Roland Corporation SCB-55 Owner's Manual

Owner’s Manual

We’d like to take a moment to thank you for purchasing the SCB-55 GS Daughter Board. The SCB-55 is a daughterboard containing high-quality sounds compatible with the GM (General MIDI) System and GS Format. In order to gain a thorough understanding of the SCB-55’s many features, please take the time to read this manual carefully.

CONTENTS

FEATURES .................................................................................................................. 2

IMPORTANT NOTES .................................................................................................. 2

1. INSTALLING THE SCB-55 ...................................................................................... 3

2. THE GENERAL MIDI SYSTEM AND GS FORMAT ................................................... 4

3. STRUCTURE AND FUNCTION OF THE SCB-55 ...................................................... 5

4. ABOUT MIDI ......................................................................................................... 8

5. TONE TABLE ........................................................................................................ 14

6. DRUM SET TABLE ................................................................................................. 19

(1) Parts .......................................................................................................... 5

(2) Voices and Polyphony ........................................................................... 5

(3) Maximum Polyphony ............................................................................. 6

(4) How to Change Tones ........................................................................... 6

(5) Chorus and Reverb ................................................................................ 7

(6) Changing Between Drum Sets .............................................................. 7

(1) MIDI Message Exchange ....................................................................... 8

(2) MIDI Messages Handled by the SCB-55 ............................................... 9

(3) Default Settings ..................................................................................... 13

(4) About the MIDI Implementation Chart .............................................. 13

MIDI IMPLEMENTATION ......................................................................................... 21

BLOCK DIAGRAM ....................................................................................... 29

SPECIFICATIONS .................................................................................................... 31

IBM is a registered trademark of International Business Machines Corporation. Microsoft is a registered trademark of Microsoft Corporation. Windows is a trademark of Microsoft Corporation. Sound Blaster and Wave Blaster are trademarks of Creative Labs, Inc. The GS logo is a trademark of Roland Corporation. All other products are trademarks or registered trademarks of their respective owners.

in any form without the written permission of ROLAND CORPORATION.

FEATURES

Easy Installation

All you need to do is to mount the SCB-55 onto a sound card compatible with Sound Blaster, and you can enjoy high-quality sounds with music or game software.

16-part Multi-Timbral Sound Generator

The SCB-55 is a 16-part multi-timbral (including the drum part) sound generator. It can play up to 28 notes simultaneously, making possible ensembles of up to 16 parts.

Reverb and Chorus Effects

The onboard reverb enhances expressiveness by adding an expansive feeling, while chorus can be used to add fullness to the sound for majestic ensembles. These digital effects let you create music with virtually the same fidelity and acoustics as a concert hall.

Compatible with GM (General MIDI) System Level 1 and GS Format

General MIDI and GS-compatible sound generators can play identical MIDI data with very similar voicings, despite differences in the actual sounds that each device can play.

IMPORTANT NOTES

[Placement]

• Do not subject the unit to temperature extremes (e.g. direct sunlight in an enclosed vehicle). Avoid using or storing the unit in dusty or humid areas, or areas that are subject to high levels of vibration.

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum.

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

[Additional Precautions]

• Protect the unit from strong impact.

• Do not allow objects or liquids of any kind to penetrate the unit. In the event of such an occurrence, discontinue use immediately. Contact qualified service personnel as soon as possible.

• Should a malfunction occur, or if you suspect there is a problem, discontinue use immediately. Contact qualified service personnel as soon as possible.

General MIDI System

The General MIDI System is a set of recommendations which seek to provide a way for going beyond the limitations of proprietary designs, and standardize the MIDI capabilities provided by sound generating devices. If you use a sound generating unit which carries the General MIDI logo, you will be able to faithfully reproduce any song data which also carries the General MIDI logo.

GS Format

The GS Format is Roland’s universal set of specifications which were formulated in the interest of standardizing the way in which sound generating devices will operate when MIDI is used for the performance of music. If you use a sound generating unit which carries the GS logo, you will be able to faithfully reproduce any commercially available song data which also carries the GS logo.

This product supports both General MIDI and GS. Song data which carries either of these logos can be accurately reproduced.

1. INSTALLING THE SCB-55

Your Sound Card

SCB-55

Compatible Sound Cards

Roland MPU-401AT Any sound card with a Wave Blaster-compatible connector

1. Turn off your computer and all peripheral devices (such as printers and monitors

connected to it) and unplug the power cable.

