Roland VS-890 User Manual

Roland

STUDIO WORKS WON

Appendices

Copyright ©2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.

Roland Web Site: http:/ /www.roland.co.jp/

Roland US Web Site: http: / / www.rolandus.com/

Contents

I

J

Contents.........................................................................................................2

About MIDI....................................................................................................3

About SCSI.....................................................................................................4

Troubleshooting............................................................................................5

Error Messages.............................................................................................9

Glossary.......................................................................................................12

Special Key Operations..............................................................................14

Parameter List............................................................................................. 16

Preset Patch List.........................................................................................20

Aigorithm List..............................................................................................25

MIDI Implementation...................................................................................81

Mixer Section Block Diagram...................................................................127

Track Sheet................................................................................................129

Specifications............................................................................................130

Index...........................................................................................................132

About MIDI

This section explains the basic concepts of MIDI, and ho\v the
VS-890 handles MIDI messages.

What is MIDI

МЮ1 stands for Musical Instrument Digital Interface. It is a
worldwide standard that allows electronic musical
instruments and p>ersonal computer to exchange musical
performance data and messages such as sound selections.
Any MIDI-compatible device can transmit musical data (as
appropriate for the type of device) to any other МГО1­compatible device, regardless of its manufacturer or model
type.

MIDI connectors

МГО1 messages (the data handled by MIDI) are transmitted
and received using the following three types of connectors.
On the VS-890, MIDI OUT and МГО1 THRU are handled by a
single connector, which can be switched to act as the desired
connector. (Owner's Manual p. 161)

MIDI IN; This receives МГО1 messages from external

МГО1 devices.

MIDI OUT: This transmits MIDI messages from the

VS-890.

MIDI THRU: This re-transmits all МГО1 messages that were

received at MIDI IN, without modifying them.

MIDI channels

МГО1 is able to send information over a single МГО1 cable
independently to two or more МГО1 devices. This is made
possible by the concept of MIDI channels. You can think of
МГО1 channels as being somewhat similar in function to the
channels on a television. By changing the channel of a TV set,
you can view a variety of programs being transmitted by
different broadcast stations. This is because data is received
only from the transmitter whose channel is selected on the
receiver.

In the same way, a МГО1 device whose receive channel is set

to "1" will receive only the data being transmitted by another

MIDI device whose transmit channel is also set to "1."

MIDI messages

The VS-890 uses the following typ>es of MIDI message.

these messages are used when you use a MIDI sound source
to play the metronome sound.

Program Change messages:

These messages are for the purpose of selecting sounds, and
contain a program number of 1-128, The VS-890 uses these
messages to select scenes and effects. (Owner's Manual p. 172)

Control Change messages:

In general, these messages are used to transmit information
such as vibrato, hold, and volume etc., that makes a
performance more expressive. The various functions are
differentiated by a controller number from 0-127, and the
controller number is defined for each function. The functions
that can be controlled on any given device will depend on
that device.

On the VS-890, these messages are used in a completely
different way than on most instruments; they are used to
control mixer parameters.

Exclusive messages:

Unlike note messages and control change messages,
exclusive messages are used to transmit settings that are
unique to,a particular device. On the VS-890, exclusive
messages can be used to control mixer parameters (in the
same way as control change messages). Normally, control
change messages are easier to handle, so they should be used
rather than exclusive messages. Exclusive messages intended
for different units are distinguished by their Device ID,
rather than by MIDI channel. When exclusive messages are
to be transmitted or received, you must set the Device ID of
both units to a matching setting.

MIDI implementation chart

MIDI allows a variety of electronic musical instruments to
communicate with each other. However it is not necessarily
the case that all devices will be able to communicate using all
types of MIDI message. They can only communicate using
those types of MIDI message that they have in common.

Each owner's manual for a MIDI device includes a MIDI
Implementation Chart. This chart shows you at a glance the
types of MIDI message that can be transmitted and received.
By comparing the implementation charts of two devices, you
will be able to see the types of message with which they will
be able to communicate.

Note messages:

These messages are used to play notes. On a keyboard, these

message transmit the key (note number) that was pressed,
and how strongly it was pressed (velodty). On the VS-890,

About SCSI

SCSI stands for Small Computer System Interface. It is a

data transfer standard that allows large amounts of data to
be sent and received. The VS-890 comes prepared with a
SCSI connectors allowing you to connect external SCSI
devices such as hard disks and Zip drives. This section
describes the procedures and precautions taken when using
these devices.

Disk drives are precision devices. If they are connected or
used incorrectly, not only may they fail to operate correctly,
but the data on the disk can be lost or, in the worst case, the
disk drive itself may be damaged. Please be sure to read the
manual for your disk drive.

A disk drive being used for the first time with the VS-890
must be initialized by the VS-890 (Owner's Manual p. 134).
When a disk drive is initialized, all data on that disk drive is
lost. Before using a disk drive that has been used by another
device, make sure that it is all right to erase the data.

About Connections

Up to 7 disk drives can be connected to the SCSI connector of
the VS-890. Use SCSI cable to connect the disk drives,
connecting as shown below. SCSI connectors are not
distinguished by input and output ends, so you may attach
either end of the cable to the devices. Devices connected in
this fashion are referred to as a SCSI chain or daisy chain.

About Terminators

To protect against return noise, the device at each end of a
SCSI chain must have a terminating resistance. This is
referred to as a terminator. Since the VS-890 is one end of the
SCSI chaia its internal terminator is normally in effect.
Connect a terminator only to the last externa! drive in the
chain. There are two types of terminators, those that can be
switched on and off (internal) and those that are attached
using SCSI connections (externally attached). Select the
method appropriate for the disk drive you are using.

• Your disk drive may feature a terminator switch that is
normally left in the "On" position (i.e., the terminator is
usually in effect). Use this type of device as the last piece
in a daisy chain.

• Do not use double terminators. For example, don't attach
an externa! terminator to a disk drive that already has
and internal terminator.

Active Terminators

If you are using an external terminator, we recommend that
you make it an active terminator. In this case, if you are using
a disk drive that allows you to turn the power to the
terminator on and off, be sure to turn this power on. For
details on attaching an active terminator, refer to the owner's
manual ftrr your disk drive.

Active Terminator (p. 12), Terminator Power (p. 13)

VS-B90

The VS-890 features a DB-25 type connector (female).
After checking your disk drive to see what kind of SCSI
connector it uses, connect it with the appropriate cable.

Keep SCSI cables as short as possible, and use only
cables which have an impedance that is compatible with
the SCSI standard (llOQ + /-10%), and that are
completely shield.

Do not allow the total length of all SCSI cables
connecting the chain of disk drives to exceed 6.5 meters.

Do not connect or disconnect SCSI cables when the
power of any device is turned on.

Disk Drivel

(Zip Drive, etc)

Disk DriveZ

(Zip Drive, etc)

Disk Drive?

(CD-RW Drive, etc)

About SCSI ID Numbers

Each disk drive is distinguished by its SCSI ID number (0-7).
ITiis means that when two or more disk drives are connected,
you must make settings so that the SCSI ID numbers of the
disk drives do not conflict (coincide). If the SCSI ID numbers
conflict, the VS-890 will not be able to correctly recognize the
disk drives.

With the factory settings, the VS-890 is set to SCSI ID number

7. Set the disk drives you are connected to ID numbers other
than 7.

Troubleshooting

When the VS-890 does not perform the way you expect,
check the following points before you suspect a malfunction.
If this does not re.solve the problem, contact servicing by
your dealer or qualified Roland Service Center.

Recording and Playback
No Sound

• The power of the VS-890 and the connected devices is
not turned on.

• The audio cables are not connected correctly.

• The audio cables are broken.

• The volume is turned down on the connected mixer or

amp.

• Each Levels of the VS-890 is turned down.

Channel fader
Master fader
PHONES knob

• The output jacks which are connected are different than

tlie output jacks selected in the master section of the
mixer (Owner's Manual p. 183).

• Short phrases less than 0.5 seconds cannot be played

back.

• The volume level of the instrument connected to

the VS-890 is too low.
—> Could you be using a connection cable that contains

a resistor? Use a connection cable that does not
contain a resistor.

• 1 can't record or play back, even when I press [PLAY].

-> Does the he PLAY indicator just blink green? When
the SYNC MODE fields in the display indicates
"EXT'," the VS-890 is receiving MTC receive standby
messages from the external MIDI device. Operate
the external MIDI device or press

-> When "PoweЮFF/RESTART" appears in the
display it means that the shutdown procedure is
being performed. Hold down [SHIFT] and press

[PLAY (RESTART)]. This restarts the VS-890.

[STOP].

A specific channels does not sound

• The input mixer or the track mixer has not selected
correctly.

• The volume level of the channel is turned down.

-> When switching between the input mixer and track

mixer, recalling Scenes, using Auto Mix, or in other
such situation, the actual volume levels may not
match the position of the faders. In such cases, bring
the faders up or down to match the settings.

• The track is off (the STATUS indicator is off).

• The Mix Send Switch is set to "Off."

• The Solo or Mute function (Owner's Manual p. 174) is
being used.

• "Cntrl Local" is set to "Off."

-> In this case, fader movements have no effect.

Cannot record

• The recording track has not been selected (the STATUS
indicator is not blinking red).

• Recording source tracks, playback tracks, or effects have
not been assigned.

• The disk drive has insufficient capacity.

• The song has an insufficient number of events (Owner's
Manual p. 24).

• The number of tracks which can be simultaneously
recorded will decrease.

When the Sample Rate is selected to "48 kHz," up to
6 tracks can be recorded simultaneously.

When the Vari Pitch is selected to "On," up to 4
tracks can be recorded simultaneously.

Cannot record digitally

• The QI) player's digital connection is not accepted
(Owner's Manual p. 67).

• The master clock is set to "INT" (Chvner's Manual p.

68).

• The DIGITAL IN connector (optical or coaxial) was not
properly selected.

Continued..

Troubleshooting

• The sampling rate of the recording destination song is
different than the sampling rate of the digital audio
device.

-> Match the sample rate setting of the digital audio

device to the setting of the song. If it is not possible
to change the sample rate of the digital audio device,
create a new song with that sample rate.

• The digital signal is not being transmitted from the
digital audio device.

-> Some digital audio devices do not output a digital

signal unless they are in play mode. If this is the
case, put your digital audio device in standby
(pause) mode before putting the VS-890 into record

mode.

• The digital signal format is different.

Some digital audio devices may use a special digital
signal format. Please connect to a digital audio
device that is compatible with S/ P DIF.

Noise and distortion appear in the recorded sound

• Input sensitivity settings are incorrect.
If input sensitivity settings are too high, the

recorded sound will be distorted. Conversely, if they
are too low, the recorded sound will be obscured by
noise. Adjust the INPUT knobs so that the level
meters move at as high a level as possible, within the

range of -12 dB to 0 dB.

• The equalizer is being used with the input mixer.

Some equalizer settings may cause the sound to
distort even if the PEAK indicator does not light.

Readjust the equalizer.

• "ATT" (Attenuator) setting is incorrect. (Owner's

Manual p. 182)

-» If noise or distortion occurred as a result of track
bouncing, the track output levels were too high.

The playback pitch is strange

• The Vari-Pitch function is turned on.

• The time compression/expansion function is being used
(Owner's Manual p. 88).

Disk drive problems

The internal hard disk is not being

recognized

• The hard disk has not been installed correctly (User
Guide p. 5).

• "IDE Drive" is set to "Off" (Owner's Manual p. 194).

• The "Partition" settings are not right (Owner's Manual
p. 134).

When a high-capadty hard disk is installed in the
VS-890, we recommend setting the partition size to
"1000MB."

• Although the Track Erase operation is finished, the
available recording time does not increased.

-» The audio data is erased by Track Cut, Track Erase

or Phrase Delete etc., the data that is no longer
played back is not actually erased from the hard
disk. If you wish to increase the available recording
time, please read "If "Disk Full!" appears in the
di.splay (Song Optimize)" (Owner's Manual p. 122).

