category will make it easier for you to find the patch

when needed. This will also let you use arpeggiator settings that are

appropriate for your user patch.

fig.r03-03_40

Category Group

PIANO (Pf)

KBD & ORGAN (Ky)

GUITAR (Gt)

ORCH (Oc) STR STRINGS Strings

WORLD (Wr)

BRASS (Br) BRS AC.BRASS Acoustic Brass

VOCAL & PAD (Vo)

SYNTH (Sy)

BASS (Bs) BS BASS Acoustic & Electric Bass

RHYTHM & SFX (Rh)

Category Contents

PNO AC.PIANO Acoustic Piano EP EL.PIANO Electric Piano KEY KEYBOARDS Other Keyboards

BEL BELL Bell, Bell Pad MLT MALLET Mallet ORG ORGAN Electric and Church Or-

ACD ACCORDION Accordion HRM HARMONICA Harmonica, Blues Harp AGT AC.GUITAR Acoustic Guitar EGT EL.GUITAR Electric Guitar DGT DIST.GUITAR Distortion Guitar

ORC ORCHESTRA Orchestra Ensemble HIT HIT&STAB Orchestra Hit, Hit WND WIND Winds (Oboe, Clarinet,

FLT FLUTE Flute, Piccolo PLK PLUCKED Plucked (Harp, etc.) ETH ETHNIC Other Ethnic FRT FRETTED Fretted Inst (Mandolin,

SBR SYNTH.BRASS Synth Brass SAX SAX Sax BPD BRIGHT PAD Bright Pad Synth SPD SOFT PAD Soft Pad Synth VOX VOX Vox, Choir HLD HARD LEAD Hard Synth Lead 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

SBS SYNTH.BASS Synth Bass DRM DRUMS Rhythm Set PRC PERCUSSION Percussion SFX SOUND FX Sound FX BTS BEAT&GROOVE Beat and Groove CMB COMBINATION Other Patches

User Patch

Convenient functions for patch editing (Patch Utility)

Patch Utility provides various functions that you will find

convenient when editing patches, such as copying or initializing a

patch.

Copying patch parameters (PATCH PRM COPY)

The settings of any patch can be copied to the currently selected

patch. By making good use of this function, you can edit more

efficiently. The following five parameters can be copied.

• UPPER TONE: Copy the settings of the upper tone.

• LOWER TONE: Copy the settings of the lower tone.

• MFX: Copy the multi-effect settings.

• CHORUS: Copy the chorus settings.

• REVERB: Copy the reverb settings.

Copying the UPPER TONE or LOWER TONE

Press [PATCH] so it is lit and you are in Patch mode.

Select the copy-destination patch.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “1:PATCH PRM

COPY.”

Press [ENTER].

Use VALUE [-]/[+] to select “UPPER TONE” or “LOWER

TONE.”

fig.r03-08_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to select the copy-source patch.

fig.r03-09_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify whether the data is to be copied to

the upper tone or the lower tone of the currently selected patch.

fig.r03-10_40

Press [ENTER].

The upper tone or lower tone settings will be copied to the

currently selected patch.

Patch Mode

When the data has been copied, the display will indicate

“COMPLETED.” This ends the procedure.

Creating a patch (Patch mode)

Copying MFX, CHORUS, or REVERB effect settings

Press [PATCH] so it is lit and you are in Patch mode.

Select the copy-destination patch.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “1:PATCH PRM

COPY.”

Press [ENTER].

Use VALUE [-]/[+] to select “MFX,” “CHORUS,” or

“REVERB.”

fig.r03-15_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify whether you will copy “PATCH”

effect settings or “PERFORM (Performance)” effect settings.

fig.r03-16_40

Press PAGE/CURSOR [ ].

Copying “PATCH” effect settings

Use VALUE [-]/[+] to select the copy-source patch.

fig.r03-17_40

Initializing the parameters of a patch (PATCH INITIALIZE)

This operation initializes the currently selected patch settings.

Since all patch parameters will be initialized, this is convenient when

you want to create a sound from scratch.

The Initialize operation applies only to the currently selected

sound; it will not change the content of sounds stored in user

memory. If you want to restore all settings to the factory-set

condition, execute the Factory Reset operation (p. 17).

Press [PATCH] so it is lit and you are in Patch mode.

Select the patch you want to initialize.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “2:PATCH

INITIALIZE.”

Press [ENTER].

fig.r03-20_40

Press [ENTER] once again to execute.

When initialization is finished, the display will indicate

“COMPLETED.” This ends the procedure.

Copying “PERFORM (Performance)” effect settings

Use VALUE [-]/[+] to select the copy-source performance.

fig.r03-18_40

Press [ENTER].

The effect settings will be copied to the currently selected patch.

When the data has been copied, the display will indicate

“COMPLETED.” This ends the procedure.

Erasing a user patch you saved (PATCH REMOVE)

This operation erases the specified user patch. When you erase a

patch, it will no longer be possible to select the patch of that number

using direct access buttons. If you newly save a patch in that

number, you will again be able to select it.

Press [PATCH] so it is lit and you are in Patch mode.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “3:PATCH

REMOVE.”

Press [ENTER].

ig.r03-22_40

Use VALUE [-]/[+] to select the user patch that you want to

erase.

Press [ENTER].

When the data has been erased, the display will indicate

“COMPLETED.” This ends the procedure.

Creating a patch (Patch mode)

Transmitting patch/rhythm set settings from the MIDI OUT connector (XFER to MIDI)

You can transmit the settings of any patch from the MIDI OUT

connector. This function can be used to save patch settings on an

external sequencer. If you select “DUMP ALL” for the menu, you

can transmit all data stored in the user area to an external sequencer.

Press [PATCH] so it is lit and you are in Patch mode.

Select the patch or the rhythm set you want to output.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “4:XFER to MIDI.”

Press [ENTER].

Transmitting the settings of currently selected patch

Use VALUE [-]/[+] to select “CURRENT PATCH.”

Press [ENTER].

The selected patch settings will be transmitted from the MIDI

OUT connector.

After the data has been transmitted, the display will indicate

“COMPLETED.” This ends the procedure.

Transmitting the settings of a user patch

Use VALUE [-]/[+] to select “USER PATCHES.”

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the first number of the range of

user patch numbers that you want to transmit.

fig.r03-24_40

Transmitting all data stored in the user area

Use VALUE [-]/[+] to select “DUMP ALL.”

fig.r06-77_40

Press [ENTER].

All data stored in the user area will be transmitted from the

MIDI OUT connector.

When the display indicates “COMPLETED,” the transmission

operation has been completed.

If you want to restore the stored data into the RS-50 once again,

send the data to the RS-50's MIDI IN. Do not operate the RS-50

while this data is being received.

Restoring the factory settings (FACTORY RESET)

You can also perform the FACTORY RESET operation from Patch

Utility.

For more about FACTORY RESET, refer to

factory settings (Factory Reset)”

“Reset to default

(p. 17).

Patch Mode

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the last number of the range of

user patch numbers that you want to transmit.

fig.r03-25_40

Press [ENTER].

The selected patch settings will be transmitted from the MIDI

OUT connector.

After the data has been transmitted, the display will indicate

“COMPLETED.” This ends the procedure.

Creating a rhythm set (Patch mode)

The RS-50 provides rhythm sets that are suitable for a variety of

musical genres. You can edit a preset rhythm set to modify the

pitch/volume/panning of each percussion instrument sound to

your liking, and save it as a

user rhythm set

How to make the rhythm set settings

A rhythm set consists of the following types of settings.

• Settings used by the entire rhythm set (Rhythm Common)

• Settings for each rhythm tone (key) (Rhythm Tone)

Collectively, these are referred to as “

Editing the rhythm set parameters

Press [PATCH] so it is lit and you are in Patch mode.

Select a rhythm set (p. 22).

fig.r04-03_40

Press [PARAM] so it is lit.

Now you can edit the rhythm set parameters.

Use PAGE/CURSOR [ ]/[ ] to select the parameter that

you want to edit.

If there is an editable parameter, the cursor (underline) will

blink below its value. Now you can use VALUE [-]/[+] to

modify the value of that patch parameter.

fig.r04-04.e

rhythm set parameters

.”

Making settings that apply to the entire rhythm set (Rhythm Common parameters)

You can edit the following Rhythm Common parameters.

Name (Rhythm Set Name)

You can change the name of the rhythm set.

Here you can use PAGE/CURSOR [ ]/[ ] to move through the

characters, and use VALUE [-]/[+] to finalize the desired character.

Value:

For further information, refer to

space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = >

? @ [ ¥ ] ^ _ ` { | }

“Assigning a name”

(p. 43).

Editing the settings of each rhythm tone (key) (Rhythm Tone parameters)

A rhythm set assigns a different instrument to each key. For each of

these instrumental sounds, you can edit the following parameters.

Press a key to select the rhythm tone that you want to edit.

fig.r04-06

cursor

Selecting rhythm set parameters

fig.r04-05

RHYTHM COMMON

[SHIFT]

PAGE/

CURSOR [ ]

RHYTHM TONE

PAGE/ CURSOR [ ]

CURSOR [ ]

[SHIFT]

PAGE/

Pitch

Adjusts the pitch of the percussive sound in semitone steps.

VALUE:

-60–+67

Level

Specifies the volume of the percussive sound.

VALUE:

0–127

Pan

Sets the pan position (stereo location) of each percussive sound

when stereo output is used. 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 RND (RANDOM), you obtain a specialized effect whereby

the sound randomly moves left and right with each press of a key.

VALUE:

RND, L63–0–63R

Creating a rhythm set (Patch mode)

• Specifying the amount of signal sent to the effect

Chorus Send Lvl (Chorus Send Level)

Sets the level of the signal sent to chorus for each tone.

VALUE:

0–127

Reverb Send Lvl (Reverb Send Level)

Sets the level of the signal sent to reverb for each tone.

VALUE:

0–127

Saving a rhythm set (User Rhythm Set)

Once you have edited a rhythm set to your liking, use the following

procedure to save it.

Press [PATCH] so it is lit and you are in Patch mode.

Select the rhythm set that you want to edit.

Edit the rhythm set and its rhythm tones.

“Making settings that apply to the entire rhythm set (Rhythm

Common parameters)”

“Editing the settings of each rhythm tone (key) (Rhythm

Tone parameters)”

The patch modify settings (p. 26) are not saved for rhythm sets.

When the rhythm set is to your liking, press [WRITE].

Use VALUE [-]/[+] to specify the number in which the rhythm

set is to be saved (U01–U02).

fig.r04-01_40

As shown above, the display will show only the rhythm set

number if nothing has yet been saved to that number.

Be aware that your previously saved settings will be overwritten

and lost if you save to a number in which a rhythm set has

already been saved.

Press [ENTER].

Unlike a patch, a rhythm set is always saved in the “RHYTHM &

SFX” category group “DRM” (DRUMS).

(p. 52)

Convenient functions for rhythm set editing (Rhythm Set Utility)

Rhythm Set Utility provides functions that you will find convenient

when editing a rhythm set, such as initializing a rhythm tone or

copying effect settings.

Copying effect settings from a rhythm set (RHY PRM COPY)

This operation copies effect settings from an existing rhythm set to

the currently selected rhythm set. The following three parameters

can be copied.

• MFX: Copy the multi-effect settings.

• CHORUS: Copy the chorus settings.

• REVERB: Copy the reverb settings.

Press [PATCH] so it is lit and you are in Patch mode.

Select the copy-destination rhythm set.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “1:RHY PRM

COPY.”

Press [ENTER].

Use VALUE [-]/[+] to select “MFX,” “CHORUS,” or

“REVERB.”

fig.r04-15_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify whether you will copy

“RHYTHM” effect settings or “PERFORM (Performance)” effect

settings.

Press PAGE/CURSOR [ ].

Copying “RHYTHM” effect settings

Select the copy-source rhythm set.

fig.r04-16_40

Copying “PERFORM (Performance)” effect settings

Select the copy-source performance.

fig.r04-17_40

Patch Mode (Rhythm)

For more about the category group, refer to

(p. 49).

When the rhythm set has been saved, the display will indicate

“COMPLETED.” This completes the procedure.

If you decide not to save the rhythm set, press [EXIT].

If you do not change

rhythm set

will have the same name as the one you selected in step 2.

“Name (Rhythm Set Name)”

“Patch categories”

the

(p. 52),

Press [ENTER].

The effect settings will be copied to the currently selected

rhythm set.

When the data has been copied, the display will indicate

“COMPLETED.” This ends the procedure.

Creating a rhythm set (Patch mode)

Initializing the settings of a specific rhythm tone (RHY INITIALIZE)

This operation initializes the rhythm tone parameters (p. 52) to the

state of the preset rhythm tone before its parameters were edited.

If you want to return all parameters of the selected rhythm set to

the preset state, simply re-select the preset rhythm set from

which you started editing.

The Initialize operation applies only to the currently selected

tone; it will not change the content of other sounds stored in user

memory. If you want to restore all settings to the factory-set

condition, execute the Factory Reset operation (p. 17).

Press [PATCH] so it is lit and you are in Patch mode.

Select the rhythm set that contains the rhythm tone you

want to initialize.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “2:RHY INITIALIZE.”

Press [ENTER].

fig.r04-19_40

Erasing a rhythm set you saved (RHY REMOVE)

This operation erases the specified user rhythm set. When you erase

a rhythm set, it will no longer be possible to select the rhythm set of

that number. If you newly save a rhythm set in that number, you

will again be able to select it.

Press [PATCH] so it is lit and you are in Patch mode.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “3:RHY REMOVE.”

Press [ENTER].

fig.r04-21_40

Use VALUE [-]/[+] to select the user rhythm set that you want

to erase.

Press [ENTER].

When the data has been erased, the display will indicate

“COMPLETED.” This ends the procedure.

Refer to

patch/rhythm settings from the MIDI OUT connector (XFER to

MIDI)

Creating a Patch (Patch Mode) (

, or

Restoring the factory settings (FACTORY RESET)

p. 51) about

Transmitting

Use VALUE [-]/[+] to select the rhythm tone that you want to

initialize.

VALUE:

You can also press a key to select the rhythm tone to edit.

Press [ENTER] once again to execute.

When initialization is finished, the display will indicate

“COMPLETED.” This ends the procedure.

A 0 (key#21)–C 8 (key#108)

Playing more than one sound simultaneously (Performance mode)

Assigning patches of the same category to multiple parts

While [PART SELECT] is lit, you can hold down [SHIFT] and use

PAGE/CURSOR [ ]/[ ] to step through the categories

assigned to each part, selecting patches of the previous or next

category group regardless of the button that is selected. This lets

you assign patches of other categories than printed on the panel

to each part.

For example, if you want to prepare multiple patches

of the same category, such as two types of organ, you can use the

above method to select organ patches for a category that you do

not use.

Quickly and consecutively auditioning the built-in sound of the RS-50 / Viewing a list of just the user patches

Using the above procedure, you can listen consecutively to all

the built-in sounds of the RS-50 without pressing a category

select button. Among the user patches organized into category

groups, you can also view a list of just the user patches. Hold

down [SHIFT] and press [ ] to switch categories, and after the

“Bass” category you will see the user patches (u001–u128)

displayed as a category.

* Only when viewing a list, the “u” at the beginning of user patch

numbers will be displayed as a lowercase character.

Choosing a part and selecting the sound

A performance contains sixteen parts that let you play different

sounds simultaneously. Here's how to switch parts and assign a

patch (or rhythm set) to each part.

Press [PERFORM] so it is lit and you are in Performance

mode.

Press [PART SELECT] so it is lit, and use [0]–[9] to select a

part.

Press [0] to select part 10 (Rhythm). To select the parts 11–16,

hold down [SHIFT] and press [1]–[6] (p. 43).

Use VALUE [-]/[+] to specify a patch or a rhythm set for the

part.

You can also select a patch using the [NUMERIC] function.

Using the direct access buttons

• When not using the [NUMERIC] function

Use the [0]–[9] buttons to input a number.

The upper digit will remain fixed, and only the lower digit will

change. This is a convenient way to step through the numbers in

succession.

You do not need to press [ENTER] after making your selection.

The number you select will take effect immediately, and the

performance will be selected.

• When using the [NUMERIC] function

Press [NUMERIC] so it is lit.

Use the [0]–[9] buttons to input a two-digit number.

The indication will blink.

If you want to finalize the value, press [ENTER].

