Roland RS-70 User Manual

Owner’s Manual

Thank you, and congratulations on your choice of the Roland RS-70.

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

the written permission of ROLAND CORPORATION.

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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008e

• Use only the attached power-supply cord.

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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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012b

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

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

plug has been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

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

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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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102c

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

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103b

• Any accumulation of dust between the AC adaptor and the power outlet can result in poor insulation and lead to fire. Periodically wipe away such dust with a dry cloth. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time.

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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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107c

• Never handle the AC adaptor or its 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. 19).

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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.

353

• Observe the following when using the unit’s floppy disk drive. For further details, refer to “Before Using Floppy Disks” (p. 5).

• Do not place the unit near devices that produce a strong magnetic field (e.g., loudspeakers).

• Install the unit on a solid, level surface.

• Do not move the unit or subject it to vibration while the drive is operating.

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.

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, all of 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 on a floppy disk, or other devices.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored on a floppy disk, or in the unit’s memory 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.

Before Using Floppy Disks

Handling the Floppy Disk Drive

602

• Install the unit on a solid, level surface in an area free from vibration. If the unit must be installed at an angle, be sure the installation does not exceed the permissible range: upward, 2°; downward, 18°.

603

• Avoid using the unit immediately after it has been moved to a location with a level of humidity that is greatly different than its former location. Rapid changes in the environment can cause condensation to form inside the drive, which will adversely affect the operation of the drive and/or damage floppy disks. When the unit has been moved, allow it to become accustomed to the new environment (allow a few hours) before operating it.

604

• To insert a disk, push it gently but firmly into the drive— it will click into place. To remove a disk, press the EJECT button firmly. Do not use excessive force to remove a disk which is lodged in the drive.

605a

• Never attempt to remove a floppy disk from the drive while the drive is operating (the indicator is lit); damage could result to both the disk and the drive.

606

• Remove any disk from the drive before powering up or down.

607

• To prevent damage to the disk drive’s heads, always try to hold the floppy disk in a level position (not tilted in any direction) while inserting it into the drive. Push it in firmly, but gently. Never use excessive force.

608

• To avoid the risk of malfunction and/or damage, insert only floppy disks into the disk drive. Never insert any other type of disk. Avoid getting paper clips, coins, or any other foreign objects inside the drive.

653

• The identification label should be firmly affixed to the disk. Should the label come loose while the disk is in the drive, it may be difficult to remove the disk.

654

• Store all disks in a safe place to avoid damaging them, and to protect them from dust, dirt, and other hazards. By using a dirty or dust-ridden disk, you risk damaging the disk, as well as causing the disk drive to malfunction.

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.

Handling Floppy Disks

651

• Floppy disks contain a plastic disk with a thin coating of magnetic storage medium. Microscopic precision is required to enable storage of large amounts of data on such a small surface area. To preserve their integrity, please observe the following when handling floppy disks:

• Never touch the magnetic medium inside the disk.

• Do not use or store floppy disks in dirty or dusty areas.

• Do not subject floppy disks to temperature extremes (e.g., direct sunlight in an enclosed vehicle). Recommended temperature range: 0 to 50° C (50 to 122° F).

• Do not expose floppy disks to strong magnetic fields, such as those generated by loudspeakers.

652

•

Floppy disks have a “write protect” tab which can protect the disk from accidental erasure. It is recommended that the tab be kept in the PROTECT position, and moved to the WRITE position only when you wish to write new data onto the disk.

Rear side of the disk

Write (can write new data onto disk)

Write Protect Tab

Protect (prevents writing to disk)

204

* Microsoft and Windows are registered trademarks of

Microsoft Corporation.

206f

* Windows® 2000 is known officially as: “Microsoft®

Windows® 2000 operating system.”

206g

* Windows® Me is known officially as: “Microsoft®

Windows® Millennium Edition operating system.”

206h

* Windows® XP is known officially as: “Microsoft®

Windows® XP operating system.”

206e

* Screen shots in this documents are reprinted with

permission from Microsoft Corporation.

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.

Contents

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

Main Features........................................................................................11

Panel descriptions ................................................................................12

Front panel................................................................................................................................................. 12

Rear panel.................................................................................................................................................. 16

Getting ready.........................................................................................17

Connecting the RS-70 to external equipment....................................................................................... 17

Turning on/off the power....................................................................................................................... 18

Adjusting the display contrast (LCD CONTRAST) ............................................................................ 19

Reset to default factory settings (Factory Reset) ..............................20

Listening to the demo songs ...............................................................21

Demo songs list......................................................................................................................................... 21

Quick Start ...................................23

Try out the sounds................................................................................24

Selecting a patch .......................................................................................................................................24

Selecting a patch by category ......................................................................................................24

Selecting patches while listening to phrases (Patch Audition) .............................................. 26

Selecting a rhythm set.............................................................................................................................. 26

Playing arpeggios (Phrase/Arpeggio) .................................................................................................. 27

Changing the way in which the arpeggios are sounded......................................................... 27

Playing a chord at the touch of a finger (Multi-chord Memory)....................................................... 28

Switching chord sets..................................................................................................................... 29

Applying various effects to the sound................................................30

Changing the tone with the knobs (Patch Modify) .............................................................................30

Selecting the tone that you want to modify (DESTINATION TONE) .................................. 30

Adjusting the volume balance of the two tones .......................................................................30

Vibrato and Wah effects (LFO) ...................................................................................................31

Changing the sound’s volume (ENVELOPE) ........................................................................... 32

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

Using a lever to modify the sound......................................................................................................... 33

Changing the sound’s pitch in real time (Pitch Bend Lever).................................................. 33

Adding a vibrato effect to the sound (Modulation Lever)...................................................... 33

Using a pedal to modify the sound........................................................................................................ 34

Shifting the keyboard range in one-octave steps (Octave Shift)........................................................ 34

Moving the key range in half-steps (TRANSPOSE)............................................................................ 35

Waving your hand over the D Beam (D Beam Controller) ................................................................ 35

Effects that can be used with the D Beam controller ...............................................................36

Adjusting the sensitivity of the D Beam controllers (D BEAM SENS).................................. 38

Changing the polarity of the change (D BEAM POLARITY) ................................................. 38

Using the RS-70 effects............................................................................................................................. 39

Turning effects on and off (Master Effects Switch).................................................................. 39

...... 33

Using the sequencer to create a pattern ............................................40

Creating a new pattern based on a preset rhythm pattern ................................................................ 40

Creating a pattern from scratch (Pattern Initialize)............................................................................. 46

Editing a recorded pattern ...................................................................................................................... 46

Playing along with SMF data (SMF Player mode) ..............................47

Contents

Advanced Use .............................. 49

Overview of the RS-70 ..........................................................................50

How the instrument is organized ..........................................................................................................50

Basic structure................................................................................................................................ 50

Classification of RS-70 sound types....................................................................................................... 50

Effects ......................................................................................................................................................... 51

Sequencer................................................................................................................................................... 51

Number of voices ..................................................................................................................................... 51

About memory.......................................................................................................................................... 52

Temporary memory...................................................................................................................... 52

Rewritable memory ...................................................................................................................... 52

Non-rewritable memory ..............................................................................................................52

Basic operation of the RS-70 ...............................................................53

Switching the mode.................................................................................................................................. 53

Patch mode..................................................................................................................................... 53

Pattern mode.................................................................................................................................. 53

Song mode...................................................................................................................................... 53

SMF Player mode .......................................................................................................................... 53

Editing parameters................................................................................................................................... 53

Basic procedure .............................................................................................................................53

Executing a command .................................................................................................................. 53

Assigning a name.......................................................................................................................... 54

When one page contains two or more settings......................................................................... 54

Inputting numbers and numerals .......................................................................................................... 54

Selecting a part.......................................................................................................................................... 54

Creating a patch (Patch mode) ............................................................55

How to make the patch settings............................................................................................................. 55

Changing the way that the tones are sounded (Key Mode) ................................................... 55

Editing the patch parameters ......................................................................................................55

Making settings that apply to the entire patch (Patch Common parameters) ..................... 56

Making settings for an individual tone (Patch Tone parameters) .........................................57

Saving a patch ........................................................................................................................................... 59

Convenient functions for patch editing (Patch Utility)....................................................................... 60

Copying patch parameters (PATCH PRM COPY)................................................................... 60

Initializing the parameters of a patch (PATCH INITIALIZE)................................................ 61

Erasing a user patch you saved (PATCH REMOVE) .............................................................. 61

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

Restoring the factory settings (FACTORY RESET) .................................................................. 62

..................... 62

Creating a rhythm set (Patch mode) ...................................................63

How to make the rhythm set settings.................................................................................................... 63

Editing the rhythm set parameters............................................................................................. 63

Making settings that apply to the entire rhythm set (Rhythm Common parameters) ....... 63

Editing the settings of each rhythm tone (key) (Rhythm Tone parameters)........................ 63

Saving a rhythm set (User Rhythm Set)................................................................................................ 64

Convenient functions for rhythm set editing (Rhythm Set Utility) ..................................................64

Copying effect settings from a rhythm set (RHY PRM COPY).............................................. 64

Initializing the settings of a specific rhythm tone (RHY INITIALIZE) ................................. 65

Erasing a rhythm set you saved (RHY REMOVE) ................................................................... 65

Contents

Using the sequencer to create patterns (Pattern mode) ...................66

Playing patterns........................................................................................................................................ 66

Selecting a pattern to play back .................................................................................................. 66

Selecting pattern numbers ........................................................................................................... 66

Switching patterns during playback .......................................................................................... 66

Muting a part (Track Mute) ......................................................................................................... 67

Selecting a sound (patch) for each part...................................................................................... 67

Set the pattern tempo.................................................................................................................... 67

Recording your performance while you play it (Realtime recording) .............................................67

Recording .......................................................................................................................................67

Undo/redo the previous recording operation.......................................................................... 70

Various settings for realtime recording ..................................................................................... 70

Recording with the phrase/arpeggio function......................................................................... 72

Creating your own arpeggio template (User Template) ......................................................... 72

Using chord memory to record................................................................................................... 74

Creating an original chord set (User Chord Set) ......................................................................74

Recording notes one at a time (Step Recording)..................................................................................75

Inputting various types of notes ................................................................................................. 76

Editing individual items of music data (Microscope edit)................................................................. 76

Music data handled in Microscope mode ................................................................................. 76

Editing the music data.................................................................................................................. 77

Selecting the types of music data for viewing (View Filter)................................................... 78

Microscope Utility .................................................................................................................................... 78

Inserting music data (INS)........................................................................................................... 78

Deleting music data (DEL)........................................................................................................... 78

Moving music data (MOVE) ....................................................................................................... 78

Copying music data (COPY) .......................................................................................................78

Pasting music data (PASTE)........................................................................................................ 78

Editing the settings of a pattern .............................................................................................................79

Making settings that apply to the entire pattern ...................................................................... 79

Editing the effect settings of a pattern ....................................................................................... 80

Editing the part settings of a pattern (Part Setup).................................................................... 80

Editing the effect settings for each part of the pattern (Pattern Part Effect)......................... 82

Saving a pattern ........................................................................................................................................ 82

Convenient functions for pattern editing (Pattern Utility) ................................................................ 83

Erasing unwanted performance data (PTN ERASE) ............................................................... 83

Deleting unwanted measures (PTN DELETE).......................................................................... 84

Correcting the timing of a pattern (PTN QUANTIZE)............................................................ 84

Copying a pattern (PTN COPY).................................................................................................. 84

Inserting blank measures (PTN INSERT).................................................................................. 85

Transposing the pitch (PTN TRANSPOSE) .............................................................................. 85

Modifying the velocity of notes (PTN CHG VEL) ................................................................... 86

Modifying the note length (PTN CHG GT)............................................................................... 86

Shifting pattern data forward and back (PTN SHIFT CLK) ................................................... 87

Thinning out unneeded data (PTN DATA THIN)................................................................... 87

Initializing the parameters of a pattern (PTN INIT) ................................................................ 88

Creating your own user arpeggio style (PTNÆARP CONV) ................................................ 88

Copying parameters from a pattern (PTN PRM COPY) ......................................................... 89

Transmitting pattern settings from the MIDI OUT connector (XFER to MIDI)................... 90

Restoring the factory settings (FACTORY RESET) .................................................................. 90

Adding effects .......................................................................................91

Turning the effect function on and off (MASTER EFFECT SWITCH) ............................................. 91

The effect signal path ............................................................................................................................... 92

Making effects settings ............................................................................................................................93

Setting multi-effects parameters............................................................................................................. 94

Making chorus settings.......................................................................................................................... 112

Making reverb settings .......................................................................................................................... 113

How effects will switch while a pattern is playing................................................................ 113

Contents

Connecting patterns to create a song (Song mode) .......................114

Playing back a song................................................................................................................................ 114

Selecting a song to play back..................................................................................................... 114

Muting a part (Track Mute) ....................................................................................................... 114

Set the song tempo...................................................................................................................... 115

Creating a song ....................................................................................................................................... 115

Saving a song .......................................................................................................................................... 115

Editing song settings.............................................................................................................................. 116

Editing the song name................................................................................................................ 116

Looping the song......................................................................................................................... 116

Convenient functions for song editing (Song Utility)....................................................................... 116

Deleting an unwanted step (SONG STEP DELETE).............................................................. 116

Inserting a step (SONG STEP INSERT) ................................................................................... 116

Copying a song (SONG COPY) ................................................................................................ 117

Initializing the parameters of a song (SONG INIT) ............................................................... 117

Erasing a user song you saved (SONG REMOVE) ................................................................118

