Roland S88 Parameter List

Parameter List

Thank you, and congratulations on your choice of the Roland

.

Parameter List............................................................. 2

Patch Parameter ............................................................................................ 2

Rhythm Set Parameter ................................................................................. 7

Performance Parameter ............................................................................. 10

Rhythm Group Parameter......................................................................... 13

Sample Parameters ..................................................................................... 13

System Parameters...................................................................................... 14

Effects List ................................................................ 19

Multi-Effects Parameters ........................................................................... 19

/

Chorus Parameters ..................................................................................... 42

Reverb Parameters...................................................................................... 42

Input Effect Parameter ............................................................................... 43

Error Messages......................................................... 44

About MIDI................................................................. 45

MIDI Implementation ................................................ 46

Parameter List

Patch Parameter

General Group (Owner’s Manual; p. 43)

Parameter

Patch Name

Patch Category Patch Level 0–127 Patch Pan L64–0–63R Patch Priority LAST, LOUDEST Octave Shift -3– +3 Patch Coarse Tune -48– +48 Patch Fine Tune -50– +50 Stretch Tune Depth OFF, 1–3 Analog Feel Analog Feel Depth 0–127 Cutoff Offset -63– +63 Resonance Offset -63– +63 Attack Time Offset -63– +63 Release Time Offset -63– +63 Velocity Sens Offset -63– +63

* Specify when writing.

Value

space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }

Wave Group (Owner’s Manual; p. 45)

Parameter

Wave Group Wave Bank When the wave group is EXP: A–D, When the wave

Wave No. L (Mono) Wave Number L (Mono) ----, 1–1228 (The upper limit will depend on the wave

Wave No. R Wave Number R ----, 1–1228 (The upper limit will depend on the wave

Wave Gain -6, 0, +6, +12 Wave Tempo Sync OFF, ON FXM Switch OFF, ON FXM Color 1–4 FXM Depth 0–16

Value

INT, EXP, SAMP, MSAM

group is SAMP: PRST, USER, CARD, When the wave group is MSAM: USER, CARD

group.)

TMT Group (Owner’s Manual; p. 46)

Parameter Value

Structure Type 1 & 2, 3 & 4 Booster 1 & 2, 3 & 4 Booster Gain 1 & 2, 3 & 4 0, +6, +12, +18 Key Fade Lower Keyboard Fade Width Lower 0–127 Key Range Lower Keyboard Range Lower C-1–UPPER Key Range Upper Keyboard Range Upper LOWER–G9 Key Fade Upper Keyboard Fade Width Upper 0–127 TMT Velocity Control TMT Velocity Control Switch OFF, ON, RANDOM, CYCLE Velo Fade Lower Velocity Fade Width Lower 0–127 Velo Range Lower Velocity Range Lower 1–UPPER Velo Range Upper Velocity Range Upper LOWER–127 Velo Fade Upper Velocity Fade Width Upper 0–127 TMT Control Sw TMT Control Switch OFF, ON

2

1–10

Pitch Group (Owner’s Manual; p. 49)

Parameter List

Parameter

Tone Coarse Tune Tone Fine Tune -50– +50 Random Pitch Depth 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100,

Pitch Key Follow -200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

Bend Range Up Pitch Bend Range Up 0– +48 Bend Range Down Pitch Bend Range Down -48–0 P-Env V-Sens Pitch Envelope Velocity Sensitivity -63– +63 P-Env T1 V-Sens Pitch Envelope Time 1 Velocity Sensitivity -63– +63 P-Env T4 V-Sens Pitch Envelope Time 4 Velocity Sensitivity -63– +63 P-Env Time KF Pitch Envelope Time Key Follow -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

Value

-48– +48

200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200

+30, +40, +50, +60, +70, +80, +90, +100

Pitch Env Group (Owner’s Manual; p. 50)

Parameter

P-Env Depth P-Env Time1–4 Pitch Envelope Time 1–4 0–127 P-Env Level0–4 Pitch Envelope Level 0–4 -63– +63

Pitch Envelope Depth -12– +12

Value

TVF Group (Owner’s Manual; p. 50)

Parameter Value

Filter Type Cutoff Frequency 0–127 Resonance 0–127 Cutoff Key Follow Cutoff Frequency Key follow -200, -190, -180, -170, -160, -150, -140, -130, -120, -110,

Cutoff V-Curve Cutoff Frequency Velocity Curve FIXED, 1–7 Cutoff V-Sens Cutoff Velocity Sensitivity -63– +63 Resonance V-Sens Resonance Velocity Sensitivity -63– +63 F-Env V-Curve TVF Envelope Velocity Curve FIXED, 1–7 F-Env V-Sens TVF Envelope Velocity Sensitivity -63– +63 F-Env T1 V-Sens TVF Envelope Time 1 Velocity Sensitivity -63– +63 F-Env T4 V-Sens TVF Envelope Time 4 Velocity Sensitivity -63– +63

OFF, LPF BPF, HPF, PKG, LPF2, LPF3

-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190, +200

TVF Env Group (Owner’s Manual; p. 52)

Parameter

F-Env Depth F-Env Time KF TVF Envelope Time Key Follow -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

F-Env Time1–4 TVF Envelope Time 1–4 0–127 F-Env Level 0–4 TVF Envelope Level 0–4 0–127

TVF Envelope Depth -63– +63

Value

+30, +40, +50, +60, +70, +80, +90, +100

3

Parameter List

TVA Group (Owner’s Manual; p. 53)

Parameter

Tone Level Level V-Curve TVA Level Velocity Curve FIXED, 1–7 Level V-Sens TVA Level Velocity Sensitivity -63– +63 Bias Level -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

Bias Position C-1–G9 Bias Direction LOWER, UPPER, LO&UP, ALL Tone Pan L64–0–63R Pan Key follow -100– +100 Random Pan Depth 0–63 Alter Pan Depth Alternate Pan Depth L63–0–63R

Value

0–127

+30, +40, +50, +60, +70, +80, +90, +100

TVA Env Group (Owner’s Manual; p. 54)

Parameter

A-Env T1 V-Sens A-Env T4 V-Sens TVA Envelope Time 4 Velocity Sensitivity -63– +63 A-Env Time KF TVA Envelope Time Key Follow -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

A-Env Time1–4 TVA Envelope Time 1–4 0–127 A-Env Level1–3 TVA Envelope Level 1–3 0–127

TVA Envelope Time 1 Velocity Sensitivity -63– +63

Value

+30, +40, +50, +60, +70, +80, +90, +100

Output Group (Owner’s Manual; p. 55)

Parameter Value

Patch Out Assign Tone Out Assign Tone Output Assign MFX, A, B, 1–4 Tone Out Level Tone Output Level 0–127 Tone Chorus Send (Send Level

(Output=MFX)) Tone Reverb Send (Send Level

(Output=MFX)) Tone Chorus Send (Send Level

(Output=non MFX)) Tone Reverb Send (Send Level

(Output=non MFX))

Patch Output Assign MFX, A, B, 1–4, TONE

Tone Chorus Send Level 0–127

Tone Reverb Send Level 0–127

Tone Chorus Send Level 0–127

Tone Reverb Send Level 0–127

LFO1/2 Group (Owner’s Manual; p. 56)

Parameter

Waveform

Rate LFO1/LFO2 Rate 0–127, Note Rate Detune LFO1/LFO2 Rate Detune 0–127 Offset LFO1/LFO2 Offset -100, -50, 0, +50, +100 Delay Time LFO1/LFO2 Delay Time 0–127 Delay Time KF LFO1/LFO2 Delay Time Key Follow -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20,

Fade Mode LFO1/LFO2 Fade Mode ON <, ON >, OFF <, OFF > Fade Time LFO1/LFO2 Fade Time 0–127 Key Trigger LFO1/LFO2 Key Trigger OFF, ON Pitch Depth LFO1/LFO2 Pitch Depth -63– +63 TVF Depth LFO1/LFO2 TVF Depth -63– +63 TVA Depth LFO1/LFO2 TVA Depth -63– +63 Pan Depth LFO1/LFO2 Pan Depth -63– +63

LFO1/LFO2 Waveform SIN, TRI, SAW-U, SAW-D, SQR, RND, BND-U, BND-D,

4

Value

TRP S&H, CHAOS, VSIN, STEP

+30, +40, +50, +60, +70, +80, +90, +100

Step LFO Group (Owner’s Manual; p. 57)

Parameter List

Parameter

Step Type Step 1–16 LFO Step1–16 -36– +36

LFO Step Type TYPE 1, TYPE 2

Value

Solo/Porta Group (Owner’s Manual; p. 58)

Parameter

Mono/Poly Legato Switch OFF, ON Legato Retrigger Legato Retrigger Switch OFF, ON Portamento Switch OFF, ON Portamento Mode NORMAL, LEGATO Portamento Type RATE, TIME Portamento Start PITCH, NOTE Portamento Time 0–127

Value

MONO, POLY

Misc Group (Owner’s Manual; p. 60)

Parameter

Tone Delay Mode Tone Delay Time 0–127, Note Tone Env Mode NO SUS, SUST Tone Rx Bender Tone Receive Pitch Bend Switch OFF, ON Tone Rx Expression Tone Receive Expression Switch OFF, ON Tone Rx Hold-1 Tone Receive Hold Switch OFF, ON Tone Rx Pan Mode Tone Receive Pan Mode CONT, K-ON Tone Redamper Sw Tone Redamper Switch OFF, ON

Value

NORM, HOLD, OFF-N, OFF-D

CTRL 1–4 Group (Owner’s Manual; p. 61)

Parameter Value

Matrix Control 1–4 Source OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,

CTRL Destination 1–4 Matrix Control Destination 1–4 OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN,

CTRL Sens 1–4 Matrix Control Sens 1–4 -63– +63 CTRL Switch 1–4 Tone Control Switch 1–4 OFF, ON, REVERSE

SYS CTRL1–SYS CTRL4, VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV, TVA ENV

OUTPUT LEVEL, CHORUS SEND, REVERB SEND, LFO1 PITCH DEPTH, LFO2 PITCH DEPTH, LFO1 TVF DEPTH, LFO2 TVF DEPTH, LFO1 TVA DEPTH, LFO2 TVA DEPTH, LFO1 PAN DEPTH, LFO2 PAN DEPTH, LFO1 RATE, LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME, TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME, TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM DEPTH, MFX CTRL1, MFX CTRL2, MFX CTRL3, MFX CTRL4, TIME

5

Parameter List

Effect Group (Owner’s Manual; p. 175)

Parameter

MFX

Type

MFX Output Level Multi-Effects Output Level 0–127 MFX Chorus Send Level Multi-Effects Chorus Send Level 0–127 MFX Reverb Send Level Multi-Effects Reverb Send Level 0–127 MFX Output Assign Multi-Effects Output Assign A, B Source 1–4 Multi-Effects Control Source 1–4 OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,

Destination 1–4 Multi-Effects Control Destination 1–4 Sens 1–4 Multi-Effects Control Sens 1–4 -63– +63

Chorus

Chorus Type Chorus Output Select MAIN, REV, M+R Chorus Level 0–127 Chorus Output Assign A, B

Reverb

Reverb Type

Reverb Level 0–127 Reverb Output Assign A, B

Multi-Effects Type 00 THROUGH–77 CHORUS->FLANGER (Fantom-S),

Value

78 SYMPATHETIC RESONANCE (Fantom-S88)

SYS CTRL1–SYS CTRL4

0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)

0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2 Reverb)

6

Rhythm Set Parameter

General Group (Owner’s Manual; p. 67)

Parameter List

Parameter

Rhythm Set Name

Rhythm Tone Name space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ?

Rhythm Level Rhythm Set Level 0–127 Assign Type MULTI, SINGLE Mute Group OFF, 1–31 Tone Env Mode Rhythm Tone Envelope Mode NO-SUS, SUSTAIN Tone Pitch Bend Range Rhythm Tone Pitch Bend Range 0–48 Tone Receive Expression Rhythm Tone Receive Expression Switch OFF, ON Tone Receive Hold-1 Rhythm Tone Receive Hold-1 Switch OFF, ON Tone Receive Pan Mode Rhythm Tone Receive Pan Mode CONTINUOUS, KEY-ON One Shot Mode OFF, ON Aftertouch Time Ctrl Sens Aftertouch Time Control Sensitivity -63– +63

* Specify when writing.

Value

space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }

@ [ \ ] ^ _ ` { | }

Wave Group (Owner’s Manual; p. 68)

Parameter

Wave Group Wave Bank When the wave group is EXP: A–D, When the wave

Wave No. L (Mono) Wave Number L (Mono) ----, 1–1228 (The upper limit will depend on the wave

Wave No. R Wave Number R ----, 1–1228 (The upper limit will depend on the wave

Wave Gain -6, 0, +6, +12 Wave Tempo Sync OFF, ON FXM Switch OFF, ON FXM Color 1–4 FXM Depth 0–16

Value

INT, EXP, SAMP, MSAM

group is SAMP: PRST, USER, CARD, When the wave group is MSAM: USER, CARD

group.)

WMT Group (Owner’s Manual; p. 70)

Parameter

Wave Coarse Tune Wave Fine Tune -50– +50 Wave Level 0–127 Wave Pan L64–0–63R Wave Rnd Pan Sw Wave Random Pan Switch OFF, ON Wave Alter Pan Sw Wave Alternate Pan Switch OFF, ON, REVS WMT Velocity Control Velocity Control Switch OFF, ON, RANDOM Velo Fade Lower Velocity Fade Width Lower 0–127 Velo Range Lower Velocity Range Lower 1–UPPER Velo Range Upper Velocity Range Upper LOWER–127 Velo Fade Upper Velocity Fade Width Upper 0–127

Value

-48– +48

Pitch Group (Owner’s Manual; p. 71)

Parameter Value

Tone Coarse Tune Tone Fine Tune Rhythm Tone Fine Tune -50– +50 Tone Random Pitch Depth 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100,

Rhythm Tone Coarse Tune C-1–G9

200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200

7

Parameter List

Pitch Env Group (Owner’s Manual; p. 71)

Parameter

P-Env Depth P-Env V-Sens Pitch Envelope Velocity Sensitivity -63– +63 P-Env T1 V-Sens Pitch Envelope Time 1 Velocity Sensitivity -63– +63 P-Env T4 V-Sens Pitch Envelope Time 4 Velocity Sensitivity -63– +63 P-Env Time1–4 Pitch Envelope Time 1–4 0–127 P-Env Level 0–4 Pitch Envelope Level 0–4 -63– +63

Pitch Envelope Depth -12– +12

Value

TVF Group (Owner’s Manual; p. 72)

Parameter

Filter Type Cutoff Frequency 0–127 Resonance 0–127 Cutoff V-Curve Cutoff Frequency Velocity Curve FIXED, 1–7 Cutoff V-Sens Cutoff Velocity Sensitivity -63– +63 Resonance V-Sens Resonance Velocity Sensitivity -63– +63

Value

OFF, LPF BPF, HPF, PKG, LPF2, LPF3

TVF Env Group (Owner’s Manual; p. 73)

Parameter

F-Env Depth F-Env V-Curve TVF Envelope Velocity Curve FIX, 1–7 F-Env V-Sens TVF Envelope Velocity Sensitivity -63– +63 F-Env T1 V-Sens TVF Envelope Time 1 Velocity Sensitivity -63– +63 F-Env T4 V-Sens TVF Envelope Time 4 Velocity Sensitivity -63– +63 F-Env Time1–4 TVF Envelope Time 1–4 0–127 F-Env Level0–4 TVF Envelope Level 0–4 0–127

TVF Envelope Depth -63– +63

Value

TVA Group (Owner’s Manual; p. 74)

Parameter

Tone Level Level V-Curve Level Velocity Curve FIXED, 1–7 Level V-Sens Level Velocity Sensitivity -63– +63 Tone Pan Rhythm Tone Pan L64–0–63R Random Pan Depth 0–63 Alternate Pan Depth L63–0–63R

Rhythm Tone level 0–127

Value

TVA Env Group (Owner’s Manual; p. 74)

Parameter

A-Env T1 V-Sens A-Env T4 V-Sens TVA Envelope Time 4 Velocity Sensitivity -63– +63 A-Env Time1–4 TVA Envelope Time 1–4 0–127 A-Env Level1–3 TVA Envelope Level 1–3 0–127

TVA Envelope Time 1 Velocity Sensitivity -63– +63

Value

8

Output Group (Owner’s Manual; p. 75)

Parameter List

Parameter

Rhythm Out Assign Tone Out Assign Tone Output Assign MFX, A, B, 1–4 Tone Out Level Tone Output Level 0–127 Tone Chorus Send (Send Level

(Output=MFX)) Tone Reverb Send (Send Level

(Output=MFX)) Tone Chorus Send (Send Level

(Output=non MFX)) Tone Reverb Send (Send Level

(Output=non MFX))

Rhythm Output Assign MFX, A, B, 1–4, TONE

Tone Chorus Send Level 0–127

Tone Reverb Send Level 0–127

Tone Chorus Send Level 0–127

Tone Reverb Send Level 0–127

Value

Effect Group (Owner’s Manual; p. 175)

Parameter

MFX

Type

MFX Output Level Multi-Effects Output Level 0–127 MFX Chorus Send Level Multi-Effects Chorus Send Level 0–127 MFX Reverb Send Level Multi-Effects Reverb Send Level 0–127 MFX Output Assign Multi-Effects Output Assign A, B Source 1–4 Multi-Effects Control Source 1–4 OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,

Destination 1–4 Multi-Effects Control Destination 1–4 Sens 1–4 Multi-Effects Control Sens 1–4 -63– +63

Chorus

Chorus Type 0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus) Chorus Output Select MAIN, REV, M+R Chorus Level 0–127 Chorus Output Assign A, B

Reverb

Reverb Type

Reverb Level 0–127 Reverb Output Assign A, B

Multi-Effects Type 00 THROUGH–77 CHORUS->FLANGER (Fantom-S),

Value

78 SYMPATHETIC RESONANCE (Fantom-S88)

SYS CTRL1–SYS CTRL4

0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2 Reverb)

9

Parameter List

Performance Parameter

General Group (Owner’s Manual; p. 96)

Parameter

Performance Name

* Specify when writing.

Value

space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }

Part View Group (Owner’s Manual; p. 84)

Parameter

[1 (Level/Pan)]

Patch Type Patch, Rhythm Patch Bank USER, PR-A–E (F;Fantom-S88), GM, CARD, XP-A–D Patch Number 001– Keyboard Switch OFF, ON Solo Switch OFF, ON Mute Switch OFF, ON Part Level 0–127 Part Pan L64–0–63R

[2 (Output Effect)]

Part Output Assign Part Output MFX Select 1–3 (MFX-1–MFX-3) Part Output Level 0–127 Part Chorus Send Level 0–127 Part Reverb Send Level 0–127 MFX1–3 Source OFF, ON Chorus Source OFF, ON Reverb Source OFF, ON

[3 (Pitch)]

Part Octave Shift Part Coarse Tune -48– +48 Part Fine Tune -50– +50 Part Mono/Poly MONO, POLY, PATCH Part Legato Switch OFF, ON, PATCH Part Pitch Bend Range 0–24, PATCH Part Portamento Switch OFF, ON, PATCH Part Portamento Time 0–127, PATCH

[4 (Offset)]

Part Cutoff Offset Part Resonance Offset -64– +63 Part Attack Time Offset -64– +63 Part Release Time Offset -64– +63 Part Decay Time Offset -64– +63

[5 (Key Range)]

Keyboard Range Lower Keyboard Range Upper LOWER–G9 Part Velocity Sens Offset -63– +63 Part Vibrato Rate -64– +63 Part Vibrato Depth -64– +63 Part Vibrato Delay -64– +63 Voice Reserve 0–63, FULL

[6 (Scale Tune)]

C–B

[7 (External)]

Receive Switch Receive Channel 1–16 External Bank Select MSB 0–127, OFF External Bank Select LSB 0–127 External Program Number External Program Change Number 1–128, OFF External Level 0–127, OFF External Pan L64–0–63R, OFF

Part Scale Tune C–B -64– +63

Value

MFX, A, B, 1–4, PATCH

-3– +3

-64– +63

C-1–UPPER

OFF, ON

10

Parameter List

Parameter

[8 (MIDI Filter)]

Program Change Bank Select Receive Bank Select Switch OFF, ON Pitch Bend Receive Pitch Bend Switch OFF, ON Polyphonic Key Pressure Receive Polyphonic Key Pressure Switch OFF, ON Channel Pressure Receive Channel Pressure Switch OFF, ON Modulation Receive Modulation Switch OFF, ON Volume Receive Volume Switch OFF, ON Pan Receive Pan Switch OFF, ON Expression Receive Expression Switch OFF, ON Hold-1 Receive Hold 1 Switch OFF, ON Phase Lock Phase Lock Switch OFF, ON Velocity Curve OFF, 1–4

Receive Program Change Switch OFF, ON

Value

Control Setting Group (Owner’s Manual; p. 91)

Parameter

Ctrl Switch

Control Bender Control Pitch Bend Switch OFF, ON Control Aftertouch Control Aftertouch Switch OFF, ON Control Modulation Control Modulation Switch OFF, ON Control Hold Pedal Control Hold Pedal Switch OFF, ON Control Pedal Control Pedal Switch OFF, ON Control D Beam Control D Beam Switch OFF, ON Control Knob 1–4 Control Knob Switch OFF, ON D Beam (Pad Trigger) Pad Number 1–16 Pad Velocity 1–127 Pad Control Mode MOMENTARY, LATCH D Beam (Assignable) Type Assignable Type CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap

Range Min 0–127 Range Max 0–127

Knob

Knob 1–4 Assign

Switch

Switch 1/2 Assign

Tempo

Recommended Tempo

MFX Ctrl Ch

MFX1–3 Control Channel

Realtime Control Knob Assign 1–4 CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp

Assignable Switch 1/2 Transpose Down, Transpose Up, Tap Tempo, Mono/

Value

Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave Up, Arp Octave Down

Grid, Arp Duration, Arp Motif, Chord Form, Master Level

Poly, Portamento, Hold, MFX1–3 Sw, Chorus Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/Stop

20–250

1–16, OFF

Pad Setting Group (Owner’s Manual; p. 136)

Parameter

Pad Set Base Pad Base Note C-1–G9 Pad Part 1–16 Note Pad Note C-1–G9 Velocity Pad Velocity REAL, 1–127

Value

User, Note, Rhythm

11

Parameter List

Arpeggio Group (Owner’s Manual; p. 104)

Parameter

Arp/Rhy Switch Arp Grid Arpeggio Grid

Arp Duration Arpeggio Duration 30, 40, 50, 60, 70, 80, 90,100, 120, FULL Arpeggio Switch OFF, ON Arpeggio Hold OFF, ON Arpeggio Style U001–U128, P001–P128 Arpeggio Motif Up (L), Up (L&H), Up (_), Down (L), Down (L&H),

Arpeggio Velocity REAL, 1–127 Arpeggio Part 1–16 Arpeggio Octave Range -3– +3 Arpeggio Accent Rate 0–100

Arpeggio/Rhythm Switch OFF, ON

Value

1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),

1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 ( )

Down (_), Up&Down, Up&Down (L&H), Up&Down (_), Random (L), Random (_), Phrase

Rhythm Group (Owner’s Manual; p. 112)

Parameter

Arp/Rhy Switch Rhythm Pattern Grid

Rhythm Pattern Duration 30, 40, 50, 60, 70, 80, 90, 100, 120, FULL Rhythm Pattern Switch OFF, ON Rhythm Pattern Velocity REAL, 1–127 Rhythm Pattern Accent Rate 0–100 Rhythm Group Number U01–U32, P01–P32

Arpeggio/Rhythm Switch OFF, ON

Value

1/4 ( ), 1/8 ( ), 1/8 ( ) L, 1/8 ( ) H, 1/12 ( ),

1/16 ( ), 1/16 ( ) L, 1/16 ( ) H, 1/24 ( )

Chord Memory Group (Owner’s Manual; p. 110)

Parameter Value

Chord Switch Chord Form U01–U64, P01–P64

OFF, ON

12

Effect Group (Owner’s Manual; p. 178)

Parameter List

Parameter

MFX

Structure Type MFX Type Multi-Effects Type 0–77 (Fantom-S88;78) MFX Output Level Multi-Effects Output Level 0–127 MFX Chorus Send Level Multi-Effects Chorus Send Level 0–127 MFX Reverb Send Level Multi-Effects Reverb Send Level 0–127 MFX Output Assign Multi-Effects Output Assign A, B Source 1–4 Multi-Effects Control Source 1–4 OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH,

Destination 1–4 Multi-Effects Control Destination 1–4 Sens 1–4 Multi-Effects Control Sens 1–4 -63– +63 MFX Control Channel Multi-Effects Control Channel 1–16, OFF MFX-1–3 Source Multi-Effects 1–3 Source PRF, P1–P16

Chorus

Chorus Type Chorus Output Select MAIN, REV, MAIN+REV Chorus Level 0–127 Chorus Output Assign A, B Chorus Source PRF, P1–P16

Reverb

Reverb Type

Reverb Level 0–127 Reverb Output Assign A, B Reverb Source PRF, P1–P16

Value

1–16

SYS CTRL1–SYS CTRL4

0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2 Chorus)

0 (Off), 1 (Reverb) 2 (SRV Room), 3 (SRV Hall) 4 (SRV Plate), 5 (GM2 Reverb)

Rhythm Group Parameter

Rhythm Group Group (Owner’s Manual; p. 116)

Parameter

Recommended Rhy Pad Mode OFF, NOTE, PATTERN Rhy Ptn Number Rhythm Pattern Number U001–U256, P001–P256 Rhy Ptn Velocity Rhythm Pattern Velocity REAL, 1–127 Pad Note C-1–G9 Pad Velocity REAL, 1–127

Recommended Rhythm Set USER, PR-A–E (F;Fantom-S88), GM, CARD, XP-A–D

Value

Sample Parameters

Sample Group (Owner’s Manual; p. 125)

Parameter Value

Sample Name

Loop Mode FWD, ONE-SHOT, REV, REV-ONE Loop Tune -50– +50 Original Key 0 (C-1) –127 (G9) BPM tempo 5.00–300.00 Time Stretch Type TYPE01–TYPE10 Start Fine 0–255 Loop Start Fine 0–255 Loop End Fine 0–255

space, A–Z, a–z, 0–9, ! ” # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }

13

Parameter List

System Parameters

Pedal/D Beam Group (Owner’s Manual; p. 189)

Parameter

D Beam Sens Control Pedal Assign CC01–31, 33–95, BEND-UP, BEND-DOWN, AFT, OCT-

Control Pedal Polarity STANDARD, REVERSE Hold Pedal Polarity STANDARD, REVERSE Continuous Hold Pedal OFF, ON

D Beam Sensitivity 0–127

Value

UP, OCT-DOWN, START/STOP, PUNCH-I/O, TAPTEMPO, PROG-UP, PROG-DOWN, FAV-UP, FAVDOWN, ARP-RHY-SW, RHY-START-STOP, CHD-SW

Keyboard Group (Owner’s Manual; p. 189)

Parameter

Keyboard Velocity Keyboard Sens Keyboard Sensitivity LIGHT, MEDIUM, HEAVY Aftertouch Sens Aftertouch Sensitivity 0–100

Value

REAL, 1–127

System Ctrl Group (Owner’s Manual; p. 190)

Parameter

Sys Ctrl 1–4 Source

System Control1–4 Source OFF, CC01–31, 33–95, BEND, AFT

Value

Screen Saver Group (Owner’s Manual; p. 190)

Parameter

Screen Saver Type Screen Saver Time OFF, 5–60 min

Value

1–10

Background Group (Owner’s Manual; p. 190)

Parameter Value

Background Picture 1–10

Sync/Tempo Group (Owner’s Manual; p. 190)

Parameter

Sync Mode Sync Output Sync Output switch OFF, ON Tempo Override OFF, ON Arp/Rhythm Sync Switch Arpeggio/Rhythm Sync Switch OFF, ON MMC Mode MASTER, SLAVE MMC Output MMC Output switch OFF, ON MTC Sync Output MTC Sync Output switch OFF, ON MTC Frame Rate 24, 25, 29N, 29D, 30 MTC Offset Time Hour 0–23 hours MTC Offset Time Minute 0–59 minutes MTC Offset Time Second 0–59 seconds MTC Offset Time Frame 0–29 frames MTC Error Level 0 –10

Value

MASTER, SLAVE-MIDI, SLAVE-MTC, REMOTE

14

Metronome Group (Owner’s Manual; p. 192)

Parameter List

Parameter

Metronome Mode

Metronome Level 0–10 Metronome Sound TYPE 1, TYPE 2, TYPE 3, TYPE 4

Value

OFF, PLAY-ONLY, REC-ONLY, PLAY&REC, ALWAYS

MIDI Group (Owner’s Manual; p. 192)

Parameter

Device ID Performance Control Channel 1–16, OFF Kbd Patch Rx/Tx Ch Keyboard Patch Receive/Transmit Channel 1–16 Pad Patch Rx/Tx Ch Pad Patch Receive/Transmit Channel 1–16 Transmit Program Change Transmit Program Change Switch OFF, ON Transmit Bank Select Transmit Bank Select Switch OFF, ON Transmit Active Sensing Transmit Active Sensing Switch OFF, ON Transmit Edit Data Transmit Edit Data Switch OFF, ON Soft Through Soft Through Switch OFF, ON Remote Keyboard Sw Remote Keyboard Switch OFF, ON Receive Program Change Receive Program Change Switch OFF, ON Receive Bank Select Receive Bank Select Switch OFF, ON Receive Exclusive Receive System Exclusive Switch OFF, ON Receive GM System On Receive GM System On Switch OFF, ON Receive GM2 System On Receive GM2 System On Switch OFF, ON Receive GS Reset Receive GS Reset Switch OFF, ON

Device ID Number 17–32

Value

Sound (Owner’s Manual; p. 193)

Parameter

Local Switch Master Tune 415.3–466.2 Hz Master Level 0–127 Output Gain -12– +12 dB Mix/Parallel MIX, PARALLEL Master Key Shift -24– +24 Patch Remain Patch Remain Switch OFF, ON

Value

OFF, ON

Preview Group (Owner’s Manual; p. 194)

Parameter

Preview Mode Preview 1–4 Note Number C-1–G9 Preview 1–4 Velocity OFF, 1–127

Value

SINGLE, CHORD, PHRASE

Scale Tune Group (Owner’s Manual; p. 194)

Parameter

Scale Tune Switch Patch Scale Tune for C–B -64– +63

Value

OFF, ON

15

Parameter List

Sampling Group (Owner’s Manual; p. 195)

Parameter

Default File Type Pre Sample Time 0–1000 ms Trigger Level 0–7 Gap Time 500, 1000, 1500, 2000 ms External Source Select LINE-L-R, LINE-L, MIC Trimming Switch OFF, ON Skip Back Time 5s–40s

Value

WAV, AIFF

Startup Group (Owner’s Manual; p. 195)

Parameter

Preset Default Load Sample Default Load OFF, ON Power Up Mode PATCH, PERFORMANCE SRX/RAM Mode 4 SRX/192MB Max, 2 SRX/288MB Max

Value

OFF, ON

System Information Group (Owner’s Manual; p. 195)

Parameter

Features Memory Info Memory Information SRX Info SRX Information Version Info Version Information

Displays the main features of the Fantom-S.

