Roland F-120R User's Manual

MIDI Implementation
* Some other GS devices do not recognize the Bank Select LSB (Controller number
32).
Model: F-120R, RP301R
Date: Jun. 28, 2012
Version: 1.00
❍ Modulation (Controller Number 1)
Status
BnH
1. Receive Data
■ Channel Voice Messages
●Note off
Status
8nH
9nH
2nd byte
kkH
kkH
3rd byte
vvH
00H
2nd byte
01H
n = MIDI channel number:
vv = Modulation depth:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
* Not received when Rx. MODULATION = OFF. (Initial value is ON)
* The resulting effect is determined by System Exclusive messages. With the initial
settings, this is Pitch Modulation Depth.
❍ Portamento Time (Controller Number 5)
n = MIDI channel number:
kk = note number:
vv = note off velocity:
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
00H-7FH (0-127)
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note on velocity:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
01H-7FH (1-127)
* Not received when Rx. NOTE MESSAGE = OFF. (Initial value is ON)
●Polyphonic Key Pressure
Status
AnH
2nd byte
05H
n = MIDI channel number:
vv = Portamento Time:
●Note on
Status
9nH
Status
BnH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = key pressure:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
00H-7FH (0-127)
* Not received when Rx. POLY PRESSURE (PAf ) = OFF. (Initial value is ON)
* The resulting effect is determined by System Exclusive messages. With the initial
settings, there will be no effect.
●Control Change
* This adjusts the rate of pitch change when Portamento is ON or when using the
Portamento Control. A value of 0 results in the fastest change.
❍ Data Entry (Controller Number 6, 38)
Status
BnH
BnH
2nd byte
06H
26H
n = MIDI channel number:
mm, ll = Bank number:
❍ Volume (Controller Number 7)
Status
BnH
2nd byte
07H
n = MIDI channel number:
vv = Volume:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127), Initial Value = 64H (100)
* Volume messages are used to adjust the volume balance of each Part.
* Not received when Rx. VOLUME = OFF. (Initial value is ON)
Status
BnH
2nd byte
0AH
n = MIDI channel number:
vv = pan:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-40H-7FH (Left-Center-Right),
Initial Value = 40H (Center)
3rd byte
mmH
llH
* Some Tones are not capable of being panned all the way to the left or right.
* Not received when Rx. PANPOT = OFF. (Initial value is ON)
0H-FH (ch.1-ch.16)
00H, 00H-7FH, 7FH (bank.1-bank.16384),
Initial Value = 00 00H (bank.1)
Status
BnH
* Not received when Rx. BANK SELECT = OFF.
* “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will
be ignored.
* “Rx. BANK SELECT” is set to ON by “GM2 System On.”
* “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”
* When Rx. BANK SELECT LSB = OFF, Bank number LSB (llH) will be handled as 00H
regardless of the received value. However, when sending Bank Select messages,
you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)
together.
* Bank Select processing will be suspended until a Program Change message is
received.
* The GS format “Variation number” is the value of the Bank Select MSB (Controller
number 0) expressed in decimal.
1PS
3rd byte
mmH
llH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
❍ Bank Select (Controller Number 0, 32)
2nd byte
00H
20H
0H-FH (ch.1-ch.16)
00H-7FH (0-127), Initial value = 00H (0)
❍ Pan (Controller Number 10)
* When Rx. CONTROL CHANGE = OFF, all control change messages except for
Channel Mode messages will be ignored.
* The value specified by a Control Change message will not be reset even by a
Program Change, etc.
Status
BnH
BnH
3rd byte
vvH
❍ Expression (Controller Number 11)
2nd byte
0BH
n = MIDI channel number:
vv = Expression:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127), Initial Value = 7FH (127)
* This adjusts the volume of a Part. It can be used independently from Volume
messages. Expression messages are used for musical expression within a
performance; e.g., expression pedal movements, crescendo and decrescendo.
* Not received when Rx. EXPRESSION = OFF. (Initial value is ON)
Copyright © 2012 ROLAND EUROPE
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND EUROPE.
1
MIDI Implementation
❍ Hold 1 (Controller Number 64)
❍ Cutoff (Controller Number 74)
Status
BnH
3rd byte
vvH
Status
BnH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
n = MIDI channel number:
vv = Cutoff value (relative change):
2nd byte
40H
n = MIDI channel number:
vv = Control value:
2nd byte
4AH
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH(-64 - 0 - +63),
Initial value = 40H (no change)
* Not received when Rx. HOLD1 = OFF. (Initial value is ON)
* Some Tones will not exhibit any change.
❍ Portamento (Controller Number 65)
Status
BnH
2nd byte
41H
n = MIDI channel number:
vv = Control value :
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
0-63 = OFF, 64-127 = ON
❍ Decay Time (Controller Number 75)
Status
BnH
2nd byte
4BH
n = MIDI channel number:
vv = Decay Time value (relative change):
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH(-64 - 0 - +63),
Initial value = 40H (no change)
* Not received when Rx. PORTAMENTO = OFF. (Initial value is ON)
* Some Tones will not exhibit any change.
❍ Sostenuto (Controller Number 66)
Status
BnH
2nd byte
42H
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
0-63 = OFF, 64-127 = ON
❍ Vibrato Rate (Controller Number 76)
Status
BnH
2nd byte
4CH
3rd byte
vvH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
vv = Vibrato Rate value (relative change): 00H-7FH(-64 - 0 - +63),
Initial value = 40H (no change)
* Not received when Rx. SOSTENUTO = OFF. (Initial value is ON)
* Some Tones will not exhibit any change.
❍ Soft (Controller Number 67)
Status
BnH
2nd byte
43H
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
* Not received when Rx. SOFT = OFF. (Initial value is ON)
* Some Tones will not exhibit any change.
❍ Vibrato Depth (Controller Number 77)
Status
BnH
2nd byte
4DH
3rd byte
vvH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
vv = Vibrato Depth Value (relative change): 00H-7FH(-64 - 0 - +63),
Initial Value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Filter Resonance (Controller Number 71)
Status
BnH
2nd byte
47H
n = MIDI channel number:
vv= Resonance value (relative change):
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH(-64 - 0 - +63),
Initial value = 40H (no change)
❍ Vibrato Delay (Controller Number 78)
Status
BnH
2nd byte
4EH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
vv = Vibrato Delay value (relative change): 00H-7FH(-64 - 0 - +63),
Initial value=40H (no change)
* Some Tones will not exhibit any change.
* Some Tones will not exhibit any change.
❍ Release Time (Controller Number 72)
Status
BnH
2nd byte
48H
3rd byte
vvH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
vv = Release Time value (relative change): 00H-7FH(-64 - 0 - +63),
Initial value = 40H (no change)
* Some Tones will not exhibit any change.
❍ Attack Time (Controller Number 73)
Status
BnH
2nd byte
49H
n = MIDI channel number:
vv = Attack time value (relative change):
* Some Tones will not exhibit any change.
2
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH(-64 - 0 - +63),
Initial value=40H (no change)
3rd byte
vvH
MIDI Implementation
❍ Portamento Control (Controller Number 84)
Status
BnH
2nd byte
54H
n = MIDI channel number:
kk = source note number:
3rd byte
kkH
parameter. Refer to Section 4. Supplementary material “Examples of actual MIDI
messages” <Example 4>. On the GS devices, Data entry LSB (llH) of NRPN (contrpller
number 38) is ignored, so it is no problem to send Data entry MSB (mmH) only
without Data entry LSB (controller number 6).
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
On this instrument, NRPN can be used to modify the following parameters.
* A Note-on received immediately after a Portamento Control message will change
continuously in pitch, starting from the pitch of the Source Note Number.
* If a voice is already sounding for a note number identical to the Source Note
Number, this voice will continue sounding (i.e., legato) and will, when the next
Note-on is received, smoothly change to the pitch of that Note-on.
* The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
NRPN
MSB LSB
01H 08H
Data entry
MSB
mmH
01H 09H
mmH
01H 0AH
mmH
Example 1.
On MIDI
90 3C 40
B0 54 3C
01H 20H
mmH
01H 21H
mmH
01H 63H
mmH
01H 64H
mmH
01H 66H
mmH
90 40 40
80 3C 40
80 40 40
Example 2.
On MIDI
B0 54 3C
90 40 40
80 40 40
Description
Note on C4
Portamento
Control from C4
Note on E4
Note off C4
Note off E4
Description
Portamento
Control from C4
Note on E4
Note off E4
Result
C4 on
no change (C4 voice still sounding)
glide from C4 to E4
no change
E4 off
Result
no change
E4 is played with glide from C4 to E4
E4 off
❍ Effect 1 (Reverb Send Level) (Controller Number 91)
Status
BnH
2nd bytes
5BH
n = MIDI channel number:
vv = Control value :
3rd byte
vvH
Description
Vibrato Rate (relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
Vibrato Depth (relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
Vibrato Delay (relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
TVF Cutoff Frequency (relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
TVF Resonance (relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
TVF & TVA Envelope Attack Time
(relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
TVF & TVA Envelope Decay Time
(relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
TVF & TVA Envelope Release Time
(relative change)
mm: 0EH-40H-72H (-50 - 0 - +50)
* Parameters marked “relative change” will change relatively to the preset value(40H).
Even among different GS devices, “relative change” parameters may sometimes
differ in the way the sound changes or in the range of change.
* Parameters marked “absolute change” will be set to the absolute value of the
parameter, regardless of the preset value.
* Data entry LSB (llH) is ignored.
0H-FH (ch.1-ch.16)
00H-7FH (0-127), Initial Value = 28H (40)
* This message adjusts the Reverb Send Level of each Part.
❍ Effect 3 (Chorus Send Level) (Controller Number 93)
Status
BnH
2nd byte
5DH
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127), Initial Value = 00H (0)
* This message adjusts the Chorus Send Level of each Part.
❍ NRPN MSB/LSB (Controller Number 98, 99)
Status
BnH
BnH
2nd byte
63H
62H
3rd byte
mmH
llH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
mm = upper byte (MSB) of the parameter number specified by NRPN
ll = lower byte (LSB) of the parameter number specified by NRPN
* Rx. NRPN is set to OFF by power-on reset or by receiving “GM1 System On” or “GM2
System On,” and NRPN message will be ignored. NRPN message will be received
when Rx. NRPN = ON, or by receiving “GS RESET.”
* The value set by NRPN will not be reset even if Program Change or Reset All
Controllers is received.
**NRPN**
The NRPN (Non Registered Parameter Number) message allows an extended range of
control changes to be used.
To use these messages, you must first use NRPN MSB and NRPN LSB messages
to specify the parameter to be controlled, and then use Data Entry messages to
specify the value of the specified parameter. Once an NRPN parameter has been
specified, all Data Entry messages received on that channel will modify the value
of that parameter. To prevent accidents, it is recommended that you set RPN Null
(RPN Number = 7FH/7FH) when you have finished setting the value of the desired
3
MIDI Implementation
❍ RPN MSB/LSB (Controller Number 100, 101)
●Channel Pressure
Status
BnH
BnH
Status
DnH
2nd byte
65H
64H
3rd byte
mmH
llH
n = MIDI channel number:
0H-FH (ch.1-ch.16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
* Not received when Rx. RPN = OFF. (Initial value is ON)
* The value specified by RPN will not be reset even by messages such as Program
Change or Reset All Controller.
2nd byte
vvH
n = MIDI channel number:
vv = Channel Pressure :
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
* Not received when Rx. CH PRESSURE (CAf ) = OFF. (Initial value is ON)
* The resulting effect is determined by System Exclusive messages. With the initial
settings there will be no effect.
●Pitch Bend Change
**RPN**
The RPN (Registered Parameter Number) messages are expanded control changes,
and each function of an RPN is described by the MIDI Standard.
To use these messages, you must first use RPN MSB and RPN LSB messages to specify
the parameter to be controlled, and then use Data Entry messages to specify the
value of the specified parameter. Once an RPN parameter has been specified, all Data
Entry messages received on that channel will modify the value of that parameter. To
prevent accidents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH)
when you have finished setting the value of the desired parameter. Refer to Section 4.
“Examples of actual MIDI messages” <Example 4>
Status
EnH
On this instrument, RPN can be used to modify the following parameters.
■ Channel Mode Messages
RPN
MSB LSB
00H 00H
00H 01H
00H 02H
Data entry
MSB LSB
mmH ---
mmH llH
mmH ---
00H 05H
mmH llH
7FH 7FH
--- ---
Explanation
Pitch Bend Sensitivity
mm: 00H-18H (0-24 semitones),
Initial Value = 02H (2 semitones)
ll: ignored (processed as 00h)
specify up to 2 octaves in semitone steps
Master Fine Tuning
mm, ll: 00 00H - 40 00H - 7F 7FH
(-100 - 0 - +99.99 cents),
Initial Value = 40 00H (0 cent)
ll: ignored (processed as 00h)
specify up to 2 octaves in semitone steps
Refer to 4. Supplementary Material,
“About Tuning”
Master Coarse Tuning
mm: 28H - 40H - 58H
(-24 - 0 - +24 semitones),
Initial Value = 40H (0 cent)
ll: ignored (processed as 00h)
Modulation Depth Range
mm: 00H - 04H (0 - 4 semitones)
ll: 00H - 7FH (0 - 100 cents)
100/128 Cent/Value
RPN null
Set condition where RPN and NRPN are
unspecified. The data entry messages
after set RPN null will be ignored.
(No Data entry messages are required
after RPN null).
Settings already made will not change.
mm, ll: ignored
2nd byte
llH
n = MIDI channel number:
mm, ll = Pitch Bend value:
3rd byte
mmH
0H-FH (ch.1-ch.16)
00 00H - 40 00H - 7F 7FH
(-8192 - 0 - +8191)
* Not received when Rx. PITCH BEND = OFF. (Initial value is ON)
* The resulting effect is determined by System Exclusive messages. With the initial
settings the effect is Pitch Bend.
●All Sounds Off (Controller number 120)
Status
BnH
2nd byte
78H
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
* When this message is received, all currently-sounding notes on the corresponding
channel will be turned off immediately.
●Reset All Controllers (Controller Number 121)
Status
BnH
2nd byte
79H
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
* When this message is received, the following controllers will be set to their reset
values.
Controller
Pitch Bend Change
Polyphonic Key Pressure
Channel Pressure
Modulation
Expression
Hold 1
Portamento
Sostenuto
Soft
RPN
NRPN
Reset value
±0 (Center)
0 (off )
0 (off )
0 (off )
127 (max)
0 (off )
0 (off )
0 (off )
0 (off )
unset; previously set data will not change
unset; previously set data will not change
●Program Change
●Local Control (Controller Number 122)
Status
CnH
Status
BnH
2nd byte
ppH
n = MIDI channel number:
pp = Program number:
0H-FH (ch.1-ch.16)
00H-7FH (prog.1-prog.128)
* Not received when Rx. PROGRAM CHANGE = OFF. (Initial value is ON)
* After a Program Change message is received, the sound will change beginning with
the next Note-on. Voices already sounding when the Program Change message
was received will not be affected.
4
2nd byte
7AH
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H, 7FH (0,127)
00H: Local Off
7FH: Local On
MIDI Implementation
●All Notes Off (Controller Number 123)
Status
BnH
2nd byte
7BH
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
* When All Notes Off is received, all notes on the corresponding channel will be
turned off. However if Hold 1 or Sostenuto is ON, the sound will be continued until
these are turned off.
●OMNI OFF (Controller Number 124)
Status
BnH
2nd byte
7CH
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
■ System Exclusive Message
Status
F0H
Data byte
iiH, ddH, ......, eeH
F0H:
ii = ID number:
System Exclusive Message status
An ID number (manufacturer ID) to indicate the manufacturer
whose Exclusive message this is. Roland’s manufacturer ID
is 41H. ID numbers 7EH and 7FH are extensions of the MIDI
standard; Universal Non-realtime Messages (7EH) and Universal
Realtime Messages (7FH).
