OWNER'S MANUAL

MIDI SOUND GENERATOR

POWER VOLUME PART INSTRUMENT

PART INSTRUMENT
ALL
ALL - SOUND Canvas - LEVEL PAN
LEVEL PAN

127 0 MUTE
REVERB CHORUS
PREVIEW (PUSH) REVERB CHORUS
64 64 SC-55
K SHIFT MIDI CH
MAP
± 0 A-- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 SC-88
KEY SHIFT MIDI CH
MAP
DELAY PART
MIDI IN B PHONES DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX P

PARAM
ARAM EFX V
VALUE
ALUE
 The lightning flash with arrowhead symbol, within an
CAUTION
equilateral triangle, is intended to alert the user to the
RISK OF ELECTRIC SHOCK
DO NOT OPEN presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS QUVRIR constitute a risk of electric shock to persons.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, The exclamation point within an equilateral triangle is
DO NOT REMOVE COVER (OR BACK). intended to alert the user to the presence of important
NO USER-SERVICEABLE PARTS INSIDE. operating and maintenance (servicing) instructions in the
literature accompanying the product.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:

1. Read all the instructions before using the product. 8. The power-supply cord of the product should be unplugged
2. Do not use this product near water — for example, near a from the outlet when left unused for a long period of time.
bathtub, washbowl, kitchen sink, in a wet basement, or near 9. Care should be taken so that objects do not fall and liquids
a swimming pool, or the like. are not spilled into the enclosure through openings.
3. This product should be used only with a cart or stand that is 10.The product should be serviced by qualified service
recommended by the manufacturer. personnel when:
4. This product, either alone or in combination with an amplifier A. The power-supply cord or the plug has been damaged; or
and headphones or speakers, may be capable of producing B. Objects have fallen, or liquid has been spilled onto the
sound levels that could cause permanent hearing loss. Do product; or
not operate for a long period of time at a high volume level C. The product has been exposed to rain; or
or at a level that is uncomfortable. If you experience any D. The product does not appear to operate normally or
hearing loss or ringing in the ears, you should consult an exhibits a marked change in performance; or
audiologist. E. The product has been dropped, or the enclosure
5. The product should be located so that its location or position damaged.
does not interfere with its proper ventilation. 11.Do not attempt to service the product beyond that described
6. The product should be located away from heat sources such in the user-maintenance instructions. All other servicing
as radiators, heat registers, or other products that produce should be referred to qualified service personnel.
heat.
7. The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.

For the USA

This product may be equipped with a polarized line plug (one blade wider than the other) . This is a safety feature. If you
are unable to insert the plug into the outlet, contact an electrician to replace your obsolete outlet. Do not defeat the safety
purpose of the plug.

For Canada
For Polarized Line Plug

CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
ATTENTION: POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE
DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU' AU FOND.

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.
 Used for instructions intended to alert The symbol alerts the user to important instructions
the user to the risk of death or severe or warnings.The specific meaning of the symbol is
injury should the unit be used determined by the design contained within the
improperly. triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
damage should the unit be used
must not be done is indicated by the design contained
improperly. within the circle. In the case of the symbol at left, it
* Material damage refers to damage or means that the unit must never be disassembled.
other adverse effects caused with The ● symbol alerts the user to things that must be
respect to the home and all its carried out. The specific thing that must be done is
furnishings, as well to domestic indicated by the design contained within the circle. In
animals or pets. the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.

WARNING CAUTION

• Before using this unit, make sure to read the • Always grasp only the plug on the power-supply
instructions below, and the Owner's Manual. cord when plugging into, or unplugging from an
......................................................................................................... outlet.
.........................................................................................................
• Do not open or perform any internal modifications
on the unit. • 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.
• Make sure you always have the unit placed so it is
.........................................................................................................
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces. • Never climb on top of, nor place heavy objects on
......................................................................................................... the unit.
.........................................................................................................
• Avoid damaging the power cord. Do not bend it
excessively, step on it, place heavy objects on it, etc. • Never handle the power cord or its plug with wet
A damaged cord can easily become a shock or fire hands when plugging into, or unplugging from, an
hazard. Never use a power cord after it has been outlet.
damaged. .........................................................................................................
.........................................................................................................
• Before moving the unit, disconnect the power plug
• In households with small children, an adult should from the outlet, and pull out all cords from external
provide supervision until the child is capable of fol- devices.
lowing all the rules essential for the safe operation .........................................................................................................
of the unit.
......................................................................................................... • Before cleaning the unit, turn off the power and
unplug the power cord from the outlet.
• Protect the unit from strong impact. .........................................................................................................
(Do not drop it!)
......................................................................................................... • Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out of
• Do not force the unit's power-supply cord to share the outlet.
an outlet with an unreasonable number of other .........................................................................................................
devices. Be especially careful when using extension
cords—the total power used by all devices you
have connected to the extension cord's outlet must
never exceed the power rating (watts/amperes) for
the extension cord. Excessive loads can cause the
insulation on the cord to heat up and eventually
melt through. Before using this unit, carefully read the sections entitled:
......................................................................................................... “USING THE UNIT SAFELY” and “IMPORTANT NOTES”
• Before using the unit in a foreign country, consult (p.3). These sections provide important information con-
with your dealer, or qualified Roland service per- cerning the proper operation of the unit. Additionally, in
sonnel. order to feel assured that you have gained a good grasp of
......................................................................................................... every feature provided by your new unit, this manual
should be read in its entirety. The manual should be saved
and kept on hand as a convenient reference.

Copyright  1996 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND COR-
PORATION.
Introduction
Main features of this unit
● This unit is a sound module compatible with the General MIDI system. It can be used to play-
back any song data (General MIDI scores) bearing the General MIDI logo. This unit is also
compatible with the Roland GS format. It can be used to playback any song data bearing the
GS logo.
● This unit is a 32 part 64 voice multi-timbral sound module. A single this unit can produce the
sounds of a large ensemble. It is an ideal sound module for use with sequencers or personal
computers. (p.120)
● This unit contains 1117 high quality sounds and 42 types of drum sound set (including 3
sound effects sets). These sound include the same sounds as the SC-55/55mkII and SC-88,
allowing SC-55/55mkII and SC-88 song data to be played back correctly. (p.10)
● A wide variety of effects are provided: 64 types of insertion effect, eight types each of reverb
and chorus effects, 10 types of delay, and 2-band equalizer. In addition, the values of rele-
vant parameters can be set for each effect, allowing professional-level manipulation of
sound. (p.46, 56)
● There are 256 user sounds and 2 user drum sets, allowing you to create your own sounds
and drum sets. (p.96, 102)
● By editing sound parameters such as vibrato, filter and envelope, you can modify sounds to
your taste. (p.31)
● The computer connector allows this unit to be directly connected to an Apple or IBM personal
computer. (p.120)
● The large display screen graphically provides easy visual confirmation of settings such as
volume for each part, and pictures and character data can also be displayed in the dot matrix
(ten screens). (p.110)
● A wide variety of sound parameters can be edited directly and easily by pressing dedicated
buttons. (p.11, 31)
● Audio input jacks with input level adjustment allow you to connect another sound source, and
output it from the audio output jacks mixed with this unit's own sound. Two sets of audio out-
put jacks are also provided. (p.15)

General MIDI system

The General MIDI system is a set of recommendations which seeks to provide a way to go
beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound
generating devices. Sound generating devices and music data that meets the General MIDI
standard bears the General MIDI logo ( ). Music data bearing the General MIDI logo can
be played back using any General MIDI sound generating unit to produce essentially the same
musical performance.

GS format
The ( ) Format is Roland's set of specifications for standardizing the performance of
sound generating devices. In addition to including support for everything defined by the General
MIDI System, the highly-compatible GS Format additionally offers an expanded number of
sounds, provides for the editing of sounds, and spells out many details for a wide range of extra
features, including effects such as reverb and chorus.
Designed with the future in mind, the GS Format can readily include new sounds and support
new hardware features when they arrive. Since it is upwardly compatible with the General MIDI
System, Roland's GS Format is capable of reliably playing back GM Scores equally as well as it
performs GS Music Data (music data that has been created with the GS Format in mind).

Apple is a registered trademark of Apple Computer, Inc.

Macintosh is a registered trademark of Apple Computer, Inc.
MacOS is a 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.
GS ( ) is a registered trademark of Roland Corporation.

2
IMPORTANT NOTES
In addition to the items listed under "IMPORTANT Additional Precautions
SAFETY INSTRUCTIONS" and "USING THE UNIT ● Please be aware that the contents of memory can be
SAFELY", please read and observe the following: irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself
Power Supply
against the risk of loosing important data, we recom-
● Do not use this unit on the same power circuit with mend that you periodically save a backup copy of
any device that will generate line noise (such as an important data you have stored in the unit's memory
electric motor or variable lighting system). in another MIDI device (e.g., a sequencer).
● Before connecting this unit to other devices, turn off ● Unfortunately, it may be impossible to restore the con-
the power to all units. This will help prevent malfunc- tents of data that was stored in another MIDI device
tions and/or damage to speakers or other devices. (e.g., a sequencer) once it has been lost. Roland
Corporation assumes no liability concerning such loss
Placement of data.
● Using the unit near power amplifiers (or other equip-
● Use a reasonable amount of care when using the
ment containing large power transformers) may
unit's buttons, sliders, or other controls; and when
induce hum. To alleviate the problem, change the ori-
using its jacks and connectors. Rough handling can
entation of this unit; or move it farther away from the
lead to malfunctions.
source of interference.
● Never strike or apply strong pressure to the display.
● This device may interfere with radio and television
reception. Do not use this device in the vicinity of ● When connecting / disconnecting all cables, grasp the
such receivers. connector itself—never pull on the cable. This way
you will avoid causing shorts, or damage to the
● Do not expose the unit to direct sunlight, place it near
cable's internal elements.
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature ● A small amount of heat will radiate from the unit dur-
extremes. Excessive heat can deform or discolor the ing normal operation.
unit. ● To avoid disturbing your neighbors, try to keep the
unit's volume at reasonable levels. You may prefer to
Maintenance use headphones, so you do not need to be concerned
● For everyday cleaning wipe the unit with a soft, dry about those around you (especially when it is late at
cloth or one that has been slightly dampened with night).
water. To remove stubborn dirt, use a cloth impreg- ● When you need to transport the unit, package it in the
nated with a mild, non-abrasive detergent. Afterwards, box (including padding) that it came in, if possible.
be sure to wipe the unit thoroughly with a soft, dry Otherwise, you will need to use equivalent packaging
cloth. materials.
● Never use benzene, thinners, alcohol or solvents of
any kind, to avoid the possibility of discoloration
and/or deformation. About this owner's manual
Parameter names are often abbreviated in this unit’s
Repairs and Data display. For example, Chorus Rate is abbreviate as
● Please be aware that all data contained in the unit's ‘Cho Rate’, The full name of the parameter will be used
memory may be lost when the unit is sent for repairs. in the manual to avoid any confusion.
Important data should always be backed up in anoth- If a parameter’s value is continuously variable, it will
er MIDI device (e.g., a sequencer), or written down on be shown as being a number from 0 — 127. If, on the
paper (when possible). During repairs, due care is other hand, a parameter value is selectable in discrete
taken to avoid the loss of data. However, in certain steps, those steps will be shown as 200/400Hz (for
cases (such as when circuitry related to memory itself example).
is out of order), we regret that it may not be possible Panel buttons are indicated within square brackets
to restore the data, and Roland assumes no liability [r], such as [CHORUS].
concerning such loss of data.

Memory Backup Regarding Screen Displays

● This unit contains a battery which powers the unit's Where possible, we will use the actual screen dis-
memory circuits while the main power is off. When plays for explanations. Keep in mind, however, that the
this battery becomes weak, the message shown displays of your unit may vary slightly depending on
below will appear in the display. Once you see this your instrument’s settings.
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 dealer, or qualified Roland service personnel.
“Battery Low”

3
CONTENTS
USING THE UNIT SAFELY .................................1
Introduction ..........................................................2
IMPORTANT NOTES ..........................................3
CONTENTS .........................................................4
Front and rear panel ............................................6

Chapter 1. Try out the unit

(Quick start)

■ Connect a MIDI keyboard and play the sounds.......8 ■ System parameter settings.............................36
● Making connections.............................................8 ● Procedure..........................................................36
● Turning the power on or off .................................9 ● How each System parameter works..................37
● Is there sound?....................................................9
■ Using Patches ................................................39
■ Try out the various sounds .............................10 ● Loading a Patch ................................................40
● Using MIDI messages to select Patches...........41
■ Try out the buttons of the unit.........................11
■ Apply effects to the sound ..............................13 ■ Creating a Drum Set (Drum Edit) .......................42
● Drum editing procedure.....................................42
■ Tuning to other instruments (Tuning) .............14 ● Using Chorus and Delay ...................................44
■ Headphones ...................................................15 ● About Assign Group ..........................................44

■ Audio input jacks / Audio input volume...........15

Chapter 3. System Effects
Chapter 2. Parts and parameters
■ How the effect section of the unit
is organized ....................................46
■ Parts and sounds ...........................................18
● Assigning a sound to a Part ..............................18 ■ System Effect settings....................................48
● Selecting Variation sounds................................20 ● Equalizer setting procedure...............................48
● Reading the Instrument numbers ● Equalizer parameter functions...........................49
and Variation numbers .........................21 ● When you want to adjust the system effect
● Part Channels....................................................22 for all Parts ...........................................50
● Which MIDI IN will be used by each Part? ........23 ● When you want to adjust the system effect
● How simultaneous note numbers for each Part.........................................50
and Voices are related. ........................24 ● Setting Reverb/Chorus/Delay parameters.........51
● Concerning legato-enabled sounds...................24 ● Reverb parameter function................................52
● Chorus parameter function................................53
■ Part parameters for performance ...................25
● Delay parameter function ..................................54
[1] Parameters that can be set directly using the buttons .......25
[2] Parameters that must be selected from the menu........26
● What each parameter does ...............................27 Chapter 4. Insertion Effects
■ Part parameters for sound editing ..................31
● Procedure..........................................................31 ■ Insertion effect settings ..................................56
● What each parameter does ...............................32 ● Making Insertion effect settings.........................56
● Different effect types .........................................57
■ Setting parameters common to all Parts ........34
● Procedure..........................................................34 ■ Using controllers to modify effect
● How each parameter works...............................35 parameters ....................................92
● Setting procedure ..............................................92
● How each parameter works...............................93

4
 Chapter 1
Chapter 5. Convenient functions Chapter 7. MIDI and the unit

■ Create and save a sound (User Instrument) ..96 ■ About MIDI ...................................................130
● How MIDI messages are transmitted and received.....130
■ Creating and saving an Instrument effect

Chapter 2
(User Effect) ..................................99 ● MIDI channels and multi-timbral sound modules........130

■ Creating and saving a Patch(User Patch) ....100 ■ MIDI messages that can be received by the unit.........131

■ Saving a Drum Set you created (User Drum)...102 ■ Device ID number settings ...........................134

■ Copying or Exchanging settings between ■ MIDI message routing settings and switches ......135

Chapter 3
Parts / Initializing Part settings .....106 [1] Switches which apply to all Parts (A) .............135
[2] Switches which apply to all Parts (B) .............139
■ Recording all settings on a sequencer .........107
[3] Switches which can be set individually
● Bulk Dump procedure......................................107
for each Part.......................................141
● Transmitting Individual Data............................108

■ Draw pictures or characters

Chapter 4
in the display (Frame Draw) .............110 Chapter 8. Appendix
■ Creating compatible data for
■ Troubleshooting............................................146
the unit / SC-88............................112
■ If a message appears...................................148
■ Selecting the CM-64 sound map ..................114

Chapter 5
● Differences between the CM-64 ■ Computer cable wiring diagrams..................149
and the unit ........................................115
■ Parameter list and operations ......................150
■ Using the unit as two sound modules...........116
■ Instrument list ...............................................154
● Selecting Double Module Mode ......................116
■ Drum set list .................................................163
■ Initialize ........................................................118

Chapter 6
● Initialize all Parts to the factory settings ..........118 ■ Effect list.......................................................176
● Initialize for GM/GS .........................................118 ■ Effect data table ...........................................183
■ Preset Patch list ...........................................186
Chapter 6. Using the unit with ■ MIDI implementation ....................................188
Chapter 7

a personal computer
■ MIDI Implementation Chart ..........................209

■ Connections with your Computer .....................120 ■ INDEX ..........................................................210

● Connections with computer connector ............120 ■ Information ...................................................212
● Connections with MIDI connectors..................122
Chapter 8

● MIDI data transfer with the computer ..............123

● Connecting another MIDI sound source
to the unit ...........................................125

■ Using MIDI messages to select sounds................126

● Using MIDI messages to select Drum Sets.....128

5
Front and rear panel
■ Front panel
● All button (p.34)
● Mute button (p.25, 34)
● MIDI IN B connector (front) (p.135) ● SC-55 Map button (p.25, 34)
When IN B Select is set to Rear (the factory setting), the front MIDI IN ● SC-88 Map button (p.25, 34)
B connector cannot be used.
● Part buttons (p.18)
● Level buttons (p.25, 34)
● Power switch (p.9) ● Reverb buttons (p.50)
● Key Shift buttons (p.25, 34)
● Volume knob (p.9) ● Delay buttons (p.50)
● Preview switch (p.11) ● Instrument buttons (p.18)
● Pan buttons (p.25, 34)
● Headphone jack (p.15) ● Chorus buttons (p.50)
● MIDI Channel buttons (p.22)
● Display screen (p.37) * While holding down the [l] button,
you can press the [r ] button to
● Bar display (p.23, 37) make the value change faster.

POWER VOLUME PART INSTRUMENT

PART INSTRUMENT
ALL
LEVEL PAN
LEVEL PAN
MUTE
REVERB CHORUS
PREVIEW (PUSH) REVERB CHORUS

K SHIFT MIDI CH
SC-55
MAP
KEY SHIFT MIDI CH
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 SC-88
MAP
DELAY PART
MIDI IN B PHONES DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

● Effect (orange) (p.56)/User Edit(red) indicator (p.97) ● Effect type buttons (p.56)
● User Inst button(p.97)/Effect button(p.56) ● Vibrato Rate buttons (p.31)
● Select button(p.56)/Effect ON/OFF button(p.56) ● Envelope Attack buttons (p.31)
● Select (p.31)/Effect ON/OFF indicator(p.56)
● Effect parameter buttons (p.56)
■ Rear panel ● Vibrato Depth buttons (p.31)
● Filter Cutoff Frequency buttons (p.31)
● Envelope Decay buttons (p.31)
● MIDI OUT/THRU connector
This connector functions either as MIDI OUT or MIDI THRU,
● Effect value buttons (p.56)
depending on the setting of OUT/THRU Select (p.136). When the
● Vibrato Delay buttons (p.31)
unit is shipped, this is set to MIDI OUT.
● Filter Resonance buttons (p.31)
● Envelope Release buttons (p.31)
● MIDI IN A connector (p.130)
● MIDI IN B connector (rear) (p.135)

● Computer connector
MIDI
A special computer cable (sold separately) can be
OUT/THRU IN A IN B COMPUTER connected here. The type of cable required will
depend on your computer. When the Computer
switch located at the left is set to MIDI, the comput-
MIDI
PC-2
Mac
PC-1
er connector cannot be used (p.120).

● Computer switch
R L R L R L
Set this switch depending on the type of computer
connected to the Computer connector, or the soft-
ware you are using. Turn the power off before chang-
INPUT INPUT OUTPUT 1 OUTPUT 2 ing the setting of this switch. If you wish to use the
VOLUME MIDI connectors, set this switch to MIDI. (p.120)

● Audio output 1 jacks (p.8)

● Audio input jacks (p.15)
● Audio input volume knob (p.15)

● Audio output 2 jacks

At the factory settings, no sound will be sent from output2
jacks.(p.29)

6
 Chapter 1
Chapter 1

Try out the unit

(Quick start)
■ Connect a MIDI keyboard and play the sounds
● Making connections
* This section explains how to connect this unit to a MIDI keyboard and play the sounds. If you
wish to connect a sequencer or personal computer to this unit, refer to p.120.
* To prevent malfunction and/or damage to speakers or other devices, always turn down the vol-
ume, and turn off the power on all devices before making any connections.

Set the Computer select switch located on the back of this unit to MIDI.

MIDI OUT

MIDI keyboard

MIDI COMPUTER
OUT/THRU IN A IN B

MIDI Mac
PC-2 PC-1

Computer Switch : MIDI

R L R L R L

INPUT INPUT OUTPUT1 OUTPUT2

VOLUME

This unit

Left

INPUT Right LINE IN

Powered Speaker Stereo set

* At the factory settings, no sound will be sent from output2 jacks.(p.29)

8 Chapter 1. Try out the unit

● Turning the power on or off
Once the connections have been completed , turn on power to your various devices
in the order specified. By turning on devices in the wrong order, you risk causing mal-
function and/or damage to speakers and other devices.

❍ Turning the power on

1. Before you turn the power on, check the following points.
Make sure that the power cables of each device are correctly plugged into an AC outlet.
Make sure that this unit is correctly connected to any peripheral devices you are using (p.8).
Make sure that the volume of your amp/speaker system and this unit is turned down.

2. Turn on the power of this unit and your MIDI equipment.

3. Turn on the power of your audio system.

Set your amplifier to an appropriate volume.

* 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.
* Excessive volumes can damage your speaker system. Please be aware that speakers used in
conventional stereo systems are more vulnerable to being damaged by high volume levels than
are speakers designed for musical instruments.
* Is this unit is placed at an angle where the display is difficult to read, adjust the LCD Contrast (p.38).
* To restore the factory settings, refer to p.118.

❍ Turning the power off

1. Before you turn the power off, check the following points.
Make sure that the volume of your amp/speaker system and this unit is turned down.

2. Turn off each device in the following order.

Audio devices → this unit and MIDI devices

● Is there sound?
After making connections as explained in “Making connections”, turn the power on,
and gradually raise the volume while playing the keyboard. Does the bar indicator of this
unit move? If it does, this unit is receiving MIDI messages correctly.
VOLUME
If this moves, MIDI messages Press this to
are being received. sound a note.

PREVIEW (PUSH)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Part Number

This unit will sound a note when the Volume knob is pressed (the Preview function). If
playing your keyboard produces no sound, you can use this function to see whether the
amp volume and speaker connections are correct.
If this unit bar indicator does not move, MIDI messages are not being received from
your MIDI keyboard. Check your MIDI keyboard settings and MIDI cable connections.

* With the factory settings, this unit will produce sound in response to any channel 1 — 16,
regardless of the transmit channel your keyboard is set to (p.130). This is because each Part is
assigned to the correspondingly numbered MIDI channel. The number below the bar indicator is
the Part number.
* If you hear sound but the bar indicator does not move, press the [ALL] button to make the [ALL]
indicator light. Now the volume levels of all the Parts of this unit will be indicated in the display
(p.23).

Chapter 1. Try out the unit 9

■ Try out the various sounds
This unit contains a wide variety of sounds, including not only musical instruments
such as piano, organ and guitar, but also sound effects such as birds and telephone
rings. In this unit, each of these sounds is called an “Instrument”. A group of Instruments
is called a “Map.”
This unit has three maps; a Native map which contains original sounds, an SC-55
map which contains almost the same sounds as the SC-55/SC-55mkII, and an SC-88
map which contain the same sounds as the SC-88. (p.21, 154)
Here's how to select instruments or maps to try out the sounds.

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Use INSTRUMENT [l r ] to select sounds. Play and listen the sounds of
the Native map.
Pressing INSTRUMENT [l ] will move to a lower-numbered sound, and pressing
INSTRUMENT [r] will move to a higher-numbered sound.
While holding down the [r] ( [l] ) button, press the [l] ( [r] ) button, the value will
change faster.

3. To select the SC-55 map, or SC-88 map press the [SC-55MAP] button or
[SC-88 MAP] button to make the indicator light.
Use the INSTRUMENT [l] [r] buttons to select instruments, and listen the sound of the
SC-55 map or SC-88 map.
When SC-55 map sounds are selected, a “"” mark will be displayed at the left of the
instrument name.
PART INSTRUMENT

A01 001 "Piano 1

LEVEL PAN

100 0
When SC-88 map sounds are selected, a “'” mark will be displayed at the left of the
instrument name.
PART INSTRUMENT

A01 001 'Piano 1

LEVEL PAN

100 0
If the indicator is dark, the Native map will be selected.

1
PART INSTRUMENT

ALL 2 3
LEVEL PAN
MUTE
REVERB CHORUS

3 SC-55
MAP
KEY SHIFT MIDI CH
SC-88
3 MAP

DELAY

* If you press a sound select button on your MIDI keyboard, this unit's sound will change.

MIDI keyboard

10 Chapter 1. Try out the unit

■ Try out the buttons of the unit

● Preview the sound (Preview)

When you press the Volume knob, the currently selected instrument will sound. You
can specify the pitch and volume at which this preview note will be sounded (p.37). This
preview function is convenient when you wish to check sounds or adjust the tuning when
a keyboard is not connected.

POWER VOLUME
PART

LEVEL

REVERB
PREVIEW (PUSH)

K SHIFT

The following procedures must be performed with the [ALL] button indicator dark. If it
is lit, press the [ALL] button to turn it off.

● Volume adjustments
Volume adjusts the loudness of the sound. Press LEVEL [r] to increase the volume,
and press LEVEL [l] to decrease the volume.

● Pan adjustments (stereo position)

Pan sets the stereo position of the sound when a stereo playback system is used.
Use the PAN [l] [r] buttons to set the pan. For example, the drum set and bass might
be placed in the center, the guitar at right, and the keyboard at left. To place a sound in
the center, set the Pan value to 0. As the L-value increases the sound will be placed fur-
ther left, and as the R-value increases the sound will be placed further right. If you con-
tinue pressing PAN [l], “Rnd” (random) will be selected, and each note will be placed
at a random stereo position.

* For some instruments, small amounts of leakage may he heard from the opposite speaker even
when pan has been set fully left or right.
* If you are listening in mono, pan settings will have no effect.

Bass
Keyboard Guitar

Drum Set

L63 0 R63
Left Speaker Center Right Speaker

Chapter 1. Try out the unit 11

● Transpose the pitch
You can transpose the pitch of the sound in semitone steps. Pressing KEY SHIFT [l]
will lower the key (pitch), and pressing KEY SHIFT [r] will raise the key (pitch).

* The area of the screen where the Key Shift setting is displayed is shared with the Delay display.
When while holding down the [SC-88 MAP] button, press [DELAY] buttons, the delay setting will
be displayed, and when you press the [KEY SHIFT] buttons the key shift setting will be dis-
played. If the display indicates a +/- (plus or minus) value, the key shift setting is being dis-
played. (p.13)

Volume adjustments Pan adjustments

VOLUME PART INSTRUMENT

PART INSTRUMENT
ALL
LEVEL PAN
LEVEL PAN
MUTE
REVERB CHORUS
EVIEW (PUSH) REVERB CHORUS

K SHIFT MIDI CH
SC-55
MAP
KEY SHIFT MIDI CH
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 SC-88
MAP
DELAY PART
PHONES DELAY

Key Shift field and Delay field Key shift adjustments

12 Chapter 1. Try out the unit

■ Apply effects to the sound
Effects are used to electrically process the sound in various ways to add a different
character to the sound. The effects of this unit can be classified either as System effects
(p.48) or as Insertion effects (p.56). System effects include 8 types each of reverb and
chorus, 10 types of delay, and 2-band equalizer. Insertion effects include 64 effect
types. In addition, you can make appropriate parameter settings for each effect, provid-
ing varied and detailed control over the sound.
Now let's apply a System effect.

● Adjust the amount of reverb

Reverb is an effect that adds spacious reverberance to the sound, simulating a per-
formance in an acoustically live concert hall. Pressing REVERB [l] decreases the
reverb depth, and pressing REVERB [r] increases the reverb depth.

● Adjust the amount of chorus

Chorus is an effect that adds depth and richness to the sound. Pressing CHORUS
[l ] decreases the chorus depth, and pressing CHORUS [r ] increases the chorus
depth.

● Adjust the amount of delay

Delay is an effect that delays the sound to create echoes. Also, you can add a short
delay to the original sound to give depth and space to the sound. While holding down
the [SC-88 MAP] button, press DELAY [l], decreases the volume of the delayed sound,
and while holding down the [SC-88 MAP] button, press DELAY [r], increases the vol-
ume of the delayed sound.

* The area of the screen where the Delay setting is displayed is shared with the Key Shift display.
When while holding down the [SC-88 MAP] button, press [DELAY] buttons, the delay setting will
be displayed, and when the [KEY SHIFT] buttons are pressed the key shift setting will be dis-
played. If the display indicates a +/- (plus or minus) value, the key shift setting is being dis-
played. (p.12)
* When the EFX indicator is dark, you can also set the delay by pressing EFX TYPE [l][r].

Adjust the amount of reverb

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55 Adjust the amount
MAP
KEY SHIFT MIDI CH of chorus
SC-88
MAP

DELAY

Adjust the amount of delay

Chapter 1. Try out the unit 13

■ Tuning to other instruments (Tuning)
❍ M. Tune (Master Tune) 415.3 — 466.2 Hz
When you are playing in an ensemble with other instruments or need to set this unit
to match the pitch of another instrument, adjust the Master Tune setting. The displayed
value (e.g., 440.0 Hz) indicates the frequency of the A4 note's pitch (note number 69).

Tuning procedure
1. Press [ALL] to make the button indicator light.

2. l ] [r
Simultaneously press both the PART [l r ] buttons.

3. u ] or [d
Press [u d ] to select “M.Tune”
PART INSTRUMENT

ALL >M. Tune: 440.0

LEVEL PAN

100 0
4. l ] [r
As you listen to the sound, use INSTRUMENT [l r ] to adjust the pitch
of this unit to match the pitch of the other instrument.
Pressing [l] will lower the pitch, and pressing [r] will raise the pitch. The display will
show the frequency of the pitch, so if you are tuning to a specific frequency you can
visually check the desired value.

5. When you have made the desired setting, simultaneously press both the
l ] [r
PART [l r ] buttons.

* It is also possible to set the tuning independently for each Part (p.28).

1 2 5 4

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
3 SC-88
KEY SHIFT MIDI CH
MAP

DELAY

14 Chapter 1. Try out the unit

■ Headphones
Use headphones of 8 — 150 ohms impedance. Sound will be output from the audio
output jacks even when headphones are connected.

POWER VOLUME

Stereo Headphones

PREVIEW (PUSH)

MIDI IN B PHONES

* The headphone jack will output the sound of OUTPUT1.This means that the sound of Parts
assigned to OUTPUT2 will not be heard from the headphone jack.

■ Audio input jacks / Audio input volume

You can connect the output jacks of other MIDI sound sources to these jacks. The
audio signal that is input here will be mixed with this unit's sound and output from the
audio output1 jacks.
If the signal input to this unit is too large or too small, use the audio input volume
knob to adjust it. If the input signal is too large, rotate the knob to the left to reduce the
volume.

MIDI COMPUTER
OUT/THRU IN A IN B

MIDI Mac
PC-2 PC-1

R L R L R L

Audio Input Volume Knob

INPUT INPUT OUTPUT1 OUTPUT2
VOLUME

This unit

Right Left

OUT PUT

Sound Module

Chapter 1. Try out the unit 15

16 Chapter 1. Try out the unit
 Chapter 2

Chapter 2
Parts and parameters
■ Parts and sounds
This unit is able to produce 32 different types of sound at once. An instrument such
as this unit, which can simultaneously produce many sounds from a single unit's is
called a multi-timbral sound generator. A Timbre is an instrumental sound. Being able to
simultaneously play 32 sounds means that you can use 32 different instruments at once.
In other words, you can create an orchestra-like ensemble of 32 musical parts. In this
unit, the sound selected for each Part is called an Instrument. (Instrument chart, p.154)
You can assign the sounds you want to each of 32 Parts to create your own ensemble.

There are two types of Parts: Normal Parts and Drum Parts. We refer to this differ-
ence as the Part mode (p.27). Normal Parts are used for playing melody or bass lines.
Drum Parts are used for playing percussion instruments.
This unit has three maps; a Native map which contains original sounds, an SC-55
map which contains almost the same sounds as the SC-55/SC-55mkII, and an SC-88
map which contain the same sounds as the SC-88. (p.21, 154)

Here's how to select instruments or maps to try out the sounds.

* For details about Part Mode, refer to p.27.

● Assigning a sound to a Part

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Use the PART [l r ] buttons to select the Part for which you want to
specify a sound.
As you press the PART [l] [r] buttons, the screen display indicating the Part numbers
will change “A01..A16 B01..B16”. If you select the Drum Part, an “*” will be displayed
in front of the Drum Set name.

* To switch between the group A and B, simultaneously press both [ALL] and PART [l].
PART INSTRUMENT

A01 026*TR-808
LEVEL PAN

100 0
3. l ] [r
Use the INSTRUMENT [l r ] buttons to select the sound (Instrument)
for each Part.
For the Drum Part, a Drum Set will be selected.

1 2 3

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

18 Chapter 2. Parts and paramters

❍ To select the same sounds as the SC-55/SC-55mk II

4-1. Press [SC-55 MAP], and the sound for that Part will be almost the same as
the SC-55/55mk II.
At this time “"” will be displayed in front of that Instrument name.
PART INSTRUMENT

A01 001 "Piano 1

LEVEL PAN

100 0
* It is also possible to select the CM-64 Instrument layout. (p.114)

❍ To select the same sounds as the SC-88

4-2. Press [SC-88 MAP], and the sound for that Part will be the same as the
SC-88.
At this time “'” will be displayed in front of that Instrument name.
PART INSTRUMENT

A01 001 'Piano 1

LEVEL PAN

100 0

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS

4-1 SC-55
MAP
KEY SHIFT MIDI CH
SC-88
4-2 MAP

DELAY

* To select Part sounds or Drum Sets from another MIDI device, refer to p.126.
* Some of the sounds in this unit cannot be played above (or below) a certain pitch. This is
because the sounds have been created with the pitch ranges of actual instruments in mind.
* You can edit sounds to suit your taste and store them as User sounds. (p.96)

Chapter 2. Parts and paramters 19

● Selecting Variation sounds
Each of the three sound maps of this unit contains Capital sounds (basic sounds) and
Variation sounds (sounds with different nuances). The procedure explained on the pre-
vious page selects Capital sounds (128 sounds; Instrument list, p.154). Here's how
to select Variation sounds.

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use the PART [l l ] [r

r ] buttons to select the Part for which you want to
choose a Variation sound.

3. l ] [r
Simultaneously press both INSTRUMENT [l r ] buttons to enter
Variation select mode.
The Variation number and a “/” symbol will be displayed in front of the Instrument
name.
Variation number Insturument name(Capital)

PART INSTRUMENT

A01 000/Piano 1
LEVEL PAN

100 0
4. l ] or [r
Press INSTRUMENT [l r ] to change the Variation number.
Variation number Instrument name(Variaton)
PART INSTRUMENT

A01 008/Piano 1w
LEVEL PAN

100 0
5. To exit Variation select mode, simultaneously press both the INSTRU-
MENT [ll ] [r
r ] buttons. You will return to normal mode (the Instrument
number is displayed).
In this condition, pressing INSTRUMENT [l] or [r] will change the instrument number.
Instrument number Instrument name(Variation)
PART INSTRUMENT

A01 001+Piano 1w
LEVEL PAN

100 0
1 2 3 4

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

* Some Variation numbers are not consecutive.

* If the Part is set to a Drum Part (p.18, 27), the Variation number will not change. This is because
Drum Sets do not have Variations.
* Sounds compatible with the CM-64 are Variation sounds in the SC-55 map. Original sounds you
create (p.96) are Variation sounds in the Native map and SC-88 map.
* If the indicator of EFX is dark, you can also use EFX PARAM[l][r] to select the Instrument
sound, and EFX VALUE[l][r] to select the Variation sound.

20 Chapter 2. Parts and paramters

 A symbol will be displayed in front of the sound name to indicate the type of sounds
you are selecting.

blank Capital sounds (Variation number 000)

“+” Variation sounds (Variation number 001 — 125)
“ ’” SC-88 sounds (SC-88 map)
“"” SC-55/55mk II sounds (SC-55 map)
“#” CM-64 compatible sounds (Variation number 126, 127 in the SC-55 map)

PART INSTRUMENT

A01 001 Piano 1 Capital sounds

LEVEL PAN

100 0
PART INSTRUMENT

A01 001+Piano 1w
LEVEL PAN Variation sounds
100 0 (Instrument number is displayed)

PART INSTRUMENT

A01 008/Piano 1w Variation sounds

LEVEL PAN

100 0 (Variation number is displayed)

PART INSTRUMENT

A01 001 'Piano 1

LEVEL PAN SC-88 sounds
100 0
PART INSTRUMENT

A01 001 "Piano 1

LEVEL PAN SC-55/55mkll sounds
100 0
PART INSTRUMENT

A01 001#"Piano 1
LEVEL PAN CM-64compatible sounds
100 0

● Reading the Instrument numbers and Variation numbers

Each sound (Instrument) of this unit has two numbers; an Instrument number and a
Variation number. Sounds with Variation number 000 are Capitals, and the sounds with
numbers other than 000 are Variations.
In normal displays, the Instrument numbers will be displayed. The display screen on
this unit can show either the Instrument number or the Variation number, not both.

Native map SC-88 sound map SC-55 sound map

127 Acou Piano 1 Elec Piano 3 Elec Piano 4 Honkytonk Jungle Tune
Variation number

065
Variation number

Variation number

User Tone User Tone User Tone User Tone User Tone 065 User Tone User Tone User Tone User Tone User Tone
064 User Tone User Tone User Tone User Tone User Tone 064 User Tone User Tone User Tone User Tone User Tone

032 Syn Harpsi

024 Piano + Str. Hard FM EP Harpsi.o 003 Explosion Hard FM EP Harpsi.o Explosion 024 Harpsi.o 003 Explosion
024 003
016 European Pf St.FM EP Harpsi.w 002 Lasergun 016 Piano 1d St.FM EP Harpsi.w 002 Lasergun 016 Piano 1d E.Piano 2v Harpsi.w 002 Lasergun
008 Piano 1w Detuned EP 2 Couple Hps. 001 Machine Gun 008 Piano 1w Detuned EP 2 Couple Hps. 001 Machine Gun 008 Piano 1w Detuned EP 1 Couple Hps. 001 Machine Gun
000 Piano 1 E.Piano 2 Harpsichord Clav. 000 Gun Shot 000 Piano 1 E.Piano 2 Harpsichord Clav. 000 Gun Shot 000 Piano 1 E.Piano 2 Harpsichord Clav. 000 Gun Shot
001 006 007 008 128 001 006 007 008 128 001 006 007 008 128
Instrument number Instrument number Instrument number
Capital sounds Capital sounds Capital sounds

Chapter 2. Parts and paramters 21

● Part Channels
To each of this unit's 32 Parts, there is assigned an instrument and also a Channel.
Channels are a concept used in MIDI to distinguish notes that should be played by dif-
ferent instruments in an ensemble. Normally, there is no need to change the channel of
a Part when using this unit. However it may sometimes be interesting to set two Parts to
the same channel so that two sounds will simultaneously play the same musical line. To
change the MIDI channel of a Part, use the following procedure.

* For detail about MIDI, refer to p.130.

MIDI IN

MIDI channel 1 MIDI channel 2 MIDI channel 15 MIDI channel 16

Sound 1 Sound 2 Sound 15 Sound 16

Procedure
1. Make sure that the [ALL] indicator is dark.
If it is lit, press the [ALL] button to turn it off.

* If you operate the MIDI CH [l] [r] buttons while the [ALL] indicator is lit, the MIDI channel of a
Patch (p.41) will be changed. Be careful.

2. l ] [r
Use the PART [l r ] buttons to select the Part whose channel you wish
to change.
When you press the PART [l] [r] buttons, the Part number will change as “A01..A16
B01..B16”. If you select a Drum Part, a “*” mark will appear in front of the Drum Set
name.

3. l ] [r
Use the MIDI CH [l r ] buttons to set the MIDI channel of the Part.
When you press the MIDI CH [l ] [r ] buttons, the MIDI channel will change as
“A01..A16 A-- B01..B16 B--”. Select the desired MIDI channel. Parts for which
you select “A--, B--” will ignore all MIDI messages except Exclusive messages.

* To switch between the A and B, simultaneously press both KEY SHIFT [r] and MIDI CH [l]

REVERB CHORUS
40 64
K SHIFT MIDI CH
± 0 A01 1 2 3 4 5 6 7 8 9 10 11 12 13 1

MIDI Channel

1 2
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP 3
DELAY

22 Chapter 2. Parts and paramters

● Which MIDI IN will be used by each Part?

MIDI IN A MIDI IN B

Part group A Part group B

Part A01 Part A02 Part A15 Part A16 Part B01 Part B02 Part B15 Part B16

R L

OUTPUT

This unit has two MIDI IN jacks. This is because since there are only 16 MIDI chan-
nels, it is necessary to have two MIDI jacks in order to play 32 Parts.
Parts are classified into Group A (A01 — A16) and Group B (B01 — B16), with six-
teen in each group. The MIDI channel assigned to each Part is also displayed in two
groups as A01 — A16 or B01 — B16. With the factory settings, groups A and B corre-
spond to this unit's two MIDI IN jacks A and B. In other words, MIDI messages received
at MIDI IN A are sent to the group A Parts, and MIDI messages received at MIDI IN B
are sent to the group B Parts. For example, a MIDI message on channel 5 received at
MIDI IN B will sound Part 5 of Group B (B05) (with the factory settings).

* Be aware that the way in which the data is sent from the two MIDI IN jacks to the various Parts
will depend on the setting of the System parameter Receive Connection (Input Modes p.137).
Also, Exclusive messages received at MIDI IN A can be passed on to Parts of group B, depend-
ing on the specified address. (p.128, 193)

If the [ALL] button has been pressed to turn on the [ALL] indicator, the volume levels
of the 32 Parts will be graphically displayed as shown below when this unit is played.
This graphic display allows you to monitor the reception for each Part.

PART INSTRUMENT

ALL - SOUND Canvas -

LEVEL PAN

127 0 Part group B

REVERB CHORUS

64 64
K SHIFT MIDI CH Part group A
± 0 A-- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

DELAY PART

Chapter 2. Parts and paramters 23

● How simultaneous note numbers and Voices are related
The sounds of this unit consist of units called “Voices”. There is a limit to how many
of these “Voices” can sound at once, and in the case of this unit, up to 64 simultaneous
voices can be used. Some sounds (Instruments) use 1 voice and others use 2 voices
(Instrument list, p.154). The main reason that some sounds use 2 voices is to allow dif-
ferent timbres to be produced by different velocity values.
If more than 64 voices are used at once, later-sounded notes will be given priority,
and notes sounded previously will be turned off starting from the oldest. If you use only
single-voice instruments, you will be able to play 64 notes simultaneously, but if some of
the instruments are 2-voice, you will be able to play less than 64 simultaneous notes.
Even if a MIDI Note Off message (p.131) is received, voices will be used for as long as
the sound is heard. Be aware of this especially in the case of sound with a long release
(p.33).

* If song data created with 64 voice playback in mind is played back on a sound source with fewer
voices, some notes will drop out, and the musical result will not be as it should. The SC-55 has
24 voices, and the SC-55mkII has 28 voices.

● Concerning legato-enabled sounds

This unit provides legato-enabled sounds that are ideally suited to legato playing, and
which can realistically simulate this instrumental performance technique.
To understand this feature, consider how most string instruments produce sound.
Usually, a brief attack-like sound will be heard only at the very instant the string is made
to vibrate. After that a much mellower, attack-free sound continues to emanate during
the string’s vibration. The legato-enabled sounds simulates such variable attack-portion
characteristics of string sounds by switching on or off certain special voices within an
Instrument according to the way the keyboard is played.
Instrument which has a “ :” at the end of its name (such as “Violin:”) is the lega-
to-enabled sound.
Try out one of these Patches to hear how it works. If you are using a keyboard, play a
note and keep your finger on that key while playing another note.
You should hear a distinct attack portion with the first note you play, while the second
one contains almost no attack components, and sounds much smoother.
At this time, “ L” will be displayed following “ :” of the instrument name.

If you want to sound the attack portion each time, simply release your finger from a
key before playing the next note.
At this time, “ L” will not be displayed following “ :” of the instrument name.

* Legato Control cannot be switched on and off on an Instrument basis. You should choose and
edit an Instrument that meets your intended usage.

24 Chapter 2. Parts and paramters

■ Part parameters for performance
These parameters determine how each Part behaves when it receives MIDI mes-
sages. The way in which the sound changes in response to messages such as velocity,
pitch bend, modulation and aftertouch will be determined by the settings of these para-
meters.

[1] Parameters that can be set directly using the buttons

LEVEL [l] [r] : set the volume of each Part
PAN [l] [r] : set the pan of each Part
KEY SHIFT [l] [r] : transpose each Part
[MUTE] : mute each Part (Part Mute)
[ALL]*[MUTE] : monitor each Part (Part Monitor)
[SC-55 MAP] : set each Part to almost the same sounds as the SC-55/55mk II
[SC-88 MAP] : set each Part to the same sounds as the SC-88.

* indicates that both buttons must be pressed simultaneously.

● Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

* If you wish to change the volume (for example) of all Parts simultaneously, press the [ALL] but-
ton to make the indicator light, and continue the following procedure. (p.34)

2. l ] [r
Use the PART [l r ] buttons to select the Part whose setting you wish
to change.

3. Use the parameter buttons on the front panel to change the setting. The
setting will be displayed in the appropriate part of the screen.

4. l ] [r
When you press the LEVEL, PAN and KEY SHIFT [l r ] buttons simulta-
neously, the current setting will be shown graphically on the screen.

1 2 Set the Volume of each Part

PART INSTRUMENT

ALL

Monitor each Part LEVEL PAN

MUTE Set the pan of each Part
REVERB CHORUS
Set each Part to the SC-55
MAP
same sounds as the KEY SHIFT MIDI CH
SC-55/55mkll SC-88
MAP

DELAY
Set each Part to the
same sounds as the
SC-88 Mute each Part Transpose each Part

Chapter 2. Parts and paramters 25

[2] Parameters that must be selected from the menu
The following parameters can be selected.
Part EQ (Part Equalizer) Bnd Range (Bend Range)
Part Mode (Part Mode) Bnd Cutoff (Bend Cutoff)
M/P Mode (Mono/Poly Mode) Bnd Amp (Bend Amplitude)
Fine Tune (Fine Tune) Bnd LFO Rate (Bend LFO Rate)
Rx Bank Sel (Bank Select Receive Switch) Bnd LFO Pch (Bend LFO Pitch)
Rx NRPN (NRPN Receive switch) Bnd LFO TVF (Bend LFO TVF)
Bnd LFO TVA (Bend LFO TVA)
Velo Depth (Velocity Sens Depth)
Velo Offset (Velocity Sens Offset) CAf Range (Channel Aftertouch Range)
K.Range L (Keyboard Range Low) CAf Cutoff (Channel Aftertouch Cutoff)
K.Range H (Keyboard Range High) CAf Amp (Channel Aftertouch Amplitude)
CC1 C.Number (CC1 Controller Number) CAf LFO Rate (Channel Aftertouch LFO Rate)
OUT Asgn (Output Assign) CAf LFO Pch (Channel Aftertouch LFO Pitch)
CAf LFO TVF (Channel Aftertouch LFO TVF)
S.Tune C - B (Scale Tuning C-B) CAf LFO TVA (Channel Aftertouch LFO TVA)

Mod Range (Modulation Range) CC1 Range (CC1 Range)

Mod Cutoff (Modulation Cutoff) CC1 Cutoff (CC1 Cutoff)
Mod Amp (Modulation Amplitude) CC1 Amp (CC1 Amplitude)
Mod LFO Rate (Modulation LFO Rate) CC1 LFO Rate (CC1 LFO Rate)
Mod LFO Pch (Modulation LFO Pitch) CC1 LFO Pch (CC1 LFO Pitch)
Mod LFO TVF (Modulation LFO TVF) CC1 LFO TVF (CC1 LFO TVF)
Mod LFO TVA (Modulation LFO TVA) CC1 LFO TVA (CC1 LFO TVA)
● Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.
2. l ] [r
Simultaneously press both the PART [l r ] buttons.

3. l ] [r
Use the PART [l r ] buttons to select the Part whose settings you wish
to modify.
4. u ] or [d
Press [u d ] to select the parameter you wish to modify.
While holding [SELECT], you can press [u][d] to jump to the Part EQ, S.Tune C, Mod
Range, Bnd Range, CAf Range, CC1Range, and CC1 LFO TVA parameters.
PART INSTRUMENT

A01 >Part Mode: Norm

LEVEL PAN

100 0
5. l ] [r
Use the INSTRUMENT [l r ] buttons to set the value.

6. When you finish making settings, simultaneously press both the PART
l ] [r
[l r ] buttons to end the procedure.

1 2 3 6

PART INSTRUMENT

ALL 5
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
4 SC-88
KEY SHIFT MIDI CH
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

26 Chapter 2. Parts and paramters

● What each parameter does ❍ SC-88 MAP(Part SC-88 MAP):On/Off
When the [SC-88 MAP] button is pressed to turn on
❍ LEVEL (Volume level): 0 — 127 the indicator, the sound of the currently selected Part
This parameter adjusts the volume of each Part. will change to be the same as the SC-88.
Higher values result in a louder sound. At this time, “ ' ” will be displayed in front of that
Instrument name.
❍ PAN (Panning): Rnd, L63 — 0 — R63
Pan refers to the position in the stereo field. For exam-
❍ Part Monitor: On/Off
ple, you might place the drum set and bass in the cen- Part Monitor can be turned on when you want to listen
ter, the guitar at the right, and the keyboard at the left. to only one or more Parts that you select. This feature
To place the sound in the center, set this value to 0. conveniently allows you to listen to only the instru-
As the L-number increases the sound will move further ments you want to hear during sequenced playback.
to the left, and as the R-number increases the sound To turn it ON, simultaneously press both [ALL] and
will move further to the right. With a setting of “Rnd” [MUTE]. The indicator on MUTE will blink on and off
(random), each note will be placed at an unpredictable while the feature is on.
location.
* In the case of a Drum Set, the pan position has been * While you have the Part Monitor on, you can press EFX
fixed for each percussion instrument. Adjusting the Pan PARAM [r] (in the panel’s bottom row) to listen to
of a Drum Set will shift the overall set to left or right. some other Part you want to hear. The volume ratio of
some other parts is displayed in the MIDI CH column.
* For some instruments, some sound may be heard from
the opposite speaker even if Pan has been set fully left * With Part Monitor on, you can add extra Parts that you
or right. want to monitor by using PART [l] [r] to select Parts,
then pressing EFX VALUE [r]. Press EFX VALUE [l]
* If your amp/speaker system is mono, Pan will have no to cancel whatever choices you have made.
effect.

VIB RATE VIB DEPTH VIB DELAY

Bass CUTOFF RESONANCE
Keyboard Guitar SELECT ATTACK DECAY RELEASE

Drum Set
ON/OFF EFX TYPE EFX PARAM EFX VALUE
L63 0 R63
Left Speaker Center Right Speaker

❍ Part EQ: On/Off

❍ KEY SHIFT: -24 — ± 0 — +24: semitone Equalizer on/off can be set for individual Parts. Part
steps, 2 octaves equalizer will be on, and the equalizer will be applied
This parameter transposes the Part. As the value to the sounds of parts. Part equalizer will be off, and
increases (decreases) the pitch will rise (fall) in steps the equalizer will not be applied to the sounds of parts.
of a semitone. 12 steps make a difference of 1 octave.
With a setting of 0 the pitch will not be affected. * For the procedure of making Equalizer settings, refer to
p.48.
❍ MUTE (Part Mute): On/Off * With the factory settings, equalizer gain is set at 0.This
This function allows you to mute the sound of a specif- means that the equalizer will have no effect even if the
ic Part so that it will not be heard. When the [MUTE] Part EQ is on.
button is pressed to turn on the indicator, Part Mute
will be turned on. When playing back a recorded ❍ Part Mode: Norm/Drum1/Drum2
ensemble from a sequencer etc., it is sometimes con- For Parts which are playing conventional instrument
venient to mute one of the Parts and play the missing sounds, select Norm (Normal mode). For Parts which
part yourself. The lowest dot on the bar display indi- are playing percussion or drums, select Drum1 or
cates the mute on/off status of each Part. The dot will Drum2. Drum Parts play a different sound (Instrument)
be off for Parts whose Part Mute is turned on. for each different MIDI note number (p.131). In other
words, a single Part can play many different percus-
* If All Mute (p.35) is on, the lowest dot in the bar display sion instrument sounds (Drum set list p.163).
will be off for all Parts, regardless of their Part Mute
on/off setting.
* When a GM System On or GS Reset message (p.133)
is received, muting will be canceled. If you do not wish
mute to be canceled, turn on Mute Lock (p.139).

❍ SC-55 Map (Part SC-55 MAP): On / Off

When the [SC-55 MAP] button is pressed to turn on
the indicator, the sound of the currently selected Part
will change to be almost the same as the SC-55/55mk
II.
At this time, “"” will be displayed in front of that
Instrument name.

Chapter 2. Parts and paramters 27

The Drum1 and Drum2 Parts allow you to simultane- If Velo Offset is set higher than 64, even softly played
ously use two drum sets. For example if Drum Parts notes (i.e., notes with a low velocity) will be sounded
are set as shown below, when you change the STAN- loudly (Fig.5). If Velo Offset is set lower than 64, even
DARD1 drum set of Part A10 to the TR-808, the selec- strongly played notes (i.e., notes with a high velocity)
tion for Part A12 will also change to TR-808. For will be sounded softly (Fig.4).
details on how to assign a drum set to a Part, refer to
p.18. * For some settings, there may be no sound. If so,
increase Velo Depth or Velo Offset.
Part name (Part Mode) Name of drum set
Part A10 (Drum1) : STANDARD 1
Part A11 (Drum2) : JAZZ Velo Depth = 64, Velo Offset = 64 Velo Depth = 32, Velo Offset = 64

The actual sound level

The actual sound level
Part A12 (Drum1) : STANDARD 1

❍ M/P Mode (Mono/Poly Mode): Mono/Poly

If a Part is set to Mono (Mono Mode), that Part will
play only one note at a time. It is effective to select
Mono Mode for parts that are playing a naturally
monophonic instrument such as a trumpet or sax.
Select Poly Mode for Parts that are playing chords.
Fig. 1 MIDI Velocity Fig. 2 MIDI Velocity

* For a Drum part, changing the Mono/Poly Mode setting Velo Depth = 127, Velo Offset = 64 Velo Depth = 64, Velo Offset = 32

The actual sound level

The actual sound level

will not affect the sound.

❍ Fine Tune: -100.0 — +100.0 cent

Use this parameter when you wish to make fine adjust-
ments to the tuning of a Part. Positive (+) settings will
raise the pitch, and negative (-) settings will lower the
pitch. If two or more Parts are set to the same MIDI
channel and the same sound, you can spread their
Fig. 3 MIDI Velocity Fig. 4 MIDI Velocity
Fine Tuning settings apart to add rich depth and
breath to the sound. Velo Depth = 64, Velo Offset = 96 Velo Depth = 64, Velo Offset = 127
The actual sound level

The actual sound level

* To adjust the pitch of all Parts, use the Master Tune
parameter (p.14).
* To transposes the Part, use the KEY SHIFT parameter
(p.25).

❍ Rx Bank Sel (Bank Select Receive Switch):

On/Off
Fig. 5 MIDI Velocity Fig. 6 MIDI Velocity

❍ Rx NRPN (NRPN Receive Switch): On/Off

For details of these two parameters, refer to p.141.

❍ Velo Depth (Velocity Sensitivity Depth): ❍ K. Range L (Keyboard Range Low): C-1 — G9
0 — 127
❍ K. Range H (Keyboard Range High): C-1 — G9
❍ Velo Offset (Velocity Sensitivity Offset): The Key Range parameters determine the pitch range
0 — 127 over which the instrument will be sounded. Keyboard
The force with which you play a note on MIDI key- Range Low (the lowest note) and Keyboard Range
board is transmitted as MIDI Velocity data. Strongly High (the highest note) will determine the range of
played notes will have a higher velocity value. The notes that will sound. These values are displayed as
Velo Depth and Velo Offset parameters determine the key names. You can specify a value between C-1 and
relation between the force of your keyboard playing G9 (0 — 127), and middle C is C4 (60).
and the loudness of the sound that results.
If Velo Depth is increased, small differences in your Note name

playing dynamics will make a large difference in the

loudness of the sound (Fig.3). If Velo Depth is
decreased, even large differences in your playing
dynamics will make only a small difference in the loud- C-1 A0 C1 C2 C3 C4 C5 C6 C7 C8
0 21 24 36 48 60 72 84 96 108
ness of the sound (Fig.2).
MIDI note number

28 Chapter 2. Parts and paramters

For example, if you assign two Parts to the same MIDI ❍ S.Tune C - B (Scale Tuning C - B):
channel and set the Keyboard Range of one to C-1 — -64 — +63
B3 and the other to C4 — G9. Then you could assign Scale Tuning is a parameter which makes fine adjust-
different sounds to each Part, and play two different ments to the pitch of each note in the octave. These
sounds on either side of C4. Or, you could set the key- settings are for one octave of notes, and will simulta-
board ranges of two Parts to overlap, and layer the two neously adjust the pitch of that note in all octaves. By
sounds. using Scale Tuning, you can perform using a variety of
temperaments other than equal temperament. Here
* Be aware that if Keyboard Range High is set to a note we will give three settings as examples.
name lower than Keyboard Range Low, there will be no
sound. < Equal temperament >
This tuning divides the octave into 12 equal parts, and
is the most widely used method of temperament used
in western music. The default setting of this unit's
Scale Tune function is Equal Temperament.
< Just intonation (tonic of C) >
B3 C4
Instrument 1 Instrument 2 Compared with equal temperament, the principle triads
sound pure in this tuning. However this effect is
achieved only in one key, and the triads will turn
❍ CC1 C.Number (CC1 Controller Number): muddy if you transpose. Here is an example of the set-
1 — 95 tings for a tonic of C.
Set the controller number which will control the CC1 < Arabian-style scale >
parameter (p.30) via MIDI. For example if you set CC1 A variety of ethnic tunings can be achieved by using
C.Number to 16, the value of an incoming MIDI con- the Scale Tuning function. Here are settings for a tun-
troller number 16 message will affect the sound as ing representative of Arabian-style scales
specified by the setting of the CC1 parameter.
Example settings (values are in units of cents)
❍ OUT Asgn (Output Assign): OUT-1/2/2L/2R Note name Equal temperament Just intonation Arabian-style scale
Specify the output jack from which the sound of each (tonic of C)
part will be output. C 0 0 -6
C# 0 -8 +45
OUT-1 The sound together with the effect D 0 +4 -2
sound will be output in stereo from the D# 0 +16 -12
OUTPUT 1 jacks. E 0 -14 -51
OUT-2 The direct sound without the effect F 0 -2 -8
sound will be output in stereo from the F# 0 -10 +43
OUTPUT 2 jacks. G 0 +2 -4
OUT-2L The direct sound without effects will be G# 0 +14 +47
output from the OUTPUT 2L jack. (The A 0 -16 0
Pan setting will have no effect.) A# 0 +14 -10
OUT-2R The direct sound without effects will be B 0 -12 -49
output from the OUTPUT 2R jack. (The
Pan setting will have no effect.) ❍ Mod ~/Bnd ~/CAf ~/CC1 ~
Mod ~ (Modulation ~ )
* The headphone jack will output the sound of OUTPUT When you move the modulation lever or modulation
1. This means that the sound of Parts assigned to OUT- wheel of a MIDI keyboard, modulation messages are
PUT 2 will not be heard from the headphone jack.
transmitted, modifying the sound. The Mod ~ parame-
* This is valid only when Sys. OUT Mode (p.38) is set to ters specify the way in which the sound will change
Sel. Be aware that if it is set to Fix, the above settings when these messages are received. With the factory
will be ignored. settings of these parameters, vibrato will be applied to
* With the factory settings, all Parts are set to OUT-1. the sound.
* The sound from OUTPUT 2 is output at a fixed volume,
unaffected by the position of the volume knob.

Chapter 2. Parts and paramters 29

Bnd ~ (Bend ~ ) ~ LFO Pch (~ LFO Pitch) 0 — 127
When you move the pitch bend lever or pitch wheel of These parameters specify the way in which the depth
a MIDI keyboard, pitch bend messages are transmit- of the vibrato effect (cyclic modulation of pitch) will
ted, modifying the sound. The Bnd ~ parameters spec- change when the corresponding message is received.
ify the way in which the sound will change when these Higher values allow the modulation effect to be
messages are received. With the factory settings of increased.
these parameters, the pitch will be modified.
~ LFO TVF (~ LFO TVF) 0 — 127
CAf ~ (Channel aftertouch ~ ) These parameters specify the way in which the depth
On some MIDI keyboards, pressing down on the key of the growl effect (cyclic modulation of tone) will
after a note is played will cause aftertouch messages change when the corresponding message is received.
to be transmitted. (Channel Aftertouch is sometimes Higher values allow the growl effect to be increased.
called Channel Pressure.) This unit is able to receive
these messages and modify the sound in response. ~ LFO TVA (~ LFO TVA) 0 — 127
The CAf ~ parameters specify the way in which the These parameters specify the way in which the depth
sound will change when these messages are received. of the tremolo effect (cyclic modulation of volume) will
With the factory settings of these parameters, no effect change when the corresponding message is received.
will occur. Higher values allow the tremolo effect to be increased.
* Check whether your MIDI keyboard is able to transmit
aftertouch messages. * When these settings are at 0, there will be no effect.

CC1 ~ (CC1 ~ )
Some MIDI keyboards allow controller numbers to be
assigned to the sliders. When these sliders are moved,
messages of the specified controller number are trans-
mitted, causing the sound to be modified. The CC1
parameters specify how the sound will change when
messages of the corresponding control number are
received.
First use the CC1 C.Number parameter (previous
page) to select the controller number that you are
assigning.

~ Range -24 — +24 (Bend Range is ±0 — +24)

These parameters specify the maximum pitch change
that will occur when the corresponding message is
received. A setting of 12 allows 1 octave of change,
and a setting of 24 allows 2 octaves of change. With a
setting of 0, there will be no pitch change.
* For some sounds, the pitch may not rise as high as
specified by the Range setting.

~ Cutoff (~ Cutoff frequency) -64 — +63

These parameters specify how the cutoff frequency
will change when the corresponding message is
received. Higher values will cause the cutoff frequency
to rise. Positive (+) settings allow the sound to be
made brighter, and negative (-) settings allow the
sound to be made more mellow.

~ Amp (~ Amplitude) -64 — +63

These parameters specify the way in which the sound
will change when the corresponding message is
received. Higher values allow a greater increase in vol-
ume.

~ LFO Rate (~ LFO Rate) -64 — +63

These parameters specify the way in which the LFO
frequency will change when the corresponding mes-
sage is received, adjusting the speed at which the
sound is modulated or varied. Higher values allow the
modulation or variation to be speeded up.

30 Chapter 2. Parts and paramters

■ Part parameters for sound editing
On this unit, you can modify the values of a variety of parameters in order to create
the sound most suitable for your playing. A “parameter” is something that affects the
sound. The process of modifying parameter values is called “editing.” Sound parameters
affect the volume, timbre and pitch of the sound.

You can set the following parameters.

Vibrato : Rate Depth Delay
Filter : Cutoff Frequency Resonance
Envelope : Attack Time Decay Time Release Time

● Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Use the PART [l r ] buttons to select a Part.

3. Press the [SELECT] button to select the parameter (vibrato, filter, enve-
l ] [r
lope) you wish to edit, and use the corresponding set of [l r ] buttons
to modify the value.

4. l ] [r
Simultaneously pressing both [l r ] buttons used to set Vibrato, Filter
or Envelope will cause the setting status of that parameter to appear
graphically in the display.
Simultaneously press both buttons again, and the previous display will reappear.

1 2
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

4
EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

3 Vibrato Vibrato Vibrato

Rate Depth Delay
Filter Filter
Cutooff Resonance
Frequency

Envelope Envelope Envelope

Attack Time Decay Time Release Time

Chapter 2. Parts and paramters 31

 (Example) Vibrato editing display

PART INSTRUMENT

A01 Vib. |+20|± 0|± 0|

LEVEL PAN

100 0
Rate Depth Delay
VIB RATE VIB DEPTH VIB DELAY
CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

select a parameter Set the value

● What each parameter does

On this unit, parameter settings are made for each Part. In other words, parameter
values belong to Parts, and not to sounds (Instruments). For example if you set Vibrato
Rate to +20 and then select a different sound for that Part, the Vibrato Rate of +20 will
apply to the newly selected sound (not the initial value of ±0). In this way, parameters
belonging to Parts are called Part Parameters.

* Parameters such as Vibrato, Filter and Envelope can be set not only for Parts, but also for
sounds (Instruments). Sounds you create by modifying these parameters are called User
sounds, and can be stored in Native map memory area (p.97).

Vibrato
Vibrato is an effect created by modulating the pitch. Applying vibrato makes the sound more expressive.

❍ Vibrato Rate: -64 — +63 Filter

This parameter adjusts the speed (frequency) of the By modifying the filter settings, you can control the tim-
pitch modulation. Positive (+) settings make the pitch bre (tone) of the sound. The type of filters in this unit
modulation faster, and negative (-) settings make it are called Low Pass Filters, and allow only frequencies
slower. lower than a specified frequency to pass. This frequen-
cy is called the Cutoff Frequency. By modifying the
❍ Vibrato Depth: -64 — +63 setting of the Cutoff Frequency you can make the
This parameter adjusts the depth of the pitch modula- sound brighter or darker. The Cutoff Frequency can
tion. Positive (+) settings make the pitch modulation change over time, controlled by the “envelope”. By
deeper, and negative (-) settings make it shallower. adjusting the filter and envelope settings, you can cre-
ate sounds that have movement and expression.
❍ Vibrato Delay: -64 — +63
Higher frequencies
This parameter adjusts the time required for the vibra-
to effect to begin. Positive (+) settings increase the Low
Pass
time before vibrato will begin, and negative settings Filter
shorten the time. Cutoff
Delay frequency

Depth
Lower frequencies

Note-on
Rate

32 Chapter 2. Parts and paramters

❍ Cutoff Freq (Cutoff Frequency): -64 — +63
A : Attack time
Positive settings of Cutoff Freq will raise the cutoff fre- D : Decay time
Cutoff frequency
quency. Negative settings will lower the cutoff frequen- R : Release time
cy. As you set this value higher in the positive direc-
tion, more overtones will be allowed to pass, and the Envelope Sound ends
sound will become harder (brighter). The further this

Filter
value is set in the negative direction, the fewer over-
tones will be allowed to pass, and the sound will
become softer (darker). Time
Level A D R
Note-on Note-off
* For some sounds, positive (+) settings of Cutoff Freq
will cause no noticeable change in the sound.
❍ Attack Time: -64 — +63
Low pass filter characteristics This parameter adjusts the sharpness of the beginning
Level of the sound.

❍ Decay Time: -64 — +63

Frequency This parameter adjusts the time over which the sound
will fall from the highest point of the attack down to the
Cutoff frequency sustain level (Fig.1).

* Some sounds have a sustain level of 0 (Fig.2). Piano

❍ Resonance: -64 — +63
and guitar sounds are in this category.
When the Resonance value is increased, the over-
tones in the area of the cutoff frequency will be
emphasized, creating a sound with a strong character.
❍ Release Time: -64 — +63
This parameter adjusts the time over which the sound
* For some sounds, negative (-) settings of Resonance will decay after the note is released until it is no longer
will cause no noticeable change in the sound. heard. The cutoff frequency will also fall according to
this.

Level * For some sound, modifying the various Time settings of

the envelope will cause no noticeable change in the
Frequency sound.
Cutoff frequency
Low High
Resonance
Fig.1

Volume
Envelope
The volume of an instrument changes with time, from Sounds ends
the moment the note begins to sound to when it disap-
pears. This change can be indicated on a graph as Sustain Level
shown in the following diagram. This shape is unique
Time
to each instrument, and is an important element in how
A D R
we distinguish sounds we hear. This shape is called Note-off
Note-on
the “envelope.” The envelopes of musical instrument
sounds can change depending on how the instrument Fig.2
is played. For example if a trumpet is played sharply
and strongly, the attack will be quick and the sound will A : Attack time
Volume
be sharp. But if a trumpet is played lightly and softly, D : Decay time
R : Release time
the attack will be softer. In order to adjust the attack of Sounds ends
a sound, we can modify the Attack Time of the enve-
lope. By modifying the values of the envelope we can
simulate the characteristics of many different instru-
ments. Time
A D
The envelope shape that we create in this way will
Note-on Note-off
also affect the way in which the cutoff frequency
changes. If the cutoff frequency had been lowered, it
will rise as the envelope rises, and will fall as the enve-
lope falls.

Chapter 2. Parts and paramters 33

■ Setting parameters common to all Parts
Here's how to make settings for parameters that are common to all Parts.
This procedure allows you to set the following parameters.
LEVEL [l] [r] : set the volume of all Parts
PAN [l] [r] : set the pan of all Parts
KEY SHIFT [l] [r] : transpose all Parts
[MUTE] : mute all Parts (All Mute)
[SC-55 MAP] : Set all Parts to the SC-55 map.
[SC-88 MAP] : Set all Parts to the same sound map structure as the SC-88.

● Procedure

1. Make sure that the [ALL] indicator is lit.

If it is dark, press the [ALL] button to turn it on.

* If you wish to make settings independently for each Part, press the [ALL] button to turn off the
indicator, and use the following procedure. (p.25)

2. Use the front panel parameter buttons to make settings.

3. With the LEVEL, PAN and KEY SHIFT buttons, you can simultaneously
press both [ll ] [r
r ] buttons to graphically display the current setting on
the screen. If you simultaneously press them once again, the previous
screen will reappear.

1 Set the volume of all Parts

PART INSTRUMENT

ALL
LEVEL PAN
MUTE Set the pan of all Parts
REVERB CHORUS
Set all Parts to
the SC-55 map. SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

Set all Parts to Transpose all Parts

Mute all Parts
the same sound
map structure
as the SC-88.

34 Chapter 2. Parts and paramters

● How each parameter works
* The settings made here apply to all Parts (when the [ALL] indicator is lit). If you wish to make
settings independently for each Part, use the procedure of p.25.

❍ LEVEL (Master level): 0 — 127 ❍ SC-55 MAP (ALL SC-55 MAP): On/Off
This parameter adjusts the volume of all the Parts. As If you press the [SC-55 MAP] button to make the indi-
the displayed value increases, the volume will cator light, the sounds of all Parts will be set to the
increase. The basic volume level of this entire unit is same sounds as the SC-55 map.
adjusted by the Volume knob. If the volume knob is at The [SC-55 MAP] button provides one-touch prepara-
minimum position, there will be no sound even if you tion for playing back SC-55/55mkII performance data.
increase this parameter.
* It is also possible to turn the SC-55 map on/off for indi-
❍ PAN (Master Pan): L63 — 0 — R63 vidual Parts (p.25).
This parameter sets the Pan (stereo position) for all * All the sounds for all Parts can be arranged so they use
the Parts. As the displayed L value increases the the Native map by holding down [SELECT] while you
sound will move further left, and as the R value press [SC-55 MAP] ( when the [ALL] indicator is lit ). At
increases the sound will move further right. this time, [SC-55 MAP] indicator blinks.

* For some instruments, a bit of sound may be heard ❍ SC-88 MAP (ALL SC-88 MAP): On/Off
from the opposite speaker even if Pan has been set If you press the [SC-88 MAP] button to make the indi-
fully left or right. cator light, all Parts will have the same sound map
* If you are listening to this unit in mono, Pan settings will structure as the SC-88.
have no effect. Parts for which the SC-55 MAP is selected will be
played using the sounds of the SC-55 map.
❍ KEY SHIFT (Master Key Shift): -24 — ± 0 —
* It is also possible to turn the SC-88 map on/off for indi-
+24 semitone steps, 2 octaves
Key Shift adjusts the pitch of the sound in semitone vidual Parts.(p.25)
steps. For example if you were playing back song data * When the [ALL] indicator is lit, you can hold down the
from a sequencer, you could use the Key Shift para- [SELECT] button and press the [SC-88MAP] button to
meter to change the key of the song without changing set all Parts to the SC-88 map. At this time, the [SC-
88MAP] indicator will blink.
the sequencer settings. Or, if you are singing along
with sequence data, you can adjust Key Shift to move
the song to the key most comfortable for your voice. PART INSTRUMENT

As the displayed value rises (falls) one step, the pitch ALL
LEVEL PAN
will rise (fall) one semitone. This means that 12 steps Set the sounds of MUTE

equal one octave. Native map REVERB CHORUS

SC-55
MAP
KEY SHIFT MIDI CH
SC-88
* Even if you adjust Key Shift for all Parts, the pitch of the MAP

Drum Part will not be affected. DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
❍ MUTE (All Mute): On/Off USER
INST SELECT ATTACK DECAY RELEASE

If you press the [MUTE] button to turn the indicator on, EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

All Mute will be on, and the sound of all Parts will be
Set the sounds of SC-88 Map
muted.

* Mute can also be set independently for each Part

(p.25).
* When All Mute is turned on, each of the lowest dots in
the bar display will be turned off.

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

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

Chapter 2. Parts and paramters 35

■ System parameter settings
This section explains how to make settings for parameters that affect this entire unit.
These parameters are called System parameters.
System parameters are as follows.

Prevw Note (Preview Note Name)

Prevw Velo (Preview Velocity)
Display (Display Types)
Peak Hold (Peak Hold)
LCD Contrast (LCD Contrast)
Backup (Backup Switch)
IN B Sel. (IN B Select)
OUT/THRU (OUT/THRU Select)
In Mode (Input Mode)
Rx Sys. Mode (System Mode Set receive switch)
Sys.OUT Mode (System Output Mode)
Assign Lock (Output Assign Lock)
P.Load Init (Patch Load Initialize switch)

● Procedure

1. u ] and [d
Simultaneously press [u d ].

2. u ] or [d
Press either [u d ] to select the parameter you wish to set.
PART INSTRUMENT

A01 %Prevw Note: A4

LEVEL PAN

*
100 0
“%” indicates a parameter that affects this entire unit (a System parameter).

3. l ] [r
Use the INSTRUMENT [l r ] buttons to set the value.

4. u ] and [d
When you finish making settings, simultaneously press the [u d]
buttons to exit the procedure.

PART INSTRUMENT

ALL 3
LEVEL PAN
MUTE
1 REVERB CHORUS
SC-55
2 MAP
SC-88
KEY SHIFT MIDI CH
MAP
4 DELAY

36 Chapter 2. Parts and paramters

● How each System parameter works Type 1 : Bar display (factory preset) Type 5 : Reverse 1

❍ Prevw Note (Preview Note Name): C-1 — G9

When you press the PREVIEW knob, the instrument
shown in the display will sound. The Prevw Note para-
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
meter determines the note that will be sounded at this
Type 2 : Single segment display Type 6 : Reverse 2
time. The A note in the center of the keyboard is A4.

* If you have set Key Shift, the pitch will be shifted (p.25,
34).
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Type 3 : Top to bottom bar display Type 7 : Reverse 3

POWER VOLUME
PART INSTRUMENT

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

REVERB CHORUS Type 4 : Top to bottom single segment display Type 8 : Reverse 4
PREVIEW (PUSH)

K SHIFT MIDI CH

1 2 3 4

DELAY
MIDI IN B PHONES 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

❍ Peak Hold: Off/Type1 — Type3

Note name
PART INSTRUMENT

A01 %Peak Hold:Type1

LEVEL PAN
C-1
0
A0 C1
21 24
C2
36
C3
48
C4
60
C5
72
C6
84
C7
96
C8
108
100 0
MIDI note number In this unit display, the highest dot in the bar level dis-
play will be held on for a short time after the volume
❍ Prevw Velo (Preview Velocity): 0 — 127 falls below it. You can select one of the following four
This sets the velocity of the note that sounds when you ways in which this Peak Hold function will work.
press the PREVIEW knob. Normally, higher velocities For Type 1 and Type 3, the dots of the peak level indi-
result in louder sound. (p.28 Velocity Sensitivity, etc.) cator will move downward if the Display parameter
explained above is set to Type 3, 4, 7 or 8.
❍ Display (Display Type): Type1 — Type8
Off : The peak level will not be held
This parameter allows you to select one of the follow-
Type1 : After holding the peak level, the peak level
ing 8 types of volume level display.
dot will move downward
Type2 : After holding the peak level, the peak level
* In Double Module mode (p.116), the Type 1 — 4 display
dot will disappear
and Type 5 — 8 display will be exchanged.
Type3 : After holding the peak level, the peak level
PART INSTRUMENT
dot will move upward
A01 %Display: Type1
LEVEL PAN

100 0

Chapter 2. Parts and paramters 37

❍ LCD Contrast: 1 — 16 ❍ Sys.OUTMode (System Output Mode) :
Depending on the angle at which this unit is placed, Sel/Fix
the display can sometimes be difficult to read. If so, This determines whether the OUT Asgn (Output
adjust the contrast of the display. Higher values will Assign) setting (p.29) will be valid or not.
make the characters darker.
PART INSTRUMENT Sel :
The sound of each Part will be output as specified by
A01 %LCD Contrast: 8 the OUT Asgn settings.
LEVEL PAN

100 0 Fix :
The output of each Part will be fixed as follows,
❍ Backup (Backup Switch): On/Off regardless of the OUT Asgn settings.
When the power is turned off, this unit preserves
(backs up) the settings which were made, and when For Single Module Mode:
the power is turned on again, these settings will reap- Both Part Group A and B will be output in stereo with
pear in the display. If the Backup Switch is turned off, the effect sound from the Output 1 jacks.
the data will not be preserved.
Part Group A
* Even if the Backup Switch if off, the System parameter
OUTPUT 1 (Include effects)
settings (p.36) will be preserved.
Part Group B
❍ IN B Sel. (IN B Select): Front/Rear
This setting determines which of the two MIDI IN B For Double Module Mode:
connectors will be used. (p.135) The Parts of group A will be output in stereo with the
effect sound from the Output 1 jacks, and the Parts of
* After the setting of this switch is changed, the power group B similarly from the Output 2 jacks.
must be turned on once again for the new setting to Part Group A OUTPUT 1 (Includes effects)
take effect.

❍ OUT/THRU (MIDI OUT/THRU Select): Part Group B OUTPUT 2 (Includes effects)

OUT/THRU
This setting determines whether the rear panel MIDI In this case only, the Output 2 jacks will output sound
OUT/THRU connector will function as OUT or as that includes the effect sound.
THRU. (p.136)
* The headphone jack will output the sound that is sent to
* After the setting of this switch is changed, the power Output 1. This means that the sound of the Parts
must be turned on once again for the new setting to assigned to Output 2 will not be heard in the head-
take effect. phones.
* At the factory settings, this parameter is set to Sel.
❍ In Mode (Input modes): Standard, X-con-
nect, Merge → A, Merge → B, A only ❍ Assign Lock (Output Assign Lock): On/Off
This setting determines how data received at MIDI IN The setting of OUT Asgn (Output Assign) (p.29) will
A and B will be passed on to the Part Groups. (p.137) return to the factory settings when GS Reset or GM
System On are received. However if Assign Lock is
* After the setting of this switch is changed, the power turned On, these settings will not change.
must be turned on once again for the new setting to
take effect.
❍ P.Load Init (Patch Load Initialize switch):
❍ Rx Sys. Mode (System Mode Set Receive On/Off
This specifies whether or not the settings of Parts A03
Switch): On/Off — B16 will be initialized when a Patch (p.39) is loaded.
The selection of Single Module Mode or Double
With a setting of On, the settings of Part A03 and fol-
Module Mode (p.116) is called the System Mode. The
lowing will be initialized. With a setting of Off, the set-
Rx Sys. Mode setting is the receive switch for MIDI
tings of Part A03 and following will not be initialized.
messages (System Mode Set p.194) that select the
The factory setting is On.
System Mode. If Rx Sys. Mode is turned Off, the mode
will not change even if System Mode Set messages * In Double Module mode, the settings of Part group B
are received. If Rx Sys. Mode is turned On, the mode will not be initialized.
will change. (p.137)

38 Chapter 2. Parts and paramters

■ Using Patches
On this unit, the instrument and effect parameters are collectively referred to as a
Patch. This unit provides 128 Preset Patches in which these parameters are already set
to ideal settings. (p.186)

Patch numbers 001 — 128: Preset Patches

The Preset Patches contain high-quality sounds together with optimal settings for
other parameters such as effects, making this unit immediately useful as an expansion
sound module for your keyboard, etc.

Patches contain parameter settings for Part A01 and Part A02 (see following dia-
gram). The initialized values are set for the other Parts.

Patch 128 Patch Name : EPILOGUE

Parameters common to all Parts
PartB16
Load Patch 001 Patch Name :RB STRAT

Default Setting Part B16

Part A03
Patch Patch Name : -SOUND Canvas- Part A02
Default
Parameters common to all Parts Part A01 Part A03 Value
Part B16 Instrument Default
Effect
Value
Default Part Parameter etc.
Part A01 Value
Default
Value

Patches contain all the Patch parameters (p.194). Of these, the main parameters
which can be set from the front panel are the following.
Parameters common to all Parts (p.34)
System Effects (p.48)
Insertion Effects (p.56)
Part parameters for Parts A01 and A02 (p.25, 26, 31)

In Double Module mode, you can select Patches only for the Part Group A, and the
parameters will be fixed for Part A01 and Part A02. By playing song data on the Part
Group B while you play the Part Group A Patches from a keyboard etc., you can enjoy
solo playing while adding unique effects.
Some sequencer software is unable to transmit data from the computer connector to
play the Part Group B. In this case, set the In Mode to “Xconnect” so that the Part Group
B will be played (p.137).

Patch
001-128
U01-U16

ALL-A
Part group A
Macintosh IIci

Insertion
Part A1 - A16
COMPUTER Effect GM/GS
Computer (EFX) Sound generator
L
+
ALL-B R
Part group B
Part B1 - B16 OUTPUT
MIDI IN B GM/GS
MIDI Keyboard Sound generator

In Mode : X-connect

* If you select a Patch in Double Module mode, the equalizer and delay settings will be ignored.
Also, Patches cannot be selected for the Part Group B.

Chapter 2. Parts and paramters 39

● Loading a Patch

1. Press the [ALL] button to make the button indicator light.

2. l ] [r
Use INSTRUMENT [l r ] to select the Patch that you wish to load.
The Patch name will appear, and the [ALL] button and [MUTE] button will blink.
PART INSTRUMENT

ALL 001 RB START

LEVEL PAN

100 0
3. Press the [ALL] button to load the Patch.
To cancel without loading, press the [MUTE] button.
PART INSTRUMENT

ALL 001 RB START

LEVEL PAN

100 0
* It takes awhile until the sound can be heard after you change the Patch.
* Be aware that with the factory settings, the settings of Part A03 and following will be initialized
when you load a Patch. If you do not want the settings of Part A03 and following to be initialized
when a Patch is loaded, turn “ P.Load Init” Off (p.38). Also, in Double Module mode, the
settings of Part group B will not be initialized.

1 3 2

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

40 Chapter 2. Parts and paramters

● Using MIDI messages to select Patches
Normally when a MIDI program change message is received, the Instrument of a Part
will change. However if you set the MIDI channel for the Patch, the Patch will change
when a program change message is received (p.131).
With the Patch MIDI CH settings of “A--” or “ B--”, incoming program changes will
select the Instrument of the corresponding Part.

* With the factory settings, the Patch MIDI CH is set to A--.

1. Press the [ALL] button to make the button indicator light.

2. l ] [r
Use MIDI CH [l r ] to set the MIDI channel.

LEVEL PAN

127 0
REVERB CHORUS

64 64
K SHIFT MIDI CH

± 0 A-- 1 2 3 4

S Patch Channels

1
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

For example, suppose that the MIDI channels of the Patch and Part were set to the
same value. In this case, an incoming program change on channel 1 [C0H 01H] will
select Patch 02 MILD OD, but the Instrument of Part A01 the instrument (TC Front
Pick) specified for the Patch will be used.
Patch MIDI CH: “A01”
Part A01 MIDI CH: “A01”
If you want program changes to once again select the Instrument of Part A01, set the
Patch MIDI CH to “ A--”.

* It takes awhile until the sound can be heard after you change the Patch.