D Beam (Solo Synth) Group (Owner’s Manual; p. 100)

Parameter Value

OSC1/2 Waveform OSC1/2 Pulse Width 0–127 OSC1/2 Coarse Tune -48– +48 OSC1/2 Fine Tune -50– +50 OSC2 Level 0–127 OSC Sync Switch OFF, ON Filter Type OFF, LPF, BPF, HPF, PKG Cutoff 0–127 Resonance 0–127 Level 0–127 Chorus Send Level 0–127 Reverb Send Level 0–127 LFO Rate 0–127 LFO Osc 1 Pitch Depth -63– +63 LFO Osc 2 Pitch Depth -63– +63 LFO Osc 1 Pulse Width Depth -63– +63 LFO Osc 2 Pulse Width Depth -63– +63 Range Solo Synth Range 2 OCTAVE, 4 OCTAVE, 8 OCTAVE

SAW, SQR

16

Mastering Effect Group (Owner’s Manual; p. 183)

Parameter List

Parameter

HIGH/MID/LOW ATTACK HIGH/MID/LOW RELEASE 50–5000 ms HIGH/MID/LOW THRESHOLD -36–0 dB HIGH/MID/LOW RATIO 1.00:1–INF:1 (INF: Infinity) HIGH/MID/LOW LEVEL 0–24 dB Split Frequency High 2000–8000 Hz Split Frequency Low 200–800 Hz

Value

0–100 ms

Input Setting Group (Owner’s Manual; p. 118)

Parameter

Input Select Mix-In ON, OFF Ext Output Assign DRY, MFX Ext Output Level 0–127 Ext Chorus Send Level 0–127 Ext Reverb Send Level 0–127 Input Effect Switch ON, OFF Input Effect Type EQ, ENHANCER, COMP, LIMITER, NOISE SUP, C

Value

LINE IN L/R, LINE IN L, MICROPHONE

CANCELER

V-LINK Group (Owner’s Manual; p. 201)

Parameter Value

Note Tx Ch Clip 1 Note No. Clip 1 Note Number 0 (C-1)–127 (G9) Play Speed Ctrl Play Speed Control 0.0-1.0-2.0, 0.5-1.0-2.0, 0.0-1.0-4.0, 0.5-1.0-4.0, 0.0-1.0-8.0,

Dissolve Time OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,

Ctrl Tx Ch Control Transmit Channel 1–16 Color Cb Ctrl Color Cb Control OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,

Color Cr Ctrl Color Cr Control OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,

Brightness Ctrl Brightness Control OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,

VFX Ctrl VFX Control OFF, CC1, CC5, CC7, CC10, CC11, CC71–74, CC91–93,

PAD MODE CLIP, PALETT Local Sw Local Switch OFF, ON CLIP FILTER 1–32 OFF, ON

Note Transmit Channel 1–16

0.5-1.0-8.0, 0.0-1.0-16.0, 0.5-1.0-16.0, 0.0-1.0-32.0, 0.5-1.0-

32.0, 0.0-2.0-4.0, 0.0-4.0-8.0, 0.0 8.0-16.0, 0.0-16.0-32.0, -

2.0-1.0-4.0, -6.0-1.0-8.0

Channel Aftertouch

17

Parameter List

D Beam (Assignable) Group (Owner’s Manual; p. 98)

* If Patch mode is selected, this is saved as part of the system settings.

Parameter

Type Assignable Type CC01–31, 33–95, Bend Up, Bend Down, Start/Stop, Tap

Range Min 0–127 Range Max 0–127

Value

Tempo, Arp Grid, Arp Duration, Arp Motif, Arp Octave Up, Arp Octave Down

Knob Group (Owner’s Manual; p. 101)

* If Patch mode is selected, this is saved as part of the system settings.

Parameter

Knob 1–4 Assign

Realtime Control Knob Assign 1–4 CC01–31, 33–95, Pitch Bend, Aftertouch, Arp Style, Arp

Value

Grid, Arp Duration, Arp Motif, Chord Form, Master Level

Switch Group (Owner’s Manual; p. 102)

* If Patch mode is selected, this is saved as part of the system settings.

Parameter

Switch 1/2 Assign

Assignable Switch 1/2 Transpose Down, Transpose¬ Up, Tap Tempo, Mono/

Value

Poly, Portamento, Hold, MFX1–3 Sw, Chorus Sw, Reverb Sw, Mastering Sw, Loop, Rhythm Start/Stop

Pad Setting Group (Owner’s Manual; p. 136)

Parameter

Pad Common Velo Pad Sens Pad Sensitivity LIGHT, MEDIUM, HEAVY Aftertouch Sens Aftertouch Sensitivity 0–100 Roll Resolution

* If Patch mode is selected, this is saved as part of the system settings.

Parameter

Pad Set Base Pad Base Note C-1–G9 Note Pad Note C-1–G9 Velocity Pad Velocity REAL, 1–127

Pad Common Velocity REAL, 1–127

Value

1/4 ( ), 1/6 ( ), 1/8 ( ), 1/12 ( ), 1/16 ( ),

1/24 ( ), 1/32 ( ), 1/48 ( )

Value

User, Note, Rhythm

18

Effects List

num/note switch

Multi-Effects Parameters

The multi-effects feature 78 (Fantom-S; 77) different kinds of effects.

Some of the effects consist of two or more different effects connected

in series.

Parameters marked with a sharp “#” can be controlled using a

specified controller (Two setting items will change simultaneously

for “#1” and “#2”).

FILTER

01 02 SPECTRUM P.20 03 ISOLATOR P.20 04 LOW BOOST P.20 05 SUPER FILTER P.20 06 STEP FILTER P.21 07 ENHANCER P.21 08 AUTO WAH P.21 09 HUMANIZER P.22 10 SPEAKER SIMULATOR P.22

MODULATION

11 12 STEP PHASER P.22 13 MULTI STAGE PHASER P.23 14 INFINITE PHASER P.23 15 RING MODULATOR P.23 16 STEP RING MODULATOR P.23 17 TREMOLO P.24 18 AUTO PAN P.24 19 STEP PAN P.24 20 SLICER P.24 21 ROTARY P.25 22 VK ROTARY P.25

CHORUS

23 24 FLANGER P.26 25 STEP FLANGER P.26 26 HEXA-CHORUS P.26 27 TREMOLO CHORUS P.26 28 SPACE-D P.27 29 3D CHORUS P.27 30 3D FLANGER P.27 31 3D STEP FLANGER P.28 32 2BAND CHORUS P.28 33 2BAND FLANGER P.28 34 2BAND STEP FLANGER P.29

DYNAMICS

35 36 DISTORTION P.29 37 VS OVERDRIVE P.29 38 VS DISTORTION P.30 39 GUITAR AMP SIMULATOR P.30 40 COMPRESSOR P.30 41 LIMITER P.30 42 GATE P.31

DELAY

43 44 LONG DELAY P.31 45 SERIAL DELAY P.31 46 MODULATION DELAY P.32 47 3TAP PAN DELAY P.32 48 4TAP PAN DELAY P.32 49 MULTI TAP DELAY P.33 50 REVERSE DELAY P.33

(10 types)

EQUALIZER P.20

(12 types)

PHASER P.22

(12 types)

CHORUS P.25

(8 types)

OVERDRIVE P.29

(13 types)

DELAY P.31

51 SHUFFLE DELAY P.33 52 3D DELAY P.34 53 TIME CTRL DELAY P.34 54 LONG TIME CTRL DELAY P.34 55 TAPE ECHO P.34

LO-FI

(5 types)

56

LOFI NOISE P.35 57 LOFI COMPRESS P.35 58 LOFI RADIO P.35 59 TELEPHONE P.36 60 PHONOGRAPH P.36

PITCH

61 62 2VOICE PITCH SHIFTER P.36 63 STEP PITCH SHIFTER P.37

REVERB

64 REVERB P.37 65 GATED REVERB P.37

COMBINATION

66 67 OVERDRIVE → FLANGER P.38 68 OVERDRIVE → DELAY P.38 69 DISTORTION → CHORUS P.38 70 DISTORTION → FLANGER P.38 71 DISTORTION → DELAY P.38 72 ENHANCER → CHORUS P.39 73 ENHANCER → FLANGER P.39 74 ENHANCER → DELAY P.39 75 CHORUS → DELAY P.39 76 FLANGER → DELAY P.40 77 CHORUS → FLANGER P.40

5 PIANO

78

(3 types)

PITCH SHIFTER P.36

(2 types)

(12 types)

OVERDRIVE → CHORUS P.38

(1 type)

SYMPATHETIC RESONANCE

(Fantom-S88 only)

P.40

About Note

Some effect parameters (such as Rate or Delay Time) can be set in

terms of a note value.

Such parameters have a num/note switch that lets you specify

whether you will set the value as a note value or as a numerical

value.

If you want to set Rate (Delay Time) as a numerical value, set the

num/note switch to “Hz” (“msec”). If you want to set it as a note

value, set the num/note switch to “NOTE.”

If a parameter whose num/note switch is set to “NOTE” is

specified as a destination for multi-effect control, you will not be

able to use multi-effect control to control that parameter.

19

Effects List

01: EQUALIZER

This is a four-band stereo equalizer (low, mid x 2, high).

fig.MFX-01

L in

R in

Parameter

Low Freq Low Gain # -15– +15 dB Gain of the low range Mid1 Freq 200–8000 Hz Frequency of the middle

Mid1 Gain -15– +15 dB Gain of the middle range 1 Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of the middle range 1

Mid2 Freq 200–8000 Hz Frequency of the middle

Mid2 Gain -15– +15 dB Gain of the middle range 2 Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of the middle range 2

High Freq 2000, 4000, 8000 Hz Frequency of the high range High Gain # -15– +15 dB Gain of the high range Level # 0–127 Output Level

4-Band EQ

Value Description

200, 400 Hz Frequency of the low range

L out

R out

range 1

Set a higher value for Q to narrow the range to be affected.

range 2

Set a higher value for Q to narrow the range to be affected.

Parameter

Boost/ Cut Low #

Boost/ Cut Mid #

Boost/ Cut High #

Anti Phase Low Sw

Anti Phase Low Level

Anti Phase Mid Sw

Anti Phase Mid Level

Low Boost Sw OFF, ON Turns Low Booster on/off.

Low Boost Level

Level 0–127 Output Level

Value Description

-60– +4 dB These boost and cut each of the High,

OFF, ON Turns the Anti-Phase function on and

0–127 Adjusts the level settings for the Low

OFF, ON Settings of the Anti-Phase function

0–127

0–127 Increasing this value gives you a

Middle, and Low frequency ranges.

At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

off for the Low frequency ranges.

When turned on, the counterchannel of stereo sound is inverted and added to the signal.

frequency ranges.

Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.)

for the Middle frequency ranges

The parameters are the same as for the Low frequency ranges.

This emphasizes the bottom to create a heavy bass sound.

heavier low end. * Depending on the Isolator and fil-

ter settings this effect may be hard to distinguish.

02: SPECTRUM

This is a stereo spectrum. Spectrum is a type of filter which modifies

the timbre by boosting or cutting the level at specific frequencies.

fig.MFX-02

L in

R in

Parameter

Band1 (250Hz) Band2 (500Hz) Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) Band8 (8000Hz) Q 0.5, 1.0, 2.0, 4.0, 8.0 Simultaneously adjusts the

Level # 0–127 Output Level

Spectrum

Value Description

-15– +15 dB Gain of each frequency band

L out

R out

width of the adjusted ranges for all the frequency bands.

03: ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to

add a special effect to the sound by cutting the volume in varying

ranges.

fig.MFX-03

L in

R in

Isolator

Low Boost

L out

R out

04: LOW BOOST

Boosts the volume of the lower range, creating powerful lows.

fig.MFX-04

L in

R in

Parameter

Boost Frequency #

Boost Gain # 0– +12 dB Amount by which the lower range

Boost Width WIDE, MID,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level 0–127 Output level

Low Boost

Value Description

50–125 Hz Center frequency at which the lower

NARROW

2-Band EQ

range will be boosted

will be boosted Width of the lower range that will be

boosted

L out

R out

05: SUPER FILTER

This is a filter with an extremely sharp slope. The cutoff frequency

can be varied cyclically.

fig.MFX-05

L in

R in

Parameter

Filter Type

Super Filter

Value Description

LPF, BPF, HPF, NOTCH

Filter type

Frequency range that will pass through each filter

LPF BPF:

cutoff

HPF: NOTCH:

region of the cutoff

L out

R out

: frequencies below the cutoff

frequencies in the region of the

frequencies above the cutoff

frequencies other than the

20

Effects List

Parameter

Filter Slope

Filter Cutoff #

Filter Resonance #

Filter Gain 0– +12 dB Amount of boost for the filter output Modulation SwOFF,ON On/off switch for cyclic change

Modulation Wave

Value Description

-12, -24, -36 dB Amount of attenuation per octave

0–127 Cutoff frequency of the filter

0–127 Filter resonance level

TRI, SQR, SIN, SAW1, SAW2

-36 dB:

extremely steep

-24 dB:

steep

-12 dB:

gentle

Increasing this value will raise the cutoff frequency.

Increasing this value will emphasize the region near the cutoff frequency.

How the cutoff frequency will be modulated

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1:

sawtooth wave (upward)

SAW2:

sawtooth wave (downward)

SAW1 SAW2

Rate # 0.05–10.00 Hz,

note Depth 0–127 Depth of modulation Attack # 0–127 Speed at which the cutoff frequency

Level 0–127 Output level

Rate of modulation

will change

This is effective if Modulation Wave is SQR, SAW1, or SAW2.

07: ENHANCER

Controls the overtone structure of the high frequencies, adding

sparkle and tightness to the sound.

fig.MFX-07

L in

R in

Parameter

Sens # Mix # 0–127 Level of the overtones gen-

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Enhancer

Mix

Enhancer

Mix

Value Description

0–127 Sensitivity of the enhancer

2-Band

EQ

2-Band

EQ

erated by the enhancer

L out

R out

08: AUTO WAH

Cyclically controls a filter to create cyclic change in timbre.

fig.MFX-08

L in

R in

Auto Wah

2-Band EQ

L out

R out

06: STEP FILTER

This is a filter whose cutoff frequency can be modulated in steps.

You can specify the pattern by which the cutoff frequency will

change.

fig.MFX-06

L in

R in

Parameter

Step 01–16 Rate # 0.05–10.00 Hz,

Attack # 0–127 Speed at which the cutoff frequency

Filter Type LPF, BPF,

Filter Slope -12, -24, -36 dB Amount of attenuation per octave

Filter Resonance #

Filter Gain 0– +12 dB Amount of boost for the filter output Level 0–127 Output level

Step Filter

Value Description

0–127 Cutoff frequency at each step

note

HPF, NOTCH

0–127 Filter resonance level

Rate of modulation

changes between steps Filter type

Frequency range that will pass through each filter

LPF: BPF:

cutoff

HPF: NOTCH:

region of the cutoff

-12 dB:

-24 dB:

-36 dB:

Increasing this value will emphasize the region near the cutoff frequency.

L out

R out

frequencies below the cutoff

frequencies in the region of the

frequencies above the cutoff

frequencies other than the

gentle steep

extremely steep

Parameter

Filter Type

Manual # 0–127 Adjusts the center frequency at which

Peak 0–127 Adjusts the amount of the wah effect

Sens # 0–127 Adjusts the sensitivity with which the

Polarity UP, DOWN Sets the direction in which the frequen-

Rate # 0.05–10.00 Hz,

Depth # 0–127 Depth of modulation Phase # 0–180 deg Adjusts the degree of phase shift of the

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Value Description

LPF, BPF Type of filter

note

LPF:

The wah effect will be applied

over a wide frequency range.

BPF:

The wah effect will be applied

over a narrow frequency range.

the effect is applied.

that will occur in the range of the center frequency.

Set a higher value for Q to narrow the range to be affected.

filter is controlled.

cy will change when the auto-wah filter is modulated.

UP:

The filter will change toward a

higher frequency.

DOWN:

The filter will change to-

ward a lower frequency.

Frequency of modulation

left and right sounds when the wah effect is applied.

21

Effects List

t

09: HUMANIZER

Adds a vowel character to the sound, making it similar to a human

voice.

fig.MFX-09

L in

Overdrive

Formant

2-Band

EQ

R in

Parameter

Drive Sw Drive # 0–127 Degree of distortion

Vowel1 a, e, i, o, u Selects the vowel. Vowel2 a, e, i, o, u Rate # 0.05–10.00 Hz,

Depth # 0–127 Effect depth Input Sync SwOFF, ON Determines whether the LFO for

Input Sync Threshold

Manual # 0–100 Point at which Vowel 1/2 switch

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Pan # L64–63R Stereo location of the output Level 0–127 Output level

Value Description

OFF, ON Turns Drive on/off.

Also changes the volume.

note

0–127 Volume level at which reset is applied

Frequency at which the two vowels switch

switching the vowels is reset by the input signal (ON) or not (OFF).

49 or less:

er duration.

50:

duration.

51 or more:

longer duration.

Vowel 1 will have a long-

Vowel 1 and 2 will be of equal

Vowel 2 will have a

L out

Pan L

Pan R

R ou

10: SPEAKER SIMULATOR

Simulates the speaker type and mic settings used to record the

speaker sound.

fig.MFX-10

L in

R in

Parameter

Speaker Type Mic Setting 1, 2, 3 Adjusts the location of the mic

Mic Level # 0–127 Volume of the microphone Direct Level # 0–127 Volume of the direct sound Level # 0–127 Output Level

Speaker

Value Description

(See the table right.) Type of speaker

Specifications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in

inches) and the number of units.

Type

SMALL 1 SMALL 2 small open-back enclosure 10 dynamic MIDDLE open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic BUILT-IN 1 open back enclosure 12 x 2 dynamic

Cabinet Speaker Micro-

small open-back enclosure 10 dynamic

L out

R out

that is recording the sound of the speaker.

This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.

phone

Type

Cabinet Speaker Micro-

phone

BUILT-IN 2 BUILT-IN 3 open back enclosure 12 x 2 condenser BUILT-IN 4 open back enclosure 12 x 2 condenser BUILT-IN 5 open back enclosure 12 x 2 condenser BG STACK 1 sealed enclosure 12 x 2 condenser BG STACK 2 large sealed enclosure 12 x 2 condenser MS STACK 1 large sealed enclosure 12 x 4 condenser MS STACK 2 large sealed enclosure 12 x 4 condenser METAL STACK large double stack 12 x 4 condenser 2-STACK large double stack 12 x 4 condenser 3-STACK large triple stack 12 x 4 condenser

open back enclosure 12 x 2 condenser

11: PHASER

A phase-shifted sound is added to the original sound and

modulated.

fig.MFX-11

L in

R in

Parameter

Mode

Manual # 0–127 Adjusts the basic frequency

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Polarity INVERSE,

Resonance # 0–127 Amount of feedback Cross

Feedback

Mix # 0–127 Level of the phase-shifted

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Phaser

Mix

Phaser

Value Description

4-STAGE, 8-STAGE, 12-STAGE

SYNCHRO

-98– +98 % Adjusts the proportion of the

2-Band

EQ

2-Band

EQ

Number of stages in the phaser

from which the sound will be modulated.

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE:

right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO:

right phase will be the same. Select this when inputting a stereo source.

phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.

sound

L out

R out

The left and

12: STEP PHASER

The phaser effect will be varied gradually.

fig.MFX-12

L in

R in

Step Phaser

Mix

Step Phaser

2-Band

EQ

2-Band

EQ

L out

R out

22

Effects List

Parameter

Mode

Manual # 0–127 Adjusts the basic frequency

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Polarity INVERSE,

Resonance # 0–127 Amount of feedback Cross

Feedback

Step Rate # 0.10–20.00 Hz, note Rate of the step-wise change

Mix # 0–127 Level of the phase-shifted

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Value Description

4-STAGE, 8-STAGE, 12-STAGE

SYNCHRO

-98– +98 % Adjusts the proportion of the

Number of stages in the phaser

from which the sound will be modulated.

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE:

right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO:

right phase will be the same. Select this when inputting a stereo source.

phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.

in the phaser effect

sound

The left and

Parameter

Mode

Speed # -100– +100 Speed at which to raise or

Resonance # 0–127 Amount of feedback Mix # 0–127 Volume of the phase-shifted

Pan # L64–63R Panning of the output sound Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Level 0–127 Output volume

Range Explanation

1, 2, 3, 4 Higher values will produce a

deeper phaser effect.

lower the frequency at which the sound is modulated (+: upward / -: downward)

sound

low-frequency range

high-frequency range

15: RING MODULATOR

This is an effect that applies amplitude modulation (AM) to the input

signal, producing bell-like sounds. You can also change the

modulation frequency in response to changes in the volume of the

sound sent into the effect.

fig.MFX-15

L in

R in

Ring Mod

2-Band EQ

L out

R out

13: MULTI STAGE PHASER

Extremely high settings of the phase difference produce a deep

phaser effect.

fig.MFX-13

L in

Multi Stage

Phaser

R in

Parameter

Mode

Manual # 0–127 Adjusts the basic frequency

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Resonance # 0–127 Amount of feedback Mix # 0–127 Level of the phase-shifted

Pan # L64–63R Stereo location of the output

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

Resonance

Value Description

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

Mix

2-Band

EQ

Number of phaser stages

from which the sound will be modulated.

sound

L out

Pan L

Pan R

R out

14: INFINITE PHASER

A phaser that continues raising/lowering the frequency at which the

sound is modulated.

fig.MFX-14

L in

Infinite Phaser 2-Band EQ

R in

L out

Pan L

Pan R

R out

Parameter

Frequency #

Sens # 0–127 Adjusts the amount of frequency modu-

Polarity UP, DOWN Determines whether the frequency mod-

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–127 Adjusts the frequency at which modula-

D0:100W

tion is applied.

lation applied.

ulation moves towards higher frequencies (UP) or lower frequencies (

Volume balance between the direct sound (D) and the effect sound (W)

DOWN

16: STEP RING MODULATOR

This is a ring modulator that uses a 16-step sequence to vary the

frequency at which modulation is applied.

fig.MFX-16

L in

R in

Step Ring Mod

Parameter

Step 01–16

Rate # 0.05–10.00 Hz, note Rate at which the 16-step se-

Attack # 0–127 Speed at which the modulation

Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Balance # D100:0W–D0:100W Volume balance of the original

Level 0–127 Output volume

Range Explanation

0–127 Frequency of ring modulation

2-Band EQ

at each step

quence will cycle

frequency changes between steps

low-frequency range

high-frequency range

sound (D) and effect sound (W)

L out

R out

).

23

Effects List

L in

R in

L out

R out

Auto Pan

2-Band EQ

Auto Pan

L in

R in

L out

R out

Slicer

17: TREMOLO

Cyclically modulates the volume to add tremolo effect to the sound.

fig.MFX-17a

L in

R in

Parame-

Tremolo

2-Band EQ

Value Description

L out

R out

ter

Mod Wave

TRI, SQR, SIN, SAW1, SAW2

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1/2:

sawtooth wave

SAW1 SAW2

Rate # 0.05–10.00 Hz, note Frequency of the change Depth # 0–127 Depth to which the effect is ap-

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

plied

18: AUTO PAN

Cyclically modulates the stereo location of the sound.

fig.MFX-18a

19: STEP PAN

This uses a 16-step sequence to vary the panning of the sound.

fig.MFX-19

L in

R in

Parameter

Step 01–16 Rate # 0.05–10.00 Hz, note Rate at which the 16-step se-

Attack # 0–127 Speed at which the pan changes

Input Sync SwOFF, ON Specifies whether an input note

Input Sync Threshold

Level 0–127 Output volume

Step Pan

Range Explanation

L64–63R Pan at each step

0–127 Volume at which an input note

L out

R out

quence will cycle

between steps

will cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

will be detected

20: SLICER

By applying successive cuts to the sound, this effect turns a

conventional sound into a sound that appears to be played as a

backing phrase. This is especially effective when applied to sustain-

type sounds.

fig.MFX-20

Parame-

Value Description

ter

Mod Wave TRI, SQR, SIN,

SAW1, SAW2

Modulation Wave

TRI:

triangle wave

SQR:

square wave

SIN:

sine wave

SAW1/2:

sawtooth wave

SAW1 SAW2

R

L

Rate # 0.05–10.00 Hz, note Frequency of the change Depth # 0–127 Depth to which the effect is ap-

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level 0–127 Output Level

R

L

plied

Parameter

Step 01–16 Rate # 0.05–10.00

Attack # 0–127 Speed at which the level changes be-

Input Sync SwOFF, ON Specifies whether an input note will

Input Sync Threshold

Mode LEGATO,

Shuffle # 0–127 Timing of volume changes in levels for

Level 0–127 Output level

Value Description

L64–63R Level at each step

Hz, note

0–127 Volume at which an input note will be

SLASH

Rate at which the 16-step sequence will cycle

tween steps

cause the sequence to resume from the first step of the sequence (ON) or not (OFF)

detected Sets the manner in which the volume

changes as one step progresses to the next.

LEGATO:

one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume.

SLASH:

to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

even-numbered steps (step 2, step 4, step

6...). The higher the value, the later the beat

progresses.

The change in volume from

The level is momentarily set

24

Effects List

L in

R in

Chorus

L out

R out

2-Band

EQ

2-Band

EQ

Balance W

Balance D

21: ROTARY

The Rotary effect simulates the sound of the rotary speakers often

used with the electric organs of the past. Since the movement of the

high range and low range rotors can be set independently, the

unique type of modulation characteristic of these speakers can be

simulated quite closely. This effect is most suitable for electric organ

Patches.

fig.MFX-21

L in

L out

Rotary

R in

Parameter

Speed #

Woofer Slow Speed

Woofer Fast Speed

Woofer Acceleration

Woofer Level 0–127 Volume of the low frequency ro-

Tweeter Slow Speed

Tweeter Fast Speed

Tweeter Acceleration

Tweeter Level 0–127 Separation 0–127 Spatial dispersion of the sound Level # 0–127 Output Level

Value Description

SLOW, FAST Simultaneously switch the rota-

0.05–10.00 Hz Slow speed (SLOW) of the low

0.05–10.00 Hz Fast speed (FAST) of the low fre-

0–15 Adjusts the time it takes the low

0.05–10.00 Hz Settings of the high frequency ro-

0.05–10.00 Hz

0–15

R out

tional speed of the low frequency rotor and high frequency rotor.

SLOW:

Slows down the rota-

tion to the Slow Rate.

FAST:

Speeds up the rotation

to the Fast Rate.

frequency rotor

quency rotor

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.

tor

The parameters are the same as for the low frequency rotor

22: VK ROTARY

This type provides modified response for the rotary speaker, with

the low end boosted further.

This effect features the same specifications as the VK-7’s built-in

rotary speaker.

fig.MFX-22

L in

Rotary

R in

2-Band EQ

L out

R out

Parameter

Woofer Trans Up

Woofer Trans Down

Woofer Level 0–127 Volume of the woofer Tweeter Slow

Speed Tweeter Fast

Speed Tweeter Trans Up0–127

Tweeter Trans Down

Tweeter Level 0–127 Spread 0–10 Sets the rotary speaker stereo

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level # 0–127 Output Level

Value Description

0–127 Adjusts the rate at which the

0.05–10.00 Hz Settings of the tweeter

0.05–10.00 Hz

0–127

woofer rotation speeds up when the rotation is switched from Slow to Fast.

woofer rotation speeds up when the rotation is switched from Fast to Slow.

The parameters are the same as for the woofer.

image. The higher the value set, the wider the sound is spread out.

23: CHORUS

This is a stereo chorus. A filter is provided so that you can adjust the

timbre of the chorus sound.

fig.MFX-23

Parameter

Filter Type

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

OFF, LPF, HPF Type of filter

OFF:

no filter is used

LPF:

cuts the frequency

range above the Cutoff Freq

HPF:

cuts the frequency

range below the Cutoff Freq

the direct sound until the chorus sound is heard.

direct sound (D) and the chorus sound (W)

Parameter

Speed #

Brake # OFF, ON Switches the rotation of the

Woofer Slow Speed

Woofer Fast Speed

Value Description

SLOW, FAST Rotational speed of the rotat-

0.05–10.00 Hz Low-speed rotation speed of

0.05–10.00 Hz High-speed rotation speed of

ing speaker

rotary speaker.

When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume.

the woofer

25

Effects List

24: FLANGER

This is a stereo flanger. (The LFO has the same phase for left and

right.) It produces a metallic resonance that rises and falls like a jet

airplane taking off or landing. A filter is provided so that you can

adjust the timbre of the flanged sound.

fig.MFX-24

L in

Balance D

Flanger

Feedback Feedback

Flanger

R in

Balance D

Parameter

Filter Type OFF, LPF, HPF Type of filter

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Feedback # -98– +98 % Adjusts the proportion of the

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

2-Band

EQ

Balance W

2-Band

EQ

OFF: LPF:

range above the Cutoff Freq

HPF:

range below the Cutoff Freq

when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

direct sound (D) and the flanger sound (W)

L out

R out

no filter is used

cuts the frequency

25: STEP FLANGER

This is a flanger in which the flanger pitch changes in steps. The

speed at which the pitch changes can also be specified in terms of a

note-value of a specified tempo.

fig.MFX-25

L in

Balance D

Step Flanger

Feedback Feedback

Step Flanger

R in

Balance D

Parameter

Filter Type

Cutoff Freq 200–8000 Hz Basic frequency of the filter

Value Description

OFF, LPF, HPF Type of filter

2-Band

EQ

Balance W

2-Band

EQ

OFF: LPF:

range above the Cutoff Freq

HPF:

range below the Cutoff Freq

L out

R out

no filter is used cuts the frequency

cuts the frequency

Parameter

Pre Delay

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Feedback # -98– +98 % Adjusts the proportion of the

Step Rate # 0.10–20.00 Hz, note Rate (period) of pitch change Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

0.0–100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

direct sound (D) and the flanger sound (W)

26: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give

richness and spatial spread to the sound.

fig.MFX-26

L in

Balance D

L out

Balance W

Hexa Chorus

Balance W

R in

Parameter

Pre Delay

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Pre Delay

Deviation

Depth Deviation

Pan Deviation 0–20 Adjusts the difference in stereo

Balance # D100:0W–D0:100W Volume balance between the di-

Level 0–127 Output Level

Balance D

Value Description

0.0–100.0 ms Adjusts the delay time from the

0–20 Adjusts the differences in Pre

-20– +20 Adjusts the difference in modu-

R out

direct sound until the chorus sound is heard.

Delay between each chorus sound.

lation depth between each chorus sound.

location between each chorus sound.

0:

All chorus sounds will be in

the center.

