SC-8850
Owner’s Manual
Owner’s Manual
Before using this unit, carefully read the sections entitled: “IMPORTANT
SAFETY INSTRUCTIONS” (p.2), “USING THE UNIT SAFELY” (p.3), and
“IMPORTANT NOTES” (p.5). These sections provide important information concerning the proper operation of the unit. Additionally, in order
to feel assured that you have gained a good grasp of every feature
provided by your new unit, Owner’s manual should be read in its entirety.
The manual should be saved and kept on hand as a convenient reference.
01891545
00-7-A3-31N
Copyright © 1999 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of
ROLAND CORPORATION.
To resize thickness, move all items on the front cover to left or right
on the master page.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read all the instructions before using the product.
2. Do not use this product near water — for example, near a
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.
3. This product should be used only with a cart or stand that is
recommended by the manufacturer.
4. This product, either alone or in combination with an amplifier
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an
audiologist.
5. The product should be located so that its location or position
does not interfere with its proper ventilation.
6. The product should be located away from heat sources such
as radiators, heat registers, or other products that produce
heat.
7. The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.
8. The power-supply cord of the product should be unplugged
from the outlet when left unused for a long period of time.
9. Care should be taken so that objects do not fall and liquids
are not spilled into the enclosure through openings.
10.The product should be serviced by qualified service
personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the
product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate normally or
exhibits a marked change in performance; or
E. The product has been dropped, or the enclosure
damaged.
11.Do not attempt to service the product beyond that described
in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
For the USA
This product may be equipped with a polarized line plug (one blade wider than the other) . This is a safety feature. If you
are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the plug.
For Canada
For Polarized Line Plug
CAUTION:
ATTENTION:
For EU Countries
TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE
DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For the U.K.
For Canada
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
2
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
USING THE UNIT SAFELY
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers
other adverse effects
respect to the home
furnishings, as well
animals or pets.
to damage or
caused with
and all its
to domestic
001
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002a
• Do not open or perform any internal modifications
on the unit.
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the "Information" page.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
U
S
I
The
symbol alerts the user to important instructions N
or warnings.The specific meaning of the symbol is G
determined by the design contained within the T
triangle. In the case of the symbol at left, it is used for H
general cautions, warnings, or alerts to danger.
E
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that U
must not be done is indicated by the design contained N
within the circle. In the case of the symbol at left, it I
T
means that the unit must never be disassembled.
The ● symbol alerts the user to things that must be S
carried out. The specific thing that must be done is A
indicated by the design contained within the circle. In F
the case of the symbol at left, it means that the power- E
L
cord plug must be unplugged from the outlet.
Y
008a
• The unit should be connected to a power supply
only of the type described in the operating instructions, or as marked on the unit.
..........................................................................................................
009
• Avoid damaging the power cord. Do not bend it
excessively, step on it, place heavy objects on it,
etc. A damaged cord can easily become a shock or
fire hazard. Never use a power cord after it has
been damaged.
..........................................................................................................
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at a
level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
..........................................................................................................
013
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
3
USING THE UNIT SAFELY
015
• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension cord’s
outlet must never exceed the power rating (watts/
amperes) for the extension cord. Excessive loads
can cause the insulation on the cord to heat up
and eventually melt through.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the "Information" page.
..........................................................................................................
101a
• The unit should be located so that its location or
position does not interfere with its proper ventilation.
..........................................................................................................
102b
• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
104
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107b
• Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
108a
• Before moving the unit, disconnect the power plug
from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p.21 ).
..........................................................................................................
110a
• Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
4
Important Notes
In addition to the items listed under “IMPORTANT SAFETY
Additional Precautions
INSTRUCTIONS” and “USING THE UNIT SAFELY” on
551
• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself
against the risk of loosing important data, we recommend
that you periodically save a backup copy of important
data you have stored in the unit’s memory in another
MIDI device (e.g., a sequencer).
page 3, please read and observe the following:
Power Supply
Power Supply: Use of Batteries
301
• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of interference.
352
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
354a
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to
wipe the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
552
• Unfortunately, it may be impossible to restore the
contents of data that was stored in another MIDI device
(e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its
jacks and connectors. Rough handling can lead to
malfunctions.
554
• Never strike or apply strong pressure to the display.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
557
• A small amount of heat will radiate from the unit during
normal operation.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559
• When you need to transport the unit, package it in the
box (including padding) that it came in, if possible.
Otherwise, you will need to use equivalent packaging
materials.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level to
be extremely low, or impossible to hear. For information
on cable specifications, contact the manufacturer of the
cable.
5
Main Features
Supports General MIDI 1/General MIDI 2/GS Format
This unit is a sound module compatible with the General MIDI 1 and 2. It can be used
to play back any song data (General MIDI scores) bearing the General MIDI logo.
This unit is also compatible with the Roland GS format. It can be used to play back
any song data bearing the GS logo.
64-Part/128-Voice Multitimbral
The SC-8850 is a 64-part, 128-voice multitimbral sound module. A single unit can
produce the sounds of a large ensemble. It is an ideal sound module for use with
computers or sequencers.
* This is only when the USB connector or serial connector is used. When the MIDI connectors are used, a
maximum of 32 parts are available.
High-Quality Sounds
The SC-8850 comes with 1,640 high-quality sounds and 63 different drum sound
sets. These sounds include the same sounds as the SC-55/55mkII, SC-88 and SC88Pro, allowing song data for those modules to be played back correctly. (p.36)
* Depending on the data, it might be played back slightly differently by the SC-8850.
A complete selection of effects
The effects provided by the SC-8850 include 64 different Insertion effects, which can
be applied to specific parts; 8 types of reverb, 8 types of chorus, 10 types of delay,
and 2-band equalization. In addition, you can adjust parameters for each of these effects to modify the sound to your taste. (p.79, p.88)
User Sounds
By editing sound parameters such as vibrato, filter and envelope, you can modify
sounds to your taste. There are 256 user sounds and 2 user Drum Sets, allowing you
to create your own sounds and Drum Sets. (p.64)
USB connector provided
A USB connector and a Serial connector are provided for direct connection to an Apple Macintosh computer or a PC. Using sequencing software, you can play back and
edit song data. (p.12, p.14)
Large LCD screen for viewing the settings
The large graphic LCD provides excellent visibility, and lets you graphically view
the playing status of each part.
Connecting with Other Devices
Audio input jacks with input level adjustment allow you to connect another sound
source, and output it from the audio output jacks mixed with the SC-8850’s own
sound. Two sets of audio output jacks are also provided. (p.19)
6
Main Features
General MIDI
fig.0-1
General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of
sound generating devices. Sound generating devices and music files that meet the
General MIDI standard bear the General MIDI logo(
). Music files bearing the
General MIDI logo can be played back using any General MIDI sound generating
unit to produce essentially the same musical performance.
General MIDI 2
fig.0-2a
The upwardly compatible General MIDI 2 (
) recommendations pick up where
the original General MIDI left off, offering enhanced expressive capabilities, and
even greater compatibility. Issues that were not covered by the original General
MIDI recommendations, such as how sounds are to be edited, and how effects
should be handled, have now been precisely defined. Moreover, the available
sounds have been expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that carry either the General MIDI or General
MIDI 2 logo.
In some cases, the conventional form of General MIDI, which does not include the
new enhancements, is referred to as "General MIDI 1" as a way of distinguishing it
from General MIDI 2.
GS format
fig.0-2
The GS Format (
) is Roland's set of specifications for standardizing the
performance of sound generating devices. In addition to including support for everything defined by the General MIDI, the highly compatible GS Format additionally offers an expanded number of sounds, provides for the editing of sounds, and
spells out many details for a wide range of extra features, including effects such as
reverb and chorus.
Designed with the future in mind, the GS Format can readily include new sounds
and support new hardware features when they arrive.
203
* GS (
) is a registered trademark of Roland Corporation.
205
* Microsoft, Windows, and Windows NT are registered trademarks of Microsoft Corporation.
207
* Apple is a registered trademark of Apple Computer, Inc.
208
* Macintosh is a registered trademark of Apple Computer, Inc.
212
* PC-9800 Series is a trademark of NEC Corporation.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
7
How to Use This Manual
Conventions Used in This Manual
In the explanatory text, parameter names and other items are given in the form in
which they appear in the display; e.g., “Cho Rate.” Since these are usually abbreviations, the full name will also be given; e.g., “Chorus Rate.”
The possible values that can be set for a parameter that can be adjusted consecutively
will be given like this: “0–64–127.” Those that allow only specific values are presented like this: 200/400 Hz. Values shown in boldface, such as 64 are the default values.
Buttons or knobs on the panel appear in square brackets; e.g., [EDIT] or [VOLUME].
In addition, the SC-8850 provides function buttons [F1]–[F4]. The operation of these
buttons will depend on the function shown in the LCD screen. This manual refers to
these buttons as [PART A] ([F1]) etc.
This manual contains examples of the SC-8850’s display, but keep in mind that this
may vary slightly from the display that you actually see on your instrument.
The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you
actually see in the display may not always match what appears in the manual.
Once You Have Become Familiar with Operating the SC-8850
Once you have a general understanding about operating the SC-8850, you need only
consult Operating Procedure List (p.158) to find the desired operation for each
mode. Use this list when you need to remind yourself of a procedure. Appendices
(p.139) also contains other lists and information that will be useful to you.
Using the Index of Operations via MIDI
This manual will frequently list examples of operating the SC-8850 via MIDI from an
external device or sequencer program. An index is provided which collects all such
examples. Refer to Index (Operations via MIDI) (p.254).
8
Contents
USING THE UNIT SAFELY ................................... 3
Important Notes.................................................... 5
Main Features ....................................................... 6
How to Use This Manual...................................... 8
Panel Descriptions ................................... 11
Front Panel ........................................................................... 11
Rear Panel............................................................................. 11
Connecting to Your Computer/MIDI Keyboard ... 12
Connecting to a Computer ................................ 12
Connecting to a Computer via the USB Connector ....... 12
Connecting to a Computer via the Serial Connector ..... 14
Connecting to a Computer via the MIDI Connectors .... 16
How MIDI Messages Are Exchanged
with a Computer ............................................................. 17
Do You Hear Sound? .......................................................... 18
Connecting to Headphones .............................. 19
Connecting to an Audio Input Jacks................ 19
Connecting to a MIDI Keyboard........................ 20
Making Connections........................................................... 20
Turning the Power ON/OFF............................................. 21
Do You Hear Sound? .......................................................... 21
Connecting Another MIDI Sound Source
to the SC-8850 ................................................. 22
Making Connections........................................................... 22
Restoring the Factory Settings (Initialize) ... 23
Initializing All Settings to the Factory
Condition (Factory Preset) ............................. 23
Initializing for General MIDI/GS Format ........... 24
Parts and Sounds .....................................37
Switching the Sound of Each Part.................... 37
Types of Part ........................................................................ 37
Which MIDI IN Will be Used by Each Part? ...................38
Selecting a Part..................................................................... 38
Selecting Basic Sounds (Normal Part) ..............................39
Selecting Variation Sounds (Normal Part) ......................39
Using MIDI Messages to Select Instruments
from Other Devices or Sequencing Software ..............41
Selecting Drum Sets (Drum Part)......................................43
Using MIDI Messages to Select Drum Sets
from Other Devices or Sequencing Software ..............44
Selecting the Same Sounds As the
SC-88Pro/SC-88/SC-55 .................................................. 45
Legato-enabled Sounds ...................................................... 46
Assigning a MIDI Channel to the Part .............. 46
How the Number of Simultaneous Notes
and Voices Are Related .................................. 48
About Parts and Parameters....................49
Setting Parameters that Affect All Parts
(Edit All screen)............................................... 49
Procedure.............................................................................. 49
Parameters............................................................................ 50
What Each Parameter Does ............................................... 50
The Functions of Parameters Set
Individually for Each Part (Edit screen) ........ 51
Procedure.............................................................................. 51
Parameters............................................................................ 52
What Each Parameter Does ............................................... 54
Setting Parameters that Affect
the SC-8850 Itself (Utility Screen).................. 62
Procedure.............................................................................. 62
What Each Parameter Does ............................................... 63
Try Out the Various Sounds .................... 27
Creating a Sound or Drum Set.................64
Try Out the Various Sounds of the SC-8850.... 27
Try an Original Sound........................................ 64
Listening to the Demo Songs............................................. 27
Demo Songs ......................................................................... 28
Listening to the Basic Sounds (Capital sounds)
(PHRASE PREVIEW)...................................................... 29
Listening to the Variation Sounds .................................... 30
Listening to the Drum Set Sounds .................................... 31
Parameter Settings for the Sound Source....... 32
Adjusting the Volume(VOLUME, LEVEL) ..................... 32
Adjusting the Pan (Stereo Position).................................. 33
Transpose the Key (KEY SHIFT)....................................... 35
Silencing a Specific Part / All Parts (MUTE) .................. 35
Listening to Only a Specific Part (SOLO) ........................ 36
Selecting the Same Sounds As the
SC-88Pro/SC-88/SC-55.................................................. 36
Modifying the Elements of Sound to Create
a New Sound.................................................................... 64
Parameters for Sound Editing ........................................... 65
Creating and Saving a Sound (User Instrument) ...........67
Create and Save a Drum Set (User Drum) ....... 70
Drum Edit............................................................................. 70
Saving a Drum Set You Created (User Drum Set)..........73
9
Contents
How Effects are Organized on the SC-8850 .. 77
Appendices..............................................139
System Effects ................................................... 77
Troubleshooting............................................... 139
Insertion Effects (EFX)....................................... 78
About MIDI ........................................................ 145
Using System Effects............................... 79
What’s MIDI? ..................................................................... 145
What is GM2?..................................................................... 146
MIDI Messages That Can Be Received
by the SC-8850 ............................................................... 148
Reverb/Chorus/Delay......................................... 79
Set Parameters for the Reverb/Chorus/Delay
Type and Amount (Level).............................................. 79
Reverb Parameters and Their Functions ......................... 80
Chorus Parameters and Their Functions ......................... 82
Delay Parameters and Their Functions............................ 84
If a Message Appears ...................................... 156
Equalizer ............................................................. 86
Instrument List ................................................. 167
Making Equalizer Settings ................................................. 86
Equalizer Parameters.......................................................... 86
Drum Set List.................................................... 187
Using Insertion Effects ............................ 88
GM 2 Drum Set List .......................................... 215
Computer Cable Wiring Diagrams.................. 157
Operating Procedure List ................................ 158
The Seven Display Screens of the SC-8850...............158
GM 2 Instrument List ....................................... 213
Insertion Effect List.......................................... 216
Setting the Insertion Effect Type,
Depth (Level), and Other Parameters............ 88
Effect Parameter Value Conversion Table..... 224
Insertion Effect Parameters and their functions ............. 89
MIDI Implementation ........................................ 226
Turning the Insertion Effect On/Off .................. 89
Shortcut Keys....................................................................... 90
Specifications..........................................247
Insertion Effect Types........................................ 91
Modifying the Effect Parameters Using
Controllers ..................................................... 129
Setting Procedure .............................................................. 129
The Function of Each Parameter ..................................... 130
Saving and Loading SC-8850 Settings ... 134
Transmitting the Settings of the SC-8850
to a Computer................................................ 134
Transmitting a Bulk Dump.............................................. 134
Transmitting Individual Data ......................................... 135
Writing/Loading SC-8850 Settings
to/from the User Area (Edit All screen) ....... 137
Writing SC-8850 Settings Into the User Area ................ 137
Loading SC-8850 Settings from the User Area ............. 138
10
Index.........................................................249
Operations via MIDI.......................................... 254
Panel Descriptions
■ Front Panel
fig.0-3e
VOLUME dial
display
POWER switch
F2 button
PHONES jack
Instrument display area
F1 button
F4 button
PART button
VARIATION button
EXIT button
VALUE dial
PART button
EDIT button
INSTRUMENT button
DRUM button
ENTER button
EFFECTS button
SHIFT button
INCREMENT button
DECREMENT button
F3 button
MUTE button
SOLO button
INSTRUMENT MAP button
■ Rear Panel
fig.0-4e
computer switch
Set this switch depending on the type of computer connected to the Computer connector,
or the software you are using. Turn the power off before changing the setting of this switch.
If you wish to use the MIDI connectors, set this switch to MIDI.
MIDI IN 1 connector
MIDI IN 2 connector
MIDI OUT 1 connector
MIDI OUT 2 connector
USB connector
SERIAL connector/USB connctor
AUDIO INPUT VOLUME knob
INPUT jack
OUTPUT 1 jack
AC IN connector
A dedicated Computer cable or USB cable (sold separately) can be connected here.
The type of cable required will depend on your computer.
When the Computer switch is set to MIDI,
the Computer connector or the USB cable cannot be used.
OUTPUT 2 jack
At the factory settings, no sound is output from the Output 2 jacks
11
Connecting to Your Computer/MIDI Keyboard
Connecting to a Computer
There are three ways to connect the SC-8850 to your computer; using the USB connectors, the MIDI connectors or the Serial connector. You can use up to 64 parts
if you use the USB connectors or the Serial connectors, and up to 64 parts if you use
the MIDI connectors. And if you use the MIDI connectors, you will need to obtain a
computer interface board (adapter) that has MIDI connectors (such as the Roland Super MPU II, etc.). If you use the USB connectors or the Serial connectors, you can use
a special cable to connect the SC-8850 directly with the computer, but your software
must be able to correspond to the USB port or the Serial port. (Refer to the How MIDI
Messages Are Exchanged with a Computer p.17)
To prevent malfunction
and/or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
■ Connecting to a Computer via the USB Connector
USB stands for Universal Serial Bus, and is a new interface used for connecting various peripherals to a computer.
USB allows you to use a single USB cable to connect numerous peripheral devices,
and allows data to be transferred faster than previous serial ports.
Also, peripheral devices can be connected or disconnected while the power is still
turned on, and the computer will detect this automatically. (For some peripherals,
settings or other operations may be required.)
fig.1-2e
IN 1
OUT
MIDI keyboard (PC-180, PC-160 etc.)
USB cable
(sold separately)
PC
USB connector ( | ❍ | ❍ | )
PC
12
Apple Macintosh
USB Port
Apple Macintosh Series
When connecting your
computer to the SC-8850
via a USB cable, it is not
necessary to turn off the
power of your computer.
Connecting to Your Computer/MIDI Keyboard
1
Turn off the power of the SC-8850 and set the COMPUTER switch to [USB].
Turn off the power before
changing the setting of the
COMPUTER switch. The
setting of this switch takes
effect when the power is
turned on.
fig.1-1
2
Connect the USB cable to the USB connector or USB port of your computer.
3
Connect the other end of the USB cable to the SC-8850’s USB connector.
Installing the USB Driver
In order to connect your computer to the SC-8850 via a USB cable, you must first install the USB driver (MIDI driver). The USB driver is contained in the included CDROM.
The USB driver is software that passes data between your computer application (sequencer software etc.) and the SC-8850 when your computer is connected via a USB
cable to the SC-8850.
The USB driver passes data from the application program to the SC-8850, and passes
MIDI messages from the SC-8850 to the application program.
When connecting the SC8850 and the PC via the
USB cable, you can use
only Windows 98
compatible machines.
fig.1-3e
MIDI
Application
USB Port
USB
Driver
USB Cable
MIDI Sound Module
Computer
For details on installing the USB driver, refer to the booklet for the included Software Library for SC-8850.
Cautions when using a USB connection
Even if the SC-8850’s USB connector is connected to your computer, it will not operate correctly unless the driver supports your computer. Be sure to use a computer for which operation has been verified.
You may need to make
various settings on your
computer, so carefully read
the owner’s manual for
your software, and make
the appropriate settings
before use.
13
Connecting to Your Computer/MIDI Keyboard
■ Connecting to a Computer via the Serial Connector
fig.1-4e
Before making connections
to other devices, it is very
important to turn down the
volume and turn off the
power in order to prevent
malfunctions or speaker
damage.
IN 1
OUT
MIDI keyboard (PC-180, PC-160 etc.)
Computer cable
(sold separately)
PC
Serial connector ( | ❍ | ❍ | )
PC
1
Apple Macintosh
Modem Port or Printer Port
Apple Macintosh Series
Turn off the power of the SC-8850, then set the COMPUTER switch, which
is located on the back of the SC-8850.
fig.1-5e
Apple Macintosh Series
PC-2
MIDI
PC-1
Mac
PC
PC-2
MIDI
PC-1
Mac
Select the “Mac” position if you are using an Apple Macintosh computer, or select
the “PC” position if you are using a PC.
The PC baud rate is 38.4 Kbps.
14
Turn off the power before
changing the setting of the
COMPUTER switch. The
setting of this switch takes
effect when the power is
turned on.
Be aware that the appropriate setting of the
COMPUTER switch may
differ, depending on the
type of computer.
Connecting to Your Computer/MIDI Keyboard
2
3
Connect the Computer cable to the Serial port (PC), or the Modem or
Printer port (Apple Macintosh series computer) on the back of your computer.
Connect the other end of the Computer cable to the Serial connector
(SERIAL) of the SC-8850.
You will need to have a
Computer cable (sold
separately) that is appropriate for the computer that
you are using. Refer to
Computer Cable Wiring
Diagrams (p. 157).
Installing the Serial MIDI Driver
In order to connect your computer to the SC-8850 via a computer cable, you must
first install the Serial MIDI driver (MIDI driver). The Serial MIDI driver driver is contained in the included CD-ROM.
The Serial MIDI driver is software that passes data between your computer application (sequencer software etc.) and the SC-8850 when your computer is connected via
a computer cable to the SC-8850.
The Serial MIDI driver passes data from the application program to the SC-8850, and
passes MIDI messages from the SC-8850 to the application program.
fig.1-6e
MIDI
Application
Serial Port
Serial
MIDI
Driver
Computer
Computer Cable
MIDI Sound Module
For details on installing the Serial MIDI driver, refer to the booklet for the included
Software Library for SC-8850.
In some cases, you will
need to make settings on
your computer, so carefully
read the owner’s manual
for the software that you
wish to use, and make the
appropriate settings before
use.
15
Connecting to Your Computer/MIDI Keyboard
■ Connecting to a Computer via the MIDI Connectors
If you use the MIDI connectors, you will need to obtain a computer interface board
(adapter) that has MIDI connectors (such as the Roland Super MPU II, etc.).
fig.1-7e
Computer
MIDI
interface
adaptor
Before making connections
to other devices, it is very
important to turn down the
volume and turn off the
power in order to prevent
malfunctions or speaker
damage.
MIDI OUT
The setting
is MIDI
SC-8850
* Set the COMPUTER switch located on the back of the SC-8850 to [MIDI]. If you use MIDI cables, the
SC-8850 will be limited to a maximum of 32 parts. If you wish to perform using more than 33 parts, use
either a USB cable or a computer cable.
16
Turn off the power before
changing the setting of the
COMPUTER switch. The
setting of this switch takes
effect when the power is
turned on.
Connecting to Your Computer/MIDI Keyboard
■ How MIDI Messages Are Exchanged
with a Computer
Depending on the setting of the COMPUTER switch, MIDI data flow will be different as follows.
When the COMPUTER switch is set to USB
fig.1-7ae
The number of sound
generator Parts that can be
controlled using the USB
connector or the Serial
connector will depend on
the software you are using.
This means that if you are
using the USB connector or
the Serial connector, you
will not necessarily be able
to play 64 Parts. Carefully
read the owner’s manual
for your software.
THRU function : ON
USB
MIDI OUT 2
MIDI OUT 1
Part group A
Part A1 - A16
MIDI IN 1
GM/GS
Sound generator
Part group B
Part B1 - B16
MIDI IN 2
GM/GS
Sound generator
Part group C
Part C1 - C16
GM/GS
Sound generator
Part group D
Part D1 - D16
GM/GS
Sound generator
SC-8850
17
Connecting to Your Computer/MIDI Keyboard
When the COMPUTER switch is set to SERIAL (PC or Mac)
fig.1-8e
THRU function : ON
Macintosh IIci
SERIAL
MIDI OUT 2
MIDI OUT 1
Part group A
Part A1 - A16
MIDI IN 1
GM/GS
Sound generator
Part group B
Part B1 - B16
MIDI IN 2
GM/GS
Sound generator
Part group C
Part C1 - C16
GM/GS
Sound generator
Part group D
Part D1 - D16
GM/GS
Sound generator
SC-8850
The Thru function of the computer software
In order for data received at MIDI IN 1 to be sent to the sound generator section, the
Thru function of the computer software must be turned on. When Thru function is
turned on, the data received at MIDI IN 1 will pass through the computer and be
played by the sound generator section.
■ Do You Hear Sound?
If the SC-8850 is connected to your computer but you do not hear any sound, this
may be due to a variety of reasons. A flow chart has been provided to help you determine the problem. In the Appendices, please refer to No sound (p. 140).
18
For details on how to turn
on the Thru function, refer
to the owner’s manual for
the software that you are
using.
Connecting to Your Computer/MIDI Keyboard
Connecting to Headphones
Use headphones of 8 – 150 ohms impedance. Sound will be output from the audio
output jacks even when headphones are connected.
fig.1-12e
Stereo Headphones
The headphone jack will
output the sound of
OUTPUT1.This means that
the sound of Parts assigned
to OUTPUT2 will not be
heard from the headphone
jack. (p.57)
Connecting to an Audio Input Jacks
You can connect the output jacks of other MIDI sound sources to these jacks. The audio signal that is input here will be mixed with this unit’s sound and output from the
audio output1 jacks.
If the signal input to this unit is too large or too small, use the Audio Input Volume
knob to adjust it. If the input signal is too large, rotate the knob to the left to reduce
the volume.
fig.1-13e
SC-8850
Audio (Sound Card, CD player etc)
OUT PUT
Audio Input Volume knob
INPUT
19
Connecting to Your Computer/MIDI Keyboard
Connecting to a MIDI Keyboard
■ Making Connections
This section explains how to connect this unit to a MIDI keyboard and play the
sounds. If you wish to connect a sequencer or personal computer to this unit, refer
to p.12.
Set the COMPUTER switch located on the back of this unit to MIDI.
fig.1-9e
To prevent malfunction
and/or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
MIDI OUT
MIDI keyboard
(PC-160, PC-180 etc.)
The new setting of the
COMPUTER switch will
take effect when the power
is turned on. Turn off the
power before changing the
setting of the COMPUTER
switch.
The setting
is MIDI
OUTPUT1 (R)
OUTPUT1 (L)
SC-8850
At the factory settings, no
sound will be sent from
output2 jacks. (p.57, p.61)
Left
INPUT
Powered Speaker
20
Right
LINE IN
Stereo set
Be sure to match the L/R
Output jacks of the SC-8850
with the L/R input jacks on
your audio equipment. If
you get them reversed, the
sounds you play will be
reversed too.
Connecting to Your Computer/MIDI Keyboard
■ Turning the Power ON/OFF
Once the connections have been completed, turn on power to your various devices
in the order specified.
Here we will explain how to connect the SC-8850 to an audio reproduction system
(stereo set or amplified speakers). If you are using headphones, you may skip the explanations regarding operation of your audio reproduction system.
Turning the Power On
1
Before you turn the power on, turn down the volume of the SC-8850 and
audio playback devices (your amp/speaker system).
2
Push the Power switch to turn on the SC-8850.
3
Turn on the power of your audio system.
4
Set the volume of each device to an appropriate setting.
Turning the Power Off
1
2
Before you turn the power off, turn down the volume of SC-8850 and audio
playback devices (your amp/speaker system).
By turning on devices in
the wrong order, you risk
causing malfunction and/
or damage to speakers and
other devices.
When connecting the SC8850 to your speaker system,
excessive volumes can
damage your speaker system.
Please be aware that speakers
used in conventional stereo
systems are more vulnerable
to being damaged by high
volume levels than are
speakers designed for
musical instruments.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
If this unit is placed at an
angle where the display is
difficult to read, adjust the
LCD Contrast (p.62).
Turn off audio devices, and then turn off the SC-8850.
■ Do you Hear Sound?
After making connections as explained in Making connections, turn the power on,
and gradually raise the volume while playing the keyboard. Does the bar indicator
of this unit move? If it does, this unit is receiving MIDI messages correctly.
This unit will sound a note when the [VOLUME] knob is pressed (the Preview function). If playing your keyboard produces no sound, you can use this function to see
whether the amp volume and speaker connections are correct.
If this unit bar indicator does not move, MIDI messages are not being received from
your MIDI keyboard. Check your MIDI keyboard settings and MIDI cable connections.
Even when you hear sound, if the bar indicators are not moving it means that the
parts that are playing are not currently displayed. To view the bar indicators, use
PART [
] or [
] to re-select the part, or simultaneously press PART [
] and
[
](ALL) to access the All Part screen, and press [64PART] ([F4]) to view the volume levels of all parts.
Unless you save them,
system parameters and user
parameters will return to
their default values when
you turn off the power of
the SC-8850. If you wish to
save these settings, refer to
Saving and Loading SC8850 Settings (p.134).
At the factory settings, this
unit will produce sound in
response to any channel 1 –
16, regardless of the transmit
channel your keyboard is set
to (p.146). This is because
each Part is assigned to the
correspondingly numbered
MIDI channel. The number
below the bar indicator is
the Part number.
21
Connecting to Your Computer/MIDI Keyboard
Connecting Another MIDI Sound Source
to the SC-8850
■ Making Connections
Use a MIDI cable (sold separately) to connect the SC-8850’s MIDI OUT connector to
the MIDI IN connector of the other MIDI sound source.
When the COMPUTER switch is set to [SERIAL (PC, Mac)] or [USB]
fig.1-10e
SERIAL
MIDI Sound Module 1
MIDI Sound Module 2
USB
MIDI OUT1
MIDI IN
In order to output MIDI
messages from MIDI OUT
1 and 2, you must make
settings on your computer
to specify the MIDI
message output destinations.
Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN
Part group B
MIDI OUT2
Part B1 - B16
GM/GS
Sound generator
Part group C
Part C1 - C16
GM/GS
Sound generator
Part group D
Part D1 - D16
GM/GS
Sound generator
SC-8850
* When connecting via a SERIAL cable, you cannot use MIDI OUT 2.
When the COMPUTER switch is set to [MIDI]
fig.1-11e
SERIAL
USB
MIDI OUT 1
From the MIDI OUT 1 and
2 connectors, MIDI
messages are sent to the
connected devices. Set the
track’s output port to MIDI
OUT in your sequencing
software, and the messages
will be output from MIDI
OUT and the SC-8850 itself
will not play. This makes it
easy to use the SC-8850 in
combination with other
sound modules. (You
cannot set any one track’s
data to be output simultaneously to both the SC-8850
and MIDI OUT, however.)
MIDI OUT 2
Part group A
Part A1 - A16
MIDI IN 1
GM/GS
Sound generator
Part group B
Part B1 - B16
MIDI IN 2
GM/GS
Sound generator
The SC-8850 does not have
the MIDI THRU function.
Part group C
Part C1 - C16
GM/GS
Sound generator
Part group D
Part D1 - D16
GM/GS
Sound generator
SC-8850
* If you connect this unit using MIDI cable, you cannot use the Part C and D.
22
Be aware that when the
COMPUTER switch
located on the back of the
SC-8850 is set to MIDI, data
will not be exchanged via
the USB or the Serial
connector.
Restoring the Factory Settings (Initialize)
Probably there is a case that you do not want to store the changes you made in the
SC-8850’s memory. If so, you can easily restore the settings to their factory condition.
Initializing All Settings to the Factory
Condition (Factory Preset)
This operation will initialize all the settings of the SC-8850 to the factory settings.
1
Simultaneously press both the [EDIT] and PART [
2
Press [INIT] ([F3]).
3
Press VAR. [
Initialize All.
] or INST [
] buttons (UTIL).
Be aware that this will also
initialize System parameters (p.62) and User
parameters related to User
Instrument and User Drum
Set. (p.67, p.73).
] to move the cursor up and down, and select
fig.2-1e
SCROLL bar
This indicates the location of the parameter in the whole parameters.
If this black square is at the bottom, or there is no black square,
it means there is no other parameters than displayed.
4
Press [ENTER].
The display will ask “Initialize Sure?”
5
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
Shortcut Keys
You can easily initialize the settings of theSC-8850 using the [SHIFT] button.
1
While holding down [SHIFT], press PART [
].
The display will ask “Initialize Sure?”
2
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
23
Restoring the Factory Settings (Initialize)
Initializing for General MIDI/GS Format
Here we will also explain the Initialize procedure that you will use when you need
to initialize the SC-8850 to the basic General MIDI/GS settings.
At the beginning of General MIDI/GS music files, there is data that directs the sound
generator to initialize itself (GM1 System On, GM2 System On, or GS Reset p.152).
This means that when you play back music files from the beginning, initialization
takes place automatically, so there is no need for you to do it using the panel buttons.
Initialize for GS (GS Reset)
1
Simultaneously press both the [EDIT] and PART [
2
Press [INIT] ([F3]).
3
Press VAR. [
Initialize GS.
] or INST [
] buttons (UTIL).
] to move the cursor up and down, and select
fig.2-2
4
Press [ENTER].
The display will ask “Initialize Sure?”
5
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
Shortcut Keys
You can easily initialize the settings of theSC-8850 using the [SHIFT] button.
1
While holding down [SHIFT], press PART [
The display will ask “Initialize Sure?”
2
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
24
].
Even if the SC-8850 is
initialized for General
MIDI/GS, the System
parameter settings (p.62)
will not be affected.
Cursor refers to the pointer
that indicates the currently
selected parameter etc. For
example if you select a
certain parameter, the
cursor will move to that
parameter, and the
parameter will be
highlighted.
Restoring the Factory Settings (Initialize)
Initialize for General MIDI 1 (GM1 System On)
1
Simultaneously press both the [EDIT] and PART [
2
Press [INIT] ([F3]).
3
Press VAR. [
Initialize GM.
] or INST [
] buttons (UTIL).
] to move the cursor up and down, and select
fig.2-3
4
Press [ENTER].
The display will ask “Initialize Sure?”
5
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
Shortcut Keys
You can easily initialize the settings of theSC-8850 using the [SHIFT] button.
1
While holding down [SHIFT], press VAR. [
].
The display will ask “Initialize Sure?”
2
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
25
Restoring the Factory Settings (Initialize)
Initialize for General MIDI 2 (GM2 System On)
1
Simultaneously press both the [EDIT] and PART [
2
Press [INIT] ([F3]).
3
Press VAR. [
] or INST [
] buttons (UTIL).
] to move the cursor up and down, and select
Initialize GM2.
fig.2-4
4
Press [ENTER].
The display will ask “Initialize Sure?”
5
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
Shortcut Keys
You can easily initialize the settings of theSC-8850 using the [SHIFT] button.
1
While holding down [SHIFT], press INST [
The display will ask “Initialize Sure?”
2
To initialize, press [ENTER].
To quit without initializing, press [EXIT].
26
].
Try Out the Various Sounds
Try Out the Various Sounds of the SC-8850
The SC-8850 contains a wide variety of sounds, including not only musical instruments such as piano, organ and guitar, but also sound effects such as birds and telephone rings. In the SC-8850, each of these sounds is called an Instrument.
Here’s how to try out these Instrument’s sound.
■ Listening to the Demo Songs
The SC-8850 contains three demo songs that allow you experience the rich variety
provided by the SC-8850’s built-in sounds. You can listen to an individual demo
song, or to all songs in succession.
1
Simultaneously press both the [EDIT] and PART [
2
Press [DEMO] ([F4]).
] buttons (UTIL).
fig.3-1
3
Press VAR. [
] or INST [
a song you want to play.
] to move the cursor up and down, and select
If you select All Song, all songs will be played in succession.
fig.3-2
4
All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
Press [ENTER].
The display will ask “Start Demo Play?”
5
To play the demo, press [ENTER].
To quit without playing the demo, press [EXIT].
6
No data for the music that
is played will be output
from MIDI OUT.
To stop the play, press [EXIT].
27
Try Out the Various Sounds
Shortcut Keys
You can use the [SHIFT] button to easily access the demo song select screen.
1
2
While holding down [SHIFT], press [EDIT].
Press VAR. [
] or INST [
a song you want to play.
] to move the cursor up and down, and select
If you select All Song, all songs will be played in succession.
3
Press [ENTER].
The display will ask “Start Demo Play?”
4
To play the demo, press [ENTER].
To quit without playing the demo, press [EXIT].
5
To stop the play, press [EXIT].
■ Demo Songs
THE SECRET PLACE
WALL FIVE MIX
Blue X
Idecs Music Software
Copyright © 1999, Roland Corporation
HEIGO TANI
Copyright © 1999, Roland Corporation
Yuuki Kato (Music Brains, Inc.)
Copyright © 1999, Roland Corporation
Profile
Idecs Music Software
Through the SMF data creations they offer, this professional sound production unit continues to generate new excitement throughout the realm of music files. The overwhelming quality of their music has created for them an enormous following among consumers
of music files. Additionally, their other activities within the realm of music reach into almost every area–whether it be composing, arranging, producing, or education.
HEIGO TANI
Began his career as a DJ in 1985, at a disco in the Roppongi entertainment district of Tokyo. Since then, he has composed, arranged, and produced a variety of works. He has
performed with the great master, “DJ Wada,” and the techno-house units, “Co-Fusion,”
and “ATOM.” He has released numerous 12 analog records, on American and German
labels. After touring Europe in June of ’98, he released his first album, “COFU” under
the name “Co-Fusion” from Sublime Records of Japan in September, 1998.
Music Brains, Inc.
This is a music creating company established on April 3rd 1992 in Tokyo where it has
been mainly working. They make CD’s, video BGM, CM, animation music, Karaoke, etc.
in our own recording studio. Also, they develop electronic musical instruments, send
players, publish manuals, etc. Regarding Roland SMF music files, we have created various titles with the theme of searching reality in music, and have been highly estimated.
28
Try Out the Various Sounds
■ Listening to the Basic Sounds (Capital sounds)
(PHRASE PREVIEW)
On the SC-8850, sounds of a normal Part are specified using two numbers: the Instrument number (displayed under INST) and the Variation number (displayed under
VAR.). The 128 sounds with a Variation number of 000 are the basic sounds (Capital
sounds).
On the SC-8850, you can press a single button to hear these sounds played with a
suitable phrase.
1
2
Make sure that the Part Basic screen is selected.
Press INST [
] to move the cursor to INST.
fig.3-3
3
4
Rotate the [VALUE] knob, or press [DEC] or [INC] to select the sounds.
Pressing [DEC] decreases the Instrument number and pressing [INC]
increases the Instrument number. You can select an Instrument number
from 001 to 128.
For details on switching
sounds from another
device or from a sequencer
program, refer to Using
MIDI Messages to Select
Instruments from Other
Devices or Sequencing
Software (p.41).
The Part Basic screen is the
screen that appears when
the SC-8850’s power is
turned on. You can return
to the Part Basic screen
from other screens by
pressing [EXIT]. If the
PART display is set to ALL,
simultaneously press PART
[
] and [
] (ALL) to
restore the PART display to
the normal part display.
A faster change in the value
can be obtained if you hold
down the [INC] (or [DEC])
button while you press its
counterpart, the [DEC] (or
[INC]) button.
Press the [VOLUME] knob to audition the sound.
The selected sound will be played by an appropriate phrase. (Default setting)
With the factory settings,
pressing the [VOLUME]
knob will play a phrase to
audition the displayed
sound. You can change this
setting to sound only a
specified note. For details
refer to Setting Parameters that Affect the SC8850 Itself (Utility Screen)
(p.62).
29
Try Out the Various Sounds
■ Listening to the Variation Sounds
1
As you probably know, the SC-8850 offers more than 128 sounds.
In addition to the SC-8850’s basic (capital) sounds, it also offers Variation sounds,
which have a somewhat different character than the basic sounds.
The sounds of the SC-8850 are selected by two numbers: the Instrument number
and the Variation number. In preceding explanations, when you used the [VALUE]
dial or [DEC] and [INC]buttons to select basic sounds, you were changing the Instrument number. Here’s how you can change the Variation number to listen to different
Variation sounds.
For details on switching
sounds from another
device or from a sequencer
program, refer to Using
MIDI Messages to Select
Instruments from Other
Devices or Sequencing
Software (p.41).
Make sure that the Part Basic screen is selected.
Part Basic screen (p.29)
For this example, we will change the basic sound (capital sound) to 017 Organ 1, as
described in the preceding section Listening to the basic sounds (Capital
sounds).
2
Press VAR. [
] to move the cursor to VAR.
fig.3-4
3
Rotate the [VALUE] knob, or press [DEC] or [INC] to select sounds.
Pressing [DEC] decreases the Variation Number and pressing [INC] increases the
Variation Number. Even among organ sounds, you can hear that there are many
variations.
4
Press the [VOLUME] knob to check sounds.
Try out other sounds in the same way.
The Instrument List (p.167) shows the Instruments provided by the SC-8850. The Instrument number corresponds to the number in the PC column of the table, and the
Variation number corresponds to the number shown in the CC00 column. The number of Variations will depend on the sound. You can see that the organ (Instrument
number 017) that we just heard has many Variation sounds. For details refer to How
to Use the Instrument List (p.40).
30
A faster change in the value
can be obtained if you hold
down the [INC] (or [DEC])
button while you press its
counterpart, the [DEC] (or
[INC]) button.
Try Out the Various Sounds
■ Listening to the Drum Set Sounds
For the Drum Part, sounds are selected in a different way than for a normal Part.
Drum Sets have a different sound assigned to each note of the keyboard. The SC8850 has 63 different Drum sets, and you can change Drum Sets in the same way as
you select capital sounds for a normal Part.
1
Make sure that the Part Basic screen is selected.
2
Press PART [
] or [
For details on switching
drum sets from another
device or from a sequencer
program, refer to Using
MIDI Messages to Select
Drum Sets from Other
Devices or Sequencing
Software (p.44).
] to select a Drum Part.
At the factory settings, the Drum Parts are set to Part 10 (A10, B10, C10, D10).
3
Part Basic screen (p.29)
Press INST [
] to move the cursor to INST.
fig.3-5
4
Rotate the [VALUE] knob, or press [DEC] or [INC] to select a Drum Set.
Pressing [DEC] decreases the Drum Set Number and pressing [INC] increases the
Drum Set Number.
5
The Drum Set List (p.187).
shows which sound is
assigned to each key. For
details refer to How to Use
the Drum Set List (p.44).
Press the [VOLUME] knob to check sounds.
A phrase will play the various sounds in the selected drum set. (Default settings)
With the factory settings,
pressing the [VOLUME]
knob will play a phrase
that uses the sounds of the
displayed drum set. You
can change this setting so
that only the sound of a
specified pitch will be
played. For details refer to
Setting Parameters that
Affect the SC-8850 Itself
(Utility Screen) (p.62).
Alternatively, you can
audition the sounds of
individual notes in the
Drum screen.
31
Try Out the Various Sounds
Parameter Settings for the Sound Source
■ Adjusting the Volume(VOLUME, LEVEL)
If the SC-8850 is connected to an audio reproduction system (amp, speakers, etc.),
you can adjust the volume on your audio reproduction system. However, if you
want to adjust the volume as you play, there are two methods of adjusting the volume from the SC-8850.
VOLUME Knob
1
Rotate the [VOLUME] knob to the right to raise the volume, and to the left
to lower the volume.
fig.3-6
VOLUME
(PUSH)
PREVIEW
Adjusting the volume level (Part Level)
1
Make sure that the Part Basic screen is selected.
2
Press [EDIT].
3
Press [EDIT] ([F2]).
4
Press VAR. [
] or INST [
] to move the cursor to Part Level.
Part Basic screen (p.29)
Part Level (p.52)
fig.3-7
5
Rotate the [VALUE] knob, or press [DEC] or [INC] to adjust the level.
Pressing [DEC] decreases the volume and pressing [INC] increases the volume.
The Part Level area of the display will indicate the Part.
32
A faster change in the value
can be obtained if you hold
down the [INC] (or [DEC])
button while you press its
counterpart, the [DEC] (or
[INC]) button.
Try Out the Various Sounds
How to change the level of a part using MIDI messages
<Example> Setting the level of Part 1 to 110
MIDI CH =
01
CC#07
110
■ Adjusting the Pan (Stereo Position)
Pan sets the stereo position of the sound when a stereo playback system is used. For
example, the drum set and bass might be placed in the center, the guitar at right, and
the keyboard at left.
1
You can input the part level
as a value of 0 – 127.
The control numbers of the
control changes are
indicated as CC#. Control
Change (p.149)
Make sure that the Part Basic screen is selected.
Part Basic screen (p.29)
2
Press [EDIT].
3
Press [EDIT] ([F2]).
4
Press VAR. [
] or INST [
] to move the cursor to Part Pan.
Part Pan (p.54)
fig.3-8
5
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the pan.
To place a sound in the center, set the Pan value to 0. As the L-value increases the
sound will be placed further left, and as the R-value increases the sound will be
placed further right. You can specify a value between L63 and R63, and center is 0.
If you continue pressing [DEC], Rnd (random) will be selected, and each note will
be placed at a random stereo position.
A faster change in the value
can be obtained if you hold
down the [INC] (or [DEC])
button while you press its
counterpart, the [DEC] (or
[INC]) button.
For some Instruments,
small amounts of leakage
may be heard from the
opposite speaker even
when pan has been set fully
left or right.
If you are listening in
monaural, pan settings will
have no effect.
33
Try Out the Various Sounds
How to change the pan of a part using MIDI messages
<Example> Setting the pan of Part 2 to L30
MIDI CH =
02
CC#10
34
Since L63 is far left, 0 is center, and R63 is far right, it is calculated like this: 64 - 30 = 34
If you set the Pan to R30,
it is calculated like this:
64 + 30 = 94
How to change the pan of a part to Random using MIDI messages
<Example> Setting the pan of Part 1 to be random
If you set the pan to be random, you cannot use Control Change message like the
above example.
Transmit the following System Exclusive Message
fig.3-8be
address
data checksum
F0 41 10 42 12 [ 40 11 1C ] [ 00 ] [ 13 ] F7
Part 1
checksum
random
34
Also refer to MIDI Implementation (p.238).
Try Out the Various Sounds
■ Transpose the Key (KEY SHIFT)
Key Shift lets you shift the pitch of the sound in semitone steps, so you can easily
change the pitch of a song.
1
Make sure that the Part Basic screen is selected.
2
Press [EDIT]
3
Press [EDIT] ([F2]).
4
Press VAR. [
] or INST [
] to move the cursor to Key Shift.
Key Shift (p.55)
fig.3-9
5
Part Basic screen (p.29)
Rotate the [VALUE] knob, or press [DEC] or [INC] to adjust the key.
When you press [EDIT]
([F2]), the Key Shift
parameter is not displayed
on the screen. Keep
pressing VAR. [
] and
scroll down the screen.
Pressing [DEC] lowers the key (pitch) and pressing [INC] raises the key.
You can shift ±2 octaves in semitone steps.
■ Silencing a Specific Part / All Parts (MUTE)
You can mute one or more
parts.
Part Mute
1
Press PART [
2
Press [MUTE].
] or [
] to select a part you want to mute.
All Mute
1
Simultaneously press the PART [
] and [
] (ALL) to select the All Part
screen.
2
Press [MUTE].
35
Try Out the Various Sounds
■ Listening to Only a Specific Part (SOLO)
1
Press PART [
2
Press [SOLO].
] or [
] to select a part you want to solo.
■ Selecting the Same Sounds As the
SC-88Pro/SC-88/SC-55
The SC-8850 provides four sound maps: the SC-8850 map, which contains its own
original sounds; the SC-88Pro map, which contains the same sounds as the SC-88Pro;
the SC-88 map, which contains the same sounds as the SC-88; and the SC-55 map,
which contains essentially the same sounds as the SC-55/SC-55mkII.
You can press [INST MAP] to switch the sound map for the selected part. Choose
from the SC-55 map / SC-88 map / SC-88Pro map.
[
] will be displayed at the left of the selected instrument map.
fig.3-10
By first pressing PART [
] and [
] (ALL) and then pressing [INST MAP], you
can forcibly switch the sound map for all parts. The sound map settings for all parts
will change.
36
If [
] is not displayed on
the All Part screen, the
map settings of each part
are applied.
Parts and Sounds
The SC-8850 is able to produce 64 different sounds at once. (Used with the USB connector and the Serial connector only.) An instrument such as the SC-8850, which can
simultaneously produce many sounds from a single unit is called a multitimbral
sound generator. A timbre is an instrumental sound. Being able to simultaneously
play 64 sounds means that you can use 64 different instruments at once. In other
words, you can create an orchestra-like ensemble of 64 musical parts. In the SC-8850,
the sound selected for each Part is called an Instrument. (Instrument List, p.167) You
can assign the sounds you want to each of 64 Parts to create your own ensemble.
Switching the Sound of Each Part
■ Types of Part
The SC-8850 has 64 Parts. Parts are classified into Group A (A01-A16), Group B (B01B16), Group C (C01-C16), and Group D (D01-D16) with sixteen in each group.
There are two types of Parts: Normal Parts and Drum Parts. We refer to this difference as the Part Mode. Normal Parts are used for playing melody or bass lines. Drum
Parts are used for playing percussion instruments.
At the factory settings, each Part is set to the Part Mode as follows.
Normal Part: A01-A09, A11-A16, B01-B09, B11-B16, C01-C09, C11-C16, D01-D09,
D11-D16
Drum Part:
A10, B10, C10, D10
You can change the Part
Mode settings. For more
information, refer to Part
Mode (p.55).
By simultaneously pressing PART [
] and [
] (ALL) to select the All Part
screen, you can view the volume levels of multiple parts at once. This lets you monitor the reception status of each part.
fig.4-1e
Part Group D
Part Group C
Part Group B
Part Group A
In the All Part screen, pressing [F1] – [F4] will allow you to monitor the reception status of the following parts.
[16-A] ([F1])
A1 – A16
[32-AB] ([F2])
A1 – A16, B1 – B16
[32-CD] ([F3])
C1 – C16, D1 – D16
[64PART] ([F4]) A1 – A16, B1 – B16, C1 – C16, D1 – D16
37
Parts and Sounds
■ Which MIDI IN Will be Used by Each Part?
The SC-8850 has two MIDI IN connectors. Each MIDI IN is able to receive data for
16 parts, meaning that if the MIDI IN connectors are used to make connections, a
maximum of 32 parts can be played. (When MIDI connectors are used to make connections, it is not possible to play 64-part performances.) Normally, MIDI IN 1 is
used to play parts A01 through A16, and MIDI IN 2 is used to play parts B01 through
B16.
Parts are classified into Group A (A01-A16) and Group B (B01-B16), with sixteen in
each group. The MIDI channel assigned to each Part is also displayed in two groups
as A01-A16 or B01-B16. At the factory settings, groups A and B correspond to the SC8850’s two MIDI IN connectors 1 and 2. In other words, MIDI messages received at
MIDI IN 1 are sent to the Group A Parts, and MIDI messages received at MIDI IN 2
are sent to the Group B Parts. For example, MIDI messages on channel 5 received at
MIDI IN 2 will sound Part 5 of Group B (B05) (at the factory settings).
■ Selecting a Part
Before selecting a sound or making effect settings for a Part etc., you must first select
the Part to which the settings will apply.
1
Make sure that the Part Basic screen is selected.
Part Basic screen (p.29).
2
Press PART [
] or [
] to select a Part.
The parts displayed in the screen (PART) will switch between A01 – A16, B01 – B16,
C01 – C16, and D01 – D16.
fig.4-2
Switch Between the Group A, B, C, and D
Pressing [PART A] ([F1]), [PART B] ([F2]), [PART C] ([F3]), or [PART D] ([F4]) will
switch the part display between groups A, B, C, and D.
38
Parts and Sounds
■ Selecting Basic Sounds (Normal Part)
On the SC-8850, sounds of a normal Part are specified using two numbers: the Instrument number and the Variation number. The 128 sounds with a Variation number
(displayed under VAR.) of 000 are the basic sounds (Capital sounds).
1
Make sure that the Part Basic screen is selected.
2
Press PART [
3
] or [
For details on switching
sounds from another
device or from a sequencer
program, refer to Using
MIDI Messages to Select
Instruments from Other
Devices or Sequencing
Software (p.41).
] to select a Normal Part, which is non-Drum part.
Part Basic screen (p.29)
Press INST [
] to move the cursor to INST.
fig.4-3e
Instrument number
4
Instrument name (Capital)
Rotate the [VALUE] knob, or press [DEC] or [INC] to select sounds.
Some of the sounds in the
SC-8850 cannot be played
above (or below) a certain
pitch. This is because the
sounds were created with
the pitch ranges of actual
instruments in mind.
Pressing [DEC] decreases the Instrument Number and pressing [INC] increases the
Instrument Number. You can choose from 001 through 128.
■ Selecting Variation Sounds (Normal Part)
The SC-8850 contains Capital sounds (basic sounds) and Variation sounds
(sounds with different nuances). Here’s how to select Variation sounds.
1
Make sure that the Part Basic screen is selected.
Part Basic screen (p.29)
2
Press PART [
3
Press INST [
] or [
] to select a Normal Part, which is non-Drum part.
] to move the cursor to Inst.
fig.4-4
4
Rotate the [VALUE] knob, or press [DEC] or [INC] to select the Instrument
Number of a Variation sound you want to choose.
This is the same procedure as when selecting a basic sound (Capital sound).
39
Parts and Sounds
5
Press VAR. [
] to move the cursor to VAR..
If you wish to return to the
capital sound, return the
variation number to 000 in
the Variation Select screen,
and then press INST [
]
to select the sound.
fig.4-5
6
Rotate the [VALUE] knob, or press [DEC] or [INC] to select the Variation sound.
When you press INST
[
] to change the
instrument number, the
sound of the corresponding variation number
will be selected.
fig.4-6e
Variation number
Instrument name (Variation)
How to Use the Instrument List
Sounds (Instruments) contained in the SC-8850 are in the Instrument List (p.167).
Each sound (Instrument) of the SC-8850 has two numbers; an Instrument number
and a Variation number. Sounds with Variation number 000 are Capitals, and the
sounds with numbers other than 000 are Variations.
In the Instrument List, you can check both the Instrument number and the Variation
number.
<Example>
If you wish to return to the
Capital sound screen,
return the Variation
number to 000 in Variation
Select mode, and then press
the INST [
] buttons.
fig.4-7
CC00 PC SC-8850 Map Voices
2 [Pro]
000 093 Bowed Glass
2 [Pro]
SoftBellPad
001
2 [Pro]
JP8 Sqr Pad
002
2 [Pro]
7thBelPad
003
2
Steel Glass
004
2
Bottle Stack
005
CC00
PC
SC-8850 Map
SC-88Pro Map
SC-88 Map
SC-55 Map
----Voices
Remark
Remark
Remark
Remark
Remark
40
SC-88Pro Map Voices
Bowed Glass
2 [88]
SoftBellPad
2
JP8 Sqr Pad
2
7thBelPad
2
---------
SC-88 Map
Voices
Bowed Glass
2 [55]
----2
----2
----2
---------
Voices
SC-55 Map
2
Bowed Glass
---------------------
Variation number (value of Controller number 0)
Capital sounds with Variation number 0 are shown in boldface.
Instrument number (Program Number)
sounds of SC-8850
sounds of SC-88Pro
sounds of SC-88 map
sounds of SC-55 map
no sound in the Variation number
number of voices used by the Instrument
:
legato-enabled sounds
[Pro]
same sounds as SC-88Pro map
[88]
same sounds as SC-88 map
[55]
same sounds as SC-55 map
+
percussive sounds which cannot be played melodically.
Voices (p.48)
Legato-enabled sounds
(p.46)
Parts and Sounds
■ Using MIDI Messages to Select Instruments
from Other Devices or Sequencing Software
You can use sequencing software on your computer to select the SC-8850’s sounds.
You can specify sounds by inputting the Variation number and the Instrument
number (p.40) into your sequencing program, but depending on your software the
way in which numbers are displayed may differ, so be aware of this. On the SC-8850,
Variation numbers begin with 0, and Instrument numbers begin with 1.
Variation numbers correspond to MIDI Bank numbers, and Instrument numbers
correspond to MIDI Program numbers.
fig.4-8e
Variation number
SC-8850 Map
065
064
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
008
Upright P w
Comp Clav.
Variation sounds
003
002
001
000
Atk Clav.2
Mild Piano
UprightPiano
Piano 1
001
Atk Clav.1
Clav. 2
Pop Celesta
Clav.
Celesta
008
009
Glockenspiel
010
004
003
002
001
000
Eruption
Explosion
Lasergun
Machine Gun
Gun Shot
Capital sounds
128
Instrument Number
MIDI Bank numbers have
an upper (MSB) and lower
(LSB) part. Each can specify
a number 0-127, allowing
you to specify 128 x 128 =
16384 banks. The upper
part of the Bank number
corresponds to the SC-8850
Variation number. The
lower part switches
between SC-55 map, SC-88
map, SC-88Pro map, and
SC-8850 map. (MIDI Implementation, p.226).
Actual MIDI Messages
When creating MIDI messages on a sequencing program and transmitting them, use
the following procedure.
[1] The value of Control Change 0:
[2] The value of Control Change 32:
[3] Program Change value:
MIDI Bank number (upper) (the SC-8850’s
Variation number)
MIDI Bank number (lower)
(0: map setting on the panel, 1: SC-55 map,
2: SC-88 map, 3: SC-88Pro map, 4:SC-8850
map)
MIDI Program number (the SC-8850’s Instrument number)
If you specify an
Instrument number that the
SC-8850 does not have, a
sound will not change.
Refer to Instrument List on
p.167 when selecting
sounds.
* For details, refer to the following section Bank Select LSB.
[1] and [2] are the Bank Select message. Bank Select messages are a type of Control
Change message (p.149), and the Bank Select processing will be suspended until a
Program Change message is received.
For example, if you wish to select the Instrument (Piano3w) with Variation number
8, Instrument number 3, you would transmit the following data to the SC-8850. (Expressed in decimal notation.)
[1] The value of Control Change 0: 008 (Bank number (upper) 8; Variation number 8)
[2] The value of Control Change 32: 0
[3] Program Change value:
002 (Program number 3: Instrument number 3)
Note that the data actually
transmitted as the Program
number will be one less
than the Program number.
41
Parts and Sounds
Bank Select LSB
The SC-8850 processes the lower part of the Bank Select message (LSB) as follows
(p.149).
Least significant byte (LSB)
0
The INST MAP settings made from the panel of the SC-8850
will be used. If [
] is shown at the left of SC-55 in the panel
INST MAP, the SC-55 map is selected. If [
] is shown at the
left of SC-88, the SC-88 map is selected. If [
] is shown at
the left of SC-88Pro, the SC-88Pro map is selected. If [
] is
shown at the left of SC-8850, the SC-8850 map is selected.
1
The SC-55 map is selected, and [
] will appear at the left of
SC-55 in INST MAP.
2
The SC-88 map is selected, and [
] will appear at the left of
SC-88 in INST MAP.
3
The SC-88Pro map is selected, and [
] will appear at the left
of SC-88Pro in INST MAP.
4
The SC-8850 map is selected, and [
] will appear at the left
of SC-8850 in INST MAP.
How to change the sound of a part using MIDI messages
<Example> Setting the sound of Part 2 to the SC-88 map 017 Organ 1 (Variation 000)
MIDI CH =
CC#00
CC#32
PC#
02
000
002
017
Selects Variation number 000
Selects the SC-88 map
Selects Instrument number 017
How to change the variation sound of a part using MIDI messages
<Example> Setting the sound of Part 1 to the SC-8850 map 006 Detuned EP3
(Variation 009)
MIDI CH =
CC#00
CC#32
PC#
01
009
004
006
Selects Variation number 009
Selects the SC-8850 map
Selects Instrument number 006
How to change the map and variation sound of a part using MIDI messages
<Example> Setting the sound of Part 3 to the SC-88Pro map 039 Acid Bass
(Variation 008)
MIDI CH =
CC#00
CC#32
PC#
42
03
008
003
039
Selects Variation number 008
Selects the SC-88Pro map
Selects Instrument number 039
Parts and Sounds
■ Selecting Drum Sets (Drum Part)
In the case of the Drum Part, sounds are selected in a different way than for a normal
Part.
In a Drum Set, different sounds are assigned to each note of the keyboard. When you
select a Drum Part and play the keyboard, a different sound will sound for each note.
This is because it is not necessary to specify the pitch of a drum sound.
Drum Sets can be selected in the same way that you select capital sounds for a normal Part.This means that Variation numbers are not used for the Drum Part.
1
Make sure that the Part Basic screen is selected.
2
Press PART [
] or [
Part Basic screen (p.29)
] to select a Drum Part.
At the factory settings, the Drum Parts are set to Part 10 (A10, B10, C10, D10).
3
Press INST [
] to move the cursor to INST.
fig.4-9
4
Rotate the [VALUE] knob, or press [DEC] or [INC] to select the Drum Set.
Pressing [DEC] decreases the Drum Set Number and pressing [INC] increases the
Drum Set Number.
For the types of Drum Sets, refer to Drum Set List (p.187).
43
Parts and Sounds
How to Use the Drum Set List
Each drum sound (Drum Instrument) is assigned to a different note of the Drum set.
The Drum Sets of the SC-8850 are listed in the Drum Set List (p.187), which gives the
number and name of each sound in each Drum set.
P.188 and the following provide lists of the SC-8850 Sets, SC-8850 Drum Sets, SC-88
Drum Sets, and SC-55 Drum Sets, giving the number and name of each sound.
<Example>
fig.4-10e
22
23
C1 24
25
26
27
28
29
30
31
PC1
STANDARD 1
MC-500 Beep 1
MC-500 Beep 2
Concert SD
Snare Roll
Finger Snap 2
High Q
Slap
Scratch Push [EXC7]
Scratch Pull [EXC7]
Sticks
PC2
STANDARD 2
<<<<Finger Snap
<<<<<-
PC3
[Pro] STANDARD L/R
<<<<<<<<<<-
PC9
ROOM
<<<<Finger Snap
<<<<<-
32
33
34
35
PC
Keys
<--[Pro]
[88]
[55]
[EXC]
*
Drum Set number (Program number)
Note Number
Same as the percussion sound of STANDARD 1 Set (PC1).
No sound
Same as the percussion sound of SC-88Pro
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number will not be heard at the same time.
Tones that are created using two voices
■ Using MIDI Messages to Select Drum Sets
from Other Devices or Sequencing Software
You can select Drum Sets by transmitting MIDI messages from a sequencing program, in the same way as you can select Instruments. When a Program Change message is received, the Drum Set will change. Transmit a Program Change message on
the channel being received by the Drum Part. At the factory settings, Part 10 is the
Drum Part (MIDI receive channel:10). On the SC-8850, Drum Set numbers (displayed under INST.) correspond to Program numbers (p.187).
Set the note numbers of the rhythm data being played back to match the note numbers of the SC-8850 Drum Set you are using (p.188).
fig.4-11e
Drum Set name and Drum Set number (Program number)
44
STANDARD 1
ROOM
TR-808
User Set
User Set
001
009
026
065
066
Parts and Sounds
How to change the drum set of a part using MIDI messages
<Example> Setting the sound of Part 10 to the SC-8850 map 013 ROOM L/R
MIDI CH = 10
CC#00
000
Selects Variation number 000
CC#32
004
Selects the SC-8850 map
PC#
013
Selects Instrument number 013
■ Selecting the Same Sounds As the SC-88Pro/SC-88/SC-55
The SC-8850 has four maps: an SC-8850 map, which contains original sounds; an SC88Pro map, which contains the same sounds as the SC-88Pro; an SC-88 map, which
contains the same sounds as the SC-88; and an SC-55 map, which contains almost the
same sounds as the SC-55/SC-55mkII. If you wish to use the same sounds as the SC88Pro, SC-88, or SC-55, change the map.
1
Make sure that the Part Basic screen is selected.
2
Press PART [
3
Press [INST MAP] to change the Map.
[
] or [
Part Basic screen (p.29)
] to select a Part.
] will be displayed at the left of the selected instrument map.
fig.3-10
If you wish to set the map of all parts to the SC-88Pro / SC-88 / SC-55 map, simultaneously press PART [
] and [
] (ALL) to set the PART display to ALL. Then
perform step 3.
If [
] is not displayed on
the All Part screen, the
map settings of each part
are applied.
45
Parts and Sounds
■ Legato-enabled Sounds
The SC-8850 provides legato-enabled sounds, which are ideally suited to legato
playing, and can realistically simulate this instrumental performance technique.
To understand this feature, consider how most string instruments produce sound.
Usually, a brief attack-like sound will be heard only at the very instant the string is
made to vibrate. After that a much mellower, attack-free sound continues to emanate
during the string’s vibration. The legato-enabled sounds simulate such variable attack-portion characteristics of string sounds by switching on or off certain special
voices within an Instrument according to the way the keyboard is played.
Instruments with a : at the end of their names (such as Violin :) are the legato-enabled
sounds.
Try out one of these sounds to hear how it works. Play a note and keep your finger
on that key while playing another note. You should hear a distinct attack portion
with the first note you play, while the second one contains almost no attack components, and sounds much smoother.
At this time, L will be displayed following : of the Instrument name.
fig.4-21
If you want to sound the attack portion each time, simply release your finger from a
key before playing the next note.
At this time, L will not be displayed following : of the Instrument name.
fig.4-22
Legato control cannot be
switched on and off on an
Instrument basis. You
should choose and edit an
Instrument that meets your
intended usage.
Assigning a MIDI Channel to the Part
To each of the SC-8850’s 64 Parts, there is assigned an Instrument and also a Channel. Channels are a concept used in MIDI to distinguish notes that should be played
by different Instruments in an ensemble. Normally, there is no need to change the
channel of a Part when using the SC-8850. However, it may sometimes be interesting
to set two Parts to the same channel so that two sounds will simultaneously play the
same musical line. To change the MIDI channel of a Part, use the following procedure.
fig.4-23e
MIDI IN
46
MIDI channel 1
MIDI channel 2
Sound 1
Sound 2
MIDI channel 15
Sound 15
MIDI channel 16
Sound 16
Parts and Sounds
To change the MIDI channel of a part, use the following procedure.
1
2
Make sure that the Part Basic screen is selected.
Press PART [
to change.
] or [
Part Basic screen (p.29)
] to select the Part whose MIDI channel you want
The screen display that indicates the part number will change between A01 – A16,
B01 – B16, C01 – C16, and D01 – D16.
3
Press [EDIT].
4
Press [EDIT] ([F2]).
5
Press VAR. [
] or INST [
] to move the cursor to Rx MIDI CH.
fig.4-24
6
Rotate the [VALUE] knob, or press [DEC] or [INC] to select a MIDI channel
you want to assign to the Part selected in step 2.
The screen display indicating the MIDI channel number will change through the
range of A01 – A16, A - -, B01 – B16, B - -, C01 – C16, C - -, D01 – D16, and D - -.
Select the desired MIDI channel number. Parts for which A - -, B - -, C - - or D - - are
selected will ignore all MIDI messages other than system exclusive messages, and
therefore will not sound.
fig.4-25e
MIDI Channel
To change the MIDI
channel of a part via MIDI,
use the “Rx. CHANNEL”
system exclusive message.
(p.237)
47
Parts and Sounds
How the Number of Simultaneous Notes
and Voices Are Related
The sounds of the SC-8850 consist of units called Voices. There is a limit to how
many of these Voices can sound at once, and in the case of the SC-8850, up to 128 simultaneous voices can be used. Some sounds (Instruments) use 1 voice and others
use more (Instrument List, p.167). The main reason for using more than 2 voices is
to allow different timbres to be produced by different velocity values, or to produce
richer textures by layering the multiple sounds.
If more than 128 voices are used at once, later-sounded notes will be given priority,
and notes sounded previously will be turned off, starting from the oldest. If you use
only single-voice Instruments, you will be able to play 128 notes simultaneously, but
if some of the Instruments are more than 2-voice ones, you won’t be able to play 128
simultaneous notes. Even if a MIDI Note Off message (p.149) is received, voices will
be used for as long as the sound is heard. Be aware of this especially in the case of
sound with a long release (p.67).
48
If song data created with
128 voice playback in mind
is played back on a sound
generator with fewer
voices, some notes will
drop out, and the musical
result will not be as it
should. The SC-8850 has
128 voices, the SC-88Pro
and SC-88 has 64 voices,
the SC-55 has 24 voices,
and the SC-55mkII has 28
voices.
About Parts and Parameters
Setting Parameters that Affect All Parts
(Edit All screen)
Parameters that affect all parts are set in the Edit All screen. The procedure is as follows.
■ Procedure
1
Simultaneously press PART [
] and [
] (ALL) to select the All Part
screen, and then press [EDIT] to select the Edit All screen.
The Edit All screen is the
condition that is selected by
pressing [EDIT] in the All
Part screen. This can also
be accessed by simultaneously pressing PART
[
] and [
] (ALL) in
the Edit screen.
Alternatively, press [EDIT] in the Part Basic screen, and then simultaneously press
PART [
] and [
] (ALL).
For details on the parameters that can be set here,
refer to Parameters (p.50).
fig.5-1
2
3
4
5
Part Basic screen (p.29)
Press [EDIT] ([F1]).
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
When you finish making settings, press [EXIT] to end the procedure.
After you have finished
setting the value in step 4,
you can simultaneously
press [DEC] and [INC] to
transmit the currently
displayed parameter value.
(p.135)
For details on the [WRITE]
(F2) and [LOAD] (F3)
buttons, refer to Writing/
Loading SC-8850
Settings to/from the User
Area (Edit All screen)
(p.137).
49
About Parts and Parameters
■ Parameters
Parameters for All Parts
Master Level:
Master Level
Master Pan:
Master Pan
M.Key Shift:
Master Key Shift
M.Tune:
Master Tune
Device ID:
Device ID Number
■ What Each Parameter Does
The settings for the following parameters made here apply to all Parts.
■ Master Level
0–127
Adjusts the volume of all Parts. Raising the value will increase the volume.
The basic volume of the entire SC-8850 is adjusted by the [VOLUME] knob. If the
[VOLUME] knob is at minimum position, there will be no sound even if this LEVEL
setting is raised.
■ Master Pan
L63–0–R63
Master Pan sets the stereo position of the sound for all Parts. (If you are listening to
the SC-8850 in mono, pan settings will have no effect.) As the L-value increases the
sound will be placed further left, and as the R-value increases the sound will be
placed further right. To place a sound in the center, set the Pan value to 0.
■ M.Key Shift (Master Key Shift)
-24–±0–+24 , 2 octaves
Key Shift adjusts the pitch of the sound in semitone steps. For example, if you were
playing back song data from a sequencing program, you could use the Key Shift parameter to change the key of the song without changing the settings for the sequencing program. Or, if you are singing along with sequence data, you can adjust Key
Shift to move the song to the key most comfortable for your voice. As the displayed
value rises (falls) one step, the pitch will rise (fall) one semitone. This means that 12
steps equal one octave. With a setting of 0 the pitch will not be affected.
■ M.Tune (Master Tune)
415.3–440.0–466.2Hz
When you are playing in an ensemble with other instruments or need to set the SC8850 to match the pitch of another instrument, adjust the Master Tune setting in the
range of 415.3–466.2 Hz. The displayed value (e.g., 440.0 Hz) indicates the frequency
of the A4 note’s pitch (note number 69).
■ Device ID (Device ID Number)
01–17–32
The Device ID number is an identification number used when transmitting and receiving Exclusive messages. The SC-8850 receives Exclusive messages only if its own
device ID number matches the device ID number of the message. This means that if
you wish to transmit Exclusive messages between devices, you must make sure that
their device ID numbers match.
The device ID number is a number from 1-32. At the factory settings, the number is
17.
For some Instruments, a bit
of sound may be heard
from the opposite speaker
even if pan has been set
fully left or right.
Even if you adjust Key Shift
for all Parts, the pitch of the
Drum Part will not be
affected.
To adjust the pitch of a
single Part, use Key Shift.
(p.55)
If you wish to playback
Roland SMF music files, be
sure that the device ID
number is set to 17. If it is
not, playback will not be
correct.
It is not possible to specify
the device ID number
separately for individual
Parts.
50
About Parts and Parameters
The Functions of Parameters Set
Individually for Each Part (Edit screen)
Parameters for individual parts are set in the Edit screen. The Edit screen contains
nine groups of parameters: EFFECT, EDIT, MODIFY, S.TUNE, MOD, BEND, CAF,
CC1, and U.INST. Use the following procedure to make settings.
■ Procedure
1
To set parameters for an individual part, make sure that the Part Basic
] or [
] to select the part.
screen is selected, and then press PART [
2
The Edit screen refers to
the state when [EDIT] is
pressed in the Part Basic
screen.
Press [EDIT].
The edit screen will appear.
Part Basic screen (p.29)
fig.5-2
3
For details on the U.INST
parameters, refer to
Creating and Saving a
Sound (User Instrument)
(p.67).
After pressing the [EDIT]
button in step 2, you can
also switch part status by
simultaneously pressing
both the PART [
] and
[
] buttons (ALL).
Press [F1] – [F4] to select from the following parameter groups.
[F1]
EFFECT
S.TUNE
CAF
[F2]
EDIT
MOD
CC1
[F3]
MODIFY
BEND
U.INST
[F4]
→
→
→
Pressing [→] ([F4]) scrolls
the screen to the next.
For details about each parameter, refer to What Each Parameter Does (p.54).
4
5
6
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
When you finish making settings, press [EXIT] to end the procedure.
After you have finished
setting the value in step 5,
you can simultaneously
press [DEC] and [INC] to
transmit the currently
displayed parameter value.
(p.135)
51
About Parts and Parameters
■ Parameters
Parameters for each Part
■ EFFECT
Reverb Send:
Chorus Send:
Delay Send:
Part EQ:
EFX:
Reverb Send Level
Chorus Send Level
Delay Send Level
Part Equalizer
Insertion Effects
■ EDIT
Part Level:
Part Pan:
MIDI CH:
Part Mode:
M/P Mode:
Key Shift:
Fine Tune:
Bend Range:
Mod Depth:
Velo Depth:
Velo Offset:
Key Range L:
Key Range H:
CC1 C.Number:
Out Asgn:
Part Level
Part Pan
MIDI channel
Part Mode
Mono/Poly Mode
Key Shift
Fine Tune
Bend Range
Modulation Depth
Velocity Sensitivity Depth
Velocity Sensitivity Offset
Keyboard Range Low
Keyboard Range High
CC1 Controller Number
Output Assign
■ MODIFY
Vib Rate:
Vib Depth:
Vib Delay:
Cutoff Freq:
Resonance:
Attack Time:
Decay Time:
Release Time:
Vibrato Rate
Vibrato Depth
Vibrato Delay
Cutoff Frequency
Resonance
Attack Time
Decay Time
Release Time
* For details on the parameters of the MODIFY group, refer to chapter Creating a Sound or Drum
Set section Parameters for Sound Editing (p.65).
■ S.TUNE
ScaleTune C:
ScaleTune C#:
ScaleTune D:
ScaleTune D#:
ScaleTune E:
ScaleTune F:
ScaleTune F#:
ScaleTune G:
ScaleTune G#:
ScaleTune A:
ScaleTune A#:
ScaleTune B:
52
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
About Parts and Parameters
■ MOD
Mod Range:
Mod Cutoff:
Mod Amp:
Mod LFO Rate:
Mod LFO Pitch:
Mod LFO TVF:
Mod LFO TVA:
Modulation Range
Modulation Cutoff Frequency
Modulation Amplitude
Modulation LFO Rate
Modulation LFO Pitch
Modulation LFO TVF
Modulation LFO TVA
■ BEND
Bnd Range:
Bnd Cutoff:
Bnd Amp:
Bnd LFO Rate:
Bnd LFO Pitch:
Bnd LFO TVF:
Bnd LFO TVA:
Bend Range
Bend Cutoff Frequency
Bend Amplitude
Bend LFO Rate
Bend LFO Pitch
Bend LFO TVF
Bend LFO TVA
■ CAF
CAf Range:
CAf Cutoff:
CAf Amp:
CAf LFO Rate:
CAf LFO Pitch:
CAf LFO TVF:
CAf LFO TVA:
Channel Aftertouch Range
Channel Aftertouch Cutoff Frequency
Channel Aftertouch Amplitude
Channel Aftertouch LFO Rate
Channel Aftertouch LFO Pitch
Channel Aftertouch LFO TVF
Channel Aftertouch LFO TVA
■ CC1
CC1 Range:
CC1 Cutoff:
CC1 Amp:
CC1 LFO Rate:
CC1 LFO Pitch:
CC1 LFO TVF:
CC1 LFO TVA:
CC1 Range
CC1 Cutoff Frequency
CC1 Amplitude
CC1 LFO Rate
CC1 LFO Pitch
CC1 LFO TVF
CC1 LFO TVA
■ U.INST
Vib Rate:
Vib Depth:
Vib Delay:
Cutoff Freq:
Resonance:
Attack Time:
Decay Time:
Release Time:
Vibrato Rate
Vibrato Depth
Vibrato Delay
Cutoff Frequency
Resonance
Attack Time
Decay Time
Release Time
* For details on the parameters of the U.INST group, refer to chapter Creating a Sound or Drum
Set section Parameters for Sound Editing (p.65), and to Creating and Saving a
Sound (User Instrument) (p.67).
53
About Parts and Parameters
■ What Each Parameter Does
The following parameters determine how each Part behaves when it receives MIDI
messages.
■ EFFECT
❏ Reverb Send (Reverb Send Level)
set the Reverb Send Level of each Instrument
0–40–127
❏ Chorus Send (Chorus Send Level)
set the Chorus Send Level of each Instrument
0–127
❏ Delay Send (Delay Send Level)
set the Delay Send Level of each Instrument
0–127
❏ Part EQ (Part Equalizer)
Off/On
Equalizer on/off can be set for individual Parts. Part equalizer will be on, and the
equalizer will be applied to the sounds of Parts. Part equalizer will be off, and the
equalizer will not be applied to the sounds of Parts. At the factory settings, equalizer
gain is set at 0. This means that the equalizer will have no effect even if the Part EQ
is on.
❏ EFX (Insertion Effects)
Set the Insertion Effects ON/Off.
For the procedure of
changing the Part EQ On/
Off using MIDI messages,
refer to p.60.
Off/On
■ EDIT
❏ Part Level
0–100–127
Adjusts the volume of an individual Part. Raising the value will increase the volume.
The basic volume of the entire SC-8850 is adjusted by the [VOLUME] knob. If the
[VOLUME] knob is at minimum position, there will be no sound even if this LEVEL
setting is raised.
❏ Part Pan
Rnd, L63–0–R63
Pan sets the stereo position of the sound when a stereo playback system is used. For
example, the drum set and bass might be placed in the center, the guitar at right, and
the keyboard at left. (If you are listening to the SC-8850 in mono, pan settings will
have no effect.) As the L-value increases the sound will be placed further left, and as
the R-value increases the sound will be placed further right. To place a sound in the
center, set the Pan value to 0. If you continue pressing PAN [
] when setting for
each Part, Rnd (random) will be selected, and each note will be placed at a random
stereo position.
❏ Rx MIDI CH (MIDI channel)
Specify the MIDI channel that will be assigned to each part. The channel selection
will change in the order of A01 – A16, A - -, B01 – B16, B - -, C01 – C16, C - -, D01
– D16, and D - -. Select the desired MIDI channel number. Parts that are set to A - -,
B - -, C - - or D - - will ignore all MIDI messages other than system exclusive messages, meaning that they will not produce sound.
54
For the procedure of
making Equalizer settings,
refer to p.86.
For details on insertion
effects, refer to Insertion
Effects (EFX) (p.78), or to
Using Insertion Effects
(p.88).
In the case of a Drum Set,
the pan position has been
fixed for each percussion
instrument. Adjusting the
pan of a Drum Set will shift
the overall set to left or
right.
For some Instruments, a bit
of sound may be heard
from the opposite speaker
even if pan has been set
fully left or right.
About Parts and Parameters
❏ Part Mode
Normal/Drum1/Drum2
For Parts that are playing conventional instrument sounds, select Normal (Normal
mode). For Parts that are playing percussion or drums, select Drum1 or Drum2.
Drum Parts play a different sound (Instrument) for each different MIDI note number
(p.149). In other words, a single Part can play many different percussion instrument
sounds (Drum Set List p.187).
Each Part 1–16 can be used either for normal sounds (Normal Part) or for a Drum Set
(Drum Part).
The mode of a Drum Part can be either Drum1 or Drum2. Since the same Drum Set
will automatically be selected for Parts that have the same Part Mode, this means
that up to 2 types of Drum Set can be used simultaneously.
For example, if you set the Part Mode of Part 10 and Part 11 respectively to Drum1
and Drum2, you could select STANDARD1 for Part 10 and JAZZ for Part 11. If the
Part Mode of both Parts 10 and 11 were set to Drum1, selecting STANDARD1 for
Part 10 would automatically select STANDARD1 for Part 11 as well.
❏ M/P Mode (Mono/Poly Mode)
Mono/Poly
If a Part is set to Mono (Mono Mode), that Part will play only one note at a time. It is
effective to select Mono Mode for Parts that are playing a naturally monophonic instrument such as a trumpet or sax. Select Poly (Poly Mode) for Parts that are playing
chords.