Restoring the factory settings (FACTORY RESET) ................................................................ 118

Using the floppy disk drive ................................................................119

Playing back an SMF file ....................................................................................................................... 119

Disk-related functions (Disk Utility) ...................................................................................................119

Loading a file from disk into the RS-70 (LOAD) .................................................................... 119

Saving data on disk (SAVE)....................................................................................................... 120

Preparing a disk for use by the RS-70 (FORMAT) ................................................................. 121

Creating a duplicate disk (BACKUP)....................................................................................... 122

Modifying the name of the disk (VOLUME LABEL)............................................................. 122

Deleting unwanted files (DELETE) .......................................................................................... 122

Renaming a file (RENAME) ...................................................................................................... 123

Checking the remaining space of the disk (DISK INFO)....................................................... 123

Settings common to all modes (System Function) .........................124

How to make the system function settings......................................................................................... 124

Functions of the system parameters .................................................................................................... 125

Settings common to the entire system (GENERAL) ..............................................................125

Settings related to the metronome (METRONOME)............................................................. 125

Settings related to controllers (CONTROLLER)..................................................................... 126

Settings related to MIDI and USB (MIDI&USB)..................................................................... 127

Checking memory usage status (MEMORY INFO) ............................................................... 128

Making scale tune settings for a patch (PATCH SCALE) ..................................................... 128

Performing with an external MIDI device..........................................129

About MIDI ............................................................................................................................................. 129

MIDI messages used by the RS-70 ....................................................................................................... 129

Using the RS-70 to play an external MIDI sound module................................................................ 130

Connecting to external MIDI sound modules ........................................................................ 130

Set the keyboard transmit channel ........................................................................................... 131

Playing the RS-70’s sound generator from an external MIDI device.............................................. 131

Connecting an external MIDI device........................................................................................ 131

Setting the patch receive channel.............................................................................................. 132

Setting the program change receive switch............................................................................. 132

Selecting RS-70 sounds from an external MIDI device.......................................................... 132

Using an external MIDI controller to change the RS-70’s tones........................................... 133

Recording to an external sequencer..................................................................................................... 133

Connecting to an external sequencer .......................................................................................133

Making settings before recording............................................................................................. 133

Recording .....................................................................................................................................134

Listening to the recorded performance.................................................................................... 134

Playing together with the playback of a recorded performance.......................................... 135

Transposing playback of performances (Master Key Shift).................................................. 135

Contents

Using the RS-70 as a General MIDI/General MIDI 2 system-compatible sound module........... 135

Playing back General MIDI/General MIDI 2 music data ..................................................... 135

Synchronizing images to an RS-70 performance (V-LINK) .............................................................136

What is V-LINK? ......................................................................................................................... 136

Connection examples.................................................................................................................. 136

Using V-LINK.............................................................................................................................. 136

V-LINK functions that the RS-70 can control and MIDI messages...................................... 137

Making V-LINK settings (V-LINK Setup)............................................................................... 137

Performing with a computer ..............................................................139

Installing & setup the driver (Windows) ............................................................................................ 139

Windows XP users ...................................................................................................................... 140

Windows 2000 users ................................................................................................................... 144

Windows Me/98 users ............................................................................................................... 147

Settings and checking ............................................................................................................................ 148

Specifying the output destination for MIDI data ................................................................... 148

Deleting the USB MIDI driver................................................................................................... 150

Installing & setup the driver (Macintosh)........................................................................................... 151

Installing the RS-70 driver .........................................................................................................152

OMS settings................................................................................................................................ 153

Connecting with MIDI cables ............................................................................................................... 155

Installing the included editor software ............................................................................................... 155

Appendix ...................................157

Troubleshooting..................................................................................158

Error Messages/Messages.................................................................164

Parameter list ......................................................................................165

Original Tone List ...............................................................................169

Patch List.............................................................................................172

Rhythm Set List...................................................................................178

Pattern List ..........................................................................................184

Arpeggio Template List ......................................................................184

Arpeggio Style List .............................................................................186

Multi-chord Set List ............................................................................186

MIDI implementation chart .................................................................188

Specifications......................................................................................190

Index.....................................................................................................191

Main Features

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.

An emphasis has also been placed on sounds important for music

production, such as guitar, bass, drums, and a variety of analog

sounds.

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-70, 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.

tones

” (pre-programmed instrumental sounds)

“Quick Sequencer” for easy operation

The built-in loop-based

for intuitive operation. You can create songs or arrangements simply

by layering phrases as you think of them. There’s no need to be

aware of MIDI settings—creating songs is quick and stress-free.

Patterns you create can be connected to create a song.

For those who have no prior experience with MIDI equipment—as

well as for experts—the RS-70 is the ideal way to capture your

musical ideas.

QUICK SEQ

(quick sequencer) is designed

V-LINK function

V-LINK

( ) is a function that provides for the play of

music and visual material. By using V-LINK-compatible video

equipment, visual effects can be easily linked to, and made part of

the expressive elements of a performance. By connecting the RS-70 to

the Edirol DV-7PR or V-4, you can switch images in synchronization

with music, or use the RS-70’s knobs and Pitch Bend/Modulation

Lever to control the brightness, color, or playback speed of the

images.

Compact and easy to carry

The RS-70 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,

Numerous rhythm patterns and phrase templates

The loop sequencer contains a variety of preset rhythm patterns

covering styles such as R&B, hip-hop, jazz, rock, and techno. In

addition, the “

phrases and playing techniques typical of each sound, simply by

pressing a key. By using these two features together, you can

produce music even more efficiently.

phrase template

” function makes it easy to produce

USB connector for connection to your PC

The rear panel has a USB connector for direct connection to your

computer. You can immediately start using the included sound

editor software or your own commercial sequencer software,

without having to provide a USB-MIDI interface.

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. By using this in conjunction with the

Quick Sequencer, you can easily create patterns with your favorite

chord progressions.

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.

Panel descriptions

Front panel

fig.04-01.l

D BEAM CONTROLLER

You can apply a variety of effects to patterns and patches simply by

moving your hand (p. 35).

[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.

37).

[VOLUME] knob

Adjusts the overall volume that is output from the rear panel

OUTPUT jacks and PHONES jack (p. 18).

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/Pattern/Song) or state.

[EFFECTS] button

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

accesses effect-related settings.

[UTILITY] button

In Patch/Pattern/Song 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-70, such as

tuning, display contrast, and MIDI message reception.

[PART SELECT] button

When this button is lit, you can use the direct access buttons to select

a part to play from the keyboard or to edit (p. 54).

MODE Section

[PATCH] button

Switches the RS-70 into the Patch mode (p. 53).

[PATTERN] button

Switches the RS-70 into the Pattern mode (p. 53).

[SONG] button

Switches the RS-70 into the Song mode (p. 53).

[TRACK MUTE] button

When this button is lit, you can use the direct access buttons to mute

(silence) individual parts of the music data that is playing (p. 67).

* You can manually play a part even when it is muted.

fig.04-01.r

Panel descriptions

GH I

[WRITE] / [DISK] button

WRITE: Saves patch/pattern/song settings or system settings.

DISK: By holding down [SHIFT] and pressing this button, you

can make settings related to the floppy disk (p. 119).

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

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

in octave steps (maximum +/-3 octaves) (p. 34).

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

down [SHIFT] allows you to transpose the

keyboard in semitone steps (-5–+6) (p. 35).

[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. 27).

[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. 28).

DISPLAY

This displays information regarding the operation you are

performing.

[NUMERIC] / [AUDITION] button

NUMERIC:

AUDITION:

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).

By holding down [SHIFT] and pressing this button, you

can repeatedly listen to an audition phrase for the

currently selected patch (p. 26).

[0]–[9] (DIRECT ACCESS buttons)

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

categories printed on the panel (p. 24). In Pattern mode, use these

buttons to directly select a pattern to play by specifying the lowest

digit of the pattern number (p. 66). However, if the [NUMERIC],

[PART SELECT], or [TRACK MUTE] 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, pattern,

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.

[V-LINK] button

Switches V-LINK on/off (p. 136).

Panel descriptions

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

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

move the cursor (p. 53).

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

and use these buttons to move between groups

(p. 53).

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] / [SMF PLAYER] button

TAP TEMPO: 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. 67).

SMF PLAYER: You can hold down [SHIFT] and press this button

to select SMF Player mode (p. 47).

[] (Backward) button

Press this to “rewind” a pattern or song. If you hold down this

button as you press [ ], the pattern or song will “rewind” faster.

Or, if you hold down [SHIFT] while using this button, the value will

change in larger steps (p. 66, p. 114).

Press this button while holding down [ ] to return to the

beginning of the pattern or song.

[] (Forward) button/REST button

: Use this button to fast-forward a pattern or song. If you

hold down this button as you press [ ], the pattern

or song will fast-forward faster. Or, if you hold down

[SHIFT] while using this button, the value will change

in larger steps (p. 66, p. 114).

REST: During step recording, press this button to input a rest

(p. 76).

[] (Stop) button/MICRO EDIT button

: Press this button to stop playback of the pattern or

song.

MICRO EDIT: You can hold down [SHIFT] and press this button to

use the Microscope edit function (p. 76).

[] (Play) button/TIE button

: Press this button to start playback of the pattern or

song.

TIE: During step recording, press this button to input a tie

(p. 76).

QUICK SEQ (Quick Sequencer) section

* The buttons in this section are generally valid in Pattern mode, Song

mode and SMF Player mode.

[] (Recording) button / STEP button

: Press this to begin pattern or song recording.

STEP: By holding down [SHIFT] and pressing this button, you

can enter Step Recording (p. 75).

[ERASE/UNDO] button

This button erases recorded data or cancels the pattern edit

operation. During loop recording, you can use this to selectively

erase data just like a pencil eraser (p. 69). Immediately after

recording is finished, you can press this button to erase (undo) the

recording itself (p. 70). If you press it again, the Undo will be

cancelled (redo).

PATCH MODIFY section

[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. 32).

[DECAY] knob

Adjusts the speed at which the sound decays while you

continue holding the key (p. 32).

[RELEASE] knob

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

the key (p. 32).

• If balance/LFO is selected (BALANCE/LFO

indicator lit)

[BALANCE] knob

Adjusts the LOWER and UPPER volume balance (p. 30).

[LFO RATE] knob

Adjusts the rate of the LFO effect, such as vibrato (p. 31).

[LFO DEPTH] knob

Adjusts the depth of the LFO effect, such as vibrato (p. 31).

[KEY MODE] button

Switches the Key Modes (p. 55).

[FILTER LFO] button

This determines whether the LFO changes the filter cutoff frequency

(ON), or the pitch (OFF) (p. 31).

Panel descriptions

[CUTOFF] knob

Changes the tone’s Cutoff Frequency value (p. 33).

[RESONANCE] knob

Changes the tone’s Resonance value (p. 33).

Floppy disk drive

3.5” 2DD/2HD floppy disks can be used. (Hereafter, this manual

will refer to “floppy disk” simply as “disk.”) To remove the disk,

press the eject button located at the right of the disk drive.

Pitch bend/Modulation lever

This allows you to control pitch bend or apply vibrato (p. 33).

Panel descriptions

Cord Hook

To the Power Outlet

The cord of

the supplied

AC Adaptor

Rear panel

fig.04-02

A BC EF G H ID

USB connector

This connector lets you use a USB cable to connect your computer to

the RS-70 (p. 139).

MIDI connectors (IN, OUT)

These connectors can be connected to other MIDI devices to receive

and transmit MIDI messages (p. 129). 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. 17).

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. 17).

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.

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. 17).

Be sure to use only the supplied AC adaptor.

POWER switch

This switch turns the power on/off (p. 18).

Ground terminal

927

In some cases, depending on the environment in which the unit is installed,

the surface of the panel may sometimes feel rough and grainy. 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.

PHONES jack

This is the jack for connecting headphones (sold separately) (p. 17).

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-70 to external equipment

The RS-70 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-70 as a stand-alone device.

fig.q01-01.e

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-70, and then plug its other end

into a power outlet.

• In order to take full advantage of the RS-70’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.

Getting ready

Once the connections have

been completed (p. 17),

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-70 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-70 to play an external MIDI sound module (p. 130) Playing the RS-70’s sound generator from an external MIDI device (p. 131) Recording to an external sequencer (p. 133)

Turning on/off the power

Turning on the power

Before turning on the RS-70’s power, check the following:

• Are all devices connected properly?

• Are the volume controls of the RS-70 and any other connected equipment turned to the minimum position?

• Is the AC adapter correctly connected to the RS-70?

Press the power switch on the rear panel of the RS-70 to turn on the power.

fig.q01-02

Turn on the power of the connected audio devices.

Play the RS-70’s keyboard and gradually raise the volume controls of the

RS-70, 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-70’s

volume level carefully.

Excessive volume can

damage connected audio

devices, your hearing, or

annoy your neighbors.

Turning off the power

231

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

• Are the volume controls of the RS-70 and the other connected equipment turned to the minimum position?

• Have you saved the sounds or other data you’ve created? (p. 59, p. 64, p. 82, p. 115)

Turn off the power for all connected audio devices.

Turn off the RS-70’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

Getting ready

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-70 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 Factory Reset is being performed, 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-70’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 on a disk (p.

120).

Press [ENTER].

fig.q02-03_40

Press [ENTER] again to execute the Factory Reset.

The Factory Reset operation will require several minutes.

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

Pattern mode or Song

mode (p. 90, p. 118).

Listening to the demo songs

The RS-70 contains Demo songs. Here’s how to listen to the demo songs and experience the superb sounds and effects of the RS-70.

fig.q03-01

2431

Press [ENTER] while holding down [SHIFT].

