XP-30 Om
XP-30 Om
XP-30 Om
Thank you, and congratulations on your choice of the Roland XP-30 64 Voice Expandable Synthesizer.
Before using this unit, carefully read the sections entitled: IMPORTANT SAFETY INSTRUCTIONS (p. 2), USING THE UNIT SAFELY (p. 3), and IMPORTANT NOTES (p. 5). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owners manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
* * * * *
Apple is a registered trademark of Apple Computer, Inc. Macintosh is a registered trademark of Apple Computer, Inc. IBM is a registered trademark of International Business Machines Corporation. IBM PC is a registered trademark of International Business Machines Corporation. SmartMedia is a trademark of Toshiba Corporation.
Copyright 1999 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.
CAUTION
RISK OF ELECTRIC SHOCK DO NOT OPEN
The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
9.
For the U.K. IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. BLUE: NEUTRAL BROWN: LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
CAUTION: Danger of explosion if battery is incorrectly replaced. Replace only with same or equivalent type.
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. * Material damage refers other adverse effects respect to the home furnishings, as well animals or pets. to damage or caused with and all its to domestic
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.
001 Before using this unit, make sure to read the instructions below, and the Owners Manual. .......................................................................................................... 002b Do not open or perform any internal modifications on the unit. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place userinstallable options; see p. 17, 21.) .......................................................................................................... 006 When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling. .......................................................................................................... 008e Use only the attached power-supply cord. .......................................................................................................... 009 Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged. .......................................................................................................... 013 In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. .......................................................................................................... 014 Protect the unit from strong impact. (Do not drop it!) ..........................................................................................................
015 Do not force the units power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cordsthe total power used by all devices you have connected to the extension cords outlet must never exceed the power rating (watts/ amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. .......................................................................................................... 016 Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page. .......................................................................................................... 022a Always turn the unit off and unplug the power cord before attempting installation of the circuit board (SR-JV80 series). .......................................................................................................... 023 DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result. ..........................................................................................................
102b Always grasp only the plug on the power-supply cord when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 104 Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children. .......................................................................................................... 106 Never climb on top of, nor place heavy objects on the unit. .......................................................................................................... 107b Never handle the power cord or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 108a Before moving the unit, disconnect the power plug from the outlet, and pull out all cords from external devices. .......................................................................................................... 109a Before cleaning the unit, turn off the power and unplug the power cord from the outlet. .......................................................................................................... 110a Whenever you suspect the possibility of lightning in your area, pull the plug on the power cord out of the outlet. .......................................................................................................... 115a Install only the specified circuit board(s) (SR-JV80 series). Remove only the specified screws (p. 17, 21). ..........................................................................................................
Important Notes
In addition to the items listed under IMPORTANT SAFETY INSTRUCTIONS and USING THE UNIT SAFELY on pages 2 and 3, please read and observe the following:
Additional Precautions
Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the units memory on a memory card. Unfortunately, it may be impossible to restore the contents of data that was stored in the units memory, a memory card or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data. Use a reasonable amount of care when using the units buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions. Never strike or apply strong pressure to the display. When connecting / disconnecting all cables, grasp the connector itselfnever pull on the cable. This way you will avoid causing shorts, or damage to the cables internal elements. A small amount of heat will radiate from the unit during normal operation. To avoid disturbing your neighbors, try to keep the units volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night). When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials. Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
Power Supply
Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system). Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Placement
Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference. This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers. Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit. To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.
Maintenance
For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.
Memory Backup
This unit contains a battery which powers the units memory circuits while the main power is off. When this battery becomes weak, the message shown below will appear in the display. Once you see this message, have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. To have the battery replaced, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the Information page. Battery Low Never touch the terminals of the Memory card. Also, avoid getting the terminals dirty.
Handling CD-ROMs
Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner.
Quick Start
This section is intended for those using the XP-30 for the first time, and explains how to use various functions in a simple way. Please read Quick Start and follow along by actually operating the XP-30. This will help you understand most of what you need to know for basic operations. More advanced ways of using the XP-30 or details of other operations are explained the Advanced Use section.
Appendices
This chapter contains a troubleshooting section for use when the XP-30 is not functioning as expected. There is also a list of error messages that you can refer to if an error message appears on the display. A list of parameters and MIDI implementation chart are also provided.
Advanced Use
The Advanced Use section is divided into 6 chapters. But before you start reading it, wed like to suggest going through the Quick Start section.
Chapter 2. Playing
This chapter explains how to use the XP-30 in Patch, Performance and Rhythm Set modes. Reading it is essential for understanding XP-30 operational procedures.
Contents
Main Features........................................................................................11 Front and Rear Panel............................................................................12
Contents
Chapter 2. Playing.................................................................................47
Playing in Patch Mode............................................................................................................................. 47 Selecting a Patch ............................................................................................................................ 47 Using Phrase Preview to Play Patches....................................................................................... 49 Making a Patch Sound Thick or Thin (Turning a Tone On/Off) ........................................... 50 Playing Single Notes (Solo) ......................................................................................................... 50 Creating Smooth Pitch Changes (Portamento) ......................................................................... 50 Using the Sliders to Modify the Sound in Realtime (Sound Palette Function).................... 50 Playing in Performance Mode ................................................................................................................ 51 Selecting a Performance ............................................................................................................... 51 Playing Fatter and Richer Sounds by Combining Patches (Layer)........................................ 52 Splitting the Keyboard to Play Separate Patches in Different Sections (Split)..................... 52 Playing Along with a Song Playback (XP-30 Used as a Multitimbral Sound Source) ........ 53 Assigning a Different Patch to a Part ......................................................................................... 54 Using the Sliders to Modify the Sound in Realtime (Sound Palette Function).................... 54 Playing in Rhythm Set Mode .................................................................................................................. 55 Selecting a Rhythm Set ................................................................................................................. 55 Playing Percussion Instruments ................................................................................................. 56 Playing an Arpeggio ................................................................................................................................ 56 Playing an Arpeggio Over a Preset Keyboard Area ................................................................ 57 Holding an Arpeggio.................................................................................................................... 58 Simulating a Guitar Cutting Technique..................................................................................... 58 Playing an Arpeggio from an External MIDI Device............................................................... 58 Creating an Arpeggio Pattern ..................................................................................................... 58 Convenient Functions for Performance ................................................................................................ 59 Transposing the Keyboard in Octave Units (Octave Shift)..................................................... 59 Transposing the Keyboard in Semitone Steps (Transpose) .................................................... 60 If Stuck Notes Occur or a Note Does Not Sound (Panic) .................................................... 60
Contents
Setting Effects for a Rhythm Tone (EFFECTS).......................................................................... 88 Controlling How a Rhythm Tone will Sound with Controllers (CONTROL) ..................... 90 Modifying Waveform of a Rhythm Tone (WAVE) .................................................................. 90 Modifying Pitch of a Rhythm Tone (PITCH) ............................................................................ 91 Changing the Tone (Filter) of a Rhythm Tone (TVF)............................................................... 91 Changing the Volume and Stereo Location of a Rhythm Tone (TVA).................................. 92 Multi-Effects Types (EFX Parameter) .................................................................................................... 93 XP-30 Operating Environment Setup (System Parameters and Their Functions) ........................ 108 Display Screen Contrast and Clock Settings (SETUP)........................................................... 108 Arpeggio Settings (ARPEGGIO)............................................................................................... 108 Keyboard and Controllers Settings (CONTROL)................................................................... 110 MIDI Settings (MIDI).................................................................................................................. 112 Phrase Preview Settings (PREVIEW) ....................................................................................... 113 Adjusting Tuning (TUNE) ......................................................................................................... 113 Program Change (PGM CHNG) ............................................................................................... 114 Checking Things Such as the Installation Status of Wave Expansion Boards (INFO)...... 114
Contents
Appendices...................................................... 139
Troubleshooting..................................................................................140 Error Messages ...................................................................................142 Quick Reference of Procedures ........................................................143 Parameter List .....................................................................................147 Waveform List .....................................................................................160 Patch List.............................................................................................168 Rhythm Set List...................................................................................177 Performance List.................................................................................181 Arpeggio Style List .............................................................................182 MIDI Implementation...........................................................................183 Specifications......................................................................................207 Computer Cable Wiring Diagrams.....................................................208 Index.....................................................................................................209
10
Main Features
s High-Performance Synthesizer Sound Source
64-Voice Polyphony and 16-Part Multitimbrality
The XP-30 is a 16-part multitimbral sound source that produces up to 64 simultaneous polyphonic notes. Effectively used with an external sequencer or computer, the XP-30s true creative potential for music production becomes apparent (p. 41).
s Expandability
Allows Two Wave Expansion Boards to be Installed at the Same Time
Up to two SR-JV80 series Wave Expansion Boards can be installed simultaneously, allowing you to expand the range of available sounds (p. 16, 20).
Featuring the Patch Search and Phrase Preview Functions that were Popular on the JV-2080
The Patch Search function (p. 32, 48) lets you rapidly find the patch you want simply by specifying a patch category. By pressing [PHRASE PREVIEW], you can then hear the selected patch play a phrase suitable for that type of patch. (Phrase Preview function, p. 33, 49)
Use the Sound Palette Sliders to Make Quick Changes in the Sound
The four sliders in the PALETTE section let you make realtime changes in tone and volume while you play (p. 36, 50, 54).
11
s Front Panel
A
Volume Slider
This slider adjusts the overall volume that is output from the rear panel OUTPUT jacks and PHONES jack. p. 26
[+OCT], [-OCT]
These buttons adjust the pitch of the keyboard in octave steps. p. 59 Pressing either of these buttons while holding down [TRANSPOSE] allows you to set the desired amount of transposition. p. 60
MODE Section
PALETTE Section
The buttons in this section select modes. The button indicator of the selected mode will light. p. 42
[PERFORM]/[GM]
Pressed to get into Performance mode. Hold down [SHIFT] while you press [PERFORM] to select GM mode. p. 51, 124
[FILTER/ENV]
Press this button ON when modifying filter and/or envelope settings in real time using the four sliders (CUTOFF/RESO./ ATTACK/DECAY). p. 36, 51, 54
[PATCH]/[PART]
Pressed to get into Patch mode. By holding down [PERFORM] and pressing [PATCH], you can modify the settings of the patch that is assigned to each part of the performance. p. 47, 54, 66
[LEVEL]
Press this button ON when adjusting volume balance in real time using the four sliders (1/2/3/4). p. 36, 51, 54
[SYSTEM]
This selects System mode. p. 108
[CONTROLLER]
Can be switched on when you wish to assign various parameters to the four sliders, and modify the sound as you play (C1/C2/C3/C4). p. 34
[RHYTHM]
This selects Rhythm Set mode. p. 55
[UTIL/CARD]
This selects Utility/Card mode. p. 115
The buttons in this section allow you to assign various functions to the keys of the XP-30s keyboard.
[EFFECTS ON/OFF]
This button turns the internal effects (Multi-Effects, Chorus, Reverb) on/off. p. 62
[PORTAMENTO]
Switches Portamento on/off. p. 35, 50
E
Display
Shows various information for the currently selected function or operation.
[SOLO]
Specifies playing a single note at a time. p. 35, 50
[TRANSPOSE]
Specifies transposing the keyboard in semitone steps. p. 60
[PHRASE PREVIEW]
Press this when you wish to use phrases to audition a patch. p. 33, 49
[ARPEGGIO]
Switches Arpeggiator on/off. p. 36, 56
12
[INC], [DEC]
Use these buttons to modify values. If you keep on holding down one button and pressing the other, the value change accelerates. If you press one of these buttons while holding down [SHIFT], the value will change in bigger increments. p. 45
], [ ], [
When the left edge of the display shows a or symbol, use these buttons to move to other parameter displays
[SHIFT] [EDIT]
Press this button when you wish to adjust various settings. Use the function buttons to select the display screen for the parameter you wish to modify. This is used in combination with other buttons. Some buttons on the front panel include grey-printed characters. They indicate the buttons function when [SHIFT] is held down.
[ENTER]/[DIGIT HOLD]
ENTER: Use this button to finalize a value or execute an operation. DIGIT HOLD: Press this button while holding down [SHIFT] to turn the Digit Hold function on/off. With the Digit Hold on, the 100s place and 10s place will be fixed and only the 1s place will change. This means that you can select Patches simply by pressing the numeric key for the 1s place, without having to press [ENTER]. The same applies when selecting Performances or Rhythm set. p. 48
Function Buttons
The function of these buttons will depend on the operational mode and the status of the [EDIT] indicator. p. 43
[18/916]
Use this button to select the group (18/916) of Parts to be selected by the function buttons. p. 43
[EXIT]/[PANIC]
EXIT: Press this button when you wish to return to the Play display of a mode, or to cancel an operation without executing. PANIC: If for some reason notes are stuck and continue sounding, hold down the SHIFT button and press this button to clear the stuck notes. p. 60
[CATEGORY]/[DEMO]
CATEGORY: Use the Patch Search function to select a patch. p. 32, 48 DEMO: To hear the demo playback, hold down [SHIFT] and press this button. p. 28
[UNDO/COMPARE]
The function of these buttons will depend on the operation being performed. UNDO: Press this button to restore a modified value to the original value. p. 63, 65, 66 COMPARE: When saving or copying Tone settings, press this to check the sound at the save destination, or at the copy source. p. 116, 118
[PALETTE EDIT]
Press this button when you wish to use the Palette display to modify Patch or Performance settings. p. 63, 65
F
VALUE Dial
This dial is used to modify values. If you hold down [SHIFT] as you turn the VALUE dial, the value will change in greater increments. p. 45
H
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato. Depending on the settings, other specified parameters can also be controlled. p. 34, 75
13
s Rear Panel
Power Switch
Press to turn the power on/off. p. 26
AC Inlet
Connect the AC power cable (included) to this inlet. p. 24 * With units rated for 117V operation, the AC cable is already connected to the unit.
fig.0-02a
PHONES Jack
An optional set of headphones can be connected to this jack. p. 24
fig.0-02f
COMPUTER Switch
Set this switch depending on the type of computer connected to Computer connector, or the software you are using. Turn the power off before changing the setting of this switch. If you wish to use the MIDI connectors, set this switch to MIDI. p. 134
COMPUTER Connector
A special Computer cable (sold separately) can be connected here. The type of cable required will depend on your computer. When the Computer switch located at the left is set to MIDI, this connector cannot be used. p. 134
fig.0-02d
14
Quick Start
15
Quick Start
Getting Ready
Installing the Wave Expansion Board
Up to two Wave Expansion Boards (SR-JV80 series; sold separately) can be installed in EXP-D and E Slots in the XP-30. Wave Expansion Boards contain Wave data, as well as Patches and Rhythm Sets that use this Wave data, which can be called directly into the temporary area and played.
When playing a Patch or Rhythm Set that use the Wave data from a Wave Expansion Board, the appropriate Wave Expansion Board must be installed in the XP-30 for the sound to play correctly.
16
Getting Ready
Before installing the Wave Expansion Board, turn off the power of the XP-30 and all connected devices, and disconnect all cables from the XP-30. Turn the XP-30 on its back, and remove only the screws shown in the following diagram.
Screws to be removed
2
fig.Q-02a.e
If the same type of Wave Expansion Board is installed in the EXP-D slot and the EXP-E slot, it will only be possible to select data from the Wave Expansion Board that was installed in the EXP-D slot. Also, the XP-30 already contains the data of the following three Wave Expansion Boards, so if one of these Wave Expansion Boards is installed, only the internal data (XP-AC) can be selected. SR-JV80-09 Session (XP-A) SR-JV80-02 Orchestral (XP-B) SR-JV80-11 Techno Collection (XP-C)
Inside, there are two connectors and six board holders. Insert the connectors of the Wave Expansion Board into the internal connectors, and simultaneously insert the board holders into the holes of the Wave Expansion Board.
Wave Expansion Board
fig.Q-02b.e
EXP E EXP D
17
Quick Start
Getting Ready
4
fig.Q-02c.e
Use the Installation Tool supplied with the Wave Expansion Board to turn the holders in the LOCK direction, so the board will be fastened in place.
LOCK
Installation tool
Use the screws that you removed in step 2 to fasten the cover back in place.
This completes installation of the Wave Expansion Board.
6 7 8
fig.Q-03
Connect the cables that you disconnected earlier. Turn on the power, as described in Turning On the Power (p. 26). Press [PATCH] to access the PATCH PLAY display.
18
Getting Ready
Press [EXP D] or [EXP E], and verify that you can select patches from Wave Expansion Boards D or E. [EXP D] or [EXP E] indicator will light, and the following display will appear.
fig.Q-04
The example here depicts what you would see if the SR-JV80-13 Vocal Collection Wave Expansion Board were installed in the EXP-D slot.
If you cant choose any Wave Expansion Board patches, its possible that the installed Wave Expansion Board is not being recognized correctly. Turn off the power as described in Turning Off the Power (p. 26), and re-install the Wave Expansion Board correctly.
19
Quick Start
Getting Ready
Quand vous faites jouer un morceau ou un ensemble rythmique qui utilise des donnes Wave de la carte dextension, une carte dextension approprie doit tre installe dans le XP-30 afin que le son sorte correctement.
20
Getting Ready
1 2
fig.Q-02a.f
teindre le XP-30 et tous les appareils qui y sont relis et dbrancher tous les cbles du XP-30. Retournez le XP-30 et enlevez seulement les vis indiques sur la figure.
Vis enlever
Si la mme sorte de carte dextension Wave est installe dans les crneaux EXP-D et EXP-E, il ne sera possible de slectionner que les donnes de la carte dextension Wave installe dans le crneau EXP-D. De plus, le XP-30 contient dj les donnes des 3 cartes dextension Wave suivantes si bien que si une de ces 3 cartes est installe, seules les donnes internes (XP-AC) pourront tre slectionnes. SR-JV80-09 Session (XP-A) SR-JV80-02 Orchestral (XP-B) SR-JV80-11 Techno Collection (XP-C)
lintrieur, il y a 2 connecteurs et 6 supports carte. Insrer les connecteurs de la carte dextension Wave dans les connecteurs internes tout en insrant simultanment les supports carte dans les trous de celle-ci.
Carte d'extension Wave
fig.Q-02b.f
EXP E EXP D
21
Quick Start
Getting Ready
4
fig.Q-02c.f
Pour tourner les supports en position LOCK (verrouill), utilisez loutil dinstallation de la carte dextension fournie cet effet. De cette faon, la carte sera bien fixe sa place.
LOCK
Outil d'installation
6 7 8
fig.Q-03
Rabranchez les cbles. Mettez le XP-30 sous tension en procdant comme indiqu dans Turning On the Power (p. 26). Appuyer sur [PATCH] pour accder la page PATCH PLAY.
22
Getting Ready
Appuyer sur [EXP D] ou [EXP E] et vrifier si vous pouvez slectionner les morceaux musicaux des cartes dextension Wave D ou E. Lindicateur [EXP D] ou [EXP E] sallumera et laffichage suivant apparatra.
fig.Q-04
Ceci est un exemple daffichage lorsque la carte dextension Wave SR-JV8013 Vocal Collection est installe dans le crneau EXP-D.
Si vous ne pouvez choisir aucun des morceaux musicaux de la carte dextension Wave, il est possible que la carte installe ne soit pas reconnue correctement. teignez lappareil comme indiqu dans Turning Off the Power (p. 26) et rinstaller la carte correctement.
23
Quick Start
Getting Ready
Making Connections
The XP-30 does not contain an amp or speakers. In order to hear sound, you will need to connect it to a keyboard amp, audio system, or headphones. Refer to the following diagram and connect the XP-30 to the external equipment you are using.
fig.Q-05.e
to Power outlet
Roland
Before you make connections, make sure that power is turned off for all devices.
To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
24
Getting Ready
Connect supplied AC power cable to the XP-30, and plug the other end into an AC power outlet.
Connect audio cables and MIDI cables as shown in the diagram. If you are using headphones, plug them into the PHONES jack. Connect pedal switches or expression pedals as necessary.
In order to take full advantage of the XP-30s performance, we recommend using a stereo amp/speaker system, If you are using a mono system, make you connections to the OUTPUT jack L (MONO).
Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/ or damage to the unit.
For information on making the connection with the computer, take a look at
25
Quick Start
Getting Ready
Before you turn the power on, check to make sure that:
All external devices are correctly connected to the XP-30. The volume controls of the XP-30 and the amp/mixer system are turned down all the way.
2
fig.Q-06
Turn on the power switch located on the rear panel of the XP30.
Once the connections have been completed (p. 24), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
3 4
fig.Q-07
Turn the power on of your amp or audio system. Play the XP-30 and gradually raise the volume controls of the XP-30, your amp or mixer to an appropriate volume level.
This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
Be careful not to raise the VOLUME slider of the XP30 too much. Excessive volume may damage your amp/speaker system or could cause hearing
2 3
26
Turn off your amp/mixer system. Turn off the XP-30 power.
Getting Ready
Before using XP-30 for the first time, reset it to its default factory settings using Factory Reset. Different settings may result in unexpected effects.
fig.Q-08
3 4
1
fig.Q-09
2
fig.Q-09a
Press [ ].
The UTIL 2 display will appear.
3
fig.Q-10
Press [ENTER].
If Internal Write Protect= ON message is displayed, press [DEC] to turn the setting OFF. After pressing [ENTER] to clear the message, press [ENTER] again to reset to the factory preset settings.
For more information about the Internal Write Protect, please refer to
27
Quick Start
All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.
fig.Q-11
1
fig.Q-12
Turn the VALUE dial or press [INC]/[DEC] to select the song that you wish to hear.
If you select CHAIN-PLAY, the songs will playback successively, beginning from the first.
fig.Q-13
No data for the music that is played will be output from MIDI OUT.
4
28
Gundy Keller
Gundy Keller, a Germany-based guitarist, songwriter and producer, has been an international demonstrator for Roland since 1986. Gundy focuses mainly on the GR synthesizers and the V-Guitar, for international music conventions as well as recording sessions requesting completely unusual guitar sounds. Besides creating his own production company, hes the founder and director of Rocksound Music School, a private institute for music instruction. Check out some of his other work on the Roland VG-8 Demo CD, or the Roland GR-30 Video.
Steve Lu
Steve Lu is a recent graduate of Berklee College of Music, majoring in Music Production & Engineering. His recent musical efforts include a soundtrack album, featuring synthesized re-creations of movie themes such as Titanic and The Rock, as well as production and arrangements for saxophonist Jimmy Reids self-titled album. He is currently working with artists Brandy and Ray-J on future projects.
Scott Wilkie
Scott Wilkie is a contemporary jazz recording artist, based in southern California. He tours frequently with his own band, and also appears as an artist for Roland in the U.S., Japan, Europe and South America. His debut solo album, Boundless, was released worldwide in 1999 on Narada/Virgin Records. You can find him on-line at www.scottwilkie.com.
Hans-Joerg Scheffler
Born and raised in the Ruhr valley, the biggest industrial area in Germany, Hanss attraction to noise and rhythm came naturally. Today he runs his own company, DIGITAL AUDIO DESIGN, which produces sampling CDs and CD ROMs. He works for Roland as a pro audio product specialist, as a sound designer for expansion boards, and as a composer of demo songs. He has released several CDs that use the Roland RSS system. Soundclips of his work can be downloaded at: http://www.united-sound.com/usmaster/cell2downde.htm
MASA
Masa has performed live, mainly at psychedelic-trance parties since the early 90s. In the spring of 1996, he released the album Just Inside from East-West. Interest in his work is increasing, and new releases are appearing under a variety of labels, including Tokyo Tekno Tribe Records and Psy-Harmonics. Web site: www.ifnet.or.jp/~masa-k/
29
Quick Start
1
fig.Q-15
2 3 4
Play the keyboard and listen to the sound. To select a different Patch, turn the VALUE dial or press [INC]/[DEC].
To change the Patch Group, hold down [SHIFT] and press any key from [1] through [6] on the numeric keypad.
[SHIFT] + [1]: PR-A (Preset A) [SHIFT] + [2]: PR-B (Preset B) [SHIFT] + [3]: PR-C (Preset C) [SHIFT] + [4]: PR-D (GM (General MIDI)) [SHIFT] + [5]: PR-E (Preset E) [SHIFT] + [6]: USER (User)
By using the Phrase Preview function, you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. 33).
30
The XP-30 contains the patches of the following popular Wave Expansion Boards: SR-JV80-09 Session SR-JV80-02 Orchestral SR-JV80-11 Techno Collection Heres how to select and play these patches.
fig.Q-16
1
fig.Q-15
Press [EXP A][EXP C] to select the Wave Expansion Patch that you wish to hear.
[EXP A]: Session [EXP B]: Orchestral [EXP C]: Techno Collection
fig.Q-17
When a Wave Expansion Board of the SR-JV80 series (sold separately) is installed in the EXP-D or EXP-E Wave Expansion Board slot, you can press [EXP D] or [EXP E] to choose the corresponding patches.
3 4
Play the keyboard and listen to the sound. To select a different Patch, turn the VALUE dial or press [INC]/[DEC].
By using the Phrase Preview function, you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. 33).
31
Quick Start
2,6 3 4
1
fig.Q-15
2
fig.Q-19
3
fig.Q-20
For this example, select the Organ category (ORG) by pressing numeric key [4].
Organ-type patches can now be selected.
For details on the categories you can select, refer to page 49.
32
By using the Phrase Preview function, you can audition patches by listening to a preset phrase suitable for the selected type of patch (p. 33).
1 2,3
1
fig.Q-15
Release your finger from [PHRASE PREVIEW], and the phrase will stop playing.
You can change the phrase that is played by the Phrase Preview, and modify the way in which the phrase is played. For details, refer to
Using Phrase Preview to Play Patches (p. 49), and Phrase Preview Settings (PREVIEW)
(p. 113).
33
Quick Start
s Velocity/Aftertouch
The force with which you play the keyboard (velocity) can affect the volume or timbre of the sound. Aftertouch (pressure you apply to a key after playing a note) can also affect the sound.
Modulation
Pitch Bend
s C1C4 Slider
By moving the sliders up and down while fingering the keyboard, you can control the various functions assigned to the sliders. To control them, press [CONTROLLER] to make the indicators light up, then move the sliders. Additionally, if you hold down [CONTROLLER] while moving one of the C1C4 sliders, you can go to the ASSIGN display for that slider. There you can check and make settings for the function that is to be controlled with the slider. Make changes in the settings while holding down [CONTROLLER].
fig.Q-23
At the factory default settings, you can use the C1 through C4 sliders to control the functions described below.
How sound varies depends on the current setting. For details, refer to C1/C2/
34
If an optional pedal switch is connected to the rear panel HOLD PEDAL jack, pressing the pedal switch will sustain (hold) the sound even if the keys are released.
s Expression Pedal
If an optional expression pedal is connected to any of the rear panel CONTROL PEDAL jack, you can use the pedal to control the volume or timbre of sound.
How sound varies depends on the current setting. For details, refer to CONTROL PEDAL (p. 110).
s Solo
You can play using single notes, by pressing [SOLO] (indicator lights). This function is especially effective when playing a sax, flute or other monophonic instrument. Using [PORTAMENTO] with [SOLO] ON allows you to simulate performance techniques like violin glissandos.
fig.Q-24
s Portamento
As you play the keyboard, you can make pitch slide smoothly from one key to another, by pressing [PORTAMENTO] (indicator lights).
fig.Q-25
35
Quick Start
s Hold Pedal
s Sound Palette
While playing the keyboard, you can move the sliders up or down to modify volume level or sound character. To change sound character, press [FILTER/ENV] to light the indicator and move the sliders. To change the volume level, press [LEVEL] to light the indicator and move the sliders.
fig.Q-26
the Sliders to Modify the Sound in Realtime (Sound Palette Function) (p. 50, 54).
2,4,5,7
1
fig.Q-15
36
Play a chord.
XP-30 will play an arpeggio, according to the notes forming the chord you have just voiced.
4
fig.Q-28
Continue holding down [ARPEGGIO], and the ARP SELECT display will appear.
In this page you can change the Style, Accent Rate, Octave Range and Tempo of the arpeggio. Heres how to change the Style.
Hold down [ARPEGGIO], and press [ ] or [ ] to move the cursor (underline) to the Style parameter. Then rotate the VALUE dial to select various settings.
Depending on the value you enter, the way arpeggios play will vary.
Playing an Arpeggio
(p. 56) and Arpeggio
Settings (ARPEGGIO)
(p. 108).
Hold down [ARPEGGIO] and press [TRANSPOSE]. The [ARPEGGIO] indicator will begin blinking, and the arpeggio will continue sounding even after you take your hand off the keyboard (Hold).
To stop the arpeggio from being sounded by the Hold function, hold down [ARPEGGIO] again and press [TRANSPOSE]. The indicator changes from blinking to lit.
To finish playing arpeggios, press [ARPEGGIO] again so the indicator turns off.
37
Quick Start
1
fig.Q-30
To select another Rhythm Set, turn the VALUE dial or press [INC]/[DEC].
The percussion instrument played by each key will depend on the selected Rhythm Set. For details, refer to Rhythm Set List (p. 177).
38
Advanced Use
39
Tones
In the XP-30, the Tone is the smallest class of sound. Each Tone consists of one sound. But when you play the XP-30 you will mostly play a Patch, which is made up of several Tones. Tones therefore are the elements which collectively form a Patch. Tone configuration:
fig.1-02.e
Play
Tone
Controller section (controllers such as keyboard, pitch bend lever, etc.)
LFO 1
LFO 2
Sound Source
The XP-30 sound source produces sound by responding to commands in the form of MIDI messages received from its controllers. It will also produce sound by responding to commands received from various external devices it can be connected to.
WG
TVF
TVA
Pitch Envelope
TVF Envelope
TVA Envelope
Controllers
Controllers include the keyboard, front panel sliders and pedals which are connected to their respective rear panel jacks. Adjusting these controllers enable you to produce or modify sound.
audio signal
control signal
WG (Wave Generator)
Using the Wave Generator, you select a waveform and set its pitch.
Envelope
You use Envelope to initiate changes to occur to a sound over time. There are separate Envelopes for the WG (pitch), TVF (filter) and TVA (volume). For example, to modify a sounds attack and decay time, you would use TVA Envelope to adjust volume changes to the sound over time.
40
Patches
Patches are the basic sound configurations that you play during a performance. Each Patch can be configured by combining up to four Tones. How the four Tones are combined is determined on the STRUCT display (PATCH/ COMMON).
fig.1-03.e
Rhythm Sets
A Rhythm Set is a grouping of percussion instruments (Rhythm Tones). Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is however, more important that as many as possible percussion instruments be available to you at the same time. Therefore, each key (Note number) of a Rhythm Set will produce a different percussion instrument.
fig.1-05.e
Patch
Rhythm Set
LFO 1
LFO 2
Note Number 36 (C2) Note Number 35 (B1)
Rhythm Tone (Percussion instrument sound)
WG TVF TVA
WG
TVF
TVA
Pitch Envelope TVF Envelope TVA Envelope
Pitch Envelope
TVF Envelope
TVA Envelope
Parts Performances
The next level in sound configuration. A single Performance groups 15 Patches and one Rhythm Set so that they can be combined to play ensembles or produce fabulously rich, thick sounds. One Performance allows a single XP-30 to control up to 16 instrument sounds. Because the XP-30 sound source can control multiple sounds (instruments) it is called a multitimbral sound source.
fig.1-04.e
When the XP-30 is used as a multitimbral sound source, another sound configuration called a Part comes into play. A Part contains a Patch or Rhythm Set. For multitimbral applications, the Performance consists of 16 Parts. A specific Patch can be assigned to each Part except Part 10 because Part 10 is universally set as the Drum Part to which a Rhythm Set (discussed above) is assigned. In a multitimbral context, it helps to think of a Performance as an orchestra, each Part in it being a musician, and the Patch or Rhythm Set that musicians instrument. For details regarding following items, please refer to each corresponding page. About the Memory (p. 67) About the Effects (p. 61)
Performance
Part 16 (MIDI receive ch.) Part 11 (MIDI receive ch.)
Patch
Keyboard, MIDI Part 10 (MIDI receive ch.)
Rhythm Set
Part 9 (MIDI receive ch.)
Sound
Patch
41
Chapter 1
Basic Operation
s Switching Modes
The XP-30 contains a large number of functions. In order to organize these functions for easy access, they are grouped into the following modes. The mode that is selected will affect the way in which the sound source operates, how data is shown in the display, and how the function buttons work. Use the Mode buttons to select the mode. The indicator of the selected button will light/blink, and the display will change according to the selected mode.
fig.1-06
Sound Source
Selecting Patch mode, Performance mode, Rhythm Set mode, and GM mode will determine sound source operation. One mode always has to be selected.
Patch Mode
In this mode, you can play an individual Patch from the keyboard or modify Patch settings. If youre using an external MIDI device to control the XP-30 in this mode, it will function as a single-patch sound source.
Performance Mode
This mode makes the XP-30 function as a multitimbral sound source, and Performance settings can be modified. If youre using an external MIDI device to control the XP-30 in this mode, it will function as a multitimbral sound source. To modify the settings of a Patch thats assigned to a Part, hold down [PERFORM] and press [PATCH]. Both button indicators will light.
Voice Reserve
The XP-30 has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each Part. For example if Voice Reserve is set to 10 for Part 16, Part 16 will always have 10 notes of sound-producing capacity available to it even if a total of more than 64 notes (total for all Parts) are being requested. When you make Voice Reserve settings, you need to take into account the number of notes you want to play on each Part as well as the number of Tones used by the selected Patch. * It is not possible to make Voice Reserve settings that would cause the total of all Parts to be greater than 64 voices.
42
GM Mode
This special mode makes the XP-30 function as a GM compatible sound source. You should select this mode when you want to play back a GM score (music files created for GM sound source). To set GM mode, hold down [SHIFT] and press [PERFORM]. [PERFORM], [PATCH] and [RHYTHM] indicators will not light.
System Mode
This mode is for determining global XP-30 settings such as tuning, display contrast and how MIDI messages are received. * Some System mode parameters relate to an entire Patch or an entire Performance. To set these parameters, press [SYSTEM] in the selected mode (Patch or Performance).
* [EDIT] switches the function of the function buttons, but pressing [EDIT] will not make the display change. If you wish to modify a setting, press the [EDIT] to make the indicator light, and then press a function button to select the display group and switch the display. When you finish making settings, press [EXIT] or a mode button to switch the display.
Utility/Card Mode
Here you can save and transmit settings for the sound generator, and make settings related to memory cards. * Some Utility/Card mode parameters relate to an entire Patch, Performance or Rhythm Set. To set these parameters, press [UTIL/CARD] in the selected mode (Patch, Performance or Rhythm Set).
The function buttons will act as Part buttons ([PART]) that switch Parts on (lit) or off (dark). Since 16 Parts are being controlled using only 8 buttons, use [1-8/9-16] to select which set of Parts you are controlling. When [1-8/9-16] indicator is dark, you can switch Parts 18 on/off. When it is lit, you can switch Parts 916 on/off. If the [EDIT] indicator is turned off in the Part setting display, the function buttons will act as PART buttons that select the Part to be edited. * The function of the Part on/off setting will depend on the setting of the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) (p. 83).
43
Chapter 1
The function buttons will act as Tone Switch buttons ([TONE SWITCH]) and Tone Select buttons ([TONE SELECT]). [TONE SWITCH] allow you to turn each Tone in the Patch on (lit) or off (dark). When a Tone is turned on, it can be heard. Use [TONE SELECT] to select the Tone you wish to modify. To select a Tone to modify, turn off [EDIT] indicator in the Tone setting display. To select two or more Tones simultaneously, hold down one of [TONE SELECT] and press the other [TONE SELECT]. In this case, the numbers of Tones other than the first-selected Tone will be displayed as * symbols.
The function buttons (TONE SELECT section) will select the key shown in the display. If the [EDIT] indicator is turned off in the Rhythm Set setting display (the setting display for individual keys), the function buttons will select the key to be edited. [TONE SELECT 1]: move to an octave lower key [TONE SELECT 2]: move to the semitone below [TONE SELECT 3]: move to the semitone above [TONE SELECT 4]: move to an octave higher key
* For information on what the function buttons do in GM mode, please see Chapter 5. Using the XP-30 as the GM Sound Module (p. 124).
44
fig.1-15
s Modifying a Value
To modify a value, use the VALUE dial, [INC]/[DEC] or [0] [9] (numeric keys).
fig.1-16
You can use the numeric keys to specify non-numerical settings for some parameters. * For the procedure of using the Numeric Keys to enter the characters or symbols in a name, refer to Assigning a Name (p. 46).
VALUE Dial
Rotating the VALUE dial clockwise increases the value, counterclockwise decreases the value. Holding down [SHIFT] as you move the VALUE dial increases value increments so you can make large value changes faster.
45
Chapter 1
A symbol appearing in the upper right of the display indicates that there are other items in this page that the screen has no room to show. Press [ ] to see these items, and press [ ] to return to the previous display.
s Assigning a Name
The XP-30 lets you assign names to Patches, Performances, and Rhythm Sets. The procedure is the same for any type of data. To assign a name, use [ ]/[ ] to move the cursor to the location where you wish to input a character. Then use the VALUE dial or [INC]/[DEC] or the Numeric Keys to input a character. Available characters/symbols: space, AZ, az, 09, + - * / | = ! ? < > ( ) [ ] : ; . , ` # % &$@^_
Convenient Functions
While you are holding down [SHIFT], the screen will show three functions that are convenient when entering a name. To use each function, hold down [SHIFT] and press the appropriate function button.
fig.1-17
A a: switch between uppercase/lowercase characters INS: insert a space at the cursor location DEL: delete the character at the cursor location
46
Chapter 2. Playing
Playing in Patch Mode
Patches are what you normally play during a performance. Select a Patch before playing. 1. Press [PATCH] to call up the PATCH PLAY display.
fig.2-01.e
s Selecting a Patch
The 768 patches of the XP-30 are organized into six groups of 128 patches: User, and Preset AE. In addition, the patches of three popular Wave Expansion Boards (Session, Orchestral, and Techno Collection) are also stored onboard. Furthermore, you can install up to two separately available Wave Expansion Boards, which will allow you to choose from as many as 2044 patches. 2. Rotate the VALUE dial or press [INC]/[DEC] to select a Patch.
The XP-30s user memory contains 128 Patches that can be rewritten to create your own Patches.
Button [SHIFT] + [1] [SHIFT] + [2] [SHIFT] + [3] [SHIFT] + [4] [SHIFT] + [5] [SHIFT] + [6] [EXP A] [EXP B] [EXP C] [EXP D] [EXP E]
Patch Group PR-A (Preset A) PR-B (Preset B) PR-C (Preset C) PR-D (GM (General MIDI)) PR-E (Preset E) USER (User) XP-A (Session) XP-B (Orchestral) XP-C (Techno Collection) XP-D (Wave Expansion Board D) XP-E (Wave Expansion Board E)
3. Use numeric keys to input a Patch number. The patch number and name will blink. At this time, the Patch selection has not yet been finalized. 4. Press [ENTER] to finalize the entry.