2. Remove the computer’s cover. For more information, see the owner’s manual for

your computer.

3. Remove your sound card from the expansion slot of your computer.

4. Connect the Extension Connector (your sound card may call it “the MIDI

Connector”) of the SCB-55 to your sound card as shown below. Be sure to properly and securely attach the SCB-55.

* Do not touch the printed circuit and terminals. * If a plastic spacer touches parts on your sound card (e.g. an IC socket), remove the

unnecessary plastic spacer from the SCB-55.

5. Install the sound card in your computer.

6. Replace the computer’s cover.

2. THE GENERAL MIDI SYSTEM AND GS FORMAT

General MIDI System

The General MIDI System is a universal set of specifications for sound generating devices. These specifications seek to allow for the creation of music data which is not limited to equipment by a particular manufacturer or to specific models. The General MIDI System defines things such as the minimum number of voices that should be supported, the MIDI messages that should be recognized, which sounds correspond to which Program Change numbers, and the layout of rhythm sounds on the keyboard. Thanks to these specifications, any device that is equipped with sound sources supporting the General MIDI System will be able to accurately reproduce General MIDI Scores (music data created for the General MIDI System), regardless of the manufacturer or model.

GS Format

The GS Format is a standardized set of specifications for Roland’s sound generators which defines the manner in which multi-timbral sound generating units will respond to MIDI messages. The GS Format also complies with the General MIDI System. The GS Format also defines a number of other details. These include unique specifications for sounds and the functions available for Tone editing and effects (chorus and reverb), and other specifications concerning the manner in which sound sources will respond to MIDI messages. Any device that is equipped with GS Format sound sources can faithfully reproduce GS Music Data (music data created under the GS Format).

This product supports both General MIDI and GS. Song data which carries either of these logos can be accurately reproduced.

3. STRUCTURE AND FUNCTION OF THE SCB-55

(1) Parts

The SCB-55 provides 16 Parts, and thus allows for a maximum of 16 different performance parts to be played at the same time. Part 10 is for playing percussive instrument.

A Part is something like an orchestral part; think of it as a group of musicians all playing a particular instrument. The big difference compared with a regular orchestra is that you are completely free to decide what kind of instrument they will be playing. In addition, you can change that instrument midway through a song (as many times as you want) for every different part. You could think of this group as being made up of incredible multiinstrumentalists who can play any instrument you give them. There are many different kinds of performance data in MIDI, but probably the most basic is the note message determining which key to play, how hard, for how long, and when to start. Every part has its own MIDI channel over which it receives performance data and, unless you reset it for some reason, the channel number is the same as the part number. Each part plays by following the instructions in the performance data on its own channel, and pays no attention to the data on other channels intended for other parts. So thanks to this MIDI channel scheme, you can play each Part completely independently of the others, like on a multitrack recorder.

* As to MIDI, refer to “ABOUT MIDI.” (p. 8)

(2) Voices and Polyphony

The SCB-55 contains 28 internal components (Voices), each of which is capable of generating sound. All 28 Voices can operate simultaneously. However, some sounds require 2 Voices to produce one note. For this reason, the number of notes actually available can be 28 or less. For example, if every sound you are using consists of 2 Voices, the maximum number of notes you could play at once would be 14.

To determine how many Voices the SCB-55 is using, add up the number of Voices used by all the Parts. Note that it is possible to have all 28 Voices working to produce the sound of only one Part. For information on the number of Voices used by particular sounds, refer to the “TONE TABLE” (p. 14).

(3) Maximum Polyphony

127

123456789

. . .

128

Variation Tone

Capital Tone

Bank Select Number

(Value of Control Number 0)

Program Number

. . .

When the number of Voices being used exceeds 28, some of the notes that should be played could be cut. To avoid ‘loosing’ important notes, there are two features you can use to insure that a particular Part has all the notes it is supposed to. The settings for the parameters which control these features are made using Exclusive messages (p. 26).

Part Priority

When the SCB-55 receives performance data which request it to produce more than the 28 Voices available, priority is given to producing the most recently received note messages. Those that have been sounding for a while will be cut, in order, starting with the oldest ones, and the ones that are assigned to the Parts with the lowest priority.

Part Priority Ordering:

10 > 1 > 2 > 3 > 4 > 5 > 6 > 7 > 8 > 9 > 11 > 12 > 13 > 14 > 15 > 16

For this reason, consider a Part’s importance (bass, chords, melody etc.) carefully when assigning it to a Part on the SCB-55.