20:

Each chorus sound will be spaced at 60 degree intervals relative to the center.

rect sound (D) and the chorus sound (W)

27: TREMOLO CHORUS

This is a chorus effect with added Tremolo (cyclic modulation of

volume).

fig.MFX-27

L in

R in

Balance D

Tremolo Chorus

Balance D

L out

Balance W

R out

26

Effects List

Parameter

Pre Delay

Chorus Rate # 0.05–10.00 Hz, note Modulation frequency of the

Chorus Depth 0–127 Modulation depth of the cho-

Tremolo Rate # 0.05–10.00 Hz, note Modulation frequency of the

Tremolo Separation

Tremolo Phase 0–180 deg Spread of the tremolo effect Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

0.0–100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard.

chorus effect

rus effect

tremolo effect

0–127 Spread of the tremolo effect

direct sound (D) and the tremolo chorus sound (W)

28: SPACE-D

This is a multiple chorus that applies two-phase modulation in

stereo. It gives no impression of modulation, but produces a

transparent chorus effect.

fig.MFX-28

L in

Balance D

Space D

R in

Balance D

Parameter

Pre Delay

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between

Level 0–127 Output Level

Value Description

0.0–100.0 ms Adjusts the delay time from

2-Band

EQ

Balance W

2-Band

EQ

the direct sound until the chorus sound is heard.

the direct sound (D) and the chorus sound (W)

L out

R out

29: 3D CHORUS

This applies a 3D effect to the chorus sound. The chorus sound will

be positioned 90 degrees left and 90 degrees right.

fig.MFX-29

L

3D Chorus

R

2-Band

EQ

2-Band

EQ

L out

R out

Parameter

Depth

Phase 0–180 deg Spatial spread of the sound Output Mode SPEAKER, PHONES Adjusts the method that will be

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

0–127 Modulation depth of the chorus

effect

used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select

ER

when using speakers, or

PHONES

when using head-

phones.

direct sound (D) and the chorus sound (W)

SPEAK-

30: 3D FLANGER

This applies a 3D effect to the flanger sound. The flanger sound will

be positioned 90 degrees left and 90 degrees right.

fig.MFX-30

L

3D Flanger

R

Parameter

Filter Type

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Feedback # -98– +98 % Adjusts the proportion of the

Output Mode SPEAKER, PHONES Adjusts the method that will be

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

OFF, LPF, HPF Type of filter

2-Band

EQ

2-Band

EQ

OFF: LPF:

range above the Cutoff Freq

HPF:

range below the Cutoff Freq

when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select

ER

when using speakers, or

PHONES

phones.

direct sound (D) and the flanger sound (W)

L out

R out

no filter is used

cuts the frequency

SPEAK-

when using head-

Parameter

Filter Type OFF, LPF, HPF Type of filter

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from the

Rate # 0.05–10.00 Hz, note Frequency of modulation

Value Description

OFF:

no filter is used

LPF:

cuts the frequency

range above the Cutoff Freq

HPF:

cuts the frequency

range below the Cutoff Freq

direct sound until the chorus sound is heard.

27

Effects List

R in

R out

L in

L out

Split

High Band Flanger

Low Band Flanger

High Band Flanger

Low Band Flanger

Split

Low Band Feedback

High Band Feedback

Low Band Feedback

31: 3D STEP FLANGER

This applies a 3D effect to the step flanger sound. The flanger sound

will be positioned 90 degrees left and 90 degrees right.

fig.MFX-31

L

2-Band

EQ

L out

3D Step Flanger

R

Parameter

Filter Type

Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from

Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Depth of modulation Phase 0–180 deg Spatial spread of the sound Feedback # -98– +98 % Adjusts the proportion of the

Step Rate # 0.10–20.00 Hz, note Rate (period) of pitch change Output Mode SPEAKER, PHONES Adjusts the method that will be

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

OFF, LPF, HPF Type of filter

2-Band

EQ

OFF:

no filter is used

LPF:

cuts the frequency

range above the Cutoff Freq

HPF:

cuts the frequency

range below the Cutoff Freq

when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select

ER

when using speakers, or

PHONES

when using head-

phones.

direct sound (D) and the flanger sound (W)

R out

SPEAK-

32: 2BAND CHORUS

A chorus effect that lets you apply an effect independently to the

low-frequency and high-frequency ranges.

fig.MFX-32

L in

High Band Chorus

Split

Low Band Chorus

High Band Chorus

Split

Low Band Chorus

R in

Parameter

Split Freq

Low Pre Delay 0.0–100.0 ms Delay time from when the

Low Rate # 0.05–10.00 Hz, note Rate at which the low-range

Low Depth 0–127 Modulation depth for the low-

Range Explanation

200–8000 Hz Frequency at which the low

and high ranges will be divided

original sound is heard to when the low-range chorus sound is heard

chorus sound is modulated

range chorus sound

28

L out

R out

Parameter

Low Phase

High Pre Delay 0.0–100.0 ms Delay time from when the

High Rate # 0.05–10.00 Hz, note Rate at which the low-range

High Depth 0–127 Modulation depth for the

High Phase 0–180 deg Spaciousness of the high-

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

0–180 deg Spaciousness of the low-range

chorus sound

original sound is heard to when the high-range chorus sound is heard

chorus sound is modulated

high-range chorus sound

range chorus sound

nal sound (D) and chorus sound (W)

33: 2BAND FLANGER

A flanger that lets you apply an effect independently to the low-

frequency and high-frequency ranges.

fig.MFX-33

Parameter

Split Freq 200–8000 Hz Frequency at which the low

Low Pre Delay 0.0–100.0 ms Delay time from when the

Low Rate # 0.05–10.00 Hz, note Rate at which the low-range

Low Depth 0–127 Modulation depth for the low-

Low Phase 0–180 deg Spaciousness of the low-range

Low Feedback #

High Pre Delay 0.0–100.0 ms Delay time from when the

High Rate # 0.05–10.00 Hz, note Rate at which the high-range

High Depth 0–127 Modulation depth for the

High Phase 0–180 deg Spaciousness of the high-

High Feedback #

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

and high ranges will be divided

original sound is heard to when the low-range flanger sound is heard

flanger sound is modulated

range flanger sound

-98– +98% Proportion of the low-range

-98– +98% Proportion of the high-range

flanger sound

flanger sound that is to be returned to the input (negative values invert the phase)

original sound is heard to when the high-range flanger sound is heard

flanger sound is modulated

high-range flanger sound

range flanger sound

flanger sound that is to be returned to the input (negative values invert the phase)

nal sound (D) and flanger sound (W)

Effects List

Amp

Simulator

2-Band

EQ

L in

R in

Over drive

L out

R out

Pan R

Pan L

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

EQ

Distortion

L in

R in

L out

R out

Pan R

Pan L

Amp

Simulator

2-Band

EQ

Overdrive

34: 2BAND STEP FLANGER

A step flanger that lets you apply an effect independently to the low-

frequency and high-frequency ranges.

fig.MFX-34

L in

High Band Step Flanger

Split

High Band Feedback

Low Band Step Flanger

Low Band Feedback

High Band Feedback

High Band Step Flanger

Split

Low Band Feedback

Low Band Step Flanger

R in

Parameter

Split Freq

Low Pre Delay 0.0–100.0 ms Delay time from when the

Low Rate # 0.05–10.00 Hz, note Rate at which the low-range

Low Depth 0–127 Modulation depth for the low-

Low Phase 0–180 deg Spaciousness of the low-range

Low Feedback #

Low Step Rate #

High Pre Delay 0.0–100.0 ms Delay time from when the

High Rate # 0.05–10.00 Hz, note Rate at which the high-range

High Depth 0–127 Modulation depth for the

High Phase 0–180 deg Spaciousness of the high-

High Feedback #

High Step Rate #

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

200–8000 Hz Frequency at which the low

and high ranges will be divided

original sound is heard to when the low-range flanger sound is heard

flanger sound is modulated

range flanger sound

flanger sound

-98– +98% Proportion of the low-range

flanger sound that is to be returned to the input (negative values invert the phase)

0.10–20.00 Hz, note Rate at which the steps will

cycle for the low-range flanger sound

original sound is heard to when the high-range flanger sound is heard

flanger sound is modulated

high-range flanger sound

range flanger sound

-98– +98% Proportion of the high-range

flanger sound that is to be returned to the input (negative values invert the phase)

0.10–20.00 Hz, note Rate at which the steps will

cycle for the high-range flanger sound

nal sound (D) and flanger sound (W)

L out

R out

35: OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube

amplifiers.

fig.MFX-35

Parameter Value Description

Drive #

Amp Type SMALL, BUILT-IN,

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Pan # L64–63R Stereo location of the output

Level 0–127 Output Level

0–127 Degree of distortion

2-STACK, 3-STACK

Also changes the volume.

Type of guitar amp

SMALL:

small amp

BUILT-IN:

amp

2-STACK:

stack amp

3-STACK:

stack amp

sound

single-unit type

large double

large triple

36: DISTORTION

Produces a more intense distortion than Overdrive. The parameters

are the same as for “35: OVERDRIVE.”

fig.MFX-36

37: VS OVERDRIVE

This is an overdrive that provides heavy distortion.

fig.MFX-37

Parameter

Drive #

Tone # 0–127 Sound quality of the Overdrive ef-

Amp Sw OFF, ON Turns the Amp Simulator on/off. Amp Type SMALL, BUILT-IN,

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Pan # L64–63R Stereo location of the output sound Level 0–127 Output Level

Value Description

0–127 Degree of distortion

2-STACK, 3-STACK

Also changes the volume.

fect

Type of guitar amp

SMALL:

small amp

BUILT-IN: 2-STACK:

amp

3-STACK:

amp

single-unit type amp

large double stack

large triple stack

29

Effects List

L in

R in

L out

R out

Compressor

2-Band EQ

Compressor

38: VS DISTORTION

This is a distortion effect that provides heavy distortion. The

parameters are the same as for “37: VS OVERDRIVE.”

fig.MFX-38

L in

R in

Distortion

Amp

Simulator

2-Band

EQ

L out

Pan L

Pan R

R out

39: GUITAR AMP SIMULATOR

This is an effect that simulates the sound of a guitar amplifier.

fig.MFX-39

L in

Pre Amp

Speaker

R in

Parameter

Pre Amp Sw OFF, ON Turns the amp switch on/off. Pre Amp

Type

Pre Amp Volume #

Pre Amp Master #

Pre Amp Gain

Pre Amp Bass

Pre Amp Middle

Pre Amp Treble

Pre Amp Presence

Pre Amp Bright

Speaker Sw OFF, ON Determines whether the signal

Speaker Type

Mic Setting 1, 2, 3 Adjusts the location of the mic

Mic Level 0–127 Volume of the microphone Direct Level 0–127 Volume of the direct sound Pan # L64–63R Stereo location of the output Level # 0–127 Output level

Value Description

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

0–127 Volume and amount of distor-

0–127 Volume of the entire pre-amp

LOW, MIDDLE, HIGH

0–127 Tone of the bass/mid/treble

0–127 (MATCH DRIVE:

-127 - 0) OFF, ON Turning this “On” produces a

(See the table below.) Type of speaker

Type of guitar amp

tion of the amp

Amount of pre-amp distortion

frequency range * Middle cannot be set if

“Match Drive” is selected as the Pre Amp Type.

Tone for the ultra-high frequency range

sharper and brighter sound. * This parameter applies to the

“JC-120,” “Clean Twin,” and “BG Lead” Pre Amp Types.

passes through the speaker (ON), or not (OFF).

that’s capturing the sound of the speaker.

This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases.

L out

Pan L

Pan R

R out

Specifications for each Speaker Type

The speaker column indicates the diameter of each speaker unit (in

inches) and the number of units.

Type

SMALL 1 SMALL 2 small open-back enclosure 10 dynamic MIDDLE open back enclosure 12 x 1 dynamic JC-120 open back enclosure 12 x 2 dynamic BUILT-IN 1 open back enclosure 12 x 2 dynamic BUILT-IN 2 open back enclosure 12 x 2 condenser BUILT-IN 3 open back enclosure 12 x 2 condenser BUILT-IN 4 open back enclosure 12 x 2 condenser BUILT-IN 5 open back enclosure 12 x 2 condenser BG STACK 1 sealed enclosure 12 x 2 condenser BG STACK 2 large sealed enclosure 12 x 2 condenser MS STACK 1 large sealed enclosure 12 x 4 condenser MS STACK 2 large sealed enclosure 12 x 4 condenser METAL STACK large double stack 12 x 4 condenser 2-STACK large double stack 12 x 4 condenser 3-STACK large triple stack 12 x 4 condenser

Cabinet Spea

ker

small open-back enclosure 10 dynamic

Microphone

40: COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out

fluctuations in volume.

fig.MFX-40

Parameter

Attack #

Threshold # 0–127 Adjusts the volume at which compres-

Post Gain 0– +18 dB Adjusts the output gain. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level # 0–127 Output level

Value Description

0–127 Sets the speed at which compression

starts

sion begins

41: LIMITER

Compresses signals that exceed a specified volume level, preventing

distortion from occurring.

fig.MFX-41

L in

R in

Parameter

Release #

Threshold # 0–127 Adjusts the volume at which compres-

Ratio 1.5:1, 2:1, 4:1,

Post Gain 0– +18 dB Adjusts the output gain. Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Level # 0–127 Output level

Limiter

Value Description

0–127 Adjusts the time after the signal volume

100:1

2-Band EQ

falls below the Threshold Level until compression is no longer applied.

sion begins Compression ratio

L out

R out

30

Effects List

L in

R in

L out

R out

2-Band

EQ

Pan R

Pan L

2-Band

EQ

Feedback

Long Delay

R in

R out

L in

L out

Feedback 1

Pan L

Pan R

Delay 1

Feedback 2

Delay 2

42: GATE

Cuts the reverb’s delay according to the volume of the sound sent

into the effect. Use this when you want to create an artificial-

sounding decrease in the reverb’s decay.

fig.MFX-42

L in

R in

Parameter

Threshold #

Mode GATE,

Attack 0–127 Adjusts the time it takes for the gate to

Hold 0–127 Adjusts the time it takes for the gate to

Release 0–127 Adjusts the time it takes the gate to fully

Balance # D100:0W–

Level 0–127 Output level

Gate

Value Description

0–127 Volume level at which the gate begins to

DUCK

D0:100W

close Type of gate

GATE:

volume of the original sound decreases, cutting the original sound.

DUCK (Ducking):

when the volume of the original sound increases, cutting the original sound.

fully open after being triggered.

start closing after the source sound falls beneath the Threshold.

close after the hold time. Volume balance between the direct

sound (D) and the effect sound (W)

L out

R out

The gate will close when the

The gate will close

Parameter

Delay Left Delay Right Phase Left NORMAL, Phase Right Feedback

Mode

Feedback # -98– +98 % Adjusts the amount of the delay sound

HF Damp 200–8000 Hz,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–1300 ms, note

INVERSE NORMAL,

CROSS

BYPASS

D0:100W

Adjusts the time until the delay sound is heard.

Phase of the delay sound

Selects the way in which delay sound is fed back into the effect. (See the figures above.)

that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

44: LONG DELAY

A delay that provides a long delay time.

fig.MFX-44

43: DELAY

This is a stereo delay.

When Feedback Mode is NORMAL:

fig.MFX-43a

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

When Feedback Mode is CROSS:

fig.MFX-43b

Balance D

L in

Delay

Feedback Feedback

Delay

R in

Balance D

2-Band

EQ

Balance W

2-Band

EQ

2-Band

EQ

Balance W

2-Band

EQ

L out

R out

L out

R out

Parameter

Delay Time

Phase NORMAL, INVERSE Phase of the delay (NORMAL:

Feedback # -98– +98% Proportion of the delay sound

HF Damp 200–8000 Hz,

Pan # L64–63R Panning of the delay sound Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

0–2600 ms, note Delay time from when the

BYPASS

original sound is heard to when the delay sound is heard

non-inverted, INVERT: inverted)

that is to be returned to the input (negative values invert the phase)

Frequency at which the highfrequency content of the delayed sound will be cut (BYPASS: no cut)

high-frequency range

nal sound (D) and delay sound (W)

45: SERIAL DELAY

This delay connects two delay units in series. Feedback can be

applied independently to each delay unit, allowing you to produce

complex delay sounds.

fig.MFX-45

31

Effects List

L in

R in

L out

R out

Left Tap

Right Tap

Triple Tap Delay

2-Band

EQ

2-Band

EQ

Balance W

Balance D

Balance W

Balance D

Feedback

Center Tap

L in

R in

L out

R out

Quadruple Tap Delay

Balance W

Balance D

Balance W

Balance D

Delay 1

Delay 2

Delay 3

Delay 4

Feedback

Parameter

Delay1 Time

Delay1 Feedback #

Delay1 HF Damp

Delay2 Time 0–1300 ms, note Delay time from when sound

Delay2 Feedback #

Delay2 HF Damp

Pan # L64–63R Panning of the delay sound Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

0–1300 ms, note Delay time from when sound

-98– +98% Proportion of the delay sound

200–8000 Hz, BYPASS

-98– +98% Proportion of the delay sound

200–8000 Hz, BYPASS

is input to delay 1 until the delay sound is heard

that is to be returned to the input of delay 1 (negative values invert the phase)

Frequency at which the highfrequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut)

is input to delay 2 until the delay sound is heard

that is to be returned to the input of delay 2 (negative values invert the phase)

Frequency at which the highfrequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut)

low-frequency range

high-frequency range

nal sound (D) and delay sound (W)

Parameter

HF Damp

Rate # 0.05–10.00 Hz,

Depth 0–127 Depth of modulation Phase 0-180 deg Spatial spread of the sound Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

200–8000 Hz, BYPASS

note

D0:100W

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

Frequency of modulation

Volume balance between the direct sound (D) and the delay sound (W)

47: 3TAP PAN DELAY

Produces three delay sounds; center, left and right.

fig.MFX-47

46: MODULATION DELAY

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

fig.MFX-46a

L in L out

Balance D

Delay

Feedback

Delay

Modulation

R in R out

Balance D

When Feedback Mode is CROSS:

fig.MFX-46b

Balance D

L in

Delay

Feedback Feedback

Delay

Modulation

R in

Balance D

2-Band

EQ

Balance W

2-Band

EQ

2-Band

EQ

Balance W

2-Band

EQ

L out

R out

Parameter

Delay Left/ Right/Center

Center Feedback #

HF Damp 200–8000 Hz,

Left/Right/ Center Level

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–2600 ms, note

-98– +98 % Adjusts the amount of the delay sound

BYPASS

0–127 Volume of each delay

D0:100W

Adjusts the time until the delay sound is heard.

that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

48: 4TAP PAN DELAY

This effect has four delays.

fig.MFX-48a

Parameter

Delay Left Delay Right Feedback

Mode

Feedback # -98– +98 % Adjusts the amount of the delay sound

32

Value Description

0–1300 ms, note

NORMAL, CROSS

Adjusts the time until the delay sound is heard.

Selects the way in which delay sound is fed back into the effect (See the figures above.)

that’s fed back into the effect. Negative (-) settings invert the phase.

23

1

L

fig.MFX-48b

Stereo location of each delay

4

R

Effects List

L in

R in

L out

R out

Multi Tap Delay

Balance W

Balance D

Balance W

Balance D

Delay 1

Delay 3

Delay 4

Delay 2

Feed back

2-Band

EQ

2-Band

EQ

Parameter

Delay 1–4 Time

Delay 1 Feedback #

HF Damp 200–8000 Hz,

Delay 1–4 Level

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–2600 ms, note

-98– +98 % Adjusts the amount of the delay sound

BYPASS

0–127 Volume of each delay

D0:100W

Adjusts the time until the delay sound is heard.

that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

49: MULTI TAP DELAY

This effect provides four delays. Each of the Delay Time parameters

can be set to a note length based on the selected tempo. You can also

set the panning and level of each delay sound.

fig.MFX-49

Parameter

Delay 1–4 Time

Delay 1 Feedback #

HF Damp 200–8000 Hz,

Delay 1–4 Pan

Delay 1–4 Level

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–2600 ms, note

-98– +98 % Adjusts the amount of the delay sound

BYPASS

L64–63R Stereo location of Delays 1–4

0–127 Output level of Delays 1–4

D0:100W

Adjusts the time until Delays 1–4 are heard.

that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the effect sound (W)

50: REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to the

input sound. A tap delay is connected immediately after the reverse

delay.

fig.MFX-50

L in

R in

Feedback

Rev. Delay

Rev

D1

Delay

D2

D3

2-Band

EQ

2-Band

EQ

L out

R out

Parameter

Threshold

Rev Delay Time

Rev Delay Feedback #

Rev Delay HF Damp

Rev Delay Pan L64–63R Panning of the reverse delay

Rev Delay Level

Delay 1 – 3 Time

Delay 3 Feedback #

Delay HF Damp

Delay 1 Pan’, ‘Delay 2 Pan

Delay 1 Level’, ‘Delay 2 Level

Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

0–127 Volume at which the reverse

0–1300 ms, note Delay time from when sound

-98– +98% Proportion of the delay sound

200–8000 Hz, BYPASS

0–127 Volume of the reverse delay

0–1300 ms, note Delay time from when sound

-98– +98% Proportion of the delay sound

200–8000 Hz, BYPASS

L64–63R Panning of the tap delay

0–127 Volume of the tap delay

delay will begin to be applied

is input into the reverse delay until the delay sound is heard

that is to be returned to the input of the reverse delay (negative values invert the phase)

Frequency at which the highfrequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

sound

is input into the tap delay until the delay sound is heard

that is to be returned to the input of the tap delay (negative values invert the phase)

Frequency at which the lowfrequency content of the tap delay sound will be cut (BYPASS: no cut)

sounds

low-frequency range

high-frequency range

nal sound (D) and delay sound (W)

51: SHUFFLE DELAY

Adds a shuffle to the delay sound, giving the sound a bouncy delay

effect with a swing feel.

fig.MFX-51

L in

Feedback

Delay A

2-Band

A

EQ

L out

Delay

Delay B

R in

Parameter

Delay Time #

Shuffle Rate #

Acceleration 0–15 Adjusts the time over which the Delay

Feedback # -98– +98 % Adjusts the amount of the delay that’s

HF Damp 200–8000 Hz,

Pan A/B 0–127 Stereo location of Delay A/B

Value Description

0–2600 ms, note

0–100 % Adjusts the ratio (as a percentage) of the

BYPASS

B

2-Band

Adjusts the time until the delay sound is heard.

time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds.

When set to 100%, the delay times are the same.

Time changes from the current setting to its specified new setting.

fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

EQ

R out

33

Effects List

L in

R in

L out

R out

2-Band

EQ

Balance W

Balance D

2-Band

EQ

Feedback

Time Control Delay

Parameter

Level A/B Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–127 Volume of delay A/B

D0:100W

Volume balance between the direct sound (D) and the effect sound (W)

52: 3D DELAY

This applies a 3D effect to the delay sound. The delay sound will be

positioned 90 degrees left and 90 degrees right.

fig.MFX-52

L

3D Delay L

Level

2-Band

EQ

L out

3D Delay C

Feedback

3D Delay R

R

Parameter

Delay Left Delay Right Delay Center Center

Feedback #

HF Damp 200–8000 Hz, BYPASS Adjusts the frequency above

Left Level 0–127 Output level of the delay Right Level Center Level Output Mode SPEAKER, PHONES Adjusts the method that will

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

0–2600 ms, note Adjusts the delay time from

-98– +98 % Adjusts the proportion of the

the direct sound until the delay sound is heard.

delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

sound

be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select

SPEAKER

ers, or headphones.

direct sound (D) and the effect sound (W)

2-Band

EQ

when using speak-

PHONES

when using

R out

53: TIME CTRL DELAY

A stereo delay in which the delay time can be varied smoothly.

fig.MFX-53

L in

Time Ctrl Delay

Feedback Feedback

Time Ctrl Delay

R in

Parameter

Delay Time # 0–1300 ms, note Adjusts the time until the delay

Value Description

Pan L

Pan R

is heard.

2-Band EQ

34

L out

R out

Parameter

Acceleration

Feedback #2 -98– +98 % Adjusts the amount of the delay

HF Damp 200–8000 Hz,

Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–15 Adjusts the time over which the

BYPASS

D0:100W

Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change.

that’s fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

54: LONG TIME CTRL DELAY

A delay in which the delay time can be varied smoothly, and

allowing an extended delay to be produced.

fig.MFX-54

Parameter

Delay Time #

Acceleration 0–15 Adjusts the time over which the Delay

Feedback # -98– +98 % Adjusts the amount of the delay that’s

HF Damp 200–8000 Hz,

Pan # L64–63R Stereo location of the delay Low Gain -15– +15 dB Gain of the low frequency range High Gain -15– +15 dB Gain of the high frequency range Balance # D100:0W–

Level 0–127 Output level

Value Description

0–2600 ms, note

BYPASS

D0:100W

Adjusts the time until the delay is heard.

Time changes from the current setting to a specified new setting.

The rate of change for the Delay Time directly affects the rate of pitch change.

fed back into the effect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

55: TAPE ECHO

A virtual tape echo that produces a realistic tape delay sound. This

simulates the tape echo section of a Roland RE-201 Space Echo.

fig.MFX-55

L in

R in

Direct Level

Tape Echo

Direct Level

L out

Echo Level

R out

Effects List

L in

R in

L out

R out

Compressor

Lo-Fi

Compressor

2-Band

EQ

2-Band

EQ

Parameter

Mode

Repeat Rate # 0–127 Tape speed

Intensity # 0–127 Amount of delay repeats Bass -15– +15 dB Boost/cut for the lower range of the echo

Treble -15– +15 dB Boost/cut for the upper range of the echo

Head S Pan L64–63R Independent panning for the short, midHead M Pan Head L Pan Tape Distor-

tion

Wow/Flutter Rate

Wow/Flutter Depth

Echo Level # 0–127 Volume of the echo sound Direct Level # 0–127 Volume of the original sound Level 0–127 Output level

Value Description

S, M, L, S+M, S+L, M+L, S+M+L

0–5 Amount of tape-dependent distortion to

0–127 Speed of wow/flutter (complex variation

0–127 Depth of wow/flutter

Combination of playback heads to use

Select from three different heads with different delay times.

S:

short M: middle L: long

Increasing this value will shorten the spacing of the delayed sounds.

sound

dle, and long playback heads

be added

This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

in pitch caused by tape wear and rotational irregularity)

56: LOFI NOISE

In addition to a lo-fi effect, this adds various types of noise such as

white noise and disc noise.

fig.MFX-56

L in

R in

Parameter

LoFi Type

Post Filter Type

Post Filter Cutoff

W/P Noise Type

W/P Noise LPF

W/P Noise Level #

Disc Noise Type

Disc Noise LPF

Disc Noise Level #

Lo-Fi

Noise Gen.

Lo-Fi

Value Description

1–9 Degrades the sound quality. The sound

OFF, LPF, HPF

200–8000 Hz Center frequency of the filter

WHITE, PINK

200–8000 Hz, BYPASS

0–127 Volume of the white/pink noise

LP, EP, SP, RND

200–8000 Hz, BYPASS

0–127 Volume of the record noise

quality grows poorer as this value is increased.

Type of filter

OFF: LPF:

the Cutoff

HPF:

the Cutoff

Switch between white noise and pink noise.

Center frequency of the low pass filter applied to the white/pink noise (BYPASS: no cut)

Type of record noise

The frequency at which the noise is heard depends on the selected type.

Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you don’t want to filter out any high frequencies, set this parameter to BYPASS.

2-Band

EQ

2-Band

EQ

no filter is used cuts the frequency range above

cuts the frequency range below

L out

R out

Parameter

Hum Noise Type

Hum Noise LPF

Hum Noise Level #

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–

Level 0–127 Output level

Value Description

50 Hz, 60 Hz Frequency of the hum noise

200–8000 Hz, BYPASS

0–127 Volume of the hum noise

D0:100W

Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut)

Volume balance between the direct sound (D) and the effect sound (W)

57: LOFI COMPRESS

This is an effect that intentionally degrades the sound quality for

creative purposes.

fig.MFX-57

Parameter

Pre Filter Type

LoFi Type 1–9 Degrades the sound quality. The sound

Post Filter Type

Post Filter Cutoff

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–

Level # 0–127 Output level

Value Description

1–6 Selects the type of filter applied to the

OFF, LPF, HPF

200–8000 Hz Basic frequency of the Post Filter

D0:100W

sound before it passes through the Lo-Fi effect.

quality grows poorer as this value is increased.

Type of filter

OFF:

no filter is used

LPF:

cuts the frequency range above

the Cutoff

HPF:

cuts the frequency range below

the Cutoff

Volume balance between the direct sound (D) and the effect sound (W)

58: LOFI RADIO

In addition to a Lo-Fi effect, this effect also generates radio noise.

fig.MFX-58

L in

R in

Parameter

LoFi Type

Post Filter Type

Post Filter Cutoff

Lo-Fi

Radio

Lo-Fi

Value Description

1–9 Degrades the sound quality. The sound

OFF, LPF, HPF

200–8000 Hz Basic frequency of the Post Filter

quality grows poorer as this value is increased.

Type of filter

2-Band

EQ

2-Band

EQ

OFF:

no filter is used

LPF:

cuts the frequency range above

the Cutoff

HPF:

cuts the frequency range below

the Cutoff

L out

R out

35

Effects List

L in

R in

Pitch Shifter

L out

R out

2-Band EQ

L in

R in

L out

R out

2Voice Pitch Shifter

Level 1

Balance W

Balance D

Balance W

Balance D

Level 1

Pan 2 R

Pan 1 L

Pan 1 R

Pan 2 L

Parameter

Radio Detune #

Radio Noise Level #

Balance # D100:0W–

Level 0–127 Output level

Value Description

0–127 Simulates the tuning noise of a radio. As

0–127 Volume of the radio noise

D0:100W

this value is raised, the tuning drifts further.

Volume balance between the direct sound (D) and the effect sound (W)

59: TELEPHONE

fig.MFX-59

L in

R in

Parameter

Voice Quality #

Treble -15– +15 dB Bandwidth of the telephone voice Balance # D100:0–

Level 0–127 Output level

Telephone

Value Description

0–15 Audio quality of the telephone voice

D0:100W

Volume balance between the direct sound (D) and the effect sound (W)

L out

R out

60: PHONOGRAPH

Simulates a sound recorded on an analog record and played back on

a record player. This effect also simulates the various types of noise

that are typical of a record, and even the rotational irregularities of

an old turntable.

fig.MFX-60

L in

Phonograph

R in

Balance D

L out

Balance W

R out

Balance D

61: PITCH SHIFTER (Feedback Pitch Shifter)

A stereo pitch shifter.

fig.MFX-61

Parameter

Coarse #1

Fine #1 -100– +100 cent Adjusts the pitch of the pitch

Delay Time 0–1300 ms, note Adjusts the delay time from

Feedback # -98– +98 % Adjusts the proportion of the

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

-24– +12 semi Adjusts the pitch of the pitch shifted sound in semitone steps.

shifted sound in 2-cent steps.

the direct sound until the pitch shifted sound is heard.

pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.

direct sound (D) and the pitch shifted sound (W)

62: 2VOICE PITCH SHIFTER

Shifts the pitch of the original sound. This 2-voice pitch shifter has

two pitch shifters, and can add two pitch shifted sounds to the

original sound.

fig.MFX-62

Parameter

Signal Distortion

Frequency Range

Disc Type LP, EP, SP Rotational speed of the turntable

Scratch Noise Level

Dust Noise Level

Hiss Noise Level

Total Noise Level #

Wow 0–127 Depth of long-cycle rotational irregulari-

Flutter 0–127 Depth of short-cycle rotational irregular-

Random 0–127 Depth of indefinite-cycle rotational irreg-

Total Wow/ Flutter #

Balance # D100:0W–

Level 0–127 Output level

36

Value Description

0–127 Depth of distortion

0–127 Frequency response of the playback sys-

0–127 Amount of noise due to scratches on the

0–127 Volume of noise due to dust on the

0–127 Volume of continuous “hiss”

0–127 Volume of overall noise

0–127 Depth of overall rotational irregularity

D0:100W

tem

Decreasing this value will produce the impression of an old system with a poor frequency response.