47
Chapter 2
USER
Chapter 2. Playing
The numbers in the 100s position and 10s position will be displayed in a smaller size to indicate Digit Hold is on. 2. When you enter a numeric key number, the 1s position will change immediately without having to press [ENTER]. 3. To turn off Digit Hold, hold down [SHIFT] and press [ENTER] once again.
4. Rotate the VALUE dial or press [INC]/[DEC] to select a Category. The selected category display will blink. At this time, the selected category has not yet been finalized. * Now if you press [ ] the following display will appear, and you can select patches while viewing the number of patches (a) included in the currently selected category, and the order of this patch among the patches (b) that were selected after the search. To change the category, use the numeric keys.
fig.2-04
(b)
(a)
5. Press [ENTER] to finalize the entry. * In step 4, you can also select a category directly by pressing the corresponding numeric key. 6. Rotate the VALUE dial or press [INC]/[DEC] to select a Patch. 7. Press [CATEGORY] to turn the Patch Search function is off. You will return to the normal PATCH PLAY screen.
48
Chapter 2. Playing
5. To specify how the phrase will be played, use the cursor buttons to move the cursor to the Mode parameter. 6. Rotate the VALUE dial or press [INC]/[DEC] to make the setting.
49
Chapter 2
Chapter 2. Playing
8. Rotate the VALUE dial or press [INC]/[DEC] to make the setting. For details on the available categories, refer to page 49. * This setting is linked with the Category parameter (PATCH/ COMMON/PATCH CATEGORY).
4. Move the cursor over to Time, Mode, Type or Start parameter. See p. 73 for each parameters functions. 5. Rotate the VALUE dial or press [INC]/[DEC] to get the value you want. 6. Press [EXIT] to return to the PATCH PLAY display and play. * If you press [PORTAMENTO] when Single Performance is selected, the Portamento function can be switched on or off for the current Part. When Layer Performance is selected, the Portamento function can be switched on or off for the Parts with the Local parameter (PERFORM/MIDI/MIDI) set ON. If a Rhythm Set is selected, [PORTAMENTO] cannot be turned on.
s Using the Sliders to Modify the Sound in Realtime (Sound Palette Function)
With the four sliders in the PALETTE section, you can create sound variations or volume changes in real time. * Sound variations or volume changes made with the Sound Palette affect only the performance. They have no effect on current Patch settings. Change the Patch and these Sound Palette settings will be lost. * The sound character and volume changes created using the Sound Palette will also be transmitted to the external MIDI devices.
50
Chapter 2. Playing
s Selecting a Performance
The XP-30 offers three groups of Performances (User, Presets A and B) with each group having 32 Performances. A total of 96 Performances is available.
USER
The XP-30 user memory includes 32 Performances that can be rewritten to produce your own Performances.
fig.2-07.e
3. Use numeric keys to input the Performance number. The performance number and name will blink. At this time the Performance has not yet been finalized. 4. Press [ENTER] to finalize the entry. * Using Digit Hold, a Performance can be selected simply by specifying the 1s place number (p. 48).
51
Chapter 2
Chapter 2. Playing
Part 1
Part 2
Part 15 Part 16
Local parameters
1. Make sure that PERFORM PLAY display is showing. 2. Make sure that the upper right of the display indicates LAYER p* (* is the part number). If the display indicates part=* (* is the part number), the performance is a single performance, so hold down [SHIFT] and press [SOLO] to change to a layer performance. * The setting here is linked to the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). 3. Press the function button for the part that you wish to play, to make the indicator light. When the [1-8/9-16] indicator is dark, parts 18 can be selected, and when the [1-8/9-16] indicator is lit, parts 916 can be selected. The Local parameter of the selected part will be ON. * This setting is linked with the Local parameter (PERFORM/ MIDI/MIDI). 4. Repeat step 3 to turn the Local parameter ON for each part that you wish to play.
* If a KEY RANG display (PATCH/COMMON) has been set, sounds are produced in the overlapping sections between the key ranges specified for the Patch and Performance. 1. Make sure that the PERFORM PLAY display is showing. 2. Make sure that the upper right of the display indicates LAYER p* (* is the part number). If the display indicates part=* (* is the part number), the performance is a single performance, so hold down [SHIFT] and press [SOLO] to change to a layer performance. * The setting here is linked to the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON). 3. Press the function button for the part that you wish to play, to make the indicator light. When the [1-8/9-16] indicator is dark, parts 18 can be selected, and when the [1-8/9-16] indicator is lit, parts 916 can be selected. The Local parameter of the selected part will be ON. * This setting is linked with the Local parameter (PERFORM/ MIDI/MIDI). 4. Repeat step 3 to turn the Local parameter ON for each part that you wish to play. 5. Press [EDIT] to make the indicator light. Then press the [COMMON] function button, and press [ ] or [ ] to access the PERFORM COMMON display.
52
Chapter 2. Playing
6. Make sure that the Key Range parameter is ON. If it is OFF, use the cursor buttons to move the cursor to the Key Range parameter, and rotate the VALUE dial or press [INC]/[DEC] to turn it ON. * If the Key Range parameter is OFF, the keyboard cannot be split even when you set the key range. 7. Press [ ] to access the KEY RANG display.
fig.2-10
s Playing Along with a Song Playback (XP-30 Used as a Multitimbral Sound Source)
When a Single Performance is selected, the XP-30s keyboard will play only the Part you selected from the keyboard, convenient when you play the keyboard along with a song playback.
fig.2-11.e
Part 1
Part 2
Part 15 Part 16
8. Press [EDIT] to make the indicator go dark. 9. Press a function button to select the part whose Local parameter you wish to turn ON. When the [1-8/9-16] indicator is dark, you can select parts 18. When the [18/9-16] indicator is lit, you can select parts 916. 10. Specify the range of notes for which the part will sound. Use the cursor buttons to move the cursor to the Lower parameter and set the lowest note of the range. Move the cursor to the Upper parameter and set the highest note of the range. 11. Rotate the VALUE dial or press [INC]/[DEC] to specify the range of notes. * By specifying sections for different Parts so that they overlap each other, you can combine two or more Patches only in a specific section. 12. When you are finished making settings, press [EXIT] to return to the PERFORM PLAY display, and begin playing.
* You can also press a function button to select the part that you wish to play. At this time, the function button indicator of the selected part will light.
53
Chapter 2
Chapter 2. Playing
3. Move the sliders while you play the XP-30s keyboard to vary the sound. To change brightness, move the CUTOFF slider. To change resonance, move the RESO slider. To change attack time, move the ATTACK slider. To change decay time, move the DECAY slider.
The upper right of the display will indicate the number of the currently selected part (the current part). 4. Use the same procedure as in Patch mode to select a Patch (p. 47). * This setting is linked with the Group parameter and Number parameter (PERFORM/PART/PATCH). 5. Press [PERFORM] or [EXIT] to return to the PERFORM PLAY display.
s Using the Sliders to Modify the Sound in Realtime (Sound Palette Function)
Using the Sound Palette function, you can modify sound characters of the Patch assigned to a Part or adjust the volume level of each Part. * Sound variations or volume changes made with the Sound Palette function affect only the performance. They have no effect on the currently selected Performance, so the Sound Palette settings cannot be saved. If you change the Performance, these settings will be lost. * The sound character and volume changes created using the Sound Palette will also be transmitted to the external MIDI devices.
54
Chapter 2. Playing
2. Rotate the VALUE dial or press [INC]/[DEC] to select a Rhythm Set. * Here, pressing [0] (on the numeric key) while holding down [CATEGORY] takes you to the display shown below, where you can verify the total number of selectable Rhythm Sets (a), and the number within the sequence of the currently selected Rhythm Set (b), and choose a Rhythm Set.
fig.2-14a
USER
The XP-30s user memory contains two Rhythm Sets that can be rewritten to make up your own Rhythm Sets.
(b) (a)
3. Use numeric keys to input a Rhythm Set number. The rhythm set number and name will blink. At this point the Rhythm Set has not yet been finalized. 4. Press [ENTER] to finalize the entry. * Using Digit Hold, a Rhythm Set can be selected simply by specifying the 1s place number (p. 48).
55
Chapter 2
Chapter 2. Playing
Playing an Arpeggio
The XP-30s Arpeggiator lets you produce an arpeggio (broken chord) simply by playing a chord. In addition to normal arpeggios, you can also accurately simulate guitar cutting or strumming techniques depending on the Arpeggiator settings. The Arpeggiator can in fact be used as a handy automatic arranger. By pressing [ARPEGGIO], the indicator lights and allows playing arpeggios from the XP-30 keyboard. * If you press [ARPEGGIO] to turn this function on when Single Performance is selected, the current Part will play arpeggios. When a Layer Performance is selected, an arpeggio will sound for the Part specified by the Part parameter (SYSTEM/ ARPEGGIO/ARPEGGIO). * The arpeggios played by the arpeggiator are also transmitted from the MIDI OUT connector to external MIDI devices. 1. Make sure that the PLAY display of the sound source mode (PERFORM, PATCH, RHYTHM, GM) is displayed. 2. Press [ARPEGGIO] to turn the Arpeggiator on. 3. If you wish to change how the arpeggio is played, hold down [ARPEGGIO] to access the ARP SELECT display, move the cursor to the Style parameter, and change the setting.
fig.2-16
Note name
You can also use the TONE SELECT buttons to select the displayed key. [TONE SELECT 1]: move to an octave lower key [TONE SELECT 2]: move to the semitone below [TONE SELECT 3]: move to the semitone above [TONE SELECT 4]: move to an octave higher key * When you want to play the percussive instrument sound assigned to the B1 key, first push [-OCT] once, then press the B2 key. Similarly, push [+OCT] once then press the C#6 or D6 key to play the percussive instrument sound assigned to the C#7 or D7 key. (On the XP-30, the leftmost white key is C2, and rightmost white key is C7.) For details, refer to Transposing the Keyboard in Octave Units (Octave Shift) (p. 59).
* The selection you make here will also affect the Style parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings. There are 43 arpeggio styles available. For selection, refer to the following guideline.
Playing a Glissando
GLISSANDO
Playing a Guitar
RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C, RHYTHM GTR D, RHYTHM GTR E, 3FINGER GTR, STRUMMING GTR
Playing a Waltz
KBD COMPING C, KBD COMPING D
56
Chapter 2. Playing
A setting of 100% will produce the most pronounced groove feel. * This setting will also affect the Accent Rate parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings. 5. To change the range in which the arpeggio is played, hold down [ARPEGGIO] to access the ARP SELECT display, move the cursor to the Oct parameter, and change the setting.
fig.2-17
3. Make sure that the Key Range parameter (PERFORM/ COMMON/PERFORM COMMON) is ON. If it is OFF, turn it ON (p. 53). 4. Set the Local parameter (PERFORM/MIDI/MIDI) ON for the Part you want to hear (p. 52). 5. After pressing [SYSTEM] to make the indicator light up, press the [ARPEGGIO] function button followed by [ ] to display an Arpeggio screen like the one shown below.
fig.2-18
If you want the arpeggio to sound using only the notes that you actually play, set this to 0. With a +1 setting, arpeggio will take place over a range up to 1 octave higher than the notes you play. A -1 setting will result in arpeggio occurring over the range down to 1 octave lower than the notes you play. * This setting will also affect the Octave Range parameter (SYSTEM/ARPEGGIO/ARPEGGIO) settings. 6. To change the tempo in which the arpeggio is played, hold down [ARPEGGIO] to access the ARP SELECT display, move the cursor to the Tempo parameter, and change the setting.
fig.2-17a
6. Use the cursor buttons to move the cursor to the Part parameter. 7. Rotate the VALUE dial or press [INC]/[DEC] to set the part that will play the arpeggio. 8. Set the Lower or Upper parameter (PERFORM/ COMMON/KEY RANG) to specify the note range of the part that will play the arpeggio (p. 53). 9. Set the key range of parts other than the arpeggio part so that they do not overlap the range in which the arpeggio is played. 10. After you finish settings, press [EXIT] to call up the PERFORM PLAY display again and play a chord. * If you play an arpeggio using Layer Performance but without setting key range, the chords will sound for all Parts except for the specified Part.
* This setting will also affect the Tempo parameter (SYSTEM/ ARPEGGIO/ARPEGGIO) settings. 7. Play a chord to produce an arpeggio. 8. To stop the arpeggio, press [ARPEGGIO] to turn off the indicator. * If you hold down [SHIFT] when you press [ARPEGGIO], the ARP SELECT display will continue being displayed, without you having to hold down [ARPEGGIO]. To go back to the previous display, press [EXIT].
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Chapter 2
2. If you have selected a Single Performance, set the Key Mode parameter (PERFORM/COMMON/PREFROM COMMON) to LAYER (p. 52).
Chapter 2. Playing
s Holding an Arpeggio
If you hold down [ARPEGGIO] and press [TRANSPOSE], and get the indicator to start blinking, the arpeggio will continue to be played even if you release the chord. 1. Hold down [ARPEGGIO] and press [TRANSPOSE] to make the indicator blink. 2. Play a chord. 3. If you play a different chord or notes while the arpeggio is being held, the arpeggio will change accordingly. 4. To cancel Arpeggio Hold, hold down [ARPEGGIO] and press [TRANSPOSE] simultaneously once again.
4. Use the cursor buttons to move the cursor to the Remote parameter. 5. Rotate the VALUE dial or press [INC]/[DEC] to turn the setting ON. 6. Play the external MIDI device.
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Chapter 2. Playing
1. Press [SYSTEM] to make the indicator lit, and then press the [ARPEGGIO] function button to access the ARPEGGIO display.
fig.2-20
* For details regarding each parameter, refer to Arpeggio Settings (ARPEGGIO) (p. 108) 2. Move the cursor to Style and specify the style you want. 3. Move the cursor to Octave Range and specify the key range over which you want arpeggio. 4. Press [ ], move the cursor to Motif, and specify the order in which the notes of the chord will be sounded. * The available choices depend on the Style parameter setting. For details, refer to Arpeggio Style List (p. 182). 5. Move the cursor to Beat Pattern to change the beat (rhythm). * The available choices depend on the Style parameter setting. For details, refer to Arpeggio Style List (p. 182). 6. Press [ ], move the cursor to Accent Rate, and specify the groove ratio. A 100% setting will result in the most pronounced groove feel. 7. Move the cursor to Shuffle Rate and specify the swing rate. With a setting of 50%, the notes will be spaced evenly. As the value increases, the note timing will have more of a swing feel. 8. Press [ ], move the cursor to Key Velocity, and specify the strength with which the notes of the chord will be sounded. Move the cursor to Key Velocity and specify the force of the chord. When REAL is selected, the velocity at which the notes are actually played will be used. With a setting of 1127, the specified velocity value will be used regardless of the force with which you play the chord. 9. If you want to play an arpeggio using Layer Performance, move the cursor to Part and specify the Part for which you want arpeggio. * Parts other than that specified here will not sound as arpeggios, and the notes of the chord will sound as you play. 10. Move the cursor to Tempo and specify the speed of an arpeggio. 11. After you finish settings, press [EXIT].
* There is only one Octave Shift setting in the XP-30 so it remain valid even if you select a different Patch, Performance or Rhythm Set or turn power off. 2. To turn off the Octave Shift function, press the other button [+OCT] or [-OCT] of that pressed in step 1 the same number of times. The indicator will go off.
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Chapter 2
Chapter 2. Playing
60
Multi-Effects (EFX)
The Multi-Effects offers 40 different effects ranging from single effects such as distortion and delay to powerful combination effects. The Multi-Effects also includes chorus and reverb effects which are independent of the Chorus and Reverb outlined below.
Chorus
Chorus adds depth and spaciousness to the sound.
Fig.1 When Output Assign is set to EFX in the Performance mode (the output settings for Tone are ignored)
Performance
Part 1 Patch Part16
Reverb
Reverb adds reverberation characteristics of hall or auditorium ambiences. Connection of the three effects units depend on the mode youve selected.
TONE
In Patch Mode
The Multi-Effects, Chorus and Reverb effects can be set individually for each Patch. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity thats applied to each Tone.
fig.3-01 fig.3-03.e
Fig.2 When Output Assign is set to PATCH in the Performance mode (the output settings for Tone are valid)
Performance
Part 1
Patch
Part16
Patch
TONE
TONE
Multi-Effects
Chorus
Reverb
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Chapter 3
s Editing a Patch
Start by editing a preexisting Patch to create a new one. Since a Patch is a combination of up to any four Tones, you should listen to how the individual Tones sound before you edit.
2. Press [ ] or [ ] to move the cursor to the effect that you wish to modify. 3. Rotate the VALUE dial or press [INC]/[DEC] to switch it on/off. 4. When you finish making settings, press [EFFECTS ON/ OFF] or [EXIT] to return to the previous display. * When the EFX (multi-effects), Chorus, and Reverb processors are all off, the [EFFECTS ON/OFF] indicator goes out, showing that the onboard effects processors are not used.
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1. Press [PATCH] to access the PATCH PLAY display, and select the Patch whose settings you wish to modify (p. 47). 2. Press [EDIT] to make the indicator light. 3. Use the function buttons to select the display group. The button indicator of the selected display group will blink.
fig.3-05
An asterisk (*) will be displayed at the left of the Patch group. This shows Patch settings have been modified.
fig.3-07
* If you select another Patch in the group with an asterisk (*), the modified Patch settings will be lost. If you wish to keep these modified settings, you must write them into user memory (p. 68).
When editing a Tone in a Patch, the parameter values of the four Tones can be displayed together on a single display called the Palette display. Use it when you want to modify parameter values as you compare the settings of the four Tones. 1. When modifying a Tone, use [ ] or [ ] to move the cursor to the parameter you wish to modify. 2. Press [PALETTE EDIT] to call up the Palette display.
fig.3-08
For simultaneously modifying the same parameter for two or more Tones, hold down one of TONE SELECT [1][4] buttons and press another TONE SELECT [1][4] button, then another if so desired. An asterisk (*) will be indicated for Tones other than the first-selected Tone. * To switch Tones on/off, turn off [EDIT] indicator and then use the TONE SWITCH [1][4] located in the row of function buttons. 6. Use [ ] or [ ] to move the cursor to the parameter you wish to modify. 7. Use the VALUE dial, [INC]/[DEC] or numeric keys and modify the parameter value. * If youve selected two or more Tones, your editing will modify the parameter values for all selected Tones by the same amount. * If youve made a mistake in setting the parameter value or you dont like the changes, just press [UNDO/COMPARE] to restore the value to what it was. 8. If you wish to move to another display group, press [EDIT] to make the indicator light, and use the function buttons. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. Since this can be done even when [EDIT] indicator is dark, it is a faster way to get around because you dont have to turn on [EDIT] indicator each time. 9. Repeat steps 38 to complete a Patch. 10. When you finish making settings, press [EXIT] or [PATCH] to return to the PATCH PLAY display.
3. Press a TONE SELECT [1][4] buttons, [ ] or [ ] to choose the Tone to modify. The button indicator for the selected Tone will light and the Tone number and Wave name appear in the display. For modifying the same parameter of two or more Tones simultaneously, hold down one of TONE SELECT [1][4] buttons and press another. 4. Use the VALUE dial, [INC]/[DEC] or numeric keys to change the parameter value. If youve selected two or more Tones, your editing will modify the parameter values for all selected Tones by the same amount. If you want to set all selected Tones to the same value, select the Tone having that value by pressing [ ] or [ ] and while holding down [SHIFT], press [ENTER]. * If youve made a mistake in setting the parameter value or you dont like the changes, press [UNDO/COMPARE] to restore the value to what it was. 5. If you wish to edit other parameters, press [ ] or [ ] to select the parameter that you wish to edit. 6. Repeat steps 35 to complete a Patch. 7. To cancel the palette display, press [PALETTE EDIT] to make the button indicator go dark.
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Chapter 3
+
Key-off
=
Key-off
If you try to make just the attack brighter and subdue just the decay using the TVF filter, you need to keep in mind the timbral characters of the original waveform. And particularly if youre making a part of the sound brighter than the original waveform, you should first generate upper harmonics (not present in the original waveform) using Color and Depth parameters (PATCH/WAVE/FXM) before filtering. If you dont, the results will be disappointing. To make the entire sound brighter than the original waveform, try adjusting effects such as enhancer and equalizer before modifying the TVF parameter (PATCH/TVF).
64
s Editing a Performance
Start with an existing Performance and edit it to create a new Performance. But before you do, try to envision what the entire Performance will sound like and decide which Patch to assign to each of 16 Parts. 1. Press [PERFORM] to access the PERFORM PLAY display, and select the Performance whose settings you wish to modify (p. 51). 2. Press [EDIT] to make the indicator light. 3. Use the function buttons to select the display group. The button indicator of the selected display group will blink.
fig.3-11
An asterisk (*) will be displayed at the left of the Performance group. This shows Performance settings have been modified.
fig.3-13
* If you select another Performance in the group with an asterisk (*), the modified Performance settings will be lost. If you wish to keep these modified settings, you must write them into user memory (p. 68).
4. Use [ ] or [ ] to select a display page. 5. If you have selected a parameter display that can be set independently for each Part, the number of the Part selected for editing will be shown in the display. To select a different Part, press [EDIT] to temporarily turn off the indicator, and use [1-8/9-16] and the function buttons to select a Part.
fig.3-12
6. Use [ ] or [ ] to move the cursor to the parameter you wish to modify. 7. Use the VALUE dial, [INC]/[DEC] or numeric keys and modify the parameter value. * If youve selected two or more Tones, your editing will modify the parameter values for all selected Tones by the same amount. * If youve made a mistake in setting the parameter value or you dont like the changes, just press [UNDO/COMPARE] to restore the value to what it was. 8. If you wish to move to another display group, press [EDIT] to make the indicator light, and use the function buttons. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. Since this can be done even when [EDIT] indicator is dark, it is a faster way to get around because you dont have to turn on [EDIT] indicator each time. 9. Repeat steps 38 to complete a Performance. 10. When you finish making settings, press [EXIT] or [PERFORM] to return to the PERFORM PLAY display. 3. Press [ ] or [ ] to choose the Part to modify. The Part number and the Patch name assigned to the Part will be shown in the display. * To switch between the palette page for parts 18 and the palette page for parts 916, press [1-8/9-16]. 4. Use the VALUE dial, [INC]/[DEC] or numeric keys to change the parameter value. * If youve made a mistake in setting the parameter value or you dont like the changes, press [UNDO/COMPARE] to restore the value to what it was. 5. If you wish to edit other parameters, press [ ] or [ ] to select the parameter that you wish to edit. 6. Repeat steps 35 to complete a Performance. 7. To cancel the palette display, press [PALETTE EDIT] to make the button indicator go dark.
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Chapter 3
1. When modifying a Part, use [ ] or [ ] to move the cursor to the parameter you wish to modify.
4. Use [ ] or [ ] to select a display page. 5. If you have selected a parameter display that can be set independently for each key, the key selected for editing will be shown in the display. To select a different key, play the desired key on the keyboard.
fig.3-17
* If [EDIT] indicator is turned off, you can also use the TONE SELECT [1][4] (located in the row of function buttons) to select the displayed key. TONE SELECT [1]: move to an octave lower key TONE SELECT [2]: move to the semitone below TONE SELECT [3]: move to the semitone above TONE SELECT [4]: move to an octave higher key 6. Use [ ] or [ ] to move the cursor to the parameter you wish to modify. 7. Use the VALUE dial, [INC]/[DEC] or numeric keys and modify the parameter value. * If youve made a mistake in setting the parameter value or you dont like the changes, just press [UNDO/COMPARE] to restore the value to what it was. 8. If you wish to move to another display group, press [EDIT] to make the indicator light, and use the function buttons. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. Since this can be done even when [EDIT] indicator is dark, it is a faster way to get around because you dont have to turn on [EDIT] indicator each time. 9. Repeat steps 38 to complete a Rhythm Set. 10. When you finish making settings, press [EXIT] or [RHYTHM] to return to the RHYTHM PLAY display. An asterisk (*) will be displayed at the left of the Rhythm Set group. This shows Rhythm Set settings have been modified.
fig.3-18
4. The following steps are the same as when you modify a Patch in Patch mode. 5. When you finish making settings, press [EXIT] to call up the PLAY display of the Patch assigned to the Part. An asterisk (*) will be displayed at the left of the Patch group. This indicates the Patch settings have been modified. 6. To return to the PERFORM PLAY display, press [PERFORM] or [EXIT]. * If you select another Patch in the group with an asterisk (*), the modified Patch settings will be lost. To keep these modified settings, you must write them into user memory (p. 68).
* If you select another Rhythm Set in the group with an asterisk (*), the modified Rhythm Set settings will be lost. If you wish to keep these modified settings, you must write them into user memory (p. 68).
* Since Rhythm Sets do not have an LFO, it will not be possible to select the LFO group.
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Rewritable Memory
System Memory
System memory stores system parameter settings that determine how the XP-30 functions. When you modify these settings, the system memory settings are rewritten directly. These settings are non-volatile, being retained even when the power is turned off.
Preset E (PR-E) Preset D (GM) Preset C (PR-C) Preset B (PR-B) XP-C Preset A (PR-A) XP-B Performance 32 Patch 128 Rhythm Set 2 XP-A Patch Rhythm Set
XP-30 Sound
User Memory
User memory contains data for 32 Performances, 128 Patches and two Rhythm Sets.
Write
Temporary Area
Load
Non-Rewritable Memory
Preset Memory
Data in Preset memory (Patch: PR-AC, E, GM, XP-AC, Performance: PR-A, B, Rhythm Set: PR-AC, E, GM, XP-A, C) cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory.
Memory Card
Temporary Memory
Temporary Area
This area holds data for the Performance, Patch, and Rhythm Set you select using the front panel buttons, etc. When you play the keyboard or play back an external sequence, sound is produced based on data in the temporary area. When you modify a Performance, Patch or Rhythm Set, you are modifying the data that has been called into the temporary area instead of the data in memory. Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another Performance/Patch/Rhythm Set. To keep the settings you have modified, you must write them into rewritable memory.
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Chapter 3
PATCH NAME
You can assign a name of up to 12 characters to the Patch. * For details on assigning names, refer to Assigning a Name (p. 46).
2. Use [ ] or [ ] to make 1: WRITE blink. Then press [ENTER]. The WRITE display will appear.
fig.3-21.e
PATCH CATEGORY
Category
Specify the type (category) of the Patch. The Patch Search function uses this setting. This setting also determines the phrase that will be sounded by the Phrase Preview function. * For details on the category names, refer to p. 49.
Writing destination
3. Use the VALUE dial, [INC]/[DEC] or numeric keys to specify the Patch, Performance or Rhythm Set number of the destination of writing. 4. Press [ENTER]. If Internal Write Protect is turned off, the specified writing destination Patch, Performance or Rhythm Set will be overwritten. 5. If Internal Write Protect (p. 121) is turned on, the following display will appear. Change the ON setting to OFF, and press [ENTER]. Internal Write Protect will be turned off, and you will return to the display of step 2. Press [ENTER] once again and the selected Patch will be overwritten.
fig.3-22
PATCH CLOCK
Some parameters allow you to set a time value in terms of a note length which is determined by a tempo setting or tempo source you specify; Rate parameters (PATCH/ LFO/ LFO1, 2), Time parameter (PATCH/WAVE/TONE DELAY), and some Multi-Effects parameters. This Patch Clock setting sets the tempo which can be used by these parameters. * When using a Patch in Performance mode, the setting of this parameter will be ignored, and the setting of the PERFORM CLOCK display (PERFORM/COMMON) will be used instead.
* Internal Write Protect is automatically turned ON when the XP-30s power is turned on.
PATCH COMMON
Level
Adjust the volume level of the Patch.
68
Pan
Adjust the stereo position of the Patch. A setting of L64 is far left, 0 is center, and 63R is far right.
1/f Modulation
1/f is a mathematical ratio that expresses the amount of predictable randomness occurring in natural sounds that the human ear finds pleasing, such as soft breezes or gentle brooks. The XP-30 is able to modulate the pitch and volume of sounds by this ratio to create the warmth characteristic of early analog synthesizers.
Select the stretch tuning curve. The selected curve will affect the way in which notes of a chord sound with each other. The diagram below shows the tuning curves which can be selected. In the tuning curve, the horizontal axis represents the scale, and the vertical axis represents pitch difference relative to equal temperament. When OFF is selected for this parameter, the notes of the keyboard will be in mathematically equal temperament. With a setting of 3, the high and low note ranges will be stretched the most.
fig.3-23.e
Parameter value
3 2 1 OFF 1 2 3
Low note range High note range
OFF
Level
Stretched Tuning
Acoustic pianos are normally tuned so that the high note range is a bit sharper and the low note range is a bit flatter than a mathematically calculated equal temperament (i.e., where each octave would be precisely double the frequency of the previous octave). This is done simply because pianos sound better when tuned this way.
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Chapter 3
fig.3-25e
TVF
TVF
TVA
TVF
WG
TVF
TVA
STRUCT (Structure)
Type (Structure Type)
The Structure parameter determines how Tones 1 and 2 (and 3 and 4) are connected.
fig.3-25a
WG
TVF
TVA
TONE 2 (4)
fig.3-25b
WG
TVF
TVA
TONE 2 (4)
fig.3-25i
WG
TVF
TVA
TONE 2 (4)
fig.3-25c
WG
TONE 2 (4)
fig.3-25j
WG
TVF
TVA
TYPE 10 TONE 1 (3) TVF TVA WG TVF TVA R TONE 2 (4) WG TVF TVA
WG
70
The display will graphically indicate the selected Structure. The symbols displayed have the following meanings. W1 (WG1), W2 (WG2), F1 (TVF1), F2 (TVF2), A1 (TVA1), A2 (TVA2), B (booster), R (ring modulator) * If you select a Tone while in the Structure display, the Tone that is paired with the selected Tone will also be selected. * If a Structure 210 is selected, turning off one Tone will cause the other Tone to be connected in the simple order of WG/TVF/ TVA.
OUTPUT
These parameters specify how the output of each Tone will be sent to the effects. * When the Type parameter (PATCH/COMMON/STRUCT) has a setting of 210, the outputs of Tones 1 (3) and 2 (4) will be combined with Tone 2 (4). This means that the setting for Tone 1 (3) will be ignored.
* If you select MIX, the settings in the PATCH EFX OUT display (PATCH/EFFECTS) will be ignored.
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Chapter 3
Select whether or not the output of each Tone will be sent through Multi-Effects, and adjust the volume of each Tone. MIX: Output the Tone to the OUTPUT jack without passing through Multi-Effects. EFX: Output the Tone to the OUTPUT jack through MultiEffects.
PATCH CHORUS
These parameters control the Chorus effect of the Patch.
Chorus input
Reverb OUTPUT
Reverb input
Chorus
M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied.
fig.3-29.e
Reverb input
Chorus
Reverb
OUTPUT
Chorus input
72
PATCH REVERB
These parameters control the Reverb effect of the Patch.
Bend Range
Specify the amount of pitch change that will occur when you move the Pitch Bend Lever. The left value specifies the pitch change that will occur when the lever is moved fully left. The right value specifies the pitch change that will occur when the lever is moved fully right. The left value has a range of -480 (-4 0 octaves), and the right value has a range of 0+12 (01 octaves).
PORTAMENTO
Portamento is a function that causes the pitch to change smoothly from one note to the next played note. When the Key Assign Mode is SOLO, this is effective when simulating performance techniques such as a violinists glissando.
Sw (Portamento Switch)
Set this to ON when you wish to use Portamento.
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Chapter 3
Pitch
C5
D4 C4
If you want Pitch Bend messages to be received, turn this parameter ON. If not, turn it OFF.
DAMPER
Specify how Hold 1 (sustain pedal) messages will be received by each Tone.
NOTE: Pitch will begin changing from the destination of the current movement.
fig.3-31.e
Pitch
C5
If a Hold 1 message is received during the time between a note-off (when you release the key) until when the sound disappears, the currently sounding sounds will be sustained if this Redamper setting is ON. If you use this function, you must also turn on the Receive Hold 1 switch.
74
Aftertouch LFO1 rate LFO2 rate Velocity Key follow (adjust the parameter value depending on the keyboard location, relative to a standard value (0) at the C4 key) Playmate (adjust the parameter value depending on the time length that the key is pressed)
PLAYMATE:
CONTROL 13
Specify the parameters to be controlled by Control Sources 13 and the depth of each parameter. The upper line of the display will show the Control Source selected in the previous display.
Destination 14
Select the parameters to be controlled. Up to four parameters can be specified for each controller, and controlled simultaneously. OFF: no control PCH: WG Pitch CUT: TVF Cutoff Frequency RES: TVF Resonance LEV: TVA Level PAN: TVA Pan MIX: Output level of Tone CHO: Chorus Send level of Tone REV: Reverb Send level of Tone PL1: LFO1 depth of WG Pitch PL2: LFO2 depth of WG Pitch FL1: LFO1 depth of TVF Cutoff Frequency FL2: LFO2 depth of TVF Cutoff Frequency AL1: LFO1 depth of TVA Level AL2: LFO2 depth of TVA Level pL1: LFO1 depth of TVA Pan pL2: LFO2 depth of TVA Pan L1R: LFO1 rate L2R: LFO2 rate
CONTROL SOURCE
If you wish to use controllers to control a specific Tone parameter, select the controller in this display. Each Patch can have up to 3 control source assigned to it, but the function of control source 1 is fixed at Modulation (MIDI controller number 1).
Depth 14
Adjust the amount of change that will occur in response to controller movement. Higher value will cause greater change. Negative (-) values will reverse the direction of the change. For LFO rates, negative (-) values will lengthen the period (causing slower modulation), and positive (+) values will shorten the period (causing faster modulation).
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Chapter 3
* From the PATCH PLAY display you can switch directly to the CONTROL1 display by pressing [CONTROLLER] while holding down [SHIFT].
WAVE
Group (Wave Group)
Select the Group of the Wave. INT-A, B: Internal A, B EXP-AE: Wave Expansion Boards AE * It is not possible to select a Group of a Wave Expansion Board that is not installed.
HOLD:
If the key is pressed for longer than the specified Delay Time, the Tone will sound after the Delay Time. If the key is released earlier than the Delay Time, the Tone will not sound.
TONE DELAY
This parameter produces a time delay from the moment the key is pressed (or released) until when the Tone begins to sound. Since you can adjust the timing of each Tone, you can create effects in which pressing a single key produces two or more sounds at different times. * If you do not wish to use Tone Delay, set Mode to NORMAL and Delay Time to 0.
76
KEY-OFF-N:
The Tone will not sound while the key is being pressed, but will sound after the Delay Time when the key is released.
fig.3-34.e
KEY-OFF-D:
The Tone will not sound while the key is being pressed, but will sound after the Delay Time when the key is released. However for this setting, the TVA envelope of the Tone will begin when the key is pressed, so in most cases only the decay portion of the sound will be heard.
fig.3-35.e
* If you have selected a Wave that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting KEY-OFF-N or KEY-OFF-D may result in no sound being heard. TEMPO-SYNC: If you select a Wave with tempo (BPM) being displayed, the Tone will synchronize to the tempo clock of the system regardless of which key is pressed. This is most effective when playing phrase loops in sync with the tempo of a song (p. 130). If you want to sync to the tempo of a system in Patch mode, set the Source parameter (PATCH/COMMON/PATCH CLOCK) to SYSTEM. If you want to sync to the tempo of a system in Performance mode, set the Source parameter (PERFORM/COMMON/ PERFORM CLOCK) to SYSTEM. * When TEMPO-SYNC is selected, pitch and FXM settings will be ignored. * When selecting TEMPO-SYNC, also set the Time parameter to 0. If other values are set, Tone Delay will be activated.
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Chapter 3
LFO1/LFO2
Since both LFOs have the same parameters, there are explained here together.
TRI
SIN
SAW
SQR
high (more) WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan
Delay Time
Fade Time
Depth
triangle wave
sine wave
sawtooth wave
key is pressed
TRP
S&H
RND
CHS
ON-OUT: The LFO will be immediately applied when the key is pressed, and will then fade out.
fig.3-38.e
high (more) trapezoidal wave sample & hold wave random wave chaos wave WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan low (less)
Delay Time
key is pressed
OFF-IN:
fig.3-39.e
WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan key is key is pressed released low (less)
78
OFF-OUT:The LFO will be immediately applied when the key is pressed, and will begin fading out when the key is released.
fig.3-40.e
high (more) WG Pitch / TVF Cutoff Frequency / TVA Level / TVA Pan key is pressed low (less)
Delay Time
PITCH
Specify the basic pitch of each Tone.
Pitch
Keyboard position
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Chapter 3
FILTER
These parameters are the TVF filter settings.
Res (Resonance)
Emphasize the frequencies in the area of the Cutoff Frequency. For some settings, excessive levels can cause oscillation and distortion.
fig.3-43.e
BPF
HPF
PKG
T1 L1
T2
T3
T4
L3
L2
Use this parameter when you want the Cutoff Frequency to be affected by the keyboard position. Higher values will result in greater change relative to middle C (C4). Positive (+) settings will make the Cutoff Frequency rise as you play further the right of the keyboard. Negative () settings will make the Cutoff Frequency fall.
80
parameter value
Cutoff frequency
Low
TVF VELOCITY
These parameters determine how keyboard velocity will affect TVF Envelope/Cutoff Frequency/Resonance.
TVF ENVELOPE
These parameters set the TVF envelope (the way in which the cutoff frequency will change over time).
fig.3-44.e
T1 L1
T2
T3
T4
L2
L3 L4
TVA
Level
Adjust the basic volume of the Tone. Use this parameter to adjust the volume balance between Tones.
Pan
Adjust the pan (stereo location) of the Tone. L64 is full left, 0 is center, and 63R is full right.
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Chapter 3
BIAS
Use the Bias parameter when you want keyboard position to affect the TVA level.
fig.3-45.e
L or R values can be set, and this will reverse the left/right order of the panning. If you want to alternate the pan position of two Tones, set them to opposite L and R settings.
LOWER + Level
0
C-1
UPPER Level
These parameters determine how the keyboard will affect the time changes of the TVA envelope.
Key
G9
Bias Point
LOWER&UPPER + Level
0
C-1
+ 0
ALL Level
0 +
+ 0
Bias Point
G9
Key
C-1
Bias Point
G9
Key
PAN MODULATE
Use these parameters to affect the location of the TVA Pan.