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 [ ] 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.

While the demo songs are

playing back, playing the

keyboard will not produce

sound.

Press [ ] to stop playback.

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

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. 59, p. 64, p. 82).

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-70 comes with 3 demos.

TightPocket / Ken Suzuki



Roland Corporation

Crystal Vision / Adrian Scott



Roland Corporation

Relax Me / Scott Wilkie



2003 Scott Wilkie Media (ASCAP)

Memo

Quick Start

Try out the sounds

Selecting a patch

On the RS-70, 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. 55), and make independent settings for each tone (p. 57).

■

Selecting a patch by category

The RS-70 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] PIANO (Pf) PNO AC.PIANO Acoustic Piano

[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

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. 172)

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. 26).

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. 54).

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

While holding down [SHIFT], press [NUMERIC].

The currently selected patch will begin sounding.

Select patches as described in

Selecting a patch by category

(p. 24).

Press [EXIT] to stop the patch audition.

Selecting a rhythm set

The RS-70 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. 54).

Rhythm Set List (p. 178)

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 the Quick Sequencer. Since the RS-70 provides arpeggio select, you can produce appropriate arpeggios immediately. You can also select one key, without pressing a chord (p. 72).

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 you

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. 28)

Arpeggio Template List

(p. 184)

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-70 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. 72).

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-70 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 Quick 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. 74).

]

Multi-chord Set List (p.

186)

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-70, each patch consists of two tones; the (p. 50). The way that the tones are sounded (Single/Split/Dual) is saved in each patch, and you can change this using [KEY MODE] (p. 55).

■

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-70 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. 58).

Independently for each

patch, you can specify

whether the effect is to be

applied to the upper or the

lower tone (p. 57).

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. 126).

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. 126).

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-70 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-70’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. 38). 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. 38).

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. 57) 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. 58) VOLUME CC07 Level BALANCE CC08 The volume balance of LOWER and UP-

PAN CC10 Pan (p. 57) EXPRESSION CC11 Level PORTAMENTO CC65 Portamento Switch (p. 58) SOSTENUTO CC66 Holds the sound of the key being pressed SOFT CC67 Softens the Tone RESONANCE CC71 Tone Filter Resonance (p. 59) RELEASE TIME CC72 Tone Envelope Release Time (p. 59) ATTACK TIME CC73 Tone Envelope Attack Time (p. 59) CUTOFF CC74 Tone Filter Cutoff (p. 58) DECAY TIME CC75 Tone Envelope Decay Time (p. 59) LFO RATE CC76 Tone LFO Rate (p. 58) LFO DEPTH CC77 Tone LFO Depth (p. 58) LFO DELAY CC78 Tone LFO Delay (p. 58) CHO SEND LEVEL CC93 Chorus Send Level (p. 57) REV SEND LEVEL CC91 Reverb Send Level (p. 57) 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 SEQ START/STOP ---- Starts and stops the Quick Sequencer

In Patch mode, the effect will apply to the patch. In Pattern mode, the effect will apply to the patch assigned to the current part. Use [DESTINATION TONE] to specify the tone (p. 30). “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. 56)

Control 1 (p. 95)

Control 2 (p. 95)

→

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. 95) or 42: LOFI (p. 109), 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. 103), or 24: FB PCH SHIFT (p. 104), 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-70 effects

Three separate effects are always available in the RS-70. You can independently edit each effect’s settings.

Multi-Effects

The RS-70 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. 93).

The On/Off settings for

each Effect affect the RS-70

as a whole (i.e., are system

settings). This setting

remains stored in memory

even while the power is off.

Using the sequencer to create a pattern

The RS-70’s only rhythms. This means that you don’t need to input the drums from scratch in order to create your own melodies or patterns. Simply play the keyboard while you listen to a rhythm pattern repeat, and practice until you find a bass or melodic line you like. When you have come up with something, add layers for additional parts to create your own original pattern. Patterns that you create in this way can be connected to make a longer song. The RS-70 makes it easy for you to create songs. While continuing the looped playback, you can change the part you are recording, switch sounds, or even continue deleting the previous take in real time until you are satisfied.

QUICK SEQ (Quick Sequencer

) provides numerous patterns that play

Creating a new pattern based on a preset rhythm pattern

The RS-70 lets you save 256 user patterns (001–256). The first 128 of these (001–128) are already occupied by user patterns.) Preset patterns 010–119 consist only of rhythm sounds. Here’s how you can start with a preset rhythm pattern, and add additional nonrhythm parts.

This chapter explains how to create a pattern like the following.

Select a preset pattern.

preset patterns

. (You can also edit and overwrite them as

Recording the bass part.

Recording the solo (synth) part.

1. Select a preset pattern

fig.q06-21

Press [PATTERN] so it is lit and you are in Pattern mode.

The currently selected pattern name will be displayed.

Use VALUE [-]/[+] to select “010:POP 1 (8Bt).”

fig.q06-01_40

Press [ ] to play the pattern.

The pattern will play the rhythm part repeatedly until you press [ ] or switch patterns.

At this time, make sure that

oth [PART SELECT] and

[TRACK MUTE] are unlit.

There are various

convenient ways to select a

pattern in addition to using

VALUE [-]/[+]. For more

about selecting patterns,

refer to

pattern to play back

66).

Selecting a

(p.

2. Set the tempo

BPM stands for Beats Per

Minute, and indicates the

number of quarter notes

that occur in one minute.

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 to “90.”

fig.q06-02_40

Using the sequencer to create a pattern

You can also set the tempo

y tapping [TAP TEMPO]

(p. 67).

Quick Start

You can change the BPM before or after the recording.

Here, we've set the tempo slower than that of the original so the keyboard can be played slowly, but if you find it difficult to play at this tempo, you can change it to any value you like.

Press [EXIT] to return to the previous screen.

3. Record the bass part

Next, record (overdub) the bass part while you listen to the rhythm.

fig.q06-23

Press [PART SELECT] so it is lit.

Press [9].

The button will light, and the part 9 is selected.

Use VALUE [-]/[+] to select your favorite patch.

Selecting a part (p. 54)

Using the sequencer to create a pattern

You can only select patches from the category that is assigned to the part you are recording. If you want to use a patch from another category, you must assign that category to the part to be recorded.

[ ]/[ ] to step through the categories assigned to [0]–[9]

Assigning patches of the same category to multiple buttons (p. 68).

Recording standby

fig.q06-24

You can hold down [SHIFT] and use PAGE/CURSOR

. For details, refer to

332 1

If the pattern is playing, stop the pattern.

Press [ ].

The button will blink and you will be in the recording standby state. If you do not want to record, press [ ].

Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use VALUE [-]/

[+] to specify the value.

Here you do not need to change the value.

fig.q06-03

(A)

Values A:

B/C:

Specify the measure location at which recording will begin. Normally, you will start from 1. Specify the time signature of the pattern. As you are using a preset pattern, this cannot be changed. Specify the number of measures that you want to record. This time, you can leave this at the length of the preset pattern. If for some reason you want to change this, it can be set longer than the number of measures in the preset pattern, but cannot be set to a shorter number.

Deleting unwanted

measures (PTN DELETE)

(p. 84)

5. Begin recording

Finally, you are ready to begin recording.

Press [ ] to begin recording.

Recording will begin as specified by the Count In setting (p. 71). When the recording starts,[ ] will light. Play the keyboard along with the drum sounds of the preset pattern. When the specified number of measures have finished playing, playback will continue repeating from the beginning of the pattern, allowing you to listen to the performance that you just recorded.

Using the sequencer to create a pattern

You can sound the metronome

while recording (p. 125).

You can apply realtime

quantization to correct the

timing of your performance

(Quantize Mode; p. 71).

Quick Start

6. If you make a mistake (

If you made a mistake or were not satisfied with your playing, you can use

erase

to erase the performance that you just recorded.

While recording, press [ERASE/UNDO] to select the realtime erase

standby state.

fig.q06-05_40

Erase the unwanted notes.

To erase only specific notes from the notes you just recorded

Hold down the key of the note(s) you want to erase. Note data of that key will be erased while you continue holding down the key.

fig.q06-06_40

If you hold down two or more keys, all note data between the lowest and highest keys will be erased while you continue holding down the keys.

fig.q06-07_40

Realtime Erase)

realtime

Recording with the

phrase/arpeggio function

Using chord memory to

record (p. 74)

To erase all of the notes you just recorded

Press [ERASE/UNDO]. All the musical data of the current part will be erased while you continue holding down the button.

In either case, you will return to the realtime erase standby state when you release the key(s) or button.

Press [EXIT] to return to recording.

If you press [ ], recording itself will end.

7. Record the synth part

8. Practice before you record (Recording Rehearsal)

When you have come up with a bass phrase that you like, you can then record the synth part. From the recording state, press [ ] once again. [ ] will blink, and you will be in the

recording rehearsal

but the data will not actually be recorded. In other words, you can listen to the looped playback while choosing the next sound or practicing your playing.

state. Operation is the same as during normal recording,

Using the sequencer to create a pattern

Press [ ] in the recording state.

[] will blink, and you will be in the recording rehearsal state.

fig.q06-04_40

Press [8].

The button will light, and part 8 will be selected.

Use VALUE [-]/[+] to select your favorite patch.

Play the keyboard to practice the part that you will record next while you listen to the drums and bass.

Press [ ] again.

[] will light, and recording will begin. If you press [ ] when in the recording rehearsal state, you will exit the recording state itself.

9. Repeat steps 5.–8.

If you want to record additional parts, repeat steps 5–8.

Realtime erase can also be used even after you have recorded other parts. Use [0]–[9] to select the part that contains the data you want to erase. Then erase the data as described in step 6.

10. Stop recording

When you have completed your pattern, press [ ] to stop recording. If after you stop recording, you decide that you are not satisfied with your previous realtime recording, you can return to the state prior to recording (Undo) or cancel the Undo operation to bring back the prior state (Redo). For details, refer to

the previous recording operation

Selecting a part (p. 54)

You cannot change parts

while actually erasing data.

Undo/redo

(p. 70).

11. Re-set the tempo

Change the tempo you specified for recording in step 2 back to the original 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 [ ] to play back the pattern, and check the modified tempo. You can change the tempo even while the pattern is playing. Set the tempo as desired.

Press [EXIT] to return to the previous screen.

12. Saving your pattern

fig.q06-27

A pattern you create will be lost when you turn off the power of the RS-70 unless you have saved it. When you have created a pattern that you like, be sure to save it. Use the following procedure to save a pattern that you recorded.

Press [PART SELECT] so the indicator goes out.

Press [WRITE].

fig.q06-10_40

Using the sequencer to create a pattern

Quick Start

4321

Initially, the number of the preset pattern you selected will be displayed. Although you are free to overwrite the data onto this number, this will make it difficult to return to the original state in which it contained only the rhythm pattern. For this example, we will save the data in a new number that currently contains no data.

Use VALUE [-]/[+] to specify the pattern number (001–256) in which you

want to save your pattern.

Select “129.”

fig.q06-10_40

Numbers in which no data has been saved will be displayed as shown above. If data has already been saved in “129,” use VALUE [+]/[-] to select a number that does not contain data.

Be aware that if you save data in a pattern number (including a preset pattern; 001–

128) that already contains data, all of the settings it originally contained will be overwritten and lost. To avoid accidentally overwriting data, we recommend that you always assign a name to a new pattern that you create. By using the Factory Reset operation (p. 20) you can restore the modified preset patterns.

Press [ENTER].

When the pattern has been saved, the display will indicate “COMPLETED.” If you want to rename the pattern, refer to p. 79.

If you decide not to save

the user pattern, press

[EXIT].

Using the sequencer to create a pattern

Creating a pattern from scratch (Pattern Initialize)

fig.q06-26

If you want to create a pattern completely from scratch (i.e., without using a preset pattern), you must first create a blank pattern by initializing a pattern.

5, 621 34

Be aware that when you initialize a pattern (including a preset pattern; 001–128) that already contains data, all of the settings it contained will be lost. By using the Factory Reset operation (p. 20) you can restore the modified preset patterns.

Press [PATTERN] so it is lit and you are in Pattern mode.

Use VALUE [-]/[+] to select a pattern number to be initialized.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “11:PTN INIT.”

fig.q06-08_40

Press [ENTER].

Press [ENTER] again to execute the pattern initialization.

When the display indicates “COMPLETED,” the pattern initialize operation has been completed. Now you can simply repeat steps 2 and following of

on a preset rhythm pattern

(p. 40).

Creating a new pattern based

Editing a recorded pattern

A pattern you record can be edited later using a variety of editing functions. To further polish your pattern, you can edit the pattern parameters (p. 79) or use the microscope (p. 76) to edit individual events of the recorded data.

Playing along with SMF data (SMF Player mode)

523 4

Standard MIDI file is a format that allows performance data to be exchanged between many different musical applications. The RS-70 can playback commercially available General MIDI/General MIDI 2compatible standard MIDI files. In this mode, you can directly play back an SMF file stored on a floppy disk without having to load it into the RS-70. This provides a simple way for you to enjoy an accompaniment provided by music data, muting one of the recorded parts, and playing the muted part yourself.

Never attempt to remove a floppy disk from the drive while the SMF data is

playing back; damage could result to both the disk and the drive.

fig.q07-01

minus-one performance

—listening to

Quick Start

Using

Insert the disk that contains the SMF files into the disk drive.

While holding down [SHIFT], press [TAP TEMPO].