The value will be finalized, and [NUMERIC] will go out.

If you decide to cancel, press [EXIT].

User performances will be displayed after the end of the preset

performances. You can hold down [SHIFT] and use PAGE/

CURSOR [ ]/[ ] to switch between display of user and

preset performances.

Selecting performance numbers

Press [PART SELECT] so it will go out.

Using VALUE [-]/[+]

Pressing VALUE [-]/[+] will select the performance that precedes or

follows the currently selected performance.

You do not need to press [ENTER] after making your selection. The

number you select will take effect immediately, and the performance

will be selected.

Editing the settings of a performance

The

performances

the entire performance, and settings that are made individually for

each part of the performance.

Settings made for the entire performance are:

• Settings for the entire performance, such as the performance

name (p. 55)

• Effect settings for the performance (p. 56)

Settings made individually for each part of the performance are:

• Performance part settings (p. 56)

• Effect settings for performance parts (p. 58)

Making settings that apply to the entire performance

Press [PERFORM] so it is lit and you are in Performance

mode.

Select a performance.

Press [PARAM] so it is lit.

fig.r06-50_40

Use PAGE/CURSOR [ ]/[ ] to select a parameter, and

use VALUE [-]/[+] to specify its value.

You can modify the following parameters.

To save the edited performance, refer to

performance”

of the RS-50 contain settings that are made for

“Saving a

(p. 59).

Performance Mode

Playing more than one sound simultaneously (Performance mode)

Making settings that apply to the entire performance (Performance Common Parameters)

Name (Performance Name)

You can change the name of the performance.

Here you can use PAGE/CURSOR [ ]/[ ] to move through the

characters, and use VALUE [-]/[+] to finalize the desired character.

Value:

For further information, refer to

Voice Rsv 1–16 (Voice Reserve 1–16)

The sound generator of the RS-50 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. The RS-50 has a

voice reserve

voices for each part. For example, if you set Voice Reserve to “10” for

part 16, ten voices each for upper and lower tones will be allocated

for part 16, even if the total number of voices being sounded by the

RS-50 reaches the maximum of 64. In this way, consider the number

of sounds you want to play and the number of tones in the patch you

are using, and set the Voice Reserve of each part accordingly.

fig.r06-53_40

space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * + , - . / : ; < = >

? @ [ ¥ ] ^ _ ` { | }

“Assigning a name”

setting that lets you allocate a minimum number of

(p. 43).

Editing the effect settings of a performance

In Performance mode you can press [EFFECTS] to edit the effect

settings of a performance. For details, refer to

65).

To save the edited performance, refer to

performance”

(p. 59).

“Adding effects”

“Saving a

Editing the part settings of a performance (Part Setup)

Press [PERFORM] so it is lit and you are in Performance

mode.

Select a performance.

Press [PART SELECT] so it is lit.

Press [PARAM] so it is lit.

Use [0]–[9] to select the part whose settings you want to edit.

To select the parts 11–16, hold down [SHIFT] and press [1]–[6]

(p. 43).

Now you can edit the Part Setup parameters.

Use PAGE/CURSOR [ ]/[ ] to select a parameter, and

use VALUE [-]/[+] to specify its value.

You can modify the following parameters.

(p.

Value:

You cannot make settings that would cause the total of all parts

to exceed 32.

0–32

Level (Performance Level)

Specifies the volume of the performance.

Value:

0–127

MFX Source

When the MFX effect is applied in Performance mode, this specifies

whether the effect will use the parameters of the performance itself,

or the parameters of the patch assigned to the part (p. 65).

fig.r06-54_40

VALUE

PERFORM:

PART1–PART16:

The MFX effect will be applied according to the

effect parameters of the performance itself.

The MFX effect will be applied according to the

parameters of the patch that is selected for the

part.

To save the edited performance, refer to

performance”

(p. 59).

“Saving a

Part parameters of a performance (Part Setup Parameters)

Level (Part Level)

Sets the volume of each part. This is mainly used to achieve the

volume balance between Parts.

Value:

Pan (Part 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 RND (random), you obtain a specialized effect whereby

the sound randomly moves left and right with each key stroke.

Value:

0–127

RND, L63–0–63R

Playing more than one sound simultaneously (Performance mode)

Receive Ch (Receive Channel)

In Performance mode, the RS-50 will operate as a sixteen-part MIDI

multitimbral sound module. This parameter specifies the MIDI

receive channel for each part.

Value:

Each part of a performance is set to the following channels unless

you change them.

PART [1] (PIANO) Ch.1

PART [2] (KBD & ORGAN) Ch.2

PART [3] (GUITAR) Ch.3

PART [4] (ORCH) Ch.4

PART [5] (WORLD) Ch.5

PART [6] (BRASS) Ch.6

PART [7] (VOCAL & PAD) Ch.7

PART [8] (SYNTH) Ch.8

PART [9] (BASS) Ch.9

PART [10 (0)] (RHYTHM & SFX) Ch.10

PART [11] Ch.11

PART [12] Ch.12

PART [13] Ch.13

PART [14] Ch.14

PART [15] Ch.15

PART [16] Ch.16

1–16

Part Patch Edit

fig.r06-54b_40

The patch assigned to each part can also be edited from Performance

mode. You can press [ENTER], and edit the patch parameters and

save the patch in the same way as from Patch mode (p. 44).

If you decide to stop editing the patch, press [EXIT] to return to the

above screen.

Patch mode and Performance mode share the same patches. This means that if you save a patch in one of these modes, the

newly saved patch will sound if you select it in the other mode.

To avoid problems, such as unintended changes in the sound of

patches you are using in Performance mode, please be aware of

this when you save patches.

If the same patch happens to be selected in both Patch mode

and Performance mode, and you save the patch in one mode

and then switch modes, the patch will still sound in accord with

the settings prior to the save. However, once you re-select the

patch or the performance again, the patch will then sound in

accord with the newly saved settings.

Receive Sw (Receive Switch)

Normally, you will leave this “ON.” If you want to use an external

sound module to play a certain part, you can turn this “OFF” to

mute the internal sound generator for that part.

Value:

The RS-50’s keyboard will not play internal sound generator

parts whose Receive Switch is turned OFF.

OFF, ON

Receive Prg Chg (Receive Program Change Switch)

For each part, specify whether MIDI Program Change messages will

be received (ON), or not (OFF).

Value:

OFF, ON

Receive Bank Sel (Receive Bank Select Switch)

For each part, specify whether MIDI Bank Select messages will be

received (ON), or not (OFF).

Value:

OFF, ON

Scale Tune

fig.r06-54d_40

Performance Mode

You can specify a different tuning (Scale Tune setting) for each part.

Press [ENTER] to access the Scale Tune setting screen. For details,

refer to

“Editing the scale tune settings (SCALE TUNE)”

If you want to edit the scale tune for Patch mode, refer to

“Making scale tune settings for a patch (PATCH SCALE)”

91).

(p. 58).

(p.

Playing more than one sound simultaneously (Performance mode)

Editing the scale tune settings (SCALE TUNE)

The Scale Tune function lets you use a variety of tunings. For each

note C–B, you can specify the pitch in units of one cent (1/100th of a

semitone).

Scale Tune settings are made independently for each part.

If you want to edit the scale tune for Patch mode, refer to

“Making scale tune settings for a patch (PATCH SCALE)”

91).

Select the part setup parameter “Scale Tune” (p. 57).

Press [ENTER].

fig.r06-54c_40

Use PAGE/CURSOR [ ]/[ ] to select “Type” or “Tune”,

and use VALUE [-]/[+] to specify its value.

Press [EXIT] to return to the above screen.

Type (Part Scale Tune Type)

You can switch the “Type” parameter to recall various sample

settings for Scale Tune. When you change “Type,” all scale tune

parameters will be changed automatically.

EQUAL

(Equal Temperament):

This tuning divides the octave into 12 equal parts, and is the

most widely used method of temperament used in Western

music.

JUST (maj) in C

Compared with equal temperament, the principle triads sound

pure in this tuning. However, this effect is achieved only in one

key, and chords will become ambiguous if you transpose.

JUST (min) in C

Compared with equal temperament, the principle triads sound

pure in this tuning. However, this effect is achieved only in one

key, and chords will become ambiguous if you transpose.

ARABIC

In this scale, E and B are a quarter note lower and C#, F# and G#

are a quarter-note higher compared to equal temperament. The

intervals between G and B, C and E, F and G#, Bb and C#, and Eb

and F# have a natural third–the interval between a major third

and a minor third.

(Just Temperament (major):

(Just Temperament (minor):

(Arabian Scale):

(p.

Editing the effect settings for each part of the performance (Performance Part Effect)

Press [PERFORM] so it is lit and you are in Performance

mode.

Select a performance.

Press [PART SELECT] so it is lit.

Use [0]–[9] to select the part whose settings you want to

edit.

To select the parts 11–16, hold down [SHIFT] and press [1]–[6]

(p. 43).

Press [EFFECTS] so it is lit.

Now you can make settings for the performance part effect

parameters.

Use PAGE/CURSOR [ ]/[ ] to select a parameter, and

use VALUE [-]/[+] to specify the value.

You can modify the following parameters.

To save the edited performance, refer to

performance”

(p. 59).

Master Effects Switch

The Master Effect Switch can also be set here. For details, refer to

“Turning the effect function on and off (MASTER EFFECT

SWITCH)”

(p. 65).

MFX Switch

Switches the multi-effect on/bypass (off) in each Part.

Value:

BYPASS, ON

Chorus Send Lvl (Chorus Send Level)

Sets the amount of chorus effect applied in each Part.

Value:

0–127

Reverb Send Lvl (Reverb Send Level)

Sets the amount of reverb effect applied in each Part.

Value:

0–127

“Saving a

Tune C–B (Part Scale Tune C–B)

Make scale tune settings for each part.

Value:

-64–+63

Playing more than one sound simultaneously (Performance mode)

Saving a performance

Use the following procedure to save a performance you’ve edited.

Press [WRITE].

Use VALUE [-]/[+] to specify the number (U1–U8) at which the

user performance is to be saved.

fig.r06-55_40

Be aware that if you choose a number in which a user

performance has already been saved, the previously saved

settings will be overwritten and lost.

Press [ENTER].

If you have edited patches for some parts, the following message

will appear.

fig.r06-55a_40

If you have not edited any of the patches in the performance, the

user performance has been saved and the display will indicate

“COMPLETED.”

If you want to save the edited patch, press [ENTER].

The display will indicate the part where the edited patch is used.

Use VALUE [-]/[+] to specify the number (U001–U128) at which

the user patch is to be saved.

fig.r06-55b_40

If you decide not to save the user patch, press [EXIT].

Be aware that if you choose a number in which a user patch has

already been saved, the previously saved settings will be

overwritten and lost.

Press [ENTER].

Use VALUE [-]/[+] to specify the category for the user patch

you want to save.

fig.r06-55c_40

For more about the category, refer to

Press [ENTER] once again to execute.

When the patch has been saved, the display will indicate

“COMPLETED.”

If there are more patches that have been edited, the parts that

use such patches will be shown in a consecutive manner.

Repeat steps 3.–6.

Once all the necessary patches have been saved, you are

returned to the screen you were in at step 1.

“Patch categories”

(p. 49)

fig.r06-55_40

Press [ENTER].

When the user performance has been saved, the display will indicate

“COMPLETED.”

If you decide not to save the user performance, press [EXIT].

If you do not change

performance will have the same name as the one you have been

editing.

“Name (Performance Name)”

(p. 56), the

Convenient functions for performance editing (Performance Utility)

Performance Utility provides various functions that you will find

convenient when editing performances, allowing you to do things

such as copy or initialize a performance.

Copying part or effect parameters (PERFORM PRM COPY)

This operation copies the settings of a specified performance to the

current performance. By using this you can edit more efficiently. The

following four parameters can be copied. Effect-related parameters

can also be copied from a patch.

•

PART:

•

MFX:

•

CHORUS:

•

REVERB:

Copying settings made for each part of a performance

Press [PERFORM] so it is lit and you are in Performance

mode.

Select the copy-destination performance.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “1:PERFORM PRM

COPY.”

Press [ENTER].

Use VALUE [-]/[+] to select “PART.”

fig.r06-64_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to select the copy-source performance.

fig.r06-65_40

Copy settings made for each part (p. 56).

Copy multi-effect settings.

Copy chorus settings.

Copy reverb settings.

Performance Mode

Playing more than one sound simultaneously (Performance mode)

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the copy-source part.

fig.r06-66_40

When copying “PERFORM (Performance)” effect settings

Use VALUE [-]/[+] to select the performance whose effect

settings you want to copy.

fig.r06-75_40

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the copy-destination part.

fig.r06-67_40

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

Press [ENTER].

Settings made for each part of the performance will be copied to

the currently selected performance.

When the display indicates “COMPLETED,” the copy operation has

been completed.

Copying effect settings

Press [PERFORM] so it is lit and you are in Performance

mode.

Select the copy-destination performance.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “1:PERFORM PRM

COPY.”

Press [ENTER].

Use VALUE [-]/[+] to select “MFX,” “CHORUS,” or

“REVERB.”

fig.r06-72_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify whether you will copy “PATCH”

effect settings or “PERFORM (performance)” effect settings.

fig.r06-73_40

Press PAGE/CURSOR [ ].

When copying “PATCH” effect settings

Use VALUE [-]/[+] to select the patch whose effect settings you

want to copy.

fig.r06-74_40

Press [ENTER].

The effect settings will be copied to the currently selected

performance.

When the display indicates “COMPLETED,” the copy operation has

been completed.

If you copy multi-effect settings, those settings will be pasted

into the effect parameters of the performance, regardless of the

MFX Source setting (p. 56). This means that if the MFX Source is

set to “PART” for either or both the copy source and copy

destination, you may not be able to tell that the copy made any

difference. If the MFX Source of the current performance is set to

“PART,” change it to “PERFORM.” Additionally, if MFX Source

of the copy source is set to “PART,” you will need to select

“PATCH” in the above step 6, and select the patch assigned to

that part in step 7 to copy the effect settings of the patch.

Initializing the parameters of a performance (PERFORM INIT)

This operation initializes the performance settings.

Since all performance parameters will be initialized, this is

convenient when you want to create a performance from scratch.

The Initialize operation applies only to the currently selected

performance; it will not change the content of other

performances stored in user memory. If you want to restore all

settings to the factory-set condition, execute the Factory Reset

operation (p. 17).

Press [PERFORM] so it is lit and you are in Performance

mode.

Select a performance you want to initialize.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “2:PERFORM INIT.”

Press [ENTER].

fig.r06-60g_40

Press [ENTER] once again to execute.

When initialization is finished, the display will indicate

“COMPLETED.” This ends the procedure.

Playing more than one sound simultaneously (Performance mode)

Transmitting performance settings from the MIDI OUT connector (XFER to MIDI)

You can transmit the settings of the current performance or user

performance from the MIDI OUT connector. This function lets you

save performance settings on an external sequencer. If you select

“DUMP ALL” for the menu, you can transmit all data stored in the

user area to an external sequencer.all data stored in the user area

Press [PERFORM] so it is lit and you are in Performance

mode.

Select the performance you want to output.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “3:XFER to MIDI.”

Press [ENTER].

The performance settings of the specified range will be

transmitted from the MIDI OUT connector.

When the display indicates “COMPLETED,” the transmission

operation has been completed.

Transmitting all data stored in the user area

Use VALUE [-]/[+] to select “DUMP ALL.”

fig.r06-77_40

Press [ENTER].

All data stored in the user area will be transmitted from the

MIDI OUT connector.

Transmitting the settings of currently selected performance

This operation lets you transmit the settings of the current (edited

and unsaved) performance.

Use VALUE [-]/[+] to select “CUR PERFORM.”

fig.r06-76_40

Press [ENTER].

The currently selected performance settings will be transmitted

from the MIDI OUT connector.

When the display indicates “COMPLETED,” the transmission has

been completed.

Transmitting the settings of a user performance

Use VALUE [-]/[+] to select “USER PERFORM.”

fig.r06-77_40

Press PAGE/CURSOR [ ].

Specify the range of performances whose settings you want to

transmit.

Use VALUE [-]/[+] to specify the first performance of the range

of performances you want to transmit.

fig.r06-78_40

When the display indicates “COMPLETED,” the transmission

operation has been completed.