T1
T2 L1 L2
T3
T4
Level
L3
82
SINGLE: When you play the keyboard, only the specified Part (the Part shown in the display) will sound. MIDI messages will be transmitted from the controller section to the external MIDI devices even if the Local parameter and Tx parameter settings for each Part (PERFORM/MIDI/MIDI) are turned off. * If you have selected a Layer-type Performance, the upper right of the PERFORM PLAY display will indicate LAYER p* (* is the part number). If you have selected a Single-type Performance, the number of the Part that can be played from the keyboard will be displayed. * If LAYER has been selected and you try to play Patches of all Parts, you probably wont be able to play many simultaneous voices. When layering Patches, be aware of the number of voices available and turn off unnecessary Parts. Making Key Range settings for each Part allows you to split the keyboard to play different Parts in separate sections. PLAY display, hold down [SHIFT] while you press [SOLO].
PERFORM CLOCK
Some parameters allow you to set a time value in terms of a note length which is determined by a specified tempo; Rate parameters (PATCH/LFO/LFO1, 2), Time parameter (PATCH/WAVE/TONE DELAY), and some Multi-Effects parameters. The specified tempo used by these parameters can be set for each Patch. However when a Patch is used in Performance mode, the Patch settings will be ignored, and the settings of this display will be used instead.
PERFORM COMMON
Key Mode
This parameter determines how the sound source will be played from the XP-30s keyboard. LAYER: When you play the keyboard, all Parts whose Local parameter (PERFORM/MIDI/MIDI) is turned on will sound. Transmission of MIDI messages from the controller section to external MIDI devices will be determined by the Tx parameter setting (PERFORM/MIDI/MIDI) of each Part.
KEYBOARD
Octave Shift
This parameter adjusts the pitch of each Part in units of an octave (-3+3 octaves).
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Chapter 3
OUTPUT
Specify how each Part will be output.
84
Chorus input
Reverb OUTPUT
Reverb input
Chorus
Adjust the amount of change that will occur in response to controller movement. Higher values will result in greater change. Negative (-) values will invert the direction of the change.
M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied.
fig.3-29.e
PERFORM CHORUS
Make settings for the Chorus effect of the Performance. * In Performance mode, the Chorus settings of the Patches used by each Part will be ignored (except for the Send Level parameter).
Reverb input
Chorus
Reverb
OUTPUT
Chorus input
PERFORM REVERB
Make settings for the Reverb effect of the Performance. * In Performance mode, the Reverb settings of the Patches used by each Part will be ignored (except for the Send Level parameter).
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Chapter 3
Rx (Receive Switch)
Specify whether or not you want each Part to receive MIDI messages from the external MIDI devices. Normally you will leave this ON, but you can turn it OFF when you do not want a specific Part to be playing during a song playback. * To switch between ON and OFF from the PERFORM PLAY display, hold down [SHIFT] while you press the function button for the Part you want to alter.
Tx (Transmit Switch)
This determines, for each Part, whether or not data generated by the controller section is sent as MIDI messages from the MIDI OUT connector when the Key Mode parameter (PERFORM/COMMON/PERFORM COMMON) is set to LAYER. Normally you will leave this ON, but you can turn it OFF when you do not want the XP-30 to control external sound sources. * When the Key Mode parameter (PERFORM/COMMON/ PERFORM COMMON) is set to SINGLE, the setting for the Tx parameter is deactivated, and only the MIDI messages of the current Part are sent from the MIDI OUT connector.
86
* Bank Select and Program Change messages will not be transmitted for Parts whose Tx parameter (PERFORM/MIDI/ MIDI) is turned off.
Transmit Volume
If you want Volume messages to also be transmitted when you select a Performance, specify the desired volume here. If you do not want Volume messages to be transmitted, set this to OFF.
Mod (Modulation Information) Breath (Breath Information) Foot (Foot Information) Vol (Volume Information) Pan (Pan Information) Exp (Expression Information) Hold (Hold 1 Information) Aft (Aftertouch Information) Sys1 (System Controller 1 Information)
The MIDI message specified as the Control 1 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN)
SETTING
Make volume, pan, and pitch settings for each Part.
Level
Adjust the volume of each Part. Use this parameter to adjust the volume balance between Parts.
Pan
Adjust the stereo location of the Part. L64 is full left, 0 is center, and 63R is full right.
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Chapter 3
OUTPUT
Specify the output for each key.
88
Chorus input
Reverb OUTPUT
M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied.
fig.3-29.e
Reverb input
Chorus
Reverb
OUTPUT
PERFORM REVERB
Make settings for the Reverb effect of the Performance.
PERFORM CHORUS
Make settings for the Chorus effect of the Performance.
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Chapter 3
CONTROL
These parameters determine how each note is controlled.
Bend Range
Specify the amount of pitch change (in semitones) that will occur when the Pitch Bend Lever is moved (maximum +1 octave).
WAVE
Group (Wave Group)
Select the Group of the Wave. INT-A, B: Internal A, B EXP-AE: Wave Expansion Boards AE * It is not possible to select a Group of a Wave Expansion Board that is not installed.
Mute Group
The Mute Group function lets you specify that certain Rhythm Tones not be allowed to sound simultaneously. Taking the example of an acoustic drum set, it is obviously impossible for an open hi-hat and a closed hi-hat sound to occur simultaneously. To simulate this type of situation on the XP30, set each hi-hat sound to the same Mute Group number. Up to 31 Mute Groups can be used. If you do not want a Rhythm Tone to use a Mute Group, turn it OFF.
90
PITCH
Specify the basic pitch for the Rhythm Tone.
FILTER
Make TVF filter settings.
PCH VELOCITY
Specify how key velocity will change the effect of the Pitch Envelope.
Resonance
Emphasize the frequencies in the area of the Cutoff Frequency. For some settings, excessive levels can cause oscillation and distortion.
fig.3-43.e
BPF
HPF
PKG
PCH ENVELOPE
Make settings for the Pitch Envelope (changes in pitch over time).
fig.3-42.e
T1 L1
T2
T3
T4
L3
key is released L4
parameter value
Cutoff frequency
Low
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Chapter 3
TVF VELOCITY
V-Sens (TVF Envelope Velocity Sensitivity)
Use this parameter when you want velocity to affect the TVF Envelope. Higher settings will result in a greater difference between strongly and softly played notes. Negative (-) settings will invert the effect.
Pan
Adjust the pan (stereo location) of the Rhythm Tone. L64 is full left, 0 is center, and 63R is full right.
TVA VELOCITY
Specify how keyboard velocity will affect the time of the TVA envelope.
TVF ENVELOPE
These parameters set the TVF envelope (the way in which the cutoff frequency will change over time).
fig.3-44.e
T1 L1
T2
T3
T4
L2
L3 L4
TVA ENVELOPE
These parameters make settings for the TVA envelope (changes over time in the TVA level).
fig.3-46.e
T1
T2 L1 L2
T3
T4
Level
L3
TVA
Level
Adjust the basic volume of the Rhythm Tone. Use this parameter to adjust the volume balance between Rhythm Tones.
92
2: OVERDRIVE
This effect creates a soft distortion similar to that produced by vacuum tube amplifiers.
fig.3-49
L out
Pan L Pan R
R out
Drive #
Adjust the degree of distortion. The volume will change together with the degree of distortion.
L in
4-Band EQ
L out
R in
4-Band EQ
R out
P1 Q (Peaking 1 Q)
This parameter adjusts the width of the area around the Peaking 1 Frequency that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.
3: DISTORTION
This effect produces a more intense distortion than Overdrive.
fig.3-50
L out
Pan L Pan R
R out
P2 Q (Peaking 2 Q)
This parameter adjusts the width of the area around the Peaking 2 Frequency that will be affected by the Gain setting. Higher values of Q will result in a narrower area being affected.
Drive #
Adjust the degree of distortion. The volume will change together with the degree of distortion.
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Chapter 3
5: SPECTRUM
Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 8 frequency points fixed at locations most suitable for adding character to the sound.
fig.3-52
L in Spectrum
L out
Pan L Pan R
R in
R out
4: PHASER
A phaser adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth.
fig.3-51
L in Phaser
Mix
L out
Pan L Pan R
R in
Resonance
R out
Manual #
Adjust the basic frequency from which the sound will be modulated.
Rate #
Adjust the frequency (period) of modulation.
Depth
Adjust the depth of modulation.
Res (Resonance)
Adjust the amount of feedback for the phaser.
Q
Simultaneously adjust the width of the adjusted areas for all the frequency bands.
6: ENHANCER
The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.
fig.3-53
L in
Enhancer
Mix
2-Band EQ 2-Band EQ
L out
R in
Enhancer
Mix
R out
Sens (Sensitivity) #
Adjust the sensitivity of the enhancer.
94
8: ROTARY
The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches.
fig.3-55
L in Rotary R in
L out
7: AUTO-WAH
The Auto Wah cyclically controls a filter to create cyclic change in timbre.
fig.3-54
R out
L in Auto Wah R in
L out
Select the type of filter. LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range.
Sens
Adjust the sensitivity with which the filter is controlled.
Manual #
Adjust the center frequency from which the effect is applied.
Peak
Adjust the amount of the wah effect that will occur in the area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range.
Separation
Adjust the spatial dispersion of the sound.
Rate #
Adjust the frequency of the modulation.
Speed #
Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. SLOW: Slow down the rotation to the specified speed (the Low Slow / Hi Slow values). FAST: Speed up the rotation to the specified speed (the Low Fast / Hi Fast values).
Depth
Adjust the depth of the modulation.
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Chapter 3
Adjust the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times.
9: COMPRESSOR
The Compressor flattens out high levels and boosts low levels, smoothing out unevenness in volume.
fig.3-56
L in Compressor R in 2-Band EQ
L out
Pan L Pan R
R out
11: HEXA-CHORUS
Hexa-chorus uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.
fig.3-58
Attack
Adjust the attack time of an input sound.
Sustain
Adjust the time over which low level sounds are boosted until they reach the specified volume.
L in
Balance D
L out
Balance W
Hexa Chorus
Balance W
Post Gain
Adjust the output gain.
R in
Balance D
R out
LowGain
Adjust the low frequency gain.
Hi Gain
Adjust the high frequency gain.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
10: LIMITER
The Limiter compresses signals that exceed a specified volume level, preventing distortion from occurring.
fig.3-57
L in Limiter R in 2-Band EQ
L out
Pan L Pan R
R out
LowGain
Adjust the low frequency gain.
Hi Gain
Adjust the high frequency gain.
96
12: TREMOLO-CHORUS
Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume).
fig.3-59
Phase
Adjust the spatial spread of the sound.
LowGain
Adjust the gain of the low frequency range.
L in
Balance D
L out
Balance W
Hi Gain
Adjust the gain of the high frequency range.
Tremolo Chorus
Balance W
R in
Balance D
R out
14: STEREO-CHORUS
This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.
fig.3-61
Balance D
L in Chorus Chorus R in
Balance D
L out
Balance W Balance W
2-Band EQ
R out
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
13: SPACE-D
Space-D is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect.
fig.3-60
Phase
Adjust the spatial spread of the sound.
Balance D
L in Space D Space D R in
Balance D
2-Band EQ
Balance W Balance W
L out
2-Band EQ
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
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Chapter 3
2-Band EQ
16: STEP-FLANGER
The Step Flanger effect is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.
fig.3-62a
15: STEREO-FLANGER
This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.
fig.3-62
Balance D
L in Step Flanger
Feedback Feedback
2-Band EQ
Balance W
L out
Balance D
L in Flanger
Feedback Feedback
2-Band EQ
Balance W
L out
Step Flanger R in
Balance D
Balance W
2-Band EQ
R out
Flanger R in
Balance D
Balance W
2-Band EQ
Adjust the time delay from when the direct sound begins until the flanger sound is heard.
Rate
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Rate #
Adjust the rate of modulation.
Depth
Adjust the depth of modulation.
Phase
Adjust the spatial spread of the sound.
Step Rate #
Adjust the rate (period) of pitch change. This parameter can be set as a note-value of a specified tempo. In this case, specify the value of the desired note.
Phase
Adjust the spatial spread of the sound.
Filter Type
Select the type of filter. OFF: a filter will not be used LPF: cut the frequency range above the cutoff frequency HPF: cut the frequency range below the cutoff frequency
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
98
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
HF Damp
Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
17: STEREO-DELAY
This is a stereo delay. When Feedback Mode is NORMAL:
fig.3-63a
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
L out
Balance D
L in Delay
Feedback Feedback
2-Band EQ
Balance W
Delay R in
Balance D
Balance W
2-Band EQ
R out
Balance D
L in Delay
Feedback Feedback
2-Band EQ
Balance W
18: MODULATION-DELAY
L out
This effect adds modulation to the delayed sound, producing an effect similar to a flanger. When Feedback Mode is NORMAL:
fig.3-63c
Balance D
Delay R in
Balance D
Balance W
L in R out Delay
Feedback Feedback
2-Band EQ
Balance W
L out
2-Band EQ
Modulation
Delay R in
Modulation
Balance D
Balance W
2-Band EQ
R out
L in Delay
Feedback Feedback
2-Band EQ
Balance W
L out
Modulation
Delay
Modulation
Balance D
Balance W
2-Band EQ
R out
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Chapter 3
Adjust the volume balance between the direct sound and the delay sound. With a setting of D100:0W only the direct sound will be output, and with a setting of D0:100W only the delay sound will be output.
Delay C (Delay Time Center) Delay L (Delay Time Left) Delay R (Delay Time Right)
Adjust the time delay from the direct sound until when the delay sound is heard. This parameter can be set as a notevalue of a specified tempo. In this case, specify the value of the desired note.
Rate #
Adjust the speed of the modulation.
Depth
Adjust the depth of the modulation.
Phase
Adjust the spatial spread of the sound.
HF Damp
Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
HF Damp
Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
19: TRIPLE-TAP-DELAY
The Triple Tap Delay produces three delay sounds; center, left and right. The center delay time can be specified as a note value of a specified tempo.
fig.3-64
LowGain
Adjust the gain of the low frequency range.
Balance D
L in
Left Tap Triple Tap Delay Feedback Center Tap
2-Band EQ
Balance W
Hi Gain
L out
Balance W
R in
2-Band EQ
R out
100
20: QUADRUPLE-TAP-DELAY
The Quadruple Tap Delay has four delays. Each of the Delay Time parameters can be specified as a note length of the selected tempo.
fig.3-65a
1 2 3 4
Balance D
L in
Delay 1 Feedback Delay 2
L out
Balance W
HF Damp
Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
R in
Balance D
R out
2 1 L
3 4 R
1 2 3 4
1) 2) 3) 4)
21: TIME-CONTROL-DELAY
This effect allows you to use a specified controller (the controller selected in EFX Control Source) to control the delay time and pitch in realtime. Lengthening the delay will lower the pitch, and shortening it will raise the pitch.
fig.3-66
Adjust the time delay from the direct sound until when each delay sound is heard. These parameters can be set as a notevalue of a specified tempo. In this case, specify the value of the desired note.
L in
Balance D
2-Band EQ
Balance W
L out
Feedback
R in
Balance D
2-Band EQ
R out
Accel (Acceleration)
This parameter adjusts the time over which the Delay Time will change from the current setting to a newly specified setting. The rate of change for the Delay Time directly affects the rate of pitch change.
HF Damp
Adjust the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
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Chapter 3
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
22: 2VOICE-PITCH-SHIFTER
A Pitch Shifter shifts the pitch of the original sound. This 2voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.
fig.3-67
Balance D
L in
Level Balance A PanA L PanA R PanB L PanB R Balance D
L out
Balance W
Level Balance B
Balance W
L in
Balance D
2-Band EQ
Balance W
L out
R in
2-Band EQ
R out
LowGain
Adjust the gain of the low frequency range.
102
Hi Gain
Adjust the gain of the high frequency range.
25: GATE-REVERB
Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.
fig.3-70
L in
Balance D
2-Band EQ
Balance W
L out
Gate Reverb
Balance W
R in
Balance D
2-Band EQ
R out
24: REVERB
The Reverb effect adds reverberation to the sound, simulating an acoustic space.
fig.3-69
L in
Balance D
2-Band EQ
Balance W
L out
Reverb
Balance W
R in
Balance D
2-Band EQ
Adjust the time delay from when the direct sound begins until the reverb sound is heard. Adjust the time from when the reverb is heard until when it disappears.
LowGain
Adjust the gain of the low frequency range.
Hi Gain
Adjust the gain of the high frequency range.
HF Damp
Adjust the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to BYPASS.
26: OVERDRIVECHORUS
This effect connects an overdrive and a chorus in series.
fig.3-71
L in Overdrive R in
L out
Balance D Balance W
Chorus
Balance W
LowGain
Adjust the gain of the low frequency range.
R out
Balance D
Hi Gain
Adjust the gain of the high frequency range.
OD Drive
Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.
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Chapter 3
Gate Time
28: OVERDRIVEDELAY
This effect connects an overdrive and a delay in series.
fig.3-73
Chorus Depth
Adjust the modulation depth of the chorus effect.
L in
Balance D
L out
Balance W
Chorus Balance #
Adjust the volume balance between the overdrive sound that is sent through the chorus and the overdrive sound that is not sent through the chorus. With a setting of D100: 0W, only the overdrive sound will be output. With a setting of D0: 100W, only the overdrive sound that is sent through the chorus will be output.
R in
Overdrive
Delay
Balance W Feedback
R out
Balance D
OD Drive
Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.
27: OVERDRIVEFLANGER
This effect connects an overdrive and a flanger in series.
fig.3-72
Balance D
L in
Feedback
L out
Balance W Balance W
Overdrive
Flanger
R in
Balance D
R out
Delay HF Damp
Adjust the frequency above which delayed sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
OD Drive
Adjust the degree of overdrive distortion. The volume will change together with the degree of distortion.
29: DISTORTIONCHORUS
This effect connects distortion and chorus in series. The parameters are essentially the same as 26: OVERDRIVECHORUS, with the exception of the following two. OD Drive Dist Drive (Specify the amount of distortion.) OD Pan Dist Pan (Specify the stereo location of the distortion sound.)
fig.3-74
Flanger Balance #
Adjust the volume balance between the overdrive sound that is sent through the flanger and the overdrive sound that is not sent through the flanger. With a setting of D100: 0W, only the overdrive sound will be output. With a setting of D0: 100W, only the overdrive sound that is sent through the flanger will be output.
L in Distortion R in
L out
Balance D Balance W
Chorus
Balance W
R out
Balance D
104
30: DISTORTIONFLANGER
This effect connects distortion and flanger in series. The parameters are essentially the same as in 27: OVERDRIVEFLANGER, with the exception of the following two. OD Drive Dist Drive (Specify the amount of distortion.) OD Pan Dist Pan (Specify the stereo location of the distortion sound.)
fig.3-75
Chorus Depth
Adjust the modulation depth of the chorus effect.
Chorus Balance #
Adjust the volume balance between the enhancer sound that is sent through the chorus and the enhancer sound that is not sent through the chorus. With a setting of D100: 0W, only the enhancer sound will be output. With a setting of D0: 100W, only the enhancer sound that is sent through the chorus will be output.
Balance D
L in
Feedback
L out
Balance W Balance W
Distortion
Flanger
33: ENHANCERFLANGER
This effect connects an enhancer and a flanger in series.
fig.3-78
R in
Balance D
R out
31: DISTORTIONDELAY
This effect connects distortion and delay in series. The parameters are essentially the same as in 28: OVERDRIVEDELAY, with the exception of the following two. OD Drive Dist Drive (Specify the amount of distortion.) OD Pan Dist Pan (Specify the stereo location of the distortion sound.)
fig.3-76
Balance D
L in
Enhancer
Mix Feedback
L out
Balance W
Flanger R in Enhancer
Mix Balance D
R out
Enhancer Sens #
Adjust the sensitivity of the enhancer.
L in
Balance D
L out
Balance W
Distortion
Delay
Balance W Feedback
R in
Balance D
R out
32: ENHANCERCHORUS
This effect connects an enhancer and a chorus in series.
fig.3-77
L in
Enhancer
Mix Balance D
Balance W
Chorus
Balance W
R in
Enhancer
Mix Balance D
R out
Enhancer Sens #
Adjust the sensitivity of the enhancer.
Flanger Balance #
Adjust the volume balance between the enhancer sound that is sent through the flanger and the enhancer sound that is not sent through the flanger. With a setting of D100: 0W, only the enhancer sound will be output. With a setting of D0: 100W, only the enhancer sound that is sent through the flanger will be output.
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Chapter 3
Balance W
34: ENHANCERDELAY
This effect connects an enhancer and a delay in series.
fig.3-79
L in
Enhancer
Mix Balance D
L out
Balance W
Delay
Balance W Feedback
R in
Enhancer
Mix Balance D
R out
Enhancer Sens #
Adjust the sensitivity of the enhancer.
Delay HF Damp
Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the chorus sound that is sent through the delay and the chorus sound that is not sent through the delay. With a setting of D100: 0W, only the chorus sound will be output. With a setting of D0: 100W, only the chorus sound that is sent through the delay will be output.
Delay HF Damp
Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the enhancer sound that is sent through the delay and the enhancer sound that is not sent through the delay. With a setting of D100: 0W, only the enhancer sound will be output. With a setting of D0: 100W, only the enhancer sound that is sent through the delay will be output.
36: FLANGERDELAY
This effect connects a flanger and a delay in series.
fig.3-81
Balance D
L in
Feedback Balance D Balance W Balance W
L out
Balance W
Flanger R in
Balance D
Delay
Balance W Feedback
R out
Balance D
35: CHORUSDELAY
This effect connects a chorus and a delay unit in series.
fig.3-80
Balance D
L in
Balance D Balance W
L out
Balance W
Chorus
Balance W
Delay
Balance W Feedback
R in
Balance D Balance D
R out
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Flanger Balance #
Adjust the volume balance between the chorus sound and the chorus sound that is passed through the flanger. With a setting of D100: 0W, only the chorus sound will be output. With a setting of D0: 100W, only the chorus sound that passes through the flanger will be output.
HF Damp
Adjust the frequency above which delayed sound fed back to the delay input will be cut. If you do not want to cut the high frequencies of the delay feedback, set this parameter to BYPASS.
Delay Balance #
Adjust the volume balance between the flanger sound that is sent through the delay and the flanger sound that is not sent through the delay. With a setting of D100: 0W, only the flanger sound will be output. With a setting of D0: 100W, only the flanger sound that is sent through the delay will be output.
38: CHORUS/DELAY
This effect connects a chorus and a delay in parallel. The parameters are the same as for 35: CHORUSDELAY. However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
fig.3-83
Balance D
L in Chorus
Feedback
L out
Balance W
37: CHORUSFLANGER
This effect connects a chorus and a flanger in series.
fig.3-82
Delay
Balance D Balance D
Balance W
L in
Balance W Feedback
L out
Balance W
R in
Balance D
R out
Chorus
Balance W
Flanger
Balance W
39: FLANGER/DELAY
This effect connects a flanger and a delay in parallel. The parameters are the same as for 36: FLANGERDELAY. However, the Delay Balance parameter adjusts the volume balance between the direct sound and the delay sound.
fig.3-84
R in
Balance D Balance D
R out
Balance D
L in
L out Flanger
Feedback Feedback Balance W
Delay R in
Balance D
Balance W
R out
40: CHORUS/FLANGER
This effect connects a chorus and a flanger in parallel. The parameters are the same as for 37: CHORUSFLANGER. However, the Flanger Balance parameter adjusts the volume balance between the direct sound and the flanger sound.
fig.3-85
Balance D
L in Chorus
Feedback
L out
Balance W
Flanger R in
Balance D
Balance W
R out
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ARPEGGIO
Style
Sets the style of the arpeggio. Select from the following 43 options. For creating your own style, choose LIMITLESS. 1/4: The rhythm will be divided in quarter notes. 1/6: The rhythm will be divided in quarter note triplets. 1/8: The rhythm will be divided in eighth notes. 1/12: The rhythm will be divided in eighth note triplets. 1/16: The rhythm will be divided in 16th notes. 1/32: The rhythm will be divided in 32nd notes. PORTAMENTO A, B: A style using the portamento effect. GLISSANDO: A glissando style. SEQUENCE AD: Styles for sequenced patterns. ECHO: An echo-like style. SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS: Styles appropriate for bass playing. RHYTHM GTR AE: Styles for guitar cutting. Styles BE are effective when 34 notes are held. 3 FINGER GTR: Three-finger guitar style. STRUMMING GTR: A style simulating a guitar chord strummed upward (downward). Effective when 56 notes are held. KBD COMPING A, B: Styles for keyboard instrument backing. KBD COMPING C, D: Styles in triple meter. KBD COMPING E: A reggae-type style. Effective when 3 notes are held. PERCUSSION: A style suitable for percussive instrument sounds. HARP: The playing style of a harp. SHAMISEN: The playing style of a Shamisen. BOUND BALL: A style suggestive of a bouncing ball. RANDOM: A style in which the notes sound in random order. BOSSANOVA: A style with bossanova guitar cutting. Hold 34 notes for best results. You can increase the tempo and use this as a Samba. SALSA: Typical salsa style. Hold 34 notes for best results. MAMBO: Typical mambo style. Hold 34 notes for best results. LATIN PERCUSION: A rhythm style with Latin percussion instruments such as Clave, Cowbell, Clap, Bongo, Conga, Agogo etc. SAMBA: Typical samba style. Use for rhythm patterns or bass lines. TANGO: Typical tango rhythm style. Hold the root, 3rd and 5th of a triad etc. for best results. HOUSE: A style for house piano backing. Hold 34 notes for best results.
Power Up Mode
Select the condition that the XP-30 will be in when the power is turned on. LAST-SET: The XP-30 will be in the condition it was in when power was last turned off. DEFAULT: The XP-30 will be ready to play Patch USER:001.
Clock Source
Specify the tempo clock of the system. INT: The internal clock will be the tempo clock for the system. MIDI: An external clock will be the tempo clock for the system.
System Tempo
Set the system tempo. * When Clock Source is set to MIDI, the tempo will synchronize to the clock messages received from an external MIDI device, so it will not be possible to set the tempo value. The tempo of the external clock will be displayed in parentheses.
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LIMITLESS: The settings of all parameters can be freely combined without restriction. * Choices can be set for the Motif, Beat Pattern, Shuffle Rate and Accent Rate parameters for each style. Refer to the Arpeggio Style List (p. 182).
Octave Range
Sets the key range in octaves over which arpeggio will take place. If you want the arpeggio to sound using only the notes that you actually play, set this parameter to 0. To have the arpeggio sound using the notes you play and notes 1 octave higher, set this parameter to +1. A setting of -1 will make the arpeggio sound using the notes you play and notes l octave lower.
Motif
Sets the order in which notes of the chord will sound. Some settings will not be available depending on the Style parameter setting. SINGLE UP: Notes will sound singly, starting from the lowest key pressed. SINGLE DOWN: Notes will sound singly, starting from the highest key pressed. SINGLE UP&DOWN: Notes will sound singly, starting from the lowest key pressed, going up and then back down. SINGLE RANDOM: Notes will sound singly in random order. DUAL UP: Notes will sound in pairs, starting from the lowest key pressed. DUAL DOWN: Notes will sound in pairs, starting from the highest key pressed. DUAL UP&DOWN: Notes will sound in pairs, starting from the lowest key pressed, going up and then back down. DUAL RANDOM: Notes will sound in pairs, in random order. TRIPLE UP: Notes you press will sound three at a time, from low to high. TRIPLE DOWN: Notes you press will sound three at a time, from high to low. TRIPLE UP&DOWN: Notes you press will sound three at a time, from low to high and then back down from high to low. TRIPLE RANDOM: Notes you press will sound three at a time, in random order. NOTE ORDER: Notes will sound in the order that they were pressed. Up to 32 notes can be stored, so you can create melody lines by pressing keys in the appropriate order.
Notes will be played in an ascending and descending chromatic scale between the lowest and the highest keys that are pressed. Simply press two notes, the lowest and highest. CHORD: All notes that are pressed will sound simultaneously. BASS+CHORD15: The lowest note that is pressed and other notes will sound as a chord. BASS+UP18: The lowest note that is pressed and other notes will sound as an arpeggio. BASS+RANDOM13: The lowest note that is pressed and other notes will sound randomly. TOP+UP16: The highest note that is pressed and other notes will sound as an arpeggio. BASS+UP+TOP: Simulated fingering of folk guitars three-finger picking technique. GLISSANDO:
Beat Pattern
Select the beat pattern from the choices below. This setting will affect the location of the accent and length of the notes to determine the beat (rhythm). Some settings will not be available depending on the Style parameter setting. 1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111, PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 12, SEQ-D 18, ECHO 13, MUTE 0116, STRUM18, REGGAE12, REFRAIN12, PERC14, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO 12, CLAVE, REV CLA, GUIRO, AGOGO, SAMBA, TANGO 14, HOUSE 12
Accent Rate
Modifies the strength of accents and the length of the notes to adjust the groove feel of the arpeggio. A setting of 100% will produce the most pronounced groove feel.
Shuffle Rate
This parameter allows you to modify the timing of an upbeat between two down-notes next to each other, to create shuffle rhythms. With a setting of 50%, the notes will be spaced evenly. Higher values will give more of a dotted (shuffle) feel.
Key Velocity
Sets the force of the chord. If you wish to use the velocity at which the notes are actually played, set this parameter to REAL. To use a constant velocity regardless of the force with which you play the keyboard, choose a desired value from 1 127.
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HOLD PEDAL
Set the function of the pedal connected to the HOLD PEDAL jack.
Tempo
Sets the speed of the arpeggio. This setting is the same as the tempo of the song. Changing this setting will also affect the songs playback tempo. When the Clock Source parameter (SYSTEM/SETUP/ SYSTEM SETUP) is set to INT, the display will indicate Tempo(=SYS), and this will be the same value as the system tempo. With a setting of MIDI, the display will indicate Tempo(=EXT), and you will be synchronized to the clock of the external MIDI device.
CONTROL PEDAL
Assign the function of the pedals connected to the CONTROL PEDAL jack.
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CONTROL SOURCE
Select the type of MIDI message that will be used to control each of the following functions.
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Chapter 3
GM MIDI
Make MIDI settings for GM mode. To make these settings, press [SYSTEM] when you are in GM mode, and then press [MIDI] located in the row of function buttons.
RECEIVE MIDI
Select whether or not to receive MIDI messages to select Patches, Rhythm Sets, or Performances.
PATCH MIDI
Make MIDI settings for Patch mode. To make these settings, press [SYSTEM] when you are in Patch mode, and then press [MIDI] located in the row of function buttons.
TRANSMIT MIDI
Specify how MIDI messages will be transmitted.
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PREVIEW MODE
Mode (Preview Sound Mode)
SINGLE: The notes specified by Note 14 will sound successively one by one. CHORD: The notes specified by Note 14 will sound simultaneously. PHRASE: The phrase prepared for the Patch type (category) will sound.
PREVIEW KEY
Note 14 (Preview Note Set 14)
Specify the pitch (C-1G9) of the four notes that will sound when Mode (Preview Sound Mode) is set to either SINGLE or CHORD. * If PHRASE is selected for Mode, these settings will have no effect.
PREVIEW VELOCITY
Specify the velocity (0127) of the four notes that will sound when Mode (Preview Sound Mode) is set to either SINGLE or CHORD. * If PHRASE is selected for Mode, these settings will have no effect.
TUNE
Master (Master Tune)
This parameter tunes the internal sound source. The displayed value indicates the pitch (frequency) of the A4 key.
Key Shift
Adjust the pitch of the internal sound source in semitone steps.
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s Checking Things Such as the Installation Status of Wave Expansion Boards (INFO)
INFO EXP (Information Expansion Board)
The names of Wave Expansion Boards installed in slots EXPD and E are displayed. Slots without any boards installed are indicated ----------------. * If for both Expansion D: and Expansion E: an identically named Wave Expansion Board is displayed, it will be possible to select data only from the Wave Expansion Board installed in the EXPD slot. Also, the XP-30 already contains the data of the three Wave Expansion Boards listed below, and if the names of any of these Wave Expansion Boards are displayed, it will be possible to select only the onboard data (XP-AC). - SR-JV80-09 Session (XP-A) - SR-JV80-02 Orchestral (XP-B) - SR-JV80-11 Techno Collection (XP-C)
Arabian Scale
In this scale, E and B are a quarter-note lower and C#, F# and G# are quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, A# and C#, and D# and F# have a natural third (the interval between a major third and a minor third). With the XP-30, you can play Arabian scale in G, C and F keys. <Examples> Note Equal Pure temperament name temperament (tonic C) C C# D Eb E F F# G G# A Bb B 0 0 0 0 0 0 0 0 0 0 0 0 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian scale -6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49
BATTERY CHECK
The XP-30 contains a battery that backs up the data in internal memory. This display allows you to check the battery voltage. If the display indicates OK, there is sufficient battery voltage. If the display indicates LOW, the battery voltage has run down. Contact your nearby Roland service station to have the battery replaced.
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UTIL 1 (Utility 1)
fig.3-20
WRITE
This function writes Patch, Performance or Rhythm Set settings youve modified into user memory (p. 116).
1. Press [UTIL/CARD] so its indicator blinks. The XP-30 will switch to Utility/Card mode.
fig.3-20
COPY
This function copies data from a Patch, Performance or Rhythm Set into the current Patch, Performance or Rhythm Set (p. 117). * The type of data that will be written, copied and initialize depends on the mode you are in when you press [UTIL/CARD]. 2. Press [ ] or [ ] to select the group (UTIL 1, UTIL 2) containing the function you want. 3. Use [ ] or [ ] to select the desired function (the function name will blink), and press [ENTER]. The display of the function youve selected will appear. * You can also access the desired function display by using the numeric keys or function buttons to specify the number of the function. * If you selected the UTIL 2 group function 1: CARD, the CARD display will appear. Here you can once again select the desired function. 4. Set parameters as necessary on each functions display. * To cancel the operation, press [EXIT].
INIT (Initialize)
This resets parameters of the current Patch, Performance or Rhythm Set to default factory settings (p. 119).
UTIL 2 (Utility 2)
fig.4-01
CARD
Here you can make settings related to memory cards (p. 121).
LOAD
This function loads data from memory card into the XP-30s memory (p. 122).
5. Press [ENTER] to execute the function. When the operation is completed, the display will briefly indicate COMPLETED. 6. To return to the UTIL 1 or UTIL 2 displays, press [EXIT]. To return to the display of the previous mode, press [UTIL/CARD] to make the indicator go dark.
SAVE
This function saves data to memory card (p. 122).
FACTORY RESET
This function resets all the settings stored in the XP-30 to the factory default settings (p. 123).
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Chapter 4
* Please be aware that when the Compare function is used to play a Patch, it may sound slightly different than when it is played normally.
Change the displayed ON to OFF and press [ENTER] to turn Internal Write Protect off. Press [ENTER] once again, and the data will be written into user memory. Once you turn Internal Write Protect off, it will remain off until the XP-30s power is turned off.
s Performance Write
The settings of the current Performance will be written into user memory. Press [UTIL/CARD] in Performance mode, and perform Write operation.
fig.4-03.e
* By holding down [SHIFT] and pressing [UTIL/CARD], you can move directly to the RHYTHM WRITE display.
* By holding down [SHIFT] and pressing [UTIL/CARD], you can move directly to the PERFORM WRITE display.
s Patch Write
The settings of the current Patch will be written into user memory. Press [UTIL/CARD] in Patch mode, then perform Write operation.
fig.4-04.e
The Compare function allows you to play the Rhythm Set currently occupying the writing destination, so that you can check whether you really want to overwrite it. To play the Rhythm Set of the writing destination, press [UNDO/COMPARE] to access the RHYTHM COMPARE display. You can select the writing destination Rhythm Set in this display as well. After selecting the writing destination Rhythm Set, press [EXIT] to return to the previous display.
fig.4-07.e
* By holding down [SHIFT] and pressing [UTIL/CARD], you can move directly to the PATCH WRITE display.
* Please be aware that when the Compare function is used to play a Rhythm Set, it may sound slightly different than when it is played normally.
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s Performance Copy
To copy the settings of a Performance, press [UTIL/CARD] in Performance mode, then perform Copy operation.
s Patch Copy
When you want to copy Patch settings to the current Patch, press [UTIL/CARD] in Patch mode and perform Copy operation.
* To specify the currently selected Performance as the copy source, set Source to TEMP. * When the Copy operation is executed, an * will be displayed in front of the copy-destination part name.
Copy source Patch name Copy destination Tone Copy source Tone
* To specify the currently selected Patch as the copy source, set Source to TEMP. * When the Copy operation is executed, an * will be displayed in front of the copy-destination tone.
Copy source
Press [ ] to move to the next display, and then select the contents of the effect that you wish to copy.
fig.4-10.e
Press [ ] to move to the next display, and then select the contents of the effect that you wish to copy.
fig.4-14.e
Copy type
Multi-effects, chorus, and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings
Copy type
Multi-effects, chorus, and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings
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* The Compare function cannot be used with Patch Tone Copy if either TEMP or an XP-AE patch is selected as the copy source patch (Source). * The Compare function cannot be used with Patch Effect Copy if PERFORM is selected as the copy source (Source). * Please be aware that when the Compare function is used to play a Patch, it may sound slightly different than when it is played normally.
* The copy source and copy destination Key parameters can also be set by pressing a key on the keyboard. * When the Copy operation is executed, an * will be displayed in front of the copy-destination key.
* If one of the XP-AE Rhythm Sets is selected as the copysource Rhythm Set (Source), the Compare function is not available. * Please be aware that when the Compare function is used to play a Rhythm Set, it may sound slightly different than when it is played normally.
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s Performance Initialize
To initialize Performance settings, press [UTIL/CARD] in Performance mode and execute initialization.
fig.4-20
s Patch Initialize
To initialize Patch settings, press [UTIL/CARD] in Patch mode and execute initialization.
fig.4-21
The process of transmitting Patch, Performance, Rhythm Set or System data to an external MIDI device is called Bulk dump. This process is used when two XP-30s with the same Patch, Performance and/or Rhythm Set settings are connected for performance or when recording Patch, Performance, Rhythm Set or System data into an external MIDI device as a backup for accidental data deletion.
fig.4-23.e
Destination
* To cancel data transmission, press [EXIT]. * If you expect to successfully use settings that stipulate the use of XP-A/B/C waves and patches after theyve been sent to another unit (XP-50/60/80; or JV-1010/1080/2080), you first need to make sure that the relevant Wave Expansion Boards are installed in the other unit.
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Specifies the data to be transmitted through the combinations as shown below. For example, if you wish to transmit the USER group Patches 001020, you would specify PATCH USER:001-020. Type ALL PERFORM Block USER TEMP USER TEMP CTRL PATCH RHYTHM SYSTEM *1 *2 USER TEMP USER TEMP USER 001002 001128 0132 -PATCH +PATCH *1 *2
Specifies the data to be transmitted through the combinations as shown below. For example if you wish to transmit only the PR-A group Patch 001, specify PATCH PR-A:001-001 * If the specified data will not fit completely into the transmission destination, as much of the data as will fit will be transmitted, starting at the first number of the specified transmission destination. (Example) Block Destination
If the above settings are made and transmission is executed, only the two PR-A group Patches 01 and 02 will be transmitted to USER group Patches 127 and 128. Type ALL PERFORM Block PR-A PR-B USER PR-A, B CARD PATCH USER PR-AC, GM, PR-E XP-A, B XP-C XP-D, E CARD USER PR-AC, GM, PR-E XP-A, C XP-D, E CARD SYSTEM *1 *2 Card 0132 0132 ** 001128 001128 001255 001256 001*** ** 001002 001002 001008 001*** ** ** *1
The current Performance The current Performance and the Patch or Rhythm Set assigned to each Part of the Performance
*2 *1
RHYTHM
*2 *1 *1
Destination
Set the transmission destination to MIDI.
