The concept of the RP220 Preset
OWNER’S MANUAL
English
General safety instructions
Power source
• Be sure that your local AC main voltage matches the voltage specified on the name plate before connecting to the mains.
• DC power cannot be used to power this instrument.
Handling the power cord
• Never touch the power cord or its plug with wet hands.
• Never pull on the cord to remove it from the wall socket, always pull the plug.
• Never forcibly bend the power cord.
• If the power cord is scarred, cut or broken, or has a bad contact, it will be a potential fire hazard or source of serious
electric shock. NEVER use a damaged power cord; have it replaced by a qualified technician.
If water gets into the instrument
• Remove the power cord from the wall socket at once, and contact the store where the unit was purchased.
• The top surface of your instrument should never be used as a shelf for flower vases and other containers which hold
liquids.
Metal items etc. inside the unit
• Do not permit metal items or other materials to fall inside the unit.
Metal items may result in electric shock or damage.
• Be especially careful with regards to this point when children are near the unit. They should be warned never to try to put
anything inside, and never to slide a hand into the unit while you or other persons are playing.
• If articles do fall inside, remove the power cord from the wall socket at once and, if necessary, contact the store where the
unit was purchased.
• As a general precaution, never open the unit and touch or tamper with the internal circuitry.
If the instrument plays in an abnormal way
• Turn off the power immediately, remove the power cord from the main outlet and contact the store where it was purchased.
• Discontinue using the unit at once. Failure to do so may result in additional damage or other unexpected damage or
accident.
General user maintenance
• Clean the cabinet and keys of your instrument using a soft, clean, slightly damp cloth and polish with a soft, dry cloth.
• Never use industrial cleaners, detergents, abrasive cleansers, waxes, solvents or polishes as they may damage the instrument finish.
• Always turn off the power supply after use and never turn the unit on and off repeatedly in quick succession as this places
an undue load on the electronic components.
The information in this publication has been carefully prepared and checked. The
manufacturers however decline all liability for eventual errors. All rights are reserved.
This publication may not be copied, photocopied or reproduced in part or in whole without
prior written consent from Generalmusic S.p.A. Generalmusic reserves the right to apply
any aesthetic, design or function modifications it considers necessary to any of its products
without prior notice. Generalmusic declines all liability for damage to property or
persons resulting from improper use of the instrument.
© 2000 Generalmusic S.p.A. All rights reserved.
Table of contents
Section 1: Instrument Layout
Front panel .................................................
Rear panel ..................................................
Power switch and Headphones ..................
Turn the instrument on ...............................
Headphone jacks ........................................
Pedal Connection .......................................
2
4
5
5
5
6
Section 2: Quick Study Guide
Realtime operations .................................... 8
Adjust the Volume of the instrument........ 10
Add effects to the selected sound .............. 11
Selecting the RP220 Presets ..................... 12
The Preset ................................................. 14
Listen to the Demo songs ......................... 15
Recording a song ...................................... 17
Section 3: Basic Functions
Master Equalizer ......................................
3D DSP .....................................................
Transpose .................................................
Touch ........................................................
20
20
21
22
Section 4: Perf Edit - The Presets and how
to edit them
The concept of the RP220 Preset .............
The structure of a Preset ...........................
The Effects ...............................................
The Equalizer ...........................................
The PERF. EDIT menu ............................
Sound Program .........................................
Modify the Layer ..................................
Modify the Split ....................................
Sound Volume ..........................................
Section Transpose ....................................
Reverb Send (Rev. Send) .........................
Effect Send (EFX. Send) ..........................
DSP Parameter .........................................
Microtuning ..............................................
User Microtuning .................................
Damper Pedal Assign (Damp. Assign) .....
Auto Wha-Wha Assign ............................
Detune and Delay .....................................
Detune ...................................................
Delay .....................................................
The Store Preset command ......................
How to store your modifications ..............
24
24
25
27
28
29
29
30
31
32
33
34
35
37
37
39
40
41
41
41
43
43
Store the modified Preset to the same
location with the same name ................. 43
Store the modified Preset to a different
location with the same name ................. 44
Change the name of the Preset ................. 44
Section 5: General Edit
General Functions ....................................
Tune Control ............................................
MIDI Menu ..............................................
Midi Menu Page 1 .................................
Midi Menu Page 2 .................................
Midi Menu Page 3 .................................
Midi Menu Page 4 .................................
MIDI Dump ..............................................
Piano Frame Level ...................................
Display Contrast .......................................
Restore Presets .........................................
Restore Microtune ....................................
46
47
48
48
50
52
55
55
57
58
59
60
Section 6: Recording Studio/Sequencer
Recording Studio Controls .......................
Selecting the tracks for recording ............
Overdubbing .............................................
The Click button .......................................
The Time button .......................................
The FF and REW buttons .........................
Muting the Tracks ....................................
The Erase button ......................................
Song Library ............................................
I.M.S.® Intelligent Music Search..............
62
63
64
65
65
66
66
66
67
69
Section 7: Reference
Song Library tables ..................................
Technology ...............................................
Natural String Resonance .........................
Soundboard Simulation ............................
3D DSP .....................................................
Damper Physical Model ...........................
Advanced Release Technology ................
RP220 Technical Specifications ...............
Index .........................................................
73
77
77
77
77
77
77
78
79
Appendix
Preset/User Preset list .............................A. 2
MIDI Implementation chart ...................A. 3
Special Control Change messages .........A. 4
a
b
Section 1
Instrument layout
Front panel
1 2
45
3
6
7
9
30
1. Demo:
2. General:
8
10
11
12
13
14 15 17
16
19 21
18 20 22
23 24 26 28
25
27
29
31
Activates the factory programmed demonstration of the internal sounds.
This button provides access to the functions which affect the instrument as a whole:
Tune, Midi, Piano Frame Level, Display Control, Restore Preset.
3. Volume Slider:
Controls the main volume of the instrument.
4. Master Eq.:
Selects various amplification response curves.
5. 3D DSP:
Activates a sound spatializer control.
6. Transpose #/ b:
Increases (#) or decreases (b) the overall pitch of the instrument in half-step
(semitone) increments.
7. Selection:
Use these buttons to select Presets and User Presets (single, layer or split sound
combinations).
8. Preset\
This button switches between Preset selection mode and User Preset selection
User Preset:
mode.
9. GrandPiano:
Press this button to select the GrandPiano Preset which instantly recalls the
GrandPiano sound across the entire keyboard.
10. Enter/Escape:
Enter confirms entered data in edit situations and Escape exits from an edit menu.
11. Graphic Display: 128 x 64 pixel graphic display, backlit.
12. Data +/–:
These buttons adjust values shown in the display when using programmable
functions.
13. Cursor:
Use these buttons to step through the various functions of the Edit menus and scroll
through the various pages.
14. Balance / :
These buttons adjust the volume balance between two sounds in either Layer or
Split modes.
2
15. Equalizer:
16. Touch:
17. Store:
18. Split:
19. Layer:
20. Reverb:
21. Effect:
22. Perf.Edit:
23. Track\Track2:
24. Click:
25. Time:
26. Erase:
27. Recording
Studio:
28. I.M.S:
29. Song Library:
30. Headphones:
31. Power:
Selects equalization curves that can be stored to the Presets.
This button adjusts the touch of the keyboard according to your playing style.
Press this button when you are ready to store the changes you have made.
Turning this button on will split the keyboard into separate left and right parts and
automatically recall the sound for the left hand.
Press this button to instantly activate two layered sounds which play at the same
time across the entire keyboard.
Use this button to select a reverb type. When the LED is off, the current reverb type
is cancelled.
Use this button to select an effect type. When the LED is off, the current effect type
is cancelled.
Use this button to edit a variety of Preset performance features.
Selects the tracks of the sequencer.
Activates/deactivates the metronome click.
Gains access to various sequencer recording parameters : Time Signature, Tempo,
Metronome volume and Countdown On\Off.
Cancels recorded data from the sequencer tracks.
The on board digital recording section (sequencer) allows you to record what you
play. See the dedicated “Recording Studio/Sequencer” section of this manual for
more details.
Intelligent Music Search® - an automatic means of recalling the Songs from the
Library by playing the first few notes of the piece.
Gains access to the ROM Song Library consisting of several directories and subdirectories containing a selection of pieces of various classical composers.
The Headphones jack panel is located on the left side of the instrument, under the
keyboard.
Situated on the right key block, press this button to turn the instrument on and off.
3
Rear panel
1
1. Computer:
2. Output
Left - Right/M:
3. Input
Left - Right/M:
4. Pedal Switch:
5. MIDI interface:
4
2
3
4
5
Allows direct connection of the instrument to a PC or Macintosh computer (or
relative compatibles) without the need to use a MIDI interface.
These two outputs are used to connect the instrument to another amplifier, mixer or
recording device in stereo. If you are connecting to mono equipment (e.g. a guitar
amplifier) then you should use only the Right/Mono jack.
You can use these two inputs to connect another instrument or sound module to the
piano. The output of the other instrument will be mixed with the main signal of the
RP220 and sent to the Output, Speaker and Headphone jacks. If you are connecting
a mono signal (e.g. a microphone) then you should use only the Right/Mono jack.
The pedal group consisting of three pedals (Damper, Sostenuto and Soft) should be
connected to this connector.
These ports allow the instrument to be connected to other MIDI devices. MIDI In
allows the sounds of the RP220 to be played by an external device, e.g. a controller
keyboard or sequencer. MIDI Out sends MIDI information from the RP220 to other
equipment so that the instrument can be used as a controller. MIDI Thru provides
a copy of the information being received by the MIDI In. Use MIDI Thru when
connecting a number of different instruments together.
Power switch and Headphones
Turn the instrument on
To turn the instrument on, press the Power switch located on the right key
block. After turning on, the name of the instrument appears in the display
for an instant.
Shortly after, the instrument is ready to play the Grand Piano preset.
In this power up condition, you will be able to play a piano sound
(GrandPiano) across the entire keyboard without carrying out other
operations.
<--------------------- Grand Piano
--------------------->
Headphone jacks
The he adphone jacks are located at the extreme left side of the rail which
runs beneath the keyboard.
Plugging a set of headphones into the left jack excludes the internal
speakers to allow you to play in total silence without disturbing others in
the same room. Plugging into the right jack does not exclude the internal
speakers.
Use the Volume slider to adjust the Headphones volume.
5
Pedal Connection
The RP220 is supplied with a three pedal assembly, consisting of the Soft,
Sostenuto and Damper pedals.
Connect the cable from the pedal assembly to the Pedal Switch connector
on the rear panel.
Soft :
Sostenuto :
Damper :
6
The Soft pedal (left) is a switch control pedal (On/
Off) and affects the timbre of the instrument such
that it plays softer, allowing you to continue using
the same playing style at a lower volume.
The Sostenuto pedal (center) is a switch control
pedal (On/Off) which sustains the notes of the
keys currently depressed. All new notes played
after having depressed the pedal are not affected.
The Damper pedal (right) applies the Sustain effect to all notes released. If you release a note
after depressing the Damper, the note will proceed
towards its natural decay according to the type of
sound played.
The Damper is particularly effective with Piano
type sounds.
The Damper is controlled by a Physical Model.
See the “Technology” paragraph in the Reference
section.
Note: for all piano type sounds, the notes of the
uppermost keys (from E6 to C8) are automatically
sustained, such as in an acoustic piano.
Section 2
Quick Study Guide
For those of you who don't like to read manuals or wish to read the
manual in detail later, here is everything you need to get started. This
section will explain how to approach the instrument for the first time in
a simple fashion. It will help you to get quickly acquainted with the most
important features of the instrument.
Realtime operations
The RP220 operating system has been conceived to permit several
simple and quick real time operations.
• Activate Split mode
Starting from the Single Preset “GrandPiano”, you can easily split the
keyboard by pressing the SPLIT button. This will divide the keyboard into
separate left and right sections.
<------- Ac. Bass ------><--------- GrandPiano --------->
After pressing the SPLIT button (the LED turns on), the GrandPiano
sound remains active on the right side of the split. An Acoustic Bass
sound is automatically assigned on the left side of the split.
If you press the SPLIT button again, the LED will turn off and the keyboard
returns to the previous mode with the GrandPiano sound active to play
across the entire keyboard.
• Change the sound assigned to a Split
When you press the SPLIT button, the display shows the sound assigned
to the left split together with the current split point setting:
Left Split sound
Split Point note
If you press the SPLIT button, the display returns to normal showing the
starting situation (in this case the GrandPiano display).
1.
Press the SPLIT button.
2.
Press the DATA +/– buttons to scroll the various sounds.
In this case, pressing the DATA + button will change the sound
assigned to the left keyboard section from Ac.Bass to RideBass,
then to El.Bass and so on, cyclically through the entire Sound data
base (see the Sound Program table on page 31 of this manual).
...
...
Clearly, if you use the DATA – button, you can scroll the sounds in
reverse order.
8
• Change the Split point setting
The default setting of the Split point corresponds to F#3. You can quickly
modify the setting to suit your requirements.
1.
Press and hold down the SPLIT button.
2.
Press the note on the keyboard corresponding to the new split
point required.
In the example, the new split point is shown in the display as B3.
The setting remains memorized until you select a different Preset.
The new Split Point setting may be memorized to the Preset with the
Store button. It is possible to assign a different Split Point setting
to each Preset.
• Activate Layer mode
To mix or “layer” two sounds together, simply press the LAYER button.
1.
After pressing the LAYER button (the LED turns on), a second
sound is activated layered with the first (in this case, Strings is
added to the GrandPiano sound).
<------------------------ GrandPiano ---------------------->
<----------------------Strings
---------------------->
2.
If you press the LAYER button again, the LED turns off and the
keyboard returns to the previous mode with the GrandPiano sound
active to play across the entire keyboard.
• Change the sound assigned to a Layer
When you press the LAYER button, the display shows the sound assigned
to the layer:
If you press the LAYER button, the display returns to normal showing the
starting situation (in this case the GrandPiano display).
9
1.
Press the LAYER button.
2.
Press the DATA +/– buttons to scroll the various sounds.
In this case, pressing the DATA + button will change the sound
assigned to the layer section from Strings to Slow Strings, then to
Mellow Strings and so on, cyclically through the entire Sound data
base (see the Sound Program table on page 31 of this manual).
...
...
Clearly, if you use the DATA – button, you can scroll the sounds in
reverse order.
•
Adjust the Volume of the instrument
You can adjust the volume of the instrument as a whole by using the
Volume slider.
This control increases or decreases the volume of the internal speakers,
the Headphones and the Output Left - Right/M jacks.
• Change the Volume Balance between two sounds
If you are playing either in Layer or Split mode, you can adjust the volume
of the two sections in real time using the BALANCE buttons (in the
CONTROL section). These buttons adjust the volume of one section with
respect to the other, creating a perfect balance between the two sections
according to your requirements.
1.
Press the BALANCE
sound.
button to increase the volume of the main
A temporary display activates showing a bar graph representing the
balance level between the two sounds:
Holding the BALANCE button down increases the volume of the
main sound continually and at the same time, decreases the volume
of the second sound (split or layer) proportionally.
2.
Conversely, press the BALANCE
of the second sound.
10
button to increase the volume
Holding the BALANCE button down increases the volume of the
second sound (split or layer) continually and at the same time,
decreases the volume of the main sound proportionally.
If you select a Single Preset (or deactivate the SPLIT or LAYER
button), the BALANCE buttons operate as normal Volume controls
for the main section.
Pressing either Balance button activates the corresponding Sound
Volume display:
•
Add effects to the selected sound
You can easily add effects to the selected sound by using the REVERB
and EFFECTS buttons in the CONTROL section.
To add Reverb:
•
Press the REVERB button (the LED turns on).
A temporary display activates showing the Reverb Type currently
assigned to the GrandPiano sound, in this case Hall 1 (shown
selected in negative highlight):
To add Effect (chorus/delay/modulation):
•
Press the EFFECT button (the LED turns on).
A temporary display activates showing the Effect Type currently
assigned to the GrandPiano sound, in this case Chorus 1 (shown
selected in negative highlight):
Note. It is possible to add either Reverb, or Effect, or both effects
to a single sound, to a Split or Layer Preset and the settings can be
memorized.
11
Selecting the RP220 Presets
The RP220 contains 64 Internal Presets, consisting of single, split and
layered sound combinations which incorporate appropriately memorized
volume, balance, effect settings and more. An additional 64 User Preset
locations are available with as many sound variations and combinations,
where you can store your preferred programmed sound settings. The
Presets and User Presets are organized in the Selection section.
The Selection buttons
This section consists of a lower row of 8 Preset “family” Groups and an
upper row of 8 Presets of the selected Preset Group.
Presets
Preset
Groups
On the right are the Preset/User Preset button and the GrandPiano
button. The GrandPiano button sets the instrument to play the default
GrandPiano sound instantly, returning the instrument to Single Preset
mode from any situation.
When the LED of the Preset button is off, the sounds recalled relate to the
internal Presets.
When the User Preset LED is on, the sounds recalled are user memorized
Presets.
The 8 Preset Group buttons are marked as follows: Acoustic Piano,
Electric Piano, Keyboard, Organ, Strings, Choir\Pad, Guitar, Vibes.