❏ Key Shift
-24–±0–+24
Key Shift adjusts the pitch of the sound in semitone steps. For example, if you were
playing back song data from a sequencing program, you could use the Key Shift parameter to change the key of the song without changing the settings for the sequencing program. Or, if you are singing along with sequence data, you can adjust Key
Shift to move the song to the key most comfortable for your voice. As the displayed
value rises (falls) one step, the pitch will rise (fall) one semitone. This means that 12
steps equal one octave. With a setting of 0 the pitch will not be affected.
❏ Fine Tune
-100.0–0.0–+100.0 cents
Use this parameter when you wish to make fine adjustments to the tuning of a Part.
Positive (+) settings will raise the pitch, and negative (-) settings will lower the pitch.
If two or more Parts are set to the same MIDI channel and the same sound and
spread their Fine Tuning settings apart, you can add rich depth and breath to the
sound.
❏ Bend Range
±0–+2–+24
This parameter specifies the way in which the sound will change when the Pitch
Bend messages are received. At the factory settings, this parameter modifies the
pitch. A setting of 12 allows 1 octave of change, and a setting of 24 allows 2 octaves
of change. With a setting of 0, there will be no pitch change.
For the procedure of
changing the Part Mode
using MIDI messages, refer
to p.60.
For a Drum Part, changing
the Mono/Poly Mode
setting will not affect the
sound.
Even if you adjust Key Shift
for all Parts, the pitch of the
Drum Part will not be
affected.
To shift the pitch of all
Parts, use M. Key Shift.
(p.50)
To adjust the pitch of all
Parts, use the Master Tune
parameter (p.50).
For some sounds, the pitch
may not rise as high as
specified by the Range
setting.
* Bend Range is the same parameter as Bnd Range accessed by pressing [BEND] ([F3]) (p.58). Whichever
parameter you set, the parameter set last will be valid.
❏ Mod Depth (Modulation Depth)
0–10–127
This parameter applies vibrato to the sound when the Modulation messages are received. Higher values allow the modulation effect to be increased.
* Mod Depth is the same parameter as Mod LFO Pitch accessed by pressing [MOD] ([F2]) (p.58). Whichever parameter you set, the parameter set last will be valid.
55
About Parts and Parameters
❏ Velo Depth (Velocity Sensitivity Depth)
0–64–127
❏ Velo Offset (Velocity Sensitivity Offset)
0–64–127
The force with which you play a note on MIDI keyboard is transmitted as MIDI Velocity data. Strongly played notes will have a higher velocity value. The Velo Depth
and Velo Offset parameters determine the relation between the force of the keyboard
playing and the loudness of the sound that results.
If Velo Depth is increased, small differences in your playing dynamics will make a
large difference in the loudness of the sound (Fig.3). If Velo Depth is decreased, even
large differences in your playing dynamics will make only a small difference in the
loudness of the sound (Fig.2).
If Velo Offset is set higher than 64, even softly played notes (i.e., notes with a low velocity) will be sounded loudly (Fig.5). If Velo Offset is set lower than 64, even strongly played notes (i.e., notes with a high velocity) will be sounded softly (Fig.4).
fig.5-3e
Velo Depth = 32, Velo Offset = 64
The actual sound level
The actual sound level
Velo Depth = 64, Velo Offset = 64
Fig. 1
Fig. 2
MIDI Velocity
Fig. 3
Fig. 4
MIDI Velocity
MIDI Velocity
Velo Depth = 64, Velo Offset = 127
The actual sound level
The actual sound level
Velo Depth = 64, Velo Offset = 96
Fig. 5
56
MIDI Velocity
Velo Depth = 64, Velo Offset = 32
The actual sound level
The actual sound level
Velo Depth = 127, Velo Offset = 64
MIDI Velocity
Fig. 6
MIDI Velocity
For some settings, there
may be no sound. If so,
increase Velo Depth or
Velo Offset.
About Parts and Parameters
❏ Key Range L (Keyboard Range Low)
C-1–G9
❏ Key Range H (Keyboard Range High)
C-1–G9
The Key Range parameters determine the pitch range over which the instrument will
be sounded. Keyboard Range Low (the lowest note) and Keyboard Range High (the
highest note) will determine the range of notes that will sound. These values are displayed as key names. You can specify a value between C-1 and G9 (0–127), and middle C is C4 (60).
fig.5-6e
Note Name
C-1
A0 C1
C2
C3
C4
C5
C6
C7
C8
G9
0
21 24
36
48
60
72
84
96
108
127
MIDI Note Number
For example, if you assign two Parts to the same MIDI channel and set the Keyboard
Range of one to C-1–B3 and the other to C4–G9. Then you could assign different
sounds to each Part, and play two different sounds on either side of C4. Or, you
could set the keyboard ranges of two Parts to overlap, and layer the two sounds.
fig.5-7e
B3 C4
Instrument 1
Instrument 2
Be aware that if Keyboard
Range High is set to a note
name lower than Keyboard
Range Low, there will be
no sound.
❏ CC1 C.Number (CC1 Controller Number)
0–16–95
Set the Controller number that will control the CC1 parameters (p.59) via MIDI. For
example, if you set CC1 C.Number to 16, the value of an incoming MIDI Controller
number 16 message will affect the sound as specified by the setting of the CC1 parameter.
❏ Out Asgn (Output Assign)
OUT-1/OUT-2/OUT-2L/OUT-2R
Specify the Output jack from which the sound of each Part will be output. At the factory settings, all Parts are set to OUT-1.
OUT-1
OUT-2
OUT-2L
OUT-2R
The sound together with the effect sound will be output in stereo from the
Audio output1 jacks (OUTPUT 1).
The direct sound without the effect sound will be output in stereo from
the Audio output2 jacks (OUTPUT 2).
The direct sound without effects will be output from the Audio output2L
jacks (OUTPUT 2L). (The Pan setting will have no effect.)
The direct sound without effects will be output from the Audio output2R
jacks (OUTPUT 2R). (The Pan setting will have no effect.)
The headphones jack will
output the sound of Audio
output1 jacks (OUTPUT 1).
This means that the sound
of Parts assigned to Audio
output2 jacks (OUTPUT 2)
will not be heard from the
headphones jack.
The sound from Audio
output2 jacks (OUTPUT 2)
is output at a fixed volume,
unaffected by the position
of the [VOLUME] knob.
For the procedure of
changing the Output
Assign using MIDI
messages, refer to p.61.
57
About Parts and Parameters
■ MODIFY
* For details on the MODIFY parameters, refer to chapter Creating a Sound or Drum Set section
Parameters for Sound Editing (p.65).
■ S.TUNE C–B
❏ Scale Tuning C–B
-64–±0–+63
Scale Tuning is a parameter which makes fine adjustments to the pitch of each note
in the octave. These settings are for one octave of notes, and will simultaneously adjust the pitch of that note in all octaves. By using Scale Tuning, you can perform using a variety of temperaments other than equal temperament. Here we will give
three settings as examples.
< Equal Temperament >
This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. The default setting of the SC-8850’s Scale
Tune function is Equal Temperament.
< Just Intonation (Tonic of C) >
Compared with equal temperament, the principle triads sound pure in this tuning.
However, this effect is achieved only in one key, and the triads will become ambiguous if you transpose. Here is an example of the settings for a tonic of C.
< Arabian-style Scale >
A variety of ethnic tunings can be achieved by using the Scale Tuning function. Here
are settings for a tuning representative of Arabian-style scales.
Example settings (values are in units of cents)
Note
name
C
C#
D
D#
E
F
F#
G
G#
A
A#
B
Equal
Just intonation Arabian-style Scale
temperament (tonic of C)
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
+4
+16
-14
-2
-10
+2
+14
-16
+14
-12
-6
+45
-2
-12
-51
-8
+43
-4
+47
0
-10
-49
■ MOD/BEND/ CAf / CC1
The following explains the two parts that go together to make up a parameter name.
<The front half of the parameter name>
❏ Mod ~ (Modulation ~)
When you move the modulation lever or modulation wheel of a MIDI keyboard,
modulation messages are transmitted, modifying the sound. The Mod ~ parameters
specify the way in which the sound will change when these messages are received.
At the factory settings of these parameters, vibrato will be applied to the sound.
❏ Bnd ~ (Bend ~)
When you move the pitch bend lever or pitch wheel of a MIDI keyboard, pitch bend
messages are transmitted, modifying the sound. The Bend ~ parameters specify the
way in which the sound will change when these messages are received. At the factory settings of these parameters, the pitch will be modified.
58
About Parts and Parameters
❏ CAf ~ (Channel aftertouch ~)
Some MIDI keyboards transmit messages known as aftertouch when pressure is applied to the keyboard after playing a note. Channel aftertouch (also known as channel pressure) transmits only one data value even if two or more notes are being
pressed. When a sound generator receives this message, it can modify the sound in
various ways. The CAf~ parameters specifies how the sound will change when the
message is received. At the factory settings, no change will occur when this messages
is received.
* Check whether your MIDI keyboard is able to transmit aftertouch messages.
❏ CC1 ~
Some MIDI keyboards allow controller numbers to be assigned to the sliders. When
these sliders are moved, messages of the specified controller number are transmitted, causing the sound to be modified. The CC1~ parameters specifies how the
sound will change when messages of the corresponding control number are received.
First use the CC1 Controller Number parameter (p.57) to select the controller number that you are assigning.
<The latter half of the parameter name>
* When these settings are at 0, there will be no effect.
❏ ~ Range
-24 ~ +24 (Bend Range is +/-0–+24)
These parameters specify the maximum pitch change that will occur when the corresponding message is received. A setting of 12 allows 1 octave of change, and a setting of 24 allows 2 octaves of change. With a setting of 0, there will be no pitch
change.
For some sounds, the pitch
may not rise as high as
specified by the Range
setting.
❏ ~ Cutoff (~Cutoff frequency)
-64–+63
These parameters specify how the cutoff frequency will change when the corresponding message is received. Higher values will cause the cutoff frequency to rise.
Positive (+) settings allow the sound to be made brighter, and negative (-) settings
allow the sound to be made more mellow.
❏ ~ Amp (~Amplitude)
-64–+63
These parameters specify the way in which the sound will change when the corresponding message is received. Higher values allow a greater increase in volume.
❏ ~ LFO Rate
-64–+63
These parameters specify the way in which the LFO frequency will change when the
corresponding message is received, adjusting the speed at which the sound is modulated or varied. Higher values allow the modulation or variation to be speeded up.
❏ ~ LFO Pitch
0–10–127
These parameters specify the way in which the depth of the vibrato effect (cyclic
modulation of pitch) will change when the corresponding message is received.
Higher values allow the modulation effect to be increased.
❏ ~ LFO TVF
0–127
These parameters specify the way in which the depth of the growl effect (cyclic modulation of tone) will change when the corresponding message is received. Higher
values allow the growl effect to be increased.
❏ ~ LFO TVA
0–127
These parameters specify the way in which the depth of the tremolo effect (cyclic
modulation of volume) will change when the corresponding message is received.
Higher values allow the tremolo effect to be increased.
59
About Parts and Parameters
■ U.INST
For details on the U.INST parameters, refer to chapter Creating a Sound or Drum
Set section Parameters for Sound Editing (p.65).
To turn off the Equalizer of a Part using MIDI messages, transmit the following System Exclusive Message.
fig.8-2ce
address
data checksum
Also refer to MIDI Implementation (p.240).
F0 41 10 42 12 [ 40 4x 20 ] [ . . ] [ . . ] F7
Address:
x:
40 4x 20 (EQ ON/OFF)
Part Number
Data
00–01
00 = OFF, 01 = ON
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the equalizer of Part 3 to be off
Transmit the following System Exclusive Message
fig.8-2de
address
In the MIDI implementation, the part number is
described as the block
number. For the correspondence between the part
number and the block
number, refer to (p.237).
data checksum
F0 41 10 42 12 [ 40 43 20 ] [ 00 ] [ 5D ] F7
Part 3
checksum
EQ OFF
At the factory settings, the
equalizer of each Part is set
to on.
If you want to set the equalizer to be on, change the value of the Data to 01.
To change a Normal Part to a Drum Part using MIDI messages, transmit the following System Exclusive Message.
fig.5-2ae
address
data checksum
F0 41 10 42 12 [ 40 1x 15 ] [ . . ] [ . . ] F7
Address:
x:
Data:
40 1x 15 (USE FOR RHYTHM PART)
Part Number
00–02
00 = Normal, 01 = Drum1, 02 = Drum2
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the Part Mode of Part 11 to Drum2
Transmit the following System Exclusive Message.
fig.5-2be
address
data checksum
F0 41 10 42 12 [ 40 1A 15 ] [ 02 ] [ 0F ] F7
Part 11
checksum
Drum2
To select a drum set after setting the part mode, transmit a program change to part 11.
60
Also refer to MIDI Implementation (p.238)
About Parts and Parameters
How to output sound from OUTPUT2 using MIDI messages
At the factory settings, no sound will be sent from Output 2 jacks.
If you want sound to be output from OUTPUT 2 when you play a song, you will
need to set the part parameters.
However, the part parameters will be reset to their initial state when a reset message
is received from another device or from the sequencer software. If you want these
settings to be used when playing a song, you must write the following system exclusive messages into the song data.
Also refer to MIDI Implementation (p.240)
fig.5-7ae
address
data checksum
F0 41 10 42 12 [ 40 4x 21 ] [ . . ] [ . . ] F7
Address:
x:
Data:
40 4x 21 (OUTPUT ASSIGN)
Part Number
00–03
00 = OUTPUT-1, 01 = OUTPUT-2, 02 = OUTPUT-2L, 03 = OUTPUT-2R
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Sending the sound of part 1 from OUTPUT2
Transmit the following System Exclusive Message
fig.5-7be
address
data checksum
F0 41 10 42 12 [ 40 41 21 ] [ 01 ] [ 5D ] F7
Part 1
checksum
OUTPUT-2
If you wish to send the sound of other parts as well from OUTPUT2, input the above
exclusive message for each part.
61
About Parts and Parameters
Setting Parameters that Affect
the SC-8850 Itself (Utility Screen)
In the Utility screen you can set system parameters that affect the entire SC-8850.
The system parameters in the Utility screen are as follows.
PrevwMode:
Prevw Note:
Prevw Velo:
LCD Contrast:
Startup:
Preview Mode
Preview Note Name
Preview Velocity
LCD Contrast
Start up
■ Procedure
1
Simultaneously press both the [EDIT] and PART [
] buttons (UTIL).
The Utility screen will appear.
fig.5-8
2
3
4
5
Press [SYSTEM] ([F1]).
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
Press [ENTER].
The settings of the system parameters are saved.
62
For details on parameters
in BULK (p.134), INIT (p.23)
and DEMO (p.27), refer to
the corresponding
chapters.
About Parts and Parameters
■ What Each Parameter Does
■ Prevw Mode (Preview Mode)
Single/Phrase
By pressing the [VOLUME] knob, you can audition the sound selected in the screen
either as a phrase (Phrase) or as a single note (Single). The Prevw Mode selects
whether the sound will be auditioned as a phrase or as a single note. By default,
Phrase is selected.
■ Prevw Note (Preview Note Name)
C-1–A4–G9
When you press the [VOLUME] knob with the Preview Mode set to Single, the instrument shown in the display will sound. The Prevw Note parameter determines
the note that will be sounded at this time. The A note in the center of the keyboard
is A4.
If you have set Key Shift,
the pitch will be shifted
(p.50, 55).
■ Prevw Velo (Preview Velocity)
0–100–127
This sets the velocity of the note that sounds when you press the [VOLUME] knob.
Normally, higher velocities result in louder sound. (p.56 Velocity Sensitivity, etc.)
■ LCD Contrast
1–8–16
Depending on the angle at which this unit is placed, the display can sometimes be
difficult to read. If so, adjust the contrast of the display. Higher values will make the
characters darker.
■ Startup (Start up)
GS Reset/User
When the power of the SC-8850 is turned on, this setting determines whether the SC8850 will start up in the state that was last written to the user area, or whether it will
start up in the state of just having received a GS Reset message. By default, this will
be GS Reset.
For the procedure of
writing to the user area,
refer to Writing/Loading
SC-8850 Settings to/from
the User Area (Edit All
screen) (p.137).
63
Creating a Sound or Drum Set
Try an Original Sound
On the SC-8850, you can modify the values of a variety of parameters in order to create the sound most suitable for your playing. A parameter is something that affects
the sound. The process of modifying parameter values is called editing. Sound parameters affect the volume, timbre and pitch of the sound.
You can set the following parameters.
Vibrato:
Rate
Depth
Delay
Filter:
Cutoff Frequency
Resonance
Envelope:
Attack Time
Decay Time
Release Time
For details on each
parameter, refer to Parameters for Sound Editing
(p.65).
■ Modifying the Elements of Sound to Create
a New Sound
1
Make sure that the Part Basic screen is selected.
2
Press PART [
3
] or [
] to select a Part .
The parameters that modify the sound are set for individual parts. However, you can first press VAR. [
] (or INST [
]) to move the cursor to
VAR. (or INST), and then rotate the [VALUE] dial or use [DEC] [INC] to
select the sound.
4
Press [EDIT].
5
Press [MODIFY] ([F3]).
fig.6-1
6
7
8
64
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
When you finish making settings, press [EXIT] to end the procedure.
The Part Basic screen is the
screen that appears when
the SC-8850’s power is
turned on. You can return
to the Part Basic screen
from other screens by
pressing [EXIT]. If the
PART display is set to ALL,
simultaneously press
PART [
] and [
]
(ALL) to restore the PART
display to the normal part
display.
Creating a Sound or Drum Set
■ Parameters for Sound Editing
On the SC-8850, parameter settings are made for each Part. In other words, parameter values belong to Parts, and not to sounds (Instruments). For example, if you set
Vibrato Rate to +20 and then select a different sound for that Part, the Vibrato Rate
of +20 will apply to the newly selected sound (not the initial value of +/-0). In this
way, parameters belonging to Parts are called Part parameters.
Vibrato
Vibrato is an effect created by modulating the pitch. Applying vibrato makes the
sound more expressive.
Parameters such as Vibrato,
Filter and Envelope can be
set not only for Parts, but
also for sounds (Instruments). Sounds you create
by modifying these parameters are called User
Instrument, and can be
stored in the SC-8850 map
memory area (p.67).
■ Vib Rate (Vibrato Rate)
-64–0–+63
This parameter adjusts the speed (frequency) of the pitch modulation. Positive (+)
settings make the pitch modulation faster, and negative (-) settings make it slower.
■ Vib Depth (Vibrato Depth)
-64–0–+63
This parameter adjusts the depth of the pitch modulation. Positive (+) settings make
the pitch modulation deeper, and negative (-) settings make it shallower.
■ Vib Delay (Vibrato Delay)
-64–0–+63
This parameter adjusts the time required for the vibrato effect to begin. Positive (+)
settings increase the time before vibrato will begin, and negative (-) settings shorten
the time.
fig.6-2e
Delay
Depth
Note On
Rate
Filter
By modifying the filter settings, you can control the timbre (tone) of the sound. The
type of filters in the SC-8850 are called Low Pass Filters, and allow only frequencies
lower than a specified frequency to pass. This frequency is called the Cutoff Frequency. By modifying the setting of the Cutoff Frequency you can make the sound brighter or darker. The Cutoff Frequency can change over time, controlled by the envelope.
By adjusting the filter and envelope settings, you can create sounds that have movement and expression.
fig.6-3e
Higher frequencies
Low
pass
filter
Cutoff frequency
Lower frequencies
65
Creating a Sound or Drum Set
■ Cutoff Freq (Cutoff Frequency)
-64–0–+63
Positive settings of Cutoff Freq will raise the cutoff frequency. Negative settings will
lower the cutoff frequency. As you set this value higher in the positive direction,
more overtones will be allowed to pass, and the sound will become harder (brighter).
The further this value is set in the negative direction, the fewer overtones will be allowed to pass, and the sound will become softer (darker).
For some sounds, positive
(+) settings of Cutoff Freq
will cause no noticeable
change in the sound.
fig.6-4e
Low pass filter characteristics
Level
Frequency
Cutoff frequency
■ Resonance
-64–0–+63
When the Resonance value is increased, the overtones in the area of the cutoff frequency will be emphasized, creating a sound with a strong character.
fig.6-5e
Level
Frequency
Cutoff frequency
Low
High
Resonance
Envelope
The volume of an instrument changes with time, from the moment the note begins
to sound to when it disappears. This change can be indicated on a graph as shown
in the following diagram. This shape is unique to each instrument, and is an important element in how we distinguish sounds we hear. This shape is called the envelope.
The envelopes of musical instrument sounds can change depending on how the instrument is played. For example, if a trumpet is played sharply and strongly, the attack will be quick and the sound will be sharp. But if a trumpet is played lightly and
softly, the attack will be softer. In order to adjust the attack of a sound, we can modify
the Attack Time of the envelope. By modifying the values of the envelope we can
simulate the characteristics of many different instruments.
The envelope shape that we create in this way will also affect the way in which the
cutoff frequency changes. If the cutoff frequency had been lowered, it will rise as the
envelope rises, and will fall as the envelope falls.
fig.6-6e
A: Attack time
D: Decay time
R: Release time
Cutoff frequency
Envelope
Filter
Sound ends
Time
Level
A
Note On
66
D
R
Note Off
For some sounds, negative
(-) settings of Resonance
will cause no noticeable
change in the sound.
Creating a Sound or Drum Set
■ Attack Time
-64–0–+63
This parameter adjusts the sharpness of the beginning of the sound.
■ Decay Time
-64–0–+63
This parameter adjusts the time over which the sound will fall from the highest point
of the attack down to the sustain level (Fig.1).
■ Release Time
-64–0–+63
This parameter adjusts the time over which the sound will decay after the note is released until it is no longer heard. The cutoff frequency will also fall according to this.
Some sounds have a
sustain level of 0 (Fig.2).
Piano and guitar sounds
are in this category.
fig.6-7e
Fig. 1
For some sounds,
modifying the various
Time settings of the
envelope will cause no
noticeable change in the
sound.
Volume
Sounds ends
Sustain Level
Time
A
D
R
Note Off
Note On
Fig. 2
Volume
Sounds ends
A: Attack time
D: Deacy time
R: Release time
Time
A
D
Note Off
Note On
■ Creating and Saving a Sound (User Instrument)
You can modify the parameters of this unit sound to your taste, and save your new
settings in Variation numbers 64 or 65 of the SC-8850 map (p.69). A sound saved in
this way is called a User Instrument. You can save 256 different sounds in this way.
You can set the vibrato, filter and envelope parameters to an Instrument. These parameters are called User Instrument parameters. For the function of each parameter, refer to p.65.
The User Instrument sound that is actually heard will reflect the combination of the
Part parameter settings and the User Instrument parameter settings. For example, if
the Vibrato Rate is set to +20 by the Part parameters and to -5 by the User Instrument
parameters, the vibrato rate of the sound that is actually heard will be +15 (20 - 5 = 15).
The same contents are
stored in the SC-8850, SC88Pro, and SC-88 maps.
fig.6-9e
User Instrument
Part parameter settings
Vibrato Rate
+20
+
User Instrument parameter
settings
Vibrato Rate
-5
=
Sound assigned
to a Part
Vibrato Rate
+15
MIDI message
Also, if the vibrato, filter, and envelope values are modified by MIDI messages, the
values of the Part parameters (p.64) will be modified. In this case, the values of the
User Instrument parameters will not change.
For an explanation of
messages that modify the
sound, such as System
Exclusive messages and
NRPN messages, refer to
p.151, 152, 154.
67
Creating a Sound or Drum Set
Creating a Sound
1
Make sure that the Part Basic screen is selected.
2
Press PART [
3
] or [
Part Basic screen (p.29)
] to select a Part.
Press VAR. [
] (or INST [
]) to move the cursor to VAR. [
] (or INST
[
]), then rotate the [VALUE] knob, or press [DEC] or [INC] to select the
sound.
Your edits will apply to the sound that is selected here.
4
Press [EDIT] to turn it on.
5
Press [→] ([F4]) twice to scroll the screen, and press [U.INST] ([F3]).
fig.6-11
6
7
68
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify.
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
For details on each
parameter, refer to Parameters for Sound Editing
(p.65).
Creating a Sound or Drum Set
Saving the Sound
After you create a sound, use the following procedure to save the sound.
1
Press [ENTER].
The display will ask “Write User Inst?”
fig.6-12e
You can save the sound to
Variation numbers 64 and 65.
The Instrument number can be
any number from 1 to 128.
2
3
Press VAR. [
] or INST [
] to move the cursor to VAR.
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the Variation
Number. You can use the Variation Number 64 and 65 for the User Instruments.
fig.6-13e
Variation number
Native Map
065
064
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
User Tone
008
Upright P w
Comp Clav.
Variation sounds
003
002
001
000
Atk Clav.2
Mild Piano
UprightPiano
Piano 1
001
Atk Clav.1
Clav. 2
Pop Celesta
Clav.
Celesta
008
009
Glockenspiel
010
004
003
002
001
000
Eruption
Explosion
Lasergun
Machine Gun
Gun Shot
Capital sounds
128
Instrument number
Storing User Instruments
4
5
6
Press VAR. [
] or INST [
] to move the cursor to INST
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the Instrument
Number.
To save the User Instrument, press [ENTER].
Setting values for User
Instruments can also be
transmitted as MIDI system
exclusive messages (p.135).
By using a sequencer
program or a (hardware)
sequencer to record this
transmitted data, and then
retransmitting it back to the
SC-8850, you can save and
reproduce User Instruments.
To quit without saving the User Instrument, press [EXIT].
To use the saved user instrument, specify the variation number 64 or 65.
Make sure to keep the
power on while the settings
are being stored!
69
Creating a Sound or Drum Set
Create and Save a Drum Set (User Drum)
A Drum Part has assigned to it a collection of various percussion instrument sounds,
which are called a Drum Set. Unlike a normal Part, a Drum Part sounds a different
instrument for each note number. Since a Drum Part needs to simultaneously produce a wide variety of sounds, such as bass drum, snare, tom and cymbal, this is very
convenient. A collection of such sounds each assigned to their own note number is
called a Drum Set. Each sound within a Drum Set is called a Drum Instrument.
(Drum Set List p.187)
On the SC-8850, you can modify various Drum Instrument parameters to get the
drum sounds most suitable for your musical needs. A parameter is something that
affects the sound. The process of modifying parameter values is called editing.
For each instrument (Drum Instrument) of the currently selected Drum Set, you can
modify the values for the Volume, Pan (stereo position), Pitch, Reverb Send Level,
Chorus Send Level, Delay Send Level, and Assign group. These parameter values
are set independently for each Drum Instrument assigned to a note number.
For explanation how to
save the Drum Set you
created, refer to Saving a
Drum Set You Created
(User Drum Set) (p.73).
■ Drum Edit
1
Make sure that the Part Basic screen is selected.
2
Press PART [
] or [
] to select a Drum Part.
At the factory settings, Part 10 (A10, B10, C10, D10) are set to Drum Parts.
Up to two drum sets can be assigned to each part group.
3
With the cursor is on INST, press [DEC] or [INC] to select a Drum Set.
Your editing will apply to the drum set that you select here. (This can be changed
later.)
4
70
You can press [INST MAP]
to switch the sound map of
the selected part. You can
select from the SC-8850
map, SC-88Pro map, SC-88
map, or SC-55 map. [
]
indicates the currently
selected map.
Press [DRUM] to turn it on.
The drum screen will appear, and the drum set number / pitch (note number) /
drum instrument name / drum set name etc. will be displayed.
fig.6-14
Part Basic screen (p.29)
The note name is a name
assigned to each key (note),
and corresponds to the
MIDI note number. A
drum instrument is
assigned to each note
number.
Creating a Sound or Drum Set
5
6
7
Press VAR. [
] or INST [
] to move the cursor to INST, and rotate the
[VALUE] knob, or press [DEC] or [INC] to set the Drum Instrument you
want to edit.
Part Mode (p.55)
Make sure that [EDIT] ([F1]) is pressed.
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Each parameter does the following.
Set
Pitch Coarse
Inst Level
Inst Pan
Reverb Send
Chorus Send
Delay Send
Assign Group
Rx Note On
Rx Note Off
8
9
Modify the name of the drum set. However, the name that you
modify here can be saved only as a user drum set. For details,
refer to Storing an Entire Drum Set (procedure 2) (p.75).
adjusts the pitch of each Instrument in semitone steps
sets the volume of each Instrument
sets the pan of each Instrument
sets the Reverb Send Level of each Instrument
sets the Chorus Send Level of each Instrument
sets the Delay Send Level of each Instrument
sets the Assign Group (p.72)
allows reception of Note On messages
allows reception of Note Off messages
The cursor moves on the
name of the Drum Set one
by one. While holding
down the VAR.(INST)
button, press the INST
(VAR.) button, the cursor
will move faster.
For Drum Instruments, you
cannot use both chorus and
delay simultaneously. For
details, refer to Using
Chorus and Delay (p.72).
Press VAR. [
] or INST [
] to move the cursor to the parameter you
want to modify, and rotate the [VALUE] knob, or press [DEC] or [INC] to
set the value for the parameter.
When you finish making settings, press [DRUM] or [EXIT] to end the procedure.
71
Creating a Sound or Drum Set
Using Chorus and Delay
For Drum Instruments, you cannot use both chorus and delay simultaneously. If in
the drum edit screen either the Chorus Send or Delay Send parameters are marked
by an asterisk (*), that parameter is not valid. However if you modify the value of
that parameter, the parameter will be enabled. In other words, either chorus or delay
will be valid, whichever was set last.
fig.6-17
Assign Group
Each Instrument can be given a number, and instruments with the identical number
are treated as an Assign group. No two instruments of the same Assign group will
sound together. If while one instrument is sounding, a MIDI message is received to
play another instrument in the same Assign group, the first instrument will be
turned off first. This is a useful way to prevent two instruments from sounding simultaneously that would not normally do so. For example, since it is obviously impossible for a hi-hat to simultaneously produce both an open hi-hat sound and a
closed hi-hat sound, these two sounds could be set to the same Assign group (the
same number) so that they would not sound together.
Numbers from Non, 1 to 127 can be selected, but instruments for which Non is selected will not be turned off by other instruments. In other words, instruments with
a setting of Non will not be treated as an Assign group.
Be aware that if you select a
different Drum Set, the
parameter values will be
initialized.
Switching drum sets in the drum screen
Even when you are in the drum screen, you can still switch drum sets, etc.
■ Selecting Drum Maps
Use the PART [
][
] buttons to select the Drum map.
At the factory settings, you can select A1, B1, C1, and D1.
A1: Drum1 of Part Group A
A2: Drum2 of Part Group A (Only when a Drum Part is added by Part Mode settings)
B1: Drum1 of Part Group B
B2: Drum2 of Part Group B (Only when a Drum Part is added by Part Mode settings)
C1: Drum1 of Part Group C
C2: Drum2 of Part Group C (Only when a Drum Part is added by Part Mode settings)
D1: Drum1 of Part Group D
D2: Drum2 of Part Group D (Only when a Drum Part is added by Part Mode settings)
72
For details about Drum1,
Drum2 and Part Mode,
refer to p.37, 55.
Creating a Sound or Drum Set
■ Selecting Drum Sets
1 Press INST [
] to move the cursor to VAR. (the Drum Set Number).
fig.6-16
2 Rotate the [VALUE] knob, or press [DEC] or [INC] to select a Drum Set.
Then, select the drum instrument as shown in step 5 of Drum Edit (p.70).
Be aware that when you
switch drum sets, the
parameter values of the
original drum set will be
initialized.
■ Saving a Drum Set You Created (User Drum Set)
You can modify Drum Instrument parameters to your liking, and save this data as a
Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up
to two Drum Sets, and since each set contains 128 instrumental sounds, this provides
a total of 256 instrumental sounds (Drum Instruments). You can also give each User
Drum Set a name of your choice. User Drum Sets are stored in Drum Set numbers 65
and 66 of the SC-8850 map (p.76).
The same contents are
stored in the SC-8850, SC88Pro, and SC-88 maps.
There are two ways to store an edited Drum Instrument. The first is to store each
Drum Instrument individually (procedure 1). The second is to store an entire set of
Drum Instruments as a Drum Set (procedure 2).
fig.6-18e
Procedure 1
Procedure 2
SC-8850/SC-88Pro/
SC-88 Map
SC-8850/SC-88Pro/
SC-88 Map
C3 48
C3 48
49
49
50
50
51
51
52
52
53
53
54
56
56
57
57
58
58
59
59
C4 60
C4 60
61
61
62
62
63
63
64
64
65
54
55
55
65
66
66
67
67
68
68
69
69
70
70
71
B4 71
Note name
Note number
65
66
User Drum Set number
65
66
User Drum Set number
73
Creating a Sound or Drum Set
Storing an Individual Drum Instrument (procedure 1)
Here’s how you can save an edited drum instrument for each note.
1 In the drum screen, create a drum instrument.
fig.6-19
For the procedure of
editing drum sounds, refer
to Drum Edit (p.70).
2 Press [Write] ([F2]).
The display will ask “Write User Drum?”
fig.6-20
3 If you want to change User Drum No. or Inst, press VAR. [
[
] or INST
] to move the cursor to User Drum No. or Inst.
4 Rotate the [VALUE] knob, or press [DEC] or [INC] to select the number
for User Drum No. or Inst. You can choose 65 or 66 for User Drum No.
5 To save the settings as a User Drum, press [ENTER].
To quit without saving the settings, press [EXIT].
To use the saved user drum, specify the drum set number 65 or 66, then
specify the instrument.
74
Make sure to keep the
power on while the settings
are being stored!
Creating a Sound or Drum Set
Storing an Entire Drum Set (procedure 2)
The following procedure will store all the Drum Instruments for the entire currently
selected Drum Set.
You can also assign a name to the User Drum Sets in Drum Set numbers 65 and 66.
If you do not wish to name them, read from Saving a Drum Set.
Naming a User Drum Set
1 In the Part Basic screen, press [DRUM].
2 Press PART [
] or [
Part Basic screen (p.29)
] to select the User Drum Set you want to name.
3 Press VAR. [
] or INST [
the Set (drum set name).
] to move the cursor to the first character of
fig.6-22
4 Press VAR. [
] or INST [
] to specify the location of the character.
5 Rotate the [VALUE] knob, or press [DEC] or [INC] to select the desired
character. Each time you press the [VALUE] knob, the character will
change A → a → 0 → & → (.
6 Then repeat the step 4 and 5 to input the character.
The user drum set name has now been input, but it has not yet been saved. To save
the name, perform the procedure described on the next page.
If you want to change the
User Drum Set Number,
press INST [
] to move
the cursor to the Drum Set
Number, then rotate the
[VALUE] knob, or press
[DEC] or [INC] to change
the Number. Be aware,
however, that if you change
the number, the parameter
settings will also change.
75
Creating a Sound or Drum Set
Saving a Drum Set
1 In the drum screen, create a drum instrument.
2 Press [WR.SET] ([F3]).
For the procedure of
editing drum sounds, refer
to Drum Edit (p.70).
The display will ask “Write User Drum Set?”
fig.6-23
3 Make sure that the cursor is on User Drum No.
4 If you change the User Drum No., rotate the [VALUE] knob, or press
[DEC] or [INC] to select the number. You can choose 65 or 66 for User
Drum No.
5 To save the settings as a User Drum set, press [ENTER].
To quit without saving the settings, press [EXIT].
To use the saved user drum set, specify the drum set number 65 or 66.
76
Make sure to keep the
power on while the settings
are being stored!
How Effects are Organized on the SC-8850
The effects of the SC-8850 can be categorized into System effects (p.79) and Insertion effects (p.88).
As System effects, the SC-8850 provides 8 types of reverb to add reverberation to the
sound, 8 types of chorus to add depth, 10 types of delay to add echo-like effects, and
a 2-band equalizer to modify the tonal character by boosting or cutting the frequency
ranges of the sound.
As Insertion effects, the SC-8850 provides 64 diverse kinds of effects, which allow
you to distort or modulate the sound, or even to combine multiple effects.
The System effects and Insertion effects differ not only in the type of effects, but also
in the output routing of the effect sound.
System Effects
Of the System effects, the reverb/chorus/delay effects take part of the sound from
each Part to create a new effected sound (reverberance, etc.), and then add this to the
original sound.
For these effects, you can specify the amount of the sound for each Part sent to the
effect unit (Send Level). Higher settings will increase the level of the signal that is
sent to the effect unit, causing the effect sound that is produced to be louder. The result is that the effect becomes deeper.
For the equalizer of System effects, on the other hand, you can select whether the
sound of the Part will pass through the equalizer or not; i.e., make an on/off setting
to modify the sound.
77
How Effects are Organized on the SC-8850
Insertion Effects (EFX)
Insertion effects are effects that modify the sound itself, and are able to give it a completely different character. SC-8850 provides 64 types of effects.
As shown in the diagram below, you can select one Insertion effect, and specify for
each Part whether or not the sound will be routed through the effect (on/off).
Since only one type of Insertion effect can be applied at a time, turning it on for two
or more Parts will cause the sound of these Parts to be mixed. If a System effect is
applied to a Part for which the Insertion effect is turned on, the Insertion effect Send
Level will be used instead of the Send Level of the Part itself (p.90).
fig.7-1e
Reverb Level
Reverb Send Level
Reverb
x64
Reverb Send Level
Chorus Send Level
Chorus Level
Chorus
x64
Chorus Send Level
Chorus Send Level To Reverb
Delay Send Level To Reverb
Chorus Send Level To Delay
Part group A
Part A1 - A16
Delay Level
Delay Send Level
Delay
x64
Delay Send Level
Part group B
Part B1 - B16
Equalizer
Part group C
Part C1 - C16
Part group D
Part D1 - D16
Insertion Effect
(EFX)
Level On/Off
x64
x64
Equalizer On/Off
R
x64
Equalizer On/Off
Insertion
Effect(EFX)
78
L
OUTPUT
Using System Effects
Reverb/Chorus/Delay
The System effects of the SC-8850 include 8 types of reverb and chorus, and 10 types
of delay. In addition, for each of these effects you can specify parameter values such
as character, depth, rate, and time. For these effects, you can set the overall level for
all Parts and also individual levels for each Part.
For settings for each Part,
this will be the Send Level.
Reverb
Reverb is an effect that adds reverberation to a sound, as you would hear in a concert
hall.
Chorus
Chorus broadens the spatial image of the sound, adding depth and richness.
Delay
Delay creates echoes. It is also possible to give depth and width to a sound by adding
a short delay to the original sound.
■ Set Parameters for the Reverb/Chorus/Delay
Type and Amount (Level)
To activate a System effect, for each part you have to specify how much of the sound
is to be routed through the effects, by setting the Send Level. If the unit is still at the
factory settings, you should raise the Chorus Send Level and Delay Send Level. For
details on how to set the Send Level, refer to p.51, 54.
1
2
Press [EFFECTS] to turn it on.
Press [REVERB] ([F1]), [CHORUS] ([F2]), or [DELAY] ([F3]) to select an
effect type you want to modify.
fig.8-1
3
4
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
In the case of a part for
which an insertion effect is
turned on, it is not possible
to independently set the
send level to the system
effects. A common level
will be used by all parts for
which an insertion effect is
turned on (p.89).
For details on each
parameter, refer to p.80.
79
Using System Effects
Using Chorus and Delay
For Part C and D, you cannot use both chorus and delay simultaneously.
If you press [EFFECT] ([F1]) in the Edit screen,either the Chorus Send or Delay
Send parameters are marked by an asterisk (*), that parameter is not valid. However
if you modify the value of that parameter, the parameter will be enabled. In other
words, either chorus or delay will be valid, whichever was set last.
fig.8-3
■ Reverb Parameters and Their Functions
■ Rev Type (Reverb Type)
You can choose from 8 types of reverb.
Room1
Room2
Room3
These reverbs simulate the reverberation of a room. They provide a well-defined
spacious reverberation.
Hall1
Hall2
These reverbs simulate the reverberation of a concert hall. They provide a deeper
reverberation than the Room reverbs.
Plate
This simulates a plate reverb (a studio device using a metal plate).
Delay
This is a conventional delay that produces echo effects.
Panning Delay
This is a special delay in which the delayed sounds move left and right. It is effective when you are listening in stereo.
■ Rev Level (Reverb Level)
0–64–127
This parameter sets the amount of the reverberant sound. Higher values result in
louder reverberation.
■ Rev Character (Reverb Character)
0–4–7
This parameter selects the type of reverb. 0–5 are reverb effects, and 6 and 7 are delay
effects.
■ Rev Pre-LPF (Reverb Pre-LPF)
0–7
A low pass filter can be applied to the sound coming into the reverb to cut the high
frequency range. Higher values will cut more of the high frequencies, resulting in a
more mellow reverberation.
■ Rev Time (Reverb Time)
0–64–127
This parameter sets the time over which the reverberation will continue. Higher values result in longer reverberation.
■ Rev Dly Fb (Reverb Delay Feedback)
0–127
This parameter is used when the Reverb Character is set to 6 or 7, or the Reverb Type
is set to Delay or Panning Delay (Rev Charac.6, 7). It sets the way in which delays
repeat. Higher values result in more delay repeats.
■ Rev PreDlyTm (Reverb Pre-Delay Time)
0–127 ms
This parameter sets the delay time until the reverberant sound is heard. Higher values result in a longer pre-delay time, simulating a larger reverberant space.
80
When you change the
Reverb Type, the following
parameter values will
automatically change. For
details, refer to About
Reverb Type (p.81).
To apply the reverb effect
to a part, you have to set
the send level for the part.
(p.54)
Using System Effects
About Reverb Type
When you change the Reverb Type, the six reverb parameters (including Reverb Character)
will be automatically adjusted to the optimal values. Rather than individually adjusting
each reverb parameter, it is easier to first set the Reverb Type (listed in the MIDI implementation as REVERB MACRO p.235), and then modify only those parameters that you wish to
modify. In particular when using MIDI Exclusive messages, this method of making settings
will minimize the amount of data.
Reverb
Rev Level
Rev Character
Rev Pre-LPF
Rev Time
Rev Dly Fb
Rev PreDlyTm
Room1
64
0
3
80
0
0
Room2
64
1
4
56
0
0
Room3
64
2
0
64
0
0
Hall1
64
3
4
72
0
0
Hall2
64
4
0
64
0
0
Plate
64
5
0
88
0
0
Delay PanDelay
64
64
6
7
0
0
32
64
40
32
0
0
To change the reverb type using MIDI messages, transmit the following System Exclusive Message.
fig.8-1ee
DELAY:
address
Also refer to MIDI Implementation (p.235).
data checksum
F0 41 10 42 12 [ 40 01 30 ] [ . . ] [ . . ] F7
Address:
Data:
40 01 30 (REVERB MACRO)
00–07
00 = Room 1, 01 = Room 2, 02 = Room 3, 03 = Hall 1, 04 = Hall 2, 05 =
Plate, 06 = Delay, 07 = Panning Delay
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the reverb type to Room 3
Transmit the following System Exclusive Message.
fig.8-1he
address
data checksum
F0 41 10 42 12 [ 40 01 30 ] [ 02 ] [ 0D ] F7
REVERB MACRO
checksum
Room3
81
Using System Effects
■ Chorus Parameters and Their Functions
■ Cho Type (Chorus Type)
You can choose from 8 types of chorus.
Chorus1
Chorus2
Chorus3
Chorus4
These are conventional chorus effects that add spaciousness and depth to the
sound.
Feedback Chorus
This is a chorus with a flanger-like effect and a soft sound.
Flanger
This is an effect sounding somewhat like a jet airplane taking off and landing.
Short Delay
This is a delay with a short delay time.
Short Delay (FB)
This is a short delay with many repeats.
■ Cho Level (Chorus Level)
This parameter sets the amount of the chorus sound.
■ Cho Feedback (Chorus Feedback)
0–8–127
This parameter sets the level at which the chorus sound is re-input (fed back) into the
chorus. By using feedback, a denser chorus sound can be created. Higher values result in a greater feedback level.
0–80–127
■ Cho Rate (Chorus Rate)
0–3–127
This parameter sets the speed (frequency) at which the chorus sound is modulated.
Higher values result in faster modulation.
■ Cho Depth (Chorus Depth)
0–19–127
This parameter sets the depth at which the chorus sound is modulated. Higher values result in deeper modulation.
■ Cho To Rev (Chorus Send Level To Reverb)
0–127
This parameter sets the amount of chorus sound that will be sent to the reverb. Higher values result in more sound being sent.
■ Cho To Dly (Chorus Send Level To Delay)
0–127
This parameter sets the amount of chorus sound that will be sent to the delay. Higher
values result in more sound being sent.
82
To apply the chorus effect
to a part, you have to set
the send level for the part.
(p.54)
0–64–127
■ Cho Pre-LPF (Chorus Pre-LPF)
0–7
A low-pass filter can be applied to the sound coming into the chorus to cut the high
frequency range. Higher values will cut more of the high frequencies, resulting in a
more mellow chorus sound.
■ Cho Delay (Chorus Delay Time)
This parameter sets the delay time of the chorus effect.
When you change the
Chorus Type, the following
parameter values will
automatically change. For
details, refer to About
Chorus Type (p.83).
For Part C and D, you
cannot use both chorus and
delay simultaneously. For
details, refer to Using
Chorus and Delay (p.80).
Using System Effects
About Chorus Type
When you change the Chorus Type, the eight chorus parameters will be automatically adjusted to the optimal values. Rather than individually adjusting each chorus parameter, it is
easier to first set the Chorus Type (listed in the MIDI implementation as CHORUS MACRO
p.236), and then modify only those parameters that you wish to modify. In particular when
using MIDI Exclusive messages, this method of making settings will minimize the amount
of data.
Cho Level
Cho Pre-LPF
Cho Feedback
Cho Delay
Cho Rate
Cho Depth
Cho To Rev
Cho To Dly
Chorus1 Chorus2 Chorus3 Chorus4 FbChorus
64
64
64
64
64
0
0
0
0
0
0
5
8
16
64
112
80
80
64
127
3
9
3
9
2
5
19
19
16
24
0
0
0
0
0
0
0
0
0
0
Flanger SDelay SDelayFb
64
64
64
0
0
0
112
0
80
127
127
127
1
0
0
5
127
127
0
0
0
0
0
0
To change the chorus type using MIDI messages, transmit the following System Exclusive Message.
fig.8-1fe
DELAY:
address
Also refer to MIDI Implementation (p.236).
data checksum
F0 41 10 42 12 [ 40 01 38 ] [ . . ] [ . . ] F7
Address:
Data:
40 01 38 (CHORUS MACRO)
00–07
00 = Chorus1, 01 = Chorus 2, 02 = Chorus 3, 03 = Chorus 4, 04 = Feedback Chorus, 05 = Flanger, 06 = Short Delay, 07 = Short Delay (FB)
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the chorus type to Chorus4
Transmit the following System Exclusive Message.
fig.8-1ke
address
data
checksum
F0 41 10 42 12 [ 40 01 38 ] [ 03 ] [ 04 ] F7
CHORUS MACRO
checksum
Chorus 4
83
Using System Effects
■ Delay Parameters and Their Functions
■ Delay Type
You can choose from 10 types of delay.
Delay1
Delay2
Delay3
These are conventional delays. 1, 2 and 3 have progressively longer delay times.
Delay4
This is a delay with a rather short delay time.
Pan Delay1 Pan Delay2 Pan Delay3
The delay sound moves between left and right. This is effective when listening in
stereo. 1, 2 and 3 have progressively longer delay times.
Pan Delay4
This is a rather short delay with the delayed sound moving between left and
right. It is effective when listening in stereo.
Dly To Rev
Reverb is added to the delay sound, which moves between left and right. It is effective when listening in stereo.
PanRepeat
The delay sound moves between left and right, but the pan positioning is different than the effects listed above. It is effective when listening in stereo.
■ Dly Level (Delay Level)
0–64–127
This parameter sets the overall volume of the three delays (center, left and right).
Higher values result in a louder overall delay.
■ Dly Pre-LPF (Delay Pre-LPF)
0–7
A low-pass filter can be applied to the sound coming into the delay to cut the high
frequency range. Higher values will cut more of the high frequencies, resulting in a
more mellow delay sound.
■ Dly Time C (Delay Time Center)
0.1ms–340ms–1.0s
The delay effect of the SC-8850 allow you to set three delay times; center, left and
right (when listening in stereo). Delay Time Center sets the delay time of the delay
located at the center.
■ DlyTmRatioL (Delay Time Ratio Left)
4%–500%
This parameter sets the delay time of the delay located at the left as a percentage of
the Delay Time Center (up to a max. of 1.0 s).
■ DlyTmRatioR (Delay Time Ratio Right)
4%–500%
This parameter sets the delay time of the delay located at the right as a percentage of
the Delay Time Center (up to a max. of 1.0 s).
■ Dly Level C (Delay Level Center)
0–127
This parameter sets the volume of the central delay. Higher values result in a louder
center delay.
■ Dly Level L (Delay Level Left)
0–127
This parameter sets the volume of the left delay. Higher values result in a louder left
delay.
■ Dly Level R (Delay Level Right)
0–127
This parameter sets the volume of the right delay. Higher values result in a louder
right delay.
■ Dly Feedback (Delay Feedback)
-64–+16–+63
This parameter affects the number of times the delay will repeat. With a value of 0,
the delay will not repeat. With higher values there will be more repeats. With negative (-) values, the center delay will be fed back with inverted phase. Negative values
are effective with short delay times.
84
When you change the
Delay Type, the following
parameter values will
automatically change. For
details, refer to About
Delay Type (p.85).
To apply the delay effect to
a part, you have to set the
send level for the part.
(p.54)
For Part C and D, you
cannot use both chorus and
delay simultaneously. For
details, refer to Using
Chorus and Delay (p.80).
Using System Effects
■ Dly To Rev (Delay Send Level To Reverb)
0–127
This parameter sets the amount of delay sound that is sent to the reverb. Higher values result in more sound being sent.
About Delay Type
When you change the Delay Type, the above-listed ten Delay parameters will be automatically adjusted to the optimal values. Rather than individually adjusting each delay parameter, it is easier to first set the Delay Type (listed in the MIDI implementation as DELAY
MACRO p.236), and then modify only those parameters that you wish to modify. In particular when using MIDI Exclusive messages, this method of making settings will minimize
the amount of data.
Delay
1
2
Dly Level
64
64
Dly Pre-LPF
0
0
Dly Time C
340ms 550ms
DlyTmRatioL
4%
4%
DlyTmRatioR
4%
4%
Dly Level C
127
127
Dly Level L
0
0
Dly Level R
0
0
Dly Feedback
+16
+16
Dly To Rev
0
0
PanDelay
Dly To
Pan
3
4
1
2
3
4
Rev Repeat
64
64
64
64
64
64
64
64
0
0
0
0
0
0
0
0
1sec 130ms 500ms 700ms 1sec 260ms 700ms 750ms
4%
4% 50% 50% 50% 50% 50% 88%
4%
4% 100% 100% 100% 100% 100% 133%
127
127
0
0
0
0
0
97
0
0
125
125
120
120
114
127
0
0
60
60
64
64
60
67
+8
+8
+10
+7
+9
+8
-3
-24
0
0
0
0
0
0
36
0
To change the delay type using MIDI messages, transmit the following System Exclusive Message.
fig.8-1ge
DELAY:
address
Also refer to MIDI Implementation (p.236).
data checksum
F0 41 10 42 12 [ 40 01 50 ] [ . . ] [ . . ] F7
Address:
Data:
40 01 50 (DELAY MACRO)
00–09
00 = Delay 1, 01 = Delay 2, 02 = Delay 3, 03 = Delay 4, 04 = Pan Delay 1,
05 = Pan Delay 2, 06 = Pan Delay 3, 07 = Pan Delay 4, 08 = Delay to Reverb, 09 = Pan Repeat
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the reverb type to Delay 3
Transmit the following System Exclusive Message.
fig.8-1je
address
data checksum
F0 41 10 42 12 [ 40 01 50 ] [ 02 ] [ 6D ] F7
DELAY MACRO
checksum
Delay3
85
Using System Effects
Equalizer
The SC-8850 has a two-band equalizer (high range, low range). An equalizer lets you
boost or cut specified frequency ranges of a sound to adjust the tone. For each range,
high and low, you can specify the frequency and the amount of boost or cut (gain).
■ Making Equalizer Settings
1
Press [EFFECTS] to turn it on.
2
Press [→] ([F4]) to scroll the screen and press [EQ] ([F1]).
For the procedure of setting
the Equalizer on/off, refer
to Part EQ (Part
Equalizer) (p.54)
fig.8-2
3
4
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify. The parameters for Equalizer are EQ
Low Freq (Equalizer Low Frequency), EQ Low Gain (Equalizer Low Gain),
EQ High Freq (Equalizer High Frequency), and EQ Hi Gain (Equalizer High
Gain).
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
■ Equalizer Parameters
■ EQ L.Freq (Equalizer Low Frequency)
200/400 Hz
■ EQ L.Gain (Equalizer Low Gain)
-12–0–+12 dB
■ EQ H.Freq (Equalizer High Frequency)
3/6 kHz
These parameters set the cutoff frequencies of the ranges boosted or cut by the equalizer.
■ EQ H.Gain (Equalizer High Gain)
-12–0–+12 dB
Specify the amount of boost or cut (gain) for the high frequency range (high) and the
low frequency range (low). Positive (+) settings will boost, and negative (-) settings
will cut.
86
The settings of the
Equalizer Gain are
common to all Parts. They
cannot be set independently for individual Parts.
With a gain setting of 0, the
equalizer will have no
effect
Using System Effects
To change the Equalizer Low Gain using MIDI messages, transmit the following System Exclusive Message.
fig.8-2ae
address
Also refer to MIDI Implementation (p.236).
data checksum
F0 41 10 42 12 [ 40 02 01 ] [ . . ] [ . . ] F7
Address:
EQ LOW GAIN
Data:
34H–40H–4CH (-12–±0–+12dB)
Checksum: Refer to How to calculate the checksum (p.245).
<Example> Setting the Equalizer Low Gain to +6
Transmit the following System Exclusive Message.
fig.8-2be
address
data checksum
F0 41 10 42 12 [ 40 02 01 ] [ 46 ] [ 77 ] F7
EQ LOW GAIN
checksum
±0=40 ➟ +6=46
87
Using Insertion Effects
Setting the Insertion Effect Type,
Depth (Level), and Other Parameters
1
2
Make sure that the Part Basic screen is selected, and use PART [
] or
[
] to select the part to which you wish to apply an insertion effect
Although insertion effects are specified not for the instrument but for the
part, it is a good idea to first select the instrument to which the effect will be
applied. Press VAR. [
] (or INST [
]) to move the cursor to VAR. (or
INST), and then rotate the [VALUE] knob, or press [DEC] or [INC] to select
the instrument to which you want set the effect.
3
Press [EFFECTS] to turn it on.
4
Press [→] ([F4]) to scroll the screen and press [EFX] ([F2]).
The first line of the parameters indicates the types of the insertion effect. If you
change it, the parameters of that effect are set to their most suitable values. You can
change each of these parameters by yourself.
5
6
Part Basic screen (p.29)
For details about effect
types and effect parameters, refer to p.91.
Rotate the [VALUE] knob, or press [DEC] or [INC] to select the effect type.
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify
fig.9-72
7
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
Next to the effect parameters, there are parameters that set the send level of the
sound that comes after the insertion effects to each of the system effect. If you need
to set these parameters, take the same procedure as described above.
8
88
When you finish making settings, press [EXIT] to end the procedure.
It takes moment until the
sound can be heard after
you change the insertion
effects. When 00 : Thru is
selected, the insertion effect
will not be applied.
Using Insertion Effects
■ Insertion Effect Parameters and their functions
■ EFX Type (Effect Type)
0–64
Choose the type of the insertion effects.
For details about effect types, refer to p.91.
■ EFX Parameter (Effect Parameter)
If you change the EFX type, the parameters of that effect are displayed.
For details about effect parameters, refer to p.91.
■ EFX To Rev
0–40–127
Adjust the send level of the sound that comes after the insertion effect to Reverb.
■ EFX To Cho
0–127
Adjust the send level of the sound that comes after the insertion effect to Chorus.
■ EFX To Dly
0–127
Adjust the send level of the sound that comes after the insertion effect to Delay
Turning the Insertion Effect On/Off
After you set the insertion effect settings, you have to activate each part to use the
effects.
1
2
Make sure that the Part Basic screen is selected, and use PART [
[
] to select the part.
] or
Part Basic screen (p.29)
Press [EDIT] to turn it on.
The editing screen will appear.
fig.9-72g
3
Press [EFFECT] ([F1]).
4
Press VAR. [
5
] or INST [
] to move the cursor to EFX.
Rotate the [VALUE] knob, or press [DEC] or [INC] to turn the Insertion
Effects ON/OFF.
After you have finished
setting the value in step 5,
you can simultaneously
press [DEC] and [INC] to
transmit the currently
displayed parameter value.
(p.135)
89
Using Insertion Effects
6
When you finish making settings, press [EXIT] to end the procedure.
The white circle located beside the EFX indication in the panel will be colored in
black.
fig.9-72h
■ Shortcut Keys
You can use the [SHIFT] button to easily switch an insertion effect on/off.
1
In the Part Basic screen, use PART [
2
While holding down [SHIFT], press [EFFECTS]
] or [
] to select the part.
Pan Settings When Using Insertion Effects
Whether the Pan setting will have effect or not changes depending on whether the
Insertion effect is stereo or monaural.
If a monaural Insertion effect is turned on, the settings for Part Pan (p.54) and Master
Pan (p.50) will be ignored.
<Example of Monaural Insertion effects> 02: Spectrum, 35: OD → Chorus, etc.
In the case of stereo Insertion effects, however, the settings for Part Pan (p.54) and
Master Pan (p.50) will be effective when the Insertion effect is on.
<Example of Stereo Insertion effects>
01: Stereo-EQ, 16: Hexa Chorus, etc.
The diagram for each effect shows whether the Insertion effect is monaural or stereo.
Effects that have discrete signal paths, from input to output, for L and R are stereo;
those that do not are monaural.
System Effect Settings When Using Insertion Effects
If the Insertion effect is turned on for two or more Parts, the sound of each Part will
be mixed, and the common settings are applied to these Parts. It will not be possible
to set reverb/chorus/delay/equalizer independently for these Parts. (Refer to the
figures on p.78)
For Parts for which the Insertion effect is Off, System effect settings can be made independently for each Part.
90
System effect settings
cannot be made independently for a part that uses
an insertion effect. If a
system effect is applied, the
level will be common to all
parts for which an insertion
effect is turned on, and
cannot be set independently for individual parts.
Using Insertion Effects
Insertion Effect Types
Effect types can be broadly grouped into the following
categories.
Effects that modify the tone color
(filter type)
(1–4)
Effects that distort the sound
(distortion type)
(5–6)
Effects that modulate the sound
(modulation type)
(7–13)
Effects that affect the level
(compressor type)
(14–15)
Effects that broaden the sound
(chorus type)
(16–20)
Effects that reverberate the sound
(delay/reverb type)
(21–28)
Effects that modify the pitch
(pitch shift type)
(29–30)
Others
(31–34)
Effects that connect two types of effect in series
(series 2)
(35–46)
Effects that connect three or more types of effect in series
(series 3/series 4/series 5)
(47–55)
Effects that connect two types of effect in parallel
(parallel 2)
(56–64)
In the explanations that follow, the hexadecimal values used
when making settings via Exclusive messages are given at
the end of the effect type line. The parameter number is
given in decimal form at the end of the Effect Parameter line.
Use these values when you use MIDI messages to set parameters. For details on using Exclusive messages, refer to page
131, 233.
For example, if you wish to set the effect type to 01:Stereo-EQ
(stereo equalizer) and set Low Freq (low frequency) to 400,
transmit the following Exclusive message.
1. Set the effect type to 1:Stereo-EQ.
fig.stereoEQ
F0 41 10 42 12 40 03 00 01 00 3C F7
address
for EFX
Value set for
Stereo EQ
2. Select the Low Freq.
fig.lowFreq
F0 41 10 42 12 40 03 03 01 39 F7
address
corresponding to [1]
*
Value to select
+400
See the Insertion Effect List on page 216 for the correspondence of
Parameter to Value.
*
See page 237 for the correspondence of Parameter number to Address.
*
Parameters with + or # symbols allow you to modify their value using a
specified controller, such as pitch bend lever and sliders, or with control
change messages (Modifying the Effect Parameters Using Controllers
p.129).
< Example >
01: Stereo-EQ
[01H, 00H]
This means that the value for Address corresponding to EFX
40H 03H 00H is MSB:01H, LSB:00H.
Low Freq
200/400 [1 (40 03 03)]
[1] describes that it’s the first parameter.
(40 03 03) describes that it’s the parameter’s address for [1].
91
Using Insertion Effects
00: Thru
[00H, 00H]
No effect will be applied. When a GM System On or GS Reset
messages (p.152) is received, 00 Thru will be selected for
Insertion Effect.
Effects that modify the tone color (filter type)
01: Stereo-EQ (Stereo Equalizer)
[01H, 00H]
02: Spectrum
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is
similar to an equalizer, but has 8 frequency points fixed at
locations most suitable for adding character to the sound.
fig.9-2
L
Spectrum
This is a four-band stereo equalizer (low, mid x 2, high).
fig.9-1
[01H, 01H]
Pan
R
L
EQ
Band 1 (Band 1 Gain)
Adjusts the 250 Hz level.
-12–+12 [1 (40 03 03)]
R
EQ
Band 2 (Band 2 Gain)
Adjusts the 500 Hz level.
-12–+12 [2 (40 03 04)]
Low Freq (Low Frequency)
200/400 [1 (40 03 03)]
Selects the frequency of the low range (200 Hz/400 Hz).
Band 3 (Band 3 Gain)
Adjusts the 1000 Hz level.
-12–+12 [3 (40 03 05)]
Low Gain
-12–+12 [2 (40 03 04)]
Adjusts the gain of the low frequency.
Band 4 (Band 4 Gain)
Adjusts the 1250 Hz level.
-12–+12 [4 (40 03 06)]
Hi Freq (High Frequency)
4k/8k [3 (40 03 05)]
Selects the frequency of the high range (4kHz/8kHz).
Band 5 (Band 5 Gain)
Adjusts the 2000 Hz level.
-12–+12 [5 (40 03 07)]
Hi Gain
-12–+12 [4 (40 03 06)]
Adjusts the gain of the high frequency.
Band 6 (Band 6 Gain)
Adjusts the 3150 Hz level.
-12–+12 [6 (40 03 08)]
M1 Freq (Mid 1 Frequency)
200–6.3k [5 (40 03 07)]
Adjusts the frequency of Mid 1 (mid range1).
Band 7 (Band 7 Gain)
Adjusts the 4000 Hz level.
-12–+12 [7 (40 03 09)]
M1 Q (Mid 1 Q)
0.5/1.0/2.0/4.0/9.0 [6 (40 03 08)]
This parameter adjusts the width of the area around the M1
Freq parameter that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
Band 8 (Band 8 Gain)
Adjusts the 8000 Hz level.
-12–+12 [8 (40 03 0A)]
M1 Gain (Mid 1 Gain)
-12–+12 [7 (40 03 09)]
Adjusts the gain for the area specified by the M1 Freq
parameter and M1 Q parameter settings.
M2 Freq (Mid 2 Frequency)
200–6.3k [8 (40 03 0A)]
Adjusts the frequency of Mid 2 (midrange2).
M2 Q (Mid 2 Q)
0.5/1.0/2.0/4.0/9.0 [9 (40 03 0B)]
This parameter adjusts the width of the area around the M2
Freq parameter that will be affected by the Gain setting.
Higher values of Q will result in a narrower area being
affected.
M2 Gain (Mid 2 Gain)
-12–+12 [10 (40 03 0C)]
Adjusts the gain for the area specified by the M2 Freq
parameter and M2 Q parameter settings.
+Level (Output Level)
Adjusts the output level.
92
0–127 [20 (40 03 16)]
Width (Band Width)
0.5/1.0/2.0/4.0/9.0 [9 (40 03 0B)]
Adjusts the width of the frequency bands whose gain is
being modified (common to all bands). Higher settings will
make the frequency band narrower.
+Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
03: Enhancer
[01H, 02H]
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
fig.9-3
L
EQ
Effects that distort the sound (distortion type)
05: Overdrive
[01H, 10H]
This effect creates a soft distortion similar to that produced
by tube amplifiers.
fig.9-5
Enhancer
L
Mix
Over
drive
Enhancer
R
EQ
Amp
Simulator
EQ
Pan
R
+Sens (Sensitivity)
0–127 [1 (40 03 03)]
Adjusts the sensitivity of the enhancer.
#Mix (Mix Level)
0–127 [2 (40 03 04)]
Adjusts the proportion by which the overtones generated
by the enhancer are combined with the direct sound.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
04: Humanizer
[01H, 03H]
This adds a vowel character to the sound, making it similar
to a human voice.
fig.9-4
L
Humanizer
EQ
Pan
R
Drive
Adjusts the depth of distortion.
Drive Sw (Drive Switch)
Turns Drive on/off.
+Vowel
Selects the vowel.
0–127 [1 (40 03 03)]
0–127 [1 (40 03 03)]
Amp Type (Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [2 (40 03 04)]
Select the type of guitar amp.
Small: small amp
BltIn: single-unit type amp
2-Stk: large double stack amp
3-Stk: large triple stack amp
Amp Sw (Amp Switch)
Turns the Amp Type on/off.
Off/On [3 (40 03 05)]
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
#Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
06: Distortion
[01H, 11H]
Off/On [2 (40 03 04)]
a/i/u/e/o [3 (40 03 05)]
This effect produces a more intense distortion than
Overdrive.
fig.9-6
L
Accel
0–15 [4 (40 03 06)]
Adjusts the time over which the sound will move to the
specified Vowel. Smaller values will require more time.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo position of the output sound. L63 is far
left, 0 is center, and R63 is far right.
#Level (Output Level)
Adjusts the output volume.
+Drive
Adjusts the degree of distortion.
0–127 [20 (40 03 16)]
Distortion
Amp
Simulator
EQ
Pan
R
+Drive
Adjusts the degree of distortion.
0–127 [1 (40 03 03)]
Amp Type (Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [2 (40 03 04)]
Selects the type of guitar amp.
Small: small amp
BltIn: single-unit type amp
2-Stk: large double stack amp
3-Stk: large triple stack amp
93
Using Insertion Effects
Amp Sw (Amp Switch)
Turns the Amp Type on/off.
Off/On [3 (40 03 05)]
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
#Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Effects that modulate the sound (modulation type)
07: Phaser
[01H, 20H]
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
and depth.
fig.9-7
L
Phaser
EQ
R
Phaser
EQ
+Manual
100–8.0k [1 (40 03 03)]
Adjusts the basic frequency from which the sound will be
modulated.
#Rate
0.05–10.0 [2 (40 03 04)]
Adjusts the frequency (period) of modulation.
Depth
Adjusts the depth of modulation.
0–127 [3 (40 03 05)]
Reso (Resonance)
0–127 [4 (40 03 06)]
Adjusts the amount of emphasis added to the frequency
range surrounding the basic frequency determined by the
Manual parameter setting.
Mix (Mix Level)
0–127 [5 (40 03 07)]
Adjusts the proportion by which the phase-shifted sound is
combined with the direct sound.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
08: Auto Wah
[01H, 21H]
The Auto Wah cyclically controls a filter to create cyclic
change in timbre.
fig.9-8
L
Wah
Pan
R
Fil Type (Filter Type)
LPF/BPF [1 (40 03 03)]
Selects the 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.
Sens (Sensitivity)
0–127 [2 (40 03 04)]
Adjusts the sensitivity with which the filter is controlled. If
this value is increased, the filter frequency will change more
readily in response to the input level.
+Manual
0–127 [3 (40 03 05)]
Adjusts the center frequency from which the effect is
applied.
Peak
0–127 [4 (40 03 06)]
Adjusts the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be
applied in a more narrow range. In the case of LPF,
decreasing the value will cause the wah effect to change
less.
#Rate
0.05–10.0 [5 (40 03 07)]
Adjusts the speed of the modulation.
Depth
0–127 [6 (40 03 08)]
Adjusts the depth of the modulation.
Polarity
Down/Up [7 (40 03 09)]
Sets the direction in which the frequency will change when
the filter is modulated. With a setting of Up, the filter will
change toward a higher frequency. With a setting of Down
it will change toward a lower frequency.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range for EQ.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range for EQ.
Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
Level (Output Level)
Adjusts the output level.
94
EQ
0–127 [20 (40 03 16)]
Using Insertion Effects
09: Rotary
[01H, 22H]
The Rotary effect simulates the sound of a classic rotary
speakers. Since the movement of the high range and low
range rotors can be set independently, the unique
modulation characteristics of these speakers can be simulated
quite reliably. This effect is most suitable for electric organ.
fig.9-9
L
EQ
Rotary
R
EQ
Low Slow (Low Frequency Slow Rate)
0.05–10.0 [1 (40 03 03)]
Adjusts the slow speed of the low frequency rotor.
Low Fast (Low Frequency Fast Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the fast speed of the low frequency rotor.
Low Accl (Low Frequency Acceleration)
0–15 [3 (40 03 05)]
Adjusts the time it takes for 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.
Low Level (Low Frequency Level) 0–127 [4 (40 03 06)]
Adjusts the volume of the low frequency rotor.
Hi Slow (High Frequency Slow Rate)
0.05–10.0 [5 (40 03 07)]
Adjusts the slow speed of the high frequency rotor.
Hi Fast (High Frequency Fast Rate)
0.05–10.0 [6 (40 03 08)]
Adjusts the fast speed of the high frequency rotor.
Hi Accl (High Frequency Acceleration) 0–15 [7 (40 03 09)]
Adjusts the time it takes for the high 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.
Hi Level (High Frequency Level)
0–127 [8 (40 03 0A)]
Adjusts the volume of the high frequency rotor.
Separate (Separation)
0–127 [9 (40 03 0B)]
Adjusts the spatial dispersion of the sound.
+Speed
Slow/Fast [11 (40 03 0D)]
Simultaneously switches the rotational speed of the low
frequency rotor and high frequency rotor.
Slow: Slows down the rotation to the specified
speed (the Low Slow parameter/Hi Slow
parameter values).
Fast:
Speeds up the rotation to the specified speed
(the Low Fast parameter/Hi Fast parameter
values).
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range for EQ.
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
10: Stereo Flanger
[01H, 23H]
This is a stereo flanger. It produces a metallic resonance that
rises and falls like a jet airplane taking off or landing. A filter
is provided so that you can adjust the timbre of the flanged
sound.
fig.9-10
L
EQ
Flanger
Flanger
R
Balance
EQ
Pre Filter (Pre Filter Type)
Off/LPF/HPF [1 (40 03 03)]
Selects the type of filter.
Off:
a filter will not be used
LPF:
cut the frequency range above the Cutoff
parameter
HPF:
cut the frequency range below the Cutoff
parameter
Cutoff (Cutoff Frequency)
250–8k [2 (40 03 04)]
Adjusts the basic frequency of the filter.
Pre Dly (Pre Delay Time)
0–100ms [3 (40 03 05)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
+Rate
Adjusts the rate of modulation.
Depth
Adjusts the depth of modulation.
0.05–10.0 [4 (40 03 06)]
0–127 [5 (40 03 07)]
#Feedback (Feedback Level)
-98%–+98% [6 (40 03 08)]
Adjusts the amount (%) of the processed sound that is
returned (fed back) into the input. Negative (-) settings will
invert the phase.
Phase
0–180 [7 (40 03 09)]
Adjusts the spatial spread of the sound.
Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range for EQ.
95
Using Insertion Effects
11: Step Flanger
[01H, 24H]
12: Tremolo
[01H, 25H]
The Step Flanger is an effect in which the flanger pitch
changes in steps.
Tremolo cyclically modulates the volume to add tremolo
effect to the sound.
fig.9-11
fig.9-12
L
EQ
L
Tremolo
EQ
EQ
R
Tremolo
EQ
Flanger
Flanger
R
Balance
Pre Dly (Pre Delay Time)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
Rate
Adjusts the rate of modulation.
Depth
Adjusts the depth of modulation.
0.05–10.0 [2 (40 03 04)]
0–127 [3 (40 03 05)]
+Feedback (Feedback Level)
-98%–+98% [4 (40 03 06)]
Adjusts the amount (%) of the processed sound that is
returned (fed back) into the input. Negative (-) settings will
invert the phase.
Phase
0–180 [5 (40 03 07)]
Adjusts the spatial spread of the sound.
Mod Wave (Modulation Wave)
Tri/Sqr/Sin/Saw1/Saw2 [1 (40 03 03)]
Selects the type of modulation.
Tri:
The sound will be modulated like a triangle
wave.
Sqr:
The sound will be modulated like a square
wave.
Sin:
The sound will be modulated like a sine
wave.
Saw1,2: The sound will be modulated like a
sawtooth wave. The teeth in Saw1 and
Saw2 point at opposite directions.
fig.9-13
Saw1
Saw2
#Step Rate
0.05–10.0 [6 (40 03 08)]
Adjusts the rate (period) of pitch change.
Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
+Mod Rate (Modulation Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the speed of modulation.
#Mod Depth (Modulation Depth)
Adjusts the depth of modulation.
0–127 [3 (40 03 05)]
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
Level (Output Level)
Adjusts the output level.
96
0–127 [20 (40 03 16)]
0–127 [20 (40 03 16)]
Using Insertion Effects
13: Auto Pan
[01H, 26H]
The Auto Pan effect cyclically modulates the stereo location
of the sound.
fig.9-14
L
Auto Pan
EQ
R
Auto Pan
EQ
Post Gain
Adjusts the output gain.
Mod Wave (Modulation Wave)
Tri/Sqr/Sin/Saw1/Saw2 [1 (40 03 03)]
Selects the type of modulation.
Tri:
The sound will be modulated like a triangle
wave.
Sqr:
The sound will be modulated like a square
wave.
Sin:
The sound will be modulated like a sine
wave.
Saw1,2: The sound will be modulated like a
sawtooth wave. The teeth in Saw1 and
Saw2 point at opposite direction.
fig.9-14a
Saw1
Sustain
0–127 [2 (40 03 04)]
Adjusts the time over which low level sounds are boosted
until they reach the specified volume.
Increasing the value will shorten the time. When the value
is modified, the level will also change.
0/+6/+12/+18 [3 (40 03 05)]
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
+Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
15: Limiter
[01H, 31H]
The Limiter compresses signals that exceed a specified
volume level, preventing distortion from occurring.
fig.9-16
L
Saw2
Limiter
EQ
Pan
R
+Mod Rate (Modulation Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the frequency of modulation.
Threshold (Threshold Level)
0–127 [1 (40 03 03)]
Adjusts the volume at which compression will begin.
#Mod Depth (Modulation Depth)
Adjusts the depth of modulation.
Ratio (Compression Ratio)
1/1.5,1/2,1/4,1/100 [2 (40 03 04)]
This adjusts the compression ratio for signals that are
louder than the Threshold Level. 1/100 is the highest
compression ratio, and the output level will decrease.
0–127 [3 (40 03 05)]
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Effects that affect the level (compressor type)
14: Compressor
[01H, 30H]
The Compressor flattens out high levels and boosts low
levels, smoothing out unevenness in volume.
fig.9-15
L
Compressor
EQ
Pan
R
Attack
0–127 [1 (40 03 03)]
Adjusts the attack time of an input sound.
Release (Release Time)
0–127 [3 (40 03 05)]
Adjusts the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Post Gain
Adjusts the output gain.
0/+6/+12/+18 [4 (40 03 06)]
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
+Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
97
Using Insertion Effects
Effects that broaden the sound (chorus type)
16: Hexa Chorus
[01H, 40H]
Hexa-chorus uses a six-phase chorus (six layers of chorused
sound) to give richness and spatial spread to the sound.
[01H, 41H]
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
fig.9-18
L
fig.9-17
L
R
Balance
R
Depth
Adjusts the depth of modulation.
EQ
Pre Dly (Pre Delay Time)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
0.05–10.0 [2 (40 03 04)]
Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus effect.
0–127 [3 (40 03 05)]
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus effect.
Pre Dly Dev (Pre Delay Deviation)
0–20 [4 (40 03 06)]
The Pre Delay is the time from when the original sound
begins until when the chorus sound is heard. This adjusts
the difference in Pre Delay between each of the six phases
of chorus sound.
Depth Dev (Depth Deviation)
-20–+20 [5 (40 03 07)]
Adjusts the difference in modulation depth between each of
the six phases of chorus sound.
Pan Dev (Pan Deviation)
0–20 [6 (40 03 08)]
Adjusts the difference in stereo position between each of
the six phases of chorus sound. With a setting of 0, all the
chorus sound will be located in the center. With a setting of
20, each chorus sound will be placed in 30 degree intervals
relative to the center position.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
Balance
EQ
Pre Dly (Pre Delay Time)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
+Rate
Adjusts the rate of modulation.
EQ
Tremolo
Chorus
EQ
Hexa
Chorus
98
17: Tremolo Chorus
0–127 [20 (40 03 16)]
Trem Phase (Tremolo Phase)
0–180 [4 (40 03 06)]
Adjusts the width of the tremolo sound.
+Trem Rate (Tremolo Rate)
0.05–10.0 [5 (40 03 07)]
Adjusts the modulation speed of the tremolo effect.
Trem Sep (Tremolo Separation)
0–127 [6 (40 03 08)]
Adjusts the spatial spread of the tremolo effect.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
18: Stereo Chorus
[01H, 42H]
This is a stereo chorus. A filter is provided so that you can
adjust the timbre of the chorus sound.
fig.9-19
L
EQ
19: Space D
Space-D is a multiple chorus that applies two-phase
modulation in stereo. It gives no impression of modulation,
but produces a transparent chorus effect.
fig.9-20
Chorus
Chorus
R
L
Balance
Cutoff (Cutoff Frequency)
250–8k [2 (40 03 04)]
Adjusts the center frequency of the filter for the chorus
sound.
Pre Dly (Pre Delay Time)
0–100ms [3 (40 03 05)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
Depth
Adjusts the depth of modulation.
0.05–10.0 [4 (40 03 06)]
0–127 [5 (40 03 07)]
EQ
Space D
EQ
Pre Filter (Pre Filter Type)
Off/LPF/HPF [1 (40 03 03)]
Selects the type of filter.
Off:
a filter will not be used
LPF:
cut the frequency range above the cutoff
HPF:
cut the frequency range below the cutoff
+Rate
Adjusts the rate of modulation.
[01H, 43H]
Balance
R
EQ
Pre Dly (Pre Delay Time)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
+Rate
Adjusts the rate of modulation.
Depth
Adjusts the depth of modulation.
0.05–10.0 [2 (40 03 04)]
0–127 [3 (40 03 05)]
Phase
0–180 [4 (40 03 06)]
Adjusts the spatial spread of the sound.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Phase
0–180 [7 (40 03 09)]
Adjusts the spatial spread of the sound.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
20: 3D Chorus
[01H, 44H]
This applies a 3D effect to the chorus sound. The chorus
sound will be positioned 90 degrees left and 90 degrees right.
fig.9-21
L
EQ
3D Chorus
R
Balance
EQ
Pre Dly (Pre Delay Time)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
+Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus sound.
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus sound.
99
Using Insertion Effects
Out (Output Mode)
Speaker/Phones [15 (40 03 11)]
Specifies 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 (p.128).
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Effects that reverberate the sound
(delay/reverb type)
21: Stereo Delay
[01H, 50H]
This is a stereo delay.
Fb Mode is Norm:
fig.9-22
Delay
HF
EQ
Balance
Delay
HF
Balance
L
R
EQ
Phase L (Phase Left)
Norm/Invert [5 (40 03 07)]
Selects the phase of the left delay sound.
Norm: Phase will not be changed.
Invert: Phase will be inverted.
Phase R (Phase Right)
Norm/Invert [6 (40 03 08)]
Selects the phase of the right delay sound.
Norm: Phase will not be changed.
Invert: Phase will be inverted.
HF Damp
315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to Bypass.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Fb Mode is Cross:
fig.9-23
Delay
HF
EQ
Balance
Delay
HF
Balance
L
R
Fb Mode (Feedback Mode)
Norm/Cross [4 (40 03 06)]
Selects the way in which processed sound is fed back into
the effect.
Norm: The left delay sound will be fed back into the
left delay, and the right delay sound into the
right delay.
Cross: The left delay sound will be fed back into the
right delay, and the right delay sound into
the left delay.
EQ
Dly Tm L (Delay Time Left)
0–500ms [1 (40 03 03)]
Adjusts the time from the original sound until when the left
delay sound is heard.
Level (Output Level)
Adjusts the output level.
22: Mod Delay (Modulation Delay)
fig.9-24
Delay
HF
EQ
Balance
Delay
HF
Balance
L
R
EQ
Fb Mode is Cross:
fig.9-25
Delay
HF
EQ
Balance
Delay
HF
Balance
L
R
100
[01H, 51H]
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
Fb Mode is Norm:
Dly Tm R (Delay Time Right)
0–500ms [2 (40 03 04)]
Adjusts the time from the original sound until when the
right delay sound is heard.