00H-7FH (0-127)
EOX (End Of Exclusive)
dd,...,ee = data:
F7H:
Status
F7H
The System Exclusive Messages received by this instrument are; messages related to
mode settings, Universal Realtime System Exclusive messages, Universal Nonrealtime System Exclusive messages and Data Set (DT1).
* The same processing will be carried out as when All Notes Off is received.
●System Exclusive Messages Related to Mode Settings
●OMNI ON (Controller Number 125)
Status
BnH
2nd byte
7DH
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
* OMNI ON is only recognized as “All notes off ”; the Mode doesn’t change (OMNI OFF
remains).
These messages are used to initialize a device to GS or General MIDI mode, or change
the operating mode.
When creating performance data, a “GM1 System On” message should be inserted
at the beginning of a General MIDI 1 score, a “GM2 System On” message at the
beginning of a General MIDI 2 score, and a “GS Reset” message at the beginning of a
GS music data. Each song should contain only one mode message as appropriate for
the type of data. (Do not insert two or more mode setting messages in a single song.)
“GM System On” uses Universal Non-realtime Message format. “GS Reset” uses Roland
system Exclusive format “Data Set 1 (DT1).”
●MONO (Controller Number 126)
❍ GM1 System On
Status
BnH
This is a command message that resets the internal settings of the unit to the General
MIDI initial state (General MIDI System-Level 1).
Status
Data byte
Status
F0H
7EH, 7FH, 09H, 01H
F7H
2nd byte
7EH
n = MIDI channel number:
mm = mono number :
3rd byte
mmH
0H-FH (ch.1-ch.16)
00H-10H (0-16)
* The same processing will be carried out as when All Sounds Off and All Notes Off is
received, and the corresponding channel will be set to Mode 4 (M = 1) regardless of
the value of “mono number.”
●POLY (Controller Number 127)
Status
BnH
2nd byte
7FH
n = MIDI channel number:
3rd byte
00H
0H-FH (ch.1-ch.16)
* The same processing will be carried out as when All Sounds Off and All Notes Off is
received, and the corresponding channel will be set to Mode 3.
■ System Realtime Message
●Active Sensing
Status
FEH
* When Active Sensing is received, the unit will begin monitoring the intervals of
all further messages. While monitoring, if the interval between messages exceeds
420 ms, the same processing will be carried out as when All Sounds Off, All Notes
Off and Reset All Controllers are received, and message interval monitoring will be
halted.
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
* When this message is received, Rx. BANK SELECT will be OFF and Rx. NRPN will be
OFF.
* There must be an interval of at least 50 ms between this message and the next.
❍ GM2 System On
This is a command message that resets the internal settings of the unit to the General
MIDI initial state (General MIDI System-Level 2).
Status
Data byte
Status
F0H
7EH 7FH 09H 03H
F7H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
* When this message is received, this instrument will be able to receive the messages
specified by General MIDI 2, and use the General MIDI 2 soundmap.
* There must be an interval of at least 50 ms between this message and the next.
5
MIDI Implementation
❍ GM System Off
❍ Master Fine Tuning
“GM System Off ” is a command message that resets the internal state of this
instrument from the GM state to its native condition. This instrument will reset to the
GS default state.
Status
F0H
Data byte
7FH, 7FH, 04H, 03H, llH, mmH
Byte
F0H
7FH
7FH
04H
03H
llH
mmH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
llH, mmH:
00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
Status
F0H
Data byte
7EH, 7FH, 09H, 02H
Status
F7H
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub-ID#1 (General MIDI message)
Sub-ID#2 (General MIDI Off )
EOX (End of exclusive)
* There must be an interval of at least 50 ms between this message and the next.
❍ Master Coarse Tuning
❍ GS reset
Status
F0H
Data byte
7FH, 7FH, 04H, 04H, llH, mmH
Byte
F0H
7FH
7FH
04H
04H
llH
mmH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
llH:
mmH:
ignored (processed as 00H)
28H - 40H - 58H (-24 - 0 - +24 [semitones])
GS Reset is a command message that resets the internal settings of a device to the GS
initial state.
Status
F0H
Data byte
41H, 10H, 42H, 12H, 40H,
00H - 7FH, 00H, 41H
Byte
F0H
41H
10H
Explanation
Exclusive status
ID number (Roland)
Device ID
(dev: 00H-1FH (1-32), Initial value is 10H (17))
Model ID (GS)
Command ID (DT1)
Address MSB
Address
Address LSB
Data (GS reset)
Checksum
EOX (End Of Exclusive)
42H
12H
40H
00H
7FH
00H
41H
F7H
Status
F7H
* When this message is received, Rx. NRPN will be ON.
* There must be an interval of at least 50 ms between this message and the next.
●Universal Realtime System Exclusive Messages
❍ Master volume
Status
F0H
Data byte
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H
llH
mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control messages)
Sub ID#2 (Master Volume)
Master volume lower byte
Master volume upper byte
EOX (End Of Exclusive)
llH:
mmH:
ignored (processed as 00H)
00H - 7FH
0 - 127
Status
F7H
Status
F7H
●Global Parameter Control
Parameters of the Global Parameter Control are newly provided for the General MIDI
2.
❍ Reverb Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
EOX (End Of Exclusive)
pp=0
Reverb Type
vv = 00H
vv = 01H
vv = 02H
vv = 03H
vv = 04H
vv = 08H
Small Room (Room1)
Medium Room (Room2)
Large Room (Room3)
Medium Hall (Hall1)
Large Hall (Hall2)
Plate (Plate)
Reverb Time
vv = 00H - 7FH
0 - 127
* The lower byte (llH) of Master Volume will be handled as 00H.
pp=1
6
Status
F7H
Status
F7H
MIDI Implementation
❍ Chorus Parameters
❍ Controller
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
EOX (End Of Exclusive)
pp=0
Chorus Type
vv=0
vv=1
vv=2
vv=3
vv=4
vv=5
Status
F7H
Status
F0H
Data byte
7FH, 7FH, 09H, 03H, 0nH, ccH,
ppH, rrH
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Controlled range
EOX (End Of Exclusive)
pp=0
Pitch Control
rr = 28H - 58H
-24 - +24 [semitones]
Filter Cutoff Control
rr = 00H - 7FH
-9600 - +9450 [cents]
Amplitude Control
rr = 00H - 7FH
0 - 200 [%]
LFO Pitch Depth
rr = 00H - 7FH
0 - 600 [cents]
LFO Filter Depth
rr = 00H - 7FH
0 - 2400 [cents]
LFO Amplitude Depth
rr = 00H - 7FH
0 - 100 [%]
pp=1
pp=2
Chorus1
Chorus2
Chorus3
Chorus4
FB Chorus
Flanger
pp=3
pp=4
pp=5
pp=1
pp=2
pp=3
pp=4
Mod Rate
vv= 00H - 7FH
Mod Depth
vv = 00H - 7FH
Feedback
vv = 00H - 7FH
Send To Reverb
vv = 00H - 7FH
0 - 127
❍ Scale/Octave Tuning Adjust
0 - 127
0 - 127
Status
F0H
Data byte
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
F7H
Explanation
Exclusive status
ID number (Universal Realtime Message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range
EOX (End Of Exclusive)
pp=0
Pitch Control
rr = 28H - 58H
-24 - +24 [semitones]
Filter Cutoff Control
rr = 00H - 7FH
-9600 - +9450 [cents]
Amplitude Control
rr = 00H - 7FH
0 - 200 [%]
LFO Pitch Depth
rr = 00H - 7FH
0 - 600 [cents]
LFO Filter Depth
rr = 00H - 7FH
0 - 2400 [cents]
LFO Amplitude Depth
rr = 00H - 7FH
0 - 100 [%]
pp=2
pp=3
pp=4
pp=5
Status
F0H
Data byte
7EH, 7FH, 08H, 08H, ffH, ggH,
hhH, ssH...
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
Channel byte2
bits 0 to 6 = channel 8 to 14
Channel byte3
bits 0 to 6 = channel 1 to 7
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
EOX (End Of Exclusive)
0 - 127
❍ Channel Pressure
pp=1
Status
F7H
Status
F7H
ggH
hhH
ssH
F7H
Status
F7H
●Universal Non-realtime System Exclusive Messages
❍ Identity Request Message
Status
F0H
Data byte
7EH, 10H, 06H, 01H
Status
F7H
Byte
F0H
7EH
10H
06H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
* Device ID = 10H or 7FH
7
MIDI Implementation
●Data Transmission
This instrument can receive the various parameters using System Exclusive messages.
The exclusive message of GS format data has a model ID of 42H and a device ID of
10H (17), and it is common to all the GS devices.
This is the message that actually performs data transmission, and is used when you
wish to transmit the data.
Status
F0H
Data byte
41H, 10H, 42H, 12H, aaH, bbH,
ccH, ddH, ... eeH, sum
Byte
F0H
41H
10H
42H
12H
aaH
Explanation
Exclusive status
ID number (Roland)
Device ID
Model ID (GS)
Command ID (DT1)
Address MSB: upper byte of the starting address of
the transmitted data
Address: middle byte of the starting address of the
transmitted data
Address LSB: lower byte of the starting address of
the transmitted data
Data: the actual data to be transmitted. Multiple
bytes of data are transmitted starting from the
address.
:
Data
Checksum
EOX (End Of Exclusive)
ccH
ddH
:
eeH
sum
F7H
■ Channel Voice Messages
●Note Off
❍ Data Set 1 (DT1)
bbH
2. Transmit Data
Status
F7H
* The amount of data that can be transmitted at one time depends on the type of
data, and data can be received only from the specified starting address and size.
Refer to the Address and Size given in Section 3.
* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If
“Data Set 1” is transmitted successively, there must be an interval of at least 40 ms
between packets.
* Regarding the checksum, please refer to section 4 .
Status
8nH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note off velocity:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
00H-7FH (0-127)
●Note On
Status
9nH
2nd byte
kkH
n = MIDI channel number:
kk = note number:
vv = note on velocity:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
01H-7FH (1-127)
●Control Change
❍ Bank Select (Controller Number 0, 32)
Status
BnH
BnH
2nd byte
00H
20H
n = MIDI channel number:
mm, ll = Bank number:
3rd byte
mmH
llH
0H-FH (ch.1-ch.16)
00H, 00H-7FH, 7FH (bank.1-bank.16384)
❍ Expression (Controller number 11)
Status
BnH
2nd byte
0BH
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
❍ Hold 1 (Controller Number 64)
Status
BnH
2nd byte
40H
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
❍ Sostenuto (Controller Number 66)
Status
BnH
2nd byte
42H
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H, 7FH (0, 127) 0 = OFF, 127 = ON
❍ Soft (Controller Number 67)
Status
BnH
2nd byte
43H
n = MIDI channel number:
vv = Control value:
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
❍ Effect 1 (Reverb Send Level) (Controller Number 91)
Status
BnH
2nd byte
5BH
n = MIDI channel number:
vv = Control value:
●Program Change
Status
CnH
8
2nd byte
ppH
3rd byte
vvH
0H-FH (ch.1-ch.16)
00H-7FH (0-127)
MIDI Implementation
n = MIDI channel number:
pp = Program number:
0H-FH (ch.1-ch.16)
00H-7FH (prog.1-prog.128)
■ System Realtime Message
●Realtime Clock
Status
F8H
●Start
Status
FAH
●Continue
Status
FBH
●Stop
Status
FCH
●Active Sensing
Status
FEH
* This will be transmitted constantly at intervals of approximately 250 ms.
■ System Exclusive Messages
❍ Identity Reply
Status
F0H
Data byte
7EH, 10H, 06H, 02H, 41H, 42H, 00H, 00H,
1DH, 00H, 01H, 00H, 00H
Byte
F0H
7EH
10H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID
(use the same as the device ID of Roland)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code (LSB)
Device family code (MSB)
Device family number code (LSB)
Device family number code (MSB)
Software revision level
Software revision level
Software revision level
Software revision level
EOX (End of Exclusive)
06H
02H
41H
42H
00H
00H
1DH
00H
01H
00H
00H
F7H
Status
F7H
9
MIDI Implementation
3. Parameter Address Map (Model ID = 42H)
This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using and “Data set 1 (DT1).”
All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.
■ Address Block Map
An outlined address map of the Exclusive Communication is as follows;
+------------+------------------------------------+
| Address (H)| Block
|
+------------+------------------------------------+
| 40 00 00 |
|
|
| SYSTEM PARAMETERS
|
| 40 01 3F |
|
+------------+------------------------------------+
+------------+------------------------------------+
| 40 1x 00 |
|
|
| PART PARAMETERS (x = 0-F)
|
| 40 2x 5A |
|
+------------+------------------------------------+
+------------+------------------------------------+
| 48 00 00 |
|
|
| SYSTEM PARAMETERS
|
|
|
|
+------------+------------------------------------+
| 48 01 10 |
|
|
| PART PARAMETERS
|
| 48 1D 0F |
|
+------------+------------------------------------+
Individual
Individual
Bulk
Bulk
There are two ways in which GS data is transmitted: Individual Parameter Transmission in which individual parameters are transmitted one by one, and Bulk Dump Transmission in
which a large amount of data is transmitted at once.
■ Individual Parameters
Individual Parameter Transmission transmits data (or requests data) for one parameter as one exclusive message (one packet of “F0 ..... F7”).
In Individual Parameter Transmission, you must use the Address and Size listed in the following “Parameter Address Map.” Addresses marked at “#” cannot be used as starting
addresses.
●System Parameters
Parameters related to the system of the device are called System Parameters.
Address (H)
40 00 00
40 00 01#
40 00 02#
40 00 03#
Size (H)
00 00 04
Data (H)
0018-07E8
Parameter
MASTER TUNE
Description
-100.0 - +100.0 [cent]
Use nibblized data.
Default Value (H)
00 04 00 00
Description
0 [cent]
0-127
7F
127
-24 - +24 [semitones]
-63 (LEFT) - +63 (RIGHT)
00 = GS Reset,
127 = Exit GS mode
(Rx. only)
40
40
0 [semitones]
0 (CENTER)
Part 10
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 11
:
Part 16
02
06
02
02
02
02
02
02
02
02
00
:
00
2
6
2
2
2
2
2
2
2
2
0
:
0
*Refer to section 4. Supplementary material, “About Tuning.”
40 00 04
00 00 01
00-7F
40 00 05
40 00 06
40 00 7F
00 00 01
00 00 01
00 00 01
28-58
01-7F
00
MASTER VOLUME
(= F0 7F 7F 04 01 00 vv F7)
MASTER KEY-SHIFT
MASTER PAN
MODE SET
* Refer to “System exclusive messages related to mode settings”.
40 01 10
40 01 11#
40 01 12#
40 01 13#
40 01 14#
40 01 15#
40 01 16#
40 01 17#
40 01 18#
40 01 19#
40 01 1A#
40 01 :#
40 01 1F#
00 00 10
00-40
VOICE RESERVE
* The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony. The maximum polyphony of this instrument is 128.
For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.
40 01 30
10
00 00 01
00-07
REVERB MACRO
00: Room 1
01: Room 2
04
Hall 2
MIDI Implementation
40 01 31
40 01 32
40 01 33
40 01 34
40 01 35
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00-07
00-07
00-7F
00-7F
00-7F
REVERB CHARACTER
REVERB PRE-LPF
REVERB LEVEL
REVERB TIME
REVERB DELAY FEEDBACK
02: Room 3
03: Hall 1
04: Hall 2
05: Plate
06: Delay
07: Panning Delay
0-7
0-7
0-127
0-127
0-127
04
00
40
40
00
4
0
64
64
0
* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will be set to
the most suitable value.
* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.