The 8 buttons of the upper row select 8 different Presets of the currently
selected Preset Group and are factory-set to recall Presets in the
following manner:
1
2
3
4
5
6
7
8
Single
Single
Single
Single
Layer
Layer
Split
Split
Each Preset of the current Group contains a memorized Layer and Split
sound combination which you can recall in real time by activating the
appropriate buttons.
Similarly, a Layer or Split Preset is easily converted to one of the other
modes by activating/deactivating the Split or Layer buttons accordingly.
For example, if you have selected the Layer Preset 5 of a Preset Group,
simply press SPLIT to recall the memorized Split combination, or deactivate LAYER to recall the memorized Single sound.
When you select a Preset Group from the lower row for the first time after
turning on, Preset n. 1 of the upper row is automatically selected by
default.
12
Example 1
1.
If you select the Piano Group button, Preset 1 (GrandPiano) is
recalled automatically.
2.
Now select button n. 3 of the top row.
This will recall the single Preset Upright Piano across the entire
keyboard.
Example 2
3.
If you select the El. Piano Group button, Preset n. 1 of the top row
activates automatically, recalling the Preset Rhodex 1.
4.
Now press button 4 and you recall the Preset Rhodex 3.
Repeat the operations to select the other Presets.
The last Preset button selected for the current Preset Group remains
memorized. For example, if you select the Piano Group button (as in the
example explained above), Preset 3 (Upright Piano) will be recalled. If
you now select the El Piano Group button, you will recall the Rhodex 3
Preset (button 4).
This system of memorizing the last selection made will help you recall
your preferred Presets quickly.
Note: For a list of Presets and factory
User Presets, refer to the tables in the
Appendix.
User Presets
The same logic of memorizing the last selection made also applies to the
User Presets. Simply press the Preset button to activate the User Presets
(the LED turns on). Here you will find an additional 64 User Presets
belonging to the same Preset Groups which recall different sound combinations with respect to the Presets.
For example, you can select the Preset n. 3 of the Piano Group to recall
Upright Piano, select User Preset n. 7 to recall Jazz Piano 2, then switch
from Preset to User Preset by pressing the Preset/User Preset button
repeatedly.
The User Presets are also programmable. You can memorize any
preferred sound setting to the User locations without permanently losing
the factory User Presets. These can be restored to their original status
using the Restore Preset function (see the General chapter).
13
The Preset
The changes that you make to your sounds and sound combinations (add
effects, select Split or Layer, adjust the volumes, change the effect sends,
etc.), can be memorized to the User Preset locations.
In simple terms, a User Preset (sometimes also called a “Performance”)
is just the end result of some tweaking and editing where the instrument
now sounds the way you want it to. At this stage, your User Preset can
be saved in memory so that you can instantly recall it the next time you
need to use it.
Although the procedure for saving and naming a User Preset is described
in detail elsewhere in this manual, the basic steps are very simple.
•
After creating a User Preset which you want to store, press the
STORE button.
•
Next, choose one of the lower Selection buttons followed by one of
the 8 buttons of the upper row. Your User Preset is now stored to
memory.
14
Listen to the Demo songs
The RP220 contains a set of demonstration recordings of the internal
sounds.
•
Press the DEMO button to trigger the playback of the demo songs.
The LEDs of the Selection section start to flash.
The display shows the Demo mode situation for an instant.
Shortly after, the first demo recording of a piano sound starts to play.
When it reaches the end, the second recording starts automatically
and so on.... The title of each recording is shown in the display.
•
To stop the playback at any point, press the DEMO button again.
The demonstration sequence consists of 16 recordings, chained to play
as a medley automatically. Each recording corresponds to a demonstration of the selected Preset of the Selection section.
Select a single demonstration
It is possible to select a single demonstration recording without activating
the chain playback.
1.
Press the DEMO button then, while the LEDs of the Selection
buttons are flashing, press one of the Selection buttons to trigger
the playback of the single recording.
The titles of the recordings are listed below:
Demo song list
1
2
3
4
5
6
7
8
Karma
Strato
+ Pad
Combo
Vibes
+ Bass
Bach
Air
Choir
6 string
Guitar
Alborada
Toccata
Vibes
solo
Choir/Pad
Guitar
Vibes
Beethoven
Latin
Tchaikovsky Walkin’
Bach
Clouds
Romance
Electric
NutRock Jazz Organ Concerto Pad+Fretless
Piano+String Grand+Bass
Celesta
+ Bass
Harpsi+String
Bass
Chopin
Prelude
Piano solo
Nuances
Rhodex
solo
Bach v.
Bach
Vivaldi
Goldberg
Fugue Concerto in A–
Harpsichord ChurchOrgan
Strings
Ac.Piano
El.Piano
Keyboard
Organ
String
The buttons of the lower row recall single Preset recordings: piano, organ,
etc.. The upper row of buttons recall recordings of the Presets containing
two sections: piano and strings, piano and bass, etc.
15
When you press a button, the corresponding LED remains on and the
corresponding demonstration recording starts to play.
Example:
1.
Press the DEMO button. The Demo mode display is shown:
2.
Press, for example, the El.Piano button.
The demo starts to play. At the same time, the display shows the
number and name of the Demo song currently playing:
3.
It is possible to pass instantly from one Demo song to another by
pressing another button (in this case Organ).
4.
To stop the Demo song press the corresponding button again.
Note: In DEMO mode, all the instrument’s panel commands, the
keyboard and the MIDI interface will be temporarily disabled.
16
Recording a song
The RP220 sequencer (Recording Studio) allows you to record a simple
song just as you play it.
1.
Select the Preset that you want to record.
2.
Press the REC button.
The LED of the TRACK 1 button starts to flash and the display shows
the Time Signature, the Measure counter (Song pointer) and the
current Tempo setting.
Song pointer
Flashing
3.
If you want to record with the click of the Metronome, press the
CLICK button in the Recording Studio.
4.
Using the DATA +/– buttons you can adjust the recording and
playback speed (Tempo):
Tempo setting
5.
Press the PLAY/STOP or PAUSE button.
A one measure countdown into the recording starts, indicated by the
Measure counter (0/1, 0/2, 0/3, 0/4):
6.
Start to play after the one measure countdown.
7.
When you have finished playing, press PLAY/STOP.
The LED of the Track 1 button remains on to show that the track
contains recorded data.
At this point, you can activate the Track 2 button and repeat the
recording procedure to record the second track. Pressing Play/
Stop activates the Track 1 playback and the Track 2 recording
17
process. (Refer to chapter on “Recording Studio/Sequencer” in
Section 6 for detailed information on the sequencer functions).
8.
After pressing Play/Stop to stop the recording, press the REC
button to escape Record mode.
9.
To playback your recording, press PLAY/STOP.
18
Section 3
Basic Functions
This section will explain some basic real time panel functions which
affect the instrument as a whole.
MASTER EQUALIZER
Pressing the Master Eq. button gains access to a Master EQ control that
provides two response curves which affect the overall tone of the
instrument (Normal and Loudness) and a bypass option (External).
Pressing the button activates a temporary display showing 3 curves to
choose from. The selected option is shown in negative highlight:
Normal:
This curve is selected by default and provides a linear
frequency response.
Loudness: This response curve provides an enhancement of the
bass frequencies and is particularly effective when
playing at low volume levels.
External: This setting disactivates the Master Eq. and is particularly effective when the instrument’s sounds are amplified by an external amplification system.
Use the Cursor Up/Down buttons to select the various curves; the
selection menu is cyclic.
3D DSP
This button activates a DSP menu where you will find two special “threedimensional” effects designed to enhance the sound of your RP220 (3D
Active and Enhanced) and a bypass option (Eternal).
Pressing the button activates a temporary display showing the 3 options
to choose from. The selected option is shown in negative highlight:
3D Active: This default setting activates the 3D surround effect
which spatializes the sound.
Enhanced: This setting boosts the spatial effect further and is
particularly effective when playing a low volume levels.
External: This setting disactivates the 3D DSP and is particularly
effective when the instrument’s sounds are amplified
by an external amplification system.
Use the Cursor Up/Down buttons to select the options; the selection
menu is cyclic.
20
TRANSPOSE
Pressing either TRANSPOSE button will adjust the pitch of the instrument
in half-step (semitone) increments or decrements, through the overall
range of –/+ 12 semitones.
When both LEDs are off, the pitch of the instrument is set to normal
(Equal: C = C).
To Transpose the instrument
1.
Press TRANSPOSE #.
The corresponding LED turns on and the pitch of the instrument is
raised one semitone. The amount of transposition is displayed as
a relative value for a short period, together with a graphic indication
on a small keyboard image.
After about 5 seconds, if you don’t press either Transpose button,
the display returns to the previous situation and the instrument
remains at the last set pitch.
Every time you press the TRANSPOSE # button, the pitch is raised
by one semitone.
2.
Press TRANSPOSE b.
The pitch of the instrument is lowered one semitone and the amount
of transposition is displayed as a relative value for a short period.
(An eventual raised transpose setting will be lowered by one halfstep by pressing Transpose b).
…
Every time you press the TRANSPOSE b button, the pitch is
lowered by one semitone.
After about 5 seconds, if you don’t press either Transpose button,
the display returns to the previous situation and the instrument
remains at the last set pitch.
The current Transpose setting remains memorized even after turning the
instrument off. When you turn the instrument on again, the LED of the
Transpose b or # buttons shown indicate the lowered or raised status of
the pitch.
Reset Transpose
The current pitch setting can be cancelled instantly by pressing both
buttons together. This restores normal pitch to the instrument.
21
TOUCH
The RP220 offers three different keyboard responses, or “velocity curves”,
which affect the instrument as a whole. Every time you turn on the
instrument, the “NORMAL” curve is set automatically. Two other curves
are available: Soft and Hard.
Pressing the TOUCH button (in the Control section) activates a temporary
display showing 3 velocity curves to choose from. The selected option is
shown in negative highlight:
Soft :
this is useful for a player with a lighter touch or somebody more accustomed to a synth action keyboard. It
requires only a relatively soft touch to achieve maximum
volume.
Normal : This setting most accurately represents the touch response of a piano.
Hard :
This setting is for “stronger” players. It requires a fairly
powerful touch to achieve maximum volume.
Use the Cursor Up/Down buttons to select the various curves; the
selection menu is cyclic.
The selected response curve remains in memory until changed again, or
until you turn the instrument off. Turning on again will restore the
NORMAL setting.
22
Section 4
Perf. Edit - the Presets
and how to edit them
When you construct a combination of sounds there are many powerful
performance features available under the PERF. EDIT button which
can help you tailor the sound combination to your needs. This section
will explain how to edit Presets to create User Presets.
The concept of the RP220 Preset
How to select the Sounds (or Presets) is discussed in the Quick Guide.
This chapter takes a deeper look into the Preset controlling parameters
and how to use them to create User Presets to suit your playing.
Whatever RP220 Preset is selected also recalls a set of user programmable performance parameters, as shown in the margin.
As can be seen in the table shown opposite, the RP220 Presets “carry”
several different types of variable performance parameters, easily accessed
and modified. The modified Presets can then be saved (together with any
other changes that you decide to make) to the User Preset locations for
future recall.
The structure of a Preset
The RP220 provides three different playing modes: Single, Split and
Layer. The passage from one mode to the other is simple and straight
forward; from Single, press Split or Layer. From Layer or Split, deactivate
the selected Control button to return to Single.
If you have followed the Quick Guide, you will have discovered that the
Single, Split and Layer Presets are appropriately programmed to suit the
mode being used.
The possibility of switching from one mode to the other is due to the
RP220 Preset structure, which consists of three sections:
1.
A section for the main sound (Single mode);
2.
A section for the Split;
3.
A section for the Layer.
The three sections recall independently programmed control parameter
settings together with the possibility of memorizing the On/Off status of
each section.
You can check this by selecting, for example, the Preset buttons from 5
to 8 for any Preset Group button. You will note that the Split or Layer
button will activate automatically according to the Preset button selected.
The Single Presets, on the other hand (buttons 1 - 4) provide the
possibility of activating Layer or Split situations at any moment. Furthermore, in the User Preset section, you can save your modified Presets to
suit your playing needs.
24
PRESET
Sound Program
KBD Mode: single, Split Layer
Sound Volume (section)
Split Point
Section Transpose
Reverb send (section )
Reverb Type & parameter
EFX send (section)
EFX Type & parameters
Damper assign (section)
Auto Wha-Wha (section)
Microtuning
Detune (Layer section)
Delay (Layer section)
Preset Name
Equalizer
The Effects
The Presets include DSP data (Reverb and modulating Effects), of
fundamental musical importance, because it allows you to select Preset
sounds together with appropriate effects settings without additional
operations. For example, the Preset “Rhodex1” (El Piano n. 1) carries the
Stage reverb and a Chorus effect, while the Preset “Wurlie” (El Piano n.
2) recalls the Room reverb and a Tremolo effect.
To insert or deactivate the effects, simply press the corresponding effect
button (Reverb and/or Effect). When the LEDs of either or both buttons
are on, the corresponding effect types are active. When the LEDs are off,
the effects are deactivated.
Selecting different effects
When you press one of these buttons, the effect assigned to the current
Preset is displayed for a short period.
Example:
1.
2.
Press the GrandPiano button.
Press the Reverb or Effect button.
The display shows the Reverb or Effect type memorized for the
GrandPiano sound (Hall 1 for Reverb and Chorus 1 for Effect in this
case):
Reverb display:
Effect display:
…
3.
If, during the temporary display period, you press the CURSOR
buttons to the right of the display, you can change the Reverb or
Effect type.
Pressing the Cursor
/
buttons scroll the Reverb or Effect types.
Reverb displays:
Effect displays:
If you hold the Cursor or button, you can scroll through both
columns of the current display.
25
The Cursor button switches from the left column to the right and
changes page from 1 to 2:
Reverb from column to column:
REVERB TYPE SELECT
Room 1
Pg.1
Church 1
Stage 1
Plate 1
Hall 1
Slap 1
Small Room 1
Concert 1
Reverb from page to page:
REVERB TYPE SELECT
Pg.1
REVERB TYPE SELECT
Pg.2
Room 1
Church 1
Room 2
Church 2
Stage 1
Plate 1
Stage 2
Plate 2
Hall 1
Slap 1
Hall 2
Slap 2
Small Room 1
Concert 1
Small Room 2
Concert 2
Effect from column to column:
EFFECT TYPE SELECT
Chorus 1
Tremolo 1
Phaser 1
Flanger
Pg.1
PitchShift 1
Delay 1
Delay 2
Chorus Trem
Effect from page to page:
EFFECT TYPE SELECT
Chorus 1
Pg.1
PitchShift 1
EFFECT TYPE SELECT
Rotary
Tremolo 1
Delay 1
Ensemble 1
Phaser 1
Delay 2
Ensemble 2
Flanger
Chorus Trem
Chorus 2
Pg.2
Tremolo 2
Phaser
2
Phaser Trem
Chorus Delay
The Cursor button gives the inverse effect - it switches from the
right column to the left and changes page from 2 to 1.
If you press the Reverb and/or the Effect button again (LED turns off), the
effect is bypassed and the sound plays “dry”.
Whatever changes you make to the Reverb or Effect selections for the
current Preset will be lost when you select another Preset.
Further ahead in the manual you will find instructions regarding how to
save your changes to memory.
26
The Equalizer
The status of the Equalizer can also be independently memorized to the
Presets in addition to the changes made to the Perf Edit menu.
The Equalizer edit is activated by pressing the Equalizer button (in the
Controls section).
Entering the Equalizer shows a menu where it is possible to choose from
8 different Equalizer curves. The selected curve is shown in negative
highlight.
EQUALIZER
Pg.1
FLAT
EXCITER
BRILLIANCE
WARM
PRESENCE
COMBO
BASS BOOST
ORCHESTRA
Using the Cursor Down button, you can scroll the various curves until you
find the one best suited to your requirements for the current Preset.
EQUALIZER
FLAT
Pg.1
EXCITER
BRILLIANCE
WARM
PRESENCE
COMBO
BASS BOOST
ORCHESTRA
Using the Cursor Up button scrolls in the opposite direction.
Holding the Cursor Up/Down buttons scrolls the 8 displayed curves
continually. For quicker selections, use the Cursor
and
buttons
which change column.
EQUALIZER
FLAT
Pg.1
EQUALIZER
Pg.1
EXCITER
FLAT
EXCITER
BRILLIANCE
WARM
BRILLIANCE
WARM
PRESENCE
COMBO
PRESENCE
COMBO
BASS BOOST
ORCHESTRA
BASS BOOST
ORCHESTRA
When you have selected the desired curve, remember to save the
changes to the Preset using the Store Preset command (explained
afterwards).
The Equalizer menu is a temporary display which returns to the previous
selection after 5 seconds of inactivity.
27
The PERF. EDIT menu
The PERF. EDIT button gains access to several performance parameters
of the Presets which can help you tailor your Presets to your needs.
The status of the Edit varies according to the current Preset type selected:
Single, Split, Layer.
The following table shows the list of the Perf. Edit parameters:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Sound Program
Sound Volume (section)
Section Transpose
Rev. Send (section)
EFX Send (section)
DSP Parameter
Microtuning
Damper assign (section)
Auto Wha Wha Assign (section)
Detune/Delay (Layer section)
Press the Perf. Edit button to enter the Preset functions. The corresponding LED starts to flash to indicate that an edit situation is currently active.