Chapter 2. Parts and paramters 41

■ Creating a Drum Set (Drum Edit)
A Drum Part has assigned to it a group of various percussion instrument sounds
which are called a Drum Set. Unlike a Normal Part, a Drum Part sounds a different
instrument for each note number. Since a Drum Part needs to simultaneously produce a
wide variety of sounds such as bass drum, snare, tom and cymbal, this is very conve-
nient. A collection of such sounds each assigned to their own note number is called a
Drum Set. Each sound within a Drum Set is called an Drum Instrument. (Drum Set list
p.163)
On this unit, you can modify various drum instrument parameters to get the drum
sounds most suitable for your musical needs. A “parameter” is something that affects
the sound. The process of modifying parameter values is called “editing.”
For each instrument (Drum Instrument) of the currently selected Drum Set, you can
modify the values for the following parameters. These parameter values are set inde-
pendently for each Drum Instrument assigned to a note number.
Volume, Pan (stereo position), Pitch, Reverb send level, Chorus send level, Delay
send level, Assign group.

* Drum Sets you create can be stored in internal memory. (p.102)

* Settings between the Normal Part and the Drum Part are made in Part mode. (p.27)

● Drum editing procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Use the PART [l r ] buttons to select the Drum Part.
Drum Parts are indicated by an “*” mark at the left of the sound name.
Drum set number Drum set name
PART INSTRUMENT

A10 026*TR-808
LEVEL PAN

100 0
3. l ] [r
Use the INSTRUMENT [l r ] buttons to select a Drum Set.
If you press the [SC-55 MAP] button to make the indicator light, you can select the same
Drum Sets as in the SC-55/55mkII. SC-55/55mkII drum sets are indicated by a “"” mark
at the left of the Drum Set name. If you press the [SC-88 MAP] button to make the indi-
cator light, you can select the same Drum Sets as in the SC-88. SC-88 drum sets are
indicated by a “'” mark at the left of the Drum Set name. Your editing will apply to the
Drum Set you select here.
PART INSTRUMENT

A01 026*"TR-808
LEVEL PAN

100 0
4. l ] button.
Simultaneously press both the [SELECT] and EFX TYPE [l
The display will show the Part Group (p.23), the Part Mode (p.27), Drum Set number,
note name, and Drum Instrument name.

42 Chapter 2. Parts and paramters

 Part Group
Part Mode
Drum set number
PART INSTRUMENT

AD1 001 C#3 CrshCym1

LEVEL PAN

100 0 Note Name Drum Instrument name

Note name

C-1 A0 C1 C2 C3 C4 C5 C6 C7 C8 G9
0 21 24 36 48 60 72 84 96 108 127
MIDI note number

* The Note name is the name of each note (key) on the keyboard, and corresponds to the MIDI
Note Number. The Drum instrument is assigned to note number.

5. l ] [r
Use the INSTRUMENT [l r ] buttons select the Drum Instrument you
wish to edit.
Here you can also select Drum Sets. Since in both cases you use the INSTRUMENT
[l] [r] buttons to specify the number. You will need to switch between Drum Set select
mode and Drum Instrument select mode, simultaneously press both the INSTRUMENT
[l] [r] buttons. When you are selecting Drum Sets, the Drum Set number will blink.

* Be aware that if you select a different Drum Set, the parameter Value will be initialized.

6. Use the front panel parameter buttons to modify the parameter values.
The values you set will appear in the appropriate location (field) of the display.
LEVEL [l] [r] : set the volume of each instrument
PAN [l] [r] : set the pan of each instrument
REVERB [l] [r] : set the reverb send level of each instrument
CHORUS [l] [r] : set the chorus send level of each instrument
EFX TYPE[l] [r] : set the delay send level of each instrument
KEY SHIFT [l] [r] : pitch coarse (adjust the pitch of each instrument in semitone steps)
MIDI CH [l] [r] : assign group (p.44)

7. To return to the previous display, simultaneously press both the

l ] button once again.
[SELECT] and EFX TYPE [l

1 2 5
PART INSTRUMENT

ALL
3 5
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
4 7 SC-88
MAP
KEY SHIFT MIDI CH

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

Chapter 2. Parts and paramters 43

● Using Chorus and Delay
In the case of a Drum Instrument, it is not possible to simultaneously use both chorus
and delay. Chorus will not be applied to a Drum Instrument for which “d” and “D” is dis-
played in the CHORUS column (Fig.2). In this case, you can apply chorus by using the
CHORUS [l] [r] buttons to set the chorus send level.
Delay will not be applied to a Drum Instrument for which a number is displayed in the
CHORUS column (Fig.1). In this case, you can apply delay by press the EFX TYPE [l]
[r] buttons to set the delay send level. In other words, in the case of chorus and delay,
only the one you specify last will be valid.

Drum edit screen

PART INSTRUMENT
Fig.1
AD1 001 C3 Hi.Tom 2
LEVEL PAN
116 R18
CHORUS REVERB CHORUS
/DELAY column 127 20
K SHIFT MIDI CH
62 Non 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

DELAY PART

PART INSTRUMENT
Fig.2
AD1 001 C3 Hi.Tom 2
LEVEL PAN
116 R18
REVERB CHORUS
127 d20
K SHIFT MIDI CH
62 Non 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

DELAY PART

* The Delay setting will be displayed as “d00” — “d99” for values of 0 to 99, and as “D00” —
“D27” for values of 100 to 127.

● About the Assign Group

Each instrument can be given a number, and instruments with the identical number
are treated as an Assign Group. No two instruments of the same Assign Group will
sound together. If while one instrument is sounding, a MIDI message is received to play
another instrument in the same Assign Group, the first instrument will be turned off first.
This is a useful way to prevent two instruments from sounding simultaneously that would
not normally do so. For example since it is obviously impossible for a hi-hat to simulta-
neously produce both an open hi-hat sound and a closed hi-hat sound, these two
sounds could be set to the same Assign Group (the same number) so that they would
not sound together.
Numbers from Non, 1 to 127 can be selected, but instruments for which Non is
selected will not be turned off by other instruments. In other words, instruments with a
setting of Non will not be treated as an Assign Group.

* Be aware that if you select a different Drum Set, the parameter values will be initialized.

44 Chapter 2. Parts and paramters

Chapter 3

Chapter 3
System Effects
■ How the effect section of the unit is organized
The effects of this unit can be categorized into System effects (p.48) and Insertion
effects (p.56).
System effects include 8 types of reverb and chorus, 10 types of delay, and 2-band
equalizer. Insertion effects include a variety of 64 different effect types.

Of the System effects, the reverb/chorus/delay effects take part of the sound from
each Part to create a new effected sound (reverberance, etc.), and then add this to the
original sound.
For these effects, you can specify the amount of the sound for each Part sent to the
effect unit (Send Level). Higher settings will increase the level of the signal that is sent to
the effect unit, causing the effect sound that is produced to be louder. The result is that
the effect becomes deeper.
For the equalizer of System effects, on the other hand, you can select whether the
sound of the Part will pass through the equalizer or not; i.e., make an on/off setting to
modify the sound.

Insertion effects is the type of effect that modifies the sound itself, and is able to give
it a completely different character. You can specify for each Part whether or not it will
pass through the effect.
Since only one type of Insertion effect can be applied at a time, turning it on for two or
more Parts will cause the sound of these Parts to be mixed. If a System effect is applied
to a Part for which the Insertion effect is turned on, the Insertion effect Send Level will
be used instead of the Send Level of the Part itself.

Also, the type of effects that are available here will depend on the System mode set-
ting.
In Single Module mode (mode 1), each will have one set of effects.
In Double Module mode (mode 2), equalizer and delay are unavailable, but there are
two sets each for Reverb and Chorus settings, and these can be used simultaneously.
This is especially valuable when you wish to have different effect types or settings for
each Part. Also, the Insertion effect can be used only for the Part group A. This is every
effective when you wish to apply a special effect to the solo part that you play.

* For details on Single Module mode and Double Module mode, refer to p.116.

46 Chapter 3.System Effects

Single Module Mode
Reverb Send Level Reverb Level
Reverb
x32
Reverb Send Level

Chorus Send Level Chorus Level

Chorus
x32
Chorus Send Level Chorus Send Level To Reverb

Delay Send Level To Reverb

Chorus Send Level To Delay

Delay Send Level Delay Level

Delay
x32
Delay Send Level

Insertion effect
Equalizer
Part group A (EFX)
Part A1 - A16 Level ON/OFF Equalizer On/Off L

x32 R
Part group B x32 x32
Part B1 - B16 Equalizer On/Off OUTPUT
Insertion
Effect(EFX)

Double Module Mode

Reverb Send Level Reverb Level
Reverb
x16
Reverb Send Level Chorus Send Level To Reverb

Chorus Send Level Chorus Level

Chorus
x16
Insertion effect Chorus Send Level
(EFX)
Level ON/OFF
Part group A
Part A1 - A16
x16
x16
Insertion
Effect(EFX)

Reverb Send Level Reverb Level L

Reverb
x16 R
Chorus Send Level To Reverb
OUTPUT
Chorus Send Level Chorus Level
Chorus
x16

Part group B Level

Part B1 - B16
x16

* You can apply the Insertion effect to the Part in Group B, if the Part's MIDI Channel is set to A01 - A16.

Chapter 3.System Effects 47

■ System Effect settings
The System effects of this unit include 8 types of reverb and chorus, and 10 types of
delay. In addition, for each of these effects you can specify parameter values such as
character, depth, rate and time. Reverb is an effect that adds reverberation to a sound,
as you would hear in a concert hall. Chorus broadens the spatial image of the sound,
adding depth and richness. Delay creates echoes. It is also possible to give depth and
width to a sound by adding a short delay to the original sound. For these effects, you
can set the overall level for all Parts and also individual levels for each Part.
This unit has a two-band equalizer (high range, low range). An equalizer lets you
boost or cut specified frequency ranges of a sound to adjust the tone. For each range,
high and low, you can specify the frequency and the amount of boost or cut (gain).

● Equalizer setting procedure

* The equalizer cannot be used when Double Module Mode (p.116) is selected.
* The equalizer can be turned on/off for individual Parts. (p.27)

1. Press [ALL] to make the button indicator light.

2. Press [SELECT] to display the equalizer setting.

PART INSTRUMENT

ALL EQ Gain |+ 5|+ 9

LEVEL PAN
127 0
REVERB CHORUS
64 64
K SHIFT MIDI CH
± 0 A-- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

DELAY PART

3. l ] [r
Press the EFX TYPE [l r ] buttons to select gain or frequency setting
display.
PART INSTRUMENT

ALL EQ Gain |+ 5|+ 9

LEVEL PAN

100 0

PART INSTRUMENT

ALL EQ Freq |200| 3k

LEVEL PAN

100 0

48 Chapter 3.System Effects

 4. Use the EFX PARAM [l l ] [r
r ] buttons to adjust the EQ Gain(Low) or the
Low Frequency. Use the EFX VALUE [l l ] [r
r ] buttons to adjust the EQ
Gain(High) or the High Frequency.
* The equalizer settings you make here are common to all Parts. They cannot be set indepen-
dently for individual Parts.

5. When you finish making settings, press [SELECT] once again to end the
procedure.

1
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

2 5 3 4 4

● Equalizer parameter functions

❍ EQ Gain (Low): -12 — 0 — +12dB
❍ EQ Gain (High): -12 — 0 — +12dB
Specify the amount of boost or cut (gain) for the high frequency range (high) and the
low frequency range (low). Positive (+) settings will boost, and negative (-) settings will
cut.

* With a Gain setting of 0, the equalizer will have no effect.

❍ EQ Low Freq (Equalizer Low Frequency): 200/400 Hz

❍ EQ High Freq (Equalizer High Frequency): 3/6 kHz
These parameters set the cutoff frequencies of the ranges boosted or cut by the
equalizer.

Chapter 3.System Effects 49

● When you want to adjust the system effect for all Parts

1. Press [ALL] to make the button indicator light.

2. Press the button of the effect you wish to adjust.

REVERB [l] [r] : reverb level of all Parts
CHORUS [l] [r] : chorus level of all Parts
DELAY [l] [r] (while holding down the [SC-88 MAP])
: delay level of all Parts

3. When you perform the following operation, the current parameter value
will be displayed graphically.
Simultaneously press both [l l ][r
r ] buttons of REVERB or CHORUS.
While holding the [SC-88MAP] button, press both [l l ][r
r ] buttons of
DELAY.
Simultaneously press both buttons once again and the previous display will reappear.

1
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP 2 3
2 SC-88
MAP
KEY SHIFT MIDI CH

3 DELAY

* If the indicator of EFX is dark, you can also use EFX TYPE [l][r] to adjust delay level.
Simultaneously press both EFX TYPE [l][r], and the delay parameter values will be displayed
graphically.

● When you want to adjust the system effect for each Part

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Use the PART [l r ] buttons to select the Part you wish to modify.

3. Press the button of the effect you wish to adjust.

REVERB [l] [r] : reverb level of each Part
CHORUS [l] [r] : chorus level of each Parts
DELAY [l] [r] (while holding down the [SC-88 MAP])
: delay level of each Parts

* You can not select the System effect parameters individually for the Part with Insertion effect
“on”.(p.46)

4. When you perform the following operation, the current parameter value
will be displayed graphically.
Simultaneously press both [l l ][r
r ] buttons of REVERB or CHORUS.
While holding the [SC-88MAP] button, press both [l l ][r
r ] buttons of
DELAY.
Simultaneously press both buttons once again and the previous display will reappear.

* If the indicator of EFX is dark, you can also use EFX TYPE [l][r] to adjust delay level.
Simultaneously press both EFX TYPE [l][r], and the delay parameter values will be displayed
graphically.

50 Chapter 3.System Effects

● Setting Reverb/Chorus/Delay parameters

1. Press [ALL] to make the button indicator light.

2. l ] [r
Simultaneously press both the PART [l r ] buttons.

3. u ] [d
Use [u d ] to select the parameter you wish to modify.
While holding the [SELECT] button, press[u][d] to skip parameters.
PART INSTRUMENT

ALL >Reverb: Hall2

LEVEL PAN

100 0
4. l ] [r
Use INSTRUMENT [l r ] to set the value.
PART INSTRUMENT

ALL >Reverb: Plate

LEVEL PAN

100 0
5. l]
When you finish making settings, simultaneously press both PART [l
r ] buttons to end the procedure.
[r

1 2 5
PART INSTRUMENT

ALL
LEVEL PAN
4
MUTE
REVERB CHORUS

3 SC-55
MAP
KEY SHIFT MIDI CH
SC-88
3 MAP

DELAY

* Delay cannot be used when Double Module Mode (p.116) is selected.

Chapter 3.System Effects 51

● Reverb parameter function About Reverb Type
When you change the Reverb Type, the above-
❍ Reverb (Reverb Type) listed six reverb parameters (including Reverb
You can choose from 8 types of reverb. Character) will be automatically adjusted to the
Room1 Room2 Room3 optimal values. Rather than individually adjust-
These reverbs simulate the reverberation of a room. ing each reverb parameter, it is easier to first
They provide a well-defined spacious reverberation. set the Reverb Type (listed in the MIDI imple-
Hall1 Hall2 mentation as “REVERB MACRO” → p.194),
These reverbs simulate the reverberation of a concert and then modify only those parameters that you
hall. They provide a deeper reverberation than the wish to modify. In particular when using MIDI
Room reverbs. exclusive messages, this method of making
Plate settings will minimize the amount of data.
This simulates a plate reverb (a studio device using a Chorus Type (CHORUS MACRO) and Delay
metal plate). Type (DELAY MACRO) can be used in the
same way.
Delay
This is a conventional delay that produces echo
effects.
Panning Delay
This is a special delay in which the delayed sounds
move left and right. It is effective when you are listen-
ing in stereo.
When you change the Reverb Type, the following
parameter values will automatically change. This is so
that the parameter values will have the settings most
appropriate for the selected Reverb Type. You can
select these parameters (p.51) and modify the values
to adjust the effect to your taste.

❍ Rev Charac. (Reverb Character) 0 — 7

This parameter selects only the type of reverb. 0 — 5
are reverb effects, and 6 and 7 are delay effects.

❍ Rev Pre-LPF (Reverb Pre Low Pass Filter) 0 — 7

A low pass filter can be applied to the sound coming
into the reverb to cut the high frequency range. Higher
values will cut more of the high frequencies, resulting
in a more mellow reverberation.

❍ Rev Level (Reverb Level) 0 — 127

This parameter sets the amount of the reverberant
sound. Higher values result in louder reverberation.

❍ Rev Time (Reverb Time) 0 — 127

This parameter sets the time over which the reverbera-
tion will continue. Higher values result in longer rever-
beration.

❍ Rev Delay Fb (Reverb Delay Feedback) 0 —

127
This parameter is used when the Reverb Charac. is
set to 6 or 7, Reverb Type is set to Delay or Panning
Delay. It sets the way in which delays repeat. Higher
values result in more delay repeats.

❍ RevPreDlyT (Reverb Pre-Delay Time) 0ms

— 127ms
This parameter sets the delay time until the reverber-
ant sound is heard. Higher values result in a longer
pre-delay time, simulating a larger reverberant space.

* Reverb Pro-Delay Time cannot be used when Double

Module Mode (p.116) is selected.

52 Chapter 3.System Effects

● Chorus parameter function ❍ Cho → Rev (Chorus Send Level To Reverb)
0 — 127
❍ Chorus (Chorus Type) This parameter sets the amount of chorus sound that
You can choose from 8 types of chorus. will be sent to the reverb. Higher values result in more
sound being sent.
Chorus1 Chorus2 Chorus3 Chorus4
These are conventional chorus effects that add spa-
❍ Cho → Dly (Chorus Send Level To Delay) 0
ciousness and depth to the sound.
— 127
Feedback Chorus This parameter sets the amount of chorus sound that
This is a chorus with a flanger-like effect and a soft will be sent to the delay. Higher values result in more
sound. sound being sent.
Flanger
This is an effect sounding somewhat like a jet airplane * Chorus Send Level To Delay cannot be used when
taking off and landing. Double Module Mode (p.116) is selected.
Short Delay
This is a delay with a short delay time.
Short Delay (FB)
This is a short delay with many repeats.

When you change the Chorus Type, the following

parameter values will automatically change. This is so
that the parameter values will have the settings most
appropriate for the selected Chorus Type. You can
select these parameters(p.51) and modify the values
to adjust the effect to your taste.

❍ Cho Pre-LPF (Chorus Pre Low Pass Filter)

0—7
A low pass filter can be applied to the sound coming
into the chorus to cut the high frequency range. Higher
values will cut more of the high frequencies, resulting
in a more mellow chorus sound.

❍ Cho Level (Chorus Level) 0 — 127

This parameter sets the amount of the chorus sound.
Higher values will cause the chorus sound to be loud-
er.

❍ ChoFeedback (Chorus Feedback Level) 0

— 127
This parameter sets the level at which the chorus
sound is returned (fed back) into the chorus. By using
feedback, a denser chorus sound can be created.
Higher values result in a greater feedback level.

❍ Cho Delay (Chorus Delay Time) 0 — 127

This parameter sets the delay time of the chorus
effect. Higher values will cause greater deviation in
pitch of the chorus sound.

❍ Cho Rate (Chorus Rate) 0 — 127

This parameter sets the speed (frequency) at which
the chorus sound is modulated. Higher values result in
faster modulation.

❍ Cho Depth (Chorus Depth) 0 — 127

This parameter sets the depth at which the chorus
sound is modulated. Higher values result in deeper
modulation.

Chapter 3.System Effects 53

● Delay parameter function ❍ Dly Level C (Delay Level Center) 0 — 127
This parameter sets the volume of the central delay.
* Delay cannot be used when Double Module Mode Higher values result in a louder center delay.
(p.116) is selected.
❍ Dly Level L (Delay Level Left) 0 — 127
❍ Delay (Delay Type) This parameter sets the volume of the left delay.
You can choose from 10 types of delay. Higher values result in a louder left delay.
Delay1 Delay2 Delay3
These are conventional delays. 1, 2 and 3 have pro- ❍ Dly Level R (Delay Level Right) 0 — 127
gressively longer delay times. This parameter sets the volume of the right delay.
Delay4 Higher values result in a louder right delay.
This is a delay with a rather short delay time.
❍ Dly Level (Delay Level) 0 — 127
Pan Delay1 Pan Delay2 Pan Delay3
This parameter sets the overall volume of the three
The delay sound moves between left and right. This is
delays (center, left and right). Higher values result in a
effective when listening in stereo. 1, 2 and 3 have pro-
louder overall delay.
gressively longer delay times.
Pan Delay4 ❍ Dly Fback (Delay Feedback) -64 — 0 — +63
This is a rather short delay with the delayed sound
This parameter affects the number of times the delay
moving between left and right. It is effective when lis-
will repeat. With a value of 0, the delay will not repeat.
tening in stereo.
With higher values there will be more repeats. With
Delay to Reverb negative (-) values, the center delay will be fed back
Reverb is added to the delay sound which moves with inverted phase. Negative values are effective with
between left and right. It is effective when listening in short delay times.
stereo.
Panning Repeat ❍ Dly → Rev (Delay Send Level To Reverb) 0
The delay sound moves between left and right, but the — 127
pan positioning is different than the effects listed This parameter sets the amount of delay sound that is
above. It is effective when listening in stereo. sent to the reverb. Higher values result in more sound
being sent.
When you change the Delay Type, the following para-
meter values will automatically change. This is so that
the parameter values will have the settings most
appropriate for the selected Delay Type. You can
select these parameters (p.51) and modify the values
to adjust the effect to your taste.

❍ Dly Pre-LPF (Delay Pre Low Pass Filter)

0—7
A low pass filter can be applied to the sound coming
into the delay to cut the high frequency range. Higher
values will cut more of the high frequencies, resulting
in a more mellow delay sound.

❍ Dly Time C (Delay Time Center) 0.1ms —

1.0s
The delay effect of this unit allows you to set three
delay times; center, left and right (when listening in
stereo). Delay Time Center sets the delay time of the
delay located at the center.

❍ DlyTRatioL (Delay Time Ratio Left) 4% —

500%
This parameter sets the delay time of the delay located
at the left as a percentage of the Delay Time Center.
(up to a max. of 1.0s)

❍ DlyTRatioR (Delay Time Ratio Right) 4% —

500%
This parameter sets the delay time of the delay located
at the right as a percentage of the Delay Time Center.
(up to a max. of 1.0s)

54 Chapter 3.System Effects

Chapter 4

Insertion Effects

Chapter 4
■ Insertion effect settings
This unit has two types of effects: System effects and Insertion effects.
Insertion effects provide 64 effect types. Since appropriate parameters are provided for
each effects, you can make fine adjustments to the sound for professional-level control.

* For details on System effects and Insertion effects, and on the effect structure of this unit, refer
to p.46.

Insertion effects can be applied independently to an individual Part.

● Making Insertion effect settings

1. Use PART [ll ][r
r ] to select the Part, and INSTRUMENT [l
l ][r
r ] to select
the Instrument to which the effect will be applied.

2. Press the [EFX] button to make the indicator light orange.

3. Press the [ON/OFF] button to make the Effect ON/OFF indicator light, and
the Insertion effect will be turned on.
To turn it off, press the [ON/OFF] button again.

4. l ][r
Use EFX TYPE [l r ] to select the Effect Type.

5. l ][r
Use EFX PARAM [l r ] to select parameters.

6. l ][r
Use EFX VALUE [l r ] to set the value of the effect parameter.

7. While the [ALL] indicator is lit, press the [ON/OFF] button to turn off the
Effect ON/OFF indicator, and effects will be turned off for all Parts.

8. Press the [EFX] button to end the procedure.

Be aware that when you change the Effect Type, the effect parameters will be initialized.
If you wish to save your parameter values, it is convenient to use a User Effect. (p.99)

1 1

PART INSTRUMENT

7 ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP
2 8 3 DELAY

4
VIB RATE 5
VIB DEPTH 6
VIB DELAY
CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

* It takes awhile until the sound can be heard after you change the Patch.
* If a monaural insertion effect is turned on, the settings for Part Pan (p. 25) and Master Pan (p.
34) will be ignored. Monaural insertion effects are those such as 2: Spectrum and 35: OD->
Chorus.
In the case of stereo insertion effects, however, the settings for Part Pan (p.25) and Master Pan
(p. 34) will be effective when the insertion effect is on. Stereo insertion effects are those that
maintain discrete L/R channels all the way to the output stage such as 1: Stereo-EQ and 16:
Hexa Chorus.
* If the Insertion effect is turned on for two or more Parts, the sound of each Part will be mixed.
It will not be possible to set reverb / chorus / delay / equalizer independently for these Parts. (p.46)
For example if the Insertion effect is turned on for Part1 and Part2, and you modify the Reverb
value for Part1, the Reverb for Part2 wil automatically be modified to the same value.
For Parts for which the Insertion effect is Off, settings can be made independently for each Part.
* When 00 Thru is selected, the Insertion effect will not be applied.

56 Chapter 4. Insertion Effects

● Different effect types ❍ Effects that modify the tone color (filter
type)
Effect types can be broadly grouped into the following
categories.
1: Stereo-EQ (Stereo equalizer) [01H, 00H]
Effects that modify the tone color (filter type) (1
This is a four-band stereo equalizer (low, mid x 2,
- 4)
high).
Effects that distort the sound (distortion type) (5
- 6) L EQ
Effects that modulate the sound (modulation
type) (7 - 13)
R EQ
Effects that affect the level (compressor type)
(14 - 15)
Effects that broaden the sound (chorus type) Low Freq (Low frequency) 200/400 [1]
(16 - 20) Select the frequency of the low range (200 Hz/400
Hz).
Effects that reverberate the sound (delay/reverb
type) (21 - 28) Low Gain -12 - +12 [2]
Effects that modify the pitch (pitch shift type) Adjust the gain of the low frequency.
(29 - 30)
Hi Freq (High frequency) 4k/8k [3]
Others (31 - 34) Select the frequency of the high range (4kHz/8kHz).
Effects that connect two types of effect in series
(series 2) (35 - 46) Hi Gain -12 - +12 [4]
Adjust the gain of the high frequency.
Effects that connect three or more types of
effect in series (series 3 / series 4 / series 5) (47 M1 Freq (Mid 1 frequency) 200 - 6.3k [5]
- 55) Adjust the frequency of Mid 1 (mid range1).
Effects that connect two types of effect in paral-
lel (parallel 2) (56 - 64) M1 Q (Mid 1 Q) 0.5/1.0/2.0/4.0/9.0 [6]
This parameter adjusts the width of the area around
the M1 Freq parameter that will be affected by the
In the explanations that follow, the hexadecimal values Gain setting. Higher values of Q will result in a nar-
used when making settings via exclusive messages rower area being affected.
are given at the end of the effect type line. The para-
meter number is given in decimal form at the end of M1 Gain (Mid 1 gain) -12 - +12 [7]
the Effect Parameter line. Use these values when you Adjust the gain for the area specified by the M1
use MIDI messages to set parameters. For details on Freq parameter and M1 Q parameter settings.
using exclusive messages, refer to p.191.
M2 Freq (Mid 2 frequency) 200 - 6.3k [8]
Adjust the frequency of Mid 2 (mid range2).
< Example >
1: Stereo-EQ [01H, 00H] M2 Q (Mid 2 Q) 0.5/1.0/2.0/4.0/9.0 [9]
This parameter adjusts the width of the area around
This means that the value for Address 40H 03H 00H is
the M2 Freq parameter that will be affected by the
MSB:01H, LSB:00H.
Gain setting. Higher values of Q will result in a nar-
For example, if you wish to set the effect type to 1: Stereo- rower area being affected.
EQ, use an exclusive message such as the following:
F0 41 10 42 12 40 03 00 01 00 3C F7 M2 Gain (Mid 2 gain) -12 - +12 [10]
address value Adjust the gain for the area specified by the M2
Freq parameter and M2 Q parameter settings.
Low Freq 200/400 [1]
“[1]” describes that it's the first parameter. +Level (Output level) 0 - 127 [20]
Adjust the output level.
Parameters with “+” or “#” symbols allow you to modify
their value using specified controller, such as pitch
bend lever and sliders, or with control change mes- 2: Spectrum [01H, 01H]
sages. (p.92)
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
0: Thru [00H, 00H]
the sound.
No Effect will be applied. When a GM System On or
GS Reset messages(p.133) is received, 0:Thru will be
selected for Insertion Effect.

Chapter 4. Insertion Effects 57

 L Level (Output level) 0 - 127 [20]
Adjust the output level.
Spectrum Pan

R 4: Humanizer [01H, 03H]

Band 1 (Band 1 gain) -12 - +12 [1] This adds a vowel character to the sound, making it
Adjust the 250 Hz level. similar to a human voice.
L
Band 2 (Band 2 gain) -12 - +12 [2]
Adjust the 500 Hz level. Humanizer EQ Pan

Band 3 (Band 3 gain) -12 - +12 [3] R

Adjust the 1000 Hz (1 kHz) level.
Drive 0 - 127 [1]
Band 4 (Band 4 gain) -12 - +12 [4] Adjust the depth of distortion.
Adjust the 1250 Hz level.
Drive Sw Off/On [2]
Band 5 (Band 5 gain) -12 - +12 [5] Turn Drive on/off.
Adjust the 2000 Hz level.
+Vowel a/i/u/e/o [3]
Band 6 (Band 6 gain) -12 - +12 [6] Select the vowel.
Adjust the 3150 Hz level.
Accel 0 - 15 [4]
Band 7 (Band 7 gain) -12 - +12 [7] Adjust the time over which the sound will move to
Adjust the 4000 Hz level. the specified Vowel. Smaller values will require
more time.
Band 8 (Band 8 gain) -12 - +12 [8]
Adjust the 8000 Hz level. Low Gain -12 - +12 [17]
Adjust the low frequency gain.
Width (Band width) 0.5/1.0/2.0/4.0/9.0 [9]
Adjust the width of the frequency bands whose gain Hi Gain (High gain) -12 - +12 [18]
is being modified (common to all bands). Higher Adjust the high frequency gain.
settings will make the frequency band narrower.
Pan (Output Pan) L63 - 0 - R63 [19]
+Pan (Output pan) L63 - 0 - R63 [19] Adjust the stereo position of the output sound. L63
Adjust the stereo location of the output sound. L63 is far left, 0 is center, and R63 is far right.
is far left, 0 is center, and R63 is far right.
#Level (Output level) 0 - 127 [20]
#Level (Output level) 0 - 127 [20] Adjust the output volume.
Adjust the output level.

❍ Effects that distort the sound (distortion

3: Enhancer [01H, 02H] type)
The Enhancer controls the overtone structure of the
high frequencies, adding sparkle and tightness to the
5: Overdrive [01H, 10H]
sound.
This effect creates a soft distortion similar to that pro-
L EQ duced by tube amplifiers.
Enhancer L
Mix
Enhancer Over Amp
EQ Pan
R EQ drive Simulator
R
+Sens (Sensitivity) 0 - 127 [1]
Adjust the sensitivity of the enhancer. +Drive 0 - 127 [1]
Adjust the degree of distortion.
#Mix (Mix level) 0 - 127 [2]
Adjust the ratio with which the overtones generated Amp Type (Amp simulator type)
by the enhancer are combined with the direct Small/BltIn/2-Stk/3-Stk [2]
sound. Select the type of guitar amp.
Small : small amp
Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range. BltIn : single-unit type amp
2-Stk : large double stack amp
Hi Gain -12 - +12 [18] 3-Stk : large triple stack amp
Adjust the gain of the high frequency range.

58 Chapter 4. Insertion Effects

Amp Sw (Amp switch) Off/On [3]
L Phaser EQ
Turn the Amp Type on/off.

Low Gain -12 - +12 [17]

Adjust the gain of the low frequency range. R Phaser EQ

Hi Gain (High gain) -12 - +12 [18]

Adjust the gain of the high frequency range. +Manual 100 - 8.0k [1]
Adjust the basic frequency from which the sound
#Pan (Output pan) L63 - 0 - R63 [19] will be modulated.
Adjust the stereo location of the output sound. L63
is far left, 0 is center, and R63 is far right. #Rate 0.05 - 10.0 [2]
Adjust the frequency (period) of modulation.
Level (Output level) 0 - 127 [20]
Adjust the output level. Depth 0 - 127 [3]
Adjust the depth of modulation.

Reso (Resonance) 0 - 127 [4]

Adjust the amount of emphasis added to the fre-
6: Distortion [01H, 11H]
quency range surrounding the basic frequency
This effect produces a more intense distortion than determined by the Manual parameter setting.
Overdrive.
L Mix (Mix level) 0 - 127 [5]
Amp Adjust the ratio with which the phase-shifted sound
Distortion EQ Pan
Simulator is combined with the direct sound.
R
Low Gain -12 - +12 [17]
+Drive 0 - 127 [1] Adjust the gain of the low frequency range.
Adjust the degree of distortion.
Hi Gain (High gain) -12 - +12 [18]
Amp Type (Amp simulator type) Adjust the gain of the high frequency range.
Small/BltIn/2-Stk/3-Stk [2]
Select the type of guitar amp. Level (Output level) 0 - 127 [20]
Adjust the output level.
Small : small amp
BltIn : single-unit type amp
2-Stk : large double stack amp
8: Auto Wah [01H, 21H]
3-Stk : large triple stack amp
The Auto Wah cyclically controls a filter to create cyclic
Amp Sw (Amp switch) Off/On [3] change in timbre.
Turn the Amp Type on/off. L

Low Gain -12 - +12 [17] Wah EQ Pan

Adjust the gain of the low frequency range.
R
Hi Gain (High gain) -12 - +12 [18]
Adjust the gain of the high frequency range. Fil Type (Filter Type) LPF/BPF [1]
Select the type of filter.
#Pan (Output pan) L63 - 0 - R63 [19] LPF : The wah effect will be applied over a
Adjust the stereo location of the output sound. L63 wide frequency range.
is far left, 0 is center, and R63 is far right.
BPF : The wah effect will be applied over a
Level (Output level) 0 - 127 [20] narrow frequency range.
Adjust the output level.
Sens (Sensitivity) 0 - 127 [2]
Adjust the sensitivity with which the filter is con-
❍ Effects that modulate the sound (modula- trolled. If this value is increased, the filter frequency
tion type) will change more readily in response to the input
level.

7: Phaser [01H, 20H] +Manual 0 - 127 [3]

A phaser adds a phase-shifted sound to the original Adjust the center frequency from which the effect is
sound, producing a twisting modulation that creates applied.
spaciousness and depth.

Chapter 4. Insertion Effects 59

Peak 0 - 127 [4] Low Level (Low frequency level) 0 - 127 [4]
Adjust the amount of the wah effect that will occur Adjust the volume of the low frequency rotor.
in the area of the center frequency. Lower settings
will cause the effect to be applied in a broad area Hi Slow (High frequency slow rate)
around the center frequency. Higher settings will 0.05 - 10.0 [5]
cause the effect to be applied in a more narrow Adjust the slow speed (Slow) of the high frequency
range. In the case of LPF, decreasing the value will rotor.
cause the wah effect to change less.
Hi Fast (High frequency fast rate) 0.05 - 10.0 [6]
#Rate 0.05 - 10.0 [5] Adjust the fast speed (Fast) of the high frequency
Adjust the speed of the modulation. rotor.

Depth 0 - 127 [6] Hi Accl (High frequency acceleration) 0 - 15 [7]

Adjust the depth of the modulation. Adjust the time it takes for the high frequency rotor
to reach the newly selected speed when switching
Polarity Down/Up [7] from fast to slow (or slow to fast) speed. Lower val-
Set the direction in which the frequency will change ues will require longer times.
when the filter is modulated. With a setting of Up,
the filter will change toward a higher frequency. Hi Level (High frequency level) 0 - 127 [8]
With a setting of Down it will change toward a lower Adjust the volume of the high frequency rotor.
frequency.
Separate (Separation) 0 - 127 [9]
Low Gain -12 - +12 [17] Adjust the spatial dispersion of the sound.
Adjust the gain of the low frequency range for EQ.
+Speed Slow/Fast [11]
Hi Gain (High gain) -12 - +12 [18] Simultaneously switch the rotational speed of the
Adjust the gain of the high frequency range for EQ. low frequency rotor and high frequency rotor.
Slow : Slow down the rotation to the speci-
Pan (Output pan) L63 - 0 - R63 [19] fied speed (the Low Slow parameter /
Adjust the stereo location of the output sound. L63 Hi Slow parameter values).
is far left, 0 is center, and R63 is far right.
Fast : Speed up the rotation to the specified
Level (Output level) 0 - 127 [20] speed (the Low Fast parameter / Hi
Adjust the output level. Fast parameter values).

Low Gain -12 - +12 [17]

Adjust the gain of the low frequency range for EQ.
9: Rotary [01H, 22H]
Hi Gain (High gain) -12 - +12 [18]
The Rotary effect simulates the sound of a classic Adjust the gain of the high frequency range for EQ.
rotary speakers. Since the movement of the high
range and low range rotors can be set independently, #Level (Output level) 0 - 127 [20]
the unique type of modulation characteristic of these Adjust the output level.
speakers can be simulated quite closely. This effect is
most suitable for electric organ.

L EQ 10: Stereo Flanger [01H, 23H]

Rotary This is a stereo flanger. It produces a metallic reso-
nance that rises and falls like a jet airplane taking off
R EQ or landing. A filter is provided so that you can adjust
the timbre of the flanged sound.
Low Slow (Low frequency slow rate)
L EQ
0.05 - 10.0 [1] Flanger
Adjust the slow speed (Slow) of the low frequency Balance
rotor. Flanger
R EQ
Low Fast (Low frequency fast rate)
0.05 - 10.0 [2]
Adjust the fast speed (Fast) of the low frequency
rotor.

Low Accl (Low frequency acceleration) 0 - 15 [3]

Adjust the time it takes for the low frequency rotor
to reach the newly selected speed when switching
from fast to slow (or slow to fast) speed. Lower val-
ues will require longer times.

60 Chapter 4. Insertion Effects

Pre Filter (Pre filter type) Off/LPF/HPF [1] Depth 0 - 127 [3]
Select the type of filter. Adjust the depth of modulation.
Off : a filter will not be used
+Feedback (Feedback level) -98% - +98% [4]
LPF : cut the frequency range above the Adjust the amount (%) of the processed sound that
Cutoff parameter is returned (fed back) into the input. Negative (-)
HPF : cut the frequency range below the settings will invert the phase.
Cutoff parameter
Phase 0 - 180 [5]
Cutoff (Cutoff frequency) 250 - 8k [2] Adjust the spatial spread of the sound.
Adjust the basic frequency of the filter.
#Step Rate 0.05 - 10.0 [6]
Pre Dly (Pre delay time) 0 - 100m [3] Adjust the rate (period) of pitch change.
Adjust the time delay from when the direct sound
begins until the processed sound is heard. Balance (Effect balance) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and
+Rate 0.05 - 10.0 [4] the processed sound.
Adjust the rate of modulation. “D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
Depth 0 - 127 [5]
Adjust the depth of modulation. Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range.
#Feedback (Feedback level) -98% - +98% [6]
Adjust the amount (%) of the processed sound that Hi Gain (High gain) -12 - +12 [18]
is returned (fed back) into the input. Negative (-) Adjust the gain of the high frequency range.
settings will invert the phase.
Level (Output level) 0 - 127 [20]
Phase 0 - 180 [7] Adjust the output level.
Adjust the spatial spread of the sound.

Balance (Effect balance) D> 0E - D 0<E [16]

Adjust the volume balance between the direct and 12: Tremolo [01H, 25H]
the processed sound.
Tremolo cyclically modulates the volume to add tremo-
“ D” or “E” on the display respectively means lo effect to the sound.
D(direct sound) or E(effect sound) values of 100.
L Tremolo EQ
Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range.

Hi Gain (High Gain) -12 - +12 [18] R Tremolo EQ

Adjust the gain of the high frequency range.
Mod Wave (Modulation wave)
Level (Output level) 0 - 127 [20] Tri/Sqr/Sin/Saw1/Saw2 [1]
Adjust the output level. Select the type of modulation.
Tri : The sound will be modulated like a
triangle wave.
11: Step Flanger [01H, 24H] Sqr : The sound will be modulated like a
The Step Flanger is an effect in which the flanger pitch square wave.
changes in steps. Sin : The sound will be modulated like a
sine wave.
L EQ
Flanger Saw1,2 : The sound will be modulated like a
Balance sawtooth wave. The “teeth” in Saw1
Flanger and Saw2 point at opposite direc-
R EQ tions.
Saw1 Saw2
Pre Dly (Pre delay time) 0 - 100m [1]
Adjust the time delay from when the direct sound
begins until the processed sound is heard.

Rate 0.05 - 10.0 [2]

Adjust the rate of modulation. +Mod Rate (Modulation rate) 0.05 - 10.0 [2]
Adjust the speed of modulation.

#Mod Depth (Modulation depth) 0 - 127 [3]

Adjust the depth of modulation.

Chapter 4. Insertion Effects 61

Low Gain -12 - +12 [17] L
Adjust the gain of the low frequency range.
Compressor EQ Pan
Hi Gain (High gain) -12 - +12 [18]
Adjust the gain of the high frequency range. R

Level (Output level) 0 - 127 [20] Attack 0 - 127 [1]

Adjust the output level. Adjust the attack time of an input sound.

Sustain 0 - 127 [2]

Adjust the time over which low level sounds are
13: Auto Pan [01H, 26H] boosted until they reach the specified volume.
The Auto Pan effect cyclically modulates the stereo Increasing the value will shorten the time. When the
location of the sound. value is modified, the level will also change.

L Auto Pan EQ Post Gain 0/+6/+12/+18 [3]

Adjust the output gain.

Low Gain -12 - +12 [17]

R Auto Pan EQ Adjust the low frequency gain.

Mod Wave (Modulation wave) Hi Gain (High gain) -12 - +12 [18]
Tri/Sqr/Sin/Saw1/Saw2 [1] Adjust the high frequency gain.
Select the type of modulation.
+Pan (Output pan) L63 - 0 - R63 [19]
Tri : The sound will be modulated like a Adjust the stereo location of the output sound. L63
triangle wave. is far left, 0 is center, and R63 is far right.
Sqr : The sound will be modulated like a
square wave. #Level (Output level) 0 - 127 [20]
Adjust the output level.
Sin : The sound will be modulated like a
sine wave.
Saw1,2 : The sound will be modulated like a
sawtooth wave. The “teeth” in Saw1 15: Limiter [01H, 31H]
and Saw2 point at opposite direction. The Limiter compresses signals that exceed a speci-
Saw1 Saw2 fied volume level, preventing distortion from occurring.
L

Limiter EQ Pan

R
+Mod Rate (Modulation rate) 0.05 - 10.0 [2]
Adjust the frequency of modulation. Threshold (Threshold level) 0 - 127 [1]
Adjust the volume at which compression will begin.
#Mod Depth (Modulation depth) 0 - 127 [3]
Adjust the depth of modulation. Ratio (Compression ratio) 1/1.5,1/2,1/4,1/100 [2]
This adjusts the compression ratio for signals that
Low Gain -12 - +12 [17]
are louder than the Threshold Level. 1/100 is the
Adjust the gain of the low frequency range.
highest compression ratio, and the output level will
Hi Gain (High gain) -12 - +12 [18] decrease.
Adjust the gain of the high frequency range.
Release (Release time) 0 - 127 [3]
Level (Output level) 0 - 127 [20] Adjust the time from when the volume falls below
Adjust the output level. the Threshold Level until compression is no longer
applied.

Post Gain 0/+6/+12/+18 [4]

❍ Effects that affect the level (compressor Adjust the output gain.
type) Low Gain -12 - +12 [17]
Adjust the low frequency gain.
14: Compressor [01H, 30H]
Hi Gain (High gain) -12 - +12 [18]
The Compressor flattens out high levels and boosts Adjust the high frequency gain.
low levels, smoothing out unevenness in volume.

62 Chapter 4. Insertion Effects

+Pan (Output pan) L63 - 0 - R63 [19]
Adjust the stereo location of the output sound. L63 17: Tremolo Chorus [01H, 41H]
is far left, 0 is center, and R63 is far right.
Tremolo Chorus is a chorus effect with added Tremolo
#Level (Output level) 0 - 127 [20] (cyclic modulation of volume).
Adjust the output level. L EQ
Tremolo Balance
Chorus

❍ Effects that broaden the sound (chorus R EQ

type)
Pre Dly (Pre delay time) 0 - 100m [1]
Adjust the time delay from when the direct sound
16: Hexa Chorus [01H, 40H] begins until the chorus sound is heard.
Hexa-chorus uses a six-phase chorus (six layers of
chorused sound) to give richness and spatial spread to Cho Rate (Chorus rate) 0.05 - 10.0 [2]
the sound. Adjust the modulation speed of the chorus effect.
L EQ Cho Depth (Chorus depth) 0 - 127 [3]
Hexa Adjust the modulation depth of the chorus effect.
Balance
Chorus
R
Trem Phase (Tremolo phase) 0 - 180 [4]
EQ
Adjust the width of the tremolo sound.

Pre Dly (Pre delay time) 0 - 100m [1] +Trem Rate (Tremolo rate) 0.05 - 10.0 [5]
Adjust the time delay from when the direct sound Adjust the modulation speed of the tremolo effect.
begins until the processed sound is heard.
Trem Sep (Tremolo separation) 0 - 127 [6]
+Rate 0.05 - 10.0 [2] Adjust the spatial spread of the tremolo effect.
Adjust the rate of modulation.
#Balance (Effect balance) D> 0E - D 0<E [16]
Depth 0 - 127 [3] Adjust the volume balance between the direct and
Adjust the depth of modulation. the processed sound.
“D” or “E” on the display respectively means
Pre Dly Dev (Pre delay deviation) 0 - 20 [4]
D(direct sound) or E(effect sound) values of 100.
The Pre Delay is the time from when the original
sound begins until when the chorus sound is heard. Low Gain -12 - +12 [17]
This adjusts the difference in Pre Delay between Adjust the low frequency gain.
each of the six phases of chorus sound.
Hi Gain (High gain) -12 - +12 [18]
Depth Dev (Depth deviation) -20 - +20 [5] Adjust the high frequency gain.
Adjust the difference in modulation depth between
each of the six phases of chorus sound. Level (Output level) 0 - 127 [20]
Adjust the output level.
Pan Dev (Pan deviation) 0 - 20 [6]
Adjust the difference in stereo position between
each of the six phases of chorus sound. With a set-
ting of 0, all the chorus sound will be located in the 18: Stereo Chorus [01H, 42H]
center. With a setting of 20, each chorus sound will This is a stereo chorus. A filter is provided so that you
be placed in 30 degree intervals relative to the cen- can adjust the timbre of the chorus sound.
ter position.
L EQ
#Balance (Effect balance) D> 0E - D 0<E [16] Chorus
Adjust the volume balance between the direct and Balance
Chorus
the processed sound.
R EQ
“D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
Pre Filter (Pre filter type) Off/LPF/HPF [1]
Low Gain -12 - +12 [17] Select the type of filter.
Adjust the low frequency gain. Off : a filter will not be used
LPF : cut the frequency range above the
Hi Gain (High gain) -12 - +12 [18]
cutoff
Adjust the high frequency gain.
HPF : cut the frequency range below the
Level (Output level) 0 - 127 [20] cutoff
Adjust the output level.

Chapter 4. Insertion Effects 63

Cutoff (Cutoff frequency) 250 - 8k [2] Low Gain -12 - +12 [17]
Adjust the center frequency of the filter for the cho- Adjust the gain of the low frequency range.
rus sound for the chorus sound.
Hi Gain (High gain) -12 - +12 [18]
Pre Dly (Pre delay time) 0 - 100m [3] Adjust the gain of the high frequency range.
Adjust the time delay from when the direct sound
begins until the processed sound is heard. Level (Output level) 0 - 127 [20]
Adjust the output level.
+Rate 0.05 - 10.0 [4]
Adjust the rate of modulation.

Depth 0 - 127 [5] 20: 3D Chorus [01H, 44H]

Adjust the depth of modulation. This applies a 3D effect to the chorus sound. The cho-
rus sound will be positioned 90 degrees left and 90
Phase 0 - 180 [7]
degrees right.
Adjust the spatial spread of the sound.
L EQ
#Balance (Effect balance) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and 3D Chorus Balance
the processed sound.
R EQ
“D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
Pre Dly (Pre delay time) 0 - 100m [1]
Low Gain -12 - +12 [17] Adjust the time delay from when the direct sound
Adjust the gain of the low frequency range. begins until the processed sound is heard.

Hi Gain (High gain) -12 - +12 [18] +Cho Rate (Chorus Rate) 0.05 - 10.0 [2]
Adjust the gain of the high frequency range. Adjust the modulation speed of the chorus sound.

Level (Output level) 0 - 127 [20] Cho Depth (Chorus Depth) 0 - 127 [3]
Adjust the output level. Adjust the modulation depth of the chorus sound.

Out (Output Mode) Speaker/Phones [15]

Specify the method that will be used to hear the
19: Space D [01H, 43H] sound which is output to the OUTPUT jacks. The
Space-D is a multiple chorus that applies two-phase optimal 3D effect will be achieved if you select
modulation in stereo. It gives no impression of modula- Speaker when using speakers, or Phones when
tion, but produces a transparent chorus effect. using headphones (p.91).

L EQ #Balance (Effect balance) D> 0E - D 0<E [16]

Adjust the volume balance between the direct and
Space D Balance the processed sound.
R EQ “D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
Pre Dly (Pre delay time) 0 - 100m [1] Low Gain -12 - +12 [17]
Adjust the time delay from when the direct sound Adjust the gain of the low frequency range.
begins until the processed sound is heard.
Hi Gain (High gain) -12 - +12 [18]
+Rate 0.05 - 10.0 [2] Adjust the gain of the high frequency range.
Adjust the rate of modulation.
Level (Output level) 0 - 127 [20]
Depth 0 - 127 [3] Adjust the output level.
Adjust the depth of modulation.

Phase 0 - 180 [4]

Adjust the spatial spread of the sound. ❍ Effects that reverberate the sound
#Balance (Effect balance) D> 0E - D 0<E [16] (delay/reverb type)
Adjust the volume balance between the direct and
the processed sound. 21: Stereo Delay [01H, 50H]
“D” or “E” on the display respectively means This is a stereo delay.
D(direct sound) or E(effect sound) values of 100.

64 Chapter 4. Insertion Effects

 Fb Mode is Norm: Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range.
L EQ
Delay HF Balance Hi Gain (High gain) -12 - +12 [18]
Adjust the gain of the high frequency range.
Delay HF Balance Level (Output level) 0 - 127 [20]
R EQ Adjust the output level.

Fb Mode is Cross:

L EQ 22: Mod Delay (Modulation Delay) [01H, 51H]

Delay HF Balance This effect adds modulation to the delayed sound, pro-
ducing an effect similar to a flanger.
Balance Fb Mode is Norm:
Delay HF
R EQ L EQ
Delay HF Balance
Dly Tm L (Delay time left) 0 - 500m [1]
Adjust the time from the original sound until when
Delay HF Balance
the left delay sound is heard.
R EQ
Dly Tm R (Delay time right) 0 - 500m [2]
Adjust the time from the original sound until when
the right delay sound is heard. Fb Mode is Cross:

+Feedback (Feedback level) -98% - +98% [3] L EQ

Adjust the proportion (%) of the processed sound Delay HF Balance
that is fed back into the effect. Negative (-) settings
will invert the phase. Balance
Delay HF
Fb Mode (Feedback mode) Norm/Cross [4] R EQ
Select the way in which processed sound is fed
back into the effect. Dly Tm L (Delay time left) 0 - 500m [1]
Norm : The left delay sound will be fed back Adjust the time from the original sound until when
into the left delay, and the right delay the left delay sound is heard.
sound into the right delay. Dly Tm R (Delay time right) 0 - 500m [2]
Cross : The left delay sound will be fed back Adjust the time from the original sound until when
into the right delay, and the right the right delay sound is heard.
delay sound into the left delay.
Feedback (Feedback level) -98% - +98% [3]
Phase L (Phase left) Norm/Invert [5] Adjust the proportion (%) of the processed sound
Select the phase of the left delay sound. that is fed back into the effect. Negative (-) settings
Norm : Phase will not be changed. will invert the phase.
Invert : Phase will be inverted. Fb Mode (Feedback mode) Norm/Cross [4]
Select the way in which processed sound is fed
Phase R (Phase right) Norm/Invert [6]
back into the effect.
Select the phase of the right delay sound.
Norm : The left delay sound will be fed back
Norm : Phase will not be changed.
into the left delay, and the right delay
Invert : Phase will be inverted. sound into the right delay.
HF Damp 315 - 8k/Bypass [8] Cross : The left delay sound will be fed back
Adjust the frequency above which sound fed back into the right delay, and the right
to the effect will be cut. If you do not want to cut the delay sound into the left delay.
high frequencies of the feedback, set this parameter
to Bypass.
+Mod Rate (Modulation rate) 0.05 - 10.0 [5]
Adjust the speed of the modulation.
#Balance (Effect balance) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and
Mod Depth (Modulation depth) 0 - 127 [6]
Adjust the depth of the modulation.
the processed sound.
“D” or “E” on the display respectively means Mod Phase (Modulation phase) 0 - 180 [7]
D(direct sound) or E(effect sound) values of 100. Adjust the spatial spread of the sound.

Chapter 4. Insertion Effects 65

HF Damp 315 - 8k/Bypass [8] HF Damp 315 - 8k/Bypass [8]
Adjust the frequency above which sound fed back This adjusts the frequency at which the high range
to the effect will be cut. If you do not wish to cut the is cut when the Center Delay sound is returned to
high frequencies of the feedback, set this parameter the input. If you do not wish to cut the high range,
to Bypass. set this to Bypass.

#Balance (Effect balance) D> 0E - D 0<E [16] #Balance (Effect balance) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and Adjust the volume balance between the direct and
the processed sound. the processed sound.
“D” or “E” on the display respectively means “D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100. D(direct sound) or E(effect sound) values of 100.

Low Gain -12 - +12 [17] Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range. Adjust the gain of the low frequency range.

Hi Gain (High gain) -12 - +12 [18] Hi Gain (High gain) -12 - +12 [18]
Adjust the gain of the high frequency range. Adjust the gain of the high frequency range.

Level (Output level) 0 - 127 [20] Level (Output level) 0 - 127 [20]
Adjust the output level. Adjust the output level.

23: 3 Tap Delay (Triple tap delay) [01H, 52H] 24: 4 Tap Delay (Quadruple tap delay)
The Triple Tap Delay produces three delay sounds; [01H, 53H]
center, left and right. The Quadruple Tap Delay has four delays.
L L
Level Level
Delay Left Balance Delay 4 Balance
Delay 3
Delay Center
HF Delay 2
Delay Right Delay 1
Balance
R HF Balance
R

Dly Tm C (Delay time center)

Dly Tm 1 (Delay time 1) 200m - 990m/1sec [1]
200m - 990m/1sec [1]
Adjust the time delay from the direct sound until
Adjust the time delay from the direct sound until
when delay 1 sound is heard.
when the center delay sound is heard.
Dly Tm 2 (Delay time 2) 200m - 990m/1sec [2]
Dly Tm L (Delay time left) 200m - 990m/1sec [2]
Adjust the time delay from the direct sound until
Adjust the time delay from the direct sound until
when delay 2 sound is heard.
when the left delay sound is heard.
Dly Tm 3 (Delay time 3) 200m - 990m/1sec [3]
Dly Tm R (Delay time right)
Adjust the time delay from the direct sound until
200m - 990m/1sec [3] when delay 3 sound is heard.
Adjust the time delay from the direct sound until
when the right delay sound is heard. Dly Tm 4 (Delay time 4) 200m - 990m/1sec [4]
Adjust the time delay from the direct sound until
+Feedback (Feedback level) -98% - +98% [4] when delay 4 sound is heard.
Adjust the proportion (%) of the Center Delay sound
that is fed back into the effect. Negative (-) settings Dly Lev 1 (Delay level 1) 0 - 127 [5]
will invert the phase. Adjust the volume of delay 1 sound.
Dly Lev C (Delay level center) 0 - 127 [5] Dly Lev 2 (Delay level 2) 0 - 127 [6]
Adjust the volume of center delay sound. Adjust the volume of delay 2 sound.
Dly Lev L (Delay level left) 0 - 127 [6] Dly Lev 3 (Delay level 3) 0 - 127 [7]
Adjust the volume of left delay sound. Adjust the volume of delay 3 sound.
Dly Lev R (Delay level right) 0 - 127 [7] Dly Lev 4 (Delay level 4) 0 - 127 [8]
Adjust the volume of right delay sound. Adjust the volume of delay 4 sound.

66 Chapter 4. Insertion Effects

+Feedback (Feedback level) -98% - +98% [9] EFX Pan (Effect output pan) L63 - 0 - R63 [5]
Adjust the proportion (%) of the Dlay 1 sound that is Adjust the stereo location of the processed sound.
fed back into the effect. Negative (-) settings will L63 is far left, 0 is center, and R63 is far right.
invert the phase.
Balance (Effect balance) D> 0E - D 0<E [16]
HF Damp 315 - 8k/Bypass [10] Adjust the volume balance between the direct and
This adjusts the frequency at which the high range the processed sound.
is cut when the Delay 1 sound is returned to the “D” or “E” on the display respectively means
input. If you do not wish to cut the high range, set D(direct sound) or E(effect sound) values of 100.
this to Bypass.
Low Gain -12 - +12 [17]
#Balance (Effect balance) D> 0E - D 0<E [16] Adjust the gain of the low frequency range.
Adjust the volume balance between the direct and
the processed sound. Hi Gain (High gain) -12 - +12 [18]
“D” or “E” on the display respectively means Adjust the gain of the high frequency range.
D(direct sound) or E(effect sound) values of 100.
Level (Output level) 0 - 127 [20]
Low Gain -12 - +12 [17] Adjust the output level.
Adjust the gain of the low frequency range.

Hi Gain (High gain) -12 - +12 [18]

Adjust the gain of the high frequency range. 26: Reverb [01H, 55H]
The Reverb effect adds reverberation to the sound,
Level (Output level) 0 - 127 [20] simulating an acoustic space.
Adjust the output level.
L EQ

Reverb Balance
25: Tm Ctrl Delay (Time control delay) [01H, 54H] R EQ
This effect allows you to use a specified controller (the
controller selected in EFX C.Src display (p.92) to con-
Type (Reverb type)
trol the delay time and pitch in realtime. Lengthening
Room1/2/Stage1/2/Hall1/2 [1]
the delay time will lower the pitch, and shortening it will
Select the type of Reverb effect.
raise the pitch.
Room1 : dense reverb with short decay
L EQ Room2 : sparse reverb with short decay
Delay HF Pan Balance Stage1 : reverb with greater late reverberation
R Stage2 : reverb with strong early reflections
EQ
Hall1 : reverb with clear reverberance
+Dly Time (Delay time) 200m - 990m/1sec [1] Hall2 : reverb with rich reverberance
Adjust the time delay from the direct sound until
when each delay sound is heard. Pre Dly (Pre delay time) 0 - 100m [2]
Adjust the time delay from when the direct sound
Accel (Acceleration) 0 - 15 [2] begins until the reverb sound is heard.
This parameter adjusts the speed over which the
Delay Time will change from the current setting to a +Time (Reverb time) 0 - 127 [3]
newly specified setting. The rate of change for the Adjust the time length of reverberation.
Delay Time directly affects the rate of pitch change. HF Damp 315 - 8k/Bypass [4]
#Feedback (Feedback level) -98% - +98% [3] Adjust the frequency above which the reverberant
Adjust the proportion (%) of the processed sound sound will be cut. As the frequency is set lower,
that is fed back into the effect. Negative (-) settings more of the high frequencies will be cut, resulting in
will invert the phase. a softer and more muted reverberance. If you do
not want the high frequencies to be cut, set this
HF Damp 315 - 8k/Bypass [4] parameter to Bypass.
Adjust the frequency above which sound fed back
to the effect will be cut. If you do not wish to cut the #Balance (Effect balance) D> 0E - D 0<E [16]
high frequencies of the feedback, set this parameter Adjust the volume balance between the direct and
to Bypass. the processed sound.
“D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.

Chapter 4. Insertion Effects 67

Low Gain -12 - +12 [17]
L EQ
Adjust the gain of the low frequency range. Level
3D Delay L
Hi Gain (High gain) -12 - +12 [18]
3D Delay C
Adjust the gain of the high frequency range.
HF
Level (Output level) 0 - 127 [20] 3D Delay R
Adjust the output level. R EQ

Dly Tm C (Delay Time Center)

0m - 500m [1]
27: Gate Reverb [01H, 56H] Adjust the time from the original sound until when
Gate Reverb is a special type of reverb in which the the center delay sound begins.
reverberant sound is cut off before its natural length.
Dly Tm L (Delay Time Left) 0m - 500m [2]
L EQ Adjust the time from the original sound until when
Balance the left delay sound begins.
Reverb
R EQ Dly Tm R (Delay Time Right)
0m - 500m [3]
Type (Gate reverb type) Adjust the time from the original sound until when
Norm/Reverse/Sweep1/2 [1] the right delay sound begins.
Select the type of reverb. +Feedback (Delay Feedback) -98% - +98% [4]
Norm : conventional gate reverb Adjust the amount (%) of the center delay sound
Reverse : backwards reverb that will be returned to the input. With negative (-)
settings, the phase will be inverted.
Sweep1 : the reverberant sound moves from
right to left Dly Lev C (Delay Level Center) 0 - 127 [5]
Sweep2 : the reverberant sound moves from Adjust the volume of the center delay sound.
left to right
Dly Lev L (Delay Level Left) 0 - 127 [6]
Pre Dly (Pre delay time) 0 - 100m [2] Adjust the volume of the left delay sound.
Adjust the time delay from when the direct sound
begins until the reverb sound is heard. Dly Lev R (Dely Level Right) 0 - 127 [7]
Adjust the volume of the right delay sound.
Gate Time 5 - 500m [3]
Adjust the time from when the reverb is heard until HF Damp 315 - 8k/Bypass [8]
when it disappears. This adjusts the frequency at which the high range
is cut when the Center Delay sound is returned to
+Balance (Effect balance) D> 0E - D 0<E [16] the input. If you do not wish to cut the high range,
Adjust the volume balance between the direct and set this to Bypass.
the processed sound.
Out (Output Mode) Speaker/Phones [15]
“D” or “E” on the display respectively means
Specify the method that will be used to hear the
D(direct sound) or E(effect sound) values of 100.
sound which is output to the OUTPUT jacks. The
Low Gain -12 - +12 [17] optimal 3D effect will be achieved if you select
Adjust the gain of the low frequency range. Speaker when using speakers, or Phones when
using headphones (p.91).
Hi Gain (High gain) -12 - +12 [18]
Adjust the gain of the high frequency range. #Balance (Effect balance) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and
#Level (Output level) 0 - 127 [20] the processed sound.
Adjust the output level. “D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.

Low Gain -12 - +12 [17]

28: 3D Delay [01H, 57H] Adjust the gain of the low frequency range.
This applies a 3D effect to the delay sound. The
delay sound will be positioned 90 degrees left and Hi Gain (High gain) -12 - +12 [18]
90 degrees right. Adjust the gain of the high frequency range.

Level (Output level) 0 - 127 [20]

Adjust the output level.

68 Chapter 4. Insertion Effects

❍ Effects that modify the pitch (pitch shift Low Gain -12 - +12 [17]
type) Adjust the gain of the low frequency range.

Hi Gain (High gain ) -12 - +12 [18]

29: 2 Pitch Shifter ( 2-voice pitch shifter) Adjust the gain of the high frequency range.
[01H, 60H]
A Pitch Shifter shifts the pitch of the original sound. Level (Output level ) 0 - 127 [20]
This 2-voice pitch shifter has two pitch shifters, and Adjust the output level.
can add two pitch shifted sounds to the original sound.

L EQ
Pitch 1 Pan 30: Fb P.Shifter (Feedback pitch shifter)
Balance [01H, 61H]
Pitch 2 Pan
R EQ This pitch shifter allows the pitch shifted sound to be
returned into the effect.
+Coarse 1 (Coarse pitch 1) -24 - 0 - +12 [1] L EQ
Adjust the pitch of Pitch Shift 1 in semitone steps (-
2 - +1 octaves). Pitch Pan Balance

Fine 1 (Fine pitch 1) -100 - 0 - +100 [2] R EQ

Make fine adjustments to the pitch of Pitch Shift 1 in
2-cent steps (-100 - +100 cents). +P.Coarse (Coarse pitch ) -24 - 0 - +12 [1]
Adjust the pitch of the pitch shifted sound in semi-
Pre Dly 1 (Pre delay time 1) 0 - 100m [3] tone steps (-2 - +1 octaves).
Adjust the time delay from when the direct sound
begins until the Pitch Shift 1 sound is heard. P.Fine (Fine pitch ) -100 - 0 - +100 [2]
Make fine adjustments to the pitch of the pitch shift-
EFX Pan 1 (Effect output pan 1) L63 - 0 - R63 [4] ed sound in 2-cent steps (-100 - +100 cents).
Adjust the stereo location of the Pitch Shift 1 sound.
L63 is far left, 0 is center, and R63 is far right. #Feedback (Feedback level ) -98% - +98% [3]
Adjust the proportion (%) of the processed sound
#Coarse 2 (Coarse pitch 2) -24 - 0 - +12 [5] that is fed back into the effect. Negative (-) settings
Adjust the pitch of Pitch Shift 2 in semitone steps (- will invert the phase.
2 - +1 octaves).
Pre Dly (Pre delay time ) 0 - 100m [4]
Fine 2 (Fine pitch 2) -100 - 0 - +100 [6] Adjust the time delay from when the direct sound
Make fine adjustments to the pitch of Pitch Shift 2 in begins until the pitch shifted sound is heard.
2-cent steps (-100 - +100 cents).
Mode (Pitch shifter mode ) 1 - 5 [5]
Pre Dly 2 (Pre delay time 2) 0 - 100m [7] Higher settings of this parameter will result in slow-
Adjust the time delay from when the direct sound er response, but steadier pitch.
begins until the Pitch Shift 2 sound is heard.
EFX Pan (Effect output pan ) L63 - 0 - R63 [6]
EFX Pan 2 (Effect output pan 2) L63 - 0 - R63 [8] Adjust the stereo location of the pitch shifted sound.
Adjust the stereo location of the Pitch Shift 2 sound. L63 is far left, 0 is center, and R63 is far right.
L63 is far left, 0 is center, and R63 is far right.
Balance (Effect balance ) D> 0E - D 0<E [16]
Shift Mode (Pitch shifter mode) 1 - 5 [9] Adjust the volume balance between the direct and
Higher settings of this parameter will result in slow- the processed sound.
er response, but steadier pitch.
“D” or “E” on the display respectively means
L.Bal (Level balance ) A> 0B - A 0<B [10] D(direct sound) or E(effect sound) values of 100.
Adjust the volume balance between the Pitch Shift
1 and Pitch Shift 2 sounds.
Low Gain -12 - +12 [17]
Adjust the gain of the low frequency range.
Balance (Effect balance ) D> 0E - D 0<E [16]
Adjust the volume balance between the direct and
Hi Gain (High gain ) -12 - +12 [18]
Adjust the gain of the high frequency range.
the processed sound.
“D” or “E” on the display respectively means Level (Output level ) 0 - 127 [20]
D(direct sound) or E(effect sound) values of 100. Adjust the output level.

Chapter 4. Insertion Effects 69

❍ Others
33: Lo-Fi 1 [01H, 72H]
31: 3D Auto [01H, 70H] Lo-Fi 1 is an effect that intentionally degrades the
The 3D Auto effect rotates the location of the sound. sound quality.
L L

3D Auto Lo-Fi EQ Pan

R R

Azimuth 180/L168 - 0 - R168 [1] Pre Filter (Pre Filter Type) 1 - 6 [1]
Set the location at which the sound will stop when Specify the type of filter that will be applied before
rotation is stopped. the sound passes through the Lo-Fi effect.
A setting of 0 positions the sound in the center. Lo-Fi Type 1 - 9 [2]
Degrade the sound quality. The sound quality will
+Speed 0.05 - 10.0 [2]
become poorer as this value is increased.
Set the speed of rotation.

Clockwise -/+ [3] Post Filter (Post Filter Type) 1 - 6 [3]

Specify the type of filter that will be applied after the
Set the direction of rotation. A setting of “-” is
sound passes through the Lo-Fi effect.
counter-clockwise, and “+” is clockwise.

#Turn Off/On [4] +Balance (Effect Balance) D > 0E - D 0<E [16]

Adjust the volume balance between the direct and
This stops or starts the rotation. When this is turned
the processed sound.
On, the sound will rotate. When turned Off, rotation
will stop at the location specified by Azimuth. “D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
Out (Output mode) Speaker/Phones [15]
Specify the method that will be used to hear the Low Gain -12 - +12 [17]
sound which is output to the OUTPUT jacks. The Adjust the gain of the low frequency range.
optimal 3D effect will be achieved if you select
Hi Gain (High gain) -12 - +12 [18]
Speaker when using speakers, or Phones when
Adjust the gain of the high frequency range.
using headphones (p.91).
#Pan (Output pan) L63 - 0 - R63 [19]
Level (Output level ) 0 - 127 [20]
Adjust the stereo location of the output sound. L63
Adjust the output level.
is far left, 0 is center, and R63 is far right.

Level (Output level) 0 - 127 [20]

Adjust the output level.
32: 3D Manual [01H, 71H]
This places the 3D effect at a desired location.
34: Lo-Fi 2 [01H, 73H]
L
Lo-Fi 2 is an effect that intentionally degrades the
3D Locate sound quality and allows a variety of noise to be
added
R
* If the R.Detune (Radio Detune), W/P Level (White/Pink
+Azimuth 180/L168 - 0 - R168 [1] Noise Level), Disc Nz Lev (Disc Noise Level), or Hum
Level settings are raised, there will be noise even when
Specify the location.
the input sound is silent.
A setting of 0 positions the sound in the center.
Radio
Out (Output mode) Speaker/Phones [15]
Specify the method that will be used to hear the L EQ
sound which is output to the OUTPUT jacks. The Lo-Fi
Balance
optimal 3D effect will be achieved if you select Lo-Fi
Speaker when using speakers, or Phones when R EQ
using headphones (p.91). Noise
Generator
#Level (Output level ) 0 - 127 [20]
Adjust the output level. Lo-Fi Type 1 - 6 [1]
Degrade the sound quality. The sound quality will
become poorer as this value is increased.

Fil Type (Filter Type) Off/LPF/HPF [2]

Specify the type of filter that is applied after the
sound passes through the Lo-Fi effect.

70 Chapter 4. Insertion Effects

Cutoff (Cutoff Frequency) 250 - 8 k [3] Level (Output level) 0 - 127 [20]
Specify the cutoff frequency of the filter that is Adjust the output level.
applied after the sound passes through the Lo-Fi
effect.

+R.Detune (Radio Detune) 0 - 127 [4] ❍ Effects that connect two types of effect in
This simulates the tuning noise of a radio. As this series (series 2)
value is raised, the tuning will drift further.

R.Nz Lev (Radio Noise Level) 0 - 127 [5] 35: OD → Chorus (Overdrive → Chorus)
Adjust the volume of the radio noise. [02H, 00H]
This effect connects an overdrive and a chorus in
W/P Sel (White/Pink Noise Select) White/Pink [6] series.
Select either white noise or pink noise.
L EQ
W/P LPF (White/Pink Noise LPF)
250 - 6.3 k/Bypass [7] Overdrive Chorus Balance
Specify the cutoff frequency of the low pass filter
R EQ
that is applied to the white noise or pink noise.

W/P Level (White/Pink Noise Level) 0 - 127 [8] OD Drive (Overdrive drive ) 0 - 127 [1]
Specify the volume of the white noise or pink noise. Adjust the degree of overdrive distortion. The vol-
ume will change together with the degree of distor-
Disc Type (Disc Noise Type) LP/EP/SP/RND [9] tion.
Select the type of record noise. The frequency at
which the noise is heard will depend on the select- +OD Pan (Overdrive drive output pan )
ed type. L63 - 0 - R63 [2]
Adjust the stereo location of the overdrive sound.
Disc LPF (Disc Noise LPF) L63 is far left, 0 is center, and R63 is far right.
250 - 6.3 k/Bypass [10]
Specify the cutoff frequency of the low pass filter OD Amp (Overdrive Amp Simulator Type)
that is applied to the record noise. Small/BltIn/2-Stk/3-Stk [3]
Select the type of guitar amp.
Disc Nz Lev (Disc Noise Level) 0 - 127 [11]
Specify the volume of the record noise. Small : small amp
BltIn : single-unit type amp
Hum Type (Hum Noise Type) 50/60 Hz [12] 2-Stk : large double stack amp
Select the type of hum noise.
3-Stk : large triple stack amp
Hum LPF (Hum Noise LPF)
250 - 6.3 k/Bypass [13] OD Amp Sw (Overdrive Amp switch) Off/On [4]
Specify the cutoff frequency of the low pass filter Turn OD Amp on/off.
that is applied to the hum noise. Cho Dly (Chorus pre delay ) 0 - 100m [6]
Hum Level (Hum Noise Level) 0 - 127 [14] Adjust the time delay from when the direct sound
Specify the volume of the hum noise. begins until the chorus sound is heard.

M/S (Mono/Stereo Switch) Mono/Stereo [15] Cho Rate (Chorus rate ) 0.05 - 10.0 [7]
Select whether the effect sound will be monaural or Adjust the modulation speed of the chorus effect.
stereo. Cho Depth (Chorus depth ) 0 - 127 [8]
#Balance (Effect Balance) D> 0E - D 0 - 0<E [16] Adjust the modulation depth of the chorus effect.
Adjust the volume balance between the direct and #Cho Bal (Chorus balance ) D> 0E - D 0<E [10]
the effect sound. Adjust the volume balance between the sound
“D” or “E” on the display respectively means which passes through the chorus and the sound
D(direct sound) or E(effect sound) values of 100. which does not. With a setting of D>0E, only the
overdrive sound will be output, and with a setting of
Low Gain -12 - +12 [17] D 0<E, the overdrive sound which passes through
Adjust the gain of the low frequency range. the chorus will be output. “D” and “E” respectively
Hi Gain (High gain) -12 - +12 [18] indicate D (dry sound) and E (effect sound) values
Adjust the gain of the high frequency range. of 100.

Pan (Mono) (Output Pan (Mono)) Low Gain -12 - +12 [17]
Adjust the low frequency gain.
L63 - 0 - R63 [19]
When Mono mode is used, adjust the stereo loca- Hi Gain (High gain ) -12 - +12 [18]
tion of the output sound. L63 is far left, 0 is center, Adjust the high frequency gain.
and R63 is far right.

Chapter 4. Insertion Effects 71

Level (Output level ) 0 - 127 [20] Hi Gain (High gain ) -12 - +12 [18]
Adjust the output level. Adjust the high frequency gain.

Level (Output level ) 0 - 127 [20]

Adjust the output level.
36: OD → Flanger (Overdrive → Flanger)
[02H, 01H]
This effect connects an overdrive and a flanger in
37: OD → Delay (Overdrive → Delay) [02H, 02H]
series.
This effect connects an overdrive and a delay in
L EQ series.

Overdrive Flanger Balance L EQ

R EQ Overdrive Delay Balance

R EQ
OD Drive (Overdrive drive ) 0 - 127 [1]
Adjust the degree of overdrive distortion. The vol-
ume will change together with the degree of distor- OD Drive (Overdrive drive ) 0 - 127 [1]
tion. Adjust the degree of overdrive distortion. The vol-
ume will change together with the degree of distor-
+OD Pan (Overdrive output pan ) tion.
L63 - 0 - R63 [2]
Adjust the stereo location of the overdrive sound.
+OD Pan (Overdrive output pan )
L6 is far left, 0 is center, and R63 is far right. L63 - 0 - R63 [2]
Adjust the stereo location of the overdrive sound.
OD Amp (Overdrive Amp Simulator Type) L63 is far left, 0 is center, and R63 is far right.
Small/BltIn/2-Stk/3-Stk [3]
Select the type of guitar amp.
OD Amp (Overdrive Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3]
Small : small amp Select the type of guitar amp.
BltIn : single-unit type amp Small : small amp
2-Stk : large double stack amp BltIn : single-unit type amp
3-Stk : large triple stack amp 2-Stk : large double stack amp
OD Amp Sw (Overdrive Amp Switch) Off/On [4] 3-Stk : large triple stack amp
Turn OD Amp on/off.
OD Amp Sw (Overdrive Amp Switch) Off/On [4]
FL Dly (Flanger pre delay ) 0 - 100m [6] Turn OD Amp on/off.
Adjust the time delay from when the direct sound
begins until the flanger sound is heard. Dly Time (Delay time ) 0 - 500m [6]
Adjust the time delay from when the direct sound
FL Rate (Flanger rate ) 0.05 - 10.0 [7] begins until the delay sound is heard.
Adjust the modulation speed of the flanger effect.
Dly Fb (Delay feedback level ) -98% - +98% [7]
FL Depth (Flanger depth ) 0 - 127 [8] Adjust the proportion (%) of the delay sound that is
Adjust the modulation depth of the flanger effect. fed back into the effect. Negative (-) settings will
invert the phase.
FL Fb (Flanger feedback level ) -98% - +98% [9]
Adjust the proportion (%) of the flanger sound that Dly HF (Delay HF damp ) 315 - 8k/Bypass [8]
is fed back into the effect. Negative (-) settings will Adjust the frequency above which delayed sound
invert the phase. fed back to the effect will be cut. If you do not wish
to cut the high frequencies of the feedback, set this
#FL Bal (Flanger balance) D> 0E - D 0<E [10] parameter to Bypass.
Adjust the volume balance between the sound
which passes through the flanger and the sound #Dly Bal (Delay balance ) D> 0E - D 0<E [10]
which does not. With a setting of D>0E, only the Adjust the volume balance between the sound
overdrive sound will be output, and with a setting of which passes through the delay and the sound
D 0<E, the overdrive sound which passes through which does not. With a setting of D>0E, only the
the flanger will be output. “D” and “E” respectively overdrive sound will be output, and with a setting of
indicate D (dry sound) and E (effect sound) values D 0<E, the overdrive sound which passes through
of 100. the delay will be output.
“D” or “E” on the display respectively means
Low Gain -12 - +12 [17] D(direct sound) or E(effect sound) values of 100.
Adjust the low frequency gain.

72 Chapter 4. Insertion Effects

Low Gain -12 - +12 [17] Low Gain -12 - +12 [17]
Adjust the low frequency gain. Adjust the low frequency gain.

Hi Gain (High gain ) -12 - +12 [18] Hi Gain (High gain ) -12 - +12 [18]
Adjust the high frequency gain. Adjust the high frequency gain.

Level (Output level ) 0 - 127 [20] Level (Output level ) 0 - 127 [20]
Adjust the output level. Adjust the output level.

38: DS → Chorus (Distortion → Chorus) 39: DS → Flanger (Distortion → Flanger)

[02H, 03H] [02H, 04H]
This effect connects a distortion and a chorus in This effect connects a distortion and a flanger in
series. series.

L EQ L EQ

Distortion Chorus Balance Distortion Flanger Balance

R EQ R EQ

DS Drive (Distortion drive ) 0 - 127 [1] DS Drive (Distortion drive ) 0 - 127 [1]
Adjust the degree of distortion. The volume will Adjust the degree of distortion. The volume will
change together with the degree of distortion. change together with the degree of distortion.

+DS Pan (Distortion output pan ) +DS Pan (Distortion output pan )
L63 - 0 - R63 [2] L63 - 0 - R63 [2]
Adjust the stereo location of the distortion sound. Adjust the stereo location of the distortion sound.
L63 is far left, 0 is center, and R63 is far right. L63 is far left, 0 is center, and R63 is far right.

DS Amp (Distortion Amp Simulator Type) DS Amp (Distortion Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3] Small/BltIn/2-Stk/3-Stk [3]
Select the type of guitar amp. Select the type of guitar amp.
Small : small amp Small : small amp
BltIn : single-unit type amp BltIn : single-unit type amp
2-Stk : large double stack amp 2-Stk : large double stack amp
3-Stk : large triple stack amp 3-Stk : large triple stack amp

DS Amp Sw (Distortion Amp Switch) Off/On [4] DS Amp Sw (Distortion Amp Switch) Off/On [4]
Turn DS Amp on/off. Turn DS Amp on/off.

Cho Dly (Chorus pre delay ) 0 - 100m [6] FL Dly (Flanger pre delay ) 0 - 100m [6]
Adjust the time delay from when the direct sound Adjust the time delay from when the direct sound
begins until the chorus sound is heard. begins until the flanger sound is heard.

Cho Rate (Chorus rate ) 0.05 - 10.0 [7] FL Rate (Flanger rate ) 0.05 - 10.0 [7]
Adjust the modulation speed of the chorus effect. Adjust the modulation speed of the flanger effect.

Cho Depth (Chorus depth ) 0 - 127 [8] FL Depth (Flanger depth ) 0 - 127 [8]
Adjust the modulation depth of the chorus effect. Adjust the modulation depth of the flanger effect.

#Cho Bal (Chorus balance ) D> 0E - D 0<E [10] FL Fb (Flanger feedback level ) -98% - +98% [9]
Adjust the volume balance between the sound Adjust the proportion (%) of the flanger sound that
which passes through the chorus and the sound is fed back into the effect. Negative (-) settings will
which does not. With a setting of D>0E, only the invert the phase.
distortion sound will be output, and with a setting of
D 0<E, the distortion sound which passes through
the chorus will be output.
“D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.

Chapter 4. Insertion Effects 73

#FL Bal (Flanger balance) D> 0E - D 0<E [10] #Dly Bal (Delay balance ) D> 0E - D 0<E [10]
Adjust the volume balance between the sound Adjust the volume balance between the sound
which passes through the flanger and the sound which passes through the delay and the sound
which does not. With a setting of D>0E, only the which does not. With a setting of D>0E, only the
distortion sound will be output, and with a setting of distortion sound will be output, and with a setting of
D 0<E, the distortion sound which passes through D 0<E, the distortion sound which passes through
the flanger will be output. the delay will be output. “D” and “E” respectively
“D” or “E” on the display respectively means indicate D (dry sound) and E (effect sound) values
D(direct sound) or E(effect sound) values of 100. of 100.

Low Gain -12 - +12 [17] Low Gain -12 - +12 [17]
Adjust the low frequency gain. Adjust the low frequency gain.

Hi Gain (High gain ) -12 - +12 [18] Hi Gain (High gain ) -12 - +12 [18]
Adjust the high frequency gain. Adjust the high frequency gain.

Level (Output level ) 0 - 127 [20] Level (Output level ) 0 - 127 [20]
Adjust the output level. Adjust the output level.

40: DS → Delay (Distortion → Delay ) [02H, 05H] 41: EH → Chorus (Enhancer → Chorus)
This effect connects a distortion and a delay in series. [02H, 06H]
This effect connects an enhancer and a chorus in
L EQ series.
Distortion Delay Balance L Enhancer EQ

R EQ Chorus Balance

R Enhancer EQ
DS Drive (Distortion drive ) 0 - 127 [1]
Adjust the degree of distortion. The volume will
change together with the degree of distortion. +EH Sens (Enhancer Sensitivity ) 0 - 127 [1]
Adjust the sensitivity of the enhancer.
+DS Pan (Distortion output pan )
L63 - 0 - R63 [2] EH Mix (Enhancer Mix level ) 0 - 127 [2]
Adjust the stereo location of the distortion sound. Adjust the ratio with which the overtones generated
L63 is far left, 0 is center, and R63 is far right. by the enhancer are combined with the direct
sound.
DS Amp (Distortion Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3] Cho Dly (Chorus pre delay ) 0 - 100m [6]
Select the type of guitar amp. Adjust the time delay from when the direct sound
begins until the chorus sound is heard.
Small : small amp
BltIn : single-unit type amp Cho Rate (Chorus rate ) 0.05 - 10.0 [7]
2-Stk : large double stack amp Adjust the modulation speed of the chorus effect.

3-Stk : large triple stack amp Cho Depth (Chorus depth ) 0 - 127 [8]
Adjust the modulation depth of the chorus effect.
DS Amp Sw (Distortion Amp Switch) Off/On [4]
Turn DS Amp on/off. #Cho Bal (Chorus balance ) D> 0E - D 0<E [10]
Adjust the volume balance between the sound
Dly Time (Delay time ) 0 - 500m [6] which passes through the chorus and the sound
Adjust the time delay from when the direct sound which does not. With a setting of D>0E, only the
begins until the delay sound is heard. enhancer sound will be output, and with a setting of
Dly Fb (Delay feedback level ) -98% - +98% [7] D 0<E, the enhancer sound which passes through
Adjust the proportion (%) of the delay sound that is the chorus will be output.
fed back into the effect. Negative (-) settings will “D” or “E” on the display respectively means
invert the phase. D(direct sound) or E(effect sound) values of 100.

Dly HF (Delay HF damp ) 315 - 8k/Bypass [8] Low Gain -12 - +12 [17]
Adjust the frequency above which delayed sound Adjust the low frequency gain.
fed back to the effect will be cut. If you do not wish
to cut the high frequencies of the feedback, set this
parameter to Bypass.