If you want to restore the stored data into the RS-50 once again,

send the data to the RS-50's MIDI IN. Do not operate the RS-50

while this data is being received.

Restoring the factory settings (FACTORY RESET)

You can also perform the FACTORY RESET operation from

Performance Utility.

For more about FACTORY RESET, refer to

factory settings (Factory Reset)”

“Reset to default

(p. 17).

Performance Mode

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the last performance of the range

of performances you want to transmit.

fig.r06-79_40

Using the phrase/arpeggio function

The RS-50 provides arpeggio templates that use phrases suitable for

each category of instrument. Some of the arpeggio templates are

phrase templates

finger, without having to hold down a chord.

“Playing arpeggios (Phrase/Arpeggio)”

Press [PHRASE/ARPEGGIO] so it is lit.

fig.r06-22a_40

Press [0]–[9] to choose the arpeggio template you want to

use.

Play a chord on the keyboard. An arpeggio will begin playing

according to the notes in the chord you play. Select a template or

style you like.

, which let you produce arpeggios with a single

(p. 23)

Be aware that if you choose a number in which a user template

has already been saved, the previously saved settings will be

overwritten and lost.

Press [ENTER].

When the user template has been saved, the display will indicate

“COMPLETED.”

If you decide not to save the user template, press [EXIT].

Now when you use the arpeggiator, you can press [0] and select the

user template you just saved.

User template parameter list

If you select a phrase template, press only one key. If you play a

chord, the phrase will play according to the last-played key.

fig.r06-22b_40

To stop the arpeggio performance, press [PHRASE/

ARPEGGIO] once again so it goes out.

Creating your own arpeggio template (User Template)

You can create your own arpeggio template by editing the

parameters of one of the preset templates. Your newly created

template can be stored as one of eight

Press [PHRASE/ARPEGGIO] so it is lit.

fig.r06-23_40

Press [0]–[9] to select a template that produces arpeggios

similar to what you want to create.

Pressing [0] will select the user template you have created.

You can then use VALUE [-]/[+] to select other user templates.

Press [PARAM] so it is lit.

Now you can edit the arpeggio parameters.

fig.r06-24_40

Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use

VALUE [-]/[+] to specify the value.

For details on the types and values of the parameters, refer to the

following section

When you are finished editing parameters, press [WRITE].

Use VALUE [-]/[+] to specify the number (UserTemplate 1–8) at

which to save the user template.

fig.r06-25_40

“User template parameter list”

user templates

(p. 62).

Style (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played.

For details regarding Arpeggio Style, refer to

list”

(p. 122).

“Arpeggio style

Variation (Arpeggio Variation)

The arpeggiator provides several variations (performance patterns)

for each arpeggio style. This parameter selects the variation number.

The number of variations will differ according to the arpeggio style.

Motif (Arpeggio Motif)

Sets the order in which notes of the chord will sound.

VALUE

UP:

DOWN:

UP&DOWN:

RANDOM:

NOTE-ORDER:

GLISSANDO:

CHORD:

AUTO1:

AUTO2:

PHRASE:

Notes you press will be sounded, beginning from

low to high.

Notes you press will be sounded, from high to low.

Notes you press will be sounded, from low to high,

and then back down from high to low.

Notes you press will be sounded, in random order.

Notes you press will be sounded in the order in

which you pressed them. By pressing the notes in

the appropriate order you can produce melody lines.

Up to 128 notes will be remembered.

Each chromatic step between the highest and lowest

notes you press will sound in succession, repeating

upward and downward. Press only the lowest and

the highest notes.

All notes you press will sound simultaneously.

The timing at which keys will sound will be

assigned automatically, giving priority to the lowest

key that was pressed.

The timing at which keys will sound will be

assigned automatically, giving priority to the highest

key that was pressed.

Pressing a single key will sound a phrase based on

the pitch of that key. If multiple keys are pressed, the

last-pressed key will be valid.

For a phrase template, this setting will be “PHRASE.”

Accent Rate (Arpeggio 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%

Shuf Rate (Arpeggio Shuffle Rate)

This setting lets you modify the note timing to create shuffle

rhythms.

With a setting of “50%” the notes will be spaced evenly. As the value

is increased, the note timing will have more of a “dotted” (shuffle)

feel.

Value:

fig.r06-26

Shuffle Rate = 50%

0–100%

Shuffle Rate = 90%

Using the phrase/arpeggio function

50 50 50 50

90 10 90 10

Shuf Resolution (Arpeggio Shuffle Resolution)

A “shuffle” feel is produced by delaying the even-numbered beats

(beats 2, 4, 6,...). You can select either 16th notes or 8th notes to be

affected by this delay.

Value:

Hold (Arpeggio Hold Switch)

Switch between Hold On/Hold Off for the Arpeggiator

performance.

Value:

OFF, ON

Kbd Velocity (Arpeggio Keyboard Velocity)

Specifies the loudness of the notes that you play.

If you want the velocity value of each note to vary depending on

how strongly you play the keyboard, set this parameter to “REAL.”

If you want each note to have a fixed velocity regardless of how

strongly you play the keyboard, set this parameter to the desired

value (1–127).

Value:

REAL, 1–127

Octave Range (Arpeggio 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

Phrase/arpeggio

Key Trigger (Arpeggio Key Trigger)

Turn this “ON” if you want the arpeggio to start at the moment that

you press the key. If you want the arpeggio to start playing in

synchronization with Rhythm guide or the external sequencer, turn

this “OFF.”

Value:

OFF, ON

Using chord memory function

“Playing a chord at the touch of a finger (Multi-chord

Memory)”

Press [CHORD MEMORY] so it is lit.

fig.r06-30a_40

Select the desired chord set.

When you play the keyboard, a chord of the specified structure

will sound according to the key you press. Select the desired

chord set (p. 25).

To stop the performance using the chord memory, press

[CHORD MEMORY] so it goes out.

Creating an original chord set (User Chord Set)

Press [CHORD MEMORY] so it is lit.

Press [PARAM] so it is lit.

Press PAGE/CURSOR[ ] to move the cursor under the key

number.

fig.r06-31a_40

(p. 24)

Either press a key or use VALUE [-]/[+] to specify the key (C–

B) for which the chord is to be saved.

Press PAGE/CURSOR[ ] to move the cursor to the right.

fig.r06-31b_40

Press keys to input chords.

The display will indicate how many keys were pressed.

You can input 8 notes.

fig.r06-31c_40

Release all the keys.

The previously saved chords will be erased, and the new chords

will be saved.

Repeat the above steps to continue inputting.

When you have finished creating the chord set, press

[WRITE].

fig.r06-32_40

10.

Use VALUE [-]/[+] to specify the user chord set number.

You can create up to 8 user chord sets.

11.

Press [ENTER].

When the user chord set has been saved, the display will indicate

“COMPLETED.”

Adding effects

• Multi-effect/chorus/Reverb parameters can also be saved

in a patch (rhythm set) or performance.

• In Patch mode, effects will be applied according to the

settings of each patch. For details, refer to MFX Switch (p.

46), Chorus Send Lvl (p. 46), Reverb Send Lvl (p. 46) and

in the section entitled Patch Tone Parameters. You will

not hear the effects if the send level to chorus/reverb is too

low, or if the MFX Switch is off. If you cannot hear the

results of your editing the effect settings, check the settings

listed above.

• In Performance mode, effects will be applied according to

the settings of each patch, as well as the settings of each

part. For details, refer to

MFX Switch (p. 58), Chorus Send

Lvl (p. 58), Reverb Send Lvl (p. 58) and in the section

entitled Part Effect Parameters. Each effect is shared by all

parts (patches).

• When using the multi-effect in Performance mode, you will

normally apply the multi-effect using “the effect settings

stored by the performance.” However, if desired, you can

set the performance parameter

MFX Source (p. 56) so that

the “effect settings stored by the patch assigned to a part”

are used by all parts. When you edit the multi-effect

settings, check MFX Source to see which of the above you

are editing.

The RS-50 contains three effects processors: multi-effects, chorus,

and reverb. Settings can be made separately for each effects

processor.

There are 47 types of multi-effects, 8 types of chorus, and 8 types of

reverb. You can use one of each type in a patch or part.

Turning the effect function on and off (MASTER EFFECT SWITCH)

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 an external

effects processor instead of the onboard effects.

The On/Off settings for each Effect affect the RS-50 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.

Press [EFFECTS] so it is lit.

The on/off status of each effect (multi-effect, chorus, reverb) will

be displayed.

fig.r08-02_40

Use PAGE/CURSOR [ ]/[ ] to select the effect type, and

use VALUE [-]/[+] to switch it on/off.

When you play the keyboard in this state, the effects whose master

effect switch is turned on will be applied to each patch.

When the cursor is located at “Rev” and you want to edit the effect

settings, press PAGE/CURSOR [ ], and the effect parameters

selected previously will be displayed.

For further information, refer to

“Making effects settings”

(p. 67).

Effects

Adding effects

Patch Mode (Patch)

OUTPUT

(R, L(MONO))

MFX Send

Level to Cho

MFX Send

Level to Rev

Tone MFX

Tone Cho

Send Level

Tone Rev

Send Level

Tone

Cho Send

Level to Rev

Multi-FX

Chorus

Reverb

Patch Mode (Rhythm)

OUTPUT

(R, L(MONO))

MFX Send

Level to Cho

MFX Send

Level to Rev

Tone Cho

Send Level

Tone Rev

Send Level

Tone

Cho Send

Level to Rev

Multi-FX

Chorus

Reverb

Performance Mode (Patch)

Multi-FX

Chorus

OUTPUT

(R, L(MONO))

MFX Send

Level to Cho

MFX Send

Level to Rev

Par t MFX

Par t Cho

Send Level

Tone Cho

Send Level

Par t Rev

Send Level

Tone Rev

Send Level

Tone

Reverb

Cho Send

Level to Rev

Tone MFX

Performance Mode (Rhythm)

OUTPUT

(R, L(MONO))

MFX Send

Level to Cho

MFX Send

Level to Rev

Par t MFX

Par t Cho

Send Level

Tone Cho

Send Level

Par t Rev

Send Level

Tone Rev

Send Level

Tone

Cho Send

Level to Rev

Multi-FX

Chorus

Reverb

The effect signal path

The following figure shows the path followed by the effects signals.

fig.r08-03.e

Making effects settings

Master Effect Switch

PAGE/ CURSOR [ ]

Multi-Effects Parameters

PAGE/ CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

Chorus Parameters

Reverb Parameters

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

PAGE/ CURSOR [ ]

Displays the parameters for the selected effect type.

VALUE [+]

VALUE [-] Switches the effect type.

Displays the effect type selected previously.

PAGE/ CURSOR [ ]

Selecting effect parameters

Select multi-effect, chorus, or reverb parameters as shown below.

fig.r08-08.e

Adding effects

Effects

Adding effects

Press [EFFECTS] so it is lit.

The on/off state of each effect (multi-effect, chorus, reverb) will

be displayed.

fig.r08-04_40

When the cursor is located at “Rev,” press PAGE/CURSOR

[ ], and the effect parameters will be displayed one after

another starting with the multi-effect (MFX) parameters.

By holding down [SHIFT] and using PAGE/CURSOR [ ]/

[] you can jump between the four parameter groups; effect

on/off, multi-effect, chorus, and reverb.

Example: for a patch

fig.r08-05_40

Example: for a rhythm patch

fig.r08-06_40

Example: for a performance

fig.r08-07_40

Depending on the type of effect that is selected, what is

displayed will be different.

Use PAGE/CURSOR [ ]/[ ] to select the parameter that

you want to edit, and use VALUE [-]/[+] to modify the value

of the parameter.

Setting multi-effects parameters

There are 47 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.

Type (Multi-Effects Type)

Selections are made from the following 47 different multi-effects.

Additionally, parameters for each of the multi-effects types can be

found on the following pages.

Value:

00: THROUGH (p. 69)

01: STEREO EQ (p. 69)

02: OVERDRIVE (p. 69)

03: DISTORTION (p. 70)

04: PHASER (p. 70)

05: SPECTRUM (p. 70)

06: ENHANCER (p. 70)

07: AUTO WAH (p. 71)

08: ROTARY (p. 71)

09: COMPRESSOR (p. 71)

10: LIMITER (p. 72)

11: HEXA-CHORUS (p. 72)

12: TREMOLO CHO (p. 72)

13: SPACE-D (p. 73)

14: St CHORUS (p. 73)

15: St FLANGER (p. 73)

16: STEP FLANGER (p. 74)

17: St DELAY (p. 74)

18: LONG DELAY (p. 75)

19: MOD DELAY (p. 75)

20: 3 TAP DELAY (p. 76)

21: 4 TAP DELAY (p. 76)

22: TM CTRL DLY (p. 77)

23: 2V PCH SHIFT (p. 77)

24: FB PCH SHIFT (p. 78)

25: REVERB (p. 78)

26: GATED REVERB (p. 79)

27: OD>CHORUS (p. 79)

28: OD>FLANGER (p. 79)

29: OD>DELAY (p. 80)

30: DIST>CHORUS (p. 80)

31: DIST>FLANGER (p. 80)

32: DIST>DELAY (p. 80)

33: ENH>CHORUS (p. 81)

34: ENH>FLANGER (p. 81)

35: ENH>DELAY (p. 81)

36: CHORUS>DELAY (p. 82)

37: FLG>DELAY (p. 82)

38: CHO>FLANGER (p. 83)

39: CHORUS/DELAY (p. 83)

40: FLG/DELAY (p. 83)

41: CHO/FLANGER (p. 83)

42: LOFI (p. 83)

43: SLICER (p. 84)

44: TREMOLO (p. 84)

45: AUTO PAN (p. 84)

46: TUMBLING DLY (p. 85)

47: FBK RIPPER (p. 85)

Adding effects

Send Lvl 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

Send Lvl 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

Ctrl 1, 2 (Multi-Effects Control 1, 2)

On the RS-50, certain multi-effect parameters can be assigned to the

modulation lever, knobs, pedal or D Beam. Of the parameters

explained in

marked with a “#” symbol. (Parameters marked with “#1” or “#2”

can be simultaneously controlled using the controller marked with

the same number.) Here you can exchange these assignments, or

choose not to use them. For details, refer to p. 33, p. 89.

Value

OFF:

Items with a “#” symbol:

Multi-effect parameters

Multi-effect control will not be used.

The parameters that can be assigned to

Ctrl1 or Ctrl2. These differ depending on the multi-effect

type.

, the assignable parameters are

00: THROUGH

Effects are not applied. Select when creating Patches or Rhythm 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

L out

R out

Parameter

Mid1 Gain

Mid2 Freq 200–8000 [Hz] Adjusts the frequency of Middle

Mid2 Q 0.5, 1.0, 2.0, 4.0,

Mid2 Gain -15– +15 [dB] Adjusts the gain for the area

Level # 0–127 Adjusts the output level.

Value Description

-15– +15 [dB] Adjusts the gain for the area specified by the Middle 1 Frequency and Q settings.

2 (mid range). This parameter adjusts the

8.0

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.

specified by the Middle 2 Frequency and Q settings.

02: OVERDRIVE

This effect creates a soft distortion similar to that produced by

vacuum tube amplifiers.

fig.MFX-02

L in

Over drive

R in

Parameter

Drive #

Pan # L64–63R Adjusts the stereo location of the

Amp Type SMALL,

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level 0–127 Adjusts the output level.

Value Description

0–127 Adjusts the degree of distortion.

BUILT-IN, 2-STACK, 3-STACK

Amp

Simulator

2-Band

The volume will change together with the degree of distortion.

output sound. L64 is far left, 0 is center, and 63R is far right.

Selects the type of guitar amp. SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: single-unit type amp 3-STACK: large triple stack amp

quency.

L out

Pan L

Pan R

R out

Parameter

Low Freq

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Freq 2000, 4000, 8000

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Mid1 Freq 200–8000 [Hz] Adjusts the frequency of Middle

Mid1 Q 0.5, 1.0, 2.0, 4.0,

Value Description

200, 400 [Hz] Selects the frequency of the low

range.

quency. Selects the frequency of the high

[Hz]

8.0

range.

quency.

1 (mid range). 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.

Effects

Adding effects

03: DISTORTION

This effect produces a more intense distortion than Overdrive.

fig.MFX-03

L in

Distortion

R in

Parameter

Drive #

Pan # L64–63R Adjusts the stereo location of the

Amp Type SMALL,

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level 0–127 Adjusts the output level.