This will affect the frequency of the scratch noise.

record

ty

ity

ularity

Volume balance between the direct sound (D) and the effect sound (W)

Parameter

Pitch 1: Coarse #1

Pitch 1:Fine #1 -100-+100 cent Adjusts the pitch of Pitch Shift

Pitch 1:Delay 0–1300 ms, note Adjusts the delay time from

Pitch 1:Feedback #

Pitch 1:Pan # L64-63R Stereo location of the Pitch

Pitch 1:Level 0–127 Volume of the Pitch Shift1

Value Description

-24-+12 semi Adjusts the pitch of Pitch Shift 1 in semitone steps.

Pitch 1 in 2-cent steps.

the direct sound until the Pitch Shift 1 sound is heard.

-98– +98 % Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.

Shift 1 sound

sound

Effects List

Parameter

Pitch 2: Coarse #2

Pitch 2:Fine #2 -100-+100 cent Pitch 2:Delay 0–1300 ms, note Pitch 2:Feed-

back # Pitch 2:Pan # L64-63R Pitch 2:Level 0–127 Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Level Balance A100:0B-A0:100B Volume balance between the

Balance D100:0W-D0:100W Volume balance between the

Level 0-127 Output Level

Value Description

-24-+12 semi Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.

-98– +98 %

Pitch Shift 1 and Pitch Shift 2 sounds

direct sound (D) and the pitch shifted sound (W)

63: STEP PITCH SHIFTER

A pitch shifter in which the amount of pitch shift is varied by a 16-

step sequence.

fig.MFX-63

L in

2-Band

EQ

L out

Step Pitch Shifter

R in

Parameter

Step 01–16

Rate # 0.05–10.00 Hz, note Rate at which the 16-step se-

Attack # 0–127 Speed at which the amount of

Gate Time # 0–127 Duration of the pitch shifted

Fine -100– +100 cent Pitch shift adjustment for all

Delay Time 0–1300 ms, note Delay time from the original

Feedback # -98– +98% Proportion of the pitch-shift-

Low Gain -15– +15 dB Amount of boost/cut for the

High Gain -15– +15 dB Amount of boost/cut for the

Balance # D100:0W–D0:100W Volume balance of the origi-

Level 0–127 Output volume

Range Explanation

-24–+12 semi Amount of pitch shift at each

2-Band

EQ

step (semitone units)

quence will cycle

pitch shift changes between steps

sound at each step

steps (2-cent units)

sound until the pitch-shifted sound is heard

ed sound that is to be returned to the input (negative values invert the phase)

low-frequency range

high-frequency range

nal sound (D) and pitch-shifted sound (W)

R out

64: REVERB

Adds reverberation to the sound, simulating an acoustic space.

fig.MFX-64

L in

R in

Balance D

Reverb

Balance D

2-Band

Balance W

2-Band

EQ

L out

R out

Parameter

Type

Pre Delay 0.0–100.0 ms Adjusts the delay time from

Time # 0–127 Time length of reverberation HF Damp 200–8000 Hz,

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level 0–127 Output Level

Value Description

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2

BYPASS

Type of reverb

ROOM1:

short decay

ROOM2:

short decay

STAGE1:

er late reverberation

STAGE2:

strong early reflections

HALL1:

reverb with clear

reverberance

HALL2:

reverb with rich re-

verberance

the direct sound until the reverb sound is heard.

Adjusts the frequency above which the reverberant sound will be cut.

As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this parameter to BYPASS.

direct sound (D) and the reverb sound (W)

dense reverb with

sparse reverb with

reverb with great-

reverb with

65: GATED REVERB

This is a special type of reverb in which the reverberant sound is cut

off before its natural length.

fig.MFX-65

L in

Balance D

Gated Reverb

R in

Parameter

Type

Pre Delay 0.0–100.0 ms Adjusts the delay time from

Gate Time 5–500 ms Adjusts the time from when

Low Gain -15– +15 dB Gain of the low range High Gain -15– +15 dB Gain of the high range Balance # D100:0W–D0:100W Volume balance between the

Level # 0–127 Output Level

Balance D

Value Description

NORMAL, REVERSE, SWEEP1, SWEEP2

2-Band

EQ

Balance W

2-Band

EQ

Type of reverb

NORMAL:

gated reverb

REVERSE:

verb

SWEEP1:

sound moves from right to left

SWEEP2:

sound moves from left to right

the direct sound until the reverb sound is heard.

the reverb is heard until it disappears.

direct sound (D) and the reverb sound (W)

L out

R out

conventional

backwards re-

the reverberant

37

Effects List

L in

R in

Flanger

Overdrive

L out

R out

Balance W

Balance D

Feedback

L in

R in

Chorus

Distortion

L out

R out

Balance W

Balance D

66: OVERDRIVE → CHORUS

fig.MFX-66

L in

Overdrive

R in

Parameter

Overdrive Drive #

Overdrive Pan #

Chorus Pre Delay

Chorus Rate # 0.05–10.00 Hz, note Frequency of modulation Chorus Depth 0–127 Depth of modulation Chorus

Balance #

Level 0–127 Output Level

Value Description

0–127 Degree of distortion

L64–63R Stereo location of the overdrive

0.0–100.0 ms Adjusts the delay time from the

D100:0W–D0:100W Adjusts the volume balance be-

Balance D

Chorus

Balance D

sound

direct sound until the chorus sound is heard.

tween the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

L out

Balance W

R out

Also changes the volume.

67: OVERDRIVE → FLANGER

fig.MFX-67

Parameter

Overdrive Drive #

Overdrive Pan # L64–63R Stereo location of the over-

Delay Time 0–2600 ms, note Adjusts the delay time from

Delay Feedback #

Delay HF Damp 200–8000 Hz,

Delay Balance # D100:0W–D0:100W Adjusts the volume balance

Level 0–127 Output Level

Value Description

0–127 Degree of distortion

-98– +98 % Adjusts the proportion of the

BYPASS

Also changes the volume.

drive sound

the direct sound until the delay sound is heard.

delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

69: DISTORTION → CHORUS

The parameters are essentially the same as in “66: OVERDRIVE →

CHORUS,” with the exception of the following two.

OD Drive → Dist Drive, OD Pan → Dist Pan

fig.MFX-69

Parameter

Overdrive Drive #

Overdrive Pan #

Flanger Pre Delay

Flanger Rate # 0.05–10.00 Hz, note Frequency of modulation Flanger Depth 0–127 Depth of modulation Flanger

Feedback #

Flanger Balance #

Level 0–127 Output Level

Value Description

0–127 Degree of distortion

Also changes the volume.

L64–63R Stereo location of the overdrive

sound

0.0–100.0 ms Adjusts the delay time from when the direct sound begins until the flanger sound is heard.

-98– +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

D100:0W–D0:100W Adjusts the volume balance be-

tween the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

68: OVERDRIVE → DELAY

fig.MFX-68

L in

R in

38

Overdrive

Balance D

Delay

Feedback

Balance D

L out

Balance W

R out

70: DISTORTION → FLANGER

The parameters are essentially the same as in “67: OVERDRIVE →

FLANGER,” with the exception of the following two.

OD Drive → Dist Drive, OD Pan → Dist Pan

fig.MFX-70

L in

R in

Distortion

Balance D

Feedback

Flanger

Balance D

L out

Balance W

R out

71: DISTORTION → DELAY

The parameters are essentially the same as in “68: OVERDRIVE →

DELAY,” with the exception of the following two.

OD Drive → Dist Drive, OD Pan → Dist Pan

fig.MFX-71

L in

R in

Distortion

Balance D

Delay

Feedback

Balance D

L out

Balance W

R out

Effects List

Feedback

Flanger

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

Feedback

Delay

L in

R in

L out

R out

Mix

Enhancer

Balance W

Balance D

Feedback

Delay

L in

R in

L out

R out

Balance W

Balance D

Chorus

Balance W

Balance D

72: ENHANCER → CHORUS

fig.MFX-72

L in

Enhancer

Mix

Balance D

L out

Balance W

Chorus

Balance W

R in

Parameter

Enhancer Sens # Enhancer Mix # 0–127 Level of the overtones generat-

Chorus Pre Delay

Chorus Rate # 0.05–10.00 Hz, note Frequency of modulation Chorus Depth 0–127 Depth of modulation Chorus

Balance #

Level 0–127 Output Level

Enhancer

Mix

Balance D

Value Description

0–127 Sensitivity of the enhancer

0.0–100.0 ms Adjusts the delay time from the

D100:0W– D0:100W

ed by the enhancer

direct sound until the chorus sound is heard.

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

R out

73: ENHANCER → FLANGER

fig.MFX-73

74: ENHANCER → DELAY

fig.MFX-74

Parameter

Enhancer Sens # Enhancer Mix # 0–127 Level of the overtones gener-

Delay Time 0–2600 ms, note Adjusts the delay time from

Delay Feedback #

Delay HF Damp 200–8000 Hz,

Delay Balance # D100:0W–D0:100W Adjusts the volume balance

Level 0–127 Output Level

Value Description

0–127 Sensitivity of the enhancer

ated by the enhancer

the direct sound until the de-

-98– +98 % Adjusts the proportion of the

BYPASS

lay sound is heard.

delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Parameter

Enhancer Sens # Enhancer Mix # 0–127 Level of the overtones generat-

Flanger Pre Delay

Flanger Rate # 0.05–10.00 Hz, note Frequency of modulation Flanger Depth 0–127 Depth of modulation Flanger

Feedback #

Flanger Balance #

Level 0–127 Output Level

Value Description

0–127 Sensitivity of the enhancer

0.0–100.0 ms Adjusts the delay time from

-98– +98 % Adjusts the proportion of the

D100:0W– D0:100W

ed by the enhancer

when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

75: CHORUS → DELAY

fig.MFX-75

Parameter

Chorus Pre Delay

Chorus Rate # 0.05–10.00 Hz, note Frequency of modulation Chorus Depth 0–127 Depth of modulation Chorus

Balance #

Delay Time 0–2600 ms, note Adjusts the delay time from the

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0–127 Output Level

Value Description

0.0–100.0 ms Adjusts the delay time from the

D100:0W–D0:100W Volume balance between the di-

-98– +98 % Adjusts the proportion of the

200–8000 Hz, BYPASS

D100:0W–D0:100W Adjusts the volume balance be-

direct sound until the chorus sound is heard.

rect sound (D) and the chorus sound (W)

direct sound until the delay sound is heard.

delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

tween the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

39

Effects List

L in

R in

L out

R out

Syn. Resonance

3-Band

EQ

3-Band

EQ

76: FLANGER → DELAY

fig.MFX-76

Balance D

L in

Feedback

Flanger

R in

Parameter

Flanger Pre Delay

Flanger Rate # 0.05–10.00 Hz, note Frequency of modulation Flanger Depth 0–127 Depth of modulation Flanger

Feedback #

Flanger Balance #

Delay Time 0–2600 ms, note Adjusts the delay time from

Delay Feedback #

Delay HF Damp

Delay Balance #

Level 0–127 Output Level

Balance D

Value Description

0.0–100.0 ms Adjusts the delay time from

-98– +98 % Adjusts the proportion of the

D100:0W–D0:100W Volume balance between the

-98– +98 % Adjusts the proportion of the

200–8000 Hz, BYPASS

D100:0W–D0:100W Adjusts the volume balance be-

Balance W

Balance D

Delay

Feedback

Balance D

when the direct sound begins until the flanger sound is heard.

flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

direct sound (D) and the flanger sound (W)

the direct sound until the delay sound is heard.

delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

tween the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

L out

Balance W

R out

77: CHORUS → FLANGER

fig.MFX-77

L in

Balance D

Balance W

Chorus

Balance W

R in

Balance D

Parameter Value Description

Chorus Pre Delay

Chorus Rate # 0.05–10.00 Hz, note Modulation frequency of the

Chorus Depth 0–127 Modulation depth of the chorus

Chorus Balance #

Flanger Pre Delay

Flanger Rate # 0.05–10.00 Hz, note Modulation frequency of the

Flanger Depth 0–127 Modulation depth of the flanger

0.0–100.0 ms Adjusts the delay time from the

D100:0W–D0:100W Volume balance between the di-

0.0–100.0 ms Adjusts the delay time from

Balance D

Feedback

Flanger

Balance D

direct sound until the chorus sound is heard.

chorus effect

effect

rect sound (D) and the chorus sound (W)

when the direct sound begins until the flanger sound is heard.

flanger effect

effect

L out

Balance W

R out

Parameter

Flanger Feedback #

Flanger Balance #

Level 0–127 Output Level

Value Description

-98– +98 % Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.

D100:0W–D0:100W Adjusts the volume balance be-

tween the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).

78: SYMPATHETIC RESONANCE (Fantom-S88 only)

On an acoustic piano, holding down the damper pedal allows other

strings to resonate in sympathy with the notes you play, creating

rich and spacious resonances. This effect simulates these

sympathetic resonances.

fig.MFX-78

Parameter

Depth # Damper # 0–127 Depth to which the damper ped-

Pre LPF 16–15000 Hz,

Pre HPF BYPASS,

Peaking Freq 200–8000 Hz Frequency of the filter that

Peaking Gain -15– +15 dB Amount of boost/cut produced

Peaking Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of the frequency region

HF Damp 16–15000 Hz,

LF Damp BYPASS,

Lid 1–6 This simulates the actual chang-

EQ Low Freq 200, 400 Hz Frequency of the low-range EQ EQ Low Gain -15– +15 dB Amount of low-range boost/cut EQ Mid Freq 200–8000 Hz Frequency of the midrange EQ EQ Mid Gain -15– +15 dB Amount of midrange boost/cut EQ Mid Q 0.5, 1.0, 2.0, 4.0, 8.0 Width of midrange (larger val-

EQ High Freq 2000, 4000, 8000 Hz Frequency of the high-range EQ EQ High Gain -15–+15 dB Amount of high-range boost/cut Level 0–127 Output Level

Range Explanation

0–127 Depth of the effect

al is pressed (controls the resonant sound)

BYPASS

16–15000 Hz

BYPASS

16–15000 Hz

Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut)

Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut)

boosts/cuts a specific frequency region of the input sound

by the filter at the specified frequency region of the input sound

boosted/cut by the ‘Peaking Gain’ parameter (larger values make the region narrower)

Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut)

Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut)

es in sound that occur when the lid of a grand piano is set at different heights.

ues make the region narrower)

40

When Using 3D Effects

The following 3D effects utilize RSS (Roland Sound Space)

technology to create a spaciousness that cannot be produced by

delay, reverb, chorus, etc.

52: 3D DELAY

29: 3D CHORUS

30: 3D FLANGER

31: 3D STEP FLANGER

When using these effects, we recommend that you place your

speakers as follows. Also, make sure that the speakers are at a

sufficient distance from the walls on either side.

fig.02-031

30˚ 30˚

Effects List

About the STEP RESET function

06: STEP FILTER

16: STEP RING MODULATOR

19: STEP PAN

20: SLICER

63: STEP PITCH SHIFTER

The above five types contain a sixteen-step sequencer.

For these types, you can use a multi-effect control to reset the

sequence to play from the first step.

To do this, set the multi-effect control Destination to “Step

Reset.”

For example if you are using the modulation lever to control the

effect, you would make the following settings.

Source: CC01: MODULATION

Destination: Step Reset

Sens: +63

If the left and right speakers are too far apart, or if there is too

much reverberation, the full 3D effect may not appear.

Each of these effects has an “Output Mode” parameter. If the

sound from the OUTPUT jacks is to be heard through speakers,

set this parameter to “SPEAKER.” If the sound is to be heard

through headphones, set it to “PHONES.” This will ensure that

the optimal 3D effect will be heard. If this parameter is not set

correctly, the full 3D effect may not appear.

With these settings, the sequence will play back from the first

step whenever you operate the modulation lever.

note:

fig.MFX-note2.e_88

(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),

(Thirty-second note),

(Sixteenth note),

(Half-note triplet),(Quarter note),

(Whole-note triplet),

(Double-note triplet),

(Sixteenth-note triplet),

(Eighth-note triplet),

(Dotted half note),

(Dotted thirty-second note),

(Dotted sixteenth note),

(Dotted eighth note),(Quarter-note triplet),(Eighth note),

(Dotted quarter note),

(Whole note),

(Double note)(Dotted whole note),

(Half note),

41

Effects List

Chorus Parameters

The Fantom-S’s Chorus effect unit can also be used as a stereo delay unit.

These settings allow you to select chorus or delay, and the characteristics of the selected effect type.

Parameter

Chorus Type

Type: 1 (CHORUS)

Rate 0.05–10.00 Hz, note Depth 0–127 Pre Delay 0.0–100.0 ms

Feedback 0–127

Filter Type OFF, LPF, HPF

Cutoff Freq 200–8000 Hz Phase 0–180˚

Type: 2 (DELAY)

Delay Left Delay Right Delay Center Center Feed-

back

HF Damp 200–8000 Hz,

Left Level 0–127 Right Level Center Level

Type: 3 (GM2 CHORUS)

Pre-LPF

Level 0–127 Feedback 0–127

Delay 0–127

Rate 0–127 Depth 0–127 Send Level

To Reverb

note:

fig.MFX-note2.e

(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),

(Thirty-second note),

(Sixteenth note),

(Whole-note triplet),

(Double-note triplet),

Value Description

0 (OFF), 1 (CHORUS), 2 (DELAY), 3 (GM2 CHORUS)

0–1000 ms, note

-98–+98 %

BYPASS

0–7

0–127

(Sixteenth-note triplet),

(Eighth-note triplet),

(Half-note triplet),(Quarter note),

(Dotted half note),

Selects either Chorus or Delay.

0 (OFF): Neither Chorus or Delay is used. 1 (CHORUS): Chorus is used. 2 (DELAY): Delay is used. 3 (GM2 CHORUS): GM2 Chorus is used.

Frequency of modulation Depth of modulation Adjusts the delay time from the di-

rect sound until the chorus sound is heard.

Adjusts the amount of the chorus sound that is fed back into the effect.

Type of filter

OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range

below the Cutoff Freq Basic frequency of the filter Spatial spread of the sound

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Volume of each delay sound

Cuts the high frequency range of the sound coming into the chorus.

Higher values will cut more of

the high frequencies. Volume of the chorus sound Adjusts the amount of the chorus

sound that is fed back into the effect.

Adjusts the delay time from the direct sound until the chorus sound is heard.

Frequency of modulation Depth of modulation Adjusts the amount of chorus

sound that will be sent to the reverb.

(Dotted thirty-second note),

(Dotted sixteenth note),

(Dotted eighth note),(Quarter-note triplet),(Eighth note),

(Dotted quarter note),

(Whole note),

(Double note)(Dotted whole note),

(Half note),

Reverb Parameters

These settings allow you to select the desired type of reverb, and its characteristics.

Parameter Value Description

Reverb Type

0 (OFF), 1 (REVERB), 2 (SRV ROOM), 3 (SRV HALL), 4 (SRV PLATE), 5 (GM2 REVERB)

Type: 1 (REVERB)

Type

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY

Time

0–127

HF Damp 200–8000 Hz,

BYPASS

Delay Feedback

0–127

Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE)

Pre Delay

Time Size

0.0–100.0 ms

0–127 1–8

High Cut 160 Hz–12.5 kHz,

BYPASS

Density Diffusion

LF Damp

0–127 0–127

50–4000 Hz

Freq

LF Damp

-36–0 dB

Gain

HF Damp

4000 Hz–12.5 kHz

Freq

HF Damp

-36–0 dB

Gain

Type: 5 (GM2 REVERB)

Character

Pre-LPF

Level

0–7

0–127 Time 0–127 Delay

0–127 Feedback

Type of reverb

0 (OFF): Reverb is not used. 1 (REVERB): Normal reverb 2 (SRV ROOM): This simulates typical room acoustic reflections. 3 (SRV HALL): This simulates typical concert hall acoustic reflections. 4 (SRV PLATE): This simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. 5 (GM2 REVERB): GM2 Reverb

Type of reverb/delay

ROOM1: short reverb with high density ROOM2: short reverb with low density STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: very clear-sounding reverb HALL2: rich reverb DELAY: conventional delay effect PAN-DELAY: delay effect with echoes that pan left and right

Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY)

Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the amount of delay feedback when the Type setting is DELAY or PANDELAY.

Adjusts the delay time from the direct sound until the reverb sound is heard.

Time length of reverberation

Size of the simulated room or hall

Adjusts the frequency above which the high-frequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.

Density of reverb

Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.)

Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.

Adjusts the frequency above which the high-frequency content of the reverb sound will be reduced, or “damped.”

Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.

Type of reverb

0–5: reverb 6, 7: delay

Cuts the high frequency range of the sound coming into the reverb.

Higher values will cut more of the high frequencies.

Output level of reverbration

Time length of reverberation

Adjusts the amount of the delay sound that is fed back into the effect when the Reverb Character setting is 6 or 7.

42

Effects List

Input Effect Parameter

Selects the type of effect that will be applied to the external input

source.

01: EQUALIZER

Adjusts the tone of the low-frequency and high-frequency ranges.

Parameter

Low Freq

Low Gain -15–+15 dB Amount of low-frequency

High Freq 2000, 4000, 8000 Hz Center frequency of the high-

High Gain -15–+15 dB Amount of high-frequency

02: ENHANCER

Modifies the harmonic content of the high-frequency range to add

sparkle to the sound.

Parameter

Sens Mix 0–127 Volume of the harmonics that

Range Explanation

200, 400 Hz Center frequency of the low-fre-

quency range

boost/cut

frequency range

boost/cut

Range Explanation

0–127 Depth of the enhancer effect

are generated

06: CENTER CANCELER

Removes the sounds that are localized at the center of the stereo

input. This is a convenient way to eliminate a vocal.

Parameter

Ch Balance -50– +50 Volume balance of the L (left)

Range Low 16–15000 Hz Lower frequency limit of the

Range High 16–15000 Hz1 Upper frequency limit of the

Range Explanation

and R (right) channels for removing the sound

band to be removed

03: COMPRESSOR

Restrains high levels and boosts low levels to make the overall

volume more consistent.

Parameter Range Explanation

Attack

Threshold 0–127 Volume level at which compres-

Post Gain 0–+18 dB Level of the output sound

0–127 Time from when the input ex-

ceeds the Threshold until the volume begins to be compressed

sion will begin

04: LIMITER

Compresses the sound when it exceeds a specified volume, to keep

distortion from occurring.

Parameter

Release

Threshold 0–127 Volume level at which compres-

Post Gain 0–+18 dB Level of the output sound

Range Explanation

0–127 Time from when the input falls

below the Threshold until compression ceases

sion will begin

05: NOISE SUPPRESSOR

Suppresses noise during periods of silence.

Parameter Range Explanation

Threshold

Release 0–127 Time from when noise suppres-

0–127 Volume at which noise suppres-

sion will begin

sion begins until the volume reaches zero.

43

Error Messages

If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the

explanation for the error message that appears, and take the appropriate action.

Message

Cannot Edit Preset Sample! Card Not Ready! Card Protected! Data not found Empty Pattern

Empty Sample! Empty Song!

File Name Duplicate

Illegal File! Memory Damaged!

Memory Full!

MIDI Offline!

No More Note Numbers!

No More Sample Numbers!

No More Song Numbers!

Now Playing!

Permission Denied! Playback Tempo Range Over

Recording Parameter Error

Rec Over Flow

Sample Length Too Short!

Sample Memory Full!

Song Full

Song Format Error Song Not Found Too Many Sample Selected!

Unformatted! You Cannot Assign

You Cannot Copy This Message You Cannot Erase This Message You Cannot Move This Message You Cannot Quick Play S-MRC Song Rhythm Note Range Over!

Meaning Action

This is a preset sample, and therefore cannot be edited. — A memory card is not inserted in the slot. Insert a memory card into the slot. The write-protect sticker is affixed to the card. — The data for placement is not specified. — The Pattern has no data in it, so the Pattern Call message cannot be recorded in Step Recording. The sample contains no data. Select a sample that contains data. The song has not been recorded, and therefore cannot be played. A file with the same name already exists. Delete the file bearing the same name from the disk,

The Fantom-S cannot use this file. — The contents of memory may have been damaged. Please perform the Factory Reset operation.

Saving is not possible because there is insufficient space in the user area or memory card. There is a problem with the MIDI cable connection. Check that the MIDI cable has not been disconnect-

A maximum of 16 different note numbers can be used in one style of the arpeggio/rhythm function. The sample cannot be divided any further. Erase unneeded samples in order to allocate 256 or Since fewer than 256 consecutive sample numbers are vacant, no further sampling is possible. No more songs can be saved. A maximum of 256 songs can be handled simultaneously for both the user bank and card bank. Since the Fantom-S is playing, this operation cannot be executed. The file is protected. — Tempo values exceed the allowable limit, and data is created in which the closest time available within the allowable range is specified. You are attempting to begin recording after a looped segment. Since a large amount of recorded data was input all at once, it could not be processed correctly. The sample is too short, and cannot be edited correctly. If the sample is extremely short, editing may not

Since there is insufficient sample memory, no further sampling or sample editing is possible. Since the maximum number of notes that can be recorded in a song or pattern has been exceeded, no further recording/editing is possible. This song is damaged. This song cannot be used. The selected song cannot be found. — The operation cannot be executed, since marks are assigned to more than one sample. The memory card is in an unsupported format. Format the memory card. The sample cannot be assigned to a pad. Assign To Pad requires that all pads be playing a

Since the Pad Set is not of the User type, you cannot use the clipboard to copy pad settings. This message cannot be copied. — This message cannot be erased. — This message cannot be moved. — This is a SuperMRC song; it cannot be played back in Quick Play. The pad selected for Assign To Pad is outside the range of the rhythm set.

—

Select a song that contains data.

and if overwriting and saving the data, merely save the file. If you do not want to delete the file with the same name from the disk, either save the file with a different name.

If this does not resolve the problem, please contact your dealer or the nearest Roland Service Center. Delete unneeded data.

ed or broken. Please delete unneeded notes.

more consecutive sample numbers.

Please delete unneeded songs.

Stop playback before you execute the operation.

—

You are attempting to begin recording within or before a looped segment. Reduce the amount of recorded data.

produce the desired result. Erase unneeded samples.

Use the track edit Delete or Erase commands to remove unneeded data from the song/pattern that you are recording/editing.

Either clear the marks, or mark only one sample.

rhythm set. Assign a rhythm set to the Pad part. Turn off the RPS function. Turn off the rhythm switch. Turn off the ARPEGGIO/RHYTHM function. Change Pad Set to User.

Save the data as an MRC Pro song.

Select a pad that is within the range of the rhythm set.

44

About MIDI

MIDI OUT MIDI IN MIDI THRU

MIDI IN

Receive channel: 1

Receive channel: 2

Sound

Module

A

Sound

Module

B

Transmit channel: 1, 2

MIDI keyboard

MIDI (Musical Instruments Digital Interface)

specification that allows musical data to be exchanged between

electronic musical instruments and computers. MIDI With a MIDI

cable connecting MIDI devices that are equipped with MIDI

connectors, you can play multiple instruments with a single

keyboard, have multiple MIDI instruments perform in ensemble,

program the settings to change automatically to match the

performance as the song progresses, and more.

If you mainly use the Fantom-S as a standalone keyboard

instrument, you may really not need to know much at all about

MIDI.

However, the following MIDI-related information is provided so

you can play the Fantom-S using an external MIDI device, or master

other advanced techniques.

is a standard

About MIDI Connectors

The Fantom-S is equipped with the three types of MIDI connectors,

each which works differently.

fig.midi-con

MIDI IN Connector

This connector receives MIDI messages that are transmitted from

external MIDI devices. The Fantom-S can receive these messages to

play notes or select sounds, etc.

MIDI OUT Connector

This connector transmits MIDI messages to external MIDI devices.

The Fantom-S’s MIDI OUT connector is used for sending the

performance data of the keyboard controller section as well as data

used for saving various settings and patterns.

MIDI Channels and Multi-timbral Sound Generators

MIDI transmits many types of data over a single MIDI cable. This is

made possible by the concept of

allow messages intended for a given instrument to be distinguished

from messages intended for another instrument. In some ways,

MIDI channels are similar to television channels. By changing the

channel on a television set, you can view the programs that are being

broadcast by different stations. In the same way, MIDI also allows a

device to select the information intended for that device out of the

variety of information that is being transmitted to it.

fig.midi-01.e

Station A

Station B

Station C

MIDI uses sixteen channels; 1 through 16. Set the receiving device so

that it will receive only the channel that it needs to receive.

Example:

Set the Fantom-S to send Channel 1 and Channel 2, then set sound

module A to receive only Channel 1 and sound module B only

Channel 2. With this setup, you can get an ensemble performance,

with, for example, a guitar sound from sound module A and bass

from sound module B.

fig.midi-02.e

MIDI channels

The cable from the antenna carries the TV signals from many broadcast stations.

The TV is set to the channel of the station you wish to watch.

. MIDI channels

MIDI THRU Connector

MIDI messages received at MIDI IN are re-transmitted without

change from this connector to an external MIDI device. Use this in

situations such as when you use multiple MIDI devices

simultaneously.

When used as a sound module, the Fantom-S can receive on up to

sixteen MIDI channels. Sound modules like the Fantom-S which can

receive multiple MIDI channels simultaneously to play different

sounds on each channel are called

multi-timbral sound modules

.

45

MIDI Implementation

1. Receive Data (Sound Source Section)

■

Channel Voice Messages

* Not received in Performance mode when the Receive Switch parameter (PERFORM/

MIDI) is OFF.

●

Note off

Status

8nH kkH vvH

9nH kkH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note off velocity: 00H - 7FH (0 - 127)

* Not received when the Envelope Mode parameter (PATCH/GENERAL and RHYTHM/

GENERAL) is NO-SUS.

●

Note on

Status

9nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

●

Polyphonic Key Pressure

Status

AnH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Poly Key Pressure parameter

(PERFORM/MIDI) is OFF.

●

Control Change

* If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or

4 parameter (PATCH/CTRL1-4), the corresponding effect will occur.

* If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4

parameter (SYSTEM/SYSTEM CONTROL) is selected, the specified effect will apply if

Patch Control Source 1, 2, 3 or 4 parameter (PATCH/CTRL1–4) is set to SYS-CTRL1,

SYS-CTRL2, SYS-CTRL3 or SYS-CTRL4.

❍

Bank Select (Controller number 0, 32)

Status

BnH 00H mmH

BnH 20H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)

* Not received in Performance mode when the Receive Bank Select (PERFORM/MIDI) is

OFF.

* The Performances, Patches, and Rhythms corresponding to each Bank Select are as

follows.

* The SRX series corresponding to each Bank Select are to see the SRX series owner’s

manual.

-----+-----------+-----------+----------------------+---------- 000 | | 001 - 128 | GM Patch | 001 - 256 : | | | | 063 | | 001 - 128 | GM Patch | 001 - 256 085 | 000 | 001 - 064 | User Performance | 001 - 064 | 032 | 001 - 064 | Card Performance | 001 - 064 | 064 | 001 - 064 | Preset Performance | 001 - 064 086 | 000 | 001 - 032 | User Rhythm | 001 - 032 | 032 | 001 - 032 | Card Rhythm | 001 - 032 | 064 | 001 - 032 | Preset Rhythm | 001 - 032 087 | 000 | 001 - 128 | User Patch | 001 - 128 | 001 | 001 - 128 | User Patch | 129 - 256 | 032 | 001 - 128 | Card Patch | 001 - 128 | 033 | 001 - 128 | Card Patch | 129 - 256 | 064 | 001 - 128 | Preset Patch A | 001 - 128 | 065 | 001 - 128 | Preset Patch B | 001 - 128 | : | | : | 092 | 000 - | 001 - | SRX Rhythm | 001 | : | | : | 093 | 000 - | 001 - | SRX Patch | 001 | : | | : | 120 | | 001 - 057 | GM Rhythm | 001 - 009 121 | 000 - | 001 - 128 | GM Patch | 001 - 256

2nd byte 3rd byte

❍

Modulation (Controller number 1)

Status

BnH 01H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Modulation depth: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Modulation parameter

(PERFORM/MIDI) is OFF.