[SONG] will blink and the RS-70 will be in SMF Player mode. And the song titles of the SMF files on the floppy disk will be displayed.

fig.q07-02_40

Use VALUE [-]/[+] to select an SMF file.

Press [ENTER].

Press [ ] to play back the file.

Press [ ] to stop play.

minus-one performance

In SMF Player mode, press [TRACK MUTE] so it is lit.

The buttons for all parts will light.

Press the button for the part that you want to mute, so it blinks.

Press [TRACK MUTE] again so the indicator goes out.

If no song title has been

assigned, the file name will

e displayed.

If you press PAGE/

CURSOR [ ], the display

will always show the file

name.

Press [PART SELECT] so it is lit, and then press one of the [0]–[9] buttons to

select the part that you yourself will play.

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

Selecting a part (p. 54)

Memo

Advanced Use

Overview of the RS-70

How the instrument is organized

Basic structure

Broadly speaking, the RS-70 consists of a

section, a

fig.r01-01.e

sound generator

Quick Sequencer

Section

Recording

Keyboard Controller Section (controllers

such as keyboard, pitch bend lever, etc.)

section, and a

Playback

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,

sequencer section, and/or an external sound device.

keyboard controller

quick sequencer

Sound

Generator

Section

Play

section.

Classification of RS-70 sound types

When using the RS-70, 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-70, 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

Upper Tone Lower Tone

Patches

On the RS-70, 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. 55). Detailed settings can be made independently for

each of the two tones (p. 57).

and

patches

lower tone

. A patch is analogous to an instrument

. You can assign the two tones to their

Sound generator section

According to the performance data it receives from the Keyboard

Controller section and Quick Sequencer 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).

Quick sequencer section

This section records operations such as your keyboard playing on

several independent parts, and sends this data to the sound

generator section to play it back. A loop recording function makes it

easy to create a musical pattern of any desired length. The patterns

you create can be connected in any desired order and played as a

song.

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

Rhythm Set

Note Number 98 (D7)

Note Number 97 (C#7)

Note Number 36 (C2)

Note Number 35 (B1)

Overview of the RS-70

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).

Sequencer

sequencer

can play back the performance data that was recorded.

The RS-70 is a sequencer that plays back patterns and adds changes

to the playback method. This type of sequencer is referred to as a

pattern sequencer

Part

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

the RS-70 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; this is the part that your recording and editing will affect.

The RS-70 has a total of sixteen parts. For details on how to switch

the current part, refer to

is a device that records musical performance data, and

“Selecting a part”

(p. 54).

Number of voices

Maximum polyphony

The sound generator of the RS-70 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-70 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. 79).

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. 169).

“Original

Overview

Pattern

pattern

is 1–998 measures of performance data consisting of

sounds (patches or rhythm sets) for up to 16 parts.

fig.r01-04a.e

Pattern

Part 16

Part 1

Patch/

Rhythm Set

Song

Two or more patterns connected in the order of playback are called a

song.

In one song, you can register up to 50 patterns in the desired order of

playback.

Overview of the RS-70

Save

RS-70

Temporary Area

System

Disk

System

Data File (.RSU)

Save

Load

Presets

User

Patches:

Rhythm Sets

Arpeggio Templates

Arpeggio Styles

Multichord Sets

Patches:

128

Rhythm Sets:

Patterns:

256

Songs:

Arpeggio Templates: 8

Arpeggio Styles: 8

Multichord Sets: 8

Select Select

Patches:

128

Rhythm Sets:

Patterns:

256

Songs:

Arpeggio Templates: 8

Arpeggio Styles: 8

Multichord Sets: 8

About memory

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,

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 a 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-70 functions.

User memory

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

memory contains 128 patches, 16 rhythm sets, 256 patterns at the

maximum, and 99 songs at the maximum.

An image of all data stored in the user area can be stored by the

RS-70 on a floppy disk in a single file with an extension of

“.RSU” (p. 120). If you load the saved “.RSU” file back into the

RS-70, all settings of the entire RS-70 will return to the state they

were in when the file was saved. You may wish to keep files of

this type on separate floppy disks for different situations, such as

various types of live performances.

Disk (Optional: 3.5” 2DD, 2HD)

You can use a disk to store data that has been saved to user memory

(including system settings such as chord memory, arpeggio user

templates, and arpeggio styles) (p. 119). Patterns you create can be

stored on a disk as SMF data, so that they can be used on your

computer (p. 121).

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-70

Switching the mode

The RS-70 has numerous functions, and these functions are

organized into the following four 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-70 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

Pattern mode

In this mode, you can simultaneously play different sounds on up to

sixteen parts. You can use the Quick Sequencer function to select and

play patterns (p. 51), or create your own patterns. After turning on

the power, press [PATTERN] 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 256 user patterns.

fig.r02-02_40

Use Pattern mode if you are using the RS-70 as a multitimbral

sound module connected to an external device, such as a

computer.

Song mode

In this mode, you can create a song by connecting two or more

patterns in the order of playback.

In one song, you can register up to 50 patterns.

After turning on the power, press [SONG] to select this mode.

In Song mode you can select, play, and create songs.

fig.r02-03_40

You can select this mode by holding down [SHIFT] and pressing

[TAP TEMPO] (p. 47).

fig.r02-04_40

Editing parameters

On the RS-70, 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. 68).

groups

. When editing such parameters, you can

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

pages

Basic Operation

SMF Player mode

In this mode, SMF (Standard MIDI File) format music data can be

read directly from a floppy disk and played back.

You can use General MIDI/General MIDI 2 compatible music data

in this mode to enjoy

musical accompaniment with the melody part muted, and playing

the melody yourself.

minus-one performance

— listening to a

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

Parameter copy (p. 60).

Basic operation of the RS-70

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/

pattern/song, 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) and (B), and use VALUE [-]/[+] to

modify the value of each parameter.

Example: Microscope

fig.r02-08

(A) (B)

Inputting numbers and numerals

On the RS-70, you can select a patch/pattern 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

You can use the same method as described above to input a

Standard MIDI File name or a volume label, but you will not be

able to use lowercase characters or some symbols (space, ! “ * + , .

/ : ; < = > ? [ ¥ ] ^ _ ` { | }).

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-70 you can use [0]–[9] to select parts.

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

Press [PATTERN] or [SONG] so it lights and you are in either

Pattern or Song 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. 24).

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. 30)

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. 91).

Since the RS-70’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-70, 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. 63).

), and edit it to

parameter

(p. 91).

. 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-70, 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. 50). The [KEY MODE]

Patch Mode

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

divided (p. 56).

DUAL:

The upper and lower tones are layered to create a

rich sound.

Editing the patch parameters

Press [PATCH] so it lights 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. 56)

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”

Category

). Saving an edited patch in

(Clav, Harpsichord, etc.)

gan

etc.)

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 lights 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.

You can select from patches Pf01–U128 (user patches).

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.

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 lights 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 “PTN (Pattern)” 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. 20).

Press [PATCH] so it lights 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.

Patch Mode

Copying “PTN (Pattern)” effect settings

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

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 lights 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 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.

Press [PATCH] so it lights 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].

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

PATCHES.”

If you selected “CURRENT PATCH,” proceed to step 8.

Press PAGE/CURSOR [ ] to specify the first number of the

range of user patch numbers that you want to transmit.

fig.r03-24_40

Press PAGE/CURSOR [ ] 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.

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. 20).

Creating a rhythm set (Patch mode)

The RS-70 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 lights and you are in Patch mode.

Select a rhythm set (p. 26).

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. 54).

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/

The range that can be edited on the RS-70 and by sound editing

software is A0–C8. Some rhythm sets place rhythm tones outside

this range. These tones cannot be edited.

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

Patch Mode (Rhythm)

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 lights 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. 30) 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–U16).

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.

(p. 63)

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 lights 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 “PTN (Pattern)” effect settings.

Press PAGE/CURSOR [ ].

Copying “RHYTHM” effect settings

Select the copy-source rhythm set.

fig.r04-16_40

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).

For more about the category group, refer to

(p. 60).

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. 63),

Copying “PTN (Pattern)” effect settings

Select the copy-source pattern.

fig.r04-17_40

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. 63) 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. 20).

Press [PATCH] so it lights 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 lights 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

Creating a Patch (Patch Mode) (

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

MIDI)

, or

Restoring the factory settings (FACTORY RESET)

p. 62) 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)

Patch Mode (Rhythm)

Using the sequencer to create patterns (Pattern mode)

The

Quick Sequencer (QUICK SEQ)

easy to loop-record over preset rhythms or your own original

rhythms to quickly create

measures in length). If you’re not satisfied with the recorded content,

you can erase it at the touch of a button and try again until you are

happy with the results, in this way building up an original song.

By using preset patterns 001–128 as well, you can create a

maximum of 256 patterns. (This will depend on the amount of

performance data within each pattern.) As necessary, you can

create patterns that are as long as 998 measures.

You will use Pattern mode to create and play back patterns. In

Song mode you can arrange the created patterns in the desired

order to create an entire song (p. 114).

patterns

Playing patterns

In Pattern mode you can simultaneously play up to sixteen parts,

each with their own sound (Patch or Rhythm Set). For example, with

parts configured as shown below, drums, piano, guitar, and bass

will play simultaneously, giving you a band-like ensemble.

EXAMPLE

0 RHYTHM & SFX part: rhythm set

1 PIANO part: acoustic piano

3 GUITAR part: electric guitar

9 BASS part: fretless bass

built into the RS-70 makes it

(performance data several

Selecting a pattern to play back

Press [PATTERN] so it is lit and you are in Pattern mode.

The name of the currently selected pattern is displayed.

Make sure that both [PART SELECT] and [TRACK MUTE] are

unlit.

fig.r06-02_40

Select the pattern number that you want to play.

Select the pattern number from 001 to 256.

In addition to rhythms, 001–009 also contain performances

already recorded on each part. When first trying out playback

methods, you may want to start by selecting these sample

patterns.

Press [ ] to play the pattern.

Press [ ] to stop play.

Selecting pattern numbers

Using VALUE [-]/[+]

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

follows the currently selected pattern.

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

number you select will take effect immediately, and the pattern will

be selected.

By switching patterns and adding or removing parts

(instruments) while playback continues, you can perform dance

music in a way similar to when using Roland’s “Groovebox”

series.

Basic playback operation

Use the following buttons to control the playback.

fig.r06-01.e

Used for recording

Returns to the previous measure.

Stops playback.

Press these simultaneously to move to the beginning of the pattern.

Advances to the next measure.

Plays a song.

Using the direct access buttons

• When not using the [NUMERIC] function

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

The two upper digits 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

pattern will be selected.

• When using the [NUMERIC] function

Press [NUMERIC] so it is lit.

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

Switching patterns during playback

If you switch patterns while a pattern is playing, the newly selected

pattern will begin playing after the currently playing pattern ends.

You can also perform a song by connecting patterns in this way.

While a pattern is playing, select the pattern that you want to

play next.

Using the sequencer to create patterns (Pattern mode)

When the currently playing pattern ends, the pattern you

selected in step 1 will begin playing.

When the currently playing pattern nears the end, the pattern

number in the lower line of the display will begin to blink. Once

the number begins to blink, you will no longer be able to specify

the next pattern, since preparations for switching patterns have

already begun.

fig.r06-04_40

When the pattern changes, the tempo display will also change.

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

Press [EXIT] to return to the previous screen.

When you press [TAP TEMPO], the tempo display will always

be updated according to tempo changes in the pattern.

You cannot realtime-record tempo changes.

Muting a part (Track Mute)

By switching the play/mute status of various parts while the pattern

plays, you can add dynamic variation to the playback without

switching to a different pattern.

If you want to do things such as mute only the kick drum, or

mute individual drum tones (percussion instrument sounds),

you can use parts that are not used by that pattern, then assign

rhythm sets to several parts (p. 68) and record the percussion

instruments separately.

Press [TRACK MUTE] so it is lit.

Press a lit or blinking button ([0]–[9]) corresponding to each

part to switch it between play and muted status.

Lit: The playback data is not muted

Blinking: The playback data is muted.

Unlit: There is no playback data.

The RS-70 has a total of sixteen parts.

To switch the play/mute status of parts 11–16, hold down

[SHIFT] and press [1]–[6].

“Selecting a part”

(p. 54)

Pressing a button to modify the tempo (Tap 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.

fig.r06-06

The button lets you check the tempo and time signature. During

the playback, the button will blink in red on the first beat of each

measure, and in green on subsequent beats.

BPM

BPM stands for Beats Per Minute, and indicates the number of

quarter notes that occur in one minute.

Standard tempo

An optimal tempo is already set for each pattern. This is called

the “standard tempo.” Regardless of whether the pattern is

playing or stopped, switching to another pattern will switch to

the standard tempo value of that pattern.

Selecting a sound (patch) for each part

Press [PART SELECT] so it is lit.

Use [0]–[9] to select the part to change the sound.

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

(p. 54).

Use VALUE [-]/[+] to select a patch.

“Selecting a patch”

(p. 24)

Set the pattern tempo

Press [TAP TEMPO] so it is lit.

The current tempo of the pattern will be displayed.

fig.r06-05_40

Recording your performance while you play it (Realtime recording)

Recording

1. Select a part and sound to record

Press [PART SELECT] so it is lit.

Use [0]–[9] to select the part that you want to record.

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

(p. 54).

Use VALUE [-]/[+] to select a patch.

“Selecting a patch”

(p. 24)

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

This means you are changing the pattern settings.

2. Recording standby

If the pattern is playing, stop the pattern.

Press [ ].

[] will blink, and you will be in the

Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use

VALUE [-]/[+] to specify the value.

fig.r06-07_40

Values

B/C:

Specify the measure location at which recording is to begin.