+Feedback (Feedback Level)
-98%–+98% [3 (40 03 05)]
Adjusts the proportion (%) of the processed sound that is
fed back into the effect. Negative (-) settings will invert the
phase.
0–127 [20 (40 03 16)]
EQ
Using Insertion Effects
Dly Tm L (Delay Time Left)
0–500ms [1 (40 03 03)]
Adjusts the time from the original sound until when the left
delay sound is heard.
Dly Tm R (Delay Time Right)
0–500ms [2 (40 03 04)]
Adjusts the time from the original sound until when the
right delay sound is heard.
23: 3 Tap Delay (Triple Tap Delay)
The Triple Tap Delay produces three delay sounds; center,
left and right.
fig.9-26
L
Delay Left
Feedback (Feedback Level) -98%–+98% [3 (40 03 05)]
Adjusts the proportion (%) of the processed sound that is
fed back into the effect. Negative (-) settings will invert the
phase.
Fb Mode (Feedback Mode)
Norm/Cross [4 (40 03 06)]
Selects the way in which processed sound is fed back into
the effect.
Norm: The left delay sound will be fed back into the
left delay, and the right delay sound into the
right delay.
Cross: The left delay sound will be fed back into the
right delay, and the right delay sound into
the left delay.
+Mod Rate (Modulation Rate)
0.05–10.0 [5 (40 03 07)]
Adjusts the speed of the modulation.
Mod Depth (Modulation Depth)
0–127 [6 (40 03 08)]
Adjusts the depth of the modulation.
Mod Phase (Modulation Phase)
0–180 [7 (40 03 09)]
Adjusts the spatial spread of the sound.
HF Damp
315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not wish to cut the high
frequencies of the feedback, set this parameter to Bypass.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
[01H, 52H]
Level
Balance
Delay Center
HF
Delay Right
Balance
R
Dly Tm C (Delay Time Center)
200–990ms/1sec [1 (40 03 03)]
Adjusts the time delay from the direct sound until when the
center delay sound is heard.
Dly Tm L (Delay Time Left)
200–990ms/1sec [2 (40 03
04)]
Adjusts the time delay from the direct sound until when the
left delay sound is heard.
Dly Tm R (Delay Time Right)
200–990ms/1sec [3 (40 03 05)]
Adjusts the time delay from the direct sound until when the
right delay sound is heard.
+Feedback (Feedback Level)
-98%–+98% [4 (40 03 06)]
Adjusts the proportion (%) of the Center Delay sound that
is fed back into the effect. Negative (-) settings will invert
the phase.
Dly Lev C (Delay Level Center)
0–127 [5 (40 03 07)]
Adjusts the volume of Center Delay sound.
Dly Lev L (Delay Level Left)
0–127 [6 (40 03 08)]
Adjusts the volume of Left Delay sound.
Dly Lev R (Delay Level Right)
0–127 [7 (40 03 09)]
Adjusts the volume of Right Delay sound.
HF Damp
315–8k/Bypass [8 (40 03 0A)]
This adjusts the frequency at which the high range is cut
when the Center Delay sound is returned to the input. If
you do not wish to cut the high range, set this to Bypass.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
101
Using Insertion Effects
24: 4 Tap Delay (Quadruple Tap Delay)
[01H, 53H]
The Quadruple Tap Delay has four delays.
fig.9-27
L
Delay 4
Level
Balance
25: Tm Ctrl Delay (Time Control Delay)
This effect allows you to use a specified controller (the
controller selected in EFX C.Src (p.130)) to control the delay
time and pitch in real time. Lengthening the delay time will
lower the pitch, and shortening it will raise the pitch.
fig.9-28
Delay 3
L
Delay 2
EQ
Delay
Delay 1
HF
Balance
R
R
Dly Tm 1 (Delay Time 1) 200–990ms/1sec [1 (40 03 03)]
Adjusts the time delay from the direct sound until when the
Delay 1 sound is heard.
Dly Tm 2 (Delay Time 2) 200–990ms/1sec [2 (40 03 04)]
Adjusts the time delay from the direct sound until when the
Delay 2 sound is heard.
Dly Tm 3 (Delay Time 3) 200–990ms/1sec [3 (40 03 05)]
Adjusts the time delay from the direct sound until when the
Delay 3 sound is heard.
Dly Tm 4 (Delay Time 4) 200–990ms/1sec [4 (40 03 06)]
Adjusts the time delay from the direct sound until when the
Delay 4 sound is heard.
Dly Lev 1 (Delay Level 1)
0–127 [5 (40 03 07)]
Adjusts the volume of the Delay 1 sound.
Dly Lev 2 (Delay Level 2)
0–127 [6 (40 03 08)]
Adjusts the volume of the Delay 2 sound.
Dly Lev 3 (Delay Level 3)
0–127 [7 (40 03 09)]
Adjusts the volume of the Delay 3 sound.
Dly Lev 4 (Delay Level 4)
0–127 [8 (40 03 0A)]
Adjusts the volume of the Delay 4 sound.
+Feedback (Feedback Level) -98%–+98% [9 (40 03 0B)]
Adjusts the proportion (%) of the Delay 1 sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
HF Damp
315–8k/Bypass [10 (40 03 0C)]
This adjusts the frequency at which the high range is cut
when the Delay 1 sound is returned to the input. If you do
not wish to cut the high range, set this to Bypass.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
102
[01H, 54H]
0–127 [20 (40 03 16)]
HF
Pan Balance
EQ
+Dly Time (Delay Time)
200–990ms/1sec [1 (40 03 03)]
Adjusts the time delay from the direct sound until when
each delay sound is heard.
Accel (Acceleration)
0–15 [2 (40 03 04)]
This parameter adjusts the speed over which the Delay
Time will change from the current setting to a newly
specified setting. The rate of change for the Delay Time
directly affects the rate of pitch change.
#Feedback (Feedback Level)
-98%–+98% [3 (40 03 05)]
Adjusts the proportion (%) of the processed sound that is
fed back into the effect. Negative (-) settings will invert the
phase.
HF Damp
315–8k/Bypass [4 (40 03 06)]
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not wish to cut the high
frequencies of the feedback, set this parameter to Bypass.
EFX Pan (Effect Output Pan) L63–0–R63 [5 (40 03 07)]
Adjusts the stereo location of the processed sound. L63 is
far left, 0 is center, and R63 is far right.
Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
26: Reverb
[01H, 55H]
27: Gate Reverb
[01H, 56H]
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.
fig.9-29
fig.9-30
L
EQ
Reverb
R
L
Balance
EQ
EQ
Reverb
R
Balance
EQ
Type (ReverbType)
Room1/2/Stage1/2/Hall1/2 [1 (40 03 03)]
Selects the type of Reverb effect.
Room1: dense reverb with short decay
Room2: sparse reverb with short decay
Stage1: reverb with greater late reverberation
Stage2: reverb with strong early reflections
Hall1:
reverb with clear reverberance
Hall2:
reverb with rich reverberance
Type (Gate Reverb Type)
Norm/Reverse/Sweep1/2 [1 (40 03 03)]
Selects the type of reverb.
Norm:
conventional gate reverb
Reverse: backwards reverb
Sweep1: the reverberant sound moves from right to
left
Sweep2: the reverberant sound moves from left to
right
Pre Dly (Pre Delay Time)
0–100ms [2 (40 03 04)]
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
Pre Dly (Pre Delay Time)
0–100ms [2 (40 03 04)]
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
+Time (Reverb Time)
0–127 [3 (40 03 05)]
Adjusts the time length of reverberation.
Gate Time
5–500ms [3 (40 03 05)]
Adjusts the time from when the reverb is heard until when
it disappears.
HF Damp
315–8k/Bypass [4 (40 03 06)]
Adjusts the frequency above which the reverberant sound
will be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more
muted reverberance. If you do not want the high
frequencies to be cut, set this parameter to Bypass.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
+Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
103
Using Insertion Effects
28: 3D Delay
[01H, 57H]
This applies a 3D effect to the delay sound. The delay sound
will be positioned 90 degrees left and 90 degrees right.
fig.9-31
L
3D Delay L
Level
EQ
Effects that modify the pitch (pitch shift type)
29: 2 Pitch Shifter (2-Voice Pitch Shifter)
A Pitch Shifter shifts the pitch of the original sound. This 2voice pitch shifter has two pitch shifters, and can add two
pitch shifted sounds to the original sound.
fig.9-32
EQ
L
3D Delay C
3D Delay R
R
EQ
Dly Tm C (Delay Time Center)
0–500ms [1 (40 03 03)]
Adjusts the time from the original sound until when the
center delay sound begins.
Dly Tm L (Delay Time Left)
0–500ms [2 (40 03 04)]
Adjusts the time from the original sound until when the left
delay sound begins.
Dly Tm R (Delay Time Right)
0–500ms [3 (40 03 05)]
Adjusts the time from the original sound until when the
right delay sound begins.
+Feedback (Delay Feedback) -98%–+98% [4 (40 03 06)]
Adjusts the amount (%) of the center delay sound that will
be returned to the input. With negative (-) settings, the
phase will be inverted.
Dly Lev C (Delay Level Center)
0–127 [5 (40 03 07)]
Adjusts the volume of the Center Delay sound.
Dly Lev L (Delay Level Left)
0–127 [6 (40 03 08)]
Adjusts the volume of the Left Delay sound.
Dly Lev R (Dely Level Right)
0–127 [7 (40 03 09)]
Adjusts the volume of the Right Delay sound.
HF Damp
315–8k/Bypass [8 (40 03 0A)]
This adjusts the frequency at which the high range is cut
when the Center Delay sound is returned to the input. If
you do not wish to cut the high range, set this to Bypass.
Out (Output Mode)
Speaker/Phones [15 (40 03 11)]
Specifies 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 (p.128).
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
104
Pitch 1
Pan
Pitch 2
Pan
Balance
HF
R
[01H, 60H]
0–127 [20 (40 03 16)]
EQ
+Coarse 1 (Coarse Pitch 1)
-24–0–+12 [1 (40 03 03)]
Adjusts the pitch of Pitch Shift 1 in semitone steps (-2–+1
octaves).
Fine 1 (Fine Pitch 1)
-100–0–+100 [2 (40 03 04)]
Make fine adjustments to the pitch of Pitch Shift 1 in 2-cent
steps (-100–+100 cents).
Pre Dly 1 (Pre Delay Time 1)
0–100ms [3 (40 03 05)]
Adjusts the time delay from when the direct sound begins
until the Pitch Shift 1 sound is heard.
EFX Pan 1 (Effect Output Pan 1) L63–0–R63 [4 (40 03 06)]
Adjusts the stereo location of the Pitch Shift 1 sound. L63 is
far left, 0 is center, and R63 is far right.
#Coarse 2 (Coarse Pitch 2)
-24–0–+12 [5 (40 03 07)]
Adjusts the pitch of Pitch Shift 2 in semitone steps (-2–+1
octaves).
Fine 2 (Fine Pitch 2)
-100–0–+100 [6 (40 03 08)]
Make fine adjustments to the pitch of Pitch Shift 2 in 2-cent
steps (-100–+100 cents).
Pre Dly 2 (Pre Delay Time 2)
0–100ms [7 (40 03 09)]
Adjusts the time delay from when the direct sound begins
until the Pitch Shift 2 sound is heard.
EFX Pan 2 (Effect Output Pan 2)
L63–0–R63 [8 (40 03
0A)]
Adjusts the stereo location of the Pitch Shift 2 sound. L63 is
far left, 0 is center, and R63 is far right.
Shift Mode (Pitch Shifter Mode)
1–5 [9 (40 03 0B)]
Higher settings of this parameter will result in slower
response, but steadier pitch.
L.Bal (Level Balance)
A> 0B–A0<B [10 (40 03 0C)]
Adjusts the volume balance between the Pitch Shift 1 and
the Pitch Shift 2 sounds.
Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
0–127 [20 (40 03 16)]
Adjusts the output level.
Using Insertion Effects
30: Fb P.Shifter (Feedback Pitch Shifter)
[01H, 61H]
This pitch shifter allows the pitch shifted sound to be
returned into the effect.
fig.9-33
Others
31: 3D Auto
[01H, 70H]
The 3D Auto effect rotates the location of the sound.
fig.9-34
EQ
L
Pitch
R
L
3D Auto
Pan Balance
EQ
+P.Coarse (Coarse Pitch)
-24–0–+12 [1 (40 03 03)]
Adjusts the pitch of the pitch shifted sound in semitone
steps (-2–+1 octaves).
P.Fine (Fine Pitch)
-100–0–+100 [2 (40 03 04)]
Make fine adjustsments to the pitch of the pitch shifted
sound in 2-cent steps (-100–+100 cents).
#Feedback (Feedback Level)
-98%–+98% [3 (40 03 05)]
Adjusts the proportion (%) of the processed sound that is
fed back into the effect. Negative (-) settings will invert the
phase.
Pre Dly (Pre Delay Time)
0–100ms [4 (40 03 06)]
Adjusts the time delay from when the direct sound begins
until the pitch shifted sound is heard.
Mode (Pitch Shifter Mode)
1–5 [5 (40 03 07)]
Higher settings for this parameter will result in slower
response, but steadier pitch.
EFX Pan (Effect Output Pan) L63–0–R63 [6 (40 03 08)]
Adjusts the stereo location of the pitch shifted sound. L63 is
far left, 0 is center, and R63 is far right.
R
Azimuth
180/L168–0–R168 [1 (40 03 03)]
Sets the location at which the sound will stop when rotation
is stopped.
A setting of 0 positions the sound in the center.
+Speed
Sets the speed of rotation.
0.05–10.0 [2 (40 03 04)]
Clockwise
-/+ [3 (40 03 05)]
Sets the direction of rotation. A setting of - is counterclockwise, and + is clockwise.
#Turn
Off/On [4 (40 03 06)]
This stops or starts the rotation. When this is turned On, the
sound will rotate. When turned Off, rotation will stop at the
location specified by Azimuth.
Out (Output Mode)
Speaker/Phones [15 (40 03 11)]
Specifies 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 (p.128).
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
105
Using Insertion Effects
32: 3D Manual
[01H, 71H]
This places the 3D effect at a desired location.
34: Lo-Fi 2
[01H, 73H]
Lo-Fi 2 is an effect that intentionally degrades the sound
quality and allows a variety of noise to be added.
fig.9-35
L
*
If the R.Detune (Radio Detune), W/P Level (White/Pink Noise Level),
Disc Nz Lev (Disc Noise Level), or Hum Level settings are raised, there
3D Locate
will be noise even when the input sound is silent.
R
fig.9-37
+Azimuth
180/L168–0–R168 [1 (40 03 03)]
Specifies the location. A setting of 0 positions the sound in
the center.
Out (Output Mode)
Speaker/Phones [15 (40 03 11)]
Specifies 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 (p.128).
#Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
33: Lo-Fi 1
[01H, 72H]
Lo-Fi 1 is an effect that intentionally degrades the sound
quality.
fig.9-36
L
Lo-Fi
EQ
Pan
R
Pre Filter (Pre Filter Type)
1–6 [1 (40 03 03)]
Specifies the type of filter that will be applied before the
sound passes through the Lo-Fi effect.
Lo-Fi Type
1–9 [2 (40 03 04)]
Degrades the sound quality. The sound quality will become
poorer as this value is increased.
Post Filter (Post Filter Type)
1–6 [3 (40 03 05)]
Specifies the type of filter that will be applied after the
sound passes through the Lo-Fi effect.
+Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
processed sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
#Pan (Output Pan)
L63–0–R63 [19 (40 03 15)]
Adjusts the stereo location of the output sound. L63 is far
left, 0 is center, and R63 is far right.
Level (Output Level)
Adjusts the output level.
106
0–127 [20 (40 03 16)]
Radio
L
EQ
Lo-Fi
Balance
Lo-Fi
R
EQ
Noise
Generator
Lo-Fi Type
1–6 [1 (40 03 03)]
Degrades the sound quality. The sound quality will become
poorer as this value is increased.
Fil Type (Filter Type)
Off/LPF/HPF [2 (40 03 04)]
Specifies the type of filter that is applied after the sound
passes through the Lo-Fi effect.
Cutoff (Cutoff Frequency)
250–8 k [3 (40 03 05)]
Specifies the cutoff frequency of the filter that is applied
after the sound passes through the Lo-Fi effect.
+R.Detune (Radio Detune)
0–127 [4 (40 03 06)]
This simulates the tuning noise of a radio. As this value is
raised, the tuning will drift further.
R.Nz Lev (Radio Noise Level)
0–127 [5 (40 03 07)]
Adjusts the volume of the radio noise.
W/P Sel (White/Pink Noise Select)
White/Pink [6 (40 03 08)]
Selects either white noise or pink noise.
W/P LPF (White/Pink Noise LPF)
250–6.3 k/Bypass [7 (40 03 09)]
Specifies the cutoff frequency of the low pass filter that is
applied to the white noise or pink noise.
W/P Level (White/Pink Noise Level) 0–127 [8 (40 03 0A)]
Specifies the volume of the white noise or pink noise.
Disc Type (Disc Noise Type)LP/EP/SP/RND [9 (40 03 0B)]
Selects the type of record noise. The frequency at which the
noise is heard will depend on the selected type.
Disc LPF (Disc Noise LPF)
250–6.3 k/Bypass [10 (40 03 0C)]
Specifies the cutoff frequency of the low pass filter that is
applied to the record noise.
Disc Nz Lev (Disc Noise Level)
0–127 [11 (40 03 0D)]
Specifies the volume of the record noise.
Hum Type (Hum Noise Type)
Selects the type of hum noise.
50/60 Hz [12 (40 03 0E)]
Using Insertion Effects
Hum LPF (Hum Noise LPF)
250–6.3 k/Bypass [13 (40 03 0F)]
Specifies the cutoff frequency of the low pass filter that is
applied to the hum noise.
Effects that connect two types of effect in series
(series 2)
Hum Level (Hum Noise Level)
0–127 [14 (40 03 10)]
Specifies the volume of the hum noise.
This effect connects an overdrive and a chorus in series.
M/S (Mono/Stereo Switch) Mono/Stereo [15 (40 03 11)]
Selects whether the effect sound will be monaural or stereo.
#Balance (Effect Balance)
D>0E–D0<E [16 (40 03 12)]
Adjusts the volume balance between the direct and the
effect sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
-12–+12 [17 (40 03 13)]
Adjusts the gain of the low frequency range.
Hi Gain (High Gain)
-12–+12 [18 (40 03 14)]
Adjusts the gain of the high frequency range.
Pan (Mono) (Output Pan (Mono))
L63–0–R63 [19 (40 03 15)]
When Mono mode is used, adjust the stereo location of the
output sound. L63 is far left, 0 is center, and R63 is far right.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
35: OD → Chorus (Overdrive → Chorus)
[02H, 00H]
fig.9-38
EQ
L
Overdrive
Chorus
R
Balance
EQ
OD Drive (Overdrive Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of overdrive distortion. The volume will
change together with the degree of distortion.
+OD Pan (Overdrive Drive Output Pan)
L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the overdrive sound. L63 is
far left, 0 is center, and R63 is far right.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn: single-unit type amp
2-Stk: large double stack amp
3-Stk: large triple stack amp
OD Amp Sw (Overdrive Amp Switch)
Off/On [4 (40 03 06)]
Turns OD Amp on/off.
Cho Dly (Chorus Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heared.
Cho Rate (Chorus Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the chorus effect.
Cho Depth (Chorus Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the chorus effect.
#Cho Bal (Chorus Balance) D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the chorus and the sound that does not. With a
setting of D>0E, only the overdrive sound will be output,
and with a setting of D0<E, the overdrive sound that passes
through the chorus will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
107
Using Insertion Effects
36: OD → Flanger (Overdrive → Flanger)
[02H, 01H]
37: OD → Delay (Overdrive → Delay)
[02H, 02H]
This effect connects an overdrive and a flanger in series.
This effect connects an overdrive and a delay in series.
fig.9-39
fig.9-40
EQ
L
Overdrive
Flanger
R
Overdrive
Balance
EQ
EQ
L
Delay
R
Balance
EQ
OD Drive (Overdrive Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of overdrive distortion. The volume will
change together with the degree of distortion.
OD Drive (Overdrive Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of overdrive distortion. The volume will
change together with the degree of distortion.
+OD Pan (Overdrive Output Pan) L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the overdrive sound. L63 is
far left, 0 is center, and R63 is far right.
+OD Pan (Overdrive Output Pan) L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the overdrive sound. L63 is
far left, 0 is center, and R63 is far right.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD Amp Sw (Overdrive Amp Switch)
Off/On [4 (40 03 06)]
Turns OD Amp on/off.
OD Amp Sw (Overdrive Amp Switch)
Off/On [4 (40 03 06)]
Turns OD Amp on/off.
FL Dly (Flanger Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
FL Rate (Flanger Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the flanger effect.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
FL Depth (Flanger Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the flanger effect.
FL Fb (Flanger Feedback Level)
-98%–+98% [9 (40 03
0B)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
#FL Bal (Flanger Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the flanger and the sound that does not. With a
setting of D>0E, only the overdrive sound will be output,
and with a setting of D0<E, the overdrive sound that passes
through the flanger will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the effect will be cut. If you do not wish to cut the high
frequencies of the feedback, set this parameter to Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the delay and the sound that does not. With a
setting of D>0E, only the overdrive sound will be output,
and with a setting of D0<E, the overdrive sound that passes
through the delay will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
-12–+12 [17 (40 03 13)]
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Low Gain
Adjusts the low frequency gain.
-12–+12 [18 (40 03 14)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
Level (Output Level)
Adjusts the output level.
108
0–127 [20 (40 03 16)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
38: DS → Chorus (Distortion → Chorus)
[02H, 03H]
39: DS → Flanger (Distortion → Flanger)
[02H, 04H]
This effect connects a distortion and a chorus in series.
This effect connects a distortion and a flanger in series.
fig.9-41
fig.9-42
EQ
L
Distortion
Chorus
R
Balance
EQ
EQ
L
Distortion
Flanger
R
Balance
EQ
DS Drive (Distortion Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
DS Drive (Distortion Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
+DS Pan (Distortion Output Pan) L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the distortion sound. L63 is
far left, 0 is center, and R63 is far right.
+DS Pan (Distortion Output Pan) L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the distortion sound. L63 is
far left, 0 is center, and R63 is far right.
DS Amp (Distortion Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
DS Amp (Distortion Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
DS Amp Sw (Distortion Amp Switch) Off/On [4 (40 03 06)]
Turns DS Amp on/off.
DS Amp Sw (Distortion Amp Switch) Off/On [4 (40 03 06)]
Turns DS Amp on/off.
Cho Dly (Chorus Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
FL Dly (Flanger Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Cho Rate (Chorus Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the chorus effect.
FL Rate (Flanger Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the flanger effect.
Cho Depth (Chorus Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the chorus effect.
FL Depth (Flanger Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the flanger effect.
#Cho Bal (Chorus Balance) D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the chorus and the sound that does not. With a
setting of D>0E, only the distortion sound will be output,
and with a setting of D0<E, the distortion sound that passes
through the chorus will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
FL Fb (Flanger Feedback Level)
-98%–+98% [9 (40 03 0B)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
#FL Bal (Flanger Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the flanger and the sound that does not. With a
setting of D>0E, only the distortion sound will be output,
and with a setting of D0<E, the distortion sound that passes
through the flanger will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
109
Using Insertion Effects
40: DS → Delay (Distortion → Delay )
[02H, 05H]
41: EH → Chorus (Enhancer → Chorus)
[02H, 06H]
This effect connects a distortion and a delay in series.
This effect connects an enhancer and a chorus in series.
fig.9-43
fig.9-44
EQ
L
Distortion
Delay
R
EQ
+DS Pan (Distortion Output Pan) L63–0–R63 [2 (40 03 04)]
Adjusts the stereo location of the distortion sound. L63 is
far left, 0 is center, and R63 is far right.
DS Amp (Distortion Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
DS Amp Sw (Distortion Amp Switch) Off/On [4 (40 03 06)]
Turns DS Amp on/off.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the effect will be cut. If you do not wish to cut the high
frequencies of the feedback, set this parameter to Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the delay and the sound that does not. With a
setting of D>0E, only the distortion sound will be output,
and with a setting of D0<E, the distortion sound that passes
through the delay will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
110
Enhancer
Balance
DS Drive (Distortion Drive)
0–127 [1 (40 03 03)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Level (Output Level)
Adjusts the output level.
L
0–127 [20 (40 03 16)]
EQ
Chorus
R
Enhancer
Balance
EQ
+EH Sens (Enhancer Sensitivity)
0–127 [1 (40 03 03)]
Adjusts the sensitivity of the enhancer.
EH Mix (Enhancer Mix Level)
0–127 [2 (40 03 04)]
Adjusts the proportion by which the overtones generated
by the enhancer are combined with the direct sound.
Cho Dly (Chorus Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
Cho Rate (Chorus Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the chorus effect.
Cho Depth (Chorus Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the chorus effect.
#Cho Bal (Chorus Balance)
D>0E–D0<E[10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the chorus and the sound that does not. With a
setting of D>0E, only the enhancer sound will be output,
and with a setting of D0<E, the enhancer sound that passes
through the chorus will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
42: EH → Flanger (Enhancer → Flanger)
[02H, 07H]
43: EH → Delay (Enhancer → Delay)
[02H, 08H]
This effect connects an enhancer and a flanger in series.
This effect connects an enhancer and a delay in series.
fig.9-45
fig.9-46
L
Enhancer
EQ
Flanger
R
Enhancer
L
Enhancer
Delay
Balance
EQ
EQ
R
Enhancer
Balance
EQ
+EH Sens (Enhancer Sensitivity)
0–127 [1 (40 03 03)]
Adjusts the sensitivity of the enhancer.
+EH Sens (Enhancer Sensitivity)
0–127 [1 (40 03 03)]
Adjusts the sensitivity of the enhancer.
EH Mix (Enhancer Mix Level)
0–127 [2 (40 03 04)]
Adjusts the proportion by which the overtones generated
by the enhancer are combined with the direct sound.
EH Mix (Enhancer Mix Level)
0–127 [2 (40 03 04)]
Adjusts the proportion by which the overtones generated
by the enhancer are combined with the direct sound.
FL Dly (Flanger Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
FL Rate (Flanger Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the flanger effect.
FL Depth (Flanger Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the flanger effect.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Negative (-) settings will invert
the phase.
FL Fb (Flanger Feedback Level)
-98%–+98% [9 (40 03 0B)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not wish to cut the
high frequencies of the delay feedback, set this parameter to
Bypass.
#FL Bal (Flanger Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the flanger and the sound that does not. With a
setting of D>0E, only the enhancer sound will be output,
and with a setting of D0<E, the enhancer sound that passes
through the flanger will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the delay and the sound that does not. With a
setting of D>0E, only the enhancer sound will be output,
and with a setting of D0<E, the enhancer sound that passes
through the delay will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
111
Using Insertion Effects
44: Cho → Delay (Chorus → Delay)
[02H, 09H]
45: FL → Delay (Flanger → Delay)
[02H, 0AH]
This effect connects a chorus and a delay unit in series.
This effect connects a flanger and a delay in series.
fig.9-47
fig.9-48
L
EQ
Chorus
R
L
Delay
EQ
Flanger
EQ
R
Delay
EQ
Cho Dly (Chorus Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
FL Dly (Flanger Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus effect.
FL Rate (Flanger Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the flanger effect.
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus effect.
FL Depth (Flanger Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the flanger effect.
+Cho Bal (Chorus Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct sound and
the chorus sound. With a setting of D>0E, only the direct
sound will be output. With a setting of D0<E, only the
chorus sound will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
+FL Fb (Flanger Feedback Level) -98%–+98% [4 (40 03 06)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Negative (-) settings will invert
the phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not wish to cut the
high frequencies of the feedback, set this parameter to
Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the delay and the sound that does not. With a
setting of D>0E, only the chorus sound will be output, and
with a setting of D0<E, the chorus sound that passes
through the delay will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
FL Bal (Flanger Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct sound and
the flanger sound. With a setting of D>0E, only the direct
sound will be output. With a setting of D0<E, only the
flanger sound will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Negative (-) settings will invert
the phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not wish to cut the
high frequencies of the delay feedback, set this parameter to
Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the delay and the sound that does not. With a
setting of D>0E, only the flanger sound will be output, and
with a setting of D0<E, the flanger sound that passes
through the delay will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
112
0–127 [20 (40 03 16)]
Using Insertion Effects
46: Cho → Flanger (Chorus → Flanger)
[02H, 0BH]
This effect connects a chorus and a flanger in series.
fig.9-49
L
EQ
Chorus
Flanger
Effects that connect three or more types of
effect in series (series 3/series 4/series 5)
47: Rotary Multi
[03H, 00H]
This connects Overdrive (OD), 3-band equalizer (EQ), and
Rotary (RT) effects in series.
fig.9-50
R
EQ
Cho Dly (Chorus Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus effect.
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus effect.
+Cho Bal (Chorus Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct sound and
the chorus sound. With a setting of D>0E, only the direct
sound will be output. With a setting of D0<E, only the
chorus sound will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
FL Dly (Flanger Pre Delay Time) 0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
FL Rate (Flanger Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the flanger effect.
FL Depth (Flanger Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the flanger effect.
FL Fb (Flanger Feedback Level)
-98%–+98% [9 (40 03 0B)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
#FL Bal (Flanger Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the sound that passes
through the flanger and the sound that does not. With a
setting of D>0E, only the chorus sound will be output, and
with a setting of D0<E, the chorus sound that passes
through the flanger will be output.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Low Gain
Adjusts the low frequency gain.
-12–+12 [17 (40 03 13)]
Hi Gain (High Gain)
Adjusts the high frequency gain.
-12–+12 [18 (40 03 14)]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
L
Over
drive
EQ
Rotary
R
● OD (Overdrive)
+OD Drive
0–127 [1 (40 03 03)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
OD Sw (Overdrive Switch)
Turns the Overdrive effect on/off.
Off/On [2 (40 03 04)]
● EQ (Equalizer)
EQ L Gain (EQ Low Gain)
-12–+12 [3 (40 03 05)]
Adjusts the low range gain of the equalizer.
EQ M Fq (EQ Mid Frequency)
200–6.3k [4 (40 03 06)]
Sets the center frequency for the equalizer mid-range.
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [5 (40 03 07)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
EQ M Gain (EQ Mid Gain)
-12–+12 [6 (40 03 08)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
EQ H Gain (EQ High Gain)
-12–+12 [7 (40 03 09)]
Adjusts the high-range gain of the equalizer.
● RT (Rotary)
RT L Slow (RT Low Frequency Slow Rate)
0.05–10.0 [8 (40 03 0A)]
Adjusts the speed of the low-range rotor for the slow-speed
setting.
RT L Fast (RT Low Frequency Fast Rate)
0.05–10.0 [9 (40 03 0B)]
Adjusts the speed of the low-range rotor for the fast-speed
setting.
RT Lo Accl (RT Low Frequency Acceleration)
0–15 [10 (40 03 0C)]
Adjusts the time over which the rotation speed of the lowrange rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
RT Lo Lev (RT Low Frequency Level)
0–127 [11 (40 03 0D)]
Adjusts the volume of the low-range rotor.
113
Using Insertion Effects
RT H Slow (RT High Frequency Slow Rate)
0.05–10.0 [12 (40 03 0E)]
Adjusts the speed of the high-range rotor for the slowspeed setting.
RT H Fast (RT High Frequency Fast Rate)
0.05–10.0 [13 (40 03 0F)]
Adjusts the speed of the high-range rotor for the fast-speed
setting.
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [5 (40 03 07)]
Selects either Overdrive or Distortion.
+OD Drive
0–127 [6 (40 03 08)]
Adjusts the depth of distortion. The volume will change
together with the depth of distortion.
OD Amp (OD Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [7 (40 03 09)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
RT Hi Accl (RT High Frequency Acceleration)
0–15 [14 (40 03 10)]
Adjusts the time over which the rotation speed of the highrange rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
OD Amp Sw (OD Amp Switch)
Turns OD Amp on/off.
RT Hi Lev (RT High Frequency Level)
0–127 [15 (40 03 11)]
Adjusts the volume of the high-range rotor.
RT Sept (RT Separation)
0–127 [16 (40 03 12)]
Adjusts the spatial spread of the rotary sound.
#RT Speed
Slow/Fast [17 (40 03 13)]
Simultaneously switch the rotational speed of both the lowrange and the high-range rotors.
Slow:
Slow down the rotation to the specified
speeds (RT L Slow parameter/RT H Slow
parameter values).
Fast:
Speed up the rotation to the specified speeds
(RT L Fast parameter/RT H Fast parameter
values).
Level (Output Level)
Adjusts the output level.
OD H Gain (OD High Gain)
Adjusts the high-range gain.
-12–+12 [10 (40 03 0C)]
CF Sel (CF Select)
Chorus/Flangr [12 (40 03 0E)]
Selects either Chorus or Flanger.
CF Rate
0.05–6.40 [13 (40 03 0F)]
Adjusts the speed of modulation
CF Depth
Adjusts the depth of modulation.
0–127 [14 (40 03 10)]
CF Fb (CF Feedback)
-98%–+98% [15 (40 03 11)]
Adjusts the amount (%) of the flanger sound that is
returned to the input. Negative (-) values will invert the
phase.
*
In the case of Chorus, this will have no effect.
CF Mix
0–127 [16 (40 03 12)]
Adjusts the volume of the chorus or flanger sound.
fig.9-51
L
Cmp
OD
CF
Delay
● Cmp (Compressor)
Cmp Atck (Compressor Attack)
0–127 [1 (40 03 03)]
Adjusts the time over which the sound will rise after input.
Cmp Sus (Compressor Sustain)
0–127 [2 (40 03 04)]
Adjusts the time over which low-level sounds are boosted
until they reach a specified volume.
Increasing the value will shorten the time. When the value
is modified, the level will also change.
Cmp Level (Compressor Level)
0–127 [3 (40 03 05)]
Adjusts the volume of the compressor sound.
Cmp Sw (Compressor Switch)
Turns the compressor on/off.
● Dly (Delay)
Dly Time (Delay Time)
0–635ms [17 (40 03 13)]
Adjusts the time from the original sound until when the
delay sound is heard.
R
114
-12–+12 [9 (40 03 0B)]
● CF (Chorus/Flanger)
[04H, 00H]
Guitar Multi 1 connects Compressor (Cmp), Overdrive or
Distortion (OD), Chorus or Flanger (CF), and Delay (Dly)
effects in series.
OD L Gain (OD Low Gain)
Adjusts the low-range gain.
OD Sw (OD Switch)
Off/On [11 (40 03 0D)]
Turns Overdrive or Distortion on/off.
0–127 [20 (40 03 16)]
48: GTR Multi 1 (Guitar Multi 1)
Off/On [8 (40 03 0A)]
Off/On [4 (40 03 06)]
Dly Fb (Delay Feedback Level)
0–127 [18 (40 03 14)]
Adjusts the amount of the delay sound that is returned to
the input.
#Dly Mix (Delay Mix)
0–127 [19 (40 03 15)]
Adjusts the volume of the delay sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
49: GTR Multi 2 (Guitar Multi 2)
[04H, 01H]
● EQ (Equalizer)
EQ L Gain (EQ Low Gain)
-12–+12 [10 (40 03 0C)]
Adjusts the low-range gain of the equalizer.
Guitar Multi 2 provides Compressor (Cmp), Overdrive or
Distortion (OD), Equalizer (EQ), and Chorus or Flanger (CF)
effects connected in series.
EQ M Fq (EQ Mid Frequency) 200–6.3k [11 (40 03 0D)]
Sets the center frequency for the equalizer mid-range.
fig.9-52
L
Cmp
OD
EQ
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [12 (40 03 0E)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
CF
R
● Cmp (Compressor)
EQ M Gain (EQ Mid Gain)
-12–+12 [13 (40 03 0F)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
Cmp Atck (Compressor Attack)
0–127 [1 (40 03 03)]
Adjusts the time over which the sound will rise after it is
input.
Cmp Sus (Compressor Sustain)
0–127 [2 (40 03 04)]
Adjusts the time over which low-level sounds are boosted
until they reach a specified volume.
Increasing the value will shorten the time. When the value
is modified, the level will also change.
EQ H Gain (EQ High Gain)
-12–+12 [14 (40 03 10)]
Adjusts the high-range gain of the equalizer.
● CF (Chorus/Flanger)
CF Sel (CF Select)
Chorus/Flangr [15 (40 03 11)]
Selects either Chorus or Flanger.
CF Rate
0.05–6.40 [16 (40 03 12)]
Adjusts the speed of modulation for the chorus or flanger.
Cmp Level (Compressor Level)
0–127 [3 (40 03 05)]
Adjusts the volume of the compressor sound.
Cmp Sw (Compressor Switch)
Turns the compressor on/off.
CF Depth
0–127 [17 (40 03 13)]
Adjusts the depth of modulation for the chorus or flanger.
Off/On [4 (40 03 06)]
CF Fb (CF Feedback)
-98%–+98% [18 (40 03 14)]
Adjusts the amount (%) of the flanger sound that will be
returned to the input. Negative (-) values will invert the
phase.
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [5 (40 03 07)]
Selects either Overdrive or Distortion.
+OD Drive (OD Drive)
0–127 [6 (40 03 08)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [7 (40 03 09)]
Selects the type of guitar amp
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD Amp Sw (OD Amp Switch)
Turns OD Amp on/off.
*
In the case of Chorus, this will have no effect.
#CF Mix (CF Mix)
0–127 [19 (40 03 15)]
Adjusts the volume of the chorus or flanger sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Off/On [8 (40 03 0A)]
OD Sw (OD Switch)
Off/On [9 (40 03 0B)]
Turns Overdrive or Distortion on/off.
115
Using Insertion Effects
50: GTR Multi 3 (Guitar Multi 3)
[04H, 02H]
● CF (Chorus/Flanger)
CF Sel (CF Select)
Chorus/Flangr [12 (40 03 0E)]
Selects either Chorus or Flanger.
Guitar Multi 3 connects Wah (Wah), Overdrive or Distortion
(OD), Chorus or Flanger (CF), and Delay (Dly) effects in
series.
CF Rate
0.05–6.40 [13 (40 03 0F)]
Adjusts the modulation speed for the chorus or flanger.
fig.9-53
L
Wah
OD
CF
CF Depth
0–127 [14 (40 03 10)]
Adjusts the modulation depth for the chorus or flanger.
Delay
CF Fb (CF Feedback)
-98%–+98% [15 (40 03 11)]
Adjusts the amount (%) of the flanger sound that is
returned to the input. Negative (-) values will invert the
phase.
R
● Wah
Wah Fil (Wah Filter Type)
LPF/BPF [1 (40 03 03)]
Selects the type of filter.
LPF:
The wah effect will be produced over a
broad frequency range.
BPF:
The wah effect will be produced in a narrow
frequency range.
*
In the case of Chorus, this will have no effect.
CF Mix
0–127 [16 (40 03 12)]
Adjusts the volume of the chorus or flanger sound.
● Dly (Delay)
+Wah Man (Wah Manual)
0–127 [2 (40 03 04)]
Sets the center frequency at which the effect will be
produced.
Dly Time (Delay Time)
0–635ms [17 (40 03 13)]
Adjusts the time from the original sound until when the
delay sound is heard.
Wah Peak
0–127 [3 (40 03 05)]
Adjusts the way in which the wah effect will be applied to
the region of the center frequency. Lower settings will
produce a wah effect in a broad area around the center
frequency, and higher settings will produce a wah effect in
a narrower area around the center frequency.
Dly Fb (Delay Feedback Level)
0–127 [18 (40 03 14)]
Adjusts the amount of the delay sound that is returned to
the input.
Wah Sw (Wah Switch)
Turns Wah on/off.
Off/On [4 (40 03 06)]
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [5 (40 03 07)]
Selects either Overdrive or Distortion.
#OD Drive (Overdrive Drive)
0–127 [6 (40 03 08)]
Adjusts the depth of distortion. The volume will change
together with the depth of distortion.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [7 (40 03 09)]
Selects the type of guitar amp
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD Amp Sw (OD Amp Switch)
Turns OD Amp on/off.
Off/On [8 (40 03 0A)]
OD L Gain (OD Low Gain)
-12–+12 [9 (40 03 0B)]
Adjusts the low-range gain for the overdrive (or distortion)
sound.
OD H Gain (OD High Gain)
-12–+12 [10 (40 03 0C)]
Adjusts the high-range gain for the overdrive (or distortion)
sound.
OD Sw (OD Switch)
Off/On [11 (40 03 0D)]
Turns overdrive or distortion on/off.
116
Dly Mix (Delay Mix)
0–127 [19 (40 03 15)]
Adjusts the volume of the delay sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
51: Clean Gt Multi1 (Clean Guitar Multi 1)
[04H, 03H]
Clean Guitar Multi 1 connects Compressor (Cmp), Equalizer
(EQ), Chorus or Flanger (CF), and Delay (Dly) effects in series.
fig.9-54
L
Cmp
EQ
CF
Delay
R
● Cmp (Compressor)
Cmp Atck (Compressor Attack)
0–127 [1 (40 03 03)]
Adjusts the time over which the sound will rise after it is
input.
Cmp Sus (Compressor Sustain)
0–127 [2 (40 03 04)]
Adjusts the time over which low-level sounds are boosted
until they reach a specified volume.
Increasing the value will shorten the time. When the value
is modified, the level will also change.
Cmp Level (Compressor Level)
0–127 [3 (40 03 05)]
Adjusts the volume of the compressor sound.
Cmp Sw (Compressor Switch)
Turns the compressor on/off.
Off/On [4 (40 03 06)]
● Dly (Delay)
Dly Time (Delay Time)
0–635ms [15 (40 03 11)]
Adjusts the time from the original sound until when the
delay sound is heard.
Dly Fb (Delay Feedback Level)
0–127 [16 (40 03 12)]
Adjusts the amount of the delay sound that is returned to
the input.
Dly HF (Delay HF Dump) 315-8k/Bypass[17 (40 03 13)]
Adjusts the frequency at which the high range will be cut
from the delay sound that is returned to the input. If you do
not wish to cut the high range of the returned sound, select
Bypass.
#Dly Mix (Delay Mix)
0–127 [18 (40 03 14)]
Adjusts the volume of the delay sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
52: Clean Gt Multi2 (Clean Guitar Multi 2)
[04H, 04H]
Clean Guitar Multi 2 provides Auto-wah (AW), Equalizer
(EQ), Chorus or Flanger (CF), and Delay (Dly) effects
connected in series.
fig.9-55
● EQ (Equalizer)
EQ L Gain (EQ Low Gain)
-12–+12 [5 (40 03 07)]
Adjusts the low-range gain of the equalizer.
EQ M Fq (EQ Mid Frequency)
200–6.3k [6 (40 03 08)]
Sets the center frequency for the equalizer mid-range.
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [7 (40 03 09)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
EQ M Gain (EQ Mid Gain)
-12–+12 [8 (40 03 0A)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
EQ H Gain (EQ High Gain)
-12–+12 [9 (40 03 0B)]
Adjusts the high-range gain of the equalizer.
AW
EQ
CF
Delay
R
● AW (Auto-wah)
AW Filter (Auto-wah Filter Type) LPF/BPF [1 (40 03 03)]
Selects the type of filter for the Auto-wah.
LPF:
The wah effect will be produced over a broad
frequency range.
BPF:
The wah effect will be produced over a
narrow frequency range.
+AW Man (Auto-wah Manual)
0–127 [2 (40 03 04)]
Sets the center frequency at which the auto-wah effect will
be produced.
CF Rate
0.05–6.40 [11 (40 03 0D)]
Adjusts the speed of modulation for the chorus or flanger.
AW Peak (Auto-wah Peak)
0–127 [3 (40 03 05)]
Adjusts the way in which the wah effect will be applied to
the region of the center frequency. Lower settings will
produce a wah effect in a broad area around the center
frequency, and higher settings will produce a wah effect in
a narrower area around the center frequency.
CF Depth
0–127 [12 (40 03 0E)]
Adjusts the depth of modulation for the chorus or flanger.
AW Rate (Auto-wah Rate)
0.05–6.40 [4 (40 03 06)]
Adjusts the modulation speed of the Auto-wah.
CF Fb (CF Feedback)
-98%–+98% [13 (40 03 0F)]
Adjusts the amount (%) of the flanger sound that will be
returned to the input. Negative (-) values will invert the
phase.
AW Depth (Auto-wah Depth)
0–127 [5 (40 03 07)]
Adjusts the modulation depth of the Auto-wah.
● CF (Chorus/Flanger)
CF Sel (CF Select)
Chorus/Flangr [10 (40 03 0C)]
Selects either Chorus or Flanger.
*
L
AW Sw (Auto-wah Switch)
Turns Auto-wah on/off.
Off/On [6 (40 03 08)]
In the case of Chorus, this will have no effect.
+CF Mix (CF Mix)
0–127 [14 (40 03 10)]
Adjusts the volume of the chorus or flanger sound.
117
Using Insertion Effects
● EQ (Equalizer)
53: Bass Multi
EQ L Gain (EQ Low Gain)
-12–+12 [7 (40 03 09)]
Adjusts the low-range gain of the equalizer.
EQ M Fq (EQ Mid Frequency)
200–6.3k [8 (40 03 0A)]
Sets the center frequency for the equalizer mid-range.
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [9 (40 03 0B)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
EQ M Gain (EQ Mid Gain)
-12–+12 [10 (40 03 0C)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
EQ H Gain (EQ High Gain)
-12–+12 [11 (40 03 0D)]
Adjusts the high-range gain of the equalizer.
● CF (Chorus/Flanger)
CF Sel (CF Select)
Chorus/Flangr [12 (40 03 0E)]
Selects either Chorus or Flanger.
CF Rate
0.05–6.40 [13 (40 03 0F)]
Adjusts the speed of modulation for the chorus or flanger.
CF Depth
0–127 [14 (40 03 10)]
Adjusts the depth of modulation for the chorus or flanger.
CF Fb (CF Feedback)
-98%–+98% [15 (40 03 11)]
Adjusts the amount (%) of the flanger sound that will be
returned to the input. Negative (-) values will invert the
phase.
*
In the case of Chorus, this will have no effect.
CF Mix
0–127 [16 (40 03 12)]
Adjusts the volume of the chorus or flanger sound.
● Dly (Delay)
Dly Time (Delay Time)
0–635ms [17 (40 03 13)]
Adjusts the time from the original sound until when the
delay sound is heard.
Dly Fb (Delay Feedback Level)
0–127 [18 (40 03 14)]
Adjusts the amount of the delay sound that is returned to
the input.
#Dly Mix (Delay Mix)
0–127 [19 (40 03 15)]
Adjusts the volume of the delay sound.
Level (Output Level)
Adjusts the output level.
118
0–127 [20 (40 03 16)]
[04H, 05H]
Bass Multi provides Compressor (Cmp), Overdrive or
Distortion (OD), Equalizer (EQ), and Chorus or Flanger (CF)
effects connected in series.
fig.9-56
L
Cmp
OD
EQ
CF
R
● Cmp (Compressor)
Cmp Atck (Compressor Attack)
0–127 [1 (40 03 03)]
Adjusts the time over which the sound will rise after it is
input.
Cmp Sus (Compressor Sustain)
0–127 [2 (40 03 04)]
Adjusts the time over which low-level sounds are boosted
until they reach a specified volume.
Increasing the value will shorten the time. When the value
is modified, the level will also change.
Cmp Level (Compressor Level)
0–127 [3 (40 03 05)]
Adjusts the volume of the compressor sound.
Cmp Sw (Compressor Switch)
Turns the compressor on/off.
Off/On [4 (40 03 06)]
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [5 (40 03 07)]
Selects either bass guitar Overdrive or Distortion.
+OD Drive (OD Drive)
0–127 [6 (40 03 08)]
Adjusts the depth of distortion. The volume will change
together with the depth of distortion.
OD Amp (Overdrive Amp simulation Type)
Small/BltIn/2-Stk [7 (40 03 09)]
Selects the type of bass amp
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
OD Amp Sw (OD Amp Switch)
Turns OD Amp on/off.
Off/On [8 (40 03 0A)]
OD Sw (OD Switch)
Off/On [9 (40 03 0B)]
Turns Overdrive/Distortion on/off.
Using Insertion Effects
● EQ (Equalizer)
● PH (Phaser)
EQ L Gain (EQ Low Gain)
-12–+12 [10 (40 03 0C)]
Adjusts the low-range gain of the equalizer.
PH Man (Phaser Manual)
100–8.0k [3 (40 03 05)]
Adjusts the center frequency at which the sound will be
modulated.
EQ M Fq (EQ Mid Frequency) 200–6.3k [11 (40 03 0D)]
Sets the center frequency for the equalizer mid-range.
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [12 (40 03 0E)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
PH Depth (Phaser Depth)
Adjusts the modulation depth.
0–127 [5 (40 03 07)]
PH Mix (Phaser Mix)
0–127 [7 (40 03 09)]
Adjusts the proportion of the phase-shifted sound that will
be mixed with the direct sound.
EQ H Gain (EQ High Gain)
-12–+12 [14 (40 03 10)]
Adjusts the high-range gain of the equalizer.
● CF (Chorus/Flanger)
CF Sel (CF Select)
Chorus/Flangr [15 (40 03 11)]
Selects either Chorus or Flanger.
CF Sel (CF Select)
Chorus/Flangr [8 (40 03 0A)]
Selects either Chorus or Flanger.
CF Rate
0.05–6.40 [16 (40 03 12)]
Adjusts the speed of modulation for the chorus or flanger.
CF LPF (CF Low Pass Filter)
250–6.3k/Bypass [9 (40 03 0B)]
Cuts the high frequency range of the chorus or flanger
sound.
CF Depth
0–127 [17 (40 03 13)]
Adjusts the depth of modulation for the chorus or flanger.
CF Dly (CF Pre Delay)
0–100ms [10 (40 03 0C)]
Adjusts the time from the direct sound until when the
chorus or flanger sound is heard.
CF Fb (CF Feedback Level) -98%–+98% [18 (40 03 14)]
Adjusts the amount (%) of the flanger sound that will be
returned to the input. Negative (-) values will invert the
phase.
*
0.05–6.40 [4 (40 03 06)]
PH Reso (Phaser Resonance)
0–127 [6 (40 03 08)]
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
EQ M Gain (EQ Mid Gain)
-12–+12 [13 (40 03 0F)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
● CF (Chorus/Flanger)
PH Rate (Phaser Rate)
Adjusts the modulation speed.
In the case of Chorus, this will have no effect.
#CF Mix
0–127 [19 (40 03 15)]
Adjusts the volume of the chorus or flanger sound.
Level (Output Level)
Adjusts the output level.
[04H, 06H]
Rhodes Multi provides Enhancer (EH), Phaser (PH), Chorus
or Flanger (CF), and Tremolo or Pan (TP) effects connected in
series.
fig.9-57
L
CF Depth
Adjusts the modulation depth.
0–127 [12 (40 03 0E)]
*
In the case of Chorus, this will have no effect.
CF Mix
0–127 [14 (40 03 10)]
Adjusts the volume of the chorus or flanger sound.
● TP (Tremolo/Pan)
EH
TP
PH
R
0.05–6.40 [11 (40 03 0D)]
CF Fb (CF Feedback Level) -98%–+98% [13 (40 03 0F)]
Adjusts the amount (%) of the flanger sound that will be
returned to the input. Negative (-) values will invert the
phase.
0–127 [20 (40 03 16)]
54: Rhodes Multi
CF Rate
Adjusts the modulation speed.
EH
CF
TP
● EH (Enhancer)
EH Sens (Enhancer Sensitivity)
0–127 [1 (40 03 03)]
Adjusts the sensitivity of the enhancer.
EH Mix (Enhancer Mix Level)
0–127 [2 (40 03 04)]
Adjusts the level at which the overtones generated by the
enhancer will be mixed with the direct sound.
TP Sel (TP Select)
Selects either Tremolo or Pan.
Trem/Pan [15 (40 03 11)]
TP Mod WV (TP Modulation Wave)
Tri/Sqr/Sin/Saw1/Saw2 [16 (40 03 12)]
Selects the way in which tremolo or pan will be modulated.
Tri:
The sound will be modulated like a triangle
wave.
Sqr:
The sound will be modulated like a square
wave.
Sin:
The sound will be modulated like a sine
wave.
Saw1,2: The sound will be modulated like a
sawtooth wave.
119
Using Insertion Effects
The teeth in Saw1 and Saw2 point in opposite directions.
fig.9-58
Saw1
PS Coarse (PS Coarse Pitch) -24–0–+12 [8 (40 03 0A)]
Adjusts the amount of pitch shift in semitone steps (-2 to +1
octaves).
Saw2
+TP Mod RT (TP Modulation Rate) 0.05–6.40 [17 (40 03 13)]
Adjusts the modulation speed.
#TP Mod Dep (TP Modulation Depth) 0–127 [18 (40 03 14)]
Adjusts the modulation depth.
TP Sw (TP Switch)
Turns tremolo or pan on/off.
Level (Output Level)
Adjusts the output level.
Off/On [19 (40 03 15)]
0–127 [20 (40 03 16)]
55: Keyboard Multi
[05H, 00H]
Keyboard Multi provides Ring Modulator (RM), Equalizer
(EQ), Pitch Shifter (PS), Phaser (PH) and Delay (Dly) effects
connected in series.
Ring Modulator is an effect which applies amplitude
modulation (AM) to the input signal, producing bell-like
sounds.
fig.9-59
L
RM
RM
PH
Dly
EQ
● RM (Ring Modulator)
+RM Mod Freq (RM Modulation Frequency)
0–127 [1 (40 03 03)]
Sets the frequency at which modulation will be applied.
#RM Bal (RM Balance)
D>0E–D0<E [2 (40 03 04)]
Adjusts the balance between the direct and the ring
modulated sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
● EQ (Equalizer)
EQ L Gain (EQ Low Gain)
-12–+12 [3 (40 03 05)]
Adjusts the low range gain of the equalizer.
EQ M Fq (EQ Mid Frequency)
200–6.3k [4 (40 03 06)]
Sets the center frequency for the equalizer mid-range.
EQ M Q (EQ Mid Q)
0.5/1.0/2.0/4.0/9.0 [5 (40 03 07)]
Adjusts the width of the area centered at the EQ M Fq
setting in which the gain will be affected. The area affected
will become narrower as this value is increased.
EQ M Gain (EQ Mid Gain)
-12–+12 [6 (40 03 08)]
Adjusts the gain of the area specified by the EQ M Fq
parameter and the EQ M Q parameter.
EQ H Gain (EQ High Gain)
-12–+12 [7 (40 03 09)]
Adjusts the high-range gain of the equalizer.
120
PS Fine (PS Fine Pitch)
-100–0–+100 [9 (40 03 0B)]
Makes fine adjustments to the pitch shift in 2-cent steps(100 to +100 cents).
PS Mode (PS Shifter Mode)
1–5 [10 (40 03 0C)]
As this value is increased, the response will become slower
but the sound will be more stable.
PS Bal (PS Balance)
D>0E–D0<E [11 (40 03 0D)]
Adjusts the volume balance between the direct and the
pitch shifted sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
● PH (Phaser)
PH Man (Phaser Manual)
100–8.0k [12 (40 03 0E)]
Sets the center frequency at which the phaser sound will be
modulated.
PH Rate (Phaser Rate)
0.05–6.40 [13 (40 03 0F)]
Adjusts the modulation speed of the phaser.
PH Depth (Phaser Depth)
0–127 [14 (40 03 10)]
Adjusts the modulation depth of the phaser.
EQ
PS
R
● PS (Pitch Shifter)
PH Reso (Phaser Resonance)
0–127 [15 (40 03 11)]
Adjusts the emphasis for the region in the area of the center
frequency specified by the PH Man parameter.
PH Mix (Phaser Mix)
0–127 [16 (40 03 12)]
Adjusts the proportion at which the phase-shifted sound
will be mixed with the original sound.
● Dly (Delay)
Dly Time (Delay Time)
0–635ms [17 (40 03 13)]
Adjusts the time from the original sound until when the
delay sound is heard.
Dly Fb (Delay Feedback Level)
0–127 [18 (40 03 14)]
Adjusts the amount of the delay sound that is returned to
the input.
Dly Mix (Delay Mix Level)
0–127 [19 (40 03 15)]
Adjusts the proportion at which the delay sound is mixed
with the direct sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
Effects that connect two types of effect in
parallel (parallel 2)
Effect types in which two different effects are connected in
parallel allow you to apply different effects to L and R
independently. By using parallel effects for the sound of two
Parts, you can achieve a result as if two separate effect units
were used.
For example, you might select a guitar sound for Part 1 and
an organ sound for Part 2. Then set the pan setting to L63 (far
left) for Part 1, and to R63 (far right) for Part 2. Apply the
effect 60: OD/Rotary to both Parts 1 and 2. By then making
appropriate settings for the OD Pan and RT Pan effect
parameters, you can apply Overdrive to the guitar sound
and Rotary to the organ sound, effectively allowing you to
use two separate effects at once.
fig.9-60
60 OD/Rotary
Part 01 L63
028 Clean Gt.
Pan
L
Part 02 R63
017 Organ 1
R
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Negative (-) settings will invert
the phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not wish to cut the
high frequencies of the feedback, set this parameter to
Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the direct and the
delay sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Dly Pan (Delay Output Pan) L63–0–R63 [18 (40 03 14)]
Adjusts the stereo position of the delay sound. L63 is far
left, 0 is center, and R63 is far right.
Overdrive/
Distortion
Rotary
Dly Level (Delay Level)
0–127 [19 (40 03 15)]
Adjusts the volume of the delay sound.
Pan
56: Cho/Delay (Chorus/Delay)
[11H, 00H]
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
This effect connects a chorus and a delay in parallel.
fig.9-61
Pan
L
Chorus
Delay
Balance
R
Pan
Cho Dly (Chorus Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus effect.
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus effect.
+Cho Bal (Chorus Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct and the
chorus sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Cho Pan (Chorus Output Pan)L63–0–R63 [16 (40 03 12)]
Adjusts the stereo position of the chorus sound. L63 is far
left, 0 is center, and R63 is far right.
Cho Level (Chorus Level)
0–127 [17 (40 03 13)]
Adjusts the volume of the chorus sound.
121
Using Insertion Effects
57: FL/Delay (Flanger/Delay)
[11H, 01H]
58: Cho/Flanger (Chorus/Flanger)
[11H, 02H]
This effect connects a flanger and a delay in parallel.
This effect connects a chorus and a flanger in parallel.
fig.9-62
fig.9-63
Pan
L
Pan
L
Flanger
Delay
Chorus
Balance
Flanger
R
Balance
R
Pan
Pan
FL Dly (Flanger Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Cho Dly (Chorus Pre Delay)
0–100ms [1 (40 03 03)]
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
FL Rate (Flanger Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the flanger effect.
Cho Rate (Chorus Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the chorus effect.
FL Depth (Flanger Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the flanger effect.
Cho Depth (Chorus Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the chorus effect.
FL Fb (Flanger Feedback Level)
-98%–+98% [4 (40 03
06)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the phase.
+Cho Bal (Chorus Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct and the
chorus sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
+FL Bal (Flanger Balance)
D>0E–D0<E [5 (40 03 07)]
Adjusts the volume balance between the direct sound and
the flanger sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
FL Pan (Flanger Output Pan) L63–0–R63 [16 (40 03 12)]
Adjusts the stereo position of the flanger sound. L63 is far
left, 0 is center, and R63 is far right.
FL Level (Flanger Level)
0–127 [17 (40 03 13)]
Adjusts the volume of the flanger sound.
Dly Time (Delay Time)
0–500ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the delay sound is heard.
Dly Fb (Delay Feedback Level) -98%–+98% [7 (40 03 09)]
Adjusts the proportion (%) of the delay sound that is fed
back into the delay input. Negative (-) settings will invert
the phase.
Dly HF (Delay HF Damp) 315–8k/Bypass [8 (40 03 0A)]
Adjusts the frequency above which delayed sound fed back
to the delay input will be cut. If you do not want to cut the
high frequencies of the delay feedback, set this parameter to
Bypass.
#Dly Bal (Delay Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the direct and the
delay sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
Dly Pan (Delay Output Pan) L63–0–R63 [18 (40 03 14)]
Adjusts the stereo position of the delay sound. L63 is far
left, 0 is center, and R63 is far right.
Dly Level (Delay Level)
0–127 [19 (40 03 15)]
Adjusts the volume of the delay sound.
Level (Output Level)
Adjusts the output level.
122
0–127 [20 (40 03 16)]
Cho Pan (Chorus Output Pan) L63–0–R63 [16 (40 03 12)]
Adjusts the stereo position of the chorus sound. L63 is far
left, 0 is center, and R63 is far right.
Cho Level (Chorus Level)
0–127 [17 (40 03 13)]
Adjusts the volume of the chorus sound.
FL Dly (Flanger Pre Delay)
0–100ms [6 (40 03 08)]
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
FL Rate (Flanger Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the modulation speed of the flanger effect.
FL Depth (Flanger Depth)
0–127 [8 (40 03 0A)]
Adjusts the modulation depth of the flanger effect.
FL Fb (Flanger Feedback Level)
-98%–+98% [9 (40 03
0B)]
Adjusts the proportion (%) of the flanger sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
#FL Bal (Flanger Balance)
D>0E–D0<E [10 (40 03 0C)]
Adjusts the volume balance between the direct sound and
the flanger sound.
“D” or “E” on the display respectively means D (direct
sound) or E (effect sound) values of 100.
FL Pan (Flanger Output Pan) L63–0–R63 [18 (40 03 14)]
Adjusts the stereo position of the flanger sound. L63 is far
left, 0 is center, and R63 is far right.
FL Level (Flanger Level)
0–127 [19 (40 03 15)]
Adjusts the volume of the flanger sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
Using Insertion Effects
59: OD1/OD2 (Overdrive/Distortion 1, 2)
[11H, 03H]
60: OD/Rotary (Overdrive/Distortion, Rotary)
[11H, 04H]
This connects two effect units in parallel, each of which
allows you to select Overdrive or Distortion.
This connects Overdrive or Distortion in parallel with
Rotary.
fig.9-64
fig.9-65
Pan
L
Overdrive/
Distortion 1
R
Overdrive/
Distortion 2
Pan
L
Overdrive/
Distortion
R
Rotary
Pan
Pan
● OD1 (Overdrive/Distortion 1)
● OD (Overdrive/Distortion)
OD1 Sel (OD1 Select)
Odrv/Dist [1 (40 03 03)]
Selects either Overdrive or Distortion for set 1.
OD Sel (OD Select)
Odrv/Dist [1 (40 03 03)]
Selects either Overdrive or Distortion.
+OD1 Drive (OD1 Drive)
0–127 [2 (40 03 04)]
Adjusts the degree of distortion for set 1. The volume will
change together with the degree of distortion.
+OD Drive (OD Drive)
0–127 [2 (40 03 04)]
Adjusts the depth of overdrive or distortion. The volume
will change together with the depth of distortion.
OD1 Amp (OD1 Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp for set 1.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk
:large triple stack amp
OD Amp (OD Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Select the type of guitar amp for overdrive or distortion.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD1 Amp Sw (OD1 Amp Switch)
Turns OD1 Amp on/off.
Off/On [4 (40 03 06)]
OD1 Pan (OD1 Output Pan) L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the overdrive or distortion sound
for set 1. L63 is far left, 0 is center, and R63 is far right.
OD1 Level
0–127 [17 (40 03 13)]
Adjusts the overdrive or distortion volume for set 1.
● OD2 (Overdrive/Distortion 2)
OD Pan (OD Output Pan)
L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the overdrive or distortion sound.
L63 is far left, 0 is center, and R63 is far right.
OD Level
0–127 [17 (40 03 13)]
Adjusts the volume of the overdrive or distortion sound.
● RT (Rotary)
OD2 Sel (OD2 Select)
Odrv/Dist [6 (40 03 08)]
Selects either Overdrive or Distortion for set 2.
#OD2 Drive (OD2 Drive)
0–127 [7 (40 03 09)]
Adjusts the degree of distortion for set 2. The volume will
change together with the degree of distortion.
OD2 Amp (OD2 Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [8 (40 03 0A)]
Selects the type of guitar amp for set 2.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD2 Amp Sw (OD2 Amp Switch)
Turns OD2 Amp on/off.
OD Amp Sw (OD Amp Switch)
Off/On [4 (40 03 06)]
Turns the OD Amp parameter on/off.
Off/On [9 (40 03 0B)]
OD2 Pan (OD2 Output Pan) L63–0–R63 [18 (40 03 14)]
Sets the stereo location of the overdrive or distortion sound
for set 2. L63 is far left, 0 is center, and R63 is far right.
RT L Slow (RT Low Frequency Slow Rate)
0.05–10.0 [6 (40 03 08)]
Adjusts the speed of the low-range rotor for the slow-speed
setting.
RT L Fast (RT Low Frequency Fast Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the speed of the low-range rotor for the fast-speed
setting.
RT Lo Accl (RT Low Frequency Acceleration)
0–15 [8 (40 03 0A)]
Adjusts the time over which the rotation speed of the lowrange rotor will change from low-speed to high-speed (or
high-speed to low-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
RT Lo Lev (RT Low Frequency Level)0–127 [9 (40 03 0B)]
Adjusts the volume of the low-range rotor.
OD2 Level
0–127 [19 (40 03 15)]
Adjusts the overdrive or distortion volume for set 2.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
123
Using Insertion Effects
RT H Slow (RT High Frequency Slow Rate)
0.05–10.0 [10 (40 03 0C)]
Adjusts the speed of the high-range rotor for the slowspeed setting.
RT H Fast (RT High Frequency Fast Rate)
0.05–10.0 [11 (40 03 0D)]
Adjusts the speed of the high-range rotor for the fast-speed
setting.
RT Hi Accl (RT High Frequency Acceleration)
0–15 [12 (40 03 0E)]
Adjusts the time over which the rotation speed of the highrange rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
RT Hi Lev (RT High Frequency Level)
0–127 [13 (40 03 0F)]
Adjusts the volume of the high-range rotor.
RT Sept (RT Separation)
0–127 [14 (40 03 10)]
Adjusts the spatial spread of the rotary sound.
#RT Speed
Slow/Fast [15 (40 03 11)]
Simultaneously switch the rotational speed of both the lowrange and the high-range rotors.
Slow:
Slow down the rotation to the specified
speeds (RT L Slow parameter/RT H Slow
parameter values).
Fast:
Speed up the rotation to the specified speeds
(RT L Fast parameter/RT H Fast parameter
values).
RT Pan (RT Output Pan)
L63–0–R63 [18 (40 03 14)]
Adjusts the stereo position of the rotary sound. L63 is far
left, 0 is center, and R63 is far right.
RT Level
0–127 [19 (40 03 15)]
Adjusts the volume of the rotary sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
61: OD/Phaser (Overdrive/Distortion, Phaser) [11H, 05H]
This connects an overdrive or distortion in parallel with a
phaser.
fig.9-66
Pan
L
Overdrive/
Distortion
R
Phaser
Pan
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [1 (40 03 03)]
Selects either Overdrive or Distortion.
+OD Drive (OD Drive)
0–127 [2 (40 03 04)]
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
OD Amp (Overdrive Amp Simulator Type)
Smal/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp.
Small: small amp
BltIn:
single-unit type amp
2-Stk:
large double stack amp
3-Stk:
large triple stack amp
OD Amp Sw (OD Amp Switch)
Off/On [4 (40 03 06)]
Turns the OD Amp parameter on/off.
OD Pan (OD Output Pan)
L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the overdrive or distortion sound.
L63 is far left, 0 is center, and R63 is far right.
OD Level
0–127 [17 (40 03 13)]
Adjusts the overdrive or distortion volume.
● PH (Phaser)
PH Man (Phaser Manual)
100–8.0k [6 (40 03 08)]
Adjusts the center frequency at which the sound will be
modulated.
#PH Rate (Phaser Rate)
Adjusts the modulation speed.
0.05–10.0 [7 (40 03 09)]
PH Depth (Phaser Depth)
Adjusts the modulation depth.
0–127 [8 (40 03 0A)]
PH Reso (Phaser Resonance)
0–127 [9 (40 03 0B)]
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
PH Mix (Phaser Mix Level)
0–127 [10 (40 03 0C)]
Adjusts the proportion of the phase-shifted sound that will
be mixed with the direct sound.
PH Pan (Phaser Output Pan) L63–0–R63 [18 (40 03 14)]
Sets the stereo location of the phaser sound. L63 is far left, 0
is center, and R63 is far right.
PH Level
0–127 [19 (40 03 15)]
Adjusts the volume of the phaser sound.
Level (Output Level)
Adjusts the output level.
124
0–127 [20 (40 03 16)]
Using Insertion Effects
62: OD/Auto Wah (Overdrive/Distortion, Auto-wah)[11H, 06H]
This connects an Overdrive or Distortion in parallel with an
Auto-wah.
fig.9-67
Pan
L
Overdrive/
Distortion
R
Auto Wah
Pan
● OD (Overdrive/Distortion)
OD Sel (OD Select)
Odrv/Dist [1 (40 03 03)]
Selects either Overdrive or Distortion.
+OD Drive (OD Drive)
0–127 [2 (40 03 04)]
Adjusts the degree of overdrive or distortion. The volume
will change together with the degree of distortion.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3 (40 03 05)]
Selects the type of guitar amp for overdrive or distortion.
Small: small amp
BltIn: single-unit type amp
2-Stk: large double stack amp
3-Stk: large triple stack amp
OD Amp Sw (OD Amp Switch)
Off/On [4 (40 03 06)]
Turns the OD Amp parameter on/off.
OD Pan (OD Output Pan)
L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the overdrive or distortion sound.
L63 is far left, 0 is center, and R63 is far right.
OD Level
0–127 [17 (40 03 13)]
Adjusts the volume of the overdrive or distortion sound.
● AW (Auto-wah)
AW Filter (Auto-wah Filter Type) LPF/BPF [6 (40 03 08)]
Selects the type of filter for the auto-wah.
LPF:
The wah effect will be produced over a broad
frequency range.
BPF:
The wah effect will be produced over a
narrow frequency range.
AW Sens (Auto-wah Sensitivity)
0–127 [7 (40 03 09)]
Adjusts the sensitivity with which the auto-wah filter will
be controlled.
#AW Man (Auto-wah Manual)
0–127 [8 (40 03 0A)]
Sets the center frequency at which the auto-wah effect will
be produced.
AW Peak (Auto-wah Peak)
0–127 [9 (40 03 0B)]
Adjusts the way in which the wah effect will be applied to
the region of the center frequency. Lower settings will
produce a wah effect in a broad area around the center
frequency, and higher settings will produce a wah effect in
a narrower area around the center frequency.
AW Rate (Auto-wah Rate)
0.05–10.0 [10 (40 03 0C)]
Adjusts the modulation speed of the auto-wah.
AW Depth (Auto-wah Depth)
0–127 [11 (40 03 0D)]
Adjusts the modulation depth of the auto-wah.
AW Pol (Auto-wah Polarity)
Down/Up [12 (40 03 0E)]
Sets the direction in which the frequency will change when
the auto-wah filter is modulated. With a setting of Up, the
filter will change toward a higher frequency. With a setting
of Down, it will change toward a lower frequency.
AW Pan (Auto-wah Output Pan)
L63–0–R63 [18 (40 03
14)]
Adjusts the stereo position of the auto-wah sound. L63 is
far left, 0 is center, and R63 is far right.
AW Level (Auto-wah Level)
0–127 [19 (40 03 15)]
Adjusts the volume of the auto-wah sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
125
Using Insertion Effects
63: PH/Rotary (Phaser, Rotary)
[11H, 07H]
This connects a Phaser effect in parallel with a Rotary effect.
fig.9-68
Pan
L
Phaser
R
Rotary
Pan
● PH (Phaser)
RT H Fast (RT High Frequency Fast Rate)
0.05–10.0 [11 (40 03 0D)]
Adjusts the speed of the high-range rotor for the fast-speed
setting.
RT Hi Accl (RT High Frequency Acceleration)
0–15 [12 (40 03 0E)]
Adjusts the time over which the rotation speed of the highrange rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
PH Man (Phaser Manual)
100–8.0k [1 (40 03 03)]
Adjusts the center frequency at which the sound will be
modulated.
RT Hi Lev (RT High Frequency Level)
0–127 [13 (40 03 0F)]
Adjusts the volume of the high-range rotor.
+PH Rate (Phaser Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the phaser.
RT Sept (RT Separation)
0–127 [14 (40 03 10)]
Adjusts the spread of the rotary sound.
PH Depth (Phaser Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the phaser.
#RT Speed
Slow/Fast [15 (40 03 11)]
Simultaneously switch the rotational speed of both the lowrange and the high-range rotors.
Slow: Slow down the rotation to the specified
speeds (RT L Slow parameter/RT H Slow
parameter values).
Fast:
Speed up the rotation to the specified speeds
(RT L Fast parameter/RT H Fast parameter
values).
PH Reso (Phaser Resonance)
0–127 [4 (40 03 06)]
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
PH Mix (Phaser Mix Level)
0–127 [5 (40 03 07)]
Adjusts the proportion of the phase-shifted sound that will
be mixed with the direct sound.
PH Pan (Phaser Output Pan) L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the phaser sound. L63 is far left, 0
is center, and R63 is far right.
PH Level (Phaser Level)
0–127 [17 (40 03 13)]
Adjusts the volume of the phaser sound.
● RT (Rotary)
RT L Slow (RT Low Frequency Slow Rate)
0.05–10.0 [6 (40 03 08)]
Adjusts the speed of the low-range rotor for the slow-speed
setting.
RT L Fast (RT Low Frequency Fast Rate)
0.05–10.0 [7 (40 03 09)]
Adjusts the speed of the low-range rotor for the fast-speed
setting.
RT Lo Accl (RT Low Frequency Acceleration)
0–15 [8 (40 03 0A)]
Adjusts the time over which the rotation speed of the lowrange rotor will change from slow-speed to fast-speed (or
fast-speed to slow-speed) rotation. Smaller values will
require greater time to reach the new rotational speed.
RT Lo Lev (RT Low Frequency Level)0–127 [9 (40 03 0B)]
Adjusts the volume of the low-range rotor.
RT H Slow (RT High Frequency Slow Rate)
0.05–10.0 [10 (40 03 0C)]
Adjusts the speed of the high-range rotor for the slowspeed setting.
126
RT Pan (RT Output Pan)
L63–0–R63 [18 (40 03 14)]
Adjusts the stereo position of the rotary sound. L63 is far
left, 0 is center, and R63 is far right.
RT Level
0–127 [19 (40 03 15)]
Adjusts the volume of the rotary sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
64: PH/Auto Wah (Phaser, Auto-wah)
[11H, 08H]
This connects a Phaser effect and an Auto-wah effect in
parallel.
fig.9-69
Pan
L
Phaser
R
Auto Wah
Pan
● PH (Phaser)
PH Man (Phaser Manual)
100–8.0k [1 (40 03 03)]
Adjusts the center frequency at which the phaser sound will
be modulated.
+PH Rate (Phaser Rate)
0.05–10.0 [2 (40 03 04)]
Adjusts the modulation speed of the phaser.
PH Depth (Phaser Depth)
0–127 [3 (40 03 05)]
Adjusts the modulation depth of the phaser.
Using Insertion Effects
PH Reso (Phaser Resonance)
0–127 [4 (40 03 06)]
Adjusts the emphasis for the region around the center
frequency specified by the PH Man parameter.
PH Mix (Phaser Mix Level)
0–127 [5 (40 03 07)]
Adjusts the proportion of the phase-shifted sound that will
be mixed with the direct sound.
PH Pan (Phaser Output Pan) L63–0–R63 [16 (40 03 12)]
Sets the stereo location of the phaser sound. L63 is far left, 0
is center, and R63 is far right.
PH Level (Phaser Level)
0–127 [17 (40 03 13)]
Adjusts the volume of the phaser sound.
● AW (Auto-wah)
AW Filter (Auto-wah Filter Type) LPF/BPF [6 (40 03 08)]
Selects the type of filter for the auto-wah.
LPF:
The wah effect will be produced over a broad
frequency range.
BPF:
The wah effect will be produced over a
narrow frequency range.
●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●
When using 3D effects
The following four 3D effects utilize RSS (Roland Sound
Space) technology to create a spaciousness that cannot be
produced by delay, reverb, chorus, etc.
20: 3DChorus
28: 3DDelay
31: 3DAuto
32: 3DManual
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at
a sufficient distance from the walls on either side.
fig.9-70
30˚
30˚
AW Sens (Auto-wah Sensitivity)
0–127 [7 (40 03 09)]
Adjusts the sensitivity with which the auto-wah filter will
be modulated.
#AW Man (Auto-wah Manual)
0–127 [8 (40 03 0A)]
Sets the center frequency at which the auto-wah effect will
be produced.
AW Peak (Auto-wah Peak)
0–127 [9 (40 03 0B)]
Adjusts the way in which the wah effect will be applied to
the region of the center frequency. Lower settings will
produce a wah effect in a broad area around the center
frequency, and higher settings will produce a wah effect in
a narrower area around the center frequency.
AW Rate (Auto-wah Rate)
0.05–10.0 [10 (40 03 0C)]
Adjusts the modulation speed of the auto-wah.
If the left and right speakers are too far apart, or if there is too
much reverberation, the full 3D effect may not appear.
Each of these effects has an Out (Output Mode) parameter. If
the sound from the OUTPUT jacks is to be heard through
speakers, set this parameter to Speaker. If the sound is to be
heard through headphones, set it to Phones. This will ensure
that the optimal 3D effect will be heard. If this parameter is
not set correctly, the full 3D effect may not appear.
●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●
AW Depth (Auto-wah Depth)
0–127 [11 (40 03 0D)]
Adjusts the modulation depth of the auto-wah.
AW Pol (Auto-wah Polarity)
Down/Up [12 (40 03 0E)]
Sets the direction in which the frequency will change when
the auto-wah filter is modulated. With a setting of Up, the
filter will change toward a higher frequency. With a setting
of Down it will change toward a lower frequency.
AW Pan (Auto-wah Output Pan)
L63–0–R63 [18 (40 03
14)]
Adjusts the stereo position of the auto-wah sound. L63 is
far left, 0 is center, and R63 is far right.
AW Level (Auto-wah Level)
0–127 [19 (40 03 15)]
Adjusts the volume of the auto-wah sound.
Level (Output Level)
Adjusts the output level.
0–127 [20 (40 03 16)]
127
Using insertion effects
To apply an Insertion Effect to a certain Part using MIDI messages, transmit the following System Exclusive Messages in turn.
fig.9-72ce
address
data
checksum
1. F0 41 10 42 12 [ 40 03 00 ] [ . . ] [ . . ] F7
2. F0 41 10 42 12 [ 40 03 03 ] [ . . ] [ . . ] F7
|
[40 03 20 ]
3. F0 41 10 42 12 [ 40 4x 22 ] [ . . ] [ . . ] F7
Address 1:
Data 1:
Address 2:
Data 2:
Checksum:
Address 3:
x:
Data 3:
EFX TYPE
Use the two values MSB and LSB to specify the effect type. For details
on the effect type, refer to Insertion Effect Types (p.91) and to Insertion Effect List (p.216).
EFX PARAMETER 1 ( – 20)
For details on the parameters, refer to Insertion Effect Types (p.91)
and to Insertion Effect List (p.216).
Specify the parameter value in the range of 00 – 7F (0 – 127).
Refer to How to calculate the checksum (p.245).
PART EFX ASSIGN
Part Number (In the MIDI implementation, the part number is described as the block number. For more about the correspondence between part numbers and block numbers, refer to p.237.)
00 – 01
00 = BYPASS (Effect Off), 01 = EFX (Effect On)
<Example> Applying Insertion Effect 06:Distortion to Part 1
Transmit the following System Exclusive Messages in turn.
Firstly, set the effect type to 06:Distortion by transmitting EFX TYPE.
fig.9-72ee
address
data
checksum
F0 41 10 42 12 [ 40 03 00 ] [ 01 11 ] [ 2B ] F7
Effect Type
Distortion
Also refer to MIDI Implementation (p.237).
For details about decimal
and hexadecimal, refer to
Decimal and Hexadecimal
table (p.244).
For details about the type
of effects, refer to Insertion
Effect Types (p.91), or
Insertion Effect List
(p.216).
checksum
Secondly, sets the effect parameter Drive to 127 by transmitting EFX PARAMETER 1.
fig.9-72fe
address
data checksum
F0 41 10 42 12 [ 40 03 03 ] [ 7F ] [ 3B ] F7
Drive
checksum
7F (=127)
Finally, turn on the effect for Part 1 by transmitting PART EFX ASSIGN.
fig.9-72de
address
data checksum
F0 41 10 42 12 [ 40 41 22 ] [ 01 ] [ 5C ] F7
Part 1
128
EFX on checksum
For details about
checksum, refer to How to
calculate the checksum
(p.245), and about decimal
and hexadecimal, refer to
Decimal and Hexadecimal
table (p.244).
Using insertion effects
Modifying the Effect Parameters Using
Controllers
The value of some insertion effect parameters can be modified using controllers.
These parameters are marked by a + or # in front of the parameter name in Insertion
Effect Types (p.91).
