Roland SONICCELL Service Manual

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USING THE UNIT SAFELY

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

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

* Material damage refers to damage or

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

001

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

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002d

• Do not open or perform any internal modifications on the unit or its AC adaptor. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 47, p. 50.)

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003

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

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004

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

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

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

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

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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005

• This unit should be used only with a BKT-S that is recommended by Roland (p. 30).

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006

• When using the unit with the BKT-S and PDS-10 recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

008c

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

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008e

• Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device.

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009

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

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010

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

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011

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

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012b

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

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

plug has been damaged; or

• If smoke or unusual odor occurs

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

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

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014

• Protect the unit from strong impact. (Do not drop it!)

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015

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

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016

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

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022b

• Always turn the unit off and unplug the AC adaptor before attempting installation of the circuit board (model no. SRX series; p. 19).

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023

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

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101b

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

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102c

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

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103b

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

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104

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

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106

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

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107c

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

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108b

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

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 19).

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110b

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

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115a

• Install only the specified circuit board(s) (model no. SRX series). Remove only the specified screws (p. 47, p. 50).

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118c

• Keep any screws you may remove and the included wrench in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally.

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120

• Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don’t require such power. Be sure to check the specifications of any microphone you intend to use by referring to the manual that came with it.

(This instrument’s phantom power: 48 V DC, 10 mA Max)

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IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 3–4, please read and observe the following:

Power Supply

301

• Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet.

302

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

307

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/ or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352a

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

352b

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

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355b

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

360

• Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, nonabrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

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

Repairs and Data

452

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

*** on a RAM card/DATA card

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on an USB memory.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or on an USB memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

555

• A small amount of noise may be heard from the display during normal operation.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

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562

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

563

• Unauthorized duplication, reproduction, hiring, and lending prohibited.

Handling CD-ROMs

801

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

851

• Recording, duplication, distribution, sale, lease, performance, or broadcast of copyrighted material (musical works, visual works, broadcasts, live performances, etc.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law.

852a

• This product can be used to record or duplicate audio or visual material without being limited by certain technological copy-protection measures. This is due to the fact that this product is intended to be used for the purpose of producing original music or video material, and is therefore designed so that material that does not infringe copyrights belonging to others (for example, your own original works) can be recorded or duplicated freely.

853

• Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of thirdparty copyrights arising through your use of this unit.

204

* Microsoft and Windows are registered trademarks of

Microsoft Corporation.

206e

* The screen shots in this document are used in compliance

with the guidelines of the Microsoft Corporation.

206j

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

operating system.”

207

* Apple and Macintosh are registered trademarks of Apple

Computer, Inc.

209

* Mac OS is a trademark of Apple Inc.

213

* Pentium is a registered trademark of Intel Corporation.

220

* All product names mentioned in this document are trade-

marks or registered trademarks of their respective owners.

233

* VST is a trademark of Steinberg Media Technologies AG.

add

* MatrixQuest™ 2007 TEPCO UQUEST, LTD.

* SONAR is a registered trademark of Twelve Tone Systems,

Inc.

* MPEG Layer-3 audio compression technology is licensed

from Fraunhofer IIS Corporation and THOMSON Multimedia Corporation.

Page 7

USING THE UNIT SAFELY........................................................................ 3

IMPORTANT NOTES............................................................................... 5

Main Features...................................................................................... 12

User Guide 13

Panel Descriptions................................................................................ 14

Top Panel .......................................................................................................14

Playing the Demo Songs..........................................................................................15

Rear and Front Panels..................................................................................... 16

Turning the Power On/Off ................................................................... 18

Basic Operation of the SonicCell........................................................... 20

About the display and [CURSOR/VALUE]..................................................................20

Using the SonicCell as a MIDI Sound Module......................................... 22

Playing the

SonicCell in Performance Mode ....................................................................... 22

Playing the SonicCell in Patch Mode ................................................................23

Modifying the Sound (editing a patch) ......................................................................24

Using the Editor and Librarian......................................................................... 27

Playing Songs (Portable Backing Machine)............................................ 28

Playback Procedure ........................................................................................28

Creating a Playlist........................................................................................... 30

Performing via MIDI while a Song Plays ..........................................................30

Connecting the SonicCell to Your Computer........................................... 31

Specifications of the dedicated plug-in version of the editor .........................................32

Windows XP users......................................................................................... 33

Installing the Driver .................................................................................................33

Windows Settings................................................................................................... 34

Installing SonicCell Editor ........................................................................................34

Windows Vista Users ......................................................................................35

Installing the Driver .................................................................................................35

Windows Settings................................................................................................... 36

Installing SonicCell Editor ........................................................................................36

Mac OS X Users.............................................................................................. 37

Installing the Driver .................................................................................................37

Installing SonicCell Editor ........................................................................................38

Settings .................................................................................................................38

Recording a Mic or Guitar(USB/Audio Interface) ................................... 40

Connecting a Mic...................................................................................................41

Page 8

Contents

Connecting a Guitar ...............................................................................................41

Using the Line Input.................................................................................................42

Adjusting the Input Volume ......................................................................................42

Input Effect Settings......................................................................................... 43

Installing the Wave Expansion Board.................................................... 46

Cautions When Installing an Wave Expansion Board........................................ 46

How to Install a Wave Expansion Board ..........................................................47

Checking the Installed Wave Expansion Boards ...............................................48

Installation de la carte d’extension Wave

(French language for Canadian Safety Standard) .................................. 49

Precautions a prendre lors de l’installation d’une carte d’expansion Wave........ 49

Installation d’une carte d’expansion Wave ......................................................50

Verification des cartes d’extension audio apres installation ..............................51

MIDI Sound Module 53

Overview ............................................................................................ 54

Performance Mode and Patch Mode ................................................................54

How a Performance is structured ..............................................................................54

How a Patch is structured ........................................................................................54

How a Rhythm Set is structured.................................................................................55

Calculating the Number of Voices Being Used ...........................................................55

About the Effects............................................................................................. 56

Effects in Performance Mode....................................................................................56

Effects in Patch Mode..............................................................................................56

About Memory ...............................................................................................57

Temporary Memory ................................................................................................57

Rewritable Memory.................................................................................................57

Non-Rewritable memory ..........................................................................................57

Using the SonicCell in Performance Mode ............................................. 58

Viewing the MIDI INST (MIDI sound module) screen.......................................... 58

Viewing the menu screen (Performance Menu screen)....................................... 59

Switching the sound mode (Sound Mode screen) .............................................. 60

Specifying the recommended performance tempo

(Performance General screen).......................................................................... 60

MIDI-related settings (Perform MIDI Filter screen).............................................. 60

Viewing the part settings (Part View screen)..................................................... 62

If the patch type is Patch.......................................................................................... 62

If the patch type is Rhythm Set.................................................................................. 64

Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 65

Selecting patches from a patch list by group (Patch List (Grp) screen)............................66

Selecting a rhythm set from a list (Rhythm Set List screen) .............................................67

Page 9

Contents

Editing parts (Part Edit screen) .........................................................................68

Scale Tune settings (Scale Tune screen) .....................................................................72

Sound Control Initialize ...................................................................................73

Performance Initialize .....................................................................................73

Performance Write.......................................................................................... 73

Editing effects .................................................................................................75

Selecting the item to edit (Effect Routing screen).......................................................... 77

Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens).................... 78

Chorus-related settings (Chorus/Chorus Output screen) ...............................................78

Reverb-related settings (Reverb/Reverb Output screen) ................................................79

Changing how the multi-effects are combined (MFX Structure screen) ............................80

Selecting how effects will operate (Effect Source screen).............................................. 80

Using MIDI to control the multi-effects (MFX1–3 Control screens)................................... 81

Using the SonicCell in Patch Mode ........................................................ 82

Viewing the Patch Play screen.........................................................................82

If the patch type is Patch.......................................................................................... 82

If the patch type is Rhythm Set.................................................................................. 83

Viewing the menu screen (Patch Menu screen) .................................................84

Switching the sound mode (Sound Mode screen) .............................................. 84

Selecting patches from a patch list................................................................... 85

Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 85

Selecting patches from a patch list by group (Patch List (Grp) screen)............................86

Selecting a rhythm set from a list (Rhythm Set List screen) .............................................87

Editing patches (Patch Edit screen) ...................................................................88

Overall settings for the entire patch (Patch General screen)..........................................90

Selecting how tones are combined (Patch Structure screen).......................................... 93

Settings for matrix control (Patch Mtrx Ctrl1–4 screens) ...............................................95

Waveform-related settings (Patch WG/Patch Pitch Env screen)..................................... 98

TVF settings (Patch TVF/Patch TVF Env screen).......................................................... 102

TVA settings (Patch TVA/Patch TVA Env screen) .......................................................105

Patch/Tone output-related settings (Patch Output screen)............................................108

LFO settings (Patch LFO1, 2/Patch Step LFO screen).................................................109

Specifies how the tones will be heard (Patch TMT screen) ..........................................112

Controller-related settings (Patch Ctrl screen) ............................................................114

Tone Copy.................................................................................................... 115

Patch Initialize ..............................................................................................115

Patch Write ..................................................................................................116

Editing rhythm sets (Rhythm Edit screen) ........................................................117

Edits overall settings for the entire rhythm set (Rhythm General screen) ........................118

Waveform-related settings (Rhythm Wave screen).....................................................120

Specifying how a rhythm tone will be heard (Rhythm WMT screen) ............................122

Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ......................122

TVF settings (Rhythm TVF/Rhythm TVF Env screen).....................................................124

TVA settings (Rhythm TVA/Rhythm TVA Env screen) ..................................................127

Page 10

Contents

Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen)....... 129

Rhythm Tone Copy........................................................................................ 130

Rhythm Tone Initialize................................................................................... 130

Rhythm Set Initialize .....................................................................................130

Rhythm Set Write.......................................................................................... 131

Editing the effects (Patch/Rhythm Set) ............................................................132

Selecting the item to edit (Effect Routing screen)........................................................ 134

Multi-effect settings (MFX/MFX Output screen).......................................................... 134

Chorus settings (Chorus/Chorus Output screens) ......................................................135

Reverb settings (Reverb/Reverb Output screens) .......................................................136

Controlling the multi-effects via MIDI (MFX Control screen)......................................... 137

Audio Connections 139

Using the SonicCell with your computer (USB AUDIO).......................... 140

Basic operation............................................................................................. 140

Accessing the Menu screen............................................................................ 141

Inputting sound from an external device (INPUT)................................. 142

Basic operation............................................................................................. 142

Accessing the Menu screen............................................................................ 143

Input/output and effect settings (In/Out Routing)................................. 144

Selecting the item to edit (In/Out Routing screen) ...........................................147

Input effect settings (Input Effect/Input FX Output screen)................................ 147

Selecting the signal sent to your computer (To Computer screen) ..................... 148

Specifies how MFX3 will be used (MFX3 Location screen) ...............................149

Saving the MFX3 settings.......................................................................................149

System Write................................................................................................150

Using the plug-in version of SonicCell Editor

151

SONAR LE ......................................................................................... 152

SONAR 6.2 ....................................................................................... 157

Cubase 4........................................................................................... 160

Logic Pro 7.2 ..................................................................................... 163

Page 11

Contents

SMF/Audio File Player 167

Playing back songs............................................................................ 168

SMF/audio files that can be played ...............................................................168

Song playback .............................................................................................168

Selecting and playing a song from within a playlist ..................................................171

Playlist Write ................................................................................................173

Changing the song order ..............................................................................173

Deleting a song from the playlist ...................................................................173

Other Settings 175

System Settings.................................................................................. 176

General settings (System screen).................................................................... 176

Patch Scale Tune settings............................................................................... 178

Settings for the Preview function (System Preview screen) ...............................179

Settings for Control-related functions (System Control screen).......................... 179

MIDI-related settings (System MIDI screen) .....................................................180

Viewing information about SonicCell

(System SRX Info/System Version Info screens) ..............................................180

Editing the mastering effect (Mastering Effect screen) ......................................181

Utility functions.................................................................................. 182

Backing up user data (User Backup) ..............................................................182

Restoring backed-up data into the SonicCell (User Restore) .............................182

Returning to the factory settings (Factory Reset).............................................. 183

Initializing USB memory (USB Memory Format) .............................................. 183

Adjusting the overall tone of the audio output (Master Equalizer)......... 184

Appendices 185

Troubleshooting............................................................................................ 186

Error Messages............................................................................................. 191

Effects List..................................................................................................... 192

Performance List ........................................................................................... 222

Patch List ......................................................................................................223

Rhythm Set List .............................................................................................233

Waveform List ..............................................................................................242

MIDI Implementation..................................................................................... 246

Specifications................................................................................................ 278

Index ...........................................................................................................279

Page 12

Main Features

Superior Desktop Synthesizer

• 128-voice sound module with new sound set featuring true-to-life instruments

• Two SRX sound expansion slots for sound set personalization

USB Audio/MIDI Interface

• USB audio interface functionality w/MIC and GUITAR (Hi-Z) inputs

• Record using the professional on-board DSP effects

• PC/Mac VSTi/AU Editor and Cakewalk SONAR LE software included

Portable Backing Machine

• SMF, WAV, AIFF and MP3 playback capability via optional USBmemory is perfect for the gig

• Build playlists of any file-type combination using the playlist editor

Page 13

User Guide

Page 14

USER‘S GUIDE

Panel Descriptions

Top Panel

fig.kakubu-topPanel.eps

Display

Various information is shown here according to your operations.

SRX Slot

You can install SRX series wave expansion boards here.

•

Installation → p. 46

•

Selecting a wave → p. 98

USB MEMORY ACCESS Indicator

This will light when you’re playing song data from USB memory that's connected to the SonicCell, or when you're saving data to USB memory.

MIDI MESSAGE Indicator

MIDI

This will light when MIDI messages are being received from a MIDI device connected to the MIDI IN connector.

USB

This will light when MIDI messages are being received from the connected computer.

SMF/AUDIO PLAYER Buttons

Press these buttons when you’re using the SonicCell as an SMF/audio player.

• Playing a song → p. 28, p. 168

• Creating a playlist → p. 30

MENU Button

You can press this button to switch to a menu screen for the current mode or editing screen.

• The menu screen of each main mode → p. 59, p. 68, p. 76, p. 84, p. 88, p. 117, p. 133, p. 141, p. 143, p. 146, p. 169, p. 171, p. 181

(Play/Pause) Button

Plays/pauses the song data.

EXIT Button

Press this button to cancel an operation.

Page 15

Panel Descriptions

■ USER’S GUIDE

MIDI INST Button

Press this button when you want to use the SonicCell as a MIDI sound module.

• MIDI connections → p. 22, p. 54

• Performance → p. 22, p. 58

• Patch → p. 23, p. 82

PART VIEW Button

If the MIDI sound module is in Performance mode (p. 54), press this button when you want to make settings for each part. By pressing this button together with the [MIDI INST] button, you can switch between Performance mode and Patch mode.

CURSOR/VALUE Dial

Use this to move the cursor, select a parameter, or edit a value. Press the dial to confirm the value.

• How to use [CURSOR/VALUE] → p. 20

■

Playing the Demo Songs

fig.disp-plylstslct-demo.eps

Press [SMF/AUDIO PLAYER].

USB AUDIO Button

Press this button when you want to apply an effect to the audio signal from the connected computer, or to make output-related settings.

• USB AUDIO → p. 140

EFFECTS Button

Press this button when you want to make effect-related settings.

• Applying effects to a performance → p. 78

• Applying effects to a patch → p. 26, p. 132

• Applying effects to the signal from the Input jack → p. 43

INPUT Button

Press this button when you want to apply an effect to the signal from a device connected to the INPUT jack, or to make output-related settings.

• Recording a mic or guitar → p. 40

• Inputting sound from an external device → p.142

fig.disp-demosongs.eps

Press [ ].

Playback will start from the ﬁrst song.

No.

Title Composer

* If USB memory containing song ﬁle is connected, select [Demo Songs] in the playlist list screen. For details on

playing from a playlist, refer to p. 28.

981a

violation of applicable laws.

982

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

Page 16

USER‘S GUIDE

Rear and Front Panels

fig.kakubu-rearPanel.eps

USB COMPUTER Connector

Use a USB cable to connect your computer here. This connection can handle both MIDI and audio.

• Using the SonicCell with your computer → p.31, p.135

USB MEMORY Connector

You can connect USB memory here and use the SonicCell to play back files (songs) that have been stored on USB memory.

• Playing back songs → p.28, p.167

Rear Panel

Security Slot

http://www.kensington.com

Front Panel

POWER Switch

Turns the power on/off (p. 18).

MIDI IN/OUT Connectors

You can connect these to other MIDI equipment to send and receive MIDI messages.

