Roland Fantom Owner's Manual
Below you will find brief information for Fantom FA-76. This document provides a list of sounds, parameters, and other technical information about the Fantom FA-76 keyboard. You can find the list of performance, multitimbre, patch, rhythm set, waveform, arpeggio style, rhythm pattern styles, parameter list, effects, multi-effects parameters, chorus parameters, reverb parameters, MFX template list, error messages, about MIDI, MIDI implementation, bank select and program change correspondence.
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02780690 ’01-11-C3-41N
Sound/Parameter List
Thank you, and congratulations on your choice of the Roland (FA-76).
Performance List ........................................................ 2
Multitimbre List ........................................................... 2
Patch List .................................................................... 3
Rhythm Set List .......................................................... 7
Waveform List ........................................................... 12
Arpeggio Style List ................................................... 15
Rhythm Pattern Style List ........................................ 16
Parameter List........................................................... 17
Effects List ................................................................ 32
MFX Template List .................................................... 63
Error Messages......................................................... 64
About MIDI................................................................. 65
MIDI Implementation ................................................ 66
Bank Select and Program Change Correspondence Chart ....................99
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
2
Performance List
PRST (Preset Group)
No.
Name
13
14
15
16
09
10
11
12
05
06
07
08
01
02
03
04
Fantasm
All That
Trippin
FunkRock Set
RhythmClvSet
Relaxation
Romance
Soaring Saws
VORTEX
BeatRockSet
Arp BellsPad
Stacked Pads
Quasar
Hit it! RSS
StereoSlicer
SwingJazzSet
No.
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
Name
Eclipse
OrganBldTrio
GruvaciusSet
Rock It!
ArpGuitarSet
Jupiter
Rock Brs Set
Andreas Cave
Voltage Ctrl
Watta Gate!
Techno Set
Road2Heaven
Powerwiggle
VoxStacks
BluesHarpSet
Flying Keys
No.
45
46
47
48
41
42
43
44
37
38
39
40
33
34
35
36
Name
AnalogStkSet
Nirvana
Jz PianoTrio
Springy Set
InstantScore
Sweep Pad
60's Set
Slip Stack
Xtreme!
SlicdTrncSet
Pumping
Dulcitar Stk
TempoMdnsSet
PhsDyn&BsSet
Brass Band
Rock Gtr Set
No.
61
62
63
64
57
58
59
60
53
54
55
56
49
50
51
52
Name
Humanizer
Full Strings
Piano+Rhodes
BossaNovaSet
Techno Set 2
Cultivate
SynthBrs Set
Sabbath Day
Blue Sky
Cycles
MIDI Rhodes
Techno Loop
Lo-Fi Trance
OvertoneStak
Ac.Piano/Bs
Piano & Str
Multitimbre List
PRST (Preset Group)
No. Name
01 FANTOM Temp
02 Techno
03 House
04 Hip-Hop
No. Name
05 Pop
06 Funk Rock
07 Hard Rock
08 Blues
No. Name
09 Ac. Jazz
10 Cont. Jazz
11 Big Band
12 Latin
No. Name
13 New Age
14 Orchestral
15 Film Music
16 GM2 Template
Patch List
USER (User Group)
No. Name Voice Key Assign
033 Tight Brass
034 Blues Harp
035 Cutter Clav
036 Tap Bass
037 JD Multi Ld
038 Dance Zipper
039 Y2K Concerto
040 Distorted B
041 SteelRelease 4
042 COSM Searing 3
043 Bottlephone
044 TMT Scanner
2
4
045 BatonStrings
046 FatSynBrass
047 Modular Life
048 Flutterys
4
3
3
4
8
1
1
4
2
1
5
2
049 Swingin'Bari
050 Funky Tube
051 Atlantis 5
052 Vocovox Wave 1
3
1
053 Double Steel
054 SwellEnsembl
055 Hydrogen
056 Nanolog Pad
4
4
8
4
057 Aftermath
058 Slice & Dice
059 Wedding Gig
060 SparklePiano
061 Wurly Gum
062 Voxfuzz Klav
063 Digibell Pad
064 IslandSpirit
4
3
2
4
4
6
4
4
001 GenerationXV
002 Grand XV
003 GlobalWarmup 4
004 Chordbender 4
4
4
005 My Orchestra
006 Vortex
007 TempoMadness 4
008 Stream Bell 5
4
4
009 Blue Mutes
010 UltraSmooth
011 Thipper Bass
012 Drew's Bee
013 Backspinner
014 Dream 2001
015 XV Crystal
016 XV Ac.Bass
4
4
5
3
3
3
2
2
017 Groovedigger
018 Hold A Chord
019 XV Trombone
020 LegatoJupitr
021 Thick Steel
022 Saw Grits
023 Henry VIII
024 CrystalGlass
025 Contemplate
026 Xtremities
027 Etheraaahl
028 VeloClikOrgn
029 Phatso Bass 3
030 OvertoneScan 4
031 Complex Echo 1
032 Rocky Road 3
2
2
2
4
8
1
4
1
2
1
4
6
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
MONO
MONO
POLY
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POLY
MONO
POLY
POLY
MONO
POLY
POLY
POLY
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POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
No. Name Voice Key Assign
097 Queen V
098 SoaringHrns2
099 SquareDreams 4
100 Upwind Glata 4
6
7
101 Gruvacious
102 Pianomonics
103 Wurli World
104 Aftertouchin
3
4
5
4
105 DeepInPrayer
106 Swell Strat
107 Wine Drops
108 Tekno Pizz
109 Soft Padding
110 Auto Riff
111 Mini Lead
112 Froggy Bass
4
1
2
2
4
1
6
1
113 BiggieBrass2
114 Harm is Fine
115 Cold Roadz
116 Combing
117 2.2 Strings
118 Tape Q
119 Traffic Pad
120 Rhodes Trem
121 Shuffle Bell
122 Vintage Pad
123 Aliastrings
124 AmbiRhodes
125 Mutezzicato
126 Throbulax
127 Morph Pad
128 Flashback
8
4
3
2
4
4
4
2
4
2
5
4
4
2
5
3
065 Verby Organ
066 Cloud 9
067 Enchanted XV 3
068 Soft Nylon 4
2
5
069 Trem Guitar
070 Crying Solo
071 Stringless
072 Creamy Bass
4
2
2
2
073 Lead 4x Vlns
074 Wheel Brass
075 Solo SoprSax
076 Symphonique
077 T8 Brass 3
078 Technogrunge 3
079 Mood Ringz
080 Soff Machine
4
4
1
7
4
4
081 Cheepy Synth
082 Down2Earth
083 Spread Pad
084 R-mod Vox
085 R&Ballad Mix
086 Hybrid EP
087 Pop Ballad 3
088 Ambient Wood 2
6
3
2
2
2
7
089 Wedding Mass 5
090 Plug n' Play 2
091 COSM Loud Gt 3
092 COSM Bass 4
093 West End Bs
094 XV Strings
095 Tape Orch
096 man@work
4
4
5
3
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
POLY
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POLY
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POLY
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POLY
POLY
MONO
POLY
POLY
MONO
POLY
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POLY
POLY
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POLY
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POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
PR-A (Preset A Group)
No. Name Voice Key Assign
033 AmbiRhodes
034 Rholitzer
035 SA Rhodes
036 Dig Rhodes
037 Octa Rhodes
038 Waterhodes
039 Wurlie
040 Curly Wurly
041 Wurli World
042 Super Trip
043 Amped Wurlie 3
044 Dirty Wurlie 4
3
2
045 Wurly Gum
046 FM Delight
047 Cold Roadz
048 XV Crystal
4
4
2
2
2
4
4
2
4
2
4
3
049 Ring E.Piano
050 See-Thru EP
051 Innocent EP
052 EP+Mod Pad
053 WaterPiano2 3
054 Swimming EP 8
055 Backrhodes
056 Cutter Clav
3
2
2
4
4
3
057 Comp Clav
058 Mute Clav D6
059 PhazeWahClav 6
060 Phase Clav 1
1
3
061 Psyche Clav 1
062 PieceOfCheez 2
063 Harpsy Clav
064 Dist Clav
3
1
001 Grand XV
002 Contemplate
003 Hall Grand
004 64voicePno
005 Bright Piano
006 Nice Piano
007 Upright Pno
008 Rock Piano
009 RockPiano Ch 3
010 Pianomonics 4
011 RN Sad Song 6
012 Y2K Concerto 8
013 Piano+SftPad 4
014 WarmVoxPiano 4
015 Piano+AirPad
016 ChoraLeader
5
8
4
2
2
4
2
1
4
2
017 SparklePiano
018 Warm pF Mix
019 R&Ballad Mix
020 Power Octs
021 RD-1000
022 Retro Rhodes
023 Fat Rhodes
024 PingE Piano
025 Rhodes Trem
026 Phaser Dyno
027 Hit Rhodes
028 Hybrid EP
029 Rocky Road
030 Sweet Tynes
031 Pluk Rhodes
032 Rhodes Trip
3
2
3
4
3
3
2
3
3
2
3
3
6
6
6
6
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
POLY
POLY
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POLY
POLY
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POLY
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
No. Name Voice Key Assign
097 Paleface 1
098 Paleface 2
099 VeloClikOrgn
100 British B
101 Rocker Org 6
102 Tone Wh.Solo
3
103 Drew's Bee
104 Split B
3
6
2
4
2
4
105 Velvet Organ
106 Verby Organ
107 Happy 60s
108 96 Years
109 Boogie Organ
110 Glory Us Rok
111 SoapOpera x4 1
112 Klubb Organ 4
4
2
2
1
4
2
113 PercInterval
114 Distorted B
115 Radikal B
116 Cathedral
117 Church Harmn 4
118 Cathdr Harmn 5
119 Wedding Mass 5
120 Harmonica XV 1
1
4
8
1
121 Blues Harp
122 Nylon Gtr
123 Soft Nylon
124 Nylozzicato
125 Mutezzicato
126 Hybrid Nylon
127 Steel Away
128 Solo Steel
3
5
3
3
4
3
2
3
065 Voxfuzz Klav
066 St.Harpsichd
067 PositvHarpsi
068 3PartInventn
069 Pop Ballad
070 Musicbox XV
071 Chime Bells
072 Shuffle Bell
073 Stream Bell
074 Heavenals
075 HolidayCheer
076 Morning Lite
077 Digibell Pad
078 D50 StacHvn
079 Celestabox
080 Sandman
081 Bell Museum
082 Wide Tubular
083 True Vibe
084 Echo Vibe
085 Tremolo Vibe
086 Marimbula
087 Exotic Velo
088 Bottlephone
089 IslandSpirit 3
090 Ambient Wood 2
091 Steel Drums
092 Soft B
1
2
093 Ballad B
094 Soft Perky
095 Full Stops
096 Fullness
2
5
2
5
4
2
2
3
2
2
4
4
1
4
4
4
4
2
5
4
4
4
3
3
4
4
4
4
POLY
POLY
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POLY
Voice: number of voice
3
Patch List
PR-B (Preset B Group)
No. Name Voice Key Assign
033 Crying Solo
034 Southern Fry
035 Strum Distrt
036 Match Drive
037 Stacked
038 2-Stack Over
039 COSM Searing 3
040 COSM Loud Gt 3
3
2
2
3
2
2
041 Plugged !!!
042 Blue Mutes
043 Metal 5150 3
044 Crunch Phase 2
1
2
045 Alt Dist Gtr
046 Hurtin'Tubes
047 Punker
048 XV Ac.Bass
2
4
2
3
049 XV Upright
050 Ac.Upright
051 Fingerd Bass
052 Stringless
053 LookMaNoFret 3
054 XV Fretless 1
055 Basic F'less
056 8-str F'less
1
2
1
4
1
1
057 Fretls Dry
058 Tap Bass
059 Pick Bass
060 Pop Bass
061 P.Bs Chorus
062 TremCho Bs
063 Punch Bass
064 COSM Bass
1
4
4
2
1
1
1
1
001 Thick Steel
002 XV SteelGt 1
003 SteelRelease
004 XV SteelGt 2
005 So nice!
006 Steel&Nylon
007 Comp'Steel
008 Double Steel
009 Folk Guitar
010 SpanishNight
011 Classic Gtr
012 DesertCrystl
013 DeepInPrayer 6
014 Two+Ensemble 5
015 Harmless
016 Clear Guitar
2
3
3
4
4
5
4
8
8
8
4
4
4
4
017 Jz Gtr Hall
018 JC Strat
019 Solo Strat
020 Plug n' Play
021 Wah Guitar
022 Trem Guitar
023 Rotary Gtr
024 Fab 4 Guitar
025 Syn Strat 3
026 SwitchOnMute 2
027 LetterFrmPat
028 StratSeq'nce
5
4
029 Swell Strat
030 Blusey OD
031 Searing Lead
032 LouderPlease
3
3
1
2
2
4
3
2
3
2
2
2
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
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MONO
POLY
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POLY
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POLY
MONO
POLY
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POLY
POLY
No. Name Voice Key Assign
097 XV Strings
098 St.Strings
099 BatonStrings
100 Fat Strings
101 Dolce p/m/f
102 Sad Strings
103 Lush Strings
104 Film Octaves
105 Strings4Film
106 Marcato
107 Marcato Str
108 TremoloStrng
109 End Titles
110 Bass Pizz
111 ChamberQrt.1
4
112 ChamberQrt.2
4
4
4
4
3
6
2
4
4
6
6
3
3
3
2
113 Lead 4x Vlns 4
114 ChamberSect.
4
115 FullChmbrStr
116 Tape Strings
6
2
117 JP-8 Str 1
118 Jupiter 21
119 Filt Strings
120 HybStringsXV
3
4
3
4
121 UltraSmooth
122 Hold A Chord
123 Prelude 4
124 ChamberPlyrs 4
2
6
125 TudorFanfare
126 Hornz
127 Symphonique 7
128 Wood Symphny 7
4
5
065 Slap Bass 1
066 Slap Bass 2
067 Slap Bass 3
068 Stick Chopz
069 4 Pole Bass
070 Tick Bass
071 House Bass
072 101 Bass
073 Wonder Bass
074 SinusoidRave
075 202 Rude Bs
076 Creamy Bass
077 Buster Bass
078 Thipper Bass
079 Phatso Bass
080 Acid TB
081 TB Squelch
082 Ticker Bass
083 Muscle Bass
084 Grounded Bs
085 West End Bs
086 Snap Bass
087 700 Bassboy 3
088 8VCO MonoSyn 8
5
2
2
2
2
4
089 ResoMoist Bs
090 Kickin' Bass
091 Sub Zero
092 Liquid Bass
093 Hefty Bass 2
094 Severe Ow Bs 4
095 Jupiter Bass 4
096 Untamed Bass 3
4
2
4
2
3
1
2
3
2
2
3
1
3
2
1
4
2
4
1
1
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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POLY
POLY
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POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
POLY
MONO
POLY
POLY
MONO
MONO
MONO
MONO
PR-C (Preset C Group)
No. Name Voice Key Assign
033 BigBrassBand 5
034 Lil'BigHornz 6
035 VoyagerBrass 3
036 Wheel Brass 4
037 Symph Horns
038 XV Trumpet
039 Ballad Trump
040 XV Trombone
4
2
3
3
041 Trombone Atm 3
042 Harmon Mute 1
043 Poly Brass
044 Rugby Horn
3
3
045 JupiterHorns
046 3 Osc Brass
047 FatSynBrass
048 T8 Brass
4
3
2
3
049 True ANALOG 3
050 Triumph Brs 3
051 P5 Polymod
052 Solo SoprSax
2
1
053 Ambient Sax
054 Solo AltoSax
055 XV DynoTenor 3
056 Honker Bari 2
4
2
057 Swingin'Bari
058 Full Saxz
059 LA Sax's
060 Soaring Saws
061 Square Roots
062 BOG
063 Saw Grits
064 Talking Box
1
3
2
3
4
6
3
7
001 Henry VIII
002 Str&Brs Orch
003 Soft Symphny 7
004 Brassy Symph 4
8
7
005 My Orchestra
006 HybOrchestra
007 Swell Oboe
008 Oboe mf
3
1
4
8
009 Clarinet mp
010 Flute/Clari
011 Orch Reeds
012 Wind Wood
013 SwellEnsembl 4
014 Flute 2
015 Jazzer Flute
016 Dual Flutes
2
3
3
4
1
2
017 LegatoBamboo 4
018 Ambience Flt 4
019 The Andes
020 Deja Vlute
1
4
021 Tooters Lead
022 Air Lead
023 Flutterys
024 Brass Sect
3
5
3
2
025 Tight Brass
026 Simply Brass
027 FullSt Brass
028 Dragnet
029 Biggie Brass
030 BiggieBrass2
031 NewR&RBrass 8
032 Tower Trumps 5
4
5
5
4
5
2
POLY
POLY
POLY
MONO
MONO
MONO
MONO
MONO
POLY
POLY
POLY
MONO
MONO
MONO
POLY
POLY
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MONO
POLY
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MONO
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POLY
No. Name Voice Key Assign
097 Hit Bitz
098 80s LoFi Hit
099 Impact
100 Backspinner
101 Auto Chord 4
102 3rdTeenChord 4
103 Bend a Chord
104 DiscreteChrd
4
4
4
5
4
4
105 2ndRateChord 4
106 House Chord 4
107 MinorIncidnt 4
108 GenderBender 4
109 AM 05:59
110 Chordbender
111 Phunky DC
112 RageInYouth
2
3
4
4
113 Agent X
114 Winky
115 Looney 2nz
116 Shortrave
117 DeeperBeeper 2
118 Sequalog 4
119 Dance Zipper 4
120 Technogrunge 3
8
2
7
8
121 Percolator
122 Civilization
123 Filter Morph
124 Choir Bounce
125 Ambi Voices
126 Say Yeah !
127 Vocovox Wave 1
128 Xcuse me 2
8
2
4
4
4
3
065 Retro Lead
066 LivingInSync
067 Leads United
068 Dirty Sync
069 DistortaSync
070 Blistering
071 Guttural
072 Powersoaker
073 Mean Thing
074 Jet Sync
075 Edye Boost
076 JD Multi Ld
077 Enchanted XV 3
078 Mini Lead 4
079 Flyin' High
080 Soft Tooth
3
2
2
1
2
2
8
4
1
2
4
2
2
2
081 Soaring Sqr
082 Soaring Sync
083 Nasal Spray
084 Lamb Lead
085 Creamer
086 Sine System
087 WhistlinAtom
088 Pure Pipe
089 You and Luck
090 LegatoJupitr
091 Atlantis
092 Jet Voxs
093 Dirty Hit
094 MOVE!
095 Reel Slam
096 OffTheRecord
4
4
4
6
5
3
2
1
2
2
2
4
2
2
4
4
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
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MONO
POLY
MONO
POLY
MONO
MONO
MONO
MONO
MONO
POLY
MONO
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MONO
POLY
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MONO
POLY
POLY
MONO
MONO
MONO
MONO
MONO
MONO
POLY
POLY
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
MONO
Voice: number of voice
4
Patch List
PR-D (Preset D Group)
No. Name Voice Key Assign
033 Blades
034 Mad Bender
035 Mood Ringz
036 Wedo-Wodo
037 S.O.S.trings
038 Syncronicity
039 Groovedigger
040 Alternative
041 Raggatronic
042 Flying Waltz
043 DanceMachina 4
044 Vox Chopper 4
4
4
045 SlicingSyVox
046 Slice Girlz
047 Voice Stream
048 Vortex
4
4
2
4
4
2
4
4
4
4
4
6
049 man@work 4
050 PressureDome 4
051 Quasar /Aft
052 Ionizer
4
4
053 Cyber Dreams 3
054 Strobe Mode 4
055 Aftertouchin
056 Rhythm Sync
4
1
057 MilleniumStr
058 Bounce Baby!
059 Bounce Daddy 2
060 Bounce Mama!
3
6
1
061 Bounce Noize
062 Auto Riff
063 What a Gate!
064 Mini Sequenz
7
4
2
2
001 Froggy Bass
002 5ths in 4ths
003 Pretty Ugly 2
004 Con Sequence 2
1
4
005 BermudaShort 2
006 Saw n' 202 2
007 Technoheadz
008 Boss'd Synth
4
4
009 Cross Fire
010 Techno Cave
011 Generator
012 Xtremities
013 Auto TB-303
014 Happy Brass
015 Tape Orch
016 Tekno Pizz
4
1
3
8
4
4
2
2
017 Analog Seq
018 Booster Bips
019 Keep :-)
020 Dist TB-303
021 B'on d'moov!
022 Rippling
023 SteppingPhsr
024 Trance Fair
025 TechnoSurf 1
026 TechnoSurf 2
027 GermanBounce 4
028 TMT Scanner 4
2
2
029 Complex Echo 1
030 Double Helix 4
031 Acid JaZZ 5
032 Cutter>ModWh 2
3
8
3
1
2
2
3
2
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
MONO
POLY
MONO
MONO
MONO
MONO
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
MONO
No. Name Voice Key Assign
097 Bowed Bell
098 X-Tension
099 DUB!!!
100 Dream Diver
101 Flashback
102 St.LoFiNoise
103 BPFsweep Mod 3
104 Hydrogen 4
4
2
4
6
2
2
105 Queen V 6
106 SkinnyBounce 2
107 SquareBounce 3
108 Galactic 8
109 Powerwiggle
110 80s Retrosyn
111 Power Stack
112 Cheepy Synth
3
2
3
2
113 Don't Jump
114 Big Bubbles
115 X-mod Sweep
116 PhaseBlipper
117 Glider
118 Bag O' Bones
119 Funky Tube
120 AirSoThin
121 Poly Saws
122 Analogical
123 Waspy Pulse
124 Digi Phased
125 Sweep Clav
126 Synth Ethics
127 Harm is Fine
128 D-2000
3
4
3
4
2
4
4
4
1
2
2
6
1
2
8
3
065 Slice & Dice 4
066 BrushingSaw1 8
067 BrushingSaw2 8
068 Throbulax 2
069 Cultivate
070 Soff Machine
071 CrystalGlass
072 RiversOfTime
1
4
5
4
073 Glistening
074 Shadows
075 Shapeshifter
076 Moon Rise
077 Atmospherics
078 Runaway Rez
079 Dropplets
080 Indian Guru
4
4
4
2
4
8
4
5
081 Cosmic Rain
082 Trying Winds
083 Space Whiz
084 ForestMoon
085 Predator 2
086 Dark Side
087 The Beast
088 X-mod Reso
089 Planet Meta
090 Nexus
091 Halographix
092 Windy Dunes
093 Ice Blasts
094 Ringy Thingy
095 DigitalDrone
096 Space Race
2
1
4
8
2
4
7
8
6
1
8
8
2
8
1
3
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
PR-E (Preset E Group)
No. Name Voice Key Assign
033 Air Pad
034 Sabbath Day
035 XV BlowPad
036 Soft Padding
037 Warmth Pad
038 Warmth
039 Silky Way
040 Soundtraque
041 Spread Pad
042 ClassicJPpad
043 Jupiter Str
044 Fat Pad
045 Cloud 9 5
046 OvertoneScan 4
047 GR700 Pad 3
048 GlobalWarmup 4
2
4
2
2
2
2
2
3
4
2
3
4
049 White Arcade 3
050 SquareDreams 4
051 Pulse Pad
052 JP-8Haunting
4
4
053 Paradise
054 Translucence
055 D'light
056 2.2 Strings
2
5
3
4
057 Moonchimes 3
058 SusPed Swap 4
059 Dimensional
060 E-Motion Pad
2
4
061 Octapad
062 Gluey Pad
063 Borealis
064 PhasingPad
4
2
3
3
001 Ackward East
002 Promonade
003 Ray Tracer
004 Soaring Hrns
005 SoaringHrns2
006 Vintage Orch
007 Glass Orbit
008 Down2Earth
009 5th Atm /Aft 2
010 Mod DirtyWav 3
011 Lo-fiBellPad
012 Apophis
4
4
013 Lo-fi Sweep
014 Modular Life
015 Oscillations
016 Vintage Pad
4
2
2
4
3
7
7
4
2
6
4
3
017 Combing
018 Dream 2001
019 Rolling 5ths
020 Analogue Str
021 Lunar Strngs 4
022 5080 Random 4
023 XV Stepping
024 India Garden
5
6
4
4
2
3
025 FloatingVox
026 Heirborne
027 Wine Drops
028 Belly Pad
029 Spectre
030 Rainy Day
031 Morph Pad
032 Nanolog Pad
8
4
4
5
4
3
3
4
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
No. Name Voice Key Assign
097 VelHarp)Harm 3
098 Reso Sitar 2
099 The Ganges
100 Sitar
3
4
101 Dulcimer
102 Dulcitar
103 MountainFolk
104 Byzantine
2
4
2
4
105 AsiaPlectrum
106 Pluckaphone
107 Taj Mahal
108 Sheep Dream
109 Cairo lead
110 Lochscapes
111 Celtic Song
112 Blown Str.
4
2
3
2
2
4
8
4
113 Brass Tubes
114 Dreams East
115 Synergistic
116 Slap Timps
117 Rain Forest
118 Upwind Glata
119 Aftermath
120 Tape Q
121 Open End 2
122 TempoMadness 4
123 Gruvacious
124 Thor's Drums
5
4
125 Suite Combo
126 Lounge Gig
127 Wedding Gig
128 GenerationXV
4
4
6
4
4
4
4
4
2
4
4
3
065 Ethereal Str
066 Darkshine
067 Velcropad
068 NothrnLights
069 Sun Dive
070 Traffic Pad
071 Aliastrings
072 On The Air
073 Brite Vox 1
074 Brite Vox 2
075 Longing...
076 Ooh)Aah Mod
077 Vocals: Ooh
078 Vocals: Scat
079 Vocals: Boys
080 St. Choir
081 SampleThe80s 2
082 Sacred Tree 2
083 VP330 OctEko 2
084 Whisper Vox 4
085 Dark Vox
086 Spaced Voxx
087 R-mod Vox
088 Etheraaahl
2
2
2
4
089 Andreas Cave 4
090 AmbiPizza 5
091 Voxy Nylon
092 EastrnEurope
3
3
093 Far Eastern
094 Pilgrimage
095 Celtic Harp
096 Harp On It
2
3
2
4
6
4
4
6
3
4
4
4
4
4
7
4
4
4
4
4
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
MONO
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
POLY
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Voice: number of voice
5
Patch List
GM (GM2 Group)
No. Name
001 Piano 1
002 Piano 1w
003 European Pf
004 Piano 2
005 Piano 2w
006 Piano 3
007 Piano 3w
008 Honky-tonk
Voice LSB PC
4
2
009 Honky-tonk 2 2
010 E.Piano 1 2
011 St.Soft EP
012 FM+SA EP
2
2
013 Wurly
014 E.Piano 2
015 Detuned EP 2 2
016 St.FM EP 2
2
2
017 EP Legend
018 EP Phase
019 Harpsichord 1
020 Coupled Hps.
2
2
2
021 Harpsi.w
022 Harpsi.o
023 Clav.
024 Pulse Clav
1
1
1
2
025 Celesta 1
026 Glockenspiel 1
027 Music Box
028 Vibraphone
1
2
029 Vibraphone w 2
030 Marimba 1
031 Marimba w
032 Xylophone
1
1
033 Tubular-bell
034 Church Bell
035 Carillon
036 Santur
037 Organ 1
038 Trem. Organ
039 60's Organ 1 1
040 70's E.Organ
2
2
2
1
1
1
1
041 Organ 2
042 Chorus Or.2
043 Perc. Organ
044 Organ 3
045 Church Org.1
1
046 Church Org.2
2
047 Church Org.3
2
048 Reed Organ 1
2
2
2
2
049 Puff Organ
050 Accordion Fr
051 Accordion It
052 Harmonica
053 Bandoneon
054 Nylon-str.Gt
055 Ukulele
056 Nylon Gt.o
057 Nylon Gt.2
058 Steel-str.Gt
059 12-str.Gt
060 Mandolin
061 Steel + Body
062 Jazz Gt.
063 Pedal Steel
064 Clean Gt.
1
1
2
1
2
2
2
1
1
2
2
1
2
1
2
2
1
2
1
1
1
4
1
2
3
4
5
6
7
8
13
14
15
16
17
18
19
20
21
22
26
27
28
1
0
3
0
1
2
3
0
1
2
0
0
1
0
1
0
2
0
0
1
2
0
0
1
2
3
0
1
2
0
0
1
1
0
1
0
0
0
0
0
0
1
2
3
0
1
3
4
1
2
3
0
1
2
1
0
1
0
1
0
2
0
0
1
9
10
11
12
23
24
25
No. Name Voice LSB PC
097 Cello
098 Contrabass
099 Tremolo Str
100 PizzicatoStr
101 Harp
102 Yang Qin
103 Timpani
104 Strings
105 Orchestra
106 60s Strings
107 Slow Strings
108 Syn.Strings1
109 Syn.Strings3
110 Syn.Strings2
111 Choir Aahs 2
112 Chorus Aahs 2
2
2
1
2
3
2
1
2
1
2
1
1
1
1
113 Voice Oohs
114 Humming
115 SynVox 1
116 Analog Voice 1
1
2
117 OrchestraHit
118 Bass Hit
119 6th Hit
120 Euro Hit
2
2
2
2
121 Trumpet 1
122 Dark Trumpet 1
123 Trombone
124 Trombone 2
1
1
125 Bright Tb
126 Tuba
127 MutedTrumpet 1
128 MuteTrumpet2 1
1
1
065 Chorus Gt.
2
066 Mid Tone GTR 1
067 Muted Gt.
068 Funk Pop
1
1
069 Funk Gt.2
070 Jazz Man
071 Overdrive Gt
072 Guitar Pinch
2
2
2
2
073 DistortionGt 2
074 Feedback Gt.
2
075 Dist Rtm GTR 2
076 Gt.Harmonics
1
077 Gt. Feedback 1
078 Acoustic Bs.
1
079 Fingered Bs.
080 Finger Slap
1
2
081 Picked Bass
082 Fretless Bs.
083 Slap Bass 1
084 Slap Bass 2
085 Synth Bass 1 1
086 SynthBass101 1
087 Acid Bass
088 Clavi Bass
1
2
1
2
1
1
089 Hammer 2
090 Synth Bass 2 2
091 Beef FM Bass 2
092 RubberBass 2 2
093 Attack Pulse
094 Violin
095 Slow Violin
096 Viola
1
1
1
1
29
30
31
32
33
34
40
41
48
49
50
51
52
53
54
55
56
57
58
59
60 0
1
2
0
0
1
0
1
2
3
0
1
0
1
0
1
0
1
1
0
0
0
1
2
0
0
0
1
0
0
0
0
1
0
3
0
1
2
4
0
2
3
0
1
0
0
0
0
0
1
1
0
2
0
0
1
0
1
2
3
0
1
1
2
35
36
37
38
39
42
43
44
45
46
47
Voice: number of voice LSB: Bank Select LSB, MSB is all 121
No. Name Voice LSB PC
161 Doctor Solo 2
162 Natural Lead 2
163 SequencedSaw 2
164 Syn.Calliope
2
165 Chiffer Lead
166 Charang
167 Wire Lead
168 Solo Vox
2
2
2
2
169 5th Saw Wave 2
170 Bass & Lead 2
171 Delayed Lead 2
172 Fantasia 2
173 Warm Pad
174 Sine Pad
175 Polysynth
176 Space Voice
2
2
1
2
177 Itopia 2
178 Bowed Glass 3
179 Metal Pad
180 Halo Pad
3
2
181 Sweep Pad
182 Ice Rain
183 Soundtrack
184 Crystal
2
2
1
2
185 Syn Mallet
186 Atmosphere
187 Brightness
188 Goblin
189 Echo Drops
190 Echo Bell
191 Echo Pan
192 Star Theme
2
2
1
2
2
2
1
2
129 French Horns 2
130 Fr.Horn 2 2
131 Brass 1
132 Brass 2
3
2
133 Synth Brass1 2
134 Pro Brass 2
135 Oct SynBrass 2
136 Jump Brass 3
137 Synth Brass2 2
138 SynBrass sfz 2
139 Velo Brass 1 2
140 Soprano Sax 1
141 Alto Sax
142 Tenor Sax
143 Baritone Sax 1
144 Oboe 2
1
2
145 English Horn 1
146 Bassoon 1
147 Clarinet
148 Piccolo
1
1
149 Flute
150 Recorder
151 Pan Flute
152 Bottle Blow
1
2
1
1
153 Shakuhachi
154 Whistle
155 Ocarina 2
156 Square Wave 2
2
1
157 MG Square
158 2600 Sine
159 Saw Wave
160 OB2 Saw
2
1
1
1
61
62
63
64
82
89
90
91
92
0
0
0
0
0
0
1
0
1
0 100
0 101
0 102
0 103
1
2
0 104
97
98
99
93
94
95
96
0
0
0
1
1
0
0
0
1
0
0
0
4
0
2
3
83
84
85
86
87
88
0
1
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
0
0
1
2
3
0
1
0
1
0
1
77
78
79
80
81
73
74
75
76
69
70
71
72
65
66
67
68
PC: Program Change Number
No. Name Voice LSB PC
225 Stream
226 Bubble
227 Bird
228 Dog
229 Horse-Gallop 1
230 Bird 2 1
231 Telephone 1
232 Telephone 2
1
1
2
1
2
2
233 DoorCreaking 1
234 Door 1
235 Scratch 2
236 Wind Chimes 2
237 Helicopter
238 Car-Engine
239 Car-Stop
240 Car-Pass
1
1
2
1
241 Car-Crash
242 Siren
243 Train
244 Jetplane
245 Starship
246 Burst Noise
247 Applause
248 Laughing
249 Screaming
250 Punch
251 Heart Beat
252 Footsteps
253 Gun Shot 1
254 Machine Gun 1
255 Lasergun
256 Explosion
1
2
1
1
1
1
2
1
2
2
1
2
2
1
193 Sitar
194 Sitar 2
195 Banjo
196 Shamisen
197 Koto
198 Taisho Koto
199 Kalimba
200 Bagpipe
201 Fiddle
202 Shanai
203 Tinkle Bell
204 Agogo
205 Steel Drums
206 Woodblock
207 Castanets
208 Taiko
209 Concert BD
210 Melo. Tom 1
211 Melo. Tom 2
212 Synth Drum
213 808 Tom
214 Elec Perc
215 Reverse Cym.
1
216 Gt.FretNoise
1
2
1
1
2
2
1
217 Gt.Cut Noise
218 String Slap
219 Breath Noise
220 Fl.Key Click
221 Seashore
222 Rain
223 Thunder
224 Wind
1
1
1
1
1
1
1
1
1
3
1
1
3
1
1
1
1
2
2
1
1
1
1
2
6
7
4
5
8
9
0 127
1
4
5
2
3
2
3
0 128
1
4
5
0 124
1
2
3
0 125
1
4
5
2
3
2
3
0 126
1
1
0 118
1
0 119
1
2
0 120
0 121
1
2
0 122
1
2
3
0 123
1
0 105
1
0 106
0 107
0 108
1
0 109
0 110
0 111
0 112
0 113
0 114
0 115
0 116
1
0 117
Key Assign: all POLY
6
Rhythm Set List
C5 72
73
74
76
75
77
78
79
80
81
82
83
C6 84
85
86
88
87
89
90
91
92
93
94
95
C7 96
97
98
99
100
101
102
103
41
42
43
44
45
46
47
C3 48
49
50
52
51
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
40
39
PRST (Preset Group)
001
R&B Kit 1
002
R&B Kit 2
Cowbell Hi
Ride Bell
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
R&B 1 AgBel1
R&B 1 AgBel2
R&B 1 AgBel3
Maracas
606 Cl HiHat
606 Cl HiHat
606 Op HiHat
Long Guiro
Claves
Wood BlockHi
Wood BlockLo
R&B 1 Pizz
R&B 1 Gmlan1
R&B 1 Gmlan2
R&B 1 BtlHit
R&B 1 ThrilL
R&B 1 ThrilH
808 SN
R&B 1 WdBlk
Dance Kick
Dry Kick
R&B1 SN Roll
Hybrid Kick
R&B1 SN Ghst
Round Kick
R&B 1 PdHH
R&B 1 Kick 2
R&B 1 Kick 1
R&B 1 Stick
R&B 1 SN 1
Snare Ghost
R&B 1 SN 2
R&B 1 Tom L
R&B 1 ClHH 1
Rock Flm L
R&B 1 ClHH 2
R&B 1 Tom M
R&B 1 OpHH
Rock Flm M
R&B 1 Tom H
R&B 1 CrCym1
Rock Flm H
Rock RdCym1
R&B 1 CrCym2
Rock RdCym2
Tambourine 1
Rock CrCym2
Cowbell Lo
Crash 1
R&B 1 CgSlap
Dry Tom L
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
R&B 1 OpHH
Anklungs
R&B 1 OpHH
Metronome 2
R8 Click
Metronome 1
R&B 1 HClaps
R&B 1 CrCym1
Rock RdCym2
Tambourine 1
Rock CrCym2
Vibraslap
R&B 2 RdCym
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
R&B 2 AgBel1
R&B 2 AgBel2
R&B 2 AgBel3
Maracas
606 Cl HiHat
606 Cl HiHat
606 Op HiHat
Long Guiro
Claves
Wood BlockHi
Wood BlockLO
R&B 2 Pizz
R&B 2 Gmlan1
R&B 2 Gmlan2
R&B 2 BtlHit
R&B 2 ThrilL
R&B 2 ThrilH
808 SN 1
808 SN 2
Dance Kick
Dry Kick
R&B2 SN Roll
R&B 2 909Kik
R&B2 SN Ghst
R&B 2 909Kik
R&B 2 PdHH
R&B 2 Kick
Dance Kick
R&B 2 Stick
R&B SN 1
R&B SN 2
R&B SN 3
R&B 2 Tom L
R&B 2 ClHH 1
808 Tom L
R&B 2 ClHH 2
R&B 2 Tom M
R&B 2 OpHH
808 Tom M
R&B 2 Tom H
R&B 2 CrCym
808 Tom H
R&B 2 RdCym
R&B 2 China
Ride Bell
Tambourine 1
R&B 2 Prc
Cowbell
R&B 2 CrCym2
808 SN 3
R&B 2 HClaps
R&B 2 VBreth
Scratch 3
Tin Wave
R&B 2 CrCym3
R&B 2 RdBell
REV Tin Wave
DIGI Bell 1
Metal Wind
Applause
R8 Click
Metronome 1
R&B 1 HClaps
Cowbell
Ride Bell
Tambourine 1
R&B 2 CrCym
004
Techno Kit
TechnoRvJzRl
TechnoSiren
TechnoLoop 3
TechnoLoNz
TechnoRdCym
TechnoCowbel
TechnoTel 1
TechnoTimpni
TehcnoClHH 7
TechnoRvOHit
TechnoRvTHit
TechnoRvBHt1
TechnoRvBHt2
TechnoWBlock
TechnoKick 7
TechnoClHH8
TechnoRim 1
TechnoRim 2
TechnoBrRoll
TehcnoIcRain
TechnoThrill
TechnoSN 3
TechnoWCrak
TechnoScrach
TechnoBNz
TechnoSN 4
TechnoPunch
TehcnoPlink
TechnoKick 6
TechnoKick 5
Techno ClHH
TechnoKick 4
Techno ClHH
TechnoKick 3
Techno ClHH
TechnoKick 2
TechnoKick 1
TechnoStick
TechnoSN 1
TechnoSNGhst
TechnoSN 2
TechnoTom1 L
TechnoClHH 1
TechnoTom2 L
TechnoClHH 2
TechnoTom1 M
TechnoOpHH
TechnoTom2 M
TechnoTom1 H
TechnoCrCym
TechnoTom2 H
TechnoCym
TechnoRvSNRl
MC500 Beep
TechnoBrSlap
TechnoNzStik
TechnoClHH6
TechnoSNRoll
TechnoRvRoll
TechnoOSC
TechnoNz 1
TechnoTkHit
TechnoBubble
TechnoNz 2
TechnoNz 3
TechnoNz 4
TechnoPwChrd
TechnoBckHit
TechnoNz 5
R8 Click
TechnoNz 6
TechnoNz 7
TechnoKick 7
TechnoKick 8
TechnoSN 4
TechnoClHH 9
003
House Kit
House OpHH 3
House Claps2
House Cabasa
House WCrak
House VoxNz
House Kick 7
Timp 3
House Bird
House Gun
House FBell
House Rattle
House RvOHit
House Noize1
House Noize2
House BongoL
House BongoH
House Tambrn
House Heart
House CgaSlp
House CgMute
House Tri
House Vibra
House FXLoop
House Aplase
House Chord
House OrcHit
House Spectr
House Train
House Kick 6
House Kick 5
House ClHH 3
House Kick 4
Reso Stick
House Kick 3
House OpHH 2
House Kick 2
House Kick 1
House Stick
House SN 1
House Claps
House SN 2
House NzTomL
House ClHH 1
808 Tom L
House ClHH 2
House NzTomM
House OpHH
808 Tom M
House NzTomH
House CrCym
808 Tom H
House FbkCym
House SN 3
House FSnaps
House ClHH 4
House Cowbel
House ClHH 5
House WBlock
House StrSip
House Crunch
House Tel2
House Bubble
Bird
House Gun 2
House Metro
House BakHit
House TekHit
House SNRoll
House Loop
R8 Click
Metronome 1
Hand Claps
House Tom2 L
House Tom2 M
House Rim
House Tom2 H
005
XV Pop Kit
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick
Snare Ghost
Round Kick
Rock PdHH
Hybrid Kick2
Old Kick
Side Stick
Wet SN
Snare Ghost
AmbientSN
Maple Tom L
Rock ClHH 1
Rock Flm L
Rock ClHH 2
Maple Tom M
Rock OpHH
Rock Flm M
Maple Tom H
Crash Cymbal
Rock Flm H
Rock RdCym1
Crash 1
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Rock CrCym2
Rock RdCym2
Cowbell Lo
Crash 1
006
Pop Kit 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick
Snare Ghost
Round Kick
Pop 2 PdHH
70s RocKick
Pop 2 Kick
Side Stick
70s Pic SN
Pop2 SNGst
3v Dry SN
Pop 2 Tom L
Pop 2 ClHH1
Rock Flm L
Pop 2 ClHH2
Pop 2 Tom M
Pop 2 OpHH
Rock Flm M
Pop 2 Tom H
Pop 2 CrCym
Rock Flm H
Rock RdCym1
Crash 1
Rock RdCym2
Tambourine 2
Pop 2 China
Cowbell Lo
Crash 1
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Pop 2 CrCym
Rock RdCym2
Cowbell Lo
Crash 1
7
8
Rhythm Set List
C5 72
73
74
76
75
77
78
79
80
81
82
83
C6 84
85
86
88
87
89
90
91
92
93
94
95
C7 96
97
98
99
100
101
102
103
41
42
43
44
45
46
47
C3 48
49
50
52
51
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
40
39
PRST (Preset Group)
007
XV Rock Kit
008
Rock Kit 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Dance Kick
Round Kick
Rock Roll
Jazz Kick
Rock Gst
Verb Kick
Rock PdHH
Maple Kick
Rock Kick
RockStick
Rock SN 1
Rock Gst
Rock SN 2
Rock Tom L
Rock ClHH 1
Rock Flm L
Rock ClHH 2
Rock Tom M
Rock OpHH
Rock Flm M
Rock Tom H
Rock CrCym1
Rock Flm H
Rock RdCym1
Rock China
Rock RdCym2
Tambourine 2
Rock CrCym2
Cowbell Lo
Crash 1
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Rock CrCym1
Rock China
Rock RdCym2
Crash 1
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Dance Kick
Dry Kick
Rock Roll
Hybrid Kick
Snare Ghost
Round Kick
Rock 2 PdHH
Rock 2 Kick
PunchKick
WoodyStick
Rock 2 SN 1
Rock Gst
Rock 2 SN 2
Rock 2 Tom L
Rock 2 ClHH1
Rock 2 Flm L
Rock 2 ClHH2
Rock 2 Tom M
Rock 2 OpHH
Rock 2 Flm M
Rock 2 Tom H
Rock 2 CrCym
Rock 2 Flm H
Rock RdCym1
Crash 1
Bell Ride
Tambourine 1
Rock 2 CrCy2
Cowbell Lo
Crash 1
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Rock 2 CrCym
Crash 1
Bell Ride
Crash 1
010
Jazz Kit 2
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick2
Snare Ghost
MplLmtr Kick
Jazz PdHH
JazzDry Kick
Jazz 2 Kick
SideStick
Jz SN w/Ghst
Jazz SN Ghst
Jz SN w/Rim
Jazz 2 Tom L
Jazz Pedel
Jazz 2 Flm L
Jazz 2 ClHH
Jazz 2 Tom M
Jazz 2 OpHH
Jazz 2 Flm M
Jazz 2 Tom H
Jazz 2 CrCym
Jazz 2 Flm H
Jazz 2 RdCym
Rock RdCym1
Rock RdCym2
Tambourine 1
Crash 1
Cowbell Lo
Crash 2
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Jazz 2 CrCym
Crash 2
Rock RdCym2
Crash 1
009
XV Jazz Kit
Cowbell Hi
Ride Bell
Cga Mute Hi
Cga Mute Lo
Cga Slap
Cga Open Hi
Cga Open Lo
Timbale Hi
Timbale Lo
AgogoBellsHi
AgogoBellsLo
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
WoodBlock Hi
WoodBlock Lo
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
JazzDry Kick
Pillow Kick
Jazz Swish
Hybrid Kick2
Snare Ghost
MplLmtr Kick
Jazz PdHH
JazzDry Kick
Jazz Kick
Dry Stick 2
Jazz SN 1
Snare Ghost
Jazz SN 2
Jazz Tom L
Jazz ClHH1
Jazz Flm L
Jazz ClHH2
Jazz Tom M
Jazz OpHH
Jazz Flm M
Jazz Tom H
Jazz CrCym
Jazz Flm H
Jazz RdCym
Rock RdCym1
Rock RdCym2
Tambourine 1
Crash 1
Cowbell Lo
Crash 2
Mute Surdo
Open Surdo
Lite Kick
Hybrid Kick2
Old Kick
Pop Voice
Wind Agogo
Op HiHat 2
Anklungs
Op HiHat 2
Metronome 2
R8 Click
Metronome 1
Hand Claps
Crash 2
Jazz CrCym
Rock RdCym1
Crash 1
011
XV Bully Kit
GtrString Nz
BreathNoise
REV 909 Kick
REV 909 Snr
Pitch Wind
Oohs Chord L
Metal Wind
909 Op HiHat
SlowAnklungs
Block
Metronome 2
R8 Click
Metronome 1
Hand Claps
Noise Open
GtrString Nz
BreathNoise
Crash
Cowbell 2
Rock RdCym
LoFi Cga MtH
LoFi Cga MtL
LoFi Cga Slp
LoFi Cga OpH
LoFi Cga OpL
Timbale Hi
Timbale Lo
AgogoBell Hi
AgogoBell Lo
Cabasa Up
Maracas
Noise Stop
Noise Open
Rattles Stop
Rattles
Claves
StrikePole
GtrBody Hit
LoFi Cuica 1
LoFi Cuica 2
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Steps
Bully 808K
Bully Kick 3
Bully Roll
Bully Kick 2
Bully BrSlap
Bully Kick 1
Bully PdHH
Bully 909K1
Bully 909K2
Bully Stick
Bully 909SN
Bully 808Clp
Bully 808SN
Bully Tom L2
Bully ClHH 1
Bully Tom L1
Bully ClHH 2
Bully Tom M
Bully OpHH
Bully Tom M
Bully Tom H
Crash
Bully Tom H
Ride
China Cym
Ride Bell
Tambourine
Crash
Cowbell 1
Nz Cymbal
012
Bully Kit 2
GtrString Nz
BreathNoise
REV 909 Kick
REV 909 Snr
Pitch Wind
Oohs Chord L
Metal Wind
909 Op HiHat
SlowAnklungs
Block
Metronome 2
R8 Click
Metronome 1
Hand Claps
Crash
Ride Bell
Tambourine
Crash
Cowbell 2
Rock RdCym
LoFi Cga MtH
LoFi Cga MtL
LoFi Cga Slp
LoFi Cga OpH
LoFi Cga OpL
Timbale Hi
Timbale Lo
AgogoBell Hi
AgogoBell Lo
Cabasa Up
Maracas
Noise Stop
Noise Open
Rattles Stop
Rattles
Claves
StrikePole
GtrBody Hit
LoFi Cuica 1
LoFi Cuica 2
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Steps
Bully2 Kick4
Bully2 Kick3
Bully2 Roll
Bully2 Kick2
Bully2BrSlap
Bully2 Kick1
Bully2 PdHH
Bully2 909K1
Bully2 909K2
Bully2 Stick
Bully2 909SN
Bully2808Clp
Bully2 808SN
Bully2 TomL2
Bully2 ClHH1
Bully2 TomL1
Bully2 ClHH2
Bully2 Tom M
Bully2 OpHH
Bully2 Tom M
Bully2 Tom H
Crash
Bully2 Tom H
Ride
China Cym
Ride Bell
Tambourine
Crash
Cowbell 1
Nz Cymbal
C5 72
73
74
76
75
77
78
79
80
81
82
83
C6 84
85
86
88
87
89
90
91
92
93
94
95
C7 96
97
98
99
100
101
102
103
41
42
43
44
45
46
47
C3 48
49
50
52
51
53
54
55
56
57
58
59
C4 60
61
62
63
64
65
66
67
68
69
70
71
Note No.