When using MIDI messages to modify effect parameters during a song, using Exclusive messages to perform all of the control would excessively increase the amount of
data. For this reason, the SC-8850 lets you use controllers to modify some of the principle parameters of each effect type. By taking advantage of this, you can use control
change messages to modify parameter values during a song without excessively increasing the amount of data.
When playing the SC-8850 from a keyboard, etc., you can also use a pedal or other
controller to modify the values in real time.
For example, look at the parameters of the Insertion effect 04: Humanizer (p.93). Notice that the Vowel parameter is marked by a +, and that the Level is marked by a #
In this case, the controller assigned to EFX C.Src1 will control Vowel, and the controller assigned to EFX C.Src2 will control Level.
EFX C.Src1, 2
EFX C.Dep1, 2
(Effect Control Source 1, 2)
(Effect Control Depth 1, 2)
■ Setting Procedure
1
Press [EFFECTS] to turn it on.
2
Press [→] ([F4]) to scroll the screen, and press [CTRL] ([F3]).
fig.9-73
3
Press VAR. [
] or INST [
] to move the cursor up and down, and select
the parameter you want to modify.
fig.9-74
129
Using insertion effects
4
5
Rotate the [VALUE] knob, or press [DEC] or [INC] to set the value for the
parameter.
When you finish making settings, press [EXIT] to end the procedure.
■ The Function of Each Parameter
■ EFX C.Src1, 2 (Effect Control Source)
Off/CC1 – 95/CAf/Bend
Specify the controllers that you wish to use. EFX C.Src1 will control the parameter
marked with a + at the left of the parameter name. EFX C.Src2 will control the parameter marked with a # at the left of the parameter name.
CC1–95:
CAf:
Bend:
Controller numbers 1–95
Channel aftertouch
Pitch bend
■ EFX C.Depth 1, 2 (Effect Control Depth)
-100–±0–+100(%)
This specifies the percentage of the full parameter range in which change will actually occur when a controller is used. Higher values will allow a greater range of
change. If this value is set to 0, the controller will not affect the effect parameter. With
negative (-) settings, the change will be inverted. The controller will increase/decrease the value of the effect parameter in real time to the value that was set.
When Depth has a positive (+) setting
Setting value + value from controller x depth (%)/100
When Depth has a negative (-) setting
Setting value - value from controller x depth (%)/100
< Example >
The Drive parameter of 5: Overdrive normally changes in the range of 0–127.
When this parameter is modified by a controller, it will change in the range of 0–127
if the Effect Control Depth value is +100. With a value of +50, it will change in the
range of 0–64 (i.e., 50% of 127).
Normally
Depth = +100%
Depth = +50%
Depth = -100%
130
→ 0–127
→ 0–127
→ 0–64
→ 127–0
For CC1–95, make sure that
the setting matches the
controller number of the
device that is transmitting
the MIDI messages.
Using insertion effects
Examples of Using Effect Controllers
Here are some examples of how effect controllers can be used.
In these examples MIDI messages are used to modify the settings, but these settings can
also be controlled from the front panel (p.88, p.129).
Hexadecimal values in the < Settings > sections denote Exclusive messages, and hexadecimal values in the < Modifying the value > sections denote control change messages.
The Exclusive messages are given with device ID 17 (10H) (the factory setting). After the
settings in < Settings > have been made, the control change messages described in <Modifying the value> can be transmitted to modify the parameters to the desired value.
For the correspondence between the hexadecimal values and the parameter values, refer
to p.233.
■ Using Control Change 16 to modify the Drive value of 06: Distortion
< Settings >
1 Turn EFX (address: 40H 41H 22H) on for Part 1.
2
3
4
5
F0 41 10 42 12 40 41 22 01 5C F7
Set the effect type to 6: Distortion (value: 01H 11H)
F0 41 10 42 12 40 03 00 01 11 2B F7
Set Drive (address: 40H 03H 03H) to 0 (00H).
F0 41 10 42 12 40 03 03 00 3A F7
Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H).
F0 41 10 42 12 40 03 1B 10 12 F7
Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH).
F0 41 10 42 12 40 03 1C 7F 22 F7
< Modifying the value >
CC#16
0
Drive → 0
1
Drive → 1
:
:
126
Drive → 126
127
Drive → 127
■ Using Control Change 16 to modify the Speed value of 9: Rotary
< Settings >
1 Turn EFX (address: 40H 41H 22H) on for Part 1.
2
3
4
5
F0 41 10 42 12 40 41 22 01 5C F7
Set the effect type to 9: Rotary (value: 01H 22H)
F0 41 10 42 12 40 03 00 01 22 1A F7
Set Speed (address: 40H 03H 0DH) to Slow (00H).
F0 41 10 42 12 40 03 0D 00 30 F7
Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H).
F0 41 10 42 12 40 03 1B 10 12 F7
Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH).
F0 41 10 42 12 40 03 1C 7F 22 F7
< Modifying values >
Since the Speed parameter has only two values, Slow and Fast, the lower half of the
range (0–63) will select Slow, and the upper half (64–127) will select Fast.
CC#16
0
Speed → Slow
:
:
63
Speed → Slow
64
Speed → Fast
:
:
127
Speed → Fast
131
Using insertion effects
■ Using Control Change 16 to modify the Wah Man value of 50:GTR Multi3
< Settings >
1 Turn EFX on for Part 1.
F0 41 10 42 12 40 41 22 01 5C F7
2 Set the effect type to 50: GTR Multi 3 (value: 04H 02H)
F0 41 10 42 12 40 03 00 04 02 37 F7
3 Set Wah Man (address: 40H 03H 04H) to 0 (00H).
F0 41 10 42 12 40 03 04 00 39 F7
4 Set Effect Control Source 1 (address: 40H 03H 1BH) to CC16 (10H).
F0 41 10 42 12 40 03 1B 10 12 F7
5 Set Effect Control Depth 1 (address: 40H 03H 1CH) to +100% (7FH).
F0 41 10 42 12 40 03 1C 7F 22 F7
< Modifying the value >
CC#16
0
Wah Man
1
Wah Man
:
126
Wah Man
127
Wah Man
→
→
0
1
:
→ 126
→ 127
■ Using Control Change 17 to modify the Feedback value of 10: Stereo Flanger
Example 1:When Effect Control Depth is set to +100
< Settings >
1 Turn EFX on for Part 1.
2
3
4
5
F0 41 10 42 12 40 41 22 01 5C F7
Set the effect type to 10: Stereo Flanger (value: 01H 23H)
F0 41 10 42 12 40 03 00 01 23 19 F7
Set Feedback (address: 40H 03H 08H) to -98% (00H).
F0 41 10 42 12 40 03 08 00 35 F7
Set Effect Control Source 2 (address: 40H 03H 1DH) to CC17 (11H).
F0 41 10 42 12 40 03 1D 11 0F F7
Set Effect Control Depth 2 (address: 40H 03H 1EH) to +100% (7FH).
F0 41 10 42 12 40 03 1E 7F 20 F7
< Modifying the value >
The Feedback parameter changes in 2% steps, with 64 as the center.
CC#17
132
0
:
15
16
:
62
63
64
65
66
:
112
113
:
127
Feedback →
Feedback →
Feedback →
Feedback
Feedback
Feedback
Feedback
Feedback
→
→
→
→
→
Feedback →
Feedback →
Feedback →
-98%
:
-98%
-96%
:
-4%
-2%
+/-0%
+2%
+4%
:
+96%
+98%
:
+98%
For details about the
hexadecimal values and
their corresponding
parameter value, refer to
Effect Parameter Value
Conversion Table (p.224).
Using insertion effects
■ Using Control Change 17 to modify the Feedback value of 10: Stereo Flanger
Example 2:When Effect Control Depth is set to -100
< Settings >
1 Turn EFX on for Part 1.
F0 41 10 42 12 40 41 22 01 5C F7
2 Set the effect type to 10: Stereo Flanger (value: 01H 23H)
F0 41 10 42 12 40 03 00 01 23 19 F7
3 Set Feedback (address: 40H 03H 08H) to +98% (7FH).
F0 41 10 42 12 40 03 08 7F 36 F7
4 Set Effect Control Source 2 (address: 40H 03H 1DH) to CC17 (11H).
F0 41 10 42 12 40 03 1D 11 0F F7
5 Set Effect Control Depth 2 (address: 40H 03H 1EH) to -100% (00H).
F0 41 10 42 12 40 03 1E 00 1F F7
< Modifying the value >
The Feedback parameter changes in 2% steps, with 40H as the center. Since Effect Control Depth is set to -100%, increasing control change values will cause the value of the
Feedback parameter to decrease.
CC#17
0
:
14
15
:
61
62
63
64
65
:
111
112
:
127
Feedback → +98%
:
Feedback → +98%
Feedback → +96%
:
Feedback → +4%
Feedback → +2%
Feedback → +/-0%
Feedback →
-2%
Feedback →
-4%
:
Feedback → -96%
Feedback → -98%
:
Feedback → -98%
133
Saving and Loading SC-8850 Settings
Transmitting the Settings of the SC-8850
to a Computer
The SC-8850 can transmit the contents of its sound generator memory as MIDI data.
The data can be transmitted in two ways: Bulk Dump which transmits multiple parameters as a group, and Individual Data which allows parameters to be transmitted
individually. All data is transmitted as System Exclusive messages.
Use Bulk Dump when you wish to save settings of the SC-8850 on a sequencer or
computer. By transmitting a Bulk Dump, you can also set all parameters of two units
to identical settings.
By transmitting Individual Data, you can create data without having to look up individual System Exclusive messages, letting you create data more efficiently.
■ Transmitting a Bulk Dump
When transmitting or receiving Bulk Dump data, check the settings and procedures
on your sequencing program or sequencer.
Here we explain how to transmit data from the SC-8850.
1
Simultaneously press both the [EDIT] and PART [
] buttons (UTIL).
fig.10-1
2
3
Press [BULK] ([F2]).
Press VAR. [
mit.
] or INST [
] to select the type of data you want to trans-
fig.10-2
Dump All:
Dump All-User:
Dump User Inst:
Dump User Drum:
Dump Part-A:
Dump Part-B:
Dump Part-C:
Dump Part-D:
134
Transmits all parameters of the SC-8850 (Including User parameters)
Transmits all parameters except User parameters (User Instrument, User Drum Set) settings
Transmits User Instrument settings
Transmits User Drum settings
Transmits parameters for Part group A
Transmits parameters for Part group B
Transmits parameters for Part group C
Transmits parameters for Part group D
Saving and Loading SC-8850 Settings
4
Start the sequencer recording.
5
Press [ENTER].
The display will ask “Bulk Dump Sure?”
6
To transmit the data, press [ENTER].
To quit without transmitting the data, press [EXIT].
Pressing [ENTER] starts the data transmission.
The Transmitting display will appear while the SC-8850 transmits data.
7
When data transmission is complete, stop recording on the sequencer.
Since this operation
transmits a large amount of
data, make sure that the
receiving MIDI device has
sufficient memory. If the
receiving device has insufficient memory, recording
will not be completed. If
you transmit data for all
Parts, the Bulk Dump data
transmitted by the SC-8850
is about 85 Kbytes.
■ Transmitting Individual Data
Individual data can be transmitted in the edit screen, Edit All screen, Drum screen,
and Effect screen.
Transmitting parameters for a single part / all parts
1
2
In the Edit screen, Edit All screen, Drum screen, or Effect screen, select the
parameter that you wish to transmit, and set its value.
Pressing both the [DEC] and [INC] buttons simultaneously will transmit
the data.
135
Saving and Loading SC-8850 Settings
Parameters
You can send the following parameter values in each screen.
■ Edit screen
❏ EFFECT (p.52)
Reverb Send
Chorus Send
Delay Send
Part EQ
EFX
❏ EDIT (p.52)
Part Level
Part Pan
Rx MIDI CH
Part Mode
M/P Mode
Key Shift
Fine Tune
Bend Range
Mod Depth
Velo Depth
Velo Offset
Key Range L
Key Range H
CC1 C.Number
Out Asgn
❏ MODIFY (p.52)
Vib Rate
Vib Depth
Vib Delay
Cutoff Freq
Resonance
Attack Time
Decay Time
Release Time
❏ S. TUNE (p.52)
ScaleTune C
ScaleTune C#
ScaleTune D
ScaleTune D#
ScaleTune E
ScaleTune F
ScaleTune F#
ScaleTune G
ScaleTune G#
ScaleTune A
ScaleTune A#
ScaleTune B
❏ MOD (p.53)
Mod Range
Mod Cufoff
Mod Amp
Mod LFO Rate
Mod LFOPitch
Mod LFO TVF
Mod LFO TVA
136
❏ Bnd (p.53)
Bnd Range
Bnd Cufoff
Bnd Amp
Bnd LFO Rate
Bnd LFOPitch
Bnd LFO TVF
Bnd LFO TVA
❏ CAF (p.53)
CAf Range
CAf Cufoff
CAf Amp
CAf LFO Rate
CAf LFOPitch
CAf LFO TVF
CAf LFO TVA
❏ CC1 (p.53)
CC1 Range
CC1 Cufoff
CC1 Amp
CC1 LFO Rate
CC1 LFOPitch
CC1 LFO TVF
CC1 LFO TVA
❏ U.INST (p.53)
Vib Rate
Vib Depth
Vib Delay
Cutoff Freq
Resonance
Attack Time
Decay Time
Release Time
■ Edit All screen
❏ EDIT (p.50)
Master Level
Master Pan
M.Key Shift
M.Tune
* You cannot send the Device ID number.
■ Drum screen (p.71)
DRUM Set
Pitch Coarse
Inst Level
Inst Pan
Reverb Send
Chorus Send
Delay Send
Assign Group
Rx Note On
Rx Note Off
■ Effect screen
❏ REVERB (p.80)
RevType
Rev Level
Rev Character
Rev Pre-LPF
Rev Time
Rev Dly Fb
Rev PreDlyTm
❏ CHORUS (p.82)
ChoType
Cho Level
Cho Pre-LPF
Cho Feedback
Cho Delay
Cho Rate
Cho Depth
Cho To Rev
Cho To Dly
❏ DELAY (p.84)
DlyType
Dly Level
Dly Pre-LPF
Dly Time C
DlyTmRatioL
DlyTmRatioR
Dly Level C
Dly Level L
Dly Level R
Dly Feedback
Dly To Rev
❏ EQ (p.86)
EQ L.Freq
EQ L.Gain
EQ H.Freq
EQ H.Gain
❏ EFX (p.89)
EFX Type (Insertion Effect type)
EFX Parameter
(Insertion Effect parameter)
EFX To Rev
EFX To Cho
EFX To Dly
❏ CTRL (p.130)
EFX C.Src1
EFX C.Dep1
EFX C.Src2
EFX C.Dep2
Saving and Loading SC-8850 Settings
Writing/Loading SC-8850 Settings
to/from the User Area (Edit All screen)
The SC-8850 allows you to save all settings of the sound source in a location called
the user area. By reloading these settings, you can reproduce the state of the SC8850 at the time that the settings were saved. You can also make the SC-8850 start up
with the saved settings.
(All sound source parameters settings except for user instruments and user drums
can be saved in the user area.)
Here we will explain how the SC-8850’s settings can be written into the user area,
and loaded from the user area.
■ Writing SC-8850 Settings Into the User Area
1
Simultaneously press PART [
] and [
] (ALL) to select the All Part
screen. Then press [EDIT] to select the Edit All screen.
With the factory settings,
turning on the SC-8850 will
cause it to start up in the
same condition as if it had
just received a GS Reset
message. If you want the
SC-8850 to start up with the
settings that are written
into the user area, refer to
the explanation for the
Startup parameter (p.63) in
the Setting Parameters
that Affect the SC-8850
Itself (Utility Screen)
section.
Alternatively, press [EDIT] in the Part Basic screen, and then simultaneously press
PART [
] and [
] (ALL).
2
Press [WRITE] ([F2]).
Part Basic screen (p.29)
The display will ask “Write User Setting?”
fig.10-4
Performing this procedure
will not save the SC-8850’s
system parameters. If you
wish to save the system
parameters, refer to Setting
Parameters that Affect
the SC-8850 Itself (Utility
Screen) (p.62).
3
To write the settings into the user area, press [ENTER]. To quit, press
[EXIT].
Make sure to keep the
power on while the settings
are being stored!
137
Saving and Loading SC-8850 Settings
■ Loading SC-8850 Settings from the User Area
1
Simultaneously press PART [
] and [
] (ALL) to select the All Part
screen. Then press [EDIT] to select the Edit All screen.
Alternatively, press [EDIT] in the Part Basic screen, and then simultaneously press
PART [
] and [
] (ALL).
2
Press [LOAD] ([F3]).
The display will ask “Load User Setting?”
fig.10-5
3
To load the User Settings, press [ENTER].
To quit without loading the User Settings, press [EXIT].
Shortcut Keys
You can easily load the settings of theSC-8850 using the [SHIFT] button.
1
While holding down [SHIFT], press [DRUM].
The display will ask “Load User Setting?”
2
To load the User Settings, press [ENTER].
To quit without loading the User Settings, press [EXIT].
138
Part Basic screen (p.29)
Appendices
Troubleshooting
If the SC-8850 does not function in the way you expect, first check the following
points. If this does not resolve the problem, consult your dealer or a nearby Roland
Service Station (listed at the end of this manual).
Cannot turn the power on
If a message appears
during operation, consult
the following section If a
Message Appears (p.156).
● Is the power cable correctly plugged into an outlet and the SC-8850?
The volume level of the instrument connected to Audio
output/input jacks is too low.
● Could you be using a connection cable that contains a resistor?
Use a connection cable that does not contain a resistor.
Performance is incorrect when playing back music files carrying
the General MIDI/GS logo
● Is the Device ID set to 17? (p.50)
A specific Part does not sound
● Is the lowest dot in the bar display off?
Parts for which this dot is off have been muted. Turn Part Mute off. (p.35)
● Is the volume level of the Part turned down? (p.32)
● Does the MIDI Receive channel of the Part match the MIDI Transmit channel of
the connected MIDI device? (p.145)
Some parts do not sound when you press the [VOLUME] knob
● Try restoring the GS basic settings. (p.24)
● Check the Prevw Velo setting. (p.63)
Prevw Velo is the parameter that specifies the level of the sound that is heard when
you press the [VOLUME] knob.
● Make sure that the part level has not been lowered. (p.32)
● Make sure that Part Mute has not been turned on. (p.35)
Sometimes the part mode may have been muted during operation. If you would prefer not to search for the muted part, you may simply wish to initialize. (p.24)
A specific keyboard area does not sound
● Has the Keyboard Range been set? (p.57)
Sound is heard but the bar indicator does not move
● Is the sounding part different than the displayed part group?
If so, press [F1] – [F4] in the Part Basic screen to select the part group that is displayed.
Part Basic screen (p.29)
Cannot select the desired sound
● Are you sending an incorrect Program number? (p.41)
● Are you setting the SC-8850 to SC-55 Map, SC-88 Map, or SC-88Pro Map?
(p.36)
139
Appendices
No sound
If you do not hear any sound, the reason is often more complex and can have more potential causes than most other problems. However in most cases, the problem is due to
incorrect connections between devices, or incorrect settings in the driver or software.
How to read the flow chart
... Read in sequence, following the instructions.
... Answer the questions.
fig.flow*
No Sound
Is the power turned on for your SC-8850?
You hear sound!
YES
Do the bar indicators in the
display move? (p.21)
NO
Is the lowest dot in the
bar display turned off?
Parts for which the dot is turned off have been muted.
Press [MUTE] to defeat muting.
By pressing PART [ ] and [ ] (ALL) to select All Part,
and then pressing [64PART] ([F4]), you can check all parts.
YES
NO
Check the following.
• Are the SC-8850 and your computer connected correctly,
and is the Computer switch of the SC-8850 set correctly?
Refer to Connecting to Your Computer / MIDI Keyboard,
and check the connections once again. (p.12)
* The new setting of the Computer switch will take effect when
the power is turned on. Turn off the power before changing
the setting of the Computer switch.
Is the Thru function of your computer software turned on? (p.18)
• Is the volume knob turned all the way down?
• Are the settings for the OUTPUT1, 2 jacks correct?
At the factory settings, no sound will be sent from Output 2 jacks.
• Has the Expression pedal etc. on a connected MIDI device turned
the volume down?
You hear sound!
You hear sound!
It is also possible that the parameter settings of
the SC-8850 have become incorrect.
Try initializing for GM or GS reset. (p.24)
When installing the software,
did you install the driver?
YES
You hear sound!
Check the following points on the software
that you are using.
• Has the volume been lowered?
• Has the volume been muted (silenced)?
You hear sound!
Is the MIDI output destination set correctly?
• Refer to the owner's manual of the included CD-ROM,
and make the appropriate settings.
• If the appropriate MIDI driver is not selected, the SC-8850 will not sound.
Check the MIDI output settings of the software you are using.
* For details on the MIDI output settings, refer to the owner's manual of
the software you are using.
You hear sound!
140
NO
Appendices
fig.flow*
Connect the headphones to the
headphone jack of the SC-8850.
Can you hear sound through
headphones?
NO
Check the following points.
• Are the output jacks of the SC-8850 correctly
connected to the input jacks of your audio device?
YES
Check the following points.
If you can hear sound through headphones,
the problem may be that the audio cable transmitting
the sound to the other devices is broken or incorrectly
connected, or that there is a problem with your mixer/amp/
speaker system. Replace the cable and the connected
devices.
You hear sound!
Contact “Roland Service Center.” (p.248)
If the driver is not installed, the SC-8850 will not sound.
Refer to the owner's manual of the included CD-ROM,
and install the USB driver or serial MIDI driver.
• If you are using a computer cable for connections,
is that serial port (COM port) being used by another device?
(Windows 95/98)
* For details on the serial port settings, refer to the owner's manual of
your computer.
• Refer to the owner's manual of the included CD-ROM,
and make the appropriate driver settings.
Contact “Roland Service Center.” (p.248)
You hear sound!
141
Appendices
Can’t install the SC-8850 USB driver (Windows 98)
● Is USB enabled?
Enable USB on your computer.
If an unknown device is not detected when you first connect the SC-8850 to your
computer via a USB cable, it is possible that the USB interface itself is disabled.Use
the following procedure to check whether the USB interface is enabled.
1 Click the Windows [Start] button, and from [Settings], choose [Control Panel]. In
[Control Panel], double-click the [System] icon.
2 Click the [Device Manager] tab, and make sure that there are no yellow “!” marks or
“x” marks displayed beside [Universal serial bus controller] or [USB Root Hub] below it.
If a yellow “!” mark or “x” mark is displayed, the USB is currently disabled.
Refer to the owner’s manual for your computer, and enable the USB.
● Has an unknown device been registered?
If the SC-8850 USB driver installation is interrupted for some reason (such as
because a cable was pulled out) an unknown device could be registered to the
computer, and it may no longer possible to install the driver over again. If this occurs, use the following procedure to delete the unknown device, and install the driver once again.
1 Click the Windows [Start] button, and from [Settings], choose the [Control panel]. In
[Control panel], double-click the [System] icon.
2 Click the [Device manager] tab, and with [View devices by type] selected, make sure
that there is no [Other devices]. If there is, double-click it, and if there are any [Unknown devices] below it, click to select them and then click the [Remove] button to
delete them.
3 Disconnect the USB cable from the SC-8850, and then re-connect the cable. If the
computer recognizes the SC-8850, perform the driver installation from the beginning.
USB connections cannot be made correctly (Windows 98)
● Has the SC-8850 been recognized?
Disconnect the USB cable, and then re-connect it.
It is possible that the computer has failed to recognize or initialize the SC-8850.
Leave the USB cable connected to the SC-8850, and restart Windows. If connection
still does not occur, exit Windows, and turn off the power of your computer.
Then turn on the power of your computer and start Windows.
Sound is distorted
● Is an effect which distorts the sound being applied? (p.93)
● If a specific sound or Part is distorted, lower the volume level of that Part. (p.32)
● If all sounds are distorted, lower the overall volume level of all Parts (p.50), or
use the [VOLUME] knob (p.32) to lower the volume level.
Pitch is incorrect
● Is the pitch of a specific Part or all Parts incorrect? (p.50, p.55)
● Has the Fine Tune setting set to a specific Part? (p.55)
● Has a MIDI Pitch Bend message been received to change the pitch?
142
Appendices
Sound won’t stop sounding
● With some sequencing programs, sound may continue to sound if you change
the recording tracks while playing the keyboard.
In that case, press the [MUTE] button of the SC-8850 to stop the sound, then press
the [MUTE] button again to restore the previous state. (p.35)
Sound is wrong
● Have you selected another sound after modifying sound parameter settings
(filter, etc.)?
Restore all sound parameter settings to a value of 0. (p.64, p.68)
● On occasion, you may find that the SC-8850’s parameter settings have gone
awry.
To remedy such situations, initialize the unit for either General MIDI or GS. (p.24)
Sounds are interrupted
Even if the SC-8850 is
initialized for General
MIDI/GS, the System
parameter settings will not
be affected.
● If you play more than 128 voices at once, sounds will be interrupted. (p.48)
● Is the same data being sent simultaneously to MIDI IN 1 and MIDI IN 2?
Can’t playback more than 32 parts
● The SC-8850 can play more than 32 parts only when connected via the USB
connector or the serial connector.
When the SC-8850 is connected via the MIDI connectors, it can play a maximum of
32 parts.
Exclusive messages are not received
● Does the Device ID number of the transmitted Exclusive message match the
Device ID number of the SC-8850? (p.50)
The SC-8850 does not transmit MIDI data
● If you wish to transmit this unit data via the USB connector or the Serial connector, set the Computer switch to USB, PC, or Mac, depending on your computer. (p.12, p.14)
● When the Computer switch of the SC-8850 is set to MIDI, the SC-8850 will not
transmit data from the USB connector or the Serial connector.
MIDI sound generators connected to the SC-8850 are not played
from a computer or sequencer
● Music data received at the SC-8850 USB connector or the Serial connector is
transmitted from the MIDI OUT connector.
Make the correct settings on your sequencer software and driver.
When using an insertion effect, the panpot of a part has no
effect — the sound is located in the center
● Depending on the algorithm, this may have no effect.
The insertion effects are designed to be inserted after the part pan. Use the pan of the
insertion effects.
143
Appendices
I want to apply delay to a drum part, but cannot do so
● With the initial settings, the Delay Send Level of all drum instruments is set to 0.
Set the Delay Send Level for each instrument. (p.71)
Since the initial setting of the Delay Level for the drum part is also 0, raise the Delay
Send Level. (p.54)
When I turn on an insertion effect, the system effect settings
(reverb etc.) I had made are all initialized
● When you turn on an insertion effect, it will no longer be possible to use control changes to set the send level for the system effects.
This means that when you turn on an insertion effect, you will need to use a different
route to send the signal to the system effects.
You can set the send level (common to the insertion effect) to the system effect when
the EFX TO Rev (Cho, Dly) ( p.89, p.237) is used to turn EFX ON.
Is there a way to automatically initialize every time?
● With the factory settings, the SC-8850 will start up in a GS reset condition when
the power is turned on.
It is also possible to make it start up with the settings that were saved in the user area.
(p.63)
● If an exclusive message that transmits a GS Reset is included at the beginning
of a song, the SC-8850 will automatically be reset when a song starts.
Can play only 16 parts when connected via a computer cable
● The Windows MIDI Mapper generally supports only 16 parts.
If you wish to use 17 or more parts, you will need application software that has MIDI
devices for two ports.
Since a bulk dump is too much data, is it possible to transmit only
individual parameter data to the computer (sequencer)?
● In addition to the bulk dump function that transmits a group of parameters, the
SC-8850 also allows you to transmit data for individual parameters. You can
use this individual data transmission capability to transmit only the data that
you wish.
Transmits individual data does not require you to look up the actual system exclusive data format, and is an efficient way of creating data.
The volume level of the instrument connected to an Audio Input
jack is too low
● Could you be using a connection cable that contains a resistor?
Use a connection cable that does not contain a resistor.
144
Appendices
About MIDI
■ What’s MIDI?
MIDI stands for Musical Instrument Digital Interface. MIDI devices can transmit
musically related data such as performance data or data to select sounds. Since MIDI
is a world-wide standard, musical data can be sent and received between devices
even if they are of different types and were made by different manufacturers. In the
MIDI standard, data describing a musical performance such as “play a note” or
“press the pedal” are transmitted as MIDI messages.
As long as you are using the this unit to simply play commercially available music
data or to provide sound for game software, it is not necessary to know about MIDI.
Simply follow the instructions in the manual for your music data playback device
(MIDI player) or your software.
The explanation that follows will help you use MIDI to control this unit in greater
detail.
How MIDI Messages are Transmitted and Received
First, we will briefly explain how MIDI messages are transmitted and received.
MIDI Connectors
MIDI messages are transmitted and received using two types of connector on the SC8850. Connect MIDI cables to these connectors as appropriate for your setup.
fig.11-1e
MIDI
OUT
IN
The SC-8850 is not
equipped with MIDI THRU
connector.
to another MIDI device
MIDI IN:
MIDI OUT:
from another MIDI device
This connector receives messages from another MIDI device.
This connector transmits messages from this unit.
MIDI Channels and Multitimbral Sound Modules
MIDI transmits a wide variety of performance data over a single MIDI cable. This is
made possible by MIDI channels. MIDI channels allow specific data to be selected
out of a large amount of data. The concept is similar to the idea of TV channels. By
changing the channel on a TV receiver you can view the programs of different stations. By setting the channel of the receiver to match the channel of the transmitter,
you can receive only the program you wish to watch. In the same way, MIDI allows
you to receive data only when the channel of the receiver matches the channel of the
transmitter.
fig.11-2e
Station A
The TV is set to the channel
of the station you wish to watch.
Station B
Station C
The cable from the antenna carries the TV signals from many broadcast stations.
145
Appendices
MIDI uses sixteen channels, numbered 1–16. Music data is received when the transmit channel of the transmitting device matches the receive channel of the receiving
device. If you make the MIDI channel settings shown in Fig.1, only sound module B
will sound when you play the keyboard, and sound module A will not sound. This
is because sound module B matches the transmit channel of the keyboard, but sound
module A’s channel does not match.
Conversely, if you set the transmit channel of the keyboard to match sound module
A, sound module A will sound (Fig.2).
fig.11-3e
MIDI OUT
MIDI IN
Transmit Channel: 1
MIDI THRU
Receive
Channel: 2
Sound
Module A
Fig. 1
MIDI Keyboard
Receive
Channel: 1
MIDI IN
Sound
Module B
MIDI OUT
MIDI IN
Transmit Channel: 2
MIDI THRU
Receive
Channel: 2
Sound
Module A
Fig. 2
MIDI Keyboard
Receive
Channel: 1
MIDI IN
Sound
Module B
Since this unit has two MIDI IN connectors, it can receive a total of 32 channels simultaneously. By using 32 channels you can play ensembles that use 32 Parts. Sound
module such as this unit, which are able to simultaneously play many parts, are
called “multitimbral” sound modules. Timbre is a word meaning sound.
This unit has two types of Parts: Normal Parts and Drum Parts (p.55). Normal Parts
are used to play melody or bass lines. On General MIDI/GS sound modules, the
Drum Part uses channel 10.
■ What is General MIDI 2?
The General MIDI 2 is a set of recommended specifications that provide detailed definitions for functionality such as sound editing and effects that had not been defined
in the General MIDI 1 (*), and extend the sound map to allow a higher degree of performance expression and compatibility.
* The General MIDI 1 was defined in 1991 as a recommended practice of the MIDI specification, to provide
a standard for the MIDI functionality of sound modules that would allow certain types of compatibility
between manufacturers. It defines basic sound module specifications such as the number of parts, polyphony, and the sound map.
Principle differences between General MIDI 2 and the GS Format (SC-8850)
• Initialization message for sound source parameters
[GS]
GS Reset
F0 41 10 42 12 40 00 7F 00 41 F7
[General MIDI 2] GM2 System On
F0 7E 7F 09 03 F7
• Sound selection
[GS]
Use bank select MSB and program change.
Bank select LSB is used to change the sound map.
00H: specify INST MAP
01H: SC-55 Map
02H: SC-88 Map
03H: SC-88Pro Map
04H: SC-8850 Map
To set a part other than part 10 as the drum part, use a system exclusive message. (p.60)
146
Appendices
<Example>
Setting the Part 11 to a Drum Part (Room Set).
F0 41 10 42 12 40 1A 15 02 0F F7
MIDI CH =
11
CC#00
000
CC#32
4
PC#
009
[General MIDI 2] Use bank select LSB and program change.
Bank select MSB is 121. Use 120 to set as the drum part.
<Example>
Setting the Part 11 to a Drum Part (Room Set).
MIDI CH =
11
CC#00
120
CC#32
0
PC#
009
* The General MIDI 2 sound map differs from the GS format. The SC-8850 will normally operate in the
GS format, but if a GM2 System On message is received, it will enter General MIDI 2 mode, and will
use the special sound map. In this state, it will not be possible to select the SC-8850’s own sounds.
General MIDI 2 Sound map
(p.213)
Items newly defined in General MIDI 2
• Polyphony
32(General MIDI 1 is 24)
• Number of sounds 256 sounds / 9 drum sets (General MIDI 1 is 128 sounds / 1 drum set)
• Messages that must be received (* indicates those added by General MIDI 2)
Note ON/OFF
Program Change
Control Change
Bank Select
(Controllers 0 & 32)
Modulation Depth
(Controller 1)
Portamento Time*
(Controller 5)
Channel Volume
(Controller 7)
Pan
(Controller 10)
Expression
(Controller 11)
Hold 1
(Controller 64)
Portamento ON/OFF*
(Controller 65)
Sostenuto*
(Controller 66)
Soft*
(Controller 67)
Harmonic Content*
(Controller 71)
Release Time*
(Controller 72)
Attack Time*
(Controller 73)
Brightness*
(Controller 74)
Decay Time*
(Controller 75)
Vibrato Rate*
(Controller 76)
Vibrato Depth*
(Controller 77)
Vibrato Delay*
(Controller 78)
Reverb Send Level*
(Controller 91)
Chorus Send Level*
(Controller 93)
Data Entry
(Controllers 6 & 38)
RPN LSB/MSB
(Controller 100 & 101)
RPN
Pitch Bend Sensitivity
Fine Tune
Coarse Tune
Modulation Sensitivity*
RPN Null
147
Appendices
Channel Mode Message
All Sound Off
Reset All Controllers
All Notes OFF
Mono Mode ON*
Poly Mode ON*
Pitch Bend
Channel Pressure
GM System Message
GM2 System ON*
GM1 System ON
GM System OFF
Universal System Exclusive Message
Master Volume*
Master Fine Tuning*
Master Coarse Tuning*
Reverb Parameters*
Reverb Type*
Reverb Time*
Chorus Parameters*
Chorus Type*
Modulation Rate*
Modulation Depth*
Feedback*
Reverb Send Level*
Controller Settings*
Channel Pressure*
Control Change*
Scale/Octave Tuning*
Keybased Controller*
Level*
Pan*
Reverb Send Level*
Chorus Send Level*
Active Sensing
■ MIDI Messages That Can Be Received
by the SC-8850
MIDI uses many different types of message to transmit musical performance data,
and there are many types of MIDI message. For example, information indicating
“which key was played how strongly” is transmitted as a Note message.
The way that a device responds when it receives each type of MIDI message (such as
how it produces sound) will depend on the specifications of that device. This means
that if the receiving device is not able to perform the function requested by the incoming message, the musical result will not be what you expected.
The main types of MIDI message received by this unit are as follows.
* MIDI messages for which reception capability is required by the General MIDI 1 are marked by a ✩ sign.
148
Appendices
Note messages ✩
These messages convey notes played on the keyboard. They include the following
information.
Note number:
Note on:
Note off:
Velocity:
a number indicating the note (key) that was pressed or released
data indicating that the note (key) was pressed
data indicating that the note (key) was released
a number indicating how strongly the note (key) was pressed
Note numbers are a number from 0 to 127 which indicate the keyboard key position, with middle C (C4) as note number 60.
Pitch Bend ✩
This is used to transmit message about the operation of the pitch bend wheel (or level) usually found on synthesizers. Pitch benders can continuously change the pitch
of a note over a wide range.
Program Change ✩
These messages are used to select sounds. Sounds are selected by a Program numbers 1–128. On the SC-8850, these messages will select sounds (Instruments). By using Bank Select messages (which are a type of Control Change message), an even
wider variety of sounds can be selected (p.41).
Control Change ✩
These messages control parameters such as modulation and pan. The function of the
message is determined by its Control Change number.
Bank Select (control change number 0/32)
The tone is changed when used with a Program Change message. The tone is selected with a Program Change message after selecting the Bank Select message.
The sound will not change when only a Bank Select message is received.
Modulation (control change number 1) ✩
This message controls vibrato.
Volume (control change number 7) ✩
This message controls the volume of a Part. When this message is received the volume of a Part will change.
Expression (control change number 11) ✩
This message conveys volume changes. It can be used to add expression during a
song.
Using Volume and Expression
It is convenient to use Volume and Expression in distinct ways, as follows.
Volume:
Adjust the volume balance between Parts.
Expression: Create volume changes during a song (crescendo, decrescendo, etc.)
The reason for this differentiation is that if you use only Volume messages to create
volume changes during the song, you will have to modify all of the Volume data in
the song if you later decide to adjust the volume balance between the Parts. However, if you use only Volume at the beginning of the song, and use only Expression during the song, it will be easy to adjust the volume balance between Parts for the entire
song simply by modifying the Volume data at the beginning of the song, and the
data for changes in dynamics during the song can remain as it was. This is very convenient when, for example, you decide to make a slight change in the balance between the piano and bass when the song is nearly completed.
On some MIDI sequencers,
control change data located
at the same step (timing) is
transmitted in ascending
order of controller number.
If you are using this type of
MIDI sequencer, you must
adjust the timing of the
bank select data so that it is
always transmitted in the
correct order of Bank Select
→ Program Change.
The volume of a Part will
be affected both by Volume
messages (control change
7) and by Expression
messages (control change
11). If a value of 0 is
received for either of these
messages, the Part volume
will be 0 and will not rise
even if the other message is
sent with a higher value. Be
aware of this.
149
Appendices
Pan (control change number 10) ✩
This message controls the stereo position of a Part. (p.54)
Hold (1) (control change number 64) ✩
This message conveys the up/down movements of the damper pedal, causing the
currently sounding notes to be sustained. When a Hold On message is received,
notes will be sustained. In the case of decay-type instruments such as a piano, the
sound will decay gradually until a Hold Off message is received. In the case of sustain-type instruments such as an organ, the sound will continue sustaining until a
Hold Off message is received.
Sostenuto (control change number 66)
The sostenuto pedal on a piano sustains only the notes which were already sounding
at the moment the pedal was pressed. The Sostenuto message conveys the movement of this pedal. When Sostenuto On is received, only the notes which were already on at that moment will be sustained. In the case of decay-type instruments
such as a piano, the sound will decay gradually until a Sostenuto Off message is received. In the case of sustain-type instruments such as an organ, the sound will continue sustaining until a Sostenuto Off message is received.
Soft (control change number 67)
The soft pedal on a piano softens the tone during the time the pedal is pressed. The
Soft message conveys the movement of this pedal. When Soft On is received, the cutoff frequency will be lowered, causing a softer sound. When Soft Off is received, the
previous sound will return.
Reverb Send Level (control change number 91)
This message adds a reverb effect to the Part. (Reverb Level p.80)
Chorus Send Level (control change number 93)
This message adds a chorus effect to the Part. (Chorus Level p.82)
Delay Send Level (control change number 94)
This message adds a delay effect to the Part. (Delay Level p.84)
Portamento (control change number 65)
Portamento Time (control change number 5)
Portamento Control (control change number 84)
Portamento is an effect that creates a smooth change in pitch between the previously
played note and the newly played note. When a Portamento message is received, the
portamento effect will be turned on or off. Portamento Time controls the speed of the
pitch change. Portamento Control specifies the Source Note number (the previously
played note).
150
If applying a portamento
effect to the currently
played note through to a
lower note, the range of the
effect may be limited (to
about two octaves).
Appendices
RPN LSB, MSB (control change numbers 100 & 101) ✩
Data Entry (control change numbers 6 & 38) ✩
Since the function of the RPN (Registered Parameter Number) is defined in the MIDI
specification, this message can be used between devices of different types. The RPN
MSB and LSB messages specify the parameter which is to be modified, and then Data
Entry messages can be used to modify the value of that parameter. RPN can be used
to adjust Pitch Bend Sensitivity, Master Coarse Tune, and Master Fine Tune.
The values modified using
RPN messages will not be
initialized even if Program
Change messages, etc. are
received to select other
sounds.
NRPN LSB, MSB (control change numbers 98 & 99)
Data Entry (control change numbers 6 & 38)
NRPN (Non-registered Parameter Number) messages can be used to modify the values of sound parameters unique to a particular device. The NRPN MSB and LSB
messages specify the parameter that is to be modified, and then Data Entry messages
can be used to modify the value of that parameter.
Since the GS format defines the function of several NRPN messages, GS compatible
application programs can use NRPN messages to modify sound data parameters for
Vibrato, Cutoff Frequency, Resonance, and Envelope values.
After a GS Reset message is
received, NRPN messages
will be received.
For details about how to
use NRPN with GS sound
modules, refer to Using
NRPNs with GS Sound
Modules (p.154).
Aftertouch (Channel Pressure only ✩)
Aftertouch is a message which conveys the pressure applied to the keyboard after
playing a note, so that this information can be used to control various aspects of the
sound.
There are two types of aftertouch message: Polyphonic Key Pressure, which is transmitted separately for each note: and Channel Key Pressure, which is transmitted as
one value that affects all notes on the specified MIDI channel.
All Sounds Off
With the initial settings,
Aftertouch messages will
have no effect when
received by the SC-8850. In
order for Aftertouch
messages to do something,
you need to set Aftertouchrelated parameters. (p.59)
This message completely turns off the sound of all currently sounding notes. The
sound of the specified channel will be forcibly turned off.
All Notes Off ✩
This message causes a Note Off to be sent to each note of the specified channel that
is currently on. However, if Hold 1 or Sostenuto are on, the sound will continue until
these are turned off.
151
Appendices
Reset All Controllers ✩
This message returns controller values to their initial settings. The following controller values for the specified channel will be reset to their initial values.
Controller
Initial value
Pitch Bend
Polyphonic Key Pressure
Channel Pressure
Modulation
Expression
Hold
Portamento
Soft
Sostenuto
RPN
NRPN
0 (center)
0 (minimum)
0 (minimum)
0 (minimum)
127 (maximum)
0 (off)
0 (off)
0 (off)
0 (off)
number unset
number unset
Active Sensing
This message is used to check for broken MIDI connections, such as MIDI connectors
that have been pulled out, or MIDI cables that have been broken. The SC-8850 transmits Active Sensing messages from MIDI OUT at specific intervals. Once an Active
Sensing message is received at MIDI IN, Active Sensing monitoring will begin, and
if an Active Sensing message fails to arrive for more than 420 [msec], it is assumed
that the cable has been disconnected. If this happens, all currently sounding notes
will be turned off, the same procedure will be executed as if a Reset All Controllers
message was received, and Active Sensing monitoring will stop.
System Exclusive messages
Exclusive messages are used to control functions which are unique to specific devices. Although Universal System Exclusive messages can be used even between devices of different manufacturers, most Exclusive messages cannot be used between
devices of different types or different manufacturers.
In order to recognize the device for which the data is intended, Roland Exclusive
messages contain a manufacturer ID, device ID and model ID.
The SC-8850 manufacturer’s ID is 41H. The device ID is 10H. The model ID is 42H.
GM1 System On ✩
(Universal System Exclusive)
When GM1 System On is received, the SC-8850 will be set to the basic General MIDI
1 settings. Also, NRPN Bank Select messages will no longer be received after GM1
System On is received. The beginning of song data bearing the GM logo contains a
GM1 System On message. This means that if you play back the data from the beginning, the sound generator device will be automatically initialized to the basic settings.
GM2 System On
(Universal System Exclusive)
When GM2 System On is received, the SC-8850 will be set to the basic General MIDI
2 settings. Refer to p.146.
152
Parameter values that were
modified using RPN or
NRPN will not change
even when a Reset All
Controller message is
received.
Appendices
GS Reset
(GS Format System Exclusive)
When a GS Reset is received, the SC-8850 will be set to the basic GS settings. Also,
NRPN messages defined by the GS format are recognized after a GS Reset has been
received. A GS System Reset message is located at the beginning of song data bearing the GS logo. This means that if you play back the data from the beginning, the
sound generating device will automatically be initialized to the basic settings.
Master Volume
(Universal System Exclusive)
This is an Exclusive message common to all MIDI devices that controls the master
volume of all Parts.
Other Exclusive messages
The SC-8850 can receive GS format Exclusive messages (model ID 42H) that are common to all GS sound generators. Exclusive messages can be used to store the SC-8850
settings or to make fine adjustments to parameters.
For details of the Exclusive message transmitted and received by the SC-8850, refer
to the explanation on p.229 and following.
About MIDI Implementation Charts
MIDI has made it possible for a wide variety of devices to exchange information, but it
is not always true that all types of MIDI messages can be exchanged between all types
of devices. For example, if you use a synthesizer as a master device to control a digital
piano, the pitch bender (the lever or wheel that modifies the pitch ) of the synthesizer
will have no effect on the sound of the piano.
The important thing to keep in mind when using MIDI is that the slave device must be
able to understand what the master is saying. In other words, the MIDI messages must
be common to both master and slave.
To help you quickly determine what types of MIDI messages can be exchanged between
master and slave, the Operation Manual of each MIDI device includes a MIDI Implementation chart (p.246). By looking at this chart, you can quickly see what messages the
device is able to transmit and receive. The left side of the chart lists the names of a variety
of MIDI messages, and the Transmitted and Recognized columns use “o” and “x” marks
to indicate whether or not each of these messages can be transmitted or received. This
means that a specific MIDI message can be exchanged only if there is an “o” in both the
Transmitted column of the master and the Recognized column of the slave device. MIDI
implementation charts are standardized, so you can fold the charts from two manuals
together to see at a glance how the two devices will communicate.
A detailed explanation concerning the data format used for Exclusive messages, and the
implementation of MIDI used on the SC-8850 can be found starting on p.226.
153
Appendices
Using NRPNs with GS Sound Modules
Included within the various types of Control Changes (often abbreviated as CC) is an extended range
known as NRPNs (non-registered parameter numbers). The NRPNs can be used with GS sound modules to alter various sound parameters, such as those for the vibrato, filters, and envelopes. There are
distinct advantages to using Control Changes rather than Exclusive messages when wishing to modify
sounds. They are not as complicated, they are easier to handle, and they do not require a large amount
of data (p.149, p.226). Such Control Change messages include a number (the Control Number) which
specifies the type of function that is to be controlled.
The MIDI specifications do not define any specific functions which can be set using NRPNs. This is because the NRPNs are intended to serve as a flexible range of controls which can be assigned whatever
parameters are required for a specific device in order to achieve the desired changes in its sounds, or
enhance its expressive capabilities. In contrast, there is another type of extended form of control known
as an RPN (registered parameter number). As their name suggests, RPN functions are all defined (registered) within the MIDI specifications (p.228).
When using an NRPN, the function (sound parameter) being dealt with needs to be specified by means
of the numeric values that are supplied for the NRPN MSB (Controller No. 99) and NRPN LSB (Controller No. 98). By then sending the appropriate value for Data Entry (Controller No. 6), the change in
the specified sound parameter is accomplished.
Note that instead of the hexadecimal notation that is used within the MIDI Implementation (p.228),
the numbers for the combinations of values for NRPNs that appear in the chart below have all been converted to decimal.
NRPN
MSB
NRPN
LSB
Range
Function
1
8
0–64–127
1
9
0–64–127
Vibrato Depth *1 (p.65)
1
10
0–64–127
Vibrato Delay *1 (p.65)
1
32
0–64–127
TVF Cutoff Frequency *1 (p.66)
1
33
0–64–127
TVF Resonance *1 (p.66)
1
99
0–64–127
TVF&TVA Envelope Attack Time *1 (p.67)
1
100
0–64–127
TVF&TVA Envelope Decay Time *1 (p.67)
1
102
0–64–127
TVF&TVA Envelope Release Time *1 (p.67)
24
rr
0–64–127
Drum Instrument Pitch Coarse *1
Alters the pitch of individual percussion instruments in the drum
Part.
26
rr
0–127
28
rr
0,1–64–127
Drum Instrument Pan
Alters the panning for individual percussion instruments in the
Drum Part. A setting of 0 provides random panning, while 1 selects the leftmost position, 64 the center, and 127 places it at the
rightmost position.
29
rr
0–127
Drum Instrument Reverb Send Level
Sets the reverb depth for individual percussion instruments in the
Drum Part.
30
rr
0–127
Drum Instrument Chorus Send Level
Sets the chorus depth for individual percussion instruments in the
Drum Part.
31
rr
0–127
Drum Instrument Delay Send Level
Determines the amount of delay for individual percussion instruments in the Drum Part (SC-88/SC-88 Pro/SC-8850 only)
Vibrato Rate *1 (p.65)
Drum Instrument TVA Level
Alters the volume of individual percussion instruments in the
drum Part.
For example, let’s say that you want to alter the TVF Cutoff Frequency. First, you need to assert that it
is the TVF Cutoff Frequency that you wish to control by sending the appropriate NRPN MSB and
NRPN LSB combination. The value for Controller No. 99 is the NRPN MSB, and that for Controller No.
98 is the NRPN LSB. So, you would transmit these values:
Controller No. 99: 1
Controller No. 98: 32
The SC-8850 has thus been made aware that it is the TVF Cutoff Frequency that you are going to
change. To go ahead and make the actual change, you would then use the Data Entry Control Change
message to supply the new value (xx) for the TVF Cutoff Frequency.
Thus, you would send:
Controller No. 6: xx
As a result of transmitting the above three controller values, the TVF Cutoff Frequency will have been
altered, and the timbre of the instrument selected for that Part should sound differently.
154
Appendices
After altering sound parameters using an NRPN, we recommend that you make a habit of
asserting a null by sending the RPN values shown below. This will tell the SC-8850 that you
are finished working with the parameter that has been specified, and that it should stop
waiting for any further new values for that parameter. (It cancels the standing request for
change in a particular NRPN or RPN.) This way you can avoid having unexpected changes
made if any unintended Data Entry values get sent afterwards.
Controller No. 101: 127
Controller No. 100: 127
For the NRPN LSB rr value, you need to supply the value which corresponds to the note
number of the particular percussion instrument that you want to address (these numbers
can be found in the Drum Set List on p.187).
For example, let’s say that you want to set the High Bongo so that no reverb will be applied
to it. This instrument is assigned note number 60 (middle C), and is contained in the Standard Set 1 Drum Set.
To accomplish this you would transmit these values:
Controller No. 99:
Controller No. 98:
Controller No. 6:
29
60
0
Note that these MIDI messages need to be sent in the order listed above.
Parameters marked with *1 in the chart at left can be altered in a relative manner from the
default value. Depending on the particular sound you are working with, the type of change
available will be different (in some cases you may not even notice any change). Also, the
range of change will vary.
You may need to consult the manual that came with your equipment or software for details
on how to properly input and transmit Control Change messages. Note, though, that some
devices may only allow you to work with a limited range of controller numbers.
Make sure that you always follow the order shown above when transmitting RPN, NRPN,
and Data Entry data. Be careful, since if you insert a multiple number of MIDI messages at
the same point in time (or in very close range of each other) when using some types of music
software, the messages can sometimes be sent out in an order different than originally intended. To avoid problems, always allow sufficient space between adjacent messages (at
least 1 tick at 96 TPQN, and 5 ticks at 480 TPQN).
How to change the value of the cutoff frequency of a Part
<Example> Setting the Part 3 cutoff frequency to -25
MIDI CH = 03
CC#99
01
Cutoff frequency
CC#98
32
Cutoff frequency
CC#06
39
Since 64 is 0, we obtain: 64 - 25 = 39.
Any value that has been
imposed by means of an
NRPN will not be
initialized even when a
different sound is changed
to in compliance with a
received Program Change.
Settings that have been
made using NRPNs can
only be initialized by
sending a GS Reset.
TPQN: Ticks Per Quarter
Note
After a GS Reset message is
received, NRPN messages
will be received.
How to change the pitch of a drum instrument
<Example> Raising the pitch of note number 48 of the Part 10 Drum Set to +5 higher
than the original pitch
MIDI CH = 10
CC#99
24
Drum Instrument pitch coarse
CC#98
48
Note number
CC#06
69
Since 64 is the original pitch, we obtain: 64 + 5 = 69.
155
Appendices
If a Message Appears
If operation is incorrect or if the data cannot be processed correctly, an error message
will appear in the display.
Consult the following list and take the appropriate action.
Checksum Error
Cause: The checksum of the received Exclusive message is incorrect.
Action: Check the data which was transmitted to the SC-8850, and transmit it once
again. Also make sure that the MIDI cable is not broken.
MIDI Buff. Full
Cause:
Too much MIDI data was received by the SC-8850 all at once, so it could not
be correctly processed.
Action: Make sure that excessive amounts of MIDI data are not transmitted all at
once.
MIDI Off Line
Cause 1:
It is possible that the power has been turned off for the MIDI device connected to MIDI IN.
Action 1: The problem is not with the SC-8850. Check the power of the connected
MIDI device.
Cause 2: It is possible that a MIDI cable has been pulled out or has a short.
Action 2: Check the MIDI cables.
USB Off Line
Cause 1:
It is possible that the power has been turned off for the computer connected to MIDI IN.
Action 1: The problem is not with the SC-8850. Check the power of the connected
computer.
Cause 2: It is possible that a USB cable has been pulled out or has a short.
Action 2: Check the USB cables.
No Instrument
------------Cause: A sound (Instrument) which the SC-8850 does not have has been selected.
Action: The previously selected sound name will be displayed, and that sound will
be heard. Carefully refer to the tables on Instrument List (p.167), and specify the correct Bank number and Program number.
No Drum Set
Cause: A Drum Set that the SC-8850 does not have has been selected.
Action: The previously selected Drum Set name will be displayed, and that set will
sound. Carefully refer to the tables on Drum Set List (p.187), and specify
the correct Program number.
156
Appendices
Computer Cable Wiring Diagrams
fig.11-5e
For Apple Macintosh (Sold separately: RSC-15APL)
mini DIN, 8-pin, male
6 78
mini DIN, 8-pin, male
mini DIN, 8-pin, male
HSKo
HSKi
TXDGND
RXDTXD+
GPi
RXD+
3 4 5
1 2
1
2
3
4
5
6
7
8
mini DIN, 8-pin, male
1
2
3
4
5
6
7
8
6 7 8
HSKo
HSKi
TXDGND
RXDTXD+
GPi
RXD+
3 4 5
1 2
For PC (9-pin) (Sold separately: RSC-15AT)
mini DIN, 8-pin, male
6 78
mini DIN, 8-pin, male
3 4 5
HSKo
HSKi
TXDGND
RXD-
1
2
3
4
5
D-sub, 9-pin, female
7 RTS
8 CTS
3 TXD
5 GND
2 RXD
D-sub, 9-pin, female
5
9
1 2
1
6
For PC (25-pin)
mini DIN, 8-pin, male
6 78
mini DIN, 8-pin, male
3 4 5
1 2
HSKo
HSKi
TXDGND
RXD-
1
2
3
4
5
D-sub, 25-pin, female
4 RTS
5 CTS
2 TXD
7 GND
3 RXD
D-sub, 25-pin, female
13
1
25
14
157
Appendices
Operating Procedure List
■ The Seven Display Screens of the SC-8850
The various screen displays that appear on the SC-8850 depending on the parameters you have accessed, or on the contents that
are displayed can be grouped into seven display states.
158
Screen
How to get there
Contents
Part Basic screen
Turn on the power, or from another screen
press EXIT for a reason other than CANCEL
This is the basic screen that appears when the
power is turned on. If you had been performing an operation in another screen, this is
where you will return when you press the
EXIT button. Here you can select the sound for
each part, and check the volume for each part
etc.
All Part screen
In the Part Basic screen, simultaneously press
PART [
] and [
]. (ALL)
Here you can mute all parts, or forcibly switch
the sound map of all part.
Edit screen
In the Part Basic screen, press [EDIT].
Here you can set parameters for each part,
such as the effect send level etc.
Edit All screen
In the Part All screen, press [EDIT]. Alternatively in the Edit screen, simultaneously press
PART [
] and [
]. (ALL)
Here you can set parameters that affect all
parts, such as the master level etc.
Drum screen
Press [DRUM]
Here you can set the level and pan etc. for each
drum instrument. Here you can also create
user drums or user drum sets.
Effect screen
Press [EFFECTS]
Here you can make settings for the system effects and insertion effects.
Utility screen
Simultaneously press [EDIT] and PART [
(UTIL)
]
Here you can make system settings for the SC8850 itself, transmit (dump) data to an external
device, initialize various settings, and playback the demo songs, etc.
Appendices
Part Basic Screen (the power-on state): Settings for Each Part
fig.11-6
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
F3
Button
]
F4
INST
MAP
Operation
Range of values (bold: default value)
Selects a part
A01 - D16
PART [
][
VAR. [
]
Moves the cursor to VAR.
INST [
]
Moves the cursor to INST
[EXIT]
---
[ENTER]
---
[EDIT]
Enters the Edit screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
Plays only the selected part
Off, On
[MUTE]
Mutes the selected part
Off, On
[DEC]
Decreases the value of the selected parameter by 1
[INC]
Increases the value of the selected parameter by 1
[INST MAP]
Switches the sound map for the selected part
[F1] PART A
Moves to PART A (part number is unchanged)
[F2] PART B
Moves to PART B (part number is unchanged)
[F3] PART C
Moves to PART C (part number is unchanged)
[F4] PART D
Moves to PART D (part number is unchanged)
SC-8850, SC-55, SC-88, SC-88Pro
159
Appendices
All Part Screen (PART display is ALL): Settings for All Parts
fig.11-7
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
Button
160
F4
F3
INST
MAP
Operation
PART [
][
]
VAR. [
]
---
INST [
]
---
Range of values (bold: default value)
---
[EXIT]
Enters the Part Basic screen
[ENTER]
---
[EDIT]
Enters the Edit All screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
---
[MUTE]
Mutes all parts
[DEC]
---
[INC]
---
[INST MAP]
Forcibly changes the sound map of all parts
[F1] 16-A
Bar display of part group A
[F2] 32-AB
Bar display of part groups A and B
[F3] 32-CD
Bar display of part groups C and D
[F4] 64PART
Bar display of all part groups
Off, On
No indication. (The Inst Map has not
been changed.), SC-8850, SC-88Pro,
SC-88, SC-55
Appendices
Edit Screen ([EDIT] lit): Setting the Sound Source Parameters for Each Part
fig.11-8
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
F3
Button
PART [
][
]
F4
INST
MAP
Operation
Range of values (bold: default value)
Selects a part
A01 - D16
VAR. [
]
Moves the cursor down
INST [
]
Moves the cursor up
[EXIT]
Enters the Part Basic screen
[ENTER]
---
[EDIT]
Enters the Part Basic screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
Plays only the selected part
Off, On
Off, On
[MUTE]
Mutes the selected part
[DEC]
Lowers the value of the selected parameter by 1
[INC]
Raises the value of the selected parameter by 1
[DEC] + [INC]
Transmits the value of the selected parameter
[INST MAP]
Switches the sound map of the selected part
[F1]
[F2]
[F3]
[F4]
EFFECT
EDIT
MODIFY
→
S.TUNE
MOD
BEND
→
CAF
CC1
U.INST
→
SC-8850, SC-55, SC-88, SC-88Pro
[F1] EFFECT
Sets EFFECT parameters (Reverb Send, Chorus Send, Delay Send, Part EQ, EFX)
[F2] EDIT
Sets EDIT parameters (Part Level, Part Pan, Rx MIDI CH, Part Mode, M/P Mode, Key Shift, Fine Tune,
Bend Range, Mod Depth, Velo Depth, Velo Offset, Key Range L, Key Range H, CC1 C.Number, Out Asgn)
[F3] MODIFY
Sets MODIFY parameters (Vib Rate, Vib Depth, Vib Delay, Cutoff Freq, Resonance, Attack Time,
Decay Time, Release Time)
[F4] →
Scrolls the screen
[F1] S.TUNE
Sets S.TUNE parameters (ScaleTune C, ScaleTune C#, ScaleTune D, ScaleTune D#, ScaleTune E,
ScaleTune F, ScaleTune F#, ScaleTune G, ScaleTune G#, ScaleTune A, ScaleTune A#, ScaleTune B)
[F2] MOD
Sets MOD parameters (Mod Range, Mod Cutoff, Mod Amp, Mod LFO Rate, Mod LFO Pitch,
Mod LFO TVF, Mod LFO TVA)
[F3] BEND
Sets BEND parameters (Bnd Range, Bnd Cutoff, Bnd Amp, Bnd LFO Rate, Bnd LFO Pitch,
Bnd LFO TVF, Bnd LFO TVA)
[F4] →
Scrolls the screen
[F1] CAF
Sets CAF parameters (CAf Range, CAf Cutoff, CAf Amp, CAf LFO Rate, CAf LFO Pitch,
CAf LFO TVF, CAf LFO TVA)
[F2] CC1
Sets CC1 parameters (CC1 Range, CC1 Cutoff, CC1 Amp, CC1 LFO Rate, CC1 LFO Pitch,
CC1 LFO TVF, CC1 LFO TVA)
[F3] U.INST
Sets U.INST parameters (Vib Rate, Vib Depth, Vib Delay, Cutoff Freq, Resonance, Attack Time,
Decay Time, Release Time) (press [ENTER] to write the settings)
[F4] →
Scrolls the screen
161
Appendices
Edit All Screen ([EDIT] lit, PART display is ALL):
Setting the Sound Source Parameters for All Parts
fig.11-9
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
Button
162
F4
F3
INST
MAP
Operation
PART [
][
]
VAR. [
]
Moves the cursor down
INST [
]
Moves the cursor up
Range of values (bold: default value)
---
[EXIT]
Enters the Part Basic screen
[ENTER]
---
[EDIT]
Enters the All Part screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
---
[MUTE]
Mutes all parts
[DEC]
Lowers the value of the selected parameter by 1
[INC]
Raises the value of the selected parameter by 1
[DEC] + [INC]
Transmits the value of the selected parameter
[INST MAP]
Forcibly switches the sound map for all parts
[F1] EDIT
Sets EDIT parameters (Master Level, Master
Pan, M.Key Shift, M.Tune, Device ID)
[F2] WRITE
Writes User Settings
[F3] LOAD
Loads User Settings
[F4]
---
No indication. (The Inst Map has not
been changed.), SC-8850, SC-88Pro,
SC-88, SC-55
Appendices
Drum Screen ([DRUM] lit): Setting the Drum-related Parameters
fig.11-10
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
F3
Button
]
F4
INST
MAP
Operation
Range of values (bold: default value)
Selects the drum part
Drum A1-D2
PART [
][
VAR. [
]
Moves the cursor down (or left)
INST [
]
Moves the cursor up (or right)
[EXIT]
Enters the Part Basic screen
[ENTER]
---
[EDIT]
Enters the Edit screen
[DRUM]
Enters the Part Basic screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
---
[MUTE]
---
[DEC]
Lowers the value of the selected parameter by 1
[INC]
Raises the value of the selected parameter by 1
[DEC] + [INC]
Transmits the value of the selected parameter
[INST MAP]
Switches the sound map of the selected part
[F1] EDIT
SetsDRUM parameters (Set, Pitch Coarse, Inst
Level, Inst Pan, Reverb Send, Chorus Send, Delay
Send, Assign Group, Rx NoteOn, Rx Note Off)
[F2] WRITE
Writes to User Drum
[F3] WR.SET
Writes to User Drum Set
163
Appendices
Effect Screen ([EFFECTS lit]): Setting the Effect-related Parameters
fig.11-11
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
F3
Button
164
INST
MAP
F4
Operation
PART [
][
]
VAR. [
]
Moves the cursor down
INST [
]
Moves the cursor up
Range of values (bold: default value)
---
[EXIT]
Enters the Part Basic screen
[ENTER]
---
[EDIT]
Enters the Edit screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Part Basic screen
[SHIFT]
---
[SOLO]
---
[MUTE]
Mutes all parts
[DEC]
Lowers the value of the selected parameter by 1
[INC]
Raises the value of the selected parameter by 1
[DEC] + [INC]
Transmits the value of the selected parameter
[INST MAP]
Forcibly changes the sound map of all parts
Off, On
No indication. (The Inst Map has
not been changed.), SC-8850, SC88Pro, SC-88, SC-55
[F1]
[F2]
[F3]
[F4]
REVERB
CHORUS
DELAY
→
EQ
EFX
CTRL
→
[F1] REVERB
Sets REVERB parameters (RevType, Rev Level, Rev Character, Rev Pre-LPF, Rev Time, Rev Dly Fb,
Rev PreDlyTm)
[F2] CHORUS
Sets CHORUS parameters (ChoType, Cho Level, Cho Pre-LPF, Cho Feedback, Cho Delay, Cho Rate,
Cho Depth, Cho To Rev, Cho To Dly)
[F3] DELAY
Sets DELAY parameters (DlyType, Dly Level, Dly Pre-LPF, Dly Time C, DlyTmRatioL,
DlyTmRatioR, Dly Level C, Dly Level L, Dly Level R, Dly Feedback, Dly To Rev)
[F4] →
Scrolls the screen
[F1] EQ
Sets EQ parameters (EQ L.Freq, EQ L.Gain, EQ H.Freq, EQ H.Gain)
[F2] EFX
Sets EFX parameters (effect type, effect parameters, EFX To Rev, EFX To Cho, EFX To Dly)
[F3] CTRL
Sets CTRL parameters (EFX C.Src1, EFX C.Dep1, EFX C.Src2, EFX C.Dep2)
[F4] →
Scrolls the screen
Appendices
Utility Screen: Settings for All Parts
fig.11-12
PART VAR. INST
SC-8850
SC-88Pro
SC-88
SC-55
F1
F2
F3
Button
F4
INST
MAP
Operation
PART [
][
]
VAR. [
]
Moves the cursor down
INST [
]
Moves the cursor up
Range of values (bold: default value)
---
[EXIT]
Enters the Part Basic screen
[ENTER]
Executes various commands, such as when saving
the System Parameters, or when carrying out Bulk
Dump, Initialize, or Demo Play.
[EDIT]
Enters the Edit screen
[DRUM]
Enters the Drum screen
[EFFECTS]
Enters the Effect screen
[SHIFT]
---
[SOLO]
---
[MUTE]
Mutes all parts
[DEC]
Lowers the value of the selected parameter by 1
[INC]
Raises the value of the selected parameter by 1
[INST MAP]
Forcibly changes the sound map of all parts
[F1] SYSTEM
Sets SYSTEM parameters (PrevwMode, Prevw Note,
Prevw Velo, LCD Contrast, Startup) (Pressing [ENTER] after setting the parameter saves the system parameter settings.)
[F2] BULK
Sets BULK parameters (Dump All, Dump All-User,
Dump User Inst, Dump User Drum, Dump Part-A,
Dump Part-B, Dump Part-C, Dump Part-D) (use
[INC] [DEC] or [VALUE] to select the parameter, and
press [ENTER] to execute or [EXIT] to cancel)
[F3] INIT
Sets INITIALIZE parameters (Initialize All, Initialize
GS, Initialize GM1, Initialize GM2) (use [INC] [DEC]
or [VALUE] to select the parameter, and press [ENTER] to execute or [EXIT] to cancel)
[F4] DEMO
Selects the DEMO song (THE SECRET PLACE,
WALL FIVE MIX, Blue X, All Song) (use [INC] [DEC]
or [VALUE] to select the parameter, and press [ENTER] to execute or [EXIT] to cancel. Press [EXIT] or
[STOP] ([F1]) to Stop the play.)
Off, On
No indication. (The Inst Map has not
been changed.), SC-8850, SC-88Pro,
SC-88, SC-55
165
Appendices
■ Operations while holding the [SHIFT] button
Button / Knob
166
Operation
Refer to page
[Shift] + PART [
]
Initializes All (Factory Preset)
p.23
[Shift] + PART [
]
Initializes GS (GS Reset)
p.24
[Shift] + VAR. [
]
Initializes GM1 (GM1 System On)
p.25
[Shift] + INST [
]
Initializes GM2 (GM2 System On)
p.26
Shift + [EDIT]
Enters the DEMO screen
p.27
Shift + [DRUM]
Enters the Load User Setting screen
p.138
Shift + [EFFECTS]
Turns PART EFX On/Off
p.89
Appendices
Instrument List
Piano
CC00
PC
SC-8850 Map
000
001
002
008
009
016
024
025
026
027
001
Piano 1
UprightPiano
Mild Piano
Upright P w
Mild Piano w
European Pf
Piano + Str.
Piano + Str2
Piano+Choir1
Piano+Choir2
Voices
2
1
1
1
1
1
3
4
3
4
SC-88Pro Map
000
001
002
008
009
016
002
Piano 2
Pop Piano
Rock Piano
Pop Piano w
Rock Piano w
Dance Piano
4
2
2
2
2
2
[Pro]
Piano 2
--------Piano 2w
----Dance Piano
2
Piano 2
--------Piano 2w
---------
000
001
002
008
003
Piano 3
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
Piano 3
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
2
2
2
2
Piano 3
EG+Rhodes 1
EG+Rhodes 2
Piano 3w
1
2
2
1
Piano 3
--------Piano 3w
1
000
008
004
Honky-tonk
Honky-tonk 2
2
2
Honky-tonk
Honky-tonk 2
2
2
Honky-tonk
Old Upright
2
2
Honky-tonk
HonkyTonk w
2
2
000
008
009
010
016
017
024
025
026
005
E.Piano 1
St.Soft EP
Cho. E.Piano
SilentRhodes
FM+SA EP
Dist E.Piano
Wurly
Hard Rhodes
MellowRhodes
1
2
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
E.Piano 1
St.Soft EP
Cho. E.Piano
SilentRhodes
FM+SA EP
Dist E.Piano
Wurly
Hard Rhodes
MellowRhodes
1
2
2
2
2
2
2
2
2
2
2
E.Piano 1
Detuned EP1
--------E.Piano 1v
----60s E.Piano
---------
1
2
[88]
E.Piano 1
St.Soft EP
--------FM+SA EP
----60'sE.Piano
Hard Rhodes
MellwRhodes
000
001
008
009
010
016
024
032
006
E.Piano 2
E.Piano 3
Detuned EP 2
Detuned EP 3
EP Legend
St.FM EP
Hard FM EP
EP Phase
2
2
2
4
2
2
2
2
[Pro]
E.Piano 2
----Detuned EP 2
--------St.FM EP
Hard FM EP
-----
2
[88]
2
[88]
2
2
[88]
[88]
000
001
002
008
016
024
032
007
Harpsichord
Harpsichord2
Harpsichord3
Coupled Hps.
Harpsi.w
Harpsi.o
Synth Harpsi
1
2
2
2
1
2
2
1
2
[88]
2
1
2
2
[88]
[88]
[88]
000
001
002
003
008
016
017
024
032
033
035
036
037
038
039
008
Clav.
Clav. 2
Atk Clav.1
Atk Clav.2
Comp Clav.
Reso Clav.
Phase Clav
Clav.o
Analog Clav.
JP8 Clav. 1
JP8 Clav. 2
SynRingClav.
SynDistClav.
JP8000 Clav.
Pulse Clav
1
2
2
2
1
1
1
2
2
1
1
2
1
1
1
1
[88]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Piano 1
--------Piano 1w
----European Pf
Piano + Str.
-------------
Harpsichord
Harpsichord2
----Coupled Hps.
Harpsi.w
Harpsi.o
Synth Harpsi
Clav.
------------Comp Clav.
Reso Clav.
----Clav.o
Analog Clav.
JP8 Clav. 1
JP8 Clav. 2
-----------------
Voices
SC-88 Map
1
Piano 1
--------Piano 1w
----Piano 1d
-----------------
1
1
2
2
2
1
1
2
2
1
1
[88]
[88]
[88]
[88]
E.Piano 2
----Detuned EP2
--------St.FM EP
Hard FM EP
----Harpsichord
--------Coupled Hps
Harpsi.w
Harpsi.o
----Clav.
---------------------------------------------------------
Voices
SC-55 Map
1
Piano 1
--------Piano 1w
----Piano 1d
-----------------
1
1
1
Piano 2
--------Piano 2w
---------
1
2
1
2
2
2
E.Piano 2
----Detuned EP2
--------E.Piano 2v
---------
2
2
2
1
2
1
2
1
[55]
Harpsichord
--------Coupled Hps
Harpsi.w
Harpsi.o
----Clav.
---------------------------------------------------------
Voices
1
1
1
1
1
1
2
1
1
2
2
1
2
1
2
1
167
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
Chromatic percuission
CC00
PC
SC-8850 Map
000
001
009
Celesta
Pop Celesta
Voices
1
2
[Pro]
[Pro]
SC-88Pro Map
000
010
Glockenspiel
1
[Pro]
000
001
008
011
Music Box
Music Box 2
St.Music Box
1
2
2
000
001
008
009
012
Vibraphone
Pop Vibe.
Vibraphone w
Vibraphones
1
2
1
2
000
008
016
017
024
013
Marimba
Marimba w
Barafon
Barafon 2
Log drum
000
008
014
000
008
009
010
016
015
000
001
002
008
016
017
024
016
Celesta
Pop Celesta
Voices
1
2
SC-88 Map
[88]
Celesta
-----
Voices
1
SC-55 Map
[55]
Celesta
-----
Voices
1
Glockenspiel
1
[88]
Glocknspiel
1
Glockenspl
1
Music Box
---------
1
[88]
Music Box
---------
1
Music Box
---------
1
[Pro]
[Pro]
[Pro]
[Pro]
Vibraphone
Pop Vibe.
Vibraphone w
Vibraphones
1
2
1
2
Vibraphone
Hard Vibe
Vib.w
-----
1
2
1
Vibraphone
----Vib.w
-----
1
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Marimba
Marimba w
Barafon
Barafon 2
Log drum
1
1
1
1
1
[88]
[88]
[88]
[88]
[88]
Marimba
Marimba w
Barafon
Barafon 2
Log drum
1
1
1
1
1
Marimba
Marimba w
-------------
1
1
Xylophone
Xylophone w
1
1
[Pro]
Xylophone
-----
1
[88]
Xylophone
-----
1
Xylophone
-----
1
Tubular-bell
Church Bell
Carillon
Church Bell2
Tubularbellw
1
1
1
1
1
Tubular-bell
Church Bell
Carillon
---------
1
1
1
[88]
[88]
[88]
Tubularbell
Church Bell
Carillon
---------
1
1
1
[55]
[55]
[55]
Tubularbell
Church Bell
Carillon
---------
1
1
1
Santur
Santur 2
Santur 3
Cimbalom
Zither 1
Zither 2
Dulcimer
1
2
2
2
1
2
2
Santur
Santur 2
----Cimbalom
Zither 1
Zither 2
Dulcimer
1
2
[88]
[88]
1
2
[55]
[88]
Santur
-------------------------
1
2
1
2
2
Santur
Santur 2
----Cimbalom
-------------
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
2
[55]
1
* CC064 and 065 are for User Instruments (p.67).
168
Appendices
Organ
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
008
009
010
011
012
016
017
018
019
024
025
026
027
028
029
030
031
032
033
040
048
017
Organ 1
Organ 101
Ful Organ 1
Ful Organ 2
Ful Organ 3
Ful Organ 4
Ful Organ 5
Ful Organ 6
Trem. Organ
Organ o
Ful Organ 7
Ful Organ 8
Ful Organ 9
60's Organ 1
60's Organ 2
60's Organ 3
Farf Organ
Cheese Organ
D-50 Organ
JUNO Organ
Hybrid Organ
VS Organ
Digi Church
JX-8P Organ
FM Organ
70's E.Organ
Even Bar
Organ Bass
5th Organ
Voices
2
2
4
4
4
4
4
4
2
2
4
4
4
1
1
1
1
1
2
2
2
2
2
2
1
2
2
1
2
SC-88Pro Map
000
001
002
003
004
005
006
007
008
009
032
033
034
035
018
Organ 2
Jazz Organ
E.Organ 16+2
Jazz Organ 2
Jazz Organ 3
Jazz Organ 4
Jazz Organ 5
Jazz Organ 6
Chorus Or.2
Octave Organ
Perc. Organ
Perc.Organ 2
Perc.Organ 3
Perc.Organ 4
2
2
2
4
4
4
4
4
2
2
2
4
4
4
[Pro]
[Pro]
[Pro]
000
008
016
017
018
024
019
Organ 3
Rotary Org.
Rotary Org.S
Rock Organ 1
Rock Organ 2
Rotary Org.F
2
1
1
2
2
1
000
008
016
024
032
033
020
Church Org.1
Church Org.2
Church Org.3
Organ Flute
Trem.Flute
Theater Org.
000
008
016
021
000
008
009
016
024
025
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Organ 1
Organ 101
------------------------Trem. Organ
Organ. o
------------60's Organ 1
60's Organ 2
60's Organ 3
Farf Organ
Cheese Organ
D-50 Organ
JUNO Organ
Hybrid Organ
VS Organ
Digi Church
--------70's E.Organ
Even Bar
Organ Bass
5th Organ
Voices
SC-88 Map
2
2
2
2
1
1
1
1
1
2
2
2
2
2
2
2
1
2
[88]
[88]
[88]
Organ 2
Jazz Organ
E.Organ 16+2
--------------------Chorus Or.2
Octave Organ
Perc. Organ
-------------
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Organ 3
Rotary Org.
Rotary Org.S
Rock Organ 1
Rock Organ 2
Rotary Org.F
2
1
1
2
2
1
[88]
[88]
[88]
1
2
2
1
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Church Org.1
Church Org.2
Church Org.3
Organ Flute
Trem.Flute
Theater Org.
1
2
2
1
2
2
Reed Organ
Wind Organ
Puff Organ
1
2
2
[Pro]
[Pro]
Reed Organ
Wind Organ
-----
1
2
022
Accordion Fr
Accordion It
Dist. Accord
Cho. Accord
Hard Accord
Soft Accord
1
1
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Accordion Fr
Accordion It
Dist. Accord
Cho. Accord
Hard Accord
Soft Accord
000
001
008
009
023
Harmonica
Harmonica 2
B.Harp Basic
B.Harp Suppl
4
1
3
1
000
008
016
024
Bandoneon
Bandoneon 2
Bandoneon 3
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Organ 1
Organ 101
------------------------DetunedOr.1
Organ 109
------------60'sOrgan 1
60'sOrgan 2
60'sOrgan 3
----CheeseOrgan
----------------------------Organ 4
Even Bar
Organ Bass
-----
Voices
1
1
1
1
1
2
1
1
2
Organ 3
Rotary Org.
RotaryOrg.S
--------RotaryOrg.F
2
1
1
[88]
[88]
[88]
[88]
[88]
ChurchOrg.1
ChurchOrg.2
ChurchOrg.3
Organ Flute
Trem.Flute
-----
1
2
2
1
2
[88]
Reed Organ
---------
1
1
1
2
2
2
2
AccordionFr
AccordionIt
-----------------
Harmonica
Harmonica 2
---------
1
1
Bandoneon
Bandoneon 2
Bandoneon 3
2
2
2
[88]
Organ 1
----------------------------Detuned Or1
----------------60's Organ1
--------------------------------------------Organ 4
-------------
2
2
Organ 2
Organ 201
------------------------DetunedOr.2
----Organ 5
-------------
2
2
2
SC-55 Map
1
2
Organ 2
----------------------------Detuned Or2
----Organ 5
-------------
2
2
[55]
Voices
1
2
1
2
1
2
2
Organ 3
---------------------
2
Church Org1
Church Org2
Church Org3
-------------
1
2
2
Reed Organ
---------
1
1
2
Accordion F
Accordion I
-----------------
2
2
Harmonica
Harmonica 2
---------
1
2
Harmonica
-------------
1
Bandoneon
---------
1
Bandoneon
---------
2
1
[55]
169
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
Guitar
CC00
PC
SC-8850 Map
000
008
016
024
032
040
025
Nylon-str.Gt
Ukulele
Nylon Gt.o
Velo Harmnix
Nylon Gt.2
Lequint Gt.
Voices
2
1
2
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SC-88Pro Map
Nylon-str.Gt
Ukulele
Nylon Gt.o
Velo Harmnix
Nylon Gt 2
Lequint Gt.
2
1
2
1
1
1
000
008
009
010
016
017
018
032
033
026
Steel-str.Gt
12-str.Gt
Nylon+Steel
Atk Steel Gt
Mandolin
Mandolin 2
MandolinTrem
Steel Gt.2
Steel + Body
1
2
2
2
2
2
2
1
2
[Pro]
[Pro]
[Pro]
Steel-str.Gt
12-str.Gt
Nylon+Steel
----Mandolin
Mandolin 2
MandolinTrem
Steel Gt.2
-----
1
2
2
000
001
008
027
Jazz Gt.