• Using the SonicCell as a MIDI sound module → p. 22, p. 54

PHONES Jack

This is a stereo mini-type jack for connecting headphones. This jack will output the sound received from the INPUT jack mixed with the sound from the USB-connected computer and the sound from the SonicCell itself. Connecting headphones will not mute the sound from the OUTPUT jack.

DC IN Jack

Connect the included AC adaptor here (p. 18). Do not use any AC adaptor other than the included one; doing so may cause malfunctions.

SAMPLING RATE Switch

This specifies the sampling rate used to record or play back audio data. After changing this setting, you’ll need to turn the SonicCell’s power off, then on again. If you’re using software, you’ll also need to restart your software. Be sure to set the [SAMPLING RATE] switch to match the sampling rate setting of the software you’re using.

MASTER VOLUME Dial

This adjusts the volume of the signals output from the PHONES jack and OUTPUT jacks (p. 19).

Page 17

INPUT/OUTPUT Jacks

These jacks input or output audio signals.

INPUT LEVEL Knob

Adjusts the input level of the signal received at INPUT.

• Adjusting the input level → p. 42

LINE (R) Jack

When using LINE (L) and LINE (R) for stereo input, input the signal for the R channel here.

* If you’re inputting in mono, connect it to the LINE (L) jack.

You can’t use this jack if the INPUT gain select switch is not at the LINE (L) position.

• Recording a mic or guitar → p. 40, 142

Panel Descriptions

■ USER’S GUIDE

OUTPUT Jacks (R, L/MONO)

These jacks output the audio signal. If you’re outputting in mono, connect to the L/MONO jack. These jacks output the combined signals of the sound received from INPUT, the sound from the USB-connected computer, and the sound from the SonicCell itself.

L/GUITAR/MIC Jack (combo input jack)

You can connect either a mic, guitar, or line equipment here.

This instrument is equipped with balanced (XLR/TRS) type jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect.

Switch

LINE

GUITAR

Dynamic

MIC

Condenser

Plug/connector accepted

1/4“ phone plug (unbalanced)

1/4“ phone plug (unbalanced) (High impedance supported)

1/4“ phone plug (balanced or unbalanced), XLR connector * Switch OFF “Phantom Power“ in the INPUT screen.

XLR connector (48 V phantom power supported) Connecting a phantom-powered condenser mic →In the INPUT screen, turn “Phantom Power” on (p.142)

INPUT SOURCE Switch

Set this as appropriate for the device you’ve connected to the LINE (L) jack. If you’ve connected your source to the LINE (R) jack, you must set this switch to LINE (L).

LINE (L):

Connect a line-level device such as an audio device (e.g., CD player) or keyboard.

GUITAR (Hi-Z):

Connect an electric guitar that’s not being sent through an effects processor (high-impedance connection).

MIC:

Connect a mic.

• Recording a mic or guitar → p. 40, 142

Nominal input level

-30 – -10 dBu

-50 – -30 dBu

Page 18

USER‘S GUIDE

■

Turning the Power On/Off

Connecting the AC Adaptor

Make sure that the [POWER] switch is off.

Connect the included power cord to the included AC adaptor.

Connect the AC adaptor to the SonicCell’s DC IN connector, and plug the power cord into an AC

outlet.

fig.AC-setsuzoku.eps

DC IN

Place the AC adaptor so that its lamp light is on the top side.

(it lights up when connected to an AC outlet)

AC Outlet

fig.AC-setchi.eps

* Depending on the circumstances of a particular

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

Power Cord

AC Adaptor (PSB-1U)

SonicCell Bottom Panel

Ground Terminal

Lamp

Unsuitable places for connection

• Water pipes (may result in shock or electrocution)

• Gas pipes (may result in ﬁre or explosion)

• Telephone-line ground or lightning rod (may be dangerous in the event of lightning)

* When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under

the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged.

* When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip

over.

Page 19

Turning the Power On/Off

■

Turning the Power On

NOTE

Once the connections have been completed, turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

fig.PowerOn.eps

Minimize the volume of the SonicCell and of your con-

nected audio equipment.

Turn on the [POWER] switch.

* This unit is equipped with a protection circuit. A brief interval

(a few seconds) after power up is required before the unit will operate normally.

Use the [MASTER VOLUME] knob to adjust the volume.

■

Turning the Power Off

Rear Panel

POWER Switch

Front Panel

MASTER VOLUME Knob

■ USER’S GUIDE

Minimize the volume of the SonicCell and of your connected audio equipment.

Turn off the power of your connected audio equipment.

Turn off the [POWER] switch.

The indications in the display will disappear, and the power will turn off.

Page 20

USER‘S GUIDE

We’ll explain this using the Performance mode Part View screen as an example.

Accessing the Part View Screen

After turning the power on, make sure that [MIDI INST] is lit, then press [PART VIEW].

Moving the Cursor

Basic Operation of the SonicCell

About the display and [CURSOR/VALUE]

fig.display-sample.eps.

the Name of the display

Cursor

The cursor will move when you turn [CURSOR/VALUE].

cursor.eps

Turn

Cursor

Moving Between Screens

fig.dispCursor3.eps

Turn [CURSOR/VALUE] to move the cursor to [PATCH].

fig.cursor-push-eps

Press [CURSOR/VALUE].

fig.disp-PatchEdit.eps

The Patch Edit screen will appear.

fig.exit-push.eps

Press [EXIT].

Cursor

Press

fig.disp-cursor.eps

You’ll return to the Part View screen.

Page 21

Basic Operation of the SonicCell

Editing a Value

fig.dispCursorValue1

Let’s try changing the patch number.

Turn [CURSOR/VALUE] to move the cursor

to the patch number.

fig.cursor-push-eps

Press [CURSOR/VALUE].

fig.dispCursorValue2

fig.cursor-turn.eps

The patch number will be highlighted.

Turn [CURSOR/VALUE].

■ USER’S GUIDE

Patch Number

Cursor

Press

The value at the cursor is highlighted

Turn

fig.dispCursorValue3

The value will change. When you edit the value, an “E” symbol may appear in the upper right of the screen. In this case, you can save the settings you’ve edited.

Saving perfoemances

➝

Refer to “Performance Write (p. 73 ).”

fig.disp-cursorValue4.eps

Press [CURSOR/VALUE] once more.

The cursor will return to its original state.

Shown when you edit the value

The value will change

Page 22

USER‘S GUIDE

Performance Number

■

Using the SonicCell as a MIDI Sound Module

Connections

fig.setsuzoku-MIDI.eps

MIDI OUT

MIDI Keyboard

MIDI IN

OUTPUT

Monitor Amplifier etc.

NOTE

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors.

■

Performance mode and Patch mode

When using the SonicCell as a MIDI sound module, either Performance mode or Patch mode can be selected. When the power is turned on, Performance mode is selected. For details on Performance mode and Patch mode, refer to p. 54 .

Playing the SonicCell in Performance Mode

■

Selecting a Performance

fig.button-MIDI-INST-Lite.epsfig.disp-MIDIINST.eps

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

fig.dispMIDIInst1.eps

Move the Cursor to the Performance Number.

Press [CURSOR/VALUE].

The value at the cursor will be highlighted. For details on using [CURSOR/VALUE], refer to p. 20 .

fig.dispMIDIPrfmNum2.eps

Turn [CURSOR/VALUE] to change the performance number.

The sound will change.

Press [CURSOR/VALUE].

Page 23

Using the SonicCell as a MIDI Sound Module

Playing the SonicCell in Patch Mode

■

Selecting Patch Mode

fig.button-MIDI-PART.eps/fig.disp-PatchPlay.eps

In the MIDI INST screen, simultaneously press

[MIDI INST] and [PART VIEW].

The SonicCell will enter Patch mode, and the Patch Play screen will appear. If you once again hold down [MIDI INST] and press [PART VIEW], you’ll switch to Performance mode, and the MIDI INST screen will appear.

■

Setting the MIDI channel

fig.dispPtchPlyRxch.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move

the cursor to “RxCh.”

Press [CURSOR/VALUE].

The RxCh value will be highlighted.

Turn [CURSOR/VALUE] to set the “RxCh” value to match

the transmit channel of the connected equipment.

■ USER’S GUIDE

■

Selecting Sounds

fig.dispPtchSelect.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move

the cursor to the patch number.

Press [CURSOR/VALUE].

Turn [CURSOR/VALUE] to change the patch number.

The sound will change.

Page 24

USER‘S GUIDE

Example: Selecting “037 Violin” from the “PR-C” group

fig.dispPtchSlct01.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move the

cursor to the patch group.

Press [CURSOR/VALUE].

fig.dispPtchSlct02.eps

Turn [CURSOR/VALUE] to select “PR-C,” then press [CURSOR/

VALUE].

fig.dispPtchSlct03.eps

Turn [CURSOR/VALUE] to move the cursor to the patch num-

ber, then press [CURSOR/VALUE].

The patch number will be highlighted.

Turn [CURSOR/VALUE] to select “037” as the patch number.

“Violin” will be selected.

Patch Group

Modifying the Sound (editing a patch)

Before you continue, select “037 Violin” from “PR-C” as described in the procedure above.

■

Editing the Amp Envelope

This speciﬁes how the sound begins and decays.

Access the Patch Edit Screen

fig.dispPtchPly-Edithanten.eps

In the Patch Play screen, use [CURSOR/VALUE] to move the cor-

sor to the “EDIT.”

Press [CURSOR/VALUE].

The Patch Edit screen will appear.

fig.dispPtchEdtTVA.eps

Turn [CURSOR/VALUE] to select the graphic below Tone 1

“TVA,” then press [CURSOR/VALUE].

fig.disp-PatchTVAEnv.eps

The Patch TVA Envelope (T1) screen will appear.

Page 25

Using the SonicCell as a MIDI Sound Module

T1(when you press a key)

T4 (when you release a key)

Adjusting the Attack

fig.dispTVAEnv.eps

Turn [CURSOR/VALUE] to move the cursor to “A-Env Time1.”

Press [CURSOR/VALUE].

The value will be highlighted.

Turn [CURSOR/VALUE] to change the value, then press [CUR-

SOR/VALUE].

When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the previous screen.

fig.disp-TVAEnvT1h1.eps

•

To make the sound begin immediately when you press a key

➝

Set “A-Env Time1” to a low value

fig.disp-TVAEnvT1h2.eps

•

To make the sound begin slowly when you press a key

➝

Set “A-Env Time1” to a high value

Adjusting the Release

fig.dispTVAEnvT4.eps

Turn [CURSOR/VALUE] to move the cursor to “A-Env Time4.”

■ USER’S GUIDE

MEMO

Press [CURSOR/VALUE].

The value will be highlighted.

Turn [CURSOR/VALUE] to change the value, then press [CURSOR/VALUE].

When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the previous screen.

fig.disp-TVAEnvT4h1.eps

•

To make the sound stop immediately when you release a key

➝

Set “A-Env Time4” to a low value

fig.disp-TVAEnvT4h2.eps

•

To make the sound linger after you release a key

➝

Set “A-Env Time1” to a high value

For details on amp envelope, refer to p. 107 . If you want to save the patch you modiﬁed, refer to p. 116 .

Page 26

USER‘S GUIDE

■

By editing the ﬁlter settings you can make the tonal character of the sound brighter or darker.

MEMO

Editing the Filter

fig.dispPtchPly-Edithanten.eps

In the Patch Play screen, turn [CURSOR/VALUE] to move the cur-

sor to the “EDIT.”

Press [CURSOR/VALUE].

The Patch Edit screen will appear.

fig.dispPtchEdtTVF.eps

Turn [CURSOR/VALUE] to move the cursor to the “TVF.”

Press [CURSOR/VALUE].

The Patch TVF screen will appear.

fig.disp-PatchTVF1.eps

Turn [CURSOR/VALUE] to move the cursor the “Cutoff Fre-

quency.”

Press [CURSOR/VALUE].

The value will be highlighted.

fig.disp-PatchTVF-Cutoff.eps

Turn the [CURSOR/VALUE] to edit the value, and then press

[CURSOR/VALUE].

When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the preceding screen.

For details on ﬁlter, refer to p. 102 . If you want to save the patch you modiﬁed, refer to p. 116 .

■

Changing the Effect

Effects are various types of processing that you can apply to the sound. You can dramatically vary the character of the sound simply by changing the effect.

fig.button-EFFECTS.epsfig.disp-EfxRouting.eps

In the Patch Play screen, press [EFFECTS].

The Effect Routing screen will appear.

fig.dispEfxRtF1.eps

Turn [CURSOR/VALUE] to move the cursor “MFX.”

fig.dispMFX.eps

Page 27

Using the SonicCell as a MIDI Sound Module

MFX Type

Press [CURSOR/VALUE].

fig.disp-MFX.eps

The MFX screen will appear.

Use [CURSOR/VALUE] to select the MFX type.

Press [CURSOR/VALUE].

The MFX type indication will be highlighted.

Use [CURSOR/VALUE] to change the MFX type.

Press [CURSOR/VALUE].

If you press [EXIT] you’ll return to the preceding screen.

MEMO

For details on effect editing, refer to p. 132 . If you want to save the patch you modiﬁed, refer to p. 116 .

Using the Editor and Librarian

Connections

fig.setsuzoku-MIDI-editor.eps

Computer

To USB Connector of Computer

■ USER’S GUIDE

USB COMPUTER

USB cable

Dedicated editor and librarian software is included with the SonicCell. By using the editor you can edit the SonicCell’s performance and patch parameters on your computer. You can edit the settings while viewing them in the large screen of your computer. By using the librarian you can manage the edited settings on your computer. For details on installing the software, refer to p. 31 . For details on using the software, refer to the PDF manual that is installed along with the software.

Page 28

USER‘S GUIDE

The SonicCell can play back MIDI ﬁles (SMF) and audio ﬁles (WAV, AIFF, MP3). This is a convenient function that you can also use to play backing tracks during a live performance.

■

Playing Songs

Connections

fig.setsuzoku-pbm.eps

(Portable Backing Machine)

* Save the song data in

the root directory of your USB memory.

* Use only USB memory sold by Roland. Operation cannot be guaranteed when products other than there is

used. Proper operation cannot be guaranteed if other USB memory products is used. * Connect the USB memory after the SonicCell’s power is turned on. * If, after a USB memory device has been removed, you decide that you want to connect it again, you’ll need

to switch the SonicCell’s power off, then switch it back on again.

USB MEMORY

SMF, WAV, AIFF, MP3

Monitor Amplifier etc.

OUTPUT

NOTE

■

File Formats that You Can Play

For details on the ﬁle formats that you can play, refer to p. 168 .

■

Playing the Demo Songs

Refer to p. 15.

Playback Procedure

Before you continue, make sure that the USB memory containing the song ﬁle you want to play is connected to the SonicCell. You should also make sure that the SonicCell is set to Performance mode (p. 60 ).

* When saving song ﬁle on your USB memory, be sure to save it in the root directory. Songs saved in the root

directory will be saved in the “USB Memory” playlist.

fig.button-PBM.eps

Press [SMF/AUDIO PLAYER].

The Playlist Select screen will appear.

fig.disp-PlyLstSlct-Root.eps

Turn [CURSOR/VALUE] to move the cursor to the “USB Memory.”

Page 29

Playing Songs (Portable Backing Machine)

Press [CURSOR/VALUE].

fig.disp-PlayListC.eps

A list of the songs in the USB memory will appear.

fig.disp-PlayListSong.eps

Turn [CURSOR/VALUE] to select a song, then press [CURSOR/

VALUE].

The selected song will be displayed.

* The song length indicated in the display may differ from the

actual song length.

fig.button-PBM.eps/fig.disp-song-play.eps

Press [ ].

The selected song will play.

Press [ ] to stop the song.

If you press [EXIT] you’ll return to the preceding screen.

About the Sampling Rate

fig.SmplRateSW.eps

The SonicCell will play songs that were saved with the same sampling rate as the setting for the [SAMPLING RATE] switch on the front panel. Songs whose sampling rate differs from the SonicCell’s setting will be shown in the list of songs, but cannot be selected or played. In this case, move the sampling rate switch to the rate of the song you want to play, then turn the SonicCell’s power off, then on again.

SAMPLING RATE SWITCH

■ USER’S GUIDE

Change the setting of the [SAMPLING RATE] switch.

Switch off the SonicCell’s power, then turn it back on.

Page 30

USER‘S GUIDE

You can use the included “SonicCell Playlist Editor” to create a playlist for playback by the SonicCell. If you want to use the SonicCell to play backing tracks, it’s convenient to create a playlist in the order you want the songs to play. For details on installing “SonicCell Playlist Editor,” refer to p. 31 . For details on using the software, refer to the PDF manual that is installed along with the software.

Creating a Playlist

screen-playlisteditor.eps

Performing via MIDI while a Song Plays

■

Connections

fig.setsuzoku-pbm-MIDI.epsfig.setsuzoku-pds10.eps

MIDI Keyboard

USB MEMORY

PDS-10 BKT-S

MIDI IN

MIDI OUT

Monitor Amplifier etc.