40 01 38
00 00 01
00-07
CHORUS MACRO
40 01 39
40 01 3A
40 01 3B
40 01 3C
40 01 3D
40 01 3E
40 01 3F
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00-07
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
CHORUS PRE-LPF
CHORUS LEVEL
CHORUS FEEDBACK
CHORUS DELAY
CHORUS RATE
CHORUS DEPTH
CHORUS SEND LEVEL TO REVERB
00: Chorus 1
01: Chorus 2
02: Chorus 3
03: Chorus 4
04: Feedback Chorus
05: Flanger
06: Short Delay
07: Short Delay (FB)
0-7
0-12
0-127
0-127
0-127
0-127
0-127
02
Chorus 3
00
40
08
50
03
13
00
0
64
8
80
3
19
0
* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter will be
set to the most suitable value.
40 03 00
00 00 02
00-7F
EFX TYPE (MSB, LSB)
00 00 - 7F 7F
00 01
Thru
* Refer to EFX Type Table
* This EFX Type is current EFX type of this system. When part EFX type is same to this EFX type, that part connect to EFX.
40 03 03
40 03 04
40 03 05
40 03 06
40 03 07
40 03 08
40 03 09
40 03 0A
40 03 0B
40 03 0C
40 03 0D
40 03 0E
40 03 0F
40 03 10
40 03 11
40 03 12
40 03 13
40 03 14
40 03 15
40 03 16
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
EFX Parameter 1
EFX Parameter 2
EFX Parameter 3
EFX Parameter 4
EFX Parameter 5
EFX Parameter 6
EFX Parameter 7
EFX Parameter 8
EFX Parameter 9
EFX Parameter 10
EFX Parameter 11
EFX Parameter 12
EFX Parameter 13
EFX Parameter 14
EFX Parameter 15
EFX Parameter 16
EFX Parameter 17
EFX Parameter 18
EFX Parameter 19
EFX Parameter 20
* Each parameter will be changed by EFX type. Refer to EFX Parameter Map.
40 03 17
00 00 01
00 - 7F
EFX Send Level to Reverb
00 - 7F
EFX Send Level to Chorus
00 - 7F
EFX Depth
* Set to 0 when EFX type is changed.
40 03 18
00 00 01
* Set to 0 when EFX type is changed.
40 03 1A
00 00 01
Dry 100% - EFX 100%
7F
11
MIDI Implementation
●Part Parameters
This instrument has 16 parts. Parameters that can be set individually for each Part are called Part parameters.
If you use exclusive messages to set Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel). The Block
number can be specified as one of 16 blocks, from 0 (H) to F (H).
The relation between Part number and Block number is as follows.
x...BLOCK NUMBER (0-F),
Address (H)
40 1x 00
40 1x 01#
40 1x 02
40 1x 03
40 1x 04
40 1x 05
40 1x 06
40 1x 07
40 1x 08
40 1x 09
40 1x 0A
Size (H)
00 00 02
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
: : :
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
: : :
Part16 (MIDI ch = 16) x = F
Data (H)
00-7F
00-7F
00-10
00-01
00-01
00-01
00-01
00-01
00-01
00-01
00-01
Parameter
TONE NUMBER
P.C. VALUE
Rx. CHANNEL
Rx. PITCH BEND
Rx. CH PRESSURE (CAf )
Rx. PROGRAM CHANGE
Rx. CONTROL CHANGE
Rx. POLY PRESSURE (PAf )
Rx. NOTE MESSAGE
Rx. RPN
Rx. NRPN
Description
CC#00 VALUE 0-127
1-128
1-16, OFF
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
Default Value (H)
00
00
Same as the Part Number
01
01
01
01
01
01
01
00 (01*)
Description
0
1
ON
ON
ON
ON
ON
ON
ON
OFF (ON*)
* When “GM1 System On” and “GM2 System On” are received, Rx. NRPN will be set OFF. When “GS Reset” is received, it will be set ON.
40 1x 0B
40 1x 0C
40 1x 0D
40 1x 0E
40 1x 0F
40 1x 10
40 1x 11
40 1x 12
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00-01
00-01
00-01
00-01
00-01
00-01
00-01
00-01
Rx. MODULATION
Rx. VOLUME
Rx. PANPOT
Rx. EXPRESSION
Rx. HOLD1
Rx. PORTAMENTO
Rx. SOSTENUTO
Rx. SOFT
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
01
01
01
01
01
01
01
01
ON
ON
ON
ON
ON
ON
ON
ON
40 1x 13
00 00 01
00-01
MONO/POLY MODE
(= CC# 126 01 / CC# 127 00)
Mono/Poly
01
Poly
40 1x 16
40 1x 17
40 1x 18#
00 00 01
00 00 02
28-58
00 08-0F 08
(08-F8)
PITCH KEY SHIFT
PITCH OFFSET FINE
-24 - +24 [semitones]
-12.0 - +12.0 [Hz]
Use nibblized data.
40
08 00 (80)
0 [semitones]
0 [Hz]
* PITCH OFFSET FINE allows you to alter, by a specified frequency amount, the pitch at which notes will sound. This parameter differs from the conventional Fine Tuning (RPN #1)
parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has been given
a different setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.
40 1x 19
00 00 01
00-7F
40 1x 1A
40 1x 1B
40 1x 1C
00 00 01
00 00 01
00 00 01
00-7F
00-7F
00-7F
40 1x 1D
40 1x 1E
40 1x 1F
40 1x 20
40 1x 21
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00-7F
00-7F
00-5F
00-5F
00-7F
40 1x 22
00 00 01
00-7F
40 1x 23
00 00 01
00-01
PART LEVEL
(= CC# 7)
VELOCITY SENSE DEPTH
VELOCITY SENSE OFFSET
PART PANPOT
(= CC# 10, except RANDOM)
KEY RANGE LOW
KEY RANGE HIGH
CC1 CONTROLLER NUMBER
CC2 CONTROLLER NUMBER
CHORUS SEND LEVEL
(= CC# 93)
REVERB SEND LEVEL
(= CC# 91)
Rx. BANK SELECT
* “Rx. BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select message will be ignored.
* “Rx. BANK SELECT” is set to ON by “GM2 System On.”
* “Rx. BANK SELECT” is set to ON by power-on Reset or by receiving “GS RESET.”
12
0-127
64
100
0-127
0-127
-64 (RANDOM)
-63 (LEFT) - +63 (RIGHT)
40
40
40
64
64
0 (CENTER)
(C-1) - (G9)
(C-1) - (G9)
0-95
0-95
0-127
00
7F
10
11
00
C-1
G9
16
17
0
0-127
28
40
OFF/ON
01 (00*)
ON (OFF*)
MIDI Implementation
40 1x 24
00 00 01
00-01
Rx. BANK SELECT LSB
OFF/ON
00
OFF
* This instrument can be recognized Bank Select LSB (40H-43H) even if this message is OFF.
40 1x 25
40 1x 28
40 1x 29#
00 00 01
00 00 03
00-01
00-7F
TONE REMAIN
Bank Select LSB Range
OFF/ON
LSB (from)
LSB (to)
01
40
43
ON
40H
43H
40 1x 30
00 00 01
0E-72
-50 - +50
40
0
40 1x 31
00 00 01
0E-72
-50 - +50
40
0
40 1x 32
00 00 01
0E-72
-50 - +50
40
0
40 1x 33
00 00 01
0E-72
-50 - +50
40
0
40 1x 34
00 00 01
0E-72
-50 - +50
40
0
40 1x 35
00 00 01
0E-72
-50 - +50
40
0
40 1x 36
00 00 01
0E-72
-50 - +50
40
0
40 1x 37
00 00 01
0E-72
TONE MODIFY 1
Vibrato rate (= NRPN# 8)
TONE MODIFY 2
Vibrato depth (= NRPN# 9)
TONE MODIFY 3
TVF cutoff frequency (= NRPN# 32)
TONE MODIFY 4
TVF resonance (= NRPN# 33)
TONE MODIFY 5
TVF&TVA Env.attack (= NRPN# 99)
TONE MODIFY 6
TVF&TVA Env.decay (= NRPN# 100)
TONE MODIFY 7
TVF&TVA Env.release (= NRPN# 102)
TONE MODIFY 8
Vibrato delay (= NRPN# 10)
-50 - +50
40
0
40 1x 40
40 1x 41#
40 1x 42#
40 1x 43#
40 1x 44#
40 1x 45#
40 1x 46#
40 1x 47#
40 1x 48#
40 1x 49#
40 1x 4A#
40 1x 4B#
00 00 0C
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
SCALE TUNING C
SCALE TUNING C#
SCALE TUNING D
SCALE TUNING D#
SCALE TUNING E
SCALE TUNING F
SCALE TUNING F#
SCALE TUNING G
SCALE TUNING G#
SCALE TUNING A
SCALE TUNING A#
SCALE TUNING B
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
-64 - +63 [cent]
40
40
40
40
40
40
40
40
40
40
40
40
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
0 [cent]
* SCALE TUNING is a function that allows fine adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change
simultaneously. A setting of +/- 0 cent (40H) is equal temperament. Refer to section 4. Supplementary material, “The Scale Tune Feature.”
40 2x 00
40 2x 01
40 2x 02
40 2x 03
40 2x 04
40 2x 05
40 2x 06
40 2x 07
40 2x 08
40 2x 09
40 2x 0A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
28-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
MOD PITCH CONTROL
MOD TVF CUTOFF CONTROL
MOD AMPLITUDE CONTROL
MOD LFO1 RATE CONTROL
MOD LFO1 PITCH DEPTH
MOD LFO1 TVF DEPTH
MOD LFO1 TVA DEPTH
MOD LFO2 RATE CONTROL
MOD LFO2 PITCH DEPTH
MOD LFO2 TVF DEPTH
MOD LFO2 TVA DEPTH
-24 - +24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
40
40
40
40
0A
00
0
40
00
00
00
0 [semitones]
0 [cent]
0 [%]
0 [Hz]
47 [cent]
0 [cent]
000 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
40 2x 10
40 2x 11
40 2x 12
40 2x 13
40 2x 14
40 2x 15
40 2x 16
40 2x 17
40 2x 18
40 2x 19
40 2x 1A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
40-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
BEND PITCH CONTROL
BEND TVF CUTOFF CONTROL
BEND AMPLITUDE CONTROL
BEND LFO1 RATE CONTROL
BEND LFO1 PITCH DEPTH
BEND LFO1 TVF DEPTH
BEND LFO1 TVA DEPTH
BEND LFO2 RATE CONTROL
BEND LFO2 PITCH DEPTH
BEND LFO2 TVF DEPTH
BEND LFO2 TVA DEPTH
0-24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
42
40
40
40
00
00
00
40
00
00
00
2 [semitones]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
40 2x 20
40 2x 21
40 2x 22
40 2x 23
40 2x 24
40 2x 25
40 2x 26
40 2x 27
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
28-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
CAf PITCH CONTROL
CAf TVF CUTOFF CONTROL
CAf AMPLITUDE CONTROL
CAf LFO1 RATE CONTROL
CAf LFO1 PITCH DEPTH
CAf LFO1 TVF DEPTH
CAf LFO1 TVA DEPTH
CAf LFO2 RATE CONTROL
-24 - +24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
-10.0 - +10.0 [Hz]
40
40
40
40
00
00
00
40
0 [semitones]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
0 [Hz]
13
MIDI Implementation
40 2x 28
40 2x 29
40 2x 2A
00 00 01
00 00 01
00 00 01
00-7F
00-7F
00-7F
CAf LFO2 PITCH DEPTH
CAf LFO2 TVF DEPTH
CAf LFO2 TVA DEPTH
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
00
00
00
0 [cent]
0 [cent]
0 [%]
40 2x 30
40 2x 31
40 2x 32
40 2x 33
40 2x 34
40 2x 35
40 2x 36
40 2x 37
40 2x 38
40 2x 39
40 2x 3A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
28-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
PAf PITCH CONTROL
PAf TVF CUTOFF CONTROL
PAf AMPLITUDE CONTROL
PAf LFO1 RATE CONTROL
PAf LFO1 PITCH DEPTH
PAf LFO1 TVF DEPTH
PAf LFO1 TVA DEPTH
PAf LFO2 RATE CONTROL
PAf LFO2 PITCH DEPTH
PAf LFO2 TVF DEPTH
PAf LFO2 TVA DEPTH
-24 - +24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
-10.0-+10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
40 2x 40
40 2x 41
40 2x 42
40 2x 43
40 2x 44
40 2x 45
40 2x 46
40 2x 47
40 2x 48
40 2x 49
40 2x 4A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
28-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
CC1 PITCH CONTROL
CC1 TVF CUTOFF CONTROL
CC1 AMPLITUDE CONTROL
CC1 LFO1 RATE CONTROL
CC1 LFO1 PITCH DEPTH
CC1 LFO1 TVF DEPTH
CC1 LFO1 TVA DEPTH
CC1 LFO2 RATE CONTROL
CC1 LFO2 PITCH DEPTH
CC1 LFO2 TVF DEPTH
CC1 LFO2 TVA DEPTH
-24 - +24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
40 2x 50
40 2x 51
40 2x 52
40 2x 53
40 2x 54
40 2x 55
40 2x 56
40 2x 57
40 2x 58
40 2x 59
40 2x 5A
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
00 00 01
28-58
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
00-7F
CC2 PITCH CONTROL
CC2 TVF CUTOFF CONTROL
CC2 AMPLITUDE CONTROL
CC2 LFO1 RATE CONTROL
CC2 LFO1 PITCH DEPTH
CC2 LFO1 TVF DEPTH
CC2 LFO1 TVA DEPTH
CC2 LFO2 RATE CONTROL
CC2 LFO2 PITCH DEPTH
CC2 LFO2 TVF DEPTH
CC2 LFO2 TVA DEPTH
-24 - +24 [semitone]
-9600 - +9600 [cent]
-100.0 - +100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
-10.0 - +10.0 [Hz]
0-600 [cent]
0-2400 [cent]
0-100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
0 [Hz]
0 [cent]
0 [cent]
0 [%]
40 4x 23
40 4x 24#
00 00 06
00-7F
PART EFX TYPE (MSB, LSB)
00 00 - 7F 7F
00 00
0
* This EFX type is same to EFX type of System Parameter. When this EFX type is same to EFX type of System parameter, the part connect to EFX.
40 4x 25#
40 4x 26#
40 4x 27#
40 4x 28#
14
00-7F
00-7F
00-7F
00-7F
PART EFX MACRO
PART EFX DEPTH
PART EFX CONTROL1
PART EFX CONTROL2
00-7F
00-7F
00-7F
00-7F
00 00
00 00
00 00
00 00
0
0
0
0
MIDI Implementation
4. Supplementary Material
●Decimal and Hexadecimal Table
In MIDI documentation, data values and addresses/sizes of exclusive messages etc.
are expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
+------+------++------+------++------+------++------+------+
| D | H || D | H || D | H || D | H |
+------+------++------+------++------+------++------+------+
|
0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
|
1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |
|
2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |
|
3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
|
4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
|
5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |
|
6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
|
7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |
|
8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
|
9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |
+------+------++------+------++------+------++------+------+
D: decimal
H: hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as
one (1) greater than the values given in the above table.
* A 7-bit byte can express data in the range of 128 steps. For data where greater
precision is required, we must use two or more bytes. For example, two
hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of
aa x 128 + bb.
* In the case of values which have a ± sign, 00H = -64, 40H = ±0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above
chart. In the case of two types, 00 00H = -8192, 40 00H = ±0, and 7F 7FH = +8191.
For example if aa bbH were expressed as decimal, this would be aa bbH - 40 00H =
aa x 128 + bb - 64 x 128.
* Data marked “nibbled” is expressed in hexadecimal in 4-bit units. A value expressed
as a 2-byte nibble 0a 0bH has the value of a x 16 + b.