The Zip drive is not recognized

• The Zip drive is not connected correctly.

• The same device ID number is assigned to two or more
SCSI devices (Zip drives, CD-RW drives, etc.).

• The Zip drive has not been initialized (Owner's Manual
p. 134).

• No Zip disk is inserted in the drive.

When switching Zip disks, be sure to select the
newly inserted disk as the current drive.

• An archives copy Zip disk is inserted.

-> Playable copies £ind archives copies have different

disk formats. Take precautions such as sticking
labels on disks saved as archive type data disks to
distinguish the from other disks.

• The VS-890 song data saved on Zip disks cannot use the
computer's internal Zip drive.

-* The VS-890 song data format is particular to the VS-

890. Other than the other VS-series data ported
(Song Export) to the VS-890, the data cannot be
handled by other devices.

• Initialization is cancelled, with error messages such as

"Medium Error," "Not 512 bytes/sector," "Function
Failed!" or other messages appearing in the display

The Zip disk may scratched or be otherwise

damaged. Try another (new) disk to check whether

or not the same condition reappears.

-> The Zip drive may be broken. Connect the Zip drive
to a device other than the VS-890 (e.g., your
computer) to see if the drive can initialize disks, read
files, and perform other operations normally.

Troubleshooting

Internal Effects
Effects cannot be used

• You are attempting to select the algorithm for Reverb,
Gated Reverb, Vocoder 2, Voice Transformer or
Mastering Tool Kit with FX2.

• You are already attempting to select the algorithm for
Vocoder 2, Voice Transformer or Mastering Tool Kit
with FXl (Owner's Manual p. 119).

• I'd like to change the order of an effect algorithm.

The connection orders cannot be altered. They can
only be turned on or off. For more detailed
information on what goes on with the algorithm
orders, please refer to the "Algorithm List" (p. 25).

CD-RW Drive Problems
I made an audio CD on the CD-R/RW

drive, but it doesn't play on a
consumer CD player.

• The finalized process was not carried out. When making
audio CDs, set "Finalize" to "On" or "OnlyFin."
(Owner's Manual p. 143).

• Audio CD's created using a CD-RW disc cannot be

played on a conventional CD player. Please use a CD-R
disc.

The CD-R drive is not being recognized

• The CD-RW drive is not connected correctly.

• The same device ID number is assigned to two or more

SCSI devices (Zip drives, CD-RW drives, etc.).

• No CD-R/RW disc is iaserted in the drive.

• A CD-RW drive that is not designated by Roland.

Cannot write to CD-R discs

• The song's sample rate is set to something other than

44.1 kHz (Owner's Manual p. 143).

• No IDE hard disk is installed.

• The internal IDE hard disk does not have sufficient free

disk space.

• The CD-R disc does not have sufficient free space.

• You are trying to write to a commercial CD software

disc.

• You are trying to write to a CD-R disc that has been

finalized.

MIDI Devices Problems
With the VS-890 as master, the MIDI

sequencer does not respond to
commands

• The МГО1 cable is not connected correctly.

• The MIDI cable is broken.

• The МГО1 Thru switch is not set to "Out" (Owner's
Manual p. 160).

• "Sync Gen." (the sync generator) is not set to the
appropriate synchronization method (MTC, MIDI Clock,
Sync Track) (Owner's Manual p. 160).

• The SYNC MODE fields in the display indicates "EXT."
("Sync Source" is set to "EXT").

• The two devices are not set to the same t)?pe of MTC
(during MTC synchronization).

• The MIDI clock data has not been recorded on the sync
track (if you arc using the sync track for
synchronization).

• The settings of the MIDI sequencer are not correct.

• The MIDI sequencer is not ready to playback.

• The VS-890 mixer level and pan settings changed by
themselves.

-> The VS-890 receives Control Change messages as

well as System Exclusive messages. When set to
receive Control Change messages transmitted by a
MIDI sequencer, the VS-890's mixer can be
controlled by external devices. When this feature is
not needed, set the "Control Type" to "Off."

When synchronizing using a MIDI
sequencer as the master, the VS-890
does not respond to the sequencer
messages

• The MIDI cable is not connected correctly.

• The MIDI cable is broken.

• You are trying to synchronize using the MIDI clock.

The VS-890 cannot be run in slave mode using a
method other than MTC.

• The SYNC MODE fields in the display indicates "INT."
("Sync Source" is set to "INT").

• The two devices are not set to the same typ)e of MTC
(during ^ГГC synchronization).

• The settings of the MIDI sequencer are not correct.

• The VS-890 is not in playback standby mode (with the
PLAY indicator blinking).

• MFC reception is in poor condition.

-> Setting the Sync Error Level to "5" or higher may

improve conditions.

Troubleshooting

With о vídeo device os the master, the VS-890 does not respond

• The cable connected to the L-connector, the SYSTEM E
connector or the MIDI cable is not properly connected.

• 1’he MIDI cable is broken.

• The SYNC MODE in the display indicates "EXT."
("Sync Source" is set to "INT").

• "Sy.sEX.Rx." (System Exclusive Receive Switch) is not set
to "On."

• "MMC" (MMC mode) is not set to "SLAVE."

• The MTC frame rate of the video device differs from that

of the S1-80SP (Roland Video MIDI Sync Interface), or the

video and the VS-890 are not set to the same type of
MTC.

• MTC reception is in poor condition.

Setting the Sync Error Level to "5" or higher may
improve conditions.

Other problems
Data on the disk drive was not saved

properly

• The VS-890's power was turned off without performing
the shutdown process.

• The power was turned off while the disk drive was

operating.

• A strong shock was applied to the disk drive.

• The disk drive or SCSI cable was connected or

disconnected while the power was still turned on.

Reinitialize the disk drive (and also execute physical
formatting) (Owner's Manual p. 134). Also, we
recommend that you execute Surface Scan as well
(Owner's Manual p. 135).

8

Error Messages

Aborted Command!
Illegal Request!

This disk drive cannot be used by the VS-890.

Already Selected

The currently selected disk drive was selected. If you wish to
switch to another disk drive, re-select the disk drive.

Arbitration Failed!
Busy Status!
Check Condition!
Status Error!

Normal communication with the disk drive could not be
accomplished. Make sure that the disk drive is connected
correctly.

Blank Disc

You have tried to run the CD player function using a disc
that has no performance data on it. Insert a commercial CD
or CD-R/RW with material already recorded on it.

Can't Communicate!
Drive Time Out!
Message Error!
Phase Mismatch!
Undefined Sense!
Drive Unknov/n Error!

There is a problem with the connections to the disk drive.
Make sure that the disk drive is connected correctly.

Can't REC CD !

With the factory setting, digital connections cannot be made
with a CD player. Please read 'To Recording Digital Signals"
(User Guide p. 36).

Can't Recover

The drive check Recover procedure could not be executed
because there was insufficient free space on the disk. Delete
unneeded songs. Alternatively, perform the Song Optimize
procedure.

Can't Set Marker

No more than two track number mark points can be set
within a four-second interval.

Complete

The operation ended normally.

Change Int CLK ?

No digital signal is being received at the DIGITAL IN
connector. Select whether or not to switch the sample rate
reference dock to the internal clock. Pressing [ENT/YES]
switches the VS-890 to the internal clock. After checking to
make sure that all digital devices are properly connected and
those sample rates for all devices match, carry out the
operation once more.

Digital in Lock

The sample rate reference dock is set to the digital signal
coming from the DIGPrAL IN connedor. You can record
using the digital connection.

Digital In Unlock

The digital signal is not being input through the DIGITAL IN
connector, or the sample rate set for the song and the sample
rate of the digital device conneded to the DIGITAL IN
connedor are different. In this state, you cannot record using
the digital connedion.

The sample rate spedficd for the song is different than the

sample rate of the digital device connected to the DIGITAL
IN connedor. Press
both devices to match.

[ENT/YES], and set the sample rates of

Disk Memory Full!

There is insufficient free area on the disk. Erase unneeded

data. Or, seled a different disk drive. The maximum number
of songs that can be recorded on one partition (200) has been
exceeded. Delete unneeded songs. Or, seled a different disk
drive.

Drive Busy!

If this message appears when you first begin using a disk
drive with the VS-8W, the disk drive is not fast enough.
When using this disk, create a new song with a lower sample
rate or recording mode, and record using this song.

If this message appears after you have been using the disk
drive with the VS-890, the data on the disk drive has become
fragmented, causing delays in reading and writing data.
Either use the track boundng operation to re-record playback
data to another track, or use the optimize operation. If the
same message appears even after these measures have been
taken, copy the song data to another disk drive and initialize
the disk drive that produced the problem.

Event Memory Full!

The VS-890 has used up all the events that can be handled by

one song. Delete unneeded auto mix data. Alternatively,
perform the Song Optimize operation.

Error Messages

Finalized CD !

This message appears when an attempt is made to write to a
commercial CD or a finalized CD-R disc. Replace the disc
with a blank disc or one that has not been finalized.

Illegal Track Pair!

You are trying to Track Edit (Copy, Move, or Exchange etc.)
between a V-track that has been recorded with "CDR"
(Recording Mode or CDRRecMode) and a normcd
V-track. Please select the source and the destination V-tracks
again.

Function Failed

Processing was halted due to insufficient memory or due to
an error which occurred in the disk drive itself. Check
connections and reliability.

Hardware Error!

There is a problem with the disk drive. Contact the
manufacturer or dealer of the disk drive.

illegal Track!

You are trying to Phase New between a V-track (take) that

has been recorded with "CDR" (Recording Mode or

CDRRecMode) and a normal V-track (take). Please select the

source and the destination V-tracks again.

Lack of CD-R Memory!

There is insufficient free space to write the songs to the CD­R/RWdisc.

Lack of EVENT !!

You have tried to UNDO or REDO when the remaining
number of Event is less than 200. You cannot continue the
current operation.

Lack of IDE Memory!

There is insufficient free space on the internal IDE hard disk
to make the image data file.

MARKER Memory Full!

The VS-890 has used up all Marker Memory (1000 Markers)

that can be handled by one song. Delete unneeded Marker.

Medium Error!

There is a problem with the disk drive media. This disk

cannot be used by the VS-890. In some case's recovery can be
achieved by executing Drive Check.

No CD-R Drive !

Either no CD recorder (CD-R/RW drive) is connected, or the
power is not turned on.

No Data to Write

The track that you have selected to write to CD-R/RW disc
contains no song data.

No Disc

There is no di.sc in the Roland CD recorder (CD-R/RW
drive). Please insert a disc.

No Drive Ready

No disk drive is connected. Or, an internal hard disk is not
installed. Make sure that the disk drive is connected
correctly.

No IDE Drive !

The unit has no IDE-type disk drive. Install an internal hard

disk.

Not 44.1 k Song !

The sample rate of the song is not 44.1 kHz, so the data

cannot be written to the CD-R/RW disc.

Not 512byte/sector

The disk that you are using is not 512 bytes/sector. This disk

cannot be used by the VS-890.

Not Ready!

The disk drive is not ready. Wait a short time.

Obey Copyrights ?

This message asks if you agree to the terms and conditions

regarding the reproduction, broadcast, and sale of the
software. Please carefully read the License Agreement.

Please Insert CD-R Disc !

Either the Roland CD recorder (CD-R/RW drive) loading
tray is still open, there is no CD-R/RW disc loaded, or the
CD-R/RW drive is otherwise not ready. Insert CD-R/RW
disc.

Please Wait...

Operation is in progress. Please wait momentarily.

SCSI ID Error!

The SCSI ID numbers of two or more disk drives are
conflicting. Make settings so that the SCSI ID numbers do not
conflict.

SPC Not Available!

The SCSI components of the VS-890 have malfunctioned.
Contact servicing by your dealer or qualified Roland service
personnel.