28
29
30
31
32
33
34
35
C2 36
37
38
40
39
PRST (Preset Group)
013
XV Rust Kit
014
Rust Kit 2
Vibraslap
70s Kick 2
70s Kick 1
Dry Stick
70s SN
Finger Snaps
HumanClapsEQ
JD Cowbell
70s Cl HiHat
AgogoBells
70s Cl HiHat
909 NZ HiHat
70s Op HiHat
Cabasa Up
Long Whistle
REV RkOpHH f
Tambourine 2
REV JzOpHH f
Scratch 2
Mute Triangl
909 Cl HiHat
Open Triangl
909 Cl HiHat
Cabasa
909 Op HiHat
Spectrum
Maple Kick
Woody Stick
70s Kick 2
Old Kick
Rock Roll
909 Kick 2
Rock Gst
909 Kick 1
Rock PdHH
808Kick long
Dance Kick 1
RockStick
Old Fill SN
Rock Gst
Rock SN
Elec.Tom L2
Rock ClHH1
Elec.Tom L1
Rock ClHH2
Elec.Tom M
Rock OpHH
Elec.Tom M
Elec.Tom H
Rock CrCym1
Elec.Tom H
Rock RdCym1
Rock CrCym2
Rock RdCym2
Tambourine 1
Rock Splash
Cowbell
China Cym
Maple SN
SN Roll
Maple Tom 3
909 Kick 1
Old Kick
808Kick Shrt
909 SN 2
909 SN 1
808 SN
Dance Kick 2
REV Timp3
R8 Click
Metronome 2
808 Claps
Rock CrCym2
Rock Splash
Rock RdCym2
Rock CrCym1
Vibraslap
Rust 2 Kick2
Rust 2 Kick3
RockStick
Rust 2 SN
Finger Snaps
Rust 2 Claps
JD Cowbell
Rock ClHH1
Rust 2 Agogo
Rock ClHH1
909 NZ HiHat
Rock OpHH
Cabasa Up
Long Whistle
REV RkOpHH f
Tambourine 2
REV JzOpHH f
Scratch 2
Mute Triangl
909 Cl HiHat
Open Triangl
909 Cl HiHat
Cabasa
909 Op HiHat
Spectrum
Maple Kick
Woody Stick
70s Kick 2
Old Kick
Rock Gst
909 Kick 2
Rock Gst
909 Kick 1
Vibraslap
808Kick Long
Rust 2 Kick1
Dry Stick
Old Fill SN
808 Claps
808 SN
Elec.Tom L2
Rock ClHH1
Elec.Tom L1
Rock ClHH2
Elec.Tom M
Rock OpHH
Elec.Tom M
Elec.Tom H
Rock CrCym1
Elec.Tom H
Rock RdCym1
Rock CrCym2
Rock RdCym2
Tambourine 1
Rock Splash
Cowbell
China Cym
Maple SN
SN Roll
Maple Tom 3
909 Kick 1
Old Kick
808Kick Shrt
909 SN 2
909 SN 1
808 SN
Dance Kick
REV Timp3
R8 Click
Metronome 2
808 Claps
Spectrum
Rock Splash
Rock RdCym2
Rock CrCym1
015
XV WayHipKit
LoFiCowbell2
Ride Bell
WHipCgaMtHi
WHipCgaMtLo
LoFi Cga Slp
LoFi Cga Hi
LoFi Cga Lo
El.TimbaleHi
El.TimbaleLo
El.Agogo Hi
El.Agogo Lo
NoisyCabasa1
Nz Blip
Digi Pulse 1
Digi Pulse 2
LoFi Guiro
WHip Noise 1
WHip Noise 2
WHip Noise 3
WHip Noise 4
Digi Tamb. 1
Digi Tamb. 2
Mute Triangl
Open Triangl
NoisyCabasa2
Nz Spectrum
LoFi Block
Rattle Block
WHip 808K
WHip DryK
WHip Sweep
Noisy Kick
WHip RimShot
WHip HybridK
WHip PdHH
WHip OldKick
WHip 909Kick
WHip Stik
WHip 70s Snr
WHip Clap
WHip Snare
SciHip Tom L
WHip ClHH 1
WHip Tom L
WHip ClHH 2
SciHip Tom M
WHip Op HH
WHip Tom M
SciHip Tom H
Crash Cymbal
WHip Tom H
Rock RdCym 1
Rock CrCym 1
Rock RdCym 2
Tambourine
Rock CrCym 2
LoFiCowbell1
Crash
Steps
WHip Noise 5
WHip Creak
WHip Bubble
WHip DoorSlm
Sci Punch
Noise Fall
WHip Noise 6
WHip Noise 7
WHip OrgClik
Metronome 2
R8 Click
Metronome 1
Hand Claps
WHip Noise 5
Digi Pulse 1
WHip Noise 4
Nz Spectrum
016
OrchestraKit
Ride 1
Ride 2
Bongo Hi
Bongo Lo
Cga Mute Hi
Cga Open Hi
Cga Open Lo
Timbale
Timbale
AgogoBells
AgogoBells
Cabasa Up
Maracas
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
Wood Block
Wood Block
Cuica
Cuica
Mute Triangl
Open Triangl
Cabasa Cut
Spectrum
Wind Chimes
Wood Block
Cga Slap
Dry Tom Lo
Applause
Hybrid Kick2
Cl HiHat 4
Round Kick
Pedal HiHat2
Natural SN2
Op HiHat 2
Brush Slap
Brush Swish
Brush Roll
SN Roll
Orch Cymbal
Cabasa Cut
Claves
Mute Triangl
Open Triangl
Old Kick
Round Kick
SN Roll
Jazz Kick
Snare Ghost
Verb Kick
Pedal HiHat
Concert BD 2
Concert BD
Side Stick
Concert SN
Snare Ghost
Snare Roll
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine 1
Crash 1
Cowbell
Crash 1
Rhythm Set List
9
Rhythm Set List
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
76
75
77
78
79
80
81
82
83
C6 84
85
86
88
87
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
Note No.
27
28
29
30
31
32
33
34
35
GM (GM2 Group)
001 (PC: 1)
GM2 STANDARD
002
GM2 ROOM
(PC: 9)
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Standard KK1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
003 (PC: 17)
GM2 POWER
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Power Kick1
Side Stick
Dance Snare1
909 HandClap
Elec Snare 3
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
004 (PC: 25)
GM2 ELECTRIC
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
Elec Kick 1
Side Stick
Elec. Snare
909 HandClap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
Tambourine
Splash Cym.
Cowbell
PC: Program Change Number
005 (PC: 26)
GM2 ANALOG
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
808clave
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
TR-808 Kick
808 Rimshot
808 Snare 1
909 HandClap
Elec Snare 3
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Bank Select MSB is all 120, LSB is all 0
006
GM2 JAZZ
(PC: 33)
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
10
Rhythm Set List
C4 60
61
62
64
63
65
66
67
68
69
70
71
C5 72
73
74
76
75
77
78
79
80
81
82
83
C6 84
85
86
88
87
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
Note No.
27
28
29
30
31
32
33
34
35
GM (GM2 Group)
007 (PC: 41)
GM2 BRUSH
008 (PC: 49)
GM2 ORCHSTRA
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Agogo
Cabasa
Maracas
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Applause
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
ConcertBD Mt
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym.
Cowbell
009
GM2 SFX
(PC: 57)
Footsteps
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
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps
PC: Program Change Number Bank Select MSB is all 120, LSB is all 0
11
Waveform List
Wave Name
StGrand pA L
SA Rhodes 2C
Dyn Rhd mp A
Dyn Rhd mp B
Dyn Rhd mp C
Dyn Rhd mf A
Dyn Rhd mf B
Dyn Rhd mf C
Dyn Rhd ff A
Dyn Rhd ff B
Dyn Rhd ff C
Wurly soft A
Wurly soft B
Wurly soft C
Wurly hard A
Wurly hard B
Wurly hard C
E.Piano 1A
E.Piano 1B
E.Piano 1C
E.Piano 2A
E.Piano 2B
E.Piano 2C
E.Piano 3A
E.Piano 3B
E.Piano 3C
MK-80 EP A
MK-80 EP B
MK-80 EP C
EP Hard
EP Distone
Clear Keys
D-50 EP A
StGrand pA R
StGrand pB L
StGrand pB R
StGrand pC L
StGrand pC R
StGrand fA L
StGrand fA R
StGrand fB L
StGrand fB R
StGrand fC L
StGrand fC R
Ac Piano2 pA
Ac Piano2 pB
Ac Piano2 pC
Ac Piano2 fA
Ac Piano2 fB
Ac Piano2 fC
Ac Piano1 A
Ac Piano1 B
Ac Piano1 C
Piano Thump
Piano Up TH
Piano Atk
MKS-20 P3 A
MKS-20 P3 B
MKS-20 P3 C
SA Rhodes 1A
SA Rhodes 1B
SA Rhodes 1C
SA Rhodes 2A
SA Rhodes 2B
D-50 EP B
D-50 EP C
Celesta
Music Box
Music Box 2
Clav 1A
Clav 1B
Clav 1C
Clav 2A
Clav 2B
Clav 2C
No.
1
61
62
63
64
57
58
59
60
53
54
55
56
49
50
51
52
45
46
47
48
41
42
43
44
37
38
39
40
33
34
35
36
69
70
71
72
65
66
67
68
73
74
75
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
13
14
15
16
9
10
11
12
7
8
5
6
2
3
4
12
Wave Name
EG Harm
Gt.FretNoise
Syn Gtr A
Syn Gtr B
Syn Gtr C
Harp 1A
Harp 1B
Harp 1C
Harp Harm
Pluck Harp
Banjo A
Banjo B
Banjo C
Sitar A
Sitar B
Sitar C
Scrape Gut
Strat Sust
Strat Atk
OD Gtr A
OD Gtr B
OD Gtr C
OD Gtr A+
Heavy Gtr A
Heavy Gtr B
Heavy Gtr C
Heavy Gtr A+
Heavy Gtr B+
Heavy Gtr C+
PowerChord A
PowerChord B
PowerChord C
Jazz Gtr B
Jazz Gtr C
LP Rear A
LP Rear B
LP Rear C
Rock lead 1
Rock lead 2
Comp Gtr A
Comp Gtr B
Comp Gtr C
Comp Gtr A+
Mute Gtr 1
Mute Gtr 2A
Mute Gtr 2B
Mute Gtr 2C
Muters
Pop Strat A
Pop Strat B
Pop Strat C
JC Strat A
JC Strat B
JC Strat C
JC Strat A+
JC Strat B+
JC Strat C+
Clean Gtr A
Clean Gtr B
Clean Gtr C
Stratus A
Stratus B
Stratus C
E.Sitar A
E.Sitar B
E.Sitar C
Santur A
Santur B
Santur C
Dulcimer A
Dulcimer B
Dulcimer C
Shamisen A
Shamisen B
Shamisen C
No.
206
207
208
209
210
211
212
213
198
199
200
201
202
203
204
205
190
191
192
193
194
195
196
197
182
183
184
185
186
187
188
189
214
215
216
217
218
219
220
221
222
223
224
225
174
175
176
177
178
179
180
181
166
167
168
169
170
171
172
173
158
159
160
161
162
163
164
165
151
152
153
154
155
156
157
Wave Name
Soft Nylon B
Soft Nylon C
Nylon Gtr A
Nylon Gtr B
Nylon Gtr C
Nylon Str
6-Str Gtr A
6-Str Gtr B
6-Str Gtr C
StlGtr mp A
StlGtr mp B
StlGtr mp C
StlGtr mf A
StlGtr mf B
StlGtr mf C
StlGtr ff A
RockOrg2 A R
RockOrg2 B L
RockOrg2 B R
RockOrg2 C L
RockOrg2 C R
RockOrg3 A L
RockOrg3 A R
RockOrg3 B L
RockOrg3 B R
RockOrg3 C L
RockOrg3 C R
Dist. Organ
Rot.Org Slw
Rot.Org Fst
Pipe Organ
Soft Nylon A
Clav 3A
Clav 3B
Clav 3C
Clav 4A
Clav 4B
Clav 4C
Clav Wave
MIDI Clav
HarpsiWave A
HarpsiWave B
HarpsiWave C
Jazz Organ 1
Jazz Organ 2
Organ 1
Organ 2
Organ 3
Organ 4
60's Organ1
60's Organ2
60's Organ3
60's Organ4
Full Organ
Full Draw
Rock Organ
RockOrg1 A L
RockOrg1 A R
RockOrg1 B L
RockOrg1 B R
RockOrg1 C L
RockOrg1 C R
RockOrg2 A L
StlGtr ff B
StlGtr ff C
StlGtr sld A
StlGtr sld B
StlGtr sld C
StlGtr Hrm A
StlGtr Hrm B
StlGtr Hrm C
Gtr Harm A
Gtr Harm B
Gtr Harm C
Jazz Gtr A
No.
131
132
133
134
135
136
137
138
123
124
125
126
127
128
129
130
115
116
117
118
119
120
121
122
107
108
109
110
111
112
113
114
139
140
141
142
143
144
145
146
147
148
149
150
99
100
101
102
103
104
105
106
95
96
97
98
91
92
93
94
87
88
89
90
83
84
85
86
76
77
78
79
80
81
82
Wave Name
Slap Bass 2
Slap Bass 3
Jz.Bs Thumb
Jz.Bs Slap 1
Jz.Bs Slap 2
Jz.Bs Slap 3
Jz.Bs Pop
Funk Bass1
Funk Bass2
Syn Bass A
Syn Bass C
Syn Bass
Syn Bass 2 A
Syn Bass 2 B
Syn Bass 2 C
Mini Bs 1A
Mini Bs 1B
Mini Bs 1C
Mini Bs 2
Mini Bs 2+
MC-202 Bs A
MC-202 Bs B
MC-202 Bs C
Hollow Bs
Flute 1A
Flute 1B
Flute 1C
Jazz Flute A
Jazz Flute B
Jazz Flute C
Flute Tone
Piccolo A
Koto A
Koto B
Koto C
Taishokoto A
Taishokoto B
Taishokoto C
Pick Bass A
Pick Bass B
Pick Bass C
Fingerd Bs A
Fingerd Bs B
Fingerd Bs C
E.Bass
P.Bass 1
P.Bass 2
Stick
Fretless A
Fretless B
Fretless C
Fretless 2A
Fretless 2B
Fretless 2C
UprightBs 1
UprightBs 2A
UprightBs 2B
UprightBs 2C
Ac.Bass A
Ac.Bass B
Ac.Bass C
Slap Bass 1
Slap & Pop
Piccolo B
Piccolo C
Blow Pipe
Pan Pipe
BottleBlow
Rad Hose
Shakuhachi
Shaku Atk
Flute Push
Clarinet A
Clarinet B
Clarinet C
No.
281
282
283
284
285
286
287
288
273
274
275
276
277
278
279
280
265
266
267
268
269
270
271
272
257
258
259
260
261
262
263
264
289
290
291
292
293
294
295
296
297
298
299
300
249
250
251
252
253
254
255
256
241
242
243
244
245
246
247
248
233
234
235
236
237
238
239
240
226
227
228
229
230
231
232
Wave Name
SoloSax B
SoloSax C
Tenor Sax A
Tenor Sax B
Tenor Sax C
T.Sax mf A
T.Sax mf B
T.Sax mf C
Bari.Sax f A
Bari.Sax f B
Bari.Sax f C
Bari.Sax A
Bari.Sax B
Bari.Sax C
Syn Sax
Chanter
Harmonica A
Harmonica B
Harmonica C
OrcUnisonA L
OrcUnisonA R
OrcUnisonB L
OrcUnisonB R
OrcUnisonC L
OrcUnisonC R
BrassSectA L
BrassSectA R
BrassSectB L
BrassSectB R
BrassSectC L
BrassSectC R
Tpt Sect. A
Oboe mf A
Oboe mf B
Oboe mf C
Oboe f A
Oboe f B
Oboe f C
E.Horn A
E.Horn B
E.Horn C
Bassoon A
Bassoon B
Bassoon C
T_Recorder A
T_Recorder B
T_Recorder C
Sop.Sax A
Sop.Sax B
Sop.Sax C
Sop.Sax mf A
Sop.Sax mf B
Sop.Sax mf C
Alto mp A
Alto mp B
Alto mp C
Alto Sax 1A
Alto Sax 1B
Alto Sax 1C
T.Breathy A
T.Breathy B
T.Breathy C
SoloSax A
Tpt Sect. B
Tpt Sect. C
Tb Sect A
Tb Sect B
Tb Sect C
T.Sax Sect A
T.Sax Sect B
T.Sax Sect C
Flugel A
Flugel B
Flugel C
FlugelWave
No.
356
357
358
359
360
361
362
363
348
349
350
351
352
353
354
355
340
341
342
343
344
345
346
347
332
333
334
335
336
337
338
339
364
365
366
367
368
369
370
371
372
373
374
375
324
325
326
327
328
329
330
331
316
317
318
319
320
321
322
323
308
309
310
311
312
313
314
315
301
302
303
304
305
306
307
Waveform List
Wave Name
Hooky
Tabla
Marimba Wave
Xylo
Xylophone
Vibes
Bottle Hit
Glockenspiel
Tubular
Steel Drums
Pole lp
Fanta Bell A
Fanta Bell B
Fanta Bell C
FantaBell A+
Org Bell
AgogoBells
FingerBell
DIGI Bell 1
DIGI Bell 1+
JD Cowbell
Bell Wave
Chime
Crystal
2.2 Bellwave
2.2 Vibwave
Digiwave
DIGI Chime
JD DIGIChime
BrightDigi
Can Wave 1
Can Wave 2
Voice Aahs B
Voice Aahs C
Voice Oohs1A
Voice Oohs1B
Voice Oohs1C
Voice Oohs2A
Voice Oohs2B
Voice Oohs2C
Choir 1A
Choir 1B
Choir 1C
Oohs Chord L
Oohs Chord R
Male Ooh A
Male Ooh B
Male Ooh C
Org Vox A
Org Vox B
Org Vox C
Org Vox
ZZZ Vox
Bell VOX
Kalimba
JD Kalimba
Klmba Atk
Wood Crak
Block
Gamelan 1
Gamelan 2
Gamelan 3
Log Drum
Vocal Wave
Wally Wave
Brusky lp
Wave Scan
Wire String
Nasty
Wave Table
Klack Wave
Spark VOX
JD Spark VOX
Cutters
EML 5th
No.
506
507
508
509
510
511
512
513
498
499
500
501
502
503
504
505
490
491
492
493
494
495
496
497
482
483
484
485
486
487
488
489
514
515
516
517
518
519
520
521
522
523
524
525
474
475
476
477
478
479
480
481
466
467
468
469
470
471
472
473
458
459
460
461
462
463
464
465
451
452
453
454
455
456
457
Wave Name
Cello 2 B
Cello 2 C
Cello Wave
Pizz
STR Attack A
STR Attack B
STR Attack C
DolceStr.A L
DolceStr.A R
DolceStr.B L
DolceStr.B R
DolceStr.C L
DolceStr.C R
JV Strings L
JV Strings R
JV Strings A
JV Strings C
JP Strings1A
JP Strings1B
JP Strings1C
JP Strings2A
JP Strings2B
JP Strings2C
PWM
Pulse Mod
Soft Pad A
Soft Pad B
Soft Pad C
Fantasynth A
Fantasynth B
Fantasynth C
D-50 HeavenA
Trumpet 1A
Trumpet 1B
Trumpet 1C
Trumpet 2A
Trumpet 2B
Trumpet 2C
HarmonMute1A
HarmonMute1B
HarmonMute1C
Trombone 1
Trombone 2 A
Trombone 2 B
Trombone 2 C
Tuba A
Tuba B
Tuba C
French 1A
French 1C
F.Horns A
F.Horns B
F.Horns C
Violin A
Violin B
Violin C
Violin 2 A
Violin 2 B
Violin 2 C
Cello A
Cello B
Cello C
Cello 2 A
D-50 HeavenB
D-50 HeavenC
Fine Wine
D-50 Brass A
D-50 Brass B
D-50 Brass C
D-50 BrassA+
Doo
Pop Voice
Syn Vox 1
Syn Vox 2
Voice Aahs A
No.
431
432
433
434
435
436
437
438
423
424
425
426
427
428
429
430
415
416
417
418
419
420
421
422
407
408
409
410
411
412
413
414
439
440
441
442
443
444
445
446
447
448
449
450
399
400
401
402
403
404
405
406
391
392
393
394
395
396
397
398
383
384
385
386
387
388
389
390
376
377
378
379
380
381
382
Wave Name
JD SynPulse4
Synth Pulse1
Synth Pulse2
JD SynPulse5
Sync Sweep
Triangle
JD Triangle
Sine
Metal Wind
Wind Agogo
Feedbackwave
Spectrum
CrunchWind
ThroatWind
Pitch Wind
JD Vox Noise
Vox Noise
BreathNoise
Voice Breath
White Noise
Pink Noise
Rattles
Ice Rain
Tin Wave
Anklungs
Wind Chimes
Orch. Hit
Tekno Hit
Back Hit
Philly Hit
Scratch 1
Scratch 2
MMM VOX
Lead Wave
Synth Reed
Synth Saw 1
Synth Saw 2
Syn Saw 2inv
Synth Saw 3
JD Syn Saw 2
FAT Saw
JP-8 Saw A
JP-8 Saw B
JP-8 Saw C
P5 Saw A
P5 Saw B
P5 Saw C
P5 Saw2 A
P5 Saw2 B
P5 Saw2 C
D-50 Saw A
D-50 Saw B
D-50 Saw C
Synth Square
JP-8 SquareA
JP-8 SquareB
JP-8 SquareC
DualSquare A
DualSquare C
DualSquareA+
JD SynPulse1
JD SynPulse2
JD SynPulse3
Scratch 3
Shami
Org Atk 1
Org Atk 2
Sm Metal
StrikePole
Thrill
Switch
Tuba Slap
Plink
Plunk
EP Atk
No.
581
582
583
584
585
586
587
588
573
574
575
576
577
578
579
580
565
566
567
568
569
570
571
572
557
558
559
560
561
562
563
564
589
590
591
592
593
594
595
596
597
598
599
600
549
550
551
552
553
554
555
556
541
542
543
544
545
546
547
548
533
534
535
536
537
538
539
540
526
527
528
529
530
531
532
Wave Name
Rock Kick p
Rock Kick mf
Rock Kick f
Jazz Kick p
Jazz Kick mf
Jazz Kick f
Jazz Kick
Pillow Kick
JazzDry Kick
Lite Kick
Old Kick
Hybrid Kick
Hybrid Kick2
Verb Kick
Round Kick
MplLmtr Kick
909 SN 2
808 SN
Rock Roll L
Rock Roll R
Jazz Roll
Brush Roll
Dry Stick
Dry Stick 2
Side Stick
Woody Stick
RockStick pL
RockStick pR
RockStick fL
RockStick fR
Dry Kick
Maple Kick
Rock SN f R
Rock Rim p L
Rock Rim p R
Rock Rim mfL
Rock Rim mfR
Rock Rim f L
Rock Rim f R
Rock Gst L
Rock Gst R
Snare Ghost
Jazz SN p L
Jazz SN p R
Jazz SN mf L
Jazz SN mf R
Jazz SN f L
Jazz SN f R
Jazz SN ff L
Jazz SN ff R
Jazz Rim p L
Jazz Rim p R
Jazz Rim mfL
Jazz Rim mfR
Jazz Rim f L
Jazz Rim f R
Jazz Rim ffL
Jazz Rim ffR
Brush Slap
Brush Swish
Jazz Swish p
Jazz Swish f
909 SN 1
70s Kick 1
70s Kick 2
Dance Kick
808 Kick
909 Kick 1
909 Kick 2
Rock TomL1 p
Rock TomL2 p
Rock Tom M p
Rock Tom H p
Rock TomL1 f
Rock TomL2 f
No.
731
732
733
734
735
736
737
738
723
724
725
726
727
728
729
730
715
716
717
718
719
720
721
722
707
708
709
710
711
712
713
714
739
740
741
742
743
744
745
746
747
748
749
750
699
700
701
702
703
704
705
706
691
692
693
694
695
696
697
698
683
684
685
686
687
688
689
690
676
677
678
679
680
681
682
Wave Name
Creak
Door Slam
Engine
Car Stop
Car Pass
Crash
Gun Shot
Siren
Train
Jetplane
Starship
Breath
Laugh
Scream
Punch
Heart
Steps
Machine Gun
Laser
Thunder 2
AmbientSN pL
AmbientSN pR
AmbientSN fL
AmbientSN fR
Wet SN p L
Wet SN p R
Wet SN f L
Wet SN f R
Dry SN p
Dry SN f
Sharp SN
Piccolo SN
TVF_Trig
Org Click
Cut Noiz
Bass Body
Flute Click
Gt&BsNz MENU
Ac.BassNz 1
Ac.BassNz 2
El.BassNz 1
El.BassNz 2
DistGtrNz 1
DistGtrNz 2
DistGtrNz 3
DistGtrNz 4
SteelGtrNz 1
SteelGtrNz 2
SteelGtrNz 3
SteelGtrNz 4
SteelGtrNz 5
SteelGtrNz 6
SteelGtrNz 7
Sea
Thunder
Windy
Stream
Bubble
Bird
Dog Bark
Horse
Telephone 1
Telephone 2
Maple SN
Old Fill SN
70s SN
SN Roll
Natural SN1
Natural SN2
Ballad SN
Rock SN p L
Rock SN p R
Rock SN mf L
Rock SN mf R
Rock SN f L
No.
656
657
658
659
660
661
662
663
648
649
650
651
652
653
654
655
640
641
642
643
644
645
646
647
632
633
634
635
636
637
638
639
664
665
666
667
668
669
670
671
672
673
674
675
624
625
626
627
628
629
630
631
616
617
618
619
620
621
622
623
608
609
610
611
612
613
614
615
601
602
603
604
605
606
607
13
Waveform List
Wave Name
Jazz ClHH1mf
Jazz ClHH1 f
Jazz ClHH2 p
Jazz ClHH2mf
Jazz ClHH2 f
Cl HiHat 1
Cl HiHat 2
Cl HiHat 3
Cl HiHat 4
Cl HiHat 5
Rock OpHH p
Rock OpHH f
Jazz OpHH p
Jazz OpHH mf
Jazz OpHH f
Op HiHat
Op HiHat 2
Rock PdHH p
Rock PdHH f
Jazz PdHH p
Jazz PdHH f
Pedal HiHat
Pedal HiHat2
Dance Cl HH
909 NZ HiHat
70s Cl HiHat
70s Op HiHat
606 Cl HiHat
606 Op HiHat
909 Cl HiHat
909 Op HiHat
808 Claps
Rock Tom M f
Rock Tom H f
Rock Flm L1
Rock Flm L2
Rock Flm M
Rock Flm H
Jazz Tom L p
Jazz Tom M p
Jazz Tom H p
Jazz Tom L f
Jazz Tom M f
Jazz Tom H f
Jazz Flm L
Jazz Flm M
Jazz Flm H
Maple Tom 1
Maple Tom 2
Maple Tom 3
Maple Tom 4
808 Tom
Verb Tom Hi
Verb Tom Lo
Dry Tom Hi
Dry Tom Lo
Rock ClHH1 p
Rock ClHH1mf
Rock ClHH1 f
Rock ClHH2 p
Rock ClHH2mf
Rock ClHH2 f
Jazz ClHH1 p
HumanClapsEQ
Tight Claps
Hand Claps
Finger Snaps
Rock RdCym1p
Rock RdCym1f
Rock RdCym2p
Rock RdCym2f
Jazz RdCym p
Jazz RdCymmf
Jazz RdCym f
Ride 1
No.
806
807
808
809
810
811
812
813
798
799
800
801
802
803
804
805
790
791
792
793
794
795
796
797
782
783
784
785
786
787
788
789
814
815
816
817
818
819
820
821
822
823
824
825
774
775
776
777
778
779
780
781
766
767
768
769
770
771
772
773
758
759
760
761
762
763
764
765
751
752
753
754
755
756
757
14
Wave Name
REV JzSNffL
REV JzSNffR
REV JzRimpL
REV JzRimpR
REV JzRimmfL
REV JzRimmfR
REV JzRimfL
REV JzRimfR
REV JzRimffL
REV JzRimffR
REV Brush 1
REV Brush 2
REV Brush 3
REV JzSwish1
REV JzSwish2
REV 909 SN 1
REV 909 SN 2
REV RkRoll L
REV RkRoll R
REV JzRoll
REV Dry Stk
REV DrySick
REV Side Stk
REV Wdy Stk
REV RkStk1L
REV RkStk1R
REV RkStk2L
REV RkStk2R
REV Thrill
REV Dry Kick
REV Mpl Kick
REV RkKik p
REV Wet SNfR
REV Dry SN
REV PiccloSN
REV Maple SN
REV OldFilSN
REV 70s SN
REV SN Roll
REV NatrlSN1
REV NatrlSN2
REV BalladSN
REV RkSNpL
REV RkSNpR
REV RkSNmfL
REV RkSNmfR
REV RkSNfL
REV RkSNfR
REV RkRimpL
REV RkRimpR
REV RkRimmfL
REV RkRimmfR
REV RkRimfL
REV RkRimfR
REV RkGstL
REV RkGstR
REV SnareGst
REV JzSNpL
REV JzSNpR
REV JzSNmfL
REV JzSNmfR
REV JzSNfL
REV JzSNfR
REV RkKik mf
REV RkKik f
REV JzKik p
REV JzKik mf
REV JzKik f
REV Jaz Kick
REV Pillow K
REV Jz Dry K
REV LiteKick
REV Old Kick
REV Hybrid K
REV HybridK2
No.
956
957
958
959
960
961
962
963
948
949
950
951
952
953
954
955
940
941
942
943
944
945
946
947
932
933
934
935
936
937
938
939
964
965
966
967
968
969
970
971
972
973
974
975
924
925
926
927
928
929
930
931
916
917
918
919
920
921
922
923
908
909
910
911
912
913
914
915
901
902
903
904
905
906
907
Wave Name
Open Triangl
Cuica
Vibraslap
Timpani
Timp3 pp
Timp3 mp
Applause
Syn FX Loop
Loop 1
Loop 2
Loop 3
Loop 4
Loop 5
Loop 6
Loop 7
R8 Click
Metronome 1
Metronome 2
MC500 Beep 1
MC500 Beep 2
Low Saw
Low Saw inv
Low P5 Saw
Low Pulse 1
Low Pulse 2
Low Square
Low Sine
Low Triangle
Low White NZ
Low Pink NZ
DC
REV Orch.Hit
Ride 2
Ride Bell
Rock CrCym1p
Rock CrCym1f
Rock CrCym2p
Rock CrCym2f
Rock Splash
Jazz CrCym p
Jazz CrCym f
Crash Cymbal
Crash 1
Rock China
China Cym
Cowbell
Wood Block
Claves
Bongo Hi
Bongo Lo
Cga Open Hi
Cga Open Lo
Cga Mute Hi
Cga Mute Lo
Cga Slap
Timbale
Cabasa Up
Cabasa Down
Cabasa Cut
Maracas
Long Guiro
Tambourine 1
Tambourine 2
REV TeknoHit
REV Back Hit
REV PhillHit
REV Steel DR
REV Tin Wave
REV AmbiSNpL
REV AmbiSNpR
REV AmbiSNfL
REV AmbiSNfR
REV Wet SNpL
REV Wet SNpR
REV Wet SNfL
No.
881
882
883
884
885
886
887
888
873
874
875
876
877
878
879
880
865
866
867
868
869
870
871
872
857
858
859
860
861
862
863
864
889
890
891
892
893
894
895
896
897
898
899
900
849
850
851
852
853
854
855
856
841
842
843
844
845
846
847
848
833
834
835
836
837
838
839
840
826
827
828
829
830
831
832
Wave Name
REV DryTom M
REV RkClH1 p
REV RkClH1mf
REV RkClH1 f
REV RkClH2 p
REV RkClH2mf
REV RkClH2 f
REV JzClH1 p
REV JzClH1mf
REV JzClH1 f
REV JzClH2 p
REV JzClH2mf
REV JzClH2 f
REV Cl HH 1
REV Cl HH 2
REV Cl HH 3
REV Cl HH 4
REV Cl HH 5
REV RkOpHH p
REV RkOpHH f
REV JzOpHH p
REV JzOpHHmf
REV JzOpHH f
REV Op HiHat
REV OpHiHat2
REV RkPdHH p
REV RkPdHH f
REV JzPdHH p
REV JzPdHH f
REV PedalHH
REV PedalHH2
REV Dance HH
REV 70s K 1
REV 70s K 2
REV Dance K
REV 909 K 2
REV RkTomL1p
REV RkTomL2p
REV RkTomM p
REV RkTomH p
REV RkTomL1f
REV RkTomL2f
REV RkTomM f
REV RkTomH f
REV RkFlmL1
REV RkFlmL2
REV RkFlm M
REV RkFlm H
REV JzTomL p
REV JzTomM p
REV JzTomH p
REV JzTomL f
REV JzTomM f
REV JzTomH f
REV JzFlm L
REV JzFlm M
REV JzFlm H
REV MplTom2
REV MplTom4
REV 808Tom
REV VerbTomH
REV VerbTomL
REV DryTom H
REV 70s ClHH
REV 70s OpHH
REV 606 ClHH
REV 606 OpHH
REV 909 NZHH
REV 909 OpHH
REV HClapsEQ
REV TghtClps
REV FingSnap
REV RealCLP
REV RkRCym1p
REV RkRCym1f
No.
1031
1032
1033
1034
1035
1036
1037
1038
1023
1024
1025
1026
1027
1028
1029
1030
1015
1016
1017
1018
1019
1020
1021
1022
1007
1008
1009
1010
1011
1012
1013
1014
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
999
1000
1001
1002
1003
1004
1005
1006
991
992
993
994
995
996
997
998
983
984
985
986
987
988
989
990
976
977
978
979
980
981
982
Wave Name
REV RkRCym2p
REV RkRCym2f
REV JzRCym p
REV JzRCymmf
REV JzRCym f
REV Ride 1
REV Ride 2
REV RideBell
REV RkCCym1p
REV RkCCym1f
REV RkCCym2p
REV RkCCym2f
REV RkSplash
REV JzCCym p
REV JzCCym f
REV CrashCym
REV Crash 1
REV RkChina
REV China
REV Cowbell
REV WoodBlck
REV Claves
REV Conga
REV Timbale
REV Maracas
REV Guiro
REV Tamb 1
REV Tamb 2
REV Cuica
REV Timpani
REV Timp3 pp
REV Timp3 mp
REV Metro
No.
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1066
1067
1068
1069
1070
1071
1072
1073
1058
1059
1060
1061
1062
1063
1064
1065
1051
1052
1053
1054
1055
1056
1057
Arpeggio Style List
Style Name
RHYTHMIX 1
RHYTHMIX 2
RHYTHMIX 3
RHYTHMIX 4
RHYTHMIX 5
RHYTHMIX 6
RHYTHMIX 7
RHYTHMIX 8
CYCLES 3RD PHR
CYCLES 4TH PHR
CYCLES 5TH PHR
CYCLES MAJ PHR
CYCLES MIN PHR
CYC MAJ/MIN PHR
AG PROGRES1 PHR
AG PROGRES2 PHR
AG CUTTING PHR
AG 3 FINGER PHR
AG ARPEGGIO PHR
AG SPANISH1 PHR
AG SPANISH2 PHR
AG BOSSA PHR
EG CUTTING PHR
EG RIFFS PHR
EG OD RIFFS1 PHR
EG OD RIFFS2 PHR
EG ARPEGGIO PHR
BLUES GUITAR PHR
GUITAR TRILL PHR
BASS PHR
BS SHUFFLE PHR
FRETLESS BS PHR
WALKING BASS PHR
BALLAD BASS PHR
EP PROGRES1 PHR
EP PROGRES2 PHR
LATIN PIANO PHR
FUNKY CLAV 1 PHR
FUNKY CLAV 2 PHR
SYNTH LEAD PHR
DANCE SYNTH PHR
HARP PHR
NOTE VALUES
1/8 BASIC 1
1/8 BASIC 2
1/8 BASIC 3
1/8 BASIC 4
1/8 BASIC 5
1/8 SYNC 1-1
1/8 SYNC 1-2
1/8 SYNC 1-3
1/8 SYNC 1-4
1/8 SYNC 1-5
1/8 SYNC 2-1
1/8 SYNC 2-2
1/8 SYNC 2-3
1/8 SYNC 2-4
1/8 SYNC 2-5
1/8 DRIVE 1
1/8 DRIVE 2
1/8 DRIVE 3
1/8 DRIVE 4
1/8 DRIVE 5
1/8 TRIPLET 1
1/8 TRIPLET 2
1/8 TRIPLET 3
1/8 TRIPLET 4
1/8 TRIPLET 5
1/16 BASIC 1
1/16 BASIC 2
1/16 BASIC 3
1/16 BASIC 4
1/16 BASIC 5
1/16 SYNC 1-1
1/16 SYNC 1-2
1/16 SYNC 1-3
1/16 SYNC 1-4
1/16 SYNC 1-5
1/16 SYNC 2-1
1/16 SYNC 2-2
1/16 SYNC 2-3
1/16 SYNC 2-4
1/16 SYNC 2-5
1/16 DRIVE 1
1/16 DRIVE 2
1/16 DRIVE 3
1/16 DRIVE 4
1/16 DRIVE 5
Variation
8
3
3
2
3
4
5
6
5
5
9
4
5
6
5
9
5
4
4
4
4
6
5
5
5
5
5
5
5
5
5
5
14
4
2
6
5
10
15
8
9
5
12
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
No.
77
78
79
80
73
74
75
76
81
82
83
84
85
86
87
88
55
56
57
58
59
60
47
48
49
50
51
52
53
54
61
62
63
64
65
66
67
68
69
70
71
72
01
02
03
04
05
06
12
13
14
15
07
08
09
10
11
16
17
18
19
20
21
22
23
24
25
26
39
40
41
42
43
44
45
46
32
33
34
35
36
37
38
27
28
29
30
31
Comment
Variations based on note values: 1/4, 1/8, 1/12, 1/16, 1/24, 1/32 (Single and Dual)
Variations on 1/8 note rhythms
Variations on more syncopated 1/8 note rhythms
Variations on 1/8 note rhythms with a stronger pushing feel
Variations on 1/8 triplet rhythms
Variations on 1/16 note rhythms
Variations on more syncopated 1/16 note rhythms
Variations on 1/16 note rhythms with a stronger pushing feel
Variations include rhythmic mixes including 1/8, 1/16, syncopated and triplet rhythms
Phrase based variations that cycle through intervals of 3rds
Phrase based variations that cycle through intervals of 4ths
Phrase based variations that cycle through intervals of 5ths
Phrase based variations that cycle through major tonalities
Phrase based variations that cycle through minor tonalities
Phrase based variations that cycle between major and minor tonalities
Phrase based variations for acoustic guitar progressions
Phrase based variations for rhythm guitar
Phrase based variations for guitar finger picking
Phrase based variations for guitar arpeggios
Phrase based variations for fast Spanish style guitar strums
Phrase based variations for Spanish style guitar
Phrase based variations for Bossa Nova style guitar
Phrase based variations for rhythm guitar
Phrase based variations for rhythmic guitar riffs
Phrase based variations for overdrive or distortion guitar
Phrase based variations for guitar arpeggios
Phrase based variations for blues guitar progressions
Phrase based variations for guitar trills
Phrase based variations for bass lines
Phrase based variations for shuffle bass lines
Phrase based variations for fretless bass in 6/8 time
Phrase based variations for walking bass lines
Phrase based variations for simple bass lines
Phrase based variations for piano or electric pianos progressions
Phrase based variations for Latin piano styles
Phrase based variations for rhythmic clavinet styles
Phrase based variations for synth lead
Phrase based variations for dance synth progressions
Phrase based variations on harp scrolls
15
Rhythm Pattern Style List
Style Name
HOUSE 1
HOUSE 2
HOUSE 3
HOUSE 4
HOUSE 5
HOUSE 6
JAZZ 1
JAZZ 2
LATIN HOUSE
POP 1
POP 2
POP 3
POP 4
POP 5
POP 6
POP 7
BLUES 6/8
BOSSA NOVA
DRUM&BASS
ELECTRONICA 1
ELECTRONICA 2
ELECTRONICA 3
FUNK 1
FUNK 2
GROOVE 1
GROOVE 2
HIPHOP 1
HIPHOP 2
HIPHOP 3
HIPHOP 4
HIPHOP 5
HIPHOP 6
R&B 1
R&B 2
R&B 3
R&B 4
R&B 5
R&B 6
R&B 7
R&B 8
R&B BRUSH
ROCK 1
ROCK 2
ROCK 3
SALSA
TECHNO 1
TECHNO 2
TECHNO 3
TRANCE 1
TRANCE 2
No.
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
10
13
14
15
16
09
10
11
12
05
06
07
08
01
02
03
04
45
46
47
48
41
42
43
44
49
50
37
38
39
40
33
34
35
36
Recommended
Rhythm Set
House Kit
Techno Kit
House Kit
House Kit
Techno Kit
House Kit
Jazz Kit 2
Jazz Kit 2
House Kit
R&B Kit 1
Pop Kit 2
Pop Kit 2
XV Pop Kit
R&B Kit 1
R&B Kit 1
XV Pop Kit
R&B Kit 1
XV Pop Kit
R&B Kit 2
House Kit
Techno Kit
Techno Kit
R&B Kit 1
R&B Kit 2
R&B Kit 1
R&B Kit 1
Rust Kit 2
Bully Kit 2
XV Bully Kit
Bully Kit 2
Rust Kit 2
XV Bully Kit
R&B Kit 2
R&B Kit 2
R&B Kit 2
R&B Kit 1
R&B kit 1
R&B Kit 2
R&B Kit 2
R&B Kit 1
Jazz Kit 2
Rock Kit 2
Rock Kit 2
Rock Kit 2
XV Pop Kit
Techno Kit
Techno Kit
Techno Kit
House Kit
Techno Kit
Recommended
Tempo (BPM)
84
84
80
74
126
104
106
118
130
132
124
208
130
138
130
130
96
74
90
86
90
94
80
100
120
130
125
136
90
138
158
134
196
125
136
125
78
98
120
90
142
134
108
96
116
90
132
112
102
90
The rhythm patterns are assigned in a one-octave range starting from the key specified as Note Assign.