74 Chapter 4. Insertion Effects

Hi Gain (High gain ) -12 - +12 [18]
Adjust the high frequency gain. L Enhancer EQ

Delay Balance
Level (Output level ) 0 - 127 [20]
Adjust the output level. R Enhancer EQ

+EH Sens (Enhancer Sensitivity ) 0 - 127 [1]

Adjust the sensitivity of the enhancer.
42: EH → Flanger (Enhancer → Flanger)
[02H, 07H] EH Mix (Enhancer Mix level ) 0 - 127 [2]
This effect connects an enhancer and a flanger in Adjust the ratio with which the overtones generated
series. by the enhancer are combined with the direct
sound.
L Enhancer EQ
Dly Time (Delay time ) 0 - 500m [6]
Flanger Balance
Adjust the time delay from when the direct sound
R Enhancer EQ begins until the delay sound is heard.

Dly Fb (Delay feedback level ) -98% - +98% [7]

+EH Sens (Enhancer Sensitivity ) 0 - 127 [1] Adjust the proportion (%) of the delay sound that is
Adjust the sensitivity of the enhancer. fed back into the delay input. Negative (-) settings
will invert the phase.
EH Mix (Enhancer Mix level ) 0 - 127 [2]
Adjust the ratio with which the overtones generated Dly HF (Delay HF damp ) 315 - 8k/Bypass [8]
by the enhancer are combined with the direct Adjust the frequency above which delayed sound
sound. fed back to the delay input will be cut. If you do not
wish to cut the high frequencies of the delay feed-
FL Dly (Flanger pre delay ) 0 - 100m [6]
back, set this parameter to Bypass.
Adjust the time delay from when the direct sound
begins until the flanger sound is heard. #Dly Bal (Delay balance ) D> 0E - D 0<E [10]
Adjust the volume balance between the sound
FL Rate (Flanger rate ) 0.05 - 10.0 [7]
which passes through the delay and the sound
Adjust the modulation speed of the flanger effect.
which does not. With a setting of D>0E, only the
FL Depth (Flanger depth ) 0 - 127 [8] enhancer sound will be output, and with a setting of
Adjust the modulation depth of the flanger effect. D 0<E, the enhancer sound which passes through
the delay will be output.
FL Fb (Flanger Feedback level ) -98% - +98% [9] “D” or “E” on the display respectively means
Adjust the proportion (%) of the flanger sound that D(direct sound) or E(effect sound) values of 100.
is fed back into the effect. Negative (-) settings will
invert the phase. Low Gain -12 - +12 [17]
Adjust the low frequency gain.
#FL Bal (Flanger balance) D> 0E - D 0<E [10]
Adjust the volume balance between the sound Hi Gain (High gain ) -12 - +12 [18]
which passes through the flanger and the sound Adjust the high frequency gain.
which does not. With a setting of D>0E, only the
enhancer sound will be output, and with a setting of Level (Output level ) 0 - 127 [20]
D 0<E, the enhancer sound which passes through Adjust the output level.
the flanger will be output. “D” and “E” respectively
indicate D (dry sound) and E (effect sound) values
of 100.
44: Cho → Delay (Chorus → Delay) [02H, 09H]
Low Gain -12 - +12 [17] This effect connects a chorus and a delay unit in
Adjust the low frequency gain. series.

Hi Gain (High gain ) -12 - +12 [18] L EQ

Adjust the high frequency gain. Chorus Delay

Level (Output level ) 0 - 127 [20] R EQ

Adjust the output level.
Cho Dly (Chorus pre delay ) 0 - 100m [1]
Adjust the time delay from when the direct sound
begins until the chorus sound is heard.
43: EH → Delay (Enhancer → Delay) [02H, 08H]
This effect connects an enhancer and a delay in
series.

Chapter 4. Insertion Effects 75

Cho Rate (Chorus rate ) 0.05 - 10.0 [2] FL Depth (Flanger depth ) 0 - 127 [3]
Adjust the modulation speed of the chorus effect. Adjust the modulation depth of the flanger effect.

Cho Depth (Chorus depth ) 0 - 127 [3] +FL Fb (Flanger feedback level )
Adjust the modulation depth of the chorus effect. -98% - +98% [4]
Adjust the proportion (%) of the flanger sound that
+Cho Bal (Chorus balance ) D> 0E - D 0<E [5] is fed back into the effect. Negative (-) settings will
Adjust the volume balance between the direct invert the phase.
sound and the chorus sound. With a setting of “D>
0E,” only the direct sound will be output. With a set- FL Bal (Flanger balance ) D> 0E - D 0<E [5]
ting of “D 0<E,” only the chorus sound will be out- Adjust the volume balance between the direct
put. sound and the flanger sound. With a setting of “D>
“D” or “E” on the display respectively means 0E,” only the direct sound will be output. With a set-
D(direct sound) or E(effect sound) values of 100. ting of “D 0<E,” only the flanger sound will be out-
put.
Dly Time (Delay time ) 0 - 500m [6] “D” or “E” on the display respectively means
Adjust the time delay from when the direct sound D(direct sound) or E(effect sound) values of 100.
begins until the delay sound is heard.
Dly Time (Delay time ) 0 - 500m [6]
Dly Fb (Delay feedback level ) -98% - +98% [7] Adjust the time delay from when the direct sound
Adjust the proportion (%) of the delay sound that is begins until the delay sound is heard.
fed back into the delay input. Negative (-) settings
will invert the phase. Dly Fb (Delay feedback level ) -98% - +98% [7]
Adjust the proportion (%) of the delay sound that is
Dly HF (Delay HF damp ) 315 - 8k/Bypass [8] fed back into the delay input. Negative (-) settings
Adjust the frequency above which delayed sound will invert the phase.
fed back to the delay input will be cut. If you do not
wish to cut the high frequencies of the feedback, set Dly HF (Delay HF damp ) 315 - 8k/Bypass [8]
this parameter to Bypass. Adjust the frequency above which delayed sound
fed back to the delay input will be cut. If you do not
#Dly Bal (Delay balance ) D> 0E - D 0<E [10] wish to cut the high frequencies of the delay feed-
Adjust the volume balance between the sound back, set this parameter to Bypass.
which passes through the delay and the sound
which does not. With a setting of D>0E, only the #Dly Bal (Delay balance ) D> 0E - D 0<E [10]
chorus sound will be output, and with a setting of D Adjust the volume balance between the sound
0<E, the chorus sound which passes through the which passes through the delay and the sound
delay will be output. which does not. With a setting of D>0E, only the
“D” or “E” on the display respectively means flanger sound will be output, and with a setting of D
D(direct sound) or E(effect sound) values of 100. 0<E, the flanger sound which passes through the
delay will be output.
Low Gain -12 - +12 [17] “D” or “E” on the display respectively means
Adjust the low frequency gain. D(direct sound) or E(effect sound) values of 100.
Hi Gain (High gain ) -12 - +12 [18] Low Gain -12 - +12 [17]
Adjust the high frequency gain. Adjust the low frequency gain.
Level (Output level ) 0 - 127 [20] Hi Gain (High gain ) -12 - +12 [18]
Adjust the output level. Adjust the high frequency gain.

Level (Output level ) 0 - 127 [20]

Adjust the output level.
45: FL → Delay (Flanger → Delay) [02H, 0AH]
This effect connects a flanger and a delay in series.
L EQ
46: Cho → Flanger (Chorus → Flanger)
Flanger Delay [02H, 0BH]
R EQ This effect connects a chorus and a flanger in series.
L EQ
FL Dly (Flanger pre delay ) 0 - 100m [1]
Adjust the time delay from when the direct sound Chorus Flanger

begins until the flanger sound is heard. R EQ

FL Rate (Flanger rate ) 0.05 - 10.0 [2]

Adjust the modulation speed of the flanger effect.

76 Chapter 4. Insertion Effects

Cho Dly (Chorus pre delay ) 0 - 100m [1] L
Adjust the time delay from when the direct sound
Over
begins until the chorus sound is heard. EQ Rotary
drive
Cho Rate (Chorus rate ) 0.05 - 10.0 [2] R
Adjust the modulation speed of the chorus effect.
+OD Drive 0 - 127 [1]
Cho Depth (Chorus depth ) 0 - 127 [3] Adjust the depth of distortion. The volume will
Adjust the modulation depth of the chorus effect. change together with the depth of distortion.

+Cho Bal (Chorus balance ) D> 0E - D 0<E [5] OD Sw (Overdrive Switch) Off/On [2]
Adjust the volume balance between the direct Turn the Overdrive effect on/off.
sound and the chorus sound. With a setting of “D>
0E,” only the direct sound will be output. With a set-
EQ L Gain (EQ Low Gain) -12 - +12 [3]
Adjust the low range gain of the equalizer.
ting of “D 0<E,” only the chorus sound will be out-
put. EQ M Fq (EQ Mid Frequency) 200 - 6.3k [4]
“D” or “E” on the display respectively means Set the center frequency for the equalizer mid-
D(direct sound) or E(effect sound) values of 100. range.

FL Dly (Flanger pre delay time ) 0 - 100m [6] EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [5]
Adjust the time delay from when the direct sound Adjust the width of the area centered at the EQ M
begins until the flanger sound is heard. Fq setting in which the gain will be affected. The
area affected will become narrower as this value is
FL Rate (Flanger rate ) 0.05 - 10.0 [7] increased.
Adjust the modulation speed of the flanger effect.
EQ M Gain (EQ Mid Gain) -12 - +12 [6]
FL Depth (Flanger depth ) 0 - 127 [8] Adjust the gain of the area specified by the EQ M
Adjust the modulation depth of the flanger effect. Fq parameter and the EQ M Q parameter.
FL Fb (Flanger feedback level ) -98% - +98% [9] EQ H Gain (EQ High Gain) -12 - +12 [7]
Adjust the proportion (%) of the flanger sound that Adjust the high-range gain of the equalizer.
is fed back into the effect. Negative (-) settings will
invert the phase.

#FL Bal (Flanger balance ) D> 0E - D 0<E [10] <RT (Rotary)>

Adjust the volume balance between the sound RT L Slow (RT Low Frequency Slow Rate)
which passes through the flanger and the sound 0.05 - 10.0 [8]
which does not. With a setting of D>0E, only the Adjust the speed of the low-range rotor for the low-
chorus sound will be output, and with a setting of D speed (Slow) setting.
0<E, the chorus sound which passes through the
flanger will be output. RT L Fast (RT Low Frequency Fast Rate)
“D” or “E” on the display respectively means 0.05 - 10.0 [9]
D(direct sound) or E(effect sound) values of 100. Adjust the speed of the low-range rotor for the high-
speed (Fast) setting.
Low Gain -12 - +12 [17]
Adjust the low frequency gain. RT Lo Accl (RT Low Frequency Accelaration)
0 - 15 [10]
Hi Gain (High gain ) -12 - +12 [18] Adjust the time over which the rotation speed of the
Adjust the high frequency gain. low-range rotor will change from low-speed to high-
speed (or high-speed to low-speed) rotation.
Level (Output level ) 0 - 127 [20] Smaller values will require greater time to reach the
Adjust the output level. new rotational speed.

RT Lo Lev (RT Low Frequency Level) 0 - 127 [11]

Adjust the volume of the low-range rotor.
❍ Effects that connect three or more types of
effect in series (series 3 / series 4 / series RT H Slow (RT High Frequency Slow Rate)
5) 0.05 - 10.0 [12]
Adjust the speed of the high-range rotor for the low-
speed (Slow) setting.
47: Rotary Multi [03H, 00H]
This connects Overdrive (OD), 3-band equalizer (EQ),
and Rotary (RT) effects in series.

Chapter 4. Insertion Effects 77

RT H Fast (RTRT High Frequency Fast Rate) <OD (Overdrive/Distortion)>
0.05 - 10.0 [13] OD Sel (OD Select) Odrv/Dist [5]
Adjust the speed of the high-range rotor for the Select either Overdrive or Distortion.
high-speed (Fast) setting.
+OD Drive 0 - 127 [6]
RT Hi Accl (RT High Frequency Accelaration) Adjust the depth of distortion. The volume will
0 - 15 [14] change together with the depth of distortion.
Adjust the time over which the rotation speed of the
high-range rotor will change from low-speed to OD Amp (OD Amp Simulator Type)
high-speed (or high-speed to low-speed) rotation. Small/BltIn/2-Stk/3-Stk [7]
Smaller values will require greater time to reach the Select the type of guitar amp.
new rotational speed. Small : small amp
RT Hi Lev (RT High Frequency Level) BltIn : single-unit type amp
0 - 127 [15] 2-Stk : large double stack amp
Adjust the volume of the high-range rotor. 3-Stk : large triple stack amp
RT Sept (RT Separation) 0 - 127 [16] OD Amp Sw (OD Amp Switch) Off/On [8]
Adjust the spatial spread of the rotary sound. Turn OD Amp on/off.
#RT Speed Slow/Fast [17] OD L Gain (OD Low Gain) -12 - +12 [9]
Simultaneously switch the rotational speed of both Adjust the low-range gain.
the low-range and the high-range rotors.
Slow : Slow down the rotation to the speci- OD H Gain (OD High Gain) -12 - +12 [10]
fied speeds (RT L Slow parameter / Adjust the high-range gain.
RT H Slow parameter values).
OD Sw (OD Switch) Off/On [11]
Fast : Speed up the rotation to the specified Turn Overdrive or Distortion on/off.
speeds (RT L Fast parameter / RT H
Fast parameter values).
<CF (Chorus/Flanger)>
Level (Output level ) 0 - 127 [20]
Adjust the output level. CF Sel (CF Select) Chorus/Flangr [12]
Select either Chorus or Flanger.

CF Rate 0.05 - 6.40 [13]

48: GTR Multi 1 (Guitar Multi1) [04H, 00H] Adjust the speed of modulation
Guitar Multi 1 connects Compressor (Cmp), Overdrive
CF Depth 0 - 127 [14]
or Distortion (OD), Chorus or Flanger (CF), and Delay
Adjust the depth of modulation.
(Dly) effects in series.
L CF Fb (CF Feedback) -98% - +98% [15]
Adjust the amount (%) of the flanger sound that is
Cmp OD CF Delay returned to the input. Negative (-) values will invert
R
the phase.
In the case of Chorus, this will have no effect.
<Cmp (Compressor)>
CF Mix 0 - 127 [16]
Cmp Atck (Compressor Attack) 0 - 127 [1] Adjust the volume of the chorus or flanger sound.
Adjust the time over which the sound will rise after
input.

Cmp Sus (Compressor Sustain) 0 - 127 [2] <Dly(Delay)>

Adjust the time over which low-level sounds are Dly Time (Delay Time) 0m - 635m [17]
boosted until they reach a specified volume. Adjust the time from the original sound until when
Increasing the value will shorten the time. When the the delay sound is heard.
value is modified, the level will also change.
Dly Fb (Delay Feedback Level) 0 - 127 [18]
Cmp Level (Compressor Level) 0 - 127 [3] Adjust the amount of the delay sound that is
Adjust the volume of the compressor sound. returned to the input.

Cmp Sw (Compressor Switch) Off/On [4] #Dly Mix (Delay Mix) 0 - 127 [19]
Turn the compressor on/off. Adjust the volume of the delay sound.

Level (Output level ) 0 - 127 [20]

Adjust the output level.

78 Chapter 4. Insertion Effects

 EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [12]
49: GTR Multi 2 (Guitar Multi2) [04H, 01H] Adjust the width of the area centered at the EQ M
Fq setting in which the gain will be affected. The
Guitar Multi 2 provides Compressor (Cmp), Overdrive
area affected will become narrower as this value is
or Distortion (OD), Equalizer (EQ), and Chorus or
increased.
Flanger (CF) effects connected in series.
L EQ M Gain (EQ Mid Gain) -12 - +12 [13]
Adjust the gain of the area specified by the EQ M
Cmp OD EQ CF Fq parameter and the EQ M Q parameter.
R
EQ H Gain (EQ High Gain) -12 - +12 [14]
<Cmp (Compressor)> Adjust the high-range gain of the equalizer.

Cmp Atck (Compressor Attack) 0 - 127 [1]

Adjust the time over which the sound will rise after it <CF (Chorus/Flanger)>
is input.
CF Sel (CF Select) Chorus/Flangr [15]
Cmp Sus (Compressor Sustain) 0 - 127 [2] Select either Chorus or Flanger.
Adjust the time over which low-level sounds are
boosted until they reach a specified volume. CF Rate 0.05 - 6.40 [16]
Adjust the speed of modulation for the chorus or
Increasing the value will shorten the time. When the
flanger.
value is modified, the level will also change.
CF Depth 0 - 127 [17]
Cmp Level (Compressor Level) 0 - 127 [3] Adjust the depth of modulation for the chorus or
Adjust the volume of the compressor sound.
flanger.
Cmp Sw (Compressor Switch) Off/On [4] CF Fb (CF Feedback) -98% - +98% [18]
Turn the compressor on/off.
Adjust the amount (%) of the flanger sound that will
be returned to the input. Negative (-) values will
invert the phase.
<OD (Overdrive/Distortion)>
In the case of Chorus, this will have no effect.
OD Sel (OD Select) Odrv/Dist [5]
Select either Overdrive or Distortion. #CF Mix (CF Mix) 0 - 127 [19]
Adjust the volume of the chorus or flanger sound.
+OD Drive (OD Drive) 0 - 127 [6]
Adjust the depth of distortion. The volume will Level (Output level ) 0 - 127 [20]
change together with the depth of distortion. Adjust the output level.

OD Amp (OD Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [7]
Select the type of guitar amp 50: GTR Multi 3 (Guitar Multi3) [04H, 02H]
Small : small amp Guitar Multi 3 connects Wah (Wah), Overdrive or
Distortion (OD), Chorus or Flanger (CF), and Delay
BltIn : single-unit type amp
(Dly) effects in series.
2-Stk : large double stack amp
L
3-Stk : large triple stack amp
Wah OD CF Delay
OD Amp Sw (OD Amp Switch) Off/On [8]
Turn OD Amp on/off. R

OD Sw (OD Switch) Off/On [9] <Wah>

Turn Overdrive or Distortion on/off.
Wah Fil (Wah Filter Type) LPF/BPF [1]
Select the type of filter.
<EQ (Equalizer)> LPF : The wah effect will be produced over
a broad frequency range.
EQ L Gain (EQ Low Gain) -12 - +12 [10]
BPF : The wah effect will be produced in a
Adjust the low-range gain of the equalizer.
narrow frequency range.
EQ M Fq (EQ Mid Frequency) 200 - 6.3k [11]
+Wah Man (Wah Manual) 0 - 127 [2]
Set the center frequency for the equalizer mid-
Set the center frequency at which the effect will be
range.
produced.

Chapter 4. Insertion Effects 79

Wah Peak 0 - 127 [3] <Dly (Delay)>
Adjust the way in which the wah effect will be
Dly Time (Delay Time) 0m - 635m [17]
applied to the region of the center frequency. Lower
Adjust the time from the original sound until when
settings will produce a wah effect in a broad area
the delay sound is heard.
around the center frequency, and higher settings
will produce a wah effect in a narrower area around Dly Fb (Delay Feedback Level) 0 - 127 [18]
the center frequency. Adjust the amount of the delay sound that is
returned to the input.
Wah Sw (Wah Switch) Off/On [4]
Turn Wah on/off. Dly Mix (Delay Mix) 0 - 127 [19]
Adjust the volume of the delay sound.

<OD (Overdrive/Distortion)> Level (Output level ) 0 - 127 [20]

Adjust the output level.
OD Sel (OD Select) Odrv/Dist [5]
Select either Overdrive or Distortion.

#OD Drive 0 - 127 [6]

Adjust the depth of distortion. The volume will 51: Clean Gt Multi1 (Clean Guitar Multi1)
change together with the depth of distortion. [04H, 03H]
Clean Guitar Multi 1 connects Compressor (Cmp),
OD Amp (OD Amp Simulator Type) Equalizer (EQ), Chorus or Flanger (CF), and Delay
Small/BltIn/2-Stk/3-Stk [7] (Dly) effects in series.
Select the type of guitar amp L
Small : small amp
Cmp EQ CF Delay
BltIn : single-unit type amp
2-Stk : large double stack amp R
3-Stk : large triple stack amp <Cmp (Compressor)>
OD Amp Sw (OD Amp Switch) Off/On [8] Cmp Atck (Compressor Attack) 0 - 127 [1]
Turn OD Amp on/off. Adjust the time over which the sound will rise after it
is input.
OD L Gain (OD Low Gain) -12 - +12 [9]
Adjust the low-range gain for the overdrive (or dis- Cmp Sus (Compressor Sustain) 0 - 127 [2]
tortion) sound. Adjust the time over which low-level sounds are
boosted until they reach a specified volume.
OD H Gain (OD High Gain) -12 - +12 [10]
Adjust the high-range gain for the overdrive (or dis- Increasing the value will shorten the time. When the
tortion) sound. value is modified, the level will also change.

OD Sw (OD Switch) Off/On [11] Cmp Level (Compressor Level) 0 - 127 [3]
Turn overdrive or distortion on/off. Adjust the volume of the compressor sound.

Cmp Sw (Compressor Switch) Off/On [4]

Turn the compressor on/off.
<CF (Chorus/Flanger)>
CF Sel (CF Select) Chorus/Flangr [12]
Select either Chorus or Flanger. <EQ (Equalizer)>

CF Rate 0.05 - 6.40 [13] EQ L Gain (EQ Low Gain) -12 - +12 [5]
Adjust the modulation speed for the chorus or Adjust the low-range gain of the equalizer.
flanger. EQ M Fq (EQ Mid Frequency) 200 - 6.3k [6]
CF Depth 0 - 127 [14] Set the center frequency for the equalizer mid-
Adjust the modulation depth for the chorus or range.
flanger. EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [7]
CF Fb (CF Feedback) -98% - +98% [15] Adjust the width of the area centered at the EQ M
Adjust the amount (%) of the flanger sound that is Fq setting in which the gain will be affected. The
returned to the input. Negative (-) values will invert area affected will become narrower as this value is
the phase. increased.

In the case of Chorus, this will have no effect.

CF Mix 0 - 127 [16]

Adjust the volume of the chorus or flanger sound.

80 Chapter 4. Insertion Effects

EQ M Gain (EQ Mid Gain) -12 - +12 [8] <AW (Auto-wah)>
Adjust the gain of the area specified by the EQ M
AW Filter (Auto-wah Filter Type) LPF/BPF [1]
Fq parameter and the EQ M Q parameter.
Select the type of filter for the auto-wah.
EQ H Gain (EQ High Gain) -12 - +12 [9] LPF : The wah effect will be produced over
Adjust the high-range gain of the equalizer. a broad frequency range.
BPF : The wah effect will be produced over
a narrow frequency range.
<CF (Chorus/Flanger)>
+AW Man (Auto-wah Manual) 0 - 127 [2]
CF Sel (CF Select) Chorus/Flangr [10]
Set the center frequency at which the auto-wah
Select either Chorus or Flanger.
effect will be produced.
CF Rate 0.05 - 6.40 [11]
AW Peak (Auto-wah Peak) 0 - 127 [3]
Adjust the speed of modulation for the chorus or
Adjust the way in which the wah effect will be
flanger.
applied to the region of the center frequency. Lower
CF Depth 0 - 127 [12] settings will produce a wah effect in a broad area
Adjust the depth of modulation for the chorus or around the center frequency, and higher settings
flanger. will produce a wah effect in a narrower area around
the center frequency.
CF Fb (CF Feedback) -98% - +98% [13]
Adjust the amount (%) of the flanger sound that will AW Rate (Auto-wah Rate) 0.05 - 6.40 [4]
be returned to the input. Negative (-) values will Adjust the modulation speed of the auto-wah.
invert the phase.
AW Depth (Auto-wah Depth) 0 - 127 [5]
In the case of Chorus, this will have no effect. Adjust the modulation depth of the auto-wah.
+CF Mix (CF Mix) 0 - 127 [14] AW Sw (Auto-wah Switch) Off/On [6]
Adjust the volume of the chorus or flanger sound. Turn Auto-way on/off.

<Dly (Delay)> <EQ (Equalizer)>

Dly Time (Delay Time) 0m - 635m [15] EQ L Gain (EQ Low Gain) -12 - +12 [7]
Adjust the time from the original sound until when Adjust the low-range gain of the equalizer.
the delay sound is heard.
EQ M Fq (EQ Mid Frequency) 200 - 6.3k [8]
Dly Fb (Delay Feedback Level) 0 - 127 [16] Set the center frequency for the equalizer mid-
Adjust the amount of the delay sound that is range.
returned to the input.
EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [9]
Dly HF (Delay HF Dump) 315-8k/Bypass[17] Adjust the width of the area centered at the EQ M
Adjust the frequency at which the high range will be Fq setting in which the gain will be affected. The
cut from the delay sound that is returned to the area affected will become narrower as this value is
input. If you do not wish to cut the high range of the increased.
returned sound, select Bypass.
EQ M Gain (EQ Mid Gain) -12 - +12 [10]
#Dly Mix (Delay Mix) 0 - 127 [18] Adjust the gain of the area specified by the EQ M
Adjust the volume of the delay sound. Fq parameter and the EQ M Q parameter.
Level (Output level ) 0 - 127 [20] EQ H Gain (EQ High Gain) -12 - +12 [11]
Adjust the output level. Adjust the high-range gain of the equalizer.

<CF (Chorus/Flanger)>
52: Clean Gt Multi2 (Clean Guitar Multi2)
[04H, 04H] CF Sel (CF Select) Chorus/Flangr [12]
Clean Guitar Multi 2 provides Auto-wah (AW), Select either Chorus or Flanger.
Equalizer (EQ), Chorus or Flanger (CF), and Delay CF Rate 0.05 - 6.40 [13]
(Dly) effects connected in series. Adjust the speed of modulation for the chorus or
L flanger.
AW EQ CF Delay

Chapter 4. Insertion Effects 81

CF Depth 0 - 127 [14] <OD (Overdrive/Distortion)>
Adjust the depth of modulation for the chorus or
OD Sel (ODSelect) Odrv/Dist [5]
flanger.
Select either bass guitar Overdrive or Distortion.
CF Fb (CF Feedback) -98% - +98% [15]
+OD Drive (OD Drive) 0 - 127 [6]
Adjust the amount (%) of the flanger sound that will
Adjust the depth of distortion. The volume will
be returned to the input. Negative (-) values will
change together with the depth of distortion.
invert the phase.
In the case of Chorus, this will have no effect. OD Amp (OD Amp Simlation Type)
Small/BltIn/2-Stk [7]
CF Mix 0 - 127 [16] Select the type of guitar amp
Adjust the volume of the chorus or flanger sound.
Small : small amp
BltIn : single-unit type amp
<Dly (Delay)> 2-Stk : large double stack amp
Dly Time (Delay Time) 0m - 635m [17] OD Amp Sw (OD Amp Switch) Off/On [8]
Adjust the time from the original sound until when Turn OD Amp on/off.
the delay sound is heard.
OD Sw (OD Switch) Off/On [9]
Dly Fb (Delay Feedback Level) 0 - 127 [18] Turn Overdrive/Distortion on/off.
Adjust the amount of the delay sound that is
returned to the input.

#Dly Mix (Delay Mix) 0 - 127 [19] <EQ (Equalizer)>

Adjust the volume of the delay sound. EQ L Gain (EQ Low Gain) -12 - +12 [10]
Adjust the low-range gain of the equalizer.
Level (Output level ) 0 - 127 [20]
Adjust the output level. EQ M Fq (EQ Mid Frequency) 200 - 6.3k [11]
Set the center frequency for the equalizer mid-
range.

53: Bass Multi [04H, 05H] EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [12]

Bass Multi provides Compressor (Cmp), Overdrive or Adjust the width of the area centered at the EQ M
Distortion (OD), Equalizer (EQ), and Chorus or Fq setting in which the gain will be affected. The
Flanger (CF) effects connected in series. area affected will become narrower as this value is
increased.
L

Cmp EQ CF
EQ M Gain (EQ Mid Gain) -12 - +12 [13]
OD
Adjust the gain of the area specified by the EQ M
R Fq parameter and the EQ M Q parameter.

<Cmp (Compressor)> EQ H Gain (EQ High Gain) -12 - +12 [14]

Adjust the high-range gain of the equalizer.
Cmp Atck (Compressor Attack) 0 - 127 [1]
Adjust the time over which the sound will rise after it
is input.
<CF(Chorus/Flanger)>
Cmp Sus (Compressor Sustain) 0 - 127 [2] CF Sel (CF Select) Chorus/Flangr [15]
Adjust the time over which low-level sounds are Select either Chorus or Flanger.
boosted until they reach a specified volume.
Increasing the value will shorten the time. When the CF Rate 0.05 - 6.40 [16]
value is modified, the level will also change. Adjust the speed of modulation for the chorus or
flanger.
Cmp Level (Compressor Level) 0 - 127 [3]
Adjust the volume of the compressor sound. CF Depth 0 - 127 [17]
Adjust the depth of modulation for the chorus or
Cmp Sw (Compressor Switch) Off/On [4] flanger.
Turn the compressor on/off.
CF Fb (CF Feedback level) -98% - +98% [18]
Adjust the amount (%) of the flanger sound that will
be returned to the input. Negative (-) values will
invert the phase.
In the case of Chorus, this will have no effect.

82 Chapter 4. Insertion Effects

#CF Mix 0 - 127 [19] CF Depth 0 - 127 [12]
Adjust the volume of the chorus or flanger sound. Adjust the modulation depth.

Level (Output level ) 0 - 127 [20] CF Fb (CF Feedback Level) -98% - +98% [13]
Adjust the output level. Adjust the amount (%) of the flanger sound that will
be returned to the input. Negative (-) values will
invert the phase.
In the case of Chorus, this will have no effect.
54: Rhodes Multi [04H, 06H]
Rhodes Multi provides Enhancer (EH), Phaser (PH), CF Mix 0 - 127 [14]
Chorus or Flanger (CF), and Tremolo or Pan (TP) Adjust the volume of the effect sound.
effects connected in series.
L EH TP
<TP (Tremolo/Pan)>
PH CF
TP Sel (TP Select) Trem/Pan [15]
R EH TP Select either Tremolo or Pan.

<EH (Enhancer)> TP Mod WV (TP Modulation Wave)

Tri/Sqr/Sin/Saw1/Saw2 [16]
EH Sens (Enhancer Sensitivity) 0 - 127 [1] Select the way in which tremolo or pan will be mod-
Adjust the depth of the enhancer.
ulated.
EH Mix (Enhancer Mix Level) 0 - 127 [2] Tri : The sound will be modulated like a
Adjust the level at which the overtones generated triangle wave.
by the enhancer will be mixed with the direct sound. Sqr : The sound will be modulated like a
square wave.
Sin : The sound will be modulated like a
<PH (Phaser)>
sine wave.
PH Man (Phaser Manual) 100 - 8.0k [3] Saw1,2 : The sound will be modulated like a
Adjust the center frequency at which the sound will sawtooth wave. The “teeth” in Saw1
be modulated. and Saw2 point in opposite direc-
tions.
PH Rate (Phaser Rate) 0.05 - 6.40 [4]
Adjust the modulation speed. Saw1 Saw2

PH Depth (Phaser Depth) 0 - 127 [5]

Adjust the modulation depth.

PH Reso (Phaser Resonance) 0 - 127 [6]

Adjust the emphasis for the region around the cen-
ter frequency specified by the PH Man parameter. +TP Mod RT (TP Modulation Rate)
0.05 - 6.40 [17]
PH Mix (Phaser Mix) 0 - 127 [7] Adjust the modulation speed.
Adjust the proportion of the phase-shifted sound
that will be mixed with the direct sound. #TP Mod Dep (TP Modulation Depth) 0 - 127 [18]
Adjust the modulation depth.

TP Sw (TP Switch) Off/On [19]

<CF (Chorus/Flanger)>
Turn tremolo or pan on/off.
CF Sel (CF Select) Chorus/Flangr [8]
Select either Chorus or Flanger. Level (Output Level) 0 - 127 [20]
Adjust the output level.
CF LPF (CF Low Pass Filter)
250 - 6.3k/Bypass [9]
Cut the high frequency range of the chorus or
flanger sound. 55: Keyboard Multi [05H, 00H]
Keyboard Multi provides Ring Modulator (RM),
CF Dly (CF Pre Dealy) 0 - 100m [10] Equalizer (EQ), Pitch Shifter (PS), Phaser (PH) and
Adjust the time from the direct sound until when the Delay (Dly) effects connected in series.
chorus or flanger sound is heard.
Ring Modulator is an effect which applies amplitude
CF Rate 0.05 - 6.40 [11] modulation (AM) to the input signal, producing bell-like
Adjust the modulation speed. sounds.

Chapter 4. Insertion Effects 83

 L RM EQ
<PH (Phaser)>
PH Man (Phaser Manual) 100 - 8.0k [12]
PS PH Dly
Set the center frequency at which the phaser sound
R RM EQ will be modulated.

<RM (Ring Modulator)> PH Rate (Phaser Rate) 0.05 - 6.40 [13]

Adjust the modulation speed of the phaser.
+RM Mod Freq (RM Modulation Frequency)
0 - 127 [1] PH Depth (Phaser Depth) 0 - 127 [14]
Set the frequency at which modulation will be Adjust the modulation depth of the phaser.
applied.
PH Reso (Phaser Resonance) 0 - 127 [15]
#RM Bal (RM Balance) D> 0E - D 0<E [2] Adjust the emphasis for the region in the area of the
Adjust the balance between the direct and the ring center frequency specified by the PH Man parame-
modulated sound. ter.
“D” or “E” on the display respectively means
D(direct sound) or E(effect sound) values of 100.
PH Mix (Phaser Mix) 0 - 127 [16]
Adjust the proportion at which the phase-shifted
sound will be mixed with the original sound.
<EQ (Equalizer)>
EQ L Gain (EQ Low Gain) -12 - +12 [3] <Dly (Delay)>
Adjust the low range gain of the equalizer.
Dly Time (Delay Time) 0m - 635m [17]
EQ M Fq (EQ Mid Frequency) 200 - 6.3k [4] Adjust the time from the original sound until when
Set the center frequency for the equalizer mid- the delay sound is heard.
range.
Dly Fb (Delay Feedback Level) 0 - 127 [18]
EQ M Q (EQ Mid Q) 0.5/1.0/2.0/4.0/9.0 [5] Adjust the amount of the delay sound that is
Adjust the width of the area centered at the EQ M returned to the input.
Fq setting in which the gain will be affected. The
area affected will become narrower as this value is
Dly Mix (Delay Mix Level) 0 - 127 [19]
Adjust the proportion at which the delay sound is
increased.
mixed with the direct sound.
EQ M Gain (EQ Mid Gain) -12 - +12 [6]
Adjust the gain of the area specified by the EQ M
Level (Output level ) 0 - 127 [20]
Adjust the output level.
Fq parameter and the EQ M Q parameter.

EQ H Gain (EQ High Gain) -12 - +12 [7]

Adjust the high-range gain of the equalizer.
❍ Effects that connect two types of effect in
parallel (parallel 2)
<PS (Pitch Shifter)>
PS Coarse (PS Coarse Pitch) -24 - 0 - +12 [8] Effect types in which two different effects are con-
Adjust the amount of pitch shift in semitone steps (- nected in parallel allow you to apply different effects
2 to +1 octaves). to L and R independently. By using parallel effects
for the sound of two Parts, you can achieve a result
PS Fine (PS Fine Pitch) -100 - 0 - +100 [9] as if two separate effect units were used.
Make fine adjustments to the pitch shift in 2-cent
steps (-100 to +100 cents).
For example you might select a guitar sound for
PS Mode (PS Shifter Mode) 1 - 5 [10] Part 1 and an organ sound for Part 2. Then set the
As this value is increased, the response will pan setting to L63 (far left) for Part 1, and to R63
become slower but the sound will be more stable. (far right) for Part 2. Apply the effect “59:
OD/Rotary” to both Parts 1 and 2. By then making
PS Bal (PS Balance) D> 0E - D 0<E [11] appropriate settings for the “OD Pan” and “RT Pan”
Adjust the volume balance between the direct and effect parameters, you can apply Overdrive to the
the pitch shifted sound. guitar sound and Rotary to the organ sound, effec-
“D” or “E” on the display respectively means tively allowing you to use two separate effects at
D(direct sound) or E(effect sound) values of 100. once.

84 Chapter 4. Insertion Effects

 Dly Pan (Delay Output Pan) L63 - 0 - R63 [18]
60 OD/Rotary Adjust the stereo position of the delay sound. L63 is
Part 01 L63
Pan far left, 0 is center, and R63 is far right.
028 Clean Gt. Overdrive/
L Distortion
Part 02 R63 Dly Level (Delay level ) 0 - 127 [19]
017 Organ 1 Adjust the volume of the delay sound.
Rotary
R
Pan
Level (Output level ) 0 - 127 [20]
Adjust the output level.

56: Cho / Delay (Chorus / Delay) [11H, 00H]

57: FL / Delay (Flanger / Delay) [11H, 01H]
This effect connects a chorus and a delay in parallel.
This effect connects a flanger and a delay in parallel.
Pan
Pan
L
L
Chorus
Balance Flanger
Delay Balance
R Delay
R
Pan
Pan
Cho Dly (Chorus pre delay ) 0 - 100m [1]
Adjust the time delay from when the direct sound
FL Dly (Flanger pre delay ) 0 - 100m [1]
Adjust the time delay from when the direct sound
begins until the chorus sound is heard.
begins until the flanger sound is heard.
Cho Rate (Chorus rate ) 0.05 - 10.0 [2]
Adjust the modulation speed of the chorus effect.
FL Rate (Flanger rate ) 0.05 - 10.0 [2]
Adjust the modulation speed of the flanger effect.
Cho Depth (Chorus depth ) 0 - 127 [3]
Adjust the modulation depth of the chorus effect.
FL Depth (Flanger depth ) 0 - 127 [3]
Adjust the modulation depth of the flanger effect.
+Cho Bal (Chorus balance ) D> 0E - D 0<E [5]
Adjust the volume balance between the direct and
FL Fb (Flanger feedback level ) -98% - +98% [4]
Adjust the proportion (%) of the flanger sound that
the chorus sound.
is fed back into the effect. Negative (-) settings will
“D” or “E” on the display respectively means invert the phase.
D(direct sound) or E(effect sound) values of 100.
+FL Bal (Flanger balance ) D> 0E - D 0<E [5]
Cho Pan (Chorus Output Pan) L63 - 0 - R63 [16] Adjust the volume balance between the direct and
Adjust the stereo position of the chorus sound. L63 the flanger sound.
is far left, 0 is center, and R63 is far right.
“D” or “E” on the display respectively means
Cho Level (Chorus Level) 0 - 127 [17] D(direct sound) or E(effect sound) values of 100.
Adjust the volume of the chorus sound.
FL Pan (Flanger Output Pan) L63 - 0 - R63 [16]
Dly Time (Delay time ) 0 - 500m [6] Adjust the stereo position of the flanger sound. L63
Adjust the time delay from when the direct sound is far left, 0 is center, and R63 is far right.
begins until the delay sound is heard.
FL Level (Flanger level ) 0 - 127 [17]
Dly Fb (Delay feedback level ) -98% - +98% [7] Adjust the volume of the flanger sound.
Adjust the proportion (%) of the delay sound that is
fed back into the delay input. Negative (-) settings
Dly Time (Delay time ) 0 - 500m [6]
Adjust the time delay from when the direct sound
will invert the phase.
begins until the delay sound is heard.
Dly HF (Delay HF damp ) 315 - 8k/Bypass [8]
Adjust the frequency above which delayed sound
Dly Fb (Delay feedback level ) -98% - +98% [7]
Adjust the proportion (%) of the delay sound that is
fed back to the delay input will be cut. If you do not
fed back into the delay input. Negative (-) settings
wish to cut the high frequencies of the feedback, set
will invert the phase.
this parameter to Bypass.

#Dly Bal (Delay balance ) D> 0E - D 0<E [10] Dly HF (Delay HF damp ) 315 - 8k/Bypass [8]
Adjust the frequency above which delayed sound
Adjust the volume balance between the direct and
fed back to the delay input will be cut. If you do not
the delay sound.
want to cut the high frequencies of the delay feed-
“D” or “E” on the display respectively means back, set this parameter to Bypass.
D(direct sound) or E(effect sound) values of 100.

Chapter 4. Insertion Effects 85

#Dly Bal (Delay balance ) D> 0E - D 0<E [10] FL Dly (Flanger pre delay ) 0 - 100m [6]
Adjust the volume balance between the direct and Adjust the time delay from when the direct sound
the delay sound. begins until the flanger sound is heard.
“D” or “E” on the display respectively means
FL Rate (Flanger rate ) 0.05 - 10.0 [7]
D(direct sound) or E(effect sound) values of 100.
Adjust the modulation speed of the flanger effect.
Dly Pan (Delay Output Pan) L63 - 0 - R63 [18]
FL Depth (Flanger depth ) 0 - 127 [8]
Adjust the stereo position of the delay sound. L63 is
Adjust the modulation depth of the flanger effect.
far left, 0 is center, and R63 is far right.
FL Fb (Flanger feedback level ) -98% - +98% [9]
Dly Level (Delay Level) 0 - 127 [19]
Adjust the proportion (%) of the flanger sound that
Adjust the volume of the delay sound.
is fed back into the effect. Negative (-) settings will
Level (Output level ) 0 - 127 [20] invert the phase.
Adjust the output level.
#FL Bal (Flanger balance ) D> 0E - D 0<E [10]
Adjust the volume balance between the direct and
the flanger sound.
58: Cho / Flanger (Chorus / Flanger) [11H, 02H] “D” or “E” on the display respectively means
This effect connects a chorus and a flanger in parallel. D(direct sound) or E(effect sound) values of 100.
Pan FL Pan (Flanger Output Pan) L63 - 0 - R63 [18]
L Adjust the stereo position of the flanger sound. L63
Chorus is far left, 0 is center, and R63 is far right.
Balance
Flanger
R
FL Level (Flanger Level) 0 - 127 [19]
Adjust the volume of the flanger sound.
Pan
Level (Output level ) 0 - 127 [20]
Cho Dly (Chorus pre delay ) 0 - 100m [1]
Adjust the output level.
Adjust the time delay from when the direct sound
begins until the chorus sound is heard.

Cho Rate (Chorus rate ) 0.05 - 10.0 [2]

Adjust the modulation speed of the chorus effect. 59: OD1 / OD2 (Overdrive / Distortion1,2)|
[11H, 03H]
Cho Depth (Chorus depth ) 0 - 127 [3] This connects two effect units in parallel, each of
Adjust the modulation depth of the chorus effect. which allows you to select Overdrive or Distortion.
Pan
+Cho Bal (Chorus balance ) D> 0E - D 0<E [5] Overdrive/
Adjust the volume balance between the direct and L
Distortion 1
the chorus sound.
“D” or “E” on the display respectively means R Overdrive/
Distortion 2
D(direct sound) or E(effect sound) values of 100. Pan

Cho Pan (Chorus Output Pan) L63 - 0 - R63 [16] <OD1 (Overdrive/Distortion 1)>
Adjust the stereo position of the chorus sound. L63
OD1 Sel (OD1 Select) Odrv/Dist [1]
is far left, 0 is center, and R63 is far right.
Select either Overdrive or Distortion for set 1.
Cho Level (Chorus Level) 0 - 127 [17]
+OD1 Drive (OD1 Drive) 0 - 127 [2]
Adjust the volume of the chorus sound.
Adjust the depth of distortion for set 1. The volume
will change together with the depth of distortion.

OD1 Amp (OD1 Amp Simulator Type)

Small/BltIn/2-Stk/3-Stk [3]
Select the type of guitar amp for set 1.
Small : small amp
BltIn : single-unit type amp
2-Stk : large double stack amp
3-Stk : large triple stack amp

86 Chapter 4. Insertion Effects

OD1 Amp Sw (OD1 Amp Switch) Off/On [4] <OD (Overdrive/Distortion)>
Turn OD1 Amp on/off.
OD Sel (OD Select) Odrv/Dist [1]
OD1 Pan (OD1 Output Pan) L63 - 0 - R63 [16] Select either Overdrive or Distortion.
Set the stereo location of the overdrive or distortion
+OD Drive (OD Drive) 0 - 127 [2]
sound for set 1. L63 is far left, 0 is center, and R63
Adjust the depth of overdrive or distortion. The vol-
is far right.
ume will change together with the depth of distor-
OD1 Level 0 - 127 [17] tion.
Adjust the overdrive or distortion volume for set 1.
OD Amp (OD Amp Simulator Type)
Small/BltIn/2-Stk/3-Stk [3]
Select the type of guitar amp for overdrive or distor-
<OD2 (Overdrive/Distortion 2)>
tion.
OD2 Sel (OD2 Select) Odrv/Dist [6] Small : small amp
Select either Overdrive or Distortion for set 2.
BltIn : single-unit type amp
#OD2 Drive (OD2 Drive) 0 - 127 [7] 2-Stk : large double stack amp
Adjust the depth of distortion for set 2. The volume 3-Stk : large triple stack amp
will change together with the depth of distortion.
OD Amp Sw (OD Amp Switch) Off/On [4]
OD2 Amp (OD2 Amp Simulator Type) Turn the OD Amp parameter on/off.
Small/BltIn/2-Stk/3-Stk [8]
Select the type of guitar amp for set 2. OD Pan (OD Output Pan) L63 - 0 - R63 [16]
Small : small amp Set the stereo location of the overdrive or distortion
sound. L63 is far left, 0 is center, and R63 is far
BltIn : single-unit type amp
right.
2-Stk : large double stack amp
3-Stk : large triple stack amp OD Level 0 - 127 [17]
Adjust the volume of the overdrive or distortion
OD2 Amp Sw (OD2 Amp Switch) Off/On [9] sound.
Turn OD2 Amp on/off.

OD2 Pan (OD2 Output Pan) L63 - 0 - R63 [18] <RT (Rotary)>
Set the stereo location of the overdrive or distortion
sound for set 2. L63 is far left, 0 is center, and R63 RT L Slow (RT Low Frequency Slow Rate)
is far right. 0.05 - 10.0 [6]
Adjust the speed of the low-range rotor for the low-
OD2 Level 0 - 127 [19] speed (Slow) setting.
Adjust the overdrive or distortion volume for set 2.
RT L Fast (RT Low Frequency Fast Rate)
Level (Output level ) 0 - 127 [20] 0.05 - 10.0 [7]
Adjust the output level. Adjust the speed of the low-range rotor for the high-
speed (Fast) setting.

RT Lo Accl (RT Low Frequency Acceleration)

60: OD / Rotary (Overdrive/Distortion, Rotary) 0 - 15 [8]
[11H, 04H] Adjust the time over which the rotation speed of the
This connects Overdrive or Distortion in parallel with low-range rotor will change from low-speed to high-
Rotary. speed (or high-speed to low-speed) rotation.
Pan Smaller values will require greater time to reach the
L Overdrive/ new rotational speed.
Distortion
RT Lo Lev (RT Low Frequency Level) 0 - 127 [9]
R Rotary Adjust the volume of the low-range rotor.
Pan

Chapter 4. Insertion Effects 87

RT H Slow (RT High Frequency Slow Rate) +OD Drive (OD Drive) 0 - 127 [2]
0.05 - 10.0 [10] Adjust the depth of distortion. The volume will
Adjust the speed of the high-range rotor for the low- change together with the depth of distortion.
speed (Slow) setting.
OD Amp (OD Amp Simulator Type)
RT H Fast (RT High Frequency Fast Rate) Smal/BltIn/ 2-Stk/3-Stk [3]
0.05 - 10.0 [11] Select the type of guitar amp.
Adjust the speed of the high-range rotor for the Small : small amp
high-speed (Fast) setting.
BltIn : single-unit type amp
RT Hi Accl (RT High Frequency Acceleration) 2-Stk : large double stack amp
0 - 15 [12] 3-Stk : large triple stack amp
Adjust the time over which the rotation speed of the
high-range rotor will change from low-speed to OD Amp Sw (OD Amp Switch) Off/On [4]
high-speed (or high-speed to low-speed) rotation. Turn the OD Amp parameter on/off.
Smaller values will require greater time to reach the
new rotational speed.
OD Pan (OD Output Pan) L63 - 0 - R63 [16]
Set the stereo location of the overdrive or distortion
RT Hi Lev (RT High Frequency Level) sound. L63 is far left, 0 is center, and R63 is far
0 - 127 [13] right.
Adjust the volume of the high-range rotor.
OD Level 0 - 127 [17]
RT Sept (RT Separation) 0 - 127 [14] Adjust the overdrive or distortion volume.
Adjust the spatial spread of the rotary sound.

#RT Speed Slow/Fast [15] <PH (Phaser)>

Simultaneously switch the rotational speed of both
PH Man (Phaser Manual) 100 - 8.0k [6]
the low-range and the high-range rotors.
Adjust the center frequency at which the sound will
Slow : Slow down the rotation to the speci- be modulated.
fied speeds (RT L Slow parameter /
RT H Slow parameter values). #PH Rate (Phaser Rate) 0.05 - 10.0 [7]
Fast : Speed up the rotation to the specified Adjust the modulation speed.
speeds (RT L Fast parameter / RT H
PH Depth (Phaser Depth) 0 - 127 [8]
Fast parameter values).
Adjust the modulation depth.
RT Pan (RT Output Pan) L63 - 0 - R63 [18] PH Reso (Phaser Resonance) 0 - 127 [9]
Adjust the stereo position of the rotary sound. L63
Adjust the emphasis for the region around the cen-
is far left, 0 is center, and R63 is far right.
ter frequency specified by the PH Man parameter.
RT Level 0 - 127 [19] PH Mix (Phaser Mix Level) 0 - 127 [10]
Adjust the volume of the rotary sound.
Adjust the proportion of the phase-shifted sound
Level (Output level ) 0 - 127 [20] that will be mixed with the direct sound.
Adjust the output level.
PH Pan (Phaser Output Pan) L63 - 0 - R63 [18]
Set the stereo location of the phaser sound. L63 is
far left, 0 is center, and R63 is far right.
61: OD / Phaser(Overdrive/Distortion, Phaser) PH Level 0 - 127 [19]
[11H, 05H] Adjust the volume of the phaser sound.
This connects an overdrive or distortion in parallel with
a phaser. Level (Output level ) 0 - 127 [20]
Adjust the output level.
Pan
L Overdrive/
Distortion

R Phaser 62: OD / AutoWah (Overdrive/Distortion, Auto-wah)

Pan [11H, 06H]
This connects an Overdrive or Distortion in parallel
<OD (Overdrive/Distortion)> with an Auto-wah.
OD Sel (OD Select) Odrv/Dist [1] Pan
Select either Overdrive or Distortion. L Overdrive/
Distortion

R Auto Wah
Pan

88 Chapter 4. Insertion Effects

<OD (Overdrive/Distortion)> AW Depth (Auto-wah Depth) 0 - 127 [11]
Adjust the modulation depth of the auto-wah.
OD Sel (OD Select) Odrv/Dist [1]
Select either Overdrive or Distortion. AW Pol (Auto-wah Polarity) Down/Up [12]
Set the direction in which the frequency will change
+OD Drive (OD Drive) 0 - 127 [2]
when the auto-wah filter is modulated. With a set-
Adjust the depth of overdrive or distortion. The vol-
ting of Up, the filter will change toward a higher fre-
ume will change together with the depth of distor-
quency. With a setting of Down, it will change
tion.
toward a lower frequency.
OD Amp (OD Amp Simulator Type)
AW Pan (Auto-wah Output Pan)
Small/BltIn/2-Stk/3-Stk [3]
L63 - 0 - R63 [18]
Select the type of guitar amp for overdrive or distor-
Adjust the stereo position of the auto-wah sound.
tion.
L63 is far left, 0 is center, and R63 is far right.
Small : small amp
BltIn : single-unit type amp AW Level (Auto-wah Level) 0 - 127 [19]
Adjust the volume of the auto-wah sound.
2-Stk : large double stack amp
3-Stk : large triple stack amp Level (Output level ) 0 - 127 [20]
Adjust the output level.
OD Amp Sw (OD Amp Switch) Off/On [4]
Turn the OD Amp parameter on/off.

OD Pan (OD Output Pan) L63 - 0 - R63 [16] 63: PH / Rotary (Phaser, Rotary) [11H, 07H]
Set the stereo location of the overdrive or distortion
This connects a Phaser effect in parallel with a Rotary
sound. L63 is far left, 0 is center, and R63 is far
effect.
right.
Pan
OD Level (OD Level) 0 - 127 [17] L Phaser
Adjust the volume of the overdrive or distortion
sound.
R Rotary
Pan

<AW (Auto-wah)> <PH (Phaser)>

AW Filter (Auto-wah Filter Type) LPF/BPF [6] PH Man (Phaser Manual) 100 - 8.0k [1]
Select the type of filter for the auto-wah.
Adjust the center frequency at which the sound will
LPF : The wah effect will be produced over be modulated.
a broad frequency range.
BPF : The wah effect will be produced over +PH Rate (Phaser Rate) 0.05 - 10.0 [2]
a narrow frequency range. Adjust the modulation speed of the phaser.

AW Sens (Auto-wah Sensitivity) 0 - 127 [7] PH Depth (Phaser Depth) 0 - 127 [3]
Adjust the sensitivity with which the auto-wah filter Adjust the modulation depth of the phaser.
will be controlled. PH Reso (Phaser Resonance) 0 - 127 [4]
#AW Man (Auto-wah Manual) 0 - 127 [8] Adjust the emphasis for the region around the cen-
Set the center frequency at which the auto-wah ter frequency specified by the PH Man parameter.
effect will be produced. PH Mix (Phaser Mix Level) 0 - 127 [5]
AW Peak (Auto-wah Peak) 0 - 127 [9] Adjust the proportion of the phase-shifted sound
Adjust the way in which the wah effect will be that will be mixed with the direct sound.
applied to the region of the center frequency. Lower PH Pan (Phaser Output Pan) L63 - 0 - R63 [16]
settings will produce a wah effect in a broad area Set the stereo location of the phaser sound. L63 is
around the center frequency, and higher settings far left, 0 is center, and R63 is far right.
will produce a wah effect in a narrower area around
the center frequency. PH Level (Phaser Level) 0 - 127 [17]
Adjust the volume of the phaser sound.
AW Rate (Auto-wah Rate) 0.05 - 10.0 [10]
Adjust the modulation speed of the auto-wah.

Chapter 4. Insertion Effects 89

<RT (Rotary)> RT Pan (RT Output Pan) L63 - 0 - R63 [18]
Adjust the stereo position of the rotary sound. L63
RT L Slow (RT Low Frequency Slow Rate)
is far left, 0 is center, and R63 is far right.
0.05 - 10.0 [6]
Adjust the speed of the low-range rotor for the low- RT Level 0 - 127 [19]
speed (Slow) setting. Adjust the volume of the rotary sound.
RT L Fast (RT Low Frequency Fast Rate) Level (Output level ) 0 - 127 [20]
0.05 - 10.0 [7] Adjust the output level.
Adjust the speed of the low-range rotor for the high-
speed (Fast) setting.

RT Lo Accl (RT Low Frequency Acceleration) 64: PH / AutoWah (Phaser, Auto-wah)

0 - 15 [8] [11H, 08H]
Adjust the time over which the rotation speed of the This connects a Phaser effect and an Auto-wah effect
low-range rotor will change from low-speed to high- in parallel.
speed (or high-speed to low-speed) rotation.
Pan
Smaller values will require greater time to reach the
new rotational speed. L Phaser

RT Lo Lev (RT Low Frequency Level) 0 - 127 [9]

R Auto Wah
Adjust the volume of the low-range rotor.
Pan
RT H Slow (RT High Frequency Slow Rate)
<PH (Phaser)>
0.05 - 10.0 [10]
Adjust the speed of the high-range rotor for the low- PH Man (Phaser Manual) 100 - 8.0k [1]
speed (Slow) setting. Adjust the center frequency at which the phaser
sound will be modulated.
RT H Fast (RT High Frequency Fast Rate)
0.05 - 10.0 [11] +PH Rate (Phaser Rate) 0.05 - 10.0 [2]
Adjust the speed of the high-range rotor for the Adjust the modulation speed of the phaser.
high-speed (Fast) setting.
PH Depth (Phaser Depth) 0 - 127 [3]
RT Hi Accl (RT High Frequency Acceleration) Adjust the modulation depth of the phaser.
0 - 15 [12]
PH Reso (Phaser Resonance) 0 - 127 [4]
Adjust the time over which the rotation speed of the
Adjust the emphasis for the region around the cen-
high-range rotor will change from low-speed to
ter frequency specified by the PH Man parameter.
high-speed (or high-speed to low-speed) rotation.
Smaller values will require greater time to reach the PH Mix (Phaser Mix Level) 0 - 127 [5]
new rotational speed. Adjust the proportion of the phase-shifted sound
that will be mixed with the direct sound.
RT Hi Lev (RT High Frequency Level)
0 - 127 [13] PH Pan (Phaser Output Pan) L63 - 0 - R63 [16]
Adjust the volume of the high-range rotor. Set the stereo location of the phaser sound. L63 is
far left, 0 is center, and R63 is far right.
RT Sept (RT Separation) 0 - 127 [14]
Adjust the spread of the rotary sound. PH Level (Phaser Level) 0 - 127 [17]
Adjust the volume of the phaser sound.
#RT Speed Slow/Fast [15]
Simultaneously switch the rotational speed of both
the low-range and the high-range rotors. <AW (Auto-wah)>
Slow : Slow down the rotation to the speci-
fied speeds (RT L Slow parameter /
AW Filter (Auto-wah Filter Type) LPF/BPF [6]
Select the type of filter for the auto-wah.
RT H Slow parameter values).
LPF : The wah effect will be produced over
Fast : Speed up the rotation to the specified
a broad frequency range.
speeds (RT L Fast parameter / RT H
Fast parameter values). BPF : The wah effect will be produced over
a narrow frequency range.

AW Sens (Auto-wah Sensitivity) 0 - 127 [7]

Adjust the sensitivity with which the auto-wah filter
will be modulated.

90 Chapter 4. Insertion Effects

#AW Man (Auto-wah Manual) 0 - 127 [8]
Set the center frequency at which the auto-wah << When using 3D effects >>
effect will be produced.
The following four 3D effects utilize RSS (Roland
AW Peak (Auto-wah Peak) 0 - 127 [9] Sound Space) technology to create a spacious-
Adjust the way in which the wah effect will be ness that cannot be produced by delay, reverb,
applied to the region of the center frequency. Lower or chorus etc.
settings will produce a wah effect in a broad area 20: 3D Chorus
around the center frequency, and higher settings 28: 3D Delay
will produce a wah effect in a narrower area around
31: 3D Auto
the center frequency.
32: 3D Manual
AW Rate (Auto-wah Rate) 0.05 - 10.0 [10] When using these effects, we recommend that
Adjust the modulation speed of the auto-wah. you place your speakers as follows. Also, make
sure that the speakers are at a sufficient dis-
AW Depth (Auto-wah Depth) 0 - 127 [11]
tance from the walls on either side.
Adjust the modulation depth of the auto-wah.

AW Pol (Auto-wah Polarity) Down/Up [12]

Set the direction in which the frequency will change
when the auto-wah filter is modulated. With a set-
ting of Up, the filter will change toward a higher fre-
quency. With a setting of Down it will change
toward a lower frequency. 30˚ 30˚

AW Pan (Auto-wah Output Pan)

L63 - 0 - R63 [18]
Adjust the stereo position of the auto-wah sound.
L63 is far left, 0 is center, and R63 is far right.

AW Level (Auto-wah Level) 0 - 127 [19]

Adjust the volume of the auto-wah sound.

Level (Output level ) 0 - 127 [20] If the left and right speakers are too far apart, or
Adjust the output level. if there is too much reverberation, the full 3D
effect may not appear.

Each of these effects has an “Out (Output

Mode)” parameter. If the sound from the OUT-
PUT jacks will be heard through speakers, set
this parameter to Speaker. If the sound will be
heard through headphones, set it to Phones.
This will ensure that the optimal 3D effect will be
heard. If this parameter is not set correctly, the
full 3D effect may not appear.

Chapter 4. Insertion Effects 91

■ Using controllers to modify effect parameters
Controllers can be used to modify the values of Insertion effect parameters.
Using MIDI messages to modify effect parameters during a song would require a large
amount of data if you were to use only Exclusive messages. Thus, this unit allows you to
use controllers to set the main effect parameters. Since you can use Control Change
messages to modify parameter values, the amount of data will not be excessively large,
even if you modify parameter values during a song.
Also, if you are using a keyboard etc. to play, you can use controllers to modify the val-
ues in realtime.

EFX C.Src1, 2 (Effect Control Source 1, 2)

EFX C.Dep1, 2 (Effect Control Depth 1, 2)

● Setting procedure

1. Press [ALL] to make the button indicator light.

2. l ] and [r
Simultaneously press PART [l r ].

3. u ] or [d
Press either [u d ] to select the parameter whose setting you wish to
change.
You can skip parameters by pressing [u][d], while holding [SELECT].

4. l ][r
Use INSTRUMENT [l r ] to set the value.
PART INSTRUMENT

ALL >EFX C.Src1: Off

LEVEL PAN

100 0
5. l ] and
When you finish making settings, simultaneously press PART [l
r ] to end the procedure.
[r

1 2 5 4
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
3 SC-88
KEY SHIFT MIDI CH
MAP

DELAY

92 Chapter 4. Insertion Effects

● How each parameter works
Examples of using effect controllers
❍ EFX C.Src1, 2 (Effect Control Source)
Here are some examples of how effect controllers can
Off/CC1 - 95/CAf/Bend
be used.
Specify the controllers that you wish to use. EFX
In these examples MIDI messages are used to modify
C.Src1 will control the parameter marked with a “+” the settings, but these settings can also be controlled
at the left of the parameter name. EFX C.Src2 will from the front panel (p.56, p.92).
control the parameter marked with a “#” at the left of
Hexadecimal values in the < Settings > sections denote
the parameter name. exclusive messages, and hexadecimal values in the <
CC1 - 95 : Controller numbers 1 - 95 Modifying the value > sections denote control change
CAf : Channel aftertouch messages. The exclusive messages are given with
device ID 17 (10H) (the factory setting). After the set-
Bend : Pitch bend tings in < Settings > have been made, the control
change messages described in < Modifying the value >
* For CC1 - 95, make sure that the setting matches the can be transmitted to modify the parameters to the
controller number of the device that is transmitting the desired value.
MIDI messages. For details on exclusive messages, refer to p.191 and
following.

❍ EFX C.Depth 1, 2 (Effect Control Depth) ● Using Control Change 16 to modify

-100 - +100 (%) the Drive value of 6: Distortion
This specifies the percentage of the full parameter < Settings >
range in which change will actually occur when a 1. Turn EFX on for Part 1.
controller is used. Higher values will allow a greater F0 41 10 42 12 40 41 22 01 5C F7
range of change. If this value is set to 0, the con- 2. Set the effect type to 6: Distortion (value: 01H 11H)
troller will not affect the effect parameter. With neg- F0 41 10 42 12 40 03 00 01 11 2B F7
ative (-) settings, the change will be inverted. The 3. Set Drive (address: 40H 03H 03H) to 0.
controller will increase/decrease the value of the F0 41 10 42 12 40 03 03 00 3A F7
effect parameter relative to the value that was set 4. Set Effect Control Source 1 (address: 40H 03H 1BH)
from the panel. At this time, the value displayed on to CC16 (10H).
the panel will not change. F0 41 10 42 12 40 03 1B 10 12 F7
5. Set Effect Control Depth 1 (address: 40H 03H 1CH)
to +100% (7FH).
When Depth has a positive (+) setting F0 41 10 42 12 40 03 1C 7F 22 F7
Panel setting value + value from controller × depth (%) / 100
When Depth has a negative (-) setting < Modifying the value >
B0 10 00 Drive →0
Panel setting value - value from controller × depth (%) / 100
B0 10 01 Drive →1
: :
< Example > B0 10 7F Drive → 126
The Drive parameter of 5: Overdrive normally B0 10 7F Drive → 127
changes in the range of 0 - 127.
When this parameter is modified by a controller, it ● Using Control Change 16 to modify
will change in the range of 0 - 127 if the Effect the Speed value of 9: Rotary
Control Depth value is +100. With a value of +50, it
will change in the range of 0 - 64 (i.e., 50% of 127). < Settings >
1. Turn EFX on for Part 1.
F0 41 10 42 12 40 41 22 01 5C F7
Normally → 0 - 127
2. Set the effect type to 9: Rotary (value: 01H 22H)
Depth = +100% → 0 - 127 F0 41 10 42 12 40 03 00 01 22 1A F7
Depth = +50% → 0 - 64 3. Set Speed (address: 40H 03H 0DH) to Slow.
F0 41 10 42 12 40 03 0D 00 30 F7
Depth = -100% → 127 - 0
4. Set Effect Control Source 1 (address: 40H 03H 1BH)
to CC16 (10H).
F0 41 10 42 12 40 03 1B 10 12 F7
5. Set Effect Control Depth 1 (address: 40H 03H 1CH)
to +100% (7FH).
F0 41 10 42 12 40 03 1C 7F 22 F7

Chapter 4. Insertion Effects 93

 < Modifying values > < Modifying the value >
Since the Speed parameter has only two values, Slow The Feedback parameter changes in 2% steps, with 40H
and Fast, the lower half of the range (00H -- 3FH) will as the center. (For the correspondence between hexa-
select Slow, and the upper half (40H--7FH) will select decimal values and parameter values, refer to the table
Fast. on p.183.)
B0 10 00 Speed → Slow B0 11 00 Feedback → -98%
: : : :
B0 10 3F Speed → Slow B0 11 0F Feedback → -98%
B0 10 40 Speed → Fast B0 11 10 Feedback → -96%
: : : :
B0 10 7F Speed → Fast B0 11 3E Feedback → -4%
B0 11 3F Feedback → -2%
B0 11 40 Feedback → +/-0%
● Using Control Change 16 to modify the B0 11 41 Feedback → +2%
Wah Man value of 50:GTR Multi3 B0 11 42 Feedback → +4%
< Settings > : :
1. Turn EFX on for Part 1. B0 11 70 Feedback → +96%
F0 41 10 42 12 40 41 22 01 5C F7 B0 11 71 Feedback → +98%
2. Set the effect type to 50: GTR Multi 3 (value: 04H : :
02H) B0 11 7F Feedback → +98%
F0 41 10 42 12 40 03 00 04 02 37 F7
3. Set Wah Man (address: 40H 03H 04H) to 0.
F0 41 10 42 12 40 03 04 00 39 F7 ● Using Control Change 17 to modify the
4. Set Effect Control Source 1 (address: 40H 03H 1BH) Feedback value of 10: Stereo Flanger
to CC16 (10H).
F0 41 10 42 12 40 03 1B 10 12 F7 Example 2: When Effect Control Depth is set to -
5. Set Effect Control Depth 1 (address: 40H 03H 1CH) 100
to +100% (7FH). < Settings >
F0 41 10 42 12 40 03 1C 7F 22 F7
1. Turn EFX on for Part 1.
F0 41 10 42 12 40 41 22 01 5C F7
< Modifying the value >
2. Set the effect type to 10: Stereo Flanger (value: 01H
B0 10 00 Wah Man →0
23H)
B0 10 01 Wah Man →1 F0 41 10 42 12 40 03 00 01 23 19 F7
: : 3. Set Feedback (address: 40H 03H 08H) to +98% (7FH).
B0 10 7E Wah Man → 126 F0 41 10 42 12 40 03 08 7F 36 F7
B0 10 7F Wah Man → 127 4. Set Effect Control Source 2 (address: 40H 03H 1DH)
to CC17 (11H).
F0 41 10 42 12 40 03 1D 11 0F F7
* For the correspondence between the hexadecimal val-
5. Set Effect Control Depth 2 (address: 40H 03H 1EH)
ues and the parameter values, refer to p.183.
to -100% (00H).
F0 41 10 42 12 40 03 1E 00 1F F7
● Using Control Change 17 to modify the < Modifying the value >
Feedback value of 10: Stereo Flanger The Feedback parameter changes in 2% steps, with 40H
as the center. (For the correspondence between hexa-
Example 1: When Effect Control Depth is set to
decimal values and parameter values, refer to the table
+100
on p.183.) Since Effect Control Depth is set to -100%,
< Settings > increasing control change values will cause the value of
the Feedback parameter to decrease.
1. Turn EFX on for Part 1.
F0 41 10 42 12 40 41 22 01 5C F7 B0 11 00 Feedback → +98%
2. Set the effect type to 10: Stereo Flanger (value: 01H : :
23H) B0 11 0F Feedback → +98%
F0 41 10 42 12 40 03 00 01 23 19 F7 B0 11 10 Feedback → +96%
3. Set Feedback (address: 40H 03H 08H) to -98%. : :
F0 41 10 42 12 40 03 08 00 35 F7 B0 11 3E Feedback → +4%
4. Set Effect Control Source 2 (address: 40H 03H 1DH) B0 11 3F Feedback → +2%
to CC17 (11H).
B0 11 40 Feedback → +/-0%
F0 41 10 42 12 40 03 1D 11 0F F7
B0 11 41 Feedback → -2%
5. Set Effect Control Depth 2 (address: 40H 03H 1EH)
to +100% (7FH). B0 11 42 Feedback → -4%
F0 41 10 42 12 40 03 1E 7F 20 F7 : :
B0 11 70 Feedback → -96%
B0 11 71 Feedback → -98%
: :
B0 11 7F Feedback → -98%

94 Chapter 4. Insertion Effects

 Chapter 5

Convenient functions

Chapter 5
■ Create and save a sound (User Instrument)
You can modify the parameters of this unit sound to your taste, and save your new
settings in Variation numbers 64 or 65 of the Native map / SC-88 map (p.98). A sound
saved in this way is called a User Instrument, and this procedure is called User Editing.
You can save 256 different sounds in this way.

The following parameters can be set

Vibrato
Filter
Envelope

These parameters are called User Instrument Parameters.

For the function of each parameter, refer to p.31.

The User Instrument sound that is actually heard will reflect the combination of the
Part parameter settings and the User Instrument parameter settings. For example if the
Vibrato Rate is set to +20 by the Part parameters and to -5 by the User Instrument para-
meters, the vibrato rate of the sound that is actually heard will be +15 (20-5=15).

Also, if the vibrato, filter, and envelope values are modified by MIDI messages, the
values of the Part parameters (p.32) will be modified. In this case, the values of the User
Instrument parameters will not change.

* The same contents are stored in both the SC-88 and Native maps.
* For an explanation of messages that modify the sound, such as System Exclusive messages
and NRPN messages, refer to p.132, 133.

User Instrument

Part parameter settings User Instrument Parameter Sound assigned

(P.31) settings (P.97) to a Part

Vibrato Rate
+ Vibrato Rate
= Vibrato Rate
+20 -5 +15

MIDI message

96 Chapter 5. Convenient functions

● Procedure for creating and storing a sound

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. Use PART [l l ] [r
r ] to select a normal Part, then use the INSTRUMENT [l
l]
r ] buttons to select the sound you wish to start from.
[r
Your edits will apply to this sound.
PART INSTRUMENT

A16 032 Gt.Harmonics

LEVEL PAN

100 0
3. Press [USER INST] and [SELECT] simultaneously, the indicator light red.
Be aware that if this indicator is not lit, you will be editing not User Instrument parame-
ters but Part parameters (p.31).

4. Press the [SELECT] button and select the parameter you wish to modify.
l ] [r
Use the appropriate parameter edit buttons [l r ] to modify the value.
For an explanation of parameters and the procedure for modifying them, refer to p.31.

1 2
PART INSTRUMENT

ALL 2
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

(Example) Vibrato editing display

PART INSTRUMENT

A01 Vib. |+20|± 0|± 0|

LEVEL PAN

100 0
Rate Depth Delay
3
VIB RATE VIB DEPTH VIB DELAY
CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

4 Select the sound parameter

Chapter 5. Convenient functions 97

 5. Simultaneously press [USER INST] and [SELECT].
The display will ask “Write UI 64/001?”. Simultaneously pressing both INSTRU-
MENT [l] and [r] will move between the two numbers. Use INSTRUMENT [l] [r] to
select instrument number (001-128) and the variation number (64 or 65) in which an
original sound stored.
Instrument number in which to store
PART INSTRUMENT

A16 Write UI 64/032?

LEVEL PAN

100 0 Variation number in which to store

6. When you press [ALL] the sound will be stored.

If you decide not to store, press [MUTE].

7. Press the [USER INST] button to turn off the indicator and complete the
procedure.

* User Instrument parameter values can be transmitted as MIDI Exclusive messages (p.107).
Data that is transmitted in this way can be saved using a sequencer or computer, and re-trans-
mitted back to this unit to save and restore User Instrument data.

6
PART INSTRUMENT

ALL 5
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP
7 DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

Native map
Storing Locations
for User Insutruments
Variation number

065 User Tone User Tone User Tone User Tone User Tone
064 User Tone User Tone User Tone User Tone User Tone

032 Syn Harpsi

024 Piano + Str. Hard FM EP Harpsi.o 003 Explosion
016 European Pf St.FM EP Harpsi.w 002 Lasergun
008 Piano 1w Detuned EP 2 Couple Hps. 001 Machine Gun
000 Piano 1 E.Piano 2 Harpsichord Clav. 000 Gun Shot
001 006 007 008 128
Instrument number

98 Chapter 5. Convenient functions

■ Creating and saving an Insertion effect (User Effect)
Insertion effect parameter settings that you make can be saved in memory. An
Insertion effect that you save in this way is referred to as a User Effect. 64 User Effects
can be stored.

* For the function of each parameter, refer to the applicable page. (p.57)

● Saving a User Effect

1. Set the Insertion effect parameters.

(“Insertion effect settings,” p.56)

2. Press the [EFX] button to make the indicator light orange.

Caution is required at this point-- if you happen to change the effect type, all the effect
parameters will revert to their defaults.
3. Simultaneously press [EFX] and [ON/OFF].
The display will ask “Write U.EFX 01?” Use INSTRUMENT [l][r] to select the
number (01 to 64) where you wish to store the data.

4. To store the data, press [ALL].

To cancel without storing, press [MUTE].

5. Press [EFX] to turn off the indicator and complete the procedure.

4
PART INSTRUMENT

ALL
3
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

3 DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

2 5

To load the User Effect that was stored, use the following procedure.
1. Press the [ALL] button to make the indicator light orange.
2. Press EFX TYPE [r] to display 64 PH/Auto Wah.
3. Then press EFX TYPE [r], and the User effect will be selected.
The “X” symbol of the effect number indicates that this is a User effect.
PART INSTRUMENT

A01 01x Stereo-EQ

LEVEL PAN

100 0

Chapter 5. Convenient functions 99

■ Creating and saving a Patch (User Patch)
You can modify the parameter values of Parts A01 and A02 as desired, assign a Patch
name, and save it. A Patch saved in this way is referred to as a User Patch. 16 Patches
can be saved in the Patch number locations U01 - U16.

Patch U16 Patch Name : -USER PATCH16-

Write Part B16
Patch U01 Patch Name :-USER PATCH01-
Patch 128 Patch Name : EPILOGUE
Parameters common to all Parts
PartB16
Load Patch 001 Patch Name : RB STRAT

Default Setting Part B16

Part A03
Patch Patch Name : -SOUND Canvas- Part A02
Default
Parameters common to all Parts Part A01 Part A03 Value
Part B16 Instrument
Effect
Default
Default Part Parameter etc. Value
Part A01 Value
Default
Value

* All Patch parameters (p.194) are stored. (List of parameters and procedures, p.150)
However, a distinction between GroupA and B of MIDI channels will not be stored. The MIDI
channel will be saved as channel “A**” of Group A
* Drum set parameters are not stored in a Patch.

● Naming a User Patch

1. Press the [ALL] button to make the button indicator light, and use
l ][r
INSTRUMENT [l r ] to select the Patch whose name you wish to modify.

2. Press [ALL] to load Patch.

To cancel without loading, press [MUTE].

3. r ] and CHORUS [r
Simultaneously press PAN [r r ].
The specified character location will blink.
PART INSTRUMENT

ALL ˇ1 RB STRAT
LEVEL PAN

100 0
4. l ][r
Use PART [l r ] to move the selected character location.
The blinking area will move.

5. l ][r
Press INSTRUMENT [l r ] and the displayed character will change.
Select the desired character, and return to step 4.
Each time you press [ALL], the character will change case as A → a → A → a.
Pressing [MUTE] will select a space.
Pressing [SC-55MAP] will select 0.
Each time you press [SC-88MAP], the symbol will alternate & → ( → & → (.

6. r ] and CHORUS [r
Simultaneously press PAN [r r ] to end the procedure.

* To save the User Patch name, perform the procedure of “Saving a User Patch.”

100 Chapter 5. Convenient functions

 1 2 4

PART INSTRUMENT

ALL
5
LEVEL PAN
MUTE

SC-55
REVERB CHORUS
3 6
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

● Saving a User Patch

1. Make the desired settings for the parameters of Parts A01 and A02.

2. Press the [ALL] button to make the button indicator light.

3. Simultaneously press [USER INST] and [SELECT].

The display will ask “Write U.Patch01?”. Press INSTRUMENT [l][r] to select the
number (01 - 16) where you wish to store the settings.
If you select a number in which a User Patch has already been stored, a “*” symbol will
appear, such as “Write*U.Patch01?”

4. If you wish to store the settings, press [ALL].

To cancel without storing, press [MUTE].

2 4
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP
3 DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

To load the User Patch that was stored, use the following procedure.
1. Press the [ALL] button to make the indicator light.
2. Press INSTRUMENT [r] to select 128 EPILOGUE.
3. Once again press INSTRUMENT [r], and the User Patches will be displayed. Select
the User Patch that you wish to load.
4. Press the [ALL] button to load the User Patch.

PART INSTRUMENT

U01 -USER PATCH01-

LEVEL PAN

100 0

Chapter 5. Convenient functions 101

■ Saving a Drum Set you created (User Drum)
You can modify drum instrument parameters to your liking, and save this data as a
Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to
two Drum Sets, and since each set contains 128 instrumental sounds, this provides a
total of 256 instrumental sounds (Drum Instruments). You can also give each User Drum
Set a name of your choice. User Drum Sets are stored in Drum Set numbers 65 and 66
of the Native map / SC-88 map (p.104).

* The same contents are stored in both the SC-88 and Native maps.

● Naming a User Drum Set

1. Make sure that the [ALL] indicator is dark.

If it is lit, press [ALL] to turn it off.

2. l ] [r
Use PART [l r ] to select a Drum Part, simultaneously press PAN [r
r]
and CHORUS [rr ].
The character at the cursor location will blink.
PART INSTRUMENT

SET 065*ˇSER DRUM1

LEVEL PAN

100 0
3. l ] [r
Use PART [l r ] to move the cursor where you wish to input a character.
The blinking area will move.

4. l ] [r
Use INSTRUMENT [l r ] to select the desired character.
Then repeat from step 3.
Each time you press [ALL], the character will change A → a → A → a.
Pressing [MUTE] will enter a space.
Pressing [SC-55 MAP] will select 0.
Each time you press [SC-88 MAP], the symbol will change & → ( → & → (.

If you wish to change the User Drum Set number, simultaneously press both INSTRU-
MENT [l] and[r] buttons, and then use INSTRUMENT [l] [r] to select the number.
However, be aware that if you change the number, the parameter settings will also
change.
PART INSTRUMENT

SET 066*ˇSER DRUM2

LEVEL PAN

100 0
5. r ] and CHORUS [r
Simultaneously press PAN [r r ] to end the procedure.

* To store the name of the User Drum Set in memory, follow the steps explained in “Storing an
entire Drum Set (procedure 2)” on p.103, 105.

1 3
PART INSTRUMENT

ALL 4
LEVEL PAN
MUTE

SC-55
REVERB CHORUS
2 5
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

102 Chapter 5. Convenient functions

● Storing a Drum instrument

1. Select a Drum Part and Drum Set, and create a drum instrument (“Drum edit-
ing procedure” p.42).
PART INSTRUMENT

AD1 001 C#3 CrshCym1

LEVEL PAN

100 0
If the above screen is displayed after you create a drum instrument, you can use the follow-
ing procedure to save your data as a User Drum Set. If the screen display is different than
the one shown above, use following procedure 2, 3.

2. Make sure that the [ALL] indicator is dark.

If it is lit, press [ALL] to turn it off.

3. l ].
Simultaneously press [SELECT] and EFX TYPE [l
The display will show the Part Group (p.23), Part Mode (p.27), Drum Set number, Note
name, and Drum Instrument name (p.43).
Part Group
Part Mode
Drum set number
PART INSTRUMENT

AD1 001 C#3 CrshCym1

LEVEL PAN

100 0 Note Name Drum Instrument name

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

Chapter 5. Convenient functions 103

 There are two ways to store an edited drum instrument. The first is to store each Drum
Instrument individually (procedure 1). The second is to store an entire set of Drum
Instruments as a Drum Set (procedure 2).

❍ Storing an individual Drum Instrument (procedure 1)

The following procedure will store an individual Drum Instrument into the Note Name
you specify.

4-1. To store an individual Drum Instrument, simultaneously press the [USER

INST] and [SELECT] buttons.
Note name User Drum Set number
PART INSTRUMENT

AD1 Write UD D#3/65?

LEVEL PAN

100 0
Use the INSTRUMENT [l] [r] buttons to specify the Note Name and the User Drum
Set number (65/66) into which the data will be stored. When you simultaneously press
the INSTRUMENT [l] [r] buttons, the cursor will move between the Note Name and
the Drum Set number.

5. To store the data, press [ALL].

To quit without storing, press [MUTE].

Procedure 1 Procedure 2
Native/SC-88 Map
Native/SC-88 Map

C3 48 C3 48
49 49
50 50
51 51
52 52

53 53
54 54
55 55
56 56
57 57
58 58
59 59

C4 60 C4 60
61 61
62 62
63 63
64 64

65 65
66 66
67 67
68 68
69 69
70 70
B4 71 71

Note name
65 66 65 66
Note number User Drun Set number User Drun Set number

104 Chapter 5. Convenient functions

❍ Storing an entire Drum Set (procedure 2)
The following procedure will store all the Drum Instruments for the entire currently
selected Drum Set.

4-2. To store the entire Drum Set, simultaneously press EFX VALUE [l
l ] [r
r]
buttons.
The User Drum set number into which the data will be stored

PART INSTRUMENT

AD1 Write U.DRUM 65?

LEVEL PAN

100 0
Use the INSTRUMENT [l] [r] buttons to specify the User Drum Set number (65/66)
into which the data will be stored.

5. To store the data, press [ALL].

To quit without storing, press [MUTE].

5 4-1, 4-2

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

4-1 4-2

Chapter 5. Convenient functions 105

■ Copying or Exchanging settings between Parts / Initializing Part settings
The settings of the selected Part can be copied to another Part or initialized, and you
can exchange settings between parts. By using these functions, you can create sounds
more efficiently.

● Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to make it go dark.

2. l ][r
Use PART [l r ] to select the source Part.

3. Use the following procedure.

(A) Copy: While pressing [SELECT], press LEVEL [l].
The display will ask “Copy A01ÈA02?”
Use INSTRUMENT [l][r] to select the copy destination Part.
(B) Initialize: While pressing [SELECT], press LEVEL [r].
The display will ask “Clear A01?”
(C) Exchange: While pressing [SELECT], press PAN [l].
The display will ask “Exchg A01ÍÈA02?”
Use INSTRUMENT [l][r] to select the Part to be exchanged.

4. To execute the specified operation, press the [ALL] button.

To cancel without executing, press the [MUTE] button.

1 4 2

PART INSTRUMENT

3-A Copy ALL

LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

3-C Exchange
3-B Clear Part

* It is not possible to copy or exchange Drum Parts.

106 Chapter 5. Convenient functions

■ Recording all settings on a sequencer
This unit can transmit the contents of its sound source memory as MIDI data. The
data can be transmitted in two ways: Bulk Dump which transmits multiple parameters as
a group, and Individual Data which allows parameters to be transmitted individually. All
data is transmitted as System Exclusive messages.
Use Bulk Dump when you wish to save settings of this unit on a sequencer or person-
al computer. By transmitting a Bulk Dump, you can also set all parameters of two unit to
identical settings.
By transmitting Individual Data, you can create data without having to look up individ-
ual System Exclusive messages, letting you create data more efficiently.

● Bulk Dump procedure

1. Set the MIDI OUT/THRU (p.135) select switch to OUT.

2. Use a MIDI cable to connect this unit MIDI OUT/THRU connector to the
sequencer's MIDI IN connector.

3. Press [ALL] to make the button indicator light.

4. l ] [r
Simultaneously press both the INSTRUMENT [l r ] buttons.
The display will ask “Dump ALL,Sure?”, and the data is now ready to be transmitted.

5. l ] [r
Use INSTRUMENT [l r ] to select the type of data you wish to transmit.
All : all parameters of this unit (Including User parameters)
All-U : all parameters except User Parameter (User Instrument, User
Drum Set, User Effect and User Patch) settings
U.INST : User Instrument settings
U.DRUM : User Drum settings
U.Patch : User Patch settings
U.EFX : User Effect settings
GS A : GS parameters for Part group A
GS B : GS parameters for Part group B

6. Start the sequencer recording.

7. Press [ALL] and data transmission will begin.

The “Transmitting” display will appear while this unit transmits data.
To cancel data transmission, press [MUTE].