❍

Breath type (Controller number 2)

Status

BnH 02H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

Foot type (Controller number 4)

Status

BnH 04H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

Portamento Time (Controller number 5)

Status

BnH 05H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Portamento Time: 00H - 7FH (0 - 127)

* In Performance mode the Part Portament Time parameter (PERFORM/PART) will

change.

❍

Data Entry (Controller number 6, 38)

Status

BnH 06H mmH

BnH 26H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = the value of the parameter specified by RPN/NRPN

mm = MSB, ll = LSB

❍

Volume (Controller number 7)

Status

BnH 07H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Volume: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Volume parameter (PERFORM/

MIDI) is OFF.

* In Performance mode the Part Level parameter (PERFORM/PART) will change.

❍

Balance (Controller number 8)

Status 2nd byte 3rd byte

BnH 08H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Balance: 00H - 7FH (0 - 127)

❍

Panpot (Controller number 10)

Status

BnH 0AH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),

* Not received in Performance mode when the Receive Pan parameter (PERFORM/MIDI)

is OFF.

* In Performance mode the Part Pan parameter (PERFORM/PART) will change.

❍

Expression (Controller number 11)

Status

BnH 0BH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Expression: 00H - 7FH (0 - 127)

* Not received when Tone Receive Expression parameter (PATCH/GENERAL or

RHYTHM/GENERAL) is OFF.

* Not received in Performance mode when Receive Expression parameter (PERFORM/

MIDI) is OFF.

2nd byte 3rd byte

46

❍

Hold 1 (Controller number 64)

Status

BnH 40H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

2nd byte 3rd byte

MIDI Implementation

❍

Cutoff (Controller number 74)

Status

BnH 4AH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Cutoff value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

2nd byte 3rd byte

* Not received when Tone Receive Hold-1 parameter (PATCH/GENERAL or RHYTHM/

GENERAL) is OFF.

* Not received in Performance mode when Receive Hold-1 parameter (PERFORM/MIDI)

is OFF.

❍

Portamento (Controller number 65)

Status

BnH 41H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

* In Performance mode the Part Portamento Switch parameter (PERFORM/PART) will

change.

❍

Sostenuto (Controller number 66)

Status

BnH 42H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

❍

Soft (Controller number 67)

Status

BnH 43H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

❍

Legato Foot Switch (Controller number 68)

Status

BnH 44H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

* In Performance mode the Part Legato Switch parameter (PERFORM/PART) will change.

❍

Hold-2 (Controller number 69)

Status

BnH 45H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

*A hold movement isn’t done.

❍

Resonance (Controller number 71)

Status 2nd byte 3rd byte

BnH 47H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv= Resonance value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),

* In Performance mode the Part Resonance Offset parameter (PERFORM/PART) will

change.

2nd byte 3rd byte

* In Performance mode the Part Cutoff Offset parameter (PERFORM/PART) will change.

❍

Decay Time (Controller number 75)

Status

BnH 4BH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Decay Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Decay Time Offset parameter (PERFORM/PART) will

change.

❍

Vibrato Rate (Controller number 76)

Status

BnH 4CH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Vibrato Rate parameter (PERFORM/PART) will change.

❍

Vibrato Depth (Controller number 77)

Status

BnH 4DH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Vibrato Depth parameter (PERFORM/PART) will change.

❍

Vibrato Delay (Controller number 78)

Status

BnH 4EH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Vibrato Delay value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

* In Performance mode the Part Vibrato Delay parameter (PERFORM/PART) will change.

❍

General Purpose Controller 5 (Controller number 80)

Status

BnH 50H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (PATCH/TVA) of Tone 1 will change.

❍

General Purpose Controller 6 (Controller number 81)

Status 2nd byte 3rd byte

BnH 51H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (PATCH/TVA) of Tone 2 will change.

2nd byte 3rd byte

❍

Release Time (Controller number 72)

Status

BnH 48H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),

* In Performance mode the Part Release Time Offset parameter (PERFORM/PART) will

change.

❍

Attack time (Controller number 73)

Status

BnH 49H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),

* In Performance mode the Part Attack Time Offset parameter (PERFORM/PART) will

change.

2nd byte 3rd byte

❍

General Purpose Controller 7 (Controller number 82)

Status

BnH 52H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (PATCH/TVA) of Tone 3 will change.

❍

General Purpose Controller 8 (Controller number 83)

Status

BnH 53H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

* The Tone Level parameter (PATCH/TVA) of Tone 4 will change.

2nd byte 3rd byte

47

MIDI Implementation

❍

Portamento control (Controller number 84)

Status

BnH 54H kkH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = source note number: 00H - 7FH (0 - 127)

*A Note-on received immediately after a Portamento Control message will change

continuously in pitch, starting from the pitch of the Source Note Number.

* If a voice is already sounding for a note number identical to the Source Note Number,

this voice will continue sounding (i.e., legato) and will, when the next Note-on is

received, smoothly change to the pitch of that Note-on.

* The rate of the pitch change caused by Portamento Control is determined by the

Portamento Time value.

❍

Effect 1 (Reverb Send Level) (Controller number 91)

Status

BnH 5BH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Reverb Send Level: 00H - 7FH (0 - 127)

* In Performance mode the Part Reverb Send Level parameter (PERFORM/PART) will

change.

❍

Effect 3 (Chorus Send Level) (Controller number 93)

Status

BnH 5DH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Chorus Send Level: 00H - 7FH (0 - 127)

* In Performance mode the Part Chorus Send Level parameter (PERFORM/PART) will

change.

❍

RPN MSB/LSB (Controller number 100, 101)

Status

BnH 65H mmH

BnH 64H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm = upper byte (MSB) of parameter number specified by RPN

ll = lower byte (LSB) of parameter number specified by RPN

<<< RPN >>>

Control Changes include RPN (Registered Parameter Numbers), which are extended.

When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any

order) should be sent in order to select the parameter, then

Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN

messages are received, Data Entry messages that is received at the same MIDI channel after

that are recognized as changing toward the value of the RPN messages. In order not to

make any mistakes, transmitting RPN Null is recommended after setting parameters you

need.

This device receives the following RPNs.

RPN Data entry

MSB, LSB

00H, 00H mmH, llH Pitch Bend Sensitivity

* In Performance mode, the Part Bend Range parameter (PERFORM/PART) will change.

00H, 01H mmH, llH Channel Fine Tuning

* In Performance mode, the Part Fine Tune parameter (PERFORM/PART) will change.

2nd byte 3rd byte

MSB, LSB Notes

mm: 00H - 18H (0 - 24 semitones)

ll: ignored (processed as 00H)

Up to 2 octave can be specified in semitone steps.

mm, ll: 20 00H - 40 00H - 60 00H

(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)

●

Program Change

Status

CnH ppH

n = MIDI channel number: 0H - FH (ch.1 - 16)

pp = Program number: 00H - 7FH (prog.1 - prog.128)

* Not received in Performance mode when the Receive Program Change parameter

(PERFORM/MIDI) is OFF.

●

Channel Pressure

Status

DnH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Channel Pressure: 00H - 7FH (0 - 127)

* Not received in Performance mode when the Receive Channel Pressure parameter

(PERFORM/MIDI) is OFF.

●

Pitch Bend Change

Status

EnH llH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* Not received when the Tone Receive Bender parameter (PATCH/GENERAL) is OFF.

* Not received in Performance mode when the Receive Pitch Bend parameter

(PERFORM/MIDI) is OFF.

■

Channel Mode Messages

* Not received in Performance mode when the Receive Switch parameter (PERFORM/

MIDI) is OFF.

●

All Sounds Off (Controller number 120)

Status

BnH 78H 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* When this message is received, all notes currently sounding on the corresponding

channel will be turned off.

●

Reset All Controllers (Controller number 121)

Status

BnH 79H 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* When this message is received, the following controllers will be set to their reset values.

Controller

Pitch Bend Change +/-0 (center)

Polyphonic Key Pressure 0 (off)

Channel Pressure 0 (off)

Modulation 0 (off)

Breath Type 0 (min)

Expression 127 (max)

Hold 1 0 (off)

Sostenuto 0 (off)

Soft 0 (off)

Hold 2 0 (off)

RPN unset; previously set data will not change

NRPN unset; previously set data will not change

2nd byte

2nd byte 3rd byte

Reset value

However the controller will be at minimum.

00H, 02H mmH, llH Channel Coarse Tuning

* In Performance mode, the Part Coarse Tune parameter (PERFORM/PART) will change.

7FH, 7FH ---, --- RPN null

RPN and NRPN will be set as “unspecified.” Once this setting has been made, subsequent

Parameter values that were previously set will not change.

mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)

ll: ignored (processed as 00H)

mm, ll: ignored

48

●

All Notes Off (Controller number 123)

Status

BnH 7BH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* When All Notes Off is received, all notes on the corresponding channel will be turned

off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are

turned off.

●

OMNI OFF (Controller number 124)

Status

BnH 7CH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* The same processing will be carried out as when All Notes Off is received.

●

OMNI ON (Controller number 125)

Status

BnH 7DH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* The same processing will be carried out as when All Notes Off is received. OMNI ON

will not be turned on.

●

MONO (Controller number 126)

Status

BnH 7EH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm = mono number: 00H - 10H (0 - 16)

* The same processing will be carried out as when All Notes Off is received.

* In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.

●

POLY (Controller number 127)

Status

BnH 7FH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

* The same processing will be carried out as when All Notes Off is received.

* In Performance mode, the Part Mono/Poly parameter (PERFORM/PART) will change.

■

System Realtime Message

●

Active Sensing

Status

FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of all

further messages. While monitoring, if the interval between messages exceeds 420 ms,

the same processing will be carried out as when All Sounds Off, All Notes Off and Reset

All Controllers are received, and message interval monitoring will be halted.

2nd byte 3rd byte

MIDI Implementation

■

System Exclusive Message

Status

F0H iiH, ddH, ......,eeH F7H

F0H: System Exclusive Message status

ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose

dd,...,ee = data: 00H - 7FH (0 - 127)

F7H: EOX (End Of Exclusive)

Of the System Exclusive messages received by this device, the Universal Non-realtime

messages and the Universal Realtime messages and the Data Request (RQ1) messages and

the Data Set (DT1) messages will be set automatically.

●

Universal Non-realtime System Exclusive Messages

❍

Identity Request Message

Status

F0H 7EH, dev, 06H, 01H F7H

Byte

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

dev Device ID (dev: 10H - 1FH, 7FH)

06H Sub ID#1 (General Information)

01H Sub ID#2 (Identity Request)

F7H EOX (End Of Exclusive)

* When this message is received, Identity Reply message (p. 54) will be transmitted.

❍

GM1 System On

Status

F0H 7EH, 7FH, 09H, 01H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

01H Sub ID#2 (General MIDI 1 On)

F7H EOX (End Of Exclusive)

* When this messages is received, this instrument will turn to the Performance mode.

* Not received when the Receive GM1 System On parameter (SYSTEM/MIDI) is OFF.

❍

GM2 System On

Status Data byte Status

F0H 7EH 7FH 09H 03H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

03H Sub ID#2 (General MIDI 2 On)

F7H EOX (End Of Exclusive)

Data byte Status

Exclusive message this is. Roland’s manufacturer ID is 41H.

ID numbers 7EH and 7FH are extensions of the MIDI standard;

Universal Non-realtime Messages (7EH) and Universal Realtime

Messages (7FH).

Data byte Status

Explanation

Data byte Status

* When this messages is received, this instrument will turn to the Performance mode.

* Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF.

❍

GM System Off

Status

F0H 7EH, 7F, 09H, 02H F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

09H Sub ID#1 (General MIDI Message)

02H Sub ID#2 (General MIDI Off)

F7H EOX (End Of Exclusive)

* When this messages is received, this instrument will return to the Performance mode.

Data byte Status

49

MIDI Implementation

●

Universal Realtime System Exclusive Messages

❍

Master Volume

Status

F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

01H Sub ID#2 (Master Volume)

llH Master Volume lower byte

mmH Master Volume upper byte

F7H EOX (End Of Exclusive)

* The lower byte (llH) of Master Volume will be handled as 00H.

* The Master Level parameter (SYSTEM/SOUND) will change.

❍

Master Fine Tuning

Status

F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

03H Sub ID#2 (Master Fine Tuning)

llH Master Fine Tuning LSB

mmH Master Fine Tuning MSB

F7H EOX (End Of Exclusive)

mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])

* The Master Tune parameter (SYSTEM/SOUND) will change.

❍

Master Coarse Tuning

Status

F0H 7FH, 7FH, 04H, 04H, llH, mmH F7

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

04H Sub ID#2 (Master Coarse Tuning)

llH Master Coarse Tuning LSB

mmH Master Coarse Tuning MSB

F7H EOX (End Of Exclusive)

llH: ignored (processed as 00H)

mmH: 28H - 40H - 58H (-24 - 0 - +24 [semitones])

* The Master Key Shift parameter (SYSTEM/SOUND) will change.

●

Global Parameter Control

* Not received in Patch mode.

❍

Reverb Parameters

Status Data byte Status

F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

01H Slot path LSB (Effect 0101: Reverb)

ppH Parameter to be controlled.

vvH Value for the parameter.

Data byte Status

01H, 01H, 01H, ppH, vvH

pp=0 Reverb Type

vv = 00H Small Room

vv = 01H Medium Room

vv = 02H Large Room

vv = 03H Medium Hall

vv = 04H Large Hall

vv = 08H Plate

pp=1 Reverb Time

F7H EOX (End Of Exclusive)

❍

Chorus Parameters

Status

F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

04H Sub ID#1 (Device Control)

05H Sub ID#2 (Global Parameter Control)

01H Slot path length

01H Parameter ID width

01H Value width

01H Slot path MSB

02H Slot path LSB (Effect 0102: Chorus)

ppH Parameter to be controlled.

vvH Value for the parameter.

F7H EOX (End Of Exclusive)

❍

Channel Pressure

Status

F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

01H Sub ID#2 (Channel Pressure)

0nH MIDI Channel (00 - 0F)

ppH Controlled parameter

rrH Controlled range

F7H EOX (End Of Exclusive)

vv = 00H - 7FH 0 - 127

Data byte Status

01H, 01H, 02H, ppH, vvH

pp=0 Chorus Type

vv=0 Chorus1

vv=1 Chorus2

vv=2 Chorus3

vv=3 Chorus4

vv=4 FB Chorus

vv=5 Flanger

pp=1 Mod Rate

vv= 00H - 7FH 0 - 127

pp=2 Mod Depth

vv = 00H - 7FH 0 - 127

pp=3 Feedback

vv = 00H - 7FH 0 - 127

pp=4 Send To Reverb

vv = 00H - 7FH 0 - 127

Data byte Status

pp=0 Pitch Control

rr = 28H - 58H -24 - +24 [semitones]

pp=1 Filter Cutoff Control

rr = 00H - 7FH -9600 - +9450 [cents]

pp=2 Amplitude Control

rr = 00H - 7FH 0 - 200%

pp=3 LFO Pitch Depth

rr = 00H - 7FH 0 - 600 [cents]

pp=4 LFO Filter Depth

rr = 00H - 7FH 0 - 2400 [cents]

pp=5 LFO Amplitude Depth

rr = 00H - 7FH 0 - 100%

50

❍

Controller

Status

F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

09H Sub ID#1 (Controller Destination Setting)

03H Sub ID#2 (Control Change)

0nH MIDI Channel (00 - 0F)

ccH Controller number (01 - 1F, 40 - 5F)

ppH Controlled parameter

rrH Controlled range

F7H EOX (End Of Exclusive)

❍

Scale/Octave Tuning Adjust

Status

F0H 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

7FH Device ID (Broadcast)

08H Sub ID#1 (MIDI Tuning Standard)

08H Sub ID#2 (scale/octave tuning 1-byte form)

ffH Channel/Option byte 1

ggH Channel byte 2

hhH Channel byte 3

ssH 12 byte tuning offset of 12 semitones from C to B

F7H EOX (End Of Exclusive)

❍

Key-based Instrument Controllers

Status

F0H 7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH F7H

Byte Explanation

F0H Exclusive status

7FH ID number (universal realtime message)

7FH Device ID (Broadcast)

0AH Sub ID#1 (Key-Based Instrument Control)

01H Sub ID#2 (Controller)

0nH MIDI Channel (00 - 0FH)

kkH Key Number

nnH Control Number

vvH Value

::

F7 EOX (End Of Exclusive)

* This parameter affects drum instruments only.

Data byte Status

pp=0 Pitch Control

rr = 28H - 58H -24 - +24 [semitones]

pp=1 Filter Cutoff Control

rr = 00H - 7FH -9600 - +9450 [cents]

pp=2 Amplitude Control

rr = 00H - 7FH 0 - 200%

pp=3 LFO Pitch Depth

rr = 00H - 7FH 0 - 600 [cents]

pp=4 LFO Filter Depth

rr = 00H - 7FH 0 - 2400 [cents]

pp=5 LFO Amplitude Depth

rr = 00H - 7FH 0 - 100%

Data byte Status

bits 0 to 1 = channel 15 to 16

bit 2 to 6 = Undefined

bits 0 to 6 = channel 8 to 14

bits 0 to 6 = channel 1 to 7

00H = -64 [cents]

40H = 0 [cents] (equal temperament)

7FH = +63 [cents]

Data byte Status

nn=07H Level

vv = 00H - 7FH 0 - 200% (Relative)

nn=0AH Pan

vv = 00H - 7FH Left - Right (Absolute)

nn=5BH Reverb Send

vv = 00H - 7FH 0 - 127 (Absolute)

nn=5D Chorus Send

vv = 00H - 7FH 0 - 127 (Absolute)

MIDI Implementation

●

Data Transmission

This instrument can use exclusive messages to exchange many varieties of internal settings

with other devices.

The model ID of the exclusive messages used by this instrument is 00H 6BH.

❍

Data Request 1 RQ1 (11H)

This message requests the other device to transmit data. The address and size indicate the

type and amount of data that is requested.

When a Data Request message is received, if the device is in a state in which it is able to

transmit data, and if the address and size are appropriate, the requested data is transmitted

as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.

Status

F0H 41H, dev, 00H, 6BH, 11H, aaH, bbH, ccH, F7H

Byte Remarks

F0H Exclusive status

41H ID number (Roland)

dev device ID (dev: 10H - 1FH, 7FH)

00H model ID #1 (Fantom-S/Fantom-S88)

6BH model ID #2 (Fantom-S/Fantom-S88)

11H command ID (RQ1)

aaH address MSB

bbH address

ccH address

ddH address LSB

ssH size MSB

ttH size

uuH size

vvH size LSB

sum checksum

F7H EOX (End Of Exclusive)

* The size of data that can be transmitted at one time is fixed for each type of data. And

data requests must be made with a fixed starting address and size. Refer to the address

and size given in

* For the checksum, refer to (p. 76).

* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.

❍

Data set 1 DT1 (12H)

Status

F0H 41H, dev, 00H, 6BH, 12H, aaH, bbH, F7H

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 00H - 1FH, 7FH)

00H Model ID #1 (Fantom-S/Fantom-S88)

6BH Model ID #2 (Fantom-S/Fantom-S88)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of the data to be sent

bbH Address: upper middle byte of the starting address of the data to be

ccH Address: lower middle byte of the starting address of the data to be

ddH Address LSB: lower byte of the starting address of the data to be sent.

eeH Data: the actual data to be sent. Multiple bytes of data are transmitted

in order starting from the address.

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends on the type of data, and

data will be transmitted from the specified starting address and size. Refer to the address

and size given in

* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each

packet will be sent at an interval of about 20 ms.

* Regarding the checksum, please refer to (p. 76).

* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.

data byte status

ddH, ssH, ttH, uuH, vvH, sum

Parameter Address Map

Data byte Status

ccH, ddH, eeH, ... ffH, sum

sent

Parameter Address Map

(p. 58).

51

MIDI Implementation

Status

F0H 41H, dev, 42H, 12H, aaH, bbH, ccH, F7H

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 10H - 1FH, 7FH)

42H Model ID (GS)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of the transmitted

bbH Address: middle byte of the starting address of the transmitted

ccH Address LSB: lower byte of the starting address of the transmitted

ddH Data: the actual data to be transmitted. Multiple bytes of

: :

eeH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends on the type of data, and

data will be transmitted from the specified starting address and size. Refer to the address

and size given in

* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each

packet will be sent at an interval of about 20 ms.

* Regarding the checksum, please refer to (p. 76)

* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.

Data byte Status

ddH, ... eeH, sum

data

data are transmitted starting from the address.

Parameter Address Map

(p. 58).

2. Data Transmission

■

Channel Voice Messages

●

Note off

Status

8nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note off velocity: 00H - 7FH (0 - 127)

●

Note on

Status

9nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = note on velocity: 01H - 7FH (1 - 127)

●

Polyphonic Key Pressure

Status

AnH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = note number: 00H - 7FH (0 - 127)

vv = Polyphonic Key Pressure: 00H - 7FH (0 - 127)

●

Control Change

* By selecting a controller number that corresponds to the setting of parameters of

controllers (REALTIME CONTROL knob, and so on), the Fantom-S/Fantom-S88 can

transmit any control change message.

2nd byte 3rd byte

❍

Bank Select (Controller number 0, 32)

Status

BnH 00H mmH

BnH 20H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = Bank number: 00 00H - 7F 7FH (bank.1 - bank.16384)

* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But

not transmitted when Transmit Program Change or Transmit Bank Select parameter

(SYSTEM/MIDI) is OFF.

* In Performance mode, these messages are not transmitted when External Bank Select

MSB or External PC Number parameter (PERFORMANCE/PART) is OFF.

* Although with the Fantom-S/Fantom-S88 you can select the Bank Select messages to be

transmitted, be sure to refer to the Program Change Map on (p. 78) for the Bank Select

messages transmitted when the Fantom-S/Fantom-S88 is select a Patch, Rhythm Set or

Performance.

* The Bank Select Numbers corresponding to SRX series should be referred to the SRX

series owner’s manual.

❍

Modulation (Controller number 1)

Status 2nd byte 3rd byte

BnH 01H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Modulation depth: 00H - 7FH (0 - 127)

❍

Breath type (Controller number 2)

Status

BnH 02H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

Portamento Time (Controller number 5)

Status

BnH 05H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Portamento Time: 00H - 7FH (0 - 127)

2nd byte 3rd byte

52

❍

Data Entry (Controller number 6, 38)

Status

BnH 06H mmH

BnH 26H llH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm, ll = the value of the parameter specified by RPN/NRPN

mm = MSB, ll = LSB

2nd byte 3rd byte

MIDI Implementation

❍

Volume (Controller number 7)

Status

BnH 07H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Volume: 00H - 7FH (0 - 127)

* In Performance mode, these messages are not transmitted when External Level

parameter (PERFORMANCE/PART) is OFF.

❍

Panpot (Controller number 10)

Status

BnH 0AH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Panpot: 00H - 40H - 7FH (Left - Center - Right),

* In Performance mode, these messages are not transmitted when External Pan parameter

(PERFORMANCE/PART) is OFF.

❍

Expression (Controller number 11)

Status

BnH 0BH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Expression: 00H - 7FH (0 - 127)

❍

Hold 1 (Controller number 64)

Status

BnH 40H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

* When Continuous Hold Pedal parameter (SYSTEM/PEDAL) is OFF, just only 00H (0FF)

and 7FH (0N) can be send as the control value.

❍

Portamento (Controller number 65)

Status

BnH 41H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON

❍

Resonance (Controller number 71)

Status

BnH 47H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv= Resonance value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

❍

Release Time (Controller number 72)

Status 2nd byte 3rd byte

BnH 48H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

❍

Attack time (Controller number 73)

Status

BnH 49H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Attack time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

2nd byte 3rd byte

BnH 52H vvH

n = MIDI channel number:0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

General Purpose Controller 8 (Controller number 83)

Status

BnH 53H vvH

n = MIDI channel number:0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

Portamento control (Controller number 84)

Status

BnH 54H kkH

n = MIDI channel number: 0H - FH (ch.1 - 16)

kk = source note number: 00H - 7FH (0 - 127)

●

Program Change

Status

CnH ppH

n = MIDI channel number:0H - FH (ch.1 - 16)

pp = Program number:00H - 7FH (prog.1 - prog.128)

* These messages are transmitted when Patch, Rhythm Set or Performance is selected. But

not transmitted when Transmit Program Change parameter (SYSTEM/MIDI) is OFF.

* In Performance mode, these messages are not transmitted when External PC Num

parameter (PERFORMANCE/PART) is OFF.

●

Channel Pressure

Status

DnH vvH

n = MIDI channel number:0H - FH (ch.1 - 16)

vv = Channel Pressure: 00H - 7FH (0 - 127)

●

Pitch Bend Change

Status

EnH llH mmH

n = MIDI channel number:0H - FH (ch.1 - 16)

mm, ll = Pitch Bend value:00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

■

Channel Mode Messages

●

MONO (Controller number 126)

Status

BnH 7EH mmH

n = MIDI channel number: 0H - FH (ch.1 - 16)

mm = mono number: 00H - 10H (0 - 16)

●

POLY (Controller number 127)

Status

BnH 7FH 00H

n = MIDI channel number: 0H - FH (ch.1 - 16)

■

System Realtime Messages

2nd byte 3rd byte

2nd byte

2nd byte 3rd byte

❍

Cutoff (Controller number 74)

Status

BnH 4AH vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Cutoff value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)

❍

General Purpose Controller 5 (Controller number 80)

Status

BnH 50H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

General Purpose Controller 6 (Controller number 81)

Status 2nd byte 3rd byte

BnH 51H vvH

n = MIDI channel number: 0H - FH (ch.1 - 16)

vv = Control value: 00H - 7FH (0 - 127)

❍

General Purpose Controller 7 (Controller number 82)

Status

2nd byte 3rd byte

●

Active Sensing

Status

FEH

* This message is transmitted at intervals of approximately 250 msec.

* This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is

OFF.

■

System Exclusive Messages

Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only

System Exclusive messages transmitted by the Fantom-S/Fantom-S88.

●

Universal Non-realtime System Exclusive Message

53

MIDI Implementation

❍

Identity Reply Message (Fantom-S)

Receiving Identity Request Message, the Fantom-S send this message.

3. Data reception (Sequencer Section)

Status

F0H 7EH, dev, 06H, 02H, 41H, 6BH, 01H, F7H

Byte Explanation

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

dev Device ID (dev: 10H - 1FH)

06H Sub ID#1 (General Information)

02H Sub ID#2 (Identity Reply)

41H ID number (Roland)

6BH 01H Device family code

00H 00H Device family number code

00H 03H 00H 00H Software revision level

F7H EOX (End of Exclusive)

❍

Identity Reply Message (Fantom-S88)

Receiving Identity Request Message, the Fantom-S88 send this message.

Status

F0H 7EH, dev, 06H, 02H, 41H, 6BH, 01H, F7H

Byte

F0H Exclusive status

7EH ID number (Universal Non-realtime Message)

dev Device ID (dev: 10H - 1FH)

06H Sub ID#1 (General Information)

02H Sub ID#2 (Identity Reply)

41H ID number (Roland)

6BH 01H Device family code

01H 00H Device family number code

00H 03H 00H 00H Software revision level

F7H EOX (End of Exclusive)

●

Data Transmission

❍

Data set 1DT1 (12H)

Status

F0H 41H, dev, 00H, 6BH, 12H, aaH, bbH, F7H

Byte Explanation

F0H Exclusive status

41H ID number (Roland)

dev Device ID (dev: 00H - 1FH, 7FH)

00H Model ID #1 (Fantom-S/Fantom-S88)

6BH Model ID #2 (Fantom-S/Fantom-S88)

12H Command ID (DT1)

aaH Address MSB: upper byte of the starting address of the data to be

bbH Address: upper middle byte of the starting address of the data

ccH Address: lower middle byte of the starting address of the data

ddH Address LSB: lower byte of the starting address of the data to be

eeH Data: the actual data to be sent. Multiple bytes of data are

: :

ffH Data

sum Checksum

F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends on the type of data, and

data will be transmitted from the specified starting address and size. Refer to the address

and size given in

* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each

packet will be sent at an interval of about 20 ms.

Data byte Status

00H, 00H, 00H, 03H, 00H, 00H

Data byte Status

01H, 00H, 00H, 03H, 00H, 00H

Explanation

Data byte Status

ccH, ddH, eeH, ... ffH, sum

sent

to be sent

sent.

transmitted in order starting from the address.

Parameter Address Map

(p. 58).

3.1 Messages recorded during recording

■

Channel Voice Messages

●

Note Off

Status

8nH kkH vvH

9nH kkH 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

kk=note number: 00H - 7FH (0 - 127)

vv=note off velocity: 00H - 7FH (0 - 127)

* Not received when the Note parameter(Recording Select window) is OFF.

●

Note on

Status

9nH kkH vvH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

kk=note number: 00H - 7FH (0 - 127)

vv=note on velocity: 01H - 7FH (1 - 127)

* Not received when the Note parameter(Recording Select window) is OFF.

●

Polyphonic Aftertouch

Status

AnH kkH vvH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

kk=note number: 00H - 7FH (0 - 127)

vv=Polyphonic Aftertouch: 00H - 7FH (0 - 127)

* Not received when the Poly Afertouch parameter(Recording Select window) is OFF.

●

Control Change

Status

BnH kkH vvH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

kk=Control number: 00H - 78H (0 - 120)

vv=value: 00H - 7FH (0 - 127)

* Not received when the Control Change parameter(Recording Select window) is OFF.

●

Program Change

Status

CnH ppH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

pp=Program number: 00H - 7FH (prog.1 - prog.128)

* Not received when the Program Change parameter(Recording Select window) is OFF.

●

Channel Aftertouch

Status

DnH vvH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

vv=Channel Aftertouch: 00H - 7FH (0 - 127)

* Not received when the Channel Aftertouch parameter(Recording Select window) is OFF.

●

Pitch Bend Change

Status

EnH llH mmH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

mm, ll=Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* Not received when the Pitch Bend parameter (Recording Select window) is OFF.

2nd byte 3rd byte

2nd byte

2nd byte 3rd byte

54

■

Channel Mode messages

●

All Sound Off (Controller number 120)

Status

BnH 78H 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

●

Reset All Controller (Controller number 121)

Status

BnH 79H 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

●

Omni Off (Controller number 124)

Status

BnH 7CH 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be done as when an All Note Off message is received.

●

Omni On (Controller number 125)

Status

BnH 7DH 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be done as when an All Note Off message is received.

●

Mono (Controller number 126)

Status

BnH 7EH mmH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

mm=mono number: 00H - 10H (0 - 16)

* The same processing will be done as when an All Note Off message is received.

●

Poly (Controller number 127)

Status

BnH 7FH 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be done as when an All Note Off message is received.