Specify the time signature of the pattern. You can set

the time signature of a pattern only when the pattern

length is 0.

Specify the number of measures that you want to

record. It can be set longer than the number of measures

in the pattern, but cannot be set to a shorter number.

recording standby

(A)

state.

Use [0]–[9] to select the part that you want to record next.

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

(p. 54).

Use VALUE [-]/[+] to select a patch.

Find the patch that you want to use.

You can only select patches from the category that is assigned to

the part you are recording. If you want to use a patch from

another category, you must assign that category to the part to be

recorded. For details, refer to

category to multiple buttons”

5. Recording the next part

While in the recording rehearsal state, press [ ] again.

[] will light, and recording will begin.

Repeat steps 4 and 5, and switch parts as you record the pattern.

You can press [TRACK MUTE] to select a recorded part and

mute it (p. 67).

6. Stop recording

“Deleting unwanted measures (PTN DELETE)”

“Settings related to the metronome (METRONOME)”

At this point you can press [PARAM] to set the recording mode

or quantization settings (p. 70).

(p. 84)

(p. 125)

When you have completed your pattern, press [ ] to stop

recording.

fig.r06-06a.e_40

“Assigning patches of the same

(See below).

3. Recording

Press [ ] to begin recording.

[] will lit, recording will begin as specified by the Count In

setting (p. 71).

fig.r06-07a_40

4. Rehearsing before you record the

next part (Recording Rehearsal)

From the recording state, press [ ] once again. [ ] will blink,

and you will be in the

same as during normal recording, but the data will not actually be

recorded. In other words, you can listen to the looped playback

while choosing the next sound or practicing your playing.

fig.r06-11_40

While in the recording state, press [ ] again.

[] will blink, and you will be in the

state. The data you play during rehearsal will not be recorded.

If you press [ ] when in the recording rehearsal state, you will

exit the recording state itself.

If you press [ERASE/UNDO] when in the recording rehearsal

state, you will be in the realtime erase standby state.

recording rehearsal

state. Operation is the

recording rehearsal

Assigning patches of the same category to multiple buttons

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

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

assigned to [0]–[9], 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 [0]–[9].

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.

For example, if you want to prepare multiple patches of

Quickly and consecutively auditioning the built-in sound of the RS-70 / 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-70 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.

Using the sequencer to create patterns (Pattern mode)

Erasing unwanted data while you record (Realtime Erase)

If you make a mistake while recording, you can erase the incorrect

data while you continue to record.

While recording, press [ERASE/UNDO] to select the realtime

erase standby state.

fig.r06-08_40

Erase the unwanted notes.

•

To erase all of the notes you just recorded

Press [ERASE/UNDO]. All the music data of the current part

will be erased while you continue holding down the button.

•

To erase only specific notes from the notes you just

recorded

Hold down the key of the note you want to erase. Note data of

that key will be erased while you continue holding down the key.

fig.r06-09_40

If you hold down two or more keys, all note data between the

lowest and highest keys will be erased while you continue

holding down the keys.

fig.r06-10_40

In either case, you will return to the realtime erase standby state

when you release the key(s) or button.

Use [0]–[9] to select the part that contains the data you want

to erase.

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

(p. 54).

Erase the recorded data in the same way as in step 2.

In this way, you can switch between parts and erase unwanted

data.

You cannot switch parts while actually erasing data.

Press [EXIT] to return to recording.

If you press [ ], you will be in the recording rehearsal state.

If you press [ ], recording itself will end.

Re-recording just a specific region (Punch In/Punch Out)

You can play back a pattern and re-record just a specific region. This

is called “Punch-In Recording.” This is a convenient way to

selectively replace a portion that you are not satisfied with.

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

(p. 54).

Press [ ].

At this time the display will be as follows, but actual recording

has not yet begun.

fig.r06-12_40

At the point where you want to begin recording, press [ ].

Playback will switch to record mode.

At the point where you want to stop recording, once again

press [ ].

You will return to playback mode.

When you have completed your pattern, press [ ] to stop

recording.

Specifying the region for re-recording before you start playback (Auto Punch-In/Out)

When using Auto Punch-In/Out, you simply play along with

the previously recorded performance, and the recorded data will

be replaced over the region that you specify beforehand.

Set the recording mode to [A.PUNCH], and set the

“PunchIn” and “PunchOut” parameters to specify the region

that you want to re-record (p. 71).

From the recording standby state, use [0]–[9] to select the

part that you want to record.

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

(p. 54).

Press [ ].

At this time the display will be as follows, but actual recording

has not yet begun.

fig.r06-13_40

At the location you specified for “PunchIn,” playback will

change to recording.

fig.r06-13a_40

At the location you specified for “PunchOut,” recording will

end and playback will resume.

When you have completed your pattern, press [ ] to stop

recording.

Pattern Mode

Specifying the region for re-recording while the song plays (Manual Punch In/Out)

Set the Recording Mode (p. 71) to [M.PUNCH].

From the recording standby state, use [0]–[9] to select the

part that you want to record.

Using the sequencer to create patterns (Pattern mode)

REC MODE

PAGE/ CURSOR [ ]

REC QUANTIZE

PAGE/ CURSOR [ ]

REC SELECT

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

[SHIFT]

PAGE/

CURSOR [ ]

Undo/redo the previous recording operation

If you are not satisfied with the previous realtime-recording, you can

return to the state prior to recording (

Undo operation you executed.

Undo

While the pattern is stopped, press [ERASE/UNDO].

If you are in a state where Undo is possible, the following

display will appear.

fig.r06-14_40

Press [ENTER] to execute the Undo.

If you decide to cancel, press [EXIT].

If Undo cannot be performed, a display like the following will

appear.

fig.r06-15_40

Redo

After performing Undo, press [ERASE/UNDO].

If you are in a state where Redo is possible, the following display

will appear.

fig.r06-16_40

Undo

), or cancel (

Redo

) the

How to select recording parameters

fig.r06-19

* If you had previously been editing a pattern, those actions will be the

Various settings for realtime recording

In the Recording Standby (p. 68) states, you can press [PARAM] to

specify the recording mode and make quantization settings. The

parameters you can set are organized into the following three

groups.

•

Press [ENTER] to execute the Redo.

If you decide to cancel, press [EXIT].

object of Undo/Redo.

REC MODE (Recording Mode):

Select how recording is to take place (p. 71).

QUANTIZE (Recording Quantize):

Correct the timing of your playing as you record (p. 71).

REC SELECT (Recording Select):

Select the music data to be recorded (p. 72).

Using the sequencer to create patterns (Pattern mode)

Selecting how recording will occur (REC MODE)

Count In

Select how recording is to begin.

VALUE CountIn= 0:

CountIn= 1:

CountIn= 2:

WAIT NOTE:

REC MODE (Recording Mode)

Select how recording is to take place.

VALUE MIX:

REPLACE:

A.PUNCH:

M.PUNCH:

PunchIn (Punch In)

Specify the measure, beat, and clock at which auto PunchIn

recording is to begin.

PunchOut (Punch Out)

Specify the measure, beat, and clock at which auto PunchIn

recording is to stop.

Recording will begin immediately when you press [ ]

in the recording standby state

When you press [ ] in the recording standby state,

a count (playback) will begin one measure before the

recording-start location, and recording will begin

when you reach the recording-start location.

When you press [ ] in the recording standby state,

a count (playback) will begin two measures before

the recording-start location, and recording will begin

when you reach the recording-start location.

Recording will begin when you play the keyboard or

press [ ].

You can also start recording using a hold pedal.

Mix-recording will be carried out. If a performance

has already been recorded on the recording-

destination track, your newly recorded performance

will be added to the existing performance without

erasing it. The RS-70’s Quick Sequencer is designed

for loop-recording patterns of several measures, so

normally you will select this “MIX” setting.

Replace-recording will be carried out.

If a performance has already been recorded on the

recording-destination track, it will be erased as you

record your new performance. Use this when you

want to re-record a part of rather long pattern.

Recording will occur in the region you pre-specified

using “PunchIn” and “PunchOut” (Auto Punch-In/

Out). This is convenient when you want to re-record

an area where you made a mistake (p. 69).

After recording begins, you can press [ ] so it

lights, and from that moment, you’ll be overwriting

(replacing) the existing data that occurs while you

allow [ ] to remain lit (Manual Punch-In). This is

convenient when you want to re-record mistakes

that you made in several different locations (p. 69).

calculated in terms of Measures:Beats, and the remaining number

of clocks shown at the end in the format

measure:beat:clock

Correct the timing of your playing as you record (REC QUANTIZE)

The Quantize function automatically corrects inaccuracies in the

timing of your keyboard performance, aligning the notes to accurate

timing intervals. During realtime recording, you can quantize while

you record.

Applying quantization to already-recorded data (p. 84)

Type

Specify whether to quantize while recording.

Value

OFF:

GRID:

fig.r06-20.e

SHUFFLE:

fig.r06-21.e

Grid Resolution

Make this setting when you are using Grid Quantize. Specify the

quantization interval in terms of a note value. Select the shortest note

value that will occur in the range to which Grid Quantize will be

applied.

Value:

Grid Strength

Make this setting when you are using Grid Quantize. It specifies the

degree to which notes will be adjusted toward the timing intervals

specified by the Grid Resolution parameter. With a setting of

“100%,” the notes will be corrected precisely to the timing of the

Grid Resolution parameter. As you lower this setting, the note

timing will be corrected to a lesser extent, and with a setting of “0%”

the timing will not be adjusted at all.

Value:

Quantize will not be applied while recording.

Grid Quantize will be applied while recording. Use

this when you want the timing to be accurate, such

as when recording drums or bass.

Grid quantize with Resolution = 

Shuffle Quantize will be applied while recording.

Use this when you want to give the rhythm a

“shuffle” or “swing” character.

Shuffle quantize with Rate = 75%

, , , , , ,

0–100 (%)

Pattern Mode

Clock

is the smallest unit used to indicate time. On the RS-70,

time is expressed in terms of 96 clocks per quarter note. For

example, with a time signature of 4/4 (four quarter notes per

measure), a measure will be 384 clocks (4 x 96) long. Time is

Shuf Resolution (Shuffle Resolution)

Shuffle

Make this setting when you are using

note value used for quantization.

Value:

Quantize. Specifies the

Using the sequencer to create patterns (Pattern mode)

Shuf Rate (Shuffle Quantize Rate)

Make this setting when using Shuffle Quantize. It specifies the

degree to which the backbeat will be separated from the downbeat

specified by the Shuffle Resolution parameter. With a setting of

“50%,” the backbeat will be exactly between adjacent downbeats.

With a setting of “0%,” the backbeat will be moved to the same

timing as the preceding downbeat. With a setting of “100%,” the

backbeat will be moved to the same timing as the following

downbeat.

Value:

0–100 (%)

Selecting the music data to be recorded (REC SELECT)

When you use realtime recording, all of your music data will

normally be recorded. If you want to avoid recording a specific type

of data, you can turn its Recording Select setting “OFF.”

Ctrl Change (Control Change)

These events correspond to various control numbers, and are used to

apply effects such as modulation or pan. These are used mainly to

operate knobs and lever.

Value:

Prog Change (Program Change)

These events are used to select sounds (patches). The sound

corresponding to the program number will be selected.

Value:

Ch After (Channel Aftertouch)

These events apply aftertouch to an entire MIDI channel.

Value:

Channel aftertouch is data transmitted for an entire channel to

indicate the force with which the keys are being pressed down

after notes are played. The RS-70’s keyboard is not able to

transmit channel aftertouch, but you can assign channel

aftertouch transmission to a controller such as a knob or pedal,

and record these messages (p. 37, p. 126).

Pitch Bend

These events change the pitch.

Value:

OFF, ON

Recording with the phrase/arpeggio function

The RS-70 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. In the same way as a

manually played performance, a performance created using the

arpeggiator can also be realtime-recorded as a pattern.

“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.

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

Begin recording.

To stop the arpeggio performance, press [PHRASE/

ARPEGGIO] once again so it goes out.

You can also change arpeggio templates and styles even during

recording standby (p. 68) or recording rehearsal (p. 68).

, which let you produce arpeggios with a single

(p. 27)

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

user templates

SysEx (System Exclusive)

These are events that make settings specifically for the RS-70, such as

specifying the sound and tonal character.

Value:

OFF, ON

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

Using the sequencer to create patterns (Pattern mode)

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

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”

(p. 73).

User template parameter list

Style (Arpeggio Style)

Specifies the basic way in which the arpeggio will be played.

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:

For a phrase template, this setting will be “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 details regarding Arpeggio Style, refer to

(p. 186).

You can also create and store your own styles (User Arpeggio

Style) (p. 88).

“Arpeggio Style List”

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.

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%

50 50 50 50

0–100%

Shuffle Rate = 90%

90 10 90 10

Pattern Mode

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:

Using the sequencer to create patterns (Pattern mode)

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

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 the sequencer, turn this “OFF.”

Value:

OFF, ON

Using chord memory to record

When recording a pattern, you can press [CHORD MEMORY] to

record a performance using chord memory.

“Playing a chord at the touch of a finger (Multi-chord

Memory)”

Press [CHORD MEMORY] so it is lit.

fig.r06-30a_40

(p. 28)

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

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.”

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. 29).

Begin recording.

To stop the performance using the chord memory, press

[CHORD MEMORY] so it goes out.

You can change chord sets even during recording standby (p. 68)

or recording rehearsal (p. 68).

Using the sequencer to create patterns (Pattern mode)

This means you are changing the pattern settings.