10

Song Protected!

Since Song Protect is ON, the operation cannot be executed.

TOC Read Error!

An error occurred in reading from the CD-R/RW disc. There
is a problem with the Roland QD recorder (CD-R/RW drive)
or the CD-R/RW disc.

Too Many Markers!

You have tried to set track, number mark points in excess of
the maximum (98) you can set for one CD.

Unformatted!

The disk drive has not been initialized by the VS-890.

Initialize the disk drive.

If this appears for a disk drive that has been initialized by the
VS-890, there is a problem with the connections to the disk
drive. Make sure that the disk drive is connected correctly.

User Aborted!

The procedure has canceled by pressing [EXiT/NO].

Error Messages

Write Another ?

Writing to the disc is complete. Select whether or not you

want to write the same data to a new disc. Press [YES] or

[NO].

Write Protected!

The disk drive is protected.

11

Glossary

Active Terminator

A type of terniinator (a terminating resistance) place at each
end of a SCSI chain. A new addition to SCSI-2 specifications,
compared with ordinary terminators, it provides greater
operating stability for SCSI devices, thus improving signal
transmission performance.

CD-R

Short for Compact Disc Recordable. This is a system for
reading and writing discs in the seme format as that used for
CDs (CD-ROMs and music CDs). A specialized CD-R drive
allows one-time only writing of discs.

However, as long as the data has not been finalized and there
is sufficient capacity remaining on the disc, the CD-R drive
can be used for multiple additions to, and changes in the
material.

Sometimes they are referred to as "Write Once CD," "CD­Write Once," or something similar.

CD-RW

Short for Compact Disc Rewritable. This is a system
allowing creation of discs that can be read using the same
format as regular CDs (CD-ROMs and Music CDs). While
resembling the CD-R system in that it uses a special CD-RW
drive, these discs can be rewritten any number of times.

COSM

Stands for Composite Object Sound Modeling. This is "a
technology which combines multiple sound models to create
new sounds," which was first used on the Roland's VG-8 V­Guitar System. For example, .sounds created on the VG-8 are
the result of a variety of sound models (elements) such as the
pickup, the body of the guitar, the guitar amp, mic, and
speaker etc.

Current Song

The song currently being recorded, played back, or edited is

referred to as the current song.

DAT

Short for Digital Audio Tape. This refers both to the system
of recording digitized sound to magnetic tape, as well as to
the tapes themselves. Besides digital audio signals, all song
information is recorded on the tape, including starts and
track data, information to allow or prevent copying, etc.

Formants

A formant is an important element which determine the
character of a vocal sound. It is a fixed overtone whose
location is determined by the size of the vocal chords.

Conventional pitch shifters modify the pitch in a way that
changes even the location of the formants (which by nature
do not change). For example when a conventional pitch
shifter raises the pitch, a "duck voice" is produced as if the
vocal chords had shrunk, and when the pitch is lowered a
"giant voice" is produced as if the vocal chords had
expanded.

The Voice Transformer modifies the basic pitch and the

formant separately, allowing a variety of voice characters to

be created.

Frame

Similar to the individual frames in a roll of movie film, the
numerous still pictures that are displayed in rapid succession

to create a moving video image are also known as "frames."

About thirty of these frames are shown each second. When

hard disk recorders, sequencers, and other such equipment
are synchronized with video, it is generally assumed that

there should be one frame every 1 / 30th of a second.

GPi

GPI stands for General Purpose Interface. This is a control
jack provided on professional and consumer video devices

such as video editors and title superimpoters. By connecting
this control jack to the foot sw'itch jack of the VS-890 and
setting die Foot Switch Assign to "GPI," the connected
device will be able to playback/stop the VS-890.

IDE

IDE stands for Integrated Device and Electronics. This is
the standard data transmission method used by the hard disk

drives of recent personal computers. The HDP88 series hard

disk drives (sold separately) that can be installed in the
VS-890 are IDE compatible.

MMC

MMC is an acronym for MIDI Machine Control. This is rule

that defines how MIDI system exclusive message can be used

to control multiple recording devices from a single device.
The VS-890 supports MMC. In addition to song playback,

stop and fast-forward, you can also select the tracks for

recording, etc.

Finalize

This is the operation that writes the TOC to a prepared audio

disc. Whereas additions and changes can be made to discs
that have not yet been finalized, such discs are not playable
on regular CD players.

12

MTC

MTC stands for MIDI Time Code. This is a group of

messages which are transmitted and received between МГО1

devices to synchronize their operation. Unlike MIDI Clock

messages, MTC specifies an absolute time. Like SMPTE time

code, MTC also supports a variety of frame rates. If you wish

to use MTC to synchronize the operation of two devices, both

devices must be set to the same frame rate.

Glossary

NTSC Format

Color television format used in Japan, the United States, and
other countries. Tapes recorded in the NTSC format cannot
be played back on video decks utilizing the SECAM/PAL
formats.

R-BUS

Roland's digital communication specification developed to
allow audio and control data to be exchanged between
devices. Multi-channel audio signals, word clock, and MIDI­compatible operation data and synchronization signals can
be exchanged. A single R-BUS connector allows
simultaneous bi-directional transfer of eight channels of
digital audio data. The connector is a DB-25 type, and uses a

special cable for connections. It should NOT be connected to
other types of ports that use similar connectors!
The VS-890 is NOT provided the R-BUS connector.

Removable Disk Drives

Disk drives that have been able to remove the disk, such as a
Zip drive, arc referred to as the "removable disk drives."

RSS

RSS stands for Roland Sound System. This is an effect
which allows a sound source to be placed in three­dimensional space when played back on a conventional
stereo system. The sound can be placed not only in front of
the listener, but also directly to the side, above, below, and
behind the listener.

S/P DIF

S/P DIF stands for Sony/Philips Digital Interface Format.
This is a specifications for transmitting and receiving stereo
digital audio signals between digital audio devices.
The VS-890 provides coaxial connectors which support S/P
DIF.

SCMS

SCMS stands for Serial Copy Management System. This is
a function that protects the rights of copyright holders by
prohibiting recording via a digital connection for more than
two generations. When digital connections are made
between digital recorders that implement this function,
SCMS data will be recorded along with the audio data.
Digital audio data which contains this SCMS data cannot
again be recorded via a digital connection.

SECAM Formaf's/PAL Formats

Color television formats used in Europe and other areas.
Tapes recorded in the SECAM or PAL formats cannot be
played back on video decks designed for the NTSC format.

Shutdown

In order to turn the power off safely, you must first make
sure that the performance has been saved to hard disk, and
that the hard disk heads are parked. This procedure is
referred to as Shutdown.

SMPTE time code

This is a signal format defined by the American organization
SMPTE (Society of Motion Picture and Television Engineers)
which is used to synchronize the operation of video or audio
devices. SMPTE specifies "hours:minutes:seconds;frames" to
indicate the address of each frame of a video image. For this
reason, there are a variety of frame rates.

Terminator Power

This refers to the power supplied to external type active
terminators.

TOC

Short for Table of Contents. This is the region on the CD-R
disc that handles information such as song times, end times,
sequence, and so on. Although the songs on a disc and their
playing time can be displayed when an audio CD is placed in
a CD player, this is because they can be read automatically
from the TOC. The TOC is recorded differently than music
data, with its main characteristic being disc access, such as
the ability to go to the start of any song instantly.

Track Minufes

The amount of available recording time that is called for a
standard unit corresponding to the time of one continuous
monaural signal recorded to one track.

Zip Drive

A magnetic disk drive format standardized by Iomega
Corporation. Disks that can be used for reading and writing
data with Zip drives are call Zip disks. Similar to 3.5-inch
floppy disks in size and usage, one Zip disk can store 100 MB
of data.

SCSI

SCSI stands for Small Computer System Interface. This is a
data transmission method that can transmit large amounts of
data in a short time. Since the VS-890 has a SCSI connector,
external SCSI devices such as hard disks or removable disk
drive etc. can be connected.

13

Special Key Operations

Here is a list of the functions that can be performed by pressing multiple buttons, or using the

TIME/VALUE dial in conjunction with a button.

SELECT/CH EDIT buttons

[SHIFT] + [Assign (SELECT 1)]:
[SHIFT] + [V.Track (SELECT 2)]:
[SHIFT] + [EQ Low (SELECT 3)]:

[SHIFT] + [EQ Mid (SELECT 4)]:

[SHIFT] + [EQ Hi (SELECT 5)]:

[SHIFT] + [AUX Send (SELECT 6)]:
[SHIFT] + [EFFECT-1 (SELECT 7)]:
[SHIFT] + [EFFECT-2 (SELECT 8)]:

To the Assign setting page (Track Mixer)
To the V-track setting page (Track Mixer)
To the Equalizer low gain/Frequency setting page
(When EQ Sw is On)
To the Equalizer mid gain setting page
(When EQ Sw is On, using 3bandEQ)
To the Equalizer high gain/Frequency setting page
(WhenEQSwisOn)
To the AUX switch setting page
To the Effect 1 switch setting page
To the Effect 2 switch setting page

[STATUS] + SELECT buttons:
[STATUS] + SELECT buttons:

[STATUS] + SELECT buttons:

[AUTOMIX] + SELECT buttons:

[SHIFT] + [SOLO (EZ ROUTING)]:
[SHIFT] + [EDIT (FADER)]:

EDIT CONDITION buttons

[SHIFT] + [SYSTEM]:
[SHIFT] + [SONG]:
[SHIFT] + [EFFECT]:

I

Transport Control buttons

[SHIFT] + [STORE (ZERO)]:
[SHIFT] + [SONG TOP (REW)]:
[SHIFT] + [SONG END (FF)]:
[SHIFT] + [SHUT/EJECT (STOP)]:
[SHIFT] + [RESTART (PLAY)]:
[REC] + [STATUS];
[STOP] + [STATUS]:

Select source to be recorded on the track (Input Mixer)
Select track to be recorded on the track
(Track Mixer; Track bouncing)
Select effect return and stereo in to be recorded on the track (Effect
Return Mixer)
Select whether auto-mix will be recorded / pi ayed / ignored for
each channel (when Automix is On)
Solo mode on/off
To the Master block setting page

Switch the sync source
Display various information about the song (Play condition)
Switch between the effect select page, effect name page, and effect
on/off page (Effect condition)

Store song data to the disk drive

Move to the time where the first sound of the song is recorded
Move to the time where the last sound of the song is recorded
Shut down

Restart (after shut down)
Switch the track status to REC (STATUS indicator blinks red)
Switch the track status to PLAY (STATUS indicator lights green)

14

LOCATOR buttons

[SHIFT] + LOC buttons ([1/5H4/8]):
[CLEARr+ LOC buttons ([1/SH4/8]):
[SHIFT] + [CLEAR] + LOC buttons ([1/5H4/8]):
[CLEAR] + [TAP]:
[CLEAR] + [SHIFT] + [TAP] [YES]:
[CD-RW (MASTERING)] + [TAP]:
[CD-RW (MASTERING)] + [PREVIOUS ]:
[CD-RW (MASTERING)] + [NEXT ►! ]:
[LOCATOR] + [LOC1/5]4LOC4/8]:
[TRACK] + [START (LOC1/5)]:
[TRACK] + [FROM (LOC2/6)]:

[TRACK] + [END (LOC3/7)]:

[TRACK] + [TO (LOC4/8)]:
[SHIFT] + [TAP]:

AUTOMiX buttons

[AUTOMIX] + [TAP]:
[AUTOMIX] + [PREVIOUS ]:

[AUTOMIX] + [NEXT ►! ]:
[AUTOMIX] + [REC]:

Special Key OperaHons

Register a locator 5-8
Clear the setting of a locator W
Clear the setting of a locator 5-8
Erase marker
Erase all markers
Register a marker for audio CD track number
Move to the previous track number marker
Move to the next track number marker
Switch locate banks
Enter the current time as track edit "St" (start point)
Enter the current time as track edit "Frm"
(from point)
Enter the current time as track edit "End"

