SonicCell_r_e Roland Corporation Sonic Cell Owner's Manual Soniccell Om
Roland Corporation SonicCell Owner's Manual soniccell_om Roland Corporation - SonicCell - Owner's Manual
User Manual: Roland Corporation SonicCell Owner's Manual Roland Corporation - SonicCell - Owner's Manual
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* 0 4 5 6 4 8 3 04564834 4 - 0 1 * 07-07-1N SonicCell_e.book 3 ページ ２００７年７月２日 月曜日 午後３時５０分 USING THE UNIT SAFELY The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger. Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly. Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly. The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled. * Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets. 001 • Before using this unit, make sure to read the instructions below, and the Owner’s Manual. .......................................................................................................... 002d • Do not open or perform any internal modifications on the unit or its AC adaptor. (The only exception would be where this manual provides specific instructions which should be followed in order to put in place user-installable options; see p. 47, p. 50.) .......................................................................................................... 003 • Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page. .......................................................................................................... 004 • Never use or store the unit in places that are: • Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are • Damp (e.g., baths, washrooms, on wet floors); or are • Humid; or are • Exposed to rain; or are • Dusty; or are • Subject to high levels of vibration. .......................................................................................................... 005 • This unit should be used only with a BKT-S that is recommended by Roland (p. 30). .......................................................................................................... 006 The ● symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet. 008c • Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock. .......................................................................................................... 008e • Use only the attached power-supply cord. Also, the supplied power cord must not be used with any other device. .......................................................................................................... 009 • Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards! .......................................................................................................... 010 • This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist. .......................................................................................................... 011 • Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit. .......................................................................................................... • When using the unit with the BKT-S and PDS-10 recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling. .......................................................................................................... 3 SonicCell_e.book 4 ページ ２００７年７月２日 月曜日 午後３時５０分 012b • Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when: • The AC adaptor, the power-supply cord, or the plug has been damaged; or • If smoke or unusual odor occurs • Objects have fallen into, or liquid has been spilled onto the unit; or • The unit has been exposed to rain (or otherwise has become wet); or • The unit does not appear to operate normally or exhibits a marked change in performance. .......................................................................................................... 013 • In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit. .......................................................................................................... 014 • Protect the unit from strong impact. (Do not drop it!) .......................................................................................................... 015 • Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/ amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through. .......................................................................................................... 016 • Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page. .......................................................................................................... 022b • Always turn the unit off and unplug the AC adaptor before attempting installation of the circuit board (model no. SRX series; p. 19). .......................................................................................................... 023 • DO NOT play a CD-ROM disc on a conventional audio CD player. The resulting sound may be of a level that could cause permanent hearing loss. Damage to speakers or other system components may result. .......................................................................................................... 101b • The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation. .......................................................................................................... 102c • Always grasp only the plug on the AC adaptor cord when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 4 103b • At regular intervals, you should unplug the AC adaptor and clean it by using a dry cloth to wipe all dust and other accumulations away from its prongs. Also, disconnect the power plug from the power outlet whenever the unit is to remain unused for an extended period of time. Any accumulation of dust between the power plug and the power outlet can result in poor insulation and lead to fire. .......................................................................................................... 104 • Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children. .......................................................................................................... 106 • Never climb on top of, nor place heavy objects on the unit. .......................................................................................................... 107c • Never handle the AC adaptor or its plugs with wet hands when plugging into, or unplugging from, an outlet or this unit. .......................................................................................................... 108b • Before moving the unit, disconnect the AC adaptor and all cords coming from external devices. .......................................................................................................... 109b • Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 19). .......................................................................................................... 110b • Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet. .......................................................................................................... 115a • Install only the specified circuit board(s) (model no. SRX series). Remove only the specified screws (p. 47, p. 50). .......................................................................................................... 118c • Keep any screws you may remove and the included wrench in a safe place out of children’s reach, so there is no chance of them being swallowed accidentally. .......................................................................................................... 120 • Always turn the phantom power off when connecting any device other than condenser microphones that require phantom power. You risk causing damage if you mistakenly supply phantom power to dynamic microphones, audio playback devices, or other devices that don’t require such power. Be sure to check the specifications of any microphone you intend to use by referring to the manual that came with it. (This instrument’s phantom power: 48 V DC, 10 mA Max) .......................................................................................................... SonicCell_e.book 5 ページ ２００７年７月２日 月曜日 午後３時５０分 IMPORTANT NOTES 291a In addition to the items listed under “USING THE UNIT SAFELY” on page 3–4, please read and observe the following: Power Supply Maintenance 301 401a • Do not connect this unit to same electrical outlet that is being used by an electrical appliance that is controlled by an inverter (such as a refrigerator, washing machine, microwave oven, or air conditioner), or that contains a motor. Depending on the way in which the electrical appliance is used, power supply noise may cause this unit to malfunction or may produce audible noise. If it is not practical to use a separate electrical outlet, connect a power supply noise filter between this unit and the electrical outlet. 302 • The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern. 307 • Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/ or damage to speakers or other devices. Placement 351 • Using the unit near power amplifiers (or other equipment containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference. 352a • This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers. 352b • Noise may be produced if wireless communications devices, such as cell phones, are operated in the vicinity of this unit. Such noise could occur when receiving or initiating a call, or while conversing. Should you experience such problems, you should relocate such wireless devices so they are at a greater distance from this unit, or switch them off. 354a • Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit. 355b • When moved from one location to another where the temperature and/or humidity is very different, water droplets (condensation) may form inside the unit. Damage or malfunction may result if you attempt to use the unit in this condition. Therefore, before using the unit, you must allow it to stand for several hours, until the condensation has completely evaporated. 360 • Depending on the material and temperature of the surface on which you place the unit, its rubber feet may discolor or mar the surface. You can place a piece of felt or cloth under the rubber feet to prevent this from happening. If you do so, please make sure that the unit will not slip or move accidentally. • For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, nonabrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth. 402 • Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation. Repairs and Data 452 • Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs. Important data should always be backed up on an USB memory, or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data. *** on a RAM card/DATA card Additional Precautions 551 • Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory on an USB memory. 552 • Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or on an USB memory once it has been lost. Roland Corporation assumes no liability concerning such loss of data. 553 • Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions. 554 • Never strike or apply strong pressure to the display. 555 • A small amount of noise may be heard from the display during normal operation. 556 • When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements. 558a • To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night). 559a • When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials. 5 SonicCell_e.book 6 ページ ２００７年７月２日 月曜日 午後３時５０分 562 • Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable. 563 • Unauthorized duplication, reproduction, hiring, and lending prohibited. Handling CD-ROMs 801 • Avoid touching or scratching the shiny underside (encoded surface) of the disc. Damaged or dirty CD-ROM discs may not be read properly. Keep your discs clean using a commercially available CD cleaner. Copyright 851 • Recording, duplication, distribution, sale, lease, performance, or broadcast of copyrighted material (musical works, visual works, broadcasts, live performances, etc.) belonging to a third party in part or in whole without the permission of the copyright owner is forbidden by law. 852a • This product can be used to record or duplicate audio or visual material without being limited by certain technological copy-protection measures. This is due to the fact that this product is intended to be used for the purpose of producing original music or video material, and is therefore designed so that material that does not infringe copyrights belonging to others (for example, your own original works) can be recorded or duplicated freely. 853 • Do not use this unit for purposes that could infringe on a copyright held by a third party. We assume no responsibility whatsoever with regard to any infringements of thirdparty copyrights arising through your use of this unit. 204 * Microsoft and Windows are registered trademarks of Microsoft Corporation. 206e * The screen shots in this document are used in compliance with the guidelines of the Microsoft Corporation. 206j * Windows® is known officially as: “Microsoft® Windows® operating system.” 207 * Apple and Macintosh are registered trademarks of Apple Computer, Inc. 209 * Mac OS is a trademark of Apple Inc. 213 * Pentium is a registered trademark of Intel Corporation. 220 * All product names mentioned in this document are trademarks or registered trademarks of their respective owners. 233 * VST is a trademark of Steinberg Media Technologies AG. add * MatrixQuest™ 2007 TEPCO UQUEST, LTD. All rights reserved. The SonicCell’s USB functionality uses MatrixQuest middleware technology from TEPCO UQUEST, LTD. * SONAR is a registered trademark of Twelve Tone Systems, Inc. * MPEG Layer-3 audio compression technology is licensed from Fraunhofer IIS Corporation and THOMSON Multimedia Corporation. 6 SonicCell_e.book 7 ページ ２００７年７月２日 月曜日 午後３時５０分 Contents USING THE UNIT SAFELY........................................................................ 3 IMPORTANT NOTES ............................................................................... 5 Main Features...................................................................................... 12 User Guide 13 Panel Descriptions................................................................................ 14 Top Panel ....................................................................................................... 14 Playing the Demo Songs.......................................................................................... 15 Rear and Front Panels..................................................................................... 16 Turning the Power On/Off ................................................................... 18 Basic Operation of the SonicCell ........................................................... 20 About the display and [CURSOR/VALUE].................................................................. 20 Using the SonicCell as a MIDI Sound Module......................................... 22 Playing the SonicCell in Performance Mode ....................................................................... 22 Playing the SonicCell in Patch Mode ................................................................ 23 Modifying the Sound (editing a patch) ...................................................................... 24 Using the Editor and Librarian ......................................................................... 27 Playing Songs (Portable Backing Machine)............................................ 28 Playback Procedure ........................................................................................ 28 Creating a Playlist........................................................................................... 30 Performing via MIDI while a Song Plays .......................................................... 30 Connecting the SonicCell to Your Computer........................................... 31 Specifications of the dedicated plug-in version of the editor ......................................... 32 Windows XP users ......................................................................................... 33 Installing the Driver ................................................................................................. 33 Windows Settings................................................................................................... 34 Installing SonicCell Editor ........................................................................................ 34 Windows Vista Users ...................................................................................... 35 Installing the Driver ................................................................................................. 35 Windows Settings................................................................................................... 36 Installing SonicCell Editor ........................................................................................ 36 Mac OS X Users.............................................................................................. 37 Installing the Driver ................................................................................................. 37 Installing SonicCell Editor ........................................................................................ 38 Settings ................................................................................................................. 38 Recording a Mic or Guitar(USB/Audio Interface) ................................... 40 Connecting a Mic................................................................................................... 41 7 SonicCell_e.book 8 ページ ２００７年７月２日 月曜日 午後３時５０分 Contents Connecting a Guitar ............................................................................................... 41 Using the Line Input................................................................................................. 42 Adjusting the Input Volume ...................................................................................... 42 Input Effect Settings......................................................................................... 43 Installing the Wave Expansion Board.................................................... 46 Cautions When Installing an Wave Expansion Board........................................ 46 How to Install a Wave Expansion Board .......................................................... 47 Checking the Installed Wave Expansion Boards ............................................... 48 Installation de la carte d’extension Wave (French language for Canadian Safety Standard) .................................. 49 Precautions a prendre lors de l’installation d’une carte d’expansion Wave........ 49 Installation d’une carte d’expansion Wave ...................................................... 50 Verification des cartes d’extension audio apres installation .............................. 51 MIDI Sound Module 53 Overview ............................................................................................ 54 Performance Mode and Patch Mode ................................................................ 54 How a Performance is structured .............................................................................. 54 How a Patch is structured ........................................................................................ 54 How a Rhythm Set is structured................................................................................. 55 Calculating the Number of Voices Being Used ........................................................... 55 About the Effects............................................................................................. 56 Effects in Performance Mode.................................................................................... 56 Effects in Patch Mode.............................................................................................. 56 About Memory ............................................................................................... 57 Temporary Memory ................................................................................................ 57 Rewritable Memory................................................................................................. 57 Non-Rewritable memory .......................................................................................... 57 Using the SonicCell in Performance Mode ............................................. 58 Viewing the MIDI INST (MIDI sound module) screen .......................................... 58 Viewing the menu screen (Performance Menu screen)....................................... 59 Switching the sound mode (Sound Mode screen) .............................................. 60 Specifying the recommended performance tempo (Performance General screen).......................................................................... 60 MIDI-related settings (Perform MIDI Filter screen).............................................. 60 Viewing the part settings (Part View screen)..................................................... 62 If the patch type is Patch.......................................................................................... 62 If the patch type is Rhythm Set .................................................................................. 64 Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 65 Selecting patches from a patch list by group (Patch List (Grp) screen) ............................ 66 Selecting a rhythm set from a list (Rhythm Set List screen) ............................................. 67 8 SonicCell_e.book 9 ページ ２００７年７月２日 月曜日 午後３時５０分 Contents Editing parts (Part Edit screen) ......................................................................... 68 Scale Tune settings (Scale Tune screen) ..................................................................... 72 Sound Control Initialize ................................................................................... 73 Performance Initialize ..................................................................................... 73 Performance Write.......................................................................................... 73 Editing effects ................................................................................................. 75 Selecting the item to edit (Effect Routing screen).......................................................... 77 Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens).................... 78 Chorus-related settings (Chorus/Chorus Output screen) ............................................... 78 Reverb-related settings (Reverb/Reverb Output screen) ................................................ 79 Changing how the multi-effects are combined (MFX Structure screen) ............................ 80 Selecting how effects will operate (Effect Source screen) .............................................. 80 Using MIDI to control the multi-effects (MFX1–3 Control screens)................................... 81 Using the SonicCell in Patch Mode ........................................................ 82 Viewing the Patch Play screen ......................................................................... 82 If the patch type is Patch.......................................................................................... 82 If the patch type is Rhythm Set .................................................................................. 83 Viewing the menu screen (Patch Menu screen) ................................................. 84 Switching the sound mode (Sound Mode screen) .............................................. 84 Selecting patches from a patch list ................................................................... 85 Selecting patches from a patch list by category (Patch List (Ctg) screen)......................... 85 Selecting patches from a patch list by group (Patch List (Grp) screen) ............................ 86 Selecting a rhythm set from a list (Rhythm Set List screen) ............................................. 87 Editing patches (Patch Edit screen) ................................................................... 88 Overall settings for the entire patch (Patch General screen) .......................................... 90 Selecting how tones are combined (Patch Structure screen) .......................................... 93 Settings for matrix control (Patch Mtrx Ctrl1–4 screens) ............................................... 95 Waveform-related settings (Patch WG/Patch Pitch Env screen) ..................................... 98 TVF settings (Patch TVF/Patch TVF Env screen).......................................................... 102 TVA settings (Patch TVA/Patch TVA Env screen) ....................................................... 105 Patch/Tone output-related settings (Patch Output screen)............................................ 108 LFO settings (Patch LFO1, 2/Patch Step LFO screen) ................................................. 109 Specifies how the tones will be heard (Patch TMT screen) .......................................... 112 Controller-related settings (Patch Ctrl screen) ............................................................ 114 Tone Copy .................................................................................................... 115 Patch Initialize .............................................................................................. 115 Patch Write .................................................................................................. 116 Editing rhythm sets (Rhythm Edit screen) ........................................................ 117 Edits overall settings for the entire rhythm set (Rhythm General screen) ........................ 118 Waveform-related settings (Rhythm Wave screen) ..................................................... 120 Specifying how a rhythm tone will be heard (Rhythm WMT screen) ............................ 122 Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ...................... 122 TVF settings (Rhythm TVF/Rhythm TVF Env screen)..................................................... 124 TVA settings (Rhythm TVA/Rhythm TVA Env screen) .................................................. 127 9 SonicCell_e.book 10 ページ ２００７年７月２日 月曜日 午後３時５０分 Contents Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen) ....... 129 Rhythm Tone Copy........................................................................................ 130 Rhythm Tone Initialize ................................................................................... 130 Rhythm Set Initialize ..................................................................................... 130 Rhythm Set Write.......................................................................................... 131 Editing the effects (Patch/Rhythm Set) ............................................................ 132 Selecting the item to edit (Effect Routing screen)........................................................ 134 Multi-effect settings (MFX/MFX Output screen).......................................................... 134 Chorus settings (Chorus/Chorus Output screens) ...................................................... 135 Reverb settings (Reverb/Reverb Output screens) ....................................................... 136 Controlling the multi-effects via MIDI (MFX Control screen) ......................................... 137 Audio Connections 139 Using the SonicCell with your computer (USB AUDIO) .......................... 140 Basic operation............................................................................................. 140 Accessing the Menu screen............................................................................ 141 Inputting sound from an external device (INPUT) ................................. 142 Basic operation............................................................................................. 142 Accessing the Menu screen............................................................................ 143 Input/output and effect settings (In/Out Routing)................................. 144 Selecting the item to edit (In/Out Routing screen) ........................................... 147 Input effect settings (Input Effect/Input FX Output screen) ................................ 147 Selecting the signal sent to your computer (To Computer screen) ..................... 148 Specifies how MFX3 will be used (MFX3 Location screen) ............................... 149 Saving the MFX3 settings....................................................................................... 149 System Write ................................................................................................ 150 Using the plug-in version of SonicCell Editor 151 SONAR LE ......................................................................................... 152 SONAR 6.2 ....................................................................................... 157 Cubase 4........................................................................................... 160 Logic Pro 7.2 ..................................................................................... 163 10 SonicCell_e.book 11 ページ ２００７年７月２日 月曜日 午後３時５０分 Contents SMF/Audio File Player 167 Playing back songs............................................................................ 168 SMF/audio files that can be played ............................................................... 168 Song playback ............................................................................................. 168 Selecting and playing a song from within a playlist .................................................. 171 Playlist Write ................................................................................................ 173 Changing the song order .............................................................................. 173 Deleting a song from the playlist ................................................................... 173 Other Settings 175 System Settings.................................................................................. 176 General settings (System screen).................................................................... 176 Patch Scale Tune settings............................................................................... 178 Settings for the Preview function (System Preview screen) ............................... 179 Settings for Control-related functions (System Control screen).......................... 179 MIDI-related settings (System MIDI screen) ..................................................... 180 Viewing information about SonicCell (System SRX Info/System Version Info screens) .............................................. 180 Editing the mastering effect (Mastering Effect screen) ...................................... 181 Utility functions .................................................................................. 182 Backing up user data (User Backup) .............................................................. 182 Restoring backed-up data into the SonicCell (User Restore) ............................. 182 Returning to the factory settings (Factory Reset) .............................................. 183 Initializing USB memory (USB Memory Format) .............................................. 183 Adjusting the overall tone of the audio output (Master Equalizer) ......... 184 Appendices 185 Troubleshooting ............................................................................................ 186 Error Messages............................................................................................. 191 Effects List..................................................................................................... 192 Performance List ........................................................................................... 222 Patch List ...................................................................................................... 223 Rhythm Set List ............................................................................................. 233 Waveform List .............................................................................................. 242 MIDI Implementation..................................................................................... 246 Specifications................................................................................................ 278 Index ........................................................................................................... 279 11 SonicCell_e.book 12 ページ ２００７年７月２日 月曜日 午後３時５０分 Main Features Superior Desktop Synthesizer • 128-voice sound module with new sound set featuring true-to-life instruments • Two SRX sound expansion slots for sound set personalization USB Audio/MIDI Interface • USB audio interface functionality w/MIC and GUITAR (Hi-Z) inputs • Record using the professional on-board DSP effects • PC/Mac VSTi/AU Editor and Cakewalk SONAR LE software included Portable Backing Machine • SMF, WAV, AIFF and MP3 playback capability via optional USBmemory is perfect for the gig • Build playlists of any file-type combination using the playlist editor 12 SonicCell_e.book 13 ページ ２００７年７月２日 月曜日 午後３時５０分 User Guide 13 SonicCell_e.book 14 ページ ２００７年７月２日 USER‘S GUIDE 月曜日 午後３時５０分 Panel Descriptions Top Panel fig.kakubu-topPanel.eps USB MEMORY ACCESS Indicator This will light when you’re playing song data from USB memory that's connected to the SonicCell, or when you're saving data to USB memory. Display Various information is shown here according to your operations. SRX Slot You can install SRX series wave expansion boards here. • Installation → p. 46 • Selecting a wave → p. 98 SMF/AUDIO PLAYER Buttons Press these buttons when you’re using the SonicCell as an SMF/audio player. • Playing a song → p. 28, p. 168 • Creating a playlist → p. 30 MIDI MESSAGE Indicator MIDI This will light when MIDI messages are being received from a MIDI device connected to the MIDI IN connector. USB This will light when MIDI messages are being received from the connected computer. (Play/Pause) Button Plays/pauses the song data. MENU Button You can press this button to switch to a menu screen for the current mode or editing screen. • The menu screen of each main mode → p. 59, p. 68, p. 76, p. 84, p. 88, p. 117, p. 133, p. 141, p. 143, p. 146, p. 169, p. 171, p. 181 14 EXIT Button Press this button to cancel an operation. SonicCell_e.book 15 ページ ２００７年７月２日 月曜日 午後３時５０分 Panel Descriptions USB AUDIO Button Press this button when you want to use the SonicCell as a MIDI sound module. Press this button when you want to apply an effect to the audio signal from the connected computer, or to make output-related settings. • MIDI connections → p. 22, p. 54 • Performance → p. 22, p. 58 • Patch → p. 23, p. 82 • USB AUDIO → p. 140 ■ USER`S GUIDE MIDI INST Button INPUT Button Press this button when you want to apply an effect to the signal from a device connected to the INPUT jack, or to make output-related settings. • Recording a mic or guitar → p. 40 • Inputting sound from an external device → p.142 PART VIEW Button EFFECTS Button If the MIDI sound module is in Performance mode (p. 54), press this button when you want to make settings for each part. By pressing this button together with the [MIDI INST] button, you can switch between Performance mode and Patch mode. Press this button when you want to make effect-related settings. • Applying effects to a performance → p. 78 • Applying effects to a patch → p. 26, p. 132 • Applying effects to the signal from the Input jack → p. 43 CURSOR/VALUE Dial Use this to move the cursor, select a parameter, or edit a value. Press the dial to confirm the value. • How to use [CURSOR/VALUE] → p. 20 ■ Playing the Demo Songs fig.disp-plylstslct-demo.eps 1 Press [SMF/AUDIO PLAYER]. fig.disp-demosongs.eps 2 Press [ ]. Playback will start from the first song. * No. Title Composer 1 2 3 4 Welcome Back Mach Juan Big & Bold Human Sonic Yo Sakaue Adrian Scott Scott Tibbs YUHKI Copyright © 2007 Roland © 2007 Roland © 2007 Roland © 2007 Roland Corporation Corporation Corporation Corporation If USB memory containing song file is connected, select [Demo Songs] in the playlist list screen. For details on playing from a playlist, refer to p. 28. 981a * All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws. 982 * No data for the music that is played will be output from MIDI OUT. 15 SonicCell_e.book 16 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Rear and Front Panels fig.kakubu-rearPanel.eps POWER Switch Turns the power on/off (p. 18). USB COMPUTER Connector Use a USB cable to connect your computer here. This connection can handle both MIDI and audio. • Using the SonicCell with your computer → p.31, p.135 DC IN Jack Connect the included AC adaptor here (p. 18). Do not use any AC adaptor other than the included one; doing so may cause malfunctions. USB MEMORY Connector You can connect USB memory here and use the SonicCell to play back files (songs) that have been stored on USB memory. • Playing back songs → p.28, p.167 MIDI IN/OUT Connectors You can connect these to other MIDI equipment to send and receive MIDI messages. • Using the SonicCell as a MIDI sound module → p. 22, p. 54 Rear Panel Security Slot http://www.kensington.com PHONES Jack This is a stereo mini-type jack for connecting headphones. This jack will output the sound received from the INPUT jack mixed with the sound from the USB-connected computer and the sound from the SonicCell itself. Connecting headphones will not mute the sound from the OUTPUT jack. Front Panel SAMPLING RATE Switch This specifies the sampling rate used to record or play back audio data. After changing this setting, you’ll need to turn the SonicCell’s power off, then on again. If you’re using software, you’ll also need to restart your software. Be sure to set the [SAMPLING RATE] switch to match the sampling rate setting of the software you’re using. 16 MASTER VOLUME Dial This adjusts the volume of the signals output from the PHONES jack and OUTPUT jacks (p. 19). SonicCell_e.book 17 ページ ２００７年７月２日 月曜日 午後３時５０分 Panel Descriptions ■ USER`S GUIDE INPUT/OUTPUT Jacks These jacks input or output audio signals. INPUT LEVEL Knob Adjusts the input level of the signal received at INPUT. • Adjusting the input level → p. 42 OUTPUT Jacks (R, L/MONO) These jacks output the audio signal. If you’re outputting in mono, connect to the L/MONO jack. These jacks output the combined signals of the sound received from INPUT, the sound from the USB-connected computer, and the sound from the SonicCell itself. LINE (R) Jack When using LINE (L) and LINE (R) for stereo input, input the signal for the R channel here. * If you’re inputting in mono, connect it to the LINE (L) jack. You can’t use this jack if the INPUT gain select switch is not at the LINE (L) position. • Recording a mic or guitar → p. 40, 142 L/GUITAR/MIC Jack (combo input jack) You can connect either a mic, guitar, or line equipment here. This instrument is equipped with balanced (XLR/TRS) type jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect. INPUT SOURCE Switch Set this as appropriate for the device you’ve connected to the LINE (L) jack. If you’ve connected your source to the LINE (R) jack, you must set this switch to LINE (L). LINE (L): Connect a line-level device such as an audio device (e.g., CD player) or keyboard. GUITAR (Hi-Z): Connect an electric guitar that’s not being sent through an effects processor (high-impedance connection). MIC: Connect a mic. • Recording a mic or guitar → p. 40, 142 Switch Plug/connector accepted Nominal input level LINE 1/4“ phone plug (unbalanced) -30 – -10 dBu GUITAR 1/4“ phone plug (unbalanced) (High impedance supported) -30 – -10 dBu Dynamic MIC Condenser 1/4“ phone plug (balanced or unbalanced), XLR connector * Switch OFF “Phantom Power“ in the INPUT screen. -50 – -30 dBu XLR connector (48 V phantom power supported) Connecting a phantom-powered condenser mic →In the INPUT screen, turn “Phantom Power” on (p.142) 17 SonicCell_e.book 18 ページ ２００７年７月２日 月曜日 午後３時５０分 Turning the Power On/Off USER‘S GUIDE ■ Connecting the AC Adaptor 1 Make sure that the [POWER] switch is off. 2 Connect the included power cord to the included AC adaptor. 3 Connect the AC adaptor to the SonicCell’s DC IN connector, and plug the power cord into an AC outlet. fig.AC-setsuzoku.eps DC IN Place the AC adaptor so that its lamp light is on the top side. (it lights up when connected to an AC outlet) AC Outlet Lamp Power Cord AC Adaptor (PSB-1U) fig.AC-setchi.eps * Depending on the circumstances of a particular setup, you may experience a discomforting sensation, or perceive that the surface feels gritty to the touch when you touch this device, microphones SonicCell Bottom Panel Ground Terminal connected to it, or the metal portions of other objects, such as guitars. This is due to an infinitesimal electrical charge, which is absolutely harmless. However, if you are concerned about this, connect the ground terminal (see figure) with an external ground. When the unit is grounded, a slight hum may occur, depending on the particulars of your installation. If you are unsure of the connection method, contact the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page. Unsuitable places for connection • Water pipes (may result in shock or electrocution) • Gas pipes (may result in fire or explosion) • Telephone-line ground or lightning rod (may be dangerous in the event of lightning) * When turning the unit upside-down, get a bunch of newspapers or magazines, and place them under the four corners or at both ends to prevent damage to the buttons and controls. Also, you should try to orient the unit so no buttons or controls get damaged. * When turning the unit upside-down, handle with care to avoid dropping it, or allowing it to fall or tip over. 18 SonicCell_e.book 19 ページ ２００７年７月２日 月曜日 午後３時５０分 Turning the Power On/Off ■ USER`S GUIDE ■ Turning the Power On NOTE 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 malfunction and/or damage to speakers and other devices. fig.PowerOn.eps 1 Minimize the volume of the SonicCell and of your connected audio equipment. 2 Turn on the [POWER] switch. Rear Panel * 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. 3 Use the [MASTER VOLUME] knob to adjust the volume. POWER Switch Front Panel MASTER VOLUME Knob ■ Turning the Power Off 1 Minimize the volume of the SonicCell and of your connected audio equipment. 2 Turn off the power of your connected audio equipment. 3 Turn off the [POWER] switch. The indications in the display will disappear, and the power will turn off. 19 SonicCell_e.book 20 ページ ２００７年７月２日 月曜日 午後３時５０分 Basic Operation of the SonicCell USER‘S GUIDE About the display and [CURSOR/VALUE] We’ll explain this using the Performance mode Part View screen as an example. fig.display-sample.eps. Accessing the Part View Screen After turning the power on, make sure that [MIDI INST] is lit, then press [PART VIEW]. the Name of the display Cursor Moving the Cursor 1 The cursor will move when you turn [CURSOR/VALUE]. cursor.eps Turn Cursor Cursor Moving Between Screens fig.dispCursor3.eps 1 Turn [CURSOR/VALUE] to move the cursor to [PATCH]. fig.cursor-push-eps 2 Press [CURSOR/VALUE]. Press fig.disp-PatchEdit.eps The Patch Edit screen will appear. fig.exit-push.eps 3 Press [EXIT]. Press fig.disp-cursor.eps You’ll return to the Part View screen. 20 SonicCell_e.book 21 ページ ２００７年７月２日 月曜日 午後３時５０分 Basic Operation of the SonicCell ■ USER`S GUIDE Editing a Value fig.dispCursorValue1 Let’s try changing the patch number. 1 Turn [CURSOR/VALUE] to move the cursor to the patch number. Patch Number Cursor fig.cursor-push-eps 2 Press [CURSOR/VALUE]. Press fig.dispCursorValue2 fig.cursor-turn.eps The patch number will be highlighted. 3 The value at the cursor is highlighted Turn [CURSOR/VALUE]. Turn fig.dispCursorValue3 The value will change. When you edit the value, an “E” symbol may appear in the upper right of the screen. In this case, you can save the settings you’ve edited. Shown when you edit the value The value will change Saving perfoemances ➝ Refer to “Performance Write (p. 73 ).” fig.disp-cursorValue4.eps 1 4 Press [CURSOR/VALUE] once more. The cursor will return to its original state. 21 SonicCell_e.book 22 ページ ２００７年７月２日 USER‘S GUIDE 月曜日 午後３時５０分 Using the SonicCell as a MIDI Sound Module ■ Connections fig.setsuzoku-MIDI.eps MIDI OUT MIDI Keyboard Monitor Amplifier etc. MIDI IN OUTPUT NOTE To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors. ■ Performance mode and Patch mode When using the SonicCell as a MIDI sound module, either Performance mode or Patch mode can be selected. When the power is turned on, Performance mode is selected. For details on Performance mode and Patch mode, refer to p. 54 . Playing the SonicCell in Performance Mode ■ Selecting a Performance fig.button-MIDI-INST-Lite.epsfig.disp-MIDIINST.eps 1 Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. fig.dispMIDIInst1.eps 2 Move the Cursor to the Performance Number. 3 1 Press [CURSOR/VALUE]. The value at the cursor will be highlighted. For details on using [CURSOR/VALUE], refer to p. 20 . fig.dispMIDIPrfmNum2.eps 22 4 1 Turn [CURSOR/VALUE] to change the performance number. The sound will change. 5 1 Press [CURSOR/VALUE]. Performance Number SonicCell_e.book 23 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell as a MIDI Sound Module ■ USER`S GUIDE Playing the SonicCell in Patch Mode ■ Selecting Patch Mode fig.button-MIDI-PART.eps/fig.disp-PatchPlay.eps 1 In the MIDI INST screen, simultaneously press [MIDI INST] and [PART VIEW]. The SonicCell will enter Patch mode, and the Patch Play screen will appear. If you once again hold down [MIDI INST] and press [PART VIEW], you’ll switch to Performance mode, and the MIDI INST screen will appear. ■ Setting the MIDI channel fig.dispPtchPlyRxch.eps 1 In the Patch Play screen, turn [CURSOR/VALUE] to move the cursor to “RxCh.” 2 Press [CURSOR/VALUE]. The RxCh value will be highlighted. 3 Turn [CURSOR/VALUE] to set the “RxCh” value to match the transmit channel of the connected equipment. ■ Selecting Sounds fig.dispPtchSelect.eps 1 In the Patch Play screen, turn [CURSOR/VALUE] to move the cursor to the patch number. 2 Press [CURSOR/VALUE]. 3 Turn [CURSOR/VALUE] to change the patch number. The sound will change. 23 SonicCell_e.book 24 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Example: Selecting “037 Violin” from the “PR-C” group fig.dispPtchSlct01.eps 1 In the Patch Play screen, turn [CURSOR/VALUE] to move the cursor to the patch group. 2 Press [CURSOR/VALUE]. Patch Group fig.dispPtchSlct02.eps 3 1 Turn [CURSOR/VALUE] to select “PR-C,” then press [CURSOR/ VALUE]. fig.dispPtchSlct03.eps 4 5 Turn [CURSOR/VALUE] to move the cursor to the patch number, then press [CURSOR/VALUE]. The patch number will be highlighted. Turn [CURSOR/VALUE] to select “037” as the patch number. “Violin” will be selected. Modifying the Sound (editing a patch) Before you continue, select “037 Violin” from “PR-C” as described in the procedure above. ■ Editing the Amp Envelope This specifies how the sound begins and decays. Access the Patch Edit Screen fig.dispPtchPly-Edithanten.eps 1 In the Patch Play screen, use [CURSOR/VALUE] to move the corsor to the “EDIT.” 2 Press [CURSOR/VALUE]. The Patch Edit screen will appear. fig.dispPtchEdtTVA.eps 3 Turn [CURSOR/VALUE] to select the graphic below Tone 1 “TVA,” then press [CURSOR/VALUE]. fig.disp-PatchTVAEnv.eps The Patch TVA Envelope (T1) screen will appear. 24 SonicCell_e.book 25 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell as a MIDI Sound Module ■ USER`S GUIDE Adjusting the Attack fig.dispTVAEnv.eps 4 Turn [CURSOR/VALUE] to move the cursor to “A-Env Time1.” 5 Press [CURSOR/VALUE]. The value will be highlighted. 6 Turn [CURSOR/VALUE] to change the value, then press [CURSOR/VALUE]. When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the previous screen. T1(when you press a key) fig.disp-TVAEnvT1h1.eps • To make the sound begin immediately when you press a key ➝ Set “A-Env Time1” to a low value fig.disp-TVAEnvT1h2.eps • To make the sound begin slowly when you press a key ➝ Set “A-Env Time1” to a high value Adjusting the Release fig.dispTVAEnvT4.eps 7 Turn [CURSOR/VALUE] to move the cursor to “A-Env Time4.” 8 Press [CURSOR/VALUE]. The value will be highlighted. 9 Turn [CURSOR/VALUE] to change the value, then press [CURSOR/VALUE]. When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the previous screen. T4 (when you release a key) fig.disp-TVAEnvT4h1.eps • To make the sound stop immediately when you release a key ➝ Set “A-Env Time4” to a low value fig.disp-TVAEnvT4h2.eps • To make the sound linger after you release a key ➝ Set “A-Env Time1” to a high value MEMO For details on amp envelope, refer to p. 107 . If you want to save the patch you modified, refer to p. 116 . 25 SonicCell_e.book 26 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE ■ Editing the Filter By editing the filter settings you can make the tonal character of the sound brighter or darker. fig.dispPtchPly-Edithanten.eps 1 2 In the Patch Play screen, turn [CURSOR/VALUE] to move the cursor to the “EDIT.” Press [CURSOR/VALUE]. The Patch Edit screen will appear. fig.dispPtchEdtTVF.eps 3 4 Turn [CURSOR/VALUE] to move the cursor to the “TVF.” Press [CURSOR/VALUE]. The Patch TVF screen will appear. fig.disp-PatchTVF1.eps 5 6 Turn [CURSOR/VALUE] to move the cursor the “Cutoff Frequency.” Press [CURSOR/VALUE]. The value will be highlighted. fig.disp-PatchTVF-Cutoff.eps 7 Turn the [CURSOR/VALUE] to edit the value, and then press [CURSOR/VALUE]. When you change the value, the graph in the lower part of the screen will also change. If you press [EXIT] you’ll return to the preceding screen. MEMO For details on filter, refer to p. 102 . If you want to save the patch you modified, refer to p. 116 . ■ Changing the Effect Effects are various types of processing that you can apply to the sound. You can dramatically vary the character of the sound simply by changing the effect. fig.button-EFFECTS.epsfig.disp-EfxRouting.eps 1 In the Patch Play screen, press [EFFECTS]. The Effect Routing screen will appear. fig.dispEfxRtF1.eps 2 Turn [CURSOR/VALUE] to move the cursor “MFX.” fig.dispMFX.eps 26 SonicCell_e.book 27 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell as a MIDI Sound Module Press [CURSOR/VALUE]. ■ USER`S GUIDE 3 fig.disp-MFX.eps The MFX screen will appear. MFX Type 4 Use [CURSOR/VALUE] to select the MFX type. 5 Press [CURSOR/VALUE]. The MFX type indication will be highlighted. 6 Use [CURSOR/VALUE] to change the MFX type. 7 Press [CURSOR/VALUE]. If you press [EXIT] you’ll return to the preceding screen. MEMO For details on effect editing, refer to p. 132 . If you want to save the patch you modified, refer to p. 116 . Using the Editor and Librarian Connections fig.setsuzoku-MIDI-editor.eps Computer To USB Connector of Computer USB COMPUTER USB cable Dedicated editor and librarian software is included with the SonicCell. By using the editor you can edit the SonicCell’s performance and patch parameters on your computer. You can edit the settings while viewing them in the large screen of your computer. By using the librarian you can manage the edited settings on your computer. For details on installing the software, refer to p. 31 . For details on using the software, refer to the PDF manual that is installed along with the software. 27 SonicCell_e.book 28 ページ ２００７年７月２日 USER‘S GUIDE 月曜日 午後３時５０分 Playing Songs (Portable Backing Machine) The SonicCell can play back MIDI files (SMF) and audio files (WAV, AIFF, MP3). This is a convenient function that you can also use to play backing tracks during a live performance. ■ Connections fig.setsuzoku-pbm.eps * Save the song data in the root directory of your USB memory. SMF, WAV, AIFF, MP3 USB MEMORY * Monitor Amplifier etc. OUTPUT Use only USB memory sold by Roland. Operation cannot be guaranteed when products other than there is used. Proper operation cannot be guaranteed if other USB memory products is used. * Connect the USB memory after the SonicCell's power is turned on. * If, after a USB memory device has been removed, you decide that you want to connect it again, you’ll need to switch the SonicCell’s power off, then switch it back on again. NOTE To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors. ■ File Formats that You Can Play For details on the file formats that you can play, refer to p. 168 . ■ Playing the Demo Songs Refer to p. 15 Playback Procedure Before you continue, make sure that the USB memory containing the song file you want to play is connected to the SonicCell. You should also make sure that the SonicCell is set to Performance mode (p. 60 ). * When saving song file on your USB memory, be sure to save it in the root directory. fig.button-PBM.eps 1 Press [SMF/AUDIO PLAYER]. The Playlist Select screen will appear. fig.disp-PlyLstSlct-Root.eps 2 28 Turn [CURSOR/VALUE] to move the cursor to the “USB Memory.” SonicCell_e.book 29 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing Songs (Portable Backing Machine) Press [CURSOR/VALUE]. ■ USER`S GUIDE 3 fig.disp-PlayListC.eps A list of the songs in the USB memory will appear. fig.disp-PlayListSong.eps 4 Turn [CURSOR/VALUE] to select a song, then press [CURSOR/ VALUE]. The selected song will be displayed. * The song length indicated in the display may differ from the actual song length. fig.button-PBM.eps/fig.disp-song-play.eps 5 Press [ ]. The selected song will play. 6 Press [ ] to stop the song. If you press [EXIT] you’ll return to the preceding screen. About the Sampling Rate fig.SmplRateSW.eps The SonicCell will play songs that were saved with the same sampling rate as the setting for the [SAMPLING RATE] switch on the front panel. Songs whose sampling rate differs from the SonicCell’s setting will be shown in the list of songs, but cannot be selected or played. In this case, move the sampling rate switch to the rate of the song you want to play, then turn the SonicCell’s power off, then on again. SAMPLING RATE SWITCH 1 Change the setting of the [SAMPLING RATE] switch. 2 Switch off the SonicCell’s power, then turn it back on. 29 SonicCell_e.book 30 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Creating a Playlist You can use the included “SonicCell Playlist Editor” to create a playlist for playback by the SonicCell. If you want to use the SonicCell to play backing tracks, it’s convenient to create a playlist in the order you want the songs to play. For details on installing “SonicCell Playlist Editor,” refer to p. 31 . For details on using the software, refer to the PDF manual that is installed along with the software. screen-playlisteditor.eps Performing via MIDI while a Song Plays ■ Connections fig.setsuzoku-pbm-MIDI.epsfig.setsuzoku-pds10.eps MIDI Keyboard Monitor Amplifier etc. MIDI OUT USB MEMORY PDS-10 BKT-S 30 MIDI IN OUTPUT By using the separately available PDS-10 and BKT-S, you can set up the SonicCell as shown in the illustration. *If you use the PDS-10, spread the tripod to the maximum extent. Ensure that the total height including the SonicCell does not exceed one meter. SonicCell_e.book 31 ページ ２００７年７月２日 月曜日 午後３時５０分 Connecting the SonicCell to Your Computer ■ USER`S GUIDE You can use the SonicCell as an external sound module for your DAW or sequencer software. NOTE You must install the driver before you connect the SonicCell to your computer. ■ Example Connections and Preparations for Installation fig.setsuzoku-DAW.eps Computer To USB Connector of Computer Disconnect MIDI Keyboard MIDI OUT Power off USB cable Monitor Amplifier etc. USB COMPUTER MIDI IN OUTPUT Rear Panel In the System screen, turn USB MIDI THRU “ON” (p. 173) Power off Front Panel Set the sampling rate to 44.1 kHz NOTE To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors. NOTE It is forbidden to use SonicCell Editor, SonicCell Librarian, or SonicCell Playlist Editor for rental, lease, or similar purposes without the permission of the copyright owner. Unauthorized duplication is forbidden by law. 31 SonicCell_e.book 32 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE dousa.eps SonicCell Editor System Requirements Windows OS Mac OS Microsoft® Windows® XP Microsoft® Windows Vista™ * This does not work with the 64-bit Edition of Windows Vista™. CPU/Clock : Pentium®/Celeron® processor 1.4 GHz or higher RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or higher/24 bit Full Color or more Others : A computer with a USB connector that supports USB Specification Revision 2.0 or higher * Intel chipset is recommended. * SonicCell may not perform to its full specs when used with an added USB 2.0 interface card. CD-ROM Drive Operating System : Mac OS 10.4.3 or later CPU/Clock : PowerPC G4 1 GHz or higher/Intel processor RAM : 512 MB or more Hard Disk : 160 MB or more Display/Colors : 1280 x 800 or higher/1670 million colors or more Others : Apple Macintosh series computer with on-board USB 2.0 CD-ROM Drive Windows : *Although Roland has tested numerous configurations, and has determined that on average, a computer system similar to that described above will permit normal operation of the SonicCell Applications, Roland cannot guarantee that a given computer can be used satisfactorily with the SonicCell Applications based solely on the fact that it meets the left requirements. This is because there are too many other variables that may influence the processing environment, including differences in motherboard design and the particular combination of other devices involved. *In the interest of product improvement, the specifications and/or contents of this package are subject to change without prior notice. ■ Installation Procedure Windows XP users................................... p. 33 Windows Vista users ............................... p. 35 Mac OS users........................................... p. 37 Installing SONAR LE .............................. p. 152 Specifications of the dedicated plug-in version of the editor SonicCell Editor is provided in two forms: a stand-alone version and a plug-in version. Plug-in Formats • Windows: VSTi • Mac: VSTi, Audio Unit Host Applications in Which Operation has been Verified If you’re using the plug-in version of the editor, please refer also to the applicable explanation. • • • • * SONAR LE ➝ p. 152 SONAR 6.2 ➝ p. 157 CUBASE 4 ➝ p. 160 Logic Pro 7.2 ➝ p. 163 In order to use plug-in version of the editor, your computer must meet the above operating requirements as well as the requirements of the host application you're using. * The plug-in version of the editor has been tested and found to work with major host applications, but we cannot guarantee that it will work with all host applications. 32 SonicCell_e.book 33 ページ ２００７年７月２日 月曜日 午後３時５０分 Connecting the SonicCell to Your Computer ■ USER`S GUIDE Windows XP users In order to install the driver and software, you must log on as a user who has administrative privileges. * For details, ask the system administrator of your computer. NOTE On the SonicCell Editor CD, the XP folder located inside the Driver folder contains a Readme file (Readme_E.html), which explains how to install the driver and includes a number of troubleshooting tips. Be sure to read this file before using the software. Installing the Driver 1 Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if used). 2 Log on to Windows as one of the following users. • A user belonging to the Administrators group, such as Administrator • A user whose account type is Computer Administrator * For details, contact the system administrator of the computer you’re using. 3 Close all applications. Also close any anti-virus or system-monitoring software. 4 Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder | XP folder, and double-click Setup.exe. 5 The screen will indicate “Roland SonicCell Driver will be installed on your computer...” Click [Next]. * If any other message is displayed, proceed as directed by the contents of the message. 6 The message “To begin installation, click [Next]” will appear. Proceed with the driver installation as directed by the instructions in the screen. 33 SonicCell_e.book 34 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Windows Settings ■ System Settings These settings will prevent problems with the sound being interrupted when you play back audio from your computer. 1 Open “Control Panel” and double-click “System.” * If you don’t see the above icon, click “Performance and Maintenance,” then click “System.” 2 Click the “Advanced” tab, and then in the Performance section click [Settings]. 3 Click the “Advanced” tab. 1 4 Choose “Background services” and click [OK]. 5 Click [OK] to close “System Properties.” ■ Settings for Using the Media Player Included with Windows 1 Open “Control Panel” and double-click “Sounds and Audio Devices.” * If you don’t see the above icon, click “Sounds, Audio, and Audio Devices,” then click “Sounds and Audio Devices.” 2 Click [OK] to close “Sounds and Audio Devices Properties.” 3 Start up Windows Media Player, play back an audio file and a MIDI file, and verify that you hear the sound correctly. Installing SonicCell Editor 1 Insert the “SonicCell Driver CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and double-click Setup.exe. 2 The “Welcome” screen will appear. Click [Next]. 3 Follow the on-screen directions to install SonicCell Editor. When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed. The online manual for each editor can be found under Windows “Start | All Programs | SonicCell Editor” folder. The online manuals are provided as PDF files. You’ll need Adobe Reader (available free of charge) in order to view PDF files. 34 SonicCell_e.book 35 ページ ２００７年７月２日 月曜日 午後３時５０分 Connecting the SonicCell to Your Computer ■ USER`S GUIDE Windows Vista Users In order to install the driver and software, you must log on as a user who has administrative privileges. * For details, ask the system administrator of your computer. NOTE The Driver | Vista folder of the SonicCell Driver CD-ROM contains a Readme file (Readme_E.html) that describes driver installations and troubleshooting. Be sure to read this before use. Installing the Driver 1 Start up Windows with all USB cables disconnected (except for a USB keyboard and/or mouse, if used). 2 Close all applications. Also close any anti-virus or system-monitoring software. 3 Place the “SonicCell Editor CD” into your CD-ROM drive, navigate to the Driver folder | Vista folder, and double-click Setup.exe. * If the message “Drivers must be installed by an administrator user.” is displayed, log on to Windows as a user whose account type is Administrator, and then perform the installation again. 4 1 A User Account Control screen will appear; click [Continue]. 5 A message of “Roland SonicCell Driver will be installed on your computer...” will appear. Click [Next]. * If any other message is displayed, proceed as directed by the contents of the message. 6 The message “Click [Next] to begin the installation” will appear. Proceed with the driver installation as directed by the instructions in the screen. 35 SonicCell_e.book 36 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Windows Settings ■ Settings for using the Media Player included with Windows 1 Open “Control Panel,” click “Hardware and Sounds,” then click “Sounds.” * If you’ve chosen the Classic View, double-click “Sounds.” 2 In “Playback,” choose Roland SonicCell’s “OUT” and click “Set Default.” 3 Click [OK] to close “Sounds.” 4 Start up Windows Media Player, play back an audio file, and verify that sound is produced correctly. Installing SonicCell Editor 1 Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Editor folder, and double-click Setup.exe. 2 The screen will indicate “An unidentified program is requesting access to this computer”; click [Allow]. 3 A User Account Control screen will appear; click [Continue]. 4 The installer will start up. Follow the on-screen instructions to proceed with installing SonicCell Editor. When you install SonicCell Editor, the SonicCell Editor, SonicCell Editor VSTi plugin, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed. The online manual for each editor can be found under Windows “Start | All Programs | SonicCell Editor” folder. The online manuals are provided as PDF files. You’ll need Adobe Reader (available free of charge) in order to view PDF files. 36 SonicCell_e.book 37 ページ ２００７年７月２日 月曜日 午後３時５０分 Connecting the SonicCell to Your Computer ■ USER`S GUIDE Mac OS X Users In order to install the driver and other software, you must log on as a user who has an administrative account. * For details, ask the system administrator of the computer you’re using. * The included SONAR LE is not compatible with Mac OS. Installing the Driver * If an “Authentication” dialog box appears during the installation, enter your password and click [OK]. 1 Start up your computer with all USB cables disconnected (except for the keyboard and mouse). 2 Insert the “SonicCell Editor CD-ROM” into your CD-ROM drive, navigate to the Driver folder, and double-click “SonicCellUSBDriver.pkg.” 3 You may see the message “This installer package needs to run a program to determine if it can be installed. Do you want to continue?” In this case, click [Continue]. 4 A message will indicate “Welcome to Roland SonicCell Driver installer.” Click [Continue]. 5 A message will indicate “Select a Destination.” Click to select the drive in which the system is installed, and then click [Continue]. 6 A message will indicate “Easy install.” Click either [Install] or [Upgrade]. 7 A message will indicate “Installing this software requires you to restart...” Click [Continue with installation]. 8 A message will indicate “The software was successfully installed” will appear. Click [Restart] to restart your computer. 37 SonicCell_e.book 38 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Installing SonicCell Editor 1 In the “SonicCell Editor CD-ROM,” navigate to the Editor folder and double-click “SonicCell EditorInstaller.mpkg.” 2 The installer will start up. Follow the on-screen instructions to proceed with installing SonicCell Editor. When you install SonicCell Editor, the SonicCell Editor, SonicCell Librarian, SonicCell Playlist Editor, and online manuals for each editor will be installed. The “Manual” folder within the folder where SonicCell Editor is installed contains online manuals for each editor. The online manuals are provided as PDF files. You’ll need Adobe Reader (available free of charge) in order to view PDF files. Settings ■ Mac OS X Audio Input/Output Settings 1 Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power. 2 In “System Preference,” click “Sounds.” 3 Choose “Roland SonicCell ** kHz” for the following settings. (** will depend on the sampling rate setting of the SonicCell itself.) • In the “Sound Effects” tab, “Play alerts and sound effects through:” • In the “Output” tab, “Choose a device for sound output” • In the “Input” tab, “Choose a device for sound input” ■ Mac OS X MIDI Input/Output Settings 38 1 Use a USB cable to connect the SonicCell to your computer, then switch on the SonicCell’s power. 2 In the “Applications - Utilities” folder, double-click “Audio MIDI Setup” to start it up. 3 Click the “MIDI Devices” tab. SonicCell_e.book 39 ページ ２００７年７月２日 月曜日 午後３時５０分 Connecting the SonicCell to Your Computer In the “Audio MIDI Setup” dialog box, verify that “SonicCell” is shown. ■ USER`S GUIDE 4 2 * If “SonicCell” is not shown, or if it is shown grayed-out, the SonicCell was not detected correctly. Try clicking “Re-scan MIDI.” You can also try switching off the SonicCell’s power, then turning it back on. * If a different version of the driver had been installed, the old settings may still exist. In this case, click the grayed-out “SonicCell” or “Roland SonicCell” to select it, and then click “Delete device” to delete the settings. 5 Click “Add Device.” A “New External Device” item will appear. 6 Click added “New External Device” that was added, and then click “View Information.” 7 Enter the following names in the “Device Name” field of each “New External Device.” First new external device SonicCell 8 Drag with the mouse so that the up/down arrows indicating the input/output ports are connected as follows. • Connect the first up/down arrow of “SonicCell” to the up/down arrow of the added “SonicCell” 9 Verify that MIDI transmission and reception is occurring normally. • Click “Test Settings.” The mouse cursor will change to the shape of a musical note. 10 Click the added external device. If you hear sound from the sound module, the settings are correct. 11 Click ”Test Setup” once again to end the test. 12 Close the “Audio MIDI Settings” dialog box. This completes the settings. ■ Before You Use the SonicCell with Your Software 1 Use a USB cable to connect the SonicCell to your computer before you start up your software. 2 In the Audio Driver settings of the software you’re using, choose “Roland SonicCell ** kHz.” (** will depend on the sampling rate setting of the SonicCell itself.) 3 In the MIDI Driver settings of the software you’re using, choose SonicCell. For details, refer to the manual of the software you’re using. 39 SonicCell_e.book 40 ページ ２００７年７月２日 月曜日 午後３時５０分 Recording a Mic or Guitar USER‘S GUIDE (USB/Audio Interface) ■ Connections fig.setsuzoku-Input.eps Acoustic Guitar etc. Guitar Dynamic Mic Computer To USB Connector of Computer Keyboard Condenser Mic MIC (DC 48 V/10mA) MIC LINE (L) USB COMPUTER LINE (R) GUITAR (Hi-Z) USB cable INPUT Monitor Amplifier etc. OUTPUT Set the INPUT LEVEL knob to “MIN” before making connections NOTE * To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. * When connection cables with resistors are used, the volume level of equipment connected to the inputs (INPUT) may be low. If this happens, use connection cables that do not contain resistors. * Howling could be produced depending on the location of microphones relative to speakers. This can be remedied by: 1. Changing the orientation of the microphone(s). 2. Relocating microphone(s) at a greater distance from speakers. 3. Lowering volume levels. fig.XLR/TRSJack.eps * This instrument is equipped with balanced (XLR/TRS) type jacks. Wiring diagrams for these jacks are shown below. Make connections after first checking the wiring diagrams of other equipment you intend to connect. 40 SonicCell_e.book 41 ページ ２００７年７月２日 月曜日 午後３時５０分 Recording a Mic or Guitar (USB/Audio Interface) ■ USER`S GUIDE Connecting a Mic fig.setsuzoku-input-Mic.eps Settings Required Dynamic Mic Acoustic Guitar etc. Condenser Mic INPUT SOURCE switch ➝ Set to “MIC” When connecting a condenser mic that requires phantom power ➝ Turn phantom power on (p. 142 ) L/GUITAR/MIC Input Source Switch Connecting a Guitar fig.setsuzoku-input-guitar.eps Settings Required Guitar INPUT SOURCE switch When sending your guitar through an effects unit before connecting it to the SonicCell ➝ Set to “LINE” When connecting your guitar directly to the SonicCell without passing through an effects unit ➝ Set to “GUITAR” L/GUITAR/MIC If you want to apply an effect ➝ Refer to p. 144 Input Source Switch 41 SonicCell_e.book 42 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Using the Line Input fig.setsuzoku-input-Line.eps Keyboard Settings Required INPUT SOURCE switch ➝ Set to “LINE” OUTPUT If you’re inputting in mono (one cable) ➝ Connect to L (MONO) If you want to apply an effect ➝ Refer to p. 144 LINE (R) L/GUITAR/MIC Input Source Switch Adjusting the Input Volume Checking the Volume Level fig.dispInputLvmtr.eps 1 Press [INPUT] so it’s lit. The Input screen will appear. If the volume is too high, the level meter at the bottom of the Input screen will indicate “CLIP.” Adjusting the Volume 1 Use the rear panel [INPUT LEVEL] to adjust the input volume. Raise the volume as high as you can without causing the “CLIP” indication to appear in the level meter of the Input screen. fig.InputVolume.eps INPUT LEVEL 42 SonicCell_e.book 43 ページ ２００７年７月２日 月曜日 午後３時５０分 Recording a Mic or Guitar (USB/Audio Interface) ■ USER`S GUIDE Input Effect Settings If you want to apply an effect to the sound from the Input jack, change the settings as appropriate for your situation. ■ Sending the Same Sound as Heard From the Speakers to Your Computer Input-b.eps Monitor Amplifier etc. SonicCell Mic Reverb, Patch, Performance Input Chorus, Mastering Effect Input FX Computer ■ Settings Required 1 Press [INPUT] so it’s lit. The Input screen will appear. Routing the Sound Through InputFX (input effect) fig.disp-Input-Assign.eps 2 Turn [CURSOR/VALUE] to move the cursor to the “Assign.” 3 Press [CURSOR/VALUE]. 4 Change the value to “To Input FX.” For more about the Input “Assign” setting ➝ p. 142 To select the type of input effect ➝ p. 147 fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.eps Setting the Output to Computer 5 Press [EFFECT] to access the In/Out Routing screen. * The illustration at right is an example of the IN/OUT Routing screen in Performance mode. 6 Turn [CURSOR/VALUE] to move the cursor to “To Com.” 7 Press [CURSOR/VALUE]. The To Computer screen will appear. 43 SonicCell_e.book 44 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE fig.disp-ToCom-Type-Mix.eps 8 Turn [CURSOR/VALUE] to move the cursor to the “Type.” 9 Press [CURSOR/VALUE]. 10 Change the value of Type to “MIX.” For more about the “Type” setting of To Computer screen ➝ p. 148 fig.disp-EffectSwitch.eps If the Input Effect is Not Applied In the In/Out Routing screen, press [MENU] to access the Menu screen. Turn the Input Effect “ON.” MEMO If you want to make more detailed effect settings, refer to the following pages. • Input Effect ➝ p. 147 • Chorus Send Level ➝ p. 148 • Reverb Send Level ➝ p. 148 • Mastering Effect ➝ p. 181 ■ Applying an effect such as reverb to the sound heard from the speakers, while recording the unprocessed sound to your computer Input-a.eps Monitor Amplifier etc. SonicCell Mic Reverb, Chorus, Mastering Effect Patch, Performance Input Input FX ■ Settings Required 1 Press [INPUT] so it’s lit. The Input screen will appear. fig.disp-Input-Assign.eps Routing the Sound Through InputFX (input effect) 44 2 Turn [CURSOR/VALUE] to move the cursor to the “Assign.” 3 Press [CURSOR/VALUE]. Computer SonicCell_e.book 45 ページ ２００７年７月２日 月曜日 午後３時５０分 Recording a Mic or Guitar (USB/Audio Interface) 4 ■ USER`S GUIDE Change the value to “To Input FX.” For more about the Input “Assign” setting ➝ p. 142 To select the type of input effect ➝ p. 147 To adjust the depth of chorus or reverb ➝ p. 148 fig.disp-InOutRouting.epsfig.disp-InOutRouting-ToCom.eps Setting the Output to Computer 5 Press [EFFECT] to access the In/Out Routing screen. * The illustration at right is an example of the IN/OUT Routing screen in Performance mode. 6 Turn [CURSOR/VALUE] to move the cursor to “To Com.” 7 Press [CURSOR/VALUE]. The To Computer screen will appear. fig.disp-ToComputer.eps 8 Turn [CURSOR/VALUE] to move the cursor to the “Type.” 9 Press [CURSOR/VALUE]. 10 Change the value of Type to “INPUT FX.” For more about the “Type” setting of To Computer screen ➝ p. 148 fig.disp-EffectSwitch.eps If the Input Effect is Not Applied In the In/Out Routing screen, press [MENU] to access the Menu screen. Turn the Input Effect “ON.” MEMO If you want to make more detailed effect settings, refer to the following pages. • Input Effect ➝ p. 147 • Chorus Send Level ➝ p. 148 • Reverb Send Level ➝ p. 148 • Mastering Effect ➝ p. 181 45 SonicCell_e.book 46 ページ ２００７年７月２日 月曜日 午後３時５０分 Installing the Wave Expansion Board USER‘S GUIDE Two Wave Expansion Boards (SRX series; sold separately) can be installed in the SonicCell. Waveform data, patches and rhythm sets are stored on the Wave Expansion Board, so you can increase the number of available sounds by installing the board in the SonicCell. NOTE Installing a Wave Expansion Board increases the patches and drum sets for Parts, but the number of Parts doesn’t change. The Wave Expansion Board can be installed by removing the top cover. Cautions When Installing an Wave Expansion Board ● To avoid the risk of damage to internal components that can be caused by static electricity, please carefully observe the following whenever you handle the board. ❍ Before you touch the board, always first grasp a metal object (such as a water pipe), so you are sure that any static electricity you might have been carrying has been discharged. ❍ When handling the board, grasp it only by its edges. Avoid touching any of the electronic components or connectors. ● When removing the screws, you must use the included Allen wrench. If you use the wrong tool, you risk damaging the screw head. fig.30-001-e ● To remove a screw, rotate the Allen wrench counter-clockwise. To tighten the screws, rotate the Allen wrench clockwise. loosen tighten ● When you tighten the screws, take care not to overtighten them. Doing so may cause the screw head to be stripped, allowing the Allen wrench to turn uselessly. ● When installing Wave Expansion Boards, remove only the specified screws. ● Be careful that the screws you remove do not drop into the interior of the SonicCell. ● Do not leave the cover removed. After installation of the Wave Expansion Boards is complete, be sure to replace the cover. ● Be careful not to cut your hand on the opening for installing the board. 911 ● Do not touch any of the printed circuit pathways or connection terminals. 912 ● Never use excessive force when installing a circuit board. If it doesn’t fit properly on the first attempt, remove the board and try again. 913 ● When circuit board installation is complete, double-check your work. 46 SonicCell_e.book 47 ページ ２００７年７月２日 月曜日 午後３時５０分 Installing the Wave Expansion Board ■ USER`S GUIDE How to Install a Wave Expansion Board To install a wave expansion board, you’ll need to remove the top panel cover. Boards can be installed in the EXP A-EXP B slots. These slots correspond with the Wave Expansion Board groups (XP-A-XP-B) when the expansion Wave, patches, and rhythm sets are used. 1 Before installing the Wave Expansion Board, turn off the power of the SonicCell and all connected devices, and disconnect all cables, including the Power cable, from the SonicCell. fig.SRX-Install0-e.eps 2 Screws to be removed From the SonicCell, remove only the screws shown in the following diagram, and detach the top panel cover. Allen Wrench (2mm) vfig.SRX-Install3-e.eps 3 As shown in the following illustration, plug the connector of the Wave Expansion Board into the connector of the relevant slot, and at the same time insert the board holder through the hole of the Wave Expansion Board. * If you install expansion boards of the same Wave Expansion Board (SRX series) Board holder type, only one board will be detected. Connector Position them as shown before you install the board. fig.SRX-Install4-e.eps 4 5 Use the Installation Tool supplied with the Wave Expansion Board to turn the holders in the LOCK direction, so the board will be fastened in place. Installation tool LOCK Use the screws that you removed in step 2 to fasten the cover back in place. 47 SonicCell_e.book 48 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Checking the Installed Wave Expansion Boards After installation of the Wave Expansion Boards has been completed, check to confirm that the installed boards are being recognized correctly. 1 Turn on the power, as described in “Turning the Power On” (p. 19 ). fig.disp-Menu-left-Snd.eps 2 1 Press [MENU]. The Menu screen will appear. fig.disp-menu-right-info.eps 3 Turn [CURSOR/VALUE] to select “SRX Info.” fig.disp-SysSRXInfo.eps 4 Press [CURSOR/VALUE]. Press or to display System SRX Info screen. The System screen will appear. Verify that the name of the installed Wave Expansion Board is displayed. NOTE If “- - - - - - - ” appears next to the installed slot name, it’s possible that the installed Wave Expansion Board is not being recognized correctly. Re-install the Wave Expansion Board correctly. 5 48 Press [EXIT] to exit the System screen. SonicCell_e.book 49 ページ ２００７年７月２日 月曜日 午後３時５０分 Installation de la carte d’extension Wave (French language for Canadian Safety Standard) fig.French_CSA ■ USER`S GUIDE Deux cartes d’expansion Wave (serie SRX; vendues separement) peuvent etre installees dans le SonicCell. Les donnees Waveform, les retouches et les groupes de rythme sont stockes sur la carte d’expansion Wave; vous pouvez donc augmenter le nombre de sons disponibles en installant la carte dans le SonicCell. NOTE Installer une carte d’expansion Wave augmente les retouches et les groupes de percussion pour les partitions mais le nombre de partitions ne change pas. Precautions a prendre lors de l’installation d’une carte d’expansion Wave ● Veuillez suivre attentivement les instructions suivantes quand vous manipulez la carte afin d’eviter tout risque d’endommagement des pieces internes par l’electricite statique. ❍ Toujours toucher un objet metallique relie a la terre (comme un tuyau par exemple) avant de manipuler la carte pour vous decharger de l’electricite statique que vous auriez pu accumuler. ❍ Lorsque vous manipulez la carte, la tenir par les cotes. Evitez de toucher aux composants ou aux connecteurs. ● Utiliser la clé Allen incluse pour retirer les vis. L'utilisation d'un outil inadéquat risque d'endommager la tête de la vis. fig.30-001-f ● Pour retirer une vis, tourner la clé hexagonale dans le sens contraire des aiguilles d'une montre. Pour serrer les vis, tourner la clé hexagonale dans le desserrer resserrer sens des aiguilles d'une montre. ● Veiller à ne pas trop serrer les vis. Un serrage excessif peut fausser la tête des vis et la clé Allen tournerait alors inutilement. ● Pour installer les cartes d’expansion Wave, retirer uniquement les vis mentionnees.. ● Assurez-vous que les vis retirees ne tombent pas dans le SonicCell. ● Replacer le couvercle pour ne pas laisser l'ouverture béante. S’assurer de l’avoir rattacher apres avoir installe le disque dur. ● Faites attention de ne pas vous couper sur l’ouverture d’installation de la carte. ● Ne pas toucher aux circuits imprimes ou aux connecteurs. ● Ne jamais forcer lors de l’installation de la carte de circuits imprimes. Si la carte s’ajuste mal au premier essai, enlevez la carte et recommencez l’installation. ● Quand l’installation de la carte de circuits imprimes est terminee, reverifiez si tout est bien installe. 49 SonicCell_e.book 50 ページ ２００７年７月２日 月曜日 午後３時５０分 USER‘S GUIDE Installation d’une carte d’expansion Wave Pour installer une carte d’expansion Wave, il faut retirer le couvercle superieur. Les cartes peuvent etre installees dans les emplacements SRX-A- SRX-B. Ces fentes correspondent aux groupes de cartes d’expansion Wave (XP-A- XP-B) lorsque l’expansion Wave, les correctifs et rythmes sont utilises. 1 Avant d’installer la carte d’expansion Wave, coupez l’alimentation du SonicCell et de tous les appareils branches, et debranchez tous les cables du SonicCell, y compris le cable d’alimentation. fig.SRX-Install0-f.eps 2 1 Retirer du SonicCell, uniquement les vis montrees dans le diagramme ci-dessous et detacher le couvercle superieur. Vis à enlever Clé hexagonale (2 mm) fig.SRX-Install3-f.eps 3 Comme le montre l’illustration ci-dessous, branchez le connecteur de la carte d’expansion Wave dans la fente appropriee et, en meme temps, inserez le support de carte de circuits imprimes dans l’ouverture de la carte d’expansion Wave. Carte d’extension Wave (serie SRX) Support à carte * Si plusieurs cartes d’expansion du meme Connecteur type sont installees, une seule sera detectee. Avant l’installation, orienter les supports à carte tel qu’indiqué sur le schéma. fig.SRX-Install4-f.eps 4 5 50 Utilisez l’outil d’installation fourni avec la carte d’expansion Wave pour tourner les supports en position LOCK (verrouille) afin de retenir la carte en place. Remettez le couvercle en place a l’aide des vis retirees a l’etape 2. Outil d’installation LOCK SonicCell_e.book 51 ページ ２００７年７月２日 月曜日 午後３時５０分 Installation de la carte d’extension Wave (French language for Canadian Safety Standard) ■ USER`S GUIDE Verification des cartes d’extension audio apres installation Lorsque l’installation des cartes d’extension audio est terminee, proceder a une verification pour s’assurer que l’ordinateur les identifie correctement. 