OUTPUT

By using the separately available PDS-10 and BKT-S, you can set up the SonicCell as shown in the illustration.

*If you use the PDS-10,

spread the tripod to the maximum extent. Ensure that the total height including the SonicCell does not exceed one meter.

Page 31

Connecting the SonicCell to Your Computer

You can use the SonicCell as an external sound module for your DAW or sequencer software.

NOTE

You must install the driver before you connect the SonicCell to your computer.

■

Example Connections and Preparations for Installation

fig.setsuzoku-DAW.eps

Computer

To USB Connector of Computer

Disconnect

Power off

USB cable

USB COMPUTER

Rear Panel

MIDI Keyboard

MIDI OUT

MIDI IN

OUTPUT

Monitor Amplifier etc.

In the System screen, turn USB MIDI THRU “ON” (p. 173)

Power off

■ USER’S GUIDE

Front Panel

Set the sampling rate to

44.1 kHz

NOTE

You may not rent or lease the software included with this product without the permission of the copyright holder. Unauthorized duplication is forbidden by law.

Page 32

USER‘S GUIDE

dousa.eps

SonicCell Editor System Requirements

Windows OS

Windows : Microsoft® Windows® XP

CPU/Clock : Pentium®/Celeron® processor 1.4 GHz or higher RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or higher/24 bit Full Color or

Others : A computer with a USB connector that supports USB

*Although Roland has tested numerous configurations, and has determined that on average, a computer

system similar to that described above will permit normal operation of the SonicCell Applications, Roland cannot guarantee that a given computer can be used satisfactorily with the SonicCell Applications based solely on the fact that it meets the left requirements. This is because there are too many other variables that may influence the processing environment, including differences in motherboard design and the particular combination of other devices involved.

*In the interest of product improvement, the specifications and/or contents of this package are subject to

change without prior notice.

■

Installation Procedure

Microsoft® Windows Vista™ * This does not work with the 64-bit Edition of

Windows Vista™.

Specification Revision 2.0 or higher * Intel chipset is recommended. * SonicCell may not perform to its full specs when used

with an added USB 2.0 interface card.

CD-ROM Drive

Mac OS

Operating System : Mac OS 10.4.3

CPU/Clock : PowerPC G4 1 GHz or

RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or

Others : Apple Macintosh series

computer with on-board USB

2.0 CD-ROM Drive

or later

higher/Intel processor

higher/1670 million colors or more

Windows XP users................................... p. 33

Windows Vista users ............................... p. 35

Mac OS users........................................... p. 37

Installing SONAR LE .............................. p. 152

Speciﬁcations of the dedicated plug-in version of the editor

SonicCell Editor is provided in two forms: a stand-alone version and a plug-in version.

Plug-in Formats

• Windows: VSTi

• Mac: VSTi, Audio Unit

Host Applications in Which Operation has been Veriﬁed

If you’re using the plug-in version of the editor, please refer also to the applicable explanation.

• SONAR LE ➝ p. 152

• SONAR 6.2 ➝ p. 157

• CUBASE 4 ➝ p. 160

• Logic Pro 7.2 ➝ p. 163

* In order to use plug-in version of the editor, your computer must meet the above operating requirements as

well as the requirements of the host application you're using.

* The plug-in version of the editor has been tested and found to work with major host applications, but we can-

not guarantee that it will work with all host applications.

Page 33

Connecting the SonicCell to Your Computer

Windows XP users

In order to install the driver and software, you must log on as a user who has administrative privileges.

* For details, ask the system administrator of your computer.

NOTE

On the SonicCell Editor CD, the XP folder located inside the Driver folder contains a Readme file (Readme_E.html), which explains how to install the driver and includes a number of troubleshooting tips. Be sure to read this file before using the software.

Installing the Driver

Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if

used).

Log on to Windows as one of the following users.

• A user belonging to the Administrators group, such as Administrator

• A user whose account type is Computer Administrator

* For details, contact the system administrator of the computer you’re using.

■ USER’S GUIDE

Close all applications.

Also close any anti-virus or system-monitoring software.

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder | XP

folder, and double-click Setup.exe.

The screen will indicate “Roland SonicCell Driver will be installed on your computer...”

Click [Next].

* If any other message is displayed, proceed as directed by the contents of the message.

The message “To begin installation, click [Next]” will appear. Proceed with the driver installation

as directed by the instructions in the screen.

Page 34

USER‘S GUIDE

■

These settings will prevent problems with the sound being interrupted when you play back audio from your computer.

■

dows

Windows Settings

System Settings

Open “Control Panel” and double-click “System.”

* If you don’t see the above icon, click “Performance and Maintenance,” then click “System.”

Click the “Advanced” tab, and then in the Performance section click [Settings].

Click the “Advanced” tab.

Choose “Background services” and click [OK].

Click [OK] to close “System Properties.”

Settings for Using the Media Player Included with Win-

Open “Control Panel” and double-click “Sounds and Audio Devices.”

* If you don’t see the above icon, click “Sounds, Audio, and Audio Devices,” then click “Sounds and

Audio Devices.”

Click [OK] to close “Sounds and Audio Devices Properties.”

Start up Windows Media Player, play back an audio ﬁle and a MIDI ﬁle, and verify that you hear

the sound correctly.

Installing SonicCell Editor

Insert the “SonicCell Driver CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and

double-click Setup.exe.

The “Welcome” screen will appear. Click [Next].

Follow the on-screen directions to install SonicCell Editor.

When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed.

The online manual for each editor can be found under Windows “Start | All Programs | SonicCell Editor” folder. The online manuals are provided as PDF ﬁles. You’ll need Adobe Reader (available free of charge) in order to view PDF ﬁles.

Page 35

Connecting the SonicCell to Your Computer

Windows Vista Users

In order to install the driver and software, you must log on as a user who has administrative privileges.

* For details, ask the system administrator of your computer.

NOTE

The Driver | Vista folder of the SonicCell Driver CD-ROM contains a Readme file (Readme_E.html) that describes driver installations and troubleshooting. Be sure to read this before use.

Installing the Driver

Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if

used).

■ USER’S GUIDE

Close all applications.

Also close any anti-virus or system-monitoring software.

Place the “SonicCell Editor CD” into your CD-ROM drive, navigate to the Driver folder | Vista

folder, and double-click Setup.exe.

* If the message “Drivers must be installed by an administrator user.” is displayed, log on to Windows as

a user whose account type is Administrator, and then perform the installation again.

A User Account Control screen will appear; click [Continue].

A message of “Roland SonicCell Driver will be installed on your computer...” will appear.

Click [Next].

* If any other message is displayed, proceed as directed by the contents of the message.

The message “Click [Next] to begin the installation” will appear. Proceed with the driver installa-

tion as directed by the instructions in the screen.

Page 36

USER‘S GUIDE

■

Windows Settings

Settings for using the Media Player included with Windows

Open “Control Panel,” click “Hardware and Sounds,” then click “Sounds.”

* If you’ve chosen the Classic View, double-click “Sounds.”

In “Playback,” choose Roland SonicCell’s “OUT” and click “Set Default.”

Click [OK] to close “Sounds.”

Start up Windows Media Player, play back an audio ﬁle, and verify that sound is produced cor-

rectly.

Installing SonicCell Editor

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and

double-click Setup.exe.

The screen will indicate “An unidentiﬁed program is requesting access to this computer”; click

[Allow].

A User Account Control screen will appear; click [Continue].

The installer will start up. Follow the on-screen instructions to proceed with installing SonicCell

Editor.

When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed.

Page 37

Connecting the SonicCell to Your Computer

Mac OS X Users

In order to install the driver and other software, you must log on as a user who has an administrative account.

* For details, ask the system administrator of the computer you’re using. * The included SONAR LE is not compatible with Mac OS.

Installing the Driver

* If an “Authentication” dialog box appears during the installation, enter your password and click [OK].

Start up your computer with all USB cables disconnected (except for the keyboard and mouse).

Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder, and

double-click “SonicCellUSBDriver.pkg.”

You may see the message “This installer package needs to run a program to determine if it can

be installed. Do you want to continue?” In this case, click [Continue].

■ USER’S GUIDE

A message will indicate “Welcome to Roland SonicCell Driver installer.”

Click [Continue].

A message will indicate “Select a Destination.”

Click to select the drive in which the system is installed, and then click [Continue].

A message will indicate “Easy install.”

Click either [Install] or [Upgrade].

A message will indicate “Installing this software requires you to restart...” Click [Continue with

installation].

A message will indicate “The software was successfully installed” will appear. Click [Restart] to

restart your computer.

Page 38

USER‘S GUIDE

Installing SonicCell Editor

In the “SonicCell Editor CD-ROM,” navigate to the Editor folder and double-click “SonicCell Edi-

torInstaller.mpkg.”

The installer will start up. Follow the on-screen instructions to proceed with installing SonicCell

Editor.

When you install SonicCell Editor, the SonicCell Editor, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed.

The “Manual” folder within the folder where SonicCell Editor is installed contains

online manuals for each editor. The online manuals are provided as PDF ﬁles. You’ll need Adobe Reader (available free of charge) in order to view PDF ﬁles.

Settings

■

Mac OS X Audio Input/Output Settings

Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.

In “System Preference,” click “Sounds.”

Choose “Roland SonicCell ** kHz” for the following settings.

(** will depend on the sampling rate setting of the SonicCell itself.)

• In the “Sound Effects” tab, “Play alerts and sound effects through:”

• In the “Output” tab, “Choose a device for sound output”

• In the “Input” tab, “Choose a device for sound input”

■

Mac OS X MIDI Input/Output Settings

Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power.

In the “Applications - Utilities” folder, double-click “Audio MIDI Setup” to start it up.

Click the “MIDI Devices” tab.

Page 39

Connecting the SonicCell to Your Computer

In the “Audio MIDI Setup” dialog box, verify that “SonicCell” is shown.

* If “SonicCell” is not shown, or if it is shown grayed-out, the SonicCell was not detected correctly. Try

clicking “Re-scan MIDI.” You can also try switching off the SonicCell’s power, then turning it back on.

* If a different version of the driver had been installed, the old settings may still exist. In this case, click

the grayed-out “SonicCell” or “Roland SonicCell” to select it, and then click “Delete device” to delete the settings.

Click “Add Device.” A “New External Device” item will appear.

Click added “New External Device” that was added, and then click “View Information.”

Enter the following names in the “Device Name” ﬁeld of each “New External Device.”

First new external device SonicCell

Drag with the mouse so that the up/down arrows indicating the input/output ports are con-

nected as follows.

• Connect the ﬁrst up/down arrow of “SonicCell” to the up/down arrow of the added “SonicCell”

Verify that MIDI transmission and reception is occurring normally.

• Click “Test Settings.” The mouse cursor will change to the shape of a musical note.

Click the added external device. If you hear sound from the sound module, the settings are cor-

rect.

Click ”Test Setup” once again to end the test.

Close the “Audio MIDI Settings” dialog box. This completes the settings.

■ USER’S GUIDE

■

Before You Use the SonicCell with Your Software

Use a USB cable to connect the SonicCell to your computer before you start up your software.

In the Audio Driver settings of the software you’re using, choose “Roland SonicCell ** kHz.”

(** will depend on the sampling rate setting of the SonicCell itself.)

In the MIDI Driver settings of the software you’re using, choose SonicCell.

For details, refer to the manual of the software you’re using.

Page 40

USER‘S GUIDE

■

Recording a Mic or Guitar

(USB/Audio Interface)

Connections

fig.setsuzoku-Input.eps

Computer

To USB Connector of Computer

USB cable

USB COMPUTER

Dynamic Mic

Keyboard

LINE (R)

LINE (L)

MIC

INPUT

Guitar

GUITAR (Hi-Z)

Acoustic Guitar etc.

Condenser Mic

(DC 48 V/10mA)

MIC

Monitor Amplifier etc.

OUTPUT

Set the INPUT LEVEL knob to “MIN” before making connections

NOTE

* To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-

ume, and turn off the power on all devices before making any connections.

* When connection cables with resistors are used, the volume level of equipment connected to the

inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors.

* Howling could be produced depending on the location of microphones relative to speakers. This

can be remedied by:

1. Changing the orientation of the microphone(s).

2. Relocating microphone(s) at a greater distance from speakers.

3. Lowering volume levels.

fig.XLR/TRSJack.eps

* This instrument is equipped with bal-

anced (XLR/TRS) type jacks. Wiring diagrams for these jacks are shown below. Make connections after ﬁrst checking the wiring diagrams of other equipment you intend to connect.

Page 41

Recording a Mic or Guitar (USB/Audio Interface)

Connecting a Mic

Dynamic Mic

Acoustic Guitar etc.

Condenser

Mic

L/GUITAR/MIC

Input Source Switch

Connecting a Guitar

Guitar

L/GUITAR/MIC

fig.setsuzoku-input-Mic.eps

Settings Required

INPUT SOURCE switch

➝

Set to “MIC”

When connecting a condenser mic that requires phantom power

➝

Turn phantom power on (p. 142 )

fig.setsuzoku-input-guitar.eps

Settings Required

INPUT SOURCE switch

When sending your guitar through an effects unit before connecting it to the SonicCell

➝

Set to “LINE”

When connecting your guitar directly to the SonicCell without passing through an effects unit

➝

Set to “GUITAR”

If you want to apply an effect

➝

Refer to p. 144

■ USER’S GUIDE

Input Source Switch

Page 42

USER‘S GUIDE

Using the Line Input

Keyboard

OUTPUT

LINE (R)

L/GUITAR/MIC

Input Source Switch

Adjusting the Input Volume

Checking the Volume Level

fig.dispInputLvmtr.eps

Press [INPUT] so it’s lit.

The Input screen will appear. If the volume is too high, the level meter at the bottom of the Input screen will indicate “CLIP.”

fig.setsuzoku-input-Line.eps

Settings Required

INPUT SOURCE switch

➝

Set to “LINE”

If you’re inputting in mono (one cable)

➝

Connect to L (MONO)

If you want to apply an effect

➝

Refer to p. 144

Adjusting the Volume

Use the rear panel [INPUT LEVEL] to adjust the input volume.

Raise the volume as high as you can without causing the “CLIP” indication to appear in the level meter of the Input screen.

fig.InputVolume.eps

INPUT LEVEL

Page 43

Recording a Mic or Guitar (USB/Audio Interface)

Input Effect Settings

If you want to apply an effect to the sound from the Input jack, change the settings as appropriate for your situation.

■

Sending the Same Sound as Heard From the Speakers to Your Computer

Input-b.eps

SonicCell

Monitor Amplifier etc.

■ USER’S GUIDE

Patch,

Mic

■

Settings Required

Press [INPUT] so it’s lit.

The Input screen will appear.

Performance

Input

Input FX

Reverb, Chorus, Mastering

Effect

Routing the Sound Through InputFX (input effect)

fig.disp-Input-Assign.eps

Turn [CURSOR/VALUE] to move the cursor to the “Assign.”

Press [CURSOR/VALUE].

Change the value to “To Input FX.”

For more about the Input “Assign” setting ➝ p. 142

➝

To select the type of input effect

p. 147

Computer

fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.eps

Setting the Output to Computer

Press [EFFECT] to access the In/Out Routing screen.

* The illustration at right is an example of the IN/OUT Routing

screen in Performance mode.

Turn [CURSOR/VALUE] to move the cursor to “To Com.”

Press [CURSOR/VALUE].

The To Computer screen will appear.

Page 44

USER‘S GUIDE

If the Input Effect is Not Applied

In the In/Out Routing screen, press [MENU] to access the Menu screen. Turn the Input Effect “ON.”

fig.disp-ToCom-Type-Mix.eps

Turn [CURSOR/VALUE] to move the cursor to the “Type.”

Press [CURSOR/VALUE].

Change the value of Type to “MIX.”

For more about the “Type” setting of To Computer screen

➝

p. 148

fig.disp-EffectSwitch.eps

MEMO

■

If you want to make more detailed effect settings, refer to the following pages.

• Input Effect ➝ p. 147

• Chorus Send Level ➝ p. 148

• Reverb Send Level ➝ p. 148

• Mastering Effect ➝ p. 181

Applying an effect such as reverb to the sound heard from the speakers, while recording the unprocessed sound to your computer

Input-a.eps

SonicCell

Patch,

Mic

■

Settings Required

Performance

Input

Reverb, Chorus, Mastering

Effect

Input FX

Monitor Amplifier etc.

Computer

Press [INPUT] so it’s lit.

The Input screen will appear.

fig.disp-Input-Assign.eps

Routing the Sound Through InputFX (input effect)

Turn [CURSOR/VALUE] to move the cursor to the “Assign.”