(end point)
Enter the current time as track edit "To" (to point)
To the Tempo Map setting page

Execute Snapshot (when Automix is On)
Gradation to mixer setting of previous marker
(when Automix is On)
Gradation to mixer setting of next marker (when Automix is On)
Automix Realtime recording (when Automix is On)

Other

[SHIFT] + [DISPLAY (PLAY)]:
[SHIFT] + [AUTOMIX]:
[SHIFT] + [REDO (UNDO)]:
[SHIFT] + [NUMERICS (SCENE)]:

[SHIFT] + [SCRUB]:
[SHIFT] + [TO]:
[SHIFT] + [FROM]:
[SHIFT] + CURSOR [ ◄ ]:
[SHIFT] + CURSOR [ ► ]:
[SHIFT] + PARAMETER [ ]:
[SHIFT] + PARAMETER [ ]:
[TO] + [FROM]:
STATUS buttons -I- [CLEAR]:
[PLAY] + TIME/VALUE dial:
[PLAY (DISPLAY)] + [SCENE]:

[SHIFT] + TIME/VALUE dial:

Switch the bar display
Vari pitch On/Off
Execute Redo (when UNDO indicator lights)
Numerics function On/Off

To the Scrub length setting page
To the Preview length setting page
To the Preview length setting page
When modifying the time, move the cursor left
When modifying the time, move the cursor right
Select previous effect parameter (Effect edit condition)
Select next effect parameter (Effect edit condition)
Execute preview thru
Cancel all routing
Adjust the Display contrast
Transmit the condition of the mixer as MIDI data from the MIDI
OUT connector
Modify the value at 10 times the usual speed
In Play condition, move the current time in 10-frame units
In Play condition when an " is displayed at the beginning of the
time code display, move the current time in units of approximately
1/100 frame

15

Parameter List

Input Mixer— Press [FADER (EDIT)] to let the FADER indicator lights orange.

Parameter name

Attenuator
Phase Phase

Mix Switch
Offset Level Ofs Level
Mix Level MIX Level
Offset Balance
Mix Pan/Balance
Equalizer Switch
Equalizer Low Gain
Equalizer Low Frequency EQL
Equalizer Mid Gain
Equalizer Mid Q EQMQ
Equalizer Mid Frequency EQMF
Equalizer High Gain
Equalizer High Frequency EQH
AUX Switch AUX Sw
AUX Level
AUX Pan/Balanee
Channel Link Channel Link
Fader Link
Effect 1 Insert Switch
Effect 1 Insert Send Level FXl InsSend
Effect 1 Insert Return Level FXl InsRtn
Effect 1 Send Sultch EFFECTl
Effect 1 Send Level
Effect 1 Pan/Balance
Effect 2 Insert Switch
Effect 2 Insert Send Level FX2 InsSend
Effect 2 Insert Return Level FX2 InsRtn
Effect 2 Send Switch EFFECT2
Effect 2 Send Level EFFECT2 Send
Effect 2 Pan/ Balance

Display

ATT

MIXSw

OfsBal L63-0-R63 (*2)
MIX Pan/MIX Bal
EQ Switch
EQL

EQM

EQH -12-0-12 dB (*10)

AUX Level
AUX Pan/AUX Bal L63-0-R63 (*3) (*7)

Fader Link
FXl Ins

EFFECri Send 0-100-127 (*8)
EFFECTl Pan/Bal
FX2Ins

EFFECT2 Pan/Bal

Value, Initial value

-12-0-+12 dB

NRM, INV

Off, On
0-100-127 (*1)
0-100-127

L63-0-R63 (*3)
Off, On (*10)

-12-0-12 dB(*10)
40 Hz-300 Hz-1.5 kHz (*10)

-12-0-12 dB (*4) (*10)

0.5-16 (*4) (*10)
200 Hz-1.4 kHz-8 kHz C‘4) (*10)

500 Hz-4 kHz-18 kHz (*10)

Off, PreFade, PstFade

0-100-127 (*7)

Off, On
Off, On
Off, Insert, InsertL, InsertR, Inserts

0-127 dB(*5)
0-127 dB(*5)

Off, Prefade, PstFade

U3-0-R63(*3)(*8)

Off, Insert, InsertL, InsertR, Inserts

0-127 dB (*6)
0-127 dB (*6)

Off, PreFade, PstFade

0-100-127 (*9)
L63-0-R63 (*3) (*9)

*I Valid when Channel Link or Fader Link is "On."

*2 Valid when Channel Link is "On."
*3 If Channel Link is On, the "Pan" parameter will change to the balance parameter.
*4 Valid when Master Block Equalizer Select is "3 Band EQ."
*5 Valid when Effect 1 Insert Switch is except "Off."
*6 Valid when Effect 2 Insert Switch is except "Off."
*7 Valid when AUX Switch is except "Off."
*8 Valid when Effect 1 Send Switch is except "Off."
*9 Valid when Effect 2 Send Switch is except "Off."
*10 Valid when Record Mode is except "VSR."

Track Mixer — Press [FADER (EDIT)] to let the FADER indicator lights green.

Parameter name Display Value, Initial value

A.ssign
Attenuator ATT -12-0-+12 dB
Phase
Mix Switch MIXSw Off, On
Offset Lev'el Ofs Level 0-100-127
Mix Level
Offset Balance
Mix Pan/Balance
V-Track V.Track 1-8
Equalizer Switch EQ Switch
Equalizer Low Gain EQL -12-0-12 dB(*ll)
Equalizer Low Frequency EQL
Equalizer Mid Gain
Equalizer Mid Q EQMQ
Equalizer Mid Frequency EQMF
Equalizer High Gain
Equalizer High Frequency EQH 500 Hz-4 kHz-18 kHz (*11)

Assign *** Off, On (*1)

Phase

MIX Level
OfsBal
MIX Pan/MIX Bal

EQM -12-0-12 dB(*5) (*11)

EQH

NRM, IN\'

0-100-127
L63-0-R63 (*3)
L63-0-R63 (*4)

Off, On (*11)

40 Hz-300 Hz-1.5 kHz (*11)

0.5-16 (*5) (*11)
200 Hz-1.4 kHz-8 kHz (*5) (*11)

-12-0-12 dBCll)

16

Parameter name Display Value, Initial value

AUX Switch AUX Sw
AUX Level AUX Level 0-100-127 (*8)

AUX Pan/Balance
channel Link Channel Link
Fader Link
Effect 1 Insert Switch
Effect 1 Insert Send Level FXl InsSend
Effect 1 Insert Return Level FXl InsRtn
Effect 1 Send Switcli
Effect 1 Send Level EFFECTl Send
Effect 1 Pan/Balance
Effect 2 Insert Switch FX2Ins
Effect 2 Insert Send Level FX2 InsSend
Effect 2 Insert Return Level FX2 InsRtn
Effect 2 Send Switch EFFECT2
Effect 2 Send Level EFFECT2Send
Effect 2 Pan/Balance EFFECT2Pan/Bal

n *"=1N1-IN8, TR1-TR8, FXl, FX2, Stin
*2 Valid when Channel Link or Fader Link is "On."
*3 Valid when Channel Link is "On."
*4 If Channel Link is On, the "Pan" parameter will change to the balance parameter.
*5 Valid when Master Block Equalizer Select is "3 Band EQ."
*6 Valid when Effect 1 Insert Switch is except "Off."
*7 Valid when Effect 2 Insert Switch is except "Off."
*8 Valid when AUX Switch is except "Off."
*9 Valid when Effect 1 Send Switch is except "Off."
*10 Valid when Effect 2 Send Switch is except "Off."

*11 Valid when Record Mode is except "VSR"

AUX Pan/AUX Bal L63-0-R63 (*4) (*8)

Fader Link
FXl Ins Off, Insert, lasertL, InsertR, lasertS

EFFECri

EFFECTl Pan/Bal

Off, PreFade, PstFade

Off, On
Off, On

0-127 dB(*6)
0-127 dB (*6)

Off, PreFade, PstFade

0-100-127 (*9)
L63-0-R63 (*4) (*9)

Off, Insert, InsertL, InsertR, Inserts

0-127 dB (*7)
0-127 dB (*7)

Off, Prefade, PstFadeOff

0-100-1271*10)
L63-0-R631*4) 1*10)

Parameter List

BO

In/Effect Return — Press [FADER (EDIT)] to let the FADER indicator lights

Parameter name Display

Stereo In Select Stereoln Off, Inputl2 Input34, InputSb, lnput78
Stereo In Level StIn Level
Stereo In Balance StIn Bal L63-0-R631*)
Effect 1 Return Level FXl RTN Lev
Effect 1 Return Balance FXl RTN Bal
Effect 2 Return Level
Effect 2 Return Balance FX2RTN Bal

* Valid when Stereo In Select is except "Off."

FX2RTNLev 0-100-127

Master Block [SHIFT] + [EDIT (FADER)]

Parameter name Display

Master Select Master Sel
Master Level MasterLevel
Master Balance Master Bal
AUX Out AUX Out AUX, FXl, FX2
AUX Send Level AUX Level
AUX Send Balance AUX Bal
Effect 1 Insert Switch
Effect 1 Insert Send Level FXl Ins Send
Effect 1 Insert Return Level FXl Ins Rtn
Effect 1 Send Level FXl SND Lev
Effect 1 Send Balance FXl SND Bal L63-0-R63
Effect 2 Insert Switch
Effect 2 Insert Send Level FX2 Ins Send 0-100-1271*2)
Effect 2 Insert Return Level FX2InsRtn 0-100-1271*2)
Effect 2 Send Level
Effect 2 Send Balance FX2SNDBal
Equalizer Select EQSel
Digital Out 1

FXl Ins Sw Off, On

FX2InsSw Off, On

FX2SNDLev 0-100-127

DigitalOutl

Value, Initial value

0-100-1271*)

0-100-127
L63-0-R63

L63-0-R63

Value, Initial value

MIX, AUX, FXl, FX2, REC

0-100-127
L63-0-R63

0-100-127
L63-0-R63

0-100-127 (*1)
0-100-1271*1)
0-100-127

L63-0-R63

2BandEQ, 3BandEQ

MST,AUX,FX1, FX2
1-2, 3-4,5-6,7-8

17

Parameter List

Parameter name Display

Digital Out 2

DigitalOut2

Value, Initial value
MST, AUX, FXl, FX2

1-2, 3-4, 5-6, 7-8

Direct Out Direct Out

*1 Valid when Effect 1 Insert Switch is "On."

‘2 Valid when Effect 2 Insert Switch is "On."

Off, 1-4, .5-8

tern Parameter [SHIFT] -> “SYSTEM PRM?” [YES]

Parameter name

Master Clock MasterClk
Time Display Format Time Disp Fmt
Offset

Marker Stop Marker Stop Off, On

Record Monitor
Vari Pitch Mode
Vari Pitch

Foot Switch Assign
Fade Length Fade Length
Scrub Length Scrub Len
Preview Lengtli
Metronome Out
Metronome Level MetroLevel
Metronome Mode
Undo Message
LCD Contrast
Remaining Display
Measure Display
Digital Copy Protect Switch D.CpyProtect
Shift Lock Shift Lock
Numerics Type
Fader Match FaderMatch
Peak Hold Switch
System Parameter Keep Swntch SysPrmKeepSw Off, On
V-TrackBank V.Track Bank
Switching Time SwitchTime
Peak Level
DC Cut Switch
CD Digital Recording

Display

Ofs

Record Mon
V.Pitch Mode
Vari Pitch

FootSw

Preview Len 1.0-10.0 s
MetroOut

MetroMd
UNDO MSG
LCD Contrast 0-7-15
RemainDsp
MeasurDsp Always, Auto

NUMERlCSType Up, Dwn

PeakHoldSw Off, On

Peak Level
DC Cut Sw Off, On
CDDigiREC Off, On

Value, Initial value

INT, D.COA, D.OPT, R-BUS
ABS, REL
00h00m00s00-23h59m59s29 (П)

AUTO, SOURCE
Off, On

21.96-48.00 kHz-50.43 kHz (48.00 kHz)

22.05-44.10 kHz-50.48 kFiz (44.1 kHz)

21.96-32.00 kHz-50.43 kHz (32.00 kHz)

Play/Stop, Record, TapMarker, Next, Previous, GPI
2,10,20,30,40,50 ms
25-45-100 ms

Off, INT, MIDI

0-100-127 (*2)

Яес Only, Rec&Play (*3)

Off, On

Time, CapaMB, Capa%, Event

Off, On

Off, On

Null, Jump

A, В

0.3-0.5-2.0 sec
CLIP, -3 dB, -6 dB

18

*1 The settable value for Offset will change slightly depending on the MTC type.
*2 Valid when Metronome Out is "INT."
*3 Valid when Metronome Out is except "Off."