You can select the parameters of the current page with the CURSOR Up/
Down buttons located to the right of the display.
Sound Program recalled
Sound Program number
EDIT MENU
Main
:
1 Grand P1
Layer : 29 Strings
Split : 44 Ac.Bass
Sound Setting
Name of the Edit function
Pg. 1
Page number
Use the DATA +/– buttons to change the value or status of the selected
parameter.
Use the CURSOR Left/Right buttons to change edit page.
To escape the edit menu, press the Perf. Edit button. The LED stops
flashing and turns off. You can also use the ESCAPE button to exit the
Edit mode at any time.
For the purpose of the following explanations, select the GrandPiano
Preset (press the corresponding button).
Press the Perf. Edit button to gain access to the relative Edit functions.
The first function displayed is the Sound Program.
28
1. Sound Program
The Sound Program is a fundamental function which determines the
instrument’s timbre. The relative Sound Program display shown below
refers to the single Preset selected at the beginning (GrandPiano in this
case). The Main sound is shown selected (negative):
EDIT MENU
MAIN
:
1 Grand P1
LAYER : 29 Strings
SPLIT : 44 Ac.Bass
Sound Setting
Pg. 1
To change the Sound Program of the selected section, simply press the
DATA +/– buttons to select the next or previous Sound Program (see the
complete Sound Program list on page 31).
EDIT MENU
MAIN
:
EDIT MENU
1 Grand P1
Main
:
2 Grand P2
Layer : 29 Strings
LAYER : 29 Strings
SPLIT : 44 Ac.Bass
Split : 44 Ac.Bass
Sound Setting
Sound Setting
Pg. 1
Pg. 1
As in all selection procedures, the Sound Program selection is cyclic. The
DATA + button selects in increasing order of Program change while the
DATA – button selects in the reverse order.
Modify the Layer
It is also possible to modify the Layer status of the current Preset.
Note: Whatever changes you make to the Layer section of the current
Preset can be heard only if the Layer button is active (LED on).
With the Sound Program function still active, press the CURSOR Down
button. The programmed Layer sound (in this case Strings) is shown
selected:
EDIT MENU
Main
:
3 Upright
Layer : 29 Strings
Split : 44 Ac.Bass
Sound Setting
Pg. 1
To change the Layer sound, proceed as already described, by using the
DATA +/– buttons to scroll the Sound Programs.
EDIT MENU
Main
:
3 Upright
Layer : 29 Strings
EDIT MENU
Main
:
3 Upright
Layer : 30 Slow Str
Split : 44 Ac.Bass
Split : 44 Ac.Bass
Sound Setting
Sound Setting
Pg. 1
Pg. 1
29
Modify the Split
The Split section of the current Preset can also be modified using the
same method described for the Layer section.
Press the CURSOR Down button to select the Split section (negative):
EDIT MENU
Main
:
3 Upright
Layer : 30 Slow Str
Split : 44 Ac.Bass
Sound Setting
Pg. 1
Change the Sound Program of the Split section by using the DATA +/–
buttons.
EDIT MENU
Main
:
EDIT MENU
3 Upright
Main
Layer : 30 Slow Str
:
3 Upright
Layer : 30 Slow Str
Split : 44 Ac.Bass
Split : 44 RideBass
Sound Setting
Sound Setting
Pg. 1
Pg. 1
Clearly, it is possible to assign any sound from the Sound Program list to
either the Layer or Split sections.
The Sound Program table
The following table lists the Sound Programs available, including the
relative Program Change numbers. Note that the listed Sound Programs
represent single Sounds that can be assigned to either the Single, Split
or Layer sections of the Presets.
A Preset can recall either a single Sound Program, or a combination of
two Sound Programs (in Layer or Split form). The Sound Programs are
not to be confused with the Presets, which are listed in the Appendix.
Pr.Ch
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
30
Sound
Grand P1
Grand P2
Upright
RockPian
Honky T.
El.Grand1
El.Grand2
Rhodex 1
Rhodex 2
Wurlitz
SynWurli
FM Piano1
FM Piano2
Harpsi1
Harpsi2
Clavinet
SynClavi
Celesta 1
Celesta 2
Harp
Vibes 1
Pr.Ch
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
Sound
Vibes 2
Marimba
Pipe Org
PopOrg1
PopOrg2
JazzOrg1
JazzOrg2
Strings
Slow Str
Mellow St
Choir
AtkChoir
PadChoir
TapPad
AtkPad
DarkPad
IceRain
ChimePad
NylonGtr
SteelGtr
JazzGtr
Pr.Ch
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
Sound
StratGtr
Ac.Bass
RideBass
El.Bass
Fretless
SlapBass
Marcato
SynChoir
El.Grand3
Organ3
RockPipe
PercVox
Rhodex3
SynWurli
Xilophon
Analog
Pipe2
Clavin20
E.Bass2
MuteSynt
Marcato2
Rhodex4
Note: Whatever changes you
make to the Split section of
the current Preset can be
heard only if the Split button
is active (LED on).
2. Sound Volume
Press the CURSOR RIGHT button to pass to the second screen (Sound
Volume). The negative highlight cursor is shown in correspondence with
the main sound volume:
EDIT MENU
Main
:
127
Layer :
54
Split :
Sound Volume
90
Pg. 2
The volume of the main sound is represented by a bar graph and
corresponding numerical value.
To change the volume setting, press the DATA +/– buttons.
Holding down the DATA + or – button increases or decreases the volume
setting rapidly and stops instantly after release.
Press the CURSOR Down button to change the Volume of the Layer
section:
EDIT MENU
Main
:
127
Layer :
54
Split :
Sound Volume
90
Pg. 2
To change the Volume setting, use the DATA +/ buttons as described.
Press the CURSOR Down button again to change the Volume of the Split
section:
EDIT MENU
Main
:
127
Layer :
54
Split :
90
Sound Volume
Pg. 2
To change the Volume setting, use the DATA +/ buttons as described.
Note: Remember that the Volume changes made to the Layer and/or
Split sections will only be heard if the corresponding Layer and Split
buttons are active (LEDs on).
31
3. Section Transpose
Press the CURSOR RIGHT button to pass to the Section Transpose
function. This function is useful for “octave shifting” when using a Split or
Layer Preset. An octave shift is obtained by setting the transpose value
to – 12 (one octave lower than normal) or +12 (one octave higher than
normal). A maximum Transposition of + 24 or – 24 semitones (2 octaves)
can be obtained. A section transpose setting affects the individual Sound
Programs of the current Preset, not the instrument as a whole (as with the
Transpose buttons).
The pitch of the currently displayed sound can be transposed using the
DATA + or – buttons. To raise the pitch, use the Data + button. To lower
it, use the Data – button.
The display examples below show section transpose settings for the Main
sound of one semitone below standard pitch (a) and one semitone above
(b), indicated by the note symbols C=B and C=C#:
a)
b)
EDIT MENU
Main
EDIT MENU
:
C=B
-1
Layer :
C=C
0
Split :
C=C
0
Main
…
Section Transpose Pg. 3
:
C=C#
1
Layer :
C=C
0
Split :
C=C
0
Note: It is also possible to use the
panel Transpose b/# buttons to change
the pitch of the currently selected section.
Section Transpose Pg. 3
To change the pitch of the Layer or Split section, select the section with
the Cursor Down button and use the Data +/– buttons as already
described:
EDIT MENU
Main
:
EDIT MENU
C=B
-1
Layer :
C=C
0
Split :
C=C
0
Section Transpose Pg. 3
Main
…
:
C=B
-1
Layer :
C=C
0
Split :
C=C
0
Section Transpose Pg. 3
Note: Remember that the Pitch changes made to the Layer and/or Split
sections will only be heard if the corresponding Layer and Split buttons
are active (LEDs on).
Reset Section Transpose
While you are still in the Section Transpose page, you can reset the pitch
of the currently selected sound to the standard pitch (C=C) by pressing
both TRANSPOSE # and b buttons together.
EDIT MENU
Main
:
EDIT MENU
C=C#
1
Main
:
C=C
0
Layer :
C=C
0
Layer :
C=C
0
Split :
C=C
0
Split :
C=C
0
Section Transpose Pg. 3
32
Section Transpose Pg. 3
4. Reverb Send (Rev. Send)
Press the CURSOR RIGHT button to access the Rev. Send function.
The Rev Send function can be used to independently control the amount
of reverb applied to a section (Single, Split or Layer) of the current Preset.
For example, the single Preset GrandPiano recalls a reverb send of 64 (a
moderate reverb amount), the Layer section (Strings) is programmed at
90 (to give more depth to the sound) and the Split section (Ac.Bass) plays
with a Rev Send value of 0.
Note: the following examples can be heard on your instrument only if the
Reverb button is selected (LED on).
The status of the Rev Send setting for the main sound is shown by the
negative cursor:
EDIT MENU
:
64
Layer :
Main
90
Split :
Rev. Send
0
Pg. 4
To apply more or less Rev Send to the currently displayed section, press
the DATA + or – buttons. You can adjust the Rev. Send value within the
range 0 … 127. The “0” setting corresponds to no Reverb.
To modify the Layer section, press the Cursor Down button and change
the value with the Data +/– buttons.
EDIT MENU
Main
:
64
Layer :
90
Split :
Rev. Send
0
Pg. 4
To modify the Split section, press the Cursor Down button and change the
value with the Data +/– buttons.
EDIT MENU
Main
:
64
Layer :
90
Split :
Rev. Send
0
Pg. 4
Holding down the DATA + or – button increases or decreases the Rev
Send value rapidly and stops instantly after release.
Note: Remember that changes made to the Rev. Send parameter for the
Layer and/or Split sections will only be heard if the corresponding Layer
or Split buttons are active (LEDs on).
33
5. Effect Send (EFX. Send)
Press the CURSOR RIGHT button to access the Efx. Send function.
This function works in exactly the same way as Reverb Send. The EFX.
Send function can be used to control the amount of Effect applied to the
various sections of the current Preset.
For example, the single Preset GrandPiano recalls an Effect Send of 64,
the Layer section 100 and the Split section 0.
Note: the following examples can be heard on your instrument only if the
Effect button is selected (LED on).
The status of the Efx. Send parameter for the main sound of the
GrandPiano Preset is shown as follows:
EDIT MENU
Main
:
64
Layer :
100
Split :
Efx. Send
0
Pg. 5
To apply more or less Efx. Send to the currently displayed section, press
the DATA + or – buttons. You can adjust the Efx. Send value within the
range 0 … 127. The “0” setting corresponds to no Effect.
To modify the Layer section, press the Cursor Down button and change
the value with the Data +/– buttons.
EDIT MENU
:
64
Layer :
Main
100
Split :
Efx. Send
0
Pg. 5
To modify the Split section, press the Cursor Down button and change the
value with the Data +/– buttons.
EDIT MENU
Main
:
64
Layer :
100
Split :
Efx. Send
0
Pg. 5
Holding down the DATA + or – button increases or decreases the EFX.
Send value rapidly and stops instantly after release.
Note: Remember that changes made to the Efx. Send parameter for the
Layer and/or Split sections will only be heard if the corresponding Layer
or Split buttons are active (LEDs on).
34
6. DSP Parameter
Press the CURSOR RIGHT button to access the DSP Parameter function.
This page contains important DSP parameters which allow you to control
the Reverb Decay time (Rev. Time), or the depth of action (Depth) and
velocity (Rate) of a modulation effect (Chorus).
These parameters affect the instrument as a whole, therefore the relative
Edit Menu is not divided into sections but varies according to the
modulation effect recalled by the selected Preset.
Reverb Decay Time (Rev. Time)
Entering the DSP Parameter page for the first time shows the Rev. Time
parameter selected.
EDIT MENU
Rev. Time :
2.0
Efx. Depth:
4
Efx. Rate :
DSP Parameter
1
Pg. 6
If a Reverb effect has been selected (Reverb button on), the Rev. Time
function can be used to control the “reverb time”, or the delay amount for
the particular reverb type selected for the current Preset. Basically, this
allows you to proportionally increase or decrease the dimensions of the
surroundings simulated by the DSP.
Holding down the DATA + or – button increases or decreases the Rev.
Time value rapidly and stops instantly after release. The value obtained
is expressed in seconds.
Note: To listen to the changes made, the Reverb button must be selected
(LED on).
Parameter 1, Parameter 2
The two parameters which appear after the Rev. Send parameter will
differ according to the Effect recalled by the current Preset. The following
table lists the available Effect Types and the two associated parameters
which can be modified:
Effect
1. Chorus 1-2
Type
Modulation
2. Tremolo 1-2
3. Phaser 1-2
4. Flanger
5. PitchShift
Modulation
Modulation
Modulation
Frequency
6. Delay 1-2
Delay
7. Rotary
8. ChorusTremo
9. PhaserTremolo
10. ChorusDelay
11. Ensemble 1-2
Modulation
Modulation
Modulation
Modulation
Modulation
Parameter 1
Depth (amount of
modulation)
Depth
Depth
Depth
Coarse Tune (coarse tune
in semitone steps)
Delay Time (the time it
takes for a repeat to
occur)
Speed (the rotary speed)
Depth
Depth
Depth
Depth
Parameter 2
Rate (modulation velocity)
Rate
Rate
Rate
Fine Tune (fine tune of the
frequency in "cents")
Feedback (the number of
repeats heard before
effect fade out)
L.P. Filter (0 = bypass)
Rate
Rate
Rate
Rate
35
Press the Cursor Down button to select the next parameter, in this case,
Effect Depth:
EDIT MENU
Rev. Time :
2.0
Efx. Depth:
4
Efx. Rate :
DSP Parameter
1
Pg. 6
For example, the single Preset “GrandPiano” has been programmed to
play with the Chorus Effect.
From the table shown above, you can see that the first parameter
displayed for editing will be “Effect Depth” (the total amount of the
available Chorus).
Modify the first parameter value by using the DATA +/– buttons.
Press the Cursor Down button again to pass to the second parameter,
“Effect Rate”:
EDIT MENU
Rev. Time :
2.0
Efx. Depth:
4
Efx. Rate :
1
DSP Parameter
Pg. 6
Modify the second parameter value by using the DATA +/– buttons.
Note: To listen to the changes made, the Effect button must be selected
(LED on).
36
7. Microtuning
Press the CURSOR RIGHT button to access the Microtuning function.
This function allows you to select from a variety of alternative tunings, or
Keyboard Scales (Temperaments). It is also possible to program a
preferred scale (User).
The selection of available scales is shown in the following table:
Microtuning
1.
Equal
2.
Piano1
3.
Piano2
4.
Meantone
5.
Kirnberger
6.
User
As an example, the GrandPiano Preset is programmed to play with the
Piano1 tuning which faithfully reproduces the tuning scale of a concert
grand piano.
Entering the Microtuning page for the first time shows the selected
Keyboard scale programmed for the GrandPiano sound, Piano1:
EDIT MENU
Equal
Meantone
Piano1
Kirnberger
Piano2
User
Mictrotuning
Pg. 7
Use the Cursor Up/Down buttons to select from the various tunings
available. The selection procedure is cyclic as in other selection menus:
EDIT MENU
EDIT MENU
Meantone
Equal
Meantone
Equal
Piano1
Kirnberger
Piano1
Kirnberger
Piano2
User
Piano2
User
Mictrotuning
Pg. 7
Mictrotuning
Pg. 7
The tuning scale is independently programmable for all Presets.
User Microtuning
If you select the User scale, you can accurately retune every note of the
instrument to create a personal tuning Preset.
EDIT MENU
Equal
Meantone
Piano1
Kirnberger
Piano2
User
Mictrotuning
Pg. 7
Each note of the keyboard can be fine tuned through the range ± 64 cents.
Programming a User scale is a very simple task.
37
Once you have selected the User option, press a key on the keyboard
corresponding to the note you wish to retune (in this example C4).
The display “captures” the key that you played:
EDIT MENU
Equal
Meantone
Piano1
Kirnberger
Piano2
User C4=0
Mictrotuning
Pg. 7
You can now repeatedly play the same key and adjust its tuning with the
DATA +/– buttons.
EDIT MENU
EDIT MENU
Meantone
Equal
Piano1
Kirnberger
Piano1
Kirnberger
Piano2
User C4=0
Piano2
User C4=1
Equal
Mictrotuning
Pg. 7
Mictrotuning
EDIT MENU
Equal
Meantone
Pg. 7
EDIT MENU
Meantone
Equal
Piano1
Kirnberger
Piano1
Kirnberger
Piano2
User C4=-1
Piano2
User C4=0
Mictrotuning
Pg. 7
Mictrotuning
Meantone
Pg. 7
When you have tuned the note to your requirement, press another key
and proceed as before.
When you have finished tuning all the notes you need of the scale, press
the Perf. Edit button to escape the edit and store your User scale by using
the Store function described further ahead.
Note: The User Microtuning scale is one only; it is not possible to program
a different User scale for each Preset.
If you want to restore the user tuning to the factory setting (all note values
= 0, corresponding to the Equal scale), you can use the Restore Tuning
function under the General button. Refer to the General chapter of this
manual for more details.
38
8. Damper Pedal Assign (Damp. Assign)
Press the CURSOR RIGHT button to access the Damper Assign function.