<Example1>
What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
<Example2>
What is the decimal expression of the value 12 34H given as hexadecimal for each 7
bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128 + 52 = 2356
<Example3>
What is the decimal expression of the nibbled value 0A 03 09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example4>
What is the nibbled expression of the decimal value 1258?
●Examples of Actual MIDI Messages
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62,
and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note
name is D4), and velocity 95.
<Example2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14
and 49H = 73, this is a Program Change message with MIDI CH = 15, program number
74 (Flute in GS).
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte
(00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a
signed number in which 40 00H (= 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value
is 28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch
to change 200 cents, so in this case -200 x (-3072) / (-8192) = -75 cents of Pitch Bend is
being applied to MIDI channel 11.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control
Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case
in which two or more messages consecutive messages have the same status, MIDI
has a provision called “running status” which allows the status byte of the second
and following messages to be omitted. Thus, the above messages have the following
meaning.
B3
64 00
MIDI ch.4, lower byte of RPN parameter number: 00H
(B3)
65 00
(MIDI ch.4) upper byte of RPN parameter number: 00H
(B3)
06 0C
(MIDI ch.4) upper byte of parameter value: 0CH
(B3)
26 00
(MIDI ch.4) lower byte of parameter value: 00H
(B3)
64 7F
(MIDI ch.4) lower byte of RPN parameter number: 7FH
(B3)
65 7F
(MIDI ch.4) upper byte of RPN parameter number: 7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter
number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F
7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value
indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range
to ±12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity
is ignored, but the LSB should be transmitted anyway (with a value of 0) so that
operation will be correct on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry
messages transmitted on that same channel will be valid, so after the desired value
has been transmitted, it is a good idea to set the parameter number to 7F 7FH to
prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain
many events with running status as given in <Example 4>. This is because if playback
is halted during the song and then rewound or fast-forwarded, the sequencer may
not be able to transmit the correct status, and the sound source will then
misinterpret the data. Take care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value
setting be done in the proper order. On some sequencers, events occurring in the
same (or consecutive) clock may be transmitted in an order different than the order
in which they were received. For this reason it is a good idea to slightly skew the time
of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
* TPQN: Ticks Per Quarter Note
16) 1258
16) 78... 10
16)
4... 14
0... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the answer is
00 04 0E 0AH.
15
MIDI Implementation
●Example of an Exclusive Message and Calculating a
Checksum
Roland Exclusive messages are transmitted with a checksum at the end (before F7)
to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted exclusive message.
❍ How to Calculate the Checksum (Hexadecimal
Numbers are Indicated by ‘H’)
The checksum is a value derived by adding the address, size and checksum itself and
inverting the lower 7 bits.
Here’s an example of how the checksum is calculated. We will assume that in the
exclusive message we are transmitting, the address is aa bb ccH and the data or size
is dd ee ffH.
aa + bb + cc + dd + ee + ff = sum
sum / 128 = quotient ... remainder
128 - remainder = checksum
(However, the checksum will be 0 if the remainder is 0.)
41
(2)
10
(3)
42
(4)
12
(5)
40 01 30
Address
02
data
??
Checksum
F7
(6)
(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17),
(4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive
Next we calculate the checksum.
40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum)
115 (sum) / 128 = 0 (quotient) ... 115 (remainder)
checksum = 128 - 115 (remainder) = 13 = 0DH
This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.
●About Tuning
In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the
appropriate MIDI channel.
In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels being
used, or by sending a System Exclusive MASTER TUNE (address 40 00 00H).
RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be
precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in steps of
0.1 cent. One cent is 1/100th of a semitone.
The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE are
added together to determine the actual pitch sounded by each Part.
+----------+--------+---------------+--------------------+
| Hz in A4 | cent |
RPN #1
| Sys.Ex. 40 00 00 |
+----------+--------+---------------+--------------------+
| 445.0 | +19.56 | 4C 43 (+1603) | 00 04 0C 04 (+196) |
| 444.0 | +15.67 | 4A 03 (+1283) | 00 04 09 0D (+157) |
| 443.0 | +11.76 | 47 44 (+ 964) | 00 04 07 06 (+118) |
| 442.0 | +7.85 | 45 03 (+ 643) | 00 04 04 0F (+ 79) |
| 441.0 | +3.93 | 42 42 (+ 322) | 00 04 02 07 (+ 39) |
| 440.0 | 0.00 | 40 00 (
0) | 00 04 00 00 ( 0) |
| 439.0 | -3.94 | 3D 3D (- 323) | 00 03 0D 09 (- 39) |
| 438.0 | -7.89 | 3A 7A (- 646) | 00 03 0B 01 (- 79) |
+----------+--------+---------------+--------------------+
Frequently used tuning values are given in the following table for your reference.
Values are in hexadecimal (decimal in parentheses).
<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz
Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.
B2
64 00
MIDI ch.3, lower byte of RPN parameter number: 00H
(B2)
65 01
(MIDI ch.3) upper byte of RPN parameter number: 01H
(B2)
06 45
(MIDI ch.3) upper byte of parameter value: 45H
(B2)
26 03
(MIDI ch.3) lower byte of parameter value: 03H
(B2)
64 7F
(MIDI ch.3) lower byte of RPN parameter number: 7FH
(B2)
65 7F
(MIDI ch.3) upper byte of RPN parameter number: 7FH
16
The scale Tune feature allows you to finely adjust the individual pitch of the notes
from C through B. Though the settings are made while working with one octave,
the fine adjustments will affect all octaves. By making the appropriate Scale Tune
settings, you can obtain a complete variety of tuning methods other than equal
temperament. As examples, three possible types of scale setting are explained below.
❍ Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most
widely used form of tuning, especially in occidental music. On this instrument, the
default settings for the Scale Tune feature produce equal temperament.
❍ Just Temperament (Keytone C)
The three main chords resound much more beautifully than with equal temperament, but this benefit can only be obtained in one key. If transposed, the chords tend
to become ambiguous.
The example given involves settings for a key in which C is the keynote.
❍ Arabian Scale
<Example> Setting REVERB MACRO to ROOM 3
According to the “Parameter Address Map,” the REVERB MACRO Address is 40 01 30H,
and ROOM
3 is a value of 02H. Thus,
F0
(1)
●The Scale Tune Feature (Address: 40 1x 40)
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited
for ethnic music. For example, the settings introduced below will set the unit to use
the Arabian Scale.
Example Settings
Note name
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
Equal Temperament Just Temperament
(Keytone C)
0
0
0
-8
0
+4
0
+16
0
-14
0
-2
0
-10
0
+2
0
+14
0
-16
0
+14
0
-12
Arabian Scale
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
The values in the table are given in cents. Refer to the explanation of Scale Tuning to
convert these values to hexadecimal, and transmit them as exclusive data.
For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as follows:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 50 F7
MIDI Implementation
5. Effect List
■ EFX Parameter Map
0100: Equalizer
0101: Spectrum
0102: Enhancer
0104: Isolator
0105: Low Boost
0106: High Pass Filter
0110: Overdrive
0111: Distortion
0112: Overdrive2
0113: Distortion2
0107: Speaker Simulator
0114: Guitar Amp Simulator
0120: Phaser
0129: Multi Stage Phaser
012a: Infinite Phaser
0123: Stereo Flanger
0127: 3D Flanger
0128: 2Band Flanger
0121: Auto Wah
0103: Humanizer
012b: Ring Modulator
0125: Tremolo
0126: Auto Pan
012c: Slicer
0130: Compressor
0131: Limiter
0142: Stereo Chorus
0140: Hexa Chorus
0141: Tremolo Chorus
0143: Space D
0144: 3D Chorus
0145: 2Band Chorus
0122: Rotary
012d: Rotary2
0300: Rotary Multi
015b: Stereo Delay1
015c: Stereo Delay2
015d: Stereo Delay3
015e: Stereo Delay4
015f: Stereo Delay5
0150: Monaural Delay
0151: Modulation Delay
0152: Triple Tap Delay
0157: 3D Delay
0159: Tape Echo
015a: Reverse Delay
0172: Lo-Fi
0175: Telephone
0156: Gate Reverb
0200: Overdrive->Chorus
0201: Overdrive->Flanger
0202: Overdrive->Delay
0203: Distortion->Chorus
0204: Distortion->Flanger
0205: Distortion->Delay
0206: Enhancer->Chorus
0207: Enhancer->Flanger
0208: Enhancer->Delay
0209: Chorus->Delay
020a: Flanger-> Delay
020b: Chorus-> Flanger
The parameters with”#1” or “#2” at the end of parameter name can be controlled with
each exclusive message”Part EFX CONTROL 1” and “Part EFX CONTROL 2.”
●0100: Equalizer
This is a four-band stereo equalizer (low, mid x 2, high).
No
Parameter
Value
1
Low Freq
0–1
200, 400 Hz
Frequency of the low range
Description
2
Low Gain #1
0–30
-15–+15 dB
Gain of the low range
3
Mid1 Freq
0–16
200–8000 Hz
Frequency of the middle
range 1
4
Mid1 Gain
0–30
-15–+15 dB
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q
to narrow the range to be
affected.
5
Mid1 Q
0–4
0.5, 1.0, 2.0,
4.0, 8.0
6
Mid2 Freq
0–16
200–8000 Hz
Frequency of the middle
range 2
7
Mid2 Gain
0–30
-15–+15 dB
Gain of the middle range 2
8
Mid2 Q
0–4
0.5, 1.0, 2.0,
4.0, 8.0
Width of the middle range 2
Set a higher value for Q
to narrow the range to be
affected.
9
High Freq
0–2
2000, 4000,
8000 Hz
Frequency of the high range
10
High Gain #2
0–30
-15–-+15 dB
Gain of the high range
11
Level
0–127
0–127
Output Level
●0101: Spectrum
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies.
No
Parameter
Value
1
Band1
(250Hz)
0–30
2
Band2
(500Hz) #1
0–30
3
Band3
(1000Hz)
0–30
4
Band4
(1250Hz) #2
0–30
5
Band5
(2000Hz)
0–30
6
Band6
(3150Hz)
0–30
7
Band7
(4000Hz)
0–30
8
Band8
(8000Hz)
0–30
9
Q
10
Level
Description
-15–+15 dB
Gain of each frequency band
0–4
0.5, 1.0, 2.0,
4.0, 8.0
Simultaneously adjusts the
width of the adjusted ranges
for all the frequency bands.
0–127
0-127
Output Level
17
MIDI Implementation
●0102: Enhancer
●0105: Low Boost
Controls the overtone structure of the high frequencies, adding sparkle and tightness
to the sound.
Boosts the volume of the lower range, creating powerful lows.
No
Parameter
1
Boost
0–8
Frequency #1
50–125 Hz
Center frequency at which the
lower range will be boosted
Level of the overtones
generated by the enhancer
2
Boost Gain
#2
0–12
0–+12 dB
Amount by which the lower
range will be boosted
-15–+15 dB
Gain of the low range
3
Boost Width
0–2
-15–+15 dB
Gain of the high range
Wide, Mid,
Narrow
Width of the lower range that
will be boosted
4
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
5
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
6
Level
0–127
0–127
Output level
No
Parameter
Value
Description
1
Sens #1
0–127
0–127
Sensitivity of the enhancer
2
Mix #2
0–127
0–127
3
Low Gain
0–30
4
High Gain
0–30
5
Level
0–127
0–127
Output Level
●0104: Isolator
Value
Description
This is an equalizer which cuts the volume greatly, allowing you to add a special
effect to the sound by cutting the volume in varying ranges.
No
Parameter
1
Boost/Cut
Low
2
Boost/Cut
Mid #1
3
4
Value
Description
0–64
These boost and cut each of
the High, Middle, and Low
frequency ranges.
At -60 dB, the sound becomes
inaudible. 0 dB is equivalent
to the input level of the sound.
-60–+4 dB
Boost/Cut
High #2
Anti Phase
Low Sw
0–1
Off, On
Turns the Anti-Phase function
on and off for the Low
frequency ranges.
When turned on, the
counter-channel of stereo
sound is inverted and added
to the signal.
Adjusts the level settings for
the Low frequency ranges.
Adjusting this level for certain
frequencies allows you to
lend emphasis to specific
parts. (This is effective only for
stereo source.)
5
Anti Phase
Low Level
0–127
0–127
6
Anti Phase
Mid Sw
0–1
Off, On
7
Anti Phase
Mid Level
0–127
0–127
8
Low Boost
Sw
0–1
Off, On
Turns Low Booster on/off.
This emphasizes the bottom
to create a heavy bass sound.
Settings of the Anti-Phase
function for the Middle
frequency ranges
The parameters are the same
as for the Low frequency
ranges.
9
Low Boost
Level
0–127
0–127
Increasing this value gives you
a heavier low end.
Depending on the Isolator and
filter settings this effect may
be hard to distinguish.
10
Level
0–127
0–127
Output Level
18
●0106: High Pass Filter
This is a filter with an extremely sharp slope. The cutoff frequency can be varied
cyclically.
No
1
Parameter
Filter Type
Value
Description
0–3
Lpf, Bpf, Hpf,
Notch
Filter type
Frequency range that will pass
through each filter
Lpf: Frequencies below the
cutoff
Bpf: Frequencies in the region
of the cutoff
Hpf: Frequencies above the
cutoff
Notch: Frequencies other than
the region of the cutoff
Amount of attenuation per
octave
-36 dB: Extremely steep
-24 dB: Steep
-12 dB: Gentle
2
Filter Slope
0–2
-12, -24, -36
dB
3
Filter Cutoff
#1
0–127
0–127
Cutoff frequency of the filter
Increasing this value will raise
the cutoff frequency.
4
Filter
Resonance
#2
0–100
0–100
Filter resonance level
Increasing this value will
emphasize the region near the
cutoff frequency.
5
Filter Gain
0–12
0–+12 dB
Amount of boost for the filter
output
6
Modulation
Sw
0–1
Off, On
On/off switch for cyclic
change
7
Modulation
Wave
0–4
Tri, Sqr, Sin,
Saw1, Saw2
How the cutoff frequency will
be modulated
Tri: Triangle wave
Sqr: Square wave
Sin: Sine wave
Saw1: Sawtooth wave
(upward)
Saw2: Sawtooth wave
(downward)
8
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
9
Rate
1–127
0.05–10.00
Hz
Rate of modulation (Hz)
10
Rate
0–21
note
Rate of modulation (note)
11
Depth
0–127
0–127
Depth of modulation
12
Attack
0–127
0–127
Speed at which the cutoff
frequency will change
This is effective if Modulation
Wave is SQR, SAW1, or SAW2.
13
Level
0–127
0–127
Output level
MIDI Implementation
●0110: Overdrive
❍ Specifications of each Speaker Type
Creates a soft distortion similar to that produced by vacuum tube amplifiers.
The speaker column indicates the diameter of each speaker unit (in inches) and the
number of units.
No
1
2
Parameter
Drive
Amp Type #1
Value
Description
0–127
0–127
Degree of distortion
Also changes the volume.
Type
Cabinet
Speaker
Microphone
Small 1
Small open-back enclosure
10
Dynamic
Small,
Built-In,
2-Stack,
3-Stack
Type of guitar amp
Small: small amp
Built-In: single-unit type amp
2-Stack: large double stack
amp
3-Stack: large triple stack amp
Small 2
Small open-back enclosure
10
Dynamic
Middle
Open back enclosure
12 x 1
Dynamic
JC-120
Open back enclosure
12 x 2
Dynamic
Built-In 1
Open back enclosure
12 x 2
Dynamic
Open back enclosure
12 x 2
Condenser
0–3
3
Low Gain
0–30
-15–+15 dB
Gain of the low range
Built-In 2
4
High Gain
0–30
-15–+15 dB
Gain of the high range
Built-In 3
Open back enclosure
12 x 2
Condenser
Built-In 4
Open back enclosure
12 x 2
Condenser
Built-In 5
Open back enclosure
12 x 2
Condenser
BG Stack 1
Sealed enclosure
12 x 2
Condenser
BG Stack 2
Large sealed enclosure
12 x 2
Condenser
MS Stack 1
Large sealed enclosure
12 x 4
Condenser
●0111: Distortion
MS Stack 2
Large sealed enclosure
12 x 4
Condenser
Produces a more intense distortion than Overdrive. The parameters are the same as
for “Overdrive.”