Voice Reserve

The Voice Reserve function allows you to specify a minimum number of Voices that will always be reserved and made available for certain Parts. This becomes effective in instances when the total number of Voices that have been requested exceeds the capacity of the unit. When shipped, the following settings were made for Voice Reserve:

Part 1: 6 Parts 2-10: 2 Parts 11-16: 0

(4) How to Change Tones

As Voice Reserve for Part 1 is set to “6,” Part 1 will always have at least 6 Voices—even when all Parts combined are requesting more than 28 Voices. In other words, with Part 1 set this way, all the notes that it should play will be played faithfully (as long as the sounds assigned to it do not use more than 6 Voices).

The SCB-55 has 128 basic sounds (“Capital Tones”) that you can select using Program

1234567

Standard Set

Program Number

. . .

128

Change messages. Each Capital Tone also has “Variations,” selectable using Bank Select messages.

* There are some Variations that do not have a sound assigned to them. Check the TONE

TABLE (p. 14) to make sure there is in fact a Tone at the location you are selecting with a Bank Select message (or else you will get no sound at all).

* The arrangement of the Capital Tones is the same as that for the 128 types of sounds in

the General MIDI System.

(5) Chorus and Reverb

Every Part in the SCB-55 can have chorus and reverb effects added to it, and the depth of effects can be controlled in real time using Control Change messages.

(6) Changing Between Drum Sets

Part 10 is exclusively for percussion, using the Drum Set sounds. Drum Set sounds differ from regular sounds in that a different instrument is assigned to each key. Say you have a violin Tone selected: no matter what key you press, you get a violin sound. It may be a different pitch but it’s still a violin sound. However, in a Drum Set, one key plays the kick, one plays the snare, one the hi-hat, and so on. Percussion instruments don’t generally carry the melody and don’t need the pitch range of a violin, so we can arrange them one-per-key and handle them all in one channel. Drum Sets can be switched using Program Change messages.

* Although Program Numbers range from 1 to 128, there are nowhere near that many dif-

ferent Drum Sets on the SCB-55. If you try to select a Drum Set that doesn’t exist, you’ll get no sound when you try to play. Check the DRUM SET TABLE (p. 19) to make sure that the Program Change message you are sending corresponds to an actual Drum Set.

* The percussion instruments for Note Numbers 35-81 in the Standard Set (Program

Number 1) all have the same key assignments as the 47 percussion instrument types in the General MIDI System.

4. ABOUT MIDI

OUT

THRU

MIDI

Station A

The cable from the antenna carries the TV signals for a variety of broadcasts.

On a TV, the channel is selected to watch the station you want.

Station B

Station C

MIDI stands for Musical Instrument Digital Interface. MIDI is a world-wide standard that allows musical instruments and computers to exchange musical data. Most electronic musical instruments sold today are MIDI compatible. MIDI compatible devices have MIDI connectors which are used to physically link instruments (using special cables). MIDI does not transmit the sound of an instrument, but rather ‘messages’ in digital form that tell the receiving instrument to “do something.” These are known as MIDI messages.

(1) MIDI Message Exchange

How the exchange of MIDI messages is carried out is explained in the following.

MIDI Connectors

In carrying out the exchange of MIDI messages, three connectors are used. MIDI cables are connected to these connectors in various ways depending on the desired result:

MIDI IN connector:

This connector receives incoming MIDI messages.

MIDI OUT connector:

This connector transmits outgoing MIDI messages to other devices.

MIDI THRU connector:

MIDI messages received at MIDI IN are re-transmitted by the MIDI THRU connector. (This connector does not transmit messages that originate inside the unit itself.)

MIDI Channels and Multi-Timbral Capabilities

With MIDI, a single cable can be used for carrying differing sets of performance information, for a number of MIDI devices. This is possible thanks to the concept of MIDI channels. MIDI channels are easy to understand if we use the analogy of television broadcasting.

Many television programs are broadcast from many TV stations and your TV antenna receives them all. By setting your television to a specific channel, you can watch only the desired program. The same idea applies to MIDI channels. The master device is somewhat like the broadcast station, and the slave device is like a television receiver. The MIDI messages carried by the MIDI cable are like the programs that are transmitted from the broadcast stations.