8. When data transmission is complete, stop recording on the sequencer.

3 7 4
PART INSTRUMENT

ALL
5
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

* Since this operation transmits a large amount of data, make sure that the receiving MIDI device
has sufficient memory. If the receiving device has insufficient memory, recording will not be
completed. If you transmit data for all Parts, the bulk data transmitted by this unit is about 40
Kbytes.

Chapter 5. Convenient functions 107

● Transmitting Individual Data
This data can be transmitted in one of three ways: Part parameters can be selected
from a menu and transmitted, parameters common to all Parts can be selected from a
menu and transmitted, or Insertion Effect parameters can be transmitted.
For the types of parameters which can be transmitted as Individual Data, refer to
p.150 “Parameter list and operations.”

* When selecting parameters common to all Parts from the menu, the following parameters can-
not be transmitted.

Device ID
MUTE Lock
EQ Lock
Rx GM On
Rx GS Reset

❍ Transmission procedure for Part parameters

❍ Transmission procedure for parameters common to all parts

1. Part parameters:
Press the [ALL] button to make the indicator dark.
Parameters common to all parts:
Press the [ALL] button to light the indicator.

2. l ] and [r
Simultaneously press the PART [l r ] buttons.

3. u ][d
Use [u d ] to select the parameter you wish to transmit.
While holding [SELECT], you can press [u][d] to jump parameters.

4. Part parameters:
Use PART[ll ][r
r ] to select the Part which will transmit the parameter,
and use INSTRUMENT [l l ][rr ] to set the value.
Parameters common to all parts:
Use INSTRUMENT [l l ][r
r ] to set the value.

5. l ] and [r
Simultaneously press INSTRUMENT [l r ], and the data will be
transmitted.
A display of “Transmitting” will appear while the data is being transmitted.
* Be aware that the screen data will not be transmitted from MIDI OUT connector if MIDI
OUT/THRU Select (p.136) is set to THRU.

6. l ] and [r
Simultaneously press PART [l r ] to end the procedure.

4 Part Parameters
1 2 6 4 Parameters common to all Parts
PART INSTRUMENT

ALL

MUTE
LEVEL PAN
5
REVERB CHORUS
SC-55
MAP
3 SC-88
KEY SHIFT MIDI CH
MAP

DELAY

108 Chapter 5. Convenient functions

❍ Transmission procedure for Insertion Effect parameters
1. Press the [EFX] button to make the indicator light orange.

2. Use the EFX TYPE and EFX PARAM buttons to select the parameter you
wish to transmit, and use EFX VALUE to set the value.

3. l ] or [r
Press EFX TYPE [l r ], and the Effect Type will be displayed. At this
l ] and [r
time, simultaneously press EFX VALUE [l r ], and the Effect Type
data will be transmitted.

4. l ] or [r
Press EFX PARAM [l r ], and the effect parameters will be displayed.
l ] and [r
At this time, simultaneously press EFX VALUE [l r ], and the effect
parameter data will be transmitted.
VIB RATE VIB DEPTH VIB DELAY
CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

1 2 3 4 Data Transmission

MIDI COMPUTER
OUT/THRU IN A IN B
MIDI IN
MIDI Mac
PC-2 PC-1

MIDI OUT
R L R L

INPUT INPUT OUTPUT1 OUTPUT2

VOLUME

MC-50mkII

The data will not be transmitted when MIDI OUT/THRU Select (p.136) is set to
THRU.
MIDI COMPUTER
OUT/THRU
MIDI OUT/THRU Select : OUT
COMPUTER switch : MIDI
Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

It is also possible to transfer data to a computer via the computer connector without
using the MIDI connectors. (p.120)
MIDI COMPUTER
OUT/THRU
MIDI OUT/THRU Select : OUT
COMPUTER switch : MAC, PC-1, PC-2
Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

Chapter 5. Convenient functions 109

■ Draw pictures or characters in the display (Frame Draw)
You can use the square dots of this unit display to draw pictures or characters. This is
called the Frame Draw function. Ten picture screens can be stored. Each of the ten
screens is called a “Page.” You can transmit the picture data as a MIDI System
Exclusive message and save it to a sequencer or computer, and then re-transmit it to
this unit to make pictures or characters be displayed in time with the music.

● Creating the picture or character data

1. r ] and EFX PARAM [l

Simultaneously press the EFX TYPE [r l ] buttons.
The display will show “FrameDraw:Page 1”.

2. l ] [r
Use INSTRUMENT [l r ] to select the page you wish to use.

3. Move the cursor, and use the button operations listed below to turn each
dot on or off to create a picture or characters.
The dot will blink at the cursor location.
[u] [dd] : move the cursor up/down
PART [l] [r] : move the cursor left/right
[ALL] : turn the dot on (lit)
[MUTE] : turn the dot off (dark)
CHORUS [l] [r] : shrink dots/expand dots
LEVEL [l] [r] : move the displayed picture down/picture up
PAN [l] [r] : move the displayed picture left/right
INSTRUMENT [l]*[r] : to transmit the screen data to an external device
* indicates that both buttons must be pressed simultaneously.

* Be aware that the screen data will not be transmitted from MIDI OUT connector if MIDI
OUT/THRU Select (p.136) is set to THRU.

4. To invert / erase / copy the screen data, use the following procedures.
(A) To invert the screen, press REVERB [l] or [r].
A message will ask “Invert Page *?” Use INSTRUMENT [l] [r] to specify
the page to be inverted.
(B) To erase the screen, press MIDI CH [l] or [r].
A message will ask “Clear Page *?”. Use INSTRUMENT [l] [r] to specify
the page to be cleared.
(C) To copy the screen, press KEY SHIFT [l] or [r].
A message will ask “Copy to Page *?”. Use INSTRUMENT [l] [r] to spec-
ify the copy destination page.

* In the messages given above, “*” indicates the screen page number.

5. For each operation, press [ALL] to execute.

To cancel without executing, press [MUTE].

6. r ] and EFX PARAM

When you finish, simultaneously press EFX TYPE [r
l ] to end the procedure.
[l

110 Chapter 5. Convenient functions

 5 3 4
PART INSTRUMENT 2
ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

1 6

If you wish to display animated pictures

(1) Use the LEVEL and PAN buttons in step 3 to move the picture and copy it to the
next page to create each frame of the animation.
(2) Then in step 3. (INSTRUMENT [l]*[r]) transmit the data for each frame and
save it in a sequencer (p.107).
(3) Then, before you start to playback the song, transmit this display data to this unit.
(4) Use the display select command (exclusive data p.193) to playback the anima-
tion.

This allows you to make moving pictures or characters appear in synchronization with
the music.

* When screen data is received as a MIDI Exclusive message, the screen data in this unit will be
overwritten and lost.

For this procedure, you will need a sequencer (such as the Roland MC-50mkII) that is
able to edit, receive and transmit System Exclusive data. Some sequencing software for
personal computers is also able to do this. Check the manual for your software.

Chapter 5. Convenient functions 111

■ Creating compatible data for the unit / SC-88
This unit has a SC-88-compatibility mode which is convenient when you wish to cre-
ate data that will be compatible with both this unit and the SC-88.

This unit provides numerous additional sounds. The additional sounds include
sounds which replace Capitals and Variation contained in the SC-88 map, and sounds
located in new Variation. Of these, the sounds which replace SC-88 map contain the
same type of sounds as in the SC-88, and are musically interchangeable with each
other. By using these sounds, you can create songs that will playback on either instru-
ment with the generally same musical result. Thus, the SC-88-compatibility mode pro-
vides an SC-88-compatible sound map. In the SC-88-compatible sound map, this unit's
high-quality sounds are arranged in the same arrangement as the SC-88 map.
The initial settings of this unit, SC-88-compatibility mode-on, and the SC-88 map
structure are as shown in the following illustration.

SC-88Pro Default setting SC-88Pro, SC-88-compatibility mode=ON SC-88(reference)

Native MAP

LSB3

SC-88MAP SC-88MAP SC-88MAP

LSB2

SC-55MAP SC-55MAP SC-55MAP

LSB1

Selected Selected Selected

Default=Native MAP Default=SC-88-compatible map Default=SC-88MAP

LSB0

Sounds located in new Variations

Sounds which replace Capitals and Variations contained in the SC-88 map

* The LSB is the lower byte of the Bank Select message. When the LSB is specified by a MIDI
message, the condition will be as specified by the front panel [SC-88MAP] and [SC-55MAP] but-
tons. (p.127)

When compared with SC-88, the map structure in SC-88-compatibility mode differs
only in that the SC-88-compatible map can be used, and the structure is identical in all
other respects.
In SC-88-compatibility mode, specifying a sound with a MIDI message of LSB 0 will
normally select the SC-88-compatability map, but if you press the [SC-88 MAP] button,
the SC-88 MAP will be selected. And if you press the [SC-55 MAP] button, the SC-55
MAP will be selected. With the SC-88-compatible map, sounds for this unit will be
played, but with SC-88 MAP the same sounds as the SC-88 will be played.
When creating data that must be playable on both this unit and the SC-88, you
should usually turn SC-88-compatibility mode on, and use LSB 0 to specify sounds. If
you wish to specify SC-55 MAP (or SC-88 MAP), use LSB 1 (or LSB 2) to specify
sounds.

* If you use Insertion effects, the SC-88 may not be able to produce the same playback.

112 Chapter 5. Convenient functions

● Setting procedure

1. Hold down [SELECT], and press [ALL].

The [ALL] button will blink, and the SC-88-compatibility mode will be turned on.
At this time if you press the [SC-88 MAP] button, the [SC-88 MAP] button will light and
the SC-88 map will be selected. Alternatively, if you press the [SC-55 MAP] button, the
[SC-55 MAP] button will light and the SC-55 map will be selected.

2. To turn off SC-88-compatibility mode, hold down [SELECT] and press

[ALL].

PART INSTRUMENT

1 ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

To maintain compatibility with various types of song data such as GM/GS, this
unit has three sound maps. These can be accessed as follows.
Type of data Map for playback Map setting
GM/GS data Native map Default setting
” SC-55 map [SC-55MAP]: ON
” SC-88 map [SC-88MAP]: ON
Data for SC-88 (LSB0) Native map Default setting
” (LSB0) SC-88 map [SC-88MAP]: ON
Data for both this unit/SC-88 (LSB0) SC-88 map [SC-88MAP]: ON
Data for this unit Native map Default setting

For example if you wish to playback GM/GS data using Native map, select the
default map setting.

Chapter 5. Convenient functions 113

■ Selecting the CM-64 sound map
This unit can be set to the sound map of the Roland CM-64 (Multi-timbre Sound
Module). When you wish to play song data that was created for the CM-64, use the fol-
lowing procedure.

* Be aware that if you select the CM-64 sound map, all previous settings will be lost.
* If you wish to use the same sounds as the SC-55/55mk II, press [SC-55 MAP] button.

1. l ].
While holding down [SELECT], press INSTRUMENT [l
The display will ask “Init CM-64, Sure?”.

2. Press [ALL] and the CM-64 sound map will be selected.

To safely cancel the operation press [MUTE].

2 1
PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

114 Chapter 5. Convenient functions

 When the CM-64 sound map is selected, the settings of each Part (group A, B) will be
as follows.

Part settings
Tone
Part name Rx.Channel LEVEL PAN REVERB CHORUS KEY SHIFT
(VARIATION/INSTRUMENT NO)

1 1 Acou Piano 1 (127/001) 100 0 64 0 0

2 2 Slap Bass 1 (127/069) 100 L10 64 0 0
3 3 Str Sect 1 (127/049) 100 L10 64 0 0
4 4 Brs Sect 1 (127/096) 100 L10 64 0 0
5 5 Sax 1 (127/079) 100 L10 64 0 0
6 6 Ice Rain (127/042) 100 L46 64 0 0
7 7 Elec Piano 1 (127/004) 100 R27 64 0 0
8 8 Bottleblow (127/111) 100 L63 64 0 0
9 9 Orche Hit (127/123) 100 R63 64 0 0
10 10 CM-64/32L Set (128) 100 0 64 0 0
11 11 FRETLESS 1 (126/028) 100 0 64 0 0
12 12 CHOIR 1 (126/030) 100 R17 64 0 0
13 13 A.PIANO 1 (126/001) 100 0 64 0 0
14 14 E.ORGAN 2 (126/038) 100 R35 64 0 0
15 15 E.GUITAR 1 (126/014) 100 L37 64 0 0
16 16 SOFT TP 1 (126/047) 100 L19 64 0 0
* Bnd Range: +12, Mod LFO Pch: +4

* The names of these sounds are identical to the names on the CM-64, so they differ from what
they are called on this unit.

Settings for all Parts

LEVEL PAN REVERB CHORUS KEY SHIFT
127 0 64 64 +
–0

● Differences between the CM-64 and the unit

When the CM-64 sound map is selected, the playback result will be the same as if a
CM-64 were used. However since the internal structure of the sound source is different,
the result is not absolutely identical. Please be aware of the following main differences.

1. How the sounds change

When velocity, modulation and aftertouch etc. are used to add expression, the
sounds will change in a way slightly different than the CM-64.

2. Exclusive data
This unit is not compatible with CM-64's Exclusive data. If CM-64's Exclusive data is
received, this unit's settings will not change. This means that if the song data contains
CM-64's sound data (Exclusive data), playing back that song data will not have the
same result as it would have on the CM-64.

3. Pan
This unit's pan settings are opposite to those of the CM-64. Please reverse the
left/right (L/R) connections of the audio output jacks.

Chapter 5. Convenient functions 115

■ Using the unit as two sound modules
This unit has two system modes: Single Module Mode (Mode 1) and Double Module
Mode (Mode 2). When Double Module Mode is selected, two types of system effect can
be used simultaneously. For example, you could use different types of reverb on Drum
Parts than on Normal Parts. Other parameters can also be set separately in two groups.
Insertion effects can be used only for part A.
Normally this unit is in Single Module Mode.

Single Module Mode (Mode 1) Double Module Mode (Mode 2)

MIDI IN A MIDI IN B MIDI IN A MIDI IN B

GM/GS GM/GS GM/GS GM/GS

sound module sound module sound module sound module
A B A B
Part A1 - A16 Part B1 - B16 Part A1 - A16 Part B1 - B16
System Effects: REV+CHO+DLY+EQ REV+CHO
Insertion Effects Insertion Effects REV+CHO

● Selecting Double Module Mode

1. r ].
While holding down the [SELECT] button, press KEY SHIFT [r
The display will ask “Set Mode2, Sure?”

2. Press [ALL] button, and this unit will be in Double Module Mode.
To cancel the operation, press [MUTE].
At the left of the parameter names, there will be an indication of either A or B. This indi-
cates whether you are setting parameters for Part Group A or B. The parameters indi-
cated as either A or B can be set independently for Part Groups A or B. Use the PART
[l] [r] buttons to move between groups A and B.
PART INSTRUMENT

A >M. Tune: 440.0

LEVEL PAN

100 0
3. To return to Single Module Mode, while holding down the [SELECT] but-
l ]. And press [ALL] button.
ton, press KEY SHIFT [l
To cancel the operation, press [MUTE].

* The selection of Single or Double Module Mode is remembered when the power is turned off.
The system mode will not change even if the power is turned off and then on again.
* Be aware that if you change the operating system mode, the settings of each Part will be initial-
ized (GS Reset).
* In Double Module mode, the screen display will be inverted. To avoid this, select an appropriate
Type setting for Display Type. (p.37)

116 Chapter 5. Convenient functions

 In both Single Module Mode and Double Module Mode, MIDI messages received at
MIDI IN A are sent to Group A Parts, and MIDI messages received at MIDI IN B are sent
to Group B Parts (p.23). Be aware that the route by which data is passed between the
two MIDI IN connectors and each Part is determined by the System parameter In Mode.
(p.137) It is possible to specify the address for Exclusive messages so that an Exclusive
message received at MIDI A will be passed to Group B Parts. (p.128)

In Double Module Mode, two groups are provided for the following parameters.
Master Level ...............................................................................................(p.35)
Master Pan .................................................................................................(p.35)
Master KEY SHIFT .....................................................................................(p.35)
Master Tune ...............................................................................................(p.14)
Reverb Type ...............................................................................................(p.52)
Reverb Character .......................................................................................(p.52)
Reverb Pre-LPF (Reverb Pre Lowpass Filter)............................................(p.52)
Reverb Level ..............................................................................................(p.52)
Reverb Time ...............................................................................................(p.52)
Reverb Delay Feedback .............................................................................(p.52)
Chorus Type ...............................................................................................(p.53)
Chorus Pre-LPF (Chorus Pre-Lowpass Filter) ................................................(p.53)
Chorus Level ..............................................................................................(p.53)
Chorus Feedback (Chorus Feedback Level)..............................................(p.53)
Chorus Delay (Chorus Delay Time) ...........................................................(p.53)
Chorus Rate ...............................................................................................(p.53)
Chorus Depth .............................................................................................(p.53)
Chorus Send Level To Reverb ...................................................................(p.53)
Mute Lock ...................................................................................................(p.140)
Rx GM On (General MIDI System On Receive Switch) ............................(p.140)
Rx GS Reset (GS Reset Receive Switch) ..................................................(p.140)
Device ID number.......................................................................................(p.134)

Chapter 5. Convenient functions 117

■ Initialize
● Initialize all Parts to the factory settings
This procedure will initialize all the settings of this unit to the factory settings. This will
also initialize System parameters (p.36) and User parameters (p.96).

1. While holding down [SELECT], simultaneously press both the INSTRU-

l ] [r
MENT [l r ] buttons.
The display will ask “Init All, Sure?”.

2. To initialize, press [ALL].

To quit without initializing, press [MUTE].

* After the initialization has been performed, the indications in the display for the parameters listed
below will show the factory default settings. In fact, however, the settings will not yet at that point
be at the defaults. They will be placed at the defaults after you turn power on, then off again.

In Mode, OUT/THRU, IN B Sel. ( p.135)

● Initialize for GM/GS

When you wish to playback song data carrying the GM/GS logo, you need to initialize
this unit for GM/GS settings. When this is done, this unit will be set to the basic GM/GS
settings appropriate for playing back song data carrying the GM/GS logo.
The beginning of song data carrying the GM/GS logo contains data which requests
the sound source to initialize itself (General MIDI System On, GS Reset p.133). This
means that if you are playing back the song data from the beginning, initialization will be
done automatically, and there is no need for you to do it using the front panel buttons.

* Even if this unit is initialized for GS/GM, the System parameter settings (p.36) will not be affected.
* Even if the Backup Switch ( p.37) is on, the following procedure will rewrite it to the factory setting.

1. r ].
(For GM) While holding down [SELECT], press PART [r
r ].
(For GS) While holding down [SELECT], press INSTRUMENT [r
The display will ask “Init GM, Sure?” or “Init GS, Sure?”
If you perform this operation in Double Module mode (p.116), the display will ask “Init
GS A, Sure?”. Use INSTRUMENT [l] [r] to specify which module A or B will be ini-
tialized.

2. To initialize, press [ALL].

To quit without initializing, press [MUTE].

2 1GM 1 ALL

PART INSTRUMENT

ALL 1 GS
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP

1 DELAY

VIB RATE VIB DEPTH VIB DELAY

CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE

EFX ON/OFF EFX TYPE EFX PARAM EFX VALUE

118 Chapter 5. Convenient functions

 Chapter 6

Using the unit

with a personal computer

Chapter 6
■ Connections with your computer
This unit can be controlled by music software running on a personal computer. This
will allow you to create your own songs, and also to select sounds or edit sounds from
the computer display. This type of system is known as a Desk Top Music System
(DTMS). The functions provided by a DTMS differ widely depending on the software, so
it is important that you choose software suited to your needs.

There are two ways to connect this unit to your computer; using the MIDI connectors
or the computer connector. If you use the MIDI connectors, you will need to obtain a
computer interface board (adapter) that has MIDI connectors (such as the Roland Super
MPU, etc.). If you use this unit's computer connector, you can use a special cable to
connect it directly with the computer, but your software must be able to correspond to
the serial port.
If you wish to connect your computer via the MIDI connectors, refer to p.122
(Connecting a computer via the MIDI connectors) for how to make connections. The fol-
lowing explanation will show how to make connections using this unit computer connec-
tor.

● Connections with computer connector

Apple Macintosh
Apple Macintosh IBM PC/AT NEC PC-9800

MIDI Mac MIDI Mac MIDI Mac MIDI Mac

PC-2 PC-1 PC-2 PC-1 PC-2 PC-1 PC-2 PC-1

Modem Port COMPUTER

MIDI
OUT/THRU IN A IN B

MIDI Mac
PC-2 PC-1
Macintosh IIci

R L R L R L

INPUT INPUT OUTPUT1 OUTPUT2

IBM PC/AT VOLUME

IBM

Optional computer cable

RS-232C RSC-15APL

Optional computer cable

RSC-15AT

120 Chapter 6. Using the unit with a personal computer

1. Turn power of this unit off, and set the COMPUTER switch located on the
back of this unit.

Note
The Computer switch will be validated when the power is turned off and then on after the
setting has been made.

* The setting will depend on the type of computer you have and the software you use.

The PC-1 baud rate is 31.25K (bit/sec), and the PC-2 baud rate is 38.4K (bit/sec). Set
the computer switch to the baud rate required by your MIDI application (software).
Carefully read the manual for your software regarding the switch setting.
In general, set the switch to Mac for Macintosh series computers, and to PC-2 for
IBM PC/AT series computers.

Apple Macintosh IBM PC/AT NEC PC-9800

MIDI Mac MIDI Mac MIDI Mac MIDI Mac

PC-2 PC-1 PC-2 PC-1 PC-2 PC-1 PC-2 PC-1

2. Connect the computer cable to the RS232C connector or modem port

located on the back of your computer.
Types of computer cable
Macintosh series RSC-15APL
IBM PC/AT series RSC-15AT (This is a 9 pin cable. If you need a 25 pin cable, refer
to the wiring diagram on p.149 and purchase an appropriate
cable.)

3. Connect the other end of the computer cable to this unit's computer con-
nector (COMPUTER).

4. Turn power of this unit on.

Caution when using this unit with the IBM PC/AT series
Even if this unit computer connector is connected to your personal computer, it will
not operate correctly if the software (MIDI application) is incompatible. Be sure to use
software that is compatible with the serial port of the personal computer.
In some cases, other computer settings will be necessary, so read the owner's manu-
al for your software careful, and make the appropriate settings before use.

Chapter 6. Using the unit with a personal computer 121

● Connections with MIDI connectors
* Set the Computer select switch located on the back of this unit to MIDI.

Apple Macintosh

T
OU
DI
MI

IN
Printer Port
MIDI COMPUTER
OUT/THRU IN A IN B

T
MIDI Mac

OU
PC-2 PC-1
Modem Port

DI
MI

IN
Macintosh IIci
R L R L
The setting
INPUT INPUT OUTPUT1 is MIDI
VOLUME
MIDI interface adapter
This unit

IBM PC/AT MIDI

INT
interface
IBM 78
board
4 56

90 1

2 3

ADDRESS Roland
A
4 5 6

INTELLIGENT MIDI PROCESSING UNIT

Super
IN
1 2 3

MPU/AT
MIDI

PORT
A
OUT
B

OUT
MIDI COMPUTER
OUT/THRU IN A IN B
IN
Super MPU

SMPTE
MIDI Mac
PC-2 PC-1

R L R L R L

INPUT INPUT OUTPUT1 OUTPUT2

VOLUME

This unit

122 Chapter 6. Using the unit with a personal computer

● MIDI data transfer with the computer
Depending on the setting of the computer switch, MIDI data flow will be different as
follows (with the factory settings).

❍ When the computer switch is set to PC-1, PC-2 or Mac

THRU function : ON

Macintosh IIci

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

* In order for data received at MIDI IN A to be sent to the sound generator section, the Thru func-
tion of the computer software must be turned on. When thru function is turned on, the data
received at MIDI IN A will pass through the computer and be played by the sound generator sec-
tion. When transmitting MIDI Exclusive data from the sound generator section via this unit's
MIDI OUT/THRU connector, it is also necessary for thru function to be on.
* Data received at MIDI IN B will not be sent to the computer connector, but will be passed directly
to the sound generator section.
* The number of sound generator Parts that can be controlled using the computer connector will
depend on the software you are using. This means that if you are using the computer connector,
you will not necessarily be able to play 32 Parts. Carefully read the operating manual for your
software. Also be aware that although this unit allows two connectors MIDI IN A and B to be
used for 32 Part performance, this may impossible to achieve depending on your software.

Chapter 6. Using the unit with a personal computer 123

 ❍ When the computer switch is set to MIDI
MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

* Be aware that when the computer switch located on the back of this unit is set to MIDI, data will
not be exchanged via the computer connector.
* If you wish to use the MIDI IN B located on the front panel, you must make the appropriate set-
tings for IN B Select (p.135).
* With the factory settings, MIDI OUT/THRU is set to function as MIDI OUT. If you wish to use it
as MIDI THRU, set the MIDI OUT/THRU select switch (p.136) to THRU.
* Exclusive data address settings are explained on p.128, 193.
* With the factory settings, MIDI messages received at MIDI IN A are passed to Group A Parts,
and MIDI messages received at MIDI IN B are passed to Group B Parts. In most situations there
is no need to change this, but it is possible to change the MIDI signal flow as shown below
(p.137, 138).

MIDI COMPUTER MIDI COMPUTER

OUT/THRU OUT/THRU

Part group A Part group A

Part A1 - A16 Part A1 - A16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN A MIDI IN A

Part group B Part group B

Part B1 - B16 Part B1 - B16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN B MIDI IN B MIDI IN B MIDI IN B
(Rear) (Front) (Rear) (Front)

MIDI COMPUTER MIDI COMPUTER

OUT/THRU OUT/THRU

Part group A Part group A

Part A1 - A16 Part A1 - A16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN A MIDI IN A

Part group B Part group B

Part B1 - B16 Part B1 - B16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN B MIDI IN B MIDI IN B MIDI IN B
(Rear) (Front) (Rear) (Front)

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

124 Chapter 6. Using the unit with a personal computer

● Connecting another MIDI sound source to the unit
If you wish to connect another MIDI sound source to this unit's MIDI OUT/THRU con-
nector, be aware of the following points.

❍ When using another sound source to play data received at the computer connector
In this situation, set MIDI OUT/THRU Select (p.136) to OUT. Computer data received
at the computer connector will be transmitted from this unit MIDI OUT/THRU connector.
MIDI OUT/THRU selection : OUT
MIDI COMPUTER
MIDI IN OUT/THRU
MIDI Sound
Module
MIDI OUT
Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
Part group B
MIDI keyboard Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) This unit
(Front)

❍ When using another sound source to play data received at MIDI IN A

In this situation, set MIDI OUT/THRU Select (p.136) to THRU. Data received at MIDI
IN A will be transmitted just as it is from MIDI OUT/THRU.

* Data received at MIDI IN B will not be passed THRU even if THRU is selected. Regardless of
the Input Mode setting (In mode p.137), data from MIDI IN B will not be THRUed.

MIDI OUT/THRU selection : THRU

MIDI COMPUTER
MIDI IN OUT/THRU
MIDI Sound
Module
MIDI OUT Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
Part group B
MIDI keyboard Part B1 - B16
GM/GS
MIDI IN B Sound generator
MIDI IN B
(Rear) This unit
(Front)

Chapter 6. Using the unit with a personal computer 125

■ Using MIDI messages to select sounds
By sending MIDI messages from a MIDI keyboard or sequencer, you can remotely
select the sound (Instrument) for each Part. When you press a sound select button on a
MIDI keyboard, a MIDI message selecting a sound will be transmitted
You can also use your personal computer to select this unit sounds. You can specify
sounds by inputting the Variation number and the Instrument number (p.21) into your
computer program, but depending on your software the way in which numbers are dis-
played may differ, so be aware of this. On this unit, Variation numbers begin with 0, and
Instrument numbers begin with 1.

Variation numbers correspond to MIDI Bank numbers, and Instrument numbers cor-
respond to MIDI Program numbers.

* MIDI Bank numbers have an upper (MSB) and lower (LSB) part. Each can specify a number 0 -
127, allowing you to specify 128 x 128 = 16384 banks. The upper part of the Bank number cor-
responds to this unit Variation number. The lower part switches between SC-55 map, SC-88
map and Native map. (MIDI Implementation, p.188).
* For the relation between the sound names and program numbers of your MIDI keyboard, refer
to the manual for your MIDI keyboard.
* If you specify a sound number that this unit does not have, a sound will not change. Refer to the
instrument table on p.154 when selecting sounds.

Native map
Variation number

065 User Tone User Tone User Tone User Tone User Tone
064 User Tone User Tone User Tone User Tone User Tone

032
Variation
Syn Harpsi
024 Piano + Str. Instruments
Hard FM EP Harpsi.o 003 Explosion
016 European Pf St.FM EP Harpsi.w 002 Lasergun
008 Piano 1w Detuned EP 2 Couple Hps. 001 Machine Gun
000 Piano 1 E.Piano 2 Harpsichord Clav. 000 Gun Shot Capital
001 006 007 008 128 Instruments
Instrument number

When creating MIDI messages on a sequencer or personal computer and transmit-

ting them, use the following procedure.
1. The value of Control Change 0 : MIDI Bank Number (upper) (this unit's
Variation number)
2. The value of Control Change 32 : MIDI Bank Number (lower)
3. Program Change value : MIDI Program Number (this unit's instru-
ment number)
1. and 2. are the Bank Select message. Bank Select messages are a type of Control
Change message (p.131).

For example if you wish to select the Instrument (Piano3w) with Variation number 8,
Instrument number 3, you would transmit the following data to this unit.
(Expressed in decimal notation.)
1. The value of Control Change 0 : 8 (Bank number (upper) 8; Variation number 8)
2. The value of Control Change 32 : 0
3. Program Change value : 2 (Program number 3 : Instrument number 3)

* Note that the data actually transmitted as the Program number will be one less than the
Program number.

126 Chapter 6. Using the unit with a personal computer

The example above can be expressed in hexadecimal as follows.
1. BnH 00H 08H
2. BnH 20H 00H
3. CnH 02H

* H indicates that the value is expressed as a hexadecimal number. Decimal 32 is written as

hexadecimal 20H.
* n indicates the MIDI channel.
* Note that for MIDI channels and Instrument numbers, the number is one less than the channel
or Instrument number. For example if you wish to select a sound on the Part receiving MIDI
channel 4, n would be 3. If you wish to select Instrument 3, the value in step 3 would be 2.

This unit processes the lower part of the bank select message (LSB) as follows (p.188).

Least significant byte (LSB)

00H The setting of the [SC-55 MAP] or [SC-88 MAP] button is followed. If the front
panel [SC-55 MAP] button is lit, SC-55 map will be selected.If the front panel
[SC-88 MAP] button is lit, SC-88 map will be selected. If the button is dark,
Native map will be selected.
01H SC-55 map will be selected, and [SC-55 MAP] is lit.
02H SC-88 map will be selected, and [SC-88 MAP] is lit.
03H Native map will be selected, and [SC-55 MAP][SC-88 MAP] is dark.

If we use the previous example of selecting the Piano3w sound, we would transmit
1. BnH 00H 08H
2. BnH 20H 03H
3. CnH 02H
to this unit, and Piano3w of Native map will be selected. If we transmit BnH 20H 01H in
step 2, the SC-55 map Piano3w will be selected. If we transmit BnH 20H 02H in step 2,
the SC-88 map Piano3w will be selected.

* When SC-55 map is selected, “ " ” symbol will be displayed at the left of the insturument name.
* When SC-88 map is selected, “ ' ” symbol will be displayed at the left of the insturument name.

PART INSTRUMENT

A01 001 "Piano 1

LEVEL PAN

100 0
PART INSTRUMENT

A01 001 'Piano 1

LEVEL PAN

100 0

Chapter 6. Using the unit with a personal computer 127

● Using MIDI messages to select Drum Sets
You can select Drum Sets by transmitting MIDI messages from a MIDI keyboard or
sequencer, in the same way as you can select Instruments. When a Program Change
message is received, the Drum Set will change. Transmit a Program Change message
on the channel being received by the Drum Part. With the factory settings, Part 10 is the
Drum Part (MIDI receive channel:10). On this unit, Drum Set numbers correspond to
program numbers (p.163).

* Set the note numbers of the rhythm data being played back to match the note numbers of this
unit Drum Set you are using (p.164).

Drum Set name and Drum Set number ( Program number )

STANDARD 1 ROOM TR-808 User Set User Set

001 009 026 065 066

Exclusive data addresses

❍ Receiving exclusive data
As listed in “MIDI Implementation” (p.193), the address of MIDI exclusive data (GS format) is
defined in units of 16 Parts. In other words, starting from address 40 00 00 are the parameters
for 16 Parts. This unit has data for another 16 Parts, making a total of 32 Parts. For this reason,
this unit's MIDI exclusive data format expands the addressing, and places the remaining 16
Parts at starting address 50 00 00.
In the same way as with channel messages, exclusive data received at MIDI IN A is passed
to Group A Parts, and exclusive data received at MIDI IN B is passed to Group B Parts. In other
words, exclusive data for the 32 Parts is received using two MIDI IN connectors. If this is done,
each MIDI IN receives exclusive data for 16 Parts, so it is not necessary to split up the data into
addresses 40 00 00 and 50 00 00.
However it is also possible for this unit to receive exclusive data for all 32 Parts at a single
MIDI IN. In this case it is necessary to use address 50 00 00. For example, the data at starting
address 40 00 00 will be passed to Group A Parts, and the data at starting address 50 00 00
received at the same MIDI IN will be passed to Group B Parts. In other words, using starting
address 50 00 00 means that the data will be passed to the Parts of the other Group than the
MIDI IN that the data was received at.
MIDI COMPUTER MIDI COMPUTER
OUT/THRU OUT/THRU

Starting address Starting address

Part group A Part group A
40 00 00 40 00 00
Part A1 - A16 Part A1 - A16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN A MIDI IN A

Starting address
Part group B Part group B
40 00 00
Part B1 - B16 Starting address Part B1 - B16
GM/GS 50 00 00 GM/GS
Sound generator Sound generator
MIDI IN B MIDI IN B MIDI IN B MIDI IN B
(Rear) (Front) (Rear) (Front)

Only in the case of Exclusive data, the System parameter Input Mode (p.137) has no effect
on the way in which data is passed from the two MIDI IN connectors to the Parts.

❍ Transmitting exclusive data

Since this unit has only one MIDI OUT, the exclusive data transmitted is sent using the two
address areas of 40 00 00 and 50 00 00. User sound data is located at starting areas of 20 00
00.

* Be aware that exclusive data will be not transmitted from MIDI OUT connector if the MIDI
OUT/THRU select (p.137) is set to THRU.

128 Chapter 6. Using the unit with a personal computer

Chapter 7

MIDI and the unit

Chapter 7
■ About MIDI
MIDI stands for Musical Instrument Digital Interface. ● MIDI channels and multi-timbral
MIDI devices can transmit musically related data
such as performance data or data to select sounds. sound modules
Since MIDI is a world-wide standard, musical data
MIDI transmits a wide variety of performance data
can be sent and received between devices even if
over a single MIDI cable. This is made possible by
they are of different types and were made by differ-
MIDI channels. MIDI channels allow specific data to
ent manufacturers. In the MIDI standard, data
be selected out of a large amount of data. The con-
describing a musical performance such as “play a
cept is similar to the idea of TV channels. By chang-
note” or “press the pedal” are transmitted as MIDI
ing the channel of a TV receiver you can view the
messages.
programs of different stations. By setting the chan-
As long as you are using this unit to simply play
nel of the receiver to match the channel of the
commercially available music data or to provide
transmitter, you can receive only the program you
sound for game software, it is not necessary to
wish to watch. In the same way, MIDI allows you to
know about MIDI. Simply follow the instructions in
receive data only when the channel of the receiver
the manual for your music data playback device
matches the channel of the transmitter.
(MIDI player) or your software.
The explanation that follows will help you use MIDI The cable from the antenna carries the TV signals from many broadcast stations.
to control this unit in greater detail.
Station A

● How MIDI messages are transmitted Station B

and received Station C

The TV is set to the channel of the station you wish to watch.

First we will briefly explain how MIDI messages are

transmitted and received. MIDI uses sixteen channels, numbered 1 — 16.
Music data is received when the transmit channel of
MIDI connectors the transmitting device matches the receive channel
MIDI messages are transmitted and received using of the receiving device. If you make MIDI channel
three types of connector. Connect MIDI cables to settings as Fig.1, only sound source B will sound
these connectors as appropriate for your setup. when you play the keyboard, and sound source A
will not sound. This is because sound source B
matches the transmit channel of the keyboard, but
sound source A's channel does not match.
MIDI
Conversely, if you set the transmit channel of the
THRU OUT IN keyboard to match sound source A, sound source A
will sound (Fig.2).

MIDI OUT MIDI IN MIDI THRU

Transmit channel : 1 Receive

channel : 2
Sound
from another MIDI device Fig.1
Module A
Receive
to another MIDI device MIDI keyboard channel : 1 MIDI IN
Sound
Module B

MIDI IN : This connector receives messages MIDI OUT MIDI IN MIDI THRU

from another MIDI device. Transmit channel : 2 Receive

channel : 2
MIDI OUT : This connector transmits messages Sound
Module A
Fig.2
from this unit. Receive
MIDI keyboard channel : 1 MIDI IN
MIDI THRU : This connector retransmits the mes- Sound
Module B
sages received at MIDI IN.

* It is possible to use MIDI THRU to connect two or more Since this unit has two MIDI IN connectors, it can
MIDI devices, but in practice the limit is 5 units. This is receive a total of 32 channels simultaneously. By
because as the signal path becomes longer, the signal
using 32 channels you can play ensembles of 32
deteriorates and the messages can no longer be
Parts (p.23). Sound sources such as this unit which
received correctly.
are able to simultaneously play many parts are
* On this unit, MIDI THRU and MIDI OUT share the same
called multi-timbral sound modules. Timbre is a
connector. The MIDI OUT/THRU Select switch (p.136)
word meaning sound.
determines which function the connector will have.
This unit has two types of Parts: Normal Parts and
MIDI
OUT/THRU IN A IN B Drum Parts (p.27). Normal Parts are used to play
melody or bass lines. On GM/GS sound sources,
the Drum Part uses channel 10.

130 Chapter 7. MIDI and the unit

■ MIDI messages that can be received by the unit
MIDI uses many different types of message to These messages can also be used to select
transmit musical performance data, and there are Patches (p.41). However if settings have been
many types of MIDI message. For example, infor- made to allow Patches to be selected, the program
mation indicating “which key was played how change message for each Part will be ignored.
strongly” is transmitted as a Note message.
The way that a device responds when it receives ❍ Control Change
each type of MIDI message (i.e., how it produces
sound, etc.) will depend on the specifications of that These messages control parameters such as mod-
device. This means that if the receiving device is ulation and pan. The function of the message is
not able to perform the function requested by the determined by its Control Change number.
incoming message, the musical result will not be
what you expected.
Modulation (control change number 1) ✩
The main types of MIDI message received by this This message controls vibrato.
unit are as follows.
Volume (control change number 7) ✩
* MIDI messages for which reception capability is This message controls the volume of a Part. When
required by the GM system (level 1) are marked by a ✩ this message is received the volume of a Part will
sign. change.

❍ Note messages ✩ Expression (control change number 11) ✩

This message conveys volume changes. It can be
These messages convey notes played on the key- used to add expression during a song.
board. They include the following information.
Note number : a number indicating the note * The volume of a Part will be affected both by Volume
(key) that was pressed or messages (control change 7) and by Expression mes-
released sages (control change 11). If a value of 0 is received for
either of these messages, the Part volume will be 0 and
Note on : data indicating that the note (key)
will not rise even if the other message is sent with a
was pressed
higher value. Be aware of this.
Note off : data indicating that the note (key)
was released
Velocity : a number indicating how strongly Using Volume and Expression
the note (key) was pressed It is convenient to use Volume and Expression in
distinct ways, as follows.
Note numbers are a number from 0 — 127 which Volume : Adjust the volume balance
indicate the keyboard key position, with middle C between Parts.
(C4) as note number 60. Expression : Create volume changes during a
Correspondence between note numbers and note names
song (crescendo, decrescendo,
Note name etc.).

The reason for this differentiation is that if you use

only Volume messages to create volume changes
C-1 A0 C1 C2 C3 C4 C5 C6 C7 C8 during the song, you will have to modify all of the
0 21 24 36 48 60 72 84 96 108 Volume data in the song if you later decide to
MIDI note number
adjust the volume balance between the Parts.
However if you use only Volume at the beginning
❍ Pitch bend ✩ of the song, and use only Expression during the
song, it will be easy to adjust the volume balance
This message conveys the position of the bender between Parts for the entire song simply by modi-
lever (or pitch bend wheel). The pitch will change fying the Volume data at the beginning of the
when this message is received. song, and the data for changes in dynamics during
the song can remain as it was. This is very conve-
❍ Bank Select (Control Change num- nient when, for example, you decide to make a
slight change in the balance between the piano
ber 0 and 32) and bass when the song is nearly completed.
❍ Program Change ✩
These messages are used to select sounds.
Pan (control change number 10) ✩
Sounds are selected by a Program numbers 1 —
128. On this unit, these messages will select This message controls the stereo position of a Part.
sounds (Instruments). By using Bank Select mes- (p.27, 35)
sages (which are a type of Control Change mes-
sage), an even wider variety of sounds can be
selected (p.126).

Chapter 7. MIDI and the unit 131

Hold (1) (control change number 64) ✩ RPN LSB, MSB (control change number
This message conveys the up/down movements of 100/101) ✩
the damper pedal, causing the currently sounding Data Entry (control change number 6/38) ✩
notes to be sustained. When a message of Hold On Since the function of the RPN (Registered
is received, notes will be sustained. In the case of Parameter Number) is defined in the MIDI specifica-
decay-type instruments such as a piano, the sound tion, this message can be used between devices of
will decay gradually until a Hold Off message is different types. The RPN MSB and LSB messages
received. In the case of sustain-type instruments specify the parameter which is to be modified, and
such as an organ, the sound will continue sustain- then Data Entry messages can be used to modify
ing until a Hold Off message is received. the value of that parameter. RPN can be used to
adjust Pitch Bend Sensitivity, Master Coarse Tune,
Sostenuto (control change number 66) and Master Fine Tune.
The sostenuto pedal on a piano sustains only the
notes which were already sounding at the moment * The values modified using RPN messages will not be
the pedal was pressed. The Sostenuto message initialized even if Program Change messages etc. are
conveys the movement of this pedal. When received to select other sounds.
Sostenuto On is received, only the notes which
were already on at that moment will be sustained. NRPN LSB, MSB (control change number
In the case of decay-type instruments such as a 98/99)
piano, the sound will decay gradually until a
Data Entry (control change number 6/38)
Sostenuto Off message is received. In the case of
sustain-type instruments such as an organ, the NRPN (Non-registered Parameter Number) mes-
sound will continue sustaining until a Sostenuto Off sages can be used to modify the values of sound
message is received. parameters unique to a particular device. The
NRPN MSB and LSB messages specify the para-
meter which is to be modified, and then Data Entry
Soft (control change number 67)
messages can be used to modify the value of that
The soft pedal on a piano softens the tone during parameter.
the time the pedal is pressed. The Soft message Since the GS format defines the function of several
conveys the movement of this pedal. When Soft On NRPN messages, GS compatible application pro-
is received, the cutoff frequency will be lowered, grams can use NRPN messages to modify sound
causing a softer sound. When Soft Off is received, data parameters for Vibrato, Cutoff Frequency,
the previous sound will return. Resonance, and Envelope values.

Reverb Send Level (control change number 91) * The values modified using NRPN messages will not be
This message adds a reverb effect to the Part initialized even if Program Change messages etc. are
(Reverb Level p.52). received to select other sounds.
* With the factory settings, this unit will ignore NRPN
Chorus Send Level (control change number 93) messages. After a GS Reset message is received,
This message adds a chorus effect to the Part NRPN messages will be received. You can also turn
(Chorus Level p.53). Rx.NRPN on (NRPN Receive Switch, p.141) either from
the front panel or by using exclusive messages, so that
Delay Send Level (control change number 93) NRPN messages will be received.
This message adds a delay effect to the Part (Delay
Level p.54). ❍ Aftertouch (Channel Pressure only ✩)
Portamento (control change number 65) Aftertouch is a message which conveys the pres-
sure applied to the keyboard after playing a note, so
Portamento Time (control change number 5)
that this information can be used to control various
Portamento Control (control change number 84) aspects of the sound. There are two types of after-
Portamento is an effect that creates a smooth touch message; Polyphonic Key Pressure which is
change in pitch between the previously played note transmitted separately for each note, and Channel
and the newly played note. When a Portamento Key Pressure which is transmitted as one value that
message is received, the portamento effect will be affects all notes on the specified MIDI channel.
turned on or off. Portamento Time controls the
speed of the pitch change. Portamento Control * With the factory settings, Aftertouch messages will have
specifies the Source Note number (the previously no effect when received by this unit. In order for
played note). Aftertouch messages to do something, you need to set
Aftertouch-related parameters. (p.30).

132 Chapter 7. MIDI and the unit

❍ All Sounds Off In order to recognize the device for which the data
is intended, Roland exclusive messages contain a
This message completely turns off the sound of all manufacturer ID, device ID and model ID.
currently-sounding notes. The sound of the speci- This unit exclusive messages use two model IDs;
fied channel will be forcibly turned off. 42H for GS format, and 45H for SC-55 (88). The
two numbers are used depending on the parameter
you wish to modify. Be aware that if the appropriate
❍ All Notes Off ✩ ID number is not used, data will not be transferred.
(p.134)
This message causes a Note Off to be sent to each
note of the specified channel that is currently on. GM System On ✩ (Universal System Exclusive)
However if Hold 1 or Sostenuto are on, the sound
When GM System On is received, the unit will be
will continue until these are turned off.
set to the basic GM settings. Also, NRPN Bank
Select messages will no longer be received after
❍ Reset All Controllers ✩
GM System On is received. The beginning of song
This message returns controller values to their ini- data bearing the GM logo contains a GM System
tial settings. The following controller values for the On message. This means that if you playback the
specified channel will be reset to their initial values. data from the beginning, the sound generator
device will be automatically initialized to the basic
Controller Initial value settings.
Pitch Bend 0 (center)
Polyphonic Key Pressure 0 (minimum) GS Reset (GS Format System Exclusive)
Channel Pressure 0 (minimum) When GS Reset is received, the unit will be set to
Modulation 0 (minimum) the basic GS settings. Also, NRPN messages spec-
Expression 127 (maximum) ified in the GS format can be received after GS
Hold 0 (off) Reset is received. The beginning of song data bear-
Portamento 0 (off) ing the GS logo contains a GS System Reset mes-
Soft 0 (off) sage. This means that if you playback the data from
Sostenuto 0 (off) the beginning, the sound generator device will be
RPN number unset automatically initialized to the basic settings.
NRPN number unset
Master Volume (Universal System Exclusive)
* Parameter values that were modified using RPN or This is an exclusive message common to all MIDI
NRPN will not change even when a Reset All Controller
devices that controls the master volume of all Parts.
message is received.

Other exclusive messages

❍ Active Sensing
This unit can receive GS format exclusive mes-
This message is used to check for broken MIDI sages (model ID 42H) that are common to all GS
connections, such as MIDI connectors that have sound generators. This unit can also use exclusive
been pulled out or MIDI cables that have been bro- messages (model ID 45H) that are especially for
ken. This unit transmits Active Sensing messages the SC-55 (88). Exclusive messages can be used to
from MIDI OUT at specific intervals. Once an Active store this unit settings or to make fine adjustments
Sensing message is received at MIDI IN, Active to parameters.
Sensing monitoring will begin, and if an Active
Sensing message fails to arrive for more than 420 For details of the exclusive message transmitted
msec, it is assumed that the cable has been discon- and received by this unit, refer to the explanation on
nected. If this happens, all currently sounding notes p.191 and following.
will be turned off, the same procedure will be exe-
cuted as if a Reset All Controllers message was
received, and Active Sensing monitoring will stop.

❍ System Exclusive messages

Exclusive messages are used to control functions
which are unique to specific devices. Although
Universal System Exclusive messages can be used
even between devices of different manufacturers,
most exclusive messages cannot be used between
devices of different types or different manufactur-
ers.

Chapter 7. MIDI and the unit 133

■ Device ID number settings
The Device ID number is an identification number used when transmitting and receiv-
ing exclusive messages (p.133). This unit receives exclusive messages only if its own
device ID number matches the device ID number of the message. This means that if you
wish to transmit exclusive messages between devices, you must make sure that their
device ID numbers match.
The device ID number is a number from 1 — 32. With the factory settings the number
is 17.

* If you wish to playback Roland SMF music data, be sure that the device ID number is set to 17.
If it is not, playback will not be correct.
* It is not possible to specify the device ID number separately for individual Parts.

How to make settings

1. Press [ALL] to make the button indicator light.
2. l ][r
Simultaneously press both the PART[l r ] buttons.

3. d ] to select “Device ID”.

u ][d
Use [u
PART INSTRUMENT

ALL >Device ID: 17

LEVEL PAN

100 0
4. l ][r
Use INSTRUMENT[l r ] to modify the device ID number.

5. l ][r
When you finish making settings, simultaneously press both PART[l r]
buttons to end the procedure.

1 2 5 4

PART INSTRUMENT

ALL
LEVEL PAN
MUTE
REVERB CHORUS
SC-55
MAP
3 SC-88
KEY SHIFT MIDI CH
MAP

DELAY

About MIDI implementation charts

MIDI allows many different types of device to be connected, but in some cases
there will be types of message which cannot be conveyed meaningfully. For example if
you wish to use keyboard aftertouch to control the sound but the sound generator con-
nected to the keyboard does not receive aftertouch messages, you will not get the
musical result you intend. In this way, only messages that are used by both devices will
actually be conveyed.
The MIDI specification requires that the owner's manual for each MIDI device
include a “MIDI Implementation Chart” (p.209) that shows the types of MIDI message
which are actually transmitted and received by a device. Place the transmit column of
the transmitting device's implementation chart side by side with the receive column of
the receiving device's implementation chart. Messages which are marked as “O” in
both charts can be conveyed successfully. If either chart shows a “X” for a certain type
of message, that message cannot be conveyed.
For your reference, the data format for exclusive messages and other details of this
unit MIDI implementation are given on p.188 and following.

134 Chapter 7. MIDI and the unit

■ MIDI message routing settings and switches
This unit provides various parameters that determine how incoming MIDI messages
are passed to the Parts. For some types of MIDI message, a switch is provided to turn
reception on or off. These parameters can be classified as “Switches which apply to all
Parts” or “Switches which can be set individually for each Part.”

[1] Switches which apply to all Parts (A)

IN B Sel. (IN B Select) Front/Rear
OUT/THRU (MIDI OUT/THRU Select) OUT/THRU
In Mode (Input Modes) Standard, X-connect, Merge → A, Merge → B, A only
Rx Sys. Mode (System Mode Set Receive switch) On, Off

* After modifying the setting of the IN B Sel., OUT/THRU, or In Mode parameters, you must turn
the power on once again. New settings of these parameters become valid when the power is
turned on.
● Procedure

1. u ] and [d
Simultaneously press [u d ].

2. u ] [d
Use [u d ] to select the parameters you wish to set.
PART INSTRUMENT

A01 %IN B Sel.:Rear

LEVEL PAN

100 0
3. l ] [r
Use INSTRUMENT [l r ] to set the value.

4. u ] and [d
When you have set the value, simultaneously press [u d ] to end
the procedure.

5. Turn on the power again. (Except when you have selected Rx Sys. Mode.)

PART INSTRUMENT

ALL 3
LEVEL PAN
MUTE

1 REVERB CHORUS
SC-55
MAP
2 SC-88
KEY SHIFT MIDI CH
MAP

4 DELAY

● How each parameter works

❍ IN B Sel. (IN B Select) Front/Rear
This unit has two MIDI IN B connectors, one on the front panel and another on the
rear panel. If the IN B Sel. parameter is set to Front, the front panel MIDI IN B can be
used. If the IN B Sel. parameter is set to Rear, the rear panel MIDI IN B can be used. It
is not possible to use both the front and the rear MIDI IN B connectors simultaneously.
<Set to Front> <Set to Rear>
MIDI COMPUTER MIDI COMPUTER
OUT/THRU OUT/THRU

Part group A Part group A

Part A1 - A16 Part A1 - A16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN A MIDI IN A

Part group B Part group B

Part B1 - B16 Part B1 - B16
GM/GS GM/GS
Sound generator Sound generator
MIDI IN B MIDI IN B MIDI IN B MIDI IN B
(Rear) (Front) (Rear) (Front)

Chapter 7. MIDI and the unit 135

 ❍ OUT/THRU (MIDI OUT/THRU Select) OUT/THRU
The MIDI OUT/THRU connector on the rear panel of this unit can function either as a
MIDI OUT or a MIDI THRU. When the OUT/THRU sellect is set to OUT the connector
will function as MIDI OUT, and when set to THRU it will function as MIDI THRU.

MIDI
OUT/THRU IN A IN B

If THRU is selected, data received at MIDI IN A will be retransmitted from the MIDI
OUT/THRU connector. Data received at MIDI IN B will never be “thru-ed”, regardless of
the THRU setting, and regardless of the setting for In Mode.
If OUT is selected, exclusive data or data received at the computer connector can be
transmitted from the MIDI OUT/THRU connector. (p.107, 123)

When the COMPUTER switch is set to MIDI

MIDI OUT/THRU Select : OUT

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

MIDI OUT/THRU Select : THRU

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

When the COMPUTER switch is set to PC-1, PC-2 or Mac

MIDI OUT/THRU Select : OUT
MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

MIDI OUT/THRU Select : THRU

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A

Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

136 Chapter 7. MIDI and the unit

❍ In Mode (Input Modes)
Standard, X-connect, Merge → A, Merge → B, A only
With the factory settings, MIDI messages received at MIDI IN A are passed to Group
A Parts, and MIDI messages received at MIDI IN B are passed to Group B Parts. In nor-
mal circumstances, there is no need to change the standard setting, but it is also possi-
ble to change the MIDI signal in the following. (diagram on the following page)

Standard
MIDI messages received at MIDI IN A are passed to Group A Parts, and MIDI mes-
sages received at MIDI IN B are passed to Group B Parts. Standard is the factory set-
ting.

X-connect (Cross connect)

This reverses the handling of Standard. MIDI messages received at MIDI IN A are
passed to Group B Parts, and MIDI messages received at MIDI IN B are passed to
Group A Parts.

Merge → A
MIDI messages received at either MIDI IN A or MIDI IN B are sent to Group A Parts.
MIDI messages are not sent to Group B Parts, so they will not sound. For example, you
might use this setting when you wish to play Group A Parts simultaneously from a MIDI
keyboard and from a MIDI sequencer.

Merge → B
This reverses the handling of Merge → A. MIDI messages received at either MIDI IN
A or MIDI IN B are sent to Group B Parts. MIDI messages are not sent to Group A Parts,
so they will not sound.

A only
When using the Roland Super MPU (MIDI Processing Unit: two MIDI OUTs), some
software will transmit the same data to both of this unit's MIDI IN connectors. This will
cause two Parts to sound in unison, causing an unnatural effect. In such a case, do not
use both MIDI INs. Either disconnect one of the MIDI cables, or use the preceding pro-
cedure to set to A only. When A only, data received at MIDI IN B will be ignored.

* Be aware that if the computer switch on the rear panel of this unit is set to either PC-1, PC-2 or
Mac, MIDI data received at MIDI IN A will not be sent to the Parts (the sound generator), but will
be sent through the computer connector to the computer (p.123).
* The data sent from the computer through the computer connector will be treated as received
from MIDI IN A, and will be passed to the various Parts according to the Input Modes setting.

❍ Rx Sys. Mode (System Mode Set Receive Switch): On/Off

The selection of Single Module Mode or Double Module Mode (p.116) is called the
System Mode. The Rx Sys. Mode setting is the receive switch for MIDI messages
(System Mode Set p.194) that select the System Mode. If Rx Sys Mode is turned Off,
the mode will not change even if System Mode Set messages are received. If Rx Sys
Mode is turned On, the mode will change.

Chapter 7. MIDI and the unit 137

 MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
Standard
Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
X-connect
Part group B
(Cross connect)
Part B1 - B16
GM/GS
MIDI IN B Sound generator MIDI IN B
(Rear) (Front)

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
Merge ->A
Part group B
Part B1 - B16
GM/GS
MIDI IN B Sound generator
MIDI IN B
(Rear) (Front)

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
Merge ->B
Part group B
Part B1 - B16
GM/GS
MIDI IN B Sound generator MIDI IN B
(Rear) (Front)

MIDI COMPUTER
OUT/THRU

Part group A
Part A1 - A16
GM/GS
Sound generator
MIDI IN A
A only
Part group B
Part B1 - B16
GM/GS
Sound generator
MIDI IN B MIDI IN B
(Rear) (Front)

138 Chapter 7. MIDI and the unit

[2] Switches which apply to all Parts (B)
MUTE Lock (Mute Lock) On/Off
EQ Lock (Equalizer Lock) On/Off
Rx GM On (GM System On Receive Switch) On/Off
Rx GS On (GS Reset Receive Switch) On/Off

● Procedure

1. Press [ALL] to make the button indicator light.

2. l ] [r
Simultaneously press both the PART [l r ] buttons.

3. u ] or [d
Press either [u d ] to select the parameter you wish to set.
PART INSTRUMENT

ALL >Rx GS Reset: On

LEVEL PAN

100 0
4. l ] [r
Use the INSTRUMENT [l r ] buttons to set the value.
PART INSTRUMENT

ALL >Rx GS Reset: Off

LEVEL PAN

100 0
5. When you finish making settings, simultaneously press both the PART
l ] [r
[l r ] buttons to exit the procedure.

1 2 5
PART INSTRUMENT

ALL
LEVEL PAN
4
MUTE
REVERB CHORUS

3 SC-55
MAP
KEY SHIFT MIDI CH
SC-88
3 MAP

DELAY

Chapter 7. MIDI and the unit 139

● How each switches works
❍ MUTE Lock (Mute Lock) On/Off
When you once again playback a song that was previously played back, Part Mute
settings (p.27) are sometimes defeated. This is because the beginning of the song data
contains a message that causes this unit to reset to initial values (GM System On / GS
Reset p.133). If MUTE Lock is turned on, muting will not be turned off even when GS
Reset or GM System On is received, so there will be no need for you to remake mute
settings. This is convenient when, for example, you are repeatedly playing back a song
with a certain Part muted so that you can play that Part yourself.

* Regardless of the MUTE Lock setting, All Mute (p.35) will not be defeated when GS Reset or
GM System On are received.

❍ EQ Lock (Equalizer Lock) On/Off

When a GS Reset or GM System On message is received, the equalizer settings will
be restored to the factory settings (initialized). If EQ Lock is turned on, this will not occur.

❍ Rx GM On (GM System On Receive Switch) On/Off

❍ Rx GS On (GS Reset Receive Switch) On/Off
GM System On and GS Reset (p.133) are MIDI exclusive messages that are included
in the beginning of song data bearing the GM or GS logo. When song data is played
back from the beginning, these messages cause the sound generator parameters to be
reset to basic values so that playback will be correct. Thus, when playing back song
data bearing the GM or GS logo, you should leave these parameters on. If these para-
meters are turned off, GM System On and GS Reset messages will be ignored.

When you play the General MIDI Score data, be sure to set the General MIDI System
On Switch to ON and the Exclusive Receiving Switch to ON .

When you play Roland SMF Music data, be sure to set the Device ID number (p.134)
to 17, the GS Reset Receiving Switch to ON .

The default settings are as above.

140 Chapter 7. MIDI and the unit

[3] Switches which can be set individually for each Part
❍ Rx Bank Sel (Bank Select Receive Switch) On/Off
To remotely select this unit sounds from another MIDI device, you can send Bank
Select messages and Program Change messages to this unit. If Rx Bank Sel is turned
on, these MIDI messages can select Variation sounds (p.20) and User sounds (p.96). If
this parameter is turned off, bank select messages will be ignored, meaning that MIDI
messages cannot select Variation sounds or User sounds (they will select Capital
sounds). If this parameter is turned off, a “_” will be displayed between the instrument
number and the Instrument name.
For details on using MIDI messages to select sounds, refer to p.126.
PART INSTRUMENT

A01 001_Piano 1
LEVEL PAN

100 0
❍ Rx NRPN (NRPN Receive Switch) On/Off
NRPN (Non-registered Parameter Number p.132) messages allow you to modify vibrato,
filter and envelope values (p.32) via MIDI. If Rx NRPN is on, these sound parameters can
be modified by MIDI messages. If Rx NRPN is off, this will not be possible.

* When GM System On is received, Bank Select Receive Switch and NRPN Receive Switch will
be turned off.
* When GS Reset is received, Bank Select Receive Switch and NRPN Receive Switch will be
turned on.

● Procedure

1. Make sure that the [ALL] indicator is dark.

If it is lit, press the [ALL] button to turn it off.

2. l ] [r
Simultaneously press both the PART [l r ] buttons.

3. l ] [r
Use PART [l r ] to select the Part whose setting you wish to modify.

4. u ] or [d
Press [u d ] to select the parameters you wish to set.
PART INSTRUMENT

A01 >Rx Bank Sel: On

LEVEL PAN

100 0
5. l ] [r
Use INSTRUMENT [l r ] to turn on or off.

6. When you finish making settings, simultaneously press both the PART
l ] [r
[l r ] buttons to end the procedure.

1 2 3 6
PART INSTRUMENT

ALL 5
LEVEL PAN
MUTE
REVERB CHORUS

4 SC-55
MAP
KEY SHIFT MIDI CH
SC-88
4 MAP

DELAY

Chapter 7. MIDI and the unit 141

● Using NRPNs with GS Sound Modules The value for Controller No. 99 is the NRPN MSB, and that
for Controller No. 98 is the NRPN LSB.
Included within the various types of Control Changes (often So, you would transmit these values:
abbreviated as “CC”) is an extended range known as NRPNs Controller No. 99: 1
(non-registered parameter numbers). The NRPNs can be used Controller No. 98: 32
with GS sound modules to alter various sound parameters, The unit has thus been made aware that it is the TVF Cutoff
such as those for the vibrato, filters, and envelopes. There are Frequency that you are going to change. To go ahead and
distinct advantages to using Control Changes rather than make the actual change, you would then use the Data Entry
Exclusive messages when wishing to modify sounds. They are Control Change message to supply the new value (xx) for the
not as complicated, they are easier to handle, and they do not TVF Cutoff Frequency.
require a large amount of data (p.132, 189). Such Control Thus, you would send:
Change messages include a number (the Control Number) Controller No. 6: xx
which specifies the type of function that is to be controlled. As a result of transmitting the above three controller values,
The MIDI specifications do not define any specific functions the TVF Cutoff Frequency will have been altered, and the tim-
which can be set using NRPNs. This is because the NRPNs bre of the instrument selected for that Part should sound differ-
are intended to serve as a flexible range of controls which can ently.
be assigned whatever parameters are required for a specific After altering sound parameters using an NRPN, we recom-
device in order to achieve the desired changes in its sounds, mend that you make a habit of asserting a “null” by sending the
or enhance its expressive capabilities. In contrast, there is RPN values shown below. This will tell the unit that you are fin-
another type of extended form of control known as an RPN ished working with the parameter that has been specified, and
(registered parameter number). As their name suggests, RPN that it should stop waiting for any further new values for that
functions are all defined (registered) within the MIDI specifica- parameter. (It cancels the standing request for change in a
tions (p.189). particular NRPN or RPN.) This way you can avoid having
When using an NRPN, the function (sound parameter) unexpected changes made if any unintended Data Entry val-
being dealt with needs to be specified by means of the numeric ues get sent afterwards.
values that are supplied for the NRPN MSB (Controller No. 99) Controller No. 101: 127
and NRPN LSB (Controller No. 98). By then sending the Controller No. 100: 127
appropriate value for Data Entry (Controller No. 6), the change For the “NRPN LSB rr” value, you need to supply the value
in the specified sound parameter is accomplished. which corresponds to the note number of the particular percus-
Note that instead of the hexadecimal notation that is used sion instrument that you want to address (these numbers can
within the “MIDI Implementation” (p.189), the numbers for the be found in the Drum Set Chart at the rear of the manual →
combinations of values for NRPNs that appear in the chart p.164).
below have all been converted to decimal. (Note also that For example, let’s say that you want to set the High Bongo
these NRPNs are specific only to GS sound modules.) so that no reverb will be applied to it. This instrument is
assigned note number 60 (middle C), and is contained in the
NRPN NRPN Range Function Standard Set 1 Drum Set.
MSB LSB To accomplish this you would transmit these values:
1 8 0-64-127 Vibrato Rate *1 (p.32) Controller No. 99: 29
1 9 0-64-127 Vibrato Depth *1 (p.32) Controller No. 98: 60
1 10 0-64-127 Vibrato Delay *1 (p.32) Controller No. 6: 0
1 32 0-64-127 TVF Cutoff Frequency *1 (p.33) Note that these MIDI messages need to be sent in the
1 33 0-64-127 TVF Resonance *1 (p.33) order listed above.
1 99 0-64-127 TVF&TVA Envelope Attack Time *1 (p.33) Parameters marked with *1 in the chart at left can be
altered in a relative manner, with a value of “0” being the
1 100 0-64-127 TVF&TVA Envelope Decay Time *1 (p.33)
default value. Depending on the particular sound you are work-
1 102 0-64-127 TVF&TVA Envelope Release Time *1 (p.33) ing with, the type of change available will be different (in some
24 rr 0-64-127 Drum Instrument Pitch Coarse *1 cases you may not even notice any change). Also, the range of
Alters the pitch of individual percussion change will vary.
instruments in the drum Part. You may need to consult the manual that came with your
26 rr 0-127 Drum Instrument TVA Level equipment or software for details on how to properly input and
Alters the volume of individual percussion transmit Control Change messages. Note, though, that some
instruments in the drum Part. devices may only allow you to work with a limited range of con-
28 rr 0,1-64-127 Drum Instrument Pan troller numbers.
Alters the panning for individual percus- Make sure that you always follow the order shown above
sion instruments in the Drum Part. A set- when transmitting RPN, NRPN, and Data Entry data. Be care-
ting of “0” provides random panning, while ful, since if you insert a multiple number of MIDI messages at
“1” selects the leftmost position, “64” the the same point in time (or in very close range of each other)
center, and “127” places it at the right- when using some types of music software, the messages can
most position. sometimes be sent out in an order different than originally
29 rr 0-127 Drum Instrument Reverb Send Level intended. To avoid problems, always allow sufficient space
Sets the reverb depth for individual per- between adjacent messages (at least 1 tick at 96 TPQN, and 5
cussion instruments in the Drum Part. ticks at 480 TPQN).
30 rr 0-127 Drum Instrument Chorus Send Level
Sets the chorus depth for individual per- * TPQN: Ticks Per Quarter Note
cussion instruments in the Drum Part. * Any value which has been imposed by means of an NRPN will not be
31 rr 0-127 Drum Instrument Delay Send Level initialized even when a different sound is changed to in compliance with
Determines the amount of delay for indi- a received Program Change. Settings which have been made using
vidual percussion instruments in the Drum NRPNs can only be initialized by sending a GS Reset, or by performing
Part (SC-88/this unit only) a GS Initialization (p.118).
* At the factory default settings, this unit will not respond to NRPN mes-
For example, let’s say that you want to alter the TVF Cutoff sages. However, after a GS Reset has been received it will recognize
Frequency. First, you need to assert that it is the TVF Cutoff NRPNs. Alternately, you can enable recognition of NRPNs by turning on
Frequency that you wish to control by sending the appropriate “Rx.NRPN” (NRPN reception switch p.141), either by using the panel
NRPN MSB and NRPN LSB combination. buttons, or through Exclusive messages.

142 Chapter 7. MIDI and the unit

● When song data plays back with the wrong ❍ Frame Draw function (p.110)
sounds The SC-88/Pro has a Frame Draw function. This function
allows you to create display data for each page using the front
When song data created using the SC-55 or the SC-155 is panel buttons, and to transmit the data you create as an exclu-
played back by this unit, the sounds that were intended may sive message. By using this to create data in the appropriate
not be selected. This can occur for one of the following two sequence and timing, you can create display data with move-
reasons. ment.

1. The wrong Variation number was selected ● How to use a Part other than Part 10 as a
When a Variation number for which sounds do not exist is Drum Part, so that two Drum Sets can be
selected on this unit, the display will show a message of No used simultaneously
INSTRUMENT (or for the Drum Part, No DRUM SET). Even if
the relevant Part is not displayed, this message will be dis- ❍ About the Part mode
played briefly when any Part receives such data. Each Part 1--16 can be used either for normal sounds (Normal
The data which specifies sounds is usually placed in the begin- Part) or for a drum set (Drum Part). This selection is made by
ning of the song data, so check whether this message appears the Part Mode setting. (p.27)
when the song data starts. If this message appears, it is possi- The mode of a Drum Part can be either Drum1 or Drum2.
ble that a control change Bank Select message (or for the Since the same Drum Set will automatically be selected for
Drum Part, a program change) within the song is incorrect. Parts that have the same Part Mode, this means that up to 2
(p.126) Refer to the instrument list (p.154), and modify the data types of drum set can be used simultaneously.
value so that an existing sound is selected. For example if you set the Part Mode of Part 10 and Part 11
respectively to Drum1 and Drum2, you could select STAN-
2. The wrong sound map was selected DARD1 Set for Part 10 and JAZZ Set for Part 11. If the Part
On this unit, the lower byte (LSB) of a control change Bank Mode of both Parts 10 and 11 were set to Drum1, selecting
Select message (control change 32) can be used to switch STANDARD1 Set for Part 10 would automatically select
sound maps (p.126). STANDARD1 Set for Part 11 as well.
Control Change 32 values
00: The map selected by the panel buttons will be used. ❍ Settings via MIDI
01: The SC-55 map will be selected. To set the Part Mode using MIDI messages, you need to use
02: The SC-88 map will be selected. system exclusive messages.
03: The Native map will be selected. For example if you wish to set the Part Mode of Part 11 to
If values other than these are transmitted to this unit, a map for Drum2, transmit the following message. (p.197)
which this unit has no sounds will be selected, so a message F0 41 10 42 12 40 1A 15 02 0F F7
of No INSTRUMENT will appear. In the case of the SC- 10 : Device ID (17)
55/155/55mkII, the LSB of this Bank Select message is 40 1A 15 : Address (USE FOR RHYTHM PART of Part 11)
ignored, so sound selection will not be affected regardless of 02 : Data (Part Mode Drum2)
the value that is transmitted. However since Bank Select mes- To select a Drum Set after setting the Part Mode, transmit a
sages are used as a pair of upper and lower values (MSB and program change to Part 11.
LSB), it is best to input 00 as the lower value (LSB) in your
song data. ● Using Aftertouch
First connect a device that is able to transmit aftertouch mes-
● Using screen display data for the SC-55 sages to this unit. Be aware that some MIDI keyboards are not
series able to transmit aftertouch messages.
When this unit receives aftertouch messages, the way in which
❍ About screen display data it responds will depend on its settings. With the factory settings
The level indicator area in the center of the SC-55/55mkII/SC- or immediately after this unit has been initialized by a GS
88/VL/Pro display (bar display) is able to display 16 x 16 dot Reset etc., aftertouch messages will have no effect, so you will
graphics that are transmitted to it as exclusive messages. By need to change the settings if you want aftertouch to do some-
transmitting this data together with the song data, you can thing.
make the display change as the song progresses. Aftertouch parameters are divided into the following two
The SC-88/VL/Pro can hold 10 pages of display data. groups.
Exclusive messages can be used to display a specific page, • Channel aftertouch (CAf):
and to adjust the duration for which each page will be dis- These messages apply an effect to the entire Part of a
played (p.193). given channel. For example if you hold down a "C-E-
Also, text can be displayed in the INSTRUMENT display area, G" chord and then press strongly on just the "C" note,
allowing song titles or lyrics to be displayed. the effect will apply to all notes "C-E-G."
Even display data for the SC-55/55mkII can be used without • Polyphonic aftertouch (PAf):
change to produce the same display. In this case, the data will These messages apply an effect independently for
be displayed as the first page of the 10 pages. each note number. For example if you hold down a "C-
E-G" chord and then press strongly on just the "C"
note, the effect will apply only to the "C" note.
Of the Channel Aftertouch parameters, the following seven can
be set from the panel (p.30).

Chapter 7. MIDI and the unit 143

 CAf Range / CAf Cutoff / CAf Amp / CAf LFO Rate / CAf
LFO Pitch / CAf LFO TVF / CAf LFO TVA
The other parameters (CAf: 7 types / PAf: 11 types) can be set
by transmitting exclusive messages from a sequencer or com-
puter. For details on the messages for these parameters, refer
to MIDI Implementation p.198.

● Using MIDI to control the depth of a System

Effect
❍ Reverb / Chorus / Delay
The depth of the System effects Reverb / Chorus / Delay can
be adjusted for each Part using control change messages
(p.132)

Reverb Send Level (Controller number 91)

Chorus Send Level (Controller number 93)
Delay Send Level (Controller number 94)

The Reverb / Chorus / Delay effects use a portion of the sound

from each Part to create a new effect sound (reverberance,
etc.) which can then be added to the original sound.
The above three parameters control the amount of the sound
(signal) of each Part that will be sent to the effect unit. Higher
settings will increase the amount of the signal that is sent to the
effect unit, causing more effect sound to be produced. The
result is that the effect will be deeper.

❍ Equalizer
The equalizer modifies the tonal character of the sound. You
can specify whether or not the sound of a Part will be passed
through the equalizer; i.e., turn the equalizer on/off. Settings
are made using exclusive messages, not control change mes-
sages.

< Setting example >

Turning the equalizer on for Part 1:
F0 41 10 42 12 40 41 20 01 5E F7

144 Chapter 7. MIDI and the unit

 Chapter 8

Appendix

■ Troubleshooting............................................146
■ If a message appears...................................148
■ Computer cable wiring diagrams..................149
■ Parameter list and operations ......................150
■ Instrument list ...............................................154
■ Drum set list .................................................163
■ Effect list.......................................................176
■ Effect data table ...........................................183
■ Preset Patch list ...........................................186
■ MIDI implementation ....................................188
■ MIDI Implementation Chart ..........................209
■ INDEX ..........................................................210
Chapter 8

■ Specifications ...............................................212
■ 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 "If a message appears."
* If performance is incorrect when playing back song data carrying the GM/GS logo, check the fol-
lowing points.
• That the Device ID is set to 17 (p.134)
• That the GM System On / GS Reset Receive Switch (p.140) is turned on
The above settings are made when this unit is shipped from the factory.

● Cannot turn the power on

• Is the power cable correctly plugged into an outlet?

● No sound
• Is the power turned on for the other devices connected to the this unit?
• Is the volume knob turned all the way down?
• Have you incorrectly connected the MIDI IN and OUT connectors? (p.8)
• Can you hear sound through headphones? (Preview the sound p.11) 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 prob-
lem with your mixer/amp/speaker system.
• Do the bar indicators in the display move?
(1) If the bar indicators are moving
This unit is receiving MIDI data correctly. Check the volume knob position and the
cable connections once again.
(2) If the bar indicators are not moving
Is the lowest dot in the bar display turned off?
Turn on the [ALL] button indicator. If all dots are off, the All Mute function is on. Turn
off the All Mute function. (p.34)
Turn off the [ALL] button indicator. If some of the dots are off, the Part Mute function
is on. Turn off the Part Mute function. (p.25)
• Is the overall volume for all parts turned down? (p.34)
• Has the Expression pedal etc. on a connected MIDI device turned the volume down?
• Are the settings for the OUTPUT1,2 jacks correct? (p.29, 38)
• Is the rear panel Computer switch set to the correct position for the software you are
using? (p.120) After changing the position of the Computer switch you must turn power
of this unit on.

● A specific Part does not sound

• Is the lowest dot in the bar display off? Parts for which this dot is off have been muted.
Turn Part Mute off. (p.25)
• Is the volume level of the Part turned down? (p.25)
• Does the MIDI Receive channel of the Part match the MIDI Transmit channel of the
connected MIDI device? (p.22)

● A specific keyboard area does not sound

• Has the Keyboard Range been set? (p.28)

● Sound is heard but the bar indicator does not move

• Are you receiving MIDI messages at MIDI IN B and viewing Part information for Group
A? If so, press the PART [l] [r] buttons to display the Parts of Group B. If you press
the [ALL] button to make the indicator light, Part information for both Groups A and B
will be displayed.

● Cannot select the desired sound

• Are you sending an incorrect Program number? (p.126)
• Have you specified the MIDI receive channel of a Patch? (p.41)
• Are you selecting All SC-55 MAP or All SC-88 MAP? (p.35)

146 Chapter 8. Appendix

● Sound is distorted
• Is an effect which distorts the sound being applied? (p.56)
• If a specific sound or Part is distorted, lower the volume level of that Part. (p.25)
• If all sounds are distorted, lower the overall volume level of all Parts (p.34), or use the
Volume knob to lower the volume level.

● Pitch is incorrect
• Is the pitch of a specific Part incorrect? (p.28)
• Is the pitch of all Parts incorrect by a semitone or more? (p.34)
• Is the pitch of a specific Part incorrect by a semitone or more? (p.25)
• Has a MIDI Pitch Bend message been received to change the pitch? Return the pitch
bend lever or wheel to the central position. Or, transmit a Pitch Bend message with the
central value (40 00H).

● Sound is wrong
• Have you selected another sound after modifying sound parameter settings (filter,
etc.)? Restore all sound parameter settings to a value of 0. (p.31)

● Sounds are interrupted

• If you attempt to play more than 64 voices at once, sounds will be interrupted. (p.24)
• Is the same data being sent simultaneously to MIDI IN A and MIDI IN B? (p.137)

● Able to play only from either MIDI IN A or MIDI IN B

• Make sure that the In Mode is set to Standard. (p.137)
• Is the In Mode set to A Only? (p.137)

● Exclusive messages are not received

• Does the Device ID number of the transmitted exclusive message match the Device ID
number of this unit? (p.134)

● This unit does not transmit MIDI data

• If you wish to transmit this unit data via the Computer connector, set the Computer
switch to PC-1, PC-2 or Mac, depending on the software you are using. (p.120)
• When the rear panel Computer switch is set to MIDI, this unit will not transmit data
from the Computer connector. In this case, data will be transmitted from the MIDI
OUT/THRU connector.
• When the MIDI OUT/THRU select switch is set to THRU, data received at MIDI IN A
will be transmitted from MIDI OUT/THRU. (p.136)

● MIDI sound sources connected to this unit are not played from a comput-
er or sequencer
• Music data received at this unit Computer connector is transmitted from the MIDI
OUT/THRU connector, but you need to make the following settings. (p.120, 136)
* Set the Computer switch to PC-1, PC-2 or Mac depending on your software
* Set MIDI OUT/THRU Select switch to OUT
• MIDI data received at MIDI IN A is transmitted from the MIDI OUT/THRU connector,
but you need to make the following settings (p.120, 136)
* Set the Computer switch to MIDI
* Set the MIDI OUT/THRU Select switch to THRU

* After changing the setting for IN B Sel., OUT/THRU, or In Mode, the power must be turned on
again. These settings will take effect the next time the power is turned on.

Chapter 8. Appendix 147

■ If a message appears
If operation is incorrect or if the data cannot be processed correctly, an error mes-
sage will appear in the display.
Consult the following list and take the appropriate action.

Battery Low
Cause : The memory backup battery inside this unit has run down.
Action : Consult a nearby Roland Service Station.

Check Sum Error

Cause : The check sum of the received exclusive message is incorrect.
Action : Check the data which was transmitted to this unit, and transmit it once
again. Also make sure that the MIDI cable is not broken.

MIDI Buff. Full

Cause : A large amount of MIDI data was received by this unit in a time too short for
correct processing to be done.
Action : Check whether a large amount of MIDI data is not being transmitted in a
short time.

MIDI Off Line

Cause 1 : It is possible that the power has been turned off for the MIDI device connect-
ed to MIDI IN.
Action 1 : The problem is not with this unit. Check the power of the connected MIDI
device.
Cause 2 : It is possible that a MIDI cable has been pulled out or broken.
Action 2 : Check the MIDI cables.

No INSTRUMENT
-------------
Cause : A sound (Instrument) which this unit does not have has been selected.
Action : The previously selected sound name will be displayed, and that sound will
be heard. Carefully refer to the tables on p.154 to 162, and specify the cor-
rect bank number and program number.

No DRUM SET
Cause : A Drum Set which this unit does not have has been selected.
Action : The previously selected Drum Set name will be displayed, and that set will
sound.

No PATCH
Cause : A Patch which this unit does not have has been selected.
Actcion : The previously selected Patch name will be displayed, and that Patch will
sound.