Metal Stack
Large double stack
12 x 4
Condenser
2-Stack
Large double stack
12 x 4
Condenser
3-Stack
Large triple stack
12 x 4
Condenser
5
Pan
0–127
L64–63R
Stereo location of the output
sound
6
Level #2
0–127
0–127
Output Level
●0112: Overdrive2
This is an overdrive that provides heavy distortion.
No
Parameter
Value
Description
1
Drive
0–127
0–127
Degree of distortion
Also changes the volume.
2
Tone
0–127
0–127
Sound quality of the Overdrive
effect
3
Amp Sw
0–1
Off, On
Turns the Amp Simulator
on/off.
Small, BuiltIn, 2-Stack,
3-Stack
Type of guitar amp
Small: small amp
Built-In: single-unit type amp
2-Stack: large double stack
amp
3-Stack: large triple stack amp
4
Amp Type #1
0–3
5
Low Gain
0–30
-15–+15 dB
Gain of the low range
6
High Gain
0–30
-15–+15 dB
Gain of the high range
7
Pan
0–127
L64–63R
Stereo location of the output
sound
8
Level #2
0–127
0–127
Output Level
●0113: Distortion2
This is a distortion effect that provides heavy distortion. The parameters are the same
as for “Overdrive2.”
●0107: Speaker Simulator
Simulates the speaker type and mic settings used to record the speaker sound.
No
Parameter
1
Speaker Type
0–15
#1
Value
Description
(See the
table.)
Type of speaker
2
Mic Setting
0–2
1, 2, 3
Adjusts the location of the mic
that is recording the sound of
the speaker.
This can be adjusted in three
steps, with the mic becoming
more distant in the order of 1,
2, and 3.
3
Mic Level
0–127
0–127
Volume of the microphone
4
Direct Level
0–127
0–127
Volume of the direct sound
5
Level #2
0–127
0–127
Output Level
19
MIDI Implementation
●0114: Guitar Amp Simulator
Type
Cabinet
Speaker
Microphone
This is an effect that simulates the sound of a guitar amplifier.
BG Stack 2
Large sealed enclosure
12 x 2
Condenser
MS Stack 1
Large sealed enclosure
12 x 4
Condenser
MS Stack 2
Large sealed enclosure
12 x 4
Condenser
Metal Stack
Large double stack
12 x 4
Condenser
2-Stack
Large double stack
12 x 4
Condenser
3-Stack
Large triple stack
12 x 4
Condenser
No
1
2
Parameter
Pre Amp Sw
Pre Amp
Type #1
Value
0–1
0–13
Description
Off, On
Turns the amp switch on/off.
JC-120,
Clean Twin,
MATCH Drive,
BG Lead,
MS1959I,
MS1959II,
MS1959I+II,
Type of guitar amp
SLDN Lead,
Metal 5150,
Metal Lead,
OD-1,
OD-2 Turbo,
Distortion,
Fuzz
Volume and amount of
distortion of the amp
3
Pre Amp
Volume
0–127
4
Pre Amp
Master
0–127
0–127
Volume of the entire pre-amp
5
Pre Amp
Gain
0–2
Low, Middle,
High
Amount of pre-amp distortion
6
Pre Amp Bass 0–127
7
Pre Amp
Middle
0–127
0–127
8
Pre Amp
Treble
0–127
Tone of the bass/mid/treble
frequency range
Middle cannot be set if
“MATCH Drive” is selected as
the Pre Amp Type.
9
Pre Amp
Presence
0–127
0–127
0–127
(MATCH
Drive:
-127–0)
Tone for the ultra-high
frequency range
10
Pre Amp
Bright
0–1
Off, On
Turning this “On” produces a
sharper and brighter sound.
This parameter applies to the
“JC-120,” “Clean Twin,” and “BG
Lead” Pre Amp Types.
11
Speaker Sw
0–1
Off, On
Determines whether the
signal passes through the
speaker (ON), or not (OFF).
12
Speaker Type
0–15
#2
(See the
table.)
Type of speaker
1, 2, 3
Adjusts the location of the mic
that’s capturing the sound of
the speaker.
This can be adjusted in three
steps, from 1 to 3, with the mic
becoming more distant as the
value increases.
13
Mic Setting
0–2
14
Mic Level
0–127
0–127
Volume of the microphone
15
Direct Level
0–127
0–127
Volume of the direct sound
16
Pan
0–127
L64–63R
Stereo location of the output
17
Level
0–127
0–127
Output level
❍ Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the
number of units.
Type
Cabinet
Speaker
Microphone
Small 1
Small open-back enclosure
10
Dynamic
Small 2
Small open-back enclosure
10
Dynamic
Middle
Open back enclosure
12 x 1
Dynamic
JC-120
Open back enclosure
12 x 2
Dynamic
Built-In 1
Open back enclosure
12 x 2
Dynamic
Built-In 2
Open back enclosure
12 x 2
Condenser
Built-In 3
Open back enclosure
12 x 2
Condenser
Built-In 4
Open back enclosure
12 x 2
Condenser
Built-In 5
Open back enclosure
12 x 2
Condenser
BG Stack 1
Sealed enclosure
12 x 2
Condenser
20
●0120: Phaser
This is a stereo phaser. A phase-shifted sound is added to the original sound and
modulated.
No
Parameter
Value
Description
1
Mode
0–2
4-Stage,
8-Stage,
12-Stage
2
Manual #2
0–127
0–127
Adjusts the basic frequency
from which the sound will be
modulated.
3
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
4
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
5
Rate
0–21
note
Frequency of modulation
(note)
6
Depth
0–127
0–127
Depth of modulation
Number of stages in the
phaser
7
Polarity
0–1
Inverse,
Synchro
Selects whether the left and
right phase of the modulation
will be the same or the
opposite.
Inverse: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
Synchro: The left and right
phase will be the same. Select
this when inputting a stereo
source.
8
Resonance
0–127
0-127
Amount of feedback
9
Cross
Feedback
0–98
-98–+98%
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
10
Mix
0–127
0–127
Level of the phase-shifted
sound
11
Low Gain
0–30
-15–+15 dB
Gain of the low range
12
High Gain
0–30
-15–+15 dB
Gain of the high range
13
Level
0–127
0–127
Output Level
MIDI Implementation
●0129: Multi Stage Phaser
No
Parameter
Value
Description
Extremely high settings of the phase difference produce a deep phaser effect.
No
1
2
3
Parameter
Mode
Manual #2
Rate Mode
Value
Number of phaser stages
0–127
Adjusts the basic frequency
from which the sound will be
modulated.
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
Frequency of modulation (Hz)
0–127
Rate Mode
0–1
Hz, note
5
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Rate
0–21
note
Frequency of modulation
(note)
7
Depth #2
0–127
0–127
Depth of modulation
8
Phase
0–90
0–180 deg
Spatial spread of the sound
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Description
4-Stage,
8-Stage,
12-Stage,
16-Stage,
20-Stage,
24-Stage
0–5
4
When this is set to “note,” the
effect is synchronized with the
tempo.
9
Feedback
10
Low Gain
0–30
-15–+15 dB
Gain of the low range
11
High Gain
0–30
-15–+15 dB
Gain of the high range
Frequency of modulation
(note)
12
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
flanger sound (W)
13
Level
0–127
0–127
Output Level
4
Rate #1
1–127
0.05–10.00
Hz
5
Rate
0–21
note
6
Depth
0–127
0–127
Depth of modulation
7
Resonance
0–127
0–127
Amount of feedback
8
Mix
0–127
0–127
Level of the phase-shifted
sound
9
Pan
0–127
L64–63R
Stereo location of the output
sound
10
Low Gain
0–30
-15–+15 dB
Gain of the low range
11
High Gain
0–30
-15–+15 dB
Gain of the high range
12
Level
0–127
0–127
Output Level
0–98
●0127: 3D Flanger
This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90
degrees left and 90 degrees right.
No
Parameter
Value
Description
1
Filter Type
0–2
Off, Lpf, Hpf
Type of filter
Off : No filter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
2
Cutoff Freq
0–16
200–8000 Hz
Basic frequency of the filter
●012a: Infinite Phaser
A phaser that continues raising/lowering the frequency at which the sound is
modulated.
No
Parameter
Value
1
Mode
0–3
1, 2, 3, 4
Higher values will produce a
deeper phaser effect.
2
Speed #1
0–127
-100–+100
Speed at which to raise or
lower the frequency at which
the sound is modulated
(+: upward / -: downward)
3
Resonance
#2
0–127
Description
0–127
Amount of feedback
4
Mix
0–127
0–127
Volume of the phase-shifted
sound
5
Pan
0–127
L64–63R
Panning of the output sound
6
Low Gain
0–30
-15–+15 dB
Amount of boost/cut for the
low-frequency range
7
High Gain
0–30
-15–+15 dB
Amount of boost/cut for the
high-frequency range
8
Level
0–127
0–127
Output volume
●0123: Stereo Flanger
This is a stereo flanger. (The LFO has the same phase for left and right.)
It produces a metallic resonance that rises and falls like a jet airplane taking off or
landing. A filter is provided so that you can adjust the timbre of the flanged sound.
No
1
2
3
Parameter
Filter Type
Cutoff Freq
Pre Delay
Value
Description
0–2
Type of filter
Off : No filter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
0–16
0–125
Off, Lpf, Hpf
200–8000 Hz
Basic frequency of the filter
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
3
Pre Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
4
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Rate
0–21
note
Frequency of modulation
(note)
7
Depth #2
0–127
0–127
Depth of modulation
8
Phase
0–90
0–180 deg
Spatial spread of the sound
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
Speaker,
Phones
Adjusts the method that will
be used to hear the sound
that is output to the OUTPUT
jacks. The optimal 3D effect
will be achieved if you select
Speaker when using speakers,
or Phones when using
headphones.
9
Feedback
0–98
10
Output Mode 0–1
11
Low Gain
0–30
-15–+15 dB
Gain of the low range
12
High Gain
0–30
-15–+15 dB
Gain of the high range
13
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
flanger sound (W)
14
Level
0–127
0–127
Output Level
21
MIDI Implementation
●0128: 2Band Flanger
No
Parameter
Value
Description
A flanger that lets you apply an effect independently to the low-frequency and
high-frequency ranges.
No
Parameter
Value
Description
0–16
200–8000 Hz
Frequency at which the
low and high ranges will be
divided
1
Split Freq
2
Low Pre
Delay
0–125
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the low-range flanger
sound is heard
3
Low Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
4
Low Rate #1
1–127
0.05–10.00
Hz
Rate at which the low-range
flanger sound is modulated
(Hz)
3
Peak
0–127
0–127
Adjusts the amount of the
wah effect that will occur
in the range of the center
frequency.
Set a higher value for Q
to narrow the range to be
affected.
4
Sens
0–127
0–127
Adjusts the sensitivity with
which the filter is controlled.
5
Polarity
0–1
Up, Down
Sets the direction in which
the frequency will change
when the auto-wah filter is
modulated.
Up: The filter will change
toward a higher frequency.
Down: The filter will change
toward a lower frequency.
6
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Low Rate
0–21
note
Rate at which the low-range
flanger sound is modulated
(note)
6
Low Depth
0–127
0–127
Modulation depth for the
low-range flanger sound
7
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
7
Low Phase
0–90
0–180 deg
Spaciousness of the low-range
flanger sound
8
Rate
0–21
note
Frequency of modulation
(note)
9
Depth
0–127
0–127
Depth of modulation
10
Phase
0–90
0–180 deg
Adjusts the degree of phase
shift of the left and right
sounds when the wah effect
is applied.
11
Low Gain
0–30
-15–+15 dB
Gain of the low range
12
High Gain
0–30
-15–+15 dB
Gain of the high range
13
Level
0–127
0–127
Output Level
8
Low
Feedback
0–98
-98–+98%
Proportion of the low-range
flanger sound that is to
be returned to the input
(negative values invert the
phase)
9
High Pre
Delay
0–125
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the high-range flanger
sound is heard
High Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
1–127
0.05–10.00
Hz
Rate at which the high-range
flanger sound is modulated
(Hz)
note
Rate at which the high-range
flanger sound is modulated
(note)
0–127
Modulation depth for the
high-range flanger sound
10
11
12
13
14
15
High Rate #2
High Rate
High Depth
High Phase
High
Feedback
0–21
0–127
0–90
0–98
0–180 deg
Spaciousness of the highrange flanger sound
●0103: Humanizer
Adds a vowel character to the sound, making it similar to a human voice.
No
Parameter
Value
1
Drive Sw
0–1
Description
Off, On
Turns Drive on/off.
Degree of distortion
Also changes the volume.
2
Drive #2
0–127
0–127
3
Vowel1
0–4
a, e, i, o, u
4
Vowel2
0–4
a, e, i, o, u
5
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
6
Rate
1–127
0.05–10.00
Hz
Frequency at which the two
vowels switch (Hz)
-98–+98%
Proportion of the high-range
flanger sound that is to
be returned to the input
(negative values invert the
phase)
7
Rate #1
0–21
note
Frequency at which the two
vowels switch (note)
8
Depth
0–127
0–127
Effect depth
9
Input Sync
Sw
0–1
Off, On
Determines whether the LFO
for switching the vowels is
reset by the input signal (ON)
or not (OFF).
10
Input Sync
Threshold
0–127
0–127
Volume level at which reset is
applied
16
Balance
0–100
D100:0W–
D0:100W
Volume balance of the original
sound (D) and flanger sound
(W)
17
Level
0–127
0–127
Output volume
●0121: Auto Wah
Cyclically controls a filter to create cyclic change in timbre.
No
1
2
22
Parameter
Filter Type
Manual #2
Value
Description
0–1
Type of filter
Lpf: The wah effect will be
applied over a wide frequency
range.
Bpf: The wah effect will
be applied over a narrow
frequency range.
0–127
Selects the vowel.
Lpf, Bpf
0–127
Adjusts the center frequency
at which the effect is applied.
11
Manual
0–100
0–100
Point at which Vowel 1/2
switch
49 or less: Vowel 1 will have a
longer duration.
50: Vowel 1 and 2 will be of
equal duration.
51 or more: Vowel 2 will have a
longer duration.
12
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
13
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
14
Pan
0–127
L64–63R
Stereo location of the output
15
Level
0–127
0–127
Output level
MIDI Implementation
●012b: Ring Modulator
●012c: Slicer
This is an effect that applies amplitude modulation (AM) to the input signal,
producing bell-like sounds. You can also change the modulation frequency in
response to changes in the volume of the sound sent into the effect.
By applying successive cuts to the sound, this effect turns a conventional sound into
a sound that appears to be played as a backing phrase. This is especially effective
when applied to sustain-type sounds.
No
1
2
3
Parameter
Value
Frequency #1 0–127
Sens
Polarity
0–127
0–1
Description
0–127
Adjusts the frequency at
which modulation is applied.
0–127
Adjusts the amount of
frequency modulation
applied.
Up, Down
Determines whether the
frequency modulation moves
towards higher frequencies
(Up) or lower frequencies
(Down).
4
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
5
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
6
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the effect
sound (W)
7
Level
0–127
0–127
Output level
No
Parameter
Value
Description
1
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Rate
1–127
0.05-10.00 Hz
Rate at which the 16-step
sequence will cycle (Hz)
3
Rate #1
12–21
note
Rate at which the 16-step
sequence will cycle (note)
4
Attack
0–127
0–127
Speed at which the level
changes between steps
5
Input Sync
Sw
0–1
Off, On
Specifies whether an input
note will cause the sequence
to resume from the first step
of the sequence (ON) or not
(OFF)
6
Input Sync
Threshold
0–127
0–27
Volume at which an input
note will be detected
Legato, Slash
Sets the manner in which the
volume changes as one step
progresses to the next.