Value Description

0–127 Adjusts the degree of distortion.

BUILT-IN, 2STACK, 3STACK

Amp

Simulator

2-Band

The volume will change together with the degree of distortion.

output sound. L64 is far left, 0 is center, and 63R is far right.

Selects the type of guitar amp. SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: single-unit type amp 3-STACK: large triple stack amp

quency.

L out

Pan L

Pan R

R out

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

Mix

Resonance

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

Parameter

Band 1 Band 2 -15– +15 [dB] Adjusts the 500 Hz level. Band 3 -15– +15 [dB] Adjusts the 1000 Hz level. Band 4 -15– +15 [dB] Adjusts the 1250 Hz level. Band 5 -15– +15 [dB] Adjusts the 2000 Hz level. Band 6 -15– +15 [dB] Adjusts the 3150 Hz level. Band 7 -15– +15 [dB] Adjusts the 4000 Hz level. Band 8 -15– +15 [dB] Adjusts the 8000 Hz level. Q 0.5, 1.0, 2.0, 4.0,

Pan # L64–63R Adjusts the stereo location of the

Level # 0–127 Adjusts the output level.

Value Description

-15– +15 [dB] Adjusts the 250 Hz level.

8.0

L out

Pan L

Pan R

R out

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

output sound. L64 is far left, 0 is center, and 63R is far right.

06: ENHANCER

The enhancer controls the overtone structure of the high frequencies,

adding sparkle and tightness to the sound.

fig.MFX-06

L in

Enhancer

Mix

2-Band

L out

Parameter

Manual #

Rate # 0.05–10.00 [Hz] Adjusts the frequency (period)

Depth 0–127 Adjusts the depth of modula-

Resonance 0–127 Adjusts the amount of feedback

Mix 0–127 Adjusts the ratio with which the

Pan L64–63R Adjusts the stereo location of the

Level 0–127 Adjusts the output level.

Value Description

100–8000 [Hz] Adjusts the basic frequency

from which the sound will be modulated.

of modulation.

tion.

for the phaser.

phase-shifted sound is combined with the direct sound.

output sound. L64 is far left, 0 is center, and 63R is far right.

R in

Parameter

Sens #

Mix # 0–127 Adjusts the ratio with which the

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level 0–127 Adjusts the output level.

Enhancer

Value Description

0–127 Adjusts the sensitivity of the en-

Mix

2-Band

hancer.

overtones generated by the enhancer are combined with the direct sound.

quency.

R out

Adding effects

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

Parameter

Filter Type

Rate # 0.05–10.00 [Hz] Adjusts the frequency of the

Depth 0–127 Adjusts the depth of the modu-

Sens 0–127 Adjusts the sensitivity with

Manual # 0–127 Adjusts the center frequency

Peak 0–127 Adjusts the amount of the wah

Level 0–127 Adjusts the output level.

Value Description

LPF, BPF Selects the type of filter.

L out

R out

LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range.

modulation.

lation.

which the filter is controlled.

from which the effect is applied.

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.

Parameter

Speed #

High Accel 0–15 Adjusts the time it takes the high

Low Accel 0–15 Adjusts the time it takes the low

High Level 0–127 Adjusts the volume of the high

Low Level 0–127 Adjusts the volume of the low

Separation 0–127 Adjusts the spatial dispersion of

Level # 0–127 Adjusts the output level.

Value Description

SLOW, FAST Simultaneously switch the rota-

tional speed of the low frequency rotor and high frequency rotor. SLOW: Slows down the rotation to the specified speed (the Low Slow/Hi Slow values). FAST: Speeds 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 PARAMETER1 in Pedal Control Assign (p. 90).

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.

frequency rotor.

the sound.

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

Parameter

High Slow

Low Slow 0.05–10.00 [Hz] Adjusts the slow speed (SLOW)

High Fast 0.05–10.00 [Hz] Adjusts the fast speed (FAST) of

Low Fast 0.05–10.00 [Hz] Adjusts the fast speed (FAST) of

Value Description

0.05–10.00 [Hz] Adjusts the slow speed (SLOW)

L out

R out

of the high frequency rotor.

of the low frequency rotor.

the high frequency rotor.

the low frequency rotor.

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

Parameter

Sustain

Attack 0–127 Adjusts the attack time of an in-

Pan # L64–63R Adjusts the stereo location of the

Post Gain 0, +6, +12, +18

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level # 0–127 Adjusts the output level.

Value Description

0–127 Adjusts the time over which low

[dB]

2-Band

level sounds are boosted until they reach the specified volume.

put sound.

output sound. L64 is far left, 0 is center, and 63R is far right.

Adjusts the output gain.

quency.

L out

Pan L

Pan R

R out

Effects

Adding effects

10: LIMITER

The limiter compresses signals that exceed a specified volume level,

preventing distortion from occurring.

fig.MFX-10

L in

Limiter

R in

Parameter

Threshold

Release 0–127 Adjusts the time from when the

Ratio 1.5:1, 2:1, 4:1,

Pan # L64–63R Adjusts the stereo location of the

Post Gain 0, +6, +12, +18

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level # 0–127 Adjusts the output level.

Value Description

0–127 Adjusts the volume at which

100:1

[dB]

2-Band

compression will begin.

volume falls below the Threshold Level until compression is no longer applied.

Adjusts the compression ratio.

output sound.L64 is far left, 0 is center, and 63R is far right.

Adjusts the output gain.

quency.

L out

Pan L

Pan R

R out

Parameter

Pan Dev

Balance # D100:0W–

Level 0–127 Adjusts the output level.

Value Description

0–20 Adjusts 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.

Adjusts the volume balance be-

D0:100W

tween 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.

12: TREMOLO CHO (Tremolo Chorus)

Tremolo chorus is a chorus effect with added tremolo (cyclic

modulation of volume).

fig.MFX-12

L in

R in

Balance D

Tremolo Chorus

Balance D

L out

Balance W

R out

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

Parameter Value Description

Pre Delay

Rate # 0.05–10.00 [Hz] Adjusts the rate of modulation. Depth 0–127 Adjusts the depth of modula-

Pre Delay Dev 0–20 Pre Delay Deviation adjusts the

Depth Dev -20– +20 Adjusts the difference in modu-

Balance D

Hexa-Chorus

Balance D

0.0–100 [ms] Adjusts the time delay from

L out

Balance W

R out

when the direct sound begins until the chorus sound is heard.

tion.

differences in Pre Delay between each chorus sound. Pre Delay determines the time from when the direct sound begins until the processed sound is heard.

lation depth between each chorus sound.

Parameter

Pre Delay

Cho Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Cho Depth 0–127 Adjusts the modulation depth of

Treml Rate # 0.05–10.00 [Hz] Adjusts the modulation speed of

Treml Separation

Phase 0–180 [deg] Adjusts the spread of the tremo-

Balance # D100:0W–

Level 0–127 Adjusts the output level.

Value Description

0.0–100 [ms] Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

the chorus effect.

the tremolo effect.

0–127 Adjusts the spread of the tremo-

lo effect.

lo effect. Adjusts the volume balance be-

D0:100W

tween 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.

Adding effects

R in

R out

L in

L out

Flanger

Feedback Feedback

Flanger

Balance W

Balance D

Balance W

Balance D

2-Band

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

R in

Parameter

Pre Delay

Balance D

Space-D

Balance D

Value Description

0.0–100 [ms] Adjusts the time delay from

2-Band

Balance W

2-Band

L out

R out

when the direct sound begins until the processed sound is

heard. Rate # 0.05–10.00 [Hz] Adjusts the rate of modulation. Depth 0–127 Adjusts the depth of modula-

tion. Phase 0–180 [deg] Adjusts the spatial spread of the

sound. Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

quency. High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency. Balance # D100:0W–

D0:100W

Adjusts the volume balance be-

tween 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. Level 0–127 Adjusts the output level.

14: St CHORUS (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

R in

Balance D

Parameter

Filter Type

Value Description

OFF, LPF, HPF Selects the type of filter.

Cutoff Freq 200–8000 [Hz] Adjusts the basic frequency of

Pre Delay 0.0–100 [ms] Adjusts the time delay from

Rate # 0.05–10.00 [Hz] Adjusts the rate of modulation.

2-Band

Balance W

2-Band

L out

R out

OFF: A filter will not be used.

LPF: Cuts the frequency range

above the cutoff frequency.

HPF: Cuts the frequency range

below the cutoff frequency.

the filter.

when the direct sound begins

until the processed sound is

heard.

Parameter

Depth

Value Description

0–127 Adjusts the depth of modula-

tion.

Phase 0–180 [deg] Adjusts the spatial spread of the

sound.

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

quency.

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency.

Balance # D100:0W–

D0:100W

Adjusts 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.

Level 0–127 Adjusts the output level.

15: St FLANGER (Stereo Flanger)

This is a stereo flanger. 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

Parameter

Filter Type

Cutoff Freq 200–8000 [Hz] Adjusts the basic frequency of

Pre Delay 0.0–100 [ms] Adjusts the time delay from

Rate # 0.05–10.00 [Hz] Adjusts the rate of modulation. Depth 0–127 Adjusts the depth of modula-

Phase 0–180 [deg] Adjusts the spatial spread of the

Feedback # -98– +98 [%] Adjusts the amount (%) of the

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Value Description

OFF, LPF, HPF Selects the type of filter.

OFF: A filter will not be used. LPF: Cuts the frequency range above the cutoff frequency. HPF: Cuts the frequency range below the cutoff frequency.

the filter.

when the direct sound begins until the flanger sound is heard.

tion.

sound.

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.

quency.

Effects

Adding effects

Parameter

Balance

Value Description

D100:0W– D0:100W

Adjusts the volume balance be-

tween 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. Level 0–127 Adjusts the output level.

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

Parameter

Pre Delay

Value Description

0.0–100 [ms] Adjusts the time delay from

Rate 0.05–10.00 [Hz] Adjusts the rate of modulation. Depth 0–127 Adjusts the depth of modula-

Feedback # -98– +98 [%] Adjusts the amount (%) of the

Step Rate # 0.1–20.0 [Hz],

note *2

Phase 0–180 [deg] Adjusts the spatial spread of the

Balance D100:0W–

D0:100W

Reset OFF, ON This setting determines whether

Level 0–127 Adjusts the output level.

2-Band

Balance W

2-Band

L out

R out

when the direct sound begins

until the flanger sound is heard.

tion.

flanger sound that is returned

(fed back) into the input.

Negative (-) settings will invert

the phase.

Adjusts the rate (period) of pitch

change.

sound.

Adjusts the volume balance be-

tween 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.

the period for the pattern is reset

(ON), or not (OFF) when sounds

are played.

While the rhythm guide is play-

ing, the period for the pattern is

not reset even if you set this ON.

17: St DELAY (Stereo Delay)

This is a stereo delay.

When Feedback Mode is NORMAL:

fig.MFX-17a

L in

Balance D

Delay

Feedback Feedback

Delay

R in

Balance D

When Feedback Mode is CROSS:

fig.MFX-17b

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

Parameter

Feedback Mode

Value Description

NORMAL, CROSS

Delay Left 0–420 [ms],

note *1

Delay Right 0–420 [ms],

note *1

Phase Left NORMAL,

INVERT

Phase Right NORMAL,

INVERT

Feedback # -98– +98 [%] Adjusts the proportion (%) of

2-Band

Balance W

2-Band

Balance W

2-Band

L out

R out

L out

R out

Selects the way in which delay sound is fed back into the effect. 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.

Adjusts the time from the direct sound until when the left delay sound is heard.

Adjusts the time from the direct sound until when the right delay sound is heard.

Selects the phase of the left delay sound. NORMAL: Phase is not changed. INVERT: Phase is inverted.

Selects the phase of the right delay sound. NORMAL: Phase is not changed. INVERT: Phase is inverted.

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

Adding effects

Feedback

Balance W

L in

R in

L out

R out

Delay

Balance D

2-Band

Parameter

HF Damp

Value Description

200–8000 [Hz], BYPASS

Adjusts the frequency above

which sound fed back to the ef-

fect will be cut.

If you do not want to cut the

high frequencies of the feed-

back, set this parameter to BY-

PASS. Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

quency. High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency. Balance # D100:0W–

D0:100W

Adjusts the volume balance be-

tween 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. Level 0–127 Adjusts the output level.

18: LONG DELAY

This is useful when you want to apply a delay that is longer than 17:

St DELAY.

fig.MFX-18

19: MOD DELAY (Modulation Delay)

This effect adds modulation to the delayed sound, producing an

effect similar to a flanger.

When Feedback Mode is NORMAL:

fig.MFX-19a

L in L out

Balance D

Delay

Feedback Feedback

Delay

Modulation

R in R out

Balance D

When Feedback Mode is CROSS:

fig.MFX-19b

Balance D

L in

Delay

Feedback Feedback

Delay

Modulation

R in

Balance D

2-Band

Balance W

2-Band

Balance W

2-Band

L out

R out

Parameter

Value Description

Delay 0–840 [ms], note *1Adjusts the time from the direct

sound until the delay sound is

heard. Feedback # -98– +98 [%] Adjusts the proportion (%) of

the delay sound that is fed back

into the effect.

Negative (-) settings will invert

the phase. HF Damp 200–8000 [Hz],

BYPASS

Adjusts the frequency above

which sound fed back to the ef-

fect will be cut.

If you do not want to cut the

high frequencies of the feed-

back, set this parameter to BY-

PASS. Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

quency. High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency. Balance # D100:0W–

D0:100W

Adjusts the volume balance be-

tween 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. Level 0–127 Adjusts the output level.

Parameter

Feedback Mode

Value Description

NORMAL, CROSS

Delay Left 0–370 [ms] Adjusts the time from the direct

sound until when the left delay sound is heard.

Delay Right 0–370 [ms] Adjusts the time from the direct

sound until when the right delay sound is heard.

Feedback -98– +98 [%] Adjusts the proportion (%) of

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

HF Damp 200–8000 [Hz],

BYPASS

Adjusts 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.

Rate # 0.05–10.00 [Hz] Adjusts the speed of the modu-

lation.

Depth 0–127 Adjusts the depth of the modu-

lation.

Phase 0–180 [deg] Adjusts the spatial spread of the

sound.

Effects

Adding effects

Parameter

Low Gain

Value Description

-15– +15 [dB] Adjusts the gain of the low frequency.

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency.

Balance # D100:0W–

D0:100W

Adjusts 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.

Level 0–127 Adjusts the output level.

20: 3 TAP DELAY (Triple Tap Delay)

The Triple Tap Delay produces three delay sounds; center, left and

right.

fig.MFX-20

L in

R in

Triple Tap Delay

Feedback

Balance D

Left Tap

Center Tap

Right Tap

Balance D

2-Band

Balance W

2-Band

L out

R out

Parameter

Balance #

Value Description

D100:0W– D0:100W

Adjusts 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.

Level 0–127 Adjusts the output level.

21: 4 TAP DELAY (Quadruple Tap Delay)

The Quadruple Tap Delay has four delays.

fig.MFX-21a

Balance D

L in

Feedback

Delay 1

Delay 2

Quadruple Tap Delay

Delay 3

Delay 4

R in

Balance D

The stereo location of each delay sound is as follows.

fig.MFX-21b

L out

Balance W

R out

Parameter

Delay Left

Value Description

0–840 [ms], note *1

Adjusts the time delay from the direct sound until when the left delay sound is heard.

Delay Right 0–840 [ms],

note *1

Adjusts the time delay from the direct sound until when the right delay sound is heard.

Delay Center 0–840 [ms],

note *1

Adjusts the time delay from the direct sound until when the center delay sound is heard.

Feedback # -98– +98 [%] Adjusts the proportion (%) of

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

HF Damp 200–8000 [Hz],

BYPASS

Adjusts 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.

Left Level 0–127 Adjusts the volume of the left

delay sound.

Right Level 0–127 Adjusts the volume of the right

delay sound.

Center Level 0–127 Adjusts the volume of the center

delay sound.

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

quency.

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

quency.

Parameter

Delay 1

Value Description

0–840 [ms], note *1

Adjusts the time delay from the direct sound until when delay 1 sound is heard.

Delay 2 0–840 [ms],

note *1

Adjusts the time delay from the direct sound until when delay 2 sound is heard.

Delay 3 0–840 [ms],

note *1

Adjusts the time delay from the direct sound until when delay 3 sound is heard.