When Note Assign is set to F6
F6
C7
Hi-Hat groove 1
Fill 1
Hi-Hat groove 2
Fill 2
Hi-Hat groove 3
Fill 3
Perc or Special
Bass drum only
Ride Cym groove
Bass drum and Snare only
Ride Cym type fill
Hi-Hat only
16
Parameter List
Patch Parameters
* Parameters that can be set independently for each Tone are indicated by “T.”
General Group (Owner’s Manual; p. 47)
Parameter
General
Patch Name
Patch Category
Voice Priority
Analog Feel
Mono/Poly
Cutoff Offset
Resonance Offset
Attack Time Offset
Release Time Offset
Velocity Sens Offset
Clock Source
Tempo
Legato Switch
Legato Retrigger
Portamento Switch
Portamento Mode
Portamento Type
Portamento Start
Portamento Time
Bend Range Up
Bend Range Down
Patch Tone
Env Mode
Delay Mode
Delay Time
Rx Bender
Rx Expression
Rx Hold-1
Rx Pan Mode
Redamper Sw
Analog Feel Depth
Velocity Sensitivity Offset
Patch Clock Source
Patch Tempo
Solo Legato Switch
Legato Retrigger Switch
Pitch Bend Range Up
Pitch Bend Range Down
Tone Envelope Mode
Tone Delay Mode
Tone Delay Time
Tone Receive Pitch Bend Switch
Tone Receive Expression Switch
Tone Receive Hold-1 Switch
Tone Receive Pan Mode
Tone Redamper Switch
Value space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
→ ←
(*1)
LAST, LOUDEST
0–127
MONO, POLY
-63–+63
-63–+63
-63–+63
-63–+63
-63–+63
PATCH, SEQUENCER
20–250
OFF, ON
OFF, ON
OFF, ON
NORMAL, LEGATO
RATE, TIME
PITCH, NOTE
0–127
0–+48
-48–0
NO SUS, SUST
NORM, HOLD, OFF-N, OFF-D
0–127, note (*2)
OFF, ON
OFF, ON
OFF, ON
CONT, K-ON
OFF, ON
*1:
NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS,
SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH, PULSATING,
SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE, DRUMS,
COMBINATION
*2:
(Sixty-fourth-note triplet),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Thirty-second note),
(Eighth note), (Quarter-note triplet),
(Dotted quarter note), (Half note), (Whole-note triplet), (Dotted half note), (Whole note),
(Sixteenth-note triplet),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
T
T
T
T
T
T
T
T
Arpeggio Group (Owner’s Manual; p. 51)
Parameter
Arpeggio
Switch
Hold
Style
Variation
Motif
Accent Rate
Shuffle Rate
Shuffle Resolution
Keyboard Velocity
Octave Range
Key Trigger
Arpeggio Switch
Arpeggio Hold Switch
Arpeggio Style
Arpeggio Variation
Arpeggio Motif
Arpeggio Accent Rate
Arpeggio Shuffle Rate
Arpeggio Shuffle Resolution
Arpeggio Keyboard Velocity
Arpeggio Octave Range
Arpeggio Key Trigger
Value
OFF, ON
OFF, ON
Refer to “Arpeggio Style List” (p. 15).
UP, DOWN, UP&DOWN, RANDOM, NOTE ORDER, GLISSANDO, CHORD,
AUTO1, AUTO2, PHRASE
0–100 %
0–100 %
(Eighth note) (Sixteenth note) ,
REAL, 1–127
-3–+3
OFF, ON
17
Parameter List
Controller Group (Owner’s Manual; p. 52)
Parameter
Knob
Assign 1–4
Switch
Assign 1–4
Mode 1–4
D Beam
Switch
Assign
Realtime Control Knob Assign 1–4
Realtime Control Button Assign 1–4
Realtime Control Button Mode 1–4
D Beam Switch
D Beam Assign
Polarity
Range Lower
Range Upper
D Beam Polarity
D Beam Range Lower
D Beam Range Upper
Effects Group (Owner’s Manual; p. 165)
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, TEMPO, ARP VAR,
ARP ACCENT, ARP SHFFLE, ARP OCTAVE
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP,
OCT DOWN, TRNS UP, TRNS DOWN, TAP TEMPO, MONO/POLY, ARP HOLD
MOMENTARY, LATCH
OFF, ON
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, NOTE, OCT UP,
OCT DOWN, START/STOP, TAP TEMPO, ARP SWITCH, ARP VAR,
ARP ACCENT, ARP SHFFLE, ARP OCT UP, ARP OCT DW
STANDARD, REVERSE
0–UPPER
LOWER–127
Parameter
Effects
Tone Select
Patch Output Assign
Tone Output Assign
Tone Dry Send Level
Tone Chorus Send Level
Tone Reverb Send Level
MFX Type
MFX Dry Send Level
MFX Output Assign
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
Chorus Level
Chorus Output Assign
Chorus Output Select
Reverb Type
Reverb Level
Reverb Output Assign
Multi-Effects Type
Multi-Effects Dry Send Level
Multi-Effects Output Assign
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
MFX Group (Owner’s Manual; p. 174)
Value
Tone 1–Tone 4
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
0–127
0–127
0 (Through)–90 (3D Manual)
0–127
A, B
0–127
0–127
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2Chorus)
0–127
A, B
MAIN, REV, M+R
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2Reverb)
0–127
A, B
T
T
T
T
Parameter
MFX
Type Multi-Effects Type
Value
00 THROUGH–90 3D MANUAL
* For details regarding multi-effects settings, refer to “Multi-Effects Parameters” (p. 32).
MFX Control Group (Owner’s Manual; p. 174)
Parameter
MFX Control
Source 1–4
Destination 1–4
Sens 1–4
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sensitivity 1–4
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4
Refer to “Multi-Effects Parameters” (p. 32).
-63–+63
18
Parameter List
Chorus Group (Owner’s Manual; p. 176)
Parameter
Chorus
Type Chorus Type
Value
0 OFF, 1 CHORUS, 2 DELAY, 3 GM2 CHORUS
* For details regarding chorus settings, refer to “Chorus Parameters” (p. 62).
Reverb Group (Owner’s Manual; p. 177)
Parameter
Reverb
Type Reverb Type
Value
0 OFF, 1 REVERB, 2 SRV ROOM, 3 SRV HALL, 4 SRV PLATE, 5 GM2 REVERB
* For details regarding reverb settings, refer to “Reverb Parameters” (p. 62).
Matrix Ctrl Group (Owner’s Manual; p. 54)
Parameter
Matrix Control
Source 1–4
Destination 1–4
Matrix Control Source 1–4
Matrix Control Destination 1–4
Sns 1–4
Tone 1–4
TMT Control Switch
Matrix Control Sens 1–4
Tone Control Switch 1–4
TMT Control Switch
TMT Group (Owner’s Manual; p. 56)
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4,
VELOCITY, KEYFOLLOW, TEMPO, LFO1, LFO2, PITCH ENV, TVF ENV,
TVA ENV
OFF, PITCH, CUTOFF, RESONANCE, LEVEL, PAN, DRY LEVEL,
CHORUS SEND, REVERB SEND, LFO1/LFO2 PCH DEPTH,
LFO1/LFO2 TVF DEPTH, LFO1/LFO2 TVA DEPTH, LFO1/LFO2 PAN DEPTH,
LFO1/LFO2 RATE, PIT ENV A-TIME, PIT ENV D-TIME, PIT ENV R-TIME,
TVF ENV A-TIME, TVF ENV D-TIME, TVF ENV R-TIME, TVA ENV A-TIME,
TVA ENV D-TIME, TVA ENV R-TIME, TMT, FXM DEPTH, MFX CTRL1–4
-63–+63
(OFF), ✔ (ON), R (REVERSE)
OFF, ON
T
Parameter
TMT
Structure 1 & 2, 3 & 4
Booster 1 & 2, 3 & 4
Key Fade Lower
Key Range Lower
Key Range Upper
Key Fade Upper
TMT Vel Control
Vel Fade Lower
Vel Range Lower
Vel Range Upper
Vel Fade Upper
Structure Type 1 & 2, 3 & 4
Booster Gain 1 & 2, 3 & 4
Keyboard Fade Width Lower
Keyboard Range Lower
Keyboard Range Upper
Keyboard Fade Width Upper
TMT Velocity Control Switch
Velocity Fade Width Lower
Velocity Range Lower
Velocity Range Upper
Velocity Fade Width Upper
Wave Group (Owner’s Manual; p. 59)
Value
1–10
0, +6, +12, +18
0–127
C-1–UPPER
LOWER–G9
0–127
OFF, ON, RND
0–127
1–UPPER
LOWER–127
0–127
Parameter
Wave
Wave Group
Wave No. (L)
Wave No. (R)
Gain
FXM Switch
FXM Color
FXM Depth
Tempo Sync
Wave Number (L)
Wave Number (R)
Wave Gain
Wave Tempo Sync
Value
INT, XP-A, XP-B, XP-C
----, 0001–1083
----, 0001–1083
-6, 0, +6, +12
OFF, ON
1–4
0–16
OFF, ON
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
19
Parameter List
Pitch Group (Owner’s Manual; p. 60)
Parameter
Pitch
Patch C Tune
Patch F Tune
Octave Shift
Stretch Tune
Tone C Tune
Tone F Tune
Rnd Pitch Depth
Pitch KF
Patch Coarse Tune
Patch Fine Tune
Stretch Tune Depth
Tone Coarse Tune
Tone Fine Tune
Random Pitch Depth
Pitch Key follow
Env Depth
Env V-Sens
Env T1 V-Sens
Env T4 V-Sens
Env Time KF
Env Level 0–4
Env Time 1–4
Pitch Envelope Depth
Pitch Envelope Velocity Sensitivity
Pitch Envelope Time 1 Velocity Sensitivity
Pitch Envelope Time 4 Velocity Sensitivity
Pitch Envelope Time Key follow
Pitch Envelope Level 0–4
Pitch Envelope Time 1–4
TVF Group (Owner’s Manual; p. 62)
Value
-48–+48
-50–+50
-3–+3
OFF, 1–3
-48–+48
-50–+50
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700,
800, 900, 1000, 1100, 1200
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40,
-30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,
+140, +150, +160, +170, +180, +190, +200
-12–+12
-63–+63
-63–+63
-63–+63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80,
+90, +100
-63–+63
0–127
T
T
T
T
T
T
T
T
T
T
T
Parameter
TVF
Filter Type
Cutoff Freq
Cutoff KF
Cutoff Frequency
Cutoff Frequency Key follow
Cutoff V-Curve
Cutoff V-Sens
Resonance
Reso V-Sens
Env Depth
Env V-Curve
Env V-Sens
Env T1 V-Sens
Env T4 V-Sens
Env Time KF
Env Level 0–4
Env Time 1–4
Cutoff Frequency Velocity Curve
Cutoff Frequency Velocity Sensitivity
Resonance Velocity Sensitivity
TVF Envelope Depth
TVF Envelope Velocity Curve
TVF Envelope Velocity Sensitivity
TVF Envelope Time 1 Velocity Sensitivity
TVF Envelope Time 4 Velocity Sensitivity
TVF Envelope Time Key Follow
TVF Envelope Level 0–4
TVF Envelope Time 1–4
TVA Group (Owner’s Manual; p. 64)
Value
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
0–127
-200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90, -80, -70, -60, -50, -40,
-30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80, +90, +100, +110, +120, +130,
+140, +150, +160, +170, +180, +190, +200
FIXED, 1–7
-63–+63
0–127
-63–+63
-63–+63
FIXED, 1–7
-63–+63
-63–+63
-63–+63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80,
+90, +100
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
Parameter
TVA
Patch Level
Tone Level
Bias Level
Bias Position
Bias Direction
Level V-Curve
Level V-Sens
Patch Pan
Tone Pan
Pan KF
Rnd Pan Depth
Alter Pan Depth
Env T1 V-Sens
Env T4 V-Sens
Env Time KF
Env Time 1–4
Env Level 1–3
TVA Level Velocity Curve
TVA Level Velocity Sensitivity
Pan Key follow
Random Pan Depth
Alternate Pan Depth
TVA Envelope Time 1 Velocity Sensitivity
TVA Envelope Time 4 Velocity Sensitivity
TVA Envelope Time Key Follow
TVA Envelope Time 1–4
TVA Envelope Level 1–3
Value
0–127
0–127
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80,
+90, +100
C-1–G9
LOWER, UPPER, LO&UP, ALL
FIXED, 1–7
-63–+63
L64–0–63R
L64–0–63R
-100–+100
0–63
L63–0–63R
-63–+63
-63–+63
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80,
+90, +100
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
20
Parameter List
LFO Group (Owner’s Manual; p. 66)
Parameter
LFO
1:/2:Waveform
1:/2:Rate
1:/2:Offset
1:/2:Rate Detune
1:/2:Delay Time
1:/2:Delay Time KF
1:/2:Fade Mode
1:/2:Fade Time
1:/2:Key Trigger
1:/2:Pitch Depth
1:/2:TVF Depth
1:/2:TVA Depth
1:/2:Pan Depth
LFO1/LFO2 Waveform
LFO1/LFO2 Rate
LFO1/LFO2 Offset
LFO1/LFO2 Rate Detune
LFO1/LFO2 Delay Time
LFO1/LFO2 Delay Time Key follow
LFO1/LFO2 Fade Mode
LFO1/LFO2 Fade Time
LFO1/LFO2 Key Trigger
LFO1/LFO2 Pitch Depth
LFO1/LFO2 TVF Depth
LFO1/LFO2 TVA Depth
LFO1/LFO2 Pan Depth
Value
SIN, TRI, SAW-U, SAW-D, SQR, RND, BND-U, BND-D, TRP, S&H, CHAOS
0–127, note (*1)
-100, -50, 0, +50, +100
0–127
0–127
-100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70, +80,
+90, +100
ON <, ON >, OFF <, OFF >
0–127
OFF, ON
-63–+63
-63–+63
-63–+63
-63–+63
T
T
T
T
T
T
T
T
T
T
T
T
T
*1:
(Sixty-fourth-note triplet),
(Sixteenth note),
(Sixty-fourth note),
(Eighth-note triplet),
(Thirty-second-note triplet),
(Dotted sixteenth note),
(Thirty-second note),
(Eighth note), (Quarter-note triplet),
(Dotted quarter note), (Half note), (Whole-note triplet), (Dotted half note), (Whole note),
(Sixteenth-note triplet),
(Dotted eighth note),
(Double-note triplet),
(Dotted thirty-second note),
(Quarter note),
(Dotted whole note),
(Half-note triplet),
(Double note)
21
Parameter List
Rhythm Set Parameters
* Parameters that can be set independently for each Rhythm Tone are indicated by “T.”
* Parameters that can be set independently for each Wave comprising the Rhythm Tone are indicated by “W.”
General Group (Owner’s Manual; p. 74)
Parameter
General
Rhythm Name
Clock Source
Tempo
Rhythm Tone
Tone Name
Assign Type
Mute Group
Env Mode
Bend Range
Rx Expression
Rx Hold-1
Rx Pan Mode
Rhythm Set Name
Rhythm Set Clock Source
Rhythm Set Tempo
Rhythm Tone Name
Rhythm Tone Envelope Mode
Rhythm Tone Pitch Bend Range
Rhythm Tone Receive Expression Switch
Rhythm Tone Receive Hold-1 Switch
Rhythm Tone Receive Pan Mode
Value space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
→ ←
RHYTHM, SEQUENCER
20–250 space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
→ ←
MULTI, SINGLE
OFF, 1–31
NO SUS, SUST
0–48
OFF, ON
OFF, ON
CONTINUOUS, KEY-ON
Rhythm Ptn Group (Owner’s Manual; p. 75)
Parameter
Rhythm Ptn
Switch
Hold
Style
Accent Rate
Shuffle Rate
Shuffle Resolution
Keyboard Velocity
Note Assign
Key Trigger
Pattern Switch
Pattern Hold Switch
Pattern Style
Pattern Accent Rate
Pattern Shuffle Rate
Pattern Shuffle Resolution
Pattern Keyboard Velocity
Pattern Note Assign
Pattern Key Trigger
Controller Group (Owner’s Manual; p. 76)
Value
OFF, ON
OFF, ON
Refer to “Rhythm Pattern Style List” (p. 16).
0–100 %
0–100 %
(Eighth note) (Sixteenth note) ,
REAL, 1–127
C-1–G9
OFF, ON
Parameter
Knob
Assign 1–4
Switch
Assign 1–4
Mode 1–4
D Beam
Switch
Assign
Polarity
Range Lower
Range Upper
Realtime Control Knob Assign 1–4
Realtime Control Button Assign 1–4
Realtime Control Button Mode 1–4
D Beam Switch
D Beam Assign
D Beam Polarity
D Beam Range Lower
D Beam Range Upper
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, TEMPO, PTN ACCENT,
PTN SHFFLE
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP,
OCT DOWN, TRNS UP, TRNS DOWN, TAP TEMPO, PTN HOLD
MOMENTARY, LATCH
OFF, ON
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, NOTE, OCT UP,
OCT DOWN, START/STOP, TAP TEMPO, PTN SWITCH, PTN ACCENT,
PTN SHFFLE
STANDARD, REVERSE
0–UPPER
LOWER–127
T
T
T
T
T
T
T
T
22
Parameter List
Effects Group (Owner’s Manual; p. 165)
Parameter
Effects
Rhythm Key Select
Rhythm Output Assign
Tone Output Assign
Tone Dry Send Level
Tone Chorus Send Level
Tone Reverb Send Level
MFX Type
MFX Dry Send Level
MFX Output Assign
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
Chorus Level
Chorus Output Assign
Chorus Output Select
Reverb Type
Reverb Level
Reverb Output Assign
Multi-Effects Type
Multi-Effects Dry Send Level
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
MFX Group (Owner’s Manual; p. 174)
Value
A0–C8
MFX, A, B, 1–4, TONE
MFX, A, B, 1–4
0–127
0–127
0–127
0 (Through)–90 (3D Manual)
0–127
A, B
0–127
0–127
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2Chorus)
0–127
A, B
MAIN, REV, M+R
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2Reverb)
0–127
A, B
Parameter
MFX
Type Multi-Effects Type
Value
00 THROUGH–90 3D MANUAL
* For details regarding multi-effects settings, refer to “Multi-Effects Parameters” (p. 32).
MFX Control Group (Owner’s Manual; p. 174)
Parameter
MFX Control
Source 1–4
Destination 1–4
Sens 1–4
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sensitivity 1–4
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4
Refer to “Multi-Effects Parameters” (p. 32).
-63–+63
Chorus Group (Owner’s Manual; p. 176)
Parameter
Chorus
Type Chorus Type
Value
0 OFF, 1 CHORUS, 2 DELAY, 3 GM2 CHORUS
* For details regarding chorus settings, refer to “Chorus Parameters” (p. 62).
Reverb Group (Owner’s Manual; p. 177)
Parameter
Reverb
Type Reverb Type
Value
0 OFF, 1 REVERB, 2 SRV ROOM, 3 SRV HALL, 4 SRV PLATE, 5 GM2 REVERB
* For details regarding reverb settings, refer to “Reverb Parameters” (p. 62).
T
T
T
T
23
Parameter List
WMT Group (Owner’s Manual; p. 77)
Parameter
WMT
Wave Group
Wave No. (L)
Wave No. (R)
Wave Gain
FXM Switch
FXM Color
FXM Depth
Tempo Sync
Coarse Tune
Fine Tune
Wave Pan
Rnd Pan Sw
Alter Pan Sw
Wave Level
Velocity Control
Vel Fade Lower
Vel Range Lower
Vel Range Upper
Vel Fade Upper
Wave Number (L)
Wave Number (R)
Wave Tempo Sync
Random Pan Switch
Alternate Pan Switch
Velocity Control Switch
Velocity Fade Width Lower
Velocity Range Lower
Velocity Range Upper
Velocity Fade Width Upper
Pitch Group (Owner’s Manual; p. 79)
Value
INT, XP-A, XP-B, XP-C
----, 0001–1083
----, 0001–1083
-6, 0, +6, +12
OFF, ON
1–4
0–16
OFF, ON
-48–+48
-50–+50
L64–0–63R
OFF, ON
OFF, ON, REV
0–127
OFF, ON, RND
0–127
1–UPPER
LOWER–127
0–127
Parameter
Pitch
Tone Coarse Tune
Tone Fine Tune
Random Pitch Depth
Env Depth
Env V-Sens
Env T1 V-Sens
Env T4 V-Sens
Env Level 0–4
Env Time 1–4
Rhythm Tone Coarse Tune
Rhythm Tone Fine Tune
Pitch Envelope Depth
Pitch Envelope Velocity Sensitivity
Pitch Envelope Time 1 Velocity Sensitivity
Pitch Envelope Time 4 Velocity Sensitivity
Pitch Envelope Level 0–4
Pitch Envelope Time 1–4
TVF Group (Owner’s Manual; p. 80)
Value
C-1–G9
-50–+50
0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700,
800, 900, 1000, 1100, 1200
-12–+12
-63–+63
-63–+63
-63–+63
-63–+63
0–127
T
T
T
T
T
T
T
T
T
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
W
Parameter
TVF
Filter Type
Cutoff Frequency
Cutoff V-Curve
Cutoff V-Sens
Resonance
Resonance V-Sens
Env Depth
Env V-Curve
Env V-Sens
Env T1 V-Sens
Env T4 V-Sens
Env Level 0–4
Env Time 1–4
Cutoff Frequency Velocity Curve
Cutoff Frequency Velocity Sensitivity
Resonance Velocity Sensitivity
TVF Envelope Depth
TVF Envelope Velocity Curve
TVF Envelope Velocity Sensitivity
TVF Envelope Time 1 Velocity Sensitivity
TVF Envelope Time 4 Velocity Sensitivity
TVF Envelope Level 0–4
TVF Envelope Time 1–4
TVA Group (Owner’s Manual; p. 82)
Value
OFF, LPF, BPF, HPF, PKG, LPF2, LPF3
0–127
FIXED, 1–7
-63–+63
0–127
-63–+63
-63–+63
FIXED, 1–7
-63–+63
-63–+63
-63–+63
0–127
0–127
Parameter
TVA
Rhythm Level
Tone Level
Level V-Curve
Level V-Sens
Tone Pan
Random Pan Depth
Alternate Pan Depth
Env T1 V-Sens
Env T4 V-Sens
Env Time 1–4
Env Level 1–3
Rhythm Set Level
Rhythm Tone level
TVA Level Velocity Curve
TVA Level Velocity Sensitivity
Rhythm Tone Pan
TVA Envelope Time 1 Velocity Sensitivity
TVA Envelope Time 4 Velocity Sensitivity
TVA Envelope Time 1–4
TVA Envelope Level 1–3
Value
0–127
0–127
FIXED, 1–7
-63–+63
L64–0–63R
0–63
L63–0–63R
-63–+63
-63–+63
0–127
0–127
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
T
24
Parameter List
Multitimbre Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
General Group (Owner’s Manual; p. 115)
Parameter
General
Multitimbre Name
Part Group (Owner’s Manual; p. 115)
Value space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
→ ←
Parameter
Part
Patch/Rhythm
Patch Bank
Patch Number
Level
Pan
Coarse Tune
Fine Tune
Mono/Poly
Legato Switch
Pitch Bend Range
Portamento Switch
Portamento Time
Cutoff Offset
Resonance Offset
Attack Time Offset
Release Time Offset
Decay Time Offset
Vibrate Rate
Vibrate Depth
Vibrate Delay
Octave Shift
Vel Sens Offset
Key Fade Lower
Key Range Lower
Key Range Upper
Key Fade Upper
Voice Reserve
Patch/Rhythm Set
Part Level
Part Pan
Part Coarse Tune
Part Fine Tune
Part Mono/Poly
Part Legato Switch
Part Pitch Bend Range
Part Portamento Switch
Part Portamento Time
Part Cutoff Offset
Part Resonance Offset
Part Attack Time Offset
Part Release Time Offset
Part Decay Time Offset
Part Vibrate Rate
Part Vibrate Depth
Part Vibrate Delay
Part Octave Shift
Part Velocity Sensitivity Offset
Part Keyboard Fade Width Lower
Part Keyboard Range Lower
Part Keyboard Range Upper
Part Keyboard Fade Width Upper
MIDI Group (Owner’s Manual; p. 118)
Value
PAT, RHY
USR, PRA–E (PR), GM, XPA–C
001–***
0–127
L64–0–63R
-48–+48
-50–+50
MON, POL, PAT
OFF, ON, PAT
0–24, PAT
OFF, ON, PAT
0–127, PAT
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-3–+3
-63–+63
0–127
C-1–UPPER
LOWER–G9
0–127
0–63, FUL
Parameter
Part MIDI
Receive Channel
Receive Switch
Solo Part Select
Mute Switch
MIDI Filter
Program Change
Bank Select
Pitch Bend
Channel Pressure
Poly Key Pressure
Modulation
Volume
Pan
Expression
Hold-1
Phase Lock
Velocity Curve
Receive Program Change Switch
Receive Bank Select Switch
Receive Pitch Bend Switch
Receive Channel Pressure Switch
Receive Polyphonic Key Pressure Switch
Receive Modulation Switch
Receive Volume Switch
Receive Pan Switch
Receive Expression Switch
Receive Hold 1 Switch
Phase Lock Switch
Value
1–16
OFF, ON
(OFF), SEL
OFF, MUT
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), 1–4
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
25
Parameter List
Effects Group (Owner’s Manual; p. 170)
Parameter
Effects
Part Select
Part Output Assign
Part Output MFX Select
Part Dry Send Level
Part Chorus Send Level
Part Reverb Send Level
MFX Type
MFX Dry Send Level
MFX Output Assign
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
Chorus Level
Chorus Output Assign
Chorus Output Select
Reverb Type
Reverb Level
Reverb Output Assign
MFX-A Source
Chorus Source
Reverb Source
Part Output Multi-Effects Select
Multi-Effects Type
Multi-Effects Dry Send Level
Multi-Effects Output Assign
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects A Source
MFX Group (Owner’s Manual; p. 174)
Value
Part 1–Part 16
MFX, A, B, 1–4, PAT
A–C (MFX-A–MFX-C)
0–127
0–127
0–127
0 (Through)–90 (3D Manual)
0–127
A, B
0–127
0–127
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2Chorus)
0–127
A, B
MAIN, REV, M+R
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2Reverb)
0–127
A, B
MLT, P1–P16
MLT, P1–P16
MLT, P1–P16
Parameter
MFX
Select
Type
Multi-Effects Select
Multi-Effects Type
Value
MFX-A–MFX-C
00 THROUGH–90 3D MANUAL
* For details regarding multi-effects settings, refer to “Multi-Effects Parameters” (p. 32).
MFX Control Group (Owner’s Manual; p. 174)
Parameter
MFX Control
Select
Source 1–4
Destination 1–4
Sens 1–4
MFX Control Channel
Multi-Effects Select
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sensitivity 1–4
Multi-Effects Control Channel
Chorus Group (Owner’s Manual; p. 176)
Value
MFX-A–MFX-C
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4
Refer to “Multi-Effects Parameters” (p. 32).
-63–+63
1–16, OFF
Parameter
Chorus
Type Chorus Type
Value
0 OFF, 1 CHORUS, 2 DELAY, 3 GM2 CHORUS
* For details regarding chorus settings, refer to “Chorus Parameters” (p. 62).
Reverb Group (Owner’s Manual; p. 177)
Parameter
Reverb
Type Reverb Type
Value
0 OFF, 1 REVERB, 2 SRV ROOM, 3 SRV HALL, 4 SRV PLATE, 5 GM2 REVERB
* For details regarding reverb settings, refer to “Reverb Parameters” (p. 62).
Scale Tune Group (Owner’s Manual; p. 120)
Parameter
Scale Tune
C–B Part Scale Tune C–B
Value
-64–+63
P
P
P
P
P
P
26
Parameter List
Performance Parameters
* Parameters that can be set independently for each Part are indicated by “P.”
General Group (Owner’s Manual; p. 94)
Parameter
General
Performance Name
Seq Tempo Override
Overriding Tempo
Sequencer Tempo Override
Value space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _ ` { | }
→ ←
OFF, ON
20–250
Arpeggio Group (Owner’s Manual; p. 95)
Parameter
Arpeggio
Switch
Hold
Style
Variation
Motif
Accent Rate
Shuffle Rate
Shuffle Resolution
Keyboard Velocity
Octave Range
Key Trigger
Zone Number
Arpeggio Switch
Arpeggio Hold Switch
Arpeggio Style
Arpeggio Variation
Arpeggio Motif
Arpeggio Accent Rate
Arpeggio Shuffle Rate
Arpeggio Shuffle Resolution
Arpeggio Keyboard Velocity
Arpeggio Octave Range
Arpeggio Key Trigger
Arpeggio Zone Number
Rhythm Ptn Group (Owner’s Manual; p. 96)
Value
OFF, ON
OFF, ON
Refer to “Arpeggio Style List” (p. 15).
UP, DOWN, UP&DOWN, RANDOM, NOTE ORDER, GLISSANDO, CHORD,
AUTO1, AUTO2, PHRASE
0–100 %
0–100 %
(Eighth note) (Sixteenth note) ,
REAL, 1–127
-3–+3
OFF, ON
1–16
Parameter
Rhythm Ptn
Switch
Hold
Style
Accent Rate
Shuffle Rate
Shuffle Resolution
Keyboard Velocity
Note Assign
Key Trigger
Zone Number
Pattern Switch
Pattern Hold Switch
Pattern Style
Pattern Accent Rate
Pattern Shuffle Rate
Pattern Shuffle Resolution
Pattern Keyboard Velocity
Pattern Note Assign
Pattern Key Trigger
Pattern Zone Number
Value
OFF, ON
OFF, ON
Refer to “Rhythm Pattern Style List” (p. 16).
0–100 %
0–100 %
(Eighth note) (Sixteenth note) ,
REAL, 1–127
C-1–G9
OFF, ON
1–16
Controller Group (Owner’s Manual; p. 97)
Value Parameter
Knob
Assign 1–4
Zone 1–4
Switch
Assign 1–4
Mode 1–4
Zone 1–4
D Beam
Switch
Assign
Polarity
Range Lower
Range Upper
Zone
Realtime Control Knob Assign 1–4
Realtime Control Knob Zone Number 1–4
Realtime Control Button Assign 1–4
Realtime Control Button Mode 1–4
Realtime Control Button Zone Number 1–4
D Beam Switch
D Beam Assign
D Beam Polarity
D Beam Range Lower
D Beam Range Upper
D Beam Zone Number
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, TEMPO, ARP VAR,
ARP ACCENT, ARP SHFFLE, ARP OCTAVE, PTN ACCENT, PTN SHFFLE
1–16
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP,
OCT DOWN, TRNS UP, TRNS DOWN, TAP TEMPO, MONO/POLY, ARP HOLD,
PTN HOLD, ZONE INT, ZONE EXT
MOMENTARY, LATCH
1–16
OFF, ON
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, NOTE, OCT UP,
OCT DOWN, START/STOP, TAP TEMPO, ARP SWITCH, ARP VAR,
ARP ACCENT, ARP SHFFLE, ARP OCT UP, ARP OCT DW, PTN SWITCH,
PTN ACCENT, PTN SHFFLE
STANDARD, REVERSE
0–UPPER
LOWER–127
1–16
27
Parameter List
Zone Group (Owner’s Manual; p. 98)
Parameter
Zone
Transmit Channel
Int Switch
Ext Switch
Ext Bank Select MSB
Ext Bank Select LSB
Ext Program Number
Ext Level
Ext Pan
Key Range Lower
Key Range Upper
Control Bender
Control Aftertouch
Control Modulation
Control Hold Pedal
Control Pedal 1, 2
Internal Switch
External Switch
External Bank Select MSB
External Bank Select LSB
External Program Change Number
External Level
External Pan
Keyboard Range Lower
Keyboard Range Upper
Control Pitch Bend Switch
Control Aftertouch Switch
Control Modulation Switch
Control Hold Pedal Switch
Control Pedal 1, 2 Switch
Part Group (Owner’s Manual; p. 100)
Value
1–16
OFF, ON
OFF, ON
0–127, ---
0–127
1–128, ---
0–127, ---
L64–0–63R, ---
C-1–UPPER
LOWER–G9
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
Parameter
Part
Patch/Rhythm
Patch Bank
Patch Number
Level
Pan
Coarse Tune
Fine Tune
Mono/Poly
Legato Switch
Pitch Bend Range
Portamento Switch
Portamento Time
Cutoff Offset
Resonance Offset
Attack Time Offset
Release Time Offset
Decay Time Offset
Vibrate Rate
Vibrate Depth
Vibrate Delay
Octave Shift
Vel Sens Offset
Key Fade Lower
Key Range Lower
Key Range Upper
Key Fade Upper
Voice Reserve
Value
Patch/Rhythm Set
Part Level
Part Pan
Part Coarse Tune
Part Fine Tune
Part Mono/Poly
Part Legato Switch
Part Pitch Bend Range
Part Portamento Switch
Part Portamento Time
Part Cutoff Offset
Part Resonance Offset
Part Attack Time Offset
Part Release Time Offset
Part Decay Time Offset
Part Vibrate Rate
Part Vibrate Depth
Part Vibrate Delay
Part Octave Shift
Part Velocity Sensitivity Offset
Part Keyboard Fade Width Lower
Part Keyboard Range Lower
Part Keyboard Range Upper
Part Keyboard Fade Width Upper
MIDI Group (Owner’s Manual; p. 103)
PAT, RHY
USR, PRA–E (PR), GM, XPA–C
001–***
0–127
L64–0–63R
-48–+48
-50–+50
MON, POL, PAT
OFF, ON, PAT
0–24, PAT
OFF, ON, PAT
0–127, PAT
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-64–+63
-3–+3
-63–+63
0–127
C-1–UPPER
LOWER–G9
0–127
0–63, FUL
Parameter
Part MIDI
Receive Channel
Receive Switch
Solo Part Select
Mute Switch
MIDI Filter
Program Change
Bank Select
Pitch Bend
Channel Pressure
Poly Key Pressure
Modulation
Volume
Pan
Expression
Hold-1
Phase Lock
Velocity Curve
Receive Program Change Switch
Receive Bank Select Switch
Receive Pitch Bend Switch
Receive Channel Pressure Switch
Receive Polyphonic Key Pressure Switch
Receive Modulation Switch
Receive Volume Switch
Receive Pan Switch
Receive Expression Switch
Receive Hold 1 Switch
Phase Lock Switch
Value
1–16
OFF, ON
(OFF), SEL
OFF, MUT
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), ✔ (ON)
(OFF), 1–4
28
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
P
Parameter List
Effects Group (Owner’s Manual; p. 170)
Parameter
Effects
Part Select
Part Output Assign
Part Output MFX Select
Part Dry Send Level
Part Chorus Send Level
Part Reverb Send Level
MFX Type
MFX Dry Send Level
MFX Output Assign
MFX Chorus Send Level
MFX Reverb Send Level
Chorus Type
Chorus Level
Chorus Output Assign
Chorus Output Select
Reverb Type
Reverb Level
Reverb Output Assign
MFX-A Source
Chorus Source
Reverb Source
Part Output Multi-Effects Select
Multi-Effects Type
Multi-Effects Dry Send Level
Multi-Effects Output Assign
Multi-Effects Chorus Send Level
Multi-Effects Reverb Send Level
Multi-Effects A Source
MFX Group (Owner’s Manual; p. 174)
Value
Part 1–Part 16
MFX, A, B, 1–4, PAT
A–C (MFX-A–MFX-C)
0–127
0–127
0–127
0 (Through)–90 (3D Manual)
0–127
A, B
0–127
0–127
0 (Off), 1 (Chorus), 2 (Delay), 3 (GM2Chorus)
0–127
A, B
MAIN, REV, M+R
0 (Off), 1 (Reverb), 2 (SRV Room), 3 (SRV Hall), 4 (SRV Plate), 5 (GM2Reverb)
0–127
A, B
PRF, P1–P16
PRF, P1–P16
PRF, P1–P16
Parameter
MFX
Select
Type
Multi-Effects Select
Multi-Effects Type
Value
MFX-A–MFX-C
00 THROUGH–90 3D MANUAL
* For details regarding multi-effects settings, refer to “Multi-Effects Parameters” (p. 32).
MFX Control Group (Owner’s Manual; p. 174)
Parameter
MFX Control
Select
Source 1–4
Destination 1–4
Sens 1–4
MFX Control Channel
Multi-Effects Select
Multi-Effects Control Source 1–4
Multi-Effects Control Destination 1–4
Multi-Effects Control Sensitivity 1–4
Multi-Effects Control Channel
Value
MFX-A–MFX-C
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–SYS CTRL4
Refer to “Multi-Effects Parameters” (p. 32).
-63–+63
1–16, OFF
Chorus Group (Owner’s Manual; p. 176)
Parameter
Chorus
Type Chorus Type
Value
0 OFF, 1 CHORUS, 2 DELAY, 3 GM2 CHORUS
* For details regarding chorus settings, refer to “Chorus Parameters” (p. 62).
Reverb Group (Owner’s Manual; p. 177)
Parameter
Reverb
Type Reverb Type
Value
0 OFF, 1 REVERB, 2 SRV ROOM, 3 SRV HALL, 4 SRV PLATE, 5 GM2 REVERB
* For details regarding reverb settings, refer to “Reverb Parameters” (p. 62).
Scale Tune Group (Owner’s Manual; p. 104)
Value Parameter
Scale Tune
C–B Part Scale Tune C–B -64–+63
P
P
P
P
P
P
29
Parameter List
System Parameters
General Group (Owner’s Manual; p. 179)
Parameter
General
Local Switch
Master Tune
Master Key Shift
Master Level
Patch Remain
Mix/Parallel
Output Gain
Keyboard Velocity
Keyboard Sens
Aftertouch Sens
Power Up Mode
Backlight Saver
Patch Remain Switch
Keyboard Sensitivity
Aftertouch Sensitivity
Sequencer Group (Owner’s Manual; p. 180)
Value
OFF, ON
415.3–466.2 Hz
-24–+24
0–127
OFF, ON
MIX, PARALLEL
-12, -6, 0, +6, +12 dB
REAL, 1–127
LIGHT, MEDIUM, HEAVY
0–100
LAST SET, DEFAULT
OFF, 5, 10, 20 ,30, 40, 50, 60 minutes
Parameter
Sequencer
Sync Mode
Sync Output
Soft Through
MMC Mode
MMC Output
MTC Sync Output
MTC Frame Rate
MTC Offset Hour
MTC Offset Minute
MTC Offset Second
MTC Offset Frame
MTC Error Level
Metronome Mode
Metronome Level
Metronome Sound
Sync Output Switch
Soft Through Switch
MMC Output Switch
MTC Sync Output Switch
MTC Offset Time Hour
MTC Offset Time Minute
MTC Offset Time Second
MTC Offset Time Frame
MIDI Group (Owner’s Manual; p. 182)
Value
MASTER, SLAVE MIDI, SLAVE MTC, REMOTE
OFF, ON
OFF, ON
MASTER, SLAVE
OFF, ON
OFF, ON
24, 25, 29N, 29D, 30
0–23 hours
0–59 minutes
0–59 seconds
0–29 frames
0 –10
OFF, PLAY ONLY, REC ONLY, PLAY&REC, ALWAYS
0–10
TYPE 1, TYPE 2, TYPE 3, TYPE 4
Parameter
MIDI
Performance Ctrl Ch
Multitimbre Ctrl Ch
Patch/Rhythm Rx
Channel
Patch/Rhythm Tx
Channel
Remote Keyboard Sw
Exclusive Protect
Device ID
Rx Program Change
Rx Bank Select
Rx GM System On
Rx GM2 System On
Rx GS Reset
Rx Exclusive
Tx Program Change
Tx Bank Select
Tx Active Sensing
Tx Edit Data
Performance Control Channel
Multitimbre Control Channel
Patch/Rhythm Set Receive Channel
Patch/Rhythm Set Transmit Channel
Remote Keyboard Switch
Exclusive Protect Switch
Device ID Number
Receive Program Change Switch
Receive Bank Select Switch
Receive GM System On Switch
Receive GM2 System On Switch
Receive GS Reset Switch
Receive System Exclusive Switch
Transmit Program Change Switch
Transmit Bank Select Switch
Transmit Active Sensing Switch
Transmit Edit Data Switch
Value
1–16, OFF
1–16, OFF
1–16
1–16, Rx Ch, OFF
OFF, ON
OFF, ON
17–32
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
OFF, ON
30
Parameter List
Controller Group (Owner’s Manual; p. 184)
Parameter
Controller
Sys Ctrl 1–4 Source
Hold Pedal Polarity
Cont Hold Pedal
Pedal 1, 2 Assign
System Control 1–4 Source
Continuous Hold Pedal Switch
Pedal 1, 2 Polarity
Beam Sens D Beam Sensitivity
EQ Group (Owner’s Manual; p. 185)
Value
OFF, CC01–31, 33–95, PITCH BEND, AFTERTOUCH
STANDARD, REVERSE
OFF, ON
OFF, CC01–31, 33–95, BEND UP, BEND DOWN, AFTERTOUCH, OCT UP, OCT DOWN,
START/STOP, PUNCH I/O, TAP TEMPO, PROG UP, PROG DOWN, FAV UP,
FAV DOWN, ARP SW, PTN SW
STANDARD, REVERSE
1–10
Parameter
EQ
EQ Switch
Low Freq
Low Gain
High Freq
High Gain
Equalizer Switch
Low Frequency
High Frequency
Value
BYPASS, ON
200, 400 Hz
-15–+15 dB
2000, 4000, 8000 Hz
-15–+15 dB
Preview Group (Owner’s Manual; p. 185)
Parameter
Preview
Preview Mode
Note Number 1–4
Velocity 1–4
Preview Note Number 1–4
Preview Velocity 1–4
Value
SINGLE, CHORD, PHRASE
C-1–G9
OFF, 1–127
Scale Tune Group (Owner’s Manual; p. 186)
Parameter
Scale Tune
C–B
Scale Tune Switch
Patch Scale Tune C–B
Value
-64–+63
OFF, ON
31
Effects List
29:
30:
31:
32:
25:
26:
27:
28:
21:
22:
23:
24:
17:
18:
19:
20:
13:
14:
15:
16:
9:
10:
11:
12:
7:
8:
5:
6:
3:
4:
1:
2:
37:
38:
39:
40:
33:
34:
35:
36:
41:
42:
43:
44:
45:
Multi-Effects Parameters
The multi-effects feature 90 different kinds of effects. Some of the effects consist of two or more different effects connected in series or in parallel.
Parameters marked with a sharp “#” can be controlled using a specified controller (Two setting items will change simultaneously for “#1” and “#2”).
STEREO EQ
OVERDRIVE
DISTORTION
PHASER
SPECTRUM
ENHANCER
AUTO WAH
ROTARY
COMPRESSOR
LIMITER
HEXA-CHORUS
TREMOLO CHORUS
SPACE-D
STEREO CHORUS
STEREO FLANGER
STEP FLANGER
STEREO DELAY
MODULATION DELAY
TRIPLE TAP DELAY ◆
QUADRUPLE TAP DELAY ◆
◆
◆
TIME CONTROL DELAY
2VOICE PITCH SHIFTER
◆
◆
◆
◆
FBK PITCH SHIFTER
REVERB
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
◆
GATED REVERB
OVERDRIVE -> CHORUS
DISTORTION -> DELAY
ENHANCER -> CHORUS
◆
OVERDRIVE -> FLANGER
OVERDRIVE -> DELAY
DISTORTION -> CHORUS ◆
DISTORTION -> FLANGER ◆
◆
◆
◆
◆
ENHANCER -> FLANGER
ENHANCER -> DELAY
◆
◆
CHORUS -> DELAY
FLANGER -> DELAY
◆
◆
CHORUS -> FLANGER
CHORUS/DELAY
◆
◆
FLANGER/DELAY
CHORUS/FLANGER
◆
◆
STEREO PHASER
KEYSYNC FLANGER
◆
FORMANT FILTER
RING MODULATOR
MULTI TAP DELAY
◆
◆
32
74:
75:
76:
77:
70:
71:
72:
73:
66:
67:
68:
69:
62:
63:
64:
65:
58:
59:
60:
61:
54:
55:
56:
57:
50:
51:
52:
53:
46:
47:
48:
49:
82:
83:
84:
85:
78:
79:
80:
81:
86:
87:
88:
89:
90:
If a multi-effect marked by a "◆" symbol is selected as the MFX-A multi-effect in Performance mode or Multitimbre mode, three types
(MFX-A--MFX-C) of multi-effect can be used simultaneously. Only multi-effects marked by this symbol can be selected for MFX-B and
MFX-C.