MIDI provides sixteen channels (1—16). When the channel which the sending device

MIDI OUT

MIDI IN

MIDI THRU

MIDI IN

Transmit Channel : 1

Receive Channel : 2

Receive Channel : 1

Sound Module A

Sound Module B

SOUND

Canvas

SOUND

Canvas

(the master) is using to transmit on matches the channel which the receiving device (the slave) is using to receive on, the performance data is conveyed. When the MIDI channels are set as illustrated below and you play the keyboard, sound will be produced only by sound module B. Sound module A will not sound. This is because only sound module B is set to receive on the same channel that the keyboard is using to transmit on. Sound module A’s channel doesn’t match, so it won’t sound.

The SCB-55 is capable of simultaneously recognizing the MIDI messages on all 16 channels. In other words, it is capable of playing 16 different Parts at the same time. Of these, the Part which is set to receive on MIDI channel 10 is known as the Drum Part. This Part provides a collection of percussive instrument sounds, with a different sound for each Note Number (p. 19). The other Parts, those having a MIDI receive channel from 1-9 or 11-16, are known as Standard Parts, and are used for melody or bass, chords, etc. Sound modules such as the SCB-55 are multi-timbral, which means they can simultaneously receive data on a multiple number of MIDI channels, and can play the musical data for a number of Parts simultaneously.

(2) MIDI Messages Handled by the SCB-55

Various types of MIDI messages are used to convey a musical performance. Channel messages are used to convey musical actions, such as “how hard a key was

struck” (converted into a data format called a MIDI message). The action the device takes (how to produce the sound, etc.) when each MIDI message is received will depend on the specifications of the device. If the function requested by a message is not included in the device, the desired effect may not be achieved.

* MIDI messages required for responding to General MIDI System Level 1 specifications

are marked with a

Note Messages ✩

These messages convey what is played on a keyboard or other instrument. The types of Note messages are as follows:

Note Number: A number representing the position of a key on a keyboard. Note On: Indicates that a key has been pressed. Note Off: Indicates that a key has been released. Note On Velocity: The strength with which a key has been pressed.

Note Numbers range from 0—127 and correspond with the positions of keys on a keyboard. Middle C (C4) is number 60. In the Drum Part, a different percussive instrument sound is assigned to each Note Number.

Pitch Bend Change ✩

This message conveys the operation of the bender lever (or pitch bend wheel) that is found on many synthesizers. The pitch will change when this message is received.

✩.

Bank Select (Controller Number: 0, 32)

Orientation

Pan

Left Center Right

0 64 127

Program Change Messages ✩

These messages are generally used to change tones. The tones are selected with Program Numbers 1 to 128. In the SCB-55, the Tone can be changed using Program Change messages. If a Bank Select (Control Change message) is used with a Program Change, more Variations can be selected.

Control Change Messages

These messages control the modulation and pan, etc. Each function is classified with a Control Change number.

•Modulation (Controller Number: 1) ✩

A vibrato effect is applied when this message is received.

•Volume (Controller Number: 7) ✩

This message conveys the volume level of the part. The part’s volume will change when this message is received.

•Expression (Controller Number: 11) ✩

This message conveys the change in volume. This is used to lower or raise the volume during a song.

* The part volume will change with either the volume message (Controller Number: 7) or

expression message (Controller Number: 11). Note that if a 0 value is received with either of the messages, the part volume will be 0, and the part’s volume will not increase even with the other message.

•Panpot (Controller Number: 10) ✩

This message provides adjustment for the sound location in the stereo field (L/R). Effective only when a stereo output is used.

•Hold 1 (Controller Number: 64) ✩

This message conveys the pressing and releasing of the damper (sustain) pedal. Notes will be held when ‘hold on’ is received. Sounds which decay naturally (such as pianos) will decay more slowly when ‘hold on’ is received. Sustaining sounds (such as organs) will be held until ‘hold off’ is received.

•Sostenuto (Controller Number: 66)

The pedal that sustains notes only when it is stepped on is called the sostenuto pedal. This message conveys the action of pressing and releasing this pedal. When ‘sostenuto on’ is received, only notes played at the same time will be sustained. Sounds which decay naturally (such as pianos) will decay more slowly when ‘sostenuto on’ is received. Sustaining sounds (such as organs) will be held until ‘sostenuto off’ is received.

•Soft (Controller Number: 67)

The pedal that softens the sound of notes played is called the soft pedal. This message conveys the action of pressing and releasing this pedal. When ‘soft on’ is received, the cut off frequency is lowered, and a soft sound is achieved. When ‘sostenuto off’ is received, the original sound is restored.

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