148 Chapter 8. Appendix

■ Computer cable wiring diagrams
For Apple Macintosh (Sold separately: RSC-15APL)

mini DIN, 8-pin, male mini DIN, 8-pin, male

6 78 mini DIN, 8-pin, male mini DIN, 8-pin, male 6 7 8
HSKo 1 1 HSKo
HSKi 2 2 HSKi
TXD- 3 3 TXD-
GND 4 4 GND
RXD- 5 5 RXD-
TXD+ 6 6 TXD+
3 4 5 3 4 5
GPi 7 7 GPi
1 2 RXD+ 8 8 RXD+ 1 2

For IBM PC/AT (9-pin) (Sold separately: RSC-15AT)

mini DIN, 8-pin, male

6 78
mini DIN, 8-pin, male D-sub, 9-pin, female

HSKo 1 7 RTS
D-sub, 9-pin, female
HSKi 2 8 CTS 5 1
TXD- 3 3 TXD
GND 4 5 GND
3 4 5 RXD- 5 2 RXD
9 6
1 2

For IBM PC/AT (25-pin)

mini DIN, 8-pin, male

6 78
mini DIN, 8-pin, male D-sub, 25-pin, female

HSKo 1 4 RTS D-sub, 25-pin, female

HSKi 2 5 CTS 13 1
TXD- 3 2 TXD
GND 4 7 GND
3 4 5 RXD- 5 3 RXD
25 14
1 2

Chapter 8. Appendix 149

■ Parameter list and operations

● Switching between the ALL display and PART display

ALL/PART Select ALL/PART [ALL]:lit/dark

● Overall Part settings([ALL]lit )

Level * 0 - 127 LEVEL[l][r] P.34
Pan * L63 - 0 - R63 PAN[l][r]
Key Shift * -24 - 0 - +24 KEY SHIFT[l][r]
Mute Off, On [MUTE]
ALL SC-55 Map Off, On [SC-55 MAP]
ALL SC-88 Map Off, On [SC-88 MAP]
Reverb Level * 0 - 64 - 127 REVERB[l][r] P.50
Chorus Level * 0 - 64 - 127 CHORUS[l][r]
Delay Level * 0 - 64 - 127 [SC-88 MAP]+DELAY[l][r] or [EFX]: OFF...EFX TYPE [l][r]
Insertion Effect Off, On [EFX]:the indicator light orange...[ON/OFF] P.56
Select a Patch 1 - 128,U01 - U16 [ALL]lit...INSTRUMENT[l][r]... P.40
[ALL]:execute, [MUTE]:cancel
M. Tune + * 415.3 - 440.0 - 466.2Hz PART[l]*[r]...[u][d]...INSTRUMENT[l][r] P.14
MUTE Lock Off, On [SELECT]+[u][d]: Parameter jump P.139
EQ Lock Off, On

● Individual Part settings([ALL]dark...PART[l

l ][r
r ]:Select a Part)
Select a Part A01 - B16 PART[l][r],[ALL]*[PART][l] : A, B select P.18
Select an Instrument sound * 1 - 128 INSTRUMENT[l][r] P.18
Select a Variation sound * 0 - 127 INSTRUMENT[l]*[r]...INSTRUMENT[l][r] P.20
Select a Drum Set * 1 - 128 INSTRUMENT[l][r] P.18
Level * 0 - 100 - 127 LEVEL[l][r] P.25
Pan * Rnd, L63 - 0 - R63 PAN[l][r]
Key Shift * -24 - 0 - +24 KEY SHIFT[l][r]
Mute * Off, On [MUTE]
SC-55 Map * Off, On [SC-55 MAP]
SC-88 Map * Off, On [SC-88 MAP]
Part Monitor Off, On [ALL]*[MUTE]
Reverb Level * 0 - 40 - 127 REVERB[l][r] P.50
Chorus Level * 0 - 127 CHORUS[l][r]
Delay Level * 0 - 127 [SC-88 MAP]+DELAY[l][r] or [EFX]: OFF...EFX TYPE [l][r]
Insertion Effect * Off, On [EFX]:the indicator light orange...[ON/OFF] P.56
Part EQ + * Off, On PART[l]*[r]...[u][d]... INSTRUMENT[l][r]:set value P.26
Part Mode + * Norm, Drum1, 2 [SELECT]+[u][d]: Parameter jump
M/P Mode + * Mono, Poly
Fine Tune + * -100- 0.0 - +100
Velo Depth + * 0 - 64 - 127
Velo Offset + * 0 - 64 - 127
K.Range L + * C-1 - G9
K.Range H + * C-1 - G9
CC1 C.Number + * 0 - 16 - 95
OUT Asgn + * OUT-1/2/2L/2R
S.Tune C-B + * -64 - 0 - +63
Mod Range + * -24 - 0 - +24
Mod Cutoff + * -64 - 0 - +63
Mod Amp + * -64 - 0 - +63
Mod LFO Rate + * -64 - 0 - +63
Mod LFO Pch + * 0 - 10 - 127
Mod LFO TVF + * 0 - 127
Mod LFO TVA + * 0 - 127
Bnd Range + * 0 - +2 - +24
Bnd Cutoff + * -64 - 0 - +63
Bnd Amp + * -64 - 0 - +63
Bnd LFO Rate + * -64 - 0 - +63
Bnd LFO Pch + * 0 - 127
Bnd LFO TVF + * 0 - 127
Bnd LFO TVA + * 0 - 127

(Notes)...: continue to the next step [A]*[B]: simultaneously press both buttons [A] and [B]
Boldface indicates the factory setting value. [A]+[B]: while holding button [A], press button [B]
*: Parameters which can be set in a Patch (p.108) +: Parameters which can be transmitted as Individual data (p.39)

150 Chapter 8. Appendix

 CAf Range + * -24 - 0 - +24 P.26
CAf Cutoff + * -64 - 0 - +63
CAf Amp + * -64 - 0 - +63
CAf LFO Rate + * -64 - 0 - +63
CAf LFO Pch + * 0 - 127
CAf LFO TVF + * 0 - 127
CAf LFO TVA + * 0 - 127
CC1 Range + * -24 - 0 - +24
CC1 Cutoff + * -64 - 0 - +63
CC1 Amp + * -64 - 0 - +63
CC1 LFO Rate + * -64 - 0 - +63
CC1 LFO Pch + * 0 - 127
CC1 LFO TVF + * 0 - 127
CC1 LFO TVA + * 0 - 127
Vibrato Rate * -64 - 0 - +63 [SELECT]... EFX TYPE [l][r]:set value P.31
Vibrato Depth * -64 - 0 - +63 [SELECT]... EFX PARAM [l][r]:set value
Vibrato Delay * -64 - 0 - +63 [SELECT]... EFX VALUE [l][r]:set value
Cutoff Frequency * -64 - 0 - +63 [SELECT]... EFX PARAM [l][r]:set value
Resonance * -64 - 0 - +63 [SELECT]... EFX VALUE [l][r]:set value
Attack Time * -64 - 0 - +63 [SELECT]... EFX TYPE [l][r]:set value
Decay Time * -64 - 0 - +63 [SELECT]... EFX PARAM [l][r]:set value
Release Time * -64 - 0 - +63 [SELECT]... EFX VALUE [l][r]:set value

● Effects
System Effects Reverb Type + * Room1, 2, 3, [ALL]lit...PART[l]*[r]...[u][d]... INSTRUMENT[l][r]:set value P.51
Hall1, 2, Plate, [SELECT]+[u][d]: Parameter jump
Delay, Panning Delay
Rev Charac. + * 0-4-7
Rev Pre-LPF + * 0-7
Rev Level + * 0 - 64 - 127
Rev Time + * 0 - 64 - 127
Rev Delay Fb + * 0 - 127
Rev Pre Delay T + * 0 - 127(ms)
Chorus Type + * Chorus1, 2, 3, 4,
Feedback Chorus, Flanger,
Short Delay, Short Delay(FB)
Cho Pre-LPF + * 0-7
Cho Level + * 0 - 64 - 127
Cho Feedback + * 0 - 8 - 127
Cho Delay + * 0 - 80 - 127
Cho Rate + * 0 - 3 - 127
Cho Depth + * 0 - 19 - 127
Cho→Rev + * 0 - 127
Cho→Dly + * 0 - 127
Delay Type + * Delay1, 2, 3, 4,
Pan Delay1, 2, 3, 4,
Delay To Reverb, Pan Repeat
Dly Pre-LPF + * 0-7
Dly Time C + * 0.1 - 340 - 1000(ms)
Dly T Ratio L + * 4 - 500(%)
Dly T Ratio R + * 4 - 500(%)
Dly Level C + * 0 - 127
Dly Level L + * 0 - 127
Dly Level R + * 0 - 127
Dly Level + * 0 - 64 - 127
Dly Fback + * -64 - +16 - +63
Dly→Rev + * 0 - 127
Equalizer Low Freq + * 200, 400 [ALL]lit...[SELECT]... P.48
High Freq + * 3K, 6K EFX TYPE[l][r]:select Gain/Frequency...
Low Gain + * -12 - 0 - +12 EFX PARAM[l][r],EFX VALUE[l][r]:set value...[SELECT]:end
High Gain + * -12 - 0 - +12
x x
Insertion Effects Type + * 0 - 64,1 - 64 [EFX]...EFX TYPE[l][r] P.56
Parameter + * --- [EFX]...EFX PARAM[l][r]... EFX VALUE[l][r]:set value
EFX C.Src1/2 + * Off,CC1 - 95,CAf,Bend [ALL]lit...PART[l]*[r]...[u][d]... INSTRUMENT[l][r]:set value P.92
EFX C.Dep1/2 + * -100 - 0 - +100 [SELECT]+[u][d]: Parameter jump

Chapter 8. Appendix 151

● Drum edit
PART[l][r]:select a Drum Part...INSTRUMENT[l][r]:select a Drum Set... P.42
[SELECT]*EFX TYPE[l]...INSTRUMENT[l][r]:select a Drum Instrument...
Level 0 - 127 LEVEL[l][r]
Pan Rnd, L63 - R63 PAN[l][r]
Reverb 0 - 127 REVERB[l][r]
Chorus 0 - 127 CHORUS[l][r]
Key Shift 0 - 127 KEY SHIFT[l][r]
Delay 0 - 127 EFX TYPE[l][r]
Assign Group Non, 1 - 127 MIDI CH[l][r]

● User edit
User Instrument Edit [ALL]dark...INSTRUMENT[l][r]:select an Instrument P.96
[USER INST]*[SELECT]:the indicator light red...[SELECT]...
EFX TYPE[l][r], EFX PARAM[l][r], EFX VALUE[l][r]:set value
Store [USER INST]*[SELECT]...INSTRUMENT[l][r]:set Instrument number... P.98
INSTRUMENT[l]*[r]...INSTRUMENT[l][r]:set Variation number...
[ALL]:execute, [MUTE]:cancel...[USER INST]:end
User Patch Change the Patch name [ALL]lit...PAN[r]*CHORUS[r]...PART[l][r]:move cursor, INSTRUMENT[l][r]:select character and symbols, P.100
[ALL]:A→a→A , [MUTE]:Space, [u]:0, [d]:&→(→&...PAN[r]*CHORUS[r]:end
Store [ALL]lit...[USER INST]*[SELECT]...INSTRUMENT[l][r]:set Patch number... P.101
[ALL]:execute, [MUTE]:cancel
User Effect Store [EFX]:the indicator light orange...[EFX]*[ON/OFF]...INSTRUMENT[l][r]:set Effect number P.99
[ALL]:execute, [MUTE]:cancel
User Drum Change the Set name [ALL]dark...[SELECT]*EFX TYPE[l]...PAN[r]*CHORUS[r]... P.102
PART[l][r]:move cursor, INSTRUMENT[l][r]:select character and symbols,
[ALL]:A→a→A , [MUTE]:Space, [u]:0, [d]:&→(→&...PAN[r]*CHORUS[r]:end
Store an Instrument [SELECT]*EFX TYPE[l]...[USER INST]*[SELECT]... P.104
INSTRUMENT[l][r]:set Drum Set number...
INSTRUMENT[l]*[r]...INSTRUMENT[l][r]:set key name...
[ALL]:execute, [MUTE]:cancel
Store a Set [SELECT]*EFX TYPE[l]...EFX VALUE[l]*[r]...INSTRUMENT[l][r]:set Drum Set number... P.105
[ALL]:execute, [MUTE]:cancel

● MIDI-related
MIDI CH * A01 - A16, A-- PART[l][r]...MIDI CH[l][r] P.22
*1 B01 - B16, B-- KEY SHIFT[r]*MIDI CH[l]: A, B select
IN B Sel. Rear, Front [u]*[d]...[u][d]... INSTRUMENT[l][r]:set value P.135
OUT/THRU OUT, THRU * Setting becomes valid when the power is turned on
In Mode Standard, Xconnect
Merge→A, Merge→B, A only
Rx Sys Mode Off, On
Device ID 1 - 17 - 32 [ALL]lit...PART[l]*[r]...[u][d]... INSTRUMENT[l][r]:set value P.134
Rx GM On Off, On [SELECT]+[u][d]: Parameter jump P.139
Rx GS Reset Off, On
Rx Bank Sel + * Off, On [ALL]dark...PART[l]*[r]...[u][d]... INSTRUMENT[l][r]:set value P.141
Rx NRPN + * Off, On [SELECT]+[u][d]: Parameter jump
Send a Bulk dump All,All-U,U.INST,U.DRUM [ALL]lit...INSTRUMENT[l]*[r]...INSTRUMENT[l][r] P.107
U.EFX,U.Patch,GS A,GS B [ALL]: execute, [MUTE]: cancel
Send an Individual data View Parameter...INSTRUMENT[l]*[r] P.108
View Parameter of Insertion Effect...EFX VALUE[l]*[r]

● System functions
Preview Note C-1 - A4 - G9 [u]*[d]...[u][d]... INSTRUMENT[l][r]:set value P.36
Preview Velocity 0 - 100 - 127
Display Type Type1 - 8
Peak Hold Off, Type1 - 3
LCD Contrast 1 - 8 - 16
Backup Off, On
Sys OUT Mode Sel/Fix
Assign Lock Off, On
P.Load Init Off, On

152 Chapter 8. Appendix

● Other functions
SC-88-compatibity mode Off, On [SELECT]+[ALL] P.112
Part Copy [ALL]dark...PART[l][r]:select copying source Part...[SELECT]+LEVEL[l]... P.106
INSTRUMENT[l][r]:select copying destination Part...[ALL]:execute, [MUTE]:cancel
Initialize [ALL]dark...[SELECT]+LEVEL[r]...
INSTRUMENT[l][r]:select Part...[ALL]:execute, [MUTE]:cancel
Exchange [ALL]dark...PART[l][r]:select exchanging source Part...[SELECT]+PAN[l]...
INSTRUMENT[l][r]:select exchanging destination Part...[ALL]:execute, [MUTE]:cancel
View settings for 32 Parts in the Part display EFX PARAM[r]*EFX VALUE[l] P.23
Single Module Mode [SELECT]+K SHIFT[l]...[ALL]:execute, [MUTE]:cancel P.116
Double Module Mode [SELECT]+K SHIFT[r]...[ALL]:execute, [MUTE]:cancel
Reset to factory settings [SELECT]+INSTRUMENT[l]*[r]...[ALL]:execute, [MUTE]:cancel P.118
GM Initialize [SELECT]+PART[r]...[ALL]:execute, [MUTE]:cancel
GS Initialize [SELECT]+INSTRUMENT[r]...[ALL]:execute, [MUTE]:cancel
CM-64 Sounds [SELECT]+INSTRUMENT[l]...[ALL]:execute, [MUTE]:cancel P.114
Draw pictures or characters on the screen EFX TYPE[r]*EFX PARAM[l]...[ALL]:dot on,[MUTE]:dot off P.110
(Frame Draw) [u][d]:move cursor vertically, PART[l][r]:move cursor horizontally
INSTRUMENT[l][r]:set page, LEVEL[l][r]:move graphic vertically
PAN[l][r]:move graphic horizontally, INSTRUMENT[l]*[r]:transmit screen data to external device
Invert REVERB[l][r] ...INSTRUMENT[l][r]:select page...[ALL]:execute, [MUTE]:cancel
Copy K.SHIFT[l][r]...INSTRUMENT[l][r]:select page...[ALL]:execute, [MUTE]:cancel
Delete MIDI CH[l][r]...INSTRUMENT[l][r]:select page...[ALL]:execute, [MUTE]:cancel

(Notes)...: continue to the next step [A]*[B]: simultaneously press both buttons [A] and [B]
Boldface indicates the factory setting value. [A]+[B]: while holding button [A], press button [B]
*: Parameters which can be set in a Patch (p.108) +: Parameters which can be transmitted as Individual data (p.39)
*1: A distinction between Group A and B of MIDI channels will not be stored in a Patch. The MIDI channel will be saved as channel
“A**” of Group A.

Chapter 8. Appendix 153

■ Instrument list
Piano PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices 016 Barafon 1# Barafon 1 -----
001 000 Piano 1 1 Piano 1 1 Piano 1 1 017 Barafon 2 1# Barafon 2 1 -----
008 Piano 1w 1 Piano 1w 1 Piano 1w 1 024 Log drum 1# Log drum 1 -----
016 European Pf 1 Piano 1d 1 Piano 1d 1 014 000 Xylophone 1# Xylophone 1 Xylophone 1
024 Piano + Str. 2 ----- ----- 015 000 Tubular-bell 1# Tubularbell 1* Tubularbell 1
002 000 Piano 2 2 Piano 2 1 Piano 2 1 008 Church Bell 1# Church Bell 1* Church Bell 1
008 Piano 2w 2 Piano 2w 1 Piano 2w 1 009 Carillon 1# Carillon 1* Carillon 1
016 Dance Piano 2 ----- ----- 016 000 Santur 1# Santur 1* Santur 1
003 000 Piano 3 2 Piano 3 1 Piano 3 1 001 Santur 2 2# Santur 2 2 -----
001 EG+Rhodes 1 2 EG+Rhodes 1 2 ----- 008 Cimbalom 2# Cimbalom 2 -----
002 EG+Rhodes 2 2# EG+Rhodes 2 2 ----- 016 Zither 1 1 ----- -----
008 Piano 3w 2 Piano 3w 1 Piano 3w 1 017 Zither 2 2 ----- -----
004 000 Honky-tonk 2 Honky-tonk 2 Honky-tonk 2 024 Dulcimer 2 ----- -----
008 Honky-tonk 2 2 Old Upright 2 HonkyTonk w 2 Organ
005 000 E.Piano 1 1 E.Piano 1 2 E.Piano 1 1 017 000 Organ 1 2 Organ 1 1 Organ 1 1
008 St.Soft EP 2# St.Soft EP 2 Detuned EP1 2 001 Organ 101 2 Organ 101 2 -----
009 Cho.E.Piano 2 ----- ----- 008 Trem. Organ 2 DetunedOr.1 2 Detuned Or1 2
010 SilentRhodes 2 ----- ----- 009 Organ.o 2 Organ 109 2 -----
016 FM+SA EP 2# FM+SA EP 2 E.Piano 1v 2 016 60's Organ 1 1 60'sOrgan 1 1 60's Organ1 1
017 Dist E.Piano 2 ----- ----- 017 60's Organ 2 1 60'sOrgan 2 1 -----
024 Wurly 2 60'sE.Piano 1 60s E.Piano 1 018 60's Organ 3 1 60'sOrgan 3 1 -----
025 Hard Rhodes 2# Hard Rhodes 2 ----- 019 Farf Organ 1 ----- -----
026 MellowRhodes 2 # MellwRhodes 2 ----- 024 Cheese Organ 1# CheeseOrgan 1 -----
006 000 E.Piano 2 2# E.Piano 2 2 E.Piano 2 1 025 D-50 Organ 2 ----- -----
008 Detuned EP 2 2# Detuned EP2 2 Detuned EP2 2 026 JUNO Organ 2 ----- -----
016 St.FM EP 2# St.FM EP 2 E.Piano 2v 2 027 Hybrid Organ 2 ----- -----
024 Hard FM EP 2# Hard FM EP 2 ----- 028 VS Organ 2 ----- -----
007 000 Harpsichord 1# Harpsichord 1 Harpsichord 1 029 Digi Church 2 ----- -----
001 Harpsichord2 2 ----- ----- 032 70's E.Organ 2 Organ 4 1 Organ 4 2
008 Coupled Hps. 2# Coupled Hps 2* Coupled Hps 2 033 Even Bar 2# Even Bar 2 -----
016 Harpsi.w 1# Harpsi.w 1 Harpsi.w 1 040 Organ Bass 1# Organ Bass 1 -----
024 Harpsi.o 2# Harpsi.o 2 Harpsi.o 2 048 5th Organ 2 ----- -----
032 Synth Harpsi 2 ----- ----- 018 000 Organ 2 2 Organ 2 1 Organ 2 1
008 000 Clav. 1# Clav. 1 Clav. 1 001 Jazz Organ 2 Organ 201 2 -----
008 Comp Clav. 1 ----- ----- 002 E.Organ 16+2 2 ----- -----
016 Reso Clav. 1 ----- ----- 008 Chorus Or.2 2 DetunedOr.2 2 Detuned Or2 2
024 Clav.o 2 ----- ----- 009 Octave Organ 2 ----- -----
032 Analog Clav. 2 ----- ----- 032 Perc.Organ 2 Organ 5 2 Organ 5 2
033 JP8 Clav. 1 1 ----- ----- 019 000 Organ 3 2# Organ 3 2* Organ 3 2
035 JP8 Clav. 2 1 ----- ----- 008 Rotary Org. 1# Rotary Org. 1 -----
Chromatic percussion 016 Rotary Org.S 1# RotaryOrg.S 1 -----
009 000 Celesta 1# Celesta 1* Celesta 1 017 Rock Organ 1 2 ----- -----
001 Pop Celesta 2 ----- ----- 018 Rock Organ 2 2 ----- -----
010 000 Glockenspiel 1# Glocknspiel 1 Glockenspl 1 024 Rotary Org.F 1# RotaryOrg.F 1 -----
011 000 Music Box 1# Music Box 1 Music Box 1 020 000 Church Org.1 1# ChurchOrg.1 1 Church Org1 1
012 000 Vibraphone 1 Vibraphone 1 Vibraphone 1 008 Church Org.2 2# ChurchOrg.2 2 Church Org2 2
001 Pop Vibe. 2 Hard Vibe 2 ----- 016 Church Org.3 2# ChurchOrg.3 2 Church Org3 2
008 Vibraphone w 1 Vib.w 1* Vib.w 1 024 Organ Flute 1# Organ Flute 1 -----
009 Vibraphones 2 ----- ----- 032 Trem.Flute 2# Trem.Flute 2 -----
013 000 Marimba 1# Marimba 1 Marimba 1 033 Theater Org. 2 ----- -----
008 Marimba w 1# Marimba w 1 Marimba w 1

PC : program number(Instrument number)

CC00 : value of controller number 0 (Bank number, Variation number)
: : legato-enabled sounds
Voices : number of voices used by the Instrument
Remark # : same sounds as SC-88 map
Remark * : same sound as SC-55 map
Remark + : a percussive sound which cannot be played melodically. Use near C4
(note number 60).

154 Chapter 8. Appendix

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
021 000 Reed Organ 1# Reed Organ 1* Reed Organ 1 009 Feedback Gt2 2# FeedbackGt2 2 -----
008 Wind Organ 2 ----- ----- 016 Power Guitar 2# PowerGuitar 2 -----
022 000 Accordion Fr 1 AccordionFr 1 Accordion F 2 017 Power Gt.2 2 Power Gt.2 2 -----
008 Accordion It 1 AccordionIt 2 Accordion I 2 018 5th Dist. 2# 5th Dist. 2 -----
009 Dist. Accord 2 ----- ----- 024 Rock Rhythm 2# Rock Rhythm 2 -----
016 Cho. Accord 2 ----- ----- 025 Rock Rhythm2 2 # RockRhythm2 2 -----
024 Hard Accord 2 ----- ----- 032 000 Gt.Harmonics 1 # Gt.Harmonix 1* Gt.Harmonix 1
025 Soft Accord 2 ----- ----- 008 Gt. Feedback 1# Gt.Feedback 1* Gt.Feedback 1
023 000 Harmonica 1 Harmonica 1 Harmonica 1 009 Gt.Feedback2 2 ----- -----
001 Harmonica 2 1 Harmonica 2 2 ----- 016 Ac.Gt.Harmnx 1# Ac.Gt.Harm. 1 -----
024 000 Bandoneon 2 Bandoneon 1 Bandoneon 2 024 E.Bass Harm. 1 ----- -----
008 Bandoneon 2 2 ----- ----- Bass
016 Bandoneon 3 2 ----- ----- 033 000 Acoustic Bs. 1 AcousticBs. 2 Acoustic Bs 1
Guitar 001 Rockabilly 2 ----- -----
025 000 Nylon-str.Gt 2 Nylonstr.Gt 1 Nylon Gt. 1 008 Wild A.Bass 2 ----- -----
008 Ukulele 1# Ukulele 1 Ukulele 1 016 Bass + OHH 2 ----- -----
016 Nylon Gt.o 2 Nylon Gt.o 2 Nylon Gt.o 2 034 000 Fingered Bs. 1 FingeredBs. 1 Fingered Bs 1
024 Velo Harmnix 1# VeloHarmnix 1 ----- 001 Fingered Bs2 2 FingeredBs2 2 -----
032 Nylon Gt 2 1 Nylon Gt.2 1 Nylon Gt.2 1 002 Jazz Bass 1# Jazz Bass 1 -----
040 Lequint Gt. 1# Lequint Gt. 1 ----- 003 Jazz Bass 2 2 ----- -----
026 000 Steel-str.Gt 1 Steelstr.Gt 1 Steel Gt. 1 004 Rock Bass 2 ----- -----
008 12-str.Gt 2 12-str.Gt 2 12-str.Gt 2 008 ChorusJazzBs 2 ----- -----
009 Nylon+Steel 2 Nylon+Steel 2 ----- 016 F.Bass/Harm. 1 ----- -----
016 Mandolin 2# Mandolin 2 Mandolin 1 035 000 Picked Bass 1 Picked Bass 1 Picked Bass 1
017 Mandolin 2 2 ----- ----- 001 Picked Bass2 2 ----- -----
018 MandolinTrem 2 ----- ----- 002 Picked Bass3 2 ----- -----
032 Steel Gt.2 1# Steel Gt.2 1 ----- 003 Picked Bass4 2 ----- -----
027 000 Jazz Gt. 1 Jazz Gt. 1* Jazz Gt. 1 008 Muted PickBs 1 MutePickBs. 1 -----
001 Mellow Gt. 2# Mellow Gt. 2 ----- 016 P.Bass/Harm. 1 ----- -----
008 Pedal Steel 1# Pedal Steel 1 Hawaiian Gt 1 036 000 Fretless Bs. 1# FretlessBs. 1 Fretless Bs 1
028 000 Clean Gt. 1 Clean Gt. 1 Clean Gt. 1 001 Fretless Bs2 2 FretlessBs2 2 -----
001 Clean Half 1 ----- ----- 002 Fretless Bs3 2# FretlessBs3 2 -----
002 Open Hard 1 2 ----- ----- 003 Fretless Bs4 2# FretlessBs4 2 -----
003 Open Hard 2 1 ----- ----- 004 Syn Fretless 2# SynFretless 2 -----
004 JC Clean Gt. 1 ----- ----- 005 Mr.Smooth 2# Mr.Smooth 2 -----
008 Chorus Gt. 2 Chorus Gt. 2 Chorus Gt. 2 008 Wood+FlessBs 2 ----- -----
009 JC Chorus Gt 2 ----- ----- 037 000 Slap Bass 1 1# Slap Bass 1 1 Slap Bass 1 1
016 TC FrontPick 1 ----- ----- 001 Slap Pop 1 ----- -----
017 TC Rear Pick 1 ----- ----- 008 Reso Slap 1# Reso Slap 1 -----
018 TC Clean ff 2 ----- ----- 009 Unison Slap 2 ----- -----
019 TC Clean 2: 2 ----- ----- 038 000 Slap Bass 2 2# Slap Bass 2 2 Slap Bass 2 1
029 000 Muted Gt. 1 Muted Gt. 1 Muted Gt. 1 008 FM Slap 2 ----- -----
001 Muted Dis.Gt 1# MutedDis.Gt 1 ----- 039 000 Synth Bass 1 2# SynthBass 1 2 Syn.Bass 1 1
002 TC Muted Gt. 2 ----- ----- 001 SynthBass101 1# Syn.Bass101 1* Syn.Bass101 1
008 Funk Pop 1# Funk Pop 1 Funk Gt. 1 002 CS Bass 2 ----- -----
016 Funk Gt.2 1# Funk Gt.2 1 Funk Gt.2 1 003 JP-4 Bass 1 ----- -----
030 000 OverdriveGt 2 OverdriveGt 1 OverdriveGt 1 004 JP-8 Bass 2 ----- -----
001 Overdrive 2 2 ----- ----- 005 P5 Bass 1 ----- -----
002 Overdrive 3 2 ----- ----- 006 JPMG Bass 2 ----- -----
003 More Drive 2 ----- ----- 008 Acid Bass 1# Acid Bass 1 Syn.Bass 3 1
008 LP OverDrvGt 2 ----- ----- 009 TB303 Bass 1# TB303 Bass 1 -----
009 LP OverDrv: 2 ----- ----- 010 Tekno Bass 2# Tekno Bass 2 -----
031 000 DistortionGt 2 DistortionGt 1 Dist.Gt. 1 011 TB303 Bass 2 1 ----- -----
001 Dist. Gt2 : 2 Dist. Gt2 2 ----- 012 Kicked TB303 2 ----- -----
002 Dazed Guitar 2# DazedGuitar 2 ----- 013 TB303 Saw Bs 1 ----- -----
003 Distortion: 2 ----- ----- 014 Rubber303 Bs 1 ----- -----
004 Dist.Fast : 2 ----- ----- 015 Reso 303 Bs 1 ----- -----
008 Feedback Gt. 2# FeedbackGt. 2 Feedback Gt 2 016 Reso SH Bass 1# Reso SHBass 1 -----

Chapter 8. Appendix 155

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
017 303 Sqr Bs 1 ----- ----- 048 000 Timpani 1# Timpani 1 Timpani 1
018 TB303 DistBs 1 ----- ----- Ensemble
024 Arpeggio Bs 1 ----- ----- 049 000 Strings : 2 Strings 1 Strings 1
040 000 Synth Bass 2 2# SynthBass 2 2 Syn.Bass 2 2 001 Bright Str: 1 Strings 2 1 -----
001 SynthBass201 2# Syn.Bass201 2 ----- 002 ChamberStr: 2 ----- -----
002 Modular Bass 2# ModularBass 2 ----- 003 Cello sect. 1 ----- -----
003 Seq Bass 2# Seq Bass 2 ----- 008 Orchestra 2 Orchestra 2 Orchestra 2
004 MG Bass 1 ----- ----- 009 Orchestra 2 2 Orchestra 2 2 -----
005 Mg Oct Bass 1 2 ----- ----- 010 Tremolo Orch 2# TremoloOrch 2 -----
006 MG Oct Bass2 2 ----- ----- 011 Choir Str. 2 Choir Str. 2 -----
007 MG Blip Bs: 2 ----- ----- 012 Strings+Hor n 2 ----- -----
008 Beef FM Bass 2# Beef FMBass 2 Syn.Bass 4 2 016 St. Strings 2 St.Strings 2 -----
009 Dly Bass 2 X Wire Bass 2 ----- 024 Velo Strings 2# VeloStrings 2 -----
010 X Wire Bass 2# ----- ----- 032 Oct Strings1 2 ----- -----
011 WireStr Bss 2 ----- ----- 033 Oct Strings2 2 ----- -----
012 Blip Bass : 2 ----- ----- 050 000 SlowStrings 1 SlowStrings 1 SlowStrings 1
013 RubberBass 1 2 ----- ----- 001 SlowStrings2 1 Slow Str. 2 1 -----
016 RubberBass 2 2 Rubber Bass 2* Rubber Bass 2 008 Legato Str. 2# Legato Str. 2 -----
017 SH101 Bass 1 1# SH101Bass 1 1 ----- 009 Warm Strings 2# WarmStrings 2 -----
018 SH101 Bass 2 1# SH101Bass 2 1 ----- 010 St.Slow Str. 2 St.SlowStr. 2 -----
019 Smooth Bass 2# Smooth Bass 2 ----- 051 000 Syn.Strings1 2 SynStrings1 2 SynStrings1 1
020 SH101 Bass 3 1 ----- ----- 001 OB Strings 2 OB Strings 2 -----
021 Spike Bass 1 ----- ----- 002 StackStrings 2 ----- -----
022 House Bass: 2 ----- ----- 003 JP Strings 2 ----- -----
023 KG Bass 2 ----- ----- 008 Syn.Strings3 2# SynStrings3 2* SynStrings3 2
024 Sync Bass 2 ----- ----- 009 Syn.Strings4 2 ----- -----
025 MG 5th Bass 2 ----- ----- 016 High Strings 2 ----- -----
026 RND Bass 2 ----- ----- 017 Hybrid Str. 2 ----- -----
027 WowMG Bass 2 ----- ----- 024 Tron Strings 2 ----- -----
028 Bubble Bass 2 ----- ----- 025 Noiz Strings 2 ----- -----
Strings/orchestra 052 000 Syn.Strings2 2# SynStrings2 2* SynStrings2 2
041 000 Violin : 2 Violin 1 Violin 1 001 Syn.Strings5 2 ----- -----
001 Violin Atk: 2 ----- ----- 002 JUNO Strings 2 ----- -----
008 Slow Violin 1 Slow Violin 1 Slow Violin 1 008 Air Strings 2 ----- -----
042 000 Viola : 2 Viola 1 Viola 1 053 000 Choir Aahs 1 Choir Aahs 1 Choir Aahs 1
001 Viola Atk.: 2 ----- ----- 008 St.ChoirAahs 2 St.Choir 2 -----
043 000 Cello : 2 Cello 1 Cello 1 009 Melted Choir 2 Mello Choir 2 -----
001 Cello Atk.: 2 ----- ----- 010 Church Choir 2 ----- -----
044 000 Contrabass 1 Contrabass 1 Contrabass 1 016 Choir Hahs 1 ----- -----
045 000 Tremolo Str 1# Tremolo Str 1 Tremolo Str 1 024 Chorus Lahs 1 ----- -----
008 Slow Tremolo 1# SlowTremolo 1 ----- 032 Chorus Aahs 2 ChoirAahs 2 1* Choir Aahs2 1
009 Suspense Str 2# SuspenseStr 2 ----- 033 Male Aah+Str 2 ----- -----
046 000 PizzicatoStr 1# Pizz. Str. 1 Pizzicato 1 054 000 Voice Oohs 1# Voice Oohs 1* Voice Oohs 1
001 Vcs&Cbs Pizz 2 ----- ----- 008 Voice Dahs 1 ----- -----
002 Chamber Pizz 2 ----- ----- 055 000 SynVox 1# SynVox 1* SynVox 1
003 St.Pizzicato 2 ----- ----- 008 Syn.Voice 2# Syn.Voice 2 -----
008 Solo Pizz. 1 ----- ----- 009 Silent Night 2 ----- -----
016 Solo Spic. 1 ----- ----- 016 VP330 Choir 1 ----- -----
047 000 Harp 1# Harp 1 Harp 1 017 Vinyl Choir 2 ----- -----
016 Synth Harp 1 ----- ----- 056 000 OrchestraHit 2# Orch. Hit 2 Orchest.Hit 2
008 Impact Hit 2# Impact Hit 2 -----

PC : program number(Instrument number)

CC00 : value of controller number 0 (Bank number, Variation number)
: : legato-enabled sounds
Voices : number of voices used by the Instrument
Remark # : same sounds as SC-88 map
Remark * : same sound as SC-55 map
Remark + : a percussive sound which cannot be played melodically. Use near C4
(note number 60).

156 Chapter 8. Appendix

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
009 Philly Hit 2# Philly Hit 2 ----- 064 000 SynthBrass 2 2 Syn.Brass 2 2* Syn.Brass 2 2
010 Double Hit 2# Double Hit 2 ----- 001 Soft Brass 2 Soft Brass 2 -----
011 Perc.Hit 1 ----- ----- 002 Warm Brass 2 ----- -----
012 Shock Wave 2 ----- ----- 008 SynBrass sfz 1 Syn.Brass 4 1* Syn.Brass 4 1
016 Lo Fi Rave 2# Lo Fi Rave 2 ----- 009 OB Brass 2 ----- -----
017 Techno Hit 1 ----- ----- 010 Reso Brass 2 ----- -----
018 Dist.Hit 1 ----- ----- 016 Velo Brass 1 2# VeloBrass 1 2 Analog Brs2 2
019 Bam Hit 1 ----- ----- 017 Transbrass 2 VeloBrass 2 2 -----
020 Bit Hit 1 ----- ----- Reed
021 Bim Hit 1 ----- ----- 065 000 Soprano Sax 1 Soprano Sax 1 Soprano Sax 1
022 Technorg Hit 1 ----- ----- 008 SopranoExp. 1 ----- -----
023 Rave Hit 2 ----- ----- 066 000 Alto Sax 1 Alto Sax 1 Alto Sax 1
024 Strings Hit 2 ----- ----- 008 AltoSax Exp. 1 Hyper Alto 1 -----
025 Stack Hit 2 ----- ----- 009 Grow Sax 1 ----- -----
Brass 016 AltoSax + Tp 2 ----- -----
057 000 Trumpet 1 Trumpet 1 Trumpet 1 067 000 Tenor Sax 2 Tenor Sax 2 Tenor Sax 1
001 Trumpet 2 1# Trumpet 2 1 ----- 001 Tenor Sax : 2 ----- -----
002 Trumpet : 1 ----- ----- 008 BreathyTn.: 1 BreathyTnr. 1 -----
008 Flugel Horn 1# Flugel Horn 1 ----- 009 St.Tenor Sax 2 ----- -----
016 4th Trumpets 2 ----- ----- 068 000 Baritone Sax 2 BaritoneSax 1 BaritoneSax 1
024 Bright Tp. 2 Bright Tp. 2 ----- 001 Bari. Sax : 2 ----- -----
025 Warm Tp. 2# Warm Tp. 2 ----- 069 000 Oboe 1 Oboe 1 Oboe 1
032 Syn. Trumpet 1 ----- ----- 008 Oboe Exp. 1 ----- -----
058 000 Trombone 1 Trombone 1 Trombone 1 016 Multi Reed 1 ----- -----
001 Trombone 2 1 Trombone 2 2* Trombone 2 2 070 000 English Horn 1# EnglishHorn 1 EnglishHorn 1
002 Twin bones 2 ----- ----- 071 000 Bassoon 1# Bassoon 1 Bassoon 1
008 Bs. Trombone 1 ----- ----- 072 000 Clarinet 1 Clarinet 1 Clarinet 1
059 000 Tuba 1# Tuba 1 Tuba 1 008 Bs Clarinet 1# Bs Clarinet 1 -----
001 Tuba 2 1# Tuba 2 1 ----- 016 Multi Wind 1 ----- -----
060 000 MutedTrumpet 1 # Muted Tp. 1 MuteTrumpet 1 Pipe
008 Muted Horns 1 ----- ----- 073 000 Piccolo 1# Piccolo 1 Piccolo 1
061 000 French Horns 1# FrenchHorns 1 French Horn 2 001 Piccolo : 1 ----- -----
001 Fr.Horn 2 2# Fr.Horn 2 2* Fr.Horn 2 2 008 Nay 2 ----- -----
002 Horn + Orche 2 ----- ----- 009 Nay Tremolo 2 ----- -----
003 Wide FreHrns 2 ----- ----- 016 Di 2 ----- -----
008 F.Hrn Slow: 1 Fr.HornSolo 1 ----- 074 000 Flute 1# Flute 1 Flute 1
009 Dual Horns 2 ----- ----- 001 Flute 2 : 1 ----- -----
016 Synth Horn 2 Horn Orch 2 ----- 002 Flute Exp. 1 ----- -----
024 F.Horn Rip 1 ----- ----- 003 Flt Travelso 2 ----- -----
062 000 Brass 1 2 Brass 1 1* Brass 1 1 008 Flute + Vln 2 ----- -----
001 Brass ff 1 ----- ----- 016 Tron Flute 1 ----- -----
002 Bones Sect. 1 ----- ----- 075 000 Recorder 1# Recorder 1* Recorder 1
008 Brass 2 2 Brass 2 2 Brass 2 2 076 000 Pan Flute 2# Pan Flute 2 Pan Flute 1
009 Brass 3 2 ----- ----- 008 Kawala 2# Kawala 2 -----
010 Brass sfz 2 ----- ----- 016 Zampona 2 ----- -----
016 Brass Fall 1# Brass Fall 1 ----- 017 Zampona Atk 1 ----- -----
017 Trumpet Fall 1 ----- ----- 077 000 Bottle Blow 2# Bottle Blow 2 Bottle Blow 2
024 Octave Brass 2 ----- ----- 078 000 Shakuhachi 2# Shakuhachi 2* Shakuhachi 2
025 Brass + Reed 2 ----- ----- 001 Shakuhachi: 2 ----- -----
063 000 SynthBrass1 2 SynthBrass1 2 Syn.Brass 1 2 079 000 Whistle 1# Whistle 1* Whistle 1
001 JUNO Brass 2 Poly Brass 2 ----- 001 Whistle 2 2 ----- -----
002 StackBrass 2 ----- ----- 080 000 Ocarina 1# Ocarina 1* Ocarina 1
003 SH-5 Brass 2 ----- -----
Synth lead
004 MKS Brass 2 ----- -----
081 000 Square Wave 2 Square Wave 2 * Square Wave 2
008 Pro Brass 2 Syn.Brass 3 2* Syn.Brass 3 2
001 MG Square 1 Square 1* Square 1
009 P5 Brass 2 Quack Brass 2 -----
002 Hollow Mini 1# Hollow Mini 1 -----
016 Oct SynBrass 2 OctaveBrass 2 Analog Brs1 2
003 Mellow FM 2# Mellow FM 2 -----
017 Hybrid Brass 2 ----- -----

Chapter 8. Appendix 157

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
004 CC Solo 2# CC Solo 2 ----- 085 000 Charang 2# Charang 2* Charang 2
005 Shmoog 2# Shmoog 2 ----- 008 Dist.Lead 2# Dist.Lead 2 -----
006 LM Square 2# LM Square 2 ----- 009 Acid Guitar1 2 ----- -----
008 2600 Sine 1 Sine Wave 1* Sine Wave 1 010 Acid Guitar2 2 ----- -----
009 Sine Lead 1 ----- ----- 016 P5 Sync Lead 1 ----- -----
010 KG Lead 1 ----- ----- 017 Fat Sync Lead 2 ----- -----
016 P5 Square 1 ----- ----- 018 Rock Lead 2 ----- -----
017 OB Square 1 ----- ----- 019 5th DecaSync 2 ----- -----
018 JP-8 Square 1 ----- ----- 020 Dirty Sync 1 ----- -----
024 Pulse Lead 2 ----- ----- 024 JUNO Sub Osc 1 ----- -----
025 JP8 PulseLd1 2 ----- ----- 086 000 Solo Vox 2# Solo Vox 2* Solo Vox 2
026 JP8 PulseLd2 1 ----- ----- 008 Vox Lead 2 ----- -----
027 MG Reso. Pls 1 ----- ----- 009 LFO Vox 2 ----- -----
082 000 Saw Wave 2 Saw Wave 2* Saw Wave 2 087 000 5th Saw Wave 2 # 5th Saw 2* 5th Saw 2
001 OB2 Saw 1 Saw 1* Saw 1 001 Big Fives 2# Big Fives 2 -----
002 Pulse Saw 2# Pulse Saw 2 ----- 002 5th Lead 2 ----- -----
003 Feline GR 2# Feline GR 2 ----- 003 5th Ana.Clav 2 ----- -----
004 Big Lead 2# Big Lead 2 ----- 008 4th Lead 2 ----- -----
005 Velo Lead 2# Velo Lead 2 ----- 088 000 Bass & Lead 2# Bass & Lead 2* Bass & Lead 2
006 GR-300 2# GR-300 2 ----- 001 Big & Raw 2# Big & Raw 2 -----
007 LA Saw 1# LA Saw 1 ----- 002 Fat & Perky 2# Fat & Perky 2 -----
008 Doctor Solo 2# Doctor Solo 2* Doctor Solo 2 003 JUNO Rave 1 ----- -----
009 Fat Saw Lead 2 ----- ----- 004 JP8 BsLead 1 1 ----- -----
011 D-50 Fat Saw 2 ----- ----- 005 JP8 BsLead 2 2 ----- -----
016 Waspy Synth 2# Waspy Synth 2 ----- 006 SH-5 Bs.Lead 2 ----- -----
017 PM Lead 1 ----- ----- Synth pad, etc
018 CS Saw Lead 1 ----- ----- 089 000 Fantasia 2# Fantasia 2* Fantasia 2
024 MG Saw 1 1 ----- ----- 001 Fantasia 2 2# Fantasia 2 2 -----
025 MG Saw 2 1 ----- ----- 002 New Age Pad 2 ----- -----
026 OB Saw 1 1 ----- ----- 003 Bell Heaven 2 ----- -----
027 OB Saw 2 1 ----- ----- 090 000 Warm Pad 1# Warm Pad 1* Warm Pad 1
028 D-50 Saw 1 ----- ----- 001 Thick Matrix 2 Thick Pad 2 -----
029 SH-101 Saw 1 ----- ----- 002 Horn Pad 2# Horn Pad 2 -----
030 CS Saw 1 ----- ----- 003 Rotary Strng 2# RotaryStrng 2 -----
031 MG Saw Lead 1 ----- ----- 004 OB Soft Pad 2 Soft Pad 2 -----
032 OB Saw Lead 1 ----- ----- 008 Octave Pad 2 ----- -----
033 P5 Saw Lead 2 ----- ----- 009 Stack Pad 2 ----- -----
034 MG unison 2 ----- ----- 091 000 Polysynth 2# Polysynth 2* Polysynth 2
035 Oct Saw Lead 2 ----- ----- 001 80's PolySyn 2# 80'sPolySyn 2 -----
040 SequenceSaw1 2 ----- ----- 002 Polysynth 2 2 ----- -----
041 SequenceSaw2 1 ----- ----- 003 Poly King 2 ----- -----
042 Reso Saw 1 ----- ----- 008 Power Stack 2 ----- -----
043 Cheese Saw 1 1 ----- ----- 009 Octave Stack 2 ----- -----
044 Cheese Saw 2 2 ----- ----- 010 Reso Stack 1 ----- -----
045 Rhythmic Saw 2 ----- ----- 011 Techno Stack 2 ----- -----
083 000 Syn.Calliope 2# SynCalliope 2* SynCalliope 2 092 000 Space Voice 1# Space Voice 1* Space Voice 1
001 Vent Synth 2# Vent Synth 2 ----- 001 Heaven II 2# Heaven II 2 -----
002 Pure PanLead 2# PurePanLead 2 ----- 002 SC Heaven 2 ----- -----
084 000 Chiffer Lead 2# ChifferLead 2* ChifferLead 2 008 Cosmic Voice 2 ----- -----
001 TB Lead 2 ----- ----- 009 Auh Vox 1 ----- -----
008 Mad Lead 2 ----- ----- 010 AuhAuh 2 ----- -----

PC : program number(Instrument number)

CC00 : value of controller number 0 (Bank number, Variation number)
: : legato-enabled sounds
Voices : number of voices used by the Instrument
Remark # : same sounds as SC-88 map
Remark * : same sound as SC-55 map
Remark + : a percussive sound which cannot be played melodically. Use near C4
(note number 60).

158 Chapter 8. Appendix

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
011 Vocorderman 2 ----- ----- 101 000 Brightness 2# Brightness 2* Brightness 2
093 000 Bowed Glass 2# Bowed Glass 2 * Bowed Glass 2 001 Shining Star 2 ----- -----
001 SoftBellPad 2 ----- ----- 002 OB Stab 1 ----- -----
002 JP8 Sqr Pad 2 ----- ----- 008 Org Bell 2 ----- -----
003 7thBelPad 2 ----- ----- 102 000 Goblin 2# Goblin 2* Goblin 2
094 000 Metal Pad 2# Metal Pad 2* Metal Pad 2 001 Goblinson 2# Goblinson 2 -----
001 Tine Pad 2# Tine Pad 2 ----- 002 50's Sci-Fi 2# 50's Sci-Fi 2 -----
002 Panner Pad 2# Panner Pad 2 ----- 003 Abduction 2 ----- -----
095 000 Halo Pad 2# Halo Pad 2* Halo Pad 2 004 Auhbient 2 ----- -----
001 Vox Pad 2 ----- ----- 005 LFO Pad 2 ----- -----
002 Vox Sweep 2 ----- ----- 006 Random Str 2 ----- -----
008 Horror Pad 2 ----- ----- 007 Random Pad 2 ----- -----
096 000 Sweep Pad 1# Sweep Pad 1* Sweep Pad 1 008 LowBirds Pad 2 ----- -----
001 Polar Pad 1# Polar Pad 1 ----- 009 Falling Down 2 ----- -----
008 Converge 1# Converge 1 ----- 010 LFO RAVE 2 ----- -----
009 Shwimmer 2# Shwimmer 2 ----- 011 LFO Horror 2 ----- -----
010 Celestial Pd 2# CelestialPd 2 ----- 012 LFO Techno 2 ----- -----
011 Bag Sweep 2 ----- ----- 013 Alternative 2 ----- -----
Synth SFX 014 UFO FX 2 ----- -----
097 000 Ice Rain 2# Ice Rain 2* Ice Rain 2 015 Gargle Man 1 ----- -----
001 Harmo Rain 2# Harmo Rain 2 ----- 016 Sweep FX 1 ----- -----
002 African wood 2# AfricanWood 2 ----- 103 000 Echo Drops 1# Echo Drops 1* Echo Drops 1

003 Anklung Pad 2 ----- ----- 001 Echo Bell 2# Echo Bell 2* Echo Bell 2

004 Rattle Pad 2 ----- ----- 002 Echo Pan 2# Echo Pan 2* Echo Pan 2

008 Clavi Pad 2# Clavi Pad 2 ----- 003 Echo Pan 2 2# Echo Pan 2 2 -----
098 000 Soundtrack 2# Soundtrack 2* Soundtrack 2 004 Big Panner 2# Big Panner 2 -----
001 Ancestral 2# Ancestral 2 ----- 005 Reso Panner 2# Reso Panner 2 -----
002 Prologue 2# Prologue 2 ----- 006 Water Piano 2# Water Piano 2 -----
003 Prologue 2 2 ----- ----- 008 Pan Sequence 2 ----- -----
004 Hols Strings 2 ----- ----- 009 Aqua 2 ----- -----
008 Rave 2# Rave 2 ----- 104 000 Star Theme 2# Star Theme 2* Star Theme 2

099 000 Crystal 2# Crystal 2* Crystal 2 001 Star Theme 2 2# StarTheme 2 2 -----

001 Syn Mallet 1# Syn Mallet 1* Syn Mallet 1 008 Dream Pad 2 ----- -----

002 Soft Crystal 2# SoftCrystal 2 ----- 009 Silky Pad 2 ----- -----

003 Round Glock 2# Round Glock 2 ----- 016 New Century 1 ----- -----

004 Loud Glock 2# Loud Glock 2 ----- 017 7th Atmos. 2 ----- -----

005 GlockenChime 2 # GlocknChime 2 ----- 018 Galaxy Way 2 ----- -----

006 Clear Bells 2# Clear Bells 2 ----- Ethnic, etc

007 ChristmasBel 2# X'mas Bell 2 ----- 105 000 Sitar 1# Sitar 1* Sitar 1
008 Vibra Bells 2# Vibra Bells 2 ----- 001 Sitar 2 2# Sitar 2 2* Sitar 2 2
009 Digi Bells 2# Digi Bells 2 ----- 002 Detune Sitar 2# DetuneSitar 2 -----
010 Music Bell 2 ----- ----- 003 Sitar 3 2 ----- -----
011 Analog Bell 1 ----- ----- 008 Tambra 1# Tambra 1 -----
016 Choral Bells 2# ChoralBells 2 ----- 016 Tamboura 2# Tamboura 2 -----
017 Air Bells 2# Air Bells 2 ----- 106 000 Banjo 1# Banjo 1 Banjo 1
018 Bell Harp 2# Bell Harp 2 ----- 001 Muted Banjo 1# Muted Banjo 1 -----
019 Gamelimba 2# Gamelimba 2 ----- 008 Rabab 2# Rabab 2 -----
020 JUNO Bell 2 ----- ----- 009 San Xian 2 ----- -----
100 000 Atmosphere 2# Atmosphere 2* Atmosphere 2 016 Gopichant 2# Gopichant 2 -----
001 Warm Atmos 2# Warm Atmos 2 ----- 024 Oud 2# Oud 2 -----
002 Nylon Harp 2# Nylon Harp 2 ----- 028 Oud+Strings 2 ----- -----
003 Harpvox 2# Harpvox 2 ----- 032 Pi Pa 1 ----- -----
004 HollowReleas 2# HollowRels. 2 ----- 107 000 Shamisen 1# Shamisen 1* Shamisen 1
005 Nylon+Rhodes 2 # NylonRhodes 2 ----- 001 Tsugaru 2# Tsugaru 2 -----
006 Ambient Pad 2# Ambient Pad 2 ----- 008 Syn Shamisen 2 ----- -----
007 Invisible 2 ----- ----- 108 000 Koto 2 Koto 1* Koto 1
008 Pulsey Key 2 ----- ----- 001 Gu Zheng 2 ----- -----
009 Noise Piano 2 ----- ----- 008 Taisho Koto 1# Taisho Koto 1 Taisho Koto 2

Chapter 8. Appendix 159

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
016 Kanoon 2# Kanoon 2 ----- 119 000 Synth Drum 1 # + Synth Drum 1 * + Synth Drum 1+
019 Kanoon+Choir 2 ----- ----- 008 808 Tom 2 # + 808 Tom 2 + 808 Tom 1+
024 Oct Harp 1 ----- ----- 009 Elec Perc 1 # + Elec Perc 1 * + Elec Perc 1+
109 000 Kalimba 1 Kalimba 1 Kalimba 1 010 Sine Perc. 1 ----- -----
008 Sanza 2 ----- ----- 011 606 Tom 1 + ----- -----
110 000 Bagpipe 1# Bagpipe 1 Bagpipe 1 012 909 Tom 1 + ----- -----
008 Didgeridoo 1 + ----- ----- 120 000 Reverse Cym. 1 # + Reverse Cym 1 * + Reverse Cym 1 +
111 000 Fiddle 1# Fiddle 1* Fiddle 1 001 Reverse Cym2 1 # + ReverseCym2 1 + -----
008 Er Hu 1 ----- ----- 002 Reverse Cym3 1 + ----- -----
009 Gao Hu 1 ----- ----- 008 Rev.Snare 1 1 # + Rev.Snare 1 1 + -----
112 000 Shanai 1# Shanai 1* Shanai 1 009 Rev.Snare 2 1 # + Rev.Snare 2 1 + -----
001 Shanai 2 1# Shanai 2 1 ----- 016 Rev.Kick 1 1 # + Rev.Kick 1 1 + -----
008 Pungi 1# Pungi 1 ----- 017 Rev.ConBD 1 # + Rev.ConBD 1 + -----
016 Hichiriki 2# Hichiriki 2 ----- 024 Rev.Tom 1 1 # + Rev.Tom 1 1 + -----
024 Mizmar 1 ----- ----- 025 Rev.Tom 2 1 # + Rev.Tom 2 1 + -----
032 Suona 1 1 ----- ----- SFX
033 Suona 2 1 ----- ----- 121 000 Gt.FretNoise 1# Gt.FretNoiz 1* Gt.FretNoiz 1
Percussive 001 Gt.Cut Noise 1 # + Gt.CutNoise 1 * + Gt.CutNoise 1+
113 000 Tinkle Bell 1# Tinkle Bell 1* Tinkle Bell 1 002 String Slap 1 # + String Slap 1 * + String Slap 1+
008 Bonang 1# Bonang 1 ----- 003 Gt.CutNoise2 1 # + Gt.CutNz. 2 1 + -----
009 Gender 1# Gender 1 ----- 004 Dist.CutNoiz 1 # + Dist.CutNz. 1 + -----
010 Gamelan Gong 1 # GamelanGong 1 ----- 005 Bass Slide 1 # + Bass Slide 1 + -----
011 St.Gamelan 2# St.Gamelan 2 ----- 006 Pick Scrape 1 # + Pick Scrape 1 + -----
012 Jang-Gu 2 ----- ----- 008 Gt. FX Menu 1 ----- -----
016 RAMA Cymbal 1 # RAMA Cymbal 1 ----- 009 Bartok Pizz. 1 ----- -----
114 000 Agogo 1# Agogo 1 Agogo 1 010 Guitar Slap 1 + ----- -----
008 Atarigane 1# Atarigane 1 ----- 011 Chord Stroke 1 ----- -----
016 Tambourine 1 + ----- ----- 012 Biwa Stroke 1 + ----- -----
115 000 Steel Drums 1# Steel Drums 1* Steel Drums 1 013 Biwa Tremolo 1 + ----- -----
001 Island Mlt 2 ----- ----- 122 000 Breath Noise 1# BreathNoise 1* BreathNoise 1
116 000 Woodblock 1 # + Woodblock 1 * + Woodblock 1+ 001 Fl.Key Click 1 # + Fl.KeyClick 1 * + Fl.KeyClick 1+
008 Castanets 1 # + Castanets 1 * + Castanets 1+ 123 000 Seashore 1 # + Seashore 1 * + Seashore 1+
016 Angklung 1 ----- ----- 001 Rain 1 # + Rain 1 * + Rain 1+
017 Angkl Rhythm 2 ----- ----- 002 Thunder 1 # + Thunder 1 * + Thunder 1+
024 Finger Snaps 1 + ----- ----- 003 Wind 1 # + Wind 1 * + Wind 1+
032 909 HandClap 1 + ----- ----- 004 Stream 2 # + Stream 2 * + Stream 2+
117 000 Taiko 1 # + Taiko 1 * + Taiko 1+ 005 Bubble 2 # + Bubble 2 * + Bubble 2+
001 Small Taiko 1 + ----- ----- 006 Wind 2 1 + ----- -----
008 Concert BD 1 # + Concert BD 1 * + Concert BD 1+ 016 Pink Noise 1 ----- -----
016 Jungle BD 1 + ----- ----- 017 White Noise 1 ----- -----
017 Techno BD 1 + ----- ----- 124 000 Bird 2 # + Bird 2 * + Bird 2+
018 Bounce 1 + ----- ----- 001 Dog 1 # + Dog 1 * + Dog 1+
118 000 Melo. Tom 1 1 # + Melo. Tom 1 1 * + Melo. Tom 1 1+ 002 Horse-Gallop 1 # + HorseGallop 1 * + HorseGallop 1+
001 Real Tom 2 # + Real Tom 2 + ----- 003 Bird 2 1 # + Bird 2 1 * + Bird 2 1+
008 Melo. Tom 2 1 # + Melo. Tom 2 1 * + Melo. Tom 2 1+ 004 Kitty 1 # + Kitty 1 + -----
009 Rock Tom 2 # + Rock Tom 2 + ----- 005 Growl 1 # + Growl 1 + -----
016 Rash SD 1 + ----- ----- 125 000 Telephone 1 1 # + Telephone 1 1 * + Telephone 1 1+
017 House SD 1 + ----- ----- 001 Telephone 2 1 # + Telephone 2 1 * + Telephone 2 1+
018 Jungle SD 1 + ----- ----- 002 DoorCreaking 1 # + Creaking 1 * + Creaking 1+
019 909 SD 1 + ----- ----- 003 Door 1 # + Door 1 * + Door 1+
004 Scratch 1 # + Scratch 1 * + Scratch 1+

PC : program number(Instrument number)

CC00 : value of controller number 0 (Bank number, Variation number)
: : legato-enabled sounds
Voices : number of voices used by the Instrument
Remark # : same sounds as SC-88 map
Remark * : same sound as SC-55 map
Remark + : a percussive sound which cannot be played melodically. Use near C4
(note number 60).

160 Chapter 8. Appendix

PC CC00 Native Map Voices SC88 Map Voices SC55 Map Voices
005 Wind Chimes 2 # + Wind Chimes 2 * + Wind Chimes 2+
007 Scratch 2 1 # + Scratch 2 1 + -----
008 ScratchKey 2 + ----- -----
009 TapeRewind 1 + ----- -----
010 Phono Noise 1 + ----- -----
011 MC-500 Beep 1 ----- -----
126 000 Helicopter 1 # + Helicopter 1 * + Helicopter 1+
001 Car-Engine 1 # + Car-Engine 1 * + Car-Engine 1+
002 Car-Stop 1 # + Car-Stop 1 * + Car-Stop 1+
003 Car-Pass 1 # + Car-Pass 1 * + Car-Pass 1+
004 Car-Crash 2 # + Car-Crash 2 * + Car-Crash 2+
005 Siren 1 # + Siren 1 * + Siren 1+
006 Train 1 # + Train 1 * + Train 1+
007 Jetplane 2 # + Jetplane 2 * + Jetplane 2+
008 Starship 2 # + Starship 2 * + Starship 2+
009 Burst Noise 2 # + Burst Noise 2 * + Burst Noise 2+
010 Calculating 2 + ----- -----
011 Perc. Bang 2 + ----- -----
127 000 Applause 2 # + Applause 2 * + Applause 2+
001 Laughing 1 # + Laughing 1 * + Laughing 1+
002 Screaming 1 # + Screaming 1 * + Screaming 1+
003 Punch 1 # + Punch 1 * + Punch 1+
004 Heart Beat 1# Heart Beat 1* Heart Beat 1
005 Footsteps 1 # + Footsteps 1 * + Footsteps 1+
006 Applause 2 2 # + Applause 2 2 + -----
007 Small Club 2 + ----- -----
008 ApplauseWave 2 + ----- -----
016 Voice One 1 + ----- -----
017 Voice Two 1 + ----- -----
018 Voice Three 1 + ----- -----
019 Voice Tah 1 + ----- -----
020 Voice Whey 1 + ----- -----
128 000 Gun Shot 1 # + Gun Shot 1 * + Gun Shot 1+
001 Machine Gun 1 # + Machine Gun 1 * + Machine Gun 1+
002 Lasergun 1 # + Lasergun 1 * + Lasergun 1+
003 Explosion 2 # + Explosion 2 * + Explosion 2+
004 Eruption 1 + ----- -----
005 Big Shot 2 + ----- -----

Chapter 8. Appendix 161

 SC-55 MAP (CM-64 Sound Map)
CM-64 CM-64 CM-64
PC CC00 Instrument No. of voices PC CC00 Instrument No. of voices PC CC00 Instrument No. of voices
001 126 Piano 2 1 001 127 Acou Piano1 1 065 127 Acou Bass 1 1
002 126 Piano 2 1 002 127 Acou Piano2 1 066 127 Acou Bass 2 1
003 126 Piano 2 1 003 127 Acou Piano3 1 067 127 Elec Bass 1 1
004 126 Honky-tonk 2 004 127 Elec Piano1 1 068 127 Elec Bass 2 1
005 126 Piano 1 1 005 127 Elec Piano2 1 069 127 Slap Bass 1 1
006 126 Piano 2 1 006 127 Elec Piano3 1 070 127 Slap Bass 2 1
007 126 Piano 2 1 007 127 Elec Piano4 1 071 127 Fretless 1 1
008 126 E.Piano 1 1 008 127 Honkytonk 2 072 127 Fretless 2 1
009 126 Detuned EP1 2 009 127 Elec Org 1 1 073 127 Flute 1 1
010 126 E.Piano 2 1 010 127 Elec Org 2 2 074 127 Flute 2 1
011 126 Steel Gt. 1 011 127 Elec Org 3 1 075 127 Piccolo 1 1
012 126 Steel Gt. 1 012 127 Elec Org 4 1 076 127 Piccolo 2 2
013 126 12-str.Gt 2 013 127 Pipe Org 1 2 077 127 Recorder 1
014 126 Funk Gt. 1 014 127 Pipe Org 2 2 078 127 Pan Pipes 1
015 126 Muted Gt. 1 015 127 Pipe Org 3 2 079 127 Sax 1 1
016 126 Slap Bass 1 1 016 127 Accordion 2 080 127 Sax 2 1
017 126 Slap Bass 1 1 017 127 Harpsi 1 1 081 127 Sax 3 1
018 126 Slap Bass 1 1 018 127 Harpsi 2 2 082 127 Sax 4 1
019 126 Slap Bass 1 1 019 127 Harpsi 3 1 083 127 Clarinet 1 1
020 126 Slap Bass 2 1 020 127 Clavi 1 1 084 127 Clarinet 2 1
021 126 Slap Bass 2 1 021 127 Clavi 2 1 085 127 Oboe 1
022 126 Slap Bass 2 1 022 127 Clavi 3 1 086 127 Engl Horn 1
023 126 Slap Bass 2 1 023 127 Celesta 1 1 087 127 Bassoon 1
024 126 Fingered Bs 1 024 127 Celesta 2 1 088 127 Harmonica 1
025 126 Fingered Bs 1 025 127 Syn Brass 1 2 089 127 Trumpet 1 1
026 126 Picked Bass 1 026 127 Syn Brass 2 2 090 127 Trumpet 2 1
027 126 Picked Bass 1 027 127 Syn Brass 3 2 091 127 Trombone 1 2
028 126 Fretless Bs 1 028 127 Syn Brass 4 2 092 127 Trombone 2 2
029 126 Acoustic Bs 1 029 127 Syn Bass 1 1 093 127 Fr Horn 1 2
030 126 Choir Aahs 1 030 127 Syn Bass 2 2 094 127 Fr Horn 2 2
031 126 Choir Aahs 1 031 127 Syn Bass 3 2 095 127 Tuba 1
032 126 Choir Aahs 1 032 127 Syn Bass 4 1 096 127 Brs Sect 1 1
033 126 Choir Aahs 1 033 127 Fantasy 2 097 127 Brs Sect 2 2
034 126 SlowStrings 1 034 127 Harmo Pan 2 098 127 Vibe 1 1
035 126 Strings 1 035 127 Chorale 1 099 127 Vibe 2 1
036 126 SynStrings3 2 036 127 Glasses 2 100 127 Syn Mallet 1
037 126 SynStrings3 2 037 127 Soundtrack 2 101 127 Windbell 2
038 126 Organ 1 1 038 127 Atmosphere 2 102 127 Glock 1
039 126 Organ 1 1 039 127 Warm Bell 2 103 127 Tube Bell 1
040 126 Organ 1 1 040 127 Funny Vox 1 104 127 Xylophone 1
041 126 Organ 2 1 041 127 Echo Bell 2 105 127 Marimba 1
042 126 Organ 1 1 042 127 Ice Rain 2 106 127 Koto 1
043 126 Organ 1 1 043 127 Oboe 2001 2 107 127 Sho 2
044 126 Organ 2 1 044 127 Echo Pan 2 108 127 Shakuhachi 2
045 126 Organ 2 1 045 127 Doctor Solo 2 109 127 Whistle 1 2
046 126 Organ 2 1 046 127 School Daze 1 110 127 Whistle 2 1
047 126 Trumpet 1 047 127 Bellsinger 1 111 127 Bottleblow 2
048 126 Trumpet 1 048 127 Square Wave 2 112 127 Breathpipe 1
049 126 Trombone 1 049 127 Str Sect 1 1 113 127 Timpani 1
050 126 Trombone 1 050 127 Str Sect 2 1 114 127 Melodic Tom 1
051 126 Trombone 1 051 127 Str Sect 3 1 115 127 Deep Snare 1 +
052 126 Trombone 1 052 127 Pizzicato 1 116 127 Elec Perc 1 1 +
053 126 Trombone 1 053 127 Violin 1 1 117 127 Elec Perc 2 1 +
054 126 Trombone 1 054 127 Violin 2 1 118 127 Taiko 1 +
055 126 Alto Sax 1 055 127 Cello 1 1 119 127 Taiko Rim 1
056 126 Tenor Sax 1 056 127 Cello 2 1 120 127 Cymbal 1
057 126 BaritoneSax 1 057 127 Contrabass 1 121 127 Castanets 1 +
058 126 Alto Sax 1 058 127 Harp 1 1 122 127 Triangle 1 +
059 126 Brass 1 1 059 127 Harp 2 1 123 127 Orche Hit 1
060 126 Brass 1 1 060 127 Guitar 1 1 124 127 Telephone 1 +
061 126 Brass 2 2 061 127 Guitar 2 1 125 127 Bird Tweet 1 +
062 126 Brass 2 2 062 127 Elec Gtr 1 1 126 127 OneNote Jam 1 +
063 126 Brass 1 1 063 127 Elec Gtr 2 1 127 127 Water Bell 2
064 126 Orchest.Hit 2 064 127 Sitar 2 128 127 Jungle Tune 2

162 Chapter 8. Appendix

■ Drum set list
The drum sets of this unit are organized as follows.
The Native map has 25 types, the SC-88 map has 14 types, and the SC-55 map has 10 types.

PC Native Map SC-88Map SC-55Map

001 STANDARD 1 STANDARD 1 STANDARD
002 STANDARD 2 # STANDARD 2 ---
003 STANDARD 3 * --- ---
009 ROOM # ROOM ROOM
010 HIP HOP --- ---
011 JUNGLE --- ---
012 TECHNO --- ---
017 POWER POWER POWER
025 ELECTRONIC # ELECTRONIC ELECTRONIC
026 TR-808 TR-808/909 TR-808
027 DANCE DANCE ---
028 CR-78 --- ---
029 TR-606 --- ---
030 TR-707 --- ---
031 TR-909 --- ---
033 JAZZ JAZZ JAZZ
041 BRUSH BRUSH BRUSH
049 ORCHESTRA # ORCHESTRA ORCHESTRA
050 ETHNIC # ETHNIC ---
051 KICK & SNARE # KICK & SNARE ---
053 ASIA --- ---
054 CYMBAL&CLAPS --- ---
057 SFX SFX SFX
058 RHYTHM FX # RHYTHM FX ---
059 RHYTHM FX 2 --- ---
128 --- --- CM-64/32L

# : Same as the SC-88 map drum sets

* : Sounds in the STANDARD 3 drum set that have "RND" appended to their
name (such as Kick, Snare, and Hi-Hat) in the list on the next page are
sounds which will change randomly with each note played (these changes
affect the timbre and timing). The purpose of this is to create a more natural
sounding performance--even if all note messages for percussive instru-
ments are sent with absolute precision, subtle fluctuations will be applied so
the performance sounds less mechanical.
Note, however, that you may not always be able to obtain the desired effect,
depending on the circumstances.

Chapter 8. Appendix 163

 Native Drum set (1)
#: Same Drum Set as SC-88 map
PC1 PC2 PC3 PC9 PC10
STANDARD 1 STANDARD 2 # STANDARD 3 ROOM # Hip-Hop
22 MC-500 Beep 1 ← ← ← ←
23 MC-500 Beep 2 ← ← ← ←
C1 24 Concert SD ← ← ← ←
25 Snare Roll ← ← ← ←
26 Finger Snap 2 Finger Snap ← Finger Snap ←
27 High Q ← ← ← ←
28 Slap ← ← ← ←
Scratch Push [EXC7] ← ← ← Scratch Push 2 [EXC7]
29
30 Scratch Pull [EXC7] ← ← ← Scratch Pull 2 [EXC7]
31 Sticks ← ← ← ←
32 Square Click ← ← ← ←
33 Metronome Click ← ← ← ←
34 Metronome Bell ← ← ← ←
35
Standard 1 Kick 2 Standard 2 Kick 2 Standard 3 Kick 2 Room Kick 2 Hip-Hop Kick 2
C2 36 Standard 1 Kick 1 Standard 2 Kick 1 [RND] Kick Room Kick 1 Hip-Hop Kick 1
37 Side Stick ← ← ← TR-808 Rim Shot
38 Standard 1 Snare 1 Standard 2 Snare 1 [RND] Snare Room Snare 1 Rap Snare
39 TR-909 Hand Clap Hand Clap [RND] Hand Clap * Hand Clap ←
40 Standard 1 Snare 2 Standard 2 Snare 2 Standard 3 Snare 2 Room Snare 2 Hip-Hop Snare 2
Low Tom 2 * ← ← Room Low Tom 2 * TR-909 Low Tom 2
41
42 Closed Hi-Hat [EXC1] Closed Hi-Hat [EXC1] [RND] Closed Hi-Hat [EXC1] Closed Hi-Hat 3 [EXC1] Room Closed Hi-Hat [EXC1]
43 Low Tom 1 * ← ← Room Low Tom 1 * TR-909 Low Tom 1
44 Pedal Hi-Hat [EXC1] Pedal Hi-Hat [EXC1] [RND] Pedal Hi-Hat [EXC1] Pedal Hi-Hat [EXC1] Pedal Hi-Hat [EXC1]
45 Mid Tom 2 * ← ← Room Mid Tom 2 * TR-909 Mid Tom 2
46 Open Hi-Hat [EXC1] Open Hi-Hat [EXC1] [RND] Open Hi-Hat [EXC1] Open Hi-Hat 3 [EXC1] Room Open Hi-Hat [EXC1]
47
Mid Tom 1 * ← ← Room Mid Tom 1 * TR-909 Mid Tom 1
C3 48 High Tom 2 * ← ← Room High Tom 2 * TR-909 High Tom 2
49 Crash Cymbal1 ← [RND] Crash Cymbal ← TR-909 Crash Cymbal
50 High Tom 1 * ← ← Room High Tom 1 * TR-909 High Tom 1
51 Ride Cymbal 1 ← [RND] Ride Cymbal 1 * ← ←
52 Chinese Cymbal ← ← ← Reverse Cymbal
Ride Bell ← [RND] Ride Bell 1 ← ←
53
54 Tambourine ← ← ← Shake Tambourine
55 Splash Cymbal ← ← ← ←
56 Cowbell ← ← ← TR-808 Cowbell
57 Crash Cymbal 2 ← ← ← ←
58 Vibra-slap ← ← ← ←
59
Ride Cymbal 2 ← [RND] Ride Cymbal 2 * ← ←
C4 60 High Bongo ← ← ← ←
61 Low Bongo ← ← ← ←
62 Mute High Conga ← ← ← ←
63 Open High Conga ← ← ← ←
64 Low Conga ← ← ← ←
High Timbale ← ← ← ←
65
66 Low Timbale ← ← ← ←
67 High Agogo ← ← ← ←
68 Low Agogo ← ← ← ←
69 Cabasa ← ← ← ←
70 Maracas ← ← ← TR-808 Maracas
71
Short High Whistle [EXC2] ← ← ← ←
C5 72 Long Low Whistle [EXC2] ← ← ← ←
73 Short Guiro [EXC3] ← ← ← ←
74 Long Guiro [EXC3] ← ← ← CR-78 Guiro [EXC3]
75 Claves ← ← ← TR-808 Claves
76 High Wood Block ← ← ← ←
Low Wood Block ← ← ← ←
77
78 Mute Cuica [EXC4] ← ← ← High Hoo [EXC4]
79 Open Cuica [EXC4] ← ← ← Low Hoo [EXC4]
80 Mute Triangle [EXC5] ← ← ← Mute Triangle
81 Open Triangle [EXC5] ← ← ← Open Triangle
82 Shaker ← ← ← TR-626 Shaker
83
Jingle Bell ← ← ← ←
C6 84 Bell Tree Bar Chimes ← ← ←
85 Castanets ← ← ← ←
86 Mute Surdo [EXC6] ← ← ← ←
87 Open Surdo [EXC6] ← ← ← ←
88 Applause 2 * ← ← ← Small Club 1 *
--- --- --- --- ---
89
90 --- --- --- --- ---
91 --- --- --- --- ---
92 --- --- --- --- ---
93 --- --- --- --- ---
94 --- --- --- --- ---
95 --- --- --- --- ---
--- --- --- --- ---
C7 96
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
* : Tones which are created using two voices same time.
Note Number

164 Chapter 8. Appendix

 Native Drum set (2)
#: Same Drum Set as SC-88 map
PC 11 PC 12 PC 17 PC 25 PC 26
JUNGLE TECHNO POWER ELECTRONIC # TR-808
22 ← ← ← ← ←
23 ← ← ← ← ←
C1 24 ← ← ← ← ←
25 ← ← ← ← ←
26 ← ← ← Finger Snap 2 ←
27 ← ← ← ← ←
28 ← ← ← ← ←
Scratch Push 2 [EXC7] Scratch Push 2 [EXC7] ← [EXC7] Scratch Push 2 [EXC7] Scratch Push 2 [EXC7]
29
30 Scratch Pull 2 [EXC7] Scratch Pull 2 [EXC7] ← [EXC7] Scratch Pull 2 [EXC7] Scratch Pull 2 [EXC7]
31 ← ← ← ← ←
32 ← ← ← ← ←
33 ← ← ← ← ←
34 ← ← ← ← ←
35
Jungle Kick 2 Techno Kick 2 Power Kick 2 Electric Kick 2 TR-808 Kick 2
C2 36 Jungle Kick 1 Techno Kick 1 Power Kick 1 Electric Kick 1 * TR-808 Kick 1
37 ← TR-808 Rim Shot ← ← TR-808 Rim Shot
38 Jungle Snare 1 Techno Snare 1 Power Snare 1 Electric Snare 1 TR-808 Snare 1
39 Hand Clap 2 TR-707 Hand Clap Hand Clap Hand Clap Hand Clap
40 Jungle Snare 2 Techno Snare 2 Power Snare 2 Electric Snare 2 TR-808 Snare 2
TR-909 Low Tom 2 TR-808 Low Tom 2 * Power Low Tom 2 * Electric Low Tom 2 * TR-808 Low Tom 2 *
41
42 TR-606 Closed Hi-Hat [EXC1] TR-707 Closed Hi-Hat [EXC1] ← Closed Hi-Hat 2 [EXC1] TR-808 Closed Hi-Hat 2 [EXC1]
43 TR-909 Low Tom 1 TR-808 Low Tom 1 * Power Low Tom 1 * Electric Low Tom 1 * TR-808 Low Tom 1 *
44 Jungle Hi-Hat [EXC1] CR-78 Closed Hi-Hat [EXC1] ← Pedal Hi-Hat [EXC1] TR-808 Closed Hi-Hat [EXC1]
45 TR-909 Mid Tom 2 TR-808 Mid Tom 2 * Power Mid Tom 2 * Electric Mid Tom 2 * TR-808 Mid Tom 2 *
46 TR-606 Open Hi-Hat [EXC1] TR-909 Open Hi-Hat [EXC1] ← Open Hi-Hat 2 [EXC1] TR-808 Open Hi-Hat [EXC1]
47
TR-909 Mid Tom 1 TR-808 Mid Tom 1 * Power Mid Tom 1 * Electric Mid Tom 1 * TR-808 Mid Tom 1 *
C3 48 TR-909 High Tom 2 TR-808 High Tom 2 * Power High Tom 2 * Electric High Tom 2 * TR-808 High Tom 2 *
49 TR-808 Crash Cymbal TR-909 Crash Cymbal ← ← TR-808 Crash Cymbal
50 TR-909 High Tom 1 TR-808 High Tom 1 * Power High Tom 1 * Electric High Tom 1 * TR-808 High Tom 1 *
51 ← ← ← ← TR-606 Ride Cymbal
52 Reverse Cymbal Reverse Cymbal ← Reverse Cymbal ←
← ← ← ← ←
53
54 Shake Tambourine Shake Tambourine ← ← CR-78 Tambourine
55 ← ← ← ← ←
56 TR-808 Cowbell TR-808 Cowbell ← ← TR-808 Cowbell
57 ← TR-909 Crash Cymbal ← ← TR-909 Crash Cymbal
58 ← ← ← ← ←
59
← ← ← ← Ride Cymbal 2
C4 60 ← CR-78 High Bongo ← ← CR-78 High Bongo
61 ← CR-78 Low Bongo ← ← CR-78 Low Bongo
62 ← TR-808 High Conga ← ← TR-808 High Conga
63 ← TR-808 Mute Conga ← ← TR-808 Mute Conga
64 ← TR-808 Low Conga ← ← TR-808 Low Conga
← ← ← ← ←
65
66 ← ← ← ← ←
67 ← ← ← ← ←
68 ← ← ← ← ←
69 ← ← ← ← ←
70 TR-808 Maracas TR-808 Maracas ← ← TR-808 Maracas
71
← ← ← ← ←
C5 72 ← ← ← ← ←
73 ← ← ← ← ←
74 CR-78 Guiro [EXC3] CR-78 Guiro [EXC3] ← ← CR-78 Guiro [EXC3]
75 TR-808 Claves TR-808 Claves ← ← TR-808 Claves
76 ← ← ← ← ←
← ← ← ← ←
77
78 High Hoo [EXC4] High Hoo [EXC4] ← ← High Hoo [EXC4]
79 Low Hoo [EXC4] Low Hoo [EXC4] ← ← Low Hoo [EXC4]
80 Mute Triangle Mute Triangle ← ← Mute Triangle
81 Open Triangle Open Triangle ← ← Open Triangle
82 TR-626 Shaker TR-626 Shaker ← ← TR-626 Shaker
83
← ← ← ← ←
C6 84 ← ← ← ← ←
85 ← ← ← ← ←
86 ← ← ← ← ←
87 ← ← ← ← ←
88 Small Club 1 * ← ← Small Club 1 * Small Club 1 *
--- --- --- --- ---
89
90 --- --- --- --- ---
91 --- --- --- --- ---
92 --- --- --- --- ---
93 --- --- --- --- ---
94 --- --- --- --- ---
95 --- --- --- --- ---
--- --- --- --- ---
C7 96
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number * : Tones which are created using two voices same time.