REVERSE DELAY
SHUFFLE DELAY
3D DELAY
3VOICE PITCH SHIFTER
LOFI COMPRESS
LOFI NOISE
SPEAKER SIMULATOR
OVERDRIVE 2
DISTORTION 2
STEREO COMPRESSOR
STEREO LIMITER
GATE
SLICER
ISOLATOR
3D CHORUS
3D FLANGER
TREMOLO
AUTO PAN
STEREO PHASER 2
STEREO AUTO WAH
ST FORMANT FILTER
MULTI TAP DELAY 2
REVERSE DELAY 2
SHUFFLE DELAY 2
3D DELAY 2
ROTARY 2
ROTARY MULTI
KEYBOARD MULTI
RHODES MULTI
JD MULTI
STEREO LOFI COMPRESS
STEREO LOFI NOISE
GUITAR AMP SIMULATOR
STEREO OVERDRIVE
STEREO DISTORTION
GUITAR MULTI A
GUITAR MULTI B
GUITAR MULTI C
CLEAN GUITAR MULTI A
CLEAN GUITAR MULTI B
BASS MULTI
ISOLATOR 2
STEREO SPECTRUM
3D AUTO SPIN
3D MANUAL
◆
◆
◆
◆
◆
◆
◆
◆
◆
Effects List
1: STEREO EQ (Stereo Equalizer)
This is a four-band stereo equalizer (low, mid x 2, high).
fig.02-001m
L in 4-Band EQ L out
R in 4-Band EQ R out
Parameter
Low Freq
Low Gain
Mid1 Freq
Mid1 Gain
Mid1 Q
Mid2 Freq
Mid2 Gain
Mid2 Q
Value
200, 400 Hz
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
High Freq
High Gain
Output Level #
2000, 4000, 8000 Hz
-15–+15 dB
0–127
Description
Frequency of the low range
Gain of the low range
Frequency of the middle range 1
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q to narrow the range to be affected.
Frequency of the middle range 2
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to narrow the range to be affected.
Frequency of the high range
Gain of the high range
Output Level
2: OVERDRIVE
Creates a soft distortion similar to that produced by vacuum tube amplifiers.
fig.02-002m
L in
Pan L
L out
Over drive
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
Parameter
Drive #
Amp Type
Low Gain
High Gain
Output Level
Output Pan #
Value
0–127
SMALL, BUILT-IN,
2-STACK, 3-STACK
-15–+15 dB
-15–+15 dB
0–127
L64–63R
Description
Degree of distortion
Also changes the volume.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Output Level
Stereo location of the output sound
3: DISTORTION
Produces a more intense distortion than Overdrive. The parameters are the same as for “2: OVERDRIVE.” fig.02-003m
L in
Pan L
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
4: PHASER
Adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth.
fig.02-004m
L in
Pan L
L out
Phaser
R in
Resonance
Mix Pan R
R out
Parameter
Manual #
Rate #
Depth
Resonance
Mix Level
Output Level
Output Pan
Value
100–8000 Hz
0.05–10.00 Hz
0–127
0–127
0–127
0–127
L64–63R
Description
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Output Level
Stereo location of the output sound
5: SPECTRUM
This 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.02-005m
L in
Pan L
L out
Spectrum
R in
Pan R
R out
Parameter
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
Q
Value
-15–+15 dB
Description
Gain of each frequency band
Output Level #
Output Pan #
0.5, 1.0, 2.0, 4.0, 8.0
0–127
L64–63R
Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
Output Level
Stereo location of the output sound
6: ENHANCER
Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.
fig.02-006m
L in Enhancer
Mix
2-Band
EQ
L out
R in Enhancer
Mix
2-Band
EQ
R out
Parameter
Sens #
Mix Level #
Low Gain
High Gain
Output Level
Value
0–127
0–127
-15–+15 dB
-15–+15 dB
0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Gain of the low range
Gain of the high range
Output Level
33
Effects List
7: AUTO WAH
Cyclically controls a filter to create cyclic change in timbre.
fig.02-007m
L in L out
Auto Wah
R in R out
Parameter
Filter Type
Sens
Manual #
Peak
Rate #
Depth
Output Level
Value
LPF, BPF
0–127
0–127
0–127
0.05–10.00 Hz
0–127
0–127
Description
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
Adjusts the sensitivity with which the filter is controlled.
Adjusts the center frequency at which the effect is applied.
Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Frequency of modulation
Depth of modulation
Output Level
8: ROTARY
The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ
Patches.
fig.02-008m
L in L out
Rotary
R in R out
Parameter
Speed #
Woofer Slow
Rate
Woofer Fast
Rate
Woofer Accel
Value
SLOW, FAST
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Woofer Level
Tweeter Slow
Rate
Tweeter Fast
Rate
Tweeter Accel
Tweeter Level
Separation
Output Level #
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0–127
0–127
Description
Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.
SLOW: Slows down the rotation to the Slow Rate.
FAST: Speeds up the rotation to the Fast Rate.
Slow speed (SLOW) of the low frequency rotor
Fast speed (FAST) of the low frequency rotor
Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.
Volume of the low frequency rotor
Settings of the high frequency rotor
The parameters are the same as for the low frequency rotor
Spatial dispersion of the sound
Output Level
34
9: COMPRESSOR
Flattens out high levels and boosts low levels, smoothing out unevenness in volume.
fig.02-009m
L in
Pan L
L out
Compressor
2-Band
EQ
R in
Pan R
R out
Parameter
Attack
Sustain
Value
0–127
0–127
Post Gain
Low Gain
High Gain
Output Level #
Output Pan #
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
0–127
L64–63R
Description
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Adjusts the output gain.
Gain of the low range
Gain of the high range
Output Level
Stereo location of the output sound
10: LIMITER
Compresses signals that exceed a specified volume level, preventing distortion from occurring.
fig.02-010m
L in
Pan L
L out
Limiter
2-Band
EQ
R in
Pan R
R out
Parameter
Threshold
Ratio
Release
Value
0–127
1.5:1, 2:1, 4:1, 100:1
0–127
Post Gain
Low Gain
High Gain
Output Level #
Output Pan #
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
0–127
L64–63R
Description
Adjusts the volume at which compression will begin.
Compression ratio
Adjusts the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Adjusts the output gain.
Gain of the low range
Gain of the high range
Output Level
Stereo location of the output sound
Effects List
11: HEXA-CHORUS
Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
fig.02-011m
L in L out
Balance D
Balance W
Hexa Chorus
Balance W
R in R out
Balance D
Parameter
Rate #
Depth
Depth Deviation
Pre Delay
Pre Delay Deviation
Pan Deviation
Balance #
Output Level
Value
0.05–10.00 Hz
0–127
-20–+20
0.0–100.0 ms
0–20
0–20
D100:0W–D0:100W
0–127
Description
Frequency of modulation
Depth of modulation
Adjusts the difference in modulation depth between each chorus sound.
Adjusts the delay time from the direct sound until the chorus sound is heard.
Adjusts the differences in Pre
Delay between each chorus sound.
Adjusts the difference in stereo location between each chorus sound.
0: All chorus sounds will be in the center.
20: Each chorus sound will be spaced at 60 degree intervals relative to the center.
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
12: TREMOLO CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of volume).
fig.02-012m
L in L out
Balance D
Balance W
Tremolo Chorus
Balance W
R in R out
Balance D
Parameter
Chorus Rate
Chorus Depth
Pre Delay
Value
0.05–10.00 Hz
0–127
0.0–100.0 ms
Tremolo Rate #
Tremolo Phase
Tremolo Separation
Balance #
0.05–10.00 Hz
0–180˚
0–127
D100:0W–D0:100W
Output Level 0–127
Description
Modulation frequency of the chorus effect
Modulation depth of the chorus effect
Adjusts the delay time from the direct sound until the chorus sound is heard.
Modulation frequency of the tremolo effect
Spread of the tremolo effect
Spread of the tremolo effect
Volume balance between the direct sound (D) and the tremolo chorus sound (W)
Output Level
13: SPACE-D
This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.
fig.02-013m
Balance D
L in
Space D
2-Band
EQ
Balance W
L out
R in
Space D Balance W
2-Band
EQ
R out
Balance D
Parameter
Rate #
Depth
Phase
Pre Delay
Low Gain
High Gain
Balance #
Output Level
Value
0.05–10.00 Hz
0–127
0–180˚
0.0–100.0 ms
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the delay time from the direct sound until the chorus sound is heard.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
14: STEREO CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.
fig.02-014m
Balance D
L in
Chorus
2-Band
EQ
Balance W
L out
R in
Chorus Balance W
2-Band
EQ
R out
Balance D
Parameter
Rate #
Depth
Phase
Pre Delay
Filter Type
Cutoff Freq
Low Gain
High Gain
Balance #
Output Level
Value
0.05–10.00 Hz
0–127
0–180˚
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the delay time from the direct sound until the chorus sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Output Level
35
Effects List
15: STEREO FLANGER
This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.
fig.02-015m
Balance D
L in
Flanger
2-Band
EQ
Balance W
L out
R in
Feedback
Feedback
Flanger
Balance D
Balance W
2-Band
EQ
R out
Parameter
Rate #
Depth
Feedback #
Phase
Pre Delay
Filter Type
Cutoff Freq
Low Gain
High Gain
Balance
Output Level
Value
0.05–10.00 Hz
0–127
-98–+98 %
0–180˚
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Spatial spread of the sound
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
16: STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.
fig.02-016m
Balance D
L in
Step Flanger
2-Band
EQ
Balance W
L out
R in
Feedback
Feedback
Step Flanger
Balance D
Balance W
2-Band
EQ
R out
Parameter
Rate
Depth
Feedback #
Phase
Value
0.05–10.00 Hz
0–127
-98–+98 %
0–180˚
Description
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Spatial spread of the sound
36
Parameter
Pre Delay
Step Rate #
Low Gain
High Gain
Balance
Output Level
17: STEREO DELAY
This is a stereo delay.
When Feedback Mode is NORMAL: fig.02-017am
Balance D
L in
Delay
2-Band
EQ
Balance W
Feedback
Feedback
R in
Delay Balance W
2-Band
EQ
Balance D
When Feedback Mode is CROSS: fig.02-017bm
Balance D
L in
Delay
2-Band
EQ
Balance W
Feedback
Feedback
Delay
R in
Balance D
Balance W
2-Band
EQ
Parameter
Delay Left
Delay Right
Feedback #
Feedback
Mode
HF Damp
Phase Left
Phase Right
Low Gain
High Gain
Balance #
Output Level
Value
0.0–100.0 ms
0.10–20.00 Hz, note *1
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Value
0.0–500.0 ms
-98–+98 %
NORMAL, CROSS
200–8000 Hz,
BYPASS
NORMAL, INVERT
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Rate (period) of pitch change
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
L out
R out
L out
R out
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Selects the way in which delay sound is fed back into the effect. (See the figures above.)
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Phase of the delay sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
Effects List
18: MODULATION DELAY
Adds modulation to the delayed sound, producing an effect similar to a flanger.
When Feedback Mode is NORMAL: fig.02-018am
Balance D
L in
Delay Modulation
2-Band
EQ
Balance W
L out
Feedback
Feedback
Delay
R in
Balance D
When Feedback Mode is CROSS: fig.02-018bm
Balance D
L in
Delay
Modulation
Modulation
Balance W
2-Band
EQ
2-Band
EQ
Balance W
Feedback
Feedback
Delay Modulation
R in
Balance W
2-Band
EQ
Parameter
Delay Left
Delay Right
Feedback
Feedback
Mode
HF Damp
Rate #
Depth
Phase
Low Gain
High Gain
Balance #
Output Level
Balance D
Value
0.0–500.0 ms
-98–+98 %
NORMAL, CROSS
200–8000 Hz,
BYPASS
0.05–10.00 Hz
0–127
0–180˚
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
R out
L out
R out
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Selects the way in which delay sound is fed back into the effect
(See the figures above.)
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
19: TRIPLE TAP DELAY
Produces three delay sounds; center, left and right.
fig.02-019m
Balance D
L in
Left Tap
2-Band
EQ
Balance W
L out
R in
Triple Tap Delay
Feedback
Center Tap
Right Tap
Balance D
Balance W
2-Band
EQ
R out
Parameter
Delay Center
Delay Left
Delay Right
Feedback #
HF Damp
Value
200–1000 ms, note *1
-98–+98 %
200–8000 Hz,
BYPASS
0–127
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Volume of each delay sound Center Level
Left Level
Right Level
Low Gain
High Gain
Balance #
Output Level
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
20: QUADRUPLE TAP DELAY
This effect has four delays.
fig.02-020am
Balance D
L in
Feedback
Delay 1
Delay 2
Quadruple Tap Delay
Delay 3
Delay 4
R in
Balance D fig.02-020bm
2 3
1 4
L out
Balance W
Balance W
R out
Stereo location of each delay sound
L R
Parameter
Delay 1
Delay 2
Delay 3
Delay 4
Feedback #
HF Damp
Value
200–1000 ms, note *1
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
-98–+98 %
200–8000 Hz,
BYPASS
0–127
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Volume of each delay sound Level 1
Level 2
Level 3
Level 4
Balance # D100:0W–D0:100W
Output Level 0–127
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
37
Effects List
21: TIME CONTROL DELAY
This effect allows you to use a specified controller (the controller selected in EFX Control Source) to control the delay time and pitch in realtime. Lengthening the delay will lower the pitch, and shortening it will raise the pitch.
fig.02-021m
L in
Balance D
2-Band
EQ
Balance W
L out
Time Control Delay
R in
Feedback
Balance D
Balance W
2-Band
EQ
R out
Parameter
Delay #
Accel
Feedback #
HF Damp
Low Gain
High Gain
Balance
Output Level
Output Pan
Value
200–1000 ms
0–15
-98–+98 %
200–8000 Hz,
BYPASS
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
L64–63R
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the time 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.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
Stereo location of the delay sound
22: 2VOICE PITCH SHIFTER
Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.
fig.02-022m
Balance D
L in L out
Level Balance A
PanA L Balance W
R in
2Voice Pitch Shifter
PanA R
PanB L
PanB R
Level Balance B
Balance W
R out
Balance D
Parameter
A:Coarse #1
A:Fine #1
A:Pre Delay
A:Pan
B:Coarse #2
B:Fine #2
B:Pre Delay
B:Pan
Mode
Level Balance
Balance
Output Level
Value
-24–+12 semi
-100–+100 cent
0.0–500 ms
L64–63R
-24–+12 semi
-100–+100 cent
0.0–500.0 ms
L64–63R
1, 2, 3, 4, 5
A100:0B–A0:100B
D100:0W–D0:100W
0–127
Description
Adjusts the pitch of Pitch Shift
A in semitone steps.
Adjusts the pitch of Pitch Shift
A in 2-cent steps.
Adjusts the delay time from the direct sound until the Pitch
Shift A sound is heard.
Stereo location of the Pitch
Shift A sound
Settings of the Pitch Shift B sound
The parameters are the same as for the Pitch Shift A sound.
Setting a higher value for this parameter will result in slower response, but steadier pitch.
Volume balance between the
Pitch Shift A and Pitch Shift B sounds
Volume balance between the direct sound (D) and the pitch shifted sound (W)
Output Level
23: FBK PITCH SHIFTER
(Feedback Pitch Shifter)
This allows the pitch shifted sound to be fed back into the effect.
fig.02-023m
L in
Balance D
2-Band
EQ
Balance W
L out
Pitch Shifter
R in
Feedback
Balance D
Balance W
2-Band
EQ
R out
Parameter
Coarse #1
Fine #1
Pre Delay
Mode
Feedback #
Low Gain
High Gain
Balance
Output Level
Output Pan
Value
-24–+12 semi
-100–+100 cent
0.0–500.0 ms
1, 2, 3, 4, 5
-98–+98 %
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
L64–63R
Description
Adjusts the pitch of the pitch shifted sound in semitone steps.
Adjusts the pitch of the pitch shifted sound in 2-cent steps.
Adjusts the delay time from the direct sound until the pitch shifted sound is heard.
Setting a higher value for this parameter will result in slower response, but steadier pitch.
Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the pitch shifted sound (W)
Output Level
Stereo location of the pitch shifted sound
38
Effects List
24: REVERB
Adds reverberation to the sound, simulating an acoustic space.
fig.02-024m
L in
Balance D
2-Band
EQ
Balance W
L out
Reverb
R in
Balance D
Balance W
2-Band
EQ
R out
Parameter
Type
Pre Delay
Time #
HF Damp
Low Gain
High Gain
Balance #
Output Level
Value
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0–100.0 ms
0–127
200–8000 Hz,
BYPASS
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Type of reverb
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
Adjusts the delay time from the direct sound until the reverb sound is heard.
Time length of reverberation
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 to cut the high frequencies, set this parameter to BYPASS.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the reverb sound (W)
Output Level
25: GATED REVERB
This is a special type of reverb in which the reverberant sound is cut off before its natural length.
fig.02-025m
L in
Balance D
2-Band
EQ
Balance W
L out
Gated Reverb
R in
Balance D
Balance W
2-Band
EQ
R out
Parameter
Type
Pre Delay
Value
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0–100.0 ms
Description
Type of reverb
NORMAL: conventional gated reverb
REVERSE: backwards reverb
SWEEP1: the reverberant sound moves from right to left
SWEEP2: the reverberant sound moves from left to right
Adjusts the delay time from the direct sound until the reverb sound is heard.
Parameter
Gate Time
Low Gain
High Gain
Balance #
Output Level #
Value
5–500 ms
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the time from when the reverb is heard until it disappears.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the reverb sound (W)
Output Level
26: OVERDRIVE -> CHORUS fig.02-026m
L in
Balance D
L out
Balance W
Overdrive Chorus
R in
Balance W
R out
Balance D
Parameter
OD Drive
OD Pan #
Chorus Rate
Chorus Depth
Chorus Pre
Delay
Chorus Balance #
Value
0–127
L64–63R
0.05–10.00 Hz
0–127
0.0–100.0 ms
D100:0W–D0:100W
Output Level 0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct sound until the chorus sound is heard.
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Output Level
27: OVERDRIVE -> FLANGER fig.02-027m
Balance D
L in
Feedback
L out
Balance W
Overdrive Flanger
Balance W
R in R out
Balance D
Parameter
OD Drive
OD Pan #
Flanger Rate
Flanger Depth
Flanger Feedback
Value
0–127
L64–63R
0.05–10.00 Hz
0–127
-98–+98 %
Flanger Pre
Delay
Flanger Balance #
0.0–100.0 ms
D100:0W–D0:100W
Output Level 0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
39
Effects List
28: OVERDRIVE -> DELAY fig.02-028m
L in
Balance D
Overdrive
R in
Delay
Feedback
Balance D
L out
Balance W
Balance W
R out
Parameter
OD Drive
OD Pan #
Delay Time
Value
0–127
L64–63R
0.0–500.0 ms
Delay Feedback -98–+98 %
Delay HF Damp 200–8000 Hz,
BYPASS
Delay Balance # D100:0W–D0:100W
Output Level 0–127
Description
Degree of distortion
Also changes the volume.
Stereo location of the overdrive sound
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
29: DISTORTION -> CHORUS
The parameters are essentially the same as in “26: OVERDRIVE ->
CHORUS,” with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan fig.02-029m
L in L out
Balance D
Balance W
Distortion Chorus
Balance W
R in R out
Balance D
30: DISTORTION -> FLANGER
The parameters are essentially the same as in “27: OVERDRIVE ->
FLANGER,” with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan fig.02-030m
Balance D
L in L out
Feedback
Balance W
Distortion Flanger
Balance W
R in R out
Balance D
31: DISTORTION -> DELAY
The parameters are essentially the same as in “28: OVERDRIVE ->
DELAY,” with the exception of the following two.
OD Drive -> Dist Drive, OD Pan -> Dist Pan fig.02-031m
L in L out
Balance D
Balance W
Distortion Delay
Balance W
Feedback
R in R out
Balance D
32: ENHANCER -> CHORUS fig.02-032m
L in Enhancer
Mix Balance D
Chorus
R in Enhancer
Mix Balance D
L out
Balance W
Balance W
R out
Parameter
Enhancer Sens #
Enhancer Mix
Level
Chorus Rate
Chorus Depth
Chorus Pre Delay
Chorus Balance
#
Value
0–127
0–127
0.05–10.00 Hz
0–127
0.0–100.0 ms
D100:0W–
D0:100W
Output Level 0–127
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct sound until the chorus sound is heard.
Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).
Output Level
33: ENHANCER -> FLANGER fig.02-033m
Balance D
L in Enhancer
R in Enhancer
Mix
Parameter
Enhancer Sens #
Enhancer Mix
Level
Flanger Rate
Flanger Depth
Flanger Feedback
Value
0–127
0–127
0.05–10.00 Hz
0–127
-98–+98 %
Flanger Pre Delay
Flanger Balance
#
0.0–100.0 ms
D100:0W–
D0:100W
Output Level
Mix
0–127
Feedback
Flanger
L out
Balance W
Balance W
R out
Balance D
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
40
Effects List
34: ENHANCER -> DELAY fig.02-034m
L in Enhancer
Mix Balance D
R in Enhancer
Mix
Delay
Feedback
Balance D
L out
Balance W
Balance W
R out
Parameter
Enhancer Sens #
Enhancer Mix
Level
Delay Time
Value
0–127
0–127
0.0–500.0 ms
Delay Feedback -98–+98 %
Delay HF Damp 200–8000 Hz,
BYPASS
Delay Balance # D100:0W–D0:100W
Output Level 0–127
35: CHORUS -> DELAY fig.02-035m
Balance D
L in
Balance D
Balance W
Chorus
Balance W
Delay
Feedback
R in
Balance D Balance D
Description
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
L out
Balance W
Balance W
R out
Parameter
Chorus Rate
Chorus Depth
Chorus Pre
Delay
Chorus Balance #
Delay Time
Delay Feedback
Delay HF
Damp
Value
0.05–10.00 Hz
0–127
0.0–100.0 ms
D100:0W–D0:100W
0.0–500.0 ms
-98–+98 %
200–8000 Hz,
BYPASS
Delay Balance
#
D100:0W–D0:100W
Output Level 0–127
Description
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct sound until the chorus sound is heard.
Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
36: FLANGER -> DELAY fig.02-036m
Balance D
L in
Feedback Balance D
Balance W
Flanger Delay
Balance W
Feedback
R in
Balance D Balance D
Parameter
Flanger Rate
Flanger Depth
Flanger Feedback
Flanger Pre
Delay
Flanger Balance #
Delay Time
Delay Feedback
Delay HF
Damp
Delay Balance
#
Output Level
Value
0.05–10.00 Hz
0–127
-98–+98 %
0.0–100.0 ms
D100:0W–D0:100W
0.0–500.0 ms
-98–+98 %
200–8000 Hz,
BYPASS
D100:0W–D0:100W
0–127
L out
Balance W
Balance W
R out
Description
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Volume balance between the direct sound (D) and the flanger sound (W)
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).
Output Level
37: CHORUS -> FLANGER fig.02-037m
Balance D Balance D
L in
Feedback
Balance W
Chorus
Balance W
Flanger
R in
Balance D Balance D
Parameter
Chorus Pre
Delay
Chorus Rate
Chorus Depth
Chorus Balance #
Flanger Rate
Flanger Depth
Flanger Feedback
Flanger Pre
Delay
Flanger Balance #
Output Level
Value
0.0–100.0 ms
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0.05–10.00 Hz
0–127
-98–+98 %
0.0–100.0 ms
D100:0W–D0:100W
0–127
L out
Balance W
Balance W
R out
Description
Adjusts the delay time from the direct sound until the chorus sound is heard.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect
Volume balance between the direct sound (D) and the chorus sound
(W)
Modulation frequency of the flanger effect
Modulation depth of the flanger effect
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D).
Output Level
41
Effects List
38: CHORUS/DELAY
The parameters are the same as for “35: CHORUS -> DELAY.”
However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
fig.02-038m
Balance D
L in L out
Chorus
Feedback
Balance W
R in
Delay Balance W
R out
Balance D
39: FLANGER/DELAY
The parameters are the same as for “36: FLANGER -> DELAY.”
However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
fig.02-039m
Balance D
L in L out
Flanger Balance W
Feedback
Feedback
R in
Delay Balance W
R out
Balance D
40: CHORUS/FLANGER
The parameters are the same as for “37: CHORUS -> FLANGER.”
However, the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound.
fig.02-040m
Balance D
L in L out
Chorus
Feedback
Balance W
R in
Flanger Balance W
R out
Balance D
41: STEREO PHASER
This is a stereo phaser. With the Step effects, you can also make stepped changes in the pitch of sounds to which the Phaser effect is applied.
fig.02-041m
L in Phaser
2-Band
EQ
L out
Mix
Mix
R in Phaser
2-Band
EQ
R out
Parameter
Type
Mode
Polarity
Manual #
Rate #
Depth
Resonance
Cross Feedback
Mix Level
Step Switch
Step Rate #
Low Gain
High Gain
Output Level
Value
1, 2
4-STAGE, 8-STAGE
INVERSE,
SYNCHRO
0–127
0.05–10.00 Hz, note *2
0–127
0–127
-98–+98 %
0–127
OFF, ON
0.10–20.00 Hz, note *2
-15–+15 dB
-15–+15 dB
0–127
Description
Type of phaser
Type 2 adds more of the phaser effect to the high frequencies than Type 1.
Number of stages in the phaser
Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.
SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.
Level of the phase-shifted sound
Determines whether the pitch is changed in a stepped fashion (ON) or not (OFF).
Rate (period) of pitch change
Gain of the low range
Gain of the high range
Output Level
42
Effects List
42: KEYSYNC FLANGER
This effect controls the Flanger by resetting the effect at the volume of the sound input to the effects device, restarting from the same pitch each time the Flanger is reset.
This parameter lets your playing dynamics on the keyboard control the flanger effect.
fig.02-042m
L in
2-Band
EQ
L out
Flanger
Feedback
Feedback
Flanger
R in
2-Band
EQ
R out
Parameter
Rate #
Depth
Feedback #
Phase
Pre Delay
Filter Type
Cutoff Freq
Step Switch
Step Rate #
Keysync
Switch
Keysync
Threshold
Keysync Phase
Low Gain
High Gain
Balance #
Output Level
Value
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0–180˚
0.0–100 ms
OFF, LPF, HPF
200–8000 Hz
OFF, ON
0.10–20.00 Hz, note *2
OFF, ON
0–127
0–360˚
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Spatial spread of the sound
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Determines whether the pitch is changed in a stepped fashion
(ON) or not (OFF).
Rate (period) of pitch change
Determines whether the
Flanger LFO is reset according to the input sound (ON) or not
(OFF).
Adjusts the volume level for which reset will be applied.
LFO phase when the LFO is reset
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Output Level
43: FORMANT FILTER
Adds a vowel character to the sound, making it similar to a human voice.
fig.02-043m
L in
Pan L
L out
Overdrive Formant
2-Band
EQ
R in
Pan R
R out
Parameter
Drive Switch
Drive #
Vowel1
Vowel2
Rate #
Depth #
Manual #
Keysync Switch
Keysync
Threshold
Low Gain
High Gain
Output Level
Output Pan
Value
OFF, ON
0–127 a, e, i, o, u
0.05–10.00 Hz, note *2
0–127
0–100
OFF, ON
0–127
-15–+15 dB
-15–+15 dB
0–127
L64–63R
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Frequency at which the two vowels will be switched
Effect depth
Adjusts the point at which the two vowels will be switched. When set to 50,
Vowels 1 and 2 switched in the same amount of time. Setting this lower than 50 increases the time for Vowel 1; setting this higher than 50 decreases the time for Vowel 1.
Determines whether the LFO for switching the vowels is reset according to the input sound (ON) or not (OFF).
Volume level at which reset will be applied
Gain of the low range
Gain of the high range
Output Level
Stereo location of the output sound
44: RING MODULATOR
This is an effect which applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency according to the volume of the sound input to the effects device.
fig.02-044m
L in Ring Mod 2-Band EQ L out
R in Ring Mod 2-Band EQ R out
Parameter
Frequency #
Modulator
Modulator
Monitor
Sens #
Polarity
Low Gain
High Gain
Balance #
Output Level
Value
0–127
OFF, SOURCE, A, B
OFF, ON
0–127
UP, DOWN
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the frequency at which modulation will be applied.
Selects the source sound for the envelope controlling the modulation.
SOURCE: The frequency is modulated according to the envelope of the sound sent into the Multi-effects.
A, B: The frequency is modulated according to the envelope of the direct sound sent to the OUTPUT A or OUTPUT B jacks.
Determines whether the input sound used as the modulator is output (ON) or not (OFF).
* This parameter is disabled when Modulator is set to
OFF or SOURCE.
Adjusts the amount of frequency modulation applied.
Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (DOWN).
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
43
Effects List
45: MULTI TAP DELAY
The effect has four delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo. You can also set the panning and level of each delay sound.
fig.02-045m
Balance D
L in
Feed back
Delay 1
Delay 3
2-Band
EQ
Balance W
L out
Multi Tap Delay
Delay 4
Balance W
Delay 2
R in
Balance D
2-Band
EQ
R out
Parameter
Delay 1–4
Feedback #
HF Damp
Level 1–4
Pan 1–4
Low Gain
High Gain
Balance #
Value
0–1800 ms, note *2
-98–+98 %
200–8000 Hz,
BYPASS
0–127
L64–63R
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
Output Level 0–127
Description
Adjusts the delay time from the direct sound until the delay 1–4 sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Output level of the delay 1–4 sound
Stereo location of the delay 1–4 sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
46: REVERSE DELAY
Adds the reverse of the input sound as the delay sound.
fig.02-046m
L in
Feedback
1
2-Band
EQ
Rev. Delay
D1
D2
Delay
D3
D4
2
3
R in
2-Band
EQ
L ou
R o
Parameter
Delay 1–4
Value
0–900 ms, note *2
Feedback 1 #
Feedback 4 #
HF Damp 1
HF Damp 4
-98–+98 %
200–8000 Hz, BY-
PASS
Level 1–3
Pan 1–3
0–127
L64–63R
Description
Adjusts the delay time from the direct sound until the delay 1–4 sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Output level of the delay 1–3 sound
Stereo location of the delay 1–3 sound
Parameter
Threshold
Low Gain
High Gain
Balance #
Output Level
Value
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Volume level at which the reverse delay will begin to apply
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
47: SHUFFLE DELAY
Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel.
fig.02-047m
L in
Feedback
2-Band
EQ
L ou
Delay 1 1
Delay
Delay 2 2
R in
2-Band
EQ
R o
Parameter
Delay #
Value
0–1800 ms, note *2
Shuffle Rate # 0–100 %
Accel
Feedback #
HF Damp
0–15
-98–+98 %
200–8000 Hz,
BYPASS
Pan A
Pan B
Level Balance
Low Gain
High Gain
Balance #
L64–63R
L64–63R
A100:0B–A0:100B
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
Output Level 0–127
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the ratio (as a percentage) of the time that elapses before the sound plays in Delay B relative to the time that elapses before the sound plays in Delay
A. When set to 100%, the delay times are the same.
Adjusts the time over which the
Delay Time will change from the current setting to a newly specified setting.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Stereo location of the delay A sound
Stereo location of the delay B sound
Volume balance between the delay A and delay B sounds
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
44
Effects List
48: 3D DELAY
This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.
fig.02-048m
L
Level
2-Band
EQ
3D Delay L
L ou
3D Delay C
3D Delay R
R
2-Band
EQ
R ou
Parameter
Delay Center
Delay Left
Delay Right
Feedback #
HF Damp
Level Center
Level Left
Level Right
Low Gain
High Gain
Balance #
Output Mode
Output Level
Value
0–1800 ms, note *2
-98–+98 %
200–8000 Hz, BYPASS
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
SPEAKER, PHONES
0–127
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Output level of the delay sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select
SPEAKER when using speakers, or PHONES when using headphones.
Output Level
49: 3VOICE PITCH SHIFTER
This 3-voice pitch shifter has three pitch shifters, and can add three pitch shifted sounds to the original sound.
fig.02-049m
L L out
Pitch 1 1
Pitch 2 2
Pitch 3 3
R R out
Parameter
1:Coarse #1
1:Fine #1
1:Feedback #
Value
-24–+12 semi
-100–+100 cent
-98–+98 %
Description
Adjusts the pitch of Pitch Shift 1 in semitone steps.
Adjusts the pitch of Pitch Shift 1 in 2-cent steps.
Adjusts the proportion of the
Pitch Shift 1 sound that is fed back into the effect. Negative (-) settings will invert the phase.
Parameter
1:Pre Delay
1:Level
1:Pan
2:Coarse #2
2:Fine #2
2:Feedback #
2:Pre Delay
2:Level
2:Pan
3:Coarse #3
3:Fine #3
3:Feedback #
3:Pre Delay
3:Level
3:Pan
Mode
Value
0.0–500.0 ms
0–127
L64–63R
-24–+12 semitone
-100–+100 cent
-98–+98 %
0.0–500 ms
0–127
L64–63R
-24–+12 semitone
-100–+100 cent
-98–+98 %
0.0–500 ms
0–127
L64–63R
1, 2, 3, 4, 5
Description
Adjusts the delay time from the direct sound until the Pitch Shift
1 sound is heard.
Output Level of the Pitch Shift 1 sound
Stereo location of the Pitch Shift
1 sound
Settings of the Pitch Shift 2 sound
The parameters are the same as for the Pitch Shift 1 sound.
Settings of the Pitch Shift 3 sound
The parameters are the same as for the Pitch Shift 1 sound.
Balance
Output Level
D100:0W–D0:100W
0–127
Setting a higher value for this parameter will result in slower response, but steadier pitch.
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
50: LOFI COMPRESS
This is an effect that intentionally degrades the sound quality.
fig.02-050m
L in
Pan L
L out
Lo-Fi
2-Band
EQ
R in
Pan R
R out
Parameter
Lo-Fi Type
Pre Filter Type
Post Filter 1
Type
Post Filter 2
Type
Post Filter 2
Cutoff
Low Gain
High Gain
Balance #
Output Level
Output Pan
Value
1–9
1–6
1–6
OFF, LPF, HPF
200–8000 Hz
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
L64–63R
Description
Degrades the sound quality.
The sound quality will become poorer as this value is increased.
Adjusts the type of filter that will be applied before the sound passes through the Lo-
Fi effect.
Adjusts the type of filter that will be applied after the sound passes through the Lo-Fi effect.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
Stereo location of the output sound
45
Effects List
51: LOFI NOISE
In addition to a Lo-Fi effect, this effect also generates various types of noise, such as radio noise and disc noise.
fig.02-051m
L in
Pan L
L out
Lo-Fi
2-Band
EQ
R in
Radio Noise Gen.
Pan R
R out
Parameter
Lo-Fi Type
Post Filter Type
Post Filter Cutoff
Radio Detune #
Radio Noise
Level
Disc Noise Type
Disc Noise LPF
Value
1–9
200–8000 Hz
0–127
0–127
LP, EP, SP, RND
Disc Noise Level
Low Gain
High Gain
Balance #
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
Output Level
Output Pan
OFF, LPF, HPF
200–8000 Hz,
BYPASS
0–127
L64–63R
Description
Degrades the sound quality.
The sound quality will become poorer as this value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the filter
Simulates the tuning noise of a radio. As this value is raised, the tuning will drift further.
Volume of the radio noise
Type of record noise
The frequency at which the noise is heard will depend on the selected type.
Adjusts the cutoff frequency of the low pass filter that is applied to the record noise. If you do not want to cut the high frequencies, set this parameter to
BYPASS.
Volume of the record noise
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
Stereo location of the output sound
52: SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the speaker sound.
fig.02-052m
L in Speaker L out
R in Speaker R out
Parameter
Speaker Type
Mic Setting
Mic Level #
Direct Level #
Output Level #
Value
(See the table below.)
1, 2, 3
0–127
0–127
0–127
Description
Type of speaker
Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type
SMALL 1
SMALL 2
MIDDLE
JC-120
BUILT IN 1
BUILT IN 2
BUILT IN 3
BUILT IN 4
BUILT IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
3-STACK
Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack
Speaker Microphone
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
10
10
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2 dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser
53: OVERDRIVE 2
This is an overdrive that provides heavy distortion.
fig.02-053m
L in
Overdrive
Amp
Simulator
2-Band
EQ
R in
Parameter Value
Drive # 0–127
Tone
Amp Switch
Amp Type
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
Low Gain
High Gain
Output Level
Output Pan #
-15–+15 dB
-15–+15 dB
0–127
L64–63R
Pan L
L out
Pan R
R out
Description
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Output Level
Stereo location of the output sound
46
Effects List
54: DISTORTION 2
This is a distortion effect that provides heavy distortion. The parameters are the same as for “53: OVERDRIVE 2.” fig.02-054m
L in
Pan L
L out
Distortion
Amp
Simulator
2-Band
EQ
R in
Pan R
R out
55: STEREO COMPRESSOR fig.02-055m
L in Compressor 2-Band EQ L out
R in Compressor 2-Band EQ R out
Parameter
Attack
Sustain
Value
0–127
0–127
Post Gain
Low Gain
High Gain
Output Level #
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
0–127
56: STEREO LIMITER fig.02-056m
L in Limiter 2-Band EQ
Description
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Adjusts the output gain.
Gain of the low range
Gain of the high range
Output Level
L out
R in Limiter 2-Band EQ R out
Parameter
Threshold
Ratio
Release
Value
0–127
1.5:1, 2:1, 4:1, 100:1
0–127
Post Gain
Low Gain
High Gain
Output Level #
0, +6, +12, +18 dB
-15–+15 dB
-15–+15 dB
0–127
Description
Adjusts the volume at which compression will begin.
Compression ratio
Adjusts the time from when the volume falls below the Threshold Level until compression is no longer applied.
Adjusts the output gain.
Gain of the low range
Gain of the high range
Output Level
57: GATE
Cuts the reverb’s delay according to the volume of the sound input to the effects device. Use this in situations such as when you want to force a decrease in the decay sound.
fig.02-057m
L in Gate L out
R in Gate R out
Parameter
Mode
Attack
Hold
Release
Key
Key Threshold
Key Monitor
Balance #
Output Level
Value
GATE, DUCK
0–127
0–127
0–127
SOURCE, A, B
0–127
OFF, ON
D100:0W–D0:100W
0–127
Description
Type of the gate
GATE (Gated Reverb): When the source volume falls below a certain level, the gate closes, giving the effect of the reverb sound being cut with a gated reverb.
DUCK (Ducking Reverb):
When the source volume gets high enough, the gate closes, which gives a ducking reverb-type effect. Stop the reverb sound only when input loud sound so that prevent the play sound become unclear.
Adjusts the time it takes the gate fully opens after being triggered.
Adjusts the time it takes the gate starts closing after the instant the source sound goes under the
Key Threshold.
Adjusts the time it takes the gate fully closes after passes by the hold time.
Selects the source sound that acts as the trigger for closing the gate.
SOURCE: The gate is closed by the sound sent into the
Multi-effects.
A, B: The gate is closed by the direct sound sent to the OUT-
PUT A or OUTPUT B jacks.
Volume level at which the gate begins to close
Determines whether the sound used as the gate trigger is output (ON) or not (OFF).
* This parameter is disabled when Key is set to SOURCE.
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
47
Effects List
58: SLICER
By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustaintype sounds.
fig.02-058m
L in Slicer L out
R in Slicer R out
Parameter
Beat 1-1–4-4
Rate #
Attack
Reset Trigger #
Reset Threshold
Reset Monitor
Mode
Shuffle #
Output Level
Value
0–127
0.05–10.00 Hz, note *2
0–127
OFF, SOURCE, A, B
0–127
OFF, ON
LEGATO, SLASH
0–127
0–127
Description
For a single measure containing four quarter notes, this sets the level of each sixteenth-note when the measure is divided into sixteenth notes.
Cycle for one measure
Speed at which the volume changes between beats
Selects the source sound that acts as the trigger resetting the one-measure pattern.
OFF: The pattern is not reset, even if the input signal is present.
SOURCE: The pattern is reset by the sound sent into the Multi-effects.
A, B: The pattern is reset by the direct sound sent to the OUTPUT A or OUT-
PUT B jacks.
* When Reset Trigger is selected as the MFX Control parameter, you can use an external MIDI device to reset the pattern.
Volume level at which the reset begins
Determines whether the sound used as the reset trigger is output (ON) or not
(OFF).
* This parameter is disabled when Reset Trigger is set to OFF or SOURCE.
Sets the manner in which the volume changes as one beat progresses to the next.
LEGATO: The change in volume from one beat’s level to the next remains unaltered. If the level of a following beat is the same as the one preceding it, then there is no change in volume.
SLASH: The level is momentarily set to 0 before progressing to the level for the next beat. This change in volume occurs even if the level of a following beat is the same as the one preceding it.
Timing of volume changes in levels for even-numbered
Beats (Beat 1-2/Beat 1-4/Beat
2-2/...).
The higher the value selected, the later the timing with which the beat progresses.
Output Level
48
59: ISOLATOR
This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.
fig.02-059m
L in Isolator Low Boost L out
R in Isolator
Parameter
Boost/Cut
Low #
Boost/Cut
Mid #
Boost/Cut
High #
Anti Phase
Low Switch
Value
-60–+4 dB
OFF, ON
Anti Phase
Low Level
Anti Phase
Mid Switch
Anti Phase
Mid Level
Low Boost
Switch
Low Boost
Level
0–127
OFF, ON
0–127
OFF, ON
0–127
Output Level 0–127
Low Boost R out
Description
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Turns the Anti-Phase function on and off for the Low frequency ranges.
When turned on, the counterchannel of stereo sound is inverted and added to the signal.
Adjusts the level settings for the Low frequency ranges.
Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.)
Settings of the Anti-Phase function for the Middle frequency ranges
The parameters are the same as for the Low frequency ranges.
Turns Low Booster on/off.
This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end.
* Depending on the Isolator and filter settings this effect may be hard to distinguish.
Output Level
Effects List
60: 3D CHORUS
This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.
fig.02-060m
L
2-Band
EQ
L out
3D Chorus
R
2-Band
EQ
R out
Parameter
Rate #
Depth
Phase
Pre Delay
Filter Type
Cutoff Freq
Low Gain
High Gain
Balance #
Output Mode
Output Level
Value
0.05–10.00 Hz, note *2
0–127
0–180˚
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
SPEAKER, PHONES
0–127
Description
Frequency of modulation
Modulation depth of the chorus effect
Spatial spread of the sound
Adjusts the delay time from the direct sound until the chorus sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus sound (W)
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAK-
ER when using speakers, or
PHONES when using headphones.
Output Level
61: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right.
fig.02-061m
L
2-Band
EQ
L out
3D Flanger
R
2-Band
EQ
R out
Parameter
Rate #
Depth
Feedback #
Phase
Pre Delay
Filter Type
Cutoff Freq
Step Switch
Step Rate #
Value
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0–180˚
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
OFF, ON
0.10–20.00 Hz, note *2
Description
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Spatial spread of the sound
Adjusts the delay time from when the direct sound begins until the flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Determines whether the pitch is changed in a stepped fashion
(ON) or not (OFF).
Rate (period) of pitch change
Parameter
Low Gain
High Gain
Balance #
Output Mode
Output Level
Value
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
SPEAKER, PHONES
0–127
Description
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger sound (W)
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAK-
ER when using speakers, or
PHONES when using headphones.
Output Level
62: TREMOLO
Cyclically modulates the volume to add tremolo effect to the sound.
fig.02-062am
L in Tremolo 2-Band EQ L out
R in Tremolo 2-Band EQ
Parameter Value
Mod Wave TRI, SQR, SIN,
SAW1, SAW2
SAW1
R out
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW2
Rate #
Depth #
Low Gain
High Gain
Output Level
0.05–10.00 Hz, note *2
0–127
-15–+15 dB
-15–+15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
63: AUTO PAN
Cyclically modulates the stereo location of the sound.
fig.02-063am
L in Auto Pan 2-Band EQ L out
R in Auto Pan 2-Band EQ
Parameter Value
Mod Wave TRI, SQR, SIN,
SAW1, SAW2
SAW1
R
R out
Description
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW2
R
Rate #
Depth #
Low Gain
High Gain
Output Level
L
0.05–10.00 Hz, note *2
0–127
-15–+15 dB
-15–+15 dB
0–127
L
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
49
Effects List
64: STEREO PHASER 2 fig.02-064m
L in
R in
Phaser
Phaser
Mix
Mix
2-Band
EQ
L out
2-Band
EQ
R out
Parameter
Type
Mode
Polarity
Manual #
Rate #
Depth
Resonance
Cross Feedback
Mix Level
Step Switch
Value
1, 2
4-STAGE, 8-STAGE,
12-STAGE, 16-STAGE
INVERSE, SYNCHRO
0–127
0.05–10.00 Hz, note *2
0–127
0–127
-98–+98 %
0–127
OFF, ON
Step Rate #
Low Gain
High Gain
Output Level
0.10–20.00 Hz, note *2
-15–+15 dB
-15–+15 dB
0–127
Description
Type of phaser
Type 2 adds more of the phaser effect to the high frequencies than Type 1.
Number of stages in the phaser
Selects whether the left and right phase of the modulation will be the same or the opposite.
INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.
SYNCHRO: The left and right phase will be the same.
Select this when inputting a stereo source.
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase.
Level of the phase-shifted sound
Determines whether the pitch is changed in a stepped fashion
(ON) or not (OFF).
Rate (period) of pitch change
Gain of the low range
Gain of the high range
Output Level
65: STEREO AUTO WAH fig.02-065m
L in Auto Wah 2-Band EQ L out
R in Auto Wah
Parameter Value
Filter Type LPF, BPF
Sens #
Manual #
0–127
0–127
2-Band EQ R out
Description
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.
Adjusts the sensitivity with which the filter is controlled.
Adjusts the center frequency at which the effect is applied.