Mellow Gt.
Pedal Steel
1
2
1
[Pro]
[Pro]
[Pro]
Jazz Gt.
Mellow Gt.
Pedal Steel
1
2
1
000
001
002
003
004
005
008
009
016
017
018
019
020
021
022
023
024
025
028
Clean Gt.
Clean Half
Open Hard 1
Open Hard 2
JC Clean Gt.
Atk CleanGt.
Chorus Gt.
JC Chorus Gt
TC FrontPick
TC Rear Pick
TC Clean ff
TC Clean 2:
LP Rear Pick
LP Rear 2
LP RearAtack
Mid Tone GTR
Chung Ruan
Chung Ruan 2
1
1
2
1
1
2
2
2
1
1
2
2
1
2
2
1
1
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Clean Gt.
Clean Half
Open Hard 1
Open Hard 2
JC Clean Gt.
----Chorus Gt.
JC Chorus Gt
TC FrontPick
TC Rear Pick
TC Clean ff
TC Clean 2:
-------------------------
1
1
2
1
1
000
001
002
008
016
024
029
Muted Gt.
Muted Dis.Gt
TC Muted Gt.
Funk Pop
Funk Gt.2
Jazz Man
1
1
2
1
1
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Muted Gt.
Muted Dis.Gt
TC Muted Gt.
Funk Pop
Funk Gt.2
-----
1
1
2
1
1
000
001
002
003
004
005
008
009
010
011
012
030
Overdrive Gt
Overdrive 2
Overdrive 3
More Drive
Guitar Pinch
Attack Drive
LP OverDrvGt
LP OverDrv:
LP Half Drv
LP Half Drv2
LP Chorus
2
2
2
2
1
3
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
OverdriveGt
Overdrive 2
Overdrive 3
More Drive
--------LP OverDrvGt
LP OverDrv:
-------------
2
2
2
2
000
001
002
003
004
005
008
009
016
017
018
024
025
026
031
DistortionGt
Dist. Gt2 :
Dazed Guitar
Distortion:
Dist.Fast :
Attack Dist
Feedback Gt.
Feedback Gt2
Power Guitar
Power Gt.2
5th Dist.
Rock Rhythm
Rock Rhythm2
Dist Rtm GTR
2
2
2
2
2
3
2
2
2
2
2
2
2
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
008
009
016
024
032
Gt.Harmonics
Gt. Feedback
Gt.Feedback2
Ac.Gt.Harmnx
E.Bass Harm.
1
1
2
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
DistortionGt
Dist. Gt2:
Dazed Guitar
Distortion:
Dist.Fast:
----Feedback Gt.
Feedback Gt2
Power Guitar
Power Gt.2
5th Dist.
Rock Rhythm
Rock Rhythm2
----Gt.Harmonics
Gt. Feedback
Gt. Feedback2
Ac.Gt.Harmnx
E.Bass Harm.
Voices
2
2
2
1
SC-88 Map
[88]
[88]
[88]
[88]
[88]
[88]
[88]
2
2
1
1
2
2
[88]
[88]
[88]
2
2
2
2
2
2
2
2
2
2
2
2
2
2
1
1
2
1
1
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
Voices
SC-55 Map
Voices
Nylonstr.Gt
Ukulele
Nylon Gt.o
VeloHarmnix
Nylon Gt.2
Lequint Gt.
1
1
2
1
1
1
Nylon Gt.
Ukulele
Nylon Gt.o
----Nylon Gt.2
-----
1
1
2
Steelstr.Gt
12-str.Gt
Nylon+Steel
----Mandolin
--------Steel Gt.2
-----
1
2
2
Steel Gt.
12-str.Gt
--------Mandolin
-----------------
1
2
Jazz Gt.
Mellow Gt.
Pedal Steel
1
2
1
Clean Gt.
--------------------Chorus Gt.
---------------------------------------------
1
2
1
[55]
Clean Gt.
--------------------Chorus Gt.
---------------------------------------------
2
Muted Gt.
MutedDis.Gt
----Funk Pop
Funk Gt.2
-----
Jazz Gt.
----Hawaiian Gt
1
1
Muted Gt.
--------Funk Gt.
Funk Gt.2
-----
1
1
1
1
1
1
1
2
1
1
1
OverdriveGt
-----------------------------------------
1
OverdriveGt
-----------------------------------------
1
DistortionGt
Dist. Gt2
DazedGuitar
------------FeedbackGt.
FeedbackGt2
PowerGuitar
Power Gt.2
5th Dist.
Rock Rhythm
RockRhythm2
-----
1
2
2
Dist.Gt.
--------------------Feedback Gt
-----------------------------
1
Gt.Harmonix
Gt.Feedback
----Ac.Gt.Harm.
-----
1
1
2
2
2
2
2
2
2
1
[55]
[55]
Gt.Harmonix
Gt.Feedback
-------------
2
1
1
* CC064 and 065 are for User Instruments (p.67).
170
Appendices
Bass
CC00
PC
SC-8850 Map
000
001
008
009
016
033
Acoustic Bs.
Rockabilly
Wild A.Bass
Atk A.Bass
Bass + OHH
Voices
1
2
2
2
2
SC-88Pro Map
000
001
002
003
004
005
006
007
008
016
034
Fingered Bs.
Fingered Bs2
Jazz Bass
Jazz Bass 2
Rock Bass
Heart Bass
AttackFinger
Finger Slap
ChorusJazzBs
F.Bass/Harm.
1
2
1
2
2
1
2
2
2
1
000
001
002
003
004
008
016
035
Picked Bass
Picked Bass2
Picked Bass3
Picked Bass4
Double Pick
Muted PickBs
P.Bass/Harm.
1
2
2
2
4
1
1
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
008
036
Fretless Bs.
Fretless Bs2
Fretless Bs3
Fretless Bs4
Syn Fretless
Mr.Smooth
Wood+FlessBs
000
001
008
009
037
000
001
008
000
001
002
003
004
005
006
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
032
033
034
035
036
040
041
042
043
044
Voices
Acoustic Bs.
Rockabilly
Wild A.Bass
----Bass + OHH
1
2
2
Fingered Bs.
Fingered Bs2
Jazz Bass
Jazz Bass 2
Rock Bass
------------ChorusJazzBs
F.Bass/Harm.
1
2
1
2
2
1
2
2
2
[Pro]
[Pro]
Picked Bass
Picked Bass2
Picked Bass3
Picked Bass4
----Muted PickBs
P.Bass/Harm.
1
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Fretless Bs.
Fretless Bs2
Fretless Bs3
Fretless Bs4
Syn Fretless
Mr.Smooth
Wood+FlessBs
1
2
2
2
2
2
2
Slap Bass 1
Slap Pop
Reso Slap
Unison Slap
1
1
1
2
[Pro]
[Pro]
[Pro]
[Pro]
Slap Bass 1
Slap Pop
Reso Slap
Unison Slap
1
1
1
2
038
Slap Bass 2
Slap Bass 3
FM Slap
2
3
2
[Pro]
Slap Bass 2
----FM Slap
2
039
Synth Bass 1
SynthBass101
CS Bass
JP-4 Bass
JP-8 Bass
P5 Bass
JPMG Bass
Acid Bass
TB303 Bass
Tekno Bass
TB303 Bass 2
Kicked TB303
TB303 Saw Bs
Rubber303 Bs
Reso 303 Bs
Reso SH Bass
TB303 Sqr Bs
TB303 DistBs
Clavi Bass
Hammer
Jungle Bass
Square Bass
Square Bass2
Arpeggio Bs
Hit&Saw Bass
Ring Bass
AtkSineBass
OB sine Bass
Auxiliary Bs
303SqDistBs
303SqDistBs2
303SqDistBs3
303Sqr.Rev
TeeBee
2
1
2
1
2
1
2
1
1
2
1
2
1
1
1
1
1
1
2
2
1
2
2
1
2
2
2
2
2
1
2
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Synth Bass 1
SynthBass101
CS Bass
JP-4 Bass
JP-8 Bass
P5 Bass
JPMG Bass
Acid Bass
TB303 Bass
Tekno Bass
TB303 Bass 2
Kicked TB303
TB303 Saw Bs
Rubber303 Bs
Reso 303 Bs
Reso SH Bass
303 Sqr Bs
TB303 DistBs
--------------------Arpeggio Bs
-----------------------------------------
SC-88 Map
2
[88]
2
1
1
1
[88]
[88]
[88]
[88]
[88]
[88]
[88]
1
1
FingeredBs.
FingeredBs2
Jazz Bass
-----------------------------
1
2
1
Fingered Bs
-------------------------------------
1
Picked Bass
----------------MutePickBs.
-----
1
Picked Bass
-------------------------
1
1
FretlessBs.
FretlessBs2
FretlessBs3
FretlessBs4
SynFretless
Mr.Smooth
-----
1
2
2
2
2
2
Fretless Bs
-------------------------
1
Slap Bass 1
----Reso Slap
-----
1
Slap Bass 1
-------------
1
Slap Bass 2
---------
1
Syn.Bass 1
Syn.Bass101
--------------------Syn.Bass 3
---------------------------------------------------------------------------------------------------------
1
1
1
2
[88]
[88]
SynthBass 1
Syn.Bass101
--------------------Acid Bass
TB303 Bass
Tekno Bass
--------------------Reso SHBass
-------------------------------------------------------------------------
2
1
[88]
Voices
Acoustic Bs
-----------------
Slap Bass 2
---------
[88]
[88]
[88]
SC-55 Map
2
[88]
2
2
1
2
1
2
1
2
1
1
2
1
2
1
1
1
1
1
1
Voices
AcousticBs.
-----------------
1
1
2
1
[55]
1
171
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
040
Synth Bass 2
SynthBass201
Modular Bass
Seq Bass
MG Bass
Mg Oct Bass1
MG Oct Bass2
MG Blip Bs:
Beef FM Bass
Dly Bass
X Wire Bass
WireStr Bass
Blip Bass :
RubberBass 1
Syn Bell Bs
Odd Bass
RubberBass 2
SH101 Bass 1
SH101 Bass 2
Smooth Bass
SH101 Bass 3
Spike Bass
House Bass:
KG Bass
Sync Bass
MG 5th Bass
RND Bass
WowMG Bass
Bubble Bass
Attack Pulse
Sync Bass 2
Pulse Mix Bs
MG Dist Bass
Seq Bass 2
3rd Bass
MG Oct Bass
SlowEnvBass
Mild Bass
DistEnvBass
MG LightBass
DistSynBass
Rise Bass
Cyber Bass
Voices
2
2
2
2
1
2
2
2
2
2
2
2
2
2
2
2
2
1
1
2
1
1
2
2
2
2
2
2
2
1
2
2
2
2
2
2
2
2
2
2
2
2
2
SC-88Pro Map
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Synth Bass 2
SynthBass201
Modular Bass
Seq Bass
MG Bass
Mg Oct Bass1
MG Oct Bass2
MG Blip Bs:
Beef FM Bass
Dly Bass
X Wire Bass
WireStr Bass
Blip Bass:
RubberBass 1
--------RubberBass 2
SH101 Bass 1
SH101 Bass 2
Smooth Bass
SH101 Bass 3
Spike Bass
House Bass:
KG Bass
Sync Bass
MG 5th Bass
RND Bass
WowMG Bass
Bubble Bass
---------------------------------------------------------
Voices
2
2
2
2
1
2
2
2
2
2
2
2
2
2
2
1
1
2
1
1
2
2
2
2
2
2
2
SC-88 Map
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
Voices
SynthBass 2
Syn.Bass201
ModularBass
Seq Bass
----------------Beef FMBass
X Wire Bass
------------------------Rubber Bass
SH101Bass 1
SH101Bass 2
Smooth Bass
---------------------------------------------------------------------------------------------
SC-55 Map
2
2
2
2
2
2
2
1
1
2
[55]
Syn.Bass 2
----------------------------Syn.Bass 4
----------------------------Rubber Bass
---------------------------------------------------------------------------------------------------------
Voices
2
2
2
Strings/orchestra
CC00
PC
SC-8850 Map
000
001
008
041
Violin :
Violin Atk:
Slow Violin
Voices
2
2
1
[Pro]
[Pro]
[Pro]
SC-88Pro Map
Violin :
Violin Atk:
Slow Violin
2
2
1
Violin
----Slow Violin
000
001
042
Viola :
Viola Atk.:
2
2
[Pro]
[Pro]
Viola :
Viola Atk.:
2
2
Viola
-----
1
Viola
-----
1
000
001
043
Cello :
Cello Atk.:
2
2
Cello :
Cello Atk.:
2
2
Cello
-----
1
Cello
-----
1
000
044
Contrabass
1
Contrabass
1
Contrabass
1
Contrabass
1
000
002
008
009
010
045
Tremolo Str
Trem Str.St.
Slow Tremolo
Suspense Str
SuspenseStr2
1
2
1
2
4
Tremolo Str
----Slow Tremolo
Suspense Str
-----
1
[88]
1
[88]
[88]
Tremolo Str
-----------------
1
1
2
Tremolo Str
----SlowTremolo
SuspenseStr
-----
000
001
002
003
008
016
017
046
PizzicatoStr
Vcs&Cbs Pizz
Chamber Pizz
St.Pizzicato
Solo Pizz.
Solo Spic.
StringsSpic.
1
2
2
2
1
1
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
PizzicatoStr
Vcs&Cbs Pizz
Chamber Pizz
St. Pizzicato
Solo Pizz.
Solo Spic.
-----
1
2
2
2
1
1
[88]
Pizz. Str.
-------------------------
1
Pizzicato
-------------------------
1
000
001
002
008
016
024
025
026
047
Harp
Harp&Strings
Harp St.
Uillean Harp
Synth Harp
Yang Qin
Yang Qin 2
SynthYangQin
1
3
2
1
1
1
2
2
[Pro]
Harp
------------Synth Harp
-------------
1
[88]
Harp
-----------------------------
1
Harp
-----------------------------
1
000
048
Timpani
1
[88]
Timpani
1
Timpani
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Timpani
Voices
SC-88 Map
1
1
Voices
1
1
1
2
SC-55 Map
Violin
----Slow Violin
Voices
1
1
* CC064 and 065 are for User Instruments (p.67).
172
Appendices
Ensemble
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
024
032
033
034
040
049
Strings
Bright Str:
ChamberStr
Cello sect.
Bright Str.2
Bright Str.3
Quad Strings
Mild Strings
Orchestra
Orchestra 2
Tremolo Orch
Choir Str.
Strings+Horn
Str.+Flute
Choir Str.2
Choir Str.3
St. Strings
St.Strings 2
St.Strings 3
Orchestra 3
Orchestra 4
Velo Strings
Oct Strings1
Oct Strings2
ContraBsSect
60s Strings
Voices
4
1
4
1
2
2
4
2
2
2
2
2
2
3
4
4
2
2
2
4
4
4
4
4
4
2
SC-88Pro Map
000
001
002
008
009
010
011
012
013
050
Slow Strings
SlowStrings2
SlowStrings3
Legato Str.
Warm Strings
St.Slow Str.
St.Slow Str2
S.Str+Choir
S.Str+Choir2
2
2
2
2
2
2
2
4
4
000
001
002
003
004
008
009
010
011
012
016
017
024
025
051
Syn.Strings1
OB Strings
StackStrings
JP Strings
Chorus Str.
Syn.Strings3
Syn.Strings4
Syn.Strings6
Syn.Strings7
LoFi Strings
High Strings
Hybrid Str.
Tron Strings
Noiz Strings
2
2
2
2
2
2
2
2
2
4
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
008
009
010
052
Syn.Strings2
Syn.Strings5
JUNO Strings
FilteredOrch
JP Saw Str.
Hybrid Str.2
DistStrings
JUNOFullStr.
Air Strings
Atk Syn Str.
StraightStr.
2
2
2
2
2
2
4
2
2
2
2
[Pro]
[Pro]
[Pro]
000
008
009
010
011
012
013
014
016
024
032
033
053
Choir Aahs
St.ChoirAahs
Melted Choir
Church Choir
Boys Choir 1
Boys Choir 2
St.BoysChoir
Rich Choir
Choir Hahs
Chorus Lahs
Chorus Aahs
Male Aah+Str
1
2
2
2
1
2
2
4
1
1
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Strings :
Bright Str:
ChamberStr:
Cello sect.
----------------Orchestra
Orchestra 2
Tremolo Orch
Choir Str.
Strings+Horn
------------St. Strings
----------------Velo Strings
Oct Strings1
Oct Strings2
---------
Voices
SC-88 Map
2
1
2
1
2
2
2
2
2
[88]
2
2
2
2
SlowStrings
SlowStrings2
----Legato Str.
Warm Strings
St.Slow Str.
-------------
1
1
Syn.Strings1
OB Strings
StackStrings
JP Strings
----Syn.Strings3
Syn.Strings4
------------High Strings
Hybrid Str.
Tron Strings
Noiz Strings
2
2
2
2
Syn.Strings2
Syn.Strings5
JUNO Strings
--------------------Air Strings
---------
2
2
2
Choir Aahs
St.ChoirAahs
Melted Choir
Church Choir
----------------Choir Hahs
Chorus Lahs
Chorus Aahs
Male Aah+Str
1
2
2
2
2
2
2
2
2
[88]
[88]
[88]
[88]
2
2
2
2
2
1
1
2
2
[88]
Strings
Strings 2
------------------------Orchestra
Orchestra 2
TremoloOrch
Choir Str.
----------------St.Strings
----------------VeloStrings
-----------------
Voices
SC-55 Map
1
1
Strings
----------------------------Orchestra
---------------------------------------------------------------------
2
2
2
2
2
2
SlowStrings
Slow Str. 2
----Legato Str.
WarmStrings
St.SlowStr.
-------------
1
1
SynStrings1
OB Strings
------------SynStrings3
---------------------------------
2
2
2
[55]
SynStrings2
-----------------------------------------
2
[55]
Choir Aahs
St.Choir
Mello Choir
----------------------------ChoirAahs 2
-----
1
2
2
2
2
2
1
[55]
Voices
1
2
SlowStrings
---------------------------------
1
SynStrings1
----------------SynStrings3
---------------------------------
1
2
SynStrings2
-----------------------------------------
2
Choir Aahs
------------------------------------Choir Aahs2
-----
1
1
173
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
CC00
PC
SC-8850 Map
Voices
000
001
002
003
004
005
006
008
009
010
011
012
016
017
018
019
020
021
022
023
024
032
033
034
035
036
037
040
054
Voice Oohs
Chorus Oohs
Voice Oohs 2
Chorus Oohs2
OohsCodeMaj7
OohsCodeSus4
Jazz Scat
Voice Dahs
JzVoice Dat
JzVoice Bap
JzVoice Dow
JzVoice Thum
VoiceLah Fem
ChorusLahFem
VoiceLuh Fem
ChorusLuhFem
VoiceLan Fem
ChorusLanFem
VoiceAah Fem
VoiceUuh Fem
Fem Lah&Lan
VoiceWah Mal
ChorusWahMal
VoiceWoh Mal
ChorusWohMal
VoiceAah Mal
VoiceOoh Mal
Humming
1
2
1
2
1
1
1
1
1
1
1
1
1
2
1
2
1
2
1
1
1
1
2
1
2
1
1
2
000
001
002
008
009
010
016
017
018
019
055
SynVox
SynVox 2
SynVox 3
Syn.Voice
Silent Night
Syn.Voice 2
VP330 Choir
Vinyl Choir
JX8P Vox
Analog Voice
1
1
2
2
2
2
1
2
2
1
000
001
002
003
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
056
OrchestraHit
Bass Hit
6th Hit
Euro Hit
Impact Hit
Philly Hit
Double Hit
Perc. Hit
Shock Wave
Bounce Hit
Drill Hit
Thrill Hit
Lo Fi Rave
Techno Hit
Dist. Hit
Bam Hit
Bit Hit
Bim Hit
Technorg Hit
Rave Hit
Strings Hit
Stack Hit
Industry Hit
Clap Hit
2
2
2
2
2
2
2
1
2
1
1
1
2
1
1
1
1
1
1
2
2
2
1
1
SC-88Pro Map
[Pro]
[Pro]
[Pro]
[Pro]
Voice Oohs
------------------------Voice Dahs
--------------------------------------------------------------------------------SynVox
--------Syn.Voice
Silent Night
Voices
1
SC-88 Map
Voices
Voice Oohs
-------------------------------------------------------------------------------------------------------------
1
[55]
Voice Oohs
-------------------------------------------------------------------------------------------------------------
1
1
[88]
1
[55]
[88]
SynVox
-------------------------------------
1
2
2
SynVox
--------Syn.Voice
-------------------------
Orchest.Hit
---------------------------------------------------------------------------------------------
2
1
VP330 Choir
Vinyl Choir
---------
1
2
[Pro]
OrchestraHit
------------Impact Hit
Philly Hit
Double Hit
Perc. Hit
Shock Wave
------------Lo Fi Rave
Techno Hit
Dist. Hit
Bam Hit
Bit Hit
Bim Hit
Technorg Hit
Rave Hit
Strings Hit
Stack Hit
---------
2
[88]
2
2
2
1
2
[88]
[88]
[88]
2
1
1
1
1
1
1
2
2
2
[88]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SC-55 Map
[88]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Voices
Orch. Hit
------------Impact Hit
Philly Hit
Double Hit
--------------------Lo Fi Rave
---------------------------------------------
2
2
2
2
2
2
* CC064 and 065 are for User Instruments (p.67).
174
Appendices
Brass
CC00
PC
SC-8850 Map
000
001
002
003
004
008
016
024
025
026
027
032
057
Trumpet
Trumpet 2
Trumpet :
Dark Trumpet
Trumpet & Nz
Flugel Horn
4th Trumpets
Bright Tp.
Warm Tp.
Warm Tp.2
Twin Tp.
Syn. Trumpet
Voices
1
1
1
1
2
1
2
2
2
3
3
1
000
001
002
003
004
008
016
058
Trombone
Trombone 2
Twin bones
Bones & Tuba
Bright Tb
Bs. Trombone
Euphonium
1
1
2
4
1
1
2
000
001
008
059
Tuba
Tuba 2
Tuba + Horn
1
1
2
000
001
002
003
008
060
MutedTrumpet
Cup Mute Tp
MuteTrumpet2
MuteTrumpet3
Muted Horns
1
1
1
2
1
000
001
002
003
008
009
016
024
061
French Horns
Fr.Horn 2
Horn + Orche
Wide FreHrns
F.Hrn Slow:
Dual Horns
Synth Horn
F.Horn Rip
1
2
2
2
1
2
2
1
000
001
002
003
004
005
008
009
010
012
014
016
017
024
025
026
032
033
035
036
037
038
062
Brass 1
Brass ff
Bones Sect.
St. Brass ff
Quad Brass1
Quad Brass2
Brass 2
Brass 3
Brass sfz
Brass sfz 2
FatPop Brass
Brass Fall
Trumpet Fall
Octave Brass
Brass + Reed
Fat + Reed
Orch Brass
Orch Brass 2
St.FatPopBrs
St.Orch Brs
St.Orch Brs2
St.Orch Brs3
2
1
1
2
4
4
2
2
2
2
2
1
1
2
2
4
1
2
2
2
4
4
000
001
002
003
004
005
008
009
010
016
017
018
019
063
Synth Brass1
JUNO Brass
Stack Brass
SH-5 Brass
MKS Brass
Jump Brass
Pro Brass
P5 Brass
OrchSynBrass
Oct SynBrass
Hybrid Brass
OctSynBrass2
BPF Brass
2
2
2
2
2
1
2
2
2
2
2
4
2
SC-88Pro Map
Voices
Trumpet
Trumpet 2
Trumpet :
--------Flugel Horn
4th Trumpets
Bright Tp.
Warm Tp.
--------Syn. Trumpet
1
1
1
Trombone
Trombone 2
Twin bones
--------Bs. Trombone
-----
1
1
2
Tuba
Tuba 2
-----
1
1
1
[Pro]
MutedTrumpet
------------Muted Horns
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
French Horns
Fr.Horn 2
Horn + Orche
Wide FreHrns
F.Hrn Slow:
Dual Horns
Synth Horn
F.Horn Rip
1
2
2
2
1
2
2
1
[Pro]
[Pro]
[Pro]
Brass 1
Brass ff
Bones Sect.
------------Brass 2
Brass 3
Brass sfz
--------Brass Fall
Trumpet Fall
Octave Brass
Brass + Reed
-----------------------------
2
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SynthBrass1
JUNO Brass
StackBrass
SH-5 Brass
MKS Brass
----Pro Brass
P5 Brass
----Oct SynBrass
Hybrid Brass
---------
1
2
2
2
SC-88 Map
1
1
Trombone
Trombone 2
---------------------
1
2
[88]
[88]
Tuba
Tuba 2
-----
[88]
[88]
[88]
[88]
[88]
[88]
1
1
2
2
2
1
1
2
2
2
2
2
2
2
2
2
2
2
Voices
Trumpet
Trumpet 2
------------Flugel Horn
----Bright Tp.
Warm Tp.
-------------
[88]
SC-55 Map
Voices
Trumpet
---------------------------------------------
1
Trombone
Trombone 2
---------------------
1
2
1
1
Tuba
---------
1
Muted Tp.
-----------------
1
MuteTrumpet
-----------------
1
FrenchHorns
Fr.Horn 2
--------Fr.HornSolo
----Horn Orch
-----
1
2
French Horn
Fr.Horn 2
-------------------------
2
2
Brass 1
--------------------Brass 2
-------------------------------------------------------------
1
Brass 1
--------------------Brass 2
----------------Brass Fall
----------------------------------------SynthBrass1
Poly Brass
----------------Syn.Brass 3
Quack Brass
----OctaveBrass
-------------
1
2
2
[55]
[55]
1
2
1
[55]
2
1
2
2
2
2
2
[55]
Syn.Brass 1
--------------------Syn.Brass 3
--------Analog Brs1
-------------
2
2
2
2
175
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
008
009
010
011
012
016
017
064
Synth Brass2
Soft Brass
Warm Brass
Synth Brass3
Sync Brass
Fat SynBrass
DeepSynBrass
SynBrass sfz
OB Brass
Reso Brass
DistSqrBrass
JP8000SawBrs
Velo Brass 1
Transbrass
Voices
2
2
2
2
2
2
2
1
2
2
2
2
2
2
SC-88Pro Map
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Synth Brass 2
Soft Brass
Warm Brass
----------------SynBrass sfz
OB Brass
Reso Brass
--------Velo Brass 1
Transbrass
Voices
SC-88 Map
2
2
2
1
2
2
2
2
[88]
Voices
Syn.Brass 2
Soft Brass
--------------------Syn.Brass 4
----------------VeloBrass 1
VeloBrass 2
SC-55 Map
2
2
[55]
1
[55]
2
2
Syn.Brass 2
------------------------Syn.Brass 4
----------------Analog Brs2
-----
Voices
2
1
2
Reed
CC00
PC
SC-8850 Map
000
008
065
Soprano Sax
Soprano Exp.
Voices
1
1
[Pro]
[Pro]
SC-88Pro Map
Soprano Sax
Soprano Exp.
Voices
1
1
Soprano Sax
-----
SC-88 Map
Voices
1
Soprano Sax
-----
1
000
008
009
016
017
066
Alto Sax
AltoSax Exp.
Grow Sax
AltoSax + Tp
Sax Section
1
1
1
2
4
[Pro]
[Pro]
[Pro]
[Pro]
Alto Sax
AltoSax Exp.
Grow Sax
AltoSax + Tp
-----
1
1
1
2
Alto Sax
Hyper Alto
-------------
1
1
Alto Sax
-----------------
1
000
001
008
009
067
Tenor Sax
Tenor Sax :
BreathyTn.:
St.Tenor Sax
2
2
1
2
[Pro]
[Pro]
[Pro]
[Pro]
Tenor Sax
Tenor Sax :
BreathyTn.:
St. Tenor Sax
2
2
1
2
Tenor Sax
----BreathyTnr.
-----
2
Tenor Sax
-------------
1
000
001
008
068
Baritone Sax
Bari. Sax :
Bari & Tenor
2
2
2
[Pro]
[Pro]
Baritone Sax
Bari. Sax :
-----
2
2
BaritoneSax
---------
1
BaritoneSax
---------
1
000
008
016
069
Oboe
Oboe Exp.
Multi Reed
1
1
1
Oboe
Oboe Exp.
Multi Reed
1
1
1
Oboe
---------
1
Oboe
---------
1
[Pro]
[Pro]
000
070
English Horn
1
[Pro]
English Horn
1
[88]
EnglishHorn
1
EnglishHorn
1
000
071
Bassoon
1
[Pro]
Bassoon
1
[88]
Bassoon
1
Bassoon
1
000
008
016
017
072
Clarinet
Bs Clarinet
Multi Wind
Quad Wind
1
1
1
4
Clarinet
Bs Clarinet
Multi Wind
-----
1
1
1
[88]
Clarinet
Bs Clarinet
---------
1
1
Clarinet
-------------
1
[Pro]
[Pro]
1
SC-55 Map
Voices
* CC064 and 065 are for User Instruments (p.67).
176
Appendices
Pipe
CC00
PC
SC-8850 Map
000
001
008
009
016
073
Piccolo
Piccolo :
Nay
Nay Tremolo
Di
Voices
1
1
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SC-88Pro Map
Piccolo
Piccolo :
Nay
Nay Tremolo
Di
1
1
2
2
2
[88]
Piccolo
-----------------
1
Piccolo
-----------------
1
000
001
002
003
008
009
016
017
074
Flute
Flute 2 :
Flute Exp.
Flt Travelso
Flute + Vln
Pipe & Reed
Tron Flute
Indian Flute
1
1
1
2
2
4
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Flute
Flute 2 :
Flute Exp.
Flt Travelso
Flute + Vln
----Tron Flute
-----
1
1
1
2
2
[88]
Flute
-----------------------------
1
Flute
-----------------------------
1
000
075
Recorder
1
[Pro]
Recorder
1
[88]
Recorder
1
Recorder
1
000
008
016
017
024
025
026
076
Pan Flute
Kawala
Zampona
Zampona Atk
Tin Whistle
TinWhtsle Nm
TinWhtsle Or
2
2
2
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
Pan Flute
Kawala
Zampona
Zampona Atk
-------------
2
2
2
1
[88]
[88]
Pan Flute
Kawala
---------------------
2
2
Pan Flute
-------------------------
1
000
077
Bottle Blow
2
[Pro]
Bottle Blow
2
[88]
Bottle Blow
2
Bottle Blow
2
000
001
078
Shakuhachi
Shakuhachi:
2
2
[Pro]
[Pro]
Shakuhachi
Shakuhachi:
2
2
[88]
Shakuhachi
-----
2
[55]
Shakuhachi
-----
2
000
001
079
Whistle
Whistle 2
1
2
[Pro]
[Pro]
Whistle
Whistle 2
1
2
[88]
Whistle
-----
1
[55]
Whistle
-----
1
000
080
Ocarina
1
[Pro]
Ocarina
1
[88]
Ocarina
1
[55]
Ocarina
1
[Pro]
Voices
SC-88 Map
1
Voices
SC-55 Map
[55]
Voices
Synth lead
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
008
009
010
011
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
081
Square Wave
MG Square
Hollow Mini
Mellow FM
CC Solo
Shmoog
LM Square
JP8000 TWM
2600 Sine
Sine Lead
KG Lead
Twin Sine
P5 Square
OB Square
JP-8 Square
Dist Square
303SquarDst1
303SquarDst2
303 Mix Sqr
Dual Sqr&Saw
Pulse Lead
JP8 PulseLd1
JP8 PulseLd2
MG Reso. Pls
JP8 PulseLd3
260RingLead
303DistLead
JP8000DistLd
HipHop SinLd
HipHop SqrLd
HipHop PlsLd
Flux Pulse
Voices
2
1
1
2
2
2
2
2
1
1
1
2
1
1
1
1
1
1
2
4
2
2
1
1
2
2
2
2
1
1
1
2
SC-88Pro Map
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Square Wave
MG Square
Hollow Mini
Mellow FM
CC Solo
Shmoog
LM Square
----2600 Sine
Sine Lead
KG Lead
----P5 Square
OB Square
JP-8 Square
--------------------Pulse Lead
JP8 PulseLd1
JP8 PulseLd2
MG Reso. Pls
---------------------------------
Voices
2
1
1
2
2
2
2
1
1
1
1
1
1
2
2
1
1
SC-88 Map
[88]
[88]
[88]
[88]
[88]
Square Wave
Square
Hollow Mini
Mellow FM
CC Solo
Shmoog
LM Square
----Sine Wave
---------------------------------------------------------------------------------------------
Voices
SC-55 Map
2
1
1
2
2
2
2
[55]
[55]
1
[55]
Square Wave
Square
------------------------Sine Wave
---------------------------------------------------------------------------------------------
Voices
2
1
1
177
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
024
025
026
027
028
029
030
031
032
033
034
035
036
040
041
042
043
044
045
046
047
082
Saw Wave
OB2 Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
LA Saw
Doctor Solo
Fat Saw Lead
JP8000 Saw
D-50 Fat Saw
OB DoubleSaw
JP DoubleSaw
FatSawLead 2
JP SuperSaw
Waspy Synth
PM Lead
CS Saw Lead
MG Saw 1
MG Saw 2
OB Saw 1
OB Saw 2
D-50 Saw
SH-101 Saw
CS Saw
MG Saw Lead
OB Saw Lead
P5 Saw Lead
MG unison
Oct Saw Lead
Natural Lead
SequenceSaw1
SequenceSaw2
Reso Saw
Cheese Saw 1
Cheese Saw 2
Rhythmic Saw
SequencedSaw
Techno Saw
2
1
2
2
2
2
2
1
2
2
1
2
2
2
2
4
2
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
1
1
1
1
2
2
2
000
001
002
008
009
083
Syn.Calliope
Vent Synth
Pure PanLead
LM Pure Lead
LM Blow Lead
2
2
2
4
4
[Pro]
[Pro]
[Pro]
Syn.Calliope
Vent Synth
Pure PanLead
---------
2
2
2
000
001
002
003
004
005
006
007
008
009
010
084
Chiffer Lead
TB Lead
Hybrid Lead
Unison SqrLd
FatSolo Lead
ForcefulLead
Oct.UnisonLd
Unison SawLd
Mad Lead
CrowdingLead
Double Sqr.
2
2
4
4
4
4
4
4
2
4
2
[Pro]
[Pro]
Chiffer Lead
TB Lead
------------------------Mad Lead
---------
2
2
000
001
002
003
004
005
006
008
009
010
011
012
016
017
018
019
020
021
022
024
025
026
085
Charang
Wire Lead
FB.Charang
Fat GR Lead
Windy GR Ld
Mellow GR Ld
GR & Pulse
Dist.Lead
Acid Guitar1
Acid Guitar2
Dance Dst.Gt
DanceDst.Gt2
P5 Sync Lead
Fat SyncLead
Rock Lead
5th DecaSync
Dirty Sync
DualSyncLead
LA Brass Ld
JUNO Sub Osc
2600 Sub Osc
JP8000Fd Osc
2
2
4
4
2
2
3
2
2
2
1
1
1
2
2
2
1
4
4
1
1
1
[Pro]
Charang
------------------------Dist.Lead
Acid Guitar1
Acid Guitar2
--------P5 Sync Lead
Fat Sync Lead
Rock Lead
5th DecaSync
Dirty Sync
--------JUNO Sub Osc
---------
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Saw Wave
OB2 Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
LA Saw
Doctor Solo
Fat Saw Lead
----D-50 Fat Saw
----------------Waspy Synth
PM Lead
CS Saw Lead
MG Saw 1
MG Saw 2
OB Saw 1
OB Saw 2
D-50 Saw
SH-101 Saw
CS Saw
MG Saw Lead
OB Saw Lead
P5 Saw Lead
MG unison
Oct Saw Lead
----SequenceSaw1
SequenceSaw2
Reso Saw
Cheese Saw 1
Cheese Saw 2
Rhythmic Saw
---------
Voices
2
1
2
2
2
2
2
1
2
2
SC-88 Map
Voices
Saw Wave
Saw
Pulse Saw
Feline GR
Big Lead
Velo Lead
GR-300
LA Saw
Doctor Solo
----------------------------Waspy Synth
---------------------------------------------------------------------------------------------
2
1
2
2
2
2
2
1
2
[88]
[88]
[88]
SynCalliope
Vent Synth
PurePanLead
---------
2
2
2
[88]
ChifferLead
-----------------------------------------
2
[88]
2
2
2
[88]
Charang
------------------------Dist.Lead
---------------------------------------------------------
[88]
[88]
[88]
[88]
[88]
[88]
[88]
2
2
1
1
1
1
1
1
1
1
1
1
1
2
2
2
[88]
2
1
1
1
1
2
2
1
2
2
2
1
1
SC-55 Map
[55]
[55]
Voices
Saw Wave
Saw
------------------------Doctor Solo
-----------------------------------------------------------------------------------------------------------------------------
2
1
[55]
SynCalliope
-----------------
2
2
[55]
ChifferLead
-----------------------------------------
2
2
[55]
Charang
-------------------------------------------------------------------------------------
2
[55]
2
2
2
* CC064 and 065 are for User Instruments (p.67).
178
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
001
008
009
010
086
Solo Vox
Solo Vox 2
Vox Lead
LFO Vox
Vox Lead 2
2
4
2
2
2
000
001
002
003
004
005
006
008
087
5th Saw Wave
Big Fives
5th Lead
5th Ana.Clav
5th Pulse
JP 5th Saw
JP8000 5thFB
4th Lead
2
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
088
Bass & Lead
Big & Raw
Fat & Perky
JUNO Rave
JP8 BsLead 1
JP8 BsLead 2
SH-5 Bs.Lead
Delayed Lead
2
2
2
1
1
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Solo Vox
----Vox Lead
LFO Vox
-----
Voices
2
SC-88 Map
2
2
2
2
Bass & Lead
Big & Raw
Fat & Perky
JUNO Rave
JP8 BsLead 1
JP8 BsLead 2
SH-5 Bs.Lead
-----
2
2
2
1
1
2
2
SC-55 Map
Voices
[88]
Solo Vox
-----------------
2
[55]
Solo Vox
-----------------
2
[88]
[88]
5th Saw
Big Fives
-------------------------
2
2
[55]
5th Saw
-----------------------------
2
[88]
[88]
[88]
Bass & Lead
Big & Raw
Fat & Perky
---------------------
2
2
2
[55]
Bass & Lead
-----------------------------
2
2
2
5th Saw Wave
Big Fives
5th Lead
5th Ana.Clav
------------4th Lead
Voices
2
Synth pad, etc
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
089
Fantasia
Fantasia 2
New Age Pad
Bell Heaven
Fantasia 3
Fantasia 4
After D !
260HarmPad
Voices
2
2
2
2
4
4
4
4
[Pro]
[Pro]
[Pro]
[Pro]
SC-88Pro Map
Fantasia
Fantasia 2
New Age Pad
Bell Heaven
-----------------
2
2
2
2
[88]
[88]
Fantasia
Fantasia 2
-------------------------
2
2
[55]
Fantasia
-----------------------------
2
000
001
002
003
004
005
006
008
009
010
011
012
013
090
Warm Pad
Thick Matrix
Horn Pad
Rotary Strng
OB Soft Pad
Sine Pad
OB Soft Pad2
Octave Pad
Stack Pad
Human Pad
Sync Brs.Pad
Oct.PWM Pad
JP Soft Pad
1
2
2
2
2
2
2
2
2
4
4
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Warm Pad
Thick Matrix
Horn Pad
Rotary Strng
OB Soft Pad
--------Octave Pad
Stack Pad
-----------------
1
2
2
2
2
[88]
Warm Pad
Thick Pad
Horn Pad
RotaryStrng
Soft Pad
---------------------------------
1
2
2
2
2
[55]
Warm Pad
-------------------------------------------------
1
000
001
002
003
004
008
009
010
011
012
013
014
015
016
017
024
091
Polysynth
80's PolySyn
Polysynth 2
Poly King
Super Poly
Power Stack
Octave Stack
Reso Stack
Techno Stack
Pulse Stack
TwinOct.Rave
Oct.Rave
Happy Synth
ForwardSweep
ReverseSweep
Minor Rave
2
2
2
2
4
2
2
1
2
2
4
4
2
2
2
4
[Pro]
[Pro]
[Pro]
[Pro]
[88]
[88]
Polysynth
80'sPolySyn
---------------------------------------------------------
2
2
[55]
Polysynth
-------------------------------------------------------------
2
000
001
002
003
004
005
006
007
008
009
010
011
012
092
Space Voice
Heaven II
SC Heaven
Itopia
Water Space
Cold Space
Noise Peaker
Bamboo Hit
Cosmic Voice
Auh Vox
AuhAuh
Vocorderman
Holy Voices
1
2
2
2
2
4
1
1
2
1
2
2
4
[Pro]
[Pro]
[Pro]
[88]
[88]
Space Voice
Heaven II
-----------------------------------------
1
2
[55]
Space Voice
---------------------------------------------
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Voices
SC-88 Map
[88]
[88]
2
2
Polysynth
80's PolySyn
Polysynth 2
Poly King
----Power Stack
Octave Stack
Reso Stack
Techno Stack
-----------------------------
2
2
2
2
Space Voice
Heaven II
SC Heaven
--------------------Cosmic Voice
Auh Vox
AuhAuh
Vocorderman
-----
1
2
2
2
2
1
2
2
1
2
2
Voices
SC-55 Map
Voices
179
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
001
002
003
004
005
093
Bowed Glass
SoftBellPad
JP8 Sqr Pad
7thBelPad
Steel Glass
Bottle Stack
2
2
2
2
4
4
[Pro]
[Pro]
[Pro]
[Pro]
Bowed Glass
SoftBellPad
JP8 Sqr Pad
7thBelPad
---------
2
2
2
2
[88]
Bowed Glass
---------------------
2
[55]
Bowed Glass
---------------------
2
000
001
002
003
004
005
094
Metal Pad
Tine Pad
Panner Pad
Steel Pad
Special Rave
Metal Pad 2
2
2
2
2
4
4
[Pro]
[Pro]
[Pro]
Metal Pad
Tine Pad
Panner Pad
-------------
2
2
2
[88]
[88]
[88]
Metal Pad
Tine Pad
Panner Pad
-------------
2
2
2
[55]
Metal Pad
---------------------
2
000
001
002
008
009
010
011
012
095
Halo Pad
Vox Pad
Vox Sweep
Horror Pad
SynVox Pad
SynVox Pad 2
Breath&Rise
Tears Voices
2
2
2
2
4
4
4
4
[Pro]
[Pro]
[Pro]
[Pro]
Halo Pad
Vox Pad
Vox Sweep
Horror Pad
-----------------
2
2
2
2
[88]
Halo Pad
-----------------------------
2
[55]
Halo Pad
-----------------------------
2
000
001
002
003
004
008
009
010
011
012
013
014
015
096
Sweep Pad
Polar Pad
Ambient BPF
Sync Pad
Warriors
Converge
Shwimmer
Celestial Pd
Bag Sweep
Sweep Pipe
Sweep Stack
Deep Sweep
Stray Pad
1
1
4
2
4
1
2
2
2
2
4
2
2
[Pro]
[Pro]
Sweep Pad
Polar Pad
------------Converge
Shwimmer
Celestial Pd
Bag Sweep
-----------------
1
1
[88]
[88]
1
1
[55]
[88]
[88]
[88]
Sweep Pad
-------------------------------------------------
1
1
2
2
2
Sweep Pad
Polar Pad
------------Converge
Shwimmer
CelestialPd
---------------------
[Pro]
[Pro]
[Pro]
[Pro]
Voices
SC-88 Map
Voices
SC-55 Map
1
2
2
Voices
Synth SFX
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
007
008
009
010
011
097
Ice Rain
Harmo Rain
African wood
Anklung Pad
Rattle Pad
Saw Impulse
Strange Str.
FastFWD Pad
Clavi Pad
EP Pad
Tambra Pad
CP Pad
Voices
2
2
2
2
2
3
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SC-88Pro Map
000
001
002
003
004
005
008
098
Soundtrack
Ancestral
Prologue
Prologue 2
Hols Strings
HistoryWave
Rave
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
008
009
010
011
012
013
016
017
018
019
020
021
022
023
099
Crystal
Syn Mallet
Soft Crystal
Round Glock
Loud Glock
GlockenChime
Clear Bells
ChristmasBel
Vibra Bells
Digi Bells
Music Bell
Analog Bell
Blow Bell
Hyper Bell
Choral Bells
Air Bells
Bell Harp
Gamelimba
JUNO Bell
JP Bell
Pizz Bell
Bottom Bell
2
1
2
2
2
2
2
2
2
2
2
1
2
2
2
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Ice Rain
Harmo Rain
African wood
Anklung Pad
Rattle Pad
------------Clavi Pad
------------Soundtrack
Ancestral
Prologue
Prologue 2
Hols Strings
----Rave
Crystal
Syn Mallet
Soft Crystal
Round Glock
Loud Glock
GlockenChime
Clear Bells
ChristmasBel
Vibra Bells
Digi Bells
Music Bell
Analog Bell
--------Choral Bells
Air Bells
Bell Harp
Gamelimba
JUNO Bell
-------------
Voices
SC-88 Map
2
2
2
2
2
[88]
[88]
[88]
2
[88]
2
2
2
2
2
[88]
[88]
[88]
2
[88]
2
1
2
2
2
2
2
2
2
2
2
1
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
2
2
2
2
2
[88]
[88]
[88]
[88]
Voices
Ice Rain
Harmo Rain
AfricanWood
--------------------Clavi Pad
-------------
2
2
2
SC-55 Map
Ice Rain
---------------------------------------------
2
[55]
Soundtrack
-------------------------
2
[55]
[55]
Crystal
Syn Mallet
---------------------------------------------------------------------------------
2
1
2
Soundtrack
Ancestral
Prologue
------------Rave
2
2
2
2
Crystal
Syn Mallet
SoftCrystal
Round Glock
Loud Glock
GlocknChime
Clear Bells
X'mas Bell
Vibra Bells
Digi Bells
----------------ChoralBells
Air Bells
Bell Harp
Gamelimba
-----------------
2
1
2
2
2
2
2
2
2
2
2
2
2
2
Voices
[55]
* CC064 and 065 are for User Instruments (p.67).
180
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
001
002
003
004
005
006
007
008
009
010
011
100
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowReleas
Nylon+Rhodes
Ambient Pad
Invisible
Pulsey Key
Noise Piano
Heaven Atmos
Tambra Atmos
2
2
2
2
2
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowReleas
Nylon+Rhodes
Ambient Pad
Invisible
Pulsey Key
Noise Piano
---------
2
2
2
2
2
2
2
2
2
2
[88]
[88]
[88]
[88]
[88]
[88]
[88]
Atmosphere
Warm Atmos
Nylon Harp
Harpvox
HollowRels.
NylonRhodes
Ambient Pad
---------------------
2
2
2
2
2
2
2
[55]
Atmosphere
---------------------------------------------
2
000
001
002
003
004
005
006
007
008
101
Brightness
Shining Star
OB Stab
Brass Star
Choir Stab
D-50 Retour
SouthernWind
SymbolicBell
Org Bell
2
2
1
2
4
4
4
2
2
[Pro]
[Pro]
[Pro]
Brightness
Shining Star
OB Stab
--------------------Org Bell
2
2
1
[88]
Brightness
---------------------------------
2
[55]
Brightness
---------------------------------
2
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
102
Goblin
Goblinson
50's Sci-Fi
Abduction
Auhbient
LFO Pad
Random Str
Random Pad
LowBirds Pad
Falling Down
LFO RAVE
LFO Horror
LFO Techno
Alternative
UFO FX
Gargle Man
Sweep FX
LM Has Come
FallinInsect
LFO Oct.Rave
Just Before
RND Fl.Chord
RandomEnding
Random Sine
EatingFilter
Noise&SawHit
Pour Magic
DancingDrill
Dirty Stack
Big Blue
Static Hit
Atl.Mod.FX
Acid Copter
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
1
1
2
4
2
4
4
2
2
2
2
2
2
2
2
4
4
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Goblin
Goblinson
50's Sci-Fi
Abduction
Auhbient
LFO Pad
Random Str
Random Pad
LowBirds Pad
Falling Down
LFO RAVE
LFO Horror
LFO Techno
Alternative
UFO FX
Gargle Man
Sweep FX
-----------------------------------------------------------------
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
1
1
[88]
[88]
[88]
Goblin
Goblinson
50's Sci-Fi
-------------------------------------------------------------------------------------------------------------------------
2
2
2
[55]
Goblin
---------------------------------------------------------------------------------------------------------------------------------
2
000
001
002
003
004
005
006
007
008
009
010
011
103
Echo Drops
Echo Bell
Echo Pan
Echo Pan 2
Big Panner
Reso Panner
Water Piano
Echo SynBass
Pan Sequence
Aqua
Panning Lead
PanningBrass
1
2
2
2
2
2
2
2
2
2
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Echo Drops
Echo Bell
Echo Pan
Echo Pan 2
Big Panner
Reso Panner
Water Piano
----Pan Sequence
Aqua
---------
1
2
2
2
2
2
2
[88]
[88]
[88]
[88]
[88]
[88]
[88]
Echo Drops
Echo Bell
Echo Pan
Echo Pan 2
Big Panner
Reso Panner
Water Piano
---------------------
1
2
2
2
2
2
2
[55]
[55]
[55]
Echo Drops
Echo Bell
Echo Pan
-------------------------------------
1
2
2
000
001
002
003
004
005
006
008
009
010
011
016
017
018
019
104
Star Theme
Star Theme 2
Star Mind
Star Dust
Rep.Trance
Etherality
Mystic Pad
Dream Pad
Silky Pad
Dream Pad 2
Silky Pad 2
New Century
7th Atmos.
Galaxy Way
Rising OSC.
2
2
4
4
4
4
4
2
2
2
2
1
2
2
2
[Pro]
[Pro]
Star Theme
Star Theme 2
-----------------
2
2
[88]
[88]
2
2
[55]
Dream Pad
Silky Pad
--------New Century
7th Atmos.
Galaxy Way
-----
2
2
Star Theme
---------------------------------------------------------
2
[Pro]
[Pro]
Star Theme
StarTheme 2
-----------------------------------------------------
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Voices
SC-88 Map
2
2
2
1
2
2
Voices
SC-55 Map
Voices
181
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
Ethnic, etc
CC00
PC
SC-8850 Map
000
001
002
003
004
005
008
016
105
Sitar
Sitar 2
Detune Sitar
Sitar 3
Sitar/Drone
Sitar 4
Tambra
Tamboura
Voices
1
2
2
2
1
2
1
2
000
001
008
009
016
024
028
032
106
Banjo
Muted Banjo
Rabab
San Xian
Gopichant
Oud
Oud+Strings
Pi Pa
000
001
008
107
000
001
008
016
019
024
108
000
008
009
010
SC-88Pro Map
Voices
SC-88 Map
1
2
2
2
[88]
[88]
[88]
[Pro]
[Pro]
Sitar
Sitar 2
Detune Sitar
Sitar 3
--------Tambra
Tamboura
1
2
[88]
[88]
1
1
2
2
2
2
2
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Banjo
Muted Banjo
Rabab
San Xian
Gopichant
Oud
Oud+Strings
Pi Pa
1
1
2
2
2
2
2
1
[88]
[88]
[88]
Shamisen
Tsugaru
Syn Shamisen
1
2
2
[Pro]
[Pro]
[Pro]
Shamisen
Tsugaru
Syn Shamisen
1
2
2
[88]
[88]
Koto
Gu Zheng
Taisho Koto
Kanoon
Kanoon+Choir
Oct Harp
2
2
1
2
2
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Koto
Gu Zheng
Taisho Koto
Kanoon
Kanoon+Choir
Oct Harp
2
2
1
2
2
1
109
Kalimba
Sanza
Bodhran
Bodhran Mute
1
2
1
1
[Pro]
[Pro]
Kalimba
Sanza
---------
1
2
000
008
009
010
011
110
Bagpipe
Didgeridoo
Uillean Pipe
UillnPipe Nm
UillnPipe Or
1
1
1
1
1
[Pro]
[Pro]
Bagpipe
Didgeridoo
-------------
1
1
[88]
000
008
009
111
Fiddle
Er Hu
Gao Hu
1
1
1
[Pro]
[Pro]
[Pro]
Fiddle
Er Hu
Gao Hu
1
1
1
000
001
008
016
024
032
033
112
Shanai
Shanai 2
Pungi
Hichiriki
Mizmar
Suona 1
Suona 2
1
1
1
2
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Shanai
Shanai 2
Pungi
Hichiriki
Mizmar
Suona 1
Suona 2
1
1
1
2
1
1
1
[Pro]
[Pro]
[Pro]
[88]
[88]
[88]
[88]
Voices
Sitar
Sitar 2
DetuneSitar
------------Tambra
Tamboura
1
2
2
Banjo
Muted Banjo
Rabab
----Gopichant
Oud
---------
1
1
2
Shamisen
Tsugaru
-----
1
2
Koto
----Taisho Koto
Kanoon
---------
1
SC-55 Map
[55]
[55]
Voices
Sitar
Sitar 2
-------------------------
1
2
Banjo
-----------------------------
1
[55]
Shamisen
---------
1
[55]
Koto
----Taisho Koto
-------------
1
1
2
2
2
1
2
2
Kalimba
-------------
1
Kalimba
-------------
1
Bagpipe
-----------------
1
Bagpipe
-----------------
1
[88]
Fiddle
---------
1
[55]
Fiddle
---------
1
[88]
[88]
[88]
[88]
Shanai
Shanai 2
Pungi
Hichiriki
-------------
1
1
1
2
[55]
Shanai
-------------------------
1
+
Percussive
CC00
PC
SC-8850 Map
000
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
032
040
041
042
113
Tinkle Bell
Bonang
Gender
Gamelan Gong
St.Gamelan
Jang Gu
Jegogan
Jublag
Pemade
RAMA Cymbal
Kajar
Kelontuk
Kelontuk Mt
Kelontuk Sid
Kopyak Op
Kopyak Mt
Ceng Ceng
Reyoung
Kempur
Jngl Crash
Crash Menu
RideCym Menu
RideBellMenu
Voices
1
1
1
1
2
2
2
1
1
1
1
1
1
1
1
1
2
2
2
1
1
1
1
SC-88Pro Map
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
+
+
+
+
Tinkle Bell
Bonang
Gender
Gamelan Gong
St.Gamelan
Jang-Gu
------------RAMA Cymbal
-----------------------------------------------------
Voices
SC-88 Map
1
1
1
1
2
2
[88]
[88]
[88]
[88]
[88]
1
[88]
Voices
Tinkle Bell
Bonang
Gender
GamelanGong
St.Gamelan
----------------RAMA Cymbal
-----------------------------------------------------
1
1
1
1
2
1
SC-55 Map
[55]
Tinkle Bell
-----------------------------------------------------------------------------------------
Voices
1
* CC064 and 065 are for User Instruments (p.67).
182
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
008
016
114
Agogo
Atarigane
Tambourine
1
1
1
[Pro]
[Pro]
[Pro] +
Agogo
Atarigane
Tambourine
1
1
1
[88]
[88]
000
001
115
Steel Drums
Island Mlt
1
2
[Pro]
[Pro]
Steel Drums
Island Mlt
1
2
000
008
016
017
024
032
040
116
Woodblock
Castanets
Angklung
Angkl Rhythm
Finger Snaps
909 HandClap
HandClapMenu
1
1
1
2
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Woodblock
Castanets
Angklung
Angkl Rhythm
Finger Snaps
909 HandClap
-----
000
001
008
009
016
017
018
024
025
026
027
028
032
040
041
042
043
117
Taiko
Small Taiko
Concert BD
ConcertBD Mt
Jungle BD
Techno BD
Bounce
KendangWadon
Bebarongan
Pelegongan
Dholak 1
Dholak 2
Jngl BD Roll
Kick Menu 1
Kick Menu 2
Kick Menu 3
Kick Menu 4
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
[Pro] +
[Pro] +
[Pro] +
+
[Pro] +
[Pro] +
[Pro] +
+
+
+
+
+
+
Taiko
Small Taiko
Concert BD
----Jungle BD
Techno BD
Bounce
-----------------------------------------
000
001
002
003
004
008
009
016
017
018
019
024
040
041
042
043
044
118
Melo. Tom 1
Real Tom
Real Tom 2
Jazz Tom
Brush Tom
Melo. Tom 2
Rock Tom
Rash SD
House SD
Jungle SD
909 SD
Jngl SD Roll
SD Menu 1
SD Menu 2
SD Menu 3
SD Menu 4
SD Menu 5
1
2
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
[Pro] +
[Pro] +
+
+
+
[Pro] +
[Pro] +
[Pro] +
[Pro] +
[Pro] +
[Pro] +
+
Melo. Tom 1
Real Tom
------------Melo. Tom 2
Rock Tom
Rash SD
House SD
Jungle SD
909 SD
-------------------------
000
008
009
010
011
012
013
119
Synth Drum
808 Tom
Elec Perc
Sine Perc.
606 Tom
909 Tom
606 Dist.Tom
1
2
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
008
009
016
017
024
025
026
027
040
041
042
043
044
045
046
120
Reverse Cym.
Reverse Cym2
Reverse Cym3
Reverse Cym4
Rev.Snare 1
Rev.Snare 2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
Rev.Tom 3
Rev.Tom 4
Rev.SD Menu1
Rev.SD Menu2
Rev.SD Menu3
Rev.BD Menu1
Rev.BD Menu2
Rev.BD Menu3
Rev.ClapMenu
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
[Pro] +
[Pro] +
[Pro] +
+
[Pro] +
[Pro] +
[Pro] +
[Pro] +
[Pro] +
[Pro] +
+
+
+
+
+
+
+
+
+
+
+
+
Voices
SC-88 Map
Voices
Agogo
Atarigane
-----
1
1
[88]
Steel Drums
-----
1
1
1
1
2
1
1
[88] +
[88] +
Woodblock
Castanets
---------------------
1
1
1
[88] +
+
[88] +
1
1
1
+
+
+
Taiko
----Concert BD
---------------------------------------------------------
1
2
[88] +
[88] +
1
2
1
1
1
1
[88] +
[88] +
+
+
+
+
Synth Drum
808 Tom
Elec Perc
Sine Perc.
606 Tom
909 Tom
-----
1
2
1
1
1
1
[88] +
[88] +
[88] +
Reverse Cym.
Reverse Cym2
Reverse Cym3
----Rev.Snare 1
Rev.Snare 2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
-------------------------------------
1
1
1
[88] +
[88] +
+
1
1
1
1
1
1
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
+
+
+
+
+
+
+
SC-55 Map
Voices
Agogo
---------
1
[55]
Steel Drums
-----
1
1
1
[55] +
[55] +
Woodblock
Castanets
---------------------
1
1
+
+
1
[55] +
1
+
1
[55] +
Taiko
----Concert BD
---------------------------------------------------------
1
+
1
2
[55] +
+
1
+
1
2
[55] +
+
1
+
Synth Drum
808 Tom
Elec Perc
-----------------
1
2
1
[55] +
+
[55] +
Synth Drum
808 Tom
Elec Perc
-----------------
1
1
1
+
+
+
Reverse Cym
ReverseCym2
--------Rev.Snare 1
Rev.Snare 2
Rev.Kick 1
Rev.ConBD
Rev.Tom 1
Rev.Tom 2
-------------------------------------
1
1
[55] +
+
1
+
1
1
1
1
1
1
+
+
+
+
+
+
Reverse Cym
-------------------------------------------------------------------------
Melo. Tom 1
Real Tom
------------Melo. Tom 2
Rock Tom
-----------------------------------------
Melo. Tom 1
----------------Melo. Tom 2
---------------------------------------------
183
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [Pro] : same sound as SC-88Pro map
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark +
: a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
SFX
CC00
PC
SC-8850 Map
000
001
002
003
004
005
006
008
009
010
011
012
013
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
034
035
036
037
038
039
040
041
042
121
Gt.FretNoise
Gt.Cut Noise
String Slap
Gt.CutNoise2
Dist.CutNoiz
Bass Slide
Pick Scrape
Gt. FX Menu
Bartok Pizz.
Guitar Slap
Chord Stroke
Biwa Stroke
Biwa Tremolo
A.Bs.Nz Menu
D.Gt.Nz Menu
E.Gt.NzMenu1
E.Gt.NzMenu2
G.StrokeMenu
Gt.SlideMenu
A.Bs.Mute Nz
A.Bs.TouchNz
A.Bs.AtackNz
TC Up Nz
TC DownMt.Nz
TC UpMt.Nz
TC Down Nz
DstGT.Up Nz
DstGT.DwnNz1
DstGT.DwnNz2
DstGT.MuteNz
Gt.StrokeNz5
StlGt.SldNz1
StlGt.SldNz2
StlGt.SldNz3
StlGt.SldNz4
Gt.StrokeNz1
Gt.StrokeNz2
Gt.StrokeNz3
Gt.StrokeNz4
Voices
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
SC-88Pro Map
000
001
002
003
004
005
006
007
008
009
122
Breath Noise
Fl.Key Click
Brth Nz Menu
Fl.Breath 1
Fl.Breath 2
Fl.Breath 3
Vox Breath 1
Vox Breath 2
Trombone Nz
Trumpet Nz
1
1
1
1
1
1
1
1
1
1
[Pro]
[Pro] +
000
001
002
003
004
005
006
007
016
017
123
Seashore
Rain
Thunder
Wind
Stream
Bubble
Wind 2
Cricket
Pink Noise
White Noise
1
1
1
1
2
2
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
008
124
Bird
Dog
Horse-Gallop
Bird 2
Kitty
Growl
Growl 2
Fancy Animal
Seal
2
1
1
1
1
1
1
1
1
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
+
+
+
+
+
+
+
+
+
Voices
SC-88 Map
Gt.FretNoise
Gt.Cut Noise
String Slap
Gt.CutNoise2
Dist.CutNoiz
Bass Slide
Pick Scrape
Gt. FX Menu
Bartok Pizz.
Guitar Slap
Chord Stroke
Biwa Stroke
Biwa Tremolo
---------------------------------------------------------------------------------------------------------
1
1
1
1
1
1
1
1
1
1
1
1
1
[88]
[88]
[88]
[88]
[88]
[88]
[88]
Breath Noise
Fl.Key Click
---------------------------------
1
1
Seashore
Rain
Thunder
Wind
Stream
Bubble
Wind 2
----Pink Noise
White Noise
1
1
1
1
2
2
1
Bird
Dog
Horse-Gallop
Bird 2
Kitty
Growl
-------------
SC-55 Map
Voices
1
1
1
1
1
1
1
[55]
[55] +
[55] +
+
+
+
+
Gt.FretNoiz
Gt.CutNoise
String Slap
-------------------------------------------------------------------------------------------------------------------------------------------------
1
1
1
+
+
[88]
[88] +
BreathNoise
Fl.KeyClick
---------------------------------
1
1
[55]
[55] +
BreathNoise
Fl.KeyClick
---------------------------------
1
1
+
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
+
+
+
Seashore
Rain
Thunder
Wind
Stream
Bubble
-----------------
1
1
1
1
2
2
[55]
[55]
[55]
[55]
[55]
[55]
+
+
+
+
+
+
Seashore
Rain
Thunder
Wind
Stream
Bubble
-----------------
1
1
1
1
2
2
+
+
+
+
+
+
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
+
+
Bird
Dog
HorseGallop
Bird 2
Kitty
Growl
-------------
2
1
1
1
1
1
[55]
[55]
[55]
[55]
+
+
+
+
+
+
Bird
Dog
HorseGallop
Bird 2
---------------------
2
1
1
1
+
+
+
+
+
+
+
+
+
+
+
+
+
1
1
2
1
1
1
1
1
Voices
Gt.FretNoiz
Gt.CutNoise
String Slap
Gt.CutNz. 2
Dist.CutNz.
Bass Slide
Pick Scrape
---------------------------------------------------------------------------------------------------------------------------------
* CC064 and 065 are for User Instruments (p.67).
184
Appendices
CC00
PC
SC-8850 Map
Voices
SC-88Pro Map
000
001
002
003
004
005
007
008
009
010
011
012
013
014
015
016
125
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Scratch 2
ScratchKey
TapeRewind
Phono Noise
MC-500 Beep
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
1
1
1
1
1
2
1
2
1
1
1
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
126
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Calculating
Perc. Bang
Burner
Glass & Glam
Ice Ring
Over Blow
Crack Bottle
Pour Bottle
Soda
Open CD Tray
Audio Switch
Key Typing
SL 1
SL 2
Car Engine 2
Car Horn
Boeeeen
R.Crossing
Compresser
Sword Boom!
Sword Cross
Stab! 1
Stab! 2
1
1
1
1
2
1
1
2
2
2
2
2
2
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
007
008
009
016
017
018
019
020
022
023
024
025
026
127
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Applause 2
Small Club
ApplauseWave
BabyLaughing
Voice One
Voice Two
Voice Three
Voice Tah
Voice Whey
Voice Kikit
Voice ComeOn
Voice Aou
Voice Oou
Voice Hie
2
1
1
1
1
1
2
2
2
1
1
1
1
1
1
1
1
1
1
1
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
000
001
002
003
004
005
006
128
Gun Shot
Machine Gun
Lasergun
Explosion
Eruption
Big Shot
Explosion 2
1
1
1
2
1
2
2
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
+
+
+
+
+
+
+
+
+
+
SC-88 Map
Voices
SC-55 Map
Voices
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Scratch 2
ScratchKey
TapeRewind
Phono Noise
MC-500 Beep
---------------------
1
1
1
1
1
2
1
2
1
1
1
[88]
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
+
+
+
+
+
+
Telephone 1
Telephone 2
Creaking
Door
Scratch
Wind Chimes
Scratch 2
-------------------------------------
1
1
1
1
1
2
1
[55]
[55]
[55]
[55]
[55]
[55]
+
+
+
+
+
+
+
Telephone 1
Telephone 2
Creaking
Door
Scratch
Wind Chimes
-----------------------------------------
1
1
1
1
1
2
+
+
+
+
+
+
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Calculating
Perc. Bang
-------------------------------------------------------------------------------------
1
1
1
1
2
1
1
2
2
2
2
2
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
+
+
+
+
+
+
+
+
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
---------------------------------------------------------------------------------------------
1
1
1
1
2
1
1
2
2
2
[55]
[55]
[55]
[55]
[55]
[55]
[55]
[55]
[55]
[55]
+
+
+
+
+
+
+
+
+
+
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
---------------------------------------------------------------------------------------------
1
1
1
1
2
1
1
2
2
2
+
+
+
+
+
+
+
+
+
+
2
1
1
1
1
1
2
2
2
[88]
[88]
[88]
[88]
[88]
[88]
[88]
+
+
+
+
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Applause 2
-----------------------------------------------------
2
1
1
1
1
1
2
[55]
[55]
[55]
[55]
[55]
[55]
+
+
+
+
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
---------------------------------------------------------
2
1
1
1
1
1
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Applause 2
Small Club
ApplauseWave
----Voice One
Voice Two
Voice Three
Voice Tah
Voice Whey
---------------------
+
+
+
+
+
+
+
Gun Shot
Machine Gun
Lasergun
Explosion
Eruption
Big Shot
-----
1
1
1
2
1
2
Gun Shot
Machine Gun
Lasergun
Explosion
-------------
1
1
1
2
[55]
[55]
[55]
[55]
+
+
+
+
Gun Shot
Machine Gun
Lasergun
Explosion
-------------
1
1
1
2
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
[Pro]
[Pro]
[Pro]
[Pro]
[Pro]
Voices
+
+
+
+
1
1
1
1
1
+
+
+
+
+
+
+
+
+
[88]
[88]
[88]
[88]
+
+
+
+
+
+
+
+
+
185
PC
CC00
: program number(Instrument number)
: value of controller number 0
(Bank number, Variation number)
:
: legato-enabled sounds
Voices
: number of voices used by the Instrument
Remark [88] : same sounds as SC-88 map
Remark [55] : same sound as SC-55 map
Remark + : a percussive sound which cannot be played melodically.
Use near C4 (note number 60).
Appendices
SC-55 Map (CM-64 Sound Map)
CM-64 (PCM)
PC
CC00 Instrument
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
126
186
Piano 2
Piano 2
Piano 2
Honky-tonk
Piano 1
Piano 2
Piano 2
E.Piano 1
Detuned EP1
E.Piano 2
Steel Gt.
Steel Gt.
12-str.Gt
Funk Gt.
Muted Gt.
Slap Bass 1
Slap Bass 1
Slap Bass 1
Slap Bass 1
Slap Bass 2
Slap Bass 2
Slap Bass 2
Slap Bass 2
Fingered Bs
Fingered Bs
Picked Bass
Picked Bass
Fretless Bs
Acoustic Bs
Choir Aahs
Choir Aahs
Choir Aahs
Choir Aahs
SlowStrings
Strings
SynStrings3
SynStrings3
Organ 1
Organ 1
Organ 1
Organ 2
Organ 1
Organ 1
Organ 2
Organ 2
Organ 2
Trumpet
Trumpet
Trombone
Trombone
Trombone
Trombone
Trombone
Trombone
Alto Sax
Tenor Sax
BaritoneSax
Alto Sax
Brass 1
Brass 1
Brass 2
Brass 2
Brass 1
Orchest.Hit
CM-64 (LA)
Voices
PC
CC00 Instrument
1
1
1
2
1
1
1
1
2
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
1
2
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
Acou Piano1
Acou Piano2
Acou Piano3
Elec Piano1
Elec Piano2
Elec Piano3
Elec Piano4
Honkytonk
Elec Org 1
Elec Org 2
Elec Org 3
Elec Org 4
Pipe Org 1
Pipe Org 2
Pipe Org 3
Accordion
Harpsi 1
Harpsi 2
Harpsi 3
Clavi 1
Clavi 2
Clavi 3
Celesta 1
Celesta 2
Syn Brass 1
Syn Brass 2
Syn Brass 3
Syn Brass 4
Syn Bass 1
Syn Bass 2
Syn Bass 3
Syn Bass 4
Fantasy
Harmo Pan
Chorale
Glasses
Soundtrack
Atmosphere
Warm Bell
Funny Vox
Echo Bell
Ice Rain
Oboe 2001
Echo Pan
Doctor Solo
School Daze
Bellsinger
Square Wave
Str Sect 1
Str Sect 2
Str Sect 3
Pizzicato
Violin 1
Violin 2
Cello 1
Cello 2
Contrabass
Harp 1
Harp 2
Guitar 1
Guitar 2
Elec Gtr 1
Elec Gtr 2
Sitar
Voices
PC
CC00 Instrument
1
1
1
1
1
1
1
2
1
2
1
1
2
2
2
2
1
2
1
1
1
1
1
1
2
2
2
2
1
2
2
1
2
2
1
2
2
2
2
1
2
2
2
2
2
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
127
Acou Bass 1
Acou Bass 2
Elec Bass 1
Elec Bass 2
Slap Bass 1
Slap Bass 2
Fretless 1
Fretless 2
Flute 1
Flute 2
Piccolo 1
Piccolo 2
Recorder
Pan Pipes
Sax 1
Sax 2
Sax 3
Sax 4
Clarinet 1
Clarinet 2
Oboe
Engl Horn
Bassoon
Harmonica
Trumpet 1
Trumpet 2
Trombone 1
Trombone 2
Fr Horn 1
Fr Horn 2
Tuba
Brs Sect 1
Brs Sect 2
Vibe 1
Vibe 2
Syn Mallet
Windbell
Glock
Tube Bell
Xylophone
Marimba
Koto
Sho
Shakuhachi
Whistle 1
Whistle 2
Bottleblow
Breathpipe
Timpani
Melodic Tom
Deep Snare
Elec Perc 1
Elec Perc 2
Taiko
Taiko Rim
Cymbal
Castanets
Triangle
Orche Hit
Telephone
Bird Tweet
OneNote Jam
Water Bell
Jungle Tune
Voices
1
1
1
1
1
1
1
1
1
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
1
1
2
1
1
1
2
1
1
1
1
1
2
2
2
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
+
+
+
+
+
+
+
+
+
Appendices
Drum Set List
The drum sets of this unit are organized as follows.
The SC-8850 map has 37 types, the SC-88Pro map has 25 types, the SC-88 map has 14 types, the SC-55 map has 10 types.
PC
SC-8850 map
SC-88Pro map
SC-88 map
SC-55 map
001
STANDARD 1
STANDARD 1
STANDARD 1
STANDARD
002
STANDARD 2
003
STANDARD L/R
STANDARD 3
009
ROOM
ROOM
010
HIP HOP
HIP HOP
011
JUNGLE
JUNGLE
---
---
012
TECHNO
TECHNO
---
---
013
ROOM L/R
---
---
---
014
HOUSE
---
---
---
017
POWER
[Pro]
POWER
POWER
POWER
025
ELECTRONIC
[Pro]
ELECTRONIC
026
TR-808
[Pro]
027
DANCE
028
CR-78
029
TR-606
030
[Pro]
STANDARD 2
[88]
[88]
-----
ROOM
ROOM
---
---
ELECTRONIC
ELECTRONIC
TR-808
TR-808/909
TR-808
DANCE
DANCE
---
[Pro]
CR-78
---
---
[Pro]
TR-606
---
---
TR-707
[Pro]
TR-707
---
---
031
TR-909
[Pro]
TR-909
---
---
033
JAZZ
JAZZ
JAZZ
JAZZ
034
JAZZ L/R
---
---
---
041
BRUSH
BRUSH
BRUSH
BRUSH
042
BRUSH 2
---
---
---
043
BRUSH 2 L/R
---
---
049
ORCHESTRA
[Pro]
ORCHESTRA
[88]
ORCHESTRA
ORCHESTRA
050
ETHNIC
[Pro]
ETHNIC
[88]
ETHNIC
---
051
KICK & SNARE
[Pro]
KICK & SNARE
[88]
KICK & SNARE
---
052
KICK & SNARE 2
---
---
---
053
ASIA
ASIA
---
---
054
CYMBAL&CLAPS
055
GAMELAN 1
056
GAMELAN 2
---
---
---
057
SFX
[Pro]
SFX
SFX
SFX
058
RHYTHM FX
[Pro]
RHYTHM FX
059
RHYTHM FX 2
[Pro]
RHYTHM FX 2
060
RHYTHM FX 3
---
---
---
061
SFX 2
---
---
---
062
VOICE
---
---
---
063
CYM&CLAPS 2
---
---
---
128
---
---
---
CM-64/32L
[Pro]
[88]
STANDARD 2
---
---
[Pro]
CYMBAL&CLAPS
---
---
---
---
---
[88]
RHYTHM FX
---
---
---
PC
: Program Number (Drum Set Number)
[88] : Same as the SC-88 map drum sets
[Pro] : Same as the SC-88Pro map drum sets
*
Sounds in such as the drum set of STANDARD L/R and STANDARD 3 etc. that have “RND” appended to their name (such as Kick, Snare,
and Hi-Hat) in the list on the next page are sounds which will change randomly with each note played (these changes affect the timbre and
timing). The purpose of this is to create a more natural sounding performance–even if all note messages for percussive instruments are sent
with absolute precision, subtle fluctuations will be applied so the performance sounds less mechanical. Note, however, that you may not always
be able to obtain the desired effect, depending on the circumstances.