Parameter [SYSTEM] “MIDI PRM?”^ [YES]

Parameter name

Device ID
MIDI through Switch MIDI Thr Out, Thru
System Exclusive Receive Switch SysEx.Rx Off, On
System Exclusive Transmit Switch SysEx.Tx Off, On
MMC Mode
Metronome Channel
Accent Note Acc.Note C 0-C*2-G 9 (*)
Accent Velocity Acc.Velo
Normal Note Nmt.Note C 0-C*2-G 9 (*)
Normal Velocity
Mixer Local Control Switch CtrLocal Off, On
Control Type CtrType Off, C.C., Excl
Program Change Scene
Program Change Effect
Control Change Effect C.C.Eff
Model ID ModellD 890, 88EX

Valid when Metronome Out is "MIDI."

Display

DevicelD

MMC
MetroCh 1-10-16 (*)

Nrm.Velo

P.C.Scne Off, On
P.C.Eff Off, On

Value, Initial value

1-17-32

Off/RBUS, MASTER, SLAVE

1-100-127 (*)

1-60127 0

Off, On

Disk Parameter [SYSTEM] “DISK PRM?” [YES]

Parameter name Display Value, Initial value

IDE Drive
SCSI Self ID SCSI Self

lDEDr\' Off, On

0-7

Parameter List

гЛГетро Parameter [SYSTEM] -»

Parameter name Display

Sync Source
Sync Generator Gen.
Error Level ErrLevel
MTC Type
Offset Ofs

The settable value for Offset will change slightly depending on the MTC type.

Source

MTC Type 30, 29N, 29D, 25, 24

“Sync/Tempo?” ^ [YES]

Value, Initial value
INT, EXT

Off, Ml'C, MlDlclk, SyncTr, R-BUS

0-5-10

00h00m00s00-23h59m59s29 (*)

Sync Track Convert
[SYSTEM] “Syncn-empo?” [YES] ^ PARAMETER [

Parameter name Display

Beat Beat
Tap Beat
Sync Track Beat Sync Trk Beat
Start Time Start Time

End Time End Time

Measure Measure

* The settable value for Start Time/End Time will change slightly depending on the MTC type.

T ap Beat

Value, Initial value

1/1-8/1,1/2-8/2, 1/4-4/4-8/4, 1/8-8/8
1-4-8
1/1-8/1,1/2-8/2,1/4-4/4-8/4,1/8-8/8
00h00m00s00-23h59m59s29 (*)
00h00m00s00-23h59m59s29 (*)
1-999

] ^ “Sync.Tr Cnv?” ^ [YES]

Tempo Map [SHIFT] + [TAP]

Parameter name Display

Tempo Map Number (none)
Tempo (none) 25.0-250.0120.0
Measure MEASURE
Beat BEAT

Value, Initial value
1-501

1-9991
1/1-8/1,1/2-8/2,1/4-8/4,1/8-8/84/4

Scene/Automix [SYSTEM] “Syncn'empo?” [YES]

Parameter name Display

Scene Mode Scene Mode
Auto Mix Mode A.Mix Mode
Auto Mix Snapshot Mode A.Mix Snap
Erase From
Erase To (none)
Erase Mode Erase Mode Event Marker

(none)

Value, Initial value
All, KeepM

Off, On
ALL, MaskM

0-999
0-999

e Initialize [SYSTEM]-»“Drivelnitlalize?” ^ [YES]

Parameter name

Initialize Drive Init Drive
Physical Format PhysicalFmt
Partition Partition
Surface Scan SurfaceScan

Display

Value, Initial value

IDE, SC0-SC7

Off, On

500,1000 MB
Off, On

19

Preset Patch List

On the \'^S-890, you can access the range of effects listed belo^v.

Snd/Rtn: E>irect Level is set to "0." Connect this Patch to th e effects bus.
insert: This Patch m ixes the direct sou nd and effected so und. Insert it into a chan nel.

You cannot select p reset Patche s A 00-A21, A80, A 97, B98 or C10-C28 for FX2. These Patches must be used for FXl.

Reverb (18 presets)

Patch Name Algorithm

No.

AGO
AOl
A02
A03
AtM
A05
A06
A07
A08
A09
AIO
All
A12

A13
A14
AÏ5
A16
A17

RV:LargoHall
RV:SmaUHaU
RV:Strings

RV:PianoHalI

RY:Orch Room

RV:VocalRoo m
RV:Mediu mRm
RV:LargeRoo m

RVrCoolPiate
RV^hort P it
RV:Vocal Pit
RV:Soft Amb .
R\':Room Amb.

RV:Cathedral
RVrLong Cave
RV:GarageDr.
RV;Rock Kick
RVrRockS nare

Reverb
Reverb

Reverb

Reverb
Reverb
Reverb
Reverb
Reverb
Reverb
Reverb
Reverb
Reverb
Reverb

Reverb
Reverb
Reverb
Reverb
Reverb

Gate Reverb (4 presets)

No. Patch Name Algorithm

A18 RV:BriteG ale Gate Re verb
A19 RV :Fat G ate Gate R everb
A20 RV rReverseGt Gate Reverb
A21 RV tPanning Gt Gate Reverb

Delay (9 presets)

Patch Name AlgorKhm Type

No.

DL5hort D h'

A22

A23

DLAlediumD ly

A24

DL:LongD elay

A25

DLiAnalogDIy

A26

DL:Tape Echo
DL:Karaoke

A27
A28

DL:Multi-Tap

A29 DL :MltTapAmb M ulti Tap Delay
A30 DLrPin g Pong Multi Tap Delay

Delay
Delay
Delay
Delay
Stereo Delay Chorus
Stereo Delay Chorus
Stereo Delay Ch orus

Type

Snd /Rtn Mono Large concert hail revertreration.
Snd/Rtn Mono Small h all reverberatton.
Snd/Rtn Mono Reverberation optimized for de licate highs of strings.
Snd/Rtn Mono Rich and warm reverb eration optimized for pianos.
Snd / R tn Mo no Reverberatio n of large-capacity rooms su ch as big banquet halls.
Snd/ Rtn Mono Room reverb suitable for vocals and chorus.
Snd/Rtn Mono Warm and naturally spacious roo m reverb.
Snd/ Rtn Mono Simulated acoustics of u'ide rooms with lots of reverberatio n.
Snd / R tn M ono Distinctive bright plate reverb .
Snd/Rtn Mono Shorter p late re verb.
Snd/Rtn Mono Crystal-d ear revert» optimized fo r vocals.
Snd / R tn M ono Simulated reverberation of a room with min imal wall reflections.
Snd/Rtn M on o Natural reverb eration of room s w ith good acoustics, suitable for drums

Snd/Rtn M ono Acou stics of a very' large, high-ceilinged church.
Snd / R tn M ono Simulated reverberation of deep cav^.
Snd/Rtn ^íono Natural reverb that enhances unique drum sounds.
Snd/ Rtn Mono Reverb w ih many low -frequencj' com ponents, suitable for mck kick s.
Snd/Rtn M ono Rich and thick sounding reve rb suitable for rock snares.

input

Type input

Snd/Rtn Mono Slightly brighter gate reverb.
Snd/Rtn Mono Dyn am ic reverb sound w ith powerRii m idsand lows.
Snd / R tn Mono A reverse gate commonly used as a sp ecial effect.
Snd/Rtn Mono A special effect with gate reverb shifting from left to right.

Comment

and guitars.

Comment

Input Comment

Snd/Rtn Mono An ambience effect that adds depth to the soun d by dou bling.
Snd / R tn Mono Natu ral echo optimized for vocals.
Snd/Rtn Mono Long delay su ited for b rass and analog synth solos.
Snd/Rtn Mono A nalc^sound with gradua lly dimin ish ing feedbacking highs.
Snd / R tn Stereo Simulated tape echo with distin ctive woiv flutter.
Snd / R tn Stereo Intense reverberation that effectively enh ances karaoke vocals.
Snd/Rtn Stereo Spacious reflections using fnasitioning delay at any p oint alon g the stereo

Snd/Rtn Mono An ambience effect using 10 short delay units.
Snd/Rtn Mono A sp ecial effect using tap delay.

soundfleld.

Vocal (10 presets)

No. Patch Name Algorithm

A31 VO:V ocal Efx Vocal M ulti
A32 VO:JazzVo cal Vocal M ulti

VOiRockV 'ocal

A33

VO:Narration

A34

VO.BigCh orus

A35

A36

VOrQub DJ

A37

VO:.'\M-Rad io
VO:Plu sTwo

A38

VO:Robot Efx

A39
A40

VOtBuli H orn

* PSD = Pitch Sh ifter Delay

Vocal Multi
Vocal Multi
Vocal Multi

Vocal Multi
Vocal Multi
Stereo PSD
Stereo PSD
Guitar Multi 3

Type input Comment

Insert Mono Basic setu p for record ing/ m ixdow n of v ocals.
Insert Mono A natu ral sounding jazz club-like am bience for w arm reverb well-suited

insert Mono Sound featurin g limiter/enhancer processing as well as a unison effect.
Insert Mono An effect wiflr h eavy com pression, used for narration.
Ir\sert Mono A spacious-sound ing stereo effect similar to increasing the num ber of

Insert Mono A club DJ-tailore d effect that uses a pitch shifter to make voic» lower.
Insert M ono Sou nd featuring hanl compression and narrow er frequenev* range.
Insert Stereo A special effect that adds two more voi«res using a pitch shifter.
Insert StereoSF movie-like effect using a pilch s hifter.
Insert Mono Simulated effect of sound produced from a Bull Horn or old radio.

for vocals.

vcKalisLs.

Guitar (11 presets)

No. Patch Name Algorithm Type Input

A41 GT:RockLead Guitar Multi 2 Insert Mono Straight distortion sound with delay.
A42 GT :LA Lead Guitar Multi 2 Insert Mono Lead guitar sound with tasty compression and chorus applied.
A43 GT :MetalLead Guitar Multi 1 Insert Mono Metal sound with dynam ic, ultrahigh gain distortion.

A44 GT:Metal Jet Guitar Multi 1 Insert Mono Distortion to gether with a m etallic effect achieved by flanging.
A45 GT :QeanRtlim Guitar M ulti 1 Insert Mono Clean soun d with compression and ch orus applied.

20

Comment

Preset Patch List

No. Patch Name Algorithm Typo

A46 GT:D Iedaean Vocal Multi

GTrDelav Rif

A4/
A48 GTrAcoustic Vocal Multi

GT:BluesDrv.

A49

A50 GT;L iverpool Guitar Multi 3
A5Ì GT:C ountr}’ Guitar M ulti 3

Guitar Multi 2

Guitar Multi 3

Insert Mono Superclean s ound like line recording directly into the console.
Insert
Insert Mono
Insert Mono
Insert
Insert

InfHit

Mono

Mono Crunchv sound often heard on '60s British rock.
Mono

■ Guitar Amp Simulator (9 presets)

No. Patch Name Algorithm

GAJazChorus Guitar A mp Sim.