Parameter Value
Peak 0–127
Rate #
Depth #
Polarity
Phase #
Low Gain
High Gain
Output Level
0.05–10.00 Hz, note *2
0–127
UP, DOWN
0–180˚
-15–+15 dB
-15–+15 dB
0–127
Description
Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Frequency of modulation
Depth of modulation
Sets the direction in which the frequency will change when the auto-wah filter is modulated.
UP: The filter will change toward a higher frequency.
DOWN: The filter will change toward a lower frequency.
Adjusts the degree of phase shift of the left and right sounds when the wah effect is applied.
Gain of the low range
Gain of the high range
Output Level
66: ST FORMANT FILTER (Stereo
Formant Filter) fig.02-066m
L in Overdrive Formant 2-Band EQ L out
R in Overdrive Formant 2-Band EQ R out
Parameter
Drive Switch
Drive #
Vowel1
Vowel2
Rate #
Depth #
Manual #
Phase #
Keysync Switch
Keysync
Threshold
Low Gain
High Gain
Output Level
Value
OFF, ON
0–127 a, e, i, o, u
0.05–10.00 Hz, note *2
0–127
0–100
0–180˚
OFF, ON
0–127
-15–+15 dB
-15–+15 dB
0–127
Description
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Selects the vowel.
Frequency at which the two vowels will be switched
Effect depth
Adjusts the point at which the two vowels will be switched. When set to 50,
Vowels 1 and 2 switched in the same amount of time. Setting this lower than 50 increases the time for Vowel 1; setting this higher than 50 decreases the time for Vowel 1.
Adjusts the phase shift of the left and right sounds when the two vowels are switched.
Determines whether the LFO for switching the vowels is reset according to the input sound (ON) or not (OFF).
Volume level at which reset will be applied
Gain of the low range
Gain of the high range
Output Level
50
Effects List
67: MULTI TAP DELAY 2
This allows you to set even longer delay times (max. 3000 ms) for the
Multi-Tap Delay function.
fig.02-067m
Balance D
L in
Feed back
Delay 1
Delay 3
2-Band
EQ
Balance W
L out
Multi Tap Delay
Delay 4
Balance W
Delay 2
R in
Balance D
2-Band
EQ
R out
Parameter Value
Delay 1–4 0–3000 ms, note *2
Feedback #
HF Damp
Level 1–4
Pan 1–4
Low Gain
High Gain
Balance #
Output Level
-98–+98 %
200–8000 Hz,
BYPASS
0–127
L64–63R
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the delay 1–4 sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Output level of the delay 1–4 sound
Stereo location of the delay 1–4 sound
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
68: REVERSE DELAY 2
This allows you to set even longer delay times (max. 1500 ms) for the
Reverse Delay function.
fig.02-068m
L in
Feedback
1
2-Band
EQ
L out
Rev. Delay
D1
D2
Delay
D3
D4
2
3
R in
2-Band
EQ
R out
Parameter Value
Delay 1–4 0–1500 ms, note *2
Feedback 1 #
Feedback 4 #
HF Damp 1
HF Damp 4
Level 1–3
Pan 1–3
Threshold
Low Gain
High Gain
Balance #
Output Level
-98–+98 %
200–8000 Hz,
BYPASS
0–127
L64–63R
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the delay 1–4 sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Output level of the delay 1–3 sound
Stereo location of the delay 1–3 sound
Volume level at which the reverse delay will begin to apply
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
69: SHUFFLE DELAY 2
This allows you to set even longer delay times (max. 3000 ms) for the
Shuffle Delay function.
fig.02-069m
L in
Feedback
2-Band
EQ
L out
Delay 1 1
Delay
Delay 2 2
R in
2-Band
EQ
R out
Parameter
Delay #
Shuffle Rate # 0–100 %
Accel
Feedback #
HF Damp
Value
0–3000 ms, note *2
0–15
-98–+98 %
200–8000 Hz,
BYPASS
Pan A, B
Level Balance
Low Gain
High Gain
Balance #
Output Level
L64–63R
A100:0B–A0:100B
-15–+15 dB
-15–+15 dB
D100:0W–
D0:100W
0–127
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Sets the ratio (as a percentage) of the time that elapses before the sound plays in Delay B relative to the time that elapses before the sound plays in Delay A. When set to 100%, the delay times are the same.
Adjusts the time over which the
Delay Time will change from the current setting to a newly specified setting.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Stereo location of the delay A/B sound
Volume balance between the delay A and delay B sounds
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
51
Effects List
70: 3D DELAY 2
This allows you to set even longer delay times (max. 3000 ms) for the
3D Delay function.
fig.02-070m
L
Level
2-Band
EQ
3D Delay L
L out
3D Delay C
3D Delay R
R
2-Band
EQ
R out
Parameter
Delay Center
Delay Left
Delay Right
Feedback #
HF Damp
Value
0–3000 ms, note *2
-98–+98 %
200–8000 Hz,
BYPASS
Description
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Output level of the delay sound Level Center
Level Left
Level Right
Low Gain
High Gain
Balance #
Output Mode
Output Level
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
SPEAKER, PHONES
0–127
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks.
The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or
PHONES when using headphones.
Output Level
71: ROTARY 2
This type provides modified response for the rotary speaker, with the low end boosted further.
This effect features the same specifications as the VK-7’s built-in rotary speaker.
fig.02-071m
L in 2-Band EQ L out
Rotary
R in
2-Band EQ R out
Parameter
Speed #
Brake #
Spread
Woofer Slow
Rate
Woofer Fast
Rate
Woofer Trans
Up
Woofer Trans
Down
Woofer Level
Tweeter Slow
Rate
Tweeter Fast
Rate
Tweeter Trans
Up
Tweeter Trans
Down
Tweeter Level
Low Gain
High Gain
Output Level #
Value
SLOW, FAST
OFF, ON
0–10
0.05–10.00 Hz, note *2
0.05–10.00 Hz, note *2
0–127
0–127
Description
Rotational speed of the rotating speaker
Switches the rotation of the rotary speaker.
When this is turned off, the rotation will gradually stop. When it is turned on, the rotation will gradually resume.
Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out.
Low-speed rotation speed of the woofer
High-speed rotation speed of the woofer
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast.
Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow.
Volume of the woofer
Settings of the tweeter
The parameters are the same as for the woofer.
0–127
0.05–10.00 Hz, note *2
0.05–10.00 Hz, note *2
0–127
0–127
0–127
-15–+15 dB
-15–+15 dB
0–127
Gain of the low range
Gain of the high range
Output Level
52
Effects List
72: ROTARY MULTI fig.02-072m
L in
Overdrive/
Distortion
Amp
Simulator
R in
3-Band EQ
L out
Rotary Pan
R out
Parameter
OD/Dist
Switch
Type
Drive #
Tone
Level
Amp Sim
Switch
Type
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
High Gain
Rot
Switch
Speed #
Woofer Slow
Rate
Woofer Fast
Rate
Woofer Accel
Value
OFF, ON
OVERDRIVE,
DISTORTION
0–127
0–127
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
OFF, ON
SLOW, FAST
0.05–10.00 Hz, note *2
0.05–10.00 Hz, note *2
0–15
Woofer Level
Tweeter Slow
Rate
Tweeter Fast
Rate
Tweeter Accel
Tweeter Level
Separation
Output
Level
Pan
0–127
0.05–10.00 Hz, note *2
0.05–10.00 Hz, note *2
0–15
0–127
0–127
0–127
L64–63R
Description
Turns the Overdrive/Distortion on/off.
Selects either Overdrive or Distortion.
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive/Distortion effect
Volume of the Overdrive/Distortion sound
Turns the Amp Simulator on/ off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range
Turns the Rotary on/off.
Rotational speed of both the low-range and the high-range rotors
Speed of the low-range rotor for the slow-speed setting
Speed of the low-range rotor for the fast-speed setting
Adjusts the time over which the rotation speed of the low-range rotor will change from slowspeed to fast-speed (or fastspeed to slow-speed) rotation.
Lower values will require longer times.
Volume of the low-range rotor
Settings of the high-range rotor
The parameters are the same as for the low-range rotor.
Spatial spread of the rotary sound
Output Level
Stereo location of the output sound
73: KEYBOARD MULTI fig.02-073m
L in Ring Mod 3-Band EQ
Pitch
Shifter
Feedback
R in Ring Mod 3-Band EQ
L out
Feedback
Phaser
Switch
Mode
Manual #
Rate #
Depth
Resonance
Mix Level
Delay
Switch
Left
Right
Feedback
Phaser Delay
Mix
Resonance
R out
* Ring Modulator is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds.
Description Parameter Value
Ring Mod
Switch
Freq #
OFF, ON
0–127
Balance # D100:0W–D0:100W
Turns the Ring Modulator on/off.
Frequency at which modulation will be applied
Volume balance between the direct sound (D) and the ring modulated sound (W)
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range High Gain
P Shifter
Switch
Mode
OFF, ON
1, 2, 3, 4, 5
Coarse #1
Fine #1
Delay
Feedback #
Balance
-24–+12 semi
-100–+100 cent
0.0–500.0 ms
-98–+98 %
D100:0W–D0:100W
Turns the Pitch Shifter on/off
Setting a higher value for this parameter will result in slower response, but steadier pitch.
Adjusts the pitch of the pitch shifted sound in semitone steps.
Adjusts the pitch of the pitch shifted sound in 2-cent steps.
Adjusts the delay time from the direct sound until the pitch shifted sound is heard.
Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase.
Volume balance between the direct sound (D) and the pitch shifted sound
(W)
HF Damp
Balance #
Output
Level
OFF, ON
4-STAGE, 8-STAGE
0–127
0.05–10.00 Hz, note *2
0–127
0–127
0–127
OFF, ON
0–3000 ms, note *2
-98–+98 %
200–8000 Hz,
BYPASS
D100:0W–D0:100W
0–127
Turns the Phaser on/off.
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Turns the Delay on/off.
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut.
If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume balance between the direct sound (D) and the delay sound (W)
Output Level
53
Effects List
74: RHODES MULTI fig.02-074m
L in Enhancer
Mix
R in Enhancer
Mix
Tremolo/
Pan
L out
Chorus/
Flanger
Feedback
Chorus/
Flanger
Parameter Value
Enhancer
Switch
Sens #
Mix Level
OFF, ON
0–127
0–127
Phaser
Switch
Mode
Manual #
Rate #
Depth
Resonance
Mix Level
Cho/Flg
Switch
Type
Rate
Depth
Feedback
OFF, ON
4-STAGE, 8-STAGE
0–127
0.05–10.00 Hz, note *2
0–127
0–127
0–127
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
Tremolo/
Pan
Description
Pre Delay
Filter Type
Cutoff Freq
Balance #
Tre/Pan
Switch
Type
Mod Wave
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
OFF, ON
TREMOLO, AUTO
PAN
TRI, SQR, SIN,
SAW1, SAW2
SAW1
(R)
R out
Turns the Enhancer on/off.
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Turns the Phaser on/off.
Number of stages in the phaser
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Turns the Chorus/Flanger on/off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/flanger sound (W)
Turns the Tremolo/Pan on/off.
Selects either Tremolo or Pan.
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW2
(R)
Rate #
Depth #
Output
Level
54
Resonance
Phaser
Mix
(L)
0.05–10.00 Hz, note *2
0–127
0–127
(L)
Frequency of modulation
Depth of modulation
Output Level
75: JD MULTI
This allows the Distortion (DS), Phaser (PH), Spectrum (SP), and
Enhancer (EH) effects to be connected in series in any desired order.
fig.02-075m
L in
Distortion Phaser
R in
L out
Spectrum Enhancer
R out
Parameter
Sequence
Dist
Switch
Type
Drive #
Level
Phaser
Switch
Manual #
Rate #
Depth #
Resonance #
Mix Level #
Spect
Switch
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (2000Hz)
Band5 (4000Hz)
Band6 (8000Hz)
Width 1, 2, 3, 4, 5
Value
DS-PH-SP-EN
:
EN-SP-PH-DS
OFF, ON
MELLOW DRIVE,
OVERDRIVE, CRY
DRIVE, MELLOW
DIST, LIGHT DIST,
FAT DIST, FUZZ DIST
0–100
0–100
OFF, ON
50 Hz–15.0 kHz
0.1–10.0 Hz
0–100
0–100
0–100
OFF, ON
-15–+15 dB
Description
Order in which effects are connected
Turns the Distortion on/off.
Type of the distortion
MELLOW DRIVE: A soft, mellow distortion; somewhat dark sounding.
OVERDRIVE: The classic sound of an overdriven tube amp.
CRY DRIVE: Distortion with a high-frequency boost.
MELLOW DIST: Sounds like the distortion you’d get from a really big amp.
LIGHT DIST: A distortion with an intense, brilliant feel.
FAT DIST: Boosted lows and highs gives this one a thick, fat sound.
FUZZ DIST: Like FAT
DIST, but with even more distortion.
Degree of distortion
Distortion output level
Turns the Phaser on/off.
Adjusts the basic frequency from which the sound will be modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Turns the Spectrum on/off.
Gain of each frequency band
Enhancer
Switch
Sens
Mix Level #
Output
Level
Pan
OFF, ON
0–100
0–100
0–127
L64–63R
Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
Turns the Enhancer on/off.
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Output Level
Stereo location of the output sound
Effects List
76: STEREO LOFI COMPRESS
This is a stereo Lo-Fi compress. This is an effect that intentionally degrades the sound quality.
fig.02-076m
L in Lo-Fi 2-Band EQ L out
R in Lo-Fi 2-Band EQ R out
Parameter
Lo-Fi Type
Pre Filter
Type
Post Filter 1
Type
Post Filter 2
Type
Post Filter 2
Cutoff
Low Gain
High Gain
Balance #
Value
1–9
1–6
1–6
OFF, LPF, HPF
200–8000 Hz
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
Output Level 0–127
Description
Degrades the sound quality. The sound quality will become poorer as this value is increased.
Adjusts the type of filter that will be applied before the sound passes through the Lo-Fi effect.
Adjusts the type of filter that will be applied after the sound passes through the Lo-Fi effect.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the filter
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
77: STEREO LOFI NOISE
This is a stereo Lo-Fi noise. In addition to a Lo-Fi effect, this effect also generates various types of noise such as radio noise and disc noise.
fig.02-077m
L in
2-Band
EQ
L out
Lo-Fi
Radio
Lo-Fi
Noise Gen.
R in
2-Band
EQ
R out
Parameter
Lo-Fi Type
Post Filter Type
Post Filter Cutoff
Hum Type
Hum LPF
Hum Level
Radio Detune #
Radio Noise
Level
White/Pink
Noise Type
White/Pink
Noise LPF
Disc Noise LPF
Disc Noise Level
Low Gain
High Gain
Balance #
Output Level
Value
1–9
OFF, LPF, HPF
200–8000 Hz
50 Hz, 60 Hz
200–8000 Hz, BYPASS
0–127
0–127
0–127
WHITE, PINK
200–8000 Hz, BYPASS
White/Pink
Noise Level
Disc Noise Type
0–127
LP, EP, SP, RND
200–8000 Hz, BYPASS
0–127
-15–+15 dB
-15–+15 dB
D100:0W–D0:100W
0–127
Description
Degrades the sound quality.
The sound quality will become poorer as this value is increased.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff
HPF: cuts the frequency range below the Cutoff
Basic frequency of the filter
Type of hum noise
Adjusts the cutoff frequency of the low pass filter that is applied to the hum noise. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume of the hum noise
Simulates the tuning noise of a radio. As this value is raised, the tuning will drift further.
Volume of the radio noise
Selects either white noise or pink noise.
Adjusts the cutoff frequency of the low pass filter that is applied to the white noise or pink noise. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume of the white noise or pink noise
Type of record noise
The frequency at which the noise is heard will depend on the selected type.
Adjusts the cutoff frequency of the low pass filter that is applied to the record noise.
If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume of the record noise
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the effect sound (W)
Output Level
55
Effects List
78: GUITAR AMP SIMULATOR
This is an effect that simulates an amp.
fig.02-078m
L in
R in
Parameter
Pre Amp
Switch
Pre Amp Type
Pre Amp Volume #
Pre Amp Master #
Pre Amp Gain
Pre Amp Presence
Pre Amp
Bright
Pre Amp Bass
Pre Amp Middle
Pre Amp Treble
Speaker Switch
Speaker Type
Mic Setting
Mic Level
Direct Level
Output Level #
Output Pan #
Value
OFF, ON
Pan L
L out
Pre Amp
JC-120, CLEAN TWIN,
MATCH DRIVE, BG
LEAD, MS1959I,
MS1959II, MS1959I+II,
SLDN LEAD, METAL
5150, METAL LEAD,
OD-1, OD-2 TURBO,
DISTORTION, FUZZ
0–127
0–127
Speaker
Pan R
R out
Description
Turns the amp switch on/off.
Type of guitar amp
Volume and degree of distortion of the amp
Volume of the entire pre-amp
LOW, MID, HIGH
0–127 (MATCH
DRIVE: -127 - 0)
OFF, ON
0–127
OFF, ON
(See the table below.)
1, 2, 3
0–127
0–127
0–127
L64–63R
Degree of pre-amp distortion
Tone for the ultra high frequency range
Turning this “On” will produce a sharper and brighter sound.
* This parameter can be set if the Pre Amp Type is set to
“JC-120,” “CLEAN
TWIN,” or “BG LEAD.”
Tone of the bass/mid/treble range
* Middle cannot be set if
“MATCH DRIVE” is selected for the Pre Amp Type.
Determines whether the signal passes through the speaker (ON), or not (OFF).
Type of speaker
Adjusts the location of the mic that is recording the sound of the speaker.
This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
Stereo location of the output sound
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.
Type
SMALL 1
SMALL 2
MIDDLE
JC-120
BUILT IN 1
BUILT IN 2
BUILT IN 3
BUILT IN 4
BUILT IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
3-STACK
Cabinet small open-back enclosure small open-back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack large double stack large triple stack
Speaker Microphone
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
10
10
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2 dynamic dynamic dynamic dynamic dynamic condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser condenser
56
79: STEREO OVERDRIVE fig.02-079m
L in Overdrive
Amp
Simulator
2-Band
EQ
R in Overdrive
Amp
Simulator
2-Band
EQ
L out
R out
Parameter Value
Drive # 0–127
Tone
Amp Switch
Amp Type
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
Low Gain
High Gain
Output Level
-15–+15 dB
-15–+15 dB
0–127
Description
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Output Level
80: STEREO DISTORTION
The parameters are the same as for “79: STEREO OVERDRIVE.” fig.02-080m
L in Distortion
Amp
Simulator
2-Band
EQ
L out
R in Distortion
Amp
Simulator
2-Band
EQ
R out
fig.02-080ms
Feedback
Delay
Delay
Chorus/
Flanger
Feedback
Chorus/
Flanger
L out
R out
Chorus/
Flanger
In this section, the Delay and Chorus/Flanger are depicted in diagrams. When these same effects are discussed later, these diagrams are used.
Effects List
81: GUITAR MULTI A fig.02-081m
L in
Compressor
Overdrive/
Distortion
R in
Amp
Simulator
L out
Delay
Chorus/
Flanger
Pan
R out
Level #
OD/Dist
Switch
Type
Drive #
Tone
Level
Amp Sim
Switch
Type
Parameter Value
Comp
Switch
Attack
Sustain
Delay
Switch
Left
Right
Feedback
HF Damp
Balance #
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
OFF, ON
0–127
0–127
0–127
OFF, ON
OVERDRIVE,
DISTORTION
0–127
0–127
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
OFF, ON
0–3000 ms, note *2
-98–+98 %
200–8000 Hz, BY-
PASS
D100:0W–D0:100W
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Description
Turns the Compressor on/off.
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Volume of the Compressor sound
Turns the Overdrive/Distortion on/ off.
Selects either Overdrive or Distortion.
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive/Distortion effect
Volume of the Overdrive/Distortion sound
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Turns the Delay on/off.
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Volume balance between the direct sound (D) and the delay sound (W)
Turns the Chorus/Flanger on/off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/flanger sound (W)
Output Level
Stereo location of the output sound
57
Effects List
82: GUITAR MULTI B fig.02-082m
L in
Compressor
Overdrive/
Distortion
R in
Amp
Simulator
L out
3-Band EQ
Chorus/
Flanger
R out
Parameter
Comp
Switch
Attack
Sustain
Level #
OD/Dist
Switch
Type
Drive #
Tone
Level
Amp Sim
Switch
Type
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
High Gain
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
Value
OFF, ON
0–127
0–127
0–127
OFF, ON
OVERDRIVE,
DISTORTION
0–127
0–127
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Description
Turns the Compressor on/off.
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Volume of the Compressor sound
Turns the Overdrive/Distortion on/off.
Selects either Overdrive or Distortion.
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive/
Distortion effect
Volume of the Overdrive/Distortion sound
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range
Turns the Chorus/Flanger on/off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/flanger sound (W)
Output Level
Stereo location of the output sound
58
83: GUITAR MULTI C fig.02-083m
L in
Overdrive/
Distortion
Wah
R in
Parameter
OD/Dist
Switch
Type
Drive #
Tone
Level
Wah
Switch
Filter Type
Rate
Depth
Sens
Manual #
Peak
Amp Sim
Switch
Type
Delay
Switch
Left
Right
Feedback
HF Damp
Balance #
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
Delay
Value
OFF, ON
OVERDRIVE,
DISTORTION
0–127
0–127
0–127
OFF, ON
LPF, BPF
0.05–10.00 Hz, note *2
0–127
0–127
0–127
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
OFF, ON
0–3000 ms, note *2
-98–+98 %
OFF, ON
CHORUS,
FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Chorus/
Flanger
200–8000 Hz, BY-
PASS
D100:0W–D0:100W
0.0–100.0 ms
OFF, LPF, HPF
Amp
Simulator
L out
Pan
R out
Description
Turns the Overdrive/Distortion on/off.
Selects either Overdrive or Distortion.
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive/Distortion effect
Volume of the Overdrive/Distortion sound
Turns the Auto Wah on/off.
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.
Frequency of modulation
Depth of modulation
Adjusts the sensitivity with which the filter is controlled.
Adjusts the center frequency at which the effect is applied.
Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Turns the Delay on/off.
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-
) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume balance between the direct sound
(D) and the delay sound (W)
Turns the Chorus/Flanger on/off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound
(D) and the chorus/flanger sound (W)
Output Level
Stereo location of the output sound
Effects List
84: CLEAN GUITAR MULTI A fig.02-084m
L in
Compressor 3-Band EQ
R in
L out
Delay
Chorus/
Flanger
Pan
R out
Parameter
Comp
Switch
Attack
Sustain
Level #
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
High Gain
Delay
Switch
Left
Right
Feedback
HF Dump
Balance #
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
Value
OFF, ON
0–127
0–127
0–127
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
OFF, ON
0–3000 ms, note*2
-98–+98 %
200–8000 Hz,
BYPASS
D100:0W–D0:100W
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Description
Turns the Compressor on/off.
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Volume of the Compressor sound
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range
Turns the Delay on/off.
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume balance between the direct sound (D) and the delay sound (W)
Turns the Chorus/Flanger on/ off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/ flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/ flanger sound (W)
Output Level
Stereo location of the output sound
85: CLEAN GUITAR MULTI B fig.02-085m
L in
Wah 3-Band EQ
R in
L out
Delay
Chorus/
Flanger
Pan
R out
Parameter
Wah
Switch
Filter Type
Rate
Depth
Sens
Manual #
Peak
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
High Gain
Delay
Switch
Left
Right
Feedback
HF Dump
Balance #
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
Value
OFF, ON
LPF, BPF
0.05–10.00 Hz, note *2
0–127
0–127
0–127
0–127
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
Description
Turns the Auto Wah on/off.
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.
Frequency of modulation
Depth of modulation
Adjusts the sensitivity with which the filter is controlled.
Adjusts the center frequency at which the effect is applied.
Adjusts the amount of the wah effect that will occur in the range of the center frequency.
Set a higher value for Q to narrow the range to be affected.
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range -15–+15 dB
OFF, ON
0–3000 ms, note *2
-98–+98 %
200–8000 Hz, BY-
PASS
D100:0W–D0:100W
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Turns the Delay on/off.
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut.
If you do not want to cut the high frequencies, set this parameter to BY-
PASS.
Volume balance between the direct sound (D) and the delay sound (W)
Turns the Chorus/Flanger on/off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/flanger sound (W)
Output Level
Stereo location of the output sound
59
Effects List
86: BASS MULTI fig.02-086m
L in
Compressor
Overdrive/
Distortion
R in
Amp
Simulator
L out
3-Band
EQ
Chorus/
Flanger
R out
Level #
OD/Dist
Switch
Type
Drive #
Level
Amp Sim
Switch
Type
Parameter
Comp
Switch
Attack
Sustain
EQ
Switch
Low Gain
Mid Freq
Mid Gain
Mid Q
High Gain
Cho/Flg
Switch
Type
Rate
Depth
Feedback
Pre Delay
Filter Type
Cutoff Freq
Balance #
Output
Level
Pan
Value
OFF, ON
0–127
0–127
0–127
OFF, ON
OVERDRIVE,
DISTORTION
0–127
0–127
OFF, ON
SMALL, BUILT-IN,
2-STACK
OFF, ON
-15–+15 dB
200–8000 Hz
-15–+15 dB
0.5, 1.0, 2.0, 4.0, 8.0
-15–+15 dB
OFF, ON
CHORUS, FLANGER
0.05–10.00 Hz, note *2
0–127
-98–+98 %
0.0–100.0 ms
OFF, LPF, HPF
200–8000 Hz
D100:0W–D0:100W
0–127
L64–63R
Description
Turns the Compressor on/off.
Attack time of an input sound
Adjusts the time over which low level sounds are boosted until they reach the specified volume.
Volume of the Compressor sound
Turns the Overdrive/Distortion on/off.
Selects either Overdrive or Distortion.
Degree of distortion
Also changes the volume.
Volume of the Overdrive/Distortion sound
Turns the Amp Simulator on/ off.
Type of bass amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
Turns the 3 Band EQ on/off.
Gain of the low range
Frequency of the middle range
Gain of the middle range
Width of the middle range
Set a higher value for Q to narrow the range to be affected.
Gain of the high range
Turns the Chorus/Flanger on/ off.
Selects either Chorus or Flanger.
Frequency of modulation
Depth of modulation
Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase.
Adjusts the delay time from the direct sound until the chorus/ flanger sound is heard.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Volume balance between the direct sound (D) and the chorus/ flanger sound (W)
Output Level
Stereo location of the output sound
60
87: ISOLATOR 2
This adds a filter to the ISOLATOR effect. Isolator is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges.
fig.02-087m
L in Isolator Filter
Low
Boost
L out
R in
Parameter
Boost/Cut
Low #
Boost/Cut
Mid #
Boost/Cut
High #
Anti Phase
Low Switch
Anti Phase
Low Level
Anti Phase
Mid Switch
Anti Phase
Mid Level
Post Filter
Switch
Post Filter
Type
Post Filter
Cutoff
Post Filter
Resonance
Post Filter
Slope
Post Filter
Gain
Low Boost
Switch
Low Boost
Level
Isolator
Value
-60–+4 dB
OFF, ON
0–127
OFF, ON
0–127
OFF, ON
LPF, BPF, HPF,
NOTCH
0–127
0–127
-12, -24 dB
0–24 dB
OFF, ON
0–127
Output Level 0–127
Filter
Low
Boost
R out
Description
These boost and cut each of the
High, Middle, and Low frequency ranges.
At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Turns the Anti-Phase function on and off for the Low frequency ranges.
When turned on, the counterchannel of stereo sound is inverted and added to the signal.
Adjusts the level settings for the
Low frequency ranges.
Adjusting this level for certain frequencies allows you to lend emphasis to specific parts.
(This is effective only for stereo source.)
Settings of the Anti-Phase function for the Middle frequency ranges
The parameters are the same as for the Low frequency ranges.
Turns the filter on/off.
Type of filter
LPF: Passes frequencies below the Cutoff.
BPF: Passes frequencies near the Cutoff.
HPF: Passes frequencies above the Cutoff.
NOTCH: Passes frequencies other than those near the Cutoff.
Basic frequency of the filter
The closer to zero it is set, the lower the cutoff frequency becomes; set it closer to 127, and the cutoff frequency becomes higher.
Resonance level of the filter
Raising the setting increases resonance near the cutoff frequency.
Filter’s attenuation slope
-24 dB per octave: steep
-12 dB per octave: gentle
Compensates for the volume dropped in the cut frequency range with some filters.
The level of compensation increases as the value is increased, and raise the volume.
Turns Low Booster on/off.
This emphasizes the bottom to create a heavy bass sound.
Increasing this value gives you a heavier low end.
Depending on the Isolator and filter settings this effect may be hard to distinguish.
Output Level
Effects List
88: STEREO SPECTRUM
This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies.
fig.02-088m
L in Spectrum L out
R in Spectrum R out
Parameter
Band1 (250Hz)
Band2 (500Hz
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
Q
Value
-15–+15 dB
Description
Gain of each frequency band
0.5, 1.0, 2.0, 4.0, 8.0
Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.
Output Level Output Level # 0–127
89: 3D AUTO SPIN
Rotates the location of the sound.
fig.02-089m
L in
3D Auto
R in
L out
Output
Mode
Output Level
SPEAKER, PHONES
0–127
R out
Parameter Value
Azimuth L180–R180
Speed #
Clockwise
Turn #
Output
Mode
Output Level
R in
0.05–10.00 Hz, note *2
-, +
OFF, ON
SPEAKER, PHONES
0–127
Description
Sets the location at which the sound will stop when rotation is stopped.
A setting of “0” positions the sound in the center.
Speed of rotation
Direction of rotation
-: counterclockwise rotation
+: clockwise rotation
Stops or starts the rotation.
ON: The sound will rotate.
OFF: Rotation will stop at the location specified by Azimuth.
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones.
Output Level
90: 3D MANUAL
Places the 3D effect at a desired location.
fig.02-090m
L in
L out
3D Manual
R out
Parameter Value
Azimuth # L180–R180
Description
Specifies the location.
A setting of “0” positions the sound in the center.
Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones.
Output Level
When Using 3D Effects
The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.
48: 3D DELAY
60: 3D CHORUS
61: 3D FLANGER
70: 3D DELAY 2
89: 3D AUTO SPIN
90: 3D MANUAL
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.02-031
30˚ 30˚
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 “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.
note *1: fig.MFX-note1.e_88
(Sixteenth note), (Eighth-note triplet), (Dotted sixteenth note), (Eighth note),
(Half-note triplet), (Half-note triplet), (Dotted eighth note), (Quarter note),
(Dotted quarter note), (Half note), note *2: fig.MFX-note2.e_88
(Sixty-fourth-note triplet), (Sixty-fourth note), (Thirty-second-note triplet),
(Thirty-second note), (Sixteenth-note triplet), (Dotted thirty-second note),
(Sixteenth note),
(Eighth note),
(Eighth-note triplet),
(Quarter-note triplet),
(Dotted sixteenth note),
(Dotted eighth note),
(Quarter note), (Half-note triplet),
(Whole-note triplet),
(Dotted quarter note),
(Dotted half note), (Whole note),
(Double-note triplet), (Dotted whole note), (Double note)
(Half note),
61
Effects List
Chorus Parameters
The Fantom’s Chorus effect unit can also be used as a stereo delay unit.
These settings allow you to select chorus or delay, and the characteristics of the selected effect type.
Parameter
Chorus Type
Type: 1 (CHORUS)
Rate
Depth
Pre Delay
0.05–10.00 Hz
0–127
0.0–100.0 ms
Feedback
Filter Type
0–127
OFF, LPF, HPF
Cutoff Freq
Phase
200–8000 Hz
0–180˚
Type: 2 (DELAY)
Delay Left 0–1000 ms, note
Delay Right
Delay Center
Feedback -98–+98 %
HF Damp
Value
0 (OFF),
1 (CHORUS),
2 (DELAY),
3 (GM2 CHORUS)
200–8000 Hz,
BYPASS
Description
Selects either Chorus or Delay.
0 (OFF): Neither Chorus or Delay is used.
1 (CHORUS): Chorus is used.
2 (DELAY): Delay is used.
3 (GM2 CHORUS): GM2 Chorus is used.
Frequency of modulation
Depth of modulation
Adjusts the delay time from the direct sound until the chorus sound is heard.
Adjusts the amount of the chorus sound that is fed back into the effect.
Type of filter
OFF: no filter is used
LPF: cuts the frequency range above the Cutoff Freq
HPF: cuts the frequency range below the Cutoff Freq
Basic frequency of the filter
Spatial spread of the sound
Adjusts the delay time from the direct sound until the delay sound is heard.
Adjusts the proportion of the delay sound that is fed back into the effect.
Negative (-) settings will invert the phase.
Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.
Volume of each delay sound Left Level
Right Level
Center Level
0–127
Type: 3 (GM2 CHORUS)
Level 0–127
Feedback 0–127
Pre-LPF 0–7
Delay
Rate
Depth
Send Level
To Reverb
0–127
0–127
0–127
0–127
Volume of the chorus sound
Adjusts the amount of the chorus sound that is fed back into the effect.
Cuts the high frequency range of the sound coming into the chorus.
Higher values will cut more of the high frequencies.
Adjusts the delay time from the direct sound until the chorus sound is heard.
Frequency of modulation
Depth of modulation
Adjusts the amount of chorus sound that will be sent to the reverb.
note: fig.MFX-note2.e
(Sixty-fourth-note triplet), (Sixty-fourth note),
(Eighth note),
(Quarter note),
(Thirty-second-note triplet),
(Thirty-second note),
(Sixteenth note),
(Sixteenth-note triplet),
(Eighth-note triplet),
(Dotted thirty-second note),
(Dotted sixteenth note),
(Quarter-note triplet),
(Half-note triplet),
(Dotted eighth note),
(Dotted quarter note), (Half note),
(Whole-note triplet),
(Double-note triplet),
(Dotted half note),
(Dotted whole note),
(Whole note),
(Double note)
Reverb Parameters
These settings allow you to select the desired type of reverb, and its characteristics.
Parameter
Reverb
Type
Value
0 (OFF),
1 (REVERB),
2 (SRV ROOM),
3 (SRV HALL),
4 (SRV PLATE),
5 (GM2 REVERB)
Description
Type of reverb
0 (OFF): Reverb is not used.
1 (REVERB): Normal reverb
2 (SRV ROOM): This simulates typical room acoustic reflections.
3 (SRV HALL): This simulates typical concert hall acoustic reflections.
4 (SRV PLATE): This simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate.
5 (GM2 REVERB): GM2 Reverb
Type: 1 (REVERB)
Type
Time
HF Damp
Delay
Feedback
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2,
DELAY,
PAN-DELAY
0–127
200–8000 Hz,
BYPASS
0–127
Type of reverb/delay
ROOM1: short reverb with high density
ROOM2: short reverb with low density
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: very clear-sounding reverb
HALL2: rich reverb
DELAY: conventional delay effect
PAN-DELAY: delay effect with echoes that pan left and right
Time length of reverberation
(Type: ROOM1–HALL2)
Delay time
(Type: DELAY, PAN-DELAY)
Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.
Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-
DELAY.
Type: 2 (SRV ROOM)/3 (SRV HALL)/4 (SRV PLATE)
Pre Delay 0.0–100.0 ms Adjusts the delay time from the direct sound until the reverb sound is heard.
Time length of reverberation Time
Size
High Cut
Density
Diffusion
LF Damp
Freq
LF Damp
Gain
HF Damp
Freq
HF Damp
Gain
0–127
1–8
160 Hz–12.5 kHz,
BYPASS
0–127
0–127
50–4000 Hz,
BYPASS
-36–0 dB
4000 Hz–12.5 kHz,
BYPASS
-36–0 dB
Size of the simulated room or hall
Adjusts the frequency above which the high-frequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to
BYPASS.
Density of reverb
Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.)
Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.” If you do not want to reduce the high frequencies, set this parameter to BYPASS.
Adjusts the amount of damping applied to the frequency range selected with LF
Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.
Adjusts the frequency above which the high-frequency content of the reverb sound will be reduced, or “damped.” If you do not want to reduce the high frequencies, set this parameter to BYPASS.
Adjusts the amount of damping applied to the frequency range selected with HF
Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.
Type: 5 (GM2 REVERB)
Level 0–127
Character 0–7
Output level of reverbration
Pre-LPF
Time
Delay
Feedback
0–7
0–127
0–127
Type of reverb
0–5: reverb
6, 7: delay
Cuts the high frequency range of the sound coming into the reverb.
Higher values will cut more of the high frequencies.
Time length of reverberation
Adjusts the amount of the delay sound that is fed back into the effect when the Reverb
Character setting is 6 or 7.
62
MFX Template List
Name
Light Chorus
Deep Chorus
PanTrem Cho
Cho > MidDly
C/D Resonatr
LightFlanger
DeepSyncFlng
StepSyncFlng
Flngr>MidDly
Light Phaser
Deep Phaser
2V Dly P-Sft
3V DlyMajSft
FBK Up Shftr
SyncDlyP-Sft
Drum St.Comp
Lo-Fat EQ
Loudness EQ
Lo-Fi Iso
PhatEnhancer
L-Hall Revrb
Br.Stage Rev
DarkRoom Rev
SweepGateRev
ReversGateRv
Long Delay
Medium Delay
Short Delay
ShuffleTpDly
RSS Long Dly
ModLongDelay
ReverseDelay
Bass St.Comp
Gtr St.Comp
Lofi Nz Comp
Drum Limiter
Bass Limiter
Clav Limiter
BreakBtsGate
ShufflSlicer
SynchroSlicr
Fast Slicer
Vibe Tremolo
EP Tremolo
EP Auto Pan
EP ChoPanMlt
EP PhaserMlt
Organ Rotary
No.
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
13
14
15
16
09
10
11
12
05
06
07
08
01
02
03
04
45
46
47
48
41
42
43
44
37
38
39
40
33
34
35
36
MFX Type
01:STEREO EQ
01:STEREO EQ
87:ISOLATOR 2
06:ENHANCER
24:REVERB
24:REVERB
24:REVERB
25:GATED REVERB
25:GATED REVERB
17:STEREO DELAY
17:STEREO DELAY
17:STEREO DELAY
19:TRIPLE TAP DELAY
70:3D DELAY 2
18:MODULATION DELAY
68:REVERSE DELAY 2
11:HEXA-CHORUS
11:HEXA-CHORUS
12:TREMOLO CHORUS
35:CHORUS->DELAY
38:CHORUS / DELAY
15:STEREO FLANGER
42:KEYSYNC FLANGER
16:STEP FLANGER
36:FLANGER->DELAY
04:PHASER
41:STEREO PHASER
22:2VOICE PITCH SHIFTER
49:3VOICE PITCH SHIFTER
23:FBK PITCH SHIFTER
73:KEYBOARD MULTI
55:STEREO COMPRESSOR
55:STEREO COMPRESSOR
55:STEREO COMPRESSOR
50:LOFI COMPRESS
10:LIMITER
10:LIMITER
56:STEREO LIMITER
57:GATE
58:SLICER
58:SLICER
58:SLICER
62:TREMOLO
62:TREMOLO
63:AUTO PAN
74:RHODES MULTI
74:RHODES MULTI
71:ROTARY 2
Name o-u FormFilt
ClnGt ChoMlt
ClnGt WahMlt
GtrCmpDlyMlt
Gtr OD Multi
Gtr FlngrMlt
Bass CompMlt
Bs OD CmpMlt
AmpSm JC-120
AmpSm ClnTwn
AmpSm MatchD
AmpSm BG Ld
AmpSmMS I+II
AmpSmSLDN Ld
AmpSmMtl5150
AmpSm Fuzz
OD Rotary
OD Rotary fs
Dist Rotary
RSS AutoSpin
Syn Ring Mod
SynPad Multi
SynLd Multi
SynMlwDrvMlt
SynDstPhzMlt
Duck Wah
EP Wah
Guitar Wah a-e FormFilt a-o FormFilt i-a FormFilt e-o FormFilt
SpkSmBuiltIn
SpkSm 2Stack
Small OD
Built-In OD
2 Stack OD
3 Stack OD
OD > Flanger
OD > Delay
Small Dist
BuiltIn Dist
2 Stack Dist
3 Stack Dist
Dist > Cho
Dist > Delay
Vinyl Noise
Radio Noise
No.
77
78
79
80
73
74
75
76
69
70
71
72
65
66
67
68
61
62
63
64
57
58
59
60
53
54
55
56
49
50
51
52
93
94
95
96
89
90
91
92
85
86
87
88
81
82
83
84
MFX Type
72:ROTARY MULTI
72:ROTARY MULTI
72:ROTARY MULTI
89:3D AUTO SPIN
44:RING MODULATOR
73:KEYBOARD MULTI
73:KEYBOARD MULTI
75:JD MULTI
75:JD MULTI
07:AUTO WAH
65:STEREO AUTO WAH
07:AUTO WAH
66:STEREO FORMANT FILTER
66:STEREO FORMANT FILTER
66:STEREO FORMANT FILTER
66:STEREO FORMANT FILTER
66:STEREO FORMANT FILTER
84:CLEAN GUITAR MULTI A
85:CLEAN GUITAR MULTI B
81:GUITAR MULTI A
82:GUITAR MULTI B
83:GUITAR MULTI C
86:BASS MULTI
86:BASS MULTI
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
78:GUITAR AMP SIMULATOR
52:SPEAKER SIMULATOR
52:SPEAKER SIMULATOR
53:OVERDRIVE2
53:OVERDRIVE2
79:STEREO OVERDRIVE
79:STEREO OVERDRIVE
27:OVERDRIVE->FLANGER
28:OVERDRIVE->DELAY
54:DISTORTION2
54:DISTORTION2
80:STEREO DISTORTION
80:STEREO DISTORTION
29:DISTORTION->CHORUS
31:DISTORTION->DELAY
77:STEREO LOFI NOISE
77:STEREO LOFI NOISE
63
Error Messages
This section gives the error messages in alphabetical order.
Message
BULK DUMP : Check Sum Error
BULK DUMP : Receive Data Error
Meaning
The check sum of a received System Exclusive message was incorrect.
A MIDI message was received incorrectly.
Action
Set the correct Check Sum value.
If the same error message is displayed repeatedly, the problem lies with the MIDI messages that are being transmitted to the Fantom.
Turn the Exclusive parameter OFF.
BULK DUMP : User Memory Write
Protected
Data not found
Destination Disk Incorrect
Disk Full
Disk Not Ready
Disk Read Error
Disk Write Error
Empty Pattern
File Format Error
File I/O Error
File Name Duplicate
File Not Found
File Read Error
Master Disk
Microscope Memory Full
MIDI Buffer Full
MIDI Communication Error
Movable onto Bar Line Only
Playback Tempo Range Over
Too Many Files
Unformatted Disk
Unknown Disk Error
The Exclusive parameter (System Exclusive Protect) is turned ON, and Exclusive messages cannot be received.
The data for placement is not specified.
The operation you are attempting to execute does not support this disk.
The disk is full.
The disk is not ready.
An error occurred during read of the disk.
An error occurred during writing to the disk.
The Pattern has no data in it, so the Pattern Call message cannot be recorded in Step Recording.
The Fantom cannot handle this file.
It was not possible to save/load a file.
A file with the same name already exists.
The specified file was not found.
—
Do not select this disk as the object of the operation.
Either delete unneeded files, or prepare another disk.
Insert another disk.
This disk cannot be used.
This disk cannot be used.
—
—
Try the operation once again. If the same message appears, that file has been damaged. Delete the damaged file.
Delete the file bearing the same name from the disk, and if overwriting and saving the data, merely save the file. If you do not want to delete the file with the same name from the disk, either save the file with a different name or save it to a different disk.
Insert the disk that contains the specified file, and try the operation once again.
Do not use this file.
—
Memory No Room
Recording Parameter Error
Song Format Error
Song Not Found
Source Disk Incorrect
User Memory Damaged
Write Protected
You Cannot Copy This Message
You Cannot Erase This Message
You Cannot Move This Message
This message cannot be erased.
This message cannot be moved.
You Cannot Quick Format This Disk It is not possible to format using "Quick Format Floppy
Disk."
You Cannot Quick Play S-MRC
Song
The data is damaged, and cannot be loaded.
This disk is a master disk. Master disks cannot be used to save data or be formatted.
Internal memory is full, preventing processing of the data.
The data cannot be edited due to insufficient memory.
Due to an inordinate volume of MIDI messages received, the Fantom has failed to process them properly.
A problem has occurred with the MIDI cable connections.
Beat Change events can be placed only on bar lines.
Tempo values exceed the allowable limit, and data is created in which the closest time available within the allowable range is specified.
You are attempting to begin recording after a looped segment.
This song is damaged.
The selected song cannot be found.
The operation you are attempting to execute does not support this disk.
The maximum number of files that can be created has been exceeded.
This disk cannot be used by the Fantom.
A disk error of unknown causes has occurred.
The data in user memory has been lost.
The floppy disk is write protected.
This message cannot be copied.
This is a SuperMRC song; it cannot be played back in
Quick Play.
Use “Erase” or “Delete” in Track Edit, or other means to delete unneeded data, reducing the amount of data in the song.
Delete unneeded data or use other steps to free up more memory on the disk.
Reduce the amount of MIDI messages to be transmitted.
Check that MIDI cables are not broken or pulled out.
—
—
You are attempting to begin recording within or before a looped segment.
This song cannot be used.
—
Do not select this disk as the object of the operation.
Delete unneeded files.
Format the disk on the Fantom.
Contact your dealer or a nearby Roland service center for service.
Use the Factory Reset function to initialize the memory to the factory settings.
Provide a different disk that can be written.