This function allows you to change the Damper pedal assignments of the
various Preset sections (Single, Layer or Split).
For example, if you mixed a main Piano and secondary Strings sound
(layered combination) and you wanted the damper pedal to sustain the
piano but not to affect the strings, you would set the Damper Assign On
to the main sound and Off to the Layer sound.
The default setting for this parameter is shown in the following table:
Main
Split
Layer
On
Off
On
You can modify the default status for the current Preset section to suit
your needs.
Entering this page for the first time shows the Damper Assignment
corresponding to the main sound. Using the Data – button, the assignment can be set to OFF:
EDIT MENU
EDIT MENU
MAIN:
ON
MAIN:
LAYER:
ON
LAYER:
ON
SPLIT:
OFF
SPLIT:
OFF
Damper Assign
Pg. 8
Damper Assign
OFF
Pg. 8
To change the setting of the Layer section, press the Cursor Down button
and change the value with the Data +/– buttons.
EDIT MENU
MAIN:
ON
LAYER:
ON
SPLIT:
OFF
Damper Assign
Pg. 8
To change the setting of the Split section, press the Cursor Down button
and change the value with the Data +/– buttons.
EDIT MENU
MAIN:
ON
LAYER:
ON
SPLIT:
OFF
Damper Assign
Pg. 8
Note: Remember that changes made to the Damper Assign parameter
for the Layer and/or Split sections will only be heard if the corresponding
Layer or Split buttons are active (LEDs on).
39
9. Auto Wha-Wha Assign
Press the CURSOR RIGHT button to access the Auto Wha-Wha function.
Auto Wha Wha is a classic effect from the vintage keyboard era, which the
RP220 allows you to control according to the velocity you apply to the
keyboard. This effect is independently assignable to the Preset sections
(Single, Split, Layer).
The default setting of this parameter is Off for all sections, as shown in the
following display:
EDIT MENU
MAIN:
OFF
LAYER:
OFF
SPLIT:
OFF
Auto WhaWha Assign Pg. 9
Use the DATA +/– buttons to switch the setting to On as required for the
current section:
EDIT MENU
MAIN:
ON
LAYER:
OFF
SPLIT:
OFF
Auto WhaWha Assign Pg. 9
To change the setting of the Layer section, press the Cursor Down button
and change the value with the Data +/– buttons.
EDIT MENU
MAIN:
ON
LAYER:
ON
SPLIT:
OFF
Auto WhaWha Assign Pg. 9
To change the setting of the Split section, press the Cursor Down button
and change the value with the Data +/– buttons.
EDIT MENU
MAIN:
ON
LAYER:
ON
SPLIT:
ON
Auto WhaWha Assign Pg. 9
40
10. Detune and Delay
Press the CURSOR RIGHT button to access the next page where you can
modify two parameters exclusive to the Layer section of the Presets:
Detune and Delay.
Note: To listen to the changes made to these two parameters, the Layer
button must be active (LED on).
Detune
This function allows a fine frequency adjustment (Detune) between the
main Sound Program of a Preset and its Layer.
Delay
This function allows you delay the emission of the Sound Program of the
Layer section of a Preset with respect to the main section.
Modifying the Detune parameter
Entering this page for the first time shows the Detune parameter selected.
You can now repeatedly play a note on the keyboard and adjust the
Detune value with the DATA +/– buttons.
EDIT MENU
EDIT MENU
Detune:
0 cents
Detune:
12 cents
Delay:
0 ms
Delay:
0 ms
Layer Section
Pg. 10
Layer Section
Pg. 10
You can detune the main sound by up to +12 Cents. Lower values are
useful for creating a natural chorus effect between two sounds. At higher
values a “Honky Tonk” effect can be obtained.
Modifying the Delay parameter
To modify the Delay parameter, press the Cursor Down button to select
Delay and adjust the Delay value with the DATA +/– buttons.
EDIT MENU
EDIT MENU
Detune:
0 cents
Detune:
Delay:
0 ms
Delay:
Layer Section
Pg. 10
Layer Section
0 cents
32 ms
Pg. 10
The value shown represents the number of milliseconds which will elapse
before the second sound is heard.
The values available range from 8 to 800 ms in steps of 8 ms at a time.
The higher the value, the greater the delay of the Layer section.
41
Saving your modifications
At this point, when you have finished all the Perf Edit tasks, bear in mind
that the changes made remain in memory temporarily. If you change the
Preset before saving your changes, all modifications made will be lost.
See Store Preset further ahead.
Cyclic selection
From the last Edit Menu page (Detune/Delay), it is possible to return to
Page 1 (Sound Program) by pressing the Cursor Right button, because
the selection procedure is cyclic. The last page selected is memorized.
EDIT MENU
Detune:
Delay:
0 cents
32 ms
EDIT MENU
MAIN
:
1 Grand P1
LAYER : 29 Strings
SPLIT : 44 Ac.Bass
Layer Section
42
Pg. 10
Sound Setting
Pg. 1
The Store Preset command
The Store command allows you to save your new Preset to memory. After
you have spent some time adjusting the various Edit functions, you will
have created a USER PRESET. Refer to the explanations regarding the
Preset in the Quick Guide for more information.
You can choose to store the User Preset with its original name, or write
a different one.
If the changes you have made up to this point are not saved before you
select another Preset, they will be instantly lost as soon as you select a
new one. Therefore, if you have spent a long time adjusting your sound
combination, don’t forget this very important step.
How to store your modifications
1.
After creating a Preset which you want to store, press the Store
button.
The display will show the following message with the first letter
flashing in negative highlight.
STORE PRESET
GRAND PIANO
----------GR.:PIANO
Sel: 1
At the same time, the LEDs of all the Selection buttons, except those
corresponding to the current Preset, start to flash. This will help you
decide where to store your new User Preset. The LED of the User
Preset button remains on.
LED on
LEDs flashing
At this point, you can decide to overwrite to the current User Preset
or to a different one.
Store the modified Preset to the same location with the same name
2.
Press the corresponding selection button (the one shown with the
LED off). Button 1 in this case.
Shortly after, the LEDs of all the other buttons stop flashing and the
display shows the modified sound ready to play. The Preset
currently occupying the location saved to will be overwritten by the
new one.
Note: remember that you can modify the sounds of the Preset and
User Preset memory locations but, when you store the new result,
it will always be stored to the User Preset locations. Therefore, if
43
you make some changes to a Preset, the modified version will be
stored to the equivalent location of the User Preset memory location
(as in the example explained above).
Store the modified Preset to a different location with the same name
3.
After pressing Store, simply press any button corresponding to a
different location.
STORE PRESET
GRAND PIANO
----------GR.:PIANO
Sel: 1
You can choose to select either;
a different Preset button (store to the same Group location), or;
a different Group button (store to the same Preset location of a
different Group button); or;
a different Group button and Preset button (as in the example
opposite).
If you want to cancel the Store operation without saving, simply
press STORE again while the LEDs are still flashing.
2
1
Change the name of the Preset
It is possible to store your new Preset with a different name.
1.
After making your changes, press the STORE button.
The Store Preset display is shown:
STORE PRESET
GRAND PIANO
----------GR.:PIANO
2.
Sel: 1
Now, using the Cursor Left/Right buttons and the DATA +/– buttons, you can change the name of the displayed Preset.
In this condition, the first character of the Preset name is active for
a change. The Cursor Right button moves the cursor to the next
character position on the right, while Cursor Left moves it to the left.
The DATA + button selects the letters of the alphabet at the cursor
position in increasing order (A, B, … Y, Z) while the DATA – button
selects in reverse order.
STORE PRESET
STORE PRESET
MYAND PIANO
----------GR.:PIANO
3.
Sel: 1
…
MY PIANO
-------GR.:PIANO
Sel: 1
Once you have written a new name for the User Preset, select its
location in the User Preset memory slots as described above.
44
Related subjects: General menu:
Restore Preset, Midi Dump menu.
Section 5
General functions
The General button contains both the MIDI controls of the instrument
and a number of important General Control features.
General Functions
The General button contains a number of Master control features as well
as MIDI controls.
The functions available are summarized as follows:
Tune Control :
MIDI Parameter :
Controls the tuning of the instrument.
Gains access to several functions relating to the
MIDI and Serial Interface.
Piano Frame Level : Controls the Natural String Resonance Physical
Model.
Display Contrast : Regulates the display contrast.
Restore Preset :
Restores the 64 User Presets to the original factory settings.
Restore Microtune : Restores the User Microtuning scale to the original factory settings.
To gain access to the General function, press the GENERAL button.
Entering the General menu for the first time shows the Tune Control page:
TUNE CONTROL
440.0
Hz
SELECTION MENU GENERAL : 1
Use the Cursor Left/Right buttons to navigate through the pages of the
General menu.
TUNE CONTROL
440.0
MIDI MENU
Hz
PRESS ENTER TO
EDIT MIDI PARAMETERS
SELECTION MENU GENERAL : 1
SELECTION MENU GENERAL : 2
Use the DATA +/– buttons to change the status or value of the selected
parameter:
TUNE CONTROL
440.0
Hz
SELECTION MENU GENERAL : 1
TUNE CONTROL
440.5
Hz
SELECTION MENU GENERAL : 1
Press the General or Escape button to leave the General Menu at any
time.
The last page selected is memorized, allowing you to leave the menu and
return at any time to the most frequently used General function.
46
1. Tune Control
This function allows the entire instrument to be tuned to match another
instrument which may be slightly out of tune.
Pressing the GENERAL button for the first time activates the Tune Control
display:
TUNE CONTROL
440.0
Hz
SELECTION MENU GENERAL : 1
The display refers to a standard reference for the pitch of concert A = 440
Hz. The available Tuning range is from 427.5 Hz to 452.5 Hz in steps of
0.5 Hertz at a time.
Use the DATA + button to raise the tuning value:
TUNE CONTROL
440.0
Hz
SELECTION MENU GENERAL : 1
TUNE CONTROL
440.5
Hz
SELECTION MENU GENERAL : 1
Use the DATA – button to lower it:
TUNE CONTROL
439.5
Hz
SELECTION MENU GENERAL : 1
TUNE CONTROL
440.0
Hz
SELECTION MENU GENERAL : 1
Holding down either the DATA + or – button changes the value continually
until you release the button.
The Tune Control value remains in memory until changed again, or until
you turn the instrument off. When you turn on the instrument, the Tune
Control value will return to the standard value (A = 440).
Reset Tune
To restore the Tune Control value to the standard setting in a single step
without turning off the instrument, press both DATA + and – buttons
together.
47
2. MIDI Menu
Press the CURSOR RIGHT button to pass to the MIDI Menu page.
MIDI MENU
PRESS ENTER TO
EDIT MIDI PARAMETERS
SELECTION MENU GENERAL : 2
To gain access to the parameters of this menu, press ENTER.
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
01
COMMON
SELECTION MENU GENERAL : 2
The parameters available under this menu are:
Midi Channel, Midi Mode (Common and Dual), Local Control, Midi
Transpose, Midi Clock, Midi In/Out Filters, Computer Interface and Midi
Dump.
The Midi Settings remain in memory even after turning off the instrument.
Midi Menu Page 1
Once you gain access to the MIDI Menu with the Enter button, the first
page activated shows two MIDI functions: Midi Channel and Midi Mode.
Midi Channel
The first function, Midi Channel, is shown selected (negative highlight):
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
01
COMMON
SELECTION MENU GENERAL : 2
This function allows you to change the Midi transmission and reception
channel of the instrument
The value display corresponds to the MIDI channel of the main section
across the entire keyboard.
The Midi Channels of the secondary sections (Layer and Split) are set
using the Midi Mode function explained afterwards.
The Midi Channel can be changed from 1 to 16 using the DATA +/–
buttons:
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
02
COMMON
SELECTION MENU GENERAL : 2
48
The selection procedure is cyclic, therefore, pressing Data + at the
channel 16 setting (or Data – at channel 1) selects the OFF setting; this
disables the instrument for MIDI transmission and reception:
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
OFF
COMMON
SELECTION MENU GENERAL : 2
The last MIDI Channel selected is memorized, even after turning the
instrument off.
MIDI Mode
Move down to the next function (Midi Mode) with the Cursor Down button.
This function provides two different modes of operation for the MIDI
interface: Common Channel or Dual channel.
Common Channel
The Common Channel setting for the Midi Mode function is selected by
default:
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
02
COMMON
SELECTION MENU GENERAL : 2
With this setting the RP220 receives and sends Midi data on a single
channel only (set on the previous page), regardless of the current
keyboard mode of the Preset (single, split, layer). The Common Mode
is best used when you connect the RP220 to an expander. In this case,
changing the Presets will send Program Change messages from 1 to 64
to the expander, while changing the User Presets will send Program
Change messages from 65 to 127, allowing you, therefore, to change the
sounds of the external generator from the RP220.
A Program Change message received by RP220 on the Common Channel will not change one of the individual sound programs of a Preset.
Instead, it will be interpreted as a Preset Change message.
Dual Channel
Pressing the DATA + or – button selects the second MIDI Mode function,
Dual Channel:
MIDI MENU Pg. 1
MIDI CHANNEL:
MIDI MODE:
02
DUAL
SELECTION MENU GENERAL : 2
The Dual channel mode allows RP220 to transmit and receive Midi data
across to separate channels, one for the main section, the other for the
secondary section (Layer or Split) of a Preset.
49
Selecting Dual Channel mode automatically disables Common channel
mode.
The MIDI channel of the main section is selected from the Midi Channel
page, as already explained. The MIDI Channel of the secondary section
(Layer or Split) is automatically assigned according to formula “N + 1”
where N = the MIDI channel of the main section.
For example, if you have assigned MIDI channel 1 to the main sound, the
Layer or Split will have MIDI channel 2. This channel will be both the send
and receive channel for the second section.
In Dual channel mode, the MIDI messages transmitted and received will
be separate for each section. The Program Change and Control Change
messages will depend on the Sound Program of the selected Preset (refer
to the MIDI Implementation chart in the Appendix).
The last MIDI Mode selected is memorized even after turning the instrument off.
Midi Menu Page 2
Press the CURSOR RIGHT button to pass to the second page of the Midi
Menu which contains three Midi functions: Local Control, Midi Transpose
and Midi Clock.
Local Control
The first function, Local Control, is shown selected (negative highlight),
shown ON by default:
MIDI MENU Pg. 2
LOCAL CONTROL
:
ON
MIDI TRANSPOSE :
ON
MIDI CLOCLK
:
INT
SELECTION MENU GENERAL : 2
This function, if OFF, isolates the RP220 from its internal sound engine
allowing it to be used as a MIDI controller. When ON, RP220’s keyboard
data is directed to the internal sound engine as well as the MIDI OUT port.
Press the DATA – button to set Local Control Off.
MIDI MENU Pg. 2
LOCAL CONTROL
:
MIDI TRANSPOSE :
MIDI CLOCLK
:
OFF
ON
INT
SELECTION MENU GENERAL : 2
Return to the On setting with the DATA + button.
The Local Control Off setting simplifies the connection of the RP220 with
an external sequencer or computer, allowing the keyboard to be used as
a controlling device and the internal sound engine as an expander when
connecting to a sequencer/computer.
A typical example of the use of the Local control is when the RP220 MIDI
IN port is connected to the sequencer/computer MIDI OUT port, and the
RP220 MIDI OUT port to the sequencer/computer MIDI IN port (MIDI Loop
50
connection). Set the sequencer/computer to operate in MIDI Thru mode
(in other words, set it to return the data it receives from the RP220
keyboard back to the RP220 MIDI IN).
With Local Off, all messages generated by the RP220 keyboard are
excluded from the internal sound engine and sent via the MIDI OUT to the
sequencer/computer, which then returns the data to the RP220 sound
engine via MIDI IN.
Note: The last Local setting remains memorized until changed again, or
until the instrument is turned off. Turning the instrument on again
automatically sets to Local Control On.
MIDI Transpose
Press the Cursor Down button to select the second Midi function of page
2, Midi Transpose:
MIDI MENU Pg. 2
LOCAL CONTROL
:
ON
MIDI TRANSPOSE :
ON
MIDI CLOCK
:
INT
SELECTION MENU GENERAL : 2
This function allows you to enable/disable the transmission via MIDI of a
transposition that you may apply to the instrument, so that an external
MIDI device receives or doesn’t receive transposed note messages.
MIDI Transpose ON is the default setting.
For example, if you connect an external expander to RP220’s MIDI Out,
with MIDI Transpose ON and you transpose RP220 by 1/2 semitone, the
external expander will also play 1/2 semitone higher.
To disable MIDI Transpose (Off), use the DATA – button:
MIDI MENU Pg. 2
LOCAL CONTROL
:
ON
MIDI TRANSPOSE :
OFF
MIDI CLOCK
INT
:
SELECTION MENU GENERAL : 2
The last setting remains in memory until changed again, or until you turn
the instrument off. When you turn on the instrument, the MIDI Transpose
will automatically return to ON.
MIDI Clock
Press the Cursor Down button to select the third Midi function of page 2,
Midi Clock:
MIDI MENU Pg. 2
LOCAL CONTROL
:
ON
MIDI TRANSPOSE :
ON
MIDI CLOCK
:
INT
SELECTION MENU GENERAL : 2
This function allows you to select the timing clock for the Recording Studio
(sequencer).