Delay 4 0–840 [ms],

note *1

Adjusts the time delay from the direct sound until when delay 4 sound is heard.

Level 1 0–127 Adjusts the volume of delay 1

sound.

Level 2 0–127 Adjusts the volume of delay 2

sound.

Level 3 0–127 Adjusts the volume of delay 3

sound.

Level 4 0–127 Adjusts the volume of delay 4

sound.

Feedback # -98– +98 [%] Adjusts the proportion (%) of

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

Adding effects

Parameter

HF Damp

Balance # D100:0W–

Level 0–127 Adjusts the output level.

Value Description

200–8000 [Hz], BYPASS

D0:100W

Adjusts 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.

22: TM CTRL DLY (Time Control Delay)

You can change the delay time in real time. Lengthening the delay

will lower the pitch, and shortening it will raise the pitch.

fig.MFX-22

L in

Time Control Delay

R in

Parameter

Delay #

Feedback # -98– +98 [%] Adjusts the proportion (%) of

Acceleration 0–15 This parameter adjusts the time

HF Damp 200–8000 [Hz],

Pan L64–63R Adjusts the stereo location of the

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Value Description

0–840 [ms] Adjusts the time delay from the

BYPASS

Balance D

Feedback

Balance D

direct sound until when each delay sound is heard.

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

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.

Adjusts 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.

delay sound. L64 is far left, 0 is center, and 63R is far right.

quency.

2-Band

Balance W

2-Band

L out

R out

Parameter

Balance

Level 0–127 Adjusts the output level.

Value Description

D100:0W– D0:100W

23: 2V PCH SHIFT (2-Voice Pitch Shifter)

A Pitch Shifter shifts the pitch of the direct sound. This 2-voice pitch

shifter has two pitch shifters, and can add two pitch shifted sounds

to the direct sound.

fig.MFX-23

Balance D

L in

R in

Parameter

Mode

Coarse A #1 -24– +12 [semi] Adjusts the pitch of Pitch Shift A

Coarse B #2 -24– +12 [semi] Adjusts the pitch of Pitch Shift B

Fine A #1 -100– +100

Fine B #2 -100– +100

Pre Delay A 0–500 [ms] Adjusts the time delay from

Pre Delay B 0–500 [ms] Adjusts the time delay from

Pan A L64–63R Adjusts the stereo location of the

Pan B L64–63R Adjusts the stereo location of the

Level Balance A

2Voice Pitch Shifter

Level Balance B

Value Description

1, 2, 3, 4, 5 Higher settings of this parame-

[cent]

PanA L

PanA R

PanB L

PanB R

Balance D

ter will result in slower response, but steadier pitch.

in semitone steps (-2- +1 octaves).

Makes fine adjustments to the pitch of Pitch Shift A in 2-cent steps (-100- +100 cents). One cent is 1/100th of a semitone.

Makes fine adjustments to the pitch of Pitch Shift B in 2-cent steps (-100- +100 cents). One cent is 1/100th of a semitone.

when the direct sound begins until the Pitch Shift A sound is heard.

Pitch Shift A sound. L64 is far left, 0 is center, and 63R is far right.

Pitch Shift B sound. L64 is far left, 0 is center, and 63R is far right.

L out

Balance W

R out

Effects

Adding effects

Parameter

Level Balance

Balance D100:0W–

Level 0–127 Adjusts the output level.

Value Description

A100:0B– A0:100B

D0:100W

Adjusts the volume balance between the Pitch Shift A and Pitch Shift B sounds.

Adjusts 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.

24: FB PCH SHIFT (Feedback Pitch Shifter)

This pitch shifter allows the pitch shifted sound to be fed back into

the effect.

fig.MFX-24

L in

Pitch Shifter

R in

Parameter

Mode

Coarse #1 -24– +12 [semi] Adjusts the pitch of the pitch

Fine #1 -100– +100

Pre Delay 0–500 [ms] Adjusts the time delay from

Feedback # -98– +98 [%] Adjusts the proportion (%) of

Pan L64–63R Adjusts the stereo location of the

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Balance D100:0W–

Level 0–127 Adjusts the output level.

Value Description

1, 2, 3, 4, 5 Higher settings of this parame-

[cent]

D0:100W

Balance D

Feedback

Balance D

ter will result in slower response, but steadier pitch.

shifted sound in semitone steps (-2- +1 octaves).

Makes fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100- +100 cents).

when the direct sound begins until the pitch shifted sound is heard.

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

pitch shifted sound. L64 is far left, 0 is center, and 63R is far right.

quency.

quency. Adjusts the volume balance be-

tween 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.

2-Band

Balance W

2-Band

L out

R out

25: REVERB

The Reverb effect adds reverberation to the sound, simulating an

acoustic space.

fig.MFX-25

L in

R in

Parameter

Type

Pre Delay 0.0–100 [ms] Adjusts the time delay from

Time # 0–127 Adjusts the time length of rever-

HF Damp 200–8000 [Hz],

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Balance # D100:0W–

Level 0–127 Adjusts the output level.

Balance D

Reverb

Balance D

Value Description

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2

BYPASS

D0:100W

2-Band

Balance W

2-Band

Selects the type of Reverb effect. 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

when the direct sound begins until the reverb sound is heard.

beration. Adjusts the frequency above

which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to BYPASS.

quency.

quency. Adjusts the volume balance be-

tween 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.

L out

R out

Adding effects

L in

R in

Flanger

Overdrive

L out

R out

Balance W

Balance D

Feedback

26: GATED REVERB

Gate Reverb is a special type of reverb in which the reverberant

sound is cut off before its natural length.

fig.MFX-26

L in

R in

Parameter

Type

Pre Delay 0.0–100 [ms] Adjusts the time delay from

Gate Time 5–500 [ms] Adjusts the time from when the

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Balance # D100:0W–

Level # 0–127 Adjusts the output level.

Balance D

Gated Reverb

Balance D

Value Description

NORMAL, REVERSE, SWEEP1, SWEEP2

D0:100W

2-Band

Balance W

2-Band

Selects the type of reverb. 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

when the direct sound begins until the reverb sound is heard.

reverb is heard until when it disappears.

quency.

quency. Adjusts the volume balance be-

tween 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.

L out

R out

27: OD>CHORUS (Overdrive→Chorus)

This effect connects an overdrive and a chorus in series.

fig.MFX-27

L in

Overdrive

R in

Parameter

OD Drive

OD Pan # L64–63R Adjusts the stereo location of the

Value Description

0–127 Adjusts the degree of overdrive

Balance D

Chorus

Balance D

distortion. The volume will change together with the degree of distortion.

overdrive sound. L64 is far left, 0 is center, and 63R is far right.

L out

Balance W

R out

Parameter

Cho Delay

Cho Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Cho Depth 0–127 Adjusts the modulation depth of

Cho Balance # D100:0W–

Level 0–127 Adjusts the output level.

Value Description

0.0–100 [ms] Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

the chorus effect.

the chorus effect. Adjusts the volume balance be-

D0:100W

tween 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.

28: OD>FLANGER (Overdrive→Flanger)

This effect connects an overdrive and a flanger in series.

fig.MFX-28

Parameter

OD Drive

OD Pan # L64–63R Adjusts the stereo location of the

Flg Delay 0.0–100 [ms] Adjusts the time delay from

Flg Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Flg Depth 0–127 Adjusts the modulation depth of

Flg Feedback -98– +98 [%] Adjusts the proportion (%) of

Value Description

0–127 Adjusts the degree of overdrive

distortion. The volume will change together with the degree of distortion.

overdrive sound. L64 is far left, 0 is center, and 63R is far right.

when the direct sound begins until the flanger sound is heard.

the flanger effect.

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

Effects

Adding effects

L in

R in

Flanger

Distortion

L out

R out

Balance W

Balance D

Feedback

Parameter

Flg Balance #

Level 0–127 Adjusts the output level.

Value Description

D100:0W– D0:100W

Adjusts 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.

29: OD>DELAY (Overdrive→Delay)

This effect connects an overdrive and a delay in series.

fig.MFX-29

L in

Overdrive

R in

Parameter

OD Drive

OD Pan # L64–63R Adjusts the stereo location of the

Delay Time 0–500 [ms] Adjusts the time delay from

Dly Feedback -98– +98 [%] Adjusts the proportion (%) of

Dly HF Damp 200–8000 [Hz],

Dly Balance # D100:0W–

Level 0–127 Adjusts the output level.

Value Description

0–127 Adjusts the degree of overdrive

BYPASS

D0:100W

Balance D

Delay

Feedback

Balance D

distortion. The volume will change together with the degree of distortion.

overdrive sound. L64 is far left, 0 is center, and 63R is far right.

when the direct sound begins until the delay sound is heard.

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

Adjusts 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.

Adjusts 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.

L out

Balance W

R out

30: DIST>CHORUS (Distortion→Chorus)

This effect connects distortion and chorus in series. The parameters

are essentially the same as “27: OD>CHORUS,” with the exception

of the following two.

OD Drive→Dist Drive (Specifies the amount of distortion.)

OD Pan→Dist Pan (Specifies the stereo location of the distortion

sound.)

fig.MFX-30

L in

R in

Distortion

Balance D

Chorus

Balance D

L out

Balance W

R out

31: DIST>FLANGER (Distortion→Flanger)

This effect connects distortion and flanger in series. The parameters

are essentially the same as in “28: OD>FLANGER,” with the

exception of the following two.

OD Drive→Dist Drive (Specifies the amount of distortion.)

OD Pan

→

Dist Pan (Specifies the stereo location of the distortion

sound.)

fig.MFX-31

32: DIST>DELAY (Distortion→Delay)

This effect connects distortion and delay in series. The parameters

are essentially the same as in “29: OD>DELAY,” with the exception

of the following two.

OD Drive→Dist Drive (Specifies the amount of distortion.)

OD Pan→Dist Pan (Specifies the stereo location of the distortion

sound.)

fig.MFX-32

L in

R in

Distortion

Balance D

Delay

Feedback

Balance D

L out

Balance W

R out

Adding effects

33: ENH>CHORUS (Enhancer→Chorus)

This effect connects an enhancer and a chorus in series.

fig.MFX-33

L in

Enhancer

Mix

Balance D

L out

Balance W

Chorus

Balance W

R in

Enhancer

Parameter

Enhancer Sens #

Mix

Balance D

Value Description

0–127 Adjusts the sensitivity of the en-

R out

hancer.

Enhancer Mix 0–127 Adjusts the ratio with which the

overtones generated by the enhancer are combined with the direct sound.

Cho Delay 0.0–100 [ms] Adjusts the time delay from

when the direct sound begins until the chorus sound is heard.

Cho Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

the chorus effect.

Cho Depth 0–127 Adjusts the modulation depth of

the chorus effect.

Cho Balance # D100:0W–

D0:100W

Adjusts the volume balance between the enhancer sound that is sent through the chorus and the enhancer sound that is not sent through the chorus. With a setting of “D100:0W,” only the enhancer sound will be output. With a setting of “D0:100W,” only the enhancer sound that is sent through the chorus will be output.

Level 0–127 Adjusts the output level.

34: ENH>FLANGER (Enhancer→Flanger)

This effect connects an enhancer and a flanger in series.

fig.MFX-34

Balance D

L in

Enhancer

Mix

Feedback

Flanger

R in

Parameter

Enhancer Sens #

Enhancer

Mix

Balance D

Value Description

0–127 Adjusts the sensitivity of the en-

hancer.

Enhancer Mix 0–127 Adjusts the ratio with which the

overtones generated by the enhancer are combined with the direct sound.

Flg Delay 0.0–100 [ms] Adjusts the time delay from

when the direct sound begins until the flanger sound is heard.

Flg Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

the flanger effect.

Flg Depth 0–127 Adjusts the modulation depth of

the flanger effect.

L out

Balance W

R out

Parameter

Flg Feedback

Value Description

-98– +98 [%] Adjusts the proportion (%) of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Flg Balance # D100:0W–

D0:100W

Adjusts the volume balance between the enhancer sound that is sent through the flanger and the enhancer sound that is not sent through the flanger. With a setting of “D100:0W,” only the enhancer sound will be output. With a setting of “D0:100W,” only the enhancer sound that is sent through the flanger will be output.

Level 0–127 Adjusts the output level.

35: ENH>DELAY (Enhancer→Delay)

This effect connects an enhancer and a delay in series.

fig.MFX-35

L in

Enhancer

Mix

Balance D

Delay

R in

Enhancer

Parameter

Enhancer Sens #

Mix

Value Description

0–127 Adjusts the sensitivity of the en-

Feedback

Balance D

hancer.

Enhancer Mix 0–127 Adjusts the ratio with which the

overtones generated by the enhancer are combined with the direct sound.

Delay Time 0–500 [ms] Adjusts the time delay from

when the direct sound begins until the delay sound is heard.

Dly Feedback 98– +98 [%] Adjusts the proportion (%) of

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

Dly HF Damp 200–8000 [Hz],

BYPASS

Adjusts the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.

Dly Balance # D100:0W–

D0:100W

Adjusts the volume balance between the enhancer sound that is sent through the delay and the enhancer sound that is not sent through the delay. With a setting of “D100:0W,” only the enhancer sound will be output. With a setting of “D0:100W,” only the enhancer sound that is sent through the delay will be output.

Level 0–12 Adjusts the output level.

L out

Balance W

R out

Effects

Adding effects

36: CHORUS>DELAY

This effect connects a chorus and a delay unit in series.

fig.MFX-36

L in

R in

Parameter

Cho Delay

Cho Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Cho Depth 0–127 Adjusts the modulation depth of

Cho Balance # D100:0W–

Delay Time 0–500 [ms] Adjusts the time delay from

Dly Feedback -98– +98 [%] Adjusts the proportion (%) of

Dly HF Damp 200–8000 [Hz],

Dly Balance # D100:0W–

Level 0–127 Adjusts the output level.

Balance D

Balance W

Chorus

Balance W

Balance D

Delay

Feedback

Balance D

Value Description

0.0–100 [ms] Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

the chorus effect.

the chorus effect. Adjusts the volume balance be-

D0:100W

tween the direct sound and the chorus sound. With a setting of “D100:0W,” only the direct sound will be output. With a setting of “D0:100W,” only the chorus sound will be output.

when the direct sound begins until the delay sound is heard.

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

Adjusts the frequency above

BYPASS

which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.

Adjusts the volume balance be-

D0:100W

tween the chorus sound that is sent through the delay and the chorus sound that is not sent through the delay. With a setting of “D100:0W,” only the chorus sound will be output. With a setting of “D0:100W,” only the chorus sound that is sent through the delay will be output.

L out

Balance W

R out

37: FLG>DELAY (Flanger→Delay)

This effect connects a flanger and a delay in series.

fig.MFX-37

Balance D

L in

R in

Parameter

Flg Delay

Feedback

Flanger

Balance D

Balance W

Value Description

0.0–100 [ms] Adjusts the time delay from

Balance D

Delay

Feedback

Balance D

when the direct sound begins until the flanger sound is heard.

Flg Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

the flanger effect.

Flg Depth 0–127 Adjusts the modulation depth of

the flanger effect.

Flg Feedback -98– +98 [%] Adjusts the proportion (%) of

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

Flg Balance # D100:0W–

D0:100W

Adjusts the volume balance between the direct sound and the flanger sound. With a setting of “D100:0W,” only the direct sound will be output. With a setting of “D0:100W,” only the flanger sound will be output.

Delay Time 0–500 [ms] Adjusts the time delay from

when the direct sound begins until the delay sound is heard.

Dly Feedback -98– +98 [%] Adjusts the proportion (%) of

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

Dly HF Damp 200–8000 [Hz],

BYPASS

Adjusts the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.

Dly Balance # D100:0W–

D0:100W

Adjusts the volume balance between the flanger sound that is sent through the delay and the flanger sound that is not sent through the delay. With a setting of “D100:0W,” only the flanger sound will be output. With a setting of “D0:100W,” only the flanger sound that is sent through the delay will be output.

Level 0–127 Adjusts the output level.