Legato: The change in volume
from one step’s level to the
next remains unaltered. If the
level of a following step is the
same as the one preceding it,
there is no change in volume.
Slash: The level is momentarily
set to 0 before progressing to
the level of the next step. This
change in volume occurs even
if the level of the following
step is the same as the preceding step.
●0125: Tremolo
Cyclically modulates the volume to add tremolo effect to the sound.
7
No
Parameter
Value
Mode
0–1
Description
Modulation Wave
Tri: Triangle wave
Sqr: Square wave
Sin: Sine wave
Saw1/2: Sawtooth wave
When this is set to “note,” the
effect is synchronized with the
tempo.
1
Mod Wave
0–4
Tri, Sqr, Sin,
Saw1, Saw2
2
Rate Mode
0–1
Hz, note
3
Rate #1
1–127
0.05-10.00 Hz Frequency of the change (Hz)
4
Rate
0–21
note
Frequency of the change
(note)
5
Depth #2
0–127
0–127
Depth to which the effect is
applied
6
Low Gain
0–30
-15–+15 dB
Gain of the low range
7
High Gain
0–30
-15–+15 dB
Gain of the high range
8
Level
0–127
0–127
Output Level
8
Shuffle #2
0–127
0–127
Timing of volume changes for
even-numbered steps (step 2,
step 4, step 6...).
The higher the value, the later
the beat progresses.
9
Level
0–127
0–127
Output level
●0130: Compressor
Flattens out high levels and boosts low levels, smoothing out fluctuations in volume.
No
●0126: Auto Pan
Parameter
Value
Description
1
Attack #2
0–127
0–127
Sets the speed at which
compression starts
2
Threshold #1
0–127
0–127
Adjusts the volume at which
compression begins
Cyclically modulates the stereo location of the sound.
No
1
Parameter
Mod Wave
Value
Description
3
Post Gain
0–18
0–+18 dB
Adjusts the output gain.
0–4
Modulation Wave
Tri: triangle wave
Sqr: square wave
Sin: sine wave
Saw1/2: sawtooth wave
4
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
5
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
6
Level
0–127
0–127
Output level
Tri, Sqr, Sin,
Saw1, Saw2
2
Rate Mode
0–1
Hz, note
When this is set to “note,”
the effect is synchronized
with the tempo.
3
Rate #1
1–127
0.05–10.00 Hz
Frequency of the change
(Hz)
4
Rate
0–21
note
Frequency of the change
(note)
5
Depth #2
0–127
0–127
Depth to which the effect
is applied
6
Low Gain
0–30
-15–+15 dB
Gain of the low range
7
High Gain
0–30
-15–+15 dB
Gain of the high range
8
Level
0–127
0–127
Output Level
23
MIDI Implementation
●0131: Limiter
No
Compresses signals that exceed a specified volume level, preventing distortion from
occurring.
No
1
2
Parameter
Release
Threshold #1
Value
Description
0–127
Adjusts the time after the
signal volume falls below the
Threshold Level until compression is no longer applied.
0–127
0–127
0–127
Adjusts the volume at which
compression begins
3
Ratio #2
0–3
1.5:1, 2:1, 4:1,
100:1
4
Post Gain
0–18
0–+18 dB
Adjusts the output gain.
-15–+15 dB
Gain of the low frequency
range
5
Low Gain
0–30
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
7
Level
0–127
0–127
Output level
2
3
Filter Type
Cutoff Freq
Pre Delay
6
Pre Delay
Deviation
0–20
0–20
7
Depth
Deviation
0–40
-20–+20
Adjusts the difference in
modulation depth between
each chorus sound.
8
Pan
Deviation
0–20
0–20
Adjusts the difference in
stereo location between each
chorus sound.
0: All chorus sounds will be in
the center.
20: Each chorus sound will be
spaced at 60 degree intervals
relative to the center.
9
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
chorus sound (W)
10
Level
0–127
0–127
Output Level
This is a chorus effect with added Tremolo (cyclic modulation of volume).
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the
chorus sound.
1
Description
Adjusts the differences in Pre
Delay between each chorus
sound.
●0141: Tremolo Chorus
●0142: Stereo Chorus
Parameter
Value
Compression ratio
6
No
Parameter
No
Parameter
Value
Description
Value
Description
1
Pre Delay
0–125
0.0–100.0 ms
0–2
Type of filter
Off : No filter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
2
Chorus Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Chorus Rate
1–127
0.05–10.00
Hz
Modulation frequency of the
chorus effect (Hz)
4
Chorus Rate
0–21
note
Modulation frequency of the
chorus effect (note)
5
Chorus
Depth #1
0–127
0–127
Modulation depth of the
chorus effect
6
Tremolo Rate
0–1
Mode
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
7
Tremolo
Rate #2
0.05–10.00
Hz
Modulation frequency of the
tremolo effect (Hz)
8
Tremolo Rate 0–21
note
Modulation frequency of the
tremolo effect (note)
9
Tremolo
Separation
0–127
0–127
Spread of the tremolo effect
10
Tremolo
Phase
0–90
0–180 deg
Spread of the tremolo effect
0–16
0–125
Off, Lpf, Hpf
200–8000 Hz
Basic frequency of the filter
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
4
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
1–127
6
Rate
0–21
note
Frequency of modulation
(note)
7
Depth #2
0–127
0–127
Depth of modulation
8
Phase
0–90
0–180 deg
Spatial spread of the sound
9
Low Gain
0–30
-15–+15 dB
Gain of the low range
10
High Gain
0–30
-15–+15 dB
Gain of the high range
11
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
chorus sound (W)
11
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
tremolo chorus sound (W)
12
Level
0–127
0–127
Output Level
12
Level
0–127
0–127
Output Level
●0140: Hexa Chorus
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial
spread to the sound.
No
Parameter
Value
Description
1
Pre Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
2
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
4
Rate
0–21
note
Frequency of modulation
(note)
5
Depth #2
0–127
0–127
Depth of modulation
24
MIDI Implementation
●0143: Space D
●0145: 2Band Chorus
This is a multiple chorus that applies two-phase modulation in stereo. It gives no
impression of modulation, but produces a transparent chorus effect.
A chorus effect that lets you apply an effect independently to the low-frequency and
high-frequency ranges.
No
Parameter
Value
Description
1
Pre Delay
0–125
0.0–100.0
ms
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
2
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
4
Rate
0–21
note
Frequency of modulation (note)
5
Depth #2
0–127
0–127
Depth of modulation
6
Phase
0–90
0–180 deg
Spatial spread of the sound
7
Low Gain
0–30
-15–+15 dB
Gain of the low range
8
High Gain
0–30
-15–+15 dB
Gain of the high range
Volume balance between the
direct sound (D) and the chorus
sound (W)
Output Level
9
Balance
0–100
D100:0W–
D0:100W
10
Level
0–127
0–127
●0144: 3D Chorus
This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90
degrees left and 90 degrees right.
No
Parameter
Value
Description
0–16
200–8000 Hz
Frequency at which the
low and high ranges will be
divided
1
Split Freq
2
Low Pre
Delay
0–125
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the low-range chorus
sound is heard
3
Low Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
4
Low Rate
1–127
0.05–10.00
Hz
Rate at which the low-range
chorus sound is modulated
(Hz)
5
Low Rate
0–21
note
Rate at which the low-range
chorus sound is modulated
(note)
6
Low Depth
#1
0–127
0–127
Modulation depth for the
low-range chorus sound
7
Low Phase
0–90
0–180 deg
Spaciousness of the low-range
chorus sound
8
High Pre
Delay
0–125
0.0–100.0 ms
Delay time from when the
original sound is heard to
when the high-range chorus
sound is heard
Description
9
High Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
10
High Rate
1–127
0.05–10.00
Hz
Rate at which the low-range
chorus sound is modulated
(Hz)
11
High Rate
0–21
note
Rate at which the low-range
chorus sound is modulated
(note)
12
High Depth
#2
0–127
0–127
Modulation depth for the
high-range chorus sound
13
High Phase
0–90
0–180 deg
Spaciousness of the highrange chorus sound
14
Balance
0–100
D100:0W–
D0:100W
Volume balance of the original
sound (D) and chorus sound
(W)
15
Level
0–127
0–127
Output volume
1
Filter Type
0–2
Off, Lpf, Hpf
2
Cutoff Freq
0–16
200–8000 Hz
Basic frequency of the filter
3
Pre Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
Rate Mode
Parameter
Value
Type of filter
Off : No filter is used
Lpf: Cuts the frequency range
above the Cutoff Freq
Hpf: Cuts the frequency range
below the Cutoff Freq
4
No
0–1
5
Rate #1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Rate
0–21
note
Frequency of modulation
(note)
7
Depth #2
0–127
0–127
Modulation depth of the
chorus effect
8
Phase
0–90
0–180 deg
Spatial spread of the sound
Speaker,
Phones
Adjusts the method that will
be used to hear the sound
that is output to the OUTPUT
jacks.
The optimal 3D effect will
be achieved if you select
Speaker when using speakers,
or Phones when using
headphones.
9
Output Mode 0–1
10
Low Gain
0–30
-15–+15 dB
Gain of the low range
11
High Gain
0–30
-15–+15 dB
Gain of the high range
12
Balance
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
chorus sound (W)
13
Level
0–127
0–127
Output Level
25
MIDI Implementation
●0122: Rotary
The Rotary effect simulates the sound of the rotary speakers often used with the
electric organs of the past.
Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be
simulated quite closely. This effect is most suitable for electric organ tones.
No
1
Parameter
Speed #1
Value
Description
0–1
Simultaneously switch the
rotational speed of the low
frequency rotor and high
frequency rotor.
Slow: Slows down the rotation
to the Slow Rate.
Fast: Speeds up the rotation to
the Fast Rate.
Slow, Fast
No
Parameter
8
Tweeter Slow
1–127
Speed
Value
0.05–10.00
Hz
Description
9
Tweeter Fast
Speed
1–127
0.05–10.00
Hz
10
Tweeter
Trans Up
0–127
0–127
11
Tweeter
Trans Down
0–127
0–127
12
Tweeter
Level
0–127
0–127
13
Spread
0–10
0–10
Settings of the tweeter
The parameters are the same
as for the woofer.
Sets the rotary speaker stereo
image. The higher the value
set, the wider the sound is
spread out.
2
Woofer Slow
Speed
1–127
0.05–10.00
Hz
Slow speed (Slow) of the low
frequency rotor
14
Low Gain
0–30
-15–+15 dB
Gain of the low range
15
High Gain
0–30
-15–+15 dB
Gain of the high range
3
Woofer Fast
Speed
1–127
0.05–10.00
Hz
Fast speed (Fast) of the low
frequency rotor
16
Level
0–127
0–127
Output Level
4
Woofer
Acceleration
0–15
0–15
Adjusts the time it takes the
low frequency rotor to reach
the newly selected speed
when switching from fast to
slow (or slow to fast) speed.
Lower values will require
longer times.
5
Woofer Level
0–127
0–127
Volume of the low frequency
rotor
6
Tweeter Slow
1–127
Speed
0.05–10.00
Hz
7
Tweeter Fast
Speed
1–127
0.05–10.00
Hz
8
Tweeter
Acceleration
0–15
0–15
9
Tweeter
Level
0–127
0–127
10
Separation
#2
0–127
0–127
Spatial dispersion of the
sound
11
Level
0–127
0–127
Output Level
●0300: Rotary Multi
This is an effect combining the VK series internal effect with an organ effect with the
same features.
It comprises vibrato/chorus, overdrive, and rotary effects.
No
Parameter
1
Vib/Cho
Switch
1
Speed #1
2
Brake #2
3
Woofer Slow
Speed
4
Woofer Fast
Speed
5
6
7
26
Woofer Trans
Up
Woofer Trans
Down
Woofer Level
Value
Description
0–1
Slow, Fast
Rotational speed of the
rotating speaker
0–1
Off, On
Switches the rotation of the
rotary speaker.
When this is turned on, the
rotation will gradually stop.
When it is turned off, the
rotation will gradually resume.
1–127
0.05–10.00
Hz
Low-speed rotation speed of
the woofer
1–127
0.05–10.00
Hz
High-speed rotation speed of
the woofer
0–127
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Slow to Fast.
0–127
Adjusts the rate at which the
woofer rotation speeds up
when the rotation is switched
from Fast to Slow.
0–127
0–127
0–127
0–127
0–1
Off, On
2
Vib/Cho Type 0–5
V-1, V-2, V-3,
C-1, C-2, C-3
Vibrato and chorus effect
types
V-1, V-2, V-3: Adds a wavering
(vibrato) that is created by
changes in the pitch.The
effect deepens as the value is
increased
C-1, C-2, C-3: Adds a fullness
and breadth (chorus) to the
sound.The effect deepens as
the value is increased.
3
Vib/Cho
Vintage
0–2
`50, `60, `70
This reproduces the subtle
differences in the vibrato and
chorus effects in organs built
in different years.
4
Vib/Cho
Level
0–127
0–127
Vibrato/chorus effect volume
●012d: Rotary2
Parameter
Description
Switches the vibrato and
chorus effects
Settings of the high frequency
rotor
The parameters are the same
as for the low frequency rotor
This type provides modified response for the rotary speaker, with the low end
boosted further.
This effect is a descendant of the Roland VK Series’ built-in rotary speaker.
No
Value
Volume of the woofer
5
OD Switch
0–1
Off, On
Switches the overdrive effect
6
OD Drive #2
0–127
0–127
Amount of distortion
7
OD Level
0–127
0–127
Overdrive effect volume
8
Rotary
Switch
0–1
Off, On
Switches the rotary effect
9
Rotary Speed
0–1
#1
Slow, Fast
Low- and high-frequency
rotation speeds (Rate)
Slow: (Slow Rate)
Fast: (Fast Rate)
10
R-Wf Slow Sp
1–127
0.05–10.00
Hz
Rate with low-frequency rotor
set to Slow rate
11
R-Wf Fast Sp
1–127
0.05–10.00
Hz
Rate with low-frequency rotor
set to Fast rate
12
R-Wf Accel
0–15
0–15
Speed at which the lowfrequency rotor’s rotation rate
changes when the rotation
speed is switched
13
R-Wf Level
0–127
0–127
Low-frequency rotor volume
14
R-Tw Slow Sp 1–127
0.05–10.00
Hz
15
R-Tw Fast Sp
0.05–10.00
Hz
16
R-Tw Accel
0–15
0–15
17
R-Tw Level
0–127
0–127
18
Rotary
Separat
0–127
0–127
Amount of breadth in the
sound
19
Rotary Level
0–127
0–127
Output volume
1–127
High-frequency rotor setting
This parameter is the same
as that for the low-frequency
rotor.
MIDI Implementation
●015b: Stereo Delay1
No
This is a stereo delay.
No
Parameter
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
Delay Right
0–21
note
7
Phase Left
0–1
8
Phase Right
0–1
Normal,
Inverse
Phase of the delay sound
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect. (See the figures above.)
Adjusts the amount of the
delay sound that’s fed back
into the effect.
10
11
Feedback
Mode
0–1
Feedback #1
49–89
0–+80%
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
Bypass
don’t want to filter out any
high frequencies, set this
parameter to Bypass.
HF Damp
12
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
13
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
14
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
15
Level
0–127
0–127
Output level
●015c: Stereo Delay2
This is a stereo delay.
No
Parameter
Value
Description
13
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
14
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
15
Level
0–127
0-–27
Output level
Value
Description
●015d: Stereo Delay3
This is a stereo delay.