1 Mettre sous tension de la facon decrite sous “Turning the Power On” (p. 19 ). fig.disp-Menu-left-Snd.eps 2 1 Appuyer sur [MENU]. L'écran Menu s'affichera à l'écran. fig.disp-menu-right-info.eps 3 Tourner [CURSEUR/VALEUR] pour sélectionner “SRX Info.” fig.disp-SysSRXInfo.eps 4 Appuyer sur [CURSOR/VALUE]. L’ecran System Edit s’affiche. Verifiez que le nom de la carte d’expansion Wave installee s’est affiche. NOTE Si “- - - - - - -” est affiche a cote du nom de la fente dans laquelle la carte est installee, il est possible que la carte d’extension audio installee ne soit pas reconnue correctement. Reinstaller correctement la carte d’extension audio. 5 Appuyer sur [EXIT] pour quitter la fenetre du systeme. 51 SonicCell_e.book 52 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 52 SonicCell_e.book 53 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Sound Module 53 SonicCell_e.book 54 ページ ２００７年７月２日 月曜日 午後３時５０分 Overview You can use the SonicCell as a MIDI sound module in either of two modes: Performance mode or Patch mode. Performance Mode and Patch Mode ■ Performance mode ■ Part In Performance mode you can use multiple patches or rhythm sets simultaneously. A performance contains sixteen “Parts.” You can assign a patch or rhythm set to each part, and use them as an ensemble, or layer sounds to create rich textures. Since in Performance mode you can use an external MIDI device or sequencer software to independently control each of the SonicCell’s sixteen parts, this is the mode to use when you’re creating a song. On the SonicCell, a “part” is something to which you assign a patch or rhythm set. In Performance mode, each performance has sixteen parts, and you can assign a patch or rhythm set to each part. With the factory settings, Performance mode is selected. The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses. PRST01–33 For song production PRST34–64 For playing ■ Patch mode In Patch mode you can use a connected keyboard or other device to play a single Patch on the SonicCell. Since Patch mode lets you use a variety of effects on a single patch, you can play very rich textures. In Patch mode it’s also easy to edit the selected sound, so this is the mode to use when editing or creating your own sounds. How a Patch is structured Patches are the basic sound configurations that you play during a performance. Each patch can be configured by combining up to four tones. How the four tones are combined is determined by the Structure Type parameter. Patch Tone 1 Tone 2 Tone 3 Tone 4 Example 1: A Patch consisting of only one Tone (Tones 2–4 are turned off). Patch Tone 1 Tone 2 Tone 3 Tone 4 Example 2: A Patch consisting of four Tones. How a Performance is structured A performance has a patch or rhythm set assigned to each of the 16 parts, and can simultaneously handle 16 sounds. Because the SonicCell sound generator can control multiple sounds (instruments) it is called a Multi-timbral sound generator. ■ Tones On the SonicCell, the tones are the smallest unit of sound. However, it is not possible to play a tone by itself. The patch is the unit of sound which can be played, and the tones are the basic building blocks which make up the patch. Tone Performance LFO 1 LFO 2 Part 16 WG TVF TVA Pitch Envelope TVF Envelope TVA Envelope Part 1 Patch/ Rhythm Set audio signal WG (Wave Generator) 54 control signal Specifies the PCM waveform (wave) that is the basis of the SonicCell_e.book 55 ページ ２００７年７月２日 月曜日 午後３時５０分 Overview sound, and determines how the pitch of the sound will change. TVF (Time Variant Filter) Specifies how the frequency components of the sound will change. TVA (Time Variant Amplifier) Specifies the volume changes and the sound’s position in a stereo soundfield. Envelope You use Envelope to initiate changes to occur to a sound over time. There are separate envelopes for Pitch, TVF (filter), and TVA (volume). LFO (Low Frequency Oscillator) Use the LFO to create cyclic changes (modulation) in a sound. The SonicCell has two LFOs. Either one or both can be applied to effect the WG (pitch), TVF (filter) and/or TVA (volume). When an LFO is applied to the WG pitch, a vibrato effect is produced. When an LFO is applied to the TVF cutoff frequency, a wah effect is produced. When an LFO is applied to the TVA volume, a tremolo effect is produced. How a Rhythm Set is structured Rhythm sets are groups of a number of different percussion instrument sounds. Since percussion instruments generally do not play melodies, there is no need for a percussion instrument sound to be able to play a scale on the keyboard. It is, however, more important that as many percussion instruments as possible be available to you at the same time. Therefore, each key (note number) of a rhythm set will produce a different percussion instrument. Rhythm Set Note number 98 (D7) Note number 97 (C#7) Note number 36 (C2) Note number 35 (B1) Calculating the Number of Voices Being Used The SonicCell is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of patches actually being played, but changes according to the number of tones used in the patches, and the number of waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (Number of patches being played) x (Number of tones used by patches being played) x (Number of waves used in the tones) For example, a patch that combines four tones, each of which use two waves, will use eight notes of polyphony at once. Also, when playing in Performance mode, the number of sounds for each part is counted to obtain the total number of sounds for all parts. ■ How a Patch Sounds When the SonicCell is requested to play more than 128 voices simultaneously, currently sounding notes will be turned off to make room for newly requested notes. The note with the lowest priority will be turned off first. The order of priority is determined by the Patch Priority setting (p. 90). Patch Priority can be set either to “LAST” or “LOUDEST.” When “LAST” is selected, a newly requested note that exceeds the 128 voice limit will cause the first-played of the currently sounding notes to be turned off. When “LOUDEST” is selected, the quietest of the currently sounding notes will be turned off. Usually, “LAST” is selected. ■ Note priority in Performance Mode Since Performance mode is usually used to play an ensemble consisting of several patches, it is important to decide which parts take priority. Priority is specified by the Voice Reserve settings (p. 71). When a note within a patch needs to be turned off to make room for a new note, the Patch Priority setting of the patch will apply (p. 90). ■ Voice Reserve Rhythm Tone (Percussion instrument sound) WG TVF TVA Pitch Envelope TVF Envelope TVA Envelope * There are four wave generators for each rhythm tone (percussion instrument sounds). * LFO is not included in the rhythm tones (percussion instrument sounds). The SonicCell has a Voice Reserve function that lets you reserve a minimum number of notes that will always be available for each part. For example if Voice Reserve is set to “10” for part 16, part 16 will always have 10 notes of soundproducing capacity available to it even if a total of more than 128 notes (total for all parts) are being requested. When you make Voice Reserve settings, you need to take into account the number of notes you want to play on each part as well as the number of tones used by the selected patch (p. 71). It is not possible to make Voice Reserve settings that would cause the total of all parts to be greater than 64 voices. 55 SonicCell_e.book 56 ページ ２００７年７月２日 月曜日 午後３時５０分 Overview About the Effects The SonicCell has built-in effect units, and you can independently edit each unit’s settings. ■ Multi-Effects The multi-effects are multi-purpose effects that completely change the sound type by changing the sound itself. Contained are 78 different effects types; select and use the type that suits your aims. In addition to effects types composed of simple effects such as Distortion, Flanger, and other such effects, you can also set up a wide variety of other effects, even connecting effects in series or in parallel. Furthermore, while chorus and reverb can be found among the multi-effects types, the following chorus and reverb are handled with a different system. In Performance mode, three types of multieffect can be used simultaneously; these are referred to as MFX1, MFX2, and MFX3. In Patch mode, you can use one multi-effect. Effects in Performance Mode The multi-effects, chorus and reverb effects can be set individually for each performance. The intensity of each effect will be set for each part. When you apply effects in Performance mode, the effect settings of the patch or rhythm set assigned to each part will be ignored, and the effect settings of the performance will be used. Thus, the effects for the same patch or rhythm set may differ when played in Patch mode and in Performance mode. However, depending on the settings, you can have effect settings for a patch or rhythm set assigned to a part applied to the entire performance. Performance Part 1 Patch Part 16 Tone Multi-Effects Chorus ■ Chorus Reverb Chorus adds depth and spaciousness to the sound. You can select whether to use this as a chorus effect or a delay effect. ■ Reverb Reverb adds the reverberation characteristics of halls or auditoriums. Five different types are offered, so you can select and use the type that suits your purpose. ■ Mastering Effect This is a stereo compressor (limiter) that is applied to the final output of the SonicCell. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent. Effects in Patch Mode The multi-effects, chorus and reverb effects can be set up individually for each patch/rhythm set. Adjusting the signal level to be sent to each effects unit (Send Level) provides control over the effect intensity that’s applied to each tone. Patch Tone Multi-Effects Chorus Reverb Rhythm Set A0 C8 Rhythm Tone Multi-Effects Chorus Reverb 56 SonicCell_e.book 57 ページ ２００７年７月２日 月曜日 午後３時５０分 Overview About Memory Temporary Memory Patch and performance settings are stored in what is referred to as memory. There are three kind of memory: temporary, rewritable, and non-rewritable. USB Memory Song SMF Audio File System Patch 256 Rhythm Set 32 Performance 64 Restore Backup ■ Temporary Area This is the area that holds the data for the patch or performance that you’ve selected using the panel buttons. When you play the SonicCell, sound is produced based on data in the temporary area. When you edit a patch or performance, you do not directly modify the data in memory; rather, you call up the data into the temporary area, and edit it there. Settings in the temporary area are temporary, and will be lost when the power is turned off or when you select another patch/performance. To keep the settings you have modified, you must write them into rewritable memory. Rewritable Memory ■ System Memory Preset Performance 64 System Preset G (PR-G) Rhythm Set 32 Preset F (PR-F) User Preset E (PR-E) GM (GM2) Preset B (PR-B) Preset A (PR-A) Patch 256 Patch 128 Rhythm Set 9 Select Select Temporary Area Select ■ User Memory Patch 256 Preset D (PR-D) Preset C (PR-C) Select Rhythm Set 32 Performance 64 Select System memory stores system parameter settings that determine how the SonicCell functions. To store system parameters, execute System Write (p. 176, p. 150). Write User memory is where you normally store the data you need. To store a performance, execute Performance Write (p. 73). To store a patch, execute Patch Write (p. 116). To store a Rhythm Set, execute Rhythm Set Write (p. 131). ■ USB Memory The performances/patches/rhythm sets in user memory and the system settings in system memory can be backed up together to USB memory. Non-Rewritable memory ■ Preset memory EXP A slot EXP B slot Patch Patch Rhythm Set Rhythm Set Wave Expansion Board Data in Preset memory cannot be rewritten. However, you can call up settings from preset memory into the temporary area, modify them and then store the modified data in rewritable memory. ■ Wave Expansion Boards (optional: SRX Series) The SonicCell can be equipped with up to two Wave Expansion Boards (optional: SRX Series). Wave Expansion Boards contain Wave data, as well as patches and rhythm sets that use this Wave data, which can be called directly into the temporary area and played. 57 SonicCell_e.book 58 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Viewing the MIDI INST (MIDI sound module) screen 2. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. fig.disp-MIDI-top01 3. Press [CURSOR/VALUE] to highlight the value. fig.disp-MIDI-top02 (1) (2) 4. Turn [CURSOR/VALUE] to edit the value. 5. When you’ve finished editing, press [CURSOR/VALUE]. (3) * If Sound Mode (p. 60) is set to “Patch,” the Patch Play screen (p. 82) will appear. In this case, simultaneously press [MIDI INST] and [PART VIEW] to switch to the MIDI INST screen of Performance mode. Parameter Value Explanation (1) USER, PRST Selects the performance group. USER: User PRST: Preset Performance group Selects the performance. (2) (3) Performance number/name Settings for each part 01–64 -, M, S, * The SonicCell’s sixty-four preset performances have been created to be appropriate for the following uses. PRST01–33 For song production PRST34–64 For playing For each part, you can specify whether sound will be heard. -: Sound can be heard. M (mute): The sound will be temporarily muted (silenced). S (solo): Selects the one part that will be heard. Parts other than the one set to “S” will be muted. *: In the SonicCell Editor you can set mute and solo separately. In this case, “*” is shown for parts for which both mute and solo have been specified. Viewing the menu screen (Performance Menu screen) 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. 58 SonicCell_e.book 59 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode 2. Press [MENU]. The Performance Menu screen will appear. The Performance Menu screen has the structure shown in the illustration at right. You can turn [CURSOR/VALUE] to the right or left to switch screens. 3. Turn [CURSOR/VALUE] to move the cursor to the item you want to edit. 4. Press [CURSOR/VALUE] to access the corresponding screen. Parameter Explanation Snd (Sound) Mode Lets you switch between Performance mode and Patch mode. Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60). General Specifies the recommended tempo of the performance. Press [CURSOR/VALUE] to access the Performance General screen (p. 60). MIDI Filter Turns reception of various MIDI messages on/off for each part. Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60). Ctrl Init (Sound Control Initialize) Initializes the values of only the following sound-related parameters for the current performance (p. 73). • Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay Prf Init (Performance Initialize) Initializes the settings of the current performance (p. 73). Write (Performance Write) Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 59 SonicCell_e.book 60 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Switching the sound mode (Sound Mode screen) 1. Turn [CURSOR/VALUE] to move the cursor, and press [CURSOR/VALUE] to confirm your choice of mode. If you select “Performance” and press [CURSOR/VALUE], the following screen will appear. This specifies the mode of the MIDI sound generator. The current mode is highlighted. fig.disp-PerformanceTop Specifying the recommended performance tempo (Performance General screen) Parameter Value Explanation Recommend Tempo 20–250 If you want the system tempo to change when you switch Performances, specify the tempo that will follow this change. This setting is valid when the Seq Tempo Override is “ON.” In order to enable this setting, turn on the Tempo Override (p. 177). MIDI-related settings (Perform MIDI Filter screen) In the Perform MIDI Filter screen you can edit the following parameters for each part. Parameter Value Explanation PC (Receive Program Change Switch) _, O Determines, on an individual part basis, whether MIDI program change messages will be received (O) or not received (_). BS (Receive Bank Select Switch) _, O Determines, on an individual part basis, whether MIDI bank select messages will be received (O) or not received (_). PB (Receive Pitch Bend Switch) _, O Determines, on an individual part basis, whether MIDI pitch bend messages will be received (O) or not received (_). PA (Receive Polyphonic Key Pressure Switch) _, O Determines, on an individual part basis, whether MIDI polyphonic key pressure messages will be received (O) or not received (_). CA (Receive Channel Pressure Switch) _, O Determines, on an individual part basis, whether MIDI channel pressure messages will be received (O) or not received (_). 60 SonicCell_e.book 61 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Parameter Value Explanation MD (Receive Modulation Switch) _, O Determines, on an individual part basis, whether MIDI modulation messages will be received (O) or not received (_). VO (Receive Volume Switch) _, O Determines, on an individual part basis, whether MIDI volume messages will be received (O) or not received (_). PN (Receive Pan Switch) _, O Determines, on an individual part basis, whether MIDI pan messages will be received (O) or not received (_). EX (Receive Expression Switch) _, O Determines, on an individual part basis, whether MIDI expression messages will be received (O) or not received (_). HD (Receive Hold 1 Switch) _, O Determines, on an individual part basis, whether MIDI hold 1 messages will be received (O) or not received (_). Set Phase Lock to “O” when you want to suppress discrepancies in timing of parts played on the same MIDI channel. PL (Phase Lock Switch) _, O When the Phase Lock parameter is set to “O,” parts on the same MIDI channel are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “O” only as needed. Velocity Curve selects for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “–” if you are using the MIDI keyboard’s own velocity curve. VC (Velocity Curve Type) _, 1–4 1 2 3 4 ■ Menu screen................................................................................................................. From the Perform MIDI Filter screen, press [MENU] to access the MIDI Filter screen. Press [MENU] once again to return to the Perform MIDI Filter screen. Parameter Explanation PC, BS, PB, PA, CA, MD, VO, PN, EX, HD, PL, VC The cursor will move to the current part for the item you selected in the Perform MIDI Filter screen. 61 SonicCell_e.book 62 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Viewing the part settings (Part View screen) 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. fig.disp-PartView-01 2. Move the cursor to the part that you want to edit, and press [PART VIEW]. The [PART VIEW] indicator will light, and the Part View screen will appear. If the patch type is Patch If in Performance mode you’ve set the current part’s patch type to “Patch,” the following screen will appear. fig.disp-PartView-p (1) (2) (3) (4) (5) (6) (7) (8) Parameter (1) Patch group (9) (10) Value Explanation USER, PR-A–PR-G, GM XP-A, XP-B Selects the patch group. USER: User PR-A–PR-G: Preset A–Preset G GM: General MIDI XP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted in to the corresponding slot. (2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set. (3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations. (4) Patch number/name 001– Selects the patch used by the current part. Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. If you lock the category, only sounds that are within the category will appear when you select patches. (5) Category lock , (6) Patch category - - - –CMB (7) LIST Press [CURSOR/VALUE] to access the Patch List screen (p. 65, p. 66). (8) PART Press [CURSOR/VALUE] to access the Part Edit screen (p. 68). (9) PATCH Press [CURSOR/VALUE] to access the edit screen for the patch used by the current part (p. 88). Switches the category. If you switch the preview icon ( sound played by that patch. (10) Preview ) to ( ), you’ll be able to hear a preview , The system Preview setting (p. 179) lets you specify how the preview will be sounded. 62 SonicCell_e.book 63 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode ■ Patch Category Category --PNO EP No Assign AC.Piano EL.Piano KEY BEL MLT ORG ACD HRM AGT EGT DGT BS SBS STR ORC HIT WND FLT BRS SBR SAX HLD SLD TEK PLS FX SYN BPD SPD Keyboards Bell Mallet Organ Accordion Harmonica AC.Guitar EL.Guitar DIST.Guitar Bass Synth Bass Strings Orchestra Hit&Stab Wind Flute AC.Brass Synth Brass Sax Hard Lead Soft Lead Techno Synth Pulsating Synth FX Other Synth Bright Pad Soft Pad VOX PLK ETH FRT PRC SFX BTS DRM CMB Vox Plucked Ethnic Fretted Percussion Sound FX Beat&Groove Drums Combination Contents No assign Acoustic Piano Electric Piano Other Keyboards (Clav, Harpsichord etc.) Bell, Bell Pad Mallet Electric and Church Organ Accordion Harmonica, Blues Harp Acoustic Guitar Electric Guitar Distortion Guitar Acoustic & Electric Bass Synth Bass Strings Orchestra Ensemble Orchestra Hit, Hit Winds (Oboe, Clarinet etc.) Flute, Piccolo Acoustic Brass Synth Brass Sax Hard Synth Lead Soft Synth Lead Techno Synth Pulsating Synth Synth FX (Noise etc.) Poly Synth Bright Pad Synth Soft Pad Synth Vox, Choir Plucked (Harp etc.) Other Ethnic Fretted Inst (Mandolin etc.) Percussion Sound FX Beat and Groove Drum Set Other patches which use Split and Layer 63 SonicCell_e.book 64 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode If the patch type is Rhythm Set If in Performance mode you’ve set the current part’s patch type to “Rhythm,” the following screen will appear. fig.disp-PartView-r (1) (2) (3) (4) (5) (6) (7) Parameter (1) Rhythm Set group (8) (9) Value USER, PRST, GM, XP-A, XP-B Explanation Selects the rhythm set group. USER: User PRST: Preset GM: General MIDI XP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted in to the corresponding slot. (2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set. (3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations. (4) Rhythm Set number/name 001– Selects the rhythm set used by the current part. (5) Editing key A0–C8 (6) LIST (7) PART Press [CURSOR/VALUE] to access the Part Edit screen (p. 68). RHY Press [CURSOR/VALUE] to access the edit screen for the rhythm set used by the current part (p. 117). (8) Within the currently selected rhythm set, selects the key that you’ll be editing. Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 67). If you switch the preview icon ( played by that rhythm set. (9) Preview ) to ( ), you’ll be able to hear a preview sound , The system Preview setting (p. 179) lets you specify how the preview will be sounded. 64 SonicCell_e.book 65 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Selecting patches from a patch list by category (Patch List (Ctg) screen) You can choose the patch for each part from a list that’s arranged by category. * When the power is turned on, the Patch List (Ctg) screen is selected. 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. 2. Move the cursor to the part that you want to edit, and press [PART VIEW]. The [PART VIEW] indicator will light, and the Part View screen will appear. 3. Select “LIST” and press [CURSOR/VALUE]. The Patch List (Ctg) screen will appear. * If the Patch List (Grp) screen was displayed last, the Patch List (Grp) screen will appear. In this case, press [MENU] to access the Group Select screen, select “CATEG LIST,” then press [CURSOR/ VALUE] to access the Patch List (Ctg) screen. 4. Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Part View screen. fig.disp-PatchL-Ctg ■ Menu screen................................................................................................................. From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen. Press [MENU] once again to return to the Patch List (Ctg) screen. Parameter Explanation Changes the category (major classification) and returns to the patch list screen organized by category. You can change the category by moving the cursor to the currently selected category (at the top of the screen) and pressing [CURSOR/VALUE]. Major Classification PNO, KBD, GTR, BAS, ORC, BRS, SYN, VCL, WLD GROUP LIST PNO: KBD: GTR: BAS: ORC: BRS: SYN: VCL: WLD: Category AC.Piano, EL.Piano Keyboards, Bell, Mallet, Organ, Accordion, Harmonica AC.Guitar, EL.Guitar, Dist.Guitar Bass, Synth Bass Strings, Orchestra, Hit&Stab Wind, Flute, AC.Brass, Synth Brass, Sax Hard Lead, Soft Lead, Techno Synth, Pulsating, Synth FX, Other Synth Bright Pad, Soft Pad, Vox Plucked, Ethnic, Fretted, Percussion, Sound FX, Beat&Groove, Drums, Combination Press [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 66). * Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when you select “LIST” in the Part View screen. 65 SonicCell_e.book 66 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Selecting patches from a patch list by group (Patch List (Grp) screen) You can choose the patch for each part from a list that’s arranged by group, such as USER or expansion board. * When the power is turned on, the Patch List (Ctg) screen is selected. 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. 5. Choose “GROUP LIST” and press [CURSOR/VALUE]. The Patch List (Grp) screen will appear. fig.disp-PatchL-Grp 2. Move the cursor to the part that you want to edit, and press [PART VIEW]. The [PART VIEW] indicator will light, and the Part View screen will appear. 3. Select “LIST” and press [CURSOR/VALUE]. The Patch List (Ctg) screen will appear. * If the Patch List (Grp) was displayed last, the Patch List (Grp) screen will appear. Proceed to step 6. 4. Press [MENU] to access the menu screen. 6. Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Part View screen. ■ Menu screen................................................................................................................. From the Patch List (Grp) screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Patch List (Grp) screen. Parameter Explanation USR, A–G, GM, EXA, EXB Changes the group and returns to the patch list by group screen. USR: User A–G: Preset A–Preset G GM: General MIDI EXA, EXB: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corresponding slot. CATEG (Category) LIST Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 65). * Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when you select “LIST” in the Part View screen. 66 SonicCell_e.book 67 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Selecting a rhythm set from a list (Rhythm Set List screen) If the current part’s patch type is “Rhythm,” you can choose a rhythm set from a list. 3. Select “LIST” and press [CURSOR/VALUE]. Rhythm Set List screen will appear. 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. fig.disp-RhythmList 2. Move the cursor to the part that you want to edit, and press [PART VIEW]. The [PART VIEW] indicator will light, and the Part View screen will appear. 4. Turn [CURSOR/VALUE] to select a rhythm set, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Part View screen. ■ Menu screen................................................................................................................. From the Rhythm Set List screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Rhythm Set List screen. Parameter Explanation USR, PRESET, GM, EXA, EXB Changes the group and returns to the patch list by group screen. USR: User PRESET: Preset GM: General MIDI EXA, EXB: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corresponding slot. 67 SonicCell_e.book 68 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Editing parts (Part Edit screen) 1. Press [MIDI INST] so its indicator is lit. The MIDI INST screen will appear. fig.disp-PartEdit01 2. Move the cursor to the part that you want to edit, and press [PART VIEW]. The [PART VIEW] indicator will light, and the Part View screen will appear. 3. Turn [CURSOR/VALUE] to select “PART,” and press [CURSOR/VALUE]. The Part Edit screen will appear. 4. Turn [CURSOR/VALUE] to select the parameter that you want to edit, and press [CURSOR/VALUE]. The value of the selected parameter will be highlighted. If you select “Scale Tune,” an editing screen will appear. 5. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. ■ Menu screen................................................................................................................. From the Part Edit screen, press [MENU] to access the Menu screen. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Part Edit screen. Parameter Explanation 1–16 Changes the current part and returns to the Part Edit screen. SND (Sound Mode) Lets you switch between Performance mode and Patch mode. Press [CURSOR/VALUE] to access the Sound Mode screen (p. 60). GEN (General) Specifies the recommended tempo of the performance. Press [CURSOR/VALUE] to access the Performance General screen (p. 60). MIDI (MIDI Filter) Turns reception of various MIDI messages on/off for each part. Press [CURSOR/VALUE] to access the Perform MIDI Filter screen (p. 60). CINI (Sound Control Initialize) Initializes the values of only the following sound-related parameters for the current performance (p. 73). • Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay PINI (Performance Initialize) Initializes the settings of the current performance (p. 73). Write (Performance Write) Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 68 SonicCell_e.book 69 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode ■ Part Edit screen ............................................................................................................ Parameter Value Explanation Level 0–127 Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts. Pan L64–63R Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right. Octave Shift -3–+3 Adjusts the pitch of the part’s sound up or down in units of an octave (+/-3 octaves). Coarse Tune -48–+48 Adjusts the pitch of the part’s sound up or down in semitone steps (+/-4 octaves). Fine Tune -50–+50 Adjusts the pitch of the part’s sound up or down in 1-cent (1/100th of a semitone) steps (+/-50 cents). Specifies for each part how the direct sound will be output. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R: Output to the OUTPUT jack in stereo without passing through multi-effects. L: Output from L. R: Output from R. PAT: The part’s output destination is determined by the settings of the patch or rhythm set assigned to the part. Output Assign MFX, L+R, L, R, PAT • When outputting in mono, the Pan setting is disabled. • Chorus and Reverb are output in mono at all times. • When the settings are such that signals are split and output from the L jack and R jack, and no plug is inserted in the R jack, the sounds from L and R are mixed together, then output from the L jack. This sound comprises the sounds from the L and R jacks. When the Output Assign parameter is set to PAT, the output level settings for the Patch or Rhythm Set as well as the Part go into effect. If you want the various level settings of the Patch/Rhythm Set to be reflected as they are, set the various Part levels to 127 (maximum). For more on how to set each effect, refer to the pages shown below. • Multi-effects(p. 78, p. 192) • Chorus (p. 78, p. 219) • Reverb (p. 79, p. 220) Output MFX (Output MFX Select) 1–3 Of the three types of multi-effects that can be used simultaneously, specify which multi-effects will be used. Output Level 0–127 Sets the direct sound’s volume for each Part. When Multi-effects are being applied, this sets the amount of the effect that is applied; when Multi-effects are not applied, this sets the volume of the direct sound. Chorus Send (Chorus Send Level) 0–127 Adjusts the amount of Chorus for each Part. If you don’t want to add the Chorus effect, set it to 0. Reverb Send (Reverb Send Level) 0–127 Adjusts the amount of Reverb for each Part. If you don’t want to add the Reverb effect, set it to 0. Adjusts the cutoff frequency for the patch or rhythm set assigned to a part. Cutoff Offset -64–+63 Patches also have a Cutoff Offset setting (p. 90). The final Cutoff frequency value is the sum of the tone Cutoff Frequency value and the patch and part Cutoff Offset values. If the tone’s cutoff frequency is already set to “127” (maximum), there will be no change produced by setting the Cutoff Offset to a positive value. 69 SonicCell_e.book 70 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Parameter Value Explanation Adjusts the Resonance for the patch or rhythm set assigned to a part. Resonance Offset -64–+63 Patches also have a Resonance Offset setting (p. 91). The final Resonance value is the sum of the tone Resonance value and the patch and part Resonance Offset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance offset to a positive value. Adjusts the TVA/TVF Envelope Attack Time for the patch or rhythm set assigned to a part. Attack Offset (Attack Time Offset) -64–+63 Patches also contain the Attack Offset setting (p. 91). The final TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Offset, and the part’s Attack Time Offset. If the tone’s Time 1 parameter is already set to “127” (maximum), there will be no change produced by setting the Attack Time Offset to a positive value.The same applies to the TVF envelope. Adjusts the TVA/TVF Envelope Release Time for the patch or rhythm set assigned to a part. Release Offset (Release Time Offset) -64–+63 Decay Offset (Decay Time Offset) -64–+63 Mono/Poly MONO, POLY, PAT Patches also contain a Release Offset setting (p. 91). The final TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Offset, and the part’s Release Time Offset. If the tone’s Time 4 parameter is set to “127” (maximum), there will be no change in the Release Time Offset, even when this is set to a positive value.The same applies to the TVF envelope. Adjusts the TVA/TVF Envelope Decay Time for the patch or rhythm set assigned to a part. Sets how the Patch’s notes play. The MONO setting is effective when playing a solo instrument Patch such as sax or flute. MONO: Only one note sounds at a time. POLY: Two or more notes can be played simultaneously. PAT: The Part uses the Patch’s Mono/Poly setting. This setting is ignored for parts to which a rhythm set is assigned. Legato Switch OFF, ON, PAT Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. Legato is a feature that works only when the Mono/Poly is MONO. When Legato is ON, pressing one key when another is already pressed causes the currently playing note’s pitch to change to that of the newly pressed key while continuing to sound. This can be effective when you wish to simulate performance techniques such as a guitarist’s hammering on and pulling off strings. When PAT is selected, the Patch’s own settings take effect. This setting is ignored for parts to which a rhythm set is assigned. Portamento Sw (Switch) OFF, ON, PAT Specify whether portamento will be applied. Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part, set this to “PAT.” This setting is ignored for parts to which a rhythm set is assigned. Portamento Time 0–127, PAT When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part, set this to “PAT.” This setting is ignored for parts to which a rhythm set is assigned. Vibrato Rate 70 -64–+63 For each part, adjust the vibrato speed (the rate at which the pitch is modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings. SonicCell_e.book 71 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Parameter Value Explanation Vibrato Depth -64–+63 For each part, this adjusts the depth of the vibrato effect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings. Vibrato Delay -64–+63 For each part, this adjusts the time delay until the vibrato (pitch modulation) effect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time. This changes the volume and cutoff frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cutoff frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a fixed volume and cutoff frequency, regardless of the force with which the keys are played. Velocity Sens Off (Velocity Sensitivity Offset) -63–+63 Bend Range 0–24, PAT Specifies the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part, set this to “PAT.” Key Fade Lower 0–127 Determines what will happen to the Part’s level when a note that’s lower than its specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the Tone to sound at all when a note below the keyboard range is played, set this parameter to 0. Key Range Lower C-1–UPPER Specifies the lowest note that the tone will sound for each part. Key Range Upper LOWER–G9 Specifies the highest note that the tone will sound for each part. * It is not possible to set Lower to a value greater than the Upper value, or Upper to a value less than the Lower value. Patches also contain a Velocity Sensitivity Offset setting (Velocity Sens: p. 91). The ultimate Velocity Sensitivity Offset value is the sum of the part’s and the patch’s Velocity Sensitivity Offsets. Accordingly, if the patch’s Velocity Sensitivity Offset parameter is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Offset, even when this is set to a positive value. This determines what will happen to the Part’s level when a note that’s higher than its specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the Tone to sound at all when a note above the keyboard range is played, set this parameter to 0. Key Fade Upper 0–127 Level Key number 0 Lower Key Fade Lower value Upper 127 Key Fade Upper value Voice Reserve 0–63, FULL Specifies the number of voices that reserved for each Part when more than 128 voices are played simultaneously. * It is not possible for the settings of all Parts to total an amount greater than 64. [Calculating the Number of Voices Being Used] The number of notes, or “voices,” that the SonicCell can sound simultaneously depends on the number of Tones in the Patches you‘re using and the number of keys being pressed. For example, if you play one note using a Patch that consists of only one Tone, you’ll use up one voice of polyphony. SonicCell Tones may use two Waveforms. If a Patch’s Tone uses two Waveforms, the number of voices it requires is doubled. If two keys are pressed with a Patch that has four Tones, and each Tone uses two Waveforms, a total of sixteen voices are used. This number is obtained by performing the following calculation. Count the number of Tones with two Waveforms and multiply this number by 2. Add the number of Tones that use one Waveform. Multiply this total by the number of keys pressed. The SonicCell can play up to 128 Tones simultaneously. When you’re using the SonicCell multitimbrally, keep this in mind, and adjust your Voice Reserve settings so that each Part is guaranteed at least the minimum number of voices it requires. Receive Channel 1–16 Specifies the MIDI receive channel for each part. 71 SonicCell_e.book 72 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Parameter Value Explanation Receive Switch OFF, ON For each part, specify whether MIDI messages will be received (ON), or not (OFF). Scale Tune OFF, ON The SonicCell allows you to use temperaments other than equal temperament. Press [CURSOR/VALUE] to access the Scale Tune screen (p. 72). Scale Tune settings (Scale Tune screen) In Performance mode you can specify a different scale tuning for each part. However, this setting will be common to the entire performance. 1. In the Part Edit screen, select “Scale Tune” and press [CURSOR/VALUE]. The Scale Tune screen will appear. fig.disp-ScaleTune 2. Turn [CURSOR/VALUE] to select the key that you want to edit, then press [CURSOR/VALUE]. 3. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. 4. When you’ve finished editing, press [EXIT]. Parameter Value Explanation C, C#, D, Eb, E, F, F#, G, G#, A, Bb, B -64–+63 Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch. • Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. • Just Temperament (Tonic of C) 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 become ambiguous if you transpose. • Arabian Scale In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the SonicCell, you can use Arabian temperament in the three keys of G, C and F. 72Note name Equal Temperament Just Temperament (tonic C) Arabian Scale C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 Eb 0 +16 -12 E 0 -14 -51 F 0 -2 -8 F# 0 -10 +43 G 0 +2 -4 G# 0 +14 +47 A 0 -16 0 Bb 0 +14 -10 B 0 -12 -49 SonicCell_e.book 73 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Sound Control Initialize Initializes the values of only the following sound-related parameters for the current performance. • Cutoff Offset, Resonance Offset, Attack Offset, Release Offset, Decay Offset, Vibrato Rate, Vibrato Depth, Vibrato Delay Performance Write Saves the current performance as user data. When you select “Write” from the Performance Menu screen (p. 58), the Performance Name screen will appear. In this screen you can assign a name (performance name) of up to twelve characters to the performance you’re saving. When you select “Ctrl Init” from the Performance Menu screen (p. 58), a confirmation message will appear. 1. Move the cursor to the location where you want to enter a character, and press [CURSOR/VALUE]. 1. If you want to carry out the initialization, select “OK” and press [CURSOR/VALUE]. If you decide not to execute, select “CANCEL” and press [CURSOR/VALUE]. When initialization is completed, you’ll be returned to the previous screen. 2. Turn [CURSOR/VALUE] to select the desired character, then press [CURSOR/VALUE] to enter that character. You can press [MENU] to view convenient functions for text entry. Press [MENU] once again to return to the previous screen. Performance Initialize Initializes the settings of the current performance. When you select “Perf Init” from the Performance Menu screen (p. 58), a confirmation message will appear. Function Explanation INSERT Press [CURSOR/VALUE] to insert a space (blank) at the cursor location. DELETE Press [CURSOR/VALUE] to delete the character at the cursor location; subsequent characters will move forward. UNDO Revert to the unedited performance name. 3. Repeat steps 1 and 2 as many times as necessary. 1. If you want to carry out the initialization, select “OK” and press [CURSOR/VALUE]. If you decide not to execute, select “CANCEL” and press [CURSOR/VALUE]. When initialization is completed, you’ll be returned to the previous screen. 4. When you’ve finished entering the performance name, move the cursor to “WRITE” and press [CURSOR/VALUE]. The Performance Write screen will appear. 73 SonicCell_e.book 74 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode 5. Turn [CURSOR/VALUE] to select the save-destination performance, then press [CURSOR/VALUE]. A confirmation message will appear. 6. To write the performance into memory, select “OK” and press [CURSOR/VALUE]. If you decide you don’t want to carry out the write, select “CANCEL” and press [CURSOR/VALUE]. Once the data has been written, you’ll be returned to the previous screen. 74 SonicCell_e.book 75 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Editing effects In Performance mode you can use three multi-effects (MFX1, MFX2, MFX3), one chorus, and one reverb. For each of the three multieffects, the chorus, and the reverb, you can specify whether it will operate according to the effect settings of the performance, or according to the effect settings of the patch or rhythm set assigned to the part you specify. The three multi-effects can be used independently, or you can connect two or three of them in series. ■ Signal flow................................................................................................................... MFX Output Part 16 Part 3 Part 2 Part 1 6 MFX1 7 8 9 Patch (Rhythm) Output 4 1 6 7 MFX2 8 9 Patch (Rhythm) 2 5 3 6 7 MFX3 8 Chorus Output 9 11 MAIN 10 Chorus 12 REV 1 2 3 4 5 6 7 8 9 13 10 11 12 Reverb Output 14 Reverb Mastering Effect L R OUTPUT 13 14 1 – 5 Make these settings in the Part Edit screen. 1 : Output Level, 2 : Chorus Send, 3 : Reverb Send, 6 Make these settings in the MFX1–MFX3 screens. • Select the multi-effect type and edit the parameters. p. 78 7 – 9 Make these settings in the MFX1–MFX3 Output screens. 7 : Output Level, 8 : Chorus Send Level, 9 : Reverb Send Level p. 78 10 Make these settings in the Chorus screen. • Select the chorus type and edit the parameters. p. 78 11 – 12 Make these settings in the Chorus Output screen. 11 : Output Level, 12 : Output Select p. 79 13 Make these settings in the Reverb screen. • Select the reverb type and edit the parameters. p. 79 14 Make these settings in the Reverb Output screen. • Output Level p. 79 4 : Output Assign, 5 : Output MFX p. 69 75 SonicCell_e.book 76 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode ■ Procedure .................................................................................................................... 1. From the MIDI INST screen or the Part View screen, press [EFFECTS]. The [EFFECTS] indicator will light, and the Effect Routing screen will appear. fig.disp-PerformEfxSW01 4. Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit. 2. Turn [CURSOR/VALUE] to move the cursor to the parameter that you want to edit. 3. Press [CURSOR/VALUE]. 5. Press [CURSOR/VALUE] to highlight the value. If there is a “SELECT” indicator for the value field, you can press [CURSOR/VALUE] to move to the editing screen for that parameter. 6. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. 7. When you’ve finished editing, press [EXIT]. The Part View screen will appear. ■ Menu screens during effect editing ................................................................................ From the Effect Routing screen, press [MENU] to access the Menu screen. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Effect Routing screen. Parameter Value Explanation FX1–FX3 (MFX1–MFX3) OFF, ON Specifies whether MFX 1–3 will be used (ON) or not used (OFF). CHO (Chorus Switch) OFF, ON Specifies whether chorus will be used (ON) or not used (OFF). REV (Reverb Switch) OFF, ON Specifies whether Reverb will be used (ON) or not used (OFF). MST (Mastering Effect Switch) OFF, ON Specifies whether Mastering Effect will be used (ON) or not used (OFF). CTRL1–CTRL3 (MFX1–3 Control) Make settings for controlling the multi-effects via MIDI. Press [CURSOR/VALUE] to access the MFX 1–3 Control screen (p. 81). Write (Performance Write) Saves the current performance as user data. Press [CURSOR/VALUE] to access the Performance Name screen (p. 73). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 76 SonicCell_e.book 77 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Selecting the item to edit (Effect Routing screen) Parameter Part (Part Output) F1–F3 (MFX1–MFX3) F1–F3 (MFX1–MFX3 Output) C (Chorus) C (Chorus Output) R (Reverb) R (Reverb Output) Explanation Edits the part settings. By moving the cursor to (p. 69). and pressing [CURSOR/VALUE] you can move to the Part Edit screen Edits the multi-effect 1--3 settings. Press [CURSOR/VALUE] to access the MFX1–3 screen (p. 78). Edits output-related settings for multi-effects 1–3. By moving the cursor to screen (p. 78). and pressing [CURSOR/VALUE] you can move to the MFX1–3 Output Edits the chorus settings. Press [CURSOR/VALUE] to access the Chorus screen (p. 78). Edits output-related settings for chorus. By moving the cursor to screen (p. 79). and pressing [CURSOR/VALUE] you can move to the Chorus Output Edits the reverb settings. Press [CURSOR/VALUE] to access the Reverb screen (p. 79). Edits output-related settings for reverb. By moving the cursor to screen (p. 79). and pressing [CURSOR/VALUE] you can move to the Reverb Output M (Mastering Effect) Edits the mastering effect settings. Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181). STRCT (MFX Structure) Specifies how MFX 1–3 will be combined. Press [CURSOR/VALUE] to access the MFX Structure screen (p. 80). SRC (Effect Source) Selects how effects will operate. Press [CURSOR/VALUE] to access the Effect Source screen (p. 80). If you’ve set MFX3 Location (p. 149) to “Input FX” in the In/Out Routing (p. 144), you won't be able to use MFX3 as a performance effect. In this case, the MFX3 indication in the Effect Routing screen will be as follows. * MFX3-related settings will be displayed in screens other than the Effect Routing screen, and you'll be able to edit the values, but this will not affect the performance as long as MFX3 Location is set to Input FX. 77 SonicCell_e.book 78 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Editing the multi-effects related settings (MFX1–3/MFX1–3 Output screens) ■ MFX1–3 screens ........................................................................................................... Parameter Value Explanation 00: THRU–78: SYMRESONANCE (MFX Type) Selects the types of multi-effects that MFX1--MFX3 will use. Choose “00: THRU” if you don’t want to apply a multi-effect. Parameters for each MFX type Edit the parameters for the selected MFX type. Refer to “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192). ■ MFX1–3 Output screens ................................................................................................ Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through the multi-effects. If you're applying a multi-effect, this specifies the depth of the multi-effect. If you're not applying a multi-effect, this specifies the volume of the original sound. Chorus Send Level 0–127 Adjusts the amount of chorus for the sound that passes through multi-effects. If you don’t want to add the Chorus effect, set it to “0.’ Reverb Send Level 0–127 Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to “0.” Chorus-related settings (Chorus/Chorus Output screen) ■ Chorus screen............................................................................................................... Parameter Value Explanation 00: OFF–03: GM2 CHORUS (Chorus Type) Selects the types of chorus. Choose “00: OFF” if you don’t want to apply a chorus. Parameters for each chorus type Edit the parameters for the selected chorus type. Refer to “Chorus Parameters” (p. 219). 78 SonicCell_e.book 79 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode ■ Chorus Output screen ................................................................................................... Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through chorus. Output Select MAIN, REV, M+R Specifies how the sound routed through chorus will be output. MAIN: Output to the OUTPUT jacks in stereo. REV: Output to reverb in mono. M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono. Reverb-related settings (Reverb/Reverb Output screen) ■ Reverb screen............................................................................................................... Parameter Value Explanation 00: OFF–03: GM2 REVERB (Chorus Type) Selects the types of reverb. Choose “00: OFF” if you don’t want to apply a reverb. Parameters for each reverb type Edit the parameters for the selected reverb type. Refer to “Reverb Parameters” (p. 220). ■ Reverb Output screen ................................................................................................... Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through reverb. 79 SonicCell_e.book 80 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Changing how the multi-effects are combined (MFX Structure screen) Parameter Value MFX Structure TYPE01– TYPE16 Explanation Specify how MFX1–3 will be connected. When TYPE05–TYPE10 is selected, the SonicCell can play a maximum of 64 sounds simultaneously. Selecting how effects will operate (Effect Source screen) Parameter Value Explanation MFX1 Source PFM, P1–P16 Selects the MFX1 settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16). MFX2 Source PFM, P1–P16 Selects the MFX2 settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16). MFX3 Source PFM, P1–P16 Selects the MFX3 settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16). Chorus Source PFM, P1–P16 Selects the chorus settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16). Reverb Source PFM, P1–P16 Selects the reverb settings that will be used by the performance. If you wish to use the performance settings, select “PFM.” If you wish to use the settings of the patch/rhythm set assigned to one of the parts, select the part number (1–16). 80 SonicCell_e.book 81 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Performance Mode Using MIDI to control the multi-effects (MFX1–3 Control screens) Multi-Effects Control If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the SonicCell’s multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in “Multi-Effects Parameter (MFX1– 3, MFX)” (p. 192), these are indicated by a “#.” The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the Multieffects Control. You can specify up to four controls for each multi-effect MFX 1–3. When the multi-effects control is used, you can select the amount of control (Sens) applied, the parameter selected (Dest), and the MIDI message used (Src). By using the Matrix Control (p. 95) instead of the Multi-effects Control, you can also change the parameters of some popular multieffects in realtime. Parameter Value Explanation Control 1–4 Src (Source) OFF, CC01–CC31, CC33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4 Control 1–4 Dest (Destination) Refer to “MultiEffects Parameter” (p. 192) Sets the multi-effects parameters to be controlled with the multi-effects control. The multi-effects parameters available for control will depend on the multi-effects type. Control 1–4 Sens (Sensitivity) -63–+63 Sets the amount of the multi-effects control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster, etc.—from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction– i.e., a lower value, toward the left, or slower, etc.—from its current setting, select a negative (-) value. Higher numbers produce a greater amount of change. Control Channel 1–16, OFF This determines the channel that will be used for reception when using the Multieffects Control to modify multi-effects parameters in real time, when the MFX1–3 Src is set to “PFM.” Set this to “OFF” when the Multi-effects Control is not being used. Sets the MIDI message used to control the multi-effects parameter with the multieffects control. OFF: CC01–31, 33–95: PITCH BEND: AFTERTOUCH: SYS CTRL1–4: Multi-effects control will not be used. Controller numbers 1–31, 33–95 Pitch Bend Aftertouch Use the System Control setting (p. 179). 81 SonicCell_e.book 82 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Viewing the Patch Play screen 1. Press [MIDI INST] so its indicator is lit. At the same time, the [PART VIEW] indicator will also light, and the Patch Play screen will appear. fig.disp-PartView-01 2. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 3. Press [CURSOR/VALUE] to highlight the value. fig.disp-PatchPlay-top02 * If Sound Mode (p. 84) is set to “Performance,” the MIDI INST screen (p. 58) will appear. In this case, simultaneously press [MIDI INST] and [PART VIEW] to switch to the Patch screen. When you select “LIST” or “PATCH” and press [CURSOR/ VALUE], an editing screen will appear. 4. Turn [CURSOR/VALUE] to edit the value. 5. When you’ve finished editing, press [CURSOR/VALUE]. If the patch type is Patch If in Patch mode you’ve set the current patch type to “Patch,” the following screen will appear. (1) (2) (3) (4) (5) (6) (7) (8) Parameter (9) Value Explanation (1) Patch group USER, PR-A–PR-G, GM XP-A, XP-B Selects the patch group. USER: User PR-A–PR-G: Preset A–Preset G GM: General MIDI XP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted in to the corresponding slot. (2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set. (3) Current part Part1–Part 16 Selects the part (current part) that will be affected by your operations. (4) Patch number/name 001– Selects the patch. (5) Category lock , (6) Patch category - - - –CMB (7) LIST (8) EDIT Specifies whether the category will be locked ( ) or not locked ( ) when you select patches. If you lock the category, only sounds that are within the category will appear when you select patches. Switches the category. Press [CURSOR/VALUE] to access the Patch List screen (p. 85, p. 86). Press [CURSOR/VALUE] to access the Patch Edit screen (p. 89). If you switch the preview icon ( sound played by that patch. (9) Preview ) to ( ), you’ll be able to hear a preview , The system Preview setting (p. 179) lets you specify how the preview will be sounded. 82 SonicCell_e.book 83 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode If the patch type is Rhythm Set If in Patch mode you’ve set the current patch type to “Rhythm,” the following screen will appear. fig.disp-PatchPlay-r (1) (2) (3) (4) (5) (6) (7) Parameter (1) Rhythm Set group (8) Value USER, PRST, GM, XP-A, XP-B Explanation Selects the rhythm set group. USER: User PRST: Preset GM: General MIDI XP-A, XP-B: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose XP-A, XP-B unless a wave expansion board is inserted in to the corresponding slot. (2) Patch type Patch, Rhythm Specifies whether the current part will use a patch or a rhythm set. (3) Patch mode receive channel 1–16 Specifies the channel of MIDI messages that will be received from an external MIDI device. (4) Rhythm Set number/name 001– Selects the rhythm set. A0–C8 Within the currently selected rhythm set, selects the key that you’ll be editing. (5) Editing key (6) LIST Press [CURSOR/VALUE] to access the Rhythm Set List screen (p. 87). (7) EDIT Press [CURSOR/VALUE] to access the Rhythm Edit screen (p. 118). If you switch the preview icon ( played by that rhythm set. (8) Preview ) to ( ), you’ll be able to hear a preview sound , The system Preview setting (p. 179) lets you specify how the preview will be sounded. 83 SonicCell_e.book 84 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Viewing the menu screen (Patch Menu screen) 1. Press [MIDI INST] so its indicator is lit. The Patch Play screen will appear. If the Sound Mode is set to “Performance,” the MIDI INST screen (p. 58) will appear. 2. Press [MENU]. The Patch Menu screen will appear. The Patch Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. 3. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 4. Press [CURSOR/VALUE] to access the corresponding screen. Parameter Explanation Tone Switch 1–4 Used to specify whether tones 1–4 will be used (ON) or not used (OFF). Snd (Sound) Mode Lets you switch between Patch mode and Performance mode. Press [CURSOR/VALUE] to access the Sound Mode screen. Patch Init (Patch Initialize) Initializes the settings of the current patch (p. 115). Write (Patch Write) Saves the current patch as user data. Press [CURSOR/VALUE] to access the Patch Name screen (p. 116). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). Switching the sound mode (Sound Mode screen) This specifies the mode of the MIDI sound module. The current mode is highlighted. 1. Turn [CURSOR/VALUE] to move the cursor, and press [CURSOR/VALUE] to specify the mode. If you select “Patch” and press [CURSOR/VALUE], one of the following screens will appear depending on the Patch type setting (p. 82, p. 83). 84 If you select “Performance” and press [CURSOR/VALUE], the following screen will appear. SonicCell_e.book 85 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Selecting patches from a patch list Selecting patches from a patch list by category (Patch List (Ctg) screen) You can choose the patch from a list that’s arranged by category. * When the power is turned on, the Patch List (Ctg) screen is selected. 1. Display the Patch Play screen. 2. Select “LIST” and press [CURSOR/VALUE]. The Patch List (Ctg) screen will appear. fig.disp-PatchL-Ctg * If the Patch List (Grp) screen was displayed last, the Patch List (Grp) screen will appear. In this case, press [MENU] to access the Group Select screen, select “CATEG LIST,” then press [CURSOR/ VALUE] to access the Patch List (Ctg) screen. 3. Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Part View screen. ■ Menu screen................................................................................................................. From the Patch List (Ctg) screen, press [MENU] to access the Category Select screen. Press [MENU] once again to return to the Patch List (Ctg) screen. Parameter Explanation Changes the category (major classification) and returns to the patch list screen organized by category. You can change the category by moving the cursor to the currently selected category (at the top of the screen) and pressing [CURSOR/VALUE]. Major Classification PNO, KBD, GTR, BAS, ORC, BRS, SYN, VCL, WLD GROUP LIST PNO: KBD: GTR: BAS: ORC: BRS: SYN: VCL: WLD: Category AC.Piano, EL.Piano Keyboards, Bell, Mallet, Organ, Accordion, Harmonica AC.Guitar, EL.Guitar, Dist.Guitar Bass, Synth Bass Strings, Orchestra, Hit&Stab Wind, Flute, AC.Brass, Synth Brass, Sax Hard Lead, Soft Lead, Techno Synth, Pulsating, Synth FX, Other Synth Bright Pad, Soft Pad, Vox Plucked, Ethnic, Fretted, Percussion, Sound FX, Beat&Groove, Drums, Combination Press [CURSOR/VALUE] to access the Patch List (Grp) screen (p. 86). * Once you move to the Patch List (Grp) screen, the Patch List (Grp) screen will appear when you select “LIST” in the Patch Play screen. 85 SonicCell_e.book 86 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Selecting patches from a patch list by group (Patch List (Grp) screen) You can choose the patch from a list that’s arranged by group, such as USER or expansion board. * When the power is turned on, the Patch List (Ctg) screen is selected. 1. Display the Patch Play screen. 2. Select “LIST” and press [CURSOR/VALUE]. The Patch List (Ctg) screen will appear. 4. Choose “GROUP LIST” and press [CURSOR/VALUE]. The Patch List (Grp) screen will appear. fig.disp-PatchL-Grp * If the Patch List (Grp) was displayed last, the Patch List (Grp) screen will appear. Proceed to step 5. 3. Press [MENU] to access the Category Select screen. 5. Turn [CURSOR/VALUE] to select a patch, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Patch Play screen. ■ Menu screen................................................................................................................. From the Patch List (Grp) screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Patch List (Grp) screen. Parameter Explanation USR, A–G, GM, EXA, EXB Changes the group and returns to the patch list by group screen. USR: User A–G: Preset A–Preset G GM: General MIDI EXA, EXB: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corresponding slot. CATEG (Category) LIST Press [CURSOR/VALUE] to access the Patch List (Ctg) screen (p. 85). * Once you move to the Patch List (Ctg) screen, the Patch List (Ctg) screen will appear when you select “LIST” in the Patch Play screen. 86 SonicCell_e.book 87 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Selecting a rhythm set from a list (Rhythm Set List screen) If the patch type is “Rhythm,” you can choose a rhythm set from a list. 1. Display the Patch Play screen. 2. Select “LIST” and press [CURSOR/VALUE]. Rhythm Set List screen will appear. 3. Turn [CURSOR/VALUE] to select a rhythm set, and press [CURSOR/VALUE]. The patch will change, and you’ll be returned to the Patch Play screen. fig.disp-RhythmList ■ Menu screen................................................................................................................. From the Rhythm Set List screen, press [MENU] to access the Group Select screen. Press [MENU] once again to return to the Rhythm Set List screen. Parameter Explanation USR, PRESET, GM, EXA, EXB Changes the group and returns to the patch list by group screen. USR: User PRESET: Preset GM: General MIDI EXA, EXB: Wave Expansion Board A, Wave Expansion Board B * It is not possible to choose EXA, EXB unless a wave expansion board is inserted in to the corresponding slot. 87 SonicCell_e.book 88 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Editing patches (Patch Edit screen) 1. Press [MIDI INST]. [MIDI INST] and [PART VIEW] will light, and the Patch Play screen will appear. 3. Turn [CURSOR/VALUE] to select the item you want to edit, then press [CURSOR/VALUE]. The editing screen for the selected item will appear. 2. Turn [CURSOR/VALUE] to select “PATCH,” then press [CURSOR/VALUE]. The Patch Edit screen will appear. 4. Turn [CURSOR/VALUE] to select the parameter you want to edit, then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted. fig.disp-PatchEdit01 5. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. ■ Menu screens during patch editing ................................................................................ If you press [MENU] while editing a patch, the menu screen will appear. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Parameter Explanation Tone Select 1–4 Changes the current tone (the one targeted for editing), and returns to the previous screen. Tone Switch 1–4 Used to specify whether tones 1–4 will be used (ON) or not used (OFF). Tone Copy Copies the settings of a patch’s tone to one of the tones of the currently selected patch. Press [CURSOR/VALUE] to access the Patch Tone Copy screen (p. 115). Patch Init (Patch Initialize) Returns the current patch settings to their initial values (p. 115). Write (Patch Write) Saves the current patch as user data. Press [CURSOR/VALUE] to access the Patch Name screen (p. 116). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 88 SonicCell_e.book 89 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Patch Edit screen .......................................................................................................... The Patch Edit screen is organized as follows. You can turn [CURSOR/VALUE] to the right or left to switch between screens. Parameter Value Explanation GENERAL Edits overall settings for the entire patch. Press [CURSOR/VALUE] to access the Patch General screen (p. 90). STRUCTURE Selects the combination of tones. Press [CURSOR/VALUE] to access the Patch Structure screen (p. 93). MATRIX CTRL (Control) 1/2/3/4 Specifies matrix control settings. Press [CURSOR/VALUE] to access the Patch Mtrx Ctrl 1/2/3/4 screen (p. 95). Tone 1&2, 3&4 Selects either 1 & 2 or 3 & 4 as the combination of tones that will be shown in the screen. WG Edits waveform-related settings. Press [CURSOR/VALUE] to access the Patch WG screen (p. 98). WG (Pitch Envelope) Edits pitch envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch Pitch Env screen (p. 101). TVF Edits TVF settings. Press [CURSOR/VALUE] to access the Patch TVF screen (p. 102). TVF (TVF Envelope) Edits TVF envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch TVF Env screen (p. 104). TVA Edits TVA settings. Press [CURSOR/VALUE] to access the Patch TVA screen (p. 105). TVA (TVA Envelope) Edits TVA envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Patch TVA Env screen (p. 107). OUT (Output) Edits settings for the patch/tone output. Press [CURSOR/VALUE] to access the Patch Output screen (p. 108). LFO 1/2 Edits LFO1,2 settings. Press [CURSOR/VALUE] to access the Patch LFO 1/2 screen (p. 109). LFOS (Step LFO) Edits step LFO settings. Press [CURSOR/VALUE] to access the Patch Step LFO screen (p. 112). TMT (Tone Mix Table) Specifies how the tones will be heard. Press [CURSOR/VALUE] to access the Patch TMT screen (p. 112). CTRL (Control) Edits controller-related settings. Press [CURSOR/VALUE] to access the Patch Ctrl screen (p. 114). * If the Str Type (p. 93) is set to any value other than 1, two screens will be shown for WG–OUT. 89 SonicCell_e.book 90 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Overall settings for the entire patch (Patch General screen) Parameter Value Explanation Ctg (Category) refer to “Patch Category” (p. 63) Specifies the type (category) of the patch. Level 0–127 Specifies the volume of the Patch. * You can specify the level of each Tone in a Patch using the Tone Level (TVA p. 105). L64–63R Sets the stereo position of the Patch. L64 pans the Patch all the way to the left, 0 is center and 63R pans it hard right. * You can specify the pan setting for each Tone in a Patch using the Tone Pan (TVA p. 106). * While each Tone in a Patch has its own Pan position, the Patch pan setting shifts the entire Patch—including all of its Tones—leftward or rightward LAST, LOUDEST This determines how notes will be managed when the maximum polyphony is exceeded (128 voices). LAST: The last-played voices will be given priority, and currently sounding notes will be turned off in order, beginning with the first-played note. LOUDEST: The voices with the loudest volume will be given priority, and currently sounding notes will be turned off, beginning with the lowest-volume voice. Octave Shift -3–+3 Adjusts the pitch of the patch’s sound up or down in units of an octave (+/-3 octaves). Coarse Tune -48–+48 Adjusts the pitch of the patch’s sound up or down in semitone steps (+/-4 octaves). Fine Tune ★ -50–+50 Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/-50 cents). ★ You can use matrix control to modify this. (p. 95) Pan Priority Strech Tune (Strech Tune Depth) This setting allows you to apply “stretched tuning” to the patch. (Stretched tuning is a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate.) With a setting of “OFF,” the patch’s tuning will be equal temperament. A setting of “3” will produce the greatest difference in the pitch of the low and high ranges. The diagram shows the pitch change relative to equal temperament that will occur in the low and high ranges. This setting will have a subtle effect on the way in which chords resonate. OFF, 1–3 Pitch difference from equal temperament OFF 1 2 Low note range 3 Analog Feel (Analog Feel Depth) 0–127 3 Parameter value 2 1 OFF High note range Specifies the depth of 1/f modulation that is to be applied to the patch. (1/f modulation is a pleasant and naturally-occurring ratio of modulation that occurs in a babbling brook or rustling wind.) By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer. Cutoff Offset alters the cutoff frequency of the overall patch, while preserving the relative differences between the cutoff frequency values set for each tone in the Cutoff Frequency (p. 102). Cutoff Offset -63–+63 This value is added to the cutoff frequency value of a tone, so if the cutoff frequency value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change. 90 SonicCell_e.book 91 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Resonance Offset Value Explanation -63–+63 Resonance Offset alters the resonance of the overall patch, while preserving the relative differences between the resonance values set for each tone in the Resonance (p. 103). * Resonance: emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. This value is added to the resonance value of a tone, so if the resonance value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change. Attack Offset (Attack Time Offset) -63–+63 Attack Offset alters the attack time of the overall patch, while preserving the relative differences between the attack time values set for each tone in the A-Env Time 1 (p. 107), F-Env Time 1 (p. 105). * Attack Time: The time it takes for a sound to reach maximum volume after the key is pressed and sound begun. This value is added to the attack time value of a tone, so if the attack time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change. Release Offset (Release Time Offset) Velocity Sens (Velocity Sensitivity Offset) -63–+63 Release Offset alters the release time of the overall patch, while preserving the relative differences between the release time values set for each tone in the A-Env Time 4 (p. 107), FEnv Time 4 (p. 105). * Release Time: The time from when you take your finger off the key until the sound disappears. This value is added to the release time value of a tone, so if the release time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change. -63–+63 Velocity Sensitivity Offset alters the Velocity Sensitivity of the overall patch while preserving the relative differences between the Velocity Sensitivity values set for each tone in the parameters below. Cutoff V-Sens (p. 103) Level V-Sens (p. 105) * Velocity: Pressure with which the key is pressed. This value is added to the velocity sensitivity value of a tone, so if the velocity sensitivity value of any tone is already set to “+63” (maximum), positive “+” settings here will not produce any change. Mono/Poly Legato Switch Legato Retriger (Retrigger) MONO, POLY Specifies whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is effective when playing a solo instrument patch such as sax or flute. MONO: Only the last-played note will sound. POLY: Two or more notes can be played simultaneously. OFF, ON This setting specifies whether the Legato Switch will be used (ON) or not (OFF). Legato Switch is valid when the Mono/Poly parameter is set to “MONO.” With the Legato Switch “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is effective when you wish to simulate the hammeringon and pulling-off techniques used by a guitarist. OFF, ON The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. The Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the Legato Switch is set to “ON.” Normally you will leave this parameter “ON.” When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound. Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.” 91 SonicCell_e.book 92 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Porta Sw (Portamento Switch) OFF, ON Specifies whether the portamento effect will be applied (ON) or not (OFF). * Portamento is an effect which smoothly changes the pitch from the first-played key to the next-played key. By applying portamento when the Mono/Poly is “MONO,” you can simulate slide performance techniques on a violin or similar instrument. Porta Mode (Portamento Mode) NORMAL, LEGATO Specifies the performance conditions for which portamento will be applied. NORMAL: Portamento will always be applied. LEGATO: Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key). Porta Type (Portamento Type) RATE, TIME Specifies the type of portamento effect. RATE: The time it takes will depend on the distance between the two pitches. TIME: The time it takes will be constant, regardless of how far apart in pitch the notes are. Porta Start (Portamento Type) PITCH, NOTE When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting specifies the pitch at which the change will begin. PITCH: NOTE: Starts a new portamento when another key is pressed while the pitch is changing. Portamento will begin anew from the pitch where the current change would end. Pitch Pitch C5 C5 D4 C4 D4 C4 Time press D4 key press C5 key press C4 key Porta Time (Portamento Time) 0–127 When portamento is used, this specifies the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. OFF, ON Specifies whether the part’s modulation depth range setting (the value specified by RPN) will be enabled (ON) or disabled (OFF). Part Mod Sw (Part Modulation Depth Switch) 92 Time press D4 key press C5 key press C4 key SonicCell_e.book 93 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Selecting how tones are combined (Patch Structure screen) Parameter Value Explanation Str (Structure) Type 1&2, 3&4 1–10 Determines how Tone 1 and 2, and Tone 3 and 4 are connected. The displayed symbols have the following meanings. B: Booster R: Ring Modulator Booster 1&2, 3&4 0, +6, +12, +18 When a Structure Type of TYPE 3 or TYPE 4 is selected, you can adjust the depth of the booster. Higher settings will produce more distortion. Type 1 TONE 1 (3) WG TVF TVA TONE 2 (4) WG TVF TVA Type 2 TONE 1 (3) WG TONE 2 (4) WG This type stacks the two filters together to intensify the characteristics of the filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones. TVF TVA With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone. TVF TVA Type 3 This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter, and then applies a booster to distort the waveform. TONE 1 (3) WG TONE 2 (4) WG TVA TVF B TVF TVA Type 4 TONE 1 (3) WG TVA This type applies a booster to distort the waveform, and then combines the two filters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level. TVF B TONE 2 (4) WG TVF TVA Type 5 TONE 1 (3) WG TVA This type uses a ring modulator to create new overtones, and combines the two filters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator. TVF R TONE 2 (4) WG TVF TVA Type 6 TONE 1 (3) WG TVA This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two filters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound. TVF R TONE 2 (4) WG TVF TVA 93 SonicCell_e.book 94 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Value Parameter Explanation Type 7 This type applies a filter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones. TONE 1 (3) WG TONE 2 (4) WG TVF TVA R TVF TVA Type 8 This type sends the filtered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a filter to the result. TONE 1 (3) WG TONE 2 (4) WG TVF TVA R TVF TVA Type 9 TONE 1 (3) WG TVF TONE 2 (4) WG TVF This type passes the filtered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator. TVA R TVA Type 10 TONE 1 (3) WG TVF TONE 2 (4) WG TVF This type passes the filtered sound of each tone through a ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ringmodulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound. TVA R TVA • When TYPE 2–10 is selected and one tone of a pair is turned off, the other tone will be sounded as TYPE 1 regardless of the displayed setting. • If you limit the keyboard area in which a tone will sound (Keyboard Range p. 112, p. 113) or limit the range of velocities for which it will sound (Velocity Range p. 113), the result in areas or ranges where the tone does not sound is just as if the tone had been turned off. This means that if TYPE 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting. Ring Modulator A ring modulator multiplies the waveforms of two tones with each other, generating many new overtones (in harmonic partials) which were not present in either waveform. (Unless one of the waveforms is a sine wave, evenly-spaced frequency components will not usually be generated.) As the pitch difference between the two waveforms changes the harmonic structure, the result will be an unpitched metallic sound. This function is suitable for creating metallic sounds such as bells. Booster Booster level The Booster is used to distort the incoming signal. In addition to using this to create distortion, you can use the waveform (WG1) of one of the tones as an LFO which shifts the other waveform (WG2) upward or downward to create modulation similar to PWM (pulse width modulation). This parameter works best when you use it in conjunction with the Wave Gain (p. 98). Uses WG1 as LFO Adjusts WG1 output WG2 WG1 TVA Adds to WG1 Booster Distorted area of the Waveform changes WG2 Shift in waveform by WG1 94 SonicCell_e.book 95 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Settings for matrix control (Patch Mtrx Ctrl1–4 screens) Matrix Control Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the SonicCell’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a filter. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the “Matrix Control.” Up to four Matrix Controls can be used in a single patch. To use the Matrix Control, specify which MIDI message (Src) will be used to control which parameter (Dest), and how greatly (Sns), and the tone to which the effect is applied (Tone). Parameter Value Explanation Sets the MIDI message used to change the tone parameter with the Matrix Control. OFF: Matrix control will not be used. CC01–31, 33–95: Controller numbers 1–31, 33–95 PITCH BEND: Pitch Bend AFTERTOUCH: Aftertouch SYS CTRL1–4: MIDI messages used as common matrix controls. VELOCITY: Velocity (pressure you press a key with) KEYFOLLOW: Keyfollow (keyboard position with C4 as 0) TEMPO: The system tempo (p. 177) or the tempo of an external MIDI sequencer. LFO1: LFO 1 LFO2: LFO 2 PITCH ENV: Pitch envelope TVF ENV: TVF envelope TVA ENV: TVA envelope Src (Control Source) For more information about Control Change messages, please refer to “MIDI Implementation” (p. 246). Velocity and Keyfollow correspond to Note messages. Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as Matrix Control. In this case, you can change the tone settings in realtime by playing patches. • If you want to use common controllers for the entire SonicCell, select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as System Control 1–4 are set with the Src1–4 (p. 179). There are parameters that determine whether or not Pitch Bend, Controller Number 11 (Expression) and Controller Number 64 (Hold 1) are received (p. 114). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch Bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.” • There are parameters that let you specify whether specific MIDI messages will be received for each channel in a performance (p. 72). When a patch with Matrix Control settings is assigned to a part, confirm that any MIDI messages used for the Matrix Control will be received. If the SonicCell is set up such that reception of MIDI messages is disabled, then the Matrix Control will not function. 95 SonicCell_e.book 96 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Matrix Control Destination selects the tone parameter that is to be controlled when using the Matrix Control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specified for each Matrix Control, and controlled simultaneously. In this manual, Parameters that can be controlled using the Matrix Control are marked with a “★.” ● If you’re not using Matrix Control OFF: Matrix Control will not be used. ● Changing the Pitch PITCH: ● Opening Changes the pitch. and Closing the Filter CUTOFF: RESONANCE: ● Changing the Volume and Pan LEVEL: PAN: Changes the volume level. Changes the pan. ● Changing How the Effects Are Applied OUTPUT LEVEL: CHORUS SEND: REVERB SEND: ● Dest (Control Destination) Changes the cutoff frequency. Emphasizes the overtones in the region of the cutoff frequency, adding character to the sound. Changes the volume of output levels. Changes the amount of chorus. Changes the amount of reverb. Applying LFO to Modulate Sounds LFO1/LFO2 PCH DEPTH: LFO1/LFO2 TVF DEPTH: LFO1/LFO2 TVA DEPTH: LFO1/LFO2 PAN DEPTH: LFO1/LFO2 RATE: ● Changing the Pitch Envelope PIT ENV A-TIME: PIT ENV D-TIME: PIT ENV R-TIME: ● Changes the Env Time 1 of the pitch envelope. Changes the Env Time 2 and Env Time 3 of the pitch envelope. Changes the Env Time 4 of the pitch envelope. Changing the TVF Envelope TVF ENV A-TIME: TVF ENV D-TIME: TVF ENV R-TIME: ● Changes the vibrato depth. Changes the wah depth. Changes the tremolo depth. Changes the effect that the LFO will have on pan. Changes the LFO cycle rate. Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to “note.” Changes the Env Time 1 of the TVF envelope. Changes the Env Time 2 and Env Time 3 of the TVF envelope. Changes the Env Time 4 of the TVF envelope. Changing the TVF Envelope TVA ENV A-TIME: TVA ENV D-TIME: TVA ENV R-TIME: ● Splitting Changes the Env Time 1 of the TVA envelope. Changes the Env Time 2 and Env Time 3 of the TVA envelope. Changes the Env Time 4 of the TVA envelope. Tones That Are Played TMT If the Matrix Control is used to split tones, set the TMT Velo Ctrl (p. 112) to “OFF,” and the TMT Control Switch (p. 112) to “ON.” • If the Matrix Control is used to split tones, we recommend setting the Matrix Control Sens to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the effect, set the value to “-63.” • If you want to use matrix control to switch smoothly between tones, use the Velo Fade Lower and Velo Fade Upper (p. 113). The higher the values set, the smoother the switch is between the tones. 