Recording notes one at a time (Step Recording)

Step recording is the method in which individual notes are input one

by one. Use this method when you need to input notes at a precise

timing, as when entering percussion or bass parts.

* You cannot record data other than note messages, such as knob

movements or other control changes.

1. Select a part and sound to record

Press [PART SELECT] so it is lit.

Use [0]–[9] to select the part that you want to record.

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

(p. 54).

Use VALUE [-]/[+] to select a patch.

“Selecting a patch”

You can only select patches from the category that is assigned to

the part you are recording. If you want to use a patch from

another category, you must assign that category to the part to be

recorded. For details, refer to

category to multiple buttons”

2. Recording standby

If the pattern is playing, stop the pattern.

While holding down [SHIFT], press [ ].

[] will blink, and you will be in the

Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use

VALUE [-]/[+] to specify the value.

fig.r06-07_40

(p. 24)

“Assigning patches of the same

(p. 68).

recording standby

(A)

state.

3. Recording

Press [ ] to begin recording.

Use VALUE [+]/[-] to set “Step.”

Step (Step Time)

Specify the length of the note.

Value:

Press [PARAM].

Make other settings for step recording.

Use PAGE/CURSOR [ ]/[ ] to select “Gate Time Ratio,”

or “Velocity.”

Use VALUE [-]/[+] to set their value.

fig.r06-35_40

Gate (Gate Time Ratio)

Specify the proportion of the gate time relative to the step time.

Specify a lower value if you want the notes to be played staccato,

or a higher value if you want the notes to be played tenuto, or as

a slur. Normally, you will set this to about “80%.”

Value:

Velocity

Specify the strength with which the note will be played. If you

want this to be the strength with which you actually pressed the

key, select “REAL.” Otherwise, use settings of p (piano)=60, mf

(mezzo forte)=90, or f (forte)=120 as general guidelines.

Value:

Press a key on the keyboard.

When you release the key, the note you input will be finalized,

and you will be ready to input the next note.

The position will advance by the length of the step time.

fig.r06-34_40

, , , , , , , ,

1–100%

REAL, 1–127

Values

B/C:

“Deleting unwanted measures (PTN DELETE)”

Specify the measure location at which recording is to begin.

Specify the time signature of the pattern. You can set

the time signature of a pattern only when the pattern

length is 0.

Specify the number of measures that you want to

record. It can be set longer than the number of measures

in the pattern, but cannot be set to a shorter number.

(p. 84)

If you input a note or a rest by mistake, press [ERASE/UNDO]

to delete it. When you delete a note, the deleted note will sound

by way of confirmation.

Continue inputting notes.

The Gate Time Ratio and Velocity values of the previously input

note will be maintained. If you are satisfied with the existing

settings for the next note you wish to input, it is not necessary to

change them.

The position cannot go beyond the length of the pattern. When

you reach the end of the pattern, the display will indicate “END.”

Once you’ve entered all the notes you need, press [ ] to

end the recording.

fig.r06-33.e

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

Inputting various types of notes

Inputting a chord

Press the chord. A chord will be input when you release all keys

simultaneously. The chord will not be input as long as even one key

remains pressed, so you can change the keys being pressed to correct

the chord.

Inputting a rest

Press [ ] instead of pressing the key.

A note will not be input, but the position will advance by the length

of the step time.

Inputting a tie

If you press [ ] instead of pressing a new key, the previously input

note will be lengthened by the length of the step time, inputting a tie.

For example, if you want to connect three quarter notes, step-input a

quarter note, and then press [ ] twice.

Inputting a whole note

Press [ ] after inputting a half note.

Inputting a dotted note

First input an un-dotted note. Next, set the step time to a length of

half the note you input previously, and press [ ].

For example, to input a dotted half note, first input the half note.

Next, change the step time to a quarter note and press [ ].

If you make a mistake

If you input a note or a rest by mistake, press [ERASE/UNDO] to

delete it. When you delete a note, the deleted note will sound by way

of confirmation.

Editing individual items of music data (Microscope edit)

The Microscope lets you edit individual items (

performance data; for example you can move an individual event’s

location, make precise changes to it, or delete or insert a single note.

In Pattern mode, hold down [SHIFT] and press [ ] to switch to the

Microscope screen. The events in the current part of the currently

selected pattern will be displayed together with the current location

(measure–beat–clock).

fig.r06-36_40

Music data handled in Microscope mode

The Microscope lets you view and edit the following 8 types of

music data (event).

Note

Data that plays a sound.

VALUE

Note:

Velo:

Gate:

PAft (Polyphonic Aftertouch)

These events apply aftertouch to individual keys.

VALUE

Note:

Value:

The note name will be displayed in brackets.

C-1–G9 (Note)

1–127 (Velocity)

1–65535 (Gate Time)

C-1–G9 (Note)

0–127

events

) of recorded

Polyphonic aftertouch is data transmitted independently from each key

to indicate the force with which each key is being pressed down after it

is played. Since the RS-70 is not able to transmit polyphonic aftertouch,

these events cannot be recorded from the RS-70’s keyboard.

CtrlChg (Control Change)

These events correspond to various control numbers, and are used to

apply effects such as modulation or pan. These are used mainly to

operate knobs and lever.

VALUE

CC#:

Value:

If you want to know more about the function of each controller

number, refer to

(CONTROLLER)”

0–127 (Controller Number)

0–127

“Settings related to controllers

(p. 126).

ProgChg (Program Change)

These events are used to select sounds (patches). The sound

corresponding to the program number will be selected.

Value:

1–128 (Program Number)

Using the sequencer to create patterns (Pattern mode)

Ch Aft (Channel Aftertouch)

These events apply aftertouch to each MIDI channel.

Value:

Channel aftertouch is data transmitted for an entire channel to

indicate the force with which the keys are being pressed down

after notes are played. The RS-70’s keyboard is not able to

transmit channel aftertouch, but you can assign channel

aftertouch transmission to a controller such as a knob or pedal,

and record these messages.

0–127

PitchBend

These events change the pitch.

Value:

-8192–+8191

TUNE (Tune Request)

This event causes an analog synthesizer to tune itself. This does not

affect the operation of the RS-70 itself.

SYS-EX (System Exclusive messages)

These are events unique to the RS-70. If the entire message cannot be

shown on one line, a “ ” will appear at the right edge of the

display.

You can use PAGE/CURSOR [ ]/[ ] to scroll the display

screen.

Editing the music data

If you want to edit system exclusive messages, refer to

“Modifying system exclusive data”

Select a pattern you want to edit.

While holding down [SHIFT], press [ ].

The Microscope screen will appear.

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

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

(p. 54).

Use PAGE/CURSOR [ ]/[ ] to move the cursor under the

location (measure-beat-clock) and use VALUE [-]/[+] to move

the location forward or back.

The type and value of the event recorded at that location will be

displayed.

You can also use [ ]/[ ] to move the current location a

measure at a time, without regard to the cursor position.

fig.r06-45.e_40

location (measure-beat-clock)

(p. 77).

If you want to display a clock location at which no event is

recorded (such as when you want to add an event), move the

cursor to the clock and press [NUMERIC] so it is lit. Use [0]–[9]

to specify the desired value, then press [ENTER].

Press PAGE/CURSOR [ ] to move the cursor under the

event and use VALUE [-]/[+] to modify its value.

Modifying system exclusive data

In the above step 4., select the system exclusive message

that you wish to modify.

fig.r06-46

Press PAGE/CURSOR [ ].

The system exclusive input page will appear.

Press PAGE/CURSOR [ ] move the cursor to the location that

you wish to modify. (You cannot choose “F0” or “F7.”)

You can hold down [SHIFT] and use PAGE/CURSOR [ ]/

[] to move the cursor to the beginning or end of the exclusive

data.

Input the value.

• To input a value: press VALUE [-]/[+] or [0]–[9].

• To input A–F: hold down [SHIFT] and press [0] (A)–[5] (F).

• To insert a value midway: move the cursor to that location, and

press [ ]. A value of “00” will be inserted, and you can modify

this to the desired value.

• To delete a value: move the cursor to that location, and press

[ERASE/UNDO].

Press [ENTER], and the modified settings will be finalized.

If you decide to cancel, press [EXIT].

Auto calculate checksum

While editing an exclusive message, you can press [PARAM] to set it

so the checksum is calculated automatically.

If this setting is “ON,” and you press [ENTER] after editing the

message, the checksum will be calculated automatically, and

inserted before the last byte (F7) of the message.

fig.r06-47_40

This setting will always be ON when you turn on the power.

Pattern Mode

message parameters symbol indicates that other MIDI messages exist at the same location

Using the sequencer to create patterns (Pattern mode)

Selecting the types of music data for viewing (View Filter)

You can specify the types of music data that will be displayed. Since

you can specify that only certain events will be displayed, this lets

you rapidly find the data that you are looking for.

In the Microscope screen, press [PARAM].

Use PAGE/CURSOR [ ]/[ ] to select the type of music

data, and use VALUE [-]/[+] to turn “ON” the display of music

data that you wish to view.

VALUE

Note:

Poly After (Polyphonic Aftertouch):

Ctrl Change (Control Change):

Prog Change (Program Change):

Ch After (Channel Aftertouch):

Pitch Bend:

SysEx (System Exclusive):

Press [EXIT] to return to the Microscope screen.

OFF, ON

Microscope Utility

Microscope Utility provides various functions. For details on each

menu, refer to the corresponding reference page.

1: INS (Insert Event) (p. 78)

2: DEL (Delete Event) (p. 78)

3: MOVE (Move Event) (p. 78)

4: COPY (Copy Event) (p. 78)

5: PASTE (Paste Event) (p. 78)

PitchBend: Pitch Bend

Tune: Tune Request

SysEx (Default): System Exclusive

SysEx (GM-ON): System Exclusive (GM-ON)

SysEx (GM2-ON): System Exclusive (GM2-ON)

SysEx (GM-OFF): System Exclusive (GM-OFF)

Press [ENTER] to execute.

Deleting music data (DEL)

In the Microscope screen, display the event that you want to

delete.

Press [UTILITY].

Press [2] to select “2.DEL.”

The event will be deleted.

The event that you deleted can be pasted in later if desired.

“Pasting music data (PASTE)”

(p. 78)

Moving music data (MOVE)

In the Microscope screen, display the event that you want to

move.

Press [UTILITY].

Press [3] to select “3.MOVE.”

Input the location (measure–beat–clock) to which you want

to move the event.

fig.r06-49_40

If you want to display a clock location at which no event is

recorded, move the cursor to the clock and press [NUMERIC] so

it is lit. Use [0]–[9] to specify the desired value, then press

[ENTER].

Inserting music data (INS)

In the Microscope screen, display the location (measure–

beat–clock) at which you want to insert an event.

Press [UTILITY].

Press [1] to select “1.INS.”

Use VALUE [-]/[+] to select the type of music data that will be

inserted.

fig.r06-48_40

You can insert the following events.

Note

PAft: Polyphonic Aftertouch

CtrlChg: Control Change

ProgChg: Program Change

Ch After: Channel Aftertouch

Use PAGE/CURSOR [ ]/[ ] to select measure–beat–clock,

and use VALUE [-]/[+] to input the value. Or, press [NUMERIC] so

it is lit, use [0]–[9] to specify the desired value, then press [ENTER].

Press [ENTER] to execute.

Copying music data (COPY)

If you execute

you to

In the Microscope screen, display the event that you want to

copy.

Press [UTILITY].

Press [4] to execute “4.COPY.”

copy

, that event will be temporarily saved, allowing

paste

it to the desired location.

Pasting music data (PASTE)

If you execute

you to

In the Microscope screen, display the desired location you

want to paste the copied event.

Press [UTILITY].

Press [5] to execute “5.PASTE.”

copy

, that event will be temporarily saved, allowing

paste

it to the desired location.

Using the sequencer to create patterns (Pattern mode)

Editing the settings of a pattern

The

patterns

entire pattern, and settings that are made individually for each part

of the pattern.

Settings made for the entire pattern are:

• Settings for the entire pattern, such as the pattern name and

settings for playing back the sequence data (p. 79)

• Effect settings for the pattern (p. 80)

Settings made individually for each part of the pattern are:

• Pattern part settings (p. 80)

• Effect settings for pattern parts (p. 82)

Making settings that apply to the entire pattern

Press [PATTERN] so it is lit and you are in Pattern mode.

Select a pattern.

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 pattern, refer to

Making settings that apply to the entire pattern (Pattern Common Parameters)

Name (Pattern Name)

You can change the name of the pattern.

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

of the RS-70 contain settings that are made for the

“Saving a pattern”

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

? @ [ ¥ ] ^ _ ` { | }

“Assigning a name”

(p. 82).

(p. 54).

fig.r06-53_40

Value:

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

to exceed 32.

0–32

Level (Pattern Level)

Specifies the volume of the pattern.

Value:

0–127

MFX Source

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

whether the effect will use the parameters of the pattern itself, or the

parameters of the patch assigned to the part (p. 91).

fig.r06-54_40

VALUE

PTN/PERF:

PART1–PART16:

The MFX effect will be applied according to the

effect parameters of the pattern itself.

The MFX effect will be applied according to the

parameters of the patch that is selected for the

part.

Sequencer-related parameters (Pattern Sequencer Parameters)

Pattern Tempo

Specifies the tempo at the beginning of the pattern.

Value:

Tempo Change (Pattern Tempo Change)

You can make the tempo of a pattern change gradually from

beginning to end. If this parameter is ON, the tempo will change

toward the

approaches the end of the pattern.