—
—
—
Format the disk using "Full Format Floppy Disk."
Save the data as an MRC Pro song.
64
About MIDI
MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more.
If you mainly use the Fantom as a standalone keyboard instrument, you may really not need to know much at all about MIDI.
However, the following MIDI-related information is provided so you can play the Fantom using an external MIDI device, or master other advanced techniques.
About MIDI Connectors
The Fantom is equipped with the three types of MIDI connectors, each which works differently.
fig.midi-con
MIDI IN Connector
This connector receives MIDI messages that are transmitted from external MIDI devices. The Fantom can receive these messages to play notes or select sounds, etc.
MIDI OUT Connector
This connector transmits MIDI messages to external MIDI devices.
The Fantom’s MIDI OUT connector is used for sending the performance data of the keyboard controller section as well as data used for saving various settings and patterns.
MIDI THRU Connector
MIDI messages received at MIDI IN are re-transmitted without change from this connector to an external MIDI device. Use this in situations such as when you use multiple MIDI devices simultaneously.
MIDI Channels and Multi-timbral
Sound Generators
MIDI transmits many types of data over a single MIDI cable. This is made possible by the concept of MIDI channels . MIDI channels allow messages intended for a given instrument to be distinguished from messages intended for another instrument. In some ways, MIDI channels are similar to television channels. By changing the channel on a television set, you can view the programs that are being broadcast by different stations. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it.
fig.midi-01.e
The cable from the antenna carries the TV signals from many broadcast stations.
Station A
Station B
Station C
The TV is set to the channel of the station you wish to watch.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive.
Example:
Set the Fantom to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only
Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.
fig.midi-02.e
MIDI OUT MIDI IN MIDI THRU
Transmit channel: 1, 2
Sound
Module
A
Receive channel: 1
MIDI keyboard
Sound
Module
B
Receive channel: 2 MIDI IN
When used as a sound module, the Fantom can receive on up to sixteen MIDI channels. Sound modules like the Fantom which can receive multiple MIDI channels simultaneously to play different sounds on each channel are called multi-timbral sound modules .
65
MIDI Implementation
Model:
Date:
Version:
Fantom
Jul. 31, 2001
1.00
1. Receive data (Sound Generator Section)
■ Channel Voice Messages
* Not received in Multitimbre mode or Performance mode when the Receive Switch parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
● Note off
Status
8nH
9nH
2nd byte kkH kkH n = MIDI channel number: kk = note number: vv = note off velocity:
3rd byte vvH
00H
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Envelope Mode parameter (PATCH/CONTROL and RHYTHM/
CONTROL) is NO-SUS.
● Note on
Status 2nd byte
9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
● Polyphonic Key Pressure
Status 2nd byte
AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received in Multitimbre mode or Performance mode when the Receive Poly Key
Pressure parameter (MULTITIMBRE or PERFORM/MIDI) is OFF.
● Control Change
* If the corresponding Controller number is selected for the Patch Control Source 1, 2, 3 or
4 parameter (PATCH/CONTROL), the corresponding effect will occur.
* If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4 parameter (SYSTEM/CONTROLLER) is selected, the specified effect will apply if Patch
Control Source 1, 2, 3 or 4 parameter (PATCH/CONTROL) is set to SYS-CTRL1, SYS-
CTRL2, SYS-CTRL3 or SYS-CTRL4.
❍ Bank Select (Controller number 0, 32)
Status
BnH
BnH
2nd byte
00H
20H n = MIDI channel number: mm, ll = Bank number:
3rd byte mmH llH
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
* Not received in Multitimbre mode or Performance mode when the Receive Bank Select
(MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
* The Performances, Multitimbre, Patches, and Rhythms corresponding to each Bank
Select are as follows.
* The SRX series corresponding to each Bank Select are to see the SRX series owner’s manual.
+—————+———————————+———————————+——————————————————————+———————————+
| BANK SELECT | PROGRAM | GROUP | NUMBER |
| MSB | LSB | NUMBER | | |
+—————+———————————+———————————+——————————————————————+———————————+
| 000 | | 001 — 128 | GM Patch | 001 — 256 |
| : | | | | |
| 063 | | 001 — 128 | GM Patch | 001 — 256 |
| 085 | 000 | 001 — 064 | User Performance | 001 — 064 |
| | 000 | 001 — 016 | User Multitimbre | 001 — 016 |
| | 064 | 001 — 064 | Preset Performance | 001 — 064 |
| | 064 | 001 — 016 | Preset Multitimbre | 001 — 016 |
| 086 | 000 | 001 — 016 | User Rhythm | 001 — 016 |
| | 071 | 001 — 016 | Preset Rhythm | 001 — 016 |
| 087 | 000 | 001 — 128 | User Patch | 001 — 128 |
| | 071 | 001 — 128 | Preset Patch A | 001 — 128 |
| | 072 | 001 — 128 | Preset Patch B | 001 — 128 |
| | : | | : | |
| 088 | 000 — 001 | 001 — 128 | SR—JV80—01 Rhythm | 001 — 256 |
| | 002 — 003 | 001 — 128 | SR—JV80—02 Rhythm | 001 — 256 |
| | : | | : | |
66
| 089 | 000 — 001 | 001 — 128 | SR—JV80—01 Patch | 001 — 256 |
| | 002 — 003 | 001 — 128 | SR—JV80—02 Patch | 001 — 256 |
| | : | | : | |
| 092 | 000 — | 001 — | SRX Rhythm | 001 — |
| | : | | : | |
| 093 | 000 — | 001 — | SRX Patch | 001 — |
| | : | | : | |
| 120 | | 001 — 057 | GM Rhythm | 001 — 009 |
| 121 | 000 — | 001 — 128 | GM Patch | 001 — 256 |
+—————+———————————+———————————+——————————————————————+———————————+
❍ Modulation (Controller number 1)
Status 2nd byte
BnH 01H n = MIDI channel number: vv = Modulation depth:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Multitimbre mode or Performance mode when the Receive Modulation parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
❍ Breath type (Controller number 2)
Status
BnH
2nd byte
02H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Foot type (Controller number 4)
Status 2nd byte
BnH 04H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Portamento Time (Controller number 5)
Status 2nd byte
BnH 05H n = MIDI channel number: vv = Portamento Time:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Multitimbre mode or Performance mode the Part Portament Time parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Data Entry (Controller number 6, 38)
Status
BnH
BnH
2nd byte
06H
26H
3rd byte mmH llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB
❍ Volume (Controller number 7)
Status 2nd byte
BnH 07H n = MIDI channel number: vv = Volume:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Multitimbre mode or Performance mode when the Receive Volume parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
* In Multitimbre mode or Performance mode the Part Level parameter (MULTITIMBRE/
PART or PERFORM/PART) will change.
❍ Balance (Controller number 8)
Status 2nd byte
BnH 08H n = MIDI channel number: vv = Balance:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Panpot (Controller number 10)
Status 2nd byte
BnH 0AH n = MIDI channel number: vv = Panpot:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
* Not received in Multitimbre mode or Performance mode when the Receive Pan parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
* In Multitimbre mode or Performance mode the Part Pan parameter (PERFORM/PART) will change.
MIDI Implementation
❍ Expression (Controller number 11)
Status
BnH
2nd byte
0BH n = MIDI channel number: vv = Expression:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received when Tone Receive Expression parameter (PATCH/CONTROL or
RHYTHM/CONTROL) is OFF.
* Not received in Multitimbre mode or Performance mode when Receive Expression parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
❍ Hold 1 (Controller number 64)
Status 2nd byte
BnH 40H 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
* Not received when Tone Receive Hold-1 parameter (PATCH/CONTROL or RHYTHM/
CONTROL) is OFF.
* Not received in Multitimbre mode or Performance mode when Receive Hold-1 parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
❍ Portamento (Controller number 65)
Status 2nd byte
BnH 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
* In Multitimbre mode or Performance mode the Part Portamento Switch parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H 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
❍ Soft (Controller number 67)
Status 2nd byte
BnH 43H 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
❍ Legato Foot Switch (Controller number 68)
Status 2nd byte
BnH 44H 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
* In Multitimbre mode or Performance mode the Part Legato Switch parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Hold-2 (Controller number 69)
Status 2nd byte
BnH 45H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* A hold movement isntdone.'
❍ Resonance (Controller number 71)
Status 2nd byte
BnH 47H n = MIDI channel number: vv= Resonance value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
* In Multitimbre mode or Performance mode the Part Resonance Offset parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Release Time (Controller number 72)
Status 2nd byte
BnH 48H n = MIDI channel number:
3rd byte vvH
0H - FH (ch.1 - 16) vv = Release Time value (relative change): 00H - 40H - 7FH (-64 - 0 - +63),
* In Multitimbre mode or Performance mode the Part Release Time Offset parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Attack time (Controller number 73)
Status
BnH
2nd byte
49H n = MIDI channel number: vv = Attack time value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63),
* In Multitimbre mode or Performance mode the Part Attack Time Offset parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Cutoff (Controller number 74)
Status 2nd byte
BnH 4AH n = MIDI channel number: vv = Cutoff value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Multitimbre mode or Performance mode the Part Cutoff Offset parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Decay Time (Controller number 75)
Status 2nd byte
BnH 4BH n = MIDI channel number: vv = Decay Time value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
* In Multitimbre mode or Performance mode the Part Decay Time Offset parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Rate value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
* In Multitimbre mode or Performance mode the Part Vibrato Rate parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Vibrato Depth (Controller number 77)
Status
BnH
2nd byte
4DH
3rd byte vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Depth Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
* In Multitimbre mode or Performance mode the Part Vibrato Depth parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ Vibrato Delay (Controller number 78)
Status 2nd byte
BnH 4EH n = MIDI channel number:
3rd byte vvH
0H - FH (ch.1 - 16) vv = Vibrato Delay Value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
* In Multitimbre mode or Performance mode the Part Vibrato Delay parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
❍ General Purpose Controller 5 (Controller number 80)
Status 2nd byte
BnH 50H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 1 will change.
❍ General Purpose Controller 6 (Controller number 81)
Status 2nd byte
BnH 51H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 2 will change.
❍ General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 3 will change.
67
MIDI Implementation
❍ General Purpose Controller 8 (Controller number 83)
Status 2nd byte
BnH 53H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* The Tone Level parameter (PATCH/TVA) of Tone 4 will change.
❍ Portamento control (Controller number 84)
Status 2nd byte
BnH 54H n = MIDI channel number: kk = source note number:
3rd byte kkH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* 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.
❍ Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
5BH n = MIDI channel number: vv = Reverb Send Level:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Multitimbre mode or Performance mode the Part Reverb Send Level parameter
(MULTITIMBRE/EFFECTS GENERAL or PERFORM/EFFECTS GENERAL) will change.
❍ Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
5DH n = MIDI channel number: vv = Chorus Send Level:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Multitimbre mode or Performance mode the Part Chorus Send Level parameter
(MULTITIMBRE/EFFECTS GENERAL or PERFORM/EFFECTS GENERAL) will change.
❍ RPN MSB/LSB (Controller number 100, 101)
Status
BnH
BnH
2nd byte
65H
64H
3rd byte mmH llH 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
<<< RPN >>>
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need.
This device receives the following RPNs.
RPN
MSB, LSB
00H, 00H
Data entry
MSB, LSB mmH, llH
Notes
Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
* In Multitimbre mode or Performance mode, the Part Bend Range parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
00H, 01H
00H, 02H
00H, 05H
7FH, 7FH mmH, llH mmH, llH mmH, llH
---, ---
Channel Fine Tuning mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
* In Multitimbre mode or Performance mode, the Part Fine Tune parameter
(MULTITIMBRE/PART or PERFORM/
PART) will change.
Channel Coarse Tuning mm: 10H - 40H - 70H (-48 - 0 - +48 semitones) ll: ignored (processed as 00H)
* In Multitimbre mode or Performance mode, the Part Coarse Tune parameter
(MULTITIMBRE/PART or PERFORM/
PART) will change.
Modularion Depth Range mm: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
* Not received in Patch mode.
RPN null
RPN and NRPN will be set as "unspecified."
Once this setting has been made, subsequent
Parameter values that were previously set will not change.
mm, ll: ignored
● Program Change
Status
CnH
2nd byte ppH n = MIDI channel number: pp = Program number:
0H - FH (ch.1 - 16)
00H - 7FH (prog.1 - prog.128)
* Not received in Multitimbre mode or Performance mode when the Receive Program
Change parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
● Channel Pressure
Status
DnH
2nd byte vvH n = MIDI channel number: vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* Not received in Multitimbre mode or Performance mode when the Receive Channel
Pressure parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
● Pitch Bend Change
Status
EnH
2nd byte llH n = MIDI channel number: mm, ll = Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when the Tone Receive Bender parameter (PATCH/CONTROL) is OFF.
* Not received in Multitimbre mode or Performance mode when the Receive Pitch Bend parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
■ Channel Mode Messages
* Not received in Performance mode or Multitimbre mode when the Receive Switch parameter (MULTITIMBRE/MIDI or PERFORM/MIDI) is OFF.
● All Sounds Off (Controller number 120)
Status
BnH
2nd byte
78H
3rd byte
00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* When this message is received, all notes currently sounding on the corresponding channel will be turned off.
68
MIDI Implementation
● Reset All Controllers (Controller number 121)
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
Breath Type
Expression
Hold 1
Sostenuto
Soft
Hold 2
RPN
NRPN
Reset value
+/-0 (center)
0 (off)
0 (off)
0 (off)
0 (min)
127 (max) However the controller will be at minimum.
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 2nd byte 3rd byte
BnH 7BH 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 2nd byte 3rd byte
BnH 7CH 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 (Controller number 125)
Status 2nd byte 3rd byte
BnH 7DH 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.
● MONO (Controller number 126)
Status
BnH
2nd byte
7EH n = MIDI channel number: mm = mono number:
3rd byte mmH
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
* The same processing will be carried out as when All Notes Off is received.
* In Multitimbre mode or Performance mode, the Part Mono/Poly parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
● POLY (Controller number 127)
Status 2nd byte 3rd byte
BnH 7FH 00H n = MIDI channel number: 0H - FH (ch.1 - 16)
* The same processing will be carried out as when All Notes Off is received.
* In Multitimbre mode or Performance mode, the Part Mono/Poly parameter
(MULTITIMBRE/PART or PERFORM/PART) will change.
■ 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 Status iiH, ddH, ......,eeH F7H
System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. RolandsmanufacturerIDis41H.'
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)
Of the System Exclusive messages received by this device, the Universal Non-realtime messages and the Universal Realtime messages and the Data Request (RQ1) messages and the Data Set (DT1) messages will be set automatically.
● Universal Non-realtime System Exclusive Messages
Byte
F0H
7EH
7FH
09H
01H
F7H
❍ Identity Request Message
Status
F0H
Byte
F0H
7EH dev
06H
01H
F7H
Data byte Status
7EH, dev, 06H, 01H F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH, 7FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
*
When this message is received, Identity Reply message (p. 73) will be transmitted.
❍ GM1 System On
Status
F0H
Data byte
7EH, 7FH, 09H, 01H
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 1 On)
EOX (End Of Exclusive)
* When this messages is received, this instrument will turn to the Multitimbre mode.
* Not received when the Receive GM1 System On parameter (SYSTEM/MIDI) is OFF.
❍ GM2 System On
Status
F0H
Data byte
7EH 7FH 09H 03H
Status
F7H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
* When this messages is received, this instrument will turn to the Multitimbre mode.
* Not received when the Receive GM2 System On parameter (SYSTEM/MIDI) is OFF.
❍ GM System Off
Status
F0H
Data byte
7EH, 7F, 09H, 02H
Status
F7H
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
* When this messages is received, this instrument will return to the Performance mode.
69
MIDI Implementation
● Universal Realtime System Exclusive Messages
❍ Master Volume
Status
F0H
Data byte
7FH, 7FH, 04H, 01H, llH, mmH
Byte
F0H
7FH
7FH
04H
01H llH mmH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
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.
* The Master Level parameter (SYSTEM/GENERAL) will change.
❍ Master Fine Tuning
Status
F0H
Data byte
7FH, 7FH, 04H, 03H, llH, mmH
Status
F7H
Byte
F0H
7FH
7FH
04H
03H llH
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 mmH
F7H
Master Fine Tuning MSB
EOX (End Of Exclusive) mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
* The Master Tune parameter (SYSTEM/GENERAL) will change.
❍ Master Coarse Tuning
Status
F0H
Data byte
7FH, 7FH, 04H, 04H, llH, mmH
Status
F7
Byte
F0H
7FH
7FH
04H
04H llH mmH
F7H llH: mmH:
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) ignored (processed as 00H)
28H - 40H - 58H (-24 - 0 - +24 [semitones])
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H ppH
* The Master Key Shift parameter (SYSTEM/GENERAL) will change.
● Global Parameter Control
* Not received in Patch mode.
❍ Reverb Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
Status
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.
70 vvH
F7H
Value for the parameter.
pp=0 Reverb Type vv = 00H Small Room vv = 01H Medium Room vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate pp=1 Reverb Time vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
❍ Chorus Parameters
Status
F0H
Data byte
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
Status
F7H
Byte
F0H
7FH
7FH
09H
01H
0nH ppH rrH
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H ppH vvH
F7H
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Parameter ID width
Value width
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type vv=0 Chorus1 vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
❍ Channel Pressure
Status
F0H
Data byte
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
Status
F7H
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 pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
❍ Controller
Status
F0H
Data byte Status
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H
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 pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
❍ Scale/Octave Tuning Adjust
Status
F0H
Data byte
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH...
Status
F7
Byte
F0H
7EH
7FH
08H
08H ffH ggH hhH ssH
F7H
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 byte 1 bits 0 to 1 = channel 15 to 16 bit 2 to 6 = Undefined
Channel byte 2 bits 0 to 6 = channel 8 to 14
Channel byte 3 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)
❍ Key-based Instrument Controllers
Status
F0H
Data byte
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Status
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 - 0FH)
Key Number
Control Number
Value nn=07H Level vv = 00H - 7FH nn=0AH vv = 00H - 7FH nn=5BH vv = 00H - 7FH nn=5D
: vv = 00H - 7FH
0 - 200% (Relative)
Pan
Left - Right (Absolute)
Reverb Send
0 - 127 (Absolute)
Chorus Send
0 - 127 (Absolute)
EOX (End Of Exclusive)
* This parameter affects drum instruments only.
MIDI Implementation
● Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings with other devices.
The model ID of the exclusive messages used by this instrument is 00H 10H.
❍ Data Request 1RQ1 (11H)
This message requests the other device to transmit data. The address and size indicate the type and amount of data that is requested.
When a Data Request message is received, if the device is in a state in which it is able to transmit data, and if the address and size are appropriate, the requested data is transmitted as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Status
F0H bbH ccH ddH ssH ttH uuH vvH sum
F7H
Byte
F0H
41H dev
00H
10H
11H aaH data byte
41H, dev, 00H, 10H, 11H, aaH, bbH, ccH, ddH, ssH, ttH, uuH, vvH, sum
Remarks
Exclusive status
ID number (Roland) device ID (dev: 10H - 1FH, 7FH) model ID #1 (Fantom) model ID #2 (Fantom) command ID (RQ1) address MSB address address address LSB size MSB size size size LSB checksum
EOX (End Of Exclusive) status
F7H
* The size of data that can be transmitted at one time is fixed for each type of data. And data requests must be made with a fixed starting address and size. Refer to the address
and size given in "Parameter Address Map" (p. 77).
*
For the checksum, refer to (p. 97).
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
❍ Data set 1DT1 (12H)
Status
F0H
Data byte
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum
Status
F7H aaH bbH sent ccH sent ddH eeH
Byte
F0H
41H dev
00H
10H
12H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom)
Model ID #2 (Fantom)
Command ID (DT1)
Address MSB: upper byte of the starting address of the data to be sent
Address: upper middle byte of the starting address of the data to be
Address: lower middle byte of the starting address of the data to be
: ffH sum
F7H
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)
* 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 "Parameter Address Map" (p. 77).
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
*
Regarding the checksum, please refer to (p. 97)
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
71
MIDI Implementation
Byte
F0H
41H dev
42H
12H aaH bbH ccH ddH
❍ Data set 1DT1 (12H)
Status
F0H
: eeH sum
F7H
Data byte
41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 10H - 1FH, 7FH)
Model ID (GS)
Status
F7H
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)
* 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 "Parameter Address Map" (p. 77).
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
*
Regarding the checksum, please refer to (p. 97)
* Not received when the Receive Exclusive parameter (SYSTEM/MIDI) is OFF.
2. Data Transmission
(Sound Generator Section)
■ Channel Voice Messages
● Note off
Status
8nH n = MIDI channel number: kk = note number: vv = note off velocity:
2nd byte kkH
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
● Note on
Status
9nH n = MIDI channel number: kk = note number: vv = note on velocity:
2nd byte kkH
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
● Control Change
* By selecting a controller number that corresponds to the setting of parameters of controllers (/C1–/C4 Assign, and so on), the Fantom can transmit any control change message.
❍ Bank Select (Controller number 0, 32)
Status
BnH
BnH
2nd byte
00H
20H n = MIDI channel number: mm, ll = Bank number:
3rd byte mmH llH
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
* These messages are transmitted when Patch, Rhythm Set, Multitimbre or Performance is selected. But not transmitted when Transmit Program Change or Transmit Bank Select parameter (SYSTEM/MIDI) is OFF.
* In Performance mode, these messages are not transmitted when External Bank Select
MSB or External PC Number parameter (PERFORMANCE/ZONE) is ---.
* Although with the Fantom you can select the Bank Select messages to be transmitted, be
sure to refer to the Program Change Map on (p. 66) for the Bank Select messages
transmitted when the Fantom is select a Patch, Rhythm Set, Multitimbre or Performance.
* The Bank Select Numbers corresponding to SRX series should be referred to the SRX series ownersmanual.'
❍ Modulation (Controller number 1)
Status
BnH
2nd byte
01H n = MIDI channel number: vv = Modulation depth:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Breath type (Controller number 2)
Status
BnH
2nd byte
02H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Portamento Time (Controller number 5)
Status 2nd byte
BnH 05H n = MIDI channel number: vv = Portamento Time:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Data Entry (Controller number 6, 38)
Status
BnH
BnH
2nd byte
06H
26H
3rd byte mmH llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB
* When execute the Data Transfer, Data Entry messages will transmit.
❍ Volume (Controller number 7)
Status
BnH
2nd byte
07H n = MIDI channel number: vv = Volume:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
* In Performance mode, these messages are not transmitted when External Level parameter (PERFORMANCE/ZONE) is ---.
❍ Panpot (Controller number 10)
Status 2nd byte
BnH 0AH n = MIDI channel number: vv = Panpot:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
* In Performance mode, these messages are not transmitted when External Pan parameter
(PERFORMANCE ZONE) is ---.
❍ Expression (Controller number 11)
Status 2nd byte
BnH 0BH n = MIDI channel number: vv = Expression:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Hold 1 (Controller number 64)
Status 2nd byte
BnH 40H 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
* When Continuous Hold Pedal parameter (SYSTEM/CONTROLLER) is OFF, just only
00H (0FF) and 7FH (0N) can be send as the control value.
❍ Portamento (Controller number 65)
Status 2nd byte
BnH 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
❍ Resonance (Controller number 71)
Status 2nd byte
BnH 47H n = MIDI channel number:
3rd byte vvH
0H - FH (ch.1 - 16) vv= Resonance value (relative change): 00H - 40H - 7FH (-64 - 0 - +63)
72
MIDI Implementation
❍ Release Time (Controller number 72)
Status 2nd byte
BnH 48H n = MIDI channel number: vv = Release Time value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍ Attack time (Controller number 73)
Status 2nd byte
BnH 49H n = MIDI channel number: vv = Attack time value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍ Cutoff (Controller number 74)
Status
BnH
2nd byte
4AH n = MIDI channel number: vv = Cutoff value (relative change):
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 40H - 7FH (-64 - 0 - +63)
❍ General Purpose Controller 5 (Controller number 80)
Status
BnH
2nd byte
50H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ General Purpose Controller 6 (Controller number 81)
Status 2nd byte
BnH 51H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ General Purpose Controller 7 (Controller number 82)
Status 2nd byte
BnH 52H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ General Purpose Controller 8 (Controller number 83)
Status
BnH
2nd byte
53H n = MIDI channel number: vv = Control value:
3rd byte vvH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ Portamento control (Controller number 84)
Status
BnH
2nd byte
54H n = MIDI channel number: kk = source note number:
3rd byte kkH
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
❍ RPN MSB/LSB (Controller number 100, 101)
Status
BnH
BnH
2nd byte
65H
64H
3rd byte mmH llH 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
<<< RPN >>>
When execute the Data Transfer, Program Change, Data Entry, and following RPN messages will transmit.
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need.
This device transmits the following RPNs.
RPN
MSB, LSB
00H, 00H
Data entry
MSB, LSB mmH, llH
Notes
Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H)
00H, 01H
00H, 02H
00H, 05H
7FH, 7FH mmH, llH mmH, llH mmH, llH
---, ---
Channel Fine Tuning mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
Channel Coarse Tuning mm: 10H - 40H - 70H (-48 - 0 - +48 semitones) ll: ignored (processed as 00H)
Modulation Depth Range mm, ll: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
RPN null
RPN and NRPN will be set as "unspecified."
Once this setting has been made, subsequent
● 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)
* These messages are transmitted when Patch, Rhythm Set, Multitimbre or Performance is selected. But not transmitted when Transmit Program Change parameter (SYSTEM/
MIDI) is OFF.
* In Performance mode, these messages are not transmitted when External PC Num parameter (PERFORMANCE/ZONE) is ---.
● Channel Pressure
Status 2nd byte
DnH vvH n = MIDI channel number: vv = Channel Pressure:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
● Pitch Bend Change
Status
EnH
2nd byte llH n = MIDI channel number: mm, ll = Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - 16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
■ Channel Mode Messages
● MONO (Controller number 126)
Status 2nd byte
BnH 7EH n = MIDI channel number: mm = mono number:
3rd byte mmH
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
● POLY (Controller number 127)
Status
BnH
2nd byte
7FH
3rd byte
00H n = MIDI channel number: 0H - FH (ch.1 - 16)
■ System Realtime Messages
● Active Sensing
Status
FEH
* This message is transmitted at intervals of approximately 250 msec.
* This message is not sent when Transmit Active Sensing parameter (SYSTEM/MIDI) is
OFF.
■ System Exclusive Messages
Universal Non-realtime System Exclusive Message" and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the Fantom.
● Universal Non-realtime System Exclusive Message
❍ Identity Reply Message
Receiving Identity Request Message, the Fantom send this message.
Status Data byte Status
F0H 7EH, dev, 06H, 02H, 41H, 10H, 01H,
02H, 02H, 03H, 03H, 00H, 00H
F7H
73
MIDI Implementation
Byte
F0H
7EH dev
06H
02H
41H
10H 01H
Explanation
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 10H - 1FH)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
ID number (Roland)
Device family code
02H 02H Device family number code
03H 03H 00H 00H Software revision level
F7H EOX (End of Exclusive)
● Data Transmission
❍ Data set 1DT1 (12H)
Status
F0H
Data byte
41H, dev, 00H, 10H, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum
Status
F7H
Byte
F0H
41H dev
00H
10H
12H aaH bbH ccH ddH eeH
: ffH sum
F7H
Explanation
Exclusive status
ID number (Roland)
Device ID (dev: 00H - 1FH, 7FH)
Model ID #1 (Fantom)
Model ID #2 (Fantom)
Command ID (DT1)
Address MSB:upper byte of the starting address of the data to be sent
Address:upper middle byte of the starting address of the data to be sent
Address:lower 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)
* 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 "Parameter Address Map" (p. 77).
* Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms.
3. Data reception (Sequencer Section)
3.1 Messages recorded during recording
■ Channel Voice Messages
● Note Off
Status
8nH
2nd byte kkH
9nH kkH n=MIDI channel number: kk=note number: vv=note off velocity:
3rd byte vvH
00H
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Note parameter(Recording Select window) is OFF.
● Note on
Status 2nd byte
9nH kkH n=MIDI channel number: kk=note number: vv=note on velocity:
3rd byte vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
* Not received when the Note parameter(Recording Select window) is OFF.
● Polyphonic Aftertouch
Status 2nd byte
AnH kkH n=MIDI channel number: kk=note number: vv=Polyphonic Aftertouch:
3rd byte vvH
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
* Not received when the Poly Afertouch parameter(Recording Select window) is OFF.
74
● Control Change
Status
BnH vv=value:
2nd byte 3rd byte kkH vvH n=MIDI channel number: kk=Control number:
0H - FH (ch.1 - ch.16)
00H - 78H (0 - 120)
00H - 7FH (0 - 127)
* Not received when the Control Change parameter(Recording Select window) is OFF.
● Program Change
Status
CnH
2nd byte ppH n=MIDI channel number: pp=Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
* Not received when the Program Change parameter(Recording Select window) is OFF.
● Channel Aftertouch
Status 2nd byte
DnH vvH n=MIDI channel number: vv=Channel Aftertouch:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
* Not received when the Channel Aftertouch parameter(Recording Select window) is OFF.
● Pitch Bend Change
Status
EnH
2nd byte llH n=MIDI channel number: mm, ll=Pitch Bend value:
3rd byte mmH
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
* Not received when the Pitch Bend parameter (Recording Select window) is OFF.
■ Channel Mode messages
● All Sound Off (Controller number 120)
Status 2nd byte
BnH 78H n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
● Reset All Controller (Controller number 121)
Status 2nd byte
BnH 79H n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
● Omni Off (Controller number 124)
Status 2nd byte
BnH 7CH n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
● Omni On (Controller number 125)
Status 2nd byte
BnH 7DH n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
● Mono (Controller number 126)
Status 2nd byte
BnH 7EH n=MIDI channel number: mm=mono number:
3rd byte mmH
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
* The same processing will be done as when an All Note Off message is received.
● Poly (Controller number 127)
Status
BnH
2nd byte
7FH n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
* The same processing will be done as when an All Note Off message is received.
MIDI Implementation
■ System Exclusive Messages
Status
F0H
F0H: dd,..., ee = data:
F7H:
Data byte Status iiH, ddH, ......, eeH F7H
System Exclusive message status
This is the ID number (manufacturer ID) that specifies the manufacturer whose exclusive message this is. Roland’s manufacturer
ID is 41H. ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-real-time messages (7EH) and
Universal Realtime Messages (7FH).
00H - 7FH (0 - 127)
EOX (End of System Exclusive)
* Not received when the System Exclusive parameter (Recording Select window) is OFF.
* MIDI Machine Control and MIDI Time code is not recorded.(Refer to "1.3 Messages acknowledged for synchronization")
3.2 Messages not recorded during recording
■ Channel mode messages
● Local On/Off (Controller number 122)
Status 2nd byte
BnH 7AH n=MIDI channel number: vv=Value:
3rd byte vvH
0H - FH (ch.1 - ch.16)
00H, 7FH (Local Off, Local On)
● All notes off (Controller number 123)
Status
BnH
2nd byte
7BH n=MIDI channel number:
3rd byte
00H
0H - FH (ch.1 - ch.16)
* When an All Note Off message is received, all notes of the corresponding channel that are on will be sent Note Off’s, and the resulting Note Off messages will be recorded.
3.3 Messages acknowledged for synchronization
■ System Common messages
● Tune Request
Status
F6H
● MIDI Time Code Quarter Frame Messages
MIDI Time Code Quarter Frame Messages can be transmitted while the sequencer is running (Playing or Recording) if the Sync Mode parameter(SYSTEM/SEQUENCER) is
MASTER and MTC Sync Output parameter(SYSTEM/SEQUENCER) is ON. The transmitted time counts are summed to MTC Offset Time parameter(SYSTEM/
SEQUENCER) as the song top is "00:00:00:00."
The sequencer synchronizes with the time counts which are summed to MTC Offset Time parameter(SYSTEM/SEQUENCER) as the song top is "00:00:00:00" if the Sync Mode parameter(SYSTEM/SEQUENCER) is SLAVE(MTC).
Status Second
F1H mmH (= 0nnndddd) nnn = Message type :
0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble dddd = 4 bit nibble data : h - FH (0 - 15)
Bit Field is assigned as follows.
Frame Count xxx yyyyy
Seconds Count
Minutes Count
Hours Count xxxyyyyy
Reserved (000)
Frame No.(0-29) xxyyyyyy xx yyyyyy xxyyyyyy xx
Reserved (00)
Seconds (0-59) yyyyyy xyyzzzzz x yy
Reserved (00)
Minutes (0-59)
Reserved (0)
Time Code type
0 = 24 Frames / Sec
1 = 25 Frames / Sec
2 = 30 Frames / Sec (Drop Frame)
3 = 30 Frames / Sec (Non Drop Frame zzzzz Hours (0-23)
● Song Position Pointer
Status
F2H mm, ll=value:
2nd byte mmH
3rd byte llH
00 00H - 7F 7FH (0 - 16383)
■ System Realtime Messages
● Timing Clock
Status
F8H
* Received when Sync Mode parameter(SYSTEM/SEQUENCER) is set to MASTER.
● Start
Status
FAH
* Received when Sync Mode parameter(SYSTEM/SEQUENCER) is set to MASTER or
REMOTE.
● Continue
Status
FBH
* Received when Sync Mode parameter(SYSTEM/SEQUENCER) is set to MASTER or
REMOTE.
● Stop
Status
FCH
* Received when Sync Mode parameter(SYSTEM/SEQUENCER) is set to MASTER or
REMOTE.
■ System Exclusive Message
● MIDI Machine Control (MMC)
Byte
F0H
7FH
7FH
06H
01H
F7H
* Received when the MMC Mode parameter(SYSTEM/SEQUENCER) is SLAVE.
❍ STOP (MCS)
Status
F0H
Data byte
7FH, dev, 06H, 01H
Status
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
STOP (MCS)
EOX (End of Exclusive)
75
MIDI Implementation
❍ DEFERRED PLAY (MCS)
Status
F0H
Data byte
7FH, dev, 06H, 03H hrH mnH scH frH ffH
F7H
Byte
F0H
7FH
7FH
06H
44H
06H
01H
EOX (End of Exclusive)
Status
F7H
Byte
F0H
7FH
7FH
06H
03H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
❍ LOCATE (MCP)
❍ Format2---LOCATE [TARGET]
Status
F0H
Data byte
7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH
Status
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
"TARGET" sub-Command
Standard Time Specification with subframes (type ff )
4. Data transmission (Sequencer Section)
4.1 Messages transmitted during playing
Recorded messages are transmitted during playback.
4.2 Soft Thru setting
Messages (except System Common and System Realtime Messages) that are received are then sent out when Soft Thru parameter (SYSTEM/SEQUENCER) is switched to ON.
4.3 Messages that are generated and transmitted
4.3.1 Messages Appearing When Synchronizing with Other Devices
■ System Common Messages
* Sent when Sync Output parameter(SYSTEM/SEQUENCER) is set to ON.
● Song Position Pointer
Status
F2H mm, ll=value:
2nd byte 3rd byte mmH llH
00 00H - 7F 7FH (0 - 16383)
■ System Realtime Messages
* Sent when Sync Output parameter(SYSTEM/SEQUENCER) is set to ON.
● Timing Clock
Status
F8H
● Start
Status
FAH
● Continue
Status
FBH
● Stop
Status
FCH
● Quarter Frame Messages
Status
F1H
2nd byte mmH (= 0nnndddd)
* Sent when Sync Mode parameter(SYSTEM/SEQUENCER) is set to MASTER and MTC
Sync Output parameter(SYSTEM/SEQUENCER) is set to ON. Furthermore, sending a
Quarter Frame Message with "00h00m00s00f00" at the beginning of the song adds the
MTC Offset Time parameter(SYSTEM/SEQUENCER).
■ System Exclusive Message
● MIDI Time code
❍ Full Message
Full Messages are used, which encode the complete time into a single message.
This message transmitted when the song position moves.
Status Data Byte
F0H, 7FH xxH, 01H, 01H, hrH, mnH, scH, frH
Status
F7H
F0H, 7FH : Realtime Universal System Exclusive Header xxH :
01H :
7F (Device ID) sub-ID #1 (MIDI Time code)
01H : hrH : yy type: sub-ID #2 (Full Message) hours and type: 0 yy zzzzz
00 = 24 Flame/sec
01 = 25 Flame/sec
10 = 30 Flame/sec zzzzz : mnH : scH : frH :
F7H :
11 = 30 Flame/sec
Hours (00 - 23)
Minutes (00 - 59)
Seconds (00 - 59)
Frames (00 - 29)
EOX (End of Exclusive)
● MIDI Machine Control (MMC)
* Not received when the MMC Mode parameter(SYSTEM/SEQUENCER) is Master.
❍ STOP (MCS)
Status
F0H
Data byte Status
7FH, dev, 06H, 01H F7H
Byte
F0H
7FH
7FH
06H
03H
F7H
Byte
F0H
7FH
7FH
06H
01H
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
STOP (MCS)
EOX (End of Exclusive)
❍ DEFFERRED PLAY (MCS)
Status
F0H
Data byte
7FH, dev, 06H, 03H
Status
F7H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
DEFERRED PLAY (MCS)
EOX (End of Exclusive)
76
MIDI Implementation
❍ LOCATE (MCP)
❍ Format2---LOCATE [TARGET]
Status
F0H
Data byte Status
7FH, dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H hrH mnH scH frH ffH
F7H
Byte
F0H
7FH
7FH
06H
44H
06H
01H
Remarks
Exclusive status
Universal System Exclusive Realtime Header
Device ID
MMC command message
LOCATE (MCP)
Byte count
"TARGET" sub-Command
Standard Time Specification with subframes (type ff )
EOX (End of Exclusive)
5. Parameter Address Map
* Transmission of "#" marked address is diviedd to some packets. For example, ABH in hexadecimal notation will be divied to 0AH and 0BH, and is sent/received in this order.
* "<*>" marked adddress or parameters are ignored when the Fantom received them.