■

System Exclusive Messages

Status

F0H iiH, ddH, ......, eeH F7H

F0H: System Exclusive message status

ii=ID number: This is the ID number (manufacturer ID) that specifies the

dd,..., ee = data: 00H - 7FH (0 - 127)

F7H: EOX (End of System Exclusive)

* Not received when the System Exclusive parameter (Recording Select window) is OFF.

* MIDI Machine Control and MIDI Time code is not recorded.(Refer to "1.3 Messages

acknowledged for synchronization")

2nd byte 3rd byte

Data byte Status

manufacturer whose exclusive message this is. Roland’s manufacturer

ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of

the MIDI standard as Universal Non-real-time messages (7EH) and

Universal Realtime Messages (7FH).

MIDI Implementation

3.2 Messages not recorded during recording

■

Channel mode messages

●

Local On/Off (Controller number 122)

Status

BnH 7AH vvH

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

vv=Value: 00H, 7FH (Local Off, Local On)

●

All notes off (Controller number 123)

Status

BnH 7BH 00H

n=MIDI channel number: 0H - FH (ch.1 - ch.16)

* When an All Note Off message is received, all notes of the corresponding channel that

are on will be sent Note Off’s, and the resulting Note Off messages will be recorded.

3.3 Messages acknowledged for synchronization

■

System Common messages

●

Tune Request

Status

F6H

●

MIDI Time Code Quarter Frame Messages

MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is

running (Playing or Recording) if the Sync Mode parameter (System/Sync/Tempo) is

MASTER and MTC Sync Output parameter (System/Sync/Tempo) is ON. The transmitted

time counts are summed to MTC Offset Time parameter (System/Sync/Tempo) as the song

top is "00:00:00:00."

The sequencer synchronizes with the time counts which are summed to MTC Offset Time

parameter (System/Sync/Tempo) as the song top is "00:00:00:00" if the Sync Mode

parameter (System/Sync/Tempo) is SLAVE(MTC).

Status

F1H mmH (= 0nnndddd)

nnn = Message type :

0 = Frame count LS nibble

1 = Frame count MS nibble

2 = Seconds count LS nibble

3 = Seconds count MS nibble

4 = Minutes count LS nibble

5 = Minutes count MS nibble

6 = Hours count LS nibble

7 = Hours count MS nibble

dddd = 4 bit nibble data : h - FH (0 - 15)

Bit Field is assigned as follows.

Frame Count xxxyyyyy

xxx Reserved (000)

yyyyy Frame No.(0-29)

Seconds Count xxyyyyyy

Minutes Count xxyyyyyy

Hours Count xyyzzzzz

2nd byte 3rd byte

Second

xx Reserved (00)

yyyyyy Seconds (0-59)

xx Reserved (00)

yyyyyy Minutes (0-59)

x Reserved (0)

yy Time Code type

0 = 24 Frames / Sec

1 = 25 Frames / Sec

2 = 30 Frames / Sec (Drop Frame)

3 = 30 Frames / Sec (Non Drop Frame

zzzzz Hours (0-23)

55

MIDI Implementation

●

Song Position Pointer

Status

F2H mmH llH

mm, ll=value: 00 00H - 7F 7FH (0 - 16383)

■

System Realtime Messages

●

Timing Clock

Status

F8H

* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI.

●

Start

Status

FAH

* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or

REMOTE.

●

Continue

Status

FBH

* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or

REMOTE.

●

Stop

Status

FCH

* Received when Sync Mode parameter (System/Sync/Tempo) is set to SLAVE-MIDI or

REMOTE.

2nd byte 3rd byte

■

System Exclusive Message

●

MIDI Machine Control (MMC)

* Received when the MMC Mode parameter (System/Sync/Tempo) is SLAVE.

❍

STOP (MCS)

Status

F0H 7FH, dev, 06H, 01H F7H

Byte Remarks

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

01H STOP (MCS)

F7H EOX (End of Exclusive)

❍

DEFERRED PLAY (MCS)

Status

F0H 7FH, dev, 06H, 03H F7H

Byte Remarks

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

03H DEFERRED PLAY (MCS)

F7H EOX (End of Exclusive)

❍

LOCATE (MCP)

❍

Format2---LOCATE [TARGET]

Status

F0H 7FH, dev, 06H, 44H, 06H, 01H, F7H

Data byte Status

hrH, mnH, scH, frH, ffH

Byte Remarks

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

44H LOCATE (MCP)

06H Byte count

01H "TARGET" sub-Command

hrH Standard Time Specification with subframes (typeff)

mnH

scH

frH

ffH

F7H EOX (End of Exclusive)

56

4. Data transmission (Sequencer Section)

4.1 Messages transmitted during playing

Recorded messages are transmitted during playback.

4.2 Soft Thru setting

Messages (except System Common and System Realtime Messages) that are received are

then sent out when Soft Thru parameter (System/Sync/Tempo) is switched to ON.

MIDI Implementation

■

System Exclusive Message

●

MIDI Time code

❍

Full Message

Full Messages are used, which encode the complete time into a single message.

This message transmitted when the song position moves.

Status

F0H, 7FH xxH, 01H, 01H, hrH, mnH, scH, frH F7H

Data Byte Status

4.3 Messages that are generated and transmitted

4.3.1 Messages Appearing When Synchronizing with Other Devices

■

System Common Messages

* Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.

●

Song Position Pointer

Status

F2H mmH llH

mm, ll=value: 00 00H - 7F 7FH (0 - 16383)

■

System Realtime Messages

* Sent when Sync Output parameter (System/Sync/Tempo) is set to ON.

●

Timing Clock

Status

F8H

●

Start

Status

FAH

●

Continue

Status

FBH

●

Stop

Status

FCH

●

Quarter Frame Messages

Status

F1H mmH (= 0nnndddd)

* Sent when Sync Mode parameter (System/Sync/Tempo) is set to MASTER and MTC

Sync Output parameter (System/Sync/Tempo) is set to ON. Furthermore, sending a

Quarter Frame Message with "00h00m00s00f00" at the beginning of the song adds the

MTC Offset Time parameter (System/Sync/Tempo).

2nd byte 3rd byte

2nd byte

F0H, 7FH : Realtime Universal System Exclusive Header

xxH : 7F (Device ID)

01H : sub-ID #1 (MIDI Time code)

01H : sub-ID #2 (Full Message)

hrH : hours and type: 0 yy zzzzz

yy type:

zzzzz : Hours (00 - 23)

mnH : Minutes (00 - 59)

scH : Seconds (00 - 59)

frH : Frames (00 - 29)

F7H : EOX (End of Exclusive)

●

* Not received when the MMC Mode parameter (System/Sync/Tempo) is Master.

❍

Status

F0H 7FH, dev, 06H, 01H F7H

Byte Remarks

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

01H STOP (MCS)

F7H EOX (End of Exclusive)

❍

Status

F0H 7FH, dev, 06H, 03H F7H

Byte

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

03H DEFERRED PLAY (MCS)

F7H EOX (End of Exclusive)

❍

Status Data byte Status

F0H 7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H

00 = 24 Flame/sec

01 = 25 Flame/sec

10 = 30 Flame/sec

11 = 30 Flame/sec

MIDI Machine Control (MMC)

STOP (MCS)

Data byte Status

DEFFERRED PLAY (MCS)

Data byte Status

Remarks

LOCATE (MCP)

Format2---LOCATE [TARGET]

Byte Remarks

F0H Exclusive status

7FH Universal System Exclusive Realtime Header

7FH Device ID

06H MMC command message

44H LOCATE (MCP)

06H Byte count

01H "TARGET" sub-Command

hrH Standard Time Specification with subframes (typeff)

mnH

scH

frH

ffH

F7H EOX (End of Exclusive)

57

MIDI Implementation

5. Parameter Address Map

* Transmission of “#” marked address is diviedd to some packets. For example, ABH in

hexadecimal notation will be divied to 0AH and 0BH, and is sent/received in this order.

* “<*>” marked adddress or parameters are ignored when the Fantom-S/Fantom-S88

received them.

1. Fantom-S/Fantom-S88 (ModelID = 00H 6BH)

+——————————————————————————————————————————————————————————————————————————————+ | Start | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 01 00 00 00 | Setup | |—————————————+————————————————————————————————————————————————————————————————| | 02 00 00 00 | System | |—————————————+————————————————————————————————————————————————————————————————| | 10 00 00 00 | Temporary Performance | | 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) | | 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) | | : | | | 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) | | 1E 00 00 00 | Temporary Rhythm Pattern | | 1E 01 00 00 | Temporary Arpeggio (Performance Mode) | | 1E 02 00 00 | Temporary Chord (Performance Mode) | | 1E 03 00 00 | Temporary Rhythm Group (Performance Mode) | | 1E 11 00 00 | Temporary Arpeggio (Patch Mode) | | 1E 12 00 00 | Temporary Chord (Patch Mode) | | 1E 13 00 00 | Temporary Rhythm Group (Patch Mode) | | 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode Part 1) | | 1F 20 00 00 | Temporary Patch/Rhythm (Patch Mode Part 2) | +——————————————————————————————————————————————————————————————————————————————+

❍

System

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | System Common | | 00 02 00 | System Mastering | | 00 03 00 | System External Input | | 00 40 00 | System Controller | +——————————————————————————————————————————————————————————————————————————————+

❍

Temporary Patch/Rhythm

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Temporary Patch | | 10 00 00 | Temporary Rhythm | +——————————————————————————————————————————————————————————————————————————————+

❍

Performance

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Performance Common | | 00 02 00 | Performance Common MFX1 | | 00 04 00 | Performance Common Chorus | | 00 06 00 | Performance Common Reverb | | 00 08 00 | Performance Common MFX2 | | 00 0A 00 | Performance Common MFX3 | | 00 10 00 | Performance MIDI (Channel 1) | | 00 11 00 | Performance MIDI (Channel 2) | | : | | | 00 1F 00 | Performance MIDI (Channel 16) | | 00 20 00 | Performance Part (Part 1) | | 00 21 00 | Performance Part (Part 2) | | : | | | 00 2F 00 | Performance Part (Part 16) | | 00 50 00 | Performance Zone (Channel 1) | | 00 51 00 | Performance Zone (Channel 2) | | : | | | 00 5F 00 | Performance Zone (Channel 16) | | 00 60 00 | Performance Controller | +——————————————————————————————————————————————————————————————————————————————+

❍

Patch

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Patch Common | | 00 02 00 | Patch Common MFX | | 00 04 00 | Patch Common Chorus | | 00 06 00 | Patch Common Reverb | | 00 10 00 | Patch TMT (Tone Mix Table) | | 00 20 00 | Patch Tone (Tone 1) | | 00 22 00 | Patch Tone (Tone 2) | | 00 24 00 | Patch Tone (Tone 3) | | 00 26 00 | Patch Tone (Tone 4) | +——————————————————————————————————————————————————————————————————————————————+

❍

Rhythm

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Rhythm Common | | 00 02 00 | Rhythm Common MFX | | 00 04 00 | Rhythm Common Chorus | | 00 06 00 | Rhythm Common Reverb | | 00 10 00 | Rhythm Tone (Key # 21) | | 00 12 00 | Rhythm Tone (Key # 22) | | : | | | 01 3E 00 | Rhythm Tone (Key # 108) | +——————————————————————————————————————————————————————————————————————————————+

❍

Arpeggio

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Arpeggio Common | | 00 10 00 | Arpeggio Pattern (Note 1) | | 00 11 00 | Arpeggio Pattern (Note 2) | | : | | | 00 1F 00 | Arpeggio Pattern (Note 16) | +——————————————————————————————————————————————————————————————————————————————+

❍

Chord

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Chord Pattern | +——————————————————————————————————————————————————————————————————————————————+

❍

Rhythm Group

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 | Rhythm Group | +——————————————————————————————————————————————————————————————————————————————+

❍

Setup

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 0aaa | Sound Mode (0 — 5) | | | | PATCH, PERFORM, GM1, GM2, GS, PIANO<S88> | |—————————————+———————————+————————————————————————————————————————————————————| | 00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 — 127) | | 00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 — 127) | | 00 03 | 0aaa aaaa | Performance Program Number (PC) (0 — 127) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 04 | 0aaa aaaa | Kbd Patch Bank Select MSB (CC# 0) (0 — 127) | | 00 05 | 0aaa aaaa | Kbd Patch Bank Select LSB (CC# 32) (0 — 127) | | 00 06 | 0aaa aaaa | Kbd Patch Program Number (PC) (0 — 127) | | 00 07 | 0aaa aaaa | Pad Patch Bank Select MSB (CC# 0) (0 — 127) | | 00 08 | 0aaa aaaa | Pad Patch Bank Select LSB (CC# 32) (0 — 127) | | 00 09 | 0aaa aaaa | Pad Patch Program Number (PC) (0 — 127) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0A | 0000 000a | MFX1 Switch (0 — 1) | | | | BYPASS, ON | | 00 0B | 0000 000a | MFX2 Switch (0 — 1) | | | | BYPASS, ON | | 00 0C | 0000 000a | MFX3 Switch (0 — 1) | | | | BYPASS, ON | | 00 0D | 0000 000a | Chorus Switch (0 — 1) | | | | OFF, ON | | 00 0E | 0000 000a | Reverb Switch (0 — 1) | | | | OFF, ON | | 00 0F | 0000 000a | Input Effect Switch (0 — 1) | | | | OFF, ON | | 00 10 | 0000 000a | Patch Mode Chorus Source (0 — 1) | | | | KBD, PAD | | 00 11 | 0000 000a | Patch Mode Reverb Source (0 — 1) | | | | KBD, PAD | |—————————————+———————————+————————————————————————————————————————————————————| | 00 12 | 0000 aaaa | Transpose Value (59 — 70) | | | | —5 — +6 | | 00 13 | 0000 0aaa | Octave Shift (61 — 67) | | | | —3 — +3 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 14 | 0000 0aaa | D Beam Select (0 — 5) | | | | OFF, PAD—TRIG, SOLO—SYN, ASGN | | 00 15 | 0000 00aa | Knob Select (0 — 3) | | | | OFF, FLT—ENV, ARP—RHY, ASGN | | 00 16 | 0000 000a | Arp/Ptn Switch (0 — 1) | | | | OFF, ON | | 00 17 | 0aaa aaaa | Arp/Ptn Grid (0 — 8) | | | | 04_, 08_, 08L, 08H, 08t, | | | | 16_, 16L, 16H, 16t | | 00 18 | 0aaa aaaa | Arp/Ptn Duration (0 — 9) | | | | 30, 40, 50, 60, 70, 80, 90, | | | | 100, 120, FUL | | 00 19 | 0000 000a | Arpeggio Switch (0 — 1) | | | | OFF, ON | | 00 1A | 0aaa aaaa | Arpeggio Bank (0 — 1) | | | | USER, PRESET | | 00 1B | 0aaa aaaa | Arpeggio Style (0 — 127) | | | | 1 — 128 | | 00 1C | 0aaa aaaa | Arpeggio Motif (0 — 11) | | | | UP/L, UP/H, UP/_, dn/L, dn/H, | | | | dn/_, Ud/L, Ud/H, Ud/_, rn/L, | | | | rn/_, PHRASE | | 00 1D | 0000 0aaa | Arpeggio Octave Range (61 — 67) | | | | —3 — +3 | | 00 1E | 0000 000a | Arpeggio Hold (0 — 1) | | | | OFF, ON | | 00 1F | 0aaa aaaa | Arpeggio Accent Rate (0 — 100) | | 00 20 | 0aaa aaaa | Arpeggio Velocity (0 — 127) | | | | REAL, 1 — 127 | | 00 21 | 0000 000a | Rhythm Pattern Switch (0 — 1) | | | | OFF, ON | | 00 22 | 0aaa aaaa | Rhythm Pattern Bank (0 — 1) | | | | USER, PRESET | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | Rhythm Pattern Style (0 — 255) | | | | 1 — 256 | | 00 25 | 0000 000a | Rhythm Pattern Group Bank (0 — 1) | | | | USER, PRESET | | 00 26 | 0aaa aaaa | Rhythm Pattern Group Number (0 — 31) | | | | 1 — 32 | | 00 27 | 0aaa aaaa | Rhythm Pattern Accent Rate (0 — 100) | | 00 28 | 0aaa aaaa | Rhythm Pattern Velocity (0 — 127) | | | | REAL, 1 — 127 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 29 | 0000 000a | Chord Switch (0 — 1) | | | | OFF, ON | | 00 2A | 0aaa aaaa | Chord Bank (0 — 1) | | | | USER, PRESET | | 00 2B | 00aa aaaa | Chord Form (0 — 63) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 2C | 0000 000a | Bender and Modulation Part Select (0 — 1) | | | | KBD, PAD | | 00 2D | 0000 000a | Beam Part Select (0 — 1) | | | | KBD, PAD | | 00 2E | 0000 000a | Knob Part Select (0 — 1) | | | | KBD, PAD | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 2F | Total Size | +——————————————————————————————————————————————————————————————————————————————+

58

MIDI Implementation

❍

System Common

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| |# 00 00 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Master Tune (24 — 2024) | | | | —100.0 — 100.0 [cent] | | 00 04 | 00aa aaaa | Master Key Shift (40 — 88) | | | | —24 — +24 | | 00 05 | 0aaa aaaa | Master Level (0 — 127) | | 00 06 | 0000 000a | Scale Tune Switch (0 — 1) | | | | OFF, ON | | 00 07 | 0000 000a | Patch Remain (0 — 1) | | | | OFF, ON | | 00 08 | 0000 000a | Mix/Parallel (0 — 1) | | | | MIX, PARALLEL | |—————————————+———————————+————————————————————————————————————————————————————| | 00 09 | 000a aaaa | Performance Control Channel (0 — 16) | | | | 1 — 16, OFF | | 00 0A | 0000 aaaa | Kbd Patch Rx/Tx Channel (0 — 15) | | | | 1 — 16 | | 00 0B | 0000 aaaa | Pad Patch Rx/Tx Channel (0 — 15) | | | | 1 — 16 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 — 127) | | | | —64 — +63 | | 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 — 127) | | | | —64 — +63 | | 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 — 127) | | | | —64 — +63 | | 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 — 127) | | | | —64 — +63 | | 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 — 127) | | | | —64 — +63 | | 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 — 127) | | | | —64 — +63 | | 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 — 127) | | | | —64 — +63 | | 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 — 127) | | | | —64 — +63 | | 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 — 127) | | | | —64 — +63 | | 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 — 127) | | | | —64 — +63 | | 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 — 127) | | | | —64 — +63 | | 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 — 127) | | | | —64 — +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 18 | 0aaa aaaa | System Control 1 Source (0 — 97) | | | | OFF, CC01 — CC31, CC33 — CC95, | | | | BEND, AFT | | 00 19 | 0aaa aaaa | System Control 2 Source (0 — 97) | | | | OFF, CC01 — CC31, CC33 — CC95, | | | | BEND, AFT | | 00 1A | 0aaa aaaa | System Control 3 Source (0 — 97) | | | | OFF, CC01 — CC31, CC33 — CC95, | | | | BEND, AFT | | 00 1B | 0aaa aaaa | System Control 4 Source (0 — 97) | | | | OFF, CC01 — CC31, CC33 — CC95, | | | | BEND, AFT | |—————————————+———————————+————————————————————————————————————————————————————| | 00 1C | 0000 000a | Receive Program Change (0 — 1) | | | | OFF, ON | | 00 1D | 0000 000a | Receive Bank Select (0 — 1) | | | | OFF, ON | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 1E | Total Size | +——————————————————————————————————————————————————————————————————————————————+

❍

System Mastering

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Mastering Switch (0 — 1) | | | | OFF, ON | | 00 01 | 0aaa aaaa | Low band Attack time (0 — 100) | | 00 02 | 0aaa aaaa | Low band Release time (0 — 100) | | 00 03 | 00aa aaaa | Low band Threshold (0 — 36) | | | | —36, —35, —34, —33, —32, —31, | | | | —30, —29, —28, —27, —26, —25, | | | | —24, —23, —22, —21, —20, —19, | | | | —18, —17, —16, —15, —14, —13, | | | | —12, —11, —10, —9, —8, —7, | | | | —6, —5, —4, —3, —2, —1, 0 [dB] | | 00 04 | 0000 aaaa | Low band Ratio (0 — 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 05 | 000a aaaa | Low band Level (0 — 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, | | | | 23, 24 [dB] | | 00 06 | 0aaa aaaa | Mid band Attack time (0 — 100) | | 00 07 | 0aaa aaaa | Mid band Release time (0 — 100) | | 00 08 | 00aa aaaa | Mid band Threshold (0 — 36) | | | | —36, —35, —34, —33, —32, —31, | | | | —30, —29, —28, —27, —26, —25, | | | | —24, —23, —22, —21, —20, —19, | | | | —18, —17, —16, —15, —14, —13, | | | | —12, —11, —10, —9, —8, —7, | | | | —6, —5, —4, —3, —2, —1, 0 [dB] | | 00 09 | 0000 aaaa | Mid band Ratio (0 — 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 0A | 000a aaaa | Mid band Level (0 — 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, | | | | 23, 24 [dB] | | 00 0B | 0aaa aaaa | High band Attack time (0 — 100) | | 00 0C | 0aaa aaaa | High band Release time (0 — 100) | | 00 0D | 00aa aaaa | High band Threshold (0 — 36) | | | | —36, —35, —34, —33, —32, —31, | | | | —30, —29, —28, —27, —26, —25, | | | | —24, —23, —22, —21, —20, —19, | | | | —18, —17, —16, —15, —14, —13, | | | | —12, —11, —10, —9, —8, —7, | | | | —6, —5, —4, —3, —2, —1, 0 [dB] | | 00 0E | 0000 aaaa | High band Ratio (0 — 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 0F | 000a aaaa | High band Level (0 — 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, |

| | | 23, 24 [dB] | | 00 10 | 0000 0aaa | Split Freq Low (0 — 6) | | | | 200, 250, 315, 400, 500, | | | | 630, 800 [Hz] | | 00 11 | 0000 0aaa | Split Freq High (0 — 6) | | | | 2000, 2500, 3150, 4000, 5000, | | | | 6300, 8000 [Hz] | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 12 | Total Size | +——————————————————————————————————————————————————————————————————————————————+

❍

System External Input

59

MIDI Implementation

❍

System Controller

❍

Performance Common

60

MIDI Implementation

❍

Performance Common MFX

61

MIDI Implementation

❍

Performance Common Chorus

❍

Performance Common Reverb

❍

Performance MIDI

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Receive Program Change (0 — 1) | | | | OFF, ON | | 00 01 | 0000 000a | Receive Bank Select (0 — 1) | | | | OFF, ON | | 00 02 | 0000 000a | Receive Bender (0 — 1) | | | | OFF, ON | | 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 — 1) | | | | OFF, ON | | 00 04 | 0000 000a | Receive Channel Pressure (0 — 1) | | | | OFF, ON | | 00 05 | 0000 000a | Receive Modulation (0 — 1) | | | | OFF, ON | | 00 06 | 0000 000a | Receive Volume (0 — 1) | | | | OFF, ON | | 00 07 | 0000 000a | Receive Pan (0 — 1) | | | | OFF, ON | | 00 08 | 0000 000a | Receive Expression (0 — 1) | | | | OFF, ON | | 00 09 | 0000 000a | Receive Hold—1 (0 — 1) | | | | OFF, ON | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0A | 0000 000a | Phase Lock (0 — 1) | | | | OFF, ON | | 00 0B | 0000 0aaa | Velocity Curve Type (0 — 4) | | | | OFF, 1 — 4 | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 0C | Total Size | +——————————————————————————————————————————————————————————————————————————————+

62

❍

Performance Part

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 aaaa | Receive Channel (0 — 15) | | | | 1 — 16 | | 00 01 | 0000 000a | Receive Switch (0 — 1) | | | | OFF, ON | | 00 02 | 0000 0000 | (reserve) <*> (1 — 0) | | | | | | 00 03 | 0000 0000 | (reserve) <*> (1 — 0) | | | | | |—————————————+———————————+————————————————————————————————————————————————————| | 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 — 127) | | 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 — 127) | | 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 — 127) | |—————————————+———————————+————————————————————————————————————————————————————| | 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 — 127) | | 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 — 127) | | | | L64 — 63R | | 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 — 112) | | | | —48 — +48 | | 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 — 114) | | | | —50 — +50 | | 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 — 2) | | | | MONO, POLY, PATCH | | 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 — 2) | | | | OFF, ON, PATCH | | 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 — 25) | | | | 0 — 24, PATCH | | 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 — 2) | | | | OFF, ON, PATCH | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | Part Portamento Time (CC# 5) (0 — 128) | | | | 0 — 127, PATCH | | 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 — 127) | | | | —64 — +63 | | 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 — 127) | | | | —64 — +63 | | 00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 — 127) | | | | —64 — +63 | | 00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 — 127) | | | | —64 — +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 15 | 0000 0aaa | Part Octave Shift (61 — 67) | | | | —3 — +3 | | 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 — 127) | | | | —63 — +63 | | 00 17 | 0aaa aaaa | (reserve) <*> (0 — 127) | | | | | | 00 18 | 0aaa aaaa | (reserve) <*> (0 — 127) | | | | | | 00 19 | 0aaa aaaa | (reserve) <*> (0 — 127) | | | | | | 00 1A | 0aaa aaaa | (reserve) <*> (0 — 127) | | | | | | 00 1B | 0000 000a | Mute Switch (0 — 1) | | | | OFF, MUTE | |—————————————+———————————+————————————————————————————————————————————————————| | 00 1C | 0aaa aaaa | Part Dry Send Level (0 — 127) | | 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 — 127) | | 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 — 127) | | 00 1F | 0000 aaaa | Part Output Assign (0 — 13) | | | | MFX, A, B, ———, ———, | | | | 1, 2, 3, 4, ———, ———, ———, ———, | | | | PATCH | | 00 20 | 0000 00aa | Part Output MFX Select (0 — 2) | | | | MFX1, MFX2, MFX3 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 — 127) | | | | —64 — +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 — 127) | | | | —64 — +63 | | 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 — 127) | | | | —64 — +63 | | 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 — 127) | | | | —64 — +63 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 25 | 0aaa aaaa | Part Scale Tune for C (0 — 127) | | | | —64 — +63 | | 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 — 127) | | | | —64 — +63 | | 00 27 | 0aaa aaaa | Part Scale Tune for D (0 — 127) | | | | —64 — +63 | | 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 — 127) | | | | —64 — +63 | | 00 29 | 0aaa aaaa | Part Scale Tune for E (0 — 127) | | | | —64 — +63 | | 00 2A | 0aaa aaaa | Part Scale Tune for F (0 — 127) | | | | —64 — +63 | | 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 — 127) | | | | —64 — +63 | | 00 2C | 0aaa aaaa | Part Scale Tune for G (0 — 127) | | | | —64 — +63 | | 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 — 127) | | | | —64 — +63 | | 00 2E | 0aaa aaaa | Part Scale Tune for A (0 — 127) | | | | —64 — +63 | | 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 — 127) | | | | —64 — +63 | | 00 30 | 0aaa aaaa | Part Scale Tune for B (0 — 127) | | | | —64 — +63 | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 31 | Total Size | +——————————————————————————————————————————————————————————————————————————————+

MIDI Implementation

❍

Performance Zone

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 000a aaaa | (reserve) <*> (0 — 16) | | | | | | 00 01 | 0000 000a | Zone Switch (0 — 1) | | | | OFF, ON | | 00 02 | 0000 000a | (reserve) <*> (0 — 1) | | | | | |—————————————+———————————+————————————————————————————————————————————————————| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | External Bank Select MSB (CC# 0) (0 — 128) | | | | 0 — 127, NO—SEND | | 00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32) (0 — 127) | |# 00 06 | 0000 aaaa | | | | 0000 bbbb | External Program Number (PC) (0 — 128) | | | | 0 — 127, NO—SEND | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | External Level (CC# 7) (0 — 128) | | | | 0 — 127, NO—SEND | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | External Pan (CC# 10) (0 — 128) | | | | L64 — 63R, NO—SEND | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0C | 0aaa aaaa | Keyboard Range Lower (0 — 127) | | | | C—1 — UPPER | | 00 0D | 0aaa aaaa | Keyboard Range Upper (0 — 127) | | | | LOWER — G9 | |—————————————+———————————+————————————————————————————————————————————————————| | 00 0E | 0000 000a | Control Bender (0 — 1) | | | | OFF, ON | | 00 0F | 0000 000a | Control Aftertouch (0 — 1) | | | | OFF, ON | | 00 10 | 0000 000a | Control Modulation (0 — 1) | | | | OFF, ON | | 00 11 | 0000 000a | Control Hold Pedal (0 — 1) | | | | OFF, ON | | 00 12 | 0000 000a | Control Pedal (0 — 1) | | | | OFF, ON | | 00 13 | 0000 000a | (reserve) <*> (0 — 1) | | | | | | 00 14 | 0000 000a | Control D Beam (0 — 1) | | | | OFF, ON | | 00 15 | 0000 000a | Control Knob 1 (0 — 1) | | | | OFF, ON | | 00 16 | 0000 000a | Control Knob 2 (0 — 1) | | | | OFF, ON | | 00 17 | 0000 000a | Control Knob 3 (0 — 1) | | | | OFF, ON | | 00 18 | 0000 000a | Control Knob 4 (0 — 1) | | | | OFF, ON | | 00 19 | 0000 000a | (reserve) <*> (0 — 1) | | | | | | 00 1A | 0000 000a | (reserve) <*> (0 — 1) | | | | | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 00 1B | Total Size | +——————————————————————————————————————————————————————————————————————————————+