187
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (1)
* About Notes 0–21, and 95–127, refer to p.196.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
188
PC1
STANDARD 1
MC-500 Beep 1
MC-500 Beep 2
Concert SD
Snare Roll
Finger Snap 2
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Standard 1 Kick 2
Standard 1 Kick 1
Side Stick
Standard 1 Snare 1
TR-909 Hand Clap
Standard 1 Snare 2
Low Tom 2
Closed Hi-Hat 1
Low Tom 1
Pedal Hi-Hat
Mid Tom 2
Open Hi-Hat 1
Mid Tom 1
High Tom 2
Crash Cymbal 1
High Tom 1
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
------------Room Snare 1
Room Snare 2
[EXC7]
[EXC7]
*
*
*
[EXC1]
[EXC1]
[EXC1]
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
*
PC2
STANDARD 2
<–
<–
<–
<–
Finger Snap
<–
<–
<–
<–
<–
<–
<–
<–
Standard 2 Kick 2
Standard 2 Kick 1
<–
Standard 2 Snare 1
Hand Clap
Standard 2 Snare 2
<–
Closed Hi-Hat
<–
Pedal Hi-Hat
<–
Open Hi-Hat
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Bar Chimes
<–
<–
<–
<–
-----------------
[ Pro ]
[EXC1]
[EXC1]
[EXC1]
PC3
STANDARD L/R
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
[RND] Standard Kick 2
[RND] Standard Kick 1
<–
[RND] Standard Snare 1
<–
[RND] Standard Snare 2
[RND] Low Tom 2
[RND] Closed Hi-Hat
[RND] Low Tom 1
<–
[RND] Mid Tom 2
[RND] Open Hi-Hat
[RND] Mid Tom 1
[RND] High Tom 2
[RND] Crash Cymbal
[RND] High Tom 1
[RND] Ride Cymbal 1
<–
[RND] Ride Bell 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
------------[L] Standard Kick 2
[L] Standard Kick 1
[EXC1]
[EXC1]
[EXC1]
*
*
PC9
ROOM
<–
<–
<–
<–
Finger Snap
<–
<–
<–
<–
<–
<–
<–
<–
Room Kick 2
Room Kick 1
<–
Room Snare 1
Hand Clap
Room Snare 2
Room Low Tom 2
Room Closed Hi-Hat 3
Room Low Tom 1
Pedal Hi-Hat
Room Mid Tom 2
Room Open Hi-Hat 3
Room Mid Tom 1
Room High Tom 2
Room Crash Cymbal
Room High Tom 1
Room Ride Cymbal
<–
Room Ride Bell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
------------Standard 1 Snare 1
Standard 1 Snare 2
*
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
PC10
HIP HOP
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Hip-Hop Kick 2
Hip-Hop Kick 1
TR-808 Rim Shot
LoFi Snare 1
TR-707 Claps
LoFi Snare 2
Jazz Low Tom 2
Room Closed Hi-Hat
Jazz Low Tom 1
Pedal Hi-Hat
Jazz Mid Tom 2
Room Open Hi-Hat
Jazz Mid Tom 1
Jazz High Tom 2
TR-909 Crash Cymbal
Jazz High Tom 1
<–
Reverse Cymbal
Ride Bell
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
Shaker 2
<–
<–
<–
<–
<–
Small Club 1
Hip-Hop Snare 2
LoFi Snare Rim
Hip-Hop Claps
Stantard 1 Snare 1
Standard 1 Snare 2
Room Snare 1
Room Snare 2
Dance Snare
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
*
Appendices
SC-8850 Drum Set (2)
* About Notes 0–21, and 95–127, refer to p.197.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
PC 11
JUNGLE
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Jungle Kick 2
Jungle Kick 1
Jungle Snare Rim
HipHop Snare 1
R&B Claps
Jungle Snare
TR-909 Low Tom 2
TR-606 Closed Hi-Hat
TR-909 Low Tom 1
Jungle Hi-Hat
TR-909 Mid Tom 2
TR-606 Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
Jungle Crash
TR-909 High Tom 1
Ride Cymbal 1
Reverse Cymbal
Ride Bell
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
Jungle Shaker
<–
<–
<–
<–
<–
Small Club 1
Jungle Kick Roll
Jungle Snare Roll
TR-606 Snare 2
Dance Snare
Techno Snare
House Snare
Rock Snare Dry
LoFi Snare 1
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
PC 12
TECHNO
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-808 Kick
TR-909 Kick 1
TR-909 Snare Rim
TR-606 Snare 2
TR-909 Claps
Techno Snare
TR-606 Low Tom 2
TR-707 Closed Hi-Hat
TR-606 Low Tom 1
CR-78 Closed Hi-Hat
TR-606 Mid Tom 2
TR-909 Open Hi-Hat
TR-606 Mid Tom 1
TR-606 High Tom 2
TR-909 Crash Cymbal
TR-606 High Tom 1
Ride Cymbal 1
Reverse Cymbal
Ride Bell
Shake Tambourine
<–
TR-808 Cowbell
TR-909 Crash Cymbal
<–
<–
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
<–
Dance Snare
House Snare
Rock Snare Dry
Jungle Snare
LoFi Snare 1
LoFi Snare 2
HipHop Snare 1
HipHop Snare 2
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
PC 13
ROOM L/R
<–
<–
<–
<–
Finger Snap
<–
<–
<–
<–
<–
<–
<–
<–
[RND] Room Kick 2
[RND] Room Kick 1
<–
[RND] Room Snare 1
Hand Clap
[RND] Room Snare 2
Room Low Tom 2
[RND] Room Closed Hi-Hat
Room Low Tom 1
Pedal Hi-Hat
Room Mid Tom 2
[RND] Room Open Hi-Hat
Room Mid Tom 1
Room High Tom 2
[RND] Room Crash Cymbal
Room High Tom 1
[RND] Room Ride Cymbal
<–
[RND] Room Ride Bell
<–
Splash Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
------------[L] Room Kick 2
[L] Room Kick 1
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
*
PC 14
HOUSE
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-909 Kick 2
TR-909 Kick 1
House Snare Rim
House Snare 1
TR-909 Claps
House Snare 2
TR-909 Low Tom 2
Room Closed Hi-Hat
TR-909 Low Tom 1
Pedal Hi-Hat
TR-909 Mid Tom 2
Room Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-909 Crash Cymbal
TR-909 High Tom 1
TR-909 Ride Cymbal
Reverse Cymbal
Ride Bell
Shake Tambourine
<–
TR-808 Cowbell
TR-909 Crash Cymbal
<–
<–
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
TR-606 Snare 2
Dance Snare
Techno Snare
Rock Snare Dry
Hip-Hop Snare 1
LoFi Snare 1
LoFi Snare 2
Jungle Snare
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
PC 17
POWER
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Power Kick 2
Power Kick 1
<–
Power Snare 1
Hand Clap
Power Snare 2
Power Low Tom 2
<–
Power Low Tom 1
<–
Power Mid Tom 2
<–
Power Mid Tom 1
Power High Tom 2
<–
Power High Tom 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-----------------
[ Pro ]
[EXC7]
[EXC7]
*
*
*
*
*
*
189
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (3)
* About Notes 0–21, and 95–127, refer to p.197, p.198.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
190
PC 25
ELECTRONIC
<–
<–
<–
<–
Finger Snap 2
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Electric Kick 2
Electric Kick 1
<–
Electric Snare 1
Hand Clap
Electric Snare 2
Electric Low Tom 2
Closed Hi-Hat 2
Electric Low Tom 1
Pedal Hi-Hat
Electric Mid Tom 2
Open Hi-Hat 2
Electric Mid Tom 1
Electric High Tom 2
<–
Electric High Tom 1
<–
Reverse Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Small Club 1
-----------------
PC 26
[ Pro ] TR-808
<–
<–
<–
<–
<–
<–
<–
[EXC7] Scratch Push 2
[EXC7] Scratch Pull 2
<–
<–
<–
<–
TR-808 Kick 2
*
TR-808 Kick 1
TR-808 Rim Shot
TR-808 Snare 1
Hand Clap
TR-808 Snare 2
*
TR-808 Low Tom 2
[EXC1] TR-808 Closed Hi-Hat 2
*
TR-808 Low Tom 1
[EXC1] TR-808 Closed Hi-Hat
*
TR-808 Mid Tom 2
[EXC1] TR-808 Open Hi-Hat
*
TR-808 Mid Tom 1
*
TR-808 High Tom 2
TR-808 Crash Cymbal
*
TR-808 High Tom 1
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
TR-808 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal 2
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
*
Small Club 1
-----------------
PC 27
[ Pro ] DANCE
<–
<–
<–
<–
Finger Snap 2
<–
<–
[EXC7] Scratch Push 2
[EXC7] Scratch Pull 2
<–
<–
<–
<–
Fat Kick
Dance Kick
Dance Rim Shot
Dance Snare
Comp Claps 2
Rock SD Dry
*
Electric Low Tom 2
[EXC1] CR-78 Closed Hi-Hat
*
Electric Low Tom 1
[EXC1] TR-808 Closed Hi-Hat 2
*
Electric Mid Tom 2
[EXC1] CR-78 Open Hi-Hat
*
Electric Mid Tom 1
*
Electric High Tom 2
TR-808 Crash Cymbal
*
Electric High Tom 1
TR-606 Ride Cymbal
Reverse Cymbal
Ride Bell
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
[EXC3] <–
<–
<–
<–
[EXC4] High Hoo
[EXC4] Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
*
Small Club 1
TR-606 Snare 2
Techno Snare
House Snare
Jungle Snare
LoFi Snare 1
LoFi Snare 2
HipHop Snare 1
Hip-Hop Snare 2
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
PC 28
CR-78
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
CR-78 Kick 2
CR-78 Kick 1
CR-78 Rim Shot
CR-78 Snare 1
TR-707 Hand Clap
CR-78 Snare 2
CR-78 Low Tom 2
CR-78 Closed Hi-Hat
CR-78 Low Tom 1
TR-606 Closed Hi-Hat
CR-78 Mid Tom 2
CR-78 Open Hi-Hat
CR-78 Mid Tom 1
CR-78 High Tom 2
TR-808 Crash Cymbal
CR-78 High Tom 1
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
CR-78 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
CR-78 Maracas
<–
<–
<–
CR-78 Guiro
CR-78 Claves
<–
<–
High Hoo
Low Hoo
CR-78 Metalic Beat 1
CR-78 Metalic Beat 2
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[ Pro ]
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
PC 29
TR-606
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
CR-78 Kick 2
TR-606 Kick 1
CR-78 Rim Shot
TR-606 Snare 1
TR-707 Hand Clap
TR-606 Snare 2
TR-606 Low Tom 2
TR-606 Closed Hi-Hat
TR-606 Low Tom 1
TR-606 Closed Hi-Hat
TR-606 Mid Tom 2
TR-606 Open Hi-Hat
TR-606 Mid Tom 1
TR-606 High Tom 2
TR-808 Crash Cymbal
TR-606 High Tom 1
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
CR-78 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
CR-78 Maracas
<–
<–
<–
CR-78 Guiro
CR-78 Claves
<–
<–
High Hoo
Low Hoo
CR-78 Metalic Beat 1
CR-78 Metalic Beat 2
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[ Pro]
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
Appendices
SC-8850 Drum Set (4)
* About Notes 0–21, and 95–127, refer to p.198.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
PC 30
TR-707
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-707 Kick 2
TR-707 Kick 1
TR-707 Rim Shot
TR-707 Snare 1
TR-707 Hand Clap
TR-707 Snare 2
TR-707 Low Tom 2
TR-707 Closed Hi-Hat
TR-707 Low Tom 1
TR-707 Closed Hi-Hat
TR-707 Mid Tom 2
TR-707 Open Hi-Hat
TR-707 Mid Tom 1
TR-707 High Tom 2
TR-909 Crash Cymbal
TR-707 High Tom 1
TR-909 Ride Cymbal
<–
<–
Tambourine 2
<–
TR-808 Cowbell
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
<–
<–
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[ Pro ]
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
[EXC4]
[EXC4]
*
PC 31
TR-909
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-909 Kick 2
TR-909 Kick 1
TR-909 Rim
TR-909 Snare 1
<–
TR-909 Snare2
TR-909 Low Tom 2
TR-707 Closed Hi-Hat
TR-909 Low Tom 1
TR-707 Closed Hi-Hat
TR-909 Mid Tom 2
TR-909 Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-909 Crash Cymbal
TR-909 High Tom 1
TR-909 Ride Cymbal
<–
<–
Tambourine 2
<–
TR-808 Cowbell
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
<–
-----------------
[ Pro ]
[EXC7]
[EXC7]
*
[EXC1]
[EXC1]
[EXC1]
*
[EXC3]
[EXC4]
[EXC4]
PC 33
JAZZ
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Jazz Snare 1
Hand Clap 2
Jazz Snare 2
Jazz Low Tom 2
Closed Hi-Hat 2
Jazz Low Tom 1
Pedal Hi-Hat
Jazz Mid Tom 2
Open Hi-Hat 2
Jazz Mid Tom 1
Jazz High Tom 2
Jazz Crash Cymbal
Jazz High Tom 1
Jazz Ride Cymbal
<–
Jazz Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
[EXC1]
[EXC1]
[EXC1]
*
PC 34
JAZZ L/R
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
[RND] Jazz Kick 2
[RND] Jazz Kick 1
<–
[RND] Jazz Snare 1
Hand Clap 2
[RND] Jazz Snare 2
[RND] Jazz Low Tom 2
[RND] Jazz Closed Hi-Hat [EXC1]
[RND] Jazz Low Tom 1
Pedal Hi-Hat
[EXC1]
[RND] Jazz Mid Tom 2
[RND] Jazz Open Hi-Hat [EXC1]
[RND] Jazz Mid Tom 1
[RND] Jazz High Tom 2
[RND] Jazz Crash Cymbal
[RND] Jazz High Tom 1
[RND] JAZZ Ride Cymbal
<–
[RND] Jazz Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
------------[L] Jazz Kick 2
[L] Jazz Kick 1
PC 41
BRUSH
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Brush Tap 1
Brush Slap 1
Brush Swirl 1
Brush Low Tom 2
Brush Closed Hi-Hat
Brush Low Tom 1
Pedal Hi-Hat
Brush Mid Tom 2
Brush Open Hi-Hat
Brush Mid Tom 1
Brush High Tom 2
Brush Crash Cymbal
Brush High Tom 1
Ride Cymbal Inner
<–
Brush Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
[ Pro ]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
191
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (5)
* About Notes 0–21, and 95–127, refer to p.199.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
192
PC 42
BRUSH 2
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
Brush Kick 2
Brush Kick 1
<–
Brush Tap 2
Brush Slap 2
Brush Swirl 1
Brush Low Tom 2
Brush Closed Hi-Hat
Brush Low Tom 1
Pedal Hi-Hat
Brush Mid Tom 2
Brush Open Hi-Hat
Brush Mid Tom 1
Brush High Tom 2
Brush Crash Cymbal
Brush High Tom 1
Brush Ride Cymbal
<–
Brush Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
*
[EXC1]
[EXC1]
[EXC1]
PC 43
BRUSH 2 L/R
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
[RND] Brush Kick 2
[RND] Brush Kick 1
<–
[RND] Brush Tap 2
[RND] Brush Slap 2
Brush Swirl 1
[RND] Brush Low Tom 2
[RND] Brush Closed Hi-Hat
[RND] Brush Low Tom 1
Pedal Hi-Hat
[RND] Brush Mid Tom 2
[RND] Brush Open Hi-Hat
[RND] Brush Mid Tom 1
[RND] Brush High Tom 2
[RND] Brush Crash Cymbal
[RND] Brush High Tom 1
[RND] Brush Ride Cymbal
<–
[RND] Brush Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
------------[L] Brush Kick 2
[L] Brush Kick 1
[EXC1]
[EXC1]
[EXC1]
PC 49
ORCHESTRA
<–
<–
<–
<–
Finger Snap
Closed Hi-Hat 2
Pedal Hi-Hat
Open Hi-Hat 2
Ride Cymbal 1
<–
<–
<–
<–
Jazz Kick 1
Concert BD 1
<–
Concert SD
Castanets
Concert SD
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
<–
<–
<–
Concert Cymbal 2
<–
Concert Cymbal 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
[ Pro ]
[EXC1]
[EXC1]
[EXC1]
PC 50
ETHNIC
------Finger Snap
Tambourine
Castanets
Crash Cymbal 1
Snare Roll
Concert SD
Concert Cymbal
Concert BD 1
Jingle Bell
Bell Tree
Bar Chimes
Wadaiko
Wadaiko Rim
Shime Taiko
Atarigane
Hyoushigi
Ohkawa
High Kotsuzumi
Low Kotsuzumi
Ban Gu
Big Gong
Small Gong
Bend Gong
Thai Gong
Rama Cymbal
Gamelan Gong
Udo Short
Udo Long
Udo Slap
Bendir
Req Dum
Req Tik
Tabla Te
Tabla Na
Tabla Tun
Tabla Ge
Tabla Ge Hi
Talking Drum
Bend Talking Drum
Caxixi
Djembe
Djembe Rim
Timbales Low
Timbales Paila
Timbales High
Cowbell
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Mute Low Conga
Conga Slap
Open Low Conga
Conga Slide
Mute Pandiero
Open Pandiero
Open Surdo
Mute Surdo
Tamborim
High Agogo
Low Agogo
Shaker
High Whistle
Low Whistle
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Short Guiro
Long Guiro
Cabasa Up
Cabasa Down
[ Pro ]
*
*
[EXC1]
[EXC1]
*
*
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 51
KICK & SNARE
------CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick
TR-707 Kick
TR-808 Kick 1
TR-909 Kick 1
TR-909 Kick 2
Hip-Hop Kick 2
Hip-Hop Kick 1
Jungle Kick 2
Jungle Kick 1
Techno Kick 2
Techno KicK 1
Standard 1 Kick 2
Standard 1 Kick 1
[88] Standard 1 Kick 1
[88] Standard 1 Kick 2
[88] Standard 2 Kick 1
[88] Standard 2 Kick 2
[55] Kick Drum1
[55] Kick Drum 2
[88] Soft Kick
[88] Jazz Kick 1
[88] Jazz Kick 2
[55] Concert BD 1
[88] Room Kick 1
[88] Room Kick 2
[88] Power Kick1
[88] Power Kick2
[88] Electric Kick 2
[88] Electric Kick 1
[55] Electric Kick
[88] TR-808 Kick
[88] TR-909 Kick
[88] Dance Kick
[88] Standard 1 Snare 1
[88] Standard 1 Snare 2
[88] Standard 2 Snare 1
[88] Standard 2 Snare 2
[55] Tight Snare
[55] Concert Snare
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[55] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] House Snare
[55] Electric Snare 1
[88] Electric Snare 3
[88] TR-808 Snare 1
[88] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
Standard 1 Snare 1
Standard 1 Snare 2
Standard 1 Snare 3
Rap Snare
Hip-Hop Snare 2
[ Pro ]
*
*
*
*
*
Appendices
SC-8850 Drum Set (6)
* About Notes 0–21, and 95–127, refer to p.199.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
PC 52
KICK & SNARE 2
------[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick
[Pro] TR-707 Kick
[Pro] TR-808 Kick 1
[Pro] TR-909 Kick 1
[Pro] TR-909 Kick 2
[Pro] Hip-Hop Kick 2
[Pro] Hip-Hop Kick 1
[Pro] Jungle Kick 2
[Pro] Jungle Kick 1
[Pro] Techno Kick 2
[Pro] Techno Kick 1
[Pro] Standard 1 Kick 2
[Pro] Standard 1 Kick 1
Standard 1 Kick 2
Standard 1 Kick 1
Brush Kick 2
Brush Kick 1
Jazz Kick 2
Jazz Kick 1
Hip-Hop Kick 2
Hip-Hop Kick 1
Concert BD 1 Mute
[55] Concert BD 1
Room Kick 2
Room Kick 1
Jungle Kick 2
Jungle Kick 1
Jungle Kick Roll
Fat Kick
Dance Kick
TR-808 Kick
TR-909 Kick 2
TR-909 Kick 1
Standard 1 Snare 1
Standard 1 Snare 2
[88] Standard 2 Snare 1
[88] Standard 2 Snare 2
[55] Tight Snare
[55] Concert Snare
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
LoFi Snare 1
LoFi Snare 2
[55] Gated Snare
LoFi Snare Rim
[88] Dance Snare 2
HipHop Snare 1
HipHop Snare 2
Dance Snare
TR-606 Snare 2
Techno Snare
House Snare
Rock Snare Dry
Jungle Snare
Jungle Snare Roll
[88] Brush Tap 1
[88] Brush Tap 2
Brush Tap 2
Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
[Pro] Standard 1 Snare 1
[Pro] Standard 1 Snare 2
[Pro] Standard 1 Snare 3
[Pro] Rap Snare
[Pro] Hip-Hop Snare 2
*
*
*
[EXC1]
[EXC1]
*
*
PC 53
ASIA
------Gamelan Gong 1
Gamelan Gong 2
Gamelan Gong 3
Gamelan Gong 4
Gamelan Gong 5
Gamelan Gong 6
Gamelan Gong 7
Gamelan Gong 8
Gamelan Gong 9
Gamelan Gong 10
Gender 1
Gender 2
Gender 3
Gender 4
Gender 5
Bonang 1
Bonang 2
Bonang 3
Bonang 4
Bonang 5
Rama Cymbal Low
Rama Cymbal High
Sagat Open
Sagat Closed
Jaws Harp
Wadaiko
Wadaiko Rim
Small Taiko
Shimetaiko
Atarigane
Hyoushigi
Ohkawa
High Kotsuzumi
Low Kotsuzumi
Yyoo Dude
Buk
Buk Rim
Gengari p
Gengari Mute Low
Gengari f
Gengari Mute High
Gengari Samll
Jang-Gu Che
Jang-Gu Kun
Jang-Gu Rim
Jing p
Jing f
Jing Mute
Asian Gong
Big Gong
Small Gong
Pai Ban
Ban Gu
Tang Gu
Tang Gu Mute
Shou Luo
Bend Gong
Hu Yin Luo Low
Hu Yin Luo Mid
Hu Yin Luo Mid 2
Hu Yin Luo High
Hu Yin Luo High 2
Nao Bo
Xiao Bo
Dholak 1
Dholak 2
-------------
[EXC7]
[EXC7]
*
*
[EXC1]
[EXC1]
[EXC2]
[EXC2]
[EXC3]
[EXC3] *
[EXC3]
[EXC4]
[EXC4]
*
*
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 54
CYMBAL&CLAPS
--------------------Reverse Open Hi-Hat
Reverse Closed Hi-Hat 1
Reverse Closed Hi-Hat 2
Jungle Hi-Hat
[55] Closed Hi-Hat
[88] Closed Hi-Hat 2
[88] Closed Hi-Hat 3
Closed Hi-Hat 4
Closed Hi-Hat
TR-707 Closed Hi-Hat
TR-606 Closed Hi-Hat
[88] TR-808 Closed Hi-Hat
TR-808 Closed Hi-Hat
CR-78 Closed Hi-Hat
[55] Pedal Hi-Hat
[88] Pedal Hi-Hat
Pedal Hi-Hat
Half-Open Hi-Hat 1
Half-Open Hi-Hat 2
[55] Open Hi Hat
[88] Open Hi-Hat 2
[88] Open Hi-Hat 3
Open Hi-Hat 2
TR-909 Open Hi-Hat
TR-707 Open Hi-Hat
TR-606 Open Hi-Hat
[88] TR-808 Open Hi-Hat
TR-808 Open Hi-Hat
CR-78 Open Hi-Hat
Crash Cymbal 1
Crash Cymbal 2
Crash Cymbal 3
Brush Crash Cymbal
Hard Crash Cymbal
TR-909 Crash Cymbal
TR-808 Crash Cymbal
Mute Crash Cymbal 1
Mute Crash Cymbal 2
Reverse Crash Cymbal 1
Reverse Crash Cymbal 2
Reverse Crash Cymbal 3
Reverse TR-909 Crash Cymbal
[55] Splash Cymbal
Splash Cymbal
[88] Ride Bell
[88] Brush Ride Bell
[88] Ride Cymbal 1
[88] Ride Cymbal 2
[88] Brush Ride Cymbal
Ride Cymbal Low Inner
Ride Cymbal Mid Inner
Ride Cymbal High Inner
Ride Cymbal Low Edge
Ride Cymbal Mid Edge
Ride Cymbal High Edge
TR-606 Ride Cymbal
TR-808 Ride Cymbal
Chinese Cymbal
Chinese Cymbal 2
[55] Hand Clap
[88] Hand Clap 2
[88] Hand Clap
Hand Clap
Hand Clap 2
TR-707 Hand Clap
[ Pro ]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
*
[EXC3]
[EXC4]
PC55
GAMELAN 1
----------------------------Kendang Wadon
Kendang Lanang
Bebarongan
Pelegongan
Kelontuk
Kelontuk Mute
Kelontuk Side
Gamelan Gong Wadon
Gamelan Gong Lanang
Ceng-Ceng
Kopyak Open
Kopyak Mute
Kajar
Kempur
Jegogan
Jegogan
Jegogan
Jegogan
Jegogan
Jublag
Jublag
Jublag
Jublag
Jublag
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
-----------------
[EXC1]
[EXC1]
[EXC1]
*
[EXC2]
[EXC2]
*
*
*
*
*
*
PC56
GAMELAN 2
----------------------------Kendang Wadon
Kendang Lanang
Bebarongan
Pelegongan
Kelontuk
Kelontuk Mute
Kelontuk Side
Gamelan Gong Wadon
Gamelan Gong Lanang
Ceng-Ceng
Kopyak Open
Kopyak Mute
Kajar
Kempur
Jegogan
Jegogan
Jegogan
Jegogan
Jegogan
Jublag
Jublag
Jublag
Jublag
Jublag
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Penyacah
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Pemade
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
Reyong
-----------------
[EXC1]
[EXC1]
[EXC1]
*
[EXC2]
[EXC2]
*
*
*
*
*
*
193
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (7)
* About Notes 0–21, and 95–127, refer to p.199, p.200.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
194
PC 57
SFX
MC-500 Beep 2
Guitar Slide
Guitar Wah
Guitar Slap
Chord Stroke Down
Chord Stroke Up
Biwa FX
Phonograph Noise
Tape Rewind
Scratch Push 2
Scratch Pull 2
Cutting Noise 2 Up
Cutting Noise 2 Down
Distortion Guitar Cutting Noise Up
Distortion Guitar Cutting Noise Down
Bass Slide
Pick Scrape
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Guitar Cutting Noise Up
Guitar Cutting Noise Down
String Slap of Double Bass
Flute Key Click Noise
Laughing
Screaming
Punch
Heart Beat
Footsteps 1
Footsteps 2
Applause
Door Creaking
Door
Scratch
Wind Chimes
Car - Engine
Car - Stop
Car - Passing
Car - Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Laser Gun
Explosion
Dog
Horse-Gallop
Birds
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird 2
Growl
<–
Telephone 1
Telephone 2
Small Club 1
Small Club 2
Applause Wave
Eruption
Big Shot
Percussion Bang
[ Pro ]
*
[EXC1]
[EXC1]
[EXC7]
[EXC7]
*
*
*
*
*
*
*
*
*
*
*
*
*
PC 58
RHYTHM FX
----------------------------Reverse Kick 1
Reverse Concert Bass Drum
Reverse Power Kick1
Reverse Electric Kick 1
Reverse Snare 1
Reverse Snare 2
Reverse Standard 1 Snare 1
Reverse Tight Snare
Reverse Dance Snare
Reverse 808 Snare
Reverse Tom 1
Reverse Tom 2
Reverse Sticks
Reverse Slap
Reverse Cymbal 1
Reverse Cymbal 2
Reverse Open Hi-Hat
Reverse Ride Cymbal
Reverse CR-78 Open Hi-Hat
Reverse Closed Hi-Hat
Reverse Gong
Reverse Bell Tree
Reverse Guiro
Reverse Bendir
Reverse Gun Shot
Reverse Scratch
Reverse Laser Gun
Key Click
Techno Thip
Pop Drop
Woody Slap
Distortion Kick
Syn. Drops
Reverse Hi Q
Pipe
Ice Block
Digital Tambourine
Alias
Modulated Bell
Spark
Metallic Percussion
Velocity Noise FX
Stereo Noise Clap
Swish
Slappy
Voice Ou
Voice Au
Hoo
Tape Stop 1
Tape Stop 2
Missile
Space Birds
Flying Monster
-----------------
[ Pro ]
*
*
*
*
*
*
*
PC 59
RHYTHM FX 2
----------------------------Reverse TR-707 Kick 1
Reverse TR-909 Kick 1
Reverse Hip-Hop Kick 1
Reverse Jungle Kick 2
Reverse Techno Kick 2
Reverse TR-606 Snare 2
Reverse CR-78 Snare 1
Reverse CR-78 Snare 2
Reverse Jungle Snare 2
Reverse Techno Snare 2
Reverse TR-707 Snare
Reverse TR-606 Snare 1
Reverse TR-909 Snare 1
Reverse Hip-Hop Snare 2
Reverse Jungle Snare 1
Reverse House Snare
Reverse Closed Hi-Hat
Reverse TR-606 Closed Hi-Hat
Reverse TR-707 Closed Hi-Hat
Reverse TR-808 Closed Hi-Hat
Reverse Jungle Hi-Hat
Reverse Tambourine 2
Reverse Shake Tambourine
Reverse TR-808 Open Hi-Hat
Reverse TR-707 Open Hi-Hat
Reverse Open Hi-Hat
Reverse TR-606 Open Hi-Hat
Reverse Hu Yin Luo
Reverse TR-707 Crash Cymbal
Voice One
Reverse Voice One
Voice Two
Reverse Voice Two
Voice Three
Reverse Voice Three
Voice Tah
Reverse Voice Tah
Voice Ou
Voice Au
Voice Whey
Frog Vpoce
Reverse Yyoo Dude
Douby
Reverse Douby
Baert High
Baert Low
Bounce
Reverse bounce
Distortion Knock
Guitar Slide
Sub Marine
Noise Attack
Space Worms
Emergency !
Calculating...
Saw LFO Saw
-----------
[ Pro ]
PC 60
RHYTHM FX 3
Reverse Clean Guitar Mute Up
Reverse Clean Guitar Mute Down
Reverse Distortion Guitar Cut Noise Up
Reverse Distortion Guitar Cut Noise Down
Reverse Distortion Guitar Stroke Noise
Reverse Distortion Guitar Mute Noise
Reverse Steel Guitar Slide Noise 1
Reverse Steel Guitar Slide Noise 2
Reverse Steel Guitar Slide Noise 3
Reverse Steel Guitar Slide Noise 4
Reverse Steel Guitar Stroke Noise
Reverse Steel Guitar Stroke Noise Up 1
Reverse Steel Guitar Stroke Noise Down 1
Reverse Steel Guitar Stroke Noise Up 2
Reverse Steel Guitar Stroke Noise Down 2
Reverse Trombone Noise
Reverse Trumpet Noise
Reverse Standard Kick 2
Reverse Standard Kick 1
Reverse Room Kick 2
Reverse Room Kick 1
Reverse Jazz Kick 2
Reverse Jazz Kick 1
Reverse Brush Kick 2
Reverse Brush Kick 1
Reverse HipHop Kick 2
Reverse HipHop Kick 1
Reverse Jungle Kick 2
Reverse Jungle Kick 1
Reverse TR-808 Kick
Reverse TR-909 Kick 2
Reverse TR-909 Kick 1
Reverse Fat Kick
Reverse Dance Kick
Reverse Standard Snare 1
Reverse Standard Snare 2
Reverse Room Snare 1
Reverse Room Snare 2
Reverse Jazz Snare 1
Reverse Jazz Snare 2
Reverse Brush Snare 1
Reverse Brush Snare 2
Reverse Lo-Fi Snare 1
Reverse Lo-Fi Snare 2
Reverse HipHop Snare 1
Reverse HipHop Snare 2
Reverse House Snare 1
Reverse Jungle Snare
Reverse 606 Snare 2
Reverse Techno Snare
Reverse Dance Snare
Reverse Rock Snare Dry
Reverse Lo-Fi Snare Rim
Reverse 909 Snare Rim
Reverse Jungle Snare Rim
Reverse Dance Snare Rim
Reverse House Snare Rim
Reverse Brush Tom 1
Reverse Brush Tom 2
Reverse Brush Tom 3
Reverse 606 Tom
Reverse Jungle Crash Cymbal
Reverse Standard Closed Hi-Hat
Reverse Room Closed Hi-Hat
Reverse Jazz Closed Hi-Hat
Reverse Brush Closed Hi-Hat
Reverse 707 Claps
Reverse 909 Claps
Reverse R&B Claps 1
Reverse HipHop Claps
Reverse Comp Claps 2
Reverse Shaker 2
Reverse Jungle Shaker
Reverse Clap Hit
Reverse Boeeeen
Appendices
SC-8850 Drum Set (8)
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
PC 61
SFX 2
------------------Acoustic Bass Mute Noise
Acoustic Bass Touch Noise
Acoustic Bass Attack Noise
Distortion Guitar Mute Noise
Steel Guitar Slide Noise 1
Steel Guitar Slide Noise 2
Steel Guitar Slide Noise 3
Steel Guitar Slide Noise 4
Guitar Stroke Noise 1
Guitar Stroke Noise 2
Guitar Stroke Noise 3
Guitar Stroke Noise 4
Guitar Stroke Noise 5
Open CD Tray
Audio Switch
Keyboard Typing 1
Keyboard Typing 2
Keyboard Typing 3
Keyboard Typing 4
Keyboard Typing 5
Keyboard Typing 6
Baby Laughing
Clap Hit
Stab! 1
Stab! 2
Bounce Hit
Boeeeen
Glass Stir
Ice Ring
Crack Bottle
Pour Bottle
Soda
Car Engine 2
Car - Horn
Railroad Crossing
SL 1
SL 2
Over Blow
Sword Boom!
Sword Cross
Industry Hit
Drill Hit
Compresser
Thrill Hit
Explosion 2
Seal
Fancy Animal
Cricket
Bear
Frog Vpoce
Wind 2
Scratch 3
Scratch 4
Scratch 5
Scratch 6
Scratch 7
Noise Attack
Bounce
Dist Knock
Bound
-------------
PC 62
VOICE
----------------------------Reverse Breath Slow
Reverse Breath Short
Reverse Breath Strong
Reverse Woman's Breath
Reverse Man's Breath
Reverse Voice One
Reverse Voice Two
Reverse Voice Three
Reverse Voice Tah
Reverse Voice Come On
Reverse Voice Kikit
Reverse Voice Aou
Reverse Voice Oou
Reverse Voice Hie 2
Reverse Baby Laughing
Reverse Yyooh
Reverse Japanese Female Voice Lan
Reverse Ooue!
Flute Breath 1
Flute Breath 2
Flute Breath 3
Voice Breath 1
Voice Breath 2
Voice One
Voice Two
Voice Three
Voice Tah
Voice ComeOn
Voice Kikit
Voice Aou
Voice Oou
Punch
Screaming
Laughing
Voice Hie
Baby Laughing
Frog Vpoce
Yyooh Dude
Voice Ou
Voice Au
Jazz Voice Thum
Jazz Voice Bap
Jazz Voice Dat
Jazz Voice Dow
Voice Oohs 2
Voice Oohs Chord Maj7 A
Voice Oohs Chord Maj7 B
Voice Oohs Chord Sus4 A
Voice Oohs Chord Sus4 B
Japanese Female Voice Lah
Japanese Female Voice Lan
Japanese Male Voice Wah
Japanese Male Voice Woh
-----------------
PC 63
CYM&CLAPS 2
--------------------Reverse Standard Closed Hi-Hat
Reverse Room Closed Hi-Hat
Reverse Jazz Closed Hi-Hat
Reverse Brush Closed Hi-Hat
Standard 1 Closed Hi-Hat
Room Closed Hi-Hat
Jazz Closed Hi-Hat
Brush Closed Hi-Hat
TR-707 Closed Hi-Hat
TR-606 Closed Hi-Hat
TR-808 Closed Hi-Hat
CR-78 Closed Hi-Hat
Pedal Hi-Hat
Pedal Hi-Hat
Pedal Hi-Hat
Half-Open Hi-Hat 1
Half-Open Hi-Hat 2
Standard 1 Open Hi-Hat
Room Open Hi-Hat
Jazz Open Hi-Hat
Brush Open Hi-Hat
TR-909 Open Hi-Hat
TR-707 Open Hi-Hat
TR-606 Open Hi-Hat
TR-808 Open Hi-Hat
CR-78 Open Hi-Hat
Standard 1 Crash Cymbal
Room Crash Cymbal
Jazz Crash Cymbal
Brush Crash Cymbal
Hard Crash Cymbal
TR-909 Crash Cymbal
Jungle Crash Cymbal
TR-808 Crash Cymbal
Standard 1 Mute Crash Cymbal
Room Mute Crash Cymbal
Jazz Mute Crash Cymbal
Brush Mute Crash Cymbal
Mute Crash Cymbal 1
Mute Crash Cymbal 2
Reverse Standard 1 Crash Cymbal
Reverse Room Crash Cymbal
Reverse Jazz Crash Cymbal
Reverse Brush Crash Cymbal
Splash Cymbal
Standard Ride Bell
Room Ride Bell
Jazz Ride Bell
Brush Ride Bell
Standard Ride Cymbal
Room Ride Cymbal
Jazz Ride Cymbal
Brush Ride Cymbal
TR-606 Ride Cymbal
TR-808 Ride Cymbal
Chinese Cymbal
Chinese Cymbal 2
TR-707 Claps
Hip-Hop Claps
R&B Claps
TR-909 Claps
Comp Claps 2
Hand Clap
[Pro] Hand Clap 2
[Pro] TR-707 Hand Clap
195
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (9)
* Notes 0–21 and 95–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
95
96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
196
PC1
STANDARD 1
[88] Standard 1 Kick 1
[88] Standard 1 Kick 2
[88] Standard 2 Kick 1
[88] Standard 2 Kick 2
[55] Kick Drum 1
[55] Kick Drum 2
[88] Jazz Kick 1
[88] Jazz Kick 2
[88] Room Kick 1
[88] Room Kick 2
[88] Power Kick 1
[88] Power Kick 2
[88] Electric Kick 2
[88] Electric Kick 1
[88] TR-808 Kick
[88] TR-909 Kick
[88] Dance Kick
[Pro] Voice One
[Pro] Voice Two
[Pro] Voice Three
Room Kick 2
Room Kick 1
:
:
:
Room Snare 1
Room Snare 2
[88] Standard 1 Snare1
[88] Standard 1 Snare 2
[88] Standard 2 Snare 1
[88] Standard 2 Snare 2
[55] Snare Drum 2
[Pro] Standard 1 Snare 1
[Pro] Standard 1 Snare 2
[Pro] Standard 1 Snare 3
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[55] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-707 Snare 1
[88] TR-808 Snare 1
[88] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare 1
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
*
*
*
*
*
*
PC2
STANDARD 2
PC17
POWER
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
----:
:
:
----<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
[ Pro ]
[ Pro ]
PC3
STANDARD L/R
----------------------------------<–
<–
<–
----:
:
:
[L] Standard Kick 2
[L] Standard Kick 1
[L] Standard Crash Cymbal
[L] Standard Snare 1
[L] Standard Ride Cymbal
[L] Standard Snare 2
[L] Standard Low Tom
[L] Standard Closed Hi-Hat
[L] Standard Mid Tom
[L] Standard Ride Bell
[L] Standard High Tom
[L] Standard Open Hi-Hat
[R] Standard Kick 2
[R] Standard Kick 1
[R] Standard Crash Cymbal
[R] Standard Snare 1
[R] Standard Ride Cymbal
[R] Standard Snare 2
[R] Standard Low Tom
[R] Standard Closed Hi-Hat
[R] Standard Mid Tom
[R] Standard Ride Bell
[R] Standard High Tom
[R] Standard Open Hi-Hat
-------------------
*
*
*
*
[EXC8]
[EXC8]
[EXC9]
[EXC9]
PC9
ROOM
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Standard 1 Kick 2
Standard 1 Kick 1
:
:
:
Standard 1 Snare 1
Standard 1 Snare 2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
*
*
*
PC10
HIP HOP
[88] Electric Kick 2
[88] Electric Kick 1
[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick1
[Pro] TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
[Pro] TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
[Pro] Hip-Hop Kick 2
[Pro] TR-909 Kick 1
[Pro] Hip-Hop Kick 3
[Pro] Jungle Kick 1
[Pro] Techno Kick 1
[Pro] Bounce Kick
<–
<–
<–
Jungle Kick 2
Jungle Kick 1
:
:
:
Room Snare 2
Dance Snare
[Pro] Techno Hit
[Pro] Philly Hit
[Pro] Impact Hit
[Pro] Lo-Fi Rave
[Pro] Bam Hit
[Pro] Bim Hit
[Pro] Tape Rewind
[Pro] Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
[Pro] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
[Pro] Voice Tah
[88] Slappy
*
*
*
*
*
*
*
*
*
*
Appendices
SC-8850 Drum Set (10)
* Notes 0–21 and 95–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
95
96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
PC 11
JUNGLE
[88] Electric Kick 2
[88] Electric Kick 1
[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick1
[Pro] TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
[Pro] TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
[Pro] Hip-Hop Kick 2
[Pro] TR-909 Kick 1
[Pro] Hip-Hop Kick 3
[Pro] Jungle Kick 1
[Pro] Techno Kick 1
[Pro] Bounce Kick
<–
<–
<–
HipHop Kick 2
HipHop Kick 1
:
:
:
Rock Snare Dry
LoFi Snare 1
[Pro] Techno Hit
[Pro] Philly Hit
[Pro] Impact Hit
[Pro] Lo-Fi Rave
[Pro] Bam Hit
[Pro] Bim Hit
[Pro] Tape Rewind
[Pro] Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
[Pro] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
[Pro] Voice Tah
[88] Slappy
*
*
*
*
*
*
*
*
*
*
PC 12
TECHNO
[88] Electric Kick 2
[88] Electric Kick 1
[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick1
[Pro] TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
[Pro] TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
[Pro] Hip-Hop Kick 2
[Pro] TR-909 Kick 1
[Pro] Hip-Hop Kick 3
[Pro] Jungle Kick 1
[Pro] Techno Kick 1
[Pro] Bounce Kick
<–
<–
<–
TR-909 Kick 2
Fat Kick
:
:
:
HipHop Snare 1
HipHop Snare 2
[Pro] Techno Hit
[Pro] Philly Hit
[Pro] Impact Hit
[Pro] Lo-Fi Rave
[Pro] Bam Hit
[Pro] Bim Hit
[Pro] Tape Rewind
[Pro] Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
[Pro] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
[Pro] Voice Tah
[88] Slappy
*
*
*
*
*
*
*
*
*
*
PC 13
ROOM L/R
----------------------------------<–
<–
<–
----:
:
:
[L] Room Kick 2
[L] Room Kick 1
[L] Room Crash Cymbal
[L] Room Snare 1
[L] Room Ride Cymbal
[L] Room Snare 2
[L] Room Low Tom
[L] Room Closed Hi-Hat
[L] Room Mid Tom
[L] Room Ride Bell
[L] Room High Tom
[L] Room Open Hi-Hat
[R] Room Kick 2
[R] Room Kick 1
[R] Room Crash Cymbal
[R] Room Snare 1
[R] Room Ride Cymbal
[R] Room Snare 2
[R] Room Low Tom
[R] Room Closed Hi-Hat
[R] Room Mid Tom
[R] Room Ride Bell
[R] Room High Tom
[R] Room Open Hi-Hat
-------------------
*
[EXC8]
[EXC8]
*
[EXC9]
*
[EXC9]
PC 14
HOUSE
[88] Electric Kick 2
[88] Electric Kick 1
[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick1
[Pro] TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
[Pro] TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
[Pro] Hip-Hop Kick 2
[Pro] TR-909 Kick 1
[Pro] Hip-Hop Kick 3
[Pro] Jungle Kick 1
[Pro] Techno Kick 1
[Pro] Bounce Kick
<–
<–
<–
Fat Kick
Dance Kick
:
:
:
LoFi Snare 2
Jungle Snare
[Pro] Techno Hit
[Pro] Philly Hit
[Pro] Impact Hit
[Pro] Lo-Fi Rave
[Pro] Bam Hit
[Pro] Bim Hit
[Pro] Tape Rewind
[Pro] Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
[Pro] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
[Pro] Voice Tah
[88] Slappy
*
*
PC 25
ELECTRONIC
PC 26
TR-808
[88] Electric Kick 2
[88] Electric Kick 1
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick1
TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
<–
<–
<–
----:
:
:
----Techno Hit
Philly Hit
Impact Hit
Lo-Fi Rave
Bam Hit
Bim Hit
Tape Rewind
Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
TR-606 Snare 2
TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
Jungle Snare
House Snare 1
[88] House Snare
House Snare 2
Voice Tah
[88] Slappy
[ Pro ]
[ Pro ]
*
*
*
*
*
*
*
*
*
*
197
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-8850 Drum Set (11)
* Notes 0–21 and 95–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
95
96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
198
PC 27
DANCE
[88] Electric Kick 2
[88] Electric Kick 1
[Pro] CR-78 Kick 1
[Pro] CR-78 Kick 2
[Pro] TR-606 Kick1
TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
[Pro] Hip-Hop Kick 2
[Pro] TR-909 Kick 1
[Pro] Hip-Hop Kick 3
[Pro] Jungle Kick 1
[Pro] Techno Kick 1
[Pro] Bounce Kick
<–
<–
<–
TR-909 Kick 2
TR-909 Kick 1
:
:
:
HipHop Snare 1
Hip-Hop Snare 2
[Pro] Techno Hit
[Pro] Philly Hit
[Pro] Impact Hit
[Pro] Lo-Fi Rave
[Pro] Bam Hit
[Pro] Bim Hit
[Pro] Tape Rewind
[Pro] Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
[Pro] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
[Pro] Rap Snare
[Pro] Jungle Snare
[Pro] House Snare 1
[88] House Snare
[Pro] House Snare 2
[Pro] Voice Tah
[88] Slappy
*
*
*
*
*
*
*
*
*
*
PC 28
CR-78
PC 29
TR-606
PC 30
TR-707
PC 31
TR-909
[88] Electric Kick 2
[88] Electric Kick 1
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick1
TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
<–
<–
<–
----:
:
:
----Techno Hit
Philly Hit
Impact Hit
Lo-Fi Rave
Bam Hit
Bim Hit
Tape Rewind
Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
TR-606 Snare 2
TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
Jungle Snare
House Snare 1
[88] House Snare
House Snare 2
Voice Tah
[88] Slappy
[ Pro ]
[ Pro ]
[ Pro ]
[ Pro ]
*
*
*
*
*
*
*
*
*
*
PC 33
JAZZ
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Brush Kick 2
Brush Kick 1
*
:
:
:
------Brush Tap 2
Brush Slap 2
[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Standard 1 Snare1
[88] Standard 1 Snare2
[88] Standard 2 Snare1
[88] Standard 2 Snare2
[55] Snare Drum 2
[Pro] Standard 1 Snare 1
[Pro] Standard 1 Snare 2
[Pro] Standard 1 Snare 3
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[88] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] Electric Snare 3
*
PC 34
JAZZ L/R
----------------------------------<–
<–
<–
----:
:
:
[L] Jazz Kick 2
[L] Jazz Kick 1
[L] Jazz Crash Cymbal
[L] Jazz Snare 1
[L] Jazz Ride Cymbal
[L] Jazz Snare 2
[L] Jazz Low Tom
[L] Jazz Closed Hi-Hat
[L] Jazz Mid Tom
[L] Jazz Ride Bell
[L] Jazz High Tom
[L] Jazz Open Hi-Hat
[R] Jazz Kick 2
[R] Jazz Kick 1
[R] Jazz Crash Cymbal
[R] Jazz Snare 1
[R] Jazz Ride Cymbal
[R] Jazz Snare 2
[R] Jazz Low Tom
[R] Jazz Closed Hi-Hat
[R] Jazz Mid Tom
[R] Jazz Ride Bell
[R] Jazz High Tom
[R] Jazz Open Hi-Hat
-------------------
[EXC8]
[EXC8]
[EXC9]
[EXC9]
PC 41
BRUSH
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
----:
:
:
----------[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Standard 1 Snare1
[88] Standard 1 Snare2
[88] Standard 2 Snare1
[88] Standard 2 Snare2
[55] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard 1 Snare 3
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[88] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] Electric Snare 3
[ Pro ]
*
Appendices
SC-8850 Drum Set (12)
* Notes 0–21 and 95–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
95
96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
PC 42
BRUSH 2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
:
:
:
------Jazz Snare 1
Jazz Snare 2
[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Standard 1 Snare1
[88] Standard 1 Snare2
[88] Standard 2 Snare1
[88] Standard 2 Snare2
[55] Snare Drum 2
[Pro] Standard 1 Snare 1
[Pro] Standard 1 Snare 2
[Pro] Standard 1 Snare 3
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[88] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] Electric Snare 3
*
PC 43
BRUSH 2 L/R
----------------------------------<–
<–
<–
----:
:
:
[L] Brush Kick 2
[L] Brush Kick 1
[L] Brush Crash Cymbal
[L] Brush Tap 2
[L] Brush Ride Cymbal
[L] Brush Slap 2
[L] Brush Low Tom
[L] Brush Closed Hi-Hat
[L] Brush Mid Tom
[L] Brush Ride Bell
[L] Brush High Tom
[L] Brush Open Hi-Hat
[R] Brush Kick 2
[R] Brush Kick 1
[R] Brush Crash Cymbal
[R] Brush Tap 2
[R] Brush Ride Cymbal
[R] Brush Slap 2
[R] Brush Low Tom
[R] Brush Closed Hi-Hat
[R] Brush Mid Tom
[R] Brush Ride Bell
[R] Brush High Tom
[R] Brush Open Hi-Hat
-------------------
*
[EXC8]
[EXC8]
[EXC9]
[EXC9]
PC 49
ORCHESTRA
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
----:
:
:
----Applause 2
Small Club 1
[55] Timpani D#
[55] Timpani E
[55] Timpani F
[55] Timpani F#
[55] Timpani G
[55] Timpani G#
[55] Timpani A
[55] Timpani A#
[55] Timpani B
[55] Timpani c
[55] Timpani c#
[55] Timpani d
[55] Timpani d#
[55] Timpani e
[55] Timpani f
-----------------------------
[ Pro ]
*
*
PC 50
ETHNIC
--------------------------------------------:
:
:
Cabasa Up
Cabasa Down
Claves
High Wood Block
Low Wood Block
---------------------------------------------------------
[ Pro ]
PC 51
KICK & SNARE
PC 52
KICK & SNARE 2
--------------------------------------------:
:
:
[Pro] Rap Snare
[Pro] Hip-Hop Snare 2
[Pro] Jungle Snare 1
[Pro] Jungle Snare 2
[Pro] Techno Snare 1
[Pro] Techno Snare 2
[Pro] House Snare 2
[Pro] CR-78 Snare 1
[Pro] CR-78 Snare 2
[Pro] TR-606 Snare 1
[Pro] TR-606 Snare 2
[Pro] TR-707 Snare 1
[Pro] TR-707 Snare 2
[Pro] Standard 3 Snare 2
[Pro] TR-808 Snare 2
[Pro] TR-909 Snare 1
[Pro] TR-909 Snare 2
---------------------------------
[ Pro ]
199
[Pro]
[88]
[55]
[EXC]
Appendices
SC-8850 Drum Set (13)
* Notes 0–21 and 95–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
20
21
95
96
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
200
PC 57
SFX
------------------------------------------MC-500 Beep 1
:
:
:
Big Shot
Percussion Bang
---------------------------------------------------------------
[ Pro ]
*
*
PC 60
RHYTHM FX 3
----------------------------------Reverse Bass Mute Noise
Reverse Bass Touch Noise
Reverse Bass Attack Noise
Reverse Clean Guitar Cut Noise Up
Reverse Clean Guitar Cut Noise Down
:
:
:
Reverse Clap Hit
Reverse Boeeeen
Reverse Bounce
Reverse CD Tray
Reverse Drill
Reverse Glass Stir
Reverse Ice Ring
Reverse Industry Hit
Reverse Scratch 4
Reverse Scratch 5
Reverse Scratch 6
Reverse Scratch 7
Reverse Seal
Reverse Stab! 1
Reverse Stab! 2
Reverse Sword Boom
Reverse Sword Cross
Reverse Thrill Hit
Reverse Audio Switch
Reverse Keyboard Typing 1
Reverse Keyboard Typing 2
Reverse Keyboard Typing 3
Reverse Keyboard Typing 4
Reverse Keyboard Typing 5
Reverse Keyboard Typing 6
-----------------
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
Appendices
SC-88Pro Drum Set (1)
* About Notes 0-19 and 97-127, refer to p.207.
21
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
PC1
STANDARD 1
MC-500 Beep 1
MC-500 Beep 2
Concert SD
Snare Roll
Finger Snap 2
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Standard 1 Kick 2
Standard 1 Kick 1
Side Stick
Standard 1 Snare 1
TR-909 Hand Clap
Standard 1 Snare 2
Low Tom 2
Closed Hi-Hat
Low Tom 1
Pedal Hi-Hat
Mid Tom 2
Open Hi-Hat
Mid Tom 1
High Tom 2
Crash Cymbal1
High Tom 1
Ride Cymbal 1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal 2
Vibra-slap
Ride Cymbal 2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short High Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause 2
-----------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
*
PC2
STANDARD 2
<–
<–
<–
<–
Finger Snap
<–
<–
<–
<–
<–
<–
<–
<–
Standard 2 Kick 2
Standard 2 Kick 1
<–
Standard 2 Snare 1
Hand Clap
Standard 2 Snare 2
<–
Closed Hi-Hat
<–
Pedal Hi-Hat
<–
Open Hi-Hat
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Bar Chimes
<–
<–
<–
<–
-----------------
[88]
[EXC1]
[EXC1]
[EXC1]
PC3
STANDARD 3
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Standard 3 Kick 2
[RND] Kick
<–
[RND] Snare
[RND] Hand Clap
Standard 3 Snare 2
<–
[RND] Closed Hi-Hat
<–
[RND] Pedal Hi-Hat
<–
[RND] Open Hi-Hat
<–
<–
[RND] Crash Cymbal
<–
[RND] Ride Cymbal 1
<–
[RND] Ride Bell 1
<–
<–
<–
<–
<–
[RND] Ride Cymbal 2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-----------------
*
[EXC1]
[EXC1]
[EXC1]
*
*
PC9
ROOM
<–
<–
<–
<–
Finger Snap
<–
<–
<–
<–
<–
<–
<–
<–
Room Kick 2
Room Kick 1
<–
Room Snare 1
Hand Clap
Room Snare 2
Room Low Tom 2
Closed Hi-Hat 3
Room Low Tom 1
Pedal Hi-Hat
Room Mid Tom 2
Open Hi-Hat 3
Room Mid Tom 1
Room High Tom 2
<–
Room High Tom 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-----------------
[88]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
PC10
Hip-Hop
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Hip-Hop Kick 2
Hip-Hop Kick 1
TR-808 Rim Shot
Rap Snare
<–
Hip-Hop Snare 2
TR-909 Low Tom 2
Room Closed Hi-Hat
TR-909 Low Tom 1
Pedal Hi-Hat
TR-909 Mid Tom 2
Room Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-909 Crash Cymbal
TR-909 High Tom 1
<–
Reverse Cymbal
<–
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
*
C7 96
201
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-88Pro Drum Set (2)
* About Notes 0-19 and 97-127, refer to p.207.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
202
PC 11
JUNGLE
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Jungle Kick 2
Jungle Kick 1
<–
Jungle Snare 1
Hand Clap 2
Jungle Snare 2
TR-909 Low Tom 2
TR-606 Closed Hi-Hat
TR-909 Low Tom 1
Jungle Hi-Hat
TR-909 Mid Tom 2
TR-606 Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-808 Crash Cymbal
TR-909 High Tom 1
<–
Reverse Cymbal
<–
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
------------------
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
*
PC 12
TECHNO
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Techno Kick 2
Techno Kick 1
TR-808 Rim Shot
Techno Snare 1
TR-707 Hand Clap
Techno Snare 2
TR-808 Low Tom 2
TR-707 Closed Hi-Hat
TR-808 Low Tom 1
CR-78 Closed Hi-Hat
TR-808 Mid Tom 2
TR-909 Open Hi-Hat
TR-808 Mid Tom 1
TR-808 High Tom 2
TR-909 Crash Cymbal
TR-808 High Tom 1
<–
Reverse Cymbal
<–
Shake Tambourine
<–
TR-808 Cowbell
TR-909 Crash Cymbal
<–
<–
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
<–
-----------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC3]
[EXC4]
[EXC4]
PC 17
POWER
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Power Kick 2
Power Kick 1
<–
Power Snare 1
Hand Clap
Power Snare 2
Power Low Tom 2
<–
Power Low Tom 1
<–
Power Mid Tom 2
<–
Power Mid Tom 1
Power High Tom 2
<–
Power High Tom 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-----------------
[EXC7]
[EXC7]
*
*
*
*
*
*
PC 25
ELECTRONIC
<–
<–
<–
<–
Finger Snap 2
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
Electric Kick 2
Electric Kick 1
<–
Electric Snare 1
Hand Clap
Electric Snare 2
Electric Low Tom 2
Closed Hi-Hat 2
Electric Low Tom 1
Pedal Hi-Hat
Electric Mid Tom 2
Open Hi-Hat 2
Electric Mid Tom 1
Electric High Tom 2
<–
Electric High Tom 1
<–
Reverse Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Small Club 1
-----------------
[88]
[EXC7]
[EXC7]
*
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
PC 26
TR-808
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
[EXC7]
Scratch Pull 2
[EXC7]
<–
<–
<–
<–
TR-808 Kick 2
TR-808 Kick 1
TR-808 Rim Shot
TR-808 Snare 1
Hand Clap
TR-808 Snare 2
TR-808 Low Tom 2
*
TR-808 Closed Hi-Hat 2 [EXC1]
TR-808 Low Tom 1
*
TR-808 Closed Hi-Hat
[EXC1]
TR-808 Mid Tom 2
*
TR-808 Open Hi-Hat
[EXC1]
TR-808 Mid Tom 1
*
TR-808 High Tom 2
*
TR-808 Crash Cymbal
TR-808 High Tom 1
*
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
TR-808 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal 2
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
[EXC3]
TR-808 Claves
<–
<–
High Hoo
[EXC4]
Low Hoo
[EXC4]
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
*
-----------------
Appendices
SC-88Pro Drum Set (3)
* About Notes 0-19 and 97-127, refer to p.207.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
PC 27
DANCE
<–
<–
<–
<–
Finger Snap 2
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-909 Comp Kick
Electric Kick 2
<–
House Snare
<–
Dance Snare 2
Electric Low Tom 2
CR-78 Closed Hi-Hat
Electric Low Tom 1
TR-808 Closed Hi-Hat 2
Electric Mid Tom 2
CR-78 Open Hi-Hat
Electric Mid Tom 1
Electric High Tom 2
TR-808 Crash Cymbal
Electric High Tom 1
TR-606 Ride Cymbal
Reverse Cymbal
<–
Shake Tambourine
<–
TR-808 Cowbell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC4]
[EXC4]
*
PC 28
CR-78
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
CR-78 Kick 2
CR-78 Kick 1
CR-78 Rim Shot
CR-78 Snare 1
TR-707 Hand Clap
CR-78 Snare 2
CR-78 Low Tom 2
CR-78 Closed Hi-Hat
CR-78 Low Tom 1
TR-606 Closed Hi-Hat
CR-78 Mid Tom 2
CR-78 Open Hi-Hat
CR-78 Mid Tom 1
CR-78 High Tom 2
TR-808 Crash Cymbal
CR-78 High Tom 1
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
CR-78 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
CR-78 Maracas
<–
<–
<–
CR-78 Guiro
CR-78 Claves
<–
<–
High Hoo
Low Hoo
CR-78 Metalic Beat 1
CR-78 Metalic Beat 2
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
PC 29
TR-606
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
CR-78 Kick 2
TR-606 Kick 1
CR-78 Rim Shot
TR-606 Snare 1
TR-707 Hand Clap
TR-606 Snare 2
TR-606 Low Tom 2
TR-606 Closed Hi-Hat
TR-606 Low Tom 1
TR-606 Closed Hi-Hat
TR-606 Mid Tom 2
TR-606 Open Hi-Hat
TR-606 Mid Tom 1
TR-606 High Tom 2
TR-808 Crash Cymbal
TR-606 High Tom 1
TR-606 Ride Cymbal
<–
<–
CR-78 Tambourine
<–
CR-78 Cowbell
TR-909 Crash Cymbal
<–
Ride Cymbal Edge
CR-78 High Bongo
CR-78 Low Bongo
TR-808 High Conga
TR-808 Mute Conga
TR-808 Low Conga
<–
<–
<–
<–
<–
CR-78 Maracas
<–
<–
<–
CR-78 Guiro
CR-78 Claves
<–
<–
High Hoo
Low Hoo
CR-78 Metalic Beat 1
CR-78 Metalic Beat 2
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[EXC7]
[EXC7]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
*
PC 30
TR-707
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-707 Kick 2
TR-707 Kick 1
TR-707 Rim Shot
TR-707 Snare 1
TR-707 Hand Clap
TR-707 Snare 2
TR-707 Low Tom 2
TR-707 Closed Hi-Hat
TR-707 Low Tom 1
TR-707 Closed Hi-Hat
TR-707 Mid Tom 2
TR-707 Open Hi-Hat
TR-707 Mid Tom 1
TR-707 High Tom 2
TR-909 Crash Cymbal
TR-707 High Tom 1
TR-909 Ride Cymbal
<–
<–
Tambourine 2
<–
TR-808 Cowbell
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
<–
<–
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
Small Club 1
-----------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
[EXC4]
[EXC4]
*
203
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
SC-88Pro Drum Set (4)
* About Notes 0-19 and 97-127, refer to p.207.
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
204
PC 31
TR-909
<–
<–
<–
<–
<–
<–
<–
Scratch Push 2
Scratch Pull 2
<–
<–
<–
<–
TR-909 Kick 2
TR-909 Kick 1
TR-909 Rim
TR-909 Snare 1
<–
TR-909 Snare2
TR-909 Low Tom 2
TR-707 Closed Hi-Hat
TR-909 Low Tom 1
TR-707 Closed Hi-Hat
TR-909 Mid Tom 2
TR-909 Open Hi-Hat
TR-909 Mid Tom 1
TR-909 High Tom 2
TR-909 Crash Cymbal
TR-909 High Tom 1
TR-909 Ride Cymbal
<–
<–
Tambourine 2
<–
TR-808 Cowbell
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
TR-808 Maracas
<–
<–
<–
CR-78 Guiro
TR-808 Claves
<–
<–
High Hoo
Low Hoo
Mute Triangle
Open Triangle
TR-626 Shaker
<–
<–
<–
<–
<–
<–
-----------------
[EXC7]
[EXC7]
*
[EXC1]
[EXC1]
[EXC1]
*
[EXC3]
[EXC4]
[EXC4]
PC 33
JAZZ
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Jazz Snare 1
Hand Clap 2
Jazz Snare 2
<–
Closed Hi-Hat 2
<–
Pedal Hi-Hat
<–
Open Hi-Hat 2
<–
<–
<–
<–
Ride Cymbal Inner
<–
<–
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
[EXC1]
[EXC1]
[EXC1]
*
PC 41
BRUSH
<–
<–
<–
<–
Finger Snap 2
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Brush Tap 1
Brush Slap 1
Brush Swirl 1
Brush Low Tom 2
Brush Closed Hi-Hat
Brush Low Tom 1
Pedal Hi-Hat
Brush Mid Tom 2
Brush Open Hi-Hat
Brush Mid Tom 1
Brush High Tom 2
Brush Crash Cymbal
Brush High Tom 1
Ride Cymbal Inner
<–
Brush Ride Bell
<–
<–
<–
<–
<–
Ride Cymbal Edge
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
*
PC 49
ORCHESTRA
<–
<–
<–
<–
Finger Snap
Closed Hi-Hat 2
Pedal Hi-Hat
Open Hi-Hat 2
Ride Cymbal 1
<–
<–
<–
<–
Jazz Kick 1
Concert BD 1
<–
Concert SD
Castanets
Concert SD
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
<–
<–
<–
Concert Cymbal 2
<–
Concert Cymbal 1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
-----------------
[88]
[EXC1]
[EXC1]
[EXC1]
*
Appendices
SC-88Pro Drum Set (5)
* About Notes 0-19 and 97-127, refer to p.207.
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
PC 50
ETHNIC
Finger Snap
Tambourine
Castanets
Crash Cymbal 1
Snare Roll
Concert SD
Concert Cymbal
Concert BD 1
Jingle Bell
Bell Tree
Bar Chimes
Wadaiko
Wadaiko Rim
Shime Taiko
Atarigane
Hyoushigi
Ohkawa
High Kotsuzumi
Low Kotsuzumi
Ban Gu
Big Gong
Small Gong
Bend Gong
Thai Gong
Rama Cymbal
Gamelan Gong
Udo Short
Udo Long
Udo Slap
Bendir
Req Dum
Req Tik
Tabla Te
Tabla Na
Tabla Tun
Tabla Ge
Tabla Ge Hi
Talking Drum
Bend Talking Drum
Caxixi
Djembe
Djembe Rim
Timbales Low
Timbales Paila
Timbales High
Cowbell
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Mute Low Conga
Conga Slap
Open Low Conga
Conga Slide
Mute Pandiero
Open Pandiero
Open Surdo
Mute Surdo
Tamborim
High Agogo
Low Agogo
Shaker
High Whistle
Low Whistle
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Short Guiro
Long Guiro
Cabasa Up
Cabasa Down
Claves
High Wood Block
Low Wood Block
[88]
*
*
[EXC1]
[EXC1]
*
*
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 51
KICK & SNARE
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick
TR-707 Kick
TR-808 Kick 1
TR-909 Kick 1
TR-909 Kick 2
Hip-Hop Kick 2
Hip-Hop Kick 1
Jungle Kick 2
Jungle Kick 1
Techno Kick 2
Techno KicK 1
Standard 1 Kick 2
Standard 1 Kick 1
[88] Standard 1 Kick 1
[88] Standard 1 Kick 2
[88] Standard 2 Kick 1
[88] Standard 2 Kick 2
[55] Kick Drum1
[55] Kick Drum 2
[88] Soft Kick
[88] Jazz Kick 1
[88] Jazz Kick 2
[55] Concert BD 1
[88] Room Kick 1
[88] Room Kick 2
[88] Power Kick1
[88] Power Kick2
[88] Electric Kick 2
[88] Electric Kick 1
[55] Electric Kick
[88] TR-808 Kick
[88] TR-909 Kick
[88] Dance Kick
[88] Standard 1 Snare 1
[88] Standard 1 Snare 2
[88] Standard 2 Snare 1
[88] Standard 2 Snare 2
[55] Tight Snare
[55] Concert Snare
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[55] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] House Snare
[55] Electric Snare 1
[88] Electric Snare 3
[88] TR-808 Snare 1
[88] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
Standard 1 Snare 1
Standard 1 Snare 2
Standard 1 Snare 3
Rap Snare
Hip-Hop Snare 2
Jungle Snare 1
Jungle Snare 2
Techno Snare 1
[88]
*
*
*
*
*
*
PC 53
ASIA
Gamelan Gong 1
Gamelan Gong 2
Gamelan Gong 3
Gamelan Gong 4
Gamelan Gong 5
Gamelan Gong 6
Gamelan Gong 7
Gamelan Gong 8
Gamelan Gong 9
Gamelan Gong 10
Gender 1
Gender 2
Gender 3
Gender 4
Gender 5
Bonang 1
Bonang 2
Bonang 3
Bonang 4
Bonang 5
Rama Cymbal Low
Rama Cymbal High
Sagat Open
Sagat Closed
Jaws Harp
Wadaiko
Wadaiko Rim
Small Taiko
Shimedaiko
Atarigane
Hyoushigi
Ohkawa
High Kotsuzumi
Low Kotsuzumi
Yyoo Dude
Buk
Buk Rim
Gengari p
Gengari Mute Low
Gengari f
Gengari Mute High
Gengari Samll
Jang-Gu Che
Jang-Gu Kun
Jang-Gu Rim
Jing p
Jing f
Jing Mute
Asian Gong
Big Gong
Small Gong
Pai Ban
Ban Gu
Tang Gu
Tang Gu Mute
Shou Luo
Bend Gong
Hu Yin Luo Low
Hu Yin Luo Mid
Hu Yin Luo Mid 2
Hu Yin Luo High
Hu Yin Luo High 2
Nao Bo
Xiao Bo
-----------------------
[EXC7]
[EXC7]
*
*
[EXC1]
[EXC1]
[EXC2]
[EXC2]
*
[EXC3]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
*
*
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 54
CYMBAL&CLAPS
--------------Reverse Open Hi-Hat
Reverse Closed Hi-Hat 1
Reverse Closed Hi-Hat 2
Jungle Hi-Hat
[55] Closed Hi-Hat
[88] Closed Hi-Hat 2
[88] Closed Hi-Hat 3
Closed Hi-Hat 4
Closed Hi-Hat
TR-707 Closed Hi-Hat
TR-606 Closed Hi-Hat
[88] TR-808 Closed Hi-Hat
TR-808 Closed Hi-Hat
CR-78 Closed Hi-Hat
[55] Pedal Hi-Hat
[88] Pedal Hi-Hat
Pedal Hi-Hat
Half-Open Hi-Hat 1
Half-Open Hi-Hat 2
[55] Open Hi Hat
[88] Open Hi-Hat 2
[88] Open Hi-Hat 3
Open Hi-Hat 2
TR-909 Open Hi-Hat
TR-707 Open Hi-Hat
TR-606 Open Hi-Hat
[88] TR-808 Open Hi-Hat
TR-808 Open Hi-Hat
CR-78 Open Hi-Hat
Crash Cymbal 1
Crash Cymbal 2
Crash Cymbal 3
Brush Crash Cymbal
Hard Crash Cymbal
TR-909 Crash Cymbal
TR-808 Crash Cymbal
Mute Crash Cymbal 1
Mute Crash Cymbal 2
Reverse Crash Cymbal 1
Reverse Crash Cymbal 2
Reverse Crash Cymbal 3
Reverse TR-909 Crash Cymbal
[55] Splash Cymbal
Splash Cymbal
[88] Ride Bell
[88] Brush Ride Bell
[88] Ride Cymbal 1
[88] Ride Cymbal 2
[88] Brush Ride Cymbal
Ride Cymbal Low Inner
Ride Cymbal Mid Inner
Ride Cymbal High Inner
Ride Cymbal Low Edge
Ride Cymbal Mid Edge
Ride Cymbal High Edge
TR-606 Ride Cymbal
TR-808 Ride Cymbal
Chinese Cymbal
Chinese Cymbal 2
[55] Hand Clap
[88] Hand Clap 2
[88] Hand Clap
Hand Clap
Hand Clap 2
TR-707 Hand Clap
-------
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC3]
[EXC4]
*
[EXC3]
[EXC4]
205
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
SC-88Pro Drum Set (6)
21
22
23
C1 24
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
206
PC 57
SFX
MC-500 Beep 1
MC-500 Beep 2
Guitar Slide
Guitar Wah
Guitar Slap
Chord Stroke Down
Chord Stroke Up
Biwa FX
Phonograph Noise
Tape Rewind
Scratch Push 2
Scratch Pull 2
Cutting Noise 2 Up
Cutting Noise 2 Down
Distortion Guitar Cutting Noise Up
Distortion Guitar Cutting Noise Down
Bass Slide
Pick Scrape
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Guitar Cutting Noise Up
Guitar Cutting Noise Down
String Slap of Double Bass
Flute Key Click Noise
Laughing
Screaming
Punch
Heart Beat
Footsteps 1
Footsteps 2
Applause
Door Creaking
Door
Scratch
Wind Chimes
Car - Engine
Car - Stop
Car - Passing
Car - Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Laser Gun
Explosion
Dog
Horse-Gallop
Birds
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird 2
Growl
<–
Telephone 1
Telephone 2
Small Club 1
Small Club 2
Applause Wave
Eruption
Big Shot
Percussion Bang
*
[EXC1]
[EXC1]
[EXC7]
[EXC7]
*
*
*
*
*
*
*
*
*
*
*
*
*
*
PC 58
RHYTHM FX
------------------------------Reverse Kick 1
Reverse Concert Bass Drum
Reverse Power Kick1
Reverse Electric Kick 1
Reverse Snare 1
Reverse Snare 2
Reverse Standard 1 Snare 1
Reverse Tight Snare
Reverse Dance Snare
Reverse 808 Snare
Reverse Tom 1
Reverse Tom 2
Reverse Sticks
Reverse Slap
Reverse Cymbal 1
Reverse Cymbal 2
Reverse Open Hi-Hat
Reverse Ride Cymbal
Reverse CR-78 Open Hi-Hat
Reverse Closed Hi-Hat
Reverse Gong
Reverse Bell Tree
Reverse Guiro
Reverse Bendir
Reverse Gun Shot
Reverse Scratch
Reverse Laser Gun
Key Click
Techno Thip
Pop Drop
Woody Slap
Distortion Kick
Syn. Drops
Reverse Hi Q
Pipe
Ice Block
Digital Tambourine
Alias
Modulated Bell
Spark
Metallic Percussion
Velocity Noise FX
Stereo Noise Clap
Swish
Slappy
Voice Ou
Voice Au
Hoo
Tape Stop 1
Tape Stop 2
Missile
Space Birds
Flying Monster
-----------------
[88]
*
*
*
*
*
*
*
PC 59
RHYTHM FX 2
------------------------------Reverse TR-707 Kick 1
Reverse TR-909 Kick 1
Reverse Hip-Hop Kick 1
Reverse Jungle Kick 2
Reverse Techno Kick 2
Reverse TR-606 Snare 2
Reverse CR-78 Snare 1
Reverse CR-78 Snare 2
Reverse Jungle Snare 2
Reverse Techno Snare 2
Reverse TR-707 Snare
Reverse TR-606 Snare 1
Reverse TR-909 Snare 1
Reverse Hip-Hop Snare 2
Reverse Jungle Snare 1
Reverse House Snare
Reverse Closed Hi-Hat
Reverse TR-606 Closed Hi-Hat
Reverse TR-707 Closed Hi-Hat
Reverse TR-808 Closed Hi-Hat
Reverse Jungle Hi-Hat
Reverse Tambourine 2
Reverse Shake Tambourine
Reverse TR-808 Open Hi-Hat
Reverse TR-707 Open Hi-Hat
Reverse Open Hi-Hat
Reverse TR-606 Open Hi-Hat
Reverse Hu Yin Luo
Reverse TR-707 Crash Cymbal
Voice One
Reverse Voice One
Voice Two
Reverse Voice Two
Voice Three
Reverse Voice Three
Voice Tah
Reverse Voice Tah
Voice Ou
Voice Au
Voice Whey
Frog Vpoce
Reverse Yyoo Dude
Douby
Reverse Douby
Baert High
Baert Low
Bounce
Reverse bounce
Distortion Knock
Guitar Slide
Sub Marine
Noise Attack
Space Worms
Emergency !
Calculating...
Saw LFO
-----------
*
*
*
*
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
Appendices
SC-88Pro Drum Set (7)
* Notes 0–19 and 97–127 are as follows.
C-1 0
1
2
3
4
5
6
7
8
9
10
11
C0 12
13
14
15
16
17
18
19
97
98
99
100
101
102
103
104
105
106
107
C8 108
109
110
111
112
113
114
115
116
117
118
119
C9 120
121
122
123
124
125
126
127
PC 1 STANDARD 1
PC 2 STANDARD 2
PC 3 STANDARD 3
PC 9 ROOM
PC 17 POWER
[88] Standard 1 Kick 1
[88] Standard 1 Kick 2
[88] Standard 2 Kick 1
[88] Standard 2 Kick 2
[55] Kick Drum 1
[55] Kick Drum 2
[88] Jazz Kick 1
[88] Jazz Kick 2
[88] Room Kick 1
[88] Room Kick 2
[88] Power Kick 1
[88] Power Kick 2
[88] Electric Kick 2
[88] Electric Kick 1
[88] TR-808 Kick
[88] TR-909 Kick
[88] Dance Kick
Voice One
Voice Two
Voice Three
:
:
:
[88] Standard 1 Snare1
[88] Standard 1 Snare 2
[88] Standard 2 Snare 1
[88] Standard 2 Snare 2
[55] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard 1 Snare 3
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[55] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
TR-707 Snare 1
[88] TR-808 Snare 1
[88] TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
Rap Snare
Jungle Snare 1
House Snare 1
[88] House Snare
House Snare 2
*
*
*
*
*
PC 10 Hip-Hop
PC 11 JUNGLE
PC 12 TECHNO
PC 25 ELECTRONIC
PC 26 TR-808
PC 27 DANCE
PC 28 CR-78
PC 29 TR-606
PC 30 TR-707
PC 31 TR-909
[88] Electric Kick 2
[88] Electric Kick 1
CR-78 Kick 1
CR-78 Kick 2
TR-606 Kick1
TR-707 Kick 1
[55] TR-808 Kick
[88] TR-808 Kick
TR-808 Kick 2
[88] TR-909 Kick
[88] Dance Kick
Hip-Hop Kick 2
TR-909 Kick 1
Hip-Hop Kick 3
Jungle Kick 1
Techno Kick 1
Bounce Kick
<–
<–
<–
:
:
:
Techno Hit
Philly Hit
Impact Hit
Lo-Fi Rave
Bam Hit
Bim Hit
Tape Rewind
Phonograph Noise
[88] Power Snare 1
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[55] Electric Snare
[88] Electric Snare 3
TR-606 Snare 2
TR-707 Snare 1
[88] TR-808 Snare 2
[88] TR-808 Snare 1
TR-808 Snare 2
[88] TR-909 Snare 1
[88] TR-909 Snare 2
TR-909 Snare 1
TR-909 Snare 2
Rap Snare
Jungle Snare
House Snare 1
[88] House Snare
House Snare 2
Voice Tah
[88] Slappy
*
*
*
*
*
*
*
*
*
*
PC 33 JAZZ
PC 41 BRUSH
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
:
:
:
------[88] Brush Tap 1
[88] Brush Tap 2
[88] Brush Slap 1
[88] Brush Slap 2
[88] Brush Slap 3
[88] Brush Swirl 1
[88] Brush Swirl 2
[88] Brush Long Swirl
[88] Jazz Snare 1
[88] Jazz Snare 2
[88] Standard 1 Snare1
[88] Standard 1 Snare2
[88] Standard 2 Snare1
[88] Standard 2 Snare2
[55] Snare Drum 2
Standard 1 Snare 1
Standard 1 Snare 2
Standard 1 Snare 3
[88] Room Snare 1
[88] Room Snare 2
[88] Power Snare 1
[88] Power Snare 2
[88] Gated Snare
[88] Dance Snare 1
[88] Dance Snare 2
[88] Disco Snare
[88] Electric Snare 2
[88] Electric Snare 3
*
PC 49 ORCHESTRA
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
:
:
:
Applause 2
Small Club 1
[55] Timpani D#
[55] Timpani E
[55] Timpani F
[55] Timpani F#
[55] Timpani G
[55] Timpani G#
[55] Timpani A
[55] Timpani A#
[55] Timpani B
[55] Timpani c
[55] Timpani c#
[55] Timpani d
[55] Timpani d#
[55] Timpani e
[55] Timpani f
-----------------------------
*
*
PC 51 KICK & SNARE
----------------------------------------:
:
:
Jungle Snare 1
Jungle Snare 2
Techno Snare 1
Techno Snare 2
House Snare 2
CR-78 Snare 1
CR-78 Snare 2
TR-606 Snare 1
TR-606 Snare 2
TR-707 Snare 1
TR-707 Snare 2
Standard 3 Snare 2
TR-808 Snare 2
TR-909 Snare 1
TR-909 Snare 2
---------------------------------
207
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-88 Drum Set (1)
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
208
PC 1
STANDARD 1
Snare Roll
Finger Snap
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Standard 1 Kick 2
Standard 1 Kick 1
Side Stick
Standard 1 Snare 1
Hand Clap
Standard 1 Snare 2
Low Tom2
Closed Hi-hat1
Low Tom1
Pedal Hi-hat
Mid Tom2
Open Hi-hat1
Mid Tom1
High Tom2
Crash Cymbal1
High Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-------------------------------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 2
STANDARD 2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Standard 2 Kick 2
Standard 2 Kick 1
<–
Standard 2 Snare 1
<–
Standard 2 Snare 2
<–
Closed Hi-hat2
<–
<–
<–
Open Hi-hat2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Bar Chimes
<–
<–
<–
-------------------------------------
[EXC1]
[EXC1]
PC 9
ROOM
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Room Kick 2
Room Kick 1
<–
Room Snare 1
<–
Room Snare 2
Room Low Tom2
Closed Hi-hat3
Room Low Tom1
<–
Room Mid Tom2
Open Hi-hat3
Room Mid Tom1
Room Hi Tom2
<–
Room Hi Tom1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
*
[EXC1]
*
*
[EXC1]
*
*
*
PC 17
POWER
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Power Kick 2
Power Kick 1
<–
Power Snare 1
<–
Power Snare 2
Power Low Tom2
Closed Hi-hat3
Power Low Tom1
<–
Power Mid Tom2
Open Hi-hat3
Power Mid Tom1
Power Hi Tom2
<–
Power Hi Tom1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
*
[EXC1]
*
*
[EXC1]
*
*
*
PC 25
ELECTRONIC
<–
<–
<–
<–
Scratch Push2
Scratch Pull2
<–
<–
<–
<–
Electric Kick 2
Electric Kick 1
<–
Electric Snare 1
<–
Electric Snare 2
Electric Low Tom2
Closed Hi-hat2
Electric Low Tom1
<–
Electric Mid Tom2
Open Hi-hat2
Electric Mid Tom1
Electric Hi Tom2
<–
Electric Hi Tom1
<–
Reverse Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
[EXC7]
[EXC7]
*
[EXC1]
*
*
[EXC1]
*
*
*
Appendices
SC-88 Drum Set (2)
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
PC 26
TR-808/909
<–
<–
<–
<–
Scratch Push2
Scratch Pull2
<–
<–
<–
<–
909 Bass Drum
808 Bass Drum
808 Rim Shot
808 Snare 1
<–
909 Snare 1
808 Low Tom2
808 CHH
808 Low Tom1
808 CHH
808 Mid Tom2
808 OHH
808 Mid Tom1
808 Hi Tom2
808 Cymbal
808 Hi Tom1
<–
<–
<–
<–
<–
808 Cowbell
<–
<–
<–
<–
<–
808 High Conga
808 Mid Conga
808 Low Conga
<–
<–
<–
<–
<–
808 Maracas
<–
<–
<–
<–
808 Claves
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
PC 27
DANCE
<–
<–
<–
<–
Scratch Push2
Scratch Pull2
<–
<–
<–
<–
Dance Kick
Electric Kick 2
<–
Dance Snare 1
<–
Dance Snare 2
Electric Low Tom2
CR-78 CHH
Electric Low Tom1
808 CHH
Electric Mid Tom2
CR-78 OHH
Electric Mid Tom1
Electric High Tom2
<–
Electric High Tom1
<–
Reverse Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
High Hoo
Low Hoo
Electric Mute Triangle
Electric Open Triangle
<–
<–
<–
<–
<–
<–
-------------------------------------
[EXC7]
[EXC7]
*
[EXC1]
*
[EXC1]
*
[EXC1]
*
*
*
[EXC4]
[EXC4]
[EXC5]
[EXC5]
PC 33
JAZZ
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Jazz Snare 1
Hand Clap2
Jazz Snare 2
<–
Closed Hi-hat2
<–
<–
<–
Open Hi-hat2
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
[EXC1]
[EXC1]
PC 41
BRUSH
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Jazz Kick 2
Jazz Kick 1
<–
Brush Tap1
Brush Slap1
Brush Swirl1
Brush Low Tom2
Brush Closed Hi-hat
Brush Low Tom1
<–
Brush Mid Tom2
Brush Open Hi-hat
Brush Mid Tom1
Brush Hi Tom2
Brush Crash Cymbal
Brush Hi Tom1
Brush Ride Cymbal
<–
Brush Ride Bell
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
*
[EXC1]
*
*
[EXC1]
*
*
*
PC 49
ORCHESTRA
<–
<–
Closed Hi-hat2
Pedal Hi-hat
Open Hi-hat2
Ride Cymbal1
<–
<–
<–
<–
Jazz Kick 1
Concert BD1
<–
Concert SD
Castanets
Concert SD
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
<–
<–
<–
Concert Cymbal2
<–
Concert Cymbal1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
----------------------------------
[EXC1]
[EXC1]
[EXC1]
*
209
[Pro]
[88]
[55]
[EXC]
Appendices
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
SC-88 Drum Set (3)
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
210
PC 50
ETHNIC
Finger Snap
Tambourine
Castanets
Crash Cymbal1
Snare Roll
Concert Snare Drum
Concert Cymbal
Concert BD1
Jingle Bell
Bell Tree
Bar Chimes
Wadaiko
Wadaiko Rim
Shime Taiko
Atarigane
Hyoushigi
Ohkawa
High Kotsuzumi
Low Kotsuzumi
Ban Gu
Big Gong
Small Gong
Bend Gong
Thai Gong
Rama Cymbal
Gamelan Gong
Udo Short
Udo Long
Udo Slap
Bendir
Req Dum
Req Tik
Tabla Te
Tabla Na
Tabla Tun
Tabla Ge
Tabla Ge Hi
Talking Drum
Bend Talking Drum
Caxixi
Djembe
Djembe Rim
Timbales Low
Timbales Paila
Timbales High
Cowbell
Hi Bongo
Low Bongo
Mute Hi Conga
Open Hi Conga
Mute Low Conga
Conga Slap
Open Low Conga
Conga Slide
Mute Pandiero
Open Pandiero
Open Surdo
Mute Surdo
Tamborim
High Agogo
Low Agogo
Shaker
High Whistle
Low Whistle
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Short Guiro
Long Guiro
Cabasa Up
Cabasa Down
Claves
High Wood Block
Low Wood Block
*
*
[EXC1]
[EXC1]
*
*
*
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 51
KICK&SNARE
---------------------------------------------Standard 1 Kick 1
Standard 1 Kick 2
Standard 2 Kick 1
Standard 2 Kick 2
Kick 1
Kick 2
Soft Kick
Jazz Kick 1
Jazz Kick 2
Concert BD
Room Kick 1
Room Kick 2
Power Kick 1
Power Kick 2
Electric Kick 2
Electric Kick 1
Electric Kick
808 Bass Drum
909 Bass Drum
Dance Kick
Standard 1 Snare 1
Standard 1 Snare 2
Standard 2 Snare 1
Standard 2 Snare 2
Tight Snare
Concert Snare
Jazz Snare 1
Jazz Snare 2
Room Snare 1
Room Snare 2
Power Snare 1
Power Snare 2
Gated Snare
Dance Snare 1
Dance Snare 2
Disco Snare
Electric Snare2
House Snare
Electric Snare 1
Electric Snare 3
808 Snare 1
808 Snare 2
909 Snare 1
909 Snare 2
Brush Tap1
Brush Tap2
Brush Slap1
Brush Slap2
Brush Slap3
Brush Swirl1
Brush Swirl2
Brush Long Swirl
-------------------------
*
*
*
*
*
PC 57
SFX
------------------Scratch Push2
Scratch Pull2
Cutting Noise 2 Up
Cutting Noise 2 Down
Distortion Guitar Cutting Noise Up
Distortion Guitar Cutting Noise Down
Bass Slide
Pick Scrape
High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Guitar Cutting Noise Up
Guitar Cutting Noise Down
String Slap of Double Bass
Fl.Key Click
Laughing
Scream
Punch
Heart Beat
Footsteps1
Footsteps2
Applause
Door Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
Horse-Gallop
Birds
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird2
Growl
Applause2
Telephone1
Telephone2
----------------------------
[EXC1]
[EXC1]
[EXC7]
[EXC7]
*
*
*
*
*
*
*
*
*
*
PC 58
RHYTHM FX
---------------------------------Reverse Kick 1
Reverse Concert BD 1
Reverse Power Kick 1
Reverse Electric Kick 1
Reverse Snare 1
Reverse Snare 2
Reverse Standard set1 Snare 1
Reverse Tight Snare
Reverse Dance Snare
Reverse 808 Snare
Reverse Tom1
Reverse Tom2
Reverse Sticks
Reverse Slap
Reverse Cymbal1
Reverse Cymbal2
Reverse Open Hi-hat
Reverse Ride Cymbal
Reverse CR-78 OHH
Reverse Closed Hi-hat
Reverse Gong
Reverse Bell Tree
Reverse Guiro
Reverse Bendir
Reverse Gun Shot
Reverse Scratch
Reverse Laser
Key Click
Tekno Thip
Pop Drop
Woody Slap
Distortion Kick
Syn.Drop
Reverse High Q
Pipe
Ice Block
Digital Tambourine
Alias
Modulated Bell
Spark
Metalic Percussion
Velocity Noise FX
Stereo Noise Clap
Swish
Slappy
Voice Ou
Voice Au
Hoo
Tape Stop1
Tape Stop2
Missile
Space Bird
Flying Monster
----------------------------------
*
*
*
*
*
*
*
Appendices
SC-55 Drum Set (1)
25
26
27
28
29
30
31
32
33
34
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
PC 1 / PC 33
STANDARD / JAZZ
------High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Kick Drum2 / Jazz BD2
Kick Drum1 / Jazz BD1
Side Stick
Snare Drum1
Hand Clap
Snare Drum2
Low Tom2
Closed Hi-hat
Low Tom1
Pedal Hi-hat
Mid Tom2
Open Hi-hat
Mid Tom1
High Tom2
Crash Cymbal1
High Tom1
Ride Cymbal1
Chinese Cymbal
Ride Bell
Tambourine
Splash Cymbal
Cowbell
Crash Cymbal2
Vibra-slap
Ride Cymbal2
High Bongo
Low Bongo
Mute High Conga
Open High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
Maracas
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-------------------------------------
[EXC1]
[EXC1]
[EXC1]
[EXC2]
[EXC2]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC6]
[EXC6]
PC 9
ROOM
------<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Room Low Tom2
<–
Room Low Tom1
<–
Room Mid Tom2
<–
Room Mid Tom1
Room Hi Tom2
<–
Room Hi Tom1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
PC 17
POWER
------<–
<–
<–
<–
<–
<–
<–
<–
<–
MONDO Kick
<–
Gated SD
<–
<–
Room Low Tom2
<–
Room Low Tom1
<–
Room Mid Tom2
<–
Room Mid Tom1
Room Hi Tom2
<–
Room Hi Tom1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
PC 25
ELECTRONIC
------<–
<–
<–
<–
<–
<–
<–
<–
<–
Elec BD
<–
Elec SD
<–
Gated SD
Elec Low Tom2
<–
Elec Low Tom1
<–
Elec Mid Tom2
<–
Elec Mid Tom1
Elec Hi Tom2
<–
Elec Hi Tom1
<–
Reverse Cymbal
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
PC 26
TR-808
------<–
<–
<–
<–
<–
<–
<–
<–
<–
808 Bass Drum
808 Rim Shot
808 Snare Drum
<–
<–
808 Low Tom2
808 CHH
808 Low Tom1
808 CHH
808 Mid Tom2
808 OHH
808 Mid Tom1
808 Hi Tom2
808 Cymbal
808 Hi Tom1
<–
<–
<–
<–
<–
808 Cowbell
<–
<–
<–
<–
<–
808 High Conga
808 Mid Conga
808 Low Conga
<–
<–
<–
<–
<–
808 Maracas
<–
<–
<–
<–
808 Claves
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
[EXC1]
[EXC1]
[EXC1]
PC 41
BRUSH
------<–
<–
<–
<–
<–
<–
<–
<–
Jazz BD2
Jazz BD1
<–
Brush Tap
Brush Slap
Brash Swirl
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
-------------------------------------
PC 49
ORCHESTRA
------Closed Hi-hat
Pedal Hi-hat
Open Hi-hat
Ride Cymbal1
<–
<–
<–
<–
Concert BD2
Concert BD1
<–
Concert SD
Castanets
Concert SD
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani c
Timpani c#
Timpani d
Timpani d#
Timpani e
Timpani f
<–
<–
<–
Concert Cymbal2
<–
Concert Cymbal1
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
<–
Applause
----------------------------------
[EXC1]
[EXC1]
[EXC1]
*
211
[Pro]
[88]
[55]
[EXC]
Appendices
SC-55 Drum Set (2)
35
C2 36
37
38
39
40
41
42
43
44
45
46
47
C3 48
49
50
51
52
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
C5 72
73
74
75
76
77
78
79
80
81
82
83
C6 84
85
86
87
88
89
90
91
92
93
94
95
C7 96
97
98
99
100
101
102
103
104
105
106
107
C8 108
212
PC 57
SFX
------------High Q
Slap
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
Guitar Fret Noise
Guitar cutting noise/up
Guitar cutting noise/down
String slap of double bass
Fl.Key Click
Laughing
Scream
Punch
Heart Beat
Footsteps1
Footsteps2
Applause
Door Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
Horse-Gallop
Birds
Rain
Thunder
Wind
Seashore
Stream
Bubble
-------------------------------------------------------------------------
[EXC7]
[EXC7]
*
*
*
*
*
*
*
*
*
*
PC 128
CM-64/32L
CM Kick Drum
CM Kick Drum
CM Rim Shot
CM Snare Drum
CM Hand Clap
CM Electronic Snare Drum
CM Acoustic Low Tom
CM Closed High Hat
CM Acoustic Low Tom
CM Open Hi-Hat2
CM Acoustic Middle Tom
CM Open Hi-Hat1
CM M.TomAcoustic Middle Tom
CM Acoustic High Tom
CM Crash Cymbal
CM Acoustic High Tom
CM Ride Cymbal
------CM Tambourine
---CM Cowbell
---------CM High Bongo
CM Low Bongo
CM Mute High Conga
CM High Conga
CM Low Conga
CM High Timbale
CM Low Timbale
CM High Agogo
CM Low Agogo
CM Cabasa
CM Maracas
CM Short Whistle
CM Long Whistle
CM Vibrato Slap
---CM Claves
Laughing
Scream
Punch
Heart Beat
Footsteps1
Footsteps2
Applause
Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
Horse-Gallop
Birds
Rain
Thunder
Wind
SeaShore
Stream
Bubble
[EXC1]
[EXC1]
*
*
*
*
*
*
*
*
*
*
:
:
:
:
Same as the percussion sound of SC-8850
Same as the percussion sound of SC-88
Same as the percussion sound of SC-55
Percussion sound of the same number
will not be heard at the same time.