96 SonicCell_e.book 97 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Value Parameter Explanation ● Changing the Depth of Frequency Modulation for FXM FXM DEPTH ● Changing Dest (Control Destination) Specific Multi-Effects Parameters MFX CTRL1–4: Change the parameter that was specified by MFX Control 1–4 Assign parameter. If you have not made the necessary settings for using the multi-effect, the multi-effect will not be applied even if you attempt to control it as a Matrix Control destination. Sens (Control Sensitivity) Sw1-T1–T4–Sw4-T1–T4 (Tone Control Switch T1–T4) -63–+63 Sets the amount of the Matrix Control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction – i.e., a higher value, toward the right, or faster etc. – from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction – i.e., a lower value, toward the left, or slower etc. – from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the effect. OFF, ON, REVS Matrix Control Tone selects the tone to which the effect is applied when using the Matrix Control. OFF: The effect will not be applied. ON: The effect will be applied. REVS: The effect will be applied in reverse. ■ Cautions When Selecting a Waveform The sounds of the SonicCell are based on complex PCM waveforms, and if you attempt to make settings that are contrary to the type of the original waveform, the results will not be as you expect. The internal waveforms of the SonicCell fall into the following two groups. Cautions When Using a One-shot Waveform It is not possible to use the envelope to modify a one-shot waveform to create a decay that is longer than the original waveform, or to turn it into a sustaining sound. If you were to program such an envelope, you would be attempting to shape a portion of the sound that simply doesn’t exist, and the envelope would have no effect. One-shot: Cautions When Using a Loop Waveform These waveforms contain sounds that have short decays. A one-shot waveform records the initial rise and fall of the sound. Some of the SonicCell’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The SonicCell also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises. With many acoustic instruments such as piano and sax, extreme timbral changes occur during the first few moments of each note. This initial attack is what defines much of the instrument’s character. For such waveforms, it is best to use the complex tonal changes of the attack portion of the waveform just as they are, and to use the envelope only to modify the decay portion. If you attempt to use the envelope to modify the attack portion as well, the characteristics of the original waveform may prevent you from getting the sound that you intend. Looped: These waveforms include sounds with long decays as well as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The SonicCell’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments. The following diagram shows an example of sound (electric organ) that combines one-shot and looped waveforms. TVA ENV for looped Organ waveform (sustain portion) Level TVA ENV for one-shot Key-click waveform (attack portion) + Note off Time Resulting TVA ENV change j Level Tone change stored with the wave Looped portion Time Envelope for the TVF filter Resulting tone change = Note off 97 SonicCell_e.book 98 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Waveform-related settings (Patch WG/Patch Pitch Env screen) ■ Patch WG screen .......................................................................................................... Parameter Wave Group Wave Bank Value Explanation INT, EXP Selects the group for the waveform that is to be the basis of the tone. INT: Waveforms stored in internal memory EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots. * It’s not possible to select EXP unless a wave expansion board is inserted into the corresponding slot. A, B --- Selects the wave bank when the wave group is set to “EXP.” A: Wave Expansion Board A B: Wave Expansion Board B * When the wave group is set to “INT,” the “- - -” message appears and you cannot select a wave bank. * You cannot select a wave bank of a Wave Expansion Board that is not installed. 1–1401 Chooses the desired waveform. You can choose a separate waveform for the SonicCell’s left and right channels. * For mono tones, assign a waveform to the L channel. No sound will be heard if a waveform is set for only the R channel. * In the case of a wave from a wave expansion board, the range (number of waveforms) will depend on the board you've selected. -6, 0, +6, +12 Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster (p. 94) to distort the waveform’s sound, set this parameter to its maximum value. Wave No. L (MONO) Wave No. R Wave Gain When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is selected as the sample for a tone. Wave Tempo Sync OFF, ON If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored. • When the Wave Tempo Sync is set to “ON,” set the Tone Delay Time (p. 100) to “0.” With other settings, a delay effect will be applied, and you will be not be able to play as you expect. Phrase Loop Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.” This sets whether FXM will be used (ON) or not (OFF). FXM Switch 98 OFF, ON FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects. SonicCell_e.book 99 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation FXM Color 1–4 Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound. FXM Depth ★ 0–16 Specifies the depth of the modulation produced by FXM. ★ You can use matrix control to modify this. (p. 95) Selects the type of tone delay. Tone Delay NORM, HOLD, OFFN, OFFD Tone Delay Mode This produces a time delay between the moment a key is pressed (or released), and the moment the tone actually begins to sound. You can also make settings that shift the timing at which each tone is sounded. This differs from the Delay in the internal effects, in that by changing the sound qualities of the delayed tones and changing the pitch for each tone, you can also perform arpeggio-like passages just by pressing one key. You can also synchronize the tone delay time to the tempo of the external MIDI sequencer. NORM: The tone begins to play after the time specified in the Delay Time parameter has elapsed. HOLD: Although the tone begins to play after the time specified in the Delay Time parameter has elapsed, if the key is released before the time specified in the Delay Time parameter has elapsed, the tone is not played. No Tone Delay Note on No sound played Delay time Delay time Note off Note on Note off OFFN: OFFD: Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. This is effective in situations such as when simulating noises from guitars and other instruments. Rather than being played while the key is pressed, the tone begins to play once the period of time specified in the Delay Time parameter has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard. Delay time Delay time Note on Note on Note off Note off • If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFFN” or “OFFD” may result in no sound being heard. • If you don’t wish to use Tone Delay, set Tone Delay to “NORM” and Tone Delay Time to “0.” If the Str Type (p. 93) set in the range of “2”–”10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4. 99 SonicCell_e.book 100 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Tone Delay Time Value Explanation Specifies the time from when the key is pressed (or if the Delay Mode parameter is set to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound. Tone Delay Time specifies the beat length for the synchronized tempo when the tempo that specifies the elapsed time until the tone is sounded (Patch Tempo) is synchronized with the tempo set in an external MIDI sequencer. 0127, Note (* 1) (Example) For a tempo of 120 (half note) (quarter note) (eighth note) (120 quarter notes occur in 1 minute (60 seconds)) 1 second (60/60= 1 (second)) 0.5 seconds (60/120= 0.5 (seconds)) 0.25 seconds (60/240= 0.25 (seconds)) Tone Coarse Tune ★ -48–+48 Adjusts the pitch of the tone’s sound up or down in semitone steps (+/-4 octaves). ★ You can use matrix control to modify this. (p. 95) Tone Fine Tune ★ -50–+50 Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/-50 cents). * One cent is 1/100th of a semitone. ★ You can use matrix control to modify this. (p. 95) Random Pch Dpth (Random Pitch Depth) 0–9, 10–90, 100–1200 This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone). This specifies the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard). If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch. Pitch +200 Pitch Keyfollow +100 -200–+200 +50 0 -50 -200 C1 C2 C3 C4 C5 C6 -100 C7 Key Bend Range Up 0–+48 Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way right. For example, if this parameter is set to “12,” the pitch will rise one octave when the pitch bend lever is moved to the right-most position. Bend Range Down 0– -48 Specifies the degree of pitch change in semitones when the Pitch Bend lever is all the way left. For example if this is set to “-48” and you move the pitch bend lever all the way to the left, the pitch will fall 4 octaves. *1 Note values Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note Quarter note Half-note triplet Dotted quarter note Half note Whole-note triplet Dotted half note Whole note Double-note triplet Dotted whole note Double note 100 SonicCell_e.book 101 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Patch Pitch Env screen................................................................................................... Parameter Value Explanation P-Env Depth (Pitch Envelope Depth) -12–+12 Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope. P-Env V-Sens (Pitch Envelope Velocity Sensitivity) -63–+63 Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value. P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity) -63–+63 This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity) -63–+63 Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. Use this setting if you want the pitch envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change. Time -100 P-Env Time KF (Pitch Envelope Time Keyfollow) -50 -100–+100 0 +50 C1 C2 C3 C4 C5 +100 C7 C6 Key Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.) T1 P-Env Time 1–4 ★ (Pitch Envelope Time 1–4) T2 T3 T4 0–127 Pitch L0 L1 Note on Time L3 Note off L2 T: Time L: Level L4 ★ You can use matrix control to modify this. (p. 95) 101 SonicCell_e.book 102 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter P-Env Level 0–4 (Pitch Envelope Level 0–4) Value Explanation -63–+63 Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower. TVF settings (Patch TVF/Patch TVF Env screen) ■ Patch TVF screen .......................................................................................................... Parameter Filter Type Value Explanation Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities. OFF: No filter is used. LPF: Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers. BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds. HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This is suitable for creating percussive sounds emphasizing their higher tones. PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically. LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano. LPF3: Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings. If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 103). Cutoff Frequency ★ 0–127 Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. • With “LPF/LPF2/LPF3” selected for the Filter Type, lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter. • If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds. • With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound. • With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting. To edit the overall patch while preserving the relative differences in the Cutoff Frequency values set for each tone, set the Cutoff Offset (p. 90). ★ You can use matrix control to modify this. (p. 95) 102 SonicCell_e.book 103 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. To edit the overall patch while preserving the relative differences in the Resonance values set for each tone, set the Resonance Offset (p. 91). Level LPF High BPF HPF PKG Frequency 0–127 Cutoff frequency parameter value Resonance ★ Low ★ You can use matrix control to modify this. (p. 95) Use this parameter if you want the cutoff frequency to change according to the key that is pressed. Relative to the cutoff frequency at the C4 key (center C), positive (+) settings will cause the cutoff frequency to rise for notes higher than C4, and negative (-) settings will cause the cutoff frequency to fall for notes higher than C4. Larger settings will produce greater change. Cutoff frequency (Octave) +200 Cutoff Freq KF (Cutoff Frequency keyfollow) -200–+200 +100 +2 +50 +1 0 0 -1 -50 -2 -200 C1 Cutoff V-Curve (Cutoff Frequency Velocity Curve) Resonance V-Sens (Resonance Velocity Sensitivity) C3 C4 C5 C6 -100 C7 Key Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to “FIXED” if you don’t want the Cutoff frequency to be affected by the keyboard velocity. FIXED, 1–7 1 Cutoff V-Sens (Cutoff frequency Velocity Sensitivity) C2 -63–+63 2 3 4 5 6 7 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings. To edit the overall patch while preserving the relative differences in the Cutoff VSens values set for each tone, set the Velocity Sens (p. 91). However, this setting is shared by the Level V-Sens (p. 105). -63–+63 This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings. 103 SonicCell_e.book 104 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Patch TVF Env screen .................................................................................................... Parameter Value Explanation F-Env Depth (TVF Envelope Depth) -63–+63 Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope. F-Env V-Curve (TVF Envelope Velocity Curve) Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity. FIX, 1–7 1 F-Env V-Sens (TVF Envelope Velocity Sensitivity) F-Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity) F-Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity) 2 3 4 5 6 7 -63–+63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less. -63–+63 This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. -63–+63 The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change. Time -100 F-Env Time KF (TVF Envelope Time Keyfollow) -50 -100–+100 0 +50 C1 104 C2 C3 C4 C5 C6 +100 C7 Key SonicCell_e.book 105 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) T1 F-Env Time1–4 ★ (TVF Envelope Time 1–4) 0–127 T2 T3 T4 Cutoff Frequency L0 L2 L1 Note on L3 L4 Time Note off T: Time L: Level ★ You can use matrix control to modify this. (p. 95) F-Env Level0–4 (TVF Envelope Level 0–4) 0–127 Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen). TVA settings (Patch TVA/Patch TVA Env screen) ■ Patch TVA screen.......................................................................................................... Parameter Value Explanation Tone Level ★ 0–127 Sets the volume of the tone. This setting is useful primarily for adjusting the volume balance between tones. ★ You can use matrix control to modify this. (p. 95) Level V-Curve (TVA Level Velocity Curve) You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the tone to be affected by the force with which you play the key, set this to “FIX.” FIX, 1–7 1 Level V-Sens (TVA Level Velocity Sensitivity) -63–+63 2 3 4 5 6 7 Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value. If you wish to make adjustments to the entire patch while maintaining the relative values of Level V-Sens among tones, adjust the Velocity Sens (p. 91). However, this setting is shared by the Cutoff V-Sens (p. 103). Bias Level -100–+100 Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction. Bias Position C-1–G9 Specifies the key relative to which the volume will be modified. 105 SonicCell_e.book 106 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Value Parameter Explanation Selects the direction in which change will occur starting from the Bias Position. LOWER: The volume will be modified for the keyboard area below the Bias Point. UPPER: The volume will be modified for the keyboard area above the Bias Point. LO&UP: The volume will be modified symmetrically toward the left and right of the Bias Point. LOWER, UPPER, LO&UP, ALL Bias Direction ALL: The volume changes linearly with the bias point at the center. Bias Bias causes the volume to be affected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments. LOWER + Level UPPER Level 0 Key – C-1 Bias Position Tone Pan ★ G9 + LO&UP + Level + 0 0 0 – C-1 Bias Position L64–0–63R Key G9 – – C-1 Bias Position ALL Level – + 0 0 + Key – Bias Position C-1 G9 Key G9 Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right. ★ You can use matrix control to modify this. (p. 95) Use this parameter if you want key position to affect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change. Pitch +200 Pan Keyfollow +100 +50 -100–+100 0 -50 -200 C1 Random Pan Depth 0–63 C2 C3 C4 C5 C6 -100 C7 Key Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change. This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played. Alter (Alternate) Pan Depth L63–63R When any value from Type “2”–”10” is selected for the Str Type (p. 93) in the Pan Keyfollow, Random Pan Depth, Alter Pan Depth settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4. 106 SonicCell_e.book 107 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Patch TVA Env screen.................................................................................................... Parameter Value Explanation A-Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity) -63–+63 This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. -63–+63 The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. A-Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) Use this setting if you want the TVA envelope times (Time 2–Time 4) to be affected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change. Time -100 A-Env Time KF (TVA Envelope Time Keyfollow) -50 -100–+100 0 +50 C1 A-Env Time1–4 ★ (TVA Envelope Time 1–4) 0–127 C2 C3 C4 C5 C6 +100 C7 Key Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) ★ You can use matrix control to modify this. (p. 95) Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specified in the TVA screen). T1 T2 A-Env Level1–3 (TVA Envelope Level 1–3) T3 T4 0–127 Level L1 L2 Note on T: Time Time L3 Note off L: Level 107 SonicCell_e.book 108 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Patch/Tone output-related settings (Patch Output screen) Parameter Pat Out Assign (Patch Output Assign) Value MFX, L+R, L, R, TONE Explanation Specifies how the direct sound of each patch will be output. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. TONE: Outputs according to the settings for each tone. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUTPUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. Tone Out (Output) Assign MFX, L+R, L, R Specifies how the direct sound of each tone will be output. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. * If the Pat Out Assign is set to anything other than “TONE,” these settings will be ignored. * When the Str Type has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUTPUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. * Sounds are output to chorus and reverb in mono at all times. * The output destination of the signal after passing through the chorus is set with the Output Select (p. 135). Tone Out (Output) Level 0–127 Set the level of the signal that is sent to the output destination specified by Tone Out Assign. Cho Send (MFX) (Tone Chorus Send Level (Output=MFX)) 0–127 Specifies the level of the signal sent to the chorus for each tone if the tone is sent through MFX. Rev Send (MFX) (Tone Reverb Send Level (Output=MFX)) 0–127 Specifies the level of the signal sent to the reverb for each tone if the tone is sent through MFX. Cho Send (nonMFX) (Tone Chorus Send Level (Output=non MFX)) 0–127 Sets the level of the signal sent to chorus for each tone if the tone is not sent through MFX. Rev Send (nonMFX) (Tone Reverb Send Level (Output=non MFX)) 0–127 Sets the level of the signal sent to reverb for each tone if the tone is not sent through MFX. 108 SonicCell_e.book 109 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode LFO settings (Patch LFO1, 2/Patch Step LFO screen) ■ Patch LFO1, 2 screens................................................................................................... An LFO (Low Frequency Oscillator) causes change over a cycle in a sound. Each tone has two LFOs (LFO1/LFO2), and these can be used to cyclically change the pitch, cutoff frequency and volume to create modulation-type effects such as vibrato, wah and tremolo. Both LFOs have the same parameters so only one explanation is needed. Parameter Waveform Value Explanation Selects the waveform of the LFO. SIN: Sine wave TRI: Triangle wave SAW-U: Sawtooth wave SAW-D: Sawtooth wave (negative polarity) SQR: Square wave RND: Random wave BND-U: Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change. BND-D: Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change. TRP: Trapezoidal wave S&H: Sample & Hold wave (one time per cycle, LFO value is changed) CHAOS: Chaos wave VSIN: Modified sine wave. The amplitude of the sine wave is randomly varied once each cycle of the waveform. STEP: A waveform generated by the data specified in LFO Step 1–16. This produces a fixed pattern of stepwise change, like that created by a step modulator. If you set this to “BND-U” or “BND-D,” you must turn the Key Trigger to “ON.” If this is “OFF,” it will have no effect. Adjusts the modulation rate, or speed, of the LFO. LFO Rate sets the beat length for the synchronized tempo is synchronized with the tempo set in an external MIDI sequencer. Rate ★ 0–127, Note (Refer to p. 100 for available note values.) (Example) For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds)) Setting (half note) (quarter note) (eighth note) LFO Rate 1 second (60/60= 1 (second)) 0.5 seconds (60/120= 0.5 (seconds)) 0.25 seconds (60/240= 0.25 (seconds)) This setting will be ignored if the Waveform parameter is set to “CHAOS.” ★ You can use matrix control to modify this. (p. 95) Rate Detune Offset 0–127 LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate parameter) each time a key is pressed. Higher settings will cause greater change. This parameter is invalid when Rate is set to “note.” -100, -50, 0, +50, +100 Raises or lowers the LFO waveform relative to the central value (pitch or cutoff frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward. 109 SonicCell_e.book 110 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Delay Time (LFO Delay Time) specifies the time elapsed before the LFO effect is applied (the effect continues) after the key is pressed (or released). Delay Time 0–127 When using violin, wind, or certain other instrument sounds in a performance, rather than having vibrato added immediately after the sounds are played, it can be effective to add the vibrato after the note is drawn out somewhat. If you set the Delay Time in conjunction with the Pitch Depth and Rate, the vibrato will be applied automatically following a certain interval after the key is pressed. This effect is called Delay Vibrato. After referring to “How to Apply the LFO” (p. 111), change the setting until the desired effect is achieved. Adjusts the value for the Delay Time parameter depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO effect is applied (the effect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO effect is applied (the effect is continuous) to change according to the key pressed, set this to “0.” Time -100 Delay Time KF (Keyfollow) -100–100 -50 0 +50 C1 C2 C3 C4 C5 C6 +100 C7 Key Specifies how the LFO will be applied. Fade Mode ON <, ON >, OFF <, OFF > After referring to “How to Apply the LFO” (p. 111), change the setting until the desired effect is achieved. Specifies the time over which the LFO amplitude will reach the maximum (minimum). Fade Time 0–127 After referring to “How to Apply the LFO” (p. 111), change the setting until the desired effect is achieved. 110 SonicCell_e.book 111 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Value Parameter Explanation How to Apply the LFO ● Apply the LFO gradually after the key is pressed Fade Mode: Delay Time: ON < The time from when the keyboard is played until the LFO begins to be applied. The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed. Fade Time: Delay Time high (more) Depth ● Apply the LFO gradually after the key is released Fade Time: OFF < The time from when the keyboard is released until the LFO begins to be applied. The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed. Delay Time high (more) Pitch Cutoff Frequency Level Pan Note Note low (less) ON > The time that the LFO will continue after the keyboard is played. The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed. Fade Time: Pitch Cutoff Frequency Level Pan low (less) low (less) Fade Mode: Delay Time: Fade Mode: Delay Time: high (more) Fade Time Pitch Cutoff Frequency Level Pan Note on ● Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the effect on Depth Fade Time Depth Note on ● Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the effect when the key is released Fade Mode: Delay Time: Fade Time: OFF > The time that the LFO will continue after the keyboard is released. The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed. Delay Time high (more) Fade Time off Delay Time Pitch Cutoff Frequency Level Pan low (less) Fade Time Depth Note on Note off Key Trigger OFF, ON This specifies whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF). Pitch Depth ★ -63–+63 Specifies how deeply the LFO will affect pitch. ★ You can use matrix control to modify this. (p. 95) TVF Depth ★ -63–+63 Specifies how deeply the LFO will affect the cutoff frequency. ★ You can use matrix control to modify this. (p. 95) TVA Depth ★ -63–+63 Specifies how deeply the LFO will affect the volume. ★ You can use matrix control to modify this. (p. 95) Specifies how deeply the LFO will affect the pan. Pan Depth ★ -63–+63 Positive (+) and negative (-) settings for the Depth result in differing kinds of change in pitch and volume. For example, if you set the Depth to a positive (+) value for one tone, and set another tone to the same numerical value, but make it negative (-), the modulation phase for the two tones will be the reverse of each other. This allows you to shift back and forth between two different tones, or combine it with the Pan setting to cyclically change the location of the sound image. When the Str Type (p. 93) is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4. ★ You can use matrix control to modify this. (p. 95) 111 SonicCell_e.book 112 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Patch Step LFO screen................................................................................................... Parameter Value Explanation Step Type TYP1, TYP2 When generating an LFO waveform from the data specified in LFO Step1– 16, specify whether the level will change abruptly at each step (TYP1) or will be connected linearly (TYP2). Step 1–16 -36–+36 Specifies the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents. Specifies how the tones will be heard (Patch TMT screen) You can vary the way in which each tone will sound depending on the force with which you play the keyboard, the range of notes on the keyboard, and via MIDI messages. These settings are collectively called the “Tone Mix Table (TMT).” Parameter Value Explanation Parameters common to all tones TMT Velo Ctrl (TMT Velocity Control Switch) OFF, ON, RANDOM, CYCLE TMT Velo Ctrl determines whether a different tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity). When set to “RANDOM,” the patch’s constituent tones will sound randomly, regardless of any Velocity messages. When set to “CYCLE,” the patch’s constituent tones will sound consecutively, regardless of any Velocity messages. You can also switch between tones by using matrix control (p. 95) as an alternative to using TMT Velo Ctrl. However, you can’t use TMT Velo Ctrl and matrix control at the same time. If you want to use matrix control, turn TMT Velo Ctrl “OFF.” If you want to use TMT Velo Control, turn matrix control “OFF.” Use the Matrix Control to enable (ON), or disable (OFF) sounding of different tones. TMT Ctrl Switch (TMT Control Switch) OFF, ON Alternatively, you can switch tones on/off by using TMT Velo Ctrl. However, you can't use TMT Velo Ctrl and matrix control at the same time. If you want to use matrix control, turn TMT Velo Ctrl “OFF.” If you want to use TMT Velo Control, turn matrix control “OFF.” Parameters set on an individual tone basis Key Fade Lower (Keyboard Fade Width Lower) 0–127 This determines what will happen to the tone’s level when a note that’s lower than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.” Key (Keyboard) Range Lower C-1–UPPER Specifies the lowest note that the tone will sound for each tone. 112 SonicCell_e.book 113 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Specifies the highest note that the tone will sound for each tone. Key (Keyboard) Range Upper Key Fade Upper (Keyboard Fade Width Upper) Lower–G9 0–127 If you attempt to raise the lower key higher than the upper key, or to lower the upper key below the lower key, the other value will be automatically modified to the same setting. This determines what will happen to the tone’s level when a note that’s higher than the tone’s specified keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.” Level Pitch Fade Lower Range Lower Fade Upper Range Upper Velo Fade Lower (Velocity Fade Width Lower) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.” Velo (Velocity) Range Lower 1–UPPER This sets the lowest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths. This sets the highest velocity at which the tone will sound. Make these settings when you want different tones to sound in response to notes played at different strengths. Velo (Velocity) Range upper LOWER–127 If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting. When using the Matrix Control to have different tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used. Velo Fade Upper (Velocity Fade Width Upper) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.” Level Velocity Fade Lower Range Lower Fade Upper Range Upper 113 SonicCell_e.book 114 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Controller-related settings (Patch Ctrl screen) Parameter Tone Env (Envelope) Mode Value NO-SUS, SUSTAIN Explanation When a loop waveform (p. 97) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.” If a one-shot type Wave (p. 97) is selected, it will not sustain even if this parameter is set to “SUSTAIN.” Tone Rx Bender (Tone Receive Pitch Bend Switch) OFF, ON For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF). Tone Rx Xpr (Tone Receive Expression Switch) OFF, ON For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF). Tone Rx Hold-1 (Tone Receive Hold Switch) OFF, ON For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). If “NO-SUS” is selected for Tone Env Mode, this setting will have no effect. For each tone, specify how pan messages will be received. CONT: Tone Rx Pan Mode (Tone Receive Pan Mode) CONT, K-ON K-ON: Whenever Pan messages are received, the stereo position of the tone will be changed. The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed. The channels cannot be set so as not to receive Pan messages. Tone Redamper Sw (Switch) 114 OFF, ON You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 “ON.” This function is effective for piano sounds. SonicCell_e.book 115 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Tone Copy Patch Initialize This operation copies tone settings from a patch to one of the tones in the currently selected patch. From the Patch Edit menu screen (p. 88), select “Tone Copy.” The Patch Tone Copy screen will appear. Returns the current patch settings to their initial values. From the Patch Edit menu screen (p. 88), select “Patch Init.” A confirmation message will appear. (1) (3) (2) (4) 1. Select the copy-source tone and copy-destination tone. Parameter (1) Group of the copy-source patch (2) Copy-source patch (3) Copy-source tone (4) Copy-destination tone 1. To execute the initialization, select “OK” and press [CURSOR/VALUE]. If you decide not to initialize, select “CANCEL” and press [CURSOR/VALUE]. When initialization is finished, you’ll be returned to the previous screen. * The copy-destination patch is the patch that’s selected in the temporary area (p. 57). 2. Move the cursor to “COPY” and press [CURSOR/VALUE]. A confirmation message will appear. 3. To execute the copy, select “OK” and press [CURSOR/ VALUE]. If you decide not to execute the copy, select “CANCEL” and press [CURSOR/VALUE]. Once the copy has been completed, you’ll be returned to the previous screen. 115 SonicCell_e.book 116 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Patch Write 5. Turn [CURSOR/VALUE] to select the save-destination patch, then press [CURSOR/VALUE]. A confirmation message will appear. Saves the current patch as user data. From the Patch Edit menu screen (p. 88), select “Write” to access the Patch Name screen. In this screen you can assign a name (patch name) of up twelve characters to the patch you’re going to save. 6. To write the patch into memory, select “OK” and press [CURSOR/VALUE]. If you decide you don’t want to carry out the write, select “CANCEL” and press [CURSOR/VALUE]. Once the data has been written, you’ll be returned to the previous screen. 1. Move the cursor to the location where you want to enter a character, and press [CURSOR/VALUE]. 2. Turn [CURSOR/VALUE] to select the desired character, then press [CURSOR/VALUE] to enter that character. You can press [MENU] to view convenient functions for text entry. Press [MENU] once again to return to the previous screen. Function Explanation INSERT Press [CURSOR/VALUE] to insert a space (blank) at the cursor location. DELETE Press [CURSOR/VALUE] to delete the character at the cursor location; subsequent characters will move forward. UNDO Revert to the unedited patch name. 3. Repeat steps 1 and 2 as many times as necessary. 4. When you’ve finished entering the patch name, move the cursor to “WRITE” and press [CURSOR/VALUE]. The Patch Write screen will appear. 116 SonicCell_e.book 117 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Editing rhythm sets (Rhythm Edit screen) 1. Press [MIDI INST]. [MIDI INST] and [PART VIEW] will light, and the Patch Play screen will appear. If the patch type is set to “Patch,” change it to “Rhythm.” 2. Turn [CURSOR/VALUE] to select “EDIT,” then press [CURSOR/VALUE]. The Rhythm Edit screen will appear. fig.disp-RhythmEdit01 3. Turn [CURSOR/VALUE] to select the item you want to edit, then press [CURSOR/VALUE]. The editing screen for the selected item will appear. 4. Turn [CURSOR/VALUE] to select the parameter you want to edit, then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted. 5. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. ■ Menu screens during rhythm editing.............................................................................. If you press [MENU] while editing a patch, the menu screen will appear. The Menu screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Parameter Explanation Sel 1–4 (Wave Select 1–4) Changes the current wave (the one targeted for editing), and returns to the previous screen. Sw 1–4 (Wave Switch 1–4) Used to individually specify whether waves 1–4 will be used (ON) or not used (OFF). Key Select Selects the key that you’ll be editing. TON COPY (Rhythm Tone Copy) Copies the settings of a rhythm tone to a rhythm tone in the currently selected rhythm set. Press [CURSOR/VALUE] to access the Rhythm Tone Copy screen (p. 130). TON INIT (Rhythm Tone Initialize) Returns the settings of just a specific key in the current rhythm set to their initial values (p. 130). RHY INIT (Rhythm Set Initialize) Returns the settings of the current rhythm set to their initial values (p. 130). Write (Rhythm Set Write) Saves the current rhythm set as user data. Press [CURSOR/VALUE] to access the Rhythm Set Name screen (p. 131). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 117 SonicCell_e.book 118 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Rhythm Edit screen ....................................................................................................... Parameter Explanation General Edits overall settings for the entire rhythm set. Press [CURSOR/VALUE] to access the Rhythm General screen. WG Edits waveform-related settings. Press [CURSOR/VALUE] to access the Rhythm Wave screen (p. 120). WMT Specifies how each rhythm tone will sound. Press [CURSOR/VALUE] to access the Rhythm WMT screen (p. 122). PCH Edits pitch-related settings for each rhythm tone. Press [CURSOR/VALUE] to access the Rhythm Pitch screen (p. 122). PCH (Pitch Envelope) Edits pitch envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm Pitch Env screen (p. 123). TVF Edits TVF settings. Press [CURSOR/VALUE] to access the Rhythm TVF screen (p. 124). TVF (TVF Envelope) Edits TVF envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVF Env screen (p. 126). TVA Edits TVA settings. Press [CURSOR/VALUE] to access the Rhythm TVA screen (p. 127). TVA (TVA Envelope) Edits TVA envelope settings. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Rhythm TVA Env screen (p. 128). OUT (Output) Edits output-related settings for the rhythm set/rhythm tones. Press [CURSOR/VALUE] to access the Rhythm Output screen (p. 129). Edits overall settings for the entire rhythm set (Rhythm General screen) Parameter Value Explanation Sets the volume of the rhythm set. Rhythm Level (Rhythm Set Level) Assign Type 118 0–127 MULTI, SINGLE The volume levels of the tones from which the rhythm set is composed is set with the Tone Level (p. 127). The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level (p. 121). Specifies how sounds are to be produced when you press the same key successively. MULTI: New sounds will be layered onto the currently playing sounds. SINGLE: The currently playing sound will be stopped before the new sound begins. SonicCell_e.book 119 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Mute Group Env Mode (Rhythm Tone Envelope Mode) Value Explanation OFF, 1–31 On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. The Mute Group function allows you to designate two or more rhythm tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. rhythm tones that are not belong to any such group should be set to “OFF.” NO-SUS, SUSTAIN When a loop waveform (p. 97) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.” If the One Shot Mode (p. 97) is ON, it will not sustain even if this parameter is set to “SUSTAIN.” Pitch Bend Range (Rhythm Tone Pitch Bend Range) 0–48 Specifies the amount of pitch change in semitones (4 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. Rx Expression (Rhythm Tone Receive Expression Switch) OFF, ON For each rhythm tone, specify whether MIDI Expression messages will be received (ON), or not (OFF). Rx Hold-1 (Rhythm Tone Receive Hold-1 Switch) OFF, ON For each rhythm tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF). If “NO-SUS” is selected for Env Mode, this setting will have no effect. For each rhythm tone, specify how pan messages will be received. CONTINUOUS: Rx Pan (Rhythm Tone Receive Pan Mode) CONTINUOUS, KEY-ON KEY-ON: Whenever Pan messages are received, the stereo position of the tone will be changed. The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed. The channels cannot be set so as not to receive Pan messages. One Shot Mode Relative Level OFF, ON -64–+63 The sound will play back until the end of the waveform (or the end of the envelope, whichever comes first). The result will be the same as when the envelope’s Tone Env Mode is set to NO-SUS. Corrects for the volume of the rhythm tone. This parameter is set by the key-based controller system exclusive message. Normally, you should leave it set to 0. If the rhythm tone level is set to 127, the volume will not increase beyond that point. You can assign a name of up to twelve characters to the currently selected rhythm tone. Rhythm Tone Name 12 characters 1. Move the cursor to the location at which you want to enter a character, then press [CURSOR/VALUE]. 2. Turn [CURSOR/VALUE] to select the character you want to enter, then press [CURSOR/VALUE]. 119 SonicCell_e.book 120 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Waveform-related settings (Rhythm Wave screen) Parameter Wave Group Wave Bank Value Explanation INT, EXP Select the groups containing the Waves comprising the rhythm tone. INT: Waveforms stored in internal memory EXP: Waveform stored in a Wave Expansion Board (SRX series) installed in EXP slots. * It’s not possible to select EXP unless a wave expansion board is inserted into the corresponding slot. A, B --- Selects the wave bank when the wave group is set to “EXP.” A: Wave Expansion Board A B: Wave Expansion Board B * When the wave group is set to “INT,” the “- - -” message appears and you cannot select a wave bank. * You cannot select a wave bank of a Wave Expansion Board that is not installed. 1–1401 This selects the Waves comprising the rhythm tone. You can choose a separate waveform for the SonicCell’s left and right channels. * For mono tones, assign a waveform to the L channel. No sound will be heard if a waveform is set for only the R channel. * In the case of a wave from a wave expansion board, the range (number of waveforms) will depend on the board you've selected. -6, 0, +6, +12 Sets the gain (amplification) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. Wave No. L (MONO) Wave No. R Wave Gain When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.” This is valid only when a separately sold wave expansion board is installed, and a waveform that indicates a tempo (BPM) is selected as a rhythm tone. Wave Tempo Sync OFF, ON If a waveform from a wave expansion board is selected for the tone, turning the Wave Tempo Sync parameter “ON” will cause pitch-related settings and FXM-related settings to be ignored. Phrase Loop Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler). One technique involving the use of Phrase Loops is the excerpting of a Phrase from a pre-existing song in a certain genre, for example dance music, and then creating a new song with that Phrase used as the basic motif. This is referred to as “Break Beats.” This sets whether FXM will be used (ON) or not (OFF). FXM Switch OFF, ON FXM Color 1–4 120 FXM FXM (Frequency Cross Modulation) uses a specified waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound effects. Specifies how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound. SonicCell_e.book 121 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Specifies the depth of the modulation produced by FXM. FXM Depth 0–16 When the Tempo Sync is set to “ON,” settings related to Pitch (p. 122) and FXM are disabled. Adjusts the pitch of the waveform’s sound up or down in semitone steps (+/ -4 octaves). Wave Coarse Tune -48–+48 The Coarse Tune of the entire rhythm tone is set by the Tone Coarse Tune (p. 122). Wave Fine Tune -50–+50 Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (+/-50 cents). * One cent is 1/100th of a semitone. The Fine Tune of the entire rhythm tone is set by the Tone Fine Tune (p. 123). You can set the volume of the waveform. Wave Level 0–127 Wave Pan L64–0–63R This specifies the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right. OFF, ON Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF). * The range of the panning change is set by the Random Pan Depth (p. 127). OFF, ON, REVS This setting causes panning of the waveform to be alternated between left and right each time a key is pressed. Set Alter Pan Sw to “ON” to pan the Wave according to the Alter Pan Depth settings, or to “REV” when you want the panning reversed. If you do not want the panning to change each time a key is pressed, set this to “OFF.” Wave Rnd Pan Sw (Wave Random Pan Switch) Alter Pan Sw (Wave Alternate Pan Switch) The volume level of each rhythm tone is set with the Tone Level; the volume levels of the entire rhythm set is set with the Rhythm Level (p. 118). 121 SonicCell_e.book 122 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Specifying how a rhythm tone will be heard (Rhythm WMT screen) You can use your keyboard playing dynamics to control the four waveforms assigned to the rhythm tone. These settings are collectively called the “Wave Mix Table (WMT).” Parameter Value Explanation WMT Velo Ctrl (WMT Velocity Control Switch) OFF, ON, RANDOM WMT Velocity Control determines whether a different rhythm tone is played (ON) or not (OFF) depending on the force with which the key is played (velocity). When set to “RANDOM,” the rhythm set’s constituent rhythm tones will sound randomly, regardless of any Velocity messages. Velo Fade Lower (Velocity Fade Width Lower) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity lower than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.” Velo (Velocity) Range Lower 1–UPPER This sets the lowest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths. Velo (Velocity) Range Upper LOWER–127 This sets the highest velocity at which the waveform will sound. Make these settings when you want different waveforms to sound in response to notes played at different strengths. If you attempt to set the Lower velocity limit above the Upper, or the Upper below the Lower, the other value will automatically be adjusted to the same setting. Velo Fade Upper (Velocity Fade Width Upper) 0–127 This determines what will happen to the tone’s level when the tone is played at a velocity greater than its specified velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specified key velocity range to not be sounded at all, set this to “0.” Level Velocity Fade Upper Range Upper Fade Lower Range Lower Pitch-related rhythm tone settings (Rhythm Pitch/Rhythm Pch Env screen) ■ Rhythm Pitch screen...................................................................................................... Parameter Value Explanation Selects the pitch at which a rhythm tone sounds. Tone Coarse Tune (Rhythm Tone Coarse Tune) 122 C-1–G9 Set the coarse tuning for Waves comprising the rhythm tones with the Wave Coarse Tune (p. 121). SonicCell_e.book 123 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Tone Fine Tune (Rhythm Tone Fine Tune) Value -50–+50 Explanation Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent steps (+/ -50 cents). * One cent is 1/100th of a semitone. Set the fine tuning for Waves comprising the rhythm tones with the Wave Fine Tune (p. 121). Random Pch Dpth (Random Pitch Depth) 0–9, 10–90, 100–1200 This specifies the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone). ■ Rhythm Pch Env screen ................................................................................................. Parameter Value Explanation P-Env Depth (Pitch Envelope Depth) -12–+12 Adjusts the effect of the Pitch Envelope. Higher settings will cause the pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope. P-Env V-Sens (Pitch Envelope Velocity Sensitivity) -63–+63 Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more effect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less effect for strongly played notes, set this to a negative (-) value. P-Env T1 V-Sens (Pitch Envelope Time 1 Velocity Sensitivity) -63–+63 This allows keyboard dynamics to affect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. P-Env T4 V-Sens (Pitch Envelope Time 4 Velocity Sensitivity) -63–+63 Use this parameter when you want key release speed to affect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.) T1 P-Env Time 1–4 (Pitch Envelope Time 1–4) T2 T3 T4 0–127 Pitch L0 L1 Note on Note off L2 T: Time P-Env Level 0–4 (Pitch Envelope Level 0–4) -63–+63 Time L3 L: Level L4 Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower. 123 SonicCell_e.book 124 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode TVF settings (Rhythm TVF/Rhythm TVF Env screen) ■ Rhythm TVF screen ....................................................................................................... Parameter Filter Type Value Explanation Selects the type of filter. A filter cuts or boosts a specific frequency region to change a sound’s brightness, thickness, or other qualities. OFF: No filter is used. LPF: Low Pass Filter. This reduces the volume of all frequencies above the Cutoff Frequency in order to round off, or un-brighten the sound. This is the most common filter used in synthesizers. BPF: Band Pass Filter. This leaves only the frequencies in the region of the cutoff frequency (Cutoff Frequency), and cuts the rest. This can be useful when creating distinctive sounds. HPF: High Pass Filter. This cuts the frequencies in the region below the Cutoff Frequency. This is suitable for creating percussive sounds emphasizing their higher tones. PKG: Peaking Filter. This emphasizes the frequencies in the region of the Cutoff Frequency. You can use this to create wah-wah effects by employing an LFO to change the cutoff frequency cyclically. LPF2: Low Pass Filter 2. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter is half that of the LPF. This makes it a comparatively warmer low pass filter. This filter is good for use with simulated instrument sounds such as the acoustic piano. LPF3: Low Pass Filter 3. Although frequency components above the Cutoff Frequency are cut, the sensitivity of this filter changes according to the Cutoff frequency. While this filter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits differs from that of the LPF2, even with the same TVF Envelope settings. If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 125). Cutoff Frequency 124 0–127 Selects the frequency at which the filter begins to have an effect on the waveform’s frequency components. • With “LPF/LPF2/LPF3” selected for the Filter Type, lower cutoff frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter. • If “BPF” is selected, harmonic components will change depending on the TVF Cutoff Frequency setting. This can be useful when creating distinctive sounds. • With “HPF” selected, higher Cutoff Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound. • With “PKG” selected, the harmonics to be emphasized will vary depending on Cutoff Frequency setting. SonicCell_e.book 125 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Parameter Value Explanation Emphasizes the portion of the sound in the region of the cutoff frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort. Level LPF High BPF HPF PKG Frequency Resonance 0–127 parameter value Cutoff frequency Low Cutoff V-Curve (Cutoff Frequency Velocity Curve) Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) influence the cutoff frequency. Set this to “FIXED” if you don’t want the Cutoff frequency to be affected by the keyboard velocity. FIXED, 1–7 1 2 3 4 5 6 7 Cutoff V-Sens (Cutoff frequency Velocity Sensitivity) -63–+63 Use this parameter when changing the cutoff frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cutoff frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cutoff frequency, use negative (-) settings. Resonance V-Sens (Resonance Velocity Sensitivity) -63–+63 This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance effect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings. 125 SonicCell_e.book 126 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Rhythm TVF Env screen ................................................................................................. Parameter Value Explanation F-Env Depth (TVF Envelope Depth) -63–+63 Specifies the depth of the TVF envelope. Higher settings will cause the TVF envelope to produce greater change. Negative (-) settings will invert the shape of the envelope. F-Env V-Curve (TVF Envelope Velocity Curve) Selects one of the following 7 curves that will determine how keyboard playing dynamics will affect the TVF envelope. Set this to “FIX” if you don’t want the TVF Envelope to be affected by the keyboard velocity. FIX, 1–7 1 F-Env V-Sens (TVF Envelope Velocity Sensitivity) F-Env T1 V-Sens (TVF Envelope Time 1 Velocity Sensitivity) F-Env T4 V-Sens (TVF Envelope Time 4 Velocity Sensitivity) 2 3 4 5 6 7 -63–+63 Specifies how keyboard playing dynamics will affect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater effect for strongly played notes, and negative (-) settings will cause the effect to be less. -63–+63 This allows keyboard dynamics to affect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. -63–+63 The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cutoff frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) T1 F-Env Time1–4 (TVF Envelope Time 1–4) T2 T3 T4 0–127 Cutoff Frequency L0 L1 Note on T: Time F-Env Level0–4 (TVF Envelope Level 0–4) 126 0–127 L2 L3 L4 Time Note off L: Level Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cutoff frequency will change at each point, relative to the standard cutoff frequency (the cutoff frequency value specified in the TVF screen). SonicCell_e.book 127 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode TVA settings (Rhythm TVA/Rhythm TVA Env screen) ■ Rhythm TVA screen....................................................................................................... Parameter Value Explanation Sets the volume of the rhythm tone. This setting is useful primarily for adjusting the volume balance between rhythm tones. Tone Level 0–127 The volume levels of the Waves from which the rhythm tone is composed is set with the Wave Level (p. 121). Level V-Curve (TVA Level Velocity Curve) You can select from seven curves that determine how keyboard playing strength will affect the volume. If you do not want the volume of the tone to be affected by the force with which you play the key, set this to “FIXED.” FIX, 1–7 1 Level V-Sens (TVA Level Velocity Sensitivity) -63–+63 2 3 4 5 6 7 Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value. Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right. Tone Pan L64–0–63R Set the Pan for Waves comprising the rhythm tones with the Wave Pan (p. 121). Random Pan Depth 0–63 Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change. This will affect only waves whose Wave Rnd Pan Sw (p. 121) is ON. Alter (Alternate) Pan Depth L63–63R This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played. This will affect only waves whose Alter Pan Sw (p. 121) is ON or REVS. 127 SonicCell_e.book 128 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Rhythm TVA Env screen ................................................................................................ Parameter Value Explanation A-Env T1 V-Sens (TVA Envelope Time 1 Velocity Sensitivity) -63–+63 This allows keyboard dynamics to affect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. A-Env T4 V-Sens (TVA Envelope Time 4 Velocity Sensitivity) -63–+63 The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value. A-Env Time1–4 (TVA Envelope Time 1–4) 0–127 Specify the TVA envelope times (Time 1– Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.) Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specified in the TVA screen). T1 T2 A-Env Level1–3 (TVA Envelope Level 1–3) T3 T4 0–127 Level L1 L2 Note on T: Time 128 Time L3 Note off L: Level SonicCell_e.book 129 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Output-related settings for the rhythm set and rhythm tones (Rhythm Output screen) Parameter Rhy Out Assign (Rhythm Output Assign) Value MFX, L+R, L, R, TONE Explanation Specifies for each rhythm set how the direct sound will be output. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. TONE: Outputs according to the settings for each tone. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUTPUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. Tone Out (Output) Assign MFX, L+R, L, R Specifies how the direct sound of each tone will be output. MFX: Output in stereo through multi-effects. You can also apply chorus or reverb to the sound that passes through multi-effects. L+R: Output to the OUTPUT jacks in stereo without passing through multi-effects. L, R: Output to the OUTPUT L jack or OUTPUT R jack in mono without passing through multi-effects. * If the Rhy Out Assign is set to anything other than “TONE,” these settings will be ignored. * When the Str Type has a setting of Type “2”–”10,” the outputs of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings. * If you’ve made settings so that sounds are separately routed to the OUTPUT L jack and OUTPUT R jack, but no plug is actually inserted in the OUTPUT R jack, the sounds routed to OUTPUT L and OUTPUT R will be mixed and output from the OUTPUT L jack. * Sounds are output to chorus and reverb in mono at all times. * The output destination of the signal after passing through the chorus is set with the Output Select (p. 135). Tone Out Level (Rhythm Tone Output Level) 0–127 Set the level of the signal that is sent to the output destination specified by Tone Out Assign. Cho Send (MFX) (Rhythm Tone Chorus Send Level (Output=MFX)) 0–127 Specifies the level of the signal sent to the chorus for each rhythm tone if the rhythm tone is sent through MFX. Rev Send (MFX) (Rhythm Tone Reverb Send Level (Output=MFX)) 0–127 Specifies the level of the signal sent to the reverb for each rhythm tone if the rhythm tone is sent through MFX. Cho Send (nonMFX) (Rhythm Tone Chorus Send Level (Output=non MFX)) 0–127 Sets the level of the signal sent to chorus for each rhythm tone if the rhythm tone is not sent through MFX. Rev Send (nonMFX) (Tone Reverb Send Level (Output=non MFX)) 0–127 Sets the level of the signal sent to reverb for each rhythm tone if the rhythm tone is not sent through MFX. 129 SonicCell_e.book 130 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Rhythm Tone Copy Rhythm Tone Initialize Copies the settings of a rhythm tone to a rhythm tone in the currently selected rhythm set. Returns the settings of just a specific key in the current rhythm set to their initial values From the Rhythm Edit menu screen (p. 117), select “TON COPY.” The Rhythm Tone Copy screen will appear. From the Rhythm Edit menu screen (p. 117), select “TON INIT.” The Rhythm Tone Init screen will appear. (1) (2) (3) (4) 1. Select the copy-source tone and copy-destination tone. Parameter (1) Group of the copy-source rhythm set (2) Copy-source rhythm set (3) Copy-source rhythm tone (4) Copy-destination rhythm tone 1. Turn [CURSOR/VALUE] to select the key (A0–C8) that you want to initialize. 2. Move the cursor to “INIT” and press [CURSOR/VALUE]. A confirmation message will appear. * The copy-destination rhythm set is the rhythm set that's selected in the temporary area (p. 57). 2. Move the cursor to “COPY” and press [CURSOR/VALUE]. A confirmation message will appear. 3. To execute the initialization, select “OK” and press [CURSOR/VALUE]. If you decide not to initialize, select “CANCEL” and press [CURSOR/VALUE]. When initialization is finished, you’ll be returned to the previous screen. Rhythm Set Initialize 3. To execute the copy, select “OK” and press [CURSOR/ VALUE]. If you decide not to execute the copy, select “CANCEL” and press [CURSOR/VALUE]. Once the copy has been completed, you’ll be returned to the previous screen. Returns the settings of the current rhythm set to their initial values From the Rhythm Edit menu screen (p. 117), select “RHY INIT.” A confirmation message will appear. 1. To execute the initialization, select “OK” and press [CURSOR/VALUE]. If you decide not to initialize, select “CANCEL” and press [CURSOR/VALUE]. When initialization is finished, you’ll be returned to the previous screen. 130 SonicCell_e.book 131 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Rhythm Set Write 5. Turn [CURSOR/VALUE] to select the save-destination rhythm set, then press [CURSOR/VALUE]. A confirmation message will appear. Saves the current rhythm set as user data. From the Rhythm Edit menu screen (p. 117), select “Write” to access the Rhythm Set Name screen. In this screen you can assign a name (rhythm set name) of up twelve characters to the rhythm set you’re going to save. 6. To write the rhythm set into memory, select “OK” and press [CURSOR/VALUE]. If you decide you don’t want to carry out the write, select “CANCEL” and press [CURSOR/VALUE]. Once the data has been written, you’ll be returned to the previous screen. 1. Move the cursor to the location where you want to enter a character, and press [CURSOR/VALUE]. 2. Turn [CURSOR/VALUE] to select the desired character, then press [CURSOR/VALUE] to enter that character. You can press [MENU] to view convenient functions for text entry. Press [MENU] once again to return to the previous screen. Function Explanation INSERT Press [CURSOR/VALUE] to insert a space (blank) at the cursor location. DELETE Press [CURSOR/VALUE] to delete the character at the cursor location; subsequent characters will move forward. UNDO Revert to the unedited rhythm set name. 3. Repeat steps 1 and 2 as many times as necessary. 4. When you’ve finished entering the rhythm set name, move the cursor to “WRITE” and press [CURSOR/VALUE]. The Rhythm Set Write screen will appear. 131 SonicCell_e.book 132 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Editing the effects (Patch/Rhythm Set) In Patch mode you can use multi-effects, chorus, and reverb. ■ Signal flow................................................................................................................... Tone 4 Tone 3 Tone 2 Patch (Rhythm) Output 4 1 Tone1 MFX Output 5 2 6 7 MFX 3 8 Chorus Output 9 10 11 MAIN Chorus REV 1 2 3 4 5 6 12 Reverb Output 7 8 9 10 11 12 13 Reverb 14 Mastering Effect L R OUTPUT 13 14 If the patch type is Patch, make these settings in the Patch Output screen. 1 : Tone Out Level, 2 : Cho Send (MFX) / Cho Send (non MFX), 3 : Rev Send (MFX) / Rev Send (non MFX), 4 : Pat Out Assign, 5 : Tone Out Assign p. 108 If the patch type is Rhythm, make these settings in the Rhythm Output screen. 1 : Tone Out Level, 2 : Cho Send (MFX) / Cho Send (non MFX), 3 : Rev Send (MFX) / Rev Send (non MFX), 4 : Rhy Out Assign, 5 : Tone Out Assign p. 129 6 Make these settings in the MFX screen. • Select the multi-effect type and edit the parameters. p. 134 7 – 9 Make these settings in the MFX Output screen. 7 : Output Level, 8 : Chorus Send Level, 9 : Reverb Send Level p. 135 10 Make these settings in the Chorus screen. • Select the chorus type and edit the parameters. p. 135 11 – 12 Make these settings in the Chorus Output screen. 11 : Output Level, 12 : Output Select p. 135 13 Make these settings in the Reverb screen. • Select the reverb type and edit the parameters. p. 136 14 Make these settings in the Reverb Output screen. • Output Level p. 136 1 – 5 132 SonicCell_e.book 133 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ Procedure .................................................................................................................... 1. In the Patch Edit screen, press [EFFECTS]. The [EFFECTS] indicator will light, and the Effect Routing screen will appear. 2. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 3. Press [CURSOR/VALUE] to highlight the value. If a parameter has a “SELECT” indication in the value field, you can press [CURSOR/VALUE] to access the setting screen. 4. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. 5. When you’ve finished editing, press [EXIT]. The Patch Edit screen will appear. ■ Menu screens for effect editing...................................................................................... From the Effect Edit screen, you can press [MENU] to access the Patch Effect menu screen or Rhythm Effect menu screen. The Patch Effect menu screen and Rhythm Effect menu screen are structured as shown at the right. You can turn [CURSOR/VALUE] to the right or left to switch between screens. Press [MENU] once again to return to the previous screen. Parameter Value Explanation MFX (MFX Switch) OFF, ON Specifies whether MFX will be used (ON) or not used (OFF). CHO (Chorus Switch) OFF, ON Specifies whether chorus will be used (ON) or not used (OFF). REV (Reverb Switch) OFF, ON Specifies whether Reverb will be used (ON) or not used (OFF). MST (Mastering Effect Switch) OFF, ON Specifies whether Mastering Effect will be used (ON) or not used (OFF). MFX CTRL (MFX Control) Edits MFX control settings. Press [CURSOR/VALUE] to access the MFX Control screen (p. 137). Write (Patch/Rhythm Set Write) Saves the current patch or rhythm set as user data. Press [CURSOR/VALUE] to access the Patch Name screen (p. 116) or Rhythm Set Name screen (p. 131). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 133 SonicCell_e.book 134 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Selecting the item to edit (Effect Routing screen) Parameter Tone (Tone Output) * Patch Type: Patch Key (Rhythm Output) * Patch Type: Rhythm MFX MFX (MFX Output) CHO (Chorus) CHO (Chorus Output) REV (Reverb) REV (Reverb Output) M (Mastering Effect) Explanation Edits output-related settings for the patch/tone. By moving the cursor to screen (p. 108). and pressing [CURSOR/VALUE] you can move to the Patch Output Edits output-related settings for the rhythm set/rhythm tone. By moving the cursor to screen (p. 129). and pressing [CURSOR/VALUE] you can move to the Rhythm Output Edits multi-effect settings. Press [CURSOR/VALUE] to access the MFX screen (p. 134). Edits settings for the multi-effect output. By moving the cursor to screen (p. 135). and pressing [CURSOR/VALUE] you can move to the MFX Output Edits chorus settings. Press [CURSOR/VALUE] to access the Chorus screen (p. 135). Edits settings for the chorus output. By moving the cursor to screen (p. 135). and pressing [CURSOR/VALUE] you can move to the Chorus Output Edits reverb settings. Press [CURSOR/VALUE] to access the Reverb screen (p. 136). Edits settings for the reverb output. By moving the cursor to screen (p. 136). and pressing [CURSOR/VALUE] you can move to the Reverb Output Edits mastering effect settings. Press [CURSOR/VALUE] to access the Mastering Effect screen (p. 181). Multi-effect settings (MFX/MFX Output screen) ■ MFX screen .................................................................................................................. Parameter Value Explanation 00: THRU–78: SYMRESONANCE (MFX Type) Selects the type of multi-effect used by MFX. Choose “00: THRU” if you don’t want to apply a multi-effect. Parameters for each MFX type Edit the parameters for the selected MFX type. Refer to “Multi-Effects Parameter (MFX1–3, MFX)” (p. 192). 134 SonicCell_e.book 135 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode ■ MFX Output screen ....................................................................................................... Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through the multi-effects. If you’re applying a multi-effect, this specifies the depth of the multi-effect. If you’re not applying a multi-effect, this specifies the volume of the original sound. Chorus Send Level 0–127 Adjusts the amount of chorus for the sound that passes through multi-effects. If you don’t want to add the Chorus effect, set it to “0.’ Reverb Send Level 0–127 Adjusts the amount of reverb for the sound that passes through multi-effects. If you don’t want to add the Reverb effect, set it to “0.” Chorus settings (Chorus/Chorus Output screens) ■ Chorus screen............................................................................................................... Parameter Value Explanation 00: OFF–03: GM2 CHORUS (Chorus Type) Selects the types of chorus. Choose “00: OFF” if you don’t want to apply a chorus. Parameters for each chorus type Edit the parameters for the selected chorus type. Refer to “Chorus Parameters” (p. 219). ■ Chorus Output screen ................................................................................................... Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through chorus. MAIN, REV, M+R Specifies MAIN: REV: M+R: Output Select how the sound routed through chorus will be output. Output to the OUTPUT jacks in stereo. Output to reverb in mono. Output to the OUTPUT jacks in stereo, and to reverb in mono. 135 SonicCell_e.book 136 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Reverb settings (Reverb/Reverb Output screens) ■ Reverb screen............................................................................................................... Parameter Value Explanation 00: OFF–03: GM2 REVERB (Reverb Type) Selects the types of reverb. Choose “00: OFF” if you don’t want to apply a reverb. Parameters for each reverb type Edit the parameters for the selected reverb type. Refer to “Reverb Parameters” (p. 220). ■ Reverb Output screen ................................................................................................... Parameter Value Explanation Output Level 0–127 Adjusts the volume of the sound that has passed through reverb. 136 SonicCell_e.book 137 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell in Patch Mode Controlling the multi-effects via MIDI (MFX Control screen) Multi-Effects Control If you wanted to change the volume of multi-effects sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the SonicCell. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the SonicCell’s multi-effects parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of multi-effect; among the parameters described in “Multi-Effects Parameter (MFX1– 3, MFX)” (p. 192), these are indicated by a “#.” The function that allows you use MIDI messages to make these changes in realtime to the multi-effects parameters is called the Multieffects Control. You can use up to four multi-effect controls in a patch or rhythm set. When the multi-effects control is used, you can select the amount of control (Sens) applied, the parameter selected (Dest), and the MIDI message used (Source). By using the Matrix Control (p. 95) instead of the Multi-effects Control, you can also change the parameters of some popular multieffects in realtime. Parameter Value Control 1–4 Src (Source) OFF, CC01–CC31, CC33–95, PITCH BEND, AFTERTOUCH, SYS CTRL1–4 Control 1–4 Dest (Destination) Refer to “Multi-Effects Parameter” (p. 192) Sets the multi-effects parameters to be controlled with the multi-effects control. The multieffects parameters available for control will depend on the multi-effects type. -63–+63 Sets the amount of the multi-effects control’s effect that is applied. If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster, etc.—from its current setting, select a positive (+) value. If you wish to modify the selected parameter in a negative (-) direction—i.e., a lower value, toward the left, or slower, etc.—from its current setting, select a negative (-) value. Higher numbers produce a greater amount of change. Control 1–4 Sens Explanation Sets the MIDI message used to control the multi-effects parameter with the multi-effects control. OFF: Multi-effects control will not be used. CC01–31, 33–95: PITCH BEND: AFTERTOUCH: SYS CTRL1–4: Controller numbers 1–31, 33–95 Pitch Bend Aftertouch Use the System Control setting (p. 179). 137 SonicCell_e.book 138 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 138 SonicCell_e.book 139 ページ ２００７年７月２日 月曜日 午後３時５０分 Audio Connections 139 SonicCell_e.book 140 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell with your computer (USB AUDIO) Basic operation 1. Press [USB AUDIO] so its indicator is lit. The USB Audio screen will appear. 3. Press [CURSOR/VALUE] to highlight the value. fig.disp-USB-top01 4. Turn [CURSOR/VALUE] to edit the value. 2. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 5. When you’ve finished editing the value, press [CURSOR/ VALUE]. To save the setting, press [MENU] to access the menu screen, and choose “Write” (System Write) to execute the Write operation (System Write: p. 150). Parameter Value Explanation Audio level 0–127 This specifies the volume of the input from USB, and the volume at which the SMF/Audio File Player (p. 167) will play audio files. Specifies where the input signal is to be sent. To Output: Sent to OUTPUT. USB Audio OUTPUT Input Effect Assign To Output, To Input FX To Input FX: Sent to the input effect. USB Audio Input Effect OUTPUT Use the “In/Out Routing” (p. 144) to specify how the signal that has passed through the input effect will be output. Input/output of USB audio and MIDI messages cannot be used at the same time that the SMF/Audio File Player (p. 167) is playing. 140 SonicCell_e.book 141 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the SonicCell with your computer (USB AUDIO) Accessing the Menu screen From the USB Audio screen, press [MENU] to access the Menu screen. Press [MENU] once again to return to the USB Audio screen. Parameter Explanation Write (System Write) Saves the current settings as system settings (p. 150). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 141 SonicCell_e.book 142 ページ ２００７年７月２日 月曜日 午後３時５０分 Inputting sound from an external device (INPUT) Basic operation 1. Press [INPUT] so its indicator is lit. The Input screen will appear. fig.disp-Input-top02 fig.disp-Input-top01 4. Turn [CURSOR/VALUE] to edit the value. 2. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 5. When you’ve finished editing the value, press [CURSOR/ VALUE]. 3. Press [CURSOR/VALUE] to highlight the value. To save the setting, press [MENU] to access the menu screen, and choose “Write” (System Write) to execute the Write operation (System Write: p. 150). Parameter Value Explanation Turns phantom power on/off. Turn this “ON” if you’ve connected a phantom-powered condenser mic to the MIC INPUT jack. Phantom Power OFF, ON • You must turn phantom power “OFF” unless a condenser mic that requires phantom power is connected. Supplying phantom power to a dynamic mic will cause malfunctions. For details on mic specifications, refer to the owner’s manual for the mic you’re using. • Before you switch phantom power on/off, you must turn the front panel [VOLUME] knob to “0.” If you turn phantom power on/off with the volume raised, high-volume noise will be produced, possibly damaging your amp or speakers. • When you turn the power on, the phantom power will always be OFF. Specifies where the input signal is to be sent. To COM+ Output: Sent to computer and OUTPUT. OUTPUT Input Effect INPUT Assign Computer To COM+Output, To COM, To Input FX To COM: Output to the computer. OUTPUT Input Effect INPUT 142 Computer SonicCell_e.book 143 ページ ２００７年７月２日 月曜日 午後３時５０分 Inputting sound from an external device (INPUT) Parameter Value Explanation To Input FX: Sent to the input effect. OUTPUT Assign Input Effect To COM+Output, To COM, To Input FX INPUT Computer Use the “In/Out Routing” (p. 144) to specify how the signal that has passed through the input effect will be output. Accessing the Menu screen From the Input screen, press [MENU] to access the Menu screen. Press [MENU] once again to return to the Input screen. Parameter Explanation Write (System Write) Saves the current settings as system settings (p. 150). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 143 SonicCell_e.book 144 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) You can specify how the input signal from an external source or USB will be processed by the effects and then output when the [INPUT] or [USB AUDIO] indicator is lit. These settings are called “In/Out Routing.” Here are some examples of what you can do. You can use your computer to apply an effect to the audio received via INPUT You can use an effect on your computer to process the sound of your guitar, and listen to the resulting sound from monitors (speakers) connected to OUTPUT. (Example) Computer INPUT OUTPUT USB INPUT Assign: To COM USB Audio Assign: To Output Settings INPUT: Assign (p. 142) = To COM USB Audio: Assign (p. 140) = To Output Use an “input effect” that’s dedicated to INPUT/USB The sound that's received at INPUT or USB can be sent directly out without change, or processed by a dedicated “input effect.” (Example) OUTPUT INPUT OUTPUT INPUT Computer Input Effect Settings INPUT: Assign (p. 142) = To COM+ Output 144 Assign (p. 142) = To Input FX Input Effect (p. 147) Computer SonicCell_e.book 145 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) Listen to the effect-processed sound from your speakers, while recording the unprocessed sound on your computer You can use the chorus/reverb that’s assigned to a performance/patch. In other words, the effect will depend on the performance/ patch that's selected. You can also use the mastering effect. In addition, you can choose how the signal that passes through the input effect will be output. For example, you could listen to the vocal with reverb, while recording the vocal “dry” (without reverb) for later processing. (Example) Tone Generator (TG) OUTPUT MFX1 Settings Tone Generator: Performance mode MFX2 Reverb INPUT: Assign (p. 142) = To Input FX To Computer: Type (p. 148) = Input FX MFX3 INPUT Computer Input Effect Input Effect (p. 147) MFX1–3 (p. 78) Reverb (p. 79) Applying an effect such as distortion to the sound of a guitar connected to INPUT When using the sound module in Performance mode, the MFX3 (multi-effect 3) of the performance can be used as an effect for the INPUT/USB input. Since the multi-effects provided include guitar-type effects, such as distortion, overdrive, and guitar amp simulator, this is convenient when you want to apply an effect to the guitar that's connected to INPUT. You can also record the distorted guitar sound on your computer, or apply reverb as well. (Example) Tone Generator (TG) OUTPUT MFX1 Settings Tone Generator: Performance mode MFX2 Reverb INPUT: Assign (p. 142) = To Input FX To Computer: Type (p. 148) = Input FX MFX3 MFX3 Location: Type (p. 149) = TG INPUT Computer Input Effect Input Effect (p. 147) MFX1–3 (p. 78) Reverb (p. 79) Tone Generator (TG) OUTPUT MFX1 MFX2 Settings Tone Generator: Performance mode INPUT: Assign (p. 142) = To Input FX Reverb To Computer: Type (p. 148) = Input FX MFX3 Location: Type (p. 149) = Input FX INPUT Input Effect Computer MFX3 Input Effect (p. 147) MFX1–3 (p. 78) Reverb (p. 79) 145 SonicCell_e.book 146 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) ■ Procedure .................................................................................................................... 1. Press [INPUT] or [USB AUDIO] so its indicator is lit. The Input screen or USB Audio screen will appear. 3. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. 2. Press [EFFECTS] so its indicator is lit. The In/Out Routing screen will appear. (Performance mode) 4. Turn [CURSOR/VALUE] to move the cursor to the parameter you want to edit. (Patch mode) 5. Press [CURSOR/VALUE] to highlight the value. 6. Turn [CURSOR/VALUE] to edit the value. 7. When you’ve finished editing, press [CURSOR/VALUE]. Press [EXIT] or [EFFECTS] to access the In/Out Routing screen. ■ Menu screens when editing In/Out Routing ................................................................... If you’re in a screen that’s related to the In/Out routing, pressing [MENU] will bring up the Effect Switch screen. The Effect Switch screen is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the previous screen. Parameter Value Explanation Input Effect (Input Effect Switch) OFF, ON Specifies whether input effects will be used (ON) or not used (OFF). Write (System Write) Saves the current settings as system settings (p. 150). System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 146 SonicCell_e.book 147 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) Selecting the item to edit (In/Out Routing screen) Parameter Explanation IN FX (Input Effect) Edits the input effect settings. Press [CURSOR/VALUE] to access the Input Effect screen. (Input Effect output) Edits the output settings for the input effect. By moving the cursor to and pressing [CURSOR/VALUE] you can move to the Input FX Output screen (p. 148). F3 (MFX3) Edits the MFX3 settings. Press [CURSOR/VALUE] to access the MFX 3 screen (p. 78). * This is not shown in Patch mode. * This is not shown if the MFX 3 Location “Type” (p. 149) is set to TG. TO COM (To Computer) Selects the signal that is sent to the computer. Press [CURSOR/VALUE] to access the To Computer screen (p. 148). MFX3 LOC (MFX3 Location) Specifies how MFX3 will be used. Press [CURSOR/VALUE] to access the MFX 3 Location screen (p. 149). * This is not shown in Patch mode. Input effect settings (Input Effect/Input FX Output screen) ■ Input Effect screen......................................................................................................... Parameter Value Explanation Selects the input effect type. 1: EQUALIZER Adjusts the tone of the low-frequency and high-frequency ranges. 2: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound. 3: COMPRESSOR Input effect type Restrains high levels and boosts low levels to make the overall volume more consistent. 4: LIMITER Compresses the sound when it exceeds a specified volume, to keep distortion from occurring. 5: NOISE SUPPRESSOR Suppresses noise during periods of silence. 6: CENTER CANCELER Removes the sounds that are localized at the center of the stereo input. This is a convenient way to eliminate a vocal. Parameters for each input effect type Here you can edit the parameters of the selected input effect type. Refer to “Input Effect Parameters” (p. 221). 147 SonicCell_e.book 148 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) ■ Input FX Output screen ................................................................................................. Parameter Value Explanation Output Level 0–127 Set the level of the signal that is sent to the OUTPUT. Chorus Send Level 0–127 Adjusts the amount of chorus for the sound. If you don’t want to add the Chorus effect, set it to “0.” Reverb Send Level 0–127 Adjusts the amount of reverb for the sound. If you don’t want to add the Reverb effect, set it to “0.” Selecting the signal sent to your computer (To Computer screen) Parameter Value Explanation Selects the signal sent to your computer. MIX: Tone Generator (TG) USB Audio INPUT Type MIX, Input FX Input FX: Tone Generator (TG) USB Audio INPUT The signals of the internal tone generator and external input (USB audio, INPUT) will be sent. MFX1 Chorus MFX2 Reverb MFX3 Mastering *1 Input Effect Computer The external input signal (USB audio, INPUT) unprocessed by the chorus/reverb/mastering effects will be sent. MFX1 Chorus MFX2 Reverb MFX3 Mastering *1 Input Effect *1 If you’re in Patch mode, this will be only MFX. 148 OUTPUT OUTPUT Computer SonicCell_e.book 149 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) Specifies how MFX3 will be used (MFX3 Location screen) This screen won’t appear in Patch mode. Parameter Value Explanation Specifies how MFX3 will be used. TG: Tone Generator (TG) USB Audio INPUT Input FX: Type TG, Input FX Tone Generator (TG) USB Audio INPUT MFX3 will be used as the effect applied to the SonicCell’s tone generator (TG). MFX1 MFX2 MFX3 Input Effect MFX3 will be connected following the input effect. You'll be able to use MFX3 on the audio input via INPUT and USB. MFX1 MFX2 Input Effect MFX3 If this is set to Input FX, you won’t be able to use MFX3 on the performance. Editing the MFX3 settings If you’ve selected the Input FX setting, the In/Out Routing screen will show “F3.” By choosing “F3” you can move to the MFX3 screen and edit the MFX3 settings. However, this will edit the MFX3 settings of the currently selected performance. Saving the MFX3 settings If you’ve edited the MFX3 effect type or parameter values, those settings will be saved as settings of the currently selected performance. To save the settings, from the MFX3 screen, press [MENU] to access the menu screen, and then choose “Write” (Performance Write). (Performance Write: p. 73) * In/Out routing settings are saved as system settings. (System Write: p. 150) 149 SonicCell_e.book 150 ページ ２００７年７月２日 月曜日 午後３時５０分 Input/output and effect settings (In/Out Routing) System Write This saves the current system settings. In the menu screen (p. 141, p. 143, p. 146), choose “Write” (System Write) and you'll see a confirmation message. 