51
The two options available are:
Internal: the internal metronome controls the sequencer timing.
External: the MIDI IN clock signal transmitted by the external
device controls the sequencer timing.
With External selected, the internal sequencer waits for a start
message from the external clock device.
Use the DATA – button to select the External option.
MIDI MENU Pg. 2
LOCAL CONTROL
:
ON
MIDI TRANSPOSE :
ON
MIDI CLOCK
:
EXT
SELECTION MENU GENERAL : 2
Return to Internal with the DATA + button.
The last setting remains in memory until changed again, or until you turn
the instrument off. When you turn on the instrument, the MIDI Clock will
return automatically to Internal.
Midi Menu Page 3
Press the CURSOR RIGHT button to pass to the third page of the Midi
Menu which contains three Midi functions: Midi In Filter, Midi Out Filter
and Computer Interface.
MIDI In Filter
The first of the three Midi functions shown selected (in negative highlight)
is the Midi In Filter:
MIDI MENU Pg. 3
MIDI IN FILTER :
OFF
MIDI OUT FILTER:
OFF
COMPUTER INT.
OFF
:
SELECTION MENU GENERAL : 2
This function allows you to block the reception of certain MIDI messages
which might be unwanted on some occasions.
The table shown opposite lists the Filter In messages available:
Use the DATA +/– buttons to select the message that can be filtered out
of the MIDI IN data stream.
The default setting for the MIDI IN Filter is OFF.
For example, if you were playing a MIDI file from an external sequencer
using the El.Grand Preset, you might find that the Preset you have
selected changes every time you start playback of the sequence. This
happens because the sequence includes a Program Change at the
beginning of the song.
To overcome this problem, you would select the MIDI IN FILTER “PROGRAMS”. This means that the RP220 would then ignore any Program
Change messages that it receives from the external device.
52
Midi In filter message
OFF
Programs
All Contr
Prog + Vol
Volume
Pedals
Pitch
no filter
program change
All midi controllers
prog.chng & volumes
Midi volume
Hold,sustain,soft
pitch bend
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
OFF
COMPUTER INT.
OFF
:
SELECTION MENU GENERAL : 2
The last MIDI In Filter selected is memorized even after turning the
instrument off.
MIDI Out Filter
Press the Cursor Down button to select the Midi Out Filter function:
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
OFF
COMPUTER INT.
OFF
:
SELECTION MENU GENERAL : 2
This function is used to stop the instrument from transmitting certain MIDI
messages which might be unwanted on some occasions.
The table shown opposite lists the Filter Out messages available:
Use the DATA +/– buttons to select the message that can be filtered out
of the MIDI OUT data stream.
The default setting for the MIDI OUT Filter is OFF.
Midi OUT Filter message
OFF
Programs
All Contr
Prog + Vol
Volume
Pedals
no filter
program change
All midi controllers
prog.chng & volumes
Midi volume
Hold,sustain,soft
For example, if you were to connect the instrument to an external MIDI
sound module, when you reduce the section volume of the RP220, a “MIDI
Volume” message is sent which also changes the volume of the sound
module. Furthermore, when you select a new sound on the RP220, a
“Program Change” message would also be sent to the sound module,
causing its sound to be changed too.
In situations where changes to the external device are not required, these
could be avoided by selecting the MIDI OUT FILTER “PROG + VOL”: This
means that the RP220 would no longer send out these unwanted messages:
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
:
OFF
SELECTION MENU GENERAL : 2
The last MIDI Out Filter selected is memorized even after turning the
instrument off.
53
Computer Interface
Press the Cursor Down button to select the last function of page 2,
Computer Interface:
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
:
OFF
SELECTION MENU GENERAL : 2
This function allows you to set the operating mode for the computer serial
port on the instrument’s back panel. This port allows two-way communication between the RP220 and a PC without the need for a MIDI interface.
A cable to connect the instrument to your PC or Macintosh can be
obtained from your dealer.
There are four modes which can be selected, as listed in the table shown
opposite.
Use the DATA +/– buttons to select the options available.
OFF :
(default) all MIDI data is directed to the MIDI interface.
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
:
OFF
SELECTION MENU GENERAL : 2
PC-1 :
suitable for connection to a PC with 80386, or earlier
processor.
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
: PC1(Slow)
SELECTION MENU GENERAL : 2
PC-2 :
suitable for connection to a PC with 80486, Pentium or
faster processor.
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
: PC2(Fast)
SELECTION MENU GENERAL : 2
Apple :
suitable for any Macintosh computer.
MIDI MENU Pg. 3
MIDI IN FILTER :
PROGRAMS
MIDI OUT FILTER:
PROG+VOL
COMPUTER INT.
:
APPLE
SELECTION MENU GENERAL : 2
When you enable the Computer port for one of the transmission/reception
options, the instrument’s MIDI interface will be automatically disabled for
transmission/reception. The last Computer setting selected is memorized even after turning the instrument off.
54
Selections
OFF (default)
PC_1 (Slow)
PC_2 (Fast)
Apple
Midi Menu Page 4
Press the CURSOR RIGHT button to pass to the fourth page of the Midi
Menu: Midi Dump:
MIDI MENU Pg. 4
PRESS ENTER TO EXECUTE
PRESET MIDI DUMP
SELECTION MENU GENERAL : 2
MIDI Dump
Using the MIDI Dump feature, you can send all of the information currently
held in the instrument’s User Preset section to an external storage device
such as a MIDI sequencer, data filer, etc.. Refer to the owner’s manual
of your MIDI software, sequencer or data filer for instructions on how to
receive MIDI dumps from other equipment.
The display will guide you through all the operations required to carry out
a Dump.
Here’s the procedure for sending a MIDI dump:
1.
Connect a MIDI cable between the RP220 MIDI OUT and the
storage device’s MIDI IN.
2.
Access the MIDI DUMP function as already explained:
MIDI MENU Pg. 4
PRESS ENTER TO EXECUTE
PRESET MIDI DUMP
SELECTION MENU GENERAL : 2
3.
Press the ENTER button to activate the first phase of the dump. The
display shows a message requesting confirmation of the procedure:
MIDI MENU Pg. 4
PRESS ENTER TO EXECUTE
PRESET MIDI DUMP
ARE YOU SURE?
SELECTION MENU GENERAL : 2
4.
Prepare the storage device to receive a MIDI Dump.
5.
Respond with ENTER to start the Dump procedure:
MIDI MENU Pg. 4
PRESS ENTER TO EXECUTE
PRESET MIDI DUMP
DUMPING
SELECTION MENU GENERAL : 2
You will see the dump progress screen until the dump is complete.
The time taken for a MIDI dump depends on the amount of data
being transferred.
55
When the Dump progress bar disappears from the screen, the MIDI
dump has finished:
MIDI MENU Pg. 4
PRESS ENTER TO EXECUTE
PRESET MIDI DUMP
SELECTION MENU GENERAL : 2
To escape the Midi Menu page and proceed with the selection of other
General parameters, press ESCAPE.
MIDI MENU
PRESS ENTER TO
EDIT MIDI PARAMETERS
SELECTION MENU GENERAL : 2
This returns to the starting page of the Midi Menu, from where you can
proceed with the selection of the next General function.
56
3. Piano Frame Level
Press the CURSOR RIGHT button to pass to the third page of the General
Menu: Piano Frame Level:
PIANO FRAME
LEVEL
VALUE = 50
SELECTION MENU GENERAL : 3
The display shows the default setting of 50.
This function controls the volume of the string vibration that is conducted
through the plate of the piano from the undamped strings in the upper
register of the piano. The default value is 50 (a good simulated grand
piano plate size). Increasing the value increases these harmonics to
simulate a plate size beyond even a concert grand piano at a value of 127!
Decreasing the value softens the harmonics to faithfully reproduce the
plate size of a smaller console type piano.
Use the DATA +/– buttons to adjust the value to a level to suit your playing.
Although characteristic of an acoustic piano, some players may prefer to
reduce the level of the Piano Frame effect or disable it completely (0
level).
PIANO FRAME
PIANO FRAME
LEVEL
LEVEL
VALUE = 50
SELECTION MENU GENERAL : 3
....
VALUE = 0
SELECTION MENU GENERAL : 3
The recommended level to simulate a 9 ft. grand piano is 50.
The setting programmed in this display remains memorized even after
turning off the instrument.
57
4. Display Contrast
Press the CURSOR RIGHT button to pass to the fourth page of the
General Menu: Display Contrast.
The display shown will be the last one set.
Use this function to improve the visibility of the display under different
lighting conditions.
Use the DATA +/– buttons to adjust the Display Contrast value within the
range – 6, … 0, … 6.
DISPLAY CONTRAST
DISPLAY CONTRAST
CONTRAST
CONTRAST
VALUE = -6
SELECTION MENU GENERAL : 4
...
VALUE = 6
SELECTION MENU GENERAL : 4
A higher value will give a stronger contrast.
The setting remains memorized even after turning off the instrument.
58
5. Restore Presets
Press the CURSOR RIGHT button to pass to the fifth General Menu page:
Restore Presets.
This function allows you to restore all of the factory-programmed User
Presets that you may have memorized to the User Preset locations.
Note: doing this will destroy any User Presets which you have saved into
the instrument yourself.
Entering the Restore Presets page with Cursor Right shows the following
display:
RESTORE PRESETS
PRESS ENTER
TO RESTORE
SELECTION MENU GENERAL : 5
1.
Follow the prompted instructions by pressing the ENTER button:
RESTORE PRESETS
PRESS ENTER
TO RESTORE
ARE YOU SURE ?
SELECTION MENU GENERAL : 5
A confirmation request is shown to avoid accidental activation of the
function and, therefore, total loss of important data.
2.
Press the Enter button once more to complete the restore operation.
After a few seconds, the display shows the “Done!” message
marking the end of the Restore Preset operation:
RESTORE PRESETS
PRESS ENTER
TO RESTORE
PRESETS RESTORED !
SELECTION MENU GENERAL : 5
From here, you can proceed with the selection of another General
function.
Note: before confirming the Restore Preset operation, be sure that you
have saved your User Presets to an external storage device by using the
MIDI Dump feature.
59
6. Restore Microtune
Press the CURSOR RIGHT button to pass to the sixth (and last) General
Menu page: Restore Microtune.
This function allows you to reset the User Microtuning temperament (Perf
Edit page n. 7).
This is a useful feature if you have been trying to create a user tuning
scale unsuccessfully and wish to start from the beginning again.
Entering the Restore Microtune function with the Cursor Right button
shows the Restore Microtune display:
RESTORE MICROTUNING
PRESS ENTER
TO RESTORE
SELECTION MENU GENERAL : 6
1.
Follow the prompted instructions by pressing the ENTER button:
RESTORE MICROTUNING
PRESS ENTER
TO RESTORE
ARE YOU SURE ?
SELECTION MENU GENERAL : 6
A confirmation request is shown to avoid accidental activation of the
function and, therefore, total loss of important data.
2.
Press the Enter button once more to complete the restore operation.
After a few seconds, the display shows the “Done!” message
marking the end of the Restore Microtune operation.
RESTORE MICROTUNING
PRESS ENTER
TO RESTORE
MICROTUNING RESTORED !
SELECTION MENU GENERAL : 6
3.
Press GENERAL or ESCAPE to exit from the GENERAL MENU.
60
Section 6
Recording Studio/Sequencer
The RP220 features a simple but powerful two-track sequencer which
allows you to accurately record your playing or create simple songs.
This section takes a closer look at the controls and related functions.
Recording Studio Controls
How to record a simple Song using RP220’s on-board sequencer (Recording Studio) is explained in the Quick Guide (page 17). This section
takes a close look at the sequencer controls and how to use them.
The sequencer is able to record a two-track song (one at a time) with a
maximum capacity of 60.000 events. During playback, it is possible to
play along with the song using up to two sounds
The Recording Studio is located on the right of the instrument’s control
panel. The buttons which control all the sequencer operations are:
Play/Stop :
Pause :
Starts and stops either playback or recording.
Stops a playback or recording midway. Pressing
this button a second time will continue playback
from the stop point.
Rewind :
“Rewinds” the sequence one bar at a time. You
can rewind faster if you hold the button down.
FF (Fast Forward) : Advances the sequence one bar at a time. You
can scroll forward much faster if you hold the
button down.
Rec (Record) :
Activates “Record pending” mode. Recording
actually starts when you press the Play or Pause
buttons.
Track 1, Track 2 :
Buttons that activate the sequencer tracks for
recording or playback. The status of the track is
indicated by the state of the LED:
• LED off - track is empty or switched off.
• LED on - track contains data and is ready for
playback.
• LED flashing - track is ready to record or to be
overdubbed.
Click :
Activates/deactivates the Metronome (click) and
also lets you adjust the record/playback tempo.
Time :
Offers a selection of Time signatures and also lets
you adjust the metronome speed (Tempo), the
metronome volume (Click Volume) and the countdown on/off switch.
Erase :
Cancels the events recorded in the sequencer
tracks.
Events recorded by the RP220 sequencer
The RP220 Recording Studio is able to record all the real time operations
carried out during the recording. The relative events captured are:
•
•
•
•
Keyboard and pedal data;
Preset change data;
Changes of the Preset balance settings;
Activation/deactivation of the Layer and Split buttons;
The recorded events remain in memory even after turning off the instrument.
62
Multi Timbral Operation
Track 1 can record a Single, Layer or Split Preset.
Track 2 can record a Preset (Single, Split, Layer) independent from Track 1.
During playback, it is possible to play along with the song using another
Preset (Single, Split, Layer).
Therefore, RP220 achieves 6 part multitimbral capability, 4 parts played
by the sequencer and 2 in real time on the keyboard.
The DSP parameters recalled (Reverb & Effect) are always those of the
last Preset selected, while the section send levels remain independent.
Selecting the tracks for recording
Flashing
Record Track 1
1.
Press the REC button.
The sequencer activates automatically to record Track 1 (Track 1
LED flashing, Play/Stop, Pause and Rec LED on).
At the same time the Recording Studio display also activates
showing the status of the recording parameters:
RECORDING STUDIO
Time Signature
Measure counter
TIME SIGNATURE:
4/4
TEMPO:
120
MEASURE:
Tk1 Tk2
ERA
Tempo setting
Graphical
metronome
Virtual sequencer control panel
2.
Press Play/Stop (or Pause) to start the recording.
A one measure countdown into the recording starts, monitored by
the Measure counter.
During this stage, anything you play will not be recorded.
3.
As soon as the countdown measure ends, start to play on the
keyboard.
The sequencer records the song just as you play it. Any Preset
changes you make will also be recorded.
63
While you are playing, the Measure counter (also called the Song
Pointer) monitors the measures and beats.
4.
To stop the recording, press Play/Stop or Pause.
Pause stops the recording at a precise point and the sequencer
remains “on stand-by” with the LED of the Track 1 button still
flashing. The Measure counter shows the exact point at which the
recording was interrupted.
Pressing Pause again starts the recording from the stop point and
continues until you press Play/Stop.
Stop stops the recording of Track 1. The corresponding LED
remains on to show that the track contains recorded data.
Record Track 2
5.
Continuing from point 4 above, press the Track 2 button and
proceed as already described in the points 2, 3 and 4.
Before starting the actual recording, you can select a different
Preset to record with.
When you press Play to start recording Track 2, the previously
recorded Track 1 starts to playback after the countdown measure.
When you stop the recording with Play/Stop, the LED of both tracks
1 and 2 will be on.
6.
Press REC to escape the sequencer.
Playback
7.
Press the Play/Stop button to start the song playback.
You can play along with the playback using another Preset, change
the status of the Reverb and Effect buttons, mute a Track etc..
Overdubbing
The RP220 allows you to record in Overdub mode, letting you add
additional events to those already recorded.
1.
After recording a track, press PAUSE to stop the recording.
2.
Press the REW button to take the track to the beginning (or any point
before the stop point).
3.
Press PAUSE again to start the recording from your “cue point”.
Anything you now play will be merged with the previously recorded
events.
64
Flashing
The Click button
Press the CLICK button to activate/deactivate the Metronome, either
during the recording, or in playback when practising. The LED turns on
after pressing the button.
The Time button
If you want to change the values of one or more of the starting parameters
of your recording, press this button to gain access to the Time Setting
parameters.
Time Signature
The first parameter shown selected (negative highlight) is the Time
Signature:
TIME SETTING
TIME SIGNATURE:
4/4
TEMPO:
120
CLICK VALUE:
100
COUNTDOWN
ON
The default setting is 4/4, but with the DATA +/– buttons, you can select
one of the settings listed in the table shown opposite.
Time Sign.
2\4
3\4
4\4
5\4
6\8
9\8
12\8
Tempo
Press the Cursor Down button to select the Tempo parameter which
determines the recording and playback speed of the song:
TIME SETTING
TIME SIGNATURE:
4/4
TEMPO:
120
CLICK VALUE:
100
COUNTDOWN
ON
Use the Data +/– buttons to change the value. This parameter can also
be changed in the main Recording Studio display (see page 65).
Click Volume
Press the Cursor Down button to select the Click volume parameter if you
want to change the volume of the Metronome click:
TIME SETTING
TIME SIGNATURE:
4/4
TEMPO:
120
CLICK VALUE:
100
COUNTDOWN
ON
The default value is 100, the maximum setting.