Press [CURSOR/VALUE].

Page 45

Recording a Mic or Guitar (USB/Audio Interface)

Change the value to “To Input FX.”

For more about the Input “Assign” setting ➝ p. 142

➝

To select the type of input effect To adjust the depth of chorus or reverb

fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.eps

p. 147

➝

p. 148

Setting the Output to Computer

Press [EFFECT] to access the In/Out Routing screen.

* The illustration at right is an example of the IN/OUT Routing

screen in Performance mode.

Turn [CURSOR/VALUE] to move the cursor to “To Com.”

Press [CURSOR/VALUE].

The To Computer screen will appear.

fig.disp-ToComputer.eps

Turn [CURSOR/VALUE] to move the cursor to the “Type.”

Press [CURSOR/VALUE].

Change the value of Type to “INPUT FX.”

For more about the “Type” setting of To Computer screen

➝

p. 148

fig.disp-EffectSwitch.eps

If the Input Effect is Not Applied

In the In/Out Routing screen, press [MENU] to access the Menu screen. Turn the Input Effect “ON.”

■ USER’S GUIDE

MEMO

If you want to make more detailed effect settings, refer to the following pages.

• Input Effect ➝ p. 147

• Chorus Send Level ➝ p. 148

• Reverb Send Level ➝ p. 148

• Mastering Effect ➝ p. 181

Page 46

USER‘S GUIDE

Two Wave Expansion Boards (SRX series; sold separately) can be installed in the SonicCell. Waveform data, patches and rhythm sets are stored on the Wave Expansion Board, so you can increase the number of available sounds by installing the board in the SonicCell.

●

911

●

912

●

913

●

Installing the Wave Expansion Board

NOTE

Installing a Wave Expansion Board increases the patches and drum sets for Parts, but the number of Parts doesn’t change. The Wave Expansion Board can be installed by removing the top cover.

Cautions When Installing an Wave Expansion Board

To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board.

❍

Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged.

❍

When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors.

When removing the screws, you must use the included Allen wrench. If you use the wrong tool, you risk damaging the screw head.

fig.30-001-e

To remove a screw, rotate the Allen wrench counter-clockwise. To tighten the screws, rotate the Allen wrench clockwise.

When you tighten the screws, take care not to overtighten them. Doing so may cause the screw head to be stripped, allowing the Allen wrench to turn uselessly.

When installing Wave Expansion Boards, remove only the specified screws.

Be careful that the screws you remove do not drop into the interior of the SonicCell.

Do not leave the cover removed. After installation of the Wave Expansion Boards is complete, be sure to replace the cover.

Be careful not to cut your hand on the opening for installing the board.

Do not touch any of the printed circuit pathways or connection terminals.

Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again.

When circuit board installation is complete, double-check your work.

tightenloosen

Page 47

Installing the Wave Expansion Board

How to Install a Wave Expansion Board

To install a wave expansion board, you’ll need to remove the top panel cover. Boards can be installed in the EXP A-EXP B slots. These slots correspond with the Wave Expansion Board groups (XP-A-XP-B) when the expansion Wave, patches, and rhythm sets are used.

Before installing the Wave Expansion Board, turn off the power of the SonicCell and all con-

nected devices, and disconnect all cables, including the Power cable, from the SonicCell.

fig.SRX-Install0-e.eps

From the SonicCell, remove only the

screws shown in the following diagram, and detach the top panel cover.

fig.SRX-Install3-e.eps

As shown in the following illustration, plug

the connector of the Wave Expansion Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the Wave Expansion Board.

* If you install expansion boards of the same

type, only one board will be detected.

fig.SRX-Install4-e.eps

Use the Installation Tool supplied with the

Wave Expansion Board to turn the holders in the LOCK direction, so the board will be fastened in place.

Allen Wrench (2mm)

Board holder

Position them as shown

before you install the board.

Installation tool

Screws to be removed

Wave Expansion Board

(SRX series)

Connector

LOCK

■ USER’S GUIDE

Use the screws that you removed in step 2

to fasten the cover back in place.

Page 48

USER‘S GUIDE

After installation of the Wave Expansion Boards has been completed, check to conﬁrm that the installed boards are being recognized correctly.

Checking the Installed Wave Expansion Boards

Turn on the power, as described in “Turning the Power On” (p. 19 ).

fig.disp-Menu-left-Snd.eps

Press [MENU].

The Menu screen will appear.

fig.disp-menu-right-info.eps

Turn [CURSOR/VALUE] to select “SRX Info.”

fig.disp-SysSRXInfo.eps

Press [CURSOR/VALUE].

Press or to display System SRX Info screen. The System screen will appear. Verify that the name of the installed Wave Expansion Board is displayed.

NOTE

If “- - - - - - - ” appears next to the installed slot name, it’s possible that the installed Wave Expansion Board is not being recognized correctly. Re-install the Wave Expansion Board correctly.

Press [EXIT] to exit the System screen.

Page 49

Installation de la carte d’extension Wave

(French language for Canadian Safety Standard)

fig.French_CSA

Deux cartes d’expansion Wave (serie SRX; vendues separement) peuvent etre installees dans le SonicCell. Les donnees Waveform, les retouches et les groupes de rythme sont stockes sur la carte d’expansion Wave; vous pouvez donc augmenter le nombre de sons disponibles en installant la carte dans le SonicCell.

NOTE

Installer une carte d’expansion Wave augmente les retouches et les groupes de percussion pour les partitions mais le nombre de partitions ne change pas.

Precautions a prendre lors de l’installation d’une carte d’expansion Wave

●

Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’eviter tout risque d’endommagement des pieces internes par l’electricite statique.

❍

Toujours toucher un objet metallique relie a la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous decharger de l’electricite statique que vous auriez pu accumuler.

❍

Lorsque vous manipulez la carte, la tenir par les cotes. Evitez de toucher aux composants ou aux connecteurs.

●

Utiliser la clé Allen incluse pour retirer les vis. L'utilisation d'un outil inadéquat risque d'endommager la tête de la vis.

fig.30-001-f

●

Pour retirer une vis, tourner la clé hexagonale dans le sens contraire des aiguilles d'une montre. Pour serrer les vis, tourner la clé hexagonale dans le sens des aiguilles d'une montre.

●

Veiller à ne pas trop serrer les vis. Un serrage excessif peut fausser la tête des vis et la clé Allen tournerait alors inutilement.

●

Pour installer les cartes d’expansion Wave, retirer uniquement les vis mentionnees..

●

Assurez-vous que les vis retirees ne tombent pas dans le SonicCell.

●

Replacer le couvercle pour ne pas laisser l'ouverture béante. S’assurer de l’avoir rattacher apres avoir installe le disque dur.

●

Faites attention de ne pas vous couper sur l’ouverture d’installation de la carte.

●

Ne pas toucher aux circuits imprimes ou aux connecteurs.

●

Ne jamais forcer lors de l’installation de la carte de circuits imprimes. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation.

●

Quand l’installation de la carte de circuits imprimes est terminee, reverifiez si tout est bien installe.

resserrerdesserrer

■ USER’S GUIDE

Page 50

USER‘S GUIDE

Pour installer une carte d’expansion Wave, il faut retirer le couvercle superieur. Les cartes peuvent etre installees dans les emplacements SRX-A- SRX-B. Ces fentes correspondent aux groupes de cartes d’expansion Wave (XP-A- XP-B) lorsque l’expansion Wave, les correctifs et rythmes sont utilises.

Installation d’une carte d’expansion Wave

Avant d’installer la carte d’expansion Wave, coupez l’alimentation du SonicCell et de tous les

appareils branches, et debranchez tous les cables du SonicCell, y compris le cable d’alimentation.

fig.SRX-Install0-f.eps

Retirer du SonicCell, uniquement les vis mon-

trees dans le diagramme ci-dessous et detacher le couvercle superieur.

Clé hexagonale (2 mm)

Vis à enlever

fig.SRX-Install3-f.eps

Comme le montre l’illustration ci-dessous,

branchez le connecteur de la carte d’expansion Wave dans la fente appropriee et, en meme temps, inserez le support de carte de circuits imprimes dans l’ouverture de la carte d’expansion Wave.

* Si plusieurs cartes d’expansion du meme

type sont installees, une seule sera detectee.

fig.SRX-Install4-f.eps

Utilisez l’outil d’installation fourni avec la

carte d’expansion Wave pour tourner les supports en position LOCK (verrouille) aﬁn de retenir la carte en place.

Remettez le couvercle en place a l’aide des

vis retirees a l’etape 2.

Support à carte

Avant l’installation, orienter les supports à carte tel qu’indiqué sur le schéma.

Outil d’installation

Carte d’extension Wave

(serie SRX)

Connecteur

LOCK

Page 51

Installation de la carte d’extension Wave (French language for Canadian Safety Standard)

Veriﬁcation des cartes d’extension audio apres installation

Lorsque l’installation des cartes d’extension audio est terminee, proceder a une veriﬁcation pour s’assurer que l’ordinateur les identiﬁe correctement.

Mettre sous tension de la facon decrite sous “Turning the Power On” (p. 19 ).

fig.disp-Menu-left-Snd.eps

Appuyer sur [MENU].

L'écran Menu s'afﬁchera à l'écran.

fig.disp-menu-right-info.eps

Tourner [CURSEUR/VALEUR] pour sélectionner “SRX Info.”

■ USER’S GUIDE

fig.disp-SysSRXInfo.eps

Appuyer sur [CURSOR/VALUE].

L’ecran System Edit s’afﬁche. Veriﬁez que le nom de la carte d’expansion Wave installee s’est afﬁche.

NOTE

Si “- - - - - - -” est affiche a cote du nom de la fente dans laquelle la carte est installee, il est possible que la carte d’extension audio installee ne soit pas reconnue correctement. Reinstaller correctement la carte d’extension audio.

Appuyer sur [EXIT] pour quitter la fenetre du systeme.

Page 52

MEMO

Page 53

MIDI Sound Module

Page 54

Overview

You can use the SonicCell as a MIDI sound module in either of two modes: Performance mode or Patch mode.

Performance Mode and Patch Mode

■

Performance mode

In Performance mode you can use multiple patches or rhythm sets simultaneously. A performance contains sixteen “Parts.” You can assign a patch or rhythm set to each part, and use them as an ensemble, or layer sounds to create rich textures. Since in Performance mode you can use an external MIDI device or sequencer software to independently control each of the SonicCell’s sixteen parts, this is the mode to use when you’re creating a song.

With the factory settings, Performance mode is selected.

The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses.

PRST01–33 For song production PRST34–64 For playing

■

Part

On the SonicCell, a “part” is something to which you assign a patch or rhythm set. In Performance mode, each performance has sixteen parts, and you can assign a patch or rhythm set to each part.

How a Patch is structured

Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the Structure Type parameter.

Patch

Tone1Tone2Tone3Tone

■

Patch mode

In Patch mode you can use a connected keyboard or other device to play a single Patch on the SonicCell. Since Patch mode lets you use a variety of effects on a single patch, you can play very rich textures. In Patch mode it’s also easy to edit the selected sound, so this is the mode to use when editing or creating your own sounds.

How a Performance is structured

A performance has a patch or rhythm set assigned to each of the 16 parts, and can simultaneously handle 16 sounds. Because the SonicCell sound generator can control multiple sounds (instruments) it is called a Multi-timbral sound generator.

Performance

Part 16

Part 1

Patch/

Rhythm Set

Example 1: A Patch consisting of only one Tone (Tones 2–4 are turned off).

Patch

Tone1Tone2Tone3Tone

Example 2: A Patch consisting of four Tones.

■

Tones

On the SonicCell, the tones are the smallest unit of sound. However, it is not possible to play a tone by itself. The patch is the unit of sound which can be played, and the tones are the basic building blocks which make up the patch.

Tone

LFO 1 LFO 2

Pitch

Envelope

TVF

TVA

Envelope

audio signal

control signal

Page 55

Overview

WG (Wave Generator)

Specifies the PCM waveform (wave) that is the basis of the sound, and determines how the pitch of the sound will change.

TVF (Time Variant Filter)

Specifies how the frequency components of the sound will change.

TVA (Time Variant Amplifier)

Specifies the volume changes and the sound’s position in a stereo soundfield.

Envelope

You use Envelope to initiate changes to occur to a sound over time. There are separate envelopes for Pitch, TVF (filter), and TVA (volume).

LFO (Low Frequency Oscillator)

Use the LFO to create cyclic changes (modulation) in a sound. The SonicCell has two LFOs. Either one or both can be applied to effect the WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied to the WG pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah effect is produced. When an LFO is applied to the TVA volume, a tremolo effect is produced.

How a Rhythm Set is structured

Rhythm sets are groups of a number of different percussion instrument sounds. Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is, however, more important that as many percussion instruments as possible be available to you at the same time. Therefore, each key (note number) of a rhythm set will produce a different percussion instrument.

Rhythm Set

Note number 98 (D7)

Note number 97 (C#7)

Note number 36 (C2)

Note number 35 (B1)

Rhythm Tone (Percussion instrument sound)

Pitch

Envelope

* There are four wave generators for each rhythm tone

(percussion instrument sounds).

* LFO is not included in the rhythm tones (percussion

instrument sounds).

TVF

Envelope

TVA

Envelope

Calculating the Number of Voices Being Used

The SonicCell is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of patches actually being played, but changes according to the number of tones used in the patches, and the number of waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (Number of patches being played) x (Number of tones used by patches being played) x (Number of waves used in the tones) For example, a patch that combines four tones, each of which use two waves, will use eight notes of polyphony at once. Also, when playing in Performance mode, the number of sounds for each part is counted to obtain the total number of sounds for all parts.

■

How a Patch Sounds

When the SonicCell is requested to play more than 128 voices simultaneously, currently sounding notes will be turned off to make room for newly requested notes. The note with the lowest priority will be turned off first. The order of priority is determined by the Patch Priority setting (p. 90). Patch Priority can be set either to “LAST” or “LOUDEST.” When “LAST” is selected, a newly requested note that exceeds the 128 voice limit will cause the first-played of the currently sounding notes to be turned off. When “LOUDEST” is selected, the quietest of the currently sounding notes will be turned off. Usually, “LAST” is selected.

■

Note priority in Performance Mode

Since Performance mode is usually used to play an ensemble consisting of several patches, it is important to decide which parts take priority. Priority is specified by the Voice Reserve settings (p. 71). When a note within a patch needs to be turned off to make room for a new note, the Patch Priority setting of the patch will apply (p. 90).

■

Voice Reserve

The SonicCell has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each part. For example if Voice Reserve is set to “10” for part 16, part 16 will always have 10 notes of soundproducing capacity available to it even if a total of more than 128 notes (total for all parts) are being requested. When you make Voice Reserve settings, you need to take into account the number of notes you want to play on each part as well as the number of tones used by the selected patch (p. 71). It is not possible to make Voice Reserve settings that would cause the total of all parts to be greater than 64 voices.

Page 56

Overview

About the Effects

The SonicCell has built-in effect units, and you can independently edit each unit’s settings.

■

Multi-Effects

The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Contained are 78 different effects types; select and use the type that suits your aims. In addition to effects types composed of simple effects such as Distortion, Flanger, and other such effects, you can also set up a wide variety of other effects, even connecting effects in series or in parallel. Furthermore, while chorus and reverb can be found among the multi-effects types, the following chorus and reverb are handled with a different system. In Performance mode, three types of multieffect can be used simultaneously; these are referred to as MFX1, MFX2, and MFX3. In Patch mode, you can use one multi-effect.

■

Chorus

Chorus adds depth and spaciousness to the sound. You can select whether to use this as a chorus effect or a delay effect.

■

Reverb

Reverb adds the reverberation characteristics of halls or auditoriums. Five different types are offered, so you can select and use the type that suits your purpose.

Effects in Performance Mode

The multi-effects, chorus and reverb effects can be set individually for each performance. The intensity of each effect will be set for each part. When you apply effects in Performance mode, the effect settings of the patch or rhythm set assigned to each part will be ignored, and the effect settings of the performance will be used. Thus, the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance mode. However, depending on the settings, you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance.

Performance

Part 1

Part 16

Patch

Tone

Multi-Effects

Chorus Reverb

Effects in Patch Mode

■

Mastering Effect

This is a stereo compressor (limiter) that is applied to the final output of the SonicCell. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent.

The multi-effects, chorus and reverb effects can be set up individually for each patch/rhythm set. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each tone.

Patch

Tone

Rhythm Set

Rhythm

Tone

Multi-Effects

Chorus Reverb

Multi-Effects

Chorus Reverb

Page 57

Overview

About Memory

Patch and performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable.