❍

Performance Controller

63

MIDI Implementation

❍

Arpeggio Common

❍

Arpeggio Pattern

64

MIDI Implementation

❍

Chord Pattern

+——————————————————————————————————————————————————————————————————————————————+ | Offset | | | Address | Description | |—————————————+————————————————————————————————————————————————————————————————| | 00 00 | 0000 000a | Chord Note1 (0 — 1) | | | | OFF, ON | | 00 01 | 0000 000a | Chord Note2 (0 — 1) | | | | OFF, ON | | 00 02 | 0000 000a | Chord Note3 (0 — 1) | | | | OFF, ON | | 00 03 | 0000 000a | Chord Note4 (0 — 1) | | | | OFF, ON | | 00 04 | 0000 000a | Chord Note5 (0 — 1) | | | | OFF, ON | | 00 05 | 0000 000a | Chord Note6 (0 — 1) | | | | OFF, ON | | 00 06 | 0000 000a | Chord Note7 (0 — 1) | | | | OFF, ON | | 00 07 | 0000 000a | Chord Note8 (0 — 1) | | | | OFF, ON | | 00 08 | 0000 000a | Chord Note9 (0 — 1) | | | | OFF, ON | | 00 09 | 0000 000a | Chord Note10 (0 — 1) | | | | OFF, ON | | 00 0A | 0000 000a | Chord Note11 (0 — 1) | | | | OFF, ON | | 00 0B | 0000 000a | Chord Note12 (0 — 1) | | | | OFF, ON | | 00 0C | 0000 000a | Chord Note13 (0 — 1) | | | | OFF, ON | | 00 0D | 0000 000a | Chord Note14 (0 — 1) | | | | OFF, ON | | 00 0E | 0000 000a | Chord Note15 (0 — 1) | | | | OFF, ON | | 00 0F | 0000 000a | Chord Note16 (0 — 1) | | | | OFF, ON | | 00 10 | 0000 000a | Chord Note17 (0 — 1) | | | | OFF, ON | | 00 11 | 0000 000a | Chord Note18 (0 — 1) | | | | OFF, ON | | 00 12 | 0000 000a | Chord Note19 (0 — 1) | | | | OFF, ON | | 00 13 | 0000 000a | Chord Note20 (0 — 1) | | | | OFF, ON | | 00 14 | 0000 000a | Chord Note21 (0 — 1) | | | | OFF, ON | | 00 15 | 0000 000a | Chord Note22 (0 — 1) | | | | OFF, ON | | 00 16 | 0000 000a | Chord Note23 (0 — 1) | | | | OFF, ON | | 00 17 | 0000 000a | Chord Note24 (0 — 1) | | | | OFF, ON | | 00 18 | 0000 000a | Chord Note25 (0 — 1) | | | | OFF, ON | | 00 19 | 0000 000a | Chord Note26 (0 — 1) | | | | OFF, ON | | 00 1A | 0000 000a | Chord Note27 (0 — 1) | | | | OFF, ON | | 00 1B | 0000 000a | Chord Note28 (0 — 1) | | | | OFF, ON | | 00 1C | 0000 000a | Chord Note29 (0 — 1) | | | | OFF, ON | | 00 1D | 0000 000a | Chord Note30 (0 — 1) | | | | OFF, ON | | 00 1E | 0000 000a | Chord Note31 (0 — 1) | | | | OFF, ON | | 00 1F | 0000 000a | Chord Note32 (0 — 1) | | | | OFF, ON | | 00 20 | 0000 000a | Chord Note33 (0 — 1) | | | | OFF, ON | | 00 21 | 0000 000a | Chord Note34 (0 — 1) | | | | OFF, ON | | 00 22 | 0000 000a | Chord Note35 (0 — 1) | | | | OFF, ON | | 00 23 | 0000 000a | Chord Note36 (0 — 1) | | | | OFF, ON | | 00 24 | 0000 000a | Chord Note37 (0 — 1) | | | | OFF, ON | | 00 25 | 0000 000a | Chord Note38 (0 — 1) | | | | OFF, ON | | 00 26 | 0000 000a | Chord Note39 (0 — 1) | | | | OFF, ON | | 00 27 | 0000 000a | Chord Note40 (0 — 1) | | | | OFF, ON | | 00 28 | 0000 000a | Chord Note41 (0 — 1) | | | | OFF, ON | | 00 29 | 0000 000a | Chord Note42 (0 — 1) | | | | OFF, ON | | 00 2A | 0000 000a | Chord Note43 (0 — 1) | | | | OFF, ON | | 00 2B | 0000 000a | Chord Note44 (0 — 1) | | | | OFF, ON | | 00 2C | 0000 000a | Chord Note45 (0 — 1) | | | | OFF, ON | | 00 2D | 0000 000a | Chord Note46 (0 — 1) | | | | OFF, ON | | 00 2E | 0000 000a | Chord Note47 (0 — 1) | | | | OFF, ON | | 00 2F | 0000 000a | Chord Note48 (0 — 1) | | | | OFF, ON | | 00 30 | 0000 000a | Chord Note49 (0 — 1) | | | | OFF, ON | | 00 31 | 0000 000a | Chord Note50 (0 — 1) | | | | OFF, ON | | 00 32 | 0000 000a | Chord Note51 (0 — 1) | | | | OFF, ON | | 00 33 | 0000 000a | Chord Note52 (0 — 1) | | | | OFF, ON | | 00 34 | 0000 000a | Chord Note53 (0 — 1) | | | | OFF, ON | | 00 35 | 0000 000a | Chord Note54 (0 — 1) | | | | OFF, ON | | 00 36 | 0000 000a | Chord Note55 (0 — 1) | | | | OFF, ON | | 00 37 | 0000 000a | Chord Note56 (0 — 1) | | | | OFF, ON | | 00 38 | 0000 000a | Chord Note57 (0 — 1) | | | | OFF, ON | | 00 39 | 0000 000a | Chord Note58 (0 — 1) | | | | OFF, ON | | 00 3A | 0000 000a | Chord Note59 (0 — 1) | | | | OFF, ON | | 00 3B | 0000 000a | Chord Note60 (0 — 1) | | | | OFF, ON | | 00 3C | 0000 000a | Chord Note61 (0 — 1) | | | | OFF, ON | | 00 3D | 0000 000a | Chord Note62 (0 — 1) | | | | OFF, ON | | 00 3E | 0000 000a | Chord Note63 (0 — 1) | | | | OFF, ON | | 00 3F | 0000 000a | Chord Note64 (0 — 1) | | | | OFF, ON | | 00 40 | 0000 000a | Chord Note65 (0 — 1) | | | | OFF, ON | | 00 41 | 0000 000a | Chord Note66 (0 — 1) | | | | OFF, ON |

| 00 42 | 0000 000a | Chord Note67 (0 — 1) | | | | OFF, ON | | 00 43 | 0000 000a | Chord Note68 (0 — 1) | | | | OFF, ON | | 00 44 | 0000 000a | Chord Note69 (0 — 1) | | | | OFF, ON | | 00 45 | 0000 000a | Chord Note70 (0 — 1) | | | | OFF, ON | | 00 46 | 0000 000a | Chord Note71 (0 — 1) | | | | OFF, ON | | 00 47 | 0000 000a | Chord Note72 (0 — 1) | | | | OFF, ON | | 00 48 | 0000 000a | Chord Note73 (0 — 1) | | | | OFF, ON | | 00 49 | 0000 000a | Chord Note74 (0 — 1) | | | | OFF, ON | | 00 4A | 0000 000a | Chord Note75 (0 — 1) | | | | OFF, ON | | 00 4B | 0000 000a | Chord Note76 (0 — 1) | | | | OFF, ON | | 00 4C | 0000 000a | Chord Note77 (0 — 1) | | | | OFF, ON | | 00 4D | 0000 000a | Chord Note78 (0 — 1) | | | | OFF, ON | | 00 4E | 0000 000a | Chord Note79 (0 — 1) | | | | OFF, ON | | 00 4F | 0000 000a | Chord Note80 (0 — 1) | | | | OFF, ON | | 00 50 | 0000 000a | Chord Note81 (0 — 1) | | | | OFF, ON | | 00 51 | 0000 000a | Chord Note82 (0 — 1) | | | | OFF, ON | | 00 52 | 0000 000a | Chord Note83 (0 — 1) | | | | OFF, ON | | 00 53 | 0000 000a | Chord Note84 (0 — 1) | | | | OFF, ON | | 00 54 | 0000 000a | Chord Note85 (0 — 1) | | | | OFF, ON | | 00 55 | 0000 000a | Chord Note86 (0 — 1) | | | | OFF, ON | | 00 56 | 0000 000a | Chord Note87 (0 — 1) | | | | OFF, ON | | 00 57 | 0000 000a | Chord Note88 (0 — 1) | | | | OFF, ON | | 00 58 | 0000 000a | Chord Note89 (0 — 1) | | | | OFF, ON | | 00 59 | 0000 000a | Chord Note90 (0 — 1) | | | | OFF, ON | | 00 5A | 0000 000a | Chord Note91 (0 — 1) | | | | OFF, ON | | 00 5B | 0000 000a | Chord Note92 (0 — 1) | | | | OFF, ON | | 00 5C | 0000 000a | Chord Note93 (0 — 1) | | | | OFF, ON | | 00 5D | 0000 000a | Chord Note94 (0 — 1) | | | | OFF, ON | | 00 5E | 0000 000a | Chord Note95 (0 — 1) | | | | OFF, ON | | 00 5F | 0000 000a | Chord Note96 (0 — 1) | | | | OFF, ON | | 00 60 | 0000 000a | Chord Note97 (0 — 1) | | | | OFF, ON | | 00 61 | 0000 000a | Chord Note98 (0 — 1) | | | | OFF, ON | | 00 62 | 0000 000a | Chord Note99 (0 — 1) | | | | OFF, ON | | 00 63 | 0000 000a | Chord Note100 (0 — 1) | | | | OFF, ON | | 00 64 | 0000 000a | Chord Note101 (0 — 1) | | | | OFF, ON | | 00 65 | 0000 000a | Chord Note102 (0 — 1) | | | | OFF, ON | | 00 66 | 0000 000a | Chord Note103 (0 — 1) | | | | OFF, ON | | 00 67 | 0000 000a | Chord Note104 (0 — 1) | | | | OFF, ON | | 00 68 | 0000 000a | Chord Note105 (0 — 1) | | | | OFF, ON | | 00 69 | 0000 000a | Chord Note106 (0 — 1) | | | | OFF, ON | | 00 6A | 0000 000a | Chord Note107 (0 — 1) | | | | OFF, ON | | 00 6B | 0000 000a | Chord Note108 (0 — 1) | | | | OFF, ON | | 00 6C | 0000 000a | Chord Note109 (0 — 1) | | | | OFF, ON | | 00 6D | 0000 000a | Chord Note110 (0 — 1) | | | | OFF, ON | | 00 6E | 0000 000a | Chord Note111 (0 — 1) | | | | OFF, ON | | 00 6F | 0000 000a | Chord Note112 (0 — 1) | | | | OFF, ON | | 00 70 | 0000 000a | Chord Note113 (0 — 1) | | | | OFF, ON | | 00 71 | 0000 000a | Chord Note114 (0 — 1) | | | | OFF, ON | | 00 72 | 0000 000a | Chord Note115 (0 — 1) | | | | OFF, ON | | 00 73 | 0000 000a | Chord Note116 (0 — 1) | | | | OFF, ON | | 00 74 | 0000 000a | Chord Note117 (0 — 1) | | | | OFF, ON | | 00 75 | 0000 000a | Chord Note118 (0 — 1) | | | | OFF, ON | | 00 76 | 0000 000a | Chord Note119 (0 — 1) | | | | OFF, ON | | 00 77 | 0000 000a | Chord Note120 (0 — 1) | | | | OFF, ON | | 00 78 | 0000 000a | Chord Note121 (0 — 1) | | | | OFF, ON | | 00 79 | 0000 000a | Chord Note122 (0 — 1) | | | | OFF, ON | | 00 7A | 0000 000a | Chord Note123 (0 — 1) | | | | OFF, ON | | 00 7B | 0000 000a | Chord Note124 (0 — 1) | | | | OFF, ON | | 00 7C | 0000 000a | Chord Note125 (0 — 1) | | | | OFF, ON | | 00 7D | 0000 000a | Chord Note126 (0 — 1) | | | | OFF, ON | | 00 7E | 0000 000a | Chord Note127 (0 — 1) | | | | OFF, ON | | 00 7F | 0000 000a | Chord Note128 (0 — 1) | | | | OFF, ON | |—————————————+———————————+————————————————————————————————————————————————————| | 01 00 | 0aaa aaaa | Chord Pattern Name 1 (32 — 127) | | | | | | 01 01 | 0aaa aaaa | Chord Pattern Name 2 (32 — 127) | | | | | | 01 02 | 0aaa aaaa | Chord Pattern Name 3 (32 — 127) | | | | | | 01 03 | 0aaa aaaa | Chord Pattern Name 4 (32 — 127) | | | | | | 01 04 | 0aaa aaaa | Chord Pattern Name 5 (32 — 127) | | | | | | 01 05 | 0aaa aaaa | Chord Pattern Name 6 (32 — 127) | | | | | | 01 06 | 0aaa aaaa | Chord Pattern Name 7 (32 — 127) |

65

MIDI Implementation

❍

Rhythm Group

❍

Patch Common

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Patch Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Patch Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Patch Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Patch Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Patch Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Patch Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Patch Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Patch Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Patch Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Patch Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Patch Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Patch Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0C | 0aaa aaaa | Patch Category (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 0D | 0000 000a | (reserve)<*> | |-------------+-----------+----------------------------------------------------| | 00 0E | 0aaa aaaa | Patch Level (0 - 127) | | 00 0F | 0aaa aaaa | Patch Pan (0 - 127) | | | | L64 - 63R | | 00 10 | 0000 000a | Patch Priority (0 - 1) | | | | LAST, LOUDEST | | 00 11 | 0aaa aaaa | Patch Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 12 | 0aaa aaaa | Patch Fine Tune (14 - 114) | | | | -50 - +50 | | 00 13 | 0000 0aaa | Octave Shift (61 - 67) | | | | -3 - +3 | | 00 14 | 0000 00aa | Stretch Tune Depth (0 - 3) | | | | OFF, 1 - 3 |

66

MIDI Implementation

| 00 15 | 0aaa aaaa | Analog Feel (0 - 127) | | 00 16 | 0000 000a | Mono/Poly (0 - 1) | | | | MONO, POLY | | 00 17 | 0000 000a | Legato Switch (0 - 1) | | | | OFF, ON | | 00 18 | 0000 000a | Legato Retrigger (0 - 1) | | | | OFF, ON | | 00 19 | 0000 000a | Portamento Switch (0 - 1) | | | | OFF, ON | | 00 1A | 0000 000a | Portamento Mode (0 - 1) | | | | NORMAL, LEGATO | | 00 1B | 0000 000a | Portamento Type (0 - 1) | | | | RATE, TIME | | 00 1C | 0000 000a | Portamento Start (0 - 1) | | | | PITCH, NOTE | | 00 1D | 0aaa aaaa | Portamento Time (0 - 127) | | 00 1E | 0000 000a | (reserve)<*> | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | (reserve)<*> | | 00 21 | 0000 000a | (reserve)<*> | |-------------+-----------+----------------------------------------------------| | 00 22 | 0aaa aaaa | Cutoff Offset (1 - 127) | | | | -63 - +63 | | 00 23 | 0aaa aaaa | Resonance Offset (1 - 127) | | | | -63 - +63 | | 00 24 | 0aaa aaaa | Attack Time Offset (1 - 127) | | | | -63 - +63 | | 00 25 | 0aaa aaaa | Release Time Offset (1 - 127) | | | | -63 - +63 | | 00 26 | 0aaa aaaa | Velocity Sens Offset (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 aaaa | Patch Output Assign (0 - 13) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, ---, | | | | TONE | |-------------+-----------+----------------------------------------------------| | 00 28 | 0000 000a | TMT Control Switch (0 - 1) | | | | OFF, ON | | 00 29 | 00aa aaaa | Pitch Bend Range Up (0 - 48) | | 00 2A | 00aa aaaa | Pitch Bend Range Down (0 - 48) | |-------------+-----------+----------------------------------------------------| | 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, |

| | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 48 | 0aaa aaaa | Matrix Control 4 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 49 | 00aa aaaa | Matrix Control 4 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 4A | 0aaa aaaa | Matrix Control 4 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 4B | 00aa aaaa | Matrix Control 4 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 4C | 0aaa aaaa | Matrix Control 4 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 4D | 00aa aaaa | Matrix Control 4 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME | | 00 4E | 0aaa aaaa | Matrix Control 4 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+----------------------------------------------------------------| | 00 00 00 4F | Total Size | +------------------------------------------------------------------------------+

67

MIDI Implementation

❍

Patch Common MFX

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 - 127) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) | | 00 04 | 0000 00aa | MFX Output Assign (0 - 3) | | | | A, B, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) | | | | -63 - +63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) | | | | -63 - +63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) | | | | -63 - +63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) | | | | OFF, 1 - 16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) | | | | OFF, 1 - 16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) | | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 19 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 21 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 25 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 29 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 31 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 35 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 39 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 41 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 45 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 49 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 51 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 55 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 59 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 5D | 0000 aaaa | |

| | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |# 00 61 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 21 (12768 - 52768) | | | | -20000 - +20000 | |# 00 65 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 22 (12768 - 52768) | | | | -20000 - +20000 | |# 00 69 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 23 (12768 - 52768) | | | | -20000 - +20000 | |# 00 6D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 24 (12768 - 52768) | | | | -20000 - +20000 | |# 00 71 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 25 (12768 - 52768) | | | | -20000 - +20000 | |# 00 75 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 26 (12768 - 52768) | | | | -20000 - +20000 | |# 00 79 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 27 (12768 - 52768) | | | | -20000 - +20000 | |# 00 7D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 28 (12768 - 52768) | | | | -20000 - +20000 | |# 01 01 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 29 (12768 - 52768) | | | | -20000 - +20000 | |# 01 05 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 30 (12768 - 52768) | | | | -20000 - +20000 | |# 01 09 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 31 (12768 - 52768) | | | | -20000 - +20000 | |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 01 11 | Total Size | +------------------------------------------------------------------------------+

❍

Patch Common Chorus

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Chorus Type (0 - 3) | | 00 01 | 0aaa aaaa | Chorus Level (0 - 127) | | 00 02 | 0000 00aa | Chorus Output Assign (0 - 3) | | | | A, B, ---, --- | | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |-------------+-----------+----------------------------------------------------| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 10 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | |

68

MIDI Implementation

| | 0000 cccc | | | | 0000 dddd | Chorus Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 34 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 38 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 54 | Total Size | +------------------------------------------------------------------------------+

❍

Patch Common Reverb

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Reverb Type (0 - 5) | | 00 01 | 0aaa aaaa | Reverb Level (0 - 127) | | 00 02 | 0000 00aa | Reverb Output Assign (0 - 3) | | | | A, B, ---, --- | |-------------+-----------+----------------------------------------------------| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 - 52768) | | | | -20000 - +20000 |

|# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+

❍

Patch TMT (Tone Mix Table)

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 - 9) | | | | 1 - 10 | | 00 01 | 0000 00aa | Booster 1 & 2 (0 - 3) | | | | 0, +6, +12, +18 [dB] | | 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 - 9) | | | | 1 - 10 | | 00 03 | 0000 00aa | Booster 3 & 4 (0 - 3) | | | | 0, +6, +12, +18 [dB] | |-------------+-----------+----------------------------------------------------| | 00 04 | 0000 00aa | TMT Velocity Control (0 - 3) | | | | OFF, ON, RANDOM, CYCLE | |-------------+-----------+----------------------------------------------------| | 00 05 | 0000 000a | TMT1 Tone Switch (0 - 1) | | | | OFF, ON | | 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 - 127) | | 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 - 127) | | 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 - 127) | | 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 0E | 0000 000a | TMT2 Tone Switch (0 - 1) | | | | OFF, ON | | 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 - 127) | | 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 - 127) | | 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 - 127) | | 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 000a | TMT3 Tone Switch (0 - 1) | | | | OFF, ON | | 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 - 127) | | 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 - 127) | | 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 - 127) | | 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 000a | TMT4 Tone Switch (0 - 1) | | | | OFF, ON | | 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 - 127) | | 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 - 127) | | 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 - 127) | | 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 - 127) | |-------------+----------------------------------------------------------------| | 00 00 00 29 | Total Size | +------------------------------------------------------------------------------+

❍

Patch Tone

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Tone Level (0 - 127) | | 00 01 | 0aaa aaaa | Tone Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 02 | 0aaa aaaa | Tone Fine Tune (14 - 114) | | | | -50 - +50 | | 00 03 | 000a aaaa | Tone Random Pitch Depth (0 - 30) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, | | | | 10, 20, 30, 40, 50, 60, 70, 80, | | | | 90, 100, 200, 300, 400, 500, | | | | 600, 700, 800, 900, 1000, 1100, | | | | 1200 | | 00 04 | 0aaa aaaa | Tone Pan (0 - 127) | | | | L64 - 63R | | 00 05 | 000a aaaa | Tone Pan Keyfollow (54 - 74) | | | | -100 - +100 | | 00 06 | 00aa aaaa | Tone Random Pan Depth (0 - 63) | | 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) | | | | L63 - 63R | | 00 08 | 0000 000a | Tone Env Mode (0 - 1) | | | | NO-SUS, SUSTAIN | | 00 09 | 0000 00aa | Tone Delay Mode (0 - 3) | | | | NORMAL, HOLD, KEY-OFF-NORMAL, | | | | KEY-OFF-DECAY | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | Tone Delay Time (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | |-------------+-----------+----------------------------------------------------|

69

MIDI Implementation

| 00 0C | 0aaa aaaa | Tone Dry Send Level (0 - 127) | | 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 - 127) | | 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 - 127) | | 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) | | 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) | | 00 11 | 0000 aaaa | Tone Output Assign (0 - 12) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 12 | 0000 000a | Tone Receive Bender (0 - 1) | | | | OFF, ON | | 00 13 | 0000 000a | Tone Receive Expression (0 - 1) | | | | OFF, ON | | 00 14 | 0000 000a | Tone Receive Hold-1 (0 - 1) | | | | OFF, ON | | 00 15 | 0000 000a | Tone Receive Pan Mode (0 - 1) | | | | CONTINUOUS, KEY-ON | | 00 16 | 0000 000a | Tone Redamper Switch (0 - 1) | | | | OFF, ON | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 00aa | Wave Group Type (0 - 3) | | | | INT, SRX, SAMPLE, MULTISAMPLE | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 34 | 0000 00aa | Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 35 | 0000 000a | Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 36 | 0000 00aa | Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 37 | 000a aaaa | Wave FXM Depth (0 - 16) | | 00 38 | 0000 000a | Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 - 84) | | | | -200 - +200 | |-------------+-----------+----------------------------------------------------| | 00 3A | 000a aaaa | Pitch Env Depth (52 - 76) | | | | -12 - +12 | | 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 - 127) | | 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 - 127) | | 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 - 127) | | 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 - 127) | | 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 - 127) | | | | -63 - +63 | | 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 - 127) | | | | -63 - +63 | | 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 - 127) | | | | -63 - +63 | | 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) | | | | -63 - +63 | | 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 48 | 0000 0aaa | TVF Filter Type (0 - 6) | | | | OFF, LPF, BPF, HPF, PKG, LPF2, | | | | LPF3 | | 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) | | 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 - 84) | | | | -200 - +200 | | 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 4D | 0aaa aaaa | TVF Resonance (0 - 127) | | 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 4F | 0aaa aaaa | TVF Env Depth (1 - 127) | | | | -63 - +63 | | 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 55 | 0aaa aaaa | TVF Env Time 1 (0 - 127) | | 00 56 | 0aaa aaaa | TVF Env Time 2 (0 - 127) | | 00 57 | 0aaa aaaa | TVF Env Time 3 (0 - 127) | | 00 58 | 0aaa aaaa | TVF Env Time 4 (0 - 127) | | 00 59 | 0aaa aaaa | TVF Env Level 0 (0 - 127) | | 00 5A | 0aaa aaaa | TVF Env Level 1 (0 - 127) |

| 00 5B | 0aaa aaaa | TVF Env Level 2 (0 - 127) | | 00 5C | 0aaa aaaa | TVF Env Level 3 (0 - 127) | | 00 5D | 0aaa aaaa | TVF Env Level 4 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 5E | 000a aaaa | Bias Level (54 - 74) | | | | -100 - +100 | | 00 5F | 0aaa aaaa | Bias Position (0 - 127) | | | | C-1 - G9 | | 00 60 | 0000 00aa | Bias Direction (0 - 3) | | | | LOWER, UPPER, LOWER&UPPER, ALL | | 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 66 | 0aaa aaaa | TVA Env Time 1 (0 - 127) | | 00 67 | 0aaa aaaa | TVA Env Time 2 (0 - 127) | | 00 68 | 0aaa aaaa | TVA Env Time 3 (0 - 127) | | 00 69 | 0aaa aaaa | TVA Env Time 4 (0 - 127) | | 00 6A | 0aaa aaaa | TVA Env Level 1 (0 - 127) | | 00 6B | 0aaa aaaa | TVA Env Level 2 (0 - 127) | | 00 6C | 0aaa aaaa | TVA Env Level 3 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 6D | 0000 aaaa | LFO1 Waveform (0 - 12) | | | | SIN, TRI, SAW-UP, SAW-DW, SQR, | | | | RND, BEND-UP, BEND-DW, TRP, S&H, | | | | CHS, VSIN, STEP | |# 00 6E | 0000 aaaa | | | | 0000 bbbb | LFO1 Rate (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | | 00 70 | 0000 0aaa | LFO1 Offset (0 - 4) | | | | -100, -50, 0, +50, +100 | | 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 - 127) | | 00 72 | 0aaa aaaa | LFO1 Delay Time (0 - 127) | | 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 74 | 0000 00aa | LFO1 Fade Mode (0 - 3) | | | | ON-IN, ON-OUT, OFF-IN, OFF-OUT | | 00 75 | 0aaa aaaa | LFO1 Fade Time (0 - 127) | | 00 76 | 0000 000a | LFO1 Key Trigger (0 - 1) | | | | OFF, ON | | 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 - 127) | | | | -63 - +63 | | 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 - 127) | | | | -63 - +63 | | 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 - 127) | | | | -63 - +63 | | 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 - 127) | | | | -63 - +63 | | 00 7B | 0000 aaaa | LFO2 Waveform (0 - 12) | | | | SIN, TRI, SAW-UP, SAW-DW, SQR, | | | | RND, BEND-UP, BEND-DW, TRP, S&H, | | | | CHS, VSIN, STEP | |# 00 7C | 0000 aaaa | | | | 0000 bbbb | LFO2 Rate (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | | 00 7E | 0000 0aaa | LFO2 Offset (0 - 4) | | | | -100, -50, 0, +50, +100 | | 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 - 127) | | 01 00 | 0aaa aaaa | LFO2 Delay Time (0 - 127) | | 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 - 74) | | | | -100 - +100 | | 01 02 | 0000 00aa | LFO2 Fade Mode (0 - 3) | | | | ON-IN, ON-OUT, OFF-IN, OFF-OUT | | 01 03 | 0aaa aaaa | LFO2 Fade Time (0 - 127) | | 01 04 | 0000 000a | LFO2 Key Trigger (0 - 1) | | | | OFF, ON | | 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 - 127) | | | | -63 - +63 | | 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 - 127) | | | | -63 - +63 | | 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 - 127) | | | | -63 - +63 | | 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 01 09 | 0000 aaaa | LFO Step Type (0 - 1) | | 01 0A | 0aaa aaaa | LFO Step1 (28 - 100) | | | | -36 - +36 | | 01 0B | 0aaa aaaa | LFO Step2 (28 - 100) | | | | -36 - +36 | | 01 0C | 0aaa aaaa | LFO Step3 (28 - 100) | | | | -36 - +36 | | 01 0D | 0aaa aaaa | LFO Step4 (28 - 100) | | | | -36 - +36 | | 01 0E | 0aaa aaaa | LFO Step5 (28 - 100) | | | | -36 - +36 | | 01 0F | 0aaa aaaa | LFO Step6 (28 - 100) | | | | -36 - +36 | | 01 10 | 0aaa aaaa | LFO Step7 (28 - 100) | | | | -36 - +36 | | 01 11 | 0aaa aaaa | LFO Step8 (28 - 100) | | | | -36 - +36 | | 01 12 | 0aaa aaaa | LFO Step9 (28 - 100) | | | | -36 - +36 | | 01 13 | 0aaa aaaa | LFO Step10 (28 - 100) | | | | -36 - +36 | | 01 14 | 0aaa aaaa | LFO Step11 (28 - 100) | | | | -36 - +36 | | 01 15 | 0aaa aaaa | LFO Step12 (28 - 100) | | | | -36 - +36 | | 01 16 | 0aaa aaaa | LFO Step13 (28 - 100) | | | | -36 - +36 | | 01 17 | 0aaa aaaa | LFO Step14 (28 - 100) | | | | -36 - +36 | | 01 18 | 0aaa aaaa | LFO Step15 (28 - 100) | | | | -36 - +36 | | 01 19 | 0aaa aaaa | LFO Step16 (28 - 100) | | | | -36 - +36 | |-------------+----------------------------------------------------------------| | 00 00 01 1A | Total Size | +------------------------------------------------------------------------------+

❍

Rhythm Common

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Rhythm Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Rhythm Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Rhythm Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Rhythm Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Rhythm Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Rhythm Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Rhythm Name 7 (32 - 127) | | | | 32 - 127 [ASCII] |

70

MIDI Implementation

| 00 07 | 0aaa aaaa | Rhythm Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Rhythm Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Rhythm Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Rhythm Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Rhythm Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Rhythm Level (0 - 127) | | 00 0D | 0000 000a | (reserve)<*> | |# 00 0E | 0000 aaaa | | | | 0000 bbbb | (reserve)<*> | | 00 10 | 0000 000a | (reserve)<*> | |-------------+-----------+----------------------------------------------------| | 00 11 | 0000 aaaa | Rhythm Output Assign (0 - 13) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, ---, | | | | TONE | |-------------+----------------------------------------------------------------| | 00 00 00 12 | Total Size | +------------------------------------------------------------------------------+

❍

Rhythm Common MFX

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 - 127) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) | | 00 04 | 0000 00aa | MFX Output Assign (0 - 3) | | | | A, B, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) | | | | -63 - +63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) | | | | -63 - +63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) | | | | -63 - +63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) | | | | OFF, 1 - 16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) | | | | OFF, 1 - 16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) | | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 19 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 21 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 25 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 29 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 31 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 35 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 39 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 41 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 45 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 49 | 0000 aaaa | |

| | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 51 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 55 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 59 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 5D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |# 00 61 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 21 (12768 - 52768) | | | | -20000 - +20000 | |# 00 65 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 22 (12768 - 52768) | | | | -20000 - +20000 | |# 00 69 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 23 (12768 - 52768) | | | | -20000 - +20000 | |# 00 6D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 24 (12768 - 52768) | | | | -20000 - +20000 | |# 00 71 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 25 (12768 - 52768) | | | | -20000 - +20000 | |# 00 75 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 26 (12768 - 52768) | | | | -20000 - +20000 | |# 00 79 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 27 (12768 - 52768) | | | | -20000 - +20000 | |# 00 7D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 28 (12768 - 52768) | | | | -20000 - +20000 | |# 01 01 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 29 (12768 - 52768) | | | | -20000 - +20000 | |# 01 05 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 30 (12768 - 52768) | | | | -20000 - +20000 | |# 01 09 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 31 (12768 - 52768) | | | | -20000 - +20000 | |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 01 11 | Total Size | +------------------------------------------------------------------------------+

❍

Rhythm Common Chorus

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Chorus Type (0 - 3) | | 00 01 | 0aaa aaaa | Chorus Level (0 - 127) | | 00 02 | 0000 00aa | Chorus Output Assign (0 - 3) | | | | A, B, ---, --- | | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |-------------+-----------+----------------------------------------------------| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 10 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | |

71

MIDI Implementation

| | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 34 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 38 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 54 | Total Size | +------------------------------------------------------------------------------+