1. Fantom (ModelID = 00H 10H)
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 01 00 00 00 | Setup |
|—————————————+————————————————————————————————————————————————————————————————|
| 02 00 00 00 | System |
|—————————————+————————————————————————————————————————————————————————————————|
| 10 00 00 00 | Temporary Performance |
| 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) |
| 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) |
| : | |
| 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) |
| 19 00 00 00 | Temporary Multitimbre |
| 1A 00 00 00 | Temporary Patch/Rhythm (Multitimbre Mode Part 1) |
| 1A 20 00 00 | Temporary Patch/Rhythm (Multitimbre Mode Part 2) |
| : | |
| 1D 60 00 00 | Temporary Patch/Rhythm (Multitimbre Mode Part 16) |
| 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode) |
|—————————————+————————————————————————————————————————————————————————————————|
| 20 00 00 00 | User Performance (01) |
| 20 01 00 00 | User Performance (02) |
| : | |
| 20 3F 00 00 | User Performance (64) |
|—————————————+————————————————————————————————————————————————————————————————|
| 30 00 00 00 | User Patch (001) |
| 30 01 00 00 | User Patch (002) |
| : | |
| 30 7F 00 00 | User Patch (128) |
|—————————————+————————————————————————————————————————————————————————————————|
| 40 00 00 00 | User Rhythm (001) |
| 40 10 00 00 | User Rhythm (002) |
| : | |
| 41 70 00 00 | User Rhythm (016) |
|—————————————+————————————————————————————————————————————————————————————————|
| 50 00 00 00 | User Multitimbre (01) |
| 50 01 00 00 | User Multitimbre (02) |
| : | |
| 50 0F 00 00 | User Multitimbre (16) |
+——————————————————————————————————————————————————————————————————————————————+
❍ System
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | System Common |
| 00 02 00 | System EQ |
| 00 40 00 | System Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍ Temporary Patch/Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Temporary Patch |
| 10 00 00 | Temporary Rhythm |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Performance Common |
| 00 02 00 | Performance Common MFX1 |
| 00 04 00 | Performance Common Chorus |
| 00 06 00 | Performance Common Reverb |
| 00 08 00 | Performance Common MFX2 |
| 00 0A 00 | Performance Common MFX3 |
| 00 10 00 | Performance MIDI (Channel 1) |
| 00 11 00 | Performance MIDI (Channel 2) |
| : | |
| 00 1F 00 | Performance MIDI (Channel 16) |
| 00 20 00 | Performance Part (Part 1) |
| 00 21 00 | Performance Part (Part 2) |
| : | |
| 00 2F 00 | Performance Part (Part 16) |
| 00 50 00 | Performance Zone (Channel 1) |
| 00 51 00 | Performance Zone (Channel 2) |
| : | |
| 00 5F 00 | Performance Zone (Channel 16) |
| 00 60 00 | Performance Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Multitimbre Common |
| 00 02 00 | Multitimbre Common MFX1 |
| 00 04 00 | Multitimbre Common Chorus |
| 00 06 00 | Multitimbre Common Reverb |
| 00 08 00 | Multitimbre Common MFX2 |
| 00 0A 00 | Multitimbre Common MFX3 |
| 00 10 00 | Multitimbre MIDI (Channel 1) |
| 00 11 00 | Multitimbre MIDI (Channel 2) |
| : | |
| 00 1F 00 | Multitimbre MIDI (Channel 16) |
| 00 20 00 | Multitimbre Part (Part 1) |
| 00 21 00 | Multitimbre Part (Part 2) |
| : | |
| 00 2F 00 | Multitimbre Part (Part 16) |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Patch Common |
| 00 02 00 | Patch Common MFX |
| 00 04 00 | Patch Common Chorus |
| 00 06 00 | Patch Common Reverb |
| 00 10 00 | Patch TMT (Tone Mix Table) |
| 00 20 00 | Patch Tone (Tone 1) |
| 00 22 00 | Patch Tone (Tone 2) |
| 00 24 00 | Patch Tone (Tone 3) |
| 00 26 00 | Patch Tone (Tone 4) |
| 00 60 00 | Patch Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 | Rhythm Common |
| 00 02 00 | Rhythm Common MFX |
| 00 04 00 | Rhythm Common Chorus |
| 00 06 00 | Rhythm Common Reverb |
| 00 10 00 | Rhythm Tone (Key # 21) |
| 00 12 00 | Rhythm Tone (Key # 22) |
| : | |
| 01 3E 00 | Rhythm Tone (Key # 108) |
| 00 40 00 | Rhythm Controller |
+——————————————————————————————————————————————————————————————————————————————+
❍ Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 0aaa | Sound Mode (0 — 5) |
| | | PERFORM, PATCH, MULTI, GM1, GM2, GS |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 01 | 0aaa aaaa | Multitimbre Bank Select MSB (CC# 0) (0 — 127) |
| 00 02 | 0aaa aaaa | Multitimbre Bank Select LSB (CC# 32) (0 — 127) |
| 00 03 | 0aaa aaaa | Multitimbre Program Number (PC) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 — 127) |
| 00 05 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 — 127) |
| 00 06 | 0aaa aaaa | Performance Program Number (PC) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 — 127) |
| 00 08 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 — 127) |
| 00 09 | 0aaa aaaa | Patch Program Number (PC) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0A | 0000 000a | MFX Switch (0 — 1) |
| | | BYPASS, ON |
| 00 0B | 0000 000a | Chorus Switch (0 — 1) |
| | | OFF, ON |
| 00 0C | 0000 000a | Reverb Switch (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 0000 aaaa | Transpose Value (59 — 70) |
| | | —5 — +6 |
| 00 0E | 0000 0aaa | Octave Shift (61 — 67) |
| | | —3 — +3 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0F | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
77
MIDI Implementation
❍ System Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 00 00 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Master Tune (24 — 2024) |
| | | —100.0 — 100.0 [cent] |
| 00 04 | 00aa aaaa | Master Key Shift (40 — 88) |
| | | —24 — +24 |
| 00 05 | 0aaa aaaa | Master Level (0 — 127) |
| 00 06 | 0000 000a | Scale Tune Switch (0 — 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Patch Remain (0 — 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Mix/Parallel (0 — 1) |
| | | MIX, PARALLEL |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 09 | 000a aaaa | Performance Control Channel (0 — 16) |
| | | 1 — 16, OFF |
| 00 0A | 000a aaaa | Multitimbre Control Channel (0 — 16) |
| | | 1 — 16, OFF |
| 00 0B | 0000 aaaa | Patch Receive Channel (0 — 15) |
| | | 1 — 16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 — 127) |
| | | —64 — +63 |
| 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 — 127) |
| | | —64 — +63 |
| 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 — 127) |
| | | —64 — +63 |
| 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 — 127) |
| | | —64 — +63 |
| 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 — 127) |
| | | —64 — +63 |
| 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 — 127) |
| | | —64 — +63 |
| 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 — 127) |
| | | —64 — +63 |
| 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 — 127) |
| | | —64 — +63 |
| 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 — 127) |
| | | —64 — +63 |
| 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 — 127) |
| | | —64 — +63 |
| 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 — 127) |
| | | —64 — +63 |
| 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 18 | 0aaa aaaa | System Control 1 Source (0 — 97) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT |
| 00 19 | 0aaa aaaa | System Control 2 Source (0 — 97) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT |
| 00 1A | 0aaa aaaa | System Control 3 Source (0 — 97) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT |
| 00 1B | 0aaa aaaa | System Control 4 Source (0 — 97) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 0000 000a | Receive Program Change (0 — 1) |
| | | OFF, ON |
| 00 1D | 0000 000a | Receive Bank Select (0 — 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1E | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ System EQ
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | EQ Switch (0 — 1) |
| | | BYPASS, ON |
| 00 01 | 0000 000a | EQ1 Low Frequency (0 — 1) |
| | | 200, 400 [Hz] |
| 00 02 | 000a aaaa | EQ1 Low Gain (0 — 30) |
| | | —15 — +15 |
| 00 03 | 0000 00aa | EQ1 High Frequency (0 — 2) |
| | | 2000, 4000, 8000 [Hz] |
| 00 04 | 000a aaaa | EQ1 High Gain (0 — 30) |
| | | —15 — +15 |
| 00 05 | 0000 000a | EQ2 Low Frequency (0 — 1) |
| | | 200, 400 [Hz] |
| 00 06 | 000a aaaa | EQ2 Low Gain (0 — 30) |
| | | —15 — +15 |
| 00 07 | 0000 00aa | EQ2 High Frequency (0 — 2) |
| | | 2000, 4000, 8000 [Hz] |
| 00 08 | 000a aaaa | EQ2 High Gain (0 — 30) |
| | | —15 — +15 |
| 00 09 | 0000 000a | EQ3 Low Frequency (0 — 1) |
| | | 200, 400 [Hz] |
| 00 0A | 000a aaaa | EQ3 Low Gain (0 — 30) |
| | | —15 — +15 |
| 00 0B | 0000 00aa | EQ3 High Frequency (0 — 2) |
| | | 2000, 4000, 8000 [Hz] |
| 00 0C | 000a aaaa | EQ3 High Gain (0 — 30) |
| | | —15 — +15 |
| 00 0D | 0000 000a | EQ4 Low Frequency (0 — 1) |
| | | 200, 400 [Hz] |
| 00 0E | 000a aaaa | EQ4 Low Gain (0 — 30) |
| | | —15 — +15 |
| 00 0F | 0000 00aa | EQ4 High Frequency (0 — 2) |
| | | 2000, 4000, 8000 [Hz] |
| 00 10 | 000a aaaa | EQ4 High Gain (0 — 30) |
| | | —15 — +15 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
78
❍ System Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Transmit Program Change (0 — 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Transmit Bank Select (0 — 1) |
| | | OFF, ON |
| 00 02 | 0aaa aaaa | Keyboard Velocity (0 — 127) |
| | | REAL, 1 — 127 |
| 00 03 | 0000 00aa | Keyboard Sens (0 — 2) |
| | | LIGHT, MEDIUM, HEAVY |
| 00 04 | 0aaa aaaa | Aftertouch Sens (0 — 100) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 000a aaaa | Patch Transmit Channel (0 — 17) |
| | | 1 — 16, RX—CH, OFF |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 06 | 0000 aaaa | Beam Sens (1 — 10) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0000 000a | Hold Pedal Polarity (0 — 1) |
| | | STANDARD, REVERSE |
| 00 08 | 0000 000a | Continuous Hold Pedal (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 09 | 0aaa aaaa | Pedal 1 Assign (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, |
| | | START/STOP, PUNCH—I/O, TAP—TEMPO, |
| | | PROG—UP, PROG—DOWN, |
| | | FAV—UP, FAV—DOWN, |
| | | ARP—SW, PTN—SW |
| 00 0A | 0000 000a | Pedal 1 Polarity (0 — 1) |
| | | STANDARD, REVERSE |
| 00 0B | 0aaa aaaa | Pedal 2 Assign (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, |
| | | START/STOP, PUNCH—I/O, TAP—TEMPO, |
| | | PROG—UP, PROG—DOWN, |
| | | FAV—UP, FAV—DOWN, |
| | | ARP—SW, PTN—SW |
| 00 0C | 0000 000a | Pedal 2 Polarity (0 — 1) |
| | | STANDARD, REVERSE |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0D | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Performance Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 01 | 0aaa aaaa | Performance Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 02 | 0aaa aaaa | Performance Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 03 | 0aaa aaaa | Performance Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 04 | 0aaa aaaa | Performance Name 5 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 05 | 0aaa aaaa | Performance Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 06 | 0aaa aaaa | Performance Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 07 | 0aaa aaaa | Performance Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 08 | 0aaa aaaa | Performance Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 09 | 0aaa aaaa | Performance Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0A | 0aaa aaaa | Performance Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0B | 0aaa aaaa | Performance Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 00aa aaaa | Solo Part Select (0 — 32) |
| | | OFF, 1 — 16, 17 — 32<*> |
| 00 0D | 000a aaaa | MFX Control Channel (0 — 16) |
| | | 1 — 16, OFF |
| 00 0E | 0000 000a | MFX Control MIDI1<*> (0 — 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | MFX Control MIDI2<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 10 | 0aaa aaaa | Voice Reserve 1 (0 — 64) |
| | | 0 — 63, FULL |
| 00 11 | 0aaa aaaa | Voice Reserve 2 (0 — 64) |
| | | 0 — 63, FULL |
| 00 12 | 0aaa aaaa | Voice Reserve 3 (0 — 64) |
| | | 0 — 63, FULL |
| 00 13 | 0aaa aaaa | Voice Reserve 4 (0 — 64) |
| | | 0 — 63, FULL |
| 00 14 | 0aaa aaaa | Voice Reserve 5 (0 — 64) |
| | | 0 — 63, FULL |
| 00 15 | 0aaa aaaa | Voice Reserve 6 (0 — 64) |
| | | 0 — 63, FULL |
| 00 16 | 0aaa aaaa | Voice Reserve 7 (0 — 64) |
| | | 0 — 63, FULL |
| 00 17 | 0aaa aaaa | Voice Reserve 8 (0 — 64) |
| | | 0 — 63, FULL |
| 00 18 | 0aaa aaaa | Voice Reserve 9 (0 — 64) |
| | | 0 — 63, FULL |
| 00 19 | 0aaa aaaa | Voice Reserve 10 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1A | 0aaa aaaa | Voice Reserve 11 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1B | 0aaa aaaa | Voice Reserve 12 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1C | 0aaa aaaa | Voice Reserve 13 (0 — 64) |
MIDI Implementation
| | | 0 — 63, FULL |
| 00 1D | 0aaa aaaa | Voice Reserve 14 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1E | 0aaa aaaa | Voice Reserve 15 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1F | 0aaa aaaa | Voice Reserve 16 (0 — 64) |
| | | 0 — 63, FULL |
| 00 20 | 0aaa aaaa | Voice Reserve 17<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 21 | 0aaa aaaa | Voice Reserve 18<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 22 | 0aaa aaaa | Voice Reserve 19<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 23 | 0aaa aaaa | Voice Reserve 20<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 24 | 0aaa aaaa | Voice Reserve 21<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 25 | 0aaa aaaa | Voice Reserve 22<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 26 | 0aaa aaaa | Voice Reserve 23<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 27 | 0aaa aaaa | Voice Reserve 24<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 28 | 0aaa aaaa | Voice Reserve 25<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 29 | 0aaa aaaa | Voice Reserve 26<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2A | 0aaa aaaa | Voice Reserve 27<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2B | 0aaa aaaa | Voice Reserve 28<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2C | 0aaa aaaa | Voice Reserve 29<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2D | 0aaa aaaa | Voice Reserve 30<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2E | 0aaa aaaa | Voice Reserve 31<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2F | 0aaa aaaa | Voice Reserve 32<*> (0 — 64) |
| | | 0 — 63, FULL |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 30 | 00aa aaaa | MFX Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
| 00 31 | 00aa aaaa | MFX2 Source<*> (0 — 32) |
| | | PERFORM, 1 — 32 |
| 00 32 | 00aa aaaa | MFX3 Source<*> (0 — 32) |
| | | PERFORM, 1 — 32 |
| 00 33 | 00aa aaaa | Chorus Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
| 00 34 | 00aa aaaa | Reverb Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 35 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 — 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 — 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 — 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 — 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 — 127) |
| | | —63 — +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 — 127) |
| | | —63 — +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 — 127) |
| | | —63 — +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 — 16) |
| | | OFF, 1 — 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 — 52768) |
79
MIDI Implementation
| | | —20000 — +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 — 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 — 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
| 00 03 | 0000 00aa | Chorus Output Select (0 — 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 — 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 — 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
80
MIDI Implementation
❍ Performance MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Receive Program Change (0 — 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Receive Bank Select (0 — 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Receive Bender (0 — 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 — 1) |
| | | OFF, ON |
| 00 04 | 0000 000a | Receive Channel Pressure (0 — 1) |
| | | OFF, ON |
| 00 05 | 0000 000a | Receive Modulation (0 — 1) |
| | | OFF, ON |
| 00 06 | 0000 000a | Receive Volume (0 — 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Receive Pan (0 — 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Receive Expression (0 — 1) |
| | | OFF, ON |
| 00 09 | 0000 000a | Receive Hold—1 (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0A | 0000 000a | Phase Lock (0 — 1) |
| | | OFF, ON |
| 00 0B | 0000 0aaa | Velocity Curve Type (0 — 4) |
| | | OFF, 1 — 4 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Receive Channel (0 — 15) |
| | | 1 — 16 |
| 00 01 | 0000 000a | Receive Switch (0 — 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Receive MIDI1<*> (0 — 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Receive MIDI2<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 — 127) |
| 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 — 127) |
| 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 — 127) |
| 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 — 127) |
| | | L64 — 63R |
| 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 — 112) |
| | | —48 — +48 |
| 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 — 114) |
| | | —50 — +50 |
| 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 — 2) |
| | | MONO, POLY, PATCH |
| 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 — 2) |
| | | OFF, ON, PATCH |
| 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 — 25) |
| | | 0 — 24, PATCH |
| 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 — 2) |
| | | OFF, ON, PATCH |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | Part Portamento Time (CC# 5) (0 — 128) |
| | | 0 — 127, PATCH |
| 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 — 127) |
| | | —64 — +63 |
| 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 — 127) |
| | | —64 — +63 |
| 00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 — 127) |
| | | —64 — +63 |
| 00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 15 | 0000 0aaa | Part Octave Shift (61 — 67) |
| | | —3 — +3 |
| 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 — 127) |
| | | —63 — +63 |
| 00 17 | 0aaa aaaa | Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 18 | 0aaa aaaa | Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 19 | 0aaa aaaa | Keyboard Fade Width Lower (0 — 127) |
| 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 — 127) |
| 00 1B | 0000 000a | Mute Switch (0 — 1) |
| | | OFF, MUTE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 0aaa aaaa | Part Dry Send Level (0 — 127) |
| 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 — 127) |
| 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 — 127) |
| 00 1F | 0000 aaaa | Part Output Assign (0 — 13) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*>, |
| | | PATCH |
| 00 20 | 0000 00aa | Part Output MFX Select (0 — 2) |
| | | MFX1, MFX2, MFX3 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 — 127) |
| | | —64 — +63 |
| 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 — 127) |
| | | —64 — +63 |
| 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 25 | 0aaa aaaa | Part Scale Tune for C (0 — 127) |
| | | —64 — +63 |
| 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 — 127) |
| | | —64 — +63 |
| 00 27 | 0aaa aaaa | Part Scale Tune for D (0 — 127) |
| | | —64 — +63 |
| 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 — 127) |
| | | —64 — +63 |
| 00 29 | 0aaa aaaa | Part Scale Tune for E (0 — 127) |
| | | —64 — +63 |
| 00 2A | 0aaa aaaa | Part Scale Tune for F (0 — 127) |
| | | —64 — +63 |
| 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 — 127) |
| | | —64 — +63 |
| 00 2C | 0aaa aaaa | Part Scale Tune for G (0 — 127) |
| | | —64 — +63 |
| 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 — 127) |
| | | —64 — +63 |
| 00 2E | 0aaa aaaa | Part Scale Tune for A (0 — 127) |
| | | —64 — +63 |
| 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 — 127) |
| | | —64 — +63 |
| 00 30 | 0aaa aaaa | Part Scale Tune for B (0 — 127) |
| | | —64 — +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 31 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Zone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Transmit Channel (0 — 15) |
| | | 1 — 16 |
| 00 01 | 0000 000a | Internal Switch (0 — 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | External Switch (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | External Bank Select MSB (CC# 0) (0 — 128) |
| | | 0 — 127, NO—SEND |
| 00 05 | 0aaa aaaa | External Bank Select LSB (CC# 32) (0 — 127) |
|# 00 06 | 0000 aaaa | |
| | 0000 bbbb | External Program Number (PC) (0 — 128) |
| | | 0 — 127, NO—SEND |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | External Level (CC# 7) (0 — 128) |
| | | 0 — 127, NO—SEND |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | External Pan (CC# 10) (0 — 128) |
| | | L64 — 63R, NO—SEND |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 0D | 0aaa aaaa | Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0000 000a | Control Bender (0 — 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | Control Aftertouch (0 — 1) |
| | | OFF, ON |
| 00 10 | 0000 000a | Control Modulation (0 — 1) |
| | | OFF, ON |
| 00 11 | 0000 000a | Control Hold Pedal (0 — 1) |
| | | OFF, ON |
| 00 12 | 0000 000a | Control Pedal 1 (0 — 1) |
| | | OFF, ON |
| 00 13 | 0000 000a | Control Pedal 2 (0 — 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 14 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Performance Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Beam Switch (0 — 1) |
| | | OFF, ON |
| 00 01 | 0aaa aaaa | Beam Assign (0 — 112) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, NOTE, |
| | | OCT—UP, OCT—DOWN, |
| | | START/STOP, TAP—TEMPO, |
| | | ARP—SW, ARP—VAR, ARP—ACCNT, |
| | | ARP—SHFFL, ARP—OCT—UP, ARP—OCT—DOWN, |
| | | PTN—SW, PTN—ACCNT, PTN—SHFFL |
| 00 02 | 0000 000a | Beam Polarity (0 — 1) |
| | | STANDARD, REVERSE |
| 00 03 | 0aaa aaaa | Beam Range Lower (0 — 127) |
| 00 04 | 0aaa aaaa | Beam Range Upper (0 — 127) |
| 00 05 | 0000 aaaa | Beam Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 06 | 0aaa aaaa | Knob 1 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 07 | 0000 aaaa | Knob 1 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 08 | 0aaa aaaa | Knob 2 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 09 | 0000 aaaa | Knob 2 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 0A | 0aaa aaaa | Knob 3 Assign (0 — 104) |
81
MIDI Implementation
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 0B | 0000 aaaa | Knob 3 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 0C | 0aaa aaaa | Knob 4 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 0D | 0000 aaaa | Knob 4 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0aaa aaaa | Switch 1 Assign (0 — 108) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD, PTN—HOLD, |
| | | ZONE—INT—SW, ZONE—EXT—SW |
| 00 0F | 0000 000a | Switch 1 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 10 | 0000 aaaa | Switch 1 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 11 | 0aaa aaaa | Switch 2 Assign (0 — 108) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD, PTN—HOLD, |
| | | ZONE—INT—SW, ZONE—EXT—SW |
| 00 12 | 0000 000a | Switch 2 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 13 | 0000 aaaa | Switch 2 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 14 | 0aaa aaaa | Switch 3 Assign (0 — 108) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD, PTN—HOLD, |
| | | ZONE—INT—SW, ZONE—EXT—SW |
| 00 15 | 0000 000a | Switch 3 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 16 | 0000 aaaa | Switch 3 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
| 00 17 | 0aaa aaaa | Switch 4 Assign (0 — 108) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD, PTN—HOLD, |
| | | ZONE—INT—SW, ZONE—EXT—SW |
| 00 18 | 0000 000a | Switch 4 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 19 | 0000 aaaa | Switch 4 Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1A | 0000 000a | Arpeggio Switch (0 — 1) |
| | | OFF, ON |
| 00 1B | 0000 000a | Arpeggio Hold (0 — 1) |
| | | OFF, ON |
| 00 1C | 0aaa aaaa | Arpeggio Style (0 — 127) |
| | | 1 — 128 |
| 00 1D | 0aaa aaaa | Arpeggio Variation (0 — 127) |
| | | 1 — 128 |
| 00 1E | 0aaa aaaa | Arpeggio Motif (0 — 9) |
| | | UP, DOWN, UP&DOWN, RANDOM, |
| | | NOTE—ORDER, GLISSANDO, CHORD, |
| | | AUTO1, AUTO2, PHRASE |
| 00 1F | 0aaa aaaa | Arpeggio Accent Rate (0 — 100) |
| 00 20 | 0aaa aaaa | Arpeggio Shuffle Rate (0 — 100) |
| 00 21 | 0000 000a | Arpeggio Shuffle Resolution (0 — 1) |
| | | 16TH, 8TH |
| 00 22 | 0aaa aaaa | Arpeggio Keyboard Velocity (0 — 127) |
| | | REAL, 1 — 127 |
| 00 23 | 0000 0aaa | Arpeggio Octave Range (61 — 67) |
| | | —3 — +3 |
| 00 24 | 0000 000a | Arpeggio Key Trigger (0 — 1) |
| | | OFF, ON |
| 00 25 | 0000 aaaa | Arpeggio Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 26 | 0000 000a | Pattern Switch (0 — 1) |
| | | OFF, ON |
| 00 27 | 0000 000a | Pattern Hold (0 — 1) |
| | | OFF, ON |
| 00 28 | 0aaa aaaa | Pattern Style (0 — 127) |
| | | 1 — 128 |
| 00 29 | 0aaa aaaa | Pattern Accent Rate (0 — 100) |
| 00 2A | 0aaa aaaa | Pattern Shuffle Rate (0 — 100) |
| 00 2B | 0000 000a | Pattern Shuffle Resolution (0 — 1) |
| | | 16TH, 8TH |
| 00 2C | 0aaa aaaa | Pattern Keyboard Velocity (0 — 127) |
| | | REAL, 1 — 127 |
| 00 2D | 0aaa aaaa | Pattern Note Assign (0 — 127) |
| | | C—1 — G9 |
| 00 2E | 0000 000a | Pattern Key Trigger (0 — 1) |
| | | OFF, ON |
| 00 2F | 0000 aaaa | Pattern Zone Number (0 — 15) |
| | | ZONE1 — ZONE16 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 30 | 0000 000a | Sequencer Tempo Override (0 — 1) |
| | | OFF, ON |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | Overriding Tempo (20 — 250) |
| | | 120 — 250 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 33 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Multitimbre Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 01 | 0aaa aaaa | Multitimbre Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 02 | 0aaa aaaa | Multitimbre Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 03 | 0aaa aaaa | Multitimbre Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 04 | 0aaa aaaa | Multitimbre Name 5 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 05 | 0aaa aaaa | Multitimbre Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 06 | 0aaa aaaa | Multitimbre Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 07 | 0aaa aaaa | Multitimbre Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 08 | 0aaa aaaa | Multitimbre Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 09 | 0aaa aaaa | Multitimbre Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0A | 0aaa aaaa | Multitimbre Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0B | 0aaa aaaa | Multitimbre Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 00aa aaaa | Solo Part Select (0 — 32) |
| | | OFF, 1 — 16, 17 — 32<*> |
| 00 0D | 000a aaaa | MFX Control Channel (0 — 16) |
| | | 1 — 16, OFF |
| 00 0E | 0000 000a | MFX Control MIDI1<*> (0 — 1) |
| | | OFF, ON |
| 00 0F | 0000 000a | MFX Control MIDI2<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 10 | 0aaa aaaa | Voice Reserve 1 (0 — 64) |
| | | 0 — 63, FULL |
| 00 11 | 0aaa aaaa | Voice Reserve 2 (0 — 64) |
| | | 0 — 63, FULL |
| 00 12 | 0aaa aaaa | Voice Reserve 3 (0 — 64) |
| | | 0 — 63, FULL |
| 00 13 | 0aaa aaaa | Voice Reserve 4 (0 — 64) |
| | | 0 — 63, FULL |
| 00 14 | 0aaa aaaa | Voice Reserve 5 (0 — 64) |
| | | 0 — 63, FULL |
| 00 15 | 0aaa aaaa | Voice Reserve 6 (0 — 64) |
| | | 0 — 63, FULL |
| 00 16 | 0aaa aaaa | Voice Reserve 7 (0 — 64) |
| | | 0 — 63, FULL |
| 00 17 | 0aaa aaaa | Voice Reserve 8 (0 — 64) |
| | | 0 — 63, FULL |
| 00 18 | 0aaa aaaa | Voice Reserve 9 (0 — 64) |
| | | 0 — 63, FULL |
| 00 19 | 0aaa aaaa | Voice Reserve 10 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1A | 0aaa aaaa | Voice Reserve 11 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1B | 0aaa aaaa | Voice Reserve 12 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1C | 0aaa aaaa | Voice Reserve 13 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1D | 0aaa aaaa | Voice Reserve 14 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1E | 0aaa aaaa | Voice Reserve 15 (0 — 64) |
| | | 0 — 63, FULL |
| 00 1F | 0aaa aaaa | Voice Reserve 16 (0 — 64) |
| | | 0 — 63, FULL |
| 00 20 | 0aaa aaaa | Voice Reserve 17<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 21 | 0aaa aaaa | Voice Reserve 18<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 22 | 0aaa aaaa | Voice Reserve 19<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 23 | 0aaa aaaa | Voice Reserve 20<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 24 | 0aaa aaaa | Voice Reserve 21<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 25 | 0aaa aaaa | Voice Reserve 22<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 26 | 0aaa aaaa | Voice Reserve 23<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 27 | 0aaa aaaa | Voice Reserve 24<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 28 | 0aaa aaaa | Voice Reserve 25<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 29 | 0aaa aaaa | Voice Reserve 26<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2A | 0aaa aaaa | Voice Reserve 27<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2B | 0aaa aaaa | Voice Reserve 28<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2C | 0aaa aaaa | Voice Reserve 29<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2D | 0aaa aaaa | Voice Reserve 30<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2E | 0aaa aaaa | Voice Reserve 31<*> (0 — 64) |
| | | 0 — 63, FULL |
| 00 2F | 0aaa aaaa | Voice Reserve 32<*> (0 — 64) |
| | | 0 — 63, FULL |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 30 | 00aa aaaa | MFX Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
| 00 31 | 00aa aaaa | MFX2 Source<*> (0 — 32) |
| | | PERFORM, 1 — 32 |
| 00 32 | 00aa aaaa | MFX3 Source<*> (0 — 32) |
| | | PERFORM, 1 — 32 |
| 00 33 | 00aa aaaa | Chorus Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
| 00 34 | 00aa aaaa | Reverb Source (0 — 32) |
| | | PERFORM, 1 — 16, 17 — 32<*> |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 35 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
82
MIDI Implementation
❍ Multitimbre Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 — 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 — 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 — 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 — 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 — 127) |
| | | —63 — +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 — 127) |
| | | —63 — +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 — 127) |
| | | —63 — +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 — 16) |
| | | OFF, 1 — 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 — 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 — 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
| 00 03 | 0000 00aa | Chorus Output Select (0 — 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
83
MIDI Implementation
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 — 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 — 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
84
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre MIDI
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Receive Program Change (0 — 1) |
| | | OFF, ON |
| 00 01 | 0000 000a | Receive Bank Select (0 — 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Receive Bender (0 — 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 — 1) |
| | | OFF, ON |
| 00 04 | 0000 000a | Receive Channel Pressure (0 — 1) |
| | | OFF, ON |
| 00 05 | 0000 000a | Receive Modulation (0 — 1) |
| | | OFF, ON |
| 00 06 | 0000 000a | Receive Volume (0 — 1) |
| | | OFF, ON |
| 00 07 | 0000 000a | Receive Pan (0 — 1) |
| | | OFF, ON |
| 00 08 | 0000 000a | Receive Expression (0 — 1) |
| | | OFF, ON |
| 00 09 | 0000 000a | Receive Hold—1 (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0A | 0000 000a | Phase Lock (0 — 1) |
| | | OFF, ON |
| 00 0B | 0000 0aaa | Velocity Curve Type (0 — 4) |
| | | OFF, 1 — 4 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0C | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Multitimbre Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Receive Channel (0 — 15) |
| | | 1 — 16 |
| 00 01 | 0000 000a | Receive Switch (0 — 1) |
| | | OFF, ON |
| 00 02 | 0000 000a | Receive MIDI1<*> (0 — 1) |
| | | OFF, ON |
| 00 03 | 0000 000a | Receive MIDI2<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 — 127) |
| 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 — 127) |
| 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 — 127) |
| 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 — 127) |
| | | L64 — 63R |
| 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 — 112) |
| | | —48 — +48 |
| 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 — 114) |
| | | —50 — +50 |
| 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 — 2) |
| | | MONO, POLY, PATCH |
MIDI Implementation
| 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 — 2) |
| | | OFF, ON, PATCH |
| 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 — 25) |
| | | 0 — 24, PATCH |
| 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 — 2) |
| | | OFF, ON, PATCH |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | Part Portamento Time (CC# 5) (0 — 128) |
| | | 0 — 127, PATCH |
| 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 — 127) |
| | | —64 — +63 |
| 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 — 127) |
| | | —64 — +63 |
| 00 13 | 0aaa aaaa | Part Attack Time Offset (CC# 73) (0 — 127) |
| | | —64 — +63 |
| 00 14 | 0aaa aaaa | Part Release Time Offset (CC# 72) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 15 | 0000 0aaa | Part Octave Shift (61 — 67) |
| | | —3 — +3 |
| 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 — 127) |
| | | —63 — +63 |
| 00 17 | 0aaa aaaa | Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 18 | 0aaa aaaa | Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 19 | 0aaa aaaa | Keyboard Fade Width Lower (0 — 127) |
| 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 — 127) |
| 00 1B | 0000 000a | Mute Switch (0 — 1) |
| | | OFF, MUTE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 0aaa aaaa | Part Dry Send Level (0 — 127) |
| 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 — 127) |
| 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 — 127) |
| 00 1F | 0000 aaaa | Part Output Assign (0 — 13) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*>, |
| | | PATCH |
| 00 20 | 0000 00aa | Part Output MFX Select (0 — 2) |
| | | MFX1, MFX2, MFX3 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0aaa aaaa | Part Decay Time Offset (CC# 75) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 — 127) |
| | | —64 — +63 |
| 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 — 127) |
| | | —64 — +63 |
| 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 25 | 0aaa aaaa | Part Scale Tune for C (0 — 127) |
| | | —64 — +63 |
| 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 — 127) |
| | | —64 — +63 |
| 00 27 | 0aaa aaaa | Part Scale Tune for D (0 — 127) |
| | | —64 — +63 |
| 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 — 127) |
| | | —64 — +63 |
| 00 29 | 0aaa aaaa | Part Scale Tune for E (0 — 127) |
| | | —64 — +63 |
| 00 2A | 0aaa aaaa | Part Scale Tune for F (0 — 127) |
| | | —64 — +63 |
| 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 — 127) |
| | | —64 — +63 |
| 00 2C | 0aaa aaaa | Part Scale Tune for G (0 — 127) |
| | | —64 — +63 |
| 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 — 127) |
| | | —64 — +63 |
| 00 2E | 0aaa aaaa | Part Scale Tune for A (0 — 127) |
| | | —64 — +63 |
| 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 — 127) |
| | | —64 — +63 |
| 00 30 | 0aaa aaaa | Part Scale Tune for B (0 — 127) |
| | | —64 — +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 31 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Patch Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 01 | 0aaa aaaa | Patch Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 02 | 0aaa aaaa | Patch Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 03 | 0aaa aaaa | Patch Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 04 | 0aaa aaaa | Patch Name 5 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 05 | 0aaa aaaa | Patch Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 06 | 0aaa aaaa | Patch Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 07 | 0aaa aaaa | Patch Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 08 | 0aaa aaaa | Patch Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 09 | 0aaa aaaa | Patch Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0A | 0aaa aaaa | Patch Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0B | 0aaa aaaa | Patch Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0C | 0aaa aaaa | Patch Category (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 0000 000a | Tone Type<*> (0 — 1) |
| | | 4TONES, MULTI—PARTIAL |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0aaa aaaa | Patch Level (0 — 127) |
| 00 0F | 0aaa aaaa | Patch Pan (0 — 127) |
| | | L64 — 63R |
| 00 10 | 0000 000a | Patch Priority (0 — 1) |
| | | LAST, LOUDEST |
| 00 11 | 0aaa aaaa | Patch Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 00 12 | 0aaa aaaa | Patch Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 13 | 0000 0aaa | Octave Shift (61 — 67) |
| | | —3 — +3 |
| 00 14 | 0000 00aa | Stretch Tune Depth (0 — 3) |
| | | OFF, 1 — 3 |
| 00 15 | 0aaa aaaa | Analog Feel (0 — 127) |
| 00 16 | 0000 000a | Mono/Poly (0 — 1) |
| | | MONO, POLY |
| 00 17 | 0000 000a | Legato Switch (0 — 1) |
| | | OFF, ON |
| 00 18 | 0000 000a | Legato Retrigger (0 — 1) |
| | | OFF, ON |
| 00 19 | 0000 000a | Portamento Switch (0 — 1) |
| | | OFF, ON |
| 00 1A | 0000 000a | Portamento Mode (0 — 1) |
| | | NORMAL, LEGATO |
| 00 1B | 0000 000a | Portamento Type (0 — 1) |
| | | RATE, TIME |
| 00 1C | 0000 000a | Portamento Start (0 — 1) |
| | | PITCH, NOTE |
| 00 1D | 0aaa aaaa | Portamento Time (0 — 127) |
| 00 1E | 0000 000a | Patch Clock Source (0 — 1) |
| | | PATCH, SYSTEM |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | Patch Tempo (20 — 250) |
| 00 21 | 0000 000a | One Shot Mode<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 22 | 0aaa aaaa | Cutoff Offset (1 — 127) |
| | | —63 — +63 |
| 00 23 | 0aaa aaaa | Resonance Offset (1 — 127) |
| | | —63 — +63 |
| 00 24 | 0aaa aaaa | Attack Time Offset (1 — 127) |
| | | —63 — +63 |
| 00 25 | 0aaa aaaa | Release Time Offset (1 — 127) |
| | | —63 — +63 |
| 00 26 | 0aaa aaaa | Velocity Sens Offset (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 27 | 0000 aaaa | Patch Output Assign (0 — 13) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*>, |
| | | TONE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 28 | 0000 000a | TMT Control Switch (0 — 1) |
| | | OFF, ON |
| 00 29 | 00aa aaaa | Pitch Bend Range Up (0 — 48) |
| 00 2A | 00aa aaaa | Pitch Bend Range Down (0 — 48) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT—ENV, TVF—ENV, TVA—ENV |
| 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 — 127) |
| | | —63 — +63 |
| 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 — 127) |
| | | —63 — +63 |
| 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 — 127) |
| | | —63 — +63 |
| 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT—ENV, TVF—ENV, TVA—ENV |
85
MIDI Implementation
| 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 — 127) |
| | | —63 — +63 |
| 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 — 127) |
| | | —63 — +63 |
| 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 — 127) |
| | | —63 — +63 |
| 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT—ENV, TVF—ENV, TVA—ENV |
| 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 — 127) |
| | | —63 — +63 |
| 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 — 127) |
| | | —63 — +63 |
| 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 — 127) |
| | | —63 — +63 |
| 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4, VELOCITY, |
| | | KEYFOLLOW, TEMPO, LFO1, LFO2, |
| | | PIT—ENV, TVF—ENV, TVA—ENV |
| 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
86
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 48 | 0aaa aaaa | Matrix Control 4 Sens 1 (1 — 127) |
| | | —63 — +63 |
| 00 49 | 00aa aaaa | Matrix Control 4 Destination 2 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 4A | 0aaa aaaa | Matrix Control 4 Sens 2 (1 — 127) |
| | | —63 — +63 |
| 00 4B | 00aa aaaa | Matrix Control 4 Destination 3 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 4C | 0aaa aaaa | Matrix Control 4 Sens 3 (1 — 127) |
| | | —63 — +63 |
| 00 4D | 00aa aaaa | Matrix Control 4 Destination 4 (0 — 33) |
| | | OFF, PCH, CUT, RES, LEV, PAN, |
| | | DRY, CHO, REV, PIT—LFO1, |
| | | PIT—LFO2, TVF—LFO1, TVF—LFO2, |
| | | TVA—LFO1, TVA—LFO2, PAN—LFO1, |
| | | PAN—LFO2, LFO1—RATE, LFO2—RATE, |
| | | PIT—ATK, PIT—DCY, PIT—REL, |
| | | TVF—ATK, TVF—DCY, TVF—REL, |
| | | TVA—ATK, TVA—DCY, TVA—REL, |
| | | TMT, FXM, MFX1, MFX2, MFX3, MFX4 |
| 00 4E | 0aaa aaaa | Matrix Control 4 Sens 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 4F | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 — 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 — 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 — 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 — 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 — 127) |
| | | —63 — +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 — 127) |
| | | —63 — +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 — 127) |
| | | —63 — +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 — 16) |
| | | OFF, 1 — 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
MIDI Implementation
| | 0000 dddd | MFX Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 — 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 — 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
| 00 03 | 0000 00aa | Chorus Output Select (0 — 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
87
MIDI Implementation
❍ Patch Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 — 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 — 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
88
❍ Patch TMT (Tone Mix Table)
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 — 9) |
| | | 1 — 10 |
| 00 01 | 0000 00aa | Booster 1 & 2 (0 — 3) |
| | | 0, +6, +12, +18 [dB] |
| 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 — 9) |
| | | 1 — 10 |
| 00 03 | 0000 00aa | Booster 3 & 4 (0 — 3) |
| | | 0, +6, +12, +18 [dB] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 04 | 0000 00aa | TMT Velocity Control (0 — 2) |
| | | OFF, ON, RANDOM |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0000 000a | TMT1 Tone Switch (0 — 1) |
| | | OFF, ON |
| 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 — 127) |
| 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 — 127) |
| 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 — 127) |
| 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0000 000a | TMT2 Tone Switch (0 — 1) |
| | | OFF, ON |
| 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 — 127) |
| 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 — 127) |
| 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 — 127) |
| 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 17 | 0000 000a | TMT3 Tone Switch (0 — 1) |
| | | OFF, ON |
| 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 — 127) |
| 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 — 127) |
| 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 — 127) |
| 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 20 | 0000 000a | TMT4 Tone Switch (0 — 1) |
| | | OFF, ON |
| 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 — 127) |
| | | C—1 — UPPER |
| 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 — 127) |
| | | LOWER — G9 |
| 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 — 127) |
| 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 — 127) |
| 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 — 127) |
| 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 29 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Patch Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Tone Level (0 — 127) |
| 00 01 | 0aaa aaaa | Tone Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 00 02 | 0aaa aaaa | Tone Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 03 | 000a aaaa | Tone Random Pitch Depth (0 — 30) |
| | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
| | | 10, 20, 30, 40, 50, 60, 70, 80, |
| | | 90, 100, 200, 300, 400, 500, |
| | | 600, 700, 800, 900, 1000, 1100, |
| | | 1200 |
| 00 04 | 0aaa aaaa | Tone Pan (0 — 127) |
| | | L64 — 63R |
| 00 05 | 000a aaaa | Tone Pan Keyfollow (54 — 74) |
| | | —100 — +100 |
| 00 06 | 00aa aaaa | Tone Random Pan Depth (0 — 63) |
| 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 — 127) |
| | | L63 — 63R |
| 00 08 | 0000 000a | Tone Env Mode (0 — 1) |
| | | NO—SUS, SUSTAIN |
| 00 09 | 0000 00aa | Tone Delay Mode (0 — 3) |
| | | NORMAL, HOLD, KEY—OFF—NORMAL, |
| | | KEY—OFF—DECAY |
|# 00 0A | 0000 aaaa | |
| | 0000 bbbb | Tone Delay Time (0 — 149) |
| | | 0 — 127, MUSICAL—NOTES |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Tone Dry Send Level (0 — 127) |
MIDI Implementation
| 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 — 127) |
| 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 — 127) |
| 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 — 127) |
| 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 — 127) |
| 00 11 | 0000 aaaa | Tone Output Assign (0 — 12) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 12 | 0000 000a | Tone Receive Bender (0 — 1) |
| | | OFF, ON |
| 00 13 | 0000 000a | Tone Receive Expression (0 — 1) |
| | | OFF, ON |
| 00 14 | 0000 000a | Tone Receive Hold—1 (0 — 1) |
| | | OFF, ON |
| 00 15 | 0000 000a | Tone Receive Pan Mode (0 — 1) |
| | | CONTINUOUS, KEY—ON |
| 00 16 | 0000 000a | Tone Redamper Switch (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 — 2) |
| | | OFF, ON, REVERSE |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 27 | 0000 00aa | Wave Group Type (0 — 3) |
| | | INT, SR—JV80, SRX, SAMPLE<*> |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Group ID (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Number L (Mono) (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Wave Number R (0 — 16384) |
| | | OFF, 1 — 16384 |
| 00 34 | 0000 00aa | Wave Gain (0 — 3) |
| | | —6, 0, +6, +12 [dB] |
| 00 35 | 0000 000a | Wave FXM Switch (0 — 1) |
| | | OFF, ON |
| 00 36 | 0000 00aa | Wave FXM Color (0 — 3) |
| | | 1 — 4 |
| 00 37 | 000a aaaa | Wave FXM Depth (0 — 16) |
| 00 38 | 0000 000a | Wave Tempo Sync (0 — 1) |
| | | OFF, ON |
| 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 — 84) |
| | | —200 — +200 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3A | 000a aaaa | Pitch Env Depth (52 — 76) |
| | | —12 — +12 |
| 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 — 74) |
| | | —100 — +100 |
| 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 — 127) |
| 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 — 127) |
| 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 — 127) |
| 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 — 127) |
| 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 — 127) |
| | | —63 — +63 |
| 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 — 127) |
| | | —63 — +63 |
| 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 — 127) |
| | | —63 — +63 |
| 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 — 127) |
| | | —63 — +63 |
| 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 48 | 0000 0aaa | TVF Filter Type (0 — 6) |
| | | OFF, LPF, BPF, HPF, PKG, LPF2, |
| | | LPF3 |
| 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 — 127) |
| 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 — 84) |
| | | —200 — +200 |
| 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 — 7) |
| | | FIXED, 1 — 7 |
| 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 4D | 0aaa aaaa | TVF Resonance (0 — 127) |
| 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 4F | 0aaa aaaa | TVF Env Depth (1 — 127) |
| | | —63 — +63 |
| 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 — 7) |
| | | FIXED, 1 — 7 |
| 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 — 74) |
| | | —100 — +100 |
| 00 55 | 0aaa aaaa | TVF Env Time 1 (0 — 127) |
| 00 56 | 0aaa aaaa | TVF Env Time 2 (0 — 127) |
| 00 57 | 0aaa aaaa | TVF Env Time 3 (0 — 127) |
| 00 58 | 0aaa aaaa | TVF Env Time 4 (0 — 127) |
| 00 59 | 0aaa aaaa | TVF Env Level 0 (0 — 127) |
| 00 5A | 0aaa aaaa | TVF Env Level 1 (0 — 127) |
| 00 5B | 0aaa aaaa | TVF Env Level 2 (0 — 127) |
| 00 5C | 0aaa aaaa | TVF Env Level 3 (0 — 127) |
| 00 5D | 0aaa aaaa | TVF Env Level 4 (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 5E | 000a aaaa | Bias Level (54 — 74) |
| | | —100 — +100 |
| 00 5F | 0aaa aaaa | Bias Position (0 — 127) |
| | | C—1 — G9 |
| 00 60 | 0000 00aa | Bias Direction (0 — 3) |
| | | LOWER, UPPER, LOWER&UPPER, ALL |
| 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 — 7) |
| | | FIXED, 1 — 7 |
| 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 — 74) |
| | | —100 — +100 |
| 00 66 | 0aaa aaaa | TVA Env Time 1 (0 — 127) |
| 00 67 | 0aaa aaaa | TVA Env Time 2 (0 — 127) |
| 00 68 | 0aaa aaaa | TVA Env Time 3 (0 — 127) |
| 00 69 | 0aaa aaaa | TVA Env Time 4 (0 — 127) |
| 00 6A | 0aaa aaaa | TVA Env Level 1 (0 — 127) |
| 00 6B | 0aaa aaaa | TVA Env Level 2 (0 — 127) |
| 00 6C | 0aaa aaaa | TVA Env Level 3 (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 6D | 0000 aaaa | LFO1 Wave Form (0 — 10) |
| | | SIN, TRI, SAW—UP, SAW—DW, SQR, |
| | | RND, BEND—UP, BEND—DW, TRP, S&H |
| | | CHS |
|# 00 6E | 0000 aaaa | |
| | 0000 bbbb | LFO1 Rate (0 — 149) |
| | | 0 — 127, MUSICAL—NOTES |
| 00 70 | 0000 0aaa | LFO1 Offset (0 — 4) |
| | | —100, —50, 0, +50, +100 |
| 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 — 127) |
| 00 72 | 0aaa aaaa | LFO1 Delay Time (0 — 127) |
| 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 — 74) |
| | | —100 — +100 |
| 00 74 | 0000 00aa | LFO1 Fade Mode (0 — 3) |
| | | ON—IN, ON—OUT, OFF—IN, OFF—OUT |
| 00 75 | 0aaa aaaa | LFO1 Fade Time (0 — 127) |
| 00 76 | 0000 000a | LFO1 Key Trigger (0 — 1) |
| | | OFF, ON |
| 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 — 127) |
| | | —63 — +63 |
| 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 — 127) |
| | | —63 — +63 |
| 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 — 127) |
| | | —63 — +63 |
| 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 7B | 0000 aaaa | LFO2 Wave Form (0 — 10) |
| | | SIN, TRI, SAW—UP, SAW—DW, SQR, |
| | | RND, BEND—UP, BEND—DW, TRP, S&H |
| | | CHS |
|# 00 7C | 0000 aaaa | |
| | 0000 bbbb | LFO2 Rate (0 — 149) |
| | | 0 — 127, MUSICAL—NOTES |
| 00 7E | 0000 0aaa | LFO2 Offset (0 — 4) |
| | | —100, —50, 0, +50, +100 |
| 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 — 127) |
| 01 00 | 0aaa aaaa | LFO2 Delay Time (0 — 127) |
| 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 — 74) |
| | | —100 — +100 |
| 01 02 | 0000 00aa | LFO2 Fade Mode (0 — 3) |
| | | ON—IN, ON—OUT, OFF—IN, OFF—OUT |
| 01 03 | 0aaa aaaa | LFO2 Fade Time (0 — 127) |
| 01 04 | 0000 000a | LFO2 Key Trigger (0 — 1) |
| | | OFF, ON |
| 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 — 127) |
| | | —63 — +63 |
| 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 — 127) |