USB Memory

Song

SMF

Audio File

System

Patch

256

Rhythm Set

Performance

BackupRestore

Performance

Rhythm Set

Preset

Preset G (PR-G)

Preset F (PR-F)

Preset E (PR-E)

Preset D (PR-D)

Preset C (PR-C)

Preset B (PR-B)

Preset A (PR-A)

Patch

128

GM (GM2)

Patch

256

Rhythm Set

System

User

Patch

256

Rhythm Set

Performance

Temporary Memory

■

Temporary Area

This is the area that holds the data for the patch or performance that you’ve selected using the panel buttons. When you play the SonicCell, sound is produced based on data in the temporary area. When you edit a patch or performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there. Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another patch/performance. To keep the settings you have modified, you must write them into rewritable memory.

Rewritable Memory

■

System Memory

System memory stores system parameter settings that determine how the SonicCell functions. To store system parameters, execute System Write (p. 176, p.

150).

■

User Memory

User memory is where you normally store the data you need. To store a performance, execute Performance Write (p. 73). To store a patch, execute Patch Write (p. 116). To store a Rhythm Set, execute Rhythm Set Write (p. 131).

Select Select Select Write

Temporary Area

SelectSelect

EXP A slot

Patch

Rhythm Set

Wave Expansion Board

EXP B slot

Patch

Rhythm Set

■

USB Memory

The performances/patches/rhythm sets in user memory and the system settings in system memory can be backed up together to USB memory.

Non-Rewritable memory

■

Preset memory

Data in Preset memory cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory.

■

Wave Expansion Boards (optional: SRX Series)

The SonicCell can be equipped with up to two Wave Expansion Boards (optional: SRX Series). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played.

Page 58

Using the SonicCell in Performance Mode

Viewing the MIDI INST (MIDI sound module) screen

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

fig.disp-MIDI-top01

Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

fig.disp-MIDI-top02

(1)(

* If Sound Mode (p. 60) is set to “Patch,” the Patch Play

screen (p. 82) will appear. In this case, simultaneously press [MIDI INST] and [PART VIEW] to switch to the MIDI INST screen of Performance mode.

Parameter

(1) Performance group

Performance

(2)

number/name

Settings for each

(3)

part

(3)

)

Value Explanation

Selects the performance group.

USER, PRST

01–64

-, M, S, *

USER: PRST:

Selects the performance.

The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses.

PRST01–33 PRST34–64

For each part, you can specify whether sound will be heard.

-: M (mute): S (solo):

Turn [CURSOR/VALUE] to edit the value.

When you’ve finished editing, press [CURSOR/VALUE].

User Preset

For song production For playing

Sound can be heard. The sound will be temporarily muted (silenced). Selects the one part that will be heard. Parts other than the one set to

“S” will be muted. In the SonicCell Editor you can set mute and solo separately. In this

case, “*” is shown for parts for which both mute and solo have been specified.

Page 59

Using the SonicCell in Performance Mode

Viewing the menu screen (Performance Menu screen)

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Press [MENU].

The Performance Menu screen will appear. The Performance Menu screen has the structure shown in the illustration at right. You can turn [CURSOR/VALUE] to the right or left to switch screens.

Turn [CURSOR/VALUE] to move the cursor to the item you want to edit.

Press [CURSOR/VALUE] to access the corresponding screen.

Parameter

Snd (Sound) Mode

General

MIDI Filter

Ctrl Init (Sound Control Initialize)

Prf Init (Performance Initialize)

Write (Performance Write)

System Utility

Demo Play

SRX Info (SRX Information)

Version (Version Information)

Explanation

Lets you switch between Performance mode and Patch mode. Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60).

Specifies the recommended tempo of the performance. Press [CURSOR/VALUE] to access the Performance General screen (p. 60).

Turns reception of various MIDI messages on/off for each part. Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60).

Initializes the values of only the following sound-related parameters for the current performance (p. 73).

• Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay

Initializes the settings of the current performance (p. 73).

Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).

Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear.

* For details on how to play the demo songs, refer to p. 15 and p. 168.

Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).

Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

Page 60

Using the SonicCell in Performance Mode

Switching the sound mode (Sound Mode screen)

This specifies the mode of the MIDI sound generator. The current mode is highlighted.

Turn [CURSOR/VALUE] to move the cursor, and press [CURSOR/VALUE] to confirm your choice of mode.

If you select “Performance” and press [CURSOR/VALUE], the following screen will appear.

fig.disp-PerformanceTop

Specifying the recommended performance tempo (Performance General screen)

Parameter

Recommend Tempo

Value Explanation

If you want the system tempo to change when you switch Performances, specify the

20–250

tempo that will follow this change. This setting is valid when the Seq Tempo Override is “ON.” In order to enable this setting, turn on the Tempo Override (p. 177).

MIDI-related settings (Perform MIDI Filter screen)

In the Perform MIDI Filter screen you can edit the following parameters for each part.

Parameter

PC (Receive Program Change Switch)

BS (Receive Bank Select Switch)

PB (Receive Pitch Bend Switch)

PA (Receive Polyphonic Key Pressure Switch)

CA (Receive Channel Pressure Switch)

Value Explanation

_, O

Determines, on an individual MIDI channel basis, whether MIDI program change messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI bank select messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI pitch bend messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI polyphonic key pressure messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI channel pressure messages will be received (O) or not received (_).

Page 61

Using the SonicCell in Performance Mode

Parameter

MD (Receive Modulation Switch)

VO (Receive Volume Switch)

PN (Receive Pan Switch)

EX (Receive Expression Switch)

HD (Receive Hold 1 Switch)

PL (Phase Lock Switch)

VC (Velocity Curve Type)

■

Menu screen.................................................................................................................

Value Explanation

_, O

_, 1–4

From the Perform MIDI Filter screen, press [MENU] to access the MIDI Filter screen. Press [MENU] once again to return to the Perform MIDI Filter screen.

Determines, on an individual MIDI channel basis, whether MIDI modulation messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI volume messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI pan messages will be received (O) or not received (_).

Determines, on an individual MIDI channel basis, whether MIDI expression messages will be received (O) or not received (_).

Determines, on an individuall MIDI channel basis, whether MIDI hold 1 messages will be received (O) or not received (_).

Set Phase Lock to “O” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

When the Phase Lock parameter is set to “O,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “O” only as needed.

Velocity Curve selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “–” if you are using the MIDI keyboard’s own velocity curve.

2134

Parameter

PC, BS, PB, PA, CA, MD, VO, PN, EX, HD, PL, VC

Explanation

The cursor will move to the current part for the item you selected in the Perform MIDI Filter screen.

Page 62

Using the SonicCell in Performance Mode

Viewing the part settings (Part View screen)

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Move the cursor to the part that you want to edit, and press [PART VIEW].

The [PART VIEW] indicator will light, and the Part View screen will appear.

If the patch type is Patch

If in Performance mode you’ve set the current part’s patch type to “Patch,” the following screen will appear.

fig.disp-PartView-p

(1)

(2) (3)

(4)

(5)(

)

fig.disp-PartView-01

(7)

Parameter

(1) Patch group

Patch type

(2)

Current part

(3)

Patch

(4)

number/name

Category lock

(5)

Patch category

(6)

LIST

(7) (8)

PART

(9)

PATCH

(10) Preview

(8) (9) (10)

Value Explanation

USER, PR-A–PR-G, GM XP-A, XP-B

Patch, Rhythm Part1–Part 16

001–

- - - –CMB

Selects the patch group.

USER: PR-A–PR-G: GM: XP-A, XP-B:

User Preset A–Preset G General MIDI Wave Expansion Board A, Wave Expansion Board B

* It is not possible to choose XP-A, XP-B unless a wave expansion board is insert-

ed in to the corresponding slot. Specifies whether the current part will use a patch or a rhythm set. Selects the part (current part) that will be affected by your operations.

Selects the patch used by the current part.

Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. If you lock the category, only sounds that are within the category will appear when you select patches.

Switches the category. Press [CURSOR/VALUE] to access the Patch List screen (p. 65, p. 66). Press [CURSOR/VALUE] to access the Part Edit screen (p. 68). Press [CURSOR/VALUE] to access the edit screen for the patch used by the cur-

rent part (p. 88). If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview

sound played by that patch.

The system Preview setting (p. 179) lets you specify how the preview will be sounded.

Page 63

■

Patch Category

Using the SonicCell in Performance Mode

If the patch type is Rhythm Set

If in Performance mode you’ve set the current part’s patch type to “Rhythm,” the following screen will appear.

fig.disp-PartView-r

(4)

(5)

(1)

(6)

(2) (3)

(7) (8) (9)

Parameter

(1) Rhythm Set group

Patch type

(2) (3) Current part

Rhythm Set

(4)

number/name

(5)

Editing key LIST

(6)

PART

(7)

(8)

RHY

Preview

(9)

Value Explanation

Selects the rhythm set group.

USER:

USER, PRST, GM, XP-A, XP-B

Patch, Rhythm Part1–Part 16 Selects the part (current part) that will be affected by your operations.

001–

A0–C8

PRST: GM: XP-A, XP-B:

* It is not possible to choose XP-A, XP-B unless a wave expansion board is

inserted in to the corresponding slot.

Specifies whether the current part will use a patch or a rhythm set.

Selects the rhythm set used by the current part.

Within the currently selected rhythm set, selects the key that you’ll be editing. Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 67). Press [CURSOR/VALUE] to access the Part Edit screen (p. 68). Press [CURSOR/VALUE] to access the edit screen for the rhythm set used by the

current part (p. 117). If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview sound

played by that rhythm set.

The system Preview setting (p. 179) lets you specify how the preview will be sounded.

User Preset General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 65

Using the SonicCell in Performance Mode

Selecting patches from a patch list by category (Patch List (Ctg) screen)

You can choose the patch for each part from a list that’s arranged by category.

* When the power is turned on, the Patch List (Ctg) screen is selected.

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Move the cursor to the part that you want to edit, and press [PART VIEW].

The [PART VIEW] indicator will light, and the Part View screen will appear.

Select “LIST” and press [CURSOR/VALUE].

The Patch List (Ctg) screen will appear.

fig.disp-PatchL-Ctg

* If the Patch List (Grp) screen was displayed last, the Patch

List (Grp) screen will appear. In this case, press [MENU] to access the Group Select screen, select “CATEG LIST,” then press [CURSOR/ VALUE] to access the Patch List (Ctg) screen.

Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Part View screen.

■

Menu screen.................................................................................................................

From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen. Press [MENU] once again to return to the Patch List (Ctg) screen.

Parameter

PNO, KBD, GTR, BAS, ORC, BRS, SYN, VCL, WLD

GROUP LIST

Explanation

Changes the category (major classification) and returns to the patch list screen organized by category. You can change the category by moving the cursor to the currently selected category (at the top of the screen) and pressing [CURSOR/VALUE].

Major Classification

PNO: KBD: GTR: BAS: ORC: BRS: SYN: VCL: WLD:

Press [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 66). * Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when you

select “LIST” in the Part View screen.

Selecting patches from a patch list by group (Patch List (Grp) screen)

You can choose the patch for each part from a list that’s arranged by group, such as USER or expansion board.

* When the power is turned on, the Patch List (Ctg) screen is selected.

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Move the cursor to the part that you want to edit, and press [PART VIEW].

The [PART VIEW] indicator will light, and the Part View screen will appear.

Select “LIST” and press [CURSOR/VALUE].

The Patch List (Ctg) screen will appear.

* If the Patch List (Grp) was displayed last, the Patch List

(Grp) screen will appear. Proceed to step 6.

Press [MENU] to access the menu screen.

■

Menu screen.................................................................................................................

From the Patch List (Grp) screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Patch List (Grp) screen.

Choose “GROUP LIST” and press [CURSOR/VALUE].

The Patch List (Grp) screen will appear.

fig.disp-PatchL-Grp

Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Part View screen.

Parameter

USR, A–G, GM, EXA, EXB

CATEG (Category) LIST

Explanation

Changes the group and returns to the patch list by group screen.

USR: A–G: GM: EXA, EXB:

* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corre-

sponding slot.

Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 65). * Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when you

select “LIST” in the Part View screen.

User Preset A–Preset G General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 67

Using the SonicCell in Performance Mode

Selecting a rhythm set from a list (Rhythm Set List screen)

If the current part’s patch type is “Rhythm,” you can choose a rhythm set from a list.

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Move the cursor to the part that you want to edit, and press [PART VIEW].

The [PART VIEW] indicator will light, and the Part View screen will appear.

■

Menu screen.................................................................................................................

From the Rhythm Set List screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Rhythm Set List screen.

Select “LIST” and press [CURSOR/VALUE].

Rhythm Set List screen will appear.

fig.disp-RhythmList

Turn [CURSOR/VALUE] to select a rhythm set, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Part View screen.

Parameter

USR, PRESET, GM, EXA, EXB

Explanation

Changes the group and returns to the patch list by group screen.

USR: PRESET: GM: EXA, EXB:

* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corre-

sponding slot.

User Preset General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 68

Using the SonicCell in Performance Mode

Editing parts (Part Edit screen)

Press [MIDI INST] so its indicator is lit.

The MIDI INST screen will appear.

Move the cursor to the part that you want to edit, and press [PART VIEW].

The [PART VIEW] indicator will light, and the Part View screen will appear.

Turn [CURSOR/VALUE] to select “PART,” and press [CURSOR/VALUE].

The Part Edit screen will appear.

■

Menu screen.................................................................................................................

From the Part Edit screen, press [MENU] to access the Menu screen. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Part Edit screen.

Parameter

1–16

SND (Sound Mode)

GEN (General)

MIDI (MIDI Filter)

CINI (Sound Control Initialize)

PINI (Performance Initialize)

Write (Performance Write)

System Utility

Demo Play

SRX Info (SRX Information)

Version (Version Information)

Explanation

Changes the current part and returns to the Part Edit screen. Lets you switch between Performance mode and Patch mode.

Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60). Specifies the recommended tempo of the performance.

Press [CURSOR/VALUE] to access the Performance General screen (p. 60). Turns reception of various MIDI messages on/off for each part.

Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60). Initializes the values of only the following sound-related parameters for the current performance (p.

73).

• Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay

Initializes the settings of the current performance (p. 73).

Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).

Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear.

* For details on how to play the demo songs, refer to p. 15 and p. 168.

Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).

Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

fig.disp-PartEdit01

Turn [CURSOR/VALUE] to select the parameter that you want to edit, and press [CURSOR/VALUE].

The value of the selected parameter will be highlighted. If you select “Scale Tune,” an editing screen will appear.

Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE].

Page 69

Using the SonicCell in Performance Mode

■

Part Edit screen ............................................................................................................

Parameter

Level

Pan

Octave Shift Coarse Tune

Fine Tune

Output Assign

Value Explanation

0–127

L64–63R

-3–+3

-48–+48

-50–+50

MFX, L+R, L, R, PAT

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves). Adjusts the pitch of the part’s sound up or down in semitone steps (+/-4 octaves). Adjusts the pitch of the part’s sound up or down in 1-cent (1/100th of a semitone)

steps (+/-50 cents). Specifies for each part how the direct sound will be output.

MFX:

Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects.

L+R:

Output to the OUTPUT jack in stereo without passing through multi-effects.

Output from L.

Output from R.

PAT:

The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part.

• When outputting in mono, the Pan setting is disabled.

• Chorus and Reverb are output in mono at all times.

• When the settings are such that signals are split and output from the L jack and R jack, and no plug is inserted in the R jack, the sounds from L and R are mixed together, then output from the L jack. This sound comprises the sounds from the L and R jacks.

When the Output Assign parameter is set to PAT, the output level settings for the Patch or Rhythm Set as well as the Part go into effect. If you want the various level settings of the Patch/Rhythm Set to be reflected as they are, set the various Part levels to 127 (maximum).

Output MFX (Output MFX Select)

Output Level

Chorus Send (Chorus Send Level)

Reverb Send (Reverb Send Level)

Cutoff Offset

1–3

0–127

-64–+63

For more on how to set each effect, refer to the pages shown below.

• Multi-effects(p. 78, p. 192)

• Chorus (p. 78, p. 219)

• Reverb (p. 79, p. 220)

Of the three types of multi-effects that can be used simultaneously, specify which multi-effects will be used.

Sets the direct sound’s volume for each Part. When Multi-effects are being applied, this sets the amount of the effect that is applied; when Multi-effects are not applied, this sets the volume of the direct sound.

Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set it to 0.

Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set it to 0.

Adjusts the cutoff frequency for the patch or rhythm set assigned to a part.

Patches also have a Cutoff Offset setting (p. 90). The final Cutoff frequency value is the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offset values. If the tone’s cutoff frequency is already set to “127” (maximum), there will be no change produced by setting the Cutoff Offset to a positive value.

Page 70

Using the SonicCell in Performance Mode

Parameter

Resonance Offset

Attack Offset (Attack Time Offset)

Release Offset (Release Time Offset)

Decay Offset (Decay Time Offset)

Mono/Poly

Value Explanation

Adjusts the Resonance for the patch or rhythm set assigned to a part.