❍

Rhythm Common Reverb

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Reverb Type (0 - 5) | | 00 01 | 0aaa aaaa | Reverb Level (0 - 127) | | 00 02 | 0000 00aa | Reverb Output Assign (0 - 3) | | | | A, B, ---, --- | |-------------+-----------+----------------------------------------------------| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 |

|# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+

❍

Rhythm Tone

+------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Tone Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Tone Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Tone Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Tone Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Tone Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Tone Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Tone Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Tone Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Tone Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Tone Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Tone Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Tone Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 0000 000a | Assign Type (0 - 1) | | | | MULTI, SINGLE | | 00 0D | 000a aaaa | Mute Group (0 - 31) | | | | OFF, 1 - 31 | |-------------+-----------+----------------------------------------------------| | 00 0E | 0aaa aaaa | Tone Level (0 - 127) | | 00 0F | 0aaa aaaa | Tone Coarse Tune (0 - 127) | | | | C-1 - G9 | | 00 10 | 0aaa aaaa | Tone Fine Tune (14 - 114) | | | | -50 - +50 | | 00 11 | 000a aaaa | Tone Random Pitch Depth (0 - 30) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, | | | | 10, 20, 30, 40, 50, 60, 70, 80, | | | | 90, 100, 200, 300, 400, 500, | | | | 600, 700, 800, 900, 1000, 1100, | | | | 1200 | | 00 12 | 0aaa aaaa | Tone Pan (0 - 127) | | | | L64 - 63R | | 00 13 | 00aa aaaa | Tone Random Pan Depth (0 - 63) | | 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) | | | | L63 - 63R | | 00 15 | 0000 000a | Tone Env Mode (0 - 1) | | | | NO-SUS, SUSTAIN | |-------------+-----------+----------------------------------------------------| | 00 16 | 0aaa aaaa | Tone Dry Send Level (0 - 127) | | 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 - 127) | | 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 - 127) | | 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) | | 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) | | 00 1B | 0000 aaaa | Tone Output Assign (0 - 12) | | | | MFX, A, B, ---, ---, | | | | 1, 2, 3, 4, ---, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 - 48) | | 00 1D | 0000 000a | Tone Receive Expression (0 - 1) | | | | OFF, ON | | 00 1E | 0000 000a | Tone Receive Hold-1 (0 - 1) | | | | OFF, ON | | 00 1F | 0000 000a | Tone Receive Pan Mode (0 - 1) | | | | CONTINUOUS, KEY-ON | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 00aa | WMT Velocity Control (0 - 2) | | | | OFF, ON, RANDOM | |-------------+-----------+----------------------------------------------------| | 00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) | | | | OFF, ON | | 00 22 | 0000 00aa | WMT1 Wave Group Type (0 - 3) | | | | INT, SRX, SAMPLE, MULTISAMPLE | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 |

72

MIDI Implementation

|# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 2F | 0000 00aa | WMT1 Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 - 16) | | 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 - 127) | | | | L64 - 63R | | 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 00 39 | 0aaa aaaa | WMT1 Wave Level (0 - 127) | | 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 - 127) | | 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 - 127) | | 00 3E | 0000 000a | WMT2 Wave Switch (0 - 1) | | | | OFF, ON | | 00 3F | 0000 00aa | WMT2 Wave Group Type (0 - 3) | | | | INT, SRX, SAMPLE, MULTISAMPLE | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 4C | 0000 00aa | WMT2 Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 4D | 0000 000a | WMT2 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 4E | 0000 00aa | WMT2 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 4F | 000a aaaa | WMT2 Wave FXM Depth (0 - 16) | | 00 50 | 0000 000a | WMT2 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 52 | 0aaa aaaa | WMT2 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 - 127) | | | | L64 - 63R | | 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 00 56 | 0aaa aaaa | WMT2 Wave Level (0 - 127) | | 00 57 | 0aaa aaaa | WMT2 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 58 | 0aaa aaaa | WMT2 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower (0 - 127) | | 00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper (0 - 127) | | 00 5B | 0000 000a | WMT3 Wave Switch (0 - 1) | | | | OFF, ON | | 00 5C | 0000 00aa | WMT3 Wave Group Type (0 - 3) | | | | INT, SRX, SAMPLE, MULTISAMPLE | |# 00 5D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT3 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 61 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT3 Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 65 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT3 Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 69 | 0000 00aa | WMT3 Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 6A | 0000 000a | WMT3 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 6B | 0000 00aa | WMT3 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 6C | 000a aaaa | WMT3 Wave FXM Depth (0 - 16) | | 00 6D | 0000 000a | WMT3 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 6F | 0aaa aaaa | WMT3 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 00 70 | 0aaa aaaa | WMT3 Wave Pan (0 - 127) | | | | L64 - 63R | | 00 71 | 0000 000a | WMT3 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 00 73 | 0aaa aaaa | WMT3 Wave Level (0 - 127) | | 00 74 | 0aaa aaaa | WMT3 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 75 | 0aaa aaaa | WMT3 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower (0 - 127) | | 00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper (0 - 127) | | 00 78 | 0000 000a | WMT4 Wave Switch (0 - 1) | | | | OFF, ON | | 00 79 | 0000 00aa | WMT4 Wave Group Type (0 - 3) | | | | INT, SRX, SAMPLE, MULTISAMPLE | |# 00 7A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT4 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 7E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT4 Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 01 02 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | |

| | 0000 dddd | WMT4 Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 01 06 | 0000 00aa | WMT4 Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 - 16) | | 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 - 127) | | | | L64 - 63R | | 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 01 10 | 0aaa aaaa | WMT4 Wave Level (0 - 127) | | 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 - 127) | | 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 15 | 000a aaaa | Pitch Env Depth (52 - 76) | | | | -12 - +12 | | 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 - 127) | | 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 - 127) | | 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 - 127) | | 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 - 127) | | 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 - 127) | | | | -63 - +63 | | 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 - 127) | | | | -63 - +63 | | 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 - 127) | | | | -63 - +63 | | 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) | | | | -63 - +63 | | 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 01 22 | 0000 0aaa | TVF Filter Type (0 - 6) | | | | OFF, LPF, BPF, HPF, PKG, LPF2, | | | | LPF3 | | 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) | | 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 26 | 0aaa aaaa | TVF Resonance (0 - 127) | | 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 28 | 0aaa aaaa | TVF Env Depth (1 - 127) | | | | -63 - +63 | | 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 - 7) | | | | FIXED, 1 - 7 | | 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2D | 0aaa aaaa | TVF Env Time 1 (0 - 127) | | 01 2E | 0aaa aaaa | TVF Env Time 2 (0 - 127) | | 01 2F | 0aaa aaaa | TVF Env Time 3 (0 - 127) | | 01 30 | 0aaa aaaa | TVF Env Time 4 (0 - 127) | | 01 31 | 0aaa aaaa | TVF Env Level 0 (0 - 127) | | 01 32 | 0aaa aaaa | TVF Env Level 1 (0 - 127) | | 01 33 | 0aaa aaaa | TVF Env Level 2 (0 - 127) | | 01 34 | 0aaa aaaa | TVF Env Level 3 (0 - 127) | | 01 35 | 0aaa aaaa | TVF Env Level 4 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 3A | 0aaa aaaa | TVA Env Time 1 (0 - 127) | | 01 3B | 0aaa aaaa | TVA Env Time 2 (0 - 127) | | 01 3C | 0aaa aaaa | TVA Env Time 3 (0 - 127) | | 01 3D | 0aaa aaaa | TVA Env Time 4 (0 - 127) | | 01 3E | 0aaa aaaa | TVA Env Level 1 (0 - 127) | | 01 3F | 0aaa aaaa | TVA Env Level 2 (0 - 127) | | 01 40 | 0aaa aaaa | TVA Env Level 3 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 41 | 0000 000a | One Shot Mode (0 - 1) | | | | OFF, ON | | 01 42 | 0aaa aaaa | Aftertouch Time Ctrl Sens (1 - 127) | | | | -63 - +63 | |-------------+----------------------------------------------------------------| | 00 00 01 43 | Total Size | +------------------------------------------------------------------------------+

73

MIDI Implementation

2. GS (Model ID = 42H)

❍

System Parameter

+------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| |# 40 00 00 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Master Tune (24 - 2024) | | | | -100.0 - 100.0 [cent] | | 40 00 04 | 0aaa aaaa | Master Volume (0 - 127) | | 40 00 05 | 0aaa aaaa | Master Key Shift (40 - 88) | | | | -24 - +24 [semitone] | | 40 00 06 | 0aaa aaaa | Master Pan (1 - 127) | | | | L63 - 63R | |-------------+----------------------------------------------------------------| | 40 00 7F | 0aaa aaaa | Mode Set (0, 127) | | | | GS-RESET, GS-EXIT | |-------------+----------------------------------------------------------------|

❍

Common Parameter

+------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 40 01 10 | 0aaa aaaa | Voice Reserve 1 (0 - 24) | | 40 01 11 | 0aaa aaaa | Voice Reserve 2 (0 - 24) | | 40 01 12 | 0aaa aaaa | Voice Reserve 3 (0 - 24) | | 40 01 13 | 0aaa aaaa | Voice Reserve 4 (0 - 24) | | 40 01 14 | 0aaa aaaa | Voice Reserve 5 (0 - 24) | | 40 01 15 | 0aaa aaaa | Voice Reserve 6 (0 - 24) | | 40 01 16 | 0aaa aaaa | Voice Reserve 7 (0 - 24) | | 40 01 17 | 0aaa aaaa | Voice Reserve 8 (0 - 24) | | 40 01 18 | 0aaa aaaa | Voice Reserve 9 (0 - 24) | | 40 01 19 | 0aaa aaaa | Voice Reserve 10 (0 - 24) | | 40 01 1A | 0aaa aaaa | Voice Reserve 11 (0 - 24) | | 40 01 1B | 0aaa aaaa | Voice Reserve 12 (0 - 24) | | 40 01 1C | 0aaa aaaa | Voice Reserve 13 (0 - 24) | | 40 01 1D | 0aaa aaaa | Voice Reserve 14 (0 - 24) | | 40 01 1E | 0aaa aaaa | Voice Reserve 15 (0 - 24) | | 40 01 1F | 0aaa aaaa | Voice Reserve 16 (0 - 24) | |-------------+-----------+----------------------------------------------------| | 40 01 30 | 0aaa aaaa | Reverb Macro (0 - 7) | | 40 01 31 | 0aaa aaaa | Reverb Character (0 - 7) | | 40 01 32 | 0aaa aaaa | Reverb Pre-LPF (0 - 7) | | 40 01 33 | 0aaa aaaa | Reverb Level (0 - 127) | | 40 01 34 | 0aaa aaaa | Reverb Time (0 - 127) | | 40 01 35 | 0aaa aaaa | Reverb Delay Feedback (0 - 127) | | 40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*> (0 - 127) | |-------------+-----------+----------------------------------------------------| | 40 01 38 | 0aaa aaaa | Chorus Macro (0 - 7) | | 40 01 39 | 0aaa aaaa | Chorus Pre-LPF (0 - 7) | | 40 01 3A | 0aaa aaaa | Chorus Level (0 - 127) | | 40 01 3B | 0aaa aaaa | Chorus Feedback (0 - 127) | | 40 01 3C | 0aaa aaaa | Chorus Delay (0 - 127) | | 40 01 3D | 0aaa aaaa | Chorus Rate (0 - 127) | | 40 01 3E | 0aaa aaaa | Chorus Depth (0 - 127) | | 40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb (0 - 127) | |-------------+----------------------------------------------------------------|

❍

Part Parameter

+------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| |# 40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value (0 - 127) | | | 0aaa aaaa | Tone Number PC Value (0 - 127) | |-------------+-----------+----------------------------------------------------| | 40 1x 02 | 0aaa aaaa | Rx. Channel (0 - 16) | | | | 1 - 16, OFF | | 40 1x 03 | 0000 000a | Rx. Pitch Bend (0 - 1) | | | | OFF, ON | | 40 1x 04 | 0000 000a | Rx. Channel Pressure (0 - 1) | | | | OFF, ON | | 40 1x 05 | 0000 000a | Rx. Program Change (0 - 1) | | | | OFF, ON | | 40 1x 06 | 0000 000a | Rx. Control Change (0 - 1) | | | | OFF, ON | | 40 1x 07 | 0000 000a | Rx. Poly Pressure (0 - 1) | | | | OFF, ON | | 40 1x 08 | 0000 000a | Rx. Note Message (0 - 1) | | | | OFF, ON | | 40 1x 09 | 0000 000a | Rx. RPN (0 - 1) | | | | OFF, ON | | 40 1x 0A | 0000 000a | Rx. NRPN (0 - 1) | | | | OFF, ON | | 40 1x 0B | 0000 000a | Rx. Modulation (0 - 1) | | | | OFF, ON | | 40 1x 0C | 0000 000a | Rx. Volume (0 - 1) | | | | OFF, ON | | 40 1x 0D | 0000 000a | Rx. Panpot (0 - 1) | | | | OFF, ON | | 40 1x 0E | 0000 000a | Rx. Expression (0 - 1) | | | | OFF, ON | | 40 1x 0F | 0000 000a | Rx. Hold-1 (0 - 1) | | | | OFF, ON | | 40 1x 10 | 0000 000a | Rx. Portamento (0 - 1) | | | | OFF, ON | | 40 1x 11 | 0000 000a | Rx. Sostenuto (0 - 1) | | | | OFF, ON | | 40 1x 12 | 0000 000a | Rx. Soft (0 - 1) | | | | OFF, ON | |-------------+-----------+----------------------------------------------------| | 40 1x 13 | 0aaa aaaa | Mono / Poly Mode (0 - 1) | | | | MODE, POLY | | 40 1x 14 | 0aaa aaaa | Assign Mode<*> (0 - 2) | | | | SINGLE, LIMITED-MULTI, | | | | FULL-MULTI | | 40 1x 15 | 0aaa aaaa | Use for Rhythm Part (0 - 2) | | | | OFF, MAP1, MAP2 | |-------------+-----------+----------------------------------------------------| | 40 1x 16 | 0aaa aaaa | Pitch Key Shift (40 - 88) | | | | -24 - +24 [semitone] | |# 40 1x 17 | 0000 aaaa | | | | 0000 bbbb | Pitch Offset Fine (8 - 248) | | | | -12.0 - +12.0 [Hz] | | 40 1x 19 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) | | 40 1x 1A | 0aaa aaaa | Velocity Sens Depth (0 - 127) | | | | -64 - +63 | | 40 1x 1B | 0aaa aaaa | Velocity Sens Offset (0 - 127) | | | | -64 - +63 | | 40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10) (0 - 127) | | | | RANDOM, L63 - 63R | | 40 1x 1D | 0aaa aaaa | Keyboard Range Low (0 - 127) | | 40 1x 1E | 0aaa aaaa | Keyboard Range High (0 - 127) | | 40 1x 1F | 0aaa aaaa | CC1 Controller Number (0 - 95) | | 40 1x 20 | 0aaa aaaa | CC2 Controller Number (0 - 95) | | 40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93) (0 - 127) | | 40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93) (0 - 127) | | 40 1x 23 | 0000 000a | Rx. Bank Select<*> (0 - 1) | | | | OFF, ON | | 40 1x 24 | 0000 000a | Rx. Bank Select LSB<*> (0 - 1) |

| | | OFF, ON | |-------------+-----------+----------------------------------------------------| | 40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate) (0 - 127) | | | | -64 - +63 | | 40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth) (0 - 127) | | | | -64 - +63 | | 40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.) (0 - 127) | | | | -64 - +63 | | 40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance) (0 - 127) | | | | -64 - +63 | | 40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack) (0 - 127) | | | | -64 - +63 | | 40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay) (0 - 127) | | | | -64 - +63 | | 40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release) (0 - 127) | | | | -64 - +63 | | 40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay) (0 - 127) | | | | -64 - +63 | |-------------+-----------+----------------------------------------------------| | 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 - 127) | | | | -64 - +63 [cent] | |-------------+-----------+----------------------------------------------------| | 40 2x 00 | 0aaa aaaa | Mod Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 02 | 0aaa aaaa | Mod Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |-------------+-----------+----------------------------------------------------| | 40 2x 10 | 0aaa aaaa | Bend Pitch Control (64 - 88) | | | | 0 - 24 [semitone] | | 40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 12 | 0aaa aaaa | Bend Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |-------------+-----------+----------------------------------------------------| | 40 2x 20 | 0aaa aaaa | CAf Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 22 | 0aaa aaaa | CAf Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |-------------+-----------+----------------------------------------------------| | 40 2x 30 | 0aaa aaaa | PAf Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 32 | 0aaa aaaa | PAf Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |-------------+-----------+----------------------------------------------------| | 40 2x 40 | 0aaa aaaa | CC1 Pitch Control (40 - 88) | | | | -24 - +24 [semitone] |

74

MIDI Implementation

| 40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 42 | 0aaa aaaa | CC1 Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | |-------------+-----------+----------------------------------------------------| | 40 2x 50 | 0aaa aaaa | CC2 Pitch Control (40 - 88) | | | | -24 - +24 [semitone] | | 40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control (0 - 127) | | | | -9600 - +9600 [cent] | | 40 2x 52 | 0aaa aaaa | CC2 Amplitude Control (0 - 127) | | | | -100.0 - +100.0 [%] | | 40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | | 40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control (0 - 127) | | | | -10.0 - +10.0 [Hz] | | 40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control (0 - 127) | | | | 0 - 600 [cent] | | 40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth (0 - 127) | | | | 0 - 2400 [cent] | | 40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth (0 - 127) | | | | 0 - 100.0 [%] | +------------------------------------------------------------------------------+ x: BLOCK NUMBER (0-F) Part 1 (MIDI ch = 1) x = 1 Part 2 (MIDI ch = 2) x = 2 : : : Part 9 (MIDI ch = 9) x = 9 Part10 (MIDI ch = 10) x = 0 Part11 (MIDI ch = 11) x = A Part12 (MIDI ch = 12) x = B : : : Part16 (MIDI ch = 16) x = F

❍

Drum Setup Parameter

+------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 01 | 0aaa aaaa | Drum Map Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 02 | 0aaa aaaa | Drum Map Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 03 | 0aaa aaaa | Drum Map Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 04 | 0aaa aaaa | Drum Map Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 05 | 0aaa aaaa | Drum Map Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 06 | 0aaa aaaa | Drum Map Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 07 | 0aaa aaaa | Drum Map Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 08 | 0aaa aaaa | Drum Map Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 09 | 0aaa aaaa | Drum Map Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 0A | 0aaa aaaa | Drum Map Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 41 m0 0B | 0aaa aaaa | Drum Map Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 41 m1 rr | 0aaa aaaa | Play Note Number (0 - 127) | | 41 m2 rr | 0aaa aaaa | Level (0 - 127) | | 41 m3 rr | 0aaa aaaa | Assign Group Number (0 - 127) | | | | NON, 1 - 127 | | 41 m4 rr | 0aaa aaaa | Panpot (0 - 127) | | | | RAMDOM, L63 - 63R | | 41 m5 rr | 0aaa aaaa | Reverb Send Level (0 - 127) | | | | 0.0 - 1.0 | | 41 m6 rr | 0aaa aaaa | Chorus Send Level (0 - 127) | | | | 0.0 - 1.0 | | 41 m7 rr | 0000 000a | Rx. Note Off (0 - 1) | | | | OFF, ON | | 41 m8 rr | 0000 000a | Rx. Note On (0 - 1) | | | | OFF, ON | |-------------+----------------------------------------------------------------| m: Map number (0 = MAP1, 1 = MAP2) rr: drum part note number (00H-7FH)

■

Decimal and Hexadecimal Table

(An “H” is appended to the end of numbers in hexadecimal notation.)

In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are

expressed as hexadecimal values for each 7 bits.

The following table shows how these correspond to decimal numbers.

+——————+——————++——————+——————++——————+——————++——————+——————+ | D | H || D | H || D | H || D | H | +——————+——————++——————+——————++——————+——————++——————+——————+ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | +——————+——————++——————+——————++——————+——————++——————+——————+

D: decimal

H: hexadecimal

* Decimal values such as MIDI channel, bank select, and program change are listed as one

greater than the values given in the above table.

*A 7-bit byte can express data in the range of 128 steps. For data where greater precision

is required, we must use two or more bytes. For example, two hexadecimal numbers aa

bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.

* In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so

that the decimal expression would be 64 less than the value given in the above chart. In

the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if

aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x

128.

* Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value

expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.

<Example1> What is the decimal expression of 5AH?

From the preceding table, 5AH = 90

<Example2> What is the decimal expression of the value 12 34H given as

hexadecimal for each 7 bits?

From the preceding table, since 12H = 18 and 34H = 52

18 x 128+52 = 2356

<Example3> What is the decimal expression of the nibbled value 0A 03

09 0D?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

((10 x 16+3) x 16+9) x 16+13 = 41885

<Example4> What is the nibbled expression of the decimal value 1258?

16 ) 1258 16 ) 78 ...10 16 ) 4 ...14 0 ... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E

0AH.

75

MIDI Implementation

■

Examples of Actual MIDI Messages

<Example1> 92 3E 5F

9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and

5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),

and velocity 95.

<Example2> CE 49

CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and

49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.

<Example3> EA 00 28

EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H

= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed

number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is

28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072

■

Example of an Exclusive Message and Calculating a Checksum

Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before

F7) to make sure that the message was correctly received. The value of the checksum is

determined by the address and data (or size) of the transmitted Exclusive message.

●

How to calculate the checksum

(hexadecimal numbers are indicated by “H”)

The checksum is a value derived by adding the address, size, and checksum itself and

inverting the lower 7 bits.

Heresanexampleofhowthechecksumiscalculated.WewillassumethatintheExclusivemessage

wearetransmitting,theaddressisaabbccddHandthedataorsizeiseeffH.'

aa + bb + cc + dd + ee + ff = sum

sum ÷ 128 = quotient ... remainder

128 - remainder = checksum

If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to

change -200 cents, so in this case -200 x (-3072) é÷ (-8192) = -75 cents of Pitch Bend is being

applied to MIDI channel 11.

<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F

BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,

the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or

more messages consecutive messages have the same status, MIDI has a provision called

“running status” which allows the status byte of the second and following messages to be

omitted. Thus, the above messages have the following meaning.

B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H

(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H

(B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH

(B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H

(B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH

(B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH

In other words, the above messages specify a value of 0C 00H for RPN parameter number

00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.

RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates

semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12

semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,

but the LSB should be transmitted anyway (with a value of 0) so that operation will be

correct on any device.)

Once the parameter number has been specified for RPN or NRPN, all Data Entry messages

transmitted on that same channel will be valid, so after the desired value has been

transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.

This is the reason for the (B3) 64 7F (B3) 65 7F at the end.

<Example> Setting CHORUS TYPE of PERFORMANCE COMMON to

DELAY (DT1)

According to the

Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON

is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS

TYPE of PERFORMANCE COMMON is;

10 00 00 00H 04 00H +) 00 00H 10 00 04 00H

DELAY has the value of 02H.

So the system exclusive message should be sent is;

F0 41 10 00 6B 12 10 00 04 00 02 ?? F7

(1) (2) (3) (4) (5) address data checksum (6)

(1) Exclusive Status (2) ID (Roland) (3) Device ID (17)

(4) Model ID (Fantom-S/S88) (5) Command ID (DT1) (6) End of Exclusive

Then calculate the checksum.

10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)

22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)

checksum = 128 - 22 (remainder) = 106 = 6AH

This means that F0 41 10 00 6B 12 10 00 04 00 02 6A F7 is the message should be sent.

Parameter Address Map

(p. 58), the start address of Temporary

It is not desirable for performance data (such as Standard MIDI File data) to contain many

events with running status as given in <Example 4>. This is because if playback is halted

during the song and then rewound or fast-forwarded, the sequencer may not be able to

transmit the correct status, and the sound generator will then misinterpret the data. Take

care to give each event its own status.

It is also necessary that the RPN or NRPN parameter number setting and the value setting

be done in the proper order. On some sequencers, events occurring in the same (or

consecutive) clock may be transmitted in an order different than the order in which they

were received. For this reason it is a good idea to slightly skew the time of each event (about

1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).

* TPQN: Ticks Per Quarter Note

76

■

The Scale Tune Feature (address: 40 1x 40)

The scale Tune feature allows you to finely adjust the individual pitch of the notes from C

through B. Though the settings are made while working with one octave, the fine

adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can

obtain a complete variety of tuning methods other than equal temperament. As examples,

three possible types of scale setting are explained below.

❍

Equal Temperament

This method of tuning divides the octave into 12 equal parts. It is currently the most widely

used form of tuning, especially in occidental music. On the Fantom, the default settings for

the Scale Tune feature produce equal temperament.

❍

Just Temperament (Tonic of C)

The principal triads resound much more beautifully than with equal temperament, but this

benefit can only be obtained in one key. If transposed, the chords tend to become

ambiguous. The example given involves settings for a key in which C is the keynote.

❍

Arabian Scale

By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for

ethnic music. For example, the settings introduced below will set the unit to use the Arabian

Scale.

MIDI Implementation

Example Settings

Note name

C0 0 -6

C# 0 -8 +45

D0 +4 -2

Eb 0 +16 -12

E0 -14 -51

F0 -2 -8

F# 0 -10 +43

G0 +2 -4

G# 0 +14 +47

A0 -16 0

Bb 0 +14 -10

B0 -12 -49

The values in the table are given in cents. Convert these values to hexadecimal, and transmit

them as Exclusive data.

For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:

F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7

■

ASCII Code Table

Patch Name and Performance Name, etc., of MIDI data are described the ASCII

code in the table below.

+——————+——————+——————++——————+——————+——————++——————+——————+——————+ | D | H | Char || D | H | Char || D | H | Char | +——————+——————+——————++——————+——————+——————++——————+——————+——————+ | 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` | | 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a | | 34 | 22H | " || 66 | 42H | B || 98 | 62H | b | | 35 | 23H | # || 67 | 43H | C || 99 | 63H | c | | 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d | | 37 | 25H | % || 69 | 45H | E || 101 | 65H | e | | 38 | 26H | & || 70 | 46H | F || 102 | 66H | f | | 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g | | 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h | | 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i | | 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j | | 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k | | 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l | | 45 | 2DH | — || 77 | 4DH | M || 109 | 6DH | m | | 46 | 2EH | . || 78 | 4EH | N || 110 | 6EH | n | | 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o | | 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p | | 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q | | 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r | | 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s | | 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t | | 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u | | 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v | | 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w | | 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x | | 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y | | 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z | | 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { | | 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | | | 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } | | 62 | 3EH | > || 94 | 5EH | ^ ||——————+——————+——————+ | 63 | 3FH | ? || 95 | 5FH | _ | +——————+——————+——————++——————+——————+——————+

D: decimal

H: hexadecimal

Equal Temperament Just Temperament (Key-tone C) Arabian Scale

* "SP" is space.

77

MIDI Implementation

Patch

* The XP groups vary depending on the Wave Expansion Board(s) you've

Group

Number Bank Select Program

NumberMSB LSB

USER

CARD 001–128 87 32 1–128

PR-A 001–128 87 64 1–128 PR-B 001–128 87 65 1–128 PR-C 001–128 87 66 1–128 PR-D 001–128 87 67 1–128 PR-E 001–128 87 68 1–128 PR-F (* S88 only) 001–008 87 69 1–8 GM(2) 001–256 121 0– 1–128 XP-A (SRX-01)

(SRX-02)

: XP-B (SRX-01)

(SRX-02)

: XP-C (SRX-01)

(SRX-02)

: XP-D (SRX-01)

(SRX-02)

:

001–128 87 0 1–128 129–256 87 1 1–128

129–256 87 33 1–128

001– 001–

:

001– 001–

:

001– 001–

:

001– 001–

:

93 93

:

93 93

:

93 93

:

93 93

:

0 1

:

0 1

:

0 1

:

0 1

:

1– 1–

:

1– 1–

:

1– 1–

:

1– 1–

:

installed. For information about an SRX series board, refer to the Owner's Manual that came with it.

Rhythm Set

Group Number Bank Select Program

NumberMSB LSB

USER CARD 001–032 86 32 1–32 PRST 001–032 86 64 1–32 GM(2) 001–009 120 --- 1–57 XP-A (SRX-01)

: XP-B (SRX-01)

: XP-C (SRX-01)

: XP-D (SRX-01)

:

(SRX-02)

001–032 86 0 1–32

001– 001–

:

001– 001–

:

001– 001–

:

001– 001–

:

92 92

:

92 92

:

92 92

:

92 92

:

0 1

:

0 1

:

0 1

:

0 1

:

1– 1–

:

* The XP groups vary depending on the Wave Expansion Board(s) you've

installed. For information about an SRX series board, refer to the Owner's Manual that came with it.

Performance

Group

USER 01–64 85 0 1–64 CARD 01–64 85 32 1–64 PRST 01–64 85 64 1–64

* To switch multitimbres, the external MIDI device's transmit channel needs to

be matched up with the Control Channel of the Fantom-S. (Owner’s Manual; p. 192)

Number Bank Select Program

NumberMSB LSB

78

(Sound Generator Section) Model Fantom-S/S88

MIDI Implementation Chart

Date : Feb. 6, 2003

Version : 1.00

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Control Change

Function...

Default Changed

Default Messages Altered

True Voice

Note On Note Off

Key's Channel's

0, 32

6, 38

1–31, 64–95

98, 99

100, 101

1 2 4 5

7

8 10 11 16 17 18 19 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 80 81 82 83 84 91 92 93 94 95

Transmitted Recognized

1–16 1–16

Mode 3 Mono, Poly

**************

0–127

**************

O O

O

O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O X X

*1

1–16 1–16

Mode 3 Mode 3, 4 (M = 1)

0–127 0–127

O O

O *1 O *1

O *1

O O O O O O O X O O X X X X O O O O O O X O O O O O O O O O (Tone 1 Level) O (Tone 2 Level) O (Tone 3 Level) O (Tone 4 Level) O O (Reverb) X O (Chorus) X X O X O

Remarks

Memorized

* 2

*1 *1

*1

*1 *1

*1

Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression General purpose controller 1 General purpose controller 2 General purpose controller 3 General purpose controller 4 Hold 1 Portamento Sostenuto Soft Legato foot switch Hold 2 Sound variation Resonance Release time Attack time Cutoff Decay time Vibrato rate Vibrato depth Vibrato delay General purpose controller 5 General purpose controller 6 General purpose controller 7 General purpose controller 8 Portamento control General purpose effects 1 Tremolo General purpose effects 3 Celeste Phaser Pedal, Knob, D Beam NRPN LSB, MSB RPN LSB, MSB

Program Change

: True Number

System Exclusive

System Common

System Real Time

Aux Messages

: Song Position : Song Select : Tune Request

: Clock : Commands

: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset

Notes

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

O *1

**************

O *3

X X X

X X

X X X X O *1 X

O *1 0–127

O *1

X X X

X X

O O X O (123–127) O X

* 1 O X is selectable. * 2 Recognized as M=1 even if M≠1.

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

Program No. 1–128

O : Yes X : No

79

(Sequencer Section)

Date : Feb. 6, 2003

Model Fantom-S/S88

Function...

Basic Channel

Mode

Note Number :

Velocity

After Touch

Pitch Bend

Default Changed

Default Messages Altered

True Voice

Note On Note Off

Key's Channel's

0–119

MIDI Implementation Chart

Transmitted Recognized

All channel X

X X

**************

0–127

**************

O O

O

All channel 1–16

X X

0–127 0–127

O O

O *1 O *1

O *1

O

*1

Version : 1.00

Remarks

There is no specific basic channel.

Control Change

Program Change

: True Number

System Exclusive

: Quarter Frames

System Common

: Song Position : Song Select : Tune Request

System Real Time

Aux Messages

: Clock : Commands

: All Sound Off : Reset All Controllers : Local On/Off : All Notes Off : Active Sensing : System Reset

Notes

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

O

**************

O

O *1 O *1 X O

O *1 O *1

O O X *2 O *3 O X

*1 O X is selectable. *2 Not stored/transmitted when received, but can be created and transmitted using Microscope. *3 Mode Messages (123–127) are recorded and transmitted, after all currently sounding notes are turned off. The All Note Message itself is not recorded or transmitted. However, it can be created in Microscope and transmitted.

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O *1 0–127

O *1

O *2 O *1 X O

O *1 O *1

O O X O (123–127) *3 O X

O : Yes X : No

03122023 03-06-4N