A52

GArQeanTwin G uitar Am p Sim.

A53
Af>4 GArVin.T w'eed Guitar Am p Sim .
A55 GA:BluesD rv. Guitar Amp Sim.
A56 GAtMatchLead Guitar A mp Sim.
A57 GA:StudioCm b G uitar Am p Sim.
A58 GAtJMP-Stack Guitar A mp Sim.
A59 GAiSLDN Lead Sim.Guitar Amp
A60 GA:5150 Lead S im .Guitar A mp

* Sim. = Simulator

Type

Insert Mono

Insert
Insert
Insert Mono
Insert
Insert
Insert Mono Late '60s British stacks.
Insert Mono
Insert

Input Comment

Mono US. tube combo amp circa "black panel."
Mono '50s U .S. tub e amp overdrive.

Mono Hot-rodded British combo amp.
Mono

Mono Big tube am p standard for Am erican heavy m etal.

Bass (5 presets)

No. Patch Name Algorithm

A61 BStD I'edB^

BS;Mik edBass Guitar Amp Sim.

A62

BS:Com pBass Stereo Multi

A63
A64 BS; Auto Wah Guita r M ulti 2
A65 BSrEFX Bass

• Sim. «Simulator

Vocal Multi

Stereo Delay Ch orus

Type

Insert Mono

Insert
Insert Stereo
Insert
Insert Stereo

input Comment

Mono

Mono

Comment

C>elav sounds at dotted eighth note intervals when a 120 BPM riff is played.
Optimized for electroacoustic guitars.
Crunchy overdrive sound suited to blues and R&R.

Clean sound featuring distin ctive com pression an d d elay.

Roland JC-120 amp. Sounds m ore autl^entic when used ^vith chorus for
mixdown.

Old British amp crunchy ovenJrive.

Favourite late '70s amp of studio musicians.

An '80s amp known for versatile distortion.

Slight limiting and equalization opbm ized, ide al for line recording
applications.
A m iked speaker box tvith four 12"s.
Hard-com pressed sound optim ized for slap s.
Synth bass like sound added with auto wah eswntial for '70s fun k.
Solo-optimized sou nd with depth and spaciousness added through delay
and chorus.

Stereo Multi (5 presets)

Patch Name Algorithm

No.

A66 CLiCo mp Stereo Multi

CLiLim iter Stereo Multi

A67
A68 EQtL oudness Stereo Multi
A69 EQ:Fat Dance
A70 EQ:Th inJingl

Stereo Mu lti Insert
Stereo Mu lti Insert

Type Input

Insert
Insert Stereo
Insert

stereo

Stereo Applies EQ curve ’ivith slightly boosted low s a nd highs.
Stereo Hard compression plus equalizing for dance music.
Stereo

Comment

Stereo type compression optimized for broadcast mixing.
A convenient effect for analog mastering because it can lim it peak signals.

Limiter and EQ processin g for Fki radio and TV broadcasting.

Chorus/Flanger/Phaser/Pitch Shifter (9 presets)

Patch Name Algorithm

No.

CH:Lt Chorus

A71

CH:Deep Cho

A72

CH:Detun eCho

A73

FLiLtFIanger Stereo Pianger

A74

FLrDeep FI Stereo Pianger

A75
A76 PH:U Phaser

PHiDeepPhase Stereo Phaser

A77
A78 PS:-4thVoice Vocal M ulti
A79 PS:ShimmerUD

•PSD = Pitch Shifter D elay

Stereo Delay Ch orus
Stereo Delay Ch orus Insert Stereo
Stereo PSD Insert

Stereo Phaser

Stereo PSD Insert

Type Input

Insert

Insert Stereo
Insert
Insert Stereo Lighter 4-stage stereo phaser su itable for synth strings.
Insert Stereo
Insert Mono

Stereo

Stereo

Stereo Deep er stereo Hanger for metallic jet sxvooshing sound.

Stereo A spedal effect w ith left channel pitch rising and right channel pitch

Comment

Natural stereo chorus w’ith shallow” depth for sp acious, crystal-clear s ound.
Intense stereo chorus t hat ad ds depth and spaciousness to the sound.
Cho rus w”ith left and right cha nnels sep arately pitch shift-detun ed up and
dow ”n.
Stereo Hanger w ith slight modulation.

Deep phaser effective for electronic piano and davinet sounds.
Adds sound down a fourth to the direct sou nd .

dropping over time.

ime as Algorithm (20 presets)

No. Patch Name

A80 Reverb Reverb
A81 Delay

StDly-Choms Stereo Delay Chorus

A82

StPS-Delav

A83

Vocoder Vocoder

A84
A85 2chRSS
A86

Delav R SS

A87 Chorus R SS

GuitarMuItil G uitar Mu lti 1

A88
A89

GuitarMuiti2

A90 GuitarM u!li3

Algorithm Type

Delay

Pitch Shifter Dela\' Insert

ZchRSS
Delav R SS
Cho rus RSS

Guitar Multi 2
Guitar Multi 3 Insert

Snd / R tn Mono
Snd / R tn

Insert Stereo (p.30)

Insert Mono (p.34)
Insert 2ch (p. 3.'))
Insert Mono
Insert Mono
Insert Mono
Insert Mono (p.39)

Input Comment

Mono (p.28)

Stereo (p.32)

Mono (p.39)

(p.26)

(p. 37)
(p. 38)
(p.39)

21

Preset Patch List

Patch Name Algorithm

No.

A91 V'oeal MuU i V'oeal Mu lti
A92 Rotarv’

GuitarAm pSim

A93
A94 St Ph aser Stereo Phaser
A95 St Pianger Stereo Piang er
A% DualCo mp/Lim

Gate Reve rb G ate Revert»

A97
A98

MultiTapDlv

A99 Stereo Mu lti

Rotarv
Guitar Am p Sim .

Dua l Com pressor/Lim iter

Multi Tap Delay

Stereo Mu lti

3verv2 (20 presets)

Patch Name Algorithm

No.

BOO R2:LargeHall Reverb2

RiSmallHall

BOI

R2:Strings Reverb 2

BU2

R2:PianoH aIl Reverb2

B03

R2:Orch R oom Reverb 2

BÜ4

R2:\'ocaJRoo m Reverb2

BOS
BD6 K2:MediumRm
B07 R2:L argeR oom Reverb2
B08 R 2:C ooiPlate Reverb2

R2:ShortPIt Reverb2

B09
BIO R2:Vocal Pit Reverb2

R2;Soft Amb. Reverb2

Bll
B12 R2:R oom A mb. Revcrb2

R2;Cathedral Reverb2

D33

R2:Long C ave Reverb2

B14

R2:GarageDr. Reveit»2

B15

RiRock Kidc R everbZ

B16

R2:RockSnare Reverb2

B17
B18 R2.B riteGte2 Reverb2
B19

RZ'Fat Gate2 Rev erb2

Reverb2

Reverb2

Type

Insert Mono
Insert Mono
Insert M ono (p.44)
Insert Stereo
Insert
Insert 2ch
Snd/Rln Mono
insert
Insert

Type

Snd/Rtn Mono Large concert hall reverberation.
Snd/Rtn Mono Small hall reveiheration .
Snd/Rtn Mono
Snd/Rtn Mono
Snd/Rtn Mono
Snd/Rtn Mono Room reverb suitable fo r vtxaJs and chorus.
Snd/Rtn Mono Warm and naturalH ' spaciou s room reverb.
Snd/Rtn
Snd/Rtn
Snd/Rtn Mono
Snd/Rtn Mono
Snd/Rtn
Snd/Rtn Mono

Snd/Rtn Mono A a>ustics of a ver}' large, high-ceilinged church.
Snd/Rtn Mono Simulate d reverberation of deep cavra.
Snd/Rtn
Snd/Rtn Mono Reverb with many low ’-frequency components, suitable for ro ck kicks.
Snd/Rtn Mono
Snd/Rtn
Snd/Rtn Mono

Input

Stereo (p.4 9)

Mono (p.54)
Stereo (p.5 6)

Input

Mono Simulated acoustics o f w ide room s w ith lote of reverberation.
Mono D istinctive bright plate reverb.

Mono Simulated reverberabon of a room with m inimal w all reflections.

Mono

Mono

Comment

(p.42)
(p.44)

(p.47)

(p.50)
(p. 52)

Comment

Reverberation optimized for de licate highs of strings.
Rich and warm reverb eration optimized for pianos.
Reverberation of large-capacity rooms such as big banquet halls.

Shorter plate reverb.
Oy'stal-clear reverb optim ized for vocals.

Natural reverberation of rooms with gocnl acoustics, suitable for drums
and guitars.

Natural reverb that enhances unique drum sound s.

Rich and thick sounding reverb su itable for rock snares.
A high-densit}' a nd brigh t soun ding gated reverb. Adjust Threshold .
.A h igh-densit}’ and w arm sounding gated reverb. A djust Threshold.

ic Simulator (22 presets)

Patch Name

No.

B20 KiS;57'58 Mie Sim ulator

MS:57'421 Mie Simulator

B21

B22 MS:57'451

MS:57'S7 Mìe Sim ulator

B23

MS57'47 Míe Simulator

B24

B25 MS:5 7'Line Mie Simulator

B26 MS:DR20'421 Mie Simulator

B27 MS:D R20'451

B28 MSiD R20-87 Mie Sim ulator
B29 MS:10'58 Mie Simulator
B30 WS:10'87 Mie Sim ulator

MS:Mini’57 Mie Simulator

B31
B32 MS:M ini'87 M ie Simulator

MS:KickficSn rl Mie Simulator

B33
B34 MS:K ick&Snr2
B35 MS;I LH at&Tom Mie Simulator
B36 MS:D r.OvrTo p
B37

MS:Dr.OvrAll M ie Sim ulator
B38 MS:A c.Guitar
B39 MSStudioVd

MSStereoMic

B40

MSrAm bience

B41

* D. mie = dynamic microphone, C. m ie = condenser microphone

Algorithm

Mie Simulator

Mie Simulator

Mie Simulator

Mie Simulator

Mie Simulator

Mie Simulator
Mie Simulator
Mie Simulator

Type Input

Insert 2ch
Insert 2ch

Insert 2ch Con verts a general-purpose D. mic to a small C , m ic. For acou stic guitar

Insert 2ch Converts a general-pu rpc»e D. mic to a large C . m ic. For vocals a nd

Insert 2ch Converts a general-pu rpose D. mic to a vintage C. mic. For vocals and

Insert

Insert 2ch Converts a Roland DR -20 to an instru mental D . m ic. For drum s and gu itar

Insert 2ch Converts a Roland DR -20 to a small C . m ic. For acoustic guita r and

Insert 2ch Converts a Roland DR-20 to a large C. mic. Fo r vocals and acoustic inst.
Insert 2ch Converts a headset m ic to a vocal D. mic.
Insert
Insert
Insert
Insert
Insert 2ch
Insert 2ch
Insert 2ch
Insert
Insert
Insert 2ch
Insert 2ch
Insert

Comment

Con verts a general-purpose D. mic to a vota! D . m ic. Rich mid/lo w range.
Con verts a general-purpose D. mic to a larg e D . m ic. For drum s a nd gu itar
amp.

and cymbals.

acoustic inst.

2ch Cancels the characteristics o f D.m ic, giving the sound a flat frequenev'

2ch
2ch
2ch Converts a miniature C . m ic to a large C. mic.
2ch For the bass drum (L channel) and snare drum (R channel) of a drum set (1).

2ch A patch for placing mies above die front of the drum s to m ic the entire set.
2ch For acoustic guitar. InsertL: brighter, InsertR; warme r.

2ch Simu lates ambience mies. Add reverb and m ix with o rigina l source.

acoustic inst

resp onse.

amp.

q'mbals.