-64–+63

MONO, POLY, PAT

Patches also have a Resonance Offset setting (p. 91). The final Resonance value is the sum of the tone Resonance value and the patch and part Resonance Offset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance offset to a positive value.

Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part.

Patches also contain the Attack Offset setting (p. 91). The final TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Offset, and the part’s Attack Time Offset. If the tone’s Time 1 parameter is already set to “127” (maximum), there will be no change produced by setting the Attack Time Offset to a positive value.The same applies to the TVF envelope.

Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part.

Patches also contain a Release Offset setting (p. 91). The final TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Offset, and the part’s Release Time Offset. If the tone’s Time 4 parameter is set to “127” (maximum), there will be no change in the Release Time Offset, even when this is set to a positive value.The same applies to the TVF envelope.

Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part.

Sets how the Patch’s notes play. The MONO setting is effective when playing a solo instrument Patch such as sax or flute.

MONO: POLY: PAT:

Only one note sounds at a time. Two or more notes can be played simultaneously. The Part uses the Patch’s Mono/Poly setting.

Legato Switch

Portamento Sw (Switch)

Portamento Time

Vibrato Rate

OFF, ON, PAT

0–127, PAT

-64–+63

This setting is ignored for parts to which a rhythm set is assigned. Turn this parameter “ON” when you want to use the Legato feature and “OFF”

when you don’t. Legato is a feature that works only when the Mono/Poly is MONO. When Legato is ON, pressing one key when another is already pressed causes the currently playing note’s pitch to change to that of the newly pressed key while continuing to sound. This can be effective when you wish to simulate performance techniques such as a guitarist’s hammering on and pulling off strings. When PAT is selected, the Patch’s own settings take effect.

This setting is ignored for parts to which a rhythm set is assigned. Specify whether portamento will be applied. Turn this parameter “ON” when you

want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part, set this to “PAT.”

This setting is ignored for parts to which a rhythm set is assigned. When portamento is used, this specifies the time over which the pitch will change.

Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part, set this to “PAT.”

This setting is ignored for parts to which a rhythm set is assigned. For each part, adjust the vibrato speed (the rate at which the pitch is modulated).

The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

Page 71

Using the SonicCell in Performance Mode

Parameter

Vibrato Depth

Vibrato Delay

Velocity Sens Off (Velocity Sensitivity Offset)

Bend Range

Key Fade Lower

Key Range Lower

Key Range Upper

Key Fade Upper

Value Explanation

For each part, this adjusts the depth of the vibrato effect (the depth at which the

-64–+63

pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

For each part, this adjusts the time delay until the vibrato (pitch modulation) effect

-64–+63

begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume and

-63–+63

cutoff frequency, regardless of the force with which the keys are played.

Patches also contain a Velocity Sensitivity Offset setting (Velocity Sens: p. 91). The ultimate Velocity Sensitivity Offset value is the sum of the part’s and the patch’s Velocity Sensitivity Offsets. Accordingly, if the patch’s Velocity Sensitivity Offset parameter is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Offset, even when this is set to a positive value.

Specifies the amount of pitch change in semitones (2 octaves) that will occur when

0–24, PAT

the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part, set this to “PAT.”

Determines what will happen to the Part’s level when a note that’s lower than its

0–127

specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the Tone to sound at all when a note below the keyboard range is played, set this parameter to 0.

C-1–UPPER

Specifies the lowest note that the tone will sound for each part. Specifies the highest note that the tone will sound for each part.

LOWER–G9

* It is not possible to set Lower to a value greater than the Upper value, or Upper

to a value less than the Lower value.

This determines what will happen to the Part’s level when a note that’s higher than its specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the Tone to sound at all when a note above the keyboard range is played, set this parameter to 0.

0–127

Level

Voice Reserve

Receive Channel

0–63, FULL

1–16

Lower

Key Fade Lower value

Upper

Key Fade Upper value

Key number

127

Specifies the number of voices that reserved for each Part when more than 128 voices are played simultaneously. * It is not possible for the settings of all Parts to total an amount greater than 64. [Calculating the Number of Voices Being Used] The number of notes, or “voices,” that the SonicCell can sound simultaneously depends on the number of Tones in the Patches you‘re using and the number of keys being pressed. For example, if you play one note using a Patch that consists of only one Tone, you’ll use up one voice of polyphony. SonicCell Tones may use two Waveforms. If a Patch’s Tone uses two Waveforms, the number of voices it requires is doubled. If two keys are pressed with a Patch that has four Tones, and each Tone uses two Waveforms, a total of sixteen voices are used. This number is obtained by performing the following calculation. Count the number of Tones with two Waveforms and multiply this number by 2. Add the number of Tones that use one Waveform. Multiply this total by the number of keys pressed. The SonicCell can play up to 128 Tones simultaneously. When you’re using the SonicCell multitimbrally, keep this in mind, and adjust your Voice Reserve settings so that each Part is guaranteed at least the minimum number of voices it requires.

Specifies the MIDI receive channel for each part.

Page 72

Using the SonicCell in Performance Mode

Parameter

Receive Switch

Scale Tune

Value Explanation

OFF, ON

For each part, specify whether MIDI messages will be received (ON), or not (OFF). The SonicCell allows you to use temperaments other than equal temperament.

Press [CURSOR/VALUE] to access the Scale Tune screen (p. 72).

Scale Tune settings (Scale Tune screen)

In Performance mode you can specify a different scale tuning for each part.

In the Part Edit screen, select “Scale Tune” and press [CURSOR/VALUE].

The Scale Tune screen will appear.

fig.disp-ScaleTune

Parameter

C, C#, D, Eb, E, F, F#, G, G#, A, Bb, B

Value Explanation

-64–+63

Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch.

Turn [CURSOR/VALUE] to select the key that you want to edit, then press [CURSOR/VALUE].

Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE].

When you’ve finished editing, press [EXIT].

• Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

• Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose.

• Arabian Scale

In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the SonicCell, you can use Arabian temperament in the three keys of G, C and F.

Note name

Equal Temperament

C 0 0 -6

C# 0 -8 +45

D 0 +4 -2

Eb 0 +16 -12

E 0 -14 -51 F 0 -2 -8

F# 0 -10 +43

G 0 +2 -4

G# 0 +14 +47

A 0 -16 0

Bb 0 +14 -10

B 0 -12 -49

Just Temperament (tonic C)

Arabian Scale

Page 73

Using the SonicCell in Performance Mode

Sound Control Initialize

Initializes the values of only the following sound-related parameters for the current performance.

• Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay

When you select “Ctrl Init” from the Performance Menu screen (p. 58), a confirmation message will appear.

If you want to carry out the initialization, select “OK” and press [CURSOR/VALUE].

If you decide not to execute, select “CANCEL” and press [CURSOR/VALUE]. When initialization is completed, you’ll be returned to the previous screen.

Performance Initialize

Initializes the settings of the current performance.

Performance Write

Saves the current performance as user data.

When you select “Write” from the Performance Menu screen (p. 58), the Performance Name screen will appear. In this screen you can assign a name (performance name) of up to twelve characters to the performance you’re saving.

Move the cursor to the location where you want to enter a character, and press [CURSOR/VALUE].

Turn [CURSOR/VALUE] to select the desired character, then press [CURSOR/VALUE] to enter that character.

You can press [MENU] to view convenient functions for text entry. Press [MENU] once again to return to the previous screen.

When you select “Perf Init” from the Performance Menu screen (p. 58), a confirmation message will appear.

If you want to carry out the initialization, select “OK” and press [CURSOR/VALUE].

If you decide not to execute, select “CANCEL” and press [CURSOR/VALUE]. When initialization is completed, you’ll be returned to the previous screen.

Function

INSERT

DELETE

UNDO

Repeat steps 1 and 2 as many times as necessary.

When you’ve finished entering the performance name, move the cursor to “WRITE” and press [CURSOR/VALUE].

The Performance Write screen will appear.

Explanation

Press [CURSOR/VALUE] to insert a space (blank) at the cursor location.

Press [CURSOR/VALUE] to delete the character at the cursor location; subsequent characters will move forward.

Revert to the unedited performance name.

Page 74

Using the SonicCell in Performance Mode

Turn [CURSOR/VALUE] to select the save-destination performance, then press [CURSOR/VALUE].

A confirmation message will appear.

To write the performance into memory, select “OK” and press [CURSOR/VALUE].

If you decide you don’t want to carry out the write, select “CANCEL” and press [CURSOR/VALUE]. Once the data has been written, you’ll be returned to the previous screen.

Page 75

Using the SonicCell in Performance Mode

Editing effects

In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multieffects, the chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect settings of the patch or rhythm set assigned to the part you specify. The three multi-effects can be used independently, or you can connect two or three of them in series.

■

Signal flow...................................................................................................................

MFX Output

Part 16

Part 3

Part 2

Part 1

1 2

4 5

Patch (Rhythm) Output

Patch

(Rhythm)

MFX1

MFX2

MFX3

10 11

8 97

Chorus

Chorus Output

MAIN

REV

Reverb

Output

Reverb

1 5

–

7 9

–

11 12

–

13 14

Make these settings in the Part Edit screen.

: Output Level, : Chorus Send, : Reverb Send, : Output Assign, : Output MFX

2 3 4 5

Make these settings in the MFX1–MFX3 screens.

• Select the multi-effect type and edit the parameters. Make these settings in the MFX1–MFX3 Output screens.

7 8 9

: Output Level, : Chorus Send Level, : Reverb Send Level

Make these settings in the Chorus screen.

• Select the chorus type and edit the parameters. Make these settings in the Chorus Output screen.

11 12

: Output Level, : Output Select

Make these settings in the Reverb screen.

• Select the reverb type and edit the parameters. Make these settings in the Reverb Output screen.

• Output Level

Mastering

Effect

OUTPUT

p. 69

p. 78

p. 79

Page 76

Using the SonicCell in Performance Mode

■

Procedure ....................................................................................................................

From the MIDI INST screen or the Part View screen, press [EFFECTS].

The [EFFECTS] indicator will light, and the Effect Routing screen will appear.

fig.disp-PerformEfxSW01

Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit.

Press [CURSOR/VALUE] to highlight the value.

Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit.

Press [CURSOR/VALUE].

■

Menu screens during effect editing ................................................................................

From the Effect Routing screen, press [MENU] to access the Menu screen. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Effect Routing screen.

If there is a “SELECT” indicator for the value field, you can press [CURSOR/VALUE] to move to the editing screen for that parameter.

Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE].

When you’ve finished editing, press [EXIT].

The Part View screen will appear.

Parameter

FX1–FX3 (MFX1–MFX3)

CHO (Chorus Switch)

REV (Reverb Switch)

MST (Mastering Effect Switch)

CTRL1–CTRL3 (MFX1–3 Control)

Write (Performance Write)

System Utility

Demo Play

SRX Info (SRX Information)

Version (Version Information)

Value Explanation

OFF, ON

Specifies whether MFX 1–3 will be used (ON) or not used (OFF).

Specifies whether chorus will be used (ON) or not used (OFF).

Specifies whether Reverb will be used (ON) or not used (OFF).

Specifies whether Mastering Effect will be used (ON) or not used (OFF).

Make settings for controlling the multi-effects via MIDI. Press [CURSOR/VALUE] to access the MFX 1–3 Control screen (p. 81).

Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73).

Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear.

* For details on how to play the demo songs, refer to p. 15 and p. 168.

Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).

Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

Page 77

Using the SonicCell in Performance Mode

Selecting the item to edit (Effect Routing screen)

Parameter

Part (Part Output)

F1–F3 (MFX1–MFX3)

F1–F3 (MFX1–MFX3 Output)

C (Chorus)

C (Chorus Output)

R (Reverb)

R (Reverb Output)

M (Mastering Effect)

STRCT (MFX Structure)

SRC (Effect Source)

Explanation

Edits the part settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Part Edit screen

(p. 69). Edits the multi-effect 1--3 settings.

Press [CURSOR/VALUE] to access the MFX1–3 screen (p. 78). Edits output-related settings for multi-effects 1–3. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the MFX1–3 Output

screen (p. 78). Edits the chorus settings.

Press [CURSOR/VALUE] to access the Chorus screen (p. 78). Edits output-related settings for chorus. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Chorus Output

screen (p. 79). Edits the reverb settings.

Press [CURSOR/VALUE] to access the Reverb screen (p. 79). Edits output-related settings for reverb. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Reverb Output

screen (p. 79). Edits the mastering effect settings.

Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181). Specifies how MFX 1–3 will be combined.

Press [CURSOR/VALUE] to access the MFX Structure screen (p. 80). Selects how effects will operate.

Press [CURSOR/VALUE] to access the Effect Source screen (p. 80).

If you’ve set MFX3 Location (p. 149) to “Input FX” in the In/Out Routing (p. 144), you won't be able to use MFX3 as a performance effect. In this case, the MFX3 indication in the Effect Routing screen will be as follows.

* MFX3-related settings will be displayed in screens other than the Effect Routing screen, and you'll be able to edit the values,

but this will not affect the performance as long as MFX3 Location is set to Input FX.

Page 78

Using the SonicCell in Performance Mode

Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens)

■

MFX1–3 screens ...........................................................................................................

Parameter

00: THRU–78: SYMRESONANCE (MFX Type)

Parameters for each MFX type

■

MFX1–3 Output screens................................................................................................

Parameter

Output Level

Chorus Send Level

Reverb Send Level

Value Explanation

Selects the types of multi-effects that MFX1--MFX3 will use. Choose “00: THRU” if you don’t want to apply a multi-effect.

Edit the parameters for the selected MFX type. Refer to “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192).

Value Explanation

0–127

Adjusts the volume of the sound that has passed through the multi-effects. If you're applying a multi-effect, this specifies the depth of the multi-effect. If you're not applying a multi-effect, this specifies the volume of the original sound.

Adjusts the amount of chorus for the sound that passes through multi-effects. If you don’t want to add the Chorus effect, set it to “0.’

Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to “0.”

Chorus-related settings (Chorus/Chorus Output screen)

■

Chorus screen...............................................................................................................

Parameter

00: OFF–03: GM2 CHORUS (Chorus Type)

Parameters for each chorus type

Value Explanation

Selects the types of chorus. Choose “00: OFF” if you don’t want to apply a chorus.

Edit the parameters for the selected chorus type. Refer to “Chorus Parameters” (p. 219).

Page 79

Using the SonicCell in Performance Mode

■

Chorus Output screen ...................................................................................................

Parameter

Output Level

Output Select

Value Explanation

0–127

MAIN, REV, M+R

Adjusts the volume of the sound that has passed through chorus. Specifies how the sound routed through chorus will be output.

MAIN: REV: M+R:

Output to the OUTPUT jacks in stereo. Output to reverb in mono. Output to the OUTPUT jacks in stereo, and to reverb in mono.

Reverb-related settings (Reverb/Reverb Output screen)

■

Reverb screen...............................................................................................................

Parameter

00: OFF–03: GM2 REVERB (Chorus Type)

Parameters for each reverb type

■

Reverb Output screen ...................................................................................................

Value Explanation

Selects the types of reverb. Choose “00: OFF” if you don’t want to apply a reverb.

Edit the parameters for the selected reverb type. Refer to “Reverb Parameters” (p. 220).

Parameter

Output Level

Value Explanation

0–127

Adjusts the volume of the sound that has passed through reverb.

Page 80

Using the SonicCell in Performance Mode

Changing how the multi-effects are combined (MFX Structure screen)

Parameter

MFX Structure

Value Explanation

TYPE01– TYPE16

Specify how MFX1–3 will be connected.

Selecting how effects will operate (Effect Source screen)

Parameter

MFX1 Source

MFX2 Source

MFX3 Source

Chorus Source

Reverb Source

Value Explanation

Selects the MFX1 settings that will be used by the performance.

PFM, P1–P16

If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16).

Selects the MFX2 settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16).

Selects the MFX3 settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16).

Selects the chorus settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16).

Selects the reverb settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16).

Page 81

Using the SonicCell in Performance Mode

Using MIDI to control the multi-effects (MFX1–3 Control screens)

Multi-Effects Control

If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the SonicCell’s multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in “Multi-Effects Parameter (MFX1– 3, MFX)” (p. 192), these are indicated by a “#.” The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the Multieffects Control. You can specify up to four controls for each multi-effect MFX 1–3. When the multi-effects control is used, you can select the amount of control (Sens) applied, the parameter selected (Dest), and the MIDI message used (Src).

By using the Matrix Control (p. 95) instead of the Multi-effects Control, you can also change the parameters of some popular multieffects in realtime.