Destination
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File number
File name
Destination
Set the transmission destination to USER. * If the Type parameter has been set to PERFORM, PATCH, or RHYTHM, specify the first number of the transmission destination.
This function prevents user memory from being rewritten to ensure Patch, Performance or Rhythm Set data will not accidentally be lost.
fig.4-30
* Never remove the memory card or turn off the power while an operation (formatting, or data read/write) is being performed on the memory card. Doing so will destroy the data in the memory card and/or render the memory card unusable. * If you affix the write protect label to the write protect area of the memory card, it will be impossible to format the card or write data to it. If you wish to format the card or write data to it, do so without the label affixed. For details on the write protect label, refer to the instruction included with your memory card. If you attempt to format the card or write data to it when the write protect label is affixed, the following message will appear.
fig.4-32
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* Do not touch the contacts of the memory card, or allow them to become soiled.
* If you wish to load only a portion of data from the file, refer to Transmitting Data to User Memory (p. 120).
* Data files contain an entire set of parameter settings for the sound source. It is not possible to save individual Patches or Performances to memory card. * A file name of up to eight characters can be assigned. For details on assigning a name, refer to Assigning a Name (p. 46).
The number of files that can be saved will depend on the memory card you use. S2M-5 (2MB type): approximately 29 files S4M-5 (4MB type): approximately 59 files
File number
File name
File size
Free area
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* If Internal Write Protect is turned ON, the following display will appear, and the Factory Reset operation will not be executed.
fig.3-22
Change the displayed ON to OFF and press [ENTER] to turn Internal Write Protect off. Are You Sure? will be displayed, press [ENTER].
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GM System On Message
The GM System On message puts the unit in a state that conforms to the GM System and initializes a GMcompatible sound module. * If the Rx GM parameter (SYSTEM/MIDI/SYS-EXC MIDI) is set OFF, GM System On messages cannot be received.
Entering GM Mode
Use GM mode to place the XP-30s sound source in GM System compatible mode. Basically GM mode is similar to a special kind of Performance in which a GM System Rhythm Set is assigned to Part 10, and GM System Patches are assigned to other Parts. But however, you cant store GM mode settings in user memory.
fig.5-01.e
Part number
The GM PLAY display shows a Patch or Rhythm Set assigned to each Part. Each time you enter GM mode, the GM Drum Set is assigned to Part 10, and Piano 1 is assigned to other Parts. You can also select other GM Patches and GM Drum Sets for each Part to match the performance. 1. Hold down [SHIFT] and press [PERFORM] to call up the GM PLAY display. When you switch the XP-30 into GM mode, the sound source initializes itself for basic GM System settings. 2. To change the current Part, press [ ] or [ ].
3. To change the GM Patch or GM Rhythm Set assigned to the Part, perform the same procedure as you do when you select a Patch or Rhythm Set.
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OUTPUT
Make settings to specify how each Part will be output.
* In GM mode, you can press the function buttons [2/ 10(EFFECTS)], [4/12(PART)], and [8/16(INFO)]. 4. Use [ ] or [ ] to select a display page. 5. If you have selected a parameter display that can be set independently for each Part, the number of the Part selected for editing will be shown in the display. To select a different Part, press [EDIT] to temporarily turn off the indicator, and use [1-8/9-16] and the function buttons to select a Part. 6. Use [ ] or [ ] to move the cursor to the parameter
you wish to modify. 7. Use the VALUE dial, [INC]/[DEC] or numeric keys and modify the parameter value. * If youve made a mistake in setting the parameter value or you dont like the changes, just press [UNDO/COMPARE] to restore the value to what it was. 8. If you wish to move to another display group, press [EDIT] to make the indicator light, and use the function buttons. * You can also move to another display group by holding down [SHIFT] and using [ ] or [ ]. Since this can be done even when [EDIT] indicator is dark, it is a faster way to get around because you dont have to turn on [EDIT] indicator each time. 9. Repeat steps 38 to complete a GM mode settings. 10. When you finish making settings, press [EXIT] to return to the GM PLAY display. * You can also use the Palette display in the same manner when you edit in Performance mode (p. 65).
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GM REVERB
Make GM mode reverb settings. * In GM mode, the reverb effect settings for the GM Patch assigned to each Part will be ignored (except for the Send Level parameter).
GM CHORUS
Make settings for the chorus effect used in GM mode. * In GM mode, the chorus effect settings for the GM Patch assigned to each Part will be ignored (except for the Send Level parameter).
Chorus input
Reverb input
Chorus
Adjust the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to BYPASS.
M+R: Mix the chorus sound to which reverb is not applied and the chorus sound to which reverb is applied.
fig.3-29.e
Reverb input
Chorus
Reverb
OUTPUT
Chorus input
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Basic Procedure
1. In the GM mode, press [UTIL/CARD] so its indicator blinks. The XP-30 will switch to Utility/Card mode. 2. Press [ ] or [ ] to select the UTIL 1 group.
fig.5-03
SETTING
Make settings for the volume, pan, and pitch of each Part.
Volume
Adjust the volume of each Part.
Pan
Adjust the stereo position of each Part. L64 is full left, 0 is center, and 63R is full right. * If you modify the settings of the Volume parameter or Pan parameter, they will be reflected in the following INFO group displays. * The functions of the UTIL 2 group can also be executed from GM mode. The operation is the same as in other modes. 3. Press [ ] or [ ] to select the desired function (the function name will blink), and press [ENTER]. The display of the function youve selected will appear. * You can also access the desired function display by using the numeric keys or function buttons to specify the number of the function. 4. Set parameters as necessary on each functions display. * To cancel the operation, press [EXIT]. 5. Press [ENTER] to execute the function. When the operation is completed, the display will briefly indicate COMPLETED. 6. To return to the UTIL 1 display, press [EXIT]. To return to the GM PLAY display, press [UTIL/CARD] to make the indicator go dark.
Mod (Modulation Information) Breath (Breath Information) Foot (Foot Information) Vol (Volume Information) Pan (Pan Information) Exp (Expression Information) Hold (Hold 1 Information) Bend (Pitch Bend Information) Aftertouch (Aftertouch Information) Voices (Voice Information)
The number of voices used.
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Copy source
Press [ ] to move to the next display, and then select the contents of the effect that you wish to copy.
fig.5-05.e
Copy type
Multi-effects, chorus, and reverb settings Multi-effects settings Chorus settings Reverb settings Chorus and reverb settings
It is not possible to store GM mode settings in user memory. If you wish to keep your GM mode settings, you can transmit them as a MIDI message to an external MIDI device. Prepare the external MIDI device to record data, and press [ENTER]. The following GM mode settings for each Part are transmitted. - Program number of the GM Patch - Volume (control number 7) - Pan (control number 10) - Reverb send level (control number 91) - Chorus send level (control number 93) - Pitch bend sensitivity - Fine tune - Coarse tune * If you do not want the settings of a specific Part to be transmitted, turn off the Recieve Switch for that Part (p. 124).
* As GM Initialize initializes only GM mode data, data stored in user memory will not be initialized. To initialize all settings to factory settings, use Factory Reset (UTILITY/UTIL 2/ FACTORY RESET) (p. 27). There are two initialize methods. GM-ON: Initializes GM mode settings using a GM System On message. DEFAULT: Initializes all GM mode settings including effects settings to factory settings.
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s Making the Up-Beat Note Sound at the Same Time You Play a Down-Beat Note
1. Select PR-A:087 Music Bells on the PATCH PLAY display and listen to the sound. 2. Call up the TONE DELAY display (PATCH/WAVE). 3. Select Tone 1. 4. Set Tone 1s Mode parameter to PLAYMATE and the Time parameter to 32. 5. Play the XP-30s keyboard keeping a constant tempo. Tones 1 and 2 sound alternately. Tone 1 will sound at the timing point exactly between a note you press and the following note. Try various settings, for instance use different wave or modify the pitch. * Tone 1 will not sound if the two keys are pressed at an interval of 2 seconds or longer.
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* When you have selected PR-B:057, 065, 068, PR-C:094, 096, and 098, it is also possible to sync the EFX parameter variations of the sequencers tempo clock by setting the Source parameter (PATCH/ COMMON/PATCH CLOCK) to SYSTEM. Try it and see.
s Using a Pedal Switch to Modify the Rotary Speed of the Rotary Effect
1. Call up the CONTROL PEDAL display (SYSTEM/ CONTROL) and set the Assign parameter to CC04:FOOT-TYPE. 2. Select PR-A:054 Rocker Spin on the PATCH PLAY display. This Patch uses ROTARY as the EFX type. 3. Call up the PATCH EFX CTRL display (PATCH/ EFFECTS), then set the Speed parameter to FOOT:+63. 4. Connect an optional pedal switch to the CONTROL PEDAL jack. 5. When you wish to speed up the rotary effect, press the pedal switch. Releasing the pedal switch will slow down the rotary effect.
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6. Call up the PATCH display (PERFORM/PART) and set the Number parameter to the same number as the Program number of the sound you wish to play from the external MIDI device. * If the Program number of the external MIDI device reads 0127, set the P.C Number parameter by adding 1 to the external MIDI devices value. 7. Save the Performance. 8. Try changing from another Performance to the Performance just saved, and see if the sound of the external MIDI device changes to what you want. If not, check your settings and the external MIDI device.
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* If you daisy-chain three or more MIDI devices using IN THRU IN THRU ..., the MIDI signal may become garbled, and data errors may occur. In such cases, use a MIDI Thru Box. MIDI Thru Boxes are devices that allow a single stream of MIDI data to be sent to a large number of MIDI devices without causing data errors.
MIDI OUT
XP-30
MIDI IN
MIDI IN
MIDI Keyboard
2. Set the XP-30s transmit channel to match the external MIDI devices receive channel. The transmit channel is determined by the following parameters. - Patch mode Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) - Performance mode Channel parameter (PERFORM/MIDI/MIDI) Turn the Tx parameter (PERFORM/MIDI/MIDI) to ON. 3. If you want to play only the sound source of the external MIDI device, set the Local parameter (SYSTEM/MIDI/ PATCH MIDI) / (SYSTEM/MIDI/PERFORM MIDI) to OFF. If you wish to connect two or more external MIDI devices, use the MIDI THRU connector of the external MIDI device.
fig.6-02.e
XP-30
MIDI OUT
MIDI Keyboard
2. Set the XP-30s receive channel to match the external MIDI devices transmit channel. The receive channel is determined by the following parameters. - Patch mode Rx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) - Performance mode Channel parameter (PERFORM/MIDI/MIDI) Turn the Rx parameter (PERFORM/MIDI/MIDI) to ON.
MIDI OUT
XP-30
MIDI IN
MIDI THRU
MIDI Keyboard
132
Selecting Patches
The MIDI messages transmitted by the external MIDI device will be received by the XP-30 to select Patches as shown in the following table.
Group USER PR-A PR-B PR-C PR-D (GM) PR-E XP-A XP-A XP-B XP-B XP-C XP-C XP-D XP-D XP-E XP-E Number 1128 1128 1128 1128 1128 1128 1128 129255 1128 129255 1128 129256 1128 129256 1128 129256 Bank Select MSB LSB 80 81 81 81 81 81 84 84 84 84 84 84 84 84 84 84 0 0 1 2 3 4 0 1 2 3 4 5 6 7 8 9 Program Number 1128 1128 1128 1128 1128 1128 1128 1127 1128 1127 1128 1128 1128 1128 1128 1128
<Example> Selecting PR-B Patch number 10 from an external MIDI device Transmit data to the XP-30 in the following order. (Values are in decimal.) Controller number 0 (Bank Select MSB button), value 81 Controller number 32 (Bank Select LSB button), value 1 Program number 10
In order to select Rhythm Sets, the MIDI channel of the transmitting device must match the receive channel of Part 10 of the Performance. When the XP-30 is shipped, Part 10 is set to MIDI channel 10.
Selecting Performances
The MIDI messages transmitted by the external MIDI device will be received by the XP-30 to select Performances as shown in the following table.
Group USER PR-A PR-B Number 132 132 132
80 81 81
0 0 1
In order to select a Performance, the MIDI channel of the transmitting device must match the XP-30s Control Channel parameter (SYSTEM/MIDI/PERFORM MIDI). In order to select the Patch or Rhythm Set of a Part, the transmit channel must match the receive channel of the Part. However if the Control Channel parameter and the receive channel of a Part have the same setting, the Control Channel parameter setting will take priority so that messages received on this channel will select Performances.
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Program Number
* This setting determines the transmission speed (baud rate) between your computer and the MIDI sound module (the XP30), and the setting used by the computer must match the setting on the XP-30. Here we explained how to make the setting on the XP-30. To make settings on your computer, you will need to make settings for your software. If you are using Windows, settings may be different than the above, depending on your driver settings. If so, carefully read the owners manual that was included with your driver. * The PC-1 baud rate is 31.25 (kbit/sec), and the PC-2 baud rate is 38.4 (kbit/sec). In step 3, the connections will be slightly different depending on the type of computer you are using, so read the section (3a, 3b) that applies to you. 3a. If youre using a PC, connect the computer cable to the serial port (RS-232C) connector on the rear of the computer. Computer cable: RSC-15AT (sold separately) This is a 9 pin cable. If you need a 25 pin cable, refer to Computer Cable Wiring Diagrams (p. 208) and purchase an appropriate cable. 3b. If youre using an Apple Macintosh computer, connect the computer cable to the modem port or printer port on the rear of the computer. Computer cable: RSC-15APL (sold separately)
Apple Macintosh
PC
* Before changing the setting of the Computer switch, you must first turn off the power on the XP-30.
134
4. Connect the other end of the Computer cable to the COMPUTER connector on the left side of the XP-30.
fig.6-05.e
Apple Macintosh
* In order to hear the sounds of the XP-30, you will also need to connect an AC cord, and audio cables or headphones. If you have not yet made connections, please read Making Connections (p. 24). If you are finished making connections, read from the Turning On the Power (p. 26).
* Before changing the setting of the Computer switch, you must first turn off the power on the XP-30.
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3. Use a MIDI cable (sold separately) to connect the MIDI OUT connector of the MIDI interface to the MIDI IN connector of the XP-30. 4. Use a MIDI cable to connect the MIDI IN connector on the MIDI interface to the MIDI OUT connector on the XP-30. * This connection is necessary in order to use the controller section (keyboard section) of the XP-30.
fig.6-07.e
Apple Macintosh
MI
IN
DI
OU T
PC
Super MPU64
136
s Disconnecting the Keyboard from the Internal Sound Source (Local OFF)
The XP-30 contains a controller section (keyboard section) and sound generating section, packaged as a single unit. This means that you can make a setting (Local Control) that specifies whether or not the performance data from the keyboard will be transmitted directly to the sound source. When you use the XP-30 by itself, you will normally set it to Local ON. However, when you are using it as a sound generator for a DTM (desktop music) system, you should set the Local parameter (SYSTEM/MIDI/PERFORM MIDI) to OFF so that the keyboard will be disconnected from the internal sound generator.
fig.6-08.e
Sequencer Recording Set to Thru Function On. All performance data that arrives at MIDI IN will be output from MIDI OUT.
XP-30
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While at this setting, the XP-30s keyboard and controllers are disconnected from the sound generating section, so they will not directly control it.
138
Appendices
139
Appendices
Troubleshooting
If the this unit does not function in the way you expect, first check the following points. If this does not resolve the problem, consult your dealer or a nearby Roland Service Station (listed at the end of this manual). * If a message appears during operation, consult the following section Error Messages (p. 142) - Has the volume been lowered by pedal operations or by MIDI messages (volume messages or expression messages) received from an external MIDI device? Use the Panic function to raise the volume (p. 60). If you are in Performance mode, access the INFO display (PERFORM/INFO) to check the settings of the Volume message (Vol) and Expression message (Exp) parameters, and make the appropriate settings. - Is the rear panel COMPUTER switch set to the correct position? If you are using the XP-30 while connected to a computer, make settings as appropriate for the connection method, the type of computer, and the settings of the driver (p. 134). * Turn off the XP-30s power before changing the position of the COMPUTER switch.
No Sound
- Is the power turned on for the other devices connected to the this unit? - Is the VOLUME slider turned all the way down? - Are the connections correct? When using the XP-30 by itself, connect audio cables or headphones (p. 24). When using the XP-30 with a computer, use a Computer cable or MIDI cables to connect it to the computer (p. 134). You will also need to connect audio cables or headphones (p. 24). - Can you hear sound through headphones? If you can hear sound through headphones, the problem may be that the audio cable transmitting the sound to the other devices is broken or incorrectly connected, or that there is a problem with your mixer/amp/speaker system. - If you do not hear sound when you play the keyboard, check whether the Local Switch, a System parameter, is turned OFF. Set the Local parameter (SYSTEM/MIDI/PATCH MIDI, PERFORM MIDI, GM MIDI) to ON (p. 112). - If a layer-type performance is selected, has the Local switch of the part been turned off? Set the Local parameter (PERFORM/MIDI/MIDI) to ON (p. 86). - Have all tones in the patch been turned off? Press the TONE SWITCH [1][4] buttons to make the indicators light. - If you have selected settings that use an XP-D or E Wave, Patch, or Rhythm Set, is the specified Wave Expansion Board installed correctly? (p. 16, 20)
140
Troubleshooting
- Does the MIDI send channel for the XP-30s controller match the MIDI receive channel for the connected MIDI instrument? In the Patch mode, make the setting for the Tx-Ch parameter (SYSTEM/MIDI/PATCH MIDI) (p. 112). In the Performance mode, set the MIDI send channel with the Channel parameter (PERFORM/MIDI/MIDI) (p. 86).
Sound Is Distorted
- Is an effect which distorts the sound being applied? (p. 93) - If the sound is distorted for specific patches or parts, lower the volume level of those patches or parts (p. 81, 87). - If all sounds are distorted, use the VOLUME slider to lower the volume level.
Pitch Is Incorrect
- Is the tuning of the XP-30 incorrect? Check the Master parameter (SYSTEM/TUNE/TUNE) (p. 113). - Has the pitch been changed by pedal operations or by pitch change messages received from an external MIDI device? Use the Panic function to reset the original values (p. 60). If you are in Performance mode, access the INFO display (PERFORM/INFO) to check the settings of the Pitch Bend Message parameter (Bend), and make the appropriate settings (p. 87). - Have the Coarse Tune or Fine Tune parameters been set for specific parts? Check the Coarse parameter and Fine parameter (PERFORM/PART/SETTING) (p. 87).
When Using Sequencing Software, Operating the Sliders or Other Controls Does Not Affect the Sound
- Some sequencer software does not soft-thru system exclusive messages. If you are using this type of sequencer software and wish to record system exclusive messages, turn the XP-30s Local parameter ON (p. 112).
- Is the effect switch turned OFF for Multi-Effects, Chorus, or Reverb? To check these settings, press [EFFECTS ON/OFF] (p. 62).
141
Appendices
Error Messages
If there has been a mistake in operation, or if the XP-30 is unable to continue processing as you directed, an error message will appear in the display. Take the appropriate action for the displayed error message. This section gives the error messages in alphabetical order.
Battery Low
Situation: Action: The internal backup battery that is preserving the contents of user memory has run down. Consult your dealer or a nearby Roland service station to have the battery replaced.
Action:
142
s Patch Mode
Selecting the Patch Mode PLAY Display
Press [PATCH].
Selecting a Patch
Use the VALUE dial, [INC]/[DEC], or numeric keys to select.
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys to select a Patch. The rest is the same as for the basic procedure listed above.
s Performance Mode
Selecting the Performance Mode PLAY Display
Press [PERFORM].
143
Appendices
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys to select a Patch or Rhythm Set.
6. Use [ ]/[ ] to select the desired display page. 7. Use [ ]/[ ] to select a parameter.
8. Use the keyboard to select a rhythm instrument. 9. Use the VALUE dial, [INC]/[DEC], or the numeric keys to modify the value.
s Controller Settings
Changing the Range of the Pitch Bend Lever (for each Patch)
Bend Range parameter (PATCH/CONTROL/KEY MODE&BENDER)
7. Use the VALUE dial, [INC]/[DEC], or the numeric keys to modify the value. * If you wish to move to a different parameter group, turn on the [EDIT] indicator.
Reversing the Polarity of CONTROL PEDAL (when using a pedal of another manufacturer whose polarity is reversed)
Polarity parameter (SYSTEM/CONTROL/CONTROL PEDAL)
3. Use the VALUE dial, [INC]/[DEC], or the numeric keys to select a Rhythm Set. 4. Make the [EDIT] indicator light. 5. Use the function buttons to select the parameter group.
144
Saving User Memory Settings and System Settings to Memory Card as a Unit
1. Press [UTIL/CARD]. 2. Select 3: SAVE on the UTIL 2 display. 3. Assign a file name. 4. Press [ENTER].
Changing the Transmit Channel for Performance Mode (for each Part)
Channel parameter (PERFORM/MIDI/MIDI) * Keyboard and controller movements (MIDI messages) from the controller section are transmitted differently depending on whether a single-type Performance or a layer-type Performance is selected. If a single-type Performance is selected, MIDI messages will be transmitted on the MIDI channel of the Part that is being played by the keyboard. If a layer-type Performance is selected, MIDI messages will be transmitted on the MIDI channel of the Parts whose Tx parameter (PERFORM/MIDI/ MIDI) is turned ON.
145
Appendices
s Other
Using the Panic Function
Press [SHIFT] + [PANIC].
Transmitting Bank Select Messages for the Patch Assigned to a Specific Part when a Performance is Selected
1. Set the Bank Select Group parameter (PERFORM/MIDI/ TRANSMIT) to the desired Bank Select Group number (BS1BS7). 2. Save the Performance. 3. In the BANK SEL-GROUP display (SYSTEM/MIDI/ BANK SEL-GROUP), select the Bank Select Group that you specified in step 1. 4. Turn the Switch parameter ON, and specify the MSB and LSB.
Turning Reception of Volume/Hold 1/ Program Change MIDI Messages ON/ OFF for Each Part (Performance)
Rx SWITCH display (PERFORM/MIDI)
Turning Reception of Volume/Pan/Pitch Bend/Hold 1/Redamper MIDI Messages ON/OFF for Each Tone (Patch)
Rx SWITCH/DAMPER display (PATCH/CONTROL)
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Parameter List
s Patch Parameters
* Parameters that can be set independently for each Tone are indicated by T.
VELOCITY
T T T T T T T
*1: NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS, SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH, PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE, DRUMS, COMBINATION
PATCH REVERB
*1: Refer to EFX parameters. *2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH *3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
147
Appendices
Parameter List
PORTAMENTO
RxSWITCH
T T T T T
T T T T T T
*1: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY, KEYFOLLOW, PLAYMATE *2: OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R
FXM
TONE DELAY
*1: NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC *2: When the Tone Delay Mode parameter is set to CLOCK-SYNC this is set as a Note value.
*1: When the LFO External Sync parameter is set to CLOCK this is set as a Note value. *2: Same as LFO1.
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Parameter List
PCH ENVELOPE
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 *2: -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200 *3: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF VELOCITY
TVF ENVELOPE
*1:-100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200 *2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
BIAS
PAN MODULATE
TVA ENVELOPE
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
149
Appendices
Parameter List
s Performance Parameters
* Parameters that can be set independently for each Part are indicated by P.
P P P
PERFORM CHORUS
PERFORM REVERB
Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level
*1: Refer to EFX parameters. *2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH *3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
RxSWITCH
TRANSMIT
150
Parameter List
SETTING
RESERVE
PERFORM CHORUS
PERFORM REVERB
*1: Refer to EFX parameters. *2: OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH *3: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
151
Appendices
Rate Depth Delay Fbk Level Out Type Time Fbk HF Damp Level
Parameter List
RxSWITCH
*1: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 *2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
TVF VELOCITY
TVF ENVELOPE
*2: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
*1: -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100
152
Parameter List
s GM Mode Parameters
* Parameters that can be set independently for each Part are indicated by P.
GM CHORUS
GM REVERB
*1: Refer to EFX parameters. *2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
153
Appendices
Parameter List
s EFX Parameters
1: STEREO-EQ (p. 93)
Parameter LowFreq LowGain Hi Freq Hi Gain P1 Freq P1 Q P1 Gain P2 Freq P2 Q P2 Gain Level Low frequency Low gain High frequency Hi gain Peaking1 frequency Peaking1 Q Peaking1 gain Peaking2 frequency Peaking2 Q Peaking2 gain Output level Value 200, 400 Hz -15+15 dB 4000, 8000 Hz -15+15 dB 2008000Hz (*1) 0.5, 1.0, 2.0, 4.0, 8.0 -15+15 dB 2008000 Hz (*1) 0.5, 1.0, 2.0, 4.0, 8.0 -15+15 dB 0127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
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Parameter List
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
Parameter Pre Dly Rate Depth Fbk Phase Step Rate LowGain Hi Gain Balance Level Pre delay time Rate Depth Feedback level Phase Step rate Low gain High gain Effect balance Output level
Value 0.0100.0 ms 0.0510.00 Hz 0127 -98+98% 0180 degree 0.1020.00 Hz, note -15+15 dB -15+15 dB D100:0WD0:100W 0127
155
Appendices
Parameter List
Pre delay time Gate time HF damp Low gain High gain Effect balance Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
156
Parameter List
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPASS
157
Appendices
Parameter List
s System Parameters
SETUP Group (p. 108)
Display SYSTEM SETUP Parameter LCD Power Up Mode Patch Remain Clock Source System Tempo Category Select Mode LCD contrast Power up mode Patch remain switch Clock source System tempo Category select mode Value 110 LAST-SET, DEFAULT OFF, ON INT, MIDI 20250 LAST-SET, DEFAULT
*1: 1/4, 1/6, 1/8, 1/12, 1/16, 1/32, PORTAMENTO A, PORTAMENTO B, GLISSANDO, SEQUENCE A, SEQUENCE B, SEQUENCE C, SEQUENCE D, ECHO, SYNTH BASS, SLAP BASS A, SLAP BASS B, WALK BASS, RHYTHM GTR A, RHYTHM GTR B, RHYTHM GTR C, RHYTHM GTR D, RHYTHM GTR E, 3 FINGER GTR, STRUMMING GTR, KBD COMPING A, KBD COMPING B, KBD COMPING C, KBD COMPING D, KBD COMPING E, PERCUSSION, HARP, SHAMISEN, BOUND BALL, RANDOM, BOSSA NOVA, SALSA, MAMBO, LATIN PERCUSSION, SAMBA, TANGO, HOUSE, LIMITLESS *2: SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN, DUAL RANDOM, TRIPLE UP, TRIPLE DOWN, TRIPLE UP&DOWN, TRIPLE RANDOM, NOTE ORDER, GLISSANDO, CHORD, BASS+CHORD15, BASS+UP18, BASS+RANDOM13, TOP+UP16, BASS+UP+TOP *3: 1/4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, PORTA-A 0111, PORTA-B 0115, SEQ-A 17, SEQ-B 15, SEQ-C 12, SEQ-D 18, ECHO 13, MUTE 0116, STRUM 18, REGGAE12, REFRAIN 12, PERC14, WALKBS, HARP, BOUND, RANDOM, BOSSA NOVA, SALSA 14, MAMBO 12, CLAVE, REV CLA, GUIRO, AGOGO, SAMBA, TANGO 14, HOUSE 12
*1: CC0095 (except for 6, 32-63), PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, TAP-TEMPO, OCT-UP, OCT-DOWN *2: CC0095 (except for 6, 32-63), PITCH BEND, AFTERTOUCH
158
Parameter List
PATCH MIDI
SYS-EXC MIDI
BANK-SEL GROUP
LOW, OK
159
Appendices
Waveform List
INT-A (Internal A)
No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 Name Ac Piano1 A Ac Piano1 B Ac Piano1 C Ac Piano2 pA Ac Piano2 pB Ac Piano2 pC Ac Piano2 fA Ac Piano2 fB Ac Piano2 fC Piano Thump Piano Up TH MKS-20 P3 A MKS-20 P3 B MKS-20 P3 C SA Rhodes 1A SA Rhodes 1B SA Rhodes 1C SA Rhodes 2A SA Rhodes 2B SA Rhodes 2C E.Piano 1A E.Piano 1B E.Piano 1C E.Piano 2A E.Piano 2B E.Piano 2C E.Piano 3A E.Piano 3B E.Piano 3C MK-80 EP A MK-80 EP B MK-80 EP C D-50 EP A D-50 EP B D-50 EP C Celesta Music Box Clav 1A Clav 1B Clav 1C Organ 1 Jazz Organ 1 Jazz Organ 2 Organ 2 Organ 3 Organ 4 Rock Organ Dist. Organ Rot.Org Slw Rot.Org Fst Pipe Organ No. 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 Name Nylon Gtr A Nylon Gtr B Nylon Gtr C 6-Str Gtr A 6-Str Gtr B 6-Str Gtr C Gtr Harm A Gtr Harm B Gtr Harm C Comp Gtr A Comp Gtr B Comp Gtr C Comp Gtr A+ Mute Gtr 1 Mute Gtr 2A Mute Gtr 2B Mute Gtr 2C Pop Strat A Pop Strat B Pop Strat C Jazz Gtr A Jazz Gtr B Jazz Gtr C JC Strat A JC Strat B JC Strat C JC Strat A+ JC Strat B+ JC Strat C+ Clean Gtr A Clean Gtr B Clean Gtr C Stratus A Stratus B Stratus C OD Gtr A OD Gtr B OD Gtr C OD Gtr A+ Heavy Gtr A Heavy Gtr B Heavy Gtr C Heavy Gtr A+ Heavy Gtr B+ Heavy Gtr C+ PowerChord A PowerChord B PowerChord C EG Harm Gt.FretNoise Syn Gtr A No. 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Name Syn Gtr B Syn Gtr C Harp 1A Harp 1B Harp 1C Banjo A Banjo B Banjo C Sitar A Sitar B Sitar C Dulcimer A Dulcimer B Dulcimer C Shamisen A Shamisen B Shamisen C Koto A Koto B Koto C Pick Bass A Pick Bass B Pick Bass C Fingerd Bs A Fingerd Bs B Fingerd Bs C E.Bass Fretless A Fretless B Fretless C UprightBs 1 UprightBs 2A UprightBs 2B UprightBs 2C Slap Bass 1 Slap & Pop Slap Bass 2 Slap Bass 3 Jz.Bs Thumb Jz.Bs Slap 1 Jz.Bs Slap 2 Jz.Bs Slap 3 Jz.Bs Pop Syn Bass A Syn Bass C Mini Bs 1A Mini Bs 1B Mini Bs 1C Mini Bs 2 Mini Bs 2+ MC-202 Bs A No. 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 Name MC-202 Bs B MC-202 Bs C Flute 1A Flute 1B Flute 1C Blow Pipe Bottle Shakuhachi Clarinet A Clarinet B Clarinet C Oboe mf A Oboe mf B Oboe mf C Sop.Sax mf A Sop.Sax mf B Sop.Sax mf C Alto Sax 1A Alto Sax 1B Alto Sax 1C Tenor Sax A Tenor Sax B Tenor Sax C Bari.Sax f A Bari.Sax f B Bari.Sax f C Harmonica A Harmonica B Harmonica C Chanter Tpt Sect. A Tpt Sect. B Tpt Sect. C Trumpet 1A Trumpet 1B Trumpet 1C Trumpet 2A Trumpet 2B Trumpet 2C HarmonMute1A HarmonMute1B HarmonMute1C Trombone 1 French 1A French 1C F.Horns A F.Horns B F.Horns C Violin A Violin B Violin C No. 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 Name Cello A Cello B Cello C ST.Strings-R ST.Strings-L MonoStringsA MonoStringsC Pizz JP Strings1A JP Strings1B JP Strings1C JP Strings2A JP Strings2B JP Strings2C Soft Pad A Soft Pad B Soft Pad C Fantasynth A Fantasynth B Fantasynth C D-50 HeavenA D-50 HeavenB D-50 HeavenC Fine Wine D-50 Brass A D-50 Brass B D-50 Brass C D-50 BrassA+ DualSquare A DualSquare C DualSquareA+ Pop Voice Syn Vox 1 Syn Vox 2 Voice Aahs A Voice Aahs B Voice Aahs C Voice Oohs1A Voice Oohs1B Voice Oohs1C Voice Oohs2A Voice Oohs2B Voice Oohs2C Voice Breath Male Ooh A Male Ooh B Male Ooh C Org Vox A Org Vox B Org Vox C Vox Noise
* * * * *
160
Waveform List
INT-B (Internal B)
No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 Name Kalimba Marimba Wave Log Drum Vibes Bottle Hit Glockenspiel Tubular Steel Drums Fanta Bell A Fanta Bell B Fanta Bell C FantaBell A+ Org Bell Agogo DIGI Bell 1 DIGI Bell 1+ DIGI Chime Wave Scan Wire String 2.2 Bellwave 2.2 Vibwave Spark VOX MMM VOX Lead Wave Synth Reed Synth Saw 1 Synth Saw 2 Syn Saw 2inv Synth Saw 3 JP-8 Saw A JP-8 Saw B JP-8 Saw C P5 Saw A P5 Saw B P5 Saw C D-50 Saw A D-50 Saw B D-50 Saw C Synth Square JP-8 SquareA JP-8 SquareB JP-8 SquareC Synth Pulse1 Synth Pulse2 Triangle Sine Org Click White Noise Pink Noise Metal Wind Wind Agogo No. 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 Name Feedbackwave Spectrum BreathNoise Rattles Ice Rain Tin Wave Anklungs Wind Chimes Orch. Hit Tekno Hit Back Hit Philly Hit Scratch 1 Scratch 2 Scratch 3 Natural SN1 Natural SN2 Piccolo SN Ballad SN SN Roll 808 SN Brush Slap Brush Swish Brush Roll Dry Stick Side Stick Lite Kick Hybrid Kick1 Hybrid Kick2 Old Kick Verb Kick Round Kick 808 Kick Verb Tom Hi Verb Tom Lo Dry Tom Hi Dry Tom Lo Cl HiHat 1 Cl HiHat 2 Op HiHat Pedal HiHat 606 HiHat Cl 606 HiHat Op 808 Claps Hand Claps Finger Snaps Ride 1 Ride 2 Ride Bell 1 Crash 1 China Cym No. 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Name Cowbell 1 Wood Block Claves Bongo Hi Bongo Lo Cga Open Hi Cga Open Lo Cga Mute Hi Cga Mute Lo Cga Slap Timbale Cabasa Up Cabasa Down Cabasa Cut Maracas Long Guiro Tambourine Open Triangl Cuica Vibraslap Timpani Applause REV Orch.Hit REV TeknoHit REV Back Hit REV PhillHit REV Steel DR REV Tin Wave REV NatrlSN1 REV NatrlSN2 REV PiccloSN REV BalladSN REV Side Stk REV SN Roll REV Brush 1 REV Brush 2 REV Brush 3 REV LiteKick REV HybridK1 REV HybridK2 REV Old Kick REV Timpani REV VerbTomH REV VerbTomL REV DryTom H REV DryTom M REV ClHiHat1 REV ClHiHat2 REV Op HiHat REV Pedal HH REV 606HH Cl * * * * * * * * * * * * * * * * * * No. 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 Name REV 606HH Op REV Ride REV Cup REV Crash 1 REV China REV DrySick REV RealCLP REV FingSnap REV Cowbell REV WoodBlck REV Clve REV Conga REV Tamb REV Maracas REV Guiro REV Cuica REV Metro Loop 1 Loop 2 Loop 3 Loop 4 Loop 5 Loop 6 Loop 7 R8 Click Metronome 1 Metronome 2 MC500 Beep 1 MC500 Beep 2 Low Saw Low Saw inv Low P5 Saw Low Pulse 1 Low Pulse 2 Low Square Low Sine Low Triangle Low White NZ Low Pink NZ DC *
* * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * * * * * * * *
* * * *
* * * *
* * * * * * * * * * * * * * *
* * * * * * *
* * * * *
161
Appendices
Waveform List
*:These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key.
162
Waveform List
4 98 4 99 4 100 4 101
102 Key C D E F G 4 4 4 4 4
Gtr FX MENU No. 103 104 105 106 107 Name Gtr Feedback Gtr Scrap Gtr Slid Nz Gtr Cut Nz Gtr Slap
128 Key C D E F G A B C D E F G A B C D 4 4 4 4 4 4 4 5 5 5 5 5 5 5 6 6
Snr&Tom MENU No. 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 Name Loose Snr Ring Snr 808 Snr 2 909 Snr 2 909 Snr 3 90s Snare Solo Snr Rap Snr Talk Snr Jingle Snr House Snr Snr Buzz Tiny Snr 2 Mute Snr 909 Rim 2 909 Tom 2
152 Key
C 4 153 D 4 154
155 Key
108 Key C D E F G A B C D E F G 4 4 4 4 4 4 4 5 5 5 5 5
FX MENU No. 116 109 110 111 112 113 114 115 117 118 119 120 Name Auhvox Sm.Club Sm.Club fw Sm.Club lp FX Bell 1 FX Bell 1fw FX Bell 2 FX Bell 2fw Tekno Hit 2 Tekno Hit 3 Tekno Loop FX Bomb
159 Key C D E F 4 4 4 4
Shaker MENU2 No. 160 161 162 163 Name 626 Shaker Shaker 3 Shaker 4 Shaker 5
163
Appendices
Waveform List
164
Waveform List
* *
* *
* * * * *
*: These are Menu Waveforms. Many different Waveforms are provided, each one assigned to a different key. **: These are the phrase loop waveforms. The numbers (116184) included in the wave name represent the B.P.M. (tempo) when played at the C4 key. And these waveforms can be synchronized to a device such as a sequencer.