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
6
9
Parameter
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
6
Delay Right
0–21
note
7
Phase Left
0–1
8
Phase Right
0–1
Normal,
Inverse
Phase of the delay sound
9
Feedback
Mode
0–1
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect. (See the figures above.)
10
Feedback #1
49–89
0–+80%
Adjusts the amount of the
delay sound that’s fed back
into the effect.
No
Parameter
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
6
Delay Right
0–21
note
7
Phase Left
0–1
8
Phase Right
0–1
Normal,
Inverse
Phase of the delay sound
9
Feedback
Mode
0–1
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect. (See the figures above.)
10
Feedback #1
49–89
0–+80%
Adjusts the amount of the
delay sound that’s fed back
into the effect.
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
11
HF Damp
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
Bypass
don’t want to filter out any
high frequencies, set this
parameter to Bypass.
12
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
13
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
14
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
15
Level
0–127
0–127
Output level
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
11
HF Damp
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
Bypass
don’t want to filter out any
high frequencies, set this
parameter to Bypass.
12
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
27
MIDI Implementation
●015e: Stereo Delay4
No
This is a stereo delay.
No
Parameter
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
Parameter
Value
Description
13
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
14
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
15
Level
0–127
0–127
Output level
●0150: Monaural Delay
A delay that provides a long delay time.
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
No
Parameter
Value
Description
0–1
6
Delay Right
0–21
note
ms, note
7
Phase Left
0–1
8
Phase Right
0–1
Normal,
Inverse
Phase of the delay sound
When this is set to “note,” the
effect is synchronized with the
tempo.
1
9
Feedback
Mode
0–1
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect. (See the figures above.)
10
Feedback #1
49–89
0–+80%
Adjusts the amount of the
delay sound that’s fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
Bypass
don’t want to filter out any
high frequencies, set this
parameter to Bypass.
11
12
HF Damp
Low Gain
0-30
Delay Mode
2
Delay Time
0–127
1–2540 ms
Delay time from when the
original sound is heard to
when the delay sound is heard
(Hz)
3
Delay Time
#1
0–21
note
Delay time from when the
original sound is heard to
when the delay sound is heard
(note)
4
Phase
0–1
NORMAL,
INVERSE
Phase of the delay (NORMAL:
non-inverted, INVERSE:
inverted)
5
Feedback
49–89
0–+80%
Proportion of the delay sound
that is to be returned to the
input
-15–+15 dB
Gain of the low frequency
range
6
HF Damp
0–17
Frequency at which the
200–8000 Hz, high-frequency content of
Bypass
the delayed sound will be cut
(Bypass: no cut)
7
Pan
0–127
L64–63R
Panning of the delay sound
8
Low Gain
0–30
-15–+15 dB
Amount of boost/cut for the
high-frequency range
9
High Gain
0–30
-15–+15 dB
Amount of boost/cut for the
high-frequency range
10
Balance #2
0–100
D100:0W–
D0:100W
Volume balance of the original
sound (D) and the delay sound
(W)
11
Level
0–127
0–127
Output volume
13
High Gain
0-30
-15–+15 dB
Gain of the high frequency
range
14
Balance #2
0-100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
15
Level
0-127
0–127
Output level
●015f: Stereo Delay5
This is a stereo delay.
No
Parameter
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
6
Delay Right
0–21
note
7
Phase Left
0–1
8
Phase Right
0–1
Normal,
Inverse
Phase of the delay sound
9
Feedback
Mode
0–1
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect. (See the figures above.)
10
Feedback #1
49–89
0–+80%
Adjusts the amount of the
delay sound that’s fed back
into the effect.
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
11
HF Damp
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
Bypass
don’t want to filter out any
high frequencies, set this
parameter to Bypass.
12
Low Gain
0–30
-15–+15 dB
28
Gain of the low frequency
range
MIDI Implementation
●0151: Modulation Delay
No
Parameter
Value
Adds modulation to the delayed sound.
No
Parameter
11
HF Damp
0–17
Adjusts the time until the
delay sound is heard. (Hz)
12
Left Level
0–127
0–127
13
Right Level
0–127
0–127
Volume of each delay
Adjusts the time until the
delay sound is heard. (note)
14
Center Level
0–127
0–127
Volume of each delay
15
Low Gain
0–30
-15–+15 dB
Gain of the low frequency
range
16
High Gain
0–30
-15–+15 dB
Gain of the high frequency
range
17
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
18
Level
0–127
0–127
Output level
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–1270 ms
3
Delay Left
0–21
note
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–1270 ms
6
Delay Right
0–21
note
7
8
9
Feedback
Mode
Feedback
HF Damp
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
Normal,
Cross
Selects the way in which delay
sound is fed back into the
effect.
49–89
0–+80%
Adjusts the amount of the
delay sound that’s fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you
don’t want to filter out any
Bypass
high frequencies, set this
parameter to Bypass.
0–1
Description
Adjusts the frequency above
which sound fed back to the
200–8000 Hz, effect is filtered out. If you do
not want to filter out any high
Bypass
frequencies, set this parameter
to Bypass.
Volume of each delay
●0157: 3D Delay
This applies a 3D effect to the delay sound. The delay sound will be positioned 90
degrees left and 90 degrees right.
No
Parameter
Value
Description
1
Delay Left
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–2540 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the delay time from
the direct sound until the
delay sound is heard. (note)
10
Rate Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
11
Rate
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
12
Rate
0–21
note
Frequency of modulation
(note)
13
Depth #1
0–127
0–127
Depth of modulation
14
Phase
0–90
0–180 deg
Spatial spread of the sound
4
Delay Right
Mode
0–1
ms, note
-15–+15 dB
Gain of the low frequency
range
5
Delay Right
0–127
1–2540 ms
6
Delay Right
0–21
note
0–30
-15–+15 dB
Gain of the high frequency
range
7
0–1
ms, note
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the delay
sound (W)
Delay Center
Mode
8
Delay Center
0–127
1–2540 ms
9
Delay Center
0–21
note
10
Center
Feedback #1
49–89
0–+80%
HF Damp
0–17
Adjusts the frequency above
which sound fed back to
200–8000 Hz, the effect will be cut. If you
Bypass
do not want to cut the high
frequencies, set this parameter
to Bypass.
15
16
17
18
Low Gain
High Gain
Balance #2
Level
0–30
0–127
0–127
Output level
●0152: Triple Tap Delay
Produces three delay sounds; center, left and right.
11
No
Parameter
Value
1
Delay Left
Mode
0–1
Description
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
2
Delay Left
0–127
1–2540 ms
Adjusts the time until the
delay sound is heard. (Hz)
3
Delay Left
0–21
note
Adjusts the time until the
delay sound is heard. (note)
4
Delay Right
Mode
0–1
ms, note
5
Delay Right
0–127
1–2540 ms
6
Delay Right
0–21
note
7
Delay Center
Mode
0–1
ms, note
8
Delay Center
0–127
1–2540 ms
9
Delay Center
0–21
note
10
Center
Feedback #1
49–89
0–+80%
12
Left Level
0–127
13
Right Level
0–127
14
Center Level
0–127
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
Settings of the Delay Center
The parameters are the same
as for the Delay Left.
Adjusts the proportion of the
delay sound that is fed back
into the effect.
0–127
Output level of the delay
sound
Speaker,
Phones
Adjusts the method that will
be used to hear the sound
that is output to the OUTPUT
jacks. The optimal 3D effect
will be achieved if you select
Speaker when using speakers,
or Phones when using
headphones.
Settings of the Delay Right
The parameters are the same
as for the Delay Left.
15
Output Mode 0–1
Settings of the Delay Center
The parameters are the same
as for the Delay Left.
16
Low Gain
0–30
-15–+15 dB
Gain of the low range
17
High Gain
0–30
-15–+15 dB
Gain of the high range
18
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the effect
sound (W)
19
Level
0–127
0–127
Output Level
Adjusts the amount of the
delay sound that’s fed back
into the effect.
29
MIDI Implementation
●0159: Tape Echo
No
A virtual tape echo that produces a realistic tape delay sound. This simulates the tape
echo section of a Roland RE-201 Space Echo.
No
1
2
Parameter
Mode
Repeat Rate
#1
Value
Description
0–6
S, M, L, S+M,
S+L, M+L,
S+M+L
Combination of playback
heads to use
Select from three different
heads with different delay
times.
S: short
M: middle
L: long
0–127
Tape speed
Increasing this value will
shorten the spacing of the
delayed sounds.
0–127
3
Intensity
0–127
0–127
Amount of delay repeats
4
Bass
0–30
-15–+15 dB
Boost/cut for the lower range
of the echo sound
5
Treble
0–30
-15–+15 dB
Boost/cut for the upper range
of the echo sound
6
Head S Pan
0–127
7
Head M Pan
0–127
8
Head L Pan
0–127
9
10
Tape
Distortion
Wow/Flutter
Rate
0–5
0–127
L64–63R
0–5
0–127
Parameter
Value
Description
9
Low Gain
0–30
-15–+15 dB
Amount of boost/cut for the
low-frequency range
10
High Gain
0–30
-15–+15 dB
Amount of boost/cut for the
high-frequency range
11
Balance #2
0–100
D100:0W–
D0:100W
Volume balance of the original
sound (D) and the delay sound
(W)
12
Level
0–127
0–127
Output volume
●0172: Lo-Fi
This is an effect that intentionally degrades the sound quality for creative purposes.
No
Parameter
Value
Description
1
Pre Filter
Type
0–5
1–6
Selects the type of filter
applied to the sound before
it passes through the Lo-Fi
effect.
2
LoFi Type #1
0–8
1–9
Degrades the sound
quality. The sound quality
grows poorer as this value is
increased.
Independent panning for
the short, middle, and long
playback heads
Amount of tape-dependent
distortion to be added
This simulates the slight tonal
changes that can be detected
by signal-analysis equipment.
Increasing this value will
increase the distortion.
Speed of wow/flutter
(complex variation in pitch
caused by tape wear and
rotational irregularity)
11
Wow/Flutter
Depth
0–127
0–127
Depth of wow/flutter
12
Echo Level #2 0–127
0–127
Volume of the echo sound
13
Direct Level
0–127
0–127
Volume of the original sound
14
Level
0–127
0–127
Output level
3
Post Filter
Type
0–2
Off, Lpf, Hpf
Type of filter
Off : no filter is used
Lpf: cuts the frequency range
above the Cutoff
Hpf: cuts the frequency range
below the Cutoff
4
Post Filter
Cutoff
0–16
200–8000 Hz
Basic frequency of the Post
Filter
5
Low Gain
0–30
-15–+15 dB
Gain of the low range
6
High Gain
0–30
-15–+15 dB
Gain of the high range
7
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between the
direct sound (D) and the effect
sound (W)
8
Level
0–127
0–127
Output level
●0175: Telephone
No
Parameter
Value
Description
●015a: Reverse Delay
1
0–15
0–15
This is a reverse delay that adds a reversed and delayed sound to the input sound. A
tap delay is connected immediately after the reverse delay.
Voice Quality
#1
Audio quality of the telephone
voice
2
Treble
0–30
–15–+15 dB
Bandwidth of the telephone
voice
No
Parameter
Value
Description
3
Balance #2
0–100
D100:0–
D0:100W
Volume balance between the
direct sound (D) and the effect
sound (W)
4
Level
0–127
0–127
Output level
1
Threshold
0–127
0–127
Volume at which the reverse
delay will begin to be applied
2
Rev Delay
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Rev Delay
Time #1
0–127
1–1270 ms
Delay time from when sound
is input into the reverse delay
until the delay sound is heard
(Hz)
4
Rev Delay
Time
0–21
note
Delay time from when sound
is input into the reverse delay
until the delay sound is heard
(note)
5
Rev Delay
Feedback
49–89
0–+80%
Proportion of the delay sound
that is to be returned to the
input of the reverse delay
6
Rev Delay HF
Damp
0–17
Frequency at which the
200–8000 Hz, high-frequency content of the
reverse-delayed sound will be
Bypass
cut (Bypass: no cut)
7
Rev Delay
Pan
0–127
L64–63R
Panning of the reverse delay
sound
8
Rev Delay
Level
0–127
0–127
Volume of the reverse delay
sound
30
MIDI Implementation
●0156: Gate Reverb
No
This is a special type of reverb in which the reverberant sound is cut off before its
natural length.
No
1
Parameter
Type #1
Value
Description
0–3
Type of reverb
Normal: conventional gated
reverb
Reverse: backwards reverb
Sweep1: the reverberant
sound moves from right to left
Sweep2: the reverberant
sound moves from left to right
Normal,
Reverse,
Sweep1,
Sweep2
2
Pre Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
reverb sound is heard.
3
Gate Time
0–99
5–500 ms
Adjusts the time from when
the reverb is heard until it
disappears.
4
Low Gain
0–30
-15–+15 dB
Gain of the low range
5
High Gain
0–30
-15–+15 dB
Gain of the high range
6
Balance #2
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
reverb sound (W)
7
Level
0–127
0–127
Output Level
●0200: Overdrive  Chorus
Parameter
Value
Description
6
Flanger Rate
0–21
note
Frequency of modulation
(note)
7
Flanger
Depth
0–127
0–127
Depth of modulation
8
Flanger
Feedback
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
0–98
9
Flanger
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the flanger (W)
and the sound that is not sent
through the flanger (D).
10
Level
0–127
0–127
Output Level
●0202: Overdrive  Delay
This effect connects an overdrive and a delay in series.
No
Parameter
Value
Description
1
Overdrive
Drive #1
0–127
0–127
Degree of distortion
Also changes the volume.
2
Overdrive
Pan
0–127
L64–63R
Stereo location of the
overdrive sound
3
Delay Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
4
Delay Time
0–127
1–2540 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard. (ms)
5
Delay Time
0–21
note
Adjusts the delay time from
the direct sound until the
delay sound is heard. (note)
6
Delay
Feedback
49–89
0–+80%
Adjusts the proportion of the
delay sound that is fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to
200–8000 Hz, the effect will be cut. If you
do not want to cut the high
Bypass
frequencies, set this parameter
to Bypass.
This effect connects an overdrive and a chorus in series.
No
Parameter
Value
1
Overdrive
Drive
0–127
2
Overdrive
Pan
0–127
3
Chorus Pre
Delay
4
Chorus Rate
Mode
5
Description
0–127
Degree of distortion
Also changes the volume.
L64–63R
Stereo location of the
overdrive sound
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
Chorus Rate
#1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Chorus Rate
0–21
note
Frequency of modulation
(note)
7
Chorus
Depth
0–127
0–127
Depth of modulation
8
Chorus
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the chorus (W)
and the sound that is not sent
through the chorus (D).
9
Level
0–127
0–127
Output Level
0–125
●0201: Overdrive  Flanger
7
Delay HF
Damp
8
Delay
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the delay (W)
and the sound that is not sent
through the delay (D).
9
Level
0–127
0–127
Output Level
●0203: Distortion  Chorus
The parameters are essentially the same as in “Overdrive  Chorus,” with the
exception of the following two.
Overdrive Drive  Distortion Drive
Overdrive Pan  Distortion Pan
This effect connects an overdrive and a flanger in series.
No
Parameter
Value
Description
1
Overdrive
Drive
0–127
0–127
Degree of distortion
Also changes the volume.
2
Overdrive
Pan
0–127
L64–63R
Stereo location of the
overdrive sound
3
Flanger Pre
Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
4
Flanger Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Flanger Rate
#1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
●0204: Distortion  Flanger
The parameters are essentially the same as in “Overdrive  Flanger,” with the
exception of the following two.
Overdrive Drive  Distortion Drive
Overdrive Pan  Distortion Pan
●0205: Distortion  Delay
The parameters are essentially the same as in “Overdrive  Delay,” with the exception
of the following two.
Overdrive Drive  Distortion Drive
Overdrive Pan  Distortion Pan
31
MIDI Implementation
●0206: Enhancer  Chorus
No
Parameter
Value
Description
This effect connects an enhancer and a chorus in series.