| | | —63 — +63 |
| 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 — 127) |
| | | —63 — +63 |
| 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 — 127) |
| | | —63 — +63 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 09 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
89
MIDI Implementation
❍ Patch Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Beam Switch (0 — 1) |
| | | OFF, ON |
| 00 01 | 0aaa aaaa | Beam Assign (0 — 109) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, NOTE, |
| | | OCT—UP, OCT—DOWN, |
| | | START/STOP, TAP—TEMPO, |
| | | ARP—SW, ARP—VAR, ARP—ACCNT, |
| | | ARP—SHFFL, ARP—OCT—UP, ARP—OCT—DOWN |
| 00 02 | 0000 000a | Beam Polarity (0 — 1) |
| | | STANDARD, REVERSE |
| 00 03 | 0aaa aaaa | Beam Range Lower (0 — 127) |
| 00 04 | 0aaa aaaa | Beam Range Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | Knob 1 Assign (0 — 102) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT |
| 00 06 | 0aaa aaaa | Knob 2 Assign (0 — 102) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT |
| 00 07 | 0aaa aaaa | Knob 3 Assign (0 — 102) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT |
| 00 08 | 0aaa aaaa | Knob 4 Assign (0 — 102) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | ARP—VAR, ARP—ACCNT, ARP—SHFFL, |
| | | ARP—OCT |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 09 | 0aaa aaaa | Switch 1 Assign (0 — 105) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD |
| 00 0A | 0000 000a | Switch 1 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0B | 0aaa aaaa | Switch 2 Assign (0 — 105) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD |
| 00 0C | 0000 000a | Switch 2 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0D | 0aaa aaaa | Switch 3 Assign (0 — 105) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD |
| 00 0E | 0000 000a | Switch 3 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0F | 0aaa aaaa | Switch 4 Assign (0 — 105) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, MONO/POLY, |
| | | ARP—HOLD |
| 00 10 | 0000 000a | Switch 4 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 11 | 0000 000a | Arpeggio Switch (0 — 1) |
| | | OFF, ON |
| 00 12 | 0000 000a | Arpeggio Hold (0 — 1) |
| | | OFF, ON |
| 00 13 | 0aaa aaaa | Arpeggio Style (0 — 127) |
| | | 1 — 128 |
| 00 14 | 0aaa aaaa | Arpeggio Variation (0 — 127) |
| | | 1 — 128 |
| 00 15 | 0aaa aaaa | Arpeggio Motif (0 — 9) |
| | | UP, DOWN, UP&DOWN, RANDOM, |
| | | NOTE—ORDER, GLISSANDO, CHORD, |
| | | AUTO1, AUTO2, PHRASE |
| 00 16 | 0aaa aaaa | Arpeggio Accent Rate (0 — 100) |
| 00 17 | 0aaa aaaa | Arpeggio Shuffle Rate (0 — 100) |
| 00 18 | 0000 000a | Arpeggio Shuffle Resolution (0 — 1) |
| | | 16TH, 8TH |
| 00 19 | 0aaa aaaa | Arpeggio Keyboard Velocity (0 — 127) |
| | | REAL, 1 — 127 |
| 00 1A | 0000 0aaa | Arpeggio Octave Range (61 — 67) |
| | | —3 — +3 |
| 00 1B | 0000 000a | Arpeggio Key Trigger (0 — 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1C | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Rhythm Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 01 | 0aaa aaaa | Rhythm Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 02 | 0aaa aaaa | Rhythm Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 03 | 0aaa aaaa | Rhythm Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 04 | 0aaa aaaa | Rhythm Name 5 (32 — 127) |
90
| | | 32 — 127 [ASCII] |
| 00 05 | 0aaa aaaa | Rhythm Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 06 | 0aaa aaaa | Rhythm Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 07 | 0aaa aaaa | Rhythm Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 08 | 0aaa aaaa | Rhythm Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 09 | 0aaa aaaa | Rhythm Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0A | 0aaa aaaa | Rhythm Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0B | 0aaa aaaa | Rhythm Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0aaa aaaa | Rhythm Level (0 — 127) |
| 00 0D | 0000 000a | Rhythm Clock Source (0 — 1) |
| | | RHYTHM, SYSTEM |
|# 00 0E | 0000 aaaa | |
| | 0000 bbbb | Rhythm Tempo (20 — 250) |
| 00 10 | 0000 000a | One Shot Mode (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 11 | 0000 aaaa | Rhythm Output Assign (0 — 13) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*>, |
| | | TONE |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | MFX Type (0 — 127) |
| 00 01 | 0aaa aaaa | MFX Dry Send Level (0 — 127) |
| 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 — 127) |
| 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 — 127) |
| 00 04 | 0000 00aa | MFX Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | MFX Control 1 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 — 127) |
| | | —63 — +63 |
| 00 07 | 0aaa aaaa | MFX Control 2 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 — 127) |
| | | —63 — +63 |
| 00 09 | 0aaa aaaa | MFX Control 3 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 — 127) |
| | | —63 — +63 |
| 00 0B | 0aaa aaaa | MFX Control 4 Source (0 — 101) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, SYS1 — SYS4 |
| 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0D | 000a aaaa | MFX Control Assign 1 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0E | 000a aaaa | MFX Control Assign 2 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 0F | 000a aaaa | MFX Control Assign 3 (0 — 16) |
| | | OFF, 1 — 16 |
| 00 10 | 000a aaaa | MFX Control Assign 4 (0 — 16) |
| | | OFF, 1 — 16 |
|# 00 11 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 15 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 19 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 21 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 25 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 29 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
MIDI Implementation
|# 00 31 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 35 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 39 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 41 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 45 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 49 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 51 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 55 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 59 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 21 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 22 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 69 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 23 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 6D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 24 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 71 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 25 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 75 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 26 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 79 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 27 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 7D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 28 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 01 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 29 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 05 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 30 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 09 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 31 (12768 — 52768) |
| | | —20000 — +20000 |
|# 01 0D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | MFX Parameter 32 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 11 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Chorus Type (0 — 3) |
| 00 01 | 0aaa aaaa | Chorus Level (0 — 127) |
| 00 02 | 0000 00aa | Chorus Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
| 00 03 | 0000 00aa | Chorus Output Select (0 — 2) |
| | | MAIN, REV, MAIN+REV |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 04 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 08 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 10 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 14 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 18 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 20 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 24 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 28 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2C | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 30 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Chorus Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 34 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 aaaa | Reverb Type (0 — 5) |
| 00 01 | 0aaa aaaa | Reverb Level (0 — 127) |
| 00 02 | 0000 00aa | Reverb Output Assign (0 — 3) |
| | | A, B, C<*>, D<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
|# 00 03 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 1 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 07 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 2 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 0B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 3 (12768 — 52768) |
| | | —20000 — +20000 |
91
MIDI Implementation
|# 00 0F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 4 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 13 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 5 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 17 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 6 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 7 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 1F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 8 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 9 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 10 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 11 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 2F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 12 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 33 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 13 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 37 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 14 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 15 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 3F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 16 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 43 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 17 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 47 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 18 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 19 (12768 — 52768) |
| | | —20000 — +20000 |
|# 00 4F | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Reverb Parameter 20 (12768 — 52768) |
| | | —20000 — +20000 |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 53 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Tone
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0aaa aaaa | Tone Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 01 | 0aaa aaaa | Tone Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 02 | 0aaa aaaa | Tone Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 03 | 0aaa aaaa | Tone Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 04 | 0aaa aaaa | Tone Name 5 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 05 | 0aaa aaaa | Tone Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 06 | 0aaa aaaa | Tone Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 07 | 0aaa aaaa | Tone Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 08 | 0aaa aaaa | Tone Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 09 | 0aaa aaaa | Tone Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
92
| 00 0A | 0aaa aaaa | Tone Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 00 0B | 0aaa aaaa | Tone Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0C | 0000 000a | Assign Type (0 — 1) |
| | | MULTI, SINGLE |
| 00 0D | 000a aaaa | Mute Group (0 — 31) |
| | | OFF, 1 — 31 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 0E | 0aaa aaaa | Tone Level (0 — 127) |
| 00 0F | 0aaa aaaa | Tone Coarse Tune (0 — 127) |
| | | C—1 — G9 |
| 00 10 | 0aaa aaaa | Tone Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 11 | 000a aaaa | Tone Random Pitch Depth (0 — 30) |
| | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, |
| | | 10, 20, 30, 40, 50, 60, 70, 80, |
| | | 90, 100, 200, 300, 400, 500, |
| | | 600, 700, 800, 900, 1000, 1100, |
| | | 1200 |
| 00 12 | 0aaa aaaa | Tone Pan (0 — 127) |
| | | L64 — 63R |
| 00 13 | 00aa aaaa | Tone Random Pan Depth (0 — 63) |
| 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 — 127) |
| | | L63 — 63R |
| 00 15 | 0000 000a | Tone Env Mode (0 — 1) |
| | | NO—SUS, SUSTAIN |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 16 | 0aaa aaaa | Tone Dry Send Level (0 — 127) |
| 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 — 127) |
| 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 — 127) |
| 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 — 127) |
| 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 — 127) |
| 00 1B | 0000 aaaa | Tone Output Assign (0 — 12) |
| | | MFX, A, B, C<*>, D<*>, |
| | | 1, 2, 3, 4, 5<*>, 6<*>, 7<*>, 8<*> |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 — 48) |
| 00 1D | 0000 000a | Tone Receive Expression (0 — 1) |
| | | OFF, ON |
| 00 1E | 0000 000a | Tone Receive Hold—1 (0 — 1) |
| | | OFF, ON |
| 00 1F | 0000 000a | Tone Receive Pan Mode (0 — 1) |
| | | CONTINUOUS, KEY—ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 20 | 0000 00aa | WMT Velocity Control (0 — 2) |
| | | OFF, ON, RANDOM |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 21 | 0000 000a | WMT1 Wave Switch (0 — 1) |
| | | OFF, ON |
| 00 22 | 0000 00aa | WMT1 Wave Group Type (0 — 3) |
| | | INT, SR—JV80, SRX, SAMPLE<*> |
|# 00 23 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Group ID (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 27 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Number L (Mono) (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 2B | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT1 Wave Number R (0 — 16384) |
| | | OFF, 1 — 16384 |
| 00 2F | 0000 00aa | WMT1 Wave Gain (0 — 3) |
| | | —6, 0, +6, +12 [dB] |
| 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 — 1) |
| | | OFF, ON |
| 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 — 3) |
| | | 1 — 4 |
| 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 — 16) |
| 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 — 1) |
| | | OFF, ON |
| 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 — 127) |
| | | L64 — 63R |
| 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 — 1) |
| | | OFF, ON |
| 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 39 | 0aaa aaaa | WMT1 Wave Level (0 — 127) |
| 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 — 127) |
| 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 3E | 0000 000a | WMT2 Wave Switch (0 — 1) |
| | | OFF, ON |
| 00 3F | 0000 00aa | WMT2 Wave Group Type (0 — 3) |
| | | INT, SR—JV80, SRX, SAMPLE<*> |
|# 00 40 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Group ID (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 44 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Number L (Mono) (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 48 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT2 Wave Number R (0 — 16384) |
| | | OFF, 1 — 16384 |
MIDI Implementation
| 00 4C | 0000 00aa | WMT2 Wave Gain (0 — 3) |
| | | —6, 0, +6, +12 [dB] |
| 00 4D | 0000 000a | WMT2 Wave FXM Switch (0 — 1) |
| | | OFF, ON |
| 00 4E | 0000 00aa | WMT2 Wave FXM Color (0 — 3) |
| | | 1 — 4 |
| 00 4F | 000a aaaa | WMT2 Wave FXM Depth (0 — 16) |
| 00 50 | 0000 000a | WMT2 Wave Tempo Sync (0 — 1) |
| | | OFF, ON |
| 00 51 | 0aaa aaaa | WMT2 Wave Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 00 52 | 0aaa aaaa | WMT2 Wave Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 53 | 0aaa aaaa | WMT2 Wave Pan (0 — 127) |
| | | L64 — 63R |
| 00 54 | 0000 000a | WMT2 Wave Random Pan Switch (0 — 1) |
| | | OFF, ON |
| 00 55 | 0000 00aa | WMT2 Wave Alternate Pan Switch (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 56 | 0aaa aaaa | WMT2 Wave Level (0 — 127) |
| 00 57 | 0aaa aaaa | WMT2 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 58 | 0aaa aaaa | WMT2 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 59 | 0aaa aaaa | WMT2 Velocity Fade Width Lower (0 — 127) |
| 00 5A | 0aaa aaaa | WMT2 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 5B | 0000 000a | WMT3 Wave Switch (0 — 1) |
| | | OFF, ON |
| 00 5C | 0000 00aa | WMT3 Wave Group Type (0 — 3) |
| | | INT, SR—JV80, SRX, SAMPLE<*> |
|# 00 5D | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Group ID (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 61 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Number L (Mono) (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 65 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT3 Wave Number R (0 — 16384) |
| | | OFF, 1 — 16384 |
| 00 69 | 0000 00aa | WMT3 Wave Gain (0 — 3) |
| | | —6, 0, +6, +12 [dB] |
| 00 6A | 0000 000a | WMT3 Wave FXM Switch (0 — 1) |
| | | OFF, ON |
| 00 6B | 0000 00aa | WMT3 Wave FXM Color (0 — 3) |
| | | 1 — 4 |
| 00 6C | 000a aaaa | WMT3 Wave FXM Depth (0 — 16) |
| 00 6D | 0000 000a | WMT3 Wave Tempo Sync (0 — 1) |
| | | OFF, ON |
| 00 6E | 0aaa aaaa | WMT3 Wave Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 00 6F | 0aaa aaaa | WMT3 Wave Fine Tune (14 — 114) |
| | | —50 — +50 |
| 00 70 | 0aaa aaaa | WMT3 Wave Pan (0 — 127) |
| | | L64 — 63R |
| 00 71 | 0000 000a | WMT3 Wave Random Pan Switch (0 — 1) |
| | | OFF, ON |
| 00 72 | 0000 00aa | WMT3 Wave Alternate Pan Switch (0 — 2) |
| | | OFF, ON, REVERSE |
| 00 73 | 0aaa aaaa | WMT3 Wave Level (0 — 127) |
| 00 74 | 0aaa aaaa | WMT3 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 00 75 | 0aaa aaaa | WMT3 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 00 76 | 0aaa aaaa | WMT3 Velocity Fade Width Lower (0 — 127) |
| 00 77 | 0aaa aaaa | WMT3 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 78 | 0000 000a | WMT4 Wave Switch (0 — 1) |
| | | OFF, ON |
| 00 79 | 0000 00aa | WMT4 Wave Group Type (0 — 3) |
| | | INT, SR—JV80, SRX, SAMPLE<*> |
|# 00 7A | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Group ID (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 00 7E | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Number L (Mono) (0 — 16384) |
| | | OFF, 1 — 16384 |
|# 01 02 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | WMT4 Wave Number R (0 — 16384) |
| | | OFF, 1 — 16384 |
| 01 06 | 0000 00aa | WMT4 Wave Gain (0 — 3) |
| | | —6, 0, +6, +12 [dB] |
| 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 — 1) |
| | | OFF, ON |
| 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 — 3) |
| | | 1 — 4 |
| 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 — 16) |
| 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 — 1) |
| | | OFF, ON |
| 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 — 112) |
| | | —48 — +48 |
| 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 — 114) |
| | | —50 — +50 |
| 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 — 127) |
| | | L64 — 63R |
| 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 — 1) |
| | | OFF, ON |
| 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 — 2) |
| | | OFF, ON, REVERSE |
| 01 10 | 0aaa aaaa | WMT4 Wave Level (0 — 127) |
| 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 — 127) |
| | | 1 — UPPER |
| 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 — 127) |
| | | LOWER — 127 |
| 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 — 127) |
| 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 15 | 000a aaaa | Pitch Env Depth (52 — 76) |
| | | —12 — +12 |
| 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 — 127) |
| 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 — 127) |
| 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 — 127) |
| 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 — 127) |
| 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 — 127) |
| | | —63 — +63 |
| 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 — 127) |
| | | —63 — +63 |
| 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 — 127) |
| | | —63 — +63 |
| 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 — 127) |
| | | —63 — +63 |
| 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 — 127) |
| | | —63 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 22 | 0000 0aaa | TVF Filter Type (0 — 6) |
| | | OFF, LPF, BPF, HPF, PKG, LPF2, |
| | | LPF3 |
| 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 — 127) |
| 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 — 7) |
| | | FIXED, 1 — 7 |
| 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 26 | 0aaa aaaa | TVF Resonance (0 — 127) |
| 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 28 | 0aaa aaaa | TVF Env Depth (1 — 127) |
| | | —63 — +63 |
| 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 — 7) |
| | | FIXED, 1 — 7 |
| 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 2D | 0aaa aaaa | TVF Env Time 1 (0 — 127) |
| 01 2E | 0aaa aaaa | TVF Env Time 2 (0 — 127) |
| 01 2F | 0aaa aaaa | TVF Env Time 3 (0 — 127) |
| 01 30 | 0aaa aaaa | TVF Env Time 4 (0 — 127) |
| 01 31 | 0aaa aaaa | TVF Env Level 0 (0 — 127) |
| 01 32 | 0aaa aaaa | TVF Env Level 1 (0 — 127) |
| 01 33 | 0aaa aaaa | TVF Env Level 2 (0 — 127) |
| 01 34 | 0aaa aaaa | TVF Env Level 3 (0 — 127) |
| 01 35 | 0aaa aaaa | TVF Env Level 4 (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 — 7) |
| | | FIXED, 1 — 7 |
| 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 — 127) |
| | | —63 — +63 |
| 01 3A | 0aaa aaaa | TVA Env Time 1 (0 — 127) |
| 01 3B | 0aaa aaaa | TVA Env Time 2 (0 — 127) |
| 01 3C | 0aaa aaaa | TVA Env Time 3 (0 — 127) |
| 01 3D | 0aaa aaaa | TVA Env Time 4 (0 — 127) |
| 01 3E | 0aaa aaaa | TVA Env Level 1 (0 — 127) |
| 01 3F | 0aaa aaaa | TVA Env Level 2 (0 — 127) |
| 01 40 | 0aaa aaaa | TVA Env Level 3 (0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 01 41 | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
❍ Rhythm Controller
+——————————————————————————————————————————————————————————————————————————————+
| Offset | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 | 0000 000a | Beam Switch (0 — 1) |
| | | OFF, ON |
| 00 01 | 0aaa aaaa | Beam Assign (0 — 106) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, NOTE, |
| | | OCT—UP, OCT—DOWN, |
| | | START/STOP, TAP—TEMPO, |
| | | PTN—SW, PTN—ACCNT, PTN—SHFFL |
| 00 02 | 0000 000a | Beam Polarity (0 — 1) |
| | | STANDARD, REVERSE |
| 00 03 | 0aaa aaaa | Beam Range Lower (0 — 127) |
| 00 04 | 0aaa aaaa | Beam Range Upper (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | Knob 1 Assign (0 — 100) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 06 | 0aaa aaaa | Knob 2 Assign (0 — 100) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 07 | 0aaa aaaa | Knob 3 Assign (0 — 100) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | PTN—ACCNT, PTN—SHFFL |
| 00 08 | 0aaa aaaa | Knob 4 Assign (0 — 100) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND, AFT, TEMPO, |
| | | PTN—ACCNT, PTN—SHFFL |
|—————————————+———————————+————————————————————————————————————————————————————|
93
MIDI Implementation
| 00 09 | 0aaa aaaa | Switch 1 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, |
| | | PTN—HOLD |
| 00 0A | 0000 000a | Switch 1 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0B | 0aaa aaaa | Switch 2 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, |
| | | PTN—HOLD |
| 00 0C | 0000 000a | Switch 2 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0D | 0aaa aaaa | Switch 3 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, |
| | | PTN—HOLD |
| 00 0E | 0000 000a | Switch 3 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
| 00 0F | 0aaa aaaa | Switch 4 Assign (0 — 104) |
| | | OFF, CC01 — CC31, CC33 — CC95, |
| | | BEND—UP, BEND—DOWN, AFT, |
| | | OCT—UP, OCT—DOWN, TRNS—UP, TRNS—DOWN, |
| | | TAP—TEMPO, |
| | | PTN—HOLD |
| 00 10 | 0000 000a | Switch 4 Assign Mode (0 — 1) |
| | | MOMENTARY, LATCH |
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 11 | 0000 000a | Pattern Switch (0 — 1) |
| | | OFF, ON |
| 00 12 | 0000 000a | Pattern Hold (0 — 1) |
| | | OFF, ON |
| 00 13 | 0aaa aaaa | Pattern Style (0 — 127) |
| | | 1 — 128 |
| 00 14 | 0aaa aaaa | Pattern Accent Rate (0 — 100) |
| 00 15 | 0aaa aaaa | Pattern Shuffle Rate (0 — 100) |
| 00 16 | 0000 000a | Pattern Shuffle Resolution (0 — 1) |
| | | 16TH, 8TH |
| 00 17 | 0aaa aaaa | Pattern Keyboard Velocity (0 — 127) |
| | | REAL, 1 — 127 |
| 00 18 | 0aaa aaaa | Pattern Note Assign (0 — 127) |
| | | C—1 — G9 |
| 00 19 | 0000 000a | Pattern Key Trigger (0 — 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 1A | Total Size |
+——————————————————————————————————————————————————————————————————————————————+
2. GS (Model ID = 42H)
❍ System Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 40 00 00 | 0000 aaaa | |
| | 0000 bbbb | |
| | 0000 cccc | |
| | 0000 dddd | Master Tune (24 — 2024) |
| | | —100.0 — 100.0 [cent] |
| 40 00 04 | 0aaa aaaa | Master Volume (0 — 127) |
| 40 00 05 | 0aaa aaaa | Master Key Shift (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 00 06 | 0aaa aaaa | Master Pan (1 — 127) |
| | | L63 — 63R |
|—————————————+————————————————————————————————————————————————————————————————|
| 40 00 7F | 0aaa aaaa | Mode Set (0, 127) |
| | | GS—RESET, GS—EXIT |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 40 01 10 | 0aaa aaaa | Voice Reserve 1 (0 — 24) |
| 40 01 11 | 0aaa aaaa | Voice Reserve 2 (0 — 24) |
| 40 01 12 | 0aaa aaaa | Voice Reserve 3 (0 — 24) |
| 40 01 13 | 0aaa aaaa | Voice Reserve 4 (0 — 24) |
| 40 01 14 | 0aaa aaaa | Voice Reserve 5 (0 — 24) |
| 40 01 15 | 0aaa aaaa | Voice Reserve 6 (0 — 24) |
| 40 01 16 | 0aaa aaaa | Voice Reserve 7 (0 — 24) |
| 40 01 17 | 0aaa aaaa | Voice Reserve 8 (0 — 24) |
| 40 01 18 | 0aaa aaaa | Voice Reserve 9 (0 — 24) |
| 40 01 19 | 0aaa aaaa | Voice Reserve 10 (0 — 24) |
| 40 01 1A | 0aaa aaaa | Voice Reserve 11 (0 — 24) |
| 40 01 1B | 0aaa aaaa | Voice Reserve 12 (0 — 24) |
| 40 01 1C | 0aaa aaaa | Voice Reserve 13 (0 — 24) |
| 40 01 1D | 0aaa aaaa | Voice Reserve 14 (0 — 24) |
| 40 01 1E | 0aaa aaaa | Voice Reserve 15 (0 — 24) |
| 40 01 1F | 0aaa aaaa | Voice Reserve 16 (0 — 24) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 01 30 | 0aaa aaaa | Reverb Macro (0 — 7) |
| 40 01 31 | 0aaa aaaa | Reverb Character (0 — 7) |
| 40 01 32 | 0aaa aaaa | Reverb Pre—LPF (0 — 7) |
| 40 01 33 | 0aaa aaaa | Reverb Level (0 — 127) |
| 40 01 34 | 0aaa aaaa | Reverb Time (0 — 127) |
| 40 01 35 | 0aaa aaaa | Reverb Delay Feedback (0 — 127) |
| 40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus<*> (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 01 38 | 0aaa aaaa | Chorus Macro (0 — 7) |
| 40 01 39 | 0aaa aaaa | Chorus Pre—LPF (0 — 7) |
| 40 01 3A | 0aaa aaaa | Chorus Level (0 — 127) |
| 40 01 3B | 0aaa aaaa | Chorus Feedback (0 — 127) |
| 40 01 3C | 0aaa aaaa | Chorus Delay (0 — 127) |
94
| 40 01 3D | 0aaa aaaa | Chorus Rate (0 — 127) |
| 40 01 3E | 0aaa aaaa | Chorus Depth (0 — 127) |
| 40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb (0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
❍ Part Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
|# 40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value (0 — 127) |
| | 0aaa aaaa | Tone Number PC Value (0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 02 | 0aaa aaaa | Rx. Channel (0 — 16) |
| | | 1 — 16, OFF |
| 40 1x 03 | 0000 000a | Rx. Pitch Bend (0 — 1) |
| | | OFF, ON |
| 40 1x 04 | 0000 000a | Rx. Channel Pressure (0 — 1) |
| | | OFF, ON |
| 40 1x 05 | 0000 000a | Rx. Program Change (0 — 1) |
| | | OFF, ON |
| 40 1x 06 | 0000 000a | Rx. Control Change (0 — 1) |
| | | OFF, ON |
| 40 1x 07 | 0000 000a | Rx. Poly Pressure (0 — 1) |
| | | OFF, ON |
| 40 1x 08 | 0000 000a | Rx. Note Message (0 — 1) |
| | | OFF, ON |
| 40 1x 09 | 0000 000a | Rx. RPN (0 — 1) |
| | | OFF, ON |
| 40 1x 0A | 0000 000a | Rx. NRPN (0 — 1) |
| | | OFF, ON |
| 40 1x 0B | 0000 000a | Rx. Modulation (0 — 1) |
| | | OFF, ON |
| 40 1x 0C | 0000 000a | Rx. Volume (0 — 1) |
| | | OFF, ON |
| 40 1x 0D | 0000 000a | Rx. Panpot (0 — 1) |
| | | OFF, ON |
| 40 1x 0E | 0000 000a | Rx. Expression (0 — 1) |
| | | OFF, ON |
| 40 1x 0F | 0000 000a | Rx. Hold—1 (0 — 1) |
| | | OFF, ON |
| 40 1x 10 | 0000 000a | Rx. Portamento (0 — 1) |
| | | OFF, ON |
| 40 1x 11 | 0000 000a | Rx. Sostenuto (0 — 1) |
| | | OFF, ON |
| 40 1x 12 | 0000 000a | Rx. Soft (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 13 | 0aaa aaaa | Mono / Poly Mode (0 — 1) |
| | | MODE, POLY |
| 40 1x 14 | 0aaa aaaa | Assign Mode<*> (0 — 2) |
| | | SINGLE, LIMITED—MULTI, |
| | | FULL—MULTI |
| 40 1x 15 | 0aaa aaaa | Use for Rhythm Part (0 — 2) |
| | | OFF, MAP1, MAP2 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 16 | 0aaa aaaa | Pitch Key Shift (40 — 88) |
| | | —24 — +24 [semitone] |
|# 40 1x 17 | 0000 aaaa | |
| | 0000 bbbb | Pitch Offset Fine (8 — 248) |
| | | —12.0 — +12.0 [Hz] |
| 40 1x 19 | 0aaa aaaa | Part Level (CC# 7) (0 — 127) |
| 40 1x 1A | 0aaa aaaa | Velocity Sens Depth (0 — 127) |
| | | —64 — +63 |
| 40 1x 1B | 0aaa aaaa | Velocity Sens Offset (0 — 127) |
| | | —64 — +63 |
| 40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10) (0 — 127) |
| | | RANDOM, L63 — 63R |
| 40 1x 1D | 0aaa aaaa | Keyboard Range Low (0 — 127) |
| 40 1x 1E | 0aaa aaaa | Keyboard Range High (0 — 127) |
| 40 1x 1F | 0aaa aaaa | CC1 Controller Number (0 — 95) |
| 40 1x 20 | 0aaa aaaa | CC2 Controller Number (0 — 95) |
| 40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93) (0 — 127) |
| 40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93) (0 — 127) |
| 40 1x 23 | 0000 000a | Rx. Bank Select<*> (0 — 1) |
| | | OFF, ON |
| 40 1x 24 | 0000 000a | Rx. Bank Select LSB<*> (0 — 1) |
| | | OFF, ON |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate) (0 — 127) |
| | | —64 — +63 |
| 40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth) (0 — 127) |
| | | —64 — +63 |
| 40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.) (0 — 127) |
| | | —64 — +63 |
| 40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance) (0 — 127) |
| | | —64 — +63 |
| 40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack) (0 — 127) |
| | | —64 — +63 |
| 40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay) (0 — 127) |
| | | —64 — +63 |
| 40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release) (0 — 127) |
| | | —64 — +63 |
| 40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay) (0 — 127) |
| | | —64 — +63 |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 — 127) |
| | | —64 — +63 [cent] |
MIDI Implementation
| 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 — 127) |
| | | —64 — +63 [cent] |
| 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 — 127) |
| | | —64 — +63 [cent] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 00 | 0aaa aaaa | Mod Pitch Control (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 02 | 0aaa aaaa | Mod Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 10 | 0aaa aaaa | Bend Pitch Control (64 — 88) |
| | | 0 — 24 [semitone] |
| 40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 12 | 0aaa aaaa | Bend Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 20 | 0aaa aaaa | CAf Pitch Control (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 22 | 0aaa aaaa | CAf Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 30 | 0aaa aaaa | PAf Pitch Control (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 32 | 0aaa aaaa | PAf Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 40 | 0aaa aaaa | CC1 Pitch Control (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 42 | 0aaa aaaa | CC1 Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 40 2x 50 | 0aaa aaaa | CC2 Pitch Control (40 — 88) |
| | | —24 — +24 [semitone] |
| 40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control (0 — 127) |
| | | —9600 — +9600 [cent] |
| 40 2x 52 | 0aaa aaaa | CC2 Amplitude Control (0 — 127) |
| | | —100.0 — +100.0 [%] |
| 40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
| 40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control (0 — 127) |
| | | —10.0 — +10.0 [Hz] |
| 40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control (0 — 127) |
| | | 0 — 600 [cent] |
| 40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth (0 — 127) |
| | | 0 — 2400 [cent] |
| 40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth (0 — 127) |
| | | 0 — 100.0 [%] |
+——————————————————————————————————————————————————————————————————————————————+
x: BLOCK NUMBER (0-F)
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
: : :
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
: : :
Part16 (MIDI ch = 16) x = F
❍ Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start | |
| Address | Description |
|—————————————+————————————————————————————————————————————————————————————————|
| 41 m0 00 | 0aaa aaaa | Drum Map Name 1 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 01 | 0aaa aaaa | Drum Map Name 2 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 02 | 0aaa aaaa | Drum Map Name 3 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 03 | 0aaa aaaa | Drum Map Name 4 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 04 | 0aaa aaaa | Drum Map Name 5 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 05 | 0aaa aaaa | Drum Map Name 6 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 06 | 0aaa aaaa | Drum Map Name 7 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 07 | 0aaa aaaa | Drum Map Name 8 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 08 | 0aaa aaaa | Drum Map Name 9 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 09 | 0aaa aaaa | Drum Map Name 10 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 0A | 0aaa aaaa | Drum Map Name 11 (32 — 127) |
| | | 32 — 127 [ASCII] |
| 41 m0 0B | 0aaa aaaa | Drum Map Name 12 (32 — 127) |
| | | 32 — 127 [ASCII] |
|—————————————+———————————+————————————————————————————————————————————————————|
| 41 m1 rr | 0aaa aaaa | Play Note Number (0 — 127) |
| 41 m2 rr | 0aaa aaaa | Level (0 — 127) |
| 41 m3 rr | 0aaa aaaa | Assign Group Number (0 — 127) |
| | | NON, 1 — 127 |
| 41 m4 rr | 0aaa aaaa | Panpot (0 — 127) |
| | | RAMDOM, L63 — 63R |
| 41 m5 rr | 0aaa aaaa | Reverb Send Level (0 — 127) |
| | | 0.0 — 1.0 |
| 41 m6 rr | 0aaa aaaa | Chorus Send Level (0 — 127) |
| | | 0.0 — 1.0 |
| 41 m7 rr | 0000 000a | Rx. Note Off (0 — 1) |
| | | OFF, ON |
| 41 m8 rr | 0000 000a | Rx. Note On (0 — 1) |
| | | OFF, ON |
|—————————————+————————————————————————————————————————————————————————————————|
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
95
MIDI Implementation
■ Decimal and Hexadecimal Table
(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.
+——————+——————++——————+——————++——————+——————++——————+——————+
| D | H || D | H || D | H || D | H |
+——————+——————++——————+——————++——————+——————++——————+——————+
| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |
| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |
| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |
| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |
| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |
+——————+——————++——————+——————++——————+——————++——————+——————+
D: decimal
H: hexadecimal
* Decimal values such as MIDI channel, bank select, and program change are listed as one 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.
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
<Example2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
<Example3> What is the decimal expression of the nibbled value 0A 03
09 0D?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
<Example4> What is the nibbled expression of the decimal value 1258?
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.
■ Examples of Actual MIDI Messages
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4), and velocity 95.
<Example2> CE 49
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74.
<Example3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 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.
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called
"running status" which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning.
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
(MIDI ch.4) lower byte of parameter value:
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
00H
00H
0CH
00H
7FH
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
96
MIDI Implementation
■ 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.
Heresanexampleofhowthechecksumiscalculated.WewillassumethatintheExclusivemessage
wearetransmitting,theaddressisaabbccddHandthedataorsizeiseeffH.' aa + bb + cc + dd + ee + ff = sum sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
<Example1> Setting CHORUS TYPE of PERFORMANCE COMMON to
DELAY (DT1)
According to the "Parameter Address Map" (p. 77), the start address of Temporary
Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS
TYPE of PERFORMANCE COMMON is;
10 00 00 00H
04 00H
+) 00 00H
10 00 04 00H
DELAY has the value of 02H.
So the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
00 10
(4)
12
(5)
10 00 04 00 address
02 ??
data checksum
(1) Exclusive Status
(4) Model ID (Fantom)
(2) ID (Roland) (3) Device ID (17)
(5) Command ID (DT1) (6) End of Exclusive
F7
(6)
Then calculate the checksum.
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder) checksum = 128 - 22 (remainder) = 106 = 6AH
This means that F0 41 10 00 10 12 10 00 04 00 02 6A F7 is the message should be sent.
<Example2> Getting the data (RQ1) of Performance Part 3 in USER:03
According to the "Parameter Address Map" (p. 77), the start address of USER:03 is 20 02 00
00H, and the offset address of Performance Part 3 is 00 22 00H.
Therefore the start address of Performance Part 3 in USER:03 is;
20 02 00 00H
+) 00 22 00H
20 02 22 00H
As the size of Performance Part is 00 00 00 31H, the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
00 10
(4)
11
(5)
20 02 22 00 00 00 00 31 address data
??
checksum
(1) Exclusive Status
(4) Model ID (Fantom)
(2) ID (Roland) (3) Device ID (17)
(5) Command ID (RQ1) (6) End of Exclusive
F7
(6)
Then calculate the checksum.
20H + 02H + 22H + 00H + 00H + 00H + 00H + 31H = 32 + 2 + 34 + 0 + 0 + 0 + 0 + 49
= 117 (sum)
117 (sum) ÷ 128 = 0 (quotient) ... 117 (remainder) checksum = 128 - 117 (remainder) = 11 = 0BH
This means that F0 41 10 00 10 11 20 02 22 00 00 00 00 31 0B F7 is the message should be sent.
<Example3> Getting Temporary Performance data (RQ1) cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"
(Type parameter) and "TEMP: -PATCH" (Source parameter) options.
According to the "Parameter Address Map" (p. 77), the start address of Temporary
Performance is assigned as following:
Temporary Performance Common 10 00 00 00H
:
10 00 20 00H
:
10 00 2F 00H
:
10 00 60 00H
Temporary Performance Part 1
Temporary Performance Part 16
Temporary Performance Controller
As the data size of Performance Controller is 00 00 00 33H, summation of the size and the start address of Temporary Performance Controller will be;
10 00 60 00H
+) 00 00 00 33H
10 00 60 33H
And the size that have to be got should be;
10 00 60 33H
-) 10 00 00 00H
00 00 60 33H
Therefore the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
(1) Exclusive Status
(4) Model ID (Fantom)
00 10
(4)
11
(5)
10 00 00 00 address
00 00 60 33 data
??
checksum
(2) ID (Roland) (3) Device ID (17)
(5) Command ID (RQ1) (6) End of Exclusive
F7
(6)
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 10
00 00 00 00 00 60 33 5D F7 to be transmitted.
<Example4> Getting data (RQ1) at once;
Temporary Performance data,
Temporary Patch data of whole part in Performance mode,
Temporary Rhythm data of whole part in Performance mode.
cf.) This operation is the same as Data Transfer function in Utility mode with "PERFORM"
(Type parameter) and "TEMP: +PATCH" (Source parameter) options.
According to the "Parameter Address Map" (p. 77), the start address of the above all
parameters is assigned as following:
10 00 00 00H
11 00 00 00H
11 10 00 00H
:
14 60 00 00H
14 70 00 00H
Temporary Performance
Temporary Patch (Performance Mode Part 1)
Temporary Rhythm (Performance Mode Part 1)
Temporary Patch (Performance Mode Part 16)
Temporary Rhythm (Performance Mode Part 16)
The offset address of Rhythm is also assigned as follows:
Rhythm Common 00 00 00H
:
00 10 00H
:
01 3E 00H
:
01 40 00H
Rhythm Tone (Key # 21)
Rhythm Tone (Key # 108)
Rhythm Controller
As the data size of Rhythm Controller is 00 00 00 1AH, summation of the size and the start address of Temporary Rhythm in Performance mode will be;
14 70 00 00H
01 40 00H
+) 00 00 00 1AH
14 71 40 1AH
And the size that have to be got should be;
14 71 40 1AH
-) 10 00 00 00H
04 71 40 1AH
Therefore the system exclusive message should be sent is;
F0
(1)
41
(2)
10
(3)
00 10
(4)
11
(5)
10 00 00 00 address
04 71 40 1A data
??
checksum
(1) Exclusive Status
(4) Model ID (Fantom)
(2) ID (Roland) (3) Device ID (17)
(5) Command ID (RQ1) (6) End of Exclusive
F7
(6)
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 10 11
10 00 00 00 04 71 40 1A 21 F7 to be transmitted.
97
MIDI Implementation
■ 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
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 Fantom, the default settings for the Scale Tune feature produce equal temperament.
❍ Just Temperament (Tonic of C)
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 Just Temperament (Key-tone C) Arabian Scale
C
C#
D
Eb
0
0
0
0
0
-8
+4
+16
-6
+45
-2
-12
G#
A
Bb
B
E
F
F#
G
0
0
0
0
0
0
0
0
-14
-2
-10
+2
+14
-16
+14
-12
-51
-8
+43
-4
+47
0
-10
-49
The values in the table are given in cents. Convert these values to hexadecimal, and transmit them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 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
■ ASCII Code Table
Patch Name and Performance Name, etc., of MIDI data are described the ASCII code in the table below.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| D | H | Char || D | H | Char || D | H | Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
| 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` |
| 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a |
| 34 | 22H | " || 66 | 42H | B || 98 | 62H | b |
| 35 | 23H | # || 67 | 43H | C || 99 | 63H | c |
| 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d |
| 37 | 25H | % || 69 | 45H | E || 101 | 65H | e |
| 38 | 26H | & || 70 | 46H | F || 102 | 66H | f |
| 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g |
| 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h |
| 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i |
| 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j |
| 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k |
| 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l |
| 45 | 2DH | — || 77 | 4DH | M || 109 | 6DH | m |
| 46 | 2EH | . || 78 | 4EH | N || 110 | 6EH | n |
| 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o |
| 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p |
| 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q |
| 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r |
| 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s |
| 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t |
| 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u |
| 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v |
| 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w |
| 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x |
| 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y |
| 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z |
| 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { |
| 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | |
| 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } |
| 62 | 3EH | > || 94 | 5EH | ^ ||——————+——————+——————+
| 63 | 3FH | ? || 95 | 5FH | _ |
+——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
* "SP" is space.
98
MIDI Implementation
<Bank Select and Program Change Correspondence Chart>
Patch
Group
USER
PR-A
PR-B
PR-C
PR-D
PR-E
GM(2)
XP-A (SR-JV80-01)
(SR-JV80-02)
:
XP-B (SRX-01)
(SRX-02)
:
XP-C (SRX-01)
(SRX-02)
:
Number
001–128
001–128
001–128
001–128
001–128
001–128
001–256
001–128
129–256
001–128
129–256
:
001–
001–
:
001–
001–
:
Bank Select
MSB LSB
87
87
121
89
89
89
89
:
93
93
:
93
93
:
87
87
87
87
74
75
0–
2
3
0
1
:
0
1
:
0
1
:
0
71
72
73
Program
Number
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
1–128
:
1–
1–
:
1–
1–
:
* The XP groups vary depending on the Wave Expansion Board(s) you've installed. For information about an SRX series board, refer to the Owner's
Manual that came with it.
Rhythm Set
Group
USER
PRST
GM(2)
XP-A (SR-JV80-01)
(SR-JV80-02)
:
XP-B (SRX-01)
(SRX-02)
:
XP-C (SRX-01)
(SRX-02)
:
Number
001–016
001–016
001–009
001–128
129–256
001–128
129–256
:
001–
001–
:
001–
001–
:
Bank Select
MSB LSB
86
86
120
88
88
88
88
:
92
92
:
92
92
:
0
71
---
2
3
0
1
:
0
1
:
0
1
:
Program
Number
1–16
1–16
1–57
1–128
1–128
1–128
1–128
:
1–
1–
:
1–
1–
:
* The XP groups vary depending on the Wave Expansion Board(s) you've installed. For information about an SRX series board, refer to the Owner's
Manual that came with it.
Multitimbre
Group
USER
PRST
Number
01–16
01–16
85
85
Bank Select
MSB LSB
0
64
Program
Number
1–16
1–16
* To switch multitimbres, the external MIDI device's transmit channel needs to be matched up with the Multitimbre Control Channel of the Fantom. (Owner’s
Manual; p. 182)
Performance
Group
USER
PRST
Number
01–64
01–64
85
85
Bank Select
MSB LSB
0
64
Program
Number
1–64
1–64
* To switch multitimbres, the external MIDI device's transmit channel needs to be matched up with the Multitimbre Control Channel of the Fantom. (Owner’s
Manual; p. 182)
99
(Sound Generator Section)
Model Fantom
MIDI Implementation Chart
Function...
Transmitted Recognized
Basic
Channel
Default
Changed
1—16
1—16
1—16
1—16
Date : Jul. 31, 2001
Version : 1.00
Remarks
Memorized
Mode
Default
Messages
Altered
Mode 3
Mode 3, 4 (M = 1) * 2
Note
Number : True Voice
Velocity
Note On
Note Off
After
Touch
Key’s
Channel’s
O
O
X
O
Mode 3
Mono, Poly
**************
0—127
**************
0—127
0—127
O
O
O *1
O *1
Pitch Bend
Control
Change
Program
Change
O
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
82
83
84
91
92
93
94
95
1—31, 64—95
1—31, 64—95
98, 99
100, 101
76
77
78
80
81
71
72
73
74
75
66
67
68
69
70
17
18
19
64
65
0, 32
1
2
4
5
6, 38
7
8
10
11
16
: True Number
*1
O *1
**************
O *1
O
O
O
O
X
X
X
X
O
O
O
X
O
O
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O (Tone 1 Level)
O (Tone 2 Level)
O (Tone 3 Level)
O (Tone 4 Level)
O
O (Reverb)
X
O (Chorus)
X
X
O
O
X
O
*1
*1
*1
*1
*1
*1
O *1
0—127
Bank select
Modulation
Breath type
Foot type
Portamento time
Data entry
Volume
Balance
Panpot
Expression
General purpose controller 1
General purpose controller 2
General purpose controller 3
General purpose controller 4
Hold 1
Portamento
Sostenuto
Soft
Legato foot switch
Hold 2
Sound variation
Resonance
Release time
Attack time
Cutoff
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
General purpose controller 5
General purpose controller 6
General purpose controller 7
General purpose controller 8
Portamento control
General purpose effects 1
Tremolo
General purpose effects 3
Celeste
Phaser
CC1/2 (General purpose controller 1/2)
CC3/4 (General purpose controller 3/4)
NRPN LSB, MSB
RPN LSB, MSB
Program No. 1—128
System Exclusive
System
Common
: Song Position
: Song Select
: Tune Request
O *3
X
X
X
O *1
X
X
X
System
Real Time
: Clock
: Commands
X
X
X
X
Aux
Messages
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
X
X
X
X
O *1
X
O
O
X
O (123—127)
O
X
* 1 O X is selectable.
* 2 Recognized as M=1 even if M›1.
* 3 Transmits when Data Transfer is executed or RQ1 received.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
100
O : Yes
X : No
(Sequencer Section)
Model Fantom
Basic
Channel
Function...
Default
Changed
Mode
Default
Messages
Altered
Note
Number : True Voice
Velocity
Note On
Note Off
After
Touch
Key’s
Channel’s
Pitch Bend
0—119 O
MIDI Implementation Chart
Transmitted Recognized
All channel
X
All channel
1—16
Date : Jul. 31, 2001
Version : 1.00
Remarks
There is no specific basic channel.
X
X
O
O
O
O
X
X
**************
0—127
**************
0—127
0—127
O
O
O *1
O *1
O O *1
O *1
Control
Change
Program
Change : True Number
O
**************
O *1
0—127
System Exclusive
System
Common
: Quarter Frames
: Song Position
: Song Select
: Tune Request
System
Real Time
: Clock
: Commands
O
O *1
O *1
X
O
O *1
O *1
O *1
O *2
O *1
X
O
O *1
O *1
Aux
Messages
Notes
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
O
O
X *2
O *3
O
X
O
O
X
O (123—127) *3
O
X
*1 O X is selectable.
*2 Not stored/transmitted when received, but can be created and transmitted using Microscope.
*3 Mode Messages (123—127) are recorded and transmitted, after all currently sounding notes
are turned off. The All Note Message itself is not recorded or transmitted. However, it can be
created in Microscope and transmitted.
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
101
MEMO
102
2
Performance List
PRST (Preset Group)
No.
Name
13
14
15
16
09
10
11
12
05
06
07
08
01
02
03
04
Fantasm
All That
Trippin
FunkRock Set
RhythmClvSet
Relaxation
Romance
Soaring Saws
VORTEX
BeatRockSet
Arp BellsPad
Stacked Pads
Quasar
Hit it! RSS
StereoSlicer
SwingJazzSet
No.
29
30
31
32
25
26
27
28
21
22
23
24
17
18
19
20
Name
Eclipse
OrganBldTrio
GruvaciusSet
Rock It!
ArpGuitarSet
Jupiter
Rock Brs Set
Andreas Cave
Voltage Ctrl
Watta Gate!
Techno Set
Road2Heaven
Powerwiggle
VoxStacks
BluesHarpSet
Flying Keys
No.
45
46
47
48
41
42
43
44
37
38
39
40
33
34
35
36
Name
AnalogStkSet
Nirvana
Jz PianoTrio
Springy Set
InstantScore
Sweep Pad
60's Set
Slip Stack
Xtreme!
SlicdTrncSet
Pumping
Dulcitar Stk
TempoMdnsSet
PhsDyn&BsSet
Brass Band
Rock Gtr Set
No.
61
62
63
64
57
58
59
60
53
54
55
56
49
50
51
52
Name
Humanizer
Full Strings
Piano+Rhodes
BossaNovaSet
Techno Set 2
Cultivate
SynthBrs Set
Sabbath Day
Blue Sky
Cycles
MIDI Rhodes
Techno Loop
Lo-Fi Trance
OvertoneStak
Ac.Piano/Bs
Piano & Str
Multitimbre List
PRST (Preset Group)
No. Name
01 FANTOM Temp
02 Techno
03 House
04 Hip-Hop
No. Name
05 Pop
06 Funk Rock
07 Hard Rock
08 Blues
No. Name
09 Ac. Jazz
10 Cont. Jazz
11 Big Band
12 Latin
No. Name
13 New Age
14 Orchestral
15 Film Music
16 GM2 Template
02780690 ’02-3-A3-51N
Sound/Parameter List
Thank you, and congratulations on your choice of the Roland (FA-76).
Performance List ........................................................ 2
Multitimbre List ........................................................... 2
Patch List .................................................................... 3
Rhythm Set List .......................................................... 7
Waveform List ........................................................... 12
Arpeggio Style List ................................................... 15
Rhythm Pattern Style List ........................................ 16
Parameter List........................................................... 17
Effects List ................................................................ 32
MFX Template List .................................................... 63
Error Messages......................................................... 64
About MIDI................................................................. 65
MIDI Implementation ................................................ 66
Bank Select and Program Change Correspondence Chart ....................99
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
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Key Features
- Extensive Sound Library
- Versatile Performance Features
- Advanced Multi-Effects Processing
- Comprehensive MIDI Implementation