Parameter

Control 1–4 Src (Source)

Control 1–4 Dest (Destination)

Control 1–4 Sens (Sensitivity)

Control Channel

Value Explanation

OFF, CC01–CC31, CC33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4

Refer to “MultiEffects Parameter” (p. 192)

-63–+63

1–16, OFF

Sets the MIDI message used to control the multi-effects parameter with the multieffects control.

OFF:

Multi-effects control will not be used.

CC01–31, 33–95: PITCH BEND: AFTERTOUCH: SYS CTRL1–4:

Sets the multi-effects parameters to be controlled with the multi-effects control. The multi-effects parameters available for control will depend on the multi-effects type.

Sets the amount of the multi-effects control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster, etc.—from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction– i.e., a lower value, toward the left, or slower, etc.—from its current setting, select a negative (-) value. Higher numbers produce a greater amount of change.

This determines the channel that will be used for reception when using the Multieffects Control to modify multi-effects parameters in real time, when the MFX1–3 Src is set to “PFM.” Set this to “OFF” when the Multi-effects Control is not being used.

Controller numbers 1–31, 33–95

Pitch Bend Aftertouch Use the System Control setting (p. 179).

Page 82

Using the SonicCell in Patch Mode

Viewing the Patch Play screen

Press [MIDI INST] so its indicator is lit.

At the same time, the [PART VIEW] indicator will also light, and the Patch Play screen will appear.

fig.disp-PartView-01

* If Sound Mode (p. 84) is set to “Performance,” the MIDI

INST screen (p. 58) will appear. In this case, simultaneously press [MIDI INST] and [PART VIEW] to switch to the Patch screen.

If the patch type is Patch

If in Patch mode you’ve set the current patch type to “Patch,” the following screen will appear.

(1)

(2) (3)

Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit.

Press [CURSOR/VALUE] to highlight the value.

fig.disp-PatchPlay-top02

When you select “LIST” or “PATCH” and press [CURSOR/ VALUE], an editing screen will appear.

Turn [CURSOR/VALUE] to edit the value.

When you’ve finished editing, press [CURSOR/VALUE].

(4)

(5)(

(7)

(8) (9)

Parameter

(1) Patch group

(2)

Patch type

(3)

Current part Patch

(4)

number/name

(5)

Category lock

Patch category

(6)

LIST

(7)

EDIT

(8)

(9)

Preview

Value Explanation

USER, PR-A–PR-G, GM XP-A, XP-B

Patch, Rhythm Part1–Part 16

001–

- - - –CMB

)

Selects the patch group.

USER: PR-A–PR-G: GM: XP-A, XP-B:

* It is not possible to choose XP-A, XP-B unless a wave expansion board is in-

serted in to the corresponding slot. Specifies whether the current part will use a patch or a rhythm set. Selects the part (current part) that will be affected by your operations.

Selects the patch.

Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. If you lock the category, only sounds that are within the category will appear when you select patches.

Switches the category. Press [CURSOR/VALUE] to access the Patch List screen (p. 85, p. 86). Press [CURSOR/VALUE] to access the Patch Edit screen (p. 89).

If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview sound played by that patch.

The system Preview setting (p. 179) lets you specify how the preview will be sounded.

User Preset A–Preset G General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 83

Using the SonicCell in Patch Mode

If the patch type is Rhythm Set

If in Patch mode you’ve set the current patch type to “Rhythm,” the following screen will appear.

fig.disp-PatchPlay-r

(4)

(5)

(1)

(6)

(2) (3)

(7) (8)

Parameter

(1)

Rhythm Set group

(2)

Patch type Patch mode receive

(3)

channel Rhythm Set

(4)

number/name

(5)

Editing key

(6)

LIST

(7)

EDIT

Preview

(8)

Value Explanation

Selects the rhythm set group.

USER:

USER, PRST, GM, XP-A, XP-B

PRST: GM: XP-A, XP-B:

* It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted

in to the corresponding slot.

Patch, Rhythm

1–16

001–

A0–C8

Specifies whether the current part will use a patch or a rhythm set. Specifies the channel of MIDI messages that will be received from an external MIDI

device.

Selects the rhythm set.

Within the currently selected rhythm set, selects the key that you’ll be editing. Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 87). Press [CURSOR/VALUE] to access the Rhythm Edit screen (p. 118).

If you switch the preview icon ( ) to ( ), you’ll be able to hear a preview sound played by that rhythm set.

The system Preview setting (p. 179) lets you specify how the preview will be sounded.

User Preset General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 84

Using the SonicCell in Patch Mode

Viewing the menu screen (Patch Menu screen)

Press [MIDI INST] so its indicator is lit.

The Patch Play screen will appear. If the Sound Mode is set to “Performance,” the MIDI INST screen (p. 58) will appear.

Press [MENU].

The Patch Menu screen will appear. The Patch Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left.

Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit.

Press [CURSOR/VALUE] to access the corresponding screen.

Parameter

Tone Switch 1–4

Snd (Sound) Mode

Patch Init (Patch Initialize)

Write (Patch Write)

System Utility

Demo Play

SRX Info (SRX Information)

Version (Version Information)

Explanation

Used to specify whether tones 1–4 will be used (ON) or not used (OFF). Lets you switch between Patch mode and Performance mode.

Press [CURSOR/VALUE] to access the Sound Mode screen.

Initializes the settings of the current patch (p. 115).

Saves the current patch as user data. Press [CURSOR/VALUE] to access the Patch Name screen (p. 116).

Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear.

* For details on how to play the demo songs, refer to p. 15 and p. 168.

Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).

Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

Switching the sound mode (Sound Mode screen)

If you select “Performance” and press [CURSOR/VALUE],

This specifies the mode of the MIDI sound module. The current mode is highlighted.

the following screen will appear.

Turn [CURSOR/VALUE] to move the cursor, and press [CURSOR/VALUE] to specify the mode.

If you select “Patch” and press [CURSOR/VALUE], one of the following screens will appear depending on the Patch type setting (p. 82, p. 83).

Page 85

Using the SonicCell in Patch Mode

Selecting patches from a patch list

Selecting patches from a patch list by category (Patch List (Ctg) screen)

You can choose the patch from a list that’s arranged by category.

* When the power is turned on, the Patch List (Ctg) screen is selected.

Display the Patch Play screen.

Select “LIST” and press [CURSOR/VALUE].

The Patch List (Ctg) screen will appear.

fig.disp-PatchL-Ctg

* If the Patch List (Grp) screen was displayed last, the Patch

List (Grp) screen will appear. In this case, press [MENU] to access the Group Select screen, select “CATEG LIST,” then press [CURSOR/ VALUE] to access the Patch List (Ctg) screen.

Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Part View screen.

■

Menu screen.................................................................................................................

From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen. Press [MENU] once again to return to the Patch List (Ctg) screen.

Parameter

PNO, KBD, GTR, BAS, ORC, BRS, SYN, VCL, WLD

GROUP LIST

Explanation

Major Classification

PNO: KBD: GTR: BAS: ORC: BRS: SYN: VCL: WLD:

Press [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 86). * Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when you

select “LIST” in the Patch Play screen.

Selecting patches from a patch list by group (Patch List (Grp) screen)

You can choose the patch from a list that’s arranged by group, such as USER or expansion board.

* When the power is turned on, the Patch List (Ctg) screen is selected.

Display the Patch Play screen.

Select “LIST” and press [CURSOR/VALUE].

The Patch List (Ctg) screen will appear.

* If the Patch List (Grp) was displayed last, the Patch List

(Grp) screen will appear. Proceed to step 5.

Press [MENU] to access the Category Select screen.

■

Menu screen.................................................................................................................

From the Patch List (Grp) screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Patch List (Grp) screen.

Choose “GROUP LIST” and press [CURSOR/VALUE].

The Patch List (Grp) screen will appear.

fig.disp-PatchL-Grp

Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Patch Play screen.

Parameter

USR, A–G, GM, EXA, EXB

CATEG (Category) LIST

Explanation

Changes the group and returns to the patch list by group screen.

USR: A–G: GM: EXA, EXB:

* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corre-

sponding slot.

Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 85). * Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when you

select “LIST” in the Patch Play screen.

User Preset A–Preset G General MIDI Wave Expansion Board A, Wave Expansion Board B

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Using the SonicCell in Patch Mode

Selecting a rhythm set from a list (Rhythm Set List screen)

If the patch type is “Rhythm,” you can choose a rhythm set from a list.

Display the Patch Play screen.

Select “LIST” and press [CURSOR/VALUE].

Rhythm Set List screen will appear.

fig.disp-RhythmList

■

Menu screen.................................................................................................................

From the Rhythm Set List screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Rhythm Set List screen.

Turn [CURSOR/VALUE] to select a rhythm set, and press [CURSOR/VALUE].

The patch will change, and you’ll be returned to the Patch Play screen.

Parameter

USR, PRESET, GM, EXA, EXB

Explanation

Changes the group and returns to the patch list by group screen.

USR: PRESET: GM: EXA, EXB:

* It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corre-

sponding slot.

User Preset General MIDI Wave Expansion Board A, Wave Expansion Board B

Page 88

Using the SonicCell in Patch Mode

Editing patches (Patch Edit screen)

Press [MIDI INST].

[MIDI INST] and [PART VIEW] will light, and the Patch Play screen will appear.

Turn [CURSOR/VALUE] to select “PATCH,” then press [CURSOR/VALUE].

The Patch Edit screen will appear.

fig.disp-PatchEdit01

■

Menu screens during patch editing ................................................................................

If you press [MENU] while editing a patch, the menu screen will appear. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left.

Turn [CURSOR/VALUE] to select the item you want to edit, then press [CURSOR/VALUE].

The editing screen for the selected item will appear.

Turn [CURSOR/VALUE] to select the parameter you want to edit, then press [CURSOR/VALUE].

The value of the selected parameter will be highlighted.

Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE].

Parameter

Tone Select 1–4 Tone Switch 1–4

Tone Copy

Patch Init (Patch Initialize)

Write (Patch Write)

System Utility

Demo Play

SRX Info (SRX Information)

Version (Version Information)

Explanation

Changes the current tone (the one targeted for editing), and returns to the previous screen. Used to specify whether tones 1–4 will be used (ON) or not used (OFF). Copies the settings of a patch’s tone to one of the tones of the currently selected patch.

Press [CURSOR/VALUE] to access the Patch Tone Copy screen (p. 115).

Returns the current patch settings to their initial values (p. 115).

Saves the current patch as user data. Press [CURSOR/VALUE] to access the Patch Name screen (p. 116).

Press [CURSOR/VALUE] to access the System screen (p. 176). Press [CURSOR/VALUE] to access the Utility screen (p. 182). When you press [CURSOR/VALUE], the demo song list will appear.

* For details on how to play the demo songs, refer to p. 15 and p. 168.

Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180).

Press [CURSOR/VALUE] to access the System Version Info screen (p. 180).

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Using the SonicCell in Patch Mode

■

Patch Edit screen ..........................................................................................................

The Patch Edit screen is organized as follows. You can turn [CURSOR/VALUE] to the right or left to switch between screens.

Parameter

GENERAL

STRUCTURE

MATRIX CTRL (Control) 1/2/3/4

Tone

WG (Pitch Envelope)

TVF

TVF (TVF Envelope)

TVA

TVA (TVA Envelope)

OUT (Output)

LFO 1/2

LFOS (Step LFO)

TMT (Tone Mix Table)

CTRL (Control)

Value Explanation

Edits overall settings for the entire patch. Press [CURSOR/VALUE] to access the Patch General screen (p. 90).

Selects the combination of tones. Press [CURSOR/VALUE] to access the Patch Structure screen (p. 93).

Specifies matrix control settings. Press [CURSOR/VALUE] to access the Patch Mtrx Ctrl 1/2/3/4 screen (p. 95).

1&2, 3&4

Selects either 1 & 2 or 3 & 4 as the combination of tones that will be shown in the screen.

Edits waveform-related settings. Press [CURSOR/VALUE] to access the Patch WG screen (p. 98).

Edits pitch envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the

Patch Pitch Env screen (p. 101). Edits TVF settings.

Press [CURSOR/VALUE] to access the Patch TVF screen (p. 102). Edits TVF envelope settings.

By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch TVF Env screen (p. 104).

Edits TVA settings. Press [CURSOR/VALUE] to access the Patch TVA screen (p. 105).

Edits TVA envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the

Patch TVA Env screen (p. 107). Edits settings for the patch/tone output.

Press [CURSOR/VALUE] to access the Patch Output screen (p. 108). Edits LFO1,2 settings.

Press [CURSOR/VALUE] to access the Patch LFO 1/2 screen (p. 109). Edits step LFO settings.

Press [CURSOR/VALUE] to access the Patch Step LFO screen (p. 112). Specifies how the tones will be heard.

Press [CURSOR/VALUE] to access the Patch TMT screen (p. 112). Edits controller-related settings.

Press [CURSOR/VALUE] to access the Patch Ctrl screen (p. 114).

* If the Str Type (p. 93) is set to any value other than 1, two screens will be shown for WG–OUT.

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Using the SonicCell in Patch Mode

Overall settings for the entire patch (Patch General screen)

Parameter

Ctg (Category)

Level

Pan

Priority

Octave Shift Coarse Tune

Fine Tune

★

Strech Tune (Strech Tune Depth)

Analog Feel (Analog Feel Depth)

Cutoff Offset

Value Explanation

refer to “Patch Category” (p. 63)

0–127

Specifies the type (category) of the patch.

Specifies the volume of the Patch. * You can specify the level of each Tone in a Patch using the Tone Level (TVA p. 105).

Sets the stereo position of the Patch. L64 pans the Patch all the way to the left, 0 is center and 63R pans it hard right.

L64–63R

* You can specify the pan setting for each Tone in a Patch using the Tone Pan (TVA p. 106). * While each Tone in a Patch has its own Pan position, the Patch pan setting shifts the entire

Patch—including all of its Tones—leftward or rightward

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

LAST, LOUDEST

LAST:

LOUDEST:

-3–+3

-48–+48

-50–+50

Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves). Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves). Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/-50 cents).

★

You can use matrix control to modify this. (p. 95)

This setting allows you to apply “stretched tuning” to the patch. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will produce the greatest difference in the pitch of the low and high ranges. The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle effect on the way in which chords resonate.

OFF, 1–3

Pitch difference from equal temperament

Low note range

Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or

0–127

rustling wind.) By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

Cutoff Offset alters the cutoff frequency of the overall patch, while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Frequency (p.

102).

-63–+63 This value is added to the cutoff frequency value of a tone, so if the cutoff frequency value

of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

The last-played voices will be given priority, and currently sounding notes will be turned off in order, beginning with the first-played note. The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowest-volume voice.

Parameter value

2 1

OFF

1 2 3

OFF

High note range

Page 91

Using the SonicCell in Patch Mode

Parameter

Resonance Offset

Attack Offset (Attack Time Offset)

Release Offset (Release Time Offset)

Velocity Sens (Velocity Sensitivity Offset)

Mono/Poly

Legato Switch

Legato Retriger (Retrigger)

Value Explanation

Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set for each tone in the Resonance (p. 103).

Resonance:

-63–+63

MONO, POLY

OFF, ON

acter to the sound.

This value is added to the resonance value of a tone, so if the resonance value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Attack Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the A-Env Time 1 (p. 107), F-Env Time 1 (p. 105).

Attack Time:

pressed and sound begun.

This value is added to the attack time value of a tone, so if the attack time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Release Offset alters the release time of the overall patch, while preserving the relative differences between the release time values set for each tone in the A-Env Time 4 (p. 107), FEnv Time 4 (p. 105).

Release Time:

This value is added to the release time value of a tone, so if the release time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the Velocity Sensitivity values set for each tone in the parameters below. Cutoff V-Sens (p. 103) Level V-Sens (p. 105)

Velocity:

This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivity value of any tone is already set to “+63” (maximum), positive “+” settings here will not produce any change.

Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is effective when playing a solo instrument patch such as sax or flute.

MONO:

Only the last-played note will sound.

POLY:

This setting specifies whether the Legato Switch will be used (ON) or not (OFF). Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” With the Legato Switch “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is effective when you wish to simulate the hammeringon and pulling-off techniques used by a guitarist.

The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. The Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON.” Normally you will leave this parameter “ON.” When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

emphasizes the overtones in the region of the cutoff frequency, adding char-

The time it takes for a sound to reach maximum volume after the key is

The time from when you take your finger off the key until the sound disappears.

Pressure with which the key is pressed.

Two or more notes can be played simultaneously.

Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.”

Page 92

Using the SonicCell in Patch Mode

Parameter

Porta Sw (Portamento Switch)

Porta Mode (Portamento Mode)

Porta Type (Portamento Type)

Porta Start (Portamento Type)

Value Explanation

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

OFF, ON

Portamento

next-played key. By applying portamento when the Mono/Poly is “MONO,” you can simulate slide performance techniques on a violin or similar instrument.

Specifies the performance conditions for which portamento will be applied.