Value:

5–300 (bpm)

Pattern End Tempo

OFF, ON

(see following items) as playback

Pattern Mode

Voice Rsv 1–16 (Voice Reserve 1–16)

The sound generator of the RS-70 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-70 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-70 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.

setting that lets you allocate a minimum number of

This setting cannot be changed while the pattern is playing.

End Tempo (Pattern End Tempo)

Specifies the tempo at the end of the pattern when the

Tempo Change

Value:

This setting cannot be changed while the pattern is playing.

setting is ON.

5–300 (bpm)

Pattern

Using the sequencer to create patterns (Pattern mode)

Tempo Chg Crv (Pattern Tempo Change Curve)

Specifies the curve of tempo change.

fig.r06-54a

LINEAR CURVE1 CURVE2

VALUE

LINEAR:

CURVE1:

CURVE2:

The tempo will change linearly over the entire

pattern.

The tempo will change gradually at first, and then

with increasing steepness.

The tempo will change steeply at first, and then with

increasing gradualness.

Editing the effect settings of a pattern

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

of a pattern. For details, refer to

To save the edited pattern, refer to

“Adding effects”

“Saving a pattern”

(p. 91).

(p. 82).

Editing the part settings of a pattern (Part Setup)

Press [PATTERN] so it is lit and you are in Pattern mode.

Select a pattern.

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. 54).

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.

To save the edited pattern, refer to

“Saving a pattern”

(p. 82).

When set to RND (random), you obtain a specialized effect whereby

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

Value:

RND, L63–0–63R

Receive Ch (Receive Channel)

When you select a pattern, the RS-70 will operate as a sixteen-part

MIDI multitimbral sound module. This parameter specifies the MIDI

receive channel for each part.

Value:

If you are using the internal Quick Sequencer, each part is set to

the following channels unless you change them. Do not change

these settings when using the Quick Sequencer.

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

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-70’s keyboard will not play internal sound generator

parts whose Receive Switch is turned OFF. If you don’t want a

specific part to sound during pattern playback (e.g., so you can

play the missing part from the keyboard in “minus-one” style),

use the Track Mute function to silence it (p. 67).

OFF, ON

Part parameters of a pattern (Part Setup Parameters)

Level (Part Level)

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

volume balance between Parts.

Value:

0–127

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.

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

Using the sequencer to create patterns (Pattern mode)

Patch mode and Pattern 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 Pattern mode, please be aware of this

when you save patches.

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

and Pattern 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 pattern again, the patch will then sound in accord with

the newly saved settings.

Scale Tune

fig.r06-54d_40

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)”

128).

(p. 81).

(p.

Part Patch Edit

fig.r06-54b_40

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

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

save the patch in the same way as from Patch mode (p. 55).

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

above screen.

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)”

128).

Select the part setup parameter “Scale Tune” (p. 81).

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.

Pattern Mode

Tune C–B (Part Scale Tune C–B)

Make scale tune settings for each part.

Value:

-64–+63

Using the sequencer to create patterns (Pattern mode)

Editing the effect settings for each part of the pattern (Pattern Part Effect)

Press [PATTERN] so it is lit and you are in Pattern mode.

Select a pattern.

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. 54).

Press [EFFECTS] so it is lit.

Now you can make settings for the pattern 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 pattern, refer to

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. 91).

“Saving a pattern”

(p. 82).

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 pattern, the user

pattern 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

MFX Switch

Switches the multi-effect on/off in each Part.

Value:

Chorus Send Lvl (Chorus Send Level)

Sets the amount of chorus effect applied in each Part.

Value:

Reverb Send Lvl (Reverb Send Level)

Sets the amount of reverb effect applied in each Part.

Value:

BYPASS, ON

0–127

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.

fig.r06-55_40

Saving a pattern

“Patch categories”

(p. 60)

Use the following procedure to save a pattern you’ve recorded or

edited.

Press [WRITE].

Use VALUE [-]/[+] to specify the number (001–256) at which the

user pattern is to be saved.

fig.r06-55_40

Be aware that if you choose a number in which a user pattern

has already been saved, the previously saved settings will be

overwritten and lost.

Press [ENTER].

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

“COMPLETED.”

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

If you do not change

will have the same name as the one you have been editing.

“Name (Pattern Name)”

(p. 79), the pattern

Using the sequencer to create patterns (Pattern mode)

Convenient functions for pattern editing (Pattern Utility)

Pattern Utility provides various functions that you will find

convenient when editing patterns, allowing you to do things such as

copy or initialize a pattern.

Press [PATTERN] so it is lit and you are in Pattern mode.

Select a pattern.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select an item from the

following utility menu.

For details on each menu, refer to the corresponding reference

page.

1: PTN ERASE (Pattern Erase) (p. 83)

2: PTN DELETE (Pattern Delete) (p. 84)

3: PTN QUANTIZE (Pattern Quantize) (p. 84)

4: PTN COPY (Pattern Copy) (p. 84)

5: PTN INSERT (Pattern Insert) (p. 85)

6: PTN TRANSPOSE (Pattern Transpose) (p. 85)

7: PTN CHG VEL (Pattern Change Velocity) (p. 86)

8: PTN CHG GT (Pattern Change Gate Time) (p. 86)

9: PTN SHIFT CLK (Pattern Shift Clock) (p. 87)

10: PTN DATA THIN (Pattern Data Thin) (p. 87)

11: PTN INIT (Pattern Initialize) (p. 88)

12: PTN→ ARP CONV (Pattern to Arpeggio Convert) (p. 88)

13: PTN PRM COPY (Pattern Parameter Copy) (p. 89)

14: XFER to MIDI (Transfer to MIDI) (p. 90)

15: FACTORY RESET (Factory Reset) (p. 90)

Press [ENTER].

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

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

* For parameters that allow you to specify a range, you can press PAGE/

CURSOR [ ] to move the cursor.

When you have finished making all settings, press [ENTER]

to execute the function.

Press [EXIT] to return to the previous screen.

fig.r06-56.e

This means you are changing the performance data in the pattern.

Erasing unwanted performance data (PTN ERASE)

This operation erases all or part of the performance data from a

pattern. The performance data that is erased will be replaced by

rests, so the measures will remain.

fig.r06-58_40

Part

Specifies the part(s) from which you wish to erase data.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

Meas (Measure)

Sets the range of measures from which data will be erased.

VALUE

Meas:

for:

Event

Specifies the type of music data that you wish to erase.

VALUE

ALL:

NOTE:

P.AFT:

C.C.:

PROG:

C.AFT:

BEND:

SYS-EX:

TUNE:

ALL, 1–16

Specifies the measure at which erasure is to begin.

Specifies the number of measures from which data is

to be erased. If you select “ALL,” data from the

measure you specified for

of the pattern will be erased.

All music data

Note (C-1–G 9)

Specify the range of notes. You can also press keys

on the keyboard to specify the range.

Polyphonic Aftertouch

Controller numbers (0–127)

Program numbers (1–128)

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Meas

to the last measure

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

Deleting unwanted measures (PTN DELETE)

fig.r06-59_40

Meas (Measure)

Sets the range of measures from which data will be deleted.

VALUE

Meas:

for:

Specifies the measure at which deletion is to begin.

Specifies the number of measures to be deleted. If

you select “ALL,” the measures from what you

specified for

will be deleted.

Meas

to the last measure of the pattern

Correcting the timing of a pattern (PTN QUANTIZE)

This operation corrects the timing of the data in a pattern according

to the note values you specify.

fig.r06-59a_40

Part

Specifies the part (s) for which you wish to carry out quantize.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

ALL, 1–16

Grid Resolution

Make this setting when you are using Grid Quantize. Specify the

quantization interval in terms of a note value. Select the shortest note

value that will occur in the range to which Grid Quantize will be

applied.

Value:

, , , , , ,

Grid Strength

Make this setting when you are using Grid Quantize. It specifies the

degree to which notes will be adjusted toward the timing intervals

specified by the Grid Resolution parameter. With a setting of

“100%,” the notes will be corrected precisely to the timing of the

Grid Resolution parameter. As you lower this setting, the note

timing will be corrected to a lesser extent, and with a setting of “0%”

the timing will not be adjusted at all.

Value:

0–100 (%)

Shuf Resolution (Shuffle Resolution)

Make this setting when you are using

note value used for quantization.

Value:

Shuffle

Quantize. Specifies the

Shuf Rate (Shuffle Quantize Rate)

Make this setting when using Shuffle Quantize. It specifies the degree

to which the backbeat will be separated from the downbeat specified

by the Shuffle Resolution parameter. With a setting of “50%,” the

backbeat will be exactly between adjacent downbeats. With a setting

of “0%,” the backbeat will be moved to the same timing as the

preceding downbeat. With a setting of “100%,” the backbeat will be

moved to the same timing as the following downbeat.

Value:

0–100 (%)

Meas (Measure)

Sets the range of measures for which you wish to carry out quantize.

VALUE

Meas:

for:

Specifies the measure at which quantize is to begin.

Specifies the number of measures to be quantized. If

you select “ALL,” data from the measure you

specified for

will be quantized.

Meas

to the last measure of the pattern

Note

Specify the range of notes that will be quantized. You can also press

keys on the keyboard to specify the range.

Value:

C-1-G 9

Type

Selects the type of quantization.

VALUE

GRID:

SHUFFLE:

Notes will be quantized to intervals of the note value

you specify.

Notes will be quantized to give a “shuffle” feel to the

performance.

Copying a pattern (PTN COPY)

This operation copies data to the current pattern.

You can copy data from the current pattern to the current pattern, or

from a user pattern to the current pattern.

fig.r06-59b_40

Src

Specifies the copy source pattern.

If you choose “CUR,” the current pattern will be specified.

Value:

Part

Specifies the part that you wish to copy.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

CUR, 001–256

ALL, 1–16

Using the sequencer to create patterns (Pattern mode)

About pattern setup

If you select SETUP as the beginning of the copy region, the

following settings will be copied together with the sequence

data. This data is collectively known as

pattern setup data.

• Pattern name

• Voice reserve settings

• Pattern level

• MFX Source

• MFX settings

• Chorus settings

• Reverb settings

• Part level*

• Part pan*

• Receive channel*

• Receive switch*

• Receive program change*

• Receive bank select*

• Scale tune*

• Patches*

* The asterisk indicates parameters that are set independently for

each part.

Meas (Measure)

Sets the range of measures you wish to copy.

VALUE

Meas:

for:

Specifies the measure at which copying is to begin. If

you select “SETUP,” the copy will start from the first

measure, including the

Specifies the number of measures to be copied. If

you select “ALL,” data from the measure you

specified for

will be copied.

Meas

pattern setup data

to the last measure of the pattern

Mode

Specifies the copy mode.

VALUE

REPLACE:

MIX:

Music data in the copy destination will be erased

(i.e., overwritten) when the copy takes place.

Music data in the copy destination will be combined

with the newly copied data.

Times

Sets the number of times that the data will be copied.

Value:

1–998

Inserting blank measures (PTN INSERT)

This operation inserts blank measures into the specified location of a

pattern. If you wish to add more musical material in the middle of a

pattern, use this operation to insert blank measures before recording

the additional material. The inserted measures will have the same

time signature as the pattern.

fig.r06-60_40

Specifies the type of music data you wish to copy.

VALUE

ALL:

NOTE:

P.AFT:

C.C.:

PROG:

C.AFT:

BEND:

SYS-EX:

TUNE:

All music data

Note (C-1–G 9)

Specify the range of notes. You can also press keys

on the keyboard to specify the range.

Polyphonic Aftertouch

Controller numbers (0–127)

Program numbers (1–128)

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

To Meas

Specifies the copy-start measure of the copy-destination part.

Value:

If you select “SETUP” for

SETUP, 001–998

Meas

, this value will be fixed at “SETUP.”

Event

Meas (Measure)

Sets the range of blank measures that will be inserted.

VALUE

Meas:

for:

Specifies the measure at which the blank measures

will be inserted.

Specifies the number of measures to be inserted.

Transposing the pitch (PTN TRANSPOSE)

This operation shifts the note numbers (pitch) of each part in a

pattern.

fig.r06-60a

Part

Specifies the part(s) that you wish to transpose.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

Meas (Measure)

Sets the range of measures that will be transposed.

VALUE

Meas:

for:

ALL, 1–16

Specifies the measure at which transposition is to begin.

Specifies the number of measures to be transposed.

If you select “ALL,” data from the measure you

Meas

specified for

will be transposed.

to the last measure of the pattern

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

Note

Specifies the range of notes that will be transposed.

Value:

C-1–G 9

Bias

Specifies the amount of transposition, in semitone steps. If the

setting’s value is “0,” no transposition will occur.

Value:

-99–+99

Modifying the velocity of notes (PTN CHG VEL)

This operation modifies the velocity (playing strength) of the notes

recorded in the pattern.

fig.r06-60b

If this operation would result in a velocity greater than 127 (or

less than 1), the result will be limited to 127 (or 1).

Part

Specifies the part whose velocity you wish to change.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

ALL, 1–16

MAGNIFY:

Select MODE and press [ ] to display setting screens for each

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

• If you choose SET TO

Value:

• If you choose BIAS

Value:

• If you choose MAGNIFY

VALUE

Magnify:

Set this parameter if increases or decreases in

velocity variations are desired. For less velocity

variation, use settings of “99%” or less. For more

velocity variation, set it to “101%” or greater. With a

setting of “100%,” velocity values do not change.

1–127

-99–+99

0–200 [%]

Modifying the note length (PTN CHG GT)

This operation modifies the gate time (duration) of the notes

recorded in the pattern. This can be used to make the overall

performance more staccato or tenuto.

fig.r06-60c

Part

Specifies the part in which you wish to modify the gate time.