Chapter 8. Appendix 165

 Native Drum set (3)
#: Same Drum Set as SC-88 map
PC 27 PC 28 PC 29 PC 30
DANCE CR-78 TR-606 TR-707
22 ← ← ← ←
23 ← ← ← ←
C1 24 ← ← ← ←
25 ← ← ← ←
26 Finger Snap 2 ← ← ←
27 ← ← ← ←
28 ← ← ← ←
Scratch Push 2 [EXC7] Scratch Push 2 [EXC7] Scratch Push 2 [EXC7] Scratch Push 2 [EXC7]
29
30 Scratch Pull 2 [EXC7] Scratch Pull 2 [EXC7] Scratch Pull 2 [EXC7] Scratch Pull 2 [EXC7]
31 ← ← ← ←
32 ← ← ← ←
33 ← ← ← ←
34 ← ← ← ←
35
TR-909 Comp Kick CR-78 Kick 2 CR-78 Kick 2 TR-707 Kick 2
C2 36 Electric Kick 2 CR-78 Kick 1 TR-606 Kick 1 TR-707 Kick 1
37 ← CR-78 Rim Shot CR-78 Rim Shot TR-707 Rim Shot
38 House Snare CR-78 Snare 1 TR-606 Snare 1 TR-707 Snare 1
39 ← TR-707 Hand Clap TR-707 Hand Clap TR-707 Hand Clap
40 Dance Snare 2 CR-78 Snare 2 TR-606 Snare 2 TR-707 Snare 2
Electric Low Tom 2 * CR-78 Low Tom 2 * TR-606 Low Tom 2 TR-707 Low Tom 2 *
41
42 CR-78 Closed Hi-Hat [EXC1] CR-78 Closed Hi-Hat [EXC1] TR-606 Closed Hi-Hat [EXC1] TR-707 Closed Hi-Hat [EXC1]
43 Electric Low Tom 1 * CR-78 Low Tom 1 * TR-606 Low Tom 1 TR-707 Low Tom 1 *
44 TR-808 Closed Hi-Hat 2 [EXC1] TR-606 Closed Hi-Hat [EXC1] TR-606 Closed Hi-Hat [EXC1] TR-707 Closed Hi-Hat [EXC1]
45 Electric Mid Tom 2 * CR-78 Mid Tom 2 * TR-606 Mid Tom 2 TR-707 Mid Tom 2 *
46 CR-78 Open Hi-Hat [EXC1] CR-78 Open Hi-Hat [EXC1] TR-606 Open Hi-Hat [EXC1] TR-707 Open Hi-Hat [EXC1]
47
Electric Mid Tom 1 * CR-78 Mid Tom 1 * TR-606 Mid Tom 1 TR-707 Mid Tom 1 *
C3 48 Electric High Tom 2 * CR-78 High Tom 2 * TR-606 High Tom 2 TR-707 High Tom 2 *
49 TR-808 Crash Cymbal TR-808 Crash Cymbal TR-808 Crash Cymbal TR-909 Crash Cymbal
50 Electric High Tom 1 * CR-78 High Tom 1 * TR-606 High Tom 1 TR-707 High Tom 1 *
51 TR-606 Ride Cymbal TR-606 Ride Cymbal TR-606 Ride Cymbal TR-909 Ride Cymbal *
52 Reverse Cymbal ← ← ←
← ← ← ←
53
54 Shake Tambourine CR-78 Tambourine CR-78 Tambourine Tambourine 2
55 ← ← ← ←
56 TR-808 Cowbell CR-78 Cowbell CR-78 Cowbell TR-808 Cowbell
57 ← TR-909 Crash Cymbal TR-909 Crash Cymbal ←
58 ← ← ← ←
59
← Ride Cymbal Edge Ride Cymbal Edge Ride Cymbal Edge
C4 60 ← CR-78 High Bongo CR-78 High Bongo ←
61 ← CR-78 Low Bongo CR-78 Low Bongo ←
62 ← TR-808 High Conga TR-808 High Conga ←
63 ← TR-808 Mute Conga TR-808 Mute Conga ←
64 ← TR-808 Low Conga TR-808 Low Conga ←
← ← ← ←
65
66 ← ← ← ←
67 ← ← ← ←
68 ← ← ← ←
69 ← ← ← ←
70 ← CR-78 Maracas CR-78 Maracas TR-808 Maracas
71
← ← ← ←
C5 72 ← ← ← ←
73 ← ← ← ←
74 ← CR-78 Guiro [EXC3] CR-78 Guiro [EXC3] ←
75 ← CR-78 Claves CR-78 Claves ←
76 ← ← ← ←
← ← ← ←
77
78 High Hoo [EXC4] High Hoo [EXC4] High Hoo [EXC4] High Hoo [EXC4]
79 Low Hoo [EXC4] Low Hoo [EXC4] Low Hoo [EXC4] Low Hoo [EXC4]
80 Mute Triangle CR-78 Metalic Beat 1 [EXC5] CR-78 Metalic Beat 1 [EXC5] Mute Triangle
81 Open Triangle CR-78 Metalic Beat 2 [EXC5] CR-78 Metalic Beat 2 [EXC5] Open Triangle
82 TR-626 Shaker TR-626 Shaker TR-626 Shaker TR-626 Shaker
83
← ← ← ←
C6 84 ← ← ← ←
85 ← ← ← ←
86 ← ← ← ←
87 ← ← ← ←
88 Small Club 1 * Small Club 1 * Small Club 1 * Small Club 1 *
--- --- --- ---
89
90 --- --- --- ---
91 --- --- --- ---
92 --- --- --- ---
93 --- --- --- ---
94 --- --- --- ---
95 --- --- --- ---
--- --- --- ---
C7 96
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
* : Tones which are created using two voices same time.
Note Number

166 Chapter 8. Appendix

 Native Drum set (4)
#: Same Drum Set as SC-88 map
PC 31 PC 33 PC 41 PC 49
TR-909 JAZZ BRUSH ORCHESTRA #
22 ← ← ← ←
23 ← ← ← ←
C1 24 ← ← ← ←
25 ← ← ← ←
26 ← Finger Snap 2 Finger Snap 2 Finger Snap
27 ← ← ← Closed Hi-Hat 2 [EXC1]
28 ← ← ← Pedal Hi-Hat [EXC1]
Scratch Push 2 [EXC7] ← ← Open Hi-Hat 2 [EXC1]
29
30 Scratch Pull 2 [EXC7] ← ← Ride Cymbal 1
31 ← ← ← ←
32 ← ← ← ←
33 ← ← ← ←
34 ← ← ← ←
35
TR-909 Kick 2 Jazz Kick 2 Jazz Kick 2 Jazz Kick 1
C2 36 TR-909 Kick 1 * Jazz Kick 1 Jazz Kick 1 Concert BD 1
37 TR-909 Rim ← ← ←
38 TR-909 Snare 1 Jazz Snare 1 Brush Tap 1 Concert SD
39 ← Hand Clap 2 Brush Slap 1 Castanets
40 TR-909 Snare2 Jazz Snare 2 Brush Swirl 1 Concert SD
TR-909 Low Tom 2 ← Brush Low Tom 2 * Timpani F
41
42 TR-707 Closed Hi-Hat [EXC1] Closed Hi-Hat 2 [EXC1] Brush Closed Hi-Hat [EXC1] Timpani F#
43 TR-909 Low Tom 1 ← Brush Low Tom 1 * Timpani G
44 TR-707 Closed Hi-Hat [EXC1] Pedal Hi-Hat [EXC1] Pedal Hi-Hat [EXC1] Timpani G#
45 TR-909 Mid Tom 2 ← Brush Mid Tom 2 * Timpani A
46 TR-909 Open Hi-Hat [EXC1] Open Hi-Hat 2 [EXC1] Brush Open Hi-Hat [EXC1] Timpani A#
47
TR-909 Mid Tom 1 ← Brush Mid Tom 1 * Timpani B
C3 48 TR-909 High Tom 2 ← Brush High Tom 2 * Timpani c
49 TR-909 Crash Cymbal ← Brush Crash Cymbal Timpani c#
50 TR-909 High Tom 1 ← Brush High Tom 1 * Timpani d
51 TR-909 Ride Cymbal * Ride Cymbal Inner Ride Cymbal Inner Timpani d#
52 ← ← ← Timpani e
← ← Brush Ride Bell Timpani f
53
54 Tambourine 2 ← ← ←
55 ← ← ← ←
56 TR-808 Cowbell ← ← ←
57 ← ← ← Concert Cymbal 2
58 ← ← ← ←
59
Ride Cymbal Edge Ride Cymbal Edge Ride Cymbal Edge Concert Cymbal 1
C4 60 ← ← ← ←
61 ← ← ← ←
62 ← ← ← ←
63 ← ← ← ←
64 ← ← ← ←
← ← ← ←
65
66 ← ← ← ←
67 ← ← ← ←
68 ← ← ← ←
69 ← ← ← ←
70 TR-808 Maracas ← ← ←
71
← ← ← ←
C5 72 ← ← ← ←
73 ← ← ← ←
74 CR-78 Guiro [EXC3] ← ← ←
75 TR-808 Claves ← ← ←
76 ← ← ← ←
← ← ← ←
77
78 High Hoo [EXC4] ← ← ←
79 Low Hoo [EXC4] ← ← ←
80 Mute Triangle ← ← ←
81 Open Triangle ← ← ←
82 TR-626 Shaker ← ← ←
83
← ← ← ←
C6 84 ← ← ← ←
85 ← ← ← ←
86 ← ← ← ←
87 ← ← ← ←
88 ← Applause * Applause * Applause *
--- --- --- ---
89
90 --- --- --- ---
91 --- --- --- ---
92 --- --- --- ---
93 --- --- --- ---
94 --- --- --- ---
95 --- --- --- ---
--- --- --- ---
C7 96
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
* : Tones which are created using two voices same time.
Note Number

Chapter 8. Appendix 167

 Native Drum set (5)
#: Same Drum Set as SC-88 map
PC 50 PC 51 PC 53 PC 54
ETHNIC # KICK & SNARE # ASIA CYMBAL&CLAPS
25 Finger Snap CR-78 Kick 1 Gamelan Gong 1 ---
26 Tambourine CR-78 Kick 2 Gamelan Gong 2 ---
27 Castanets TR-606 Kick Gamelan Gong 3 ---
28 Crash Cymbal 1 TR-707 Kick Gamelan Gong 4 ---
Snare Roll TR-808 Kick 1 Gamelan Gong 5 ---
29
30 Concert SD TR-909 Kick 1 Gamelan Gong 6 ---
31 Concert Cymbal TR-909 Kick 2 * Gamelan Gong 7 ---
32 Concert BD 1 Hip-Hop Kick 2 Gamelan Gong 8 Reverse Open Hi-Hat
33 Jingle Bell Hip-Hop Kick 1 Gamelan Gong 9 Reverse Closed Hi-Hat 1
34 Bell Tree Jungle Kick 2 Gamelan Gong 10 Reverse Closed Hi-Hat 2
35
Bar Chimes Jungle Kick 1 Gender 1 Jungle Hi-Hat [EXC1]
C2 36 Wadaiko * Techno Kick 2 Gender 2 [55] Closed Hi-Hat [EXC1]
37 Wadaiko Rim * Techno KicK 1 Gender 3 [88] Closed Hi-Hat 2 [EXC1]
38 Shime Taiko Standard 1 Kick 2 Gender 4 [88] Closed Hi-Hat 3 [EXC1]
39 Atarigane Standard 1 Kick 1 Gender 5 Closed Hi-Hat 4 [EXC1]
40 Hyoushigi [88] Standard 1 Kick 1 Bonang 1 Closed Hi-Hat [EXC1]
Ohkawa [88] Standard 1 Kick 2 Bonang 2 TR-707 Closed Hi-Hat [EXC1]
41
42 High Kotsuzumi [88] Standard 2 Kick 1 Bonang 3 TR-606 Closed Hi-Hat [EXC1]
43 Low Kotsuzumi [88] Standard 2 Kick 2 Bonang 4 [88] TR-808 Closed Hi-Hat [EXC1]
44 Ban Gu [55] Kick Drum1 Bonang 5 TR-808 Closed Hi-Hat [EXC1]
45 Big Gong [55] Kick Drum 2 Rama Cymbal Low CR-78 Closed Hi-Hat [EXC1]
46 Small Gong [88] Soft Kick Rama Cymbal High [55] Pedal Hi-Hat [EXC1]
47
Bend Gong [88] Jazz Kick 1 Sagat Open [EXC7] [88] Pedal Hi-Hat [EXC1]
C3 48 Thai Gong [88] Jazz Kick 2 Sagat Closed [EXC7] Pedal Hi-Hat [EXC1]
49 Rama Cymbal [55] Concert BD 1 Jaws Harp Half-Open Hi-Hat 1 [EXC1]
50 Gamelan Gong [88] Room Kick 1 Wadaiko * Half-Open Hi-Hat 2 [EXC1]
51 Udo Short [EXC1] [88] Room Kick 2 Wadaiko Rim * [55] Open Hi Hat [EXC1]
52 Udo Long [EXC1] [88] Power Kick1 Small Taiko [88] Open Hi-Hat 2 [EXC1]
Udo Slap [88] Power Kick2 Shimedaiko [88] Open Hi-Hat 3 [EXC1]
53
54 Bendir [88] Electric Kick 2 Atarigane Open Hi-Hat 2 [EXC1]
55 Req Dum [88] Electric Kick 1 * Hyoushigi TR-909 Open Hi-Hat [EXC1]
56 Req Tik [55] Electric Kick Ohkawa TR-707 Open Hi-Hat [EXC1]
57 Tabla Te [88] TR-808 Kick High Kotsuzumi TR-606 Open Hi-Hat [EXC1]
58 Tabla Na [88] TR-909 Kick Low Kotsuzumi [88] TR-808 Open Hi-Hat [EXC1]
59
Tabla Tun [88] Dance Kick Yyoo Dude TR-808 Open Hi-Hat [EXC1]
C4 60 Tabla Ge [88] Standard 1 Snare 1 Buk CR-78 Open Hi-Hat [EXC1]
61 Tabla Ge Hi [88] Standard 1 Snare 2 Buk Rim Crash Cymbal 1 [EXC3]
62 Talking Drum * [88] Standard 2 Snare 1 Gengari p [EXC1] Crash Cymbal 2 [EXC4]
63 Bend Talking Drum * [88] Standard 2 Snare 2 Gengari Mute Low [EXC1] Crash Cymbal 3
64 Caxixi [55] Tight Snare Gengari f [EXC2] Brush Crash Cymbal
Djembe [55] Concert Snare Gengari Mute High [EXC2] Hard Crash Cymbal *
65
66 Djembe Rim [88] Jazz Snare 1 Gengari Samll TR-909 Crash Cymbal
67 Timbales Low [88] Jazz Snare 2 Jang-Gu Che TR-808 Crash Cymbal
68 Timbales Paila [88] Room Snare 1 Jang-Gu Kun Mute Crash Cymbal 1 [EXC3]
69 Timbales High [88] Room Snare 2 Jang-Gu Rim Mute Crash Cymbal 2 [EXC4]
70 Cowbell [88] Power Snare 1 Jing p [EXC3] Reverse Crash Cymbal 1
71
High Bongo [88] Power Snare 2 Jing f * [EXC3] Reverse Crash Cymbal 2
C5 72 Low Bongo [55] Gated Snare Jing Mute [EXC3] Reverse Crash Cymbal 3
73 Mute High Conga [88] Dance Snare 1 Asian Gong Reverse TR-909 Crash Cymbal
74 Open High Conga [88] Dance Snare 2 Big Gong [55] Splash Cymbal
75 Mute Low Conga [88] Disco Snare Small Gong Splash Cymbal
76 Conga Slap [88] Electric Snare 2 Pai Ban [88] Ride Bell
Open Low Conga [88] House Snare * Ban Gu [88] Brush Ride Bell
77
78 Conga Slide * [55] Electric Snare 1 Tang Gu [EXC4] [88] Ride Cymbal 1
79 Mute Pandiero [88] Electric Snare 3 * Tang Gu Mute [EXC4] [88] Ride Cymbal 2
80 Open Pandiero [88] TR-808 Snare 1 Shou Luo * [88] Brush Ride Cymbal
81 Open Surdo [EXC2] [88] TR-808 Snare 2 * Bend Gong Ride Cymbal Low Inner
82 Mute Surdo [EXC2] [88] TR-909 Snare 1 Hu Yin Luo Low * Ride Cymbal Mid Inner
83
Tamborim [88] TR-909 Snare 2 * Hu Yin Luo Mid [EXC5] Ride Cymbal High Inner
C6 84 High Agogo [88] Brush Tap 1 Hu Yin Luo Mid 2 [EXC5] Ride Cymbal Low Edge
85 Low Agogo [88] Brush Tap 2 Hu Yin Luo High [EXC6] Ride Cymbal Mid Edge
86 Shaker [88] Brush Slap 1 Hu Yin Luo High 2 [EXC6] Ride Cymbal High Edge
87 High Whistle [EXC3] [88] Brush Slap 2 Nao Bo TR-606 Ride Cymbal
88 Low Whistle [EXC3] [88] Brush Slap 3 Xiao Bo TR-808 Ride Cymbal
Mute Cuica [EXC4] [88] Brush Swirl 1 --- Chinese Cymbal
89
90 Open Cuica [EXC4] [88] Brush Swirl 2 --- Chinese Cymbal 2
91 Mute Triangle [EXC5] [88] Brush Long Swirl --- [55] Hand Clap
92 Open Triangle [EXC5] Standard 1 Snare 1 --- [88] Hand Clap 2
93 Short Guiro [EXC6] Standard 1 Snare 2 --- [88] Hand Clap
94 Long Guiro [EXC6] Standard 1 Snare 3 --- Hand Clap
95
Cabasa Up Rap Snare --- Hand Clap 2
C7 96 Cabasa Down Hip-Hop Snare 2 --- TR-707 Hand Clap
97 Claves Jungle Snare 1 --- ---
98 High Wood Block Jungle Snare 2 --- ---
99 Low Wood Block Techno Snare 1 --- ---
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number : Tones which are created using two voices same time.
*

168 Chapter 8. Appendix

 Native Drum set (6)
#: Same Drum Set as SC-88 map
PC 57 PC 58 PC 59
SFX RHYTHM FX # RHYTHM FX 2
21 MC-500 Beep 1 --- ---
22 MC-500 Beep 2 --- ---
23
Guitar Slide --- ---
C1 24 Guitar Wah --- ---
25 Guitar Slap --- ---
26 Chord Stroke Down --- ---
27 Chord Stroke Up --- ---
28 Biwa FX * --- ---
Phonograph Noise --- ---
29
30 Tape Rewind --- ---
31 Scratch Push 2 [EXC1] --- ---
32 Scratch Pull 2 [EXC1] --- ---
33 Cutting Noise 2 Up --- ---
34 Cutting Noise 2 Down --- ---
35
Distortion Guitar Cutting Noise Up --- ---
C2 36 Distortion Guitar Cutting Noise Down Reverse Kick 1 Reverse TR-707 Kick 1
37 Bass Slide Reverse Concert Bass Drum Reverse TR-909 Kick 1
38 Pick Scrape Reverse Power Kick1 Reverse Hip-Hop Kick 1
39 High Q Reverse Electric Kick 1 Reverse Jungle Kick 2
40 Slap Reverse Snare 1 Reverse Techno Kick 2
Scratch Push [EXC7] Reverse Snare 2 Reverse TR-606 Snare 2
41
42 Scratch Pull [EXC7] Reverse Standard 1 Snare 1 Reverse CR-78 Snare 1
43 Sticks Reverse Tight Snare Reverse CR-78 Snare 2
44 Square Click Reverse Dance Snare Reverse Jungle Snare 2
45 Metronome Click Reverse 808 Snare Reverse Techno Snare 2
46 Metronome Bell Reverse Tom 1 Reverse TR-707 Snare
47
Guitar Fret Noise Reverse Tom 2 Reverse TR-606 Snare 1
C3 48 Guitar Cutting Noise Up Reverse Sticks Reverse TR-909 Snare 1
49 Guitar Cutting Noise Down Reverse Slap Reverse Hip-Hop Snare 2
50 String Slap of Double Bass Reverse Cymbal 1 Reverse Jungle Snare 1
51 Flute Key Click Noise Reverse Cymbal 2 Reverse House Snare
52 Laughing Reverse Open Hi-Hat Reverse Closed Hi-Hat
Screaming Reverse Ride Cymbal Reverse TR-606 Closed Hi-Hat
53
54 Punch Reverse CR-78 Open Hi-Hat Reverse TR-707 Closed Hi-Hat
55 Heart Beat Reverse Closed Hi-Hat Reverse TR-808 Closed Hi-Hat
56 Footsteps 1 Reverse Gong Reverse Jungle Hi-Hat
57 Footsteps 2 Reverse Bell Tree Reverse Tambourine 2
58 Applause * Reverse Guiro Reverse Shake Tambourine
59
Door Creaking Reverse Bendir Reverse TR-808 Open Hi-Hat
C4 60 Door Reverse Gun Shot Reverse TR-707 Open Hi-Hat
61 Scratch Reverse Scratch Reverse Open Hi-Hat
62 Wind Chimes * Reverse Laser Gun Reverse TR-606 Open Hi-Hat
63 Car - Engine Key Click Reverse Hu Yin Luo
64 Car - Stop Techno Thip Reverse TR-707 Crash Cymbal *
Car - Passing Pop Drop Voice One
65
66 Car - Crash * Woody Slap Reverse Voice One
67 Siren Distortion Kick * Voice Two
68 Train Syn. Drops Reverse Voice Two
69 Jetplane * Reverse Hi Q Voice Three
70 Helicopter Pipe Reverse Voice Three
71 Starship * Ice Block Voice Tah
C5 72 Gun Shot Digital Tambourine * Reverse Voice Tah
73 Machine Gun Alias Voice Ou
74 Laser Gun Modulated Bell Voice Au
75 Explosion * Spark Voice Whey
76 Dog Metallic Percussion Frog Vpoce *
Horse-Gallop Velocity Noise FX Reverse Yyoo Dude
77
78 Birds * Stereo Noise Clap * Douby
79 Rain Swish Reverse Douby
80 Thunder Slappy * Baert High
81 Wind Voice Ou Baert Low
82 Seashore Voice Au Bounce
83 Stream * Hoo Reverse bounce

C6 84 Bubble * Tape Stop 1 * Distortion Knock

85 Kitty Tape Stop 2 * Guitar Slide
86 Bird 2 Missile * Sub Marine
87 Growl Space Birds Noise Attack
88 ← Flying Monster Space Worms
Telephone 1 --- Emergency ! *
89
90 Telephone 2 --- Calculating... *
91 Small Club 1 * --- Saw LFO Saw
92 Small Club 2 * --- ---
93 Applause Wave * --- ---
94 Eruption --- ---
95 Big Shot * --- ---
Percussion Bang * --- ---
C7 96
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number
* : Tones which are created using two voices same time.

Chapter 8. Appendix 169

 Native Drum set (7)
Notes 0-19 and 97-127 are as follows.

PC10 Hip-Hop
PC 11 JUNGLE
PC 12 TECHNO
PC 25 ELECTRONIC
PC 26 TR-808
PC1 STANDARD 1 PC 27 DANCE
PC2 STANDARD 2 PC 28 CR-78
PC3 STANDARD 3 PC 29 TR-606
PC9 ROOM PC 30 TR-707 PC 33 JAZZ
PC 17 POWER PC 31 TR-909 PC 41 BRUSH PC 49 ORCHESTRA PC 51 KICK & SNARE
C-1 0 [88] Standard 1 Kick 1 [88] Electric Kick 2 ← ← ---
1 [88] Standard 1 Kick 2 [88] Electric Kick 1 * ← ← ---
2 [88] Standard 2 Kick 1 CR-78 Kick 1 ← ← ---
3 [88] Standard 2 Kick 2 CR-78 Kick 2 ← ← ---
4 [55] Kick Drum 1 TR-606 Kick1 ← ← ---
[55] Kick Drum 2 TR-707 Kick 1 ← ← ---
5
6 [88] Jazz Kick 1 [55] TR-808 Kick ← ← ---
7 [88] Jazz Kick 2 [88] TR-808 Kick ← ← ---
8 [88] Room Kick 1 TR-808 Kick 2 ← ← ---
9 [88] Room Kick 2 [88] TR-909 Kick ← ← ---
10 [88] Power Kick 1 [88] Dance Kick ← ← ---
11
[88] Power Kick 2 Hip-Hop Kick 2 ← ← ---
C0 12 [88] Electric Kick 2 TR-909 Kick 1 * ← ← ---
13 [88] Electric Kick 1 * Hip-Hop Kick 3 ← ← ---
14 [88] TR-808 Kick Jungle Kick 1 ← ← ---
15 [88] TR-909 Kick Techno Kick 1 ← ← ---
16 [88] Dance Kick Bounce Kick ← ← ---
Voice One ← ← ← ---
17
18 Voice Two ← ← ← ---
19 Voice Three ← ← ← ---
: : : : :
: : : : :
97 [88] Standard 1 Snare1 Techno Hit --- Applause 2 * Jungle Snare 1
98 [88] Standard 1 Snare 2 Philly Hit * --- Small Club 1 * Jungle Snare 2
99 [88] Standard 2 Snare 1 Impact Hit * --- [55] Timpani D# Techno Snare 1
100 [88] Standard 2 Snare 2 Lo-Fi Rave * [88] Brush Tap 1 [55] Timpani E Techno Snare 2
101 [55] Snare Drum 2 Bam Hit [88] Brush Tap 2 [55] Timpani F House Snare 2
102 Standard 1 Snare 1 Bim Hit [88] Brush Slap 1 [55] Timpani F# CR-78 Snare 1
103 Standard 1 Snare 2 Tape Rewind [88] Brush Slap 2 [55] Timpani G CR-78 Snare 2
104 Standard 1 Snare 3 Phonograph Noise [88] Brush Slap 3 [55] Timpani G# TR-606 Snare 1
105 [88] Jazz Snare 1 [88] Power Snare 1 [88] Brush Swirl 1 [55] Timpani A TR-606 Snare 2
106 [88] Jazz Snare 2 [88] Dance Snare 1 [88] Brush Swirl 2 [55] Timpani A# TR-707 Snare 1
107 [88] Room Snare 1 [88] Dance Snare 2 [88] Brush Long Swirl [55] Timpani B TR-707 Snare 2
C8 108 [88] Room Snare 2 [88] Disco Snare [88] Jazz Snare 1 [55] Timpani c Standard 3 Snare 2
109 [88] Power Snare 1 [88] Electric Snare 2 [88] Jazz Snare 2 [55] Timpani c# TR-808 Snare 2
110 [88] Power Snare 2 [55] Electric Snare [88] Standard 1 Snare1 [55] Timpani d TR-909 Snare 1
111 [55] Gated Snare [88] Electric Snare 3 * [88] Standard 1 Snare2 [55] Timpani d# TR-909 Snare 2
112 [88] Dance Snare 1 TR-606 Snare 2 [88] Standard 2 Snare1 [55] Timpani e ---
113 [88] Dance Snare 2 TR-707 Snare 1 [88] Standard 2 Snare2 [55] Timpani f ---
114 [88] Disco Snare [88] TR-808 Snare 2 [55] Snare Drum 2 --- ---
115 [88] Electric Snare 2 [88] TR-808 Snare 1 * Standard 1 Snare 1 --- ---
116 [55] Electric Snare TR-808 Snare 2 Standard 1 Snare 2 --- ---
117 [88] Electric Snare 3 * [88] TR-909 Snare 1 Standard 1 Snare 3 --- ---
118 TR-707 Snare 1 [88] TR-909 Snare 2 * [88] Room Snare 1 --- ---
119 [88] TR-808 Snare 1 TR-909 Snare 1 [88] Room Snare 2 --- ---
C9 120 [88] TR-808 Snare 2 * TR-909 Snare 2 [88] Power Snare 1 --- ---
121 [88] TR-909 Snare 1 Rap Snare [88] Power Snare 2 --- ---
122 [88] TR-909 Snare 2 * Jungle Snare [88] Gated Snare --- ---
123 Rap Snare House Snare 1 [88] Dance Snare 1 --- ---
124 Jungle Snare 1 [88] House Snare * [88] Dance Snare 2 --- ---
125 House Snare 1 House Snare 2 [88] Disco Snare --- ---
126 [88] House Snare * Voice Tah [88] Electric Snare 2 --- ---
127 House Snare 2 [88] Slappy * [88] Electric Snare 3 * --- ---

PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD1"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number
* : Tones which are created using two voices same time.

170 Chapter 8. Appendix

 SC-88 Drum set (1)
PC 1 PC 2 PC 9 PC 17 PC 25
STANDARD 1 STANDARD 2 ROOM POWER ELECTRONIC
25 Snare Roll ← ← ← ←
26 Finger Snap ← ← ← ←
27 High Q ← ← ← ←
28 Slap ← ← ← ←
Scratch Push [EXC7] ← ← ← Scratch Push2 [EXC7]
29
30 Scratch Pull [EXC7] ← ← ← Scratch Pull2 [EXC7]
31 Sticks ← ← ← ←
32 Square Click ← ← ← ←
33 Metronome Click ← ← ← ←
34 Metronome Bell ← ← ← ←
35
Standard 1 Kick 2 Standard 2 Kick 2 Room Kick 2 Power Kick 2 Electric Kick 2
C2 36 Standard 1 Kick 1 Standard 2 Kick 1 Room Kick 1 Power Kick 1 Electric Kick 1
37 Side Stick ← ← ← ←
38 Standard 1 Snare 1 Standard 2 Snare 1 Room Snare 1 Power Snare 1 Electric Snare 1
39 Hand Clap ← ← ← ←
40 Standard 1 Snare 2 Standard 2 Snare 2 Room Snare 2 PowerSnare 2 Electric Snare 2
Low Tom2 * ← Room Low Tom2 * Power Low Tom2 * Electric Low Tom2 *
41
42 Closed Hi-hat1 [EXC1] Closed Hi-hat2 [EXC1] Closed Hi-hat3 [EXC1] Closed Hi-hat3 [EXC1] Closed Hi-hat2 [EXC1]
43 Low Tom1 * ← Room Low Tom1 * Power Low Tom1 * Electric Low Tom1 *
44 Pedal Hi-hat [EXC1] ← ← ← ←
45 Mid Tom2 * ← Room Mid Tom2 * Power Mid Tom2 * Electric Mid Tom2 *
46 Open Hi-hat1 [EXC1] Open Hi-hat2 [EXC1] Open Hi-hat3 [EXC1] Open Hi-hat3 [EXC1] Open Hi-hat2 [EXC1]
47
Mid Tom1 * ← Room Mid Tom1 * Power Mid Tom1 * Electric Mid Tom1 *
C3 48 High Tom2 * ← Room Hi Tom2 * Power Hi Tom2 * Electric Hi Tom2 *
49 Crash Cymbal1 ← ← ← ←
50 High Tom1 * ← Room Hi Tom1 * Power Hi Tom1 * Electric Hi Tom1 *
51 Ride Cymbal1 ← ← ← ←
52 Chinese Cymbal ← ← ← Reverse Cymbal
Ride Bell ← ← ← ←
53
54 Tambourine ← ← ← ←
55 Splash Cymbal ← ← ← ←
56 Cowbell ← ← ← ←
57 Crash Cymbal2 ← ← ← ←
58 Vibra-slap ← ← ← ←
59
Ride Cymbal2 ← ← ← ←
C4 60 High Bongo ← ← ← ←
61 Low Bongo ← ← ← ←
62 Mute High Conga ← ← ← ←
63 Open High Conga ← ← ← ←
64 Low Conga ← ← ← ←
High Timbale ← ← ← ←
65
66 Low Timbale ← ← ← ←
67 High Agogo ← ← ← ←
68 Low Agogo ← ← ← ←
69 Cabasa ← ← ← ←
70 Maracas ← ← ← ←
71
Short Hi Whistle [EXC2] ← ← ← ←
C5 72 Long Low Whistle [EXC2] ← ← ← ←
73 Short Guiro [EXC3] ← ← ← ←
74 Long Guiro [EXC3] ← ← ← ←
75 Claves ← ← ← ←
76 High Wood Block ← ← ← ←
Low Wood Block ← ← ← ←
77
78 Mute Cuica [EXC4] ← ← ← ←
79 Open Cuica [EXC4] ← ← ← ←
80 Mute Triangle [EXC5] ← ← ← ←
81 Open Triangle [EXC5] ← ← ← ←
82 Shaker ← ← ← ←
83
Jingle Bell ← ← ← ←
C6 84 Bell Tree Bar Chimes ← ← ←
85 Castanets ← ← ← ←
86 Mute Surdo [EXC6] ← ← ← ←
87 Open Surdo [EXC6] ← ← ← ←
88 ---- ---- ---- ---- ----
---- ---- ---- ---- ----
89
90 ---- ---- ---- ---- ----
91 ---- ---- ---- ---- ----
92 ---- ---- ---- ---- ----
93 ---- ---- ---- ---- ----
94 ---- ---- ---- ---- ----
95
---- ---- ---- ---- ----
C7 96 ---- ---- ---- ---- ----
97 ---- ---- ---- ---- ----
98 ---- ---- ---- ---- ----
99 ---- ---- ---- ---- ----
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number
* : Tones which are created using two voices same time.

Chapter 8. Appendix 171

 SC-88 Drum set (2)
PC 26 PC 27 PC 33 PC 41 PC 49
TR-808/909 DANCE JAZZ BRUSH ORCHESTRA
25 ← ← ← ← ←
26 ← ← ← ← ←
27 ← ← ← ← Closed Hi-hat2 [EXC1]
28 ← ← ← ← Pedal Hi-hat [EXC1]
Scratch Push2 [EXC7] Scratch Push2 [EXC7] ← ← Open Hi-hat2 [EXC1]
29
30 Scratch Pull2 [EXC7] Scratch Pull2 [EXC7] ← ← Ride Cymbal1
31 ← ← ← ← ←
32 ← ← ← ← ←
33 ← ← ← ← ←
34 ← ← ← ← ←
35
909 Bass Drum Dance Kick Jazz Kick 2 Jazz Kick 2 Jazz Kick 1
C2 36 808 Bass Drum Electric Kick 2 Jazz Kick 1 Jazz Kick 1 Concert BD1
37 808 Rim Shot ← ← ← ←
38 808 Snare 1 Dance Snare 1 Jazz Snare 1 Brush Tap1 Concert SD
39 ← ← Hand Clap2 Brush Slap1 Castanets
40 909 Snare 1 Dance Snare 2 Jazz Snare 2 Brush Swirl1 Concert SD
808 Low Tom2 * Electric Low Tom2 * ← Brush Low Tom2 * Timpani F
41
42 808 CHH [EXC1] CR-78 CHH [EXC1] Closed Hi-hat2 [EXC1] Brush Closed Hi-hat [EXC1] Timpani F#
43 808 Low Tom1 * Electric Low Tom1 * ← Brush Low Tom1 * Timpani G
44 808 CHH [EXC1] 808 CHH [EXC1] ← ← Timpani G#
45 808 Mid Tom2 * Electric Mid Tom2 * ← Brush Mid Tom2 * Timpani A
46 808 OHH [EXC1] CR-78 OHH [EXC1] Open Hi-hat2 [EXC1] Brush Open Hi-hat [EXC1] Timpani A#
47
808 Mid Tom1 * Electric Mid Tom1 * ← Brush Mid Tom1 * Timpani B
C3 48 808 Hi Tom2 * Electric High Tom2 * ← Brush Hi Tom2 * Timpani c
49 808 Cymbal ← ← Brush Crash Cymbal Timpani c#
50 808 Hi Tom1 Electric High Tom1 * ← Brush Hi Tom1 * Timpani d
51 ← ← ← Brush Ride Cymbal Timpani d#
52 ← Reverse Cymbal ← ← Timpani e
← ← ← Brush Ride Bell Timpani f
53
54 ← ← ← ← ←
55 ← ← ← ← ←
56 808 Cowbell ← ← ← ←
57 ← ← ← ← Concert Cymbal2
58 ← ← ← ← ←
59
← ← ← ← Concert Cymbal1
C4 60 ← ← ← ← ←
61 ← ← ← ← ←
62 808 High Conga ← ← ← ←
63 808 Mid Conga ← ← ← ←
64 808 Low Conga ← ← ← ←
← ← ← ← ←
65
66 ← ← ← ← ←
67 ← ← ← ← ←
68 ← ← ← ← ←
69 ← ← ← ← ←
70 808 Maracas ← ← ← ←
71
← ← ← ← ←
C5 72 ← ← ← ← ←
73 ← ← ← ← ←
74 ← ← ← ← ←
75 808 Claves ← ← ← ←
76 ← ← ← ← ←
← ← ← ← ←
77
78 ← High Hoo [EXC4] ← ← ←
79 ← Low Hoo [EXC4] ← ← ←
80 ← Electric Mute Triangle [EXC5] ← ← ←
81 ← Electric Open Triangle [EXC5] ← ← ←
82 ← ← ← ← ←
83
← ← ← ← ←
C6 84 ← ← ← ← ←
85 ← ← ← ← ←
86 ← ← ← ← ←
87 ← ← ← ← ←
88 ---- ---- ---- ---- Applause *
---- ---- ---- ---- ----
89
90 ---- ---- ---- ---- ----
91 ---- ---- ---- ---- ----
92 ---- ---- ---- ---- ----
93 ---- ---- ---- ---- ----
94 ---- ---- ---- ---- ----
95
---- ---- ---- ---- ----
C7 96 ---- ---- ---- ---- ----
97 ---- ---- ---- ---- ----
98 ---- ---- ---- ---- ----
99 ---- ---- ---- ---- ----
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number
* : Tones which are created using two voices same time.

172 Chapter 8. Appendix

 SC-88 Drum set (3)
PC 50 PC 51 PC 57 PC 58
ETHNIC KICK&SNARE SFX RHYTHM FX
25 Finger Snap ---- ---- ----
26 Tambourine ---- ---- ----
27 Castanets ---- ---- ----
28 Crash Cymbal1 ---- ---- ----
Snare Roll ---- ---- ----
29
30 Concert Snare Drum ---- ---- ----
31 Concert Cymbal ---- Scratch Push2 [EXC1] ----
32 Concert BD1 ---- Scratch Pull2 [EXC1] ----
33 Jingle Bell ---- Cutting Noise 2 Up ----
34 Bell Tree ---- Cutting Noise 2 Down ----
35
Bar Chimes ---- Distortion Guitar Cutting Noise Up ----
C2 36 Wadaiko * ---- Distortion Guitar Cutting Noise Down Reverse Kick 1
37 Wadaiko Rim * ---- Bass Slide Reverse Concert BD 1
38 Shime Taiko ---- Pick Scrape Reverse Power Kick 1
39 Atarigane ---- High Q Reverse Electric Kick 1
40 Hyoushigi Standard 1 Kick 1 Slap Reverse Snare 1
Ohkawa Standard 1 Kick 2 Scratch Push [EXC7] Reverse Snare 2
41
42 High Kotsuzumi Standard 2 Kick 1 Scratch Pull [EXC7] Reverse Standard set1 Snare 1
43 Low Kotsuzumi Standard 2 Kick 2 Sticks Reverse Tight Snare
44 Ban Gu Kick 1 Square Click Reverse Dance Snare
45 Big Gong Kick 2 Metronome Click Reverse 808 Snare
46 Small Gong Soft Kick Metronome Bell Reverse Tom1
47
Bend Gong Jazz Kick 1 Guitar Fret Noise Reverse Tom2
C3 48 Thai Gong Jazz Kick 2 Guitar Cutting Noise Up Reverse Sticks
49 Rama Cymbal Concert BD GuitarCutting Noise Down Reverse Slap
50 Gamelan Gong Room Kick 1 String Slap of Double Bass Reverse Cymbal1
51 Udo Short [EXC1] Room Kick 2 Fl.Key Click Reverse Cymbal2
52 Udo Long [EXC1] Power Kick 1 Laughing Reverse Open Hi-hat
Udo Slap Power Kick 2 Scream Reverse Ride Cymbal
53
54 Bendir Electric Kick 2 Punch Reverse CR-78 OHH
55 Req Dum Electric Kick 1 * Heart Beat Reverse Closed Hi-hat
56 Req Tik Electric Kick Footsteps1 Reverse Gong
57 Tabla Te 808 Bass Drum Footsteps2 Reverse Bell Tree
58 Tabla Na 909 Bass Drum Applause * Reverse Guiro
59
Tabla Tun Dance Kick Door Creaking Reverse Bendir
C4 60 Tabla Ge Standard 1 Snare 1 Door Reverse Gun Shot
61 Tabla Ge Hi Standard 1 Snare 2 Scratch Reverse Scratch
62 Talking Drum * Standard 2 Snare 1 Wind Chimes * Reverse Laser
63 Bend Talking Drum * Standard 2 Snare 2 Car-Engine Key Click
64 Caxixi Tight Snare Car-Stop Tekno Thip
Djembe Concert Snare Car-Pass Pop Drop
65
66 Djembe Rim Jazz Snare 1 Car-Crash * Woody Slap
67 Timbales Low Jazz Snare 2 Siren Distortion Kick *
68 Timbales Paila Room Snare 1 Train Syn.Drop
69 Timbales High Room Snare 2 Jetplane * Reverse High Q
70 Cowbell Power Snare 1 Helicopter Pipe
71
Hi Bongo Power Snare 2 Starship * Ice Block
C5 72 Low Bongo Gated Snare Gun Shot Digital Tambourine *
73 Mute Hi Conga Dance Snare 1 Machine Gun Alias
74 Open Hi Conga Dance Snare 2 Lasergun Modulated Bell
75 Mute Low Conga Disco Snare Explosion * Spark
76 Conga Slap Electric Snare2 Dog Metalic Percussion
Open Low Conga House Snare * Horse-Gallop Velocity Noise FX
77
78 Conga Slide * Electric Snare 1 Birds * Stereo Noise Clap *
79 Mute Pandiero Electric Snare 3 * Rain Swish
80 Open Pandiero 808 Snare 1 Thunder Slappy *
81 Open Surdo [EXC2] 808 Snare 2 * Wind Voice Ou
82 Mute Surdo [EXC2] 909 Snare 1 Seashore Voice Au
83
Tamborim 909 Snare 2 * Stream * Hoo
C6 84 High Agogo Brush Tap1 Bubble * Tape Stop1 *
85 Low Agogo Brush Tap2 Kitty Tape Stop2 *
86 Shaker Brush Slap1 Bird2 Missile *
87 High Whistle [EXC3] Brush Slap2 Growl Space Bird
88 Low Whistle [EXC3] Brush Slap3 Applause2 * Flying Monster
Mute Cuica [EXC4] Brush Swirl1 Telephone1 ----
89
90 Open Cuica [EXC4] Brush Swirl2 Telephone2 ----
91 Mute Triangle [EXC5] Brush Long Swirl ---- ----
92 Open Triangle [EXC5] ---- ---- ----
93 Short Guiro [EXC6] ---- ---- ----
94 Long Guiro [EXC6] ---- ---- ----
95
Cabasa Up ---- ---- ----
C7 96 Cabasa Down ---- ---- ----
97 Claves ---- ---- ----
98 High Wood Block ---- ---- ----
99 Low Wood Block ---- ---- ----
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD"(PC1). [88] : Same as the percussion sound of SC-88
Note Number --- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
* : Tones which are created using two voices same time.

Chapter 8. Appendix 173

 SC-55 Drum set
PC 1 / PC 33 PC 9 PC 17 PC 25 PC 26 PC 41 PC 49
STANDARD / JAZZ ROOM POWER ELECTRONIC TR-808 BRUSH ORCHESTRA
25 --- ---- ---- ---- ---- ---- ----
26 ---- ---- ---- ---- ---- ---- ----
27 High Q ← ← ← ← ← Closed Hi-hat [EXC1]
28 Slap ← ← ← ← ← Pedal Hi-hat [EXC1]
Scratch Push ← ← ← ← ← Open Hi-hat [EXC1]
29
30 Scratch Pull ← ← ← ← ← Ride Cymbal1
31 Sticks ← ← ← ← ← ←
32 Square Click ← ← ← ← ← ←
33 Metronome Click ← ← ← ← ← ←
34 Metronome Bell ← ← ← ← ← ←
35
Kick Drum2 / Jazz BD2 ← ← ← ← Jazz BD2 Concert BD2
C2 36 Kick Drum1 / Jazz BD1 ← MONDO Kick Elec BD 808 Bass Drum Jazz BD1 Concert BD1
37 Side Stick ← ← ← 808 Rim Shot ← ←
38 Snare Drum1 ← Gated SD Elec SD 808 Snare Drum Brush Tap Concert SD
39 Hand Clap ← ← ← ← Brush Slap Castanets
40 Snare Drum2 ← ← Gated SD ← Brash Swirl Concert SD
Low Tom2 Room Low Tom2 Room Low Tom2 Elec Low Tom2 808 Low Tom2 ← Timpani F
41
42 Closed Hi-hat [EXC1] ← ← ← 808 CHH [EXC1] ← Timpani F#
43 Low Tom1 Room Low Tom1 Room Low Tom1 Elec Low Tom1 808 Low Tom1 ← Timpani G
44 Pedal Hi-hat [EXC1] ← ← ← 808 CHH [EXC1] ← Timpani G#
45 Mid Tom2 Room Mid Tom2 Room Mid Tom2 Elec Mid Tom2 808 Mid Tom2 ← Timpani A
46 Open Hi-hat [EXC1] ← ← ← 808 OHH [EXC1] ← Timpani A#
47
Mid Tom1 Room Mid Tom1 Room Mid Tom1 Elec Mid Tom1 808 Mid Tom1 ← Timpani B
C3 48 High Tom2 Room Hi Tom2 Room Hi Tom2 Elec Hi Tom2 808 Hi Tom2 ← Timpani c
49 Crash Cymbal1 ← ← ← 808 Cymbal ← Timpani c#
50 High Tom1 Room Hi Tom1 Room Hi Tom1 Elec Hi Tom1 808 Hi Tom1 ← Timpani d
51 Ride Cymbal1 ← ← ← ← ← Timpani d#
52 Chinese Cymbal ← ← Reverse Cymbal ← ← Timpani e
Ride Bell ← ← ← ← ← Timpani f
53
54 Tambourine ← ← ← ← ← ←
55 Splash Cymbal ← ← ← ← ← ←
56 Cowbell ← ← ← 808 Cowbell ← ←
57 Crash Cymbal2 ← ← ← ← ← Concert Cymbal2
58 Vibra-slap ← ← ← ← ← ←
59
Ride Cymbal2 ← ← ← ← ← Concert Cymbal1
C4 60 High Bongo ← ← ← ← ← ←
61 Low Bongo ← ← ← ← ← ←
62 Mute High Conga ← ← ← 808 High Conga ← ←
63 Open High Conga ← ← ← 808 Mid Conga ← ←
64 Low Conga ← ← ← 808 Low Conga ← ←
High Timbale ← ← ← ← ← ←
65
66 Low Timbale ← ← ← ← ← ←
67 High Agogo ← ← ← ← ← ←
68 Low Agogo ← ← ← ← ← ←
69 Cabasa ← ← ← ← ← ←
70 Maracas ← ← ← 808 Maracas ← ←
71
Short Hi Whistle [EXC2] ← ← ← ← ← ←
C5 72 Long Low Whistle [EXC2] ← ← ← ← ← ←
73 Short Guiro ← ← ← ← ← ←
74 Long Guiro ← ← ← ← ← ←
75 Claves ← ← ← 808 Claves ← ←
76 High Wood Block ← ← ← ← ← ←
Low Wood Block ← ← ← ← ← ←
77
78 Mute Cuica [EXC4] ← ← ← ← ← ←
79 Open Cuica [EXC4] ← ← ← ← ← ←
80 Mute Triangle [EXC5] ← ← ← ← ← ←
81 Open Triangle [EXC5] ← ← ← ← ← ←
82 Shaker ← ← ← ← ← ←
83
Jingle Bell ← ← ← ← ← ←
C6 84 Bell Tree ← ← ← ← ← ←
85 Castanets ← ← ← ← ← ←
86 Mute Surdo [EXC6] ← ← ← ← ← ←
87 Open Surdo [EXC6] ← ← ← ← ← ←
88 ---- ---- ---- ---- ---- ---- Applause *
---- ---- ---- ---- ---- ---- ----
89
90 ---- ---- ---- ---- ---- ---- ----
91 ---- ---- ---- ---- ---- ---- ----
92 ---- ---- ---- ---- ---- ---- ----
93 ---- ---- ---- ---- ---- ---- ----
94 ---- ---- ---- ---- ---- ---- ----
95
---- ---- ---- ---- ---- ---- ----
C7 96 ---- ---- ---- ---- ---- ---- ----
97 ---- ---- ---- ---- ---- ---- ----
98 ---- ---- ---- ---- ---- ---- ----
99 ---- ---- ---- ---- ---- ---- ----
PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number
* : Tones which are created using two voices same time.

174 Chapter 8. Appendix

 SFX set , CM-64 / 32L Drum set
PC 57 PC 128
34 SFX CM-64/32L
35 ---- CM Kick Drum
---- CM Kick Drum
C2 36
37 ---- CM Rim Shot
38 ---- CM Snare Drum
39 High Q CM Hand Clap
40 Slap CM Electronic Snare Drum
Scratch Push [EXC7] CM Acoustic Low Tom
41
42 Scratch Pull [EXC7] CM Closed High Hat [EXC1]
43 Sticks CM Acoustic Low Tom
44 Square Click CM Open Hi-Hat2
45 Metronome Click CM Acoustic Middle Tom
46 Metronome Bell CM Open Hi-Hat1 [EXC1]
47 Guitar Fret Noise CM M.TomAcoustic Middle Tom
Guitar cuttingnoise/up CM Acoustic High Tom
C3 48
49 Guitar cutting noise/down CM Crash Cymbal
50 String slap of double bass CM Acoustic High Tom
51 Fl.Key Click CM Ride Cymbal
52 Laughing ----
Scream ----
53
54 Punch CM Tambourine
55 Heart Beat ----
56 Footsteps1 CM Cowbell
57 Footsteps2 ----
58 Applause * ----
59
Door Creaking ----
C4 60 Door CM High Bongo
61 Scratch CM Low Bongo
62 Wind Chimes * CM Mute High Conga
63 Car-Engine CM High Conga
64 Car-Stop CM Low Conga
Car-Pass CM High Timbale
65
66 Car-Crash * CM Low Timbale
67 Siren CM High Agogo
68 Train CM Low Agogo
69 Jetplane * CM Cabasa
70 Helicopter CM Maracas
71
Starship * CM Short Whistle
C5 72 Gun Shot CM Long Whistle
73 Machine Gun CM Vibrato Slap
74 Lasergun ----
75 Explosion * CM Claves
76 Dog Laughing
Horse-Gallop Scream
77
78 Birds * Punch
79 Rain * Heart Beat
80 Thunder Footsteps1
81 Wind Footsteps2
82 Seashore Applause *
83
Stream * Creaking
C6 84 Bubble * Door
85 ---- Scratch
86 ---- Wind Chimes *
87 ---- Car-Engine
88 ---- Car-Stop
---- Car-Pass
89
90 ---- Car-Crash *
91 ---- Siren
92 ---- Train
93 ---- Jetplane *
94 ---- Helicopter
95
---- Starship *
C7 96 ---- Gun Shot
97 ---- Machine Gun Switching between Native map and either
98 ---- Lasergun SC-88map or SC-55 map
99 ---- Explosion *
100
Press the front panel button [SC-88MAP] to make the
---- Dog
indicator light, and the SC-88map will be selected. (p.25)
101 ---- Horse-Gallop
102 Press the front panel button [SC-55MAP] to make the
---- Birds *
103 ---- Rain *
indicator light, and the SC-55map will be selected. (p.25)
104 ---- Thunder
105 ---- Wind You can also use MIDI Bank Select messages to select
106 ---- SeaShore one of the Native map, SC-88 map and SC-55 map.
107 ---- Stream * (p.126)
C8 108 ---- Bubble *

PC : Program Number (Drum Set Number) ← : Same as the percussion sound of "STANDARD"(PC1). [88] : Same as the percussion sound of SC-88
--- : No sound [EXC] : Percussion sound of the same number will not be heard at the [55] : Same as the percussion sound of SC-55
Note Number : Tones which are created using two voices same time.
*

Chapter 8. Appendix 175

■ Effect list
Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) ❍ Effects that modulate the sound (modulation type)
0 : Thru 00 00 Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
7 : Phaser 01 20
❍ Effects that modify the tone color (filter type) + Manual 100 - 620 - 8k *12 03
1 : Stereo-EQ 01 00 # Rate 0.05 - 0.85 - 10.0 *6 04
Low Freq 200/400 00/01 03 Depth 0 - 64 - 127 00 - 7F 05
Low Gain -12 - +5 - +12 34 - 4C 04 Reso 0 - 16 - 127 00 - 7F 06
Hi Freq 4k/8k 00/01 05 Mix 0 - 127 00 - 7F 07
Hi Gain -12 - +12 34 - 4C 06 Low Gain -12 - 0 - +12 34 - 4C 13
M1 Freq 200 - 1.6k - 6.3k *10 07 Hi Gain -12 - 0 - +12 34 - 4C 14
M1 Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 08 Level 0 - 104 - 127 00 - 7F 16
M1 Gain -12 - +8 - +12 34 - 4C 09 8 : Auto Wah 01 21
M2 Freq 200 - 1k - 6.3k *10 0A Fil Type LPF/BPF 00/01 03
M2 Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 0B Sens 0 - 127 00 - 7F 04
M2 Gain -12 - -8 - +12 34 - 4C 0C + Manual 0 - 68 - 127 00 - 7F 05
+ Level 0 - 127 00 - 7F 16 Peak 0 - 62 - 127 00 - 7F 06
2 : Spectrum 01 01 # Rate 0.05 - 2.05 - 10.0 *6 07
Band 1 -12 - -4 - +12 34 - 4C 03 Depth 0 - 72 - 127 00 - 7F 08
Band 2 -12 - +1 - +12 34 - 4C 04 Polarity Down/Up 00/01 09
Band 3 -12 - +3 - +12 34 - 4C 05 Low Gain -12 - 0 - +12 34 - 4C 13
Band 4 -12 - +6 - +12 34 - 4C 06 Hi Gain -12 - 0 - +12 34 - 4C 14
Band 5 -12 - +2 - +12 34 - 4C 07 Pan L63 - 0 - R63 00 - 7F 15
Band 6 -12 - -1 - +12 34 - 4C 08 Level 0 - 96 - 127 00 - 7F 16
Band 7 -12 - -4 - +12 34 - 4C 09 9 : Rotary 01 22
Band 8 -12 - -5 - +12 34 - 4C 0A Low Slow 0.05 - 0.35 - 10.0 *6 03
Width 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 0B Low Fast 0.05 - 6.40 - 10.0 *6 04
+ Pan L63 - 0 - R63 00 - 7F 15 Low Accl 0 - 3 - 15 *14 05
# Level 0 - 127 00 - 7F 16 Low Level 0 - 127 00 - 7F 06
3 : Enhancer 01 02 Hi Slow 0.05 - 0.90 - 10.0 *6 07
+ Sens 0 - 64 - 127 00 - 7F 03 Hi Fast 0.05 - 7.50 - 10.0 *6 08
# Mix 0 - 127 00 - 7F 04 Hi Accl 0 - 11 - 15 *14 09
Low Gain -12 - +3 - +12 34 - 4C 13 Hi Level 0 - 64 - 127 00 - 7F 0A
Hi Gain -12 - 0 - +12 34 - 4C 14 Separate 0 - 96 - 127 00 - 7F 0B
Level 0 - 127 00 - 7F 16 + Speed Slow/Fast 00/7F 0D
4 : Humanizer 01 03 Low Gain -12 - 0 - +12 34 - 4C 13
Drive 0 - 48 - 127 00 - 7F 03 Hi Gain -12 - 0 - +12 34 - 4C 14
Drive Sw Off/On 00/01 04 # Level 0 - 127 00 - 7F 16
+ Vowel a/i/u/e/o 00/01/02/03/04 05 10 : Stereo Flanger 01 23
Accel 0 - 15 *14 06 Pre Filter Off/LPF/HPF 00/01/02 03
Low Gain -12 - 0 - +12 34 - 4C 13 Cutoff 250 - 8k *9 04
Hi Gain -12 - 0 - +12 34 - 4C 14 Pre Dly 0 - 1.6m - 100m *1 05
Pan L63 - 0 - R63 00 - 7F 15 + Rate 0.05 - 0.60 - 10.0 *6 06
# Level 0 - 127 00 - 7F 16 Depth 0 - 24 - 127 00 - 7F 07
# Feedback -98% - +80% - +98% 0F - 71 08
❍ Effects that distort the sound (distortion type) Phase 0 - 180 00 - 5A 09
5 : Overdrive 01 10 Balance D> 0E - D=E - D 0<E 00 - 7F 12
+ Drive 0 - 48 - 127 00 - 7F 03 Low Gain -12 - 0 - +12 34 - 4C 13
Amp Type Small/BltIn/2-Stk/3-Stk 00/01/02/03 04 Hi Gain -12 - 0 - +12 34 - 4C 14
Amp Sw Off/On 00/01 05 Level 0 - 104 - 127 00 - 7F 16
Low Gain -12 - 0 - +12 34 - 4C 13 11 : Step Flanger 01 24
Hi Gain -12 - 0 - +12 34 - 4C 14 Pre Dly 0 - 1.0m - 100m *1 03
# Pan L63 - 0 - R63 00 - 7F 15 Rate 0.05 - 0.30 - 10.0 *6 04
Level 0 - 96 - 127 00 - 7F 16 Depth 0 - 95 - 127 00 - 7F 05
6 : Distortion 01 11 + Feedback -98% - +30% - +98% 0F - 71 06
+ Drive 0 - 76 - 127 00 - 7F 03 Phase 0 - 180 00 - 5A 07
Amp Type Small/BltIn/2-Stk/3-Stk 00/01/02/03 04 # Step Rate 0.05 - 2.75 - 10.0 *6 08
Amp Sw Off/On 00/01 05 Balance D> 0E - D=E - D 0<E 00 - 7F 12
Low Gain -12 - 0 - +12 34 - 4C 13 Low Gain -12 - 0 - +12 34 - 4C 13
Hi Gain -12 - -8 - +12 34 - 4C 14 Hi Gain -12 - 0 - +12 34 - 4C 14
# Pan L63 - 0 - R63 00 - 7F 15 Level 0 - 96 - 127 00 - 7F 16
Level 0 - 84 - 127 00 - 7F 16

+: Effect control 1 can be used to modify the value (p.92) The correspondence between setting values and hexadeci-
mal values for items in the Value column indicated with "*" is
#: Effect control 2 can be used to modify the value (p.92)
shown in the "Effect Data Table" (p. 183).
MSB/LSB: Indicates the ** portion of the following exclusive mes-
*1 Pre Delay Time *8 HF Damp
sages. (p.196) (hexadecimal notation)
*2 Delay Time 1 *9 Cutoff Freq
For Effect Type (data section)
*3 Delay Time 2 *10 EQ Freq
F0 41 dev 42 12 40 03 00 ** ** sum F7 *4 Delay Time 3 *11 LPF
For Effect Parameters (LSB part of address) *5 Delay Time 4 *12 Manual
F0 41 dev 42 12 40 03 ** data sum F7 *6 Rate 1 *13 Azimuth
(dev: device ID, sum: checksum) *7 Rate 2 *14 Accl

176 Chapter 8. Appendix

Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
12 : Tremolo 01 25 19 : Space D 01 43
Mod Wave Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04 03 Pre Dly 0 - 3.2m - 100m *1 03
+ Mod Rate 0.05 - 3.05 - 10.0 *6 04 + Rate 0.05 - 0.45 - 10.0 *6 04
# Mod Depth 0 - 96 - 127 00 - 7F 05 Depth 0 - 127 00 - 7F 05
Low Gain -12 - 0 - +12 34 - 4C 13 Phase 0 - 180 00 - 5A 06
Hi Gain -12 - 0 - +12 34 - 4C 14 # Balance D> 0E - D=E - D 0<E 00 - 7F 12
Level 0 - 127 00 - 7F 16 Low Gain -12 - 0 - +12 34 - 4C 13
13 : Auto Pan 01 26 Hi Gain -12 - 0 - +12 34 - 4C 14
Mod Wave Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04 03 Level 0 - 96 - 127 00 - 7F 16
+ Mod Rate 0.05 - 3.05 - 10.0 *6 04 20 : 3D Chorus 01 44
# Mod Depth 0 - 96 - 127 00 - 7F 05 Pre Dly 0 - 1.0m - 100m *1 03
Low Gain -12 - 0 - +12 34 - 4C 13 + Cho Rate 0.05 - 0.45 - 10.0 *6 04
Hi Gain -12 - 0 - +12 34 - 4C 14 Cho Depth 0 - 72 - 127 00 - 7F 05
Level 0 - 127 00 - 7F 16 Out Speaker/Phones 00/01 11
# Balance D> 0E - D=E - D 0<E 00 - 7F 12
❍ Effects that affect the level (compressor type)
Low Gain -12 - 0 - +12 34 - 4C 13
14 : Compressor 01 30
Hi Gain -12 - 0 - +12 34 - 4C 14
Attack 0 - 72 - 127 00 - 7F 03
Level 0 - 80 - 127 00 - 7F 16
Sustain 0 - 100 - 127 00 - 7F 04
Post Gain 0/+6/+12/+18 00/01/02/03 05 ❍ Effects that reverberate the sound (delay/reverb
Low Gain -12 - 0 - +12 34 - 4C 13 type)
Hi Gain -12 - 0 - +12 34 - 4C 14 21 : Stereo Delay 01 50
+ Pan L63 - 0 - R63 00 - 7F 15 Dly Tm L 0 - 150m - 500m *4 03
# Level 0 - 104 - 127 00 - 7F 16 Dly Tm R 0 - 300m - 500m *4 04
15 : Limiter 01 31 + Feedback -98% - +48% - +98% 0F - 71 05
Threshold 0 - 85 - 127 00 - 7F 03 Fb Mode Norm/Cross 00/01 06
Ratio 1/1.5,1/2,1/4,1/100 00/01/02/03 04 Phase L Norm/Invert 00/01 07
Release 0 - 16 - 127 00 - 7F 05 Phase R Norm/Invert 00/01 08
Post Gain 0/+6/+12/+18 00/01/02/03 06 HF Damp 315 - 8k/Bypass *8 0A
Low Gain -12 - 0 - +12 34 - 4C 13 # Balance D> 0E - D>74E - D 0<E 00 - 7F 12
Hi Gain -12 - 0 - +12 34 - 4C 14 Low Gain -12 - 0 - +12 34 - 4C 13
+ Pan L63 - 0 - R63 00 - 7F 15 Hi Gain -12 - 0 - +12 34 - 4C 14
# Level 0 - 127 00 - 7F 16 Level 0 - 127 00 - 7F 16
❍ Effects that broaden the sound (chorus type) 22 : Mod Delay 01 51
Dly Tm L 0 - 40m - 500m *4 03
16 : Hexa Chorus 01 40
Dly Tm R 0 - 220m - 500m *4 04
Pre Dly 0 - 2.4m - 100m *1 03
Feedback -98% - +48% - +98% 0F - 71 05
+ Rate 0.05 - 0.45 - 10.0 *6 04
Fb Mode Norm/Cross 00/01 06
Depth 0 - 127 00 - 7F 05
+ Mod Rate 0.05 - 0.65 - 10.0 *6 07
Pre Dly Dev 0 - 5 - 20 00 - 14 06
Mod Depth 0 - 21 - 127 00 - 7F 08
Depth Dev -20 - +2 - +20 2C - 54 07
Mod Phase 0 - 180 00 - 5A 09
Pan Dev 0 - 16 - 20 00 - 14 08
HF Damp 315 - 8k/Bypass *8 0A
# Balance D> 0E - D=E - D 0<E 00 - 7F 12
# Balance D> 0E - D>61E - D 0<E 00 - 7F 12
Low Gain -12 - 0 - +12 34 - 4C 13
Low Gain -12 - 0 - +12 34 - 4C 13
Hi Gain -12 - 0 - +12 34 - 4C 14
Hi Gain -12 - 0 - +12 34 - 4C 14
Level 0 - 112 - 127 00 - 7F 16
Level 0 - 127 00 - 7F 16
17 : Tremolo Chorus 01 41
23 : 3 Tap Delay 01 52
Pre Dly 0 - 1.6m - 100m *1 03
Dly Tm C 200m - 300m - 990m/1sec*2 03
Cho Rate 0.05 - 0.45 - 10.0 *6 04
Dly Tm L 200m - 200m - 990m/1sec*2 04
Cho Depth 0 - 40 - 127 00 - 7F 05
Dly Tm R 200m - 235m - 990m/1sec*2 05
Trem Phase 0 - 80 - 180 00 - 5A 06
+ Feedback -98% - +32% - +98% 0F - 71 06
+ Trem Rate 0.05 - 3.05 - 10.0 *6 07
Dly Lev C 0 - 127 00 - 7F 07
Trem Sep 0 - 96 - 127 00 - 7F 08
Dly Lev L 0 - 127 00 - 7F 08
# Balance D> 0E - D 0<E 00 - 7F 12
Dly Lev R 0 - 127 00 - 7F 09
Low Gain -12 - 0 - +12 34 - 4C 13
HF Damp 315 - 8k/Bypass *8 0A
Hi Gain -12 - 0 - +12 34 - 4C 14
# Balance D> 0E - D>74E - D 0<E 00 - 7F 12
Level 0 - 127 00 - 7F 16
Low Gain -12 - 0 - +12 34 - 4C 13
18 : Stereo Chorus 01 42
Hi Gain -12 - 0 - +12 34 - 4C 14
Pre Filter Off/LPF/HPF 00/01/02 03
Level 0 - 127 00 - 7F 16
Cutoff 250 - 8k *9 04
24 : 4 Tap Delay 01 53
Pre Dly 0 - 1.0m - 100m *1 05
Dly Tm 1 200m - 500m - 990m/1sec*2 03
+ Rate 0.05 - 0.45 - 10.0 *6 06
Dly Tm 2 200m - 300m - 990m/1sec*2 04
Depth 0 - 111 - 127 00 - 7F 07
Dly Tm 3 200m - 400m - 990m/1sec*2 05
Phase 0 - 180 00 - 5A 09
Dly Tm 4 200m - 200m - 990m/1sec*2 06
# Balance D> 0E - D=E - D 0<E 00 - 7F 12
Dly Lev 1 0 - 127 00 - 7F 07
Low Gain -12 - 0 - +12 34 - 4C 13
Dly Lev 2 0 - 127 00 - 7F 08
Hi Gain -12 - 0 - +12 34 - 4C 14
Dly Lev 3 0 - 127 00 - 7F 09
Level 0 - 104 - 127 00 - 7F 16
Dly Lev 4 0 - 127 00 - 7F 0A
+ Feedback -98% - +32% - +98% 0F - 71 0B
HF Damp 315 - 8k/Bypass *8 0C

Chapter 8. Appendix 177

Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
# Balance D> 0E - D>74E - D 0<E 00 - 7F 12 30 : Fb P.Shifter 01 61
Low Gain -12 - 0 - +12 34 - 4C 13 + P.Coarse -24 - +7 - +12 28 - 4C 03
Hi Gain -12 - 0 - +12 34 - 4C 14 P.Fine -100 - 0 - +100 0E - 72 04
Level 0 - 127 00 - 7F 16 # Feedback -98% - +40% - +98% 0F - 71 05
25 : Tm Ctrl Delay 01 54 Pre Dly 0 - 45m - 100m *1 06
+ Dly Time 200m - 500m - 990m/1sec*3 03 Mode 1-3-5 00 - 04 07
Accel 0 - 10 - 15 *14 04 EFX Pan L63 - 0 - R63 00 - 7F 08
# Feedback -98% - +32% - +98% 0F - 71 05 Balance D> 0E - D=E - D 0<E 00 - 7F 12
HF Damp 315 - 8k/Bypass *8 06 Low Gain -12 - 0 - +12 34 - 4C 13
EFX Pan L63 - 0 - R63 00 - 7F 07 Hi Gain -12 - -6 - +12 34 - 4C 14
Balance D> 0E - D>74E - D 0<E 00 - 7F 12 Level 0 - 127 00 - 7F 16
Low Gain -12 - 0 - +12 34 - 4C 13
❍ Others
Hi Gain -12 - 0 - +12 34 - 4C 14
31 : 3D Auto 01 70
Level 0 - 127 00 - 7F 16
Azimuth 180/L168 - 0 - R168 *13 03
26 : Reverb 01 55
+ Speed 0.05 - 1.30 - 10.0 *6 04
Type Room1/2/Stage1/2/Hall1/2 00/01/02/03/04/05 03
Clockwise -/+ 00/01 05
Pre Dly 0 - 74m - 100m *1 04
# Turn Off/On 00/01 06
+ Time 0 - 120 - 127 00 - 7F 05
Out Speaker/Phones 00/01 11
HF Damp 315 - 6.3k - 8k/Bypass *8 06
Level 0 - 127 00 - 7F 16
# Balance D> 0E - D=E - D 0<E 00 - 7F 12
32 : 3D Manual 01 71
Low Gain -12 - 0 - +12 34 - 4C 13
+ Azimuth 180/L168 - 0 - R168 *13 03
Hi Gain -12 - 0 - +12 34 - 4C 14
Out Speaker/Phones 00/01 11
Level 0 - 127 00 - 7F 16
# Level 0 - 127 00 - 7F 16
27 : Gate Reverb 01 56
33 : Lo-Fi 1 01 72
Type Norm/Reverse/Sweep1/2 00/01/02/03 03
Pre Filter 1-2-6 00 - 05 03
Pre Dly 0 - 0.5m - 100m *1 04
Lo-Fi Type 1-6-9 00 - 08 04
Gate Time 0 - 65m - 500m 00 - 63 05
Post Filter 1-2-6 00 - 05 05
+ Balance D> 0E - D>65E - D 0<E 00 - 7F 12
+ Balance D> 0E - D 0<E 00 - 7F 12
Low Gain -12 - 0 - +12 34 - 4C 13
Low Gain -12 - 0 - +12 34 - 4C 13
Hi Gain -12 - -3 - +12 34 - 4C 14
Hi Gain -12 - 0 - +12 34 - 4C 14
# Level 0 - 112 - 127 00 - 7F 16
# Pan L63 - 0 - R63 00 - 7F 15
28 : 3D Delay 01 57
Level 0 - 127 00 - 7F 16
Dly Tm C 0m - 300m - 500m *4 03
34 : Lo-Fi 2 01 73
Dly Tm L 0m - 200m - 500m *4 04
Lo-Fi Type 1-2-6 00 - 05 03
Dly Tm R 0m - 240m - 500m *4 05
Fil Type Off/LPF/HPF 00/01/02 04
+ Feedback -98% - +32% - +98% 0F - 71 06
Cutoff 250 - 630 - 8k *9 05
Dly Lev C 0 - 40 - 127 00 - 7F 07
+ R.Detune 0 - 127 00 - 7F 06
Dly Lev L 0 - 64 - 127 00 - 7F 08
R.Nz Lev 0 - 64 - 127 00 - 7F 07
Dly Lev R 0 - 64 - 127 00 - 7F 09
W/P Sel White/Pink 00/01 08
HF Damp 315 - 8k/Bypass *8 0A
W/P LPF 250 - 6.3k/Bypass *11 09
Out Speaker/Phones 00/01 11
W/P Level 0 - 127 00 - 7F 0A
# Balance D> 0E - D>74E - D 0<E 00 - 7F 12
Disc Type LP/EP/SP/RND 00/01/02/03 0B
Low Gain -12 - 0 - +12 34 - 4C 13
Disc LPF 250 - 6.3k/Bypass *11 0C
Hi Gain -12 - 0 - +12 34 - 4C 14
Disc Nz Lev 0 - 127 00 - 7F 0D
Level 0 - 127 00 - 7F 16
Hum Type 50Hz/60Hz 00/01 0E
❍ Effects that modify the pitch (pitch/shift type) Hum LPF 250 - 6.3k/Bypass *11 0F
29 : 2 Pitch Shifter 01 60 Hum Level 0 - 127 00 - 7F 10
+ Coarse 1 -24 - +7 - +12 28 - 4C 03 M/S Mono/Stereo 00 - 01 11
Fine 1 -100 - -4 - +100 0E - 72 04 # Balance D> 0E - D 0<E 00 - 7F 12
Pre Dly 1 0 - 100m *1 05 Low Gain -12 - 0 - +12 34 - 4C 13
EFX Pan 1 L63 - 0 - R63 00 - 7F 06 Hi Gain -12 - 0 - +12 34 - 4C 14
# Coarse 2 -24 - -5 - +12 28 - 4C 07 Pan(Mono) L63 - 0 - R63 00 - 7F 15
Fine 2 -100 - +4 - +100 0E - 72 08 Level 0 - 127 00 - 7F 16
Pre Dly 2 0 - 100m *1 09
EFX Pan 2 L63 - 0 - R63 00 - 7F 0A
Shift Mode 1-3-5 00 - 04 0B
L.Bal A> 0B - A=B - A 0<B 00 - 7F 0C
Balance D> 0E - D>74E - D 0<E 00 - 7F 12
Low Gain -12 - 0 - +12 34 - 4C 13
Hi Gain -12 - 0 - +12 34 - 4C 14
Level 0 - 95 - 127 00 - 7F 16 The correspondence between setting values and hexadeci-
+: Effect control 1 can be used to modify the value (p.92) mal values for items in the Value column indicated with "*" is
#: Effect control 2 can be used to modify the value (p.92) shown in the "Effect Data Table" (p. 183).
MSB/LSB: Indicates the ** portion of the following exclusive mes- *1 Pre Delay Time *8 HF Damp
sages. (p.196) (hexadecimal notation) *2 Delay Time 1 *9 Cutoff Freq
For Effect Type (data section) *3 Delay Time 2 *10 EQ Freq
F0 41 dev 42 12 40 03 00 ** ** sum F7 *4 Delay Time 3 *11 LPF
For Effect Parameters (LSB part of address) *5 Delay Time 4 *12 Manual
F0 41 dev 42 12 40 03 ** data sum F7 *6 Rate 1 *13 Azimuth
(dev: device ID, sum: checksum) *7 Rate 2 *14 Accl

178 Chapter 8. Appendix

❍ Effects that connect two types of effect in series Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
(series 2) 40 : DS → Delay 02 05
DS Drive 0 - 48 - 127 00 - 7F 03
Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
+ DS Pan L63 - 0 - R63 00 - 7F 04
35 : OD → Chorus 02 00
DS Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
OD Drive 0 - 48 - 127 00 - 7F 03
DS Amp Sw Off/On 00/01 06
+ OD Pan L63 - 0 - R63 00 - 7F 04
Dly Time 0 - 250m - 500m *4 08
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
Dly Fb -98% - +32% - +98% 0F - 71 09
OD Amp Sw Off/On 00/01 06
Dly HF 315 - 8k/Bypass *8 0A
Cho Dly 0 - 1.0m - 100m *1 08
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
Cho Rate 0.05 - 0.45 - 10.0 *6 09
Low Gain -12 - 0 - +12 34 - 4C 13
Cho Depth 0 - 72 - 127 00 - 7F 0A
Hi Gain -12 - 0 - +12 34 - 4C 14
# Cho Bal D> 0E - D=E - D 0<E 00 - 7F 0C
Level 0 - 72 - 127 00 - 7F 16
Low Gain -12 - 0 - +12 34 - 4C 13
41 : EH → Chorus 02 06
Hi Gain -12 - 0 - +12 34 - 4C 14
+ EH Sens 0 - 64 - 127 00 - 7F 03
Level 0 - 80 - 127 00 - 7F 16
EH Mix 0 - 127 00 - 7F 04
36 : OD → Flanger 02 01
Cho Dly 0 - 14m - 100m *1 08
OD Drive 0 - 48 - 127 00 - 7F 03
Cho Rate 0.05 - 0.45 - 10.0 *6 09
+ OD Pan L63 - 0 - R63 00 - 7F 04
Cho Depth 0 - 101 - 127 00 - 7F 0A
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
# Cho Bal D> 0E - D=E - D 0<E 00 - 7F 0C
OD Amp Sw Off/On 00/01 06
Low Gain -12 - 0 - +12 34 - 4C 13
FL Dly 0 - 1.6m - 100m *1 08
Hi Gain -12 - 0 - +12 34 - 4C 14
FL Rate 0.05 - 0.60 - 10.0 *6 09
Level 0 - 80 - 127 00 - 7F 16
FL Depth 0 - 40 - 127 00 - 7F 0A
42 : EH → Flanger 02 07
FL Fb -98% - +80% - +98% 0F - 71 0B
+ EH Sens 0 - 64 - 127 00 - 7F 03
# FL Bal D> 0E - D>49E - D 0<E 00 - 7F 0C
EH Mix 0 - 127 00 - 7F 04
Low Gain -12 - 0 - +12 34 - 4C 13
FL Dly 0 - 1.6m - 100m *1 08
Hi Gain -12 - 0 - +12 34 - 4C 14
FL Rate 0.05 - 0.60 - 10.0 *6 09
Level 0 - 80 - 127 00 - 7F 16
FL Depth 0 - 24 - 127 00 - 7F 0A
37 : OD → Delay 02 02
FL Fb -98% - +80% - +98% 0F - 71 0B
OD Drive 0 - 48 - 127 00 - 7F 03
# FL Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
+ OD Pan L63 - 0 - R63 00 - 7F 04
Low Gain -12 - 0 - +12 34 - 4C 13
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
Hi Gain -12 - 0 - +12 34 - 4C 14
OD Amp Sw Off/On 00/01 06
Level 0 - 96 - 127 00 - 7F 16
Dly Time 0 - 250m - 500m *4 08
43 : EH → Delay 02 08
Dly Fb -98% - +32% - +98% 0F - 71 09
+ EH Sens 0 - 64 - 127 00 - 7F 03
Dly HF 315 - 8k/Bypass *8 0A
EH Mix 0 - 127 00 - 7F 04
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
Dly Time 0 - 250m - 500m *4 08
Low Gain -12 - 0 - +12 34 - 4C 13
Dly Fb -98% - +32% - +98% 0F - 71 09
Hi Gain -12 - 0 - +12 34 - 4C 14
Dly HF 315 - 8k/Bypass *8 0A
Level 0 - 80 - 127 00 - 7F 16
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
38 : DS → Chorus 02 03
Low Gain -12 - 0 - +12 34 - 4C 13
DS Drive 0 - 48 - 127 00 - 7F 03
Hi Gain -12 - 0 - +12 34 - 4C 14
+ DS Pan L63 - 0 - R63 00 - 7F 04
Level 0 - 88 - 127 00 - 7F 16
DS Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
44 : Cho → Delay 02 09
DS Amp Sw Off/On 00/01 06
Cho Dly 0 - 1.0m - 100m *1 03
Cho Dly 0 - 1.0m - 100m *1 08
Cho Rate 0.05 - 0.50 - 10.0 *6 04
Cho Rate 0.05 - 0.45 - 10.0 *6 09
Cho Depth 0 - 120 - 127 00 - 7F 05
Cho Depth 0 - 72 - 127 00 - 7F 0A
+ Cho Bal D> 0E - D=E - D 0<E 00 - 7F 07
# Cho Bal D> 0E - D=E - D 0<E 00 - 7F 0C
Dly Time 0 - 250m - 500m *4 08
Low Gain -12 - 0 - +12 34 - 4C 13
Dly Fb -98% - +32% - +98% 0F - 71 09
Hi Gain -12 - 0 - +12 34 - 4C 14
Dly HF 315 - 8k/Bypass *8 0A
Level 0 - 72 - 127 00 - 7F 16
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
39 : DS → Flanger 02 04
Low Gain -12 - 0 - +12 34 - 4C 13
DS Drive 0 - 48 - 127 00 - 7F 03
Hi Gain -12 - 0 - +12 34 - 4C 14
+ DS Pan L63 - 0 - R63 00 - 7F 04
Level 0 - 127 00 - 7F 16
DS Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
45 : FL → Delay 02 0A
DS Amp Sw Off/On 00/01 06
FL Dly 0 - 1.6m - 100m *1 03
FL Dly 0 - 1.1m - 100m *1 08
FL Rate 0.05 - 0.60 - 10.0 *6 04
FL Rate 0.05 - 0.60 - 10.0 *6 09
FL Depth 0 - 24 - 127 00 - 7F 05
FL Depth 0 - 24 - 127 00 - 7F 0A
+ FL Fb -98% - +80% - +98% 0F - 71 06
FL Fb -98% - +80% - +98% 0F - 71 0B
FL Bal D> 0E - D=E - D 0<E 00 - 7F 07
# FL Bal D> 0E - D>49E - D 0<E 00 - 7F 0C
Dly Time 0 - 250m - 500m *4 08
Low Gain -12 - 0 - +12 34 - 4C 13
Dly Fb -98% - +32% - +98% 0F - 71 09
Hi Gain -12 - 0 - +12 34 - 4C 14
Dly HF 315 - 8k/Bypass *8 0A
Level 0 - 72 - 127 00 - 7F 16
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
Low Gain -12 - 0 - +12 34 - 4C 13
Hi Gain -12 - 0 - +12 34 - 4C 14
Level 0 - 127 00 - 7F 16

Chapter 8. Appendix 179

Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
46 : Cho→ Flanger 02 0B OD Sel Odrv/Dist 00/01 07
Cho Dly 0 - 1.0m - 100m *1 03 + OD Drive 0 - 80 - 127 00 - 7F 08
Cho Rate 0.05 - 0.45 - 10.0 *6 04 OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 09
Cho Depth 0 - 120 - 127 00 - 7F 05 OD Amp Sw Off/On 00/01 0A
+ Cho Bal D> 0E - D=E - D 0<E 00 - 7F 07 OD Sw Off/On 00/01 0B
FL Dly 0 - 1.6m - 100m *1 08 EQ L Gain -12 - +12 34 - 4C 0C
FL Rate 0.05 - 0.60 - 10.0 *6 09 EQ M Fq 200 - 1k - 6.3k *10 0D
FL Depth 0 - 24 - 127 00 - 7F 0A EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 0E
FL Fb -98% - +80% - +98% 0F - 71 0B EQ M Gain -12 - +5 - +12 34 - 4C 0F
# FL Bal D> 0E - D=E - D 0<E 00 - 7F 0C EQ H Gain -12 - -10 - +12 34 - 4C 10
Low Gain -12 - 0 - +12 34 - 4C 13 CF Sel Chorus/Flangr 00/01 11
Hi Gain -12 - 0 - +12 34 - 4C 14 CF Rate 0.05 - 0.45 - 6.40 *7 12
Level 0 - 112 - 127 00 - 7F 16 CF Depth 0 - 96 - 127 00 - 7F 13
CF Fb -98% - +76% - +98% 0F - 71 14
❍ Effects that connect three or more types of
# CF Mix 0 - 127 00 - 7F 15
effect in series (series 3 / series 4 / series 5)
Level 0 - 80 - 127 00 - 7F 16
47 : Rotary Multi 02 0C
50 : GTR Multi 3 04 02
+ OD Drive 0 - 13 - 127 00 - 7F 03
Wah Fil LPF/BPF 00/01 03
OD Sw Off/On 00/01 04
+ Wah Man 0 - 60 - 127 00 - 7F 04
EQ L Gain -12 - 0 - +12 34 - 4C 05
Wah Peak 0 - 10 - 127 00 - 7F 05
EQ M Fq 200 - 1.6k - 6.3k *10 06
Wah Sw Off/On 00/01 06
EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 07
OD Sel Odrv/Dist 00/01 07
EQ M Gain -12 - 0 - +12 34 - 4C 08
# OD Drive 0 - 80 - 127 00 - 7F 08
EQ H Gain -12 - 0 - +12 34 - 4C 09
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 09
RT L Slow 0.05 - 0.35 - 10.0 *6 0A
OD Amp Sw Off/On 00/01 0A
RT L Fast 0.05 - 6.40 - 10.0 *6 0B
OD L Gain -12 - 0 - +12 34 - 4C 0B
RT Lo Accl 0 - 3 - 15 *14 0C
OD H Gain -12 - 0 - +12 34 - 4C 0C
RT Lo Lev 0 - 127 00 - 7F 0D
OD Sw Off/On 00/01 0D
RT H Slow 0.05 - 0.90 - 10.0 *6 0E
CF Sel Chorus/Flangr 00/01 0E
RT H Fast 0.05 - 7.50 - 10.0 *6 0F
CF Rate 0.05 - 0.45 - 6.40 *7 0F
RT Hi Accl 0 - 11 - 15 *14 10
CF Depth 0 - 127 00 - 7F 10
RT Hi Lev 0 - 64 - 127 00 - 7F 11
CF Fb -98% - +50% - +98% 0F - 71 11
RT Sept 0 - 96 - 127 00 - 7F 12
CF Mix 0 - 50 - 127 00 - 7F 12
# RT Speed Slow/Fast 00/7F 13
Dly Time 0m - 160m - 635m *5 13
Level 0 - 96 - 127 00 - 7F 16
Dly Fb 0 - 64 - 127 00 - 7F 14
48 : GTR Multi 1 04 00
Dly Mix 0 - 30 - 127 00 - 7F 15
Cmp Atck 0 - 100 - 127 00 - 7F 03
Level 0 - 88 - 127 00 - 7F 16
Cmp Sus 0 - 80 - 127 00 - 7F 04
51 : Clean Gt Multi1 04 03
Cmp Level 0 - 100 - 127 00 - 7F 05
Cmp Atck 0 - 50 - 127 00 - 7F 03
Cmp Sw Off/On 00/01 06
Cmp Sus 0 - 127 00 - 7F 04
OD Sel Odrv/Dist 00/01 07
Cmp Level 0 - 75 - 127 00 - 7F 05
+ OD Drive 0 - 80 - 127 00 - 7F 08
Cmp Sw Off/On 00/01 06
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 09
EQ L Gain -12 - +12 34 - 4C 07
OD Amp Sw Off/On 00/01 0A
EQ M Fq 200 - 6.3k *10 08
OD L Gain -12 - +5 - +12 34 - 4C 0B
EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 09
OD H Gain -12 - +10 - +12 34 - 4C 0C
EQ M Gain -12 - +5 - +12 34 - 4C 0A
OD Sw Off/On 00/01 0D
EQ H Gain -12 - +12 34 - 4C 0B
CF Sel Chorus/Flangr 00/01 0E
CF Sel Chorus/Flangr 00/01 0C
CF Rate 0.05 - 0.45 - 6.40 *7 0F
CF Rate 0.05 - 0.45 - 6.40 *7 0D
CF Depth 0 - 30 - 127 00 - 7F 10
CF Depth 0 - 40 - 127 00 - 7F 0E
CF Fb -98% - +76% - +98% 0F - 71 11
CF Fb -98% - +30% - +98% 0F - 71 0F
CF Mix 0 - 40 - 127 00 - 7F 12
+ CF Mix 0 - 100 - 127 00 - 7F 10
Dly Time 0m - 300m - 635m *5 13
Dly Time 0m - 120m - 635m *5 11
Dly Fb 0 - 34 - 127 00 - 7F 14
Dly Fb 0 - 40 - 127 00 - 7F 12
# Dly Mix 0 - 15 - 127 00 - 7F 15
Dly HF 315 - 8k/Bypass *8 13
Level 0 - 110 - 127 00 - 7F 16
# Dly Mix 0 - 30 - 127 00 - 7F 14
49 : GTR Multi 2 04 01
Level 0 - 95 - 127 00 - 7F 16
Cmp Atck 0 - 70 - 127 00 - 7F 03
Cmp Sus 0 - 127 00 - 7F 04
Cmp Level 0 - 90 - 127 00 - 7F 05
Cmp Sw Off/On 00/01 06
The correspondence between setting values and hexadeci-
+: Effect control 1 can be used to modify the value (p.92) mal values for items in the Value column indicated with "*" is
#: Effect control 2 can be used to modify the value (p.92) shown in the "Effect Data Table" (p. 183).
MSB/LSB: Indicates the ** portion of the following exclusive *1 Pre Delay Time *8 HF Damp
messages. (p.196) (hexadecimal notation) *2 Delay Time 1 *9 Cutoff Freq
For Effect Type (data section) *3 Delay Time 2 *10 EQ Freq
F0 41 dev 42 12 40 03 00 ** ** sum F7 *4 Delay Time 3 *11 LPF
For Effect Parameters (LSB part of address) *5 Delay Time 4 *12 Manual
F0 41 dev 42 12 40 03 ** data sum F7 *6 Rate 1 *13 Azimuth
(dev: device ID, sum: checksum) *7 Rate 2 *14 Accl