NORMAL, LEGATO

NORMAL: LEGATO:

Specifies the type of portamento effect.

RATE:

RATE, TIME

PITCH, NOTE

The time it takes will depend on the distance between the two pitches.

TIME:

The time it takes will be constant, regardless of how far apart in pitch the notes are.

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin.

is an effect which smoothly changes the pitch from the first-played key to the

Portamento will always be applied. Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

PITCH:

Starts a new portamento when another key is pressed while the pitch is changing.

Pitch

D4 C4

NOTE:

Portamento will begin anew from the pitch where the current change would end.

Pitch

D4 C4

press C4 key

Porta Time (Portamento Time)

Part Mod Sw

(Part Modulation Depth Switch)

press C5 key

0–127

OFF, ON

press D4 key

Time

press D4 key

press C5 key

press C4 key

Time

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

Specifies whether the part’s modulation depth range setting (the value specified by RPN) will be enabled (ON) or disabled (OFF).

Page 93

Using the SonicCell in Patch Mode

Selecting how tones are combined (Patch Structure screen)

Parameter

Str (Structure) Type 1&2, 3&4

Booster 1&2, 3&4

Type 1

TONE 1 (3)

TONE 2 (4)

Type 2

TONE 1 (3)

TONE 2 (4)

TVA

Type 3

TONE 1 (3)

TONE 2 (4)

TVA TVF

Value Explanation

1–10

0, +6, +12, +18

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each

TVATVF

TVF TVA

tone.

This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two

TVF

TVF TVA

tones.

This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform.

TVF TVA

Determines how Tone 1 and 2, and Tone 3 and 4 are connected. The displayed symbols have the following meanings.

Booster

Ring Modulator

When TYPE05–TYPE10 is selected, the SonicCell can play a maximum of 64 sounds simultaneously.

When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. Higher settings will produce more distortion.

Type 4

TONE 1 (3)

TONE 2 (4)

Type 5

TONE 1 (3)

TONE 2 (4)

Type 6

TONE 1 (3)

TONE 2 (4)

TVA TVF

This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

TVF TVA

This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

TVF TVA

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of

TVF TVA

the ring-modulated sound.

Page 94

Using the SonicCell in Patch Mode

Parameter

Type 7

Value Explanation

This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.

TONE 1 (3)

TONE 2 (4)

Type 8

TVATVF

TVF TVA

This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result.

TONE 1 (3)

TONE 2 (4)

Type 9

TVATVF

TVF TVA

This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of

TONE 1 (3)

TONE 2 (4)

Type 10

TVATVF

TVF TVA

the two tones, adjusting the depth of ring modulator.

This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-

TONE 1 (3)

TONE 2 (4)

TVATVF

TVF TVA

modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the

amount of the ring-modulated sound.

• When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting.

• If you limit the keyboard area in which a tone will sound (Keyboard Range p. 112, p. 113) or limit the range of velocities for which it will sound (Velocity Range p. 113), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

Ring Modulator

A ring modulator multiplies the waveforms of two tones with each other, generating many new overtones (in harmonic partials) which were not present in either waveform. (Unless one of the waveforms is a sine wave, evenly-spaced frequency components will not usually be generated.) As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This function is suitable for creating metallic sounds such as bells.

Booster

Booster level

The Booster is used to distort the incoming signal. In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain (p. 98).

Uses WG1 as LFO

WG1

TVA

Adjusts WG1 output

Booster

WG2

Adds to WG1

Distorted area of the

Waveform changes

WG2

Shift in waveform by WG1

Page 95

Using the SonicCell in Patch Mode

Settings for matrix control (Patch Mtrx Ctrl1–4 screens)

Matrix Control

Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the SonicCell’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a filter. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the “Matrix Control.” Up to four Matrix Controls can be used in a single patch. To use the Matrix Control, specify which MIDI message (Src) will be used to control which parameter (Dest), and how greatly (Sns), and the tone to which the effect is applied (Tone).

Parameter

Src (Control Source)

Value Explanation

Sets the MIDI message used to change the tone parameter with the Matrix Control.

OFF: CC01–31, 33–95: PITCH BEND: AFTERTOUCH: SYS CTRL1–4: VELOCITY: KEYFOLLOW: TEMPO: LFO1: LFO2: PITCH ENV: TVF ENV: TVA ENV:

For more information about Control Change messages, please refer to “MIDI Implementation” (p.

246).

Velocity and Keyfollow correspond to Note messages.

Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches.

• If you want to use common controllers for the entire SonicCell, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–4 are set with the Src1–4 (p. 179).

There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 114). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

• There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 72). When a patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the SonicCell is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function.

Matrix control will not be used.

Controller numbers 1–31, 33–95

Pitch Bend Aftertouch MIDI messages used as common matrix controls. Velocity (pressure you press a key with) Keyfollow (keyboard position with C4 as 0) The system tempo (p. 177) or the tempo of an external MIDI sequencer. LFO 1 LFO 2 Pitch envelope TVF envelope TVA envelope

Page 96

Using the SonicCell in Patch Mode

Parameter

Dest (Control Destination)

Value Explanation

Matrix Control Destination selects the tone parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specified for each Matrix Control, and controlled simultaneously.

In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.”

●

If you’re not using Matrix Control

OFF:

●

Changing the Pitch

PITCH:

●

Opening and Closing the Filter

CUTOFF: RESONANCE:

●

Changing the Volume and Pan

LEVEL: PAN:

●

Changing How the Effects Are Applied

OUTPUT LEVEL: CHORUS SEND: REVERB SEND:

●

Applying LFO to Modulate Sounds

LFO1/LFO2 PCH DEPTH: LFO1/LFO2 TVF DEPTH: LFO1/LFO2 TVA DEPTH: LFO1/LFO2 PAN DEPTH: LFO1/LFO2 RATE:

●

Changing the Pitch Envelope

PIT ENV A-TIME: PIT ENV D-TIME: PIT ENV R-TIME:

●

Changing the TVF Envelope

TVF ENV A-TIME: TVF ENV D-TIME: TVF ENV R-TIME:

●

Changing the TVF Envelope

TVA ENV A-TIME: TVA ENV D-TIME: TVA ENV R-TIME:

●

Splitting Tones That Are Played

TMT

Matrix Control will not be used.

Changes the pitch.

Changes the cutoff frequency. Emphasizes the overtones in the region of the cutoff frequency, adding character to the sound.

Changes the volume level. Changes the pan.

Changes the volume of output levels. Changes the amount of chorus. Changes the amount of reverb.

Changes the vibrato depth. Changes the wah depth. Changes the tremolo depth. Changes the effect that the LFO will have on pan. Changes the LFO cycle rate. Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to “note.”

Changes the Env Time 1 of the pitch envelope. Changes the Env Time 2 and Env Time 3 of the pitch envelope. Changes the Env Time 4 of the pitch envelope.

Changes the Env Time 1 of the TVF envelope. Changes the Env Time 2 and Env Time 3 of the TVF envelope. Changes the Env Time 4 of the TVF envelope.

Changes the Env Time 1 of the TVA envelope. Changes the Env Time 2 and Env Time 3 of the TVA envelope. Changes the Env Time 4 of the TVA envelope.

If the Matrix Control is used to split tones, set the TMT Velo Ctrl (p. 112) to “OFF,” and the TMT Ctrl Switch (p. 112) to “ON.”

• If the Matrix Control is used to split tones, we recommend setting the Sens (p. 97) to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the effect, set the value to “-63.”

• If you want to use matrix control to switch smoothly between tones, use the Velo Fade Lower and Velo Fade Upper (p. 113). The higher the values set, the smoother the switch is between the tones.

Page 97

Using the SonicCell in Patch Mode

Parameter

Value Explanation

Changing the Depth of Frequency Modulation for FXM

●

FXM DEPTH

Changing Specific Multi-Effects Parameters

●

Dest (Control Destination)

MFX CTRL1–4:

Change the parameter that was specified by MFX Control 1–4 Assign

parameter.

If you have not made the necessary settings for using the multi-effect, the multi-effect will not be applied even if you attempt to control it as a Matrix Control destination.

Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select

Sens (Control Sensitivity)

-63–+63

a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the effect.

Matrix Control Tone selects the tone to which the effect is applied when using

Sw1-T1–T4–Sw4-T1–T4 (Tone Control Switch T1–T4)

OFF, ON, REVS

the Matrix Control.

OFF: ON: REVS:

■ Cautions When Selecting a Waveform

The sounds of the SonicCell are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect. The internal waveforms of the SonicCell fall into the following two groups.

One-shot:

These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the SonicCell’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The SonicCell also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

Looped:

These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The SonicCell’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments. The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms.

TVA ENV for looped Organ waveform (sustain portion)

Level

TVA ENV for one-shot Key-click waveform (attack portion)

Resulting TVA ENV change

The effect will not be applied. The effect will be applied. The effect will be applied in reverse.

Cautions When Using a One-shot Waveform

It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesn’t exist, and the envelope would have no effect.

Cautions When Using a Loop Waveform

With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character. For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend.

Level

Tone change stored

with the wave

Envelope

for the TVF filter

Looped portion

Time

Note off

Resulting

tone change

Page 98

Using the SonicCell in Patch Mode

Waveform-related settings (Patch WG/Patch Pitch Env screen)

■

Patch WG screen..........................................................................................................

Parameter

Wave Group

Wave Bank

Wave No. L (MONO)

Wave No. R

Wave Gain

Value Explanation

Selects the group for the waveform that is to be the basis of the tone.

INT:

Waveforms stored in internal memory

EXP:

INT, EXP

A, B

- - -

1–1401

-6, 0, +6, +12

Waveform stored in a Wave Expansion Board (SRX series) installed

in EXP slots.

* It’s not possible to select EXP unless a wave expansion board is inserted

into the corresponding slot.

Selects the wave bank when the wave group is set to “EXP.”

Wave Expansion Board A

Wave Expansion Board B

* When the wave group is set to “INT,” the “- - -” message appears and you

cannot select a wave bank.

* You cannot select a wave bank of a Wave Expansion Board that is not

installed.

Chooses the desired waveform. You can choose a separate waveform for the SonicCell’s left and right channels.

* For mono tones, assign a waveform to the L channel. No sound will be

heard if a waveform is set for only the R channel.

* In the case of a wave from a wave expansion board, the range (number

of waveforms) will depend on the board you've selected.

Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster (p. 94) to distort the waveform’s sound, set this parameter to its maximum value.

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is selected as the sample for a tone.

Wave Tempo Sync

FXM Switch

OFF, ON

If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored.

• When the Wave Tempo Sync is set to “ON,” set the Tone Delay Time (p. 100) to “0.” With other settings, a delay effect will be applied, and you will be not be able to play as you expect.

Phrase Loop

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.”

This sets whether FXM will be used (ON) or not (OFF).

FXM

FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects.

Page 99

Using the SonicCell in Patch Mode

Parameter

Value Explanation

Specifies how FXM will perform frequency modulation.

FXM Color

1–4

Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

FXM Depth

★

0–16

Specifies the depth of the modulation produced by FXM.

★

You can use matrix control to modify this. (p. 95)

Selects the type of tone delay.

Tone Delay

This produces a time delay between the moment a key is pressed (or re-

Tone Delay Mode

NORM:

The tone begins to play after the time specified in the Delay Time parameter has elapsed.

Delay time

NORM, HOLD, OFFN, OFFD

No Tone Delay

leased), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key. You can also synchronize the tone delay time to the tempo of the external MIDI sequencer.

HOLD:

Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is released before the time specified in the Delay Time parameter has elapsed, the tone is not played.

No sound

Delay time

played

Note on

Note off

OFFN:

Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments.

Delay time

Note on

Note off

Note on

OFFD:

Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Note on

Note off

Delay time

Note off

• If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFFN” or “OFFD” may result in no sound being heard.

• If you don’t wish to use Tone Delay, set Tone Delay to “NORM” and Tone Delay Time to “0.”

If the Str Type (p. 93) set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

Page 100

Using the SonicCell in Patch Mode

Parameter

Tone Delay Time

Tone Coarse Tune

Tone Fine Tune

★

Random Pch Dpth (Random Pitch Depth)

Value Explanation

Specifies the time from when the key is pressed (or if the Delay Mode parameter is set to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound. Tone Delay Time specifies the beat length for the synchronized tempo when

the tempo that specifies the elapsed time until the tone is sounded (Patch 0127, Note (* 1)

Tempo) is synchronized with the tempo set in an external MIDI sequencer.

(Example)

For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))

(half note) 1 second (60/60= 1 (second)) (quarter note) 0.5 seconds (60/120= 0.5 (seconds))

(eighth note) 0.25 seconds (60/240= 0.25 (seconds))

Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 oc-

-48–+48

taves).

★

You can use matrix control to modify this. (p. 95)

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50

-50–+50

0–9, 10–90, 100–1200

cents).

* One cent is 1/100th of a semitone.

★

You can use matrix control to modify this. (p. 95)

This specifies the width of random pitch deviation that will occur each time

a key is pressed. If you do not want the pitch to change randomly, set this

to “0.” These values are in units of cents (1/100th of a semitone).

This specifies the amount of pitch change that will occur when you play a

key one octave higher (i.e., 12 keys upward on the keyboard).

If you want the pitch to rise one octave as on a conventional keyboard, set

this to “+100.” If you want the pitch to rise two octaves, set this to “+200.”

Conversely, set this to a negative value if you want the pitch to fall. With a

setting of “0,” all keys will produce the same pitch.

Pitch

+200

+100

Pitch Keyfollow

Bend Range Up

Bend Range Down

*1 Note values

Sixty-fourth-note triplet

Sixteenth note

Whole note

100

-200–+200

0–+48

0– -48

Sixty-fourth note

Eighth-note triplet

Half-note tripletQuarter note

Double-note triplet

Specifies the degree of pitch change in semitones when the Pitch Bend lever

is all the way right. For example, if this parameter is set to “12,” the pitch

will rise one octave when the pitch bend lever is moved to the right-most po-

sition.

Specifies the degree of pitch change in semitones when the Pitch Bend lever

is all the way left. For example if this is set to “-48” and you move the pitch

bend lever all the way to the left, the pitch will fall 4 octaves.

Thirty-second-note triplet

Dotted sixteenth note

Dotted quarter note

Dotted whole note

C4C3C2C1 C5 C6 C7

Thirty-second note

Half note

Double note

+50

-50

-100-200

Sixteenth-note triplet

Whole-note triplet

Key

Dotted thirty-second note

Dotted eighth noteQuarter-note tripletEighth note

Dotted half note

Roland SONICCELL Service Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Main Features

User Guide

Panel Descriptions

Top Panel

Playing the Demo Songs

Rear and Front Panels

Turning the Power On/Off

Basic Operation of the SonicCell

About the display and [CURSOR/VALUE]

Using the SonicCell as a MIDI Sound Module

Playing the SonicCell in Performance Mode

Playing the SonicCell in Patch Mode

Modifying the Sound (editing a patch)

Using the Editor and Librarian

Playback Procedure

Creating a Playlist

Performing via MIDI while a Song Plays

Connecting the SonicCell to Your Computer

Windows XP users

Installing the Driver

Windows Settings

Installing SonicCell Editor

Windows Vista Users

Installing the Driver

Windows Settings

Installing SonicCell Editor

Mac OS X Users

Installing the Driver

Installing SonicCell Editor

Settings

Connecting a Mic

Connecting a Guitar

Using the Line Input

Adjusting the Input Volume

Input Effect Settings

Installing the Wave Expansion Board

Cautions When Installing an Wave Expansion Board

How to Install a Wave Expansion Board

Checking the Installed Wave Expansion Boards

Precautions a prendre lors de l’installation d’une carte d’expansion Wave

Installation d’une carte d’expansion Wave

MIDI Sound Module

Overview

Performance Mode and Patch Mode

How a Patch is structured

How a Performance is structured

How a Rhythm Set is structured

Calculating the Number of Voices Being Used

About the Effects

Effects in Performance Mode

Effects in Patch Mode

About Memory

Temporary Memory

Rewritable Memory

Non-Rewritable memory

Using the SonicCell in Performance Mode

Viewing the MIDI INST (MIDI sound module) screen

Viewing the menu screen (Performance Menu screen)

Switching the sound mode (Sound Mode screen)

Specifying the recommended performance tempo (Performance General screen)

MIDI-related settings (Perform MIDI Filter screen)

Viewing the part settings (Part View screen)

If the patch type is Patch

If the patch type is Rhythm Set

Selecting patches from a patch list by category (Patch List (Ctg) screen)

Selecting patches from a patch list by group (Patch List (Grp) screen)

Selecting a rhythm set from a list (Rhythm Set List screen)

Editing parts (Part Edit screen)

Scale Tune settings (Scale Tune screen)

Sound Control Initialize

Performance Initialize

Performance Write

Editing effects