L out

Balance W

R out

Adding effects

38: CHO>FLANGER (Chorus→Flanger)

This effect connects a chorus and a flanger in series.

fig.MFX-38

L in

R in

Parameter

Cho Delay

Cho Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Cho Depth 0–127 Adjusts the modulation depth of

Cho Balance # D100:0W–

Flg Delay 0.0–100 [ms] Adjusts the time delay from

Flg Rate 0.05–10.00 [Hz] Adjusts the modulation speed of

Flg Depth 0–127 Adjusts the modulation depth of

Flg Feedback -98– +98 [%] Adjusts the proportion (%) of

Flg Balance # D100:0W–

Level 0–127 Adjusts the output level.

Balance D

Balance W

Chorus

Balance W

Balance D

Value Description

0.0–100 [ms] Adjusts the time delay from

D0:100W

Balance D

Feedback

Flanger

Balance D

when the direct sound begins until the chorus sound is heard.

the chorus effect.

the chorus effect. Adjusts the volume balance be-

tween the direct sound and the chorus sound. With a setting of “D100:0W,” only the direct sound will be output. With a setting of “D0:100W,” only the chorus sound will be output.

when the direct sound begins until the flanger sound is heard.

the flanger effect.

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

Adjusts the volume balance between the chorus sound and the chorus sound that is passed through the flanger. With a setting of “D100:0W,” only the chorus sound will be output. With a setting of “D0:100W,” only the chorus sound that passes through the flanger will be output.

L out

Balance W

R out

39: CHORUS/DELAY

This effect connects a chorus and a delay in parallel. The parameters

are the same as for “36: CHORUS>DELAY.” However, the Dly

Balance parameter adjusts the volume balance between the direct

sound and the delay sound.

fig.MFX-39

Balance D

L in L out

Chorus

Feedback

Delay

R in R out

Balance W

Balance D

40: FLG/DELAY (Flanger/Delay)

This effect connects a flanger and a delay in parallel. The parameters

are the same as for “37: FLG>DELAY.” However, the Dly Balance

parameter adjusts the volume balance between the direct sound and

the delay sound.

41: CHO/FLANGER (Chorus/ Flanger)

This effect connects a chorus and a flanger in parallel. The

parameters are the same as for “38: CHO>FLANGER.” However, the

Flanger Balance parameter adjusts the volume balance between the

direct sound and the flanger sound.

fig.MFX-41

L in L out

Chorus

Feedback

Flanger

R in R out

Balance D

Balance W

Balance D

42: LOFI

This effect intentionally degrades the audio quality to simulate a Lo-

Fi sound. It is particularly effective on drums.

fig.MFX-42

L in

R in

Parameter

Bit Down

S-RateDown 0–7 This coarsens the output signal.

Post Gain 0, +6, +12, +18

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Output MONO, STE-

Level # 0–127 Specifies the output volume

Lo-Fi

Value Description

0–11 This setting lowers the audio

[dB]

REO

2-Band EQ

quality. The audio quality will worsen as this setting is increased.

The sound will become coarser as this setting is increased.

Adjusts the output signal.

quency.

quency. Specifies how the sound will be

output. With a setting of “MONO,” the output sound will be monaural.

from the Lo-Fi effect.

L out

R out

Effects

Adding effects

L in

R in

L out

R out

Auto Pan

2-Band EQ

Auto Pan

SAW1 SAW2

43: SLICER

By applying successive cuts to the sound, this effect produces what

are heard as backing phrases, even though you’ve played something

much simpler. This is especially effective when applied to sustain-

type sounds.

fig.MFX-43

L in

R in

Parameter

Timing Pattern

Accent Pattern 1–16 Specifies the location of the ac-

Accent Level # 0–127 Adjusts the volume of the ac-

Attack 0–127 Adjusts the attack time of an in-

Rate # 0.05–10.00 [Hz],

Reset OFF, ON Specifies whether the timing

Level 0–127 Adjusts the output level.

Slicer

Value Description

1–34 Selects a pattern to specify the

timing at which the sound will be cut.

cents.

cents. As this setting is increased, the accent will be more pronounced.

put sound. As this setting is increased, the attack will become faster.

This sets the period for the pat-

note *2

tern.

pattern at which the sound is cut will be reset (ON) or not (OFF) when you play a sound. While the rhythm guide is playing, the period for the pattern is not reset even if you set this ON.

L out

R out

44: TREMOLO

Tremolo cyclically modulates the volume to add tremolo effect to the

sound.

fig.MFX-44

L in

R in

Tremolo

2-Band EQ

L out

R out

Parameter

Rate #

Depth # 0–127 Sets the depth to which the ef-

Reset OFF, ON This setting determines whether

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level 0–127 Adjusts the output level.

Value Description

0.05–10.00 [Hz], note *2

LEVEL

Adjusts the frequency (speed) of the change.

fect is applied.

the period for the pattern is reset (ON), or not (OFF) when sounds are played. While the rhythm guide is playing, the period for the pattern is not reset even if you set this ON.

RESET

quency.

45: AUTO PAN

The Auto Pan effect cyclically modulates the stereo location of the

sound.

fig.MFX-45

Parameter

Mod Wave TRI, SQR, SIN,

Value Description

TRI: The sound will be modulat-

SAW1/ 2

ed like a triangle wave. SQR: The sound will be modulated like a square wave. SIN: The sound will be modulated like a sine wave. SAW1/2: The sound will be modulated like a sawtooth wave. The teeth in SAW1 and SAW2 point at opposite directions.

Parameter

Mod Wave

Value Description

TRI, SQR, SIN, SAW1/ 2

TRI: The sound will be modulated like a triangle wave. SQR: The sound will be modulated like a square wave. SIN: The sound will be modulated like a sine wave. SAW1/2: The sound will be modulated like a sawtooth wave. The teeth in SAW1 and SAW2 point at opposite directions.

SAW1 SAW2

Rate # 0.05–10.00 [Hz],

note *2

Depth # 0–127 Sets the depth to which the ef-

Adjusts the frequency (speed) of the change.

fect is applied.

Adding effects

L in

R in

L out

R out

2-Band

Balance W

Balance D

2-Band

Feedback

Tumbling Delay

R in

R out

L in

L out

Feedback Feedback

2-Band

Delay

Ripper

SAW1 SAW2

Parameter

Reset

Low Gain -15– +15 [dB] Adjusts the gain of the low fre-

High Gain -15– +15 [dB] Adjusts the gain of the high fre-

Level 0–127 Adjusts the output level.

Value Description

OFF, ON This setting determines whether

46:TUMBLING DLY (Tumbling Delay)

This is a delay that first produces “tumbling” delayed repeats, and

then echoes the original sound.

It is most effective when applied to single notes of a “one-shot”

sound.

fig.MFX-46

Parameter Value Description

Type TYPE1–TYPE6 Selects one of the six available

Pre Delay 0–500 [ms] Adjusts time “A” in the diagram

Delay Time 0–345 [ms] Adjusts time “B” in the diagram

Level

HF Damp 200–8000 [Hz],

BYPASS

Feedback # -98– +98 [%] Adjusts the proportion (%) of

LEVEL

original tone

A B B

the period for the pattern is reset (ON), or not (OFF) when sounds are played. While the rhythm guide is playing, the period for the pattern is not reset even if you set this ON.

RESET

quency.

types for the number of delay sounds heard in time “A” in the diagram below.

below.

Adjusts 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.

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

Parameter

Balance #

Level 0–127 Adjusts the output level.

Value Description

D100:0W– D0:100W

47: FBK RIPPER (Feedback Ripper)

This effect repeatedly cuts the sound, and outputs a delayed sound

for the cut portion. You can create new phrases by applying this to a

drum phrase or other phrase.

fig.MFX-47

Parameter

Mod Wave

Rate # 0.05–10.00 [Hz],

Depth # 0–127 Sets the depth to which the ef-

Delay Left 0–420 [ms], note *1Adjusts the time from the direct

Delay Right 0–420 [ms], note *1Adjusts the time from the direct

Dly Feedback -98– +98 [%] Adjusts the proportion (%) of

Reset OFF, ON This setting determines whether

Level 0–127 Adjusts the output level.

Value Description

TRI, SQR, SIN, SAW1/ 2

note *2

TRI: The sound will be cut by a triangle wave. SQR: The sound will be cut by a square wave. SIN: The sound will be cut by a sine wave. SAW1/2: The sound will be cut by a sawtooth wave. The teeth in SAW1 and SAW2 point at opposite directions.

Adjusts the frequency (speed) of the change.

fect is applied.

sound until the left delay sound is heard.

sound until the right delay sound is heard.

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

the period for the pattern is reset (ON), or not (OFF) when sounds are played. While the rhythm guide is playing, the period for the pattern is not reset even if you set this ON.

Effects

Adding effects

Making chorus settings

Regardless of the mode, only one type of chorus can be used

simultaneously.

There are eight types of chorus. You can select any one of these.

After selecting the Type, you can change the values for each of the

parameters.

Type (Chorus Type)

You can choose from 8 types of chorus.

Value

CHORUS 1–4:

FEEDBACK CHORUS:

FLANGER:

SHORT DELAY:

SHORT DELAY(FB):

General chorus settings. Adds breadth and

fullness to the sound.

Chorus that produces a flanger-like effect,

creating a soft sound.

This effect produces a rising and falling

sweep reminiscent of a jet airplane.

This is a delay with a short delay time.

This is a delay with a short delay time and

many repeats.

note *1

fig.note_MFX1

(Sixteenth note),

(Eighth note),

(Half-note triplet),

(Eighth-note triplet),

(Quarter-note triplet),

(Dotted quarter note),

note *2

fig.note_MFX2

(Sixty-fourth-note triplet),

(Thirty-second note),

(Sixteenth note),

(Eighth note),

(Quarter note),

(Whole-note triplet),

(Double-note triplet), (Double note)(Dotted whole note),

(Quarter-note triplet),

(Half-note triplet),

(Sixty-fourth note),

(Sixteenth-note triplet),

(Eighth-note triplet),

(Dotted half note),

(Dotted sixteenth note),

(Dotted eighth note), (Quarter note),

(Half note),

(Thirty-second-note triplet),

(Dotted thirty-second note),

(Dotted sixteenth note),

(Dotted eighth note),

(Dotted quarter note),

(Whole note),

(Half note),

“Chorus Type” provides several preset-like example settings of

the chorus parameters. When you switch types, the other chorus

parameters will change according to the settings of the type you

select. If you intend to edit the other parameters, select a type

first, and then edit the other parameters.

Pre-LPF (Chorus pre-low pass filter)

A low-pass filter can be applied to the sound coming into the chorus

to cut the high-frequency range. Higher values will cut more of the

high frequencies, resulting in a more mellow chorus sound.

Value:

0–7

Level (Chorus Level)

Sets the amount of the chorus sound.

Value:

0–127

Feedback (Chorus Feedback Level)

Sets the level at which the chorus sound is re-input (fed back) into

the chorus. By using feedback, a denser chorus sound can be created.

Higher values result in a greater feedback level.

Value:

0–127

Delay (Chorus Delay Time)

Sets the delay time of the chorus effect.

Value:

0–127

Rate (Chorus Rate)

Sets the speed (frequency) at which the chorus sound is modulated.

Higher values result in faster modulation.

Value:

0–127

Adding effects

Depth (Chorus Depth)

Sets the depth at which the chorus sound is modulated. Higher

values result in deeper modulation.

Value:

0–127

Send Lvl to Rev (Chorus send level to reverb)

Sets the amount of chorus sound that will be sent to the reverb.

Higher values result in more sound being sent.

Value:

0–127

Making reverb settings

Regardless of the mode, only one type of reverb can be used

simultaneously.

There are eight types of reverb. You can select any one of these. After

selecting the Type, you can change the values for each of the

parameters.

Type (Reverb Type)

You can choose from 8 types of reverb.

Value

ROOM1–3:

HALL1, 2:

PLATE:

DELAY:

PANNING DELAY:

Simulates the reverberation of room interiors. It

produces a well-defined and spacious

reverberation.

Simulates the reverberation exhibited by halls.

They provide a deeper reverberation than the

Room reverbs.

Simulates a plate reverb unit (a type of artificial

reverb that utilized a metal plate).

A standard delay, that produces echo effects.

This is a special delay in which the delayed

sound alternates between left and right. It is

effective when you are listening in stereo.

Time (Reverb Time)

Sets the time over which the reverberation will continue. Higher

values result in longer reverberation.

Value:

0–127

Delay Feedback (Reverb Delay Feedback)

This parameter is available when the Reverb Character (Character) is

set to 6, 7 or the Reverb Type (Type) is set to Delay or Panning Delay.

It sets the way in which delays repeat. Higher values result in more

delay repeats.

Value:

0–127

“Reverb Type” provides several preset-like example settings of

the reverb parameters. When you switch types, the other reverb

parameters will change according to the settings of the type you

select. If you intend to edit the other parameters, select a type

first, and then edit the other parameters.

Character (Reverb Character)

Selects the type of reverb. 0–5 are reverb effects, and 6 and 7 are

delay effects.

Value:

0–7

Pre-LPF (Reverb pre-low pass filter)

A low pass filter can be applied to the sound coming into the reverb

to cut the high frequency range. Higher values will cut more of the

high frequencies, resulting in a more mellow reverberation.

Value:

0–7

Level (Reverb Level)

Sets the amount of the reverberant sound. Higher values result in

louder reverberation.

Value:

0–127

Effects

Settings common to all modes (System Function)

PAGE/ CURSOR [ ]

GENERAL

PAGE/ CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

MIDI

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

PAGE/ CURSOR [ ]

PATCH SCALE

CONTROLLER

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

Settings that affect the entire operating environment of the RS-50,

such as tuning and MIDI message reception, are referred to as

system functions

. This section explains how to make settings for

the System functions and describes the functions of the different

System parameters. The parameters are organized into the following

six groups.

•

GENERAL:

Make settings common to the entire system (p. 89).

•

CONTROLLER:

Make controller-related settings (p. 89).

•

MIDI:

Make MIDI-related settings (p. 90).

•

PATCH SCALE (Patch Scale Tune):

Make scale tune settings for a patch (p. 91).

How to make the system function settings

Press [SYSTEM] so it is lit.

Select the parameter that you want to edit.

“Selecting system setting parameters”

Use VALUE [-]/[+] to modify the value.

Repeat steps 2–3 to make the settings for the System

function.

(p. 88)

Selecting system setting parameters

fig.r12-02

fig.r12-01_40

Changes you make to the system function settings are

temporary, and will be lost when you turn off the power. If you

want to save the settings you modified, perform the following

operation.

To save the settings you modified, press [WRITE].

Press [ENTER] to execute.

When you save system settings, the previously saved settings

will be overwritten and lost.

If you decide not to save the system function, press [EXIT].

Settings common to all modes (System Function)

Functions of the system parameters

System parameter functions are explained here according to the

group in which they are found.

Settings common to the entire system (GENERAL)

LCD Contrast

Adjusts the contrast of the display.

VALUE:

The LCD CONTRAST setting is saved automatically, and is

retained even while the power is off.

Master Tune

Adjusts the overall tuning of the RS-50. The display shows the

frequency of the A4 note (center A).

VALUE:

Master Key Sft (Master Key Shift)

Shifts the overall pitch of the RS-50 in semitone steps.

VALUE:

Master Level

Adjusts the volume of the entire RS-50.

VALUE:

Hold Pedal (Hold Pedal Polarity)

Select the polarity of the Hold 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.”

VALUE:

Local Control (Local Controller)

The Local Controller determines whether the internal sound

generator is disconnected (OFF) from the keyboard controller section

(keyboard, pitch bend/modulation lever, knobs, buttons, D Beam

controller, pedal, and so on); or not disconnected (ON). Normally,

this is left “ON”, but if you wish to use the RS-50’s keyboard and

controllers to control only external sound modules, set it to “OFF.”

VALUE:

Clock Source

Select “MIDI” if you want synchronization-related MIDI messages to

be received from an external sequencer. Select “INT” if you want to

synchronize to the RS-50’s internal tempo. The multi-effect changes

will also synchronize to this setting.

VALUE:

1–10

415.3–466.2 Hz

-24–+24

0–127

STANDARD, REVERSE

OFF, ON

INT, MIDI

Settings related to controllers (CONTROLLER)

Mod (Modulation Assign)

You can use the modulation lever to apply the following effects

other than vibrato.

Value

MODULATION PORTA TIME CC05 Portamento Time (p. 47) VOLUME CC07 Level BALANCE CC08 The volume balance of LOW-

PAN CC10 Pan (p. 46) EXPRESSION CC11 Level PORTAMENTO CC65 Portamento Switch (p. 47) SOSTENUTO CC66 Holds the sound of the key be-

SOFT CC67 Softens the tone RESONANCE CC71 Tone Filter Resonance (p. 48) RELEASE TIME CC72 Tone Envelope Release Time

ATTACK TIME CC73 Tone Envelope Attack Time (p.