Use the Data +/– buttons to change the value of the parameter.
65
Countdown
Press the Cursor Down button to select the Countdown parameter.
TIME SETTING
TIME SIGNATURE:
4/4
TEMPO:
120
CLICK VALUE:
100
COUNTDOWN
ON
Here you can activate/deactivate the countdown measure.
When you press Play (or Pause) to start your recording after activating the
sequencer, the Countdown measure gives you a one measure lead into
the recording. No events are captured by the sequencer if you play during
the one measure countdown.
If you prefer to record without the countdown measure (ON by default),
press the DATA – button to deactivate the setting (Off).
If you record your tracks with the Countdown measure off, start playing as
soon as you press Play (or Pause).
The display deactivates automatically after about 5 seconds, but you can
close it by pressing the Tempo or Escape buttons.
The FF and REW buttons
These two buttons allow you to “move” through a sequence from measure
to measure. The REW button “rewinds” the sequence one bar at a time
and the FF button advances at the same rate.
Holding either button down scroll forwards or backwards at a faster
speed.
The REW and FF buttons can be used in the record and playback modes.
Muting the Tracks
While listening to a sequence, you can mute a Track by deactivating the
corresponding button. In Playback mode, the LED of the tracks that
contains data is shown on.
To mute a track, press the corresponding button. The LED turns off to
show the muted status.
To reactivate the Track, simply press the button again (LED on).
The Erase button
The Erase button allows you to cancel the events recorded in the
sequencer tracks.
Press the Erase button then press the button of the track you wish to
erase.
The LED of the button pressed goes off to indicate that the track is now
empty.
66
Song Library
RP220 contains a large library of well known compositions taken from the
vast repertoire of classical and traditional music.
The songs contained in the Song Library have been recorded with the
scope of being used as study pieces; they contain little or no expression.
These pieces are ideal for the student who can listen to and follow each
composition, slowing down the tempo, muting tracks and activating the
metronome.
Select a sequence from the Song Library
1.
Press the Song Library button to access the main Song Library
display.
The LED of the button turns on and the display cursor is shown
positioned on the first parameter: Folder:
SONG LIBRARY
2.
FOLDER:
TEACHING
GROUP :
CESI_MARCIANO
TITLE :
CESI_0001
REPEAT:
OFF
With the Data +/– buttons you can scroll through the various
categories within the folder (e.g. a composer’s name, a collection,
etc.).
At the same time, the Group and Title fields of the display update
continually according to the Folder selected.
3.
Once you have selected a category, pass down to the next parameter with the Cursor Down button: Group. This corresponds to a
sub-directory of the selected folder.
SONG LIBRARY
4.
FOLDER:
TEACHING
GROUP :
CESI_MARCIANO
TITLE :
CESI_0001
REPEAT:
OFF
Use the Data +/– buttons to scroll through the various groups
available inside the selected folder.
At the same time, the Title zone updates with every change of the
Group category.
5.
To select a different title within the selected group, move down to the
Title field with the Cursor Down button and use the Data +/– buttons
to scroll the various pieces available.
SONG LIBRARY
FOLDER:
TEACHING
GROUP :
CESI_MARCIANO
TITLE :
CESI_0001
REPEAT:
OFF
For a complete list of the pieces contained in the Sound Library,
refer to the Appendix.
67
6.
With the Cursor Down button, select the last item of the display if you
want to activate one of the three Repeat options available:
SONG LIBRARY
FOLDER:
TEACHING
GROUP :
CESI_MARCIANO
TITLE :
CESI_0001
REPEAT:
OFF
The default setting of Repeat is Off.
7.
Use the Data +/– buttons to select the repeat option desired. The
options available are:
SINGLE: the selected pieces repeats after playback;
ALL:
All the sequences within the selected group repeat after
playback;
RANDOM: the sequences available in the Library playback in random order.
The last selection made is memorized even after turning
the instrument off.
To listen to a sequence from the Song Library
8.
Once you have selected a sequence, press the Play/Stop button to
start the playback. The display will change to the standard sequencer
display showing the title of the sequence, the time signature, tempo
and measure counter:
All the sequences available are two-track recordings, divided into
left and right hand sequences.
While the sequence is playing, you can mute either left (Track1) or
right hand (Track2) as required and play along with any Preset you
wish.
You can activate the Metronome, change the Tempo, use the REW/
FF buttons and also Transpose (Transpose b/# buttons) the piece
according to your requirements.
Playback continues till it reaches the end. If Repeat is off, the
sequence stops and the display returns to the Song Library situation
where you can select another piece.
If you have selected one of the Repeat options, playback continues
depending on the option selected.
9.
To stop the playback of the sequence playing, press the Play/Stop
button.
Note: You’ll find a list of Songs contained in the Song Library in
Section 7 “Reference”.
68
I.M.S.® Intelligent Music Search
The Intelligent Music Search® function permits the automatic selection of
the musical pieces stored in the Song Library by playing a short sequence
of introductory notes at any playing speed and any key.
Select a piece with I.M.S. ®
1
Press the I.M.S.® button.
The display shows an empty musical staff:
INTELLIGENT MUSIC SEARCH
2.
Play the first few notes of the piece you wish to hear.
Up to 8 notes can be played. Each note played is captured in the
staff:
INTELLIGENT MUSIC SEARCH
As soon as a musical piece has been recognized, even before
playing all the 8 notes, the display shows the message “FOUND”:
Shortly after, the display shows the corresponding Song Library
display of the selected piece:
3.
Press Play/Stop to start the playback of the selected piece.
69
The piece recalled using the I.M.S.® method will be recognized only
if the sequence of notes is correct. If you make a mistake, the
computer will search until it finds a piece corresponding to the notes
played, or it will notify a failure with the message “NOT FOUND”.
In this case the empty staff is shown again in order that you may
repeat the operation.
Note: You’ll find a list of Songs contained in the Song Library in
Section 7 “Reference”.
70
Section 7
Reference
72
Songs contained in the Song Library
GROUP: 1. TEACHING
SUB-GROUP: 1.1 CESI MARCIANO
Title (*)
CCESI 0001
CESI 0002
CESI 0003
CESI 0004
CESI 0005
CESI 0006
CESI 0007
CESI 0008
CESI 0009
CESI 0010
CESI 0011
CESI 0012
CESI 0013
CESI 0014
CESI 0015
CESI 0016
CESI 0017
CESI 0018
CESI 0019
CESI 0020
CESI 0021
CESI 0022
CESI 0023
CESI 0024
CESI 0025
CESI 0026
CESI 0027
Time Sign
4/4
4/4
4/4
4/4
4/4
3/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
3/4
4/4
3/4
4/4
4/4
2/4
4/4
4/4
6/8
4/4
3/4
3/4
4/4
Note Pattern
E-G-F-D-C-E-D-C
G-F-E-E-E-E-G-F
G-G-D-D-E-F#-G-E
G-A-B-C-B-A-G-G
C-B-C-D-E-D-C-B
G-C-E-G-E-D-A-B
C-C-C-B-C-C-C#-D
C-E-G-G-F-F-E-G
C-E-C-E-G-E-C-G
G-A-B-C-D-B-G-D
A-Bb-A-G-A-G-F-A
B-C-D-B-C-D-G-G
G-F#-G-A-B-A-G-D
B-C-A-G-A-B-D-C
G-C-C-C-G-G-D-D
G-G-F#-G-A-G-G-E
C-C-C-C-B-A-A-A
C-D-E-F-D-G-A-B
E-D-C-D-E-F-G-F
E-F-G-A-D-E-F-C
G-B-A-G-A-B-G-G
C-G-E-C-B-D-C-G
G-G-G-A-D-C-B-G
C-E-C-G-G-C-E-C
G-F#-G-G-F#-G-G-F#
C-D-C-F-C-C-C-C
A-C-E-F-A-C-E-A
SUB-GROUP:1.2 LEBERT STARK
Title (*)
LEBERT 0001
LEBERT 0002
LEBERT 0003
LEBERT 0004
LEBERT 0005
LEBERT 0006
LEBERT 0007
LEBERT 0008
LEBERT 0008
LEBERT 0009
LEBERT 0010
LEBERT 0011
LEBERT 0012
LEBERT 0013
LEBERT 0014
LEBERT 0015
LEBERT 0016
LEBERT 0017
LEBERT 0018
LEBERT 0019
LEBERT 0020
LEBERT 0021
LEBERT 0022
LEBERT 0023
LEBERT 0024
LEBERT 0025
LEBERT 0026
LEBERT 0027
LEBERT 0028
LEBERT 0029
LEBERT 0030
LEBERT 0031
LEBERT 0032
Time Sign
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
3/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
3/4
3/4
4/4
4/4
4/4
4/4
3/4
3/4
4/4
4/4
6/8
3/4
4/4
Note Pattern
C-D-E-G-F-E-D-C
G-E-E-F-G-B-B-A
B-C-D-G-C-B-A-G
D-G-G-C-G-F#-E-D
C-B-C-A-E-B-E-B
B-G-A-B-C-B-C-G
D-F-E-G-F-E-D-E
B-C-B-A-G-G-F#-C
B-C-B-A-G-G-F#-C
E-F-G-F-E-D-C-D
G-E-D-C-B-F-E-D
E-C-B-G#-B-A-G-F
E-D-F-E-G-C-D-E
E-E-F-E-D-C-C-B
G-C-C-B-G-D-D-C
B-D-F#-A-G-B-A-G
E-D-C-B-C-D-F-E
G-C-B-D-C-G-E-C
A-B-C#-D-F-E-D-C#
A-Bb-B-D-C-F-A-G
G-B-A-C-B-D-C-B
B-C-D-D#-E-F#-E-A
A-B-A-B-C-D-C-A
G-C-C-B-G-C-D-E
B-C-D-C-B-C-A-B
F-G-F-E-F-E-D-E
E-G-E-A-E-F-A-F
A-B-C-B-A-B-C-D
D-E-F-E-G-F-E-D
G-C-G-A-B-C-D-C
G-E-G-E-D-E-D-C
D-C-B-C-B-A-B-C
E-B-A-G-F#-G-E-G
Title (*)
LEBERT 0033
LEBERT 0034
LEBERT 0035
LEBERT 0036
LEBERT 0037
LEBERT 0038
LEBERT 0039
LEBERT 0040
LEBERT 0041
LEBERT 0042
Time Sign
3/4
4/4
6/8
3/4
4/4
4/4
2/4
3/4
2/4
6/8
Note Pattern
F#-A-F#-D-E-F#-A-F#
F-G-A-Bb-C-Bb-A-G
Eb-E-F-F#-G#-C#-D#-E
C#-C-Bb-C#-C-F-C#-C
E-A-G-A-B-C-B-E
D-G-F#-G-A-D-A-G
D-E-F-G-E-F-G-A
G-E-C-F-B-D-G-C
C-Bb-A-A-G-F-E-D
C-E-F-A-G-F-E-D
SUB-GROUP:1.2 LEBERT STARK
Title (*)
LEBERT 0043
LEBERT 0044
LEBERT 0045
LEBERT 0046
LEBERT 0047
LEBERT 0048
LEBERT 0049
LEBERT 0050
LEBERT 0051
LEBERT 0052
LEBERT 0053
LEBERT 0054
LEBERT 0055
LEBERT 0056
LEBERT 0057
LEBERT 0058
LEBERT 0059
LEBERT 0060
LEBERT 0061
LEBERT 0062
LEBERT 0063
LEBERT 0064
LEBERT 0065
LEBERT 0066
LEBERT 0067
Time Sign
4/4
4/4
3/4
2/4
3/4
6/8
6/8
2/4
4/4
6/8
3/4
2/4
3/8
3/8
2/4
3/4
4/4
4/4
3/4
3/4
3/4
3/4
12/8
6/8
4/4
Note Pattern
E-A-A-G#-G#-A-B-B
G-C-B-A-G-E-F-A
D-G-F#-G-A-G-D-F#
D-F-E-F-G-A-Bb-A
E-B-D-C-B-A-E-B
C-E-G#-A-F#-G-G-F
D-E-D-C-B-C-B-A
C-Bb-G-E-G-F-C-A
G-F#-G-E-D-C-B-A
E-C-B-A-D-C-B-A
G-E-D-C-D-E-F-G
E-C-B-B-Bb-B-E-D
D-A-B-A-D-B-A-C
C-A-C-F-C-D-Bb-D
F#-G-B-F#-G-D-F#-G
A-G-F-E-G-F-E-F
G-E-C-G-A-G-E-C
G-A-G-E-F-G-F-E
G-E-C-E-F#-A-G-E
A-G#-B-C-A-A-G#-B
A-B-C-B-C-D-E-A
C-E-D-C-Bb-A-C-Bb
G-C-E-C-G-C-D-C
C-E-G-D-E-C-G-A
C-G-C-B-A-B-G-A
SUB-GROUP:1.3BARTOK
Title (*)
Time Sign
MICROKOSMOS 01
4/4
MICROKOSMOS 02
4/4
MICROKOSMOS 03
4/4
MICROKOSMOS 04
4/4
MICROKOSMOS 05
4/4
MICROKOSMOS 06
4/4
MICROKOSMOS 07
4/4
MICROKOSMOS 08
4/4
MICROKOSMOS 09
4/4
MICROKOSMOS 10
4/4
MICROKOSMOS 11
4/4
MICROKOSMOS 12
2/4
MICROKOSMOS 13
3/4
MICROKOSMOS 14
4/4
MICROKOSMOS 15
4/4
MICROKOSMOS 16
4/4
MICROKOSMOS 17
3/4
MICROKOSMOS 18
4/4
MICROKOSMOS 19
4/4
MICROKOSMOS 20
4/4
MICROKOSMOS 21
3/4
MICROKOSMOS 22
4/4
MICROKOSMOS 23
4/4
Note Pattern
C-D-E-F-E-D-E-F
C-D-E-D-E-F-G-F
A-G-F-E-F-G-A-G
B-C-D-C-D-E-D-C
A-B-C-D-C-B-A-B
G-A-B-C-B-A-B-A
B-A-G-A-G-F-E-B
E-E-E-F#-G-G-G-A
C-D-C-D-E-F-G-F
D-E-F-G-F-E-D-E
F-G-A-B-A-G-F-G