165
Appendices
Waveform List
* * * *
122 123
146 147
89 Key
INDUST MENU No. Name Indust Bomb Door Comp PCM Press ElectricDunk Thrill Drill Hit MachineShout Air Gun Swish Emergency Buzzer TB reso Tonality * *
69 Key C 4 C# 4
72 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 # 5
HIT MENU 1 No. 74 Name Beam Hiq Noise Click * Electro Prc * Anaolog Bird ElectronFall Retro UFO Jungle Beep PC-2 Machine Dance Prc * Dr.Beat CR78 Beat * Mental Perc May Day Perc PC-2 Spacers
75 76 77 78 79 80 81 82 83
C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5
124 Key
TMB&SKR MENU No. 125 126 127 128 Name Tambourine 2 Battle Tamb TechnoShaker Dance Shaker TR808 Maracas CR78 Guiro *
139 Key C C# D D# E
CHH MENU 2 No. Name Pop CHH Pop CHH 2 Bristol CHH Lithe CHH R8 CHH * * *
90 91 92 93 94 95 96 97 98
107 Key
TOM MENU No. Name TR909 Tom TR909 DstTom TR808 Tom TR606 Tom TR606 TR707 Tom TR707 Deep Tom Kick Tom Natural Tom Can Tom
C 4 108 C# 4 109 D 4 110 D# 4 111 E 4 112 CmpTom F 4 113 F# 4 114 CmpTom G 4 115 G# 4 116 A 4 117 A# 4 118
C C# D D# E * F
4 4 4 4 4 4
4 148 4 4 149 4 4
150 Key
PHH MENU No. 151 152 153 154 155 Name TR909 PHH 1 TR909 PHH 2 TR808 PHH TR808 PHH 2 * TR606 PHH TR606 PHH 2 * TR707 PHH HH Pedal *
129 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4
COW&RIM MENU No. 130 131 132 133 134 135 136 Name TR808Cowbell TR707Cowbell CR78 Cowbell TR727 Agogo TR909 Rim TR909 Dst Rim* TR808 Rim TR808 RimLng TR707 Rim * Ragga Rim * TR808 Claves
C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4
137
166
Waveform List
156 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5
OHH MENU No. 157 158 159 160 161 162 163 164 Name TR909 OHH 1 TR909 OHH 2 TR909 OHH 4 * TR909 OHH 3 TR909 DstOHH TR808 OHH 2 * TR808 OHH TR808 OHH 3 * TR606 DstOHH TR707 HH * TR707 OHH CR78 OHH DM OHH * Hop OHH * R8 OHH Cym OHH
176 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5
CLAP MENU No. 177 178 179 180 181 182 Name TR909 Clap TS Clap TR909 Clap 2 * Clap Stop 808 Comp Clp * TR707 Clap HC2 Dry Clap DM Clap * Scratch Clap Real Clap * Groove Clap * Comp Clap Claptail 909 Clp Fuzz *
186 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5
SNR MENU 2 No. 201 202 203 204 205 206 Name TR606 Snr 1 TR606 Snr 2 606 Snr Dst TR606 Snr 3 TR707 Snr 1 TR707 Snr 3 TR707 snr 2 CR78 Snare Clap Snare 2 Jungle Snr 9 Rage Snare 2 Clap Snare 3 Clap Snare 4
188 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4
SNR MENU 4 No. 218 219 220 221 222 Name Jungle Snr 1 Jungle Snr 2 Jungle Snr 3 Jungle Snr 6 * Jungle Snr 4 Jungle Snr 7 * SideStickr Cross Snr * Jungle Rim * Ragga Snr 2 Lo-fi Snare
229 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5
KICK MENU 1 No. 231 232 233 234 235 236 237 238 239 240 241 242 Name TR909 Kick 1 TR909 Kick 2 TR909 Kick 3 * Plastic BD 1 Plastic BD 2 TR909 Kick 4 * TR808 Kick 1 TR808 Kick 2 TR808 Kick 3 TR606 Kick 1 TR606 Kick 2 606 Dst Kick * TR707 Kick 1 TR707 Kick 1 Culture Kick
183 184
* * * * *
223 224
189 Key
SNR MENU 5 No. 225 226 227 228 Name Jungle Snr 10 Jungle Snr 5 Jungle Snr 8 Urban Snare Lite Snare Sim Snare Electro Snr Roll Snare * * * *
165 166
187 185 Key SNR MENU 1 No. 190 191 192 193 194 195 196 Name TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 8 TR909 Snr 6 TR909 Snr 7 909 Snr Dst 909 Snr Fuzz TR808 Snr 5 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR808 Snr 4 TR808 Snr 6 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5
SNR MENU 3 No. 207 208 209 210 211 212 213 Name Headz Snare Deep Snare Fat Snare R&B Snare * Antigua Snr MC Snare DJ Snare Macro Snare Lofi Snare * Pistol Snr * Clap Snare Rage Snare Indus Snare TekRok Snare Indus Snare *
167 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4
CYMBAL MENU No. 168 169 170 171 172 173 174 175 Name TR606 Cym 1 TR606 Cym 2 TR606 DstCym TR909 Ride TR909DstRide TR707 Ride TR909 Crash TR909DsCrash
C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5
C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4
230 Key C 4 C# 4 D 4 D# 4 E 4 F 4 F# 4 G 4 G# 4 A 4 A# 4 B 4 C 5 C# 5 D 5 D# 5
KICK MENU 2 No. 243 244 245 246 247 248 249 250 251 252 253 254 255 Name Hop Kick * Optic Kick Lo-Fi BD Wet Kick DR Cmp Kick * Video Kick JungleKick 1 Street Kick Turbo Kick JungleKick 2 Tekno KIck Sim Kick Dance Kick 2 * Amsterdam BD TR909 Dst BD Roll Kick
* * *
167
Appendices
Patch List
USER (User Group)
No. Name 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Voice Key Assign POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY No. Name 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Voice Key Assign POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY POLY SOLO POLY POLY POLY POLY POLY POLY Temple of XP 4 Power Split 4 Symphonique2 4 Robot Voice 4 St.Concert 4 ViennaStrgs2 4 R&R Brass 3 Disto Stack 4 Tone Wh.Solo 3 Combing Slow 3 SessionNyln2 3 Celestial 2 4 Poly Brs 4 DanceStack 1 3 303 Ow Bass 1 Flying Waltz 4 Silky Way 2 Simply June 1 Solo Vln 1 / 4 Super Tenor 3 Metal Solo 4 Creator 3 Amsterdamer 2 Techno Pizz 1 SA Rhodes 3 3 Dim Hit 1 4 Pan Pipes 2 JP-8 Str 1 2 Pretty Bells 2 Aurora 4 Breathy Humz 2 Full Orch.2 4 Clean Tele 4 Dunes 4 Cyber-Trance 3 RiversOfTime 4 F.Hrn Sect5/ 3 DreamVoices2 2 HeavenlyPad 2 Sop.Sax mf 2 Sweep Clav 2 3 Cold JX 1 Solo Vc 1 / 3 RichStrings2 4 Techno Dream 3 StateXLChord 4 Delicate EP 2 Bassic Needs 2 Perky B 2 SquareLead 2 2 Earth Blow 2 BassMarimba1 2 Morning Lite 2 Raggatronic 4 Brass ff 1 2 Acc.de Paris 2 Oboe 1 2 Velo Power 4 Vintage Call 4 Steel Away 3 Spectrum Mod 4 Raverborg 4 Poly Saws 4 Adrenaline 4 Heirborne 4 Trumpet 2 Glistening 4 Banded Jupe 1 SingingMini 1 Chamber Ens2 2 DanceStack 5 4 SA Rhodes 4 4 Breathy Brs 3 Atmos Harp 4 303 Bass 2 Flute 1 Perc Hit 2 / 4 Oldies Organ 2 Dulcimer 2 Warmer Pad 2 2 ARPsychea 4 Choir 1 3 Agitato Str2 4 Pure Tibet 1 Flugelhorn 1 2 D-50 Stack 4 Noiz Mania 4 Slap Bass 2 1 Amazing Echo 4 Moving Glass 1 BluesHarp 1 Tria Bells 4 DirtyOrgan 2 2 Dawn 2 Dusk 3 Just Lovely 1 SquareKeys 2 1 Natural Vlns 2 Arasian Morn 4 Euro-Dance 2 3 5th Pad 4 Liquid Sky 4 Sci-Fi Bells 3 Nomad Perc 3 Orn.Recorder 3 FXM Saw Lead 4 Atlantis 2 4 Taj Mahal 1 X-hale 4 Stacc.Heaven 4 Altamira 2 Hit House 4 Solo F.Horn1 1 Celesta 1 1 ORBit Pad 2 SessionBrass 4 Sugar Bell 4 ChristmasFlt 2 Strobe Mode 4 Cave 4 TenorExprss2 2 Impact 4 X-Tronic Jam 4 WarmViolins2 4 Rain Forest 4 Brass Ens 4 3 Perelandra 4 Teknoperator 4 Crowds 4
168
Patch List
169
Appendices
Patch List
*1: Uses XP-A (Session) waves. *2: Uses XP-B (Orchestral) waves.
170
Patch List
171
Appendices
Patch List
172
Patch List
* The numbers in parenthesis following the Patch name represent the B.P.M. (tempo) when played at the C4 key. * Note that the Release Time has been set to a fairly long value for some of the patches. As a result, if your sound generator has been set so Patch Remain is ON, the release portion of a previously sounding patch may continue to be heard even after switching to a new
173
Appendices
Patch List
Original B.P.M.
key F# 2 F# 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 c.t -18 -18 -17 -17 -16 -16 -16 -15 -15 -15 -14 -14 -14 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 f.t -01 +41 -18 +22 -39 -01 +36 -28 +08 +43 -23 +11 +44 -24 +08 +39 -30 00 +30 -41 -13 +15 +43 -30 -03 +24 +50 -25 +01 +26 -50 -26 -02 +22 +45 -32 -09 +13 +35 -43 -22 -01 +20 +41 -38 -18 +02 +22 +41 -39 -20 -01 +17 +36 -46 -28 -10 +08 +26 +43 -40 -23 -06 +11 +28 +44 -40 -24 -08 +08 +24 +39 -45 -30 -15 00 +15 +30 +44 -41 -27 -13 +01 +15 +29 +43 -43 -30 -16 -03 +11 +24 +37 +50 -37 -25 -12 +01 +13 +26 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
116
key D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C 5 C# 5 C# 5 c.t +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +12 +13 +13 f.t +38 -50 -38 -26 -14 -02 +10 +22 +33 +45 -43 -32 -21 -09 +02 +13 +24 +35 +46 -43 -32 -22 -11 -01 +10 +20 +31 +41 -49 -38 -28 -18 -08 +02 +12 +22 +32 +41 -49 -39 -30 -20 -11 -01 +08 +17 +27 +36 +45 -46 -37 -28 -19 -10 -01 +08 +17 +26 +34 +43 -48 -40 -31 -23 -14 -06 +03 +11 +19 +28 +36 +44 -48 -40 -32 -24 -16 -08 00 +08 +16 +24 +32 +39 +47 -45 -38 -30 -23 -15 -07 00 +07 +15 +22 +30 +37 +44 -49 -41
Method 1: Look up the f.t. (Fine Tune) parameter in the table, and you will see that the setting for f.t. should be -41 and that the C#4 key should be played. Method 2: Look up the c.t.(Coarse Tune) and f.t. (Fine Tune) parameters in the table, and you will see that the setting for c.t.should be +1, and that for f.t. should be -41, and that the C4 key should be played. So, as you can see from the above example, the settings you should make change depending on whether you want to play using the same key or not.
174
Patch List
Original B.P.M.
dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 key F 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 c.t -19 -18 -18 -17 -17 -17 -16 -16 -16 -15 -15 -14 -14 -14 -14 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -09 -09 -09 -09 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 f.t +41 -17 +23 -37 +02 +40 -23 +14 +49 -16 +19 -48 -15 +18 +49 -19 +11 +41 -29 00 +29 -43 -16 +12 +39 -35 -09 +17 +42 -33 -09 +16 +40 -37 -14 +09 +32 -46 -24 -02 +20 +41 -38 -17 +03 +23 +43 -37 -17 +02 +21 +40 -41 -23 -04 +14 +32 +49 -33 -16 +02 +19 +36 -48 -31 -15 +01 +18 +34 +49 -35 -19 -04 +11 +26 +41 -44 -29 -14 00 +14 +29 +43 -43 -29 -16 -02 +12 +25 +39 -48 -35 -22 -09 +04 +17 +29 +42 -46 -33 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
120
key D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 B 4 C 5 C 5 C 5 C 5 C 5 C 5 C 5 c.t +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +11 +12 +12 +12 +12 +12 +12 +12 f.t -21 -09 +04 +16 +28 +40 -49 -37 -25 -14 -02 +09 +21 +32 +43 -46 -35 -24 -13 -02 +09 +20 +30 +41 -49 -38 -28 -17 -07 +03 +13 +23 +33 +43 -47 -37 -27 -17 -08 +02 +12 +21 +31 +40 +49 -41 -32 -23 -14 -04 +05 +14 +23 +32 +41 +49 -42 -33 -24 -16 -07 +02 +10 +19 +27 +36 +44 -48 -39 -31 -23 -15 -07 +01 +10 +18 +26 +34 +41 +49 -43 -35 -27 -19 -12 -04 +04 +11 +19 +26 +34 +41 +49 -44 -36 -29 -22 -14 -07 00 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140
Original B.P.M.
key E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 c.t -20 -20 -19 -19 -19 -18 -18 -18 -17 -17 -16 -16 -16 -15 -15 -15 -15 -14 -14 -14 -13 -13 -13 -13 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -10 -09 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 f.t -24 +18 -42 -02 +37 -25 +12 +49 -16 +19 -46 -13 +20 -47 -16 +16 +46 -24 +06 +35 -36 -08 +19 +47 -26 00 +26 -48 -23 +02 +26 -49 -25 -02 +21 +44 -33 -11 +11 +33 -45 -24 -03 +18 +38 -42 -22 -02 +18 +37 -44 -25 -06 +12 +31 +49 -33 -16 +02 +19 +37 -46 -29 -13 +04 +20 +36 -47 -31 -16 00 +16 +31 +46 -39 -24 -09 +06 +21 +35 +49 -36 -22 -08 +06 +19 +33 +47 -40 -26 -13 00 +13 +26 +39 -48 -36 -23 -11 +02 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
132
key C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 A# 4 c.t +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 +10 f.t +14 +26 +39 -49 -37 -25 -14 -02 +10 +21 +33 +44 -44 -33 -22 -11 00 +11 +22 +33 +44 -45 -35 -24 -14 -03 +07 +18 +28 +38 +48 -42 -32 -22 -12 -02 +08 +18 +27 +37 +47 -44 -34 -25 -16 -06 +03 +12 +21 +31 +40 +49 -42 -33 -24 -16 -07 +02 +11 +19 +28 +37 +45 -46 -38 -29 -21 -13 -04 +04 +12 +20 +28 +36 +45 -47 -39 -31 -24 -16 -08 00 +08 +16 +23 +31 +39 +46 -46 -39 -31 -24 -16 -09 -01 +06 +13 +21 +28 +35 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140
Original B.P.M.
key D# 2 D# 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 c.t -21 -21 -20 -20 -19 -19 -19 -18 -18 -18 -17 -17 -17 -16 -16 -16 -15 -15 -15 -14 -14 -14 -14 -13 -13 -13 -13 -12 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -09 -09 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 f.t -01 +41 -19 +21 -40 -02 +35 -28 +07 +42 -23 +10 +43 -24 +07 +39 -31 -01 +29 -42 -13 +15 +43 -30 -03 +23 +49 -25 00 +25 +49 -26 -02 +21 +44 -33 -10 +12 +34 -44 -22 -01 +20 +41 -39 -19 +01 +21 +41 -40 -21 -02 +17 +35 -46 -28 -10 +07 +25 +42 -40 -23 -06 +10 +27 +43 -40 -24 -08 +07 +23 +39 -46 -31 -16 -01 +14 +29 +44 -42 -28 -13 +01 +15 +29 +43 -44 -30 -17 -03 +10 +23 +36 +49 -38 -25 -13 00 +12 +25 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
138
key C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A 4 A# 4 A# 4 c.t 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +09 +10 +10 f.t +37 +49 -38 -26 -14 -02 +09 +21 +33 +44 -44 -33 -21 -10 +01 +12 +23 +34 +45 -44 -33 -22 -12 -01 +09 +20 +30 +41 -49 -39 -29 -19 -09 +01 +11 +21 +31 +41 -50 -40 -30 -21 -11 -02 +07 +17 +26 +35 +44 -46 -37 -28 -19 -10 -01 +07 +16 +25 +34 +42 -49 -40 -32 -23 -15 -06 +02 +10 +19 +27 +35 +43 -49 -40 -32 -24 -16 -08 00 +07 +15 +23 +31 +39 +46 -46 -38 -31 -23 -16 -08 -01 +07 +14 +22 +29 +36 +44 -49 -42
175
Appendices
Patch List
Original B.P.M.
dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 key D 2 D# 2 D# 2 D# 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 c.t -22 -21 -21 21 -20 -20 -19 -19 -19 -18 -18 -18 -17 -17 -17 -16 -16 -16 -15 -15 -15 -15 -14 -14 -14 -14 -13 -13 -13 -12 -12 -12 -12 -12 -11 -11 -11 -11 -10 -10 -10 -10 -10 -09 -09 -09 -09 -09 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 00 f.t +25 -33 +08 +47 -14 +24 -38 -02 +34 -31 +03 +37 -30 +02 +34 -35 -04 +26 -45 -16 +13 +41 -31 -04 +23 +49 -25 +01 +26 -49 -24 00 +24 +47 -29 -06 +16 +39 -39 -18 +04 +25 +46 -33 -13 +08 +28 +47 -33 -14 +05 +24 +43 -38 -20 -02 +16 +34 -49 -31 -14 +03 +20 +37 -47 -30 -14 +02 +18 +34 +49 -35 -20 -04 +11 +26 +41 -45 -30 -16 -01 +13 +27 +41 -45 -31 -17 -04 +10 +23 +36 +49 -38 -25 -12 +01 +14 +26 +39 -49 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
144
key C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 G# 4 A 4 A 4 A 4 A 4 A 4 c.t 00 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +07 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +08 +09 +09 +09 +09 +09 f.t -36 -24 -12 00 +12 +24 +36 +47 -41 -29 -18 -06 +05 +16 +27 +39 +50 -39 -28 -18 -07 +04 +15 +25 +36 +46 -43 -33 -23 -13 -02 +08 +18 +28 +38 +47 -43 -33 -23 -14 -04 +05 +15 +24 +34 +43 -48 -38 -29 -20 -11 -02 +07 +16 +25 +34 +43 -49 -40 -31 -23 -14 -06 +03 +11 +20 +28 +37 +45 -47 -39 -30 -22 -14 -06 +02 +10 +18 +26 +34 +42 +49 -43 -35 -27 -20 -12 -04 +03 +11 +18 +26 +33 +41 +48 -45 -37 -30 -23 -16 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140
Original B.P.M.
key C 2 C# 2 C# 2 D 2 D 2 D 2 D# 2 D# 2 E 2 E 2 E 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 c.t -24 -23 -23 -22 -22 -22 -21 -21 -20 -20 -20 -19 -19 -19 -18 -18 -18 -18 -17 -17 -17 -16 -16 -16 -16 -15 -15 -15 -15 -14 -14 -14 -14 -13 -13 -13 -13 -12 -12 -12 -12 -12 -11 -11 -11 -11 -11 -10 -10 -10 -10 -10 -09 -09 -09 -09 -09 -08 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -05 -05 -04 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -03 -02 -02 f.t +43 -16 +25 -35 +04 +42 -21 +16 -49 -14 +21 -46 -13 +20 -49 -17 +13 +43 -27 +02 +31 -41 -14 +14 +41 -33 -07 +19 +44 -31 -07 +18 +41 -35 -12 +11 +34 -44 -22 00 +22 +43 -36 -16 +05 +25 +45 -35 -15 +04 +23 +42 -39 -21 -02 +16 +34 -49 -31 -14 +04 +21 +37 -46 -29 -13 +03 +20 +36 -49 -33 -17 -02 +13 +28 +43 -42 -27 -13 +02 +16 +31 +45 -41 -27 -14 00 +14 +27 +41 -46 -33 -20 -07 +06 +19 +31 +44 -44 -31 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
160
key A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 F# 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 G 4 c.t -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +05 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +06 +07 +07 +07 +07 +07 +07 +07 +07 f.t -19 -07 +06 +18 +30 +41 -47 -35 -23 -12 00 +11 +23 +34 +45 -44 -33 -22 -11 00 +11 +22 +32 +43 -47 -36 -26 -16 -05 +05 +15 +25 +35 +45 -45 -35 -25 -15 -06 +04 +14 +23 +33 +42 -49 -39 -30 -21 -12 -02 +07 +16 +25 +34 +42 -49 -40 -31 -22 -14 -05 +04 +12 +21 +29 +37 +46 -46 -37 -29 -21 -13 -05 +03 +12 +20 +28 +36 +43 -49 -41 -33 -25 -17 -10 -02 +06 +13 +21 +28 +36 +43 -49 -42 -34 -27 -20 -13 -05 +02 dst 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140
Original B.P.M.
key A# 1 A# 1 B 1 B 1 C 2 C 2 C 2 C# 2 C# 2 C# 2 D 2 D 2 D 2 D# 2 D# 2 D# 2 E 2 E 2 E 2 F 2 F 2 F 2 F 2 F# 2 F# 2 F# 2 G 2 G 2 G 2 G 2 G# 2 G# 2 G# 2 G# 2 G# 2 A 2 A 2 A 2 A 2 A# 2 A# 2 A# 2 A# 2 A# 2 B 2 B 2 B 2 B 2 B 2 C 3 C 3 C 3 C 3 C 3 C# 3 C# 3 C# 3 C# 3 C# 3 C# 3 D 3 D 3 D 3 D 3 D 3 D 3 D# 3 D# 3 D# 3 D# 3 D# 3 D# 3 E 3 E 3 E 3 E 3 E 3 E 3 E 3 F 3 F 3 F 3 F 3 F 3 F 3 F 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 F# 3 G 3 G 3 G 3 G 3 G 3 G 3 G 3 c.t -26 -26 -25 -25 -24 -24 -24 -23 -23 -23 -22 -22 -22 -21 -21 -21 -20 -20 -20 -19 -19 -19 -19 -18 -18 -18 -17 -17 -17 -17 -16 -16 -16 -16 -16 -15 -15 -15 -15 -14 -14 -14 -14 -14 -13 -13 -13 -13 -13 -12 -12 -12 -12 -12 -11 -11 -11 -11 -11 -11 -10 -10 -10 -10 -10 -10 -09 -09 -09 -09 -09 -09 -08 -08 -08 -08 -08 -08 -08 -07 -07 -07 -07 -07 -07 -07 -06 -06 -06 -06 -06 -06 -06 -05 -05 -05 -05 -05 -05 -05 f.t +01 +43 -17 +23 -38 00 +37 -26 +09 +44 -21 +12 +45 -22 +09 +41 -29 +01 +31 -40 -11 +17 +44 -28 -01 +25 -49 -23 +02 +27 -49 -24 00 +23 +46 -31 -08 +14 +36 -42 -20 +01 +22 +43 -37 -17 +03 +23 +43 -38 -19 00 +19 +37 -44 -26 -08 +09 +27 +44 -38 -21 -04 +12 +29 +45 -39 -22 -06 +09 +25 +41 -44 -29 -14 +01 +16 +31 +46 -40 -26 -11 +03 +17 +31 +44 -42 -28 -15 -01 +12 +25 +38 -49 -36 -23 -11 +02 +14 +27 dst 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240
184
key G 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 G# 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 A# 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 B 3 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 C# 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 D# 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 E 4 F 4 F 4 c.t -05 -04 -04 -04 -04 -04 -04 -04 -04 -04 -03 -03 -03 -03 -03 -03 -03 -03 -03 -02 -02 -02 -02 -02 -02 -02 -02 -02 -01 -01 -01 -01 -01 -01 -01 -01 -01 -01 00 00 00 00 00 00 00 00 00 00 00 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +01 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +02 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +03 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +04 +05 +05 f.t +39 -49 -36 -24 -12 00 +11 +23 +35 +46 -42 -31 -19 -08 +03 +14 +25 +36 +47 -42 -31 -20 -10 +01 +11 +22 +32 +43 -47 -37 -27 -17 -07 +03 +13 +23 +33 +43 -48 -38 -28 -19 -09 00 +09 +19 +28 +37 +46 -44 -35 -26 -17 -08 +01 +09 +18 +27 +36 +44 -47 -38 -30 -21 -13 -04 +04 +12 +21 +29 +37 +45 -47 -39 -30 -22 -14 -06 +01 +09 +17 +25 +33 +41 +48 -44 -36 -29 -21 -14 -06 +01 +09 +16 +24 +31 +38 +46 -47 -40
176
177
Appendices
178
002 SessionSet 2 Mix Kick Deep Kick 3 Side Stick Loose Snr HC2 Claps 1 Ring Snr Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tamb.Long Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Gtr Feedback Gtr Scrap Gtr Slid Nz Gtr Cut Nz Gtr Slap Wah Down 1 Wah Up 1 Wah Down 2 Wah Up 2 Sm.Club Sm.Club fw FX Bell 1fw FX Bell 2fw R8 Click REV Snr Buzz
003 SessionSet 3 Deep Kick 3 TD7 Kick Side Stick Rap Snr 707 Claps House Snr Verb Tom Lo Cl HiHat 1 Verb Tom Lo Cl HiHat 2 Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 Tamb.Long Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut REV Gt Scrap REV Gt SldNz REV Gt CutNz REV Gt Slap REV TeknHit2 REV TeknHit3 REV Dance K3 REV 909 Snr2 REV 909 Snr3 REV Rap Snr REV Talk Snr REV JinglSnr REV HouseSnr REV Mute Snr R8 Click REV 909 Rim2
004 SessionSet 4 Dance Kick 2 Dance Kick 3 909 Rim 2 909 Snr 2 909 Claps 2 808 Snr 2 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Shaker 4 Shaker 5 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 FX Bell 2fw FX Bell 1fw FX Bomb Sm.Club fw HC2 Claps 2 FingerSnaps2 707 Claps 626 Shaker Tamb.Short R8 Click Tamb.Long
005 SessionSet 5 Kick Ghost Dance Kick 3 909 Rim 2 909 Snr 3 HC2 Claps 2 Talk Snr 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 REV Dance K3 REV TeknHit3 REV TeknHit3 REV TeknHit2 REV TeknHit2 REV 808 Snr2 REV 909 Snr2 REV 909 Snr3 REV HC2 Clp1 R8 Click REV 707 Clps
006 SessionSet 6 Dance Kick 3 Dance Kick 2 Mute Snr Jingle Snr HC2 Claps 2 Tiny Snr 2 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Op 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut Auhvox Tekno Hit 3 Tekno Hit 3 Tekno Hit 2 Tekno Hit 2 Tekno Loop REV TeknHit3 REV TeknHit3 REV TeknHit2 REV TeknHit2 Blaster A Juno Rave A Hard 5ths A CR78 Tamb. R8 Click FingerSnap 3
007 SessionSet 7 Deep Kick 3 Mix Kick Side Stick Solo Snr 707 Claps Ring Snr 909 Tom 2 606 HiHat Cl Verb Tom Lo 606 HiHat Cl 909 Tom 2 606 HiHat Op Verb Tom Hi 909 Tom 2 Crash 1 Verb Tom Hi Ride 2 China Cym Ride Bell 1 CR78 Tamb. Crash 1 Cowbell 1 Crash 1 Cowbell 1 Ride Bell 1 Bongo3 High Bongo3 Low Cga Slap Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo 626 Shaker Shaker 4 Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Cuica Cuica Open Triangl Open Triangl Cabasa Cut REV Shaker 5 REV Shaker 4 REV Shaker 3 REV 626Shakr REV CR78Tamb REV Tamb.Lng REV Tamb.Sht REV Bongo3 H REV Bongo3 L REV F.Snap 3 REV F.Snaps2 REV HC2 Clp2 REV 707 Clps REV HC2 Clp1 R8 Click REV 909 Clp2
008 Demo Drum Old Kick Hybrid Kick1 Side Stick Loose Snr Tambrin MENU Natural SN2 Verb Tom Lo Cl HiHat 1 Verb Tom Lo Pedal HiHat Verb Tom Hi Op HiHat Verb Tom Hi Verb Tom Hi Crash 1 Verb Tom Hi Ride 1 China Cym Ride Bell 1 Tamb.Long Crash 1 Cowbell 1 Crash 1 Vibraslap Ride 2 Bongo Hi Bongo Lo Cga Mute Hi Cga Open Hi Cga Open Lo Timbale Timbale Agogo Agogo Cabasa Up Maracas Soft Pad A Soft Pad B Long Guiro Long Guiro Claves Wood Block Wood Block Shaker 3 Cuica 606 HiHat Cl Open Triangl 606 HiHat Op Ride 2 Dance Kick 2 Dance Kick 2 House Snr Tiny Snr 2 Tiny Snr 2 Hybrid Kick2 Old Kick Dance Kick 2 Loose Snr Natural SN2 Tiny Snr 2 Wind Chimes Dry Tom Lo Piccolo SN Dry Tom Lo
179
Appendices
002 TR-808 SET TR808 Kick 1 TR808 Kick 1 TR808 Rim TR808 Snr 1 Clap Stop TR808 Snr 3 TR808 Tom TR808 CHH 1 TR808 Tom TR808 CHH 2 TR808 Tom OHH MENU TR808 Tom TR808 Tom TR606 Cym 1 TR808 Tom TR606 Cym 1 TR909 Crash TR909 Ride Tambourine 2 TR909 Crash TR808Cowbell TR606 Cym 1 TMB&SKR MENU TR707 Ride Mental Perc Dr.Beat Cga Open Hi Cga Mute Hi Cga Open Lo Timbale PC-2 Spacers TR727 Agogo TR727 Agogo Cabasa Up TMB&SKR MENU TR808 Kick 3 TR808 Kick 2 TR808 RimLng TR808 Snr 2 Clap Stop TR808 Snr 4 TR606 Tom TR808 CHH 2 TR606 Tom PHH MENU TR606 Tom OHH MENU Beam HiQ HIT MENU 1 May Day Perc Techno Scene Air Gun Tekno Hit White Noise ElectricDunk TR808 PHH SNR MENU 2 JP8000 FBK VOCODER MENU TR808 Kick 1 KICK MENU 2 MC500 Beep 1 MC500 Beep 2
003 TR-606 SET KICK MENU 1 TR606 Kick 1 TR808 Rim TR606 Snr 2 HC2 Dry Clap TR606 Snr 1 TR606 Tom TR606 CHH TR606 Tom PHH MENU TR606 Tom TR606 DstOHH TR606 Tom TR606 Tom TR606 Cym 2 TR606 Tom TR909 Ride TR606 Cym 1 TR707 Ride Tambourine TR909 Crash TR808Cowbell TR909 Crash TMB&SKR MENU TR707 Ride Mental Perc Dr.Beat Cga Open Hi Cga Mute Hi Cga Open Lo Timbale PC-2 Spacers TR727 Agogo TR727 Agogo Cabasa Up TMB&SKR MENU Plastic BD 1 Culture Kick TR808 Rim CR78 Snare TS Clap TR606 Snr 3 TR606 CmpTom CR78 CHH TR606 CmpTom TR606 PHH TR606 CmpTom CR78 OHH Beam HiQ HIT MENU 1 May Day Perc Techno Scene Air Gun Tekno Hit Organ Hit 2 Analog Bird Retro UFO ElectronFall JP8000 FBK SNR MENU 2 TR808 Kick 1 KICK MENU 2 MC500 Beep 1 MC500 Beep 2
004 Techno SET Plastic BD 1 TR909 Kick 1 TR909 Rim TR909 Snr 5 CLAP MENU TR909 Snr 6 TR909 Tom TR909 CHH 1 TR909 Tom TR909 PHH 2 TR909 Tom OHH MENU TR909 Tom TR909 Tom TR909 Crash TR909 Tom TR707 Ride TR909 Crash China Cym Tambourine 2 TR909 Crash TR707Cowbell TR606 Cym 1 TR808Cowbell TR606 Cym 1 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU HIT MENU 1 HIT MENU 1 TechnoShaker Dance Shaker TR909 Kick 2 Plastic BD 2 COW&RIM MENU TR909 Snr 3 TR909 Clap TR909 Snr 4 TR909 DstTom TR909 CHH 3 TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 OHH 3 Air Gun VOCODER MENU Beam HiQ VOCODER MENU May Day Perc VOCODER MENU VOCODER MENU Techno Scene VOCODER MENU Analog Bird VOCODER MENU 144:TeknoHAT 144:Tekno BD 120:TeknoBNG MC500 Beep 1 MC500 Beep 2
005 House SET TR909 Kick 1 Tekno Kick TR909 Rim DJ Snare TR909 Clap TR909 Snr 5 TR707 Tom TR909 CHH 1 TR707 Tom TR909 PHH 1 TR707 Tom OHH MENU TR707 Tom TR707 Tom TR909 Crash TR707 Tom TR909 Ride TR909 Crash Rattle Tamb Tambourine 2 TR909 Crash TR707Cowbell Crash 1 TR808Cowbell TR606 Cym 1 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU HIT MENU 1 HIT MENU 1 Cabasa Up TechnoShaker Wet Kick Plastic BD 2 TR808 Rim SNR MENU 2 CLAP MENU SNR MENU 1 TR808 Tom TR707 CHH TR808 Tom TR707 PHH TR808 Tom OHH MENU Beam HiQ GTR FX MENU Org Chord GTR FX MENU Noisy 101 Claptail VOCODER MENU VOCODER MENU VOCODER MENU VOCODER MENU 120:House 1 120:House 2 120:House 3 120:TeknoBNG MC500 Beep 1 MC500 Beep 2
006 Jungle SET Tekno Kick JungleKick 2 Lo-Fi Snare Urban Snare SNR MENU 5 Jungle Snr 4 TR606 CmpTom CHH MENU 2 TR606 CmpTom Rattle Tamb TR606 CmpTom TR909 DstOHH TR606 CmpTom TR606 CmpTom R8 OHH TR606 CmpTom TR707 Ride TR909 Crash China Cym Tambourine 2 TR606 Cym 1 Cowbell 1 TR909 Crash MachineShout TR606 DstOHH PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU Surdo open Surdo mute TechnoShaker Dance Shaker KICK MENU 1 JungleKick 1 SideStiker MC Snare Comp Clap Ragga Snr 2 Jungle Snr 5 TR909 CHH 3 Jungle Snr 5 Tambourine 2 Jungle Snr 5 Cym OHH Beam HiQ HIT MENU 1 Thin Beef Analog Bird HIT MENU 2 Scratch Clap Emergency TR808Cowbell Talkbox Jungle Beep TR808 Kick 1 Roll Snare Roll Kick 160:DrumnBs MC500 Beep 1 MC500 Beep 2
007 Gabba SET Amsterdam BD TR909 Dst BD TR808 RimLng SNR MENU 1 Comp Clap SNR MENU 1 TR909 DstTom TR909 PHH 1 TR909 DstTom TR909 PHH 2 TR909 DstTom TR909 DstOHH TR909 DstTom TR909 DstTom TR909 Crash TR909 DstTom TR707 Ride TR909DsCrash China Cym CR78 CHH Crash 1 TR808Cowbell TR909DsCrash MachineShout TR606 Cym 2 PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU TR727 Agogo TR727 Agogo TechnoShaker Dance Shaker TR909 Dst BD KICK MENU 2 SideStiker Jungle Snr 4 CLAP MENU TR909 Snr 5 TR606 CmpTom TR909 CHH 3 TR606 CmpTom TR909 PHH 1 TR606 CmpTom TR909 OHH 1 Beam HiQ Air Gun ElectricDunk Thin Beef Drill Hit TAO Hit Daft Wave Thrill Emergency Dist TekGtr1 Dist Synth 120:House 1 120:House 3 184:Gabba MC500 Beep 1 MC500 Beep 2
008 Indust. SET INDUST. MENU INDUST. MENU Thrill PCM Press Air Gun PCM Press TekRok Snare TR909 CHH 3 TekRok Snare TR909 PHH 1 TekRok Snare TR909 DstOHH TekRok Snare TekRok Snare Indus Snare TekRok Snare TR909 Ride Drill Hit ElectricDunk PCM Press TR606 Cym 1 PC-2 Machine TR909 Crash Crash 1 TR606 DstCym PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU PERCUSS MENU Analog Bird Analog Bird TechnoShaker Dance Shaker TR909 Dst BD Turbo Kick Drill Hit SNR MENU 3 INDUST. MENU Rage Snare Can Tom HIT MENU 1 Can Tom Beam HiQ Can Tom TR909 DstOHH Beam HiQ VOCODER MENU TR606 Cym 1 VOCODER MENU CLAP MENU VOCODER MENU VOCODER MENU Roll Kick Organ Hit 2 Roll Snare TR909 DstOHH Roll Kick TR909DsCrash CLAP MENU MC500 Beep 1 MC500 Beep 2
180
Performance List
USER (User Group)
No. 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name EasternSplit Opening Orch Feedback EP Humming Vox Tekno Loop 1 Fr.Horn Sect SpaceCarrier Orchestral Nebular Vox Terminator Flying Jazz Sweeper Rave Split Multi Sax Cosmic Dawn Bass / Lead S&H / Pad AcPiano+Pad Kicks Attack Step Brass Drone / Pipe Chime Dreams Tekno Loop 2 Big Band Labyrinth White Hole Cyber Sweep Tekno Asia 1080 Fantasy Pop Ballad Rhythmatic Power JV Key Mode LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER LAYER
181
Appendices
PORTA-A 0111 PORTA-B 0115 1/16 13, 1/32 13 SEQ-A 17 SEQ-B 15 SEQ-C 12
SEQUENCE D ECHO
SEQ-D 18 ECHO 13
0100% 0100%
5090% 5090%
SYNTH BASS SLAP BASS A SLAP BASS B WALK BASS RHYTHM GTR A
SEQ-A 1, SEQ-C 1 MUTE 02, 03 MUTE 02, 03 WALKBS, REFRAIN 1 MUTE 01,04
RHYTHM GTR B RHYTHM GTR C RHYTHM GTR D RHYTHM GTR E 3 FINGER GTR STRUMMING GTR KBD COMPING A KBD COMPING B KBD COMPING C KBD COMPING D KBD COMPING E PERCUSSION
MUTE 07, 13, 14 MUTE 08, 12, 15 MUTE 09, 10, 11, 16 STRUM 16 SEQ-A 7 STRUM 7, 8 MUTE 12, REFRAIN 2 MUTE 05, 06 1/ 6, 1/12 1/16 13 REGGAE12 PERC14
0100% 0100% 0100% 0100% 0100% 0100% 0100% 0100% 0100% 0100% 0100% 0100%
5090% 5090% 5090% 5090% 5090% 5090% 5090% 5090% 5090% 5090% 5090% 5090%
1/ 4, 1/6, 1/8, 1/12, 1/16 13, 1/32 13, RANDOM BOSSA NOVA SALSA 14 MAMBO 12 CLAVE, REV CLA, GUIRO, AGOGO
182
MIDI Implementation
Model: Version: Date: XP-30 (64 Voice Expandable Synthesizer) 1.00 Jan. 18 1999 * The Patches corresponding to each Bank Select are as follows.
