Roland Prelude Owner's manual

Roland Prelude Owner's manual
Prelude_e.book Page 1 Wednesday, January 14, 2009 2:18 PM
Owner’s Manual
201a
Before using this unit, carefully read the sections entitled: “Using the unit safely” (p. 3) and
“Important notes” (p. 5). These sections provide important information concerning the proper
operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of
every feature provided by your new unit, this owner’s manual should be read in its entirety. The
manual should be saved and kept on hand as a convenient reference.
Conventions Used in This Manual
Operating buttons are enclosed by square brackets [ ]; e.g., [ENTER].
Reference pages are indicated by (p. **).
The following symbols are used.
This indicates an important note; be sure to read it.
This indicates a memo regarding the setting or function; read it as desired.
This indicates a useful hint for operation; read it as necessary.
This indicates information for your reference; read it as necessary.
This indicates an explanation of a term; read it as necessary.
* The explanations in this manual include illustrations that depict what should typically be shown by
the display. Note, however, that your unit may incorporate a newer, enhanced version of the
system (e.g., includes newer sounds), so what you actually see in the display may not always
match what appears in the manual.
202
Copyright © 2009 ROLAND EUROPE Spa
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND EUROPE.
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For the U.K.
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Using the unit safely
About
WARNING and
CAUTION Notices
About the Symbols
The symbol alerts the user to important instructions or
warnings.The specific meaning of the symbol is
determined by the design contained within the triangle. In
the case of the symbol at left, it is used for general
cautions, warnings, or alerts to danger.
Used for instructions intended to alert the
user to the risk of death or severe injury
should the unit be used improperly.
Used for instructions intended to alert the
user to the risk of injury or material
damage should the unit be used
improperly.
The symbol alerts the user to items that must never be
carried out (are forbidden). The specific thing that must
not be done is indicated by the design contained within
the circle. In the case of the symbol at left, it means that
the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic animals
or pets.
The symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In the
case of the symbol at left, it means that the power-cord
plug must be unplugged from the outlet.
ALWAYS OBSERVE THE FOLLOWING
006
•
002c
•
Do not open (or modify in any way) the unit or its AC
adaptor.
.................................................................................................................................
003
•
Do not attempt to repair the unit, or replace parts
within it (except when this manual provides specific
instructions directing you to do so). Refer all servicing
to your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page.
.................................................................................................................................
008c
•
.................................................................................................................................
004
•
Never install the unit in any of the following
locations.
• Subject to temperature extremes (e.g., direct sunlight in
an enclosed vehicle, near a heating duct, on top of
heat-generating equipment); or are
• Damp (e.g., baths, washrooms, on wet floors); or are
• Exposed to steam or smoke; or are
• Subject to salt exposure; or are
• Humid; or are
• Exposed to rain; or are
• Dusty or sandy; or are
• Subject to high levels of vibration and shakiness.
.................................................................................................................................
005
•
This unit should be used only with a rack or stand
that is recommended by Roland.
.................................................................................................................................
When using the unit with a rack or stand recommended by Roland, the rack or stand must be
carefully placed so it is level and sure to remain
stable. If not using a rack or stand, you still need to
make sure that any location you choose for placing
the unit provides a level surface that will properly
support the unit, and keep it from wobbling.
Be sure to use only the AC adaptor supplied with the
unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC
adaptor’s body. Other AC adaptors may use a
different polarity, or be designed for a different
voltage, so their use could result in damage,
malfunction, or electric shock.
.................................................................................................................................
008e
•
Use only the attached power-supply cord. Also, the
supplied power cord must not be used with any other
device.
.................................................................................................................................
009
•
Do not excessively twist or bend the power cord, nor
place heavy objects on it. Doing so can damage the
cord, producing severed elements and short circuits.
Damaged cords are fire and shock hazards!
.................................................................................................................................
010
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could cause
permanent hearing loss. Do not operate for a long
period of time at a high volume level, or at a level
that is uncomfortable. If you experience any hearing
loss or ringing in the ears, you should immediately
stop using the unit, and consult an audiologist.
.................................................................................................................................
3
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011
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft drinks,
etc.) to penetrate the unit.
101b
•
The unit and the AC adaptor should be located so
their location or position does not interfere with their
proper ventilation.
.................................................................................................................................
101c
•
.................................................................................................................................
012b
•
Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page when:
• The AC adaptor, the power-supply cord, or the plug has been
damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been spilled onto the unit; or
• The unit has been exposed to rain (or otherwise has become wet); or
• The unit does not appear to operate normally or exhibits a marked
change in performance.
.................................................................................................................................
•
•
In households with small children, an adult should
provide supervision until the child is capable of
following all the rules essential for the safe operation
of the unit.
.................................................................................................................................
•
•
Protect the unit from strong impact.
(Do not drop it!)
At regular intervals, you should unplug the AC
adaptor and clean it by using a dry cloth to wipe all
dust and other accumulations away from its prongs.
Also, disconnect the power plug from the power
outlet whenever the unit is to remain unused for an
extended period of time. Any accumulation of dust between the
power plug and the power outlet can result in poor insulation and
lead to fire.
.................................................................................................................................
104
•
.................................................................................................................................
014
Always grasp only the plug on the AC adaptor cord
when plugging into, or unplugging from, an outlet or
this unit.
103b
.................................................................................................................................
013
The Prelude is for use only with a Roland KS-12
stand (or cart). Use with other stands (or carts) is
capable of resulting in instability causing possible
injury.
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
.................................................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
.................................................................................................................................
015
•
Do not force the unit’s power-supply cord to share an
outlet with an unreasonable number of other devices.
Be especially careful when using extension cords—
the total power used by all devices you have
connected to the extension cord’s outlet must never
exceed the power rating (watts/amperes) for the extension cord.
Excessive loads can cause the insulation on the cord to heat up
and eventually melt through.
.................................................................................................................................
016
•
Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service Center,
or an authorized Roland distributor, as listed on the
“Information” page.
.................................................................................................................................
023
•
DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
.................................................................................................................................
.................................................................................................................................
107c
•
Never handle the AC adaptor or its plugs with wet
hands when plugging into, or unplugging from, an
outlet or this unit.
.................................................................................................................................
108b
•
Before moving the unit, disconnect the AC adaptor
and all cords coming from external devices.
.................................................................................................................................
109b
•
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 14).
.................................................................................................................................
110b
•
Whenever you suspect the possibility of lightning in
your area, disconnect the AC adaptor from the outlet.
.................................................................................................................................
4
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Important notes
In addition to the items listed under “Using the unit safely” (p. 3), please read and observe the following:
Power Supply
Repairs and Data
• Do not connect this unit to same electrical outlet that is being used
by an electrical appliance that is controlled by an inverter (such as
a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which
the electrical appliance is used, power supply noise may cause this
unit to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a power
supply noise filter between this unit and the electrical outlet.
• The AC adaptor will begin to generate heat after long hours of
consecutive use. This is normal, and is not a cause for concern.
• Before connecting this unit to other devices, turn off the power to
all units. This will help prevent malfunctions and/or damage to
speakers or other devices.
• This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
• Noise may be produced if wireless communications devices, such
as cell phones, are operated in the vicinity of the Prelude. Such
noise could occur when receiving or initiating a call, or while
conversing. Should you experience such problems, you should
relocate such wireless devices so they are at a greater distance
from this unit, or switch them off.
• Please be aware that all data contained in the unit’s memory may
be lost when the unit is sent for repairs. Important data should
always be backed up a USB memory, or written down on paper
(when possible). During repairs, due care is taken to avoid the loss
of data. However, in certain cases (such as when circuitry related
to memory itself is out of order), we regret that it may not be
possible to restore the data, and Roland assumes no liability
concerning such loss of data.
Placement
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To alleviate
the problem, change the orientation of this unit; or move it farther
away from the source of interference.
• This device may interfere with radio and television reception. Do
not use this device in the vicinity of such receivers.
• Noise may be produced if wireless communications devices, such
as cell phones, are operated in the vicinity of this unit. Such noise
could occur when receiving or initiating a call, or while
conversing. Should you experience such problems, you should
relocate such wireless devices so they are at a greater distance
from this unit, or switch them off.
• Do not expose the unit to direct sunlight, place it near devices that
radiate heat, leave it inside an enclosed vehicle, or otherwise
subject it to temperature extremes. Excessive heat can deform or
discolor the unit.
• When moved from one location to another where the temperature
and/or humidity is very different, water droplets (condensation)
may form inside the unit. Damage or malfunction may result if you
attempt to use the unit in this condition. Therefore, before using the
unit, you must allow it to stand for several hours, until the condensation has completely evaporated.
• Do not allow objects to remain on top of the keyboard. This can be
the cause of malfunction, such as keys ceasing to produce sound.
• Depending on the material and temperature of the surface on
which you place the unit, its rubber feet may discolor or mar the
surface.
You can place a piece of felt or cloth under the rubber feet to
prevent this from happening. If you do so, please make sure that
the unit will not slip or move accidentally.
Maintenance
• For everyday cleaning wipe the unit with a soft, dry cloth or one
that has been slightly dampened with water. To remove stubborn
dirt, use a cloth impregnated with a mild, non-abrasive detergent.
Afterwards, be sure to wipe the unit thoroughly with a soft, dry
cloth.
• Never use benzine, thinners, alcohol or solvents of any kind, to
avoid the possibility of discoloration and/or deformation.
Memory Backup
Additional Precautions
• Please be aware that the contents of memory can be irretrievably
lost as a result of a malfunction, or the improper operation of the
unit. To protect yourself against the risk of loosing important data,
we recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory to a USB
memory.
• Unfortunately, it may be impossible to restore the contents of data
that was stored in the Prelude’s internal memory or on USB
memory once it has been lost. Roland Europe assumes no liability
concerning such loss of data.
• Use a reasonable amount of care when using the unit’s buttons,
sliders, or other controls; and when using its jacks and connectors.
Rough handling can lead to malfunctions.
• Never strike or apply strong pressure to the display.
• When connecting / disconnecting all cables, grasp the connector
itself—never pull on the cable. This way you will avoid causing
shorts, or damage to the cable’s internal elements.
• To avoid disturbing your neighbors, try to keep the unit’s volume at
reasonable levels. You may prefer to use headphones, so you do
not need to be concerned about those around you (especially
when it is late at night).
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise, you will
need to use equivalent packaging materials.
• Do not apply undue force to the music stand while it is in use.
• Use only the specified expression pedal (EV-5; sold separately). By
connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
• Some connection cables contain resistors. Do not use cables that
incorporate resistors for connecting to this unit. The use of such
cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the
manufacturer of the cable.
• The sensitivity of the D Beam controller will change depending on
the amount of light in the vicinity of the unit. If it does not function
as you expect, adjust the sensitivity as appropriate for the
brightness of your location.
Using USB Memory
• When connecting USB memory, firmly insert it all the way in.
• Do not touch the pins of the USB memory connector, or allow them
to become dirty.
• USB memory is made using high-precision electronic components,
so please observe the following points when handling it.
• To prevent damage from static electrical charges, discharge
any static electricity that might be present in your body before
handling USB memory.
• Do not touch the terminals with your fingers or any metal
object.
5
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Important notes
•
•
•
•
• Do not bend or drop USB memory, or subject it to strong
impact.
• Do not leave USB memory in direct sunlight or in locations such
as a closed-up automobile. (Storage temperature: 0–50
degrees C)
• Do not allow USB memory to become wet.
• Do not disassemble or modify USB memory.
When connecting USB memory, position it horizontally with the
USB memory connector and insert it without using excessive force.
The USB memory connector may be damaged if you use excessive
force when inserting USB memory.
Do not insert anything other than USB memory (e.g., wire, coins,
other types of device) into the USB memory connector. Doing so
will damage the USB memory connector.
Do not apply excessive force to the connected USB memory.
Attach the USB memory cover when you’re not using USB memory.
Handling CD-ROMs
• Avoid touching or scratching the shiny underside (encoded
surface) of the disc. Damaged or dirty CD-ROM discs may not be
read properly. Keep your discs clean using a commercially
available CD cleaner.
Copyright
* Microsoft and Windows are registered trademarks of Microsoft
Corporation. The screen shots in this document are used in
compliance with the guidelines of the Microsoft Corporation.
* Pentium is a registered trademark of Intel Corporation.
* All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.
* MMP (Moore Microprocessor Portfolio) refers to a patent portfolio
concerned with microprocessor architecture, which was developed
by Technology Properties Limited (TPL).
Roland has licensed this technology from the TPL Group.
* MPEG Layer-3 audio compression technology is licensed from
Fraunhofer IIS Corporation and THOMSON Multimedia Corporation.
* MatrixQuest™ 2008 TEPCO UQUEST, LTD. All
rights reserved.
The Prelude’s USB functionality uses Matrix-Quest
middleware technology from TEPCO UQUEST, LTD.
6
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Main Features
The Ideal Music Keyboard for Entertainment
High-quality sounds
● The latest sounds generated by a top-level sound generator with 128-voice polyphony
● High-quality localized sounds
Three backing functions that assist your performances
● High-quality Music Style engine with the latest Styles
❍ Four variations each for Intro, Main, and Ending.
❍ Included “StyleConverter” software lets you create Styles on your computer.
Styles you’ve created can be installed in the Prelude as User Styles via USB memory.
● USB Memory Player function lets you play MP3/WAV/AIFF/SMF data
❍ You can apply the Center Cancel function to audio, or enjoy “minus-one” performance using
SMF data.
❍ Included “Playlist Editor” software lets you create playlists on your computer.
You can easily create a playlist for each of your performances.
● 16-track song sequencer is built-in, allowing you to record your performances on the Prelude
❍ SMF data can be stored in internal memory, and played back or used for “minus-one”
performance.
Designed for easy use
● High-quality 11W stereo amplification system with two built-in speakers.
● Lightweight and compact body designed for portability
● Large, full-graphic white LCD for excellent visibility
● Friendly user interface featuring Style Family buttons for direct selection
● Intuitive controllers such as the D Beam controller
Import sounds via USB memory
● USB Import function allows you to add sounds (Tones)
New sounds can be added via USB memory.
7
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Contents
Using the unit safely ..........................3
Changing the Key Touch ([KEY TOUCH]) .... 21
Important notes .................................5
Shifting the Keyboard Pitch in Octave Steps
(OCTAVE Buttons) .................................... 21
Main Features....................................7
Transposing Keyboard Sounds and Songs
Played Back (TRANSPOSE) ....................... 21
Panel Descriptions............................10
Front Panel ........................................................ 10
Adding Harmony to the Upper Tone
(MELODY INTELL)..................................... 22
Rear Panel ......................................................... 12
Using the Metronome ............................... 22
Introduction .....................................13
Other Functions ....................................... 22
About the Prelude..................................... 13
Backing Track Functions................... 23
About Memory ................................................... 13
Selecting the Backing Types
(Style/Song/USB Memory Player) ........................ 23
Making Connections................................. 14
Connecting External Equipment ............................ 15
Adjusting the Volume Balance between Backing and
Keyboard (BALANCE buttons).............................. 23
Connecting a pedal and switch.................................. 15
Adjusting the Tempo ([TAP TEMPO])..................... 23
Connecting an audio player to the EXT INPUT jack....... 15
Using the metronome.................................................23
Turning the Power On/Off ........................ 15
Style (Playing with an Accompaniment)....... 24
Turning the power on................................................ 15
Playing Back a Style ([STYLE]).............................. 24
Turning the power off................................................ 15
Changing the Variations ............................................24
Connecting the AC Adaptor................................. 14
Adjusting the Display Contrast ([LCD
CONTRAST] knob) ................................... 16
Basic Operation....................................... 16
Changing a Value .............................................. 16
Moving the cursor..................................................... 16
Changing a value..................................................... 16
Main Screen ...................................................... 16
Listening to the Demo Songs ...................... 17
Adjusting the Part Balance ([PART VIEW]) ....................24
Sync Start/Stop (SYNC buttons)..................................25
Saving the Current Settings in a Performance......... 25
Selecting a Music Style ....................................... 25
Selecting a Style .......................................................25
Adding User Styles
(Importing from USB memory) .....................................25
Deleting a User Style .................................................25
Restoring the Prelude to Its Factory Settings.. 17
Back up User Style (Exporting to USB memory) .............26
Preserving Certain Settings Even When You
Switch Performances (Lock System) ............. 17
Using the Recommended Sound Settings for a Style
([ONE TOUCH]) ................................................ 26
Input settings for the EXT INPUT jack........... 18
Other Functions Related to Music Style.................. 26
Keyboard Mode Functions................19
Song ...................................................... 26
Recording a New Song ([SONG REC])................. 26
Playing Sounds from the Keyboard
(Keyboard Mode)..................................... 19
Recording in the Main screen .....................................26
Using Single Mode ............................................. 19
Re-recording Your Performance............................ 28
Using Piano Mode.................................................... 19
Saving a Song ([WRITE])..................................... 28
Using Split Mode ([SPLIT]).................................... 19
Loading Song Data from USB Memory.................. 29
Changing the Split Point............................................ 19
Deleting a Song ................................................. 29
Using Dual Mode ([DUAL]) .................................. 19
Selecting and Playing a Song ([SONG]) ............... 29
Selecting a Tone ([TONE])......................... 20
Moving the playback location of a song ......................30
Using the VALUE dial ................................................ 20
Performing along with a song
([MINUS ONE/CENTER CANCEL]).............................30
Choosing from the Tone list........................................ 20
Switching to an Arabian Scale or Other
Temperament........................................... 20
8
Stopping a Style .......................................................24
Recording a specified Part (SONG TRACK)..................27
Back Up Song Files ............................................ 30
Other Functions Related to Song .......................... 30
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USB Memory Player
(SMF/Audio File Player)............................ 30
Playing Back SMF/Audio Files ............................. 30
USB Memory Player Screens ................................ 31
Song Playback ([USB MEMORY PLAYER]).............. 31
Selecting a playlist and playing it............................... 31
System Settings ............................... 45
How to Make System Settings ([MENU]) ..... 45
System Parameters ............................................. 45
Viewing Information about Prelude (System Version
Info Screens)...................................................... 47
Selecting and playing a song from within a songlist...... 32
Using USB Memory.......................... 48
Selecting and playing back ‘external’ songs without creating
a playlist ................................................................. 32
Initializing USB Memory
(USB Memory Format) .............................. 48
Performing along with a song
([MINUS ONE/CENTER CANCEL]) ............................ 32
Saving User Data to USB Memory (Backup) 48
Editing Playlist.................................................... 33
Selecting the playback mode ..................................... 33
Changing the song order .......................................... 33
Deleting the song ..................................................... 33
Adjusting the volume of each song ............................. 33
Loading User Data Saved on USB Memory (Import) 48
Deleting user data that you loaded..............................49
Data Structure in USB Memory............................. 49
Importing Data You’ve Saved in USB Memory
([USB IMPORT]) ....................................... 49
Saving playlist settings to USB memory ([WRITE]) ......... 33
About V-LINK .................................. 50
Performance Functions and Effects ....34
How to Use the V-LINK ([V-LINK]) ......................... 50
Performance Features ............................... 34
V-LINK Settings (V-LINK SETUP) ............................ 50
D Beam Controller .............................................. 34
Appendices ..................................... 53
Assigning a function to the D Beam controller .............. 34
Troubleshooting ....................................... 53
Pitch Bend and Modulation Lever.......................... 36
Error Messages........................................ 55
Assignable Pedal................................................ 36
Using Preset Performances......................... 36
Effects List ............................................... 56
Multi-Effects Parameters..............................................56
Selecting a Performance ([PERFORM])................... 36
Chorus Parameters ....................................................82
Using the VALUE dial ................................................ 36
Reverb Parameters ....................................................83
Choosing from the Performance list............................. 36
Editing a Performance......................................... 37
Editing a Tone.................................................... 38
Tone List ................................................. 84
Rhythm Set List ......................................... 92
Editing a Tone in detail ............................................. 38
Chord Intelligence.................................. 102
Saving a Performance (WRITE)............................. 39
MIDI Implementation Chart...................... 104
Other Functions Related to Performance ................ 39
Specifications ........................................ 105
Using Reverb, Chorus and MFX Effects
([REVERB]) ............................................... 40
Index ............................................ 106
Editing the Reverb, Chorus and MFX Effects ........... 40
Using MIDI ......................................42
MIDI Channels ......................................... 42
MIDI Parameters ...................................... 42
Local Switch............................................................. 42
Using the Prelude as a MIDI Sound Module. 43
Connecting to a Computer via the USB MIDI
Connector ............................................... 44
If connection to your computer is unsuccessful... ........... 44
Making the Settings for the USB Driver .................. 44
9
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Panel Descriptions
Front Panel
1. VOLUME knob
This knob controls the volume of the entire Prelude.
Beware of excessive levels as they may cause the
speakers to distort for some sounds.
1
2. Pitch Bend/Modulation lever
You can raise or lower the pitch by moving this lever to
the left or right. Push the lever away from yourself to apply
modulation (normally vibrato) to the sound (p. 36).
2
3. PHONES 1 & 2 sockets
This is where you can connect two pairs of optional
headphones (Roland RH-25, RH-50, RH-200 or RH-300).
Doing so will switch off the internal speakers.
4
3
7
8
9
10
15
5
11
12
13
6
14
4. D BEAM controller
Use this controller simply by moving your hand above it
(p. 34).
5. D BEAM control buttons
PITCH: Allows you to change the pitch of the notes you
are playing simply by moving your hand up and down
above the D Beam controller.
FILTER & VOLUME: Use these buttons to turn the D Beam
controller on/off, or to select the Filter or Volume function
(p. 34). You can also assign other functions to this button.
6. STYLE FAMILY buttons
These buttons allow you to select one of the twelve Style
categories.
BACKING TRACK section
7. BACKING TYPE buttons
Use these buttons to select the backing type (p. 23).
8. BALANCE buttons
Use these buttons to adjust the volume balance between
the backing and the keyboard. (p. 23)
9. PART VIEW button
Use this to adjust the volume, etc. of each part (p. 24,
27).
10
10. SONG REC button
Press this button to record a Song (p. 26).
11. STYLE CONTROL buttons
Use these buttons to select the desired Style pattern (p. 24).
12. SYNC buttons
These buttons allow you to start/stop the Style by playing
a note in the left side of the keyboard (p. 25).
13. TAP TEMPO button
Use this button to set the tempo (p. 23).
14. VARIATION [1]–[4], AUTO FILL-IN, START/STOP, and
SONG CONTROL buttons
The operation of these buttons will depend on which
BACKING TYPE button [7] currently lights.
If you’ve used the BACKING TYPE buttons (7) to select
“STYLE,” these buttons will start/stop the Style or select
variations (p. 24).
If you’ve used the BACKING TYPE buttons (7) to select
“SONG” or “USB MEMORY PLAYER,” these buttons control
the song playback as the SONG/USB MEMORY PLAYER
CONTROL buttons (p. 30, p. 31).
15. Display
This displays various information according to the
operations you perform.
Prelude_e.book Page 11 Wednesday, January 14, 2009 2:18 PM
Panel Descriptions
16
17
19 20
23
21 22
24 25
27
28
26
30
31
29
32
33
18
34
16. VALUE dial
Use this to edit the value of the parameters (settings) in the
screen.
26. V-LINK button
Switching this on lets you control external V-LINK
compatible video equipment (p. 50).
EDIT section
27. OCTAVE buttons
Use these buttons to raise or lower the pitch of the
keyboard in one-octave steps (p. 21).
17. Cursor buttons ([
][ ][ ][
])
Use these buttons to move the cursor in the screen.
18. EXIT and ENTER buttons
Pressed to issue the “Cancel” (EXIT) or “Execute” (ENTER)
commands in screens that prompt you to make such a
selection.
You’ll also use the ENTER button to access lists of Tones,
Performances, Styles, or Songs.
19. MENU button
This button takes you to the settings screen for various
parameters (p. 45).
20. REVERB button
This button lets you make effect settings (p. 40).
21. WRITE button
Press this button to save various types of settings (p. 28,
33, 39).
22. NUMERIC button
You can input numerical values with the TONE SELECT
buttons (37) when this button is lit (p. 16).
KEYBOARD section
23. SPLIT button
This button selects “Split mode,” whereby the keyboard is
divided into two regions, allowing you to play separate
sounds with the right and left hands (p. 19).
24. DUAL button
Switches the Prelude to “Dual mode,” which enables
performances with two separate Tones layered together
(p. 19).
28. TRANSPOSE button
These button allow you to transpose the Prelude up or
down in semitone steps (p. 21).
29. MELODY INTELL button
Press this button to add an automatic counter-melody
(second and third voice) to your solos or melodies (p. 22).
MODE section
30. TONE button
Press this button when you want to select or edit a Tone
(p. 20). Tones you edit are stored in the Performance.
31. PERFORM button
Press this button when you want to select or edit a
Performance (p. 36).
32. ONE TOUCH button
This applies the recommended sound settings for the
currently selected Style (p. 26).
33. USB IMPORT button
You can use USB memory to add Tones or update the
system (p. 49).
34. [PIANO]~[SPECIAL] (Tone Select buttons)/[0]~[9]
Use these buttons to select Tones by category (p. 20).
You can also input numerical values with these buttons
when the NUMERIC button is on (p. 16).
25. KEY TOUCH button
Press this button to make the keyboard’s touch sensitivity
lighter or heavier (p. 21).
11
Prelude_e.book Page 12 Wednesday, January 14, 2009 2:18 PM
Panel Descriptions
Rear Panel
1
2
3
4
5
6
1. LCD CONTRAST knob
Adjusts the display’s contrast (p. 16).
2. MIDI OUT/IN connectors
Connect MIDI devices to these connectors (p. 42).
3. CONTROL PEDAL jack
Connect a separately available pedal switch (Roland DP
Series), a separately available foot switch (BOSS FS-5U)
or a separately available expression pedal (Roland EV-5)
to this jack (p. 15, p. 36).
4. HOLD PEDAL jack
Connect a separately available pedal switch (Roland DP
Series) to this jack (p. 15).
5. EXT INPUT jack
Connect a portable audio player or other audio source to
thise mini jack (p. 15, p. 18).
7
8
9
10
11
6. OUTPUT R, L/MONO jacks
The Prelude is fitted with the finest amplification system
Roland has ever developed for its arranger keyboards.
You therefore may not need to connect it to an external
amplification system. These jacks output the audio signal
to the connected mixer/amplifier system in stereo. For
mono output, use the L jack (p. 15).
7. USB MIDI port
Use a USB cable to connect the Prelude to your computer
via this connector (p. 48).
8. USB MEMORY port
Connect a USB memory here and use the Prelude to play
back files (songs) that have been stored on USB memory.
You can also back up data to USB memory.
9. DC IN jack
Connect the included AC adaptor here (p. 14).
10. POWER switch
This turns the power on/off (p. 15).
11. Cord hook
Use this to secure the AC adaptor cord (p. 14).
12
Prelude_e.book Page 13 Wednesday, January 14, 2009 2:18 PM
Introduction
About the Prelude
About Memory
What is a Performance? (p. 36)
Performance settings are stored in what is referred to as
A “Performance” is a group of settings that specifies the Tone
memory. There are three kind of memory: temporary,
and Style, the keyboard mode, and various other parameters.
rewritable, and non-rewritable.
fig.Memory-Flow.eps
What is a Tone? (p. 20)
Prelude
Temporary
area
On the Prelude, each of the sounds you normally play is called
Preset
a “Tone.” If we use the analogy of an orchestra, a Tone
corresponds to an instrument played by one of the musicians.
Performance
Tone
Style
Performance
Tone settings, such as those for effects and filters, are stored in
Select
the Performance.
User
System
Tone
Style
Write
What is Backing? (p. 23)
Performance
“Backing” refers to the automatic accompaniment functionality
Style
Song
Song
of the Prelude.
There are three types of backing: you can choose from
“STYLE,” “SONG,” and “USB MEMORY PLAYER.”
What is a Music Style? (p. 24)
A “Music Style” is a musical template used by a Backing. The
Prelude contains a variety of Music Styles such as rock, pop,
Import and export
System/
Sound
Style
Song
USB Memory
Playlist
Load
Playlist
Write
Playlist
Song file
Latin, and jazz. You can also add Style data by using a USB
memory (p. 48).
Temporary memory
* You can use the included “StyleConverter” software to
create Styles on your computer.
Temporary area
What is a Song? (p. 26)
The Prelude contains a 16-track MIDI song sequencer, which
you can use to record the music you play. You can add a
Backing to the performance you play on the keyboard, and
save the result as a Song. You can also import Song data from
a USB memory .
This area holds the data of the Performance you’ve selected
using the front panel buttons, and also holds the playlist you
edited on the Prelude.
When you play the Prelude, sound is produced based on data
in the temporary area. When you edit a performance, you do
not directly modify the data in memory; rather, you call up the
data into the temporary area, and edit it there.
What is a USB Memory Player? (p. 30)
Settings in the temporary area are temporary, and will be lost
This plays audio files or SMF data that has been stored in USB
when the power is turned off or when you select another
memory.
performance. To keep the settings you have modified, you
You can perform on the Prelude accompanied by backing
must write them into rewritable memory.
from an audio file or SMF.
Rewritable memory
System memory
System memory stores system parameter settings that
determine how the Prelude functions.
* Some settings cannot be overwritten. For details, refer to
“System settings that are not stored” (p. 47).
User memory
User memory is where you normally store the data you need.
To store a Performance or a Song, execute Write procedure
(p. 28, 39).
13
Prelude_e.book Page 14 Wednesday, January 14, 2009 2:18 PM
Introduction
Non-Rewritable memory
Preset memory
Making Connections
Data in Preset memory cannot be rewritten. However, you can
call up settings from preset Performances into the temporary
area, modify them and then store the modified data in
rewritable memory.
USB memory
You can back up your settings to USB memory in the following
units of data. (p. 48)
• Sound/System
User Performances, System settings
• Style
User Styles
• Song
User Songs
• All
Style and Song in addition to the Sound/System data
listed above
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
When connection cables with resistors are used, the volume
level of equipment connected to the input (EXT INPUT jack)
may be low. If this happens, use connection cables that do not
contain resistors.
Connecting the AC Adaptor
1. Make sure that the [POWER] switch is off.
2. Move the VOLUME knob all the way to the left to minimize
the volume.
3. Connect the included power cord to the included AC
adaptor.
The indicator will light when you plug the AC adaptor into
an AC outlet.
fig.ACadap.eps
AC adaptor
Indicator
Power cord
to an AC outlet
Place the AC adaptor so the side with the indicator (see
illustration) faces upwards and the side with textual
information faces downwards.
Depending on your region, the included AC adaptor may be a
different type than the one shown above. If so, omit step 3 and
proceed.
4. Connect the AC adaptor to the DC IN jack on the Prelude’s
rear panel, and then plug the AC adaptor into an electrical
outlet.
To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the
power cord using the cord hook, as shown in the illustration.
14
Prelude_e.book Page 15 Wednesday, January 14, 2009 2:18 PM
Introduction
fig.codef.eps
Cord hook
Prelude rear panel
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals, you
risk causing malfunction and/or damage to the unit.
Connecting an audio player to the
EXT INPUT jack
Connecting External Equipment
You can connect an MP3 player or other audio device to the
Prelude’s EXT INPUT jack, and listen to the playback.
The Prelude contains an internal amplification system but can
also be connected to audio equipment such as a monitor
speaker or a stereo set, or use headphones.
You can record your playing (or a song recorded on the
Prelude) onto an audio recording device. Connect the OUTPUT
“Input settings for the EXT INPUT jack” (p. 18)
Turning the Power On/Off
jacks on the Prelude’s rear panel to the input jacks of your
external device.
Turning the power on
Once the connections have been completed (p. 14), turn on
power to your various devices in the order specified. By
turning on devices in the wrong order, you risk causing
malfunction and/or damage to speakers and other devices.
Stereo
headphones
1. Before you turn on the power, turn the [VOLUME] knob all
the way to the left to minimize the volume.
2. Press the rear panel [POWER] switch to turn on the power.
Monitor speakers, etc.
The internal speakers are switched off when you connect one
or two pairs of headphones.
Connecting a pedal and switch
This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
If the Prelude is connected to a keyboard amp or audio amp,
turn on the power of the Prelude first, and then switch on your
amp.
3. Turn the [VOLUME] knob to adjust the volume of the
Prelude.
You must switch off the Prelude’s power before you connect a
pedal and/or switch.
Turning the power off
Connect a separately available pedal switch (Roland DP
Series) to the HOLD PEDAL jack on the rear panel. You can
use this pedal switch to sustain notes even after taking your
1. Before you turn off the power, turn the [VOLUME] knob all
the way to the left to minimize the volume.
hands off the keyboard.
Connect a separately available pedal switch (Roland DP
2. Press the [POWER] switch once again to turn off the power.
Series), a separately available foot switch (Boss FS-5U) or
separately available expression pedal (Roland EV-5) to the
rear panel CONTROL PEDAL jack. You can use this to control
various functions that you assign (p. 36).
If the Prelude is connected to a keyboard amp or audio amp,
switch off the power to your amp first, then turn off the power
on the Prelude.
15
Prelude_e.book Page 16 Wednesday, January 14, 2009 2:18 PM
Introduction
Adjusting the Display Contrast
([LCD CONTRAST] knob)
Main Screen
The following screen, which appears after you turn on the
power, is called the “Main screen.” This screen will be shown
most of the time you’re performing with the Prelude.
1. Turn the [LCD CONTRAST] knob on the rear panel.
(1)
(5)
(2)
Basic Operation
(6)
(3)
Changing a Value
1. The number and name of the currently selected Style or of
the currently selected Song
Moving the cursor
2. The group, number, and name of the currently selected
A single screen or window displays multiple parameters or
items for selection. To edit the setting of a parameter, move the
cursor to the value of that parameter. To select an item, move
the cursor to that item. When selected with the cursor, a
], [
], [
] and [
Performance
3. The number and name of the Tone selected for the Lower
Part
4. The number and name of the Tone selected for the Upper
Part
parameter value or other selection is highlighted.
Move the cursor with the [
(4)
]
(cursor buttons).
5. The measure number, tempo, and time signature of the Style
or Song
6. Chord indication
Changing a value
To change the value, use the VALUE dial.
Entering numerical values ([NUMERIC])
If you turn [NUMERIC] on, you’ll be able to use the TONE
SELECT buttons ([PIANO]–[SPECIAL]) to enter numerical values.
This is convenient when selecting Tones (p. 20), Styles (p. 25),
Window
The somewhat smaller screens that appear temporarily on
top of the normal screens are called windows. Various
types of windows appears according to the situation.
Some display allow you to make settings, and others ask
you to confirm an operation.
fig.disp-tempo.eps_80
Performances (p. 36), or Songs (p. 29).
1. Use the cursor buttons or [STYLE], [SONG], [TONE] or
[PERFORM] to move the cursor to the numerical value you
want to change.
2. Press [NUMERIC].
All of the TONE SELECT buttons will light.
3. Use the TONE SELECT buttons to enter the desired value,
and press [ENTER].
16
Press [EXIT] to close the window. Some windows will close
automatically when an operation is performed.
Prelude_e.book Page 17 Wednesday, January 14, 2009 2:18 PM
Introduction
4. Press [ENTER] to execute the Factory Reset.
Listening to the Demo Songs
1. Press [MENU].
2. Use [
][
If you press [EXIT] instead, you’re returned to the previous
screen and no Factory Reset takes place.
5. Turn the power off and then on again.
] to select “Demo Play” then press [ENTER].
3. Use the cursor buttons to select the song you want to hear
Restoring the factory settings will initialize the System and User
Performance settings.
then press [ENTER].
Press [PIANO (0)] to play back all of the demo songs.
4. Press [START/STOP] to stop demo playback.
5. Press [EXIT] to return to the Main screen.
All rights reserved. Unauthorized use of this material for
purposes other than private, personal enjoyment is a violation
of applicable laws.
No data for the music that is played will be output from MIDI
OUT.
Restoring the Prelude to Its
Factory Settings
You can return all of Prelude’s settings to the factory-set state.
Preserving Certain Settings
Even When You Switch
Performances (Lock System)
The settings for which you select “ON” (as described below)
will not change even when you switch Performances.
Choosing the settings that will be locked
1. Press the [MENU] button and select “System”.
2. Confirm your choice by pressing [ENTER].
3. Press the [
] button several times until the “System
Lock” page is displayed.
4. Use [
][
] to select the parameter, and turn the
VALUE dial to select the value.
This is called “Factory Reset.”
Parameter
If the Prelude’s internal memory already contains important
data that you’ve created, all of this data will be lost when you
execute a Factory Reset. If you want to keep your data, you
must save it to USB memory (p. 48).
1. Press [MENU].
2. Use [
][
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “Factory Reset” then press
[ENTER].
The confirmation message will appear.
Explanation
Value
Style
The Style will not change when you
OFF, ON
switch Performances.
Tone
The Tones will not change when you
OFF, ON
switch Performances.
Style Tempo
The Style tempo will not change
when you switch Performances.
Transpose
The transpose setting (p. 21) will not
change when you switch
OFF, ON
Performances.
OFF, ON
5. Press [EXIT].
You will see the message “System Write Completed.”
These settings are system parameters (p. 45).
17
Prelude_e.book Page 18 Wednesday, January 14, 2009 2:18 PM
Introduction
Input settings for the EXT
INPUT jack
Here you can specify whether the sound from the EXT INPUT
jack (p. 15) will be used.
You can also specify whether the Center Cancel function will
be applied to the sound from the EXT INPUT jack.
When connection cables with resistors are used, the volume
level of equipment connected to the EXT INPUT sockets may be
low. If this happens, use connection cables that do not contain
resistors.
Center Cancel function minimizes the playback volume of the
sound that’s heard from the center (e.g., vocal or melody
instrument).
1. Press [MENU].
2. Use [
][
] to select “Ext Input Setting” then press
][
] to select the item that you want to change.
[ENTER].
3. Use [
Parameter
Explanation
Value
External
Input
Turns the input from the EXT
INPUT jack ON or OFF.
OFF, ON
Center
Cancel
Specifies whether the Center
Cancel function will be applied to
the sound from the EXT INPUT
jack (ON) or will not be applied
(OFF).
OFF, ON
4. Turn the VALUE dial to set the value.
5. When you’re finished making settings, press [EXIT].
The “External Input” and “Center Cancel” settings cannot be
saved to User Programs or the System memory. “External
Input” is reset to “On” and “Center Cancel” to “Off” each time
you switch on the Prelude.
18
Keyboard_e.fm Page 19 Monday, January 19, 2009 3:53 PM
Keyboard Mode Functions
Playing Sounds from the
Keyboard (Keyboard Mode)
Using Split Mode ([SPLIT])
Such a division of the keyboard into right- and left-hand
sections is called a “Split,” and the key where the division
Immediately after you turn on the power, the Prelude will be in
a state where you can use the entire keyboard to play a piano
sound. The Prelude’s keyboard can operate in one of the
following three modes.
SINGLE
The entire keyboard plays one Tone.
SPLIT
The region of the keyboard to the left of the Split
Point becomes the Lower Part, while the region of
the keyboard to the right of the Split Point
becomes the Upper Part. Each part plays a
different Tone.
DUAL
The entire keyboard plays two Tones (assigned to
the Upper and Lower parts) simultaneously.
takes place is called the “Split Point.”
While in Split mode, a sound played in the right side is called
an “Upper Tone,” and the sound played in the left side is a
“Lower Tone.” The Split-Point key is included in the upper
section. The Split Point has been set at the factory to “C4”.
1. Press [SPLIT] so the button is lit.
The Tone you selected in Single mode will be the Tone for
the Upper Part.
2. Use [
][
] to select the Upper or Lower part if you
wish to assign it a different Tone.
3. To exit Split mode, press [SPLIT] once again so its light
goes out.
If BACKING TYPE [STYLE] is on, the left region of the keyboard
(the Lower Part) is used to enter chords (p. 24).
Regardless of the current settings, you can easily select Single
mode by choosing the “Piano Mode” described below.
Using Single Mode
If the [SPLIT] and [DUAL] are off, the keyboard will be in Single
mode, meaning that the entire keyboard will play a single
Tone.
In Split mode, the most suitable octave settings for each Tone
are applied automatically.
Changing the Split Point
1. Press and hold [SPLIT] (for approximately two seconds).
The Split Point setting screen will appear.
2. Turn the VALUE dial to change the Split Point.
3. When you’re finished making the setting, press [EXIT].
When you turn on the power, the Prelude will be in this mode.
Using Piano Mode
Regardless of the keyboard mode that is currently selected,
you can use the following operation to call up the “Piano
You can also change the Split Point by holding down [SPLIT]
and playing the desired key.
The lowest split point note is “C#2”.The screen doesn’t display
notes lower than the “C#2”.
Mode.”
This will make the appropriate settings for playing piano on
the Prelude; the entire keyboard will play a piano sound.
Using Dual Mode ([DUAL])
“Dual” is the mode in which two Tones are layered, so that
1. Press [SPLIT] and [DUAL] (PIANO MODE) simultaneously.
they sound together.
In Dual mode, one Tone is called the “Upper Tone,” and the
other is called the “Lower Tone.”
1. Press [DUAL] so the button is lit.
The Tone you selected in Single mode will be the Tone for
the Upper Part.
2. Use [
][
] to select the Upper or Lower part if you
wish to assign it a different Tone.
19
Prelude_e.book Page 20 Wednesday, January 14, 2009 2:18 PM
Keyboard Mode Functions
3. To exit Dual mode, press [DUAL] once again so its light
goes out.
Selecting a Tone ([TONE])
The Prelude contains more than 1000 different Tones. You can
use these Tones in the three keyboard modes (Single, Split,
Dual).
In Split mode or Dual mode, you can use the cursor buttons to
move the cursor to the Tone number of the Upper Tone or
Lower Tone, and select a different Tone for each.
Using the VALUE dial
Switching to an Arabian
Scale or Other Temperament
As an alternative to the temperament commonly used in
Western music, you can adjust the pitch of each note to create
temperaments used in other musical cultures or historical
periods (e.g., Oriental temperaments, or temperaments used in
the Baroque era).
You can independently adjust the pitch of each note in the
octave (C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B).
1. Hold down the [TRANSPOSE] button and press the
[KEY TOUCH] button.
1. Press [TONE] so the button is lit.
2. Use [
][
] to select the Upper or Lower part.
The Key Scale window will open.
2. Use the cursor buttons to select the item that you want to
change, and use the VALUE dial to change the value.
3. Turn the VALUE dial to step through the Tones one by one.
Alternatively, you can press one of the TONE SELECT
buttons ([PIANO]–[SPECIAL]) to select a Tone by category.
When the cursor in the screen is at the Tone number, you can
also select a Tone by turning [NUMERIC] on, using the TONE
SELECT buttons to enter a Tone number, and then pressing
[ENTER].
Parameter
cursor to the Tone number.
Preset
Equal
Preset
Arabic
Arabic Scale: In this scale, E and B
are a quarter note lower and C#,
F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and
Press
B, C and E, F and G#, Bb and C#,
[ENTER]
and Eb and F# have a natural third
the interval between a major third
and a minor third. On the GW-8,
you can use Arabian temperament
in the three keys of G, C and F.
Lower Sw
Use the Key Scale for the Lower
Part
OFF, ON
Upper Sw
Use the Key Scale for the Upper
Part
OFF, ON
Style Sw
Use the Key Scale for the Style Part OFF, ON
C
Key Scale C
-64–+63
C#
Key Scale C#
-64–+63
D
Key Scale D
-64–+63
Eb
Key Scale Eb
-64–+63
E
Key Scale E
-64–+63
F
Key Scale F
-64–+63
2. Press [ENTER].
3. Use [
][
] or the VALUE dial to select a Tone.
You can press one of the TONE SELECT buttons
([PIANO]–[SPECIAL]) to select a Tone by category.
4. Press [ENTER] to set the Tone.
If you press [EXIT] without pressing [ENTER], the list will
close without the currently selected Tone being changed.
You can use [
][
] to select a sub-category within the
currently selected category.
You can edit the currently selected Tone and store it in the
Performance. For details, refer to “Editing a Tone” (p. 38) and
“Saving a Performance (WRITE)” (p. 39).
20
Value
Equal Tuning: This tuning divides
the octave into 12 equal parts, and
Press
is the most widely used method of
[ENTER]
temperament used in Western music.
Choosing from the Tone list
1. In the Main screen, use the cursor buttons to move the
Explanation
Prelude_e.book Page 21 Wednesday, January 14, 2009 2:18 PM
Keyboard Mode Functions
Parameter
Explanation
Value
F#
Key Scale F#
-64–+63
G
Key Scale G
-64–+63
G#
Key Scale G#
-64–+63
A
Key Scale A
-64–+63
Bb
Key Scale Bb
-64–+63
B
Key Scale B
-64–+63
3. When you’ve finished making settings, press [EXIT] once to
close the window.
Changing the Key Touch
([KEY TOUCH])
Parameter
Value
Value
Explanation
Specifies the volume value used
when “Curve” is set to “FIXED.”
1–127
3. When you’ve finished making settings, press [KEY TOUCH]
once again (or [EXIT]) to close the window.
If you want to keep this setting, press [WRITE] to store it into
the Performance (p. 39).
Shifting the Keyboard Pitch in
Octave Steps (OCTAVE Buttons)
You can shift the pitch of the currently selected Tone upward or
downward in steps of an octave, over a maximum of four
octaves upward or downward.
This setting determines how the volume changes in response to
the force used to play the keyboard (Velocity Sensitivity).
The velocity—the force with which you play the keyboard—
can affect the volume or timbre of a sound.
1. Press [KEY TOUCH] so the button is lit.
The Key Touch window will open.
2. Use the cursor buttons to select the item that you want to
change, and use the VALUE dial to change the value.
Parameter
Value
Explanation
LIGHT
Select this setting if you do not
want velocity changes to bring
about major volume changes.
MEDIUM
Medium velocity sensitivity. The
keyboard responds to velocity
changes, but the maximum volume can be obtained more easily
than with “HEAVY.”
Curve
HEAVY
FIXED
Select this setting for maximum expressiveness. Even small variations of the force with which you
strike a key produce audible
changes. The tradeoff is, however, that you have to strike the keys
forcefully to achieve the maximum
volume.
Select this setting if all notes you
play on the keyboard should have
the same velocity value.
1. Press OCTAVE [
] or [
].
The Octave Shift window will open, and will then close a
few moments after you release the button.
2. While holding down OCTAVE [
[
][
] or [
], use Cursor
] to select the Upper or Lower part whose pitch
you want to shift.
3. Use OCTAVE [
][
] to change the octave.
Transposing Keyboard
Sounds and Songs Played
Back (TRANSPOSE)
By using the “Transpose function,” you can transpose your
performance without changing the notes you play. You can
also use this function to play back a song in a different key.
1. Press [TRANSPOSE].
The Transpose window will open, and will then close a
few moments after you release the button.
2. While holding down [TRANSPOSE], use [
][
] to
select the item whose setting you want to change.
Parameter
Explanation
Value
Song Trans
The playback of Songs recorded
with, or imported into, the
Prelude, and of SMF data (29,
p. 31) will be transposed.
OFF, ON
21
Prelude_e.book Page 22 Wednesday, January 14, 2009 2:18 PM
Keyboard Mode Functions
Parameter
Explanation
Value
KBD Trans
The sound of the keyboard will
be transposed.
OFF, ON
The transposed pitch (–5~+6
semitones)
F#, G,
G#, A,
Bb, B, C,
C#, D, Eb,
E, F
C→
3. Press [EXIT] to return to the Main screen.
4. To turn the Melody Intelligence off, press [MELODY INTELL]
so its light goes out.
Using the Metronome
It’s convenient to use the metronome when you’re practicing a
new song.
1. Press [MENU].
Audio data cannot be transposed.
3. Hold down [TRANSPOSE], and use the VALUE dial to
specify the desired value.
2. Use [
][
3. Use [
[TRANSPOSE] will light if the setting is anything other than C.
By holding down [TRANSPOSE] and using OCTAVE [
]
[
], you can change the Transpose value regardless of
where the cursor is located.
Adding Harmony to the Upper
Tone (MELODY INTELL)
[
][
Parameter
Metronome
Switch
in the lower section.
] to select a parameter.
Value
OFF, ON
Metronome
Mode
The metronome will sound at
all times if it is turned on.
REC
The metronome will sound
only while you’re recording a
Song (p. 26).
PLAY
The metronome will sound
when you’re playing a Style
and when you’re playing a
Song (p. 24, p. 29).
LOW,
MEDIUM,
HIGH
Adjusts the volume of the
metronome. The metronome
will be quiet at “Low” and
loud at “High.”
[MELODY INTELL] on (button lit).
The Melody Intelligence function is only available while the
[STYLE] button lights.
1. Press [MELODY INTELL] so the button is lit.
When you play something in the Upper Part, harmony is
added.
2. Press and hold [MELODY INTELL], and turn the VALUE dial
to select the Melody Intelligence type.
Parameter
Type
22
Turns the metronome on/off.
ALWAYS
The Melody Intelligence function will be on when you turn
Selecting the type of harmony
Explanation
Specifies how the metronome will be
sounded.
is automatically added to the notes you are playing in the
Those automatic harmonies are based on the chords you play
] to select “METRONOME” page, and use
4. Turn the VALUE dial to select the value.
While a Music Style is playing (p. 24), the matching harmony
Upper Part. This function is called “Melody Intelligence.”
][
] to select “System” then press [ENTER].
Metronome
Level
5. When you’ve finished making settings, press [EXIT].
This setting is saved to the System memory.
Other Functions
Value
DUET, ORGAN, COMBO, STRINGS, CHOIR,
BLOCK, BIG BAND, COUNTRY,
TRADITIONAL, BROADWAY, GOSPEL, ROMANCE, LATIN, COUNTRY GUITAR, COUNTRY BALLAD, WALTZ ORGAN, OCTAVE TYPE
1, OCTAVE TYPE 2
“Performance Functions and Effects” (p. 34)
“Editing a Tone” (p. 38)
“Master Tune” (p. 45)
“System Transpose*” (p. 45)
Prelude_e.book Page 23 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Selecting the Backing Types
(Style/Song/USB Memory Player)
The Prelude allows you to use the following three types of
Adjusting the Tempo ([TAP TEMPO])
You can’t adjust the tempo of audio data.
musical backing. To switch the backing type, use BACKING
TYPE [STYLE], [SONG] and [USB MEMORY PLAYER].
[STYLE] (p. 24)
This backing uses the Music Styles. The Prelude Style function
automatically generates a backing with multiple instruments;
simply choose one of a variety of Music Styles (Styles), then
use your left hand to specify a chord. You can also choose
Variations to change the backing in addition to the Intro,
Main, and Ending backing types.
Using only the drum part of a Style as the
backing
If you turn all of BACKING TYPE [STYLE], [SONG] and
[USB MEMORY PLAYER] off, you’ll hear only the drum
part of the currently selected Style. Just as when [STYLE] is
on, you’ll be able to use the STYLE CONTROL buttons and
VARIATION buttons to choose different variations.
[SONG] (p. 26)
You can use the recording function to record your own
performance into the Prelude. Since a 16-track sequencer is
built in, you can use multi-track recording to create a song by
recording a different sound on each track. A song you’ve
created can also be used as the backing for your keyboard
performance.
1. Press [TAP TEMPO] three or more times at the desired
interval.
The tempo setting window will appear, and the tempo will
be specified by the interval at which you pressed the
button.
You can also specify the tempo by pressing [TAP TEMPO] to
access the tempo setting window, and then using the cursor
buttons and VALUE dial to specify the tempo. Press [EXIT] to
close the tempo setting window.
Using the metronome
1. Press [TAP TEMPO].
The tempo setting window will appear.
2. Use the cursor buttons to move the cursor to “Metronome,”
and use the VALUE dial to turn it on.
When you turn the metronome on, it will begin sounding,
depending on the metronome mode you selected
(“Always”, “REC” or “Play”).
3. To stop the metronome, turn off “Metronome.”
SMF data can be loaded into the user Song and played back.
4. Press [EXIT] to return to the Main screen.
[USB MEMORY PLAYER] (p. 30)
This allows you to play back audio files or SMF data that’s
been saved on USB memory. You can use this playback as the
backing for your keyboard performance.
For details on volume and other settings for the metronome,
refer to “Using the Metronome” (p. 22).
Adjusting the Volume Balance between
Backing and Keyboard (BALANCE buttons)
Use BALANCE [BACKING] and [KEYBOARD] to adjust the
volume balance between the backing and your keyboard
performance.
If you press BALANCE [BACKING] and [KEYBOARD]
simultaneously, the volume balance will return to its original
value.
If you’ve changed the volume balance, the button whose
volume is higher will be lit.
This setting cannot be stored.
23
Prelude_e.book Page 24 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Style (Playing with an
Accompaniment)
Changing the Variations
You can press the VARIATION buttons to change the type of
ensemble that will play the backing.
The button you press flashes until the new pattern is used (after
Playing Back a Style ([STYLE])
which the button lights steadily.)
VARIATION [1] produces the simplest arrangement, and
VARIATION [4] produces the most florid.
1. Press [STYLE] so the button is lit.
For an intro or ending, VARIATION [1] is the shortest and
simplest.
At this time, the keyboard Split Point will be set to “C4” (the
default setting).
Using the Auto Fill-in Function
If you leave [AUTO FILL-IN] on (button lit), a fill-in will play
when you switch between accompaniment Variations. The fill-
If you press and hold [SPLIT] (for approximately two seconds),
the Split Point setting screen will appear. You can turn the
VALUE dial to change the Split Point. When you’re finished,
press [EXIT].
in that is played between the current and the next Variation
pattern depends on where you come from.
2. Press [START/STOP]; the drums will start playing.
What’s a “Fill-In”?–A short improvisational phrase inserted at
the bar line is called a “Fill In.” The Prelude automatically
plays the appropriate phrase for the selected Style.
If you’re not using the lower area of the keyboard (the Lower
Part area) to enter chords, only the drum pattern of the Style
will be heard.
Stopping a Style
3. Use your left hand to play a chord (or a single note).
1. Press [START/STOP] once again to make the backing stop.
Use your left hand to play the backing chord, and your
right hand to play the melody.
4. If you play a different chord (or single note), the backing
chord will change.
The chord name is displayed in the backing chord area of the
screen.
5. Use the STYLE CONTROL buttons to select a different
pattern for the currently selected Style.
[INTRO]
A backing pattern suitable for an
introduction.
[MAIN]
This is the main accompaniment pattern for
the song.
[ENDING]
A backing pattern suitable for an ending.
If you press [ENDING] instead of [START/STOP], the ending
phrase will play and then the backing will stop.
Adjusting the Part Balance ([PART VIEW])
If [STYLE] is on, or if all of the BACKING TYPE buttons are off,
you can access the PERFORM MIXER screen by pressing [PART
VIEW].
In the PERFORM MIXER screen you can adjust the volume for
each Part of the Style. You can also mute (silence) a specific
Part, or play only a specific Part.
1. With [STYLE] turned on, press [PART VIEW].
The PERFORM MIXER screen will appear.
2. Use [
][
] to select the part whose settings you
want to make, and use [
][
you want to set.
If [STYLE] is unlit, pressing [START/STOP] will cause only the
drums to start playing.
24
Display
LWR
UPR
ADR
ABS
AC1–AC6
Part
LOWER
UPPER
Accompaniment Drum
Accompaniment Bass
Accompaniment 1–6
] to select the item that
Prelude_e.book Page 25 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Parameter
Value
Explanation
LEVEL
0–127
Adjusts the volume of the Part.
MUTE
OFF,
ON
Specifies whether the sound will be
muted (ON) or heard (OFF).
SOLO
OFF,
ON
Specifies whether this Part alone will
be heard by itself (ON) or not (OFF).
3. To exit the PERFORM MIXER screen, press [EXIT] or press
[PART VIEW] so its light is turned off.
After importing new Styles from a USB memory, you can
also press [USER] to select a User Style.
3. Turn the VALUE dial to step through the Styles one by one.
When the cursor in the screen is at the Style number, you can
also select a Style by turning [NUMERIC] on, using the TONE
SELECT buttons to enter a Style number, and then pressing
[ENTER].
Choosing from the Style List
1. In the Main screen, use the cursor buttons to move the
Sync Start/Stop (SYNC buttons)
If you leave SYNC [START] on (button lit), the accompaniment
will start the moment you play a note at the left side of the Split
Point (i.e., in the Lower Part area).
If you leave SYNC [STOP] on (button lit), the accompaniment
will stop the moment you take your hand off of the Lower Part
cursor to the Style number.
2. Press [ENTER].
3. Use [
][
] to select a Style genre.
To select a User style, select “USER” or press [USER].
4. Use [
][
] or the VALUE dial to select a Style.
area. This is great for songs where you need breaks (i.e. one
5. Press [ENTER] to set the Style.
or several beats of silence).
To defeat this setting, press the button so it goes out.
Saving the Current Settings in a
Performance
If you press [EXIT] without pressing [ENTER], the list will
close without the currently selected Style being changed.
Adding User Styles
(Importing from USB memory)
See “Saving a Performance (WRITE)” (p. 39).
Style data saved on USB memory can be imported into the
Selecting a Music Style
The Style memory locations are organized as follows.
Prelude. Before you continue, the Style data you created on your
computer using the included “StyleConverter” software must be
saved to USB memory.
For details, refer to “Loading User Data Saved on USB
Type
Explanation
PRST
(Preset)
These are the Styles built into the Prelude.
They cannot be overwritten.
USER
When you create Style data on your computer,
save it to USB memory, and load it into the
Prelude, it will be written into this USER area (p.
48).
Selecting a Style
Memory (Import)” (p. 48).
Deleting a User Style
Here’s how you can delete the specified Style or all Styles from
User Style memory.
1. Press [MENU].
2. Use [
][
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “Delete” then press [ENTER].
Using the VALUE dial
1. Press [STYLE] so the button is lit.
2. Use the STYLE FAMILY buttons to select a Style by genre.
Immediately after you press one of the STYLE FAMILY
buttons, the screen will show the name of the first Style in
the selected genre.
4. Use the cursor buttons to select “Style” or “All Styles,” then
press [ENTER].
5. If you selected “Style” in step 4, use the VALUE dial or
[
][
] to select the Style that you want to delete, then
press [ENTER].
A confirmation window will appear.
25
Prelude_e.book Page 26 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
6. Press [ENTER] to delete the Style(s).
If you press [EXIT], you’re returned to the previous screen
without deleting the Style(s).
Song
Recording a New Song ([SONG REC])
Back up User Style
(Exporting to USB memory)
You can use the 16-track recorder of the Prelude to record
For details, refer to “Saving User Data to USB Memory
You can record your keyboard performance while listening to
(Backup)” (p. 48).
an accompaniment, and then listen to the playback of your
your own performances.
recorded performance.
Using the Recommended Sound
Settings for a Style ([ONE TOUCH])
When [STYLE] is on, turning [ONE TOUCH] on (button lit) will
Recorded performances are discarded when another Song is
selected, or when the power is turned off. If you don’t want to
lose the Song, you must save it (p. 28).
assign the most suitable Tones for the currently selected Style
On the Prelude, there are two ways to record a Song.
as the Upper Tone and Lower Tone. This is called the “One
• Refer to “Recording in the Main screen” (p. 26).
Touch” function.
• Refer to “Recording a specified Part (SONG TRACK)” (p.
27).
If [ONE TOUCH] is on when you switch Styles, the keyboard
Tones will also switch to the Tones that are most suitable for
the Style you selected.
To turn off the One Touch function, turn [ONE TOUCH] off
(button unlit).
The Keyboard Mode (p. 19) will change depending on the
selected Style.
Song settings (e.g., tempo and time signature) are determined
by the settings of the Style that’s saved in the selected
Performance. You’ll probably find it convenient to first select the
Style and Tones that you want to use (p. 36). If you are
performing without using a Style, you can specify the tempo and
time signature of the Song in the SONG TRACK screen (p. 27).
Recording in the Main screen
Switching the Style when [ONE TOUCH] is on will not change
the Split Point (p. 19).
If you want to record the Style playback as well, turn [STYLE]
on. Recording will start/stop simultaneously when you start/stop
The One Touch function is available only when a preset Style
is selected.
the Style.
If you want to record only your keyboard performance without
playing a Style, turn [SONG] on.
You can’t change the Tones that are assigned to each Style by
the One Touch function.
Other Functions Related to Music Style
“Using Split Mode ([SPLIT])” (p. 19)
“Selecting a Tone ([TONE])” (p. 20)
“Adding Harmony to the Upper Tone (MELODY INTELL)” (p. 22)
“Using Preset Performances” (p. 36)
“Chord Mode” (p. 37)
“Backing Hold” (p. 37)
“Bass Inversion” (p. 37)
“Pedal Assign” (p. 45)
“Saving User Data to USB Memory (Backup)” (p. 48)
“Loading User Data Saved on USB Memory (Import)” (p. 48)
26
If [STYLE] and [SONG] are both turned off, the rhythm pattern
of the Style selected by the STYLE FAMILY buttons will be
recorded together with the keyboard performance.
If you want to record your performance after selecting any
internal song, imported from USB memory, refer to “Rerecording Your Performance” (p. 28). To record a new Song,
use the Song Initializing operation. Refer to “Recording a
specified Part (SONG TRACK)” (p. 27). The following
procedure, allows you to record your performance.
1. Select the Performance that you want to use (p. 36).
2. Press [SONG REC].
[SONG REC] will blink.
3. Press [
] to start recording.
Prelude_e.book Page 27 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Even without pressing [
], recording starts when
you play on the keyboard…
(1) if the [SYNC START] button is lit, or…
(2) if you start playing using the Upper or Lower part
while the “Count-In” parameter is set to “WAIT NOTE” (p.
28).
4. Perform.
5. Press [
] to stop recording.
MFX (p. 40) will apply only to the realtime performance of the
Part (Upper Part or Lower Part) you play by hand. Be aware
that MFX will not apply to the recorded Song data.
When [SONG] is on, you can press [PART VIEW] repeatedly
to switch from the Main screen to SONG TRACK → PERFORM
MIXER (p. 24) → Main screen.
When you stop recording, the SONG TRACK screen will
appear.
1. Press [SONG] so the button is lit.
If you want to continue recording, refer to step 7 and
following of “Recording a specified Part (SONG TRACK)”
below, or step 3 and following of “Re-recording Your
Performance” (p. 28).
2. Press [PART VIEW] so the button is lit.
The SONG TRACK screen will appear.
Initializing a Song
3. Use the cursor buttons to select the INIT icon then press
Press [EXIT] to return to the Main screen.
[ENTER].
MFX (p. 40) will apply only to the realtime performance of the
Part (Upper Part or Lower Part) you play by hand. Be aware
that MFX will not apply to the recorded Song data.
A performance you record using a Style is recorded to parts
1–16 as follows.
The Song Initialize window will appear.
4. As needed, use the cursor buttons and VALUE dial to
specify the tempo and time signature of the Song.
5. Use the cursor buttons to select the INIT icon once again
then press [ENTER].
A confirmation window will appear.
Track
Part Name
Track
Part Name
6. Press [ENTER].
1
Accomp 1
9
Accomp 6
2
Accomp bass
10
Accomp drums
3
Accomp 2
11
If you press [EXIT] twice instead of [ENTER], the Song
Initialize window will close without initializing a Song.
Lower Part
The SONG TRACK screen will appear.
4
Upper Part
12
5
Accomp 3
13
6
7. Use the cursor buttons to select an item, and turn the
VALUE dial to set the value.
14
7
Accomp 4
15
8
Accomp 5
16
Melody Intelligence
You can specify whether the metronome will sound during
recording. See “Using the Metronome” (p. 22).
Recording a specified Part (SONG TRACK)
In the SONG TRACK screen you can specify the Part that you
want to record. A performance using one Tone will be
recorded on each Part.
If you’re recording on a specified Part, recording with a Style
may cause your performance to be recorded together with the
performance generated by the Style, depending on the Part
you’ve specified. If you’re recording on a specified Part, we
recommend that you play without using Styles.
Item
Explanation
Value
Part
Part to record
Tone
The Tone number for each Part
Mute
Mute On (no sound) or Off (sound) setting for each Part
Solo
Solo On (hear only this part) or Off setting for each Part
1–16
Be sure to select the sounds you want to use for your recording
at this stage. You cannot assign different sounds to previously
recorded parts.
8. Press [SONG REC].
[SONG REC] will blink.
The Song Rec Standby screen will appear.
If you are recording a new Song, there’s no need to make
settings in this screen. Proceed to the next step.
9. Press [
] to start recording.
10. Perform.
11. Press [
] to stop recording.
27
Prelude_e.book Page 28 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Parameter
Re-recording Your Performance
Value
Explanation
Punch
Sw
OFF, ON
• Mix–New notes are recorded on top of notes previously
recorded.
If this is turned “ON,” recording
will occur from the “Punch In”
measure to the “Punch Out”
measure that you specify below.
When the song playback reaches
the measure you specified for
“Punch In,” recording will begin
automatically, and recording will
stop at the “Punch Out” measure.
Punch
In
0001–
Measure at which recording
will begin
• Punch In/Out– Replace or Mix recording is performed
only in the region you specify for re-recording.
Punch
Out
0002–
Measure at which recording
will end
In the SONG TRACK screen you can overdub additional
material onto your recorded performance, or re-record the
specified measures of a performance.
You can use the following ways of re-recording.
• Replace–New material is recorded as previously recorded
material is erased.
When you record a Song using a Style, the Style data is
recorded in the first measure of the Song. When you play back
this Song, playback will begin from measure indication “2.”
1. Press [SONG] so the button is lit.
If you assign the pedal to “PUNCH IN/OUT” in “Pedal
Assign” (p. 45), you’ll be able to specify the record-start and
record-end locations by pressing the pedal. In this case, turn
the above “Punch Sw” to the “OFF” setting.
2. Press [PART VIEW] so the button is lit.
5. Press [
The SONG TRACK screen will appear.
As needed, make Song settings as described in step 7 of
“Recording a specified Part (SONG TRACK).”
] to start recording.
6. Perform.
7. Press [
] to stop recording.
3. Press [SONG REC].
Saving a Song ([WRITE])
[SONG REC] will blink.
The Song Rec Standby screen will appear.
4. Use the cursor buttons to select a parameter, and turn the
memory to a user Song memory.
VALUE dial to set the value.
Parameter
Rec
Mode
Value
REPLACE
MIX
OFF
Count
In
Input
Quantize
28
Here’s how you can save a Song from the temporary Song
1. Press [WRITE].
Explanation
New material is recorded as
previously recorded material is
erased.
2. Use [
New notes are recorded on top
of notes previously recorded.
3. Use [
][
] to select “Song,” and then press [ENTER].
Input a name for your user Song
][
] to move the cursor, and turn the VALUE
dial to change each character.
No count-in. Recording starts as
Enter a Song name of up to 16 characters.
soon as you press [
The following characters are available.
].
1MEAS
Recording starts after a 1-bar
count-in.
2MEAS
Recording starts after a 2-bar
count-in.
WAIT NOTE
Recording starts as soon as you
play a note on the keyboard.
(There will be no count-in.)
OFF, 1/4,
1/8, 1/8T,
1/16, 1/16T,
1/32, 1/32T,
1/64
Quantize corrects the timing of
your notes by shifting them to the
nearest grid mark. This specifies
the number of steps per measure
(i.e., the resolution).
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ ` { } _
Button
Explanation
[0]
Selects the type of character. Each time you press
this, you will alternately select the first character
of a character set: uppercase (A), or numerals
and symbols (0).
[1]
Deletes the character at the cursor location.
[2]
Inserts a “_ ” at the cursor location.
4. Press [ENTER].
Prelude_e.book Page 29 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
A confirmation window will appear.
When you record a Song using a Style, the Style data is
recorded in the first measure of the Song. When you play back
this Song, playback will begin from measure indication “2.”
5. Press [ENTER] to save the Song.
If you press [EXIT], you’re returned to the previous screen
without the Song being saved.
When you select a user Song, the temporary Song memory
will be overwritten by the user Song you selected.
Loading Song Data from USB Memory
Song data saved on USB memory can be loaded into the
You can’t play back SMF data that contains more than 16 parts.
Prelude. SMF data also can be stored into the user Song.
For details, refer to “Loading User Data Saved on USB
Memory (Import)” (p. 48).
Deleting a Song
Here’s how you can delete the specified Song or all Songs
from User Song memory.
1. Press [MENU].
2. Use [
][
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “Delete” then press [ENTER].
4. Use the cursor buttons to select “Song” or “All Songs,”
then press [ENTER].
5. If you selected “Song” in step 4, use the VALUE dial or [
[
]
] to select the Song that you want to delete, then press
[ENTER].
A confirmation window will appear.
6. Press [ENTER] to delete the Song(s).
If you press [EXIT], you’re returned to the previous screen
without deleting the Song(s).
Selecting and Playing a Song ([SONG])
1. Import on or several songs from a USB memory if you
haven’t already done so.
2. Press [SONG] so the button is lit.
3. Turn the VALUE dial to select a Song.
When the cursor is at the Song number, you can also
select a Song from the Song list. Press [ENTER] to access
the Song list, using [
][
] to select a Song, and then
pressing [ENTER].
You can use [NUMERIC] to select a Song (p. 16).
4. Press [
To stop, press [
] to play the Song.
] once again.
29
Prelude_e.book Page 30 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
Moving the playback location of a song
Use the SONG buttons to specify the song playback location.
[
Returns to the beginning of the song.
]
[
]
Rewinds the song.
[
]
Fast-forwards the song.
[
Moves to the end of the song.
]
[
USB Memory Player
(SMF/Audio File Player)
Plays or pauses the song.
]
Performing along with a song
([MINUS ONE/CENTER CANCEL])
You can press [MINUS ONE/CENTER CANCEL] to mute
(silence) the specified Part. This is called the “Minus One”
function. To specify the Part that will be muted, see below.
Each time you press [MINUS ONE/CENTER CANCEL], the Minus
Playlist: Playlist is a function that lets you create a list of songs in a
specified order, and play them back consecutively on the Prelude.
You can use the “Playlist Editor” software supplied with the Prelude
to create a playlist on your computer.
Songlist: The list of songs specified in the playlist is called a
Songlist.
Creating a playlist
Start up “Playlist Editor” and create a playlist.
* For details on creating a playlist, refer to
“PlaylistEditorManualE.pdf,” which is installed together
with “Playlist Editor” (you’ll find it in the “Help” menu).
One function will be turned on (button lit) or off (button unlit).
Specifying the Part that will be muted
1. Press [MENU].
2. Use [
][
] to select “Minus One Setting” then press
[ENTER].
You can also call up this page bt pressing and holding the
[MINUS ONE] button.
3. Use the cursor buttons to select the Part that you want to
• You cannot create playlists on Prelude itself.
• You can play back individual songs even without
creating a playlist (see “Playing Back SMF/Audio
Files”). This only works for SMF or audio files in the
root directory of your USB memory.
• Only audio files whose sampling frequency is 44.1kHz
can be played.
• The Prelude can handle up to a maximum of 999 songs
and playlists. (“Playlist Editor” can handle up to 999
playlists.)
mute.
4. Turn the VALUE dial to set it to ON or OFF.
5. When you’re finished making settings, press [EXIT].
This setting is system parameter.
Playing Back SMF/Audio Files
You can play back SMF files or audio files saved in USB memory.
SMF/Audio files that can be played
SMF
0 or 1
Back Up Song Files
Song data you created on the Prelude can be saved on USB
memory.
For details, refer to “Saving User Data to USB Memory
(Backup)” (p. 48).
Other Functions Related to Song
“Using Preset Performances” (p. 36)
“Using the Metronome” (p. 22)
“Saving User Data to USB Memory (Backup)” (p. 48)
“Loading User Data Saved on USB Memory (Import)” (p. 48)
30
Format
* With format 1 SMFs, there are
limitations on the tracks that will be
played.
240 KB maximum (Note that this
will vary slightly based on the SMF
content.)
System Exclusive Packet sizes of 512 bytes or less
Audio File
Sampling
Rate
44.1 kHz
WAV/
AIFF
Bit Depth
8/16/24 bits
Format
MPEG-1 audio layer 3
Sampling Rate
44.1 kHz
MP3
32/40/48/56/64/80/96/
112/128/160/192/224/256/
Bit Rates
320 kbps, VBR (Variable Bit Rate)
File Size
Prelude_e.book Page 31 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
SONG SELECT Screen
USB Memory Player Screens
In the Main screen, select the SONG icon and press [ENTER]
to access the SONG SELECT screen.
Main Screen
(1)
When you connect USB memory to the Prelude and press [USB
MEMORY PLAYER], the Main screen will appear as follows.
(1)
(2)
(2)
(7)
(3)
(4)
(3)
(4)
(5)
(6)
1. The name of the currently selected playlist
2. Song List
(5)
Select a song from the list and press [
] to move the
cursor to the icons in the right side of the screen. Select an
icon and press [ENTER] to perform the following operations.
(6)
1. PLAYLIST icon: Indicates the PLAYLIST SELECT screen.
3. P INFO icon: Displays information for the currently selected
2. SONG icon: Indicates the SONG SELECT screen.
playlist.
3. The number and name of the currently selected Song
4. S INFO icon: Displays information for the currently selected
4. The group, number, and name of the currently selected
song.
Performance
5. The number and name of the Tone selected for the Lower Part
5. CHANGE icon: Changes the playback order of the
currently selected song. For details, refer to “Changing the
6. The number and name of the Tone selected for the Upper Part
7. The measure number and tempo or time of the Song
song order” (p. 33).
6. DELETE icon: Deletes the currently selected song from the
playlist. For details, refer to “Deleting the song” (p. 33).
PLAYLIST SELECT Screen
In the Main screen, select the PLAYLIST icon and press [ENTER]
to access the PLAYLIST SELECT screen.
fig.disp-USBmp-songlist.eps
Song Playback ([USB MEMORY PLAYER])
Connect the USB memory containing the playlist and songs to
(2)
(1)
the Prelude, and turn [USB MEMORY PLAYER] on.
Play the songs as described below. Use the USB MEMORY
PLAYER CONTROL buttons to specify the song playback
location.
1. PLAYLIST list
In the list, choose playlist and press [
]; the cursor will
move to the icon in the right side of the screen. Select an
icon and press [ENTER] to perform the following operations.
Playlists that show a
at the left of the name don’t allow you
to edit the playlist settings or the settings of the songs in the
playlist.
2. P INFO icon: Displays information for the currently selected
playlist.
[
Returns to the beginning of the song.
Pressing this button at the beginning of the
song moves to the previous song.
]
[
]
Rewinds the song.
[
]
Fast-forwards the song.
[
[
Moves to the next song.
]
]
Plays or pauses the song.
Selecting a playlist and playing it
1. In the Main screen, move the cursor to the PLAYLIST icon in
the upper line of the screen, and press [ENTER].
The PLAYLIST SELECT screen will appear.
Alternatively, you can access the PLAYLIST SELECT screen
from the Main screen by pressing [USB MEMORY PLAYER]
with [USB MEMORY PLAYER] turned on (button lit).
31
Prelude_e.book Page 32 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
2. Use [
][
] to select the playlist that you want to play.
3. When you press [
], the songs in the selected
playlist will be played in the specified order.
Press [EXIT] to return to the Main screen.
4. To stop the song playback, press [
].
If you then press [
], playback will start from the
point at which you stopped.
Selecting and playing a song from
within a songlist
1. In the Main screen, move the cursor to “SONG” in the
6. To stop the song playback, press [
Songs you play back directly from the root directory of a USB
memory are not available for re-recording operations. To use
such SMF songs as a starting point for parts you want to add
or replace, you first need to import the song in (p. 48).
Performing along with a song
([MINUS ONE/CENTER CANCEL])
By pressing [MINUS ONE/CENTER CANCEL] you can perform
the following operations depending on the type of song data.
File
Function
upper line of the screen, and press [ENTER].
The songlist for the currently selected playlist will appear.
Alternatively, you can view the songlist by selecting a
playlist in step 2 of “Selecting a playlist and playing it”
(above), and pressing [ENTER].
2. Use [
][
3. Press [
] to select the song that you want to play.
] to play the selected song.
Press [EXIT] to return to the Main screen.
4. To stop the song playback, press [
].
Selecting and playing back ‘external’
songs without creating a playlist
1. After placing the SMF or Audio files in the root directory of
your USB memory, connect it t the Prelude and press the
[USB MEMORY PLAYER] button.
][
] to select the USB memory folder.
3. Press [ENTER]
The list of the songs that you placed in the root directory
appears in the display.
4. Use [
][
] to select the song that you want to play
and press [ENTER].
5. Press [
32
] to play the selected song.
SMF
Audio file
Explanation
Minus
One
Mutes the specified Part. To
specify the Part that will be muted,
refer to “Specifying the Part that
will be muted” (p. 30).
Center
Cancel
Minimizes the playback volume
of the sound that’s heard from the
center (e.g., vocal or melody
instrument).
Each time you press [MINUS ONE/CENTER CANCEL], the
If you then press [
], playback will start from the
point at which you stopped.
2. Use [
] again.
function will turn on (button lit) or off (button unlit).
Prelude_e.book Page 33 Wednesday, January 14, 2009 2:18 PM
Backing Track Functions
If you do not want to delete, press [EXIT].
Editing Playlist
If you modify the content of the playlist, an “*” will be shown
before the playlist name. If you want to keep the playlist you
changed, execute the Write operation (see the right column). If
you select a different playlist without writing your settings, they
will revert to their original state.
Selecting the playback mode
1. In the PLAYLIST SELECT (p. 31),or SONG SELECT screen (p.
31), choose the P INFO icon and then press [ENTER].
2. Use [
] to select “Chain Play” or “Repeat All” for the
Playback Mode.
3. Turn the VALUE dial or press the [ENTER] button to add or
remove a check mark (✔).
Adjusting the volume of each song
1. In the SONG SELECT screen (p. 31), choose the S INFO icon
and then press [ENTER].
2. Use [
] to select “Level Edit,” and then press [ENTER].
The SONG INFO (LEVEL) screen will appear.
This item is not shown for internal songs (SONG).
3. Use the cursor buttons to select a parameter.
4. Turn the VALUE dial to adjust the value.
Parameter
Value
Level
Adjust
-12–0–
+12
Part
1–16
Level
0–127
A function is on when a check mark has been added.
Parameter
Chain
Play
Repeat
All
Explanation
If this is on, the songs in the playlist will play
consecutively.
Playback will stop when the last song has ended.
If this is on, when the last song in the playlist has
ended, the unit returns to the first song and enters
pause mode.
If Chain Play is on, consecutive playback will
continue repeating.
Changing the song order
1. In the SONG SELECT screen (p. 31), choose the CHANGE
Explanation
Assuming that the original volume (the
volume of the song in USB memory) is
0, you can adjust the volume within
this range: -12–0–+12.
If the song’s file type is SMF, you can
adjust the volume individually for Parts
1–16. Move the cursor to the Part
number shown at the bottom of the
screen and press [ENTER], and you’ll
be able to adjust the volume of that
Part.
When [USB MEMORY PLAYER] is on, you can press [PART
VIEW] repeatedly to switch from the Main screen to SONG
INFO (LEVEL) → PERFORM MIXER (p. 24) → Main screen.
Saving playlist settings to USB memory
([WRITE])
icon and then press [ENTER].
The song order change window will appear.
2. Turn the VALUE dial to specify the desired position of the
currently selected song.
3. When you’ve specified the desired position, press [ENTER].
If you do not want to change the position, press [EXIT].
Deleting the song
Here’s how Playlist settings you’ve edited on the Prelude can
be saved to USB memory.
1. Press [WRITE].
2. Use [
][
] to select “Playlist,” and then press [ENTER].
The confirmation window will appear.
3. Press [ENTER] to save playlists on the USB memory.
If you press [EXIT], you’re returned to the previous screen
without playlists being saved.
1. In the SONG SELECT screen (p. 31), choose the DELETE icon
and then press [ENTER].
A confirmation window will appear.
2. Press [ENTER].
33
Prelude_e.book Page 34 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
Performance Features
The usable range of the D Beam controller
The diagram shows the usable range of
the D Beam controller. Waving your
D Beam Controller
hand outside this range will produce no
The D Beam controller can be used simply by waving your
effect.
hand over it. Depending on the function that is assigned to it,
the D Beam controller can be used to apply varius effects and
to modify the sounds.
The usable range of the D Beam
controller will become extremely small when used under
strong direct sunlight. Please be aware of this when using
the D Beam controller outside.
The sensitivity of the D Beam controller will change depending
on the amount of light in the vicinity of the unit. If it does not
function as you expect, adjust the D Beam Sens parameter as
appropriate for the brightness of your location. Increase this
value will raise the sensitivity (p. 46).
1. Press the [PITCH], [FILTER] or [VOLUME] button in the D
BEAM section (the button you press lights blue).
You can’t use these buttons at the same time.
Button
Explanation
PITCH
Lets you change the pitch of the sounds
you play on the keyboard.
FILTER
Changes the tonal character of the
sounds you play n the keyboard. (For
some sounds the timbre change may be
difficult to notice.)
VOLUME
Changes the volume of the sounds you
play on the keyboard.
Assigning a function to the D Beam
controller
1. Press and hold the [FILTER] or [VOLUME] button.
The D BEAM screen will appear.
2. Use [
][
] to select a parameter.
3. Turn the VALUE dial to select the desired D Beam function.
4. When you’ve finished making settings, press [EXIT].
The Main screen will appear.
These settings are system parameters (p. 45).
Functions that can be assigned
2. While you play the keyboard to produce sound, place
your hand above the D Beam controller and move it slowly
up and down.
The button you pressed in step (1) above flashes.
3. To turn off the D Beam controller, once again press the
D Beam
function
DRUM
ROLL*
A snare drum roll will continue as long as your
hand is positioned over the D Beam. Move your
hand closer to increase the volume, and move
your hand rapidly away to play a cymbal.
CHIMES*
Chimes will sound when you position your hand
above the D Beam. The volume is greater when
you move your hand more rapidly.
BUBBLE*
The sound of bubbles will continue as long as
your hand is positioned above the D Beam. The
volume will increase as you move your hand
closer.
button you pressed in step (1) so the indicator goes out.
34
Explanation
Prelude_e.book Page 35 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
D Beam
function
Explanation
STREAM*
The sound of running water will continue as long
as your hand is positioned above the D Beam.
The volume will increase as you move your hand
closer.
EXPLOSION*
An explosion will sound when you position your
hand over the D Beam. The volume is greater
when you move your hand more rapidly.
GUN
SHOT*
A pistol shot will sound when you position your
hand over the D Beam. The volume is greater
when you move your hand more rapidly.
ENGINE*
An engine will continue sounding as long as
your hand is positioned above the D Beam. The
volume will increase as you move your hand
closer.
D Beam
function
Explanation
BEND UP
The pitch will rise when you bring your hand
closer to the D Beam. The pitch will return to the
original level when you take your hand away.
BEND
DOWN
The pitch will fall when you bring your hand
closer to the D Beam. The pitch will return to the
original level when you take your hand away.
EXP+UP
When you bring your hand closer to the D Beam,
the volume of the keyboard performance will
increase and the pitch will rise. The pitch and
volume will return to the original level when you
take your hand away.
EXP+
DOWN
When you bring your hand closer to the D Beam,
the volume of the keyboard performance will
increase and the pitch will fall. The pitch and
volume will return to the original level when you
take your hand away.
TEMPO UP
The tempo will become faster when you bring
your hand closer to the D Beam. The tempo will
return to the original value when you take your
hand away.
APPLAUSE*
Applause will continue sounding as long as your
hand is positioned above the D Beam. The
volume will increase as you move your hand
closer.
LAUGHING*
Laughter will sound when you position your hand
over the D Beam. The volume is greater when
you move your hand more rapidly.
SCREAMING*
A scream will sound when you position your
hand over the D Beam. The volume is greater
when you move your hand more rapidly.
TEMPO
DOWN
The tempo will become slower when you bring
your hand closer to the D Beam. The tempo will
return to the original value when you take your
hand away.
BIRD*
A bird call will sound when you position your
hand over the D Beam. The volume is greater
when you move your hand more rapidly.
START/
STOP
Playback will start when you position your hand
over the D Beam. Playback will stop when you
position your hand over the D Beam once again.
FILL UP
DOG*
A dog’s bark will sound when you position your
hand over the D Beam. The volume is greater
when you move your hand more rapidly.
SEASHORE*
Surf will sound when you position your hand
over the D Beam. The volume will increase as
you move your hand closer.
RAIN*
The sound of rain will continue as long as your
hand is positioned above the D Beam. The
volume will increase as you move your hand
closer.
THUNDER*
A thunder will sound when you position your
hand over the D Beam. The volume will increase
as you move your hand closer.
MODULATION
The D Beam controller will apply the same effect
as the Modulation lever (p. 36).
EXPRESSION
The volume will increase when you bring your
hand closer to the D Beam. The volume will
return to the original level when you take your
hand away.
If you position your hand over the D Beam while
FILL DOWN the backing is playing, a fill-in will sound (p. 24).
FADE OUT
If you position your hand over the D Beam, the
volume will begin decreasing and will then reach
zero. The backing performance will stop, and
then the original volume will return after two or
three seconds.
FILTER
The sound becomes brighter when you bring
your hand closer to the D Beam. It becomes
rounder when you take your hand away.
VOLUME
The volume will increase when you bring your
hand closer to the D Beam. The volume will
return to the original level when you take your
hand away.
D Beam functions marked with an “*” cannot be recorded in a
song.
35
Prelude_e.book Page 36 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
If you turn off the power while the D BEAM screen is
displayed, the D Beam setting you chose will not be
remembered by the Prelude. You must press [EXIT] before you
turn off the power.
Pitch Bend and Modulation Lever
The Pitch Bend/Modulation lever located at the left of the
keyboard can be used to apply two types of effect to the
•
•
•
•
•
•
•
•
Upper Tone/Lower Tone settings
Style settings
Effects settings
Transpose
Octave shift
Keyboard touch
Chord mode
Melody Intelligence
Selecting a Performance ([PERFORM])
sound you’re playing in Keyboard mode.
Pitch Bend is an effect that lowers the pitch of the sound you’re
playing when you move the lever toward the left, or raises it
when you move the lever toward the right.
Modulation is an effect that applies vibrato to the sound you’re
playing when you push the lever away from yourself.
If the MFX type is ROTARY, this will switch the rotational speed
instead of Modulation.
Type
Explanation
PRST
(Preset)
These are the Performances built into the
Prelude. They cannot be overwritten.
USER
You can use these memory locations to store
Performances you’ve edited.
Using the VALUE dial
fig.bendlever.eps
Pitch Bend
The Performance memory locations are organized as follows.
Modulation
1. Press [PERFORM] to select Performance mode.
(This may not be necessary, because the Prelude selects
this mode at power-up.
Pitch Bend
Modulation
2. Use the cursor buttons to move the cursor to the right of
If you press the lever away from yourself while moving it to left
“PERFORM,” located in the upper left of the screen, then
or right, both effects will be applied at the same time.
use the VALUE dial to choose “PRST” or “USER.”
The extent of the pitch change can be assigned for each Tone.
For details, refer to “Pitch Bend Range” (p. 39).
“Bend Mode” (p. 45)
You’ll be able to select preset Performances if you choose
“PRST,” or user Performances if you choose “USER.”
3. Use the cursor buttons to move the cursor to the
Performance number, and use the VALUE dial to select a
Performance.
Assignable Pedal
You can connect a separately available foot switch (Boss
FS-5U) or a separately available expression pedal (Roland
EV-5) to the CONTROL PEDAL jack on the rear panel.
When the cursor in the screen is at the Performance number,
you can also select a Performance by turning [NUMERIC] on,
using the TONE SELECT buttons to enter a Performance
number, and then pressing [ENTER].
You can assign a variety of functions to this pedal. For details,
refer to “System Parameters” (p. 45).
Using Preset Performances
By selecting a preset Performance, you can quickly recall
settings that are appropriate for the song you’re playing.
When you select a preset performance, settings for the
following items will be recalled.
• Keyboard mode
36
Choosing from the Performance list
1. In the Main screen, use the cursor buttons to move the
cursor to the Performance number.
2. Press [ENTER].
3. Use [
][
] to select “Preset” or “User.”
You’ll be able to select preset Performances if you choose
“Preset,” or user Performances if you choose “User.”
Prelude_e.book Page 37 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
4. Use [
][
] or the VALUE dial to select a Performance.
Parameter
Value
Explanation
STANDARD
This lets you use simple fingering
to specify a chord without having
to play all the notes in the chord.
PIANO
The chord will consist of only the
note(s) you play on the keyboard
in the Lower Part.
INTEL
You can play chords as described
in “Chord Intelligence” (p. 102).
EASY
You can specify chords in the
following four ways.
Major chords: Play the root note
of the chord
Minor chords: Play the root note
and the black key located at its
left
Seventh chords: Play the root note
and the white key located at its
left
Minor seventh chords: Play the
root note + black key at left +
white key at left
5. Press [ENTER] to set the Performance.
If you press [EXIT] without pressing [ENTER], the list will
close without the currently selected Performance being
changed.
Editing a Performance
You can edit the settings of a Performance, and store them as
a user Performance.
Chord
Mode
1. Press [MENU].
2. Use [
][
] to select “Perform Edit” then press [ENTER].
3. Use [
][
] to select a parameter, and turn the VALUE
dial to select the value.
4. When you’ve finished making settings, press [EXIT].
The Main screen will appear.
“Saving a Performance (WRITE)” (p. 39)
Performance Parameters
Parameter
Split Point
Selects how the backing part will sound.
Value
Explanation
C#2–C7
Specifies the Split Point (the key at
which the keyboard will be
divided) used in Split mode. This
will be the highest note of the
Lower Part.
Octave
Lower
-4–+4
-4–+4
* In the case of a rhythm set,
this does not transpose the
pitch; rather, it shifts the set of
drum/percussion sounds that
are assigned to the keyboard.
Raises or lowers the pitch in steps
of one octave for the Lower Tone.
ON
The chord you played in the left
hand will be remembered. The
backing will continue playing
with that chord until you play
another chord.
Backing
Hold
Raises or lowers the pitch in steps
of one octave for the Upper Tone.
Octave
Upper
OFF
When you take your hand off the
left side of the keyboard,
instrumental sounds other than the
drums of the backing part will
stop; only the rhythm part will
continue sounding.
Specifies how Chord Bass will be sounded.
Bass
Inversion
OFF
The root note of the chord you
play will sound.
ON
The lowest note of the chord you
play will sound.
37
Prelude_e.book Page 38 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
Parameter
Editing a Tone
Value
Explanation
-64–+63
This boosts the sound in the
region of the cutoff frequency,
adding a distinctive character to
the sound. Turn the knob toward
the right to strengthen this
character, or toward the left to
decrease it.
-64–+63
Adjusts the attack time (the time
from when you press a key until
the sound reaches its full
volume). Turn the knob toward
the right to lengthen the attack
time, or toward the left to
shorten it.
-64–+63
Adjusts the decay time (the time
from when the attack has
finished until the volume reaches
the level at which it will remain
as long as you hold down the
key). Higher settings produce a
longer decay time.
Release
Time
-64–+63
Adjusts the release time (the time
from when you release a key
until the sound disappears). Turn
the knob toward the right to
lengthen the release time, or
toward the left to shorten it.
Vibrato
Rate
-64–+63
Adjusts the modulation speed of
vibrato. Higher settings produce
faster vibrato.
Vibrato
Depth
-64–+63
Adjusts the modulation depth
vibrato. Higher settings produce
more intense vibrato.
-64–+63
Adjusts the time until vibrato begins.
Higher settings produce a longer
delay until vibrato will begin.
MONO
Only the last-played note will
sound. This setting is effective
when playing a solo instrument
patch such as sax or flute.
POLY
Two or more notes can be
played simultaneously.
TONE
Uses the Tone’s Mono/Poly setting.
Editing a Tone in detail
Resonance
You can edit the currently selected Tone (including rhythm set
Tones) in more detail. The Tone settings you edit are stored in
the Performance (p. 36).
1. Press [MENU].
2. Use [
][
] to select “Perform Tone Edit” then press
[ENTER].
3. Use [
][
Attack Time
] to select the Upper or Lower Tone that
you want to edit.
4. Use [
][
] to select a parameter, and turn the VALUE
dial to adjust the value.
Decay Time
5. When you’ve finished making settings, press [EXIT].
The Main screen will appear.
Tone Parameters
Parameter
Level
Pan
Chorus
Send Level
Reverb
Send Level
Cutoff
38
Value
Explanation
0–127
Adjusts the volume of the Tone.
L64–0–
63R
Adjusts the panning (left/right
stereo position) of the Tone.
Values beginning with “L” place
the sound at the left, 0 at the
center, and “R” at the right.
0–127
Chorus adds depth and
spaciousness to the sound. This
adjusts the level of the signal
sent to Chorus.
0–127
-64–+63
Reverb adds the reverberation
characteristics of halls or
auditoriums. This adjusts the
level of the signal sent to Reverb.
This specifies the cutoff
frequency at which the filter will
begin affecting the spectral
components of the sound. Turn
the knob toward the right to
brighten the sound, or toward
the left to darken the sound.
Vibrato
Delay
Mono/Poly
Prelude_e.book Page 39 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
Parameter
Legato
Switch
Portamento
Switch
Portamento
Time
Pitch Bend
Range
Hold Pedal
Switch
Control
Pedal
Switch
Value
OFF,
ON,
TONE
Explanation
This setting specifies whether the
Legato Switch will be used (ON)
or not (OFF). Legato Switch is
valid when the Mono/Poly
parameter is set to “MONO.”
With the Legato Switch “ON,”
pressing a key while continuing
to press a previous key causes
the note to change pitch to the
pitch of the most recently pressed
key, sounding all the while. This
creates a smooth transition
between notes, which is effective
when you wish to simulate the
hammering on and pulling-off
techniques used by a guitarist.
When “TONE” is selected, the
Tone’s own settings take effect.
OFF,
ON,
TONE
Specifies whether portamento
will be applied (ON) or not
(OFF). When “TONE” is
selected, the Tone’s own settings
take effect.
0–127,
TONE
Adjusts the speed at which the
pitch will change when
portamento is used. Higher
settings will lengthen the time over
which the pitch changes to the next
note. When “TONE” is selected,
the Tone’s own settings take effect.
0–24,
TONE
Specifies the range of pitch
change that can be controlled
using the Pitch Bend controller.
When “TONE” is selected, the
Tone’s own settings take effect.
OFF, ON
Specifies whether the hold
pedal will apply to the Tone
(ON) or will not apply (OFF).
OFF, ON
Specifies whether the control
pedal will apply to the Tone (ON)
or will have no effect (OFF).
This is enabled when “Pedal
Assign” in “System settings” is set
to EXPRESSION, SOSTENUTO,
or SOFT (p. 45).
Saving a Performance (WRITE)
Here’s how the settings of the current Performance can be
saved in the Prelude as a new Performance.
1. Press [WRITE].
2. Use [
][
] to select “Performance,” and then press
[ENTER].
Input a name for your user Performance
3. Use [
][
] to move the cursor, and turn the VALUE
dial to change each character, and then press [ENTER].
Enter a Performance name of up to 16 characters.
The following characters are available.
space A~Z a~z 0~9 ! “ # $ % & ‘ ( ) * + , - . / : ; < = > ?
@[\]^_`{|}
Button
Explanation
[0]
Selects the type of character. Each time you press
this, you will alternately select the first character of a
character set: uppercase (A), lowercase (a), or
numerals and symbols (0).
[1]
Deletes the character at the cursor location.
[2]
Inserts a space at the cursor location.
4. Turn the VALUE dial to select the desired destination, and
then press [ENTER].
A confirmation window will appear.
5. Press [ENTER] to save the Performance.
If you press [EXIT], you’re returned to the previous screen
without the Performance being saved.
Other Functions Related to Performance
“Style (Playing with an Accompaniment)” (p. 24)
“Bend Mode” (p. 45)
“Saving User Data to USB Memory (Backup)” (p. 48)
“Loading User Data Saved on USB Memory (Import)” (p. 48)
Portamento is an effect that smoothly changes the pitch from
one note to the next. Vibrato is an effect that uses an LFO (Low
Frequency Oscillator) to cyclically vary the pitch.
39
Prelude_e.book Page 40 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
Effect Parameters
Using Reverb, Chorus and
MFX Effects ([REVERB])
Page
The Prelude contains built-in reverb, chorus, and multi-effect
(MFX) processors. You can choose an effect type for each
processor.
Parameter
Explanation
Value
Upper
MFX
Chorus
Send
Specifies the amount of
chorus that will be
applied to the sound of
the Upper Part that has
passed through MFX. Set
this to “0” if you don’t
want to apply chorus.
0–127
Upper
MFX
Reverb
Send
Specifies the amount of
reverb that will be
applied to the sound of
the Upper Part that has
passed through MFX. Set
this to “0” if you don’t
want to apply reverb.
0–127
Lower
MFX
Chorus
Send
Specifies the amount of
chorus that will be
applied to the sound of
the Lower Part that has
passed through MFX. Set
this to “0” if you don’t
want to apply chorus.
0–127
Lower
MFX
Reverb
Send
Specifies the amount of
reverb that will be
applied to the sound of
the Lower Part that has
passed through MFX. Set
this to “0” if you don’t
want to apply reverb.
0–127
Chorus
Output
Select
Specifies how the sound
routed through chorus
will be output.
MAIN: Output to the
OUTPUT jacks in stereo.
REV: Output to reverb in
mono.
M+R: Output to the
OUTPUT jacks in stereo,
and to reverb in mono.
MAIN,
REV,
M+R
MFX will apply only to the realtime performance of the part
you play by hand (the Upper Part or Lower Part). Be aware
that MFX never applies to recorded song data.
Editing the Reverb, Chorus and MFX
Effects
1. Press [REVERB].
The “Reverb” setting screen will appear.
2. Use [
][
] to select a page, and use [
][
] to
select the parameter that you want to edit.
On some pages, the display also shows the MFX that is
linked to the Tone that currently selected for the Upper and
Lower parts. The “Effect Send” allows you to set the
Chorus and Reverb Send values for the Upper and Lower
parts.
EFFECT
SEND
3. Turn the VALUE dial to edit the value.
4. When you’re finished editing the effect settings, press
[REVERB] or [EXIT].
The Main screen will appear.
LOWER
MFX
UPPER
MFX
40
See “Multi-Effects Parameters” (p. 56)
CHORUS
See “Chorus Parameters” (p. 82)
REVERB
See “Reverb Parameters” (p. 83)
Prelude_e.book Page 41 Wednesday, January 14, 2009 2:18 PM
Performance Functions and Effects
Page
Parameter
Explanation
Value
Upper
MFX
Source
Specifies the MFX
settings that will be used
for the Upper Part.
If you choose
“PERFORM,” the MFX
settings of the
Performance will be
used. If you choose
“UPPER TONE,” the
Upper MFX settings of
the Tone will be used.
PERFORM,
UPPER
TONE
Lower
MFX
Source
Specifies the MFX
settings that will be used
for the Lower Part.
If you choose
“PERFORM,” the MFX
settings of the
Performance will be
used. If you choose
“LOWER TONE,” the
Lower MFX settings of
the Tone will be used.
PERFORM,
LOWER
TONE
EFFECT
SOURCE
41
Prelude_e.book Page 42 Wednesday, January 14, 2009 2:18 PM
Using MIDI
The Prelude can transmit and receive performance data when
connected to an external MIDI device, which enables the two
MIDI channel
Track
devices to control each other’s performance. For example, one
1
1
Accomp 1
device can play or switch sounds on the other device.
2
2
Accomp bass
3
3
Accomp 2
4
4
Upper Part
5
5
Accomp 3
6
6
7
7
Accomp 4
8
8
Accomp 5
9
9
Accomp 6
10
10
Accomp drums
11
11
Lower Part
12
12
13
13
14
14
15
15
16
16
MIDI stands for “Musical Instrument Digital Interface.” It is a
universal standard for exchanging musical performance data
among electronic musical instruments and computers.
The Prelude’s MIDI connectors allow it to transmit performance
data to, and receive such data from other devices. You can
use the Prelude in a wide range of ways by connecting
external devices to these connectors.
Connection example
Before making connections with other devices, you must turn
down the volume of all devices and turn off the power to avoid
malfunctions or speaker damage.
Style
Melody Intelligence
MIDI Parameters
fig.midi.eps
Play the Prelude’s sounds from your MIDI sequencer
Prelude
MIDI sound module/
sequencer
For details on how to make these settings, refer to “How to
Make System Settings ([MENU])” (p. 45).
MIDI parameters other than “Local Switch” will be saved as
soon as you exit system edit mode.
Use the Prelude to play your MIDI sound module
MIDI Channels
MIDI provides sixteen channels, numbered 1–16. Even if two
MIDI devices are connected, you won’t be able to select or
play sounds on the other device unless both devices are set to
the same MIDI channel. The Prelude is capable of receiving on
all channels, 1–16.
If the Prelude’s BACKING TYPE [SONG] is on, MIDI channels
Local Switch
If the notes you play on the keyboard are sent to the sound
generator via both of the two routes (1) and (2) as shown in
the diagram, the notes will be duplicated or interrupted. To
prevent this, you can disconnect route (1) by using the “Local
Off” setting.
You should turn this setting Off if you’ve connected a MIDI
sequencer to the Prelude.
fig.local.eps
(1) Local on
1–16 will be received by “Track” 1–16.
If the Prelude’s BACKING TYPE [STYLE] is on, MIDI channels
1–16 will be received by the “Style” Parts.
Sequencer
Sound
generator
MIDI
IN
Memory
MIDI
OUT
Play a note once;
it‘s sounded twice
MIDI
OUT
MIDI
IN
(2) Thru setting turned on
Immediately after the power is turned on, this setting will be
On.
42
Prelude_e.book Page 43 Wednesday, January 14, 2009 2:18 PM
Using MIDI
MIDI Parameters
Parameter
Explanation
Value
MIDI Tx
Switch
Specifies whether MIDI messages
will not be transmitted (OFF) or will OFF, ON
be transmitted (ON).
Upper Tx
Channel
Specifies the transmit channel for
1–16
the Upper Part.
Lower Tx
Channel
Specifies the transmit channel for
1–16
the Lower Part.
MIDI Rx
Switch
Specifies whether MIDI messages
will not be received (OFF) or will OFF, ON
be received (ON).
Upper Rx
Channel
Specifies the receive channel for
the Upper Part.
1–16
Lower Rx
Channel
Specifies the receive channel for
the Lower Part.
1–16
This is an on/off switch for Pitch
Bend message transmission.
Tx Pitch Bend These messages temporarily raise OFF, ON
or lower the pitch of the keyboard
mode Tone.
Parameter
Explanation
Value
Rx Sync
This specifies how the Prelude will
synchronize to an external MIDI
device. Synchronization is
available if the MIDI OUT
connector of your external MIDI
OFF, ON
device is connected to the
Prelude’s MIDI IN connector. (If
you’ve made the opposite
connection, refer to the owner’s
manual for your external device.)
Rx Pitch
Bend
This is an on/off switch for Pitch
Bend message reception. These
messages temporarily raise or
lower the pitch of the keyboard
mode Tone.
Rx
Modulation
This is an on/off switch for
Modulation message reception.
These messages apply vibrato to OFF, ON
the keyboard mode Tone (control
change CC#01).
Rx
Program
Change
This is an on/off switch for
Program Change message
reception. These messages are
used to select Tones.
OFF, ON
Tx
Modulation
This is an on/off switch for
Modulation message transmission.
These messages apply vibrato to the OFF, ON
keyboard mode Tone (control
change CC#01).
Tx Program
Change
This is an on/off switch for
Program Change message
OFF, ON
transmission. These messages are
used to select Tones.
If you want to use the Prelude with an external MIDI
Tx Clock
This specifies whether MIDI Clock
messages will be transmitted. Use
this when you want a connected
OFF, ON
external MIDI device to synchronize
to the Prelude.
This specifies whether Start/
Stop/Continue messages will be
transmitted.
Song mode: Start/Stop/Continue
Style mode: Start/Stop
2. Press [PERFORM] so it’s lit, then use the VALUE dial to
Tx StartStop
Tx Song Position
OFF, ON
Using the Prelude as a MIDI
Sound Module
sequencer, for example to create Styles, proceed as follows.
1. Press [SONG] to put the Prelude in Song mode.
select the preset Performance “128: Init Performance.”
OFF, ON
MFX (p. 40) will apply only to the part that you play manually
on the Prelude (the Upper Part or Lower Part).
This specifies whether Song
Position Pointer messages will be
transmitted to indicate the
currently playing position in Song
OFF, ON
mode. If you don’t want this
message to be transmitted,
choose the Off setting. This is
valid only if [SONG] is lit.
43
Prelude_e.book Page 44 Wednesday, January 14, 2009 2:18 PM
Using MIDI
Connecting to a Computer via
the USB MIDI Connector
If you use a USB cable (commercially available) to connect the
USB MIDI connector located on the Prelude’s rear panel to the
USB connector of your computer, you’ll be able to do the
following things.
• Use the Prelude to play SMF played back by MIDI
compatible software.
• By transferring MIDI data between the Prelude and your
sequencer software, you’ll be able to enjoy a wide range
of possibilities for music production and editing.
Connect the Prelude to your computer as shown below.
fig.PCconnect.eps
Computer
To USB connector
of computer
USB cable
If connection to your computer is
unsuccessful...
Normally, you don’t need to install a driver in order to connect
the Prelude to your computer. However, if some problem
occurs, or if the performance is poor, using the Roland original
driver may solve the problem.
For details on downloading and installing the Roland original
driver, refer to the Roland website.
Roland website:http://www.roland.com/
Caution
• To avoid the risk of malfunction and/or speaker
damage, always make sure to turn the volume all the
way down and turn off the power on all equipment
before you make any connections.
• Only MIDI data can be transmitted and received via
USB.
• A USB cable is not included. If you need to obtain
one, ask the dealer where you purchased the Prelude.
USB MIDI connector
Prelude
Refer to the Roland website for system requirements.
Roland website: http://www.roland.com/
• Switch on power to the Prelude before you start up
the MIDI application on your computer. Don’t turn the
Prelude’s power on/off while your MIDI application is
running.
Making the Settings for the USB Driver
Specify the USB driver you want to use, and then install the
driver.
If you are using Windows XP/Windows Vista, you must log
onto Windows as one of the following users in order to
complete the USB connection correctly.
• A user name belonging to the Administrators group, such
as Administrator
• A user name whose account type is a computer administrator
1. Press [MENU].
2. Use [
3. Use [
4. Use [
Do not connect two or more Prelude units to one computer via
USB. The system will not operate correctly with such connections.
][
] to select “System” then press [ENTER].
][
][
] to select “SYSTEM GENERAL” page.
] to select “USB Driver.”
5. Turn the VALUE dial to select the driver.
An information message appears.
The file name for a Style or Song that can be used by the
Prelude must be no longer than sixteen characters (not
including the filename extension). You can use the following
characters.
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }
Value
Explanation
VENDER
Select this if you use the supplied driver.
GENERIC
Select this if you use a generic USB driver
included with the OS.
You must assign a filename extension of “.stl” to Style files,
and a filename extension of “.mid” to Song files.
Depending on the type of characters you use, it may not be
possible to display the file name in some cases.
44
6. Press [EXIT].
7. Turn the power off and then on again.
Prelude_e.book Page 45 Wednesday, January 14, 2009 2:18 PM
System Settings
Settings that affect the entire operating environment of the
OFF, 5,
Screen
10–60
Saver Time
(min)
Prelude, such as tuning and MIDI message reception, are
referred to as “system settings.”
How to Make System Settings
([MENU])
3. Use [
][
] to select a page, and use [
][
] to
select the parameter that you want to edit.
Value
4. Turn the VALUE dial to edit the value.
5. When you’re finished making system settings, press [EXIT].
The pedal will function as an
Expression pedal.
CHORD
OFF
Chord detection in the Lower Part
area of the keyboard will be off
while you hold down the pedal,
allowing you to perform using the
entire keyboard. The setting will
return to its previous state when you
release the pedal.
CHORD
TOGGLE
Chord detection in the Lower Part
area will turn off when you press the
pedal, allowing you to perform using
the entire keyboard. The setting will
return to its previous state when you
press the pedal once again, so that
chord detection will be on for the
Lower Part area.
SOSTENUTO
The pedal will function as a
Sostenuto pedal. When you press
the pedal, notes that are already
being held down will be sustained.
(This function can be used only for
the keyboard part.)
SOFT
The pedal will function as a Soft
pedal. Notes you play while holding
down the pedal will have a softer
tone. (This function can be used only
for the keyboard part.)
ROTARY
SLOW/
FAST
The pedal will switch the speed of the
rotary effect. This is valid only if the
ROTARY type is selected for MFX (p.
40).
START/
STOP
The pedal will start/stop the backing
or song playback.
BASS
INVERSION
The pedal will switch the Bass Inversion
function on/off (p. 37).
PUNCH
IN/OUT
The pedal will control punch-in and
punch-out during song recording (p.
28).
The display briefly shows the “System write completed”
message.
The System settings are saved in the System memory and can
be imported/exported to/from the USB memory’s “Sound/
System” folder (p. 48).
System Parameters
SYSTEM GENERAL
Value
Explanation
Master
Tune
415.3–
466.2Hz
Adjusts the tuning of the entire
Prelude. The displayed value is the
frequency of the A4 key (middle A).
Local
Switch*
OFF, ON
Refer to “Local Switch” (p. 42).
System
-6–+5
Transpose*
NORMAL
Bend
Mode
CATCH+
LAST
Explanation
EXPRESSION
For details, refer to “System Parameters” (below).
Parameter
Refer to “Making the Settings for the
USB Driver” (p. 44).
Selects the function that will be controlled when
you press a separately available pedal
connected to the CONTROL PEDAL jack.
] to select “System” then press [ENTER].
][
VENDER,
GENERIC
SYSTEM PEDAL
Parameter
1. Press [MENU].
2. Use [
USB
Driver
Set the time (minutes) until the screen
saver begins working. If this is
“OFF,” the screen saver will not
appear.
Transposes the pitch of the Prelude in
semitone steps.
The pitch bend lever will operate in the
conventional way.
If you play a note when the pitch
bend lever is already moved to one
side, the pitch will sound as though
the lever were in the center position.
When the lever passes through the
center position, it will once again
begin affecting the pitch. This will
apply only to the most recently
played note. You can use this to
simulate the double-bending
technique of an electric guitarist.
Pedal
Assign
45
Prelude_e.book Page 46 Wednesday, January 14, 2009 2:18 PM
System Settings
FILL UP
Pedal
Assign
Pedal
Polarity
Hold
Polarity
FILL
DOWN
The pedal will trigger a fill-in, and
then the next variation will play
(e.g., from MAIN “1” to “2”). Once
you reach variation “4,” subsequent
presses of the pedal will not change
the variation any farther.
The pedal will trigger a fill-in, and
then the previous variation will play
(e.g., from MAIN “4” to “3”). Once
you reach variation “1,” subsequent
presses of the pedal will not change
the variation any farther.
D Beam
Sens
MIDI Tx
Switch
OFF, ON
Upper Tx
Channel
1–16
Lower Tx
Channel
1–16
MIDI Rx
Switch
OFF, ON
Upper Rx
Channel
1–16
1–16
PERFORM
DOWN
The pedal will switch to the previous
Performance (i.e., from PERFORM
002 to 001).
Tx Pitch
Bend
OFF, ON
Tx
Modulation
OFF, ON
Tx
Program
Change
OFF, ON
STANDARD,
REVERSE
Switches the polarity of the pedal
connected to the CONTROL PEDAL
jack. Some pedals will operate in the
opposite of the expected way when
you press them. If you’re using this
type of pedal, set this parameter to
“REVERSE.” If you’re using a Roland
pedal (without a polarity switch), use
“STANDARD.”
Tx Clock
OFF, ON
Tx StartStop
OFF, ON
Tx Song
Position
OFF, ON
STANDARD,
REVERSE
Switches the polarity of the pedal
connected to the HOLD PEDAL jack.
(See “Pedal Polarity,” above)
Value
0–127
Explanation
This sets the D Beam controller’s
sensitivity. The higher the value set,
the more readily the D Beam
controller goes to into erect.
Explanation
Refer to “MIDI Parameters” (p. 43).
Lower Rx
Channel
Tx
Refer to “MIDI Parameters” (p. 43).
Rx
Rx Sync
OFF, ON
Rx Pitch
Bend
OFF, ON
Rx
Modulation
OFF, ON
Rx
Program
Change
OFF, ON
Refer to “MIDI Parameters” (p. 43).
SYSTEM METRONOME
Refer to “Functions that can be assigned” (p. 34).
Parameter
Metronome
Switch*
Metronome
Mode
Metronome
Level
46
Value
The pedal will switch to the next
Performance (i.e., from PERFORM
001 to 002).
D Beam
Filter/Assignable 1
D Beam
Volume/
Assignable 2
Parameter
PERFORM
UP
SYSTEM D BEAM
Parameter
SYSTEM MIDI
Value
Explanation
OFF, ON
ALWAYS,
Refer to “Using the Metronome” (p.
REC, PLAY
22).
LOW,
MEDIUM,
HIGH
Prelude_e.book Page 47 Wednesday, January 14, 2009 2:18 PM
System Settings
SYSTEM LOCK
Parameter
Value
Style
OFF, ON
Tone
OFF, ON
Style TemOFF, ON
po
Transpose
Explanation
Refer to “Preserving Certain Settings
Even When You Switch
Performances (Lock System)” (p. 17).
OFF, ON
Settings cannot be stored for the parameters marked by “*” in
the table. When the power is turned on, these parameter will
always return to the same value (the default value).
System settings that are not stored
In addition to the parameters marked by “*” in the above
table, the following settings cannot be stored.
Viewing Information about Prelude
(System Version Info Screens)
Here’s how to view information about the Prelude such as its
software version.
1. Press [MENU].
2. Use [
3. Use [
][
][
] to select “Version” then press [ENTER].
] to select a page.
You can view information about the imported Special
Tones as well as the version of software used by the
Prelude.
4. Press [EXIT] to return to the Main screen.
• BALANCE button setting (p. 23)
• Recording setting (p. 28)
Rec Mode/Count In/Punch In/Out setting/Input Quantize
• D Beam controller on/off (p. 34)
• External input Center Cancel (p. 18)
• MINUS ONE/CENTER CANCEL button on/off (p. 30, p. 32)
47
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Using USB Memory
You can save Prelude user data to USB memory (i.e., back up
4. Use the cursor buttons to select an item then press [ENTER].
data), or load data from USB memory into the Prelude. Data
Item
you’ve downloaded to your computer can also be saved to
USB memory and then loaded into the Prelude.
Carefully insert the USB memory all the way in-until it is firmly
in place.
Initializing USB Memory
(USB Memory Format)
Style
All user Styles will be saved to USB memory.
Song
All user Songs will be saved to USB memory.
Sound/
System
User Performances and System settings will
be saved to USB memory.
All
All user data will be saved to USB memory.
A confirmation window will appear.
If you do not want to export the data to the USB memory,
press [EXIT].
Here’s how to initialize the USB memory. This operation is
called “USB Memory Format.”
Explanation
5. Press [ENTER] to export the data.
USB memory cannot be used with the Prelude unless it is
formatted suitably for the Prelude.
This operation will erase all data on your USB memory. Use
this operation with caution.
1. Press [MENU].
2. Use [
][
Loading User Data Saved on USB
Memory (Import)
1. Press [MENU].
2. Use [
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “USB Memory Format”
][
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “Import” then press [ENTER].
4. Use the cursor buttons to select an item then press [ENTER].
then press [ENTER].
Item
A confirmation window will appear.
If you do not want to format the USB memory, press [EXIT].
Style
All Style data will be loaded into the Prelude’s
user Styles.
Song
All Song data will be loaded into the
Prelude’s user Songs.
Sound/
System
User Performances and System settings will
be loaded into the Prelude.
All
All data will be loaded into the Prelude.
4. Press [ENTER] to execute the format.
Don’t remove the USB memory until formatting is completed.
Saving User Data to USB
Memory (Backup)
The following user data of the Prelude can be saved on USB
memory.
• User Styles (p. 25)
• User Songs (p. 28)
• User Performances (p. 36)
Explanation
The amount of data loaded into the Prelude will depend on the
amount of free memory in the Prelude.
A confirmation window will appear.
If you do not want to load the data, press [EXIT].
5. Press [ENTER] to load the data.
• System settings (p. 45)
1. Press [MENU].
2. Use [
][
] to select “Utility” then press [ENTER].
3. Use the cursor buttons to select “Export” then press [ENTER].
48
Any file with a name consisting of seventeen or more
characters (not including the filename extension) cannot be
loaded into the Prelude.
Prelude_e.book Page 49 Wednesday, January 14, 2009 2:18 PM
Using USB Memory
Deleting user data that you loaded
To delete User Styles, refer to “Deleting a User Style” (p. 25).
To delete User Songs, refer to “Deleting a Song” (p. 29).
Data Structure in USB Memory
The folders and files that will be created are as follows.
Importing Data You’ve Saved
in USB Memory ([USB IMPORT])
Before you continue, save the downloaded data from your
computer to the USB memory you’re using. Connect the USB
memory to the Prelude, and import the data you saved.
If you add Tones, the imported Tones will be added to
[WORLD] and [SPECIAL].
Root directory
ROLAND folder
Refer to the Roland website; http://www.roland.com/
SOUND folder
Prelude.svd
SONG folder
***.mid
STYLE folder
***.stl
PLAYLIST folder
PLAYLIST.scp
UPDATE folder
Updater
ROM folder
The folders and files created on USB memory will be visible
from your computer.
By manipulating the files from your computer, you can do the
following things.
• You can place SMF files in the SONG folder and import
them into the Prelude (p. 48).
• You can drag and drop files from the SONG folder to
copy them.
• You can place Style files in the STYLE folder and import
them into the Prelude (p. 48).
• You can drag and drop files from the STYLE folder to copy
them.
• You can place SMF, mp3, AIFF and Wave files in the root
directory, to individually play them back with the USB
MEMORY PLAYER function (p. 32).
• You can import/export User Performances in the Sound
folder.
• You can import/export the System settings in the Sound
folder.
• You can create playlists in the Playlist folder “Creating a
playlist” (p. 30).
49
Prelude_e.book Page 50 Wednesday, January 14, 2009 2:18 PM
About V-LINK
Connecting the Prelude to a V-LINK compatible image device
allows you to control the images with the Prelude.
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
V-LINK
V-LINK (
) is a function that allows music and
images to be performed together. By using MIDI to connect
two or more V-LINK compatible devices, you can easily enjoy
performing a wide range of visual effects that are linked to the
5. Press [EXIT] to return to the previous screen.
V-LINK SETUP Parameters
Parameter
Value
Note Tx
Channel A
Note Tx
Channel B
1–16
Note Tx
Channel C
How to Use the V-LINK ([V-LINK])
1. Press [V-LINK] so the indicator is lit.
OFF
The operation
selected by D
BEAM buttons will
occur regardless of
whether V-LINK is
on or off.
ColorEQ
Fore
CC01
(Modulation)
ColorEQ
Back
CC71 (Resonance)
Scratch
SW
CC03
Speed
Knob
CC08 (Balance)
Total
Fader
CC10 (Panpot)
Cross
Fader
CC11 (Expression)
The V-LINK screen will appear, and the V-LINK setting will
be on.
Operations on the Prelude
• [0] (Clip Reset): Turns the image off (solid black).
• [1] (All Reset): Resets the effect applied to the image, and
restores all settings such as brightness and hue to their
default values.
• [2] (Setup): Accesses the V-LINK SETUP screen.
• Black keys: Switch tabs.
• White keys: Switch clips.
• D Beam controller: Controls the parameter specified in VLINK setup.
* When you turn V-LINK on, the settings in V-LINK setup will
take priority for D Beam operation.
2. With the V-LINK screen shown, press [V-LINK] again.
The V-LINK button will go dark, and the V-LINK setting will
be off.
V-LINK Settings (V-LINK SETUP)
1. Press [V-LINK] to access the V-LINK screen.
2. Press [2] (Setup).
The V-LINK SETUP screen will appear.
3. Use [
][
] to move the cursor to the parameter you
want to edit.
4. Use the VALUE dial to set the value.
50
Controls the VLINK device.
Specify the MIDI
channel. (*)
Assigns a V-LINK function to the
D Beam controller.
expressive elements of a music performance.
By operating the Prelude’s keyboard and knobs, you can
control the image along with your performance on the
Prelude.
Explanation
D BEAM
Used with
motion dive
.tokyo
Performanc
e Package
Prelude_e.book Page 51 Wednesday, January 14, 2009 2:18 PM
About V-LINK
Parameter
D BEAM
Value
Explanation
BPM
Sync SW
CC64 (Hold)
Clip
Loop SW
CC65
(Portamento)
Assign
Knob
CC72 (Release)
Fade
Time SW
CC73 (Attack)
Visual
Knob
CC74 (Cutoff)
AB SW
CC81 (General–6)
Tap SW
CC83 (General–8)
Total
Select
CC85
FX Select
CC86
Play Pos
CC91 (Reverb)
Loop
StartPos
CC92 (Tremolo)
Loop End
Pos
CC93 (Chorus)
Layer
ModeSel
CC94 (Celeste)
Dissolve
Time
CC73 (Attack)
Color Cb
Ctrl
CC01
(Modulation)
Color Cr
Ctrl
CC71 (Resonance)
Brightness
Ctrl
CC74 (Cutoff)
VFX1 Ctrl
CC72 (Release)
VFX2 Ctrl
CC91 (Reverb)
VFX3 Ctrl
CC92 (Tremolo)
VFX4 Ctrl
CC93 (Chorus)
Fade Ctrl
CC10 (Panpot)
Used with
motion dive
.tokyo
Performanc
e Package
Used with
the DV-7PR
and similar
devices.
* On V-LINK compatible devices such as the Edirol DV-7PR/P1, only Note Tx Channel A is used.
In motion dive .tokyo Performance Package, the Note Tx
Channel corresponds as follows.
A: The MIDI channel that controls section A
B: The MIDI channel that controls section B
C: The MIDI channel that controls the MIDI note plug-in
51
Prelude_e.book Page 52 Wednesday, January 14, 2009 2:18 PM
MEMO
52
Prelude_e.book Page 53 Wednesday, January 14, 2009 2:18 PM
Appendices
Troubleshooting
This section provides points to check and actions to take when the Prelude does not function as you expect. Refer to the appropriate
section for the problem you are experiencing.
Problem
Power Does Not Turn On
Check/Solution
Is the included AC adaptor/power cord correctly connected to an AC outlet and
to the Prelude?
• Do not use any AC adaptor and power cord other than the one included.
Doing so will cause malfunctions.
Could the VOLUME knob be turned down?
No Sound from the Prelude
If playing the keyboard does not produce sound, could Local Switch be turned
OFF?
• Turn Local Switch ON.
Could pedal operations or MIDI messages (exclusive or volume) received from
an external MIDI device have lowered the volume?
Page
p. 14
—
p. 42
p. 45
—
Could the volume of the Part be turned down?
• Adjust the volume parameters in the PERFORM MIXER screen.
p. 24
Could you have used the Minus-One function to mute (silence) a specific Part?
p. 30
Does the MIDI receive channel of the part match the MIDI transmit channel of the
connected MIDI device?
• Set the MIDI channel of the connected external device to match the
Prelude.
p. 42
p. 45
Are MIDI messages being transmitted?
• Turn MIDI TxRx to a setting other than OFF.
p. 43
p. 45
No Sound from a Connected MIDI
Device
Does the MIDI transmit channel of the Prelude’s keyboard controller section
match the MIDI receive channel of the connected MIDI device?
• Set the MIDI channel of the connected external device to match the
Prelude.
p. 43
p. 45
The volume level of the instrument
connected to EXT INPUT is too low.
Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor.
No Sound from a Specific Part
Effects Are Not Applied
The reverb and chorus effects for the keyboard parts won’t be applied if their
amounts are set to 0.
• Check the Effect Send settings.
MFX will apply only to the realtime performance of the part you play by hand
(the Upper Part or Lower Part). Be aware that MFX will not apply to recorded
song data.
—
p. 40
—
The Effect Sounds Wrong
Some combinations of Tones and effects may sound different in comparison to
other Tones.
• Check the Effect Source settings.
p. 40
Pitch Bend Not Obtained When
Pitch Bend Lever Is Moved
Could the Pitch Bend Range be set to 0?
• Set the Pitch Bend Range to a value other than 0.
p. 39
For some effect or Part volume settings, the sound may distort. Adjust the following parameters.
• Volume parameters in the PERFORM MIXER screen
• Amount of reverb or chorus for the Effect Send settings
• Overall volume and volume balance
p. 24
p. 40
p. 23
Could you be applying an effect such as overdrive or distortion which intentionally distorts the sound?
p. 40
Sound Is Distorted
53
Prelude_e.book Page 54 Wednesday, January 14, 2009 2:18 PM
Appendices
Problem
Check/Solution
For some Tones, the pitch in certain ranges may sound different than other
Tones.
Pitch Is Wrong
Could the tuning of the Prelude be incorrect?
• Check the Master Tune setting.
Page
—
p. 45
Could the pitch have been changed by pedal operations or by pitch bend messages received from an external MIDI device?
—
Notes Are Cut Off
If you attempt to play more than 128 voices simultaneously, currently sounding
notes may be cut off.
—
USB memory is not detected.
The files are not shown.
Check the format of your USB memory.
The Prelude can use USB memory that has been formatted as FAT. If your USB
memory was formatted using any other method, please re-format it using FAT.
—
Check the following points.
Can’t back up to USB memory
Playlists are not shown
Songs are not shown
• Could the USB memory be write protected?
• Is there sufficient free space on the USB memory?
This may be due to the following reasons.
• Playlists may not be shown if you directly add/delete/modify the song
data in the ROLAND folder without using Playlist Editor.
• For some reason the USB memory is not recognized.
• It is possible that the USB memory was not formatted correctly. The Prelude
can use USB memory that has been formatted as FAT. If your USB memory
was formatted using any other method, please re-format it using FAT.
• Are the songs placed in the root directory?
Songs may not be shown if you directly add/delete/modify the song data
in the ROLAND folder without using Playlist Editor.
• It is possible that the USB memory was not formatted correctly. The Prelude
can use USB memory that has been formatted as FAT. If your USB memory
was formatted using any other method, please re-format it using FAT.
Songs or Styles saved on USB
memory are not shown
Check the file name.
• The file name for a Style or Song that can be used by the Prelude must be
no longer than sixteen characters (not including the filename extension).
You can use the following characters.
A~Z 0~9 ! # $ % & ‘ ( ) - @ ^ _ ` { }
• You must assign a filename extension of “.stl” to Style files, and a filename
extension of “.mid” to Song files.
Songs won’t play
This may be due to the following reasons.
• The file type of the song is not one of the file types that the Prelude can
play.
• It may be that the song data is damaged.
• Songs cannot be played if you directly add/delete/modify the song data
in the ROLAND folder without using Playlist Editor.
54
—
p. 49
p. 49
—
p. 30
p. 49
Prelude_e.book Page 55 Wednesday, January 14, 2009 2:18 PM
Error Messages
If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear.
Refer to the explanation for the error message that appears, and take the appropriate action.
Message
USB Memory Not Ready!
Meaning
Action
USB memory is not connected.
Connect USB memory.
The data could not be read.
Load the data once again.
Failed to load data from USB memory.
Make sure that USB memory is correctly connected.
It may be that the file is damaged.
Do not use this file.
This file cannot be loaded since its format is incorrect.
Do not use this file.
Failed to write the data.
Write the data once again.
Failed to write data to USB memory.
Make sure that USB memory is correctly connected.
Data cannot be written because the USB memory has no more free space.
Delete unneeded files from the USB memory. Alternatively, use a different USB memory device, one
that has more free space available.
The file or the USB memory itself is write protected.
Make sure that the file or the USB memory is not
write protected.
This is a file that the 55 is unable to play.
Do not use this file.
This song has not been transferred from Playlist Editor to USB memory.
Select the song for transfer from Playlist Editor, and
transfer the data once again to USB memory.
The file uses a sampling rate that the Prelude
cannot play.
Use a song whose sampling rate is 44.1 kHz.
It is possible that the contents of system memory have been damaged.
Please execute a Factory Reset.
If this does not resolve the problem, contact your
dealer or a nearby Roland service center.
The file was not found in user memory.
Save the file once again in user memory.
The file was not found in USB memory.
Save the file once again in USB memory.
An unusually large amount of MIDI data was
received, and could not be processed.
Reduce the amount of MIDI messages that are being
transmitted.
The MIDI IN connection was broken.
Check that there is no problem with the MIDI cable
connected to the Prelude’s MIDI IN, and that the
MIDI cable was not disconnected.
Now Playing!
The Style/Song/USB Memory Player is currently playing.
Either stop playback, or wait until playback has ended.
Now Recording!
That operation cannot be executed because
recording is in progress.
Either stop recording, or wait until recording is finished.
Memory Full!
The Style/Song could not be saved because
there is insufficient user memory.
Delete unneeded user data.
Recording could not be started.
You cannot record if BACKING TYPE [USB MEMORY PLAYER] is on. Set BACKING TYPE to something
other than [USB MEMORY PLAYER].
Cannot Store Anymore
Styles!
No more Styles can be saved.
Please delete unneeded user Styles.
Cannot Store Anymore
Songs!
No more Songs can be saved.
Please delete unneeded user Songs.
Read Error!
Write Error!
Incorrect File!
System Memory
Damaged!
File Not Found!
MIDI Buffer Full!
MIDI Offline!
Cannot Record!
55
Prelude_e.book Page 56 Wednesday, January 14, 2009 2:18 PM
Effects List
Multi-Effects Parameters
The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series.
FILTER (10 types)
01 EQUALIZER
02 SPECTRUM
03 ISOLATOR
04 LOW BOOST
05 SUPER FILTER
06 STEP FILTER
07 ENHANCER
08 AUTO WAH
09 HUMANIZER
10 SPEAKER SIMULATOR
MODULATION (12 types)
11 PHASER
12 STEP PHASER
13 MULTI STAGE PHASER
14 INFINITE PHASER
15 RING MODULATOR
16 STEP RING MODULATOR
17 TREMOLO
18 AUTO PAN
19 STEP PAN
20 SLICER
21 ROTARY
22 VK ROTARY
CHORUS (12 types)
23 CHORUS
24 FLANGER
25 STEP FLANGER
26 HEXA-CHORUS
27 TREMOLO CHORUS
28 SPACE-D
29 3D CHORUS
30 3D FLANGER
31 3D STEP FLANGER
32 2BAND CHORUS
33 2BAND FLANGER
34 2BAND STEP FLANGER
DYNAMICS (8 types)
35 OVERDRIVE
36 DISTORTION
37 VS OVERDRIVE
38 VS DISTORTION
39 GUITAR AMP SIMULATOR
40 COMPRESSOR
41 LIMITER
42 GATE
56
P.58
P.58
P.58
P.58
P.59
P.59
P.59
P.60
P.60
P.60
P.61
P.61
P.61
P.62
P.62
P.62
P.62
P.63
P.63
P.63
P.64
P.64
P.64
P.65
P.65
P.65
P.66
P.66
P.66
P.67
P.67
P.67
P.68
P.68
P.69
P.69
P.69
P.69
P.69
P.70
P.70
P.70
DELAY (13 types)
43 DELAY
44 LONG DELAY
45 SERIAL DELAY
46 MODULATION DELAY
47 3TAP PAN DELAY
48 4TAP PAN DELAY
49 MULTI TAP DELAY
50 REVERSE DELAY
51 SHUFFLE DELAY
52 3D DELAY
53 TIME CTRL DELAY
54 LONG TIME CTRL DLY
55 TAPE ECHO
LO-FI (5 types)
56 LOFI NOISE
57 LOFI COMPRESS
58 LOFI RADIO
59 TELEPHONE
60 PHONOGRAPH
PITCH (3 types)
61 PITCH SHIFTER
62 2VOI PITCH SHIFTER
63 STEP PITCH SHIFTER
REVERB (2 types)
64 REVERB
65 GATED REVERB
COMBINATION (12 types)
66 OVERDRIVE → CHORUS
67 OVERDRIVE → FLANGER
68 OVERDRIVE → DELAY
69 DISTORTION → CHORUS
70 DISTORTION → FLANGER
71 DISTORTION → DELAY
72 ENHANCER → CHORUS
73 ENHANCER → FLANGER
74 ENHANCER → DELAY
75 CHORUS → DELAY
76 FLANGER → DELAY
77 CHORUS → FLANGER
PIANO (1 type)
78 SYMPATHETIC RESO
P.71
P.71
P.71
P.72
P.72
P.72
P.73
P.73
P.73
P.74
P.74
P.74
P.75
P.75
P.75
P.76
P.76
P.76
P.76
P.77
P.77
P.77
P.78
P.78
P.78
P.78
P.79
P.79
P.79
P.79
P.79
P.80
P.80
P.80
P.81
P.81
Prelude_e.book Page 57 Wednesday, January 14, 2009 2:18 PM
About ‘Note’
When Using 3D Effects
Some effect parameters (such as Rate or Delay Time) can be set in
terms of a note value.
Such parameters have a num/note switch that lets you specify whether
you will set the value as a note value or as a numerical value.
If you want to set Rate (Delay Time) as a numerical value, set the num/
note switch to “Hz” (“msec”). If you want to set it as a note value, set
the num/note switch to “NOTE.”
The following 3D effects utilize RSS (Roland Sound Space) technology
to create a spaciousness that cannot be produced by delay, reverb,
chorus, etc.
52: 3D DELAY
29: 3D CHORUS
30: 3D FLANGER
31: 3D STEP FLANGER
When using these effects, we recommend that you place your
speakers as follows. Also, make sure that the speakers are at a
sufficient distance from the walls on either side.
fig.33-002
NUM/NOTE switch
* If the Rate is specified as a note value, the modulation will be
synchronized with the tempo when you play back SMF song
data.
30˚
30˚
note:
fig.MFX-note2.e_88
Sixty-fourth-note triplet
Sixty-fourth note
Thirty-second-note triplet
Thirty-second note
Sixteenth-note triplet
Dotted thirty-second note
Sixteenth note
Eighth-note triplet
Dotted sixteenth note
Eighth note
Quarter-note triplet
Dotted eighth note
Quarter note
Half-note triplet
Dotted quarter note
Half note
Whole-note triplet
Dotted half note
Whole note
Double-note triplet
Dotted whole note
If the left and right speakers are too far apart, or if there is too much
reverberation, the full 3D effect may not appear.
Each of these effects has an “Output Mode” parameter. If the sound
from the OUTPUT jacks is to be heard through speakers, set this
parameter to “SPEAKER.” If the sound is to be heard through
headphones, set it to “PHONES.” This will ensure that the optimal 3D
effect will be heard. If this parameter is not set correctly, the full 3D
effect may not appear.
Double note
If you specify the delay time as a note value, slowing down the
tempo will not change the delay time beyond a certain length.
This is because there is an upper limit for the delay time; if the
delay time is specified as a note value and you slow down the
tempo until this upper limit is reached, the delay time cannot
change any further. This upper limit is the maximum value that
can be specified when setting the delay time as a numerical
value.
57
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01:
EQUALIZER
03:
This is a four-band stereo equalizer (low, mid x 2, high).
fig.MFX-01
L in
4-Band EQ
L out
ISOLATOR
This is an equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in varying
ranges.
fig.MFX-03
R in
4-Band EQ
Parameter
Value
Description
Low Freq
Low Gain
Mid1 Freq
Mid1 Gain
200, 400 Hz
-15– +15 dB
200–8000 Hz
-15– +15 dB
Mid1 Q
0.5, 1.0, 2.0, 4.0, 8.0
Mid2 Freq
Mid2 Gain
200–8000 Hz
-15– +15 dB
Mid2 Q
0.5, 1.0, 2.0, 4.0, 8.0
High Freq
High Gain
2000, 4000, 8000 Hz
-15– +15 dB
Frequency of the low range
Gain of the low range
Frequency of the middle range 1
Gain of the middle range 1
Width of the middle range 1
Set a higher value for Q to
narrow the range to be affected.
Frequency of the middle range 2
Gain of the middle range 2
Width of the middle range 2
Set a higher value for Q to
narrow the range to be affected.
Frequency of the high range
Gain of the high range
Level
0–127
Output Level
02:
L in
Isolator
Low Boost
L out
R in
Isolator
Low Boost
R out
R out
Parameter
Boost/
Cut Low
Boost/
Cut Mid
Boost/
Cut High
This is a stereo spectrum. Spectrum is a type of filter which modifies
the timbre by boosting or cutting the level at specific frequencies.
Description
-60– +4 dB
These boost and cut each of the High,
Middle, and Low frequency ranges.
At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.
Anti Phase Low
Sw
OFF, ON
Anti Phase Low
Level
0–127
Anti Phase Mid
Sw
Anti Phase Mid
Level
SPECTRUM
Value
Turns the Anti-Phase function on and off
for the Low frequency ranges.
When turned on, the counter-channel
of stereo sound is inverted and added
to the signal.
Adjusts the level settings for the Low frequency ranges.
Adjusting this level for certain frequencies allows you to lend emphasis
to specific parts. (This is effective only
for stereo source.)
Settings of the Anti-Phase function for the
Middle frequency ranges
The parameters are the same as for
the Low frequency ranges.
OFF, ON
0–127
Low Boost Sw
OFF, ON
Low Boost Level
0–127
Level
0–127
Turns Low Booster on/off.
This emphasizes the bottom to create
a heavy bass sound.
Increasing this value gives you a heavier
low end.
* Depending on the Isolator and filter
settings this effect may be hard to distinguish.
Output Level
fig.MFX-02
L in
Spectrum
L out
R in
Spectrum
R out
Parameter
Value
Band1 (250Hz)
Band2 (500Hz)
Band3 (1000Hz)
Band4 (1250Hz)
Band5 (2000Hz)
Band6 (3150Hz)
Band7 (4000Hz)
Band8 (8000Hz)
-15– +15 dB
Q
0.5, 1.0, 2.0, 4.0,
8.0
Level
Description
04:
LOW BOOST
Boosts the volume of the lower range, creating powerful lows.
fig.MFX-04
0–127
Gain of each frequency band
Simultaneously adjusts the width of
the adjusted ranges for all the frequency bands.
Output Level
L in
Low Boost
2-Band EQ
L out
R in
Low Boost
2-Band EQ
R out
Parameter
Value
Boost
Frequency
50–125 Hz
Boost Gain
0– +12 dB
Boost Width
Low Gain
High Gain
Level
58
WIDE, MID,
NARROW
-15– +15 dB
-15– +15 dB
0–127
Description
Center frequency at which the lower
range will be boosted
Amount by which the lower range will
be boosted
Width of the lower range that will be
boosted
Gain of the low frequency range
Gain of the high frequency range
Output level
Prelude_e.book Page 59 Wednesday, January 14, 2009 2:18 PM
05:
SUPER FILTER
06:
STEP FILTER
This is a filter with an extremely sharp slope. The cutoff frequency can
be varied cyclically.
This is a filter whose cutoff frequency can be modulated in steps. You
can specify the pattern by which the cutoff frequency will change.
fig.MFX-05
fig.MFX-06
L in
R in
Parameter
Super Filter
L out
L in
Step Filter
L out
Super Filter
R out
R in
Step Filter
R out
Value
Filter Type
LPF, BPF, HPF,
NOTCH
Filter Slope
-12, -24, -36 dB
Filter
Cutoff
0–127
Filter
Resonance
0–127
Filter Gain
Modulation Sw
0– +12 dB
OFF,ON
TRI, SQR, SIN,
SAW1, SAW2
Modulation
Wave
SAW1
Description
Parameter
Value
Filter type
Frequency range that will pass through
each filter
LPF: frequencies below the cutoff
BPF: frequencies in the region of the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the region of the cutoff
Amount of attenuation per octave
-36 dB: extremely steep
-24 dB: steep
-12 dB: gentle
Cutoff frequency of the filter
Increasing this value will raise the cutoff
frequency.
Filter resonance level
Increasing this value will emphasize the
region near the cutoff frequency.
Amount of boost for the filter output
On/off switch for cyclic change
How the cutoff frequency will be modulated
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1: sawtooth wave (upward)
SAW2: sawtooth wave (downward)
Step 01–16
0–127
Cutoff frequency at each step
0.05–10.00 Hz,
Rate of modulation
note
Speed at which the cutoff frequency
0–127
changes between steps
Filter type
Frequency range that will pass through
each filter
LPF, BPF, HPF,
LPF: frequencies below the cutoff
NOTCH
BPF: frequencies in the region of the cutoff
HPF: frequencies above the cutoff
NOTCH: frequencies other than the region of the cutoff
Amount of attenuation per octave
-12 dB: gentle
-12, -24, -36 dB
-24 dB: steep
-36 dB: extremely steep
Filter resonance level
Increasing this value will emphasize the
0–127
region near the cutoff frequency.
0– +12 dB
Amount of boost for the filter output
0–127
Output level
SAW2
Rate
Attack
Filter Type
Filter Slope
Filter
Resonance
Filter Gain
Level
07:
Description
ENHANCER
Controls the overtone structure of the high frequencies, adding sparkle
and tightness to the sound.
fig.MFX-07
Rate
Depth
Attack
Level
0.05–10.00 Hz,
Rate of modulation
note
0–127
Depth of modulation
Speed at which the cutoff frequency will
change
0–127
This is effective if Modulation Wave is
SQR, SAW1, or SAW2.
0–127
Output level
L in
R in
2-Band
EQ
L out
Mix
2-Band
EQ
R out
Mix
Enhancer
Enhancer
Parameter
Value
Description
Sens
0–127
Mix
0–127
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
Sensitivity of the enhancer
Level of the overtones generated by the enhancer
Gain of the low range
Gain of the high range
Output Level
59
Prelude_e.book Page 60 Wednesday, January 14, 2009 2:18 PM
08:
Parameter
AUTO WAH
Value
Cyclically controls a filter to create cyclic change in timbre.
fig.MFX-08
L in
Auto Wah
2-Band EQ
L out
R in
Auto Wah
2-Band EQ
R out
Parameter
Value
Filter Type
LPF, BPF
Manual
0–127
Peak
0–127
Sens
0–127
Polarity
UP, DOWN
Rate
Depth
Phase
Low Gain
High Gain
Level
09:
Description
Type of filter
LPF: The wah effect will be applied over
a wide frequency range.
BPF: The wah effect will be applied over
a narrow frequency range.
Adjusts the center frequency at which the
effect is applied.
Adjusts the amount of the wah effect that
will occur in the range of the center frequency.
Set a higher value for Q to narrow the
range to be affected.
Adjusts the sensitivity with which the filter
is controlled.
Sets the direction in which the frequency
will change when the auto-wah filter is
modulated.
UP: The filter will change toward a higher frequency.
DOWN: The filter will change toward a
lower frequency.
0.05–10.00 Hz,
Frequency of modulation
note
0–127
Depth of modulation
Adjusts the degree of phase shift of the left
0–180 deg
and right sounds when the wah effect is
applied.
-15– +15 dB
Gain of the low range
-15– +15 dB
Gain of the high range
0–127
Output Level
HUMANIZER
Adds a vowel character to the sound, making it similar to a human
voice.
fig.MFX-09
L in
L out
Overdrive
Formant
2-Band
EQ
R in
Pan L
Pan R
R out
Parameter
Value
Description
Drive Sw
OFF, ON
Drive
0–127
Turns Drive on/off.
Degree of distortion
Also changes the volume.
Vowel1
Vowel2
a, e, i, o, u
Selects the vowel.
a, e, i, o, u
0.05–10.00 Hz,
Frequency at which the two vowels switch
note
0–127
Effect depth
Determines whether the LFO for switching
OFF, ON
the vowels is reset by the input signal (ON)
or not (OFF).
Rate
Depth
Input Sync
Sw
Input Sync
Threshold
60
0–127
Volume level at which reset is applied
Manual
0–100
Low Gain
High Gain
Pan
Level
-15– +15 dB
-15– +15 dB
L64–63R
0–127
10:
Description
Point at which Vowel 1/2 switch
49 or less: Vowel 1 will have a longer
duration.
50: Vowel 1 and 2 will be of equal duration.
51 or more: Vowel 2 will have a longer
duration.
Gain of the low frequency range
Gain of the high frequency range
Stereo location of the output
Output level
SPEAKER SIMULATOR
Simulates the speaker type and mic settings used to record the speaker
sound.
fig.MFX-10
L in
Speaker
L out
R in
Speaker
R out
Parameter
Value
Description
Speaker Type
(See the table below.)
Type of speaker
Mic Setting
1, 2, 3
Mic Level
Direct Level
Level
0–127
0–127
0–127
Adjusts the location of the mic
that is recording the sound of the
speaker.
This can be adjusted in three
steps, with the mic becoming
more distant in the order of 1,
2, and 3.
Volume of the microphone
Volume of the direct sound
Output Level
Specifications of each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and the number of units.
Type
Cabinet
Speaker
Microphone
SMALL 1
SMALL 2
MIDDLE
JC-120
BUILT-IN 1
BUILT-IN 2
BUILT-IN 3
BUILT-IN 4
BUILT-IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
3-STACK
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
large double stack
large triple stack
10
10
12
12
12
12
12
12
12
12
12
12
12
12
12
12
dynamic
dynamic
dynamic
dynamic
dynamic
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
condenser
x
x
x
x
x
x
x
x
x
x
x
x
x
x
1
2
2
2
2
2
2
2
2
4
4
4
4
4
Prelude_e.book Page 61 Wednesday, January 14, 2009 2:18 PM
11:
Parameter
PHASER
Value
Description
A phase-shifted sound is added to the original sound and modulated.
fig.MFX-11
L in
Phaser
Mix
Mix
Phaser
R in
Parameter
Mode
Manual
Rate
Depth
Polarity
Resonance
Cross
Feedback
Mix
Low Gain
High Gain
Level
12:
Value
2-Band
EQ
L out
2-Band
EQ
R out
Polarity
INVERSE,
SYNCHRO
Resonance
0–127
Cross
Feedback
-98– +98%
Step Rate
0.10–20.00 Hz, note
Mix
Low Gain
High Gain
Level
0–127
-15– +15 dB
-15– +15 dB
0–127
Description
4-STAGE, 8-STAGE, 12Number of stages in the phaser
STAGE
Adjusts the basic frequency from
0–127
which the sound will be modulated.
0.05–10.00 Hz, note
Frequency of modulation
0–127
Depth of modulation
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
INVERSE,
using a mono source, this
SYNCHRO
spreads the sound.
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
0–127
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
-98– +98%
into the effect. Negative (-) settings will invert the phase.
0–127
Level of the phase-shifted sound
-15– +15 dB
Gain of the low range
-15– +15 dB
Gain of the high range
0–127
Output Level
STEP PHASER
The phaser effect will be varied gradually.
13:
MULTI STAGE PHASER
Extremely high settings of the phase difference produce a deep phaser
effect.
fig.MFX-13
L in
L out
Multi Stage
Phaser
L in
Step Phaser
Mix
Mix
R in
Step Phaser
Parameter
Value
Mode
Manual
Rate
Depth
L out
2-Band
EQ
R out
Mix
2-Band
EQ
R in
Pan L
Pan R
R out
Resonance
Parameter
Value
Description
Mode
4-STAGE, 8-STAGE,
12-STAGE, 16-STAGE,
20-STAGE, 24-STAGE
Number of phaser stages
Manual
0–127
Rate
Depth
Resonance
Mix
0.05–10.00 Hz, note
0–127
0–127
0–127
Pan
L64–63R
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
fig.MFX-12
2-Band
EQ
Selects whether the left and right
phase of the modulation will be
the same or the opposite.
INVERSE: The left and right
phase will be opposite. When
using a mono source, this
spreads the sound.
SYNCHRO: The left and right
phase will be the same. Select
this when inputting a stereo
source.
Amount of feedback
Adjusts the proportion of the
phaser sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Rate of the step-wise change in
the phaser effect
Level of the phase-shifted sound
Gain of the low range
Gain of the high range
Output Level
Adjusts the basic frequency
from which the sound will be
modulated.
Frequency of modulation
Depth of modulation
Amount of feedback
Level of the phase-shifted sound
Stereo location of the output
sound
Gain of the low range
Gain of the high range
Output Level
Description
4-STAGE, 8-STAGE, 12Number of stages in the phaser
STAGE
Adjusts the basic frequency from
0–127
which the sound will be modulated.
0.05–10.00 Hz, note
Frequency of modulation
0–127
Depth of modulation
61
Prelude_e.book Page 62 Wednesday, January 14, 2009 2:18 PM
14:
INFINITE PHASER
16:
STEP RING MODULATOR
A phaser that continues raising/lowering the frequency at which the
sound is modulated.
This is a ring modulator that uses a 16-step sequence to vary the
frequency at which modulation is applied.
fig.MFX-14
fig.MFX-16
L in
L out
L in
Step Ring Mod
2-Band EQ
L out
R in
Step Ring Mod
2-Band EQ
R out
Pan L
Infinite Phaser
2-Band EQ
Pan R
R in
R out
Parameter
Range
Mode
1, 2, 3, 4
Speed
Explanation
Higher values will produce a
deeper phaser effect.
Speed at which to raise or lower
the frequency at which the sound
is modulated
(+: upward / -: downward)
Amount of feedback
Volume of the phase-shifted
sound
Panning of the output sound
Amount of boost/cut for the lowfrequency range
Amount of boost/cut for the highfrequency range
Output volume
-100– +100
Resonance
0–127
Mix
0–127
Pan
L64–63R
Low Gain
-15– +15 dB
High Gain
-15– +15 dB
Level
0–127
Parameter
Range
Step 01–16
0–127
Rate
0.05–10.00 Hz, note
Attack
0–127
Low Gain
-15– +15 dB
High Gain
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
17:
15:
RING MODULATOR
Explanation
Frequency of ring modulation at
each step
Rate at which the 16-step sequence
will cycle
Speed at which the modulation frequency changes between steps
Amount of boost/cut for the lowfrequency range
Amount of boost/cut for the highfrequency range
Volume balance of the original
sound (D) and effect sound (W)
Output volume
TREMOLO
Cyclically modulates the volume to add tremolo effect to the sound.
This is an effect that applies amplitude modulation (AM) to the input
signal, producing bell-like sounds. You can also change the
modulation frequency in response to changes in the volume of the
sound sent into the effect.
fig.MFX-17a
L in
Tremolo
2-Band EQ
L out
R in
Tremolo
2-Band EQ
R out
fig.MFX-15
L in
R in
Ring Mod
Ring Mod
Parameter
Value
Frequency
0–127
Sens
0–127
Polarity
UP, DOWN
Low Gain
High Gain
-15– +15 dB
-15– +15 dB
D100:0W–
D0:100W
0–127
Balance
Level
62
2-Band EQ
2-Band EQ
L out
Parameter
R out
Description
Adjusts the frequency at which modulation is
applied.
Adjusts the amount of frequency modulation
applied.
Determines whether the frequency modulation moves towards higher frequencies (UP)
or lower frequencies (DOWN).
Gain of the low frequency range
Gain of the high frequency range
Volume balance between the direct sound
(D) and the effect sound (W)
Output level
Mod Wave
Rate
Depth
Low Gain
High Gain
Level
Value
Description
TRI, SQR, SIN, SAW1,
SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW1
0.05–10.00 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
SAW2
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
Prelude_e.book Page 63 Wednesday, January 14, 2009 2:18 PM
18:
AUTO PAN
20:
Cyclically modulates the stereo location of the sound.
fig.MFX-18a
L in
Auto Pan
2-Band EQ
L out
R in
Auto Pan
2-Band EQ
R out
Parameter
Mod Wave
Value
Description
TRI, SQR, SIN, SAW1,
SAW2
Modulation Wave
TRI: triangle wave
SQR: square wave
SIN: sine wave
SAW1/2: sawtooth wave
SAW1
R
L
Rate
Depth
Low Gain
High Gain
Level
19:
SAW2
R
L
0.05–10.00 Hz, note
0–127
-15– +15 dB
-15– +15 dB
0–127
Frequency of the change
Depth to which the effect is applied
Gain of the low range
Gain of the high range
Output Level
SLICER
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to sustaintype sounds.
fig.MFX-20
L in
Slicer
L out
R in
Slicer
R out
Parameter
Value
Description
Step 01–16
L64–63R
0.05–10.00
Hz, note
Level at each step
Rate at which the 16-step sequence will cycle
Speed at which the level changes between
steps
Specifies whether an input note will cause
the sequence to resume from the first step of
the sequence (ON) or not (OFF)
Volume at which an input note will be detected
Sets the manner in which the volume changes as one step progresses to the next.
LEGATO: The change in volume from one
step’s level to the next remains unaltered.
If the level of a following step is the same
as the one preceding it, there is no
change in volume.
SLASH: The level is momentarily set to 0
before progressing to the level of the next
step. This change in volume occurs even
if the level of the following step is the
same as the preceding step.
Timing of volume changes in levels for evennumbered steps (step 2, step 4, step 6...).
The higher the value, the later the beat
progresses.
Output level
Rate
Attack
0–127
Input Sync Sw
OFF, ON
Input Sync
Threshold
0–127
Mode
LEGATO,
SLASH
Shuffle
0–127
Level
0–127
STEP PAN
This uses a 16-step sequence to vary the panning of the sound.
fig.MFX-19
L in
Step Pan
L out
R in
Step Pan
R out
Parameter
Range
Explanation
Step 01–16
L64–63R
Rate
0.05–10.00 Hz, note
Attack
0–127
Input Sync Sw
OFF, ON
Pan at each step
Rate at which the 16-step sequence
will cycle
Speed at which the pan changes
between steps
Specifies whether an input note
will cause the sequence to resume
from the first step of the sequence
(ON) or not (OFF)
Volume at which an input note will
be detected
Output volume
Input Sync
Threshold
Level
0–127
0–127
63
Prelude_e.book Page 64 Wednesday, January 14, 2009 2:18 PM
Parameter
Value
The Rotary effect simulates the sound of the rotary speakers often used
with the electric organs of the past. Since the movement of the high
range and low range rotors can be set independently, the unique type
of modulation characteristic of these speakers can be simulated quite
closely. This effect is most suitable for electric organ Patches.
Woofer Trans Up
0–127
Woofer Trans
Down
0–127
fig.MFX-21
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter Trans Up
Tweeter Trans
Down
Tweeter Level
0–127
Spread
0–10
Low Gain
High Gain
Level
-15– +15 dB
-15– +15 dB
0–127
21:
ROTARY
L in
L out
Rotary
R in
R out
Parameter
Speed
SLOW, FAST
Woofer Slow
Speed
Woofer Fast
Speed
Woofer
Acceleration
Woofer Level
Tweeter Slow
Speed
Tweeter Fast
Speed
Tweeter
Acceleration
Tweeter Level
Separation
Level
22:
Value
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
Description
Simultaneously switch the rotational
speed of the low frequency rotor
and high frequency rotor.
SLOW: Slows down the rotation
to the Slow Rate.
FAST: Speeds up the rotation to
the Fast Rate.
Slow speed (SLOW) of the low frequency rotor
Fast speed (FAST) of the low frequency rotor
Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from
fast to slow (or slow to fast) speed.
Lower values will require longer
times.
Volume of the low frequency rotor
0.05–10.00 Hz
0.05–10.00 Hz
0–15
0–127
0–127
0–127
Adjusts the rate at which the
woofer rotation speeds up when
the rotation is switched from
Slow to Fast.
Adjusts the rate at which the
woofer rotation speeds up when
the rotation is switched from Fast
to Slow.
Volume of the woofer
0.05–10.00 Hz
0.05–10.00 Hz
Settings of the tweeter
The parameters are the same
as for the woofer.
0–127
0–127
0–127
Sets the rotary speaker stereo image. The higher the value set, the
wider the sound is spread out.
Gain of the low range
Gain of the high range
Output Level
CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the
timbre of the chorus sound.
fig.MFX-23
Balance D
2-Band
EQ
L in
Settings of the high frequency rotor
The parameters are the same as
for the low frequency rotor
Chorus
Balance W
Chorus
Balance W
R in
Balance D
Spatial dispersion of the sound
Output Level
Parameter
Value
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100.0 ms
Rate
Depth
Phase
Low Gain
High Gain
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
VK ROTARY
This type provides modified response for the rotary speaker, with the
low end boosted further.
This effect features the same specifications as the VK-7’s built-in rotary
speaker.
fig.MFX-22
L in
2-Band EQ
L out
2-Band EQ
R out
Rotary
R in
Parameter
Value
Speed
SLOW, FAST
Brake
OFF, ON
Woofer Slow
Speed
Woofer Fast
Speed
64
23:
Description
0.05–10.00 Hz
0.05–10.00 Hz
Description
Rotational speed of the rotating
speaker
Switches the rotation of the rotary speaker.
When this is turned on, the rotation will gradually stop.
When it is turned off, the rotation will gradually resume.
Low-speed rotation speed of the
woofer
High-speed rotation speed of the
woofer
2-Band
EQ
L out
R out
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the direct sound until the chorus sound
is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the chorus sound (W)
Output Level
Prelude_e.book Page 65 Wednesday, January 14, 2009 2:18 PM
24:
FLANGER
This is a stereo flanger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls like a jet
airplane taking off or landing. A filter is provided so that you can
adjust the timbre of the flanged sound.
Parameter
Value
Description
Pre Delay
0.0–100.0 ms
Rate
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback
-98– +98%
Step Rate
Low Gain
0.10–20.00 Hz, note
-15– +15 dB
High Gain
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
fig.MFX-24
Balance D
L in
Flanger
2-Band
EQ
L out
Balance W
Feedback
Feedback
Flanger
R in
Balance D
Parameter
Value
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100.0 ms
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback
-98– +98%
Low Gain
High Gain
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
25:
2-Band
EQ
R out
Gain of the high range
Volume balance between the direct sound (D) and the flanger
sound (W)
Output Level
Description
Filter Type
Rate
Depth
Phase
Balance W
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Rate (period) of pitch change
Gain of the low range
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Gain of the low range
Gain of the high range
Volume balance between the direct
sound (D) and the flanger sound (W)
Output Level
26:
HEXA-CHORUS
Uses a six-phase chorus (six layers of chorused sound) to give richness
and spatial spread to the sound.
fig.MFX-26
L in
Balance W
Hexa Chorus
Balance W
R in
fig.MFX-25
Balance D
Parameter
Value
Pre Delay
0.0–100.0 ms
Rate
Depth
Pre Delay
Deviation
Depth
Deviation
L in
Step Flanger
Pan Deviation
Balance
2-Band
EQ
L out
R out
Balance D
STEP FLANGER
This is a flanger in which the flanger pitch changes in steps. The speed
at which the pitch changes can also be specified in terms of a notevalue of a specified tempo.
L out
Balance D
Level
Description
Adjusts the delay time from the direct sound until the chorus sound is
heard.
0.05–10.00 Hz, note Frequency of modulation
0–127
Depth of modulation
Adjusts the differences in Pre Delay
0–20
between each chorus sound.
Adjusts the difference in modulation
-20– +20
depth between each chorus sound.
Adjusts the difference in stereo location between each chorus sound.
0: All chorus sounds will be in the
0–20
center.
20: Each chorus sound will be
spaced at 60 degree intervals
relative to the center.
Volume balance between the direct
D100:0W–D0:100W
sound (D) and the chorus sound (W)
0–127
Output Level
Balance W
Feedback
Feedback
Step Flanger
R in
Balance D
Parameter
Value
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Balance W
2-Band
EQ
R out
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
65
Prelude_e.book Page 66 Wednesday, January 14, 2009 2:18 PM
27:
TREMOLO CHORUS
29:
3D CHORUS
This is a chorus effect with added Tremolo (cyclic modulation of
volume).
This applies a 3D effect to the chorus sound. The chorus sound will be
positioned 90 degrees left and 90 degrees right.
fig.MFX-27
fig.MFX-29
L in
L out
L
Balance D
Balance W
2-Band
EQ
L out
2-Band
EQ
R out
3D Chorus
Tremolo Chorus
Balance W
R in
R
R out
Balance D
Parameter
Parameter
Value
Pre Delay
0.0–100.0 ms
Chorus Rate
0.05–10.00 Hz, note
Chorus Depth
0–127
Tremolo Rate
0.05–10.00 Hz, note
Tremolo
Separation
Tremolo Phase
Adjusts the delay time from the direct sound until the chorus sound
is heard.
Modulation frequency of the chorus effect
Modulation depth of the chorus effect
Modulation frequency of the tremolo effect
0–127
Spread of the tremolo effect
0–180 deg
Spread of the tremolo effect
Volume balance between the direct sound (D) and the tremolo
chorus sound (W)
Output Level
Balance
D100:0W–D0:100W
Level
0–127
28:
SPACE-D
This is a multiple chorus that applies two-phase modulation in stereo. It
gives no impression of modulation, but produces a transparent chorus
effect.
fig.MFX-28
Balance D
2-Band
EQ
L in
Space D
Balance W
Space D
Balance W
R in
Balance D
Parameter
Value
Pre Delay
0.0–100.0 ms
Rate
Depth
Phase
Low Gain
High Gain
0.05–10.00 Hz, note
0–127
0–180 deg
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
66
Value
Description
2-Band
EQ
L out
R out
Description
Adjusts the delay time from the
direct sound until the chorus
sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Gain of the low range
Gain of the high range
Volume balance between the
direct sound (D) and the chorus
sound (W)
Output Level
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100.0 ms
Rate
0.05–10.00 Hz, note
Depth
0–127
Phase
0–180 deg
Output Mode
SPEAKER, PHONES
Low Gain
High Gain
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from the direct sound until the chorus sound is
heard.
Frequency of modulation
Modulation depth of the chorus effect
Spatial spread of the sound
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the chorus
sound (W)
Output Level
Prelude_e.book Page 67 Wednesday, January 14, 2009 2:18 PM
Parameter
Value
This applies a 3D effect to the flanger sound. The flanger sound will
be positioned 90 degrees left and 90 degrees right.
Feedback
-98– +98%
fig.MFX-30
Step Rate
0.10–20.00 Hz, note
Output Mode
SPEAKER, PHONES
Low Gain
High Gain
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
30:
3D FLANGER
2-Band
EQ
L
L out
3D Flanger
2-Band
EQ
R
Parameter
Value
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100.0 ms
Rate
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Feedback
-98– +98%
Output Mode
Low Gain
High Gain
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
Balance
D100:0W–D0:100W
Level
0–127
31:
R out
Description
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger
sound (W)
Output Level
32:
A chorus effect that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-32
L in
L out
High Band Chorus
Split
Low Band Chorus
High Band Chorus
Split
Low Band Chorus
R in
R out
Range
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100.0 ms
Low Rate
0.05–10.00 Hz, note
Low Depth
0–127
Low Phase
0–180 deg
High Pre Delay
0.0–100.0 ms
High Rate
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
Description
Balance
D100:0W–D0:100W
Type of filter
OFF: no filter is used
LPF: cuts the frequency range
above the Cutoff Freq
HPF: cuts the frequency range
below the Cutoff Freq
Basic frequency of the filter
Adjusts the delay time from when
the direct sound begins until the
flanger sound is heard.
Frequency of modulation
Depth of modulation
Spatial spread of the sound
Level
0–127
This applies a 3D effect to the step flanger sound. The flanger sound
will be positioned 90 degrees left and 90 degrees right.
fig.MFX-31
2-Band
EQ
L out
2-Band
EQ
R out
3D Step Flanger
R
Parameter
Value
Filter Type
OFF, LPF, HPF
Cutoff Freq
200–8000 Hz
Pre Delay
0.0–100.0 ms
Rate
Depth
Phase
0.05–10.00 Hz, note
0–127
0–180 deg
Adjusts the proportion of the
flanger sound that is fed back into
the effect. Negative (-) settings will
invert the phase.
Rate (period) of pitch change
Adjusts the method that will be
used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if
you select SPEAKER when using
speakers, or PHONES when using
headphones.
Gain of the low range
Gain of the high range
Volume balance between the direct sound (D) and the flanger
sound (W)
Output Level
2BAND CHORUS
Parameter
3D STEP FLANGER
L
Description
Explanation
Frequency at which the low and
high ranges will be divided
Delay time from when the original sound is heard to when the
low-range chorus sound is heard
Rate at which the low-range chorus sound is modulated
Modulation depth for the lowrange chorus sound
Spaciousness of the low-range
chorus sound
Delay time from when the original sound is heard to when the
high-range chorus sound is
heard
Rate at which the low-range chorus sound is modulated
Modulation depth for the highrange chorus sound
Spaciousness of the high-range
chorus sound
Volume balance of the original
sound (D) and chorus sound (W)
Output volume
67
Prelude_e.book Page 68 Wednesday, January 14, 2009 2:18 PM
33:
2BAND FLANGER
34:
2BAND STEP FLANGER
A flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
A step flanger that lets you apply an effect independently to the lowfrequency and high-frequency ranges.
fig.MFX-33
fig.MFX-34
L in
L out
L in
L out
High Band Flanger
Split
Split
High Band Step Flanger
Split
High Band Feedback
High Band Feedback
Low Band Flanger
Low Band Step Flanger
Low Band Feedback
High Band Feedback
Low Band Feedback
High Band Feedback
High Band Flanger
High Band Step Flanger
Low Band Feedback
Low Band Feedback
Split
Low Band Flanger
R in
Parameter
Range
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100.0 ms
Low Rate
0.05–10.00 Hz, note
Low Depth
0–127
Low Phase
0–180 deg
Low
Feedback
-98– +98%
High Pre Delay
0.0–100.0 ms
High Rate
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
High
Feedback
-98– +98%
Balance
D100:0W–D0:100W
Level
0–127
68
Low Band Step Flanger
R out
Explanation
Frequency at which the low and
high ranges will be divided
Delay time from when the original sound is heard to when the
low-range flanger sound is heard
Rate at which the low-range
flanger sound is modulated
Modulation depth for the lowrange flanger sound
Spaciousness of the low-range
flanger sound
Proportion of the low-range
flanger sound that is to be returned to the input (negative values invert the phase)
Delay time from when the original sound is heard to when the
high-range flanger sound is
heard
Rate at which the high-range
flanger sound is modulated
Modulation depth for the highrange flanger sound
Spaciousness of the high-range
flanger sound
Proportion of the high-range
flanger sound that is to be returned to the input (negative values invert the phase)
Volume balance of the original
sound (D) and flanger sound (W)
Output volume
R in
R out
Parameter
Range
Split Freq
200–8000 Hz
Low Pre Delay
0.0–100.0 ms
Low Rate
0.05–10.00 Hz, note
Low Depth
0–127
Low Phase
0–180 deg
Low
Feedback
-98– +98%
Low Step
Rate
0.10–20.00 Hz, note
High Pre Delay
0.0–100.0 ms
High Rate
0.05–10.00 Hz, note
High Depth
0–127
High Phase
0–180 deg
High
Feedback
-98– +98%
High Step
Rate
0.10–20.00 Hz, note
Balance
D100:0W–D0:100W
Level
0–127
Explanation
Frequency at which the low and
high ranges will be divided
Delay time from when the original sound is heard to when the
low-range flanger sound is heard
Rate at which the low-range
flanger sound is modulated
Modulation depth for the lowrange flanger sound
Spaciousness of the low-range
flanger sound
Proportion of the low-range
flanger sound that is to be returned to the input (negative values invert the phase)
Rate at which the steps will cycle
for the low-range flanger sound
Delay time from when the original sound is heard to when the
high-range flanger sound is
heard
Rate at which the high-range
flanger sound is modulated
Modulation depth for the highrange flanger sound
Spaciousness of the high-range
flanger sound
Proportion of the high-range
flanger sound that is to be returned to the input (negative values invert the phase)
Rate at which the steps will cycle
for the high-range flanger sound
Volume balance of the original
sound (D) and flanger sound (W)
Output volume
Prelude_e.book Page 69 Wednesday, January 14, 2009 2:18 PM
35:
OVERDRIVE
38:
VS DISTORTION
Creates a soft distortion similar to that produced by vacuum tube
amplifiers.
This is a distortion effect that provides heavy distortion. The
parameters are the same as for “37: VS OVERDRIVE.”
fig.MFX-35
fig.MFX-38
L in
L out
Over
drive
Amp
Simulator
2-Band
EQ
R in
Value
Drive
0–127
Amp Type
SMALL, BUILT-IN,
2-STACK, 3-STACK
L out
Distortion
-15– +15 dB
-15– +15 dB
Pan
L64–63R
Level
0–127
Degree of distortion
Also changes the volume.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack
amp
3-STACK: large triple stack
amp
Gain of the low range
Gain of the high range
Stereo location of the output
sound
Output Level
DISTORTION
L in
L out
Amp
Simulator
2-Band
EQ
R in
Pan L
Pan R
R out
VS OVERDRIVE
39:
Pan R
GUITAR AMP SIMULATOR
This is an effect that simulates the sound of a guitar amplifier.
fig.MFX-39
L in
L out
Pan L
Pre Amp
Pan R
R out
Parameter
Value
Pre Amp Sw
OFF, ON
Turns the amp switch on/off.
JC-120,
CLEAN TWIN, MATCH
DRIVE,
BG LEAD, MS1959I,
MS1959II, MS1959I+II,
Type of guitar amp
SLDN LEAD,
METAL5150,
METAL LEAD, OD-1, OD2 TURBO,
DISTORTION, FUZZ
0–127
Volume and amount of distortion
of the amp
Pre Amp
Master
0–127
Volume of the entire pre-amp
LOW, MIDDLE, HIGH
Amount of pre-amp distortion
Tone of the bass/mid/treble frequency range
* Middle cannot be set if “Match
Drive” is selected as the Pre
Amp Type.
Tone for the ultra-high frequency
range
Turning this “On” produces a
sharper and brighter sound.
* This parameter applies to the
“JC-120,” “Clean Twin,” and
“BG Lead” Pre Amp Types.
Determines whether the signal
passes through the speaker (ON),
or not (OFF).
Type of speaker
Adjusts the location of the mic that’s
capturing the sound of the speaker.
This can be adjusted in three
steps, from 1 to 3, with the mic
becoming more distant as the
value increases.
Volume of the microphone
Volume of the direct sound
Stereo location of the output
Output level
Pre Amp Gain
Pre Amp Bass
Pre Amp
Middle
Pre Amp
Presence
L out
Amp
Simulator
2-Band
EQ
R in
Pan L
0–127
0–127
Parameter
Value
Drive
0–127
Tone
Amp Sw
0–127
OFF, ON
Amp Type
SMALL, BUILT-IN, 2STACK, 3-STACK
Low Gain
High Gain
Pan
Level
-15– +15 dB
-15– +15 dB
L64–63R
0–127
Pre Amp Bright OFF, ON
Pan R
R out
Description
Degree of distortion
Also changes the volume.
Sound quality of the Overdrive effect
Turns the Amp Simulator on/off.
Type of guitar amp
SMALL: small amp
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Gain of the low range
Gain of the high range
Stereo location of the output sound
Output Level
Description
Pre Amp
Volume
fig.MFX-37
L in
Speaker
R in
Pre Amp Treble
This is an overdrive that provides heavy distortion.
Overdrive
Pan L
R out
Pre Amp Type
fig.MFX-36
37:
2-Band
EQ
R in
Produces a more intense distortion than Overdrive. The parameters
are the same as for “35: OVERDRIVE.”
Distortion
Amp
Simulator
Description
Low Gain
High Gain
36:
Pan R
R out
Parameter
L in
Pan L
Speaker Sw
OFF, ON
Speaker Type
(See the table right.)
Mic Setting
1, 2, 3
Mic Level
Direct Level
Pan
Level
0–127
0–127
L64–63R
0–127
69
Prelude_e.book Page 70 Wednesday, January 14, 2009 2:18 PM
Specifications for each Speaker Type
The speaker column indicates the diameter of each speaker unit (in
inches) and t
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