A-B-C-D-C-D-C-B
C-D-E-F-G-F-E-D
A-G-A-G-A-G-F-E
G-F#-E-D-C-D-D-C#
F-G-F-E-D-E-D-C
C-B-A-G-F#-G-A-B
A-G-A-G-D-E-F-G
D-E-C-E-D-E-C-D
G-A-D-D-C-G-G-A
A-B-C-B-C-D-C-A
B-C-D-E-D-C-D-E
D-E-F-G-A-G-F-E
73
Title (*)
Time Sign
MICROKOSMOS 24
3/4
MICROKOSMOS 25
2/4
MICROKOSMOS 26
4/4
MICROKOSMOS 27
4/4
MICROKOSMOS 28
4/4
MICROKOSMOS 29
4/4
MICROKOSMOS 30
4/4
MICROKOSMOS 31
4/4
MICROKOSMOS 32
3/4
MICROKOSMOS 33
3/4
MICROKOSMOS 34
2/4
MICROKOSMOS 35
4/4
MICROKOSMOS 36
3/4
MICROKOSMOS 37
2/4
MICROKOSMOS 38
3/4
MICROKOSMOS 39
4/4
MICROKOSMOS 40
2/4
MICROKOSMOS 41
6/8
MICROKOSMOS 42
4/4
MICROKOSMOS 43
4/4
MICROKOSMOS 44
2/4
MICROKOSMOS 45
2/4
Note Pattern
F#-E-D-E-D-E-D-E
B-C#-D-E-F-E-D-C#
D-E-F#-G-G-G-F#-E
C-B-A-B-A-B-C-D
B-A-G-A-G-F-E-B
E-F#-E-F#-G#-F#-E-F#
C-D-F-E-D-C-F-E
D-C-D-E-F-E-D-D
D-C-B-A-B-C-G-A
B-A-B-A-B-C-B-A
C-B-D-B-E-B-D-E
C-D-F-E-G-C-F-E
A-C-A-D-C-A-C-A
F-C-B-A-B-G-F-A
D-E-F#-F#-F#-F#-F#-E
A-A-A-A-A-G-F-G
E-B-E-B-E-B-E-B
D-E-F-E-D-B-C-E
A-C-E-C-A-B-E-B
D-F-E-G-F-A-G-E
G#-F#-G#-B-G#-F#-G#-B
G#-F-G#-F-G#-F-G#-C
SUB-GROUP:1.3 BARTOK
Title (*)
Time Sign
MICROKOSMOS 46
4/4
MICROKOSMOS 47
2/4
MICROKOSMOS 48
5/4
MICROKOSMOS 49
6/8
MICROKOSMOS 50
3/4
MICROKOSMOS 51
6/8
MICROKOSMOS 52
4/4
MICROKOSMOS 53
2/4
MICROKOSMOS 54
6/8
MICROKOSMOS 55
2/4
MICROKOSMOS 56
3/4
MICROKOSMOS 57
2/4
MICROKOSMOS 58
6/8
MICROKOSMOS 59
3/4
MICROKOSMOS 60
2/4
MICROKOSMOS 61
2/4
MICROKOSMOS 62
2/4
MICROKOSMOS 63
4/4
MICROKOSMOS 64
2/4
MICROKOSMOS 65
2/4
Note Pattern
E-F-E-E-F-E-E-A
A-E-G-D-E-A-D-G
G-B-D-C-A-G-B-D
G-A-B-C-A-B-C#-D
A-B-C#-D#-E-D-C#-B
D#-C#-A#-G#-A#-C#-D#-C#
D-B-D-G-A-B-F-G
A-B-C-G-F-E-D-C
E-F-F#-G-F#-F-F#-G
F-A-G-B-F-F-G-A
C-D-E-D-C-D-E-C
A-D-C#-B-A-D-D-C#
G-A#-G-C#-A-G-A#-C#
F-G-G#-A#-C-F-G-F
A-B-C#-D#-E-C#-E-D#
C-F#-G-D-C-F#-G-D
G-A#-G-A#-G-A#-G-A
F#-G-G-G-G-G-F#-G
E-F#-G-A-B-A-G-A
A-B-A-B-A-B-A-B
GROUP: 2. HARPSICHORD
SUB-GROUP: 2.1 SCARLATTI
Title (*)
SONATA in Bmin
SONATA in Emag
Time Sign
2/4
3/4
Note Pattern
F#-D-B-B-A#-B-F#-B
B-A-G#-A-D#-E-B-G#
SUB-GROUP: 2.2 PARADISI
Title (*)
TOCCATA
Time Sign
2/4
Note Pattern
A-E-C#-A-B-E-D-B
GROUP: 3. J.S. BACH
SUB-GROUP: 3.1 INVENZ 2 VOCI
Title (*)
INVENZIONE01
INVENZIONE02
INVENZIONE03
INVENZIONE04
INVENZIONE05
INVENZIONE06
INVENZIONE07
INVENZIONE08
74
Time Sign
4/4
4/4
3/8
3/8
4/4
3/8
4/4
3/4
Note Pattern
C-D-E-F-D-E-C-G
C-B-C-D-Eb-G-Ab-Bb
D-E-F#-E-G-F#-E-D
D-E-F-G-A-Bb-C#-Bb
Eb-D-Eb-F-G-F-G-Ab
E-D#-D-C#-B-A-G#-F#
B-A-G-F#-G-E-B-A
F-A-F-C-F-F-E-D-C
Title (*)
INVENZIONE09
INVENZIONE10
INVENZIONE11
INVENZIONE12
INVENZIONE13
INVENZIONE14
INVENZIONE15
Time Sign
3/4
9/8
4/4
12/8
4/4
4/4
4/4
Note Pattern
C-Bb-Ab-G-Ab-F-Db-C
G-B-D-B-G-D-B-G
D-E-F#-G-A-Bb-G-A
A-G#-A-A-A-G#-A-A
E-A-C-B-E-B-D-C
Bb-C-D-C-Bb-F-D-Bb
B-A#-B-F#-G-A-G-F#
SUB-GROUP: 3.2 WOHLTEMP KLAV
Title (*)
Time Sign
PRAELUDIUM I
4/4
FUGE I
4/4
PRAELUDIUM II
4/4
FUGE II
4/4
PRAELUDIUM III
3/8
FUGE III
4/4
PRAELUDIUM IV
3/4
FUGE IV
4/4
PRAELUDIUM V
4/4
FUGE V
4/4
PRAELUDIUM VI
4/4
FUGE VI
3/4
PRAELUDIUM VII
4/4
FUGE VII
4/4
PRAELUDIUM VIII
3/4
PRAELUDIUM VIII
3/4
FUGE VIII
4/4
PRAELUDIUM IX
12/8
FUGE IX
4/4
PRAELUDIUM X
4/4
FUGE X
3/4
PRAELUDIUM XI
12/8
FUGE XI
3/8
PRAELUDIUM XII
4/4
FUGE XII
4/4
PRAELUDIUM XIII
12/8
FUGE XIII
4/4
PRAELUDIUM XIV
4/4
FUGE XIV
3/4
PRAELUDIUM XV
4/4
FUGE XV
6/8
PRAELUDIUM XVI
4/4
FUGE XVI
4/4
PRAELUDIUM XVII
3/4
FUGE XVII
4/4
PRAELUD-XVIII
6/8
FUGE XVIII
4/4
PRAELUDIUM XIX
4/4
FUGE XIX
9/8
PRAELUDIUM XX
9/8
FUGE XX
4/4
PRAELUDIUM XXI
4/4
FUGE XXI
3/4
PRAELUDIUM XXII
4/4
FUGE XXII
4/4
PRAELUD-XXIII
4/4
FUGE XXIII
4/4
PRAELUDIUM XXIV
4/4
FUGE XXIV
4/4
Note Pattern
C-E-G-C-E-G-C-E
C-D-E-F-G-F-E-A
C-Eb-D-Eb-C-Eb-D-Eb
C-B-C-G-Ab-C-B-C
F-C#-G#-C#-F-C#-F#-C#
Ab-Bb-Ab-Gb-Ab-F-Db-Ab
G#-F#-E-D#-E-C#-C#-B
C#-C-E-D#-C#-D#-E-D#
D-E-F#-A-F#-E-D-A
D-E-F#-G-F#-E-F#-D
A-F-D-A-F-D-D-Bb
D-E-F-G-E-F-D-C#
G-Ab-Bb-Ab-G-F-Eb-Db
Bb-G-F-G-Eb-Ab-G-Ab
Bb-Bb-Eb-Gb-B-Eb-Ab-B
Bb-Bb-Eb-Gb-B-Eb-Ab-B
Eb-Bb-B-Bb-Ab-Gb-Ab-Bb
E-G#-B-E-D#-E-C#-D#
E-F#-B-C#-D#-E-D#-E
E-F#-E-D#-E-F#-E-F#
E-G-B-E-D#-E-D-E
F-C-A-G-A-C-F-A
C-D-C-Bb-C-E-F-G
F-Ab-C-F-G-F-E-G
C-Db-C-B-E-F-Bb-A
F#-A#-C#-A#-F#-C#-C#-A#
C#-F#-F-F#-F-D#-C#-D#
C#-D-C#-B-D-C#-B-A
F#-G#-A-G#-A#-B-A#-G#
G-B-D-G-D-B-D-B
G-A-G-F#-G-A-B-A
Bb-D-C-Eb-Bb-D-A-C
D-Eb-G-F#-G-A-Bb-C
Ab-G-Ab-C-Eb-Ab-Bb-Ab
Ab-Eb-C-Ab-F-Db-Eb-Db
G#-A#-B-G#-A#-C#-E-D#
G#-G-G#-A#-B-A#-G#-D
A-B-C#-A-F#-F#-F#-D#
A-G#-C#-A-D-B-E-C#
A-B-C-E-C-A-E-A
A-G#-A-B-C-C-B-C
Bb-F-D-F-A-F-C-F
F-G-F-Bb-D-C-A-G
Bb-C-Db-Db-Db-C-Db-Eb
Bb-F-Gb-F-Eb-Db-C-Db
B-A#-B-C#-A#-B-C#-D#
B-A#-B-C#-F#-G#-A#-B
F#-B-C#-F#-E-D-C#-B
F#-D-B-G-F#-B-A#-E
GROUP: 4. W.A. MOZART
SUB-GROUP: 4.1 SONATA N.1
Title (*)
ALLEGRO 1
ANDANTE 2
ALLEGRO 3
Time Sign
4/4
3/4
2/4
Note Pattern
E-G-C-C-B-D-C-E
F-C-B-C-B-C-D-C
G-C-F-E-G-F-E-A
SUB-GROUP: 4.2 SONATA N.5
Title (*)
ALLEGRO 1
ANDANTE 2
PRESTO 3
Time Sign
3/4
4/4
3/8
SUB-GROUP: 7.5 VERDI
Note Pattern
D-B-D-G-F#-A-F#-A
C-C-C-C-B-F-F-E
B-C-D-C-B-C-D-D
Title (*)
Time Sign
DANZAdeiMORETTI
4/4
LE ZINGARELLE
4/4
DONNA MOBILE
3/8
MARCIA TRIONF
4/4
Note Pattern
G-G-D-F-C-Eb-Bb-D
A#-B-G-A#-B-G-E-E
Eb-Eb-Eb-Gb-E-Db-Db-Db
Eb-Ab-Bb-Eb-Bb-C-C-C
SUB-GROUP: 4.3 SONATA N.11
Title (*)
ANDANTE 1
MINUETTO
MINUETTO
ALLA-TURCA
Time Sign
6/8
3/4
3/4
2/4
Note Pattern
C#-D-C#-E-E-B-C#-B
C#-E-A-E-C#-D-B-A
C#-E-A-E-C#-D-B-A
B-A-G#-A-C-D-C-B
SUB-GROUP: 7.6 BRAHMS
Title (*)
DANZA HUNG n.5
DANZA HUNG n.6
Time Sign
2/4
2/4
Note Pattern
C#-F#-A-F#-F-F#-G#-F#
C#-G#-G#-A#-G#-G-A#-G#
SUB-GROUP: 7.7 CIAJKOWSKIJ
SUB-GROUP: 4.4 SONATA N.16
Title (*)
ALLEGRO 1
ANDANTE 2
RONDO’
Time Sign
4/4
3/4
2/4
Note Pattern
C-E-G-B-C-D-C-A
B-D-C-B-C-D-B-G
G-G-E-F-F-D-C-D
GROUP: 5. F. CHOPIN
Time Sign
4/4
2/4
4/4
Time Sign
6/8
2/4
2/4
Note Pattern
G-C-G-G#-G-A#-G#-G
C-C-C-Bb-C-Bb-C-Eb
Note Pattern
D#-D#-C#-B-B-A#-G#-G
E-G#-B-E-E-B-G#-E
B-A-G#-G#-F#-E-B-A
Note Pattern
D-G-A-B-C-D-G-G
SUB-GROUP: 7.2 KUHLAU
Title (*)
SONATINA IIMOV
Time Sign
3/8
Note Pattern
E-C-G-G-E-C-G-G
Time Sign
2/4
2/4
4/4
Title (*)
IMPROMP op.90
Time Sign
4/4
4/4
Time Sign
3/4
Note Pattern
F#-F#-F#-F#-A-A-A-D
Bb-D-C-Bb-A-G-F-Eb
Note Pattern
A#-G-A#-G#-G-F-D#-D
Title (*)
PASSACAGLIA
Time Sign
4/4
Note Pattern
D-Eb-C-D-Eb-Eb-D-Eb
SUB-GROUP: 7.13 BEETHOVEN
Title (*)
Time Sign
FUR ELISE
3/8
MOONLIGHT SONAT 4/4
Note Pattern
E-D#-E-D#-E-B-D-C
G#-C#-E-G#-C#-E-G#-C#
SUB-GROUP: 7.14 MENDELLSOHN
Title (*)
RONDO’ CAPRIC
Time Sign
4/4
Note Pattern
G#-E-B-B-C#-D#-C#-C
Title (*)
PROMENADE
Time Sign
5/4
Note Pattern
G-F-Bb-C-F-D-C-F
SUB-GROUP: 7.16 BOCCHERINI
Title (*)
MINUETTO
Time Sign
3/4
Note Pattern
A-B-A-G#-A-B-A-A
GROUP: 8. XX CENTURY
SUB-GROUP: 7.3 BIZET
Title (*)
OUVERTURE
HABANERA
FARANDOLE
Title (*)
IL POETA
IL CONTADINO
Note Pattern
Bb-Bb-Bb-Eb-Bb-G-Bb-C
SUB-GROUP: 7.15 MUSSORGSKY
SUB-GROUP: 7.1 BACH
Time Sign
3/4
Note Pattern
G-Bb-Eb-F-D-C-D-Bb
SUB-GROUP: 7.12 HAENDEL
GROUP: 7. COLLECTION
Title (*)
MINUETTO
Time Sign
2/4
SUB-GROUP: 7.11 SHUBERT
SUB-GROUP: 6.2 ETUDES
Title (*)
ETUDE 3
ETUDE 4
ETUDE 5
Title (*)
GALOP
Note Pattern
G#-A-G#-G-G#-C#-E-D#
B-B-B-C-B-C-B-C
SUB-GROUP: 6.1 LISZT
Time Sign
2/4
2/4
Title (*)
Time Sign
VALZER COPPELIA
3/4
SUB-GROUP: 7.10 SUPPE’
GROUP: 6. F. LISZT
Title (*)
FRISKA
LASSAN
Note Pattern
G-E-G-F#-D#-E-D-D
SUB-GROUP: 7.8 DELIBES
Note Pattern
G#-F#-E-D#-C#-D#-C-C#
F#-A#-C#-F#-D#-F#-C#-F#
C-D-Eb-Eb-G-G-G-Ab
SUB-GROUP: 5.2 VARI
Title (*)
Time Sign
FANTASIA IMPROM
4/4
PRELUDE n.4
4/4
Time Sign
2/4
SUB-GROUP: 7.9 MARENCO
SUB-GROUP: 5.1 ETUDES
Title (*)
ETUDE n.4
ETUDE n.5
ETUDE n.12
Title (*)
DANZAdellaFATA
Note Pattern
A-A-A-A-E-D-E-A
D-C#-C-C-C-B-Bb-A
D-A-D-E-F-E-F-D
SUB-GROUP: 8.1 SATIE
Note Pattern
G-Bb-G-A-Bb-A-Bb-G
SUB-GROUP: 8.2 C. DEBUSSY
Title (*)
GYMNOPEDIE n.1
GYMNOPEDIE n.2
GYMNOPEDIE n.3
Time Sign
3/4
3/4
3/4
Note Pattern
F#-A-G-F#-C#-B-C#-D
G-A-G-F-E-F-G-D
A-G-F-E-D-E-F-E
SUB-GROUP: 7.4 SAINSSAENS
Title (*)
Time Sign
DANZA MACABRA
3/4
Title (*)
CATHEDRAL
LE VENT DANS
CORTEGE
Time Sign
6/4
4/4
4/4
Note Pattern
D-D-E-B-D-E-D-D
A#-B-A#-B-A#-B-A#-B
G#-A-G#-F#-E-F#-G#-A#
75
SUB-GROUP: 8.3 RAVEL
Title (*)
BOLERO
PAGODE
Time Sign
3/4
2/4
Note Pattern
C-B-C-D-C-B-A-C
F#-D#-C#-D#-A#-F#-C#-D#
SUB-GROUP: 8.4 KHACATURIAN
Title (*)
Time Sign
DANZAdelleSPADE
4/4
Note Pattern
F#-F#-F#-F#-F#-F#-F#-F#
SUB-GROUP: 8.5 DEFALLA
Title (*)
EL AMOR BRUJO
Time Sign
4/4
Note Pattern
Bb-Bb-C-C#-D#-C#-C-Bb
SUB-GROUP: 8.6 JOPLIN
Title (*)
Time Sign
MAPLE LEAF RAG
2/4
THE ENTERTAINER
2/4
Note Pattern
Ab-Eb-Ab-C-Eb-G-Eb-G
D-D#-E-C-E-C-E-C
GROUP: 9. U.S.A.
SUB-GROUP: 9.1 TRADITION
Title (*)
Time Sign
SILENT NIGHT
3/4
TWINKLE TWINKLE
2/4
BRAHMS LULLABY
3/4
AMAZING GRACE
3/4
WHEN THE SAINTS
2/4
O CANADA
4/4
BLUES
4/4
BLSD ASSURANCE
3/4
MY OLD KY HOME
4/4
NEARER MY GOD
3/4
O HOLY NIGHT
6/8
POWER IN THE BLD
4/4
AMERICA
3/4
ROCK A BYE BABY
3/4
GOD REST YE
4/4
76
Note Pattern
G-A-G-E-G-A-G-E
C-C-G-G-A-A-G-F
E-E-G-E-E-G-E-G
G-C-E-C-E-D-C-G
C-E-F-G-C-E-F-G
E-G-G-C-D-E-F-G
D-E-G-G-E-B-D-E
C#-B-A-E-E-D-E-F#
G-A-B-B-G-A-B-C
G#-F#-E-E-C#-C#-B-E
E-E-E-G-G-A-A-F
C-C-D-C-C-C-D-D
G-G-E-E-G-G-D-D
E-G-E-D-C-E-G-C
E-E-B-B-A-G-F#-E
Technology
Damper Physical Model
The RP220 features five unique applications of
sound design technology including “physical models” to simulate the internal characteristics of a
piano soundboard.
This technology is patented by Generalmusic as
“Damper Physical Model”. When the damper pedal
is depressed, the damper physical model will simulate the effect of sympathetic resonances being
produced by the un-damped strings. You can hear
the effect of the Damper Physical Model by comparing the sounds of notes played in the highest octave
of the instrument with and without the damper pedal
depressed.
Natural String Resonance
This physical model technology, patented by
Generalmusic as “Natural String Resonance”, allows all of the complex harmonics normally produced by the piano soundboard to be faithfully
reproduced. This means that a note’s individual
sound will always be slightly different depending
upon which other notes are currently being held,
(and consequently which strings are un-damped
and free to resonate in sympathy). If you hold a low
“C” and let the note decay, the strings for that note
are still un-damped for as long as the key remains
depressed. If you now strike another “C” higher up
the keyboard, (staccato), you will hear the sympathetic resonance of the low “C” strings in response
to the new note played. This natural effect replicates exactly what happens on a grand piano. If you
experiment with different combinations of notes you
will hear harmonic colours particular to each. Because this effect is produced by physical models
and not by samples or DSP effects, the result is a
musically and technically accurate simulation of a
piano’s soundboard and virtually infinite combinations of harmonics can be produced.