Bank Select | Program No | Group Patch No. MSB | LSB | | +++ 80 | 0 | 0 - 127 | User 1 - 128 81 | 0 | 0 - 127 | PR-A 1 - 128 81 | 1 | 0 - 127 | PR-B 1 - 128 81 | 2 | 0 - 127 | PR-C 1 - 128 81 | 3 | 0 - 127 | GM 1 - 128 81 | 4 | 0 - 127 | PR-E 1 - 128 84 | 0 | 0 - 127 | XP-A (Session) 1 - 128 84 | 1 | 0 - 126 | XP-A 129 - 255 84 | 2 | 0 - 127 | XP-B (Orchestral) 1 - 128 84 | 3 | 0 - 126 | XP-B 129 - 255 84 | 4 | 0 - 127 | XP-C (Techno Collection) 1 - 128 84 | 5 | 0 - 127 | XP-C 129 - 256 84 | 6 | 0 - 127 | XP-D 1 - 128 84 | 7 | 0 - 127 | XP-D 129 - 256 84 | 8 | 0 - 127 | XP-E 1 - 128 84 | 9 | 0 - 127 | XP-E 129 - 256 * The Performance corresponding to each Bank Select are as follows.
Bank Select | Program No | Group Performance No. MSB | LSB | | +++ 80 | 0 | 0 - 31 | User 1 - 32 81 | 0 | 0 - 31 | PR-A 1 - 32 81 | 1 | 0 - 31 | PR-B 1 - 32 * The Rhythm set corresponding to each Bank Select are as follows.
q Note On
status 2nd byte 3rd byte 9nH kkH vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) kk=note number: 00H - 7FH (0 - 127) vv=Note On velocity: 01H - 7FH (1 - 127) * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.
q Polyphonic Aftertouch
status 2nd byte 3rd byte AnH kkH vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) kk=note number: 00H - 7FH (0 - 127) vv=Aftertouch: 00H - 7FH (0 - 127) * * * This message is received if the Aftertouch parameter (SYSTEM/CONTROL/CONTROL SOURCE) is POLY or CH&POLY. Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF. Not received in GM mode.
Bank Select | Program No | Group Rhythm set No. MSB | LSB | | +++ 80 | 0 | 0 - 1 | User 1 - 2 81 | 0 | 0 - 1 | PR-A 1 - 2 81 | 1 | 0 - 1 | PR-B 1 - 2 81 | 2 | 0 - 1 | PR-C 1 - 2 81 | 3 | 0 - 1 | GM 1 - 2 81 | 4 | 0 - 1 | PR-E 1 - 2 84 | 0 | 0 - 7 | XP-A (Session) 1 - 8 84 | 4 | 0 - 7 | XP-C (Techno Collection) 1 - 8 84 | 6 | 0 - 127 | XP-D 1 - 128 84 | 7 | 0 - 127 | XP-D 129 - 256 84 | 8 | 0 - 127 | XP-E 1 - 128 84 | 9 | 0 - 127 | XP-E 129 - 256
q Control Change
* If the corresponding Controller number is selected for the Control 2 or Control 3 parameter (PATCH/CONTROL/CONTROL SOURCE), the corresponding effect will occur. If a Controller number that corresponds to the Control 1 parameter or Control 2 parameter (SYSTEM/CONTROL/SYS-CTRL ASSIGN) is selected, the specified effect will apply if Control 2 parameter or Control 3 parameter (PATCH/CONTROL/ CONTROL SOURCE) is set to SYS-CTRL1 or SYS-CTRL2. Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) or the Control Change Receive Switch is OFF.
183
Appendices
MIDI Implementation
General Purpose Controller 8 (Controller number 83) Soft (Controller number 67)
status 2nd byte 3rd byte BnH 43H vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) vv=control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON status 2nd byte 3rd byte BnH 53H vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) vv=control value: 00H - 40H - 7FH (-128 - 0 - +126) * The L13 parameter (PATCH/TVA/TVA ENVELOPE) of Tone 4 will change relatively.
184
MIDI Implementation
Program Change
status 2nd byte CnH ppH n=MIDI channel number: 0H - FH (ch.1 - ch.16) pp=Program number: 00H - 7FH (prog.1 - prog.128) * * * Not received when the Program Change parameter (SYSTEM/MIDI/RECEIVE MIDI) is OFF. When received on the Control channel, the Performance will change. Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.
Channel Aftertouch
status 2nd byte DnH vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) vv=Channel Aftertouch: 00H - 7FH (0 - 127) * Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.
Notes Pitch Bend Sensitivity mm : 00H - 0CH (0 - 12 semitones) ll : ignored (processed as 00H) Up to 1 octave can be specified in semitone steps. *The Bend Range parameter (PATCH/ CONTROL/KEY MODE & BENDER) will also be changed. *Not received by the Rhythm Part (Part 10). Channel Fine Tuning mm, ll : 20 00H - 40 00H - 60 00H ( -4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent ) *In Patch mode, the Master parameter (SYSTEM/TUNE/TUNE) will change. *In Performance mode, the Fine parameter (PERFORM/PART/SETTING) of each Part will change. When received on the Control channel, the Master parameter (SYSTEM/ TUNE/TUNE) will change. Channel Coarse Tuning mm : 10H - 40H - 70H (-48 - 0 - +48 semitones) ll : ignored (processed as 00H) *Not received in Patch mode. *In Performance mode, the Coarse parameter (PERFORM/PART/SETTING) of each Part will change. RPN null RPN and NRPN will be set as unspecified. Once this setting has been made, subsequent Data Entry messages will be ignored. (It is not necessary to transmit Data Entry for RPN Null settings. Parameter values that were previously set will not change. mm, ll: ignored
When this message is received, all notes currently sounding on the corresponding channel will be turned off. Not received in Performance mode when the Rx parameter (PERFORM/MIDI/MIDI) is OFF.
00H 01H
mmH llH
00H 02H
mmH -
Controller Pitch Bend Change Polyphonic Key Pressure Channel Pressure Modulation Breath type Expression Hold 1 Sostenuto Soft Hold 2 RPN NRPN System General purpose controller 10 System General purpose controller 20
7FH 7FH
--
185
Appendices
MIDI Implementation
System Exclusive message status This is the ID number (manufacturer ID) that specifies the manufacturer whose exclusive message this is. Roland's manufacturer ID is 41H.ID numbers 7EH and 7FH are defined in an expansion of the MIDI standard as Universal Non-realtime messages (7EH) and Universal Realtime Messages (7FH). 00H - 7FH (0 - 127) EOX (End Of Exclusive)
Of the System Exclusive messages received by this device, the Universal Non-realtime messages and the Universal Realtime messages and the Data Request (RQ1) messages and the Data Set (DT1) messages will be set automatically.
(Universal Non-realtime message) (dev: 10H - 1FH) (General Information) (Identity Request) (End Of Exclusive)
GM System On
GM System On is a command message that resets the internal settings of the instrument to the GM initial state (General MIDI System - Level 1). A GM instrument that receives this message will automatically enter a state in which it can correctly perform a GM score. status F0H Byte F0H 7EH 7FH 09H 01H F7H * data byte status 7EH, 7FH, 09H, 01H F7H Remarks Exclusive status ID number device ID sub ID#1 sub ID#2 EOX
(Universal Non-realtime message) (Broadcast) (General MIDI Message) (General MIDI On) (End Of Exclusive)
GM System Off
When this messages is received, this instrument will return to the performance mode. status F0H Byte F0H 7EH 7FH 09H 02H F7H * data byte status 7EH, 7FH, 09H, 02H F7H Remarks Exclusive status ID number device ID sub ID#1 sub ID#2 EOX
q Active Sensing
status FEH * When an Active Sensing message is received, the unit will begin monitoring the interval at which MIDI messages are received. During monitoring, if more than 420 ms passes without a message being received, the same processing will be done as when All Sound Off, All Note Off, and Reset All Controllers messages are received. Then monitoring will be halted.
(Universal Non-realtime message) (Broadcast) (General MIDI Message) (General MIDI Off) (End Of Exclusive)
186
MIDI Implementation
Data Set 1
DT1
This message transmits the actual data, and is used when you wish to set the data of the receiving device. status F0H data byte 41H, dev, 6AH, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum Remarks Exclusive status ID number device ID model ID command ID address MSB address address address LSB data: : data checksum EOX (Roland) (dev: 10H - 1FH) (XP-30) (DT1) status F7H
Remarks Exclusive status ID number (Universal Realtime message) device ID (Broadcast) sub ID#1 (Device Control Message) sub ID#2 (Master Volume) LSB of Master Volume MSB of Master Volume EOX (End Of Exclusive)
LSB of Master Volume (llH) is processed as 00H. This message is not received if the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. This message is not received in GM mode.
Byte F0H 41H dev 6AH 12H aaH bbH ccH ddH eeH : ffH sum F7H *
The actual data to be transmitted. Multi-byte data is transmitted in the order of the address.
q Data Transmission
This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. The model ID of the exclusive messages used by this instrument is 6AH.
(End Of Exclusive)
* * *
The amount of data that is transmitted at one time is fixed for the type of data, and only data of the fixed starting address and size will be transmitted. Refer to the address and size given in Parameter Address Map (p. 190). Data whose size is greater than 128 bytes should be divided into packets of 128 bytes or less and transmitted. Successive Data Set 1 messages should have at least 20 ms of time interval between them. For the checksum, refer to (p. 204). This message is not received if Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. This message is not received in GM mode.
This device is able to receive GS Exclusive messages only for Scale Tune settings.
Data Set 1
Byte F0H 41H dev 6AH 11H aaH bbH ccH ddH ssH ttH uuH vvH sum F7H *
DT1
This message transmits the actual data, and is used when you wish to set the data of the receiving device. status F0H data byte 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum Remarks Exclusive status ID number device ID model ID command ID address MSB address middle byte address LSB data: : data checksum EOX status F7H
(End Of Exclusive)
Byte F0H 41H dev 42H 12H aaH bbH ccH ddH : eeH sum F7H * *
* * *
The size of data that can be transmitted at one time is fixed for each type of data. and data requests must be made with a fixed starting address and size. Refer to the address and size given in Parameter Address Map (p. 190). For the checksum, refer to (p. 204). This message is not received if the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. This message is not received in GM mode.
The actual data to be transmitted. Multi-byte data is transmitted in the address order.
(End Of Exclusive)
187
Appendices
This message is not received when the Rx.Exc parameter (SYSTEM/MIDI/SYS-EXC MIDI) is OFF. This message is not received in GM mode.
MIDI Implementation
q Note On
status 2nd byte 3rd byte 9nH kkH vvH n=MIDI channel number: 0H - FH (ch.1 - ch.16) kk=note number: 00H - 7FH (0 - 127) vv=Note On velocity: 01H - 7FH (1 - 127)
q Control Change
* By selecting a controller number that corresponds to the setting of the Assign parameter (SYSTEM/CONTROL/CONTROL PEDAL) or each Assign parameter of C14 Slider (SYSTEM/CONTROL/ASSIGN), you can transmit any desired control change.
188
MIDI Implementation
Remarks Exclusive status ID number (Universal Non-realtime message) device ID (dev: 10H - 1FH) sub ID#1 (General Information) sub ID#2 (Identity Reply) ID number (Roland) Device family code Device family number code Software revision level EOX (End Of Exclusive)
Data Transmission
Data Set1
Notes Pitch Bend Sensitivity mm : 00H - 0CH (0 - 12 semitones) ll : 00H Channel Fine Tuning mm, ll : 20 00H - 40 00H - 60 00H ( -4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent ) Channel Coarse Tuning mm : 10H - 40H - 70H (-48 - 0 - +48 semitones) ll : 00H status F0H
DT1
data byte 41H, dev, 6AH, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum Remarks Exclusive status ID number device ID model ID command ID address MSB address address address LSB data: : data checksum EOX status F7H
00H 01H
mmH llH
00H 02H
mmH -
Program Change
status 2nd byte CnH ppH n=MIDI channel: 0H - FH (ch.1 - ch.16) pp=Program number: 00H - 7FH (prog.1 - prog.128) * This message is not transmitted when the Program parameter (SYSTEM/MIDI/ TRANSMIT MIDI) is OFF.
(End Of Exclusive)
Channel Aftertouch
status 2nd byte DnH vvH n=MIDI channel: 0H - FH (ch.1 - ch.16) vv=Channel Aftertouch: 00H - 7FH (1 - 128)
* *
The amount of data transmitted at one time is fixed for the type of data, and the data will be transmitted with the fixed starting address and size. Refer to the address and size given in Parameter Address Map (p. 190). Large amounts of data must be divided into packets of 128 bytes or less, and transmitted at intervals of approximately 20 ms. For the checksum, refer to (p. 204).
189
Appendices
Byte F0H 41H dev 6AH 12H aaH bbH ccH ddH eeH
The actual data to be transmitted. Multi-byte data is transmitted in the address order.
MIDI Implementation
++ | Start | | | Address | Description | |+| | 00 00 00 00 | System 1-1 | |+| | 01 00 00 00 | Temporary Performance 1-2 | | 02 00 00 00 | Performance Mode Temporary Patch(part 1) 1-3 | | 02 01 00 00 | Performance Mode Temporary Patch(part 2) | | : | | | 02 08 00 00 | Performance Mode Temporary Patch(part 9) | | 02 09 00 00 | Temporary Rhythm Setup 1-4 | | 02 0A 00 00 | Performance Mode Temporary Patch(part 11) 1-3 | | : | | | 02 0F 00 00 | Performance Mode Temporary Patch(part 16) | | 03 00 00 00 | Patch Mode Temporary Patch 1-3 | |+| | 10 00 00 00 | User Performance USER:01 1-2 | | 10 01 00 00 | User Performance USER:02 | | : | | | 10 1F 00 00 | User Performance USER:32 | | 10 40 00 00 | User Rhythm Setup USER:1 1-4 | | 10 41 00 00 | User Rhythm Setup USER:2 | | 11 00 00 00 | User Patch USER:001 1-3 | | 11 01 00 00 | User Patch USER:002 | | : | | | 11 7F 00 00 | User Patch USER:128 | ++
q 1-1.System
++ | Offset | | | Address | Description | |+| | 00 00 | System Common 1-1-1 | | 10 00 | Part 1 Scale Tune 1-1-2 | | 11 00 | Part 2 Scale Tune | | : | | | 1F 00 | Part 16 Scale Tune | | 20 00 | Patch Mode Scale Tune 1-1-2 | ++
q 1-1-1.System Common
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0000 00aa | Sound Mode 0 - 2 *1 | | 00 01 | 0aaa aaaa | Performance Number 0 - 127 *2 | | 00 02 | 0000 00aa | Patch Group Type 0 - 2 *3 -> | | 00 03 | 0aaa aaaa | Patch Group ID 0 - 127 -> | |# 00 04 | 0000 aaaa | Patch Number 0 - 255 -> | | | 0000 bbbb | (001 - 256) | | 00 06 | 0aaa aaaa | Master Tune 0 - 126 *4 | | 00 07 | 0000 000a | Scale Tune Switch 0 - 1 (OFF,ON) | | 00 08 | 0000 000a | EFX Switch 0 - 1 (OFF,ON) | | 00 09 | 0000 000a | Chorus Switch 0 - 1 (OFF,ON) | | 00 0A | 0000 000a | Reverb Switch 0 - 1 (OFF,ON) | | 00 0B | 0000 000a | Patch Remain 0 - 1 (OFF,ON) | | 00 0C | 0000 000a | Clock Source 0 - 1 (INT,MIDI) | | 00 0D | 0000 0aaa | TAP Control Source 0 - 4 *5 | | 00 0E | 0000 0aaa | Hold Control Source 0 - 4 *6 | | 00 0F | 0000 0aaa | Peak Control Source 0 - 4 *6 | | 00 10 | 0000 000a | Volume Control Source 0 - 1 *7 | | 00 11 | 0000 00aa | Aftertouch Source 0 - 2 *8 | | 00 12 | 0aaa aaaa | System Control Source 1 1 - 97 *9 | | 00 13 | 0aaa aaaa | System Control Source 2 1 - 97 *9 | |++| | 00 14 | 0000 000a | Receive Program Change 0 - 1 (OFF,ON) | | 00 15 | 0000 000a | Receive Bank Select 0 - 1 (OFF,ON) | | 00 16 | 0000 000a | Receive Control Change 0 - 1 (<OFF,ON>) | | 00 17 | 0000 000a | Receive Modulation 0 - 1 (<OFF,ON>) | | 00 18 | 0000 000a | Receive Volume 0 - 1 (<OFF,ON>) | | 00 19 | 0000 000a | Receive Hold-1 0 - 1 (<OFF,ON>) | | 00 1A | 0000 000a | Receive Pitch Bend 0 - 1 (<OFF,ON>) | | 00 1B | 0000 000a | Receive Aftertouch 0 - 1 (<OFF,ON>) | | 00 1C | 000a aaaa | Control Channel 0 - 16 (1 - 16,OFF)| | 00 1D | 0000 aaaa | Patch Receive Channel 0 - 15 (1 - 16) | | 00 1E | 0000 000a | Rhythm Edit Source 0 - 1 *10 | |++| | 00 1F | 0000 00aa | Preview Sound Mode 0 - 2 *11 | | 00 20 | 0aaa aaaa | Preview Note Set 1 0 - 127 (C-1 - G9) | | 00 21 | 0aaa aaaa | Preview Velocity Set 1 0 - 127 *12 | | 00 22 | 0aaa aaaa | Preview Note Set 2 0 - 127 (C-1 - G9) | | 00 23 | 0aaa aaaa | Preview Velocity Set 2 0 - 127 *12 | | 00 24 | 0aaa aaaa | Preview Note Set 3 0 - 127 (C-1 - G9) | | 00 25 | 0aaa aaaa | Preview Velocity Set 3 0 - 127 *12 | | 00 26 | 0aaa aaaa | Preview Note Set 4 0 - 127 (C-1 - G9) | | 00 27 | 0aaa aaaa | Preview Velocity Set 4 0 - 127 *12 | |++| | 00 28 | 0000 000a | Transmit Program Change 0 - 1 (OFF,ON) | | 00 29 | 0000 000a | Transmit Bank Select 0 - 1 (OFF,ON) | | 00 2A | 000a aaaa | Patch Transmit Channel 0 - 17 *13 | |++| | 00 2B | 0000 000a | Transpose Switch 0 - 1 (OFF,ON) | | 00 2C | 0000 aaaa | Transpose Value 0 - 11 (-5 - +6) | | 00 2D | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) | | 00 2E | 0aaa aaaa | Keyboard Velocity 0 - 127 *14 | | 00 2F | 0000 00aa | Keyboard Sens 0 - 2 *15 | | 00 30 | 0aaa aaaa | Aftertouch Sens 0 - 100 | | 00 31 | 0aaa aaaa | Pedal(1) Assign 1 - 104 *16 | | 00 32 | 0000 00aa | Pedal(1) Output Mode 0 - 3 *18 |
++ | Patch Group | Group Type | Group ID | Number (value) | |+++| | USER | 0 | 1 | 0 - 127 (001 - 128) | | <CARD | 0 | 2 | 0 - 127 (001 - 128)>| | PR-A | 0 | 3 | 0 - 127 (001 - 128) | | PR-B | 0 | 4 | 0 - 127 (001 - 128) | | PR-C | 0 | 5 | 0 - 127 (001 - 128) | | PR-D | 0 | 6 | 0 - 127 (001 - 128) | | PR-E | 0 | 7 | 0 - 127 (001 - 128) | | <PCM | 1 | 1 - 127 | 0 - 127 (001 - 128)>| |XP-A(Session)| 2 | 9 | 0 - 254 (001 - 255) | | XP-B(Orch.) | 2 | 2 | 0 - 254 (001 - 255) | | XP-C(Techno)| 2 | 11 | 0 - 255 (001 - 256) | | XP-D | 2 | 1 - 127 | 0 - 255 (001 - 256) | | XP-E | 2 | 1 - 127 | 0 - 255 (001 - 256) | +-----------------------------------------------------------+
190
MIDI Implementation
| 00 33 | 0000 000a | Pedal(1) Polarity 0 - 1 *20 | | 00 34 | 0aaa aaaa | Pedal2 Assign 1 - 104 *17 | | 00 35 | 0000 00aa | Pedal2 Output Mode 0 - 3 *19 | | 00 36 | 0000 000a | Pedal2 Polarity 0 - 1 *21 | | 00 37 | 0aaa aaaa | C1 Assign 1 - 97 *9 | | 00 38 | 0000 00aa | C1 Output Mode 0 - 3 *18 | | 00 39 | 0aaa aaaa | C2 Assign 1 - 97 *9 | | 00 3A | 0000 00aa | C2 Output Mode 0 - 3 *18 | | 00 3B | 0000 00aa | Hold Pedal Output Mode 0 - 3 *18 | | 00 3C | 0000 000a | Hold Pedal Polarity 0 - 1 *20 | |++| | 00 3D | 0000 000a | Bank Select Group1 Switch 0 - 1 (OFF,ON) | | 00 3E | 0aaa aaaa | Bank Select Group1 MSB 0 - 127 | | 00 3F | 0aaa aaaa | Bank Select Group1 LSB 0 - 127 | | 00 40 | 0000 000a | Bank Select Group2 Switch 0 - 1 (OFF,ON) | | 00 41 | 0aaa aaaa | Bank Select Group2 MSB 0 - 127 | | 00 42 | 0aaa aaaa | Bank Select Group2 LSB 0 - 127 | | 00 43 | 0000 000a | Bank Select Group3 Switch 0 - 1 (OFF,ON) | | 00 44 | 0aaa aaaa | Bank Select Group3 MSB 0 - 127 | | 00 45 | 0aaa aaaa | Bank Select Group3 LSB 0 - 127 | | 00 46 | 0000 000a | Bank Select Group4 Switch 0 - 1 (OFF,ON) | | 00 47 | 0aaa aaaa | Bank Select Group4 MSB 0 - 127 | | 00 48 | 0aaa aaaa | Bank Select Group4 LSB 0 - 127 | | 00 49 | 0000 000a | Bank Select Group5 Switch 0 - 1 (OFF,ON) | | 00 4A | 0aaa aaaa | Bank Select Group5 MSB 0 - 127 | | 00 4B | 0aaa aaaa | Bank Select Group5 LSB 0 - 127 | | 00 4C | 0000 000a | Bank Select Group6 Switch 0 - 1 (OFF,ON) | | 00 4D | 0aaa aaaa | Bank Select Group6 MSB 0 - 127 | | 00 4E | 0aaa aaaa | Bank Select Group6 LSB 0 - 127 | | 00 4F | 0000 000a | Bank Select Group7 Switch 0 - 1 (OFF,ON) | | 00 50 | 0aaa aaaa | Bank Select Group7 MSB 0 - 127 | | 00 51 | 0aaa aaaa | Bank Select Group7 LSB 0 - 127 | |++| | 00 52 | 0aaa aaaa | Pedal3 Assign 1 - 104 *17 | | 00 53 | 0000 00aa | Pedal3 Output Mode 0 - 3 *19 | | 00 54 | 0000 000a | Pedal3 Polarity 0 - 1 *21 | | 00 55 | 0aaa aaaa | Pedal4 Assign 1 - 104 *17 | | 00 56 | 0000 00aa | Pedal4 Output Mode 0 - 3 *19 | | 00 57 | 0000 000a | Pedal4 Polarity 0 - 1 *21 | |++| | 00 58 | 00aa aaaa | Arpeggio Style 0 - 42 (1 - 43) | | 00 59 | 00aa aaaa | Arpeggio Motif 0 - 37 (1 - 38) | | 00 5A | 0aaa aaaa | Arpeggio Beat Pattern 0 - 114 (1 - 115) | | 00 5B | 0aaa aaaa | Arpeggio Accent Rate 0 - 100 | | 00 5C | 0aaa aaaa | Arpeggio Shuffle Rate 50 - 90 | | 00 5D | 0aaa aaaa | Arpeggio Keyboard Velocity 0 - 127 *14 | | 00 5E | 0000 0aaa | Arpeggio Octave Range 0 - 6 (-3 - +3) | | 00 5F | 0000 aaaa | Arpeggio Part Number 0 - 15 *22 | |++| |# 00 60 | 0000 aaaa | System Tempo 20 - 250 | | | 0000 bbbb | | |++| | 00 62 | 0aaa aaaa | C3 Assign 1 - 97 *9 | | 00 63 | 0000 00aa | C3 Output Mode 0 - 3 *18 | | 00 64 | 0aaa aaaa | C4 Assign 1 - 97 *9 | | 00 65 | 0000 00aa | C4 Output Mode 0 - 3 *18 | |+| |Total size | 00 00 00 66 | ++ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 *14 *15 *16 *17 *18 *19 *20 *21 *22 PERFORMANCE, PATCH, GM USER:01USER:32, <CARD:01CARD:32>, PR-A:01PR-A:32, PR-B:01PR-B:32 USER&PRESET, <PCM>, EXP 427.4452.6 <OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2> OFF, HOLD-1, SOSTENUTO, SOFT, HOLD-2 VOLUME, VOLUME&EXPRESSION CHANNEL, POLY, CH&POLY CC01CC05, CC07CC31, CC64CC95, PITCH BEND, AFTERTOUCH <PANEL, PANEL&MIDI> SINGLE, CHORD, PHRASE OFF, 1127 116, RX-CH, OFF REAL, 1127 LIGHT, MEDIUM, HEAVY CC01CC05, CC07CC31, CC64CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/STOP>, <PUNCH-IN/OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN <CC01CC05, CC07CC31, CC64CC95, PITCH BEND, AFTERTOUCH, PROG-UP, PROG-DOWN, <START/STOP>, <PUNCH-IN/OUT>, TAP-TEMPO, OCTAVE-UP, OCTAVE-DOWN> OFF, INT, MIDI, INT&MIDI <OFF, INT, MIDI, INT&MIDI> STANDARD, REVERSE <STANDARD, REVERSE> PART1PART16
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0aaa aaaa | Scale Tune for C 0 - 127 (-64 - +63)| | 00 01 | 0aaa aaaa | Scale Tune for C# 0 - 127 (-64 - +63)| | 00 02 | 0aaa aaaa | Scale Tune for D 0 - 127 (-64 - +63)| | 00 03 | 0aaa aaaa | Scale Tune for D# 0 - 127 (-64 - +63)| | 00 04 | 0aaa aaaa | Scale Tune for E 0 - 127 (-64 - +63)| | 00 05 | 0aaa aaaa | Scale Tune for F 0 - 127 (-64 - +63)| | 00 06 | 0aaa aaaa | Scale Tune for F# 0 - 127 (-64 - +63)| | 00 07 | 0aaa aaaa | Scale Tune for G 0 - 127 (-64 - +63)| | 00 08 | 0aaa aaaa | Scale Tune for G# 0 - 127 (-64 - +63)| | 00 09 | 0aaa aaaa | Scale Tune for A 0 - 127 (-64 - +63)| | 00 0A | 0aaa aaaa | Scale Tune for A# 0 - 127 (-64 - +63)| | 00 0B | 0aaa aaaa | Scale Tune for B 0 - 127 (-64 - +63)| |+| |Total size | 00 00 00 0C | ++
191
Appendices
q 1-1-2.Scale Tune
MIDI Implementation
q 1-2.Performance
++ | Offset | | | Address | Description | |+| | 00 00 | Performance Common 1-2-1 | | 10 00 | Performance Part 1 1-2-2 | | 11 00 | Performance Part 2 | | : | | | 1F 00 | Performance Part 16 | ++
q 1-2-1.Performance Common
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0aaa aaaa | Performance Name 1 32 - 127 | | 00 01 | 0aaa aaaa | Performance Name 2 32 - 127 | | 00 02 | 0aaa aaaa | Performance Name 3 32 - 127 | | 00 03 | 0aaa aaaa | Performance Name 4 32 - 127 | | 00 04 | 0aaa aaaa | Performance Name 5 32 - 127 | | 00 05 | 0aaa aaaa | Performance Name 6 32 - 127 | | 00 06 | 0aaa aaaa | Performance Name 7 32 - 127 | | 00 07 | 0aaa aaaa | Performance Name 8 32 - 127 | | 00 08 | 0aaa aaaa | Performance Name 9 32 - 127 | | 00 09 | 0aaa aaaa | Performance Name 10 32 - 127 | | 00 0A | 0aaa aaaa | Performance Name 11 32 - 127 | | 00 0B | 0aaa aaaa | Performance Name 12 32 - 127 | |++| | 00 0C | 0000 aaaa | EFX Source 0 - 15 *1 | | 00 0D | 00aa aaaa | EFX Type 0 - 39 (1 - 40) | | 00 0E | 0aaa aaaa | EFX Parameter 1 0 - 127 | | 00 0F | 0aaa aaaa | EFX Parameter 2 0 - 127 | | 00 10 | 0aaa aaaa | EFX Parameter 3 0 - 127 | | 00 11 | 0aaa aaaa | EFX Parameter 4 0 - 127 | | 00 12 | 0aaa aaaa | EFX Parameter 5 0 - 127 | | 00 13 | 0aaa aaaa | EFX Parameter 6 0 - 127 | | 00 14 | 0aaa aaaa | EFX Parameter 7 0 - 127 | | 00 15 | 0aaa aaaa | EFX Parameter 8 0 - 127 | | 00 16 | 0aaa aaaa | EFX Parameter 9 0 - 127 | | 00 17 | 0aaa aaaa | EFX Parameter 10 0 - 127 | | 00 18 | 0aaa aaaa | EFX Parameter 11 0 - 127 | | 00 19 | 0aaa aaaa | EFX Parameter 12 0 - 127 | | 00 1A | 0000 00aa | EFX Output Assign 0 - 2 *2 | | 00 1B | 0aaa aaaa | EFX Mix Out Send Level 0 - 127 | | 00 1C | 0aaa aaaa | EFX Chorus Send Level 0 - 127 | | 00 1D | 0aaa aaaa | EFX Reverb Send Level 0 - 127 | | 00 1E | 0000 aaaa | EFX Control Source 1 0 - 10 *3 | | 00 1F | 0aaa aaaa | EFX Control Depth 1 0 - 126 (-63 - +63)| | 00 20 | 0000 aaaa | EFX Control Source 2 0 - 10 *3 | | 00 21 | 0aaa aaaa | EFX Control Depth 2 0 - 126 (-63 - +63)| | 00 22 | 0aaa aaaa | Chorus Level 0 - 127 | | 00 23 | 0aaa aaaa | Chorus Rate 0 - 127 | | 00 24 | 0aaa aaaa | Chorus Depth 0 - 127 | | 00 25 | 0aaa aaaa | Chorus Pre-Delay 0 - 127 | | 00 26 | 0aaa aaaa | Chorus Feedback 0 - 127 | | 00 27 | 0000 00aa | Chorus Output 0 - 2 *4 | | 00 28 | 0000 0aaa | Reverb Type 0 - 7 *5 | | 00 29 | 0aaa aaaa | Reverb Level 0 - 127 | | 00 2A | 0aaa aaaa | Reverb Time 0 - 127 | | 00 2B | 000a aaaa | Reverb HF Damp 0 - 17 *6 | | 00 2C | 0aaa aaaa | Delay Feedback 0 - 127 | |++| |# 00 2D | 0000 aaaa | Performance Tempo 20 - 250 | | | 0000 bbbb | | | 00 2F | 0000 000a | Keyboard Range Switch 0 - 1 (OFF,ON) | |++| | 00 30 | 0aaa aaaa | Voice Reserve 1 0 - 64 | | 00 31 | 0aaa aaaa | Voice Reserve 2 0 - 64 | | 00 32 | 0aaa aaaa | Voice Reserve 3 0 - 64 | | 00 33 | 0aaa aaaa | Voice Reserve 4 0 - 64 | | 00 34 | 0aaa aaaa | Voice Reserve 5 0 - 64 | | 00 35 | 0aaa aaaa | Voice Reserve 6 0 - 64 | | 00 36 | 0aaa aaaa | Voice Reserve 7 0 - 64 | | 00 37 | 0aaa aaaa | Voice Reserve 8 0 - 64 | | 00 38 | 0aaa aaaa | Voice Reserve 9 0 - 64 | | 00 39 | 0aaa aaaa | Voice Reserve 10 0 - 64 | | 00 3A | 0aaa aaaa | Voice Reserve 11 0 - 64 | | 00 3B | 0aaa aaaa | Voice Reserve 12 0 - 64 | | 00 3C | 0aaa aaaa | Voice Reserve 13 0 - 64 | | 00 3D | 0aaa aaaa | Voice Reserve 14 0 - 64 | | 00 3E | 0aaa aaaa | Voice Reserve 15 0 - 64 | | 00 3F | 0aaa aaaa | Voice Reserve 16 0 - 64 | |++| | 00 40 | 0000 000a | Keyboard Mode 0 - 1 *7 | | 00 41 | 0000 000a | Clock Source 0 - 1 *8 | |+| |Total size | 00 00 00 42 | ++ *1 *2 *3 *4 *5 *6 *7 *8 PERFORM, 19, 1116 MIX, <DIRECT-1>, <DIRECT-2> OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH MIX, REV, MIX+REV ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS LAYER, SINGLE PERFORMANCE, SYSTEM
192
MIDI Implementation
q 1-2-2.Performance Part
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0000 000a | Receive Switch 0 - 1 (OFF,ON) | | 00 01 | 0000 aaaa | MIDI Channel 0 - 15 (1 - 16) | |++| | 00 02 | 0000 00aa | Patch Group Type 0 - 2 *1 -> | | 00 03 | 0aaa aaaa | Patch Group ID 0 - 127 -> | |# 00 04 | 0000 aaaa | Patch Number 0 - 255 -> | | | 0000 bbbb | (001 - 256)| | 00 06 | 0aaa aaaa | Part Level 0 - 127 | | 00 07 | 0aaa aaaa | Part Pan 0 - 127 (L64 - 63R)| | 00 08 | 0aaa aaaa | Part Coarse Tune 0 - 96 (-48 - +48)| | 00 09 | 0aaa aaaa | Part Fine Tune 0 - 100 (-50 - +50)| | 00 0A | 0000 0aaa | Output Assign 0 - 4 *2 | | 00 0B | 0aaa aaaa | Mix/EFX Send Level 0 - 127 | | 00 0C | 0aaa aaaa | Chorus Send Level 0 - 127 | | 00 0D | 0aaa aaaa | Reverb Send Level 0 - 127 | | 00 0E | 0000 000a | Receive Program Change Switch 0 - 1 (OFF,ON) | | 00 0F | 0000 000a | Receive Volume Switch 0 - 1 (OFF,ON) | | 00 10 | 0000 000a | Receive Hold-1 Switch 0 - 1 (OFF,ON) | | 00 11 | 0aaa aaaa | Keyboard Range Lower 0 - 127 *3 | | 00 12 | 0aaa aaaa | Keyboard Range Upper 0 - 127 *4 | |++| | 00 13 | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) | | 00 14 | 0000 000a | Local Switch 0 - 1 (OFF,ON) | | 00 15 | 0000 000a | Transmit Switch 0 - 1 (OFF,ON) | | 00 16 | 0000 0aaa | Transmit Bank Select Group 0 - 7 *5 | |# 00 17 | 0000 aaaa | Transmit Volume 0 - 128 | | | 0000 bbbb | (0 - 127,OFF) | |+| |Total size | 00 00 00 19 | ++ *1 *2 *3 *4 *5 USER&PRESET, <PCM>, EXP MIX, EFX, <DIRECT-1>, <DIRECT-2>, PATCH C-1Upper LowerG9 PATCH, GROUP1GROUP7
++ | Patch Group | Group Type | Group ID | Number (value) | |+++| | USER | 0 | 1 | 0 - 127 (001 - 128) | | <CARD | 0 | 2 | 0 - 127 (001 - 128)>| | PR-A | 0 | 3 | 0 - 127 (001 - 128) | | PR-B | 0 | 4 | 0 - 127 (001 - 128) | | PR-C | 0 | 5 | 0 - 127 (001 - 128) | | PR-D | 0 | 6 | 0 - 127 (001 - 128) | | PR-E | 0 | 7 | 0 - 127 (001 - 128) | | <PCM | 1 | 1 - 127 | 0 - 127 (001 - 128)>| |XP-A(Session)| 2 | 9 | 0 - 254 (001 - 255) | | XP-B(Orch.) | 2 | 2 | 0 - 254 (001 - 255) | | XP-C(Techno)| 2 | 11 | 0 - 255 (001 - 256) | | XP-D | 2 | 1 - 127 | 0 - 255 (001 - 256) | | XP-E | 2 | 1 - 127 | 0 - 255 (001 - 256) | ++
q 1-3.Patch
++ | Offset | | | Address | Description | |+| | 00 00 | Patch Common 1-3-1 | | 10 00 | Patch Tone 1 1-3-2 | | 12 00 | Patch Tone 2 | | 14 00 | Patch Tone 3 | | 16 00 | Patch Tone 4 | ++
q 1-3-1.Patch Common