CUTOFF CC74 Tone Filter Cutoff (p. 47) DECAY TIME CC75 Tone Envelope Decay Time (p.

LFO RATE CC76 Tone LFO Rate (p. 47) LFO DEPTH CC77 Tone LFO Depth (p. 47) LFO DELAY CC78 Tone LFO Delay (p. 47) CHO SEND LEVEL CC93 Chorus Send Level (p. 46) REV SEND LEVEL CC91 Reverb Send Level (p. 46) MFX PARAMETER1

MFX PARAMETER2

AFTERTOUCH ----

In Patch mode, the modulation lever will affect the patch. In

Performance mode, the modulation lever will affect the patch that is

assigned to the current part. Use [DESTINATION TONE] to specify

the tone that will be affected (p. 26).

“TxCC#” refers to the controller number of the control change

message sent from the MIDI OUT connector when the modulation

lever is operated. When set to AFTERTOUCH, Channel Aftertouch

messages are sent. Set to AFTERTOUCH mainly when you want to

control an external sound generator with Aftertouch messages.

Receiving these control change message from the MIDI IN connector

produces the same effect as operating the modulation lever.

* When set to MFX PARAMETER1 or MFX PARAMETER2, be sure

to note the following.

• When the multi-effects Type is set to 01: STEREO EQ (p. 69) or 42:

LOFI (p. 83), Level is changed regardless of whether MFX

PARAMETER1 or MFX PARAMETER2 is selected.

* When making the LFO RATE, LFO DEPTH or LFO DELAY settings,

the effect achieved differs depending on whether [FILTER LFO] is on or

off. When [FILTER LFO] is off, the LFO alters the pitch (vibrato

effect). When [FILTER LFO] is on, the LFO changes the Filter Cutoff

frequency (wah effect).

Tx CC# Function/Parameter

Changed

CC01 Vibrato

ER and UPPER tones (p. 45).

ing pressed

(p. 48)

48)

CC12 The parameter specified by

Multi-effect Control 1 (p. 69)

CC13 The parameter specified by

Multi-effect Control 2 (p. 69)

System Function

Settings common to all modes (System Function)

Pedal (Pedal Control Assign)

This specifies the function of the pedal connected to the CONTROL

PEDAL jack.

VALUE

In addition to the items listed in Modulation Assign, you can use the

pedal to apply the following effects.

TAP TEMPO:

Use the pedal to make tap tempo settings (p. 37).

C1 (C1 Knob Assign)

C2 (C2 Knob Assign)

C3 (C3 Knob Assign)

Select the effects that will be controlled by the [C1]/[C2]/[C3] knobs.

VALUE

In addition to the items listed in Modulation Assign, you can use the

pedal to apply the following effects.

PATCH MODIFY:

* If you assign any effects other than PATCH MODIFY to the [C1]/

[C2]/[C3] knobs, you must switch the

to [ENV] (envelope). If [BALANCE/LFO] is selected, the balance and

LFO will change.

* If you are using the [C1]/[C2]/[C3] knobs in Performance mode to

control MFX PARAMETER settings, the

setting will determine the part whose effect will be controlled.

MFX Source

controlled.

If MFX Source is set to “PERFORM,” the System

(Performance Control Channel)”

the part whose effect will be controlled. If this setting is “OFF,” no

effect will be controlled.

The effect indicated on the panel will be

controlled (p. 26).

Patch Modify select button

“MFX Source”

is set to “Part1–16,” the effect of that part will be

(p. 90) setting will determine

(p. 56)

“Perform Ctrl Ch

Settings related to MIDI (MIDI)

Patch Rx Ch (Patch Receive Channel)

Specifies the receive channel of MIDI messages in Patch mode.

VALUE:

Patch Tx Ch (Patch Transmit Channel)

Specifies the transmit channel of MIDI messages in Patch mode. If

you do not want to transmit MIDI messages to external MIDI

devices, turn this parameter “OFF.” If you want the transmit channel

to always match the Patch Receive Channel, set this parameter to

“RxCh.”

VALUE:

Perform Ctrl Ch (Performance Control Channel)

Performance Ctrl Ch selects the MIDI receive channel used during

switching of performances when MIDI messages (Program Change/

Bank Select) are sent from an external MIDI device. Set this to “OFF”

if performances are not to be switched from an external MIDI device.

VALUE:

Rx Prog Chg (Receive Program Change Switch)

Specifies whether Program Change messages will be received (ON)

or not (OFF).

VALUE:

1–16

1–16, RxCh, OFF

1–16, OFF

If only a program change is received, and if the Perform Ctrl Ch

parameter setting coincides with the MIDI receive channel of a

part, priority will be given to switching the performance.

If this is set to 1–16, the RS-50 will transmit MIDI messages

(program change/bank select) on that channel when the

performance is switched.

OFF, ON

Rx Bank Sel (Receive Bank Select Switch)

Specifies whether Bank Select messages will be received (ON) or not

(OFF).

VALUE:

OFF, ON

Rx Sys Exc (Receive System Exclusive Switch)

Specifies whether System Exclusive messages will be received (ON)

or not (OFF).

VALUE:

OFF, ON

Tx Prog Chg (Transmit Program Change Switch)

Specifies whether Program Change messages will be transmitted

(ON) or not (OFF).

VALUE:

OFF, ON

Tx Bank Sel (Transmit Bank Select Switch)

Specifies whether Bank Select messages will be transmitted (ON) or

not (OFF).

VALUE:

OFF, ON

Settings common to all modes (System Function)

Tx Edit Data (Transmit Edit Data Switch)

Specify whether changes you make in the settings of a patch or

performance will be transmitted as system exclusive messages (ON),

or will not be transmitted (OFF).

VALUE:

Tx Active Sens (Transmit Active Sensing Switch)

Specifies whether Active Sensing messages will be transmitted (ON)

or not (OFF).

VALUE:

Device ID (Device ID Number)

When you want to transmit or receive System Exclusive messages,

set this parameter to match the Device ID number of the other MIDI

device.

VALUE:

Soft Thru (Soft Through Switch)

The Thru function re-transmits all messages received at the MIDI IN

connector to the MIDI OUT connector without modifying them in

any way.

VALUE:

OFF, ON

17–32

OFF, ON

System Function

Making scale tune settings for a patch (PATCH SCALE)

The Patch Scale function lets you use a variety of tunings for patches

used in Patch mode.

If you want to make scale tune settings for each part in

Performance mode, refer to

(SCALE TUNE)”

(p. 58).

Type (Patch Scale Tune Type)

You can switch the “Type” parameter to recall various sample

settings for Patch Scale. When you change “Type,” all patch scale

tune parameters will be changed automatically.

VALUE:

For details on each type, refer to

Type)”

EQUAL, JUST (maj) in C, JUST (min) in C, ARABIC

(p. 58).

Tune C–Tune B (Patch Scale Tune C–B)

Make scale tune settings for Patch mode.

VALUE:

-64–+63

“Editing the scale tune settings

“Type (Part Scale Tune

Performing with an external MIDI device

MIDI OUT MIDI IN MIDI THRU

MIDI IN

Receive channel: 1

Receive channel: 2

Sound

Module

Sound

Module

Transmit channel: 1, 2

MIDI keyboard

About MIDI

MIDI (Musical Instrument Digital Interface)

specification that allows music data to be exchanged among

electronic musical instruments and computers. By connecting MIDI

devices that are equipped with MIDI connectors, you can play

multiple instruments with a single keyboard, have multiple MIDI

instruments perform in ensemble, program the settings to change

automatically to match the performance as the song progresses, and

more.

If you mainly use the RS-50 as a standalone keyboard instrument,

you may really not need to know much at all about MIDI. However,

the following MIDI-related information is provided so you can play

the RS-50 using an external MIDI device, or master other advanced

techniques.

MIDI connectors

The RS-50 has the following two types of MIDI connectors.

fig.r10-01

• MIDI IN Connector

Performance messages from an external MIDI device are received

here. When the RS-50 receives MIDI messages, it will produce

sound, change the sound it’s using, or perform other operations.

• MIDI OUT Connector

This connector transmits MIDI messages to external MIDI devices.

The RS-50’s MIDI OUT connector is used for sending the

performance data of the keyboard controller section, as well as the

data used for saving various settings.

MIDI channels and multitimbral sound generators

MIDI transmits many types of data over a single MIDI cable. This is

made possible by MIDI channels. MIDI channels allow messages

intended for a given instrument to be distinguished from messages

intended for another instrument. In some ways, MIDI channels are

similar to television channels. By changing the channel on a TV

receiver you can view the programs of different stations. This is

because the television set has thus been directed to selectively

display only the information being transmitted by a particular

station. In the same way, MIDI also allows a device to select the

information intended for that device out of the variety of

information that is being transmitted to it.

fig.r10-02.e

The cable from the antenna carries the TV

Station A

Station B

Station C

MIDI uses sixteen channels, numbered 1–16. Normally, receiving

devices should be set so they receive only the channels they need to

receive.

signals from many broadcast stations.

The TV is set to the channel of the station you wish to watch.

is a standard

Example:

Set the RS-50 to send on Channel 1 and Channel 2, then set sound

module A to receive only Channel 1, and sound module B to receive

only Channel 2. With this setup, you can get an ensemble

performance, with, for example, a guitar sound from sound module

A and bass from sound module B.

fig.r10-03.e

When used as a sound module, the RS-50 can receive on up to

sixteen MIDI channels. Sound modules like the RS-50, which can

receive multiple MIDI channels simultaneously and play different

sounds on each channel, are called “

multitimbral sound modules

.”

MIDI messages used by the RS-50

MIDI uses various types of messages to transmit a wide variety of

information. MIDI messages are broadly divided into two different

categories, those handled through individual MIDI channels

(Channel messages), and messages that are not related to separate

channels (System messages).

The RS-50 mainly uses the following MIDI messages.

Channel messages

These are messages used for conveying what is happening in a

performance. These comprise the bulk of MIDI messages.

Note On

This message is sent when a key is pressed. A Note-on message

contains the following three types of information:

Note-on:

Note number:

Velocity:

The Note Numbers fall within the range of 0–127, with middle C

(C4) as number 60.

fig.r10-04.e

Note name

C-1

Note number

Note Off

This message is sent when a key is released. When a Note-off

message is received, the relevant note will be turned off. A Note-off

message contains the following three types of information:

Note-off:

Note number:

Velocity:

A key has been played.

Which key was played

The amount of force (velocity) used when the key

was played.

36 48 60 72 84 127

C3C2 C5 C6 G9

A key was released

Which key was released

The force (velocity) used during release of the key.

Performing with an external MIDI device

MIDI IN

MIDI THRU

MIDI OUT

MIDI IN

Sound Module A

Sound Module B

RS-50

Pitch Bend Change

This message transmits whatever motion is made by the Pitch Bend

lever.

Aftertouch

These messages indicates how strongly the keyboard was pressed

after playing a note. There are two types of Aftertouch message:

Channel Aftertouch, which applies to an entire channel; and

Polyphonic Aftertouch, which applies to individual notes.

The RS-50 cannot transmit Aftertouch messages when its keys are

pressed. Instead, you can do this by transmitting the Aftertouch

assigned to the D Beam, Modulation lever, a pedal, or a knob.

Program Change

This message changes the instrument sound. You can switch Patches

and Rhythm Sets on the RS-50 using program numbers 1–128 (p. 95).

Control Change

These are messages used for increasing performance expression. By

assigning Modulation (CC# (Controller Number) 1), Pan (CC#10),

Expression (CC#11), and other Control Change messages to the

Modulation lever, pedals, and knobs, you can then use these controls

to change Performances (p. 89).

Bank Select (CC#0, CC#32) messages are used in combination with

Program Change messages to switch Patches and Rhythm Sets (p.

95).

Using the RS-50 to play an external MIDI sound module

By connecting the RS-50 to an external MIDI sound module with a

MIDI cable and setting the channels, the external MIDI module can

be used to produce sound when you play the RS-50’s keyboard.

Connecting to external MIDI sound modules

Example 1:

fig.r10-05.e

Example 2:

fig.r10-06.e

MIDI OUT

Connecting to one external MIDI sound module

MIDI IN

Sound Module A

RS-50

Connecting to two external MIDI sound modules

Performing with an

external MIDI device

System messages

This category includes exclusive messages, messages used for

synchronization, and messages that keep a MIDI system running

correctly.

Exclusive messages

Exclusive messages are messages used for exchanging patches and

other kinds of data between compatible devices from the same

manufacturer.

If messages exchanged using MIDI were limited only to those that

conform to the universally shared MIDI specifications, it would not

be possible to transmit messages that are unique to a particular

manufacturer, or that are designed specifically for a certain device.

For this reason, MIDI allows for an exclusive format for each

manufacturer, which can be used to exchange a variety of messages.

On the RS-50, you can use Exclusive messages to store Patch settings

and other data to sequencers (p. 98).

About MIDI Implementation Charts

Although a variety of messages for performances can be

handled using MIDI, depending on the functions of the

connected device, the messages that can be sent and received

may differ. To see which types of MIDI message a device can

transmit and receive, refer to the MIDI Implementation Chart

that is included in the manual of each device. Messages which

are marked by a circle in the charts of both devices can be

transmitted between the two devices.

* Messages received at the MIDI IN connector are output from the MIDI

THRU connector unchanged.

Example 3:

modules

fig.r10-07.e

Connecting to three or more external MIDI sound

MIDI IN

MIDI Patcher

MIDI IN

Sound Module A

MIDI OUT

RS-50

MIDI IN

Sound Module B

Performing with an external MIDI device

MIDI IN

MIDI OUT

MIDI Keyboard

RS-50

* If you “daisy-chain” three or more MIDI devices using IN → THRU

→

IN → THRU ..., the MIDI signal may become garbled, and data

errors may occur. In such cases, use a MIDI Patcher. MIDI Patcher are

devices that allow a single stream of MIDI data to be sent to a large

number of MIDI devices without causing data errors.

Before starting the connection procedure, make sure that

the power to all devices has been turned off.

After reading “Connecting the RS-50 to external equipment”

(p. 14), connect an audio device/system or headphones.

Connect the external MIDI sound device with the MIDI cable

as shown in the figure above.

As described in “Turning on the power” (p. 15), turn on the

power of each device.

When you select a patch or rhythm set on the RS-50, a bank

number and program number will be transmitted to the external

MIDI sound module as described in the

program number correspondence table”

switch sounds on the external MIDI sound module, but if the

external MIDI sound module receives a bank number for which

it provides no sounds, it may choose a substitute sound or may

produce no sound at all. In order to select a sound reliably, you

may wish to first select the sound group on your external MIDI

sound module, and then transmit only a program number. This

will allow you to switch sounds within the same group.

If you want to transmit only the program number, turn

Bank Sel (Transmit Bank Select Switch)”

“Bank number/

(p. 95). This will

“Tx

(p. 90) off.

Set the keyboard transmit channel

When you have finished connecting the external MIDI device, match

the keyboard’s Transmit channel and the Receive channel for each of

the external MIDI sound generator’s Parts. Here we will explain the

settings for using the RS-50 in Patch mode.

* If you are using the RS-50 in Performance mode, the part and channel

numbers will be the same unless you change the settings.

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “Patch Tx Ch.”

fig.r10-08_40

By holding down [SHIFT] and using PAGE/CURSOR [ ]/

[] you can quickly select the “SYSTEM|MIDI” group (p. 88).

Use VALUE [-]/[+] to modify the value.

Value

1–16:

RxCH:

OFF:

Normally, you will use the “RxCH” setting.

Press [WRITE] to save the settings.

For further information, refer to

function settings”

Press [EXIT] to cancel the operation and return to the previous page.

With the above settings, when the RS-50’s keyboard is played,

sounds are simultaneously played by the RS-50 and the external

MIDI sound generator.

For instructions on setting the Receive channel for each of the Parts

of the external MIDI sound generator, refer to the owner’s manual

that came with the device.

* If you want sounds to be played only by the external MIDI sound

generator, set Local control to OFF (p. 96).

Performance data from the RS-50 will be transmitted

on the selected channel.