PC : Program Number (Drum Set Number)
<– : Same as the percussion sound of
"STANDARD1"(PC1).
--- : No sound
* : Tones which are created using two voices
Appendices
GM 2 Instrument List
The SC-8850 uses the General MIDI 2 Sound Set when initialized to the General MIDI 2 Settings or receives Initialize for General
MIDI 2 (GM2 System On) message.
PC#
CC32
Tone Name
V oices
Piano
1
2
3
4
5
6
7
8
13
14
15
16
Piano 1
Piano 1w
European Pf
Piano 2
Piano 2w
Piano 3
Piano 3w
Honky-tonk
Honky-tonk 2
E.Piano 1
St.Soft EP
FM+SA EP
Wurly
E.Piano 2
Detuned EP 2
St.FM EP
EP Legend
EP Phase
Harpsichord
Coupled Hps.
Harpsi.w
Harpsi.o
Clav.
Pulse Clav
2
1
1
4
2
2
2
2
2
1
2
2
2
2
2
2
2
2
1
2
1
2
1
1
18
19
20
21
22
23
24
Tone Name
V oices
0
0
0
0
1
0
1
0
0
1
2
0
Celesta
Glockenspiel
Music Box
Vibraphone
Vibraphone w
Marimba
Marimba w
Xylophone
Tubular-bell
Church Bell
Carillon
Santur
25
26
27
28
29
30
31
32
1
1
1
1
1
1
1
1
1
1
1
1
33
34
35
36
37
38
39
40
0
1
2
3
0
1
2
0
0
1
2
0
1
0
1
0
0
Organ 1
Trem. Organ
60's Organ 1
70's E.Organ
Organ 2
Chorus Or.2
Perc. Organ
Organ 3
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Harmonica
Bandoneon
0
1
2
3
0
1
2
3
0
1
0
1
2
0
1
2
3
0
1
0
1
2
0
1
Nylon-str.Gt
Ukulele
Nylon Gt.o
Nylon Gt.2
Steel-str.Gt
12-str.Gt
Mandolin
Steel + Body
Jazz Gt.
Pedal Steel
Clean Gt.
Chorus Gt.
Mid Tone GTR
Muted Gt.
Funk Pop
Funk Gt.2
Jazz Man
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt.
Dist Rtm GTR
Gt.Harmonics
Gt. Feedback
2
1
2
1
1
2
2
2
1
1
1
2
1
1
1
1
2
2
1
2
2
1
1
1
0
0
1
0
0
0
0
0
1
2
3
4
0
1
2
3
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
SynthBass101
Acid Bass
Clavi Bass
Hammer
Synth Bass 2
Beef FM Bass
RubberBass 2
Attack Pulse
1
1
2
1
1
1
2
2
1
1
2
2
2
2
2
1
0
1
0
0
0
0
0
0
1
0
Violin
Slow Violin
Viola
Cello
Contrabass
Tremolo Str
PizzicatoStr
Harp
Yang Qin
Timpani
:2
1
:2
:2
1
1
1
1
1
1
Bass
Organ
17
CC32
Guitar
0
1
2
0
1
0
1
0
1
0
1
2
3
0
1
2
3
4
0
1
2
3
0
1
Chromatic percussion
9
10
11
12
PC#
2
2
1
2
2
2
2
2
1
2
2
1
2
1
1
4
2
Orchestra
41
42
43
44
45
46
47
48
213
Appendices
PC#
CC32
Tone Name
V oices
Ensemble
49
50
51
52
53
54
55
56
58
59
60
61
62
63
64
0
1
2
0
0
1
0
0
1
0
1
0
1
0
1
2
3
Strings
Orchestra
60s Strings
Slow Strings
Syn.Strings1
Syn.Strings3
Syn.Strings2
Choir Aahs
Chorus Aahs
Voice Oohs
Humming
SynVox
Analog Voice
OrchestraHit
Bass Hit
6th Hit
Euro Hit
4
2
2
2
2
2
2
1
2
1
2
1
1
2
2
2
2
0
1
0
1
2
0
0
1
0
1
0
1
0
1
2
3
0
1
2
Trumpet
Dark Trumpet
Trombone
Trombone 2
Bright Tb
Tuba
MutedTrumpet
MuteTrumpet2
French Horns
Fr.Horn 2
Brass 1
Brass 2
Synth Brass1
Pro Brass
Oct SynBrass
Jump Brass
Synth Brass2
SynBrass sfz
Velo Brass 1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
1
2
1
2
Reed
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Clarinet
Piccolo
Flute
Recorder
Pan Flute
Bottle Blow
Shakuhachi
Whistle
Ocarina
1
1
2
2
1
1
1
1
1
1
1
2
2
2
1
1
Square Wave
MG Square
2600 Sine
Saw Wave
OB2 Saw
Doctor Solo
Natural Lead
SequencedSaw
Syn.Calliope
Chiffer Lead
Charang
Wire Lead
Solo Vox
5th Saw Wave
Bass & Lead
Delayed Lead
2
1
1
2
1
2
2
2
2
2
2
2
2
2
2
2
Synth Lead
81
82
83
84
85
86
87
88
214
CC32
Tone Name
V oices
Fantasia
Warm Pad
Sine Pad
Polysynth
Space Voice
Itopia
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
2
1
2
2
1
2
2
2
2
1
Ice Rain
Soundtrack
Crystal
Syn Mallet
Atmosphere
Brightness
Goblin
Echo Drops
Echo Bell
Echo Pan
Star Theme
2
2
2
1
2
2
2
1
2
2
2
Sitar
Sitar 2
Banjo
Shamisen
Koto
Taisho Koto
Kalimba
Bagpipe
Fiddle
Shanai
1
2
1
1
2
1
1
1
1
1
Tinkle Bell
Agogo
Steel Drums
Woodblock
Castanets
Taiko
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
Elec Perc
Reverse Cym.
1
1
1
1
1
1
1
1
1
1
2
1
1
Synth Pad
Brass
57
PC#
0
1
2
0
1
2
3
4
0
0
0
1
0
0
0
1
89
90
91
92
93
94
95
96
0
0
1
0
0
1
0
0
0
0
Synth SFX
97
98
99
100
101
102
103
104
0
0
0
1
0
0
0
0
1
2
0
Ethnic misc
105
106
107
108
109
110
111
112
0
1
0
0
0
1
0
0
0
0
Percussive
113
114
115
116
117
118
119
120
0
0
0
0
1
0
1
0
1
0
1
1
0
Appendices
PC#
CC32
Tone Name
V oices
GM 2 Drum Set List
SFX
121
122
123
124
125
126
127
128
0
1
2
0
1
0
1
2
3
4
5
0
1
2
3
0
1
2
3
4
5
0
1
2
3
4
5
6
7
8
9
0
1
2
3
4
5
0
1
2
3
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
Thunder
Wind
Stream
Bubble
Bird
Dog
Horse-Gallop
Bird 2
Telephone 1
Telephone 2
DoorCreaking
Door
Scratch
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Burst Noise
Applause
Laughing
Screaming
Punch
Heart Beat
Footsteps
Gun Shot
Machine Gun
Lasergun
Explosion
1
1
1
1
1
1
1
1
1
2
2
2
1
1
1
1
1
1
1
1
2
1
1
1
1
2
1
1
2
2
2
2
1
1
1
1
1
1
1
1
2
The GM 2 Drum Set corresponds to that of the SC-8850's as follows.
PC
1
9
17
25
26
33
41
49
57
GM2 Name
SC-8850 Name
STANDARD
ROOM
POWER
ELECTRONIC
ANALOG
JAZZ
BRUSH
ORCHESTRA
SFX
STANDARD 1
ROOM
POWER
ELECTRONIC
TR-808
JAZZ
BRUSH
ORCHESTRA
SFX
215
Appendices
Insertion Effect List
●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●
<Example of effect types and effect parameters>
Parameter
Setting Value
Value (Hex.)
MSB/LSB (H)
01 : Stereo-EQ
01 00
Low Freq
200/400
00/01
03
• The MSB/LSB column shows the following ** portion of the Exclusive
message. (Hexadecimal notation) (p.237)
For Effect Type (Data section)
F0 41 dev 42 12 40 03 00 ** ** sum F7
For Effect Parameter (LSB part of address)
F0 41 dev 42 12 40 03 ** data sum F7
(dev: device ID, sum: checksum)
• Parameters that have a + in front of their name can be modified by Effect
Control 1 (EFX C.Src1). (p.129)
• Parameters that have a # in front of their name can be modified by Effect
Control 2 (EFX C.Src2). (p.129)
• Values shown in boldface in the Setting Value column are the default value
of the parameter.
• The correspondence between setting values and hexadecimal values for
items in the Value column indicated with * is shown in Effect Parameter
Value Conversion Table (p. 224).
*1: Pre Delay Time
*6: Rate 1
*11: LPF
*2: Delay Time 1
*7: Rate 2
*12: Manual
*3: Delay Time 2
*8: HF Damp
*13: Azimuth
*4: Delay Time 3
*9: Cutoff Freq
*14: Accl
*5: Delay Time 4
*10: EQ Freq
●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●●
❍ Effects that modify the tone (filter type)
Parameter
Setting Value
Value (Hex.)
MSB/LSB (H)
00 : Thru
00
00
01 : Stereo-EQ
Low Freq
Low Gain
Hi Freq
Hi Gain
M1 Freq
M1 Q
M1 Gain
M2 Freq
M2 Q
M2 Gain
+ Level
01
200/400
-12–+5–+12
4k/8k
-12–+12
200–1.6k–6.3k
0.5/1.0/2.0/4.0/9.0
-12–+8–+12
200–1k–6.3k
0.5/1.0/2.0/4.0/9.0
-12–-8–+12
0–127
00/01
34–4C
00/01
34–4C
*10
00/01/02/03/04
34–4C
*10
00/01/02/03/04
34–4C
00–7F
00
03
04
05
06
07
08
09
0A
0B
0C
16
02 : Spectrum
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Width
+ Pan
# Level
-12–-4–+12
-12–+1–+12
-12–+3–+12
-12–+6–+12
-12–+2–+12
-12–-1–+12
-12–-4–+12
-12–-5–+12
0.5/1.0/2.0/4.0/9.0
L63–0–R63
0–127
34–4C
34–4C
34–4C
34–4C
34–4C
34–4C
34–4C
34–4C
00/01/02/03/04
00–7F
00–7F
216
01
01
03
04
05
06
07
08
09
0A
0B
15
16
Parameter
03 : Enhancer
+ Sens
# Mix
Low Gain
Hi Gain
Level
Setting Value
0–64–127
0–127
-12–+3–+12
-12–0–+12
0–127
04 : Humanizer
Drive
0–48–127
Drive Sw
Off/On
+ Vowel
a/i/u/e/o
Accel
0–15
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Pan
L63–0–R63
# Level
0–127
Value (Hex.)
00–7F
00–7F
34–4C
34–4C
00–7F
MSB/LSB (H)
01
02
03
04
13
14
16
01
00–7F
00/01
00/01/02/03/04
*14
34–4C
34–4C
00–7F
00–7F
03
03
04
05
06
13
14
15
16
❍ Effects that distort the sound (distortion type)
05 : Overdrive
+ Drive
Amp Type
Amp Sw
Low Gain
Hi Gain
# Pan
Level
0–48–127
Small/BltIn/2-Stk/3-Stk
Off/On
-12–0–+12
-12–0–+12
L63–0–R63
0–96–127
00–7F
00/01/02/03
00/01
34–4C
34–4C
00–7F
00–7F
06 : Distortion
+ Drive
Amp Type
Amp Sw
Low Gain
Hi Gain
# Pan
Level
0–76–127
Small/BltIn/2-Stk/3-Stk
Off/On
-12–0–+12
-12–-8–+12
L63–0–R63
0–84–127
00–7F
00/01/02/03
00/01
34–4C
34–4C
00–7F
00–7F
01
10
03
04
05
13
14
15
16
01
11
03
04
05
13
14
15
16
01
20
03
04
05
06
07
13
14
16
01
21
03
04
05
06
07
08
09
13
14
15
16
❍ Effects that modulate the sound
(modulation type)
07 : Phaser
+ Manual
# Rate
Depth
Reso
Mix
Low Gain
Hi Gain
Level
100–620–8k
0.05–0.85–10.0
0–64–127
0–16–127
0–127
-12–0–+12
-12–0–+12
0–104–127
*12
*6
00–7F
00–7F
00–7F
34–4C
34–4C
00–7F
08 : Auto Wah
Fil Type
Sens
+ Manual
Peak
# Rate
Depth
Polarity
Low Gain
Hi Gain
Pan
Level
LPF/BPF
0–127
0–68–127
0–62–127
0.05–2.05–10.0
0–72–127
Down/Up
-12–0–+12
-12–0–+12
L63–0–R63
0–96–127
00/01
00–7F
00–7F
00–7F
*6
00–7F
00/01
34–4C
34–4C
00–7F
00–7F
Appendices
Parameter
09 : Rotary
Low Slow
Low Fast
Low Accl
Low Level
Hi Slow
Hi Fast
Hi Accl
Hi Level
Separate
+ Speed
Low Gain
Hi Gain
# Level
Setting Value
Value (Hex.)
MSB/LSB (H)
01
0.05–0.35–10.0
0.05–6.40–10.0
0–3–15
0–127
0.05–0.90–10.0
0.05–7.50–10.0
0–11–15
0–64–127
0–96–127
Slow/Fast
-12–0–+12
-12–0–+12
0–127
*6
*6
*14
00–7F
*6
*6
*14
00–7F
00–7F
00/7F
34–4C
34–4C
00–7F
10 : Stereo Flanger
Pre Filter
Off/LPF/HPF
Cutoff
250–8k
Pre Dly
0–1.6ms–100ms
+ Rate
0.05–0.60–10.0
Depth
0–24–127
# Feedback
-98%–+80%–+98%
Phase
0–180
Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–104–127
00/01/02
*9
*1
*6
00–7F
0F–71
00–5A
00–7F
34–4C
34–4C
00–7F
01
11 : Step Flanger
Pre Dly
0–1.0ms–100ms
Rate
0.05–0.30–10.0
Depth
0–95–127
+ Feedback
-98%–+30%–+98%
Phase
0–180
# Step Rate
0.05–2.75–10.0
Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–96–127
*1
*6
00–7F
0F–71
00–5A
*6
00–7F
34–4C
34–4C
00–7F
12 : Tremolo
Mod Wave
+ Mod Rate
# Mod Depth
Low Gain
Hi Gain
Level
Tri/Sqr/Sin/Saw1/Saw2
0.05–3.05–10.0
0–96–127
-12–0–+12
-12–0–+12
0–127
00/01/02/03/04
*6
00–7F
34–4C
34–4C
00–7F
13 : Auto Pan
Mod Wave
+ Mod Rate
# Mod Depth
Low Gain
Hi Gain
Level
Tri/Sqr/Sin/Saw1/Saw2
0.05–3.05–10.0
0–96–127
-12–0–+12
-12–0–+12
0–127
00/01/02/03/04
*6
00–7F
34–4C
34–4C
00–7F
01
22
03
04
05
06
07
08
09
0A
0B
0D
13
14
16
23
03
04
05
06
07
08
09
12
13
14
16
24
03
04
05
06
07
08
12
13
14
16
01
25
03
04
05
13
14
16
01
26
03
04
05
13
14
16
❍ Effects that affect the level (compressor type)
14 : Compressor
Attack
0–72–127
Sustain
0–100–127
Post Gain
0/+6/+12/+18
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
+ Pan
L63–0–R63
# Level
0–104–127
01
00–7F
00–7F
00/01/02/03
34–4C
34–4C
00–7F
00–7F
30
03
04
05
13
14
15
16
Parameter
15 : Limiter
Threshold
Ratio
Release
Post Gain
Low Gain
Hi Gain
+ Pan
# Level
Setting Value
Value (Hex.)
MSB/LSB (H)
01
0–85–127
1/1.5,1/2,1/4,1/100
0–16–127
0/+6/+12/+18
-12–0–+12
-12–0–+12
L63–0–R63
0–127
00–7F
00/01/02/03
00–7F
00/01/02/03
34–4C
34–4C
00–7F
00–7F
31
03
04
05
06
13
14
15
16
❍ Effects that broaden the sound (chorus type)
16 : Hexa Chorus
Pre Dly
0–2.4ms–100ms
+ Rate
0.05–0.45–10.0
Depth
0–127
Pre Dly Dev 0–5–20
Depth Dev
-20–+2–+20
Pan Dev
0–16–20
# Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–112–127
*1
*6
00–7F
00–14
2C–54
00–14
00–7F
34–4C
34–4C
00–7F
17 : Tremolo Chorus
Pre Dly
0–1.6ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–40–127
Trem Phase
0–80–180
+ Trem Rate
0.05–3.05–10.0
Trem Sep
0–96–127
# Balance
D> 0E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*1
*6
00–7F
00–5A
*6
00–7F
00–7F
34–4C
34–4C
00–7F
18 : Stereo Chorus
Pre Filter
Off/LPF/HPF
Cutoff
250–8k
Pre Dly
0–1.0ms–100ms
+ Rate
0.05–0.45–10.0
Depth
0–111–127
Phase
0–180
# Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–104–127
00/01/02
*9
*1
*6
00–7F
00–5A
00–7F
34–4C
34–4C
00–7F
19 : Space D
Pre Dly
+ Rate
Depth
Phase
# Balance
Low Gain
Hi Gain
Level
0–3.2ms–100ms
0.05–0.45–10.0
0–127
0–180
D> 0E–D=E–D 0<E
-12–0–+12
-12–0–+12
0–96–127
*1
*6
00–7F
00–5A
00–7F
34–4C
34–4C
00–7F
20 : 3D Chorus
Pre Dly
0–1.0ms–100ms
+ Cho Rate
0.05–0.45–10.0
Cho Depth
0–72–127
Out
Speaker/Phones
# Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–80–127
*1
*6
00–7F
00/01
00–7F
34–4C
34–4C
00–7F
01
40
03
04
05
06
07
08
12
13
14
16
01
41
03
04
05
06
07
08
12
13
14
16
01
42
03
04
05
06
07
09
12
13
14
16
01
43
03
04
05
06
12
13
14
16
01
44
03
04
05
11
12
13
14
16
217
Appendices
❍ Effects that reverberate the sound
(delay/reverb type)
Parameter
Setting Value
Value (Hex.)
21 : Stereo Delay
Dly Tm L
0–150ms–500ms
Dly Tm R
0–300ms–500ms
+ Feedback
-98%–+48%–+98%
Fb Mode
Norm/Cross
Phase L
Norm/Invert
Phase R
Norm/Invert
HF Damp
315–8k/Bypass
# Balance
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*4
*4
0F–71
00/01
00/01
00/01
*8
00–7F
34–4C
34–4C
00–7F
22 : Mod Delay
Dly Tm L
0–40ms–500ms
Dly Tm R
0–220ms–500ms
Feedback
-98%–+48%–+98%
Fb Mode
Norm/Cross
+ Mod Rate
0.05–0.65–10.0
Mod Depth
0–21–127
Mod Phase
0–180
HF Damp
315–8k/Bypass
# Balance
D> 0E–D>61E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*4
*4
0F–71
00/01
*6
00–7F
00–5A
*8
00–7F
34–4C
34–4C
00–7F
23 : 3 Tap Delay
Dly Tm C
200ms–300ms–990ms/1sec
Dly Tm L
200ms–200ms–990ms/1sec
Dly Tm R
200ms–235ms–990ms/1sec
+ Feedback
-98%–+32%–+98%
Dly Lev C
0–127
Dly Lev L
0–127
Dly Lev R
0–127
HF Damp
315–8k/Bypass
# Balance
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*2
*2
*2
0F–71
00–7F
00–7F
00–7F
*8
00–7F
34–4C
34–4C
00–7F
24 : 4 Tap Delay
Dly Tm 1
200ms–500ms–990ms/1sec
Dly Tm 2
200ms–300ms–990ms/1sec
Dly Tm 3
200ms–400ms–990ms/1sec
Dly Tm 4
200ms–200ms–990ms/1sec
Dly Lev 1
0–127
Dly Lev 2
0–127
Dly Lev 3
0–127
Dly Lev 4
0–127
+ Feedback
-98%–+32%–+98%
HF Damp
315–8k/Bypass
# Balance
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*2
*2
*2
*2
00–7F
00–7F
00–7F
00–7F
0F–71
*8
00–7F
34–4C
34–4C
00–7F
25 : Tm Ctrl Delay
+ Dly Time
200ms–500ms–990ms/1sec
Accel
0–10–15
# Feedback
-98%–+32%–+98%
HF Damp
315–8k/Bypass
EFX Pan
L63–0–R63
Balance
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*3
*14
0F–71
*8
00–7F
00–7F
34–4C
34–4C
00–7F
218
Parameter
MSB/LSB (H)
01
01
01
01
01
50
03
04
05
06
07
08
0A
12
13
14
16
51
03
04
05
06
07
08
09
0A
12
13
14
16
52
03
04
05
06
07
08
09
0A
12
13
14
16
53
03
04
05
06
07
08
09
0A
0B
0C
12
13
14
16
54
03
04
05
06
07
12
13
14
16
26 : Reverb
Type
Pre Dly
+ Time
HF Damp
# Balance
Low Gain
Hi Gain
Level
Setting Value
Value (Hex.)
MSB/LSB (H)
01
Room1/2/Stage1/2/Hall1/200/01/02/03/04/05
0–74ms–100ms
*1
0–120–127
00–7F
315–6.3k–8k/Bypass
*8
D> 0E–D=E–D 0<E
00–7F
-12–0–+12
34–4C
-12–0–+12
34–4C
0–127
00–7F
27 : Gate Reverb
Type
Norm/Reverse/Sweep1/2
Pre Dly
0–0.5ms–100ms
Gate Time
0–65ms–500ms
+ Balance
D> 0E–D>65E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–-3–+12
# Level
0–112–127
00/01/02/03
*1
00–63
00–7F
34–4C
34–4C
00–7F
28 : 3D Delay
Dly Tm C
Dly Tm L
Dly Tm R
+ Feedback
Dly Lev C
Dly Lev L
Dly Lev R
HF Damp
Out
# Balance
Low Gain
Hi Gain
Level
*4
*4
*4
0F–71
00–7F
00–7F
00–7F
*8
00/01
00–7F
34–4C
34–4C
00–7F
0–300ms–500ms
0–200ms–500ms
0–240ms–500ms
-98%–+32%–+98%
0–40–127
0–64–127
0–64–127
315–8k/Bypass
Speaker/Phones
D> 0E–D>74E–D 0<E
-12–0–+12
-12–0–+12
0–127
55
03
04
05
06
12
13
14
16
01
56
03
04
05
12
13
14
16
01
57
03
04
05
06
07
08
09
0A
11
12
13
14
16
❍ Effects that modify the pitch (pitch/shift type)
29 : 2 Pitch Shifter
+ Coarse 1
-24–+7–+12
Fine 1
-100–-4–+100
Pre Dly 1
0–100ms
EFX Pan 1
L63–0–R63
# Coarse 2
-24–-5–+12
Fine 2
-100–+4–+100
Pre Dly 2
0–100ms
EFX Pan 2
L63–0–R63
Shift Mode
1–3–5
L.Bal
A> 0B–A=B–A 0<B
Balance
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–95–127
28–4C
0E–72
*1
00–7F
28–4C
0E–72
*1
00–7F
00–04
00–7F
00–7F
34–4C
34–4C
00–7F
30 : Fb P.Shifter
+ P.Coarse
-24–+7–+12
P.Fine
-100–0–+100
# Feedback
-98%–+40%–+98%
Pre Dly
0–45ms–100ms
Mode
1–3–5
EFX Pan
L63–0–R63
Balance
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–-6–+12
Level
0–127
28–4C
0E–72
0F–71
*1
00–04
00–7F
00–7F
34–4C
34–4C
00–7F
01
60
03
04
05
06
07
08
09
0A
0B
0C
12
13
14
16
01
61
03
04
05
06
07
08
12
13
14
16
Appendices
❍ Others
Parameter
Parameter
36 : OD→ Flanger
OD Drive
0–48–127
+ OD Pan
L63–0–R63
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
FL Dly
0–1.6ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–40–127
FL Fb
-98%–+80%–+98%
# FL Bal
D> 0E–D>49E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–80–127
00–7F
00–7F
00/01/02/03
00/01
*1
*6
00–7F
0F–71
00–7F
34–4C
34–4C
00–7F
37 : OD → Delay
OD Drive
0–48–127
+ OD Pan
L63–0–R63
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–80–127
00–7F
00–7F
00/01/02/03
00/01
*4
0F–71
*8
00–7F
34–4C
34–4C
00–7F
38 : DS → Chorus
DS Drive
0–48–127
+ DS Pan
L63–0–R63
DS Amp
Small/BltIn/2-Stk/3-Stk
DS Amp Sw Off/On
Cho Dly
0–1.0ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–72–127
# Cho Bal
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–72–127
00–7F
00–7F
00/01/02/03
00/01
*1
*6
00–7F
00–7F
34–4C
34–4C
00–7F
39 : DS → Flanger
DS Drive
0–48–127
+ DS Pan
L63–0–R63
DS Amp
Small/BltIn/2-Stk/3-Stk
DS Amp Sw Off/On
FL Dly
0–1.1ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–24–127
FL Fb
-98%–+80%–+98%
# FL Bal
D> 0E–D>49E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–72–127
00–7F
00–7F
00/01/02/03
00/01
*1
*6
00–7F
0F–71
00–7F
34–4C
34–4C
00–7F
40 : DS → Delay
DS Drive
0–48–127
+ DS Pan
L63–0–R63
DS Amp
Small/BltIn/2-Stk/3-Stk
DS Amp Sw Off/On
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–72–127
00–7F
00–7F
00/01/02/03
00/01
*4
0F–71
*8
00–7F
34–4C
34–4C
00–7F
31 : 3D Auto
Azimuth
+ Speed
Clockwise
# Turn
Out
Level
Setting Value
Value (Hex.)
180/L168–0–R168
0.05–1.30–10.0
-/+
Off/On
Speaker/Phones
0–127
*13
*6
00/01
00/01
00/01
00–7F
32 : 3D Manual
+ Azimuth
180/L168–0–R168
Out
Speaker/Phones
# Level
0–127
*13
00/01
00–7F
33 : Lo-Fi 1
Pre Filter
Lo-Fi Type
Post Filter
+ Balance
Low Gain
Hi Gain
# Pan
Level
1–2–6
1–6–9
1–2–6
D> 0E–D 0<E
-12–0–+12
-12–0–+12
L63–0–R63
0–127
00–05
00–08
00–05
00–7F
34–4C
34–4C
00–7F
00–7F
34 : Lo-Fi 2
Lo-Fi Type
Fil Type
Cutoff
+ R.Detune
R.Nz Lev
W/P Sel
W/P LPF
W/P Level
Disc Type
Disc LPF
Disc Nz Lev
Hum Type
Hum LPF
Hum Level
M/S
# Balance
Low Gain
Hi Gain
Pan(Mono)
Level
1–2–6
Off/LPF/HPF
250–630–8k
0–127
0–64–127
White/Pink
250–6.3k/Bypass
0–127
LP/EP/SP/RND
250–6.3k/Bypass
0–127
50Hz/60Hz
250–6.3k/Bypass
0–127
Mono/Stereo
D> 0E–D 0<E
-12–0–+12
-12–0–+12
L63–0–R63
0–127
00–05
00/01/02
*9
00–7F
00–7F
00/01
*11
00–7F
00/01/02/03
*11
00–7F
00/01
*11
00–7F
00–01
00–7F
34–4C
34–4C
00–7F
00–7F
MSB/LSB (H)
01
70
03
04
05
06
11
16
01
71
03
11
16
01
72
03
04
05
12
13
14
15
16
01
73
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
❍ Effects that connect two types of effect in
series (series 2)
35 : OD → Chorus
OD Drive
0–48–127
+ OD Pan
L63–0–R63
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
Cho Dly
0–1.0ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–72–127
# Cho Bal
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–80–127
02
00–7F
00–7F
00/01/02/03
00/01
*1
*6
00–7F
00–7F
34–4C
34–4C
00–7F
00
03
04
05
06
08
09
0A
0C
13
14
16
Setting Value
Value (Hex.)
MSB/LSB (H)
02
01
03
04
05
06
08
09
0A
0B
0C
13
14
16
02
02
03
04
05
06
08
09
0A
0C
13
14
16
02
03
03
04
05
06
08
09
0A
0C
13
14
16
02
04
03
04
05
06
08
09
0A
0B
0C
13
14
16
02
05
03
04
05
06
08
09
0A
0C
13
14
16
219
Appendices
Parameter
Setting Value
Value (Hex.)
41 : EH → Chorus
+ EH Sens
0–64–127
EH Mix
0–127
Cho Dly
0–14ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–101–127
# Cho Bal
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–80–127
00–7F
00–7F
*1
*6
00–7F
00–7F
34–4C
34–4C
00–7F
42 : EH → Flanger
+ EH Sens
0–64–127
EH Mix
0–127
FL Dly
0–1.6ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–24–127
FL Fb
-98%–+80%–+98%
# FL Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–96–127
00–7F
00–7F
*1
*6
00–7F
0F–71
00–7F
34–4C
34–4C
00–7F
43 : EH → Delay
+ EH Sens
0–64–127
EH Mix
0–127
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–88–127
00–7F
00–7F
*4
0F–71
*8
00–7F
34–4C
34–4C
00–7F
44 : Cho → Delay
Cho Dly
0–1.0ms–100ms
Cho Rate
0.05–0.50–10.0
Cho Depth
0–120–127
+ Cho Bal
D> 0E–D=E–D 0<E
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*1
*6
00–7F
00–7F
*4
0F–71
*8
00–7F
34–4C
34–4C
00–7F
45 : FL → Delay
FL Dly
0–1.6ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–24–127
+ FL Fb
-98%–+80%–+98%
FL Bal
D> 0E–D=E–D 0<E
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>74E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–127
*1
*6
00–7F
0F–71
00–7F
*4
0F–71
*8
00–7F
34–4C
34–4C
00–7F
220
MSB/LSB (H)
02
02
06
03
04
08
09
0A
0C
13
14
16
07
03
04
08
09
0A
0B
0C
13
14
16
02
08
03
04
08
09
0A
0C
13
14
16
02
09
03
04
05
07
08
09
0A
0C
13
14
16
02
0A
03
04
05
06
07
08
09
0A
0C
13
14
16
Parameter
Setting Value
46 : Cho→ Flanger
Cho Dly
0–1.0ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–120–127
+ Cho Bal
D> 0E–D=E–D 0<E
FL Dly
0–1.6ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–24–127
FL Fb
-98%–+80%–+98%
# FL Bal
D> 0E–D=E–D 0<E
Low Gain
-12–0–+12
Hi Gain
-12–0–+12
Level
0–112–127
Value (Hex.)
MSB/LSB (H)
02
*1
*6
00–7F
00–7F
*1
*6
00–7F
0F–71
00–7F
34–4C
34–4C
00–7F
0B
03
04
05
07
08
09
0A
0B
0C
13
14
16
❍ Effects that connect three or more types of
effect in series (series 3/4/5)
47 : Rotary Multi
+ OD Drive
0–13–127
OD Sw
Off/On
EQ L Gain
-12–0–+12
EQ M Fq
200–1.6k–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–0–+12
EQ H Gain
-12–0–+12
RT L Slow
0.05–0.35–10.0
RT L Fast
0.05–6.40–10.0
RT Lo Accl
0–3–15
RT Lo Lev
0–127
RT H Slow
0.05–0.90–10.0
RT H Fast
0.05–7.50–10.0
RT Hi Accl
0–11–15
RT Hi Lev
0–64–127
RT Sept
0–96–127
# RT Speed
Slow/Fast
Level
0–96–127
00–7F
00/01
34–4C
*10
00/01/02/03/04
34–4C
34–4C
*6
*6
*14
00–7F
*6
*6
*14
00–7F
00–7F
00/7F
00–7F
48 : GTR Multi 1
Cmp Atck
0–100–127
Cmp Sus
0–80–127
Cmp Level
0–100–127
Cmp Sw
Off/On
OD Sel
Odrv/Dist
+ OD Drive
0–80–127
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
OD L Gain
-12–+5–+12
OD H Gain
-12–+10–+12
OD Sw
Off/On
CF Sel
Chorus/Flangr
CF Rate
0.05–0.45–6.40
CF Depth
0–30–127
CF Fb
-98%–+76%–+98%
CF Mix
0–40–127
Dly Time
0–300ms–635ms
Dly Fb
0–34–127
# Dly Mix
0–15–127
Level
0–110–127
00–7F
00–7F
00–7F
00/01
00/01
00–7F
00/01/02/03
00/01
34–4C
34–4C
00/01
00/01
*7
00–7F
0F–71
00–7F
*5
00–7F
00–7F
00–7F
03
00
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
16
04
00
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
Appendices
Parameter
Setting Value
Value (Hex.)
MSB/LSB (H)
49 : GTR Multi 2
Cmp Atck
0–70–127
Cmp Sus
0–127
Cmp Level
0–90–127
Cmp Sw
Off/On
OD Sel
Odrv/Dist
+ OD Drive
0–80–127
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
OD Sw
Off/On
EQ L Gain
-12–+12
EQ M Fq
200–1k–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–+5–+12
EQ H Gain
-12–-10–+12
CF Sel
Chorus/Flangr
CF Rate
0.05–0.45–6.40
CF Depth
0–96–127
CF Fb
-98%–+76%–+98%
# CF Mix
0–127
Level
0–80–127
04
00–7F
00–7F
00–7F
00/01
00/01
00–7F
00/01/02/03
00/01
00/01
34–4C
*10
00/01/02/03/04
34–4C
34–4C
00/01
*7
00–7F
0F–71
00–7F
00–7F
50 : GTR Multi 3
Wah Fil
LPF/BPF
+ Wah Man
0–60–127
Wah Peak
0–10–127
Wah Sw
Off/On
OD Sel
Odrv/Dist
# OD Drive
0–80–127
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
OD L Gain
-12–0–+12
OD H Gain
-12–0–+12
OD Sw
Off/On
CF Sel
Chorus/Flangr
CF Rate
0.05–0.45–6.40
CF Depth
0–127
CF Fb
-98%–+50%–+98%
CF Mix
0–50–127
Dly Time
0–160ms–635ms
Dly Fb
0–64–127
Dly Mix
0–30–127
Level
0–88–127
00/01
00–7F
00–7F
00/01
00/01
00–7F
00/01/02/03
00/01
34–4C
34–4C
00/01
00/01
*7
00–7F
0F–71
00–7F
*5
00–7F
00–7F
00–7F
51 : Clean Gt Multi 1
Cmp Atck
0–50–127
Cmp Sus
0–127
Cmp Level
0–75–127
Cmp Sw
Off/On
EQ L Gain
-12–+12
EQ M Fq
200–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–+5–+12
EQ H Gain
-12–+12
CF Sel
Chorus/Flangr
CF Rate
0.05–0.45–6.40
CF Depth
0–40–127
CF Fb
-98%–+30%–+98%
+ CF Mix
0–100–127
Dly Time
0–120ms–635ms
Dly Fb
0–40–127
Dly HF
315–8k/Bypass
# Dly Mix
0–30–127
Level
0–95–127
00–7F
00–7F
00–7F
00/01
34–4C
*10
00/01/02/03/04
34–4C
34–4C
00/01
*7
00–7F
0F–71
00–7F
*5
00–7F
*8
00–7F
00–7F
04
04
Parameter
Setting Value
Value (Hex.)
MSB/LSB (H)
01
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
52 : Clean Gt Multi2
AW Filter
LPF/BPF
+ AW Man
0–55–127
AW Peak
0–40–127
AW Rate
0.05–1.50–6.40
AW Depth
0–80–127
AW Sw
Off/On
EQ L Gain
-12–+12
EQ M Fq
200–1.6k–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–0–+12
EQ H Gain
-12–0–+12
CF Sel
Chorus/Flangr
CF Rate
0.05–0.45–6.40
CF Depth
0–20–127
CF Fb
-98%–+76%–+98%
CF Mix
0–100–127
Dly Time
0–30ms–635ms
Dly Fb
0–15–127
# Dly Mix
0–80–127
Level
0–76–127
00/01
00–7F
00–7F
*7
00–7F
00/01
34–4C
*10
00/01/02/03/04
34–4C
34–4C
00/01
*7
00–7F
0F–71
00–7F
*5
00–7F
00–7F
00–7F
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
53 : Bass Multi
Cmp Atck
0–72–127
Cmp Sus
0–100–127
Cmp Level
0–75–127
Cmp Sw
Off/On
OD Sel
Odrv/Dist
+ OD Drive
0–48–127
OD Amp
Small/BltIn/2-Stk
OD Amp Sw Off/On
OD Sw
Off/On
EQ L Gain
-12–+2–+12
EQ M Fq
200–1.6k–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–+4–+12
EQ H Gain
-12–0 –+12
CF Sel
Chorus/Flangr
CF Rate
0.05–0.30–6.40
CF Depth
0–20–127
CF Fb
-98%–+76%–+98%
# CF Mix
0–64–127
Level
0–76–127
00–7F
00–7F
00–7F
00/01
00/01
00–7F
00/01/02
00/01
00/01
34–4C
*10
00/01/02/03/04
34–4C
34–4C
00/01
*7
00–7F
0F–71
00–7F
00–7F
03
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
16
54 : Rhodes Multi
EH Sens
0–64–127
EH Mix
0–64–127
PH Man
100–620–8k
PH Rate
0.05–0.85–6.40
PH Depth
0–32–127
PH Reso
0–16–127
PH Mix
0–64–127
CF Sel
Chorus/Flangr
CF LPF
250–6.3k/Bypass
CF Dly
0–1.0ms–100ms
CF Rate
0.05–0.45–6.40
CF Depth
0–64–127
CF Fb
-98%–+80%–+98%
CF Mix
0–127
TP Sel
Trem/Pan
TP Mod WV Tri/Sqr/Sin/Saw1/Saw2
+ TP Mod RT
0.05–3.05–6.40
# TP Mod Dep 0–64–127
TP Sw
Off/On
Level
0–127
00–7F
00–7F
*12
*7
00–7F
00–7F
00–7F
00/01
*11
*1
*7
00–7F
0F–71
00–7F
00/01
00/01/02/03/04
*7
00–7F
00/01
00–7F
04
04
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
04
05
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
04
06
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
221
Appendices
Parameter
Setting Value
55 : Keyboard Multi
+ RM Mod Freq 0–50–127
# RM Bal
D> 0E–D>30E–D 0<E
EQ L Gain
-12–+3–+12
EQ M Fq
200–6.3k
EQ M Q
0.5/1.0/2.0/4.0/9.0
EQ M Gain
-12–+5–+12
EQ H Gain
-12–-3–+12
PS Coarse
-24–+7–+12
PS Fine
-100–0–+100
PS Mode
1–5
PS Bal
D> 0E–D>60E–D 0<E
PH Man
100–620–8k
PH Rate
0.05–0.45–6.40
PH Depth
0–90–127
PH Reso
0–80–127
PH Mix
0–75–127
Dly Time
0–100ms–635ms
Dly Fb
0–64–127
Dly Mix
0–40–127
Level
0–96–127
Value (Hex.)
MSB/LSB (H)
05
00–7F
00–7F
34–4C
*10
00/01/02/03/04
34–4C
34–4C
28–4C
0E–72
00–04
00–7F
*12
*7
00–7F
00–7F
00–7F
*5
00–7F
00–7F
00–7F
00
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
❍ Effects that connect two types of effect in
parallel (parallel 2)
56 : Cho / Delay
Cho Dly
0–1.0ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–120–127
+ Cho Bal
D> 0E–D=E–D 0<E
Cho Pan
L63–0–R63
Cho Level
0–127
Dly Time
0–250ms–500ms
Dly Fb
-98%–+32%–+98%
Dly HF
315–8k/Bypass
# Dly Bal
D> 0E–D>61E–D 0<E
Dly Pan
L63–0–R63
Dly Level
0–127
Level
0–96–127
*1
*6
00–7F
00–7F
00–7F
00–7F
*4
0F–71
*8
00–7F
00–7F
00–7F
00–7F
57 : FL / Delay
FL Dly
FL Rate
FL Depth
FL Fb
+ FL Bal
FL Pan
FL Level
Dly Time
Dly Fb
Dly HF
# Dly Bal
Dly Pan
Dly Level
Level
*1
*6
00–7F
0F–71
00–7F
00–7F
00–7F
*4
0F–71
*8
00–7F
00–7F
00–7F
00–7F
11
0–1.6ms–100ms
0.05–0.60–10.0
0–24–127
-98%–+80%–+98%
D> 0E–D=E–D 0<E
L63–0–R63
0–127
0–250ms–500ms
-98%–+32%–+98%
315–8k/Bypass
D> 0E–D>74E–D 0<E
L63–0–R63
0–127
0–96–127
58 : Cho / Flanger
Cho Dly
0–1.6ms–100ms
Cho Rate
0.05–0.45–10.0
Cho Depth
0–120–127
+ Cho Bal
D> 0E–D=E–D 0<E
Cho Pan
L63–0–R63
Cho Level
0–127
FL Dly
0–1.6ms–100ms
FL Rate
0.05–0.60–10.0
FL Depth
0–24–127
FL Fb
-98%–+80%–+98%
# FL Bal
D> 0E–D=E–D 0<E
FL Pan
L63–0–R63
FL Level
0–127
Level
0–88 -127
222
11
11
*1
*6
00–7F
00–7F
00–7F
00–7F
*1
*6
00–7F
0F–71
00–7F
00–7F
00–7F
00–7F
00
03
04
05
07
12
13
08
09
0A
0C
14
15
16
01
03
04
05
06
07
12
13
08
09
0A
0C
14
15
16
02
03
04
05
07
12
13
08
09
0A
0B
0C
14
15
16
Parameter
59 : OD1 / OD2
OD1 Sel
+ OD1 Drive
OD1 Amp
OD1 Amp Sw
OD1 Pan
OD1 Level
OD2 Sel
# OD2 Drive
OD2 Amp
OD2 Amp Sw
OD2 Pan
OD2 Level
Level
Setting Value
Value (Hex.)
Odrv/Dist
0–48–127
Small/BltIn/2-Stk/3-Stk
Off/On
L63–0–R63
0–96–127
Odrv/Dist
0–76–127
Small/BltIn/2-Stk/3-Stk
Off/On
L63–0–R63
0–84–127
0–127
00/01
00–7F
00/01/02/03
00/01
00–7F
00–7F
00/01
00–7F
00/01/02/03
00/01
00–7F
00–7F
00–7F
60 : OD / Rotary
OD Sel
Odrv/Dist
+ OD Drive
0–48–127
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
OD Pan
L63–0–R63
OD Level
0–96–127
RT L Slow
0.05–0.35–10.0
RT L Fast
0.05–6.40 -10.0
RT Lo Accl
0–3–15
RT Lo Lev
0–127
RT H Slow
0.05–0.90–10.0
RT H Fast
0.05–7.50–10.0
RT Hi Accl
0–11–15
RT Hi Lev
0–64–127
RT Sept
0–96–127
# RT Speed
Slow/Fast
RT Pan
L63–0–R63
RT Level
0–127
Level
0–127
00/01
00–7F
00/01/02/03
00/01
00–7F
00–7F
*6
*6
*14
00–7F
*6
*6
*14
00–7F
00–7F
00/7F
00–7F
00–7F
00–7F
61 : OD / Phaser
OD Sel
Odrv/Dist
+ OD Drive
0–48–127
OD Amp
Smal/BltIn/ 2-Stk/3-Stk
OD Amp Sw Off/On
OD Pan
L63–0–R63
OD Level
0–96–127
PH Man
100–620 –8k
# PH Rate
0.05–0.85–10.0
PH Depth
0–64–127
PH Reso
0–16–127
PH Mix
0–127
PH Pan
L63–0–R63
PH Level
0–127
Level
0–127
00/01
00–7F
00/01/02/03
00/01
00–7F
00–7F
*12
*6
00–7F
00–7F
00–7F
00–7F
00–7F
00–7F
62 : OD / AutoWah
OD Sel
Odrv/Dist
+ OD Drive
0–48–127
OD Amp
Small/BltIn/2-Stk/3-Stk
OD Amp Sw Off/On
OD Pan
L63–0–R63
OD Level
0–96–127
AW Filter
LPF/BPF
AW Sens
0–127
# AW Man
0–68–127
AW Peak
0–62–127
AW Rate
0.05–2.05–10.0
AW Depth
0–72–127
AW Pol
Down/Up
AW Pan
L63–0–R63
AW Level
0–127
Level
0–127
00/01
00–7F
00/01/02/03
00/01
00–7F
00–7F
00/01
00–7F
00–7F
00–7F
*6
00–7F
00/01
00–7F
00–7F
00–7F
MSB/LSB (H)
11
03
03
04
05
06
12
13
08
09
0A
0B
14
15
16
11
04
03
04
05
06
12
13
08
09
0A
0B
0C
0D
0E
0F
10
11
14
15
16
11
05
03
04
05
06
12
13
08
09
0A
0B
0C
14
15
16
11
06
03
04
05
06
12
13
08
09
0A
0B
0C
0D
0E
14
15
16
Appendices
Parameter
Setting Value
Value (Hex.)
63 : PH / Rotary
PH Man
100–620–8k
+ PH Rate
0.05–0.85–10.0
PH Depth
0–64–127
PH Reso
0–16–127
PH Mix
0–127
PH Pan
L63–0–R63
PH Level
0–127
RT L Slow
0.05–0.35–10.0
RT L Fast
0.05–6.40–10.0
RT Lo Accl
0–3–15
RT Lo Lev
0–127
RT H Slow
0.05–0.90–10.0
RT H Fast
0.05–7.50–10.0
RT Hi Accl
0–11–15
RT Hi Lev
0–64–127
RT Sept
0–96–127
# RT Speed
Slow/Fast
RT Pan
L63–0–R63
RT Level
0–127
Level
0–127
*12
*6
00–7F
00–7F
00–7F
00–7F
00–7F
*6
*6
*14
00–7F
*6
*6
*14
00–7F
00–7F
00/7F
00–7F
00–7F
00–7F
64 : PH / AutoWah
PH Man
100–620–8k
+ PH Rate
0.05–0.85–10.0
PH Depth
0–64–127
PH Reso
0–16–127
PH Mix
0–127
PH Pan
L63–0–R63
PH Level
0–127
AW Filter
LPF/BPF
AW Sens
0–127
# AW Man
0–68–127
AW Peak
0–62–127
AW Rate
0.05–2.05–10.0
AW Depth
0–72–127
AW Pol
Down/Up
AW Pan
L63–0–R63
AW Level
0–127
Level
0–127
*12
*6
00–7F
00–7F
00–7F
00–7F
00–7F
00/01
00–7F
00–7F
00–7F
*6
00–7F
00/01
00–7F
00–7F
00–7F
MSB/LSB (H)
11
07
03
04
05
06
07
12
13
08
09
0A
0B
0C
0D
0E
0F
10
11
14
15
16
11
08
03
04
05
06
07
12
13
08
09
0A
0B
0C
0D
0E
14
15
16
223
Appendices
Effect Parameter Value Conversion Table
Here is a table for converting between the hexadecimal value and the actual setting for each parameter. These parameters are used
in the following effect types.
1. Pre Delay Time
10: Stereo Flanger
11: Step Flanger
16: Hexa Chorus
17: Tremolo Chorus
18: Stereo Chorus
19: Space-D
20: 3D Chorus
26: Reverb
27: Gate Reverb
29: 2 Pitch Shifter
30: Fb P.Shifter
35: OD → Chorus
36: OD → Flanger
38: DS → Chorus
39: DS → Flanger
41: EH → Chorus
42: EH → Flanger
44: Cho → Delay
45: FL → Delay
46: Cho → Flanger
54: Rhodes Multi
56: Cho/Delay
57: FL/Delay
58: Cho/Flanger
Value
(Hex.)
00
01
02
03
04
05
06
07
08
09
0A
0B
0C
0D
0E
0F
10
11
12
13
14
15
16
17
18
19
1A
1B
1C
1D
1E
1F
20
21
22
23
24
25
26
27
28
29
2A
2B
2C
2D
2E
2F
224
Value
(Dec.)
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
1
Pre Delay
Time
(ms)
0.0
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1.0
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
2.0
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
3.0
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
4.0
4.1
4.2
4.3
4.4
4.5
4.6
4.7
2. Delay Time1
23: 3 Tap Delay
24: 4 Tap Delay
3. Delay Time2
25: Tm Ctrl Delay
4. Delay Time3
21: Stereo Delay
22: Mod Delay
28: 3D Delay
37: OD → Delay
40: DS → Delay
43: EH → Delay
44: Cho → Delay
45: FL → Delay
56: Cho/Delay
57: FL/Delay
5. Delay Time4
48: GTR Multi 1
50: GTR Multi 3
51: Clean Gt Multi 1
52: Clean Gt Multi 2
55: Keyboard Multi
2
Delay
Time 1
(ms)
200
205
210
215
220
225
230
235
240
245
250
255
260
265
270
275
280
285
290
295
300
305
310
315
320
325
330
335
340
345
350
355
360
365
370
375
380
385
390
395
400
405
410
415
420
425
430
435
3
Delay
Time 2
(ms)
200
205
210
215
220
225
230
235
240
245
250
255
260
265
270
275
280
285
290
295
300
305
310
315
320
325
330
335
340
345
350
355
360
365
370
375
380
385
390
395
400
405
410
415
420
425
430
435
4
Delay
Time 3
(ms)
0.0
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1.0
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
1.9
2.0
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
3.0
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
4.0
4.1
4.2
4.3
4.4
4.5
4.6
4.7
6. Rate1
07: Phaser
08: Auto Wah
09: Rotary
10: Stereo Flanger
11: Step Flanger
12: Tremolo
13: Auto Pan
16: Hexa Chorus
17: Tremolo Chorus
18: Stereo Chorus
19: Space-D
20: 3D Chorus
22: Mod Delay
31: 3D Auto
35: OD → Chorus
36: OD → Flanger
38: DS → Chorus
39: DS → Flanger
41: EH → Chorus
42: EH → Flanger
44: Cho → Delay
45: FL → Delay
46: Cho → Flanger
47: Rotary Multi
5
Delay
Time 4
(ms)
0
5
10
15
20
25
30
35
40
45
50
55
60
65
70
75
80
85
90
95
100
105
110
115
120
125
130
135
140
145
150
155
160
165
170
175
180
185
190
195
200
205
210
215
220
225
230
235
56: Cho/Delay
57: FL/Delay
58: Cho/Flanger
60: OD/Rotary
61: OD/Phaser
62: OD/Auto Wah
63: PH/Rotary
64: PH/Auto Wah
7. Rate 2
48: GTR Multi 1
49: GTR Multi 2
50: GTR Multi 3
51: Clean Gt Multi 1
52: Clean Gt Multi 2
53: Bass Multi
54: Rhodes Multi
55: Keyboard Multi
8. HF Damp
21: Stereo Delay
22: Mod Delay
23: 3 Tap Delay
24: 4 Tap Delay
25: Tm Ctrl Delay
6
7
Rate1
(Hz)
0.05
0.10
0.15
0.20
0.25
0.30
0.35
0.40
0.45
0.50
0.55
0.60
0.65
0.70
0.75
0.80
0.85
0.90
0.95
1.00
1.05
1.10
1.15
1.20
1.25
1.30
1.35
1.40
1.45
1.50
1.55
1.60
1.65
1.70
1.75
1.80
1.85
1.90
1.95
2.00
2.05
2.10
2.15
2.20
2.25
2.30
2.35
2.40
Rate2
(Hz)
0.05
0.10
0.15
0.20
0.25
0.30
0.35
0.40
0.45
0.50
0.55
0.60
0.65
0.70
0.75
0.80
0.85
0.90
0.95
1.00
1.05
1.10
1.15
1.20
1.25
1.30
1.35
1.40
1.45
1.50
1.55
1.60
1.65
1.70
1.75
1.80
1.85
1.90
1.95
2.00
2.05
2.10
2.15
2.20
2.25
2.30
2.35
2.40
8
HF
Damp
(Hz)
315
“
“
“
“
“
“
“
400
“
“
“
“
“
“
“
500
“
“
“
“
“
“
“
630
“
“
“
“
“
“
“
800
“
“
“
“
“
“
“
1000
“
“
“
“
“
“
“
9
Cutoff
Freq
(Hz)
250
“
“
“
“
“
“
“
315
“
“
“
“
“
“
“
400
“
“
“
“
“
“
“
500
“
“
“
“
“
“
“
630
“
“
“
“
“
“
“
800
“
“
“
“
“
“
“
26: Reverb
28: 3D Delay
37: OD → Delay
40: DS → Delay
43: EH → Delay
44: Cho → Delay
45: FL → Delay
51: Clean Gt Multi 1
56: Cho/Delay
57: FL/Delay
9. Cutoff Freq
10: Stereo Flanger
18: Stereo Chorus
34: Lo-Fi 2
10. EQ Freq
01: Stereo-EQ
47: Rotary Multi
49: GTR Multi 2
51: Clean Gt Multi 1
52: Clean Gt Multi 2
53: Bass Multi
55: Keyboard Multi
10
EQ
Freq
(Hz)
200
“
“
“
“
“
“
“
250
“
“
“
“
“
“
“
315
“
“
“
“
“
“
“
400
“
“
“
“
“
“
“
500
“
“
“
“
“
“
“
630
“
“
“
“
“
“
“
11. LPF
34: Lo-Fi 2
54: Rhodes Multi
12. Manual
07: Phaser
54: Rhodes Multi
55: Keyboard Multi
61: OD/Phaser
63: PH/Rotary
64: PH/Auto Wah
13. Azimuth
31: 3D Auto
32: 3D Locate
14. Accl
04: Humanizer
09: Rotary
60: OD/Rotary
63: PH/Rotary
11
12
LPF
(Hz)
250
“
“
“
“
“
“
“
315
“
“
“
“
“
“
“
400
“
“
“
“
“
“
“
500
“
“
“
“
“
“
“
630
“
“
“
“
“
“
“
800
“
“
“
“
“
“
“
Manual
(Hz)
100
110
120
130
140
150
160
170
180
190
200
210
220
230
240
250
260
270
280
290
300
320
340
360
380
400
420
440
460
480
500
520
540
560
580
600
620
640
660
680
700
720
740
760
780
800
820
840
13
Azimuth
(deg)
L180(=R180)
“
“
“
“
“
L168
“
“
“
L156
“
“
“
L144
“
“
“
L132
“
“
“
L120
“
“
“
L108
“
“
“
L96
“
“
“
L84
“
“
“
L72
“
“
“
L60
“
“
“
L48
“
14
Accl
0
“
“
“
“
“
“
“
1
“
“
“
“
“
“
“
2
“
“
“
“
“
“
“
3
“
“
“
“
“
“
“
4
“
“
“
“
“
“
“
5
“
“
“
“
“
“
“
Appendices
Value
(Hex.)
30
31
32
33
34
35
36
37
38
39
3A
3B
3C
3D
3E
3F
40
41
42
43
44
45
46
47
48
49
4A
4B
4C
4D
4E
4F
50
51
52
53
54
55
56
57
58
59
5A
5B
5C
5D
5E
5F
60
61
62
63
64
65
66
67
68
69
6A
6B
6C
6D
6E
6F
70
71
72
73
74
75
76
77
78
79
7A
7B
7C
7D
7E
7F
Value
(Dec.)
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
1
Pre Delay
Time
(ms)
4.8
4.9
5.0
5.5
6.0
6.5
7.0
7.5
8.0
8.5
9.0
9.5
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
52
54
56
58
60
62
64
66
68
70
72
74
76
78
80
82
84
86
88
90
92
94
96
98
100
100
100
2
Delay
Time 1
(ms)
440
445
450
455
460
465
470
475
480
485
490
495
500
505
510
515
520
525
530
535
540
545
550
560
570
580
590
600
610
620
630
640
650
660
670
680
690
700
710
720
730
740
750
760
770
780
790
800
810
820
830
840
850
860
870
880
890
900
910
920
930
940
950
960
970
980
990
1000
–
–
–
–
–
–
–
–
–
–
–
–
3
Delay
Time 2
(ms)
440
445
450
455
460
465
470
475
480
485
490
495
500
505
510
515
520
525
530
535
540
545
550
555
560
565
570
575
580
585
590
595
600
610
620
630
640
650
660
670
680
690
700
710
720
730
740
750
760
770
780
790
800
810
820
830
840
850
860
870
880
890
900
910
920
930
940
950
960
970
980
990
1000
1000
1000
1000
1000
1000
1000
1000
4
Delay
Time 3
(ms)
4.8
4.9
5.0
5.5
6.0
6.5
7.0
7.5
8.0
8.5
9.0
9.5
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
50
60
70
80
90
100
110
120
130
140
150
160
170
180
190
200
210
220
230
240
250
260
270
280
290
300
320
340
360
380
400
420
440
460
480
500
500
5
Delay
Time 4
(ms)
240
245
250
255
260
265
270
275
280
285
290
295
300
305
310
315
320
325
330
335
340
345
350
355
360
365
370
375
380
385
390
395
400
405
410
415
420
425
430
435
440
445
450
455
460
465
470
475
480
485
490
495
500
505
510
515
520
525
530
535
540
545
550
555
560
565
570
575
580
585
590
595
600
605
610
615
620
625
630
635
6
7
Rate1
(Hz)
2.45
2.50
2.55
2.60
2.65
2.70
2.75
2.80
2.85
2.90
2.95
3.00
3.05
3.10
3.15
3.20
3.25
3.30
3.35
3.40
3.45
3.50
3.55
3.60
3.65
3.70
3.75
3.80
3.85
3.90
3.95
4.00
4.05
4.10
4.15
4.20
4.25
4.30
4.35
4.40
4.45
4.50
4.55
4.60
4.65
4.70
4.75
4.80
4.85
4.90
4.95
5.00
5.10
5.20
5.30
5.40
5.50
5.60
5.70
5.80
5.90
6.00
6.10
6.20
6.30
6.40
6.50
6.60
6.70
6.80
6.90
7.00
7.50
8.00
8.50
9.00
9.50
10.00
10.00
10.00
Rate2
(Hz)
2.45
2.50
2.55
2.60
2.65
2.70
2.75
2.80
2.85
2.90
2.95
3.00
3.05
3.10
3.15
3.20
3.25
3.30
3.35
3.40
3.45
3.50
3.55
3.60
3.65
3.70
3.75
3.80
3.85
3.90
3.95
4.00
4.05
4.10
4.15
4.20
4.25
4.30
4.35
4.40
4.45
4.50
4.55
4.60
4.65
4.70
4.75
4.80
4.85
4.90
4.95
5.00
5.05
5.10
5.15
5.20
5.25
5.30
5.35
5.40
5.45
5.50
5.55
5.60
5.65
5.70
5.75
5.80
5.85
5.90
5.95
6.00
6.05
6.10
6.15
6.20
6.25
6.30
6.35
6.40
8
HF
Damp
(Hz)
1250
“
“
“
“
“
“
“
1600
“
“
“
“
“
“
“
2000
“
“
“
“
“
“
“
2500
“
“
“
“
“
“
“
3150
“
“
“
“
“
“
“
4000
“
“
“
“
“
“
“
5000
“
“
“
“
“
“
“
6300
“
“
“
“
“
“
“
8000
“
“
“
“
“
“
“
Bypass
“
“
“
“
“
“
“
9
Cutoff
Freq
(Hz)
1000
“
“
“
“
“
“
“
1250
“
“
“
“
“
“
“
1600
“
“
“
“
“
“
“
2000
“
“
“
“
“
“
“
2500
“
“
“
“
“
“
“
3150
“
“
“
“
“
“
“
4000
“
“
“
“
“
“
“
5000
“
“
“
“
“
“
“
6300
“
“
“
“
“
“
“
8000
“
“
“
“
“
“
“
10
EQ
Freq
(Hz)
800
“
“
“
“
“
“
“
1000
“
“
“
“
“
“
“
1250
“
“
“
“
“
“
“
1600
“
“
“
“
“
“
“
2000
“
“
“
“
“
“
“
2500
“
“
“
“
“
“
“
3150
“
“
“
“
“
“
“
4000
“
“
“
“
“
“
“
5000
“
“
“
“
“
“
“
6300
“
“
“
“
“
“
“
11
12
13
14
LPF
(Hz)
1000
“
“
“
“
“
“
“
1250
“
“
“
“
“
“
“
1600
“
“
“
“
“
“
“
2000
“
“
“
“
“
“
“
2500
“
“
“
“
“
“
“
3150
“
“
“
“
“
“
“
4000
“
“
“
“
“
“
“
5000
“
“
“
“
“
“
“
6300
“
“
“
“
“
“
“
Bypass
“
“
“
“
“
“
“
Manual
(Hz)
860
880
900
920
940
960
980
1000
1100
1200
1300
1400
1500
1600
1700
1800
1900
2000
2100
2200
2300
2400
2500
2600
2700
2800
2900
3000
3100
3200
3300
3400
3500
3600
3700
3800
3900
4000
4100
4200
4300
4400
4500
4600
4700
4800
4900
5000
5100
5200
5300
5400
5500
5600
5700
5800
5900
6000
6100
6200
6300
6400
6500
6600
6700
6800
6900
7000
7100
7200
7300
7400
7500
7600
7700
7800
7900
8000
8000
8000
Azimuth
(deg)
“
“
L36
“
“
“
L24
“
“
“
L12
“
“
“
0
“
0
“
R12
“
“
“
R24
“
“
“
R36
“
“
“
R48
“
“
“
R60
“
“
“
R72
“
“
“
R84
“
“
“
R96
“
“
“
R108
“
“
“
R120
“
“
“
R132
“
“
“
R144
“
“
“
R156
“
“
“
R168
“
“
“
R180(=L180)
“
“
“
“
“
Accl
6
“
“
“
“
“
“
“
7
“
“
“
“
“
“
“
8
“
“
“
“
“
“
“
9
“
“
“
“
“
“
“
10
“
“
“
“
“
“
“
11
“
“
“
“
“
“
“
12
“
“
“
“
“
“
“
13
“
“
“
“
“
“
“
14
“
“
“
“
“
“
“
15
“
“
“
“
“
“
“
225
Appendices
MIDI Implementation
The SC-8850 implements additional functionality and parameters over and above the SC88Pro, which itself was an expansion of the GS sound generator format. These functions and
parameters are marked by a [8850] symbol. If MIDI messages marked by a [8850] symbol
are transmitted to another GS format sound generator or to the SC-88Pro, those messages
may not be recognized.
1. Receive data
●Note off
2nd byte
kkH
kkH
3rd byte
vvH
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
kk = note number:
00H – 7FH (0 – 127)
vv = note off velocity:
00H – 7FH (0 – 127)
*
*
For Drum Parts, these messages are received when Rx.NOTE OFF = ON for each
Instrument.
The velocity values of Note Off messages are ignored.
●Note on
Status
9nH
2nd byte
kkH
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
kk = note number:
00H – 7FH (0 – 127)
vv = note on velocity:
01H – 7FH (1 – 127)
*
*
*
*
■Channel Voice Messages
Status
8nH
9nH
Model SC-8850 Version 1.00 '99.5
Not received when Rx.NOTE MESSAGE = OFF. (Initial value is ON)
For Drum Parts, these messages are not received when Rx.NOTE ON = OFF for each
Instrument.
The SC-8850 recognizes the Bank Select LSB (Controller number 32) as a flag for
switching between the SC-55MAP, the SC-88MAP, the SC-88ProMAP, and the SC8850MAP. With a Bank Select LSB of 00H, the map selected by the front panel INST
MAP button will be selected. With an LSB of 01H, the SC-55MAP and with an LSB of
02H, the SC-88MAP, and with an LSB of 03H, the SC-88Pro MAP, and with an LSB of
04H, the SC-8850MAP will be selected respectively.
Some other GS devices do not recognize the Bank Select LSB (Controller number 32).
❍Modulation (Controller number 1)
Status
BnH
2nd byte
01H
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Modulation depth:
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)
Status
BnH
2nd byte
05H
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Portamento Time:
00H – 7FH (0 – 127), Initial value = 00H (0)
*
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
3rd byte
mmH
llH
●Polyphonic Key Pressure
n = MIDI channel number: 0H – FH (Ch.1 – 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
Status
AnH
❍Volume (Controller number 7)
2nd byte
kkH
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
kk = note number:
00H – 7FH (0 – 127)
vv = key pressure:
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.
*
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.
❍Bank Select (Controller number 0, 32)
Status
BnH
BnH
2nd byte
00H
20H
3rd byte
mmH
llH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
mm = Bank number MSB: 00H – 7FH (GS Variation number 0 – 127), Initial value = 00H
ll = Bank number LSB:
00H – 04H (MAP), Initial value = 00H
*
*
*
*
*
*
*
Not received when Rx.BANK SELECT = OFF.
“Rx.BANK SELECT” is set to OFF by “GM1 System On,” and Bank Select messages 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.
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Volume:
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
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = pan:
00H – 40H – 7FH (Left – Center – Right),
Initial value = 40H (Center)
*
*
For Rhythm Parts, this is a relative adjustment of each Instrument's pan setting.
Not received when Rx.PANPOT = OFF. (Initial value is ON)
❍Expression (Controller number 11)
Status
BnH
2nd byte
0BH
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Expression:
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)
❍Hold 1 (Controller number 64)
Status
BnH
2nd byte
40H
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Control value:
00H – 7FH (0 – 127)
*
226
2nd byte
07H
❍Pan (Controller number 10)
●Control Change
*
Status
BnH
Not received when Rx.HOLD1 = OFF. (Initial value is ON)
Appendices
❍Portamento (Controller number 65)
❍Vibrato Depth (Controller number 77)
Status
BnH
Status
BnH
2nd byte
41H
n = MIDI channel number:
vv = Control value:
*
3rd byte
vvH
0H – FH (Ch.1 – 16)
00H – 7FH (0 – 127) 0 – 63 = OFF, 64 – 127 = ON
2nd byte
4DH
[8850]
3rd byte
vvH
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Vibrato Depth Value (relative change): 00H – 7FH (-64 – 0 – +63)
Initial Value = 40H (no change)
Not received when Rx.PORTAMENTO = OFF. (Initial value is ON)
❍Vibrato Delay (Controller number 78)
Status
BnH
❍Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
vvH
Not received when Rx.SOSTENUTO = OFF. (Initial value is ON)
❍Portamento control (Controller number 84)
Status
BnH
❍Soft (Controller number 67)
Status
BnH
2nd byte
43H
[8850]
3rd byte
vvH
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Vibrato Delay value (relative change): 00H – 7FH (-64 – 0 – +63),
Initial value=40H (no change)
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Control value:
00H – 7FH (0 – 127) 0 – 63 = OFF, 64 – 127 = ON
*
2nd byte
4EH
3rd byte
vvH
2nd byte
54H
3rd byte
kkH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
kk = source note number: 00H – 7FH (0 – 127)
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Control value:
00H – 7FH (0 – 127) 0 – 63 = OFF, 64 – 127 = ON
*
*
*
Not received when Rx.SOFT = OFF. (Initial value is ON)
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.
❍Filter Resonance (Timbre/Harmonic Intensity) (Controller number 71)
[8850]
*
Status
BnH
Example 1.
On MIDI
90 3C 40
B0 54 3C
90 40 40
80 3C 40
80 40 40
Description
Note on C4
Portamento Control from C4
Note on E4
Note off C4
Note off E4
Result
C4 on
no change
glide from C4 to E4
no change
E4 off
Example 2.
On MIDI
B0 54 3C
90 40 40
80 40 40
Description
Portamento Control from C4
Note on E4
Note off E4
Result
no change
E4 is played with glide from C4 to E4
E4 off
2nd byte
47H
n = MIDI channel number:
vv= Resonance value (relative change):
3rd byte
vvH
0H – FH(Ch.1 – 16)
00H – 7FH(-64 – 0 – +63),
Initial value = 40H (no change)
❍Release Time (Controller number 72)
Status
BnH
2nd byte
48H
n = MIDI channel number:
vv = Release Time value (relative change):
0H – FH(Ch.1 – 16)
00H – 7FH (-64 – 0 – +63),
Initial value = 40H (no change)
❍Attack time (Controller number 73)
Status
BnH
2nd byte
49H
[8850]
3rd byte
vvH
[8850]
❍Effect 1 (Reverb Send Level) (Controller number 91)
3rd byte
vvH
Status
BnH
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Attack time value (relative change): 00H – 7FH (-64 – 0 – +63),
Initial value=40H (no change)
❍Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH
[8850]
2nd byte
4BH
[8850]
3rd byte
vvH
Status
BnH
2nd byte
4CH
3rd byte
vvH
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Vibrato Rate value (relative change): 00H – 7FH (-64 – 0 – +63),
Initial value = 40H (no change)
This message adjusts the Reverb Send Level of each Part.
Status
BnH
2nd byte
5DH
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Chorus Send Level:
00H – 7FH (0 – 127), Initial value = 00H (0)
*
This message adjusts the Chorus Send Level of each Part.
❍Effect 4 (Delay Send Level) (Controller number 94)
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Decay Time value (relative change): 00H – 7FH (-64 – 0 – +63),
Initial value = 40H (no change)
❍Vibrato Rate (Controller number 76)
*
❍Effect 3 (Chorus Send Level) (Controller number 93)
n = MIDI channel number:
0H – FH (Ch.1 – 16)
vv = Cutoff value (relative change): 00H – 7FH(-64 – 0 – +63), Initial value = 40H (no
change)
Status
BnH
3rd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Reverb Send Level:
00H – 7FH (0 – 127), Initial value = 28H (40)
3rd byte
vvH
❍Decay Time (Controller number 75)
2nd byte
5BH
Status
BnH
[8850]
2nd byte
5EH
n=MIDI channel number:
vv=Delay Send Level:
*
*
3rd byte
vvH
0H – FH (Ch.1 – 16)
00H – 7FH (0 – 127), Initial value = 00H (0)
This message adjusts the Delay Send Level of each Part.
Some other GS devices may not recognize this message.
227
Appendices
❍NRPN MSB/LSB (Controller number 98, 99)
❍RPN MSB/LSB (Controller number 100, 101)
Status
BnH
BnH
Status
BnH
BnH
2nd byte
63H
62H
3rd byte
mmH
llH
2nd byte
65H
64H
3rd byte
mmH
llH
n = MIDI channel number:0H – FH (Ch.1 – 16)
mm = upper byte (MSB) of the parameter number specified by NRPN
ll = lower byte (LSB) of the parameter number specified by NRPN
n = MIDI channel number:
0H – FH (Ch.1 – 16)
mm = upper byte (MSB)of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
*
*
*
*
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. On the SC-8850, NRPN messages can be used to modify sound
parameters, etc.
To use these messages, you must first use NRPN messages (Controller number 98 and 99,
their order does not matter) to specify the parameter to be controlled, and then use Data
Entry messages (Controller number 6) 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 parameter. Refer to Section 5. Supplementary material Examples of actual MIDI
messages <Example 4> (page 244). On the SC-8850, Data entry LSB (Controller number
38) of NRPN is ignored, so it is no problem to send Data entry MSB (Controller number 6)
only (without Data entry LSB).
On the SC-8850, NRPN can be used to modify the following parameters.
NRPN
MSB LSB
01H 08H
Data entry
MSB
mmH
01H 09H
mmH
01H 0AH
mmH
01H 20H
mmH
01H 21H
mmH
01H 63H
mmH
01H 64H
mmH
01H 66H
mmH
18H rrH
mmH
1AH rrH
mmH
1CH rrH
mmH
1DH rrH
mmH
1EH rrH
mmH
1FH rrH
mmH
*
*
*
*
Function and range
Vibrato Rate (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
Vibrato Depth (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
Vibrato Delay (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
TVF Cutoff Frequency (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
TVF Resonance (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
TVF&TVA Envelope Attack Time (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
TVF&TVA Envelope Decay Time (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
TVF&TVA Envelope Release Time (relative change)
mm: 00H – 40H – 7FH (-64 – 0 – +63)
Drum Instrument Pitch Coarse (relative change)
rr: Drum Instrument note number
mm: 00H – 40H – 7FH (-64 – 0 – +63 semitone)
Drum Instrument TVA Level (absolute change)
rr: Drum Instrument note number
mm: 00H – 7FH (0 – max)
Drum Instrument Panpot (absolute change)
rr: Drum Instrument note number
mm: 00H, 01H – 40H – 7FH (random, left – center – right)
Drum Instrument Reverb Send Level (absolute change)
rr: Drum Instrument note number
mm: 00H – 7FH (0 – max)
Drum Instrument Chorus Send Level (absolute change)
rr: Drum Instrument note number
mm: 00H – 7FH (0 – max)
Drum Instrument Delay Send Level (absolute change)
rr: Drum Instrument note number
mm: 00H – 7FH (0 – max)
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.
It is not possible to simultaneously use both Chorus Send Level and Delay Send Level on
a single Drum Instrument.
Data entry LSB (llH) is ignored.
228
Not received when Rx.RPN = OFF.
The value specified by RPN will not be reset even by messages such as Program Change
or Reset All Controller.
**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 (Controller number 100 and 110, their order
does not matter) to specify the parameter to be controlled, and then use Data Entry
messages (Controller number 6, 38) 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 5. Examples of actual MIDI messages <Example 4>
(page 244).