1. If you want to write the settings, select “OK” and press [CURSOR/VALUE]. If you decide not to write the settings, select “CANCEL” and press [CURSOR/VALUE]. Once the settings have been written, you’ll be returned to the previous screen. 150 SonicCell_e.book 151 ページ ２００７年７月２日 月曜日 午後３時５０分 Using the plug-in version of SonicCell Editor This chapter explains how to use the plug-in version of SonicCell Editor as a plug-in module in your VSTi or AU compatible host application. The plug-in version of SonicCell Editor is a plug-in module that lets you edit the SonicCell’s parameters from within your host application. The results of your editing can be saved in a project file of your host application. • In Performance mode, part ‘n’ of the SonicCell will normally be MIDI channel ‘n’. • In Patch mode, the SonicCell’s MIDI channel will normally be 1. • If you’ve changed the MIDI channel setting, please substitute the actual channel for any MIDI channel appearing in this explanation. • Functionality may be limited depending on the host application you’re using. For details, refer to the owner’s manual of your host application. • You can’t use the stand-alone version and plug-in version of SonicCell Editor at the same time. • The SonicCell Editor plug-in version cannot be plugged into multiple tracks of the same project at the same time. • The SonicCell Editor plug-in version cannot be plugged into multiple projects at the same time. Connection example Computer To USB connector of your computer MIDI Keyboad To Monitor Amplifier etc. USB Cable MIDI OUT USB COMPUTER MIDI IN OUT PUT 151 SonicCell_e.book 152 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR LE Installing the driver and SonicCell Editor Before you continue, install the driver, SonicCell Editor, Librarian, and Playlist Editor as described on p. 33–p. 36. • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. Installing SONAR LE Here’s how to install the included SONAR LE into your computer. In order to perform the following procedure, you’ll need to log onto Windows as a user whose account type is Administrator. 1. Place the SONAR LE installation CD-ROM into your CDROM drive. The installer will start up automatically. Proceed with the installation as directed by the on-screen instructions. * If the installer doesn’t start up automatically, please start it up using the following procedure. 1. From the Windows Start menu, choose “My Computer.” When you start up SONAR LE on Windows Vista, a message of “An unidentified program wants access to your computer” will appear. Click [Allow] to start up SONAR LE. Updating the VST Adapter In order to register the software in SONAR LE, you’ll need to update VST Adapter. In order to perform the following procedure, you’ll need to log onto Windows as a user whose account type is Administrator. 1. Close all currently running software. 2. In the SonicCell Editor CD, navigate to the “Sonar Utility\VST Adapter updater” folder and double-click “VSTAdapter453Update_E.exe” to start up the installer. Windows Vista users: The message “An unidentified program wants access to your computer” will appear; click [Allow]. 3. Proceed with the installation as directed by the on-screen instructions. 4. When the update is complete, the “Wrap VST Plugins” will run automatically. In this case, click [Cancel] to exit the wizard. 2. The drives detected by your computer will be displayed; double-click the CD-ROM drive. Windows Vista users: The message “An unidentified program wants access to your computer” will appear. Click [Allow]. * When the “Installation Complete” dialog box appears, clear the “Launch SONAR LE” check box, and click [Finish]. If you failed to clear the check box and the program started up, close SONAR LE. Windows Vista users: If you’re using SONAR LE on Windows Vista, you’ll need to make user account control settings after installing SONAR LE. 1. After installing SONAR LE, right-click the “SONAR LE” icon that was created on your desktop, and choose “Properties” from the menu that appears. 2. Click the “Compatibility” tab to open the Compatibility page. 3. In the “Privilege level” area, select “Run this program as an administrator.” 4. Click “OK” to close Properties. 152 Initial MIDI and audio device settings for SONAR LE 1. Double-click the SONAR LE icon on your desktop to start up SONAR LE. The “Wave Profiler (WDM Kemel Streaming)” dialog box will appear. 2. Click [Yes] to execute audio device detection. When the process has been completed, click [Close]. * If the “Wave Profiler(WDM Kemel Streaming)” dialog box does not open automatically, select the SONAR LE “Options” menu command “Audio” to open the “Audio Options” dialog box, and in the “General” tab, click [Wave Profiler (WDM Kemel Streaming)]. 3. The “Online Registration” dialog box will open. Select “Please remind me to register later.,” and click [OK]. For details on activation, refer to online Help for SONAR LE. 4. The “Tip of the Day” will appear; click [Close] to close the dialog box. SonicCell_e.book 153 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR LE 5. A message telling you that “No MIDI Outputs Selected”; click [Choose MIDI Outputs Now] to open the “MIDI Devices” dialog box. * If the message “No MIDI Outputs Selected” does not appear, select SONAR LE’s Option menu command “MIDI Devices” to open the “MIDI Devices” dialog box. 6. In the MIDI Devices dialog box, click to make only the following items highlighted. Registering the plug-in in SONAR LE For details about registering a plug-in in SONAR LE, refer to the online help for Cakewalk VST Adapter. 1. Open the “Cakewalk VST Configuration Wizard: Search Paths” dialog box. Input Output Windows XP users Roland SonicCell Roland SonicCell From the Start menu, choose “All Programs” - “Cakewalk” - “Cakewalk VST Adapter 4” - “Cakewalk VST Adapter 4,” and click [Next]. 7. Once you’ve made the above selections, click [OK] to close the dialog box. 8. The “Quick Start” dialog box will open; click “Close.” SONAR LE has now started up. Next, you need to make the audio device settings. 9. From the “Options” menu, select the “Audio” command to open the “Audio Options” dialog box. 10. Open the “Drivers” tab. For both “Input Drivers” and “Output Drivers,” click the device names so that only “Roland SonicCell” is highlighted for each. 11. Once you’ve made the device settings, click [OK] to close the dialog box. * If a message suggests that you restart SONAR LE, restart SONAR LE. 12. Once again, select the “Options” menu command “Audio” to open the “Audio Options” dialog box. Windows Vista users From the Start menu, choose “All Programs” - “Cakewalk” - “Cakewalk VST Adapter 4,” and then inside it right-click “Cakewalk VST Adapter 4.” From the menu that appears, choose [Run as administrator]. A message stating that “An unidentified program wants access to your computer” will appear; click [Allow] and click [Next]. 2. Click [Add], add “(the folder to which you copied the plugin)\Roland,” and then click [Next]. Normally, this will be C:\Program Files\Roland. If a message indicates “MIDI devices aren't set up correctly,” click [OK]. 3. When the “Cakewalk VST Configuration Wizard: Plugin Configuration” dialog box opens, click [Next]. fig.VST01.eps 13. In the “General” tab, set “Audio Driver Bit Depth” to “24.” This completes the device settings. 14. In the “Audio Options” dialog box, click [OK] to close the dialog box. * If a message suggests that you restart SONAR LE, restart SONAR LE. 4. When the “Cakewalk VST Configuration Wizard: Finished” dialog box appears, click [Finish]. fig.VST02.eps 153 SonicCell_e.book 154 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR LE Connections and settings Starting up SonicCell Editor 1. Use a USB cable to connect the SonicCell to your computer. 1. Start up SONAR LE. 2. If necessary, use a MIDI cable to connect your MIDI keyboard to the SonicCell. 2. From the menu, choose “File” - “Close” to close the project that was loaded at start-up. 3. Turn on the power of the SonicCell. If the SonicCell is not connected correctly, SonicCell Editor may not operate correctly. Make sure that you switch on the SonicCell’s power before you start up SONAR LE. 3. From the menu, choose “File” - “New” to open the “New Project File” dialog box. 4. Choose “Blank (no tracks or buses)” as the template, and click [OK]. * Don’t disconnect the USB cable connected to the SonicCell while SONAR LE is running. 5. From the menu, choose “Insert” - “Audio Track” to add an audio track. Settings for the SonicCell 6. Right-click the FX field located at the right of the Track Pane of the audio track. If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) setting on the SonicCell module to ON. If this is ON, MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. Settings for SONAR LE Here we will use the SonicCell as a USB-MIDI interface for SONAR LE. Turn on the MIDI Thru setting. If this is on, the MIDI messages received by SONAR LE will be sent back to the SonicCell’s sound generator. For details on SONAR LE settings, refer to th online help for SONAR LE. 7. From the menu that appears, choose “DXi Synth” - “VST SonicCell Editor VST.” The plug-in version of SonicCell Editor will start up. 8. If a message indicates “MIDI devices aren’t set up correctly,” click [OK]. 9. In SonicCell Editor, select the menu button “Setup” - “Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 10. In SonicCell Input/Output, choose “Roland SonicCell” and click [OK]. 11. In SonicCell Editor, click [READ]. This will load the settings from the SonicCell into the editor. 1. Start up SONAR LE. 2. Specify the SonicCell as the USB-MIDI interface for SONAR LE. For details on how to make this setting, refer to the online help for SONAR LE. 3. From the menu, choose “Options” - “Global” to open the “Global Options” dialog box. Steps 8–11 are needed only when starting the editor for the first time. The second and subsequent times, the SonicCell settings will be loaded into the editor from the port you specified. Adding a MIDI track 4. Select the “General” tab. 1. From the menu, choose “Insert” - “MIDI Track” to add a MIDI track. 5. Select the “Always Echo Current MIDI Track” check box, and click [OK]. 2. Specify the channel of the MIDI track. If using Performance mode: As the MIDI track’s input, choose “Roland SonicCell” “MIDI Ch. n (the number of the part you will record).” As the MIDI track’s output, choose “Roland SonicCell.” As the MIDI track’s MIDI Ch, choose ‘n’ (the number of the part you will record). If using Patch mode: As the MIDI track’s input, choose “Roland SonicCell” “MIDI Ch.1.” As the MIDI track’s output, choose “Roland SonicCell.” As the MIDI track’s MIDI Ch, choose “1.” 3. Click the record-enable button in the track view. 154 SonicCell_e.book 155 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR LE Selecting a patch Recording MIDI data If using Performance mode: 1. In the upper part of SonicCell Editor’s main window, click “PART” [n (number of the part to record)]. 2. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 3. Choose the desired patch from the menu that appears. Here’s how to record your playing. If you connect a MIDI keyboard to the SonicCell, you’ll be able to record musical data from the keyboard. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. If using Patch mode: 1. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 2. Choose the desired patch from the menu that appears. 1. Click the record button in the Transport Toolbar, and play your MIDI keyboard. 2. Click the stop button in the Transport Toolbar to stop recording. Saving the project file Editing patch parameters You can edit the patch parameters as desired. The following illustration shows the relationship between the SonicCell module, your MIDI keyboard, SonicCell Editor, and SONAR LE. The SONAR LE project file also includes SonicCell Editor’s performance data and patch data. This means that if you save your project file, you normally won’t need to save data in SonicCell Editor. fig.Routing-SONARLE.eps From the menu, choose “File” - “Save.” Keyboard MIDI OUT MIDI IN USB OUT USB IN Sound Generator SonicCell SONAR LE Track 1 In: SonicCell Thru Out: SonicCell USB-MIDI Thru=ON Editor SonicCell Output SonicCell Input Controllers You can edit the values by clicking (and dragging) the buttons, sliders, and knobs. For details on editing the parameters, refer to “SonicCell Editor Manual.” Select the menu button “Help” - “SonicCell Editor Manual” SONAR LE’s “Track 2” (the MIDI track you added) corresponds to “Track 1” in the illustration. If playing the keyboard does not produce sound, make sure that you’ve selected the MIDI track you added. MIDI Thru is enabled for the selected MIDI track. 155 SonicCell_e.book 156 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR LE Opening a project file SONAR LE project files include SonicCell Editor’s performance data and patch data. This means that when you open a project file, you normally won’t need to open data in SonicCell Editor. If using Performance mode: 1. Close SONAR LE. 2. On the SonicCell module, select a different performance than the one you’re currently using. This is so you can verify that the performance data is reproduced when you open a project. 3. Double-click the project file you saved earlier; SONAR LE will start up. SonicCell Editor will start up along with the project. The performance data saved in the project file will be reproduced on the SonicCell module. If using Patch mode: 1. Close SONAR LE. 2. On the SonicCell module, select a different patch than the one you’re currently using. This is so you can verify that the patch data is reproduced when you open a project. 3. Double-click the project file you saved earlier; SONAR LE will start up. SonicCell Editor will open along with the project. The patch data saved in the project file will be reproduced on the SonicCell module. If you’re using Windows Vista and you double-click a project file to start up SONAR LE, the following error message will appear. “Windows cannot find ‘(project file path)’. Make sure you typed the name correctly, and then try again.” Simply close the error message that was displayed, and continue using SONAR LE. Recording multiple parts If you’re using Performance mode, you can edit and save the parameters for multiple SonicCell parts. 1. Repeat the following steps for the desired number of parts. “Adding a MIDI track” (p. 154) “Selecting a patch” (p. 155) “Editing patch parameters” (p. 155) “Recording MIDI data” (p. 155) 2. Finally, execute “Save the project file” to save the multiple SonicCell parts along with the musical data. 156 SonicCell_e.book 157 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR 6.2 Installing the driver and SonicCell Editor Before you continue, install the driver, SonicCell Editor, Librarian, and Playlist Editor as described on p. 33–p. 36. • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. Registering the plug-in in SONAR 6.2 For details about registering a plug-in in SONAR 6.2, refer to the SONAR 6.2 owner’s manual. 1. Start up SONAR 6.2. 2. From the menu, choose “Tools” - “Cakewalk Plug-in Manager” to open the “Cakewalk Plug-in Manager” dialog box. 3. In the “VST Configuration” group box, click [Options] to open the “Cakewalk VST Scan Paths” dialog box. 4. Click [Add], and add “(the folder to which you copied the plug-in)\Roland.” Normally, this will be C:\Program Files\Roland. 5. Click [OK] to close the [Cakewalk VST Scan Paths] dialog box. 6. In the “VST Settings” group box, click [Scan VST Plug-ins] to register the plug-in version of SonicCell Editor. Then click [Close]. Connections and settings 1. Use a USB cable to connect the SonicCell to your computer. 2. If necessary, use a MIDI cable to connect your MIDI keyboard to the SonicCell. 3. Turn on the power of the SonicCell. If the SonicCell is not connected correctly, SonicCell Editor may not operate correctly. Make sure that you switch on the SonicCell’s power before you start up SONAR 6.2. * Don’t disconnect the USB cable connected to the SonicCell while SONAR 6.2 is running. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) setting on the SonicCell module to ON. If this is ON, MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. Settings for SONAR 6.2 Here we will use the SonicCell as a USB-MIDI interface for SONAR 6.2. Turn on the MIDI Thru setting. If this is on, the MIDI messages received by SONAR 6.2 will be sent back to the SonicCell’s sound generator. 1. Start up SONAR 6.2. 2. Specify the SonicCell as the USB-MIDI interface for SONAR 6.2. For details on how to make this setting, refer to the SONAR 6.2 owner’s manual. 3. From the menu, choose “Options” - “Global” to open the “Global Options” dialog box. 4. Select the “General” tab. 5. Select the “Always Echo Current MIDI Track” check box, and click [OK]. Starting up SonicCell Editor 1. Start up SONAR 6.2. 2. From the menu, choose “File” - “New” to open the “New Project File” dialog box. 3. Choose “Blank (no tracks or buses)” as the template, assign a name, and click [OK]. 4. From the menu, choose “Insert” - “Audio Track” to add an audio track. 5. Right-click the FX field located at the right of the Track Pane of the audio track. 6. From the menu that appears, choose “Soft Synths” “roland” - “SonicCell Editor VST.” 7. If a message indicates “MIDI devices aren’t set up correctly.,” click [OK]. 8. In SonicCell Editor, select the menu button “Setup” - “Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 9. In SonicCell Input/Output, choose “Roland SonicCell” and click [OK]. 10. In SonicCell Editor, click [READ]. This will load the settings from the SonicCell into the editor. Steps 7–10 are needed only when starting the editor for the first time. The second and subsequent times, the SonicCell settings will be loaded into the editor from the port you specified. 157 SonicCell_e.book 158 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR 6.2 Adding a MIDI track 1. From the menu, choose “Insert” - “MIDI Track” to add a MIDI track. 2. Specify the channel of the MIDI track. Editing patch parameters You can edit the patch parameters as desired. The following illustration shows the relationship between the SonicCell module, your MIDI keyboard, SonicCell Editor, and SONAR 6.2. fig.Routing-SONAR62.eps If using Performance mode: As the MIDI track’s input, choose “Roland SonicCell” “MIDI Ch. n (the number of the part you will record).” As the MIDI track’s output, choose “Roland SonicCell.” Keyboard MIDI OUT MIDI IN If using Patch mode: As the MIDI track’s input, you will normally choose “Roland SonicCell” - “MIDI Ch.1.” As the MIDI track’s output, choose “Roland SonicCell.” 3. Click the record-enable button in the track view. Selecting a patch If using Performance mode: 3. Choose the desired patch from the menu that appears. If using Patch mode: 1. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 2. Choose the desired patch from the menu that appears. USB IN Sound Generator SonicCell SONAR 6.2 USB-MIDI Thru=ON Track 1 In: SonicCell Thru Out: SonicCell Editor SonicCell Output SonicCell Input Controllers 1. In the upper part of SonicCell Editor’s main window, click “PART” [n (number of the part to record)]. 2. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. USB OUT You can edit the values by clicking (and dragging) the buttons, sliders, and knobs. For details on editing the parameters, refer to “SonicCell Editor Manual.” Select the menu button “Help” - “SonicCell Editor Manual” “Track 2” (the MIDI track you added) in SONAR 6.2 corresponds to “Track 1” in the illustration. If playing the keyboard does not produce sound, make sure that you’ve selected the MIDI track you added. MIDI Thru is enabled for the selected MIDI track. Recording MIDI data Here’s how to record your playing. If you connect a MIDI keyboard to the SonicCell, you’ll be able to record musical data from the keyboard. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. 1. Click the record button in the Transport Toolbar, and play your MIDI keyboard. 2. Click the stop button in the Transport Toolbar to stop recording. 158 SonicCell_e.book 159 ページ ２００７年７月２日 月曜日 午後３時５０分 SONAR 6.2 Saving the project file The SONAR 6.2 project file also includes SonicCell Editor’s performance data and patch data. This means that if you save your project file, you normally won’t need to save data in SonicCell Editor. From the menu, choose “File” - “Save.” Opening a project file SONAR 6.2 project files include SonicCell Editor’s performance data and patch data. This means that when you open a project file, you normally won’t need to open data in SonicCell Editor. Recording multiple parts If you’re using Performance mode, you can edit and save the parameters for multiple SonicCell parts. 1. Repeat the following steps for the desired number of parts. “Adding a MIDI track” (p. 158) “Selecting a patch” (p. 158) “Editing patch parameters” (p. 158) “Recording MIDI data” (p. 158) 2. Finally, execute “Save the project file” to save the multiple SonicCell parts along with the musical data. If using Performance mode: 1. Close SONAR 6.2. 2. On the SonicCell module, select a different performance than the one you’re currently using. This is so you can verify that the performance data is reproduced when you open a project. 3. Double-click the project file you saved earlier; SONAR 6.2 will start up. SonicCell Editor will open together with the project. The performance data saved in the project file will be reproduced on the SonicCell module. If using Patch mode: 1. Close SONAR 6.2. 2. On the SonicCell module, select a different patch than the one you’re currently using. This is so you can verify that the patch data is reproduced when you open a project. 3. Double-click the project file you saved earlier; SONAR 6.2 will start up. SonicCell Editor will open together with the project. The patch data saved in the project file will be reproduced on the SonicCell module. If you’re using Windows Vista and you double-click a project file to start up SONAR 6.2, the following error message will appear. “Windows cannot find ‘(project file path)’. Make sure you typed the name correctly, and then try again.” Simply close the error message that was displayed, and continue using SONAR 6.2. 159 SonicCell_e.book 160 ページ ２００７年７月２日 月曜日 午後３時５０分 Cubase 4 Installing the driver and SonicCell Editor Before you continue, install the driver, SonicCell Editor, Librarian, and Playlist Editor as described on p. 33–p. 39. Windows: • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in C:\Program Files\Roland\SonicCellEditor. • The plug-in version of the editor (subsequently referred to as “the plug-in”) will be copied to C:\Program Files\Roland. Mac: • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in \Applications\Roland\SonicCell Editor. • The VSTi version of the plug-in module will be copied to \Library\Audio\Plug-Ins\VST\Roland. Registering the plug-in in Cubase 4 For details about registering a plug-in in Cubase 4, refer to the owner’s manual of Cubase 4. Windows: 1. Start up Cubase 4. 2. From the menu, choose “Devices” - “Plug-in Information” to open the “Plug-in Information” window. 3. Select the “VST PlugIns” tab. 4. Click “VST 2.x Plug-in Paths” to open the [VST 2.x Plug-in Paths] dialog box. 5. Click [Add], add “(folder to which you copied the plugin)\Roland”), and click [OK]. Normally, this will be C:\Program Files\Roland. 6. Click [Update]. If SonicCell Editor VST does not appear in the list, try restarting Cubase 4. Mac: Normally, the plug-in will be registered automatically when you start up Cubase 4. 160 Connections and settings 1. Use a USB cable to connect the SonicCell to your computer. 2. If necessary, use a MIDI cable to connect your MIDI keyboard to the SonicCell. 3. Turn on the power of the SonicCell. If the SonicCell is not connected correctly, SonicCell Editor may not operate correctly. Make sure that you switch on the SonicCell’s power before you start up Cubase 4. * Don’t disconnect the USB cable connected to the SonicCell while Cubase 4 is running. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) setting on the SonicCell module to ON. If this is ON, MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. Settings for Cubase 4 Here we will use the SonicCell as a USB-MIDI interface for Cubase 4. Turn on the MIDI Thru setting. If this is on, the MIDI messages received by Cubase 4 will be sent back to the SonicCell’s sound generator. 1. Start up Cubase 4. 2. Specify the SonicCell as the USB-MIDI interface for Cubase 4. For details on how to make this setting, refer to the Cubase 4 owner’s manual. 3. Open the “Preferences” dialog box. Windows: From the menu, choose “File” - “Preferences.” Mac: From the menu, choose “Cubase” - “Preferences.” 4. In the list at left, choose “MIDI” to see the MIDI preferences. 5. Select the “MIDI Thru Active” check box, and click [OK]. SonicCell_e.book 161 ページ ２００７年７月２日 月曜日 午後３時５０分 Cubase 4 Starting up SonicCell Editor Selecting a patch 1. Start up Cubase 4. If using Performance mode: 2. From the menu, choose “File” - “New Project” to open the “New Project” dialog box. 1. In the upper part of SonicCell Editor’s main window, click “PART” [n (number of the part to record)]. 3. Select “Empty” as the template, and click [OK]. The “Set Project Folder” dialog box will open. 2. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 4. Specify the desired project folder and click [OK]. 3. Choose the desired patch from the menu that appears. 5. From the menu, choose “Devices” - “VST Instruments” to open the “VST Instruments” window. If using Patch mode: 6. Click the first slot and select “SonicCell Editor VST.” 7. If a message indicates “MIDI devices aren’t set up correctly.,” click [OK]. 8. If a message asks “Do you want to create a MIDI track assigned to plugin “SonicCell Editor VST”?”, click [Cancel]. 9. In SonicCell Editor, select the menu button “Setup” - “Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 10. In SonicCell Input/Output, choose “Roland SonicCell” and click [OK]. 1. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 2. Choose the desired patch from the menu that appears. Editing patch parameters You can edit the patch parameters as desired. The following illustration shows the relationship between the SonicCell module, your MIDI keyboard, SonicCell Editor, and Cubase 4. fig.Routing-Cubase.eps Keyboard 11. In SonicCell Editor, click [READ]. This will load the settings from the SonicCell into the editor. MIDI OUT MIDI IN * Steps 7 and 9–11 are needed only when starting the editor for the first time. The second and subsequent times, the SonicCell settings will be loaded into the editor from the port you specified. Adding a MIDI track 1. From the menu, choose “Project” - “Add Track” - “MIDI” to add a MIDI track. 2. Select “Roland SonicCell” as the input/output of the MIDI track. 3. Specify the channel of the MIDI track. If using Performance mode: As the channel of the MIDI track, specify the number of the part you want to record. If using Patch mode: Specify channel 1 for the MIDI track. USB OUT USB IN Sound Generator SonicCell Cubase 4 Track 1 In: SonicCell Thru Out: SonicCell USB-MIDI Thru=ON Editor SonicCell Output SonicCell Input Controllers You can edit the values by clicking (and dragging) the buttons, sliders, and knobs. For details on editing the parameters, refer to “SonicCell Editor Manual.” Select the menu button “Help” - “SonicCell Editor Manual.” If playing the keyboard does not produce sound, make sure that you’ve selected the MIDI track you added. MIDI Thru is enabled for the selected MIDI track. 161 SonicCell_e.book 162 ページ ２００７年７月２日 月曜日 午後３時５０分 Cubase 4 Recording MIDI data Here’s how to record your playing. If you connect a MIDI keyboard to the SonicCell, you’ll be able to record musical data from the keyboard. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. 1. Click the record button in the Transport Panel, and play your MIDI keyboard. 2. Click the stop button in the Transport Panel to stop recording. Saving the project file The Cubase 4 project file also includes SonicCell Editor’s performance data and patch data. This means that if you save your project file, you normally won’t need to save data in SonicCell Editor. 1. From the menu, choose “File” - “Save” to open the “Save As” dialog box. 2. Assign the desired name, and click [Save]. Opening a project file Cubase 4 project files include SonicCell Editor’s performance data and patch data. This means that when you open a project file, you normally won’t need to open data in SonicCell Editor. If using Performance mode: 1. Close Cubase 4. 2. On the SonicCell module, select a different performance than the one you’re currently using. This is so you can verify that the performance data is reproduced when you open a project. 3. Double-click the project file you saved earlier; Cubase 4 will start up. SonicCell Editor will open together with the project. The patch data saved in the project file will be reproduced on the SonicCell module. If using Patch mode: 1. Close Cubase 4. 2. On the SonicCell module, select a different patch than the one you’re currently using. This is so you can verify that the patch data is reproduced when you open a project. 3. Double-click the project file you saved earlier; Cubase 4 will start up. SonicCell Editor will open together with the project. The performance data saved in the project file will be reproduced on the SonicCell module. Recording multiple parts If you’re using Performance mode, you can edit and save the parameters for multiple SonicCell parts. 1. Repeat the following steps for the desired number of parts. “Adding a MIDI track” (p. 161) “Selecting a patch” (p. 161) “Editing patch parameters” (p. 161) “Recording MIDI data” (p. 162) 2. Finally, execute “Save the project file” to save the multiple SonicCell parts along with the musical data. 162 SonicCell_e.book 163 ページ ２００７年７月２日 月曜日 午後３時５０分 Logic Pro 7.2 Installing the driver and SonicCell Editor Before you continue, install the driver, SonicCell Editor, Librarian, and Playlist Editor as described on p. 37–p. 39. • The stand-alone version of the editor, the librarian, and the playlist editor will be installed in \Applications\Roland\SonicCell Editor. • The AU version of the plug-in module will be copied to \Library\Audio\Plug-Ins\Components. Registering the plug-in in Logic Pro 7.2 For details about registering a plug-in in Logic Pro 7.2, refer to the owner’s manual of Logic Pro 7.2. Normally, the plug-in will be registered automatically when you start up Logic Pro 7.2. Connections and settings 1. Use a USB cable to connect the SonicCell to your computer. 2. If necessary, use a MIDI cable to connect your MIDI keyboard to the SonicCell. 3. Turn on the power of the SonicCell. If the SonicCell is not connected correctly, SonicCell Editor may not operate correctly. Make sure that you switch on the SonicCell’s power before you start up Logic Pro 7.2. * Don’t disconnect the USB cable connected to the SonicCell while Logic Pro 7.2 is running. Settings for the SonicCell If you’ve connected a MIDI keyboard or other MIDI device to the SonicCell’s MIDI IN, set the USB-MIDI Thru (p. 177) setting on the SonicCell module to ON. If this is ON, MIDI messages arriving at MIDI IN will be sent without change to your computer via USB MIDI. Starting up SonicCell Editor 1. Start up Logic Pro 7.2. 2. From the menu, choose “File” - “Close” to close the song that was loaded at start-up. 3. From the menu, choose “File” - “New” to open the “New” dialog box, and turn the “Use song template” check box [ON]. 4. As the template, choose “Power Book 15” - “Basic Production” and click [OK]. 5. Click (select) track “Inst 1.” An “audio instrument” object is assigned to track “Inst 1.” 6. From the Arrange window’s sub-menu, choose “Track” “Delete Unused.” Only the track “Inst 1” will remain. 7. In the channel strip at the lower left of the Arrange window, click the [I/O] button. 8. From the menu that appears, choose “Stereo” - “AU Instruments” - “Roland” - “SonicCell Editor AU.” 9. If a message indicates “MIDI devices aren’t set up correctly.,” click [OK]. 10. In SonicCell Editor, select the menu button “Setup” - “Set Up MIDI Devices” to open the “Set Up MIDI Devices” dialog box. 11. In SonicCell Input/Output, choose “SonicCell” and click [OK]. 12. In SonicCell Editor, click [READ]. This will load the settings from the SonicCell into the editor. Steps 9–12 are needed only when starting the editor for the first time. The second and subsequent times, the SonicCell settings will be loaded into the editor from the port you specified. Settings for Logic Pro 7.2 Specify the SonicCell as the USB-MIDI interface for Logic Pro 7.2. For details on making this setting, refer to the Logic Pro 7.2 owner’s manual. 163 SonicCell_e.book 164 ページ ２００７年７月２日 月曜日 午後３時５０分 Logic Pro 7.2 Adding a MIDI track 9. Select the port. If using Performance mode: 1. From the menu, choose “Windows” - “Environment” to open the Environment window. In the track “SonicCell n (number of the part to record)” at the left side of the Arrange window, set the “Port” parameter to SonicCell. 2. In the layer list at the left of the Environment window, choose the “MIDI Instr.” layer. If using Patch mode: 3. Choose the following menu item. If using Performance mode: From the Environment window’s sub-menu, choose “New” - “Multi Instrument.” In the track “SonicCell” at the left side of the Arrange window, set the “Port” parameter to SonicCell. If the parameter “port” is not shown, click the [ ] located at the left of the track “SonicCell n” (or “SonicCell”) in the left side of the Arrange window. If using Patch mode: From the Environment window’s sub-menu, choose “New” - “Instrument.” 4. Change the instrument name. If using Performance mode: In the left side of the Environment window, click “(Multi instr.)” in “▼ (Multi instr.),” and rename it to “SonicCell.” Selecting a patch If using Performance mode: 1. In the upper part of SonicCell Editor’s main window, click “PART” [n (number of the part to record)]. If using Patch mode: 2. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. In the left side of the Environment window, click “(Instrument)” in “▼ (Instrument),” and rename it to “SonicCell.” 3. Choose the desired patch from the menu that appears. 5. Close the Environment window. If using Performance mode: In “SonicCell” at the right side of the Environment window, click [n (number of the part to record)] to close the Environment window. If using Patch mode: Close the Environment window. 6. From the Arrange window’s sub-menu, choose “Track” “Create.” An identical track “Inst 1” will be added below the track “Inst 1.” If using Patch mode: 1. In the upper part of SonicCell Editor’s main window, click “PATCH NAME” [▼]. 2. Choose the desired patch from the menu that appears. Editing patch parameters You can edit the patch parameters as desired. The following illustration shows the relationship between the SonicCell module, your MIDI keyboard, SonicCell Editor, and Logic Pro 7.2. fig.Routing-Logic72.eps 7. Click and hold near the added track “Inst 1” icon. Keyboard MIDI OUT 8. Specify the channel of the MIDI track. MIDI IN If using Performance mode: From the menu that appears, choose “MIDI Instr.” “SonicCell” - “n (number of the part to record).” The track “SonicCell n (number of the part to record)” has a “MIDI instrument” object assigned to it. If using Patch mode: From the menu that appears, chose “MIDI Instr.” “SonicCell.” The track “SonicCell” has a “MIDI instrument” object assigned to it. USB OUT USB IN Sound Generator SonicCell Logic Pro 7.2 Track 1 In: SonicCell Thru Out: SonicCell USB-MIDI Thru=ON Editor SonicCell Output SonicCell Input Controllers You can edit the values by clicking (and dragging) the buttons, sliders, and knobs. 164 SonicCell_e.book 165 ページ ２００７年７月２日 月曜日 午後３時５０分 Logic Pro 7.2 For details on editing the parameters, refer to online manual. Select the menu button “Help” - “SonicCell Editor Manual.” If using Performance mode: • Logic Pro 7.2 track “SonicCell n (number of the part to record)” corresponds to “Track 1” of the illustration. • The Physical Input setting in the “Click & Ports” layer of the Logic Pro 7.2 Environment window corresponds to “in: SonicCell” of the illustration. You may leave the Physical Input setting at the default setting of “SUM.” • “port: SonicCell” of the Logic Pro 7.2 track “SonicCell n (number of the part to record)” corresponds to “out: SonicCell” of the illustration. If using Patch mode: • Logic Pro 7.2 track “SonicCell” corresponds to “Track 1” of the illustration. • The Physical Input setting in the “Click & Ports” layer of the Logic Pro 7.2 Environment window corresponds to “in: SonicCell” of the illustration. You may leave the Physical Input setting at the default setting of “SUM.” • “port: SonicCell” of the Logic Pro 7.2 track “SonicCell” corresponds to “out: SonicCell” of the illustration. For details, refer to the Logic Pro 7.2 owner’s manual. If you don’t hear sound when you play the keyboard, make sure that the [R] button is on for the track “SonicCell.” Recording MIDI data Here’s how to record your playing. If you connect a MIDI keyboard to the SonicCell, you’ll be able to record musical data from the keyboard. If using Performance mode: Set the MIDI channel of your MIDI keyboard to match the number of the part you want to record. If using Patch mode: Set the MIDI channel of your MIDI keyboard to 1. 1. Click the record button in the Transport window, and play your MIDI keyboard. 2. Click the stop button in the Transport window to stop recording. Saving the song file The Logic Pro 7.2 song file also includes SonicCell Editor’s performance data and patch data. This means that if you save your song file, you normally won’t need to save data in SonicCell Editor. From the menu, choose “File” - “Save.” Opening a song file Logic Pro 7.2 song files include SonicCell Editor’s performance data and patch data. This means that when you open a song file, you normally won’t need to open data in SonicCell Editor. If using Performance mode: 1. Close Logic Pro 7.2. 2. On the SonicCell module, select a different performance than the one you’re currently using. This is so you can verify that the performance data is reproduced when you open a song. 3. Double-click the song file you saved earlier; Logic Pro 7.2 will start up. SonicCell Editor will open together with the song. The patch data saved in the song file will be reproduced on the SonicCell module. If using Patch mode: 1. Close Logic Pro 7.2. 2. On the SonicCell module, select a different patch than the one you’re currently using. This is so you can verify that the patch data is reproduced when you open a song. 3. Double-click the song file you saved earlier; Logic Pro 7.2 will start up. SonicCell Editor will open together with the song. The performance data saved in the song file will be reproduced on the SonicCell module. Recording multiple parts If you’re using Performance mode, you can edit and save the parameters for multiple SonicCell parts. 1. Repeat the following steps for the desired number of parts. “Adding a MIDI track” (p. 164) “Selecting a patch” (p. 164) “Editing patch parameters” (p. 164) “Recording MIDI data” (p. 165) 2. Finally, execute “Save the song file” to save the multiple SonicCell parts along with the musical data. 165 SonicCell_e.book 166 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 166 SonicCell_e.book 167 ページ ２００７年７月２日 月曜日 午後３時５０分 SMF/Audio File Player SonicCell also has “SMF/Audio File Player” functionality. “Songs” (SMF or audio files) and “playlists” that specify the playback order can be transferred from your computer via USB memory and used by SonicCell. You can play back songs in the order specified by a “playlist,” or you can select and play back an individual song from a playlist. 1 Copy your data to USB Memory 2 Connect your USB Memory to the SonicCell SMF, WAV, AIFF, MP3 files USB Memory USB Memory Use only USB memory sold by Roland. Operation cannot be guaranteed when products other than there is used. Proper operation cannot be guaranteed if other USB memory products is used. • Connect the USB memory after the SonicCell’s power is turned on. • If, after a USB memory device has been removed, you decide that you want to connect it again, you’ll need to switch the SonicCell’s power off, then switch it back on again. Creating a playlist Start up SonicCell Playlist Editor and create a playlist. * For details on creating a playlist, refer to “SonicCellPlaylistEditorManualE.pdf,” which is installed together with “SonicCell Playlist Editor.” • Use the included “Sonic Playlist Editor” to create playlists. You cannot create playlists on SonicCell itself. • You can play back individual songs even without creating a playlist. To do this, place the SMF or audio files in the root directory of your USB memory. • Only audio files that have the same sampling rate as the SonicCell’s own setting can be played. When you add audio files to a playlist, we recommend that you keep the sampling rate the same for all files. 167 SonicCell_e.book 168 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs SMF/audio files that can be played SMF Format 0 or 1 * With format 1 SMFs, there are limitations on the tracks that will be played. File Size 240 KB maximum (Note that this will vary slightly based on the SMF content.) System Exclusive Packet sizes of 512 bytes or less Audio File WAV/AIFF MP3 Sampling Rate 44.1/48/96kHz Bit depth 8/16/24 bits Format MPEG-1 audio layer 3 Sampling Rate 44.1/48kHz Bit Rates 32/40/48/56/64/80/96/112/128/160/192/224/256/320kbps, VBR (Variable Bit Rate) Song playback • You can’t use the SMF/Audio File Player to play songs while also using USB audio/MIDI message input/output (p. 140). • If you play back a demo song or SMF while editing a performance or patch, the contents of the temporary area will be rewritten, causing your edits to be lost. If you want to keep your edited data, you must write it before you play back a demo song or SMF data. • Use the SonicCell in Performance mode when you’re playing back SMF data. • You can’t execute the Write operation or use Utility functions (p. 182) while a song is playing back. • The SonicCell can handle up to a maximum of 99 songs and playlists. (99 items in the root directory, and 99 items inside the SonicCell folder. The Playlist Editor can also handle up to 99 playlists.) 1. Connect the USB memory containing play lists and songs to SonicCell. 2. Press [SMF/AUDIO PLAYER]. The button’s indicator will light, and the Playlist Select screen will appear. 4. Press [ ]. The player screen will appear, and the song will begin playing. * If the song is an audio file, it will play only if its sampling rate matches the setting of the SonicCell. * If the sampling rate of the first song (audio file) in the playlist does not match the SonicCell’s sampling rate, none of the songs in that playlist will play. Playlists that show a at the left of the name don’t allow you to edit the playlist settings or the settings of the songs in the playlist. 3. Move the cursor to the playlist that you want to play. * If you want to select and play a song from within the selected playlist, proceed to “Selecting and playing a song from within a playlist” (p. 171). 168 5. If you want to stop song playback, press [ ]. The next time you press [ ], playback will start from the point at which you stopped. SonicCell_e.book 169 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs (1) (2) (3) (4) Indication (1) (6) (8) (7) (5) Content Name of the currently playing song (2) SMF: Currently-playing measure, Audio file: Playback time (3) Length of the currently-playing song * This is displayed correctly only if you created the playlist using Playlist Editor. (4) Move the cursor here and press [CURSOR/VALUE] to move to the beginning of the current song. (5) Move the cursor here and press [CURSOR/VALUE] to move to the next song. (6) Move the cursor here and press [CURSOR/VALUE] to rewind the song. (7) Move the cursor here and press [CURSOR/VALUE] to fast-forward the song. Move the cursor here and press [CURSOR/VALUE] to view the current playback volume. Turn [CURSOR/VALUE] to adjust the volume. Range: 0--127 (8) The parameter whose volume you’re adjusting will depend on the type of file. If an SMF is selected: System setting “Master Level” (p. 176) If an audio file is selected: USB Audio “Audio Level” (p. 140) ■ Menu screen................................................................................................................. If you press [MENU] while the Playlist Select screen is displayed, the Playlist Menu screen will appear. The Playlist Menu is structured as shown in the illustration at right. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the Playlist Select screen. Parameter Explanation Show Info (Playlist Information) Shows the contents of the selected playlist. Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170). Write (Playlist Write) Saves the current playlist settings. (p. 173) * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 169 SonicCell_e.book 170 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs ■ Playlist Information screen ............................................................................................ Indication Content Name The name of the playlist. Specifies how the song will play. Chain Play If you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔), Chain Play will be turned on. If this is on, the songs in the playlist will play consecutively. Playback will stop when the last song has ended. Playback Mode Repeat All If you move the cursor to this item and press [CURSOR/VALUE] to add a check mark (✔), Repeat All will be turned on. If this is on, the songs in the playlist will play consecutively, and when the last song has ended, the unit returns to the first song and enters pause mode. If Chain Play is on, consecutive playback will continue repeating. * This item will not appear for a playlist that has the indication at the left of the name. If you want to save the modified setting, execute Playlist Write. Total Time Total Meas (Measure) Memo Total time (minutes: seconds) of the songs in the playlist * This item will not appear for a playlist that has the * This item will not appear for a playlist that has the A comment, etc. If you press [MENU] when the Playlist Information screen is shown, the screen shown at the right will appear. If you want to execute Playlist Write, select “OK” and press [CURSOR/VALUE]. If you decide to cancel, select “CANCEL” and press [CURSOR/VALUE]. 170 indication at the left of the name. The total number of measures in the playlist. indication at the left of the name. SonicCell_e.book 171 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs Selecting and playing a song from within a playlist 4. Press [CURSOR/VALUE]. The songs in the selected playlist will be listed. A “?” mark is shown if the song’s sampling rate differs from the setting of the SonicCell module, or if the song is not in a file type that the SonicCell can play. This song cannot be played. 5. Move the cursor to the song that you want to play, and press [CURSOR/VALUE]. The player screen will appear. 6. Press [ ]. The song will begin playing. ■ Menu screen................................................................................................................. When the song list screen or the player screen is shown, you can press [MENU] to access the Song Menu screen. You can switch between screens by turning [CURSOR/VALUE] to the right or left. Press [MENU] once again to return to the song list screen or the player screen. Parameter Explanation Song Info (Song Information) Shows information about the selected song. Press [CURSOR/VALUE] to access the Song Information screen (p. 172). Playlist (Playlist Information) Shows the contents of the selected playlist. Press [CURSOR/VALUE] to access the Playlist Information screen (p. 170). Change (Change Order) Lets you change the order of songs in the playlist. Press [CURSOR/VALUE] to access the Change Order screen (p. 173). * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Delete (Song Delete) Deletes the currently selected song from the playlist (p. 173). * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. Write (Playlist Write) Saves the current playlist settings. (p. 173) * This will not appear if you’ve selected Demo Songs/USB Memory/Playlist Library. System Press [CURSOR/VALUE] to access the System screen (p. 176). Utility Press [CURSOR/VALUE] to access the Utility screen (p. 182). Demo Play When you press [CURSOR/VALUE], the demo song list will appear. * For details on how to play the demo songs, refer to p. 15 and p. 168. SRX Info (SRX Information) Press [CURSOR/VALUE] to access the System SRX Info screen (p. 180). Version (Version Information) Press [CURSOR/VALUE] to access the System Version Info screen (p. 180). 171 SonicCell_e.book 172 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs ■ Song Information screen ............................................................................................... Indication Content Title Name of the song. Artist Name of the artist. Level Edit Lets you adjust the volume of the song. Press [CURSOR/VALUE] to access the Song Info (Level) screen. * This item is not shown for songs in the USB Memory or Demo Songs playlist. Meas (Measure)/Time Number of measures in the song (for SMF)/Song length (for an audio file) * This item is not shown for songs in the USB Memory or Demo Songs playlist. File Name File name * This item is not shown for songs in the Demo Songs playlist. File Type The type of file (SMF/WAV/AIFF/MP3) * This item is not shown for songs in the Demo Songs playlist. Sampling Rate Sampling rate * This item is not shown for WAV/AIFF/MP3 file types. File Size Size of the file * This item is not shown for songs in the Demo Songs playlist. Memo A comment, etc. * This item is not shown for songs in the USB Memory playlist. Song Info (Level) screen For an SMF song For an audio file song This adjusts the volume of each song. If you want to keep the adjusted volume setting, you must write it (Playlist Write). If you select a different playlist without writing your settings, the settings will revert to their original state. Parameter Value Explanation Level Adjust -12–0–+12 Assuming that the original volume (the volume of the song in USB memory) is 0, you can adjust the volume within this range: -12–0–+12. 0–127 If the song’s file type is SMF, you can adjust the volume individually for parts 1–16. Move the cursor to the part number shown at the bottom of the screen and press [CURSOR/VALUE], and you'll be able to adjust the volume of that part. Part 1–16 Level If you press [MENU] when the Song Information/Song Info (Level) screen is shown, the screen shown at the right will appear. If you want to execute Playlist Write, select “OK” and press [CURSOR/VALUE]. If you decide to cancel, select “CANCEL” and press [CURSOR/VALUE]. 172 SonicCell_e.book 173 ページ ２００７年７月２日 月曜日 午後３時５０分 Playing back songs Playlist Write Here’s how to write the current playlist settings. From the Song Menu screen (p. 171), choose “Write” to access the following screen. 1. To write the data, choose “OK” and press [CURSOR/ VALUE]. If you decide to cancel, choose “CANCEL” and press [CURSOR/VALUE]. You will return to the previous screen. Changing the song order Here’s how to change the order of the currently selected song. From the Song Menu screen (p. 171), choose “Change” to access the Change Order screen. Deleting a song from the playlist Here’s how to delete the currently selected song from the playlist. From the Song Menu screen (p. 171), choose “Delete” to access the following screen. 1. To delete the song, choose “OK” and press [CURSOR/ VALUE]. If you decide not to delete, choose “CANCEL” and press [CURSOR/VALUE]. When the deletion is completed, you’re returned to the Play List screen. If you want to keep the settings you changed, execute the Write operation (Playlist Write). If you select a different playlist without writing your settings, they will revert to their original state. 1. Turn [CURSOR/VALUE] to specify the desired position of the currently selected song. 2. When you’ve specified the desired position, press [CURSOR/VALUE]. The song order will be changed. * If you move to a different screen without pressing [CURSOR/VALUE], the song order won’t be changed. If you want to keep the settings you changed, execute the Write operation (Playlist Write). If you select a different playlist without writing your settings, they will revert to their original state. 173 SonicCell_e.book 174 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 174 SonicCell_e.book 175 ページ ２００７年７月２日 月曜日 午後３時５０分 Other Settings 175 SonicCell_e.book 176 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings In the menu screen, choose “SYSTEM” to access the System screen. Here you can make settings for the “system functions,” which affect the operation of the entire SonicCell, such as the tuning, and how MIDI messages are received. 1. In the Menu screen, move the cursor to “SYSTEM” and press [CURSOR/VALUE]. The System screen will appear. 2. Turn [CURSOR/VALUE] to select the parameter you want to edit, then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted. 3. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. 4. When you’ve finished editing, press [MENU] to write the system settings. The following message will appear. 5. If you want to write the settings, select “OK” and press [CURSOR/VALUE]. If you decide not to write the settings, select “CANCEL” and press [CURSOR/VALUE]. Once the settings have been written, you’ll be returned to the System screen. If the value field shows the “SELECT” indication, you can press [CURSOR/VALUE] to move to the setting screen for that parameter. General settings (System screen) Parameter Value Explanation Disp (Display) Brigtness 1–10 This adjusts the contrast/brightness of the display. Higher values will make the characters darker. Master Level 0–127 Adjusts the volume of the entire SonicCell. Master Tun (Tune) 415.3– 466.2 Hz Adjusts the overall tuning of the SonicCell. The display shows the frequency of the A4 note (center A). Output Gain -12–+12 dB This adjusts the output gain from the SonicCell’s Analog Out and Digital Out. When, for example, there are relatively few voices being sounded, boosting the output gain can let you attain the most suitable output level for recording and other purposes. Master Key Shift -24–+24 Shifts the overall pitch of the SonicCell in semitone steps. OFF, ON Specifies whether currently sounding notes will continue sounding when another patch or rhythm set is selected (ON), or not (OFF). Also, when this is “ON,” changes produced by incoming MIDI messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1, 2, MONO ON, POLY ON), as well as tonal quality and volume changes produced by the various controllers will be inherited. Patch Remain (Patch Remain Switch) Effects settings change as soon as you switch to a new patch or rhythm set, without being influenced by the Patch Remain setting. Because of this, certain effects settings can cause notes that were until then sounding to no longer be heard, even though Patch Remain has been set to on. Sync Mode 176 MASTER, SLAVE Specifies the synchronization message that the SonicCell will use for operation. MASTER: The SonicCell will be the master. Choose this setting when using the SonicCell by itself without synchronizing to another device. SLAVE: The SonicCell will be the slave. Choose this setting when you want the SonicCell to synchronize to MIDI Clock messages received from another MIDI device. SonicCell_e.book 177 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings Value Explanation System Tempo 5–300 Sets the system tempo. * When Sync Mode is set to “SLAVE,” the tempo will synchronize to the clock messages received from an external MIDI device, so the tempo value will be ignored. * The tempo value is not saved even if you save the System settings. Tempo Override OFF, ON Specify whether the system tempo will change (ON), or will not change (OFF) when you switch performance. Device ID (Device ID Number) 17–32 When you want to transmit or receive System Exclusive messages, set this parameter to match the Device ID number of the other MIDI device. Parameter Performance Ctrl Ch selects the MIDI receive channel used during switching of performances when MIDI messages (Program Change/Bank Select) are sent from an external MIDI device. Set this to “OFF” if performances are not to be switched from an external MIDI device. Perform Ctrl Ch (Performance Control Channel) 1–16, OFF Patch Rx Ch (Patch Mode Receive Channel) 1–16 Specifies the channel used to receive MIDI messages in Patch mode. OFF, ON Determines the MIDI signal flow from the MIDI IN connector to the SonicCell's sound generator. OFF: Directly transmits the MIDI signals arriving at the MIDI IN connector to the sound generator, and plays the SonicCell's sound. ON: Transmits the MIDI signals arriving at the MIDI IN connector to the computer via the USB connector. Via its USB connector, the SonicCell receives the signals that have been THRU’ed by the computer's sequencer software, and uses them to produce sound with its sound generator. USB-MIDI Thru (USB-MIDI Thru Switch) If only a program change is received, and if the Perform Ctrl Ch setting coincides with the MIDI receive channel of a part, priority will be given to switching the performance. MIDI OUT MIDI IN USB OUT USB IN Sound Generator Section SonicCell USB-MIDI Thru=OFF MIDI OUT MIDI IN USB OUT USB IN Sound Generator Section SonicCell USB-MIDI Thru=ON Powerup Mode PATCH, PERFORM This setting allows you to choose the mode that you want the SonicCell to be in when it is powered up. PATCH: The SonicCell will be in Patch mode when you turn on the power. PERFORM: The SonicCell will be in Performance mode when you turn on the power. Screen Saver OFF, 5, 10–60 (min) Set the time (minutes) until the screen saver begins working. If this is “OFF,” the screen saver will not appear. Screen Saver Type 1–6 Select the type of screen saver. Scale Tune Sw (Switch) OFF, ON Turn this on when you wish to use a tuning scale other than equal temperament. One set of Scale Tune settings can be created in Patch mode. In Performance mode, this can be set for each part of the performance (p. 72). The SonicCell allows you to play the keyboard using temperaments other than equal temperament. The pitch is specified in one-cent units relative to the equal tempered pitch. * One-cent is 1/100th of a semitone. Scale Tune [SELECT] Specifies the scale tuning of the patch. Press [CURSOR/VALUE] to access the Patch Scale Tune screen (p. 178). Preview [SELECT] Makes settings for the Preview function. Press [CURSOR/VALUE] to access the Preview screen (p. 179). System Control [SELECT] Makes settings for the Control function. Press [CURSOR/VALUE] to access the System Control screen (p. 179). System MIDI [SELECT] Makes MIDI-related settings. Press [CURSOR/VALUE] to access the System MIDI screen (p. 180). 177 SonicCell_e.book 178 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings Patch Scale Tune settings Here’s how to make scale tune settings for Patch mode. These settings are shared by all patches. For details on scale tune settings for Performance mode, refer to p. 72. Parameter Value Explanation C, C#, D, Eb, E, F, F#, G, G#, A, Bb, B -64–+63 Adjusts the pitch of each note in one-cent steps (1/100th of a semitone) relative to its equal-tempered pitch. • Equal Temperament This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music. • Just Temperament (Tonic of C) 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 become ambiguous if you transpose. • Arabian Scale In this scale, E and B are a quarter note lower and C#, F# and G# are a quarter-note higher compared to equal temperament. The intervals between G and B, C and E, F and G#, Bb and C#, and Eb and F# have a natural thirdthe interval between a major third and a minor third. On the SonicCell, you can use Arabian temperament in the three keys of G, C and F. 178 Note name Equal Temperament Just Temperament (tonic C) Arabian Scale C 0 0 -6 C# 0 -8 +45 D 0 +4 -2 Eb 0 +16 -12 E 0 -14 -51 F 0 -2 -8 F# 0 -10 +43 G 0 +2 -4 G# 0 +14 +47 A 0 -16 0 Bb 0 +14 -10 B 0 -12 -49 SonicCell_e.book 179 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings Settings for the Preview function (System Preview screen) Parameter Value Explanation SINGLE: Preview Mode SINGLE, CHORD, PHRASE CHORD: PHRASE: Preview 1–4 Note (Preview 1–4 Note Number) Preview 1–4 Velo (Preview 1–4 Note Velocity) The notes specified by Note Number 1–4 parameter will sound successively one by one. The notes specified by Note Number 1–4 parameter will sound simultaneously. The Phrase associated with the patch’s type/category is played. Specify the pitch of the four notes that will sound when the Preview Mode parameter is set to “SINGLE” or “CHORD.” C-1–G9 If “PHRASE” is selected for the Preview Mode, these settings will have no effect. Specify the velocity of the four notes that will sound when the Preview Mode parameter is set to “SINGLE” or “CHORD.” OFF, 0–127 If “PHRASE” is selected for the Preview Mode, these settings will have no effect. Settings for Control-related functions (System Control screen) Parameter Value Explanation System Control Assign selects the MIDI message used as the System Control. Src 1–4 (System Control 1–4 Source) OFF, CC01–31, 33–95, PITCH BEND AFTERTOUCH OFF: CC01–31, 33–95: PITCH BEND: AFTERTOUCH: The system control knob will not be used. Controller numbers 1–31, 33–95 Pitch Bend Aftertouch For details on control change messages, refer to “MIDI Implementation” (p. 246). System Control System Control settings apply to the entire SonicCell, and specify how MIDI messages will control the volume and sounds. You can specify up to four MIDI messages for control purposes. If you want to make individual settings for each performance, patch, or rhythm set to specify how sounds and effects will be controlled in real time, use “Matrix Control” (p. 95) or “Multi-effects Control” (p. 81, p. 137). 179 SonicCell_e.book 180 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings MIDI-related settings (System MIDI screen) Parameter Value Explanation Soft Through (Soft Through Switch) OFF, ON Specifies whether MIDI messages received at MIDI IN will be re-transmitted without change from MIDI OUT (the ON setting), or will not be re-transmitted (the OFF setting). Tx Edit Data (Transmit Edit Data Switch) OFF, ON Specify whether changes you make in the settings of a patch, performance will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF). Rx Program Change (Receive Program Change Switch) OFF, ON Specifies whether Program Change messages will be received (ON) or not (OFF). Rx Bank Select (Receive Bank Select Switch) OFF, ON Specifies whether Bank Select messages will be received (ON) or not (OFF). Rx Exclusive (Receive System Exclusive Switch) OFF, ON Specifies whether System Exclusive messages will be received (ON) or not (OFF). Rx GM System On (Receive GM System On Switch) OFF, ON Specifies whether General MIDI System On messages will be received (ON) or not (OFF). Rx GM2 System On (Receive GM2 System On Switch) OFF, ON Specifies whether General MIDI 2 System On messages will be received (ON) or not (OFF). Rx GS Reset (Receive GS Reset Switch) OFF, ON Specifies whether GS Reset messages will be received (ON) or not (OFF). Viewing information about SonicCell (System SRX Info/System Version Info screens) From the Menu screen, selecting “SRX Info” will access the System SRX Info screen, where you can view information about the expansion boards connected to the SonicCell. From the MENU screen, selecting “Version” will access the System Version Info screen, where you can view the version of the SonicCell system software. * You can turn [CURSOR/VALUE] to move between these two screens. Press [EXIT] to return to the previous screen. 180 SonicCell_e.book 181 ページ ２００７年７月２日 月曜日 午後３時５０分 System Settings Editing the mastering effect (Mastering Effect screen) In Performance mode or Patch mode, select “M” in the Effect Routing screen to access the Mastering Effect screen. It has independent high, mid, and low ranges. Independently for the high-frequency, mid-frequency, and low-frequency regions, this compresses any sounds that exceed the specified level, making the volume more consistent. When you procedure your own original audio CD, this lets you master at an optimized level. Mastering effect settings apply to the entire SonicCell. These settings are not for individual patches or performances. Parameter Value Explanation Split Freq L (Split Frequency Low) 200–800 Hz Frequency at which the low-frequency (Low) and mid-frequency (Mid) bands are split. Split Freq H (Split Frequency High) 2000–8000 Hz Frequency at which the high-frequency (High) and mid-frequency (Mid) bands are split. Low/Mid/High Attack 0–100 ms Time from when the volume goes up the threshold level until the compressor effect applies. Low/Mid/High Release 50–5000 ms Time from when the volume falls below the threshold level until the compressor effect no longer applies. -36–0 dB Specifies the volume levels at which compression will begin for the low-frequency (Low), midfrequency (Mid), and high-frequency (High) ranges. Low/Mid/High Threshold About THRESHOLD and RATIO As shown in the diagram below, these parameters determine how the volume is to be compressed. 1:1 Low/Mid/High Ratio 1.00:1– INF:1 (INF: infinity) Specifies the compression ratios for the low-frequency (Low), midfrequency (Mid), and high-frequency (High) ranges. Output Level RATIO 2:1 4:1 INF:1 THRESHOLD Input Level Low/Mid/High Level 0–24 dB Specifies the output volume for the low-frequency (Low), mid-frequency (Mid), and high-frequency (High) ranges. ■ Menu screen................................................................................................................. From the Mastering Effect screen, you can press [MENU] to access the Mastering Type screen. Press [MENU] once again to return to the Mastering Effect screen. Parameter Explanation Write (System Write) Saves the current settings as user settings. (p. 150). Hard Comp, Soft Comp, Lo Boost, Mid Boost, Hi Boost Recalls preset settings of the type you select. User Recalls user settings you’ve saved. 181 SonicCell_e.book 182 ページ ２００７年７月２日 月曜日 午後３時５０分 Utility functions In the menu screen, choose “Utility” to access the Utility Menu screen. Here you can save user data to USB memory, or restore (reload) data from USB memory into SonicCell. Use only USB memory sold by Roland. Operation cannot be guaranteed when products other than there is used. Proper operation cannot be guaranteed if other USB memory products is used. Backing up user data (User Backup) You can save the user data to USB memory. This operation is called “User Backup.” From the Utility screen, choose “User Backup” to access the following screen. 1. To carry out the backup, choose “OK” and press [CURSOR/VALUE]. If you decide not to perform the backup, choose “CANCEL” and press [CURSOR/VALUE]. When the backup is completed, you’re returned to the Utility screen. Restoring backed-up data into the SonicCell (User Restore) You can return the user data previously backed up to USB memory into the SonicCell. This operation is called “User Restore.” From the Utility screen, choose “User Restore” to access the following screen. 1. To carry out the restoration, choose “OK” and press [CURSOR/VALUE]. If you decide that you don’t want to carry out the restoration, choose “CANCEL” and press [CURSOR/ VALUE]. Once the restoration has been completed, the following screen will appear. 2. Switch off the SonicCell’s power, then switch it on again. 182 SonicCell_e.book 183 ページ ２００７年７月２日 月曜日 午後３時５０分 Utility functions Returning to the factory settings (Factory Reset) Initializing USB memory (USB Memory Format) You can return all of SonicCell’s settings to the factory-set state. This is called “Factory Reset.” Here’s how to initialize the USB memory. This operation is called “USB Memory Format.” If SonicCell’s internal memory already contains important data that you’ve created, all of this data will be lost when you execute a factory reset. If you want to keep your data, you must save it to USB memory. This operation will erase all data on your USB memory. Use this operation with caution. In the Utility screen, choose “USB Memory Format” to access the Utility screen. In the Utility screen, choose “Factory Reset” to access the following screen. 1. To execute the factory reset, choose “OK” and press [CURSOR/VALUE]. If you decide not to execute, choose “CANCEL” and press [CURSOR/VALUE]. Once the factory reset is completed, the following screen will appear. 1. To execute the USB memory format, choose “OK” and press [CURSOR/VALUE]. If you decide not to execute, choose “CANCEL” and press [CURSOR/VALUE]. Once the USB memory format is completed, you’ll be returned to the Utility screen. 2. Switch off the SonicCell’s power, then switch it on again. 183 SonicCell_e.book 184 ページ ２００７年７月２日 月曜日 午後３時５０分 Adjusting the overall tone of the audio output (Master Equalizer) Here’s how to make final adjustments to the overall tone of SonicCell’s audio output (OUTPUT jacks and PHONS jack). 1. Get the indicators for [MIDI INST], [USB AUDIO], and [INPUT] to all go out. The Master EQ screen will appear. 2. Turn [CURSOR/VALUE] to select the parameter that you want to edit, then press [CURSOR/VALUE]. The value of the selected parameter will be highlighted. 3. Turn [CURSOR/VALUE] to edit the value, then press [CURSOR/VALUE]. * If the output volume is excessive, the “CLIP” indication will appear in the upper right of the screen. Adjust the volume so that distortion does not occur. Parameter LOW MID HIGH 4. When you’ve finished editing, press [MENU] to write the settings. 5. Choose “Write,” and press [CURSOR/VALUE]. The following message will appear. 6. To write the edited settings, choose “OK” and press [CURSOR/VALUE]. If you decide not to keep the changes you made, select “CANCEL” and press [CURSOR/VALUE]. Once the settings have been written, you’ll be returned to the Master EQ screen. Value Explanation Frequency 200 Hz, 400 Hz Specifies the center frequency of the low-frequency range. Gain -15 dB–+15 dB Adjusts the volume of the low-frequency range. Frequency 200–8000 Hz Specifies the center frequency of the mid-frequency range. Gain -15 dB–+15 dB Adjusts the volume of the mid-frequency range. Frequency 2000 Hz, 4000 Hz, 8000 Hz Specifies the center frequency of the high-frequency range. Gain -15 dB–+15 dB Adjusts the volume of the high-frequency range. Q 0.5–8.0 Specifies the width of the mid-frequency range. Total Gain -15 dB–+15 dB Adjusts the overall volume of all frequency bands (low, mid, and high). 184 SonicCell_e.book 185 ページ ２００７年７月２日 月曜日 午後３時５０分 Appendices 185 SonicCell_e.book 186 ページ ２００７年７月２日 月曜日 午後３時５０分 Troubleshooting If the SonicCell 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. * If any sort of message is being displayed on the screen during an operation, refer to Error Messages (p. 191). Problems Concerning the Entire SonicCell Q The power does not turn on. A Make sure that the SonicCell’s AC adaptor is correctly connected to the AC outlet and to the SonicCell itself. (p. 18) Q Moving the SAMPLING RATE switch does not change the sampling rate A he sampling rate will not change if you simply move the SAMPLING RATE switch while the power is on. You must turn the power off, then on again. Then use the INPUT screen or USB Audio screen to verify that the sampling rate has changed. (p. 140, p. 142) Issues Related to Sound Q There is no sound. A Check the following points. • Is the power for connected amps and speakers turned on? Is the volume turned all the way down? • Is the INPUT LEVEL knob turned all the way down? • Have connections been made correctly? • Can you hear sound through headphones? If there is sound in the headphones, it is possible that the connection cables are broken, or that your amp/mixer has malfunctioned. Check your cables and amp/mixer system once again. • Is the MIDI receive channel correct? Make sure that the MIDI transmit channel of the connected device matches the receive channel of the SonicCell (p. 177). • Have all tones in the patch been turned off? Turn on “Tone Switch.” (p. 88) • The Part level settings may be too low. Access the Level parameter, and check the level of each part (p. 69). • Are the Effect settings correct? Check the Effect settings ON or OFF, the Effect Balance or Level. (p. 75, p. 132) • Is the Wave Expansion Board properly installed? When selecting the settings that stipulate the use of EXP-A, B waves, Patches, or Rhythm Sets, check that the specified Wave Expansion Board is installed properly in the specified slot (p. 48, p. 51). • Has the volume been lowered by MIDI messages (volume messages or expression messages) received from an external MIDI device? • Is USB MIDI THRU set to ON? When USB MIDI THRU is ON, there will be sound if the sequencer software on the computer that is connected by a USB cable is set to THRU (p. 177). Q A specific Part does not sound A Check the following points. • Has the volume level of the part been lowered? Adjust the Level to raise the volume of the part that is not heard (p. 69). • Could the part be set to “M” (mute)? Set this to “-”. (p. 58) Q Specific pitch ranges do not sound A Has a restricted range of notes been set? If a specific range of notes does not sound, check the Key Range settings for the Patch Tone and the Performance Part. • Part Key Range Key Range Lower/Upper (p. 71) • Tone Key Range Key Range Lower/Upper (p. 112, p. 113) Q Audio signals from the computer are not heard A Could the audio signal from the computer have a different sampling rate than the SonicCell itself? Change the SAMPLING RATE switch of the SonicCell to match the sampling rate of the audio signal. * If you change the setting of the SAMPLING RATE switch while the power is on, you’ll need to turn the power off, then on again. Q The sound is distorted. A Check the following points. • Is an effect which distorts the sound being applied? If the sound for a specific patch or part is distorted, lower the volume level on that part. If the overall sound is distorted, adjust Master Level and Master EQ to lower the volume. • Use the Sound Parameter in the System to lower the Output Gain (p. 176). Q Pitch is incorrect. A Check the following points. • Is the tuning of the SonicCell incorrect? Check the Master Tune setting (p. 176). • Has the pitch been changed by Pitch Bend messages received from an external MIDI device? 186 SonicCell_e.book 187 ページ ２００７年７月２日 月曜日 午後３時５０分 Troubleshooting • Have the Coarse Tune or Fine Tune been set for specific Parts? Check the Coarse Tune and Fine Tune settings (p. 69). Q The sound is interrupted. A Sounds will be interrupted if more than 128 voices are used simultaneously. Q Sometimes, when playing legato, the pitch won’t rise. Why is this? A When the Legato Switch (p. 91) is “ON,” and the Legato Retriger (p. 91) is “OFF,” and you hold down keys in the high register to play legato, the upper pitch limit of the wave may be exceeded, so that the pitch does not rise as far as you expect, but will stop rising at a certain point. Additionally, if differing upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.” Q The notes sound strange in the upper registers of the keyboard. A Sometimes when playing the keys in the upper part of the SonicCell’s keyboard, the sound may stop, or the pitch may stop rising; or with certain keys, there may be intermittent noise. This occurs mainly when the SonicCell’s upper pitch limit is exceeded, so this issue doesn’t arise in the ranges normally used. But, in any case, it does not indicate a malfunction. Q Although the same Patch is selected, it sounds different when I listen to it in the Performance. A In Performance mode, the parameters of each part of the performance can apply further modification to parameters such as pan, octave, and filter, relative to the settings specified by the patch. Thus, Patches in a Performance may sound different than they do when heard in Patch mode. To return these settings to their initial conditions, select the Patch after execute Factory Reset Temporary for the Performance. (p. 183) Additionally, although a Patch may comprise tones created with the use of the multi-effects, the multi-effects used in the Performance may differ from the multi-effects selected by the Patch. Check the multi-effect settings of the performance. Also do the same for the Chorus and Reverb settings. Q The volume level of the instrument connected to SonicCell’s INPUT is too low. A Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor. • Reduce the number of Tones that you are using. • Increase the Voice Reserve setting for parts that must not drop out. (p. 71) Q The sound cuts off when I switch Patches in Patch mode. A Although you can apply a wide variety of multi-effects with the SonicCell’s multi-effects, switching the Patch also switches the type of multi-effects used. In such instances, discrepancies between the sound being produced and the multi-effects type can arise, which may result in sounds being different than intended, so sounds produced when Patches are switched may be muted when factory settings are in effect. In certain situations, such as when not using multi-effects that have a great influence on the sound, remembering to set Patch Remain (p. 176) to “ON” allows you to switch Patches without sounds being muted. Q When switching Patches in Patch mode, the volume and other parameters set with Control Changes end up being reset. A Set Patch Remain (p. 176) to “ON.” Even once they have switched Patches, Control Change messages that have been received are carried forward, so even when switching a Patch whose level is turned all the way down by a Control Change volume message, the level remains unchanged. Q If the Tone Delay time value is set to the note, then does the delay time not change beyond a fixed length when the tempo is slowed down? A There is a maximum permissible value for the Tone Delay Time (p. 100). So, if the time setting is specified in terms of a note value, and the tempo is slowed down, this maximum permissible value will be reached, and it cannot be increased further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat. Q Even when I set the Pan for a Patch completely to one side, sound still comes from the other channel. A The SonicCell’s internal effects are in stereo, so if you have effects applied to a Patch, even if the Pan is set all the way to one side, you will still be able to hear sounds of the effect component from the other channel. 187 SonicCell_e.book 188 ページ ２００７年７月２日 月曜日 午後３時５０分 Troubleshooting Q Multi-effect 43: TAP DELAY or other delay time value is set to the note, and then the tempo is slowed down, does the delay time not change beyond a fixed length? A • Are the various effect settings correct? (p. 75, p. 132, p. 144) Such Delay time settings have an upper limit, so if the upper limit of a value set to the note is exceeded when the tempo is retarded, that upper value cannot rise any further. The upper time limit for each is the maximum value that can be set other than the numerical value for the beat. Q • If the send level of each effect is set to 0, the effect will not be applied. Check the settings. I’ve saved (written) the effect settings of a performance, but they don’t seem to be applied. A Could you be using the effect settings of the patch? If the MFX 1–3 Source, Chorus Source, or Reverb Source setting is set to “P1--P16,” the performance’s effect settings will not be used; the effect settings of the patch/rhythm set assigned to the specified part will be used instead. If you want to use the performance’s effect settings, set this to “PFM” (p. 80). Issues Related to Effects Q Effects not applied. A Check the following points. • The “MFX,” “Chorus,” “Reverb” or “Mastering” effect switches may have been turned off. Turn the Effect Switch ON. (p. 76, p. 133) • Even with send levels to each effect set at 0, effects are not applied if the Multi-effects Output Level, the Chorus Level, or the Reverb Level is set to 0. Check each setting. • If Output Assign is set to other than “MFX,” the Multieffects sound will not be output. • If Output Assign is set to “PATCH” for each Part of the Performance, the sound will be output according to the Output Assign settings of the Patch (for each Tone) which is assigned to those Parts. This means that if Output Assign for the Patch (each Tone) is set to other than “MFX,” the Multi-effects sound will not be output. Q The Modulation or other controller is always on. A Check the Matrix Controller settings. (p. 95) The SonicCell allows you to use the Matrix Control to control Patches in real time. The Matrix Control functions as the control source for the Control Change and other MIDI messages received by the SonicCell, and makes changes to the various Patch parameters based on these messages. Depending on these settings, the SonicCell may be responding to MIDI messages sent from external MIDI devices, and may result the Patches sounding different than intended. Q Raising the chorus or reverb send level for each part of a performance still does not cause the effect to be applied sufficiently. A Although you can make Send level settings to the Chorus and Reverb for each individual Part in a Performance, these values only set the upper limit of the Chorus and Reverb Send levels for the Patch used. Accordingly, even when the value is set to the maximum of 127, if the Send level is lowered in the Patch being used, there will be no effect. In addition, different Patch Chorus and Reverb Send level settings can be used according to whether or not the multi-effects are used. Q Using the Matrix Control or other such means to control the LFO results in noise when the Pan is changed suddenly. A Lower the change in speed (LFO Rate). Due to the specialized processing used for the Pan, which alters the volume level in each of the left and right sides, sudden Pan movements causing rapid changes in these levels creates large changes in volume, and noise from this may be audible as a result. 