180 Chapter 8. Appendix

Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
52 : Clean Gt Multi2 04 04 EQ M Gain -12 - +5 - +12 34 - 4C 08
AW Filter LPF/BPF 00/01 03 EQ H Gain -12 - -3 - +12 34 - 4C 09
+ AW Man 0 - 55 - 127 00 - 7F 04 PS Coarse -24 - +7 - +12 28 - 4C 0A
AW Peak 0 - 40 - 127 00 - 7F 05 PS Fine -100 - 0 - +100 0E - 72 0B
AW Rate 0.05 - 1.50 - 6.40 *7 06 PS Mode 1-5 00 - 04 0C
AW Depth 0 - 80 - 127 00 - 7F 07 PS Bal D> 0E - D>60E - D 0<E 00 - 7F 0D
AW Sw Off/On 00/01 08 PH Man 100 - 620 - 8k *12 0E
EQ L Gain -12 - +12 34 - 4C 09 PH Rate 0.05 - 0.45 - 6.40 *7 0F
EQ M Fq 200 - 1.6k - 6.3k *10 0A PH Depth 0 - 90 - 127 00 - 7F 10
EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 0B PH Reso 0 - 80 - 127 00 - 7F 11
EQ M Gain -12 - 0 - +12 34 - 4C 0C PH Mix 0 - 75 - 127 00 - 7F 12
EQ H Gain -12 - 0 - +12 34 - 4C 0D Dly Time 0m - 100m - 635m *5 13
CF Sel Chorus/Flangr 00/01 0E Dly Fb 0 - 64 - 127 00 - 7F 14
CF Rate 0.05 - 0.45 - 6.40 *7 0F Dly Mix 0 - 40 - 127 00 - 7F 15
CF Depth 0 - 20 - 127 00 - 7F 10 Level 0 - 96 - 127 00 - 7F 16
CF Fb -98% - +76% - +98% 0F - 71 11
❍ Effects that connect two types of effect in paral-
CF Mix 0 - 100 - 127 00 - 7F 12
lel (parallel 2)
Dly Time 0m - 30m - 635m *5 13
56 : Cho / Delay 11 00
Dly Fb 0 - 15 - 127 00 - 7F 14
Cho Dly 0 - 1.0m - 100m *1 03
# Dly Mix 0 - 80 - 127 00 - 7F 15
Cho Rate 0.05 - 0.45 - 10.0 *6 04
Level 0 - 76 - 127 00 - 7F 16
Cho Depth 0 - 120 - 127 00 - 7F 05
53 : Bass Multi 04 05
+ Cho Bal D> 0E - D=E - D 0<E 00 - 7F 07
Cmp Atck 0 - 72 - 127 00 - 7F 03
Cho Pan L63 - 0 - R63 00 - 7F 12
Cmp Sus 0 - 100 - 127 00 - 7F 04
Cho Level 0 - 127 00 - 7F 13
Cmp Level 0 - 75 - 127 00 - 7F 05
Dly Time 0 - 250m - 500m *4 08
Cmp Sw Off/On 00/01 06
Dly Fb -98% - +32% - +98% 0F - 71 09
OD Sel Odrv/Dist 00/01 07
Dly HF 315 - 8k/Bypass *8 0A
+ OD Drive 0 - 48 - 127 00 - 7F 08
# Dly Bal D> 0E - D>61E - D 0<E 00 - 7F 0C
OD Amp Small/BltIn/2-Stk 00/01/02 09
Dly Pan L63 - 0 - R63 00 - 7F 14
OD Amp Sw Off/On 00/01 0A
Dly Level 0 - 127 00 - 7F 15
OD Sw Off/On 00/01 0B
Level 0 - 96 - 127 00 - 7F 16
EQ L Gain -12 - +2 - +12 34 - 4C 0C
57 : FL / Delay 11 01
EQ M Fq 200 - 1.6k - 6.3k *10 0D
FL Dly 0 - 1.6m - 100m *1 03
EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 0E
FL Rate 0.05 - 0.60 - 10.0 *6 04
EQ M Gain -12 - +4 - +12 34 - 4C 0F
FL Depth 0 - 24 - 127 00 - 7F 05
EQ H Gain -12 - 0 - +12 34 - 4C 10
FL Fb -98% - +80% - +98% 0F - 71 06
CF Sel Chorus/Flangr 00/01 11
+ FL Bal D> 0E - D=E - D 0<E 00 - 7F 07
CF Rate 0.05 - 0.30 - 6.40 *7 12
FL Pan L63 - 0 - R63 00 - 7F 12
CF Depth 0 - 20 - 127 00 - 7F 13
FL Level 0 - 127 00 - 7F 13
CF Fb -98% - +76% - +98% 0F - 71 14
Dly Time 0 - 250m - 500m *4 08
# CF Mix 0 - 64 - 127 00 - 7F 15
Dly Fb -98% - +32% - +98% 0F - 71 09
Level 0 - 76 - 127 00 - 7F 16
Dly HF 315 - 8k/Bypass *8 0A
54 : Rhodes Multi 04 06
# Dly Bal D> 0E - D>74E - D 0<E 00 - 7F 0C
EH Sens 0 - 64 - 127 00 - 7F 03
Dly Pan L63 - 0 - R63 00 - 7F 14
EH Mix 0 - 64 - 127 00 - 7F 04
Dly Level 0 - 127 00 - 7F 15
PH Man 100 - 620 - 8k *12 05
Level 0 - 96 - 127 00 - 7F 16
PH Rate 0.05 - 0.85 - 6.40 *7 06
58 : Cho / Flanger 11 02
PH Depth 0 - 32 - 127 00 - 7F 07
Cho Dly 0 - 1.6m - 100m *1 03
PH Reso 0 - 16 - 127 00 - 7F 08
Cho Rate 0.05 - 0.45 - 10.0 *6 04
PH Mix 0 - 64 - 127 00 - 7F 09
Cho Depth 0 - 120 - 127 00 - 7F 05
CF Sel Chorus/Flangr 00/01 0A
+ Cho Bal D> 0E - D=E - D 0<E 00 - 7F 07
CF LPF 250 - 6.3k/Bypass *11 0B
Cho Pan L63 - 0 - R63 00 - 7F 12
CF Dly 0 - 1.0m - 100m *1 0C
Cho Level 0 - 127 00 - 7F 13
CF Rate 0.05 - 0.45 - 6.40 *7 0D
FL Dly 0 - 1.6m - 100m *1 08
CF Depth 0 - 64 - 127 00 - 7F 0E
FL Rate 0.05 - 0.60 - 10.0 *6 09
CF Fb -98% - +80% - +98% 0F - 71 0F
FL Depth 0 - 24 - 127 00 - 7F 0A
CF Mix 0 - 127 00 - 7F 10
FL Fb -98% - +80% - +98% 0F - 71 0B
TP Sel Trem/Pan 00/01 11
# FL Bal D> 0E - D=E - D 0<E 00 - 7F 0C
TP Mod WV Tri/Sqr/Sin/Saw1/Saw2 00/01/02/03/04 12
FL Pan L63 - 0 - R63 00 - 7F 14
+ TP Mod RT 0.05 - 3.05 - 6.40 *7 13
FL Level 0 - 127 00 - 7F 15
# TP Mod Dep 0 - 64 - 127 00 - 7F 14
Level 0 - 88 -127 00 - 7F 16
TP Sw Off/On 00/01 15
59 : OD1 / OD2 11 03
Level 0 - 127 00 - 7F 16
OD1 Sel Odrv/Dist 00/01 03
55 : Keyboard Multi 05 00
+ OD1 Drive 0 - 48 - 127 00 - 7F 04
+ RM Mod Freq 0 - 50 - 127 00 - 7F 03
OD1 Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05
# RM Bal D> 0E - D>30E - D 0<E 00 - 7F 04
OD1 Amp Sw Off/On 00/01 06
EQ L Gain -12 - +3 - +12 34 - 4C 05
OD1 Pan L63 - 0 - R63 00 - 7F 12
EQ M Fq 200 - 6.3k *10 06
OD1 Level 0 - 96 - 127 00 - 7F 13
EQ M Q 0.5/1.0/2.0/4.0/9.0 00/01/02/03/04 07
OD2 Sel Odrv/Dist 00/01 08

Chapter 8. Appendix 181

Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H) Parameter Value (Dec.) Value (Hex.) min - max MSB/LSB(H)
# OD2 Drive 0 - 76 - 127 00 - 7F 09 63 : PH / Rotary 11 07
OD2 Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 0A PH Man 100 - 620 - 8k *12 03
OD2 Amp Sw Off/On 00/01 0B + PH Rate 0.05 - 0.85 - 10.0 *6 04
OD2 Pan L63 - 0 - R63 00 - 7F 14 PH Depth 0 - 64 - 127 00 - 7F 05
OD2 Level 0 - 84 - 127 00 - 7F 15 PH Reso 0 - 16 - 127 00 - 7F 06
Level 0 - 127 00 - 7F 16 PH Mix 0 - 127 00 - 7F 07
60 : OD / Rotary 11 04 PH Pan L63 - 0 - R63 00 - 7F 12
OD Sel Odrv/Dist 00/01 03 PH Level 0 - 127 00 - 7F 13
+ OD Drive 0 - 48 - 127 00 - 7F 04 RT L Slow 0.05 - 0.35 - 10.0 *6 08
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/02/03 05 RT L Fast 0.05 - 6.40 - 10.0 *6 09
OD Amp Sw Off/On 00/01 06 RT Lo Accl 0 - 3 - 15 *14 0A
OD Pan L63 - 0 - R63 00 - 7F 12 RT Lo Lev 0 - 127 00 - 7F 0B
OD Level 0 - 96 - 127 00 - 7F 13 RT H Slow 0.05 - 0.90 - 10.0 *6 0C
RT L Slow 0.05 - 0.35 - 10.0 *6 08 RT H Fast 0.05 - 7.50 - 10.0 *6 0D
RT L Fast 0.05 - 6.40 -10.0 *6 09 RT Hi Accl 0 - 11 - 15 *14 0E
RT Lo Accl 0 - 3 - 15 *14 0A RT Hi Lev 0 - 64 - 127 00 - 7F 0F
RT Lo Lev 0 - 127 00 - 7F 0B RT Sept 0 - 96 - 127 00 - 7F 10
RT H Slow 0.05 - 0.90 - 10.0 *6 0C # RT Speed Slow/Fast 00/7F 11
RT H Fast 0.05 - 7.50 - 10.0 *6 0D RT Pan L63 - 0 - R63 00 - 7F 14
RT Hi Accl 0 - 11 - 15 *14 0E RT Level 0 - 127 00 - 7F 15
RT Hi Lev 0 - 64 - 127 00 - 7F 0F Level 0 - 127 00 - 7F 16
RT Sept 0 - 96 - 127 00 - 7F 10 64 : PH / AutoWah 11 08
# RT Speed Slow/Fast 00/7F 11 PH Man 100 - 620 - 8k *12 03
RT Pan L63 - 0 - R63 00 - 7F 14 + PH Rate 0.05 - 0.85 - 10.0 *6 04
RT Level 0 - 127 00 - 7F 15 PH Depth 0 - 64 - 127 00 - 7F 05
Level 0 - 127 00 - 7F 16 PH Reso 0 - 16 - 127 00 - 7F 06
61 : OD / Phaser 11 05 PH Mix 0 - 127 00 - 7F 07
OD Sel Odrv/Dist 00/01 03 PH Pan L63 - 0 - R63 00 - 7F 12
+ OD Drive 0 - 48 - 127 00 - 7F 04 PH Level 0 - 127 00 - 7F 13
OD Amp Smal/BltIn/ 2-Stk/3-Stk 00/01/02/03 05 AW Filter LPF/BPF 00/01 08
OD Amp Sw Off/On 00/01 06 AW Sens 0 - 127 00 - 7F 09
OD Pan L63 - 0 - R63 00 - 7F 12 # AW Man 0 - 68 - 127 00 - 7F 0A
OD Level 0 - 96 - 127 00 - 7F 13 AW Peak 0 - 62 - 127 00 - 7F 0B
PH Man 100 - 620 - 8k *12 08 AW Rate 0.05 - 2.05 - 10.0 *6 0C
# PH Rate 0.05 - 0.85 - 10.0 *6 09 AW Depth 0 - 72 - 127 00 - 7F 0D
PH Depth 0 - 64 - 127 00 - 7F 0A AW Pol Down/Up 00/01 0E
PH Reso 0 - 16 - 127 00 - 7F 0B AW Pan L63 - 0 - R63 00 - 7F 14
PH Mix 0 - 127 00 - 7F 0C AW Level 0 - 127 00 - 7F 15
PH Pan L63 - 0 - R63 00 - 7F 14 Level 0 - 127 00 - 7F 16
PH Level 0 - 127 00 - 7F 15
Level 0 - 127 00 - 7F 16
62 : OD / AutoWah 11 06
OD Sel Odrv/Dist 00/01 03
+ OD Drive 0 - 48 - 127 00 - 7F 04
OD Amp Small/BltIn/2-Stk/3-Stk 00/01/002/03 05
OD Amp Sw Off/On 00/01 06
OD Pan L63 - 0 - R63 00 - 7F 12
OD Level 0 - 96 - 127 00 - 7F 13
AW Filter LPF/BPF 00/01 08
AW Sens 0 - 127 00 - 7F 09
# AW Man 0 - 68 - 127 00 - 7F 0A
AW Peak 0 - 62 - 127 00 - 7F 0B
AW Rate 0.05 - 2.05 - 10.0 *6 0C
AW Depth 0 - 72 - 127 00 - 7F 0D
AW Pol Down/Up 00/01 0E
AW Pan L63 - 0 - R63 00 - 7F 14
AW Level 0 - 127 00 - 7F 15
Level 0 - 127 00 - 7F 16

The correspondence between setting values and hexadeci-

+: Effect control 1 can be used to modify the value (p.92)
mal values for items in the Value column indicated with "*" is
#: Effect control 2 can be used to modify the value (p.92)
shown in the "Effect Data Table" (p. 183).
MSB/LSB: Indicates the ** portion of the following exclusive
*1 Pre Delay Time *8 HF Damp
messages. (p.196) (hexadecimal notation) *2 Delay Time 1 *9 Cutoff Freq
For Effect Type (data section) *3 Delay Time 2 *10 EQ Freq
F0 41 dev 42 12 40 03 00 ** ** sum F7 *4 Delay Time 3 *11 LPF
For Effect Parameters (LSB part of address) *5 Delay Time 4 *12 Manual
F0 41 dev 42 12 40 03 ** data sum F7 *6 Rate 1 *13 Azimuth
(dev: device ID, sum: checksum) *7 Rate 2 *14 Accl

182 Chapter 8. Appendix

■ Effect data table
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Pre Delay Delay Delay Delay Delay Cutoff EQ
Value(H) Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq Freq LPF Manual Azimuth Accl
(ms) (ms) (ms) (ms) (ms) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (deg)
00 0.0 200 200 0.0 0 0.05 0.05 315 250 200 250 100 L180(=R180) 0
01 0.1 205 205 0.1 5 0.10 0.10 " " " " 110 " "
02 0.2 210 210 0.2 10 0.15 0.15 " " " " 120 " "
03 0.3 215 215 0.3 15 0.20 0.20 " " " " 130 " "
04 0.4 220 220 0.4 20 0.25 0.25 " " " " 140 " "
05 0.5 225 225 0.5 25 0.30 0.30 " " " " 150 " "
06 0.6 230 230 0.6 30 0.35 0.35 " " " " 160 L168 "
07 0.7 235 235 0.7 35 0.40 0.40 " " " " 170 " "
08 0.8 240 240 0.8 40 0.45 0.45 400 315 250 315 180 " 1
09 0.9 245 245 0.9 45 0.50 0.50 " " " " 190 " "
0A 1.0 250 250 1.0 50 0.55 0.55 " " " " 200 L156 "
0B 1.1 255 255 1.1 55 0.60 0.60 " " " " 210 " "
0C 1.2 260 260 1.2 60 0.65 0.65 " " " " 220 " "
0D 1.3 265 265 1.3 65 0.70 0.70 " " " " 230 " "
0E 1.4 270 270 1.4 70 0.75 0.75 " " " " 240 L144 "
0F 1.5 275 275 1.5 75 0.80 0.80 " " " " 250 " "
10 1.6 280 280 1.6 80 0.85 0.85 500 400 315 400 260 " 2
11 1.7 285 285 1.7 85 0.90 0.90 " " " " 270 " "
12 1.8 290 290 1.8 90 0.95 0.95 " " " " 280 L132 "
13 1.9 295 295 1.9 95 1.00 1.00 " " " " 290 " "
14 2.0 300 300 2.0 100 1.05 1.05 " " " " 300 " "
15 2.1 305 305 2.1 105 1.10 1.10 " " " " 320 " "
16 2.2 310 310 2.2 110 1.15 1.15 " " " " 340 L120 "
17 2.3 315 315 2.3 115 1.20 1.20 " " " " 360 " "
18 2.4 320 320 2.4 120 1.25 1.25 630 500 400 500 380 " 3
19 2.5 325 325 2.5 125 1.30 1.30 " " " " 400 " "
1A 2.6 330 330 2.6 130 1.35 1.35 " " " " 420 L108 "
1B 2.7 335 335 2.7 135 1.40 1.40 " " " " 440 " "
1C 2.8 340 340 2.8 140 1.45 1.45 " " " " 460 " "
1D 2.9 345 345 2.9 145 1.50 1.50 " " " " 480 " "
1E 3.0 350 350 3.0 150 1.55 1.55 " " " " 500 L96 "
1F 3.1 355 355 3.1 155 1.60 1.60 " " " " 520 " "
20 3.2 360 360 3.2 160 1.65 1.65 800 630 500 630 540 " 4
21 3.3 365 365 3.3 165 1.70 1.70 " " " " 560 " "
22 3.4 370 370 3.4 170 1.75 1.75 " " " " 580 L84 "
23 3.5 375 375 3.5 175 1.80 1.80 " " " " 600 " "
24 3.6 380 380 3.6 180 1.85 1.85 " " " " 620 " "
25 3.7 385 385 3.7 185 1.90 1.90 " " " " 640 " "
26 3.8 390 390 3.8 190 1.95 1.95 " " " " 660 L72 "
27 3.9 395 395 3.9 195 2.00 2.00 " " " " 680 " "
28 4.0 400 400 4.0 200 2.05 2.05 1000 800 630 800 700 " 5
29 4.1 405 405 4.1 205 2.10 2.10 " " " " 720 " "
2A 4.2 410 410 4.2 210 2.15 2.15 " " " " 740 L60 "
2B 4.3 415 415 4.3 215 2.20 2.20 " " " " 760 " "
2C 4.4 420 420 4.4 220 2.25 2.25 " " " " 780 " "
2D 4.5 425 425 4.5 225 2.30 2.30 " " " " 800 " "
2E 4.6 430 430 4.6 230 2.35 2.35 " " " " 820 L48 "
2F 4.7 435 435 4.7 235 2.40 2.40 " " " " 840 " "
30 4.8 440 440 4.8 240 2.45 2.45 1250 1000 800 1000 860 " 6
31 4.9 445 445 4.9 245 2.50 2.50 " " " " 880 " "
32 5.0 450 450 5.0 250 2.55 2.55 " " " " 900 L36 "
33 5.5 455 455 5.5 255 2.60 2.60 " " " " 920 " "
34 6.0 460 460 6.0 260 2.65 2.65 " " " " 940 " "
35 6.5 465 465 6.5 265 2.70 2.70 " " " " 960 " "
36 7.0 470 470 7.0 270 2.75 2.75 " " " " 980 L24 "
37 7.5 475 475 7.5 275 2.80 2.80 " " " " 1000 " "
38 8.0 480 480 8.0 280 2.85 2.85 1600 1250 1000 1250 1100 " 7
39 8.5 485 485 8.5 285 2.90 2.90 " " " " 1200 " "
3A 9.0 490 490 9.0 290 2.95 2.95 " " " " 1300 L12 "
3B 9.5 495 495 9.5 295 3.00 3.00 " " " " 1400 " "
3C 10 500 500 10 300 3.05 3.05 " " " " 1500 " "
3D 11 505 505 11 305 3.10 3.10 " " " " 1600 " "
3E 12 510 510 12 310 3.15 3.15 " " " " 1700 0 "
3F 13 515 515 13 315 3.20 3.20 " " " " 1800 " "

Chapter 8. Appendix 183

 1 2 3 4 5 6 7 8 9 10 11 12 13 14
Pre Delay Delay Delay Delay Delay Cutoff EQ
Value(H) Time Time 1 Time 2 Time 3 Time 4 Rate1 Rate2 HF Damp Freq Freq LPF Manual Azimuth Accl
(ms) (ms) (ms) (ms) (ms) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (Hz) (deg)
40 14 520 520 14 320 3.25 3.25 2000 1600 1250 1600 1900 0 8
41 15 525 525 15 325 3.30 3.30 " " " " 2000 " "
42 16 530 530 16 330 3.35 3.35 " " " " 2100 R12 "
43 17 535 535 17 335 3.40 3.40 " " " " 2200 " "
44 18 540 540 18 340 3.45 3.45 " " " " 2300 " "
45 19 545 545 19 345 3.50 3.50 " " " " 2400 " "
46 20 550 550 20 350 3.55 3.55 " " " " 2500 R24 "
47 21 560 555 21 355 3.60 3.60 " " " " 2600 " "
48 22 570 560 22 360 3.65 3.65 2500 2000 1600 2000 2700 " 9
49 23 580 565 23 365 3.70 3.70 " " " " 2800 " "
4A 24 590 570 24 370 3.75 3.75 " " " " 2900 R36 "
4B 25 600 575 25 375 3.80 3.80 " " " " 3000 " "
4C 26 610 580 26 380 3.85 3.85 " " " " 3100 " "
4D 27 620 585 27 385 3.90 3.90 " " " " 3200 " "
4E 28 630 590 28 390 3.95 3.95 " " " " 3300 R48 "
4F 29 640 595 29 395 4.00 4.00 " " " " 3400 " "
50 30 650 600 30 400 4.05 4.05 3150 2500 2000 2500 3500 " 10
51 31 660 610 31 405 4.10 4.10 " " " " 3600 " "
52 32 670 620 32 410 4.15 4.15 " " " " 3700 R60 "
53 33 680 630 33 415 4.20 4.20 " " " " 3800 " "
54 34 690 640 34 420 4.25 4.25 " " " " 3900 " "
55 35 700 650 35 425 4.30 4.30 " " " " 4000 " "
56 36 710 660 36 430 4.35 4.35 " " " " 4100 R72 "
57 37 720 670 37 435 4.40 4.40 " " " " 4200 " "
58 38 730 680 38 440 4.45 4.45 4000 3150 2500 3150 4300 " 11
59 39 740 690 39 445 4.50 4.50 " " " " 4400 " "
5A 40 750 700 40 450 4.55 4.55 " " " " 4500 R84 "
5B 41 760 710 50 455 4.60 4.60 " " " " 4600 " "
5C 42 770 720 60 460 4.65 4.65 " " " " 4700 " "
5D 43 780 730 70 465 4.70 4.70 " " " " 4800 " "
5E 44 790 740 80 470 4.75 4.75 " " " " 4900 R96 "
5F 45 800 750 90 475 4.80 4.80 " " " " 5000 " "
60 46 810 760 100 480 4.85 4.85 5000 4000 3150 4000 5100 " 12
61 47 820 770 110 485 4.90 4.90 " " " " 5200 " "
62 48 830 780 120 490 4.95 4.95 " " " " 5300 R108 "
63 49 840 790 130 495 5.00 5.00 " " " " 5400 " "
64 50 850 800 140 500 5.10 5.05 " " " " 5500 " "
65 52 860 810 150 505 5.20 5.10 " " " " 5600 " "
66 54 870 820 160 510 5.30 5.15 " " " " 5700 R120 "
67 56 880 830 170 515 5.40 5.20 " " " " 5800 " "
68 58 890 840 180 520 5.50 5.25 6300 5000 4000 5000 5900 " 13
69 60 900 850 190 525 5.60 5.30 " " " " 6000 " "
6A 62 910 860 200 530 5.70 5.35 " " " " 6100 R132 "
6B 64 920 870 210 535 5.80 5.40 " " " " 6200 " "
6C 66 930 880 220 540 5.90 5.45 " " " " 6300 " "
6D 68 940 890 230 545 6.00 5.50 " " " " 6400 " "
6E 70 950 900 240 550 6.10 5.55 " " " " 6500 R144 "
6F 72 960 910 250 555 6.20 5.60 " " " " 6600 " "
70 74 970 920 260 560 6.30 5.65 8000 6300 5000 6300 6700 " 14
71 76 980 930 270 565 6.40 5.70 " " " " 6800 " "
72 78 990 940 280 570 6.50 5.75 " " " " 6900 R156 "
73 80 1000 950 290 575 6.60 5.80 " " " " 7000 " "
74 82 -- 960 300 580 6.70 5.85 " " " " 7100 " "
75 84 -- 970 320 585 6.80 5.90 " " " " 7200 " "
76 86 -- 980 340 590 6.90 5.95 " " " " 7300 R168 "
77 88 -- 990 360 595 7.00 6.00 " " " " 7400 " "
78 90 -- 1000 380 600 7.50 6.05 Bypass 8000 6300 Bypass 7500 " 15
79 92 -- 1000 400 605 8.00 6.10 " " " " 7600 " "
7A 94 -- 1000 420 610 8.50 6.15 " " " " 7700 R180(=L180) "
7B 96 -- 1000 440 615 9.00 6.20 " " " " 7800 " "
7C 98 -- 1000 460 620 9.50 6.25 " " " " 7900 " "
7D 100 -- 1000 480 625 10.00 6.30 " " " " 8000 " "
7E 100 -- 1000 500 630 10.00 6.35 " " " " 8000 " "
7F 100 -- 1000 500 635 10.00 6.40 " " " " 8000 " "

184 Chapter 8. Appendix

The following effect types are used in the table on the preceding page.

Pre Delay Time 35: OD → Chorus

10: Stereo Flanger 36: OD → Flanger
11: Step Flanger 38: DS → Chorus
16: Hexa Chorus 39: DS → Flanger
17: Tremolo Chorus 41: EH → Chorus
18: Stereo Chorus 42: EH → Flanger
19: Space-D 44: Cho → Delay
20: 3D Chorus 45: FL → Delay
26: Reverb 46: Cho → Flanger
27: Gate Reverb 47: Rotary Multi
29: 2 Pitch Shifter 56: Cho / Delay
30: Fb P.Shifter 57: FL / Delay
35: OD → Chorus 58: Cho / Flanger
36: OD → Flanger 60: OD / Rotary
38: DS → Chorus 61: OD / Phaser
39: DS → Flanger 62: OD / Auto Wah
41: EH → Chorus 63: PH / Rotary
42: EH → Flanger 64: PH / Auto Wah
44: Cho → Delay
45: FL → Delay Rate2
46: Cho → Flanger 48: GTR Multi 1
54: Rhodes Multi 49: GTR Multi 2
56: Cho / Delay 50: GTR Multi 3
57: FL / Delay 51: Clean Gt Multi 1
58: Cho / Flanger 52: Clean Gt Multi 2
53: Bass Multi
Delay Time1 54: Rhodes Multi
23: 3 Tap Delay 55: Keyboard Multi
24: 4 Tap Delay
HF Damp
Delay Time2 21: Stereo Delay
25: Tm Ctrl Delay 22: Mod Delay
23: 3 Tap Delay
Delay Time3 24: 4 Tap Delay
21: Stereo Delay 25: Tm Ctrl Delay
22: Mod Delay 26: Reverb
28: 3D Delay 28: 3D Delay
37: OD → Delay 37: OD → Delay
40: DS → Delay 40: DS → Delay
43: EH → Delay 43: EH → Delay
44: Cho → Delay 44: Cho → Delay
45: FL → Delay 45: FL → Delay
56: Cho / Delay 51: Clean Gt Multi 1
57: FL / Delay 56: Cho / Delay
57: FL / Delay
Delay Time4
48: GTR Multi 1 Cutoff Freq
50: GTR Multi 3 10: Stereo Flanger
51: Clean Gt Multi 1 18: Stereo Chorus
52: Clean Gt Multi 2 34: Lo-Fi 2
55: Keyboard Multi
LPF
Rate1 34: Lo-Fi 2
7: Phaser 54: Rhodes Multi
8: Auto Wah
9: Rotary Manual
10: Stereo Flanger 7: Phaser
11: Step Flanger 54: Rhodes Multi
12: Tremolo 55: Keyboard Multi
13: Auto Pan 61: OD / Phaser
16: Hexa Chorus 63: PH / Rotary
17: Tremolo Chorus 64: PH / Auto Wah
18: Stereo Chorus
19: Space-D Azimuth
20: 3D Chorus 31: 3D Auto
22: Mod Delay 32: 3D Locate

Chapter 8. Appendix 185

■ Preset Patch list
No. Patch Name Map PC/CC00 Instrument Effect type
001 RB STRAT [Native] 028/000 Clean Gt. 48:GTR Multi 1
002 MILD OD [Native] 028/016 TC FrontPick 48:GTR Multi 1
003 WAH! PEDAL [Native] 028/017 TC Rear Pick 50:GTR Multi 3
004 WARM OD [Native] 028/016 TC FrontPick 49:GTR Multi 2
005 EC STRAT [Native] 028/001 Clean Half 48:GTR Multi 1
006 BLUES OD [Native] 028/019 TC Clean 2: 05:Overdrive
007 HEAVY & WILD [Native] 028/017 TC Rear Pick 49:GTR Multi 2
008 FLANGER GTR [Native] 028/019 TC Clean 2: 49:GTR Multi 2
009 SLOW GEAR [Native] 028/019 TC Clean 2: 40:DS -> Delay
010 MID-BOOST [Native] 028/017 TC Rear Pick 50:GTR Multi 3
011 POWER RHYTHM [55] 029/000 "Muted Gt. 49:GTR Multi 2
012 HEAVY RHYTHM [Native] 035/001 Picked Bass2 49:GTR Multi 2
013 NOISY RHYTHM [Native] 028/003 Open Hard 2 59: OD1 / OD2
[Native] 028/002 Open Hard 1 59: OD1 / OD2
014 CLEAN RHYTHM [Native] 028/003 Open Hard 2 51:CleanGtMulti1
015 WAH RHYTHM [Native] 028/003 Open Hard 2 52:CleanGtMulti2
016 T-WAH GUITAR [Native] 028/003 Open Hard 2 08:Auto Wah
017 FUNK PHASE [Native] 028/003 Open Hard 2 07:Phaser
018 MELLOW&CLEAN [Native] 028/016 TC FrontPick 51:CleanGtMulti1
019 COOL ARP. [Native] 028/001 Clean Half 51:CleanGtMulti1
020 SURF GUITAR [Native] 029/002 TC Muted Gt. 51:CleanGtMulti1
021 JAZZ GUITAR [Native] 027/000 Jazz Gt. 51:CleanGtMulti1
022 NYLON BOSSA [Native] 025/032 Nylon Gt.2 26:Reverb
023 ENH. NYLON [Native] 025/000 Nylon-str.Gt 43:EH -> Delay
024 ENH. STEEL [Native] 026/032 Steel Gt.2 41:EH -> Chorus
025 COMP PK BASS [Native] 035/000 Picked Bass 53:Bass Multi
026 DRIVE PK BS. [Native] 035/000 Picked Bass 53:Bass Multi
027 JP FRETLESS [Native] 036/001 Fretless Bs2 53:Bass Multi
028 HYPER BASS [Native] 039/001 SynthBass101 62:OD / AutoWah
[Native] 037/009 Unison Slap 62:OD / AutoWah
029 303 SAW BASS [Native] 039/013 TB303 Saw Bs 07:Phaser
030 FAT S.BASS [Native] 040/000 Synth Bass 2 07:Phaser
031 SYNC BASS [Native] 040/024 Sync Bass 07:Phaser
032 HUMAN BASS [Native] 039/009 TB303 Bass 04:Humanizer
033 PH RHODES [Native] 005/000 E.Piano 1 07:Phaser
034 TREM RHODES [Native] 005/000 E.Piano 1 17:Tremolo Chorus
035 TREM WURLY [Native] 005/024 Wurly 54:Rhodes Multi
036 TREM FM EP [Native] 006/016 ST. FM EP 17:TremoloChorus
037 SC RHODES [Native] 005/000 E.Piano 1 54:Rhodes Multi
038 SOFT E.PIANO [88] 005/008 'St.Soft EP 22:Mod Delay
039 COMP PIANO [Native] 003/000 Piano 3 14:Compressor
040 COMP CLAV. [Native] 008/000 Clav. 51:CleanGtMulti1
041 THE E.ORGAN [Native] 017/000 Organ 1 09:Rotary
042 TREM ORGAN [Native] 017/008 Trem. Organ 09:Rotary
043 5TH ORGAN [Native] 017/048 5th Organ 09:Rotary
044 PERC. ORGAN [88] 018/000 'Organ 2 09:Rotary
045 OD-ROT ORGAN [Native] 017/000 Organ 1 47:Rotary Multi
046 THEARTER ORG [Native] 020/033 Theater Org. 26:Reverb
047 DIGI ORGAN [Native] 017/028 VS Organ 22:Mod Delay
048 ORGAN BELL [Native] 101/008 Org Bell 09:Rotary
049 CHO STRINGS [Native] 049/016 St. Strings 18:Stereo Chorus
050 WIDE STRINGS [Native] 049/002 ChamberStr: 28:3D Delay
051 WIDE SYN STR [Native] 050/009 Warm Strings 20:3D Chorus
052 WARM STRINGS [Native] 051/009 Syn.Strings4 22:Mod Delay
053 FAT STRINGS [Native] 049/012 Strings+Horn 22:Mod Delay
054 SPIC WALTZ [Native] 046/016 Solo Spic. 23:3 Tap Delay
055 WIDE CHOIR [Native] 053/009 Melted Choir 28:3D Delay
056 DUAL CHOIR [Native] 053/008 St.ChoirAahs 21:Stereo Delay
[88] 053/032 'ChoirAahs 2 21:Stereo Delay
057 NYMAN BRASS [Native] 062/000 Brass 1 03:Enhancer
[Native] 066/016 AltoSax + Tp ---
058 SAX LIVE [Native] 067/009 St.Tenor Sax 30:Fb P.Shifter
[Native] 068/000 Baritone Sax ---
059 SFORZANDO [Native] 062/010 Brass sfz 03:Enhancer
060 TS WIND [Native] 091/003 Poly King 29:2PitchShifter
061 ANALOG BRS [Native] 063/001 JUNO Brass 03:Enhancer
[Native] 063/009 P5 Brass 03:Enhancer
062 OCT BRASS [Native] 063/016 Oct SynBrass 03:Enhancer
[Native] 063/002 Stack Brass 03:Enhancer
063 M.TROMBONE [55] 058/000 "Trombone 02:Spectrum
064 DRIVE TENOR [Native] 067/000 Tenor Sax 35:OD -> Chorus
065 PM SYN LEAD [Native] 082/017 PM Lead 22:Mod Delay
066 MAD CHO LEAD [Native] 084/008 Mad Lead 16:Hexa Chorus

186 Chapter 8. Appendix

No. Patch Name Map PC/CC00 Instrument Effect type
067 MG SAW LEAD [Native] 082/031 MG Saw Lead 23:3 Tap Delay
068 OB SAW LEAD [Native] 082/032 OB Saw Lead 23:3 Tap Delay
069 SINE LEAD [Native] 081/009 Sine Lead 23:3 Tap Delay
070 BND WAH LEAD [Native] 066/000 Alto Sax 50:GTR Multi 3
071 SUPER SAW [Native] 082/000 Saw Wave 55:KeyboardMulti
072 SILKY LEAD [Native] 017/032 70's E.Organ 55:KeyboardMulti
073 STEP SYNC [Native] 085/017 Fat SyncLead 11:Step Flanger
074 PHASER HPF [Native] 096/011 Bag Sweep 07:Phaser
075 PHASER STR [Native] 052/008 Air Strings 07:Phaser
076 PROLOGUE [Native] 098/003 Prologue 2 07:Phaser
077 MOD SWEEP [Native] 096/011 Bag Sweep 22:Mod Delay
078 MOD HEAVEN [Native] 092/002 SC Heaven 22:Mod Delay
079 RAVE SHIFT [Native] 098/008 Rave 29:2PitchShifter
080 FB FAR OUT! [Native] 031/009 Feedback Gt2 25:Tm Ctrl Delay
081 STEP BELL [Native] 093/000 Bowed Glass 11:Step Flanger
082 STEP STRINGS [Native] 052/002 JUNO Strings 11:Step Flanger
083 SEQ HORN PAD [Native] 090/002 Horn Pad 11:Step Flanger
084 THE SOFT PAD [88] 090/004 'Soft Pad 22:Mod Delay
085 RATTLE PAD [Native] 097/004 Rattle Pad 22:Mod Delay
086 WARM VOX PAD [Native] 095/001 Vox Pad 22:Mod Delay
087 JP8 SQR PAD [Native] 093/002 JP8 Sqr Pad 19:Space D
088 OB SOFT PAD [Native] 090/004 OB Soft Pad 19:Space D
089 PAN SEQENCE [Native] 103/008 Pan Sequence 23:3 Tap Delay
090 ASIAN DREAM [Native] 108/001 Gu Zheng 24:4 Tap Delay
[Native] 089/000 Fantasia ---
091 ER HU LEAD [Native] 111/008 Er Hu 24:4 Tap Delay
092 ZITHER [Native] 016/016 Zither 1 21:Stereo Delay
093 PSY. TABLA [Native] 032/016 Ac.Gt.Harmnx 55:KeyboardMulti
094 SITAR DANCE [Native] 105/003 Sitar 3 55:KeyboardMulti
095 SPIN BIWA [Native] 121/013 Biwa Tremolo 31:3D Auto
096 ARABIC LEAD [Native] 112/024 Mizmar 23:3 Tap Delay
097 3D BUBBLE [Native] 123/005 Bubble 31:3D Auto
098 3D ROTARY [Native] 017/000 Organ 1 31:3D Auto
099 3D DIDGERIDO [Native] 110/008 Didgeridoo 31:3D Auto
100 3D BAG SWEEP [Native] 096/011 Bag Sweep 20:3D Chorus
101 3D UFO...... [Native] 102/014 UFO FX 20:3D Chorus
102 3D CHURCH [Native] 015/008 Church Bell 20:3D Chorus
103 3D IMPCT HIT [Native] 056/012 Shock Wave 28:3D Delay
104 3D EXCITE !! [Native] 127/006 Applause 2 28:3D Delay
105 LO-FI AUH [Native] 102/004 Auhbient 33:Lo-Fi 1
106 LO-FI TECHNO [Native] 102/013 Alternative 33:Lo-Fi 1
107 LO-FI ORGAN [Native] 017/024 Cheese Organ 33:Lo-Fi 1
108 LO-FI SQUARE [Native] 093/002 JP8 Sqr Pad 33:Lo-Fi 1
109 LO-FI VOX [Native] 086/008 Vox Lead 33:Lo-Fi 1
110 LO-FI JAZZ [Native] RHY/033 JAZZ SET 34:Lo-Fi 2
111 LO-FI DUO [Native] 004/008 Honky-tonk 2 34:Lo-Fi 2
[Native] 033/000 Acoustic Bs. 34:Lo-Fi 2
112 LO-FI GND NZ [Native] 030/003 More Drive 34:Lo-Fi 2
113 LEAD & SEQ [Native] 085/016 P5 Sync Lead 19:Space D
[Native] 039/024 Arpeggio Bs 19:Space D
114 PIANO & BASS [Native] 001/000 Piano 1 ---
[Native] 033/000 Acoustic Bs. ---
115 GTR & ORGAN [Native] 017/000 Organ 1 60:OD / Rotary
[Native] 028/016 TC FrontPick 60:OD / Rotary
116 VIOLIN&CELLO [Native] 041/000 Violin : 43:EH -> Delay
[Native] 043/000 Cello : 43:EH -> Delay
117 BRS. & FLUTE [Native] 074/001 Flute 2 : ---
[Native] 062/008 Brass 2 30:Fb P.Shifter
118 SYNTH SPLIT [Native] 082/018 CS Saw Lead ---
[Native] 063/001 JUNO Brass ---
119 PIANO & VIBE [Native] 001/000 Piano 1 26:Reverb
[Native] 012/000 Vibraphone 26:Reverb
120 JAZZ RHYTHM [88] 033/000 'AcousticBs. ---
[Native] RHY/033 JAZZ SET ---
121 ACID PANNER [Native] 085/009 Acid Guitar1 13:Auto Pan
122 LFO RAVE [Native] 102/010 LFO RAVE 19:Space D
123 FLANGER NZ [Native] 123/016 Pink Noise 10:StereoFlanger
124 1 KEY STROKE [Native] 121/011 Chord Stroke 24:4 Tap Delay
125 INET LIVE:-) [Native] 127/007 Small Club 34:Lo-Fi 2
126 DOUBLE HIT [Native] 056/017 Techno Hit ---
[Native] 056/016 Lo Fi Rave 33:Lo-Fi 1
127 SCRAPE SHIFT [Native] 121/006 Pick Scrape 30:Fb P.Shifter
128 EPILOGUE [Native] 055/016 VP330 Choir 30:Fb P.Shifter

Chapter 8. Appendix 187

■ MIDI implementation Model SC-88 Pro Version 1.00 '96.9

This unit implements additional functionality and parameters over and above the ❍ Modulation (Controller number 1)
SC-88, which itself was an expansion of the GS sound source format. These func- Status 2nd byte 3rd byte
tions and parameters are marked by a [Pro] symbol. If MIDI messages marked by a BnH 01H vvH
[Pro] symbol are transmitted to another GS format sound source or to the SC-88,
those messages may not be recognized. Also, functions and parameters which were n = MIDI channel number : 0H-FH (ch.1-ch.16)
added to the SC-88 over and above previous GS format sound sources are marked vv = Modulation depth : 00H-7FH (0-127)
by an [88] symbol.
* Not received when Rx.MODULATION = OFF. (Initial value is ON)
* The resulting effect is determined by System Exclusive messages. With the initial
Section 1. Receive data settings, this is Pitch Modulation Depth.

■ Channel Voice Messages ❍ Portamento Time (Controller number 5)

Status 2nd byte 3rd byte
BnH 05H vvH
● Note off
Status 2nd byte 3rd byte n = MIDI channel number : 0H-FH (ch.1-ch.16)
8nH kkH vvH vv = Portamento Time : 00H-7FH (0-127), Initial value = 00H (0)
9nH kkH 00H
* This adjusts the rate of pitch change when Portamento is ON or when using the
n = MIDI channel number : 0H-FH (ch.1-ch.16) Portamento Control. A value of 0 results in the fastest change.
kk = note number : 00H-7FH (0-127)
vv = note off velocity : 00H-7FH (0-127) ❍ Data Entry (Controller number 6, 38)
Status 2nd byte 3rd byte
* For Drum Parts, these messages are received when Rx.NOTE OFF = ON for each BnH 06H mmH
Instrument. BnH 26H llH
* The velocity values of Note Off messages are ignored.
n = MIDI channel number : 0H-FH (ch.1-ch.16)
● Note on mm, ll = the value of the parameter specified by RPN/NRPN
Status 2nd byte 3rd byte mm = MSB, ll = LSB
9nH kkH vvH
❍ Volume (Controller number 7)
n = MIDI channel number : 0H-FH (ch.1-ch.16) Status 2nd byte 3rd byte
kk = note number : 00H-7FH (0-127) BnH 07H vvH
vv = note on velocity : 01H-7FH (1-127)
n = MIDI channel number : 0H-FH (ch.1-ch.16)
* Not received when Rx.NOTE MESSAGE = OFF. (Initial value is ON) vv = Volume : 00H-7FH (0-127), Initial Value = 64H (100)
* For Drum Parts, not received when Rx.NOTE ON = OFF for each Instrument.
* Volume messages are used to adjust the volume balance of each Part.
● Polyphonic Key Pressure * Not received when Rx.VOLUME = OFF. (Initial value is ON)
Status 2nd byte 3rd byte
AnH kkH vvH ❍ Pan (Controller number 10)
Status 2nd byte 3rd byte
n = MIDI channel number : 0H-FH (ch.1-ch.16) BnH 0AH vvH
kk = note number : 00H-7FH (0-127)
vv = key pressure : 00H-7FH (0-127) n = MIDI channel number : 0H-FH (ch.1-ch.16)
vv = pan : 00H-40H-7FH (Left-Center-Right), Initial Value
* Not received when Rx.POLY PRESSURE (PAf) = OFF. (Initial value is ON) = 40H (Center)
* The resulting effect is determined by System Exclusive messages. With the initial
settings, there will be no effect. * For Rhythm Parts, this is a relative adjustment of each Instrument's pan setting.
* Not received when Rx.PANPOT = OFF. (Initial value is ON)
● Control Change
* When Rx.CONTROL CHANGE = OFF, all control change messages except for ❍ Expression (Controller number 11)
Channel Mode messages will be ignored. Status 2nd byte 3rd byte
* The value specified by a Control Change message will not be reset even by a BnH 0BH vvH
Program Change, etc.
n = MIDI channel number : 0H-FH (ch.1-ch.16)
❍ Bank Select (Controller number 0, 32) [88] vv = Expression : 00H-7FH (0-127), Initial Value = 7FH (127)
Status 2nd byte 3rd byte
BnH 00H mmH * This adjusts the volume of a Part. It can be used independently from Volume mes-
BnH 20H llH sages. Expression messages are used for musical expression within a performance;
e.g., expression pedal movements, crescendo and decrescendo.
n = MIDI channel number : 0H-FH (ch.1-ch.16) * Not received when Rx.EXPRESSION = OFF. (Initial value is ON)
mm = Bank number MSB : 00H-7FH (GS Variation number 0 - 127), Initial
Value = 00H ❍ Hold 1 (Controller number 64)
ll = Bank number LSB : 00H - 03H (MAP), Initial Value = 00H Status 2nd byte 3rd byte
BnH 40H vvH
* Not received when Rx.BANK SELECT = OFF. "Rx.BANK SELECT" is set to OFF
by "Turn General MIDI System On," and set to ON by "GS RESET." (Power-on n = MIDI channel number : 0H-FH (ch.1-ch.16)
default value is ON.) vv = Control value : 00H-7FH (0-127)
* When Rx.BANK SELECT LSB = OFF, Bank number LSB will be handled as 00H
regardless of the received value. However, when sending Bank Select messages, * Not received when Rx.HOLD1 = OFF. (Initial value is ON)
you have to send both the MSB (mmH) and LSB (llH, the value should be 00H)
together. ❍ Portamento (Controller number 65)
* Bank Select processing will be suspended until a Program Change message is Status 2nd byte 3rd byte
received. BnH 41H vvH
* The GS format "Variation number" is the value of the Bank Select MSB (Controller
number 0) expressed in decimal. n = MIDI channel number : 0H-FH (ch.1-ch.16)
* This unit recognizes the Bank Select LSB (Controller number 32) as a flag for vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON
switching between the Native MAP,SC-88MAP and the SC-55MAP. With a Bank
Select LSB of 00H, the map selected by the front panel SC-88MAP or SC-55MAP * Not received when Rx.PORTAMENTO = OFF. (Initial value is ON)
button will be selected. With a LSB of 01H, the SC-55MAP will be selected. With a
LSB of 02H, the SC-88MAP will be selected.
With a LSB of 03H, the Native MAP will be selected.
* Some other GS devices do not recognize the Bank Select LSB (Controller number
32).

188 Chapter 8. Appendix

❍ Sostenuto (Controller number 66) ❍ NRPN MSB/LSB (Controller number 98, 99)
Status 2nd byte 3rd byte Status 2nd byte 3rd byte
BnH 42H vvH BnH 63H mmH
BnH 62H llH
n = MIDI channel number : 0H-FH (ch.1-ch.16)
vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON n = MIDI channel number : 0H-FH (ch.1-ch.16)
mm = upper byte of the parameter number specified by NRPN
* Not received when Rx.SOSTENUTO = OFF. (Initial value is ON) ll = lower byte of the parameter number specified by NRPN

❍ Soft (Controller number 67) * NRPN can be received when Rx.NRPN = ON. "Rx.NRPN" is set to OFF by power-
Status 2nd byte 3rd byte on reset or by receiving "Turn General MIDI System On," and it is set to ON by "GS
BnH 43H vvH RESET."
* The value set by NRPN will not be reset even if Program Change or Reset All
n = MIDI channel number : 0H-FH (ch.1-ch.16) Controllers is received.
vv = Control value : 00H-7FH (0-127) 0-63 = OFF, 64-127 = ON
**NRPN**
* Not received when Rx.SOFT = OFF. (Initial value is ON) The NRPN (Non Registered Parameter Number) message allows an extended
range of control changes to be used. On this unit, NRPN messages can be used to
❍ Portamento control (Controller number 84) modify sound parameters etc.
Status 2nd byte 3rd byte To use these messages, you must first use NRPN messages (Controller number 98
BnH 54H kkH and 99, their order does not matter) to specify the parameter to be controlled, and
then use Data Entry messages to specify the value of the specified parameter. Once
n = MIDI channel number : 0H-FH (ch.1-ch.16) an NRPN parameter has been specified, all Data Entry messages received on that
kk = source note number : 00H-7FH (0-127) channel will modify the value of that parameter. To prevent accidents, it is recom-
mended that you set RPN Null (RPN Number = 7FH/7FH) when you have finished
* A Note-on received immediately after a Portamento Control message will change setting the value of the desired parameter. Refer to Section 5. Supplementary mate-
continuously in pitch, starting from the pitch of the Source Note Number. rial "Examples of actual MIDI messages" <Example 4> (page 207). On this unit,
* If a voice is already sounding for a note number identical to the Source Note Data entry LSB (Controller number 38) of NRPN is ignored, so it is no problem to
Number, this voice will continue sounding (i.e., legato) and will, when the next Note- send Data entry MSB (Controller number 6) only (without Data entry LSB).
on is received, smoothly change to the pitch of that Note-on.
* The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value. On this unit, NRPN can be used to modify the following parameters.

Example 1. NRPN Data entry

On MIDI Description Result MSB LSB MSB Function and range
90 3C 40 Note on C4 C4 on 01H 08H mmH Vibrato Rate (relative change)
B0 54 3C Portamento Control from C4 no change mm: 00H - 40H - 7FH (-64 - 0 - +63)
90 40 40 Note on E4 glide from C4 to E4 01H 09H mmH Vibrato Depth (relative change)
80 3C 40 Note off C4 no change mm: 00H - 40H - 7FH (-64 - 0 - +63)
80 40 40 Note off E4 E4 off 01H 0AH mmH Vibrato Delay (relative change)
mm: 00H - 40H - 7FH (-64 - 0 - +63)
Example 2. 01H 20H mmH TVF Cutoff Frequency (relative change)
On MIDI Description Result mm: 00H - 40H - 7FH (-64 - 0 - +63)
B0 54 3C Portamento Control from C4 no change 01H 21H mmH TVF Resonance (relative change)
90 40 40 Note on E4 E4 is played with glide from C4 to E4 mm: 00H - 40H - 7FH (-64 - 0 - +63)
80 40 40 Note off E4 E4 off 01H 63H mmH TVF&TVA Envelope Attack Time (relative change)
mm: 00H - 40H - 7FH (-64 - 0 - +63)
❍ Effect 1 (Reverb Send Level) (Controller number 91) 01H 64H mmH TVF&TVA Envelope Decay Time (relative change)
Status 2nd byte 3rd byte mm: 00H - 40H - 7FH (-64 - 0 - +63)
BnH 5BH vvH 01H 66H mmH TVF&TVA Envelope Release Time (relative change)
mm: 00H - 40H - 7FH (-64 - 0 - +63)
n = MIDI channel number : 0H-FH (ch.1-ch.16) 18H rrH mmH Drum Instrument Pitch Coarse (relative change)
vv = Reverb Send Level : 00H-7FH (0-127), Initial Value = 28H (40) rr: Drum Instrument note number
mm: 00H - 40H - 7FH (-64 - 0 - +63 semitone)
* This message adjusts the Reverb Send Level of each Part. 1AH rrH mmH Drum Instrument TVA Level (absolute change)
rr: Drum Instrument note number
❍ Effect 3 (Chorus Send Level) (Controller number 93) mm: 00H - 7FH (0 - max)
1CH rrH mmH Drum Instrument Panpot (absolute change)
Status 2nd byte 3rd byte
rr: Drum Instrument note number
BnH 5DH vvH
mm: 00H, 01H - 40H - 7FH (random, left-center-right)
1DH rrH mmH Drum Instrument Reverb Send Level (absolute change)
n = MIDI channel number : 0H-FH (ch.1-ch.16)
rr: Drum Instrument note number
vv = Chorus Send Level : 00H-7FH (0-127), Initial Value = 00H (0)
mm: 00H - 7FH (0 - max)
1EH rrH mmH Drum Instrument Chorus Send Level (absolute change)
* This message adjusts the Chorus Send Level of each Part.
rr: Drum Instrument note number
mm: 00H - 7FH (0 - max)
❍ Effect 4 (Delay Send Level) (Controller number 94) [88]
1FH rrH mmH Drum Instrument Delay Send Level (absolute change) [88]
Status 2nd byte 3rd byte rr: Drum Instrument note number
BnH 5EH vvH mm: 00H - 7FH (0 - max)
n=MIDI channel number : 0H - FH (ch.1 - ch.16) * Data entry LSB (llH) is ignored.
vv=Delay Send Level : 00H - 7FH (0 - 127), Initial value = 00H (0) * Parameters marked "relative change" will change relative to the preset value(40H).
Even among different GS devices, "relative change" parameters may sometimes dif-
* This message adjusts the Delay Send Level of each Part. fer in the way the sound changes or in the range of change.
* Some other GS devices may not recognize this message. * Parameters marked "absolute change" will be set to the absolute value of the para-
* Delay cannot be used in MODE-2 (Double Module mode). meter, regardless of the preset value.
* It is not possible to simultaneously use both Chorus Send Level and Delay Send
Level on a single Drum Instrument.

Chapter 8. Appendix 189

❍ RPN MSB/LSB (Controller number 100, 101) ■ Channel Mode Messages
Status 2nd byte 3rd byte
BnH 65H mmH
● All Sounds Off (Controller number 120)
BnH 64H llH
Status 2nd byte 3rd byte
n = MIDI channel number : 0H-FH (ch.1-ch.16) BnH 78H 00H
mm = upper byte of parameter number specified by RPN
ll = lower byte of parameter number specified by RPN n = MIDI channel number : 0H-FH (ch.1-ch.16)

* Not received when Rx.RPN = OFF. (Initial value is ON) * When this message is received, all currently-sounding notes on the corresponding
* The value specified by RPN will not be reset even by messages such as Program channel will be turned off immediately.
Change or Reset All Controller.
● Reset All Controllers (Controller number 121)
**RPN** Status 2nd byte 3rd byte
The RPN (Registered Parameter Number) messages are expanded control BnH 79H 00H
changes, and each function of an RPN is described by the MIDI Standard.
To use these messages, you must first use RPN (Controller number 100 and 110, n = MIDI channel number : 0H-FH (ch.1-ch.16)
their order does not matter) to specify the parameter to be controlled, and then use
Data Entry messages (Controller number 6, 38) to specify the value of the specified * When this message is received, the following controllers will be set to their reset
parameter. Once an RPN parameter has been specified, all Data Entry messages values.
received on that channel will modify the value of that parameter. To prevent acci-
dents, it is recommended that you set RPN Null (RPN Number = 7FH/7FH) when Controller Reset value
you have finished setting the value of the desired parameter.Refer to Section 5. Pitch Bend Change ±0 (center)
"Examples of actual MIDI messages" <Example 4> (page 207). Polyphonic Key Pressure 0 (off)
Channel Pressure 0 (off)
On this unit, RPN can be used to modify the following parameters. Modulation 0 (off)
Expression 127 (max)
RPN Data entry Hold 1 0 (off)
MSB LSB MSB LSB Explanation Portamento 0 (off)
00H 00H mmH --- Pitch Bend Sensitivity Sostenuto 0 (off)
mm: 00H-18H (0-24 semitones), Soft 0 (off)
Initial Value = 02H (2 semitones) RPN unset; previously set data will not change
ll: ignored (processed as 00H) NRPN unset; previously set data will not change
specify up to 2 octaves in semitone steps
00H 01H mmH llH Master Fine Tuning ● All Notes Off (Controller number 123)
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.99 cents), Status 2nd byte 3rd byte
Initial Value = 40 00H (± 0 cent) BnH 7BH 00H
Refer to 5. Supplementary material, "About tuning" (page 208).
00H 02H mmH --- Master Coarse Tuning n = MIDI channel number : 0H-FH (ch.1-ch.16)
mm: 28H-40H-58H (-24 - 0 - +24 semitones),
Initial Value = 40H (±0 semitone) * When All Notes Off is received, all notes on the corresponding channel will be
ll: ignored (processed as 00H) turned off. However if Hold 1 or Sostenuto is ON, the sound will be continued until
7FH 7FH --- --- RPN null these are turned off.
Set condition where RPN and NRPN are unspecified. The
data entry messages after set RPN null will be ignored. (No ● OMNI OFF (Controller number 124)
Data entry messages are required after RPN null). Status 2nd byte 3rd byte
Settings already made will not change. BnH 7CH 00H
mm, ll: ignored
n = MIDI channel number : 0H-FH (ch.1-ch.16)
● Program Change
Status 2nd byte * The same processing will be carried out as when All Notes Off is received.
CnH ppH
● OMNI ON (Controller number 125)
n = MIDI channel number : 0H-FH (ch.1-ch.16) Status 2nd byte 3rd byte
pp = Program number : 00H-7FH (prog.1-prog.128) BnH 7DH 00H

* Not received when Rx.PROGRAM CHANGE = OFF. (Initial value is ON) n = MIDI channel number : 0H-FH (ch.1-ch.16)
* After a Program Change message is received, the sound will change beginning
with the next Note-on. Voices already sounding when the Program Change mes- * The same processing will be carried out as when All Note Off is received.OMNI ON
sage was received will not be affected. will not be turned on.
* For Drum Parts, Program Change message will not be received on lower byte of
the bank numbers (the value of Control Number 0 is other than 0 (00H)). ● MONO (Controller number 126)
Status 2nd byte 3rd byte
● Channel Pressure BnH 7EH mmH
Status 2nd byte
DnH vvH n = MIDI channel number : 0H-FH (ch.1-ch.16)
mm = mono number : 00H-10H (0-16)
n = MIDI channel number : 0H-FH (ch.1-ch.16)
vv = Channel Pressure : 00H-7FH (0-127) * The same processing will be carried out as when All Sounds Off and All Notes Off
is received, and the corresponding channel will be set to Mode 4 (M = 1) regardless
* Not received when Rx.CH PRESSURE (CAf) = OFF. (Initial value is ON) of the value of "mono number."
* The resulting effect is determined by System Exclusive messages. With the initial
settings there will be no effect. ● POLY (Controller number 127)
Status 2nd byte 3rd byte
● Pitch Bend Change BnH 7FH 00H
Status 2nd byte 3rd byte
EnH llH mmH n = MIDI channel number : 0H-FH (ch.1-ch.16)

n = MIDI channel number : 0H-FH (ch.1-ch.16) * The same processing will be carried out as when All Sounds Off and All Notes Off
mm, ll = Pitch Bend value : 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191) is received, and the corresponding channel will be set to Mode 3.

* Not received when Rx.PITCH BEND = OFF. (Initial value is ON)

* The resulting effect is determined by System Exclusive messages. With the initial
settings the effect is Pitch Bend.

190 Chapter 8. Appendix

■ System Realtime Message * When this message is received, Rx.NRPN will be ON.
* This message will not be received if "Rx.GS Reset = OFF"(page 139).
* There must be an interval of at least 50 ms between this message and the next.
● Active Sensing
Status ❍ System Mode Set [88]
FEH System Mode Set is a message that sets this unit operating mode to MODE-1 (sin-
gle module mode) or MODE-2 (double module mode). When this message is
* When Active Sensing is received, the unit will begin monitoring the intervals of all received, the operating mode will be set, and at the same time all internal parame-
further messages. While monitoring, if the interval between messages exceeds 420 ters (except for the map settings of each Part) will be reset to the initial state.
ms, the same processing will be carried out as when All Sounds Off, All Notes Off
and Reset All Controllers are received, and message interval monitoring will be halt- Status Data byte Status
ed. F0H 41H, dev, 42H, 12H, 00H, 00H, 7FH, ddH, sumH F7H

Byte Explanation
■ System Exclusive Message F0H Exclusive status
Status Data byte Status 41H ID number (Roland)
F0H iiH, ddH, ......,eeH F7H dev Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H(17))
42H Model ID (GS)
F0H : System Exclusive Message status 12H Command ID (DT1)
ii = ID number : an ID number (manufacturer ID) to indicate the 00H Address MSB
manufacturer whose Exclusive message this 00H Address
is. Roland's manufacturer ID is 41H. 7FH Address LSB
ID numbers 7EH and 7FH are extensions of ddH Data 00H (MODE-1), 01H (MODE-2)
the MIDI standard; Universal Non-realtime sumH Checksum 01H (MODE-1), 00H (MODE-2)
Messages (7EH) and Universal Realtime F7H EOX (End Of Exclusive)
Messages (7FH).
dd,...,ee = data : 00H-7FH (0-127) * When this message is received, Rx.NRPN will be set ON.
F7H : EOX (End Of Exclusive) * This message will not be received when Rx.GS Reset = OFF (page 139) or Rx.Sys
Mode = OFF (page 135).
The System Exclusive Messages received by this unit are; messages related to * There must be an interval of at least 50 ms between this message and the next.
mode settings, Universal Realtime System Exclusive messages, Data Requests
(RQ1), and Data Set (DT1). ● Universal Realtime System Exclusive Messages

● System exclusive messages related to mode settings ❍ Master volume

These messages are used to initialize a device to GS or General MIDI mode, or Status Data byte Status
change the operating mode. When creating performance data, a "Turn General MIDI F0H 7FH, 7FH, 04H, 01H, llH, mmH F7H
System On" message should be inserted at the beginning of a General MIDI score,
and a "GS Reset" message at the beginning of a GS music data. In the case of data Byte Explanation
for the SC-88 and for this unit, we recommend that "System Mode Set" be placed at F0H Exclusive status
the beginning of the song data. Each song should contain only one mode message 7FH ID number (universal realtime message)
as appropriate for the type of data. (Do not insert two or more mode setting mes- 7FH Device ID (Broadcast)
sages in a single song.) 04H Sub ID#1 (Device Control messages)
"Turn General MIDI System On" use Universal Non-realtime Message format. 01H Sub ID#2 (Master Volume)
"System Mode Set" and "GS Reset" use Roland system exclusive format "Data Set llH Master volume lower byte
1 (DT1)." mmH Master volume upper byte
F7H EOX (End Of Exclusive)
❍ Turn General MIDI System On
This is a command message that resets the internal settings of the unit to the * The lower byte (llH) of Master Volume will be handled as 00H.
General MIDI initial state (General MIDI System-Level 1). After receiving this mes-
sage this unit, will automatically be set to the proper condition for correctly playing a ● Universal Non-realtime System Exclusive Messages
General MIDI score.
❍ Identity Request Message [Pro]
Status Data byte Status Status Data byte Status
F0H 7EH, 7FH, 09H, 01H F7H F0H 7EH, dev, 06H, 01H F7H

Byte Explanation Byte Explanation

F0H Exclusive status FOH Exclusive status
7EH ID number (Universal Non-realtime Message) 7EH ID number (Universal Non-realtime Message)
7FH Device ID (Broadcast) dev Device ID (dev: 00H-1FH (1-32), the initial value is 10H (17).)
09H Sub ID#1 (General MIDI Message) 06H Sub ID#1 (General Information)
01H Sub ID#2 (General MIDI On) 01H Sub ID#2 (Identity Request)
F7H EOX (End Of Exclusive) F7H EOX (End Of Exclusive)

* When this message is received, Rx.BANK SELECT will be OFF and Rx.NRPN will * The "dev" is own device number or 7FH (Broadcast)
be OFF.
* This message will not be received when Rx.GM On = OFF (page 139). ● Data transmission
* There must be an interval of at least 50 ms between this message and the next This unit can use Exclusive messages to transmit internal settings to other devices.
message. There are two types of Exclusive data transmission; Individual Parameter
Transmission (page 193) in which single parameters are transmitted one by one,
❍ GS reset and Bulk Dump Transmission (page 205) in which a large amount of data is trans-
GS Reset is a command message that resets the internal settings of a device to the mitted at once.
GS initial state. This message appears at the beginning of GS music data, and a GS The exclusive message used when transmitting GS format data has a model ID of
device that receives this message will automatically be set to the proper state to cor- 42H and a device ID of 10H. (This unit allows you to change the Device ID setting.)
rectly playback GS music data. If this unit is in MODE-1 (single module mode) all 32
Parts will be initialized. If in MODE-2 (double module mode), only the corresponding ❍ Request data 1 RQ1 (11H)
16 Parts will be initialized. In MODE-2 if the receiving MIDI connector for each Part This message requests the other device to send data. The Address and Size deter-
has been changed, this may affect playback from the other MIDI connector. In this mine the type and amount of data to be sent. There are two types of request;
case, first perform initialization (page 118) before using this command. Individual Parameter Request which requests data for an individual parameter, and
Bulk Dump Request which requests a large amount of data at once. In either case,
Status Data byte Status the "Data Request 1 (RQ1)" message format is used, and the Address and Size
F0H 41H, dev, 42H, 12H, 40H, 00H, 7FH, 00H, 41H F7H included in the message determine the type and amount of data that is desired.
For Individual Parameter Request, refer to "3. Individual Parameter Transmission"
Byte Explanation (page 193).
F0H Exclusive status For Bulk Dump Request, refer to "4. Bulk Dump" (page 205).
41H ID number (Roland) When a Data Request message is received, if the device is ready to transmit data
dev Device ID (dev: 00H-1FH (1-32), Initial value is 10H (17)) and if the address and size are appropriate, the requested data will be transmitted
42H Model ID (GS) as a "Data Set 1 (DT1)" message. If not, nothing will be transmitted.
12H Command ID (DT1)
40H Address MSB Status Data byte Status
00H Address F0H 41H, dev, 42H, 11H, aaH, bbH, ccH, ssH, ttH, uuH, sum F7H
7FH Address LSB
00H Data (GS reset)
41H Checksum
F7H EOX (End Of Exclusive)

Chapter 8. Appendix 191

Byte Explanation Section 2. Transmit data
F0H Exclusive status
41H ID number (Roland)
dev Device ID (dev: 00H - 1FH Initial value is 10H(17)) ■ System Realtime Message
42H Model ID (GS)
11H Command ID (RQ1) ● Active sensing
aaH Address MSB : upper byte of the starting address of the requested Status
data FEH
bbH Address : middle byte of the starting address of the requested
data * This will be transmitted constantly at intervals of approximately 250 ms.
ccH Address LSB : lower byte of the starting address of the requested
data
ssH Size MSB
■ System exclusive messages
ttH Size
uuH Size LSB "Identity Reply" and "Data Set 1 (DT1)" are the only System Exclusive messages
sum Checksum transmitted by this unit.
F7H EOX (End Of Exclusive) When an appropriate "Identity Request Message" and "Data Request 1 (RQ1)" mes-
sage are received, the requested internal data will be transmitted.
* The amount of data that can be transmitted at once time will depend on the type of
data, and data must be requested using a specific starting address and size. Refer ❍ Identity Reply [Pro]
to the Address and Size listed in Section 3 (page 193). Status Data byte Status
* Regarding the checksum please refer to Section 5 (page 207). F0H 7EH, dev, 06H, 02H, 41H, 42H, 00H, ddH, ddH, ssH, ssH, ssH, ssH F7H

❍ Data set 1 DT1(12H) Byte Explanation

This is the message that actually performs data transmission, and is used when you FOH Exclusive status
wish to transmit the data. 7EH ID number (Universal Non-realtime Message)
dev Device ID (use the same as the device ID of Roland)
Status Data byte Status 06H Sub ID#1 (General Information)
F0H 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum F7H 02H Sub ID#2 (Identity Reply)
41H ID number (Roland)
Byte Explanation 42H Device family code (LSB)
F0H Exclusive status 00H Device family code (MSB)
41H ID number (Roland) ddH Device family number code (LSB)
dev Device ID (dev: 00H - 1FH Initial value is 10H(17)) ddH Device family number code (MSB)
42H Model ID (GS), 45H ssH Software revision level
12H Command ID (DT1) ssH Software revision level
aaH Address MSB : upper byte of the starting address of the transmitted ssH Software revision level
data ssH Software revision level
bbH Address : middle byte of the starting address of the transmit- F7H EOX (End of Exclusive)
ted data
ccH Address LSB : lower byte of the starting address of the transmitted * Reply the message by the unique device ID (dev) when the device has received
data the "Identity Request Message" in the Broadcast.
ddH Data : the actual data to be transmitted. Multiple bytes of
data are transmitted starting from the address. ❍ Data set 1 DT1 (12H)
: : Status Data byte Status
eeH Data F0H 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum F7H
sum Checksum
F7H EOX (End Of Exclusive) Byte Explanation
F0H Exclusive status
* The amount of data that can be transmitted at one time depends on the type of 41H ID number (Roland)
data, and data can be received only from the specified starting address and size. dev Device ID (dev: 00H-1FH, Initial value is 10H)
Refer to the Address and Size given in Section 3 (page 193). 42H Model ID (GS)
* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If 12H Command ID (DT1)
"Data Set 1" is transmitted successively, there must be an interval of at least 40 ms aaH Address MSB: upper byte of the starting address of the data to be sent
between packets. bbH Address: middle byte of the starting address of the data to be sent
* Regarding the checksum please refer to section 5 (page 207). ccH Address LSB: lower byte of the starting address of the data to be sent.
ddH Data: the actual data to be sent. Multiple bytes of data are transmitted in
order starting from the address.
: :
eeH Data
sum Checksum
F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at one time depends on the type of
data, and data will be transmitted from the specified starting address and size. Refer
to the Address and Size given in Section 3 (page 193).
* Data larger than 128 bytes will be divided into packets of 128 bytes or less, and
each packet will be sent at an interval of about 40 ms.
* Regarding the checksum please refer to section 4 (page 207).

There are two ways in which GS data is transmitted: Individual Parameter

Transmission (Section 3 page 193) in which individual parameters are transmitted
one by one, and Bulk Dump Transmission (Section 4 page 205) in which a large
amount of data is transmitted at once.

192 Chapter 8. Appendix

Section 3. Individual Parameter Transmission ■ Parameter address map
(Model ID=45H or 42H) This map indicates address, size, Data (range), Parameter, Description, and Default
Individual Parameter Transmission transmits data (or requests data) for one para- Value of parameters which can be transferred using "Request data 1 (RQ1)" and
meter as one exclusive message (one packet of "F0 ..... F7"). "Data set 1 (DT1)".All the numbers of address, size, Data, and Default Value are
In Individual Parameter Transmission, you must use the Address and Size listed in indicated in 7-bit Hexadecimal-form. Numbers in the explanatory column are given
the following "Parameter Address Map". Addresses marked at "#" cannot be used as in decimal notation. The MODEL ID = 45H parameters are related to LCD display.
starting addresses. The MODEL ID = 42H parameters at address 5* ** ** are not given in this map. The
parameters for address 5* ** ** are the same format as those at at address 4* ** **.

■ Address Block map < MODEL ID = 45H >

● Display data
An outlined address map of the Exclusive Communication is as follows; Address(H) Size(H) Data(H) Parameter Description Default Value(H)
10 00 00 00 00 20 20-7F Displayed Letter 32-127(ASCII) ---
<Model ID = 45H> 10 00 01#
Address(H) Block 10 00 02#
10 00 00 :
Display Data 10 00 1F#

* When this message is received, a character string specified by the data will be
<Model ID = 42H> temporarily displayed in the INSTRUMENT display area. A character string of 1 to
● Port-A 32 characters can be received. If more than 16 characters are received, the display
will automatically be scrolled.
Address(H) Block Address(H) Block
00 00 00 Address(H) Size(H) Data(H) Parameter Description Default Value(H)
SYSTEM 10 0p 00 00 00 40 00-1F Displayed
20 00 00
Dot Data d00 00-31 --
USER TONE BANK 10 0p 01# Dot Data d01
10 0p 02# Dot Data d02
21 00 00
USER DRUM SET 10 0p : : Dot Data :
10 0p 3F# Dot Data d63
22 00 00 (p:Page# p=1:Page1, p=2:Page3, p=3:Page5, p=4:Page7, p=5:Page9)
USER EFX

23 00 00 10 0p 40 00 00 40 00-1F Displayed
USER PATCH COMMON
Dot Data d00 00-31 --
24 00 00 USER PATCH PART 10 0p 41# Dot Data d01
(BLOCK 01) 10 0p 42# Dot Data d02
25 00 00 USER PATCH PART
10 0p : Dot Data :
(BLOCK 01) 10 0p 7F# Dot Data d63
26 00 00 USER PATCH PART
(p:Page# p=1:Page2, p=2:Page4, p=3:Page6, p=4:Page8, p=5:Page10)
(BLOCK 02)
* When this message is displayed, screen data (16 x 16 dot)corresponding to the bit
27 00 00 USER PATCH PART
pattern of the Displayed Dot Data will be stored in this unit internal memory. The
(BLOCK 02)
correspondence between data and dots is given below. The screen data which is
40 00 00 50 00 00 stored can be displayed by transmitting a message for address 10 20 00.
PATCH COMMON #A PATCH COMMON B
* Only in the case of Page 1, the screen data will be temporarily displayed immedi-
40 10 00 PATCH PART 50 10 00 PATCH PART ately after this message is received.
A B
(BLOCK 00-0F) (BLOCK 10-1F)
41 00 00 51 00 00 bit 4 3 2 1 0 4 3 2 1 0 4 3 2 1 0 4
DRUM SETUP A DRUM SETUP B [ * * d00 * * ] [ * * d16 * * ] [ * * d32 * * ] [d48]
[ * * d01 * * ] [ * * d17 * * ] [ * * d33 * * ] [d49]
[ * * d02 * * ] [ * * d18 * * ] [ * * d34 * * ] [d50]
* The blocks displayed in gray cannot be accessed in Mode-1 (Single Module [ * * d03 * * ] [ * * d19 * * ] [ * * d35 * * ] [d51]
mode). [ * * d04 * * ] [ * * d20 * * ] [ * * d36 * * ] [d52]
* Blocks listed as "#A" are parameter blocks which are common to the entire device [ * * d05 * * ] [ * * d21 * * ] [ * * d37 * * ] [d53]
in Mode-1, and valid only for Parts A01 - A16 in Mode-2 (Double Module mode). [ * * d06 * * ] [ * * d22 * * ] [ * * d38 * * ] [d54]
[ * * d07 * * ] [ * * d23 * * ] [ * * d39 * * ] [d55]
● Port-B [ * * d08 * * ] [ * * d24 * * ] [ * * d40 * * ] [d56]
Address(H) Block Address(H) Block [ * * d09 * * ] [ * * d25 * * ] [ * * d41 * * ] [d57]
00 00 00
[ * * d10 * * ] [ * * d26 * * ] [ * * d42 * * ] [d58]
SYSTEM [ * * d11 * * ] [ * * d27 * * ] [ * * d43 * * ] [d59]
[ * * d12 * * ] [ * * d28 * * ] [ * * d44 * * ] [d60]
20 00 00
USER TONE BANK [ * * d13 * * ] [ * * d29 * * ] [ * * d45 * * ] [d61]
[ * * d14 * * ] [ * * d30 * * ] [ * * d46 * * ] [d62]
21 00 00 [ * * d15 * * ] [ * * d31 * * ] [ * * d47 * * ] [d63]
USER DRUM SET
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
22 00 00
USER EFX
* For example, [ * * d00 * * ] indicates the five dots in the upper left of the display.
23 00 00 * The bit pattern of bits 4 - 0 (lower 5 bits) of the data byte turns the dots on/off.
USER PATCH COMMON However in the case of d48 - d63, only bit 4 turns the dot on/off.
24 00 00 USER PATCH PART
(BLOCK01) d00: 0--*****
25 00 00 d01: 0--*****
USER PATCH PART
|
(BLOCK01)
d47: 0--*****
26 00 00 USER PATCH PART
(BLOCK02)
d48: 0--*----
| *: dot is unlit for 0, lit for 1
27 00 00 USER PATCH PART
d63: 0--*---- -: dot display is not affected whether this is 0 or 1
(BLOCK02)
50 00 00 40 00 00
PATCH COMMON A PATCH COMMON #B Address(H) Size(H) Data(H) Parameter Description Default Value(H)
10 20 00 00 00 01 00-0A Display Page 00:Bar Display --
50 10 00 PATCH PART 40 10 00 PATCH PART 01:Page1
A B
(BLOCK 00-0F) (BLOCK 10-1F) : :
51 00 00 41 00 00 0A:Page10 --
DRUM SETUP A DRUM SETUP B

* When this message is received, the display (page) specified by Display Page
(address 10 20 00) will be displayed for the duration of the time specified by the fol-
* The blocks displayed in gray cannot be accessed in Mode-1 (Single Module
lowing Display Time (address 10 20 01).
mode).
* Blocks listed as "#B" are parameter blocks which are common to the entire device
10 20 01 00 00 01 00-0F Display Time 0-7.2 [sec] 06 (2.88 [sec])
in Mode-1, and valid only for Parts B01 - B16 in Mode-2 (Double Module mode).

Chapter 8. Appendix 193

● System Parameters [88]
Parameters affecting the entire unit, such as how the two MIDI IN connectors will function, are called System Parameters.

<MODEL ID = 42H>
Address(H) Size(H) Data(H) Parameter Description Default(H) Description
00 00 7F 00 00 01 00 - 01 SYSTEM MODE SET [88] 00 MODE1
00: MODE-1 (Single module mode)
01: MODE-2 (Double module mode)
(Rx. only)
* Refer to "System exclusive messages related to Mode settings" (page 191).

CHANNEL MSG RX PORT [88]

00 01 00 00 00 01 00 - 01 BLOCK00 PORT A - B 00 PORT A
: : : : :
00 01 0F 00 00 01 00 - 01 BLOCK0F PORT A - B 00 PORT A
00 01 10 00 00 01 00 - 01 BLOCK10 PORT A - B 01 PORT B
: : : : :
00 01 1F 00 00 01 00 - 01 BLOCK1F PORT A - B 01 PORT B

* You can modify the receiving MIDI port at which channel messages will be received for each BLOCK. We suggest that normally you use PORT A for BLOCK01-0F, and
PORT B for BLOCK10-1F. (In this case there is no need to change the setting.)
* Refer to page 196 for details of each BLOCK.

● Patch parameters
❍ Patch common parameters
In MODE-1 (Single module mode) this unit functions as a single sound source module with 32 Parts. In MODE-2 (Double module mode) it functions as two sound source mod-
ules with 16 Parts each. The parameters common to all Parts in each module are called Patch Common parameters.

Address(H) Size(H) Data(H) Parameter Description Default Value (H) Descrip-tion

40 00 00 00 00 04 0018 - 07E8 MASTER TUNE -100.0 - +100.0 [cent] 00 04 00 00 0 [cent]
40 00 01# Use nibblized data.
40 00 02#
40 00 03#

* Refer to section 5. Supplementary material, "About tuning" (page 208).

40 00 04 00 00 01 00 - 7F MASTER VOLUME 0 - 127 7F 127

(= F0 7F 7F 04 01 00 vv F7 )
40 00 05 00 00 01 28 - 58 MASTER KEY-SHIFT -24 - +24 [semitones] 40 0[semitones]
40 00 06 00 00 01 01 - 7F MASTER PAN -63 (LEFT) - +63 (RIGHT) 40 0 (CENTER)
40 00 7F 00 00 01 00 MODE SET 00 = GS Reset
(Rx. only)

* Refer to "System exclusive messages related to Mode settings" (page 191).

40 01 00 00 00 10 20 - 7F PATCH NAME 16 ASCII Characters

40 01 : #
40 01 0F#
40 01 30 00 00 01 00 - 07 REVERB MACRO 00: Room 1 04 Hall 2
01: Room 2
02: Room 3
03: Hall 1
04: Hall 2
05: Plate
06: Delay
07: Panning Delay
40 01 31 00 00 01 00 - 07 REVERB CHARACTER 0-7 04 4
40 01 32 00 00 01 00 - 07 REVERB PRE-LPF 0-7 00 0
40 01 33 00 00 01 00 - 7F REVERB LEVEL 0 - 127 40 64
40 01 34 00 00 01 00 - 7F REVERB TIME 0 - 127 40 64
40 01 35 00 00 01 00 - 7F REVERB DELAY FEEDBACK 0 - 127 00 0
40 01 37 00 00 01 00 - 7F REVERB PREDELAY TIME [88] 0 - 127[ms] 00 0

* REVERB MACRO is a macro parameter that allows global setting of reverb parameters. When you select the reverb type with REVERB MACRO, each reverb parameter will
be set to the most suitable value.
* REVERB CHARACTER is a parameter that changes the reverb algorithm. The value of REVERB CHARACTER corresponds to the REVERB MACRO of the same number.
* In MODE-2 (Double module mode), REVERB PREDELAY TIME cannot be used.

194 Chapter 8. Appendix

Address(H) Size(H) Data(H) Parameter Description Default Value (H) Description
40 01 38 00 00 01 00 - 07 CHORUS MACRO 00: Chorus 1 02 Chorus 3
01: Chorus 2
02: Chorus 3
03: Chorus 4
04: Feedback Chorus
05: Flanger
06: Short Delay
07: Short Delay(FB)
40 01 39 00 00 01 00 - 07 CHORUS PRE-LPF 0-7 00 0
40 01 3A 00 00 01 00 - 7F CHORUS LEVEL 0-127 40 64
40 01 3B 00 00 01 00 - 7F CHORUS FEEDBACK 0-127 08 8
40 01 3C 00 00 01 00 - 7F CHORUS DELAY 0-127 50 80
40 01 3D 00 00 01 00 - 7F CHORUS RATE 0-127 03 3
40 01 3E 00 00 01 00 - 7F CHORUS DEPTH 0-127 13 19
40 01 3F 00 00 01 00 - 7F CHORUS SEND LEVEL TO REVERB 0-127 00 0
40 01 40 00 00 01 00 - 7F CHORUS SEND LEVEL TO DELAY[88] 0-127 00 0

* CHORUS MACRO is a macro parameter that allows global setting of chorus parameters. When you use CHORUS MACRO to select the chorus type, each chorus parameter
will be set to the most suitable value.
* In MODE-2 (Double module mode), CHORUS SEND LEVEL TO DELAY cannot be used.

40 01 50 00 00 01 00 - 09 DELAY MACRO [88] 00: Delay 1 00 Delay1

01: Delay 2
02: Delay 3
03: Delay 4
04: Pan Delay 1
05: Pan Delay 2
06: Pan Delay 3
07: Pan Delay 4
08: Delay to Reverb
09: Pan Repeat
40 01 51 00 00 01 00 - 07 DELAY PRE-LPF [88] 0 - 7 00 0
40 01 52 00 00 01 01 - 73 DELAY TIME CENTER [88] 0.1ms - 1sec 61 340
40 01 53 00 00 01 01 - 78 DELAY TIME RATIO LEFT [88] 4 - 500% 01 4
40 01 54 00 00 01 01 - 78 DELAY TIME RATIO RIGHT [88] 4 - 500% 01 4
40 01 55 00 00 01 00 - 7F DELAY LEVEL CENTER [88] 0 - 127 7F 127
40 01 56 00 00 01 00 - 7F DELAY LEVEL LEFT [88] 0 - 127 00 0
40 01 57 00 00 01 00 - 7F DELAY LEVEL RIGHT [88] 0 - 127 00 0
40 01 58 00 00 01 00 - 7F DELAY LEVEL [88] 0 - 127 40 64
40 01 59 00 00 01 00 - 7F DELAY FEEDBACK [88] -64 - +63 50 +16
40 01 5A 00 00 01 00 - 7F DELAY SENDLEVEL TO REVERB [88] 0 - 127 00 0

* DELAY MACRO is a macro parameter that allows global setting of delay parameters. When you use DELAY MACRO to select the delay type, each delay parameter will be
set to the most suitable value.
* The relation between the DELAY TIME CENTER value and the actual delay time is as follows.

DELAY TIME Time Range[ms] Resolution[ms] DELAY TIME Time Range[ms] Resolution[ms]
01 - 14 0.1 - 2.0 0.1 46 - 50 50.0 - 100.0 5.0
14 - 23 2.0 - 5.0 0.2 50 - 5A 100.0 - 200.0 10.0
23 - 2D 5.0 - 10.0 0.5 5A - 69 200.0 - 500.0 20.0
2D - 37 10.0 - 20.0 1.0 69 - 73 500.0 - 1000.0 50.0
37 - 46 20.0 - 50.0 2.0

* DELAY TIME RATIO LEFT and DELAY TIME RATIO RIGHT specify the ratio in relation to DELAY TIME CENTER. The resolution is 100/24(%).
* In MODE-2 (Double module mode), Delay cannot be used.

40 02 00 00 00 01 00 - 01 EQ LOW FREQ. [88] 200Hz, 400Hz 00 200Hz

40 02 01 00 00 01 34 - 4C EQ LOW GAIN [88] -12 - +12dB 40 0
40 02 02 00 00 01 00 - 01 EQ HIGH FREQ. [88] 3kHz, 6kHz 00 3kHz
40 02 03 00 00 01 34 - 4C EQ HIGH GAIN [88] -12 - +12dB 40 0

* In MODE-2 (Double module mode), EQ (equalizer) cannot be used.

Chapter 8. Appendix 195

Address(H) Size(H) Data(H) Parameter Default Value (H) Description
40 03 00 00 00 02 00 - 7F EFX TYPE [Pro] 00 00 00: Thru
40 03 01#

40 03 03 00 00 01 00 - 7F EFX PARAMETER 1 [Pro]

40 03 04 00 00 01 00 - 7F EFX PARAMETER 2 [Pro]
40 03 05 00 00 01 00 - 7F EFX PARAMETER 3 [Pro]
40 03 06 00 00 01 00 - 7F EFX PARAMETER 4 [Pro]
40 03 07 00 00 01 00 - 7F EFX PARAMETER 5 [Pro]
40 03 08 00 00 01 00 - 7F EFX PARAMETER 6 [Pro]
40 03 09 00 00 01 00 - 7F EFX PARAMETER 7 [Pro]
40 03 0A 00 00 01 00 - 7F EFX PARAMETER 8 [Pro]
40 03 0B 00 00 01 00 - 7F EFX PARAMETER 9 [Pro]
40 03 0C 00 00 01 00 - 7F EFX PARAMETER 10 [Pro]
40 03 0D 00 00 01 00 - 7F EFX PARAMETER 11 [Pro]
40 03 0E 00 00 01 00 - 7F EFX PARAMETER 12 [Pro]
40 03 0F 00 00 01 00 - 7F EFX PARAMETER 13 [Pro]
40 03 10 00 00 01 00 - 7F EFX PARAMETER 14 [Pro]
40 03 11 00 00 01 00 - 7F EFX PARAMETER 15 [Pro]
40 03 12 00 00 01 00 - 7F EFX PARAMETER 16 [Pro]
40 03 13 00 00 01 00 - 7F EFX PARAMETER 17 [Pro]
40 03 14 00 00 01 00 - 7F EFX PARAMETER 18 [Pro]
40 03 15 00 00 01 00 - 7F EFX PARAMETER 19 [Pro]
40 03 16 00 00 01 00 - 7F EFX PARAMETER 20 [Pro]

* Reading EFX TYPE and EFX PARAMETER please refer to page 56, 176

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

40 03 17 00 00 01 00 - 7F EFX SEND LEVEL TO REVERB [Pro] 0-127 28 40
40 03 18 00 00 01 00 - 7F EFX SEND LEVEL TO CHORUS [Pro] 0-127 00 0
40 03 19 00 00 01 00 - 7F EFX SEND LEVEL TO DELAY [Pro] 0-127 00 0
40 03 1B 00 00 01 00 - 7F EFX CONTROL SOURCE1 [Pro] Off, CC1-95, CAf, Bend 00 Off
40 03 1C 00 00 01 00 - 7F EFX CONTROL DEPTH1 [Pro] -100 - 0 - +100 [%] 40 0 (%)
40 03 1D 00 00 01 00 - 7F EFX CONTROL SOURCE2 [Pro] Off, CC1 - 95, CAf, Bend 00 Off
40 03 1E 00 00 01 00 - 7F EFX CONTROL DEPTH2 [Pro] -100 - 0 - +100 [%] 40 0 (%)
40 03 1F 00 00 01 00 - 7F EFX SEND EQ SWITCH [Pro] OFF/ON 01 ON

* EFX TYPE is a macro parameter which sets various Insertion Effect parameters as a group. When you use EFX TYPE to select an Insertion Effect type, the various effect
parameters will be set to appropriate values.
* In MODE-2 (Double module mode), EFX SEND TO DELAY and EFX SEND EQ SWITCH cannot be used.
* In the case of Mode 2 (Double Module mode), the Insertion effect cannot be used for Parts with a CHANNEL MSG RX PORT (page 194) setting of PORT B.