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0aaa aaaa | Patch Name 1 32 - 127 | | 00 01 | 0aaa aaaa | Patch Name 2 32 - 127 | | 00 02 | 0aaa aaaa | Patch Name 3 32 - 127 | | 00 03 | 0aaa aaaa | Patch Name 4 32 - 127 | | 00 04 | 0aaa aaaa | Patch Name 5 32 - 127 | | 00 05 | 0aaa aaaa | Patch Name 6 32 - 127 | | 00 06 | 0aaa aaaa | Patch Name 7 32 - 127 | | 00 07 | 0aaa aaaa | Patch Name 8 32 - 127 | | 00 08 | 0aaa aaaa | Patch Name 9 32 - 127 | | 00 09 | 0aaa aaaa | Patch Name 10 32 - 127 | | 00 0A | 0aaa aaaa | Patch Name 11 32 - 127 | | 00 0B | 0aaa aaaa | Patch Name 12 32 - 127 | |++| | 00 0C | 00aa aaaa | EFX Type 0 - 39 (1 - 40) | | 00 0D | 0aaa aaaa | EFX Parameter 1 0 - 127 | | 00 0E | 0aaa aaaa | EFX Parameter 2 0 - 127 | | 00 0F | 0aaa aaaa | EFX Parameter 3 0 - 127 | | 00 10 | 0aaa aaaa | EFX Parameter 4 0 - 127 | | 00 11 | 0aaa aaaa | EFX Parameter 5 0 - 127 | | 00 12 | 0aaa aaaa | EFX Parameter 6 0 - 127 | | 00 13 | 0aaa aaaa | EFX Parameter 7 0 - 127 | | 00 14 | 0aaa aaaa | EFX Parameter 8 0 - 127 | | 00 15 | 0aaa aaaa | EFX Parameter 9 0 - 127 | | 00 16 | 0aaa aaaa | EFX Parameter 10 0 - 127 | | 00 17 | 0aaa aaaa | EFX Parameter 11 0 - 127 | | 00 18 | 0aaa aaaa | EFX Parameter 12 0 - 127 | | 00 19 | 0000 00aa | EFX Output Assign 0 - 2 *1 | | 00 1A | 0aaa aaaa | EFX Mix Out Send Level 0 - 127 | | 00 1B | 0aaa aaaa | EFX Chorus Send Level 0 - 127 | | 00 1C | 0aaa aaaa | EFX Reverb Send Level 0 - 127 | | 00 1D | 0000 aaaa | EFX Control Source 1 0 - 10 *2 | | 00 1E | 0aaa aaaa | EFX Control Depth 1 0 - 126 (-63 - +63)| | 00 1F | 0000 aaaa | EFX Control Source 2 0 - 10 | | 00 20 | 0aaa aaaa | EFX Control Depth 2 0 - 126 (-63 - +63)| | 00 21 | 0aaa aaaa | Chorus Level 0 - 127 | | 00 22 | 0aaa aaaa | Chorus Rate 0 - 127 | | 00 23 | 0aaa aaaa | Chorus Depth 0 - 127 | | 00 24 | 0aaa aaaa | Chorus Pre-Delay 0 - 127 | | 00 25 | 0aaa aaaa | Chorus Feedback 0 - 127 | | 00 26 | 0000 00aa | Chorus Output 0 - 2 *3 | | 00 27 | 0000 0aaa | Reverb Type 0 - 7 *4 | | 00 28 | 0aaa aaaa | Reverb Level 0 - 127 | | 00 29 | 0aaa aaaa | Reverb Time 0 - 127 | | 00 2A | 000a aaaa | Reverb HF Damp 0 - 17 *5 | | 00 2B | 0aaa aaaa | Delay Feedback 0 - 127 |
193
Appendices
MIDI Implementation
|++| |# 00 2C | 0000 aaaa | Patch Tempo 20 - 250 | | | 0000 bbbb | | | 00 2E | 0aaa aaaa | Patch Level 0 - 127 | | 00 2F | 0aaa aaaa | Patch Pan 0 - 127 (L64 - 63R)| | 00 30 | 0aaa aaaa | Analog Feel 0 - 127 | | 00 31 | 0000 aaaa | Bend Range Up 0 - 12 | | 00 32 | 00aa aaaa | Bend Range Down 0 - 48 (0 - -48) | | 00 33 | 0000 000a | Key Assign Mode 0 - 1 (POLY,SOLO)| | 00 34 | 0000 000a | Solo Legato 0 - 1 (OFF,ON) | | 00 35 | 0000 000a | Portamento Switch 0 - 1 (OFF,ON) | | 00 36 | 0000 000a | Portamento Mode 0 - 1 *6 | | 00 37 | 0000 000a | Portamento Type 0 - 1 (RATE,TIME)| | 00 38 | 0000 000a | Portamento Start 0 - 1 *7 | | 00 39 | 0aaa aaaa | Portamento Time 0 - 127 | | 00 3A | 0000 aaaa | Patch Control Source 2 0 - 15 *8 | | 00 3B | 0000 aaaa | Patch Control Source 3 0 - 15 *8 | | 00 3C | 0000 00aa | EFX Control Hold/Peak 0 - 2 *9 | | 00 3D | 0000 00aa | Control 1 Hold/Peak 0 - 2 *9 | | 00 3E | 0000 00aa | Control 2 Hold/Peak 0 - 2 *9 | | 00 3F | 0000 00aa | Control 3 Hold/Peak 0 - 2 *9 | | 00 40 | 0000 000a | Velocity Range Switch 0 - 1 (OFF,ON) | | 00 41 | 0000 0aaa | Octave Shift 0 - 6 (-3 - +3) | | 00 42 | 0000 00aa | Stretch Tune Depth 0 - 3 (OFF,1 - 3)| | 00 43 | 0000 000a | Voice Priority 0 - 1 *10 | |++| | 00 44 | 0000 aaaa | Structure Type 1&2 0 - 9 (1 - 10) | | 00 45 | 0000 00aa | Booster 1&2 0 - 3 *11 | | 00 46 | 0000 aaaa | Structure Type 3&4 0 - 9 (1 - 10) | | 00 47 | 0000 00aa | Booster 3&4 0 - 3 *11 | |++| | 00 48 | 0000 000a | Clock Source 0 - 1 *12 | | 00 49 | 0aaa aaaa | Patch Category 0 - 127 *13 | |+| |Total size | 00 00 00 4A | ++ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 MIX, <DIRECT-1>, <DIRECT-2> OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH MIX, REV, MIX+REV ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DLY 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000, BYPASS NORMAL, LEGATO PITCH, NOTE OFF, SYS-CTRL1, SYS-CTRL2, MODULATION, BREATH, FOOT, VOLUME, PAN, EXPRESSION, PITCH BEND, AFTERTOUCH, LFO1, LFO2, VELOCITY, KEYFOLLOW, PLAYMATE OFF, HOLD, PEAK LAST, LOUDEST 0, +6, +12, +18 PATCH, SYSTEM NO ASSIGN, AC.PIANO, EL.PIANO, KEYBOARDS, BELL, MALLET, ORGAN, ACCORDION, HARMONICA, AC.GUITAR, EL.GUITAR, DIST.GUITAR, BASS, SYNTH BASS, STRINGS, ORCHESTRA, HIT&STAB, WIND, FLUTE, AC.BRASS, SYNTH BRASS, SAX, HARD LEAD, SOFT LEAD, TECHNO SYNTH, PULSATING, SYNTH FX, OTHER SYNTH, BRIGHT PAD, SOFT PAD, VOX, PLUCKED, ETHNIC, FRETTED, PERCUSSION, SOUND FX, BEAT&GROOVE, DRUMS, COMBINATION (038)
q 1-3-2.Patch Tone
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0000 000a | Tone Switch 0 - 1 (OFF,ON) | | 00 01 | 0000 00aa | Wave Group Type 0 - 2 *1 -> | | 00 02 | 0aaa aaaa | Wave Group ID 0 - 127 -> | |# 00 03 | 0000 aaaa | Wave Number 0 - 254 -> | | | 0000 bbbb | (001 - 255)| | 00 05 | 0000 00aa | Wave Gain 0 - 3 *2 | | 00 06 | 0000 000a | FXM Switch 0 - 1 (OFF,ON) | | 00 07 | 0000 00aa | FXM Color 0 - 3 (1 - 4) | | 00 08 | 0000 aaaa | FXM Depth 0 - 15 (1 - 16) | | 00 09 | 0000 0aaa | Tone Delay Mode 0 - 7 *3 | | 00 0A | 0aaa aaaa | Tone Delay Time 0 - 127 | |++| | 00 0B | 0aaa aaaa | Velocity Cross Fade 0 - 127 | | 00 0C | 0aaa aaaa | Velocity Range Lower 1 - 127 *4 | | 00 0D | 0aaa aaaa | Velocity Range Upper 1 - 127 *5 | | 00 0E | 0aaa aaaa | Keyboard Range Lower 0 - 127 *6 | | 00 0F | 0aaa aaaa | Keyboard Range Upper 0 - 127 *7 | | 00 10 | 0000 000a | Redamper Control Switch 0 - 1 (OFF,ON) | | 00 11 | 0000 000a | Volume Control Switch 0 - 1 (OFF,ON) | | 00 12 | 0000 000a | Hold-1 Control Switch 0 - 1 (OFF,ON) | | 00 13 | 0000 000a | Pitch Bend Control Switch 0 - 1 (OFF,ON) | | 00 14 | 0000 00aa | Pan Control Switch 0 - 2 *8 | | 00 15 | 000a aaaa | Controller 1 Destination 1 0 - 18 *9 | | 00 16 | 0aaa aaaa | Controller 1 Depth 1 0 - 126 (-63 - +63)| | 00 17 | 000a aaaa | Controller 1 Destination 2 0 - 18 *9 | | 00 18 | 0aaa aaaa | Controller 1 Depth 2 0 - 126 (-63 - +63)| | 00 19 | 000a aaaa | Controller 1 Destination 3 0 - 18 *9 | | 00 1A | 0aaa aaaa | Controller 1 Depth 3 0 - 126 (-63 - +63)| | 00 1B | 000a aaaa | Controller 1 Destination 4 0 - 18 *9 | | 00 1C | 0aaa aaaa | Controller 1 Depth 4 0 - 126 (-63 - +63)| | 00 1D | 000a aaaa | Controller 2 Destination 1 0 - 18 *9 | | 00 1E | 0aaa aaaa | Controller 2 Depth 1 0 - 126 (-63 - +63)| | 00 1F | 000a aaaa | Controller 2 Destination 2 0 - 18 *9 | | 00 20 | 0aaa aaaa | Controller 2 Depth 2 0 - 126 (-63 - +63)| | 00 21 | 000a aaaa | Controller 2 Destination 3 0 - 18 *9 | | 00 22 | 0aaa aaaa | Controller 2 Depth 3 0 - 126 (-63 - +63)| | 00 23 | 000a aaaa | Controller 2 Destination 4 0 - 18 *9 | | 00 24 | 0aaa aaaa | Controller 2 Depth 4 0 - 126 (-63 - +63)| | 00 25 | 000a aaaa | Controller 3 Destination 1 0 - 18 *9 | | 00 26 | 0aaa aaaa | Controller 3 Depth 1 0 - 126 (-63 - +63)| | 00 27 | 000a aaaa | Controller 3 Destination 2 0 - 18 *9 | | 00 28 | 0aaa aaaa | Controller 3 Depth 2 0 - 126 (-63 - +63)| | 00 29 | 000a aaaa | Controller 3 Destination 3 0 - 18 *9 | | 00 2A | 0aaa aaaa | Controller 3 Depth 3 0 - 126 (-63 - +63)| | 00 2B | 000a aaaa | Controller 3 Destination 4 0 - 18 *9 | | 00 2C | 0aaa aaaa | Controller 3 Depth 4 0 - 126 (-63 - +63)|
++ | Wave Group | Group Type | Group ID | Number (value) | |+++| | INT-A | 0 | 1 | 0 - 254 (001 - 255) | | INT-B | 0 | 2 | 0 - 192 (001 - 193) | | <PCM | 1 | 1 - 127 | 0 - 254 (001 - 255)>| |XP-A(Session)| 2 | 9 | 0 - 205 (001 - 206) | | XP-B(Orch.) | 2 | 2 | 0 - 173 (001 - 174) | | XP-C(Techno)| 2 | 11 | 0 - 254 (001 - 255) | | XP-D | 2 | 1 - 127 | 0 - 254 (001 - 255) | | XP-E | 2 | 1 - 127 | 0 - 254 (001 - 255) | ++
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MIDI Implementation
|++| | 00 2D | 0000 0aaa | LFO1 Waveform 0 - 7 *10 | | 00 2E | 0000 000a | LFO1 Key Sync 0 - 1 (OFF,ON) | | 00 2F | 0aaa aaaa | LFO1 Rate 0 - 127 | | 00 30 | 0000 0aaa | LFO1 Offset 0 - 4 *11 | | 00 31 | 0aaa aaaa | LFO1 Delay Time 0 - 127 | | 00 32 | 0000 00aa | LFO1 Fade Mode 0 - 3 *12 | | 00 33 | 0aaa aaaa | LFO1 Fade Time 0 - 127 | | 00 34 | 0000 00aa | LFO1 External Sync 0 - 2 *13 | | 00 35 | 0000 0aaa | LFO2 Waveform 0 - 7 *10 | | 00 36 | 0000 000a | LFO2 Key Sync 0 - 1 (OFF,ON) | | 00 37 | 0aaa aaaa | LFO2 Rate 0 - 127 | | 00 38 | 0000 0aaa | LFO2 Offset 0 - 4 *11 | | 00 39 | 0aaa aaaa | LFO2 Delay Time 0 - 127 | | 00 3A | 0000 00aa | LFO2 Fade Mode 0 - 3 *12 | | 00 3B | 0aaa aaaa | LFO2 Fade Time 0 - 127 | | 00 3C | 0000 00aa | LFO2 External Sync 0 - 2 *13 | |++| | 00 3D | 0aaa aaaa | Coarse Tune 0 - 96 (-48 - +48)| | 00 3E | 0aaa aaaa | Fine Tune 0 - 100 (-50 - +50)| | 00 3F | 000a aaaa | Random Pitch Depth 0 - 30 *14 | | 00 40 | 0000 aaaa | Pitch Keyfollow 0 - 15 *15 | | 00 41 | 000a aaaa | Pitch Envelope Depth 0 - 24 (-12 - +12)| | 00 42 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 - 125 *16 | | 00 43 | 0000 aaaa | Pitch Envelope Velocity Time1 0 - 14 *17 | | 00 44 | 0000 aaaa | Pitch Envelope Velocity Time4 0 - 14 *17 | | 00 45 | 0000 aaaa | Pitch Envelope Time Keyfollow 0 - 14 *17 | | 00 46 | 0aaa aaaa | Pitch Envelope Time 1 0 - 127 | | 00 47 | 0aaa aaaa | Pitch Envelope Time 2 0 - 127 | | 00 48 | 0aaa aaaa | Pitch Envelope Time 3 0 - 127 | | 00 49 | 0aaa aaaa | Pitch Envelope Time 4 0 - 127 | | 00 4A | 0aaa aaaa | Pitch Envelope Level 1 0 - 126 (-63 - +63)| | 00 4B | 0aaa aaaa | Pitch Envelope Level 2 0 - 126 (-63 - +63)| | 00 4C | 0aaa aaaa | Pitch Envelope Level 3 0 - 126 (-63 - +63)| | 00 4D | 0aaa aaaa | Pitch Envelope Level 4 0 - 126 (-63 - +63)| | 00 4E | 0aaa aaaa | Pitch LFO1 Depth 0 - 126 (-63 - +63)| | 00 4F | 0aaa aaaa | Pitch LFO2 Depth 0 - 126 (-63 - +63)| |++| | 00 50 | 0000 0aaa | Filter Type 0 - 4 *18 | | 00 51 | 0aaa aaaa | Cutoff Frequency 0 - 127 | | 00 52 | 0000 aaaa | Cutoff Keyfollow 0 - 15 *15 | | 00 53 | 0aaa aaaa | Resonance 0 - 127 | | 00 54 | 0aaa aaaa | Resonance Velocity Sens 0 - 125 *16 | | 00 55 | 0aaa aaaa | Filter Envelope Depth 0 - 126 (-63 - +63)| | 00 56 | 0000 0aaa | Filter Envelope Velocity Curve 0 - 6 (1 - 7) | | 00 57 | 0aaa aaaa | Filter Envelope Velocity Sens 0 - 125 *16 | | 00 58 | 0000 aaaa | Filter Envelope Velocity Time1 0 - 14 *17 | | 00 59 | 0000 aaaa | Filter Envelope Velocity Time4 0 - 14 *17 | | 00 5A | 0000 aaaa | Filter Envelope Time Keyfollow 0 - 14 *17 | | 00 5B | 0aaa aaaa | Filter Envelope Time 1 0 - 127 | | 00 5C | 0aaa aaaa | Filter Envelope Time 2 0 - 127 | | 00 5D | 0aaa aaaa | Filter Envelope Time 3 0 - 127 | | 00 5E | 0aaa aaaa | Filter Envelope Time 4 0 - 127 | | 00 5F | 0aaa aaaa | Filter Envelope Level 1 0 - 127 | | 00 60 | 0aaa aaaa | Filter Envelope Level 2 0 - 127 | | 00 61 | 0aaa aaaa | Filter Envelope Level 3 0 - 127 | | 00 62 | 0aaa aaaa | Filter Envelope Level 4 0 - 127 | | 00 63 | 0aaa aaaa | Filter LFO1 Depth 0 - 126 (-63 - +63)| | 00 64 | 0aaa aaaa | Filter LFO2 Depth 0 - 126 (-63 - +63)| |++| | 00 65 | 0aaa aaaa | Tone Level 0 - 127 | | 00 66 | 0000 00aa | Bias Direction 0 - 3 *19 | | 00 67 | 0aaa aaaa | Bias Position 0 - 127 (C-1 - G9) | | 00 68 | 0000 aaaa | Bias Level 0 - 14 *17 | | 00 69 | 0000 0aaa | Level Envelope Velocity Curve 0 - 6 (1 - 7) | | 00 6A | 0aaa aaaa | Level Envelope Velocity Sens 0 - 125 *16 | | 00 6B | 0000 aaaa | Level Envelope Velocity Time1 0 - 14 *17 | | 00 6C | 0000 aaaa | Level Envelope Velocity Time4 0 - 14 *17 | | 00 6D | 0000 aaaa | Level Envelope Time Keyfollow 0 - 14 *17 | | 00 6E | 0aaa aaaa | Level Envelope Time 1 0 - 127 | | 00 6F | 0aaa aaaa | Level Envelope Time 2 0 - 127 | | 00 70 | 0aaa aaaa | Level Envelope Time 3 0 - 127 | | 00 71 | 0aaa aaaa | Level Envelope Time 4 0 - 127 | | 00 72 | 0aaa aaaa | Level Envelope Level 1 0 - 127 | | 00 73 | 0aaa aaaa | Level Envelope Level 2 0 - 127 | | 00 74 | 0aaa aaaa | Level Envelope Level 3 0 - 127 | | 00 75 | 0aaa aaaa | Level LFO1 Depth 0 - 126 (-63 - +63)| | 00 76 | 0aaa aaaa | Level LFO2 Depth 0 - 126 (-63 - +63)| | 00 77 | 0aaa aaaa | Tone Pan 0 - 127 (L64 - 63R)| | 00 78 | 0000 aaaa | Pan Keyfollow 0 - 14 *17 | | 00 79 | 00aa aaaa | Random Pan Depth 0 - 63 | | 00 7A | 0aaa aaaa | Alternate Pan Depth 1 - 127 (L63 - 63R)| | 00 7B | 0aaa aaaa | Pan LFO1 Depth 0 - 126 (L63 - 63R)| | 00 7C | 0aaa aaaa | Pan LFO2 Depth 0 - 126 (L63 - 63R)| |++| | 00 7D | 0000 00aa | Output Assign 0 - 3 *20 | | 00 7E | 0aaa aaaa | Mix/EFX Send Level 0 - 127 | | 00 7F | 0aaa aaaa | Chorus Send Level 0 - 127 | | 01 00 | 0aaa aaaa | Reverb Send Level 0 - 127 | |+| |Total size | 00 00 01 01 | ++ *1 *2 *3 *4 *5 *6 *7 *8 *9 *10 *11 *12 *13 *14 *15 INT, <PCM>, EXP -6, 0, +6, +12 NORMAL, HOLD, PLAYMATE, CLOCK-SYNC, <TAP-SYNC>, KEY-OFF-N, KEY-OFF-D, TEMPO-SYNC 1Upper Lower127 C-1Upper LowerG9 OFF, CONTINUOUS, KEY-ON OFF, PCH, CUT, RES, LEV, PAN, MIX, CHO, REV, PL1, PL2, FL1, FL2, AL1, AL2, pL1, pL2, L1R, L2R TRI, SIN, SAW, SQR, TRP, S&H, RND, CHS -100, -50, 0, +50, +100 KEY-ON-IN, KEY-ON-OUT, KEY-OFF-IN, KEY-OFF-OUT OFF, CLOCK, <TAP> 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 -100, -70, -50, -30, -10, 0, +10, +20, +30, +40, +50, +70, +100, +120, +150, +200
195
Appendices
MIDI Implementation
-100+150 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100 OFF, LPF, BPF, HPF, PKG LOWER, UPPER, LOWER&UPPER, ALL MIX, EFX, <DIRECT-1>, <DIRECT-2>
q 1-4.Rhythm Setup
++ | Offset | | | Address | Description | |+| | 00 00 | Rhythm Common 1-4-1 | | 23 00 | Rhythm Note for Key# 35 1-4-2 | | 24 00 | Rhythm Note for Key# 36 | | : | | | 62 00 | Rhythm Note for Key# 98 | ++
q 1-4-1.Rhythm Common
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0aaa aaaa | Rhythm Name 1 32 - 127 | | 00 01 | 0aaa aaaa | Rhythm Name 2 32 - 127 | | 00 02 | 0aaa aaaa | Rhythm Name 3 32 - 127 | | 00 03 | 0aaa aaaa | Rhythm Name 4 32 - 127 | | 00 04 | 0aaa aaaa | Rhythm Name 5 32 - 127 | | 00 05 | 0aaa aaaa | Rhythm Name 6 32 - 127 | | 00 06 | 0aaa aaaa | Rhythm Name 7 32 - 127 | | 00 07 | 0aaa aaaa | Rhythm Name 8 32 - 127 | | 00 08 | 0aaa aaaa | Rhythm Name 9 32 - 127 | | 00 09 | 0aaa aaaa | Rhythm Name 10 32 - 127 | | 00 0A | 0aaa aaaa | Rhythm Name 11 32 - 127 | | 00 0B | 0aaa aaaa | Rhythm Name 12 32 - 127 | |+| |Total size | 00 00 00 0C | ++
q 1-4-2.Rhythm Note
++ | Offset | | | Address | Size | Description Data (Value) | |+| | 00 00 | 0000 000a | Tone Switch 0 - 1 (OFF,ON) | | 00 01 | 0000 00aa | Wave Group Type 0 - 2 *1 -> | | 00 02 | 0aaa aaaa | Wave Group ID 0 - 127 -> | |# 00 03 | 0000 aaaa | Wave Number 0 - 254 -> | | | 0000 bbbb | (001 - 255) | | 00 05 | 0000 00aa | Wave Gain 0 - 3 *2 | | 00 06 | 0000 aaaa | Bend Range 0 - 12 | | 00 07 | 000a aaaa | Mute Group 0 - 31 (OFF,1 - 31)| | 00 08 | 0000 000a | Envelope Mode 0 - 1 *3 | | 00 09 | 0000 000a | Volume Control Switch 0 - 1 (OFF,ON) | | 00 0A | 0000 000a | Hold-1 Control Switch 0 - 1 (OFF,ON) | | 00 0B | 0000 00aa | Pan Control Switch 0 - 2 *4 | |++| | 00 0C | 0aaa aaaa | Coarse Tune 0 - 127 (C-1 - G9) | | 00 0D | 0aaa aaaa | Fine Tune 0 - 100 (-50 - +50)| | 00 0E | 000a aaaa | Random Pitch Depth 0 - 30 *5 | | 00 0F | 000a aaaa | Pitch Envelope Depth 0 - 24 (-12 - +12)| | 00 10 | 0aaa aaaa | Pitch Envelope Velocity Sens 0 - 125 *6 | | 00 11 | 0000 aaaa | Pitch Envelope Velocity Time 0 - 14 *7 | | 00 12 | 0aaa aaaa | Pitch Envelope Time 1 0 - 127 | | 00 13 | 0aaa aaaa | Pitch Envelope Time 2 0 - 127 | | 00 14 | 0aaa aaaa | Pitch Envelope Time 3 0 - 127 | | 00 15 | 0aaa aaaa | Pitch Envelope Time 4 0 - 127 | | 00 16 | 0aaa aaaa | Pitch Envelope Level 1 0 - 126 (-63 - +63)| | 00 17 | 0aaa aaaa | Pitch Envelope Level 2 0 - 126 (-63 - +63)| | 00 18 | 0aaa aaaa | Pitch Envelope Level 3 0 - 126 (-63 - +63)| | 00 19 | 0aaa aaaa | Pitch Envelope Level 4 0 - 126 (-63 - +63)| |++| | 00 1A | 0000 0aaa | Filter Type 0 - 4 *8 | | 00 1B | 0aaa aaaa | Cutoff Frequency 0 - 127 | | 00 1C | 0aaa aaaa | Resonance 0 - 127 | | 00 1D | 0aaa aaaa | Resonance Velocity Sens 0 - 125 *6 | | 00 1E | 0aaa aaaa | Filter Envelope Depth 0 - 126 (-63 - +63)| | 00 1F | 0aaa aaaa | Filter Envelope Velocity Sens 0 - 125 *6 | | 00 20 | 0000 aaaa | Filter Envelope Velocity Time 0 - 14 *7 | | 00 21 | 0aaa aaaa | Filter Envelope Time 1 0 - 127 | | 00 22 | 0aaa aaaa | Filter Envelope Time 2 0 - 127 | | 00 23 | 0aaa aaaa | Filter Envelope Time 3 0 - 127 | | 00 24 | 0aaa aaaa | Filter Envelope Time 4 0 - 127 | | 00 25 | 0aaa aaaa | Filter Envelope Level 1 0 - 127 | | 00 26 | 0aaa aaaa | Filter Envelope Level 2 0 - 127 | | 00 27 | 0aaa aaaa | Filter Envelope Level 3 0 - 127 | | 00 28 | 0aaa aaaa | Filter Envelope Level 4 0 - 127 | |++| | 00 29 | 0aaa aaaa | Tone Level 0 - 127 | | 00 2A | 0aaa aaaa | Level Envelope Velocity Sens 0 - 125 *6 | | 00 2B | 0000 aaaa | Level Envelope Velocity Time 0 - 14 *7 | | 00 2C | 0aaa aaaa | Level Envelope Time 1 0 - 127 | | 00 2D | 0aaa aaaa | Level Envelope Time 2 0 - 127 | | 00 2E | 0aaa aaaa | Level Envelope Time 3 0 - 127 | | 00 2F | 0aaa aaaa | Level Envelope Time 4 0 - 127 | | 00 30 | 0aaa aaaa | Level Envelope Level 1 0 - 127 | | 00 31 | 0aaa aaaa | Level Envelope Level 2 0 - 127 | | 00 32 | 0aaa aaaa | Level Envelope Level 3 0 - 127 | | 00 33 | 0aaa aaaa | Tone Pan 0 - 127 (L64 - 63R)| | 00 34 | 00aa aaaa | Random Pan Depth 0 - 63 | | 00 35 | 0aaa aaaa | Alternate Pan Depth 1 - 127 (L63 - 63R)| |++| | 00 36 | 0000 00aa | Output Assign 0 - 3 *9 | | 00 37 | 0aaa aaaa | Mix/EFX Send Level 0 - 127 | | 00 38 | 0aaa aaaa | Chorus Send Level 0 - 127 | | 00 39 | 0aaa aaaa | Reverb Send Level 0 - 127 | |+| |Total size | 00 00 00 3A | ++
++ | Wave Group | Group Type | Group ID | Number (value) | |+++| | INT-A | 0 | 1 | 0 - 254 (001 - 255) | | INT-B | 0 | 2 | 0 - 192 (001 - 193) | | <PCM | 1 | 1 - 127 | 0 - 254 (001 - 255)>| |XP-A(Session)| 2 | 9 | 0 - 205 (001 - 206) | | XP-B(Orch.) | 2 | 2 | 0 - 173 (001 - 174) | | XP-C(Techno)| 2 | 11 | 0 - 254 (001 - 255) | | XP-D | 2 | 1 - 127 | 0 - 254 (001 - 255) | | XP-E | 2 | 1 - 127 | 0 - 254 (001 - 255) | ++
196
MIDI Implementation
*1 *2 *3 *4 *5 *6 *7 *8 *9
INT, <PCM>, EXP -6, 0, +6, +12 NO-SUS, SUSTAIN OFF, CONTINUOUS, KEY-ON 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200, 300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200 -100+150 -100, -70, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +70, +100 OFF, LPF, BPF, HPF, PKG MIX, EFX, <DIRECT-1>, <DIRECT-2>
197
Appendices
MIDI Implementation
2. GS (Model ID = 42H)
++ | Start | | | address | Description | |+| | 40 10 00 | Scale Tune Part10 2-1 | | 40 11 00 | : Part1 | | 40 12 00 | : Part2 | | 40 13 00 | : Part3 | | 40 14 00 | : Part4 | | 40 15 00 | : Part5 | | 40 16 00 | : Part6 | | 40 17 00 | : Part7 | | 40 18 00 | : Part8 | | 40 19 00 | : Part9 | | 40 1A 00 | : Part11 | | 40 1B 00 | : Part12 | | 40 1C 00 | : Part13 | | 40 1D 00 | : Part14 | | 40 1E 00 | : Part15 | | 40 1F 00 | : Part16 | ++
q 2-1.Scale Tune
++ | Offset | | | Address | Description | |+| | 40 | 0aaa aaaa | Scale Tune for C 0 - 127 | | | | (-64 - +63) | | 41 | 0aaa aaaa | Scale Tune for C# 0 - 127 | | | | (-64 - +63) | | 42 | 0aaa aaaa | Scale Tune for D 0 - 127 | | | | (-64 - +63) | | 43 | 0aaa aaaa | Scale Tune for D# 0 - 127 | | | | (-64 - +63) | | 44 | 0aaa aaaa | Scale Tune for E 0 - 127 | | | | (-64 - +63) | | 45 | 0aaa aaaa | Scale Tune for F 0 - 127 | | | | (-64 - +63) | | 46 | 0aaa aaaa | Scale Tune for F# 0 - 127 | | | | (-64 - +63) | | 47 | 0aaa aaaa | Scale Tune for G 0 - 127 | | | | (-64 - +63) | | 48 | 0aaa aaaa | Scale Tune for G# 0 - 127 | | | | (-64 - +63) | | 49 | 0aaa aaaa | Scale Tune for A 0 - 127 | | | | (-64 - +63) | | 4A | 0aaa aaaa | Scale Tune for A# 0 - 127 | | | | (-64 - +63) | | 4B | 0aaa aaaa | Scale Tune for B 0 - 127 | | | | (-64 - +63) | |+| |Total Size | 00 00 0C | ++ * In order for a GS Exclusive message to be correctly received by the XP-30, the starting address of the message must be the Start address of each Part (the address of Scale Tune C, i.e., offset 40).
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MIDI Implementation
4. Supplementary Material
s Correspondence of the EFX Algorithm and Exclusive Address (EFX Parameter 112)
EFX | Parameter | Value ++
q Type09: COMPRESSOR
++ prm1 | Sustain | 0 - 127 prm2 | Attack | 0 - 127 prm3 | Output Pan | 0 - 127 prm4 | Post Gain | 0 - 3 prm5 | Low Gain | 0 - 30 prm6 | HiGH Gain | 0 - 30 prm7 | Output Level | 0 - 127
q Type10: LIMITER
++ prm1 | Threshold Level | 0 - 127 prm2 | Release Time | 0 - 127 prm3 | Compression Ratio | 0 - 3 prm4 | Output Pan | 0 - 127 prm5 | Post Gain | 0 - 3 prm6 | Low Gain | 0 - 30 prm7 | High Gain | 0 - 30 prm8 | Output Level | 0 - 127
q Type01: STEREO-EQ
++ prm1 | Low Frequency | 0 - 1 prm2 | Low Gain | 0 - 30 prm3 | High Frequency | 0 - 1 prm4 | High Gain | 0 - 30 prm5 | Peaking1 Frequency | 0 - 16 prm6 | Peaking1 Q | 0 - 4 prm7 | Peaking1 Gain | 0 - 30 prm8 | Peaking2 Frequency | 0 - 16 prm9 | Peaking2 Q | 0 - 4 prm10 | Peaking2 Gain | 0 - 30 prm11 | Level | 0 - 127
q Type11: HEXA-CHORUS
++ prm1 | Pre Delay Time | 0 - 125 prm2 | Rate | 0 - 125 prm3 | Depth | 0 - 127 prm4 | Pre Delay Deviation | 0 - 20 prm5 | Depth Deviation | 0 - 40 prm6 | Pan Deviation | 0 - 20 prm7 | Effect Balance | 0 - 100 prm8 | Output Level | 0 - 127
q Type02: OVERDRIVE
++ prm1 | Drive | 0 - 127 prm2 | Output Pan | 0 - 127 prm3 | Amp Simulator Type | 0 - 3 prm4 | Low Gain | 0 - 30 prm5 | High Gain | 0 - 30 prm6 | Output Level | 0 - 127
q Type12: TREMOLO-CHORUS
++ prm1 | Pre Delay Time | 0 - 125 prm2 | Chorus Rate | 0 - 125 prm3 | Chorus Depth | 0 - 127 prm4 | Tremolo Rate | 0 - 125 prm5 | Tremolo Separation | 0 - 127 prm6 | Tremolo Phase | 0 - 90 prm7 | Effect Balance | 0 - 100 prm8 | Output Level | 0 - 127
q Type03: DISTORTION
++ prm1 | Drive | 0 - 127 prm2 | Output Pan | 0 - 127 prm3 | Amp Simulator Type | 0 - 3 prm4 | Low Gain | 0 - 30 prm5 | High Gain | 0 - 30 prm6 | Output Level | 0 - 127
q Type04: PHASER
++ prm1 | Manual | 0 - 125 prm2 | Rate | 0 - 125 prm3 | Depth | 0 - 127 prm4 | Resonance | 0 - 127 prm5 | Mix Level | 0 - 127 prm6 | Output Pan | 0 - 127 prm7 | Output Level | 0 - 127
q Type13: SPACE-D
++ prm1 | Pre Delay Time | 0 - 125 prm2 | Rate | 0 - 125 prm3 | Depth | 0 - 127 prm4 | Phase | 0 - 90 prm5 | Low Gain | 0 - 30 prm6 | High Gain | 0 - 30 prm7 | Effect Balance | 0 - 100 prm8 | Output Level | 0 - 127
q Type05: SPECTRUM
++ prm1 | Band1 Gain | 0 - 30 prm2 | Band2 Gain | 0 - 30 prm3 | Band3 Gain | 0 - 30 prm4 | Band4 Gain | 0 - 30 prm5 | Band5 Gain | 0 - 30 prm6 | Band6 Gain | 0 - 30 prm7 | Band7 Gain | 0 - 30 prm8 | Band8 Gain | 0 - 30 prm9 | Q | 0 - 4 prm10 | Output Pan | 0 - 127 prm11 | Output Level | 0 - 127
q Type14: STEREO-CHORUS
++ prm1 | Filter Type | 0 - 2 prm2 | Cutoff Frequency | 0 - 16 prm3 | Pre Delay Time | 0 - 125 prm4 | Rate | 0 - 125 prm5 | Depth | 0 - 127 prm6 | Phase | 0 - 90 prm7 | (not used) | prm8 | Low Gain | 0 - 30 prm9 | High Gain | 0 - 30 prm10 | Effect Balance | 0 - 100 prm11 | Output Level | 0 - 127
q Type06: ENHANCER
++ prm1 | Sens | 0 - 127 prm2 | Mix Level | 0 - 127 prm3 | Low Gain | 0 - 30 prm4 | High Gain | 0 - 30 prm5 | Output Level | 0 - 127
q Type15: STEREO-FLANGER
++ prm1 | Filter Type | 0 - 2 prm2 | Cutoff Frequency | 0 - 16 prm3 | Pre Delay Time | 0 - 125 prm4 | Rate | 0 - 125 prm5 | Depth | 0 - 127 prm6 | Phase | 0 - 90 prm7 | Feedback Level | 0 - 98 prm8 | Low Gain | 0 - 30 prm9 | High Gain | 0 - 30 prm10 | Effect Balance | 0 - 100 prm11 | Output Level | 0 - 127
q Type07: AUTO-WAH
++ prm1 | Filter Type | 0 - 1 prm2 | Rate | 0 - 125 prm3 | Depth | 0 - 127 prm4 | Sens | 0 - 127 prm5 | Manual | 0 - 127 prm6 | Peak | 0 - 127 prm7 | Output Level | 0 - 127
q Type16: STEP-FLANGER
q Type08: ROTARY
++ prm1 | High Frequency Slow Rate | 0 - 125 prm2 | Low Frequency Slow Rate | 0 - 125 prm3 | High Frequency Fast Rate | 0 - 125 prm4 | Low Frequency Fast Rate | 0 - 125 prm5 | Speed | 0 - 1 prm6 | High Frequency Acceleration | 0 - 15 prm7 | Low Frequency Acceleration | 0 - 15 prm8 | High Frequency Level | 0 - 127 prm9 | Low Frequency Level | 0 - 127 prm10 | Separation | 0 - 127 prm11 | Output Level | 0 - 127
199
Appendices
++ prm1 | Pre Delay Time | 0 - 125 prm2 | Rate | 0 - 125 prm3 | Depth | 0 - 127 prm4 | Feedback Level | 0 - 98 prm5 | Step Rate | 0 - 125 prm6 | Phase | 0 - 90 prm7 | Low Gain | 0 - 30 prm8 | High Gain | 0 - 30 prm9 | Effect Balance | 0 - 100 prm10 | Output Level | 0 - 127
MIDI Implementation
q Type17: STEREO-DELAY
++ prm1 | Feedback Mode | 0 - 1 prm2 | Delay Time Left | 0 - 126 prm3 | Delay Time Right | 0 - 126 prm4 | Feedback Phase Left | 0 - 1 prm5 | Feedback Phase Right | 0 - 1 prm6 | Feedback Level | 0 - 98 prm7 | HF Damp | 0 - 17 prm8 | Low Gain | 0 - 30 prm9 | High Gain | 0 - 30 prm10 | Effect Balance | 0 - 100 prm11 | Output Level | 0 - 127
q Type24: REVERB
++ prm1 | Reverb Type | 0 - 5 prm2 | Pre Delay Time | 0 - 125 prm3 | Gate Time | 0 - 127 prm4 | HF Damp | 0 - 17 prm5 | Low Gain | 0 - 30 prm6 | High Gain | 0 - 30 prm7 | Effect Balance | 0 - 100 prm8 | Output Level | 0 - 127
q Type25: GATE-REVERB
++ prm1 | Gate-Reverb Type | 0 - 3 prm2 | Pre Delay Time | 0 - 125 prm3 | Gate Time | 0 - 99 prm4 | Low Gain | 0 - 30 prm5 | High Gain | 0 - 30 prm6 | Effect Balance | 0 - 100 prm7 | Output Level | 0 - 127
q Type18: MODULATION-DELAY
++ prm1 | Feedback Mode | 0 - 1 prm2 | Delay Time Left | 0 - 126 prm3 | Delay Time Right | 0 - 126 prm4 | Feedback Level | 0 - 98 prm5 | HF Damp | 0 - 17 prm6 | Rate | 0 - 125 prm7 | Depth | 0 - 127 prm8 | Phase | 0 - 90 prm9 | Low Gain | 0 - 30 prm10 | High Gain | 0 - 30 prm11 | Effect Balance | 0 - 100 prm12 | Output Level | 0 - 127
q Type26: OVERDRIVECHORUS
++ prm1 | Drive | 0 - 127 prm2 | Over Drive Pan | 0 - 127 prm3 | Chorus Pre Delay Time | 0 - 125 prm4 | Chorus Rate | 0 - 125 prm5 | Chorus Depth | 0 - 127 prm6 | (not used) | prm7 | Chorus Balance | 0 - 100 prm8 | Output Level | 0 - 127
q Type19: TRIPLE-TAP-DELAY
++ prm1 | Delay Time Left | 0 - 125 prm2 | Delay Time Right | 0 - 125 prm3 | Delay Time Center | 0 - 125 prm4 | Feedback Level | 0 - 98 prm5 | HF Damp | 0 - 17 prm6 | Left Level | 0 - 127 prm7 | Right Level | 0 - 127 prm8 | Center Level | 0 - 127 prm9 | Low Gain | 0 - 30 prm10 | High Gain | 0 - 30 prm11 | Effect Balance | 0 - 100 prm12 | Output Level | 0 - 127
q Type20: QUADRUPLE-TAP-DELAY
++ prm1 | Delay Time 1 | 0 - 125 prm2 | Delay Time 2 | 0 - 125 prm3 | Delay Time 3 | 0 - 125 prm4 | Delay Time 4 | 0 - 125 prm5 | Level 1 | 0 - 127 prm6 | Level 2 | 0 - 127 prm7 | Level 3 | 0 - 127 prm8 | Level 4 | 0 - 127 prm9 | Feedback Level | 0 - 98 prm10 | HF Damp | 0 - 17 prm11 | Effect Balance | 0 - 100 prm12 | Output Level | 0 - 127
q Type21: TIME-CONTROL-DELAY
++ prm1 | Delay Time | 0 - 120 prm2 | Feedback Level | 0 - 98 prm3 | Acceleration | 0 - 15 prm4 | HF Damp | 0 - 17 prm5 | Output Pan | 0 - 127 prm6 | Low Gain | 0 - 30 prm7 | High Gain | 0 - 30 prm8 | Effect Balance | 0 - 100 prm9 | Output Level | 0 - 127
q Type22: 2VOICE-PITCH-SHIFTER
++ prm1 | Pitch Shifter Mode | 0 - 4 prm2 | Coarse Pitch A | 0 - 36 prm3 | Coarse Pitch B | 0 - 36 prm4 | Fine Pitch A | 0 - 100 prm5 | Fine Pitch B | 0 - 100 prm6 | Pre Delay Time A | 0 - 126 prm7 | Pre Delay Time B | 0 - 126 prm8 | Output Pan A | 0 - 127 prm9 | Output Pan B | 0 - 127 prm10 | Level Balance | 0 - 100 prm11 | Effect Balance | 0 - 100 prm12 | Output Level | 0 - 127
q Type23: FBK-PITCH-SHIFTER
++ prm1 | Pitch Shifter Mode | 0 - 4 prm2 | Coarse Pitch | 0 - 36 prm3 | Fine Pitch | 0 - 100 prm4 | Pre Delay Time | 0 - 126 prm5 | Feedback Level | 0 - 98 prm6 | Output Pan | 0 - 127 prm7 | Low Gain | 0 - 30 prm8 | High Gain | 0 - 30 prm9 | Effect Balance | 0 - 100 prm10 | Output Level | 0 - 127
200
MIDI Implementation
201
Appendices
MIDI Implementation
q Arpeggio Motif
++++ |value| parameter |value| parameter |value| parameter | ++++ | 0 | SINGLE UP | 13 | BASS+CHORD 3 | 26 | BASS+RANDOM 3 | | 1 | SINGLE DOWN | 14 | BASS+CHORD 4 | 27 | TOP+UP 1 | | 2 | SINGLE UP&DOWN | 15 | BASS+CHORD 5 | 28 | TOP+UP 2 | | 3 | SINGLE RANDOM | 16 | BASS+UP 1 | 29 | TOP+UP 3 | | 4 | DUAL UP | 17 | BASS+UP 2 | 30 | TOP+UP 4 | | 5 | DUAL DOWN | 18 | BASS+UP 3 | 31 | TOP+UP 5 | | 6 | DUAL UP&DOWN | 19 | BASS+UP 4 | 32 | TOP+UP 6 | | 7 | DUAL RANDOM | 20 | BASS+UP 5 | 33 | BASS+UP+TOP | | 8 | NOTE ORDER | 21 | BASS+UP 6 | 34 | TRIPLE UP | | 9 | GLISSANDO | 22 | BASS+UP 7 | 35 | TRIPLE DOWN | | 10 | CHORD | 23 | BASS+UP 8 | 36 | TRIPLE UP&DOWN | | 11 | BASS+CHORD 1 | 24 | BASS+RANDOM 1 | 37 | TRIPLE RANDOM | | 12 | BASS+CHORD 2 | 25 | BASS+RANDOM 2 | | | ++++
202
MIDI Implementation
Thus, this message transmits a parameter value of 0C 00H to RPN parameter number 00 00H on MIDI CH = 4, and then sets the RPN parameter number to 7F 7FH.