Advanced Release Technology
This technology, applied to the piano sounds in the
RP220, is called “Advanced Release Technology”,
(patent pending). Sample based electronic pianos
traditionally use envelope generators to control what
happens when a key is released. This simply allows
the sample loop to continue for a set period of time
until it’s amplitude is reduced to zero by the envelope generator. In an acoustic piano, vibrating
strings are silenced by the action of a damper
making contact with the string. When this happens,
depending on the velocity with which the key was
struck and the length of the string itself, certain
frequencies are damped earlier than others producing a distinctive harmonic “ring” as the different
frequencies in the string’s tone dissipate throughout the piano soundboard. The ART in the RP220
simulates this feature with precise accuracy throughout the 88 note range.
Soundboard Simulation
This new and revolutionary Physical Model, patented by Generalmusic as “Soundboard Simulation”, allows real time simulation of a grand piano’s
soundboard, giving the digital piano sound of the
RP220 a warm and natural aspect never before
possible to reproduce in a digital piano.
3D DSP
A new and exclusive spatializing algorithm, created
by Generalmusic in collaboration with the C.S.C.
laboratory of Padua University. Thanks to this new
complex algorithm, RP220 breaks the standard
concept of left and right channels, opening he stereo
panorama so that the general sound speaks with
greater definition and clarity, while thanks to the
dynamic pan, the sound of each note changes
position as occurs in an acoustic grand piano.
77
RP220 Technical Specifications
Keyboard
Polyphony
Sounds
Operating Modes
General Controls
Edit
Display
Digital Effects
Physical Models
Recording Studio
MIDI
Connectors
Amplification
Speakers
Accessories
Notes
78
88 keys with dynamic hammer action and escapement
128 Voices
64 Preset + 64 programmable User Preset,
Single - Split - Layer
Volume, Transpose, Master EQ, 3D, Touch Sensitivity,
Balance, Demo, Preset Equalizer.
Sound Program, Sound Volume, Section Transpose, Rev.Parameter, Reverb
Send A\B sounds, EFX Send A\B Sounds, EFX Parameter 1, EFX Parameter 2,
Microtuning, Auto-Wha, Detune, Delay, Damper Assign.
128 x 64 pixel, graphic (backlit).
2 separate Digital Effects : 16 Reverb, 16 Modulation with separate Send
Level, 4-Band EQ
Damper Physical Model, Sound Board simulation, 3D DSP,
Natural String Resonance, Advanced Release Technology
1 song, 60.000 events,
Play/Stop, Pause, REW/FF, Rec, Click, Time, Erase
I.M.S. (Intelligent Music Search), Song Library
16 channels, Midi Mode, Dump.
2 Headphones, Damper, Soft, Sostenuto, Computer (PC1, PC2, Apple),
MIDI In/Out/Thru, Stereo input, Stereo output.
70 W + 70 W
3 Way speaker system - 2 Woofers, 2 Full Range, 2 Tweeters
Optional Bench
Operating system in Flash ROM memory
Index
Misc.
H
Hard (Touch) 22
Headphone 5
I
3D Active 20
3D DSP 20, 73
Instrument layout 1
Intelligent Music Search (I.M.S.®) 69
Internal Clock 52
A
K
Add Effects 11
Add Reverb 11
Advanced Release Technology 77
Apple 54
Auto Wha-Wha Assign 40
Keyboard Scales 37
L
Basic Functions 19
Layer 29
Layer button 9
Layer mode 9
Local Control 50
Loudness 20
C
M
Change the Layer sound 9
Change the name of a Preset 44
Change the Split point 9
Change the Split sound 8
Click button 62, 65
Click Volume 65
Common Channel 49
Computer Interface 54
Concert A = 440 Hz 47
Control Change messages 50
Countdown 66
Master Equalizer 20
Microtuning 37
Midi Channel 48
MIDI Clock 51
MIDI Dump 55
MIDI In Filters 52
MIDI Menu 48
MIDI Mode 49
MIDI Out Filter 53
MIDI Transpose 51
Modify the Layer 29
Modify the Split 30
Multitimbral 63
Muting Tracks 66
B
D
Damper 6
Damper Pedal Assign 39
Damper Physical Model 77
Delay 41
Demo button 15
Demo Song list 15
Demo Songs 15
Detune 41
Display Contrast 58
DSP Parameter 35
Dual Channel 49
E
Effect Send 34
Effects 25
Enhanced (3D DSP) 20
Equalizer 27
Erase button 62
Events 62
External (3D DSP) 20
External (Master Eq.) 20
External Clock 52
F
FF (Fast Forward) 62, 66
Front panel 2
G
General 46
General functions 45
N
Natural String Resonance
Normal (Master Eq.) 20
Normal (Touch) 22
77
O
Octave shifting
32
P
Parameter 1 & 2 35
Pause 62
PC-1 54
PC-2 54
Pedal Connection 6
Perf. Edit 23
Perf. Edit menu 28
Performance parameters 28
Physical model technology 77
Piano frame effect 57
Piano Frame Level 57
Play/Stop 62
Power switch 5
Preset (The) 14
Preset Change message 49
Preset name 44
Preset/User Preset table A. 2
Presets 24
Program Change messages 49
79
Q
Quick Study Guide 7
R
Realtime operations 8
Rear panel 4
Rec (Record) 62
Record Track 1 63
Record Track 2 64
Recording a song 17
Recording Studio 61
Recording Studio controls 62
Reset Section Transpose 32
Reset Transpose 21
Reset Tune 47
Restore Microtune 60
Restore Presets 59
Reverb Decay Time 35
Reverb Send 33
REW 66
Rewind 62
S
Saving your modifications 42
Section Transpose 32
Select a single demonstration 15
Selecting effects 25
Selecting RP220 Presets 12
Selection buttons 12
Sending a MIDI dump 55
Serial port 54
Soft 6
Soft (Touch) 22
Song Library 67
Songs contained in the Song Library 73
Sostenuto 6
Sound Program 29
Sound Program table 30
Sound volume 31
Soundboard Simulation 77
Special Control Change messages A. 4
Split 30
Split button 8
Split mode 8
Split point 9
Store Preset 43
Store the modified Preset 43
Store to a different location 44
Store your modifications 43
Structure of a Preset 24
T
Technical Specifications 78
Technology 78
Temperaments 37
Tempo 65
The Erase button 66
Time button 62, 65
Time Signature 65
Touch 22
Track 1 62
Track 2 62
Transmission of a transposition via MIDI 51
Transpose 21
80
Transpose the instrument 21
Tune Control 47
Turn the instrument on 5
U
User Microtuning 37
User Preset 43
User Presets 13
V
Variable performance parameters 24
Volume 10
Volume Balance 10
Appendix
Appendice
Anhang
Appendix
A-1
RP220 PRESETS/USER PRESETS TABLE
N.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
A-2
Internal Preset
GROUP PIANO
GRAND PIANO
ELECT.GRAND
UPRIGHT PIANO
HONKY TONKY
CHORUS PIANO
STRING PIANO
JAZZ PIANO
ELECTRIC DUO
GROUP EL. PIANO
RHODEX 1
WURLIE
RHODEX 2
RHODEX 3
RHODEX PAD
MIXED FM
RHODEX BASS
SHUFFLE DUO
GROUP KEYBOARD
HARPSICHORD
CLAVINET
CELESTA
GRAND HARP
MIXED CELESTA
PIANO HARP
CONTINUM
SPLIT HARP
GROUP ORGAN
JAZZ ORGAN
POP ORGAN
THEATRE ORGAN
PIPE ORGAN
DRAWBARS
PIANORGAN
ORGAN COMBO 1
ORGAN COMBO 2
GROUP STRINGS
STRINGS
MARCATO STRING
SLOW STRING
SLOW STRING 2
STRINGBELL 1
STRINGBELL 2
SIMPHONIC
CONCERTO
GROUP CHOIR/PAD
CHOIR 1
SLOWCHOIR
ATTACK PAD
TAP PAD
MIXPAD 1
MIXPAD 2
RAIN PAD
BARCHIME PAD
GROUP GUITAR
NYLON GUITAR
STEEL GUITAR
JAZZ GUITAR
STRATO GUITAR
HARPTAR
12 STRING 1
WES COMBO
COUNTRY DUO
GROUP VIBES
VIBES 1
VIBES 2
MARIMBA
XYLOPHONE
VIBES HARP
VIBES PIANO
VIBES COMBO 1
VIBES COMBO 2
N
65
66
67
68
69
70
71
62
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
User Preset
GROUP PIANO
GRAND PIANO 2
CUSTOM GRAND
ROCK PIANO
HONKY TONKY 2
EFX PIANO
POP PIANO
JAZZ PIANO 2
ELECTRIC SPLIT
GROUP E. PIANO
RHODEX 4
SYNT WURLIE
HARD RHODEX
FM PIANO 2
MIX RHDEX
MIXED FM 2
RHODEX BASS 2
WURLIE RHODEX
GROUP KEYBOARD
HARPSICHORD 2
SUPER CLAVI
CELESTA DROPS
GRAND HARP 2
MIXED HARP 2
MIXED CELESTA 2
PIANO HARP 2
HYBRID PIANO 2
GROUP ORGAN
POP ORGAN 2
JAZZ ORGAN 2
ROCK ORGAN
PIPE 2
DRAWBARS 2
PIANORGAN 2
ORGAN COMBO 3
ROCK COMBO
GROUP STRINGS
CONCERTO GROSSO
SYNT STRING
STRINGTHIN
STRINGHARP
STRINGRHODEX
STRINGBELL 3
SIMPHONIC 2
CONCERTO 2
GROUP CHOIR/PAD
CHOIR PAD
CHOIR BELL
SINT HORN
CLAIRE DE LUNE
MIXPAD 3
MIXPAD 4
RAIN PAD 2
BARCHIME PAD 2
GROUP GUITAR
NYLONPAD
12 STRING 2
JAZZ DUO
STRATO PAD
GUITAR DROPS
MIX GUITAR 2
GUITAR COMBO 3
ACOUSTIC DUO
GROUP VIBES
VIBES DROPS
VIBES RHODEX
VIBRIMBA
WURLIMBA
VIBESTHARP 2
VIBES PAD 2
VIBES DUO 1
VIBES DUO 2
MIDI IMPLEMENTATION CHART
MANUFACTURER
GENERALMUSIC S.p.A.
FUNCTION
Basic
Channel
Mode
Default
Changed
Default
Messages
Altered
Note
Number
Velocity
True Voice
Note ON
Note OFF
After
Key’s
Touch
Ch’s
Pitch Bender
Control
Change
MODEL: RP220
Transmitted
Recognized
1
1-16
Mode 3
X
********
9-120
********
o
o
x
x
x
0
Bank select MSB
7
Volume
64 Damper pedal
66 Sostenuto
67 Soft pedal
Date 03/07/2000
Version 1:00
Remarks
1
1-16
Mode 3
X
X
9-120
9-120
o
o
x
x
x
7
64
66
67
91
93
117
118
120
121
Volume
Damper pedal
Sostenuto
Soft pedal
Reverb send
Effect send
( key on )
(1)
( key off )
(1)
All sound off
121 Reset all controllers
Reset all controllers
Program
0-127
0-127
(2)
Change
True number
********
0-127
System Exclusive
o
o
System
Song Position
x
x
Song Select
x
x
Common Tune
x
x
System
Clock
o
o
Real Time Commands
o
o
Aux
Local On/Off
x
x
Messages All Notes Off
o
o
Active Sensing
o
o
Reset
x
x
NOTES (1) On Common channel, these messages are interpreted as Generalmusic Special Control messages.
See table on the next page.
(2) Cn xx (0≤ ‘xx’ ≤ 64 select Single sounds when MIDI MODE is DUAL Channel.
Cn xx (0≤ ‘xx’ ≤ 127 select preset combinations when MIDI MODE is Common Channel.
o = YES; x = NO
A-3
Special Control Change messages
Special Control Changes
RP 220 KEYS selection
Bn 75 00
Bn 75 01
Push key DEMO
Push key GENERAL
Bn 76 00
Bn 76 01
Release key DEMO
Release key GENERAL
Bn 75 02
Bn 75 03
Push key TRANSPOSE b
Push key MASTER EQ
Bn 76 02
Bn 76 03
Release key TRANSPOSE b
Release key MASTER EQ
Bn 75 04
Bn 75 05
Bn 75 06
Bn 75 07
Bn 75 08
Bn 75 09
Bn 75 0A
Bn 75 0B
Bn 75 0C
Bn 75 0D
Bn 75 0E
Bn 75 0F
Bn 75 10
Bn 75 11
Bn 75 12
Bn 75 13
Bn 75 14
Bn 75 15
Bn 75 16
Bn 75 17
Bn 75 18
Bn 75 19
Bn 75 1A
Bn 75 1B
Bn 75 1C
Bn 75 1D
Bn 75 1E
Bn 75 1F
Bn 75 20
Bn 75 21
Bn 75 22
Bn 75 23
Bn 75 24
Bn 75 25
Bn 75 26
Bn 75 27
Bn 75 28
Bn 75 29
Bn 75 2A
Bn 75 2B
Bn 75 2C
Bn 75 2D
Push key TRANSPOSE #
Push key 3D DSP
Push key PIANO 1
Push key 1
Push key EL PINAO
Push key 2
Push key KEYBOARD
Push key 3
Push key ORGAN
Push key 4
Push key STRINGS
Push key 5
Push key CHOIR
Push key 6
Push key GUITAR
Push key 7
Push key VIBES
Push key 8
Push key GRANDPIANO
Push key PRESET
Push key ESCAPE"
Push key ENTER!
Push key DATA Push key DATA +
Push key UP!
Push key LEFT$
Push key DOWN "
Push key RIGHT #
Push key SPLIT
Push key BALANCE Push key LAYER
Push key BALANCE +
Push key REVERB
Push key EQUALIZER
Push key EFFECT
Push key TOUCH
Push key PERF EDIT
Push key STORE
Push key PLAY/STOP
Push key RECORD
Push key SONG LIBRARY
Push key I.M.S.
Bn 76 04
Bn 76 05
Bn 76 06
Bn 76 07
Bn 76 08
Bn 76 09
Bn 76 0A
Bn 76 0B
Bn 76 0C
Bn 76 0D
Bn 76 0E
Bn 76 0F
Bn 76 10
Bn 76 11
Bn 76 12
Bn 76 13
Bn 76 14
Bn 76 15
Bn 76 16
Bn 76 17
Bn 76 18
Bn 76 19
Bn 76 1A
Bn 76 1B
Bn 76 1C
Bn 76 1D
Bn 76 1E
Bn 76 1F
Bn 76 20
Bn 76 21
Bn 76 22
Bn 76 23
Bn 76 24
Bn 76 25
Bn 76 26
Bn 76 27
Bn 76 28
Bn 76 29
Bn 76 2A
Bn 76 2B
Bn 76 2C
Bn 76 2D
Release key TRANSPOSE #
Release key 3D DSP
Release key PIANO 1
Release key 1
Release key EL PINAO
Release key 2
Release key KEYBOARD
Release key 3
Release key ORGAN
Release key 4
Release key STRINGS
Release key 5
Release key CHOIR
Release key 6
Release key GUITAR
Release key 7
Release key VIBES
Release key 8
Release key GRANDPIANO
Release key PRESET
Release key ESCAPE"
Release key ENTER!
Release key DATA Release key DATA +
Release key UP!
Release key LEFT$
Release key DOWN "
Release key RIGHT #
Release key SPLIT
Release key BALANCE Release key LAYER
Release key BALANCE +
Release key REVERB
Release key EQUALIZER
Release key EFFECT
Release key TOUCH
Release key PERF EDIT
Release key STORE
Release key PLAY/STOP
Release key RECORD
Release key SONG LIBRARY
Release key I.M.S.
A-4
FEDERAL COMMUNICATIONS COMMISSION
Note: This equipment has been tested and found to comply with the limits for a Class B
digital device, pursuant to Part 15 of FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio
communications. However, there is no guarantee that interference will not occur in a
particular installation. If this instrument does cause harmful interference to radio or
television reception, which can be determined by turning the instrument off and on, the
user is encouraged to try to correct the interference by one or more of the following
measures:
- Reorient or relocate the receiving antenna.
- Increase the separation between the equipment and the receiver.
- Connect the equipment into an outlet on a circuit different from that to which the receiver
is connected.
- Consult the dealer or an experienced radio/TV technician for help.
CAUTION:
Changes or modifications to this product not expressly approved by the
manufacturer could void the user’s authority to operate this product.
GENERALMUSIC Code 271310
Specifications are subject to change without prior notice.
Specifiche soggette a cambiamento senza preavviso.
Änderungen -auch ohne Vorankündigung- sind vorbehalten.
Les spécifications sont sujettes à modifications sans préavis.
PRINTED IN ITALY
Sales Division: I -47848 S.Giovanni in Marignano (RN) - Italy – Via delle Rose, 12 – tel. +39 541 959511 – fax +39 541 957404 – tlx 550555 GMUSIC I
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