Con verts a head set mic to a large C. mic.
Con verts a m iniature C. mic to a general-purpose D. mic.

For the bass drum (L cliannel) and snare drum (R charm el) of a d rum set (2).
For the hi-hat (L channel) and tom (R channel) of a drum set
A patch for placing mies above the drum s mairüy to mic the cym bals.

For vocals. InsertL; natural, InsertR; Rock.
Gives time-la g to a sound miked in stereo, emphasizing spaciousness.

22

Parametric Equalizer (26 presets)

No. Patch Name Algorithm

B42 PEQ:BassD rum Parametric EQ
B43 PEQ.'RockBD Parametric EQ Insert Stereo
B44 PEQ:RockSD Param etric EQ

B45

PEQ rRimSho t Pa rametric EQ Insert Stereo

B46 PEQrToms
B47 PEQ:Hi Hat Parametric E Q
B48 PEQ:Cymbals Parametric EQ

B49

PEQ ;Overhead Parametric EQ Insert Stereo

B50

FEQ :Bass 1 Param etric EQ Insert
PEQ ;Bass 2

B51
B52 PEQ:SIapBass Param etric EQ Insert Stereo

PEQ :Sax Parametric HQ

B53
B54 PEQ:Ban.Sax Param etric EQ Insert Stereo
B55 PEQ:HlecGtr Parametric EQ
B56 PEQ:NylonGtr Parametric EQ Insert
B57

PEQ :BluesGtr Parame tric EQ Insert Stereo

B58 PEQSlideGtr Parametric EQ
B59

PEQ :LineGtr Parametric EQ Insert

B60

PEQ ;M ale Parametric E Q Insert Stereo

B61

PEQ :RockMaie

B62 PEQ:Fem ale
B63 P EQ :Rcx:k FemI P arametric EQ Insert Stereo
B64

PEQ :Nairator Parametric EQ

B65

PEQ K>^an
Bbò PEQSt.P ian o Parametric EQ
B67

PEQ Sm allCho

Parametric EQ Insert Stereo

Parametric EQ Insert Stereo

Parametric EQ
Parametric EQ Insert Stereo Improves th e tone qu ality of a female vocal. A djust LoMidG.

Parametric EQ

Parametric EQ

Type Input Comment

Insert stereo For bass d rum. Adjust LovvQ and HIG.

Insert Stereo For snare drum . Drops the mid-lows and emphasizes the attack and snares.

Insert Stereo For the crisper hi-hat. Adjust bell sound with HiMidG.
Insert Stereo

Stereo For electric bass. Wid e-range and tight bass sound.

Insert Stereo For alto/soprano sax. Lower H iG for mello w sound.

Insert Stereo Settings that keep the lead guitar from being buried in the mix.

Insert Stereo Ad ds a rich feel to acoustic slide g uitar. Adjust H iF.

Insert Stereo Equalizer th at add s energy to a m ale vocal. Best for rock. Tr\ ' uith Comp.

Insert
Insert Stereo Settings to bring out the character of a churdi organ.
insert Stereo For m iking piano in stereo. Left low range, right: high range.

Insert Stereo Settin gs that bring out the chorus wtho ut letting it con flict w ith the m ain

Stereo Emphasize the tone of nylon strings. Adjust fret sound with FliG.

Stereo For piezo pickups. Adjust brightness nvith HiG.

Stereo Stan dard equ alizer for male narration . Brings out the ch aracter of the voice.

Preset Patch List

For bass d rum. A sound suitable for rock with mid-lows emphasized.

For rim sh ot. Em ph asizes the fe eling of attack unique to a rim shot.
For tom s. Ad just LowF and LowM idF.

For c>TnbaIs. Emphasizes Uie difference in tone betwee n cym bals and their
clarih'.
For drum kit. Use when miking the soun d of the e ntire kit.

For electric bass. Fatter and with m ore punch than B50. For rock.
For electric bass. Setting that em phasize the accen t of pulled n otes w ith
slap techn iqu e.

For baritone sax. Adjust LoM idF.

Adds a delicate nuance suitable when playing blues on an acoustic guitar.

Improves the tone quality of a m ale vocal. Adjust FiiG.

Equalizer tiiat adds en ergy to a female vocal. B est for ro ck. Tty with Comp.

vocal.

raphic Equalizer (3 presets)

No. Patch Name Algorithm Type Input Comment

B68

GEQrTotalEQl
B69

GEQ:TotalEQ 2 Graph ic EQ Insert Stereo Attenuates the loivs and high s to narrow the range, tightening up the

B70 G EQ :Space EQ Graphic EQ

Graphic EQ

Insert Stereo Boosts the low and high ranges.

sound.

Insert Stereo Special settings that tu rn a m onaural sou rce into stereo.

pace Chorus (3 presets)

No. Patch Name Algorithm

B71 SPCH O:MO DE 1 Space Chorus
B72 SPCH O:MO DE 2 Space Chorus Insert Stereo Sim ulates MOD E2 of the classic SDD-320 ambience processor.
B73 SPCH O:MO DE3 Space Choru s Insert Stereo

Type Input Comment

Insert stereo Sim ulates MOD El of the classic SDD-320 ambience processor.

Simulates MODE3 of the classic SDD-320 ambience processor.

Special Effects (16 presets)

No. Patch Name Algorithm

LFP:BreakBts

B74

B75 LFP:lbitDist
B76 LFP:T eknoFlt
B77 LFPiReso Fit
B78 LFP:F atBotom D>Fi Processor
B79

VT:M to Fm Voice Transformer
B80 \T:Fm to M
B81

VT:Male Duo Voice Transformer Insert Mo no

VT:Fem aleE>uo

B82

VT:Robot

B83
B84

VCX2:M 19Band Vocoder! Insert Mono
B85

VOC2S19Band
B86

HCQuietMFlz Flum Canceler Insert Stereo Cance ls 60 Hz hum n oise.
B87

HCQuietMFIz H um Canceler Insert Stereo
B88 VC:Vocal Cnl Vocal Canceler
B89

VCiCenterCnl Vocal Canceler Insert Stereo Cancel all sound located in the center.

Lo-Fi P rocessor Insert Stereo Reproduces the tonal change produced by lowering the bit/rate of a

Lo-Fi P rocessor Insert Stereo
Lo-Fi P rocessor Insert Stereo
Lo-Fi P rocessor Insert Stereo

Voice Transform er Insert Mono Converts a female v oice into a m ale voice.

Voice Transform er Insert Mono
Voice Transform er

Voexxier!

Type Input

Snd / R tn
Insert Mono Converts a male voice into a frmale voice.

Insert Mono Special effect like a robot speaking.

Insert Mono

Insert Stereo

Stereo

Comment

sam pled sound.
Extrem e distortion sound produced b v lowering the number o f b its.
Emphasizes the out-of-band noise that occu rs with low sampling rates.
Filter w ith resonance as found on syn thesizers. Adjust CutOff.
Add heav\’ low -range for the groove. M ix uith original source.

Turns a single m ale voice into a duet (b>' adding a fe male v oice).
Turns a single female voice into a duet (by adding a male voice).

Clear and crisp vocoder.
Special stereo vocoder ^vith long decay.

Cancels 50 H z hum noise.
Cancels a vocal located in the center.

■ime as Algorithm (14 presets)

Patch Name

No.

B90

Reverb2
B9Î

Space Chorus
B92 Lo-Fi Procès Lo-Fi Processor Insert Stereo

Algorithm Type Input Comment

Reverb!
Space Chorus

Snd/Rtn Mono (p.58)
Insert Stereo

(p. 60)
(p. 61)

23

Preset Patch List

Patch Name

No.

ParametricEQ

B93

Graphic EQ

B94

Hum C anceler

B95

Vocal Can cel Vocal Canceler

B96
B97 Voice Tra ns V'oice T ransform er

H98 Voco der2 (19)
B99 MicSimulator
COO 3BndIso)ator SBandlsc^ator

cot TapeEcho201

AnaioKFlnger

C02
C03 AnatogP haser Analog P haser Insert

Algorithm

Parametric Equalizer Insert 2ch

Graphic Equalizer

Hum C anceler

Vocoder2 Insert
Mic Simulato r

Tape Echo 201 Snd/R tn
Analog Flanger

Type

Insert
Insert
Insert
Insert

Insert
Insert

1шег1

Input

2ch
Stereo
Stereo
Mono (p.67)
Mono (p.68)
2ch
Stereo (p.72)
Mono
Stereo
Stereo (p.75)

ape Echo 201 (4 presets)

Patch Name

No.

TEShortEcho Tape Echo 201 Snd/R tn

C04

TE:L on gEdio Tape Echo 201 Snd/Rtn

C05
C06 TEO ldTape
C07 TEJ’anEcho

Algorithm Type

Tape Echo 201 Snd/Rtn
Tape Echo 201

Snd/Rtn Mono

Input Comment

Mono
Mono Simu lates long t\'|:« tape echo.
Mono Simulates tape echo using an old tape.

nalog Pianger (1 preset)

Patch Name

No.

AFSBF-325 Analog Flan ger

C08

Algorithm Type

Insert

input Comment

Stereo

nalog Phaser (1 preset)

No. Patch Name

C09 AP:FB-Phaser

Algorithm туре

Analog Phaser

Insert

input Comment

stereo Sim ulates an alog phaser with osdllabon on purpose.

Mastering Tool Kit (19 presets)

No. Patch Name Type

MTKiM ixdoxvn

CIO

MTiC:PreMastr

Cll

MTK:LiveMix Insert

C12

MTiCP opMix Insert

C13

MTKrDan ceMix

C14

MTK;JinglMix Insert

C15
06 M TK iHardComp Insert
07 MTKtSoftComp Insert
08 МГК:С1пСотр
09 MTK:DnceComp Insert
C20 MTK:OrchCo mp Insert

MTK:V ocalCmp Insert

C21
C22 MTK:Acoustic

MTK:R ockBand Insert

C23
C24 MTK :Orch estr

MTK;LoBoost insert

C25

MTICB righte n Insert

C26
C27 MTK :DJsV oice

MTK:PhoneV ox insert Stereo T elq jho ne voice sim ulation

C28

Insert
Insert Stereo

Insert

Insert

Insert

Insert

lasert Stereo D] hiicrophon e

Input

Stereo

Stereo Final m ix of live recording
Stereo for Pop music
Stereo
Stereo
Stereo
Stereo Light com pression
Stereo
Stereo
Stereo
Stereo Compression for vocal
Stereo Acoustic guitar
Stereo
Stereo for Orchestra
Stereo Enha ncing tlie low freq uencv ' range
Stereo

Comment

(p.62)
(p. 63)
(p. W)
(p. 65)

(p.70)

(p. 7.3)
(p. 74)

Simulates short t\’p>e tape echo.

Simulates tape echo in stereo.

Simulates Roland S BF-325 analog flanger.

Comment

Mix do wn for CD
Pre-master for v ideo editing

for Dance music
Jingle for FM radio
Heav)' compression

Elim inating the backgrou nd noise and dean up the sound
Com presión for dance music
Com pression for orchestra

for Rock band

Enhandng the high frequency range

эеакег Modeling (11 presets)

Patch Name Type

No.

C29 SPM:SuperFlt Insert

C30 SPM;P.G enBlk

C31
C32
C33

C35

C36
C37 SPM:SmallT\'
C38
C39

24

SPM :P.E-Bs Insert
SPM rP.Mack Insert
SPM iSmaiCube
SPM :W hiteCon Insert

SPM :W .C+tiss In sert

SPM S.R adio Insert Stereo

SPM tBoomBox Insert Stereo Radio cassette recorder.

SPM :BB.Lo;vBs insert

Insert Stereo

Insert

Insert Stereo

Input

Stereo

Stereo
Stereo

Stereo

Stereo

Stereo

Stereo

Comment

Modeling is used to compensate the D5-90, to produce an e ven flatter
sound idth a wider range .