Performance data will be transmitted on the same

channel as the Receive Channel (p. 57) of the part.

Performance data will not be transmitted.

“How to make the system

(p. 88).

Playing the RS-50’s sound generator from an external MIDI device

Next, try playing the RS-50 from an external MIDI device.

Connecting an external MIDI device

fig.r10-10.e

Before starting the connection procedure, make sure that

the power to all devices has been turned off.

After reading “Connecting the RS-50 to external equipment”

(p. 14), connect an audio device/system or headphones.

Connect the external MIDI sound device with the MIDI cable

as shown in the figure below.

As described in “Turning on the power” (p. 15), turn on the

power of each device.

Performing with an external MIDI device

Setting the patch receive channel

When you have finished connecting the external MIDI device, match

RS-50’s Receive channel with the external MIDI device’s Transmit

channel. Here we will explain the settings for using the RS-50 in

Patch mode.

* If you are using the RS-50 in Performance mode, the part and channel

numbers will be the same unless you change the settings.

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “Patch Rx Ch”

(patch receive channel).

fig.r10-11_40

By holding down [SHIFT] and using PAGE/CURSOR [ ]/

[] you can quickly select the “SYSTEM|MIDI” group (p. 90).

Use VALUE [-]/[+] to modify the value.

VALUE

1–16:

Performance data of each part will be received on

the selected channel.

Setting the program change receive switch

Then, to enable tones to be switched from the external MIDI device,

set the Receive Switch for Program Change and Bank Select to ON.

Factory settings have these set to ON.

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “Rx Prog Chg”

(Receive Program Change Switch) and “Rx Bank Sel”

(Receive Bank Select Switch).

Use VALUE [-]/[+] to set both parameters to “ON.”

Press [WRITE] to save the settings.

For further information, refer to

function settings”

Press [EXIT] to cancel the operation and return to the previous page.

* For instructions on setting the external MIDI device’s Transmit

channel, refer to the owner’s manual for that device.

* If you are using Performance mode, you will also need to set “Receive

Sw,” “Receive Prg Chg,” and “Receive Bank Sel” for each part in

addition to the settings described above (p. 57).

(p. 88).

“How to make the system

Selecting RS-50 sounds from an external MIDI device

Transmitting Bank Select (Controller Numbers 0 & 32) and Program

Change messages from the external MIDI device to the RS-50 allows

you to switch patches and rhythm sets.

Transmit a value for the Bank Select MSB (controller number

0) (BnH 00H mmH) message to the RS-50.

Transmit a value for the Bank Select LSB (controller number

32) (BnH 20H llH) message to the RS-50.

Transmit a Program Change (CnH ppH) to the RS-50.

n: MIDI channel number

mm, ll: Bank number

pp: Program number

The “Perform Ctrl Ch” (Performance Control Channel) setting

lets you switch performances in Performance mode. With the

factory settings, this is set to “OFF”; performances will not be

switched.

Bank number/program number correspondence table

The MIDI messages transmitted by an external MIDI device

correspond with patches/rhythm sets on the RS-50 as shown in the

following table.

* If the Program numbers on your external MIDI device are referenced as

values from 0 to 127, find the appropriate number by subtracting 1

from the number in the following correspondence chart.

* When the RS-50 receives a Program Change message without receiving

the Bank Select, it switches to the patch or rhythm set with the same

Bank number as the currently selected patch or rhythm set.

For details on how numbers in the table correspond to the sound

of the RS-50, refer to

Performance

Group

User Preset 001–032 085 064 001–032

Patch

Group

User Preset 001–128 087 064 001–128

GM Patch 001–256 121 000– 001–128

“Patch list”

Number Bank Number Program

001–008 085 000 001–008

Number Bank Number Program

001–128 087 000 001–128

129–256 087 065 001–128 257–384 087 066 001–128 385–512 087 067 001–128 513–640 087 068 001–128

(p. 111).

MSB LSB

NumberMSB LSB

Number

Performing with an

external MIDI device

Performing with an external MIDI device

Keyboard Controller Section

While at this setting, the RS-50's keyboard and controllers are disconnected from the sound generating section, so they will not directly control it.

Sound Generating Section

All performance data that arrives at MIDI IN will be output from MIDI OUT.

Recording

RS-50

Sequencer

MIDI IN MIDI OUT

MIDI OUT MIDI IN

Set Local Control to Off.

Set Thru Function to On.

Rhythm Set

Group Number Bank Number Program

User Preset 001–020 086 064 001–020 GM Rhythm

001–002 086 000 001–002

001–009 120 000 001–057

NumberMSB LSB

Using an external MIDI controller to change the RS-50’s tones

Use of the Modulation lever, pedals, and control knobs to make

changes to the RS-50’s tones in real time is explained in

related to controllers (CONTROLLER)”

Transmitting Controller numbers set with Modulation Assign (p.

89), Pedal Control Assign (p. 90), and Knob Assign (p. 90) to the RS-

50 achieves the same effect as working the Modulation lever, pedals,

and knobs.

(p. 89).

“Settings

Recording to an external sequencer

Now, try using an external sequencer to record your music onto

multiple tracks, and then play back the recorded performance.

Making settings before recording

When recording to an external sequencer, the following steps must

be carried out.

• Set the RS-50’s Local Control to OFF (refer to the next section).

• Turn on the external sequencer’s Thru function (p. 97).

• Set the performance (p. 97).

Setting the RS-50’s local control to OFF

The setting that determines whether the keyboard controller section

(p. 40) and sound generator section are separated is referred to as

“

Local Control

When Local Control is on, playing the keyboard will produce sound,

and moving the pitch bend lever will control the pitch.

When Local Control is off, playing the keyboard will not produce

sound, and moving the pitch bend lever will not control pitch. The

sound generator of the RS-50 will produce sound only in response to

messages received from an external MIDI device.

fig.r10-21.e

.”

Connecting to an external sequencer

fig.r10-20.e

Before starting the connection procedure, make sure that

the power to all devices has been turned off.

After reading “Connecting the RS-50 to external equipment”

(p. 14), connect an audio device/system or headphones.

Connect the external MIDI sound device with a MIDI cable as

shown in the figure below.

As described in “Turning on the power” (p. 15), turn on the

power of each device.

RS-50

MIDI IN MIDI OUT

MIDI Sequencer

The performance data from the RS-50’s keyboard controller section

is output from the MIDI OUT connector and recorded by the

sequencer. This performance data is then also output back to the RS-

50 from the sequencer’s MIDI OUT connector and played by the RS-

50’s sound generator.

If Local Control were ON, each note would be played twice; once by

the music data from the keyboard controller section, and once again

by the data sent from the sequencer. In order to prevent such double

triggering, the Local Control setting is turned off to separate the

keyboard controller section from the sound generating section.

* If your sequencer does not have a Thru function, set the RS-50’s Local

Control to ON.

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “Local Control.”

fig.r10-22_40

By holding down [SHIFT] and using PAGE/CURSOR [ ]/

[] you can quickly select the “SYSTEM|GENERAL” group

(p. 90).

Use VALUE [-]/[+] to set the parameter to “OFF.”

Press [WRITE] to save the settings.

For further information, refer to

function settings”

Press [EXIT] to cancel the operation and return to the previous page.

* Regardless of the Local Control setting, music data from an external

MIDI device is always received and will play the internal sound

generator.

(p. 88).

“How to make the system

Turning on the external sequencer’s thru function

Turn the sequencer’s Thru function ON. The sequencer takes the

performance data received at the MIDI IN connector and outputs the

data unchanged from the MIDI OUT connector (refer to the previous

section).

To determine whether or not your sequencer features a MIDI Thru

function and for instructions on making the Thru function setting,

refer to the owner’s manual for your sequencer.

* If your sequencer does not have a Thru function, set the RS-50’s Local

Control to ON.

Setting the performance

Before beginning to record, first make the Performance settings

(select the Patches and Key mode, make any multi-effects, chorus,

and reverb settings, set the knobs, and so on).

Also set the Receive Channel and Receive Switch for each part

(p. 57)

Recording

Recording the performance’s settings at the beginning of the song

First, record the Performance settings at the beginning of the song. If

this is done, playing back the song from the beginning will

automatically set the RS-50 to the Performance settings that were

used during recording (regardless of the Performance that was

selected when playback began), ensuring that playback will use the

correct sounds and settings.

* Record the song at the tempo at which it is to be played back. If the

tempo used for playback of a song is changed from the tempo selected at

the time of recording, the RS-50 may not be able to correctly receive the

settings for the recorded Performance, which may prevent proper

playback of the performance data.

Performing with an external MIDI device

In Performance mode, press [UTILITY] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “XFER to MIDI.”

Press [ENTER].

Make “XFER to MIDI” settings as described in

performance settings from the MIDI OUT connector (XFER

to MIDI)”

Select “CUR PERFORM” for “What.”

Put your external sequencer in recording mode before you

execute “XFER to MIDI.”

Press [ENTER] to transmit the settings.

Do not press any key on the keyboard while the transmission is

in progress. Pressing a key sends Note messages from the MIDI

OUT connector.

To cancel the transmission, press [EXIT].

After the transmission is finished, the display will indicate

“COMPLETED.”

Stop the external sequencer.

(p. 61).

“Transmitting

Recording each part separately

Next, we will record the music data for each Part onto separate

tracks. We will start recording the song from the measure following

the one in which the Performance settings were recorded.

We will record tracks in the order of drums → bass →

accompaniment → melody, while listening to the tracks that were

recorded on previous passes.

For example, assign Tones to each Part as shown below.

Drums: Part 10

Bass: Part 9

Accompaniment: Part 6

Melody: Part 3

* Tone changes, and the actions of the Pitch Bend lever, Modulation

lever, knobs, and other controls are also recorded.

* It is not necessary to record the song at the tempo at which it is to be

played back. You may record at a tempo that is comfortable for you.

Listening to the recorded performance

When you finish recording all Parts, play it back and listen to the

result. Note the following when playing back a song.

* If you modify the settings of each Part (volume, panning, etc.), you will

need to re-record the modified performance settings at the beginning of

the song.

Set the “Rx Sys Exc” (System Exclusive Receive Switch) to ON (p. 90)

When set to OFF, the performance settings recorded at the beginning

of the song cannot be received. With the factory settings, this will be

“ON.”

Performing with an

external MIDI device

Performing with an external MIDI device

Set the same Device ID number used for recording (p. 91)

If not set to the same Device ID number, the performance settings

recorded at the beginning of the song cannot be received.

Make sure to start playback at the beginning of the song

When playback of a song is started at any point other than the

beginning, the performance settings at the time of recording are not

used, and the song is not played back correctly.

Playing together with the playback of a recorded performance

You can play the RS-50’s keyboard along with a previous

performance by playing while the recorded material is played back.

In this case, select a Part that was not recorded for playing the

keyboard.

Transposing playback of performances (Master Key Shift)

If you wish to transpose the playback of a song, use the Master Key

Shift setting. This setting will transpose all Parts except for the Drum

Part. You can specify a transposition of up to +/-2 octaves in

semitone steps.

Press [SYSTEM] so it is lit.

Use PAGE/CURSOR [ ]/[ ] to select “Master Key Sft.”

fig.r10-23_40

Using the RS-50 as a General MIDI/General MIDI 2 systemcompatible sound module

You can play back music data designed for General MIDI and

General MIDI 2 sound generators by connecting an external

sequencer and using the RS-50 as a sound module.

For instructions on connecting the external sequencer, refer to p.

96.

Playing back General MIDI/General MIDI 2 music data

Be sure to note the following when playing back General MIDI or

General MIDI 2 music data.

Set the System Exclusive Receive Switch to ON (p. 90).

When set to OFF, GM System On and GM 2 System On MIDI

messages cannot be received. With the factory settings, this will be

“ON.”

Make sure to play back from the beginning of the song

When playback of a song is started at any point other than the

beginning, the sound generator settings won’t be reset to the default

settings for General MIDI and General MIDI 2, so the song won’t be

played back correctly.

Use VALUE [-]/[+] to specify the value (-24– +24).

Value:

Press [WRITE] to save the settings.

For further information, refer to

function settings”

Press [EXIT] to cancel the operation and return to the previous

page.

-24– +24

“How to make the system

(p. 88).

Backing-up (saving) all RS-50 settings on your external MIDI sequencer

By executing the Performance or Patch Utility “XFER to MIDI”

command (p. 51, p. 61) with DUMP ALL selected as the content to be

transmitted (What), you can transmit all of the user area data

(patches, performances, system, etc.) from the MIDI OUT connector.

By recording these messages on your external MIDI sequencer and

saving them, you can back up all of the RS-50's data. If you want to

restore the backed-up data into the RS-50 once again, send the data

to the RS-50's MIDI IN. Do not operate the RS-50 while this data is

being received.

Performing with a computer

If you are using music software running on a computer, you can use the computer to operate the RS-50’s controls. Not only can you create and play back song data, you can also have Tones switch automatically.

What’s more, you can use the included RS Editor software to create Tones using the computer.

Connecting with MIDI cables

A MIDI interface is required for making MIDI connections with a computer. The MIDI interface is connected to the computer, and two MIDI cables connect the MIDI connectors of the MIDI interface to the RS-50’s MIDI connectors.

fig.Midi-00.e

RS-50 rear panel

MIDI

Interface

Macintosh IIci

MIDI INMIDI OUT

MIDI cable

Installing the included editor software

To help you get more out of your RS-50, it comes with RS Editor software. Use RS Editor to freely create your own original sounds.

Detailed instructions on installing the software can be found in the online manual contained on the RS Editor CD-ROM.

Windows users

•

In the RS Editor CD-ROM, open the Readme_E.txt.

•

Macintosh users

In the RS Editor CD-ROM, open the ReadMe(English).

computer

Performing with a

Memo

100

Roland RS-50 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

IMPORTANT NOTES

Contents

Main Features

Panel descriptions

Front panel

Rear panel

Getting ready

Reset to default factory settings (Factory Reset)

Listening to the demo songs

Quick Start

Try out the sounds

Applying various effects to the sound

Using the Rhythm Guide

Advanced Use

Overview of the RS-50

How the instrument is organized

Classification of RS-50 sound types

Effects

Number of voices

About memory

Temporary memory

Rewritable memory

Non-rewritable memory

Basic operation of the RS-50

Switching the mode

Patch mode

Performance mode

Editing parameters

Basic procedure

Executing a command

Assigning a name

When one page contains two or more settings

Inputting numbers and numerals

Selecting a part

Creating a patch (Patch mode)

How to make the patch settings

Changing the way that the tones are sounded (Key Mode)

Editing the patch parameters

Making settings that apply to the entire patch (Patch Common parameters)

Making settings for an individual tone (Patch Tone parameters)

Saving a patch

Convenient functions for patch editing (Patch Utility)

Copying patch parameters (PATCH PRM COPY)

Initializing the parameters of a patch (PATCH INITIALIZE)

Erasing a user patch you saved (PATCH REMOVE)

Transmitting patch/rhythm set settings from the MIDI OUT connector (XFER to MIDI)

Restoring the factory settings (FACTORY RESET)

Creating a rhythm set (Patch mode)

How to make the rhythm set settings

Editing the rhythm set parameters

Making settings that apply to the entire rhythm set (Rhythm Common parameters)

Editing the settings of each rhythm tone (key) (Rhythm Tone parameters)

Saving a rhythm set (User Rhythm Set)

Convenient functions for rhythm set editing (Rhythm Set Utility)

Copying effect settings from a rhythm set (RHY PRM COPY)

Initializing the settings of a specific rhythm tone (RHY INITIALIZE)

Erasing a rhythm set you saved (RHY REMOVE)

Playing more than one sound simultaneously (Performance mode)

Choosing a part and selecting the sound

Selecting performance numbers

Editing the settings of a performance

Making settings that apply to the entire performance

Editing the effect settings of a performance

Editing the part settings of a performance (Part Setup)

Editing the effect settings for each part of the performance (Performance Part Effect)

Saving a performance

Convenient functions for performance editing (Performance Utility)

Copying part or effect parameters (PERFORM PRM COPY)

Initializing the parameters of a performance (PERFORM INIT)

Transmitting performance settings from the MIDI OUT connector (XFER to MIDI)

Restoring the factory settings (FACTORY RESET)

Using the phrase/arpeggio function

Creating your own arpeggio template (User Template)

Using chord memory function

Creating an original chord set (User Chord Set)

Adding effects