188 Issues Related to Saving Data Q The Performance sounds different than when it was written. A Check the following points. • If you have modified the settings of a patch used by a performance, or if the temporary patch of the performance has been modified by an external MIDI device, these patches must also be saved. If patches used by a performance have been edited when you write that performance, the SonicCell will display a message asking whether you want to discard these patches. In such cases, first save the patch (p. 116) or rhythm set (p. 131), and then save the performance (p. 73) again. • The Mastering Effect settings may have changed. (These settings are not stored as part of a performance.) Q Patches sound different than when written. A Check the following points. • The write operation cannot be used to save Patches as changed in Patch mode using Control Change messages from an external MIDI device. Refer to “MIDI Implementation” (p. 246) for more on the Control Change messages that are received. • The Mastering Effect settings may have changed. (These settings are not stored as part of a patch.) Q Data backed up to USB memory cannot be restored to the SonicCell. • It is possible that the USB memory was not formatted correctly. The SonicCell can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT. SonicCell_e.book 189 ページ ２００７年７月２日 月曜日 午後３時５０分 Troubleshooting Issues Related to MIDI and External Devices Q Can’t receive MIDI messages correctly. A Check the following points. Is the SonicCell set to receive MIDI messages? Q Performances of the external sequencer are sluggish, or have interruptions. A • Performance mode The performance part’s Receive Channel (p. 71) The performance part’s Receive Switch (p. 72) Problems of sluggish and interrupted performances can crop up very easily when the sequencer or sound generator used for the performance has to handle heavy data loads. Main causes and possible corrective measures are considered below. • Patch mode Patch Rx Ch (p. 177) • Are more than 128 voices playing simultaneously? Reduce the number of voices. The composition of SonicCell Patches is such that up to eight Waves may be used for one Patch. When using such Patches, even though only one sound may be heard, it is actually eight sounds that are being played simultaneously. In addition, with certain sounds like continuous sounds with long releases, even though the actual sound may not be audible to you, processing for playing the sound is still underway, so in these cases as well, the performance data can differ from the actual number of voices being played. • Are you using a Patch that uses a lot of LFO? Try changing to a different Patch. LFO processing invariably places a big load on the machine, so heavy use of the LFO slows down processing for the SonicCell overall, which can end up having affecting the expression of sounds themselves. • Is the data concentrated at the beginning of the beats in the sequence data? Avoid overlapping data with the same timing by setting an offset of 1-2 clocks instead. Data may easily become concentrated at the beginning of the beats in the song data when, for example, the song data is input using Step Recording, or if the data is quantized after being input with a keyboard in real time. Because of this, large amounts of data are sent to the SonicCell, and the processing for expressing sounds becomes bogged down. Q Exclusive messages are not received. A Check the following points. • Is the instrument set to receive Exclusive messages? Set the Rx Exclusive to “ON” (p. 180). • Does the Device ID number of the transmitting device match the Device ID number of the SonicCell? Check the Device ID (p. 177). Q I connected an external sequencer or MIDI keyboard to the MIDI IN connector, and attempted to play a SonicCell rhythm set, but there was no sound. Why? A Check to make sure that the MIDI Transmit channel of the external MIDI device and the SonicCell’s MIDI Receive channel are matched. The MIDI Receive channel used by the SonicCell in Patch mode is set with the Patch Rx Ch (p. 177). Rhythm Set performance data is generally received on MIDI Channel 10. Q When the Bend Range for a Patch is increased (48), the pitch does not rise sufficiently, even when a MIDI Pitch Bend message is received. A While Patch Bend Ranges can be set anywhere between 0 and 48, when certain Waves in which the pitch is raised (in the + direction) are used, the pitch may stop rising at a fixed point, rather than continuing to go up. Although a value of 12 is ensured for the upper limit of raised pitches, use caution when setting the Bend Range above this figure. • Is there a Program Change at the point where the song performance is sluggish? Change the position of the Program Change. When Program Changes are inserted in songs, processing time for switching patches increases, which may then cause the performance to become sluggish. • Is there a System Exclusive message at the point where the song performance is sluggish? Move the location of the data. System Exclusive messages contain large amounts of data, thus placing a heavy burden on sequencers and sound modules. Try repositioning data and changing System Exclusive messages to Control Changes for any data for which Control Changes can be substituted. • Is there an Aftertouch or other such large Control Change at the point where the song performance is sluggish? Move the location of the data. If the data is no longer needed, delete the data. In some cases, when using a keyboard that features aftertouch to input data, you may end up inputting huge amounts of data before realizing this is happening. Such large amounts of data can place an excessive load on your sequencer and sound module. 189 SonicCell_e.book 190 ページ ２００７年７月２日 月曜日 午後３時５０分 Troubleshooting Issues related to external input Issues related to songs Q The device connected to INPUT is inaudible or is not loud enough Q Playlists are not shown A A This may be due to the following reasons. Check the following points. • Are the audio cables connected correctly? Check the connections. • Could an audio cable be broken? Could you be using a connection cable that contains a resistor? Use a connection cable that does not contain a resistor • Could the INPUT LEVEL knob be set to “MIN”? Adjust the knob to an appropriate level. • Is the INPUT gain select switch in the appropriate position? Set the INPUT gain select switch as appropriate for the equipment that is connected. Q No sound from the mic A Could you have connected a condenser mic? If you’re using a condenser mic, you’ll need to provide phantom power. Turn Phantom Power “ON.” (p. 142) • Could the mic cable be broken? • Could the INPUT gain select switch be in a position other than “MIC”? Set the INPUT gain select switch to “MIC.” Issues related to USB memory Q USB memory is not detected. The files are not shown. A Check the format of your USB memory. The SonicCell can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT. Q Can’t back up to USB memory A Check the following points. • Could the USB memory be write protected? • Is there sufficient free space on the USB memory? • Playlists may not be shown if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor. • For some reason the USB memory is not recognized. • It is possible that the USB memory was not formatted correctly. The SonicCell can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT. Q Songs are not shown A This may be due to the following reasons. • Are the songs placed in the root directory? Songs may not be shown if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor. • It is possible that the USB memory was not formatted correctly. The SonicCell can use USB memory that has been formatted as FAT. If your USB memory was formatted using any other method, please re-format it using FAT. Q Songs won’t play A This may be due to the following reasons. • Could a “?” symbol be shown in the song list of the playlist? The sampling rate of the song (audio file) differs from the sampling rate of the SonicCell itself. Change the SAMPLING RATE switch of the SonicCell to match the sampling rate of the song. * If you move the SAMPLING RATE switch while the power is on, you’ll need to turn the power off and on again. • The file type of the song is not one of the file types that the SonicCell can play. • It may be that the song data is damaged. • Songs cannot be played if you directly add/delete/ modify the song data in the SonicCell folder without using Playlist Editor. Q Can’t hear the playback sound A Is the playback volume set correctly? Adjust the playback volume in the player screen. (p. 169) Issues related to USB connection 190 Q The SonicCell is not recognized by my computer A You must connect the SonicCell to a computer whose USB port supports USB 2.0 Hi-Speed connections. SonicCell_e.book 191 ページ ２００７年７月２日 月曜日 午後３時５０分 Error Messages If an incorrect operation is performed, or if processing could not be performed as you specified, an error message will appear. Refer to the explanation for the error message that appears, and take the appropriate action. Message Meaning Action USB Memory Not Ready! USB memory is not connected. Connect USB memory. Failed to load data from USB memory. Make sure that USB memory is correctly connected. It may be that the file is damaged. Do not use this file. This file cannot be loaded since its format is incorrect. Do not use this file. Failed to write data to USB memory. Make sure that USB memory is correctly connected. Data cannot be written because the USB memory has no more free space. Delete unneeded files from the USB memory. Alternatively, use a different USB memory device, one that has more free space available. The file or the USB memory itself is write protected. Make sure that the file or the USB memory is not write protected. This is a file that the SonicCell is unable to play. Do not use this file. This song has not been transferred from Playlist Editor to USB memory. Select the song for transfer from Playlist Editor, and transfer the data once again to USB memory. The sampling rate of the song does not match the setting of the SonicCell. Set the sampling rate of the SonicCell to match the sampling rate of the song, and then restart it. System Memory Damaged! It is possible that the contents of system memory have been damaged. Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center. File Not Found! The file was not found in USB memory. Save the file once again in USB memory. Checksum Error! The checksum value of the received system exclusive message was incorrect. Please correct the checksum value. MIDI Buffer Full! An unusually large amount of MIDI data was received, and could not be processed. Reduce the amount of MIDI messages that are being transmitted. MIDI Offline! The MIDI IN connection was broken. Check that there is no problem with the MIDI cable connected to the SonicCell’s MIDI IN, and that the MIDI cable was not disconnected. USB Offline! The USB cable is not connected. Check that there is no problem with the USB cable connected to the SonicCell, and that the USB cable was not disconnected. Now Playing! The SMF/Audio File Player is currently playing. Either stop playback, or wait until playback has ended. Read Error! Write Error! Incorrect File/ Sampling Rate. 191 SonicCell_e.book 192 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Multi-Effects Parameter (MFX1–3, MFX) The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series. Parameters marked with a sharp “#” can be controlled using a Multi-Effecs Control (p. 81, p. 137) or Matrix Control (p. 95). (Two setting items will change simultaneously for “#1” and “#2”). FILTER (10 types) 01 EQUALIZER 02 SPECTRUM 03 ISOLATOR 04 LOW BOOST 05 SUPER FILTER 06 STEP FILTER 07 ENHANCER 08 AUTO WAH 09 HUMANIZER 10 SPEAKER SIMULATOR MODULATION (12 types) 11 PHASER 12 STEP PHASER 13 MLT STAGE PHASER 14 INFINITE PHASER 15 RING MODULATOR 16 STEP RING MOD 17 TREMOLO 18 AUTO PAN 19 STEP PAN 20 SLICER 21 ROTARY 22 VK ROTARY CHORUS (12 types) 23 CHORUS 24 FLANGER 25 STEP FLANGER 26 HEXA-CHORUS 27 TREMOLO CHORUS 28 SPACE-D 29 3D CHORUS 30 3D FLANGER 31 3D STEP FLANGER 32 2BAND CHORUS 33 2BAND FLANGER 34 2BAND STEP FLNGR DYNAMICS (8 types) 35 OVERDRIVE 36 DISTORTION 37 VS OVERDRIVE 38 VS DISTORTION 39 GUITAR AMP SIMULATOR 40 COMPRESSOR 41 LIMITER 42 GATE 192 P.194 P.194 P.194 P.194 P.195 P.195 P.195 P.196 P.196 P.196 P.197 P.197 P.197 P.198 P.198 P.198 P.198 P.199 P.199 P.199 P.200 P.200 P.200 P.201 P.201 P.201 P.202 P.202 P.202 P.203 P.203 P.203 P.204 P.204 P.205 P.205 P.205 P.205 P.205 P.206 P.206 P.206 DELAY (13 types) 43 DELAY 44 LONG DELAY 45 SERIAL DELAY 46 MODULATION DELAY 47 3TAP PAN DELAY 48 4TAP PAN DELAY 49 MULTI TAP DELAY 50 REVERSE DELAY 51 SHUFFLE DELAY 52 3D DELAY 53 TIME CTRL DELAY 54 LONG T CTL DELAY 55 TAPE ECHO LO-FI (5 types) 56 LOFI NOISE 57 LOFI COMPRESS 58 LOFI RADIO 59 TELEPHONE 60 PHONOGRAPH PITCH (3 types) 61 PITCH SHIFTER 62 2VOI PCH SHIFTER 63 STEP PCH SHIFTER REVERB (2 types) 64 REVERB 65 GATED REVERB COMBINATION (12 types) 66 OD → CHORUS 67 OD → FLANGER 68 OD → DELAY 69 DST → CHORUS 70 DST → FLANGER 71 DST → DELAY 72 ENH → CHORUS 73 ENH → FLANGER 74 ENH → DELAY 75 CHORUS → DELAY 76 FLANGER → DELAY 77 CHORUS → FLANGER PIANO (1 type) 78 SYMPATHETIC RESO P.207 P.207 P.208 P.208 P.209 P.209 P.209 P.210 P.210 P.211 P.211 P.211 P.212 P.212 P.213 P.213 P.213 P.213 P.214 P.214 P.214 P.215 P.215 P.215 P.215 P.216 P.216 P.216 P.216 P.216 P.217 P.217 P.217 P.217 P.218 P.218 SonicCell_e.book 193 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List About Note When Using 3D Effects Some effect parameters (such as Rate or Delay Time) can be set in terms of a note value. Such parameters have a num/note switch that lets you specify whether you will set the value as a note value or as a numerical value. If you want to set Rate (Delay Time) as a numerical value, set the num/note switch to “Hz” (“msec”). If you want to set it as a note value, set the num/note switch to “NOTE.” num/note switch The following 3D effects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc. 52: 3D DELAY 29: 3D CHORUS 30: 3D FLANGER 31: 3D STEP FLANGER When using these effects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sufficient distance from the walls on either side. fig.33-002 30˚ 30˚ * If the Rate is specified as a note value, the modulation will be synchronized with the tempo when you play back SMF song data. note: fig.MFX-note2.e_88 Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note Quarter note Half-note triplet Dotted quarter note Half note Whole-note triplet Dotted half note Whole note Double-note triplet Dotted whole note Double note If a parameter whose num/note switch is set to “NOTE” is specified as a destination for multi-effect control, you will not be able to use multi-effect control to control that parameter. If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specified as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value. If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D effect may not appear. Each of these effects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to “SPEAKER.” If the sound is to be heard through headphones, set it to “PHONES.” This will ensure that the optimal 3D effect will be heard. If this parameter is not set correctly, the full 3D effect may not appear. About the STEP RESET function 06: 16: 19: 20: 63: STEP FILTER STEP RING MOD STEP PAN SLICER STEP PCH SHIFTER The above five types contain a sixteen-step sequencer. For these types, you can use a multi-effect control (p. 81, p. 137) to reset the sequence to play from the first step. To do this, set the multi-effect control Destination to “Step Reset.” For example if you are using the modulation lever to control the effect, you would make the following settings. Source: CC01: MODULATION Destination: Step Reset Sens: +63 With these settings, the sequence will play back from the first step whenever you operate the modulation lever. 193 SonicCell_e.book 194 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 01: EQUALIZER 03: ISOLATOR This is a four-band stereo equalizer (low, mid x 2, high). fig.MFX-01 L in 4-Band EQ L out This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. fig.MFX-03 R in 4-Band EQ Parameter Value Description Low Freq 200, 400 Hz Low Gain # Mid1 Freq Mid1 Gain -15– +15 dB 200–8000 Hz -15– +15 dB Frequency of the low range Gain of the low range Frequency of the middle range 1 Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0 Mid2 Freq Mid2 Gain 200–8000 Hz -15– +15 dB Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0 High Freq High Gain # 2000, 4000, 8000 Hz -15– +15 dB Level # 0–127 Gain of the middle range 1 Width of the middle range 1 Set a higher value for Q to narrow the range to be affected. Frequency of the middle range 2 Gain of the middle range 2 Width of the middle range 2 Set a higher value for Q to narrow the range to be affected. Frequency of the high range Gain of the high range Output Level 02: SPECTRUM This is a stereo spectrum. Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. fig.MFX-02 L in Spectrum R in Spectrum Parameter Value Isolator Low Boost L out R in Isolator Low Boost R out Parameter Value Description Boost/ Cut Low # Boost/ Cut Mid # Boost/ Cut High # -60– +4 dB These boost and cut each of the High, Middle, and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound. Anti Phase Low Sw OFF, ON Anti Phase Low Level 0–127 Anti Phase Mid Sw OFF, ON Anti Phase Mid Level 0–127 Low Boost Sw OFF, ON Low Boost Level 0–127 Level 0–127 Turns the Anti-Phase function on and off for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal. Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specific parts. (This is effective only for stereo source.) Settings of the Anti-Phase function for the Middle frequency ranges The parameters are the same as for the Low frequency ranges. Turns Low Booster on/off. This emphasizes the bottom to create a heavy bass sound. Increasing this value gives you a heavier low end. * Depending on the Isolator and filter settings this effect may be hard to distinguish. Output Level L out R out Description Band1 (250Hz) Band2 (500Hz) 04: LOW BOOST Boosts the volume of the lower range, creating powerful lows. fig.MFX-04 Band3 (1000Hz) Band4 (1250Hz) Band5 (2000Hz) Band6 (3150Hz) Band7 (4000Hz) L in R out -15– +15 dB Gain of each frequency band L in Low Boost 2-Band EQ L out R in Low Boost 2-Band EQ R out Band8 (8000Hz) Q 0.5, 1.0, 2.0, 4.0, 8.0 Level # 0–127 Simultaneously adjusts the width of the adjusted ranges for all the frequency bands. Output Level Parameter Value Description Boost Frequency # 50–125 Hz Center frequency at which the lower range will be boosted Boost Gain # 0– +12 dB Boost Width Low Gain High Gain Level 194 WIDE, MID, NARROW -15– +15 dB -15– +15 dB 0–127 Amount by which the lower range will be boosted Width of the lower range that will be boosted Gain of the low frequency range Gain of the high frequency range Output level SonicCell_e.book 195 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 05: SUPER FILTER 06: STEP FILTER This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically. fig.MFX-05 L in Super Filter L out R in Super Filter R out Parameter Filter Type Filter Slope Value LPF, BPF, HPF, NOTCH -12, -24, -36 dB Filter Cutoff # 0–127 Filter Resonance # 0–127 Filter Gain Modulation Sw 0– +12 dB OFF,ON TRI, SQR, SIN, SAW1, SAW2 Modulation Wave SAW1 fig.MFX-06 L in Step Filter L out R in Step Filter R out Description Filter type Frequency range that will pass through each filter LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff Amount of attenuation per octave -36 dB: extremely steep -24 dB: steep -12 dB: gentle Cutoff frequency of the filter Increasing this value will raise the cutoff frequency. Filter resonance level Increasing this value will emphasize the region near the cutoff frequency. Amount of boost for the filter output On/off switch for cyclic change How the cutoff frequency will be modulated TRI: triangle wave SQR: square wave SIN: sine wave SAW1: sawtooth wave (upward) SAW2: sawtooth wave (downward) Parameter Value Step 01–16 Cutoff frequency at each step 0–127 0.05–10.00 Hz, Rate of modulation note Speed at which the cutoff frequency 0–127 changes between steps Filter type Frequency range that will pass through each filter LPF, BPF, HPF, LPF: frequencies below the cutoff BPF: frequencies in the region of the cutoff NOTCH HPF: frequencies above the cutoff NOTCH: frequencies other than the region of the cutoff Amount of attenuation per octave -12 dB: gentle -12, -24, -36 dB -24 dB: steep -36 dB: extremely steep Filter resonance level 0–127 Increasing this value will emphasize the region near the cutoff frequency. Amount of boost for the filter output 0– +12 dB Output level 0–127 Rate # Attack # Filter Type Filter Slope Filter Resonance # Filter Gain Level Depth Attack # 0–127 Level 0–127 Speed at which the cutoff frequency will change This is effective if Modulation Wave is SQR, SAW1, or SAW2. Output level Description You can use multi-effect control to make the step sequence play again from the beginning (p. 193). SAW2 0.05–10.00 Hz, Rate of modulation note Depth of modulation 0–127 Rate # This is a filter whose cutoff frequency can be modulated in steps. You can specify the pattern by which the cutoff frequency will change. 07: ENHANCER Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound. fig.MFX-07 L in R in 2-Band EQ L out Mix 2-Band EQ R out Mix Enhancer Enhancer Parameter Value Description Sens # 0–127 Sensitivity of the enhancer Mix # 0–127 Low Gain High Gain -15– +15 dB -15– +15 dB Level 0–127 Level of the overtones generated by the enhancer Gain of the low range Gain of the high range Output Level 195 SonicCell_e.book 196 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Parameter 08: AUTO WAH Value Description Manual # 0–100 Point at which Vowel 1/2 switch 49 or less: Vowel 1 will have a longer duration. 50: Vowel 1 and 2 will be of equal duration. 51 or more: Vowel 2 will have a longer duration. Low Gain High Gain -15– +15 dB -15– +15 dB Pan # Level L64–63R 0–127 Cyclically controls a filter to create cyclic change in timbre. fig.MFX-08 L in Auto Wah R in Auto Wah Parameter Value Filter Type LPF, BPF Manual # 0–127 Peak 0–127 Sens # 0–127 Polarity UP, DOWN Rate # Depth # Phase # Low Gain High Gain Level 2-Band EQ L out 2-Band EQ R out Gain of the low frequency range Gain of the high frequency range Stereo location of the output Output level Description Type of filter LPF: The wah effect will be applied over a wide frequency range. BPF: The wah effect will be applied over a narrow frequency range. Adjusts the center frequency at which the effect is applied. Adjusts the amount of the wah effect that will occur in the range of the center frequency. Set a higher value for Q to narrow the range to be affected. Adjusts the sensitivity with which the filter is controlled. Sets the direction in which the frequency will change when the auto-wah filter is modulated. UP: The filter will change toward a higher frequency. DOWN: The filter will change toward a lower frequency. 0.05–10.00 Hz, Frequency of modulation note 0–127 Depth of modulation Adjusts the degree of phase shift of the left 0–180 deg and right sounds when the wah effect is applied. -15– +15 dB Gain of the low range -15– +15 dB Gain of the high range 0–127 Output Level 10: SPEAKER SIMULATOR Simulates the speaker type and mic settings used to record the speaker sound. fig.MFX-10 L in Speaker L out R in Speaker R out Parameter Value Description Speaker Type (See the table right.) Mic Setting 1, 2, 3 Mic Level # Direct Level # 0–127 0–127 Type of speaker Adjusts the location of the mic that is recording the sound of the speaker. This can be adjusted in three steps, with the mic becoming more distant in the order of 1, 2, and 3. Volume of the microphone Volume of the direct sound Level # 0–127 Output Level Specifications of each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units. 09: HUMANIZER Adds a vowel character to the sound, making it similar to a human voice. fig.MFX-09 L in L out Overdrive Formant 2-Band EQ R in Pan L Pan R R out Parameter Value Description Drive Sw OFF, ON Turns Drive on/off. Drive # 0–127 Degree of distortion Also changes the volume. Vowel1 Vowel2 a, e, i, o, u Selects the vowel. a, e, i, o, u 0.05–10.00 Hz, Frequency at which the two vowels switch note Rate # Depth # 0–127 Effect depth Input Sync Sw OFF, ON Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF). Input Sync Threshold 0–127 Volume level at which reset is applied 196 Type Cabinet Speaker Microphone SMALL 1 SMALL 2 small open-back enclosure small open-back enclosure MIDDLE JC-120 BUILT-IN 1 open back enclosure open back enclosure open back enclosure BUILT-IN 2 BUILT-IN 3 BUILT-IN 4 BUILT-IN 5 open open open open 10 10 12 12 12 12 12 1 2 2 2 2 dynamic dynamic dynamic dynamic dynamic condenser condenser BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 METAL STACK sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure large double stack 12 x 2 12 x 2 12 x 2 condenser condenser condenser 2-STACK 3-STACK large double stack large triple stack 12 12 12 12 12 2 4 4 4 4 condenser condenser condenser condenser condenser 12 x 4 condenser back back back back enclosure enclosure enclosure enclosure x x x x x x x x x x SonicCell_e.book 197 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Parameter 11: PHASER Value Description Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. Amount of feedback A phase-shifted sound is added to the original sound and modulated. fig.MFX-11 L in Phaser Mix Mix R in Parameter Mode Manual # Rate # Depth Polarity Phaser Value 2-Band EQ L out 2-Band EQ R out Description 4-STAGE, 8-STAGE, 12Number of stages in the phaser STAGE Adjusts the basic frequency from which the sound will be modulat0–127 ed. 0.05–10.00 Hz, note Frequency of modulation 0–127 Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. Amount of feedback INVERSE, SYNCHRO Resonance # 0–127 Cross Feedback -98– +98% Mix # Low Gain 0–127 -15– +15 dB High Gain Level -15– +15 dB 0–127 Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase. Level of the phase-shifted sound Gain of the low range Gain of the high range Output Level 12: STEP PHASER The phaser effect will be varied gradually. Polarity INVERSE, SYNCHRO Resonance # 0–127 Cross Feedback -98– +98% Adjusts the proportion of the phaser sound that is fed back into the effect. Negative (-) settings will invert the phase. Step Rate # 0.10–20.00 Hz, note Rate of the step-wise change in the phaser effect Mix # Low Gain High Gain Level 0–127 -15– +15 dB -15– +15 dB 0–127 Level of the phase-shifted sound Gain of the low range Gain of the high range Output Level 13: MLT STAGE PHASER (MULTI STAGE PHASER) Extremely high settings of the phase difference produce a deep phaser effect. fig.MFX-13 L in L out Multi Stage Phaser R in Step Phaser Mix Mix R in Step Phaser Parameter Value Mode Manual # Rate # Depth 2-Band EQ L out 2-Band EQ R out Pan L Pan R R out Resonance Parameter Value Description Mode 4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE Number of phaser stages Manual # 0–127 Rate # Depth Resonance # 0.05–10.00 Hz, note 0–127 0–127 Mix # 0–127 Pan # L64–63R fig.MFX-12 L in Mix 2-Band EQ Low Gain -15– +15 dB High Gain Level -15– +15 dB 0–127 Adjusts the basic frequency from which the sound will be modulated. Frequency of modulation Depth of modulation Amount of feedback Level of the phase-shifted sound Stereo location of the output sound Gain of the low range Gain of the high range Output Level Description 4-STAGE, 8-STAGE, 12Number of stages in the phaser STAGE Adjusts the basic frequency from 0–127 which the sound will be modulated. Frequency of modulation 0.05–10.00 Hz, note Depth of modulation 0–127 197 SonicCell_e.book 198 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 14: INFINITE PHASER 16: A phaser that continues raising/lowering the frequency at which the sound is modulated. fig.MFX-14 L in L out Pan L Infinite Phaser 2-Band EQ STEP RING MOD (STEP RING MODULATOR) This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied. fig.MFX-16 L in Step Ring Mod 2-Band EQ L out R in Step Ring Mod 2-Band EQ R out Pan R R in R out Parameter Range Mode 1, 2, 3, 4 Speed # Explanation Higher values will produce a deeper phaser effect. Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward) Amount of feedback -100– +100 Resonance # 0–127 Mix # 0–127 Pan # L64–63R Low Gain -15– +15 dB High Gain -15– +15 dB Level 0–127 Volume of the phase-shifted sound Panning of the output sound Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Output volume Parameter Range Step 01–16 0–127 Rate # 0.05–10.00 Hz, note Attack # 0–127 Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. fig.MFX-15 R in Ring Mod Ring Mod Parameter Value Frequency # 0–127 Sens # 0–127 Polarity UP, DOWN Low Gain -15– +15 dB High Gain -15– +15 dB D100:0W– D0:100W 0–127 Balance # Level 198 2-Band EQ 2-Band EQ Frequency of ring modulation at each step Rate at which the 16-step sequence will cycle Speed at which the modulation frequency changes between steps Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and effect sound (W) Output volume You can use multi-effect control to make the step sequence play again from the beginning (p. 193). 15: RING MODULATOR L in Explanation L out 17: TREMOLO Cyclically modulates the volume to add tremolo effect to the sound. fig.MFX-17a L in Tremolo 2-Band EQ L out R in Tremolo 2-Band EQ R out R out Description Parameter Value Description TRI, SQR, SIN, SAW1, SAW2 Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave Adjusts the frequency at which modulation is applied. Adjusts the amount of frequency modulation applied. Determines whether the frequency modulation moves towards higher frequencies (UP) or lower frequencies (DOWN). Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Mod Wave Output level Rate # 0.05–10.00 Hz, note Depth # Low Gain High Gain Level 0–127 -15– +15 dB -15– +15 dB 0–127 SAW1 SAW2 Frequency of the change Depth to which the effect is applied Gain of the low range Gain of the high range Output Level SonicCell_e.book 199 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 18: AUTO PAN 20: SLICER Cyclically modulates the stereo location of the sound. fig.MFX-18a L in Auto Pan 2-Band EQ L out R in Auto Pan 2-Band EQ R out Parameter Mod Wave Value Description TRI, SQR, SIN, SAW1, SAW2 Modulation Wave TRI: triangle wave SQR: square wave SIN: sine wave SAW1/2: sawtooth wave SAW1 R L SAW2 R L Rate # Depth # Low Gain 0.05–10.00 Hz, note 0–127 -15– +15 dB Frequency of the change High Gain Level -15– +15 dB 0–127 Gain of the high range Depth to which the effect is applied Gain of the low range By applying successive cuts to the sound, this effect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially effective when applied to sustain-type sounds. fig.MFX-20 L in Slicer L out R in Slicer R out Parameter Value Description Step 01–16 L64–63R 0.05–10.00 Hz, note Level at each step Rate # Attack # 0–127 Input Sync Sw OFF, ON Input Sync Threshold 0–127 Mode LEGATO, SLASH Shuffle # 0–127 Level 0–127 Output Level 19: STEP PAN This uses a 16-step sequence to vary the panning of the sound. fig.MFX-19 L in Step Pan L out R in Step Pan R out Range Explanation Step 01–16 L64–63R Rate # 0.05–10.00 Hz, note Attack # 0–127 Pan at each step Rate at which the 16-step sequence will cycle Speed at which the pan changes between steps Input Sync Sw OFF, ON Input Sync Threshold 0–127 Level 0–127 Parameter Rate at which the 16-step sequence will cycle Speed at which the level changes between steps Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF) Volume at which an input note will be detected Sets the manner in which the volume changes as one step progresses to the next. LEGATO: The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume. SLASH: The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step. Timing of volume changes in levels for evennumbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses. Output level You can use multi-effect control to make the step sequence play again from the beginning (p. 193). Specifies whether an input note will cause the sequence to resume from the first step of the sequence (ON) or not (OFF) Volume at which an input note will be detected Output volume You can use multi-effect control to make the step sequence play again from the beginning (p. 193). 199 SonicCell_e.book 200 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 21: ROTARY The Rotary effect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This effect is most suitable for electric organ Patches. fig.MFX-21 L in L out Rotary R in Parameter R out Value Speed # SLOW, FAST Wf Slow Speed 0.05–10.00 Hz Wf Fast Speed 0.05–10.00 Hz Wf Acceleration 0–15 Wf Level 0–127 Tw Slow Speed Tw Fast Speed 0.05–10.00 Hz 0.05–10.00 Hz Tw Acceleration Tw Level 0–15 0–127 Separation Level # 0–127 0–127 Description Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor. SLOW: Slows down the rotation to the Slow Rate. FAST: Speeds up the rotation to the Fast Rate. Slow speed (SLOW) of the low frequency rotor Fast speed (FAST) of the low frequency rotor Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed. Lower values will require longer times. Volume of the low frequency rotor Settings of the high frequency rotor The parameters are the same as for the low frequency rotor Spatial dispersion of the sound Output Level 22: VK ROTARY This type provides modified response for the rotary speaker, with the low end boosted further. This effect features the same specifications as the VK-7’s builtin rotary speaker. fig.MFX-22 L in 2-Band EQ L out Rotary R in 2-Band EQ Parameter Value Speed # SLOW, FAST Brake # OFF, ON Wf Slow Speed 0.05–10.00 Hz Wf Fast Speed 0.05–10.00 Hz 200 R out Description Rotational speed of the rotating speaker Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned off, the rotation will gradually resume. Low-speed rotation speed of the woofer High-speed rotation speed of the woofer Parameter Value Wf Trans Up 0–127 Wf Trans Down 0–127 Description Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Slow to Fast. Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from Fast to Slow. Volume of the woofer Wf Level 0–127 Tw Slow Speed Tw Fast Speed 0.05–10.00 Hz 0.05–10.00 Hz Tw Trans Up Tw Trans Down Tw Level 0–127 0–127 0–127 Spread 0–10 Low Gain High Gain -15– +15 dB -15– +15 dB Level # 0–127 Settings of the tweeter The parameters are the same as for the woofer. Sets the rotary speaker stereo image. The higher the value set, the wider the sound is spread out. Gain of the low range Gain of the high range Output Level 23: CHORUS This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound. fig.MFX-23 Balance D 2-Band EQ L in Chorus Balance W Chorus Balance W R in Balance D 2-Band EQ L out R out Value Description Filter Type OFF, LPF, HPF Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Parameter Rate # 0.05–10.00 Hz, note Depth Phase Low Gain High Gain 0–127 0–180 deg -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Basic frequency of the filter Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level SonicCell_e.book 201 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 24: FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound. fig.MFX-24 Balance D L in Flanger 2-Band EQ L out Balance W Feedback Feedback Flanger R in Balance D Parameter Filter Type Cutoff Freq Pre Delay Value Balance W 2-Band EQ R out Parameter Value Description Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Frequency of modulation Rate # 0.05–10.00 Hz, note Depth Phase 0–127 0–180 deg Feedback # -98– +98% Step Rate # Low Gain High Gain 0.10–20.00 Hz, note -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Rate (period) of pitch change Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level Description OFF, LPF, HPF 200–8000 Hz 0.0–100.0 ms Rate # 0.05–10.00 Hz, note Depth Phase 0–127 0–180 deg Feedback # -98– +98% Low Gain High Gain -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level 26: HEXA-CHORUS Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound. fig.MFX-26 L in Balance W Hexa Chorus Balance W R in This is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo. Parameter Value Pre Delay 0.0–100.0 ms Rate # Depth 0.05–10.00 Hz, note 0–127 Pre Delay Deviation 0–20 Pan Deviation fig.MFX-25 Balance D L in Step Flanger Balance # 2-Band EQ L out R out Balance D Depth Deviation 25: STEP FLANGER L out Balance D Level Description Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Adjusts the differences in Pre Delay between each chorus sound. Adjusts the difference in modulation -20– +20 depth between each chorus sound. Adjusts the difference in stereo location between each chorus sound. 0: All chorus sounds will be in the 0–20 center. 20: Each chorus sound will be spaced at 60 degree intervals relative to the center. Volume balance between the direct D100:0W–D0:100W sound (D) and the chorus sound (W) 0–127 Output Level Balance W Feedback Feedback Step Flanger R in Balance D Parameter Filter Type Balance W 2-Band EQ R out Value Description OFF, LPF, HPF Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq 201 SonicCell_e.book 202 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 27: TREMOLO CHORUS 29: 3D CHORUS This is a chorus effect with added Tremolo (cyclic modulation of volume). This applies a 3D effect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-27 fig.MFX-29 L in L out L Balance D Balance W 2-Band EQ L out 2-Band EQ R out 3D Chorus Tremolo Chorus Balance W R in R R out Balance D Value Description Filter Type OFF, LPF, HPF Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Cutoff Freq 200–8000 Hz Basic frequency of the filter Pre Delay 0.0–100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard. Rate # 0.05–10.00 Hz, note Frequency of modulation Depth 0–127 Phase 0–180 deg Output Mode SPEAKER, PHONES Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Parameter Value Description Pre Delay 0.0–100.0 ms Adjusts the delay time from the direct sound until the chorus sound is heard. Chorus Rate # 0.05–10.00 Hz, note Chorus Depth 0–127 Tremolo Rate # 0.05–10.00 Hz, note Tremolo Separation 0–127 Spread of the tremolo effect Tremolo Phase 0–180 deg Balance # D100:0W–D0:100W Level 0–127 Spread of the tremolo effect Volume balance between the direct sound (D) and the tremolo chorus sound (W) Output Level Parameter Modulation frequency of the chorus effect Modulation depth of the chorus effect Modulation frequency of the tremolo effect 28: SPACE-D This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect. fig.MFX-28 Balance D 2-Band EQ L in Space D Balance W Space D Balance W R in Balance D Parameter Value Pre Delay 0.0–100.0 ms Rate # Depth Phase Low Gain 0.05–10.00 Hz, note 0–127 0–180 deg -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 202 2-Band EQ L out R out Description Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level Modulation depth of the chorus effect Spatial spread of the sound Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the chorus sound (W) Output Level SonicCell_e.book 203 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 30: 3D FLANGER This applies a 3D effect to the flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-30 L Parameter Value Description Rate # 0.05–10.00 Hz, note Depth Phase 0–127 0–180 deg Frequency of modulation Depth of modulation Feedback # -98– +98% 2-Band EQ L out Step Rate # 0.10–20.00 Hz, note 2-Band EQ R out Output Mode SPEAKER, PHONES 3D Flanger R Parameter Value Filter Type OFF, LPF, HPF Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Rate # Depth 0.05–10.00 Hz, note 0–127 Phase 0–180 deg Feedback # -98– +98% Output Mode SPEAKER, PHONES Low Gain High Gain -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Description Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level 31: 3D STEP FLANGER This applies a 3D effect to the step flanger sound. The flanger sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-31 L 2-Band EQ L out 2-Band EQ R out 3D Step Flanger R Parameter Value Filter Type OFF, LPF, HPF Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Description Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Rate (period) of pitch change Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the flanger sound (W) Output Level 32: 2BAND CHORUS A chorus effect that lets you apply an effect independently to the low-frequency and high-frequency ranges. fig.MFX-32 L in L out High Band Chorus Split Low Band Chorus High Band Chorus Split Low Band Chorus R in R out Parameter Range Split Freq 200–8000 Hz Low Pre Delay 0.0–100.0 ms Low Rate # 0.05–10.00 Hz, note Low Depth 0–127 Low Phase 0–180 deg High Pre Delay 0.0–100.0 ms High Rate # 0.05–10.00 Hz, note High Depth 0–127 High Phase 0–180 deg Balance # D100:0W–D0:100W Level 0–127 Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range chorus sound is heard Rate at which the low-range chorus sound is modulated Modulation depth for the lowrange chorus sound Spaciousness of the low-range chorus sound Delay time from when the original sound is heard to when the high-range chorus sound is heard Rate at which the low-range chorus sound is modulated Modulation depth for the highrange chorus sound Spaciousness of the high-range chorus sound Volume balance of the original sound (D) and chorus sound (W) Output volume 203 SonicCell_e.book 204 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 33: 2BAND FLANGER 34: A flanger that lets you apply an effect independently to the low-frequency and high-frequency ranges. fig.MFX-33 L in L out High Band Flanger Split 2BAND STEP FLNGR (2BAND STEP FLANGER) A step flanger that lets you apply an effect independently to the low-frequency and high-frequency ranges. fig.MFX-34 L in L out High Band Step Flanger High Band Feedback Split Low Band Flanger High Band Feedback Low Band Step Flanger Low Band Feedback High Band Feedback Low Band Feedback High Band Feedback High Band Flanger Split High Band Step Flanger Low Band Feedback R in Low Band Feedback Split Low Band Flanger R out Low Band Step Flanger R in Parameter Range Split Freq 200–8000 Hz Low Pre Delay 0.0–100.0 ms Low Rate # 0.05–10.00 Hz, note Low Depth 0–127 Low Phase 0–180 deg Low Feedback # -98– +98% High Pre Delay 0.0–100.0 ms High Rate # 0.05–10.00 Hz, note High Depth 0–127 High Phase 0–180 deg High Feedback # -98– +98% Balance # D100:0W–D0:100W Level 0–127 204 R out Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range flanger sound is heard Rate at which the low-range flanger sound is modulated Modulation depth for the lowrange flanger sound Spaciousness of the low-range flanger sound Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase) Delay time from when the original sound is heard to when the high-range flanger sound is heard Rate at which the high-range flanger sound is modulated Modulation depth for the highrange flanger sound Spaciousness of the high-range flanger sound Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase) Volume balance of the original sound (D) and flanger sound (W) Output volume Parameter Range Split Freq 200–8000 Hz Low Pre Delay 0.0–100.0 ms Low Rate # 0.05–10.00 Hz, note Low Depth 0–127 Low Phase 0–180 deg Low Feedback # -98– +98% Low Step Rate # 0.10–20.00 Hz, note High Pre Delay 0.0–100.0 ms High Rate # 0.05–10.00 Hz, note High Depth 0–127 High Phase 0–180 deg High Feedback # -98– +98% High Step Rate # 0.10–20.00 Hz, note Balance # D100:0W–D0:100W Level 0–127 Explanation Frequency at which the low and high ranges will be divided Delay time from when the original sound is heard to when the low-range flanger sound is heard Rate at which the low-range flanger sound is modulated Modulation depth for the lowrange flanger sound Spaciousness of the low-range flanger sound Proportion of the low-range flanger sound that is to be returned to the input (negative values invert the phase) Rate at which the steps will cycle for the low-range flanger sound Delay time from when the original sound is heard to when the high-range flanger sound is heard Rate at which the high-range flanger sound is modulated Modulation depth for the highrange flanger sound Spaciousness of the high-range flanger sound Proportion of the high-range flanger sound that is to be returned to the input (negative values invert the phase) Rate at which the steps will cycle for the high-range flanger sound Volume balance of the original sound (D) and flanger sound (W) Output volume SonicCell_e.book 205 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 35: OVERDRIVE 38: VS DISTORTION Creates a soft distortion similar to that produced by vacuum tube amplifiers. This is a distortion effect that provides heavy distortion. The parameters are the same as for “37: VS OVERDRIVE.” fig.MFX-35 fig.MFX-38 L in L out Over drive Amp Simulator Pan R R in R out Parameter Value Drive # 0–127 Amp Type SMALL, BUILT-IN, 2-STACK, 3-STACK L in Pan L 2-Band EQ L out Distortion Low Gain -15– +15 dB -15– +15 dB Pan # L64–63R Level 0–127 Degree of distortion Also changes the volume. Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Gain of the low range Gain of the high range Stereo location of the output sound Output Level 36: DISTORTION R in L in L out Amp Simulator 2-Band EQ Pan L Pan R R in R out R out fig.MFX-39 L in 37: VS OVERDRIVE L out Pan L Pre Amp Pan R R out Parameter Value Pre Amp Sw Turns the amp switch on/off. OFF, ON JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, Type of guitar amp SLDN LEAD, METAL5150, METAL LEAD, OD-1, OD2 TURBO, DISTORTION, FUZZ Volume and amount of distortion 0–127 of the amp Pre Amp Volume # Pre Amp Master # Pre Amp Gain Pre Amp Bass Pre Amp Presence 0–127 Volume of the entire pre-amp Amount of pre-amp distortion Tone of the bass/mid/treble frequency range * Middle cannot be set if “Match Drive” is selected as the Pre Amp Type. Tone for the ultra-high frequency range Turning this “On” produces a sharper and brighter sound. * This parameter applies to the “JC-120,” “Clean Twin,” and “BG Lead” Pre Amp Types. Determines whether the signal passes through the speaker (ON), or not (OFF). Type of speaker Adjusts the location of the mic that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the mic becoming more distant as the value increases. Volume of the microphone Volume of the direct sound Stereo location of the output Output level 0–127 0–127 fig.MFX-37 L in L out Amp Simulator 2-Band EQ Pan R R out Value Drive # 0–127 Tone # Amp Sw 0–127 OFF, ON Amp Type SMALL, BUILT-IN, 2STACK, 3-STACK -15– +15 dB -15– +15 dB L64–63R Level 0–127 Pre Amp Bright OFF, ON Pan L R in Description Degree of distortion Also changes the volume. Sound quality of the Overdrive effect Turns the Amp Simulator on/off. Type of guitar amp SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp Gain of the low range Gain of the high range Description LOW, MIDDLE, HIGH Pre Amp Treble This is an overdrive that provides heavy distortion. Speaker R in Pre Amp Middle Low Gain High Gain Pan # Pan R This is an effect that simulates the sound of a guitar amplifier. Pre Amp Type fig.MFX-36 Parameter Pan L 39: GUITAR AMP SIMULATOR Produces a more intense distortion than Overdrive. The parameters are the same as for “35: OVERDRIVE.” Overdrive 2-Band EQ Description High Gain Distortion Amp Simulator Speaker Sw OFF, ON Speaker Type (See the table below.) Mic Setting 1, 2, 3 Mic Level Direct Level 0–127 0–127 Pan # Level # L64–63R 0–127 Stereo location of the output sound Output Level 205 SonicCell_e.book 206 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Specifications for each Speaker Type The speaker column indicates the diameter of each speaker unit (in inches) and the number of units. Compresses signals that exceed a specified volume level, preventing distortion from occurring. Speaker Microphone 10 10 12 x 1 dynamic dynamic dynamic 12 x 2 12 x 2 12 x 2 dynamic dynamic condenser 12 12 12 12 2 2 2 2 condenser condenser condenser condenser 12 x 2 12 x 4 12 x 4 condenser condenser condenser Ratio large double stack large double stack 12 x 4 12 x 4 condenser condenser Post Gain 1.5:1, 2:1, 4:1, 100:1 0– +18 dB Low Gain -15– +15 dB large triple stack 12 x 4 condenser High Gain Level # -15– +15 dB 0–127 Type Cabinet SMALL 1 SMALL 2 MIDDLE JC-120 small open-back enclosure small open-back enclosure open back enclosure open back enclosure BUILT-IN 1 BUILT-IN 2 BUILT-IN 3 open back enclosure open back enclosure open back enclosure BUILT-IN 4 BUILT-IN 5 BG STACK 1 BG STACK 2 MS STACK 1 MS STACK 2 open back enclosure open back enclosure sealed enclosure large sealed enclosure large sealed enclosure large sealed enclosure METAL STACK 2-STACK 3-STACK x x x x 40: COMPRESSOR fig.MFX-40 Compressor fig.MFX-41 L in Limiter 2-Band EQ L out R in Limiter 2-Band EQ R out Parameter Value Release # 0–127 Threshold # 0–127 Description Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied. Adjusts the volume at which compression begins Compression ratio Adjusts the output gain. Gain of the low frequency range Gain of the high frequency range Output level 42: GATE Flattens out high levels and boosts low levels, smoothing out fluctuations in volume. L in 41: LIMITER 2-Band EQ L out Cuts the reverb’s delay according to the volume of the sound sent into the effect. Use this when you want to create an artificial-sounding decrease in the reverb’s decay. fig.MFX-42 R in Compressor 2-Band EQ Parameter Value Description Attack # 0–127 Sets the speed at which compression starts Threshold # 0–127 Post Gain 0– +18 dB Low Gain High Gain Level # -15– +15 dB -15– +15 dB 0–127 Adjusts the volume at which compression begins Adjusts the output gain. Gain of the low frequency range Gain of the high frequency range Output level L in Gate L out R in Gate R out R out Parameter Value Description Threshold # 0–127 Mode GATE, DUCK Attack 0–127 Volume level at which the gate begins to close Type of gate GATE: The gate will close when the volume of the original sound decreases, cutting the original sound. DUCK (Ducking): The gate will close when the volume of the original sound increases, cutting the original sound. Adjusts the time it takes for the gate to fully open after being triggered. Hold 0–127 Release 0–127 Balance # Level 206 D100:0W– D0:100W 0–127 Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold. Adjusts the time it takes the gate to fully close after the hold time. Volume balance between the direct sound (D) and the effect sound (W) Output level SonicCell_e.book 207 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 43: DELAY 44: LONG DELAY This is a stereo delay. When Feedback Mode is NORMAL: A delay that provides a long delay time. fig.MFX-44 fig.MFX-43a 2-Band EQ L in Delay 2-Band EQ L in Balance D Pan L L out Long Delay Balance W Pan R Feedback R in Feedback Feedback Balance W Delay 2-Band EQ R in Balance D R out Parameter Range Delay Time 0–2600 ms, note Phase NORMAL, INVERSE Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS When Feedback Mode is CROSS: fig.MFX-43b Balance D 2-Band EQ L in Delay L out Balance W Feedback Feedback Balance W Delay R in Balance D 2-Band EQ Parameter Value Description 0–1300 ms, note Adjusts the time until the delay sound is heard. Phase Left Phase Right NORMAL, INVERSE Phase of the delay sound Feedback Mode NORMAL, CROSS Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Balance # Level -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 Pan # L64–63R Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 R out Delay Left Delay Right Low Gain High Gain L out 2-Band EQ R out Explanation Delay time from when the original sound is heard to when the delay sound is heard Phase of the delay (NORMAL: non-inverted, INVERT: inverted) Proportion of the delay sound that is to be returned to the input (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound will be cut (BYPASS: no cut) Panning of the delay sound Amount of boost/cut for the highfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume Selects the way in which delay sound is fed back into the effect. (See the figures above.) Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level 207 SonicCell_e.book 208 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 45: SERIAL DELAY 46: MODULATION DELAY This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds. Adds modulation to the delayed sound. When Feedback Mode is NORMAL: fig.MFX-46a Balance D fig.MFX-45 L in L out L in Delay Pan L Delay 1 Delay 2 Feedback 1 Feedback 2 R in Range Delay1 Time 0–1300 ms, note Delay1 Feedback # -98– +98% Delay1 HF Damp 200–8000 Hz, BYPASS Delay2 Time 0–1300 ms, note Delay2 Feedback # Pan R -98– +98% Delay2 HF Damp 200–8000 Hz, BYPASS Pan # L64–63R Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Explanation Delay time from when sound is input to delay 1 until the delay sound is heard Proportion of the delay sound that is to be returned to the input of delay 1 (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut) Delay time from when sound is input to delay 2 until the delay sound is heard Proportion of the delay sound that is to be returned to the input of delay 2 (negative values invert the phase) Frequency at which the high-frequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut) Panning of the delay sound Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume Delay Balance W Modulation Balance W R in Balance D L out 2-Band EQ R out 2-Band EQ L out When Feedback Mode is CROSS: fig.MFX-46b Balance D L in Delay Modulation Balance W Modulation Balance W Feedback Feedback Delay R in Balance D 2-Band EQ R out Parameter Value Description Delay Left Delay Right 0–1300 ms, note Adjusts the time until the delay sound is heard. Feedback Mode NORMAL, CROSS Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Selects the way in which delay sound is fed back into the effect (See the figures above.) Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. Rate # Depth Phase Low Gain High Gain Balance # Level 208 Modulation Feedback Feedback R out Parameter 2-Band EQ 0.05–10.00 Hz, Frequency of modulation note 0–127 Depth of modulation 0-180 deg Spatial spread of the sound -15– +15 dB Gain of the low frequency range -15– +15 dB Gain of the high frequency range D100:0W– Volume balance between the direct sound D0:100W (D) and the delay sound (W) Output level 0–127 SonicCell_e.book 209 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 47: 3TAP PAN DELAY 49: MULTI TAP DELAY Produces three delay sounds; center, left and right. fig.MFX-47 Balance D L in 2-Band EQ L out Balance W Left Tap This effect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound. fig.MFX-49 Balance D Triple Tap Delay L in Center Tap Feed back Feedback R in Balance D 2-Band EQ Description Delay Left/ Right/Center 0–2600 ms, note Center Feedback # -98– +98% Adjusts the time until the delay sound is heard. Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS. HF Damp Left/Right/ Center Level Low Gain High Gain Delay 2 0–127 Volume of each delay -15– +15 dB -15– +15 dB Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level Balance # D100:0W– D0:100W Level 0–127 Balance W Delay 4 Value R in Balance D 2-Band EQ R out Parameter Value Description Delay 1–4 Time 0–2600 ms, note Adjusts the time until Delays 1–4 are heard. Delay 1 Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Delay 1–4 Pan L64–63R Delay 1–4 Level 0–127 Low Gain -15– +15 dB High Gain 48: 4TAP PAN DELAY L out Multi Tap Delay R out Parameter 2-Band EQ Balance W Delay 3 Balance W Right Tap 200–8000 Hz, BYPASS Delay 1 Balance # Level -15– +15 dB D100:0W– D0:100W 0–127 Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any the high frequencies, set this parameter to BYPASS. Stereo location of Delays 1–4 Output level of Delays 1–4 Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Output level This effect has four delays. fig.MFX-48a Balance D L in L out Delay 1 Balance W Feedback Delay 2 Quadruple Tap Delay Delay 3 Balance W Delay 4 R in R out Balance D fig.MFX-48b 2 1 L Parameter Stereo location of each delay 3 4 R Value 0–2600 ms, Delay 1–4 Time note Delay 1 Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Delay 1–4 Level 0–127 Low Gain -15– +15 dB High Gain -15– +15 dB D100:0W– Balance # D0:100W Level 0–127 Description Adjusts the time until the delay sound is heard. Adjusts the amount of the delay sound that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS. Volume of each delay Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level 209 SonicCell_e.book 210 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 50: REVERSE DELAY 51: SHUFFLE DELAY This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay. Adds a shuffle to the delay sound, giving the sound a bouncy delay effect with a swing feel. fig.MFX-51 fig.MFX-50 L in 2-Band EQ L in Feedback Rev Feedback L out Delay D3 D2 Range Explanation L out 2-Band EQ R out Parameter Value Description Delay Time # 0–2600 ms, note Adjusts the time until the delay sound is heard. 0–127 Delay 1 Level’, ‘Delay 2 Level 0–127 Volume of the tap delay sounds Low Gain -15– +15 dB Amount of boost/cut for the lowfrequency range High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 210 B 2-Band EQ R out Volume at which the reverse delay will begin to be applied Delay time from when sound is Rev Dly Time 0–1300 ms, note input into the reverse delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input Rev Dly Feedback # -98– +98% of the reverse delay (negative values invert the phase) Frequency at which the high-fre200–8000 Hz, quency content of the reverse-deRev Dly HF Damp BYPASS layed sound will be cut (BYPASS: no cut) Panning of the reverse delay Rev Dly Pan L64–63R sound Volume of the reverse delay Rev Dly Level 0–127 sound Delay time from when sound is Delay 1 – 3 Time 0–1300 ms, note input into the tap delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input Delay 3 Feedback # -98– +98% of the tap delay (negative values invert the phase) Frequency at which the low-frequency content of the tap delay Delay HF Damp 200–8000 Hz, BYPASS sound will be cut (BYPASS: no cut) Delay 1 Pan’, L64–63R Panning of the tap delay sounds ‘Delay 2 Pan Threshold Delay B R in 2-Band EQ R in Parameter A Delay D1 Rev. Delay Delay A Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and delay sound (W) Output volume Shuffle Rate # 0–100% Acceleration 0–15 Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Pan A/B 0–127 Level A/B Low Gain High Gain 0–127 -15– +15 dB -15– +15 dB Balance # D100:0W– D0:100W Level 0–127 Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds. When set to 100%, the delay times are the same. Adjusts the speed which the Delay Time changes from the current setting to its specified new setting. Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. Stereo location of Delay A/B Volume of delay A/B Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the effect sound (W) Output level SonicCell_e.book 211 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 52: 3D DELAY This applies a 3D effect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right. fig.MFX-52 L 2-Band EQ Level Parameter Value Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Low Gain -15– +15 dB High Gain -15– +15 dB D100:0W– D0:100W 0–127 L out 3D Delay L 3D Delay C Balance # Feedback Level 3D Delay R 2-Band EQ R Parameter Delay Left Delay Right Delay Center Center Feedback # HF Damp Left Level Right Level Center Level Output Mode Description 0–2600 ms, note Adjusts the delay time from the direct sound until the delay sound is heard. 200–8000 Hz, BYPASS Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS. Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level R out Value -98– +98% Description Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. 54: LONG T CTL DELAY (LONG TIME CONTROL DELAY) A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced. fig.MFX-54 L in Balance D SPEAKER, PHONES Low Gain High Gain -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Time Control Delay Balance W 2-Band EQ Output level of the delay sound R in Adjusts the method that will be used to hear the sound that is output to the OUTPUT jacks. The optimal 3D effect will be achieved if you select SPEAKER when using speakers, or PHONES when using headphones. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Parameter Value Description Delay Time # 0–2600 ms, note Adjusts the time until the delay is heard. Acceleration 0–15 Feedback # -98– +98% HF Damp 200–8000 Hz, BYPASS Pan # Low Gain L64–63R -15– +15 dB High Gain -15– +15 dB D100:0W– D0:100W Balance D Output Level 53: TIME CTRL DELAY A stereo delay in which the delay time can be varied smoothly. Balance # Level fig.MFX-53 L in 2-Band EQ Time Ctrl Delay L out Balance W Feedback 0–127 2-Band EQ 0–127 R out Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change. Adjusts the amount of the delay that’s fed back into the effect. Negative (-) settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS. Stereo location of the delay Gain of the low frequency range Gain of the high frequency range Volume balance between the direct sound (D) and the delay sound (W) Output level L out Pan L Feedback Feedback Time Ctrl Delay R in Pan R 2-Band EQ R out Parameter Value Description Delay Time # 0–1300 ms, note Adjusts the time until the delay is heard. Acceleration 0–15 Adjusts the speed which the Delay Time changes from the current setting to a specified new setting. The rate of change for the Delay Time directly affects the rate of pitch change. 211 SonicCell_e.book 212 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 55: TAPE ECHO 56: LOFI NOISE A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo. fig.MFX-55 In addition to a lo-fi effect, this adds various types of noise such as white noise and disc noise. fig.MFX-56 L in L in L out Direct Level R out Mode S, M, L, S+M, S+L, M+L, S+M+L Repeat Rate # 0–127 Description Combination of playback heads to use Select from three different heads with different delay times. S: short, M: middle, L: long Tape speed Increasing this value will shorten the spacing of the delayed sounds. Intensity # Bass 0–127 -15– +15 dB Amount of delay repeats Boost/cut for the lower range of the echo sound Treble Head S Pan Head M Pan Head L Pan -15– +15 dB Boost/cut for the upper range of the echo sound L64–63R Independent panning for the short, middle, and long playback heads Tape Distortion 0–5 Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion. Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity) Wow/Flutter Rate 0–127 Wow/Flutter Depth 0–127 Depth of wow/flutter Echo Level # 0–127 Direct Level # Level 0–127 0–127 Volume of the echo sound Volume of the original sound Output level R in Parameter Value Description LoFi Type 1–9 Degrades the sound quality. The sound quality grows poorer as this value is increased. Filter Type OFF, LPF, HPF 200–8000 Hz Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Center frequency of the filter WHITE, PINK Switch between white noise and pink noise. W/P Noise LPF W/P Noise Level # 200–8000 Hz, BYPASS Center frequency of the low pass filter applied to the white/pink noise (BYPASS: no cut) 0–127 Volume of the white/pink noise Disc Noise Type LP, EP, SP, RND Disc Noise LPF 200–8000 Hz, BYPASS Filter Cutoff W/P Noise Type Disc Noise Level # Hum Noise Type Hum Noise LPF Hum Noise Level # Low Gain High Gain Balance # Level 212 R out Lo-Fi Direct Level Value 2-Band EQ Noise Gen. Echo Level Parameter L out Lo-Fi Echo Level Tape Echo R in 2-Band EQ Type of record noise The frequency at which the noise is heard depends on the selected type. Adjusts the cutoff frequency of the low pass filter applied to the record noise. If you don’t want to filter out any high frequencies, set this parameter to BYPASS. 0–127 Volume of the record noise 50 Hz, 60 Hz Frequency of the hum noise 200–8000 Hz, BYPASS Center frequency of the low pass filter applied to the hum noise (BYPASS: no cut) 0–127 Volume of the hum noise -15– +15 dB -15– +15 dB D100:0W– D0:100W 0–127 Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output level SonicCell_e.book 213 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 57: LOFI COMPRESS 59: TELEPHONE This is an effect that intentionally degrades the sound quality for creative purposes. fig.MFX-59 L in Telephone L out R in Telephone R out fig.MFX-57 L in Compressor Lo-Fi 2-Band EQ Lo-Fi 2-Band EQ L out Parameter R in Compressor R out Value Description Pre Fil Type 1–6 Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. 1: Compressor off 2–6: Compressor on LoFi Type 1–9 Post Fil Type OFF, LPF, HPF Post Fil Cutoff 200–8000 Hz Low Gain High Gain -15– +15 dB -15– +15 dB Balance # D100:0W– D0:100W Level # 0–127 Parameter Balance # Degrades the sound quality. The sound quality grows poorer as this value is increased. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the Post Filter Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the effect sound (W) Output level Level Value Description 0–15 Audio quality of the telephone voice -15– +15 dB D100:0– D0:100W Bandwidth of the telephone voice 0–127 60: PHONOGRAPH Simulates a sound recorded on an analog record and played back on a record player. This effect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable. fig.MFX-60 Balance D L in L out Phonograph Balance W Phonograph Balance W R out Balance D In addition to a Lo-Fi effect, this effect also generates radio noise. fig.MFX-58 2-Band EQ L out Parameter Value Description Signal Distortion 0–127 Depth of distortion Frequency Range 0–127 Disc Type LP, EP, SP Scratch Noise Level 0–127 Lo-Fi Radio Lo-Fi 2-Band EQ R in R out Parameter Value Description LoFi Type 1–9 Degrades the sound quality. The sound quality grows poorer as this value is increased. Filter Type Filter Cutoff Radio Detune # Radio Noise Level # Balance # Level OFF, LPF, HPF 200–8000 Hz 0–127 Volume balance between the direct sound (D) and the effect sound (W) Output level R in 58: LOFI RADIO L in Voice Quality # Treble Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the Post Filter Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further. 0–127 Volume of the radio noise D100:0W– D0:100W 0–127 Volume balance between the direct sound (D) and the effect sound (W) Output level Dust Noise Lev0–127 el Hiss Noise Lev0–127 el Total Noise Lev0–127 el # Wow 0–127 Frequency response of the playback system Decreasing this value will produce the impression of an old system with a poor frequency response. Rotational speed of the turntable This will affect the frequency of the scratch noise. Amount of noise due to scratches on the record Volume of noise due to dust on the record Volume of continuous “hiss” Volume of overall noise Depth of long-cycle rotational irregularity Flutter 0–127 Random 0–127 Total Wow/ Flutter # 0–127 Depth of overall rotational irregularity D100:0W– D0:100W 0–127 Volume balance between the direct sound (D) and the effect sound (W) Output level Balance # Level Depth of short-cycle rotational irregularity Depth of indefinite-cycle rotational irregularity 213 SonicCell_e.book 214 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 61: PITCH SHIFTER (Feedback Pitch Shifter) A stereo pitch shifter. fig.MFX-61 L in 2-Band EQ L out Pitch Shifter Pitch Shifter R in 2-Band EQ Parameter Value Coarse #1 -24– +12 semi Fine #1 -100– +100 cent Delay Time 0–1300 ms, note Feedback # -98– +98% Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 R out Description Adjusts the pitch of the pitch shifted sound in semitone steps. Adjusts the pitch of the pitch shifted sound in 2-cent steps. Adjusts the delay time from the direct sound until the pitch shifted sound is heard. Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level Parameter Value Pitch 2: Coarse #2 -24-+12 semi Pitch 2:Fine #2 Pitch 2:Delay Pitch 2:Feedback # Pitch 2:Pan # Pitch 2:Level Low Gain -100-+100 cent 0–1300 ms, note High Gain -15– +15 dB Level Balance A100:0B-A0:100B Balance D100:0W-D0:100W Level 0-127 63: -98– +98% L64-63R 0–127 -15– +15 dB 2VOI PCH SHIFTER (2VOICE PITCH SHIFTER) Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound. fig.MFX-62 Balance D L in L out Level 1 2Voice Pitch Shifter Level 1 Pan 1 L fig.MFX-63 L in R out Balance D Parameter Value Pitch 1: Coarse #1 -24-+12 semi Pitch 1:Fine #1 -100-+100 cent Pitch 1:Delay 0–1300 ms, note Pitch 1:Feedback # -98– +98% Pitch 1:Pan # L64-63R Pitch 1:Level 0–127 214 Description Adjusts the pitch of Pitch Shift 1 in semitone steps. Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps. Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard. Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative (-) settings will invert the phase. Stereo location of the Pitch Shift 1 sound Volume of the Pitch Shift1 sound L out 2-Band EQ R out Step Pitch Shifter Parameter Range Step 01–16 -24–+12 semi Rate # 0.05–10.00 Hz, note Attack # 0–127 Gate Time # 0–127 Fine -100– +100 cent Delay Time 0–1300 ms, note Feedback # -98– +98% Low Gain -15– +15 dB High Gain -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 Pan 2 L R in 2-Band EQ Step Pitch Shifter Balance W Balance W Gain of the low range Gain of the high range Volume balance between the Pitch Shift 1 and Pitch Shift 2 sounds Volume balance between the direct sound (D) and the pitch shifted sound (W) Output Level A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence. Pan 1 R Pan 2 R Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound. STEP PCH SHIFTER (STEP PITCH SHIFTER) R in 62: Description Explanation Amount of pitch shift at each step (semitone units) Rate at which the 16-step sequence will cycle Speed at which the amount of pitch shift changes between steps Duration of the pitch shifted sound at each step Pitch shift adjustment for all steps (2-cent units) Delay time from the original sound until the pitch-shifted sound is heard Proportion of the pitch-shifted sound that is to be returned to the input (negative values invert the phase) Amount of boost/cut for the lowfrequency range Amount of boost/cut for the highfrequency range Volume balance of the original sound (D) and pitch-shifted sound (W) Output volume You can use multi-effect control to make the step sequence play again from the beginning (p. 193). SonicCell_e.book 215 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 64: REVERB Adds reverberation to the sound, simulating an acoustic space. Parameter Value Description High Gain -15– +15 dB Balance # D100:0W–D0:100W Level # 0–127 Gain of the high range Volume balance between the direct sound (D) and the reverb sound (W) Output Level fig.MFX-64 L in 2-Band EQ Balance D L out Balance W Reverb 66: Balance W R in Balance D Parameter Type Value 2-Band EQ R out fig.MFX-66 Pre Delay 0.0–100.0 ms Time # 0–127 HF Damp 200–8000 Hz, BYPASS Low Gain High Gain -15– +15 dB -15– +15 dB Balance # D100:0W–D0:100W Level 0–127 L out L in Description ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2 OD → CHORUS (OVERDRIVE → CHORUS) Type of reverb ROOM1: dense reverb with short decay ROOM2: sparse reverb with short decay STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: reverb with clear reverberance HALL2: reverb with rich reverberance Adjusts the delay time from the direct sound until the reverb sound is heard. Time length of reverberation Adjusts the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this parameter to BYPASS. Gain of the low range Gain of the high range Volume balance between the direct sound (D) and the reverb sound (W) Output Level Balance D Balance W Overdrive Chorus Balance W R out R in Balance D Parameter Value Od Drive # 0–127 Od Pan # L64–63R Cho Pre Delay 0.0–100.0 ms Cho Rate # Cho Depth 0.05–10.00 Hz, note 0–127 Cho Balance # D100:0W–D0:100W Level 0–127 67: Description Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level OD → FLANGER (OVERDRIVE → FLANGER) fig.MFX-67 Balance D 65: GATED REVERB L out L in Feedback This is a special type of reverb in which the reverberant sound is cut off before its natural length. Overdrive Balance W Flanger Balance W fig.MFX-65 L in Balance D 2-Band EQ L out Balance W Gated Reverb Balance W R in Balance D Parameter Type Value NORMAL, REVERSE, SWEEP1, SWEEP2 Pre Delay 0.0–100.0 ms Gate Time 5–500 ms Low Gain -15– +15 dB 2-Band EQ R out Description Type of reverb NORMAL: conventional gated reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right Adjusts the delay time from the direct sound until the reverb sound is heard. Adjusts the time from when the reverb is heard until it disappears. Gain of the low range R out R in Balance D Parameter Value Description Od Drive # 0–127 Degree of distortion Also changes the volume. Od Pan # L64–63R Fln Pre Delay 0.0–100.0 ms Fln Rate # Fln Depth 0.05–10.00 Hz, note 0–127 Fln Feedback # -98– +98% Fln Balance # D100:0W–D0:100W Level 0–127 Stereo location of the overdrive sound Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level 215 SonicCell_e.book 216 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 68: OD → DELAY (OVERDRIVE → DELAY) 70: The parameters are essentially the same as in “67: OD FLANGER,” with the exception of the following two. OD Drive → Dst Drive, OD Pan → Dst Pan fig.MFX-68 L out L in Balance D Balance W Overdrive DST → FLANGER (DISTORTION → FLANGER) fig.MFX-70 Delay Balance D Balance W L out L in Feedback Feedback R out R in Balance D Distortion Parameter Value Od Drive # 0–127 Od Pan # L64–63R Delay Time 0–2600 ms, note Delay Feedback # -98– +98% Delay HF Damp 200–8000 Hz, BYPASS Balance W Degree of distortion Also changes the volume. Stereo location of the overdrive sound D100:0W–D0:100W Level 0–127 Balance W Flanger Description Delay Balance # → Adjusts the delay time from the direct sound until the delay sound is heard. Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level R out R in Balance D 71: DST → DELAY (DISTORTION → DELAY) The parameters are essentially the same as in “68: OD DELAY,” with the exception of the following two. OD Drive → Dst Drive, OD Pan → Dst Pan → fig.MFX-71 L out L in Balance D Balance W Distortion Delay Balance W Feedback R out R in Balance D 69: DST → CHORUS (DISTORTION → CHORUS) The parameters are essentially the same as in “66: OD CHORUS,” with the exception of the following two. OD Drive → Dst Drive, OD Pan → Dst Pan fig.MFX-69 → 72: ENH → CHORUS (ENHANCER → CHORUS) fig.MFX-72 L in L out Enhancer Mix L out L in Balance W Balance D Chorus Balance W Distortion Balance W Chorus Balance W R in Balance D R out Enhancer Mix R out R in Balance D Parameter Value Description Enh Sens # 0–127 Sensitivity of the enhancer Enh Mix # 0–127 Cho Pre Delay 0.0–100.0 ms Cho Rate # Cho Depth 216 Balance D 0.05–10.00 Hz, note 0–127 Cho Balance # D100:0W– D0:100W Level 0–127 Level of the overtones generated by the enhancer Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level SonicCell_e.book 217 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List 73: ENHANCER → FLANGER (ENH → FLANGER) 75: CHORUS → DELAY fig.MFX-75 Balance D fig.MFX-73 L in Balance D L in L out Balance D L out Enhancer Mix Balance W Feedback R out Parameter Value Sensitivity of the enhancer Cho Pre Delay 0.0–100.0 ms Level of the overtones generated by the enhancer Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Cho Rate # Cho Depth 0.05–10.00 Hz, note 0–127 Cho Balance # D100:0W–D0:100W Delay Time 0–2600 ms, note Delay Feedback # -98– +98% Delay HF Damp 200–8000 Hz, BYPASS Delay Balance # D100:0W–D0:100W Level 0–127 Value Description Enh Sens # 0–127 Fln Pre Delay 0.0–100.0 ms Fln Rate # 0.05–10.00 Hz, note Fln Depth 0–127 Fln Feedback # -98– +98% Fln Balance # D100:0W– D0:100W Level 0–127 Balance D Balance D Balance D Parameter 0–127 Feedback R in R out Enhancer Enh Mix # Balance W Balance W Balance W Mix Delay Chorus Balance W Flanger R in Balance W Description Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the flanger (W) and the sound that is not sent through the flanger (D). Output Level ENH → DELAY 74: (ENHANCER → DELAY) Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Volume balance between the direct sound (D) and the chorus sound (W) Adjusts the delay time from the direct sound until the delay sound is heard. Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level fig.MFX-74 L in L out Enhancer Mix Balance D Balance W 76: FLANGER → DELAY Delay Balance W fig.MFX-76 Feedback R in R out Enhancer Mix Balance D Description Enh Sens # 0–127 Sensitivity of the enhancer Enh Mix # 0–127 Delay Time 0–2600 ms, note Delay Feedback # -98– +98% Delay HF Damp 200–8000 Hz, BYPASS Delay Balance # D100:0W–D0:100W Level 0–127 L out Balance D Feedback Value Parameter Balance D L in Level of the overtones generated by the enhancer Adjusts the delay time from the direct sound until the delay sound is heard. Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level Flanger Balance W Balance W Balance W Delay Balance W Feedback R in R out Balance D Parameter Value Fln Pre Delay 0.0–100.0 ms Fln Rate # Fln Depth 0.05–10.00 Hz, note 0–127 Fln Feedback # -98– +98% Fln Balance # D100:0W–D0:100W Delay Time 0–2600 ms, note Balance D Description Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Frequency of modulation Depth of modulation Adjusts the proportion of the flanger sound that is fed back into the effect. Negative (-) settings will invert the phase. Volume balance between the direct sound (D) and the flanger sound (W) Adjusts the delay time from the direct sound until the delay sound is heard. 217 SonicCell_e.book 218 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Parameter Value Delay Feedback # -98– +98% Delay HF Damp 200–8000 Hz, BYPASS Delay Balance # D100:0W–D0:100W Level 0–127 Description Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Balance D L out Feedback Cho Rate # Cho Depth Cho Balance # Fln Pre Delay Fln Rate # Fln Depth Fln Feedback # Fln Balance # Level Value Balance W Balance D R out Range Explanation Depth of the effect Damper # 0–127 Pre LPF 16–15000 Hz, BYPASS Pre HPF BYPASS, 16–15000 Hz Peaking Freq 200–8000 Hz Peaking Gain -15– +15 dB Peaking Q 0.5, 1.0, 2.0, 4.0, 8.0 HF Damp 16–15000 Hz, BYPASS LF Damp BYPASS, 16–15000 Hz Lid 1–6 EQ Low Freq EQ Low Gain EQ Mid Freq 200, 400 Hz -15– +15 dB 200–8000 Hz EQ Mid Gain -15– +15 dB 0.5, 1.0, 2.0, 4.0, 8.0 2000, 4000, 8000 Hz -15–+15 dB 0–127 EQ Mid Q EQ High Freq EQ High Gain Level 218 3-Band EQ 0–127 Description Adjusts the delay time from the direct sound until the chorus sound is heard. Modulation frequency of the chorus 0.05–10.00 Hz, note effect Modulation depth of the chorus effect 0–127 Volume balance between the direct D100:0W–D0:100W sound (D) and the chorus sound (W) Adjusts the delay time from when 0.0–100.0 ms the direct sound begins until the flanger sound is heard. Modulation frequency of the flanger 0.05–10.00 Hz, note effect 0–127 Modulation depth of the flanger effect Adjusts the proportion of the flanger sound that is fed back into the ef-98– +98% fect. Negative (-) settings will invert the phase. Adjusts the volume balance between the sound that is sent through the D100:0W–D0:100W flanger (W) and the sound that is not sent through the flanger (D). Output Level 0–127 0.0–100.0 ms L out Parameter R out Balance D 3-Band EQ Depth # Balance W R in Parameter L in Flanger Balance W Cho Pre Delay fig.MFX-78 R in L in Chorus On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This effect simulates these sympathetic resonances. Sym. Resonance fig.MFX-77 Balance W SYMPATHETIC RESO (SYMPATHETIC RESONANCE) Output Level 77: CHORUS → FLANGER Balance D 78: Depth to which the damper pedal is pressed (controls the resonant sound) Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that boosts/ cuts a specific frequency region of the input sound Amount of boost/cut produced by the filter at the specified frequency region of the input sound Width of the frequency region boosted/cut by the ‘Peaking Gain’ parameter (larger values make the region narrower) Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut) Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut) This simulates the actual changes in sound that occur when the lid of a grand piano is set at different heights. Frequency of the low-range EQ Amount of low-range boost/cut Frequency of the midrange EQ Amount of midrange boost/cut Width of midrange (larger values make the region narrower) Frequency of the high-range EQ Amount of high-range boost/cut Output Level SonicCell_e.book 219 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Chorus Parameters The SonicCell’s Chorus effect unit can also be used as a stereo delay unit. These settings allow you to select chorus or delay, and the characteristics of the selected effect type. Parameter Value Chorus Type 0 1 2 3 (OFF), (CHORUS), (DELAY), (GM2 CHORUS) Description Selects either Chorus or Delay. 0 (OFF): Neither Chorus or Delay is used. 1 (CHORUS): Chorus is used. 2 (DELAY): Delay is used. 3 (GM2 CHORUS): GM2 Chorus is used. 01: CHORUS Rate 0.05–10.00 Hz, note Depth 0–127 Pre Delay 0.0–100.0 ms Feedback 0–127 Filter Type OFF, LPF, HPF Cutoff Freq 200–8000 Hz Phase 0–180˚ Frequency of modulation Depth of modulation Adjusts the delay time from the direct sound until the chorus sound is heard. Adjusts the amount of the chorus sound that is fed back into the effect. Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Spatial spread of the sound If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specified as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value. note: fig.MFX-note2.e Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note Quarter note Half-note triplet Dotted quarter note 02: DELAY Half note Whole-note triplet Dotted half note Delay Left Delay Right Whole note Double-note triplet Dotted whole note 0–1000 ms, note Delay Center Center Feedback -98–+98% HF Damp 200–8000 Hz, BYPASS Left Level Right Level 0–127 Adjusts the delay time from the direct sound until the delay sound is heard. Double note Adjusts the proportion of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Volume of each delay sound Center Level 03: GM2 CHORUS Pre-LPF 0–7 Level 0–127 Feedback 0–127 Delay 0–127 Rate Depth Send Level To Reverb 0–127 0–127 0–127 Cuts the high frequency range of the sound coming into the chorus. Higher values will cut more of the high frequencies. Volume of the chorus sound Adjusts the amount of the chorus sound that is fed back into the effect. Adjusts the delay time from the direct sound until the chorus sound is heard. Frequency of modulation Depth of modulation Adjusts the amount of chorus sound that will be sent to the reverb. 219 SonicCell_e.book 220 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Reverb Parameters These settings allow you to select the desired type of reverb, and its characteristics. Parameter Reverb Type Value Description Parameter 05: GM2 REVERB 0 1 2 3 4 5 Type of reverb 0 (OFF): Reverb is not used. 1 (REVERB): Normal reverb 2 (SRV ROOM): This simulates typical room acoustic reflections. 3 (SRV HALL): This simulates typical concert hall acoustic reflections. 4 (SRV PLATE): This simulates a reverb plate, a popular type of artificial reverb unit that derives its sound from the vibration of a metallic plate. 5 (GM2 REVERB): GM2 Reverb (OFF), (REVERB), (SRV ROOM), (SRV HALL), (SRV PLATE), (GM2 REVERB) 01: REVERB Type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY Time 0–127 HF Damp 200–8000 Hz, BYPASS Delay Feedback 0–127 Type of reverb/delay ROOM1: short reverb with high density ROOM2: short reverb with low density STAGE1: reverb with greater late reverberation STAGE2: reverb with strong early reflections HALL1: very clear-sounding reverb HALL2: rich reverb DELAY: conventional delay effect PAN-DELAY: delay effect with echoes that pan left and right Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY) Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY. Amount of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY) 02: SRV ROOM 03: SRV HALL 04: SRV PLATE Pre Delay Time 0–127 Adjusts the delay time from the direct sound until the reverb sound is heard. Time length of reverberation Size 1–8 Size of the simulated room or hall High Cut 160 Hz–12.5 kHz, BYPASS Adjusts the frequency above which the highfrequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS. Density 0–127 Density of reverb Diffusion 0–127 LF Damp Freq 50–4000 Hz LF Damp Gain -36–0 dB HF Damp Freq 4000 Hz–12.5 kHz HF Damp Gain -36–0 dB 220 0.0–100.0 ms Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The effect of this setting is most pronounced with long reverb times.) Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.” Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content. Adjusts the frequency above which the highfrequency content of the reverb sound will be reduced, or “damped.” Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content. Value Character 0–7 Pre-LPF 0–7 Level 0–127 Time 0–127 Delay Feedback 0–127 Description Type of reverb 0–5: reverb 6, 7: delay Cuts the high frequency range of the sound coming into the reverb. Higher values will cut more of the high frequencies. Output level of reverberation Time length of reverberation Adjusts the amount of the delay sound that is fed back into the effect when the Reverb Character setting is 6 or 7. SonicCell_e.book 221 ページ ２００７年７月２日 月曜日 午後３時５０分 Effects List Input Effect Parameters Selects the type of effect that will be applied to the external input source. 05: NOISE SUPPRESSOR 01: EQUALIZER Suppresses noise during periods of silence. Adjusts the tone of the low-frequency and high-frequency ranges. Parameter Range Low Freq 200, 400 Hz Low Gain -15–+15 dB 2000, 4000, 8000 Hz High Freq High Gain -15–+15 dB Parameter Range Explanation Threshold 0–127 Volume at which noise suppression will begin Release 0–127 Time from when noise suppression begins until the volume reaches zero. Explanation Center frequency of the low-frequency range Amount of low-frequency boost/cut Center frequency of the high-frequency range Amount of high-frequency boost/cut 06: CENTER CANCELER Removes the sounds that are localized at the center of the stereo input. This is a convenient way to eliminate a vocal. 02: ENHANCER Modifies the harmonic content of the high-frequency range to add sparkle to the sound. Parameter Range Explanation Sens 0–127 Mix 0–127 Depth of the enhancer effect Volume of the harmonics that are generated Parameter Range Ch Balance -50– +50 Range Low 16–15000 Hz Range High 16–15000 Hz Explanation Volume balance of the L (left) and R (right) channels for removing the sound Lower frequency limit of the band to be removed Upper frequency limit of the band to be removed 03: COMPRESSOR Restrains high levels and boosts low levels to make the overall volume more consistent. Parameter Range Attack 0–127 Threshold 0–127 Post Gain 0–+18 dB Explanation Time from when the input exceeds the Threshold until the volume begins to be compressed Volume level at which compression will begin Level of the output sound 04: LIMITER Compresses the sound when it exceeds a specified volume, to keep distortion from occurring. Parameter Range Release 0–127 Threshold 0–127 Post Gain 0–+18 dB Explanation Time from when the input falls below the Threshold until compression ceases Volume level at which compression will begin Level of the output sound 221 SonicCell_e.book 222 ページ ２００７年７月２日 月曜日 午後３時５０分 Performance List USER (USER GROUP) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name Seq:Template Seq:Temp 2 Seq:Temp 3 Seq:Temp 4 Seq:Temp 5 Seq:Temp 6 Seq:Temp 7 Seq:Temp 8 Seq:Temp 9 Seq:Temp 10 Seq:Temp 11 Seq:Temp 12 Seq:Temp 13 Seq:Temp 14 Seq:Temp 15 Seq:Temp 16 Seq:Temp 17 Seq:Temp 18 Seq:Temp 19 Seq:Temp 20 Seq:Temp 21 Seq:Temp 22 Seq:Temp 23 Seq:Temp 24 Seq:Temp 25 Seq:Temp 26 Seq:Temp 27 Seq:Temp 28 Seq:Temp 29 Seq:Temp 30 Seq:Temp 31 Seq:Temp 32 222 PRST(PRESET GROUP) No 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name GM2 Template SuperRichPNO Bs/Piano Brite Piano CrystalGrand SuperPhaseEP D50 Memories RockOrg Delicate SuperStrings Braves Orchestral Sonic Pole Twilight 3AM Ocean Jupiters Blizzard Horizon Buzz 80s TripTo80s 80s Stack AutoNoise World Lead XyloSawLead WoodyFltLd Saturn Tale Synchronize Gramophone No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name Seq:Template Seq:Temp 2 Seq:Temp 3 Seq:Temp 4 Seq:Temp 5 Seq:Temp 6 Seq:Temp 7 Seq:Temp 8 Seq:Temp 9 Seq:Temp 10 Seq:Temp 11 Seq:Temp 12 Seq:Temp 13 Seq:Temp 14 Seq:Temp 15 Seq:Temp 16 Seq:Temp 17 Seq:Temp 18 Seq:Temp 19 Seq:Temp 20 Seq:Temp 21 Seq:Temp 22 Seq:Temp 23 Seq:Temp 24 Seq:Temp 25 Seq:Temp 26 Seq:Temp 27 Seq:Temp 28 Seq:Temp 29 Seq:Temp 30 Seq:Temp 31 Seq:Temp 32 No 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 Name GM2 Template SuperRichPNO Bs/Piano Brite Piano CrystalGrand SuperPhaseEP D50 Memories RockOrg Delicate SuperStrings Braves Orchestral Sonic Pole Twilight 3AM Ocean Jupiters Blizzard Horizon Buzz 80s TripTo80s 80s Stack AutoNoise World Lead XyloSawLead WoodyFltLd Saturn Tale Synchronize Gramophone SonicCell_e.book 223 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List USER(User Group) User 1-128 (CC#0 = 87, CC#32 = 0 ) User129-256 (CC#0 = 87, CC#32 = 1 ) No Name Category Voice No Name Category Voice 1 2 3 4 5 6 7 8 9 10 Rich Grand JD-800 Piano Stage Phazer Lounge Kit SC Trem Wuly FM-777 SA EPiano HardRockORG1 Rocky Organ FullStop Org AC.PIANO AC.PIANO EL.PIANO COMBINATION EL.PIANO EL.PIANO EL.PIANO ORGAN ORGAN ORGAN 2 1 2 2 1 5 3 4 2 3 41 42 43 44 45 46 47 48 49 50 JP8000 Brass Sonic Brass SuperSawSlow Cell Trance Trancy Synth Stacc Heaven Sugar Synth Himalaya Ice Wine Glass Synergy MLT SYNTH BRASS SYNTH BRASS OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH BELL BELL MALLET 6 4 2 3 2 4 5 2 4 2 11 12 13 14 15 16 17 18 19 20 R&B Organ 2 X Perc Organ Smoky Organ Crummy Organ Chapel Organ Mid Pipe Org VntgClav Phase Clavi Funky Line Harpsy Clavi ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS 4 3 1 2 2 4 3 2 2 2 51 52 53 54 55 56 57 58 59 60 AirPluck SC Marimba Cmp'd Fng Bs FingerMaster Return2Base! Chicken Bass SC Fretnot 1 Got Pop? Sonic Ac Bs Low Bass MALLET MALLET BASS BASS BASS BASS BASS BASS BASS SYNTH BASS 4 1 3 2 1 3 2 1 1 3 21 22 23 24 25 26 27 28 29 30 SonicStrings String Ens Wind & Str 1 Soft Orch 2 SC Hollow Heaven Pad Soft OB Pad Reso Pad Slow Saw Str JP Strings 2 STRINGS STRINGS ORCHESTRA ORCHESTRA SOFT PAD SOFT PAD SOFT PAD SOFT PAD SOFT PAD SOFT PAD 8 3 7 7 4 3 3 3 2 5 61 62 63 64 65 66 67 68 69 70 Foundation SC Rubber Bs Punch MG 2 SC GarageBs2 SC AcidPunch Loco Voco VirtualHuman Strobot SC Strobe HPF Slicer SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS SYNTH BASS PULSATING PULSATING PULSATING PULSATING 31 32 33 34 35 36 37 38 39 40 Cell Comb Super SynStr 80s Str Polar Night Distant Sun SC Brt Brass Horny Sax 80s Brass 1 Juno-106 Brs Poly Brass BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD BRIGHT PAD AC.BRASS SAX SYNTH BRASS SYNTH BRASS SYNTH BRASS 3 2 8 4 4 4 2 6 1 2 71 72 73 74 75 76 77 78 79 80 Choir Aahs 1 Choir Aahs 2 Angels Choir Syn Opera Choir&Str Terra Nostra Aah Vox Cell SquLead Howards Lead Windy Synth VOX VOX VOX VOX VOX SOFT VOX SOFT SOFT SOFT PAD LEAD LEAD LEAD No Name 81 82 83 84 85 86 87 88 89 90 Sinetific SoloNzPeaker Juno SftLd R&B TriLead X-Pulse Lead Theramax GR Lead Chubby Lead Shaku Lead Porta SoloLd Category Voice SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD SOFT LEAD HARD LEAD 2 1 1 1 2 1 2 2 5 2 91 Wind Syn Ld 92 Follow Me 93 SC Saw Ld 1 94 Sync Ld Mono 95 SC Brt Nylon 96 So good ! 97 SC 12str Gtr 98 Jazz Guitar 99 Strat Gtr 100 Trem-o-Vibe HARD LEAD HARD LEAD HARD LEAD HARD LEAD AC.GUITAR AC.GUITAR AC.GUITAR EL.GUITAR EL.GUITAR DIST.GUITAR 2 2 2 1 1 2 3 1 1 2 2 3 2 2 2 2 4 2 4 3 101 Searing COSM 102 Larsen /Aft 103 SC Loud Gtr 104 Sitar on C 105 Pat is away 106 Bosporus 107 Aerial Harp 108 Nice Kalimba 109 SC Flute 110 Andes Mood DIST.GUITAR DIST.GUITAR DIST.GUITAR PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED FLUTE FLUTE 2 2 3 6 5 3 2 1 2 1 4 4 4 4 7 8 2 4 3 3 111 LongDistance 112 Ambi Shaku 113 Soprano Sax 114 Solo AltoSax 115 XP TnrBrethy 116 Good Old Day 117 BluesHrp V/S 118 Squeeze Me! 119 Solo Tp 120 SC Violin ETHNIC ETHNIC SAX SAX SAX WIND HARMONICA ACCRDION AC.BRASS STRINGS 1 3 1 1 1 3 1 4 2 1 No PatchName PatchCategory Voice 121 SC Cello 122 Juno-D Maj7 123 Sweet House 124 ElectroDisco 125 Groove 007 126 Autotrance 127 Compusonic 2 128 Passing by STRINGS TECHNO SYNTH TECHNO SYNTH BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE SYNTH FX 1 4 4 5 4 4 4 4 User129–256: “INIT PATCH” 223 SonicCell_e.book 224 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-A (Preset A Group) (CC#0 = 87, CC#32 = 64) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 1 2 3 4 5 6 7 8 9 10 Rich Grand 88ConcertPno UltimatGrand X Pure Grand So true... ConcertPiano Warm Piano ConcertGrand Hall Concert Bright Tune AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO 2 2 2 2 2 3 2 2 2 2 PR-A001 PR-A002 PR-A003 PR-A004 PR-A005 PR-A006 PR-A007 PR-A008 PR-A009 PR-A010 65 66 67 68 69 70 FM EP mix FM-777 FM EPad EP Stack EP Belle 80s EP EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO 6 5 3 4 3 4 PR-A065 PR-A066 PR-A067 PR-A068 PR-A069 PR-A070 11 12 13 14 15 16 17 18 19 20 Mellow Tune Studio Grand DryStudio88 First Choice Rokkin' pF Dark Grand SC Grand+Pad Warm Pad Pno SC Grand+Vox Cicada Piano AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO 2 2 4 2 2 4 4 4 4 4 PR-A011 PR-A012 PR-A013 PR-A014 PR-A015 PR-A016 PR-A017 PR-A018 PR-A019 PR-A020 71 72 73 74 75 76 77 78 79 80 SA EPiano BrillClav DB Cell Clav VntgClav Cutter Clavi Funky D Phase Clavi BPF Clavi Ph Pulse Clavi PWM Clav EL.PIANO KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS 3 2 1 3 2 2 2 2 2 1 PR-A071 PR-A072 PR-A073 PR-A074 PR-A075 PR-A076 PR-A077 PR-A078 PR-A079 PR-A080 21 22 23 24 25 26 27 28 29 30 X Piano +Str Warm Str Pno Grand Hall Rapsody JD-800 Piano SA Dance Pno SC E-Grand Back E-Grand SC Grand+FM SC Blend Pno AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO 4 6 5 7 1 2 4 2 4 5 PR-A021 PR-A022 PR-A023 PR-A024 PR-A025 PR-A026 PR-A027 PR-A028 PR-A029 PR-A030 81 82 83 84 85 86 87 88 89 90 Funky Line Biting Clav Analog Clavi Reso Clavi Snappy Clav Over-D6 Harpsy Clavi SC Harpsi Amadeus SC Celesta KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS 2 2 1 2 2 3 2 4 8 1 PR-A081 PR-A082 PR-A083 PR-A084 PR-A085 PR-A086 PR-A087 PR-A088 PR-A089 PR-A090 31 32 33 34 35 36 37 38 39 40 Piano Oz FX Piano AmbientPiano SC Pure EP SC Trem EP SC Phase EP PhaseEPLayer SC E.Piano StageEP Trem Back2the60s AC.PIANO AC.PIANO AC.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO 4 4 4 1 1 1 3 5 2 2 PR-A031 PR-A032 PR-A033 PR-A034 PR-A035 PR-A036 PR-A037 PR-A038 PR-A039 PR-A040 91 92 93 94 95 96 97 98 99 100 Himalaya Ice FM Syn Bell D-50 Fantsia Wine Glass MuBox Pad SC Bell 1 FM Heaven SC Glocken Music Bells SC Musicbox BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL 2 4 3 4 4 4 4 1 2 1 PR-A091 PR-A092 PR-A093 PR-A094 PR-A095 PR-A096 PR-A097 PR-A098 PR-A099 PR-A100 41 42 43 44 45 46 47 48 49 50 Stage EP Stage Phazer StageCabinet Tine EP LEO EP LonesomeRoad Age'n'Tines Brill TremEP Crystal EP Vintage Tine EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO 4 2 2 1 4 2 2 2 2 1 PR-A041 PR-A042 PR-A043 PR-A044 PR-A045 PR-A046 PR-A047 PR-A048 PR-A049 PR-A050 101 102 103 104 105 106 107 108 109 110 Music Box 2 Kalimbells Step Ice SC Bell 2 Candy Bell SC Chime Bell Ring Tubular Bell 5th Key Bell Monitor BELL BELL BELL BELL BELL BELL BELL BELL BELL BELL 2 2 4 2 2 1 4 1 2 2 PR-A101 PR-A102 PR-A103 PR-A104 PR-A105 PR-A106 PR-A107 PR-A108 PR-A109 PR-A110 51 52 53 54 55 56 57 58 59 60 Celestial EP Psycho EP Mk2 Stg phsr Dreaming EP Balladeer Remember Vibe EP sin(EP) SC Pure Wuly SC Trem Wuly EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO 4 4 3 4 3 2 1 2 1 1 PR-A051 PR-A052 PR-A053 PR-A054 PR-A055 PR-A056 PR-A057 PR-A058 PR-A059 PR-A060 111 112 113 114 115 116 117 118 119 120 TubyRuesday Vibrations SC Vibe Ringy Vibes Airie Vibez SC Marimba FM Wood SC Xylo Ethno Keys Synergy MLT BELL MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET MALLET 2 2 1 2 4 1 4 1 2 2 PR-A111 PR-A112 PR-A113 PR-A114 PR-A115 PR-A116 PR-A117 PR-A118 PR-A119 PR-A120 61 62 63 64 Super Wurly Wurly Trem VelSpdWurly Fonky Fonky EL.PIANO EL.PIANO EL.PIANO EL.PIANO 3 3 2 2 PR-A061 PR-A062 PR-A063 PR-A064 121 122 123 124 125 126 127 128 Icy Keys Steel Drums 50`SteelDrms Xylosizer Toy Box AirPluck HardRockORG1 HardRockORG2 MALLET MALLET MALLET MALLET MALLET MALLET ORGAN ORGAN 4 2 4 2 3 4 4 5 PR-A121 PR-A122 PR-A123 PR-A124 PR-A125 PR-A126 PR-A127 PR-A128 224 SonicCell_e.book 225 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-B (Preset B Group) (CC#0 = 87, CC#32 = 65) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 129 130 SuperDistORG SuperDistLd2 ORGAN ORGAN 4 4 PR-B001 PR-B002 131 132 133 134 135 136 137 138 139 140 FullDraw Org StakDraw Org FullStop Org SC Perc Org VKHold4Speed X Perc Organ Rocky Organ Euro Organ Rhythm'n'B Phono Organ ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN 3 4 3 4 4 3 2 2 4 2 PR-B003 PR-B004 PR-B005 PR-B006 PR-B007 PR-B008 PR-B009 PR-B010 PR-B011 PR-B012 193 194 195 196 197 198 199 200 Punker 2 Larsen /Aft Rockin' Dly Sonic Ac Bs Ulti Ac Bass Downright Bs Cmp'd Fng Bs Sonic Fng Bs DIST.GUITAR DIST.GUITAR DIST.GUITAR BASS BASS BASS BASS BASS 2 2 3 1 2 3 3 3 PR-B065 PR-B066 PR-B067 PR-B068 PR-B069 PR-B070 PR-B071 PR-B072 141 142 143 144 145 146 147 148 149 150 LoFi PercOrg Rochno Org R&B Organ 1 R&B Organ 2 SC Dist Bee 60's Org 1 60's Org 2 Smoky Organ SC SoapOpera Crummy Organ ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN 1 4 2 4 1 2 2 1 1 2 PR-B013 PR-B014 PR-B015 PR-B016 PR-B017 PR-B018 PR-B019 PR-B020 PR-B021 PR-B022 201 202 203 204 205 206 207 208 209 210 Ultimo Bass Roomy Bass FingerMaster All Round Bs R&B Bs/Slide Sonic Pck Bs Thumb Up! Tubby Mute Chicken Bass Snug Bass BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 2 2 2 2 2 3 1 2 3 2 PR-B073 PR-B074 PR-B075 PR-B076 PR-B077 PR-B078 PR-B079 PR-B080 PR-B081 PR-B082 151 152 153 154 155 156 157 158 159 160 Chapel Organ Grand Pipe Pipe Org/Mod Masked Opera Mid Pipe Org Vodkakordion Squeeze Me! Guinguette HarWonderca BluesHrp V/S ORGAN ORGAN ORGAN ORGAN ORGAN ACCRDION ACCRDION ACCRDION HARMONICA HARMONICA 2 3 6 6 4 3 4 3 2 1 PR-B023 PR-B024 PR-B025 PR-B026 PR-B027 PR-B028 PR-B029 PR-B030 PR-B031 PR-B032 211 212 213 214 215 216 217 218 219 220 Return2Base! Chorus Bass A Big Pick Basement SC Fretnot 1 SC Fretnot 2 RichFretless NewAge Frtls SlapBass1 Slap2 w/Fx BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 1 2 3 1 2 3 2 3 1 1 PR-B083 PR-B084 PR-B085 PR-B086 PR-B087 PR-B088 PR-B089 PR-B090 PR-B091 PR-B092 161 162 163 164 165 166 167 168 169 170 Green Bullet SC Brt Nylon SoftNyln Gtr SC Nylon Gt Wet Nyln Gtr Pre Mass Hum Thick Steel Uncle Martin Wide Ac Gtr Comp Stl Gtr HARMONICA AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR 2 1 2 2 3 4 2 2 4 2 PR-B033 PR-B034 PR-B035 PR-B036 PR-B037 PR-B038 PR-B039 PR-B040 PR-B041 PR-B042 221 222 223 224 225 226 227 228 229 230 Got Pop? JBass v/Thmb SC Slap Bass X Slap Bass Low Bass Mini Like! MC-404 Bass SC Rubber Bs SH-101 Bs 1 SC Syn Bass1 BASS BASS BASS BASS SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS 1 2 2 3 3 2 2 3 2 3 PR-B093 PR-B094 PR-B095 PR-B096 PR-B097 PR-B098 PR-B099 PR-B100 PR-B101 PR-B102 171 172 173 174 175 176 177 178 179 180 Stl Gtr Duo SC 12str Gtr So good ! StratSeq'nce Jazz Guitar DynoJazz Gtr Clean Gtr Crimson Gtr Plug n' Gig Kinda Kurt AC.GUITAR AC.GUITAR AC.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR 2 3 2 3 1 1 1 2 1 2 PR-B043 PR-B044 PR-B045 PR-B046 PR-B047 PR-B048 PR-B049 PR-B050 PR-B051 PR-B052 231 232 233 234 235 236 237 238 239 240 Juno-106 Bs Smooth Bass SC Flat Bs Foundation Punch MG 2 Electro Rubb R&B Bass 1 Enorjizor LowFat Bass Doze Bass SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 2 2 3 2 2 2 2 2 3 1 PR-B103 PR-B104 PR-B105 PR-B106 PR-B107 PR-B108 PR-B109 PR-B110 PR-B111 PR-B112 181 182 183 184 185 186 187 188 189 190 191 192 Nice Oct Gtr Strat Gtr Touch Drive SC Chunk Trem-o-Vibe LP Dist Hurtling Gtr Searing COSM SC Loud Gtr SC Plugged!! Punker 1 SC PowerChd EL.GUITAR EL.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR 2 1 1 4 2 2 3 2 3 1 2 2 PR-B053 PR-B054 PR-B055 PR-B056 PR-B057 PR-B058 PR-B059 PR-B060 PR-B061 PR-B062 PR-B063 PR-B064 241 242 243 244 245 246 247 248 249 250 DCO Bass Virtual RnBs Saw&MG Bass MG+SubOsc Bs R&B Bass 2 R&B Bass 3 Not a Bass ResoSyn Bs 1 SH-1 Bass SH-101 Bs 2 SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 4 2 4 2 1 2 2 2 2 2 PR-B113 PR-B114 PR-B115 PR-B116 PR-B117 PR-B118 PR-B119 PR-B120 PR-B121 PR-B122 251 252 253 254 255 256 Punch MG 1 MKS-50 SynBs Gashed Bass Q Bass Super-G DX Kickin' Bass SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS 2 1 2 3 3 2 PR-B123 PR-B124 PR-B125 PR-B126 PR-B127 PR-B128 225 SonicCell_e.book 226 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-C (Preset C Group) (CC#0 = 87, CC#32 = 66) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 257 258 259 260 OilDrum Bass Dust Bass Glide-iator SC AcidPunch SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS 3 4 2 2 PR-C001 PR-C002 PR-C003 PR-C004 261 262 263 264 265 266 267 268 269 270 TBasic SC Unison Bs Detune Bass Lo Bass SC GarageBs1 SC GarageBs2 Sub Sonic SC Jungle Bs R&B Bass 4 Simply Basic SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 1 2 2 3 3 2 4 2 1 2 PR-C005 PR-C006 PR-C007 PR-C008 PR-C009 PR-C010 PR-C011 PR-C012 PR-C013 PR-C014 321 322 323 324 325 326 327 328 329 330 Biggie Bows Staccato VS So Staccato DelicatePizz Vls PizzHall Orch Pizz Pizz'Stac VS Mellow Tron Tronic Str Tape Memory STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 6 4 4 4 8 4 6 3 2 2 PR-C065 PR-C066 PR-C067 PR-C068 PR-C069 PR-C070 PR-C071 PR-C072 PR-C073 PR-C074 271 272 273 274 275 276 277 278 279 280 Beepin Bass MC-TB Bass Acdg Bass Loco Voco Unplug it! S&H Bass Destroyed Bs SC Acid Bs Lo-Fi TB Drop Bass SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 2 2 2 2 1 2 2 2 1 3 PR-C015 PR-C016 PR-C017 PR-C018 PR-C019 PR-C020 PR-C021 PR-C022 PR-C023 PR-C024 331 332 333 334 335 336 337 338 339 340 Wind & Str 1 Wind & Str 2 Farewell Orch & Horns Soft Orch 1 Soft Orch 2 Henry IX Ending Scene Symphonika Mix Hit 2 ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA HIT&STAB 7 5 6 5 4 7 4 4 8 4 PR-C075 PR-C076 PR-C077 PR-C078 PR-C079 PR-C080 PR-C081 PR-C082 PR-C083 PR-C084 281 282 283 284 285 286 287 288 289 290 Big Mini Muffled MG Intrusive Bs Alpha SynBs TransistorBs Juno-60 Bass Storm Bass Alpha ResoBs SH-101 Vibe Fazee Bass SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS BASS BASS BASS BASS 3 2 2 2 3 2 4 2 4 4 PR-C025 PR-C026 PR-C027 PR-C028 PR-C029 PR-C030 PR-C031 PR-C032 PR-C033 PR-C034 341 342 343 344 345 346 347 348 349 350 Cheezy Movie Philly Hit Smear Hit 1 Smear Hit 2 Good Old Hit Mix Hit 1 Lo-Fi Hit 2ble Action In da Cave Housechord HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB HIT&STAB 4 1 2 2 4 4 4 2 2 3 PR-C085 PR-C086 PR-C087 PR-C088 PR-C089 PR-C090 PR-C091 PR-C092 PR-C093 PR-C094 291 292 293 294 295 296 297 298 299 300 Hi-Energy Bs SC Violin Violin Viola SC Cello Cello Contrabass Dolce Qrt Chamber Str Small Str SYNTH BASS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 2 1 1 3 1 1 4 2 3 7 PR-C035 PR-C036 PR-C037 PR-C038 PR-C039 PR-C040 PR-C041 PR-C042 PR-C043 PR-C044 351 352 353 354 355 356 357 358 359 360 Mod Chord Dance Steam Good Old Day SC WindWood Clarence.net SC Oboe Hall Oboe English Horn Bassoon SC Flute HIT&STAB HIT&STAB WIND WIND WIND WIND WIND WIND WIND FLUTE 2 2 3 3 2 1 1 1 1 2 PR-C095 PR-C096 PR-C097 PR-C098 PR-C099 PR-C100 PR-C101 PR-C102 PR-C103 PR-C104 301 302 303 304 305 306 307 308 309 310 Marcato Bright Str String Ens SonicStrings Stringz 101 Crossed Bows Warm Strings Stacc mp Str Movie Scene Hybrid Str 1 STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 2 2 3 8 2 5 5 4 4 6 PR-C045 PR-C046 PR-C047 PR-C048 PR-C049 PR-C050 PR-C051 PR-C052 PR-C053 PR-C054 361 362 363 364 365 366 367 368 369 370 Piccolo Andes Mood HimalayaPipe Solo Tp Horn Chops Flugel Horn Spit Flugel Mute Tp /Mod Harmon Mute Soft Tb FLUTE FLUTE FLUTE AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS 2 1 4 2 2 1 3 3 1 2 PR-C105 PR-C106 PR-C107 PR-C108 PR-C109 PR-C110 PR-C111 PR-C112 PR-C113 PR-C114 311 312 313 314 315 316 317 318 319 320 Gang Strangs Clustered!?! Full Strings X StrSection Oct Strings Sahara Str Random Mood X Hall Str SC Slow Str Hybrid Str 2 STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 6 8 4 4 6 4 6 8 8 7 PR-C055 PR-C056 PR-C057 PR-C058 PR-C059 PR-C060 PR-C061 PR-C062 PR-C063 PR-C064 371 372 373 374 375 376 377 378 379 380 Solo Tb Solo Bone XP Horn Grande Tuba SC Tuba StackTp Sect Tb Section TpTb Sect. SC Brt Brass SC BrsSect 1 AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS 1 2 1 2 1 4 5 2 4 7 PR-C115 PR-C116 PR-C117 PR-C118 PR-C119 PR-C120 PR-C121 PR-C122 PR-C123 PR-C124 381 382 383 384 SC BrsSect 2 Tpts & Tmbs Brass & Sax BrassPartOut AC.BRASS AC.BRASS AC.BRASS AC.BRASS 8 2 5 6 PR-C125 PR-C126 PR-C127 PR-C128 226 SonicCell_e.book 227 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-D (Preset D Group) (CC#0 = 87, CC#32 = 67) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 385 386 387 388 389 390 Simple Tutti F.Horns Sect Full sForza Stereo Brass Wide SynBrss DetuneSawBrs AC.BRASS AC.BRASS AC.BRASS AC.BRASS SYNTH BRASS SYNTH BRASS 2 3 4 4 2 2 PR-D001 PR-D002 PR-D003 PR-D004 PR-D005 PR-D006 449 450 X-Sink Delay Destroyed Ld HARD LEAD HARD LEAD 3 2 PR-D065 PR-D066 391 392 393 394 395 396 397 398 399 400 J-Pop Brass 80s Brass 1 80s Brass 2 Ana Brass Soft Brass JP8000 Brass Sonic Brass Syn Brass Syn Brass 2 Xpand Brass SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS 6 6 4 5 3 6 4 4 4 2 PR-D007 PR-D008 PR-D009 PR-D010 PR-D011 PR-D012 PR-D013 PR-D014 PR-D015 PR-D016 451 452 453 454 455 456 457 458 459 460 Synchro Lead Sync Ld Mono SyncModulate Distorted MG SonicVampire Blue Meanie SC Dist Lead Ringmod Lead Stimulation BodyElectric HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 2 1 3 1 2 2 2 4 4 3 PR-D067 PR-D068 PR-D069 PR-D070 PR-D071 PR-D072 PR-D073 PR-D074 PR-D075 PR-D076 401 402 403 404 405 406 407 408 409 410 Xpand Brass2 Super Saw SoftSynBrass Silky JP Silk Brs Pad 80s Brass 3 X-Saw Brass1 Cheesy Brass Dual Saw Brs Juno-106 Brs SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS BRASS 4 4 2 2 1 8 2 4 2 1 PR-D017 PR-D018 PR-D019 PR-D020 PR-D021 PR-D022 PR-D023 PR-D024 PR-D025 PR-D026 461 462 463 464 465 466 467 468 469 470 Classic Lead Feat Lead Wire Sync Epic Lead Bag Lead Wezcoast HyperJupiter Vintagolizer C64 Lead 303 NRG HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 4 2 3 2 3 2 3 4 2 2 PR-D077 PR-D078 PR-D079 PR-D080 PR-D081 PR-D082 PR-D083 PR-D084 PR-D085 PR-D086 411 412 413 414 415 416 417 418 419 420 Poly Brass Stacked Brs Soprano Sax Solo Sop Sax Alto mp Alto Sax Solo AltoSax AltoLead Sax XP TnrBrethy Tenor Sax SYNTH BRASS SYNTH BRASS SAX SAX SAX SAX SAX SAX SAX SAX 2 4 1 1 1 1 1 1 1 2 PR-D027 PR-D028 PR-D029 PR-D030 PR-D031 PR-D032 PR-D033 PR-D034 PR-D035 PR-D036 471 472 473 474 475 476 477 478 479 480 Cell SquLead SC Sqr Lead SH Sqr Lead Round SQR Windy Synth Sqr Diamond Sinetific PeakArpSine Howards Lead SoloNzPeaker SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 4 2 2 2 3 2 2 1 3 1 PR-D087 PR-D088 PR-D089 PR-D090 PR-D091 PR-D092 PR-D093 PR-D094 PR-D095 PR-D096 421 422 423 424 425 426 427 428 429 430 Fat TenorSax Baritone Sax Sax Sect. 1 Sax Sect. 2 Horny Sax FXM Alto Sax Porta SoloLd Porta Lead Wind Syn Ld SC Saw Ld 1 SAX SAX SAX SAX SAX SAX HARD HARD HARD HARD PR-D037 PR-D038 PR-D039 PR-D040 PR-D041 PR-D042 PR-D043 PR-D044 PR-D045 PR-D046 Juno SftLd R&B TriLead R&B Tri Ld2 Jupiter Lead Dig-n-Duke SC SoftLead Mid Saw Ld X-Pulse Lead Mild 2-SawLd Mew Lead SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 1 1 1 1 2 2 4 2 2 1 PR-D097 PR-D098 PR-D099 PR-D100 PR-D101 PR-D102 PR-D103 PR-D104 PR-D105 PR-D106 LEAD LEAD LEAD LEAD 3 1 3 4 2 1 2 2 2 2 481 482 483 484 485 486 487 488 489 490 431 432 433 434 435 436 437 438 439 440 SC Saw Ld 2 Juno Lead Follow Me DC Triangle Sqr-Seqence Pure Square Griggley SC LegatoSaw Lone Prophat Dual Profs HARD HARD HARD HARD HARD HARD HARD HARD HARD HARD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 2 2 2 2 1 2 2 2 1 2 PR-D047 PR-D048 PR-D049 PR-D050 PR-D051 PR-D052 PR-D053 PR-D054 PR-D055 PR-D056 491 492 493 494 495 496 497 498 499 500 Shy Soloist Theramax Therasqu GR Lead SH-2 Lead SC ResoLead Modulated Ld Synthi Fizz Waspy Lead Pulstar Ld SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 1 1 1 2 2 3 1 2 1 1 PR-D107 PR-D108 PR-D109 PR-D110 PR-D111 PR-D112 PR-D113 PR-D114 PR-D115 PR-D116 441 442 443 444 445 446 447 448 Gwyo Press "Q" DualSaws Mogulator Ld DirtyVoltage Clean? Distortion SC Syn Ld SynLead 0322 HARD HARD HARD HARD HARD HARD HARD HARD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 2 2 2 2 2 4 2 2 PR-D057 PR-D058 PR-D059 PR-D060 PR-D061 PR-D062 PR-D063 PR-D064 501 502 503 504 505 506 507 508 509 510 Naked Lead Alpha Spit Vliolin Lead Mod Lead JP Saw Lead Tristar Chubby Lead Sneaky Leady Shaku Lead Legato Tkno SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD LEAD 1 1 2 4 2 2 2 2 5 1 PR-D117 PR-D118 PR-D119 PR-D120 PR-D121 PR-D122 PR-D123 PR-D124 PR-D125 PR-D126 511 512 SCResoSaw Ld SliCed Lead SOFT LEAD SOFT LEAD 2 2 PR-D127 PR-D128 227 SonicCell_e.book 228 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-E (Preset E Group) (CC#0 = 87, CC#32 = 68) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 513 514 515 516 517 518 519 520 Mini Growl Evangelized Air Lead Juno-D Maj7 Sweet House Periscope 5th Voice HPF Sweep SOFT LEAD SOFT LEAD SOFT LEAD TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH TECHNO SYNTH 2 2 4 4 4 4 6 2 PR-E001 PR-E002 PR-E003 PR-E004 PR-E005 PR-E006 PR-E007 PR-E008 577 578 579 580 Euro Teuro Auto Trance Eureggae Sorry4theDLY PULSATING PULSATING PULSATING PULSATING 6 2 2 2 PR-E065 PR-E066 PR-E067 PR-E068 521 522 523 524 525 526 527 528 529 530 BPF Saw Moon Synth DelyResoSaws R-Trance Braatz... AllinOneRiff YZ Again Flazzy Lead Coffee Bee SC-303 TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 4 2 2 7 6 7 7 8 2 1 PR-E009 PR-E010 PR-E011 PR-E012 PR-E013 PR-E014 PR-E015 PR-E016 PR-E017 PR-E018 581 582 583 584 585 586 587 588 589 590 Beat Pad TMT Seq Pad ForYourBreak HPF Slicer Sliced Choir Digi-Doo PanningFrmnt Dirty Beat Electrons Protons PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 3 4 4 3 6 2 2 7 1 2 PR-E069 PR-E070 PR-E071 PR-E072 PR-E073 PR-E074 PR-E075 PR-E076 PR-E077 PR-E078 531 532 533 534 535 536 537 538 539 540 Dance Saws AluminmWires Fred&Barney Electrostars LoFiSequence MelodicDrums TB Wah Waving TB303 Digi Seq Seq Saw TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 8 3 6 4 2 2 1 3 3 1 PR-E019 PR-E020 PR-E021 PR-E022 PR-E023 PR-E024 PR-E025 PR-E026 PR-E027 PR-E028 591 592 593 594 595 596 597 598 599 600 Brisk Vortex SC Throbulax SC Lonizer diGital Pad StepPitShift Pad Pulses Seq-Pad 2 DSP Chaos Dancefloor Minor Thirds PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 3 2 4 4 2 3 8 1 4 2 PR-E079 PR-E080 PR-E081 PR-E082 PR-E083 PR-E084 PR-E085 PR-E086 PR-E087 PR-E088 541 542 543 544 545 546 547 548 549 550 Reso Seq Saw DetuneSeqSaw Technotribe Teethy Grit Repertition Killerbeez Acid Lead Tranceformer Anadroid Shroomy TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 1 2 2 3 4 4 2 1 1 3 PR-E029 PR-E030 PR-E031 PR-E032 PR-E033 PR-E034 PR-E035 PR-E036 PR-E037 PR-E038 601 602 603 604 605 606 607 608 609 610 FX World Mr. Fourier Nu Trance X Auto 5thSaws Cross Talk Reanimation VoX Chopper Trevor's Pad Fantomas Pad Jazzy Arps PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 2 3 2 4 1 2 2 4 5 4 PR-E089 PR-E090 PR-E091 PR-E092 PR-E093 PR-E094 PR-E095 PR-E096 PR-E097 PR-E098 551 552 553 554 555 556 557 558 559 560 Noize R us Beep Melodie Morpher Uni-G Power Synth Hoover Again Alpha Said.. Ravers Awake Tekno Gargle Tranceiver TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO TECHNO SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 2 4 8 2 4 4 2 2 2 4 PR-E039 PR-E040 PR-E041 PR-E042 PR-E043 PR-E044 PR-E045 PR-E046 PR-E047 PR-E048 611 612 613 614 615 616 617 618 619 620 Keep Running Step In Echo Echo Keep going Arposphere Voco Riff Pulsator Motion Bass Sine Magic Juno-D Slice PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 4 4 8 4 4 4 4 2 3 3 PR-E099 PR-E100 PR-E101 PR-E102 PR-E103 PR-E104 PR-E105 PR-E106 PR-E107 PR-E108 561 562 563 564 565 566 567 568 569 570 Techno Dream Techno Pizz VirtualHuman Strobot SC Strobe Strobe X Rhythmic 5th Cell Pad DarknessSide Shape of X TECHNO SYNTH TECHNO SYNTH PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 4 4 4 2 4 5 4 3 6 5 PR-E049 PR-E050 PR-E051 PR-E052 PR-E053 PR-E054 PR-E055 PR-E056 PR-E057 PR-E058 621 622 623 624 625 626 627 628 629 630 Pulsatron Mega Sync Passing by Lazer Points Retro Sci-Fi Magic Chime SC Try This! New Planetz Jet Noise Chaos 2003 PULSATING PULSATING SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX 4 2 4 2 4 4 3 4 4 4 PR-E109 PR-E110 PR-E111 PR-E112 PR-E113 PR-E114 PR-E115 PR-E116 PR-E117 PR-E118 571 572 573 574 575 576 Sonic Dance ShapeURMusic Synth Force Trance Split Step Trance Chop Synth PULSATING PULSATING PULSATING PULSATING PULSATING PULSATING 5 5 4 2 1 2 PR-E059 PR-E060 PR-E061 PR-E062 PR-E063 PR-E064 631 632 633 634 635 636 637 638 639 640 Control Room OutOf sortz Scatter Low Beat-S WaitnOutside Breath Echo SoundStrange Cosmic Pulse Faked Piano SC Crystal SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 4 5 7 5 2 1 3 2 4 2 PR-E119 PR-E120 PR-E121 PR-E122 PR-E123 PR-E124 PR-E125 PR-E126 PR-E127 PR-E128 228 FX FX FX FX FX FX FX FX FX FX SonicCell_e.book 229 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-F (Preset F Group) (CC#0 = 87, CC#32 = 69) No Name Category 641 642 643 644 645 646 647 648 649 650 ResoSweep Dn Zap B3 & C4 PolySweep Nz Strange Land S&H Voc 12th Planet Scare Hillside Mod Scanner SoundOnSound SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH Voice (Preset#) No Name Voice (Preset#) 1 1 4 6 2 2 7 1 2 1 PR-F001 PR-F002 PR-F003 PR-F004 PR-F005 PR-F006 PR-F007 PR-F008 PR-F009 PR-F010 705 706 707 708 709 710 Pressyn OTHER High Five OTHER 4DaCommonManOTHER Orgaenia OTHER Sleeper OTHER Sugar Synth OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 2 2 4 5 4 5 PR-F065 PR-F066 PR-F067 PR-F068 PR-F069 PR-F070 SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX SYNTH FX OTHER SYNTH OTHER SYNTH 8 1 2 5 1 1 4 4 4 4 PR-F011 PR-F012 PR-F013 PR-F014 PR-F015 PR-F016 PR-F017 PR-F018 PR-F019 PR-F020 711 712 713 714 715 716 717 718 719 720 Ice Palace Story Harp LostParadise Magnetic 5th DigimaX Exhale X-panda Saw Keystep 4mant Cycle Modular OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 4 7 5 2 2 2 2 2 1 2 PR-F071 PR-F072 PR-F073 PR-F074 PR-F075 PR-F076 PR-F077 PR-F078 PR-F079 PR-F080 651 652 653 654 655 656 657 658 659 660 Gasp ResoSweep Up Magic Wave Shangri-La CerealKiller Cosmic Drops Space Echo Robot Sci-Fi Stacc Heaven Juno Poly DigitalDream Jucy Saw Cue Tip Waspy Synth TB-Sequence Europe Xpres Squeepy DOC Stack Sweep Lead 80s Saws 1 OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 2 3 1 2 1 2 1 2 2 8 PR-F021 PR-F022 PR-F023 PR-F024 PR-F025 PR-F026 PR-F027 PR-F028 PR-F029 PR-F030 721 722 723 724 725 726 727 728 729 730 Angel Pipes Wired Synth Analog Dream DCO Bell Pad Cell Fanta Juno 5th DoubleBubble Cell Comb Super SynStr 80s Str OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH OTHER SYNTH BRIGHT PAD BRIGHT PAD BRIGHT PAD 2 8 3 4 3 2 4 3 2 8 PR-F081 PR-F082 PR-F083 PR-F084 PR-F085 PR-F086 PR-F087 PR-F088 PR-F089 PR-F090 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 80s Saws 2 80s Saws 3 Digitaless Flip Pad Short Detune forSequence Memory Pluck Metalic Bass Aqua Big Planet OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 6 5 2 3 2 2 2 2 2 2 PR-F031 PR-F032 PR-F033 PR-F034 PR-F035 PR-F036 PR-F037 PR-F038 PR-F039 PR-F040 731 732 733 734 735 736 737 738 739 740 PhaseStrings Voyager Cosmic Rays Stringship Fat Stacks Strings R Us Electric Pad Neo RS-202 OB Rezo Pad Synthi Ens BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 2 4 4 4 4 2 3 2 3 4 PR-F091 PR-F092 PR-F093 PR-F094 PR-F095 PR-F096 PR-F097 PR-F098 PR-F099 PR-F100 681 682 683 684 685 686 687 688 689 690 Wet Atax Houze Clavi SuperSawSlow Cell Trance Trancy X Trancy Synth Juno Trnce Saw Stack Frgile Saws Steamed Sawz OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 2 2 2 3 4 2 4 2 2 2 PR-F041 PR-F042 PR-F043 PR-F044 PR-F045 PR-F046 PR-F047 PR-F048 PR-F049 PR-F050 741 742 743 744 745 746 747 748 749 750 Giant Sweep Mod Dare Cell Space Digi-Swell Sonic Surfer New Year Day Polar Morn Distant Sun PG Chimes Saturn Rings BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 2 4 4 3 2 4 4 4 4 4 PR-F101 PR-F102 PR-F103 PR-F104 PR-F105 PR-F106 PR-F107 PR-F108 PR-F109 PR-F110 691 692 693 694 695 696 697 698 699 700 RAVtune Bustranza AftTch Ji-n JP OctAttack Oct Unison Xtatic Dirty Combo FM's Attack Digi-vox Syn Fairy Factor OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH 2 2 2 2 6 4 2 3 1 6 PR-F051 PR-F052 PR-F053 PR-F054 PR-F055 PR-F056 PR-F057 PR-F058 PR-F059 PR-F060 751 752 753 754 755 756 757 758 759 760 Brusky "2 Point 2" 2.2 Pad two.two Pad SaturnHolida Neuro-Drone In The Pass Polar Night Cell 5th MistOver5ths BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 4 7 7 4 2 7 3 4 3 4 PR-F111 PR-F112 PR-F113 PR-F114 PR-F115 PR-F116 PR-F117 PR-F118 PR-F119 PR-F120 701 702 703 704 Tempest X-Racer TB Booster Syn-Orch/Mod OTHER OTHER OTHER OTHER SYNTH SYNTH SYNTH SYNTH 2 2 2 4 PR-F061 PR-F062 PR-F063 PR-F064 761 762 763 764 765 766 767 768 Gritty Pad India Garden BillionStars Sand Pad ReverseSweep HugeSoundMod Metal Swell NuSoundtrack BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT BRIGHT PAD PAD PAD PAD PAD PAD PAD PAD 1 6 4 2 2 4 5 4 PR-F121 PR-F122 PR-F123 PR-F124 PR-F125 PR-F126 PR-F127 PR-F128 FX FX FX FX FX FX FX FX FX FX Category 229 SonicCell_e.book 230 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List PR-G (Preset G Group) (CC#0 = 87, CC#32 = 70) No Name Category Voice (Preset#) No Name Category Voice (Preset#) 769 770 Phat Strings Soft OB Pad BRIGHT PAD SOFT PAD 4 3 PR-G001 PR-G002 771 772 773 774 775 776 777 778 779 780 SC Hollow SC Sqr Pad Silk Pad WarmReso Pad SC Soft Pad Air Pad Soft Breeze JP Strings 1 JP Strings 2 DelayStrings SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 4 4 3 2 3 4 2 3 5 3 PR-G003 PR-G004 PR-G005 PR-G006 PR-G007 PR-G008 PR-G009 PR-G010 PR-G011 PR-G012 833 834 835 836 837 838 839 840 Choir&Str Aah Vox Synvox Uhmmm Morning Star Syn Opera BeautifulOne Ooze VOX VOX VOX VOX VOX VOX VOX VOX 7 2 2 8 3 4 4 2 PR-G065 PR-G066 PR-G067 PR-G068 PR-G069 PR-G070 PR-G071 PR-G072 781 782 783 784 785 786 787 788 789 790 NorthStrings SC Syn Str Slow Saw Str Syn Strings OB Slow Str Strings Pad R&B SoftPad Reso Pad Phat Pad SC PhaserPad SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 4 5 2 2 2 2 2 3 2 2 PR-G013 PR-G014 PR-G015 PR-G016 PR-G017 PR-G018 PR-G019 PR-G020 PR-G021 PR-G022 841 842 843 844 845 846 847 848 849 850 Aerial Choir 3D Vox Film Cue Paradise Sad ceremony Lost Voices Jazz Doos Beat Vox Talk 2 Me FM Vox VOX VOX VOX VOX VOX VOX VOX VOX VOX VOX 4 3 4 4 8 4 4 1 2 4 PR-G073 PR-G074 PR-G075 PR-G076 PR-G077 PR-G078 PR-G079 PR-G080 PR-G081 PR-G082 791 792 793 794 795 796 797 798 799 800 Mystic Str Glass Organ Wind Pad Combination HumanKindnes BeautyPad Atmospherics Terra Nostra OB Aaahs Vulcano Pad SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 5 3 4 4 4 4 2 8 4 5 PR-G023 PR-G024 PR-G025 PR-G026 PR-G027 PR-G028 PR-G029 PR-G030 PR-G031 PR-G032 851 852 853 854 855 856 857 858 859 860 Let's Talk! Nice Kalimba Quiet River Teky Drop Pat is away SC Sitar 1 SC Sitar 2 Sitar on C Sitar Baby Elec Sitar VOX PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED 3 1 4 4 5 4 5 6 1 3 PR-G083 PR-G084 PR-G085 PR-G086 PR-G087 PR-G088 PR-G089 PR-G090 PR-G091 PR-G092 801 802 803 804 805 806 807 808 809 810 Cloud #9 Organic Pad Hum Pad Vox Pad Digital Aahs Tri 5th Pad SC MovinPad Seq-Pad 1 Follow Consolament SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 3 3 4 4 3 4 8 8 2 3 PR-G033 PR-G034 PR-G035 PR-G036 PR-G037 PR-G038 PR-G039 PR-G040 PR-G041 PR-G042 861 862 863 864 865 866 867 868 869 870 Neo Sitar SaraswatiRvr Bosporus Santur Stack Aerial Harp Harpiness Skydiver TroubadorEns Jamisen Koto PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED PLUCKED 2 3 3 4 2 2 2 4 2 8 PR-G093 PR-G094 PR-G095 PR-G096 PR-G097 PR-G098 PR-G099 PR-G100 PR-G101 PR-G102 811 812 813 814 815 816 817 818 819 820 Spacious Pad JD Pop Pad JP-8 Phase Nu Epic Pad Forever Flange Dream Evolution X Heaven Pad Angelis Pad Juno-106 Str SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT SOFT PAD PAD PAD PAD PAD PAD PAD PAD PAD PAD 4 3 4 2 5 4 2 3 4 1 PR-G043 PR-G044 PR-G045 PR-G046 PR-G047 PR-G048 PR-G049 PR-G050 PR-G051 PR-G052 871 872 873 874 875 876 877 878 879 880 Monsoon Bend Koto LongDistance Ambi Shaku SC Lochscape SC PipeDream SC Far East Banjo Timpani+Low Timpani Roll PLUCKED PLUCKED ETHNIC ETHNIC ETHNIC ETHNIC ETHNIC FRETTED PERCUSSION PERCUSSION 4 2 1 3 2 4 4 2 4 2 PR-G103 PR-G104 PR-G105 PR-G106 PR-G107 PR-G108 PR-G109 PR-G110 PR-G111 PR-G112 821 822 823 824 825 826 827 828 829 830 JupiterMoves Oceanic Pad Fairy's Song Borealis JX Warm Pad Analog Bgrnd Choir Aahs 1 Choir Aahs 2 ChoirOoh/Aft Angels Choir SOFT SOFT SOFT SOFT SOFT SOFT VOX VOX VOX VOX PAD PAD PAD PAD PAD PAD 2 2 4 2 2 3 4 4 4 4 PR-G053 PR-G054 PR-G055 PR-G056 PR-G057 PR-G058 PR-G059 PR-G060 PR-G061 PR-G062 881 882 883 884 885 886 887 888 889 890 Bass Drum Ambidextrous En-co-re Mobile Phone ElectroDisco Groove 007 In Da Groove Sweet 80s Autotrance Juno Pop PERCUSSION SOUND FX SOUND FX SOUND FX BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE BEAT&GROOVE 4 2 4 1 5 4 4 4 4 4 PR-G113 PR-G114 PR-G115 PR-G116 PR-G117 PR-G118 PR-G119 PR-G120 PR-G121 PR-G122 831 832 Angelique Gospel Oohs VOX VOX 4 2 PR-G063 PR-G064 891 892 893 894 895 896 Compusonic 1 Compusonic 2 80s Combo Analog Days Techno Craft Lounge Kit BEAT&GROOVE BEAT&GROOVE COMBINATION COMBINATION COMBINATION COMBINATION 4 4 3 3 3 2 PR-G123 PR-G124 PR-G125 PR-G126 PR-G127 PR-G128 230 SonicCell_e.book 231 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List GM (GM2 Group) No Name Category Voices LSB PC No Name Category Voices LSB 1 2 3 4 5 6 7 8 9 10 Piano 1 Piano 1w European Pf Piano 2 Piano 2w Piano 3 Piano 3w Honky-tonk Honky-tonk 2 E.Piano 1 AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO AC.PIANO EL.PIANO 2 2 2 2 2 2 2 2 2 1 0 1 2 0 1 0 1 0 4 0 1 65 66 67 68 69 70 Chorus Gt. Mid Tone GTR Muted Gt. Funk Pop Funk Gt.2 Jazz Man EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR 2 1 1 1 1 1 1 2 0 1 2 3 St.Soft EP FM+SA EP Wurly E.Piano 2 Detuned EP 2 St.FM EP EP Legend EP Phase Harpsichord Coupled Hps. EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO EL.PIANO KEYBOARDS KEYBOARDS 3 3 1 4 4 4 4 2 2 7 1 2 3 0 1 2 3 4 0 1 Overdrive Gt Guitar Pinch DistortionGt Feedback Gt. Dist Rtm GTR Gt.Harmonics Gt. Feedback Acoustic Bs. Fingered Bs. Finger Slap DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR DIST.GUITAR EL.GUITAR EL.GUITAR BASS BASS BASS 2 1 1 2 2 2 1 1 3 3 0 1 0 1 2 0 1 0 0 1 30 11 12 13 14 15 16 17 18 19 20 71 72 73 74 75 76 77 78 79 80 21 22 23 24 25 26 27 28 29 30 Harpsi.w Harpsi.o Clav. Pulse Clav Celesta Glockenspiel Music Box Vibraphone Vibraphone w Marimba KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS KEYBOARDS BELL BELL MALLET MALLET MALLET 2 4 2 2 1 1 2 1 1 1 2 3 0 1 0 0 0 0 1 0 81 82 83 84 85 86 87 88 89 90 Picked Bass Fretless Bs. Slap Bass 1 Slap Bass 2 Synth Bass 1 SynthBass101 Acid Bass Clavi Bass Hammer Synth Bass 2 BASS BASS BASS BASS SYNTH SYNTH SYNTH SYNTH SYNTH SYNTH BASS BASS BASS BASS BASS BASS 3 2 2 3 1 1 1 2 2 3 0 0 0 0 0 1 2 3 4 0 35 36 37 38 39 31 32 33 34 35 36 37 38 39 40 Marimba w Xylophone Tubular-bell Church Bell Carillon Santur Organ 1 Trem. Organ 60's Organ 1 70's E.Organ MALLET MALLET BELL BELL BELL PLUCKED ORGAN ORGAN ORGAN ORGAN 1 1 1 1 4 4 3 2 1 2 1 0 0 1 2 0 0 1 2 3 91 92 93 94 95 96 97 98 99 100 Beef FM Bass RubberBass 2 Attack Pulse Violin Slow Violin Viola Cello Contrabass Tremolo Str PizzicatoStr SYNTH BASS SYNTH BASS SYNTH BASS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS STRINGS 2 2 1 1 1 1 1 1 4 4 1 2 3 0 1 0 0 0 0 0 41 42 43 44 45 46 47 48 49 50 Organ 2 Chorus Or.2 Perc. Organ Organ 3 Church Org.1 Church Org.2 Church Org.3 Reed Organ Puff Organ Accordion Fr ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ORGAN ACCRDION 3 3 4 4 2 4 6 3 1 3 0 1 2 0 0 1 2 0 1 0 101 102 103 104 105 106 107 108 109 110 Harp Yang Qin Timpani Strings Orchestra 60s Strings Slow Strings Syn.Strings1 Syn.Strings3 Syn.Strings2 PLUCKED PLUCKED PERCUSSION STRINGS ORCHESTRA STRINGS STRINGS STRINGS STRINGS SOFT PAD 2 3 4 4 7 4 4 3 3 2 0 1 0 0 1 2 0 0 1 0 51 52 53 54 55 56 57 58 59 60 Accordion It Harmonica Bandoneon Nylon-str.Gt Ukulele Nylon Gt.o Nylon Gt.2 Steel-str.Gt 12-str.Gt Mandolin ACCRDION HARMONICA ACCRDION AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR AC.GUITAR 3 2 3 1 1 2 1 4 3 2 1 0 0 0 1 2 3 0 1 2 111 112 113 114 115 116 117 118 119 120 Choir Aahs Chorus Aahs Voice Oohs Humming SynVox Analog Voice OrchestraHit Bass Hit 6th Hit Euro Hit VOX VOX VOX VOX VOX VOX HIT&STAB HIT&STAB HIT&STAB HIT&STAB 4 4 4 4 4 2 2 2 2 2 0 1 0 1 0 1 0 1 2 3 61 62 63 64 Steel + Body Jazz Gt. Pedal Steel Clean Gt. AC.GUITAR EL.GUITAR EL.GUITAR EL.GUITAR 4 1 1 1 3 0 1 0 121 122 123 124 125 126 127 128 Trumpet Dark Trumpet Trombone Trombone 2 Bright Tb Tuba MutedTrumpet MuteTrumpet2 AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS AC.BRASS 2 1 1 2 2 1 3 1 0 1 0 1 2 0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 PC 29 31 32 33 34 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 231 SonicCell_e.book 232 ページ ２００７年７月２日 月曜日 午後３時５０分 Patch List No Name Category Voices LSB PC No Name Category Voices LSB PC 129 130 French Horns Fr.Horn 2 AC.BRASS AC.BRASS 3 1 0 1 61 Brass 1 Brass 2 Synth Brass1 JP Brass Oct SynBrass Jump Brass Synth Brass2 SynBrass sfz Velo Brass 1 Soprano Sax AC.BRASS AC.BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SYNTH BRASS SAX 4 4 4 4 4 3 3 2 2 1 0 1 0 1 2 3 0 1 2 0 62 Sitar Sitar 2 Banjo Shamisen Koto Taisho Koto Kalimba Bagpipe PLUCKED PLUCKED FRETTED PLUCKED PLUCKED PLUCKED PLUCKED ETHNIC 2 5 2 2 4 3 1 3 0 1 0 0 0 1 0 0 105 131 132 133 134 135 136 137 138 139 140 193 194 195 196 197 198 199 200 141 142 143 144 145 146 147 148 149 150 Alto Sax Tenor Sax Baritone Sax Oboe English Horn Bassoon Clarinet Piccolo Flute Recorder SAX SAX SAX WIND WIND WIND WIND FLUTE FLUTE FLUTE 1 1 1 3 1 1 2 2 2 1 0 0 0 0 0 0 0 0 0 0 66 67 68 69 70 71 72 73 74 75 201 202 203 204 205 206 207 208 209 210 Fiddle Shanai Tinkle Bell Agogo Steel Drums Woodblock Castanets Taiko Concert BD Melo. Tom 1 STRINGS ETHNIC BELL PERCUSSION MALLET PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION 1 2 3 1 2 1 1 3 4 1 0 0 0 0 0 0 1 0 1 0 151 152 153 154 155 156 157 158 159 160 Pan Flute Bottle Blow Shakuhachi Whistle Ocarina Square Wave MG Square 2600 Sine Saw Wave OB2 Saw FLUTE FLUTE ETHNIC FLUTE FLUTE HARD LEAD HARD LEAD HARD LEAD HARD LEAD HARD LEAD 1 2 2 2 3 2 1 1 2 1 0 0 0 0 0 0 1 2 0 1 76 77 78 79 80 81 211 212 213 214 215 216 217 218 219 220 Melo. Tom 2 Synth Drum 808 Tom Elec Perc Reverse Cym. Gt.FretNoise Gt.Cut Noise String Slap Breath Noise Fl.Key Click PERCUSSION PERCUSSION PERCUSSION PERCUSSION PERCUSSION AC.GUITAR AC.GUITAR AC.GUITAR SYNTH FX SYNTH FX 1 1 1 1 1 1 1 1 1 1 1 0 1 1 0 0 1 2 0 1 Doctor Solo Natural Lead SequencedSaw Syn.Calliope Chiffer Lead Charang Wire Lead Solo Vox 5th Saw Wave Bass & Lead HARD LEAD HARD LEAD HARD LEAD SOFT LEAD SOFT LEAD HARD LEAD HARD LEAD SOFT LEAD HARD LEAD HARD LEAD 2 2 2 2 2 2 2 2 2 2 2 3 4 0 0 0 1 0 0 0 Seashore Rain Thunder Wind Stream Bubble Bird Dog Horse-Gallop Bird 2 SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND FX FX FX FX FX FX FX FX FX FX 2 2 1 2 2 2 2 1 1 1 0 1 2 3 4 5 0 1 2 3 123 161 162 163 164 165 166 167 168 169 170 221 222 223 224 225 226 227 228 229 230 Delayed Lead Fantasia Warm Pad Sine Pad Polysynth Space Voice Itopia Bowed Glass Metal Pad Halo Pad HARD LEAD OTHER SYNTH SOFT PAD SOFT PAD OTHER SYNTH VOX VOX SOFT PAD BRIGHT PAD BRIGHT PAD 2 4 1 2 2 4 3 3 4 3 1 0 0 1 0 0 1 0 0 0 Telephone 1 Telephone 2 DoorCreaking Door Scratch Wind Chimes Helicopter Car-Engine Car-Stop Car-Pass SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND FX FX FX FX FX FX FX FX FX FX 1 1 1 1 1 2 1 1 1 1 0 1 2 3 4 5 0 1 2 3 125 171 172 173 174 175 176 177 178 179 180 231 232 233 234 235 236 237 238 239 240 181 182 183 184 185 186 187 188 189 190 Sweep Pad Ice Rain Soundtrack Crystal Syn Mallet Atmosphere Brightness Goblin Echo Drops Echo Bell SOFT PAD OTHER SYNTH SOFT PAD BELL BELL AC.GUITAR OTHER SYNTH PULSATING BRIGHT PAD BRIGHT PAD 3 3 5 2 2 3 4 3 2 3 0 0 0 0 1 0 0 0 0 1 241 242 243 244 245 246 247 248 249 250 Car-Crash Siren Train Jetplane Starship Burst Noise Applause Laughing Screaming Punch SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND SOUND FX FX FX FX FX FX FX FX FX FX 2 1 1 3 4 2 2 1 1 1 4 5 6 7 8 9 0 1 2 3 191 192 Echo Pan Star Theme BRIGHT PAD BRIGHT PAD 2 3 2 0 251 252 253 254 255 256 Heart Beat Footsteps Gun Shot Machine Gun Lasergun Explosion SOUND SOUND SOUND SOUND SOUND SOUND FX FX FX FX FX FX 1 1 1 1 1 2 4 5 0 1 2 3 232 63 64 65 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 124 126 127 128 SonicCell_e.book 233 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List USER (User Group) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2 StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu Percussion Scrh&Voi&Wld PRST (Preset Group) No 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Name SonicCellKit WD Std Kit LD Std Kit TY Std Kit StandardKit1 StandardKit2 StandardKit3 Rock Kit 1 Rock Kit 2 Brush Jz Kit Orch Kit 909 808 Kit Limiter Kit HipHop Kit 1 R&B Kit HiFi R&B Kit Machine Kit1 Kit-Euro:POP House Kit Nu Technica Machine Kit2 ArtificalKit Noise Kit Kick Menu Snare Menu Snr/Rim Menu HiHat Menu Tom Menu Clp&Cym&Hit FX/SFX Menu Percussion Scrh&Voi&Wld GM (GM Group) No 1 2 3 4 5 6 7 8 9 Name GM2 STANDARD GM2 ROOM GM2 POWER GM2 ELECTRIC GM2 ANALOG GM2 JAZZ GM2 BRUSH GM2 ORCHSTRA GM2 SFX * Rhthm Set are common to Preset Group and User Group. 233 SonicCell_e.book 234 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List USER (User Group)/PRS (Preset Group) Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 234 1 1 SonicCellKit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Snr 2 Power Kick Reg.PHH Reg.Kick SF Kick 1 SF CStk SF Snr SF Snr Gst SF Rim RR F.Tom Reg.CHH 1 SF L.Tom Reg.CHH 2 SF M.Tom Reg.OHH SF MT Flm SF H.Tom Crash Cym1a SF HT Flm Rock Ride 1 China Cymbal Splash Cym Tamborine2 Rock Crash 1 Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga 2L Op Timbare 4 Timbare 3 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 2 Whistle Shrt Whistle Long Guiro 2 Up Guiro 2 Down Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Kick 4 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 2 2 WD Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Snr 2 Reg.Kick 2 Reg.PHH Reg.Kick 1 WD Kick WD CStk WD Snr SF Snr Gst WD Rim RR F.Tom Reg.CHH 1 TY L.Tom Reg.CHH 2 TY M.Tom Reg.OHH TY M.Tom TY H.Tom Crash Cym1a TY H.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine 3 Rock Crash 1 Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Mild Agogo H Mild Agogo L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Wood Block M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Clap Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 3 3 LD Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Snr 2 Reg.Kick 2 Reg.PHH Reg.Kick 1 LD Kick LD CStk LD Snr Reg.Snr Gst LD Rim RR F.Tom Reg.CHH 1 LD L.Tom Reg.CHH 2 LD M.Tom Reg.OHH LD M.Tom LD H.Tom Crash Cym1a LD H.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine 3 Rock Crash 1 Cowbell3 Crash Cym1 Cowbell Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga Lo Op Timbale 1 Timbale 2 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 2 Whistle Shrt Whistle Guiro 2 Up Guiro Long Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 Mix Kick 4 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 4 4 TY Std Kit Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Snr2 p Power Kick Reg.PHH Reg.Kick TY Kick TY CStk TY Snr SF SnrGst TY Rim RR F.Tom Reg.CHH 1 TY L.Tom Reg.CHH 2 TY M.Tom Reg.OHH TY M.Tom TY H.Tom Crash Cym 2 TY H.Tom Rock Ride 1 China Cymbal Splash Cym Tamborine2 Crash Cym1a Cowbell3 Crash Cym1b Cowbell2 Lng Rock Ride 2 Conga 2H Mt Conga 2L Mt Conga 2H Slp Conga 2H Op Conga 2L Op Timbare 4 Timbare 3 Agogo 2 Hi Agogo 2 Low Cabasa 2 Shaker 1 Whistle Shrt Whistle Long Guiro 2 Up Guiro 2 Down Claves 2 Wood Block2H Wood Block2L Cuica 2 Low Cuica 2 Hi Triangle Mt Triangle Op Cabasa2 Cut DigiSpectrum Wind Chime Wood Block2M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Cajon 3 Cajon 1 TY Rim f Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 5 5 StandardKit1 MaxLow Kick2 Rk CmpKick Gospel Clap Sweep Bass Sft Snr Gst HipHop Kick2 Reg.PHH Reg.Kick 1 Reg.Kick 2 Reg.Stick Reg.Snr 2 Reg.Snr Gst Reg.Snr 1 Reg.F.Tom Reg.CHH 1 Reg.L.Tom Reg.CHH 2 Reg.M.Tom 1 Reg.OHH Reg.M.Tom 2 Reg.H.Tom 1 Crash Cym1 Reg.H.Tom 2 Rock Ride China Cymbal Ride Edge Tamborine Crash Cym2a Cowbell Low Crash Cym2b Cowbell Hi Ride Bell Conga Hi Mt Conga Lo Mt Conga Lo Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Castanet Bongo Hi Mt Bongo Hi Slp Bongo Lo Slp Bongo Hi Op Bongo Lo Op Cajon 1 Cajon 2 Cajon 3 Vint Snr 2 Shaker 3 WD Rim Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Mix Clap 1 Wind Chime Tibet Cymbal Crotale 6 6 StandardKit2 Dance Kick Dry Kick 1 Snr Roll Power Kick Amb.Snr 2p Power Kick Reg.PHH Reg.Kick 1 Reg.Kick 2 Wild Stick Amb.Snr 1 Reg.Snr Gst Amb.Snr 2 Reg.F.Tom Reg.CHH 1 Reg.L.Tom Reg.CHH 2 Reg.M.Tom Reg.OHH Reg.M.TomFlm Reg.H.Tom Crash Cym1a Reg.H.TomFlm Rock Ride 1 China Cymbal Splash Cym Tamborine Rock Crash 1 Cowbell Hi Crash Cym1b Cowbell Low Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Mild Agogo H Mild Agogo L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Wood Block M Cajon 2 ConcertBD R&B Kick Dry Kick 2 Old Kick Jazz Doos Agogo Noise Rock OHH JD Anklungs Rock OHH Mix Kick 1 Cajon 1 Mix Kick 2 Gospel Clap Bright Clap Rock Rd Cup Cowbell Crash Cym 2 SonicCell_e.book 235 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 7 7 StandardKit3 HipHop Kick2 Syn Swt Atk1 Lo-Bit Stk 1 TR707 Kick TR808 Snr 5 Vint Kick 1 Reg.PHH Vint Kick 2 Old Kick 1 Lo-Bit Stk 4 Reg.Snr 1 Amb Clap TY Rim Jazz Lo Tom1 Reg.CHH 1 Jazz Lo Tom2 Reg.CHH 2 Jazz Mid Tom Reg.OHH Jazz Mid Tom Jazz Hi Tom Crash Cym1 Jazz Hi Tom Rock Rd Edge China Cymbal Rock Rd Cup Tamborine Splash Cym Cowbell Rock Crash 2 TR808 Cym Jazz Ride Bongo Hi Bongo Lo Conga Hi Mt Conga Hi Conga Lo Timbale Hi Timbale Low Cowbell Hi Cowbell Low Cabasa Shaker Noise OHH 2 Scratch 5 Syn Low Atk2 MG Zap 3 Syn Swt Atk1 Syn Swt Atk4 Bongo Hi Slp Noise OHH Noise CHH Triangle 1 Triangle 2 Cajon 1 Cajon 3 Wind Chime SprgDrm Hit Crotale R8 Click Metro Bell DR202 Beep Reverse Cym Xylo Seq. Vinyl Noise Mobile Phone Group Snap Laser Siren AnalogKick 3 Old Kick 2 Reg.Kick TR909 Snr 4 TR808 Snr 2 Short Snr1 Vint Snr 4 8 8 Rock Kit 1 R&B Kick Rk CmpKick Sft Snr Gst Dry Kick 4 Snr Roll SH32 Kick Reg.PHH Reg.Kick 1 Reg.Kick 2 Reg.Stick Reg.Snr2 Reg.Snr Gst Reg.Snr1 Reg.F.Tom Reg.CHH 1 Reg.L.Tom Reg.CHH 2 Reg.M.Tom Reg.OHH Reg.M.TomFlm Reg.H.Tom Crash Cym1a Reg.H.TomFlm Rock Ride 1 China Cymbal Splash Cym Tamborine Rock Crash 1 Cowbell Hi Crash Cym1b Cowbell Low Rock Ride 2 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut DigiSpectrum Wind Chime Dist Chord 1 Dist Chord 2 Dist Chord 3 Dist Chord 4 Dist Chord 5 Rock CHH 2 Cowbell 2a Rock CHH 1 Cowbell 2b Rock OHH Fng.EB2 Sld Cajon 3 Cajon 2 Cajon 1 Gospel Clap Rock Crash 2 Rock Rd Cup Club FinSnap TR909 Snr 6 9 9 Rock Kit 2 MaxLow Kick2 MaxLow Kick1 LD Rim mf Power Kick Mix Clap 2 Vint Kick Rock CHH2 Rock Kick Rk CmpKick Wild Stick Maple Snr Sft Snr Gst Reg.Snr1 Sharp L.Tom1 Rock CHH 1 Sharp L.Tom2 Reg.PHH Sharp L.Tom3 Rock OHH Sharp H.Tom1 Sharp H.Tom2 Crash Cym1 Sharp H.Tom3 Ride Cymbal China Cymbal Ride Bell Tamborine 3 Rock Crash 2 Cowbell Mute Splash Cym Cowbell Rock Rd Cup Conga Hi Mt Conga Lo Mt Conga Slp Op Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Wind Chime Dist Chord 1 Dist Chord 2 Dist Chord 3 Dist Chord 4 Dist Chord 5 Dist Chord 6 Rock CHH 2 Dist Chord 7 DistGtr Nz 1 DistGtr Nz 2 DistGtr Nz 3 JD Switch Cajon 3 Cajon 2 Cajon 1 Real Clap Gospel Clap Tibet Cymbal Tamborine 1 Tamborine 2 10 10 Brush Jz Kit TR909 Kick1a TR909 Kick1b Jazz Snr Reg.Kick 1 Soft Jz Roll Reg.Kick 2 Reg.PHH Jazz Kick 1 Jazz Kick 2 Hard Stick Jazz Rim Jz Brsh Swsh Jazz Snr Reg.F.Tom 1 Reg.CHH 1 Reg.L.Tom 1 Reg.CHH 2 Reg.M.Tom 1 Reg.OHH Reg.M.Tom 1 Reg.H.Tom 1 Jazz Crash Reg.H.Tom 1 Jazz Ride 1 China Cym 1 Ride Edge Tamborine Crash Cym Cowbell Low Crash Cym Cowbell Hi Ride Bell Conga Hi Mt Conga Lo Mt Conga Lo Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Jazz Kick 1 Jazz Kick 2 Hard Stick Jazz Rim Sft Snr Gst Jazz Snr Reg.F.Tom 2 Reg.CHH 1 Reg.L.Tom 2 Reg.CHH 2 Reg.M.Tom 2 Reg.OHH Reg.M.TomFlm Reg.H.Tom 2 Jazz Cymbal Reg.H.TomFlm Jazz Ride 2 China Cym 2 Cajon 1 Cajon 2 Cajon 3 Vint Snr 2 Shaker 3 WD Rim f Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Mix Clap 1 Wind Chime Tibet Cymbal Crotale 11 11 Orch Kit Timpani Roll ConcertBD 2 R8 Shaker 1 Jngl pkt Snr Reverse Cym Snr Roll Jazz Ride Timpani Roll ConcertBD 1 Hard Stick Amb.Snr 2 Gospel Clap Concert SD Timpani F Timpani F# Timpani G Timpani G# Timpani A Timpani A# Timpani B Timpani C Timpani C# Timpani D Timpani D# Timpani E Timpani f Tamborine 3 Concert Cym Cowbell Mute Concert Cym2 Ride Cymbal Crash Cym1 Bongo Hi Op Bongo Lo Op Conga Hi Mt Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Up Maracas Whistle Shrt Whistle Long Guiro Short Guiro Long Claves Wood Block H Wood Block L Cuica Mute Cuica Open Triangle Mt Triangle Op Cabasa Cut Finger Snap Wind Chime Tibet Cymbal Vibraslap Crotale Applause TubulrBel F TubulrBel F# TubulrBel G TubulrBel G# TubulrBel A TubulrBel A# TubulrBel B TubulrBel C TubulrBel C# TubulrBel D TubulrBel D# TubulrBel E TubulrBel f Church Bell1 Church Bell2 12 12 909 808 Kit TR909 Kick 2 TR909 Kick 4 Urbn Sn Roll TR909 Kick 5 TR909 Snr 3 TR909 Kick 3 TR909 PHH 2 TR909 Kick 6 TR909 Kick 1 TR909 Rim TR909 Snr 1 TR909 Clap 1 TR909 Snr 2 TR909 Tom L TR909 CHH 1 TR909 Tom L TR909 PHH 1 TR909 Tom M TR909 OHH 2 TR909 Tom M TR909 Tom H TR909 Crash TR909 Tom H TR909 Ride 1 TR909 Crash1 TR909 Ride 2 CR78 Tamb 1 TR909 Crash2 JD Sm Metal TR909 Ride 3 Syn Swt Atk3 TR808 Kick 1 TR808 Kick 2 TR808 Rim TR808 Snr 2 TR808 Clap 2 TR808 Snr 4 TR808 Tom L TR808 CHH 1 TR808 Tom L TR808 CHH 2 TR808 Tom M TR808 OHH 1 TR808 Tom M TR808 Tom H TR808Cowbell TR808 Tom H TR606 Cym TR606 OHH 1 TR606 OHH 2 CR78 Tamb 2 CR78 OHH 1 Cowbell Mute CR78 OHH 2 Syn Swt Atk5 TR808 OHH 2 808 Maracas TR808 Claves Triangle Mt Triangle Op Narrow Hit 2 TR808 Cym1 MG Zap 4 Scratch 1 MG Zap 1 TR606 Snr 2 Synth Saw Digi Breath TR808 Cym2 TR808 Conga1 TR808 Conga2 Cajon 1 Vint Snr 3 Door Creak Vint.Phone Door Creak 235 SonicCell_e.book 236 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 236 13 13 Limiter Kit Dance Kick 1 HipHop Kick1 WD CStk R&B Kick 1 Wild Stick Dance Kick 2 Hip PHH LD Kick R&B Kick 2 Lo-Bit Stk 2 Wild Stick Dist Clap DR660 Snr Reg.F.Tom p Lo-Bit CHH 2 Reg.F.Tom f Lo-Bit CHH 4 Reg.L.Tom Lo-Bit OHH 2 Reg.L.TomFlm Reg.H.Tom Crash Cym 1 Reg.H.TomFlm Lo-Bit OHH 1 TR606 Cym 2 Jazz Ride 1 Tamborine 1 TR606 OHH Vibraslap Mix Kick 2 Hip PHH Mix Kick 2 Rough Kick Dry Stick GoodOld Snr5 R8 Clap Jngl pkt Snr TR808 Tom Noise CHH 1 TR808 Tom Noise CHH 2 TR606 Tom L1 Lo-Bit OHH 2 TR606 Tom L2 TR606 Tom H1 Crash Cym 2 TR606 Tom H2 Jazz Ride 2 Splash Cym Rock Rd Edge Tamborine 3 Guiro Long Gospel Clap Tibet Cymbal Wind Chime Mix Kick 1 Mix Kick 2 Mix Kick 4 Vint Snr 1 Vint Snr 2 Vint Snr 3 Vint Snr 4 Noise CHH CR78 CHH Noise CHH 3 Noise OHH 2 Noise OHH 1 Heartbeat Scratch 2 Scratch 5 Scratch 1 Scratch 4 Scratch 6 Mobile Phone Sweep Bass 1 Sweep Bass 2 14 14 HipHop Kit 1 PlasticKick2 Group Snap Snr Roll AnalogKick 3 GoodOld Snr5 Dist Kick Noise CHH TR707 Kick Dry Kick 4 Jazz Rim Dirty Snr 2 Old Clap Vint Snr 4a TR909 Tom L HipHop CHH 2 Deep Tom L Lo-Bit PHH TR909 Tom M Lo-Bit OHH 2 Deep Tom M TR909 Tom H Crash Cym1 p Deep Tom H Rock Crash 1 Rock Rd Edge China Cymbal Snap TR808 Conga2 Vint Snr 4 TR808Cowbell Guiro Long Guiro 2 Guiro 1 Shaker 3 Noise CHH Cabasa 2 Vibraslap Mix Kick 2 Dist Snr Sweep Bass Short Snr1 CR78 CHH Shaker 2 CR78 Tamb Noise OHH Slight Bell Tibet Cymbal Wind Chime Scratch 2 Scratch 1 Scratch 10 Scratch 9 Smear Hit 2 Lofi Min Hit Thin Beef Dist Hit Narrow Hit 2 MG Attack MG Zap 9 Mix Clap 3 R8 Shaker Cabasa Down Cabasa Cut MaxLow Kick1 MaxLow Kick2 Lo-Bit Snr 1 Dance CHH Wild Stick MC500 Beep 1 MC500 Beep 2 Gospel Clap TR606 Cym China Cymbal Rock Crash 2 CR78 OHH Concert Cym 15 15 R&B Kit 70's Kick AnalogKick 6 Urbn Sn Roll HipHop Kick2 R&B ShrtSnr1 Old Kick HipHop CHH EuroHit Kick TR909 Kick 1 Dry Stick 4 Dirty Snr 2 Maple Snr Short Snr2 TR808 Tom 1 TR606 CHH 2 Reg.F.Tom TR909 CHH 2 TR808 Tom 2 Lo-Bit OHH 2 Reg.M.Tom TR808 Tom 3 Rock Crash 1 Reg.H.Tom Splash Cym Rock Rd Edge Concert Cym Cheap Clap Snap Lo-Bit Snr 2 Wood Block Shaku Noise Syn Hrd Atk1 JD MetalWind Maracas Cabasa Up Cabasa Down Cabasa Cut Tamborine 1 Tamborine 2 Tamborine 1 Triangle Mt Triangle Op Xylo Seq. Philly Hit LoFi Min Hit Vinyl Noise Cajon 1 Cajon 2 Cajon 3 Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Noise OHH Shaker 3 Castanet CR78 Beat CR78 OHH CR78 CHH Lite OHH CR78 Tamb JD Vox Noise Guiro 2 Fast Metro Click Metro Bell Wind Chime Crotale Crash Cym1 p TR909 Crash CR78 OHH Rev.Lite OHH 16 16 HiFi R&B Kit MaxLow Kick2 FB Kick Rough Kick1a MaxLow Kick1 Rough Kick3 Rk CmpKick TR909 Kick 5 Rough Kick1b R&B Kick Hard Stick GoodOld Snr3 GoodOld Snr4 GoodOld Snr2 Lo-Bit Snr 1 Noise CHH Jazz Snr Hip PHH Lo-Bit Snr 2 Reg.OHH Vint Snr 2 WD Snr TR808 Cym 1 GoodOld Snr6 TR606 Cym 2 White Noise Bright Form CR78 Tamb SBF Hrd Ld 1 JD Sm Metal TR808 Cym 2 Syn Swt Atk3 TR909 Kick4a TR909 Kick4b TR808 Rim TR808 Snr 2 TR808 Clap 2 TR808 Snr 4 TR808 Tom 4 TR808 CHH 1 TR808 Tom 3 TR808 CHH 2 TR808 Tom 2 TR808 OHH 1 TR808 Tom 1 Scratch 3 Scratch 4 Scratch 5 Scratch 6 Old Clap Hand Clap R8 Clap Cabasa Cut R8 Shaker Tamborine 2 Cabasa Down Cabasa Cut Tibet Cymbal Crotale Slight Bell Wind Chime Triangle 1 Mild CanWave Cheap Clap JD Plunk Syn Swt Atk2 DistGtr Nz 2 River Bubble Train Pass LoFi Min Hit Pink Noise Agogo Noise SynVox Nz 1 SynVox Nz 2 R8 Click Syn Swt Atk1 17 17 Machine Kit1 TR909 Kick 2 TR909 Kick 4 Light Snr Mix Kick 5 DR660 Snr Mix Kick 2 TR808 PHH AnalogKick 6 70's Kick 1 TR808 Rim Jngl pktSnr1 Funk Clap Jngl pktSnr2 MG Attack TR808 CHH 1 MG Attack TR808 PHH MG Blip TR808 OHH 1 MG Blip Beam HiQ TR606 Cym 2a Beam HiQ Lo-Bit OHH1a TR606 Cym 2 Lo-Bit OHH1b CR78 Tamb 1 TR606 Cym 2b JD Sm Metal1 Lo-Bit OHH1c Syn Swt Atk3 AnalogKick 6 70's Kick 2 R8 Comp Rim Pocket Snr TR909 Clap 2 Vint Snr 4 TR606 Tom L Dance CHH TR606 Tom L Lo-Bit CHH 1 TR606 Tom M Reg.OHH TR606 Tom M TR606 Tom H TR909 Crash1 TR606 Tom H Lite OHH 1 TR909 Crash2 Lite OHH 2 CR78 Tamb 2 TR909 Crash JD Sm Metal2 Lite OHH 3 Syn Swt Atk1 TR808 OHH 2 808 Maracas TR808 Claves Triangle Mt Triangle Op Narrow Hit 2 Euro Hit MG Zap 4 Scratch 1 MG Zap 1 TR606 Snr 2 Synth Saw Digi Breath DigiSpectrum Shaker 3 Conga 2H Slp Cajon 1 Vint Snr 3 Door Creak 1 Vint.Phone Door Creak 2 18 18 Kit-Euro:POP TR707 Kick AnalogKick 1 Dirty Snr 6 FB Kick BrushRoll PlasticKick2 Reg.CHH 2 Power Kick TR909 Kick 6 R&B ShrtRim1 TR909 Snr 3 TR909 Clap 1 TR909 Snr 4a Sharp L.Tom2 TR909 CHH 1 Sharp L.Tom1 TR909 PHH 1 Sharp M.Tom TR909 OHH 2 Sharp M.Tom Sharp H.Tom TR909 Crash Sharp H.Tom TR909 Ride China Cymbal Rock Rd Edge Tamborine 3 Crash Cym1 p Cowbell Rock Crash 2 Vibraslap TR606 Cym 2 Bongo Lo Op Bongo Hi Op Conga Hi Mt Conga Hi Op Conga Lo Op Conga Efx Shaker 3 Shaker 2 CR78 Beat Cabasa Cut 1 Cabasa Cut 2 Lo-Bit PHH Scratch 7 Syn Low Atk2 MG Zap 7 Syn Swt Atk1 Syn Swt Atk4 Conga Thumb Triangle 1 Triangle 2 Euro Hit 1 Tao Hit Narrow Hit 2 Euro Hit 2 Wind Chime Timpani Roll Crotale R8 Click Metro Bell MC500 Beep 1 MC500 Beep 2 Atmosphere Agogo Noise Car Slip Group Snap Laser ConcertBD AnalogKick 3 Old Kick Reg.Kick TR909 Snr 4b TR808 Snr 2 Vint Snr 4 Light Snr SonicCell_e.book 237 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 19 19 House Kit TR909 Kick 3 SH32 Kick Urbn Sn Roll TR909 Kick 2 TR909 Snr 6 TR909 Kick 5 TR909 PHH 2 TR909 Kick4a TR909 Kick4b TR909 Rim TR909 Snr 4 TR909 Clap 2 TR909 Snr 5 TR909 Tom L TR909 CHH 2 TR909 Tom L TR909 PHH 2 TR909 Tom M TR909 OHH 2 TR909 Tom M TR909 Tom H TR909 Crash1 TR909 Tom H TR909 Ride 1 TR909 Crash2 TR909 Ride 2 CR78 Tamb MG Zap 4 JD Sm Metal MG Zap 5 Syn Swt Atk3 AnalogKick 2 TR909 Kick 2 TR909 Rim TR909 Snr 1 TR909 Clap 1 TR909 Snr 2 TR909 D.TomL TR909 CHH 1 TR909 D.TomL TR808 CHH 2 TR909 D.TomM TR909 OHH 1 TR909 D.TomM TR909 D.TomH TR909 Crash3 TR909 D.TomH TR909 Ride 3 TR909 Crash4 TR909 Ride 4 Tamborine 2 MG Zap 2 Cowbell Low MG Zap 6 Cowbell Hi MG Zap 7 Conga Hi Mt Conga Lo Mt Conga Lo Slp Conga Hi Op Conga Lo Op Timbale Hi Timbale Low Agogo Bell H Agogo Bell L Cabasa Down Maracas Guiro Short Guiro Long Claves Wood Block L Wood Block H Triangle Mt Triangle Op Castanet Whistle 20 20 Nu Technica SH32 Kick 1 JD EML 5th 1 AnalogKick 6 TR909 Kick 5 Plastic Kc3a R&B Kick TR707 Kick Plastic Kc3b SH32 Kick 2 TR909 Snr 5 Syn Mtl Atk2 Flange Snr TR909 Snr 3 Dance CHH TR606DstCHH1 TR909 PHH 2 TR606 PHH 2a TR909 OHH 1 Lite OHH Rock Rd Cup Syn Hrd Atk4 MG Zap 7a MG Zap 9 MG Zap 8 MG Zap 10 HipHop CHH 2 Syn Swt Atk3 Reg.PHH Syn Swt Atk6 HipHop OHH TR909 OHH 2 TR909 R.Crsh TR909 Crash Rock Crash 1 MG Zap 2 MG Zap 9 Smear Hit 2 Low Square JD WoodCrak1 Piano Atk Nz JD WoodCrak2 DR202 Beep 1 JD WoodCrak3 Syn Pulse 2 DR202 Beep 2 Narrow Hit2a E.Gtr Harm Narrow Hit2b Euro Hit Jazz Lo Tom1 TR909 D.TomL Jazz Lo Tom2 TR909 D.TomM Jazz Lo Tom3 TR909 D.TomH AnalogKick 3 AnalogKick 5 Club Clap TR808 Snr 7 TR808 Snr 3 TR909 Snr 6a TR909 CHH 2 TR606DstCHH2 Dance CHH TR606 PHH 2b TR909 OHH 2 TR606 OHH CR78 OHH Juno Sqr HD TR909 Snr 6b TR808 Kick JD EML 5th 2 TR707 Clap Dist Clap MG Zap 5 MG Zap 7b 21 21 Machine Kit2 AnalogKick 5 AnalogKick6a Analog Snr 1 AnalogKick1a TR808 Snr 4 FB Kick TR808 PHH AnalogKick6b AnalogKick6c R&B ShrtRim2 TR909 Snr 1 TR707 Clap Lo-Bit Snr 2 Deep Tom L TR606 CHH 1 Deep Tom L TR606 PHH 1 Deep Tom M TR909 OHH 2 Deep Tom M Deep Tom H Lite OHH Deep Tom H TR808 OHH 1 TR606 Cym 2a TR909 Ride 1 CR78 Tamb TR606 Cym 2b JD Sm Metal TR909 Ride 2 Syn Swt Atk3 AnalogKick1b AnalogKick 4 Urbn SnRoll1 Analog Snr 2 Dist Clap Analog Snr 3 R8 Shaker TR909 CHH 2 R8 Shaker TR909 PHH 2 Syn Hrd Atk1 TR909 OHH 2 SynHrd Atk1a SynHrd Atk1b TR909 Crash SynHrd Atk1c TR909 Ride 3 TR909 Crash TR909 Ride 1 CR78 Tamb MG Zap 2 JD Sm Metal MG Zap 6 Syn Swt Atk1 MG Zap 7 808 Maracas TR808 Claves Triangle Mt Triangle Op Euro Hit Scratch 4 Brt Strat C Crotale MG Zap 4 Urbn SnRoll2 Calc.Saw White Noise Blow Loop Shaker 2 Shaker 3 Cajon 1 Euro Hit Laugh Office Phone Door Creak 22 22 ArtificalKit TR909 Kick 2 AnalogKick 2 TR808 Snr 5 TR909 Kick 3 Vint Snr 3 FB Kick TR606 Cym 2a AnalogKick 3 TVF Trigger TR909 Rim TR909 Snr 1 Claptail TR909 Snr 3 TR909 Tom L2 TR909 CHH 1 TR909 Tom L1 TR909 PHH 1 TR909 Tom M2 TR909 OHH 2 TR909 Tom M1 TR909 Tom H2 TR909 Crash TR909 Tom H1 TR909 Ride White Noise1 CR78 Beat Tamborine 3 Atmosphere Cowbell Mute Syn Swt Atk1 Cowbell Reverse Cym AnalogKick 5 Metal Vox W1 Metal Vox W2 Metal Vox W3 White Noise2 White Noise3 TR606 Cym 2b MG Blip MG Blip Rev. DigiSpectrum Ice Crash Metal Vox L2 Thin Beef LoFi Min Hit Trance Saw TB DstSqr Finger Snap Conga Slp Op Conga Lo Op Conga Hi Op Triangle Mt Triangle Op Cabasa Cut R8 Shaker AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 1 AnalogKick 4 AnalogKick 6 TR909 Snr 2 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 1 TR808 Snr 2 TR808 CHH 1 TR808 OHH 1 TR909 CHH 2 TR909 OHH 2 Lite CHH Lite OHH TR606 Cym 2c China Cymbal 23 23 Noise Kit TR909 Kick 2 TR909 Kick 4 Urbn SnRoll1 TR909 Kick 5 Door Creak 1 TR909 Kick 1 SynSwt Atk7a Cajon 3a Cajon 3b Laser Door Creak2a Train Pass Door Creak2b Syn Swt AtkL SynSwt Atk7b Syn Swt AtkL Syn Mtl Atk2 Syn Swt AtkM White Noise Syn Swt AtkM Syn Swt AtkH Syn Mtl Atk1 Syn Swt AtkH SynLow Atk1a Crotale 1 Laser 1 MG Zap 11 Laser 2 MG Zap 4a Digi Loop 1 MG Zap 6a SynLow Atk2a SynLow Atk2b MG Attack Syn Hrd Atk4 Train Pass Syn Mtl Atk1 Syn Swt AtkL Syn Swt Atk7 Syn Swt AtkL Syn Mtl Atk2 Syn Swt AtkM DigiSpectrum Syn Swt AtkM Syn Swt AtkH Digi Loop 1 Syn Swt AtkH SynLow Atk1b Crotale 2 Laser 3 MG Zap 11 Laser 4 MG Zap 4b Crotale 3 MG Zap 6b Syn Low Atk2 808 Maracas TR808 Claves Triangle Mt Triangle Op Dry Lo Tom Conga Thumb Funk Gtr Digi Loop 1 MG Zap 4c Urbn SnRoll2 Sweep Saw White Noise Monsoon Shaker 3 Scream Cajon 1 Euro Hit Laugh ConcertBD Timpani 24 24 Kick Menu ----------------------------Reg.Kick p Reg.Kick f Reg.Kick ff Rock Kick p Rock Kick f Jazz Kick p Jazz Kick mf Jazz Kick f Dry Kick 1 Tight Kick Old Kick Jz Dry Kick Dry Kick 2 Dry Kick 3 Power Kick R&B Kick L Rk CmpKick Dance Kick HipHop Kick1 HipHop Kick2 TR909 Kick 1 TR808 Kick TR909 Kick 4 WD Kick mf WD Kick f WD Kick ff LD Kick mf LD Kick f LD Kick ff TY Kick mf TY Kick f TY Kick ff SF Kick 1 SF Kick 2 MaxLow Kick1 MaxLow Kick2 Dist Kick FB Kick Rough Kick1 Rough Kick2 Rough Kick3 PlasticKick1 70's Kick AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 2 AnalogKick 2 TR909 Kick 3 AnalogKick 3 AnalogKick 4 AnalogKick 5 AnalogKick 6 TR606DstKick TR909 Kick 5 SH32 Kick TR707 Kick TR909 Kick 6 Mix Kick 1 Mix Kick 2 Mix Kick 3 Mix Kick 4 Mix Kick 5 Dry Kick 4 Sweep Bass Vint Kick Small Kick --------- 237 SonicCell_e.book 238 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 238 25 25 Snare Menu ----------------------------Reg.Snr1 p Reg.Snr1mf Reg.Snr1 f Reg.Snr1ff Reg.Snr2 p Reg.Snr2 f Reg.Snr2ff Amb.Snr1 p Amb.Snr1 f Amb.Snr2 p Amb.Snr2 f Piccolo Snr Maple Snr Reg.Snr Gst Sft Snr Gst Jazz Snr p Jz Brsh Slap Jz Brsh Swsh Swish&Turn p Swish&Turn f Concert SD Snr Roll Lp BrushRoll Lp WD Snr p WD Snr mf WD Snr f WD Snr ff WD Rim p WD Rim mf WD Rim f WD Rim ff LD Snr p LD Snr mf LD Snr f LD Snr ff LD Rim mf LD Rim f LD Rim ff TY Snr p TY Snr mf TY Snr f TY Snr ff TY Rim p TY Rim mf TY Rim f TY Rim ff SF Snr p SF Snr mf SF Snr f SF Snr ff SF SnrGst1 SF SnrGst2 SF Rim p SF Rim mf SF Rim f SF Rim ff Light Snr ff Click Snr p Click Snr ff Jazz Snr mf Jazz Snr f Jazz Rim p Soft Jz Roll ------------------------- 26 26 Snr/Rim Menu ----------------------------GoodOld Snr1 GoodOld Snr2 GoodOld Snr3 GoodOld Snr4 GoodOld Snr5 GoodOld Snr6 Dirty Snr 1 Dirty Snr 2 Dirty Snr 4 Dirty Snr 5 Dirty Snr 6 Dirty Snr 7 Grit Snr 1 Grit Snr 2 Grit Snr 3 LoBit SnrFlm Lo-Bit Snr 1 Dirty Snr 3 Lo-Bit Snr 2 Analog Snr 1 Tiny Snare R&B ShrtSnr1 TR808 Snr 1 TR808 Snr 2 TR808 Snr 3 TR606 Snr 1 MrchCmp Snr Reggae Snr DR660 Snr Jngl pkt Snr Pocket Snr Flange Snr Analog Snr 2 Analog Snr 3 TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 4 Lite Snare TR808 Snr 5 TR808 Snr 6 TR606 Snr 2 CR78 Snare Urbn Sn Roll Reg.Stick Soft Stick Hard Stick Wild Stick R&B ShrtRim1 R&B ShrtRim2 WD CStk mf WD CStk f LD CStk mf LD CStk f TY CStk mf TY CStk f SfCrsStk p SfCrsStk f Lo-Bit Stk 1 Lo-Bit Stk 2 Dry Stick 1 Dry Stick 2 Dry Stick 3 R8 Comp Rim TR909 Rim TR808 Rim 27 27 HiHat Menu ----------------------------Reg.CHH 1 p Reg.CHH 1 mf Reg.CHH 1 f Reg.CHH 1 ff Reg.CHH 2 mf Reg.CHH 2 f Reg.CHH 2 ff Reg.PHH mf Reg.PHH f Reg.OHH mf Reg.OHH f Reg.OHH ff Rock CHH1 mf Rock CHH1 f Rock CHH2 mf Rock CHH2 f Rock OHH Lo-Bit CHH 1 Lo-Bit CHH 2 Lo-Bit CHH 3 Lo-Bit CHH 4 Lo-Bit CHH 5 HipHop CHH TR909 CHH 1 TR909 CHH 2 TR808 CHH 1 TR808 CHH 2 TR606 CHH 1 TR606 CHH 2 TR606 DstCHH Noise CHH Lite CHH CR78 CHH Dance CHH Lo-Bit PHH Hip PHH TR909 PHH 1 TR909 PHH 2 TR808 PHH TR606 PHH 1 TR606 PHH 2 HipHop OHH TR909 OHH 1 TR909 OHH 2 TR808 OHH 1 TR808 OHH 2 TR606 OHH Lo-Bit OHH 1 Lo-Bit OHH 2 Lo-Bit OHH 3 Lite OHH CR78 OHH Noise OHH 1 Noise OHH 2 ------------------------------------------------------------- 28 28 Tom Menu ----------------------------Reg.F.Tom p Reg.F.Tom f Reg.L.Tom p Reg.L.Tom f Reg.M.Tom p Reg.M.Tom f Reg.H.Tom p Reg.H.Tom f Reg.L.TomFlm Reg.M.TomFlm Reg.H.TomFlm Jazz Lo Tom Jazz Mid Tom Jazz Hi Tom Jazz Lo Flm Jazz Mid Flm Jazz Hi Flm Sharp Lo Tom Sharp Hi Tom Dry Lo Tom TR909 Tom TR909 DstTom TR808 Tom TR606 Tom Deep Tom RR F.Tom mp RR F.Tom f RR F.Tom ff LD L.Tom mf LD L.Tom f LD L.Tom ff LD M.Tom mf LD M.Tom f LD M.Tom ff LD H.Tom mf LD H.Tom f LD H.Tom ff TY L.Tom mf TY L.Tom f TY L.Tom ff TY M.Tom mf TY M.Tom f TY M.Tom ff TY H.Tom mf TY H.Tom f TY H.Tom ff SF L.Tom mf SF L.Tom ff SF M.Tom mf SF M.Tom f SF M.Tom ff SF H.Tom mf SF H.Tom f SF H.Tom ff RR FT Flm ff SF LT Flm ff SF MT Flm f SF HT Flm p SF HT Flm f SF HT Flm ff ------------------------------------- 29 29 Clp&Cym&Hit ----------------------------Hand Clap Club Clap Real Clap Bright Clap R8 Clap Gospel Clap Amb Clap TR808 Clap 1 TR808 Clap 2 TR909 Clap 1 TR909 Clap 2 TR707 Clap Cheap Clap Mix Clap 1 Mix Clap 2 Mix Clap 3 Mix Clap 4 Dist Clap Dist Clap 2 Crash Cym1 p Crash Cym1 f Crash Cym 2 Rock Crash 1 Rock Crash 2 Splash Cym Jazz Crash Ride Cymbal Ride Bell Rock Rd Cup Rock Rd Edge Jazz Ride p Jazz Ride mf China Cymbal TR909 Crash TR909 Ride Concert Cym1 Concert Cym2 TR606 Cym TR808 Cym Reverse Cym ClassicHseHt Narrow Hit 1 Narrow Hit 2 Euro Hit Dist Hit Thin Beef Tao Hit Smear Hit 1 Smear Hit 2 LoFi Min Hit Orch. Hit Punch Hit O'Skool Hit Philly Hit ------------------------------------------------------------- 30 30 FX/SFX Menu ----------------------------MG Zap 1 MG Zap 2 MG Zap 3 MG Zap 4 MG Zap 5 MG Zap 6 MG Zap 7 MG Zap 8 MG Zap 9 MG Zap 10 MG Zap 11 MG Blip Beam HiQ MG Attack Syn Low Atk1 Syn Low Atk2 Syn Hrd Atk1 Syn Hrd Atk2 Syn Hrd Atk3 Syn Hrd Atk4 Syn Mtl Atk1 Syn Mtl Atk2 Syn Swt Atk1 Syn Swt Atk2 Syn Swt Atk3 Syn Swt Atk4 Syn Swt Atk5 Syn Swt Atk6 Syn Swt Atk7 R8 Click MC500 Beep 1 MC500 Beep 2 DR202 Beep JD Switch Cutting Nz Vinyl Noise Applause River Thunder Monsoon Stream Bubble Bird Song Dog Bark Gallop Vint.Phone Office Phone Mobile Phone Door Creak Door Slam Car Engine Car Slip Car Pass Crash Seq. Gun Shot Siren Train Pass Airplane Laugh Scream Punch Heartbeat Footsteps Machine Gun Laser Thunder Lp Metro Bell Metro Click ----- SonicCell_e.book 239 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Prst: User: Note No. 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 89 90 91 92 93 94 95 C7 96 97 98 99 100 101 102 103 31 31 Percussion Cowbell Cowbell Mute Cowbell2 Lng Cowbell2 Edg Cowbell3 mf Cowbell3 f Wood Block Wood Block2H Wood Block2L Claves TR808 Claves Claves 2 CR78 Beat Castanet Whistle Whistle Long Whistle Shrt Bongo Hi Mt Bongo Hi Slp Bongo Lo Slp Bongo Hi Op Bongo Lo Op Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Conga 2H Op Conga 2H Mt Conga 2H Slp Conga 2L Op Conga 2L Mt Timbale 1 Timbale 2 Timbare 3 Timbare 4 Cabasa Up Cabasa Down Cabasa Cut Cabasa2 Cabasa2 Cut Shaker Maracas 808 Maracas R8 Shaker Guiro 1 Guiro 2 Guiro Long Guiro 2 Up Guiro 2 Down Guiro 2 Fast Vibraslap Tamborine 1 Tamborine 2 Tamborine 3 Tamborine4 f Tamborine4 p CR78 Tamb Timpani p Timpani f Timpani Roll Timpani Lp ConcertBD p ConcertBD f ConcertBD ff ConcertBD Lp Triangle 1Op Triangle 1Mt Triangle 2 Tibet Cymbal Wind Chime Crotale 32 32 Scrh&Voi&Wld ----------------------------Scratch 1 Scratch 2 Scratch 3 Scratch 4 Scratch 5 Scratch 6 Scratch 7 Scratch 9 Scratch 10 Aah Formant Eeh Formant Iih Formant Ooh Formant Uuh Formant Metal Vox W1 Metal Vox W2 Metal Vox W3 JD Gamelan 1 JD Gamelan 2 JD Gamelan 3 JD Gamelan 4 JD Gamelan 5 JD Gamelan 6 JD Gamelan 7 JD Gamelan 8 JD Gamelan 9 JD Gamelan10 JD Gamelan11 JD Gamelan12 Cajon 1 Cajon 2 Cajon 3 Cajon 4 SprgDrm Hit Cuica Cuica 2 Hi Cuica 2 Low --------------------------------------------------------------------------------------------------------------------------------- 239 SonicCell_e.book 240 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List GM (GM2 Group) Note No. 27 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 240 1(PC: 1) GM2 STANDARD High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Kick Drum 1 Side Stick Aco.Snare Hand Clap Elec.Snare Low Tom 2 ClosedHi-hat Low Tom 1 Pedal Hi-hat Mid Tom 2 Open Hi-hat Mid Tom 1 High Tom 2 CrashCymbal1 High Tom 1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 2(PC: 9) GM2 ROOM High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Kick Drum 1 Side Stick Aco.Snare Hand Clap Elec.Snare Room LowTom2 ClosedHi-hat Room LowTom1 Pedal Hi-hat Room MidTom2 Open Hi-hat Room MidTom1 Room Hi Tom2 CrashCymbal1 Room Hi Tom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 3(PC: 17) GM2 POWER High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Power Kick 2 Power Kick 1 Side Stick PowerSnareDr Hand Clap Elec.Snare PowerLowTom2 ClosedHi-hat PowerLowTom1 Pedal Hi-hat PowerMidTom2 Open Hi-hat PowerMidTom1 Power HiTom2 CrashCymbal1 Power HiTom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 4(PC: 25) GM2 ELECTRIC High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Elec.Kick 1 Side Stick E.SnareDrum1 Hand Clap E.SnareDrum2 E.Low Tom 2 ClosedHi-hat E.Low Tom 1 Pedal Hi-hat E.Mid Tom 2 Open Hi-hat E.Mid Tom 1 E.Hi Tom 2 CrashCymbal1 E.Hi Tom 1 Ride Cymbal1 Reverse Cym. Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 5(PC: 26) GM2 ANALOG High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Kick Drum 2 Ana.Kick 1 Ana.Rim Sho Ana.Snare 1 Hand Clap Elec.Snare Ana.Low Tom2 Ana.ClosedHH Ana.Low Tom1 Ana.ClosedHH Ana.Mid Tom2 Ana.Open HH Ana.Mid Tom1 Ana.Hi Tom2 Ana.Cymbal Ana.Hi Tom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Ana.Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo Ana.Hi Conga Ana.MidConga Ana.LowConga High Timbale Low Timbale High Agogo Low Agogo Cabasa Ana.Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Ana.Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 6(PC: 33) GM2 JAZZ High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Jazz Kick 2 Jazz Kick 1 Side Stick Aco.Snare Hand Clap Elec.Snare Low Tom 2 ClosedHi-hat Low Tom 1 Pedal Hi-hat Mid Tom 2 Open Hi-hat Mid Tom 1 High Tom 2 CrashCymbal1 High Tom 1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- SonicCell_e.book 241 ページ ２００７年７月２日 月曜日 午後３時５０分 Rhythm Set List Note No. 27 28 29 30 31 32 33 34 35 C2 36 37 38 39 40 41 42 43 44 45 46 47 C3 48 49 50 51 52 53 54 55 56 57 58 59 C4 60 61 62 63 64 65 66 67 68 69 70 71 C5 72 73 74 75 76 77 78 79 80 81 82 83 C6 84 85 86 87 88 7(PC: 41) GM2 BRUSH High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell Jazz Kick 2 Jazz Kick 1 Side Stick Brush Tap Brush Slap Brush Swirl BrushLowTom2 ClosedHi-hat BrushLowTom1 Pedal Hi-hat BrushMidTom2 Open Hi-hat BrushMidTom1 Brush HiTom2 CrashCymbal1 Brush HiTom1 Ride Cymbal1 China Cymbal Ride Bell Tambourine SplashCymbal Cowbell CrashCymbal2 Vibra-slap Ride Cymbal2 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo ----- 8(PC: 49) GM2 ORCHSTRA ClosedHi-hat Pedal Hi-hat Open Hi-hat Ride Cymbal1 Sticks Square Click Metron Click Metron Bell Concert BD 2 Concert BD 1 Side Stick Concert SD Castanets Concert SD Timpani F Timpani F# Timpani G Timpani G# Timpani A Timpani A# Timpani B Timpani c Timpani c# Timpani d Timpani d# Timpani e Timpani f Tambourine SplashCymbal Cowbell Concert Cym2 Vibra-slap Concert Cym1 High Bongo Low Bongo MuteHi Conga OpenHi Conga Low Conga High Timbale Low Timbale High Agogo Low Agogo Cabasa Maracas ShortWhistle Long Whistle Short Guiro Long Guiro Claves Hi WoodBlock LowWoodBlock Mute Cuica Open Cuica MuteTriangle OpenTriangle Shaker Jingle Bell Bell Tree Castanets Mute Surdo Open Surdo Applause 9(PC: 57) GM2 SFX ------------------------------------------------High Q Slap Scratch Push Scratch Pull Sticks Square Click Metron Click Metron Bell GtFret Noise Cut Noise Up Cut Noise Dw Slap_St.Bass Fl.Key Click Laughing Scream Punch Heart Beat Footsteps 1 Footsteps 2 Applause Door Creak Door Scratch Wind Chimes Car-Engine Car-Stop Car-Pass Car-Crash Siren Train Jetplane Helicopter Starship Gun Shot Machine Gun Lasergun Explosion Dog Horse-Gallop Birds Rain Thunder Wind Seashore Stream Bubble ----------------- 241 SonicCell_e.book 242 ページ ２００７年７月２日 月曜日 午後３時５０分 Waveform List In waveform numbers 0001-0040, note numbers 91–108 are set to Damper Free in order to accurately reproduce the characteristics of an acoustic piano. No. Name No. Name No. Name No. Name No. Name 1 2 3 4 5 6 7 8 9 10 Ult.P*mp A L Ult.P*mp A R Ult.P*mp B L Ult.P*mp B R Ult.P*mp C L Ult.P*mp C R Ult.P* f A L Ult.P* f A R Ult.P* f B L Ult.P* f B R 71 72 73 74 75 76 77 78 79 80 XPr.P ff XPr.P ff Ac.Pno Ac.Pno Ac.Pno Ac.Pno Ac.Pno Ac.Pno Ac.Pno Ac.Pno CL CR pAL pAR pBL pBR pCL pCR fAL fAR 141 142 143 144 145 146 147 148 149 150 Wurly mf B Wurly mf C Wurly ff A Wurly ff B Wurly ff C Soft SA EP A Soft SA EP B Soft SA EP C Hard SA EP A Hard SA EP B 211 212 213 214 215 216 217 218 219 220 Positive '8 Pipe Organ Cathedrl Org BrtN.Gtr p A BrtN.Gtr p B BrtN.Gtr p C BrtN.Gtr mfA BrtN.Gtr mfB BrtN.Gtr mfC BrtN.Gtr ffA 281 282 283 284 285 286 287 288 289 290 E.Gtr Harm Harp A Harp B Harp C Banjo A Banjo B Banjo C Sitar A Sitar B Sitar C 11 12 13 14 15 16 17 18 19 20 Ult.P* f C L Ult.P* f C R Ult.P*ff A L Ult.P*ff A R Ult.P*ff B L Ult.P*ff B R Ult.P*ff C L Ult.P*ff C R XPr.P*mp A L XPr.P*mp A R 81 82 83 84 85 86 87 88 89 90 Ac.Pno f B L Ac.Pno f B R Ac.Pno f C L Ac.Pno f C R JD Piano A JD Piano B JD Piano C Piano Atk Nz MKS Piano A MKS Piano B 151 152 153 154 155 156 157 158 159 160 Hard SA EP C SA E.Piano A SA E.Piano B SA E.Piano C 80's E.Pno 1 80's E.Pno 2 80's E.Pno1f 80's E.Pno2f Hard E.Pno Celesta 221 222 223 224 225 226 227 228 229 230 BrtN.Gtr ffB BrtN.Gtr ffC BrtN.GtrSldA BrtN.GtrSldB BrtN.GtrSldC Nylon Gtr1 A Nylon Gtr1 B Nylon Gtr1 C Nylon Gtr2 A Nylon Gtr2 B 291 292 293 294 295 296 297 298 299 300 Sitar Drn A Sitar Drn B Sitar Drn C E.Sitar A E.Sitar B E.Sitar C Santur A Santur B Santur C Dulcimer A 21 22 23 24 25 26 27 28 29 30 XPr.P*mp B L XPr.P*mp B R XPr.P*mp C L XPr.P*mp C R XPr.P* f A L XPr.P* f A R XPr.P* f B L XPr.P* f B R XPr.P* f C L XPr.P* f C R 91 92 93 94 95 96 97 98 99 100 MKS Piano C Vint.EP pp A Vint.EP pp B Vint.EP pp C Vint.EP mp A Vint.EP mp B Vint.EP mp C Vint.EP f A Vint.EP f B Vint.EP f C 161 162 163 164 165 166 167 168 169 170 Music Box ClavDB Brt A ClavDB Brt B ClavDB Brt C Reg.Clav A Reg.Clav B Reg.Clav C Retro Clav A Retro Clav B Retro Clav C 231 232 233 234 235 236 237 238 239 240 Nylon Gtr2 C Bright Gtr A Bright Gtr B Bright Gtr C Ac.Gtr mp A Ac.Gtr mp B Ac.Gtr mp C Ac.Gtr mf A Ac.Gtr mf B Ac.Gtr mf C 301 302 303 304 305 306 307 308 309 310 Dulcimer B Dulcimer C Shamisen A Shamisen B Shamisen C Koto A Koto B Koto C FatAc.Bs p A FatAc.Bs p B 31 32 33 34 35 36 37 38 39 40 XPr.P*ff A L XPr.P*ff A R XPr.P*ff B L XPr.P*ff B R XPr.P*ff C L XPr.P*ff C R Ult.P mp A L Ult.P mp A R Ult.P mp B L Ult.P mp B R 101 102 103 104 105 106 107 108 109 110 Vint.EP ff A Vint.EP ff B Vint.EP ff C Stage EP p A Stage EP p B Stage EP p C Stage EP f A Stage EP f B Stage EP f C Tine EP p A 171 172 173 174 175 176 177 178 179 180 Tight Clav A Tight Clav B Tight Clav C Hard Clav A Hard Clav B Hard Clav C ClvMtRs DB f Harpsi A Harpsi B Harpsi C 241 242 243 244 245 246 247 248 249 250 Ac.Gtr ff A Ac.Gtr ff B Ac.Gtr ff C Ac.Gtr Sld A Ac.Gtr Sld B Ac.Gtr Sld C Ac.Gtr Hrm A Ac.Gtr Hrm B Ac.Gtr Hrm C Jazz Gtr A 311 312 313 314 315 316 317 318 319 320 FatAc.Bs p C FatAc.Bs f A FatAc.Bs f B FatAc.Bs f C Ac.Bass A Ac.Bass B Ac.Bass C Fng.EB1 mf A Fng.EB1 mf B Fng.EB1 mf C 41 42 43 44 45 46 47 48 49 50 Ult.P Ult.P Ult.P Ult.P Ult.P Ult.P Ult.P Ult.P Ult.P Ult.P mp C L mp C R fAL fAR fBL fBR fCL fCR ff A L ff A R 111 112 113 114 115 116 117 118 119 120 Tine EP p B Tine EP p C Tine EP mf A Tine EP mf B Tine EP mf C Tine EP ff A Tine EP ff B Tine EP ff C Dyno EP mp A Dyno EP mp B 181 182 183 184 185 186 187 188 189 190 JLOrg Slow L JLOrg Slow R JLOrg Fast L JLOrg Fast R JD Full Draw Org Basic 1 Org Basic 2 Ballad Org 3rd Perc Org Perc Organ 251 252 253 254 255 256 257 258 259 260 Jazz Gtr B Jazz Gtr C Clean Gtr A Clean Gtr B Clean Gtr C Clr Mt Gtr A Clr Mt Gtr B Clr Mt Gtr C E.Gtr Ld Brt Strat A 321 322 323 324 325 326 327 328 329 330 Fng.EB1 ff A Fng.EB1 ff B Fng.EB1 ff C Fng.EB2 mf A Fng.EB2 mf B Fng.EB2 mf C Fng.EB2 f A Fng.EB2 f B Fng.EB2 f C FngrCmp Bs A 51 52 53 54 55 56 57 58 59 60 Ult.P ff B L Ult.P ff B R Ult.P ff C L Ult.P ff C R XPr.P mp A L XPr.P mp A R XPr.P mp B L XPr.P mp B R XPr.P mp C L XPr.P mp C R 121 122 123 124 125 126 127 128 129 130 Dyno EP mp C Dyno EP mf A Dyno EP mf B Dyno EP mf C Dyno EP ff A Dyno EP ff B Dyno EP ff C Wurly DI p A Wurly DI p B Wurly DI p C 191 192 193 194 195 196 197 198 199 200 Rock Organ A Rock Organ B Rock Organ C RtryOrg1 A L RtryOrg1 A R RtryOrg1 B L RtryOrg1 B R RtryOrg1 C L RtryOrg1 C R RtryOrg2 A L 261 262 263 264 265 266 267 268 269 270 Brt Strat B Brt Strat C FstPick70s A FstPick70s B FstPick70s C Funk Gtr A Funk Gtr B Funk Gtr C Funk MtGtr A Funk MtGtr B 331 332 333 334 335 336 337 338 339 340 FngrCmp Bs B FngrCmp Bs C Finger Bs A Finger Bs B Finger Bs C Precision Bs ThumbMtBs pA ThumbMtBs pB ThumbMtBs pC Fretlss Bs A 61 62 63 64 65 66 67 68 69 70 XPr.P XPr.P XPr.P XPr.P XPr.P XPr.P XPr.P XPr.P XPr.P XPr.P 131 132 133 134 135 136 137 138 139 140 Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly Wurly 201 202 203 204 205 206 207 208 209 210 RtryOrg2 A R RtryOrg2 B L RtryOrg2 B R RtryOrg2 C L RtryOrg2 C R LoFi RtryOrg Vint.Org 1 Vint.Org 2 Vint.Org 3 Vint.Org 4 271 272 273 274 275 276 277 278 279 280 Funk MtGtr C Nasty Gtr Overdrive A Overdrive C Distortion A Distortion B Distortion C Dist Chord A Dist Chord B Dist Chord C 341 342 343 344 345 346 347 348 349 350 Fretlss Bs B Fretlss Bs C Fretlss SftA Fretlss SftB Fretlss SftC Pick EB f A Pick EB f B Pick EB f C Pick Bass Slp.E.BassA 242 fAL fAR fBL fBR fCL fCR ff A L ff A R ff B L ff B R DI f A DI f B DI f C DI ffA DI ffB DI ffC mp A mp B mp C mf A SonicCell_e.book 243 ページ ２００７年７月２日 月曜日 午後３時５０分 Waveform List No. Name No. Name No. Name No. Name No. Name 351 352 353 354 355 356 357 358 359 360 Slp.E.BassB Slp.E.BassC Slp.EB HO A Slp.EB HO B Slp.EB HO C Pul.E.BassA Pul.E.BassB Pul.E.BassC Pul.EB HO A Pul.EB HO B 421 422 423 424 425 426 427 428 429 430 Wide Sax C BreathySax A BreathySax B BreathySax C TenorBreathy Tenor Sax A Tenor Sax B Tenor Sax C Bari.Sax 1 A Bari.Sax 1 B 491 492 493 494 495 496 497 498 499 500 OctBrs f C L OctBrs f C R XP Brass OrchUnis A L OrchUnis A R OrchUnis B L OrchUnis B R OrchUnis C L OrchUnis C R Violin f A 561 562 563 564 565 566 567 568 569 570 ChmbrStrRevC Vls Pizz A Vls Pizz B Vls Pizz C VlsPizzRev A VlsPizzRev B VlsPizzRev C Vcs Pizz A Vcs Pizz B Vcs Pizz C 631 632 633 634 635 636 637 638 639 640 D-50 Bell A D-50 Bell B D-50 Bell C D-50 Bell Lp Agogo Bell Agogo 2 Hi Agogo 2 Low Finger Bell JD Cowbell Tubular Bell 361 362 363 364 365 366 367 368 369 370 Pul.EB HO C Slap Bass Slap +Pull 1 Slap +Pull 2 Slap +Pull 3 Jz Slap Bass Jz Slp+Pull1 Jz Slp+Pull2 Jz Slp+Pull3 Jungle Bass 431 432 433 434 435 436 437 438 439 440 Bari.Sax 1 C Bari.Sax 2 A Bari.Sax 2 B Bari.Sax 2 C Musette Accord 4' A Accord 4' B Accord 4' C Accord 8' A Accord 8' B 501 502 503 504 505 506 507 508 509 510 Violin f B Violin f C Violin Vib A Violin Vib B Violin Vib C Cello f A Cello f B Cello f C Cello Vib A Cello Vib B 571 572 573 574 575 576 577 578 579 580 Unison Saw A Unison Saw B Unison Saw C Super Saw A Super Saw B Super Saw C Trance Saw A Trance Saw B Trance Saw C Warm Pad A 641 642 643 644 645 646 647 648 649 650 Church Bell Mild CanWave JD Crystal Bell Organ Old DigiBell JD Bell Wave TinyBellWave Vib Wave JD Brt Digi Bagpipe 371 372 373 374 375 376 377 378 379 380 Garage Bass SH-101 Bs A SH-101 Bs B SH-101 Bs C Organ Bass MG Bass 1 A MG Bass 1 B MG Bass 1 C MG Bass 2 MG Bass 3 441 442 443 444 445 446 447 448 449 450 Accord 8' C Accord PadNz Harmonica A Harmonica B Harmonica C Blues G-harp Flugel A Flugel B Flugel C Trumpet A 511 512 513 514 515 516 517 518 519 520 Cello Vib C Vl Sect. A L Vl Sect. A R Vl Sect. B L Vl Sect. B R Vl Sect. C L Vl Sect. C R Vc Sect. A L Vc Sect. A R Vc Sect. B L 581 582 583 584 585 586 587 588 589 590 Warm Pad B Warm Pad C OB2 Pad 1 A OB2 Pad 1 B OB2 Pad 1 C OB2 Pad 2 A OB2 Pad 2 B OB2 Pad 2 C D-50 HeavenA D-50 HeavenB 651 652 653 654 655 656 657 658 659 660 Digital Vox JD WallyWave JD Brusky Lp Bright Form JD Nasty JD Spark Vox JD Cutters SBF Hrd Ld JD EML 5th Juno Saw HD 381 382 383 384 385 386 387 388 389 390 MC Bass A MC Bass B MC Bass C Atk Syn Bass Flute A Flute B Flute C Piccolo A Piccolo B Piccolo C 451 452 453 454 455 456 457 458 459 460 Trumpet B Trumpet C Wide Tp A Wide Tp B Wide Tp C Mute Tp A Mute Tp B Mute Tp C Trombone A Trombone B 521 522 523 524 525 526 527 528 529 530 Vc Sect. B R Vc Sect. C L Vc Sect. C R Full Str A L Full Str A R Full Str B L Full Str B R Full Str C L Full Str C R JV Strings L 591 592 593 594 595 596 597 598 599 600 D-50 HeavenC SBF Vox A SBF Vox B SBF Vox C Syn Vox 1 A Syn Vox 1 B Syn Vox 1 C Syn Vox 2 A Syn Vox 2 B Syn Vox 2 C 661 662 663 664 665 666 667 668 669 670 TB303 Saw HD Custm Saw HD MG Saw HD DigitalSawHD P5 Saw HD Calc.Saw Calc.Saw inv Synth Saw JD Syn Saw JD Fat Saw 391 392 393 394 395 396 397 398 399 400 Pan Flute Shakuhachi JD Fl Push Clarinet A Clarinet B Clarinet C Oboe Mezzo A Oboe Mezzo B Oboe Mezzo C Oboe Forte A 461 462 463 464 465 466 467 468 469 470 Trombone C Tbn mf A Tbn mf B Tbn mf C Tuba A Tuba B Tuba C Sft F.Horn A Sft F.Horn B Sft F.Horn C 531 532 533 534 535 536 537 538 539 540 JV Strings R JV Strings A JV Strings C F.Str mf A L F.Str mf A R F.Str mf B L F.Str mf B R F.Str mf C L F.Str mf C R F.Str mf lpL 601 602 603 604 605 606 607 608 609 610 Female Ahs A Female Ahs B Female Ahs C Female Oos A Female Oos B Female Oos C Male Aahs A Male Aahs B Male Aahs C Jazz Doos A 671 672 673 674 675 676 677 678 679 680 JP-8 Saw D-50 Saw SH-1000 Saw SH-2 Saw LA-Saw Air Wave GR-300 Saw 1 GR-300 Saw 2 TB Dst Saw A TB Dst Saw B 401 402 403 404 405 406 407 408 409 410 Oboe Forte B Oboe Forte C E.Horn A E.Horn B E.Horn C Bassoon A Bassoon B Bassoon C Recorder A Recorder B 471 472 473 474 475 476 477 478 479 480 French Hrn A French Hrn C XP Horn A XP Horn B F.HornSect A F.HornSect B F.HornSect C Tp Section A Tp Section B Tp Section C 541 542 543 544 545 546 547 548 549 550 F.Str mf lpR F.Str ff A L F.Str ff A R F.Str ff B L F.Str ff B R F.Str ff C L F.Str ff C R F.Str ff lpL F.Str ff lpR F.StrStacA L 611 612 613 614 615 616 617 618 619 620 Jazz Doos B Jazz Doos C Jz Doos Lp A Jz Doos Lp B Jz Doos Lp C Gospel Hum A Gospel Hum B Gospel Hum C Soprano Vox Kalimba 681 682 683 684 685 686 687 688 689 690 TB Dst Saw C Juno Sqr HD P5 Sqr HD Fat Square JP-8 Square SH-2 Square TB303 Sqr HD LA-Square TB DstSqr 1A TB DstSqr 1B 411 412 413 414 415 416 417 418 419 420 Recorder C SopranoSax A SopranoSax B SopranoSax C Alto Sax Vib Soft Alto A Soft Alto B Soft Alto C Wide Sax A Wide Sax B 481 482 483 484 485 486 487 488 489 490 OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs OctBrs 551 552 553 554 555 556 557 558 559 560 F.StrStacA R F.StrStacB L F.StrStacB R F.StrStacC L F.StrStacC R ChmbrStrAtkA ChmbrStrAtkB ChmbrStrAtkC ChmbrStrRevA ChmbrStrRevB 621 622 623 624 625 626 627 628 629 630 JD Klmba Atk JD Wood Crak JD Gamelan 1 JD Gamelan 2 JD Log Drum JD Xylo Marimba Vibraphone Glocken Steel Drums 691 692 693 694 695 696 697 698 699 700 TB DstSqr 1C Dist SquareA Dist SquareB Dist SquareC Juno Pls HD JP8 Pls 10HD JP8 Pls 15HD JP8 Pls 25HD JP8 Pls 30HD JP8 Pls 40HD pAL pAR pBL pBR pCL pCR fAL fAR fBL fBR 243 SonicCell_e.book 244 ページ ２００７年７月２日 月曜日 午後３時５０分 Waveform List No. Name No. Name No. Name No. Name No. Name 701 702 703 704 705 706 707 708 709 710 JP8 Pls 45HD Syn Pulse 1 Syn Pulse 2 SH-1000 Puls 700 Triangle Syn Triangle JD Triangle VS-Triangle Mild Form VS-Ramp 771 772 773 774 775 776 777 778 779 780 Gallop Vint.Phone Office Phone Mobile Phone Door Creak Door Slam Car Engine Car Slip Car Pass Crash Seq. 841 842 843 844 845 846 847 848 849 850 MG Zap 11 MG Blip Beam HiQ MG Attack Syn Low Atk1 Syn Low Atk2 Syn Hrd Atk1 Syn Hrd Atk2 Syn Hrd Atk3 Syn Hrd Atk4 911 912 913 914 915 916 917 918 919 920 PlasticKick1 70's Kick Dance Kick HipHop Kick1 HipHop Kick2 AnalogKick 1 PlasticKick2 PlasticKick3 TR909 Kick 1 TR909 Kick 2 981 982 983 984 985 986 987 988 989 990 TY TY TY TY TY TY TY TY TY TY Snr ff L Snr ff R Rim p L Rim p R Rim mf L Rim mf R Rim f L Rim f R Rim ff L Rim ff R 711 712 713 714 715 716 717 718 719 720 Sync Sweep Sine JD Fine Wine Digi Loop JD MetalWind Atmosphere DigiSpectrum JD Vox Noise SynVox Noise Shaku Noise 781 782 783 784 785 786 787 788 789 790 Gun Shot Siren Train Pass Airplane Helicopter Space Voyage Blow Loop Laugh Scream Punch 851 852 853 854 855 856 857 858 859 860 Syn Mtl Atk1 Syn Mtl Atk2 Syn Swt Atk1 Syn Swt Atk2 Syn Swt Atk3 Syn Swt Atk4 Syn Swt Atk5 Syn Swt Atk6 Syn Swt Atk7 WD Kick mf L 921 922 923 924 925 926 927 928 929 930 AnalogKick 2 TR909 Kick 3 AnalogKick 3 AnalogKick 4 AnalogKick 5 AnalogKick 6 TR606DstKick TR808 Kick TR909 Kick 4 TR909 Kick 5 991 992 993 994 995 996 997 998 999 1000 SF SF SF SF SF SF SF SF SF SF Snr p L Snr p R Snr mf L Snr mf R Snr f L Snr f R Snr ff L Snr ff R Rim p L Rim p R 721 722 723 724 725 726 727 728 729 730 Digi Breath Agogo Noise Vinyl Noise White Noise Pink Noise Aah Formant Eeh Formant Iih Formant Ooh Formant Uuh Formant 791 792 793 794 795 796 797 798 799 800 Heartbeat Footsteps Machine Gun Laser Thunder Lp Ac.Bass Nz E.Bass Nz 1 E.Bass Nz 2 E.Bass Slide Fng.EB2 Sld 861 862 863 864 865 866 867 868 869 870 WD Kick mf R WD Kick f L WD Kick f R WD Kick ff L WD Kick ff R LD Kick mf L LD Kick mf R LD Kick f L LD Kick f R LD Kick ff L 931 932 933 934 935 936 937 938 939 940 SH32 Kick TR707 Kick TR909 Kick 6 Mix Kick 1 L Mix Kick 1 R Mix Kick 2 L Mix Kick 2 R Mix Kick 3 Mix Kick 4 Mix Kick 5 1001 1002 1003 1004 1005 1006 1007 1008 1009 1010 SF Rim mf L SF Rim mf R SF Rim f L SF Rim f R SF Rim ff L SF Rim ff R Reg.Snr1 p L Reg.Snr1 p R Reg.Snr1mf L Reg.Snr1mf R 731 732 733 734 735 736 737 738 739 740 Metal Vox W1 Metal Vox L1 Metal Vox W2 Metal Vox L2 Metal Vox W3 Metal Vox L3 JD Rattles Xylo Seq. JD Anklungs JD Shami 801 802 803 804 805 806 807 808 809 810 DistGtr Nz 1 DistGtr Nz 2 DistGtr Nz 3 Gtr Fret Nz1 Gtr Fret Nz2 ClassicHseHt Narrow Hit 1 Narrow Hit 2 Euro Hit Dist Hit 871 872 873 874 875 876 877 878 879 880 LD Kick ff R TY Kick mf L TY Kick mf R TY Kick f L TY Kick f R TY Kick ff L TY Kick ff R SF Kick 1 L SF Kick 1 R SF Kick 2 L 941 942 943 944 945 946 947 948 949 950 Dry Kick 4 Small Kick Vint Kick Sweep Bass WD Snr p L WD Snr p R WD Snr mf L WD Snr mf R WD Snr f L WD Snr f R 1011 1012 1013 1014 1015 1016 1017 1018 1019 1020 Reg.Snr1 f L Reg.Snr1 f R Reg.Snr1ff L Reg.Snr1ff R Reg.Snr2 p L Reg.Snr2 p R Reg.Snr2 f L Reg.Snr2 f R Reg.Snr2ff L Reg.Snr2ff R 741 742 743 744 745 746 747 748 749 750 SynBassClick JD EP Atk Key On Click Org Click 1 Org Click 2 Org Click 3 Org Click 4 Org Click 5 JD Sm Metal Ice Crash 811 812 813 814 815 816 817 818 819 820 Thin Beef Tao Hit Smear Hit 1 Smear Hit 2 LoFi Min Hit Orch. Hit Punch Hit O'Skool Hit Philly Hit Scratch 1 881 882 883 884 885 886 887 888 889 890 SF Kick 2 R Reg.Kick p L Reg.Kick p R Reg.Kick f L Reg.Kick f R Reg.Kick ffL Reg.Kick ffR Rock Kick p Rock Kick f Jazz Kick p 951 952 953 954 955 956 957 958 959 960 WD WD WD WD WD WD WD WD WD WD 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 Amb.Snr1 p L Amb.Snr1 p R Amb.Snr1 f L Amb.Snr1 f R Amb.Snr2 p L Amb.Snr2 p R Amb.Snr2 f L Amb.Snr2 f R Piccolo Snr Maple Snr 751 752 753 754 755 756 757 758 759 760 JD Switch JD Tuba Slap JD Plink JD Plunk TVF Trigger Hi Q Slap Stick Click Cutting Nz 821 822 823 824 825 826 827 828 829 830 Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch Scratch 891 892 893 894 895 896 897 898 899 900 Jazz Kick mf Jazz Kick f Dry Kick 1 Tight Kick Old Kick Jz Dry Kick Dry Kick 2 Dry Kick 3 Power Kick R&B Kick L 961 962 963 964 965 966 967 968 969 970 LD LD LD LD LD LD LD LD LD LD Snr p L Snr p R Snr mf L Snr mf R Snr f L Snr f R Snr ff L Snr ff R Rim mf L Rim mf R 1031 1032 1033 1034 1035 1036 1037 1038 1039 1040 Light Snr ff Click Snr p Click Snr ff SF SnrGst1 L SF SnrGst1 R SF SnrGst2 L SF SnrGst2 R Reg.SnrGst L Reg.SnrGst R Sft Snr Gst 761 762 763 764 765 766 767 768 769 770 Ac.Bass Body Flute Pad Nz Applause River Thunder Monsoon Stream Bubble Bird Song Dog Bark 831 832 833 834 835 836 837 838 839 840 MG MG MG MG MG MG MG MG MG MG 901 902 903 904 905 906 907 908 909 910 R&B Kick R Rk CmpKick L Rk CmpKick R MaxLow Kick1 MaxLow Kick2 Dist Kick FB Kick Rough Kick1 Rough Kick2 Rough Kick3 971 972 973 974 975 976 977 978 979 980 LD Rim f L LD Rim f R LD Rim ff L LD Rim ff R TY Snr p L TY Snr p R TY Snr mf L TY Snr mf R TY Snr f L TY Snr f R 1041 1042 1043 1044 1045 1046 1047 1048 1049 1050 Jazz Snr p Jazz Snr mf Jazz Snr f Jazz Rim p Jz Brsh Slap Jz Brsh Swsh Swish&Turn p Swish&Turn f Snr Roll Lp BrushRoll Lp 244 2 3 4 5 6 7 9 10 Push Pull Zap Zap Zap Zap Zap Zap Zap Zap Zap Zap 1 2 3 4 5 6 7 8 9 10 Snr ff L Snr ff R Rim p L Rim p R Rim mf L Rim mf R Rim f L Rim f R Rim ff L Rim ff R SonicCell_e.book 245 ページ ２００７年７月２日 月曜日 午後３時５０分 Waveform List No. Name No. Name No. Name No. Name No. Name 1051 1052 1053 1054 1055 1056 1057 1058 1059 1060 Soft Jz Roll Concert SD GoodOld Snr1 GoodOld Snr2 GoodOld Snr3 GoodOld Snr4 GoodOld Snr5 GoodOld Snr6 Dirty Snr 1 Dirty Snr 2 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 SF CStk f L SF CStk f R Reg.Stick L Reg.Stick R Soft Stick Hard Stick Wild Stick Lo-Bit Stk 1 Lo-Bit Stk 2 Dry Stick 1 1191 1192 1193 1194 1195 1196 1197 1198 1199 1200 Sharp Hi Tom Dry Lo Tom TR909 Tom TR909 DstTom TR808 Tom TR606 Tom Deep Tom Reg.CHH 1 p Reg.CHH 1 mf Reg.CHH 1 f 1261 1262 1263 1264 1265 1266 1267 1268 1269 1270 TR808 Cym TR606 Cym 2 Ride Cymbal Ride Bell Rock Rd Cup Rock Rd Edge Jazz Ride p Jazz Ride mf TR909 Ride China Cymbal 1331 1332 1333 1334 1335 1336 1337 1338 1339 1340 Conga Lo Op Conga Slp Op Conga Efx Conga Thumb Conga 2H Op Conga 2H Mt Conga 2H Slp Conga 2L Op Conga 2L Mt TR808 Conga1 1061 1062 1063 1064 1065 1066 1067 1068 1069 1070 Dirty Snr 3 Dirty Snr 4 Dirty Snr 5 Dirty Snr 6 Dirty Snr 7 Grit Snr 1 Grit Snr 2 Grit Snr 3 LoBit SnrFlm Lo-Bit Snr 1 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 Dry Stick 2 Dry Stick 3 R8 Comp Rim R&B ShrtRim1 R&B ShrtRim2 TR909 Rim TR808 Rim LD L.Tom mf LD L.Tom f LD L.Tom ff 1201 1202 1203 1204 1205 1206 1207 1208 1209 1210 Reg.CHH 1 ff Reg.CHH 2 mf Reg.CHH 2 f Reg.CHH 2 ff Reg.PHH mf Reg.PHH f Reg.OHH mf Reg.OHH f Reg.OHH ff Rock CHH1 mf 1271 1272 1273 1274 1275 1276 1277 1278 1279 1280 Concert Cym Concert Cym2 Hand Clap Club Clap Real Clap Bright Clap R8 Clap Gospel Clap Amb Clap Hip Clap 1341 1342 1343 1344 1345 1346 1347 1348 1349 1350 TR808 Conga2 Timbale 1 Timbale 2 Timbare 3 Timbare 4 Cabasa Up Cabasa Down Cabasa Cut Cabasa 2 Cabasa 2 Cut 1071 1072 1073 1074 1075 1076 1077 1078 1079 1080 Lo-Bit Snr 2 MrchCmp Snr Reggae Snr DR660 Snr Jngl pkt Snr Pocket Snr Flange Snr Analog Snr 1 Analog Snr 2 Analog Snr 3 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 LD M.Tom mf LD M.Tom f LD M.Tom ff LD H.Tom mf LD H.Tom f LD H.Tom ff TY L.Tom mf TY L.Tom f TY L.Tom ff TY M.Tom mf 1211 1212 1213 1214 1215 1216 1217 1218 1219 1220 Rock CHH1 f Rock CHH2 mf Rock CHH2 f Rock OHH Lo-Bit CHH 1 Lo-Bit CHH 2 Lo-Bit CHH 3 Lo-Bit CHH 4 Lo-Bit CHH 5 HipHop CHH 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 Funk Clap Claptail TR808 Clap Disc Clap Dist Clap Dist Clap 2 Old Clap TR909 Clap TR909 Clap TR808 Clap 1351 1352 1353 1354 1355 1356 1357 1358 1359 1360 Maracas 808 Maracas R8 Shaker Shaker 1 Shaker 2 Shaker 3 Guiro 1 Guiro 2 Guiro Long Guiro 2 Up 1081 1082 1083 1084 1085 1086 1087 1088 1089 1090 Tiny Snare R&B ShrtSnr1 TR909 Snr 1 TR909 Snr 2 TR909 Snr 3 TR909 Snr 4 TR909 Snr 5 TR909 Snr 6 TR808 Snr 1 TR808 Snr 2 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 TY M.Tom f TY M.Tom ff TY H.Tom mf TY H.Tom f TY H.Tom ff RR F.Tom mp RR F.Tom f RR F.Tom ff SF L.Tom mf SF L.Tom ff 1221 1222 1223 1224 1225 1226 1227 1228 1229 1230 TR909 CHH 1 TR909 CHH 2 TR808 CHH 1 TR808 CHH 2 TR606 CHH 1 TR606 CHH 2 TR606 DstCHH Lite CHH CR78 CHH Dance CHH 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 TR707 Clap Cheap Clap Mix Clap 1 L Mix Clap 1 R Mix Clap 2 L Mix Clap 2 R Mix Clap 3 Mix Clap 4 Finger Snap Club FinSnap 1361 1362 1363 1364 1365 1366 1367 1368 1369 1370 Guiro 2 Down Guiro 2 Fast Vibraslap Tamborine 1 Tamborine 2 Tamborine 3 Tamborine4 p Tamborine4 f CR78 Tamb Cajon 1 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 TR808 Snr 3 TR808 Snr 4 Lite Snare TR808 Snr 5 TR808 Snr 6 TR606 Snr 1 TR606 Snr 2 CR78 Snare Urbn Sn Roll Vint Snr 1 1161 1162 1163 1164 1165 1166 1167 1168 1169 1170 SF M.Tom mf SF M.Tom f SF M.Tom ff SF H.Tom mf SF H.Tom f SF H.Tom ff RR FT Flm ff SF LT Flm ff SF MT Flm f SF HT Flm p 1231 1232 1233 1234 1235 1236 1237 1238 1239 1240 Noise CHH Hip PHH TR909 PHH 1 TR909 PHH 2 TR808 PHH TR606 PHH 1 TR606 PHH 2 Lo-Bit PHH Lo-Bit OHH 1 Lo-Bit OHH 2 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 Snap Group Snap Cowbell Cowbell Mute Cowbell2 Lng Cowbell2 Edg Cowbell3 mf Cowbell3 f TR808Cowbell Wood Block 1371 1372 1373 1374 1375 1376 1377 1378 1379 1380 Cajon 2 Cajon 3 Cajon 4 SprgDrm Hit Cuica Cuica 2 Hi Cuica 2 Low Timpani p Timpani f Timpani Roll 1101 1102 1103 1104 1105 1106 1107 1108 1109 1110 Vint Snr 2 Vint Snr 3 Vint Snr 4 Dist Snr Short Snr1 Short Snr2 WD CStk mf L WD CStk mf R WD CStk f L WD CStk f R 1171 1172 1173 1174 1175 1176 1177 1178 1179 1180 SF HT Flm f SF HT Flm ff Reg.F.Tom p Reg.F.Tom f Reg.L.Tom p Reg.L.Tom f Reg.M.Tom p Reg.M.Tom f Reg.H.Tom p Reg.H.Tom f 1241 1242 1243 1244 1245 1246 1247 1248 1249 1250 Lo-Bit OHH 3 HipHop OHH TR909 OHH 1 TR909 OHH 2 TR808 OHH 1 TR808 OHH 2 TR606 OHH Lite OHH CR78 OHH Noise OHH 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 Wood Block2H Wood Block2L Claves Claves 2 TR808 Claves CR78 Beat Castanet Whistle Whistle Long Whistle Shrt 1381 1382 1383 1384 1385 1386 1387 1388 1389 1390 Timpani Lp ConcertBD p ConcertBD f ConcertBD ff ConcertBD Lp Triangle 1 Triangle 2 Tibet Cymbal Slight Bell Wind Chime 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 LD CStk mf L LD CStk mf R LD CStk f L LD CStk f R TY CStk mf L TY CStk mf R TY CStk f L TY CStk f R SF CStk p L SF CStk p R 1181 1182 1183 1184 1185 1186 1187 1188 1189 1190 Reg.L.TomFlm Reg.M.TomFlm Reg.H.TomFlm Jazz Lo Tom Jazz Mid Tom Jazz Hi Tom Jazz Lo Flm Jazz Mid Flm Jazz Hi Flm Sharp Lo Tom 1251 1252 1253 1254 1255 1256 1257 1258 1259 1260 Noise OHH 2 Crash Cym1 p Crash Cym1 f Crash Cym 2 Rock Crash 1 Rock Crash 2 Splash Cym Jazz Crash TR909 Crash TR909 Crash2 1321 1322 1323 1324 1325 1326 1327 1328 1329 1330 Bongo Hi Mt Bongo Hi Slp Bongo Hi Op Bongo Lo Op Bongo Lo Slp Conga Hi Mt Conga Lo Mt Conga Hi Slp Conga Lo Slp Conga Hi Op 1391 1392 1393 1394 1395 1396 1397 1398 1399 1400 Crotale R8 Click Metro Bell Metro Click MC500 Beep 1 MC500 Beep 2 DR202 Beep Low Square Low Sine DC 1401 Reverse Cym 1 1 2 2 245 SonicCell_e.book 246 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation 1. Receive data SonicCell Date: 2007.6.15 Version: 1.00 * The SRX series corresponding to each Bank Select are to see the SRX series owner's manual. ■Channel Voice Messages * Not received in Performance mode when the Receive Switch parameter (Part Edit) is OFF. ●Note off Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH n = MIDI channel number: 00H 0H - FH (ch.1 - 16) kk = note number: vv = note off velocity: 00H - 7FH (0 - 127) 00H - 7FH (0 - 127) * Not received when the Tone Env Mode parameter (Patch Ctrl and Rhythm General) is NO-SUS. BANK SELECT | PROGRAM | GROUP | NUMBER MSB | LSB | NUMBER | | -----+-----------+-----------+----------------------+----------000 | | 001 - 128 | GM Patch | 001 - 256 : | | | | 063 | | 001 - 128 | GM Patch | 001 - 256 085 | 000 | 001 - 064 | User Performance | 001 - 064 | 064 | 001 - 064 | Preset Performance | 001 - 064 086 | 000 | 001 - 032 | User Rhythm | 001 - 032 | 064 | 001 - 032 | Preset Rhythm | 001 - 032 087 | 000 | 001 - 128 | User Patch | 001 - 128 | 001 | 001 - 128 | User Patch | 129 - 256 | 064 | 001 - 128 | Preset Patch A | 001 - 128 | 065 | 001 - 128 | Preset Patch B | 001 - 128 | : | | : | 092 | 000 | 001 | SRX Rhythm | 001 | : | | : | 093 | 000 | 001 | SRX Patch | 001 | : | | : | 120 | | 001 - 057 | GM Rhythm | 001 - 009 121 | 000 | 001 - 128 | GM Patch | 001 - 256 ❍Modulation (Controller number 1) ●Note on Status Model: Status 2nd byte 9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 01H - 7FH (1 - 127) 2nd byte BnH 01H n = MIDI channel number: vv = Modulation depth: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * Not received in Performance mode when the Receive Modulation parameter (Performance MIDI) is OFF. ●Polyphonic Key Pressure Status 2nd byte AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127) * Not received in Performance mode when the Receive Poly Key Pressure parameter (Performance MIDI) is OFF. ●Control Change * If the corresponding Controller number is selected for the Patch Matrix Control Source parameter (Patch Mtrx Ctrl1-4), the corresponding effect will occur. * If a Controller number that corresponds to the System Control Source 1, 2, 3 or 4 parameter (System Control) is selected, the specified effect will apply if Patch Control Source 1, 2, 3 or 4 parameter (Patch Mtrx Ctrl1-4) is set to SYS CTRL1, SYS CTRL2, SYS CTRL3 or SYS CTRL4. ❍Bank Select (Controller number 0, 32) Status 2nd byte BnH 00H BnH 20H n = MIDI channel number: mm, ll = Bank number: 3rd byte mmH llH 0H - FH (ch.1 - 16) 00 00H - 7F 7FH (bank.1 - bank.16384) * Not received in Performance mode when the Receive Bank Select (Performance MIDI) is OFF. * The Performances, Patches, and Rhythms corresponding to each Bank Select are as follows. 246 ❍Breath type (Controller number 2) Status 2nd byte BnH 02H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) ❍Foot type (Controller number 4) Status 2nd byte BnH 04H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) ❍Portamento Time (Controller number 5) Status 2nd byte BnH 05H n = MIDI channel number: vv = Portamento Time: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * In Performance mode the Part Portament Time parameter (Part Edit) will change. ❍Data Entry (Controller number 6, 38) 2nd byte 3rd byte Status BnH 06H mmH BnH 26H llH n = MIDI channel number: 0H - FH (ch.1 - 16) mm, ll = the value of the parameter specified by RPN/NRPN mm = MSB, ll = LSB SonicCell_e.book 247 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍Volume (Controller number 7) ❍Sostenuto (Controller number 66) Status 2nd byte 3rd byte Status 2nd byte 3rd byte BnH 07H vvH BnH 42H vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) n = MIDI channel number: 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON vv = Control value: n = MIDI channel number: vv = Volume: * Not received in Performance mode when the Receive Volume ❍Soft (Controller number 67) parameter (Performance MIDI) is OFF. * In Performance mode the Part Level parameter (Part Edit) will Status 2nd byte 3rd byte BnH 43H vvH change. n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON ❍Balance (Controller number 8) Status 2nd byte 3rd byte ❍Legato Foot Switch (Controller number 68) BnH 08H vvH Status 2nd byte 3rd byte 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) BnH 44H vvH n = MIDI channel number: vv = Balance: n = MIDI channel number: 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON vv = Control value: ❍Panpot (Controller number 10) Status 2nd byte BnH 0AH n = MIDI channel number: vv = Panpot: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 40H - 7FH (Left - Center - Right) * Not received in Performance mode when the Receive Pan parameter (Performance MIDI) is OFF. * In Performance mode the Part Pan parameter (Part Edit) will change. * In Performance mode the Part Legato Switch parameter (Part Edit) will change. ❍Hold-2 (Controller number 69) Status 2nd byte BnH 45H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * A hold movement isn't done. ❍Expression (Controller number 11) Status 2nd byte BnH 0BH n = MIDI channel number: vv = Expression: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) ❍Resonance (Controller number 71) Status 2nd byte 3rd byte BnH 47H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv= Resonance value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) * Not received when Tone Receive Expression parameter (Patch Ctrl or Rhythm General) is OFF. * Not received in Performance mode when Receive Expression parameter (Performance MIDI) is OFF. * In Performance mode the Part Resonance Offset parameter (Part Edit) will change. ❍Release Time (Controller number 72) ❍Hold 1 (Controller number 64) Status 2nd byte 3rd byte BnH 40H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON * Not received when Tone Receive Hold-1 parameter (Patch Ctrl or Rhythm General) is OFF. * Not received in Performance mode when Receive Hold-1 parameter (Performance MIDI) is OFF. ❍Portamento (Controller number 65) Status 2nd byte 3rd byte BnH 41H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON vv = Control value: Status 2nd byte 3rd byte BnH 48H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Release Time value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * In Performance mode the Part Release Offset parameter (Part Edit) will change. ❍Attack time (Controller number 73) Status 2nd byte 3rd byte BnH 49H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Attack time value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * In Performance mode the Part Attack Offset parameter (Part Edit) will change. * In Performance mode the Part Portamento Switch parameter (Part Edit) will change. 247 SonicCell_e.book 248 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍Cutoff (Controller number 74) ❍General Purpose Controller 6 (Controller number 81) Status 2nd byte 3rd byte Status 2nd byte 3rd byte BnH 4AH vvH BnH 51H vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Cutoff value (relative change): 00H - 40H - 7FH (-64 - 0 - +63) n = MIDI channel number: vv = Control value: 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * The Tone Level parameter (Patch TVA) of Tone 2 will change. * In Performance mode the Part Cutoff Offset parameter (Part Edit) ❍General Purpose Controller 7 (Controller number 82) will change. Status 2nd byte 52H ❍Decay Time (Controller number 75) BnH Status n = MIDI channel number: vv = Control value: BnH 2nd byte 4BH 3rd byte vvH 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Decay Time value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * The Tone Level parameter (Patch TVA) of Tone 3 will change. * In Performance mode the Part Decay Offset parameter (Part Edit) ❍General Purpose Controller 8 (Controller number 83) will change. ❍Vibrato Rate (Controller number 76) Status 2nd byte 3rd byte BnH 4CH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Rate value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * In Performance mode the Part Vibrato Rate parameter (Part Edit) will change. ❍Vibrato Depth (Controller number 77) Status 2nd byte 3rd byte BnH 4DH vvH n = MIDI channel number: 0H - FH (ch.1 - 16) vv = Vibrato Depth Value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * In Performance mode the Part Vibrato Depth parameter (Part Edit) will change. ❍Vibrato Delay (Controller number 78) Status 2nd byte BnH 4EH n = MIDI channel number: 3rd byte vvH 0H - FH (ch.1 - 16) vv = Vibrato Delay value (relative change) : 00H - 40H - 7FH (-64 - 0 - +63) * In Performance mode the Part Vibrato Delay parameter (Part Edit) will change. ❍General Purpose Controller 5 (Controller number 80) Status 2nd byte BnH 50H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * The Tone Level parameter (Patch TVA) of Tone 1 will change. Status 2nd byte BnH 53H n = MIDI channel number: vv = Control value: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * The Tone Level parameter (Patch TVA) of Tone 4 will change. ❍Portamento control (Controller number 84) Status 2nd byte BnH 54H n = MIDI channel number: kk = source note number: 3rd byte kkH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * A Note-on received immediately after a Portamento Control message will change continuously in pitch, starting from the pitch of the Source Note Number. * If a voice is already sounding for a note number identical to the Source Note Number, this voice will continue sounding (i.e., legato) and will, when the next Note-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. ❍Effect 1 (Reverb Send Level) (Controller number 91) Status 2nd byte BnH 5BH n = MIDI channel number: vv = Reverb Send Level: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * In Performance mode the Part Reverb Send Level parameter (Part Edit) will change. ❍Effect 3 (Chorus Send Level) (Controller number 93) Status 2nd byte BnH 5DH n = MIDI channel number: vv = Chorus Send Level: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * In Performance mode the Part Chorus Send Level parameter (Part Edit) will change. 248 SonicCell_e.book 249 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍RPN MSB/LSB (Controller number 100, 101) ●Program Change Status 2nd byte 3rd byte Status BnH BnH 65H 64H mmH llH CnH n = MIDI channel number: 0H - FH (ch.1 - 16) mm = upper byte (MSB) of parameter number specified by RPN ll = lower byte (LSB) of parameter number specified by RPN 2nd byte ppH n = MIDI channel number: pp = Program number: 0H - FH (ch.1 - 16) 00H - 7FH (prog.1 - prog.128) * Not received in Performance mode when the Receive Program Change parameter (Performance MIDI) is OFF. <<< RPN >>> Control Changes include RPN (Registered Parameter Numbers), which are extended. When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any order) should be sent in order to select the parameter, then Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN messages are received, Data Entry messages that is received at the same MIDI channel after that are recognized as changing toward the value of the RPN messages. In order not to make any mistakes, transmitting RPN Null is recommended after setting parameters you need. This device receives the following RPNs. RPN MSB, LSB 00H, 00H Data entry MSB, LSB mmH, llH Notes Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones) ll: ignored (processed as 00H) Up to 2 octave can be specified in semitone steps. * In Performance mode, the Part Bend Range parameter (Part Edit) will change. 00H, 01H mmH, llH Channel Fine Tuning mm, ll: 20 00H - 40 00H - 60 00H (-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent) * In Performance mode, the Part Fine Tune parameter (Part Edit) will change. 00H, 02H Channel Coarse Tuning mm: 10H - 40H - 70H (-48 - 0 - +48 semitones) ll: ignored (processed as 00H) * In Performance mode, the Part Coarse Tune parameter (Part Edit) will change. 00H, 05H ●Channel Pressure Status DnH 2nd byte vvH n = MIDI channel number: vv = Channel Pressure: 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) * Not received in Performance mode when the Receive Channel Pressure parameter (Performance MIDI) is OFF. ●Pitch Bend Change Status 2nd byte EnH llH n = MIDI channel number: mm, ll = Pitch Bend value: 3rd byte mmH 0H - FH (ch.1 - 16) 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191) * Not received when the Tone Receive Bender parameter (Patch Ctrl) is OFF. * Not received in Performance mode when the Receive Pitch Bend parameter (Performance MIDI) is OFF. ■Channel Mode Messages * Not received in Performance mode when the Receive Switch parameter (Part Edit) is OFF. ●All Sounds Off (Controller number 120) Status 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H - FH (ch.1 - 16) mmH, llH mmH, llH * When this message is received, all notes currently sounding on the corresponding channel will be turned off. Modulation Depth Range mm: 00 00H - 06 00H (0 - 16384 x 600 / 16384 cent) * Not received in Patch mode. 7FH, 7FH ---, --- RPN null RPN and NRPN will be set as “unspecified.” Once this setting has been made, subsequent Parameter values that were previously set will not change. mm, ll: ignored 249 SonicCell_e.book 250 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ●Reset All Controllers (Controller number 121) Status BnH 2nd byte 79H 3rd byte 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * When this message is received, the following controllers will be set to their reset values. ●MONO (Controller number 126) Status BnH 2nd byte 7EH n = MIDI channel number: mm = mono number: 3rd byte mmH 0H - FH (ch.1 - 16) 00H - 10H (0 - 16) * The same processing will be carried out as when All Notes Off is received. Pitch Bend Change +/-0 (center) * In Performance mode, the Part Mono/Poly parameter (Part Edit) will change. Polyphonic Key Pressure Channel Pressure 0 (off) 0 (off) ●POLY (Controller number 127) Modulation Breath Type 0 (off) 0 (min) BnH Expression 127 (max) However the controller will be at minimum. n = MIDI channel number: 0H - FH (ch.1 - 16) Hold 1 Sostenuto 0 (off) 0 (off) * The same processing will be carried out as when All Notes Off is received. Soft Hold 2 RPN NRPN 0 (off) 0 (off) unset; previously set data will not change unset; previously set data will not change * In Performance mode, the Part Mono/Poly parameter (Part Edit) will change. Controller Reset value ●All Notes Off (Controller number 123) Status 2nd byte 3rd byte BnH 7BH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * When All Notes Off is received, all notes on the corresponding channel will be turned off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are turned off. ●OMNI OFF (Controller number 124) Status 2nd byte 3rd byte BnH 7CH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * The same processing will be carried out as when All Notes Off is received. ●OMNI ON (Controller number 125) Status 2nd byte 3rd byte BnH 7DH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * The same processing will be carried out as when All Notes Off is received. OMNI ON will not be turned on. 250 Status 2nd byte 7FH 3rd byte 00H ■System Realtime Message ●Timing Clock Status F8H * This is received when Sync Mode parameter (System) is SLAVE. ●Active Sensing Status FEH * When Active Sensing is received, the unit will begin monitoring the intervals of all further messages. While monitoring, if the interval between messages exceeds 420 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 halted. SonicCell_e.book 251 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ■System Exclusive Message Status F0H Data byte iiH, ddH, ......,eeH Status F7H F0H: System Exclusive Message status ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. Roland's manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Messages (7EH) Universal Non-realtime and Universal Realtime ❍GM2 System On Status Data byte Status F0H 7EH 7FH 09H 03H F7H Byte F0H Exclusive status 7EH 7FH ID number (Universal Non-realtime Message) Device ID (Broadcast) 09H 03H Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 2 On) F7H EOX (End Of Exclusive) Explanation Messages (7FH). dd,...,ee = data: F7H: 00H - 7FH (0 - 127) EOX (End Of Exclusive) * When this messages is received, this instrument will turn to the Performance mode. * Not received when the Receive GM2 System On parameter Of the System Exclusive messages received by this device, the Universal Non-realtime messages and the Universal Realtime (System MIDI) is OFF. messages and the Data Request (RQ1) messages and the Data Set ❍GM System Off (DT1) messages will be set automatically. Status Data byte Status F0H 7EH, 7F, 09H, 02H F7H Byte F0H 7EH 7FH 09H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) 02H F7H Sub ID#2 (General MIDI Off) EOX (End Of Exclusive) ●Universal Non-realtime System Exclusive Messages ❍Identity Request Message Status F0H Data byte 7EH, dev, 06H, 01H Status F7H Byte F0H 7EH dev 06H 01H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H - 1FH, 7FH) Sub ID#1 (General Information) Sub ID#2 (Identity Request) F7H EOX (End Of Exclusive) * When this message is received, Identity Reply message (p. 256) will be transmitted. ❍GM1 System On Status F0H Data byte 7EH, 7FH, 09H, 01H Status F7H Byte F0H 7EH 7FH 09H 01H F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (Broadcast) Sub ID#1 (General MIDI Message) Sub ID#2 (General MIDI 1 On) EOX (End Of Exclusive) * When this messages is received, this instrument will return to the Performance mode. ●Universal Realtime System Exclusive Messages ❍Master Volume Status F0H Byte F0H 7FH 7FH 04H 01H llH mmH F7H Data byte 7FH, 7FH, 04H, 01H, llH, mmH Status F7H Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Master Volume) Master Volume lower byte Master Volume upper byte EOX (End Of Exclusive) * The lower byte (llH) of Master Volume will be handled as 00H. * The Master Level parameter (System) will change. * When this messages is received, this instrument will turn to the Performance mode. * Not received when the Receive GM1 System On parameter (System MIDI) is OFF. 251 SonicCell_e.book 252 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍Master Fine Tuning Status Data byte Status pp=0 Reverb Type vv = 00H Small Room F0H 7FH, 7FH, 04H, 03H, llH, mmH F7H vv = 01H Medium Room Byte F0H Explanation Exclusive status 7FH 7FH ID number (universal realtime message) Device ID (Broadcast) 04H 03H Sub ID#1 (Device Control) Sub ID#2 (Master Fine Tuning) F7H llH mmH Master Fine Tuning LSB Master Fine Tuning MSB ❍Chorus Parameters F7H EOX (End Of Exclusive) vv = 02H Large Room vv = 03H Medium Hall vv = 04H Large Hall vv = 08H Plate Status Data byte Status F0H 7FH, 7FH, 04H, 05H, 01H, 01H, F7H mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents]) * The Master Tune parameter (System) will change. ❍Master Coarse Tuning Status Data byte Status F0H 7FH, 7FH, 04H, 04H, llH, mmH F7 Byte F0H 7FH 7FH 04H Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) 04H llH mmH F7H Sub ID#2 (Master Coarse Tuning) Master Coarse Tuning LSB Master Coarse Tuning MSB EOX (End Of Exclusive) llH: mmH: ignored (processed as 00H) 28H - 40H - 58H (-24 - 0 - +24 [semitones]) 01H, 01H, 02H, ppH, vvH Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Global Parameter Control) 01H 01H 01H 01H 02H ppH vvH Slot path length Parameter ID width Value width Slot path MSB Slot path LSB (Effect 0102: Chorus) Parameter to be controlled. Value for the parameter. pp=0 Chorus Type vv=0 Chorus1 ●Global Parameter Control * Not received in Patch mode. ❍Reverb Parameters F0H Data byte 7FH, 7FH, 04H, 05H, 01H, 01H, 01H, 01H, 01H, ppH, vvH Byte F0H 7FH 7FH 04H 05H 01H 01H 01H 01H 01H ppH vvH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Device Control) Sub ID#2 (Global Parameter Control) Slot path length Parameter ID width Value width Slot path MSB Slot path LSB (Effect 0101: Reverb) Parameter to be controlled. Value for the parameter. Status F7H F7H 252 Explanation Byte F0H 7FH 7FH 04H 05H * The Master Key Shift parameter (System) will change. Status pp=1 Reverb Time vv = 00H - 7FH 0 - 127 EOX (End Of Exclusive) vv=1 Chorus2 vv=2 Chorus3 vv=3 Chorus4 vv=4 FB Chorus vv=5 Flanger pp=1 Mod Rate vv= 00H - 7FH 0 - 127 pp=2 Mod Depth vv = 00H - 7FH 0 - 127 pp=3 Feedback vv = 00H - 7FH 0 - 127 pp=4 Send To Reverb vv = 00H - 7FH 0 - 127 EOX (End Of Exclusive) SonicCell_e.book 253 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍Channel Pressure ❍Scale/Octave Tuning Adjust Status Data byte Status Status Data byte F0H 7FH, 7FH, 09H, 01H, 0nH, ppH, rrH F7H F0H 7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH... F7 Byte F0H Exclusive status Byte F0H Exclusive status 7FH 7FH ID number (universal realtime message) Device ID (Broadcast) 7EH 7FH ID number (Universal Non-realtime Message) Device ID (Broadcast) 09H 01H Sub ID#1 (Controller Destination Setting) Sub ID#2 (Channel Pressure) 08H 08H Sub ID#1 (MIDI Tuning Standard) Sub ID#2 (scale/octave tuning 1-byte form) 0nH ppH MIDI Channel (00 - 0F) Controlled parameter ffH Channel/Option byte 1 bits 0 to 1 = channel 15 to 16 rrH Controlled range pp=0 Pitch Control Explanation ggH rr = 28H - 58H -24 - +24 [semitones] F7H Explanation bit 2 to 6 = Undefined Channel byte 2 bits 0 to 6 = channel 8 to 14 pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] hhH Channel byte 3 bits 0 to 6 = channel 1 to 7 pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] ssH 12 byte tuning offset of 12 semitones from C to B 00H = -64 [cents] 40H = 0 [cents] (equal temperament) 7FH = +63 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] F7H EOX (End Of Exclusive) ❍Key-based Instrument Controllers pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100% Status Data byte Status EOX (End Of Exclusive) F0H 7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH F7H Byte F0H 7FH 7FH 0AH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Key-Based Instrument Control) 01H 0nH kkH nnH vvH Sub ID#2 (Controller) MIDI Channel (00 - 0FH) Key Number Control Number Value nn=07H Level vv = 00H - 7FH 0 - 200% (Relative) nn=0AH Pan vv = 00H - 7FH Left - Right (Absolute) nn=5BH Reverb Send vv = 00H - 7FH 0 - 127 (Absolute) nn=5D Chorus Send vv = 00H - 7FH 0 - 127 (Absolute) : EOX (End Of Exclusive) ❍Controller Status Data byte Status F0H 7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH F7H Byte F0H 7FH 7FH 09H 03H 0nH ccH ppH rrH Explanation Exclusive status ID number (universal realtime message) Device ID (Broadcast) Sub ID#1 (Controller Destination Setting) Sub ID#2 (Control Change) MIDI Channel (00 - 0F) Controller number (01 - 1F, 40 - 5F) Controlled parameter Controlled range pp=0 Pitch Control rr = 28H - 58H -24 - +24 [semitones] pp=1 Filter Cutoff Control rr = 00H - 7FH -9600 - +9450 [cents] pp=2 Amplitude Control rr = 00H - 7FH 0 - 200% pp=3 LFO Pitch Depth rr = 00H - 7FH 0 - 600 [cents] pp=4 LFO Filter Depth rr = 00H - 7FH 0 - 2400 [cents] pp=5 LFO Amplitude Depth rr = 00H - 7FH 0 - 100% EOX (End Of Exclusive) F7H Status : F7 * This parameter affects drum instruments only. ●Data Transmission This instrument can use exclusive messages to exchange many varieties of internal settings with other devices. The model ID of the exclusive messages used by this instrument is 00H 00H 25H. 253 SonicCell_e.book 254 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ❍Data Request 1 RQ1 (11H) ddH Address LSB: lower byte of the starting address of the data to be sent. eeH Data: the actual data to be sent. Multiple bytes of data are transmitted in message. If the conditions are not met, nothing is transmitted. : ffH : Data status sum F7H Checksum EOX (End Of Exclusive) This message requests the other device to transmit data. The address and size indicate the type and amount of data that is requested. When a Data Request message is received, if the device is in a state in which it is able to transmit data, and if the address and size are appropriate, the requested data is transmitted as a Data Set 1 (DT1) F0H data byte 41H, dev, 00H, 00H, 25H, 11H, aaH, bbH, status F7H * The amount of data that can be transmitted at one time depends ccH, ddH, ssH, ttH, uuH, vvH, sum Byte order starting from the address. on the type of data, and data will be transmitted from the specified starting address and size. Refer to the address and size Remarks given in “Parameter Address Map” (p. 257). F0H Exclusive status 41H dev 00H ID number (Roland) device ID (dev: 10H - 1FH, 7FH) model ID #1 (SonicCell) * Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms. * Regarding the checksum, please refer to (p. 275) 00H 25H 11H aaH bbH model ID #2 (SonicCell) model ID #3 (SonicCell) command ID (RQ1) address MSB address * Not received when the Receive Exclusive parameter (System MIDI) is OFF. ccH ddH ssH ttH uuH vvH sum address address LSB size MSB size size size LSB checksum F7H EOX (End Of Exclusive) Status Data byte Status F0H 41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, ... eeH, sum F7H Byte F0H 41H dev 42H 12H aaH * The size of data that can be transmitted at one time is fixed for each type of data. And data requests must be made with a fixed starting address and size. Refer to the address and size given in “Parameter Address Map” (p. 257). * For the checksum, refer to (p. 275). * Not received when the Receive Exclusive parameter (System MIDI) is OFF. bbH ccH ddH ❍Data set 1 DT1 (12H) Status F0H Byte F0H 41H dev 00H 00H 25H 12H aaH bbH ccH 254 Data byte 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum Status F7H Explanation Exclusive status ID number (Roland) Device ID (dev: 00H - 1FH, 7FH) Model ID #1 (SonicCell) Model ID #2 (SonicCell) Model ID #3 (SonicCell) Command ID (DT1) Address MSB: upper byte of the starting address of the data to be sent Address: upper middle byte of the starting address of the data to be sent Address: lower middle byte of the starting address of the data to be sent : eeH sum F7H Explanation Exclusive status ID number (Roland) Device ID (dev: 10H - 1FH, 7FH) Model ID (GS) Command ID (DT1) Address MSB: upper byte of the starting address of the transmitted data Address: middle byte of the starting address of the transmitted data Address LSB: lower byte of the starting address of the transmitted data Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address. : Data Checksum 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 “Parameter Address Map” (p. 257). * Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms. * Regarding the checksum, please refer to (p. 275) * Not received when the Receive Exclusive parameter (System MIDI) is OFF. SonicCell_e.book 255 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation 2. Data Transmission ●Channel Pressure Status 2nd byte vvH Messages (except System Common and System Realtime Messages) DnH that are received are then sent out when Soft Thru parameter (System MIDI) is switched to ON. n = MIDI channel number: vv = Channel Pressure: ■Channel Voice Messages * This message is transmitted from SMF Player. ●Pitch Bend Change ●Note off Status 8nH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 2nd byte kkH 3rd byte vvH 9nH kkH n = MIDI channel number: 00H 0H - FH (ch.1 - 16) kk = note number: vv = note off velocity: 00H - 7FH (0 - 127) 00H - 7FH (0 - 127) Status 2nd byte 3rd byte EnH llH mmH n = MIDI channel number: mm, ll = Pitch Bend value: 0H - FH (ch.1 - 16) 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191) * This message is transmitted from SMF Player. * This message is transmitted from SMF Player. ■Channel Mode Messages ●Note on ●All Sounds Off (Controller number 120) Status 2nd byte 9nH kkH n = MIDI channel number: kk = note number: vv = note on velocity: 3rd byte Status vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 01H - 7FH (1 - 127) * This message is transmitted from SMF Player. * This message is transmitted from SMF Player. 2nd byte 3rd byte BnH 78H 00H n = MIDI channel number: 0H - FH (ch.1 - 16) ●Reset All Controllers (Controller number 121) Status ●Polyphonic Key Pressure Status 2nd byte AnH kkH n = MIDI channel number: kk = note number: vv = Polyphonic Key Pressure: 3rd byte vvH 0H - FH (ch.1 - 16) 00H - 7FH (0 - 127) 00H - 7FH (0 - 127) 2nd byte 3rd byte BnH 79H 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * This message is transmitted from SMF Player. ●All Notes Off (Controller number 123) Status * This message is transmitted from SMF Player. ●Control Change BnH kkH n = MIDI channel number: kk = Controller number: vv = Control value: vvH 0H - FH (ch.1 - 16) 00H - 77H (0 - 119) 00H - 7FH (0 - 127) * This message is transmitted from SMF Player. ●Program Change Status 2nd byte CnH ppH n = MIDI channel number: pp = Program number: 2nd byte 3rd byte BnH 7BH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * This message is transmitted from SMF Player. ●MONO (Controller number 126) Status 2nd byte BnH 7EH n = MIDI channel number: mm = mono number: 3rd byte mmH 0H - FH (ch.1 - 16) 00H - 10H (0 - 16) * This message is transmitted from SMF Player. 0H - FH (ch.1 - 16) 00H - 7FH (prog.1 - prog.128) * This message is transmitted from SMF Player. ●POLY (Controller number 127) Status 2nd byte 3rd byte BnH 7FH 00H n = MIDI channel number: 0H - FH (ch.1 - 16) * This message is transmitted from SMF Player. 255 SonicCell_e.book 256 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation ■System Realtime Messages Byte Explanation F0H Exclusive status ●Active Sensing 41H dev ID number (Roland) Device ID (dev: 00H - 1FH, 7FH) FEH 00H 00H Model ID #1 (SonicCell) Model ID #2 (SonicCell) * This message is transmitted at intervals of approximately 250 25H 12H Model ID #3 (SonicCell) Command ID (DT1) aaH Address MSB: upper byte of the starting address of bbH Address: the data to be sent upper middle byte of the starting ccH Address: address of the data to be sent lower middle byte of the starting ddH Address LSB: eeH Data: Status msec. ■System Exclusive Message Status F0H Data byte iiH, ddH, ......,eeH Status F7H F0H: System Exclusive Message status ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. Roland's manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH). dd,...,ee = data: F7H: 00H - 7FH (0 - 127) EOX (End Of Exclusive) Universal Non-realtime System Exclusive Messagé” and Data Set 1 (DT1) are the only System Exclusive messages transmitted by the SonicCell. ●Universal Non-realtime System Exclusive Message ❍Identity Reply Message (SonicCell) Receiving Identity Request Message, the SonicCell send this message. Status Data byte Status F0H 7EH, dev, 06H, 02H, 41H, 25H, 02H, 00H, 00H, 00H, 00H, 00H, 00H F7H Byte F0H 7EH dev 06H 02H 41H 25H 02H 00H 00H 00H 00H 00H 00H F7H Explanation Exclusive status ID number (Universal Non-realtime Message) Device ID (dev: 10H - 1FH) Sub ID#1 (General Information) Sub ID#2 (Identity Reply) ID number (Roland) Device family code Device family number code Software revision level EOX (End of Exclusive) ●Data Transmission ❍Data set 1 DT1 (12H) Status F0H 256 Data byte 41H, dev, 00H, 00H, 25H, 12H, aaH, bbH, ccH, ddH, eeH, ... ffH, sum Status F7H address of the data to be sent lower byte of the starting address of the data to be sent. the actual data to be sent. Multiple bytes of data are transmitted in order starting from the address. : ffH : Data sum F7H Checksum 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 “Parameter Address Map” (see right). * Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each packet will be sent at an interval of about 20 ms. SonicCell_e.book 257 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation 3. Parameter Address Map * Transmission of “#” marked address is divided to some packets. For example, ABH in hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this order. * “<*>” marked address or parameters are ignored when the SonicCell received them. 1. Sonic Cell (ModelID = 00H 00H 25H) +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 01 00 00 00 | Setup | |-------------+----------------------------------------------------------------| | 02 00 00 00 | System | |-------------+----------------------------------------------------------------| | 10 00 00 00 | Temporary Performance | | 11 00 00 00 | Temporary Patch/Rhythm (Performance Mode Part 1) | | 11 20 00 00 | Temporary Patch/Rhythm (Performance Mode Part 2) | | : | | | 14 60 00 00 | Temporary Patch/Rhythm (Performance Mode Part 16) | | 1F 00 00 00 | Temporary Patch/Rhythm (Patch Mode) | |-------------+----------------------------------------------------------------| | 20 00 00 00 | User Performance (01) | | 20 01 00 00 | User Performance (02) | | : | | | 20 3F 00 00 | User Performance (64) | |-------------+----------------------------------------------------------------| | 30 00 00 00 | User Patch (001) | | 30 01 00 00 | User Patch (002) | | : | | | 31 7F 00 00 | User Patch (256) | |-------------+----------------------------------------------------------------| | 40 00 00 00 | User Rhythm Set (001) | | 40 10 00 00 | User Rhythm Set (002) | | : | | | 43 70 00 00 | User Rhythm Set (032) | +------------------------------------------------------------------------------+ * System +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | System Common | | 00 02 00 | System Mastering | | 00 03 00 | System External Input | +------------------------------------------------------------------------------+ * Temporary Patch/Rhythm +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Temporary Patch | | 10 00 00 | Temporary Rhythm | +------------------------------------------------------------------------------+ * Performance +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Performance Common | | 00 02 00 | Performance Common MFX1 | | 00 04 00 | Performance Common Chorus | | 00 06 00 | Performance Common Reverb | | 00 08 00 | Performance Common MFX2 | | 00 0A 00 | Performance Common MFX3 | | 00 10 00 | Performance MIDI (Channel 1) | | 00 11 00 | Performance MIDI (Channel 2) | | : | | | 00 1F 00 | Performance MIDI (Channel 16) | | 00 20 00 | Performance Part (Part 1) | | 00 21 00 | Performance Part (Part 2) | | : | | | 00 2F 00 | Performance Part (Part 16) | | 00 60 00 | Performance Controller | +------------------------------------------------------------------------------+ * Patch +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Patch Common | | 00 02 00 | Patch Common MFX | | 00 04 00 | Patch Common Chorus | | 00 06 00 | Patch Common Reverb | | 00 10 00 | Patch TMT (Tone Mix Table) | | 00 20 00 | Patch Tone (Tone 1) | | 00 22 00 | Patch Tone (Tone 2) | | 00 24 00 | Patch Tone (Tone 3) | | 00 26 00 | Patch Tone (Tone 4) | +------------------------------------------------------------------------------+ * Rhythm +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 00 | Rhythm Common | | 00 02 00 | Rhythm Common MFX | | 00 04 00 | Rhythm Common Chorus | | 00 06 00 | Rhythm Common Reverb | | 00 10 00 | Rhythm Tone (Key # 21) | | 00 12 00 | Rhythm Tone (Key # 22) | | : | | | 01 3E 00 | Rhythm Tone (Key # 108) | +------------------------------------------------------------------------------+ * Setup +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 0aaa | Sound Mode (0 - 4) | | | | PATCH, PERFORM, GM1, GM2, GS | |-------------+-----------+----------------------------------------------------| | 00 01 | 0aaa aaaa | Performance Bank Select MSB (CC# 0) (0 - 127) | | 00 02 | 0aaa aaaa | Performance Bank Select LSB (CC# 32) (0 - 127) | | 00 03 | 0aaa aaaa | Performance Program Number (PC) (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) | | 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) | | 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 - 127) | | 00 07 | 0aaa aaaa | (reserve) <*> | | 00 08 | 0aaa aaaa | (reserve) <*> | | 00 09 | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 0A | 0000 000a | MFX1 Switch (0 - 1) | | | | BYPASS, ON | | 00 0B | 0000 000a | MFX2 Switch (0 - 1) | | | | BYPASS, ON | | 00 0C | 0000 000a | MFX3 Switch (0 - 1) | | | | BYPASS, ON | | 00 0D | 0000 000a | Chorus Switch (0 - 1) | | | | OFF, ON | | 00 0E | 0000 000a | Reverb Switch (0 - 1) | | | | OFF, ON | | 00 0F | 0000 000a | Input Effect Switch (0 - 1) | | | | OFF, ON | | 00 10 | 0000 000a | (reserve) <*> | | 00 11 | 0000 000a | (reserve) <*> | | 00 12 | 0000 aaaa | (reserve) <*> | | 00 13 | 0000 0aaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 14 | 0000 0aaa | (reserve) <*> | | 00 15 | 0000 00aa | (reserve) <*> | | 00 16 | 0000 000a | (reserve) <*> | | 00 17 | 0aaa aaaa | (reserve) <*> | | 00 18 | 0aaa aaaa | (reserve) <*> | | 00 19 | 0000 000a | (reserve) <*> | | 00 1A | 0aaa aaaa | (reserve) <*> | | 00 1B | 0aaa aaaa | (reserve) <*> | | 00 1C | 0aaa aaaa | (reserve) <*> | | 00 1D | 0000 0aaa | (reserve) <*> | | 00 1E | 0000 000a | (reserve) <*> | | 00 1F | 0aaa aaaa | (reserve) <*> | | 00 20 | 0aaa aaaa | (reserve) <*> | | 00 21 | 0000 000a | (reserve) <*> | | 00 22 | 0aaa aaaa | (reserve) <*> | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | (reserve) <*> | | 00 25 | 0000 000a | (reserve) <*> | | 00 26 | 0aaa aaaa | (reserve) <*> | | 00 27 | 0aaa aaaa | (reserve) <*> | | 00 28 | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 29 | 0000 000a | (reserve) <*> | | 00 2A | 0aaa aaaa | (reserve) <*> | | 00 2B | 00aa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 2C | 0000 000a | (reserve) <*> | | 00 2D | 0000 000a | (reserve) <*> | 257 SonicCell_e.book 258 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | 00 2E | 0000 000a | (reserve) <*> | | 00 2F | 0000 000a | (reserve) <*> | | 00 30 | 0aaa aaaa | (reserve) <*> | | 00 31 | 0000 000a | (reserve) <*> | | 00 32 | 0000 00aa | (reserve) <*> | | 00 33 | 00aa aaaa | (reserve) <*> | |-------------+----------------------------------------------------------------| | 00 00 00 34 | Total Size | +------------------------------------------------------------------------------+ * System Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| |# 00 00 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Master Tune (24 - 2024) | | | | -100.0 - 100.0 [cent] | | 00 04 | 00aa aaaa | Master Key Shift (40 - 88) | | | | -24 - +24 | | 00 05 | 0aaa aaaa | Master Level (0 - 127) | | 00 06 | 0000 000a | Scale Tune Switch (0 - 1) | | | | OFF, ON | | 00 07 | 0000 000a | Patch Remain (0 - 1) | | | | OFF, ON | | 00 08 | 0000 000a | Mix/Parallel <*> | | | | ---, PARALLEL | |-------------+-----------+----------------------------------------------------| | 00 09 | 000a aaaa | Performance Control Channel (0 - 16) | | | | 1 - 16, OFF | | 00 0A | 0000 aaaa | Patch Receive Channel (0 - 15) | | | | 1 - 16 | | 00 0B | 0000 aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Patch Scale Tune for C (0 - 127) | | | | -64 - +63 | | 00 0D | 0aaa aaaa | Patch Scale Tune for C# (0 - 127) | | | | -64 - +63 | | 00 0E | 0aaa aaaa | Patch Scale Tune for D (0 - 127) | | | | -64 - +63 | | 00 0F | 0aaa aaaa | Patch Scale Tune for D# (0 - 127) | | | | -64 - +63 | | 00 10 | 0aaa aaaa | Patch Scale Tune for E (0 - 127) | | | | -64 - +63 | | 00 11 | 0aaa aaaa | Patch Scale Tune for F (0 - 127) | | | | -64 - +63 | | 00 12 | 0aaa aaaa | Patch Scale Tune for F# (0 - 127) | | | | -64 - +63 | | 00 13 | 0aaa aaaa | Patch Scale Tune for G (0 - 127) | | | | -64 - +63 | | 00 14 | 0aaa aaaa | Patch Scale Tune for G# (0 - 127) | | | | -64 - +63 | | 00 15 | 0aaa aaaa | Patch Scale Tune for A (0 - 127) | | | | -64 - +63 | | 00 16 | 0aaa aaaa | Patch Scale Tune for A# (0 - 127) | | | | -64 - +63 | | 00 17 | 0aaa aaaa | Patch Scale Tune for B (0 - 127) | | | | -64 - +63 | |-------------+-----------+----------------------------------------------------| | 00 18 | 0aaa aaaa | System Control 1 Source (0 - 97) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT | | 00 19 | 0aaa aaaa | System Control 2 Source (0 - 97) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT | | 00 1A | 0aaa aaaa | System Control 3 Source (0 - 97) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT | | 00 1B | 0aaa aaaa | System Control 4 Source (0 - 97) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT | |-------------+-----------+----------------------------------------------------| | 00 1C | 0000 000a | Receive Program Change (0 - 1) | | | | OFF, ON | | 00 1D | 0000 000a | Receive Bank Select (0 - 1) | | | | OFF, ON | |-------------+----------------------------------------------------------------| | 00 00 00 1E | Total Size | +------------------------------------------------------------------------------+ * System Mastering +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 000a | Mastering Switch (0 - 1) | | | | OFF, ON | | 00 01 | 0aaa aaaa | Low band Attack time (0 - 100) | | 00 02 | 0aaa aaaa | Low band Release time (0 - 100) | | 00 03 | 00aa aaaa | Low band Threshold (0 - 36) | | | | -36, -35, -34, -33, -32, -31, | | | | -30, -29, -28, -27, -26, -25, | | | | -24, -23, -22, -21, -20, -19, | | | | -18, -17, -16, -15, -14, -13, | 258 | | | -12, -11, -10, -9, -8, -7, | | | | -6, -5, -4, -3, -2, -1, 0 [dB] | | 00 04 | 0000 aaaa | Low band Ratio (0 - 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 05 | 000a aaaa | Low band Level (0 - 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, | | | | 23, 24 [dB] | | 00 06 | 0aaa aaaa | Mid band Attack time (0 - 100) | | 00 07 | 0aaa aaaa | Mid band Release time (0 - 100) | | 00 08 | 00aa aaaa | Mid band Threshold (0 - 36) | | | | -36, -35, -34, -33, -32, -31, | | | | -30, -29, -28, -27, -26, -25, | | | | -24, -23, -22, -21, -20, -19, | | | | -18, -17, -16, -15, -14, -13, | | | | -12, -11, -10, -9, -8, -7, | | | | -6, -5, -4, -3, -2, -1, 0 [dB] | | 00 09 | 0000 aaaa | Mid band Ratio (0 - 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 0A | 000a aaaa | Mid band Level (0 - 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, | | | | 23, 24 [dB] | | 00 0B | 0aaa aaaa | High band Attack time (0 - 100) | | 00 0C | 0aaa aaaa | High band Release time (0 - 100) | | 00 0D | 00aa aaaa | High band Threshold (0 - 36) | | | | -36, -35, -34, -33, -32, -31, | | | | -30, -29, -28, -27, -26, -25, | | | | -24, -23, -22, -21, -20, -19, | | | | -18, -17, -16, -15, -14, -13, | | | | -12, -11, -10, -9, -8, -7, | | | | -6, -5, -4, -3, -2, -1, 0 [dB] | | 00 0E | 0000 aaaa | High band Ratio (0 - 13) | | | | 1:1.0, 1:1.1, 1:1.2, 1:1.4, | | | | 1:1.6, 1:1.8, 1:2.0, 1:2.5, | | | | 1:3.2, 1:4.0, 1:5.6, 1:8.0, | | | | 1:16, 1:INF | | 00 0F | 000a aaaa | High band Level (0 - 24) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, | | | | 9, 10, 11, 12, 13, 14, 15, | | | | 16, 17, 18, 19, 20, 21, 22, | | | | 23, 24 [dB] | | 00 10 | 0000 0aaa | Split Freq Low (0 - 6) | | | | 200, 250, 315, 400, 500, | | | | 630, 800 [Hz] | | 00 11 | 0000 0aaa | Split Freq High (0 - 6) | | | | 2000, 2500, 3150, 4000, 5000, | | | | 6300, 8000 [Hz] | |-------------+----------------------------------------------------------------| | 00 00 00 12 | Total Size | +------------------------------------------------------------------------------+ * System External Input +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | External Dry Send Level (0 - 127) | | 00 01 | 0aaa aaaa | External Chorus Send Level (0 - 127) | | 00 02 | 0aaa aaaa | External Reverb Send Level (0 - 127) | | 00 03 | 0000 aaaa | External Output Assign (0 - 1) | | | | MFX, DRY | | 00 04 | 0000 00aa | External Output MFX Select (0 - 2) | | | | MFX1, MFX2, MFX3 | |-------------+-----------+----------------------------------------------------| | 00 05 | 0000 aaaa | Input Effect Type (0 - 6) | |-------------+-----------+----------------------------------------------------| |# 00 06 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 12 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 16 | 0000 aaaa | | | | 0000 bbbb | | SonicCell_e.book 259 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 22 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 26 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 32 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 36 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 42 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 46 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4A | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4E | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 52 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Input Effect Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+-----------+----------------------------------------------------| | 00 56 | 0000 000a | USB Audio Assign (0 - 1) | | | | TO OUTPUT, TO INPUT FX | | 00 57 | 0000 00aa | Input Assign (0 - 2) | | | | TO COM+OUT, TO COM, TO INPUT FX | | 00 58 | 0000 000a | To Computer (0 - 1) | | | | MIX, INPUT FX | | 00 59 | 0000 000a | MFX3 Location (0 - 1) | | | | TG, INPUT FX | |-------------+----------------------------------------------------------------| | 00 00 00 5A | Total Size | +------------------------------------------------------------------------------+ * Performance Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Performance Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Performance Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Performance Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Performance Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Performance Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Performance Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Performance Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Performance Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Performance Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Performance Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Performance Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Performance Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 00aa aaaa | Solo Part Select (0 - 16) | | | | OFF, 1 - 16 | | 00 0D | 000a aaaa | MFX1 Control Channel (0 - 16) | | | | 1 - 16, OFF | | 00 0E | 0000 000a | (reserve) <*> (1 - 0) | | | | | | 00 0F | 0000 000a | (reserve) <*> (1 - 0) | | | | | |-------------+-----------+----------------------------------------------------| | 00 10 | 0aaa aaaa | Voice Reserve 1 (0 - 64) | | | | 0 - 63, FULL | | 00 11 | 0aaa aaaa | Voice Reserve 2 (0 - 64) | | | | 0 - 63, FULL | | 00 12 | 0aaa aaaa | Voice Reserve 3 (0 - 64) | | | | 0 - 63, FULL | | 00 13 | 0aaa aaaa | Voice Reserve 4 (0 - 64) | | | | 0 - 63, FULL | | 00 14 | 0aaa aaaa | Voice Reserve 5 (0 - 64) | | | | 0 - 63, FULL | | 00 15 | 0aaa aaaa | Voice Reserve 6 (0 - 64) | | | | 0 - 63, FULL | | 00 16 | 0aaa aaaa | Voice Reserve 7 (0 - 64) | | | | 0 - 63, FULL | | 00 17 | 0aaa aaaa | Voice Reserve 8 (0 - 64) | | | | 0 - 63, FULL | | 00 18 | 0aaa aaaa | Voice Reserve 9 (0 - 64) | | | | 0 - 63, FULL | | 00 19 | 0aaa aaaa | Voice Reserve 10 (0 - 64) | | | | 0 - 63, FULL | | 00 1A | 0aaa aaaa | Voice Reserve 11 (0 - 64) | | | | 0 - 63, FULL | | 00 1B | 0aaa aaaa | Voice Reserve 12 (0 - 64) | | | | 0 - 63, FULL | | 00 1C | 0aaa aaaa | Voice Reserve 13 (0 - 64) | | | | 0 - 63, FULL | | 00 1D | 0aaa aaaa | Voice Reserve 14 (0 - 64) | | | | 0 - 63, FULL | | 00 1E | 0aaa aaaa | Voice Reserve 15 (0 - 64) | | | | 0 - 63, FULL | | 00 1F | 0aaa aaaa | Voice Reserve 16 (0 - 64) | | | | 0 - 63, FULL | | 00 20 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 21 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 22 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 23 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 24 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 25 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 26 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 27 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 28 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 29 | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 2A | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 2B | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 2C | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 2D | 0aaa aaaa | (reserve) <*> (0 - 64) | 259 SonicCell_e.book 260 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | | | 00 2E | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | | 00 2F | 0aaa aaaa | (reserve) <*> (0 - 64) | | | | | |-------------+-----------+----------------------------------------------------| | 00 30 | 00aa aaaa | MFX1 Source (0 - 16) | | | | PERFORM, 1 - 16 | | 00 31 | 00aa aaaa | MFX2 Source (0 - 16) | | | | PERFORM, 1 - 16 | | 00 32 | 00aa aaaa | MFX3 Source (0 - 16) | | | | PERFORM, 1 - 16 | | 00 33 | 00aa aaaa | Chorus Source (0 - 16) | | | | PERFORM, 1 - 16 | | 00 34 | 00aa aaaa | Reverb Source (0 - 16) | | | | PERFORM, 1 - 16 | |-------------+-----------+----------------------------------------------------| | 00 35 | 00aa aaaa | MFX2 Control Channel (0 - 16) | | | | 1 - 16, OFF | | 00 36 | 00aa aaaa | MFX3 Control Channel (0 - 16) | | | | 1 - 16, OFF | | 00 37 | 0000 aaaa | MFX Structure (0 - 15) | | | | 1 - 16 | |-------------+----------------------------------------------------------------| | 00 00 00 38 | Total Size | +------------------------------------------------------------------------------+ * Performance Common MFX +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 - 78) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) | | 00 04 | 0000 00aa | MFX Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) | | | | -63 - +63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) | | | | -63 - +63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) | | | | -63 - +63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) | | | | OFF, 1 - 16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) | | | | OFF, 1 - 16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) | | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 19 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 21 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 25 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 6 (12768 - 52768) | 260 | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | 00 29 | | | | | 00 2D | | | | | 00 31 | | | | | 00 35 | | | | | 00 39 | | | | | 00 3D | | | | | 00 41 | | | | | 00 45 | | | | | 00 49 | | | | | 00 4D | | | | | 00 51 | | | | | 00 55 | | | | | 00 59 | | | | | 00 5D | | | | | 00 61 | | | | | 00 65 | | | | | 00 69 | | | | | 00 6D | | | | | 00 71 | | | | | 00 75 | | | 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 0000 0000 0000 aaaa bbbb cccc dddd 0000 aaaa 0000 bbbb 0000 cccc | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | MFX Parameter 7 MFX Parameter 8 MFX Parameter 9 MFX Parameter 10 MFX Parameter 11 MFX Parameter 12 MFX Parameter 13 MFX Parameter 14 MFX Parameter 15 MFX Parameter 16 MFX Parameter 17 MFX Parameter 18 MFX Parameter 19 MFX Parameter 20 MFX Parameter 21 MFX Parameter 22 MFX Parameter 23 MFX Parameter 24 MFX Parameter 25 -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | SonicCell_e.book 261 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | 0000 dddd | MFX Parameter 26 (12768 - 52768) | | | | -20000 - +20000 | |# 00 79 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 27 (12768 - 52768) | | | | -20000 - +20000 | |# 00 7D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 28 (12768 - 52768) | | | | -20000 - +20000 | |# 01 01 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 29 (12768 - 52768) | | | | -20000 - +20000 | |# 01 05 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 30 (12768 - 52768) | | | | -20000 - +20000 | |# 01 09 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 31 (12768 - 52768) | | | | -20000 - +20000 | |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 01 11 | Total Size | +------------------------------------------------------------------------------+ * Performance Common Chorus +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Chorus Type (0 - 3) | | 00 01 | 0aaa aaaa | Chorus Level (0 - 127) | | 00 02 | 0000 00aa | Chorus Output Assign <*> | | | | A, ---, ---, --- | | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |-------------+-----------+----------------------------------------------------| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 10 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 34 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 38 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 54 | Total Size | +------------------------------------------------------------------------------+ * Performance Common Reverb +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Reverb Type (0 - 5) | | 00 01 | 0aaa aaaa | Reverb Level (0 - 127) | | 00 02 | 0000 00aa | Reverb Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | 261 SonicCell_e.book 262 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+ * Performance MIDI +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 000a | Receive Program Change (0 - 1) | | | | OFF, ON | | 00 01 | 0000 000a | Receive Bank Select (0 - 1) | | | | OFF, ON | | 00 02 | 0000 000a | Receive Bender (0 - 1) | | | | OFF, ON | | 00 03 | 0000 000a | Receive Polyphonic Key Pressure (0 - 1) | | | | OFF, ON | | 00 04 | 0000 000a | Receive Channel Pressure (0 - 1) | | | | OFF, ON | | 00 05 | 0000 000a | Receive Modulation (0 - 1) | | | | OFF, ON | | 00 06 | 0000 000a | Receive Volume (0 - 1) | | | | OFF, ON | | 00 07 | 0000 000a | Receive Pan (0 - 1) | | | | OFF, ON | | 00 08 | 0000 000a | Receive Expression (0 - 1) | | | | OFF, ON | | 00 09 | 0000 000a | Receive Hold-1 (0 - 1) | | | | OFF, ON | 262 |-------------+-----------+----------------------------------------------------| | 00 0A | 0000 000a | Phase Lock (0 - 1) | | | | OFF, ON | | 00 0B | 0000 0aaa | Velocity Curve Type (0 - 4) | | | | OFF, 1 - 4 | |-------------+----------------------------------------------------------------| | 00 00 00 0C | Total Size | +------------------------------------------------------------------------------+ * Performance Part +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Receive Channel (0 - 15) | | | | 1 - 16 | | 00 01 | 0000 000a | Receive Switch (0 - 1) | | | | OFF, ON | | 00 02 | 0000 0000 | (reserve) <*> (1 - 0) | | | | | | 00 03 | 0000 0000 | (reserve) <*> (1 - 0) | | | | | |-------------+-----------+----------------------------------------------------| | 00 04 | 0aaa aaaa | Patch Bank Select MSB (CC# 0) (0 - 127) | | 00 05 | 0aaa aaaa | Patch Bank Select LSB (CC# 32) (0 - 127) | | 00 06 | 0aaa aaaa | Patch Program Number (PC) (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 07 | 0aaa aaaa | Part Level (CC# 7) (0 - 127) | | 00 08 | 0aaa aaaa | Part Pan (CC# 10) (0 - 127) | | | | L64 - 63R | | 00 09 | 0aaa aaaa | Part Coarse Tune (RPN# 2) (16 - 112) | | | | -48 - +48 | | 00 0A | 0aaa aaaa | Part Fine Tune (RPN# 1) (14 - 114) | | | | -50 - +50 | | 00 0B | 0000 00aa | Part Mono/Poly (MONO ON/POLY ON) (0 - 2) | | | | MONO, POLY, PATCH | | 00 0C | 0000 00aa | Part Legato Switch (CC# 68) (0 - 2) | | | | OFF, ON, PATCH | | 00 0D | 000a aaaa | Part Pitch Bend Range (RPN# 0) (0 - 25) | | | | 0 - 24, PATCH | | 00 0E | 0000 00aa | Part Portamento Switch (CC# 65) (0 - 2) | | | | OFF, ON, PATCH | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | Part Portamento Time (CC# 5) (0 - 128) | | | | 0 - 127, PATCH | | 00 11 | 0aaa aaaa | Part Cutoff Offset (CC# 74) (0 - 127) | | | | -64 - +63 | | 00 12 | 0aaa aaaa | Part Resonance Offset (CC# 71) (0 - 127) | | | | -64 - +63 | | 00 13 | 0aaa aaaa | Part Attack Offset (CC# 73) (0 - 127) | | | | -64 - +63 | | 00 14 | 0aaa aaaa | Part Release Offset (CC# 72) (0 - 127) | | | | -64 - +63 | |-------------+-----------+----------------------------------------------------| | 00 15 | 0000 0aaa | Part Octave Shift (61 - 67) | | | | -3 - +3 | | 00 16 | 0aaa aaaa | Part Velocity Sens Offset (1 - 127) | | | | -63 - +63 | | 00 17 | 0aaa aaaa | Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 18 | 0aaa aaaa | Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 19 | 0aaa aaaa | Keyboard Fade Width Lower (0 - 127) | | 00 1A | 0aaa aaaa | Keyboard Fade Width Upper (0 - 127) | | 00 1B | 0000 000a | Mute Switch (0 - 1) | | | | OFF, MUTE | |-------------+-----------+----------------------------------------------------| | 00 1C | 0aaa aaaa | Part Dry Send Level (0 - 127) | | 00 1D | 0aaa aaaa | Part Chorus Send Level (CC# 93) (0 - 127) | | 00 1E | 0aaa aaaa | Part Reverb Send Level (CC# 91) (0 - 127) | | 00 1F | 0000 aaaa | Part Output Assign (0 - 13) | | | | MFX, A, ---, ---, ---, | | | | 1, 2, ---, ---, ---, ---, ---, ---, | | | | PATCH | | 00 20 | 0000 00aa | Part Output MFX Select (0 - 2) | | | | MFX1, MFX2, MFX3 | |-------------+-----------+----------------------------------------------------| | 00 21 | 0aaa aaaa | Part Decay Offset (CC# 75) (0 - 127) | | | | -64 - +63 | |-------------+-----------+----------------------------------------------------| | 00 22 | 0aaa aaaa | Part Vibrato Rate (CC# 76) (0 - 127) | | | | -64 - +63 | | 00 23 | 0aaa aaaa | Part Vibrato Depth (CC# 77) (0 - 127) | | | | -64 - +63 | | 00 24 | 0aaa aaaa | Part Vibrato Delay (CC# 78) (0 - 127) | | | | -64 - +63 | |-------------+-----------+----------------------------------------------------| | 00 25 | 0aaa aaaa | Part Scale Tune for C (0 - 127) | | | | -64 - +63 | | 00 26 | 0aaa aaaa | Part Scale Tune for C# (0 - 127) | | | | -64 - +63 | | 00 27 | 0aaa aaaa | Part Scale Tune for D (0 - 127) | | | | -64 - +63 | | 00 28 | 0aaa aaaa | Part Scale Tune for D# (0 - 127) | | | | -64 - +63 | | 00 29 | 0aaa aaaa | Part Scale Tune for E (0 - 127) | | | | -64 - +63 | SonicCell_e.book 263 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | 00 2A | 0aaa aaaa | Part Scale Tune for F (0 - 127) | | | | -64 - +63 | | 00 2B | 0aaa aaaa | Part Scale Tune for F# (0 - 127) | | | | -64 - +63 | | 00 2C | 0aaa aaaa | Part Scale Tune for G (0 - 127) | | | | -64 - +63 | | 00 2D | 0aaa aaaa | Part Scale Tune for G# (0 - 127) | | | | -64 - +63 | | 00 2E | 0aaa aaaa | Part Scale Tune for A (0 - 127) | | | | -64 - +63 | | 00 2F | 0aaa aaaa | Part Scale Tune for A# (0 - 127) | | | | -64 - +63 | | 00 30 | 0aaa aaaa | Part Scale Tune for B (0 - 127) | | | | -64 - +63 | |-------------+----------------------------------------------------------------| | 00 00 00 31 | Total Size | +------------------------------------------------------------------------------+ * Performance Controller +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 000a | (reserve) <*> | | 00 01 | 0aaa aaaa | (reserve) <*> | | 00 02 | 0aaa aaaa | (reserve) <*> | | 00 03 | 0aaa aaaa | (reserve) <*> | | 00 04 | 0000 aaaa | (reserve) <*> | | 00 05 | 0aaa aaaa | (reserve) <*> | | 00 06 | 0aaa aaaa | (reserve) <*> | | 00 07 | 0aaa aaaa | (reserve) <*> | | 00 08 | 0aaa aaaa | (reserve) <*> | | 00 09 | 0aaa aaaa | (reserve) <*> | | 00 0A | 0aaa aaaa | (reserve) <*> | | 00 0B | 0aaa aaaa | (reserve) <*> | | 00 0C | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 0D | 0000 000a | (reserve) <*> | | 00 0E | 0aaa aaaa | (reserve) <*> | | 00 0F | 0aaa aaaa | (reserve) <*> | | 00 10 | 0000 000a | (reserve) <*> | | 00 11 | 0aaa aaaa | (reserve) <*> | | 00 12 | 0aaa aaaa | (reserve) <*> | | 00 13 | 0aaa aaaa | (reserve) <*> | | 00 14 | 0000 0aaa | (reserve) <*> | | 00 15 | 0000 000a | (reserve) <*> | | 00 16 | 0aaa aaaa | (reserve) <*> | | 00 17 | 0aaa aaaa | (reserve) <*> | | 00 18 | 0000 aaaa | (reserve) <*> | | 00 19 | 0000 000a | (reserve) <*> | | 00 1A | 0aaa aaaa | (reserve) <*> | | 00 1B | 0aaa aaaa | (reserve) <*> | | 00 1C | 0aaa aaaa | (reserve) <*> | | 00 1D | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 1E | 0000 000a | (reserve) <*> | | 00 1F | 0aaa aaaa | (reserve) <*> | | 00 20 | 00aa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| | 00 21 | 0aaa aaaa | (reserve) <*> | | 00 22 | 0aaa aaaa | (reserve) <*> | | 00 23 | 000a aaaa | (reserve) <*> | | 00 24 | 0aaa aaaa | (reserve) <*> | | 00 25 | 0aaa aaaa | (reserve) <*> | | 00 26 | 0aaa aaaa | (reserve) <*> | | 00 27 | 0aaa aaaa | (reserve) <*> | | 00 28 | 0aaa aaaa | (reserve) <*> | | 00 29 | 0aaa aaaa | (reserve) <*> | | 00 2A | 0aaa aaaa | (reserve) <*> | | 00 2B | 0aaa aaaa | (reserve) <*> | | 00 2C | 0aaa aaaa | (reserve) <*> | | 00 2D | 0aaa aaaa | (reserve) <*> | | 00 2E | 0aaa aaaa | (reserve) <*> | | 00 2F | 0aaa aaaa | (reserve) <*> | | 00 30 | 0aaa aaaa | (reserve) <*> | | 00 31 | 0aaa aaaa | (reserve) <*> | | 00 32 | 0aaa aaaa | (reserve) <*> | | 00 33 | 0aaa aaaa | (reserve) <*> | | 00 34 | 0aaa aaaa | (reserve) <*> | | 00 35 | 0aaa aaaa | (reserve) <*> | | 00 36 | 0aaa aaaa | (reserve) <*> | | 00 37 | 0aaa aaaa | (reserve) <*> | | 00 38 | 0aaa aaaa | (reserve) <*> | | 00 39 | 0aaa aaaa | (reserve) <*> | | 00 3A | 0aaa aaaa | (reserve) <*> | | 00 3B | 0aaa aaaa | (reserve) <*> | | 00 3C | 0aaa aaaa | (reserve) <*> | | 00 3D | 0aaa aaaa | (reserve) <*> | | 00 3E | 0aaa aaaa | (reserve) <*> | | 00 3F | 0aaa aaaa | (reserve) <*> | | 00 40 | 0aaa aaaa | (reserve) <*> | | 00 41 | 0aaa aaaa | (reserve) <*> | | 00 42 | 0aaa aaaa | (reserve) <*> | | 00 43 | 0aaa aaaa | (reserve) <*> | | 00 44 | 0aaa aaaa | (reserve) <*> | | 00 45 | 0aaa aaaa | (reserve) <*> | | 00 46 | 0aaa aaaa | (reserve) <*> | | 00 47 | 0aaa aaaa | (reserve) <*> | | 00 48 | 0aaa aaaa | (reserve) <*> | | 00 49 | 0aaa aaaa | (reserve) <*> | | 00 4A | 0aaa aaaa | (reserve) <*> | | 00 4B | 0aaa aaaa | (reserve) <*> | | 00 4C | 0aaa aaaa | (reserve) <*> | | 00 4D | 0aaa aaaa | (reserve) <*> | | 00 4E | 0aaa aaaa | (reserve) <*> | | 00 4F | 0aaa aaaa | (reserve) <*> | | 00 50 | 0aaa aaaa | (reserve) <*> | | 00 51 | 0aaa aaaa | (reserve) <*> | | 00 52 | 0aaa aaaa | (reserve) <*> | | 00 53 | 0aaa aaaa | (reserve) <*> | |-------------+-----------+----------------------------------------------------| |# 00 54 | 0000 aaaa | | | | 0000 bbbb | Recommended Tempo (20 - 250) | |-------------+-----------+----------------------------------------------------| | 00 56 | 0000 000a | (reserve) <*> | | 00 57 | 0000 00aa | (reserve) <*> | |-------------+----------------------------------------------------------------| | 00 00 00 58 | Total Size | +------------------------------------------------------------------------------+ * Patch Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Patch Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Patch Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Patch Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Patch Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Patch Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Patch Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Patch Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Patch Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Patch Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Patch Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Patch Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Patch Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0C | 0aaa aaaa | Patch Category (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 0D | 0000 000a | (reserve) | |-------------+-----------+----------------------------------------------------| | 00 0E | 0aaa aaaa | Patch Level (0 - 127) | | 00 0F | 0aaa aaaa | Patch Pan (0 - 127) | | | | L64 - 63R | | 00 10 | 0000 000a | Patch Priority (0 - 1) | | | | LAST, LOUDEST | | 00 11 | 0aaa aaaa | Patch Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 12 | 0aaa aaaa | Patch Fine Tune (14 - 114) | | | | -50 - +50 | | 00 13 | 0000 0aaa | Octave Shift (61 - 67) | | | | -3 - +3 | | 00 14 | 0000 00aa | Stretch Tune Depth (0 - 3) | | | | OFF, 1 - 3 | | 00 15 | 0aaa aaaa | Analog Feel (0 - 127) | | 00 16 | 0000 000a | Mono/Poly (0 - 1) | | | | MONO, POLY | | 00 17 | 0000 000a | Legato Switch (0 - 1) | | | | OFF, ON | | 00 18 | 0000 000a | Legato Retrigger (0 - 1) | | | | OFF, ON | | 00 19 | 0000 000a | Portamento Switch (0 - 1) | | | | OFF, ON | | 00 1A | 0000 000a | Portamento Mode (0 - 1) | | | | NORMAL, LEGATO | | 00 1B | 0000 000a | Portamento Type (0 - 1) | | | | RATE, TIME | | 00 1C | 0000 000a | Portamento Start (0 - 1) | | | | PITCH, NOTE | | 00 1D | 0aaa aaaa | Portamento Time (0 - 127) | | 00 1E | 0000 000a | (reserve) | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | (reserve) | | 00 21 | 0000 000a | (reserve) | |-------------+-----------+----------------------------------------------------| | 00 22 | 0aaa aaaa | Cutoff Offset (1 - 127) | | | | -63 - +63 | | 00 23 | 0aaa aaaa | Resonance Offset (1 - 127) | | | | -63 - +63 | | 00 24 | 0aaa aaaa | Attack Offset (1 - 127) | | | | -63 - +63 | | 00 25 | 0aaa aaaa | Release Offset (1 - 127) | 263 SonicCell_e.book 264 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | -63 - +63 | | 00 26 | 0aaa aaaa | Velocity Sens Offset (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 aaaa | Patch Output Assign (0 - 13) | | | | MFX, A, ---, ---, ---, | | | | 1, 2, ---, ---, ---, ---, ---, ---, | | | | TONE | |-------------+-----------+----------------------------------------------------| | 00 28 | 0000 000a | TMT Control Switch (0 - 1) | | | | OFF, ON | | 00 29 | 00aa aaaa | Pitch Bend Range Up (0 - 48) | | 00 2A | 00aa aaaa | Pitch Bend Range Down (0 - 48) | |-------------+-----------+----------------------------------------------------| | 00 2B | 0aaa aaaa | Matrix Control 1 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 2C | 00aa aaaa | Matrix Control 1 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 2D | 0aaa aaaa | Matrix Control 1 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 2E | 00aa aaaa | Matrix Control 1 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 2F | 0aaa aaaa | Matrix Control 1 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 30 | 00aa aaaa | Matrix Control 1 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 31 | 0aaa aaaa | Matrix Control 1 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 32 | 00aa aaaa | Matrix Control 1 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 33 | 0aaa aaaa | Matrix Control 1 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 34 | 0aaa aaaa | Matrix Control 2 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 35 | 00aa aaaa | Matrix Control 2 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 36 | 0aaa aaaa | Matrix Control 2 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 37 | 00aa aaaa | Matrix Control 2 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | 264 | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 38 | 0aaa aaaa | Matrix Control 2 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 39 | 00aa aaaa | Matrix Control 2 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 3A | 0aaa aaaa | Matrix Control 2 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 3B | 00aa aaaa | Matrix Control 2 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 3C | 0aaa aaaa | Matrix Control 2 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 3D | 0aaa aaaa | Matrix Control 3 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 3E | 00aa aaaa | Matrix Control 3 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 3F | 0aaa aaaa | Matrix Control 3 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 40 | 00aa aaaa | Matrix Control 3 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 41 | 0aaa aaaa | Matrix Control 3 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 42 | 00aa aaaa | Matrix Control 3 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 43 | 0aaa aaaa | Matrix Control 3 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 44 | 00aa aaaa | Matrix Control 3 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 45 | 0aaa aaaa | Matrix Control 3 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 46 | 0aaa aaaa | Matrix Control 4 Source (0 - 109) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4, VELOCITY, | | | | KEYFOLLOW, TEMPO, LFO1, LFO2, | | | | PIT-ENV, TVF-ENV, TVA-ENV | | 00 47 | 00aa aaaa | Matrix Control 4 Destination 1 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | SonicCell_e.book 265 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 48 | 0aaa aaaa | Matrix Control 4 Sens 1 (1 - 127) | | | | -63 - +63 | | 00 49 | 00aa aaaa | Matrix Control 4 Destination 2 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 4A | 0aaa aaaa | Matrix Control 4 Sens 2 (1 - 127) | | | | -63 - +63 | | 00 4B | 00aa aaaa | Matrix Control 4 Destination 3 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 4C | 0aaa aaaa | Matrix Control 4 Sens 3 (1 - 127) | | | | -63 - +63 | | 00 4D | 00aa aaaa | Matrix Control 4 Destination 4 (0 - 34) | | | | OFF, PCH, CUT, RES, LEV, PAN, | | | | DRY, CHO, REV, PIT-LFO1, | | | | PIT-LFO2, TVF-LFO1, TVF-LFO2, | | | | TVA-LFO1, TVA-LFO2, PAN-LFO1, | | | | PAN-LFO2, LFO1-RATE, LFO2-RATE, | | | | PIT-ATK, PIT-DCY, PIT-REL, | | | | TVF-ATK, TVF-DCY, TVF-REL, | | | | TVA-ATK, TVA-DCY, TVA-REL, | | | | TMT, FXM, MFX1, MFX2, MFX3, MFX4, | | | | TIME <*> | | 00 4E | 0aaa aaaa | Matrix Control 4 Sens 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 4F | 0000 000a | Part Modulation Switch (0 - 1) | | | | OFF, ON | |-------------+----------------------------------------------------------------| | 00 00 00 50 | Total Size | +------------------------------------------------------------------------------+ * Patch Common MFX +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 - 78) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) | | 00 04 | 0000 00aa | MFX Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) | | | | -63 - +63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) | | | | -63 - +63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) | | | | -63 - +63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) | | | | OFF, 1 - 16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) | | | | OFF, 1 - 16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) | | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# 00 15 00 19 00 1D 00 21 00 25 00 29 00 2D 00 31 00 35 00 39 00 3D 00 41 00 45 00 49 00 4D 00 51 00 55 00 59 00 5D 00 61 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | MFX Parameter 1 MFX Parameter 2 MFX Parameter 3 MFX Parameter 4 MFX Parameter 5 MFX Parameter 6 MFX Parameter 7 MFX Parameter 8 MFX Parameter 9 MFX Parameter 10 MFX Parameter 11 MFX Parameter 12 MFX Parameter 13 MFX Parameter 14 MFX Parameter 15 MFX Parameter 16 MFX Parameter 17 MFX Parameter 18 MFX Parameter 19 MFX Parameter 20 | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | 265 SonicCell_e.book 266 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 21 (12768 - 52768) | | | | -20000 - +20000 | |# 00 65 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 22 (12768 - 52768) | | | | -20000 - +20000 | |# 00 69 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 23 (12768 - 52768) | | | | -20000 - +20000 | |# 00 6D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 24 (12768 - 52768) | | | | -20000 - +20000 | |# 00 71 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 25 (12768 - 52768) | | | | -20000 - +20000 | |# 00 75 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 26 (12768 - 52768) | | | | -20000 - +20000 | |# 00 79 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 27 (12768 - 52768) | | | | -20000 - +20000 | |# 00 7D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 28 (12768 - 52768) | | | | -20000 - +20000 | |# 01 01 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 29 (12768 - 52768) | | | | -20000 - +20000 | |# 01 05 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 30 (12768 - 52768) | | | | -20000 - +20000 | |# 01 09 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 31 (12768 - 52768) | | | | -20000 - +20000 | |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 01 11 | Total Size | +------------------------------------------------------------------------------+ * Patch Common Chorus +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Chorus Type (0 - 3) | | 00 01 | 0aaa aaaa | Chorus Level (0 - 127) | | 00 02 | 0000 00aa | Chorus Output Assign <*> | | | | A, ---, ---, --- | | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |-------------+-----------+----------------------------------------------------| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 10 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | 266 | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 34 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 38 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 54 | Total Size | +------------------------------------------------------------------------------+ * Patch Common Reverb +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Reverb Type (0 - 5) | | 00 01 | 0aaa aaaa | Reverb Level (0 - 127) | | 00 02 | 0000 00aa | Reverb Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | SonicCell_e.book 267 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+ * Patch TMT (Tone Mix Table) +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Structure Type 1 & 2 (0 - 9) | | | | 1 - 10 | | 00 01 | 0000 00aa | Booster 1 & 2 (0 - 3) | | | | 0, +6, +12, +18 [dB] | | 00 02 | 0000 aaaa | Structure Type 3 & 4 (0 - 9) | | | | 1 - 10 | | 00 03 | 0000 00aa | Booster 3 & 4 (0 - 3) | | | | 0, +6, +12, +18 [dB] | |-------------+-----------+----------------------------------------------------| | 00 04 | 0000 00aa | TMT Velocity Control (0 - 3) | | | | OFF, ON, RANDOM, CYCLE | |-------------+-----------+----------------------------------------------------| | 00 05 | 0000 000a | TMT1 Tone Switch (0 - 1) | | | | OFF, ON | | 00 06 | 0aaa aaaa | TMT1 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 07 | 0aaa aaaa | TMT1 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 08 | 0aaa aaaa | TMT1 Keyboard Fade Width Lower (0 - 127) | | 00 09 | 0aaa aaaa | TMT1 Keyboard Fade Width Upper (0 - 127) | | 00 0A | 0aaa aaaa | TMT1 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 0B | 0aaa aaaa | TMT1 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 0C | 0aaa aaaa | TMT1 Velocity Fade Width Lower (0 - 127) | | 00 0D | 0aaa aaaa | TMT1 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 0E | 0000 000a | TMT2 Tone Switch (0 - 1) | | | | OFF, ON | | 00 0F | 0aaa aaaa | TMT2 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 10 | 0aaa aaaa | TMT2 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 11 | 0aaa aaaa | TMT2 Keyboard Fade Width Lower (0 - 127) | | 00 12 | 0aaa aaaa | TMT2 Keyboard Fade Width Upper (0 - 127) | | 00 13 | 0aaa aaaa | TMT2 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 14 | 0aaa aaaa | TMT2 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 15 | 0aaa aaaa | TMT2 Velocity Fade Width Lower (0 - 127) | | 00 16 | 0aaa aaaa | TMT2 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 000a | TMT3 Tone Switch (0 - 1) | | | | OFF, ON | | 00 18 | 0aaa aaaa | TMT3 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 19 | 0aaa aaaa | TMT3 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 1A | 0aaa aaaa | TMT3 Keyboard Fade Width Lower (0 - 127) | | 00 1B | 0aaa aaaa | TMT3 Keyboard Fade Width Upper (0 - 127) | | 00 1C | 0aaa aaaa | TMT3 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 1D | 0aaa aaaa | TMT3 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 1E | 0aaa aaaa | TMT3 Velocity Fade Width Lower (0 - 127) | | 00 1F | 0aaa aaaa | TMT3 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 000a | TMT4 Tone Switch (0 - 1) | | | | OFF, ON | | 00 21 | 0aaa aaaa | TMT4 Keyboard Range Lower (0 - 127) | | | | C-1 - UPPER | | 00 22 | 0aaa aaaa | TMT4 Keyboard Range Upper (0 - 127) | | | | LOWER - G9 | | 00 23 | 0aaa aaaa | TMT4 Keyboard Fade Width Lower (0 - 127) | | 00 24 | 0aaa aaaa | TMT4 Keyboard Fade Width Upper (0 - 127) | | 00 25 | 0aaa aaaa | TMT4 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 26 | 0aaa aaaa | TMT4 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 27 | 0aaa aaaa | TMT4 Velocity Fade Width Lower (0 - 127) | | 00 28 | 0aaa aaaa | TMT4 Velocity Fade Width Upper (0 - 127) | |-------------+----------------------------------------------------------------| | 00 00 00 29 | Total Size | +------------------------------------------------------------------------------+ * Patch Tone +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Tone Level (0 - 127) | | 00 01 | 0aaa aaaa | Tone Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 02 | 0aaa aaaa | Tone Fine Tune (14 - 114) | | | | -50 - +50 | | 00 03 | 000a aaaa | Tone Random Pitch Depth (0 - 30) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, | | | | 10, 20, 30, 40, 50, 60, 70, 80, | | | | 90, 100, 200, 300, 400, 500, | | | | 600, 700, 800, 900, 1000, 1100, | | | | 1200 | | 00 04 | 0aaa aaaa | Tone Pan (0 - 127) | 267 SonicCell_e.book 268 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | L64 - 63R | | 00 05 | 000a aaaa | Tone Pan Keyfollow (54 - 74) | | | | -100 - +100 | | 00 06 | 00aa aaaa | Tone Random Pan Depth (0 - 63) | | 00 07 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) | | | | L63 - 63R | | 00 08 | 0000 000a | Tone Env Mode (0 - 1) | | | | NO-SUS, SUSTAIN | | 00 09 | 0000 00aa | Tone Delay Mode (0 - 3) | | | | NORMAL, HOLD, KEY-OFF-NORMAL, | | | | KEY-OFF-DECAY | |# 00 0A | 0000 aaaa | | | | 0000 bbbb | Tone Delay Time (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Tone Dry Send Level (0 - 127) | | 00 0D | 0aaa aaaa | Tone Chorus Send Level (MFX) (0 - 127) | | 00 0E | 0aaa aaaa | Tone Reverb Send Level (MFX) (0 - 127) | | 00 0F | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) | | 00 10 | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) | | 00 11 | 0000 aaaa | Tone Output Assign (0 - 12) | | | | MFX, A, ---, ---, ---, | | | | 1, 2, ---, ---, ---, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 12 | 0000 000a | Tone Receive Bender (0 - 1) | | | | OFF, ON | | 00 13 | 0000 000a | Tone Receive Expression (0 - 1) | | | | OFF, ON | | 00 14 | 0000 000a | Tone Receive Hold-1 (0 - 1) | | | | OFF, ON | | 00 15 | 0000 000a | Tone Receive Pan Mode (0 - 1) | | | | CONTINUOUS, KEY-ON | | 00 16 | 0000 000a | Tone Redamper Switch (0 - 1) | | | | OFF, ON | |-------------+-----------+----------------------------------------------------| | 00 17 | 0000 00aa | Tone Control 1 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 18 | 0000 00aa | Tone Control 1 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 19 | 0000 00aa | Tone Control 1 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1A | 0000 00aa | Tone Control 1 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1B | 0000 00aa | Tone Control 2 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1C | 0000 00aa | Tone Control 2 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1D | 0000 00aa | Tone Control 2 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1E | 0000 00aa | Tone Control 2 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 1F | 0000 00aa | Tone Control 3 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 20 | 0000 00aa | Tone Control 3 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 21 | 0000 00aa | Tone Control 3 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 22 | 0000 00aa | Tone Control 3 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | | 00 23 | 0000 00aa | Tone Control 4 Switch 1 (0 - 2) | | | | OFF, ON, REVERSE | | 00 24 | 0000 00aa | Tone Control 4 Switch 2 (0 - 2) | | | | OFF, ON, REVERSE | | 00 25 | 0000 00aa | Tone Control 4 Switch 3 (0 - 2) | | | | OFF, ON, REVERSE | | 00 26 | 0000 00aa | Tone Control 4 Switch 4 (0 - 2) | | | | OFF, ON, REVERSE | |-------------+-----------+----------------------------------------------------| | 00 27 | 0000 00aa | Wave Group Type (0 - 1) | | | | INT, SRX | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 30 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 34 | 0000 00aa | Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 35 | 0000 000a | Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 36 | 0000 00aa | Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 37 | 000a aaaa | Wave FXM Depth (0 - 16) | | 00 38 | 0000 000a | Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 39 | 00aa aaaa | Wave Pitch Keyfollow (44 - 84) | | | | -200 - +200 | |-------------+-----------+----------------------------------------------------| | 00 3A | 000a aaaa | Pitch Env Depth (52 - 76) | | | | -12 - +12 | 268 | 00 3B | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3C | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3D | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 3E | 000a aaaa | Pitch Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 3F | 0aaa aaaa | Pitch Env Time 1 (0 - 127) | | 00 40 | 0aaa aaaa | Pitch Env Time 2 (0 - 127) | | 00 41 | 0aaa aaaa | Pitch Env Time 3 (0 - 127) | | 00 42 | 0aaa aaaa | Pitch Env Time 4 (0 - 127) | | 00 43 | 0aaa aaaa | Pitch Env Level 0 (1 - 127) | | | | -63 - +63 | | 00 44 | 0aaa aaaa | Pitch Env Level 1 (1 - 127) | | | | -63 - +63 | | 00 45 | 0aaa aaaa | Pitch Env Level 2 (1 - 127) | | | | -63 - +63 | | 00 46 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) | | | | -63 - +63 | | 00 47 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 48 | 0000 0aaa | TVF Filter Type (0 - 6) | | | | OFF, LPF, BPF, HPF, PKG, LPF2, | | | | LPF3 | | 00 49 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) | | 00 4A | 00aa aaaa | TVF Cutoff Keyfollow (44 - 84) | | | | -200 - +200 | | 00 4B | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 4C | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 4D | 0aaa aaaa | TVF Resonance (0 - 127) | | 00 4E | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 4F | 0aaa aaaa | TVF Env Depth (1 - 127) | | | | -63 - +63 | | 00 50 | 0000 0aaa | TVF Env Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 51 | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 52 | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 53 | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 54 | 000a aaaa | TVF Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 55 | 0aaa aaaa | TVF Env Time 1 (0 - 127) | | 00 56 | 0aaa aaaa | TVF Env Time 2 (0 - 127) | | 00 57 | 0aaa aaaa | TVF Env Time 3 (0 - 127) | | 00 58 | 0aaa aaaa | TVF Env Time 4 (0 - 127) | | 00 59 | 0aaa aaaa | TVF Env Level 0 (0 - 127) | | 00 5A | 0aaa aaaa | TVF Env Level 1 (0 - 127) | | 00 5B | 0aaa aaaa | TVF Env Level 2 (0 - 127) | | 00 5C | 0aaa aaaa | TVF Env Level 3 (0 - 127) | | 00 5D | 0aaa aaaa | TVF Env Level 4 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 5E | 000a aaaa | Bias Level (54 - 74) | | | | -100 - +100 | | 00 5F | 0aaa aaaa | Bias Position (0 - 127) | | | | C-1 - G9 | | 00 60 | 0000 00aa | Bias Direction (0 - 3) | | | | LOWER, UPPER, LOWER&UPPER, ALL | | 00 61 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 00 62 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 63 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 64 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 00 65 | 000a aaaa | TVA Env Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 66 | 0aaa aaaa | TVA Env Time 1 (0 - 127) | | 00 67 | 0aaa aaaa | TVA Env Time 2 (0 - 127) | | 00 68 | 0aaa aaaa | TVA Env Time 3 (0 - 127) | | 00 69 | 0aaa aaaa | TVA Env Time 4 (0 - 127) | | 00 6A | 0aaa aaaa | TVA Env Level 1 (0 - 127) | | 00 6B | 0aaa aaaa | TVA Env Level 2 (0 - 127) | | 00 6C | 0aaa aaaa | TVA Env Level 3 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 00 6D | 0000 aaaa | LFO1 Waveform (0 - 12) | | | | SIN, TRI, SAW-UP, SAW-DW, SQR, | | | | RND, BEND-UP, BEND-DW, TRP, S&H, | | | | CHS, VSIN, STEP | |# 00 6E | 0000 aaaa | | | | 0000 bbbb | LFO1 Rate (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | | 00 70 | 0000 0aaa | LFO1 Offset (0 - 4) | | | | -100, -50, 0, +50, +100 | | 00 71 | 0aaa aaaa | LFO1 Rate Detune (0 - 127) | | 00 72 | 0aaa aaaa | LFO1 Delay Time (0 - 127) | | 00 73 | 000a aaaa | LFO1 Delay Time Keyfollow (54 - 74) | | | | -100 - +100 | | 00 74 | 0000 00aa | LFO1 Fade Mode (0 - 3) | | | | ON-IN, ON-OUT, OFF-IN, OFF-OUT | | 00 75 | 0aaa aaaa | LFO1 Fade Time (0 - 127) | | 00 76 | 0000 000a | LFO1 Key Trigger (0 - 1) | SonicCell_e.book 269 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | OFF, ON | | 00 77 | 0aaa aaaa | LFO1 Pitch Depth (1 - 127) | | | | -63 - +63 | | 00 78 | 0aaa aaaa | LFO1 TVF Depth (1 - 127) | | | | -63 - +63 | | 00 79 | 0aaa aaaa | LFO1 TVA Depth (1 - 127) | | | | -63 - +63 | | 00 7A | 0aaa aaaa | LFO1 Pan Depth (1 - 127) | | | | -63 - +63 | | 00 7B | 0000 aaaa | LFO2 Waveform (0 - 12) | | | | SIN, TRI, SAW-UP, SAW-DW, SQR, | | | | RND, BEND-UP, BEND-DW, TRP, S&H, | | | | CHS, VSIN, STEP | |# 00 7C | 0000 aaaa | | | | 0000 bbbb | LFO2 Rate (0 - 149) | | | | 0 - 127, MUSICAL-NOTES | | 00 7E | 0000 0aaa | LFO2 Offset (0 - 4) | | | | -100, -50, 0, +50, +100 | | 00 7F | 0aaa aaaa | LFO2 Rate Detune (0 - 127) | | 01 00 | 0aaa aaaa | LFO2 Delay Time (0 - 127) | | 01 01 | 000a aaaa | LFO2 Delay Time Keyfollow (54 - 74) | | | | -100 - +100 | | 01 02 | 0000 00aa | LFO2 Fade Mode (0 - 3) | | | | ON-IN, ON-OUT, OFF-IN, OFF-OUT | | 01 03 | 0aaa aaaa | LFO2 Fade Time (0 - 127) | | 01 04 | 0000 000a | LFO2 Key Trigger (0 - 1) | | | | OFF, ON | | 01 05 | 0aaa aaaa | LFO2 Pitch Depth (1 - 127) | | | | -63 - +63 | | 01 06 | 0aaa aaaa | LFO2 TVF Depth (1 - 127) | | | | -63 - +63 | | 01 07 | 0aaa aaaa | LFO2 TVA Depth (1 - 127) | | | | -63 - +63 | | 01 08 | 0aaa aaaa | LFO2 Pan Depth (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 01 09 | 0000 aaaa | LFO Step Type (0 - 1) | | 01 0A | 0aaa aaaa | LFO Step1 (28 - 100) | | | | -36 - +36 | | 01 0B | 0aaa aaaa | LFO Step2 (28 - 100) | | | | -36 - +36 | | 01 0C | 0aaa aaaa | LFO Step3 (28 - 100) | | | | -36 - +36 | | 01 0D | 0aaa aaaa | LFO Step4 (28 - 100) | | | | -36 - +36 | | 01 0E | 0aaa aaaa | LFO Step5 (28 - 100) | | | | -36 - +36 | | 01 0F | 0aaa aaaa | LFO Step6 (28 - 100) | | | | -36 - +36 | | 01 10 | 0aaa aaaa | LFO Step7 (28 - 100) | | | | -36 - +36 | | 01 11 | 0aaa aaaa | LFO Step8 (28 - 100) | | | | -36 - +36 | | 01 12 | 0aaa aaaa | LFO Step9 (28 - 100) | | | | -36 - +36 | | 01 13 | 0aaa aaaa | LFO Step10 (28 - 100) | | | | -36 - +36 | | 01 14 | 0aaa aaaa | LFO Step11 (28 - 100) | | | | -36 - +36 | | 01 15 | 0aaa aaaa | LFO Step12 (28 - 100) | | | | -36 - +36 | | 01 16 | 0aaa aaaa | LFO Step13 (28 - 100) | | | | -36 - +36 | | 01 17 | 0aaa aaaa | LFO Step14 (28 - 100) | | | | -36 - +36 | | 01 18 | 0aaa aaaa | LFO Step15 (28 - 100) | | | | -36 - +36 | | 01 19 | 0aaa aaaa | LFO Step16 (28 - 100) | | | | -36 - +36 | |-------------+----------------------------------------------------------------| | 00 00 01 1A | Total Size | +------------------------------------------------------------------------------+ * Rhythm Common +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Rhythm Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Rhythm Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Rhythm Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Rhythm Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Rhythm Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Rhythm Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Rhythm Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Rhythm Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Rhythm Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Rhythm Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Rhythm Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Rhythm Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 0aaa aaaa | Rhythm Level (0 - 127) | | 00 0D | 0000 000a | (reserve) | |# 00 0E | 0000 aaaa | | | | 0000 bbbb | (reserve) | | 00 10 | 0000 000a | (reserve) | |-------------+-----------+----------------------------------------------------| | 00 11 | 0000 aaaa | Rhythm Output Assign (0 - 13) | | | | MFX, A, ---, ---, ---, | | | | 1, 2, ---, ---, ---, ---, ---, ---, | | | | TONE | |-------------+----------------------------------------------------------------| | 00 00 00 12 | Total Size | +------------------------------------------------------------------------------+ * Rhythm Common MFX +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | MFX Type (0 - 78) | | 00 01 | 0aaa aaaa | MFX Dry Send Level (0 - 127) | | 00 02 | 0aaa aaaa | MFX Chorus Send Level (0 - 127) | | 00 03 | 0aaa aaaa | MFX Reverb Send Level (0 - 127) | | 00 04 | 0000 00aa | MFX Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 05 | 0aaa aaaa | MFX Control 1 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 06 | 0aaa aaaa | MFX Control 1 Sens (1 - 127) | | | | -63 - +63 | | 00 07 | 0aaa aaaa | MFX Control 2 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 08 | 0aaa aaaa | MFX Control 2 Sens (1 - 127) | | | | -63 - +63 | | 00 09 | 0aaa aaaa | MFX Control 3 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0A | 0aaa aaaa | MFX Control 3 Sens (1 - 127) | | | | -63 - +63 | | 00 0B | 0aaa aaaa | MFX Control 4 Source (0 - 101) | | | | OFF, CC01 - CC31, CC33 - CC95, | | | | BEND, AFT, SYS1 - SYS4 | | 00 0C | 0aaa aaaa | MFX Control 4 Sens (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 00 0D | 000a aaaa | MFX Control Assign 1 (0 - 16) | | | | OFF, 1 - 16 | | 00 0E | 000a aaaa | MFX Control Assign 2 (0 - 16) | | | | OFF, 1 - 16 | | 00 0F | 000a aaaa | MFX Control Assign 3 (0 - 16) | | | | OFF, 1 - 16 | | 00 10 | 000a aaaa | MFX Control Assign 4 (0 - 16) | | | | OFF, 1 - 16 | |# 00 11 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 15 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 19 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 21 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 25 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 29 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2D | 0000 aaaa | | 269 SonicCell_e.book 270 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | |# | | | | 00 31 00 35 00 39 00 3D 00 41 00 45 00 49 00 4D 00 51 00 55 00 59 00 5D 00 61 00 65 00 69 00 6D 00 71 00 75 00 79 270 | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | MFX | Parameter 8 Parameter 9 Parameter 10 Parameter 11 Parameter 12 Parameter 13 Parameter 14 Parameter 15 Parameter 16 Parameter 17 Parameter 18 Parameter 19 Parameter 20 Parameter 21 Parameter 22 Parameter 23 Parameter 24 Parameter 25 Parameter 26 Parameter 27 | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | | | | (12768 - 52768) | -20000 - +20000 | |# 00 7D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 28 (12768 - 52768) | | | | -20000 - +20000 | |# 01 01 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 29 (12768 - 52768) | | | | -20000 - +20000 | |# 01 05 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 30 (12768 - 52768) | | | | -20000 - +20000 | |# 01 09 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 31 (12768 - 52768) | | | | -20000 - +20000 | |# 01 0D | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | MFX Parameter 32 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 01 11 | Total Size | +------------------------------------------------------------------------------+ * Rhythm Common Chorus +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Chorus Type (0 - 3) | | 00 01 | 0aaa aaaa | Chorus Level (0 - 127) | | 00 02 | 0000 00aa | Chorus Output Assign <*> | | | | A, ---, ---, --- | | 00 03 | 0000 00aa | Chorus Output Select (0 - 2) | | | | MAIN, REV, MAIN+REV | |-------------+-----------+----------------------------------------------------| |# 00 04 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 08 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 10 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 14 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 18 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 20 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 24 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 28 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 30 | 0000 aaaa | | SonicCell_e.book 271 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 34 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 38 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 48 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4C | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 50 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Chorus Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 54 | Total Size | +------------------------------------------------------------------------------+ * Rhythm Common Reverb +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0000 aaaa | Reverb Type (0 - 5) | | 00 01 | 0aaa aaaa | Reverb Level (0 - 127) | | 00 02 | 0000 00aa | Reverb Output Assign <*> | | | | A, ---, ---, --- | |-------------+-----------+----------------------------------------------------| |# 00 03 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 1 (12768 - 52768) | | | | -20000 - +20000 | |# 00 07 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 2 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 3 (12768 - 52768) | | | | -20000 - +20000 | |# 00 0F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 4 (12768 - 52768) | | | | -20000 - +20000 | |# 00 13 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 5 (12768 - 52768) | | | | -20000 - +20000 | |# 00 17 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 6 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 7 (12768 - 52768) | | | | -20000 - +20000 | |# 00 1F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 8 (12768 - 52768) | | | | -20000 - +20000 | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 9 (12768 - 52768) | | | | -20000 - +20000 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 10 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 11 (12768 - 52768) | | | | -20000 - +20000 | |# 00 2F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 12 (12768 - 52768) | | | | -20000 - +20000 | |# 00 33 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 13 (12768 - 52768) | | | | -20000 - +20000 | |# 00 37 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 14 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 15 (12768 - 52768) | | | | -20000 - +20000 | |# 00 3F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 16 (12768 - 52768) | | | | -20000 - +20000 | |# 00 43 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 17 (12768 - 52768) | | | | -20000 - +20000 | |# 00 47 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 18 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 19 (12768 - 52768) | | | | -20000 - +20000 | |# 00 4F | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | Reverb Parameter 20 (12768 - 52768) | | | | -20000 - +20000 | |-------------+----------------------------------------------------------------| | 00 00 00 53 | Total Size | +------------------------------------------------------------------------------+ * Rhythm Tone +------------------------------------------------------------------------------+ | Offset | | | Address | Description | |-------------+----------------------------------------------------------------| | 00 00 | 0aaa aaaa | Tone Name 1 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 01 | 0aaa aaaa | Tone Name 2 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 02 | 0aaa aaaa | Tone Name 3 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 03 | 0aaa aaaa | Tone Name 4 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 04 | 0aaa aaaa | Tone Name 5 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 05 | 0aaa aaaa | Tone Name 6 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 06 | 0aaa aaaa | Tone Name 7 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 07 | 0aaa aaaa | Tone Name 8 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 08 | 0aaa aaaa | Tone Name 9 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 09 | 0aaa aaaa | Tone Name 10 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0A | 0aaa aaaa | Tone Name 11 (32 - 127) | | | | 32 - 127 [ASCII] | | 00 0B | 0aaa aaaa | Tone Name 12 (32 - 127) | | | | 32 - 127 [ASCII] | |-------------+-----------+----------------------------------------------------| | 00 0C | 0000 000a | Assign Type (0 - 1) | | | | MULTI, SINGLE | 271 SonicCell_e.book 272 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | 00 0D | 000a aaaa | Mute Group (0 - 31) | | | | OFF, 1 - 31 | |-------------+-----------+----------------------------------------------------| | 00 0E | 0aaa aaaa | Tone Level (0 - 127) | | 00 0F | 0aaa aaaa | Tone Coarse Tune (0 - 127) | | | | C-1 - G9 | | 00 10 | 0aaa aaaa | Tone Fine Tune (14 - 114) | | | | -50 - +50 | | 00 11 | 000a aaaa | Tone Random Pitch Depth (0 - 30) | | | | 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, | | | | 10, 20, 30, 40, 50, 60, 70, 80, | | | | 90, 100, 200, 300, 400, 500, | | | | 600, 700, 800, 900, 1000, 1100, | | | | 1200 | | 00 12 | 0aaa aaaa | Tone Pan (0 - 127) | | | | L64 - 63R | | 00 13 | 00aa aaaa | Tone Random Pan Depth (0 - 63) | | 00 14 | 0aaa aaaa | Tone Alternate Pan Depth (1 - 127) | | | | L63 - 63R | | 00 15 | 0000 000a | Tone Env Mode (0 - 1) | | | | NO-SUS, SUSTAIN | |-------------+-----------+----------------------------------------------------| | 00 16 | 0aaa aaaa | Tone Dry Send Level (0 - 127) | | 00 17 | 0aaa aaaa | Tone Chorus Send Level (0 - 127) | | 00 18 | 0aaa aaaa | Tone Reverb Send Level (0 - 127) | | 00 19 | 0aaa aaaa | Tone Chorus Send Level (non MFX) (0 - 127) | | 00 1A | 0aaa aaaa | Tone Reverb Send Level (non MFX) (0 - 127) | | 00 1B | 0000 aaaa | Tone Output Assign (0 - 12) | | | | MFX, A, ---, ---, ---, | | | | 1, 2, ---, ---, ---, ---, ---, --- | |-------------+-----------+----------------------------------------------------| | 00 1C | 00aa aaaa | Tone Pitch Bend Range (0 - 48) | | 00 1D | 0000 000a | Tone Receive Expression (0 - 1) | | | | OFF, ON | | 00 1E | 0000 000a | Tone Receive Hold-1 (0 - 1) | | | | OFF, ON | | 00 1F | 0000 000a | Tone Receive Pan Mode (0 - 1) | | | | CONTINUOUS, KEY-ON | |-------------+-----------+----------------------------------------------------| | 00 20 | 0000 00aa | WMT Velocity Control (0 - 2) | | | | OFF, ON, RANDOM | |-------------+-----------+----------------------------------------------------| | 00 21 | 0000 000a | WMT1 Wave Switch (0 - 1) | | | | OFF, ON | | 00 22 | 0000 00aa | WMT1 Wave Group Type (0 - 1) | | | | INT, SRX | |# 00 23 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 27 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number L (Mono) (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 2B | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT1 Wave Number R (0 - 16384) | | | | OFF, 1 - 16384 | | 00 2F | 0000 00aa | WMT1 Wave Gain (0 - 3) | | | | -6, 0, +6, +12 [dB] | | 00 30 | 0000 000a | WMT1 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 00 31 | 0000 00aa | WMT1 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 00 32 | 000a aaaa | WMT1 Wave FXM Depth (0 - 16) | | 00 33 | 0000 000a | WMT1 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 00 34 | 0aaa aaaa | WMT1 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 00 35 | 0aaa aaaa | WMT1 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 00 36 | 0aaa aaaa | WMT1 Wave Pan (0 - 127) | | | | L64 - 63R | | 00 37 | 0000 000a | WMT1 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 00 38 | 0000 00aa | WMT1 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 00 39 | 0aaa aaaa | WMT1 Wave Level (0 - 127) | | 00 3A | 0aaa aaaa | WMT1 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 00 3B | 0aaa aaaa | WMT1 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 00 3C | 0aaa aaaa | WMT1 Velocity Fade Width Lower (0 - 127) | | 00 3D | 0aaa aaaa | WMT1 Velocity Fade Width Upper (0 - 127) | | 00 3E | 0000 000a | WMT2 Wave Switch (0 - 1) | | | | OFF, ON | | 00 3F | 0000 00aa | WMT2 Wave Group Type (0 - 1) | | | | INT, SRX | |# 00 40 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | | | 0000 dddd | WMT2 Wave Group ID (0 - 16384) | | | | OFF, 1 - 16384 | |# 00 44 | 0000 aaaa | | | | 0000 bbbb | | | | 0000 cccc | | 272 | | |# | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |# | | | | |# | | | | |# | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |# | | | | |# | | | | |# | | | | | | | | 00 48 | | | | | 00 4C | | 00 4D | | 00 4E | | 00 4F | 00 50 | | 00 51 | | 00 52 | | 00 53 | | 00 54 | | 00 55 | | 00 56 | 00 57 | | 00 58 | | 00 59 | 00 5A | 00 5B | | 00 5C | | 00 5D | | | | | 00 61 | | | | | 00 65 | | | | | 00 69 | | 00 6A | | 00 6B | | 00 6C | 00 6D | | 00 6E | | 00 6F | | 00 70 | | 00 71 | | 00 72 | | 00 73 | 00 74 | | 00 75 | | 00 76 | 00 77 | 00 78 | | 00 79 | | 00 7A | | | | | 00 7E | | | | | 01 02 | | | | | 01 06 | | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | 0000 000a | | 0000 00aa | | 000a aaaa | 0000 000a | | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | | 0000 000a | | 0000 00aa | | 0aaa aaaa | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | 0aaa aaaa | 0000 000a | | 0000 00aa | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | 0000 000a | | 0000 00aa | | 000a aaaa | 0000 000a | | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | | 0000 000a | | 0000 00aa | | 0aaa aaaa | 0aaa aaaa | | 0aaa aaaa | | 0aaa aaaa | 0aaa aaaa | 0000 000a | | 0000 00aa | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 aaaa | 0000 bbbb | 0000 cccc | 0000 dddd | | 0000 00aa | | WMT2 Wave Number L (Mono) WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT2 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT3 WMT4 WMT4 WMT4 WMT4 WMT4 WMT4 (0 - 16384) | OFF, 1 - 16384 | | | | Wave Number R (0 - 16384) | OFF, 1 - 16384 | Wave Gain (0 - 3) | -6, 0, +6, +12 [dB] | Wave FXM Switch (0 - 1) | OFF, ON | Wave FXM Color (0 - 3) | 1 - 4 | Wave FXM Depth (0 - 16) | Wave Tempo Sync (0 - 1) | OFF, ON | Wave Coarse Tune (16 - 112) | -48 - +48 | Wave Fine Tune (14 - 114) | -50 - +50 | Wave Pan (0 - 127) | L64 - 63R | Wave Random Pan Switch (0 - 1) | OFF, ON | Wave Alternate Pan Switch (0 - 2) | OFF, ON, REVERSE | Wave Level (0 - 127) | Velocity Range Lower (1 - 127) | 1 - UPPER | Velocity Range Upper (1 - 127) | LOWER - 127 | Velocity Fade Width Lower (0 - 127) | Velocity Fade Width Upper (0 - 127) | Wave Switch (0 - 1) | OFF, ON | Wave Group Type (0 - 1) | INT, SRX | | | | Wave Group ID (0 - 16384) | OFF, 1 - 16384 | | | | Wave Number L (Mono) (0 - 16384) | OFF, 1 - 16384 | | | | Wave Number R (0 - 16384) | OFF, 1 - 16384 | Wave Gain (0 - 3) | -6, 0, +6, +12 [dB] | Wave FXM Switch (0 - 1) | OFF, ON | Wave FXM Color (0 - 3) | 1 - 4 | Wave FXM Depth (0 - 16) | Wave Tempo Sync (0 - 1) | OFF, ON | Wave Coarse Tune (16 - 112) | -48 - +48 | Wave Fine Tune (14 - 114) | -50 - +50 | Wave Pan (0 - 127) | L64 - 63R | Wave Random Pan Switch (0 - 1) | OFF, ON | Wave Alternate Pan Switch (0 - 2) | OFF, ON, REVERSE | Wave Level (0 - 127) | Velocity Range Lower (1 - 127) | 1 - UPPER | Velocity Range Upper (1 - 127) | LOWER - 127 | Velocity Fade Width Lower (0 - 127) | Velocity Fade Width Upper (0 - 127) | Wave Switch (0 - 1) | OFF, ON | Wave Group Type (0 - 1) | INT, SRX | | | | Wave Group ID (0 - 16384) | OFF, 1 - 16384 | | | | Wave Number L (Mono) (0 - 16384) | OFF, 1 - 16384 | | | | Wave Number R (0 - 16384) | OFF, 1 - 16384 | Wave Gain (0 - 3) | -6, 0, +6, +12 [dB] | SonicCell_e.book 273 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation | 01 07 | 0000 000a | WMT4 Wave FXM Switch (0 - 1) | | | | OFF, ON | | 01 08 | 0000 00aa | WMT4 Wave FXM Color (0 - 3) | | | | 1 - 4 | | 01 09 | 000a aaaa | WMT4 Wave FXM Depth (0 - 16) | | 01 0A | 0000 000a | WMT4 Wave Tempo Sync (0 - 1) | | | | OFF, ON | | 01 0B | 0aaa aaaa | WMT4 Wave Coarse Tune (16 - 112) | | | | -48 - +48 | | 01 0C | 0aaa aaaa | WMT4 Wave Fine Tune (14 - 114) | | | | -50 - +50 | | 01 0D | 0aaa aaaa | WMT4 Wave Pan (0 - 127) | | | | L64 - 63R | | 01 0E | 0000 000a | WMT4 Wave Random Pan Switch (0 - 1) | | | | OFF, ON | | 01 0F | 0000 00aa | WMT4 Wave Alternate Pan Switch (0 - 2) | | | | OFF, ON, REVERSE | | 01 10 | 0aaa aaaa | WMT4 Wave Level (0 - 127) | | 01 11 | 0aaa aaaa | WMT4 Velocity Range Lower (1 - 127) | | | | 1 - UPPER | | 01 12 | 0aaa aaaa | WMT4 Velocity Range Upper (1 - 127) | | | | LOWER - 127 | | 01 13 | 0aaa aaaa | WMT4 Velocity Fade Width Lower (0 - 127) | | 01 14 | 0aaa aaaa | WMT4 Velocity Fade Width Upper (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 15 | 000a aaaa | Pitch Env Depth (52 - 76) | | | | -12 - +12 | | 01 16 | 0aaa aaaa | Pitch Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 17 | 0aaa aaaa | Pitch Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 18 | 0aaa aaaa | Pitch Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 19 | 0aaa aaaa | Pitch Env Time 1 (0 - 127) | | 01 1A | 0aaa aaaa | Pitch Env Time 2 (0 - 127) | | 01 1B | 0aaa aaaa | Pitch Env Time 3 (0 - 127) | | 01 1C | 0aaa aaaa | Pitch Env Time 4 (0 - 127) | | 01 1D | 0aaa aaaa | Pitch Env Level 0 (1 - 127) | | | | -63 - +63 | | 01 1E | 0aaa aaaa | Pitch Env Level 1 (1 - 127) | | | | -63 - +63 | | 01 1F | 0aaa aaaa | Pitch Env Level 2 (1 - 127) | | | | -63 - +63 | | 01 20 | 0aaa aaaa | Pitch Env Level 3 (1 - 127) | | | | -63 - +63 | | 01 21 | 0aaa aaaa | Pitch Env Level 4 (1 - 127) | | | | -63 - +63 | |-------------+-----------+----------------------------------------------------| | 01 22 | 0000 0aaa | TVF Filter Type (0 - 6) | | | | OFF, LPF, BPF, HPF, PKG, LPF2, | | | | LPF3 | | 01 23 | 0aaa aaaa | TVF Cutoff Frequency (0 - 127) | | 01 24 | 0000 0aaa | TVF Cutoff Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 01 25 | 0aaa aaaa | TVF Cutoff Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 26 | 0aaa aaaa | TVF Resonance (0 - 127) | | 01 27 | 0aaa aaaa | TVF Resonance Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 28 | 0aaa aaaa | TVF Env Depth (1 - 127) | | | | -63 - +63 | | 01 29 | 0000 0aaa | TVF Env Velocity Curve Type (0 - 7) | | | | FIXED, 1 - 7 | | 01 2A | 0aaa aaaa | TVF Env Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2B | 0aaa aaaa | TVF Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2C | 0aaa aaaa | TVF Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 2D | 0aaa aaaa | TVF Env Time 1 (0 - 127) | | 01 2E | 0aaa aaaa | TVF Env Time 2 (0 - 127) | | 01 2F | 0aaa aaaa | TVF Env Time 3 (0 - 127) | | 01 30 | 0aaa aaaa | TVF Env Time 4 (0 - 127) | | 01 31 | 0aaa aaaa | TVF Env Level 0 (0 - 127) | | 01 32 | 0aaa aaaa | TVF Env Level 1 (0 - 127) | | 01 33 | 0aaa aaaa | TVF Env Level 2 (0 - 127) | | 01 34 | 0aaa aaaa | TVF Env Level 3 (0 - 127) | | 01 35 | 0aaa aaaa | TVF Env Level 4 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 36 | 0000 0aaa | TVA Level Velocity Curve (0 - 7) | | | | FIXED, 1 - 7 | | 01 37 | 0aaa aaaa | TVA Level Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 38 | 0aaa aaaa | TVA Env Time 1 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 39 | 0aaa aaaa | TVA Env Time 4 Velocity Sens (1 - 127) | | | | -63 - +63 | | 01 3A | 0aaa aaaa | TVA Env Time 1 (0 - 127) | | 01 3B | 0aaa aaaa | TVA Env Time 2 (0 - 127) | | 01 3C | 0aaa aaaa | TVA Env Time 3 (0 - 127) | | 01 3D | 0aaa aaaa | TVA Env Time 4 (0 - 127) | | 01 3E | 0aaa aaaa | TVA Env Level 1 (0 - 127) | | 01 3F | 0aaa aaaa | TVA Env Level 2 (0 - 127) | | 01 40 | 0aaa aaaa | TVA Env Level 3 (0 - 127) | |-------------+-----------+----------------------------------------------------| | 01 41 | 0000 000a | One Shot Mode (0 - 1) | | | | OFF, ON | | 01 42 | 0aaa aaaa | Relative Level (0 - 127) | | | | -64 - +63 | |-------------+----------------------------------------------------------------| | 00 00 01 43 | Total Size | +------------------------------------------------------------------------------+ 2. GS (Model ID = 42H) * System Parameter +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 40 00 7F | 0aaa aaaa | Mode Set (0, 127) | | | | GS-RESET, GS-EXIT | +------------------------------------------------------------------------------+ * Part Parameter +------------------------------------------------------------------------------+ | Start | | | Address | Description | |-------------+----------------------------------------------------------------| | 40 1x 40 | 0aaa aaaa | Scale Tuning C (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 41 | 0aaa aaaa | Scale Tuning C# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 42 | 0aaa aaaa | Scale Tuning D (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 43 | 0aaa aaaa | Scale Tuning D# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 44 | 0aaa aaaa | Scale Tuning E (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 45 | 0aaa aaaa | Scale Tuning F (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 46 | 0aaa aaaa | Scale Tuning F# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 47 | 0aaa aaaa | Scale Tuning G (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 48 | 0aaa aaaa | Scale Tuning G# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 49 | 0aaa aaaa | Scale Tuning A (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4A | 0aaa aaaa | Scale Tuning A# (0 - 127) | | | | -64 - +63 [cent] | | 40 1x 4B | 0aaa aaaa | Scale Tuning B (0 - 127) | | | | -64 - +63 [cent] | +------------------------------------------------------------------------------+ x: BLOCK NUMBER (0-F) Part 1 (MIDI ch = 1) x = 1 Part 2 (MIDI ch = 2) x = 2 : : : Part 9 (MIDI ch = 9) x = 9 Part10 (MIDI ch = 10) x = 0 Part11 (MIDI ch = 11) x = A Part12 (MIDI ch = 12) x = B : : : Part16 (MIDI ch = 16) x = F 273 SonicCell_e.book 274 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation 4. Supplementary Material ■Decimal and Hexadecimal Table (An "H" is appended to the end of numbers in hexadecimal notation.) In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are expressed as hexadecimal values for each 7 bits. The following table shows how these correspond to decimal numbers. +------+------++------+------++------+------++------+------+ | D | H || D | H || D | H || D | H | +------+------++------+------++------+------++------+------+ | 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H | | 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | | 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | | 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H | | 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H | | 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | | 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H | | 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | | 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H | | 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H | | 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | | 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | | 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH | | 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | | 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | | 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH | | 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | | 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H | | 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H | | 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | | 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | | 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H | | 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | | 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | | 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H | | 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H | | 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | | 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH | | 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | | 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | | 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH | | 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | +------+------++------+------++------+------++------+------+ D: decimal H: hexadecimal * Decimal values such as MIDI channel, bank select, and program change are listed 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 precision is required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb. * 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 chart. In the case of two types, 00 00H = -8192, 40 00H = +/-0, and 7F 7FH = +8191. For example, if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x 128. * Data marked “Use nibbled data” is expressed in hexadecimal in 4bit units. A value expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b. 274 What is the decimal expression of 5AH? From the preceding table, 5AH = 90 What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits? From the preceding table, since 12H = 18 and 34H = 52 18 x 128+52 = 2356 What is the decimal expression of the nibbled value 0A 03 09 0D? From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13 ((10 x 16+3) x 16+9) x 16+13 = 41885 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 result is: 00 04 0E 0AH. ■Examples of Actual MIDI Messages 92 3E 5F 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 (note name is D4), and velocity 95. CE 49 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. EA 00 28 EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H = 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is 28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072 If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to change -200 cents, so in this case -200 x (-3072) ÷ (8192) = -75 cents of Pitch Bend is being applied to MIDI channel 11. B3 64 00 65 00 06 0C 26 00 64 7F 65 7F BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called “running status” which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning. SonicCell_e.book 275 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation 00H aa + bb + cc + dd + ee + ff = sum (B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: (B3) 06 0C (MIDI ch.4) upper byte of parameter value: 00H 0CH sum ÷ 128 = quotient ... remainder (B3) 26 00 (MIDI ch.4) lower byte of parameter value: (B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 00H 7FH (B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH B3 64 00 MIDI ch.4, lower byte of RPN parameter number: In other words, the above messages specify a value of 0C 00H for RPN parameter number 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH. 128 - remainder = checksum Setting CHORUS TYPE of PERFORMANCE COMMON to DELAY (DT1) According to the "Parameter Address Map" (p. 257), the start address of Temporary Performance is 10 00 00 00H, the offset address of CHORUS at PERFORMANCE COMMON is 04 00H, and the address of CHORUS TYPE is 00 00H. Therefore the address of CHORUS TYPE of PERFORMANCE COMMON is; RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +/-12 semitones (1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.) Once the parameter number has been specified for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is the reason for the (B3) 64 7F (B3) 65 7F at the end. It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in . This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound generator will then misinterpret the data. Take care to give each event its own status. It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the 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 time of each event (about 1 tick for TPQN = 96, and about 5 ticks for TPQN = 480). * TPQN: Ticks Per Quarter Note ■Example of an Exclusive Message and Calculating a Checksum Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted Exclusive message. ●How to calculate the checksum (hexadecimal numbers are indicated by "H") The checksum is a value derived by adding the address, size, and checksum itself and inverting the lower 7 bits. Here's an example of how the checksum is calculated. We will assume that in the Exclusive message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH. +) 10 00 00 04 00 10 00 04 00H 00H 00H 00H DELAY has the value of 02H. So the system exclusive message should be sent is; F0 41 10 (1) (2) (3) 00 00 25 12 (4) (5) 10 00 04 00 address 02 data ?? checksum F7 (6) (1) Exclusive Status (2) ID (Roland) (3) Device ID (17) (4) Model ID (SonicCell) (5) Command ID (DT1) (6) End of Exclusive Then calculate the checksum. 10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum) 22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder) checksum = 128 - 22 (remainder) = 106 = 6AH This means that F0 41 10 00 00 25 12 10 00 04 00 02 6A F7 is the message should be sent. ■The Scale Tune Feature (address: 40 1x 40) The scale Tune feature allows you to finely adjust the individual pitch of the notes from C through B. Though the settings are made while working with one octave, the fine adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can obtain a complete variety of tuning methods other than equal temperament. As examples, three possible types of scale setting are explained below. ❍Equal Temperament This method of tuning divides the octave into 12 equal parts. It is currently the most widely used form of tuning, especially in occidental music. On the SonicCell, the default settings for the Scale Tune feature produce equal temperament. ❍Just Temperament (Tonic of C) The principal triads resound much more beautifully than with equal temperament, but this benefit can only be obtained in one key. If transposed, the chords tend to become ambiguous. The example given involves settings for a key in which C is the keynote. ❍Arabian Scale By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for ethnic music. For example, the settings introduced below will set the unit to use the Arabian Scale. 275 SonicCell_e.book 276 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation Example Settings Note name Equal Just Temperament C 0 Temperament(Key-tone C) 0 -6 C# D 0 0 -8 +4 +45 -2 Eb 0 +16 -12 E F 0 0 -14 -2 -51 -8 F# G 0 0 -10 +2 +43 -4 G# A 0 0 +14 -16 +47 0 Bb 0 +14 -10 B 0 -12 -49 Arabian Scale The values in the table are given in cents. Convert these values to hexadecimal, and transmit them as Exclusive data. For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data: F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7 ■ASCII Code Table Patch Name and Performance Name, etc., of MIDI data are described the ASCII code in the table below. +------+------+------++------+------+------++------+------+------+ | D | H | Char || D | H | Char || D | H | Char | +------+------+------++------+------+------++------+------+------+ | 32 | 20H | SP || 64 | 40H | @ || 96 | 60H | ` | | 33 | 21H | ! || 65 | 41H | A || 97 | 61H | a | | 34 | 22H | " || 66 | 42H | B || 98 | 62H | b | | 35 | 23H | # || 67 | 43H | C || 99 | 63H | c | | 36 | 24H | $ || 68 | 44H | D || 100 | 64H | d | | 37 | 25H | % || 69 | 45H | E || 101 | 65H | e | | 38 | 26H | & || 70 | 46H | F || 102 | 66H | f | | 39 | 27H | ` || 71 | 47H | G || 103 | 67H | g | | 40 | 28H | ( || 72 | 48H | H || 104 | 68H | h | | 41 | 29H | ) || 73 | 49H | I || 105 | 69H | i | | 42 | 2AH | * || 74 | 4AH | J || 106 | 6AH | j | | 43 | 2BH | + || 75 | 4BH | K || 107 | 6BH | k | | 44 | 2CH | , || 76 | 4CH | L || 108 | 6CH | l | | 45 | 2DH | - || 77 | 4DH | M || 109 | 6DH | m | | 46 | 2EH | . || 78 | 4EH | N || 110 | 6EH | n | | 47 | 2FH | / || 79 | 4FH | O || 111 | 6FH | o | | 48 | 30H | 0 || 80 | 50H | P || 112 | 70H | p | | 49 | 31H | 1 || 81 | 51H | Q || 113 | 71H | q | | 50 | 32H | 2 || 82 | 52H | R || 114 | 72H | r | | 51 | 33H | 3 || 83 | 53H | S || 115 | 73H | s | | 52 | 34H | 4 || 84 | 54H | T || 116 | 74H | t | | 53 | 35H | 5 || 85 | 55H | U || 117 | 75H | u | | 54 | 36H | 6 || 86 | 56H | V || 118 | 76H | v | | 55 | 37H | 7 || 87 | 57H | W || 119 | 77H | w | | 56 | 38H | 8 || 88 | 58H | X || 120 | 78H | x | | 57 | 39H | 9 || 89 | 59H | Y || 121 | 79H | y | | 58 | 3AH | : || 90 | 5AH | Z || 122 | 7AH | z | | 59 | 3BH | ; || 91 | 5BH | [ || 123 | 7BH | { | | 60 | 3CH | < || 92 | 5CH | \ || 124 | 7CH | | | | 61 | 3DH | = || 93 | 5DH | ] || 125 | 7DH | } | | 62 | 3EH | > || 94 | 5EH | ^ ||------+------+------+ | 63 | 3FH | ? || 95 | 5FH | _ | +------+------+------++------+------+------+ D: decimal H: hexadecimal * "SP" is space. 276 SonicCell_e.book 277 ページ ２００７年７月２日 月曜日 午後３時５０分 MIDI Implementation Chart MIDI Implementation Chart Model: SonicCell Function... Transmitted Recognized Basic Channel Default Changed 1–16 X 1–16 1–16 Mode Default Messages Altered X X ************** Mode 3 Mode 3, 4 (M = 1) Note Number : 0–127 True Voice 0–127 0–127 Velocity Note ON Note OFF ************** O O *4 *4 O O Aftertouch Key's Channel's O O *4 *4 O O Pitch Bend 0, 32 1 2 4 5 6, 38 7 8 10 11 16 17 18 19 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 80 81 82 83 84 91 92 93 94 95 1–31, 33–95 96, 97 98, 99 100, 101 102–119 Control Change Program Change : True Number System Exclusive O *1 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 *4 O O O O O O O X O O X X X X O O O O O O X O O O O O O O O O O O O X O X O X X O X X O X *1 *1 O *4 O 0–127 *1 *3 *4 O *1 ************** X X X X X X System Realtime : Clock : Command X X O X : All Sound Off : Reset All Controllers : Local ON/OFF : All Note Off : Active Sensing : System Reset O O X O O X Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY *1 *1 *4 : Song Position : Song Select : Tune Notes *2 O System Common Aux Messages Remarks O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O *1 *2 *3 *4 Date : June. 15, 2007 Version : 1.00 *4 *4 *4 *1 *1 *1 *1 (Tone 1 Level) (Tone 2 Level) (Tone 3 Level) (Tone 4 Level) (Reverb) (Chorus) Bank select Modulation Breath type Foot type Portamento time Data entry Volume Balance Panpot Expression General purpose controller 1 General purpose controller 2 General purpose controller 3 General purpose controller 4 Hold1 Portamento Sostenuto Soft Legato foot switch Hold2 Sound variation Resonance Release time Attack time Cutoff Decay time Vibrato rate Vibrato depth Vibrato delay General purpose controller 5 General purpose controller 6 General purpose controller 7 General purpose controller 8 Portamento control General purpose effects 1 Tremoro General purpose effects 3 Celeste Phaser General purpose controller Increment, Decrement NRPN LSB,MSB RPN LSB,MSB Program Number 1–128 O O X O (123–127) O X O X is selectable. Recognized as M=1 even if M≠1. Transmitted when Tx Edit Data is ON, or when RQ1 is received. Transmitted from SMF Player. Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO O : Yes X : No 277 SonicCell_e.book 278 ページ ２００７年７月２日 月曜日 午後３時５０分 Specifications SonicCell: 128 Voices Sound Module with Audio Interface (Conforms to General MIDI 2 System) ■ Sound Generator Section ■ Others Parts Display 16 parts Maximum Polyphony 128 voices Wave Memory 128 M bytes (16-bit linear equivalent) Expansion Slots Expansion of waveforms and patchs for the internal sound generator SRX expansion boards: 2 slots Preset Memory Patches: 896 + 256 (GM2) Rhythm Sets: 32 + 9 (GM2) Performances: 64 User Memory Patches: 256 Rhythm Sets: 32 Performances: 64 128 x 64 dots organic EL graphic display Connectors Output jacks (L/MONO, R) Headphone jack Input jacks (MIC/GUITAR/LINE (L), LINE (R)) MIC: 1/4 inch phone type or XLR type (phantom power) GUITAR: 1/4 inch phones type (always Hi-Z) Line (L): 1/4 inch phone type LINE (R): 1/4 inch phone type MIDI Connectors (IN, OUT) USB Connectors COMPUTER (supports USB Hi-Speed USB MIDI, and USB Audio) MEMORY (supports USB 2.0 Hi-Speed Flash Memory) Power Supply DC 9 V (AC Adaptor) * This product does not support USB bus power. Current Draw External Memory 800 mA USB Memory Dimensions Effects Multi-Effects: 3 systems, 78 types Chorus: 3 types Reverb: 5 types Input Effect: 6 types Mastering Effect: 3 bands Compressor ■ Audio Interface Section Number of Audio Input/Output Channels Input: 1 pair of stereo (MIC, GUITAR: Monaural/LINE: Stereo) Output: 1 pair of stereo Signal Processing PC interface: 24 bits AD/DA Conversion: 24 bits Sampling Frequency AD/DA Conversion: 44.1/48/96 kHz Nominal Input Level Input jack (MIC/GUITAR/LINE (L)) Mic: -50 – -30 dBu Guitar: -30 – -10 dBu Line: -30 – -10 dBu Input jack (LINE (R)) Line: -30 – -10 dBu Nominal Output Level Output jacks: -10 dBu ■ SMF/Audio File Player Section File Format Standard MIDI File: format-0/1 Audio File: WAV, AIFF, MP3 278 294 (W) x 175 (D) x 55 (H) mm 11-5/8 (W) x 6-15/16 (D) x 2-3/16 (H) inches Weight 1.2 kg / 2 lbs 11 oz (excluding AC Adaptor) Accessories Startup Guide Manual CD-ROM (Sound Editor, Librarian, Playlist Editor, USB Driver) CD-ROM (SONAR LE) Wrench AC Adaptor (PSB-1U) Power Cord USB Cable Options Wave Expansion Board: SRX Series USB Memory: M-UF128 SonicCell stand and PDS-10 bracket: BKT-S Pad Stand: PDS-10 (0 dBu = 0.775 V rms) * In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice. SonicCell_e.book 279 ページ ２００７年７月２日 月曜日 午後３時５０分 Index Numerics 3D Effects ........................................................................ 193 A AC Adaptor ....................................................................... 18 AIFF ................................................................................. 168 Amp Envelope ................................................................... 24 Audio File ........................................................................ 168 B Backup ............................................................................ 182 BKT-S ................................................................................. 30 C Category Select screen ...................................................... 65 Changing the song order ................................................ 173 Chorus ............................................................................... 56 Chorus Output screen ................................................ 79, 135 Chorus Parameters .......................................................... 219 Chorus screen ............................................................ 78, 135 Cubase 4 ........................................................................ 160 CURSOR/VALUE ............................................................... 20 D Delay ............................................................................... 219 Delete Playlist ....................................................................... 173 Demo Songs ...................................................................... 15 E Editor ................................................................................. 27 Effect Routing screen ..................................... 26, 76–77, 134 Effect Source screen .......................................................... 80 Effect Switch screen ......................................................... 146 Effects .................................................................. 56, 75, 132 Effects List ........................................................................ 192 Envelope ........................................................................... 55 Error Messages ................................................................ 191 F Factory Reset ................................................................... 183 Format ............................................................................. 183 G Group Select screen .............................................. 66–67, 87 Guitar ................................................................................ 41 I In/Out Routing ................................................................ 144 In/Out Routing screen ..................................................... 147 Initialize Patch .......................................................................... 115 Rhythm Tone .............................................................. 130 Sound Control .............................................................. 73 INPUT .............................................................................. 142 Input Effect ......................................................................... 43 Input Effect Parameters ..................................................... 221 Input Effect screen ............................................................ 147 Input FX Output screen ..................................................... 148 Input screen ......................................................... 43–44, 142 Input Volume ...................................................................... 42 Installing Mac OS X .................................................................... 37 SONAR LE ................................................................. 152 Wave Expansion Board ............................................... 46 Windows Vista ............................................................ 35 Windows XP ................................................................ 33 L LFO (Low Frequency Oscillator) ......................................... 55 Librarian ............................................................................ 27 Line .................................................................................... 42 Logic Pro 7.2 ................................................................... 163 M Mac OS X ......................................................................... 37 Master EQ screen ............................................................ 184 Master Equalizer ............................................................. 184 MASTER VOLUME ............................................................. 19 Mastering Effect ................................................................. 56 Mastering Effect screen .................................................... 181 Mastering Type screen ..................................................... 181 Matrix Control ................................................................... 95 Memory ............................................................................. 57 Menu Effect Edit ................................................................... 133 Effect Routing ............................................................... 76 In/Out Routing ........................................................... 146 Input ........................................................................... 143 Part Edit ....................................................................... 68 Patch ............................................................................ 84 Patch Edit ..................................................................... 88 Patch List (Ctg) ....................................................... 65, 85 Patch List (Grp) ....................................................... 66, 86 Perform MIDI Filter ....................................................... 61 Performance ................................................................. 59 Playlist Select ............................................................. 169 Rhythm Edit ................................................................ 117 Rhythm Set List ....................................................... 67, 87 song list ..................................................................... 171 USB Audio ................................................................. 141 MFX Control screen ......................................................... 137 MFX Output screen .......................................................... 135 MFX screen ................................................................ 27, 134 MFX Structure screen ......................................................... 80 MFX1–3 Control screens .................................................... 81 MFX1–3 Output screens .................................................... 78 MFX1–3 screens ................................................................ 78 MFX3 Location screen ..................................................... 149 Mic .................................................................................... 41 279 SonicCell_e.book 280 ページ ２００７年７月２日 月曜日 午後３時５０分 Index MIDI channel ..................................................................... 23 MIDI Filter screen ............................................................... 61 MIDI Implementation ........................................................ 246 MIDI Implementation Chart .............................................. 277 MIDI INST screen .................................................. 22, 58–59 MP3 ................................................................................ 168 Multi-Effects ....................................................................... 56 Multi-Effects Control ................................................... 81, 137 N Note priority ...................................................................... 55 P Part .................................................................................... 54 Part Edit screen ............................................................ 68–69 Part View screen .......................................................... 20, 62 Part ViewâÊñ .................................................................... 20 Patch ........................................................................... 62, 82 Patch Category .................................................................. 63 Patch Ctrl screen .............................................................. 114 Patch Edit screen ............................................. 20, 24, 88–89 Patch Effect menu screen ................................................. 133 Patch General screen ........................................................ 90 Patch Initialize ................................................................. 115 Patch LFO1, 2 screens ..................................................... 109 Patch List .......................................................................... 223 Patch List (Ctg) screen .................................................. 65, 85 Patch List (Grp) screen ................................................. 66, 86 Patch Menu screen ............................................................ 84 Patch Mode ........................................................... 23, 54, 82 Patch Mtrx Ctrl1–4 screens ................................................ 95 Patch Name screen ......................................................... 116 Patch Output screen ........................................................ 108 Patch Pitch Env screen ..................................................... 101 Patch Play screen ................................................... 23, 26, 82 Patch Scale Tune screen .................................................. 178 Patch Step LFO screen ..................................................... 112 Patch Structure screen ........................................................ 93 Patch TMT screen ............................................................ 112 Patch TVA Env screen ................................................ 24, 107 Patch TVA screen ............................................................. 105 Patch TVF Env screen ....................................................... 104 Patch TVF screen ....................................................... 26, 102 Patch WG screen .............................................................. 98 Patch Write ..................................................................... 116 PDS-10 .............................................................................. 30 Perform MIDI Filter screen ............................................ 60–61 Performance General screen ............................................. 60 Performance Initialize ........................................................ 73 Performance List ............................................................... 222 Performance Menu screen ................................................. 59 Performance Mode ............................................................ 54 Performance Name screen ................................................ 73 280 Performance Write ............................................................ 73 Playback .................................................................... 28, 168 Playlist ............................................................... 30, 167, 171 Playlist Information screen ............................................... 170 Playlist Select screen .................................................. 28, 168 Playlist Write ................................................................... 173 Portable Backing Machine ................................................. 28 POWER switch .................................................................. 19 Preset memory ................................................................... 57 R Recording .......................................................................... 40 Restore ............................................................................. 182 Reverb ............................................................................... 56 Reverb Output screen ................................................ 79, 136 Reverb Parameters ........................................................... 220 Reverb screen ............................................................ 79, 136 Rhythm Edit screen ................................................... 117–118 Rhythm Effect menu screen ............................................... 133 Rhythm General screen .................................................... 118 Rhythm Output screen ...................................................... 129 Rhythm Pch Env screen .................................................... 123 Rhythm Pitch screen ......................................................... 122 Rhythm Set ............................................................. 55, 64, 83 Rhythm Set Initialize ......................................................... 130 Rhythm Set List ................................................................. 233 Rhythm Set List screen .................................................. 67, 87 Rhythm Set Write ............................................................. 131 Rhythm Tone Copy .......................................................... 130 Rhythm Tone Initialize ...................................................... 130 Rhythm TVA Env screen ................................................... 128 Rhythm TVA screen .......................................................... 127 Rhythm TVF Env screen .................................................... 126 Rhythm TVF screen ........................................................... 124 Rhythm Wave screen ....................................................... 120 Rhythm WMT screen ........................................................ 122 S SAMPLING RATE switch .................................................... 29 Scale Tune ....................................................................... 178 Scale Tune screen .............................................................. 72 SMF ................................................................................. 168 SMF/Audio File Player .................................................... 167 SONAR 6.2 ..................................................................... 157 SONAR LE ....................................................................... 152 Song Info (Level) screen ................................................... 172 Song Information screen .................................................. 172 Song Menu screen ................................................... 171, 173 Song order ...................................................................... 173 Songs ................................................................ 28, 168, 171 Sound Control Initialize ..................................................... 73 Sound Mode screen ..................................................... 60, 84 SRX series .................................................................... 46, 57 SonicCell_e.book 281 ページ ２００７年７月２日 月曜日 午後３時５０分 Index System System System System System System System System System Control screen ..................................................... 179 Memory ................................................................. 57 MIDI screen ......................................................... 180 Preview screen ..................................................... 179 screen .................................................................. 176 Settings ................................................................ 176 SRX Info screen .................................................... 180 Version Info screen .............................................. 180 Write ................................................................... 150 T Temporary Memory ........................................................... 57 To Computer screen ............................................ 43, 45, 148 Tone Copy ....................................................................... 115 Tones ................................................................................. 54 Troubleshooting ............................................................... 186 TVA (Time Variant Amplifier) ............................................. 55 TVF (Time Variant Filter) ..................................................... 55 U USB AUDIO ..................................................................... 140 USB Audio screen ........................................................... 140 USB Memory ..................................................................... 57 USB memory ...................................................... 28, 167, 182 USB Memory Format ....................................................... 183 USB/Audio Interface ......................................................... 40 User Backup .................................................................... 182 User Memory ..................................................................... 57 User Restore .................................................................... 182 V Voice Reserve .................................................................... 55 Volume Level ..................................................................... 42 W WAV ............................................................................... 168 Wave Expansion Board .............................................. 46, 57 Waveform List ................................................................. 242 WG (Wave Generator) ..................................................... 55 Windows Vista .................................................................. 35 Windows XP ...................................................................... 33 Write Patch .......................................................................... 116 Performance ................................................................. 73 Playlist ....................................................................... 173 Rhythm Set ................................................................. 131 281 SonicCell_e.book 282 ページ ２００７年７月２日 月曜日 午後３時５０分 For EU Countries For China 282 SonicCell_e.book 283 ページ ２００７年７月２日 月曜日 午後３時５０分 For EU Countries 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. This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) This device must accept any interference received, including interference that may cause undesired operation. Unauthorized changes or modification to this system can void the users authority to operate this equipment. This equipment requires shielded interface cables in order to meet FCC class B Limit. For Canada NOTICE This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. AVIS Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. For the USA DECLARATION OF CONFORMITY Compliance Information Statement Model Name : Type of Equipment : Responsible Party : Address : Telephone : SonicCell Sound Module with Audio Interface Roland Corporation U.S. 5100 S. Eastern Avenue, Los Angeles, CA 90040-2938 (323) 890-3700 283 SonicCell_e.book 284 ページ ２００７年７月２日 Information AFRICA EGYPT Al Fanny Trading Office 9, EBN Hagar Al Askalany Street, ARD E1 Golf, Heliopolis, Cairo 11341, EGYPT TEL: 20-2-417-1828 REUNION Maison FO - YAM Marcel 25 Rue Jules Hermann, Chaudron - BP79 97 491 Ste Clotilde Cedex, REUNION ISLAND TEL: (0262) 218-429 SOUTH AFRICA T.O.M.S. Sound & Music (Pty)Ltd. 2 ASTRON ROAD DENVER JOHANNESBURG ZA 2195, SOUTH AFRICA TEL: (011)417 3400 Paul Bothner(PTY)Ltd. Royal Cape Park, Unit 24 Londonderry Road, Ottery 7800 Cape Town, SOUTH AFRICA TEL: (021) 799 4900 ASIA CHINA Roland Shanghai Electronics Co.,Ltd. 5F. No.1500 Pingliang Road Shanghai 200090, CHINA TEL: (021) 5580-0800 Roland Shanghai Electronics Co.,Ltd. (BEIJING OFFICE) 10F. No.18 3 Section Anhuaxili Chaoyang District Beijing 100011 CHINA TEL: (010) 6426-5050 HONG KONG Tom Lee Music Co., Ltd. Service Division 22-32 Pun Shan Street, Tsuen Wan, New Territories, HONG KONG TEL: 2415 0911 Parsons Music Ltd. 8th Floor, Railway Plaza, 39 Chatham Road South, T.S.T, Kowloon, HONG KONG TEL: 2333 1863 INDIA PHILIPPINES CURACAO URUGUAY NORWAY JORDAN G.A. Yupangco & Co. Inc. 339 Gil J. Puyat Avenue Makati, Metro Manila 1200, PHILIPPINES TEL: (02) 899 9801 Zeelandia Music Center Inc. Orionweg 30 Curacao, Netherland Antilles TEL:(305)5926866 Todo Musica S.A. Francisco Acuna de Figueroa 1771 C.P.: 11.800 Montevideo, URUGUAY TEL: (02) 924-2335 Roland Scandinavia Avd. Kontor Norge Lilleakerveien 2 Postboks 95 Lilleaker N-0216 Oslo NORWAY TEL: 2273 0074 MUSIC HOUSE CO. LTD. FREDDY FOR MUSIC P. O. Box 922846 Amman 11192 JORDAN TEL: (06) 5692696 VENEZUELA POLAND Instrumentos Musicales Allegro,C.A. Av.las industrias edf.Guitar import #7 zona Industrial de Turumo Caracas, Venezuela TEL: (212) 244-1122 ROLAND POLSKA SP. Z O.O. UL. Gibraltarska 4. PL-03 664 Warszawa POLAND TEL: (022) 679 4419 EASA HUSAIN AL-YOUSIFI & SONS CO. Abdullah Salem Street, Safat, KUWAIT TEL: 243-6399 SINGAPORE Instrumentos Fernando Giraldez Calle Proyecto Central No.3 Ens.La Esperilla Santo Domingo, Dominican Republic TEL:(809) 683 0305 TAIWAN ECUADOR ROLAND TAIWAN ENTERPRISE CO., LTD. Room 5, 9fl. No. 112 Chung Shan N.Road Sec.2, Taipei, TAIWAN, R.O.C. TEL: (02) 2561 3339 Mas Musika Rumichaca 822 y Zaruma Guayaquil - Ecuador TEL:(593-4)2302364 THAILAND Theera Music Co. , Ltd. 330 Soi Verng NakornKasem, New Road, Sumpantawongse, Bangkok 10100, THAILAND TEL: (02) 224-8821 AUSTRALIA/ NEW ZEALAND AUSTRALIA/ NEW ZEALAND Roland Corporation Australia Pty.,Ltd. Roland Asia Pacific Sdn. Bhd. 45-1, Block C2, Jalan PJU 1/39, Dataran Prima, 47301 Petaling Jaya, Selangor, MALAYSIA TEL: (03) 7805-3263 VIET NAM Suoi Nhac Company, Ltd 370 Cach Mang Thang Tam St. Dist.3, Ho Chi Minh City, VIET NAM TEL: 9316540 OMNI MUSIC 75 Avenida Norte y Final Alameda Juan Pablo II, Edificio No.4010 San Salvador, EL SALVADOR TEL: 262-0788 GUATEMALA Casa Instrumental Calzada Roosevelt 34-01,zona 11 Ciudad de Guatemala Guatemala TEL:(502) 599-2888 HONDURAS Almacen Pajaro Azul S.A. de C.V. BO.Paz Barahona 3 Ave.11 Calle S.O San Pedro Sula, Honduras TEL: (504) 553-2029 MARTINIQUE For Australia Tel: (02) 9982 8266 For New Zealand Tel: (09) 3098 715 Musique & Son Z.I.Les Mangle 97232 Le Lamantin Martinique F.W.I. TEL: 596 596 426860 CENTRAL/LATIN AMERICA ARGENTINA Instrumentos Musicales S.A. Av.Santa Fe 2055 (1123) Buenos Aires ARGENTINA TEL: (011) 4508-2700 BARBADOS A&B Music Supplies LTD 12 Webster Industrial Park Wildey, St.Michael, Barbados TEL: (246)430-1100 CHILE MALAYSIA EL SALVADOR 38 Campbell Avenue Dee Why West. NSW 2099 AUSTRALIA INDONESIA Cosmos Corporation 1461-9, Seocho-Dong, Seocho Ku, Seoul, KOREA TEL: (02) 3486-8855 DOMINICAN REPUBLIC SWEE LEE MUSIC COMPANY PTE. LTD. 150 Sims Drive, SINGAPORE 387381 TEL: 6846-3676 BRAZIL KOREA 午後３時５０分 When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. Rivera Digitec (India) Pvt. Ltd. 411, Nirman Kendra Mahalaxmi Flats Compound Off. Dr. Edwin Moses Road, Mumbai-400011, INDIA TEL: (022) 2493 9051 PT Citra IntiRama Jl. Cideng Timur No. 15J-15O Jakarta Pusat INDONESIA TEL: (021) 6324170 月曜日 Roland Brasil Ltda. Rua San Jose, 780 Sala B Parque Industrial San Jose Cotia - Sao Paulo - SP, BRAZIL TEL: (011) 4615 5666 Comercial Fancy II S.A. Rut.: 96.919.420-1 Nataniel Cox #739, 4th Floor Santiago - Centro, CHILE TEL: (02) 688-9540 COLOMBIA Centro Musical Ltda. Cra 43 B No 25 A 41 Bododega 9 Medellin, Colombia TEL: (574)3812529 COSTA RICA JUAN Bansbach Instrumentos Musicales Ave.1. Calle 11, Apartado 10237, San Jose, COSTA RICA TEL: 258-0211 Gigamusic SARL 10 Rte De La Folie 97200 Fort De France Martinique F.W.I. TEL: 596 596 715222 MEXICO Casa Veerkamp, s.a. de c.v. Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F. MEXICO TEL: (55) 5668-6699 NICARAGUA Bansbach Instrumentos Musicales Nicaragua Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida 1 Cuadra al Lago.#503 Managua, Nicaragua TEL: (505)277-2557 PANAMA SUPRO MUNDIAL, S.A. Boulevard Andrews, Albrook, Panama City, REP. DE PANAMA TEL: 315-0101 PARAGUAY Distribuidora De Instrumentos Musicales J.E. Olear y ESQ. Manduvira Asuncion PARAGUAY TEL: (595) 21 492147 PERU Audionet Distribuciones Musicales SAC Juan Fanning 530 Miraflores Lima - Peru TEL: (511) 4461388 TRINIDAD AMR Ltd Ground Floor Maritime Plaza Barataria Trinidad W.I. TEL: (868) 638 6385 EUROPE AUSTRIA Roland Elektronische Musikinstrumente HmbH. Austrian Office Eduard-Bodem-Gasse 8, A-6020 Innsbruck, AUSTRIA TEL: (0512) 26 44 260 BELGIUM/FRANCE/ HOLLAND/ LUXEMBOURG Roland Central Europe N.V. Houtstraat 3, B-2260, Oevel (Westerlo) BELGIUM TEL: (014) 575811 CROATIA ART-CENTAR Degenova 3. HR - 10000 Zagreb TEL: (1) 466 8493 CZECH REP. CZECH REPUBLIC DISTRIBUTOR s.r.o Voctárova 247/16 CZ - 180 00 PRAHA 8, CZECH REP. TEL: (2) 830 20270 DENMARK Roland Scandinavia A/S Nordhavnsvej 7, Postbox 880, DK-2100 Copenhagen DENMARK TEL: 3916 6200 FINLAND Roland Scandinavia As, Filial Finland Elannontie 5 FIN-01510 Vantaa, FINLAND TEL: (0)9 68 24 020 GERMANY Roland Elektronische Musikinstrumente HmbH. Oststrasse 96, 22844 Norderstedt, GERMANY TEL: (040) 52 60090 GREECE/CYPRUS STOLLAS S.A. Music Sound Light 155, New National Road Patras 26442, GREECE TEL: 2610 435400 HUNGARY Roland East Europe Ltd. Warehouse Area ‘DEPO’ Pf.83 H-2046 Torokbalint, HUNGARY TEL: (23) 511011 IRELAND Roland Ireland G2 Calmount Park, Calmount Avenue, Dublin 12 Republic of IRELAND TEL: (01) 4294444 ITALY Roland Italy S. p. A. Viale delle Industrie 8, 20020 Arese, Milano, ITALY TEL: (02) 937-78300 PORTUGAL KUWAIT LEBANON Roland Iberia, S.L. Portugal Office Cais das Pedras, 8/9-1 Dto 4050-465, Porto, PORTUGAL TEL: 22 608 00 60 Chahine S.A.L. George Zeidan St., Chahine Bldg., Achrafieh, P.O.Box: 165857 Beirut, LEBANON TEL: (01) 20-1441 ROMANIA OMAN FBS LINES Piata Libertatii 1, 535500 Gheorgheni, ROMANIA TEL: (266) 364 609 TALENTZ CENTRE L.L.C. Malatan House No.1 Al Noor Street, Ruwi SULTANATE OF OMAN TEL: 2478 3443 RUSSIA QATAR MuTek Dorozhnaya ul.3,korp.6 117 545 Moscow, RUSSIA TEL: (095) 981-4967 Al Emadi Co. (Badie Studio & Stores) P.O. Box 62, Doha, QATAR TEL: 4423-554 SLOVAKIA SAUDI ARABIA DAN Acoustic s.r.o. Povazská 18. SK - 940 01 Nové Zámky TEL: (035) 6424 330 SPAIN aDawliah Universal Electronics APL Corniche Road, Aldossary Bldg., 1st Floor, Alkhobar, 31952 SAUDI ARABIA Roland Iberia, S.L. Paseo García Faria, 33-35 08005 Barcelona SPAIN TEL: 93 493 91 00 P.O.Box 2154, Alkhobar 31952 SAUDI ARABIA TEL: (03) 898 2081 SWEDEN SYRIA Roland Scandinavia A/S SWEDISH SALES OFFICE Danvik Center 28, 2 tr. S-131 30 Nacka SWEDEN TEL: (0)8 702 00 20 SWITZERLAND Roland (Switzerland) AG Landstrasse 5, Postfach, CH-4452 Itingen, SWITZERLAND TEL: (061) 927-8383 Technical Light & Sound Center Rawda, Abdul Qader Jazairi St. Bldg. No. 21, P.O.BOX 13520, Damascus, SYRIA TEL: (011) 223-5384 TURKEY ZUHAL DIS TICARET A.S. Galip Dede Cad. No.37 Beyoglu - Istanbul / TURKEY TEL: (0212) 249 85 10 U.A.E. UKRAINE EURHYTHMICS Ltd. P.O.Box: 37-a. Nedecey Str. 30 UA - 89600 Mukachevo, UKRAINE TEL: (03131) 414-40 Zak Electronics & Musical Instruments Co. L.L.C. Zabeel Road, Al Sherooq Bldg., No. 14, Ground Floor, Dubai, U.A.E. TEL: (04) 3360715 UNITED KINGDOM Roland (U.K.) Ltd. Atlantic Close, Swansea Enterprise Park, SWANSEA SA7 9FJ, UNITED KINGDOM TEL: (01792) 702701 MIDDLE EAST BAHRAIN NORTH AMERICA CANADA Roland Canada Ltd. (Head Office) 5480 Parkwood Way Richmond B. C., V6V 2M4 CANADA TEL: (604) 270 6626 Moon Stores No.1231&1249 Rumaytha Building Road 3931, Manama 339 BAHRAIN TEL: 17 813 942 Roland Canada Ltd. (Toronto Office) 170 Admiral Boulevard Mississauga On L5T 2N6 CANADA TEL: (905) 362 9707 IRAN U. S. A. MOCO INC. No.41 Nike St., Dr.Shariyati Ave., Roberoye Cerahe Mirdamad Tehran, IRAN TEL: (021) 285-4169 Roland Corporation U.S. 5100 S. Eastern Avenue Los Angeles, CA 90040-2938, U. S. A. TEL: (323) 890 3700 ISRAEL Halilit P. Greenspoon & Sons Ltd. 8 Retzif Ha'alia Hashnia St. Tel-Aviv-Yafo ISRAEL TEL: (03) 6823666 As of May 1, 2007 (ROLAND) 284 SonicCell_e.book 285 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 285 SonicCell_e.book 286 ページ ２００７年７月２日 月曜日 午後３時５０分 MEMO 286 * 0 4 5 6 4 8 3 04564834 4 - 0 1 * 07-07-1N
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