If you choose “ALL,” all parts will be specified.

Value:

ALL, 1–16

Meas (Measure)

Specifies the range of measures in which the velocity is to be changed.

VALUE

Meas:

for:

Specifies the measure from where the velocity will

be changed.

Specifies the number of measures for which the

velocity is to be changed. If you select “ALL,” all

velocities from the measure you specified for

to the last measure of the pattern will be modified.

Meas

Note

Specifies the range of notes whose velocities will be modified. You

can also press keys on the keyboard to specify the range.

Value:

C-1–G 9

MODE

Specifies how the velocity is to be changed.

VALUE

SET TO:

BIAS:

Rewrites all velocities in the specified region to a

fixed value.

Adds or subtracts a certain velocity value to/from

the velocities in the specified region. For example, if

you set

BIAS

to “20,” a velocity value of 70 will be

modified to 90.

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

Meas (Measure)

Sets the range of measures in which you wish to adjust the gate time.

VALUE

Meas:

for:

Specifies the measure at which the gate time

adjustment is to begin.

Specifies the number of measures to be adjusted. If

you select “ALL,” gate times in the region from the

measure you specified for

of the pattern will be modified.

Meas

to the last measure

Note

Specifies the range of notes whose gate time will be modified. You

can also press keys on the keyboard to specify the range.

Value:

C-1–G 9

MODE

Specifies how the gate time is to be changed.

VALUE

SET TO:

Rewrites all gate times in the specified region to a

fixed value.

Using the sequencer to create patterns (Pattern mode)

BIAS:

MAGNIFY:

Select MODE and press [ ] to display setting screens for each

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

• If you choose SET TO

Value:

• If you choose BIAS

Value:

• If you choose MAGNIFY

VALUE

Magnify:

Adds or subtracts a certain gate time value to/from

the gate times in the specified region. For example, if

you set

BIAS

to “-30,” a gate time that was originally

90 will be changed to 60.

Gate times in the specified region will be increased/

decreased by the specified percentage. A setting of

100% will produce no change. Settings higher than

100% will increase the differences, and settings

lower than 100% will decrease them. For example, if

you want gate time values to differ half as much as

originally, set this to 50%. If you want to double the

variance in gate time values, set this to 200%.

1–384

-99–+99

0–200 [%]

Shifting pattern data forward and back

(PTN SHIFT CLK)

Using this operation, the timing of the music data in a pattern can be

shifted forward or backward in units of a single clock. Use this when

you wish to slightly shift the overall timing.

fig.r06-60d

Event

Specifies the type of music data to be shifted in time.

VALUE

ALL:

NOTE:

P.AFT:

C.C.:

PROG:

C.After:

BEND:

SYS-EX:

TUNE:

All music data

Note (C-1–G 9)

Specify the range of notes. You can also press keys

on the keyboard to specify the range.

Polyphonic Aftertouch

Controller numbers (0–127)

Program numbers (1–128)

Channel Aftertouch

Pitch Bend

System Exclusive

Tune Request

Bias

Specifies the amount (number of clocks) by which the music data

will be moved.

Value:

-99–+99

Thinning out unneeded data (PTN DATA THIN)

Since events such as pitch bend or control change use continuously

changing values, they can occupy an unexpectedly large amount of

memory. The Ptn Data Thin operation lets you thin out such data in

a way that will not affect the audible result, yet will reduce the

amount of data.

fig.r06-60e

When this function is executed, data that would be moved to a

point before the beginning of the pattern will automatically shift

to the beginning of the pattern.

Part

Specifies the part(s) whose timing you wish to shift.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

ALL, 1–16

Meas (Measure)

Sets the range of measures in which the music data will be moved in

units of one clock.

VALUE

Meas:

for:

Specifies the measure at which shifting is to begin.

Specifies the number of measures to be shifted. If you

select “ALL,” data from the measure you specified for

Meas

to the last measure of the pattern will be shifted.

Part

Sets the part(s) whose data you wish to thin out.

If you choose “ALL,” all parts will be specified.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

ALL, 1–16

Meas (Measure)

Specifies the range of measures in which data will be thinned.

VALUE

Meas:

for:

Specifies the measure at which data thin is to begin.

Specifies the number of measures to be thinned. If

you select “ALL,” data from the measure you

specified for

will be thinned.

Meas

to the last measure of the pattern

Event

Select the type of music data that you wish to thin.

VALUE

ALL:

All music data

P.AFT:

C.C.:

Polyphonic Aftertouch

Controller numbers (0–127)

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

C.AFT:

BEND:

Channel Aftertouch

Pitch Bend

Value

Specifies how much the data will be thinned. If you are thinning data

in which rapid changes occur, use higher settings for this parameter.

Value:

0–99

Time

Specifies the time interval at which the data will be thinned. If you

are thinning data that changes gradually, use higher settings for this

parameter.

Value:

0–99

Initializing the parameters of a pattern (PTN INIT)

This operation initializes the pattern settings.

Since all pattern parameters will be initialized, this is convenient

when you want to create a pattern from scratch.

fig.r06-60g

The Initialize operation applies only to the currently selected

pattern; it will not change the content of other patterns stored in

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

condition, execute the Factory Reset operation (p. 20).

Creating your own user arpeggio

→

style (PTN

To create a user arpeggio style, you specify a portion of a pattern and

convert that into a style. This means that in order to create your own

user arpeggio style, you must first create a user pattern. For details

on creating a user pattern, refer to

a pattern”

fig.r06-27

(p. 40).

Of the pattern data, only the differences in note pitch (the pitch

difference relative to the first-pressed key), timing, and bender

information are used. All remaining data is ignored by the

conversion.

ARP CONV

“Using the sequencer to create

)

Press [ENTER].

fig.r06-27

A screen will appear in which you can convert the data into a

user arpeggio style.

Use PAGE/CURSOR [ ]/[ ] to move the cursor, and use

VALUE [-]/[+] to specify the value.

You can set the following parameters.

Part

Select the part whose data you wish to convert.

Value:

You can also select the part by pressing [0]–[9] or by holding

down [SHIFT] and pressing [1]–[6].

1–16

Meas (Measure)

Specify the range of measures that you want to convert to a user

arpeggio style.

VALUE

Meas:

for:

Specify the starting number of the measures to

be converted.

Specifies the number of measures to be

converted. You cannot set this to a length that is

longer than the current pattern. If you select

“ALL,” data from the measure you specified for

Meas

to the last measure of the pattern will be

converted to a user arpeggio style.

Specify the user arpeggio style number in which the selected

pattern is to be registered. You can register up to eight user

arpeggio styles.

Value:

Be aware that if you choose a number in which a user arpeggio

style has already been saved, the previously saved settings will

be overwritten and lost.

When you have finished setting the parameters, press

[ENTER] to confirm your settings.

The pattern will be converted to a user arpeggio style.

When all the data has been converted to the user arpeggio style, the

display will indicate “COMPLETED.”

UserStyle 1–UserStyle 8

Press [PATTERN] so it is lit and you are in Pattern mode.

Choose the pattern you wish to convert to the arpeggio

style.

Press [UTILITY].

Use PAGE/CURSOR [ ]/[ ] to select “12: PTN→ARP

CONV.”

Using the sequencer to create patterns (Pattern mode)

Copying parameters from a pattern (PTN PRM COPY)

This operation copies the settings of a specified pattern to the current

pattern. 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.

fig.r06-60i

What

Selects the data to be copied.

VALUE

PART:

MFX:

CHORUS:

REVERB:

Press [ ] to access the setting screen for each parameter.

Copying settings made for each part of a pattern

Select “PART.”

fig.r06-64_40

Copy settings made for each part of a pattern (p. 80).

Copy multi-effect settings.

Copy chorus effect settings.

Copy reverb effect settings.

Press [ENTER].

Settings made for each part of the pattern will be copied to the

current pattern.

When the display indicates “COMPLETED,” the copy operation has

been completed.

Copying effect settings

Select “MFX,” “CHORUS,” or “REVERB.”

fig.r06-72_40

Press PAGE/CURSOR [ ].

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

effect settings or “PTN (pattern)” 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 PAGE/CURSOR [ ].

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

fig.r06-65_40

Press PAGE/CURSOR [ ].

Use VALUE [-]/[+] to specify the copy-source part.

fig.r06-66_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].

When copying “PTN (Pattern)” effect settings

Use VALUE [-]/[+] to select the pattern whose effect settings

you want to copy.

fig.r06-75_40

Press [ENTER].

The effect settings will be copied to the currently selected

pattern.

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 pattern, regardless of the

Source

setting (p. 79). This means that if the MFX Source is set

MFX

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 pattern is set to

“PART,” change it to “PTN/PERF.” Additionally, if MFX Source

of the copy source is set to “PART,” you will need to select

“PATCH” in the above step 2, and select the patch assigned to

that part in step 3 to copy the effect settings of the patch.

Pattern Mode

Using the sequencer to create patterns (Pattern mode)

Transmitting pattern settings from the MIDI OUT connector (XFER to MIDI)

You can transmit the settings of the current pattern or user pattern

from the MIDI OUT connector. This function lets you save pattern

settings on an external sequencer.

fig.r06-76ai

Press PAGE/CURSOR [ ].

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

patterns you want to transmit.

fig.r06-79_40

Press [ENTER].

The pattern settings of the specified range will be transmitted

from the MIDI OUT connector.

What

Selects the data to be output.

The data transmitted to the external device is only the portion

other than the music data of the pattern. If you want to save all

of the pattern data including the music data, use the RS-70’s disk

drive to save the data on a floppy disk.

Transmitting the settings of currently selected pattern

This operation lets you transmit the settings of the current (edited

and unsaved) pattern.

Choose “CUR PTN/PERF.”

fig.r06-76_40

Press [ENTER].

The selected pattern settings will be transmitted from the MIDI

OUT connector.

When the display indicates “COMPLETED,” the transmission has

been completed.

When the display indicates “COMPLETED,” the transmission has

been completed.

Restoring the factory settings (FACTORY RESET)

You can also perform the FACTORY RESET operation from Pattern

Utility.

fig.r06-80i

For more about FACTORY RESET, refer to

factory settings (Factory Reset)”

“Reset to default

(p. 20).

Transmitting the settings of a user pattern

Choose “USER PTN/PERF.”

fig.r06-77_40

Press PAGE/CURSOR [ ].

Specify the range of patterns whose settings you want to

transmit.

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

patterns you want to transmit.

fig.r06-78_40

Adding effects

• Multi-effect/chorus/reverb parameters can also be saved in

a patch (rhythm set) or pattern.

• In Patch mode, effects will be applied according to the

settings of each patch. For details, refer to MFX Switch (p.

57), Chorus Send Lvl (p. 57), and Reverb Send Lvl (p. 57)

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 Pattern 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. 82), Chorus Send Lvl

(p. 82), and Reverb Send Lvl (p. 82) in the section entitled

Part Effect Parameters. Each effect is shared by all parts

(patches).

• When using the multi-effect in Pattern mode, you will

normally apply the multi-effect using “the effect settings

stored by the pattern.” However, if desired, you can set the

pattern parameter

MFX Source (p. 79) 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-70 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-70 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. 93).

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

Pattern 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

Pattern 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 pattern

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. 95)

01: STEREO EQ (p. 95)

02: OVERDRIVE (p. 95)

03: DISTORTION (p. 96)

04: PHASER (p. 96)

05: SPECTRUM (p. 96)

06: ENHANCER (p. 96)

07: AUTO WAH (p. 97)

08: ROTARY (p. 97)

09: COMPRESSOR (p. 97)

10: LIMITER (p. 98)

11: HEXA-CHORUS (p. 98)

12: TREMOLO CHO (p. 98)

13: SPACE-D (p. 99)

14: St CHORUS (p. 99)

15: St FLANGER (p. 99)

16: STEP FLANGER (p. 100)

17: St DELAY (p. 100)

18: LONG DELAY (p. 101)

19: MOD DELAY (p. 101)

20: 3 TAP DELAY (p. 102)

21: 4 TAP DELAY (p. 102)

22: TM CTRL DLY (p. 103)

23: 2V PCH SHIFT (p. 103)

24: FB PCH SHIFT (p. 104)

25: REVERB (p. 104)

26: GATED REVERB (p. 105)

27: OD>CHORUS (p. 105)

28: OD>FLANGER (p. 105)

29: OD>DELAY (p. 106)

30: DIST>CHORUS (p. 106)

31: DIST>FLANGER (p. 106)

32: DIST>DELAY (p. 106)

33: ENH>CHORUS (p. 106)

34: ENH>FLANGER (p. 107)

35: ENH>DELAY (p. 107)

36: CHORUS>DELAY (p. 108)

37: FLG>DELAY (p. 108)

38: CHO>FLANGER (p. 109)

39: CHORUS/DELAY (p. 109)

40: FLG/DELAY (p. 109)

41: CHO/FLANGER (p. 109)

42: LOFI (p. 109)

43: SLICER (p. 110)

44: TREMOLO (p. 110)

45: AUTO PAN (p. 111)

46: TUMBLING DLY (p. 111)

47: FBK RIPPER (p. 111)

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-70, 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. 37, p. 126.

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, 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

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. 126).

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 Value Description

High Slow 0.05–10.00 [Hz] Adjusts the slow speed (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

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

Tremolo Chorus

L in

R in

L out

R out

Balance D

Balance W

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

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

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 Value Description

Filter Type

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

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

Rate #

Value Description

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 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

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 sequencer is playing,

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.

100

Roland RS-70 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual