Roland SCB-55 Owner's Manual

SCB-55.QX4 01.6.19 8:59 AM Page 1

Owner’s Manual

We’d like to take a moment to thank you for purchasing the SCB-55 GS Daughter Board.

The SCB-55 is a daughterboard containing high-quality sounds compatible with the GM

(General MIDI) System and GS Format.

In order to gain a thorough understanding of the SCB-55’s many features, please take the time to read this manual carefully.

CONTENTS

FEATURES .................................................................................................................. 2

IMPORTANT NOTES .................................................................................................. 2

1. INSTALLING THE SCB-55 ...................................................................................... 3

2. THE GENERAL MIDI SYSTEM AND GS FORMAT ................................................... 4

3. STRUCTURE AND FUNCTION OF THE SCB-55 ...................................................... 5

(1) Parts .......................................................................................................... 5

(2) Voices and Polyphony ........................................................................... 5

(3) Maximum Polyphony ............................................................................. 6

(4) How to Change Tones ........................................................................... 6

(5) Chorus and Reverb ................................................................................ 7

(6) Changing Between Drum Sets .............................................................. 7

4. ABOUT MIDI ......................................................................................................... 8

(1) MIDI Message Exchange ....................................................................... 8

(2) MIDI Messages Handled by the SCB-55 ............................................... 9

(3) Default Settings ..................................................................................... 13

(4) About the MIDI Implementation Chart .............................................. 13

5. TONE TABLE ........................................................................................................ 14

6. DRUM SET TABLE ................................................................................................. 19

MIDI IMPLEMENTATION ......................................................................................... 21

BLOCK DIAGRAM ....................................................................................... 29

SPECIFICATIONS .................................................................................................... 31

IBM is a registered trademark of International Business Machines Corporation.

Microsoft is a registered trademark of Microsoft Corporation.

Windows is a trademark of Microsoft Corporation.

Sound Blaster and Wave Blaster are trademarks of Creative Labs, Inc.

The GS logo is a trademark of Roland Corporation.

All other products are trademarks or registered trademarks of their respective owners.

Copyright



1994 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

1

SCB-55.QX4 01.6.19 8:59 AM Page 2

2

FEATURES

Easy Installation

All you need to do is to mount the SCB-55 onto a sound card compatible with Sound

Blaster, and you can enjoy high-quality sounds with music or game software.

16-part Multi-Timbral Sound Generator

The SCB-55 is a 16-part multi-timbral (including the drum part) sound generator. It can play up to 28 notes simultaneously, making possible ensembles of up to 16 parts.

Reverb and Chorus Effects

The onboard reverb enhances expressiveness by adding an expansive feeling, while chorus can be used to add fullness to the sound for majestic ensembles. These digital effects let you create music with virtually the same fidelity and acoustics as a concert hall.

Compatible with GM (General MIDI) System Level 1 and GS Format

General MIDI and GS-compatible sound generators can play identical MIDI data with very similar voicings, despite differences in the actual sounds that each device can play.

IMPORTANT NOTES

[Placement]

• Do not subject the unit to temperature extremes (e.g. direct sunlight in an enclosed vehicle). Avoid using or storing the unit in dusty or humid areas, or areas that are subject to high levels of vibration.

• Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum.

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

[Additional Precautions]

• Protect the unit from strong impact.

• Do not allow objects or liquids of any kind to penetrate the unit. In the event of such an occurrence, discontinue use immediately. Contact qualified service personnel as soon as possible.

• Should a malfunction occur, or if you suspect there is a problem, discontinue use immediately. Contact qualified service personnel as soon as possible.

General MIDI System

The General MIDI System is a set of recommendations which seek to provide a way for going beyond the limitations of proprietary designs, and standardize the MIDI capabilities provided by sound generating devices.

If you use a sound generating unit which carries the General MIDI logo, you will be able to faithfully reproduce any song data which also carries the General MIDI logo.

GS Format

The GS Format is Roland’s universal set of specifications which were formulated in the interest of standardizing the way in which sound generating devices will operate when

MIDI is used for the performance of music. If you use a sound generating unit which carries the GS logo, you will be able to faithfully reproduce any commercially available song data which also carries the GS logo.

This product supports both General MIDI and GS.

Song data which carries either of these logos can be accurately reproduced.

SCB-55.QX4 01.6.19 8:59 AM Page 3

1. INSTALLING THE SCB-55

Compatible Sound Cards

Roland MPU-401AT

Any sound card with a Wave Blaster-compatible connector

1. Turn off your computer and all peripheral devices (such as printers and monitors connected to it) and unplug the power cable.

2.

Remove the computer’s cover. For more information, see the owner’s manual for your computer.

3.

Remove your sound card from the expansion slot of your computer.

4.

Connect the Extension Connector (your sound card may call it “the MIDI

Connector”) of the SCB-55 to your sound card as shown below.

Be sure to properly and securely attach the SCB-55.

SCB-55

Your Sound Card

* Do not touch the printed circuit and terminals.

* If a plastic spacer touches parts on your sound card (e.g. an IC socket), remove the unnecessary plastic spacer from the SCB-55.

5.

Install the sound card in your computer.

6.

Replace the computer’s cover.

3

SCB-55.QX4 01.6.19 8:59 AM Page 4

2. THE GENERAL MIDI SYSTEM AND GS

FORMAT

General MIDI System

The General MIDI System is a universal set of specifications for sound generating devices. These specifications seek to allow for the creation of music data which is not limited to equipment by a particular manufacturer or to specific models.

The General MIDI System defines things such as the minimum number of voices that should be supported, the MIDI messages that should be recognized, which sounds correspond to which Program Change numbers, and the layout of rhythm sounds on the keyboard. Thanks to these specifications, any device that is equipped with sound sources supporting the General MIDI System will be able to accurately reproduce

General MIDI Scores (music data created for the General MIDI System), regardless of the manufacturer or model.

GS Format

The GS Format is a standardized set of specifications for Roland’s sound generators which defines the manner in which multi-timbral sound generating units will respond to

MIDI messages. The GS Format also complies with the General MIDI System.

The GS Format also defines a number of other details. These include unique specifications for sounds and the functions available for Tone editing and effects (chorus and reverb), and other specifications concerning the manner in which sound sources will respond to MIDI messages.

Any device that is equipped with GS Format sound sources can faithfully reproduce GS

Music Data (music data created under the GS Format).

This product supports both General MIDI and GS.

Song data which carries either of these logos can be accurately reproduced.

4

SCB-55.QX4 01.6.19 8:59 AM Page 5

3. STRUCTURE AND FUNCTION OF THE

SCB-55

(1) Parts

The SCB-55 provides 16 Parts, and thus allows for a maximum of 16 different performance parts to be played at the same time. Part 10 is for playing percussive instrument.

A Part is something like an orchestral part; think of it as a group of musicians all playing a particular instrument. The big difference compared with a regular orchestra is that you are completely free to decide what kind of instrument they will be playing. In addition, you can change that instrument midway through a song (as many times as you want) for every different part. You could think of this group as being made up of incredible multiinstrumentalists who can play any instrument you give them.

There are many different kinds of performance data in MIDI, but probably the most basic is the note message determining which key to play, how hard, for how long, and when to start. Every part has its own MIDI channel over which it receives performance data and, unless you reset it for some reason, the channel number is the same as the part number.

Each part plays by following the instructions in the performance data on its own channel, and pays no attention to the data on other channels intended for other parts. So thanks to this MIDI channel scheme, you can play each Part completely independently of the others, like on a multitrack recorder.

* As to MIDI, refer to “ABOUT MIDI.” (p. 8)

(2) Voices and Polyphony

The SCB-55 contains 28 internal components (Voices), each of which is capable of generating sound. All 28 Voices can operate simultaneously. However, some sounds require 2 Voices to produce one note. For this reason, the number of notes actually available can be 28 or less. For example, if every sound you are using consists of 2

Voices, the maximum number of notes you could play at once would be 14.

To determine how many Voices the SCB-55 is using, add up the number of Voices used by all the Parts. Note that it is possible to have all 28 Voices working to produce the sound of only one Part.

For information on the number of Voices used by particular sounds, refer to the “TONE

TABLE” (p. 14).

5

SCB-55.QX4 01.6.19 8:59 AM Page 6

6

(3) Maximum Polyphony

When the number of Voices being used exceeds 28, some of the notes that should be played could be cut. To avoid ‘loosing’ important notes, there are two features you can use to insure that a particular Part has all the notes it is supposed to. The settings for the parameters which control these features are made using Exclusive messages (p. 26).

Part Priority

When the SCB-55 receives performance data which request it to produce more than the

28 Voices available, priority is given to producing the most recently received note messages. Those that have been sounding for a while will be cut, in order, starting with the oldest ones, and the ones that are assigned to the Parts with the lowest priority.

Part Priority Ordering:

10 > 1 > 2 > 3 > 4 > 5 > 6 > 7 > 8 > 9 > 11 > 12 > 13 > 14 > 15 > 16

For this reason, consider a Part’s importance (bass, chords, melody etc.) carefully when assigning it to a Part on the SCB-55.

Voice Reserve

The Voice Reserve function allows you to specify a minimum number of Voices that will always be reserved and made available for certain Parts. This becomes effective in instances when the total number of Voices that have been requested exceeds the capacity of the unit.

When shipped, the following settings were made for Voice Reserve:

Part 1:

Parts 2-10:

Parts 11-16:

6

2

0

As Voice Reserve for Part 1 is set to “6,” Part 1 will always have at least 6 Voices—even when all Parts combined are requesting more than 28 Voices. In other words, with Part

1 set this way, all the notes that it should play will be played faithfully (as long as the sounds assigned to it do not use more than 6 Voices).

(4) How to Change Tones

127

10

9

6

5

8

7

4

3

2

1

0

Variation Tone

1 2 3 4 5 6 7 8 9 10 . . .

128

Capital Tone

Program Number

SCB-55.QX4 01.6.19 8:59 AM Page 7

The SCB-55 has 128 basic sounds (“Capital Tones”) that you can select using Program

Change messages. Each Capital Tone also has “Variations,” selectable using Bank Select messages.

* There are some Variations that do not have a sound assigned to them. Check the TONE

TABLE (p. 14) to make sure there is in fact a Tone at the location you are selecting with a

Bank Select message (or else you will get no sound at all).

* The arrangement of the Capital Tones is the same as that for the 128 types of sounds in the General MIDI System.

(5) Chorus and Reverb

Every Part in the SCB-55 can have chorus and reverb effects added to it, and the depth of effects can be controlled in real time using Control Change messages.

(6) Changing Between Drum Sets

Part 10 is exclusively for percussion, using the Drum Set sounds. Drum Set sounds differ from regular sounds in that a different instrument is assigned to each key. Say you have a violin Tone selected: no matter what key you press, you get a violin sound. It may be a different pitch but it’s still a violin sound. However, in a Drum Set, one key plays the kick, one plays the snare, one the hi-hat, and so on. Percussion instruments don’t generally carry the melody and don’t need the pitch range of a violin, so we can arrange them one-per-key and handle them all in one channel.

Drum Sets can be switched using Program Change messages.

Standard Set

1 2 3 4 5 6 7 . . . 128

Program Number

* Although Program Numbers range from 1 to 128, there are nowhere near that many different Drum Sets on the SCB-55. If you try to select a Drum Set that doesn’t exist, you’ll get no sound when you try to play. Check the DRUM SET TABLE (p. 19) to make sure that the Program Change message you are sending corresponds to an actual Drum Set.

* The percussion instruments for Note Numbers 35-81 in the Standard Set (Program

Number 1) all have the same key assignments as the 47 percussion instrument types in the General MIDI System.

7

SCB-55.QX4 01.6.19 8:59 AM Page 8

8

4. ABOUT MIDI

MIDI stands for Musical Instrument Digital Interface. MIDI is a world-wide standard that allows musical instruments and computers to exchange musical data. Most electronic musical instruments sold today are MIDI compatible. MIDI compatible devices have

MIDI connectors which are used to physically link instruments (using special cables).

MIDI does not transmit the sound of an instrument, but rather ‘messages’ in digital form that tell the receiving instrument to “do something.” These are known as MIDI messages.

(1) MIDI Message Exchange

How the exchange of MIDI messages is carried out is explained in the following.

MIDI Connectors

In carrying out the exchange of MIDI messages, three connectors are used. MIDI cables are connected to these connectors in various ways depending on the desired result:

THRU

M I D I

OUT IN

MIDI IN connector:

This connector receives incoming MIDI messages.

MIDI OUT connector:

This connector transmits outgoing MIDI messages to other devices.

MIDI THRU connector:

MIDI messages received at MIDI IN are re-transmitted by the MIDI THRU connector. (This connector does not transmit messages that originate inside the unit itself.)

MIDI Channels and Multi-Timbral Capabilities

With MIDI, a single cable can be used for carrying differing sets of performance information, for a number of MIDI devices. This is possible thanks to the concept of MIDI channels. MIDI channels are easy to understand if we use the analogy of television broadcasting.

Many television programs are broadcast from many TV stations and your TV antenna receives them all. By setting your television to a specific channel, you can watch only the desired program. The same idea applies to MIDI channels. The master device is somewhat like the broadcast station, and the slave device is like a television receiver.

The MIDI messages carried by the MIDI cable are like the programs that are transmitted from the broadcast stations.

Station A

Station B

Station C

On a TV, the channel is selected to watch the station you want.

The cable from the antenna carries the TV signals for a variety of broadcasts.

SCB-55.QX4 01.6.19 8:59 AM Page 9

MIDI provides sixteen channels (1—16). When the channel which the sending device

(the master) is using to transmit on matches the channel which the receiving device (the slave) is using to receive on, the performance data is conveyed. When the MIDI channels are set as illustrated below and you play the keyboard, sound will be produced only by sound module B. Sound module A will not sound. This is because only sound module B is set to receive on the same channel that the keyboard is using to transmit on.

Sound module A’s channel doesn’t match, so it won’t sound.

MIDI OUT MIDI IN MIDI THRU

Receive Channel : 2

Transmit Channel : 1

Sound Module A . .

SOUND

Canvas

MIDI IN

Sound Module B

Receive Channel : 1

. .

SOUND Canvas

The SCB-55 is capable of simultaneously recognizing the MIDI messages on all 16 channels. In other words, it is capable of playing 16 different Parts at the same time. Of these, the Part which is set to receive on MIDI channel 10 is known as the Drum Part. This Part provides a collection of percussive instrument sounds, with a different sound for each

Note Number (p. 19). The other Parts, those having a MIDI receive channel from 1-9 or

11-16, are known as Standard Parts, and are used for melody or bass, chords, etc.

Sound modules such as the SCB-55 are multi-timbral, which means they can simultaneously receive data on a multiple number of MIDI channels, and can play the musical data for a number of Parts simultaneously.

(2) MIDI Messages Handled by the SCB-55

Various types of MIDI messages are used to convey a musical performance.

Channel messages are used to convey musical actions, such as “how hard a key was struck” (converted into a data format called a MIDI message). The action the device takes (how to produce the sound, etc.) when each MIDI message is received will depend on the specifications of the device. If the function requested by a message is not included in the device, the desired effect may not be achieved.

* MIDI messages required for responding to General MIDI System Level 1 specifications are marked with a ✩.

Note Messages

✩

These messages convey what is played on a keyboard or other instrument. The types of

Note messages are as follows:

Note Number:

Note On:

A number representing the position of a key on a keyboard.

Indicates that a key has been pressed.

Note Off: Indicates that a key has been released.

Note On Velocity: The strength with which a key has been pressed.

Note Numbers range from 0—127 and correspond with the positions of keys on a keyboard. Middle C (C4) is number 60. In the Drum Part, a different percussive instrument sound is assigned to each Note Number.

Pitch Bend Change

✩

This message conveys the operation of the bender lever (or pitch bend wheel) that is found on many synthesizers. The pitch will change when this message is received.

9

SCB-55.QX4 01.6.19 8:59 AM Page 10

Bank Select (Controller Number: 0, 32)

Program Change Messages

✩

These messages are generally used to change tones. The tones are selected with

Program Numbers 1 to 128. In the SCB-55, the Tone can be changed using Program

Change messages. If a Bank Select (Control Change message) is used with a Program

Change, more Variations can be selected.

Control Change Messages

These messages control the modulation and pan, etc. Each function is classified with a

Control Change number.

•Modulation (Controller Number: 1)

✩

A vibrato effect is applied when this message is received.

•Volume (Controller Number: 7)

✩

This message conveys the volume level of the part. The part’s volume will change when this message is received.

•Expression (Controller Number: 11)

✩

This message conveys the change in volume. This is used to lower or raise the volume during a song.

* The part volume will change with either the volume message (Controller Number: 7) or expression message (Controller Number: 11). Note that if a 0 value is received with either of the messages, the part volume will be 0, and the part’s volume will not increase even with the other message.

•Panpot (Controller Number: 10)

✩

This message provides adjustment for the sound location in the stereo field (L/R).

Effective only when a stereo output is used.

Orientation

Pan

Left Center Right

0 64 127

•Hold 1 (Controller Number: 64)

✩

This message conveys the pressing and releasing of the damper (sustain) pedal. Notes will be held when ‘hold on’ is received. Sounds which decay naturally (such as pianos) will decay more slowly when ‘hold on’ is received. Sustaining sounds (such as organs) will be held until ‘hold off’ is received.

•Sostenuto (Controller Number: 66)

The pedal that sustains notes only when it is stepped on is called the sostenuto pedal.

This message conveys the action of pressing and releasing this pedal. When ‘sostenuto on’ is received, only notes played at the same time will be sustained. Sounds which decay naturally (such as pianos) will decay more slowly when ‘sostenuto on’ is received.

Sustaining sounds (such as organs) will be held until ‘sostenuto off’ is received.

•Soft (Controller Number: 67)

The pedal that softens the sound of notes played is called the soft pedal. This message conveys the action of pressing and releasing this pedal. When ‘soft on’ is received, the cut off frequency is lowered, and a soft sound is achieved. When ‘sostenuto off’ is received, the original sound is restored.

10

SCB-55.QX4 01.6.19 8:59 AM Page 11

•Reverb Send Level (Controller Number: 91)

This message applies ‘reverb’ to a Part.

•Chorus Send Level (Controller Number: 93)

This message applies ‘chorus’ to a Part.

•Portamento (Controller Number: 65)

•Portamento Time (Controller Number: 5)

•Portamento Control (Controller Number: 84)

The portamento function smoothly changes the pitch from the last key pressed to the key currently being pressed. When portamento is received, the portamento effect is turned on or off. The speed of the pitch change is set with the portamento time. When portamento control is received, the Source Note number (key pressed last) is specified.

•RPN LSB, RPN MSB (Controller Number: 100, 101) ✩

•Data Entry (Controller Number: 6, 38)

✩

RPN (Registered Parameter Number) functions are defined within the MIDI standards and can be used with different devices.

The parameter to be changed is specified with RPN MSB and RPN LSB, and the parameter value is set with the following data entry. The pitch bend sensitivity, master coarse tune and master fine tune values can be changed with RPN.

* The values changed with RPN will not be initialized even if the tone is changed with a

Program Change, etc.

•NRPN LSB, MSB

•Data Entry

(Controller Number: 98, 99)

(Controller Number: 6, 38)

The device’s characteristic variation parameters can be changed with the NRPN (Non-

Registered Parameter Number). The parameter to be changed is specified in NRPN MSB and NRPN LSB, and the parameter value is set with the following data entry.

Common NRPN are set in the GS Format, and the variation parameter can be changed using application software, etc., that is GS Format compatible. The vibrato, cut off frequency, resonance, and envelope values can be changed with NRPN.

* The values changed with NRPN will not be initialized even if the tone is changed with a

Program Change, etc.

* The specifications for NRPNs differ depending on the manufacturer. If an NRPN included in song data does not conform to the GS Format, the data will not be played as expected. To play song data from a different manufacturer, set the “NRPN Reception

Switch” to OFF. When the SCB-55 receives a “GM System ON,” it will automatically turn the “NRPN Reception Switch” off.

Aftertouch Messages (Channel Pressure

✩)

Aftertouch refers to additional pressure put on a key after playing a note. The variation in aftertouch pressure can create changes in the sound produced. There are two types of aftertouch messages: Channel and Polyphonic. Channel aftertouch affects all note numbers on the same MIDI channel. Polyphonic aftertouch affects only individual keys

(note numbers) that are pressed with relatively more force than others.

* Notes will not be affected when an aftertouch message is received while at the factory settings. Turn aftertouch message reception on with an Exclusive message, and specify what function aftertouch will control.

11

SCB-55.QX4 01.6.19 8:59 AM Page 12

12

All Sounds Off

This message turns off all sounds which are currently playing. The sounds in the corresponding channel will be turned off.

All Notes Off

✩

This message turns all ‘note on’ messages to ‘note off’ messages. However, if hold 1 or sostenuto is turned on, the sound will not stop until these are turned off.

Reset All Controllers ✩

When this message is received, the controllers will be set as follows:

Pitch bend change +/-0 (median)

Polyphonic key pressure 0 (min.)

Channel pressure 0 (min.)

Modulation 0 (min.)

Expression

Hold 1

Portamento

Soft

Sostenuto

RPN

NRPN

127 (max.)

0 (off)

0 (off)

0 (off)

0 (off)

No number selected; no change in internal data

No number selected; no change in internal data

* Parameter values set with RPN and NRPN will not change even if a Reset All Controllers is received.

Active Sensing Messages

These messages monitor the integrity of MIDI connections. When the MIDI IN connector receives Active Sensing messages, it will enter the ‘Active Sensing’ mode. If Active

Sensing messages (or other MIDI messages) are not received at 420 millisecond intervals, the device will judge that a cable is disconnected or there is a damaged connection. All sounds will be cut off, and a Reset All Controllers message will be processed. Monitoring for Active Sensing messages is terminated.

System Exclusive Messages

Exclusive messages are used to control a characteristic operation of the device. Universal

System Exclusive messages can be used for all devices - regardless of the manufacturer.

General Exclusive messages, however cannot convey data between different models.

Roland’s Exclusive messages have a unique manufacturer ID, device ID, and model ID so that the type of data can be determined.

•GM System On (Universal Non-Realtime System Exclusive)

✩

When the ‘GM System On’ message is received, the unit will be set to correspond with the General MIDI basic settings. Reception of NRPNs will no longer be allowed after a

‘GM System On’ has been received.

The ‘GM System On’ MIDI message is included at the beginning of song data that carries the GM logo. When the song data is played from the beginning, the device will be automatically initialized to the basic settings.

•GS Reset (GS Format Common System Exclusive)

When the ‘GS Reset’ message is received, all the GS basic settings are restored on the unit. When a GS reset is received, the NRPNs specified with the GS Format can be received.

The GS reset MIDI message is included at the beginning of song data that carries the GS logo. When the song data is played from the beginning, the device will automatically be initialized to the basic settings.

SCB-55.QX4 01.6.19 8:59 AM Page 13

•Master Volume (Universal Realtime System Exclusive)

This is a common universal Exclusive message for controlling the master volume of all parts.

•Other Exclusive Messages

The SCB-55 responds to GS Universal System Exclusive messages (as specified by the GS

Format) so its settings can be controlled by software or external controllers that also conform to the GS Format.

(3) Default Settings

Part Settings

MIDI Channel/Part

Tone

Part Volume

Pan

Reverb Send

Chorus Send

Bend Sens.

1-9, 11-16

Piano 1 (#1)

100

64

40

0

2

10 (Drum Part)

Standard Set

100

64

40

0

2

Overall Part Settings

Reverb

Master Volume

Type Level Time

127 Hall2 64 64

Type

Chorus3

Chorus

Level Feedback Delay Rate Depth

Key Shift

64 8 80 3 19 0

(4) About the MIDI Implementation Chart

MIDI has made it possible for a wide variety of devices to exchange information, but it is not always true that all types of MIDI messages can be exchanged between all types of devices. For example, if you use a synthesizer as a master device to control a digital piano, the pitch bender (the lever or wheel that modifies the pitch) of the synthesizer will have no effect on the sound of the piano.

The important thing to keep in mind when using MIDI is that the slave device must be able to ‘understand’ what the master is ‘saying.’ In other words, the MIDI messages must be common to both master and slave.

To help you quickly determine what types of MIDI messages can be exchanged between master and slave, the Operation Manual for every MIDI device includes a MIDI

Implementation chart. By looking at this chart, you can quickly see what messages the device is able to transmit and receive. The left side of the chart lists the names of a variety of MIDI messages, and the Transmission and Reception columns use “o” and “x” marks to indicate whether or not each of these messages can be transmitted or received.

This means that a specific MIDI message can be exchanged only if there is an “o” in both the Transmission column of the master and the Reception column of the slave device. MIDI implementation charts are standardized, so you can place the charts from two manuals side-by-side and see at a glance how the two devices will communicate.

A detailed explanation concerning the data format used for Exclusive messages, and the implementation of MIDI used on the SCB-55 can be found starting on page 21.

13

SCB-55.QX4 01.6.19 8:59 AM Page 14

5. TONE TABLE

8

9

10

11

PC# CC0

1

2

3

4

5

6

7

12

13

14

15

16

17

18

19

0

0

8

9

8

0

8

0

0

0

0

0

0

0

0

8

16

24

8

16

32

0

8

32

0

16

24

0

8

16

8

0

8

0

8

0

8

16

0

8

0

Harpsichord

Coupled Hps.

Harpsi.w

Harpsi.o

Clav.

Celesta

Glockenspiel

Music Box

Vibraphone

Vib.w

Marimba

Marinba w

Xylophone

Tubular-bell

Church Bell

Carillon

Santur

Organ 1

Piano 1

Piano 1w

Piano 1d

Piano 2

Piano 2w

Piano 3

Piano 3w

Honky-tonk

Honky-tonk w

E.Piano 1

Detuned EP 1

E.Piano 1v

60's E.Piano

E.Piano 2

Detuned EP 2

E.Piano 2v

Detuned Or.1

60's Organ 1

Organ 4

Organ 2

Detuned Or.2

Organ 5

Organ 3

Tone name

PC#

CC0

V

: Program number

: Value of controller number 0 (Variation number)

: Number of Voices

V

1

1

1

1

2

2

1

2

1

1

1

1

1

1

1

2

2

1

2

1

2

1

2

2

2

1

2

2

1

2

2

1

2

2

2

2

1

1

1

1

2

33

34

35

36

37

38

PC# CC0

20

21

22

23

24

25

26

27

28

29

30

31

32

39

40

Tone name

Hawaiian Gt.

Clean Gt.

Chorus Gt.

Muted Gt.

Funk Gt.

Funk Gt.2

Overdrive Gt.

Distortion Gt.

Feedback Gt.

Gt. Harmonics

Gt. Feedback

Acoustic Bs.

Fingered Bs.

Picked Bs.

Fretless Bs.

Slap Bass 1

Slap Bass 2

Synth Bass 1

Synth Bass 101

Synth Bass 3

Synth Bass 2

Synth Bass 4

Rubber Bass

Church Org.1

Church Org.2

Church Org.3

Reed Organ

Accordion Fr

Accordion It

Harmonica

Bandoneon

Nylon-str. Gt.

Ukulele

Nylon Gt.0

Nylon Gt.2

Steel-str. Gt.

12-str. Gt.

Mandolin

Jazz Gt.

0

0

0

0

0

0

0

8

0

0

8

1

8

16

8

16

0

0

8

8

0

8

0

32

0

8

16

0

0

8

0

0

16

0

8

16

0

0

8

V

1

1

1

1

1

1

1

1

1

1

2

2

1

2

1

2

1

1

2

1

1

1

1

2

1

1

1

1

1

1

1

2

2

2

2

2

1

1

2

14

SCB-55.QX4 01.6.19 8:59 AM Page 15

54

55

56

57

42

43

44

45

46

47

48

PC# CC0

41

49

50

51

52

53

58

59

60

61

62

63

64

8

16

0

8

16

0

8

0

1

0

1

0

0

0

0

32

0

0

0

8

0

0

0

0

0

0

0

0

8

0

0

0

0

0

8

Choir Aahs 2

Voice Oohs

SynVox

OrchestraHit

Trumpet

Trombone

Trombone 2

Tuba

MutedTrumpet

French Horn

French Horn 2

Brass 1

Brass 2

Synth Brass1

Synth Brass3

AnalogBrass1

Synth Brass2

Synth Brass4

AnalogBrass2

Violin

Slow Violin

Viola

Cello

Contrabass

Tremolo Str

PizzicatoStr

Harp

Timpani

Strings

Orchestra

Slow Strings

Syn. Strings1

Syn. Strings3

Syn. Strings2

Choir Aahs

Tone name

PC#

CC0

V

: Program number


: Number of Voices

V

2

1

2

2

2

1

2

2

2

2

1

1

1

2

1

2

1

1

1

2

2

1

1

1

1

2

1

1

1

1

1

1

1

1

1

PC# CC0

81

82

0

0

0

0

0

0

0

0

0

0

0

0

0

1

8

0

8

0

0

1

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

70

71

72

73

74

65

66

67

68

69

75

76

77

78

79

80

83

84

91

92

93

94

95

96

85

86

87

88

89

90

Square Wave

Square

Sine Wave

Saw Wave

Saw

Doctor Solo

Syn. Calliope

Chiffer Lead

Charang

Solo Vox

5th Saw Wave

Bass & Lead

Fantasia

Warm Pad

Polysynth

Space Voice

Bowed Glass

Metal Pad

Halo Pad

Sweep Pad

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

Oboe

English Horn

Bassoon

Clarinet

Piccolo

Flute

Recorder

Pan Flute

Bottle Blow

Shakuhachi

Whistle

Ocarina

Tone name V

2

2

2

1

2

2

2

2

2

1

1

2

2

2

2

1

2

2

1

1

2

1

1

2

1

1

1

1

1

1

1

1

1

1

1

1

15

SCB-55.QX4 01.6.19 8:59 AM Page 16

109

110

111

112

113

114

115

PC# CC0

97

98

99

100

101

102

103

104

105

106

107

108

116

117

118

119

120

9

0

0

8

8

0

8

0

8

0

0

0

0

0

0

0

8

0

0

0

0

1

0

1

2

0

0

0

0

0

0

1

0

0

Koto

Taisho Koto

Kalimba

Bag Pipe

Fiddle

Shanai

Tinkle Bell

Agogo

Steel Drums

Woodblook

Castanets

Taiko

Concert BD

Melo. Tom 1

Melo. Tom 2

Synth Drum

808 Tom

Elec Perc

Reverse Cym.

Ice Rain

Soundtrack

Crystal

Syn Mallet

Atmosphere

Brightness

Goblin

Echo Drops

Echo Bell

Echo Pan

Star Theme

Sitar

Sitar 2

Banjo

Shamisen

Tone name

PC#

CC0

V

*

: Program number


: Number of Voices

: All tones marked by an * have an unreliable pitch.

Please use a key around C4 (Note number 60).

The unmarked tones use temperament and pitch

of A4 (Note number 69) is tuned to be the same

as the Master Tune.

V

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

1

2

1

2

1

1

2

2

2

1

2

1

2

2

2

2

*

*

*

*

*

*

*

*

*

*

PC# CC0

121

122

123

124

125

126

127

128

1

2

9

0

6

7

4

5

8

1

2

5

0

3

3

4

1

2

5

0

3

4

1

2

3

2

3

0

1

0

3

4

1

2

5

0

0

1

1

2

0

Telephone 1

Telephone 2

Door Creaking

Door

Scratch

Windchime

Helicopter

Car-Engine

Car-Stop

Car-Pass

Car-Crash

Siren

Train

Jetplane

Starship

Burst Noise

Applause

Laughing

Screaming

Gt. FretNoise

Gt. Cut Noise

String Slap

Breath Noise

Fl. Key Click

Seashore

Rain

Thunder

Wind

Stream

Bubble

Bird

Dog

Horse-Gallop

Bird 2

Punch

Heart Beat

Footsteps

Gun Shot

Machine Gun

Lasergun

Explosion

Tone name V

2

1

2

2

1

1

2

2

1

1

1

2

1

1

1

1

1

1

1

1

1

1

1

1

1

2

1

1

2

2

1

1

2

1

1

1

1

1

1

1

1

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

*

16

SCB-55.QX4 01.6.19 8:59 AM Page 17

PC#

23

24

25

26

27

19

20

21

22

28

29

30

31

32

14

15

16

17

18

9

10

11

12

13

7

8

5

6

3

4

1

2

Tone name

Slap 6

Slap 9

Slap 10

Slap 11

Slap 12

Fingered 1

Fingered 2

Picked 1

Picked 2

Fretless 1

AC. Bass 1

Choir 1

Choir 2

Choir 3

A. Piano 1

A. Piano 2

A. Piano 3

A. Piano 4

A. Piano 5

A. Piano 7

A. Piano 9

E. Piano 1

E. Piano 3

E. Piano 5

A. Guitar 1

A. Guitar 3

A. Guitar 4

E. Guitar 1

E. Guitar 2

Slap 3

Slap 4

Slap 5

PC#

V

: Program number

: Number of Voices

V

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

1

1

1

1

2

1

1

1

2

1

1

1

1

1

CM-32P set (Variation : 126)

PC#

55

56

57

58

59

51

52

53

54

60

61

62

63

64

46

47

48

49

50

41

42

43

44

45

37

38

39

40

33

34

35

36

Tone name

TP/TRB 3

TP/TRB 4

TP/TRB 5

TP/TRB 6

Sax 1

Sax 2

Sax 3

Sax 5

Brass 1

Brass 2

Brass 3

Brass 4

Brass 5

Orche Hit

Choir 4

Strings 1

Strings 2

Strings 3

Strings 4

E. Organ 2

E. Organ 4

E. Organ 6

E. Organ 8

E. Organ 9

E. Organ 10

E. Organ 11

E. Organ 12

E. Organ 13

Soft TP 1

Soft TP 3

TP/TRB 1

TP/TRB 2

V

2

1

2

1

1

1

1

2

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

2

1

1

* Variation 126 is set to the same sound arrangement of the CM-32P (Roland PCM Sound Module). The setting of the pitch bend range, modulation depth, etc. are however different from that of CM-32P. Pan directions are reversed from an actual CM-32P, so to rectify this situation, reverse the L/R connections of the Audio Output jacks.

* If Exclusive messages of the CM-32P are received by the SCB-55, the settings of the latter will not be changed.

17

SCB-55.QX4 01.6.19 8:59 AM Page 18

MT-32 set (Variation : 127)

PC#

23

24

25

26

27

19

20

21

22

28

29

30

31

32

14

15

16

17

18

9

10

11

12

13

7

8

5

6

3

4

1

2

Tone name

Harpsi 3

Clavi 1

Clavi 2

Clavi 3

Celesta 1

Celesta 2

Syn Brass 1

Syn Brass 2

Syn Brass 3

Syn Brass 4

Syn Bass 1

Syn Bass 2

Syn Bass 3

Syn Bass 4

Acou Piano 1

Acou Piano 2

Acou Piano 3

Elec Piano 1

Elec Piano 2

Elec Piano 3

Elec Piano 4

Honkytonk

Elec Org 1

Elec Org 2

Elec Org 3

Elec Org 4

Pipe Org 1

Pipe Org 2

Pipe Org 3

Accordion

Harpsi 1

Harpsi 2

PC#

V

: Program number

: Number of Voices

V

2

2

1

1

2

1

1

2

1

1

2

2

2

1

1

2

1

2

2

1

1

1

2

2

1

1

1

1

2

1

1

1

PC#

55

56

57

58

59

51

52

53

54

60

61

62

63

64

46

47

48

49

50

41

42

43

44

45

37

38

39

40

33

34

35

36

Tone name

Str Sect 3

Pizzicato

Violin 1

Violin 2

Cello 1

Cello 2

Contrabass

Harp 1

Harp 2

Guitar 1

Guitar 2

Elec Gtr 1

Elec Gtr 2

Sitar

Fantasy

Harmo Pan

Chorale

Glasses

Soundtrack

Atmosphere

Warm Bell

Funny Vox

Echo Bell

Ice Rain

Oboe 2001

Echo Pan

Doctor Solo

School Daze

Bellsinger

Square Wave

Str Sect 1

Str Sect 2

PC#

87

88

89

90

91

83

84

85

86

92

93

94

95

96

78

79

80

81

82

73

74

75

76

77

69

70

71

72

65

66

67

68

Tone name

Clarinet 1

Clarinet 2

Oboe

Engl Horn

Bassoon

Harmonica

Trumpet 1

Trumpet 2

Trombone 1

Trombone 2

Fr Horn 1

Fr Horn 2

Tuba

Brs Sect 1

Acou Bass 1

Acou Bass 2

Elec Bass 1

Elec Bass 2

Slap Bass 1

Slap Bass 2

Fretless 1

Fretless 2

Flute 1

Flute 2

Piccolo 1

Piccolo 2

Recorder

Pan Pipes

Sax 1

Sax 2

Sax 3

Sax 4

V

1

1

1

1

1

1

1

1

1

1

1

1

1

1

2

2

1

1

1

2

2

2

2

2

2

2

2

2

1

2

2

1

PC# Tone name

Brs Sect 2

Vibe 1

Vibe 2

Syn Mallet

Windbell

Glock

Tube Bell

Xylophone

Marimba

Koto

Sho

Shakuhachi

Whistle 1

Whistle 2

Bottleblow

Breathpipe

Timpani

Melodic Tom

Deep Snare

Elec Perc 1

Elec Perc 2

Taiko

Taiko Rim

Cymbal

Castanets

Triangle

Orche Hit

Telephone

Bird Tweet

One Note Jam

Water Bell

Jungle Tune

119

120

121

122

123

115

116

117

118

124

125

126

127

128

110

111

112

113

114

105

106

107

108

109

101

102

103

104

97

98

99

100

V

1

1

1

1

2

1

1

1

1

1

2

1

2

2

1

1

1

1

1

1

2

1

1

1

1

1

1

1

1

1

1

1

V

1

1

1

1

1

1

1

1

1

1

1

2

1

1

2

1

1

1

2

2

2

1

1

2

1

1

1

2

1

2

1

1

18

* Variation 127 is set to the same sound arrangement of the MT-32 (Roland Multi-Timbral Sound Module).

The setting of the pitch bend range, modulation depth, etc. are however different from that of MT-32.

Pan directions are reversed from an actual MT-32, so to rectify this situation, reverse the L/R connections of the Audio Output jacks.

* If Exclusive messages of the MT-32 are received by the SCB-55, the settings of the latter will not be changed.

SCB-55.QX4 01.6.19 8:59 AM Page 19

6. DRUM SET TABLE

Note

Number

28

29

31

33

35

36

38

40

41

43

45

47

48

50

52

53

55

57

59

60

62

64

65

67

69

71

72

74

76

77

79

81

83

84

86

88

PC#1:

STANDARD Set

(61 tones)

27 High Q

Slap

Scratch Push

30

32

34

Scratch Pull

Sticks

Square Click

Metronome Click

Metronome Bell

37

39

42

44

46

49

51

54

56

58

61

63

66

68

70

73

75

78

80

82

85

87

[E7]

[E7]

Kick Drum 2

Kick Drum 1

Side Stick

Snare Drum 1

Hand Clap

Snare Drum 2

Low Tom 2

Closed Hi-Hat

Low Tom 1

Pedal Hi-Hat

Mid Tom 2

Open Hi-Hat

Mid Tom 1

High Tom 2

Crash Cymbal 1

High Tom 1

Ride Cymbal 1

Chinese Cymbal

Ride Bell

Tambourine

[E1]

[E1]

[E1]

Splash Cymbal

Cowbell

Crash Cymbal 2

Vibra-slap

Ride Cymbal 2

High Bongo

Low Bongo

Mute High Conga

Open High Conga

Low Conga

High Timbale

Low Timbale

High Agogo

Low Agogo

Cabasa

Maracas

Short Hi Whistle

Long Low Whistle

Short Guiro

[E2]

[E2]

[E3]

[E3] Long Guiro

Claves

High Wood Block

Low Wood Block

Mute Cuica

Open Cuica

Mute Triangle

Open Triangle

Shaker

Jingle Bell

[E4]

[E4]

[E5]

[E5]

Belltree

Castanets

Mute Surdo

Open Surdo

– – – – –

[E6]

[E6]

PC#9:ROOM Set

(61 tones)

PC#17:

POWER Set

(61 tones)

MONDO Kick

Gated SD

PC#25:

ELECTRONIC Set

(61 tones)

Elec BD

Elec SD

Room Low Tom 2 Room Low Tom 2

Gated SD

Elec Low Tom 2

Room Low Tom 1 Room Low Tom 1 Elec Low Tom 1

Room Mid Tom 2

Room Mid Tom 1

Room Hi Tom 2

Room Hi Tom 1

– – – – –

Room Mid Tom 2

Room Mid Tom 1

Room Hi Tom 2

Room Hi Tom 1

– – – – –

Elec Mid Tom 2

Elec Mid Tom 1

Elec Hi Tom 2

Elec Hi Tom 1

Reverse Cymbal

– – – – –

PC#26:

TR-808 Set

(61 tones)

808 Bass Drum

808 Rim Shot

808 Snare Drum

Jazz BD 2

Jazz BD 1

808 Low Tom 2

808 CHH [E1]

808 Low Tom 1

808 CHH [E1]

808 Mid Tom 2

808 OHH [E1]

808 Mid Tom 1

808 Hi Tom 2

808 Cymbal

808 Hi Tom 1

808 Cowbell

808 Hi Conga

808 Mid Conga

808 Low Conga

808 Maracas

808 Claves

– – – – –

PC#33:JAZZ Set

(61 tones)

Jazz Low Tom 2

Jazz Low Tom 1

Jazz Mid Tom 2

Jazz Mid Tom 1

Jazz Hi Tom 2

Jazz Hi Tom 1

– – – – –

PC#41:

BRUSH Set

(61 tones)

JAZZ BD 2

JAZZ BD 1

Brush Tap

Brush Slap

Brush Swirl

Jazz Low Tom 2

Jazz Low Tom 1

Jazz Mid Tom 2

Jazz Mid Tom 1

Jazz Hi Tom 2

Jazz Hi Tom 1

– – – – –

PC#49:

ORCHESTRA Set

(62 tones)

Closed HH

Pedal HH

Open HH

Ride Cymbal

[E1]

[E1]

[E1]

Concert BD 2

Concert BD 1

Concert SD

Castanets

Concert SD

Timpani F

Timpani F#

Timpani G

Timpani G#

Timpani A

Timpani A#

Timpani B

Timpani c

Timpani c#

Timpani d

Timpani d#

Timpani e

Timpani f

Concert Cymbal2

Concert Cymbal1

Applause *

PC#

*

: Program number

: Tones which are created by using two Voices.

(All other tones are created by one Voice.)

Blank

- - - - -

[E#]

: Same as the percussion sound of “STANDARD ”

: No Sound

: Percussion sound of the same number will not

be heard at the same time.

19

SCB-55.QX4 01.6.19 8:59 AM Page 20

SFX set

(Program number: 57)

Note

Number

40

41

43

45

47

48

50

52

53

55

57

59

60

62

64

65

67

69

71

72

74

76

77

79

81

83

84

PC#57:SFX Set

(46 tones)

39 High Q

42

44

46

49

51

54

Slap

Scratch Push

Scratch Pull

Sticks

Square Click

Metronome Click

Metronome Bell

Guitar sliding finger

Guitar cutting noise (down)

Guitar cutting noise (up)

String slap of double bass

Flute Key click

Laughing

Screaming

Punch

Heartbeat

56

58

Footsteps 1

Footsteps 2

Applause

*

Door Creaking

61

63

Door

Scratch

Windchime

Car-Engine

*

66

Car-Stop

Car-Pass

Car-Crash

Siren

*

68

70

73

Train

Jetplane

*

Helicopter

Starship

*

Gunshot

Machine Gun

75

78

80

82

Lasergun

Explosion

Dog

*

Horse-Gallop

Birds

Rain

*

*

Thunder

Wind

Seashore

Stream

Bubble

*

*

[E7]

[E7]

*

– – – – –

[E#]

: Tones which are created by using

two Voices.

(All other tones are created by one Voice.)

: No sound

: Percussion sounds of the same number

cannot be heard at the same time.

CM-64/32L set

(Program number: 128)

Note

Number

PC#128:CM-64/32L Set

(67 tones)

35

36

38

40

41

43

45

47

48

50

52

53

55

57

59

60

62

64

65

67

69

71

72

74

76

77

79

81

83

84

86

88

89

91

93

95

96

98

100

101

102

103

105

104

108

34 – – – – –

Acoustic Bass Drum

37

Acoustic Bass Drum

Rim Shot

Acoustic Snare Drum

39 Hand Clap

42

44

46

49

51

54

56

58

61

63

66

68

70

73

75

78

High Conga

Low Conga

High Timbale

Low Timbale

High Agogo

Low Agogo

Cabasa

Maracas

Short Whistle

Long Whistle

Quijada

– – – – –

Claves

Laughing

Screaming

Punch

Heartbeat

Electronic Snare Drum

Acoustic Low Tom

Closed High Hat

Acoustic Low Tom

Open High Hat 2

Acoustic Middle Tom

Open High Hat 1

Acoustic Middle Tom

Acoustic High Tom

Crash Cymbal

Acoustic High Tom

Ride Cymbal

– – – – –

– – – – –

Tambourine

– – – – –

Cowbell

– – – – –

– – – – –

– – – – –

High Bongo

Low Bongo

Mute High Conga

80

82

Footsteps 1

Footsteps 2

Applause *

Creaking

85

87

Door

Scratch

Windchime

Engine

Car-stop

*

90

92

94

97

99

107

106

Car-pass

Crash

*

Siren

Train

Jet *

Helicopter

Starship

*

Pistol

Machinegun

Lasergun

Explosion

Dog

*

Horse

Birds

Rain

*

*

Thunder

Wind

Waves

Stream

Bubble

*

*

[E1]

[E1]

20

* The CM-64/32L set is the MT-32 drum set with

SFX sounds added to it.

SCB-55.QX4 01.6.19 8:59 AM Page 21

GS DAUGHTER BOARD

Model : SCB-55

Date : May. 1. 1994

Version : 1.00

1. RECEIVE DATA

* MIDI messages required for responding to General MIDI System Level 1 specifications are marked with a ✩.

[Channel Voice Messages]

<1> NOTE OFF

Status

8nH

9nH

Second Third kkH vvH kkH 00H

✩ n=MIDI channel number kk=Note number vv=Velocity

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

: 00H - 7FH (0 - 127)

* In the drum part, recognized when “Rx.NOTE OFF = ON” for each instrument.

* Velocity is ignored.

<2> NOTE ON

Status

9nH

Second Third kkH vvH

✩ n=MIDI channel number kk=Note number vv=Velocity

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

: 01H - 7FH (1 - 127)

* Ignored when “Rx.NOTE MESSAGE = OFF.”

* In the drum part, ignored when “Rx.NOTE ON = OFF” for each instrument.

<3> POLYPHONIC KEY PRESSURE

Status

AnH

Second Third kkH vvH n=MIDI channel number kk=Note number vv=Value

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

: 00H - 7FH (0 - 127)

* Ignored when “Rx.POLY PRESSURE (PAf) = OFF.”

* Effect to the parameter set on System Exclusive Messages.

The default setting has no effect.

<4> CONTROL CHANGE

* Ignores all control change messages (other than channel mode messages) when “Rx.CONTROL CHANGE = OFF.”

* The values set by Control change messages won’t be reset by receiving new Program change messages.

(1) Bank select

Status

BnH

BnH

Second Third

00H mmH

20H llH

(Controller number 0, 32) n=MIDI channel number mm,ll=Bank number

: 0H - FH (ch.1 - ch.16)

: 00H,00H - 7FH,7FH (bank1 - bank16384)

Default Value = 00 00H (bank.1)

* Ignored when “Rx.BANK SELECT = OFF.”

“Rx.BANK SELECT” is set to OFF by “Turn General MIDI System On,” and set to ON by “GS RESET.” (Power-on default value is ON.)

* The LSB 7-bits are ignored (always regards as llH=00H) in this Model.

However, when sending Bank Select messages, you have to send both the

MSB (mm) and LSB (ll) together.

* “Bank select” is suspended until receiving “Program change.” To select a

Tone of another bank, you have to send a Bank select (mm,ll) before sending the Program change.

* The “Variation number” of GS Format is defined as the decimal expression of the MSB value (Control change number 00H) of the Bank select.

MIDI IMPLEMENTATION

(2) Modulation

Status

BnH

Second Third

01H vvH

(Controller number 1) n=MIDI channel number vv=Modulation depth

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

* Ignored when “Rx.MODULATION = OFF.”

* Effect to the parameter set on System Exclusive Messages.

The default setting is pitch modulation depth.

(3) Portamento time (Controller number 5)

Status

BnH

Second Third

05H vvH n=MIDI channel number vv=Portamento time

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

Default Value = 00H (0)

* The Portamento time value changes the rate of pitch change when

Portamento is ON or when using portamento control messages.

Value 0 is the fastest.

✩

(4) Data entry

Status

BnH

BnH

Second Third

06H mmH

26H llH

(Controller number 6, 38) n=MIDI channel number : 0H - FH (ch.1 - ch.16) mm,ll=Value of the parameter specified with RPN and/or NRPN

✩

(5) Volume

Status

BnH

Second Third

07H vvH

(Controller number 7) n=MIDI channel number vv=Volume

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)


✩

* Volume messages control the volume level of the specified channel (part).

Use Volume messages to control volume balance of each part.

* Ignored when “Rx.VOLUME = OFF.”

(6) Panpot

Status

BnH

Second Third

0AH vvH

(Controller number 10) ✩ n=MIDI channel number vv=Panpot

: 0H - FH (ch.1 - ch.16)

: 00H - 40H - 7FH (Left - Center - Right)


* 127 steps from Left to Center to Right.

* Within the Drum Part, the Panpot provides overall control of a stereophonic image.

* Ignored when “Rx.PANPOT = OFF.”

(7) Expression

Status

BnH

Second Third

0BH vvH

(Controller number 11) ✩ n=MIDI channel number vv=Expression

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

Default Value = 7FH (127)

* Expression and Volume messages are cumulative, and the result will control the overall volume.

Use Expression messages for expression pedal, or creating expressive effects, such as crescendo, decrescendo, while playing.

* Ignored when “Rx.EXPRESSION = OFF.”

21

SCB-55.QX4 01.6.19 8:59 AM Page 22

(8) Hold1

Status

BnH

Second Third

40H vvH

(Controller number 64) n=MIDI channel number vv=Control Value

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

0 - 63 = OFF, 64 - 127 = ON

* Ignored when “Rx.HOLD1 = OFF.”

(9) Portamento

Status

BnH

Second Third

41H vvH


: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

0 - 63 = OFF, 64 - 127 = ON

* Ignored when “Rx.PORTAMENTO = OFF.”

✩

(10) Sostenuto

Status

BnH

Second Third

42H vvH


: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

0 - 63 = OFF, 64 - 127 = ON

* Ignored when “Rx.SOSTENUTO = OFF.”

(11) Soft

Status

BnH

Second Third

43H vvH


: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

* Ignored when “Rx.SOFT = OFF.”

(12) Portamento Control

Status

BnH

Second Third

54H kkH

(Controller number 84) n=MIDI channel number : 0H - FH (ch.1 - ch.16) kk= source note number for pitch reference : 00H - 7FH (0 - 127)

* When a Note On message is received after a Portamento Control message, the voice’s pitch will glide from the pitch specified by the source note number of the Portamento Control message at the rate set by the portamento time controller (regardless portamento on/off.)

If there is a currently sounding voice whose note number is coincident with the source note number, the voice’s pitch will glide to the new Note On’s pitch according to the portamento time without re-triggering (played in legato). Then no new voice should be assigned.

Example 1.

90 3C 40

B0 54 3C

90 40 40

80 3C 40

80 40 40

Example 2.

Description

Note on C4

Portamento Control from C4

Note on E4

Note off C4

Note off E4

Result

C4 on no change

(C4 voice still sounding) glide from C4 to E4 no change

E4 off

B0 54 3C

90 40 40

80 40 40

Description

Portamento Control from C4

Note on E4

Note off E4

Result no change

E4 is played with glide from C4 to E4

E4 off

(13) Effect1 depth (Reverb send level)

(Controller number 91)

Status

BnH

Second Third

5BH vvH n=MIDI channel number vv=Reverb send level

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)


* Effect1 depth messages control the Send Level of the specified channel (part) to the internal Reverb unit.

22

(14) Effect3 depth (Chorus send level)


Status

BnH

Second Third

5DH vvH n=MIDI channel number vv=Chorus send level

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)


* Effect3 depth messages control the Send Level of the specified channel

(part) to the internal Chorus unit.

(15) NRPN MSB/LSB

(Controller number 98, 99)

Status

BnH

BnH

Second Third

63H mmH

62H llH n=MIDI channel number mm=MSB of the NRPN ll=LSB of the NRPN

: 0H - FH (ch.1 - ch.16)

* Recognized when “Rx.NRPN = ON.”

“Rx.NRPN” is set to OFF by power-on reset or by receiving “Turn General

MIDI System On,” and it is set to ON by “GS RESET.”

* The values set by NRPN won’t reset by receiving new Program Change messages or Reset All Controllers.

**NRPN**

An NRPN (Non Registered Parameter Number) is an expanded control change message.

Each function of an NRPN is described by the individual manufacturer.

To use NRPN, set NRPN number (MSB/LSB) before sending data. Then send data by Data entry message (Controller number 6/38). And then, it is recommended to send RPN null (RPN number = 7FH/7FH) to prevent the data from being unexpectedly change.

SCB-55 recognizes the following RPN functions.

NRPN Data entry

Description

01H 08H mmH Vibrato rate relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

01H 09H mmH

01H 0AH mmH

01H 20H mmH

Vibrato depth relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

Vibrato delay relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

TVF cutoff frequency relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

01H 21H mmH

01H 63H mmH

01H 64H mmH

01H 66H mmH

18H rrH mmH

1AH rrH mmH

1CH rrH mmH

TVF resonance relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

TVF&TVA Env. Attack time relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

TVF&TVA Env. Decay time relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

TVF&TVA Env. Release time relative change on specified channel mm: 0EH - 40H - 72H (-50 - 0 - +50)

Pitch coarse of drum instrument relative change on specified drum instrument rr: key number of drum instrument mm: 00H - 40H - 7FH (-64 - 0 - +63 semitone)

TVA level of drum instrument absolute change on specified drum instrument rr: key number of drum instrument mm: 00H - 7FH (zero - maximum)

Panpot of drum instrument absolute change on specified drum instrument rr: key number of drum instrument mm: 00H, 01H - 40H - 7FH

(Random, Left-Center-Right)

SCB-55.QX4 01.6.19 8:59 AM Page 23

1DH rrH mmH

1EH rrH mmH

Reverb send level of drum instrument absolute change on specified drum instrument rr: key number of drum instrument mm: 00H - 7FH (zero - maximum)

Chorus send level of drum instrument absolute change on specified drum instrument rr: key number of drum instrument mm: 00H - 7FH (zero - maximum)

* Data entry LSB is ignored.

* The relative change means that the parameter value (e.g. -50 - 0 - +50) will be added to the preset value.

* The absolute change means that the parameter value will be replaced by the received value.

(16) RPN MSB/LSB (Controller number 100, 101) ✩

Status

BnH

BnH

Second Third

65H mmH

64H llH n=MIDI channel number mm=MSB of the RPN ll=MSB of the RPN

: 0H - FH (ch.1 - ch.16)

* Ignored when “Rx.RPN = OFF.”

* The values set by an RPN won’t be reset by receiving new Program

Change messages or Reset All Controllers.

**RPN**

An RPN (Registered Parameter Number) is an expanded control change message.

Each function of an RPN is described by the MIDI Standard.

To use an RPN, set the RPN number (MSB/LSB) before sending data.

Then send data by Data entry message (Controller number 6/38).

It is then recommended to send RPN null (RPN number = 7FH/7FH) to prevent the data from being unexpectedly change.

SCB-55 recognizes the following RPN functions.

RPN Data entry

MSB LSB MSB LSB Description

00H 00H mmH ––– Pitch bend sensitivity mm: 00H - 18H (0 - 24 semitone)

Default value = 02H (two semitones) ll: ignored (value=00H)

(Up to 2 octaves)

00H 01H mmH llH Master fine tuning mm,ll: 00 00H - 40 00H - 7F 7FH

(-8192 x 100/8192 - 0 - +8191 x 100/8192 cents)

00H 02H mmH ––– Master coarse tuning mm: 28H - 40H - 58H (-24 - 0 - +24 semitones) ll: ignored (value=00H)

7FH 7FH ––– ––– RPN null

Return to disable condition.

The parameter already set retains its value.

mm, ll: ignored

<5> PROGRAM CHANGE

Status

CnH

Second ppH

✩ n=MIDI channel number pp=Program number

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (prog.1 - prog.128)

* Current active voices are not affected when receiving Program Change messages. New sounds will be played after receiving Program Change messages.

* Ignored when “Rx.PROGRAM CHANGE = OFF.”

* In the drum part, Program change messages are ignored when the Bank is set at 129 - 16384 (i.e. the value of the control change number 0 is not 00H).

<6> CHANNEL PRESSURE

Status

DnH

Second vvH

✩ n=MIDI channel number vv=Value

: 0H - FH (ch.1 - ch.16)

: 00H - 7FH (0 - 127)

* Effect to the parameter set on System Exclusive Messages. The default setting has no effect.

* Ignored when “Rx.CH PRESSURE (CAf) = OFF.”

<7> PITCH BEND CHANGE ✩

Status

EnH

Second Third llH mmH n=MIDI channel number mm,ll=Value

: 0H - FH (ch.1 - ch.16)

: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* Effect to the parameter set on System Exclusive Messages. The default setting is pitch bend.

* Ignored when “Rx.PITCH BEND = OFF”

[Channel Mode Messages]

<1> ALL SOUNDS OFF

Status

BnH

Second Third

78H 00H

(Controller number 120) n=MIDI channel number : 0H - FH (ch.1 - ch.16)

* When “All sounds off” is received, all sounds on a specified channel turn off immediately. However, the state of channel messages does not change. You must not use “All sounds off” message for “Note off.”

<2> RESET ALL CONTROLLERS


Status

BnH

Second Third

79H 00H

✩ n=MIDI channel number : 0H - FH (ch.1 - ch.16)

* When “Reset all controllers” is received, the controller value of a specified channel returns to the default values as follows.

Controller

Pitch bend change

Default Value

0 (Center)

Polyphonic key pressure 0 (off)

Channel pressure 0 (off)

Modulation

Expression

Hold1

Portamento

0 (off)

127 (maximum)

0 (off)

0 (off)

Sostenuto

Soft

RPN

NRPN

0 (off)

0 (off) disabled.

The parameter already set retains its old value.

disabled.

The parameter already set retains its old value.

<3> ALL NOTES OFF (Controller number 123) ✩

Status

BnH

Second Third

7BH 00H n=MIDI channel number : 0H - FH (ch.1 - ch.16)

* When “All notes off” is received, all notes are turned off in the specified channel. However, sound continues while Hold1 or Sostenuto is on.

<4> OMNI OFF

Status

BnH

Second Third

7CH 00H


* OMNI OFF is only recognized as “All notes off”; the Mode doesn’t change.

<5> OMNI ON

Status

BnH

Second Third

7DH 00H


* OMNI ON is only recognized as “All notes off”; the Mode doesn’t change

(OMNI OFF remains).

23

SCB-55.QX4 01.6.19 8:59 AM Page 24

<6> MONO

Status

BnH

Second Third

7EH mmH

(Controller number 126) n=MIDI channel number mm=number of mono

: 0H - FH (ch.1 - ch.16)

: 00H - 10H (0 - 16)

* MONO is recognized as “All sounds off.” The specified channel turns to

Mode4 (M=1), even if mm is not equal to 1 (mm is ignored).

<7> POLY

Status

BnH

Second Third

7FH 00H


* POLY is recognized as “All sounds off.” The specified channel turns to

Mode3.

[System Realtime Message]

<1> ACTIVE SENSING

Status

FEH

* Having received an “Active sensing” message, GS expects to receive additional active sensing messages at 300ms intervals. If the interval is greater than 420ms, GS executes “All sounds off,” “All notes off” and “Reset all controllers” and returns to normal operation. (Monitoring of active sensing messages will terminate.)

[System Exclusive Message]

Status

F0H

41H

7EH

7FH dd,...,ee=data

F7H

Data iiH,ddH,.....,eeH

F0H ii=ID number

Status

F7H

: System Exclusive

: The ID number identifies the manufacturer of a MIDI device that triggers an exclusive message.

Value 7EH and 7FH are reserved to use as universal messages which are used for extension of the MIDI

Standard.

: Roland’s Manufacturer-ID.

: Universal Non-Realtime Message

: Universal Realtime Message

: 00H-7FH (0-127)

: EOX (End of Exclusive/System common)

<1> SYSTEM EXCLUSIVE MESSAGES OF MODE CHANGE

System Exclusive Messages of Mode Change are the messages used to initialize the internal parameters of the device to General MIDI mode or GS default mode.

“GS reset” uses a form of Roland Exclusive Message. “Turn General MIDI

System On” uses a form of Universal Non Realtime Message.

(1) GS reset

Status

F0H

Data Byte

41H, 10H, 42H, 12H, 40H, 00H, 7FH, 00H, 41H

Status

F7H

Byte

F0H

41H

10H

42H

12H

40H

00H

7FH

00H

41H

F7H

Description

Exclusive status

ID number

Device ID

Model ID

Command ID

Address MSB

:

Address LSB

Data

Checksum

EOX

(Roland)

(GS)

(DT1)

(GS reset)

(End of exclusive)

* Upon receiving this message, all the internal parameters are set to the default settings of the GS Format. (Rx.NRPN SW will be turned ON by this message.)

* It takes about 50ms to execute this message.

24

(2) Turn General MIDI System On

Status

F0H

Data Byte Status

7EH, 7FH, 09H, 01H F7H

Byte

F0H

7EH

7FH

09H

01H

F7H

✩

Description

Exclusive status

ID number (Universal Non-Realtime message)

ID of target device (Broadcast) sub-ID#1 sub-ID#2

EOX

(General MIDI message)

(General MIDI On)

(End of exclusive)

* Upon receiving this message, all the internal parameters are set to the default settings of General MIDI System Level 1. (Rx.NRPN SW will be turned OFF by this message.)

* It takes about 50ms to execute this message.

<2> UNIVERSAL REALTIME SYSTEM EXCLUSIVE MESSAGE

(1) Master Volume

Status

F0H

Data Byte

7FH, 7FH, 04H, 01H, llH, mmH

Status

F7H

Byte

F0H

7FH

7FH

04H

02H mm,ll

F7H

Description

Exclusive status

ID number

ID of target device sub-ID#1 sub-ID#2

Master Volume

EOX

(Universal Realtime message)

(Broadcast)

(Device Control Message)

(Master Volume)

00 00H - 7F 7FH (0 - 16383)

(End of exclusive)

* The LSB (llH) is ignored (value=0).

<3> DATA TRANSFER

SCB-55 can receive the various parameters using System Exclusive messages of the following data format.

GS Common Exclusive messages use Model ID = 42H and Device ID = 17

(10H).

SCB-55 has a unique Exclusive communication function which has it’s own Model IDs in addition to the GS Common Exclusive messages.

(1) Data set 1 DT1

This message corresponds to the actual data transfer process.

On receiving a DT1 message, the device writes the data to internal memory according to the address.

Status

F0H ccH ddH

: eeH sum

F7H

Byte

F0H

41H

10H

42H

12H aaH bbH

Data Byte

Address LSB

Data

:

Data

Checksum

EOX

Status

41H, 10H, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum F7H

Description

Exclusive status

Manufacturer’s ID (Roland)

Device ID

Model ID

Command ID

Address MSB

:

(GS)

(DT1)

(End of exclusive)

* SCB-55 only recognizes the DT1 messages whose address and size match the Parameter Address Map (Section 2).

* A DT1 message cannot include data more than 128 bytes. If the amount of data to send is large (more than 128 bytes), then send the data in separate packets at an interval of 40ms or more.

* The error checking process uses a Checksum. Refer to “Useful

Information” (p. 30) to calculate a Checksum.

SCB-55.QX4 01.6.19 8:59 AM Page 25

2. PARAMETER ADDRESS MAP (MODEL ID=42H)

This map indicates address, Data size, Data (range), Parameter, and Default Value of parameters which can be transferred using “Data set 1 (DT1).”

All the numbers of address, size, Data, and Default Value are indicated in 7-bit Hexadecimal-form.

<Example>

Address

Size

Data

Parameter

Description

Default value

Description

: Top of parameter address

: Data size (Ex. 01H means 1byte)

: Available range of data value

: Parameter name

: Explanation of data value

: Initial data value

: Explanation of default value

[ADDRESS BLOCK MAP]

An outlined address map of the Exclusive Communication is shown below.

Address(H)

40 00 00

Block

System parameters

Sub Block Notes individual

40 01 00 individual

Patch parameters

Patch common

Patch block 0

41 00 00

Drum setup parameters

Patch block F

Drum map name

Drum inst parameters individual

[INDIVIDUAL PARAMETERS]

You can use individual parameter communication to send or request an individual parameter value.

One packet of System Exclusive messages “F0 ..... F7” can only have one parameter (which may contain several bytes).

To send individual parameters, use the address and size indicated in the following map. You cannot use any address having “#” for the top address in a System

Exclusive message.

<1> SYSTEM PARAMETERS

Address(H) Size(H) Data(H) Parameter Description Default Value (H) Description

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

40 00 00

40 00 01#

40 00 02#

00 00 04 0018 - 07E8 MASTER TUNE -100.0 - +100.0 [cent]

Use nibblized data.

00 04 00 00 0 [cent]

40 00 03#

40 00 04 7F 127

40 00 05

40 00 06

40 00 7F

00 00 01

00 00 01

00 00 01

00 00 01

00 - 7F

28 - 58

01 - 7F

00, 7F

MASTER VOLUME

(= F0 7F 7F 04 01 00 vv F7)

MASTER KEY-SHIFT

MASTER PAN

MODE SET

(Rx Only)

0 - 127

-24 - +24 [semitones]

-63 (LEFT) - +63 (RIGHT)

00 = GS Reset

Refer to “SYSTEM EXCLUSIVE MESSAGES OF MODE CHANGE” (Page 24)

40

40

0 [semitones]

0 (CENTER)

25

SCB-55.QX4 01.6.19 8:59 AM Page 26

<2> PATCH PARAMETERS

(1) Common Parameters

Patch Common Parameters include VOICE RESERVE, REVERB, and CHORUS parameters. These parameters are common to all the parts.


–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

40 01 10

40 01 11#

00 00 10 00 - 18 VOICE RESERVE Part 10 (Drum Part)

Part 1

02

06

2

6

40 01 12#

40 01 13#

40 01 14#

40 01 15#

Part 2

Part 3

Part 4

Part 5

02

02

02

02

2

2

2

2

40 01 16#

40 01 17#

40 01 18#

40 01 19#

40 01 1A#

40 01 : #

40 01 1F#

Part 6

Part 7

Part 8

Part 9

Part 11

:

Part 16

02

02

02

02

00

00

2

2

2

2

0

0

The sum total of voices in the voice reserve function must be equal to or less than the number of the maximum polyphony.

The maximum polyphony of the SCB-55 is 28.

For compatibility with other GS models, it is recommended that the maximum polyphony be equal or less than 24.

40 01 30 00 00 01 00 - 07 04

40 01 31

40 01 32

40 01 33

40 01 34

40 01 35

40 01 36

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 - 07

00 - 07

00 - 7F

00 - 7F

00 - 7F

00 - 7F

REVERB MACRO 00: Room 1

01: Room 2

02: Room 3

03: Hall 1

04: Hall 2

05: Plate

06: Delay

07: Panning Delay

REVERB CHARACTER

REVERB PRE-LPF

REVERB LEVEL

REVERB TIME

0 - 7

0 - 7

0 - 127

0 - 127

REVERB DELAY FEEDBACK 0 - 127

REVERB SEND LEVEL TO CHORUS 0 - 127

04

00

40

40

00

00

Hall 2

4

0

64

64

0

0

REVERB MACRO is a parameter used to select the preset type of the effect.

When set to another REVERB MACRO, all other reverb parameters will be reset to the values set for each type of REVERB MACRO.

40 01 38 00 00 01 00 - 07 02

40 01 39

40 01 3A

40 01 3B

40 01 3C

40 01 3D

40 01 3E

40 01 3F

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 - 07

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

CHORUS MACRO 00: Chorus 1

01: Chorus 2

02: Chorus 3

03: Chorus 4

04: Feedback Chorus

05: Flanger

06: Short Delay

CHORUS PRE-LPF

CHORUS LEVEL

CHORUS FEEDBACK

CHORUS DELAY

CHORUS RATE

CHORUS DEPTH

07: Short Delay (FB)

0 - 7

0 - 127

0 - 127

0 - 127

0 - 127

0 - 127

CHORUS SEND LEVEL TO REVERB 0 - 127

00

40

08

50

03

13

00

CHORUS MACRO is a parameter used to select the preset type of effect.

When set to another CHORUS MACRO, then all other chorus parameters will be reset to the values set for each type of CHORUS MACRO.

Chorus 3

0

64

8

80

3

19

0

(2) Part Parameters

SCB-55 has 16 parts. The parameters of each part are called Part Parameters.

To send or request Part Parameters, don’t use not the part number (which is usually same as the MIDI channel number) but the BLOCK NUMBER in the message.

x...BLOCK NUMBER (0 - F), Part 1 (default MIDI ch = 1) x=1

Part 2 (default MIDI ch = 2) x=2

: : :

Part 9 (default MIDI ch = 9) x=9

Part10 (default MIDI ch =10) x=0

Part11 (default MIDI ch =11) x=A

Part12 (default MIDI ch =12) x=B

: : :

Part16 (default MIDI ch =16) x=F n...MIDI channel number (0 - F) of the BLOCK.

26

SCB-55.QX4 01.6.19 8:59 AM Page 27


–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

40 1x 00

40 1x 01#

00 00 02 00 - 7F

00 - 7F

TONE NUMBER CC#00 VALUE (0 - 127)

P.C. VALUE (1 - 128)

00

00

0

1

40 1x 02

40 1x 03

40 1x 04

40 1x 05

00 00 01

00 00 01

00 00 01

00 00 01

00 - 10

00 - 01

00 - 01

00 - 01

Rx. CHANNEL

Rx. PITCH BEND

Rx. CH PRESSURE(CAf)

Rx. PROGRAM CHANGE

1 - 16, OFF

OFF / ON

OFF / ON

OFF / ON

Same as the Part Number

01

01

01

ON

ON

ON

40 1x 06

40 1x 07

40 1x 08

40 1x 09

00 00 01

00 00 01

00 00 01

00 00 01

40 1x 0A 00 00 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

Rx. CONTROL CHANGE

Rx. POLY PRESSURE(PAf)

Rx. NOTE MESSAGE

Rx. RPN

Rx. NRPN

OFF / ON

OFF / ON

OFF / ON

OFF / ON

OFF / ON

01

01

01

01

00 (01*)

ON

ON

ON

ON

OFF (ON*)

* Rx. NRPN is set to OFF by power-on reset or by “Turn General MIDI System On,” and it is set to ON by “GS RESET.”

40 1x 0B 00 00 01

40 1x 0C 00 00 01

40 1x 0D 00 00 01

40 1x 0E 00 00 01

40 1x 0F

40 1x 10

40 1x 11

40 1x 12

40 1x 13

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 1x 14 00 00 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 01

00 - 02

Rx. MODULATION

Rx. VOLUME

Rx. PANPOT

Rx. EXPRESSION

Rx. HOLD1

Rx. PORTAMENTO

Rx. SOSTENUTO

Rx. SOFT

MONO/POLY MODE

ASSIGN MODE

OFF / ON

OFF / ON

OFF / ON

OFF / ON

OFF / ON

OFF / ON

OFF / ON

OFF / ON

Mono / Poly

(=Bn 7E 01 / Bn 7F 00)

0 = SINGLE

1 = LIMITED-MULTI

2 = FULL-MULTI

01

01

01

01

01

01

01

01

01

00 at x=0

01 at x ≠ 0

ON

ON

ON

ON

ON

ON

ON

ON

Poly

SINGLE at x=0

LIMITED-MULTI at x ≠ 0

ASSIGN MODE is a parameter used to select the voice assign manner when “Multiple Note Ons” occur (the same note number on the same channel at the same time).

The best assign modes (SINGLE (0) for the Drum part and LIMITED-MULTI (1) for the other parts) are selected automatically, so you need not reset this parameter.

40 1x 15 00 00 01 00 - 02 USE FOR DRUM PART 0 = OFF

1 = MAP1

2 = MAP2

00 at x ≠ 0

01 at x=0

OFF at x ≠ 0

MAP1 at x

≠

0

USE FOR DRUM PART is a parameter to define the part to be used as an ordinary part (0), as a drum part using DRUM MAP1 (1), or a drum part using DRUM

MAP2 (2).

The default is MAP1 (1) for Part 10 (MIDI CH=10, x=0), and all other parts are set to ordinary parts (OFF(0)).

40 1x 16

40 1x 17

40 1x 18#

40 1x 19

40 1x 1A

40 1x 1B

40 1x 1C

40 1x 1E

40 1x 1F

40 1x 20

40 1x 21

40 1x 22

00 00 01

00 00 02

00 00 01

00 00 01

00 00 01

00 00 01

40 1x 1D 00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

28 - 58

08 - F8

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 5F

00 - 5F

00 - 7F

00 - 7F

PITCH KEY SHIFT

PITCH OFFSET FINE

PART LEVEL

VELOCITY SENSE DEPTH

VELOCITY SENSE OFFSET

PART PANPOT

KEY RANGE LOW

KEY RANGE HIGH

CC1 CONTROLLER NUMBER

CC2 CONTROLLER NUMBER

CHORUS SEND LEVEL

REVERB SEND LEVEL

-24 - +24 [semitones]

-12.0 - +12.0 [Hz]

Use nibblized data.

0 - 127

(=Bn 07 vv)

0 - 127

0 - 127

-64 (RANDOM),

-63 (LEFT) - +63 (RIGHT)

(=Bn 0A vv, except RANDOM)

(C-1) - (G9)

(C-1) - (G9)

0 - 95

0 - 95

0 - 127

(=Bn 5D vv)

0 - 127

(=Bn 5B vv)

40

08 00

64

40

40

40

00

7F

10

11

00

28

0 [semitones]

0 [Hz]

100

64

64

0 (CENTER)

C-1

G9

16

17

0

40

40 1x 23 00 00 01 00 - 01 Rx. BANK SELECT OFF / ON 01 (00*) ON (OFF*)

40 1x 30

40 1x 31

40 1x 32

40 1x 33

40 1x 34

40 1x 35

*Rx. BANK SELECT is set to ON by power-on reset or by “GS RESET,” and set to OFF by “Turn General MIDI System On.”

00 00 01 0E - 72 40

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 1x 36 00 00 01

40 1x 37 00 00 01

0E - 72

0E - 72

0E - 72

0E - 72

0E - 72

0E - 72

0E - 72

TONE MODIFY 1

Vibrato rate

TONE MODIFY 2

Vibrato depth

TONE MODIFY 3

TVF cutoff freq.

TONE MODIFY 4

TVF resonance

TONE MODIFY 5

TVF&TVA Env.attack

TONE MODIFY 6

TVF&TVA Env.decay

TONE MODIFY 7

TVF&TVA Env.release

TONE MODIFY 8

Vibrato delay

-50 - +50

(=Bn 63 01 62 08 06 vv)

-50 - +50

(=Bn 63 01 62 09 06 vv)

-50 - +50

(=Bn 63 01 62 20 06 vv)

-50 - +50

(=Bn 63 01 62 21 06 vv)

-50 - +50

(=Bn 63 01 62 63 06 vv)

-50 - +50

(=Bn 63 01 62 64 06 vv)

-50 - +50

(=Bn 63 01 62 66 06 vv)

-50 - +50

(=Bn 63 01 62 0A 06 vv)

40

40

40

40

40

40

40

0

0

0

0

0

0

0

0

27

SCB-55.QX4 01.6.19 8:59 AM Page 28

40 2x 30

40 2x 31

40 2x 32

40 2x 33

40 2x 34

40 2x 35

40 2x 36

40 2x 37

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 38

40 2x 39

00 00 01

00 00 01

40 2x 3A 00 00 01

40 2x 40

40 2x 41

40 2x 42

40 2x 43

40 2x 44

40 2x 45

40 2x 46

40 2x 47

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 48

40 2x 49

00 00 01

00 00 01

40 2x 4A 00 00 01

40 2x 50

40 2x 51

40 2x 52

40 2x 53

40 2x 54

40 2x 55

40 2x 56

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 57

40 2x 58

00 00 01

00 00 01

40 2x 59 00 00 01

40 2x 5A 00 00 01


–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

40 1x 40 00 00 0C 00 - 7F SCALE TUNING C -64 - +63 [cent] 40 0 [cent]

40 1x 41#

40 1x 42#

40 1x 43#

40 1x 44

00 - 7F

00 - 7F

00 - 7F

00 - 7F

SCALE TUNING C#

SCALE TUNING D

SCALE TUNING D#

SCALE TUNING E

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

40

40

40

40

0 [cent]

0 [cent]

0 [cent]

0 [cent]

40 1x 45#

40 1x 46#

40 1x 47#

40 1x 48#

40 1x 49#

40 1x 4A#

40 1x 4B#

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

SCALE TUNING F

SCALE TUNING F#

SCALE TUNING G

SCALE TUNING G#

SCALE TUNING A

SCALE TUNING A#

SCALE TUNING B

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

-64 - +63 [cent]

40

40

40

40

40

40

40

0 [cent]

0 [cent]

0 [cent]

0 [cent]

0 [cent]

0 [cent]

0 [cent]

SCALE TUNING enables you to slightly raise or lower each note in the same octave range.

This setting can be enabled for all pitches of the same note name. 0 cent (40H) is equivalent to “Equal Temperament.”

40 2x 00 00 00 01

40 2x 01 00 00 01

40 2x 02 00 00 01

40 2x 03

40 2x 04

40 2x 05

40 2x 06

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 07

40 2x 08

00 00 01

00 00 01

40 2x 09 00 00 01

40 2x 0A 00 00 01

40 2x 10

40 2x 11

40 2x 12

40 2x 13

40 2x 14

40 2x 15

40 2x 16

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 17

40 2x 18

00 00 01

00 00 01

40 2x 19 00 00 01

40 2x 1A 00 00 01

40 2x 20

40 2x 21

40 2x 22

40 2x 23

40 2x 24

40 2x 25

40 2x 26

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

00 00 01

40 2x 27

40 2x 28

00 00 01

00 00 01

40 2x 29 00 00 01

40 2x 2A 00 00 01

28 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

40 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

28 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

MOD PITCH CONTROL

MOD TVF CUTOFF CONTROL

MOD AMPLITUDE CONTROL

MOD LFO1 RATE CONTROL

MOD LFO1 PITCH DEPTH

MOD LFO1 TVF DEPTH

MOD LFO1 TVA DEPTH

MOD LFO2 RATE CONTROL

MOD LFO2 PITCH DEPTH

MOD LFO2 TVF DEPTH

MOD LFO2 TVA DEPTH

BEND PITCH CONTROL

BEND TVF CUTOFF CONTROL

BEND AMPLITUDE CONTROL

BEND LFO1 RATE CONTROL

BEND LFO1 PITCH DEPTH

BEND LFO1 TVF DEPTH

BEND LFO1 TVA DEPTH

BEND LFO2 RATE CONTROL

BEND LFO2 PITCH DEPTH

BEND LFO2 TVF DEPTH

BEND LFO2 TVA DEPTH

CAf PITCH CONTROL

CAf TVF CUTOFF CONTROL

CAf AMPLITUDE CONTROL

CAf LFO1 RATE CONTROL

CAf LFO1 PITCH DEPTH

CAf LFO1 TVF DEPTH

CAf LFO1 TVA DEPTH

CAf LFO2 RATE CONTROL

CAf LFO2 PITCH DEPTH

CAf LFO2 TVF DEPTH

CAf LFO2 TVA DEPTH

-24 - +24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

0 - 24 [semitone]

-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]


-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

40

40

40

40

0A

00

00

40

00

00

00

42

40

40

40

00

00

00

40

00

00

00

40

40

40

40

00

00

00

40

00

00

00

0 [semitones]

0 [cent]

0 [%]

0 [Hz]

47 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

2 [semitones]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [semitones]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

28 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

28 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

28 - 58

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

00 - 7F

PAf PITCH CONTROL

PAf TVF CUTOFF CONTROL

PAf AMPLITUDE CONTROL

PAf LFO1 RATE CONTROL

PAf LFO1 PITCH DEPTH

PAf LFO1 TVF DEPTH

PAf LFO1 TVA DEPTH

PAf LFO2 RATE CONTROL

PAf LFO2 PITCH DEPTH

PAf LFO2 TVF DEPTH

PAf LFO2 TVA DEPTH

CC1 PITCH CONTROL

CC1 TVF CUTOFF CONTROL

CC1 AMPLITUDE CONTROL

CC1 LFO1 RATE CONTROL

CC1 LFO1 PITCH DEPTH

CC1 LFO1 TVF DEPTH

CC1 LFO1 TVA DEPTH



CC1 LFO2 TVF DEPTH

CC1 LFO2 TVA DEPTH

CC2 PITCH CONTROL

CC2 TVF CUTOFF CONTROL

CC2 AMPLITUDE CONTROL



CC2 LFO1 TVF DEPTH

CC2 LFO1 TVA DEPTH



CC2 LFO2 TVF DEPTH

CC2 LFO2 TVA DEPTH


-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]


-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]


-9600 - +9600 [cent]

-100.0 - +100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

-10.0 - +10.0 [Hz]

0 - 600 [cent]

0 - 2400 [cent]

0 - 100.0 [%]

40

40

40

40

00

00

00

40

00

00

00

40

40

40

40

00

00

00

40

00

00

00

40

40

40

40

00

00

00

40

00

00

00

0 [semitones]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [semitones]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [semitones]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

0 [Hz]

0 [cent]

0 [cent]

0 [%]

28

SCB-55.QX4 01.6.19 8:59 AM Page 29

<3> DRUM SETUP PARAMETERS m: Map number (0 = MAP1, 1 = MAP2) rr: drum part note number (00H - 7FH)

Address(H) SIZE(H) Data(H) Parameter Description

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

41 m0 00 00 00 0C

| #

20 - 7F DRUM MAP NAME ASCII Character

41 m0 0B#

41 m1 rr 00 00 01 00 - 7F PLAY NOTE NUMBER Pitch coarse

41 m2 rr 00 00 01

41 m3 rr 00 00 01

00 - 7F

00 - 7F

LEVEL

ASSIGN GROUP

NUMBER

PANPOT

TVA level

(=Bn 63 1A 62 rr 06 vv)

Non, 1 - 127

41 m4 rr 00 00 01

41 m5 rr 00 00 01

41 m6 rr 00 00 01

41 m7 rr 00 00 01

41 m8 rr 00 00 01

00 - 7F

00 - 7F

00 - 7F

00 - 01

00 - 01

REVERB SEND LEVEL

CHORUS SEND LEVEL

Rx. NOTE OFF

Rx. NOTE ON

-64 (RANDOM),

-63(LEFT) - +63(RIGHT)

(=Bn 63 1C 62 rr 06 vv, except RANDOM)

0.0 - 1.0

Multiplicand of the part reverb depth

(=Bn 63 1D 62 rr 06 vv)

0.0 - 1.0

Multiplicand of the part chorus depth

(=Bn 63 1E 62 rr 06 vv)

OFF / ON

OFF / ON

When you change Drum Sets, all values of the DRUM SETUP PARAMETERS will be initialized.

BLOCK DIAGRAM

Part

Volume

Master

Part 1

Rev. Depth Cho. Depth

Part 2

Pan

OUTPUT L

OUTPUT R

Part 16

Chorus

Reverb

29

SCB-55.QX4 01.6.19 8:59 AM Page 30

Useful Information

•Decimal and Hexadecimal

It is common to use 7-bit Hexadecimal numbers in MIDI communication.

The following is a conversion table between decimal numbers and 7-bit

Hexadecimal numbers.

Decimal

Hexadecimal Decimal

Hexadecimal Decimal

Hexadecimal Decimal

Hexadecimal

28

29

30

31

24

25

26

27

20

21

22

23

16

17

18

19

12

13

14

15

10

11

8

9

6

7

4

5

2

3

0

1

18H

19H

1AH

1BH

1CH

1DH

1EH

1FH

10H

11H

12H

13H

14H

15H

16H

17H

08H

09H

0AH

0BH

0CH

0DH

0EH

0FH

00H

01H

02H

03H

04H

05H

06H

07H

60

61

62

63

56

57

58

59

52

53

54

55

48

49

50

51

44

45

46

47

40

41

42

43

36

37

38

39

32

33

34

35

38H

39H

3AH

3BH

3CH

3DH

3EH

3FH

30H

31H

32H

33H

34H

35H

36H

37H

28H

29H

2AH

2BH

2CH

2DH

2EH

2FH

20H

21H

22H

23H

24H

25H

26H

27H

92

93

94

95

88

89

90

91

84

85

86

87

80

81

82

83

76

77

78

79

72

73

74

75

68

69

70

71

64

65

66

67

58H

59H

5AH

5BH

5CH

5DH

5EH

5FH

50H

51H

52H

53H

54H

55H

56H

57H

48H

49H

4AH

4BH

4CH

4DH

4EH

4FH

40H

41H

42H

43H

44H

45H

46H

47H

120

121

122

123

124

125

126

127

112

113

114

115

116

117

118

119

104

105

106

107

108

109

110

111

100

101

102

103

96

97

98

99

78H

79H

7AH

7BH

7CH

7DH

7EH

7FH

70H

71H

72H

73H

74H

75H

76H

77H

68H

69H

6AH

6BH

6CH

6DH

6EH

6FH

60H

61H

62H

63H

64H

65H

66H

67H

* To indicate a decimal number for the MIDI channel, Bank number, and

Program number, add one to the values in the table.

* The resolution of 7-bit Hexadecimal numbers is 128. Use several bytes for values which require higher resolution.

i.e. The number “aa bbH” in 7-bit Hexadecimal is “aa x 128 + bb” in

Decimal form.

* A signed number (with a sign +/-) is indicated as 00H = -64, 40H = 0,

7FH=+63.

So the signed number “aaH” in 7-bit Hexadecimal is “aa - 64” in Decimal form.

In the case of two bytes, it is regarded as 00 00H = 8192,

40 00H = 0, 7F 7FH=+8191.

So the signed number “aa bbH” in 7-bit Hexadecimal is “aa bbH - 40 00H =

(aa x 128 + bb) - (64 x 128)” in Decimal form.

* The data indicated as “nibbled” is a 4-bit Hexadecimal number.

i.e. “0a 0bH” is “a x 16 + b.”

<Example 1> Convert “5AH” in Hexadecimal to a Decimal number.

(By using the table) 5AH = 90

<Example 2> Convert “12 34H” in 7-bit Hexadecimal to a Decimal number.

(By using the table) 12H = 18, 34H = 52

So, 18 x 128 + 52 = 2356

<Example 3> Convert “0A 03 09 0D” in nibblized form to a Decimal number.

(By using the table) 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

So, ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

•Example of actual MIDI messages

<Example 1> 92 3E 5F

“9n” is a status of a Note On message, and “n” is a MIDI channel number.

The second byte is the Note number, and the third is Velocity.

2H = 2, 3EH = 62, 5FH = 95

So, this is a Note On message of MIDI channel=3, Note number=62 (D4) and

Velocity=95.

<Example 2> CE 49

“Cn” is a status of a Program change message, and “n” is a MIDI channel number.

The second byte is a Program number.

EH = 14, 49H = 73

So, this is a Program change message of MIDI channel=15,

Program number= 74 (Flute in GS).

30

<Example 3> EA 00 28

“EnH” is a status of a Pitch bend change message, and “n” is a MIDI channel number.

The second byte (00H) is an LSB and the third (28H) is an MSB of a Pitch bend value.

The Pitch bend value is :

28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072

So, this is a Pitch bend change message of MIDI channel=11,

Pitch bend value = -3072

If the Pitch bend sensitivity is set to 2 semitones, and the Pitch bend value -

8192 (00 00H) is defined as -200 cents,

The actual pitch bend value of this message is :

-200 x (-3072) / (-8192) = -75 cent

•Example of Roland System Exclusive messages and Checksum

Roland System Exclusive messages (DT1) have a Checksum at the end of the data (just before EOX) to be able to check for communication errors.

The Checksum is determined by values of address and data (or size) included in the message.

<How to calculate Checksums>

(“H” indicates Hexadecimal.)

The error checking process employs a sum-check error detection. It provides binary bit figures whose lower 7 bits are zero when values for an address, data (or size) and the Checksum are summed.

One practical equation to determine Checksum is;

If the address is “ad bb ccH” and the data (or the size) is “dd ee ffH” ad + bb + cc + dd + ee + ff = sum sum / 128 = quotient ... remainder

128 - remainder = checksum

<Example 1> Set “REVERB MACRO” to “ROOM 3”

According to the Parameter Address Map, the Address of REVERB MACRO is 40 01 30H, and the Value corresponding to ROOM 3 is 02H.

So, the message should be :

F0 41 10 42 12 40 01 30 02 ??

F7

(1) (2) (3) (4) (5) address data checksum (6)

(1) Exclusive Status (4) Model ID (GS)

(2) ID (Roland) (5) Command ID (DT1)

(3) Device ID (16) (6) End of Exclusive

The Checksum is :

40H + 01H + 30H + 02H = 64 + 1 + 48 + 2 = 115 (sum)

115 (sum) / 128 = 0 (quotient) ... 115 (remainder) checksum = 128 - 115 (remainder) = 13 = 0DH

Therefore, the message to send is : F0 41 10 42 12 40 01 30 02 0D F7

<Example 2> Set “MASTER TUNE” to +23.4 cents by System Exclusive

The Address of “MASTER TUNE” is 40 00 00H. The Value should be nibblized data whose resolution is 0.1 cents, and which is a signed value

(00 04 00 00H (= 1024) = 0 ).

+23.4[cents] = 234 + 1024 = 1258 = 04 EAH = 00 04 0E 0AH (nibblized)

So, the message should be :

F0 41 10 42 12 40 00 00 00 04 0E 0A ??

F7

(1) (2) (3) (4) (5) address data checksum (6)

(1) Exclusive Status (4) Model ID (GS)

(2) ID (Roland) (5) Command ID (DT1)

(3) Device ID (16) (6) End of Exclusive

The Checksum is :

40H + 00H + 00H + 00H + 04H + 0EH + 0AH = 64 + 0 + 0 + 0 + 4 + 14 +

10 = 92 (sum)

92 (sum) / 128 = 0 (quotient) ... 92 (remainder) checksum = 128 - 92 (remainder) = 36 = 24H

Therefore, the message to send is :

F0 41 10 42 12 40 00 00 00 04 0E 0A 24 F7

SCB-55.QX4 01.6.19 8:59 AM Page 31

SPECIFICATIONS

SCB-55

: GS Daughter Board

• Sound Source

RS-PCM Sound Generation

Compatible with GM System Level 1

Compatible with Roland’s GS Format

• Number of Parts

16 parts

• Maximum Polyphony

28 voices

• Number of Sounds

Tones : 354 tones (includes 41 SFX tones)

Drum Sets : 9 Drum Sets and 1 SFX Set (total 184 tones)

(Standard, Room, Power, Electronic, TR-808, Jazz, Brush, Orchestra, CM-64/32L and SFX Set)

* This board contains a total of 184 different tones which are used in 9 drum sets and 1 SFX set of approx.

60 tones each.

• Effects

Reverb : 8 types with 6 parameters

Type : Room 1, Room 2, Room 3, Hall 1, Hall 2, Plate, Delay and Panning Delay

Parameter : Character, Pre-LPF, Level, Time, Delay Feedback and Send Level to Chorus

Chorus : 8 types with 7 parameters

Type : Chorus 1, Chorus 2, Chorus 3, Chorus 4, Feedback Chorus, Flanger, Short Delay and Short Delay (FB)

Parameter : Pre-LPF, Level, Feedback, Delay, Rate, Depth and Send Level to Reverb

• Connector

Extension Connector (Wave Blaster-compatible connector)

• Available Sound Cards

Roland MPU-401AT

Any sound card with a Wave Blaster-compatible connector

• Power Supply

Supplied from the attached sound card

• Current Draw

200 mA / +5V, 20 mA / +12V, 15 mA / -12V

• Dimensions

138.4 (W) x 88.9 (D) x 19.5 (H) mm

5-1/2 (W) x 3-1/2 (D) x13/16 (H) inches

• Weight

65 g / 3 oz

* In the interest of product development, the specifications and/or appearance of this unit are subject to change without prior notice.

31

SCB-55.QX4 01.6.19 8:59 AM Page 32

32

For EU Countries

This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna.

– Increase the separation between the equipment and receiver.

– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

– Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.

This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

Information

When you need repair service, call your nearest EDIROL/Roland Service Center or authorized

EDIROL/Roland distributor in your country as shown below.

EUROPE

EDIROL (Europe) Ltd.

Studio 3.4 114 Power Road

London W4 5PY

U. K.

TEL: +44 (0)20 8747 5949

FAX:+44 (0)20 8747 5948 http://www.edirol.com/europe

Deutschland

TEL: 0700 33 47 65 20

France

TEL: 0810 000 371

Italia

TEL: 02 93778329

NORTH AMERICA

CANADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way Richmond

B. C., V6V 2M4 CANADA

TEL: (604) 270 6626

Roland Canada Music Ltd.

(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany

Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics

Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

HONG KONG

Parsons Music Ltd.

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA/

SINGAPORE

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

VIETNAM

SAIGON MUSIC

DISTRIBUTOR

(TAN DINH MUSIC)

138 Tran Quang Khai Street

Dist. 1, Ho Chi Minh City

VIETNAM

TEL: (08) 848-4068

AUSTRALIA/

NEW ZEALAND

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

For Australia

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715


Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

TEL: (010) 6426-5050


Co.,Ltd.

(GUANGZHOU OFFICE)

2/F., No.30 Si You Nan Er Jie

Yi Xiang, Wu Yang Xin Cheng,

Guangzhou 510600, CHINA

TEL: (020) 8736-0428

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

TEL: (574)3812529

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

TEL:(593-4)2302364

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

TEL:(502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona

3 Ave.11 Calle S.O

San Pedro Sula, Honduras

TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

PERU

Audionet

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

Lima - Peru

TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868)638 6385

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA

Instrumentos Musicales

Allegro,C.A.

Av.las industrias edf.Guitar import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

EUROPE

Gigamusic SARL

10 Rte De La Folie

97200 Fort De France

Martinique F.W.I.

TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico

D.F. MEXICO

TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

TEL: (505)277-2557

AUSTRIA

Roland Elektronische

Musikinstrumente HmbH.

Austrian Office

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

CZECH REP.

K-AUDIO

Kardasovska 626.

CZ-198 00 Praha 9,

CZECH REP.

TEL: (2) 666 10529

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial

Finland

Elannontie 5

FIN-01510 Vantaa, FINLAND

TEL: (0)9 68 24 020

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

POLAND

MX MUSIC SP.Z.O.O.

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo,

UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

TEL: 17 211 005

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

TEL: (022) 66-9426

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha’aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

Chahine S.A.L.

Gerge Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

QATAR

Badie Studio & Stores

P.O. Box 62,

Doha, QATAR

TEL: 423554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai,

U.A.E.

TEL: (04) 3360715

As of December 10, 2005 (EDIROL-1)

Roland SCB-55 Owner's Manual

Owner’s Manual

CONTENTS

Copyright

1994 ROLAND CORPORATION

FEATURES

Easy Installation

16-part Multi-Timbral Sound Generator

Reverb and Chorus Effects

Compatible with GM (General MIDI) System Level 1 and GS Format

IMPORTANT NOTES

[Placement]

[Additional Precautions]

General MIDI System

GS Format

1. INSTALLING THE SCB-55

Compatible Sound Cards

2. THE GENERAL MIDI SYSTEM AND GS

FORMAT

General MIDI System

GS Format

3. STRUCTURE AND FUNCTION OF THE

SCB-55

(1) Parts

(2) Voices and Polyphony

(3) Maximum Polyphony

Part Priority

Voice Reserve

(4) How to Change Tones

(5) Chorus and Reverb

(6) Changing Between Drum Sets

Standard Set

4. ABOUT MIDI

(1) MIDI Message Exchange

MIDI Connectors

MIDI Channels and Multi-Timbral Capabilities

(2) MIDI Messages Handled by the SCB-55

Note Messages

Pitch Bend Change

Bank Select (Controller Number: 0, 32)

Program Change Messages

Control Change Messages

•Modulation (Controller Number: 1)

•Volume (Controller Number: 7)

•Expression (Controller Number: 11)

•Panpot (Controller Number: 10)

•Hold 1 (Controller Number: 64)

•Sostenuto (Controller Number: 66)

•Soft (Controller Number: 67)

•Reverb Send Level (Controller Number: 91)

•Chorus Send Level (Controller Number: 93)

•Portamento (Controller Number: 65)

•Portamento Time (Controller Number: 5)

•Portamento Control (Controller Number: 84)

•RPN LSB, RPN MSB (Controller Number: 100, 101) ✩

•Data Entry (Controller Number: 6, 38)

•NRPN LSB, MSB

•Data Entry

(Controller Number: 98, 99)

(Controller Number: 6, 38)

Aftertouch Messages (Channel Pressure

All Sounds Off

All Notes Off

Reset All Controllers ✩

Active Sensing Messages

System Exclusive Messages

•GM System On (Universal Non-Realtime System Exclusive)

•GS Reset (GS Format Common System Exclusive)

•Master Volume (Universal Realtime System Exclusive)

•Other Exclusive Messages

(3) Default Settings

Part Settings

Overall Part Settings

(4) About the MIDI Implementation Chart

5. TONE TABLE

CM-32P set (Variation : 126)

MT-32 set (Variation : 127)

6. DRUM SET TABLE

SFX set

CM-64/32L set