The function assigned to RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the parameter value indicates semitone steps. Since the MSB of this parameter value is 0CH = 12, the maximum width of pitch bend is being set to [+-]12 semitones (1 octave) (GS sound sources ignore the LSB of Pitch Bend Sensitivity, but it is best to transmit the LSB (parameter value 0) as well, so that the message can be correctly received by any device. Once the parameter number has been set for RPN or NRPN, all subsequent Data Entry messages on that channel will be effective. Thus, it is recommended that after you have made the change you want, you set the parameter number to 7F 7FH (an unset or null setting). The final (B3) 64 7F (B3) 65 7F is for this purpose. It is not a good idea to store many events within the data of a song (e.g., a Standard MIDI File song) using running status as shown in <Example 4>. When the song is paused, fastforwarded or rewound, the sequencer may not be able to transmit the proper status, causing the sound source to misinterpret the data. It is best to attach the proper status byte to all events. It is also important to transmit RPN or NRPN parameter number settings and parameter values in the correct order. In some sequencers, data events recorded in the same clock (or a nearby clock) can sometimes be transmitted in an order other than the order in which they were recorded. It is best to record such events at an appropriate interval (1 tick at TPQN=96, or 5 ticks at TPQN=480). * TPQN: Ticks Per Quarter Note (i.e., the time resolution of the sequencer)
<Example 1> What is the decimal equivalent of 5AH? From the above table, 5AH = 90. <Example 2> What is the decimal equivalent of the 7-bit hexadecimal values 12 34H? From the above table, 12H = 18 and 34H = 52 Thus, 18 x 128 + 52 = 2356 <Example 3> What is the decimal equivalent of the nibbled expression 0A 03 09 0DH? From the above table, 0AH = 10, 03H = 3, 09H = 9, 0DH = 13 Thus, the result is ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885 <Example 4> What is the nibbled equivalent of the decimal number 1258? 16 ) 1258 16 ) 78...10 16 ) 4...14 0... 4 From the above table, 0=00H, 4=04H, 14=0EH, 10=0AH Thus the result is 00 04 0E 0AH
203
Appendices
MIDI Implementation
<Example 3> Retrieving data for Temporary Performance (RQ1) * When a data transfer is executed in Utility mode, data that is accessed will be the same as that which is transmitted when the Type parameter is set to PERFORM and the Source parameter is set to TEMP: -PATCH The Parameter Address Map gives the following start addresses for Temporary Performance data. 01 00 00 00H 01 00 10 00H : 01 00 1F 00H Temporary Performance Common Temporary Performance Part 1 Temporary Performance Part 16
Since Performance Part has a size of 00 00 00 19H, we add that size to the start address of the Temporary Performance Part 16, resulting in: 01 00 1F 00H +) 00 00 00 19H 01 00 1F 19H Thus, the Size for the retrieved data will be: 01 00 1F 19H -) 01 00 00 00H 00 00 1F 19H F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 01 00 00 00 address 00 00 1F 19 size ?? checksum F7 (6)
+)
Since DELAY is parameter value 06H, F0 (1) 41 (2) 10 (3) 6A (4) 12 (5) 01 00 00 28 address 06 data ?? checksum F7 (6)
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 6A 11 01 00 00 00 00 00 1F 19 47 F7 to be transmitted. <Example 4> Retrieving the Temporary Performance data together with all Temporary Part and Rhythm Set data (RQ1) * When a data transfer is executed in Utility mode, the data that is accessed will be the same as that which is transmitted when the Type parameter is set to PERFORM and the Source parameter is set to TEMP: +PATCH The Parameter Address Map gives the following start addresses for Temporary Performance, Performance Mode Temporary Patch and Performance Mode Temporary Rhythm. 01 00 00 00H Temporary Performance 02 00 00 00H Performance Mode Temporary Patch(part 1) : 02 08 00 00H Performance Mode Temporary Patch(part 9) 02 09 00 00H Temporary Rhythm Setup 02 0A 00 00H Performance Mode Temporary Patch(part 11) : 02 0F 00 00H Performance Mode Temporary Patch(part 16) The Patch offset addresses are as follows. 00 00H Patch Common 10 00H Patch Tone 1 : 16 00H Patch Tone 4 Since Patch Tone has a size of 00 00 01 01H, we add this size to the start address of Performance Mode Temporary Patch (Part 16) Tone 4, to get: 02 0F 00 16 +) 00 00 01 02 0F 17 00H 00H 01H 01H
Next we calculate the checksum. 01H + 00H + 00H + 28H + 06H = 1 + 0 + 0 + 40 + 6 = 47 (sum) 47 (total) / 128 = 0 (quotient) ... 47 (remainder) checksum = 128 - 47 (quotient) = 81 = 51H This means that the message transmitted will be F0 41 10 6A 12 01 00 00 28 06 51 F7. <Example 2> Retrieving data for USER:03 Performance Part 3 (RQ1) The Parameter Address Map indicates that the starting address of USER:03 is 10 02 00 00H, and that the offset address of Performance Part 3 is 12 00H. Thus, the address is: 10 02 00 00H 12 00H 10 02 12 00H
+)
Since the size of the Performance Part is 00 00 00 19H, F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 10 02 12 00 address 00 00 00 19 size ?? checksum F7 (6)
Next we calculate the checksum. 10H + 02H + 12H + 00H + 00H + 00H + 00H + 19H = 16 + 2 + 18 + 0 + 0 + 0 + 0 + 25 = 61 (sum) 61 (total) / 128 = 0 (product) ... 61 (remainder) checksum = 128 - 61 (remainder) = 67 = 43H Thus, a message of F0 41 10 6A 11 10 02 12 00 00 00 00 19 43 F7 would be transmitted.
Thus, the size of the retrieved data will be: 02 0F 17 01H -) 01 00 00 00H 01 0F 17 01H F0 (1) 41 (2) 10 (3) 6A (4) 11 (5) 01 00 00 00 address 01 0F 17 01 size ?? checksum F7 (6)
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MIDI Implementation
Equal Temperament
This temperament divides the octave into 12 equal steps, and is the temperament most frequently used today, especially in western music. Initially, the Scale Tune function of this instrument is set to Equal Temperament.
Arabian-type Scale
The Scale Tune function allow you to use various tunings of ethnic music. Here is one of the Arabian scales. Setting Examples Note C C# D Eb E F F# G G# A Bb B Equal Temp. 0 0 0 0 0 0 0 0 0 0 0 0 Just (in C) 0 -8 +4 +16 -14 -2 -10 +2 +14 -16 +14 -12 Arabian-type Scale -6 +45 -2 -12 -51 -8 +43 -4 +47 0 -10 -49
The values in the above table are in units of 1 cent. Convert these values to hexadecimal, and transmit them as exclusive data. For example to set the Scale Tune of Part 1 to an Arabian-type scale, transmit the following data. F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
205
Appendices
Basic Channel
Mode
*2
0
**************
0127 0127 O O O O O
*1 O O O O O O O O O O O O O O O O (Resonance) O (Decay Time) O (Attack Time) O (Cutoff) O (Tone 1 Level) O (Tone 2 Level) O (Tone 3 Level) O (Tone 4 Level) O O (Reverb) O (Chorus) O O X O *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1 *1
O O X O O
O O O O O O O O O O O O O O O O O O O O O O O O O O O O X O
*1 *1 *1
Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression Hold 1 Portamento Sostenuto Soft Hold 2 Sound Controller 2 Sound Controller 3 Sound Controller 4 Sound Controller 5 General Purpose Controller 5 General Purpose Controller 6 General Purpose Controller 7 General Purpose Controller 8 Portamento control General purpose effects 1 General purpose effects 3 CC1 (General purpose controller 1) CC2 (General purpose controller 2) NRPN LSB, MSB RPN LSB, MSB
Control Change
Program Change
O : True Number
**************
*1
System Exclusive : Song Position System : Song Select Common : Tune Request : Clock System Real Time : Commands
O X X X X X
*1
X : All Sound Off : Reset All Controllers X Aux X : Local On/Off Messages : All Notes Off X O : Active Sensing X : System Reset Notes
Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY
*1
206
Specifications
XP-30: 64 Voice Expandable Synthesizer(Conforms to General MIDI System)
q Keyboard
61 keys (with velocity, channel aftertouch)
q Display
40 characters, 2 lines (backlit LCD)
q Number of Parts
16 (Part 10 is Rhythm Part)
q Connectors
Output Jacks (L (MONO), R) Headphones Jack MIDI Connectors (IN, OUT, THRU) Computer Connector (Mac, PC-1, PC-2, MIDI) Hold Pedal Jack Control Pedal Jack Memory Card Slot
q Maximum Polyphony
64 voices
q Effects
EFX: 40 sets Reverb: 1 set (8 types) Chorus: 1 set
q Power Supply
AC 117 V, AC 230 V, AC 240 V
q Preset Memory
Patches: 1406 (640 same as the JV-2080 + 766 from Session, Orchestral and Techno Collection) Performances: 64 Rhythm Sets: 26 (10 same as the JV-2080 + 16 from Session and Techno Collection")
q Power Consumption
10 W (AC 117 V), 10 W (AC 230 V), 10 W (AC 240 V)
q Dimensions
1011 (W) x 289 (D) x 88 (H) mm 39-13/16 (W) x 11-7/16 (D) x 3-1/2 (H) inches
q User Memory
Patches: 128 Performances: 32 Rhythm Sets: 2
q Weight
7.8 kg / 17 lbs 4 oz (except Power cord)
q Accessories
Owners Manual Power Cable (Not included with XP-30 designed for 117 V power supply) CD-ROM (SoundDiver JV/XP)
q Arpeggiator
43 Styles
q Options
Wave Expansion Boards: SR-JV80 series SmartMedia: S2M-5 (2M bytes), S4M-5 (4M bytes)
*In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
207
mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXDTXD+ GPi RXD+ 1 2 3 4 5 6 7 8 mini DIN, 8-pin, male 1 2 3 4 5 6 7 8 HSKo HSKi TXDGND RXDTXD+ GPi RXD+
3 4 5 1 2
3 4 5 1 2
mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXD1 2 3 4 5 D-sub, 9-pin, female 7 RTS 8 CTS 3 TXD 5 GND 2 RXD D-sub, 9-pin, female 5 1
3 4 5 1 2
For PC (25-pin)
mini DIN, 8-pin, male 6 78 mini DIN, 8-pin, male HSKo HSKi TXDGND RXD1 2 3 4 5 D-sub, 25-pin, female 4 RTS 5 CTS 2 TXD 7 GND 3 RXD D-sub, 25-pin, female 13 1
3 4 5 1 2
25
14
208
Index
Symbols
[+OCT] .......................................................................12, 59 [-OCT] ........................................................................12, 59
C
C1/C2/C3/C4 slider assign .......................................111 C1/C2/C3/C4 slider output ......................................111 C1C4 slider ....................................................................34 Card ................................................................................115 [CATEGORY] ......................................................13, 32, 48 Category ...............................................................32, 4849 Category group ...............................................................32 Category select mode ...................................................108 Chorus ..............................................................................61 Chorus depth ..............................................72, 85, 89, 126 Chorus feedback level ................................72, 85, 89, 126 Chorus level ................................................72, 85, 89, 126 Chorus output assign .................................72, 85, 89, 126 Chorus pre delay ........................................72, 85, 89, 126 Chorus rate ..................................................72, 85, 89, 126 Chorus send level .................................7172, 84, 88, 125 CHORUS/DELAY .......................................................107 CHORUS/FLANGER ..................................................107 CHORUSDELAY ......................................................106 CHORUSFLANGER ................................................107 Clock source ..................................................................108 Coarse tune ..................................................79, 87, 91, 127 Compare function .................................................116, 118 COMPRESSOR ...............................................................96 Computer .......................................................................134 Computer cable .....................................................134, 208 COMPUTER connector ..........................................14, 135 COMPUTER switch .......................................14, 134135 Connection ..............................................................24, 134 Control 1 peak/hold ......................................................75 Control 2 peak/hold ......................................................75 Control 3 peak/hold ......................................................75 CONTROL PEDAL jack ................................................14 Control source 2 ..............................................................75 Control source 3 ..............................................................75 [CONTROLLER] .......................................................12, 34 Controller .........................................................................40 Copy ...............................................................................115 Copying .................................................................117, 128 Current part .....................................................................53 Cursor ..............................................................................45 Cursor button ............................................................13, 44 Cutoff frequency .......................................................80, 91 Cutoff frequency key follow .........................................80
Numerics
[18/916] ........................................................................13 2VOICE-PITCH-SHIFTER ..........................................102
A
AC inlet ............................................................................14 AC power cable ..............................................................25 Accent rate .....................................................................109 Aftertouch .......................................................................34 Aftertouch control source ...........................................111 Aftertouch information .........................................87, 127 Aftertouch sens .............................................................110 Alternate pan depth .................................................82, 92 Analog feel depth ...........................................................69 Arabian scale .................................................................114 ARP SELECT display ...............................................37, 56 Arpeggiator ...............................................................36, 56 [ARPEGGIO] .......................................................12, 36, 56 Arpeggio ..................................................................36, 108 arpeggio ...........................................................................56 ARPEGGIO display .......................................................59 Arpeggio part ................................................................110 Arpeggio style ...............................................................182 Audio cable .....................................................................25 AUTO-WAH ...................................................................95
B
Back select transmit switch .........................................113 Bank select group number ..........................................113 Bank select LSB .............................................................113 Bank select MSB ............................................................113 Battery check .................................................................114 Beat pattern ...................................................................109 Bend range ................................................................73, 90 Bender information ........................................................87 Bias direction ..................................................................82 Bias level ..........................................................................82 Bias point .........................................................................82 Booster gain .....................................................................71 Breath information .................................................87, 127 Bulk dump .....................................................................119
209
Index
D
Data transfer .................................................................115 Data type .......................................................................120 [DEC] ..........................................................................13, 45 Delay feedback level ..................................73, 86, 90, 126 [DEMO] ...........................................................................13 Demo play .......................................................................28 DEMO PLAY display ....................................................28 Demo song ......................................................................28 Depth 14 .........................................................................75 Desktop music ..............................................................134 Destination ............................................................120121 Destination 14 ...............................................................75 [DIGIT HOLD] ................................................................13 Digit hold .........................................................................48 DISTORTION ..................................................................93 DISTORTIONCHORUS ..........................................104 DISTORTIONDELAY ..............................................105 DISTORTIONFLANGER ........................................105
F
Factory default settings ...............................................123 Factory reset ....................................................27, 115, 123 FACTORY RESET display ............................................27 FBK-PITCH-SHIFTER ..................................................102 Filter type ...................................................................80, 91 [FILTER/ENV] .............................................12, 36, 51, 54 Fine tune ......................................................79, 87, 91, 127 FLANGER/DELAY .....................................................107 FLANGERDELAY ....................................................106 Foot information .....................................................87, 127 Format ............................................................................122 Front panel ......................................................................12 Function button ........................................................13, 43 FXM color ........................................................................76 FXM depth .......................................................................76 FXM switch ......................................................................76
G
GATE-REVERB .............................................................103 General MIDI system .....................................................11 [GM] .................................................................................12 GM initialize ..................................................................128 GM mode .................................................................43, 124 GM mode parameter ....................................................153 GM patch number ........................................................127 GM PLAY display ........................................................124 GM score data ...............................................................124 GM sound module .......................................................124 GM system on message ...............................................124
E
[EDIT] ...............................................................................13 Effects ...............................................................................61 [EFFECTS ON/OFF] ................................................12, 62 EFFECTS ON/OFF display ..........................................62 EFX control depth 1, 2 .......................................72, 85, 89 EFX control peak/hold ..................................................75 EFX control source 1, 2 ......................................72, 85, 89 EFX output level .........................................72, 84, 88, 125 EFX parameter ........................................................93, 154 EFX source .................................................................84, 88 EFX type ..............................................................71, 84, 88 ENHANCER ...................................................................94 ENHANCERCHORUS ............................................105 ENHANCERDELAY ...............................................106 ENHANCERFLANGER ..........................................105 [ENTER] ...........................................................................13 Envelope mode ...............................................................90 Equal temperament ......................................................114 Error message ...............................................................142 Exclusive device ID number .......................................113 Exclusive protect ..........................................................121 [EXIT] ...............................................................................13 [EXP A] ......................................................................13, 31 [EXP B] .......................................................................13, 31 [EXP C] .......................................................................13, 31 [EXP D] ......................................................................13, 31 [EXP E] .......................................................................13, 31 Expression information .........................................87, 127 Expression pedal ......................................................25, 35 External MIDI device ...........................................131132
H
Headphones ....................................................................25 HEXA-CHORUS .............................................................96 Hold 1 information .................................................87, 127 Hold control source ......................................................111 Hold pedal .................................................................35, 58 HOLD PEDAL jack ........................................................14
I
[INC] ...........................................................................13, 45 Initial data ......................................................................119 Initialize .........................................................................115 Initialize mode ..............................................................119 Initializing .............................................................119, 128 Internal write protect .....................................68, 116, 121
210
Index
K
Key assign mode ............................................................73 KEY EFFECTS section ....................................................12 Key mode .........................................................................83 Key range lower .......................................................70, 83 Key range switch ............................................................83 Key range upper .......................................................70, 83 Key scale ........................................................................114 Key shift .........................................................................113 Key switch .......................................................................90 Key velocity ...................................................................109 Keyboard sensitivity ....................................................110 Keyboard velocity ........................................................110
N
Name ................................................................................46 Number of simultaneous voices ..................................42 Numeric Key .............................................................13, 45
O
Octave range .................................................................109 Octave shift ..........................................................59, 69, 83 One-shot ...........................................................................64 Operating environment ...............................................108 Orchestral ..................................................................31, 47 Output assign/Output level .....................71, 84, 88, 125 OUTPUT jacks (L (MONO), R) .....................................14 OVERDRIVE ...................................................................93 OVERDRIVEDELAY ...............................................104 OVERDRIVEFLANGER ..........................................104
L
Layer ................................................................................52 Layer performance .........................................................51 LCD contrast .................................................................108 [LEVEL] .........................................................12, 36, 51, 54 Level ...............................................................68, 81, 87, 92 LFO ...................................................................................78 LFO delay time ...............................................................79 LFO external sync ...........................................................78 LFO fade mode ...............................................................78 LFO fade time .................................................................79 LFO form .........................................................................78 LFO key sync ..................................................................78 LFO offset ........................................................................79 LFO rate ...........................................................................78 LIMITER ..........................................................................96 Load ................................................................................115 Local OFF ......................................................................137 Local switch ............................................................86, 112 Looped .............................................................................64
P
Page button .....................................................................13 Palette display ...........................................................63, 65 [PALETTE EDIT] ................................................13, 63, 65 PALETTE section ............................................................12 Pan ..........................................................69, 81, 87, 92, 127 Pan information ......................................................87, 127 Pan key follow ................................................................82 Pan LFO depth 1, 2 .........................................................79 [PANIC] ...........................................................................13 Panic .................................................................................60 Parameter .......................................................................147 [PART] .............................................................................12 Part ...................................................................................41 Part button .......................................................................43 [PATCH] ..............................................................12, 30, 47 Patch .............................................................30, 41, 47, 168 Patch category .................................................................68 Patch clock source ..........................................................68 Patch copy .....................................................................117 Patch effects copy .........................................................117 Patch group .....................................................................87 Patch initialize ...............................................................119 Patch mode ................................................................42, 47 Patch mode receive channel ........................................112 Patch mode transmit channel .....................................112 Patch name ......................................................................68 Patch name copy ...........................................................118 Patch number ..................................................................87 Patch parameter ......................................................68, 147 PATCH PLAY display .............................................30, 47 Patch remain switch .....................................................108 Patch scale .....................................................................114 Patch search function ...............................................32, 48 Patch tempo .....................................................................68 Patch tone copy .............................................................117 Patch write .....................................................................116 Peak control source ......................................................111 Pedal assign ...................................................................110 Pedal output ..................................................................110 Pedal polarity ........................................................110111
M
Master tune ...................................................................113 Memory ...................................................................67, 115 Memory card ...................................................67, 115, 121 MEMORY CARD slot ....................................................14 MIDI ...............................................................................112 MIDI cable .......................................................................25 MIDI channel ..................................................................86 MIDI connectors (IN, OUT, THRU) ............................14 MIDI information .........................................................127 MIDI interface ...............................................................135 MODE section .................................................................12 Modulation ......................................................................34 Modulation information ........................................87, 127 MODULATION-DELAY ...............................................99 Motif ...............................................................................109 Multi-effects ..............................................................61, 93 Multitimbral sound source .....................................41, 53 Mute group .....................................................................90
211
Index
Pedal switch ............................................................25, 131 [PERFORM] ...............................................................12, 51 PERFORM NAME ..........................................................83 PERFORM PLAY display ..............................................51 Performance ......................................................41, 51, 181 Performance clock source .............................................83 Performance control channel ......................................112 Performance copy ........................................................117 Performance effects copy ............................................117 Performance initialize ..................................................119 Performance mode ...................................................42, 51 Performance name .........................................................83 Performance name copy ..............................................117 Performance parameter .........................................83, 150 Performance part copy ................................................117 Performance tempo ........................................................83 Performance write ........................................................116 PHASER ...........................................................................94 PHONES jack ..................................................................14 [PHRASE PREVIEW] .........................................12, 33, 49 Phrase preview .................................................33, 49, 113 Pitch bend ........................................................................34 Pitch bend information ................................................127 Pitch bend/Modulation lever .................................13, 34 Pitch envelope depth ...............................................79, 91 Pitch envelope level 14 ..........................................80, 91 Pitch envelope time 1 velocity sensitivity ..................80 Pitch envelope time 14 ...........................................80, 91 Pitch envelope time 4 velocity sensitivity ..................80 Pitch envelope time key follow ....................................80 Pitch envelope time velocity sensitivity .....................91 Pitch envelope velocity sensitivity ........................80, 91 Pitch key follow ..............................................................79 Pitch LFO depth 1, 2 ......................................................79 [PORTAMENTO] ...............................................12, 35, 50 Portamento ................................................................35, 50 Portamento mode ...........................................................73 Portamento start pitch ...................................................74 Portamento switch .........................................................73 Portamento time .............................................................73 Portamento type .............................................................73 Power switch .............................................................14, 26 Power up mode ............................................................108 Preset memory ................................................................67 Preview note set 14 ....................................................113 PREVIEW SELECT display ...........................................49 Preview sound mode .............................................49, 113 Preview velocity ...........................................................113 Program change ............................................................114 Pure temperament ........................................................114
R
Random pan depth ..................................................82, 92 Random pitch depth ................................................79, 91 Rear panel ........................................................................14 Receive bank select switch ..........................................112 Receive exclusive switch .............................................113 Receive GM exclusive switch .....................................113 Receive hold 1 switch ........................................74, 86, 90 Receive pan control switch .....................................74, 90 Receive pitch bend switch .............................................74 Receive program change switch ..........................86, 112 Receive switch ...........................................................86, 90 Receive volume switch ......................................74, 86, 90 Redamper switch ............................................................74 Remote keyboard switch .............................................112 Resonance ..................................................................80, 91 Resonance velocity sensitivity ................................81, 92 REVERB .........................................................................103 Reverb ..............................................................................61 Reverb send level .........................7172, 84, 88, 125126 Reverb/Delay HF damp ...........................73, 86, 90, 126 Reverb/Delay level ....................................73, 86, 90, 126 Reverb/Delay time ....................................73, 85, 89, 126 Reverb/Delay type .....................................73, 85, 89, 126 [RHYTHM] ..........................................................12, 38, 55 Rhythm key copy .........................................................118 RHYTHM PLAY display .........................................38, 55 Rhythm set ..................................................38, 41, 55, 177 Rhythm set copy ...........................................................118 Rhythm set initialize ....................................................119 Rhythm set mode .....................................................42, 55 Rhythm set name ............................................................88 Rhythm set name copy ................................................118 Rhythm set parameter ...........................................88, 151 Rhythm set write ..........................................................116 Ring modulator ...............................................................71 ROTARY ..........................................................................95
Q
QUADRUPLE-TAP-DELAY .......................................101
212
Index
S
Save ................................................................................115 Scale tune switch ..........................................................113 Session ..................................................................31, 47, 55 [SHIFT] .............................................................................13 Shuffle rate ....................................................................109 Single performance ........................................................51 Slots EXP-D and E ..................................................16, 114 SmartMedia .....................................................................67 [SOLO] .................................................................12, 35, 50 Solo .............................................................................35, 50 Solo legato switch ...........................................................73 Sound palette ..................................................................36 Sound palette function ............................................50, 54 Sound source .............................................................40, 42 Source block ..........................................................120121 SPACE-D .........................................................................97 SPECTRUM .....................................................................94 Split ..................................................................................52 SR-JV80 series ...........................................................16, 67 STEP-FLANGER .............................................................98 STEREO-CHORUS .........................................................97 STEREO-DELAY ............................................................99 STEREO-EQ ....................................................................93 STEREO-FLANGER .......................................................98 Storing ............................................................................116 Stretch tuning depth ......................................................69 Stretched tuning .............................................................69 Structure ..........................................................................70 Structure type .................................................................70 Style ................................................................................108 [SYSTEM] ........................................................................12 System control assign 1/2 ...........................................111 System controller 1 information ...................................87 System controller 2 information ...................................87 System memory ..............................................................67 System mode ...................................................................43 System parameter .................................................108, 158 System tempo ................................................................108
T
Techno ..............................................................................47 Techno Collection ...............................................31, 47, 55 Tempo ............................................................................110 Temporary area ..............................................................67 Thru function ................................................................137 TIME-CONTROL-DELAY ..........................................101 Tone ............................................................................40, 50 Tone delay mode ............................................................76 Tone delay time ..............................................................77 [TONE SELECT] .............................................................44 Tone select button ..........................................................44 [TONE SWITCH] ............................................................44 Tone switch .....................................................................76 Tone switch button .........................................................44 Transmit active sensing switch ..................................113 Transmit bank select group ..........................................86 Transmit bank select LSB ............................................114 Transmit bank select MSB ...........................................114 Transmit bank select switch ........................................112 Transmit edit data switch ............................................113 Transmit MIDI channel ...............................................114 Transmit program change ...........................................114 Transmit program change switch ..............................112 Transmit switch ..............................................................86 Transmit volume ............................................................87 Transmitting ..........................................................119, 128 [TRANSPOSE] ..........................................................12, 60 Transpose .........................................................................60 Transpose switch/value ..............................................110 TREMOLO-CHORUS ....................................................97 TRIPLE-TAP-DELAY ...................................................100 Tuning ............................................................................113 TVA ............................................................................81, 92 TVA envelope 13 ..........................................................82 TVA envelope 14 ..........................................................82 TVA envelope level 13 .................................................92 TVA envelope time 14 .................................................92 TVA envelope time 4 velocity sensitivity ...................82 TVA envelope time key follow .....................................82 TVA envelope time velocity sensitivity ......................92 TVA envelope velocity curve .......................................81 TVA envelope velocity sensitivity .........................81, 92 TVA LFO depth 1, 2 .......................................................79 TVF .............................................................................80, 91 TVF envelope depth .................................................80, 91 TVF envelope level 14 ............................................81, 92 TVF envelope time 1 velocity sensitivity ..............8182 TVF envelope time 14 ............................................81, 92 TVF envelope time 4 velocity sensitivity ....................81 TVF envelope time key follow .....................................81 TVF envelope time velocity sensitivity .......................92 TVF envelope velocity curve ........................................81 TVF envelope velocity sensitivity ..........................81, 92 TVF LFO depth 1, 2 ........................................................79
213
Index
U
Undo .................................................................................45 [UNDO/COMPARE] ..............................13, 45, 116, 118 User memory ....................................................6768, 116 User memory protect ...................................................115 UTIL 1 display ..........................................................27, 68 UTIL 2 display ................................................................27 [UTIL/CARD] ............................................12, 27, 68, 115 Utility/Card mode .................................................43, 115
V
VALUE dial ...............................................................13, 45 Velocity ............................................................................34 Velocity cross fade .........................................................69 Velocity range lower ......................................................69 Velocity range switch ....................................................69 Velocity range upper .....................................................69 Voice information ...................................................87, 127 Voice priority ..................................................................69 Voice reserve .............................................................42, 87 Volume ...........................................................................127 Volume control source ................................................111 Volume information ..............................................87, 127 VOLUME slider ..............................................................26 Volume slider ..................................................................12
W
Wave ................................................................................47 Wave expansion board ........................16, 47, 55, 67, 114 WAVE EXPANSION section ........................................13 Wave gain ..................................................................76, 90 Wave group ...............................................................76, 90 Wave number ...........................................................76, 90 Waveform ......................................................................160 Write ...............................................................................115 WRITE display ................................................................68
214
For EU Countries
CAUTION
Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type recommended by the manufacturer. Discard used batteries according to the manufacturers instructions.
ADVARSEL!
Lithiumbatteri - Eksplosionsfare ved fejlagtig hndtering. Udskiftning m kun ske med batteri af samme fabrikat og type. Levr det brugte batteri tilbage til leverandren.
VARNING
Explosionsfara vid felaktigt batteribyte. Anvnd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera anvnt batteri enligt fabrikantens instruktion.
ADVARSEL
Eksplosjonsfare ved feilaktig skifte av batteri. Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten. Brukte batterier kasseres i henhold til fabrikantens instruks joner.
VAROITUS
Paristo voi rjht, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hvit kytetty paristo valmistajan ohjeiden mukaisesti.
For EU Countries This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC. For the USA
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numrique de la classe B respecte toutes les exigences du Rglement sur le matriel brouilleur du Canada.
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.
Information
AFRICA
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828
SINGAPORE
Swee Lee Company
150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300
ISRAEL
Halilit P. Greenspoon & Sons Ltd.
8 Retzif Ha'aliya Hashnya St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666
PARAGUAY
Distribuidora De Instrumentos Musicales
J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (021) 492-124
NORWAY
Roland Scandinavia Avd. Kontor Norge
Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074
JORDAN
AMMAN Trading Agency
245 Prince Mohammad St., Amman 1118, JORDAN TEL: (06) 464-1200
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429
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
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335
POLAND
P. P. H. Brzostowicz
UL. Gibraltarska 4. PL-03664 Warszawa POLAND TEL: (022) 679 44 19
KUWAIT
Easa Husain Al Yousifi Est.
Abdullah Salem Street, Safat, KUWAIT TEL: 243-6399
SOUTH AFRICA
That Other Music Shop (PTY) Ltd.
11 Melle St., Braamfontein, Johannesbourg, SOUTH AFRICA P.O.Box 32918, Braamfontein 2017 Johannesbourg, SOUTH AFRICA TEL: (011) 403 4105
THAILAND
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2, Bangkok 10100, THAILAND TEL: (02) 2248821
VENEZUELA
Musicland Digital C.A.
Av. Francisco de Miranda, Centro Parque de Cristal, Nivel C2 Local 20 Caracas VENEZUELA TEL: (212) 285-8586
PORTUGAL
Tecnologias Musica e Audio, Roland Portugal, S.A.
Cais Das Pedras, 8/9-1 Dto 4050-465 PORTO PORTUGAL TEL: (022) 608 00 60
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 16-5857 Beirut, LEBANON TEL: (01) 20-1441
VIETNAM
Saigon Music
138 Tran Quang Khai St., District 1 Ho Chi Minh City VIETNAM TEL: (08) 844-4068
QATAR
Al Emadi Co. (Badie Studio & Stores)
P.O. Box 62, Doha, QATAR TEL: 4423-554
ROMANIA
FBS LINES
Piata Libertatii 1, RO-4200 Gheorghehi TEL: (095) 169-5043
EUROPE
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74, A-6063 RUM, AUSTRIA TEL: (0512) 26 44 260
ASIA
CHINA
Roland Shanghai Electronics Co.,Ltd.
5F. No.1500 Pingliang Road Shanghai, CHINA TEL: (021) 5580-0800
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l 107 564 Moscow, RUSSIA TEL: (095) 169 5043
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
SPAIN
Roland Electronics de Espaa, S. A.
Calle Bolivia 239, 08020 Barcelona, SPAIN TEL: (93) 308 1000
SYRIA
Technical Light & Sound Center
Khaled Ebn Al Walid St. Bldg. No. 47, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384
NEW ZEALAND
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden, Auckland, NEW ZEALAND TEL: (09) 3098 715
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200
SWEDEN
Roland Scandinavia A/S SWEDISH SALES OFFICE
Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20
TURKEY
Barkat muzik aletleri ithalat ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler Pasaji No:74/20 Taksim - Istanbul, TURKEY TEL: (0212) 2499324
HONG KONG
Tom Lee Music Co., Ltd. Service Division
22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911
CENTRAL/LATIN AMERICA
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700
FRANCE
Roland France SA
4, Rue Paul Henri SPAAK, Parc de l'Esplanade, F 77 462 St. Thibault, Lagny Cedex FRANCE TEL: 01 600 73 500
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383
FINLAND
Roland Scandinavia As, Filial Finland
Lauttasaarentie 54 B Fin-00201 Helsinki, FINLAND TEL: (0)9 68 24 020
UKRAINE
TIC-TAC
Mira Str. 19/108 P.O. Box 180 295400 Munkachevo, UKRAINE TEL: (03131) 414-40
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
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666
GERMANY
Roland Elektronische Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 700139
NORTH AMERICA
CANADA
Roland Canada Music Ltd. (Head Office)
5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (604) 270 6626
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150 Jakarta Pusat INDONESIA TEL: (021) 6324170
COSTA RICA
JUAN Bansbach Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211
GREECE
STOLLAS S.A. Music Sound Light
155, New National Road Patras 26442, GREECE TEL: 2610 435400
KOREA
Cosmos Corporation
1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855
MIDDLE EAST
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue, P.O.Box 247, Manama 304, State of BAHRAIN TEL: 211 005
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540
HUNGARY
Roland East Europe Ltd.
Warehouse Area DEPO Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang 55100 Kuala Lumpur,MALAYSIA TEL: (03) 2144-3333
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final Alameda Juan Pablo , Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700
IRELAND
Roland Ireland
Audio House, Belmont Court, Donnybrook, Dublin 4. Republic of IRELAND TEL: (01) 2603501
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia, CYPRUS TEL: (022) 66-9426
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
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021) 285-4169 As of December 1, 2002 (Roland)
01783690
03-2-A2-81N