❍ Patch Part parameters

This unit has 16 Parts in Group A and 16 Parts in Group B. Parameters that can be set individually for each Part are called Patch Part parameters.
If you use exclusive messages to set Patch Part parameters, specify the address by Block number rather than Part Number (normally the same number as the MIDI channel).
The Block number can be specified as one of 16 blocks, from 0(H) to F(H).
To specify a Part of group A, use the Block number corresponding to the Part and specify an address of 40 ** ** via PORT A (normally MIDI IN A).
To specify a Part of group B, use the Block number corresponding to the Part and specify an address of 40 ** ** via PORT B (normally MIDI IN B).
To specify a Part of either group A or B from a single PORT, specify an address of 40 ** ** for group A Parts or an address of 50 ** ** for group B Parts when using PORT A.
Conversely, to specify a Part of either group A or B from PORT B, specify an address of 50 ** ** for group A Parts or an address of 40 ** ** for group B Parts. In other words,
when specifying Parts of the opposite side as the PORT being used, use addresses 50 ** **.

The relation between Part number and Block number is as follows.

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

Part 2 (default MIDIch = 2) x=2
: : :
Part 9 (default MIDIch = 9) x=9
Part10 (default MIDIch =10) x=0
Part11 (default MIDIch =11) x=A
Part12 (default MIDIch =12) x=B
: : :
Part16 (default MIDIch =16) x=F

n... MIDI channel number (0 - F) of the BLOCK.

In the following map, the control numbers of the control changes are indicated as CC#.

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

40 1x 00 00 00 02 00 - 7F TONE NUMBER CC#00 VALUE 0 - 127 00 0
40 1x 01# 00 - 7F P.C. VALUE 1 - 128 00 1
40 1x 02 00 00 01 00 - 10 Rx. CHANNEL 1 - 16, OFF Same as the Part Number
40 1x 03 00 00 01 00 - 01 Rx. PITCH BEND OFF / ON 01 ON
40 1x 04 00 00 01 00 - 01 Rx. CH PRESSURE(CAf) OFF / ON 01 ON
40 1x 05 00 00 01 00 - 01 Rx. PROGRAM CHANGE OFF / ON 01 ON
40 1x 06 00 00 01 00 - 01 Rx. CONTROL CHANGE OFF / ON 01 ON
40 1x 07 00 00 01 00 - 01 Rx. POLY PRESSURE(PAf) OFF / ON 01 ON
40 1x 08 00 00 01 00 - 01 Rx. NOTE MESSAGE OFF / ON 01 ON
40 1x 09 00 00 01 00 - 01 Rx. RPN OFF / ON 01 ON
40 1x 0A 00 00 01 00 - 01 Rx. NRPN OFF / ON 00(01*) OFF(ON*)

* When "General MIDI System On" is received, Rx. NRPN will be set OFF. When "GS Reset" is received, it will be set ON.

196 Chapter 8. Appendix

40 1x 0B 00 00 01 00 - 01 Rx. MODULATION OFF / ON 01 ON
40 1x 0C 00 00 01 00 - 01 Rx. VOLUME OFF / ON 01 ON
40 1x 0D 00 00 01 00 - 01 Rx. PANPOT OFF / ON 01 ON
40 1x 0E 00 00 01 00 - 01 Rx. EXPRESSION OFF / ON 01 ON
40 1x 0F 00 00 01 00 - 01 Rx. HOLD1 OFF / ON 01 ON
40 1x 10 00 00 01 00 - 01 Rx. PORTAMENTO OFF / ON 01 ON
40 1x 11 00 00 01 00 - 01 Rx. SOSTENUTO OFF / ON 01 ON
40 1x 12 00 00 01 00 - 01 Rx. SOFT OFF / ON 01 ON

40 1x 13 00 00 01 00 - 01 MONO/POLY MODE Mono / Poly 01 Poly

(=CC# 126 01 / CC# 127 00)

40 1x 14 00 00 01 00 - 02 ASSIGN MODE 0 = SINGLE SC-88/Native MAP

1 = LIMITED-MULTI 01 LIMITED-MULTI
2 = FULL-MULTI SC-55 MAP
00 at x=0 SINGLE (Drum Part)
01 at x≠0 LIMITED-MULTI (Normal Part)

* ASSIGN MODE is the parameter that determines how voice assignment will be handled when sounds overlap on identical note numbers in the same channel (i.e., repeatedly
struck notes). This is initialized to a mode suitable for each Part, so for general purposes there is no need to change this.

40 1x 15 00 00 01 00 - 02 USE FOR RHYTHM PART 0 = OFF 00 at x≠0 OFF (Normal Part)

1 = MAP1 01 at x=0 MAP1 (Drum Part)
2 = MAP2

* This parameter sets the Drum Map of the Part used as the Drum Part. This unit can simultaneously (in different Parts) use up to two Drum Maps (MAP1, MAP2). With the ini-
tial settings, Part10 (MIDI CH=10, x=0) is set to MAP1 (1), and other Parts are set to normal instrumental Parts (OFF(0)).

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

40 1x 16 00 00 01 28 - 58 PITCH KEY SHIFT -24 - +24 [semitones] 40 0 [semitones]
40 1x 17 00 00 02 08 - F8 PITCH OFFSET FINE -12.0 - +12.0 [Hz] 08 00 0 [Hz]
40 1x 18# Use nibblized data.

* PITCH OFFSET FINE allows you to alter, by a specified frequency amount, the pitch at which notes will sound. This parameter differs from the conventional Fine Tuning
(RPN #1) parameter in that the amount of frequency alteration (in Hertz) will be identical no matter which note is played. When a multiple number of Parts, each of which has
been given a different setting for PITCH OFFSET FINE, are sounded by means of an identical note number, you can obtain a Celeste effect.

40 1x 19 00 00 01 00 - 7F PART LEVEL 0 - 127 64 100

(=CC# 7)
40 1x 1A 00 00 01 00 - 7F VELOCITY SENSE DEPTH 0 - 127 40 64
40 1x 1B 00 00 01 00 - 7F VELOCITY SENSE OFFSET 0 - 127 40 64
40 1x 1C 00 00 01 00 - 7F PART PANPOT -64(RANDOM), 40 0 (CENTER)
-63(LEFT) - +63(RIGHT)
(=CC# 10, except RANDOM)
40 1x 1D 00 00 01 00 - 7F KEYBOARD RANGE LOW (C-1) - (G9) 00 C-1
40 1x 1E 00 00 01 00 - 7F KEYBOARD RANGE HIGH (C-1) - (G9) 7F G9
40 1x 1F 00 00 01 00 - 5F CC1 CONTROLLER NUMBER 0 - 95 10 16
40 1x 20 00 00 01 00 - 5F CC2 CONTROLLER NUMBER 0 - 95 11 17
40 1x 21 00 00 01 00 - 7F CHORUS SEND LEVEL 0 - 127 00 0
(=CC# 93)
40 1x 22 00 00 01 00 - 7F REVERB SEND LEVEL 0 - 127 28 40
(=CC# 91)

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

* When "General MIDI System On" is received, Rx.BANK SELECT will be set OFF. When "GS Reset" or "System Mode Set" is received, it will be set ON.

40 1x 24 00 00 01 00 - 01 RX BANK SELECT LSB [88] OFF / ON 01 ON

* When RX BANK SELECT LSB = OFF, Bank Select LSB (Bn 20 11) will be treated as 00H regardless of its value.

40 1x 2A 00 00 02 00 00 - 40 00 - 7F 7F PITCH FINE TUNE [88] -100 - 0 - +100 [cent] 40 00 0

(= RPN#1)
40 1x 2B#

40 1x 2C 00 00 01 00 - 7F DELAY SEND LEVEL [88] 0-127 00 0

(=CC# 94)

* In MODE-2 (Double module mode), DELAY SEND LEVEL cannot be used.

Chapter 8. Appendix 197

40 1x 30 00 00 01 00 - 7F TONE MODIFY1 [88] -64 - +63 40 0
Vibrato Rate (=NRPN# 8)
40 1x 31 00 00 01 00 - 7F TONE MODIFY2 [88] -64 - +63 40 0
Vibrato Depth (=NRPN# 9)
40 1x 32 00 00 01 00 - 7F TONE MODIFY3 [88] -64 - +63 40 0
TVF Cutoff Freq. (=NRPN# 32)
40 1x 33 00 00 01 00 - 7F TONE MODIFY4 [88] -64 - +63 40 0
TVF Resonance (=NRPN# 33)
40 1x 34 00 00 01 00 - 7F TONE MODIFY5 [88] -64 - +63 40 0
TVF&TVA Env.attack (=NRPN# 99)
40 1x 35 00 00 01 00 - 7F TONE MODIFY6 [88] -64 - +63 40 0
TVF&TVA Env.decay (=NRPN# 100)
40 1x 36 00 00 01 00 - 7F TONE MODIFY7 [88] -64 - +63 40 0
TVF&TVA Env.release (=NRPN# 102)
40 1x 37 00 00 01 00 - 7F TONE MODIFY8 [88] -64 - +63 40 0
Vibrato Delay (=NRPN# 10)
40 1x 40 00 00 0C 00 - 7F SCALE TUNING C -64 - +63 [cent] 40 0 [cent]
40 1x 41# 00 - 7F SCALE TUNING C# -64 - +63 [cent] 40 0 [cent]
40 1x 42# 00 - 7F SCALE TUNING D -64 - +63 [cent] 40 0 [cent]
40 1x 43# 00 - 7F SCALE TUNING D# -64 - +63 [cent] 40 0 [cent]
40 1x 44# 00 - 7F SCALE TUNING E -64 - +63 [cent] 40 0 [cent]
40 1x 45# 00 - 7F SCALE TUNING F -64 - +63 [cent] 40 0 [cent]
40 1x 46# 00 - 7F SCALE TUNING F# -64 - +63 [cent] 40 0 [cent]
40 1x 47# 00 - 7F SCALE TUNING G -64 - +63 [cent] 40 0 [cent]
40 1x 48# 00 - 7F SCALE TUNING G# -64 - +63 [cent] 40 0 [cent]
40 1x 49# 00 - 7F SCALE TUNING A -64 - +63 [cent] 40 0 [cent]
40 1x 4A# 00 - 7F SCALE TUNING A# -64 - +63 [cent] 40 0 [cent]
40 1x 4B# 00 - 7F SCALE TUNING B -64 - +63 [cent] 40 0 [cent]

* SCALE TUNING is a function that allows fine adjustment to the pitch of each note in the octave. The pitch of each identically-named note in all octaves will change simultane-
ously. A setting of ± 0 cent (40H) is equal temperament (page 208).

40 2x 00 00 00 01 28 - 58 MOD PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones]

40 2x 01 00 00 01 00 - 7F MOD TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 02 00 00 01 00 - 7F MOD AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 03 00 00 01 00 - 7F MOD LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 04 00 00 01 00 - 7F MOD LFO1 PITCH DEPTH 0 - 600 [cent] 0A 10 [cent]
40 2x 05 00 00 01 00 - 7F MOD LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 06 00 00 01 00 - 7F MOD LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 07 00 00 01 00 - 7F MOD LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 08 00 00 01 00 - 7F MOD LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 09 00 00 01 00 - 7F MOD LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 0A 00 00 01 00 - 7F MOD LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

40 2x 10 00 00 01 40 - 58 BEND PITCH CONTROL 0 - 24 [semitones] 42 2 [semitones]

40 2x 11 00 00 01 00 - 7F BEND TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 12 00 00 01 00 - 7F BEND AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 13 00 00 01 00 - 7F BEND LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 14 00 00 01 00 - 7F BEND LFO1 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 15 00 00 01 00 - 7F BEND LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 16 00 00 01 00 - 7F BEND LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 17 00 00 01 00 - 7F BEND LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 18 00 00 01 00 - 7F BEND LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 19 00 00 01 00 - 7F BEND LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 1A 00 00 01 00 - 7F BEND LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

40 2x 20 00 00 01 28 - 58 CAf PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones]

40 2x 21 00 00 01 00 - 7F CAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 22 00 00 01 00 - 7F CAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 23 00 00 01 00 - 7F CAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 24 00 00 01 00 - 7F CAf LFO1 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 25 00 00 01 00 - 7F CAf LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 26 00 00 01 00 - 7F CAf LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 27 00 00 01 00 - 7F CAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 28 00 00 01 00 - 7F CAf LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 29 00 00 01 00 - 7F CAf LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 2A 00 00 01 00 - 7F CAf LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

40 2x 30 00 00 01 28 - 58 PAf PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones]

40 2x 31 00 00 01 00 - 7F PAf TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 32 00 00 01 00 - 7F PAf AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 33 00 00 01 00 - 7F PAf LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 34 00 00 01 00 - 7F PAf LFO1 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 35 00 00 01 00 - 7F PAf LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 36 00 00 01 00 - 7F PAf LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 37 00 00 01 00 - 7F PAf LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 38 00 00 01 00 - 7F PAf LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 39 00 00 01 00 - 7F PAf LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 3A 00 00 01 00 - 7F PAf LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

198 Chapter 8. Appendix

40 2x 40 00 00 01 28 - 58 CC1 PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones]
40 2x 41 00 00 01 00 - 7F CC1 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 42 00 00 01 00 - 7F CC1 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 43 00 00 01 00 - 7F CC1 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 44 00 00 01 00 - 7F CC1 LFO1 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 45 00 00 01 00 - 7F CC1 LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 46 00 00 01 00 - 7F CC1 LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 47 00 00 01 00 - 7F CC1 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 48 00 00 01 00 - 7F CC1 LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 49 00 00 01 00 - 7F CC1 LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 4A 00 00 01 00 - 7F CC1 LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

40 2x 50 00 00 01 28 - 58 CC2 PITCH CONTROL -24 - +24 [semitones] 40 0 [semitones]

40 2x 51 00 00 01 00 - 7F CC2 TVF CUTOFF CONTROL -9600 - +9600 [cent] 40 0 [cent]
40 2x 52 00 00 01 00 - 7F CC2 AMPLITUDE CONTROL -100.0 - +100.0 [%] 40 0 [%]
40 2x 53 00 00 01 00 - 7F CC2 LFO1 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 54 00 00 01 00 - 7F CC2 LFO1 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 55 00 00 01 00 - 7F CC2 LFO1 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 56 00 00 01 00 - 7F CC2 LFO1 TVA DEPTH 0 - 100.0 [%] 00 0 [%]
40 2x 57 00 00 01 00 - 7F CC2 LFO2 RATE CONTROL -10.0 - +10.0 [Hz] 40 0 [Hz]
40 2x 58 00 00 01 00 - 7F CC2 LFO2 PITCH DEPTH 0 - 600 [cent] 00 0 [cent]
40 2x 59 00 00 01 00 - 7F CC2 LFO2 TVF DEPTH 0 - 2400 [cent] 00 0 [cent]
40 2x 5A 00 00 01 00 - 7F CC2 LFO2 TVA DEPTH 0 - 100.0 [%] 00 0 [%]

* You may not always be able to obtain the desired effect by modifying the LFO 1 and LFO 2 parameters.

40 4x 00 00 00 01 00 - 03 TONE MAP NUMBER [Pro] MAP 0 - 3 00

(= CC#32 : Bank number LSB) 00 : SELECTED
01 : SC-55 MAP
02 : SC-88 MAP
03 : Native MAP

*When "GS Reset" is received, this will be 00: SELECTED.

40 4x 01 00 00 01 01 - 03 TONE MAP-0 NUMBER [Pro] 01 : SC-55 MAP (03)

02 : SC-88 MAP
03 : Native MAP

* When TONE MAP NUMBER is 00, this specifies the MAP. This setting will not be reset when the power is turned on or when "GS Reset", "General MIDI System On" or
"System Mode Set" is received.

40 4x 20 00 00 01 00 - 01 EQ ON/OFF [88] OFF / ON 01 ON

* This turns the EQ (equalizer) on/off. In MODE-2 (Double module mode) it cannot be used.

40 4x 21 00 00 01 00 - 03 OUTPUT ASSIGN [Pro] 00:OUTPUT-1 00 OUTPUT-1

01:OUTPUT-2
02:OUTPUT-2L
03:OUTPUT-2R
40 4x 22 00 00 01 00 - 01 PART EFX ASSIGN [Pro] 00:BYPASS 00 BYPASS
01:EFX

● Drum setup parameters

m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H - 7FH: 0 - 127)

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

41 m0 00 00 00 0C 20 - 7F DRUM MAP NAME ASCII Character
|#
41 m0 0B#
41 m1 rr 00 00 01 00 - 7F PLAY NOTE NUMBER Pitch coarse
41 m2 rr 00 00 01 00 - 7F LEVEL TVA level
(=NRPN# 26)
41 m3 rr 00 00 01 00 - 7F ASSIGN GROUP NUMBER Non, 1 - 127
41 m4 rr 00 00 01 00 - 7F PANPOT -64(RANDOM),
-63(LEFT) - +63(RIGHT)
(=NRPN# 28, except RANDOM)
41 m5 rr 00 00 01 00 - 7F REVERB SEND LEVEL 0.0 - 1.0
Multiplicand of the part reverb level
(=NRPN# 29)
41 m6 rr 00 00 01 00 - 7F CHORUS SEND LEVEL 0.0 - 1.0
Multiplicand of the part chorus level
(=NRPN# 30)
41 m7 rr 00 00 01 00 - 01 Rx. NOTE OFF OFF / ON
41 m8 rr 00 00 01 00 - 01 Rx. NOTE ON OFF / ON
41 m9 rr 00 00 01 00 - 7F DELAY SEND LEVEL [88] 0.0 - 1.0
Multiplicand of the part delay level
(=NRPN# 31)

* When the Drum Set is changed, DRUM SETUP PARAMETER values will all be initialized.
* It is not possible to simultaneously use both Chorus Send Level and Delay Send Level for a single Drum Instrument.

Chapter 8. Appendix 199

● User instrument
You can modify the parameters of this unit sound to your taste, and save your new settings in Variation numbers 64 or 65 of the Native map / SC-88 map (page 98). A sound
saved in this way is called a User Instrument. You can save 256 different sounds in this way.
The parameters you can set are Vibrato, Filter and Envelope.

b: bank number (0H = GS Variation number 64, 1H = GS Variation number 65)

pp: program number (00 - 7F: 1 - 128)

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

20 b0 pp 00 00 01 01 - 03 SOURCE TONE# (MAP) [88] --
20 b1 pp 00 00 01 00 - 7F (CC#00 : Bank number MSB) [88] --
20 b2 pp 00 00 01 00 - 7F (PG# : Program number) [88] --
20 b3 pp 00 00 01 00 - 7F USER INST MODIFY1-2 [88] -64 - +63 40 0
Vibrato Rate
20 b4 pp 00 00 01 00 - 7F USER INST MODIFY2-2 [88] -64 - +63 40 0
Vibrato Depth
20 b5 pp 00 00 01 00 - 7F USER INST MODIFY3-2 [88] -64 - +63 40 0
TVF Cutoff Freq
20 b6 pp 00 00 01 00 - 7F USER INST MODIFY4-2 [88] -64 - +63 40 0
TVF Resonance
20 b7 pp 00 00 01 00 - 7F USER INST MODIFY5-2 [88] -64 - +63 40 0
TVF&TVA Env.attack
20 b8 pp 00 00 01 00 - 7F USER INST MODIFY6-2 [88] -64 - +63 40 0
TVF&TVA Env.decay
20 b9 pp 00 00 01 00 - 7F USER INST MODIFY7-2 [88] -64 - +63 40 0
TVF&TVA Env.release
20 bA pp 00 00 01 00 - 7F USER INST MODIFY8-2 [88] -64 - +63 40 0
Vibrato Delay

● User Drum Set

You can modify drum instrument parameters to your liking, and save this data as a Drum Set. A Drum Set saved in this way is called a User Drum Set. You can save up to two
Drum Sets, and since each set contains 128 instrumental sounds, this provides a total of 256 instrumental sounds (Drum Instruments). You can also give each User Drum Set
a name of your choice. User Drum Sets are stored in Drum Set numbers 65 and 66 of the Native map / SC-88 map.

d: drum set number (0H = User drum set number 65, 1H = User Drum Set number 66)
rr: drum part note number (00 - 7F)

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

21 d0 00 00 00 0C 20 - 7F USER DRUM SET NAME [88] 32 - 127
: (ASCII 12 characters)
21 d0 0B#
21 d1 rr 00 00 01 00 - 7F PLAY NOTE [88] 0 - 127
21 d2 rr 00 00 01 00 - 7F LEVEL [88] 0 - 127
21 d3 rr 00 00 01 00 - 7F ASSIGN GROUP [88] 0 - 127
21 d4 rr 00 00 01 00 - 7F PAN [88] 0 - 127
21 d5 rr 00 00 01 00 - 7F REVERB SEND LEVEL [88] 0 - 127
21 d6 rr 00 00 01 00 - 7F CHORUS SEND LEVEL [88] 0 - 127
21 d7 rr 00 00 01 00 - 01 RX NOTE OFF [88] OFF / ON
21 d8 rr 00 00 01 00 - 01 RX NOTE ON [88] OFF / ON
21 d9 rr 00 00 01 00 - 7F DELAY SEND LEVEL [88] 0 - 127
21 dA rr 00 00 01 01 - 03 SOURCE DRUM SET# (MAP) [88] 1-3
21 dB rr 00 00 01 00 - 7F (PG#: Program number) [88] 0 - 127
21 dC rr 00 00 01 00 - 7F SOURCE NOTE NUMBER [88] 0 - 127

● User Effect
You can modify the Insertion Effect parameters as desired and store them as an Effect Type. Effect Types that are stored in this way are referred to as User Effects. 64 differ-
ent Effect Types can be stored. These are stored in Effect Type numbers 40 00H through 40 3FH.

pp: LSB number of EFX TYPE (00 - 3F : 0-64)

Address(H) Size(H) Data(H) Parameter

22 00 pp 00 00 02 -- SOURCE EFX TYPE [Pro]
22 01 pp#
22 03 pp 00 00 01 00 - 7F EFX PARAMETER 1 [Pro]
22 04 pp 00 00 01 00 - 7F EFX PARAMETER 2 [Pro]
22 05 pp 00 00 01 00 - 7F EFX PARAMETER 3 [Pro]
22 06 pp 00 00 01 00 - 7F EFX PARAMETER 4 [Pro]
22 07 pp 00 00 01 00 - 7F EFX PARAMETER 5 [Pro]
22 08 pp 00 00 01 00 - 7F EFX PARAMETER 6 [Pro]
22 09 pp 00 00 01 00 - 7F EFX PARAMETER 7 [Pro]
22 0A pp 00 00 01 00 - 7F EFX PARAMETER 8 [Pro]
22 0B pp 00 00 01 00 - 7F EFX PARAMETER 9 [Pro]
22 0C pp 00 00 01 00 - 7F EFX PARAMETER 10 [Pro]
22 0D pp 00 00 01 00 - 7F EFX PARAMETER 11 [Pro]
22 0E pp 00 00 01 00 - 7F EFX PARAMETER 12 [Pro]
22 0F pp 00 00 01 00 - 7F EFX PARAMETER 13 [Pro]
22 10 pp 00 00 01 00 - 7F EFX PARAMETER 14 [Pro]
22 11 pp 00 00 01 00 - 7F EFX PARAMETER 15 [Pro]
22 12 pp 00 00 01 00 - 7F EFX PARAMETER 16 [Pro]
22 13 pp 00 00 01 00 - 7F EFX PARAMETER 17 [Pro]
22 14 pp 00 00 01 00 - 7F EFX PARAMETER 18 [Pro]
22 15 pp 00 00 01 00 - 7F EFX PARAMETER 19 [Pro]
22 16 pp 00 00 01 00 - 7F EFX PARAMETER 20 [Pro]

● User Patch
All Patch Common and Patch Part parameters (limited to Part 1 and Part 2) can be adjusted as desired, and saved as a Patch.
Patches saved in this way are referred to as User Patches. 16 different User Patches can be saved.

● User Patch Common

pp : Patch number (00 - 0F : 1-16)

200 Chapter 8. Appendix

Address(H) Size(H) Data(H) Parameter
23 pp 00 00 00 04 0018 - 07E8 MASTER TUNE [Pro] -100.0 - +100.0 [cent]
23 pp 01#
23 pp 02#
23 pp 03#
23 pp 04 00 00 01 00 - 7F MASTER VOLUME [Pro] 0 - 127
23 pp 05 00 00 01 28 - 58 MASTER KEY-SHIFT [Pro] -24 - +24 [semitones]
23 pp 06 00 00 01 01 - 7F MASTER PAN [Pro] -63 - +63

23 pp 08 00 00 10 20 - 7F PATCH NAME [Pro] 16 ASCII Characters

23 pp : #
23 pp 17#
23 pp 18 00 00 01 00 - 07 REVERB MACRO [Pro] Room 1 - PDelay
23 pp 19 00 00 01 00 - 07 REVERB CHARACTER [Pro] 0-7
23 pp 1A 00 00 01 00 - 07 REVERB PRE-LPF [Pro] 0-7
23 pp 1B 00 00 01 00 - 7F REVERB LEVEL [Pro] 0 - 127
23 pp 1C 00 00 01 00 - 7F REVERB TIME [Pro] 0 - 127
23 pp 1D 00 00 01 00 - 7F REVERB DELAY FEEDBACK [Pro] 0 - 127

23 pp 1F 00 00 01 00 - 7F REVERB PREDELAY TIME [Pro] 0 - 127[ms]

* In MODE-2 (Double module mode), REVERB PREDELAY TIME cannot be used.

23 pp 20 00 00 01 00 - 07 CHORUS MACRO [Pro] Chorus 1 - SDelay(FB)

23 pp 21 00 00 01 00 - 07 CHORUS PRE-LPF [Pro] 0-7
23 pp 22 00 00 01 00 - 7F CHORUS LEVEL [Pro] 0-127
23 pp 23 00 00 01 00 - 7F CHORUS FEEDBACK [Pro] 0-127
23 pp 24 00 00 01 00 - 7F CHORUS DELAY [Pro] 0-127
23 pp 25 00 00 01 00 - 7F CHORUS RATE [Pro] 0-127
23 pp 26 00 00 01 00 - 7F CHORUS DEPTH [Pro] 0-127
23 pp 27 00 00 01 00 - 7F CHORUS SEND LEVEL TO REVERB [Pro] 0-127
23 pp 28 00 00 01 00 - 7F CHORUS SEND LEVEL TO DELAY [Pro] 0-127
* In MODE-2 (Double module mode), CHORUS SEND LEVEL TO DELAY cannot be used.

23 pp 29 00 00 01 00 - 09 DELAY MACRO [Pro] Delay 1 - Pan Repeat

23 pp 2A 00 00 01 00 - 07 DELAY PRE-LPF [Pro] 0-7
23 pp 2B 00 00 01 01 - 73 DELAY TIME CENTER [Pro] 0.1ms - 1sec
23 pp 2C 00 00 01 01 - 78 DELAY TIME RATIO LEFT [Pro] 4 - 500%
23 pp 2D 00 00 01 01 - 78 DELAY TIME RATIO RIGHT [Pro] 4 - 500%
23 pp 2E 00 00 01 00 - 7F DELAY LEVEL CENTER [Pro] 0 - 127
23 pp 2F 00 00 01 00 - 7F DELAY LEVEL LEFT [Pro] 0 - 127
23 pp 30 00 00 01 00 - 7F DELAY LEVEL RIGHT [Pro] 0 - 127
23 pp 31 00 00 01 00 - 7F DELAY LEVEL [Pro] 0 - 127
23 pp 32 00 00 01 00 - 7F DELAY FEEDBACK [Pro] -64 - +63
23 pp 33 00 00 01 00 - 7F DELAY SENDLEVEL TO REVERB [Pro] 0 - 127
* In MODE-2 (Double module mode), DELAY cannot be used.

23 pp 34 00 00 01 00 - 01 EQ LOW FREQ [Pro] 200Hz, 400Hz

23 pp 35 00 00 01 34 - 4C EQ LOW GAIN [Pro] -12 - +12dB
23 pp 36 00 00 01 00 - 01 EQ HIGH FREQ [Pro] 3kHz, 6kHz
23 pp 37 00 00 01 34 - 4C EQ HIGH GAIN [Pro] -12 - +12dB
* In MODE-2 (Double module mode), EQ cannot be used.

Chapter 8. Appendix 201

23 pp 40 00 00 02 00 - 7F EFX TYPE [Pro]
23 pp 41#
23 pp 43 00 00 01 00 - 7F EFX PARAMETER 1 [Pro]
23 pp 44 00 00 01 00 - 7F EFX PARAMETER 2 [Pro]
23 pp 45 00 00 01 00 - 7F EFX PARAMETER 3 [Pro]
23 pp 46 00 00 01 00 - 7F EFX PARAMETER 4 [Pro]
23 pp 47 00 00 01 00 - 7F EFX PARAMETER 5 [Pro]
23 pp 48 00 00 01 00 - 7F EFX PARAMETER 6 [Pro]
23 pp 49 00 00 01 00 - 7F EFX PARAMETER 7 [Pro]
23 pp 4A 00 00 01 00 - 7F EFX PARAMETER 8 [Pro]
23 pp 4B 00 00 01 00 - 7F EFX PARAMETER 9 [Pro]
23 pp 4C 00 00 01 00 - 7F EFX PARAMETER 10 [Pro]
23 pp 4D 00 00 01 00 - 7F EFX PARAMETER 11 [Pro]
23 pp 4E 00 00 01 00 - 7F EFX PARAMETER 12 [Pro]
23 pp 4F 00 00 01 00 - 7F EFX PARAMETER 13 [Pro]
23 pp 50 00 00 01 00 - 7F EFX PARAMETER 14 [Pro]
23 pp 51 00 00 01 00 - 7F EFX PARAMETER 15 [Pro]
23 pp 52 00 00 01 00 - 7F EFX PARAMETER 16 [Pro]
23 pp 53 00 00 01 00 - 7F EFX PARAMETER 17 [Pro]
23 pp 54 00 00 01 00 - 7F EFX PARAMETER 18 [Pro]
23 pp 55 00 00 01 00 - 7F EFX PARAMETER 19 [Pro]
23 pp 56 00 00 01 00 - 7F EFX PARAMETER 20 [Pro]
23 pp 57 00 00 01 00 - 7F EFX SEND LEVEL TO REVERB [Pro]
23 pp 58 00 00 01 00 - 7F EFX SEND LEVEL TO CHORUS [Pro]
23 pp 59 00 00 01 00 - 7F EFX SEND LEVEL TO DELAY [Pro]
23 pp 5B 00 00 01 00 - 7F EFX CONTROL SOURCE1 [Pro]
23 pp 5C 00 00 01 00 - 7F EFX CONTROL DEPTH1 [Pro]
23 pp 5D 00 00 01 00 - 7F EFX CONTROL SOURCE [Pro]
23 pp 5E 00 00 01 00 - 7F EFX CONTROL DEPTH2 [Pro]
23 pp 5F 00 00 01 00 - 7F EFX SEND EQ SWITCH [Pro]
* In the case of Mode 2 (Double Module mode), the Insertion effect cannot be used for Parts with a CHANNEL MSG RX PORT (page 194) setting of PORT B.

❍ User Patch Part

2a : Patch part number (Part1: a=4, Part2: a=6)

2b : Patch part number (Part1: b=5, Part2: b=7)
pp : Patch number(00 - 0F : 1-16)

Address(H) Size(H) Data(H) Parameter

2a pp 00 00 00 02 00 - 7F TONE NUMBER [Pro] CC#00 VALUE: 0 - 127
P.C. VALUE: 1 - 128
2a pp 01# 00 - 7F
2a pp 02 00 00 01 00 - 10 Rx. CHANNEL [Pro] 1 - 16, OFF
2a pp 03 00 00 01 00 - 01 Rx. PITCH BEND [Pro] OFF / ON
2a pp 04 00 00 01 00 - 01 Rx. CH PRESSURE (CAf) [Pro] OFF / ON
2a pp 05 00 00 01 00 - 01 Rx. PROGRAM CHANGE [Pro] OFF / ON
2a pp 06 00 00 01 00 - 01 Rx. CONTROL CHANGE [Pro] OFF / ON
2a pp 07 00 00 01 00 - 01 Rx. POLY PRESSURE (PAf) [Pro] OFF / ON
2a pp 08 00 00 01 00 - 01 Rx. NOTE MESSAGE [Pro] OFF / ON
2a pp 09 00 00 01 00 - 01 Rx. RPN [Pro] OFF / ON
2a pp 0A 00 00 01 00 - 01 Rx. NRPN [Pro] OFF / ON
2a pp 0B 00 00 01 00 - 01 Rx. MODULATION [Pro] OFF / ON
2a pp 0C 00 00 01 00 - 01 Rx. VOLUME [Pro] OFF / ON
2a pp 0D 00 00 01 00 - 01 Rx. PANPOT [Pro] OFF / ON
2a pp 0E 00 00 01 00 - 01 Rx. EXPRESSION [Pro] OFF / ON
2a pp 0F 00 00 01 00 - 01 Rx. HOLD1 [Pro] OFF / ON
2a pp 10 00 00 01 00 - 01 Rx. PORTAMENTO [Pro] OFF / ON
2a pp 11 00 00 01 00 - 01 Rx. SOSTENUTO [Pro] OFF / ON
2a pp 12 00 00 01 00 - 01 Rx. SOFT [Pro] OFF / ON
2a pp 13 00 00 01 00 - 01 MONO/POLY MODE [Pro] Mono / Poly
2a pp 14 00 00 01 00 - 02 ASSIGN MODE [Pro] SINGLE - FULL MULTI
2a pp 15 00 00 01 00 - 02 USE FOR RHYTHM PART [Pro] OFF - MAP2
2a pp 16 00 00 01 28 - 58 PITCH KEY SHIFT [Pro] -24 - +24 [semitones]
2a pp 17 00 00 02 08 - F8 PITCH OFFSET FINE [Pro] -12.0 - +12.0 [Hz]
2a pp 19 00 00 01 00 - 7F PART LEVEL [Pro] 0 - 127
2a pp 1A 00 00 01 00 - 7F VELOCITY SENSE DEPTH [Pro] 0 - 127
2a pp 1B 00 00 01 00 - 7F VELOCITY SENSE OFFSET [Pro] 0 - 127
2a pp 1C 00 00 01 00 - 7F PART PANPOT [Pro] Random,L63 - R63
2a pp 1D 00 00 01 00 - 7F KEYBOARD RANGE LOW [Pro] 0 - 127
2a pp 1E 00 00 01 00 - 7F KEYBOARD RANGE HIGH [Pro] 0 - 127
2a pp 1F 00 00 01 00 - 5F CC1 CONTROLLER NUMBER [Pro] 0 - 95
2a pp 20 00 00 01 00 - 5F CC2 CONTROLLER NUMBER [Pro] 0 - 95
2a pp 21 00 00 01 00 - 7F CHORUS SEND LEVEL [Pro] 0 - 127
2a pp 22 00 00 01 00 - 7F REVERB SEND LEVEL [Pro] 0 - 127
2a pp 23 00 00 01 00 - 01 Rx.BANK SELECT [Pro] OFF / ON
2a pp 24 00 00 01 00 - 01 RX BANK SELECT LSB [Pro] OFF / ON

2a pp 2A 00 00 02 00 00 - 7F 7F PITCH FINE TUNE [Pro] -100 - 0 - +100[cent]

2a pp 2B#
2a pp 2C 00 00 01 00 - 7F DELAY SEND LEVEL [Pro] 0 - 127
* In MODE-2 (Double module mode), DELAY SEND LEVEL cannot be used.

202 Chapter 8. Appendix

2a pp 30 00 00 01 00 - 7F TONE MODIFY1 [Pro] -64 - +63
Vibrato Rate
2a pp 31 00 00 01 00 - 7F TONE MODIFY2 [Pro] -64 - +63
Vibrato Depth
2a pp 32 00 00 01 00 - 7F TONE MODIFY3 [Pro] -64 - +63
TVF Cutoff Freq
2a pp 33 00 00 01 00 - 7F TONE MODIFY4 [Pro] -64 - +63
TVF Resonance
2a pp 34 00 00 01 00 - 7F TONE MODIFY5 [Pro] -64 - +63
TVF&TVA Env.attack
2a pp 35 00 00 01 00 - 7F TONE MODIFY6 [Pro] -64 - +63
TVF&TVA Env.decay
2a pp 36 00 00 01 00 - 7F TONE MODIFY7 [Pro] -64 - +63
TVF&TVA Env.release
2a pp 37 00 00 01 00 - 7F TONE MODIFY8 [Pro] -64 - +63
Vibrato Delay

2a pp 40 00 00 0C 00 - 7F SCALE TUNING C [Pro] -64 - +63 [cent]

2a pp : #
2a pp 4B# 00 - 7F SCALE TUNING B [Pro] -64 - +63 [cent]

2a pp 50 00 00 01 28 - 58 MOD PITCH CONTROL [Pro] -24 - +24 [semitones]

2a pp 51 00 00 01 00 - 7F MOD TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2a pp 52 00 00 01 00 - 7F MOD AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2a pp 53 00 00 01 00 - 7F MOD LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 54 00 00 01 00 - 7F MOD LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 55 00 00 01 00 - 7F MOD LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 56 00 00 01 00 - 7F MOD LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2a pp 57 00 00 01 00 - 7F MOD LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 58 00 00 01 00 - 7F MOD LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 59 00 00 01 00 - 7F MOD LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 5A 00 00 01 00 - 7F MOD LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

2a pp 60 00 00 01 40 - 58 BEND PITCH CONTROL [Pro] 0 - 24 [semitones]

2a pp 61 00 00 01 00 - 7F BEND TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2a pp 62 00 00 01 00 - 7F BEND AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2a pp 63 00 00 01 00 - 7F BEND LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 64 00 00 01 00 - 7F BEND LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 65 00 00 01 00 - 7F BEND LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 66 00 00 01 00 - 7F BEND LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2a pp 67 00 00 01 00 - 7F BEND LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 68 00 00 01 00 - 7F BEND LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 69 00 00 01 00 - 7F BEND LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 6A 00 00 01 00 - 7F BEND LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

2a pp 70 00 00 01 28 - 58 CAf PITCH CONTROL [Pro] -24 - +24 [semitones]

2a pp 71 00 00 01 00 - 7F CAf TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2a pp 72 00 00 01 00 - 7F CAf AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2a pp 73 00 00 01 00 - 7F CAf LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 74 00 00 01 00 - 7F CAf LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 75 00 00 01 00 - 7F CAf LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 76 00 00 01 00 - 7F CAf LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2a pp 77 00 00 01 00 - 7F CAf LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2a pp 78 00 00 01 00 - 7F CAf LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2a pp 79 00 00 01 00 - 7F CAf LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2a pp 7A 00 00 01 00 - 7F CAf LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

2b pp 00 00 00 01 28 - 58 PAf PITCH CONTROL [Pro] -24 - +24 [semitones]

2b pp 01 00 00 01 00 - 7F PAf TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2b pp 02 00 00 01 00 - 7F PAf AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2b pp 03 00 00 01 00 - 7F PAf LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 04 00 00 01 00 - 7F PAf LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 05 00 00 01 00 - 7F PAf LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 06 00 00 01 00 - 7F PAf LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2b pp 07 00 00 01 00 - 7F PAf LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 08 00 00 01 00 - 7F PAf LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 09 00 00 01 00 - 7F PAf LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 0A 00 00 01 00 - 7F PAf LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

2b pp 10 00 00 01 28 - 58 CC1 PITCH CONTROL [Pro] -24 - +24 [semitones]

2b pp 11 00 00 01 00 - 7F CC1 TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2b pp 12 00 00 01 00 - 7F CC1 AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2b pp 13 00 00 01 00 - 7F CC1 LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 14 00 00 01 00 - 7F CC1 LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 15 00 00 01 00 - 7F CC1 LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 16 00 00 01 00 - 7F CC1 LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2b pp 17 00 00 01 00 - 7F CC1 LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 18 00 00 01 00 - 7F CC1 LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 19 00 00 01 00 - 7F CC1 LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 1A 00 00 01 00 - 7F CC1 LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

Chapter 8. Appendix 203

2b pp 20 00 00 01 28 - 58 CC2 PITCH CONTROL [Pro] -24 - +24 [semitones]
2b pp 21 00 00 01 00 - 7F CC2 TVF CUTOFF CONTROL [Pro] -9600 - +9600 [cent]
2b pp 22 00 00 01 00 - 7F CC2 AMPLITUDE CONTROL [Pro] -100.0 - +100.0 [%]
2b pp 23 00 00 01 00 - 7F CC2 LFO1 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 24 00 00 01 00 - 7F CC2 LFO1 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 25 00 00 01 00 - 7F CC2 LFO1 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 26 00 00 01 00 - 7F CC2 LFO1 TVA DEPTH [Pro] 0 - 100.0 [%]
2b pp 27 00 00 01 00 - 7F CC2 LFO2 RATE CONTROL [Pro] -10.0 - +10.0 [Hz]
2b pp 28 00 00 01 00 - 7F CC2 LFO2 PITCH DEPTH [Pro] 0 - 600 [cent]
2b pp 29 00 00 01 00 - 7F CC2 LFO2 TVF DEPTH [Pro] 0 - 2400 [cent]
2b pp 2A 00 00 01 00 - 7F CC2 LFO2 TVA DEPTH [Pro] 0 - 100.0 [%]

2b pp 30 00 00 01 00 - 03 TONE MAP NUMBER [Pro] MAP 0 - 3

2b pp 31 00 00 01 01 - 03 TONE MAP-0 NUMBER [Pro] SC-55 MAP - Native MAP
2b pp 33 00 00 01 00 - 01 EQ ON/OFF [Pro] OFF / ON
2b pp 34 00 00 01 00 - 03 OUTPUT ASSIGN [Pro] OUTPUT-1 - OUTPUT-2R
2b pp 35 00 00 01 00 - 01 PART EFX ASSIGN [Pro] BYPASS - EFX

204 Chapter 8. Appendix

Section 4. Bulk Dump
Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer.
To make this unit perform a Bulk Dump transmission, send it a "Bulk Dump Request" message. Bulk Dump Request uses the Data Request 1 (RQ1) format, but unlike when
transmitting individual parameters, the "Size" specified by the request message refers not to size of the data but rather specifies the contents of the data. For the data contents
corresponding to each Size, refer to "Parameter Dump."
When this unit receives a Bulk Dump Request, it will transmit a Bulk Dump in the format given below.
This unit is also able to transmit a list of its internal sounds. This function can be used to display a list of sounds on a computer.

■ Parameter dump
❍ Parameter dump request (receive only) [Pro]
This is a command that requests a set of parameter data, and uses "Data Request 1 (RQ1)" format. The Size specifies the requested data contents.

Address: 0C 00 00
Size: 00 00 00 : ALL request a dump of all parameters
00 00 01 : ALL 1 use this when not using USER TONE BANK or USER DRUM SET
00 00 02 : ALL 2 use this when USER TONE BANK, USER DRUM SET and DRUM SETUP settings have not been modified
00 00 10 : 16-part GS 1 use this when using only 16 Parts
00 00 11 : 16-part GS 2 use this when using only 16 Parts, and DRUM SETUP settings have not been modified
00 01 00 : USER TONE BANK (ALL) request a dump of all USER TONE BANK data
00 01 40 : USER TONE BANK #64 request a dump of USER TONE BANK #64 data (128 sounds)
00 01 41 : USER TONE BANK #65 request a dump of USER TONE BANK #65 data (128 sounds)
00 02 00 : USER DRUM SET (ALL) request a dump of all USER DRUM SET data
00 02 40 : USER DRUM SET #65 request a dump of USER DRUM SET #64 data
00 02 41 : USER DRUM SET #66 request a dump of USER DRUM SET #65 data
00 03 00 : USER EFX request a dump of USER EFX data
00 04 00 : USER PATCH request a dump of USER PATCH data

Example) Dump request for all parameters: F0 41 DEV 42 11 0C 00 00 00 00 00 74 F7

Normally, using ALL (00 00 00) provides the greatest predictability, but the amount of data is very large, and transmission requires approximately 25 seconds. In order to
reduce transmission time and data volume, we suggest that you request a dump only of the necessary data. Panel button operations allow you to transmit dumps of ALL, ALL
1, 16-part GS 1, 16-part GS 2, USER TONE BANK (ALL), USER DRUM SET (ALL), USER EFX, USER PATCH.

❍ Parameter dump [Pro]

When a Parameter Dump Request is received, or when panel operations initiate a dump transmission, the following data will be transmitted in "Data Set 1 (DT1)" format.

Number of 16-part USER TONE BANK USER DRUM SET --USER--

Address Description packets ALL ALL1 ALL2 GS1 GS2 ALL #64 #65 ALL #65 #66 EFX PATCH
2A 00 00 - 2A 0F 7F USER EFX #1-64 16 ❍ ❍
2B 00 00 - 2B 5F 7F USER PATCH #1-16 96 ❍ ❍
08 00 00 - 08 00 7F SETUP 1 ❍ ❍ ❍ ❍ ❍
28 00 00 - 28 0A 7F USER TONE BANK #64 11 ❍ ❍ ❍
28 10 00 - 28 1A 7F USER TONE BANK #65 11 ❍ ❍ ❍
29 00 00 - 29 0B 0F USER DRUM SET #65 12 ❍ ❍ ❍
29 10 00 - 29 1B 0F USER DRUM SET #66 12 ❍ ❍ ❍
48 1D 10 - 48 26 0F PATCH EXTENSION A 9 ❍ ❍ ❍ ❍ ❍
48 00 00 - 48 1D 0F SYSTEM/PATCH A 30 ❍ ❍ ❍ ❍ ❍
49 00 00 - 49 1F 7F DRUM SETUP A 32 ❍ ❍ ❍
58 1D 10 - 58 26 0F PATCH EXTENSION B 9 ❍ ❍ ❍
58 00 00 - 58 1D 0F SYSTEM/PATCH B 30 ❍ ❍ ❍
59 00 00 - 59 1F 7F DRUM SETUP B 32 ❍ ❍

This table lists the data contents that will be transmitted when panel buttons are used to request a dump, or when a Parameter Dump Request is received at MIDI IN A. When a
Parameter Dump Request is received at MIDI IN B, A and B will be reversed for PATCH EXTENSION, SYSTEM/PATCH and DRUM SETUP.

* When data dumped by this unit is reloaded into this unit, be aware that the data may not be set correctly if the transmission order of the packets is changed, if the time interval
between packets is changed, or if other messages are inserted between packets.
* The Parameter Dump data of this unit includes data for GS format compatible devices, and this data is compatible in both directions. However, depending on the settings of
parameters which are newly extended on this unit, the musical result may differ.
* If this unit does not operate correctly with Bulk Dump data from another GS format compatible device, first initialize this unit (page 118) before retransmitting the data.
* When another GS format compatible device receives Parameter Dump data that was transmitted by this unit, it may display a message such as "Address Error", but this is
because the parameter addresses newly extended on this unit were not recognized by the other device. Parameters which could be recognized by that device have been cor-
rectly set.

Chapter 8. Appendix 205

■ Dumping a list of internal sounds ● Insertion effect list dump

● Instrument list dump

❍ Insertion effect list dump request (receive only) [Pro]
This command requests a bulk dump transmission of the Insertion effect list of an
❍ Instrument list dump request (request only) [Pro]
internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the
This command requests a bulk dump of a list of the preset sounds (Instruments) in desired data contents.
internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the
contents of the requested data. Address: 0C 00 04
Size: 00 00 00 : ALL
Address: 0C 00 01
Size: 00 00 00 : ALL ❍ Insertion effect list dump (transmit only) [Pro]
00 00 01 : SC-55 MAP
When a Insertion Effect List Dump Request is received, the specified Insertion Effect
00 00 02 : SC-88 MAP
names will be transmitted in the following format where 20 bytes are used for each
00 00 03 : Native MAP
Effect name. The address of the transmitted data will be 0C 00 04 for each packet.
00 mm bb mm = MAP# 01 - 03 ( 01 = SC-55 MAP, 02 = SC-88 MAP,
03 = Native MAP)
DUMP FORMAT :
bb = BANK# 00 - 7F
0 1 2 3 4 5 6 7 8 9 A B C D E F 10 11 12 13

❍ Instrument list dump (transmit only) [Pro] MSB LSB 00 00 EFFECT NAME(ASCII 16 Characters)

When Instrument List Dump Request is received, the sound names of the specified
map will be transmitted continuously in the format given below, where 16 bytes are
used for each sound name. The Address of the transmitted data is 0C 00 01 for all MSB : Category
packets.User bank sound names are not transmitted. LSB : Type

DUMP FORMAT: ● Preset patch list dump

0 1 2 3 4 5 6 7 8 9 A B C D E F
❍ Preset patch list dump request (receive only) [Pro]
CC0 MAP PC 00 TONE NAME(ASCII 12 Characters) This command requests a bulk dump transmission of the Preset patch list of an
internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the
desired data contents.
CC0 : Variation number
MAP : MAP number 01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP
Address: 0C 00 05
PC : Program number
Size: 00 00 00 : ALL
● Drum set list dump
❍ Preset patch list dump (transmit only) [Pro]
When a Preset Patch List Dump Request is received, the specified Preset patch
❍ Drum set list dump request (receive only) [Pro]
names will be transmitted in the following format where 20 bytes are used for each
This command requests a bulk dump transmission of a list of Preset Drum Sets in
Patch name. The address of the transmitted data will be 0C 00 05 for each packet.
internal memory, and uses "Data Request 1 (RQ1)" format. The Size specifies the
desired data contents.
DUMP FORMAT :
0 1 2 3 4 5 6 7 8 9 A B C D E F 10 11 12 13
Address: 0C 00 02
00 00 PC 00 PATCH NAME(ASCII 16 Characters)
Size: 00 00 00 : ALL
00 00 01 : SC-55 MAP
00 00 02 : SC-88 MAP
00 00 03 : Native MAP PC : Program number

❍ Drum set list dump (transmit only) [Pro]

When a Drum Set List Dump Request is received, the Drum Set names of the speci-
fied MAP will be transmitted successively in the format given below, where 16 bytes
are used for each sound. The Address of the transmitted data will be 0C 00 02 for
each packet.

DUMP FORMAT:
0 1 2 3 4 5 6 7 8 9 A B C D E F
00 MAP PC 00 DRUM TONE NAME(ASCII 12 Characters)

MAP : MAP number 01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP

PC : Program number

● Drum instrument list dump

❍ Drum instrument list dump request (receive only) [Pro]

This command requests a bulk dump transmission of the Instrument list of an inter-
nal Preset Drum Sets, and uses "Data Request 1 (RQ1)" format. The Size specifies
the desired data contents.

Address: 0C 00 03
Size: 00 mm pp mm = MAP# 01 - 03 ( 01 = SC-55 MAP, 02 = SC-88 MAP,
03 = Native MAP)
pp = Drum set# 00 - 7F (same as PC#)

❍ Drum instrument list dump (transmit only) [Pro]

When a Drum Instrument List Dump Request is received, the Drum Instrument
names of the specified Drum Set will be transmitted in the following format where 16
bytes are used for each Drum Instrument name. The address of the transmitted data
will be 0C 00 03 for each packet.

DUMP FORMAT:
0 1 2 3 4 5 6 7 8 9 A B C D E F

00 MAP PC KEY DRUM TONE NAME(ASCII 12 Characters)

MAP : MAP number 01 = SC-55 MAP, 02 = SC-88 MAP, 03 = Native MAP

PC : Program number
KEY : Note number

206 Chapter 8. Appendix

Section 5. Supplementary material ● Examples of actual MIDI messages
<Example 1> 92 3E 5F
● Decimal and Hexadecimal table 9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH =
62, and 5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62
(An 'H' is appended to the end of numbers in hexadecimal notation.)
(note name is D4), and velocity 95.
In MIDI documentation, data values and addresses/sizes of exclusive messages etc.
are expressed as hexadecimal values for each 7 bits.
<Example 2> CE 49
The following table shows how these correspond to decimal numbers.
CnH is the Program Change status, and n is the MIDI channel number. Since EH =
14 and 49H = 73, this is a Program Change message with MIDI CH = 15, program
+-------+-------++-------+-------++-------+-------++-------+-------+
number 74 (Flute in GS).
| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|
+-------+-------++-------+-------++-------+-------++-------+-------+
<Example 3> EA 00 28
| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd
| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |
byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend
| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |
Value is a signed number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch
| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
Bend Value is
| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |
| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the
| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |
pitch to change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of
| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | Pitch Bend is being applied to MIDI channel 11.
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | <Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | BnH is the Control Change status, and n is the MIDI channel number. For Control
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | case in which two or more messages consecutive messages have the same status,
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | MIDI has a provision called "running status" which allows the status byte of the sec-
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | ond and following messages to be omitted. Thus, the above messages have the fol-
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | lowing meaning.
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | B3 64 00 MIDI ch.4, lower byte of RPN parameter number : 00H
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | (B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number : 00H
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | (B3) 06 0C (MIDI ch.4) upper byte of parameter value : 0CH
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | (B3) 26 00 (MIDI ch.4) lower byte of parameter value : 00H
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | (B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number : 7FH
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | (B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number : 7FH
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | In other words, the above messages specify a value of 0C 00H for RPN parameter
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | 7FH.
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend
+-------+-------++-------+-------++-------+-------++-------+-------+ range to ±12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend
Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0)
* Decimal values such as MIDI channel, bank select, and program change are listed so that operation will be correct on any device.)
as one greater than the values given in the above table.
* A 7-bit byte can express data in the range of 128 steps. For data where greater Once the parameter number has been specified for RPN or NRPN, all Data Entry
precision is required, we must use two or more bytes. For example, two hexadeci- messages transmitted on that same channel will be valid, so after the desired value
mal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x has been transmitted, it is a good idea to set the parameter number to 7F 7FH to
128+bb. prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
* In the case of values which have a ± sign, 00H = -64, 40H = ±0, and 7FH = +63,
so that the decimal expression would be 64 less than the value given in the above It is not desirable for performance data (such as Standard MIDI File data) to contain
chart. In the case of two types, 00 00H = -8192, 40 00H = ±0, and 7F 7FH = +8191. many events with running status as given in <Example 4>. This is because if play-
For example if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = back is halted during the song and then rewound or fast-forwarded, the sequencer
aa x 128+bb - 64 x 128. may not be able to transmit the correct status, and the sound source will then misin-
* Data marked "Use nibbled data" is expressed in hexadecimal in 4-bit units. A value terpret the data. Take care to give each event its own status.
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
It is also necessary that the RPN or NRPN parameter number setting and the value
<Example 1> What is the decimal expression of 5AH ? setting be done in the proper order. On some sequencers, events occurring in the
From the preceding table, 5AH = 90 same (or consecutive) clock may be transmitted in an order different than the order
in which they were received. For this reason it is a good idea to slightly skew the
<Example 2> What is the decimal expression of the value 12 34H given as hexa- time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
decimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52 * TPQN: Ticks Per Quarter Note
18 x 128+52 = 2356
● Example of an Exclusive message and calculating a Checksum
<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D ? Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = (before F7) to make sure that the message was correctly received. The value of the
13 checksum is determined by the address and data (or size) of the transmitted exclu-
((10 x 16+3) x 16+9) x 16+13 = 41885 sive message.

<Example 4> What is the nibbled expression of the decimal value 1258?

16) 1258
16) 78 ... 10
16) 4 ... 14
0 ... 4

Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 =

0AH, the answer is 00 04 0E 0AH.

Chapter 8. Appendix 207

 How to calculate the checksum (hexadecimal numbers are indicated by 'H') ● The Scale Tune Feature (address: 40 1x 40)
The checksum is a value derived by adding the address, size and checksum itself The scale Tune feature allows you to finely adjust the individual pitch of the notes
and inverting the lower 7 bits. from C through B. Though the settings are made while working with one octave, the
Here's an example of how the checksum is calculated. We will assume that in the fine adjustments will affect all octaves. By making the appropriate Scale Tune set-
exclusive message we are transmitting, the address is aa bb ccH and the data or tings, you can obtain a complete variety of tuning methods other than equal tem-
size is dd ee ffH. perament. As examples, three possible types of scale setting are explained below.

aa+bb+cc+dd+ee+ff = sum ❍ Equal Temperament

sum ÷ 128 = quotient ... remainder This method of tuning divides the octave into 12 equal parts. It is currently the most
128 - remainder = checksum widely used form of tuning,
especially in occidental music. On this unit, the default settings for the Scale Tune
<Example 1> Setting REVERB MACRO to ROOM 3 feature produce equal temperament.
According to the "Parameter Address Map," the REVERB MACRO Address is 40 01
30H, and ROOM 3 is a value of 02H. Thus, ❍ Just Temperament (Keytone C)
The three main chords resound much more beautifully than with equal tempera-
F0 41 10 42 12 40 01 30 02 ?? F7 ment, but this benefit can only be obtained in one key. If transposed, the chords
(1) (2) (3) (4) (5) address data checksum (6) tend to become ambiguous. The example given involves settings for a key in which
C is the keynote.
(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17),
(4) Model ID (GS), (5) Command ID (DT1), (6) End of Exclusive ❍ Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suit-
Next we calculate the checksum. ed for ethnic music. For example, the settings introduced below will set the unit to
use the Arabian Scale.
40H+01H+30H+02H = 64+1+48+2 = 115 (sum)
115 (sum) ÷ 128 = 0 (quotient) ... 115 (remainder) Example Settings
checksum = 128 - 115 (remainder) = 13 = 0DH Note name Equal Temperament Just Temperament (Keytone C) Arabian Scale
C 0 0 -6
This means that F0 41 10 42 12 40 01 30 02 0D F7 is the message we transmit. C# 0 -8 +45
D 0 +4 -2
<Example 2> Requesting transmission of the LEVEL for DRUM MAP 1 NOTE NUM- D# 0 +16 -12
BER 75 (D#5; Claves) E 0 -14 -51
NOTE NUMBER 75 (D#5) is 4BH in hexadecimal. F 0 -2 -8
According to the "Parameter Address Map," LEVEL of NOTE NUMBER 75 (D#5; F# 0 -10 +43
Claves) in DRUM MAP 1 has an Address of 41 02 4BH and a Size of 00 00 01H. G 0 +2 -4
Thus, G# 0 +14 +47
A 0 -16 0
F0 41 10 42 11 41 02 4B 00 00 01 ?? F7 A# 0 +14 -10
(1) (2) (3) (4) (5) address size checksum (6) B 0 -12 -49

(1) Exclusive Status, (2) ID (Roland), (3) Device ID (17), The values in the table are given in cents. Refer to the explanation of Scale Tuning
(4) Model ID (GS), (5) Command ID(RQ1), (6) End of Exclusive on page 198 to convert these values to hexadecimal, and transmit them as exclu-
sive data.
Next we calculate the checksum. For example, to set the tune (C-B) of the Part1 Arabian Scale, send the data as fol-
lows:
41H+02H+4BH+00H+00H+01H = 65+2+75+0+0+1 = 143 (sum) F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
143 (sum) ÷ 128 = 1 (quotient) ... 15 (remainder)
checksum = 128 - 15 (remainder) = 113 = 71H

This means that F0 41 10 42 11 41 02 4B 00 00 01 71 F7 is the message we trans-

mit.

● About tuning
In MIDI, individual Parts are tuned by sending RPN #1 (Master Fine Tuning) to the
appropriate MIDI channel.
In MIDI, an entire device is tuned by either sending RPN #1 to all MIDI channels
being used, or by sending a System Exclusive MASTER TUNE (address 40 00
00H).
RPN #1 allows tuning to be specified in steps of approximately 0.012 cents (to be
precise, 100/8192 cent), and System Exclusive MASTER TUNE allows tuning in
steps of 0.1 cent. One cent is 1/100th of a semitone.
The values of RPN #1 (Master Fine Tuning) and System Exclusive MASTER TUNE
are added together to determine the actual pitch sounded by each Part.

Frequently used tuning values are given in the following table for your reference.
Values are in hexadecimal (decimal in parentheses).

+--------+--------+--------------+-------------------+
|Hz at A4| cent | RPN #1 | Sys.Ex. 40 00 00 |
+--------+--------+--------------+-------------------+
| 445.0 | +19.56 | 4C 43 (+1603)| 00 04 0C 04 (+196)|
| 444.0 | +15.67 | 4A 03 (+1283)| 00 04 09 0D (+157)|
| 443.0 | +11.76 | 47 44 (+ 964)| 00 04 07 06 (+118)|
| 442.0 | + 7.85 | 45 03 (+ 643)| 00 04 04 0F (+ 79)|
| 441.0 | + 3.93 | 42 42 (+ 322)| 00 04 02 07 (+ 39)|
| 440.0 | 0 | 40 00 ( 0 )| 00 04 00 00 ( 0)|
| 439.0 | - 3.94 | 3D 3D (- 323)| 00 03 0D 09 (- 39)|
| 438.0 | - 7.89 | 3A 7A (- 646)| 00 03 0B 01 (- 79)|
+--------+--------+--------------+-------------------+

<Example> Set the tuning of MIDI channel 3 to A4 = 442.0 Hz

Send RPN#1 to MIDI channel 3. From the above table, the value is 45 03H.

B2 64 00 MIDI ch.3, lower byte of RPN parameter number : 00H

(B2) 65 01 (MIDI ch.3) upper byte of RPN parameter number : 01H
(B2) 06 45 (MIDI ch.3) upper byte of parameter value : 45H
(B2) 26 03 (MIDI ch.3) lower byte of parameter value : 03H
(B2) 64 7F (MIDI ch.3) lower byte of RPN parameter number : 7FH
(B2) 65 7F (MIDI ch.3) upper byte of RPN parameter number : 7FH

208 Chapter 8. Appendix

MIDI SOUND GENERATOR Date : '96.9.
Model SC-88Pro MIDI Implementation Chart Version : 1.00

Function... Transmitted Recognized Remarks

Basic Default ✕ 1-16 Memorized

Channel Changed ✕ 1-16

Default ✕ Mode 3
Mode Message ✕ Mode 3, 4(M=1) *2
Altered **************

Note ✕ 0-127
Number : True Voice ************** 0-127

Velocity Note ON ✕ ❍
Note OFF ✕ ✕

After Key's ✕ ❍ *1
Touch Ch's ✕ ❍ *1

Pitch Bend ✕ ❍ *1

0, 32 ✕ ❍ *1 Bank select
1 ✕ ❍ *1 Modulation
5 ✕ ❍ *1 Portamento time
6, 38 ✕ ❍ *1 Data entr
7 ✕ ❍ *1 Volume
Control 10 ✕ ❍ *1 Pan
11 ✕ ❍ *1 Expression
Change 64 ✕ ❍ *1 Hold 1
65 ✕ ❍ *1 Portamento
66 ✕ ❍ *1 Sostenuto
67 ✕ ❍ *1 Soft
84 ✕ ❍ *1 Portamento control
91 ✕ ❍ *1 Effect 1 (Reverb Send Level)
93 ✕ ❍ *1 Effect 3 (Chorus Send Level)
94 ✕ ❍ *1 Effect 4 (Delay Send Level)
98, 99 ✕ ✕ *1 NRPN LSB,MSB
100, 101 ✕ ❍ *1 RPN LSB,MSB

Program ✕ ❍ *1
Change : True # ************** 0-127 Program Number: 1-128

System Exclusive ❍ ❍

System : Song Pos ✕ ✕

Common : Song Sel ✕ ✕
: Tune ✕ ✕

System : Clock ✕ ✕
Real Time : Commands ✕ ✕

: All Sounds OFF ✕ ❍ (120,126,127)

: Reset All Controllers ✕ ❍
Aux : Local ON/OFF ✕ ✕
Messages : All Notes OFF ✕ ❍ (123-125)
: Active Sensing ❍ ❍
: Reset ✕ ✕

Notes *1 ❍ ✕ is selectable.
*2 Recognize as M=-1 even if M =/ 1

Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO ❍ : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO ✕ : No

Chapter 8. Appendix 209

■ INDEX
[A—K] Data Entry .................................................................132
Active Sensing...........................................................133 Decay Time .................................................................33
Aftertouch ............................................................33, 132 Delay
All Note Off ................................................................133 All Delay.................................................................50
All Sound Off .............................................................133 Part Delay ........................................................13, 50
Apple Macintosh .......................................................120 Delay Feedback ..........................................................54
Assign Group...............................................................44 Delay Level..................................................................54
Assign Lock .................................................................38 Delay Level Center ......................................................54
Attack Time .................................................................33 Delay Level Left...........................................................54
Audio Input ..................................................................15 Delay Level Right ........................................................54
Back Up Switch ...........................................................37 Delay Pre-LPF .............................................................54
Bank Select ...............................................................126 Delay Send Level ......................................................132
Bar Indicator ..................................................................9 Delay Send Level To Reverb ......................................54
Battery ...........................................................................3 Delay Time Center ......................................................54
Bend Delay Time Ratio Left ..................................................54
Range ....................................................................30 Delay Time Ratio Right ...............................................54
Cutoff .....................................................................30 Delay Type ..................................................................54
Amp .......................................................................30 Device ID ...................................................................134
LFO Rate ...............................................................30 Display.........................................................................37
LFO Pitch...............................................................30 Double Module Mode ................................................116
LFO TVF ................................................................30 Drum Edit ....................................................................42
LFO TVA................................................................30 Drum Part ....................................................................27
Bulk Dump .................................................................107 Drum Set .............................................................18, 128
Bulk Dump Data ........................................................107 Dump .........................................................................107
CAf Dump Data ................................................................107
Range ....................................................................30 Effect
Cutoff .....................................................................30 Insertion Effect.......................................................56
Amp .......................................................................30 System Effect.........................................................48
LFO Rate ...............................................................30 EFX Control Depth ......................................................92
LFO Pitch...............................................................30 EFX Control Source ....................................................92
LFO TVF ................................................................30 EFX Param ..................................................................56
LFO TVA................................................................30 EFX Type ....................................................................56
Capital .........................................................................20 EFX Value ...................................................................56
CC1 EQ Lock.....................................................................140
Range ....................................................................30 Error Message ...........................................................148
Cutoff .....................................................................30 Exclusive Message....................................................133
Amp .......................................................................30 Expression.................................................................131
LFO Rate ...............................................................30 Factory Preset ...........................................................118
LFO Pitch...............................................................30 Fine Tune ....................................................................28
LFO TVF ................................................................30 Frame Draw...............................................................110
LFO TVA................................................................30 GM Initialize...............................................................118
CC1 Controller Number ...............................................29 GM System............................................................2, 118
Channel .........................................................22, 41, 130 GM System On ..........................................................140
Channel Aftertouch......................................................30 GS Initialize ...............................................................118
Channel Pressure........................................................30 GS Format .....................................................................2
Chorus GS Reset ...................................................................140
All Chorus ..............................................................50 Headphone ..................................................................15
Part Chorus.....................................................13, 50 High Frequency ...........................................................49
Chorus Delay...............................................................53 High Gain ....................................................................49
Chorus Depth ..............................................................53 Hold1 .........................................................................132
Chorus Feedback ........................................................53 IBM PC/AT ...............................................................120
Chorus Level ...............................................................53 In B Select .................................................................135
Chorus Pre-LPF ..........................................................53 Individual Data...........................................................108
Chorus Rate ................................................................53 Initialize .....................................................................118
Chorus Send Level ....................................................132 Input Modes...............................................................137
Chorus Send Level To Delay ......................................53 Instrument .............................................................10, 18
Chorus Send Level To Reverb ....................................53 Keyboard Range H ......................................................28
Chorus Type ................................................................53 Keyboard Range L ......................................................28
CM-64........................................................................114 Key Shift
Computer Cable ........................................................120 Master Key Shift ....................................................35
Computer Switch .......................................................120 Part Key Shift...................................................12, 25
Contrast (Display)........................................................38
Control Change .........................................................131 [L—P]
Cutoff Frequency .........................................................33 LCD Contrast...............................................................38

210 Chapter 8. Appendix

Legato-enable sound...................................................24 Resonance ..................................................................33
Level Reverb
Master Level ..........................................................35 All Reverb ..............................................................50
Part Level.........................................................11, 25 Part Reverb......................................................13, 50
Low Frequency ............................................................49 Reverb Character ........................................................52
Low Gain .....................................................................49 Reverb Delay Feedback ..............................................52
Master Tune ................................................................14 Reverb Level ...............................................................52
Maximum Polyphony ...................................................24 Reverb Pre Delay Time ...............................................52
MIDI ...........................................................................130 Reverb Pre-LPF ..........................................................52
MIDI Channel ................................................22, 41, 130 Reverb Send Level ....................................................132
MIDI Connector .........................................................135 Reverb Time ................................................................52
MIDI Implementation .................................................188 Reverb Type ................................................................52
MIDI Implementation chart ........................................209 RPN ...................................................................132, 142
MIDI IN B ...................................................................135 Rx.Bank sel ...............................................................141
Modulation Rx.GM On .................................................................140
Range ....................................................................30 Rx.GS Reset .............................................................140
Cutoff .....................................................................30 Rx.NRPN ...................................................................141
Amp .......................................................................30 Rx Sys Mode .............................................................137
LFO Rate ...............................................................30 SC-88 compatible mode ............................................112
LFO Pitch...............................................................30 SC-55 MAP
LFO TVF ................................................................30 All SC-55MAP........................................................34
LFO TVA................................................................30 Part SC-55MAP .....................................................25
Mono/Poly Mode .........................................................27 SC-88 MAP
Multi-Timbral Sound Module .......................................18 All SC-88MAP........................................................34
Mute Part SC-88MAP .....................................................25
All Mute..................................................................34 Scale Tuning ...............................................................29
Part Mute ...............................................................25 SFX ...........................................................160, 169, 175
Mute Lock ..................................................................140 Single Module Mode..................................................116
Normal Part .................................................................27 Soft ............................................................................132
Note Message ...........................................................131 Sostenuto ..................................................................132
Note Number .............................................................131 System Effect ..............................................................48
NRPN ................................................................132, 142 System Exclusive Message.......................................133
Output Assign ..............................................................29 System Mode Set receive switch ..............................137
OUT/THRU Select .....................................................136 System Output Mode...................................................38
Pan THRU ........................................................................136
Master Pan ............................................................35 THRU Function..........................................................123
Part Pan...........................................................11, 25 Tuning .........................................................................14
Part ..............................................................................18 User Drum Edit ..........................................................102
Part Copy ..................................................................106 User Effect...................................................................99
Part EQ........................................................................27 User Instrument Edit....................................................96
Part Exchange ...........................................................106 User Patch.................................................................101
Part Initialize ..............................................................106 User Patch Name ......................................................100
Part Mode ....................................................................27 Variation ......................................................................20
Part Monitor .................................................................27 Velocity Sens Depth ....................................................28
Part Parameter ......................................................25, 31 Velocity Sens Offset ....................................................28
Patch Vibrato Delay ...............................................................32
Preset Patch ..........................................................39 Vibrato Depth ..............................................................32
User Patch ...........................................................101 Vibrato Rate ................................................................32
Patch Load Initialize Switch.........................................38 Voice ...........................................................................24
Peak Hold ....................................................................37 Volume ................................................................11, 131
Pitch Bend Change ...................................................131
Pitch Coarse ................................................................43
Polyphonic Key Pressure ..........................................132
Portamento ................................................................132
Portamento Control ...................................................132
Portamento Time .......................................................132
Power ............................................................................9
Preview Note Name ....................................................37
Preview Velocity ..........................................................37
Program Change ...............................................126, 131

[R—V]
Release Time ..............................................................33
Reset All controllers ..................................................133

Chapter 8. Appendix 211

 Information When you need repair service, call your nearest EDIROL/Roland Service Center or authorized
EDIROL/Roland distributor in your country as shown below.

HONG KONG BARBADOS PERU IRELAND CYPRUS

Parsons Music Ltd. A&B Music Supplies LTD Audionet Roland Ireland Radex Sound Equipment Ltd.
8th Floor, Railway Plaza, 39 12 Webster Industrial Park Distribuciones Musicales SAC G2 Calmount Park, Calmount 17, Diagorou Street, Nicosia,
EUROPE Chatham Road South, T.S.T, Wildey, St.Michael, Barbados Juan Fanning 530 Avenue, Dublin 12 CYPRUS
EDIROL (Europe) Ltd. Kowloon, HONG KONG TEL: (246)430-1100 Miraflores Republic of IRELAND TEL: (022) 66-9426
Studio 3.4 114 Power Road TEL: (01) 4294444
TEL: 2333 1863 Lima - Peru IRAN
London W4 5PY BRAZIL TEL: (511) 4461388
U. K. INDIA Roland Brasil Ltda. ITALY MOCO INC.
TEL: +44 (0)20 8747 5949 TRINIDAD Roland Italy S. p. A. No.41 Nike St., Dr.Shariyati Ave.,
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Mahalaxmi Flats Compound Cotia - Sao Paulo - SP, BRAZIL Ground Floor
TEL: (02) 937-78300 TEL: (021) 285-4169
Off. Dr. Edwin Moses Road, TEL: (011) 4615 5666 Maritime Plaza
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TEL: 0700 33 47 65 20 TEL: (022) 2493 9051 TEL: (868)638 6385 Halilit P. Greenspoon & Sons
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TEL: 0810 000 371 INDONESIA Rut.: 96.919.420-1 URUGUAY Kontor Norge Ltd.
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Av.las industrias edf.Guitar
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Instrumentos Fernando Giraldez
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TEL: (905) 362 9707 TEL: (266) 364 609 Beirut, LEBANON
Makati, Metro Manila 1200, Austrian Office
ECUADOR TEL: (01) 20-1441
U. S. A. PHILIPPINES Eduard-Bodem-Gasse 8,
RUSSIA
Mas Musika A-6020 Innsbruck, AUSTRIA
Roland Corporation U.S. TEL: (02) 899 9801
Rumichaca 822 y Zaruma MuTek OMAN
5100 S. Eastern Avenue TEL: (0512) 26 44 260
TAIWAN Guayaquil - Ecuador Dorozhnaya ul.3,korp.6 TALENTZ CENTRE L.L.C.
Los Angeles, CA 90040-2938, Malatan House No.1
U. S. A. ROLAND TAIWAN TEL:(593-4)2302364 BELGIUM/FRANCE/ 117 545 Moscow, RUSSIA
TEL: (095) 981-4967 Al Noor Street, Ruwi
TEL: (323) 890 3700 ENTERPRISE CO., LTD. GUATEMALA HOLLAND/
SULTANATE OF OMAN
Room 5, 9fl. No. 112 Chung
Casa Instrumental LUXEMBOURG SPAIN TEL: 2478 3443
Shan N.Road Sec.2, Taipei, Roland Central Europe N.V. Roland Iberia, S.L.
Calzada Roosevelt 34-01,zona 11
AFRICA TAIWAN, R.O.C.
Ciudad de Guatemala Houtstraat 3, B-2260, Oevel Paseo García Faria, 33-35 QATAR
TEL: (02) 2561 3339 (Westerlo) BELGIUM 08005 Barcelona SPAIN Badie Studio & Stores
Guatemala
EGYPT TEL: (014) 575811 TEL: 93 493 91 00 P.O. Box 62,
THAILAND TEL:(502) 599-2888
Al Fanny Trading Office Doha, QATAR
Theera Music Co. , Ltd.
HONDURAS CZECH REP. SWEDEN TEL: 423554
9, EBN Hagar A1 Askalany 330 Soi Verng NakornKasem,
Almacen Pajaro Azul S.A. de C.V. K-AUDIO Roland Scandinavia A/S
Street, New Road, Sumpantawongse, SAUDI ARABIA
ARD E1 Golf, Heliopolis, BO.Paz Barahona Kardasovska 626. SWEDISH SALES OFFICE
Bangkok 10100, THAILAND CZ-198 00 Praha 9, aDawliah Universal
Cairo 11341, EGYPT 3 Ave.11 Calle S.O Danvik Center 28, 2 tr.
TEL: (02) 224-8821 CZECH REP. Electronics APL
TEL: 20-2-417-1828 San Pedro Sula, Honduras S-131 30 Nacka SWEDEN
VIETNAM TEL: (504) 553-2029 TEL: (2) 666 10529 TEL: (0)8 702 00 20 Corniche Road, Aldossary
REUNION Bldg., 1st Floor, Alkhobar,
Maison FO - YAM Marcel
SAIGON MUSIC
MARTINIQUE DENMARK SWITZERLAND SAUDI ARABIA
DISTRIBUTOR Roland Scandinavia A/S Roland (Switzerland) AG
25 Rue Jules Hermann, Musique & Son
(TAN DINH MUSIC) Nordhavnsvej 7, Postbox 880, Landstrasse 5, Postfach, P.O.Box 2154, Alkhobar 31952
Chaudron - BP79 97 491 Z.I.Les Mangle
138 Tran Quang Khai Street DK-2100 Copenhagen CH-4452 Itingen, SAUDI ARABIA
Ste Clotilde Cedex, 97232 Le Lamantin
Dist. 1, Ho Chi Minh City DENMARK SWITZERLAND TEL: (03) 898 2081
REUNION ISLAND Martinique F.W.I.
TEL: (0262) 218-429 VIETNAM TEL: 596 596 426860 TEL: 3916 6200 TEL: (061) 927-8383
TEL: (08) 848-4068 SYRIA
SOUTH AFRICA FINLAND UKRAINE Technical Light & Sound
Gigamusic SARL Roland Scandinavia As, Filial Center
Paul Bothner(PTY)Ltd. TIC-TAC
10 Rte De La Folie Rawda, Abdul Qader Jazairi St.
Royal Cape Park, Unit 24 Finland Mira Str. 19/108
Londonderry Road, Ottery 7800 AUSTRALIA/ 97200 Fort De France
Elannontie 5 P.O. Box 180 Bldg. No. 21, P.O.BOX 13520,
Martinique F.W.I. Damascus, SYRIA
Cape Town, SOUTH AFRICA NEW ZEALAND TEL: 596 596 715222
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
295400 Munkachevo,
UKRAINE TEL: (011) 223-5384
TEL: (021) 799 4900
MEXICO TEL: (03131) 414-40
AUSTRALIA/ GERMANY TURKEY
Casa Veerkamp, s.a. de c.v. UNITED KINGDOM ZUHAL DIS TICARET A.S.
NEW ZEALAND Roland Elektronische
ASIA Roland Corporation
Av. Toluca No. 323, Col. Olivar
Musikinstrumente HmbH. Roland (U.K.) Ltd. Galip Dede Cad. No.37
de los Padres 01780 Mexico Beyoglu - Istanbul / TURKEY
Australia Pty.,Ltd. Oststrasse 96, 22844 Atlantic Close, Swansea
CHINA D.F. MEXICO
Norderstedt, GERMANY Enterprise Park, SWANSEA TEL: (0212) 249 85 10
Roland Shanghai Electronics 38 Campbell Avenue TEL: (55) 5668-6699
TEL: (040) 52 60090 SA7 9FJ,
Co.,Ltd. Dee Why West. NSW 2099 U.A.E.
AUSTRALIA NICARAGUA UNITED KINGDOM
5F. No.1500 Pingliang Road GREECE TEL: (01792) 702701 Zak Electronics & Musical
Shanghai 200090, CHINA Bansbach Instrumentos Instruments Co. L.L.C.
For Australia STOLLAS S.A.
TEL: (021) 5580-0800 Musicales Nicaragua Zabeel Road, Al Sherooq Bldg.,
Tel: (02) 9982 8266 Altamira D'Este Calle Principal Music Sound Light
155, New National Road No. 14, Grand Floor, Dubai,
For New Zealand
Roland Shanghai Electronics
Tel: (09) 3098 715
de la Farmacia 5ta.Avenida
Patras 26442, GREECE MIDDLE EAST U.A.E.
Co.,Ltd. 1 Cuadra al Lago.#503 TEL: (04) 3360715
Managua, Nicaragua TEL: 2610 435400
(BEIJING OFFICE) BAHRAIN
10F. No.18 3 Section Anhuaxili TEL: (505)277-2557 HUNGARY Moon Stores
Chaoyang District Beijing CENTRAL/LATIN Roland East Europe Ltd. No.16, Bab Al Bahrain Avenue,
100011 CHINA Warehouse Area ‘DEPO’ Pf.83
TEL: (010) 6426-5050 AMERICA H-2046 Torokbalint,
P.O.Box 247, Manama 304,
State of BAHRAIN
HUNGARY TEL: 17 211 005
Roland Shanghai Electronics ARGENTINA
Co.,Ltd. TEL: (23) 511011
Instrumentos Musicales S.A.
(GUANGZHOU OFFICE) Av.Santa Fe 2055
2/F., No.30 Si You Nan Er Jie (1123) Buenos Aires
Yi Xiang, Wu Yang Xin Cheng, ARGENTINA
Guangzhou 510600, CHINA TEL: (011) 4508-2700
TEL: (020) 8736-0428

As of December 10, 2005 (EDIROL-1)

Information (for Edirol products)
When your EDIROL products (bearing the EDIROL logo) need repair service, call your EDIROL
Corporation as shown below.
EDIROL Corporation
North America
808 Harrison Ave.
PO BOX 4919
Blaine, WA, 98231-4919 U.S.A.
TEL:800-380-2580
FAX:360-332-4405
INTERNET:http://www.edirol.com
Note:
Although Roland and EDIROL products are supplied with identical manuals, all inquires should be
directed toward the company handling the product. Should you have any questions about the SC-88
Pro-ED, please direct them to the EDIROL Corporation.

For Nordic Countries

Apparatus containing Lithium batteries
ADVARSEL! VARNING!
Lithiumbatteri - Eksplosionsfare ved Explosionsfara vid felaktigt batteribyte.
fejlagtig håndtering. Använd samma batterityp eller en
Udskiftning må kun ske med batteri af ekvivalent typ som rekommenderas av
samme fabrikat og type. apparattillverkaren.
Levér det brugte batteri tilbage til Kassera använt batteri enligt
leverandøren. fabrikantens instruktion.

ADVARSEL! VAROITUS!
Lithiumbatteri - Eksplosjonsfare. Paristo voi räjähtää, jos se on
Ved utskifting benyttes kun batteri som virheellisesti asennettu.
anbefalt av apparatfabrikanten. Vaihda paristo ainoastaan
Brukt batteri returneres laitevalmistajan suosittelemaan
apparatleverandøren. tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.

For Europe

This product complies with the requirements of European Directive 89/336/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

CLASS B NOTICE
This digital apparatus does not exceed the Class B limits for radio noise emissions set out in the Radio Interference
Regulations of the Canadian Department of Communications.

CLASSE B AVIS
Cet appareil numérique ne dépasse pas les limites de la classe B au niveau des émissions de bruits radioélectriques
fixés dans le Règlement des signaux parasites par le ministère canadien des Communications.
 Specifications

SC-88 Pro
Model : Sound Canvas SC-88 Pro
(General MIDI System /GS format )

● Number of parts ● Accessories

32 Owner's manual

● Maximum Polyphony ● Options

64 (voices) Computer cable
RSC-15AT (For IBM PC/AT series)
● Internal Memory RSC-15APL (For Apple Macintosh series)
Sound map : 3 (SC-55, SC-88, Native map)
Preset sounds : 1117 * In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
Drum sound set : 42 (include 3 SFX Set)
prior notice.
User sounds : 256
User drum sound set :2
User Effect : 64

Preset Patch : 128(with Effect)

User Patch : 16

● Effects
Reverb (8type)
Chorus (8type)
Delay (10type)
2 band equalizer
Insertion Effect (64type)

● Display
70.6 x 24.5mm (backlit LCD)

● Connectors
MIDI connectors
(IN A, IN B Front/Rear, OUT/THRU)
Audio Input jack x 2 (L,R)
Input Volume Knob
Audio Output jack x 4 (OUTPUT-1L,1R,2L,2R)
Headphones jack
Computer terminal
Computer Switch

● Power Supply
AC117V, AC230V or 240V

● Power Consumption
16W (AC117V),16W (230V/240V)

● Dimensions
218 (W) x 250 (D) x 72 (H) mm
8-5/8 (W) x 9-7/8 (D) x 2-7/8 (H) inches

● Weight
2.6 kg
5 lbs 12 oz

Roland Corporation 01127234 '97-11-B2-61D