On the SC-8850, RPN can be used to modify the following parameters.
RPN
MSB LSB
00H 00H
Data entry
MSB
LSB
mmH
---
00H 02H
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
00H 01H
mmH
llH
Master Fine Tuning
mm, ll: 00 00H – 40 00H – 7F 7FH (-100 – 0 – +99.99 cents),
Initial value = 40 00H (+/- 0 cent)
Refer to 5. Supplementary material, About the Tuning (page 245).
---
Master Coarse Tuning
mm: 28H – 40H – 58H (-24 – 0 – +24 semitones),
Initial value = 40H (+/-0 semitone)
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
●Program Change
Status
CnH
2nd byte
ppH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
pp = Program number:
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.
For Drum Parts, Program Change message will not be received on upper byte of the
bank numbers (the value of Control Number 0 is other than 0 (00H)).
●Channel Pressure
Status
DnH
2nd byte
vvH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
vv = Channel Pressure:
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.
Appendices
●Pitch Bend Change
Status
EnH
2nd byte
llH
●MONO (Controller number 126)
3rd byte
mmH
Status
BnH
2nd byte
7EH
3rd byte
mmH
n = MIDI channel number: 0H – FH (Ch.1 – 16)
mm, ll = Pitch Bend value: 00 00H – 40 00H – 7F 7FH (-8192 – 0 – +8191)
n = MIDI channel number: 0H – FH (Ch.1 – 16)
mm = mono number:
00H – 10H (0 – 16)
*
*
*
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.
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 “mm (mono number).”
■Channel Mode Messages
●POLY (Controller number 127)
●All Sounds Off (Controller number 120)
Status
BnH
Status
BnH
2nd byte
78H
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
*
Status
BnH
2nd byte
79H
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
*
When this message is received, the following controllers will be set to their reset values.
Controller
Pitch Bend Change
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
●All Notes Off (Controller number 123)
Status
BnH
2nd byte
7BH
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
●OMNI OFF (Controller number 124)
Status
BnH
2nd byte
7CH
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
*
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 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)
2nd byte
7FH
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.
■System Exclusive Message
Status
F0H
F0H:
ii = ID number:
dd,...,ee = data:
F7H:
Data byte
iiH, ddH, ......,eeH
Status
F7H
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)
The System Exclusive Messages received by the SC-8850 are; messages related to mode
settings, Universal Realtime System Exclusive messages, Data Requests (RQ1), and Data Set
(DT1).
●System Exclusive messages related to mode settings
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).”
The same processing will be carried out as when All Notes Off is received.
●OMNI ON (Controller number 125)
Status
BnH
2nd byte
7DH
3rd byte
00H
n = MIDI channel number: 0H – FH (Ch.1 – 16)
*
The same processing will be carried out as when All Notes Off is received.OMNI ON
will not be turned on.
229
Appendices
❍GM1 System On
●Universal Realtime System Exclusive Messages
This is a command message that resets the internal settings of the unit to the General MIDI 1
initial state. After receiving this message, the SC-8850 will automatically be set to the proper
condition for correctly playing a General MIDI score.
❍Master Volume
Status
F0H
Data byte
7EH, 7FH, 09H, 01H
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)
*
*
Status
F7H
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 message.
❍GM2 System On
[8850]
Status
F0H
Data byte
7EH 7FH 09H 03H
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)
*
Status
F7H
When this message is received, the SC-8850 will be able to receive the messages specified
by General MIDI 2, and use the General MIDI 2 sound map.
❍GM System Off
[8850]
“GM System Off” is a command message that resets the internal state of the SC-8850 from
the GM state to its native condition. The SC-8850 will reset to the GS default state.
Status
F0H
Byte
F0H
7EH
7FH
09H
02H
F7H
*
Data byte
7EH,7F,09H,02H
Status
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)
When this message is received, the SC-8850 will reset to the GS default state.
❍GS reset
GS Reset is a command message that resets the internal settings of a device to the GS initial
state. This message appears at the beginning of GS music data, and a GS device that receives
this message will automatically be set to the proper state to correctly play back GS music
data.
Status
F0H
Data byte
41H, dev, 42H, 12H, 40H, 00H, 7FH, 00H, 41H
Byte
F0H
41H
dev
42H
12H
40H
00H
7FH
00H
41H
F7H
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)
*
*
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.
230
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)
*
Status
F7H
The lower byte (llH) of Master Volume will be handled as 00H.
❍Master Fine Tuning
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)
mm, ll : 00 00H – 40 00H – 7F 7FH(-100 – 0 – +99.9 [cents])
[8850]
Status
F7H
Appendices
❍Master Coarse Tuning
[8850]
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)
Status
F7
pp=2
pp=3
pp=4
●Global Parameter Control
Parameters of the Global Parameter Control are newly provided for the General MIDI 2.
[8850]
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)
Status
F7H
Reverb Time
vv = 00H – 7FH
0 – 127
0 – 127
0 – 127
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
[8850]
Status
F7H
❍Controller
Reverb Type
vv = 00H
Small Room (Room1)
vv = 01H
Medium Room (Room2)
vv = 02H
Large Room (Room3)
vv = 03H
Medium Hall (Hall1)
vv = 04H
Large Hall (Hall2)
vv = 08H
Plate (Plate)
The SC-8850 displays Reverb Type as described in the parenthesis.
pp=1
0 – 127
Status
F0H
pp=1
pp=0
*
Mod Rate
vv= 00H – 7FH
Mod Depth
vv = 00H – 7FH
Feedback
vv = 00H – 7FH
Send To Reverb
vv = 00H – 7FH
❍Channel Pressure
llH :
ignored (processed as 00H)
mmH : 28H – 40H – 58H (-24 – 0 – +24 [semitones])
❍Reverb Parameters
pp=1
0 – 127
❍Chorus Parameters
[8850]
Status
F0H
Data byte
7FH,7FH,04H,05H,01H,01H,01H,01H,02H,ppH,vvH
Status
F7H
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 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
Chorus1
vv=1
Chorus2
vv=2
Chorus3
vv=3
Chorus4
vv=4
FB Chorus
vv=5
Flanger
[8850]
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
pp=3
pp=4
pp=5
Status
F7H
231
Appendices
❍Scale/Octave Tuning Adjust
[8850]
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)
ggH
hhH
ssH
F7H
Status
F7
❍Key-Based Instrument Controllers
The SC-8850 can use Exclusive messages to transmit internal settings to other devices. There
are two types of Exclusive data transmission; Individual Parameter Transmission (page 233)
in which single parameters are transmitted one by one, and Bulk Dump Transmission (page
242) in which a large amount of data is transmitted at once.
The Exclusive message used when transmitting GS format data has a model ID of 42H and a
device ID of 10H. (The SC-8850 allows you to change the Device ID setting.)
❍Request data 1
Data byte
Status
7FH,7FH,0AH,01H,0nH,kkH,nnH,vvH... F7H
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
F7
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 – 0F)
Key Number
Control Number
Value
EOX (End Of Exclusive)
RQ1 (11H)
This message requests the other device to send data. The Address and Size determine the
type and amount of data to be sent. There are two types of request; Individual Parameter
Request which requests data for an individual parameter, and Bulk Dump Request which
requests a large amount of data at once. In either case, the “Data Request 1 (RQ1)” message
format is used, and the Address and Size included in the message determine the type and
amount of data that is desired.
For Individual Parameter Request, refer to 3. Individual Parameter Transmission (page
233).
For Bulk Dump Request, refer to 4. Bulk Dump (page 242).
When a Data Request message is received, if the device is ready to transmit data and if the
address and size are appropriate, the requested data will be transmitted as a “Data Set 1
(DT1)” message. If not, nothing will be transmitted.
[8850]
Status
F0H
●Data transmission
Level
vv = 00H – 7FH
0 – 200% (Relative)
nn=0AH
Pan
vv = 00H – 7FH
Left – Right (Absolute)
nn=5BH
Reverb Send
vv = 00H – 7FH
0 – 127 (Absolute)
nn=5D
Chorus Send
vv = 00H – 7FH
0 – 127 (Absolute)
* This parameter affects drum instruments only.
Status
F0H
Data byte
41H, dev, 42H, 11H, aaH, bbH, ccH, ssH, ttH, uuH, sum
Status
F7H
Byte
F0H
41H
dev
42H
11H
aaH
bbH
ccH
ssH
ttH
uuH
sum
F7H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H – 1FH Initial value is 10H(17))
Model ID (GS)
Command ID (RQ1)
Address MSB: upper byte of the starting address of the requested data
Address:
middle byte of the starting address of the requested data
Address LSB: lower byte of the starting address of the requested data
Size MSB
Size
Size LSB
Checksum
EOX
(End Of Exclusive)
nn=07H
●Universal Non-realtime System Exclusive Messages
❍Identity Request Message
Status
F0H
Data byte
7EH, dev, 06H, 01H
Byte
F0H
7EH
dev
06H
01H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 00H – 1FH (1 – 32), the initial value is 10H (17).)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
*
The “dev” is own device number or 7FH (Broadcast)
Status
F7H
*
*
❍Data set 1 DT1 (12H)
This is the message that actually performs data transmission, and is used when you wish to
transmit the data.
Status
F0H
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum
Byte
F0H
41H
dev
42H
12H
aaH
bbH
ccH
ddH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H – 1FH Initial value is 10H(17))
Model ID
(GS), 45H
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)
:
eeH
sum
F7H
*
*
*
232
The amount of data that can be transmitted at one time will depend on the type of data,
and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in Section 3. Individual Parameter Transmission (page 233).
Regarding the checksum, please refer to Section 5 (p.245)
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. Individual Parameter Transmission (page 233).
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 5 (p.245)
Appendices
2. Transmit data
3. Individual Parameter Transmission
(Model ID=45H or 42H)
■System Realtime Message
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 by “#” cannot be used as starting
addresses.
●Active sensing
Status
FEH
*
This will be transmitted constantly at intervals of approximately 250 ms.
■Address Block map
■System Exclusive messages
An outlined address map of the Individual Parameter Transmission is as follows;
“Identity Reply” and “Data Set 1 (DT1)” are the only System Exclusive messages
transmitted by the SC-8850.
When an appropriate “Identity Request Message” and “Data Request 1 (RQ1)” message are
received, the requested internal data will be transmitted.
<Model ID = 45H>
fig.11-14e
Address (H)
10 00 00
❍Identity Reply
Status
F0H
Data byte
7EH, dev, 06H, 02H, 41H, 42H, 00H, 00H, 06H, ssH, ssH, ssH, ssH
Byte
FOH
7EH
dev
06H
02H
41H
42H
00H
00H
06H
ssH
ssH
ssH
ssH
F7H
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)
Block
Display Data
Status
F7H
<Model ID = 42H>
*
●Port-A
fig.11-15e
Address (H)
00 00 00
20 00 00
21 00 00
40 00 00
40 10 00
41 00 00
Block
SYSTEM
USER TONE BANK
USER DRUM SET
PATCH COMMON
#A
PATCH PART
(BLOCK00-0F)
A
DRUM SETUP
A
Reply the message by the unique device ID (dev) when the device has received the
“Identity Request Message” in the Broadcast.
❍Data set 1DT1 (12H)
Status
F0H
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum
Byte
F0H
41H
dev
42H
12H
aaH
bbH
ccH
ddH
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H – 1FH, Initial value is 10H)
Model ID (GS)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be sent
Address: middle byte of the starting address of the data to be sent
Address LSB: lower byte of the starting address of the data to be sent.
Data: the actual data to be sent. Multiple bytes of data are transmitted in
order starting from the address.
:
Data
Checksum
EOX (End Of Exclusive)
:
eeH
sum
F7H
*
*
*
Status
F7H
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the
Address and Size given in Section 3. Individual Parameter Transmission (page 233).
Data larger than 128 bytes will be divided into packets of 128 bytes or less, and each
packet will be sent at an interval of about 40 ms.
Regarding the checksum, please refer to Section 5 (p.245)
There are two ways in which GS data is transmitted: Individual Parameter Transmission
(Section 3 page 233) in which individual parameters are transmitted one by one, and Bulk
Dump Transmission (Section 4 page 242) in which a large amount of data is transmitted at
once.
233
Appendices
■Parameter address map
This map indicates address, size, Data (range), Parameter, Description, and Default Value of parameters which can be transferred using “Request data 1 (RQ1)” and “Data set 1 (DT1)”. All the
numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form. Numbers in the explanatory column are given in decimal notation. The MODEL ID = 45H parameters
are related to LCD display.
< MODEL ID = 45H >
●Display data
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value(H)
10 00 00
10 00 01#
10 00 02#
:
10 00 1F#
00 00 20
20 – 7F
Displayed Letter
32 – 127(ASCII)
---
*
When this message is received, a character string specified by the data will be temporarily displayed in the Instrument display area. A character string of 1 to 32 characters can be received. If
more than 16 characters are received, the display will automatically be scrolled.
Address(H)
Size(H)
Data(H)
Parameter
10 01 00
00 00 40
00 – 1F
Displayed
Dot Data d00
Dot Data d01
Dot Data d02
Dot Data :
Dot Data d63
10 01 01#
10 01 02#
10 01 :
10 01 3F#
bit
*
*
4
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
1
:
3
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
2
2
d00
d01
d02
d03
d04
d05
d06
d07
d08
d09
d10
d11
d12
d13
d14
d15
3
1
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
4
0
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
5
4
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
6
3
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
7
2
d16
d17
d18
d19
d20
d21
d22
d23
d24
d25
d26
d27
d28
d29
d30
d31
8
1
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
9
0
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
10
4
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
[*
11
3
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
12
2
d32
d33
d34
d35
d36
d37
d38
d39
d40
d41
d42
d43
d44
d45
d46
d47
13
1
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
14
0
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
*]
15
Description
Default Value(H)
00 – 31
---
4
[d48]
[d49]
[d50]
[d51]
[d52]
[d53]
[d54]
[d55]
[d56]
[d57]
[d58]
[d59]
[d60]
[d61]
[d62]
[d63]
16
For example, [ * * d00 * * ] indicates the five dots in the upper left of the display.
The bit pattern of bits 4 – 0 (lower 5 bits) of the data byte turns the dots on/off. However, in the case of d48 – d63, only bit 4 turns the dot on/off.
d00: 0--*****
d01: 0--*****
|
d47: 0--*****
d48: 0--*---|
d63: 0--*----
234
*: dot is unlit for 0, lit for 1
-: dot display is not affected whether this is 0 or 1
Appendices
●System Parameters
Parameters affecting the entire unit, such as how the two MIDI IN connectors will function, are called System Parameters.
<MODEL ID = 42H>
Address(H)
Size(H)
Data(H)
Parameter
00 00 7F
00 00 01
00 – 01
SYSTEM MODE SET
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 – 03
:
00 – 03
00 – 03
:
00 – 03
00 – 03
:
00 – 03
00 – 03
:
00 – 03
CHANNEL MSG RX PORT
BLOCK00
:
BLOCK0F
BLOCK10
:
BLOCK1F
BLOCK20
:
BLOCK2F
BLOCK30
:
BLOCK3F
*
00 01 00
:
00 01 0F
00 01 10
:
00 01 1F
00 01 20
:
00 01 2F
00 01 30
:
00 01 3F
*
*
Description
Default(H)
Description
00
MODE-1
00: MODE-1 (Single module mode)
(Rx. only)
When the Data value 00 is received, the same processing will be carried out as when GS Reset is received. Other values are ignored.
PORT A – D
PORT A – D
PORT A – D
PORT A – D
PORT A – D
PORT A – D
PORT A – D
PORT A – D
00
:
00
01
:
01
02
:
02
03
:
03
PORT A
PORT A
PORT B
PORT B
PORT C [8850]
PORT C [8850]
PORT D [8850]
PORT D [8850]
You can modify the receiving MIDI port at which channel messages will be received for each BLOCK. We suggest that normally you use PORT A for BLOCK00 – 0F, PORT B for BLOCK10 –
1F, PORT C for BLOCK20 – 2F, and PORT D for BLOCK30 – 3F. (In this case there is no need to change the setting.)
Refer to page 237 for details of each BLOCK.
●Patch parameters
❍Patch common parameters
The parameters common to all Parts in each module are called Patch Common parameters.
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
40 00 00
40 00 01#
40 00 02#
40 00 03#
00 00 04
0018 – 07E8
MASTER TUNE
-100.0 – +100.0 [cents]
Use nibblized data.
00 04 00 00
0 [cents]
0 – 127
(= F0 7F 7F 04 01 00 vv F7)
-24 – +24 [semitones]
-63 (LEFT) – +63 (RIGHT)
00 = GS Reset
(Rx. only)
7F
127
40
40
0 [semitones]
0 (CENTER)
04
Hall 2
04
00
40
40
00
00
4
0
64
64
0
0
*
Refer to section 5. Supplementary material, About the Tuning (page 245).
40 00 04
00 00 01
00 – 7F
MASTER VOLUME
40 00 05
40 00 06
40 00 7F
00 00 01
00 00 01
00 00 01
28 – 58
01 – 7F
00
MASTER KEY-SHIFT
MASTER PAN
MODE SET
40 01 00
40 01 : #
40 01 0F#
40 01 30
00 00 10
20 – 7F
PATCH NAME
16 ASCII Characters
00 00 01
00 – 07
REVERB MACRO
40 01 31
40 01 32
40 01 33
40 01 34
40 01 35
40 01 37
00 00 01
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
00 – 7F
REVERB CHARACTER
REVERB PRE-LPF
REVERB LEVEL
REVERB TIME
REVERB DELAY FEEDBACK
REVERB PREDELAY TIME
00: Room 1
01: Room 2
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
0 – 127 [ms]
*
*
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 their 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.
235
Appendices
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
40 01 38
00 00 01
00 – 07
CHORUS MACRO
02
Chorus 3
40 01 39
40 01 3A
40 01 3B
40 01 3C
40 01 3D
40 01 3E
40 01 3F
40 01 40
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 – 07
00 – 7F
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
CHORUS SEND LEVEL TO DELAY
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
0-127
0-127
0-127
0-127
0-127
0-127
0-127
00
40
08
50
03
13
00
00
0
64
8
80
3
19
0
0
*
CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you select the chorus type with CHORUS MACRO, each chorus parameter will be set to their
most suitable value.
40 01 50
00 00 01
00 – 09
DELAY MACRO
40 01 51
40 01 52
40 01 53
40 01 54
40 01 55
40 01 56
40 01 57
40 01 58
40 01 59
40 01 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 – 07
01 – 73
01 – 78
01 – 78
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
DELAY PRE-LPF
DELAY TIME CENTER
DELAY TIME RATIO LEFT
DELAY TIME RATIO RIGHT
DELAY LEVEL CENTER
DELAY LEVEL LEFT
DELAY LEVEL RIGHT
DELAY LEVEL
DELAY FEEDBACK
DELAY SENDLEVEL TO REVERB
*
*
00
Delay1
00
61
01
01
7F
00
00
40
50
00
0
340
4
4
127
0
0
64
+16
0
DELAY MACRO is a macro parameter that allows global setting of delay parameters. When you select the delay type with DELAY MACRO, each delay parameter will be set to their most
suitable value.
The relation between the DELAY TIME CENTER value and the actual delay time is as follows.
DELAY TIME
01 – 14
14 – 23
23 – 2D
2D – 37
37 – 46
46 – 50
50 – 5A
5A – 69
69 – 73
*
00: Delay 1
01: Delay 2
02: Delay 3
03: Delay 4
04: Pan Delay 1
05: Pan Delay 2
06: Pan Delay 3
07: Pan Delay 4
08: Delay to Reverb
09: Pan Repeat
0–7
0.1 ms – 1 sec
4 – 500%
4 – 500%
0 – 127
0 – 127
0 – 127
0 – 127
-64 – +63
0 – 127
Time Range [ms]
0.1 – 2.0
2.0 – 5.0
5.0 – 10.0
10.0 – 20.0
20.0 – 50.0
50.0 – 100.0
100.0 – 200.0
200.0 – 500.0
500.0 – 1000.0
Resolution [ms]
0.1
0.2
0.5
1.0
2.0
5.0
10.0
20.0
50.0
DELAY TIME RATIO LEFT and DELAY TIME RATIO RIGHT specify the ratio in relation to DELAY TIME CENTER. The resolution is 100/24(%).
40 02 00
40 02 01
40 02 02
40 02 03
236
00 00 01
00 00 01
00 00 01
00 00 01
00 – 01
34 – 4C
00 – 01
34 – 4C
EQ LOW FREQ
EQ LOW GAIN
EQ HIGH FREQ
EQ HIGH GAIN
200Hz, 400Hz
-12 – +12dB
3kHz, 6kHz
-12 – +12dB
00
40
00
40
200Hz
0
3kHz
0
Appendices
Address(H)
Size(H)
Data(H)
Parameter
Default Value (H)
Description
40 03 00
40 03 01#
00 00 02
00 – 7F
EFX TYPE
00 00
00: Thru
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
*
Regarding EFX TYPE and EFX PARAMETER, please refer to page 91, 216
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
40 03 17
40 03 18
40 03 19
40 03 1B
40 03 1C
40 03 1D
40 03 1E
40 03 1F
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
EFX SEND LEVEL TO REVERB
EFX SEND LEVEL TO CHORUS
EFX SEND LEVEL TO DELAY
EFX CONTROL SOURCE1
EFX CONTROL DEPTH1
EFX CONTROL SOURCE2
EFX CONTROL DEPTH2
EFX SEND EQ SWITCH
0-127
0-127
0-127
Off, CC1-95, CAf, Bend
-100 – 0 – +100 [%]
Off, CC1 – 95, CAf, Bend
-100 – 0 – +100 [%]
OFF/ON
28
00
00
00
40
00
40
01
40
0
0
Off
0 (%)
Off
0 (%)
ON
*
EFX TYPE is a macro parameter which sets various Insertion Effect parameters as a group. When you use EFX TYPE to select an Insertion Effect type, each effect parameter will be set to the
most suitable value.
❍Patch Part parameters
The SC-8850 has 16 Parts in Group A, Group B, Group C, and Group D respectively. Parameters that can be set individually for each Part are called Patch Part parameters. If you specify a part in
Group A, specify the address 40 ** ** using the block number to the corresponding part from PORT A (normally MIDI IN 1). If you specify a part in Group B, specify the address 40 ** ** using the
block number to the corresponding part from PORT B (normally MIDI IN 2).
If you use Exclusive messages to set Patch 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),
Part 1
Part 2
:
Part 9
Part10
Part11
Part12
:
Part16
(default MIDIch = 1)
(default MIDIch = 2)
:
(default MIDIch = 9)
(default MIDIch =10)
(default MIDIch =11)
(default MIDIch =12)
:
(default MIDIch =16)
x=1
x=2
:
x=9
x=0
x=A
x=B
:
x=F
n... MIDI channel number (0 – F) of the BLOCK.
In the following map, the control numbers of the control changes are indicated as CC#.
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
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
00 00 02
00 – 7F
00 – 7F
00 – 10
00 – 01
00 – 01
00 – 01
00 – 01
00 – 01
00 – 01
00 – 01
00 – 01
TONE NUMBER
CC#00 VALUE 0 – 127
P.C. VALUE 1 – 128
1 – 16, OFF
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
OFF/ON
00
00
Same as the Part Number
01
01
01
01
01
01
01
00 (01*)
0
1
*
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
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
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.
237
Appendices
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
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
Mono/Poly
(=CC# 126 01/CC# 127 00)
01
Poly
40 1x 14
00 00 01
00 – 02
ASSIGN MODE
0 = SINGLE
1 = LIMITED-MULTI
2 = FULL-MULTI
SC-8850/SC-88Pro/SC-88 MAP
01
SC-55 MAP
00 at x=0
01 at x≠0
LIMITED-MULTI
SINGLE (Drum Part)
LIMITED-MULTI (Normal Part)
Single : If the same note is played multiple times in succession, the previously-sounding note will be completely silenced, and then the new note will be sounded.
LimitedMulti : If the same note is played multiple times in succession, the previously-sounding note will be continued to a certain extent even after the new note is sounded. (Default setting)
FullMulti : If the same note is played multiple times in succession, the previously-sounding note(s) will continue sounding for their natural length even after the new note is sounded.
*
ASSIGN MODE is the parameter that determines how voice assignment will be handled when sounds overlap on identical note numbers in the same channel (i.e., repeatedly struck notes).
This is initialized to a mode suitable for each Part, so for general purposes there is no need to change this.
40 1x 15
*
00 00 01
00 – 02
USE FOR RHYTHM PART
0 = OFF
1 = MAP1
2 = MAP2
00 at≠0
01 at x=0
OFF (Normal Part)
MAP1 (Drum Part)
This parameter sets the Drum Map of the Part used as the Drum Part. The SC-8850 can simultaneously (in different Parts) use up to two Drum Maps (MAP1, MAP2). With the initial settings,
Part10 (MIDI CH=10, x=0) is set to MAP1 (1), and other Parts are set to normal instrumental Parts (OFF(0)).
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
40 1x 16
40 1x 17
40 1x 18#
00 00 01
00 00 02
28 – 58
08 – F8
PITCH KEY SHIFT
PITCH OFFSET FINE
-24 – +24 [semitones]
-12.0 – +12.0 [Hz]
Use nibblized data.
40
08 00
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
PART LEVEL
40 1x 1A
40 1x 1B
40 1x 1C
00 00 01
00 00 01
00 00 01
00 – 7F
00 – 7F
00 – 7F
VELOCITY SENSE DEPTH
VELOCITY SENSE OFFSET
PART PANPOT
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
KEYBOARD RANGE LOW
KEYBOARD RANGE HIGH
CC1 CONTROLLER NUMBER
CC2 CONTROLLER NUMBER
CHORUS SEND LEVEL
40 1x 22
00 00 01
00 – 7F
REVERB SEND LEVEL
40 1x 23
00 00 01
00 – 01
Rx.BANK SELECT
*
*
64
100
40
40
40
64
64
0 (CENTER)
00
7F
10
11
00
C-1
G9
16
17
0
28
40
OFF/ON
01(00*)
ON(OFF*)
OFF/ON
01
ON
When “GM1 System On” is received, Rx.BANK SELECT will be set OFF.
When “GS RESET” or “GM2 System On” is received, Rx.BANK SELECT will be set ON.
40 1x 24
*
0 – 127
(=CC# 7)
0 – 127
0 – 127
-64 (RANDOM),
-63 (LEFT) – +63 (RIGHT)
(=CC# 10, except RANDOM)
(C-1) – (G9)
(C-1) – (G9)
0 – 95
0 – 95
0 – 127
(=CC# 93)
0 – 127
(=CC# 91)
00 00 01
00 – 01
RX BANK SELECT LSB
When RX BANK SELECT LSB = OFF, Bank Select LSB (Bn 20 11) will be treated as 00H regardless of its value.
40 1x 2A
00 00 02
00 00 – 40 00 – 7F 7F
PITCH FINE TUNE
-100 – 0 – +100 [cents]
(= RPN#1)
40 00
0
40 1x 2C
00 00 01
00 – 7F
DELAY SEND LEVEL
0-127
(=CC# 94)
00
0
40 1x 30
00 00 01
00 – 7F
0
00 00 01
00 – 7F
40
0
40 1x 32
00 00 01
00 – 7F
-64 – +63
(=NRPN# 8/CC#76)
-64 – +63
(=NRPN# 9/CC#77)
-64 – +63
(=NRPN# 32/CC#74)
40
40 1x 31
TONE MODIFY1
Vibrato Rate
TONE MODIFY2
Vibrato Depth
TONE MODIFY3
TVF Cutoff Freq
40
0
40 1x 2B#
238
Appendices
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
40 1x 33
00 00 01
00 – 7F
0
00 00 01
00 – 7F
40
0
40 1x 35
00 00 01
00 – 7F
40
0
40 1x 36
00 00 01
00 – 7F
40
0
40 1x 37
00 00 01
00 – 7F
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
-64 – +63
(=NRPN# 33/CC#71)
-64 – +63
(=NRPN# 99/CC#73)
-64 – +63
(=NRPN# 100/CC#75)
-64 – +63
(=NRPN# 102/CC#72)
-64 – +63
(=NRPN# 10/CC#78)
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
-64 – +63 [cents]
40
40 1x 34
TONE MODIFY4
TVF Resonance
TONE MODIFY5
TVF&TVA Env.attack
TONE MODIFY6
TVF&TVA Env.decay
TONE MODIFY7
TVF&TVA Env.release
TONE MODIFY8
Vibrato Delay
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
40
40
40
40
40
40
40
40
40
40
40
40
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
0 [cents]
*
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 cents (40H) is equal temperament (page 245).
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 [semitones]
-9600 – +9600 [cents]
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
40
40
40
40
0A
00
00
40
00
00
00
0 [semitones]
0 [cents]
0 [%]
0 [Hz]
10 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
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 [semitones]
-9600 – +9600 [cents]
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
42
40
40
40
00
00
00
40
00
00
00
2 [semitones]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
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
40 2x 28
40 2x 29
40 2x 2A
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
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
CAf LFO2 PITCH DEPTH
CAf LFO2 TVF DEPTH
CAf LFO2 TVA DEPTH
-24 – +24 [semitones]
-9600 – +9600 [cents]
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
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 [semitones]
-9600 – +9600 [cents]
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
40 2x 40
40 2x 41
00 00 01
00 00 01
28 – 58
00 – 7F
CC1 PITCH CONTROL
CC1 TVF CUTOFF CONTROL
-24 – +24 [semitones]
-9600 – +9600 [cents]
40
40
0 [semitones]
0 [cents]
239
Appendices
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
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 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
00 – 7F
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
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
40
40
00
00
00
40
00
00
00
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
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 [semitones]
-9600 – +9600 [cents]
-100.0 – +100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
-10.0 – +10.0 [Hz]
0 – 600 [cents]
0 – 2400 [cents]
0 – 100.0 [%]
40
40
40
40
00
00
00
40
00
00
00
0 [semitones]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
0 [Hz]
0 [cents]
0 [cents]
0 [%]
MAP 0 – 4
00: SELECTED
01: SC-55 MAP
00
*
You may not always be able to obtain the desired effect by modifying the LFO 1 and LFO 2 parameters.
40 4x 00
00 00 01
00 – 04
TONE MAP NUMBER
(= CC#32 : Bank number LSB)
02: SC-88 MAP
03: SC-88Pro MAP
04: SC-8850 MAP
*
When “GS Reset” is received, this will be 00: SELECTED.
40 4x 01
*
01 – 04
TONE MAP-0 NUMBER
01: SC-55 MAP
02: SC-88 MAP
03: SC-88Pro MAP
04: SC-8850 MAP
(04)
00 – 01
EQ ON/OFF
OFF/ON
01
ON
00:OUTPUT-1
01:OUTPUT-2
02:OUTPUT-2L
03:OUTPUT-2R
00:BYPASS
01:EFX
00
OUTPUT-1
00
BYPASS
This specifies a MAP when TONE MAP NUMBER is 00.
40 4x 20
*
00 00 01
00 00 01
This turns the EQ (equalizer) on/off.
40 4x 21
00 00 01
00 – 03
OUTPUT ASSIGN
40 4x 22
00 00 01
00 – 01
PART EFX ASSIGN
●Drum setup parameters
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H – 7FH: 0 – 127)
Address(H)
Size(H)
Data(H)
Parameter
Description
41 m0 00
00 00 0C
20 – 7F
DRUM MAP NAME
ASCII Character
| #
41 m0 0B#
41 m1 rr
41 m2 rr
00 00 01
00 00 01
00 – 7F
00 – 7F
PLAY NOTE NUMBER
LEVEL
41 m3 rr
41 m4 rr
00 00 01
00 00 01
00 – 7F
00 – 7F
ASSIGN GROUP NUMBER
PANPOT
41 m5 rr
00 00 01
00 – 7F
REVERB SEND LEVEL
41 m6 rr
00 00 01
00 – 7F
CHORUS SEND LEVEL
41 m7 rr
41 m8 rr
41 m9 rr
00 00 01
00 00 01
00 00 01
00 – 01
00 – 01
00 – 7F
Rx. NOTE OFF
Rx. NOTE ON
DELAY SEND LEVEL
Pitch coarse
TVA level
(=NRPN# 26)
Non, 1 – 127
-64 (RANDOM),
-63 (LEFT) – +63 (RIGHT)
(=NRPN# 28, except RANDOM)
0.0 – 1.0
Multiplicand of the part reverb level
(=NRPN# 29)
0.0 – 1.0
Multiplicand of the part chorus level
(=NRPN# 30)
OFF/ON
OFF/ON
0.0 – 1.0
Multiplicand of the part delay level
(=NRPN# 31)
*
*
When the Drum Set is changed, DRUM SETUP PARAMETER values will all be initialized.
It is not possible to simultaneously use both Chorus Send Level and Delay Send Level for a single Drum Instrument.
240
Appendices
●User instrument
You can modify the parameters of the SC-8850 sound to your taste, and save your new settings in Variation numbers 64 or 65 of the SC-8850 map/SC-88Pro map/SC-88 map (p.67). A sound saved
in this way is called a User Instrument. You can save 256 different sounds in this way.
The parameters you can set are Vibrato, Filter and Envelope.
The other sound parameters will use the values specified for the Part (Part parameters, p.65). Each Part has Part parameters which are named identically to the User parameters listed above which
can be set for each sound. This means that the parameter value that actually applies to the sound will be a combination of these two settings. For example, if the Vibrato Rate has been set to +20 as
a Part parameter, and to -5 as a User instrument parameter, the Vibrato Rate of the resulting sound will be 20 - 5 = +15
b: bank number (0H = GS Variation number 64, 1H = GS Variation number 65)
pp: program number (00 – 7F: 1 – 128)
Address(H)
Size(H)
Data(H)
Parameter
Description
Default Value (H)
Description
20 b0 pp
20 b1 pp
20 b2 pp
20 b3 pp
00 00 01
00 00 01
00 00 01
00 00 01
01 – 04
00 – 7F
00 – 7F
00 – 7F
-------64 – +63
40
0
20 b4 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 b5 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 b6 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 b7 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 b8 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 b9 pp
00 00 01
00 – 7F
-64 – +63
40
0
20 bA pp
00 00 01
00 – 7F
SOURCE TONE# (MAP)
(CC#00 : Bank number MSB)
(PG# : Program number)
USER INST MODIFY1-2
Vibrato Rate
USER INST MODIFY2-2
Vibrato Depth
USER INST MODIFY3-2
TVF Cutoff Freq
USER INST MODIFY4-2
TVF Resonance
USER INST MODIFY5-2
TVF&TVA Env.attack
USER INST MODIFY6-2
TVF&TVA Env.decay
USER INST MODIFY7-2
TVF&TVA Env.release
USER INST MODIFY8-2
Vibrato Delay
-64 – +63
40
0
●User Drum Set
You can modify drum instrument parameters to your liking, and save this data as a Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to two Drum Sets, and
since each set contains 128 instrumental sounds, this provides a total of 256 instrumental sounds (Drum Instruments). You can also give each User Drum Set a name of your choice. User Drum
Sets are stored in Drum Set numbers 65 and 66 of the SC-8850/ SC-88Pro/ SC-88 map.
d: drum set number (0H = User drum set number 65, 1H = User Drum Set number 66)
rr: drum part note number (00 – 7F: 0-127)
Address(H)
Size(H)
Data(H)
Parameter
Description
21 d0 00
:
21 d0 0B#
21 d1 rr
21 d2 rr
21 d3 rr
21 d4 rr
21 d5 rr
21 d6 rr
21 d7 rr
21 d8 rr
21 d9 rr
21 dA rr
21 dB rr
21 dC rr
00 00 0C
20 – 7F
USER DRUM SET NAME
32 – 127
(ASCII 12 characters)
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 – 01
00 – 01
00 – 7F
01 – 04
00 – 7F
00 – 7F
PLAY NOTE
LEVEL
ASSIGN GROUP
PAN
REVERB SEND LEVEL
CHORUS SEND LEVEL
RX NOTE OFF
RX NOTE ON
DELAY SEND LEVEL
SOURCE DRUM SET# (MAP)
(PG#: Program number)
SOURCE NOTE NUMBER
0 – 127
0 – 127
0 – 127
0 – 127
0 – 127
0 – 127
OFF/ON
OFF/ON
0 – 127
1–4
0 – 127
0 – 127
241
Appendices
4. Bulk Dump
Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer.
To make the SC-8850 perform a Bulk Dump transmission, send it a “Bulk Dump Request” message. Bulk Dump Request uses the Data Request 1 (RQ1) format, but unlike when transmitting
individual parameters, the “Size” specified by the request message refers not to size of the data but rather specifies the contents of the data. For the data contents corresponding to each Size, refer
to “Parameter dump.”
When the SC-8850 receives a Bulk Dump Request, it will transmit a Bulk Dump in the format given below.
The SC-8850 is also able to transmit a list of its internal sounds. This function can be used to display a list of sounds on a computer.
■Parameter dump
❍Parameter dump request (receive only)
This is a command that requests a set of parameter data, and uses “Data Request 1 (RQ1)” format. The Size specifies the requested data contents.
Address:
Size:
0C 00 00
00 00 00: ALL
00 00 01: ALL 1
00 00 02: ALL 2
00 00 10: 16-part GS 1
00 00 11: 16-part GS 2
00 01 00: USER TONE BANK (ALL)
00 01 40: USER TONE BANK #64
00 01 41: USER TONE BANK #65
00 02 00: USER DRUM SET (ALL)
00 02 40: USER DRUM SET #65
00 02 41: USER DRUM SET #66
request a dump of all parameters
use this when not using USER TONE BANK or USER DRUM SET
use this when USER TONE BANK, USER DRUM SET and DRUM SETUP settings have not been modified
use this when using only 16 Parts
use this when using only 16 Parts, and DRUM SETUP settings have not been modified
request a dump of all USER TONE BANK data
request a dump of USER TONE BANK #64 data (128 sounds)
request a dump of USER TONE BANK #65 data (128 sounds)
request a dump of all USER DRUM SET data
request a dump of USER DRUM SET #65 data
request a dump of USER DRUM SET #66 data
Example) Dump request for all parameters: F0 41 dev 42 11 0C 00 00 00 00 00 74 F7
Normally, using ALL (00 00 00) provides the greatest predictability, but the amount of data is very large, and transmission may take more than half a minute. In order to reduce transmission time
and data volume, we suggest that you request a dump only of the necessary data. Panel button operations allow you to transmit dumps of ALL, ALL 1, 16-part GS 1, 16-part GS 2, USER TONE
BANK (ALL), USER DRUM SET (ALL).
❍Parameter dump
When a Parameter Dump Request is received, or when panel operations initiate a dump transmission, the following data will be transmitted in “Data Set 1 (DT1)” format.
Address
Description
08 00 00 – 08 01 7F
28 00 00 – 28 0A 7F
28 10 00 – 28 1A 7F
29 00 00 – 29 0B 0F
29 10 00 – 29 1B 0F
48 1D 10 – 48 26 0F
48 00 00 – 48 1D 0F
49 00 00 – 49 1F 7F
58 1D 10 – 58 26 0F
58 00 00 – 58 1D 0F
59 00 00 – 59 1F 7F
68 1D 10 – 68 26 0F
68 00 00 – 68 1D 0F
69 00 00 – 69 1F 7F
78 1D 10 – 78 26 0F
78 00 00 – 78 1D 0F
79 00 00 – 79 1F 7F
SETUP
USER TONE BANK #64
USER TONE BANK #65
USER DRUM SET #65
USER DRUM SET #66
PATCH EXTENSION A
SYSTEM/PATCH A
DRUM SETUP A
PATCH EXTENSION B
SYSTEM/PATCH B
DRUM SETUP B
PATCH EXTENSION C
SYSTEM/PATCH C
DRUM SETUP C
PATCH EXTENSION D
SYSTEM/PATCH D
DRUM SETUP D
*
*
*
*
Number of
packets
2
11
11
12
12
9
30
32
9
30
32
9
30
32
9
30
32
ALL
ALL1
ALL2
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
16-part
GS1
GS2
❍
USER TONE BANK
ALL
#64
#65
USER DRUM SET
ALL
#65
#66
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
❍
When data dumped by the SC-8850 is reloaded into the SC-8850, be aware that the data may not be set correctly if the transmission order of the packets is changed, if the time interval between
packets is changed, or if other messages are inserted between packets.
The Parameter Dump data of the SC-8850 includes data for GS format compatible devices, and this data is compatible in both directions. However, depending on the parameters which are
newly extended on the SC-8850, the musical result may differ.
If the SC-8850 does not operate correctly with Bulk Dump data from another GS format compatible device, first initialize the SC-8850 (page 23) before retransmitting the data.
When another GS format compatible device receives Parameter Dump data that was transmitted by the SC-8850, it may display a message such as “Address Error”, but this is because the
parameter addresses newly extended on the SC-8850 were not recognized by the other device. Parameters which could be recognized by that device have been correctly set.
242
Appendices
■Dumping a list of internal sounds
●Drum instrument list dump
●Instrument list dump
❍Drum instrument list dump request (receive only)
❍Instrument list dump request (receive only)
This command requests a bulk dump transmission of the Instrument list of an internal
Preset Drum Sets, and uses “Data Request 1 (RQ1)” format. The Size specifies the desired
data contents.
This command requests a bulk dump of a list of the preset sounds (Instruments) in internal
memory, and uses “Data Request 1 (RQ1)” format. The Size specifies the contents of the
requested data.
Address:
Size:
0C 00 01
00 00 00: ALL
00 00 01: SC-55 MAP
00 00 02: SC-88 MAP
00 00 03: SC-88Pro MAP
00 00 04: SC-8850 MAP
When Instrument List Dump Request is received, the sound names of the specified map will
be transmitted continuously in the format given below, where 16 bytes are used for each
sound name. The Address of the transmitted data is 0C 00 01 for all packets. User bank
sound names are not transmitted.
DUMP FORMAT:
fig.11-17
0
1
2
3
4
00
5
6
7
8
9
A
B
C
D
E
2
3
4
5
6
7
8
9
A
B
C
D
E
F
DRUM TONE NAME(ASCII 12 Characters)
01 = SC-55 MAP, 02 = SC-88 MAP, 03 = SC-88Pro MAP, 04 = SC8850 MAP
PC: Program number
KEY: Note number
●Insertion effect list dump
❍Insertion effect list dump request (receive only)
0C 00 02
00 00 00: ALL
00 00 01: SC-55 MAP
00 00 02: SC-88 MAP
00 00 03: SC-88Pro MAP
00 00 04: SC-8850 MAP
This command requests a bulk dump transmission of the Insertion effect list of an internal
memory, and uses “Data Request 1 (RQ1)” format. The Size specifies the desired data
contents.
Address: 0C 00 04
Size:
00 00 00: ALL
❍Insertion effect list dump (transmit only)
When a Insertion Effect List Dump Request is received, the specified Insertion Effect names
will be transmitted in the following format where 20 bytes are used for each Effect name.
The address of the transmitted data will be 0C 00 04 for each packet.
DUMP FORMAT:
fig.11-20
❍Drum set list dump (transmit only)
When a Drum Set List Dump Request is received, the Drum Set names of the specified MAP
will be transmitted successively in the format given below, where 16 bytes are used for each
sound. The Address of the transmitted data will be 0C 00 02 for each packet.
2
3
MSB LSB 00
0
1
00
4
5
6
7
8
9
A
B
C
D
E
F
10
11
12
13
EFFECT NAME(ASCII 16 Characters)
MSB: Category
LSB: Type
DUMP FORMAT:
fig.11-18
2
1
MAP: MAP number
This command requests a bulk dump transmission of a list of Preset Drum Sets in internal
memory, and uses “Data Request 1 (RQ1)” format. The Size specifies the desired data
contents.
1
DUMP FORMAT:
fig.11-19
F
TONE NAME(ASCII 12 Characters)
❍Drum set list dump request (receive only)
0
When a Drum Instrument List Dump Request is received, the Drum Instrument names of
the specified Drum Set will be transmitted in the following format where 16 bytes are used
for each Drum Instrument name. The address of the transmitted data will be 0C 00 03 for
each packet.
0
●Drum set list dump
00 MAP PC
ALL
SC-55 MAP
SC-88 MAP
SC-88Pro MAP
SC-8850 MAP
00 MAP PC KEY
CC0: Variation number
MAP : MAP number 01 = SC-55 MAP, 02 = SC-88 MAP, 03 = SC-88Pro MAP, 04 = SC8850 MAP
PC:
Program number
Address:
Size:
0C 00 03
00 00 00
00 00 01
00 00 02
00 00 03
00 00 04
❍Drum instrument list dump (transmit only)
❍Instrument list dump (transmit only)
CC0 MAP PC
Address:
Size:
3
00
4
5
6
7
8
9
A
B
C
D
E
F
DRUM TONE NAME(ASCII 12 Characters)
MAP: MAP number
PC:
01 = SC-55 MAP, 02 = SC-88 MAP, 03 = SC-88Pro MAP,
04 = SC-8850 MAP
Program number
243
Appendices
5. Supplementary material
●Examples of actual MIDI messages
●Decimal and Hexadecimal table
<Example 1> 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.
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
fig.11-22e
*
*
*
*
Dec.
Hex.
Dec.
Hex.
Dec.
Hex.
Dec.
Hex.
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
00H
01H
02H
03H
04H
05H
06H
07H
08H
09H
0AH
0BH
0CH
0DH
0EH
0FH
10H
11H
12H
13H
14H
15H
16H
17H
18H
19H
1AH
1BH
1CH
1DH
1EH
1FH
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
20H
21H
22H
23H
24H
25H
26H
27H
28H
29H
2AH
2BH
2CH
2DH
2EH
2FH
30H
31H
32H
33H
34H
35H
36H
37H
38H
39H
3AH
3BH
3CH
3DH
3EH
3FH
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
40H
41H
42H
43H
44H
45H
46H
47H
48H
49H
4AH
4BH
4CH
4DH
4EH
4FH
50H
51H
52H
53H
54H
55H
56H
57H
58H
59H
5AH
5BH
5CH
5DH
5EH
5FH
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
60H
61H
62H
63H
64H
65H
66H
67H
68H
69H
6AH
6BH
6CH
6DH
6EH
6FH
70H
71H
72H
73H
74H
75H
76H
77H
78H
79H
7AH
7BH
7CH
7DH
7EH
7FH
Decimal values such as MIDI channel, bank select, and program change are listed as one
greater than the values given in the above table.
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
In the case of values which have a +/- sign, 00H = -64, 40H = +/-0, and 7FH = +63, so
that the decimal expression would be 64 less than the value given in the above chart. In
the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if
aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x
128.
Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
<Example 1> What is the decimal expression of 5AH ?
From the preceding table, 5AH = 90
<Example 2> 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
<Example 3> 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
<Example 4> What is the nibbled expression of the decimal value 1258?
16) 1258
16)
78 ... 10
16)
4 ... 14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
244
<Example 2> 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).
<Example 3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
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.
<Example 4> 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
(B3)
(B3)
(B3)
(B3)
(B3)
64 00
65 00
06 0C
26 00
64 7F
65 7F
MIDI ch.4, lower byte of RPN parameter number:00H
(MIDI ch.4) upper byte of RPN parameter number:00H
(MIDI ch.4) upper byte of parameter value:0CH
(MIDI ch.4) lower byte of parameter value:00H
(MIDI ch.4) lower byte of RPN parameter number:7FH
(MIDI ch.4) upper byte of RPN parameter number:7FH
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12
semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be
correct on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
*
TPQN: Ticks Per Quarter Note
Appendices
●Example of an Exclusive message and calculating a
checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
❍How to calculate the checksum (hexadecimal numbers are indicated by “H”)
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
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
<Example 1> Setting REVERB MACRO to ROOM 3
According to the “Parameter Address Map (p.235),” the REVERB MACRO Address is 40 01
30H, and ROOM 3 is a value of 02H. Thus,
F0
(1)
41
(2)
10
(3)
(1) Exclusive Status,
(4) Model ID (GS),
42
(4)
12
(5)
40 01 30
address
02
data
(2) ID (Roland),
(5) Command ID (DT1),
??
checksum
F7
(6)
(3) Device ID (17),
(6) End of Exclusive
Next, we calculate the checksum.
This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit.
<Example 2> Requesting transmission of the LEVEL for DRUM MAP 1 NOTE NUMBER 75
(D#5; Claves)
NOTE NUMBER 75 (D#5) is 4BH in hexadecimal.
According to the “Parameter Address Map (p.240),” the LEVEL of NOTE NUMBER 75
(D#5; Claves) in DRUM MAP 1 has an Address of 41 02 4BH and a Size of 00 00 01H. Thus,
41
(2)
10
(3)
(1) Exclusive Status,
(4) Model ID (GS),
42
(4)
11
(5)
41 02 4B
address
(2) ID (Roland),
(5) Command ID(RQ1),
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.
Frequently used tuning values are given in the following table for your reference. Values
are in hexadecimal (decimal in parentheses).
+————————+————————+——————————————+———————————————————+
|Hz at A4| cents |
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
| 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)|
+————————+————————+——————————————+———————————————————+
<Example> Setting 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.
40H+01H+30H+02H = 64+1+48+2 = 115 (sum)
115 (sum) ÷ 128 = 0 (quotient) ... 115 (remainder)
checksum = 128 - 115 (remainder) = 13 = 0DH
F0
(1)
●About the Tuning
00 00 01
size
??
checksum
F7
(6)
(3) Device ID (17),
(6) End of Exclusive
B2
(B2)
(B2)
(B2)
(B2)
(B2)
64 00
65 01
06 45
26 03
64 7F
65 7F
MIDI ch.3, lower byte of RPN parameter number: 00H
(MIDI ch.3) upper byte of RPN parameter number: 01H
(MIDI ch.3) upper byte of parameter value:
45H
(MIDI ch.3) lower byte of parameter value:
03H
(MIDI ch.3) lower byte of RPN parameter number: 7FH
(MIDI ch.3) upper byte of RPN parameter number: 7FH
●The Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
❍Equal Temperament
Next we calculate the checksum.
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the SC-8850, the default settings for
the Scale Tune feature produce equal temperament.
41H+02H+4BH+00H+00H+01H = 65+2+75+0+0+1 = 143 (sum)
143 (sum) ÷ 128 = 1 (quotient) ... 15 (remainder)
checksum = 128 - 15 (remainder) = 113 = 71H
❍Just Temperament (Tonic of C)
This means that F0 41 10 42 11 41 02 4B 00 00 01 71 F7 is the message we transmit.
<Example 3> Setting REVERB LEVEL to 12
According to the “Parameter Address Map (p.235),” the REVERB LEVEL Address is 40 01
33H, and the parameter value is 0CH. Thus,
F0
(1)
41
(2)
10
(3)
(1) Exclusive Status,
(4) Model ID (GS),
42
(4)
12
(5)
40 01 33
address
(2) ID (Roland),
(5) Command ID (DT1),
0C
data
??
checksum
F7
(6)
(3) Device ID (17),
(6) EOX
Next we calculate the checksum.
40H + 01H + 33H + 0CH=64 + 1 + 51 + 12=128 (sum)
128 (sum) ÷ 128 = 0 (quotient) ... 0 (remainder)
checksum = 128 - 0 (remainder) = 128 = 80H
In this case, however, the checksum value should be 00H, not 80H. You should use 00H if
the remainder is 0.
This means that F0 41 10 42 12 40 01 33 0C 00 F7 is the message we transmit.
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
❍Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Example Settings
Note name
Equal Temperament
C
0
C#
0
D
0
D#
0
E
0
F
0
F#
0
G
0
G#
0
A
0
A#
0
B
0
Just Temperament (Keytone C)
0
-8
+4
+16
-14
-2
-10
+2
+14
-16
+14
-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 on page
239 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 following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
245
fig.MIDI_chart.e
SOUND Canvas
Model SC-8850
MIDI Implementation Chart
Transmitted
Function...
Recognized
Basic
Channel
Default
Changed
X
X
1–16
1–16
Mode
Default
Messages
Altered
X
X
Mode 3
Mode 3, 4 (M = 1)
Remarks
When the power is off,
it can be memorized.
*2
******************************
Note
Number : True Voice
X
******************************
0–127
0–127
Velocity
Note On
Note Off
X
X
O
X
After
Touch
Key's
Channel's
X
X
O
O
*1
*1
X
O
*1
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
O
X
O
0–127
*1
******************************
System Exclusive
O
O
*1
: Song Position
System
: Song Select
Common
: Tune Request
X
X
X
X
X
X
: Clock
System
Real Time : Commands
X
X
X
X
: All Sound Off
: Reset All Controllers
Aux
: Local ON/OFF
Messages : All Notes Off
: Active Sensing
: System Reset
X
X
X
X
O
X
O (120, 126, 127)
O
X
O (123–125)
O
X
Pitch Bend
0, 32
1
5
6, 38
7
10
11
64
65
66
67
84
91
93
94
98, 99
100, 101
Control
Change
Program
Change
: True Number
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
246
Date : 1999.5
Version : 1.00
*1
*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
Effects 1 (Reverb Send Level)
Effects 3 (Chorus Send Level)
Effects 4 (Delay Send Level)
NRPN LSB, MSB
RPN LSB, MSB
Program No. 1–128
* 1 O X is selectable.
* 2 Recognized as M=1 even if M≠1.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
Specifications
Model: Sound Canvas SC-8850
(General MIDI 1/General MIDI 2/GS format)
●Number of Parts
64
●Maximum Polyphony
128 (voices)
●Internal Memory
Sound maps:
4 (SC-8850, SC-88Pro, SC-88, SC-55)
Preset Sounds:
1640
Drum Sound Sets:
63
User Sounds:
256
User Drum Sounds Sets: 2
●Dimensions
218 (W) x 278 (D) x 88 (H) mm
8-5/8 (W) x 11 (D) x 3-1/2 (H) inches
●Weight
2.3 kg
5 lbs 20 oz
●Supplied Items
Owner’s Manual
Power Cord
*
In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior notice.
●Effects
Reverb (8 types)
Chorus (8 types)
Delay (10 types)
Two-Band Equalizer
Insertion Effects (64 kinds)
●Indicators
160x64 Dots Graphic LCD (backlit LCD)
●Connectors
USB Connector
Serial Connector
MIDI Connectors (IN 1,IN 2, OUT 1, OUT 2)
Audio Input jack (stereo)
Audio Output 1 Jack (stereo)
Audio Output 2 Jack (stereo)
Headphones Jack
●Power Supply
117, 230 or 240 V AC
●Power Consumption
11 W
247
Information
EUROPE
EDIROL (Europe) Ltd.
Studio 3.4 114 Power Road
London W4 5PY
U. K.
TEL: +44 (0)20 8747 5949
FAX:+44 (0)20 8747 5948
http://www.edirol.com/europe
Deutschland
TEL: 0700 33 47 65 20
France
TEL: 0810 000 371
Italia
TEL: 02 93778329
When you need repair service, call your nearest EDIROL/Roland Service Center or authorized
EDIROL/Roland distributor in your country as shown below.
HONG KONG
BARBADOS
PERU
IRELAND
CYPRUS
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
Lima - Peru
TEL: (511) 4461388
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (022) 66-9426
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
KOREA
NORTH AMERICA
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: (905) 362 9707
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
AFRICA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
MALAYSIA/
SINGAPORE
Roland Asia Pacific Sdn. Bhd.
45-1, Block C2, Jalan PJU 1/39,
Dataran Prima, 47301 Petaling
Jaya, Selangor, MALAYSIA
TEL: (03) 7805-3263
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
TEL: (02) 2561 3339
EGYPT
THAILAND
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Theera Music Co. , Ltd.
330 Soi Verng NakornKasem,
New Road, Sumpantawongse,
Bangkok 10100, THAILAND
TEL: (02) 224-8821
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
Paul Bothner(PTY)Ltd.
Royal Cape Park, Unit 24
Londonderry Road, Ottery 7800
Cape Town, SOUTH AFRICA
TEL: (021) 799 4900
ASIA
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
TEL: (010) 6426-5050
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
VIETNAM
SAIGON MUSIC
DISTRIBUTOR
(TAN DINH MUSIC)
138 Tran Quang Khai Street
Dist. 1, Ho Chi Minh City
VIETNAM
TEL: (08) 848-4068
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
CENTRAL/LATIN
AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (574)3812529
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
TRINIDAD
AMR Ltd
Ground Floor
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL:(593-4)2302364
EUROPE
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
MOCO INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (021) 285-4169
NORWAY
ISRAEL
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 2273 0074
Halilit P. Greenspoon & Sons
Ltd.
8 Retzif Ha’aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
MUSIC HOUSE CO. LTD.
FREDDY FOR MUSIC
P. O. Box 922846
Amman 11192 JORDAN
TEL: (06) 5692696
PORTUGAL
KUWAIT
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
ROMANIA
LEBANON
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
TEL: (266) 364 609
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 165857
Beirut, LEBANON
TEL: (01) 20-1441
RUSSIA
MuTek
Dorozhnaya ul.3,korp.6
117 545 Moscow, RUSSIA
TEL: (095) 981-4967
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
SPAIN
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 493 91 00
HONDURAS
CZECH REP.
SWEDEN
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
TEL: (2) 666 10529
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
MARTINIQUE
DENMARK
SWITZERLAND
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: 3916 6200
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
FINLAND
UKRAINE
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
GUATEMALA
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
TEL:(502) 599-2888
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
TEL: (55) 5668-6699
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
TEL: (505)277-2557
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
IRAN
JORDAN
OMAN
TALENTZ CENTRE L.L.C.
Malatan House No.1
Al Noor Street, Ruwi
SULTANATE OF OMAN
TEL: 2478 3443
QATAR
Badie Studio & Stores
P.O. Box 62,
Doha, QATAR
TEL: 423554
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
TURKEY
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 702701
MIDDLE EAST
ZUHAL DIS TICARET A.S.
Galip Dede Cad. No.37
Beyoglu - Istanbul / TURKEY
TEL: (0212) 249 85 10
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
TEL: (04) 3360715
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 17 211 005
TEL: (23) 511011
As of December 10, 2005 (EDIROL-1)
Index
Symbols
------------- .........................................................................156
Numerics
2 Pitch Shifter ..................................................................104
3 Tap Delay .....................................................................101
3D Auto ...........................................................................105
3D Chorus .........................................................................99
3D Delay ..........................................................................104
3D effects .........................................................................127
3D Manual .......................................................................106
4 Tap Delay .....................................................................102
A
AC IN connector ................................................................11
Active Sensing .................................................................152
Aftertouch .................................................................59, 151
All Mute ............................................................................35
All Notes Off ...................................................................151
All Part Screen .................................................................160
All Sounds Off .................................................................151
Amp ..................................................................................59
Amplitude .........................................................................59
Another MIDI Sound Source .............................................22
Arabian-style Scale ............................................................58
Assign Group ..............................................................71–72
Attack Time .......................................................................67
Audio Input Jacks ..............................................................19
Audio Input Volume knob ................................................19
Auto Pan ............................................................................97
Auto Wah ..........................................................................94
B
Bank Select ......................................................................149
Bass Multi ........................................................................118
baud rate ...........................................................................14
Bend ....................................................................53, 58, 149
Bend Amplitude ................................................................53
Bend Cutoff Frequency ......................................................53
Bend LFO Pitch .................................................................53
Bend LFO Rate ..................................................................53
Bend LFO TVF ...................................................................53
Bend Range .................................................................53, 55
Bnd ....................................................................................58
Bnd Amp ...........................................................................53
Bnd Cutoff .........................................................................53
Bnd LFO Pitch ...................................................................53
Bnd LFO Rate ....................................................................53
Bnd LFO TVF ....................................................................53
Bnd Range .........................................................................53
BULK ...............................................................................134
Bulk Dump ......................................................................134
Bulk Dump Request ........................................................242
C
CAF ...................................................................................53
CAf ....................................................................................59
CAf Amp ...........................................................................53
CAf Cutoff .........................................................................53
CAf LFO Pitch ...................................................................53
CAf LFO Rate ....................................................................53
CAf LFO TVA ....................................................................53
CAf LFO TVF ....................................................................53
CAf Range .........................................................................53
Capital sounds .............................................................29, 39
CC# ....................................................................................33
CC1 ..............................................................................53, 59
CC1 Amp ...........................................................................53
CC1 Amplitude .................................................................53
CC1 C.Number ..................................................................57
CC1 Controller Number ....................................................57
CC1 Cutoff .........................................................................53
CC1 Cutoff Frequency .......................................................53
CC1 LFO Pitch ...................................................................53
CC1 LFO Rate ....................................................................53
CC1 LFO TVA ...................................................................53
CC1 LFO TVF ....................................................................53
CC1 Range .........................................................................53
Channel .............................................................................46
Channel aftertouch ............................................................59
Channel Aftertouch Amplitude .........................................53
Channel Aftertouch Cutoff Frequency ..............................53
Channel Aftertouch LFO Pitch ..........................................53
Channel Aftertouch LFO Rate ...........................................53
Channel Aftertouch LFO TVA ...........................................53
Channel Aftertouch LFO TVF ............................................53
Channel Aftertouch Range ................................................53
Channel Pressure .............................................................151
Checksum Error ...............................................................156
Cho → Delay ....................................................................112
Cho → Flanger .................................................................113
Cho Delay ..........................................................................82
Cho Depth .........................................................................82
Cho Feedback ....................................................................82
Cho Level ...........................................................................82
Cho Pre-LPF ......................................................................82
Cho Rate ............................................................................82
Cho To Dly ........................................................................82
Cho To Rev ........................................................................82
Cho/Delay .......................................................................121
Cho/Flanger ....................................................................122
Chorus .............................................................72, 79–80, 98
Chorus Delay Time ............................................................82
Chorus Depth ....................................................................82
Chorus Feedback ...............................................................82
Chorus Level .....................................................................82
CHORUS MACRO ............................................................83
Chorus parameters ............................................................82
Chorus Pre-LPF .................................................................82
Chorus Rate .......................................................................82
Chorus Send ..........................................................54, 71, 80
Chorus Send Level ...............................................54, 71, 150
Chorus Send Level To Delay .............................................82
Chorus Send Level To Reverb ...........................................82
Chorus Type ................................................................82–83
Chorus1 .............................................................................82
Chorus2 .............................................................................82
Chorus3 .............................................................................82
Chorus4 .............................................................................82
Clean Gt Multi1 ...............................................................117
Clean Gt Multi2 ...............................................................117
Compressor .......................................................................97
Computer ..........................................................................12
Computer Cable ..............................................................157
COMPUTER switch .............................11, 13–14, 16, 20, 22
Connect ................................................12, 14, 16, 19–20, 22
249
Index
contrast ..............................................................................11
Control Change ...............................................................149
Controllers .......................................................................129
Cursor ................................................................................24
Cutoff ................................................................................59
Cutoff Freq ........................................................................66
Cutoff Frequency .........................................................59, 66
D
Data Entry .......................................................................151
Decay Time ........................................................................67
Decimal ...........................................................................244
DECREMENT button ........................................................11
Delay .....................................................................72, 79–80
Delay Feedback .................................................................84
Delay Level ........................................................................84
Delay Level Center ............................................................84
Delay Level Left ................................................................84
Delay Level Right ..............................................................84
DELAY MACRO ...............................................................85
Delay parameters ..............................................................84
Delay Pre-LPF ...................................................................84
Delay Send ............................................................54, 71, 80
Delay Send Level .................................................54, 71, 150
Delay Send Level To Reverb ..............................................85
Delay Time Center .............................................................84
Delay Time Ratio Left ........................................................84
Delay Time Ratio Right .....................................................84
Delay Type ..................................................................84–85
delay/reverb ...................................................................100
Delay1 ...............................................................................84
Delay2 ...............................................................................84
Delay3 ...............................................................................84
Delay4 ...............................................................................84
Dely ...................................................................................79
Demo Songs .......................................................................27
Device ID ...........................................................................50
Device ID Number ............................................................50
display ...............................................................................11
Distortion ..........................................................................93
Dly Feedback .....................................................................84
Dly Level ...........................................................................84
Dly Level C ........................................................................84
Dly Level L ........................................................................84
Dly Level R ........................................................................84
Dly Pre-LPF .......................................................................84
Dly Time C ........................................................................84
Dly To Rev ...................................................................84–85
DlyTmRatioL .....................................................................84
DlyTmRatioR .....................................................................84
DRUM button ....................................................................11
Drum Instrument ........................................................70, 74
Drum Instrument Chorus Send Level .............................154
Drum Instrument Delay Send Level ................................154
Drum Instrument Pan .....................................................154
Drum Instrument Pitch Coarse ........................................154
Drum Instrument Reverb Send Level ..............................154
Drum Instrument TVA Level ..........................................154
Drum Part ..........................................................................43
Drum Parts ........................................................................37
Drum Screen ....................................................................163
Drum Set ...................................................31, 70, 73, 75–76
Drum Set List .....................................................................44
Drum Sets ..........................................................................73
250
DS → Chorus ....................................................................109
DS → Delay ......................................................................110
DS → Flanger ...................................................................109
Dump ......................................................................134–135
Dump All .........................................................................134
Dump All-User ................................................................134
Dump Part-A ...................................................................134
Dump Part-B ....................................................................134
Dump Part-C ...................................................................134
Dump Part-D ...................................................................134
Dump User Drum ............................................................134
Dump User Inst ...............................................................134
E
EDIT ............................................................................52, 54
Edit All Screen ...........................................................49, 162
EDIT button .......................................................................11
Edit Screen .................................................................51, 161
Edit screen .........................................................................51
EFFECT ........................................................................52, 54
Effect Control Depth ........................................................130
Effect Control Source .......................................................130
Effect Parameter ................................................................91
Effect Screen ....................................................................164
Effect types ........................................................................91
effects ...........................................................................77–78
EFFECTS button ................................................................11
EFX ..............................................................................54, 78
EFX C.Depth 1, 2 ..............................................................130
EFX C.Src1, 2 ....................................................................130
EFX On/Off .....................................................................166
EFX PARAMETER ...........................................................128
EFX Parameter (Effect Parameter) .....................................89
EFX To Cho ........................................................................89
EFX To Dly ........................................................................89
EFX To Rev ........................................................................89
EFX TYPE ........................................................................128
EFX Type ...........................................................................89
EH → Chorus ...................................................................110
EH → Delay .....................................................................111
EH → Flanger ...................................................................111
Enhancer ............................................................................93
ENTER button ...................................................................11
Envelope ............................................................................66
EQ H.Freq ..........................................................................86
EQ H.Gain .........................................................................86
EQ L.Freq ...........................................................................86
EQ L.Gain ..........................................................................86
Equal Temperament ..........................................................58
Equalizer ............................................................................86
Equalizer High Frequency .................................................86
Equalizer High Gain ..........................................................86
Equalizer Low Frequency ..................................................86
Equalizer Low Gain ...........................................................86
Equalizer Parameters .........................................................86
error message ..................................................................156
Exclusive messages ..........................................................152
EXIT button .......................................................................11
Expression .......................................................................149
Index
F
K
F1 button ...........................................................................11
F2 button ...........................................................................11
F3 button ...........................................................................11
F4 button ...........................................................................11
Factory ...............................................................................23
Factory Preset ....................................................................23
factory settings ..................................................................23
Fb P.Shifter ......................................................................105
Feedback Chorus ...............................................................82
Filter ............................................................................65, 92
Fine Tune ...........................................................................55
FL ’ Delay ........................................................................112
FL/Delay .........................................................................122
Flanger ...............................................................................82
Key Range H ......................................................................57
Key Range L ......................................................................57
Key Shift ......................................................................35, 55
Keyboard Multi ...............................................................120
Keyboard Range High .......................................................57
Keyboard Range Low ........................................................57
G
Gate Reverb .....................................................................103
General MIDI 1 ....................................................................7
General MIDI 2 ....................................................................7
GM 2 Instrument List ......................................................213
GM1 System On ........................................................25, 152
GM2 System On ........................................................26, 152
GS format ............................................................................7
GS Reset .....................................................................24, 153
GTR Multi 1 .....................................................................114
GTR Multi 2 .....................................................................115
GTR Multi 3 .....................................................................116
H
Hall1 ..................................................................................80
Hall2 ..................................................................................80
Headphones ......................................................................19
Hexa Chorus ......................................................................98
Hexadecimal ....................................................................244
Hold ................................................................................150
Humanizer ........................................................................93
I
INCREMENT button .........................................................11
Individual data ................................................................135
Initialize .............................................................................23
INPUT jack ........................................................................11
INPUT VOLUME knob .....................................................11
Insertion Effect List ..........................................................216
Insertion Effect On/Off .....................................................89
Insertion Effect Parameters ................................................89
Insertion Effects .....................................................54, 78, 88
Inst Level ...........................................................................71
INST MAP ...........................................................36, 42, 159
Inst Pan ..............................................................................71
Instrument ...................................................................27, 37
Instrument display area .....................................................11
Instrument List ..........................................................40, 167
INSTRUMENT MAP button ..............................................11
Instrument number .....................................................29–30
INSTURUMENT button ....................................................11
interface .............................................................................12
interface board ...................................................................12
J
Just Intonation (Tonic of C) ...............................................58
L
LCD Contrast .....................................................................63
Legato-enabled Sounds .....................................................46
Level ............................................................................32, 79
LFO Pitch ...........................................................................59
LFO Rate ............................................................................59
LFO TVA ...........................................................................59
LFO TVF ............................................................................59
Limiter ...............................................................................97
Lo-Fi 1 ..............................................................................106
Lo-Fi 2 ..............................................................................106
LSB ..............................................................................41–42
M
M.Key Shift ........................................................................50
M.Tune ..............................................................................50
M/P Mode .........................................................................55
Master Key Shift ................................................................50
Master Level ......................................................................50
Master Pan .........................................................................50
Master Tune .......................................................................50
Master Volume ................................................................153
MIDI ................................................................................145
MIDI Bank numbers ..........................................................41
MIDI Buff. Full ................................................................156
MIDI Channels ................................................................145
MIDI Connectors ...............................................................16
MIDI Implementation ......................................................226
MIDI Implementation chart .............................................246
MIDI IN 1 connector ..........................................................11
MIDI IN 2 connector ..........................................................11
MIDI IN connector .............................................................38
MIDI Keyboard ..................................................................20
MIDI Off Line ..................................................................156
MIDI OUT 1 connector ......................................................11
MIDI OUT 2 connector ......................................................11
MIDI Thru .........................................................................18
Mod .............................................................................53, 58
Mod Amp ..........................................................................53
Mod Cutoff ........................................................................53
Mod Delay .......................................................................100
Mod Depth ........................................................................55
Mod LFO Pitch ..................................................................53
Mod LFO Rate ...................................................................53
Mod LFO TVA ...................................................................53
Mod LFO TVF ....................................................................53
Mod Range ........................................................................53
MODIFY ......................................................................52, 58
Modulation ..........................................................58, 94, 149
Modulation Amplitude ......................................................53
Modulation Cutoff Frequency ...........................................53
Modulation Depth .............................................................55
Modulation LFO Pitch .......................................................53
Modulation LFO Rate ........................................................53
Modulation LFO TVA .......................................................53
Modulation LFO TVF ........................................................53
251
Index
Modulation Range .............................................................53
Mono .................................................................................55
Mono Mode .......................................................................55
Mono/Poly Mode ..............................................................55
MSB ...................................................................................41
multitimbral sound generator ...........................................37
Multitimbral Sound Modules ..........................................145
MUTE ................................................................................35
MUTE button .....................................................................11
No Drum Set ....................................................................156
No Instrument .................................................................156
Non Registered Parameter Number ........................154, 228
Normal Parts .....................................................................37
Note messages .................................................................149
Note number ...................................................................149
Note off ............................................................................149
Note on ............................................................................149
notes ..................................................................................48
NRPN ..............................................................151, 154, 228
NRPN LSB, MSB ..............................................................151
null ..................................................................................155
pitch .......................................................................50, 55, 58
Pitch Bend ..................................................................55, 149
pitch bend ..........................................................................58
Pitch Coarse .......................................................................71
pitch shift .........................................................................104
Plate ...................................................................................80
Poly ....................................................................................55
Poly Mode .........................................................................55
Portamento ......................................................................150
Portamento Control .........................................................150
Portamento Time .............................................................150
POWER ..............................................................................11
Power Off ..........................................................................21
Power On ...........................................................................21
POWER switch ..................................................................11
Preview function ...............................................................21
Preview Mode ...................................................................63
Preview Note Name ..........................................................63
Preview Velocity ................................................................63
Prevw Mode ......................................................................63
Prevw Note ........................................................................63
Prevw Velo ........................................................................63
Program Change ..............................................................149
O
R
octave ....................................................................50, 55, 58
OD → Chorus ..................................................................107
OD → Delay .....................................................................108
OD → Flanger ..................................................................108
OD/Auto Wah ................................................................125
OD/Phaser ......................................................................124
OD/Rotary ......................................................................123
OD1/OD2 ........................................................................123
Out Asgn ...........................................................................57
OUTPUT 1 jack ..................................................................11
OUTPUT 2 jack ..................................................................11
Output Assign ...................................................................57
Overdrive ..........................................................................93
Random .............................................................................34
Range .................................................................................59
Registered Parameter Number ........................................228
Release Time ......................................................................67
Remark ..............................................................................40
Reset All Controllers ........................................................152
Resonance ..........................................................................66
Rev Character ....................................................................80
Rev Dly Fb .........................................................................80
Rev Level ...........................................................................80
Rev PreDlyTm ...................................................................80
Rev Pre-LPF .......................................................................80
Rev Time ............................................................................80
Rev Type ............................................................................80
Reverb .......................................................................79, 103
Reverb Character ...............................................................80
Reverb Delay Feedback .....................................................80
Reverb Level ......................................................................80
REVERB MACRO ..............................................................81
Reverb parameters .............................................................80
Reverb Pre-Delay Time ......................................................80
Reverb Pre-LPF ..................................................................80
Reverb Send .................................................................54, 71
Reverb Send Level ...............................................54, 71, 150
Reverb Time ......................................................................80
Reverb Type ................................................................80–81
Rhodes Multi ...................................................................119
Roland Super MPU II ........................................................12
Room1 ...............................................................................80
Room2 ...............................................................................80
Room3 ...............................................................................80
Rotary ................................................................................95
Rotary Multi ....................................................................113
RPN .........................................................................151, 228
RPN LSB, MSB .................................................................151
Rx MIDI CH .......................................................................54
Rx Note Off ........................................................................71
Rx Note On ........................................................................71
N
P
Pan .......................................................................33, 50, 150
Pan Delay1 ........................................................................84
Pan Delay2 ........................................................................84
Pan Delay3 ........................................................................84
Pan Delay4 ........................................................................84
Panning Delay ...................................................................80
PanRepeat ..........................................................................84
parameter ..........................................................................64
Part ....................................................................................37
Part Basic Screen ........................................................29, 159
PART button ......................................................................11
Part EQ ..............................................................................54
Part Equalizer ....................................................................54
Part Level ....................................................................32, 54
Part Mode ....................................................................37, 55
Part Mute .....................................................................11, 35
Part Number ......................................................................60
Part Pan .............................................................................54
Parts ...................................................................................49
PH/Auto Wah .................................................................126
PH/Rotary .......................................................................126
Phaser ................................................................................94
PHONES jack ....................................................................11
PHRASE PREVIEW ...........................................................29
252
Index
S
S.TUNE ..............................................................................52
S.TUNE C–B ......................................................................58
SC-55 map ...................................................................36, 45
SC-88 map ...................................................................36, 45
SC-8850 map ................................................................36, 45
SC-88Pro map ..............................................................36, 45
Scale Tuning ......................................................................58
SCROLL bar ......................................................................11
Selecting a Part ..................................................................38
SERIAL connector .............................................................11
Serial Connector ................................................................14
Serial MIDI Driver .............................................................15
Set ......................................................................................71
SHIFT button .....................................................................11
Short Delay ........................................................................82
Short Delay (FB) ................................................................82
Simultaneous Notes ...........................................................48
Soft ..................................................................................150
SOLO .................................................................................36
SOLO button .....................................................................11
Sostenuto .........................................................................150
Space D ..............................................................................99
Spectrum ...........................................................................92
Start up ..............................................................................63
Startup ...............................................................................63
Step Flanger .......................................................................96
Stereo Chorus ....................................................................99
Stereo Delay ....................................................................100
Stereo Flanger ....................................................................95
Stereo Position .......................................................33, 50, 54
Stereo-EQ ...........................................................................92
Super MPU II .....................................................................16
Switch Between the Group A, B, C, and D ........................38
System Effects ..............................................................77, 79
System Exclusive messages .............................................152
system parameters .............................................................62
User Instrument .................................................................67
User Instrument parameters ..............................................67
User parameters ................................................................23
Utility Screen .............................................................62, 165
V
VALUE dial .......................................................................11
VAR.button ........................................................................11
Variation ............................................................................11
VARIATION button ..........................................................11
Variation number ........................................................29–30
Variation Sounds .........................................................30, 39
Velo Depth .........................................................................56
Velo Offset .........................................................................56
Velocity ............................................................................149
Velocity Sensitivity Depth .................................................56
Velocity Sensitivity Offset .................................................56
Vib Delay ...........................................................................65
Vib Depth ..........................................................................65
Vib Rate .............................................................................65
Vibrato ...............................................................................65
Vibrato Delay .............................................................65, 154
Vibrato Depth ............................................................65, 154
Vibrato Rate ...............................................................65, 154
Voices ..........................................................................40, 48
Volume ......................................................................32, 149
VOLUME Knob ...........................................................11, 32
T
Thru ...................................................................................92
Thru function ....................................................................18
Tm Ctrl Delay ..................................................................102
TPQN ..............................................................................155
Transmit ..........................................................................135
Transpose ..........................................................................35
Tremolo .............................................................................96
Tremolo Chorus ................................................................98
Troubleshooting ..............................................................139
Tune ..................................................................................50
TVF Cutoff Frequency .....................................................154
TVF Resonance ................................................................154
TVF&TVA Envelope Attack Time ...................................154
TVF&TVA Envelope Decay Time ....................................154
TVF&TVA Envelope Release Time ..................................154
U
U.INST .........................................................................53, 60
USB ....................................................................................12
USB Connector ............................................................11–12
USB Driver ........................................................................13
USB Off Line ....................................................................156
User Area .........................................................................137
User Drum .........................................................................70
User Drum Set .......................................................73, 75–76
253
Index
Operations via MIDI
Applying Insertion Effect to a certain Part ......................128
Changing a Normal Part to a Drum Part ............................60
Changing the chorus type ..................................................83
Changing the delay type ...................................................85
Changing the drum set of a part .........................................45
Changing the Equalizer Low Gain .....................................87
Changing the level of a part ..............................................33
Changing the map and variation sound of a part ..............42
Changing the pan of a part ................................................34
Changing the pan of a part to Random .............................34
Changing the pitch of a drum instrument .......................155
Changing the reverb type ..................................................81
Changing the settings to output sound from OUTPUT2 .... 61
Changing the sound of a part .............................................42
Changing the value of the cutoff frequency of a Part ......155
Changing the variation sound of a part .............................42
Turning off the Equalizer of a Part ....................................60
254
To resize thickness, move all items on the front cover to left or right
on the master page.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
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NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within an
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presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read all the instructions before using the product.
2. Do not use this product near water — for example, near a
bathtub, washbowl, kitchen sink, in a wet basement, or near
a swimming pool, or the like.
3. This product should be used only with a cart or stand that is
recommended by the manufacturer.
4. This product, either alone or in combination with an amplifier
and headphones or speakers, may be capable of producing
sound levels that could cause permanent hearing loss. Do
not operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any
hearing loss or ringing in the ears, you should consult an
audiologist.
5. The product should be located so that its location or position
does not interfere with its proper ventilation.
6. The product should be located away from heat sources such
as radiators, heat registers, or other products that produce
heat.
7. The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.
8. The power-supply cord of the product should be unplugged
from the outlet when left unused for a long period of time.
9. Care should be taken so that objects do not fall and liquids
are not spilled into the enclosure through openings.
10.The product should be serviced by qualified service
personnel when:
A. The power-supply cord or the plug has been damaged; or
B. Objects have fallen, or liquid has been spilled into the
product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate normally or
exhibits a marked change in performance; or
E. The product has been dropped, or the enclosure
damaged.
11.Do not attempt to service the product beyond that described
in the user-maintenance instructions. All other servicing
should be referred to qualified service personnel.
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
For the USA
This product may be equipped with a polarized line plug (one blade wider than the other) . This is a safety feature. If you
are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the plug.
For Canada
For Polarized Line Plug
CAUTION:
ATTENTION:
For EU Countries
TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE
DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For the U.K.
For Canada
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
2
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
SC-8850
Owner’s Manual
Owner’s Manual
Before using this unit, carefully read the sections entitled: “IMPORTANT
SAFETY INSTRUCTIONS” (p.2), “USING THE UNIT SAFELY” (p.3), and
“IMPORTANT NOTES” (p.5). These sections provide important information concerning the proper operation of the unit. Additionally, in order
to feel assured that you have gained a good grasp of every feature
provided by your new unit, Owner’s manual should be read in its entirety.
The manual should be saved and kept on hand as a convenient reference.
01891545
00-7-A3-31N
Copyright © 1999 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of
ROLAND CORPORATION.