No
Parameter
Value
1
Enhancer
Sens
0–127
0–127
Sensitivity of the enhancer
2
Enhancer Mix 0–127
0–127
Level of the overtones
generated by the enhancer
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
3
Chorus Pre
Delay
0–125
4
Delay Time
0–127
1–2540 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard. (ms)
5
Delay Time
0–21
note
Adjusts the delay time from
the direct sound until the
delay sound is heard. (note)
6
Delay
Feedback
49–89
0–+80%
Adjusts the proportion of the
delay sound that is fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to
200–8000 Hz, the effect will be cut. If you
Bypass
do not want to cut the high
frequencies, set this parameter
to Bypass.
Adjusts the volume balance
between the sound that is
sent through the delay (W)
and the sound that is not sent
through the delay (D).
Output Level
Description
4
Chorus Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Chorus Rate
#1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Chorus Rate
0–21
note
Frequency of modulation
(note)
7
Chorus
Depth
0–127
0–127
Depth of modulation
8
Chorus
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the chorus (W)
and the sound that is not sent
through the chorus (D).
9
Level
0–127
0–127
Output Level
7
Delay HF
Damp
8
Delay
Balance #2
0–100
D100:0W–
D0:100W
9
Level
0–127
0–127
●0209: Chorus  Delay
This effect connects a chorus and a delay in series.
No
●0207: Enhancer  Flanger
Value
Description
1
Chorus Pre
Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
2
Chorus Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
This effect connects an enhancer and a flanger in series.
Description
Parameter
No
Parameter
Value
1
Enhancer
Sens
0–127
0–127
Sensitivity of the enhancer
Chorus Rate
1–127
0–127
0.05–10.00
Hz
Frequency of modulation (Hz)
Enhancer Mix 0–127
Level of the overtones
generated by the enhancer
3
2
4
Chorus Rate
0–21
note
Frequency of modulation
(note)
5
Chorus
Depth
0–127
0–127
Depth of modulation
6
Chorus
Balance #1
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
chorus sound (W)
7
Delay Time
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
8
Delay Time
0–127
1–2540 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard. (ms)
9
Delay Time
0–21
note
Adjusts the delay time from
the direct sound until the
delay sound is heard. (note)
10
Delay
Feedback
49–89
0–+80%
Adjusts the proportion of the
delay sound that is fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to
200–8000 Hz, the effect will be cut. If you
Bypass
do not want to cut the high
frequencies, set this parameter
to Bypass.
Adjusts the volume balance
between the sound that is
sent through the delay (W)
and the sound that is not sent
through the delay (D).
Output Level
3
Flanger Pre
Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
4
Flanger Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
5
Flanger Rate
#1
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
6
Flanger Rate
0–21
note
Frequency of modulation
(note)
7
Flanger
Depth
8
9
10
Flanger
Feedback
Flanger
Balance #2
Level
0–127
0–98
0–100
0–127
0–127
Depth of modulation
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
D100:0W–
D0:100W
0–127
Adjusts the volume balance
between the sound that is
sent through the flanger (W)
and the sound that is not sent
through the flanger (D).
11
Delay HF
Damp
12
Delay
Balance #2
0–100
D100:0W–
D0:100W
13
Level
0–127
0–127
Output Level
●0208: Enhancer  Delay
This effect connects an enhancer and a delay in series.
No
Parameter
Value
1
Enhancer
Sens #1
0–127
0–127
Sensitivity of the enhancer
2
Enhancer Mix 0–127
0–127
Level of the overtones
generated by the enhancer
3
Delay Time
Mode
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
32
0–1
Description
MIDI Implementation
●020a: Flanger  Delay
No
This effect connects a flanger and a delay in series.
No
Parameter
1
Flanger Pre
Delay
Value
Description
0–125
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
0.0–100.0 ms
2
Flanger Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Flanger Rate
1–127
0.05–10.00
Hz
Frequency of modulation (Hz)
4
Flanger Rate
0–21
note
Frequency of modulation
(note)
5
Flanger
Depth
0–127
0–127
Depth of modulation
6
Flanger
Feedback
0–98
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
7
Flanger
Balance #1
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
flanger sound (W)
8
Delay Time
Mode
0–1
ms, note
When this is set to “note,” the
effect is synchronized with the
tempo.
9
Delay Time
0–127
1–2540 ms
Adjusts the delay time from
the direct sound until the
delay sound is heard. (ms)
10
Delay Time
0–21
note
Adjusts the delay time from
the direct sound until the
delay sound is heard. (note)
11
Delay
Feedback
49–89
0–+80%
Adjusts the proportion of the
delay sound that is fed back
into the effect.
0–17
Adjusts the frequency above
which sound fed back to
200–8000 Hz, the effect will be cut. If you
do not want to cut the high
Bypass
frequencies, set this parameter
to Bypass.
12
Delay HF
Damp
13
Delay
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the delay (W)
and the sound that is not sent
through the delay (D).
14
Level
0–127
0–127
Output Level
Parameter
Value
Description
8
Flanger Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
9
Flanger Rate
1–127
0.05–10.00
Hz
Modulation frequency of the
flanger effect (Hz)
10
Flanger Rate
0–21
note
Modulation frequency of the
flanger effect (note)
11
Flanger
Depth
0–127
0–127
Modulation depth of the
flanger effect
12
Flanger
Feedback
0–98
-98–+98%
Adjusts the proportion of the
flanger sound that is fed back
into the effect. Negative (-)
settings will invert the phase.
13
Flanger
Balance #2
0–100
D100:0W–
D0:100W
Adjusts the volume balance
between the sound that is
sent through the flanger (W)
and the sound that is not sent
through the flanger (D).
14
Level
0–127
0–127
Output Level
●020b: Chorus  Flanger
This effect connects a chorus and a flanger in series.
No
Parameter
Value
Description
1
Chorus Pre
Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
the direct sound until the
chorus sound is heard.
2
Chorus Rate
Mode
0–1
Hz, note
When this is set to “note,” the
effect is synchronized with the
tempo.
3
Chorus Rate
1–127
0.05–10.00
Hz
Modulation frequency of the
chorus effect (Hz)
4
Chorus Rate
0–21
note
Modulation frequency of the
chorus effect (note)
5
Chorus
Depth
0–127
0–127
Modulation depth of the
chorus effect
6
Chorus
Balance #1
0–100
D100:0W–
D0:100W
Volume balance between
the direct sound (D) and the
chorus sound (W)
7
Flanger Pre
Delay
0–125
0.0–100.0 ms
Adjusts the delay time from
when the direct sound begins
until the flanger sound is
heard.
33
MIDI Implementation
6. Tone List
[Piano] button
Upper
No.
Layer
Name
MSB
LSB
PC
MSB
LSB
PC
1
G.Piano1
0
68
1
-
-
-
2
G.Piano2
16
67
1
-
-
-
3
G.Piano3
8
66
2
-
-
-
4
HonkyTon
0
64
4
-
-
-
5
P+ String
0
68
1
1
65
50
6
P+Choir
0
68
1
1
64
53
7
P+Bell
0
68
1
0
68
99
[Other] button
No
Name
MSB
LSB
PC
No
Name
MSB
LSB
PC
1
VintgEP1
81
4
5
25
Strings1
0
71
50
2
VintgEP2
82
4
5
26
Strings2
0
64
49
3
PopElPno
16
67
5
27
Choir 1
8
64
53
4
St FM EP
16
4
5
28
Choir 2
8
66
53
5
FM ElPno
0
70
6
29
Choir 3
8
68
53
6
Hrpchrd1
0
66
7
30
JazzScat
0
65
55
7
Hrpchrd2
8
66
7
31
Oboe
8
4
69
8
Vibrphon
0
0
12
32
Clarinet
52
4
72
9
Celesta
0
0
9
33
FluteTrv
50
4
74
10
Harp
0
68
47
34
FlVibAtk
52
4
74
65
11
ChOrgan1
0
66
20
35
SoprnExp
8
4
12
ChOrgan2
8
69
20
36
BlowAlto
50
4
66
13
AllSkate
82
4
18
37
StTenSax
9
4
67
14
DynoRtry
82
4
19
38
Trumpet
0
4
57
15
FltOrgan
16
66
20
39
MutTrump
2
4
60
16
JzOrgan
0
70
19
40
Trombone
0
4
58
62
17
AcMaster
50
4
22
41
Tbs+Tb
43
4
18
Accordn
0
68
22
42
Ac.Brass
80
4
62
19
HandHarm
51
4
23
43
SynthPad
0
64
90
20
NylonGt
0
4
25
44
SynthBel
0
68
99
21
NylstrGt
0
0
25
45
Standard
111
4
6
22
StlstrGT
0
0
26
46
Electric
111
0
25
23
JzGuitar
80
4
27
47
Brush
111
4
46
24
WarmDrv
65
4
30
34
Digital Piano
Function...
Transmitted
Recognized
Basic
Channel
Default
Changed
1
1–16
1–16
1–16
Mode
Default
Messages
Altered
Mode 3
X
**************
Mode 3
Mode 3, 4 (M = 1)
Note
Number :
True Voice
15–113
*************
0–127
0–127
Velocity
Note On
Note Off
O
O
O
O
After
Touch
Key’s
Channel’s
X
X
O
O
Pitch Bend
0, 32
1
5
6, 38
7
10
11
64
65
66
67
84
91
93
98, 99
100, 101
Control
Change
Program
Change
Date: Jun. 28, 2012
MIDI Implementation Chart
Model F-120R, RP301R
: True Number
System Exclusive
X
O
O
X
X
X
X
X
O
O
X
O
O
X
O
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
O (Reverb)
O (Chorus)
O
O
0–127
**************
O
0–127
O
O
System
Common
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Real Time
: Clock
: Commands
O
O
X
X
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
X
X
X
X
O
X
O (120, 126, 127)
O
O
O (123–125)
O
X
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
*1 O X is selectable by Sys Ex.
*2 Recognized as M = 1 even if M
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
Version: 1.00
Remarks
*2
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank select
Modulation
Portamento time
Data entry
Volume
Panpot
Expression
Hold 1
Portamento
Sostenuto
Soft
Portamento control
Effect1 depth
Effect3 depth
NRPN LSB, MSB
RPN LSB, MSB
Program No. 1–128
1.
O : Yes
X : No
35
Contents
MIDI Implementation
1
Master Coarse Tuning
1. Receive Data
1
Global Parameter Control
Channel Voice Messages 1
Reverb Parameters
6
Note off
1
Chorus Parameters
7
Note on
1
Channel Pressure
7
Polyphonic Key Pressure 1
Controller 7
Control Change
Scale/Octave Tuning Adjust
1
Bank Select (Controller Number 0, 32)
1
Universal Non-realtime System
Exclusive Messages
7
Modulation (Controller Number 1)
Identity Request Message
1
Portamento Time (Controller Number
5)
1
Data Transmission
Data Set 1 (DT1)
8
Data Entry (Controller Number 6, 38) 1
2. Transmit Data
8
Volume (Controller Number 7)
1
Pan (Controller Number 10)
1
Note Off
8
Expression (Controller Number 11)
1
Note On
8
Hold 1 (Controller Number 64)
2
Control Change
Portamento (Controller Number 65) 2
0113: Distortion2
6
6
19
0107: Speaker Simulator 19
Specifications of each Speaker Type
19
0114: Guitar Amp Simulator
20
7
Specifications of each Speaker Type
20
0120: Phaser
7
8
Channel Voice Messages 8
8
20
0129: Multi Stage Phaser 21
012a: Infinite Phaser
21
0123: Stereo Flanger
21
0127: 3D Flanger
21
0128: 2Band Flanger
22
0121: Auto Wah
22
0103: Humanizer
22
012b: Ring Modulator
23
0125: Tremolo
23
0126: Auto Pan
23
Sostenuto (Controller Number 66)
2
Bank Select (Controller Number 0, 32)
8
Soft (Controller Number 67)
2
Hold 1 (Controller Number 64)
8
012c: Slicer 23
Filter Resonance (Controller Number
71)
2
Sostenuto (Controller Number 66)
8
0130: Compressor
23
8
0131: Limiter
24
Release Time (Controller Number 72) 2
0142: Stereo Chorus
24
Attack Time (Controller Number 73) 2
Effect 1 (Reverb Send Level) (Controller
Number 91) 8
0140: Hexa Chorus
24
Cutoff (Controller Number 74)
Program Change
0141: Tremolo Chorus
24
0143: Space D
25
0144: 3D Chorus
25
Soft (Controller Number 67)
2
8
Decay Time (Controller Number 75) 2
System Realtime Message
Vibrato Rate (Controller Number 76) 2
Realtime Clock
Vibrato Depth (Controller Number 77)
2
Start
9
0145: 2Band Chorus
25
Continue
9
0122: Rotary
26
Vibrato Delay (Controller Number 78)2
Stop
9
Portamento Control (Controller
Number 84) 3
Active Sensing
Effect 1 (Reverb Send Level) (Controller
Number 91) 3
Identity Reply
9
9
9
System Exclusive Messages
9
9
012d: Rotary2
26
0300: Rotary Multi
26
015b: Stereo Delay1
27
015c: Stereo Delay2
27
Effect 3 (Chorus Send Level) (Controller Number 93)
3
3. Parameter Address Map (Model ID =
42H)
10
015d: Stereo Delay3
27
015e: Stereo Delay4
28
NRPN MSB/LSB (Controller Number 98,
99)
3
Address Block Map
10
015f: Stereo Delay5
28
Individual Parameters
10
0150: Monaural Delay
28
RPN MSB/LSB (Controller Number 100,
101)
4
System Parameters
10
0151: Modulation Delay 29
Part Parameters
12
Program Change
0152: Triple Tap Delay
29
4. Supplementary Material
15
0157: 3D Delay
29
Decimal and Hexadecimal Table
15
0159: Tape Echo
30
015a: Reverse Delay
30
4
Channel Pressure
4
Pitch Bend Change
4
Channel Mode Messages
4
All Sounds Off (Controller number
120)
4
Examples of Actual MIDI Messages
15
0172: Lo-Fi 30
0175: Telephone
30
Reset All Controllers (Controller
Number 121)
4
Example of an Exclusive Message and
Calculating a Checksum 16
0156: Gate Reverb
31
Local Control (Controller Number 122)
4
How to Calculate the Checksum
(Hexadecimal
Numbers are Indicated by ‘H’)
16
All Notes Off (Controller Number 123)
5
OMNI OFF (Controller Number 124) 5
About Tuning
16
0200: Overdrive  Chorus
31
0201: Overdrive  Flanger
31
0202: Overdrive  Delay 31
0203: Distortion  Chorus
31
OMNI ON (Controller Number 125)
5
The Scale Tune Feature (Address: 40 1x
40)
16
MONO (Controller Number 126)
5
Equal Temperament
POLY (Controller Number 127)
5
System Realtime Message
5
Just Temperament (Keytone C)
16
0205: Distortion  Delay
31
Arabian Scale
16
0206: Enhancer  Chorus
32
Active Sensing
5
System Exclusive Message
5
16
5. Effect List 17
0204: Distortion  Flanger
31
System Exclusive Messages Related to
Mode Settings
5
EFX Parameter Map
17
0100: Equalizer
17
0207: Enhancer  Flanger
32
GM1 System On
5
0101: Spectrum
17
0208: Enhancer  Delay 32
GM2 System On
5
0102: Enhancer
18
0209: Chorus  Delay
32
GM System Off
6
0104: Isolator
18
020a: Flanger  Delay
33
0105: Low Boost
18
020b: Chorus  Flanger 33
0106: High Pass Filter
18
6. Tone List 34
0110: Overdrive
19
GS reset
6
Universal Realtime System Exclusive
Messages 6
Master volume
6
Master Fine Tuning
6
36
0111: Distortion
19
0112: Overdrive2
19