A w idely used model of powered monitors (tw o-way type, with a w oofer
diameter of 170 mm (6-1/2 inches)).
Pow ered monitors characterized by a bright tone.
Poivered monitors characterizal by an extended lo^v-frequ enc}^ response.
Small full-range speakers widely used in rw rording studios.
Sealed enclosure t\ \’o-w ay speakers known for their w hite w oofers and
widely used in recording studios.

A m ore mild sound, ^vilh tissue paper affixed over the ri\^eeters of the
above "White Con" speakers.
Small p ocket-tv|:№ radio.
Speakere built into a 14 inch size television.

Radio cassette recorder A vith the Lo%v Boost smtdied o n.

Algorithm List

This section describes the effects associated with the respective algorithms and internal terminations. Read this
section when you need to check the algorithms in the built-in library (pre-set library) or before creating a new

library.

• To add reverbs (Reverb-related)

Reverb........................................................................................(p. 26)

Gate Reverb...............................................................................(p. 52)

Reverb2......................................................................................(p. 58)

• To add delayed sounds (Delay-related)

Delay........................................................................................ Cp. 28)

StPS-Delay.................................................................................(p. 32)

MultiTapDly.............................................................................(p. 54)

TapeEcho201.............................................................................(p. 73)

• To expand sounds (Chorus-related)

StDly-Chorus............................................................................ (p. 30)

Space Chorus

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

• To swing sounds (Modulation-related)

St Phaser....................................................................................(p. 47)

St Flanger...................................................................................(p. 49)

AnalogFlnger............................................................................(p. 74)

AnalogPhaser

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

• To alter the volume increment (Compressor-related)

Dual Comp/Limi......................................................................(p. 50)

• To increase/decrease levels by frequency band

(Filter-related)

Parametric EQ...........................................................................(p. 62)

Graphic EQ

3Bandlsolator............................................................................(p. 72)

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

• To add effects suited for the guitar/bass

Guitar Multil.....................................................................(p. 39)

Guitar Multi2....................................................................(p. 39)

Guitar Multi3....................................................................(p. 39)

GuitarAmpSim.................................................................(p. 44)

• To add effects suited for vocals

Vocal Multi........................................................................(p. 42)

Vocal Cancel
Voice Trans

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

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

• To add movement to sounds

Rotary................................................................................ (p. 44)

(p. 60)

• To give three-dimensional location

2chRSS

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

Delay RSS..........................................................................(p. 37)

(p. 75)

(p. 63)

Chorus RSS

• Others

Vocoder..............................................................................(p. 34)

Stereo Multi.......................................................................(p. 56)

Hum Canceler...................................................................(p. 64)

MicSimulator

Vocoder2(19).....................................................................(p. 68)

Speaker Modeling

Mastering Tool Kit...........................................................(p. 78)

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

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

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

(p. 65)
(p. 67)

(p.35)

(p. 38)

(p. 70)

(p. 76)

• To make sound quality rough (Lo-Fi-related)

Lo-Fi Process.............................................................................(p. 61)

Effect block

Parameters within the same effect
(left/right channels linked)

Audio signal

->• Control signal

25

Algorithm List

Reverb

This feature adds reverberation to the sound to simulate the size of space such as a hall and a room.

Sound types

Sounds around us can be analyzed and categorized into three types: direct sounds, early reflections and
reverberation. A direct sound is the sound that reaches the listener directly from the source. An early reflection is

the sound that has rebounded from the wall once, twice or several times. A reverberation is the sound we hear

after sound reflections are repeated many times.

II

.

.. .

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

11^

Relationship between sound and time

Reflected sound reach the listener in the following sequence. The pre-delay is the time from when the direct
sound is heard until the reverb is heard. The reverb time is the time over which the reverb decays to silence.

Level

Reverb sound quality

The sound quality of a reverb is affected by materials of the walls and other members from which the sound is
rebounded. This is because the degree of attenuation in the high and low frequency bands varies. HF-Damp Gain
and LF-Damp Gain are provided so that you can adjust such attenuation degrees. The smaller the value becomes,
the steeper the degree of attenuation of the reverberation becomes severer in the high and low frequency bands.

In addition, in order to obtain softer reverberation, make the frequency lower by using HF-Damp Frequency
(HiFreq-Damp Freq). In order to obtain harder reverberation, make the frequency higher by using LF-Damp
Frequency (LoFreq-Damp Freq).

26

Parameter (full name) Setting Function

EQ (Equalizer)

EQ (Switch)
LowType (Low Type) Shiv, Peak Sets the type of the low frequency band equalizer

Low.G (Low Gain) -12-+12dB Sets the boost/cut amount in the low frequency band.
Low.F (Low Frequency)
Low.Q (Low Q) 0.3-10.0

Mid.G (Middle Gain) -12-+12dB Sets the boost/cut amount in the middle frequency band.
Mid.F (Middle Frequency) 200-8000 Hz
Mid.Q (Middle Q) 0.3-10.0

Hi Type (High Type)

Hi.G (High Gain)
Hi.F (High Frequency) 1.4-20.0 kHz
Hi.Q (High Q) 0.3-10.0

Out Level (Output Level) 0-100

Algorithm List

On, Off

20 - 2000 Hz

Shiv, Peak Sets the type of the high frequency band equalizer (Shlving

-12-+12dB

Turns the equalizer on or off.

(Shlving type or peaking type).

Sets the center frequency in the low frequency band.
Sets the width of the area around the low frequency that

will be affected by the gain settings.1 *1

Sets the center frequency in the middle frequency band.
Sets the width of the area around the middle frequency that

will be affected by the gain settings.

type or peaking type).
Sets the boost/cut amount in the high frequency band.
Sets the center frequency in the high frequency band.
Sets the width of the area around the high frequency that

will be affected by the gain settings. 1 * 1
Sets the volume after passing through the equalizer.

Reverb;

i: Adds reverberation.

RoomSize (Room Size) 5-40 m Sets the size of the room.
Time (Reverb Time) 0.1-10.0 sec.
EFLevBl (Effect Level)
DiLevel (Direct Level) -100-100 Sets the volume of the direct sound.
PreDLY (Pre-Delay) 0-200 ms
Diffusio (Diffusion) 0-100
Density (Density) 0-100 Sets the density of the reverb sound.
ER Level (Early Reflection Level) OtolOO Sets the volume of the early reflection.
LD.G (LF-Damp Gain)

LD.F (LF-Damp Frequency)

HD.G (HF-Damp Gain) -36-0 dB Sets the degree of attenuation of the reverb in the high

HD.F (HF-Damp Frequency) 1.0-20.0 kHz

HiCF (High Cut Frequency)

-100-100 Sets the volume of the reverb sound.

-36-0 dB Sets the degree of attenuation of the reverb in the low

50-4000 Hz Sets the frequency cm which the reverb starts attenuating in

0.2-20.0 kHz Sets the frequency for which the high frequency band

Sets the time length of the reverb sound.

Sets the time until the reverb sound appears.
Sets the extent of diffusion of the early reflection sound.

frequency band.

the low frequency band.

frequency band.
Sets the frequency on which the reverb starts attenuating in

the high frequency band.

elements of the reverb are cut.

*1: If Low Type (LowType) or High T}rpe (Hi Type) is set to "Shiv (Shlving Type)," the setting for LowQ or High Q

is invalid.

27

Algorithm List

Delay

Delay is a feature to add a delayed sound to the direct sound in order to add thickness to the sound or to yield a

special effect.

Parameter (full name)

Setting

Function

DLY(Delay): Adds a delayed sound to the direct sound, adding depth to the sound or creating special effects.

Delay (Switch) On, Off Turns the delay on or off.
Time (Delay Time)

Shft (Delay Shift)

L-FBLvl (Lch Feedback Level)

R-FBLvl (Rch Feedback Level) -100-100 Sets the amount of the right-side delay should be returned

L-Level (Lch Effect Level)
R-Level (Rch Effect Level)
DILevel (Direct Level)
LD.G (LF-Damp Gain) -36-0 dB Sets the degree of attenuation in the low frequency band for

LD.F (LF-Damp Frequency) 50-4000 Hz Sets the frequency at which attenuation in the tow

HD.G (HF-Damp Gain) -36-0 dB Sets the degree of attenuation in the high frequency band

HD.F (HF-Damp Frequency)

0-1200 ms

L1200-0-R1200 ms Sets the delay time difference between the right and ieft

-100-100 Sets the amount of the left-side delay should be returned to

-100-100 Sets the volume for the left-side delay sound.

-100-100

-100-100 Sets the volume of the direct sound.

1.0-20.0 kHz Sets the frequency at which attenuation in the high

Sets the time from direct sound until when the delay sound
is heard. *1

delay sounds.

the delay Input.

to the delay input.

Sets the volume for the right-side deiay sound.

the delay sound fed back.

frequency band starts to the delay sound fed back.

for the delay sound fed back.

frequency band starts to the delay sound fed back.

28

EQ (Equalizer)

EQ (Switch) On, Off
LowType (Low Type)

Low.G (Low Gain) -12-+12dB
Low.F (Low Frequency)
Low.Q (Low Q) 0.3-10.0

Mid.G (Middle Gain)
Mid.F (Middle Frequency)
Mid.Q (Middle Q)

Hi Type (High Type)

Hi.G (High Gain)
Hi.F (High Frequency) 1.4-20.0 kHz
Hi.Q (High Q) 0.3-10.0

Out Level (Output Level)

Shiv, Peak

20 - 2000 Hz

-12-+12dB
200-8000 Hz

0.3-10.0

Shiv, Peak

-12-+12dB

0-100

Algorithm List

Turns the equalizer on or off.
Sets the type of the low frequency band equalizer

(Shlving type or peaking type).
Sets the boost/cut amount in the low frequency band.
Sets the center frequency in the low frequency band.
Sets the width of the area around the low frequency that

will be affected by the gain settings.1 *2
Sets the boost/cut amount in the middle frequency band.
Sets the center frequency in the middle frequency band.
Sets the width of the area around the middle frequency that

will be affected by the gain settings.
Sets the type of the high frequency band equalizer (Shlving

type or peaking type).
Sets the boost/cut amount in the high frequency band.
Sets the center frequency in the high frequency band.
Sets the width of the area around the high frequency that

will be affected by the gain settings.1 *2
Sets the volume after passing through the equalizer.

*1; The sum of the Delay Time (Time) value and the Delay Shift (Shift) value should not exceed the setting range of

Delay Time. For example, if Delay Time is set to 1000 ms, the setting range of Delay Shift is L200 to R200 ms.

*2: If Low Type (LowType) or Hi Type (High Type) is set to "Shiv (Shlving Type)," the setting for LowQ or High Q

is invalid.

29

Algorithm List

StDiy-Chorus (Stereo Delay Chorus)

Delay and Chorus can be combined to create spaciousness.

Parameter (full name)

Setting Function

DLY(Delay): Adds a delayed sound to the direct sound, adding depth to the sound or creating special effects.

Delay (Switch) On, Off Turns the delay on or off.
Time (Delay Time)

Shift (Delay Shift)

L-FBLvl (Lch Feedback Level)

R-FBLvl (Rch Feedback Level)

L-CFBLv (Lch Cross-Feedback Level)

R-CFBLv(Rch Cross-Feedback Level) -100-100 Sets the amount of the right-side delay should be returned

EFLevel (Effect Level)
DiLevel (Direct Level) -100-100 Sets the volume of the direct sound.

0-500 ms Sets the time from direct sound until when the delay sound

L500-0-R500 ms

-100-100 Sets the amount of the left-side delay should be returned to

-100-100 Sets the amount of the right-side delay should be returned

-100-100 Sets the amount of the left-side delay should be returned to

-100-100

is heard. *1

Sets the delay time difference between the right and left
delay sounds.

the left delay input.

to the right delay input.

the right delay input.

to the left delay input.
Sets the volume of the delay sound.

30